@mastersthesis {13381, title = {After the Renaissance: Art and Harlem in the 1960s}, year = {2022}, school = {CUNY}, abstract = {For almost a century, Harlem has carried a symbolic weight that transcends the physical confines of upper Manhattan. In 1925, the philosopher and critic Alain Locke dubbed Harlem a "mecca," a spiritual home that attracted people of African descent from around the world. Locke dubbed the cultural movement he chronicled in Harlem a "renaissance"-a term that describes both the "rebirth" of Black people as modern subjects and the resulting artistic effluence. In so doing, he cemented the neighborhood{\textquoteright}s indelible connection to racial progress and artistic experimentation. Even as Harlem{\textquoteright}s reputation has oscillated between the twined discourses of "mecca" and "ghetto," art has been central to its singular importance within the United States and the larger African diaspora.
This dissertation, the first art historical study of Harlem after the Harlem Renaissance of the 1920s and 1930s, considers this relationship within a drastically different historical context: the social and artistic revolutions of the 1960s. Organized as a series of case studies-on exhibitions, abstract painting and sculpture, photography, and printmaking-it examines how and why the decade{\textquoteright}s struggles for racial justice prompted African American and Puerto Rican artists to engage Harlem in their work. For artists like Romare Bearden, William T. Williams, Melvin Edwards, Gordon Parks, and members of the printshop Taller Boricua, the Harlem Renaissance offered a compelling historical model for framing art as a racial project. But their work engaged issues of poverty, urban renewal, segregation, and decolonial struggle that were thoroughly contemporary. As these artists negotiated these investments, they reconfigured the formal contours their artistic mediums, engaging with many of the most pressing issues at the center of artistic practice in the post war period, including the format and function of exhibitions, the place of the body in modernist painting and sculpture, the politics of documentary photography, and the ability of print to forge political and diasporic identities. By pairing discussions of these formal questions with analysis of processes that shaped Harlem physically, socially, and discursively, "After the Renaissance" demonstrates that the "radicality" of 1960s art was not merely a question of new genres or new media but was also fundamentally indebted to ongoing tensions that defined life in urban Black communities in the United States.
The project is comprised of four chapters, each of which couples an artistic medium with an urban or historical process that I argue is central to understanding 1960s Harlem. These include: exhibition and the neighborhood{\textquoteright}s relationship to the Harlem Renaissance, abstraction and the changing terrain of its physical landscapes, photography and the intertwined phenomena of poverty and urban uprising, and printmaking and the networks of diaspora. Chapter One analyzes the curatorial logic and social effects of the 1967 exhibition The Evolution of Afro-American Artists 1800-1950, co-curated by Romare Bearden and Carroll Green. Chapter Two interrogates how processes of aesthetic and spatial abstraction intersect in the painting and sculptures of the collective Smokehouse Associates. Chapter Three mines the relationship between race, poverty, and documentary photography in Gordon Parks{\textquoteright}s 1968 photo essay "A Harlem Family." And Chapter Four considers the radical politics and Afro-Ta{\'\i}no aesthetics of the East Harlem print shop Taller Boricua.}, keywords = {African American/African Diaspora, North America}, author = {Harakawa, Maya} } @mastersthesis {13393, title = {Anne Fischer: South African Photography and the Modernist Lens}, year = {2022}, school = {Harvard}, abstract = {This dissertation examines the unheralded photographs that Anne Fischer (1914-1986), a German-Jewish refugee to Cape Town, produced in South Africa in the decade leading up to apartheid and in England following the Afrikaner Nationalists{\textquoteright} rise to power. Through close attention to her images and their circulation, I explore how this young woman mobilized German modernist aesthetics in her new colonial context and consider how her gendered experiences of migration and exile inflected the work she later made in post-war London. Focusing on the documentary work she produced between 1937 and 1950, this project examines four key episodes in Fischer{\textquoteright}s unstudied career: the clandestine series of photographs she took in Langa, one of South Africa{\textquoteright}s first racially segregated locations; the images she made in the rural areas of the Transkei and Ciskei during the Second World War; the propagandistic photobook she attempted to publish in the months leading up to South Africa{\textquoteright}s pivotal 1948 elections; and the hundreds of street photographs she made in London where she lived for a brief period in a state of double exile. In addition to addressing the impetus that led to the production of these images, each chapter considers the aesthetic and political ramifications they had on the conservative publics in which they circulated and makes a case for the critically unrecognized importance of her work. As a young Jewish {\'e}migr{\'e}, Fischer captured radical social transformations and contributed to South Africa{\textquoteright}s early resistance movements with her lens. The first full-length study on her and her work, this project moves beyond simply filling a lacuna in the scholarship on women photographers in the field of African art history to demonstrate how South Africa{\textquoteright}s artists, although historically sidelined in narratives of art, have made significant contributions to the development of documentary photography and the establishment of new transnational modernisms.}, keywords = {Africa, Photography, Twentieth Century}, author = {Jessica Williams Stark} } @mastersthesis {13344, title = {Apparition and Abstraction: Maurice Denis{\textquoteright} Visionary Catholicism}, year = {2022}, school = {Penn State}, abstract = {My dissertation participates in a growing movement to complicate monolithic modernism through the case study of the religious art of Maurice Denis (1870-1943) and his engagement with abstraction, medieval revivalism, and popular Catholic devotion. Although the arc of modernism typically pairs Catholicism with traditional, academic art, Denis{\textquoteright} corpus shows that in the religiously fraught 1890s, avant-gardism and Christian art were not mutually exclusive. Through examining the resurgence of miraculous visions in the nineteenth century, I argue that Denis used these vision narratives to reinvent Catholic imagery-deploying miraculous experiences as a way for his audience to connect more easily with the divine. Denis utilized one of the avant-garde{\textquoteright}s best known stylistic devices, abstraction, in order to convey to his audience that they were witnessing a visionary experience. In doing so, he not only made a traditional subject-devotional Christian imagery-new, but also drew holy figures into scenes of modern life, helping to bridge the divide between religious art and the avant-garde. Although these works are now seen as a symptom of his later move towards conservative artistic practices, I contend that this period reveals a sincere and effective attempt to modernize Catholic imagery. Focusing on Denis{\textquoteright}s activities from 1889 to 1898, I articulate the ways in which Denis reacted to religious events and tried to change the visual language of Catholicism, while also experimenting with abstraction. This project addresses the avant-garde{\textquoteright}s connections with Catholicism, making a critical contribution to a nascent branch of modernist studies.}, keywords = {Nineteenth Century, Northern Europe, Painting}, author = {Heidenreich, Claire} } @mastersthesis {13378, title = {Augsburg All{\textquoteright}antica: Picturing German Antiquity in the Age of Print}, year = {2022}, school = {Florida State}, abstract = {Unlike in many northern European centers, Augsburg{\textquoteright}s amateur archeologists, scholars, artists, and printers did not rely on the invention or falsification of antiquities. During the early modern period, European cities and regions fashioned their own civic identities according to local concerns, often through the creative manipulation of ancient texts and images which served as material evidence of distant origins. By the sixteenth century, interest in local histories and the collecting of artifacts reached a zenith, and the printing press offered a new method for communicating knowledge of antiquity to a wide audience. In the city of Augsburg, known in antiquity as Augusta Vindelicorum, Roman heritage has long been a significant facet of civic cultural identity. Working in the shadow of Holy Roman Emperor Maximilian I, Augsburg{\textquoteright}s leading patrons, including humanist Konrad Peutinger and the mercantile Fugger family, documented surviving local antiquities and commissioned new works of classicizing art and architecture, visually asserting a genuine, unbroken lineage to the city{\textquoteright}s past.
My dissertation, "Augsburg All{\textquoteright}antica: Picturing German Antiquity in the Age of Print," examines the central role of print to local antiquarian pursuits and generation of a style all{\textquoteright}antica in early sixteenth-century Augsburg, Germany. This study challenges previous art historical narratives that promote Augsburg as the first German center to adopt Renaissance art and architecture but reduce the story to one of imitation spurred on by German artists{\textquoteright} and patrons{\textquoteright} supposedly revelatory visits to the Italian peninsula. Using theories of transmission, translation, and book history, I instead track the development of a style all{\textquoteright}antica in Augsburg, informed both by transalpine exchange and local traces of antiquity. Dual artistic styles emerged as a byproduct of cross-cultural exchange, and the graphic field of the early modern page saw the conflict between the imported welsch and indigenous deutsch artistic styles play out. At the same time, prints stabilized Augsburg{\textquoteright}s fragmentary remains of antiquity and circulated the free imperial city{\textquoteright}s claim to a notable past. I demonstrate that Augsburg{\textquoteright}s artists and printers did not simply seek to imitate Italian modes of representation. Instead, they actively participated in an international network of exchange marked by emulation and competition. Augsburg{\textquoteright}s artists acted as archeologists of the printed page, excavating useful fragments for reincorporation into their own compositions. The visual vocabulary initially imported from Italy was manipulated in many cases beyond recognition, resulting in a hybrid, classicizing style imbued with connotations of Augsburg{\textquoteright}s Roman past, the prestige of economic and cultural ties with Italy, and the imperial favor of Holy Roman Emperor Maximilian I.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Fifteenth Century, Northern Europe}, author = {Carlisle, Rachel} } @mastersthesis {13395, title = {The Beehive, the Favela, the Castle, and the Ministry: Race and Modern Architecture in Rio de Janeiro, 1811 to 1945}, year = {2022}, school = {CUNY}, abstract = {This dissertation deploys a multidisciplinary and decolonial framework to investigate the architecture of corti{\c c}os, the Favela Hill, the Castelo Hill, and the Ministry of Education and Public Health (MES) building as constitutive of the history of modernization and modernity in the Centro (city center) of Rio de Janeiro, 1811-1945. The first three chapters investigate the distinct geographies, formal and material qualities, and populations of corti{\c c}os, the Favela Hill, and the Castelo Hill, as well as their racialization and essentialization by the "unsanitary" and "degenerate" labels bestowed upon these landscapes by the state. Traditional narratives and practices of modern architecture and urban planning in Rio typically position these landscapes in contrast to the modernist architecture of the MES building, the subject of the fourth chapter. Instead, by situating the history of modernization and modernity in the Centro within a longer historical trajectory, rooted in Brazilian colonial history, spanning the period from the construction of Valongo Wharf to the end of the Estado Novo dictatorship, this dissertation argues that corti{\c c}os, the Favela Hill, the Castelo Hill, and the MES building were all integral to the invention and built environment of the modern capital. By placing the histories of informal and formal city building within the history of modernization of the Centro, this study fills a gap in the history of Brazilian modernism and contributes to the critical reflection on the racialized epistemologies of colonialist and Corbusian legacies that frame incomplete histories of architecture and modernity in Brazil.}, keywords = {Colonial and Modern Latin America, South America, Twentieth Century}, author = {Valle, Luisa} } @mastersthesis {13345, title = {Beyond Titian{\textquoteright}s Venus: The Nude Body and Social Control in Late Cinquecento Venetian Painting}, year = {2022}, school = {Ohio State}, abstract = {Above all others in Renaissance Italy, the painters of sixteenth-century Venice were renowned for their depictions of the eroticized female nude. Indeed, the sensually painted flesh of these figures, as seen in Titian{\textquoteright}s famous Venus of Urbino, still beckon the modern beholder{\textquoteright}s gaze and activate a desire to touch. Most scholars of art history have largely agreed that the Italian Renaissance nude figure served as a status symbol for elite men to collect and salaciously enjoy in private. While I concur that many of these paintings were produced for the delectation of the male gaze, my dissertation proposes that certain depictions of the nude, especially those from late Renaissance Venice, also constituted a response to women{\textquoteright}s rising influence in early modern society. Furthermore, these paintings depict not only nude women, but also nude men, in compositions and situations that speak to period anxieties over what we now refer to as gender politics. In the mid-sixteenth century, artists of the Veneto began to more frequently paint the ancient gods, goddesses, and heroes of their secular compositions performing illicit sexual acts that were, to contemporary Venetians{\textquoteright} eyes, immoral and/or illegal. More specifically, these depictions of the nude, which were often anachronistically painted in contemporary Venetian surroundings, mirrored the city{\textquoteright}s own inhabitants acting out improper sex acts such as adultery, rape, and prostitution. In closely examining four examples of this phenomena from circa 1550-1610, my dissertation project demonstrates how these works of art would have provoked unease in the eyes of contemporary Venetian viewers, especially affluent males. In illustrating these scenes of social disorder, I argue that painters of late-sixteenth-century Venice ultimately exposed as well as prompted men{\textquoteright}s fears of losing sexual and societal control over to women.}, keywords = {North America, Painting, Sixteenth Century}, author = {Koncz, Caroline} } @mastersthesis {13376, title = {Chicano Art Is Not Dead: The Politics of Curating Chicano Art in Major US Exhibitions, 2008-2012}, year = {2022}, school = {Southern Methodist}, abstract = {Chicano art is an ambivalent concept to curate. Spanning across all artistic media and covering over fifty years of artistic production, Chicano art -as an art historical designation- has had polarizing interpretations throughout its history of public display. This dissertation includes an overview of Chicano art exhibitions since the 1960s and exhibition case studies of distinct curatorial methodologies, including hemispheric, post-Chicano, and Raza Studies frameworks. I feature readings of El Museo del Barrio{\textquoteright}s Arte No es Vida: Actions by Artists of the Americas, 1960-2000 from 2008; Los Angeles County Museum of Art{\textquoteright}s Phantom Sightings: Art After the Chicano Movement from 2008; and the McNay Museum{\textquoteright}s Estampas de la Raza: Contemporary Prints from the Romo Collection from 2012. I argue that each museum{\textquoteright}s translation of this nuanced political consciousness is fraught with misinterpretation aimed at historicizing, depoliticizing, or delegitimizing Chicano art{\textquoteright}s past and present political ethos. By examining exhibitions holistically through didactic labels, press releases, exhibition design, programming, and critical reviews, I deconstruct the unique approaches curators and the host institutional staff use to interpret and present Chicano art. This dissertation{\textquoteright}s methodological structure is informed by the Chicana/o/x exhibition case studies of Chicana scholars Alicia Gaspar de Alba and Karen Mary Davalos, drawing from their decolonial methods of museum studies. I posit that these 21st century-curatorial approaches have elements that enliven Chicano art{\textquoteright}s study. Such original curatorial efforts broaden art historical connections and reveal unprecedented presentation strategies that recognize Chicano art{\textquoteright}s polyvalent conceptual linkages with Latinx and Latin American art. However, in these curatorial efforts, curators engage in a problematic process to market Chicano art as neither political nor relevant in contemporary art study, often at the expense of earlier Chicana/o/x Movement artists that remain active today. Through this study, I aim to challenge the presumption that curatorial strategies must position a rejection of Chicanismo for art world inclusion. Chicano art is defined by its disruptive relationships within the art world with a lack of competitive market value, a collector base, philanthropic support, and presence in museum{\textquoteright}s permanent collections. This subject study must then consider the alternative infrastructure that informs and sustains Chicano art{\textquoteright}s primary method of presentation. Public exhibitions and their accompanying catalogues are one of the direct outlets for the advancement of Chicano art historical scholarship, and therefore this study is a vital pedagogical analysis that problematizes the Chicano art exhibition space as an epistemic structure.}, keywords = {Latinx, North America, Twenty-first Century}, author = {Zapata, Claudia} } @mastersthesis {13348, title = {Connections in Friction: Socially Engaged Art in East Asia in Transnational Contact Zones}, year = {2022}, school = {Alberta}, abstract = {This dissertation examines socially engaged practices by contemporary Korean and Japanese artists who address current transnational issues in East Asia, drawing on discourses across subaltern studies, postcolonial theories, memory studies, and inter-Asia studies. When an artist travels to a specific site, geographically distant from the artist{\textquoteright}s own nation but related to it over a certain issue, what kind of relationship is generated between the artist and the local participants at the site? How does the artwork produced from these encounters present the relationship and the issue, and what effect does the artwork generate? Ultimately, how does an artwork contribute to or complicate a transnational issue? To think through these questions, I use the concepts of "contact zone," the "site" in site-specific art, socially engaged practice, and transnationalism. Each chapter explores artworks in the context of a particular transnational issue and the history of the social practice of art that developed in each nation, from the 1960s in Japan and from the 1980s in South Korea. The Introduction outlines key concepts, such as the notion of contact zone and transnationalism, transnational issues discussed in the dissertation, and socially engaged practice in East Asia in relation to the global trend of the "social turn" that emerged in the 1990s and flourished throughout the 2000s. Chapter 1 discusses South Korean artist collective Mixrice{\textquoteright}s representation of and collaboration with migrant workers from Southeast Asia in South Korea, examining Mixrice{\textquoteright}s work in relation to Minjung art and post-Minjung art, South Korea{\textquoteright}s socially engaged art in the 1980s and the 2000s. Chapter 2 discusses the possibilities and limitations of visual art in the debates between Japan, South Korea, and Vietnam over contested memories and official apologies over wartime atrocities. Case studies examine IM Heung-soon{\textquoteright}s multimedia works that represent of Korean veterans of the Vietnam War and Vietnamese victims of sexual violence, as well as Kim Seokyung and Kim Eunsung{\textquoteright}s bronze statues, which play pivotal roles in grass-roots activism seeking an official apology from Japan for its military sexual slavery during the Asia-Pacific War, whose victims are euphemistically known as "comfort women," and from South Korea for its soldiers{\textquoteright} civilian massacres and sexual violence during the Vietnam War. Chapter 3 examines Japanese artist Koki Tanaka{\textquoteright}s experimental workshops involving participants reflecting on a community embracing conflict after disaster and exercising meaningful empathy for distant others. This case studies focuses on Tanaka{\textquoteright}s 2017 Skulptur Projekte M{\"u}nster and his 2019 film on Zainichi Koreans, ethnic Korean residents of Japan, in relation to the Japanese Fluxus artist practice in the 1960s and the social turn in Japanese art after the 2011 Tohoku earthquake and tsunami. The Conclusion compares relationships between the artists and the participants in each chapter, borrowing from the concepts of allies and accomplices, terms that have been recently redefined during online activism and social justice movements. Examining the quality of each artist{\textquoteright}s relationship with their participants created in the contact zones, I relate their work and my critical arguments discussed in the chapters to discourses surrounding inclusion politics and transformative social change of today.}, keywords = {Comparative, East Asia, Twenty-first Century}, author = {Vicki Sung-yeon Kwon} } @mastersthesis {13365, title = {Cultivating Self and Displaying Status: Innovation and Exchange in the Cabinets of Amalia van Solms-Braunfels (1602-1675)}, year = {2022}, school = {Case Western Reserve}, abstract = {In the early modern period, elite collectors began amassing magnificent collections of both locally produced and imported objects. Few were as innovative as Amalia van Solms-Braunfels (1602-1675), Princess of Orange. Under Amalia and her husband, Stadtholder Frederik Hendrik (1584-1647), Prince of Orange, the United Provinces flourished as a cultural and global power. The strength and wealth of the country, and by association the House of Orange-Nassau, is embedded in Amalia{\textquoteright}s cabinets or closets, private spaces where she carefully curated assemblages of locally produced and imported decorative and fine artworks. Under the weight of a historiographic tradition that privileges male rulers, much of the scholarship produced on the princely couple{\textquoteright}s cultural activities marks Frederik Hendrik or Constantijn Huygens as the deciding factor without discussion or justification. While scholarly interest in Amalia{\textquoteright}s role as an independent patron and collector has grown over the last two decades, the focus to date on individual, extant objects, while informative, does not provide a comprehensive understanding of Amalia{\textquoteright}s interests and motivations as a patron and collector-- how she acquired and employed objects, both individually and in decorative ensembles, to construct her various identities. My dissertation focuses on Amalia{\textquoteright}s cabinets found in the Stadtholder{\textquoteright}s Quarters (Stadhouderlijk Kwartier) and the Oude Hof ({\textquoteleft}Old Court{\textquoteright}) at Noordeinde, and the objects displayed within. Uniting textual and visual evidence in the form of inventories, correspondence, and objects with novel digital tools, it first applies social network analysis to visualize Amalia{\textquoteright}s social, global network that provided her with access to other impressive collections and artists, as well as assisted her with acquiring objects originating from outside of Europe. It interrogates how, once acquired, objects were employed by Amalia in ensembles within the most intimate spaces of her residences to construct her various identities- as wife, mother, consort, princess, and later widow- and further the status and prestige of the budding House of Orange-Nassau. By focusing on the objects as an ensemble along with the sites they were displayed in, my dissertation reconstructs Amalia{\textquoteright}s growth as a collector and art patron through the curation of her cabinets, overcoming the challenges associated with traditional methodologies.}, keywords = {Northern Europe, Patronage, Art Collecting, Seventeenth Century}, author = {Smith, Lauryn} } @mastersthesis {13394, title = {Empire, Race, and Agency in the Work of Jos{\'e} Campeche, Artist and Subject in Late Spanish Colonial Puerto Rico (1751-1809)}, year = {2022}, school = {Florida State}, abstract = {This dissertation examines Jos{\'e} Campeche (1751-1809), a prolific artist of African descent who was born and lived his entire life in San Juan, Puerto Rico. Campeche created hundreds of works over the course of his career, as he participated in drafting projects administered by the Spanish colonial government, designed and constructed catafalques for state funeral ceremonies, created religious paintings of saints and Marian imagery for churches and for private devotion, painted the official royal portraits for coronation ceremonies, and executed portraits for the highest-ranking members of San Juan society, including governors, their wives, military officers, bishops, and members of the criollo elite.
Campeche{\textquoteright}s illustrious career coincided with an era of cultural transformation in Puerto Rico, when large-scale architectural projects commenced in San Juan to augment the city{\textquoteright}s defenses and to renovate and reorganize urban spaces in the aftermath of the Seven Years War, and the population of the island increased exponentially through the end of the eighteenth and into the nineteenth centuries. Though Campeche lived and worked during a time of great social, political, and religious change in Puerto Rico and the Spanish Empire, the impact of these transformations and Campeche{\textquoteright}s role as a social and artistic agent within them has yet to be extensively addressed in relation to his body of work. Most studies that exist on Campeche pursue questions about the artist{\textquoteright}s biography and training, and attempt to classify his works, establish dates and provenance, and investigate source material with little examination of the artist{\textquoteright}s lived condition as a colonial subject and its impact on his artistic production. This dissertation seeks to ameliorate the issues evident in the present state of the literature on Campeche and offers a different perspective on the artist{\textquoteright}s life, career, and artistic production. It endeavors to examine the intersections between the creation and use of Campeche{\textquoteright}s work, events and conditions specific to Puerto Rico during the late eighteenth and early nineteenth centuries, and the numerous changes taking place concurrently across the Spanish Empire under the Bourbon regime. This project considers Campeche as a complex historical subject of African descent embedded in a colonial system whose lived experiences and artistic production were shaped by and responded to both local and imperial forces and were further informed by the circulation of ideas, people, and things throughout the Caribbean and greater Atlantic World. As such, it argues that Campeche{\textquoteright}s work provides an important lens into the ways in which he negotiated the opportunities, social realities, and contradictions of his specific late Spanish colonial milieu and served as a simultaneous product and agent of cultural transformation in Puerto Rico.}, keywords = {Caribbean, Colonial and Modern Latin America, Eighteenth Century}, author = {Thames, Emily} } @mastersthesis {13386, title = {Facing Pilgrimage: The Tenon Head Sculptures at Chav{\'\i}n de Hu{\'a}ntar, Peru}, year = {2022}, school = {Tulane}, abstract = {This project examines how sculpture, architecture, and ritual constructed a multisensory experience for pilgrims to Chav{\'\i}n de Hu{\'a}ntar, Peru between 1200 and 500 BCE. Focusing on the tenon head sculptures, this dissertation demonstrates how stone carving created an experience worthy of a sacred journey.
Although there are more than one hundred and twenty tenon heads known, no two are alike. The figurative heads often feature elements such as fanged mouths, contorted expressions, and serpents slithering across the surface of misshapen faces. Due to their strategic placement on the exterior of the main temple, the tenon heads served as the initial encounter to the complex establishing a sense of sacredness. Through an emphasis on the viewer experience, this project shifts the dialogue beyond traditional, iconographic concerns surrounding Chav{\'\i}n art. Ultimately this dissertation positions the tenon heads within the context of the practice of religious rituals, such as pilgrimage, and indigenous mythologies of animate landscapes.}, keywords = {1500 BCE to 500 BCE, Art of the Ancient Americas, South America}, author = {Lagarde, Patricia} } @mastersthesis {13387, title = {Illuminated Walls of the California Missions: The Index of American Design (1936-1942) and the Creation of a Usable Past}, year = {2022}, school = {UC Riverside}, abstract = {Several visitors to the Alta California missions during the early years of the 19th century commented on their colorful interiors and "illuminated walls", but most of these original wall paintings, produced c. 1810-1825 by Native artisans under the direction of Spanish priests or Mexican-trained artists, were whitewashed in the late 19th century. From 1936-1942, the Federal Art Project{\textquoteright}s Index of American Design was involved in the study and restoration of several of these mural programs. Index artists visited the Southern California missions and produced hundreds of photographs, drawings and watercolors of the extant mural programs, as well as of designs they discovered under layers of plaster. In their aim of identifying a "usable past" the Index transformed these mural fragments from regional designs into national motifs. Through case studies of the wall paintings at Southern California missions visited and documented by the Index, I explain how this transformation was attempted through their processes of selection, appropriation, media translation, re-creation, restoration and national promotion. This dissertation, based on research conducted at selected missions, the Santa Barbara Mission Archive Library, the Archives of American Art and the National Gallery of Art in Washington, D.C., will answer the question of how the Index-created archive and federally-sponsored documentation and "restorations" have influenced our contemporary understandings of California mission design as well as the art historical and national value of the California missions themselves.}, keywords = {Design History, North America, Twentieth Century}, author = {Cynthia Neri Lewis} } @mastersthesis {13382, title = {Images, Theater, Embodied Experiences: How Ecoartists are Shifting Consciousness around the Climate Crisis}, year = {2022}, school = {University of the Arts}, abstract = {This thesis is a critical study of how the artists Edward Burtynsky, Michael Pinsky, Justin Brice, and the collaborative artistic team of Rugile Barzd{\v z}iukaite, Vaiva Grainyte, and Lina Lapelyte, use diverse mediums and methods to provoke strong emotional, visceral, or cognitive responses to the climate crisis. I examine the possibilities and limitations of each approach in delivering a momentary rupture, or a broader cultural disruption, which can trigger a re-examination of aspects of the climate crisis including energy consumption, waste, relationship with nonhumans, and/or global dependence on extractive industries. Timothy Morton{\textquoteright}s concept of the hyperobject, Semir Zeki{\textquoteright}s theories of art and ambiguity in the brain, and Baz Kershaw{\textquoteright}s concept of "theater ecologies" are salient influences on my interpretation. Neuroscientific theories on "somatic markers" and embodied cognition help clarify the mechanisms by which simulating toxic or ecologically impaired environments can evoke a sensual response in the viewer, which in turn stimulates care and attention, perhaps even action.}, keywords = {Twenty-first Century}, author = {Cynthia Haveson Veloric} } @mastersthesis {13380, title = {Inka Borders and the Power of Volatility: On the Fringes and Edges of Textile and Territory}, year = {2022}, school = {UC Santa Cruz}, abstract = {Inka elites of the fifteenth and early sixteenth centuries used certain textiles as indices of identity that registered value and status to viewers but also used textiles to make material and evident how they understood certain relationships in spatial terms. My dissertation revolves around how Inka textiles articulated ideas of space, serving as critical materializations of how they organized space and, relatedly, how they conceived edges of their territory as well as other border spaces. The Inkas used textiles to express relationships that existed in physical terms but also that existed across socio-cultural or spiritual networks. With particular attention to textile borders, I discuss how the Inkas visualized border spaces as volatile but productive. Textile border areas may be seen as expressions of elusive ontological border areas; for example, those spaces that existed between natural and supernatural entities or that divided one cultural reality from another. Alternately, textile borders may be expressions of larger physical border areas, such as the spaces that existed between enemy territory. In this, I suggest the Inkas saw borders as fruitful places of encounter and engagement rather than as areas of separation and enclosure.
Examining textiles as media through which the Inkas materialized notions of space and border, I situate Indigenous textiles as valuable archives that relay information and knowledge beyond what written accounts transmit. After Spanish invasion, Inka history was mostly recorded through the colonizing power{\textquoteright}s documentary means. The written word was assumed to be the authoritative language of history. Yet, the material format of Indigenous Andean textiles has long been understood to carry embedded meaning and, specifically in relation to ideas of space, has been recognized as deeply entwined within a discourse of landscape and land use. My dissertation finds its impetus here, therefore, asking how we can use textiles to think historically about Indigenous ways of inhabiting space and negotiating changes and interactions across space. I conclude that we can use textiles as communicative modes that complement histories told in the colonizer{\textquoteright}s mode, providing an understanding of the pre-contact Andean space even within, for example, discourses of territoriality.
Chapter 1 discusses the value of interactive, relational frameworks in an Indigenous Andean worldview and how relationships are made material through forms such as wak{\textquoteright}as and, significantly, textiles. To put into perspective how the Inkas used textiles to express aspects of the inhabited space, I look at various textile examples across Andean history wherein the fabric space-and particularly references to border areas and articulation of borders in this space-serves as a materialization of religious, socio-political, and/or territorial relationships.
Chapter 2 reviews textiles as a medium that could transmit for the Inkas ideas and experiences of the lived space or environment- through their material and formal and design qualities- and that as such served as metonyms for Inka territory. The chapter looks at tokapu motifs on men{\textquoteright}s garments but also more closely at the detail of zigzag embroidery at the selvedges /edges of Inka unkus/tunics and suggests they communicate something about the way the Inka state perceived the "edges" of its empire. The underlying premise here is that textiles showcase how, for the Inkas, border areas are inherently active zones where exchange between interior and exterior interests is to be expected and perhaps even integrated into a state ideology of productive tension-as if the flux boundary space energizes the state{\textquoteright}s territorial extremities.
Chapter 3 expands on Chapter 2{\textquoteright}s discussion of how an Inka ideology of space played out in male textile garments by bridging to how the Inkas expressed the relationship between textiles, the inhabited space, and ideas of border through women-namely through women{\textquoteright}s roles as weavers (the akllakuna) and through their bodies as tribute subjects. Conscripted to serve the state in ways that essentially made visible Inka control over outside communities and their resources, akllas were an expression of the Inka body politic. The chapter points to examples of textiles associated with women{\textquoteright}s wear that are legible within an Inka discourse of conquest closely interlaced with women{\textquoteright}s roles wherein women visualized Inka claim to new territories.
Chapter 4 discusses how if in the pre-contact context both men{\textquoteright}s and women{\textquoteright}s woven garments were able to express a wearer{\textquoteright}s place of origin or extended notions of land use and border spaces or territorial edges, then it is likely these messages carried into the post-contact period. Because Indigenous textiles were heavily invested with communicative meaning in the pre-contact period, it is plausible that this continued into the colonial period and that a visual rhetoric of textiles exercised an Andean relationship to space, particularly to the inhabited space within the context of early colonial territorial dispossession. This chapter considers the possibilities that certain motifs on colonial era Indigenous textiles and ascertained in colonial representations of textiles helped convey Indigenous authority in ways that would have had significant meaning to elite Andeans, namely in associations with a past defined by autochthonous Andean (Inka) rulership and in connotations of Indigenous access to (their) land.}, keywords = {Art of the Ancient Americas, Sixteenth Century, South America}, author = {Greenlee, Gaby} } @mastersthesis {13396, title = {Landscape and the Representation of Public Spaces: Chinese Visual Culture from Tenth to Fourteenth Century}, year = {2022}, school = {Michigan}, abstract = {This dissertation examines the genre of Chinese landscape during the Song-Yuan period across artistic media, ranging from paintings and maps to fans and ceramic pillows. The project approaches the rise and circulation of landscape imagery in relation to social-political change, namely, the increasing separation of public and private spheres of action in political theory and practice during the Song, Jin, and Yuan dynasties. The first two chapters address the fiscal separation of state tax revenue from the emperor{\textquoteright}s privy treasury, along with the emergence of new administrative concepts such as "public interest" and "public opinion." The following two chapters explore the public consumption and mobilization of landscape imagery in an increasingly commercialized society.
Building on previous studies of political content in Chinese painting, this study sets out to examine more specifically the role of landscape pictures in political discourse. It will investigate how landscape became a medium for channeling social and political claims from the above to below, from below to above, and among those in between. Public-minded statesmen recruited through the Civil Service Examination system saw the need to construct a public persona demonstrating their concern for the common good. Theoretically, this was a requirement for recruitment into the state administration. Many of the most prominent statesmen saw themselves as champions for the common taxpayer. Between the tenth and twelfth centuries, state commissioned landscape paintings began to include images of public infrastructure paid for with public funds, as well as shops or restaurants owned by private persons. Such paintings enabled viewers to visualize mutually responsible relationships between the state and the people, as well as between different social groups. In the thirteenth and fourteenth centuries, landscape appeared on popular kinds of merchandise such as painted fans and pillows. Landscapes appearing on these media enabled their owners to project their own, personal views about public issues to friends and even to the public at large. This dissertation examines the dynamic interaction between landscape imagery on everyday objects, print culture, and popular literature, revealing the many ways in which landscape art could convey content relevant to public issues in both elite and vernacular culture.}, keywords = {Eleventh to Fourteenth Century}, author = {Wang, Gerui} } @mastersthesis {13385, title = {Materiality and Materialism of Middle Byzantine Gospel Lectionaries (Eleventh-Twelfth Centuries CE)}, year = {2022}, school = {Temple}, abstract = {Materiality and considerations of color in medieval art have been the subject of a growing number of studies in recent years, but have tended to address architecture, monumental works of art such as mosaics, or metalworking. Scholars working on western medieval manuscripts have shown how much can be done with technical art history in this arena, but to date, the study of manuscript materials and their meanings with respect to the Byzantine world have been lacking. This dissertation resituates the understanding of Middle Byzantine (East Medieval Roman) manuscript production from the eleventh and twelfth centuries CE, employing a cross-disciplinary approach that synthesizes traditional codicological analysis with new technologies that identify precise materials and techniques. In particular, this work explores Middle Byzantine manuscript materiality along two perspectives. First, it investigates modes of manufacture, identifying materials and techniques of Middle Byzantine manuscripts themselves, especially in the Lectionary of Katherine Komnena and the Dumbarton Oaks Lectionary. Secondly, it analyzes the meanings and understandings of those materials along liturgical, monastic, and scientific-intellectual contexts in the manuscripts{\textquoteright} specific use in Middle Byzantine milieus. In each case, the focus is Middle Byzantine, Greek-language Gospel Lectionaries traceable to the Rite of Constantinople. These lavishly illuminated books played important roles in Christian liturgical contexts, and provide an opportunity to explore what Byzantines thought about the natural world.
This study revises both the methodological approaches of earlier manuscript scholars and interpretations that assign place of production and meaning of materials as solely iconographic or stylistic problems. Byzantine manuscripts - in part due to twentieth-century historiographic traditions - have rarely been considered in terms of their material production, in contrast to their counterparts in western Medieval Europe, which have been explored with modern technology in exciting new ways in recent decades. As a result, this void in Byzantine studies provides a great opportunity for considering the specific contexts of these objects in their production and significance.
As this dissertation attends to the material contexts of Byzantine Gospel Lectionaries, it analyzes the manuscripts in terms of their materials and methods of production, and consider the relationships between materials, Byzantine understandings of matter through the field of alchemy, and the production of knowledge about artmaking in Byzantium. This strategy seeks to account for both the interest in Byzantine intellectual works on the nature of matter and the manner in which knowledge about codex creation was passed on.
Although this dissertation follows art historical methodologies and not those of the hard sciences, it incorporates scientific data that identifies precise pigments on manuscript pages into my study. In this work, the materials used by the manuscript makers of the studied objects are identified. This involves performing non-destructive analysis, collaborating with conservators, through close observation and the use of x-ray reflectography, which allows for the non-invasive, in situ study of manuscript materials.}, keywords = {Eleventh to Fourteenth Century, Southern Europe and Mediterranean}, author = {Joseph R. Kopta} } @mastersthesis {13389, title = {Meaning, Materiality, and Pothos in Late Antique Gold-Glass Portraits}, year = {2022}, school = {Emory}, abstract = {The present study takes the exploration of pothos, a specific type of desire and longing for that which is absent, in ancient portraiture as a point of departure for investigating an understudied type of Roman portrait: the gold-glass roundel. The first half of the dissertation extracts a corpus of eighteen gold-glass portraits from the much larger body of elite objects that survives from antiquity known as gold sandwich glass after their remarkable facture. Subsequent chapters then situate this corpus within the contexts of the exquisite portrait miniature, a tradition reaching back to the Hellenistic period, and contemporarily-executed sculpted portraits of the third century CE.
The second half employs the corpus as a vehicle for exploring theoretical issues related to ancient portraiture more broadly. After introducing pothos and probing how Romans conceived of the portrait image, I turn to the aesthetic and material qualities of the gold-glass portraits themselves. At the conceptual center of my study is what I define as an "aesthetics of wonder" whose characteristics can be traced back to the poetry of Homer and Hesiod. Classical literature connects conceptions of the wondrous and otherworldly with luminosity, gleam, and luster, the very qualities of the portrait roundels. The dissertation considers how the gold-glass portraits harness this aesthetics to transform into powerful, animated images equipped with the agency to assuage pothos.
The project proposes a new epistemology for interpreting the eighteen gold-glass portraits by returning to the vocabulary used by Greek and Roman authors to describe works of art and their world. I contend that the material form of the portrait was tantamount to the type of power it wielded. I argue that the roundels were perfectly suited to mitigate pothos, traversing realms of the real and marvelous to make present the absent beloved. In uniting language, aesthetics, and materiality, this dissertation puts forward a means of looking at art and society that is not limited to portraiture but that can be more widely deployed within the Classical world, and indeed, in other areas of visual culture studies.}, keywords = {500 BCE to 500 CE, Ancient Greek/Roman Art}, author = {Patt, Rachel} } @mastersthesis {13347, title = {Military Manhood: Visualizing the Common Soldier in French and British Art and Culture, 1871-1914}, year = {2022}, school = {Michigan}, abstract = {In the decades between the Franco-Prussian War (1870-1871) and World War I (1914-1918), military artists in France and Britain increasingly focused on the motif of the common soldier. At once an individual subject, figural type, and nationalist leitmotif, the common soldier functioned as a cultural touchstone of ideal manhood during a time marked by social and political upheaval, sweeping military reforms, and intensifying globalization through colonial expansion. As investigated in the five chapters, painters reworked academic pictorial traditions, including those of the male nude and the allegorical figure or program, to convey and sometimes contest new martial ideals of health, cleanliness, and moral and racial purity as well as disease in the barracks and on campaign. Others engaged with the theme of martial suffering to express the "sorrow" of war while covering over European imperial aggression. Certain works under consideration integrate Indigenous soldiers recruited from the colonies into celebrations of European heroism. And, as discussed in the last chapter, some artists revealed the tensions between ideals of martial virility and the deterioration of the body due to aging and the effects of incarceration. Across this varied and complex body of imagery, artists exposed prevalent concerns over shifting norms of masculinity and femininity, racial difference, class hierarchies, and forms of intimacy between men paradoxically fostered and policed by military institutions. Painters{\textquoteright} investments in the figure of the common soldier are seen first in France, where the defeat by Prussia in 1870 made untenable a long-standing tradition of state-sponsored battle painting that dated to the Napoleonic Empire and typically glorified French military prowess. Artists including Alphonse-Marie de Neuville (1835-1885) and Jean-Baptiste-{\'E}douard Detaille (1848-1912) reconfigured the genre through canvases, exhibited at the Paris Salons, which celebrated the humanity and professionalism of rank-and-file troops over the heroism of a commander and the drama of combat. This mode of "military painting" sparked an international phenomenon, taking hold even in rival Britain. There, Elizabeth Thompson, Lady Butler (1846-1933), adapted the new focus on the common soldier in her acclaimed paintings, exhibited at the Royal Academy in London, which commemorated the "pathos and glory of the soldier{\textquoteright}s calling." Her work roused public and critical enthusiasm for battle painting, which until this time did not enjoy the same high status in Britain as in France. Artists on both sides of the Channel addressed diverse publics with often conflicting political views through their paintings of military subjects and through the many print reproductions, book illustrations, postcards, panoramas, museums, songs, games, and films that their works inspired. This dissertation highlights the many entanglements between oil paintings and popular forms of visual culture, showing these to have been shaped by the military histories of both nations and to have had a major impact on broader political and public discourse. There is a recurring focus on the physicality and sensuality of the specifically male-coded martial body, a key component and one that gave military paintings an enduring attraction yet remains little discussed by art historians. This study foregrounds these issues, analyzing them in formal and phenomenological terms. The ways that artists visualized prevailing concepts of manhood, diverse and shifting over time, are uncovered through object-based analyses of key works of art that help anchor the ideas within broad historical trends.}, keywords = {Nineteenth Century, Northern Europe, Painting}, author = {Kramer, Sean} } @mastersthesis {13379, title = {Negotiating Urban Identities: International Art Events and the Cultural Identities of Korean Cities, 1988-1995}, year = {2022}, school = {Binghamton}, abstract = {This dissertation explores cultural monuments and exhibitions commissioned or sponsored by the South Korean government from the mid-1980s to the mid-1990s to understand their role in formulating the identities of cities such as Seoul, Daejeon, and Gwangju, and in globalizing Korean art. Beginning in the mid-1980s, South Korea initiated a series of cultural spectacles and urban reforms alongside state-led international events: the 1988 Seoul Olympics; the Taejon Expo {\textquoteleft}93; and the first Kwangju Biennale, held in 1995. Such government-led projects and exhibitions should be read in the context of the political conflicts that have shaped modern Korean society and the Korean art world; these monuments and exhibitions were carefully constructed to contribute to the state{\textquoteright}s urban development projects. The state-led projects sometimes encountered criticism from local artists. The debates among official art plans and criticism presented the process of defining urban identities.
Art projects from three different regimes will be discussed: the National Museum of Modern and Contemporary Art and the Olympic Sculpture Park of the Seoul Olympics under dictator Chun Doo-hwan; the Taejon Exposition and the Recycling Art Exhibition under the military regime of Roh Tae-woo; and the Kwangju Biennale during the first civilian government of Kim Young-sam. By scrutinizing these events, this research delves into the various interest groups{\textquoteright} discussions around the international art events and the new urban arrangements at critical historical moments. In this dissertation, I study how these exhibitions and monuments attempted to construct and transform the identities of Seoul, Daejeon, and Gwangju and how they turned these cities into political spaces that are both material embodiments of political ideology and architectural sites activating political action and artistic expression. In sum, this study addresses how these cultural events negotiated contentious identities of cities and produced meanings in political spaces.}, keywords = {East Asia, Museum Practice/Museum Studies/Curatorial Studies/Arts Administration, Twentieth Century}, author = {Chang, Yuri} } @mastersthesis {13377, title = {Outside the Pages: The Making and Meaning of Early Medieval Book Covers}, year = {2022}, school = {Delaware}, abstract = {Looking outside the pages of early medieval manuscripts to the covers which encased them adds an extra dimension to our understanding of how those books were read, viewed, interpreted, and experienced by the people who made and used them. Through an exploration of eighth-century book covers, focusing on northwestern Europe, this study develops a novel framework for analyzing early medieval book covers based on three major functions they performed-encasement, embellishment, and enshrinement. Encasement refers to the multiple methods by which covers contain their pages to enhance their mobility and dissemination. Embellishment refers to the many ways covers enhance the visual interest of the book or represent the contents through decorative motifs or imagery. Enshrinement refers to the elevation of the sacred status of the book through the addition of a cover, usually of precious materials that reflect and enhance the religious value of the book. This framework is rooted in both the physicality of the book and in the dynamic interactions between books and their makers and users. This study also recontextualizes book covers from northwestern Europe within a highly interconnected early medieval world that encompasses the Mediterranean and Eurasia, a global view that reorients the covers as part of an ethos of experimentation that transcends their particular context. Through an innovative framework that is both holistic and global in its approach, this study uses early medieval book covers to come to a new understanding of the functioning of the physical book and the mechanisms of long-distance connections.}, keywords = {Northern Europe, Sixth to Tenth Century}, author = {Bachman, Christine} } @mastersthesis {13388, title = {Process Work: Edouard Manet (1832-1883) and the Mass Image Industry}, year = {2022}, school = {Harvard}, abstract = {My dissertation proposes a study of the phenomenon of "process work"-an industry term used in the mid- to late-nineteenth century to designate newly invented processes of mechanical reproduction-as it relates specifically to the work of French painter {\'E}douard Manet. Process work was used primarily for newspaper, magazine, and book illustration, and was often the most viable method for the widespread dissemination of artists{\textquoteright} works through the mass press. In this project, I trace the various and sometimes contradictory ways that Manet engaged with this growing field of commercial image reproduction, in the process transforming his own individual artistic practice in response to the changing needs-both material and ideological-of the nascent mass image industry. For Manet, I argue, periodic exposure over the course of his career to the new forms of labor developed within this industry provided unforeseen opportunities to expand the repertoire of avant-garde artistic labor beyond the aesthetic innovations typically associated with modernism. Process work, in other words, offered Manet tools to develop a practice of visual representation engaged with the mass-media landscape of the late-nineteenth century not only at the level of subject matter or iconography but at the level of making and production as well. For an artist intent on generating publicity, garnering critical support, and seeing his works distributed throughout the pages of the mass press, witnessing the evolution of these new methods of reproduction had the potential to shape the means and ends of a number of Manet{\textquoteright}s major artistic projects, including the portfolio Huit gravures {\`a} l{\textquoteright}eau forte (1862), the illustrated book Le Corbeau (1875), and the paintings Olympia (1863), Jeanne (Spring) (1881), and Bar at the Folies-Berg{\`e}re (1882).}, keywords = {Multimedia/Intermedia, Nineteenth Century, Northern Europe}, author = {Mirseyedi, Sarah} } @mastersthesis {13390, title = {Reinventing Guercino: Prints, Pedagogy, and the Role of Imitation}, year = {2022}, school = {Emory}, abstract = {The printed drawing book emerged in Italy at the turn of the seventeenth century and painters such as Giovanni Battista Barbieri (1591-1666), or Guercino, embraced the genre. By 1638 Guercino had published two versions of his own engraved by Oliviero Gatti and Francesco Curti, respectively. Guercino{\textquoteright}s manuals differ from those by his contemporaries because they present a curated selection of useful subjects for an aspiring painter to copy rather than haphazardly-arranged figural studies. Past assessments of Guercino{\textquoteright}s drawing books often discuss them in isolation and focus more on the first publication. Yet, seicento viewers saw the two manuals as intimately connected as evidenced by the afterlives of Guercino{\textquoteright}s drawings books and their subsequent republications in four countries.
When considered together, the drawing books reveal that Guercino{\textquoteright}s approach to painting remained consistent throughout his career despite the painter{\textquoteright}s stylistic transformation during the late 1620s. They further demonstrate that Guercino relied on a visual vocabulary in the creation of his canvases that was simultaneously imitative and innovative. In order to produce these drawing books, Guercino reflected on the act of making, and I will argue that the books not only teach viewers how to imitate the master but how to become an artist in their own right. The printed drawing books ultimately provide the framework for how to approach and understand Guercino{\textquoteright}s early and late paintings.}, keywords = {Painting, Seventeenth Century, Southern Europe and Mediterranean}, author = {Schrimsher, Kimberly} } @mastersthesis {13383, title = {Roman Imperial Cinerary Urns: Production and Display}, year = {2022}, school = {Emory}, abstract = {This dissertation presents results from a synthetic study of imperial Roman marble cinerary urns (cineraria, ossuaria, urnae) focused on production and display. The findings demonstrate that sculpted marble urns, despite conventional and repeated motifs, were not mass-produced in a large-scale manner assumed comparable to the production of some later sarcophagi. The dissertation argues that marble cineraria are instead products of decentralized, adaptable carving practices used by different sculptors navigating the changing early imperial Roman economy. The project further shows that cinerary urns, like other imperial marble relief sculpture, result from the same sculpting practices used in letter-cutting, suggesting the artistic contributions of a broad range of variously skilled stone-workers rather than specialists or organized workshops. Because of the factors affecting production, their appearance could be either customary or easily customized for both communal and private spaces alike.}, keywords = {500 BCE to 500 CE, Ancient Greek/Roman Art}, author = {Justin Cody Houseman} } @mastersthesis {13384, title = {Seeing and Not Seeing Giraffes: Explorations in Perception, Art, and Possibility}, year = {2022}, school = {University of the Arts}, abstract = {In a series of interrelated essays, my dissertation explores how engaging with the ambiguity that art specifically offers can disrupt our thinking habits, shift our perspectives, and unlock possibilities for creative new forms of thought and action. Placing examples drawn from my experience as a curator, educator, and art-lover in dialog with theories based in neuroscience, psychology, and philosophy, I explore why and how encounters with art can push our abilities to see, think, and feel beyond our typical capacities. Neither a map for tracing a direct route nor an authoritative guide, the dissertation instead represents a collage of overlapping and diverging narratives that, in combination, suggest an interconnected network of relationships between art, perception, and creativity.}, keywords = {North America, Twenty-first Century}, author = {Hunter, Jessica} } @mastersthesis {13391, title = {Sites of Negotiation: American Landscape Painting and Contexts of Display, 1837-1919}, year = {2022}, school = {Iowa}, abstract = {Through case studies on works by George Catlin, Albert Bierstadt, Thomas Moran, and Dwight Tryon, this dissertation rethinks key examples of American landscape painting through the lens of collecting and display. Numerous scholars have demonstrated the unique force of the American landscape as a cultural, political, and aesthetic idea dating back to the sixteenth century. While we now take for granted the vast symbolic potential of the American landscape, art historical investigations of American painting have tended to view the creation of the art object as the endpoint of strategic, creative, and ideological activity. In fact, artists, collectors, and other actors within the nineteenth-century art world actually exercised an enormous degree of agency in shaping popular and connoisseurial understandings of these works. Before the mass reproduction and circulation of artwork images, engaging in strategic techniques for displaying the objects themselves was among the most potent means of exerting this control. Such techniques included the use of frames, lighting, furniture, props, performers, and printed materials. "Sites of Negotiation" calls new attention to the ways in which collecting and display practices have directly shaped dominant art historical interpretations, as well as cases in which these practices suggest fresh interpretations.}, keywords = {Nineteenth Century, North America, Patronage, Art Collecting}, author = {Spear, Elizabeth} } @mastersthesis {13369, title = {William Pryor Floyd: Art, Business, and Photography in Nineteenth-Century Hong Kong}, year = {2022}, school = {Case Western Reserve}, abstract = {In British Hong Kong during the second half of the nineteenth century, the central area of the colony was packed with photographic studios. Their close proximity and ambition fueled a dynamic photographic market that was driven by artistic passion, technical innovation, and commercial rivalry. Amid this environment, British photographer William Pryor Floyd (1834-ca. 1900) was among the most active of early photographic practitioners and enjoyed a comparatively long and fruitful career. As an artist, his photographs received official recognition from the British royal family and local dignitaries. As a business owner, he managed to overcome fierce market competition and operate a successful studio. The first scholarly examination of this long-overlooked photographer, this dissertation explores Floyd{\textquoteright}s art and business in China between 1864 and 1874, doing so with a strong focus on the time he spent in British Hong Kong from 1867. I position Floyd{\textquoteright}s photographs within commercial, artistic, documentary, and creative contexts. I argue that, to a great extent, Floyd{\textquoteright}s photography served the interests of British colonial operations in Hong Kong during its formative stage as a colony. Chapter One offers an overview of Floyd{\textquoteright}s career trajectory in China. Through an unparalleled number of advertisements he placed in the local press, Floyd presented himself as a technical master of permanent photography and an artist who enjoyed the patronage of the colonial officials. The following three chapters examine three genres of Floyd{\textquoteright}s extant works. I demonstrate the various roles these photographs played in facilitating Victorian colonial ambition and governance in the colony. Chapter Two examines Floyd{\textquoteright}s Views of Hongkong (1868) and South China Album (1873). Images from these two projects echoed and celebrated the British colonial agenda and infrastructural expansion in Hong Kong. Chapter Three analyzes Floyd{\textquoteright}s photographs documenting the aftermath of the 1874 typhoon, the most destructive storm that the colony had ever experienced. The photographs served to project the strength of the British Empire and its colonial rule. Chapter Four considers Floyd{\textquoteright}s photographs portraying Chinese street vendors. These images suggest increasing interest in understanding how the Chinese acted and engaged with each other during their daily street trading practices.}, keywords = {East Asia, Nineteenth Century, Photography}, author = {Wang, Bing} } @mastersthesis {13103, title = {An African Scriptorium: The Qur{\textquoteright}ans of Harar and their Global Milieu}, year = {2021}, school = {IFA/NYU}, abstract = {A major center of Islamic learning, the city of Harar was also a nexus of key trade routes linking the highlands of Ethiopia to the Red Sea and Indian Ocean. Largely unknown to historians outside of the Horn of Africa, the city was home to an extraordinary manuscript tradition which produced hundreds, if not thousands, of manuscripts between the seventeenth and nineteenth centuries. Within this corpus, the numerous Harari Qur{\textquoteright}an manuscripts, often containing endowment notices and colophons, provide rich material with which to consider multidirectional circuits of artistic interchange across the early modern Red Sea and Indian Ocean and their role in shaping local artistic idioms. This dissertation provides a chronology of the decorated Qurʾanic manuscripts, investigating the local cultural and religious traditions that shaped them. It then explores their evident relationship to the artistic traditions of Egypt, Yemen, India, and even Southeast Asia and West Africa. The networks linking these regions and the artistic relationships that they fostered allowed for a complex spectrum of negotiated identities within and across states and empires. This dissertation historicizes and localizes these negotiations by a comprehensive art historical analysis of the extraordinary Harari corpus. It offers both a micro-study of localized manuscript production and a study of larger transregional connections and circulations manifest in the Harari manuscripts. The dissertation aims to address a glaring lacuna in the subfields of African and Islamic art history by offering a diachronic analysis of manuscript production in a dynamic center that lay at the intersection between different cultural, economic, political, and religious networks in the eighteenth and nineteenth centuries.}, keywords = {Africa, Religion/Cosmology/Spirituality}, author = {Mirza, Sana} } @mastersthesis {13338, title = {After the Punchline: Art Historical Parody as Generative Form in the Work of Robert Colescott, Glenn Ligon, and Nao Bustamante}, year = {2021}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {North America, Theory/Historiography/Methodology}, author = {DiTillio, Jessi} } @mastersthesis {13149, title = {Alternative Abstractions: Art and Science in Twentieth-Century Los Angeles}, year = {2021}, school = {UC Irvine}, abstract = {The following dissertation, Alternative Abstractions: Art and Science in Twentieth-Century Los Angeles investigates how the histories of astronomy and modern physics impacted the production of abstract artwork in Southern California. In the artistic practices of Helen Lundeberg, Bettina Brendel, Mary Corse, and Frederick Eversley, histories of observational cosmology, quantum mechanics, astrophysics, and aerospace engineering both converge with and complicate existing art historical narratives of abstract painting and sculpture in Los Angeles. By examining Lundeberg, Brendel, Corse, and Eversley{\textquoteright}s artistic explorations of space, light, and energy alongside the scientific sources influencing their work, these case studies reveal how theories and technologies derived from subfields of modern physics prompted artists to consider the subjectivity of human vision, experience, and knowledge. Through the project{\textquoteright}s interdisciplinary approach, abstraction emerges as a process of mediation between the realms of the conceptual and the material central to theoretical debates in both modern art and science over the twentieth century. Synthesizing insights from histories of art, science, and technology in the United States and Europe, this research sheds new light on the prevalence of scientifically inflected modes of artistic abstraction in Southern California.}, keywords = {North America, Visual Studies}, author = {Iqbal, Sharrissa} } @mastersthesis {13359, title = {Archibald Knox and Sites of Memory (Archibald Knox as Ynnydyn Corinne)}, year = {2021}, school = {UC Riverside}, abstract = {This dissertation examines the role of the Manx artist and designer Archibald Knox (1864-1933) in shaping British design at the end of the nineteenth/beginning of the twentieth century. Through examining his work in both London and on the Isle of Man, I argue that many of Knox{\textquoteright}s designs were a response to modernity through the creation of sites of memory. Knox{\textquoteright}s work, both in London and later in his career on the Isle of Man, negotiated a number of social, political and artistic spaces through a revitalization and reinterpretation of Celtic ornament. His designs addressed the loss of Manx traditions and folklore at the end of the nineteenth century, and the resulting Cultural Renaissance, as well as the British desire for an acceptable historic past to combat political and social insecurities at the end of the century, shifting consumer and social patterns, and the culture of World War I remembrance. Chapter 1 studies Knox{\textquoteright}s education at a regional Government School of Art, located on the Isle of Man. Knox{\textquoteright}s education was based in the strict pedagogy of the South Kensington educational system, however, he was also influenced by several teachers who urged him to be more experimental, as well as the Manx Cultural Revival. Chapter 2 focuses on Knox{\textquoteright}s work in London for Liberty \& Co, and how the influential retailer manufactured and sold "Celtic" objects. Knox negotiated designing an "invented history" for his employer, while incorporating actual Celtic ornament from his home into the designs. Chapter 3 analyzes Knox{\textquoteright}s illuminated manuscript The Deer{\textquoteright}s Cry which connected the mythology of the past in a contemporary object, transferring oral history into written form. Finally, in Chapter 4, Knox{\textquoteright}s WWI memorials on the Isle of Man are analyzed to understand how the Manx memorialized WWI as an autonomous nation, but also as part of the British Empire. Knox{\textquoteright}s memorials for churches and civic groups are shown to be similar to those in the rest of Britain, but in his Book of Remembrance for Douglas High School, Knox reconfigures the traditional form to create a personal, religious and individualized site of memory.}, keywords = {Decorative Arts, Nineteenth Century, Northern Europe}, author = {Carlotta Falzon Robinson} } @mastersthesis {13167, title = {Art After Dark: Economies of Performance, New York City 1978-1988}, year = {2021}, school = {CUNY}, abstract = {Art After Dark: Economies of Performance, New York City 1978-1988 examines the interwoven social and economic histories of New York City and performance in the late 1970s and 1980s. The dissertation traces the growth and visibility of performance art, moving from the recession of the 1970s and early years of public funding for the arts, to the downtown nightclub scene of the 1980s, the history of the Brooklyn Academy of Music{\textquoteright}s Next Wave Festival, and artistic experiments with television in the 1980s. Looking closely at the economic conditions under which performance occurred during the late 1970s and early 1980s, this dissertation counters dominant scholarship on performance as an inherently market-subverting medium, and the restrictive assumption that any exchange of money, for any kind of art, automatically resulted in "selling out" and a capitulation to capitalism. Rather, I argue that performance actively creates economies and that economics, in turn, shapes performance. The cornerstone of the dissertation is one of these performance economies: what I call a {\textquoteright}market-community{\textquoteright}-a community constituted by practices of production and consumption and emblematic of the larger economic shifts towards affective and immaterial labor in a post-Fordist service economy. By assessing performance alongside the development of a market exchanging affective, immaterial labor and services-rather than goods, as the art market traditionally does-provides a model for understanding this economy of performance and its growth during the late 1970s and early 1980s. Pulling directly from archives and oral histories, examining grant applications, budgets, tax returns, correspondences, marketing materials and more, each chapter analyzes the shifting economies for performance, focusing on the rise of the market-community, a study of how it operated during its heyday, what befell it, and what happened in the aftermath.}, keywords = {North America, Performance Art/Performance Studies/Public Practice}, author = {Mowder, Meredith} } @mastersthesis {13354, title = {Battle Grounds: Painting, War and Witness in the Americas, 1861-1902}, year = {2021}, school = {Pennsylvania}, abstract = {No record in ProQuest or Pennsylvania ETDs}, keywords = {Nineteenth Century}, author = {Mize, Ramey} } @mastersthesis {13155, title = {Before Non Finito: A Rough Aesthetic in Quattrocento Sculpture from Donatello to Michelangelo}, year = {2021}, school = {Rutgers}, abstract = {Fifteenth-century sculpture is usually associated with the rigorous smooth polish of Verrocchio{\textquoteright}s Doubting Thomas, Lorenzo Ghiberti{\textquoteright}s Baptistery Doors, or the pulitezza of the della Robbia workshop{\textquoteright}s glazed terracotte. However, this dissertation seeks to demonstrate that quattrocento views about sculptural finish were not homogenous by studying a group of artworks, mainly bronzes, in which extensive hammering is visible on the final product, elements are cast from minimally modeled waxes, or there are wholly unpolished passages. The presence of several dozen quattrocento works with these characteristics, many of which were displayed publicly, suggests that the alternative style had an audience. The rough aesthetic was often utilized in sculptures that would be manipulated by hand or examined in close detail, where each abraded surface could be observed, necessarily making the artist{\textquoteright}s process visible to observers. By calling attention to their creative process, fifteenth-century artists also underscored their transformative capabilities and mastery over their craft. Examining these sculptures as a cohesive group, I argue that it is possible to see a burgeoning interest in sculptor{\textquoteright}s process as a subject of art, a phenomenon usually ascribed to the following century and ultimately to modernism.}, keywords = {Sculpture, Southern Europe and Mediterranean}, author = {Mack, Stephen} } @mastersthesis {13366, title = {Between Impressionism and Realism: Robert Henri{\textquoteright}s Early Career, Navigation of Nineteenth-Century French Modernism, and the Development of an American Avant-Garde}, year = {2021}, school = {Temple}, abstract = {Robert Henri is regarded as the quintessential American Realist and the outspoken representative of the Ashcan artists. Inspired by his philosophy of artistic practice, Henri{\textquoteright}s followers embraced their individuality and represented their engagement with the realities of modern life. For his own part, however, Henri never truly adopted the reformist style embraced by the Ashcan Realists. Instead, his art remained torn between the nineteenth and twentieth centuries. In other words, there is a fundamental division between the philosophy that aligned Henri with his pupils and the style and substance of his own artistic practice. By looking back to Henri{\textquoteright}s formative years-when he dabbled in impressionism, symbolism, and aestheticism-we can gain a fuller understanding of the dichotomous, sometimes contradictory nature of his more conservative artistic practice and his progressive philosophy of art. Reexamination also connects Henri to the influential artists of the nineteenth century, such as James McNeill Whistler, who contributed to his complex artistic philosophy, style, and technique. Throughout this project follows Henri{\textquoteright}s navigation of a range of anti-academic, late-nineteenth century art traditions in combination with more academic practice to reconsider Henri{\textquoteright}s lasting interest in nineteenth century modernisms. Most relevant to our modern moment, this project takes a second look at his portraits of Chinese Americans, which are conventionally read through the lens of "realism." Not "honest" representations, these portraits are tempered by Henri{\textquoteright}s imagination, popular culture, and the Japonisme of Whistler, the Impressionists, and the Symbolists. Finally, critical reconsideration of Henri{\textquoteright}s publication The Art Spirit reveals the lasting legacy of nineteenth-century thought in Henri{\textquoteright}s philosophy of art even as it inspires more forward-thinking practice.}, keywords = {North America, Painting, Twentieth Century}, author = {Strupp, Brittany} } @mastersthesis {13340, title = {Bronzino in Duke Cosimo I de{\textquoteright}Medici{\textquoteright}s Court: Manufacturing Propaganda in Sixteenth-Century Italy}, year = {2021}, school = {Temple}, abstract = {My dissertation "Bronzino in Duke Cosimo I de{\textquoteright} Medici{\textquoteright}s Court: Manufacturing Propaganda in Sixteenth-Century Italy" challenges entrenched scholarly approaches on the artist which developed during the twentieth and twenty-first centuries. Bronzino (1503-1572) is best known for his autograph portraits and the painting Allegory with Venus and Cupid; yet the scholarship on the artist has suffered due to the inordinate focus on this very select portion of his artwork. The portraits and allegory have been scrutinized so intensely because they have been deemed masterpieces of the Western canon. However, almost three-quarters of his oeuvre, in particular the copies of the ducal portraits made by Bronzino and his workshop, as well as the religious paintings, have been neglected due to their non-masterpiece status. To bring a fresh approach to Bronzino scholarship, my research hinges on the matter of how the painter{\textquoteright}s artistic practices changed when he began to manufacture propaganda for the court of the second duke of Florence, Cosimo I de{\textquoteright} Medici (1519-1574). This topic elicits questions such as how an artist transformed their workshop to a salaried court studio as well as the complicated realities of manufacturing propaganda for a principality. By focusing my dissertation on this topic, my study offers a different way of understanding Bronzino and a way to think with the painter on broader questions related to the life of an early modern court artist.}, keywords = {North America, Painting, Sixteenth Century}, author = {Farrell, Bethany} } @mastersthesis {13343, title = {Capital Art: Rethinking the Washington Color School}, year = {2021}, school = {Johns Hopkins}, abstract = {This dissertation undertakes a critical analysis of the Washington Color School (WCS), a loose designation for artists working in Washington, D.C., from the 1950s through the 1970s. While previous interpretations foreground formal affinities between WCS figures, I instead argue that their achievements were deeply rooted in the conditions of their home city. Focusing on Morris Louis, Kenneth Noland, and Alma Thomas in particular, this dissertation reveals artistic practices that develop from Washington{\textquoteright}s interconnected social, political, and institutional spheres at midcentury. A thriving matrix of commercial and artist-run galleries, workshops, museums, and universities flourished among the city{\textquoteright}s diverse neighborhoods. These sites acted as experimental incubators in which area artists pioneered new abstract vocabularies in collaboration with one another, forging aesthetic innovations grounded in cooperative modes of production and visions of democratic community. Museums, galleries, and art schools in Washington facilitated participatory and racially integrated channels of creative exploration that fostered key moments of transformation for Washington{\textquoteright}s colorists, particularly as they turned away from earlier figuration toward abstraction. These efforts emerged alongside the civil rights movement-for which the nation{\textquoteright}s capital served as a central stage-and a renewed preoccupation with American democracy in the postwar period. Rather than confining the impact of the WCS to its site of origin, I also assess its significance through a discrete instance of transnational exchange in the work of Toronto-based painter Jack Bush. By historicizing Washington{\textquoteright}s expansive artistic network in view of its broader impact, this dissertation demonstrates the globe-spanning effects of this consequential episode in American modernism.}, keywords = {North America, Twentieth Century}, author = {Miriam Grotte-Jacobs} } @mastersthesis {13197, title = {Colonial Subjects: French Representations of North African Men under Colonization}, year = {2021}, school = {UNC Chapel Hill}, abstract = {This dissertation analyzes representations of North African men by French painters Henri Matisse, Jean Dubuffet, and sculptors Charles Cordier and Paul Landowski. These images span the period between the conquest of Algeria and its independence. Popular images of North African men proliferated in France between 1830 and 1962 in the form of postcards, souvenirs, travel guides, and newspapers. In more specialized circles North Africans were the subjects of luxury objects, scientific journals, government surveys, as well as sculptures, paintings, and monuments. I emphasize images of men and masculinities that arose out of visual languages of anthropology, the history of European art, and the construction of racial and religious difference. Works of art formed and reinforced stereotypes governing French opinion and policy about North Africans. Since men formed the major groups of soldiers and local officials interacting with the French in Algeria, Tunisia, and Morocco, their portrayal tells an important part of the colonial story. This study critically reassesses French images of North Africa in contexts of decolonization, whiteness, and gender studies.}, keywords = {Race/Ethnicity, Southern Europe and Mediterranean}, author = {Holmes, Robin} } @mastersthesis {13147, title = {Compromised Values: Charlotte Posenenske, 1966-Present}, year = {2021}, school = {CUNY}, abstract = {Fabricated in unlimited series and sold at cost, the sculptures produced by Charlotte Posenenske between 1966 and 1967-modular wall reliefs, interactive cubic structures, and tubular geometric units whose installation requires collective decision making-were meant to confront both the artwork{\textquoteright}s commodity status and the limitation of its consumption to a privileged elite. Nevertheless, Posenenske{\textquoteright}s work has been effectively recuperated by the art system: first, in the 1980s, through a series of exhibitions and publications organized by her estate; and second, with her inclusion in Documenta 12 in 2007, which reintroduced her work to the market. Since the artist{\textquoteright}s death in 1985, her work{\textquoteright}s circulation through the art system has increasingly revealed the normally obscured role that economic value plays in curatorial and conservation practices. Inspired by the artist{\textquoteright}s own abandonment of art and turn to sociology after 1968, I examine her oeuvre via an expanded concept of value, using this term to refer to the often conflicting aesthetic, cultural, historical, and economic significance that is attached to artworks as they move through cultural and institutional contexts. Borrowing a term from cultural economist David Stark, I propose that Posenenske{\textquoteright}s sculptures create value heterarchies-systems in which multiple valuative criteria are in conflict, creating friction between modes of valuation and prompting the recognition of not-yet-formulated value categories. Given Posenenske{\textquoteright}s resistance to the commodification of her work during her life, her anticipation of its ongoing reproduction and circulation, and museums{\textquoteright} subsequent assertion of its economic value after her death, this dissertation argues that her art is central to assessing the shifts in value that accompany the collection and preservation of institution-critical sculpture, as well as all objects that circulate within the art system.}, keywords = {Northern Europe, Sculpture}, author = {Wallace, Ian} } @mastersthesis {13361, title = {Crafting Across Time and Space: Artistic Exchange and Archaic Greek Sanctuaries in the Eastern Mediterranean}, year = {2021}, school = {Columbia}, abstract = {Portable objects made of terracotta, stone, and bronze, among other materials, stylistically linked to cultural spheres around the eastern Mediterranean basin and further inland in the Near East, Cyprus, and Egypt, were dedicated with fervor at Greek sanctuaries during the Archaic period. Previously, such votive offerings were superficially interpreted as "foreign imports" and enumerated in oversimplified tallies and exoticizing lists of "orientalia" and/or "aegyptiaca." They have been embedded as the stimuli of the so-called "Orientalizing" phenomenon-a 19th-century paradigm and enduring trend in scholarship that interprets aspects of culture as originating in the east and moving westward during the early first millennium. Focus was limited to identifying their geographical places of manufacture and attempting to reveal the identities of the dedicators. This paradigm limits attention to the origins of such objects and restricts interpretations of them to one-directional understandings of artistic "influence."
Informed by theories of materiality, modes of acquisition, the exchange of skilled crafting knowledge, and the movement of raw materials, finished products, craftspeople as well as their patrons in the eastern Mediterranean cosmos during the 7th and 6th centuries, this dissertation approaches the corpus through object biographies. It foregrounds three case studies-Cypriot style terracotta figurines from the Heraion of Samos, Egyptian sculptures from East Greek sanctuaries, and the composite North Syrian and Cretan sphyrelata korai from Olympia-to temper the broader theoretical discussions of intercultural artistic exchange during this time. The study explores a diverse array of artistic processes of material transformation ranging from the destruction, reuse, adaptation, and modification of objects to the local production of objects that can be stylistically linked to places far afield. By examining the materials from which and the manufacturing techniques by which such objects were made, it reevaluates where, when, and by whom they were crafted. The analysis identifies the tangible processes of artistic transmission to illuminate the exchanges of and interactions among the eastern Mediterranean craftspeople tasked with the fabrication of the dedications and the patrons who commissioned them. Ultimately, as singular artistic products, it is argued that the objects in the case studies represent intercultural attempts at unique votive object manufacture and communicate meaning by inhabiting more than one geographical space and temporally remote moments in time.}, keywords = {1500 BCE to 500 BCE, Ancient Greek/Roman Art, Southern Europe and Mediterranean}, author = {Schneller, David} } @mastersthesis {13357, title = {Cross-Pollination: Agnes Block (1629-1704) and Her Network of Artists and Botanical Experts. Self-Fashioning at the Intersection of Art and Science}, year = {2021}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {Northern Europe, Patronage, Art Collecting, Seventeenth Century}, author = {Powell-Warren, Catherine} } @mastersthesis {13339, title = {Designing the Divine: The Construction of Cult Statues in the Second Century BCE}, year = {2021}, school = {Emory}, abstract = {The second century BCE witnessed a noted boom in cult statue and temple construction that coincided with larger trends in civic development across the Mediterranean. In this dissertation, I center on the production and viewing of cult statues, from Asia Minor to the Italian peninsula, in this transformative period. An investigation into the various elements involved in the crafting of a cult statue-the choice of materials, technique, and scale-reveals how a community used sacred art to express its local traditions within an increasingly diverse and expanding world. The creation of cult statues and temples offered a fundamental opportunity for Hellenistic rulers, Greek poleis, Roman magistrates, and the sculptors and architects they employed to engage in community development and political advancement. Amid warfare, political turmoil, and social and economic change, the crafting of cult images not only endured, but prospered. Strong regional variation in political, economic, and social conditions therefore served as catalysts rather than impediments for the acceleration in the production of cult buildings and statues in this period. Through this dissertation, I push beyond the traditional bipolar narrative of the increasing movement of Greek art, materials, and craftsmen to Rome through commissions, plunder, and trade, an approach which obscures the richly complex interchanges that influenced artistic production in the second century. By instead looking at cult statues and their temples within a broad landscape, I bring into dialogue the resilience of local religious expression and the medley of new ideas, techniques, and styles offered by the Hellenistic world and the rise of Rome. Finally, I argue that a cult statue and its temple formed a cohesive unit that shaped a viewer{\textquoteright}s experience at a cult site. Using digital models of reconstructed cult statues and temples, I demonstrate the visual effects that set a cult image apart from other sculptures and how statue and temple together shaped the viewing experience at cult sites throughout the second-century Mediterranean.}, keywords = {500 BCE to 500 CE, Ancient Greek/Roman Art, Southern Europe and Mediterranean}, author = {Eckhardt, Ashley} } @mastersthesis {13335, title = {Drawing Connections: Cesare da Sesto{\textquoteright}s Sketchbook and the Production of Style between Milan and Messina}, year = {2021}, school = {Johns Hopkins}, abstract = {"Drawing Connections: Cesare da Sesto{\textquoteright}s Sketchbook and the Production of Style between Milan and Messina" analyzes the body of drawings by the itinerant artist Cesare da Sesto (1477-1523) over the course of his career in Milan, Rome, Naples, and Messina, especially his now-dispersed sketchbook that is reconstructed here for the first time. This dissertation constructs a rigorous theoretical and historiographical framework in which to contextualize Cesare{\textquoteright}s drawings, demonstrating that his artistic output can play a significant role in the emerging geographical turn within the discipline, as Cesare{\textquoteright}s drawing practice enabled him to succeed in both the supposed center (Rome) and the so-called periphery (Milan, Naples, and Messina). In turn, Cesare{\textquoteright}s sketchbook enables us to consider larger questions about the very creation and dissemination of the "High Renaissance style." My analysis of Cesare{\textquoteright}s drawings and his drawing practice (not just what he drew but why he drew and how he used his drawings) challenges the traditional links between style and place in the story of Italian Renaissance art, as well as the concepts of "influence" and "imitation." By focusing on the social dynamics at play within Cesare{\textquoteright}s drawings, I am able to plot the multiple drawing communities (both physical and virtual) to which Cesare belonged along the Italian peninsula. This deep analysis of Cesare{\textquoteright}s drawings leads to many important discoveries about such canonical topics as the genesis of the Modi prints within Raphael{\textquoteright}s workshop, Michelangelo{\textquoteright}s execution of the Sistine Chapel ceiling, and who had access to Leonardo da Vinci{\textquoteright}s drawings in Milan.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Sixteenth Century, Southern Europe and Mediterranean}, author = {Bernick, Elizabeth} } @mastersthesis {13120, title = {El Lissitzky: Architecture as Spatial Form, 1909-1941}, year = {2021}, school = {IFA/NYU}, abstract = {Widely remembered as a major figure in modern art, El Lissitzky (1890-1941) was an architect by metier. The accepted interpretation of his career is that architecture was only a minor pursuit compared to his art. This dissertation tests the hypothesis that architecture was, in fact, the backbone of his collective oeuvre. It was a fountainhead for the technical and theoretical contributions he made in the fields of painting, exhibition, and book design and provided his professional ideal: that of the international traveling architect as modeled by European contemporaries-notably Le Corbusier-which Lissitzky adapted to the social and political exigencies of the Soviet Union. Chapter One analyzes the drawings and writings Lissitzky produced in 1911-14 as a student in the Department of Architecture at the Technical University (Hochschule) in Darmstadt, Germany. The presence in those years of a debate between empirically "artistic" vs. rationally cartesian methods for building design, I contend, was formative in Lissitzky{\textquoteright}s development of an anti-reductionist vision of architects{\textquoteright} agency. Chapter Two introduces Lissitzky{\textquoteright}s descriptive geometry training under the leading mathematician and pedagogue, Hermann Wiener. I draw a line to Lissitzky{\textquoteright}s subsequent body of paintings, prints, and drawings he referred to as Prouns. The immediate context for their genesis was Kazimir Malevich{\textquoteright}s invitation to establish an architecture curriculum at the Popular Art School in Vitebsk in 1919. Chapter Three surveys Lissitzky{\textquoteright}s role in the Association of New Architects in Moscow in 1924-1932, and their rivalry with the constructivist Organization of Contemporary Architects; the broader historical frame was a schism among Marxists about the extent to which knowledge is dependent on sense experience and this had implications on the task of architects. Chapter Four analyzes two bodies of work that Lissitzky undertook during the First Five-Year Plan in 1928-1931: proposals for factories and communal houses and environmental-scale exhibitions. Each was a response to the increasingly utilitarian remit of design competitions administered by state clients. Chapter Five identifies Lissitzky{\textquoteright}s role in two civic projects in the Russian capital: the Central Park of Culture and Rest in 1930 and the All-Union Agricultural Exhibition in 1935-39. Each extended Lissitzky{\textquoteright}s renown as a propagandist and had the goal to enculturate Soviet citizenry at an urban scale.}, keywords = {Architectural History/Urbanism/Historic Preservation, Northern Europe}, author = {Omans, Samuel} } @mastersthesis {13373, title = {Entitled Imaginings: Tristan Tzara, Dada, and the Idea of Africa}, year = {2021}, school = {Pennsylvania}, abstract = {"Entitled Imaginings: Tristan Tzara, Dada, and the Idea of Africa" analyzes the dada founder and poet Tristan Tzara{\textquoteright}s practice as a performer, historian, and critic alongside his role as a collector and curator of African art. Acting like the dadaists{\textquoteright} own mana figa, this dissertation points clearly and directly at the disparities between the events - reconstructed from a variety of sources ranging from personal correspondence to newspaper articles - and the dominant scholarly accounts of those events, in order to demonstrate how the ideologies of white supremacy animated the process of delimiting the contours of modernist art. Further, "Entitled Imaginings" sheds light on Tzara{\textquoteright}s frequently overlooked place among his contemporaries along the color line, differentiated by his understanding of analogical relationships between the form and subject matter of contemporaneous African and European cultural forms. Ultimately, this dissertation moves the historiography of so-called "primitivism" beyond the generalizations associated with the 1984 Museum of Modern Art exhibition of the same title - rehearsed as recently as 2016 in the Museum Reitberg{\textquoteright}s Dada Africa - to demonstrate how specific African artworks, ethnographic texts, and ideological constructs profoundly informed the development of dada artistic practices.}, keywords = {Africa, Theory/Historiography/Methodology, Twentieth Century}, author = {Hilary Whitham S{\'a}nchez} } @mastersthesis {13142, title = {Europ: Expanded Cinema, Projection and the Film Co-op in Western Europe, 1966-1979}, year = {2021}, school = {CUNY}, abstract = {This dissertation reconstructs "Europ"-an informal network of artists interconnected through the film cooperative movement who propagated expanded cinema throughout Western Europe in a series of artist-organized screenings, festivals and exhibitions in the late 1960s and 1970s. While Europ was never actually realized as a project, I deploy the name as a retrospective device for bringing together experimental filmmakers from Austria, Germany and the U.K. Expanded cinema was an experimental art form that stretched the definition of film by incorporating diverse media, including multiple screens and projectors, live performance, and installation. It thus resisted the confines of traditional cinemas, as it breached the cinematic apparatus to reach into the real time and space of the spectator. These qualities of the work led the artists to exhibit them in galleries instead. I argue that the Europ-organized exhibitions constitute the first significant examples of film projection within the gallery setting, as part of a larger mission to prove film a viable medium of visual art. The site of the gallery became privileged not only because of its spatial properties, but because of the status that it could confer upon film, securing its place within the longer trajectory of twentieth century art. Europ{\textquoteright}s deliberate and consistent commitment to this goal thus constitutes the biggest difference between European and U.S. expanded cinema. Compared to their U.S. counterparts, the Europ artists were also more wary of new media technologies and espoused a structural-materialist film practice that was anti-commercial, anti-illusionistic, anti-narrative and anti-spectacle. Europ{\textquoteright}s exhibitions foreshadow our present moment, when the ubiquity of film installation in the gallery has supposedly blurred the difference between the "black box" and the "white cube." I perform a media archaeology of early film exhibitions to illuminate the motivations behind the relocation of film to the gallery, including the types of decisions made, the diversity of options available, and the artists{\textquoteright} dreams to reinvent cinematic experience. This dissertation thus intervenes in the literature on the projected image by writing one of the first historical accounts of gallery-based projection, complicating the discussion of the black box and white cube as apparatuses, which has hitherto been largely theoretical.}, keywords = {Film/Video/Animation, Twentieth Century}, author = {Bucilla, Drew} } @mastersthesis {13375, title = {Experience and Memory: The Nigerian Civil War (1967-1970) and Nigerian Contemporary Art}, year = {2021}, school = {UCLA}, abstract = {After the secessionist state of Biafra declared its independence from Nigeria in May 1967, a thirty-month civil war began, during which millions of Nigerians and Biafrans died or became refugees. Artists within Biafra supported its independence, and they helped define the new nation and disseminated its principles at home and abroad. Since the conflict{\textquoteright}s end in 1970, art has intersected with wartime violence and its aftermath in ways that Nigerians still feel. Yet, public discussion of the war remains repressed. My dissertation positions the civil war as a critical moment in Nigerian art history and one that has had a profound impact on Nigerian art. I focus on art produced during the war, and I also contend with the conflict{\textquoteright}s aftermath through a consideration of work created into the 1970s. I examine posters, international exhibitions, painting, sculpture, drawing, and sketches to explore the relationship between art and propaganda, how Nigerian and Biafran artists registered wartime experiences through their work, and the war{\textquoteright}s effect on subsequent art. Drawing from extensive artist interviews, archival research, and an interdisciplinary theoretical approach, I center my analysis on questions of how artists act as witnesses, and how trauma and memory shape artistic practices. I chart how artists respond to wartime atrocities and create post-war works that serve as visual recollections of a conflict with an unsettled and contentious history. Through a consideration of art surrounding the Nigerian Civil War, a more nuanced understanding of how Nigerian artists engage with the postcolonial state and the conditions of postcoloniality can begin to emerge.}, keywords = {Africa, Drawings/Prints/Work on Paper/Artistic Practice, Twentieth Century}, author = {Wolff, Rebecca} } @mastersthesis {13169, title = {Experimental Pedagogies: The Art and Politics of the Scandinavian Neo-Avant-Garde (1961-1972)}, year = {2021}, school = {Binghamton}, abstract = {This project takes up the study of three Scandinavian artists or artist collectives / collaborations active during the 1950s and {\textquoteright}60s: Asger Jorn{\textquoteright}s writings on the practice of collaboration; the Ex-School, an anti-academy and artist group active in Copenhagen between 1961 and 1972; and Drakabygget (Dragon{\textquoteright}s House) a group of artists also known as the Second Situationist International. It offers an historical account of the practices of these artists during a temporal framework that spans roughly a decade, from 1961 to 1972. It raises pertinent questions about pedagogy in art practice, questions that are intended to illuminate these artistic investments of the past, but that also might serve to contribute to a deeper understanding of contemporary issues in art practice. Lastly, taking Jorn{\textquoteright}s theoretical writings on collaboration as a point of departure, it raises a general set of questions about the nature of experimentation and the creative process. Through my research, I aim to articulate the conditions of possibility of such practices - practices that celebrated with unwavering certainty the potential of unrestricted creative expression to operate as a tool for individual and social transformation, along with an equal commitment to truth to materials reminiscent of Russian Constructivism - in order to shed light on a rather unorthodox narrative regarding what was taking place in the mid twentieth century in Northern Europe. Through a closer examination of this all-but-forgotten moment in the history of 1960s artistic radicalism at the margins of the European neo-avant-garde, I hope to surface a set of insights that might serve to uncover a richer understanding of orthodox Modernism itself.}, keywords = {Northern Europe, Twentieth Century}, author = {Schwartz, Wylie} } @mastersthesis {13360, title = {Facing Freedom: African American Emancipation in Antebellum Portraiture}, year = {2021}, school = {Pennsylvania}, abstract = {My dissertation explores the challenges of representing African American freedom during the era of gradual emancipation in the nineteenth-century United States. Art and cultural historians have previously looked to commemorative monuments and abolitionist propaganda to examine the impact of emancipation on the visual arts. As a result, the symbolic depiction of emancipation has received greater scholarly attention than the visible signs of freedom constituted by the labor, dress, and setting of daily African American life. Such signs, my project argues, appear most legibly in antebellum portraiture-a format that stands apart from the generalizing impulse of most depictions of free Black life and enables the rare pictorial expression of individual narratives and experiences.
Across three chapters, I analyze portraits painted by white artists Charles Willson Peale (1741-1827), Thomas Waterman Wood (1823-1903), and William Sidney Mount (1807-1868), whose work attends to the ways in which free people of African descent publicly presented aspects of their identity in the antebellum North and Upper South. I place these portraits in close dialogue with a broader visual culture of urban views, genre scenes, and theatrical ephemera that indelibly shaped the way freedom looked and the way portrait subjects could be rendered or understood. Investigating topics including the portrait{\textquoteright}s evolving conventions, sites of display, and painting{\textquoteright}s materiality, I consider the ways in which Black subjects expose the limits of painted portraiture as a mode of representation in the early and mid-nineteenth century. This study contributes to a growing body of scholarship that positions visual art as a vital force in the struggle for emancipation, and it draws painting into conversations happening across the study of nineteenth-century photography, print media, reception studies, and the history of abolition from which the medium has been largely excluded.}, keywords = {African American/African Diaspora, Nineteenth Century, North America}, author = {Jillian Vaum Rothschild} } @mastersthesis {13363, title = {Fugitive Abstraction: Zarina, Mohamedi, and Lala Rukh}, year = {2021}, school = {Cornell}, abstract = {This dissertation attends to the important but largely unexamined history of abstraction across postcolonial South Asia during the second half of the twentieth century. It focuses on a loose constellation of artists on whom little scholarship exists-Zarina (1937-2020), Nasreen Mohamedi (1937-1990), and Lala Rukh (1948-2017)-women who were working across postcolonial Pakistan, India, the western Indian Ocean, and its diasporas. Fugitive Abstraction investigates the artists{\textquoteright} shared approach to aesthetic form that links the traumatic partition of the Indian subcontinent with decolonization and the diasporic dislocations that resulted, foregrounding themes of translation, fugitivity, hapticality, and opacity. Instead of situating these artists{\textquoteright} practices within Euro-American postwar abstraction, a category they are often subsumed under, I demonstrate instead how they negotiated the fraught inheritance of colonial modernism by reframing early modern art and architectural aesthetics as a site of postcolonial feminist reclamation. These artists drew indigenous aesthetics-Mughal, Buddhist and Hindu architecture, Indo-Persian miniature painting techniques, and Urdu poetry-together with Post-Minimalist, process-based material experiments in photo-montage, collage, printmaking, drawing and sculpture. "Fugitive," in the dissertation title, brings the methodologies of Black studies together with postcolonial and translation theory, as well as feminist and queer theory, to analyze a form of abstraction in these artists{\textquoteright} works that is a transgression of nationalist reconfigurations of postcolonial representation-of the post-independence nation-state, the sanctity of territorial boundaries, and the gendered narratives of home and homeland. Ultimately, I argue that these underrepresented artists refuse the representational, territorial and imaginal boundaries of the nation-states of India and Pakistan, offering us an example of migratory, minoritarian aesthetics that precede discourses of globalization in the 1990s and the concurrent rise of majoritarian nationalism and ethno-racialized communal violence across South Asia.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, South Asia/South East Asia, Twentieth Century}, author = {Shirazi, Sadia} } @mastersthesis {13128, title = {The Geographic and Social Spread of Aten Cult throughout Egypt and Sudan}, year = {2021}, school = {IFA/NYU}, abstract = {The Amarna Period of ancient Egypt is marked by numerous innovations in art, religion, and government. Primarily, the Amarna Period comprises the 17-year rule of Amenhotep IV who changed his name to Akhenaten after the establishment of a new religion that elevated the sun-disc as the supreme deity. Akhenaten implemented a new artistic decorum and founded a new capital, Akhet-Aten (present-day Tell el-Amarna), replacing the former administrative capital, Memphis, and the former religious capital, Thebes. Moreover, he initiated a widespread program of building temples dedicated to the Aten primarily in Thebes and Amarna, but also from Heliopolis in the Egyptian Delta to Gebel Barkal in Nubia. Most of the evidence suggesting that Aten temples or chapels existed in several sites outside Thebes and Amarna comes from talatat, uniquely sized blocks transportable by one person and singular to Akhenaten{\textquoteright}s reign, that were excavated at these sites. Further evidence comes from royal and non-royal contexts that include tomb and other architectural inscriptions, stelae, jewelry, and other small finds that indicate the presence of Aten cult at each site. Many of the sites at which Aten temples or chapels may have been constructed were dedicated to the cults of major primeval gods, such as Re in Heliopolis, Ptah in Memphis, Min in Akhmim, and Osiris in Abydos. This dissertation examines a wide corpus of data from 14 sites, all of which suggest or confirm Atenist activity. It proposes these possible widespread temples and chapels formed a network across Egypt and Sudan, as well as proposes that Atenism incorporated the cults of other major primeval gods. Lastly, it proposes that Atenism was accepted by non-royals, even non-elites not only at Amarna, but also throughout Egypt and Sudan.}, keywords = {Africa, Religion/Cosmology/Spirituality}, author = {Jackson, Briana} } @mastersthesis {13150, title = {A History of the Adolescent in American Print}, year = {2021}, school = {UC Irvine}, abstract = {This research examines images of adolescents made in late 19th and early 20th century America, the same time that "adolescence" as a concept was coined and codified. Many of these first images of adolescence were forged in marginal and experimental visual media, particularly in early newspaper comics. The medium of comic strips arose simultaneously with the invention of adolescence, largely to answer the same social crises. By the end of the 19th century, mass immigration, changes to economic production, and civil rights movements had overturned antebellum and wartime constructions of national identity. Comic strips flaunted the feelings of chaos this incited, especially for the middle classes. Adolescence offered allegorical solace, reassuring that these "storm and stress" years of national development could eventually be tamed and corralled toward maturity. This dissertation explores how visual constructions of the adolescent became a battle ground, reshaped to express either hegemonic control or youthful rebellion. The early association between comic strips and adolescence held fast, influencing the evolution of comic books as an adolescent rite of passage and counter-cultural medium. College humorists and even Norman Rockwell employed aberrant or "comic" adolescent bodies to critique the edicts of mainstream print media. While this dissertation focuses on adolescence, my ultimate goal is to map the messy process by which mass-produced images influence the formation of cultural concepts.}, keywords = {North America, Twentieth Century}, author = {Mugnolo, Christine} } @mastersthesis {13346, title = {How to Photograph the Air: Photography, Cinema, and the Problem of Atmosphere in German Modernism, 1893-1933}, year = {2021}, school = {Chicago}, abstract = {This dissertation investigates the aesthetic and material problems that the air of industrial modernity posed for photographers, filmmakers, and critics active in Wilhelmine and Weimar Germany (ca. 1893-1933). During this period, which followed the nation{\textquoteright}s rapid industrialization in the last quarter of the nineteenth century, the steadily worsening air quality of urban and industrial centers brought the question of atmosphere to the forefront of public debate, implicating architects, urbanists, physicians, hygiene engineers, cultural commentators, and members of societies for smoke abatement. Even as the so-called smoke plague (Rauchplage) emerged as an urgent problem of public health, the manifest visibility of the air at once intrigued, repulsed, and inconvenienced photographers, filmmakers, and critics, challenging established aesthetic frameworks and the materiality of photosensitive media. Placing the visual and discursive production of these figures into conversation with the physical environments in which they worked, this dissertation considers how the industrial atmosphere seeped into aesthetic discourse and material practices, as well as the discursive and technical inventions developed by photographers and filmmakers in an effort to grapple with this strange, modern air. Ultimately, it argues that early twentieth-century media aesthetics were not only informed by the contaminated air of industrial modernity, but also took on an active role in attempts to regulating the changing relationship between the human subject and a technologically altered world.}, keywords = {Northern Europe, Photography, Twentieth Century}, author = {Korola, Katerina} } @mastersthesis {13356, title = {The Image of Racialized Groups in Nineteenth-Century Colombian Costumbrista Paintings}, year = {2021}, school = {Alberta}, abstract = {No record in ProQuest or Alberta ETDs}, keywords = {Nineteenth Century}, author = {Plazas, Hugo} } @mastersthesis {13213, title = {Imaging Pilgrimage: Monumental Iconographies of Cultural Policy and Revitalization at the Cidade da Cultura de Galicia}, year = {2021}, school = {Binghamton}, abstract = {Santiago de Compostela has been, since the Middle Ages, home of one of the most famous pilgrimage destinations in Europe. Throughout its history, these successes have most often been signaled by large-scale building projects. This dissertation restates the role of architecture in the institutional production of pilgrimage sites, with particular interest in the Camino de Santiago. Specifically, it addresses how Peter Eisenman{\textquoteright}s Cidade da Cultura de Galicia (CCG), a large-scale architectural complex and cultural center overlooking Santiago de Compostela, mediates and responds to contemporary efforts towards the production and revitalization of the pilgrim experience within the city. While not as obvious as the revitalization interventions that occur along the route, the CCG is in fact a materialization of the goals of the pilgrimage revitalization initiative, a vision of the secularized touristic pilgrimage for the twenty-first century, and one that is enacted through Compostela{\textquoteright}s successful image economy. The twentieth-century revitalization efforts are peculiar in the distinctive nature of their engagement with a medieval past. While medieval landmarks and pilgrimage have been a part of Compostela{\textquoteright}s urban fabric for centuries, the strong connections drawn be-tween modern pilgrimage and its medieval counterpart was a fulcrum of contemporary pilgrimage revitalization. This work does not concern itself with the actual lived experiences of pilgrims or with the highly elaborated genre wherein these experiences are re-counted. It instead is interested in the material evidence of competing interests, specifically with how they relate to institutional interventions initiated by the regional government. The regional government{\textquoteright}s interests in revitalization were often pursued in monumental form: during the late twentieth-century, the Xunta operationalized a comprehensive cultural policy that was principally enacted in architecture. In fact, examining the CCG{\textquoteright}s own past, as well as the narrative of Compostela{\textquoteright}s history that it materializes, offers a new framing of the role of built space in, and its relation to, the politics of pilgrim-age revitalization within the context of the twenty-first century. This recent past is constitutionally linked to the medieval world, just as the rest of the contemporary pilgrimage revitalization projects have been.}, keywords = {Architectural History/Urbanism/Historic Preservation, Twenty-first Century}, author = {Gordon, Addie} } @mastersthesis {13145, title = {Inevitable Associations: Art, Institution, and Cultural Intersection in Los Angeles, 1973-1988}, year = {2021}, school = {CUNY}, abstract = {Inevitable Associations: Art, Institution, and Cultural Intersection in Los Angeles, 1973-1988 considers alternative institutions and cultural intersections in bicentennial-era Los Angeles. I look at the spatial, social, and artistic convergence of Los Angeles artists rarely seen as allied, through close examination of alternative cultural infrastructure that came out of a federal jobs program called the Comprehensive Employment and Training Act (CETA) and cohered around a building located at 240 South Broadway in downtown. I use the model of association-alliance through shared purpose-to demonstrate moments of convergence and interconnection. Through an analysis of the formation of Los Angeles Contemporary Exhibitions (LACE), High Performance magazine, and the Public Spirit: Live Art/LA performance festival, I uncover experimental artistic networks and strategies that flourished in L.A. in the latter decades of the twentieth century. While geographers and cultural historians of this region have often emphasized the disconnectedness engendered by urban sprawl, my dissertation reveals unlikely and provocative overlaps in projects and resources. This is not to say that this one is a rosy history of mutual respect and reciprocity. To the contrary, it is a story inflected by the harsh racial, ethnic, and class stratifications that permeate Los Angeles as well as the privatizing interests pervading downtown redevelopment.}, keywords = {Museum Practice/Museum Studies/Curatorial Studies/Arts Administration, North America}, author = {Hirsch, Liz} } @mastersthesis {13184, title = {Inside the Ideal Home: The Changing Values of Apartment Living and Consumption in Sweden, 1950-1970}, year = {2021}, school = {Bard Graduate Center}, abstract = {This dissertation explores the image of the ideal home in Sweden, an idea closely bound to the spatial dynamics of building norms and the outfitting of the domestic household, from the 1950s through the 1960s. By examining official, commercial, and consumer-cooperative ideals of housing and home, I attempt to understand and analyze correlations between various visions of the ideal apartment home and the social, political, economic, and cultural contexts in which they were conceived during the heyday of the Swedish welfare state. This subject has been extensively researched for the first years of the phenomenon, the 1930s and 1940s, but is relatively ignored for the years following World War II, when the new housing policy was formulated and the Record Years began. The study ends in 1970, when the construction of apartments and the standard of living peaked, followed by a focus on building single-family houses and the questioning of building norms. I argue that the values and visions of an ideal home were expressed in the rhetoric and representations of state, consumer-cooperative, and commercial publications. While scholars have studied individual aspects of this context, I maintain that the interrelationship between them produced a widely circulated vision of domesticity between 1950 and 1970. I highlight how commercial actors-primarily Ikea and the interior design magazine Allt i Hemmet (Everything in the Home)-interacted with state institutions in creating and promoting a discourse of the ideal home.}, keywords = {Decorative Arts, Northern Europe}, author = {Perers, Maria} } @mastersthesis {13154, title = {The Integration of Art, Architecture, and Identity: Alfred Kastner, Louis Kahn, and Ben Shahn at Jersey Homesteads}, year = {2021}, school = {CUNY}, abstract = {During the New Deal, the United States government created the Jersey Homesteads co-operative in order to help a group of Jewish immigrant garment workers from New York City during the economic downturn of the Great Depression. This dissertation examines how a 1930s utopian enclave utilized modernist art and architecture to express the radical back-to-the-land agrarian idealism and socialist ideology of its settlers. The flat-roofed, concrete buildings that housed these Jewish garment workers were designed by German architect Alfred Kastner (1900-1975), with his then unknown assistant Louis I. Kahn (1901-1974). These unornamented, functionalist buildings adapted avant-garde European architectural forms into an American context in order to house the group in improved living conditions that suited their ambitious cooperative plans. The artworks created for Jersey Homesteads articulated the settlers{\textquoteright} aspirations for a better future and are a testament to their artists{\textquoteright} firmly held belief that art could improve the world. Ben Shahn{\textquoteright}s (1898-1969) mural for the town{\textquoteright}s central Community Building depicted the group{\textquoteright}s journey from immigration to New Deal collectivity through scenes of Jewish labor movement unionization. Farm Security Administration photographers{\textquoteright} documentation of the project{\textquoteright}s construction, its collective farming operation, and the co-operatively run garment factory in the town sympathetically recorded their progress to share with skeptical audiences. Drastic changes to the town{\textquoteright}s architecture in the post-war period, like tract housing developments and homeowners{\textquoteright} alterations to their own buildings, were the result of this ambitious modern architectural project having been combined with short-lived government sponsorship and the rising tide of suburbanization. The series of vernacular modifications to the houses after New Deal sponsorship ended demonstrates how the community shed its utopianism and articulated their desire to assimilate into suburban America. These changes, and the historical significance of the artworks and buildings of Jersey Homesteads provide important insights into our understanding of American modernism and Jewish identity during the 1930s and beyond.}, keywords = {Artistic Practice/Creativity, North America}, author = {Palmer, Daniel} } @mastersthesis {13179, title = {Istoriato Maiolica and the Virtues of Reading in Renaissance Urbino and Beyond}, year = {2021}, school = {Maryland}, abstract = {This dissertation concerns the intersection of literary culture and luxury ceramics production in the Duchy of Urbino during the first half of the sixteenth century. Urbino was the foremost site of istoriato maiolica (narrative-painted earthenware) production in sixteenth-century Italy. These works were painted with episodes from the Bible, classical history, and mythology, including many subjects that were rarely depicted in other media. As they were made by non-elite artists for aristocratic consumption, they provide rare evidence for the reception of classical literature across social strata and in diverse environments. I assert that the diverging interpretive strategies of rulers and artists resulted from different educational practices. The aristocrats of Urbino, much like other sixteenth-century patricians, received an education that focused on Latin literacy, rhetorical structures, and the derivation of virtuous exempla from literature. In contrast, ceramics painters developed their knowledge of ancient literature through self-guided reading of vernacular adaptations, informal conversation, and printed images. As an essential part of this project, I compiled and analyzed metadata from about 450 istoriato works from museum collections in the United States, the United Kingdom, and Italy. I use the dataset to contextualize the content of three "armorial" istoriato tableware services that were commissioned by Urbino{\textquoteright}s rulers for Isabella d{\textquoteright}Este, the marchesa of Mantua (1524); Duke Anne de Montmorency, a French general and counselor of King Francois I (1535); and Cardinal Antoine Duprat, the chancellor of France (1535). By comparing these services to each other and the larger sample of istoriato dishes, I reveal the complex intertextuality of these compositions in ceramic and the diverse interpretations afforded by the medium. This is the first extensive study of Renaissance ceramics and literary culture. Moreover, I am the first scholar to employ metadata analysis to contextualize specific maiolica services within their broader regional and chronological settings. I demonstrate the invaluable and original insights that European ceramics bring to the social history of art, as well as the ways in which future art historians may turn to data-driven methodologies in order to advance our understanding of such works.}, keywords = {Northern Europe, Sixteenth Century}, author = {Dupertuis, Lindsay} } @mastersthesis {13372, title = {Looking at Bodies that Dance: Dance Index, the Visual Arts, and the Image of Performance in the 1940s}, year = {2021}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {North America, Performance Art/Performance Studies/Public Practice, Twentieth Century}, author = {Welch, Elizabeth} } @mastersthesis {13337, title = {Lorenzo Costa{\textquoteright}s {\textquoteright}Triumphs{\textquoteright} in the Bentivoglio Chapel: The Journey of the Soul and Artistic Invention in Renaissance Bologna}, year = {2021}, school = {University of Washington}, abstract = {This dissertation examines the pictorial decoration of the Bentivoglio chapel in the church of San Giacomo Maggiore, a space under the patronage of the de-facto ruling family of Bologna in fifteenth-century Italy. Specifically, my research offers the first, detailed analysis of two previously overlooked, albeit striking pictures, the so-called Triumph of Fame and Triumph of Death. These two paintings, realized by the Ferrarese artist Lorenzo Costa in 1490, draw their subject matter from the homonymous work by Italian poet Petrarch (Triumphi, or the Triumphs), and feature triumphal chariots, allegorical personifications, celestial visions, ancient characters, and portraits of Bentivoglio family members past and present. By conflating Christian and biblical iconographies with imagery drawn from vernacular poetry, classical mythology, history, and moral philosophy, these images disrupt our expectations about chapel decoration in Quattrocento Italy and resist traditional categories of artistic genres. Through a combination of close visual and textual analysis and the study of art criticism and theory, of the history of literature, and of the reception of the classical and medieval traditions, this dissertation situates Costa{\textquoteright}s Triumphs in the lively cultural milieu of fifteenth-century Bologna, at the intersection of seignorial court, university, and artistic practice.}, keywords = {Fifteenth Century, North America, Visual Studies}, author = {de Liberali, Gloria} } @mastersthesis {13350, title = {Making Spaces: Site-Based Practice in Contemporary Chinese Art in the Long 1990s}, year = {2021}, school = {Chicago}, abstract = {This dissertation is the first systematic study of contemporary Chinese site-based art, a mode of art practice that takes place in everyday urban spaces such as city streets, construction sites, and other unconventional locations. Combining extensive archival research and artist interviews, the study concentrates on the "long 1990s," a period I have defined to include parts of the late 1980s and early 2000s. The "long 1990s" brings into focus a set of discursive issues and a corresponding set of socio-structural conditions including rapid urbanization, increased transregional mobility, and a growing market economy-both of which motivated site-based art practice. While many scholars have examined urban art practices in China during this period, I draw specific attention to the growing importance of working "on-site" to reveal how questions around site and space became central to contemporary Chinese art practice.
Site-based art practice in China had roots in the late 1980s but flourished in the 1990s as more artists began to literally take to the streets to merge their art and their own physical bodies with the everyday realities of the here and now. Although this form of art practice was in dialogue with site-based art practices in Europe and North American, I demonstrate the ways in which it was distinct, particularly in its integration of both site and time, a crucial aspect that current discourses around site-specificity overlooks. I develop the term "on-site" (xianchang), which was first used by Chinese filmmakers and artists in the mid-1990s to describe aesthetic practices that take place on-location, as a culturally specific yet expansive conceptual framework to understand site-based art practice.
While recent attention to politically committed, socially engaged art has prompted aesthetic practices to be seen as either a passive reflection of socio-economic realities or a form of resistance against them, I show how working on-site allowed artists and their artworks to become active and critical participants in the social sphere without holding a predetermined social or political agenda. Considering how these art practices contributed to the expansion of physical, discursive, and social spaces, I reveal the ways in which on-site art practices articulated new forms of cultural expression in the public realm, transformed overlooked areas of the city into centers of social exchange, and linked these centers to sites abroad. Through four roughly chronological, thematic chapters that move from Chengdu and Lhasa, to Guangzhou, Beijing, Paris, and Berlin, the dissertation provides a transregional account of on-site art in China and an analytical method for examining how these practices emerged from and interacted with each local context. Through this history, I explore a set of interrelated questions: Why did artists begin working on-site during this period? How did they incorporate specific sites into the formal language of their art practice? And what were the aesthetic and socio-political stakes for doing so?
By framing site-based practice as a form of space-making, I illuminate how art, urban social life, and the built environment mutually transformed one another during a period of unprecedented urban change. My research demonstrates that since the 1990s Chinese artists have expanded static notions of site to connect the spatial and temporal specificities of local sites to multiple other sites within a transregional, global context.}, keywords = {Artistic Practice/Creativity, East Asia, Twentieth Century}, author = {Nancy P. Lin} } @mastersthesis {13364, title = {Mass Housing with Technical Aid in Welfare State Barbados, 1936-1963}, year = {2021}, school = {Brown}, abstract = {This dissertation examines government mass housing schemes that were developed for the working-class population of Barbados during the mid-twentieth century. Starting in the late 1930s{\textellipsis}}, keywords = {Architectural History/Urbanism/Historic Preservation, Caribbean, Twentieth Century}, author = {Skinner, Bill} } @mastersthesis {13341, title = {Medieval Glass and the Aesthetics of Simulation}, year = {2021}, school = {Columbia}, abstract = {Gemlike objects are a nearly ubiquitous phenomenon in the medium of glass, although culturally specific studies remain scarce. This dissertation considers the production of such works in the early medieval period, primarily in association with Abbasid rule. The first half attends to several accessory issues, including glass-related terminology, glass-coloring treatises, the lives of glassworkers, gemstone connoisseurship, and the legal status of such products. These demonstrate a range of coexisting attitudes, including the desirability of such works for their own sake rather than as surreptitious substitutes for "true" gemstones. The second half focuses on an exemplary object, an opaque turquoise glass bowl from the Treasury of San Marco in Venice, which I propose was produced in Baghdad for the caliph al-Mutawakkil just after the year 850. I then consider this work{\textquoteright}s changing reception from late medieval Venice to modern scholarship, including ways in which "correct" interpretations of its material and/or origin have been repeatedly supplanted by false leads. The fundamental argument is that gemlike vessels like the San Marco turquoise were not deceptive stand-ins but rather intended to exercise complex discursive practices, both political and connoisseurial in nature, a function that ultimately remains in effect today.}, keywords = {Islamic Art, Sixth to Tenth Century, West Asia}, author = {Matthew Gillman} } @mastersthesis {13352, title = {Monuments on Paper: Iconoclasm and the Critique of Authority in the Works of Radical French Printmakers (1871-1914)}, year = {2021}, school = {Cornell}, abstract = {This dissertation attends to the acts and rhetoric of iconoclasm by organizing and analyzing the visual expressions of anti-monumentality in late nineteenth-century French revolutionary prints. These images testify to the creative and critical prolificacy of the concept of iconoclasm as utilized by the leftist visual imagination. The demolition of the Vend{\^o}me Column by the Paris Commune of 1871 functions as a paradigmatic event with the numerous communard caricatures and posters that heralded, explicated, and documented the Commune{\textquoteright}s anti-monumental inspirations. I weave my arguments across the dialogic space between monuments and popular culture, emphasizing the latter{\textquoteright}s capacity to unmask monuments as buttresses to hegemonic systems that perpetuate social and political injustices. The operative and opposing traits-e.g. immutability and transience, singularity and multiplicity-of two disparate registers of politicized aesthetics, of monumental structures and revolutionary prints, inform the methodology of this dissertation. Iconoclasm serves as the bridge that connects monuments and prints, first and foremost as an ethical-corrective intervention into politics, society, and history; and secondly as a revolutionary-aesthetic action that disrupts the structures of power by imagining anti-authoritarian ways of being and remembering. The organizing term of the text, "monuments on paper" theorizes the capacity of print culture to enact counter-monumental functions, actively reconstituting and mobilizing the memory of the struggles that challenge the brick, stone, and bronze monuments together with the systems and injustices associated with them. Finally, this dissertation offers a historical echo to discussions in our present moment with its narrative of the political and aesthetic efforts that reveal the unsettling histories that monuments hide, in order to keep these often celebrated markers of culture from retiring into the depoliticized categories of aesthetic achievement, antiquarian appreciation, tourist attraction, and national heritage.}, keywords = {Nineteenth Century, Northern Europe, Politics/Economics}, author = {Menevse, Asli} } @mastersthesis {13163, title = {A New Creation of This Dynasty{\textquoteright}: Enamels, Glass, and the Deployment of Color in Qing China, 1700-1735}, year = {2021}, school = {Bard Graduate Center}, abstract = {At the turn of the eighteenth century, a polychrome revolution swept over Qing court arts, which saw the number of enamel colors to be applied over a porcelain surface increasing from fewer than ten, to a virtually unlimited amount. Previous research has attributed this phenomenon to the introduction of new colorants by European missionaries, yet scientific evidence suggests that color recipes could have been transferred locally from related mediums such as glass and cloisonne enamels. Building on this hypothesis, this dissertation combines material analysis and archival evidence to investigate the processes and the motivations behind the imperially-sponsored effort to create a greater range of enamel colors. Detailed analysis from workshop archives reveals how the networked and collaborative structures of the imperial workshops fostered the rapid dissemination of colorants across silicate mediums, leading to an increased chromatic range in enamels, glass, and glazes. It further demonstrates that while the Qing penchant for polychromy was partly informed by foreign contact, it also inscribed itself firmly within longstanding craft traditions and cosmological discourses in China. Reading color alternatively as an auspicious phenomenon, as a material, and as a technology, this dissertation argues that the power of the Qing state to extract and acquire color materials through tribute and trade, and to transform them into stunning finished objects, evinced technical, political, and cultural prowess. It not only sheds new light on the motivations behind the Kangxi and Yongzheng emperors{\textquoteright} patronage of polychrome material culture, but also examines the effects that the newly expanded palette had on contemporary viewers and on later theories on the nature and properties of color in Qing-dynasty China.}, keywords = {Ceramics/Metals/Fiber Arts/Glass, East Asia}, author = {Bellemare, Julie} } @mastersthesis {13374, title = {Novel Impressions: Prints, Textiles, and the Visual Economy in Europe, 1815-1851}, year = {2021}, school = {Michigan}, abstract = {No record in ProQuest or Michigan ETDs}, keywords = {Design History, Nineteenth Century, Northern Europe}, author = {Wilder, Courtney} } @mastersthesis {13131, title = {The Painter and His Poets: Paul Gauguin and Interartistic Exchange}, year = {2021}, school = {CUNY}, abstract = {Many scholars have read the work of Symbolist painter Paul Gauguin through the tales of his travels to Tahiti (1891-93) in Noa Noa, despite the fact that they are an artful fiction, written upon his return to France in collaboration with the writer Charles Morice. Instead of interpreting Gauguin{\textquoteright}s work through the lens of his biography, this study seeks to elucidate the nature and conditions of the cultural field in which the artist worked by examining objects and texts that he exchanged with three of his Symbolist literary peers: gifts Gauguin gave to poet, critic, and leader of the Symbolist movement Stéphane Mallarmé; the artist{\textquoteright}s collaboration with poet and essayist Charles Morice on his travel journal Noa Noa; and three poems after Gauguin{\textquoteright}s paintings that novelist-poet-playwright Alfred Jarry gave to the artist. Although Gauguin{\textquoteright}s gifts to Mallarmé have been seen merely as an attempt to curry favor, chapter one shows how the artist engaged with the poet{\textquoteright}s thinking about myth and authorship. Chapter two examines Noa Noa as a collaborative effort between the artist and Morice, rather than separating the contributions of each as in previous scholarship; it proposes that Mallarmé{\textquoteright}s Les dieux antiques was a model for their collaboration and argues that Gauguin{\textquoteright}s prints that accompanied Noa Noa were more Mallarméan than the text. Seeking to move beyond a biographical reading, chapter three reinterprets Ia Orana Maria, Manao tupapau, and L{\textquoteright}homme à la hache in the light of the artist{\textquoteright}s working process and Jarry{\textquoteright}s poetic interpretation. In contrast to selective readings of individual poems by previous scholars, this chapter studies each poem in its entirety, elucidating the experience of the painting that Jarry captures. It also illuminates how contemporary ideas about sexuality and the occult informed both Gauguin{\textquoteright}s compositions and Jarry{\textquoteright}s interpretations. The dissertation argues that by examining the social nature of Gauguin{\textquoteright}s art we can better identify the cultural conditions within which the artist worked and how he negotiated this milieu. To do so, it draws upon the theoretical framework of nineteenth-century semiotician Charles Sanders Peirce, joining scholars in archaeology and anthropology who have reassessed his legacy in recent years and applied his semiotic theory to their investigations of material objects.}, keywords = {Northern Europe, Painting}, author = {Slodounik, Aaron} } @mastersthesis {13334, title = {Painting the Miracles of Altagracia: Art, Piety, and Memory in Hispaniola (1751-1795)}, year = {2021}, school = {Florida State}, abstract = {This dissertation examines a series of cycles painted between 1760 and 1778 for the sanctuary of San Dionisio in Hig{\"u}ey, Hispaniola, which feature miracles performed by the Virgin of Altagracia, to identify intersections between Marian piety, artistic practice, race, and the development of Creole (island-born) origin stories during the long eighteenth century. Charged with strengthening ties between sanctuary, icon, and devotee in a rural enclave of the Spanish empire in the heart of the Caribbean, the cycles were part of a miracle-making industry that forged communities of faith, sacred landscapes, and geopolitical economies. Adopting an intertextual approach to read the medallions as an integral series, the study unpacks how the framing, context of display, and iconography helped produce collective memory. Thematic chapters engage Black presence and representation in Creole epistemologies, the role of the artist in the miracle-making industry, and placemaking in the New World through the Marian miracle narrative.}, keywords = {Eighteenth Century}, author = {Baez, Jennifer} } @mastersthesis {13181, title = {Performing Parnassus: Leonardo da Vinci{\textquoteright}s Ephemeral Productions at the Court of Milan}, year = {2021}, school = {Maryland}, abstract = {Few artists command as much attention as Leonardo da Vinci. His intellectual legacy casts long shadows over fields as diverse as aeronautical engineering, anatomy, the biological sciences, and computer programming. His surviving works, such as the Mona Lisa and the Last Supper, are nearly universally recognized. One aspect of his life and work has been far less celebrated and studied, however-his career in the theater. Scholars have consistently dismissed Leonardo{\textquoteright}s theatrical productions as either mundane enterprises disdained by the great "genius" or trivial amusements. My dissertation-the first study of these ephemeral productions-corrects this characterization and establishes that these projects were much more than frivolous entertainments. I demonstrate that they played a crucial role in developing the identity and furthering the political machinations of his patron, the illegitimate Duke Ludovico {\textquoteright}il Moro{\textquoteright} Sforza. During Leonardo{\textquoteright}s tenure in Milan (1482-1499), and alongside his better known works, he produced eight theatrical productions, which comprised pageants in honor of prominent visitors to the court, as well as major state events such as weddings. Leonardo was involved in every aspect of these undertakings: he designed costumes, invented moveable stage sets, constructed awe-inducing automata, and even collaborated in the casting process. These works exemplified Leonardo{\textquoteright}s role-as described by the historian Paolo Giovio in 1527-as the "arbiter of all questions relating to beauty and elegance, especially pageantry." Leonardo spent a significant amount of his time in Ludovico{\textquoteright}s employ designing and manufacturing ephemera for the court. His notebooks evince sustained interest in creating spectacular theatrical events for his patron. Why did the powerful and calculating Ludovico occupy his renowned court artist with designing costumes and stage props? What value did these ephemeral objects and the occasions they accompanied provide for his court? I argue that a full understanding of Leonardo{\textquoteright}s theatrical productions requires a consideration of stagecraft as statecraft. My dissertation reclaims the authority of ephemeral objects and asserts the power of the spectacle in early modern Milan. Using Leonardo{\textquoteright}s drawings and explanatory notations, as well as firsthand accounts, I recreate the experience of Leonardo{\textquoteright}s productions for his contemporary audience. My study not only situates Leonardo{\textquoteright}s ephemeral undertakings in Milan in their appropriate social and historical context, it also supports a broader reconsideration of the value and importance of ephemera in early modern Italy.}, keywords = {Material Culture, Southern Europe and Mediterranean}, author = {Upshaw, Abigail} } @mastersthesis {13106, title = {Playing Music Badly in Public: Brian Eno and the Limits of the Non-Musician}, year = {2021}, school = {UIC}, abstract = {Playing Music Badly in Public: Brian Eno and the Limits of the Non-Musician, focuses on communities of musicians in the 1970s that came from visual or conceptual art backgrounds and were committed to the concept of performing on instruments in which they had not been trained. These communities were shaped by friendship, which in turn gave these scenes a hermetic quality. This is one reason why, despite the ubiquity of art students turning to making music in the 1970s, this practice remains historically overlooked. One exception is Brian Eno, an art school graduate who found fame through his canny use of media and personal style. Eno, who put the idea of "non-musician" both into practice and working identity, was able to scale up the conceptual art and musical activity that he was doing with friends into larger vernacular networks of production, such as rock and roll and punk. Eno worked with several groups (The Scratch Orchestra, The Portsmouth Sinfonia, Roxy Music, and New York{\textquoteright}s {\textquoteright}No Wave{\textquoteright} scene) of purposefully deskilled musical groups, all of which held deep reverence for conceptual music making and remaining musically untrained. How Eno could ride a thorny premise like "non-musician," that had its roots in more hermetic experimental art and music vernaculars, into canonical and popular favor while these other groups he touched fell apart under the shambolic weight of the "non-musician" concept is a major thread of this dissertation. More broadly, while rooted in a historical moment, Playing Music Badly in Public charts an origin point for conceptual art{\textquoteright}s move into popular forms of culture, and the legacy of the untrained in our contemporary moment of deskilled politicians and democratic forms of production on the internet.}, keywords = {Multimedia/Intermedia, Northern Europe}, author = {Reeves, Chris} } @mastersthesis {13368, title = {Radiant Bodies: Living with Etruscan Bronze Candelabra}, year = {2021}, school = {Columbia}, abstract = {This dissertation considers the figural bronze statuettes crowning Etruscan candelabra (c. 520- c. 350 BCE) to discuss the value and role of body images in Etruscan art and domestic as well as funerary contexts. Candelabra rose over a meter in height to present these radiant bodies in isolation, framed by flames. The finial figures were bodies on conspicuous display, as flickering and gleaming light attracted the viewer{\textquoteright}s gaze and focused attention on the body{\textquoteright}s exposure, dress, and gestures. The emitted light defined social spaces such as the banquet and enhanced the interactions between participants, while candelabra themselves were objects of communal pleasure and viewing. In more personal contexts, candelabra also facilitated interaction with one{\textquoteright}s own body by lighting activities such as grooming and self-adornment. Ultimately, this dissertation considers the unique contributions of finial bodies in making candelabra personally and socially meaningful in domestic life, and therefore important memorial objects during a funerary transition at the end of life.
By foregrounding the finials and their cultural contexts, I aim to make contributions not only to ancient or Etruscan domestic and funerary culture generally, but particularly to the role that images of the body played as they were incorporated within personal and social objects in these contexts. To this end, I apply theories of phenomenology, embodiment, and perception while considering the value of finials as body images rather than simple subject matter. Because of the relationships that candelabra developed with their users specifically through the body, as well as their conspicuous display of body images, Etruscan candelabra earn a place in these greater theoretical discussions and have value for scholars outside the Etruscan or Ancient world.}, keywords = {500 BCE to 500 CE, Ancient Greek/Roman Art, Southern Europe and Mediterranean}, author = {Van Oppen, Brian} } @mastersthesis {13358, title = {Reimagining Mary Cassatt: Visual Inscriptions of a Gendered Lived Experience, Traumatic Grief, and Caregiving Memories}, year = {2021}, school = {Rutgers}, abstract = {No record in ProQuest or Rutgers ETDs}, keywords = {Nineteenth Century}, author = {Radhakrishnan, Lini} } @mastersthesis {13342, title = {Reliefs from the Bharhut stupa: Re-evaluating Early Buddhist narrative art (ca. 200 BCE-100 CE)}, year = {2021}, school = {Columbia}, abstract = {No record in ProQuest or Columbia ETDs}, keywords = {South Asia/South East Asia}, author = {Gorant, Charlotte} } @mastersthesis {13333, title = {Representing Modern Women: Robert Henri, Portraiture, and Identity}, year = {2021}, school = {UC Santa Barbara}, abstract = {Over the course of the American painter Robert Henri{\textquoteright}s lifetime (1865-1929), pictorial strategies of representation were hotly contested, reconfigured, and reinvented through artistic reactions broadly categorized as "modernism." Within the last twenty years, scholars have redefined modernism from primarily abstraction to modernisms-a diverse range of stylistic responses to modern life. Henri{\textquoteright}s realist portraits, however, continue to be excluded from discussions of modern expression in American art due in large part to the association of Henri with the later called "Ash Can" school or circle, the historiography of which is critically examined in the first chapter of this study.
"Representing Modern Women: Robert Henri, Portraiture, and Identity" examines a group of portraits Henri painted of modern women in the 1910s: anarchist Emma Goldman, sculptor and future museum founder Gertrude Vanderbilt Whitney, and modern dancer Ruth St. Denis. Henri visually situated his realist portraits in an ambiguous space between academic and avant-garde art and in the onerous position of fighting against both fronts. Henri{\textquoteright}s portrait subjects are integral to his portraits{\textquoteright} tendency to push, pull, stretch, and strain against the myriad competing representational strategies present at the turn of the twentieth century, especially portrait photography. Through three case studies, I analyze the individual portraits{\textquoteright} representational successes and shortcomings-their fault lines-for evidence of Henri{\textquoteright}s response to modernity while he continued to work within established visual conventions. Drawing upon Henri{\textquoteright}s portraits, biographical narratives, archival material, and photography, I argue Henri failed to anticipate the influence modern women like Goldman, Whitney, and St. Denis-through their own self-representational strategies-would have on the reception of his oil portraits. Instead of working with Henri to adapt realist portraiture to meet the demands of modern life, the modern women of Henri{\textquoteright}s portraits often worked against him. Goldman, Whitney, and St. Denis each fashioned themselves as more modern than Henri, and their individual expressions of modernity off the canvas challenged Henri{\textquoteright}s ability to produce realist portraits as modern as his subjects.}, keywords = {North America, Twentieth Century}, author = {Virginia Reynolds Badgett} } @mastersthesis {13209, title = {Ruthenians in Early Modern Rome: Art and Architecture of a Uniate Community, 1596-1750}, year = {2021}, school = {Chicago}, abstract = {This dissertation examines the visual culture of early modern East Slavic presence in Italy, to the extent it was possible to reconstruct it from the dispersed and diverse textual and visual evidence, and locates it within the urban contexts of Rome, Venice, and Naples. At the center of this inquiry is a national church of the Ruthenian (and later Ukrainian) Catholics in Rome since the seventeenth century, Saints Sergio e Bacco, with its miraculous icon of the Madonna del Pascolo. The founding of a Ruthenian national church in Rome, specifically dedicated to the celebration of the Byzantine Rite in Church Slavonic, created a cultural and religious foothold for Eastern European Slavs from the Polish-Lithuanian Commonwealth in the center of the rapidly expanding Global Catholicism. The establishment of the Ruthenian national church in Rome in the old church of Santi Sergio e Bacco in 1639 and papal beatification of the first martyr of the Union - Josaphat Kuncewicz (c.1580-1623) in 1643, formed an unprecedented opportunity for Ruthenian religious culture to be (re)integrated into Western European at the very height of cultural dominance of the Roman Baroque paradigm. Combining archival documentation, architectural and urban sites, and a diverse selection of prints, maps, books, and paintings, the dissertation examines the groundwork of this cultural integration, the specific developments in ecclesiastical culture in the wake of the Ruthenian incorporation among the already well established nationes of the Eternal City, and the formation of a recognizably new Ruthenian culture marked by what we now consider as the Baroque aesthetic.}, keywords = {Seventeenth Century, Southern Europe and Mediterranean}, author = {Upart, Anatole} } @mastersthesis {13349, title = {Screening the Apocalypse: Zombies, Visual Art and the Grotesque in the Aftermath of Social Trauma}, year = {2021}, school = {Temple}, abstract = {This project explores the zombie{\textquoteright}s status and function as an artistic traumatic grotesque within the 2000s. Coined as a grotesque "stream" by art historian Frances S. Connelly, the traumatic grotesque interrupts established visual norms by presenting contemporary social anxieties in monstrous form. Though a historically filmic monster, the zombie made its formal and enduring appearance in visual art amid the near-continuous cultural traumas of the 2000s. My goal was a better understanding of how the zombie, as expressed in art and film, embodies the traumatic imagery and psychology of three specific tragedies. They are: Britain{\textquoteright}s 2001 Foot and Mouth disease outbreak, Damien Hirst and Jenny Saville, and Danny Boyle{\textquoteright}s 28 Days Later (2002); 9/11, Dana Schutz{\textquoteright}s "Self Eaters" series (2003-2005), and George A. Romero{\textquoteright}s Land of the Dead (2005); and the 2008-2010 Great Recession, Jillian McDonald, and AMC{\textquoteright}s The Walking Dead Season Four (2013-2014).
The zombie{\textquoteright}s iconographic crossover marks art history{\textquoteright}s need for a detailed history of both zombie symbolism and how the social contexts of past and present iterations affect the monster{\textquoteright}s function and reception. I used a combination of semiotics, psychoanalysis and critical theory to begin that examination. First, a brief historiographic analysis of grotesque theory establishes the artistic construct{\textquoteright}s evolving "yes, and{\textellipsis}" semiotic functions. From within a socio-historical breakdown of zombie movies, the monster uses its grotesque characteristics to critically challenge the viewer{\textquoteright}s social identity. During cultural trauma, sociological and psychoanalytic effects transform the zombie into a traumatic grotesque. By invoking viewer identification and traumatic memory, the zombie traumatic-grotesque engages individual viewers in self-realized moments of either progressive or traditional cathartic trauma processing.}, keywords = {North America, Theory/Historiography/Methodology}, author = {Heather L. Castro} } @mastersthesis {13362, title = {See, Think, Learn: Creativity and Limits in Early Cold War Art and Technology}, year = {2021}, school = {Northwestern}, abstract = {This dissertation is about breaking points. The forms and practices examined in what follows point to the ways in which art and visual culture in the mid-twentieth century United States could put pressure on technology-could, indeed, point to technology{\textquoteright}s breaking points where it ceases to account for the fullness of the physical, social, psychological, or physiological scaffolds of lived experience. Such forms and practices are of special significance in the contemporary moment, when seeing itself has come to signify both an embodied human act and an algorithmic code. Each of the projects analyzed help to locate limits: limits of technology{\textquoteright}s capacity to record, to encode, or to model the world we live in. In the process, they shed light on the cracks and crevices where human sensibility and imagination was, and still is, needed.
A dissertation about breaking points is also fundamentally about the kinds of creative problem solving and innovation common to artistic and scientific practices. The project brings together a compendium of American artists, designers, engineers, and scientists who devised new techniques and technologies for seeing, thinking, and learning in the years between the birth of television and the emergence of modern electronic computing. They did so in the wake of World War II and the early Cold War, a time of massive government, academic, and industrial investment in techniques and technologies for knowing and a sharp increase in specialization. The practitioners I engage include artists such as Berenice Abbott, Man Ray, and Charles and Ray Eames, the engineer Jan Rajchman, a host of historians and critics ranging from science historian I. Bernard Cohen to the novelist and former chemist Charles Percy (C. P.) Snow, and mathematicians, from the nineteenth-century geometer Felix Klein to Claude Shannon and Alan Turing, foundational figures of computer science. In their efforts to enhance the human sensorium through technologies, they sought to overturn disciplinary boundaries and enable a mass populace to access knowledge through perception retooled for the techno cultural future they imagined.}, keywords = {Design History, North America, Twentieth Century}, author = {Shabtay, Talia} } @mastersthesis {13355, title = {Seeing Bonnard: Pierre Bonnard through the Lens of Edgar Degas}, year = {2021}, school = {Emory}, abstract = {No record in ProQuest or Emory ETDs}, keywords = {Nineteenth Century}, author = {Pierce, Haley} } @mastersthesis {13351, title = {Somos madres {\textquestiondown}y qu{\'e} m{\'a}s?{\textquoteright}: Feminism, Maternal Subjectivity, and Artistic Practice in Mexico City, 1971-91}, year = {2021}, school = {Tulane}, abstract = {On Mother{\textquoteright}s Day in 1971, a group of fifteen women gathered in front of the Mother{\textquoteright}s Monument in Mexico City in the first protest against the "myth of the mother" in Mexican culture and society. These activists, later forming the group Mujeres en Acción Solidaria, set out to examine the impact of this mythology on women{\textquoteright}s lived social and psychological experience. Participants invited public dialogue by distributing pamphlets marked with the question, somos madres {\textquestiondown}y qu{\'e} más?-"we are mothers and what else?" Rather than reject "the mother," its roles and associations, a significant number of Mexican women worked to interrogate its performative construction and open it to collective transformations.
This dissertation focuses on artists Maris Bustamante, Guadalupe García, Ana Victoria Jiménez, Magali Lara, and Mónica Mayer whose works emerged within the intersection of the contemporary art scene, the women{\textquoteright}s movement, and contested meanings of the maternal in Mexico City during the 1970s and 80s. Ideologies forged over centuries in Mexico established the role of mother as categorically distinct from that of artist and thus devalued and effaced women{\textquoteright}s creativity in the art world. Mexico City was, at the same time, home to a vocal women{\textquoteright}s movement that sought to interrupt and transform patriarchal formations of gender and a vibrant artistic community in the midst of redefining the very possibilities of art.
I argue that, within this moment of feminist and creative potentialities, these artists reconfigured their maternal subjectivity as a foundation from which to articulate innovative practices as democratic critique. Their works form a set of artistic practices that fundamentally transvalued the maternal in Mexican visual culture and society from non-prescriptive feminist and artistic perspectives. My analysis traces their strategic artistic interventions into key spaces where the role of mother has been relentlessly produced and performed, within visual culture, social rituals, and labor in domestic, public, and educational spheres. Their archive asserts the maternal as central to the invention of new forms of artistic practice in Mexico. Its analysis here performs a rupture within existing art historical discourses that allows space for the role of artist/mother to be possible.}, keywords = {Genders/Sexualities/Feminisms, North America, Twentieth Century}, author = {Erin L. McCutcheon} } @mastersthesis {13367, title = {The Subversive Possibilities of Diaspora: Aesthetic Subjectivities of Migration and Displacement in South Korean and Japanese Art, 1960s-Present}, year = {2021}, school = {Ohio State}, abstract = {My dissertation examines the visual politics of Asian Americans in the works of four artists of South Korean and Japanese descent: Ruth Asawa, Anicka Yi, Kimsooja, and Yoko Ono. Through close examinations of sculptures, installations, performances and video artworks, I show how these artists are invested in the entangled issues of gender, race and mobility. The works of these Asian American and Asian diasporic women artists illuminate the discursive relationship between visual culture and political subjectivities in the twentieth century, raising critical questions of the contested notion of citizenship, belonging, and (dis)placement. My project investigates the ways in which visual works by Asian American and Asian diasporic artists not only articulates but also emerges out of particular set of political subjectivities. The four artists use their works to explore the limitations and possibilities of diaspora, as they transcend, yet are often limited by, the boundaries of a nation and its related racialization. My dissertation examines how the artistic practices of the four Asian American and Asian diasporic artists simultaneously highlight and erase the national and geographical frames that have crucially shaped their aesthetic concerns. By examining the visual qualities of these artworks through contemporary race and gender theory and criticism, my dissertation attempts to change the terrain of modern and contemporary art history to create a space for the four artists.}, keywords = {Asian American/Asian Diaspora, East Asia, Twenty-first Century}, author = {Uhm, Eunice} } @mastersthesis {13133, title = {Toward a Critical Poetics: The Art of Carl Andre, Dan Graham, and Eva Hesse, 1965-1970}, year = {2021}, school = {IFA/NYU}, abstract = {Possible Poems: The Poetics of Carl Andre and Dan Graham, 1959-1969, is a counter-history of the early careers of two artists. While art historians tend to associate Carl Andre with Minimalism and Dan Graham with Conceptual Art, each considered themselves poets before they were visual artists. Both Andre and Graham began their careers writing poetry during a period when high modernists like Ezra Pound and William Carlos Williams remained vital models. Andre produced mature poems, often in emulation of Pound, starting in the late 1950s. In emulation of Andre and others, Graham began writing and constructing a largely unknown body of poetry in the mid-1960s. "Possible Poems" demonstrates that for Andre, poetry preceded and inspired his sculpture. While historians consider Graham{\textquoteright}s work as emblematic of the conceptual dematerialization of the late-1960s, "Possible Poems" establishes an alternative narrative-arguing that this work represents a new strain of material poetics, a plastic and objective approach to language and its assembly, that has roots in the poetics of the first half of the century. Grounded in extensive archival research, "Possible Poems" situates Andre and Graham{\textquoteright}s earliest, often-overlooked work in the specific culture of New York City-in the context of the civil rights movement of the early 1960s, the possibilities of new communication technology imagined by Marshall McLuhan{\textquoteright}s popular media and cybernetic theory in the mid-to-late 1960s, and the rapidly-changing social mores precipitated by the sexual revolution at the end of the decade.}, keywords = {North America, Sculpture}, author = {Buonocore, Jennifer} } @mastersthesis {13353, title = {Under Arrest: Photography, Censorship, and the Mapplethorpe Controversy}, year = {2021}, school = {Tulane}, abstract = {This dissertation explores how the Mapplethorpe Controversy-a term used here to signify the broader curatorial, artistic, intellectual, political and social issues that led to and arose out of the now notorious 1989 retrospective, Robert Mapplethorpe: The Perfect Moment-changed photography. I situate the controversy as a flashpoint within the Culture Wars and explore how institutions explicitly and implicitly create and circulate myths. I argue that the Mapplethorpe Controversy, along with the intense political and public responses in Congress, the national media, Supreme Court and academic press indicate that at stake was not the art, per se, but the deep-seated social fears posed by the bodies, real and imaginary, represented in this art and their explicit relationship to the terms of alternative identity politics and its potential disruption to the traditional social order.
This dissertation contributes to the existent scholarship that surrounds Robert Mapplethorpe and his work and uses the controversy it generated as an anchor for exploring questions about the social and political stakes of cultural representation. What does American culture look like? What should it look like? Who does American culture represent and who should it represent? These were the questions of the Mapplethorpe Controversy, the questions of the Culture Wars. They are the questions we face. What the Mapplethorpe Controversy exposed was that art participates in public life and "art people"-artists, critics, art historians, curators-must acknowledge rather than deny this exchange.}, keywords = {North America, Twentieth Century, Visual Studies}, author = {Mintz, Jordan} } @mastersthesis {13336, title = {Urban {\textquoteright}Voids{\textquoteright}: Picturing Light, Air, and Open Space in New York, 1890-1935}, year = {2021}, school = {Pennsylvania}, abstract = {In late nineteenth- and early twentieth-century New York City, open spaces became as significant as built forms. Scholarship on the rapidly growing city and images of it has often emphasized superlatively tall skyscrapers, vast infrastructure projects, and the density of buildings and people. My dissertation offers a reoriented perspective on these urban transformations by addressing the spatial inverse of the skyscraper and the crowd: the open spaces between buildings and the salutary light and air that they preserved. Forged through legal battles over property and contoured by everyday use, these interstices were integral components of artists{\textquoteright} and residents{\textquoteright} intersecting experiences of the city-especially for women, immigrants, and African Americans, who disproportionately lived and labored in dense places. Yet, the relative invisibility of these "negative spaces" challenged traditional modes of visual representation, such as cartographic views, architectural rendering, and landscape painting. Artworks by John Sloan, Georgia O{\textquoteright}Keeffe, and Aaron Douglas, reveal that painters turned to open-air zones to explore the new spatial dimensions that knit the city together, and that they exploited modernism{\textquoteright}s freedoms in form, style, and subject matter to do so. Through maps, municipal records, and artists{\textquoteright} archives, three thematic case studies resituate art objects within the places of their making and spatialize artists{\textquoteright} biographies. By examining how artists{\textquoteright} strategies to negotiate space in their paintings were intertwined with the efforts of city planners and other civic stakeholders to shape urban open space, my project engages and critiques a historical narrative in which twentieth-century art inevitably culminates in abstraction-and argues for the importance of specificity of place and space in art historical analysis.}, keywords = {North America, Painting, Twentieth Century}, author = {Lee Ann Custer} } @mastersthesis {13215, title = {Variations on Monumentality: Laboring Bodies and Socialism, 1930-1970}, year = {2021}, school = {UC Irvine}, abstract = {Although widely used in discourses of art and architecture in the Romanian People{\textquoteright}s Republic during the late 1950s and early 1960s, the term "monumentality" ("monumentalitate" in Romanian) was not clearly defined. Often applied to architecture, the term also described works of art that signaled the ostensibly stable and durable qualities of traditional monuments. Interestingly, however, the term was only implicitly used in regards to representations of human figures, although socialist realist depictions of laboring figures frequently depict human bodies as proportionally large and powerful. This dissertation analyzes representations of laboring bodies by Romanian artists working within a bourgeoning state socialist system, considering the centrality, but also the variability of the concepts of monumentality in such representations. This dissertation argues that such conceptions involved-and even depended upon-not only the semantic flexibility of monumentality, but also the unstable tendencies of scale as a relational quality. Thusly exploring monumentality as an unstable and fluid set of concepts, rather than monolithic and historically transcendent, the present study focuses on the work of three Romanian artists: the collaborating sculptors Zoe Baicoianu (1910-1987) and Boris Caragea, (1996-1982), and the painter Corneliu Baba (1906-1997). All three artists rose to prominence in the RPR during the 1950s, and each navigated the RPR{\textquoteright}s official relationship with Soviet cultural influence and the parameters of socialist realism. Approaching conceptions of monumentality as distinct from-if also overlapping with and often closely tied to-conventional monuments, the project seeks to understand how political and artistic discourses linked monumentality with ideas of power, permanence, and stability in periods of global upheaval and uncertainty, while also challenging characterizations of the quintessential socialist worker as a robust and muscular colossus.}, keywords = {Politics/Economics, Twentieth Century}, author = {Francolino, Julian} } @mastersthesis {13130, title = {Xanthus Smith: Marine Painting and Nationhood}, year = {2021}, school = {CUNY}, abstract = {This dissertation is the first study dedicated to the Civil War marine paintings of Xanthus Smith (1839-1929), a nineteenth-century American artist who served in the Union Navy and depicted the naval war for over fifty years. In 1862, Smith was stationed in Port Royal, South Carolina, where he witnessed the Port Royal Experiment: a groundbreaking federal initiative to transition the slaves of the surrounding Sea Islands to citizenship and a free labor cotton economy. Smith{\textquoteright}s earliest wartime paintings document the dawn of freedom in the Sea Islands, but he eventually ceased to picture the war{\textquoteright}s sociopolitical impact in favor of heroic martial imagery that masked the Civil War{\textquoteright}s racial unrest, political transformations, and violence. Building on the scholarship of David Blight and Kirk Savage, I examine Smith{\textquoteright}s work through the interpretive lens of Civil War memory, arguing that he participated in a culture of remembrance that jettisoned the fraught legacy of emancipation to facilitate the reunion of white Americans. This project draws on Smith{\textquoteright}s oeuvre to prompt a fresh consideration of race and Civil War memory in nineteenth-century American art, thereby enriching the understanding of artistic responses to the Civil War and its aftermath.}, keywords = {North America, Painting}, author = {McGraw, Eva} } @mastersthesis {12937, title = {Accomplices in Art: The Expansion of Authorship in the 1970s and 80s}, year = {2020}, school = {CUNY}, abstract = {This dissertation introduces the "accomplice," a new figure in histories of performance and appropriation art in the United States and Western Europe during the 1970s and {\textquoteright}80s that allows us to completely revise the relations of property, agency, and authorship that have been assumed in these fields. The accomplice is defined here as a type of agent who shares in the responsibility of artworks that are often centered on tactics of legal or ethical disobedience while the recognition of her or his authorial position in the artistic production is deliberately obscured, diminished, or overlooked. Focusing on the work of Chris Burden, Hannah Wilke, Martin Kippenberger, and Cindy Sherman, I argue that these artists exploit the ambiguities between clearly delineated roles of artist and viewer by mobilizing a range of significant, but often discounted, auxiliary participants-such as assistants, documenters, romantic partners, and legal representatives-to rethink existing models of the social in favor of a networked yet hierarchical collectivity. My dissertation focuses on artistic projects in the 1970s and {\textquoteright}80s that expand the frameworks of artistic authorship through the use of auxiliary agents to test the limits of a subject{\textquoteright}s rights as they were being negotiated in the wider historical context of contemporaneous social, legal, and aesthetic debates during this period-civil, women{\textquoteright}s, and gay rights movements, the Vietnam War draft, rights of publicity, privacy, and intellectual property legislation, and aesthetic or critical debates over one{\textquoteright}s self, property, and representation. I position the work of Burden, Wilke, Kippenberger, and Sherman as an extension of ideas concerning the increased involvement of audiences and interpretive agency given to performers advanced in the late 1950s and {\textquoteright}60s, while also serving as a prehistory to post-89 participatory practices, particularly those that stage antagonistic social relations. At the same time, this dissertation presents a distinct model of "auxiliary participation" in that the accomplices tend to remain within the domain of authority of the nominal artist while are not necessarily hired nor are centrally visible as performers in the work of art, may not have agreed to the full terms of their engagement, and their participation typically does not result from an artist engaging audiences in the creative process but rather producing manipulative situations that explore power differentials.}, keywords = {Artistic Practice/Creativity, Twentieth Century}, author = {Stutterheim, Sydney} } @mastersthesis {13211, title = {Addressing the Body: The Artless Art of Jean-Etienne Liotard}, year = {2020}, school = {Yale}, abstract = {Jean-Etienne Liotard (1702-1789), a successful portraitist famous throughout Europe during his lifetime, has only recently been awarded a place in the canon of eighteenth-century art. Born in Geneva, trained in Paris, and profoundly altered by his experiences during a five-year stay in Constantinople, Liotard remains somewhat of an enigma today. This dissertation discovers the core tenet of Liotard{\textquoteright}s artistic project in the notion that a kind of natural vision could be recovered by forsaking techniques of looking induced by "civilizing the eye." The study traces Liotard{\textquoteright}s hitherto unexplored intellectual relationship to his fellow Genevan Jean-Jacques Rousseau, and argues that ideas about nature and civilization expressed in Rousseau{\textquoteright}s writings offered Liotard a guide for his return to a primordial state of perception. The dissertation forms part of a larger current in recent scholarship to question inherited conceptions about the "Age of Enlightenment." Its art-historical perspective contributes to a critical reassessment of the Enlightenment{\textquoteright}s central project of erecting a rational self-conscious subject.}, keywords = {Eighteenth Century}, author = {Brandner, Christine} } @mastersthesis {13116, title = {An Aesthetics of Resistance: Rasheed Araeen, Bani Abidi, and Hamra Abbas}, year = {2020}, school = {UIC}, abstract = {"An Aesthetics of Resistance: Rasheed Araeen, Bani Abidi, and Hamra Abbas" explores how constructions of national and Islamic identities, as well as other monolithic categories such as modernism, erase-or disallow-difference. Through a variety of media and approaches, the artists in "An Aesthetics of Resistance" resist, and in some cases refuse, easy consumption. Chapter one explores the work of Rasheed Araeen who-as the historical anchor of this project-assumes a central role in exploring how artists navigate the post-colonial, globalized world. Araeen{\textquoteright}s work developed at a time when the migrant body and questions of the Islamic became intertwined as part of the public discourse in a way that it previously had not and-as such-portends the generation of artists to emerge after September 11. But while Araeen{\textquoteright}s work expresses and confronts the experiences and violence of racism, the work of Bani Abidi and Hamra Abbas point to the systemic structures that inform neo-colonial thinking and practice. Their work considers not just the burden of art historical representation but exposes the conditions that have made representation impossible. While current art historical categories separate the world into fixed identities that assume self-contained histories, the artists examined in this dissertation disrupt conventions of categorization, collection, and display in order to counteract grand narratives that assume a teleological history.}, keywords = {Multimedia/Intermedia, South Asia/South East Asia}, author = {Greenwalt, Karen} } @mastersthesis {13193, title = {The Age of the Polychrome Kaftan: Sartorial Systems of Central Eurasia (400-900 CE)}, year = {2020}, school = {Cornell}, abstract = {This study investigates how diverse communities across Central Eurasia crafted a particular garment type, the kaftan, into a cosmopolitan fashion in the second half of the first millennium CE. Previous scholarship has treated the kaftan as a nomadic riding ensemble adopted by settled populations for practical reasons. However, I show that in the fifth century CE, communities across Central Eurasia began to consistently construct a novel garment type according to four hallmark design features: sleeves, a fitted bodice, attached skirting, and overlapping front panels that can form lapels. This flexible but distinctive combination of features encouraged communities to modify, customize, and adorn other aspects of the garment (for example, the fabric pairing and hem length) while maintaining its recognizability. Furthermore, these personalizations did not inhibit the hallmark convertible lapel, which allowed wearers to style and re-style their garment in numerous ways instantaneously. Although the communities that adopted the kaftan were exceptionally diverse - ranging from rigidly hierarchical empires to more socially-mobile city-states, and relatively democratic nomadic polities- all of them placed the kaftan at the center of their sartorial systems. As a result, regional systems began to overlap, some mildly brushing edges and others layering over one another. As an internationally recognized fashion, the kaftan became a critical tool for cross-cultural communication. My analyses of surviving textiles, representations in wall painting and rock relief, and textual sources reveal how communities utilized the kaftan for communication. The three primary case studies are the banquet in Sogdiana (Tajikistan and Uzbekistan), the hunt in Sasanian Iran, and the funeral in Alania (Russian Northern Caucasus). Each community{\textquoteright}s approach to making and wearing a kaftan illuminates how they responded to an increasingly cosmopolitan and polycentric political landscape of first millennium Central Eurasia. Some communities, such as the Sogdians, fully embraced the kaftan{\textquoteright}s mutable design, and used it to establish subtle social distinctions in the context of transcontinental economic ventures. Some approached it more cautiously, concealing luxurious details to allow surprise transformations during difficult negotiations: for example, the Alans, who steered trade and traffic through their territory. Still others pushed against the kaftan{\textquoteright}s advancement of social fluidity. The ruling Sasanian elite manipulated the kaftan by hindering its dialogic dimension which might undermine the empire{\textquoteright}s rigid socio-political structure. Whether it produced conviviality, competition, or conflict, the kaftan delivered a cosmopolitan fashion for a cosmopolitan milieu. The kaftan equipped Central Eurasian denizens for a multitude of social, economic, and political endeavors, and allowed them to step in and out of sartorial systems for communicating on the local, regional, and international scale.}, keywords = {Central and North Asia, Material Culture}, author = {Hensellek, Betty} } @mastersthesis {13191, title = {Ambiguous Bodies: Gender Non-Conformity and Bodily Transformation in Early Modern Italian Art}, year = {2020}, school = {Maryland}, abstract = {This dissertation examines images of ambiguously gendered human bodies in early modern Italian art (1600-1750). Specifically, it explores how artists rendered bodies that underwent a physical change, transforming from conforming men and women into ambiguous or gender-fluid entities. However, the alterations to these figures{\textquoteright} forms did not relegate them to the period{\textquoteright}s third category of gender, the hermaphrodite. Rather, they entered into liminal spaces between the defined boundaries of male and female. Focusing on Italy and its interactions with other European centers, including England and Spain, I explore the ways in which artists constructed a new visual language for the portrayal of ambiguously gendered bodies by turning to a variety of novel sources. In particular, I examine artists{\textquoteright} use of medical knowledge from treatises on congenital diseases, anatomical illustrations, and surgical manuals. In combination with artists{\textquoteright} use of classicizing myths and religious doctrines, these medical sources enabled artists to render figures as recognizable derivations from the natural order, while still retaining attributes of their humanity. Three case studies demonstrate how these issues manifested on the painted surface: Jusepe de Ribera{\textquoteright}s portrait of Magdalena Ventura and Her Husband (1631); Jacopo Amigoni{\textquoteright}s Musical Portrait Group: The Singer Farinelli and Friends (1750-1752); and Giovanni Andrea Coppola{\textquoteright}s altarpiece Martyrdom of Saint Agatha (1650). The subjects of these paintings-hirsutes (figures whose hair covers the entire body or face), castrati (male singers who were castrated before reaching puberty so that their voices would remain at a prepubescent height and pitch), and Saint Agatha (an early Christian virgin martyr whose breasts were amputated) demonstrate how slippages between conforming male and female bodies existed across early modern life and belief. Drawing from the fields of Art History, Social History, Gender Studies, History of Medicine, and Literature, this dissertation elucidates the early modern preoccupation with understanding bodily difference-a preoccupation, I argue, of equal importance for artists, philosophers, and medico-philosophers as studying and representing the ideal Renaissance body. This project, therefore, presents an opportunity to reconsider the parallels between early modern definitions of non-conforming bodies and issues surrounding gender identity in contemporary society.}, keywords = {Genders/Sexualities/Feminisms, Southern Europe and Mediterranean}, author = {Berkowitz, Sara} } @mastersthesis {13174, title = {An American Sun Shines Brighter{\textquoteright}: Art, Science, and the American Reinvention of Photography}, year = {2020}, school = {Bryn Mawr}, abstract = {When and where was photography invented? Received knowledge tells us that a few European men of distinction invented the medium sometime around 1839. This dissertation de-centers this origin story to include the United States, where artisans, chemists, and instrument-makers effectively reinvented photography, transforming it from a scientific curiosity into an instantaneous image and a mass-reproducible commodity. In the antebellum US, a culture of public science and democratic network building cultivated a collaborative community of artisans and scientists skilled at the manipulation of the material world as federal projects like the US Mint and the postal service encouraged the circulation of images and information also fostered crucial developments in photographic technology. This history illustrates how cultures of American science and art were less dialectical pairs than mutually imbricated practices and how, in this context, we may conceive of the daguerreotype as a product of artisanal labor and as part of a democratic community of instruments deployed in order to connect an ever-expanding United States. The dissertation consists of five chapters arranged chronologically. Chapters One and Two examine the work of figures including the instrument-maker Joseph Saxton, metallurgist Robert Cornelius, and the chemist John W. Draper, who buttressed photographic development through photochemical experimentation and artisanal refinements. Chapters Three and Four address the American art of portrait photography and how the professional portrait studio served as both a site of racial suppression and democratic relationality. In these chapters I examine the images and writings of the craniologist Samuel Morton, the photographer Marcus Aurelius Root, and the orator and anti-slavery advocate Frederick Douglass. Chapter Five examines Eadweard Muybridge{\textquoteright}s Animal Locomotion (1887) as a key moment of departure from an understanding of photographic practice as a skilled craft, to a new perception of the medium as an amateur pastime and scientific tool in the form of the instantaneous snapshot. Finally, in a gesture toward the present, I offer a coda examining Chris McCaw{\textquoteright}s Sunburn series, which I suggest illustrates how the medium{\textquoteright}s chemical and artisanal past has come to serve a renewed aesthetics of fine art photography in the twenty-first century.}, keywords = {North America, Photography}, author = {Smiley, Michelle} } @mastersthesis {13127, title = {American Women Artists of the New Deal and Mexico, 1934-1943}, year = {2020}, school = {IFA/NYU}, abstract = {After the Stock Market Crash in 1929, women played a central role in rebuilding the American economy through relief work, administration, education, medicine, and the arts. The careers of many women artists of the 1930s intersected with two of the most defining movements of the day: Mexican muralism and the New Deal Federal Art Project. Many of these women traveled to Mexico themselves or worked for Diego Rivera while he was painting murals in the United States. The record these women created of Mexico during the 1930s is invaluable and also demonstrates how they returned from Mexico and immediately became involved in creating socially-engaged federal artworks as a form of social uplift during the Great Depression. The first chapter on Mexico and the American Scene discusses several artists who traveled to Mexico in the 1910s and early 1920s before muralism had gained an international reputation. These artists include Helen Hyde (1868-1919), Doris Rosenthal (1889-1971), and Edward Weston (1886-1958), each of whom advanced a new style and approach to capturing life in Mexico before it had become a popular place to travel. The second chapter focuses on the federal projects in New York City and those artists from the region who applied the knowledge they had learned from the Mexican muralists to their work on the NYC-WPA. These artists include Ione Robinson (1910-1989), Lucienne Bloch (1909-1999), and the sisters, Marion Greenwood (1909-1970) and Grace Greenwood (1905-1979). Robinson had traveled to Mexico on two trips, first in 1929 and later from 1931 to 1932, while Bloch studied with Rivera in Mexico and the U.S. from 1931 to 1934, and the Greenwood sisters traveled to and from Mexico from 1933 to 1936. In the third chapter, Chicago artists who were interested in Mexican culture and worked on the federal projects are discussed; these include Florence Arquin (1900-1974), who traveled to Mexico several times from 1943 to 1948, Doris Lee (1905-1983), who went to Mexico in 1947, and Eleanor Coen (1916-2010), who went from 1941 to 1942. The final chapter discusses women artists from California who both worked for the federal projects and traveled to Mexico including Henrietta Shore (1880-1963) and Helen Forbes (1891-1945), who both traveled to Mexico in 1926, as well as Maxine Albro (1893-1966), who went in 1931. Each artist was transformed by her time in Mexico and carried the lessons and styles learned with her. The federal artworks completed by the women artists interested in Mexico in the 1930s reveal a depth of process tied their desire to make a difference in society. For these women, Mexico not only represented escape from the restrictions of American society and exotic settings, but also a chance to learn about radical political ideology, new forms of Social Realism and activism, as well as new color palettes, art forms (such as muralism and printmaking), and styles of art. The work they produced for the federal projects in the U.S. was also informed by their increasingly open-minded, international, and socially-engaged mindsets. Bloch, for example, later completed murals for a detention center for women in downtown Manhattan, while Marion Greenwood painted a mural at the Red Hook Housing Project in Brooklyn. Coen, while living in San Miguel de Allende, painted a mural of women and children for the School of Fine Arts that is still there today. In San Francisco, Albro painted the mural California Agriculture at Coit Tower in 1933, which captures the state{\textquoteright}s natural abundance at the time and references Rivera{\textquoteright}s work at the agricultural University in Chapingo in Mexico. Each artist used her knowledge of Mexican art to re-invent the American Scene style in the 1930s and 1940s and the cross-cultural legacy they created changed American art forever. Furthermore, this dissertation proves that history is not always a summation of the available facts - while more American men did travel to Mexico in the 1930s, a greater number of women artists than has been suggested by the history books also made the journey. Moreover, the discussions in this dissertation of male protagonists and their work for the New Deal provide context and create productive dialogue for situating the women artists of that movement. Women artists have long decried the tendency to discuss their female identity before discussing their actual work and many of the artworks produced by the women in this dissertation are noticeably gender-neutral. The women artists of the New Deal also occupy that increasingly popular category of art history labeled as "re-emerging artists." They had reputations and received acclaim during their lifetimes but subsequently fell into semi-obscurity after World War II during the rise of other vanguard modes of American art.}, keywords = {Central America}, author = {Frasco, Elizabeth} } @mastersthesis {12939, title = {Antiquity and Empire: The Construction of History in Western European Representations of the Ottoman Empire, 1650-1830}, year = {2020}, school = {UNC Chapel Hill}, abstract = {European interest in antiquities, particularly those associated with the Greco-Roman past or biblical geography, flourished in the early modern period. Travelers, as well as merchants and diplomats, increasingly sought out new sites in Anatolia and the Middle East wherein to study, draw, and collect a variety of ancient objects, from small coins and sculptural fragments to monumental architecture. Beginning with sixteenth-century Ottoman expansion into Attica and Syria and ending with the French and British excavations near Mosul in the 1840s, this dissertation examines how Europeans and Ottomans represented and claimed antiquity at Palmyra (Tadmor), Aleppo, Nineveh (Mosul), and Athens using images, texts, and collections. Although each chapter focuses on a specific site, the project conceptualizes Palmyra, Aleppo, Nineveh, and Athens as physical and discursive nodes in unwieldy antiquarian, mercantile, and political networks. Tracing the movement of individuals and objects through these networks is central to understanding how ideas about antiquity circulated in this period. By incorporating the sites{\textquoteright} ancient cultural heritage into their own narratives about the past, both materially and discursively, early modern artists, authors, and collectors justified European and Ottoman imperial claims to antiquities and the sites themselves. The first chapter on Palmyra examines visual and textual accounts created after Europeans "rediscovered" the desert city{\textquoteright}s monumental classical architecture in the late seventeenth century. Chapter two analyzes the construction of Aleppo as a place of mercantile and cultural exchange in early modern art, architecture, travel literature, and collections. The third chapter proposes that Nineveh and Mosul were particularly flexible as formal and historical signs before the nineteenth-century excavations of Assyrian art and architecture. Chapter four argues early modern Athens functioned as a physical and discursive battleground over Hellenic antiquity because Europeans and Ottomans both creatively integrated the city{\textquoteright}s ancient monuments into their own nationalistic narratives and religious practices. Lastly, the conclusion addresses how the images and objects considered in the project continue to inform current representations of and debates about ancient cultural heritage-both material and intangible-in Greece, Turkey, Syria, and Iraq.}, keywords = {Eighteenth Century}, author = {Calvin, Katherine} } @mastersthesis {13159, title = {The Architecture of Dispossession: Migrant Sarifa Settlements and State-Building in Iraq}, year = {2020}, school = {MIT}, abstract = {No record in Proquest or MIT ETDs}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Huma, Gupta} } @mastersthesis {13207, title = {The Art and Pedagogy of Josef Albers}, year = {2020}, school = {Virginia Commonwealth}, abstract = {Josef Albers (1888-1976) was an artist and educator best known for his teaching on color and for his painting series Homage to the Square, which he worked on from 1949 until his death. The symbiotic relationship between his teaching and artmaking practices, as well as the value Albers placed on the ongoing pursuit of knowledge, contributed to a lifelong commitment to teaching and learning whether he was at the Bauhaus, BMC, Yale, or in any other institutional context. This dissertation, in addition to offering a history that addresses the development of both Albers{\textquoteright} teaching methods and his artworks, identifies three beliefs which can be traced from his youth to his last days. These are: (1) the economy of means, (2) truth to materials, and (3) art as an extension of life. While these beliefs have been discussed and identified by scholars over the years as truisms with and through which to discuss Albers{\textquoteright}s life and work, they have not been studied as connecting themes that persist irrespective of where he worked, and that manifest differently depending on his context. The consistency and contingency of these beliefs is the primary contribution of this dissertation, as it offers examples and traces the evolution of their manifestations through Albers{\textquoteright}s life story.}, keywords = {North America}, author = {Alvarez, Andrea} } @mastersthesis {13220, title = {Art in Revolt: Material and Meaning in the 80 Years{\textquoteright} War}, year = {2020}, school = {Pennsylvania}, abstract = {The Dutch Revolt against Habsburg Spain, also known as the 80 Years{\textquoteright} War (1568-1648), was instigated by an attack on images: in 1566 Calvinists stormed Catholic churches across the Low Countries, stripping their walls of "idols." With shattered glass and beheaded statues, the beeldenstorm, or the Iconoclastic Riots, brought a new consciousness to the materiality of art. This dissertation is a materially-oriented, multimedia analysis of art made in the afterglow of the Riots, specifically works that take the war as their raison d{\textquoteright}etre. With each chapter shaped around a single medium-textiles, medals, and prints-this dissertation foregrounds materials and their technical processes as essential to the meaning of war objects. Tracing the development of subject matter during the conflict reveals artists analogically utilizing biblical typology, classical narrative, and complex allegory to render the war. The great Northern art theorist Karel van Mander lamented the war{\textquoteright}s toll on the production and preservation of art, but his writings also evince the conflict{\textquoteright}s ironically generative properties. Using Van Mander{\textquoteright}s method of analysis as a point of departure, this dissertation tracks the conflict{\textquoteright}s generative trait beyond paintings, in media such as tapestries, damask linens, medals, and prints. Lastly, this dissertation offers an analysis of art from both the Northern and Southern Netherlands, as a corrective to the privileging of the Northern rebels{\textquoteright} political works. From the debris of smashed and shattered art, new materials and subject matter were created and inflected with a consciousness of war and the fragility of their matter.}, keywords = {Multimedia/Intermedia, Northern Europe}, author = {Wise, Rachel} } @mastersthesis {13217, title = {The Art of Memory in Byzantium during the Later Middle Ages}, year = {2020}, school = {Yale}, abstract = {The Art of Memory in Byzantium during the Later Middle Ages examines the way in which processes of memory were defined and practiced in eastern Mediterranean territories from the thirteenth to fifteenth centuries. Through an investigation of contemporary Byzantine tracts on the subject, as well as analysis of trends in the visual arts, this study assesses the relationship of memory to concepts of cognition and sight. In doing so, this dissertation identifies major shifts in thought that occur during the Palaiologan period (c. 1204-1453); these changes affirm that, during the so-called "twilight" of the Empire, concern for retaining memory and avoiding oblivion did not wane, but became increasingly pervasive in both intellectual and monastic life. This project follows three avenues of inquiry: a survey of Byzantine ideas regarding memory function, a study of visual mnemonics in art, and an evaluation of images as records of collective history. The introduction considers how Byzantine writers engaged in discussions of memory, recollection, and the relationship of these concepts to perception. Unlike their counterparts in the medieval West, Byzantine authors did not develop new, extended mnemonic systems or guides. In both societies, however, a continuous tradition of thought on the workings of memory stemmed from ancient conventions. Michael of Ephesos{\textquoteright}s twelfth-century In Parva Naturalia Commentaria contains the first extensive Byzantine commentary on Aristotle{\textquoteright}s De memoria; in the thirteenth and fourteenth centuries, however, the number of commentaries increases exponentially. Paraphrases by scholars including Sophonias, George Pachymeres, and Theodore Metochites emphasize that Byzantine memory depended on the faculty of sight and that "sense-images" stored in the body were necessary to activate recollection. Chapter one analyzes Metochites{\textquoteright}s writings and his commission of the Chora Monastery to offer insights into the perception of memory in Constantinopolitan intellectual circles of the fourteenth century. During this period of renewed scholarly engagement in the Byzantine capital, Metochites{\textquoteright}s compositions reveal a personalized notion of memory. He imagines the mind as a space that must be continuously honed, both in the context of secular learning and in knowing God. In the construction of his foundation and its library, he creates a treasury designed to store the traces of his wisdom and create a refuge for his eternal memory after death. At the same moment, new iconographies and methods of organizing images appeared and flourished in art within the Byzantine sphere. This dissertation further concentrates on these visual innovations and proposes that their underlying purpose was to cultivate memory practices within monastic communities. Chapter two focuses on visual cycles of the Akathistos, a hymn of praise honoring the Virgin written in early Byzantium, but painted only after c. 1300. The stanzas, structured by acrostic, each receive a separate depiction; I explore how these iconographies, found both on church walls and within the pages of manuscripts, employ mnemonic strategies to stimulate monastic contemplation. Likewise, chapter three considers the spatial placement of menologia (hagiographical calendars) and genealogical tree imagery painted on the walls of medieval Serbian monastic churches under the commission of the Nemanjic dynasty. This section proposes that the inclusion of calendars near pairings of royal genealogies and the Jesse Tree positioned the medieval monastic viewer spatially into a collective memory of sacred time. In order to understand the political objectives implicit in these monumental paintings, this chapter employs modern theories of collective and social memory. Together, these three major sections reflect on the visual and social facets of memory, and thus reframe the study of art, its production, and reception in the later Byzantine milieu. Through its assessment of the visuality of memory, this dissertation seeks to incorporate Byzantium into the ever-growing canon of memory studies across the humanities. Art in Byzantium promoted memory processes just as its form was governed by them.}, keywords = {Eleventh to Fourteenth, Fifteenth Century}, author = {Nicole Paxton Sullo} } @mastersthesis {13118, title = {The Art of Opacity: Guy de Cointet and 1970s Performance}, year = {2020}, school = {CUNY}, abstract = {This dissertation provides the first detailed study of the work of French artist Guy de Cointet (1934-1983), specifically the books, objects, and performances he produced in Los Angeles between 1971 and 1983. Much of this work mined pop-cultural sources-genre fiction, magazine advertising, and television serials-for texts, which he reused in deliberately obfuscated ways: in pseudonymous publications written in code or invented languages, as well as in sigil-like paintings that doubled as props for performances in which actors delivered contradictory interpretations of the encoded objects. I argue that Cointet{\textquoteright}s appropriations of the visual and narrative logics of postwar culture provide a unique vantage point onto the evolving mechanisms of consumerism, increasingly pitched at subjective identifications, desires, and anxieties. Each chapter analyzes a key moment in Cointet{\textquoteright}s professional development. Chapter 1 reads ACRCIT (1971), an anonymous newspaper whose contents are encrypted in various codes, against contemporaneous developments in the idea of "information"-its evolution in the scientific literature of the Information Age, as well as its serial permutations in 1960s-70s Conceptual art-at a time of widespread anxiety about political truth-telling. Cointet{\textquoteright}s unintelligible newspaper turns out to be a compendium of code-themed quotations from adventure and sci-fi stories, self-help books and travel guides, as well as treatises on cultural theory, zoology, and mathematics. ACRCIT{\textquoteright}s parodic secrecy responds to a thread of humorous intrigue in Conceptual art, from the work of Robert Morris to Sol LeWitt to the Art \& Language group. Chapter 2 analyzes three of Cointet{\textquoteright}s earliest performances, Espahor Ledet Ko Uluner!, CIZEGHOH TUR ND JMB (1973), and At Sunrise, A Cry Was Heard (1974), in which professional actors delivered scripted monologues that purport to "interpret" a coded object for the audience in discordantly enticing ways. In addition to considering Cointet{\textquoteright}s relationship to theater and the energetic Southern California performance art scene, the chapter traces his investment in mass culture to the flood of consumer goods that attended Marshall-Plan aid to Europe in the 1950s and concurrent critiques of "Coca-colonization" by French intellectuals, including Simone de Beauvoir and Georges Perec. This French tradition of "critical consumer portraiture" was a likely model for Cointet{\textquoteright}s early performance personas. Chapter 3 examines Cointet{\textquoteright}s collaboration with artist Robert White on Ethiopia (1976) and IGLU (1977), multi-act works with multiple characters, distinguished by their use of three-dimensional stage props-colorful cones, cubes and spheres-that, while mimicking the appearance of Minimalist sculpture, can also be manipulated to produce comically discordant sounds. Cointet and Wilhite{\textquoteright}s props invoke the presumed difficulty and austerity associated with high modernism only to demonstrate how easily it translates to the passive pleasures of mass culture. In chapter 4, Cointet{\textquoteright}s final staged work, Five Sisters (1982), is considered against the context of evolving feminist discourse over the course of the 1970s and the commodification of identities around sexuality, illness, and health, contrasting his work with that of Southern California women artists such a Barbara Smith and Eleanor Antin. The chapter also considers the camp and queer resonances of Cointet{\textquoteright}s work and self-presentation, linking the artist{\textquoteright}s elusive persona to Andy Warhol and Warhol "superstar" Viva-a friend of Cointet{\textquoteright}s, whose proto-feminist camp suggests a foundational model for much of Cointet{\textquoteright}s performance work.}, keywords = {North America, Performance Art/Performance Studies/Public Practice}, author = {Farzin-Rad, Media} } @mastersthesis {13123, title = {The Artel Cooperative (1908-1934): Crafting Czech Modernity}, year = {2020}, school = {Maryland}, abstract = {Eight founding members of Artel-the Prague avant-garde{\textquoteright}s response to the Wiener Werkstatte-united in 1908 with a manifesto proclaiming their goals to combat inferior factory substitutes for handcrafted designs and to restore society with a sense of taste through affordable products for everyday life. Across Artel{\textquoteright}s stylistic, political, and ideological development, its members consistently demonstrated the complementary relationship between the folk and the modern. Whether working in the Czech variant of Cubism in the final years of the Habsburg Dual Monarchy, the folk-infused nationalist "decorativism" of the First Czechoslovak Republic after 1918, or the sober Functionalism of the late 1920s, Artel designers struck an aesthetic balance between regional Czech folk arts and international avant-garde styles. The group thereby served to construct and promote a distinctively Czech visual culture for the international stage at a transformative moment in Czech history.}, keywords = {Decorative Arts, Northern Europe}, author = {Lyndsay D. Bratton} } @mastersthesis {12943, title = {The Artist as Curator: Diego Velazquez, 1623-1660}, year = {2020}, school = {Columbia}, abstract = {The Artist as Curator: Diego Velazquez, 1623-1660 reconsiders the career of Diego Velazquez at the court of Hapsburg king Philip IV as a major episode in the history of curatorial practice. By this it means to examine the ways Velazquez{\textquoteright}s activities as a painter and his activities as curator of the Hapsburg art collection transformed each other. Velazquez{\textquoteright}s paintings express ambitions and attitudes towards his predecessors that would motivate Velazquez{\textquoteright}s reorganization of parts of the royal collection that included their works. In turn, the collection and display of paintings in royal exhibition sites would cultivate in Velazquez a knowledge of art and its history that would inform the paintings he produced at court. Velazquez was a singularly art-historical painter, many of whose works investigate the nature of art itself. This dissertation seeks to prove that these aspects of Velazquez{\textquoteright}s work were cultivated in the early modern museum that was the Alcazar palace, where he was surrounded by a veritable history of art under the Hapsburgs. The dissertation has five chapters; each closely examines a significant project in Velazquez{\textquoteright}s trajectory as artist-curator at the Hapsburg court. The first uses the first major installation that Velazquez would witness at the Hapsburg court to set up the problematic of the dissertation as a whole-namely, that meaning was made on the walls of galleries, and that if Velazquez was going to make his name at court, it would be by engaging the royal art collection as it appeared on gallery walls. The second investigates Velazquez{\textquoteright}s first curatorial project, the redecoration of the Octagonal Room; it argued that Velazquez{\textquoteright}s interest in art itself-an interest characteristic of his painting practice-found a new medium in his work as curator of this gallery. The third chapter reexamines The Rokeby Venus as a function of what Velazquez witnessed over the course of the assembly of the Vaults of Titian, where paintings of nudes were exhibited all together; it thus demonstrates the impact of the royal art collection and its display on his creative imagination as a painter. The fourth chapter considers the culminating curatorial project of Velazquez{\textquoteright}s career-the redecoration of the Hall of Mirrors-in tandem with the suite of paintings he made for it-the painting cycle including Mercury and Argus, examining the ways that these two projects mutually informed one another. The final chapter proposes that Las Meninas again evidences Velazquez{\textquoteright}s curatorial and painterly imaginations at work simultaneously; then it uses the painting as a point of entry into the reception of both of these aspects of Velazquez{\textquoteright}s work at the Hapsburg court, arguing that to make art after Velazquez was to acknowledge both. All together, these chapters tell the story of Velazquez{\textquoteright}s increasing engagement with the royal art collection, from the start of his career at the Hapsburg court through his legacy beyond it.}, keywords = {Material Culture, Seventeenth Century}, author = {Vazquez, Julia} } @mastersthesis {12947, title = {AUDIO-VISUAL: The Slide as Medium In Brazilian Art}, year = {2020}, school = {Princeton}, abstract = {"audio-Visual: The Slide as Medium in Brazilian Art" examines the emergence of slide projection as a medium of artistic, pedagogical, critical, and curatorial experimentation in Brazil between the mid-1960s and the late 1970s. As a guiding thread, I center on the polyvalent work of the Brazilian art critic Frederico Morais, who developed a practice of slide projection that he termed the "audio-visual" (audio-visual), setting the stage for the subsequent rise of slide and film-based works in the Brazilian art circuit. I argue that the "audio-visual" reshapes our understanding of three transnational developments in this period: the advent of the projected image in art; the historiographic exploration of the role of the slide lecture in the discipline of art history; and finally, the parallel uses of slide projection in educational practices as disparate as Freirean pedagogy and military and police training. Across these fields of action, artists and pedagogues experimented with the conventions of the comparative slide lecture in order to rethink the political underpinnings of the epistemology of comparison. I theorize this restructuring of slide projection through three interrelated principles: the "interval," the "live image," and the "enclosure." Each of these operations constitutes an attempt to negotiate power, with potentially emancipatory as well as repressive ramifications that continue to be unraveled in contemporary media practices. Consequently, I argue for the ongoing significance of the conventions of slide projection in the contemporary moment. In particular, I call for the reexamination of the media of art history as the means by which the discipline was not only erected in European and American metropolises, but also circulated and reconfigured throughout the world.}, keywords = {Twentieth Century}, author = {De Laforcade, Sonia} } @mastersthesis {13108, title = {Bessarion{\textquoteright}s World: Art, Science, and Crusade}, year = {2020}, school = {Virginia}, abstract = {Cardinal Basil Bessarion (b. Trebizond ca. 1403, d. Ravenna 1472) is a recognizable figure to many art historians. In painted portraits and woodcuts from the fifteenth and sixteenth centuries, including those from the studiolo of Federico da Montefeltro and Paolo Giovio{\textquoteright}s Elogia virorum literis illustrium, Bessarion is represented as an old man in a red hat, a black tunic, and a gray beard. Regarded as a great man in his own day, he has been studied by specialists of Italian and Byzantine culture for his role at the Council of Ferrara-Florence (1438-39), his immigration from Constantinople to Rome (1440), and the legendary collection of books he donated to the library of San Marco (1468), which constitute the core holdings of the Biblioteca Marciana in Venice. Bessarion was an avid collector of works of art, including relics and reliquaries, and an important patron of his cardinal titular church, the basilica of Santi Apostoli in Rome. However, Bessarion{\textquoteright}s activities as a collector of artifacts has not received as much scholarly attention as his library, nor has it been placed into the context of the cardinal{\textquoteright}s advocacy for Crusade. Few studies have considered that Bessarion{\textquoteright}s collection was first and foremost a sign of his multifaceted identity as a scholar who converted from Orthodoxy to Catholicism and as a humanist who was a man of the church with a defined political agenda surrounding Crusade. In response, my dissertation is a study of the cardinal{\textquoteright}s engagement with works of art in the fifteenth-century culture of Crusade in Europe and his desire to defeat the sultan, Mehmed II (r. 1444-46, 1451-81), in the Byzantine world. Bessarion lived in Rome for over thirty years following his immigration from Constantinople, during which time the cardinal amassed an impressive collection of illuminated manuscripts, relics, reliquaries, Byzantine icons, scientific instruments, and liturgical objects. I present the thesis that Bessarion{\textquoteright}s patronage of the arts and sciences was fueled by two closely related endeavors: first, the cardinal{\textquoteright}s lifelong travels through the Byzantine world and Europe; and second, his fervent desire to launch a Crusade to reclaim territories controlled by Mehmed{\textquoteright}s army. I argue that Bessarion acquired works of art for his collection in Rome to use them as instigations to Crusade and a moral mandate for Christian princes to take up the Cross and participate in a holy war against the Ottomans}, keywords = {Patronage, Art Collecting, Southern Europe and Mediterranean}, author = {Greenlee, Justin} } @mastersthesis {12942, title = {Between the Public and Private: Women{\textquoteright}s Networks and the Politics of Portraiture at Napoleon{\textquoteright}s Court}, year = {2020}, school = {Florida}, abstract = {This dissertation adds to a growing field of scholarship that revises our understanding of Napoleon{\textquoteright}s First Empire court as a masculinist institution in which women functioned primarily as ornaments. I argue that the women in his closest circle used networks to assert their agency and influence in a court that saw them as otherwise powerless. The chapters of this dissertation highlight key philosophical debates surrounding girls{\textquoteright} education, motherhood, and creativity; I argue for the ways in which these theoretical boundaries were pushed, undermined, or redefined by women who, by the nature of their {\textquoteright}public{\textquoteright} court status, were required (at least apparently) to perform within the norms. My analysis of portraits that were commissioned, made, and exchanged among women{\textquoteright}s networks demonstrates that their presence at Napoleon{\textquoteright}s court necessitated a continual negotiation between individual subjecthood and the collective social expectations (and limitations) of femininity. This careful balancing between public and private, self and society, is predicated on the idea that somewhere between theory and practice existed a lived reality for every woman that was necessary for her economic, social, and political survival.}, keywords = {Genders/Sexualities/Feminisms, Nineteenth Century}, author = {Gleeson, Elizabeth M.} } @mastersthesis {13153, title = {Beyond Treaty Ports: Chinese Photography 1860-1916-Practitioners, Contexts, and Trends}, year = {2020}, school = {Chicago}, abstract = {Considerable scholarly attention has been paid to the photographs taken by studio photographers in the treaty ports and concessions along China{\textquoteright}s coast after the two Opium Wars (1839-1842, 1856-1860). In contrast, there is a paucity of scholarship on how Chinese subjects beyond the social circles of the concessions learned and adapted photography for their own purposes, and how indigenous sensibilities, especially the methods and conventions in Chinese pictorial art, negotiated with the photographic technology of Western origin historically, aesthetically, and philosophically. My research fills this lacuna and rectifies the currently deficient, and hence distorted, accounts of early Chinese photography. What were the actual historical and institutional agencies that spread photography from the loci of the globalized, semi-colonial, foreign enclaves in the coastal cities to the vast, indigenous interior? Since the earliest Chinese to contact photography were the elite, either by status or by wealth, how did the court and the literati culture, alongside the emerging scholars of the New Learning, use the camera to implement their agendas, molding it to their interests and tastes? Finally, how did the camera embed itself into the ongoing radical social and political transformations that were occurring during the 1911 Xinhai Revolution? These are the principal questions I address in this dissertation. The modernist perspective in photography emphasizes the medium{\textquoteright}s autonomy. However, I see photographs not as photographs per se, but as images fertilized by genres, conventions, and functions that transcend both culture and media. I explore photography{\textquoteright}s dialogues with painting, drawing, rubbing, and print, and use images to seek shared visual formats, concepts, and strategies shared between East and West. I also explore the philosophy of technology undergirding the transitions and revolutions that transpire in the dynamics between the old and the new.}, keywords = {East Asia, Photography}, author = {Xu, Tingting} } @mastersthesis {13173, title = {Big Ideas in Little Boxes: Nation Building in Three Nineteenth-Century American Parlor Games by Milton Bradley \& Company}, year = {2020}, school = {Missouri}, abstract = {Milton Bradley \& Company manufactured its first game, The Checkered Game of Life, in 1860, only months before the American Civil War broke out. Soon after, it produced the Myriopticon A Historical Panorama of the Rebellion, and the Historiscope A Panorama and History of America. Producing "moral, instructive and entertaining home amusements" proved to be good business for the company. This dissertation investigates the behaviors, beliefs, assumptions and worldview of mid-nineteenth-century American society just before and after the American Civil War through the examination of three parlor amusements. Grounding my analysis in the religious, social, visual and material culture of the time, I ask the question: Why would buying and playing these games appeal to families right after the conclusion of the Civil War, at a time when the nation and families struggled to reconstruct themselves? My findings suggest playing these three parlor amusements accomplished at least three ends: reaffirmed the woman{\textquoteright}s role in the moral education of children and families, confirmed the desire for a united nation, and side stepped any engagement with change in the social and political ideology of that newly united nation. My analysis reveals that the three parlor games I studied acted as guardians of the ideals already established and enshrined in the American origin story told since the late 1700s and retold in the Historiscope.}, keywords = {Material Culture, North America}, author = {Margaret Fairgrieve Milanick} } @mastersthesis {13180, title = {Bologna la dotta: The University and the Visual Arts in the Age of the Bentivoglio, 1463-1512}, year = {2020}, school = {Maryland}, abstract = {No record in ProQuest or Maryland ETDs}, keywords = {Artistic Practice/Creativity, Southern Europe and Mediterranean}, author = {Paganussi, Caroline} } @mastersthesis {13119, title = {The Brain of the Machine{\textquoteright}: Materials and Aesthetics between Britain and South Asia, 1902-1952}, year = {2020}, school = {Bard Graduate Center}, abstract = {No record in ProQuest, Bard does not include abstracts}, keywords = {Fiber Arts and Textiles, South Asia/South East Asia}, author = {Behan, Antonia} } @mastersthesis {13241, title = {Building American National Identities at the End of the Nineteenth Century: Chicago, Buenos Aires, and Washington, D.C.}, year = {2020}, school = {Penn State}, abstract = {"This dissertation investigates instances of identity building, literal and figurative, in the Americas at the close of the nineteenth century. Three cities serve as case studies for the various ways in which leaders in the Americas built modern identities: Chicago, Illinois; Buenos Aires, Argentina; and Washington, D.C. Each case study is anchored by a structure whose architecture provided a means to embody politics, broadcasting claims of difference and superiority in a language that went beyond the written word. In Chicago, the 1893 World{\textquoteright}s Columbian Exhibition was a chance to declare the United States{\textquoteright} status as a global power and a moment to define a national identity for its diverse population. It did so through the world{\textquoteright}s first Ferris Wheel, a deliberate challenge to Paris{\textquoteright}s Eiffel Tower (1889). In Buenos Aires, the {\textquotedblleft}Paris of South America the construction of the sumptuous Teatro Col{\'o}n opera house that recalled Paris{\textquoteright}s Op{\'e}ra Garnier served to create a physical representation of the complicated negotiation of Argentine identity and modernization at the turn of the twentieth century. Finally, with the Library of Congress Thomas Jefferson Building in Washington, D.C. leaders of the United States used architecture, technology, and painting to assert that the nation was not just modern, but the most modern, claiming the mantle from France and redefining its national character. Whether it is being rejected, emulated, or seen as a stepping stone, France (or at least the idea of it) functioned as a touchstone for these, and may other, urban projects in the Americas c. 1900.}, author = {Chapman, Roberta} } @mastersthesis {13111, title = {Byzantine Enamel and the Aesthetics of Technological Power, Ninth to Twelfth Centuries}, year = {2020}, school = {Bryn Mawr}, abstract = {Beginning in the ninth century C.E., artisans in the Byzantine Empire mastered the complex process of cloisonne enameling - fusing colored glass to metal plaques divided into compartments by delicate metal wires. Enameling demanded fluency in the physical properties of multiple materials and proficiency in what we know today as graphic design. This dissertation considers that the ability to manufacture enamel was significant in and of itself, and explores how cloisonne enamel became infused with cultural meaning in Byzantium through the rarefied technical knowledge employed in its making. The medieval Greek vocabulary for enamel, χυμευτός/χειμευτός (chymeutos/cheimeutos) and ἔργα χυμευτά/χειμευτά (erga chymeuta/cheimeuta), derives from the verb χεώ (cheo, "to melt"), and can be translated as "melted things," or "melted work." Yet the stem of the words and their etymological origins link them firmly to the terms χυμεία/χημεία (chymeia/chemeia) and χύμευσις (chymeusis), the medieval Greek words for "alchemy." A large corpus of Byzantine alchemical texts reveals that the relationship between enameling and alchemy was more than etymological, it was fundamental. I argue that enamel was more than a field for representation in Byzantium; it was also the aesthetic manifestation of material sciences and a potent statement of technological prowess. This study brings the material characteristics of key enameled objects into dialogue with literary evidence of alchemical practice in Byzantium. Notions of technological power are the ideological undercurrent running below the surface of this medium, hinting that the expert manipulation of minerals, glass, and metals could also stand in for Byzantine mastery over the natural world itself.}, keywords = {Material Culture, Southern Europe and Mediterranean}, author = {Steiner, Shannon} } @mastersthesis {12944, title = {Byzantium not Forgotten: Constructing the Artistic and Cultural Legacy of an Empire Between East and West in the Early Modern Period}, year = {2020}, school = {Princeton}, abstract = {Constantinople, the capital of the Byzantine Empire, fell to the Ottomans on May 29, 1453, a date that has come to symbolize the end of Eastern medieval grandeur in Europe and to inspire a shift in interest to the burgeoning Italian Renaissance. While Byzantium as a political entity had indeed expired by the end of the fifteenth century, its dissolution had begun much earlier. Nonetheless, its cultural legacy, most notably Orthodoxy, tenaciously survived as is evidenced by the uninterrupted tradition of icon painting from the fall of the empire to the Balkan independence movements of the early nineteenth century (and beyond). Largely neglected or examined in isolation due to the limited accessibility of objects from this period and the lesser-known languages in which they have been published, if at all, the material culture of Byzantium as it continued and transformed in the early modern period has received insufficient scholarly attention and has lacked methodological consideration. This study proposes a model of Post-Byzantine art history to address the lacuna in our knowledge of the perpetuation of Byzantine visual culture and the response of Orthodox art to drastically different socio-political and religious contexts than had existed in Byzantium. By examining the various trends in religious art that developed across the former empire{\textquoteright}s lands under Venetian, Ottoman, and Slavic rule, the role of Orthodoxy in the historical remembrance of Byzantium is examined, and is demonstrated to have significantly affected the creation of Christian community identities under differing colonial circumstances. In this analysis, modern constructions of Byzantium are challenged and the role of the development of Post-Byzantine iconographies for our understanding of the Byzantine legacy in the early modern world is underscored. By extension, the need for a new resource on Post-Byzantine icons, one that allows for the examination of iconographic types and their dissemination patterns, is made evident. The catalogue of icons organized according to iconographic type presented in Volume Two, which provides the groundwork for Volume One, offers a foundation for a new approach to Post-Byzantine art history.}, keywords = {Painting, Southern Europe and Mediterranean}, author = {Spratt, Emily} } @mastersthesis {13121, title = {Can the Subaltern Artist Speak? Postmodernity, Femininity, and Racial Identity in Lee Bul{\textquoteright}s Art}, year = {2020}, school = {Binghamton}, abstract = {This dissertation serves two purposes: first, to examine how a non-Western woman artist can speak in a globalized art world; second, to analyze the critical discourses of Korean contemporary art starting from the late 1980s - postmodernism, feminism, and globalization. From the late 1980s to the early 1990s, the Korean art world encountered a significant paradigm shift. The end of the Cold War, the fall of the military dictatorship and the inauguration of a civilian government, and the advent of consumer capitalism opened a new era of cultural and artistic pluralism. At this point, postmodernism and feminism were introduced to the Korean art world from the Western art world. However, postmodernism and feminism in Korean art were also specific, distinct discursive formations and practices. When a Korean woman artist spoke, it was at the intersection of Korean and international (specifically Western) discourses on art. This dissertation provides a case study of a Korean woman artist, Lee Bul (b. 1964), who has been considered an exemplary postmodern feminist artist. Chapters 1 and 2 examine the state of the discourses on postmodernism and feminist art in Korea and how such lines of thought intersected with, categorized and represented Lee{\textquoteright}s art. Chapter 1 discusses the debates over postmodernism and postmodernity between Korean modernist critics and Minjung misul [people{\textquoteright}s art] critics. By mapping this controversy, the chapter examines how discourses of Korean postmodernism defined Lee{\textquoteright}s art and what such discourses missed in the process of selecting and classifying the artist as a "new generation postmodernist." Chapter 2 examines the development of Korean feminist art and how Lee{\textquoteright}s practice was placed within the discourses of Korean feminist art. While Lee has been regarded as a new generation or postmodern feminist artist, the artist herself has refused multiple times to be named a feminist. This chapter searches for the causes of her refusal. Chapter 3 consists of two sections. The first section examines essays on Lee{\textquoteright}s art in international journals and catalogs, in order to grasp how the artist{\textquoteright}s works have been classified and defined outside Korea. Lee{\textquoteright}s interviews are also examined to see what differences can be found between the artist{\textquoteright}s own interpretation of her practice and interpretations by critics in Korea and abroad. The focus here is on the artist{\textquoteright}s Cyborgs, Monsters, and Anagrams - combinations of cyborgs and monsters - in relation to Donna Haraway{\textquoteright}s "A Manifesto for Cyborgs" and debates in cyberfeminism. The second section focuses on the mechanisms of art institutions in the global era, which have created the international brand name "Lee Bul." With reference to Julian Stallabrass{\textquoteright}s Art Incorporated: The Story of Contemporary Art and David Harvey{\textquoteright}s concept of "time-space compression" as elaborated in The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change, this section questions the utopian promotion of globalization, showing that even recent exhibitions that have attempted to escape a Euro-American narrative of feminist art have fallen into a dubious uniformity. This section also discusses the trend of internationalization in the Korean art scene since the end of the 1980s - the starting point of Korean biennales, international art fairs, and the growth of the art market. Drawing on Homi Bhabha{\textquoteright}s postcolonialist concept of "mimicry," the final chapter attempts to answer the question, how can a Korean woman artist speak in the globalized art world? This section looks at Lee{\textquoteright}s dystopian architectural models, which, starting from 2005, incorporated symbols of Korean modern history, as well as utopian Western symbols of modernist development. How can a non-Western woman artist have her say while both appealing to the interests of the globalized art world and challenging the Western male-centered art world with a different voice?}, keywords = {East Asia, Twenty-first Century}, author = {Cho, Hyeok} } @mastersthesis {13225, title = {Carved Swahili Doors: Gateways of Status, Trade, and Transaction in East Africa}, year = {2020}, school = {Penn State}, abstract = {My dissertation examines the corpus of ornamentally carved wooden doors of the Swahili coast, those produced or sited within the narrow strip of Indian Ocean littoral that stretches from Mogadishu to Mozambique. I focus on late-nineteenth-century Zanzibar when that emporium flourished as a center of global trade and diverse cultural confluence, as did the fluorescence of the art form. The extant examples in Zanzibar are understood for their role as expressions of power, prestige, and wealth. In addition to elaborating upon those historical aspects, I argue for the doors{\textquoteright} significant protective functions. Rather than study the corpus under long-held ethnicity-based style categories, I contend it is most productive to examine the doors for their expression of a multivocal visual vocabulary that reflects the Zanzibar ethos and local image-making practices. This dissertation is in many ways an argument for a new methodological approach in the study of Swahili arts and culture.}, keywords = {Africa, Architectural History/Urbanism/Historic Preservation}, author = {Purdy, Janet} } @mastersthesis {13134, title = {Charles Simonds and the 1970s}, year = {2020}, school = {IFA/NYU}, abstract = {"Charles Simonds and the 1970s" represents the first extensive study of American artist Charles Simonds (b. 1945), focusing on the decade following his emergence as a mature artist in 1970 and using his work as a lens for examining American art in that decade, a period that has frequently been viewed as a disappointment of the previous decade{\textquoteright}s high hopes. In analyzing the artist{\textquoteright}s work and establishing its place in art history, I argue that the meaning and significance of Simonds{\textquoteright}s practice only emerges through a critical appraisal and reconsideration of narratives that have begun to congeal around 1970s art. Since 1970, Charles Simonds has produced tiny, unfired clay bricks with which he constructs his Dwellings, the diminutive homes, public spaces, and ruins of the invisible "Little People", whom he imagines as an itinerant tribe in need of shelter. During the 1970s, he worked mostly outdoors, in city streets - primarily on New York{\textquoteright}s Lower East Side, where he created these structures in empty lots and along crumbling brick walls. Fragile and exposed, the outdoor Dwellings rarely lasted more than a few days. "Charles Simonds and the 1970s" situates Simonds{\textquoteright}s Dwellings, indoor installations, and sculptures, most of which have been destroyed, within a series of contexts in and around American art of the 1970s. These contexts include the downtown New York scene - in particular performance, Conceptualism, and Land Art - but extend to other moments and milieus in the art, craft, and architecture of the period. Throughout, I argue that the tension between inside and outside - and concomitantly, insider and outsider - that animates Simonds{\textquoteright}s work is also central to the art scene of the 1970s, illuminating new aspects of work by his better-known peers. Taking a historiographic approach to examine the period{\textquoteright}s self-conception, I explain Simonds{\textquoteright}s absence from art histories of the 1970s while simultaneously arguing for his central place within them - and establishing the decade as a distinctive period of experimentation and change in American art.}, keywords = {North America, Sculpture}, author = {Feldman, Julia} } @mastersthesis {13152, title = {Chemical Desires: Dyes, Additives, Foams, and the Making of Architectural Modernity}, year = {2020}, school = {MIT}, abstract = {No record in Proquest or MIT ETDs}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Varner, Jessica} } @mastersthesis {12938, title = {The Cinema of Social Dreamers: Artists and Their Imaginations Return to the Caribbean}, year = {2020}, school = {Columbia}, abstract = {Happiness, ritual, and sovereignty are artists{\textquoteright} persistent aspirations in the African- and Afro-Asian diasporas. "The Cinema of Social Dreamers" explores why the dreamscape is increasingly becoming the creative form for the expression of these social ambitions. This dissertation particularly spotlights the award-winning films and new media projects that exploit the dreamscape aesthetic in contemporary Caribbean and diasporic art. My analysis focuses on this tropical region, as well as its transnational impact in Canada, Mexico, France, the United Kingdom, and the United States. Central to this manuscript are the artists Mariette Monpierre, Michelle Mohabeer, and Minia Biabiany. I specifically engage their questions of happiness, spirituality, sexuality, and sovereignty in the wake of colonialism. The range of the narrative media these artists employ-from installation art and new media to sensational melodramas-also evidences the richness of the contemporary moment. While their award-winning works have flourished in niche film festivals and at fine art institutions, "The Cinema of Social Dreamers" is the first to present them as the subject of deep comparative analysis. By placing the Caribbean archipelago at the center of my work, I also highlight that the economy of art-making (and art history) remains a complex interdisciplinary, multilingual, and transnational project.}, keywords = {Caribbean, Film/Video/Animation}, author = {Espert, Yasmine} } @mastersthesis {13200, title = {A Cinematic Atopia: Robert Smithson and the Filmic Afterlife of the Soviet Avant-Garde}, year = {2020}, school = {UCLA}, abstract = {This dissertation reconsiders the legacy of American artist Robert Smithson (1938-73) through his reception of Sergei Eisenstein (1898-1948), famed Revolutionary Soviet filmmaker. From his early canonization, Smithson has been virtually synonymous with the emergence of aesthetic postmodernism. Radically redefining sculpture as plural and dispersed (as in his nonsites) or else site-specific, subject to physical deterioration, and mediated by film and photography (as with his signal earthwork Spiral Jetty), Smithson{\textquoteright}s practice has been consistently positioned as a rigorously logical, programmatic critique of Greenbergian modernism and the idealism subtending its values of autonomy and opticality. To that end, Smithson{\textquoteright}s work is understood, too, as "postminimal," extending the anti-aesthetic provocations that Minimalist objecthood inherited from the Soviet avant-garde precedent. In focusing narrowly on Constructivist sculpture of the early 1920s, however, accounts of this generation{\textquoteright}s revival of that avant-garde have ignored the Revolutionary cinema to which it gave rise. Such an oversight is especially significant given that Eisenstein{\textquoteright}s films were undergoing widespread reassessment beginning in the 1960s, during which time they were rapidly assimilated by Smithson, an artist exemplary of his generation for being not only a sculptor but also a cinephile and filmmaker. Taking seriously Smithson{\textquoteright}s cinephilia and filmmaking practice, as well as his manifest interest in Soviet cinema specifically, this dissertation reconsiders a canonical postmodernist through the radical model of Eisenstein{\textquoteright}s films. In particular, it shows Eisenstein{\textquoteright}s theory of dialectical montage to be teeming amidst Smithson{\textquoteright}s work and animating the paradoxes, binaries, and discontinuities that proliferate through his entire practice, even, or perhaps especially, when that practice does not take recourse to the physical material of film. In doing so, an unfamiliar Smithson emerges-not the quintessential logician of postmodernity but, following the libidinal subtext of Eisensteinian montage, an artist concerned with hellish monstrosity, perversion, sexuality, and violence consistent with his reading of Georges Bataille. The destination may no longer be Revolutionary utopia but what Smithson described in 1971 as a "cinematic atopia"-an entropic nether-place of razed boundaries, ruined hierarchies, and obliterated categories that will come to define the artist{\textquoteright}s devolutionary "montage" of sculpture and film.}, keywords = {Film/Video/Animation, North America}, author = {Rottman, Zachary} } @mastersthesis {13166, title = {Cold War Era Corporate Commissioned Abstraction in Semi Public Spaces}, year = {2020}, school = {Penn State}, abstract = {This dissertation covers the years from 1954 to 1963 and presents five important examples of {\textquoteright}lobby art{\textquoteright} at its most potent and fertile time when it acted as a novel mode of corporate interior decoration and identity construction. Abstract art displayed within these spaces performed a didactic function of visually rendering what a corporation was or wanted to be, both as a physical entity and as an integral component of society. The legibility of such messages was complicated and occasionally contested by the variety of actors involved, whether they were corporate executives, artists, art selection committees composed of museum professionals, architects, real estate developers, or the local government. The plurality of voices makes this subject noteworthy.}, keywords = {North America, Patronage, Art Collecting}, author = {Ziolkowski, Aaron} } @mastersthesis {13219, title = {Cosmopolitan Facture: John Singer Sargent and Anders Zorn, 1871-1915}, year = {2020}, school = {Virginia}, abstract = {This dissertation demonstrates how the logistics of fin-de-siecle cosmopolitanism, particularly the experience of geographical itinerancy, informed the painting practices of two friendly rivals: John Singer Sargent (1856-1925) and Anders Zorn (1860-1920). The first study to place these artists in dialogue, my project recovers Sargent and Zorn{\textquoteright}s shared artistic language, which I have termed "cosmopolitan facture," and defines this praxis as an extended creative approach informed by their negotiation of picture-making, travel, and transnational social networks. Through a careful scrutiny of their portable sketchbooks, painted surfaces, and preparatory studies, I analyze the ways in which their drawings, paintings, watercolors, and etchings materialize the tension between rootedness and mobility. Centered on four key episodes-The Portrait, The Threshold, The City, The Sea-my dissertation unfolds along three central avenues of inquiry-facture, time, and mobility-through which I discuss the meanings, tensions, and histories of the paintings, drawings, and prints at the center of my project. As my study oscillates between geographical nodes, it expands spatially outward: from the intimate portraits that established transnational collegiality and patronage, to the symbolic resonance of Sargent{\textquoteright}s repeated architectural motifs, to Zorn{\textquoteright}s depictions of ambiguous modern cities, to the port, sea, and harbor, sites that connect artists, economies, and nations on a global scale.}, keywords = {Nineteenth Century, Painting}, author = {Stone, Elizabeth} } @mastersthesis {13112, title = {Critical Habitat: Picturing Conservation, Extinction, and the American Animal in the Long Twentieth Century}, year = {2020}, school = {UIUC}, abstract = {Critical Habitat{\textquoteright}: Picturing Extinction, Conservation, and the American Animal in the Long Twentieth Century, looks at images of at one time endangered or threatened animals in order to develop what I have named a specifically American conservation aesthetic. Within a conservation aesthetic images are almost always dialectic - connected simultaneously to attempts to preserve biodiversity and the natural world while reifying tropes that lead to its destruction. Additionally, the conservation aesthetic is linked to legislation histories and practical actions both to preserve and destroy particular natural places or species - images within a conservation aesthetic can be never be read as isolated objects, but instead are always part of broader ecologies. Understanding this conservation aesthetic allows for an interpretation that extends beyond the traditional art historical understanding of American landscape as part of nation building, but rather reveals the potential each image holds for viewers in the here and now to think differently about the natural world, and their relationship with it. The conservation aesthetic becomes an analytic, presenting a new methodology for the incorporation of the study of material culture into the environmental humanities. The dissertation examines material culture from the long twentieth century. It begins with the early trap camera photography of George Shiras, a Pennsylvania Senator and amateur naturalist, who attempted to use photography as a means to replace gun hunting and preserve American game animals. Next, I compare the sporting art of Carl Rungius and the natural history murals of Charles Knight to analyze the place of nostalgia in extinction, species endangerment and representation within the conservation aesthetic. To understand the role of time and place within the conservation aesthetic, my dissertation analyzes the photography series Diorama by Hiroshi Sugimoto. Sugimoto{\textquoteright}s images, uncanny photographs of the dioramas at the American Museum of Natural History, destabilize the viewer, and perhaps hold more meaning for present day viewers than they did at the time of the photographs{\textquoteright} production. Lastly, I examine the mythology of Bigfoot and attempts to picture the beast. Bigfoot photography, on the one hand, attempts to reify tropes of early 20th century masculinity and Manifest Destiny, yet also disrupts the mythologies of wilderness which created Bigfoot in the first place. Overall, the dissertation uses material culture to expose and develop the dialectics of images viewed as part of a conservation aesthetic.}, keywords = {North America, Twentieth Century}, author = {Landau, Jessica} } @mastersthesis {13190, title = {Cultivating Empire in Ancient Roman Gardens: Unearthing the Tangled Relationship between Plants and Their Gardeners}, year = {2020}, school = {Cornell}, abstract = {My dissertation, Cultivating Empire in Ancient Roman Gardens: Unearthing the Tangled Relationship between Plants and their Gardeners, is focused on the rapid blossoming of a new cross-Mediterranean plant trade, burgeoning horticultural innovation, and rise of a new gardener class in the first centuries BCE and CE. Centered on questions of plant agency, I develop a new plant-centric approach for the study of ancient Roman gardens by identifying and exploring the entangled relationship between ornamental plants and their enslaved, freed, and free gardeners-a group of non-elites that has largely been ignored. To this end, the project is interdisciplinary, drawing on gardeners{\textquoteright} funerary inscriptions, textual descriptions of gardeners and plants, archaeological and archaeobotanical evidence from excavated gardens and garden representations. I also utilize comparative case studies, including interviews with contemporary Italian gardeners and designers, and documentation of pre-industrial free and enslaved garden labor in early modern Italian gardens and American Antebellum plantations. My work is directly informed by my experience as a garden archaeologist working in the Bay of Naples region, where my colleagues and I have developed and implemented some of the newest garden archaeology methodologies, such as plaster sampling for pollen (our team is the first to implement this method in Italy) and Lidar scanning of preserved garden contouring.}, keywords = {Architectural History/Urbanism/Historic Preservation, Southern Europe and Mediterranean}, author = {Kaja Joanna Tally-Schumacher} } @mastersthesis {13114, title = {The Disputed City: Art, Architecture, and the Performance of Argument in Scholastic Paris (c. 1120-c. 1320)}, year = {2020}, school = {Chicago}, abstract = {This dissertation considers the medieval Parisian project of Scholasticism as a concrete, physical phenomenon that took tangible shape in dialogue with the built, visual, and material environment. Focusing on Paris between c.1120-c.1320, I explore how the city shaped intellectual culture and ideologies invested in the pursuit of knowledge and truth, while being itself subject to continuous physical transformation and reimagining. More specifically, I investigate the contributions of particular locales and spaces to the practice of scholastic pursuits and ideals of knowledge; the sights, sounds, and activities that became associated with scholastic learning; and the way architecture and visual representation were involved in the making and performance of the scholastic project writ large. As I argue, the scholastic project was at once realized and reimagined both in and through the spaces it inhabited. Rather than in the controlled settings of the ecclesial schools, Scholasticism took form, above all, in the streets and squares, in constant interaction with its surroundings, fashioning and re-fashioning itself in experimental and innovative ways. Confronting our dematerialized, rarified notion of Scholasticism, I aim to show how the urban arena was a powerful incubator of the intellectual debates and ideological conflicts that defined Parisian Scholasticism-indeed, an entire chapter of medieval intellectual history.}, keywords = {Architectural History/Urbanism/Historic Preservation, Northern Europe}, author = {Schwarz, Martin} } @mastersthesis {13188, title = {Early Franciscan Painted Panels as a Response to the Italian Cathars}, year = {2020}, school = {Missouri}, abstract = {The wood-panel paintings created by the Franciscan order in the thirteenth century present a dramatic transition from a static, stoic Byzantine style to increasing degrees of naturalistic, realistic, emotional, and corporeal representations. As a driving force behind the iconographic and stylistic shifts evident in these paintings, this study presents the parallel relationship between Francis of Assisi and his mendicant brothers to the heterodox Christian community known as the Cathars, a religious sect that competed directly with the Order of Friars Minor and the Catholic Church in duecento Italy. Using portable and monumental artwork to cultivate orthodox beliefs among the laity, the early Franciscan order positioned itself as one of the most prolific and innovative patrons of the arts nearly from the order{\textquoteright}s inception, despite their devotion to material poverty-a position that mirrored the ascetic Cathars. Focusing on three compositional models, specifically, large full-length icons of Francis, vita dossals of the saint surrounded by hagiographic scenes, and outsized crucifixes with the poverello depicted at the foot of the cross, this study analyzes the artwork in light of the Franciscans{\textquoteright} and Cathars{\textquoteright} shared historical context, their divergent theological beliefs, and their intersecting material cultures. Iconographic and material examinations are informed by the writings of early friars and the scarce textual remnants of the persecuted heretics. Evidence indicates that images of Francis were set as a foil to the Cathar leaders and preachers, presenting the saint as alter Christus, as confirmed by the wounds of the stigmata. Painted representations of Francis{\textquoteright} life and reported miracles further provided opportunities for the friars to catechize on doctrines that the Church had recently reaffirmed at its Fourth Lateran Council. The imagery of the icons, vita dossals, and crucifixes highlights orthodox Catholic teachings such as Jesus Christ{\textquoteright}s Incarnation and Real Presence in the Eucharist and his physical suffering at the Crucifixion, as well as the intrinsic goodness of the natural world-all of which repudiated the Cathars{\textquoteright} dualist and docetist beliefs. While the community of the Cathars has long been discounted, the Franciscans{\textquoteright} rich artistic reaction to refute heterodox beliefs makes clear that the relationship between these two mendicant groups should be recognized and further explored.}, keywords = {Religion/Cosmology/Spirituality, Southern Europe and Mediterranean}, author = {Ruppar, Rebecca} } @mastersthesis {13222, title = {Egyptian-French Encounters: Art and National Identity, 1867-1928}, year = {2020}, school = {Rutgers}, abstract = {This dissertation explores the complex dynamic of Egyptian-French encounters between 1867 and 1928, focusing on how the Egyptians - ruling elite and nationalists- used and adapted European traditions for visual representation to serve their own ends. It consists of four case studies-those of the Egyptian exhibition at the Exposition Universelle of 1867 in Paris, the opening of the Suez Canal inauguration in 1869, the commemoration of the Khedivial dynasty with public monuments, and the evolving images of the Egyptian female peasant or fallaha from French costume book in the nineteenth century to a symbol of the Egyptian nation in the early twentieth century. These case studies reveal several recurring themes. First, art was a major vehicle for propaganda, projecting a political message, and later symbolizing Egypt{\textquoteright}s modern identity. Second, Egyptian-French encounters were embedded in a complex web of mutual interests, with an audible Egyptian voice. Third, some of the Egyptians and French citizens who crossed borders came to have a dual orientation, and thus became a "hyphen" linking the East and West.}, keywords = {Islamic Art, Southern Europe and Mediterranean}, author = {Nour-ElSayed, Alia} } @mastersthesis {13146, title = {Electronic Esperanto: Trans-Pacific Development of Video Art, 1969-1991}, year = {2020}, school = {CUNY}, abstract = {No record in ProQuest or CUNY ETDs}, keywords = {Film/Video/Animation, South Asia/South East Asia}, author = {Park, Haeyung} } @mastersthesis {13216, title = {Embodied Abstraction: The Crisis of Representation in 1930s France}, year = {2020}, school = {IFA/NYU}, abstract = {This dissertation examines the pictorial conflation of abstraction and figuration in the 1930s work of Jean Helion (1904-1987), Fernand Leger (1881-1955), Vassily Kandinsky (1866-1944), and Joan Miro (1893-1983), whom I consider as a second generation of abstract artists. Fusions of the abstract and representational became a means for these painters to navigate the increasing call for social realism in France (understood as a response to the interwar economic depression and rising threat of fascism in continental Europe) and accusations that abstraction was no longer a socially committed aesthetic. Far from producing hermetic or irrelevant work, these artists rooted their paintings in the sociopolitical moment and drew explicitly from ongoing theoretical debates in the arts, contemporary technological innovations, and current events. Abstract-figurative conflations allowed contemporary artists to reinscribe the figurative with a sense of public address and have a stake in the representational without abandoning the Modernist project or conceding to propagandistic agendas. Rather than situate the 1930s in France as a period of aesthetic retreat or a retour al{\textquoteright}ordre, my project locates the decade as a vibrant period of continued aesthetic experimentation.}, keywords = {Northern Europe, Painting}, author = {Boate, Rachel} } @mastersthesis {13141, title = {Emily Dickinson{\textquoteright}s Window}, year = {2020}, school = {Yale}, abstract = {Since the death of the American poet Emily Dickinson in 1886, numerous critics and biographers have speculated about the reasons for the poet{\textquoteright}s long and mysterious withdrawal, citing romantic disappointment, chronic illness, wartime distress, and desire for social distinction as possible causes. This dissertation approaches Dickinson{\textquoteright}s rootedness to the Dickinson house and grounds as a part of her cultivation of "homelikeness," a term that the philosopher of medicine Fredrik Svenaeus uses to describe the feeling of being at home in one{\textquoteright}s body and its situation in the world. It proposes that Dickinson, for reasons that it will elaborate, frequently experienced unhomelikeness, and therefore developed domestic habits, rituals, and strategies to foster homelikeness in the spaces of the Homestead. There are three perspectives that this dissertation takes regarding Dickinson{\textquoteright}s cultivation of homelikeness in the Dickinson house. First, the windows of the Dickinson house were essential to the poet{\textquoteright}s attainment of homelikeness: the views they framed, the atmospheric conditions they created, and the sounds and smells they circulated played an important role in restoring Dickinson{\textquoteright}s identity as an embodied self connected in meaningful ways to other people, places, and events. Second, it intentionally approaches Dickinson{\textquoteright}s collective acts of creating homelikeness as an artistic practice. It does so in order to encourage, especially within the fields of art history and material culture studies, the further exploration of artworks and artifacts through the phenomenological lens of health and illness. Doing so might shed new light on these two disciplines{\textquoteright} study of familiar works within the canon, as well as point towards other forms of creation and artistic practice hitherto rarely considered for analysis. Thirdly, this dissertation proposes that we consider Dickinson{\textquoteright}s collective poems not principally as a genre of poetry as we have come to categorize and read them today, but rather as a genre of writing that falls within the overall aesthetic practice of homelikessness. By doing so, it seeks to convince readers that it is not only Dickinson{\textquoteright}s poetry, but also her poetic orchestration of her day-to- day routines and activities, that deserves recognition.}, keywords = {Material Culture, Nineteenth Century}, author = {Situ, Xiao} } @mastersthesis {13157, title = {Empowering Community: Conserving Cultural Heritage through the Cultural Landscape-Approach in the Banda Islands, Indonesia}, year = {2020}, school = {Rutgers}, abstract = {The spices nutmeg and mace were coveted trade goods due to their flavor and medicinal properties, and Chinese, Indian, Arab and European traders have travelled long distances to the Banda Islands in Indonesia to obtain them for many centuries. Due to its scarcity and profitability, the Dutch East India Company fixated on obtaining sole control over their production and trade. To force their objective, the Company violently took possession of the islands in 1621 and constructed an extensive network of fortifications and plantations to control and protect their production and trade in nutmeg and mace. The first of these fortifications, Fort Nassau, serves as this research{\textquoteright}s case study of heritage on the Banda Islands. This fort is of particular interest as it is currently undergoing extensive restorations and during my fieldwork (2014-2019) I have seen the fort change from a neglected overgrown ruin to an active site of reconstruction and reinterpretation with freshly plastered walls and safe access to the battlements. The aim of this restoration is to attract more tourists to the Banda Islands, and in line with this objective are the efforts to enlist the archipelago as a UNESCO World Heritage site. The decisions regarding the Bandanese heritage are made by provincial and national stakeholders, and the Bandanese residents have expressed a fear of losing control over the possible changes that will come to the Banda Islands. This research relies on extensive fieldwork and archival research in order to assess the ongoing activities at Fort Nassau and its life-history, and to understand the position of the local community in the heritage management on the Banda Islands. Through the interactions with the local community and outside stakeholders at provincial and national governmental agencies, I have gained an understanding of the local culture and heritage, and the larger aims held by these local, provincial and national stakeholders for Bandanese heritage in pursuit of economic benefits through tourism. Fort Nassau serves as an example of a heritage site within the larger cultural landscape of the Banda Islands, and this case study demonstrates that heritage sites derive their meaning from their social, sensorial, cultural and natural environment. While these conservation efforts are taking place, the local community attempts to gain more influence over heritage management on the Banda Islands. The activities at Fort Nassau are therefore a proxy for the larger developments, including the World Heritage nomination, to develop more heritage tourism to the islands by non-local stakeholders. With this research I attest that the (anticipated) active role of the local community in the creation and upkeep of heritage on the Banda Islands is acknowledged through the implementation of a cultural landscape-approach. Moreover, I argue that by implementing this approach the community can be empowered to gain control over the management of their heritage, to ensure the development of a sustainable management plan which will meet the challenges of our 21st century globalizing society and the effects of climate change.}, keywords = {Architectural History/Urbanism/Historic Preservation, South Asia/South East Asia}, author = {van Donkersgoed, Joella} } @mastersthesis {13218, title = {etienne-Maurice Falconet and the Matter of Sculpture: Marble, Porcelain, and Sugar in Eighteenth-Century Paris}, year = {2020}, school = {Virginia}, abstract = {In 1757, the Academic sculptor etienne-Maurice Falconet (1716-1791) was appointed the director of the sculpture atelier at the Sevres Porcelain Manufactory. Taking advantage of the material similarities between marble and unglazed soft-paste porcelain, Falconet reproduced his salon successes en masse. These porcelain figures quickly became ubiquitous in domestic interiors and were put side by side expensive sugar sculpture as the centerpieces of elite dining tables. My dissertation shall investigate the diverse body of sculptural production exemplified by the career of etienne-Maurice Falconet-ranging from marble sculpture, porcelain figurines, and sugar sculpture-with the goal of expanding the operative boundaries of sculpture beyond the fine arts, to include the decorative arts and ephemeral objects. These distinct materials, and their web of formal and iconographic similarities, complicate issues of copying, reproduction, and the revered status of the original. The emulation of the whiteness of marble, the primary characteristic unifying the three materials, is evidence of the prevailing importance of Academic sculpture and the explicit antique connotations of marble. In addition, the replication of marble in porcelain and sugar dramatically shifts the nexus of meaning while further expanding the centers of production beyond Europe{\textquoteright}s boarders to include Asia, Africa, and the Americas. The replication of canonical white marble forms in these global materials alludes to a deeper political and social ideology of a society attempting to assert ideas of racial difference and hierarchy while simultaneously representing the expanding purview of eighteenth-century Europe.}, keywords = {Northern Europe, Sculpture}, author = {Caticha, Alicia} } @mastersthesis {13140, title = {Fertile Terrain: Botany, Art, and Power in Cuba{\textquoteright}s Nineteenth Century}, year = {2020}, school = {Yale}, abstract = {In my dissertation, I place in conversation for the first time the natural history museums, botanical gardens, and thousands of paintings, drawings, and prints produced in and about Cuba from 1790 to 1860 to examine how material culture made certain epistemologies of nature and the environment possible, epistemologies that were shaped by socio-political power structures of the time. This project, then, uses the case study of Cuba in the nineteenth century to reveal how the objects and built spaces created by natural historians produced new popular understandings of nature and by doing so drove real political change. I trace three major shifts across a wide range of different projects produced by white, primarily criollo, elites in Havana. First, the interest of this community moved from what I call scientific botany to what I call agricultural botany and then finally to industrial sugar. Second, over the course of the time period I examine, science in all of its forms increasingly became a way for Cubans, especially criollos, to establish extra-imperial connections and to implicitly call for independence from Spain. Finally, white immigration was a matter of increasing urgency to elite white communities in Havana in the first half of the nineteenth century. The material culture of science, in turn, was understood as a way to drive this immigration. My work expands recent disciplinary interests in global circulation and the significance of materiality to the still-understudied nineteenth century Caribbean. Though my project focuses on Cuba, it places the visual culture produced there within a transnational conversation of natural history.}, keywords = {Caribbean, Nineteenth Century}, author = {Sessions, Emily} } @mastersthesis {13158, title = {Gems and the Media of Italian Art, ca. 1450-ca. 1550}, year = {2020}, school = {IFA/NYU}, abstract = {Gem making, or glyptic as it is conventionally called, produced artifacts which were highly prized in Italy during the fifteenth and sixteenth centuries. Its esteem among artistic media arose from the inherent value of the materials and their enduring physical properties, and it demanded dexterous execution. Although the products of this work have been well explored as sources to which the expansive field of Renaissance art responded, the making of gems as a process has been scarcely studied by art historians in the same way. Period understandings of two ways that gems were made, by geological formation and refinement in artisan workshops, bring forward renewed insights that may apply more widely across media and across communities of viewers. The subterranean and artistic processes of making gems, one below ground and the other above, had more in common according to Renaissance thought than might be presumed. They were described in the period with a shared set of terms which centered on a particular activity, that of imprinting. A persistent vocabulary in fifteenth- and sixteenth-century usage is composed of the Latin terms imprimere and i; the Italian terms imprimere, impronta, and impressione; and their lexical and grammatical variants. Such words appear in a range of contexts which reflect understandings from the perspective of natural philosophy, as the geoscience of the time was called, and from the perspectives of medicine and astrology, which treated the origins and uses of gems in great detail. In practice, imprinting was a technical necessity in gem cutting workshops: the extreme hardness of many gem materials required the craftsman to impress them with slurries composed of abrasives, guided by tools and wheels. This dissertation examines the place of imprint in attitudes to gems ca. 1450-ca. 1550 in order to explore how they inform works of art in different media. To clarify layers of Renaissance knowledge about gems and responses to them, an essential groundwork in the sources uncovers the expansive range of meanings associated with the term gemma in Italian and Latin usage. On the basis of a reconsidered spectrum of meanings for gemma, period understandings of imprint as a formative feature of gems are seen in new light as paramount to attitudes about these objects{\textquoteright} origins and uses. At the center of this study{\textquoteright}s reference to documentary and literary sources are primary evidence from Renaissance medicine, natural philosophy, workshop activity, letter writing, and antiquarian study, among other disciplines and practices. Reconstructing perceptions of gems{\textquoteright} origins in such ways, the dissertation applies the findings to ways of making sculpture and painting and to types of viewer response to these media. Chapter 1 gives an analysis of the notion of "imprint" in Italian and Latin sources in order to elaborate the heuristic concept unifying the rest of the chapters. Chapters 2-4 are a suite of case studies. The series is selective, prioritizing close analyses over a commitment to cover a field in total. It explores three important works in sculpture and painting by canonical artists: Donatello{\textquoteright}s Chellini Madonna, Lorenzo Lotto{\textquoteright}s Bernardo de{\textquoteright} Rossi and its associated Allegory, and Andrea Riccio{\textquoteright}s Getty Madonna. The case selection is intended to address three themes that bring forward key cultural dimensions of gems{\textquoteright} intrinsic ties to impression. Principal topics in the sources on gems, they treat questions of combining physical materials, sensory relays, and intercultural resonance. This study demonstrates that designs in sculpture and painting could be modeled on the making of gems, a model understood not merely as a motif but as a process, and that such strategies could be perceived by types of viewer engaged with study and observation of mixtures, flows, and energies in different specialized fields of Renaissance knowledge. The approach reveals a particularly important relation between the beholder and the artwork. It explores the means by which perception of imprint in the artwork could engage one{\textquoteright}s imagination, emotion, and cognition in ways modeled on contemporary understandings of how gems were made.}, keywords = {Drawings/Prints/Works on Paper/Artistic Practice, Northern Europe}, author = {Famularo, Jordan} } @mastersthesis {13135, title = {The Heartland of Pop: Claes Oldenburg and Jeff Koons in Chicago}, year = {2020}, school = {IFA/NYU}, abstract = {In the early 1960s, several young artists who had recently arrived in New York City from the Midwest exhibited large-scale paintings and sculptures portraying motifs from American popular culture. Much of the New York art establishment, for whom avant-garde art meant abstract painting, initially denounced this development-which came to be known as Pop art. As Pop was assimilated into the history of postwar American art, several critics and scholars emphasized its formal affinity with contemporaneous hard-edge abstraction and Minimal art. At the same time, they adamantly distinguished the revival of recognizable imagery in Pop art from the so-called "return to the figure" associated with postwar art in the Midwest, especially the production of the Chicago Monster Roster and their descendants, the Hairy Who and the Chicago Imagists. Like the first wave of New York Pop art, Neo-Pop or Neo-Geo of the 1980s is generally understood as part of the legacy of Minimalism and pitted against another "return to figuration," Neo-Expressionism. The Heartland of Pop: Claes Oldenburg, Jeff Koons, and the Chicago Imagists interrogates the prevailing New York-centric, anti-figurative narrative of Pop and Neo-Pop art, tracing a new genealogy for the titular artists associated with these movements that illuminates the specter of the human figure in their works. The striking similarity between Oldenburg{\textquoteright}s and Koons{\textquoteright}s anthropomorphic, monumental sculptures of common, mass-produced objects, I argue, registers an affinity that extends much deeper, to their shared formation at the School of the Art Institute of Chicago (SAIC). It was there that Oldenburg, through dialogue with Monster Roster artists Leon Golub, George Cohen, and H. C. Westermann, cultivated an anthropological approach to vernacular culture that he would later expand into his first major work, The Street. So it also was with Koons, who studied under the second generation of Chicago Imagists at SAIC. Yet, despite Koons{\textquoteright}s frequent invocation of Ed Paschke, Karl Wirsum, and Jim Nutt, scholarly discussion of his work in connection with Imagism is absent. In excavating these vital artistic exchanges between key figures of New York Pop art and Chicago Imagism, this study reframes both as part of a cultural reckoning of a deep-seated rift between populism (in its historical, progressive sense) and elitism, and between the Heartland and the coasts of the United States, that persists today.}, keywords = {North America, Sculpture}, author = {Pocock, Antonia} } @mastersthesis {13164, title = {Historia Spintriae: The Pleasures of Collecting Ancient Erotica}, year = {2020}, school = {Missouri}, abstract = {Ancient erotic art has an unusual place in the history of art, affected variously by changing archaeological practices and the tastes of collectors over many centuries. In the early modern period erotic artifacts were both sought after and avoided because of their risque subject matter, but were still acknowledged as artifacts worthy of scholarly interest to the collector. Even today, comprehensive study of such objects is difficult due to lack of publication and lack of information about their origins, often because they were (or still are) hidden away in museum storerooms, unrecorded on collection inventories. This dissertation seeks to uncover the story of ancient erotica through the examination of a particular type of ancient erotic object: Roman spintriae. These quarter-sized objects, produced during the first century CE and often devoid of archaeological context, feature couples engaged in sexual activity on one side and a legend on the other. How can we learn about spintriae, an object that has been shaped more by its collecting history than its archaeological context? The iconography of spintriae is part of a larger tradition of erotic art, one that draws from earlier and contemporary parallels and ultimately influences the creation of pornography in the early modern period. Not only did the imagery provide a source for new erotica, but the spintriae themselves were reproduced and copied in various media for collectors, functioning simultaneously as scholarly source material and pornography. How do we reconcile the varying roles of erotic art and pornography present in the same object? This dissertation explores this question through a discussion of spintriae within public and private collections, beginning in the Renaissance period. This project provides modern scholars with a new perspective on how these perplexing objects fit within both the Roman and early modern periods.}, keywords = {Genders/Sexualities/Feminisms, Southern Europe and Mediterranean}, author = {Katherine P. Iselin} } @mastersthesis {13196, title = {The History of Idolatry and the Codex Duran Paintings}, year = {2020}, school = {Chicago}, abstract = {Between 1574-1581, the Dominican friar Diego Duran collaborated with multiple painters to produce an account of the Aztec past that comprised a catalogue of gods, a description of the ancient calendar, and a granular history of Aztec imperial politics. Ostensibly created as a guide for extirpating idolatry, the Duran paintings consistently placed Aztec image cults in historical time, narrating transformations to Aztec practices of image use over the long trajectory of the empire{\textquoteright}s history. Their narrative of the idol{\textquoteright}s historical emergence assimilated both the Aztec past and Aztec images to Old Testament models. At the same time, narrating the history of idolatry provided the Duran artists with a language for intervening into period debates surrounding the Christian potentiality of indigenous subjects, the proper relationship between mendicant orders and indigenous communities, and the humanity of the peoples of the Americas. Building from the close observation of the Duran paintings, this dissertation argues for a vision of the illuminations as images alive to their moment, reconstructing the aspirations of these paintings to use the history of idols toward political ends. Attention to the Duran painters{\textquoteright} pictorial choices reveals that style played a major role in the construction of these histories, broadening the paintings{\textquoteright} argumentation by facilitating their resonance within their context. Reading the Duran paintings{\textquoteright} history of idolatry in light of period sources, this dissertation argues that the manuscript{\textquoteright}s painters produced a view of the past that simultaneously functioned as a fervent argument on behalf of the inherent rationality of indigenous peoples and as a critique of contemporary abuses of royal power. These findings reveal the political entanglements that colored the history of ancient images as it could be constructed {\textquoteright}on the ground{\textquoteright} in the context of Early Colonial New Spain.}, keywords = {Art of the Ancient Americas, Central America}, author = {Driggers, Kristopher} } @mastersthesis {13198, title = {Imprinting Antiquity: Re-inventing the Past through Prints in Sixteenth-Century Rome}, year = {2020}, school = {Case Western Reserve}, abstract = {Early modern prints were pivotal in the construction and dissemination of information and ideas throughout society, thereby functioning as agents in the cultivation of cultural belief and memory. This dissertation considers the understudied role of engravings of ancient architectural monuments, classical figural statues, and pseudo-antique objects in shaping a shared conception of ancient Rome in historically-removed viewers during the early sixteenth century. Although it is well-established that Renaissance humanists and art connoisseurs were obsessed with all things antique, the socio-cultural function of engravings of antiquities from that period, until now, has not been analyzed in detail. This study examines the ways in which prints of antiquities reinvented the urban topography and artistic culture of ancient Rome and what effect such images had on how the amorphous phenomenon of antiquity was understood during the early modern era. In so doing, it argues that engravings of classical remains served as lenses through which to imagine, and more significantly, as visual stimuli for remembering antiquity in ways that engendered ideological meaning about the ancient pagan city in relationship to its early modern Christian counterpart. Chapter ones provides an overview of the dominant intellectual pursuits of Renaissance Rome and explores how the printmaking enterprise intersected in profound ways with local humanist and antiquarian activities. The second and third chapters focus on engravings of extant classical ruins and statues. By analyzing how these images manipulated the appearances of the remains they depict, these chapters investigate how such "printed proxies" offered original viewers presumed insights into the historical, material, and cultural character of the ancient city, thereby establishing an implicit paragone between old and new Rome. Chapter four examines another type of all{\textquoteright}antica portrayal, images of fictive objects that purport to depict real antiquities, which enabled their makers and collectors to recuperate an imagined antiquity. This dissertation demonstrates how engravings of ancient remains worked to fashion the identity of sixteenth-century Rome as the locus for revitalization of the ethos of the ancient past, ultimately inspiring veneration of antiquity and conditioning the belief that the early modern papal capital was a superior incarnation of the Eternal City.}, keywords = {Drawings/Prints/Works on Paper/Artistic Practice, Sixteenth Century}, author = {Fisher, Kylie} } @mastersthesis {13126, title = {In Bloom: Women and Horticulture in French Visual Culture, 1860s-1880s}, year = {2020}, school = {Kansas}, abstract = {Evocative of fresh scents and organic forms, the phrase "in bloom" denotes a stage of growth in a plant{\textquoteright}s life cycle and a period of rapid development, expansion, and flourishing. Drawing on these associations, my dissertation examines a sudden bloom in the number of Paris-based artists who painted scenes of modern urban life in which they explored the relationship between women and horticulture, the art of growing gardens and displaying plants. Four paintings produced in the 1870s, serve as case studies for this investigation of cultural responses to and social beliefs about Parisian women who embraced horticulture as a vocation and leisure pursuit. The pictures include Jules-emile Saintin{\textquoteright}s The Flower Seller, Giovanni Boldini{\textquoteright}s Crossing the Street, Berthe Morisot{\textquoteright}s Interior, and edouard Manet{\textquoteright}s In the Conservatory. These portrayals of a merchant, pedestrian, upper-class woman, and Parisienne may appear "pretty" and "trivial" at first glance. However, I reveal how the artworks engage with notions of gender, movement, urbanism, and commerce in ways that compel us to interrogate the local and global conditions that enabled Parisian women to have the privilege of intimate encounters with foreign and hybrid flora on domestic soil. I accomplish this goal by taking a critical perspective on analyzing the works and connecting their imagery to the interrelated contexts of Parisian plant industries and transregional supply chains. I also use digital mapping and historical geocoding to visualize Parisian horticultural networks by plotting the locations the artists portrayed and their proximity to florist shops, flower markets, and other key sites. These dynamic maps aid my investigation of how changes to the built environment impacted the flow of people, flora, images, and ideas in parts of Paris where flower sellers, prostitutes, pedestrian-shoppers, and domestic gardeners circulated. Citing maps, paintings, and other forms of evidence, I articulate a new model for studying the mobility of women who participated in local plant trades and their movement within historically contingent and continually shifting horticultural networks. To extrapolate from these sources some of the routes that women used to market, transport, and distribute plants, I invoke Gilles Deleuze and Felix Guattari{\textquoteright}s concept of the rhizome.}, keywords = {Nineteenth Century}, author = {Hanson, Kristan} } @mastersthesis {13110, title = {Interrogating the Dead: Re-Assessing the Cultural Identities of the Samma Dynasty (1351-1522) at the Necropolis of Makli, Sindh (Pakistan)}, year = {2020}, school = {Victoria}, abstract = {During the preliminary phase of analytical discourse on South Asia{\textquoteright}s medieval history, the scholarship rigidly demarcated the material cultures of the pre-Islamic societies from those of the Muslim communities that were only introduced to the region{\textquoteright}s landscapes once the Islamic political rule was established. This was done to simplify the process of examining the regional, religious, ethnic, political, and cultural disparities in the Indian subcontinent{\textquoteright}s medieval milieu. Consequently, the exceedingly broad categories of "Muslim" and "Hindu" were conceived to portray the identities of South Asian societies and cultures. However, these categories remain in use even in the current art-historical scholarship that shows a tendency to classify the historical artifacts based on either geographic or sectarian identities. To that end, the sites developed by Muslim rulers are termed as "Islamic/Muslim," and Hindu temples as "Indian." Such simplistic classifications, which identify the social and material cultures with singular monolithic identities, overlook the dynamics of intercultural and interfaith interactions between the diverse co-existing communities of South Asian regions that played an active role in shaping those cultures. The Samma dynastic architecture in the vast necropolis of Makli - a UNESCO world heritage site located in the city Thatta (in present-day Sindh province of Pakistan) - presents an opportunity to examine this key methodological issue. Modern scholars classify Samma architecture under the polarities such as "Sindhi," "Islamic," and "Indo-Islamic." The present research challenges these classifications to demonstrate that the overall artistic program of Samma architecture does not reflect any single culture, religion or region. In fact, it evinces a hybridization of style and character, and hence, transcends the standard categorization of architectural artifacts from South Asia. Therefore, by actively engaging with the architecture, decoration, and epigraphy, this study allows for the formulation of important conclusions on the meanings attached to the Samma dynastic architecture, which was a key medium of presenting their social, religious, political and cultural programs. Additionally, this study demonstrates where Samma monuments fit within the broader categories of artistic productions from South Asia as well as the wider Islamic world. Hence, where this research augments the overly broad and simplified classifications, it also aims to produce a more meaningful analytical framework that moves beyond visual analysis, iconography, and typology.}, keywords = {Fifteenth Century, South Asia/South East Asia}, author = {Akhtar, Munazzah} } @mastersthesis {13208, title = {Intertwined Genealogies: Dutch, Chinese, and Colonial Indonesian Architecture of Philanthropy, 1640-1740}, year = {2020}, school = {UIC}, abstract = {Intertwined genealogies are untold accounts of interactions, tensions, and hybridizations between multiple cultures of seeming incommensurability, as opposed to a single heroic nation, that are often embedded in the spatial artifacts of migrating populations. This dissertation is the first major study of colonial Indonesia{\textquoteright}s almshouses, hospices, orphanages, and reformatories as architectural cases. It is also the first time that these buildings are examined alongside antecedents in the Netherlands and China. Through an analysis of overlapping developments in the Netherlands, China, and Indonesia, I argue that early modern Dutch and Chinese philanthropic establishments were built for the ruling class rather than the underclass. These establishments reflected the middle class{\textquoteright} exercise of disciplinary power. A critical aim is to consider Dutch and Chinese philanthropic establishments in broader terms that transcend the existing and mostly limited understanding of these sites as utilitarian spaces for the indigent. Inclusive of hospices that prefigured the modern hospital, reformatories that prefigured the modern prison, and orphanages that prefigured the modern public school, philanthropic establishments were a distinctively early modern category of civic landmarks. Their relevance stems from straddling and bridging two paradigms of power expression in the urban domain. On the one hand, philanthropic establishments saluted to the ruling class with impressive architectural works, like the premodern display of sovereign power. On the other hand, these were disciplinary programs molding society into a healthy, productive, and compliant mass, similar to governmental institutions of the industrialized world that did not generally occupy the community{\textquoteright}s most prominent buildings. Overall, this dissertation suggests that philanthropic establishments of the seventeenth and eighteenth centuries illustrate a particular moment, debatably the last and only time in history, when the pervasive force of disciplinary power had to be deliberately presented to the public through the visual medium of architecture.}, keywords = {Architectural History/Urbanism/Historic Preservation, South Asia/South East Asia}, author = {Simon Hinman Wan} } @mastersthesis {13183, title = {Interwar Explorations of Empire and British Identity: Modernism in Mandate Palestine}, year = {2020}, school = {Brown}, abstract = {No record in ProQuest and Brown ETDs are restricted}, keywords = {Photography, Twentieth Century}, author = {Goldschmidt, Michal} } @mastersthesis {13139, title = {Layovers: Japanese Export Lacquer{\textquoteright}s Transit and Reuse across Early Modern Iberian Empires}, year = {2020}, school = {Yale}, abstract = {This dissertation explores the development of Japanese export lacquer for Iberian clientele at the turn of the seventeenth century and its subsequent reception and re-use across the Portuguese and Spanish empires. Early modern Iberian sources on Asian lacquer reflect a close attention to questions of skill, offering rich comparisons with other arts and materials. At the same time, Japanese artisans adapted traditional techniques to produce chests, writing desks, reliquaries and shrines for this new peripatetic clientele. This dissertation examines moving objects that defy traditional art historical categories, which tend to focus an artwork{\textquoteright}s single locus and origin. The very portability of such lacquered objects engendered new realms of artistic experimentation. Through the lens of export lacquer, this project seeks nevertheless to complicate vision of artistic transit, taking into account these object{\textquoteright}s multiple stopovers but also interventions by makers and agents located within, or in proximity to, colonial Viceroyalties. This dissertation explores the assimilation of East Asian lacquered objects within the Iberian world, treating the physical and ontological transformations that occurred as they travelled between different communities within the vast Iberian mercantile and transoceanic empires. Like the layered quality of lacquer itself, these mobile works served as vehicles of material assemblage and hermeneutic accumulation, gathering new receptions and identities and as they traveled to the furthest realms of the empire.}, keywords = {Fifteenth Century, Material Culture}, author = {Luterbacher, Samuel} } @mastersthesis {13212, title = {Likeness, Figuration, Proof: Geometry and the Arabic Book, 1050-1250}, year = {2020}, school = {Chicago}, abstract = {This dissertation examines the evidentiary stakes and ontological status of tables, geometric figures, and pictorial images in medieval Islamicate manuscripts. Between the years 1050 and 1250, Arabic scientific culture increasingly invested in visual ways of knowing. Geometry formed the meeting ground between the intellectual and applied arts, drawing in philosophers, mathematicians, physicians, scribes, and artists. My first chapter tackles the stakes of tabulated medical synopses. Ibn Buṭlan{\textquoteright}s Taqwim al-sihha (Rectification of Health, circa 1050) translated star charts and horoscopes into maps of the human body, and positioned tables at the intersection of visible and invisible worlds. Geometric likeness emerged as a potent visual epistemology; rhetorical proof argued through artistic means. The second chapter explores period terminology, navigating a topology of script (khatt), table (jadwal), geometric figure (shakl), and image (ṣura) to construct a theory of visual culture that accounts for historical attitudes about artists{\textquoteright} intentionality in facture and the mutability of viewer reception. Focusing largely on extant examples from mathematics and astronomy, I posit a medieval distinction between geometric figures and pictorial images on the basis of processes of making, certainty of proof, and how they engaged human cognition. The third chapter turns to the Kit{\={a}}b al-diry{\={a}}q (The Book of Antidotes, 1199). Scholars have located the beginnings of Arab painting in the book{\textquoteright}s illustrations, but I reposition the Kit{\={a}}b al-diry{\={a}}q as the result of a longer tradition of geometric forms. The book insisted on interwoven pillars of knowledge: discovery by means of methodic experience and demonstration through logical proof. Likewise, the Diry{\={a}}q{\textquoteright}s calligraphy, tables and geometric figures, portraiture, narrative painting, and ornament worked in tandem. Pictorial imaging was only one tool for making visible the reality of the cosmos. Geometric figuration formed the heart of the Arabic manuscript tradition.}, keywords = {Eleventh to Fourteenth, West Asia}, author = {MacMurdie, Meekyung} } @mastersthesis {13137, title = {Loca Sancta in the New World: The Creation of Sacred Space in the Spanish California Missions, 1769-1823}, year = {2020}, school = {Virginia}, abstract = {Art historical scholarship on the California missions has been largely formalist, focusing on church architecture and religious art. The ritual aspect of sacred placemaking, while integral to the experience of these spaces, has received little attention from historians of visual culture. Architectural survival and preservation have also obscured the contested nature of sacred space, which was an ongoing negotiation between Christianity and Indigenous religions, between the spiritual and industrial agenda of the mission, and between the Franciscan missionaries and the military governors. This study of historic architecture and place investigates the interplay of the built environment and faith practice in the missions through an interdisciplinary lens which draws on ritual theory, material culture studies, and postcolonial thought. It seeks to understand how sacred spaces were created on both sides of an uneven power relationship, situating it within the wider context of the Spanish colonial program in America and linking the missions to a longer western Christian tradition of sacred place making through architecture and performance. Franciscan missionaries founded twenty-one missions in Alta California between 1769 and 1823, in the closing decades of the Spanish empire in America. Missions were spiritual-industrial enterprises established in frontier lands for the purpose of gathering the dispersed and semi-nomadic Indigenous peoples into settlements where they could be converted to Christianity and introduced to agriculture and related trades, under the guidance of missionary priests. A multidimensional approach that considers extant architecture, period images, Franciscan documents, travelers{\textquoteright} accounts, artifactual evidence, and contemporaneous Indigenous perspectives is employed in order to recover the performative nature of sacred space, and to reclaim spaces of Indigenous cultural persistence, erased by ruin and a prevailing Christian narrative.}, keywords = {Architectural History/Urbanism/Historic Preservation, North America}, author = {Arroyo, Nenette} } @mastersthesis {13186, title = {The Lower Senses in Early Netherlandish Epiphany Altarpieces}, year = {2020}, school = {Missouri}, abstract = {The late fifteenth and early sixteenth centuries were a time of growing affective piety and engagement with the material culture of Christian devotion in Northern Europe. The three so-called lower senses of smell, touch, and taste were very much a part of this devotional context, formed over centuries to be associated with particular fragrances, embraces, and savors. This work argues that artists and patrons exploited a play on these lower senses as integral parts of the composition, utilizing objects, actions, and even persons to trigger sense memory, ideas, and appropriate practice in viewers. The Epiphany, or the biblical event when magi from the east brought gifts of gold, frankincense, and myrrh to the newborn Jesus, was a popular subject for altarpiece paintings. It was one of three most popular altarpiece subjects in the late medieval Low Countries. Its association with the Eucharist and the phenomenon of infrequent communion for the laity at the time helps to explain why the lower senses became important in these works. Smell is highly associated with memory and was stimulated in these altarpieces to reinforce positive life events with the Church{\textquoteright}s worship. Touch and taste are braided senses that imply contact with Christ through the Eucharist, if only visually. Marginal persons also appear in these paintings becoming living symbols of the senses that help to correct over-enthusiasm for miraculous and direct contact with the holy.}, keywords = {Northern Europe, Painting}, author = {Meade, Pachomius} } @mastersthesis {13189, title = {Making for New Markets: Art, Innovation, and Collecting in Colonial-Era Congo, 1880-1940}, year = {2020}, school = {UNC Chapel Hill}, abstract = {Using several case studies, this dissertation examines objects from the western coast of Congo that were made for European audiences during the colonial era, with a focus on the decades from 1880 to 1940. This period was characterized by the intense upheaval and violence in the aftermath of the Atlantic slave trade, the lingering illicit slave trade, and the rise of the colonial state in the late nineteenth century. Each chapter focuses on a group of objects created for sale to a foreign market, including an 84-piece wooden tableware set carved around 1885, engraved gourds made at the end of the nineteenth century, figurative ceramics by an artist named Voania in the early twentieth century, and pattern books from the late 1930s reproducing the designs of woven plant-fiber mats. This dissertation uses the objects as starting points to assess how artists drew from their cultures{\textquoteright} long-standing historical art forms as they innovated with new materials and reformulated iconographies for European audiences. It examines objects created at several moments in Congo{\textquoteright}s colonial history-inception, implementation, and apogee of the colonial state-while at the same time focusing on the innovations to illuminate Congolese artists{\textquoteright} encounters with European patrons. The innovations highlight artists{\textquoteright} ability to navigate the increasingly oppressive and violent situation in Congo. Each case study then considers the histories surrounding these forms{\textquoteright} creation, collection, and exhibition in Europe to more fully understand them as a record of artistic creativity. The analysis of the objects{\textquoteright} use in European propaganda reveals how these innovations went unrecognized when objects were used in exhibitions and publications to promote the colony. This framing enables this dissertation to illuminate the colonial power structures, emphasize innovation, and to tightly focus on artists{\textquoteright} participation in or reaction to interactions with Europeans.}, keywords = {Africa, Material Culture}, author = {Carlee S. Forbes} } @mastersthesis {13101, title = {Making Men: Spanish Art and the Politics of Masculinity, 1898-1936}, year = {2020}, school = {UIUC}, abstract = {This dissertation explores the formation of new gender-fluid masculine paradigms in Spanish visual culture from 1898 to 1936. It delves into the diverse constructions of gender and sexuality and their impact on the production of historical, national and sexual identities in the wake of Spain{\textquoteright}s defeat and subsequent loss of its empire in the Spanish-American War of 1898. I argue that new masculine categories - namely the androgyne, the aesthete and the homosexual - emerged not only in marginalized and queer-dominated spaces, such as cabarets and specialized journals like La Esfera, but also in widely distributed illustrated novels and periodical illustration, and in the art of official painters. I analyze how Spanish mass culture disseminated these new masculine scripts in book illustrations, performer photographs, as well as photography featured in popular turn-of-the-century press. My research points to newer circuits of production evident in illustrated journals and erotic novels from the period that rupture the traditional art historical accounts of Spanish masculinity as heterosexual and grounded in Castilian values. I argue that the visual production of new masculine scripts ran parallel to and questioned the hegemony of the state-sanctioned heteronormative accounts of masculinity by introducing the alternative constructions of the national history and gender.}, keywords = {Genders/Sexualities/Feminisms, Twentieth Century}, author = {Dorofeeva, Maria} } @mastersthesis {13168, title = {The Margins of Eco-Architecture in 1960s and 1970s America}, year = {2020}, school = {Binghamton}, abstract = {In the late 1960s three young architects moved to New Mexico, Antoine Predock, Michael Reynolds, and Edward Mazria. They each experimented with finding a way to integrate the moral imperatives of the environmental movement into architectural form. Each architect gives an essential insight into the complex ideals, incentives and processes developing in the early 1970s. Predock follows J.B. Jackson{\textquoteright}s call to {\textquoteright}do right by the land{\textquoteright} by focusing on the specifics of site. Reynolds responds to the problem post-consumer waste by experimenting with beer cans and tires as recycled building materials. Mazria develops, publishes and teaches a simplified system to fully integrate passive solar to mitigate resource depletion. Each of these architects developed a system for fully integrating environmental ideals into the building envelope. More importantly, they defined the minimal limit to the parameters of Sustainable Architecture.}, keywords = {Architectural History/Urbanism/Historic Preservation, North America}, author = {De Wit-Paul, Alissa} } @mastersthesis {13203, title = {The Matter of Eva Hesse: Industrial Collage, Latex, and Plastics within Post-War Material Culture, 1964-1969}, year = {2020}, school = {UC Irvine}, abstract = {This dissertation traces three interconnected material histories embedded within German-American artist Eva Hesse{\textquoteright}s sculptural works constructed between 1964-1969. At only 34, she amassed an extensive oeuvre before an untimely death in 1970 from cancer. Most of Hesse{\textquoteright}s sculptural artworks were constructed during a residency in Kettwig an der Ruhr, West Germany, and in her New York City studio. During this time, the artist conducted pioneering experimentation with industrial and chemical materials, newly made available to the art community by commercial and manufacturing industries. Three chapters attend to the material, cultural, sociological, and geopolitical context of Hesse{\textquoteright}s artistic exploration of synthetic substances - respectively industrial collage, latex, and plastics. Specifically, I examine how these materials articulated post- war attitudes towards globalization, production, and environment during the 1960s decade. Hesse{\textquoteright}s use of industrial and chemical elements illuminated the often conflicting, yet essential history of these substances within human society and culture during the so-called "golden age" of synthetics. This dissertation project coincides with the 50th anniversary (May 2020) of Hesse{\textquoteright}s death, thereby presenting a new historical examination of the artist as a provocative interlocutor for synthetics between the art world, science, and industry.}, keywords = {Material Culture, Twentieth Century}, author = {Ziegenfuss, Jessica} } @mastersthesis {13107, title = {A Medium to Transform the Power of the Sun: Light, Space and the Technological Apparatus}, year = {2020}, school = {UIC}, abstract = {This study considers the implications of luminary technology used by artists Laszlo Moholy-Nagy, Otto Piene, and Olafur Eliasson, whose immersive installations of light in the 20th and 21st centuries are anchored by visible and familiar apparatuses. The deployment of the apparatus in these works forges ideological and/or social connections with actively engaged viewers, hindering the destruction of the aura by technology as theorized by Walter Benjamin. Analyzing the implications of the technological apparatus through the lens of a contemporary theory leads to the conclusion that while the physical, technological apparatus will necessarily obsolesce and tend toward the status of an artifact, it is the presence and critical engagement of the viewer with that apparatus upon which the aura of the work hinges. Laszlo Moholy-Nagy, in the construction of "Lichtrequisit einer elektrischen Buhne" (1930) sought to broaden the human sensorium and facilitate social change in a manner similar to that of his contemporary, Bertolt Brecht, who theorized productivity as the goal of the nascent radio. In the development of his "Lichtballette," Otto Piene shifted his positioning of the viewer from passive to active in relation to the apparatus: an evolution that resonates with the theories of Jean-Louis Baudry and Jean-Louis Comolli concerning the ideological and social power of the apparatus. In his intentional creation of larger dispositifs - as outlined by Michel Foucault, Giorgio Agamben, and Gilles Deleuze - Olafur Eliasson uses the physical technological apparatus as both a tangible connection to this larger system of relations, and as a facilitating aspect of the technological sublime as defined by David Nye. With an analysis of the physical technological apparatus which ideologically represents the artist and mediates the viewer{\textquoteright}s experience, this study answers the call for a multi-valent approach to light-based installation works.}, keywords = {Multimedia/Intermedia, North America}, author = {Ruff, Georgina} } @mastersthesis {13160, title = {Medusa in Context: Mythological and Sensorial Connections of the Gorgon}, year = {2020}, school = {IFA/NYU}, abstract = {The figure of Medusa, the only mortal member of the three Gorgon sisters, was pervasive in Greek art across all media: architectural decoration, vase painting, sculpture, and metalwork. Past scholarship has almost universally focused on Medusa{\textquoteright}s eyes, which were said to turn those who looked upon her to stone, and argued that the image of this creature served as an apotropaic device. According to mythology, however, the monsters also had terrible voices and Athena invented the flute to imitate the dreadful cries of the Gorgons. The ubiquitous presence of Medusa in Greek art and architecture has been taken for granted and the connection between sound and the Gorgons has been neglected in favor of the assertion of their apotropaic gaze. A more specific look at the Gorgon and the contexts in which it was most often depicted in the Archaic period, when Medusa was depicted as a grotesque figure with an oversized and menacing mouth, allows for a different interpretation of its function. This dissertation uses contextual and sense-based approaches to reconsider the Gorgon and its meaning. Medusa and the Gorgon were common motifs in sixth century iconography, but a careful consideration of the types of objects on which they were depicted reveals that they were most common in four contexts: sacred space, the symposium, the battlefield, and the funeral. These spaces would have all been extremely loud and were characterized by ritual music, singing, and general clamor. As such, the Archaic Gorgon, whose gaping maw full of sharp teeth and lolling tongue was the source of terrible cries, made an especially appropriate image. When the Gorgon appeared on a sixth century temple or bronze shield, the person using, wearing, or viewing it would have drawn the connection between the image and the sound around him and "heard" the monster{\textquoteright}s voice.}, keywords = {Ancient Greek/Roman Art, Southern Europe and Mediterranean}, author = {Glennon, Madeleine} } @mastersthesis {13124, title = {The Model Kitchen: Domesticating Modernism in the American Home, 1942-1966}, year = {2020}, school = {Pennsylvania}, abstract = {The kitchen, located at the heart of the American home, became a compelling site of domestic debate in the mid-twentieth century. This dissertation explores moments in the history of the American kitchen from the early-1940s to the mid-1960s, when modernism gained prominence and popularity in mainstream architecture and design in the United States. It was in the kitchen that architectural debates about modernism, the shaping of space, and the determining role of technology and standardization intersected with dynamics of cultural change. Presented at World{\textquoteright}s Fairs, trade shows, museum exhibitions, and other sites of display, model kitchens were cultural texts that revealed how race and ethnicity were negotiated, which often entailed the coding of constructions of gender and motherhood with-or against-constructions of race. However, questions of race have figured minimally in architectural studies of the modern kitchen, and this dissertation aims to reposition these social debates in the scholarship. As this study shows, these spaces represented ideals that stood in stark contrast to contemporary reality. Each chapter analyses model kitchens that were produced in institutional and cultural contexts, positioning them alongside representations in film, television, magazines, and exhibitions in order to paint a clear but complex picture of the modern American kitchen. The varied contexts in which the modern kitchen was created are considered in turn: the home economics department of a research University; the techno-utopic visions of the future at trade shows; and finally, the iconic demonstration houses of the Case Study program. Whereas scholars have previously studied the spatial contours of the kitchen within the modern home as a barometer of aesthetic and technological change, this dissertation puts pressure on the intersections of kitchens and their representations, addressing the ways that ideas about gender and racial identities were communicated and circulated through these designs. To do so, it unpacks how words, images, objects, and spaces operated-and perhaps continue to operate-to construct a gendered and racialized depiction of the past, present, and even future. Together, the chapters trace how the design of model kitchens cultivated conformity and gave material reinforcement to ideological constructions of American identity.}, keywords = {Architectural History/Urbanism/Historic Preservation, North America}, author = {Barton, Juliana} } @mastersthesis {13161, title = {The Mongol Impact: Rebuilding the Arts System in Yuan China}, year = {2020}, school = {Yale}, abstract = {The Yuan dynasty (1271-1368) was a period of major cultural transformation in the imperial court of China, when the Mongols, the tent-dwelling pastoral nomadic peoples of the North Asian steppe, became rulers of a world empire. In addition to bringing significant changes in the social, political, commercial, and religious orders in China, the Mongols also completely transformed the realm of visual and material culture. A new hierarchy of artistic forms emerged, in which woven images in silk reigned supreme. The Mongol rulers also proposed new theorizations of picture making to explain why woven images were more realistic than paintings or embroideries. Organized around a work of Vajrabhairava mandala silk tapestry (ca. 1329), each chapter of this dissertation addresses a specific aspect of the Mongol impact, from the issues of art taxonomy and hierarchy (chapter 2) to the tradition of ancestral image worship (chapter 3), the function of mandalas as tantric portraits (chapter 4), and the understanding of silk tapestry as a technology of embodiment (chapter 5). The driving force behind the changes that happened in the Chinese court under Mongol rule was twofold. First, the unprecedented diversity of artists working for the court-for instance, Nepalese iconographers from the Himalayas, Uighur and Tangut weavers from Central Asia, gold-thread makers from West Asia, and painters from South China-fostered immense artistic creativity. Second, the Mongol imperial family had a deep preference for pictures and icons made of animal fibers due to their native material culture of pastoral nomadic lifeways, which gave them continuous access to a surplus of animal furs. By demonstrating the major impact of Mongol rule in the arts, this study provides new perspectives on the study of premodern East and Central Asian visual culture, an approach that considers the contribution of the North Asian pastoral nomads in creating the multicultural world of art in premodern China and beyond. This approach thus challenges the common assumption that Mongols-and more broadly, pastoral nomads of North Asia-lacked a sophisticated native art tradition. To describe the visual and material culture of the medieval Mongols, the categories of art commonly used in the field today-such as "textiles" or "paintings"-may not be precise enough; a new set of art taxonomies is necessary to accurately describe their visual and material culture. It also elucidates important networks of artistic exchange across East and Central Asia, some of which had previously been little explored. For instance, the visual and material culture that flourished in the Tangut state of Western Xia (1038-1227) in Central Asia was of paramount importance for the development of the technologies of creating embodied images in the Mongol court.}, keywords = {East Asia, Eleventh to Fourteenth}, author = {Cho, Yong} } @mastersthesis {13148, title = {Natural Relaxations: Defining Dutch Pleasures and Pictorial Conventions in the Seventeenth-Century Winter Scene}, year = {2020}, school = {Virginia}, abstract = {While representations of people enjoying wintertime pleasures and games on the ice were produced throughout the Middle Ages in series of the months and the seasons, Pieter Bruegel the Elder created the first autonomous winter scenes in the sixteenth century. While this genre, distinct from modern notions of "landscape," enjoyed considerable popularity in the seventeenth-century Dutch Republic, its production was in large part limited to the Netherlands. This dissertation determines why the subject appealed to Dutch artists and why the purchasing public desired that winter be liberated from series of the seasons. To do so, it puts the winter scene in its cultural context, addressing questions of seventeenth-century visual culture, art theory, cosmology, literature, books, and cultural practices, including courtship, celebrations, and readership. This cultural investigation is considered along with the highly selective reoccurring motifs of the winter scene. Like other seventeenth-century Dutch images, the winter scene adheres to a set of conventions reflecting cultural ideas and what an audience wished to see and not to see in their art. Most winter scenes remove the many known hardships of the season, instead illustrating the same range of pleasure seekers and individuals relaxing. Elsewhere in Dutch art, most of the activities represented in the winter scene are either not depicted occurring publically or are presented in a moralizing or mocking manner. Yet they occur before the entire village on the ice in a neutral or festive tone, much like a cleaned-up kermis scene. The main argument of this dissertation is that the winter scene appealed to seventeenth-century Dutch audiences by reflecting notions of winter as a naturally enforced relaxation. While relaxation refers to the frigid season eliminating productive labor, a theme in both Dutch literature inspired by Virgil{\textquoteright}s Georgics and early modern print series illustrating the seasons, it also suggests a festive relaxation of social standards. This social relaxation comes from two sources. First are the many holidays and observances in winter that were characterized by social inversion, especially Shrovetide and Twelfth Night. Winter had more holidays than other seasons, and Dutch representations and descriptions of the cycle of the year align winter more than any other season with annual festivals. The winter scene is a carnivalesque body of images as these inversions become public on the ice. The second source are Dutch responses to Horace{\textquoteright}s Odes and Epodes that describe winter in a celebratory manner. While Horace urged his audience to respond to difficult weather with a festive attitude and a joyful toast of the wineglass, Dutch poets updated these ancient poems to include details specific to the Netherlands. Horace{\textquoteright}s celebratory winter was familiar to Dutch audiences outside of the circle of erudite literati as his messages were also found in more lowbrow literature such as amorous songbooks. By considering the winter scene as a Horatian body of images, it becomes part of the seventeenth-century trend of Dutch authors and artists turning towards local subjects in a search for what it means to be from the newly formed Dutch Republic. Many times, this exploration of national identity put specifically Dutch details in dialogue with ideas from classical antiquity to flatter the residents of Europe{\textquoteright}s youngest nation by suggesting how they are equals, if not superiors, to their celebrated forerunners.}, keywords = {Northern Europe, Painting}, author = {Harrington, Erik} } @mastersthesis {13143, title = {Norman Lewis: Linearity, Pedagogy and Politics in His Abstract Expressionism, 1946-1964}, year = {2020}, school = {CUNY}, abstract = {This dissertation focuses on Norman Lewis{\textquoteright}s studio practice between the years 1946-1964 in particular his associations with the painters Romare Bearden, Robert Motherwell, Ad Reinhardt, and David Smith. Lewis{\textquoteright}s influence extended far into the twenty-first century. As told by numerous contemporary art practitioners-Firelei Baez, Mark Bradford, David Kennedy Cutler, Charles Gaines, Rashid Johnson, Julie Mehretu, RJ Messineo, and Jack Whitten-Lewis was the mentor, friend, father and grandfather figure of an innovative black artist working with abstraction. In Chapter 1: An Integrative Line of Becoming, I trace Lewis{\textquoteright}s change from Social Realism in the 1930s to semi-abstract portraits and genre paintings in the 1940s. I focus on his achievement of a singular integrative abstraction, which combined his political commitments with his painting to show his inflection of identity and difference into an aestheticized form beginning in 1946. Chapter 2: Space, I explore Lewis{\textquoteright}s attraction to darkness, blackness and fugitivity. I tie this interest to identity in order to examine the intersection of these themes in the fiction of Ralph Ellison, Lillian Smith, Richard Wright and many others. In Chapter 3: Color, I examine Lewis{\textquoteright}s Carnival paintings as instantiations of hybridity. His focus on authenticity as parallel to indigeneity was a common theme among the Abstract Expressionists. Lewis was also interested in a formalized cultural hybridity that could convey imagery he saw in his travels in Europe, the Americas, and Africa. Thus, the dissertation truly helps to establish a genealogy of Lewis{\textquoteright}s abstract painting extending from 1949 (the date of his first solo abstract exhibition) to the present.}, keywords = {North America, Painting}, author = {Andrianna Tamara Campbell-LaFleur} } @mastersthesis {13144, title = {Northwest Coast Native Art beyond Revival, 1962-1992}, year = {2020}, school = {CUNY}, abstract = {Histories of "primitivism" in the avant-garde show that Euro-American modernism was always engaged in the appropriation of nonwestern and Indigenous art, with particular interest in Northwest Coast Native art forms by the Surrealists, Abstract Expressionists, and Indian Space Painters. However, there has been little consideration for how Northwest Coast Native artists chose to engage with the styles and tenets of Western modern art. To date, the history of post-war Northwest Coast Native art has been dominated by what is known as the Renaissance, a narrative in which artists pursued a neo-traditional style in modern times through the recovered and revival of nineteenth-century Indigenous forms and mediums otherwise thought to be lost and disassociated from home communities by colonial history. Revival forms were based on a canon of objects and styles constructed primarily by non-Native scholars. These anthropologists and art historians defined formline design, an organizational structure that uses a swelling and narrowing band and repeated geometric motifs to delineate totemic forms, as a rule-laden system that determined the spatial arrangement of motifs in a consistent visual language. Native neo-traditionalist artists strictly adhered to this canonical style, producing work to meet the expectations of non-Native audiences and for internal use in home communities, rarely engaging with broader contemporary art movements. Between 1962 and 1992, however, many Northwest Coast Native artists did depart from the neo-traditional style of the Revival. They critically drew on Western modernism and other non-Native aesthetic innovations to create works that complicate notions of identity, authenticity, and tradition. Trained in and deeply knowledgeable about Western modernism{\textquoteright}s legacy, these artists understood and reframed aesthetic operations to represent and reflect on the estranged experience of Indigenous life, culture, and tradition in the twentieth century. They combine and layer Euro-American visual styles with and into customary forms to grapple with the fragmentary experience of modernity while striving to adequately express the cultural values of their heritage. Through the art of Nathan Jackson, Jim Schoppert, Lyle Wilson, and Edna Davis Jackson, I examine how Northwest Coast Native artists worked through the legacy of Western modernism by applying its procedures to Indigenous content. They created work outside of the binaries of tradition and innovation and allow for a reconsideration of the divide between modernism and postmodernism. I argue that their art produces visual expressions of the complex political relations between Northwest Coast Native Americans and the fragmented territories of settler-colonial states that they cohabit.}, keywords = {Native American/First Nations, North America}, author = {Green, Christopher} } @mastersthesis {13115, title = {Oceans of Air: Landscape and Climate in the Atlantic World, 1784-1884}, year = {2020}, school = {Yale}, abstract = {This dissertation examines how climate emerged as a central subject of aesthetic experiment and scientific investigation in the nineteenth-century Atlantic world. Rather than the particular, instantaneous, and local effects of weather, climate describes long-term, average states of the atmosphere distributed across the globe. Such spatial and temporal scale, along with the elusive materiality of climate{\textquoteright}s constitutive phenomena, defied existing conventions of artistic and scientific representation. The dissertation charts experiments across mediums-from painting and printmaking to photography and architecture-that aimed to fashion new aesthetic forms responsive to the challenges climate posed to representation. These new forms of environmental perception, shaped by the disciplinary formations of nineteenth-century culture, constructed what this dissertation calls the "normal landscape." In representing the average or norm of the temperate climate of northern Europe, and Britain in particular, the artists and scientists that this dissertation examines also posited that landscape as normative. This representational mode developed in defensive opposition to the "pathological" climates of the industrial metropolis and the colonial world. This project thus examines how visual and material culture influenced climate{\textquoteright}s role as an ideological concept that structured hierarchies of power and subjecthood. Attempts to produce climate as a stable aesthetic and scientific object were traversed by dissonance, resistance and failure. This study, therefore, pays particular attention to moments of instability-of artworks and aesthetic concepts, and of environmental systems themselves. The dissertation is comprised of five chronologically arranged chapters. The first examines the emergence of an aesthetics of climate in the work of painter John Constable and meteorologist Luke Howard and demonstrates how pressures of industrialization and colonial entanglement shaped their approach to representing Britain{\textquoteright}s "normal landscape." The next three chapters explore the development of photography and iron-and-glass architecture at mid-century, arguing that these key emerging mediums of the nineteenth century were shaped by efforts to mediate, contain, and control climate{\textquoteright}s forces. The second chapter posits paper-based photography and self-registering instruments as related, privileged modes of recording meteorological data. The next chapter examines how discourses surrounding photography{\textquoteright}s geographic circulation were influenced by theories of race, medicine, and acclimatization. The fourth chapter considers the botanical garden greenhouse as a multisensory representation of imperial environmental infrastructure, one that aimed to conceal forms of industrial and colonial labor. The fifth chapter examines the relationship between climate and aesthetic theory by revisiting the relationship between John Ruskin and James McNeill Whistler. In their opposing responses to the artificial atmospheres of industrial modernity, the artist and critic outlined divergent propositions for art{\textquoteright}s relationship to climate. A coda to the dissertation considers The Gulf Stream, Winslow Homer{\textquoteright}s painting of trans-Atlantic climate, as a meditation on how environmental and human history are conjoined in climate{\textquoteright}s material forces.}, keywords = {Nineteenth Century, North America}, author = {Robbins, Nicholas} } @mastersthesis {12945, title = {The {\textquoteright}Olympiad of Photography:{\textquoteright} FIAP and the Global Photo-Club Culture, 1950-1965}, year = {2020}, school = {CUNY}, abstract = {This dissertation examines the global photo-club culture of the 1950s through the work of the International Federation of Photographic Art (Federation internationale de l{\textquoteright}art photographique, FIAP), founded in 1950. By 1965 FIAP united national associations of photo clubs in fifty-five countries across Western and Eastern Europe, Asia, Latin America, and Africa. The regular exhibitions and publications of FIAP provided a unique platform where photographers living in the "second" and "third worlds" were welcome to present their work on equal grounds with their peers from the "first world." FIAP, I posit, created a nonprofit, egalitarian, and open system of image production and circulation among photo clubs that aspired to align with the idealism of the UN Declaration of Human Rights. Moreover, I contend that the photo-club culture of the 1950s overlapped remarkably with the field of professional magazine photography and photojournalism. Thus FIAP, I argue, succeeded in mobilizing a transnational and heterogeneous community of photographers by appealing to a shared idealism that transcended geopolitical and professional boundaries at a time of deep political and socioeconomic crisis. The work of these photographers, documented in seven FIAP yearbooks published between 1950 and 1965, offers a cross-section of postwar photography consisting of multiple regional perspectives and idiosyncratic visual styles that resist applying one unified periodization or single stylistic hierarchy. My analysis of this cross-section, with a focus on examples from Argentina, Brazil, East and West Germany, India, and Taiwan, aims to disrupt the established narrative of the Eurocentric art history of photography. Instead, I propose a global and decentralized history comprising several coexisting narratives, each of them relevant within their local and regional context independently of whether they fit into the storyline of Western art history or not. Relying on the sociology of art and postcolonial theories, I emphasize the cultural diversity and local specificity of the multiple photographic practices that coexisted in photo-club culture. The systemic power imbalance in the field of photography during the 1950s, I posit, was one of the reasons why the efforts of FIAP and most photo clubs had been forgotten as we look back on that decade from our vantage point. Among the dominant forces in the field were the influence of Life magazine, the monopolization of photojournalistic production by Magnum cooperative, and the worldwide circulation of the exhibition and photobook The Family of Man. Operating in this context, FIAP and photo clubs offered "second" and "third world" photographers an alternative and more accessible avenue toward advancing their social standing and elevating the cultural role of photography within their societies. The dissertation opens with a panoramic view on the profound influence the UN had on FIAP. It proceeds with a sequence of gradually closer middle shots, first focusing on magazine photographers as a professional group and then identifying humanist photography, which also had a notable presence in FIAP yearbooks, as the leading visual style of the time. The next close-up is the international photography trade fair in Cologne, Photokina 1956, which gave an unprecedented public platform for photo-club exhibition design, strategies, and politics. The narrative concludes with macro-level close-ups of two outstanding advocates of photo-club culture and FIAP: Lang Jingshan, a Chinese refugee photographer working in Taiwan, and the Sao Paulo-based photo club Foto Cine Clube Bandeirante.}, keywords = {Photography, Twentieth Century}, author = {Tifentale, Alise} } @mastersthesis {13156, title = {The Overtures of a Muslim Ally: Diplomatic Gifts from Persia to Italy between 1453 and 1630}, year = {2020}, school = {Rutgers}, abstract = {By the mid-fifteenth century, the extensive territorial spread of Ottomans brought the Islamic world in close contact with Christian Europe. The majority of cross-cultural studies have focused on the multilayered interactions between the Ottomans and Europeans. My dissertation shifts attention to an anti-Ottoman league, first proposed by Calixtus III in 1456, and joined by Persia as a Muslim ally of Europe against the common enemy, the Ottoman Turks. The plea for an anti-Ottoman union with European powers by the Persian king in the late fifteenth century set the stage for continued alliances pursued through the sixteenth and seventeenth centuries by the Safavid Shahs of Persia. These enduring connections between European Christian and Persian Muslim rulers resulted in complex reciprocal diplomatic exchanges fostered through the establishment of diplomatic embassies and the exchange of gifts. This dissertation is the first art historical investigation of the visual culture that was produced through early modern Persian-Italian diplomatic relations. This study investigates the range of meanings of these diplomatic gifts by looking at them as agents in a broader politics of imperial self-fashioning. It distinguishes between two forms of visual and cultural exchange. The first encompasses a wide range of materials that functioned as the objects of diplomatic exchange. These included richly decorated luxury goods, such as inlaid bowls, carpets, silk brocades, and ornamental weaponry. The second includes painted representations, which were commissioned following important diplomatic missions and the formation of new alliances and treaties. Whereas gifts facilitated diplomatic negotiations, painted representations reveal much about the perception of cultural difference in early modern courts. By considering the gifts{\textquoteright} artistic style through comparisons with similar objects still extant or represented in Persian illuminated manuscripts, this study situates the objects in their Persian context and elucidate the inherent messages behind their selection. Conversely, by looking at the paintings by European artists commissioned to illustrate these Persian embassies in Italy or address Persian-Italian negotiations through visual references, it approaches the same diplomatic interactions through the lens of Italian authorities and assesses the message they received or intended to broadcast to their audience. In looking at painted representations, this dissertation evaluates an underlying politics of how visual images may have served various agendas. In addition to expressing deep forms of knowledge about territorial and religious histories, they visually established hierarchies of cultural and political status within the growing alliance. For example, Shah Abbas{\textquoteright}s gift of a silk brocade with an embroidered image of the Virgin Mary and Christ Child can be seen both as an appropriate gift for his Christian allies and as a display of Persian artistic and cultural prowess. By turning attention specifically to the objects and representations associated with the Persian-Italian alliances, this dissertation adds new dimensions to the understanding of how objects functioned as modes of communication that were integral to solidifying new forms of international relationships. It concludes with the statement that the development of global commerce in the early modern world was an outgrowth of the earlier political alliances that were founded on previous forms of gift-exchange.}, keywords = {Material Culture, Southern Europe and Mediterranean}, author = {Rokhgar, Negar} } @mastersthesis {13132, title = {Performance and Video Work of Bruce Nauman, Paul McCarthy and Mike Kelley}, year = {2020}, school = {IFA/NYU}, abstract = {No record in Proquest}, keywords = {North America, Performance Art/Performance Studies/Public Practice}, author = {Bauman, Elizabeth} } @mastersthesis {13102, title = {Performing Exile: Cuban-American Women{\textquoteright}s Performance Art, 1972-2014}, year = {2020}, school = {UIUC}, abstract = {This dissertation examines Ana Mendieta, Carmelita Tropicana, Maria Magdalena Campos-Pons, and Coco Fusco together, arguing that their work embodies diplomatic relations between the United States and Cuba in the late twentieth century, such as the 1960 embargo and 2001 Third Border Initiative. Case studies of select works by each artist use archival research, close readings, and discourse, performance, and visual analyses in conversation with critical race, intersectional feminist, and queer theoretical lenses to show how they use the body in performance and performative works-as well as in installation, photo, and video documentation-to track the experience of exile from political event to its impact on the diaspora community through policy{\textquoteright}s scripting of citizenship. The project closes with a meditation on the resonating effects of exile as seen in the relationship between Cuban artist Tania Bruguera{\textquoteright}s attempt to restage 2009{\textquoteright}s Tatlin{\textquoteright}s Whisper $\#$6 and President Barack Obama{\textquoteright}s 2014 announcement of normalizing relations between the two nations.}, keywords = {North America, Visual Studies}, author = {Rodriguez, Susana} } @mastersthesis {13113, title = {Photographs from the Road: Inge Morath, Sophie Calle, Sally Mann and Feminist Road Trip Vision}, year = {2020}, school = {UIUC}, abstract = {This dissertation analyzes the visual and narrative uncertainty pervasive throughout the American road trip photography, film, and writing of artists Inge Morath, Sophie Calle, and Sally Mann. I argue that road travel is central to the content and style of their photographic projects. I reframe these as projects done by traveling women, moving purposefully through space and performing American rituals that engage with a whole history of photography{\textquoteright}s encounters with race and gender on and off the road. The obfuscating and fragmentary nature of these projects sustain tensions between seeing and not seeing and knowing and not knowing from the peculiar space and history of the road. Chapter one argues that Morath{\textquoteright}s photographs from her 1960 trip with Henri Cartier Bresson challenge the tourist{\textquoteright}s view of history by refusing to visualize the celebratory tropes associated with this white, middle-class, patriarchal experience. Instead, Morath pictures stifling interiors, visually confusing reflections, and diminutive landscapes to show the disorienting qualities of history that are suppressed in touristic experiences of the road. Chapter two analyzes Calle and Greg Shephard{\textquoteright}s grainy, shaky, 1992 documentary road film as a way to understand Calle{\textquoteright}s artistic filmic and photographic relationship to truth and autobiography. The third chapter considers Mann{\textquoteright}s 1998 Deep South landscape photographs, shot over the course of three drives to Mississippi, as relics collected on an American-style pilgrimage to places of traumatic racial violence, including sites related to the 1955 murder of Emmett Till. I term the strategies at work in the case studies as feminist road trip vision. I argue that this type of vision, inspired by embodied experiences on the road, thrives upon documentation, partiality, situated knowledge, and sharing. Feminist road trip vision is valuable in its very incompleteness and stays true to the partial and strange experiences of the road.}, keywords = {Drawings/Prints/Works on Paper/Artistic Practice, Photography}, author = {Shea, Laura} } @mastersthesis {13224, title = {Planning the {\textquoteright}Multiracial City{\textquoteright}: Architecture, Decolonization, and the Design of Stability in British Africa (1945-1957)}, year = {2020}, school = {MIT}, abstract = {No record in Proquest or MIT ETDs}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Woudstra, Rixt} } @mastersthesis {12946, title = {Port of Flanders: Jef Guys and Belgium in the 1970s}, year = {2020}, school = {Columbia}, abstract = {This dissertation considers Jef Geys as an archivist of the cultural shifts of the {\textquoteright}60s and {\textquoteright}70s in Europe amidst the reception of American Pop in Belgium. Between these decades, Geys archived and played back the social and cultural effects of Pop to engage with the newly defined middle class that was constructed to account for and implement changes in both professional and social settings. Geys{\textquoteright}s archive was instrumental in his roles as an artist and educator and he used it to reinterpret the implications of Pop. Geys{\textquoteright}s consideration of Pop expanded its implications to test Pop{\textquoteright}s institutional and social alignments in relation to the question of geography and population.}, keywords = {Twentieth Century}, author = {Cohen, Lucas} } @mastersthesis {13165, title = {Printing Art: An Expanded History of Modern Woodblock Printmaking in Republican-Era China}, year = {2020}, school = {Cornell}, abstract = {China{\textquoteright}s printmaking history at the beginning of the twentieth century is strongly codified as part of the nation{\textquoteright}s foundation story, as well as the associated May Fourth Movement. One of the most prominent writers and cultural figures in that movement, Lu Xun (魯迅, 1881-1936), has rightly been credited with playing an outsized role in the support, development, and expansion of the Chinese modern print movement, an association which has been further cemented within a particular historiographical construction, based in what has been termed the "May Fourth Paradigm." However, this thesis seeks to broaden our understanding of the modern Chinese print movement, and of the artists within it, beyond the classical history which places Lu Xun at its core. In order to do so, I have chosen to analyze the work of three printmakers, Li Hua (李樺, 1907-1994), Chen Yanqiao (陳煙橋, 1911-1970), and Jiang Feng (江豐, 1910-1983). Through identifying and contextualizing both the works that these artists drew upon, and the avenues through which they published and circulated their prints, this dissertation{\textquoteright}s chapters will show that their artworks were in conversation with a much broader range of media than has heretofore been recognized. First, I critique the historiography surrounding the movement and artists, in particular as it pertains to the artist Li Hua and his publishing activities. Second, I broaden our understanding of the collection of source material for the creation of woodcuts, as exemplified by Chen Yanqiao and his engagement with the rhetoric and imagery of cartoon magazines, mainstream photographic pictorials, and even Nationalist publications. Finally, intermediality is a key element in my third approach, which is to identify what I call a "socialist aesthetic," shared in both visual and literary form between Jiang Feng{\textquoteright}s prints and baogao wenxue (reportage literature), which was in conversation with transnational leftist image making, not just the local. In so doing, I provide a fuller understanding of the complexity inherent in early twentieth-century visual modernism in China, and its connections to global modernisms at that time.}, keywords = {East Asia}, author = {Elizabeth Alexandra Emrich-Rouge} } @mastersthesis {13105, title = {Public Bodies: The Nude and Public Health in Nineteenth-Century France}, year = {2020}, school = {Penn State}, abstract = {This dissertation examines the ways that medicine, visuality, and sexuality were inextricably linked in nineteenth-century France through medical illustrations, photographs, and paintings. It reveals how nonscientific cultural beliefs were encoded as biology in nineteenth-century medical rhetoric then naturalized in visual representations that became part of broader visual culture. Chapter one demonstrates the radically different implications of bathing for men and women through analysis of depictions of male bathers. Unlike images of female bathers, which emphasize a dangerous form of sexuality, visualizations of male bathers connote strength, virility, and civic virtue. The second chapter links nineteenth-century eroticism, vision, and health through Gustave Courbet{\textquoteright}s Origin of the World. It shows how the new form of vision offered by the vaginal speculum, along with vision{\textquoteright}s link to scientific knowledge, enhanced the eroticism of genital observation by offering the promise of a penetrative gaze. Chapter three uses medical images of nineteenth-century hermaphrodites to reveal how these illustrations naturalized medical rhetoric by representing it in individual human bodies. Rather than promoting the images that most clearly communicate the anatomy of individual patients, doctors preferred those that best reflected their own biological theories. The final chapter focuses on depictions of the danse arabe to reveal how colonial systems of dominance, in both France{\textquoteright}s state-run medical apparatus and Parisian Orientalist painting, exploited the rhetoric of vision to establish a series of interlocking and self-reinforcing fictions as observable reality. It demonstrates how myth, when figured as biological knowledge, invades the bodies of observed individuals and justifies a violent disruption between the explanation of those bodies and the experience of them.}, keywords = {Genders/Sexualities/Feminisms, Northern Europe}, author = {McBryde, Brynne} } @mastersthesis {13202, title = {Puppet Potential: Moveable Sculpture and Religious Performance in Late Medieval Northern Europe}, year = {2020}, school = {Yale}, abstract = {The rituals of the late medieval church were multimedia affairs, combining visual art and performance. These elaborate rites often involved moveable, figural sculptures that served to both engage the faithful and deepen their connection with the divine. In these performances, art objects did not simply reflect or enhance liturgical practice, but were central to the creation of meaning. The study of moveable, figural sculpture in the late medieval period therefore demands a methodological approach that takes into consideration both their use and appearance. This dissertation uses the conceptual framework of puppetry to analyze how these sculptures bridged the gap between the human and the divine. The four chapters of this dissertation bring together a diverse group of moveable sculptures, primarily from France and Germany, which date to the fourteenth through the early sixteenth centuries. These kinetic objects include miraculous moving images, portable reliquary busts, articulated sculptures of Christ, and mechanically-operated figures, all of which played with the boundaries between the animate and the inanimate in performance. At the core of this dissertation is a new definition of puppetry that emphasizes the interactive and interdependent relationship between puppeteer, puppet, and audience, as well as the puppet{\textquoteright}s ontological status as both inert object and perceived life. This definition of puppetry brings together questions of use, materiality, and mimesis, allowing us to think of these sculptures as both actors or agents and as aesthetic objects. The sculptures under study here all evidence what I term "puppet potential." Puppet potential refers to the ways in which these figural sculptures provided a place of encounter with the divine by virtue of their ability to negotiate with the boundaries between the animate and the inanimate, the artificial and the natural, and the real and the copy. Undergirding this boundary play is a logic of negotiation that reflects an interest in the paradoxes and ambivalences of material representation. This interest in negotiation took on a theological valence within the framework of medieval Christianity, where the invisible, intangible, divine was related to the tangible human by "likeness," as described in the Bible and as confirmed by the Incarnation of Christ. Paradox was central to the belief system of medieval Christianity, and this dissertation argues that the inherent paradoxes of the practice of representation were utilized to explore those paradoxes inherent in Christian doctrine. The sculptures under study here, as puppet analogues, played with boundaries to amplify the theological paradoxes of Christianity. This amplification did not seek to explain or simplify these paradoxes, but rather to open them up for contemplation in all their salvific complexity. The framework of puppetry used in this dissertation both provides an interdisciplinary point of access to an historical moment, and gestures towards a new way of formulating the role of representation in late medieval Christianity. Like puppets, these sculptures were liminal objects, acting as both aesthetic objects and active agents. It was by virtue of this liminality, rather than in spite of it, that they stimulated productive devotional and theological encounters between the human and the divine.}, keywords = {Eleventh to Fourteenth, Fifteenth Century}, author = {Oing, Michelle} } @mastersthesis {13210, title = {Realism as Aesthetic Education in the Work of Adolph Menzel}, year = {2020}, school = {Yale}, abstract = {This dissertation develops a new approach to nineteenth-century Realism through an archaeology of forgotten works by an artist central to the movement: Adolph Menzel (1815-1905). Examining Menzel{\textquoteright}s turn from history painting toward Realism in the decade prior to German Unification (1871), and the works he created thereafter, I argue that Menzel{\textquoteright}s "realism" was entirely different from Realism as conceived by Gustave Courbet (1819-1877) in France. His was no "concrete art," representing only "real and existing things." Rather, Menzel{\textquoteright}s artworks remade "reality," not as it really was, but into a relational construct and collaborative undertaking among artist, artwork, and audience. My argument proceeds from a set of drawings that, until now, have remained relatively unknown: Menzel{\textquoteright}s rebuses and picture puzzles. Although largely overlooked as oddities in his oeuvre, these polysemous drawings fundamentally complicate our understanding of Menzel{\textquoteright}s work and, in particular, his "realism." Taking his rebuses and picture puzzles as a hermeneutic framework, I cast doubt on the seeming mimetic straightforwardness of Menzel{\textquoteright}s imagery, revealing an aesthetic challenge -a demand to interpret- that reappears throughout his entire body of work. To demonstrate this challenge, another largely overlooked artwork in Menzel{\textquoteright}s oeuvre becomes key: his title page for the multi-volume publication, Das Werk Adolph Menzels (The Work of Adolph Menzel), 1890. Approaching this page as a rebus, my first chapter shows that Menzel{\textquoteright}s realist artworks are designed, like a rebus, to communicate the work of art, to transmit the spark of aesthetic creation from artist to audience. It shows Menzel{\textquoteright}s realism to be an inclusive, collective process of aesthetic communication involving artist, artwork, and audience in equal measure. Subsequent chapters not only demonstrate how this tripartite collaboration informs a variety of Menzel{\textquoteright}s works, including the famous Iron-Rolling Mill (1872-1875), but also connect this relational model of aesthetic communication to the artist{\textquoteright}s cultural, historical, and sociopolitical context. Situating Menzel and his work within late nineteenth-century Berlin, this dissertation tells a previously untold story about a culturally engaged yet self-described "un-political being" ("unpolitisches Wesen"), whose artworks speak to the politically charged, culturally influential ideals associated with the educated class of the German Burger. Menzel{\textquoteright}s artworks, I argue, demonstrate their artist{\textquoteright}s self-identification with the outwardly apolitical class of German Burger, who -guided by Friedrich Schiller{\textquoteright}s (1759-1805) aesthetic humanism and writings on aesthetic education- nevertheless advocated for gradual sociopolitical progress by means of Bildung (education), Sitte (tradition), Wissenschaft (science), and Kultur (culture). Taking the relational aesthetic and social philosophies of Friedrich Schiller and the Berlin-based Jewish philosopher Moritz Lazarus (1824-1903) -a close friend of the artist- as theoretical framework, this dissertation approaches Menzel{\textquoteright}s "realism" as a strategic cultural program of aesthetic education with formidable social and political implications. It argues that Menzel{\textquoteright}s "realism" was a future-oriented pedagogical project that invited viewers, through their own self-directed aesthetic efforts, to help shape what "reality" was, and might become, around the time of German political Unification (1871). Although tied to the artist{\textquoteright}s late nineteenth-century Berlin context, Menzel{\textquoteright}s "realism," I argue, is ultimately ours as well. The implications of his inclusive, collective practice are as relevant today as they were for the artist{\textquoteright}s original nineteenth-century viewers. We, Menzel{\textquoteright}s twenty-first-century audience, need only realize that we too have a part to play in his work.}, keywords = {Aesthetics, Nineteenth Century}, author = {Phillips, Laura} } @mastersthesis {13125, title = {Reframing Femininity: Collecting Pictures of Early Christian Virgin Martyrs in Seicento Naples}, year = {2020}, school = {Bryn Mawr}, abstract = {This dissertation is an art historical study of the production and consumption of early Christian female martyr imagery in seventeenth-century Naples. Although it was the second largest city in Europe at the time, scholars have only recently begun to study the flourishing art market and the prevalence of devotional culture in the lives of Neapolitan citizens. Through a dedicated study of the interplay between socioeconomic conditions, politics and religious devotion, I will examine the use of virgin martyr imagery as instruments of female agency in sacred and secular contexts. Both the wealthy elite and the urban poor collected female portraits of saints in prints, hagiographies, drawings, and paintings. Artisans and street vendors sold moderately priced, often secondhand, pictures of saints, while aristocratic families commissioned sacred portraits and displayed them in their palace galleries alongside paintings of family members. My research will explore how these pictures of virgin martyrs allowed collectors to communicate authority or undermine patriarchal controls, while also providing nonelite audiences with appealing examples of female agency.}, keywords = {Genders/Sexualities/Feminisms, Southern Europe and Mediterranean}, author = {Justinne K. Lake-Jedzinak} } @mastersthesis {13182, title = {Reveler par l{\textquoteright}art les enjeux politiques et materiels de l{\textquoteright}economie: La monnaie, la dette, le profit et la valeur vus atravers les matieres premieres dans trois performances de Marta Minujin (1985, 1996, 2017)}, year = {2020}, school = {Montreal}, abstract = {This thesis revisits a number of major economic themes through an in-depth analysis of three works of art. It seeks to interrogate the prevailing conception of the contemporary economy as an abstract domain detached from political concerns-a conception commonly found in art historical texts. The first chapter of this thesis reassesses the definition of the economy. I identify a set of theoretical principles that serve to legitimate the idea that economic objectives are neutral. In the second chapter, I build a theoretical framework at the crossroads of several bodies of thought in the social sciences and humanities, in view of putting forward a renewed conception of the economy, anchored in political and material considerations. I then turn to my analysis of three performances by Argentinian artist Marta Minujín. Taking a cue from the artist{\textquoteright}s approach, I use raw materials as a prism of analysis and reflection. I combine novel comparative analyses of works of art with a fresh re-examination of key moments in the history of capitalism, drawing on recent literature on world-systems analysis and ecological economics, among others. I also present extensive reflections on a number of important economic concepts, namely money, debt, profit and value. In so doing, I expose the polysemic nature of Minujín{\textquoteright}s performances and highlight their capacity to reveal recurring political, territorial and material dynamics undergirding the economy. I explore the ways in which Minujín{\textquoteright}s works overturn the traditional hierarchy of economic subordination all the while revealing its historical roots and present-day manifestations. Lastly, I show how Marta Minujín{\textquoteright}s performances highlight and challenge the consensual deals and arrangements that guarantee economic profit-making.}, keywords = {Performance Art/Performance Studies/Public Practice, South America}, author = {Occhietti, Raphaelle} } @mastersthesis {13176, title = {Royal Nomadism and the Valois Castle}, year = {2020}, school = {Northwestern}, abstract = {This dissertation argues that royal nomadism, the custom whereby medieval rulers moved between many castles in a predetermined cycle, fundamentally affected the floorplan, use, and adornment of courtly built environments. This argument is a new departure for the study of castles. Scholars of medieval castles acknowledge that rulers passed through many sites on a regular basis but have never proposed that castles were designed to accommodate inter-site motion. My research focused on four residences owned by Charles V (ruled 1364-1380) and his immediate family members: The Louvre, the Chateaux of Vincennes, Hesdin in the Pas-de-Calais, and Germolles in the Saone-et-Loire Department in the former Duchy of Burgundy. It revealed that nomadism directed the development of royal castles and urban palaces at all parts of their development, resulting in an architecture that was designed to be occupied and interpreted as part of a larger, regional circuit. Royal residences clustered in areas of especial importance to preexisting itinerancy routes and that the need to maintain multiple castles fundamentally affected the building economy. The expectation that a king or high aristocrat would move on a regular basis also encouraged architectural patrons to highlight different aspects of their identity as rulers at each castle. The Louvre, adorned with sculptures of king Charles V and his family, emphasized the dynastic ties of king Charles V. Imagery in his simultaneously-constructed donjon of Vincennes derived from the Book of Revelation, suggesting that the French monarch was a double for Christ on earth. Hesdin and Germolles, owned by Charles{\textquoteright} brother Philip and his wife Margaret of Flanders, contrast with the residences of his brother and with each other, elaborating on the themes of chivalric romance and pastourelle poetry respectively.}, keywords = {Fifteenth Century, Northern Europe}, author = {Miller, Scott} } @mastersthesis {13104, title = {Scales of Seeing: Spatial Experience in Paris, 1849-1899}, year = {2020}, school = {Penn State}, abstract = {The nineteenth-century renovation of Paris, instigated by Emperor Napoleon III and carried out by Baron Georges Haussmann, Prefect of the Seine and mastermind of the project, led to the creation of new spaces and a radical transformation in the way that individuals experienced the metropolis. My dissertation examines paintings from a range of artistic movements, alongside works on paper and maps, to argue that new conceptions of space emerged in the French capital. By exploiting shifts in scale made possible through technological, architectural, and infrastructural interventions, artists highlighted the disjunction between embodied street-level experience and novel, disembodied experiences made possible in the new city. Organized into four case studies considering locations that were refashioned during Haussmannization-the Pont de l{\textquoteright}Europe, the Place de l{\textquoteright}etoile, the Bois de Boulogne, and the Place du Theatre Francais-this study hinges on an understanding of the landscape of Paris. The exploration of new city space was ultimately an attempt to make sense of a changed environment-a project of synthesizing a new set of visual data. Previous scholarship on Haussmannization and its aftermath has focused on urbanism, and art historical accounts have considered paintings in relation to the social conditions of the renovation. There has not yet been a comprehensive study considering painting and photography alongside urban planning. The myriad novel perspectival experiences made possible during the nineteenth century altered the way the standard street view is depicted and ultimately, Haussmann{\textquoteright}s designs became a stage for an urban spatial program at multiple scales.}, keywords = {Architectural History/Urbanism/Historic Preservation, Northern Europe}, author = {Theresa Anne Cunningham} } @mastersthesis {13205, title = {Settler Modernism: Alfred Stieglitz{\textquoteright}s The Steerage and the Vicissitudes of Whiteness, 1890-1930}, year = {2020}, school = {UC Santa Cruz}, abstract = {Settler Modernism traces how Stieglitz{\textquoteright}s iconic photograph, The Steerage (1907) came to be known as the first modernist American photograph and how, at each stage of its trajectory into the modernist canon, it was interpreted through settler colonial narratives that served to naturalize whites{\textquoteright} ongoing presence on occupied territories in the twentieth century. Though studies of settler visual cultures typically concentrate on events surrounding acts of colonization, I demonstrate that American modernist photography was continuous with the nineteenth-century history of photography for which settler colonialism was a structural and discursive force that framed photographic vision. I bring The Steerage into conversation with Stieglitz{\textquoteright}s photographs of working-class people, Manhattan, and clouds, as well as with artworks by Cezanne, Anne Brigman, Albert Bierstadt, Thomas Cole, and others. By interrogating how the camera{\textquoteright}s capacity to distort perceptions of time and land clinched whites{\textquoteright} amnesia regarding the nation{\textquoteright}s founding violence, I show how photographs encouraged settlers to imagine themselves as the ancient inhabitants of the continent. I also thread Indigenous histories, philosophies, and visual cultures throughout the text, undermining settler logic with perspectives that make apparent its impracticability. Through concentrated examination of The Steerage{\textquoteright}s history, I shed light on how settler colonialism was not only central to the emergence of American modernism, but also to emergent conceptions of white racial identity that followed the closing of the frontier.}, keywords = {North America, Photography}, author = {Reznick, Jordan} } @mastersthesis {12940, title = {Shadows in Fifteenth-Century Secular Manuscripts}, year = {2020}, school = {Case Western Reserve}, abstract = {Shadows are an understudied element of medieval art, having been virtually ignored for generations of art history and medieval studies. Current, and scant, scholarship on shadows in the medieval period focuses primarily on their development in the creation of perspective and dimension in early Italian Renaissance art. Although depictions of cast shadows are not standard in paintings from the Middle Ages, they are incorporated as formal and symbolic elements in several sources. In studying how shadows were used in medieval literature in conjunction with the appearance of shadows in illuminated manuscripts, I explore possible interpretations of shadows that encompass religious matters as well as the literary, scientific, and mythological themes with which they were combined in the Middle Ages. Examining the image cycles of three late medieval secular manuscripts{\textemdash}a Confessio Amantis ca. 1470 (New York, Pierpont Morgan Library, MS M.126), a Roman de la Rose ca. 1420 (Vienna, Osterreichische Nationalbibliothek, Cod 2568), and a L{\textquoteright}Istoire de Merlin, ca. 1480-85 (Paris, Bibliotheque Nationale, MS. fr. 91){\textemdash}reveals that shadows were intentionally added to images in order to communicate visually and intellectually to the viewer. Shadows were widely present in medieval culture and communicated to the reader a variety of scientific, theological, and metaphorical meanings related to themes of knowledge, power, images, and the supernatural.}, keywords = {Fifteenth Century}, author = {DeLuca, Dominique} } @mastersthesis {13223, title = {Sonia Delaunay{\textquoteright}s Cross-Media Abstraction}, year = {2020}, school = {Emory}, abstract = {This dissertation examines the work created by the artist Sonia Delaunay between 1904-1926. Delaunay produced a broad range of work during this period, including textiles, paintings, prints, ballet and film costumes, book covers, and everyday objects. The diversity of her output has not been seriously considered in accounts of modern art history and the development of abstraction. Yet it is an integral part of her artistic practice, a practice that challenges our understanding of abstraction in significant ways. Delaunay adopts what I call a "cross-media approach" to develop her mode of abstraction, known as simultaneous contrasts. I demonstrate how Delaunay uses her cross-media approach in combination with simultaneous contrasts to achieve her goal of representing a world in which bodies, objects, and their surroundings intermingle. Crucially, the bodies in her work, whether figures represented in her paintings or real individuals wearing her fashion, are women. By eliding bodies with their surroundings, Delaunay imagines a world in which her designs empower female figures to actively move through and inhabit spaces. I argue that Delaunay{\textquoteright}s cross-media practice subverts current accounts of abstraction in three significant ways. While painting is often privileged in these accounts, Delaunay{\textquoteright}s aims necessitated the combination of a wide variety of media. Her insistent use of figures and bodies rejects the convention that the goal of abstraction is to rid representation of the object. Finally, a key extension to her cross-media approach is her collaboration with other artists and poets. Delaunay invested in active exchange and conversation between herself and her peers to an extent that does not easily fit a model of history that privileges firsts made by individual actors. By showing how her works, from her early portraits, to her simultaneous dresses, to her artists books, are all geared towards achieving a particular connection between bodies, objects, and the world, I make a case for her position as a significant creator among the most serious artists of her generation.}, keywords = {Artistic Practice/Creativity, Northern Europe}, author = {Glosser, Caitlin} } @mastersthesis {13175, title = {Specters of Fascism in Post-Conceptual Art, 1974-1984}, year = {2020}, school = {IFA/NYU}, abstract = {In the 1970s, the history and aesthetics of interwar European fascism became newly salient objects of inquiry and representation for writers, filmmakers, musicians, theorists, and other cultural producers, prompting the critic Susan Sontag to diagnose what she saw as a troubling, culture-wide "fascination" with the subject in 1975. Historians, film scholars, and researchers in the field of cultural studies have produced illuminating studies of fascism{\textquoteright}s variable representational coding within the domains of political activism, cinema, literature, and punk subculture during these years. Art historians, however, have largely skirted the issue of fascism{\textquoteright}s newly "fascinating" effect, focusing instead on the role of art and visual culture in more straightforward processes of politically addressing, memorializing, or otherwise working through the realities of World War II and the holocaust. As a result, there has yet to emerge a comprehensive narrative addressed to the complex and often ambiguous functioning of Nazi and, more generally, "fascist" iconography in the work of such New York and London-based artists as Gretchen Bender, Troy Brauntuch, Sarah Charlesworth, Gilbert and George, Jack Goldstein, and Robert Longo-a generational group defined by its use of imagery drawn from popular culture and its critical engagement with the dynamics of mass media. Paralleling the work of counterparts in West Germany and Italy, where the use of fascist imagery necessarily unfolded relative to a different set of discourses regarding national guilt and processes of "working through the past," the British and American artists in my study developed a visual rhetoric of fascism to address a locally specific but broadly resonant set of social issues. The ten-year period that I consider witnessed, among other things, the United States{\textquoteright} withdrawal from Vietnam, Watergate, prolonged economic recession, and a marked political shift to the right in response to the counterculture, civil rights movements, and, in the United Kingdom, the rise of Irish nationalism and the immigration of non-white settlers from commonwealth states. It also saw the emergence of what historians have identified as "holocaust consciousness," as well as the consolidation of neo-fascist, neo-Nazi, and white power movements that promoted revisionary historical narratives of their own. As a result of these shifts, the figure of fascism, which had played a key role in British and American World War II victory narratives used to establish a sense of common national identity and purpose, became newly unstable. The argument of this dissertation is that Post-Conceptual artists exploited this instability to encode political commentary on contemporary British or American politics while also reflecting more generally upon the role of images in shaping historical perception, codifying national narratives, and otherwise establishing group identity. By homing in on such image-based processes, this body of work illuminated the operation of what social theorists have defined as collective or cultural memory. The recognition of that domain was key to the epistemological overhaul associated with postmodernism, and remains critical to politically-engaged forms of social and cultural analysis today.}, keywords = {Conceptual Art, North America}, author = {Bigman, Alexander} } @mastersthesis {13136, title = {Staging the Modern, Building the Nation: Israeli Exhibitions, 1948-1965}, year = {2020}, school = {CUNY}, abstract = {This dissertation analyzes the role Israeli art exhibitions played in nation-building from 1939 to 1965. During this formative period, Israeli artists, curators, and government officials established new art institutions in the country and participated in a growing roster of international exhibitions overseas. Together, the art and architecture of these exhibitions helped to produce a concept of both modern Israeli art and Israel itself as a modern nation. As much as the project of Zionism rested on the creation of a homogenous Hebrew culture, the formation of "Israeli art" in these exhibitions relied on postwar European claims for visual art as a transcultural form-an art beyond borders but not without borders. The dissertation outlines the interrelation between contemporary debates in international modern art and architecture and the national visual identity of the state of Israel. It does so by situating Israeli art exhibitions among three competing discourses: narratives of national independence; Mediterranean and Middle Eastern regionalisms; and claims of European universalism. The dissertation charts how concepts of Israeli art and culture were refined through exhibitions abroad while conflict at home grew over the identity of the nation and how it could be represented. It focuses equally on exhibitions in Israel and abroad to examine how the international circulation of Israeli art impacted its reception inside the country. Chapters 2 and 3 detail Israeli participation in the 1939 World{\textquoteright}s Fair in New York and the 1952 Venice Biennale, respectively, while chapters 1 and 4 examine two exhibitions at the Tel Aviv Museum of Art, one in 1948 to commemorate the declaration of the State of Israel, and one in 1957, which controversially displayed a painting by Naftali Bezem depicting state violence against Arab Palestinian citizens of Israel. The dissertation concludes with a chapter on the establishment of Israel{\textquoteright}s national museum in Jerusalem in 1965. At the Israel Museum, UNESCO{\textquoteright}s internationalist aesthetics were adapted for the Israeli context while Israeli art itself was marginalized in the museum. The dissertation reframes the national project of defining Israeli art and architecture through international cultural movements and regional political pressures. Moreover, by examining the close relationship between international modernism and the promotion of Israel as a national project, it demonstrates how national narratives continued to shape the international art world after World War II.}, keywords = {Museum Practice/Museum Studies/Curatorial Studies/Arts Administration, Southern Europe and Mediterranean}, author = {Haines, Chelsea} } @mastersthesis {12941, title = {Steel City Cinema: Independent and Experimental Filmmaking in the Rust Belt}, year = {2020}, school = {Pittsburgh}, abstract = {This dissertation considers the filmmakers and film organizations that transformed the rust-belt city of Pittsburgh into a global center of avant-garde, experimental and independent cinema during the 1970s and 1980s. The first part of the study offers an in-depth exploration of the new institutional resources in the early 1970s that supported filmmaking, namely the Film Section (1970-2003) based in the Museum of Art, Carnegie Institute, led by the pioneering curator Sally Dixon. Dixon not only provided an expanded range of viewing options to a local public hungry for new kinds of images, but she founded the equipment bank that became the Pittsburgh Filmmakers media arts center (1971-2018), which served as the base of operations for local artists making vital work and setting trends in progressive politics and radical aesthetics. The second part explores the careers of seven independent filmmakers who made work in the form of "film portraiture," including Stan Brakhage, Tony Buba, Sharon Green, Stephanie Beroes, Steffi Domike, Roger Jacoby, and Peggy Ahwesh. Their film portraits, though short, fragmentary, and oftentimes made on a shoe-string budget, reveal aspects of a city emblematic of the nationwide crisis of deindustrialization. More positively, I argue that these film portraits also depict struggles and subjectivities unique to the independent film community. Many portraits were made by women, gay men, and working-class artists, and they highlight a range of important social issues including nonnormative sexuality, industrial labor, and sexism in the entertainment industry. This dissertation centers the activities and accomplishments of Pittsburgh{\textquoteright}s film community in the wider media field. In this way, the dissertation challenges the assumption that filmmaking in these years was limited to coastal cities, such as San Francisco, Los Angeles or New York. Instead, it shows how a handful of passionate individuals remade an economically depressed locale into a hub of avant-garde art. It also offers an expanded definition of filmic portraiture, by considering issues of temporality, regionalism and marginalized social identity, which mark the Pittsburgh portraits. Finally, the dissertation reflects on the commitment that Dixon{\textquoteright}s Film Section demonstrated to advancing the work and financial resources of local and visiting filmmakers.}, keywords = {Film/Video/Animation, North America}, author = {Ogrodnik, Benjamin} } @mastersthesis {13192, title = {The Symbolist Impulse in American Art across Media Circa 1900}, year = {2020}, school = {Maryland}, abstract = {This dissertation analyzes the Symbolist movement in American art in the years around 1900. Symbolism was an antinaturalistic tendency that prioritized imagination and the intangible psychological realm. A reaction against Realism (and Impressionism, considered Realism{\textquoteright}s logical extension), Symbolist art appears otherworldly, fantastic, and obscure. Works gravitate towards shared themes-the femme fatale and femme fragile, dreams, the duality of life and death, anguish, and mystical visions. Symbolism was not an organized movement in the sense of artists{\textquoteright} membership in a particular association but rather a trend in literary, artistic, and intellectual circles. While Symbolism has generally been considered from a European perspective, this dissertation describes a vital Symbolist impulse in American art through an evaluation of works by four artists: Gertrude Kasebier (1852-1934), Alice Pike Barney (1857-1931), Henry Ossawa Tanner (1859-1937), and George Grey Barnard (1863-1938). Each specialized in a different medium: photography, pastel, painting, and sculpture, respectively. This dissertation attends to surface and technique, and it argues that the animating tension of Symbolism lies in the relationship between the material and the immaterial. Alongside imagery and historical context, the dynamism of materiality and immateriality points to the evanescent yet undeniable presence of Symbolism in the United States. Though Kasebier, Barney, Tanner, and Barnard worked independently of each other, grouping them allows for a comparative analysis across media and enables contextualization beyond solo biographical accounts.}, keywords = {Nineteenth Century, North America}, author = {Eron, Abby} } @mastersthesis {13170, title = {Tehran: A Symptomatic Rendering of Public Architecture}, year = {2020}, school = {Binghamton}, abstract = {This dissertation unpacks the consequences of the 1979 Iranian Revolution on the public architecture of Tehran, focusing on three specific sites, each studied as an example of how the revolution and the subsequent war with Iraq (1980-88) impinged on architecture and urban space. These separate yet interrelated sites are understood as representational spaces of a post-conflict modern city in which public space and monumentality have been reimagined, reconstructed, and reproduced: Shahyad or Azadi Square, a major urban landmark and the site of historic demonstrations during the 1978-79 Revolution and the 2009 Green Movement; Qasr Prison or Garden Museum, a historic site of incarceration recently turned into a public museum; and Abbas-Abad or the Shahestan Pahlavi project, the unfinished pompous urban development project of Mohammad Reza Pahlavi, redefined as the new cultural-entertainment heart of the capital after the Revolution. The symptomatic and multidisciplinary reading of these cases provides opportunities to disentangle the mechanisms, complex agencies, and dialogues involved in the production and reproduction of public architecture in post-revolutionary Iran. Furthermore, the sites that are studied here reveal the shifting politics of representational architecture from the early post-revolutionary days to the contemporary moment. As a result, this dissertation resists a homogenous representation of post-revolutionary Iran as a static historical period, as well as monolithic characterizations of its public architecture.}, keywords = {Architectural History/Urbanism/Historic Preservation, West Asia}, author = {Soltani, Zohreh} } @mastersthesis {13185, title = {That Difficult In-Between Age{\textquoteright}: Fashioning Pre-adolescent Girls in the United States, c. 1930-1960}, year = {2020}, school = {Bard Graduate Center}, abstract = {Although it may seem that the pre-teen, or "tween," girl is a phenomenon of the late twentieth century, American culture has shaped and defined this demographic over six decades. Beginning in the 1930s, ready-to-wear manufacturers, cosmetics and toiletries companies, magazine editors, and advertisers in the United States began to cater their services and goods to girls navigating early adolescence. Industry professionals referred to this newly defined demographic as the sub-teen, a girl they believed to be impressionable and in need of guidance during the turbulent period of early puberty. These adult "experts" were eager to capture this audience of budding customers, and they shaped the figure of the pre-adolescent girl in American popular and consumer culture through prescriptive modes of dress, grooming routines, and the acquisition of tailored consumer goods. In turn, girls were promised academic, social, and romantic success through the consumption of specialty products and adherence to prescribed rituals of corporeal self-monitoring. This dissertation will examine the origins of mass-market pre-teen fashions in the United States from approximately 1930 to 1960 through an investigation of representations of and the discourse surrounding pre-adolescent girls and their appearance in magazines, print advertisements, and advice and medical literature of the period. These representations of preadolescent girls speak to cultural ideals of girlhood and beauty, and illuminate the ways in which editors, advertisers, designers, and society at large conceived of and perpetuated the archetypes of female adolescence that emerged in these decades. I consider pre-adolescent girls{\textquoteright} fashions in relation to topics such as age-appropriateness and maturity; young adolescents{\textquoteright} development and the physical changes undergone through puberty; governmentality and self-presentation; consumption and peer culture; and the formation of adult dress and grooming habits. My study joins biology, fashion and social history, and sociological theory to explore how adult authorities endeavored to mold the figure of the pre-adolescent girl, both figuratively and literally, in American popular and consumer culture. Additionally, I aim to situate the under-studied topic of pre-teen girls within the context of the history of American fashion and beauty culture. The story of how girls have navigated the awkward years of adolescence through dress and grooming rituals-and how these processes were increasingly prescribed and commercialized over the course of the twentieth century-raises important questions about how and why women have learned to present themselves, come to conceptualize their appearance, and understand their relationship with their bodies.}, keywords = {Genders/Sexualities/Feminisms, North America}, author = {Perry, Rebecca} } @mastersthesis {12936, title = {The Throne from the Grassfields: History, Gifts, and Authenticity in the Bamum Kingdom, 1880-1929}, year = {2020}, school = {Princeton}, abstract = {This dissertation analyzes the history and meanings of the spectacular beaded thrones with two figures from the Bamum kingdom in Cameroon. It shows how the thrones have been used as a focus for politics in the Bamum kingdom since the nineteenth century and during the subsequent periods of German and French colonial rule. The oldest of the thrones has been displayed for more than a century in the State Museums of Berlin and is one of the most recognizable works of historical art from Africa. This dissertation argues that the throne in Berlin may have been made in the first half of the nineteenth century under the Bamum monarch Mbuombuo or around 1880 during the reign of his grandson, Nsangu. Nsangu used the throne to legitimate himself by linking himself visually to Mbuombuo and the achievements of his reign. At the height of German colonial rule in 1908, Nsangu{\textquoteright}s son, Njoya, gave the throne to German Emperor Wilhelm II. Njoya also commissioned a second throne, which he used in place of the one he gave to Wilhelm. This dissertation argues that Njoya and the German authorities sought to frame the gift to create and impose different understandings of their relationship. By making the gift, Njoya sought to reinforce his position and his ongoing relationship with the German Empire. German colonial authorities, however, understood the gift as a sign of Njoya{\textquoteright}s submission to colonial rule. During the French colonial era, which began at the end of World War I, colonial administrators stripped Njoya of much of his authority. His relative, Mosc Yeyap, sought to fill the resulting power vacuum by transforming similar thrones into broader symbols of Bamum identity, rather than royal power, and by defining a historicist style of Bamum art that conformed to European and American collectors{\textquoteright} desire for "authentic" African art.}, keywords = {Africa, Twentieth Century}, author = {Fine, Jonathan} } @mastersthesis {13195, title = {To Die Not Holding a Gun, but a Paintbrush: Kazuki Yasuo and Representations of War in Postwar Japanese Art}, year = {2020}, school = {UC Irvine}, abstract = {My dissertation traces the life of Japanese oil painter Kazuki Yasuo (1911-1974). One of postwar Japan{\textquoteright}s most significant oil painters, he is not well-represented in English Language scholarship on the period, a lacuna this dissertation seeks to help rectify. The introduction presents a brief history of oil painting (Yoga) in Japan, the problems of representing war experiences in postwar Japan, and the cultural climate to contextualize Kazuki{\textquoteright}s corpus. The subsequent chapters recount Kazuki{\textquoteright}s life and work chronologically. Chapter One begins with his family background and early interest in art, particularly painting, culminating in his study at Japan{\textquoteright}s premier art academy. Chapter Two picks up with his graduation and chronicles his early career struggles, followed by his conscription and culminating in his capture by the military forces of the USSR. Chapter Three describes the conditions of the time spent by Kazuki, as well as hundreds of thousands of other Japanese POWs, in the infamous "Gulag Archipelago" of labor camps in Siberia. This time would go on to inform his most significant body of work, the Siberia Series. I also recount his repatriation after two grueling years in Siberia, and the eight- year interregnum that followed, during which he could not bring himself to represent his Siberia experiences. Chapter Four then focuses closely on the Siberia Series, which, after breaking through his extended representational silence, dominated his artistic output for the remaining years of his life (and continues to define his posthumous legacy). Here I also focus on the analysis of paintings of the series and the broader meaning and implications of it, both in relation to Kazuki{\textquoteright}s oeuvre as well as significant postwar Japanese artists and postwar Japanese art more generally. Additionally, I triangulate Kazuki{\textquoteright}s position in postwar art, and his commonalities and divergences from significant war-related artists of his times. The Conclusion traces Kazuki{\textquoteright}s final days, as well as his postwar and posthumous legacy.}, keywords = {East Asia, Visual Studies}, author = {Aaron, Benjamin} } @mastersthesis {13129, title = {Traditions and Transformations in the Work of ADAL: Surrealism, El Sainete, and Spanglish}, year = {2020}, school = {CUNY}, abstract = {The Nuyorican movement was a cultural and intellectual movement beginning in the late 1960s through the 1970s that coincided with the era of civil rights struggle in the United States. The artists, writers, poets, and others in the movement were of Puerto Rican descent and resided in New York neighborhoods such as El barrio or Spanish Harlem, Loisaida or the Lower East Side and the South Bronx. The term "Nuyorican" was embraced as a badge of honor and pride by New York{\textquoteright}s Puerto Rican community. It was during this time that cultural-specific institutions such El Museo del Barrio, Taller Boricua, and The Nuyorican Poets Cafe were all founded. Artist Adal Maldonado is a product of this movement and the focus of my dissertation. Adal (born Adal Alberto Maldonado in Utuado, Puerto Rico, 1948) is a contemporary multimedia artist whose work, though resisting categorization, is firmly grounded in established photographic techniques as well as social justice movements of the 1960s. It is also informed by eighteenth and nineteenth century Puerto Rican literary and theater traditions such as the sainete. These traditions are at the root of Puerto Rican humor which is uniquely Caribbean. Although his artistic practices include performance art, installation, video, music, sculpture, and film, Adal is primarily a photographer. Adal arrived in New York City as a teenager, establishing his double identity as a "Nuyorican." My dissertation will argue that Adal was the first visual artist within the Nuyorican movement to incorporate text with image to express a Nuyorican identity using Spanglish, a hybrid language that employs both Spanish and English. Adal{\textquoteright}s extensive use of texts and humor to critique social and political concerns has roots in the sainete theatrical form, a short comic skit popular in eighteenth-century Spain and its colonies in the New World which he appropriates for a contemporary means of expression. Adal was the first among visual artists who has expressed the Nuyorican identity throughout his body of work through the use of the written and spoken word. In his multidisciplinary oeuvre, Adal has developed and consistently made use of language and text as means to inform and complete his images so that they function as both visual and "spoken" works of art. This dissertation reveals his contributions to contemporary art in various mediums including photography, performance, and video, among others. His continuous explorations into culture/politics/literature/history focused on his Nuyorican and Puerto Rican identity or roots are manifested in his work since his early practices.}, keywords = {Latinx, North America}, author = {Aguilar, Margarita} } @mastersthesis {13178, title = {Trans Representations: Non-Binary Visual Theory in Contemporary Art Photography}, year = {2020}, school = {UC Santa Cruz}, abstract = {Trans Self-Representations: Non-Binary Visual Theory in Contemporary Photography, is an interdisciplinary trans visual studies approach to contemporary lens-based self-representations produced by trans and non-binary people. This project is committed to rigorous interdisciplinarity that actively works to undo the partitioning of various identity-based discourses from one another. The project establishes a much-needed field and method of trans visual studies at the intersection of trans studies and visual studies and their methods. Each of the four chapters of my projects focuses on a particular trans self-representation milestone and sub-genre of trans/ non-binary self-representations and each chapter takes a distinct approach to thinking through the cultural and visual significance of each discrete intervention. Overall the interdisciplinary research brings together trans studies, queer theory, photography theory, critical race studies, cultural studies, media studies and postcolonial theory. The chapters of this project are dedicated to looking at trans self-representations and critically addressing the ways trans self-image photographs have the potential to offer a space wherein makers can interrogate the ways their own changing corporealities engage identity, representation, intervene in the trans visual field, how "matrixes of intelligibility" and "racializing assemblages" The photos tranifest-or bring into being new trans and non-binary identities, forwarding them via performative self-portraiture. My research reveals that trans and non-binary self-representations are reshaping identity categories and challenging and augmenting contemporary theory and imaging practice. In establishing the field of Trans Visual Studies I also work to establish trans visual studies methods that are non-binary and de-essentialized methods for apprehending contemporary visual culture. This project argues that trans visual culture is a shifting field with diverse representational approaches and corporealities. I also argue that we need increased scholarship in this area and a more in-depth investigation into trans visual culture. To consider the current moment of unprecedented amount of trans visual culture without engaging in trans visual studies analysis of the phenomenon is to conduct critical error and run the risk of missing the significant impact that trans visual culture is having on visual culture, art, identity constituencies, theories of representations and imaging practices.}, keywords = {North America, Queer/Gay Art}, author = {Lehner, Ace} } @mastersthesis {13117, title = {Transculturality, Sensoriality, and Politics of Decorative Arts of Kerala, India}, year = {2020}, school = {UIC}, abstract = {This dissertation examines the historical and contemporary lives of transcultural decorative arts produced in the eighteenth and nineteenth centuries in Kerala, India, arguing for their sensorial and political efficacy in colonial and courtly sociopolitical encounters in India and Europe. Simultaneously, this dissertation investigates how art is made in littoral Kerala through diverse transcultural practices.}, keywords = {Decorative Arts, South Asia/South East Asia}, author = {Murali, Deepthi} } @mastersthesis {13199, title = {Transferer a Paris {\textquoteright}tout ce qu{\textquoteright}il y a de beau en Italie{\textquoteright}: conquetes materielles au service de l{\textquoteright}edification nationale (1796-1798)}, year = {2020}, school = {Montreal}, abstract = {During the victorious Italian Campaign (1796-1797) that took place during the French Revolutionary Wars (1792-1802), a significant number of precious objects were seized and transported to Paris, the new self-proclaimed epicentre of European culture and knowledge. The list of objects was long, varied, and prestigious. Agricultural tools, minerals, rare books, scientific treatises, seeds, musical scores, plant specimens, and above all, monuments from antiquity and Renaissance paintings, were amassed for the purpose of gracing the institutions of the French capital. On 9 and 10 Thermidor year VI (27th and 28th of July, 1798), the convoy was paraded through the streets of Paris in a celebration titled l{\textquoteright}Entrée triomphale des objets de sciences et d{\textquoteright}arts recueillis en Italie (the triumphal entry of objects of the sciences and arts collected in Italy). En route to their new destination, the precious objects were subjected to the contingencies of the voyage. Buried in sealed and tarred crates marked with the official seal of the Republic and piled onto straw-filled carts, they journeyed over mountains, on roads, through ports, across seas, and down rivers, canals, streets and boulevards. Although the objects were hidden and kept far from areas traditionally studied by art history, they received wide coverage in newspapers that avidly chronicled the convoy{\textquoteright}s adventures through volatile areas and rugged terrain. What is more, the journey took place against a backdrop of great social unrest and political crises, while the regime of the Directory (1795-1799) struggled to establish its legitimacy and the Counter-Revolution rose in the wake of the legislative elections. Drawing on a theoretical framework bridging mobility studies, material studies, nationalism studies, and the history of emotions, this dissertation demonstrates that the transit between Rome and Paris became a narrative epic that outlined a French identity in search of unity. In fact, the objects{\textquoteright} transit from Italy became a lever of national edification that mobilized the themes that are the basis of patriotic sentiment, such as civilizational superiority, technical knowledge, and moral ascendancy. Three major moments will be studied: the seizure of the objects, their transportation, and the moment of celebration.}, keywords = {Material Culture, Northern Europe}, author = {Reinhardt, Chanelle} } @mastersthesis {13201, title = {Uniformly Speaking: Military Dress in an Age of Reform, 1763-1789}, year = {2020}, school = {Bard Graduate Center}, abstract = {No record in ProQuest, Bard does not include abstracts}, keywords = {Comparative, North America}, author = {Keagle, Matthew} } @mastersthesis {13151, title = {Visions of Their Land: M{\l}oda Polska \& The Making of Landscape}, year = {2020}, school = {Bryn Mawr}, abstract = {This dissertation focuses on the landscape art produced by artists of the Mloda Polska (Young Poland) movement, active ca. 1890-1914. This period of art-making coincides with the condition of non-sovereignty. Poland as a nation-state ceased to exist from 1795 -to 1918, partitioned by imperial Austria, Prussia, and Russia. Landscape, as a set of textual and visual practices addressing questions of national identity and belonging, is uniquely suited to address Polish identity and its construction during this period of statelessness. Trained internationally and working across partition lines, Young Poland produced landscape art as a central part of their artistic practice. Despite this, the topic has received little focused attention in scholarship. Rather, landscape art is considered primarily through the lens of influential stylistic movements, for example European Impressionism or Symbolism. Landscape art as a medium capable of eliding and uniting these stylistic differences moves past an account only of these stylistic phenomena in Polish art. It addresses the fundamental paradox of Polishness of the period: what articulated Polish identity at a time when Poland did not exist? This dissertation examines four topoi of Young Poland landscape art as intersections between the different cultural practices that constituted and created Polish identity. These are the ghost landscape, as in Stanis{\l}aw Wyspianski{\textquoteright}s Capsheaves; the garden as hortus conclusus and hortus deliciarum as in Jozef Mehoffer{\textquoteright}s Strange Garden; the sublime landscape as in Wojciech Weiss{\textquoteright} Radiant Sunset; and the framing and screening of the landscape through the self in Stanis{\l}aw Wyspia{\'n}ski{\textquoteright}s View from the Artist{\textquoteright}s Studio Window. Together they represent a set of landscape poetics through which Young Poland addressed the fundamental condition of non-sovereignty. The landscape works simultaneously mourn and remember the lost Poland while anticipating and mapping its reconstitution. They do so by proposing new temporalities and new relationships to subjectivity. At the same time, they explore innovative iconography, experimental painting, and questions of representation itself. Against the broader nineteenth-century European context of landscape art, Young Poland landscape art is equally progressive. This study yields new insight into the relation between perceived center and periphery, and proposes a recalibration of mutual influence.}, keywords = {Northern Europe, Painting}, author = {Amalia C. Wojciechowski} } @mastersthesis {13187, title = {The Visual Language of Identity: Women{\textquoteright}s Seals in Scotland and Ireland, c. 1100-c. 1400}, year = {2020}, school = {Missouri}, abstract = {My dissertation explores the visual expression of the power and authority of secular women in Scotland and Ireland from the twelfth through the fourteenth centuries. I approach this large topic with a study of the small: the seals found on documents. Seals function like our signatures today; they add our authority to documents and are expressive of our power. Unlike our contemporary signatures, however, seals also bore signs of the identity of the person that used them. The iconography, size, and shape of a seal signified a person{\textquoteright}s social standing and gender. Women from the highest social classes possessed oval seals with full standing figures and heraldic emblems and women lower down the social ladder owned oval-shaped, non-figural seals. Women in medieval Scotland and Ireland followed a visual language of identity, drawing from well-established images found in church sculpture, tombs, and manuscript illuminations. The ubiquity of the images ensured that they would be widely understood. The spread of sealing culture as well as the spread of international artistic fashions into the western peripheries of the European world was a result of Norman (and Anglo-Norman) influence. This study brings the seals of women in Scotland and Ireland within the lively scholarly discourse about identity and visual culture in the expansive orbit of late medieval England and France by considering the varying degrees of how foreign influence was adopted within the two Gaelic worlds.}, keywords = {Northern Europe, Visual Studies}, author = {Rancour, Brittany} } @mastersthesis {13172, title = {Visual Pedagogy and the Spirit of Exhibition in the Work of Charles and Ray Eames}, year = {2020}, school = {Missouri}, abstract = {No record in ProQuest or Missouri ETDs}, keywords = {North America, Visual Studies}, author = {Lorinda R. Bradley} } @mastersthesis {13177, title = {The Visual Rhetorics of the Relic Treasury, c. 1100-1600}, year = {2020}, school = {Northwestern}, abstract = {This dissertation considers a rich and diverse material record pertaining to the dynamic between art and the relic treasury in the Kingdom of France and the Holy Roman Empire from c. 1100 into the sixteenth century. Across this broad period and region-and even well beyond-real and imagined collections of relics were given form in panel paintings, book arts, and prints, as well as on sculptural objects such as altarpieces and reliquaries. This corpus is examined alongside adjacent cultural practices that negotiated the value and experience of relics, such as theoretical engagements with the relic and its meaning, and practices of inventorying and of ritualized sequencing and display. Within this larger context, art persistently mediated objects understood as singular and precious and thus as in need of enclosure and protection. The project builds upon recent scholarship in revising the historiographical construct of the medieval treasury as a passive "accumulation" of alike things that exists in essential discontinuity with later practices of acquiring, ordering, and displaying objects. This binary paradigm within collection studies resonates with-and in certain art historical scholarship explicitly reinforces-a notion of representation in the medieval period as similarly characterized by a lack of mediation. For several decades, scholarship has asserted a historical rupture in representational-epistemic modes by opposing the medieval "image" to the early modern "work of art." Within this paradigm, the medieval image is defined through its instantiation of sacred presence, in opposition to the more mediated forms of Renaissance art. By looking at how the relic-the archetype of presence in Latin Christianity-was itself always mediated through visual representation and related discourses of description, organization, and display, this study offers a recalibrated account of medieval art and collecting both independently and in relation to succeeding practices.}, keywords = {Fifteenth Century, Northern Europe}, author = {Oswald, Julia} } @mastersthesis {13204, title = {Visualizing Decolonial Democracy in the Oaxaca Commune}, year = {2020}, school = {UC Santa Cruz}, abstract = {As we face a global crisis of democracy, this dissertation highlights the importance of visual culture in social justice movements, giving new dimension to the refrain: "This is what democracy looks like!" Visualizing Decolonial Democracy in the Oaxaca Commune analyzes the visual culture of the Oaxaca Commune, a 2006 popular uprising and ensuing social movement in the southern Mexican state of Oaxaca. The Oaxaca Commune was a broad-based social movement aimed at changing the political climate of Oaxaca and addressing long-standing failures of and inequities within its representative democracy. I argue that visual culture projects were the driving force in envisioning, manifesting, and sustaining the Popular Assembly of the Peoples of Oaxaca (APPO) and its compelling political model. APPO brought together over three hundred social, cultural, and political organizations for an experiment in what I term "decolonial democracy:" participatory democratic politics based in Indigenous communal practices, governance, and forms of resistance to colonialism and its heirs: imperialism, global capitalism, and neoliberalism. This project is related to global trends in contemporary social movements waging experiments in participatory politics and direct democracy as strategies to combat racial, ethnic, and gendered oppression, austerity, corruption, poverty, and inequality. I signal how my case study fits into these trends while also attending to the specific visual dynamics of social movement culture and the particular geopolitics of Oaxaca. I analyze three visual culture projects initiated in the Oaxaca Commune: graphic art created by youth activists and artists in Oaxaca City art collectives; the People{\textquoteright}s Guelaguetza Indigenous folk festival coordinated by APPO, the teachers{\textquoteright} union, and Oaxacan Indigenous communities; and television broadcasts produced by Oaxacan women occupying the state radio and television station. In varying and often overlapping ways, I argue, each visual culture initiative drew from and revised cultural, artistic, and political traditions to galvanize public support for APPO and the political changes it pushed for. The wealth of visual material animating the Oaxaca Commune made it clear that the Oaxacan people were not only protesting the injustices of the current political system, but were also actively prefiguring the kinds of participatory politics they demanded.}, keywords = {Indigenous Peoples, North America}, author = {Affourtit, Lorraine} } @mastersthesis {13214, title = {When Willful Institutionalization Becomes Form: Artworld Globalization, Cai Guo-Qiang, and an Aesthetics of Contingency}, year = {2020}, school = {Binghamton}, abstract = {No record in ProQuest or Binghamton ETDs}, keywords = {East Asia, Twenty-first Century}, author = {Jon, Ihmni} } @mastersthesis {13171, title = {Where Is Cuban American Art? Artistic Production, Identity Formation and Cultural Politics from the 1980s to the Present}, year = {2020}, school = {Florida}, abstract = {No record in ProQuest or Florida ETDs}, keywords = {Latinx, North America}, author = {Cerejido, Elizabeth} } @mastersthesis {13206, title = {Women, Land Art and the Social (1978-83)}, year = {2020}, school = {UC Santa Cruz}, abstract = {This dissertation analyzes three large-scale, land-based, socially engaged artworks by Betty Beaumont, Patricia Johanson, and Beverly Buchanan that manifested at a time when interconnections among art, feminism and the environmental movement were establishing new lines of communication and creativity in the United States. During the late 1970s female artists led a transformation in land art from its roots in isolationism and minimalism to a vision that was activist, connected, and social. This dissertation explores the emergence, intersection, and divergence of the categories of land art and public art during the 1970s and early 1980s, showing how they evolved from monumentality toward an interconnected, relational approach to public artmaking. These three case studies assess the projects{\textquoteright} aesthetic worth and also their functionality, whether as social reclamation, a source of food, a strategy for drawing people closer to the natural world, or a marker for lost social histories and economies. Beginning with an analysis of historical conditions that finally enabled women artists to receive funding for large-scale land art projects, the dissertation then considers how funding influenced the work; the distinctions in foundational practices that women artists brought to this second phase of land art; and why the art world continues to separate out progenitor land art projects made by women artists from the broader field. The artists in this study worked abstractly; however, each woman maintained a complicated relationship with feminism as a political or artistic imperative. Supported by feminism and greater political awareness, female artists pushed the limits of land art to create public artworks that addressed the era{\textquoteright}s pressing social and ecological issues. The site-based projects open up into multiple categories, among them public art, landscape design, activist art, and ecological art. Rather than aestheticizing biota, the featured women artists are unified by the desire to integrate art and biota. The dissertation, calling upon the scientific theory of open systems to provide a conceptual bridge between art and science, demonstrates that these artworks are complex ecosystems-social ecologies-through which land artists become understood as engaged citizens.}, keywords = {Installation/Environmental Art, North America}, author = {Timken, Kris} } @mastersthesis {13221, title = {A World for All and None: De Stijl, Modernism, and the Decorative Arts}, year = {2020}, school = {Maryland}, abstract = {In October 1917, the first issue of the journal De Stijl was printed in the Netherlands under the editorial leadership of Theo van Doesburg. The publication became a nexus around which a core group of progressive artists, architects, and designers were brought together. They all shared a similar goal: to be a platform through which a new aesthetic would be declared, one that would diagnose and resolve the social, cultural, and metaphysical conditions that had led to the First World War. The group{\textquoteright}s vision was totalizing, meant to encompass all forms of art, from armchairs to architecture. This dissertation explores the position of the decorative arts within De Stijl{\textquoteright}s utopian project. The decorative arts were the bellwether of many of the principal social, cultural, and political problems that modernity brought to the fore. As a result, the polemics that emerged from the decorative arts profoundly informed the development of De Stijl{\textquoteright}s artistic praxis and theoretical framework during the formative years of the group. By acknowledging the origins of many of De Stijl{\textquoteright}s intellectual and aesthetic positions within the decorative arts, this dissertation aims to present a renewed perspective on the group{\textquoteright}s formal projects in interior design, stained glass, and furniture. By rooting the work of these artists within the instrumental role of the decorative arts, this dissertation gives needed attention to these essential, yet undertheorized aspects of De Stijl{\textquoteright}s utopian project to provide new insights into one of the most prominent artistic movements of the interwar period. In doing so, it endeavors to call for a broader reassessment of the intrinsic role the decorative arts played in the emergence of modernism broadly, and the practice of the European avant-garde specifically, in the years following World War I.}, keywords = {Decorative Arts, Northern Europe}, author = {Zimmerman, Devon} } @mastersthesis {12835, title = {Act as Attribute: The Attacking Body in Ancient Greek Art}, year = {2019}, school = {Columbia}, abstract = {An image of the body in the act of attack might be taken as an inherently episodic or narrative motif, due to the apparently transitive nature of the movement involved. Such a categorization is challenged, however, by an array of ancient Greek images that distance the attacking figure from a temporal context, as by the elision of an explicit victim; such images betray the attacking body{\textquoteright}s "iconic" aspect, which is underlain by the efficient communication of symbolic values linked to the identity of the subject. This dissertation surveys the development of the iconic motif of the attacking body across diverse media, from its cross-cultural origins in the Bronze Age to its reformulations in the Archaic, Classical, and Hellenistic eras. In doing so, it tracks the codification of value-rich attacking "schemata" (recurring poses) in the representation of particular identities, including warriors, athletes, and various divinities, among others. Integrating the social-symbolic model of gesture and the body that has emerged across academic disciplines with a generally (though not exclusively) semiotic approach to the ancient imagery, the study elucidates key continuities in the significance of the motif as it appears in multiple forms and across an intriguing range of iconographic and functional contexts. Ultimately, it builds an argument that in a society in which the exertion of violence was central to the performance of status and the construction of power, the visual motif of the attacking body was critically linked to the figuration of human and divine identity: the "act as attribute."}, keywords = {Ancient Egyptian/Near Eastern Art}, author = {Peebles, Matthew} } @mastersthesis {12900, title = {Agency at the Confluence of Dakhota and Euro-American Art, 1835-1912}, year = {2019}, school = {Pittsburgh}, abstract = {Recovering the dynamic experiences in the Upper Midwest that nineteenth-century pictures and records of Dakhota people appear to obscure is the primary aim of this dissertation. It is the first to consider Dakhota-United States relationships from an art historical perspective. The dearth of scholarship on Eastern Dakhota art (the Bdewaka{\ng}to{\ng}wa{\ng}, Wahpekute, Wahpeto{\ng}wa{\ng}, Sisito{\ng}wa{\ng}) belies the central role it played in mediating U.S.-Native American relationships. Confluence, where waters merge and collide, provides a metaphor and method for tracing crosscultural art histories in Mnisota Makhoche, "the place where the water reflects the clouds in the sky," what is currently called Minnesota. The constellation of materials examined in the following pages depicted, were made on, and even made of Dakhota ancestral homelands. They range widely across media such as prints, paintings, cha{\ng}nu{\ng}pa (tobacco pipes), porcupine quillwork, and ethnological books. The bulk of the objects fall between 1835, the year artist-explorer George Catlin claimed to discover Cha{\ng}nu{\ng}p-ok{\textquoteright}c (the Pipestone Quarry) on Dakhota lands, and 1912 when Minnesotan settlers commissioned the first stone marker to commemorate the mass execution of thirty-eight Dakhota men in 1862. Each chapter unravels a history of the encounter between Dakhota and settler communities by focusing on a single work: a mineral chart, Dakhota crucifix carved from i{\ng}ya{\ng} sa (pipestone), and newspaper illustration of the execution. This dissertation re-orients the methodological approach to American art historical study within Indigenous homeland by considering cultural encounter, agency, Indigenous aesthetics, and research ethics. Chapters grapple with the seeming absence of Dakhota voices in the official archive constructed by non-Native government officials and anthropologists. The strategies employed to do so emerged from engagement with contemporary museological theory and practice regarding the exhibition of Indigenous art and culture. These include weaving contemporary Native American artworks into the discussion of historical material, as well as privileging the voices of Dakhota elders, artists, and community leaders past and present. An additional primary method employed during the research process included consulting with Dakhota persons in Minnesota, Nebraska, and South Dakota.}, keywords = {Native American/First Nations}, author = {Johnson, Annika Kelsey} } @mastersthesis {12878, title = {Alternative Anatomies: The Medieval Body Opened and Imagined}, year = {2019}, school = {Wisconsin}, abstract = {No record in ProQuest or Wisconsin ETDs}, keywords = {Eleventh to Fourteenth Century, Northern Europe}, author = {Bovenmyer, Peter} } @mastersthesis {12859, title = {Anarchism and Visual Culture in Greater Mexico, 1910-1950}, year = {2019}, school = {Duke}, abstract = {This dissertation explores the influence of anarchism on the development of modern art in Mexico and the Americas from 1910 to 1950. It argues that art was an integral component of anarchist movements and that the philosophy and politics of anarchism guided major aesthetic debates about modern art in Mexico. Two key figures anchor this study: Ricardo Flores Magon (1874-1922) was an anarchist writer, activist, and head of the Junta Organizadora del Partido Liberal Mexicano, an anarcho-communist group of exiled Mexican anarchists living in the U.S. Dr. Atl (1875-1964) was a landscape painter, early proponent of muralism, and promoter of Mexican folk art. These figures are a starting point for unveiling a wide network of well-known and marginalized artists, writers, and intellectuals who engaged with anarchist philosophies. Using previously unexplored archival sources, correspondence, and unpublished manuscripts, this study examines a range of different artistic works-paintings and murals, cartoons and drawings, correspondence and book illustrations-that ranged in form and style from realism to impressionism and expressionism. By examining the reproduction and translation of these works throughout Mexico, the U.S., and South America, this dissertation also shows how anarchist art production transcended linguistic and cultural divides and furthered efforts to construct a hemispheric network of transborder solidarity.}, keywords = {Colonial and Modern Latin America, Twentieth Century}, author = {Romero, Rosalia} } @mastersthesis {12844, title = {Architecture and the Performance of Citizenship in a Global City: Singapore, 1965-2015}, year = {2019}, school = {Duke}, abstract = {In this dissertation, I present the ways in which architecture was used to perform citizenship in post-colonial Singapore from 1965-2015. During the first fifty years of independence, architects, alongside other artists and activists, contested the restrictions and exclusions of de facto and de iure citizenship through alternative proposals for the urban built environment. I make the case for an alternative architectural history based on those buildings which are excluded from the canon by virtue of their being unbuilt and rejected projects. Through archival research and interviews, I provide an historical narrative and visual analysis of these alternative proposals for architecture and politics. I argue for an understanding of both citizenship and architecture{\textquoteright}s agency as performative. I begin with the Singapore Planning and Urban Research (SPUR) Group{\textquoteright}s proposals and continue with examples its co-leaders{\textquoteright}-Tay Kheng Soon and William Lim-alternative unbuilt projects. The rejection of these architectural projects by the state reveals the rejection of the postcolonial social democratic politics on which they were based. This evidence demonstrates the continuity between British colonial control and one-party planning. I conclude that these architects were the forefront of envisioning and advocating for an alternative democratic ideal. Their contributions paved the way for visual and performing artists as well as civil society organizations to continue contesting the state{\textquoteright}s oppressive politics.}, keywords = {Architectural History/Urbanism/Historic Preservation, Politics/Economics}, author = {Bullock, Nathan Foster} } @mastersthesis {12834, title = {Art in Mozambique at the End of Socialism}, year = {2019}, school = {Columbia}, abstract = {This dissertation analyzes art in Mozambique during the country{\textquoteright}s transition from Marxist-Leninism to a multi-party democracy (1984-1994). The end of the socialist regime elicited diverse responses from Mozambican artists and art institutions, all of which tried to reconsider the recent radical past to suit the new political conditions of liberalization at the end of the Cold War. Part I of the dissertation focuses on the 1980s rehabilitation of artist Malangatana Valente Ngwenya, one of the first and most important figures in African modernism. Malangatana{\textquoteright}s image as a national artist will be discussed alongside the emergence of the collective of art critics known as Rhandzarte, and the reconsideration of the state{\textquoteright}s narrative of national unity. Part II looks at the artist Naguib Elias Abdula as an example of the move away from state patronage towards reliance on the private sector. Following the wide changes in its artistic values, Mozambique was the first African country to create an institution to foster corporate collecting in a state-owned initiative known as Horizon Art Diffusion. Part III will focus on the rise of abstraction in the late 1980s and early 1990s. While figurative works of art had been the norm since independence, the increased visibility of abstraction at the end of socialism shook the foundations of the country{\textquoteright}s aesthetics. On the one hand, some abstract works can be seen as radical interrogations of what had constituted Mozambican art until then. On the other hand, much of the momentum of abstraction was a product of the Ujamaa workshops, which were modelled on the Triangle Art Foundation. In its significantly different political and aesthetic reverberations, Mozambican abstraction appeared as a definite break from the socialist past.}, keywords = {African American/African Diaspora}, author = {Lima, Alvaro Luis} } @mastersthesis {12872, title = {Art, Materiality, and Intermediality: The Multimedia Writing Practice of Chen Hongshou (1768-1822)}, year = {2019}, school = {UCLA}, abstract = {This dissertation investigates how calligraphic carving emerged as a new literati cultural practice during the late eighteenth and early nineteenth centuries in China, by focusing on the versatile scholar-artist Chen Hongshou 陳鴻壽 (1768-1822). Toward this end, the dissertation examines five related issues: first, the extent to which literati engaged in creating inscriptions on solid objects during the period; second, the growing sense of the literati that ancient writing was executed in materials that were distinct from those employed in their brush-based calligraphy; third, how calligraphic carving developed into a literati-style art via seal carving; fourth, the ways in which the active pursuits of the literati in seal carving and the study of ancient bronze and stone inscriptions were extended into their inscribing practice; and lastly, the cultural and intellectual boundaries between the literati and professional artisans that were increasingly blurred. By conducting all these avenues of research, this dissertation demonstrates that a substantial number of mainstream literati engaged in the practice of inscription making during the period as their enjoyable pastime or even as a fashion. In analyzing calligraphic examples carried in a variety of material objects, the dissertation reconstructs the interaction between diverse forms of art not only in visual feature but also in method of execution. In so doing, the present study underscores the importance of cross-media examination in Chinese art. By investigating how the literati practice of inscription making was derived from their artistic sensibility and growing recognition of diverse works of craft as valuable cultural objects, the dissertation demonstrates that the cultural practices of literati and artisans increasingly merged in this period of China{\textquoteright}s history.}, keywords = {East Asia, Eighteenth Century}, author = {Yi, Hye-shim} } @mastersthesis {12911, title = {The Art of Confessionalism: Picturing Lutheran, Reformed, and Catholic Faith in Northwest Germany, 580-1618}, year = {2019}, school = {Princeton}, abstract = {This dissertation investigates the status of religious imagery in Lutheran, Reformed, and Catholic contexts in the decades preceding the outbreak of the Thirty Years{\textquoteright} War in 1618. Typical characterizations of the art created for each religious confession, which generally posit a more sober style in reaction to Protestant critiques of Catholic practice, do not fully account for the artworks commissioned by three neighboring Westphalian courts that form the core of this study. The Reformed Count Simon VI of Lippe at Schloss Brake in Lemgo, the Lutheran Prince Ernst of Holstein-Schaumburg in Buckeburg, and the Catholic Prince-Bishop Dietrich von Furstenberg of Paderborn all looked to the imperial court of Rudolf II in Prague for artists and print models when commissioning works to decorate their palace chapels and reception halls. In addition to sharing some of the same artists, who often drew from common print sources, the ties connecting these patrons included shared borders, mutual defense pacts, marriages, and friendships. Relying on such sources as diaries, contracts, inventories, and textual marginalia, along with church ordinances, sermons, and colloquy proceedings, this dissertation lays out the close relationships that existed between these three patrons of different religious confessions, reconstructs the history of their artistic commissions, yields insights into their stylistic and iconographic choices, and establishes each artistic project in its larger cultural and confessional context. Among the themes explored are the fundamental relationship between the spiritual and material, the interplay between word and image, the role of religious and secular authority, and the reckoning of historical and liturgical time. This study also considers the limits of confessionalism from the point of view of the artists who carried out these commissions. A mix of internationally renowned and local painters, sculptors, and architects from various religious backgrounds served patrons of different confessions, demonstrating that art production was an interconfessional endeavor. This dissertation ultimately argues that confessional self-fashioning involves factors beyond theological conviction. The desire to be represented in a "princely manner" comparable with one{\textquoteright}s peers is transconfessional, leading to a re-evaluation of what defines Lutheran, Reformed, and Catholic art at the turn of the seventeenth century.}, keywords = {Northern Europe}, author = {Kileff Borham, Holly} } @mastersthesis {12831, title = {The Art of Diplomacy in Dakar: The International Politics of Display at the 1966 Premier Festival Mondial des Arts Negres}, year = {2019}, school = {UCLA}, abstract = {This dissertation examines the displays of the visual arts that appeared in the 1966 Premier Festival Mondial des Arts Negres (First World Festival of Negro Arts) with respect to mid-century international politics. In addition to performances of dance and music, film screenings, poetry readings, and a scholarly colloquium, the state-sponsored Festival, held in Dakar, Senegal, included two major art exhibitions. The first, titled l{\textquoteright}Art Negre: Sources, Evolution, Expansion (Negro Art: Sources, Evolution, Expansion), brought together more than 500 works of African art loaned from collections in nineteen countries. The other, called Tendances et Confrontations (Tendencies and Confrontations), was composed of contemporary art by African and African-descended artists working on the continent and throughout the diaspora. Drawing upon archival documents and photography from collections in Senegal, France, Switzerland, and the United States, my project examines the various diplomatic roles played by the visual arts at the event. On one hand, the arts reinforced symbolic or spiritual ties posited to be shared by all humankind. For example, both Senegalese President Leopold Sedar Senghor and UNESCO (The United Nations Educational, Scientific, and Cultural Organization), a major financial and intellectual contributor to the Festival, considered intercultural exchange to be essential to achieving peace after the Second World War and decolonization. On the other hand, the arts acted as useful bartering chips; they were offered, withheld, rejected or praised in efforts to manipulate international politics amid the Cold War and alongside burgeoning nationalist movements accompanying African independence. By considering the relationship of the arts to international conceptualizations of black identity, continental African diplomacy, post-colonial Senegalese relations with France, and Cold War rivalries, my project unsettles an art-historical tendency to portray the artistic programming accompanying African independence as only reflective of nationalist, domestic politics.}, keywords = {Africa}, author = {Taylor, Lauren Elizabeth} } @mastersthesis {12862, title = {The Art of the Periodical: Pan, Print Culture and the Birth Modern Design in Germany, 1890-1900}, year = {2019}, school = {Chicago}, abstract = {This dissertation tells the story of the Berlin based art, literature, and applied art periodical Pan, whose twenty-one issues were published in three editions of increasing luxury between 1895 and 1900. The dissertation therefore provides an overview of the entirety of the periodical{\textquoteright}s life, countering historiographic biases, which emphasized Pan{\textquoteright}s experimental beginnings. By reconstructing the extended periodical, including advertisements, marketing brochures and off-prints, the dissertation shows how Pan{\textquoteright}s own development is not a history of decline, as has been repeatedly asserted. Rather, the dissertation makes the case that Pan{\textquoteright}s development very much mirrors and reflects a historical pivot from late nineteenth century symbolist aesthetics toward a modernist aesthetics, based on principles of rationality and seriality. The dissertation also uses Pan as an exemplary case study to offer a new perspective on the role of periodicals at a crucial moment for the relationship between art and design. By considering and analyzing Pan{\textquoteright}s dual nature as conventional print medium as well as experimental applied art object, this dissertation offers new insights into the reciprocally constitutive relationship between objects and their images during the fin-de-siecle. After a first chapter provides an institutional history of the periodical, the second chapter turns to the role paper played in the conception, production and reception of the periodical, especially relating to questions of consumption, luxury and bourgeois decorum. The third chapter analyses in detail shifts in layout and typography over the periodical{\textquoteright}s five-year run and proposes that Pan{\textquoteright}s emphasis on the experience of the single page makes it a periodical despite itself. The last chapter first considers the significance of reproductions in Pan and then situates them in a larger economy of images, publications, objects, and interiors. This last section lays bare in some historical detail that in the age of the periodical both art and applied art are subject to the logic of reproducibility and seriality. Whether as objects or as entire rooms, modernity in art and applied art circulated, crucially, as image-objects in the form of tangible, sensuously active periodicals.}, keywords = {Decorative Arts, Nineteenth Century}, author = {Koss, Max} } @mastersthesis {12916, title = {Arts et Metiers PHOTO-Graphiques: The Quest for Identity in French Photography between the Two World Wars}, year = {2019}, school = {CUNY}, abstract = {This dissertation examines the evolution of photography in France between the two World Wars by analyzing the seminal graphic art magazine Arts et metiers graphiques (1927-1939). This bi-monthly periodical was founded by Charles Peignot (1897-1983), the artistic director of the largest manufacturer of typefaces in interwar France, Deberny et Peignot. Arts et metiers graphiques has been recognized in previous literature as one of the principal vehicles for the modernization of photography in France, primarily because it functioned as an essential conduit for the radical practices developed outside the country. The interwar period is regarded as the watershed in the history of photography. Avant-garde artists and photographers not only established photography{\textquoteright}s own expressions but also liberated the medium from its aspiration for high art advocated by Pictorialism by expanding its uses in and as new media. Arts et metiers graphiques has been recognized as a catalyst for this transformation of photography in France. However, this study argues, contrary to such reputation, Arts et metiers graphiques represented a juste-milieu, and even arriere-garde attitude toward photography in interwar France. Instead of revolutionizing photography, the magazine encouraged the medium{\textquoteright}s legitimization as a form of high art, combining Pictorialist tenets and modernist understanding of photography. I examine the emergence and evolution of this attitude by considering photography{\textquoteright}s changing relationship with the contemporary development of graphic arts and media. Photography was first introduced to Arts et metiers graphiques around 1930 as an essential element for the modernization of graphic practices such as publicity and book designs. However, because of the magazine{\textquoteright}s focus on the aesthetic and formalist aspects of graphic arts, photography soon came to be appreciated for its own visual beauty and quality of execution, rather than for its function in graphic design. Accordingly, Arts et metiers graphiques started to promote photography as an autonomous artistic practice independent of graphic contexts over the course of the 1930s. The break with past art{\textquoteright}s conventions and reliance on graphic media have been defined as two essential backdrops of photography{\textquoteright}s revolution in the interwar period. However, Arts et metiers graphiques proves that this schematic understanding did not really fit into France. This dissertation thus reveals another aspect of photography{\textquoteright}s modern evolution overshadowed by, but coinciding with, the avant-gardes{\textquoteright} radicalism.}, keywords = {Photography, Twentieth Century}, author = {Isotani, Yusuke} } @mastersthesis {12829, title = {Assyrian Entropy: City Sieges and Cosmic Dissolution in the Palace Relief Programs}, year = {2019}, school = {Pennsylvania}, abstract = {During its heyday in the eight and seventh centuries BCE, the Neo-Assyrian Empire was so militarily powerful that few armies could stand against it in open combat. The annual campaigns of the Assyrian monarchs were thus largely occupied with city sieges, memorialized both in royal inscriptions and in the sculptural relief programs that decorated their royal palaces. Imagery of systematic urban destruction was triumphantly presented over and over again in these reliefs, in portrayals no less graphic than the depictions of death and torture which have long made these sculptural narratives notorious. These images testify to the unprecedented violence and technical expertise which the Assyrians brought to sieges: city walls (an important symbol of political independence in the ancient Near East) are seen dismantled, brick by brick, by complex war engines or digging soldiers, and collapsing masonry and falling enemy combatants echo each other{\textquoteright}s demise. The walls of the royal palaces were covered by these vivid portrayals of the violent dissolution of city life, a striking fact when considering that these palaces were often situated within capital cities newly built or renovated by the kings themselves. This dissertation explores how the Assyrian state couched this destructive enterprise within the broader concepts of entropy and dissolution inherent in Mesopotamian cosmology. In Assyrian royal inscriptions the actions of king and army are compared to the violence of natural disaster, or equated with the dissolving power of time itself by turning enemy cities into deserted ruins. Within the reliefs, siege depictions consistently focus upon the entropic touch of soldiers{\textquoteright} weapons and siege engines as they dismantled enemy settlements into constituent parts. And within the architectural environs of at least one royal citadel, Sargon II{\textquoteright}s palace at Dur Sarruken, siege images were deployed to structure visitors{\textquoteright} experience of physical space, placed at transitional points between rooms and emphasizing choices in directional movement. Ultimately all of these rhetorical approaches, I argue, attempted to place the Assyrian Empire in violent harmony with the forces of dissolution naturally at play in the cosmos, and to shield its own works from their effects.}, keywords = {1500 BCE to 500 BCE, Ancient Egyptian/Near Eastern Art}, author = {Langendorfer, Breton A.} } @mastersthesis {12905, title = {Authoring Art in Nineteenth-Century France}, year = {2019}, school = {Columbia}, abstract = {In 1793, the nascent French republic established its first intellectual property law called droit d{\textquoteright}auteur. This statute affected the visual arts and literature in equal measure, such that from a legal perspective, a painting and a manuscript were now treated as equivalent entities. Whereas literary critics have traced the impacts of this legislation on the production of novels and poetry, and legal historians have detailed its ramifications in nineteenth-century case law, art historians have yet to examine how this consolidation of the sister arts under the rubric of the auteur affected the development of the visual arts and aesthetic practices in the same period. Thus, despite ongoing interest in authorship across the humanities, scholars have operated with an only partial understanding of the subject. My thesis documents how French institutions of authorship, which included courtrooms, print shops, publishing houses, post offices, and libraries, coordinated an increasingly transnational field of textual and pictorial activities. More importantly, it analyses how these same institutions led to the creation of historically significant visual forms. Through a series of case studies of five canonical painters and writers, I offer a revised account of the emergence of modern art in France on the basis of the intimacies and antagonisms felt to exist between these differing artistic spheres. Chapter 1 follows the transition from the ancien regime{\textquoteright}s system of artistic privilege to the modern administration of artist{\textquoteright}s rights in the work of the royal portraitist Elisabeth Vigee Le Brun. By analyzing her 1835 memoirs alongside some of her key post-Revolutionary paintings, I establish the artist as a leading theoretician-practitioner of a new, legitimist aesthetics. Chapter 2 focuses on the classical aesthetic conflict between picture making and writing as it was expressed in the posthumously published diaries of Eugene Delacroix. I interpret his diary{\textquoteright}s Romantic notion of pictorial specificity as an early variant of pictorial modernism. Chapter 3 explores the intertwined politics of exile and authorship in Victor Hugo{\textquoteright}s enigmatic ink drawings. Tracking their creation in Guernsey to their eventual bequest alongside the writer{\textquoteright}s literary manuscripts to the Bibliotheque nationale de France, this chapter also offers the first art history of the French national library, which, months prior to the opening of the Louvre, became the country{\textquoteright}s first true public domain of images. Chapter 4 chronicles the emergence of the first global infrastructure for authors of art through an analysis of what I have called Vincent van Gogh{\textquoteright}s "postal paradigm." It demonstrates how the emigre artist substituted traditional academic protocols of education, critical evaluation, and reception with newly internationalized postal instruments and, additionally, how the formation of the Universal Postal Union facilitated the expansion of the international art market in the 1880s. Chapter 5 analyzes writer Emile Zola{\textquoteright}s photographs taken in the 1890s in relation to a key aspect of his magnum opus, the Rougon-Macquart series: its conclusion. This chapter charts the consequential overlapping of two significant aesthetic debates in the 1880s and 1890s, both of which have until now been treated as unrelated- (1) the critiques and debates surrounding Zola{\textquoteright}s experimental aesthetics; and (2) the contestations over the court{\textquoteright}s role in determining photography{\textquoteright}s status as authored. The project concludes with an epilogue that utilizes the project{\textquoteright}s author concept to re-interpret early art historical theory.}, keywords = {Nineteenth Century}, author = {Weintraub, Alex} } @mastersthesis {12932, title = {The Beckett Effect: The Work of Stan Douglas, Paul Chan and Tania Bruguera}, year = {2019}, school = {British Columbia}, abstract = {No record in ProQuest, British Columbia has it embargoed}, keywords = {Twentieth Century, Twenty-first Century}, author = {Sanchez, Marisa} } @mastersthesis {12899, title = {Becoming Yeffe Kimball: Modernism, Gender, and the Construction of a {\textquoteright}Native{\textquoteright} Identity, 1935-1978}, year = {2019}, school = {Wisconsin}, abstract = {Through a discussion of Yeffe Kimball{\textquoteright}s (1906-1978) work and career, this dissertation offers a window into intersections of performances of race, gender identities, and what it meant to be a modern American artist at mid-twentieth century. My examination of Kimball{\textquoteright}s success as a self-identified American Indian artist interrogates and intervenes in existing power structures that serve and are served by settler colonial history and culture. This significant contribution allows scholars to rethink challenging identity narratives in America-a nation built on the assimilation of American Indian peoples and the appropriation of their cultures. Kimball leveraged her privileges as a white person to navigate social strata of the arts world, even as Native artists with recognized ancestry such as Oscar Howe (Yanktonai Dakota) were turned away from acceptance by mainstream museums. Through claiming Oklahoma as her birthplace, moving to New York City to study art, and later establishing residency in Provincetown, MA, Kimball leveraged both critical places and distinct post WWII American sensibilities that reified her assumed identity and solidified her long-term career. Kimball associated with notable individuals including Mable Dodge Luhan and Maria Martinez. Exposing the details of her remarkable career trajectory reimagines an American art history that accepts the parallel and distinct history of Native American art.}, keywords = {Native American/First Nations, Twentieth Century}, author = {Stolte, Sarah Anne} } @mastersthesis {12870, title = {The Bespoke Book: Experimental Printing in Early Modern Italy}, year = {2019}, school = {USC}, abstract = {No record in ProQuest or USC ETDs}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Southern Europe and Mediterranean}, author = {Anderson, Emily R.} } @mastersthesis {12897, title = {Between the Cracks: From Squatting to Tactical Media Art in the Netherlands, 1979-1993}, year = {2019}, school = {CUNY}, abstract = {In the early 1980s, Amsterdam was a battleground. During this time, conflicts between squatters, property owners, and the police frequently escalated into full-scale riots. Although the practice of squatting was legally protected in the Netherlands, the formation of a social movement around squatting in the mid- to late {\textquoteright}70s brought about a turbulent period exacerbated by economic hardship and widespread youth unemployment. Those active in the squatters{\textquoteright} movement sought to carve out new spaces in the fabric of the city, guided by anarchist politics and a desire for autonomy. These cracks, or temporary autonomous zones, in the established order created a model of resistance that artists carried over into other fields of practice, particularly media art. In this dissertation, I construct a history of media art in the Netherlands that is rooted in squatting (kraken in Dutch). The verb kraken literally means "to crack open," and artists used this technique, over the course of the decade, to carve out autonomous platforms in urban and media space, including illegal pirate radio and TV broadcasters and alternative art institutions. As network computing technology-early forms of the internet-spread in the late {\textquoteright}80s, squatters and media artists saw its potential as a means by which their autonomous communities could be extended. These activities led to the development of the first internet service providers (ISPs) available to the Dutch public-XS4ALL and De Digitale Stad (The Digital City)-in 1993. They were created, not by business entrepreneurs or corporate entities but by a coalition of idealistic artists, activists, and anarchists who wanted to create a space-a platform-that would be open, democratic, autonomous, and centered around art, politics, and culture rather than monetary exchange.}, keywords = {Multimedia/Intermedia, Northern Europe}, author = {Wasielewski, Amanda} } @mastersthesis {12830, title = {Bronze Cultures in the Middle Yangtze River Valley, c. 1500-1000 BCE}, year = {2019}, note = {Other subjects: East Asia, Material Culture}, school = {Princeton}, abstract = {This dissertation studies the rise of indigenous mid-Yangtze bronze art and casting tradition in relation to three waves of cultural impact from the Central Plain: Erligang (c. 15th century BCE), Anyang (c. 12th century BCE) and Western Zhou (c. 10th century BCE). Erligang culture expanded into south China and founded frontier settlements along the Yangtze River, most prominently Panlongcheng in the mid-Yangtze and Taijiasi in the lower Yangtze. These Erligang outposts exported bronze metallurgy to the local societies whose established cultural complexity enabled them to swiftly adopt this advanced technology. The retreat of Erligang in the 13th century BCE further allowed local societies to internalize and develop their own bronze traditions. While the mid-Yangtze benefited from contact with Anyang and other bronze centers, unprecedented bronze forms (musical instruments), ornaments (eyes) and functions (jade and tool storage) reflect the vibrant ingenuity of the local foundry. The advent of the Western Zhou force triggered the decline of the Yangtze bronze art. Archaeological evidence indicates that the Zhou court successfully employed a series of political tactics in the north bank of the Yangtze River to stabilize its southern frontier, though some groups were noticeably more defiant. Meanwhile, the once highly active Ningxiang bronze tradition in the lower Xiang River dwindled. The remaining bronze art coarsely imitated Western Zhou bronzes. The primary contribution of this project to the field of early China is that it considers bronze decoration, form, content, casting and location of interment as interconnected components in a network of artistic thinking and political strategizing. Drawing on the latest archaeological material, the dissertation emphasizes the independent growth of the mid-Yangtze bronze tradition in relation to its cultural heritage and other contemporary bronze cultures. This project is among the first to systematically explore the southward expansion of the powerful Western Zhou court from a frontier perspective, and reconstruct an energetic picture of how different forces contested, negotiated and collaborated in the historically quiet middle Yangtze River region.}, keywords = {1500 BCE to 500 BCE, Artistic Practice/Creativity, East Asia}, author = {Cao, Yecheng Kent} } @mastersthesis {12923, title = {Camillo Trevisan{\textquoteright}s Palace and Villa Culture on the Island of Murano}, year = {2019}, school = {Columbia}, abstract = {Located on the island of Murano in the Venetian lagoon, the suburban palace built for the celebrated orator Camillo Trevisan and its lavish decorations were completed in the 1550s by a team of artists that included Alessandro Vittoria, Paolo Veronese, and Battista Zelotti. As only a handful of documents relating to the project have survived, scholars have sifted through the stylistic evidence to propose various attributions for the authorship of the building and its decorations, and many questions remain unresolved. Impeded by the building{\textquoteright}s poor state of preservation and the difficulty of accessing this private property, studies have offered only partial readings of the extensive decorative program, much of which has been removed, lost, or destroyed. This investigation will therefore look at the project through a lens provided by written materials of the time, including treatises, commentaries, and published correspondence, and analyze the visual and physical evidence offered by the building itself. Eyewitness accounts and this limited selection of evidence allow us to reconstruct the original appearance of the palace and the function of its gardens, and propose how they allowed the patron Camillo to participate in the culture of suburban villeggiatura that flourished on Murano during the sixteenth century. Finally, some new information on Camillo prompts a recasting of the palace and its iconographic program within the context of the growing Venetian printing industry and the emergence of organizations like the Accademia della Fama to which the patron belonged. This study argues that, as a suburban residence built for an eloquent orator, Palazzo Trevisan and its decorative program were conceived to address an elite audience that engaged in the contemporary discussion of rhetorical structure and oratorical eloquence as models for the invention and reception of architecture, sculpture, painting, poetry, and music.}, keywords = {Sixteenth Century, Southern Europe and Mediterranean}, author = {Tolstoy, Irina} } @mastersthesis {12896, title = {Celestial Mechanics: Technologies of Salvation in American Mormonism}, year = {2019}, school = {Binghamton}, abstract = {This dissertation describes the relationship between innovations in sonic technologies and religious faith. Specifically, I address experimental efforts of Mormons to develop technologies that would more purely convey celestial messages. Chapter One considers the Urim and Thummim, an ancient biblical device that Joseph Smith, the founder of Mormonism, claims enabled him to faithfully reproduce the word of God. Smith lays a foundation upon which subsequent attempts to directly relay sacred doctrine were built, including the Salt Lake Tabernacle, a space of gathering to hear revelation and doctrine through sermons and music. Chapter Two looks at stereophonic sound, developed by Mormon physicist Harvey Fletcher in the 1920s, with reference to the Tabernacle. Stereophonic reproductions were meant to achieve the affective experience of having been in the presence of the source, in whatever context it was received. Fletcher drew inspiration from the Tabernacle insofar as its acoustic design sought for its congregants a pure aural experience. The last chapter addresses an unorthodox study on miniskirts conducted by Fletcher{\textquoteright}s student, Vern Knudsen, in 1969. Knudsen tested the sound absorption levels of several women dressed in miniskirts to prove that they "would disturb the balance of sound designed into the auditorium." According to Knudsen, the study was inspired by an occurrence in the Mormon Tabernacle in 1875, when Brigham Young asked women to bring extra overcoats and skirts to help dampen unwieldy or rampant echoes so congregations could better hear his sermons. Finding that this abbreviated clothing functioned poorly acoustically, women were thus readily characterized as the source of aberration, consistent with a pervasive understanding that women and their bodies were antithetical to pure communication. These case studies demonstrate that Mormonism has played a critical role in the development of sound technologies in the nineteenth and twentieth centuries, especially in its use and elaboration of media technologies to transmit sacred information. Among the contributions this project makes to sound histories is its insistence on the inextricable enmeshment of technology and faith, and in so doing it sheds light on how a new religion was able to gain traction in a moment largely dominated by secular narratives.}, keywords = {Material Culture, Multimedia/Intermedia, Religion/Cosmology/Spirituality}, author = {Beardsley, Amanda} } @mastersthesis {13122, title = {The Choson Industrial Exposition of 1915}, year = {2019}, school = {Binghamton}, abstract = {The Choson Industrial Exposition of 1915 took place at a moment of rapid modernization and industrialization in Korea that began with the Japanese annexation of 1910. As an unprecedented public event in the emergence of modern Korea, the Exposition introduced the Korean public to modern forms of mass culture and spectacle. This dissertation examines how the Exposition shaped the emerging concept of modern Korea and how it functioned as a specific cultural machinery, interpellating a new kind of national subject. Under the influence of the Korean nationalist historiography that developed in the 1990s, at the time of the controversy over the demolition of Japanese colonial buildings, the literature on Korean expositions has focused almost exclusively on the colonial political context of the 1915 Exposition and its function as political propaganda for Japanese colonial rule. This dissertation seeks to go beyond the existing literature by exploring the Exposition as a cultural machinery whose meaning and effects are not reducible to its manifest political purpose. Based on a detailed analysis of the structure of the 1915 Exposition, the dissertation examines how, as a kind of training machine, the Exposition captured and positioned visitors as the subjects of its new national spectacle, addressing them as the modern subjects of a new national identity. The dissertation draws on the premise that the 1915 Exposition was an economic, political and cultural battlefield across which different visions of industrialization, modernization, civilization and global capitalism fought for ascendancy in the shaping of a new national identity. In order to understand the larger context of the Exposition, my study analyzes how the global phenomena of capitalist modernization affected the specific locale of Korea and how the concept of the international exposition came to gain acceptance from the Korean people as one of the central symbols of modernization and civilization. The dissertation also examines the processes of negotiation and conflict that surrounded the drive to modernization and the shaping of a homogenized national identity in modern Korea. The principal goal of the dissertation is to make a close analysis of the 1915 Exposition itself, as a cultural machinery and technological spectacle that produced specific meanings and sought to shape a new national subject, under pressure from colonial modernization and global capitalism. I seek to show what is unique in the Korean setting by analyzing in detail the actual workings of the Exposition. Through this, I hope to contribute to a better understanding of an understudied era in Korean cultural history: the period of ten years following the 1910 Japanese annexation of Korea, usually titled the "Dark Period." By considering the relation of the Exposition to the reorganization and functional redirection of urban space, it is also hoped that the dissertation provides a foundation for assessing the specific contribution of Korea to the development of the international exposition in East Asia.}, keywords = {East Asia, Museum Practice/Museum Studies/Curatorial Studies/Arts Administration}, author = {Park, Young-Sin} } @mastersthesis {12841, title = {Civil Service: English Parochial Architecture, 1170-1250}, year = {2019}, school = {UCLA}, abstract = {Local parish churches were the most ubiquitous permanent structures of the English Middle Ages, but they are now the most poorly understood. Previous scholarly engagement with the topic has largely privileged formal over social concerns, and has perpetuated the assumption that medieval parochial architecture simply derived from that of larger, more important churches. My dissertation, "Civil Service: English Parochial Architecture, 1150-1300," aims to challenge this assumption by proposing the parish church as a distinct genre, examining its emergence and codification in response to the changing needs of the medieval laity. This project, which arises from a survey of hundreds of buildings across Britain, rejects a disciplinary emphasis on royalty and prelates in order to read the traces of daily lay life in the fabric of local church buildings. It argues that the changes it identifies in the architectural typology of the period were driven by social, economic, and spiritual factors, particularly the emergence of a new gentry class and the solidification of the doctrine of Purgatory. Chapter 1 establishes the progression of the parish church to 1150, explaining the process that lead to the development of the parish as a discrete genre of buildings. It argues for a "parish church mode" motivated by architectural decorum. I establish set of formal characteristics that become understood as acceptable for parish churches and continue to be used throughout the parish church, regardless of how grand or lavish a building was intended to be. Chapter 2 is dedicated to new spaces built for and by lay people in parish churches, aisles and transepts; it argues that low-level members of the local gentry used their patronage of parish churches to establish themselves socially. A discussion of purgatory and the parish church shows how the nascent doctrine of purgatory which was being solidified in the late twelfth and early thirteenth centuries impacted parish church design, expansion, and ritual. In Chapter 3, I respond to the persistent claim that parish churches are imitations of friary churches by looking closely at the chronology of the friars{\textquoteright} first decades in England and the distinctions between these buildings and parishes. Most medieval laypeople left little evidence of their lives. Few of their homes survive, and only a small percentage of their names can ever be gleaned from written sources. Archaeology has shed some light on the average medieval lifecycle, but without documentation, the society of the non-elite remains largely a mystery. I employ a focus on "total history" inspired by the Annales School, and draw from theories of space and the everyday to centralize the laity in the dynamic space of the parish church. My dissertation interrogates architecture for insight into the daily pulse of an English village during the twelfth and thirteenth centuries and considers the parish church as both the backdrop for and end result of contemporary social and religious paradigm shifts.}, keywords = {Architectural History/Urbanism/Historic Preservation, Eleventh to Fourteenth Century}, author = {Bernstein, Megan} } @mastersthesis {12933, title = {The Conceptual, the Romantic, and the Nonhuman: The SUM Group and the Emergence of Contemporary Art in Iceland, 1965-1978}, year = {2019}, school = {British Columbia}, abstract = {This dissertation considers the emergence of contemporary art practices in Iceland through the activities of the artist collective S{\'U}M between 1965 and 1978. The founding of S{\'U}M in 1965 brought forth, for the first time, a generation of Icelandic artists whose practices closely correspond to that of experimental artists globally, especially those aligned with Fluxus and conceptual art. As I highlight, this relied on Iceland{\textquoteright}s belated modernization and changes to the country{\textquoteright}s geopolitical status in the twentieth century, as well as on global efforts to decentralize the artworld. And yet, S{\'U}M{\textquoteright}s challenge to the definition of the art object is also uniquely configured through the artists{\textquoteright} complicated relationship to the local tradition of landscape painting and the concomitant romantic nationalist discourse which had shaped Icelandic self-identity, cultural practices and discourses since the turn of the twentieth century. In particular, S{\'U}M{\textquoteright}s practice developed through a critical engagement with the idealized place of nature in Icelandic national identity{\textemdash}a critique which sought to complicate the boundary between nature and culture. SUM artists{\textquoteright} efforts to subvert Icelandic nationalist ideology and artistic tradition are complicated, however, by their alliance with the postwar political resistance movement against the growing economic and cultural influence of the United States in Iceland as well as its neocolonial practices globally. This led the artists to situate their work in relation to a specific, yet ill-defined, local Icelandic way and sense of being. Often characterized in terms of a "poetic" or "romantic" attitude, this typically focuses on the centrality of the natural in the work of prominent members of S{\'U}M, their engagement with "premodern" Icelandic cultural traditions, folk belief and art, and their suggestions for an intuitive or emotional basis for their practice. Highlighting the dialectical tension between the globalizing and localizing impulses of S{\'U}M, I argue that to understand the specificity of Icelandic contemporary art, one must consider the degree to which its emergence, through S{\'U}M, was produced within the context of the country{\textquoteright}s changing geopolitical position and its longer history as a peripheral territory within the Danish colonial empire.}, keywords = {Twentieth Century}, author = {Arnadottir, Heida} } @mastersthesis {12935, title = {Cosmic Noise: Juan Downey and the Postcolonial Politics of Cold War Communication}, year = {2019}, school = {Stanford}, abstract = {As colonial rule crumbled after World War II, a new imperial power struggle emerged with the Cold War, one waged with the science and technology of communication. In the past fifteen years, art and media historians have examined the impact of Cold War communication sciences -- cybernetics, computation, and information theory -- on dominant cultural production of the North Atlantic. They have been slower, however, to engage the aesthetic entanglements of these sciences with global processes of decolonization, modernization, and imperialism for artists hailing from the Third World. This dissertation examines the postcolonial politics of Cold War communication through a case study of artist and architect Juan Downey (1940-1993), a Chilean-born intellectual who pioneered artistic advances in architecture and communications alongside collectives such as Groupe International d{\textquoteright}Architecture Prospective, Raindance Corporation, and MIT{\textquoteright}s Center for Advanced Visual Study in the 1960s and 1970s. Downey shared his international contemporaries{\textquoteright} enthusiasm for designing communications architecture that could advance social utopian goals, yet he distinguished himself with the application of cybernetic principles such as feedback, systems analysis, and information transmission to artworks that interrogated and challenged colonial legacies and imperial projections in the Cold War Americas. Departing from the scholarly literature that explores his artwork in the context of the video medium, this first dissertation-length monograph on Downey contextualizes his wide-ranging interdisciplinary practice as an extension of his cybernetic view of the world. Surveying his drawings, paintings, prints, sculptures, videos, installations, and performances produced between 1959 and 1979, it establishes an alternative genealogy of cybernetic and systems-based art in the formal, philosophical, and political concerns of the Chilean avant-garde of the late 1950s and 1960s and demonstrates how Downey{\textquoteright}s adaptation and application of cybernetic principles in his artworks of the late 1960s and 1970s came to dramatize the utopian ambitions and material struggles over technology and communication during the Cold War, particularly in relation to histories of imperialism and dependence and the possibilities of socialist revolution in Latin America. Positioning Downey within a field of tensions around aesthetics, techno-politics and cultural difference, this dissertation proposes the study of his work as a new perspective from which to rethink how Cold War communication technologies and discourses were mobilized to create visions of a more democratic participatory world inclusive of ways of knowing and being in the South.}, keywords = {Twentieth Century}, author = {Stephan, Kyle} } @mastersthesis {12861, title = {Crossing the Atlantic: Italians in Argentina, 1880-1930}, year = {2019}, school = {CUNY}, abstract = {Between 1880-1930, Argentina took in millions of Italian immigrants, contributing to the largest voluntary diaspora in modern history. This dissertation examines how Argentina{\textquoteright}s open immigration policy dovetailed with the formation of a national artistic style, generating new perspectives on how immigrants, particularly Italians, proactively shaped Argentine culture while also becoming enmeshed in an intricate geo-political relationship that spanned generations and regimes. This project takes an interdisciplinary approach, drawing upon research from anthropology, social history, political science, and nationalism studies in order to produce new insights about art and national identity in Argentina around the turn of the twentieth century. Though Argentina is often considered the most "European" or "Europhilic" country in Latin America, scholars do not often discuss which version of Europe Argentines were looking at. For most upwardly mobile Argentines, "European" was synonymous with "French"-they called their capital the "Paris of South America," modeled their homes after Parisian hotels, and collected Impressionist paintings. However, many middle and upper class portenos (residents of Buenos Aires) were of Italian heritage. They embodied italianita-or Italianness-by default rather than choice, but often, it became embedded within other aspects of their Argentinidad-or Argentineness-making it hard to recognize. This dissertation aims to locate evolving strands of italianita within Argentine culture by looking first at migration trends, then the groups of artists and organizations founded by Italo-Argentines (first generation Argentines born to Italian parents) in the 1880s and 1920s, and finally, at the political byproducts of these migrations. Chapters 1 and 2 investigate why Italy promoted emigration and why Argentina became an attractive destination in the late nineteenth century. This discussion considers how the Italian government sought to culturally colonize South American countries like Argentina, which was a willing accomplice, as it desired European immigrants and needed to repopulate the plains left empty by government-sponsored genocide. Chapter 3 explores Buenos Aires{\textquoteright}s nascent art world circa 1880. A group of cultural elites known as the Generacion del 80-white Argentines of Spanish descent-advocated for European immigration as a way to "civilize" the country. A key role model for politicians and cultural theorists alike was Domingo Faustino Sarmiento, who posited that immigration and national art institutions were equally necessary to the cultivation of an Argentine culture. The Generacion argued that art could act as a nation-building force, particularly in the form of landscape and history paintings that depict Argentina{\textquoteright}s origin story of "conquering the desert" and imposing modern industry on the land. Chapter 4 examines the first mature generation of Italo-Argentine artists, like Emilio Pettoruti and Xul Solar, who traveled to Europe to learn about their heritage and see avant-garde art in the 1910s. Upon returning to Argentina, they imported French and Italian modern styles, but infused them with Argentine imagery and subject matter, such as Tango dancers. This privileged group could claim European culture as their own and claim to be authentically Argentine, allowing them to exist in two cultural spheres simultaneously. For them, Italian and Argentine identity became intertwined and mutually inclusive, and their work reflects this transnational hybridity. In 1924, a group of artists and critics, including many Italo-Argentines, formed the journal Martin Fierro and an influential art organization, Los Amigos del Arte. Both the journal and the events organized by Los Amigos embodied an internal conflict-the desire to imitate European culture while also breaking away from it. Finally, Chapter 5 considers Italy{\textquoteright}s escalating attempts to exert influence over Argentina following Mussolini{\textquoteright}s rise to power. Beginning in 1925, Mussolini used cultural diplomacy as a way to spread Fascism abroad. His efforts both succeeded and failed: they succeeded in that Argentina wound up developing its own brand of radical nationalism, Nacionalismo, but they failed in that Nacionalismo ultimately led a drop in immigration and the end of the symbiotic Italy-Argentina relationship that had persisted for decades.}, keywords = {Colonial and Modern Latin America}, author = {Kaplan, Lauren A.} } @mastersthesis {12836, title = {The Early Imperial Ceramics as Evidence for Life at Sardis}, year = {2019}, school = {Missouri}, abstract = {Historical testimonia tell us that in the year 17 CE, an earthquake struck in Western Asia Minor and destroyed the city of Sardis. Recent excavations in the Field 49, Field 55, and Artemis Temple excavation sectors at the site have yielded a small number of closely datable deposits as well as fills containing large quantities of well-preserved ceramics datable to the 1st century. Through a detailed typological study of this material, this dissertation characterizes the common components of the Early Imperial Sardian ceramic assemblage and establishes a typo-chronological framework for this material, which enables us, for the first time, to use the pottery and lamps recovered from the site to illuminate this period in this history of the city.}, keywords = {Ancient Greek/Roman Art, Ceramics/Metals/Fiber Arts/Glass}, author = {Raubolt, Elizabeth DeRidder} } @mastersthesis {12903, title = {Elusive Matter, Material Bodies: American Art in the Age of Electronic Mediation, 1865-1918}, year = {2019}, school = {UIUC}, abstract = {This dissertation examines how American art engaged new electronic media during the nineteenth and early-twentieth centuries, when techno-utopian desires for global harmony and interconnection surged throughout American culture, encouraged by the advent of the electromagnetic telegraph. While the fluid transmission of information over vast distances offered the democratic ideal of interconnectedness, its dematerialized process eluded public understanding. Responding to this tension, artists and craftsmen of the period adapted new communicative strategies and formal languages to traditional materials and modes of creative expression{\textemdash}from landscape and genre paintings to quilts and decorative desk sets{\textemdash}to help translate this elusive process into material form. By approaching these practices as both artistic mediums and communication media (through the lens of media theory and material culture studies), my project addresses the broader cultural implications of social technologies during the period, still relevant in our current digital age{\textemdash}the porousness of domestic and national boundaries; questions of access and privacy; and the development of global markets and power structures within these seemingly egalitarian spaces. My research contributes to a growing investment across the humanities in the aesthetics{\textemdash}and material manifestation{\textemdash}of electronic media. Within the field of art history, this investment has predominately been devoted to the emergence of the information age and the implementation of New Media in contemporary art practices. My project, however, investigates the understudied formative stage in electronic media. While the prevailing narratives on social technologies in this period address the way in which devices like the telegraph contributed to a new anti-pastoral content in visual culture through the portrayal of telegraph poles and wires, I examine how a diverse range of creative expressions by Frederic Church, Enoch Wood Perry, and Louis C. Tiffany theorized the social impact of communication technologies, as acts of transmission themselves. Beginning in 1865, with the imminent completion of the transatlantic telegraph, and ending in 1918, with the rise of AT\&T, this dissertation revises existing notions of how the period{\textquoteright}s art communicates to viewers across time and space.}, keywords = {Nineteenth Century}, author = {Applebaum, Lauren} } @mastersthesis {12837, title = {Engendering Power: Dynastic Women and Visual Culture in the Hellenistic World (4th-1st c BCE)}, year = {2019}, school = {Pennsylvania}, abstract = {This dissertation presents the first synthetic analysis of the art and archaeology of Hellenistic royal and dynastic women (4th-1st c BCE). The study examines how their visual and material culture expressed political power and conceptions of femininity throughout the Hellenistic world, with a focus on the eastern Mediterranean, Egypt, Anatolia, and the Middle East, reaching sometimes into Central Asia. Under analysis are the portrayals and representations of dynastic and royal women of Lykia and Karia in Asia Minor, Argead and Antigonid Makedon, Ptolemaic Egypt, Seleukid Asia, and Attalid Pergamon. The art-historical corpus of dynastic women includes a variety of media and genres: coins, gems, mosaic and painting, large-scale monuments, written decrees, architecture (remains and descriptions), and traditional portraits in the round and in relief. Whereas past art-historical scholarship focused on masculinity and kingship, I demonstrate how dynastic women and queenship shaped royal and/or imperial representations, and how the "private," domestic spaces of femininity could be central to "public" hegemonic art. Dynastic women were mostly absent from public and private display throughout the Mediterranean and Middle East until the early fourth century, just a few generations before Alexander the Great{\textquoteright}s conquests. After Alexander{\textquoteright}s campaigns, his empire splintered into several kingdoms controlled by Greek dynasts who married Greek and/or Asian noblewomen. Their descendants continued to fight for territories, rule over diverse communities, and incorporate women into their visual and material cultures-a remarkable transformation in centuries-old traditions of visualizing power. The project explores how different actors innovated new modes of representation and reformulated earlier local traditions with respect to the portrayal of dynastic women. Moreover, new analyses of royal women as both subjects and patrons of art reveal how gendered power dynamics were constructed and negotiated within and across dynasties. I thus bring issues of gendered and ethnic difference to bear on how such portrayals would have been received by a diverse group of audiences: Greeks and non-Greeks, men and women, and royal and non-royal viewers. This dissertation contributes to broader discussions in gender and women{\textquoteright}s studies, as well as to conversations about cross-cultural encounters and colonial legacies.}, keywords = {Ancient Greek/Roman Art, Genders/Sexualities/Feminisms}, author = {Kim, Patricia} } @mastersthesis {12934, title = {Enraged and Confused: Art After Student Revolt, circa 1970}, year = {2019}, school = {British Columbia}, abstract = {No record in ProQuest, British Columbia has it embargoed}, keywords = {Twentieth Century}, author = {Carter, Kristen} } @mastersthesis {12930, title = {Erasing the Avant-Gardes: Anti-Modernism in French Art History, Criticism, and Education, 1920-1944}, year = {2019}, school = {Duke}, abstract = {Art historians have identified a rightward turn in the artistic climate of France in the interwar period, one opposed to an avant-garde accused of being foreign to national culture, and reflective of a broader cultural and political shift towards the right. However, a study detailing the strength and variety of forces opposed to modernism and the avant-gardes in this period has yet to be written. Drawing on newspapers, art journals, art history books, and sources from private and national archives in France, my dissertation presents four detailed case studies of reactionary, anti-avantgardeist and anti-modernist critics, art educators and art historians during this period, expanding our understanding of the position and influence of these rightwing intellectuals. Analyzing their aims, the artists they supported, their audiences, their social networks, and finally their links to the French state, the dissertation will reconstitute the multiple and multifaceted platforms of conservative cultural activism, revealing the contours of a powerful, persistent, and often successful cultural and political agenda that sought to undermine or reverse the course of modernism. Accounting for the strategies through which rightwing art world actors battling modernism and the avant-gardes sought to institutionalize their campaigns, this dissertation complicates and revises our understanding of the substantial challenges posed to modern art in the interwar period, demonstrating the power of these interventions while also pointing to the tacit complicity of the French state with these efforts.}, keywords = {Theory/Historiography/Methodology, Twentieth Century}, author = {Luse, Emilie Anne-Yvonne} } @mastersthesis {12921, title = {The Evolution of the Centaur in Italian Renaissance Art: Monster, Healer, Mentor, and Constellation}, year = {2019}, school = {CUNY}, abstract = {Monsters, hybrid beasts, and animals in Renaissance art have, until recently, received little iconographic attention. This dissertation examines the unprecedented transformation of centaur imagery in Italian Renaissance art. The centaur, a mythological beast half-man and half-horse, was ascribed a savage nature from antiquity through the Middle Ages and into the Renaissance. Although negative representations of this creature were never entirely eradicated, the years 1480 to 1535 witnessed a dramatic shift in centaur iconography from savage to civilized beast. My study argues that the centaur{\textquoteright}s transmutation resulted from the thriving humanist culture of Renaissance Italy and widespread interest in the philosophy of Neoplatonism. Utilizing a database comprising two hundred and ninety-one centaur images between 1300 and 1600, this dissertation demonstrates the flourishing of the cultured centaur type, as well as the decline in such imagery. By 1535, as the Counter-Reformation spread throughout Italy and interest in pagan ideals diminished, the image of the civilized centaur also began to fade and there was a return to the traditional bestial characteristics of the creature.}, keywords = {Religion/Cosmology/Spirituality, Southern Europe and Mediterranean}, author = {Martinez, Trinity} } @mastersthesis {12847, title = {Exhibiting the Medieval: The Use of Historicist Architecture in Modern Iberian Expositions}, year = {2019}, school = {Brown}, abstract = {No record in ProQuest and Brown ETDs restricted}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Dykstra, Lia} } @mastersthesis {12851, title = {Extraordinary Bodies: The Art of Deformation in Postclassic Mexico}, year = {2019}, school = {Columbia}, abstract = {The dissertation examines the appearance and meanings of corporeal anomaly in the arts of Postclassic Mexico (AD 900-1521). Drawing specifically upon those categories of the human or divine body that are regularly termed aberrant, grotesque, or otherwise "deformed" by scholars of Mesoamerican art, the images discussed here include dwarfs, hunchbacks, twins, animal-human hybrids, disfigured deities, and disembodied limbs, among others. While similarly distinctive images can be identified among earlier Mesoamerican artistic traditions, the variety of idiosyncratic bodies that pervade the arts of the Postclassic period, in addition to the breadth of available historical sources, make it the ideal lens through which to analyze many of the most fundamental issues of indigenous Mexican visual culture. Relative to Classic Maya art, a tradition of naturalism and linear elegance greatly resembling that of early modern European painting and sculpture, the art of the ancient Mixtecs, Toltecs, and Nahuas (Aztecs) is sometimes perceived as rigid, laconic, and hulking-even brutish-by comparison. Featuring complex figural abstractions and esoteric symbolism, these later traditions are further distinguished by the specificity of their physical deformations, including twisted faces, palsied limbs, contorted spines, extra appendages, and other unnatural anatomies. Consequently, Postclassic art offers an inventory of difference that is unique not only among Mesoamerican art but among Western traditions as well, making it doubly challenging to interpret its motivations and significance. However, by analyzing the role of such extraordinary bodies within the broader anthropocentric worldviews of ancient Mesoamerica, this study offers useful strategies for unpacking the complex religious, political, and formal motivations that govern much of Postclassic visual culture. As I argue, extraordinary bodies share a common identity as transformational characters occupying specifically transitory states. As shape-shifters, gatekeepers, divine conduits, and shepherds, it is in the liminal regions of existence-the "betwixt and between" of reality and myth-where such figures live and serve as the custodians of heaven and earth. With tremendous regularity, their irregular forms indicate and define the various "borderlands" of Mesoamerican ideology, from the hinterlands of the urban center to the margins and gutters of hand-painted books. In short, a distinctly Postclassic notion of physical deformation stands at the threshold between creation and dissolution, center and periphery, life and death.}, keywords = {Art of the Ancient Americans}, author = {Gassaway, William} } @mastersthesis {12925, title = {Finesse: Louise Lawler{\textquoteright}s "Pictures"}, year = {2019}, school = {Columbia}, abstract = {This is a study of the early work of the American artist Louise Lawler and her collaborators, including Christopher D{\textquoteright}Arcangelo, Sherrie Levine, and Jenny Holzer. It centers on the New York art world between 1978 and 1983-a moment hailed as the end of avant-gardism and the birth of postmodernism-and examines the legacy and transformation of conceptual art and institutional critique by a new generation of artists during this period. Lawler{\textquoteright}s practice is analyzed in relation to her Pictures Generation peers, so named for their affiliation with the non-profit space Artists Space (which mounted the influential exhibition Pictures curated by Douglas Crimp, in 1977) and the commercial gallery Metro Pictures, founded in 1980. The work of Pictures artists is united by its appropriation of images and texts that were culled from everyday life and modified through photographic strategies such as cropping, captioning, and juxtaposition. These artists, many of them women, developed a critique of representation-in Gayatri Spivak{\textquoteright}s words, of standing-for and speaking-for-located at the crossroads of feminism and postmodernism. Though Lawler{\textquoteright}s practice was understood as institutional critique at the moment of its emergence, she has since been historicized as a Pictures artist. This study understands her as a double agent who deliberately operates between and across spheres usually kept separate. In so doing, she refigures the practice of critique as a subtle form of maneuvering that I, following the artist, term finesse. The key contribution of Lawler{\textquoteright}s work is a new understanding of power, informed by the politics of identity and difference, which accounts for the crucial importance of subjectivity and positioning in the act of critique.}, keywords = {South America}, author = {Pires, Leah} } @mastersthesis {12912, title = {The Flaying of Art: Marsyas in the Sixteenth and Seventeenth Centuries}, year = {2019}, school = {Georgia}, abstract = {No record in ProQuest or Georgia ETDs}, keywords = {Painting, Sixteenth Century}, author = {Neely, Megan} } @mastersthesis {12845, title = {For God and King: Jesuit Ephemeral Spectacles in France Under the First Bourbons}, year = {2019}, school = {Duke}, abstract = {This dissertation, For God and King: Jesuit Ephemeral Spectacles in France Under the First Bourbons, examines the contributions of the French Jesuits to the production, staging, and commemoration of festivals in the Assistancy of France. Members of the Society of Jesus produced the spectacles in this study and were the authors of the festival books that commemorated the events for posterity. Beginning with the nuptial entry of Maria de{\textquoteright} Medici into Avignon in 1600, and ending with the death of Louis XIII in 1643, the festivals analyzed were instrumental for cultivating the relationship between the Society and the Bourbon monarchy at a time when both entities were experiencing a rise in power and influence before arriving at an apogee in the second half of the seventeenth century. Crucially, this dissertation interrogates the use of ephemeral architecture and other apparatuses as a means of manipulating and transforming existing architectural spaces in order to construct new spaces that were agents in the transmission of the multi-layered messages on display in the festival{\textquoteright}s iconographic programs. Scholarship on the early modern Jesuits, Jesuit theater, and early modern festivals is extensive. The concentration of the literature on the Jesuits in Italy, Germany, and their missions outside the European continent belies the importance of the kingdom of France to the history of the Society and misrepresents the importance of the Jesuits to France and the Bourbon monarchy. The emphasis on Jesuit theater outside of France, or on French Jesuit theater under Louis XIV, disregards the important role played by Jesuit theater and ephemeral spectacles in promoting Jesuit colleges and reinforcing the Society{\textquoteright}s standing in the kingdom in the early part of the century. Similarly, the perceptible trend in festival scholarship to eschew the early seventeenth-century, and the reign of Louis XIII specifically, discounts the function of festivals in asserting Louis XIII{\textquoteright}s power and in cultivating an environment in which the absolute monarchy of Louis XIV could take root. A significant portion of festival scholarship present studies that either: a) analyze only part of the festival; or, b) fail to consider the implications of the sites and the architectural history of the built environment occupied by the festival. Adopting a multifaceted, multidisciplinary approach to the study and interrogation of early modern festivals and ephemeral spectacles that is reflective of the multifaceted, multimedia nature of the subject, this dissertation analyzes early modern festivals as complete, multimedia works of art using a combination of site-specific, textual, and visual analyses. It examines the Jesuit contributions to these festivals and redirects the attention of Jesuit and festival studies to the first half of the seventeenth-century in France.}, keywords = {Architectural History/Urbanism/Historic Preservation, Seventeenth Century}, author = {Dundas, Iara Alejandra} } @mastersthesis {12857, title = {Framing the City: Photography and the Construction of Sao Paolo (1930-1955)}, year = {2019}, school = {CUNY}, abstract = {Between 1930 and 1955 Sao Paulo, Brazil experienced a period of accelerated growth as the population nearly quadrupled from 550,000 to two million. In response, the municipal government undertook an aggressive public works program and commercial building boomed. Photographic representations of the cityscape were essential in directing modern Sao Paulo{\textquoteright}s physical evolution because they reflected both the real-a chaotically growing megacity-and the ideal-a literally new, modernized space. This dissertation centers on four case studies of artists practicing different photographic modalities in order to analyze the symbiotic relationship between Sao Paulo{\textquoteright}s urban development and its photographic representation. Construction sites, scaffolding, and building materials were ubiquitous in modern Paulistano visual culture. Chapter one discusses photography{\textquoteright}s incorporation of construction materials and processes through the fine art photography of Geraldo de Barros, arguing that these elements framed the way the city was seen and interpreted, offered new viewpoints, and shaped the city{\textquoteright}s identity as a space continually in-process. Chapter two builds on this foundation, explaining how photographs of skyscrapers (both those already built and those still under-construction) by early Brazilian photojournalist Hildegarde Rosenthal fueled ufanista, or patriotic, rhetoric that promoted Sao Paulo as an icon of national progress and located its modernity in its vertical rise. This chapter also examines the relationship between words and photographs in the popular press, suggesting that the city itself transformed into a text to be read as it was navigated. Evaluating the role of Sao Paulo{\textquoteright}s citizens in determining the shape of their city, chapter three analyzes photographs published in albums heralding the city{\textquoteright}s four hundredth anniversary in 1954. The books overwhelmingly linked regional modernism to a European legacy that excluded many Paulistanos on the basis of race, class, or gender. I argue that marginalizing these groups also marginalized their civic interests, altering the urban landscape. Documentary photographer Alice Brill{\textquoteright}s production is an exception to this rule and demonstrates a rare example of the "social documentary" mode operating in Brazil. Finally, the fourth chapter traces the development of Sao Paulo{\textquoteright}s advertising industry via the commercial photography of Hans Gunter Flieg, explaining how the broad definition of the term "propaganda" in Portuguese serves to link the country{\textquoteright}s public and private sectors. Here, my analysis focuses on advertising photographs that exploited urban imagery and embellished public space.}, keywords = {Colonial and Modern Latin America, Photography}, author = {Stewart, Danielle} } @mastersthesis {13239, title = {From Conqueror to King: Roger II{\textquoteright}s Early Building Program of Cefalu Cathedral in a Multicultural Context}, year = {2019}, school = {Penn State}, abstract = {This dissertation examines the patronage of Roger II at the Cathedral of Cefalu. The building campaigns at the Cathedral were ongoing for several decades following Roger{\textquoteright}s coronation in 1130, and included changes in the shifting needs and desires of the patron. I examine the cathedral as an entire monument, taking into consideration the architecture, decorative programs, and functions, in order to understand how it relates to Roger{\textquoteright}s goals as the newly crowned king. This includes looking not only at this monument, but also other objects and building connected to the royal court in Norman Sicily. The visual culture of the Norman court in Palermo displayed the cosmopolitan character of Sicily, exhibiting influence from the Christians of Western Europe, Byzantines in the Eastern Mediterranean, and Muslims of al-Andalus and North Africa. This is also the case at the Cathedral of Cefalu. In looking at the building holistically, and placing it within the context of the cosmopolitan society of Norman Sicily, I argue that the decisions made at Cefalu help promote the new kingdom of Sicily, particularly showing Roger as a powerful ruler with the same power, legitimacy, and status as his contemporaries.}, author = {Hoge, Heather} } @mastersthesis {12842, title = {From Constantinople to Kostantiniyye: The Transformation of the Byzantine Capital to an Ottoman Metropolis}, year = {2019}, school = {Georgia}, abstract = {No record in ProQuest or Georgia ETDs}, keywords = {Architectural History/Urbanism/Historic Preservation, Fifteenth Century}, author = {Turker, Alev} } @mastersthesis {12854, title = {Gendered Subjectivity and Resistance: Brazilian Women{\textquoteright}s Performance-for-Camera, 1974-1982}, year = {2019}, school = {CUNY}, abstract = {This dissertation considers the work of a group of women artists in Brazil during the period of the military dictatorship (1964-1985), working in the genre of "performance-for-camera" (i.e., performance for film and video, rather than for a live audience). The artists are Lygia Pape (1927-2004), Leticia Parente (1930-1991), Anna Bella Geiger (b. 1933), Sonia Andrade (b. 1935), Anna Maria Maiolino (b. 1942), and Regina Vater (b. 1943). Some of these women were friends and colleagues who collaborated with each other; all of them contributed significantly to the development of film and video art in Brazil. Their works share an impulse to use their own bodies to enact a range of repetitive gestures, actions, tasks, and activities. While these works have been interpreted through the lens of media theory as ciphers of resistance to the repressive military regime, scholarship has not yet tackled the issue of gender and the implications of these performances for a broader understanding of feminism in Brazil during this period. This dissertation examines these works through a feminist lens, even though most of these artists did not identify as feminists. A secondary aim of this project is thus to address the difficult question of what feminism meant to women artists working in Brazil during the dictatorship. I argue that these artists worked with and against the patriarchal foundations of the authoritarian regime of the Brazilian dictatorship. They used their gender to resist the dictatorship, as well as the paternalism of U.S. socio-economic interventionism in Brazil, but in ways that both exploited and subverted stereotypical femininity: harnessing bodily and affective excess, gendered masquerade, and explorations of private and public space. The use of video and film allowed these works to circulate in ways that afforded some protection at a time when openly voicing dissent was dangerous. This study thus provides one of the first feminist analyses of Brazilian video, film, and performance art. It also provides an analysis of strategies used by women artists under conditions of (national) political repression and (international) foreign influence.}, keywords = {Colonial and Modern Latin America, Genders/Sexualities/Feminisms}, author = {Sneed, Gillian} } @mastersthesis {12877, title = {The Global Invention of Art: Race and Visual Sovereignty in the Colonial Baltic 1860-1915}, year = {2019}, school = {Maryland}, abstract = {This study examines the role of art and visual culture in the Baltic Provinces of Imperial Russia, present-day Estonia and Latvia, between roughly 1860 and 1920. This period witnessed the unraveling of a strict social hierarchy that for centuries had long incubated a Baltic German elite, while suppressing the lives and aesthetic expressions of Estonians and Latvians. After the abolition of serfdom, dramatic social, political, and cultural gains transformed possibilities for indigenous Balts, yet most scholars suggest that art and visual culture were not concomitant with the rapid progress of the era. I reveal instead how images and the ability to assume the power of image-making-what one scholar has called "visual sovereignty"-were pivotal to changing these social stratifications. The dissertation examines the ramifications of the necessity to invent "art" when native languages possessed no word to designate "artist" or "painting" as late as 1900. Since Eurocentric models of art history have preconditioned us to accept the fine arts as intrinsically natural to society, we have no model to grapple with the reality that art could be epistemologically novel, as it was for Latvians and Estonians. Working at the intersection of art history{\textquoteright}s global turn, postcolonial studies, and critical race theory, I extrapolate the discourses of seemingly disparate but simultaneous happenings across the globe to reveal that the art world of the colonial Baltic was a microcosm of global nineteenth-century debates about race, medium, and modernity. At its core, the study investigates how art assumes significance for disenfranchised populations. The first chapter reveals how indigenous thinkers invented "art" in relation to their spatial experiences, from public monuments to intimate wooden chests. The second explores why photography became the most valued of all visual media, while the third contextualizes how painting, once deemed foreign and culturally irrelevant, could suddenly assume viability by the 1890s. The fourth chapter examines how native artists deployed the conventional genre of landscape painting to transcend the contingency of race in cultural production after 1905. The conclusion offers directions for global art history, revealing the planetary ramifications of Baltic coloniality.}, keywords = {Eighteenth Century, Nineteenth Century, Race/Ethnicity}, author = {Pushaw, Bart} } @mastersthesis {12894, title = {Graphic Sensations: Vogue and the Politics of the Body, 1930-1945}, year = {2019}, school = {UIUC}, abstract = {This dissertation analyzes the visual program and material body of American Vogue magazine, a publication dedicated to the modern woman, during two tumultuous decades before the mid-century. In the 1930s, images of the female body, as well as the composition of the page, radically changed, as snapshots, streamlined design, and modern dress reform energized the look and experience of reading Vogue. As the next decade brought war, Vogue documented men and women in the American Armed Forces stationed in Europe and transmitted images of burned, mutilated, and broken bodies back to readers at home. Cover photographs of active, healthy women in the 1930s would shift to highly stylized, fractured images of the female form in the 1940s. The visual modifications to Vogue in the 1930s and 1940s were not merely aesthetic, but heavily inflected by shifting cultural, social, and economic norms during the Great Depression and the Second World War. Analyzing images by key Vogue photographers such as Toni Frissell, Lee Miller, and Erwin Blumenfeld in relation to page layouts, typography, clothing design, and popular culture, this project uncovers how photography and design promoted new strategies to connect with white female communities and articulate evolving definitions of the body and subjectivity. I argue the photographers and art directors under consideration here enhanced the concept of the magazine as a haptic medium by creating visual forms that privileged sensorial connections. Whereas fashion magazines have traditionally been undervalued in academic scholarship, this dissertation draws on feminist theory and studies of materiality to situate Vogue as a crucial object for understanding how the politics of the body shaped mass media, as the magazine fashioned new perceptual experiences for engaging with, and translating, modern women and forms of femininity.}, keywords = {Genders/Sexualities/Feminisms, Photography, Twentieth Century}, author = {White, Rachel} } @mastersthesis {12926, title = {Hipped and Gabled: Similitude and Vicissitude in Kerala{\textquoteright}s Sacred Art and Architecture}, year = {2019}, school = {Columbia}, abstract = {On the southwestern coast of India, Kerala, with its fortuitous position in the Indian ocean trade network, has served as a beacon for merchant ships since antiquity. As early as the ninth-century, Kerala{\textquoteright}s rulers - the Ceras (ca. 800 - 1124) and merchant polities developed a symbiotic relationship that allowed a wealth of diplomatic privileges for traders. Religious leaders who travelled with merchants are named as the benefactors of agreements between the Ceras and the guilds. This dissertation will show that a corollary of this unique trade policy was the canonization of a shared architectural and artistic vocabulary in the region{\textquoteright}s religious monuments. Individual chapters dedicated to the architectural style of temples, churches, synagogues, and mosques will examine this syncretism and the idiomatic mode of sacred art and architecture that came to define the Kerala style.}, keywords = {South Asia/Southeast Asia}, author = {Menon, Arathi} } @mastersthesis {13238, title = {His Mother, Whom He Loves: The Depiction of Women in the Tombs of their Sons in New Kingdom Egypt}, year = {2019}, school = {Penn State}, abstract = {This study is concerned with the wall scenes of non-royal tombs from the Egyptian New Kingdom and the appearance of the tomb owner{\textquoteright}s mother within these scenes. Its goal is two-fold: to analyze the role of the mother within the mortuary tradition and to discern how the lived experiences of elite women contributed to their son{\textquoteright}s life and benefited his mortuary cult. This project provides the first systematic study of the mother{\textquoteright}s appearance in tombs from this period, revealing her to be a flexible figure that helped the tomb owner communicate a complex set of messages. Including her in the wall art recreated the world the deceased enjoyed in life, helped him integrate into the society of the dead, and illustrated his righteous character. By considering her appearance in conjunction with mortuary literature, the previously established belief that women served a significant erotic function in the tomb is also corrected. In its place we see divine maternal forces allowing for rebirth and wife and mother assisting in the transition from death to eternal life amongst the gods and the blessed dead. Studying texts from daily life adds subtlety to the mother{\textquoteright}s role in her child{\textquoteright}s afterlife and illustrates the evolving nature of the mother{\textquoteright}s influence over her children and the importance of her unique accomplishments to her son{\textquoteright}s mortuary cult. These tombs preserve and celebrate the unique contributions made by these women, ensuring the survival of their memories and their merit for eternity.}, author = {Ferguson, Elissa} } @mastersthesis {12886, title = {The Historical Procession of Andrea Mantegna{\textquoteright}s Triumphs of Caesar: From Mantua to Hampton Court}, year = {2019}, school = {Boston}, abstract = {This dissertation centers on Andrea Mantegna{\textquoteright}s masterful series of nine canvases, the Triumphs of Caesar, painted for the Gonzaga family of Mantua in the late Quattrocento. The project considers the history of the series, including the circumstances of its commission, the use of the Triumphs within the court culture of Mantua, and the recontextualization of the series in England after its sale to King Charles I in 1630. I argue that the series was intended to serve as a form of permanent palatial decoration, and that only through a series of unforeseen events was the Triumphs ultimately used as a backdrop for theatrical performances. At Hampton Court Palace, outside of London, the Triumphs took on a new role, one which changed over the centuries, dependent upon the occupant of the palace. The first chapter explores the iconography of the Triumphs of Caesar and addresses Mantegna{\textquoteright}s possible visual and literary sources. I situate the series within the context of Renaissance triumphal imagery and argue that the strictly classical nature of Mantegna{\textquoteright}s Triumphs sets it apart from other fifteenth-century depictions. The second chapter turns to the patronage of the series. Though the majority of scholars believe either Lodovico II or Francesco II Gonzaga to have been the patron, I suggest instead that it was Federico I Gonzaga who commissioned the series from Mantegna. I propose that Federico intended to display the Triumphs in the modern palace he was constructing, the Domus Nova, where the series would impress upon visitors both the military might and cultural attainments of the Gonzaga. After Federico{\textquoteright}s sudden death, however, his son Francesco inherited the series, and it was only then that the lightweight canvases were put to use as backdrops for theater and other ephemeral events, a topic addressed in chapter three. The fourth and final chapter turns to England and the role of the Triumphs at Hampton Court Palace, the home of the series for the past four centuries. I argue that the Triumphs of Caesar functioned differently for each occupant of the palace in turn, serving as political, cultural, or decorative instruments.}, keywords = {Fifteenth Century, Painting}, author = {Schockmel, Bryn Critz} } @mastersthesis {12929, title = {Housing and the Village Landscape in the Byzantine Mani}, year = {2019}, school = {UCLA}, abstract = {This dissertation examines the form and use of space within Byzantine villages in the Mani peninsula, the southernmost point of the Greek Peloponnese. Because of the use of stone in the construction of houses, churches, threshing floors, cisterns and other agricultural features, the preservation of settlements is excellent despite centuries of abandonment. Focusing on the domestic and secular features of settlements, I document and map the built features of villages to preserve their history, even as the buildings deteriorate. I interpret the built elements through spatial analysis, social history and information provided by local residents about the histories of each settlement. I selected the two primary villages in this dissertation, Marathos and Sarania, to provide examples of settlements from the same region located in different physical settings. Central to my study is the examination of how topography affects village development. I also study the fortified settlement at Tigani, the center of government control in the region. I examined the domestic architecture from this site in order to see how it relates and differentiates itself from that of the surrounding countryside. I aggregated and examined data on house design and size as well as settlement layout in order to provide conclusions about the form of domestic architecture and the use of space within the village. I identify the importance of topography and regional characteristics as critical factors in the form and appearance of buildings. Using two well-preserved, abandoned villages in the Mani as a foundation, and including the study of the administrative center at Tigani, my dissertation examines the relationship of villages to the landscape, to each other, and to proximate urban centers, placing a micro study within a much broader context. I use the data obtained from mapping to test multiple hypotheses about use, access, and function. My project aims not only to gain an understanding of the villages of the medieval Mani, but also to construct a model for future studies on the built environment of rural settlements.}, keywords = {Southern Europe and Mediterranean}, author = {Palowski, Mark James} } @mastersthesis {12863, title = {Hudson Roysher: Silversmith, Designer, Craftsman}, year = {2019}, school = {Wisconsin}, abstract = {Hudson Roysher (American, 1911-1993), a silversmith, designer, and craftsman, flourished in postwar California amid rapid change. While working as a metalsmith, he explored, in the 1930s and 1940s, the industrial design field and the dominant presence of mass-production and consumerism in a technology-hungry nation. He discovered, however, that craft gave him stability, roots, and a link to the past-qualities that are also conveyed in his work, both secular and sacred. Roysher{\textquoteright}s participation in the revival of ecclesiastical silver taking place at mid-century helped to form his belief that craft, for both religious and non-religious purposes, could connect the user (and maker) to something constant against the backdrop of an increasingly modernized and anxious nation. Craft also served as an embodiment of individuality and of finding one{\textquoteright}s purpose among the masses. Through his objects, Roysher established a connection to the past and to something familiar by using traditional materials and forms. These forms, however, did embrace characteristics popular in mid-century modern design: clean lines, plain surfaces, and gentle curves. By fusing both the past and the present, Roysher eased Americans into a nation undergoing change in a style that might best be described as "traditional modernism." These works embraced change, but these changes were less dramatic than other strands of modernism in postwar America. While Roysher{\textquoteright}s works stand for the rejection of mass-production, he, too, is an example of how some mid-twentieth century Americans dealt with uncertainty and change. By becoming a silversmith, he established himself in a long lineage of craftsmen who created both secular and sacred objects. Recognized as "one of the leading silversmiths in the United States [for] his ecclesiastical work," Roysher worked almost exclusively on the production of sacred art from roughly 1951 to the early 1960s. He received over forty commissions, divided almost equally between Catholic and Episcopal churches throughout Southern California, to furnish the growing number of religious structures. An investigation of Roysher{\textquoteright}s mid-century modern works thus extends the current body of knowledge on the long tradition of metalsmithing, and it opens the door for exploration into the nascent field of sacred craft.}, keywords = {Decorative Arts, Twentieth Century}, author = {Glasscock, Ann} } @mastersthesis {12838, title = {Human Sacrifice in Greek Antiquity: Between Myth, Image, and Reality}, year = {2019}, school = {Columbia}, abstract = {This dissertation offers an archaeologically and art historically grounded inquiry into the actuality, form, and meaning of human sacrifice from the Bronze Age through the Hellenistic period. It opens with a critical, up-to-date review of the corpus of proposed archaeological evidence for human sacrifice in the Minoan, Mycenaean, and Greek civilizations, wherein it is argued that rituals of this kind were rare but nevertheless a historical reality, performed in special or extraordinary circumstances at least until the Late Archaic period. The rarity of human sacrifice in the archaeological record is a direct expression of its exceptional nature; the unmatched potency of sacrificing a human being was necessitated only in the most unusual or extreme situations: to quell the unyielding wrath of the gods or to honor a deceased person who was imagined as possessing superhuman stature. The evidence of individual cases of human sacrifice indicates that the ritual could take a variety of forms, some involving heightened degrees of violence. After arguing for the historicity of human sacrifice, the dissertation shifts to a comprehensive analysis of artistic representations of human sacrifice, with a particular interest in their ritual aspect. These images, it is argued, should be interpreted in several, mutually inclusive ways - not only as metaphors or conceptual foils to sacrificial norms, but also as ritually plausible representations of a phenomenon that seems to have existed at least into the later sixth century BCE. Apart from a small group of Bronze Age seals decorated with motifs possibly associated with human sacrifice, the first secure evidence of human sacrificial representations date to the seventh century BCE and continue through to the end of the Hellenistic period. Like the archaeological cases, the visual sources form a comparatively small corpus. The subject matter is exclusively mythical and almost entirely drawn from myths of Polyxena and Iphigeneia; only rarely do artists explicitly represent the bloody violence of sacrifice. Images of the death blow are almost exclusively produced in the Archaic era - a time during which there is contemporary archaeological evidence for human sacrifices in funereal contexts - and involve only Polyxena. Interestingly, the cessation of material evidence is contemporaneous with a shift in the iconography toward the emotionally pregnant moments leading up to the sacrifice. The roughly 100-year overlap between the archaeological and visual evidence presents the possibility that artists drew upon elements of known instances of human sacrifice, or at the very least the two forms of evidence are indirectly related, in that both are inspired by myth. While human sacrifice does not seem to have persisted into the Classical period and beyond, artists continued, as they had in the Archaic period, to construct ritually plausible images with compositional analogues in other, highly codified iconographies, most notably those of animal sacrifice and the wedding. In this way, even as artists began to explore ever more the conceptual and symbolic dimensions of these sacrificial myths, they continued to invest them with a reality and an immediacy that far outlived the ritual{\textquoteright}s practical existence.}, keywords = {Ancient Greek/Roman Art}, author = {Fowler, Michael} } @mastersthesis {12889, title = {Hyperborean Baroque: David Klocker Ehrenstrahl (1628-98) and the Rhetoric of Style}, year = {2019}, school = {Princeton}, abstract = {This dissertation examines the transformation of painting style and practice effected by the Swedish court painter David Klocker Ehrenstrahl (1628-98). A native of Hamburg, Ehrenstrahl spent several years studying and working in various cities across Europe before rising to prominence in Sweden in the decades following the Thirty Years War. While much in demand by aristocratic clients, he primarily served two royal patrons during his long and distinguished career: Dowager Queen Hedwig Eleonora and her son, King Karl XI, who enlisted Ehrenstrahl{\textquoteright}s talents for a series of ambitious cultural projects when the kingdom was at the height of its wealth and power. Though steeped in a variety of contemporary artistic models, ranging from Dutch still-life to English portraiture and High Roman Baroque allegory, Ehrenstrahl refused to confine himself to one particular genre or mode of painting following his arrival in Sweden. Rather, he self-consciously appropriated, adapted, and synthesized various motifs and styles to suit a variety of purposes, including his own advancement at court. Each of the dissertation{\textquoteright}s four chapters highlights this process of "strategic synthesis" by focusing on a different part of Ehrenstrahl{\textquoteright}s oeuvre. The first chapter examines the diverse artistic influences that Ehrenstrahl absorbed during his studies across Europe, demonstrated by a large group of his drawings. Chapter two examines Ehrenstrahl{\textquoteright}s numerous portraits, in which he cleverly manipulated his painting style in order to outmaneuver his artistic rivals and cater to the tastes of his patrons. Chapter three examines Ehrenstrahl{\textquoteright}s paintings of flora and fauna, which straddle the conceptual divide between Dutch and Flemish animal painting and proto-scientific illustration that flourished in late seventeenth-century Sweden. The final chapter considers Ehrenstrahl{\textquoteright}s allegories and history paintings in light of the shift towards absolutism under Karl XI. While this dissertation comprises a monograph on Ehrenstrahl, its fundamental argument is a methodological one that predicates artistic "style" as a set of conscious decisions often made in service to practical and political aims, not just aesthetic ones. The dissertation includes a comprehensive critical catalogue of Ehrenstrahl{\textquoteright}s drawings and paintings, as well as eleven appendices containing archival documentation of Ehrenstrahl{\textquoteright}s life and work.}, keywords = {Fifteenth- to Seventeenth-Century Art, Northern Europe}, author = {Wangensteen, Kjell} } @mastersthesis {12885, title = {The Ideal Made Real: The Aging of the Virgin in Italian Renaissance Art}, year = {2019}, school = {Georgia}, abstract = {No record in ProQuest or Georgia ETDs}, keywords = {Fifteenth Century, Material Culture}, author = {Doty, Lindsay} } @mastersthesis {12865, title = {Inventing the Market: Authenticity, Replication, and the Prints of Israhel van Meckenem}, year = {2019}, school = {Case Western Reserve}, abstract = {In the history of printmaking, the goldsmith-engraver Israhel van Meckenem (German, 1440/45-1503) represents a paradox: an inventive copyist. His innovations include the earliest printed self-portrait and prototypes of genre scenes depicting everyday life. Meckenem was also the first printmaker to brand engravings he produced with his first name. However, many of the prints he signed were copies of works by other artists. Given the strong association of name and authorship that developed in the Early Modern period, art historians have struggled to evaluate Meckenem{\textquoteright}s significance without invoking the modern stigma of plagiarism. Founded on the examination of approximately 1500 extant impressions of his engravings, this research project investigates Meckenem{\textquoteright}s printmaking practice{\textemdash}especially his copies and his treatment of products{\textemdash}in fifteenth-century terms. These diverse engravings demonstrate that the early print market, fostered by the efficiencies of the printing press, interrupted longstanding artistic practices and changed cultural perceptions about art, copies, authenticity, and authorship. Chapter 1 examines the intersection of Meckenem{\textquoteright}s personal engraving style and his copying methods. His editorial approach while copying reflects an emerging awareness of individual artists{\textquoteright} styles in the marketplace. The second and third chapters investigate the production and reception of two types of prints. The evolving treatment of seven apostle series throughout Meckenem{\textquoteright}s career traces his evolving efforts to present devotional subjects as visually engaging, collectable works of fine art. Meckenem{\textquoteright}s keen interest in decorative leaf work and flowers led him to cultivate a market for ornamental engravings, from pattern prints to elaborate works in which ornate flora served as a metaphor of artistic fruitfulness. The final chapter probes the meaning of Ornamental with the Engraver{\textquoteright}s Name, a showpiece in which Meckenem spelled out "ISRAHEL M" in decorative leaves and equated himself with the Old Testament patriarch Jacob, renamed Israel by God. In so doing, Meckenem invoked a long-standing theological interpretation of his first name as a prophecy of an eternal vision of God in paradise. This heretofore unexplored reading of Meckenem{\textquoteright}s trademark {\textquoteleft}Israhel{\textquoteright} enriches our understanding of how early printmakers{\textquoteright} self-promotion fostered competition in an open market and nurtured a discerning audience.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Fifteenth Century}, author = {Wehn, James} } @mastersthesis {12906, title = {Invisible Men, Invisible Women: Labor, Race, and the (re)Construction of American Citizenship in New Deal Post Office Murals}, year = {2019}, school = {Maryland}, abstract = {Invisible Men, Invisible Women: Labor, Race, and the (re)Construction of American Citizenship in New Deal Post Office Murals is a meditation on the historical construction and persistent importance of race in the formation of American national identity and citizenship. Centering on an institutionally marginalized and academically neglected aspect of American art, this dissertation explores the depictions of non-white laborers, from images of African American sharecroppers to Mexican American migrant laborers that appear in scores of Treasury Section post office murals across the United States. Organized around three case studies, this work explores the different ways racialized identities were created, contested, and consolidated within the context of larger debates surrounding the relationship between labor and citizenship in the 1930s. This dissertation reads the murals produced under the Treasury Section as part of the New Deal{\textquoteright}s epistemological regimes of intelligibility. In other words, these murals are to be understood as sites where collective identities are visualized and "correct" codes of social conduct are shaped in order to foster a particular vision of the citizens-subject. Treasury Section post office murals are therefore interpreted as part of a complex set of instruments deployed by the New Deal government as it sought to translate ideology into practice and thus actualize codes of racial and gendered conduct and ultimately modes of ideal citizenship.}, keywords = {North America, Race/Ethnicity, Twentieth Century}, author = {Yasumura, Grace Sayuri} } @mastersthesis {12918, title = {The Kodak Picture Spot Sign: American Photographic Viewing and Twentieth-Century Corporate Visual Culture}, year = {2019}, school = {Boston}, abstract = {This dissertation is the first in-depth study focusing solely on Kodak Picture Spots - signs placed into the landscape that highlight particular views and promote specific subjects to photograph. Eastman Kodak Company placed these branded markers along the roadside beginning in the 1920s, in several World{\textquoteright}s Fairs from mid-century through the 1980s, and at various Disney parks from the late 1950s until Kodak{\textquoteright}s bankruptcy in 2012. These picture-taking signs encouraged and mediated sightseeing in order to spur photographic activity, sell product, and equate places with pictures. Using an interdisciplinary approach, the dissertation examines the roles these little-studied photographic objects and their vernacular corporate-controlled views, settings, and activities play in the acquisition and distribution of images, real and ideal. Recommended views have a long history, dating back to eighteenth-century British pre-selected vistas and lasting into twenty-first-century digital culture. Picture Spots promote what Nathan Jurgenson calls "conspicuous photography," a unique set of expectations and actions tied to corporate culture and technology. Chapter One explores Picturesque-era precursors related to gardens, tourism, and accoutrements such as maps and optical devices, including the Claude Glass and stereoscope, in eighteenth- and nineteenth-century England and America. Chapter Two examines early American tourism and the initial Kodak campaign of an estimated 5,000 metal signs placed along new roads between 1920 and 1925. Chapter Three charts Kodak{\textquoteright}s long-standing association with international expositions, concentrating on the 1964-65 New York World{\textquoteright}s Fair where Kodak installed nearly 50 signs. Chapter Four considers the partnership of Kodak and Disney, starting with the debut of Picture Spot signs at Disneyland circa 1959 and subsequent incorporation into all U.S. Disney parks. The dissertation concludes with developments in smaller venues as well as contemporary corporate viewing via social media and camera phones. Selfie sticks and other accessories also aid in reifying conspicuous photography in new and interrelated ways. Due to the ubiquity of photographs today, further aggregated on the internet by enthusiasts using hashtags, picture-taking signs have developed into nostalgic objects and tourist destinations unto themselves.}, keywords = {Photography}, author = {Brown, Leslie} } @mastersthesis {12915, title = {Labor and the Picturesque: Photography, Propaganda, and the Tea Industry in Colonial India and Sri Lanka, 1880-1914}, year = {2019}, school = {CUNY}, abstract = {Nineteenth-century colonial photographs of workers on tea plantations in India and Sri Lanka - with women in saris gently plucking leaves from lush bushes and men in sarongs operating heavy industrial machinery - are powerful symbols of a chain of production within the British Empire. My dissertation questions how these images of labor support a sense of nation-building that is defined by a new lucrative commodity: British-grown tea. Labor is at the center of my study, which aims to challenge the clear-cut division in current scholarship between representations of workers in industrialized England, and those in rural South Asia. I investigate how a new phase of commercial photography represented this new product, and how these images contributed to make industry in the colonies more visible at home. Tea was an expensive novelty when it was first introduced to England from China in the mid- seventeenth century but quickly became the country{\textquoteright}s national beverage. In the 1880s tea grown in British colonies began to outsell Chinese-grown tea. Concurrently, advances in technology made photographs inexpensive to print, leading to a vast increase in distribution of these images through multiple channels. They illustrated travel literature, were displayed at international exhibitions, and were collected by tourists in private albums. Through a visual analysis of the compositional strategies in these pictures, alongside study of their distribution, I seek to demonstrate how photographs of tea production helped to construct a new vision of the British Empire in which notions of primitivism coalesced with modern industry.}, keywords = {Photography, South Asia/Southeast Asia}, author = {Harris, Leila Anne} } @mastersthesis {12880, title = {Landscapes of Salvation: Architecture and Memory in the Latin Kingdom of Jerusalem}, year = {2019}, school = {Pennsylvania}, abstract = {The twelfth-century monuments of the Latin Kingdom of Jerusalem attracted pilgrims who came to see "the holy places in which the Lord lived as a man." Landscapes of Salvation: Architecture and Memory in the Latin Kingdom of Jerusalem investigates how architecture, decoration, and liturgy structured this desired encounter between medieval viewer and biblical history. The staging of natural rock and older architectural fragments in the Church at Abu Ghosh, Tomb of the Patriarchs in Hebron, and Latin Church of the Holy Sepulchre provided worshippers with raw material that rendered the sacred past present. There was, however, a lack of consensus between patrons and viewers on the theological interpretation of the events marked by the loca sancta. Space, image, text, and ritual therefore became a means of negotiating sacred and secular power among viewing communities. My study engages in a history of sacred space that considers how the twelfth-century structures responded to, and shaped, medieval understandings of sacred topography and time.}, keywords = {Eleventh to Fourteenth Century}, author = {Boomer, Megan} } @mastersthesis {12890, title = {Leonardo and The Borgias}, year = {2019}, school = {Princeton}, abstract = {This dissertation reassesses the relationships between Leonardo and the Borgias and the role of the family in the departure of the Leonardeschi from Italy to Spain. The correct identification of Pedro Luis Borgia as the patron of the Hernandos distinguishes both the Nativity with donor in the Museo del Prado and the doors of the high altarpiece of Valencia Cathedral as newly recognized instances of Borgia patronage. This allows for a reconsideration of the impact of Leonardo and his workshop on the family{\textquoteright}s artistic patronage and a fresh look at the roles of both patron and artist in the diffusion of the Leonardesque. The first two chapters of the dissertation consider the artistic patronage of Pedro Luis Borgia in relation to that of his second cousin of Cesare Borgia, and great uncle, Rodrigo Borgia (Pope Alexander VI), demonstrating his connections to Leonardo and his role in the arrival of the Hernandos in Valencia. The third chapter clarifies the relationship between the Hernandos, Fernando Yanez de la Almedina and Fernando Llanos, and argues that Yanez was the Ferrando Spagnuolo documented assisting Leonardo on the Battle of Anghiari in 1505, thus distinguishing two relatively overlooked Leonardeschi. The final two chapters consider the works of the Hernandos after the deaths of their Borgia patrons, reassessing the reception of the Leonardesque in Valencia and the impact of the Hernandos{\textquoteright} relationships with both Leonardo and the Borgias on their late careers in Murcia and Cuenca. The significance of the dissertation lies in distinguishing Pedro Luis Borgia as a patron of the Leonardeschi, identifying the church at Piratello (Imola) and Valencia Cathedral as far more significant sites for Borgia artistic patronage than was previously understood, and revealing new aspects of Leonardo{\textquoteright}s activity and reception on the quincentenary of his death.}, keywords = {Fifteenth- to Seventeenth-Century Art, Southern Europe and Mediterranean}, author = {Ben, Rebecca} } @mastersthesis {12901, title = {Making and Exhibiting Modernism: Gustave Caillebotte in Paris, New York, and Brussels}, year = {2019}, school = {Delaware}, abstract = {No record in ProQuest or Delaware ETDs}, keywords = {Nineteenth Century, Painting}, author = {Olmsted, Galina} } @mastersthesis {12887, title = {Making and Remaking Renaissance Sculpture: The Terracotta Groups (1460-1560)}, year = {2019}, school = {British Columbia}, abstract = {No record in ProQuest, British Columbia has it embargoed}, keywords = {Fifteenth Century, Sixteenth Century}, author = {Vranic, Ivana} } @mastersthesis {12883, title = {Making Kalamkari Textiles: Artisans and Agency in Coromandel, India}, year = {2019}, school = {British Columbia}, abstract = {This study sheds light on the undertheorized histories of artisan communities on the Coromandel region of southeastern India who were responsible for producing masterfully crafted dyed, painted and printed cottons during the early modern era. The textiles from these workshops are known as kalamkari (literally {\textquoteright}pen work{\textquoteright}) and were integral components of the early modern trade networks connecting India with other parts of Asia and Europe. Subsequently, these fabrics were collected and documented by the leading museums and institutions in India and the world. Kalamkaris have been regularly included in major exhibitions globally since 1970. However, a critical assessment of the agency of these textile makers was largely absent in the studies. What are the possible ways to reconstruct the agency of these textile makers whose practice thrived leaving hardly any trace but the textiles? Recent scholarship has provided methodological tools to identify the multiplicity of historical accounts and the ephemeral histories of the Deccan. My thesis expands the parameters of these approaches by foregrounding the multifaceted practice of the contemporary kalamkari makers. My sustained engagement with block makers of Pedana, dyers in Polavaram and Hyderabad, and other artisans of the Coromandel has informed my understanding of agency. I have repeatedly referred to a set of early modern and contemporary kalamkari fabrics from Indian museum collections to further my argument. Building on a rich corpus of interdisciplinary scholarship, fieldwork, and object analysis, I theorize "agency" as a fluid rather than fixed notion that embodies a series of complex interactions between the textile makers and their surroundings. Through repeating the intangible bodily practice of their masters and ancestors, the textile makers produce, sustain, and transform craft making. I emphasize that kalamkari making is the practice of continuously reconfiguring artisanal subject position by signaling the entanglement of agency and bodily actions{\textemdash}the repository of historically informed knowledge of the craftspeople. This exploration contributes to the ongoing scholarly discussions on the early modern cosmopolitanism, sensorial aspects of material culture, and embodied histories of the marginalized craftspeople.}, keywords = {Fiber Arts and Textiles, South Asia/Southeast Asia}, author = {Sengupta, Rajarshi} } @mastersthesis {12882, title = {Making Modernity in Fabric Architecture: Imperial Tents in the Late Ottoman Period}, year = {2019}, school = {Michigan}, abstract = {Monumental and magnificently decorated tents played a key role in Ottoman courtly life and ceremonies over the course of the dynasty{\textquoteright}s six-century reign (circa 1299-1922), building on similar practices in other Islamic cultures before and contemporary with the Ottoman Empire. While their primacy remained steadfast, Ottoman imperial tents{\textquoteright} aesthetic properties, functions, and meanings shifted over time to suit new socio-political contexts as well as changing courtly tastes. Far from an unconscious vestige of their origins as a nomadic principality in late thirteenth-century Anatolia, Ottoman sultans strategically deployed the longstanding Islamic tradition of princely tentage in the eighteenth and nineteenth centuries, an era marked by transformation. This dissertation explores several themes related to the study of fabric architecture in the late Ottoman period through an analysis of written and visual sources, chief among them a corpus of rarely seen extant tents as well as illustrated manuscripts, photography, and printed commodities such as newspapers and postcards. These themes include the built environment and its mobility and temporality; the mediated experience of nature; royal ceremonies, rites, and rituals; as well as the construction of modernity through infrastructural building and the formation of national history and identity. In short, imperial tents functioned as vehicles for choreographing courtly spaces, facilitating mobilities, enhancing leisure activities, framing ceremonies, and crafting a modern imperial identity predicated on the Ottomans{\textquoteright} storied past.}, keywords = {Fiber Arts and Textiles, Islamic Art}, author = {Dimmig, Ashley} } @mastersthesis {12867, title = {Making Money: Alfred Jones and the Business of Engraving}, year = {2019}, school = {Boston}, abstract = {The antebellum era was a time of paper-there were newspapers and magazines to read, advertising bills to recognize, and money in the pocket to evaluate. Both the bank note companies and art unions emphasized the quality of the artists they hired, and publicized these works for their taste and nationalizing sentiments. These groups set out to produce a product that encouraged consumer confidence in paper in exchange for something more lasting, such as a painting in oil or a gold coin. The link between these two ideas and the creators of that ineffable quality that lent confidence to both the bank note and the fine art engraving was the engraver himself. Navigating this modern, paper economy in both realms were engravers such as Alfred Jones (1819-1900), a man who made his way in the financial and art worlds, and whose ambitions and career serve as a case study to explore the rapid changes in the demand for images during the Nineteenth Century. Chapter one situates Jones and his colleagues in their historical era and illuminate how cultural, political, and technological advances created a market where engraving could flourish. Chapter two examines Jones{\textquoteright}s role within the art unions of the day, and how those groups advertised the skill of engravers, such as Jones, to bolster notions of value in the prints they issued. Chapter three looks more closely at the images created by engravers, and investigates their role in establishing and reinforcing a national visual lexicon that could unify the idea of the nation even as it was unraveling. Chapter four discusses the confusion surrounding counterfeit engravings during the antebellum period and the efforts bank notes companies undertook to highlight the skill of their engravers to reassure the general public of their worth. The burins of Jones and his cohort, through their work in fine arts organizations and bank note companies created images accessible to the average citizen, images these consumers could recognize and assign a value. They applied their talents to works on paper that illustrated the making of the American self in the years before the Civil War.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Nineteenth Century, North America}, author = {Lett, Telesia Amanda} } @mastersthesis {12833, title = {A Matter of Building Bridges: Photography and African American Education, 1957-1972}, year = {2019}, school = {Columbia}, abstract = {This dissertation examines the use of photography in civil rights educational efforts from 1957 to 1972. Photography played an important role in the long civil rights movement, resulting in major legal advances and greater public awareness of discriminatory practices against people of color. For most civil rights organizations and many African Americans, education was seen as the single most important factor in breaking down social and political barriers, and efforts toward equal education opportunities dramatically increased following the Supreme Court{\textquoteright}s 1954 Brown v. Board of Education decision. My dissertation therefore investigates photography{\textquoteright}s distinct role in documenting the activities of three educational initiatives-the desegregation of Central High School in Little Rock, Arkansas, in 1957, the Mississippi Freedom Schools formed the summer of 1964, and the Black Panther liberation schools established in Oakland, California, in 1969-to reveal the deep and savvy understanding of civil rights and Black Power organizations of the relationship between educational opportunities and political power.}, keywords = {African American/African Diaspora}, author = {Choi, Connie} } @mastersthesis {12864, title = {Meaning and/in Digital Media: Ryan Trecartin{\textquoteright}s Priority Innfield}, year = {2019}, school = {Georgia}, abstract = {No record in ProQuest or Georgia ETDs}, keywords = {Digital Media/New Media/Web-Based Media, Twenty-first Century}, author = {Leeton, Brooke} } @mastersthesis {12924, title = {Mechanical Kingdoms: Sound Technologies and the Avant-Garde, 1928-33}, year = {2019}, school = {CUNY}, abstract = {Against accepted histories of the historical avant-garde, which have elevated artistic production in traditional media while suppressing sonic practices, this dissertation argues that artist-engineers working across Europe and the United States independently, if simultaneously, turned their attention to emerging sound technologies as new media for creative experimentation by the early 1930s. This spectrum of activity demonstrates the significance of sound in avant-garde practice, and indicates a wide-ranging artistic engagement with technological devices intended for mass audiences. While the common understanding of the relation between art and technology in this period amounts to one of mere enthusiasm for the novel formal qualities of machines and mechanical structures, this dissertation demonstrates that artist-engineers deployed the telephone, radio, film projector, and synthesizer as tools for direct artistic expression. In doing so, they transformed a fascination with the machines of modernity into a functional practice and extended the avant-garde project to explore new modes of perception into a sonic register. This dissertation examines a cross-section of these experiments in the United States, France, Germany, and Russia. In 1932-33, orchestra conductor Leopold Stokowski (1882-1977) collaborated with Harvey Fletcher, a prominent physicist at Bell Telephone Laboratories, and other engineers on the long-distance transmission of a symphony concert by telephone. Beginning in the late-1920s, the Surrealist radio plays of French artist Paul Deharme (1898-1934) used sound to influence the subconscious mind, drawing directly from methods developing concurrently in the field of Freudian psychoanalysis. In 1929, building on the recent invention of optical sound-on-film systems, German animator Rudolf Pfenninger (1899-1976) devised a method of artificial sound synthesis based on translating hand-painted sound waves into light and then audible sound through the use of a projector. And in 1930, Russian engineer Evgeny Sholpo (1891-1951), working with colleagues at the Central Laboratory of Wire Communication in Leningrad, invented a device for the production of synthetic sound, made from cut paper, to accompany motion pictures. With the exception of Italian Futurist projects with noise in the 1910s, early twentieth century artists working with sound technologies, such as the figures I explore, have been excluded from canonical art histories and theories of the avant-garde. As a result, the conceptual artist and composer John Cage has emerged as the catalyst for postwar experiments with art, technology, and music. This dissertation fills in the historical lacuna between Futurism and Cage, a gap of nearly forty years, to demonstrate a continuum of sonic practices. In doing so, it reveals a previously-unexplored relationship between sound, the avant-garde, and technological innovation.}, keywords = {Sound Art, Twentieth Century}, author = {Rosati, Lauren} } @mastersthesis {12850, title = {Meshworks of storied matter: Becoming with discarded objects through participatory public art interventions}, year = {2019}, school = {Georgia}, abstract = {No record in ProQuest or Georgia ETDs}, keywords = {Art Education/Pedagogy/Art Therapy}, author = {Hegeman, Kira} } @mastersthesis {12881, title = {The Micromosaic of the Man of Sorrows at Santa Croce in Gerusalemme in Rome}, year = {2019}, school = {Princeton}, abstract = {This dissertation proceeds from a comprehensive study of a miniature Byzantine micromosaic icon of Christ the Man of Sorrows, made in the early fourteenth century and enshrined since ca. 1400 at the Basilica di Santa Croce in Gerusalemme in Rome. Crafted from approximately 50,000 minute pieces of glass, metal, marble, and stone, the icon is one of the most meticulous representations of the human body in medieval art. Over five chapters, the dissertation chronicles the icon{\textquoteright}s journey between Byzantium and Italy through various Mediterranean ports-of-call: from the Greek East to the Kingdom of Naples and, eventually, to Rome, where it achieved great fame in connection with the legend of the Mass of St. Gregory. The remarkable life-story of this object presents a singular opportunity to examine the allegorical symbolism of the broken body in both Orthodox and Latin Christian religious cultures at a critical juncture in the conflict between the divided churches of East and West. Utilizing in-depth visual and epigraphic analysis, supported by conservation documentation and new research into its medium and materials, the dissertation shows how the icon{\textquoteright}s formal qualities were strategically designed to substantiate a rich, all-encompassing metaphor concerning the sacrament of the Eucharist. Specifically, it functioned as a visual counterpart to the ritual breaking of the Eucharistic bread and served to emblematize the idea of ecumenical union: a vision of all Christians peoples united as one in an undivided church. The Santa Croce micromosaic was uniquely effective in conveying these broader theological concepts. Its myriad tesserae, fused to form an iconic image of the dead Christ, typified the tension in the Eucharist between fraction and unity, part and whole. This allegorical potential was further developed in Rome, where, installed inside an extraordinary triptych reliquary cabinet, ensconced by relics from all corners of the Christian oecumene, the icon became the centerpiece to a grand representation of the Universal Church: diverse in its parts, but unified in a cohesive, ecclesiological body. Exhibited in Santa Croce{\textquoteright}s subterranean Jerusalem Chapel, the icon and its reliquary formed a microcosm of the church on earth at the end of the Middle Ages.}, keywords = {Eleventh to Fourteenth Century}, author = {Lansdowne, John} } @mastersthesis {12852, title = {Minor Forms, Dismantled Norms: Mediums of Modernism in Pakistan}, year = {2019}, school = {CUNY}, abstract = {A combined attention to style and influence has characterized the emerging field of global modernism, which has focused on the significance of abstraction for artists in contexts such as postcolonial Pakistan, for example, and the influence of foreign versus local traditions on that significance. This dissertation triangulates the issue of style and influence with the question of medium and its role in the development of modern art in Pakistan. An historical and cultural bridge between Asia and the Islamic world, Pakistan represents an important case study for competing narratives of civilization, identity, and aesthetic form, and how these contribute to the development of a postcolonial modernism. Originally consisting of two non-contiguous territories, Pakistan was split from Muslim-majority provinces on either side of India in 1947 when the subcontinent became independent from British colonial rule. In 1971, East Pakistan gained its own independence as the state of Bangladesh. This dissertation asserts that modern art in Pakistan is characterized by a productive tension between dominant or "major" artistic mediums such as sculpture and oil painting, and "minor" mediums such as drawing, watercolor, and printmaking. While oil painting was the backbone of Pakistani modernism, the medium remained encumbered by its colonial inheritances, its tendency towards coherence and totality, and its hegemonic status. On the other hand, minor mediums such as printmaking, watercolor, and the arts of the book provided artists with the tools to fracture and evade nationalist pressures and to develop contiguities with folk and Islamic traditions that had been displaced as major forms during the colonial period. To explore these complex and alternating hierarchies of medium, this dissertation utilizes artist-focused, institutional and exhibition case studies. It provides an historical trajectory of modern art in Pakistan from the anti-colonial Bengal School to the post-independence rise of canvas painting, and to a generation of artists reacting to Zia ul Haq{\textquoteright}s Islamist dictatorship (1978-1988) by turning to mediums such as printmaking and miniature painting during the 1980s and early 1990s. The dissertation thus seeks to provincialize canonical theorizations of medium specificity, modernist autonomy, and the post-medium condition, and demonstrates that a decentering of modernism requires a close attention to medium and a challenge to the self-evident centrality of canvas painting to modernist practice globally.}, keywords = {Central and North Asia, Twentieth Century}, author = {Sharpe, Gemma} } @mastersthesis {12922, title = {Monumental Endeavors: Sculpting History in Southeastern Europe, 1960-2016}, year = {2019}, school = {Maryland}, abstract = {This dissertation focuses on monumentality and the ways it has developed in the sociopolitical conditions of late socialist and postsocialist Southeastern Europe. It examines monumental production in this region between the 1960s and 80s, and the artistic practices that constitute responses to socialist monumentality undertaken in the postsocialist period in the republics of the former Yugoslavia and in Albania. It considers the relationship between ways of remembering the Second World War and the monumentalization of what is often referred to as {\textquoteright}actually existing socialism.{\textquoteright} Additionally, it explores how legacies of socialist monumentality have affected contemporary artists working in relation to socialist heritage and to more recent traumatic experiences, such as the wars coincident with and following Yugoslavia{\textquoteright}s dissolution. Southeastern Europe{\textquoteright}s modernity has been a particularly conflicted one, both geopolitically and culturally. Home to an overwhelming number of (frequently overlapping and amorphous) ethnic, linguistic, and religious groups, the region is notable for the hybrid and disparate ways political and cultural actors-from dictators to democratically elected officials-have attempted to cultivate a collective historical consciousness. Monuments serve as particularly rich examples of the ways politicians, artists, and publics navigate collective values and contest both projected pasts and futures. The transition from late socialism to postsocialism provides diverse examples of how public monuments in countries such as Macedonia, Croatia, and Albania relate to debates on ethnicity, gender, political economy, and class-consciousness in the context of continued redefinitions of Europe{\textquoteright}s borders and culture as a whole. Furthermore, ongoing attempts to preserve, restore, relocate, or destroy socialist-era monuments offer a rich and complicated body of evidence for the ways that histories are repurposed, especially the histories of the Partisans{\textquoteright} transnational antifascist struggle during the Second World War. This dissertation argues that many contemporary artists from Southeastern Europe have focused precisely on the ambiguous and conflicted meanings of socialist monuments, and have avoided treating monuments as monolithic forms associated with official ideological forces, in need of demythologization. Instead, these artists have turned to monuments in order to address the disparate histories of struggle that have given rise to Europe{\textquoteright}s current sociopolitical situation.}, keywords = {Sculpture, Southern Europe and Mediterranean, Twentieth Century}, author = {Isto, Raino Eetu} } @mastersthesis {12909, title = {The Multivocality of the Cross of the Scriptures: Claiming Victory, Kingship, and Territory in Early Medieval Ireland}, year = {2019}, school = {Delaware}, abstract = {At the early medieval monastery of Clonmacnoise in Ireland, there is a high cross known as the "Cross of the Scriptures" that exhibits a remarkable aesthetic quality, a complex iconographic program, and inscriptions pointing to its patronage by the High-King Flann Sinna (c.847-916) and Abbot Colman mac Ailella (d.926). This high cross serves as the pivot of my dissertation to explore the various messages of power and authority expressed by the sculptural type within the social and political context of early medieval Ireland. Whereas previous literature emphasized the devotional and didactic functions of this monument, this project unpacks the political motivations, legal aspects, and social customs imbedded in its creation and use. I employed an interdisciplinary approach that integrated scholarship from the fields of art history, archaeology, history, law, and critical geography to conclude that the high cross type could simultaneously function as a witness to historical events and compacts, marker of boundary and territorial control, and expression of identity and legitimacy for the rulers that erected them. More broadly, it revealed that site-specificity played a larger role in their intended function and appearance than previously thought. This dissertation investigates the interaction of the monument{\textquoteright}s inscription, form, and selected imagery with the contemporary historical events associated with Flann Sinna{\textquoteright}s reign and its situation in its political, cultural, and geographic landscape. It also examined the universally Christian and characteristically Irish motifs of kingship present on the high cross in order to demonstrate how the patronage network wove Flann Sinna{\textquoteright}s claims into the sculpture{\textquoteright}s form and iconography to bolster his quest for legitimacy and convey his divinely-sanctioned rule. Finally, it considered the interaction of the monument{\textquoteright}s design and location with its sacred landscape and built environment to demonstrate Flann Sinna{\textquoteright}s use of the ancestral past to reinforce his territorial claims and special relationship to Clonmacnoise. Overall, this approach broadens the potential performance of the type and joins the reaction against the commonly-accepted notion that the art of this period, and the Middle Ages in general, was primarily devotional and devoid of multivocal meanings, multifunctional purposes, and complex patronage networks.}, keywords = {Northern Europe, Sixth to Tenth Century}, author = {Hutchison, Caitlin} } @mastersthesis {12895, title = {Naturing the Nation: Art and Design in India, 1870s-1970s}, year = {2019}, note = {Fourth subject: Visual Studies}, school = {Princeton}, abstract = {Naturing the Nation: art and design in India, 1870s-1970s probes the relationship between art, design and the politics of nature in colonial and postcolonial India. It examines two art and design institutions-Rabindranath Tagore{\textquoteright}s Santiniketan-Sriniketan project (established in early 1900s British India) in Bengal, and the National Institute of Design funded by the Indian government and the United States-based Ford Foundation (established late 1950s, after independence in 1947) in Ahmedabad. Taking into account the transregional and transnational networks of ideas, agents, and institutions around them, it unpacks art and design{\textquoteright}s deep relations to colonial and modern science and anthropology between colonial rule and the Cold War. A focus on the relationships between plant neurobiology, agricultural science, art and art theory, as well as exhibition-making allows the chapters to investigate the co-production of {\textquoteright}nature{\textquoteright} and {\textquoteright}nation{\textquoteright} as malleable constructs within art and design historical discourse. It reveals, for instance, how the entanglements of art and science were caught up in the articulation of a new Hindu metaphysics by a particular nationalist elite in early twentieth century Bengal. Through the work of artists and art theorists, it traces the crucial relationships of this Hindu metaphysics with the Pan-Asian movement and European vitalism. Through transnational and transregional networks of artists, writers and designers, it identifies a {\textquoteright}Long Arts and Crafts Movement{\textquoteright} and the paradoxes and ramifications of it between Great Britain, India and the United States of America, investigating the functions of craft, design and rural reform between Victorian socialism of the late 1880s, Indian nationalisms, and American development-oriented aid programmes of the 1950s. Examining the emergence of design, and new ways of seeing, in the 1960s, it investigates how the representation of {\textquoteright}nature{\textquoteright} and {\textquoteright}nation{\textquoteright} were reconfigured through a nexus of art, politics, and technology, and the conflicting demands of {\textquoteright}tradition{\textquoteright} and {\textquoteright}progress{\textquoteright}.}, keywords = {Installation/Environmental Art, South Asia/Southeast Asia, Twentieth Century}, author = {Chatterjee, Sria} } @mastersthesis {12846, title = {New Mexico on the Margins of Eco-architecture in 1960s and 1970s America}, year = {2019}, school = {Binghamton}, abstract = {In the late 1960s three young architects moved to New Mexico, Antoine Predock, Michael Reynolds, and Edward Mazria. They each experimented with finding a way to integrate the moral imperatives of the environmental movement into architectural form. Each architect gives an essential insight into the complex ideals, incentives and processes developing in the early 1970s. Predock follows J.B. Jackson{\textquoteright}s call to {\textquoteright}do right by the land{\textquoteright} by focusing on the specifics of site. Reynolds responds to the problem post-consumer waste by experimenting with beer cans and tires as recycled building materials. Mazria develops, publishes and teaches a simplified system to fully integrate passive solar to mitigate resource depletion. Each of these architects developed a system for fully integrating environmental ideals into the building envelope. More importantly, they defined the minimal limit to the parameters of Sustainable Architecture.}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {De Wit-Paul, Alissa} } @mastersthesis {12871, title = {New Topographics and the Reinvention of American Landscape Photography, 1975}, year = {2019}, school = {Brown}, abstract = {The 1975 George Eastman Museum exhibition New Topographics redefined the subject of landscape photography as the built environment, but its premise of a "neutral" style remains undertheorized. This dissertation re-analyzes the exhibition{\textquoteright}s reception, framing the show as a nexus of the possibilities for making, interpreting, and exhibiting photographs of the American landscape in the 1970s. It proposes that what qualifies New Topographics as a watershed was not its banal subject matter, but rather the interpretive work its photographs placed on viewers. Radically departing from the expressive model of Ansel Adams, these "cool" photographs positioned viewers critically, contributing both to the dismantling of frontier mythology and the theorization of viewership in the 1970s. The dissertation takes the notion of the "significant outlier" as its chapter model. Chapter One theorizes neutrality in photography by way of examining Ed Ruscha{\textquoteright}s simultaneous influence and absence in the exhibition. While Ruscha{\textquoteright}s 1960s photo books anticipated the style that New Topographics sought to name, their humor and deskilling would have been discordant with the social commentary and masterful print craft in the show. Chapter Two focuses on Robert Adams{\textquoteright}s contribution as a way to address the exhibition{\textquoteright}s departure from prior models of representing the American landscape. The contrast between his cool aesthetic and Ansel Adams{\textquoteright}s warmer, conventionally expressive one emblematizes ecology versus conservation as models of environmentalism. Chapter Three examines how Joe Deal and Lewis Baltz borrowed formal strategies from art in other media to subtly critique suburban and corporate sprawl. I interpret Deal{\textquoteright}s square-format, aerial photographs of Albuquerque in light of seriality, and Baltz{\textquoteright}s rigorously frontal views of southern California industrial parks as a photographic variant of minimalism. Meanwhile, Chapter Four interprets Stephen Shore{\textquoteright}s color photographs as outliers that place pressure on the prevalent association of New Topographics as critical of the built environment; his photographs positioned their audience to view the built environment more sympathetically. Finally, in the dissertation{\textquoteright}s epilogue, the reception of Bernd and Hilla Becher{\textquoteright}s work and that of their students in the D{\"u}sseldorf School of Photography provides a way to chart the influence of New Topographics abroad and into the present.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice}, author = {Mickevicius, Emilia} } @mastersthesis {12893, title = {New Womanhood and the Bauhaus: The Avant-Garde Photography of Lucia Moholy}, year = {2019}, note = {Fourth subject: Twentieth Century}, school = {Maryland}, abstract = {During the years 1922-1928, Lucia Moholy operated as an independent photographer at the Bauhaus School in Germany, capturing images of students{\textquoteright} and masters{\textquoteright} art objects, inventively recording the defining architectural elements of the school, and pursuing her own experiments in portraits and photograms. Immersed in the dynamic, radical environment of the Bauhaus, Moholy explored the potential for modernist representative photography. From images capturing the avant-garde building designs of the Bauhaus to portraits sensitively exploring the phenomenon of the New Woman, Moholy{\textquoteright}s oeuvre demonstrates her innovative engagement with contemporary artistic and cultural concerns. This dissertation seeks to reclaim Moholy{\textquoteright}s place as the foundational figure for photography at the Bauhaus and argues for the radicality and unrestrained modernity of her artistic output. Given the continued effacement of Lucia Moholy{\textquoteright}s significant contribution to German modernism, this dissertation serves as a historiographical correction. Asserting Moholy{\textquoteright}s central importance to the development of a photographic discipline at the Bauhaus, I demonstrate her impact as a pioneering female professional photographer in a field dominated by men. Moholy{\textquoteright}s portraits and architectural photographs serve as testament to her unique experience of the Bauhaus and celebrate both the institution{\textquoteright}s and her own modernity, and the free lifestyle each advanced. For younger female photographers who would matriculate at the Bauhaus, Moholy served as a powerful exemplar for considering the world through a multivalent female perspective, unrestricted by the domineering masculinity of the Bauhaus. In reconsidering Moholy{\textquoteright}s oeuvre, I also situate her contextually within the German avant-garde and consider the individual interpretations of New Womanhood by Moholy and her contemporaries. Moholy{\textquoteright}s photographs possess a rich multiplicity of meaning, revealing layers upon layers. They are simultaneously experimental portraits of people and buildings, grounded in Weimar avant-garde expression, and memorializations that build a concrete history and contribute to the Weimar cultural archive. Arguing for Moholy{\textquoteright}s innovation, her engagement with avant-garde trends in 1920s Europe, and her creation of a representational modernism, this dissertation interrupts the canon of Modernist scholarship and prompts a rethinking of Lucia Moholy{\textquoteright}s contribution to photographic experimentation at the Bauhaus.}, keywords = {Genders/Sexualities/Feminisms, North America, Photography}, author = {Chamberlain-Stoltzfus, Eleanor} } @mastersthesis {12868, title = {The Nineteenth-Century British Printmaker}, year = {2019}, school = {Virginia Commonwealth}, abstract = {The organization of eighteenth and nineteenth-century British printmaking and publishing was based on economic principles and occurred in the collaborative sphere of the engraver{\textquoteright}s studio. Print designers, engravers, printers, and publishers formed a professional network that operated on economic principles, publishing prints that served to generate income for its participants. These ventures faced great challenges in the lengthy and laborious processes of engraving and publishing, and in financing the project for the duration of that time. This project examines the economic structure of early nineteenth-century prints. Using comprehensive accounting records, it analyzes two well-known topographical print series. The profitable Southern coast by William Bernard Cooke and George Cooke is compared to the financially unsuccessful Tour of Italy by James Hakewill, series that both were partly based on watercolors by J.M.W. Turner. A well-managed organization and a sound financial framework laid the foundation for a profitable venture. The success of print series hinged on several critical success factors, such as access to sufficient capital, strict cost containment, and optimized print editions. An examination of the conflict that ended the collaboration between Turner and the engravers Cooke, originating in Turner{\textquoteright}s demand for higher design fees, puts the validity of the arguments of both parties in a new light. The investigation into the work practice of the engravers Cooke and the economic factors that determined the outcome of their labor contributes to a better understanding of the printmakers{\textquoteright} opportunities and challenges at the onset of the modern art market.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Nineteenth Century}, author = {Turpijn, Saskia} } @mastersthesis {12910, title = {Non est hic: Figuring Christ{\textquoteright}s Absence in Early Medieval Art}, year = {2019}, school = {Chicago}, abstract = {This dissertation explores how artists figured Christ{\textquoteright}s absence, a seemingly paradoxical task for the visual arts. I examine objects made for use in the celebration of Christian liturgies in Western Europe ca. 950-1050, a period of time when, I argue, artists experimented intensely with new strategies for representing those moments when Christ{\textquoteright}s incarnate body is elsewhere, obscured from view, and absent on Earth. As medievalist art historians have long recognized, the complex interplay between presence and absence was a central concern of image making, liturgical practice, and theology in the Middle Ages. In their accounts of the events of Christ{\textquoteright}s life, including his resurrection and ascension, the canonical Gospels presented medieval artists with the challenge of not figuring Christ{\textquoteright}s body, whilst upholding the central Christian belief in Christ{\textquoteright}s enduring presence beyond the grasp of the human senses. I demonstrate that medieval artists surmounted these representational challenges to both figure and qualify Christ{\textquoteright}s absence through highly innovative formal means. In chapter one, I focus on images of the Visitatio sepulchri; in chapter two, the Ascension; and in chapter three, the celebration of Mass. Ultimately, early medieval artists and their patrons re-framed moments of Christ{\textquoteright}s absence in terms of ecclesiological presence, variously suggesting who and what can be representative of Christ once he is no longer on Earth. My images offer a set of propositional answers to such questions on the eve of the so-called Gregorian Reform Movement (c. 1050-80), at which point they become codified.}, keywords = {Northern Europe, Sixth to Tenth Century}, author = {Thebaut, Nancy} } @mastersthesis {12858, title = {Nuestra Senora: Confraternal Art and Identity in Early Colonial Lima}, year = {2019}, school = {Michigan}, abstract = {This dissertation investigates the visual culture of black and indigenous lay confraternities in Lima during the sixteenth and seventeenth centuries. With limited extant visual evidence, I take advantage of Lima{\textquoteright}s rich documentary record for the early colonial period and use the confraternities of the Virgin of Copacabana and of the Virgin of the Antigua as case studies for how we might incorporate subalterns into Lima{\textquoteright}s art-historical purview. By prioritizing confraternity members{\textquoteright} self-identifications over colonial administrative categories, I demonstrate that black and indigenous people in colonial Lima were active patrons, defined the city{\textquoteright}s visual culture through religious and social engagement, and applied their own cultural lenses in their use of sacred images and ritual objects. Following the Introduction, Chapter 2 uses confraternal records, especially inventories, to recover and examine the sacred images and goods of Lima{\textquoteright}s black and indigenous confraternities. I argue that by commissioning sacred images, displaying these images in ornamented chapels and during urban processions, and adorning them with clothing and accessories, confraternities should be considered curators of material "collections." I contend that, as the majority of the city{\textquoteright}s population, black and indigenous sodalities significantly defined the visual aspects of the religious and municipal landscape of colonial Lima. Chapter 3 addresses the confraternity of the Virgin of Copacabana, an indigenous sodality founded in part by people from Chachapoyas. The confraternity commissioned a polychrome wooden statue of the Virgin and Child in 1588 that evolved into a popular cult image after it was observed miraculously sweating in 1591. Following the statue and confraternity as they were relocated within the city, I consider the statue, its renaming, and its adornment through the interpretive lens of Chachapoya art, architecture, and religious ritual, in order to speculate about the devotees{\textquoteright} experiences. Approaching the image from a Chachapoya perspective reveals that the confraternity members imbued the statue with their history under Inca and Spanish control in ways that colonial officials could not perceive. Chapter 4 examines the confraternity of the Virgin of the Antigua, a black sodality that came to be controlled by Greater Senegambians in the seventeenth century. I begin by discussing the ways in which the confraternity mobilized its confraternal goods to assert their superiority over rival Afro-confraternities, and argue that material culture played a critical role in legal disputes that was comparable to the racially-charged language examined by historians. Then, focusing on the group that identified with Greater Senegambia, I analyze the confraternity{\textquoteright}s goods, including a wooden statue of the Virgin that was commissioned by the sodality in 1568, alongside visual art and rituals from modern Greater Senegambia. In so doing, I propose that the Virgin{\textquoteright}s devotees formed possible correlations with West Africa through interactions with their sculpted image.}, keywords = {Colonial and Modern Latin America, South America}, author = {Gomez, Ximena} } @mastersthesis {12928, title = {O admirandus apium fervor!{\textquoteright} Allegory and the Bee in Southern Italian Exultet Rolls}, year = {2019}, school = {UNC Chapel Hill}, abstract = {The Exultet rolls of southern Italy have long been recognized as beautiful and singular examples of the liturgical culture of the southern Italian region during the Middle Ages. The manuscript rolls contain the illustrated text of the Easter proclamation, the Exultet, sung each year at the Easter Vigil. Scholars have studied the text, musical notation, images, and physical properties of the Exultet rolls, focusing on different aspects of their content and construction. Even with the wealth of scholarship concerning the Exultet rolls, there is little work investigating the abundantly illustrated bees and their importance to a thematic and visual understanding of the Exultet. The bees are, perhaps, the most noticeable image running through the Exultet rolls, and they invite further investigation. This dissertation examines the union of text and image in format of the rotulus. It investigates the prevalence of images containing female allegorical figures, representations of female-centered concepts, natural imagery, and depictions of bees, suggesting that these figures, in conjunction with the text of the Exultet, indicate the possibility of understanding the rolls as representations of changing approaches to female potency in the economy of salvation history. This study suggests that with changes to liturgical texts and practices attributable to the suppression of the Beneventan rite in the eleventh century, the shift in the Exultet{\textquoteright}s text and images reflects a parallel alteration in understandings of the Church and the place of the female within it. The bee, as the most illustrated allegorical figure among all of the Exultet rolls and a representative of the Classical virtue of sophrosyne, functions as an emblem of the change in approach to both the Church and the Easter mysteries. As the role of the bee as a force unto herself becomes that of a servant to the common cause of the hive, so the place of female potency in the Church{\textquoteright}s project of salvation is transformed from an essential role to one of service and submission. This study offers a new angle from which to look at the Exultet rolls, introducing a reading based on allegory, exegesis, and the semiotics of the roll.}, keywords = {Southern Europe and Mediterranean}, author = {Grady, Erin Kate} } @mastersthesis {12927, title = {Of Flesh and Metal: The Artificial Yet Living Being in Italian Futurist Art and Literature}, year = {2019}, school = {Wisconsin}, abstract = {No record in ProQuest or Wisconsin ETDs}, keywords = {Southern Europe and Mediterranean, Twentieth Century}, author = {Farmer, Sophia Maxine} } @mastersthesis {13240, title = {Open-Air Architecture and the Student Body in the United States, 1904-1940}, year = {2019}, school = {Penn State}, abstract = {This dissertation blends architectural history with disability studies to better understand the social construction of disability during childhood in the early twentieth century. Open-air schools and classes emerged as an educational experiment in the United States in 1904 and were abandoned by 1945. These spaces sought to improve the education of students with disabilities while enabling segregation based on their physical condition. The form and facilities of these classes varied depending on the class, race, and physical condition of the students, while responding to concerns about health, urbanization, and mechanical environmental systems across types. This dissertation examines the educational architecture of open-air spaces in four case studies focused in Chicago, New York, Baltimore, and Norfolk, to apply an understanding of local context to a phenomenon previously approached as a national trend. Open-air schools engaged with and complicated new approaches to school architecture and differing interpretations of {\textquotedblleft}modern{\textquotedblright} in school design. Changes made to the school plant as a whole allowed for the reintegration of students in open-air classes as administrators further segregated children in other specialized classes based on physical condition. This dissertation argues that the diversity of conditions in United States{\textquoteright} cities discouraged the adoption of a standard architectural expression for open-air classes while the diffusion of the classes promoted adoption of open-air features throughout typical schools. This failure of standardization to remedy child health concerns and diffusion of accommodations subsequently opened the way for more flexible approaches to school design in the mid-twentieth century.}, author = {Laurin Goad Davis} } @mastersthesis {12843, title = {The Origin of the Renaissance Palace: Private Architecture during the Florentine Oligarchy, 1382-1432}, year = {2019}, school = {Columbia}, abstract = {This dissertation investigates the origin of the architectural typology of the Renaissance palace as it emerged in Florence between the end of the fourteenth and the beginning of the fifteenth centuries. This was a period characterized by a dramatic shift in domestic architecture, mirroring a parallel transformation of the Florentine society under the political regime of the Albizi oligarchy. This study fills a clear gap in existing scholarship, comprehensively addressing the private palatial architecture built in Florence in the sixty years before the construction of Palazzo Medici in 1446. Three palaces and their family archives have been studied for the first time: Palazzo Alessandri (built in the 1370s), Palazzo da Uzzano-Capponi (built circa 1411), and Palazzo Busini-Bardi (built before 1425). Their patrons, all pairs of brothers, used the size and urban prominence of their new residences to assess their political and social dominance on the city. They eliminated all commercial functions from their palaces and organized the space around a central courtyard with loggias, with a multiplication of dedicated rooms for the different public and private functions of the household. These palaces are representative of a period of transition in domestic architecture that inaugurated a new, successful domestic typology that was subjected to little change in-at least-the following three centuries. Built in a period of rising individuality, these private buildings, together with the ones that followed, helped set the modern concepts of the apartment and family privacy.}, keywords = {Architectural History/Urbanism/Historic Preservation, Fifteenth Century}, author = {Vigotti, Lorenzo} } @mastersthesis {12902, title = {Ornamenting the Raj: Opulence and Spectacle in Victorian India}, year = {2019}, school = {Columbia}, abstract = {This dissertation examines symbolic representations of British imperial power through the appropriation and display of Indian "things." The objects and spectacles examined here-the Koh-i-Noor diamond, tigers and tiger hunting, and turbaned men on display-are all invested with a range of social and symbolic meanings within both their indigenous and imperial contexts. The things appropriated into the British Empire{\textquoteright}s styling of itself that are discussed in this study were each traditionally associated with masculinity and kingship in their native Indian context and subsequently displayed on and around the bodies of British women. This study advances a relationship between the theatrics of British imperial power, and the emasculation and objectification of Indian men.}, keywords = {Nineteenth Century, South Asia/Southeast Asia}, author = {Shah, Siddhartha V.} } @mastersthesis {12874, title = {Over the Mountain: Realism Towards Reunification in Cold War Korea, 1980-1994}, year = {2019}, school = {Northwestern}, abstract = {This dissertation examines connections between North and South Korean art during the late Cold War period. Despite the radical social and political differences between the two countries, in the 1980s and early 1990s conspicuous connections emerged between the work of state-sponsored North Korean artists and South Korean artists associated with the minjung democratization movement. Throughout this time period artists on both sides of the peninsula employed various modes of realism in order to advance the project of reunification through aesthetics. The works they produced vacillated between reflecting actual conditions on the peninsula and projecting a utopian socialist future founded on three primary thematic supports: student activism, collectivism, and nativism. I argue that by collapsing art historical distinctions between propaganda or "totalitarian art" and politically engaged art directed against capitalism, these works approached the issue of reunification in more complex and dynamic ways than the minjung cultural movement itself, or the two Korean governments, which remained preoccupied with spectacles of national homogeneity.}, keywords = {East Asia, Twentieth Century}, author = {Gabriel, Douglas} } @mastersthesis {12898, title = {Photographic Archives, Nationalism and the Foundation of the Jewish State, 1903-1948}, year = {2019}, school = {Binghamton}, abstract = {Although the histories of Zionism are heavily researched, little scholarly attention had been given to the institutional photographic archives that articulated, preserved and distributed the Zionist movement{\textquoteright}s narratives, extending their impact and outreach during the first half of the twentieth century. Existing scholarship has further neglected analysis of the ways in which photographic archives played a pivotal role in the formation of the Zionist subject, as an embodied reality and as an imagined ideal. Photographic archives were also central to the promotion of Zionism in the Middle East and globally, since it was through archival systems that Zionism{\textquoteright}s propaganda mechanisms and forms of public appeal were shaped. A reading of the histories of the Zionist nationalist movement in relation to photographic practices, archival systems and distribution technologies reveals crucial aspects of the movement{\textquoteright}s activity in pre-1948 Palestine that still resonate in the cultural, social and political landscape of the region today. The study thus begins in the folders and file cards of the Jewish National Fund, the fundraising mechanism for the Zionist movement. It is here, in the first photographic archive established by the Zionist Movement, that initial parameters and coordinates were outlined for the visual construction of the Zionist subject, the territory in which it will dwell, and the financial mechanisms that will assure its existence. The dissertation also, however, moves beyond the institutional archive in order to contextualize the visual language articulated in the archive and embedded in the landscape. This involves analysis of photographic activity in Palestine prior to the intervention of Zionism, including an exploration of the role of photography in the establishment of colonial regimes in the region. Given the status and functions of the Zionist photographic archive both internationally and locally, the dissertation then turns to a reading of other public and private photographic collections created in the Jewish world and the Zionist sphere in order to trace the impact of the Zionist photographic archive on the private domain during the height of its activity and still today, as seen in the works of contemporary artists.}, keywords = {Museum Practice/Museum Studies/Curatorial Studies/Arts Administration, West Asia}, author = {Rozental, Rotem} } @mastersthesis {12860, title = {Populist Counter-Spectacles and the Inception of Mass Media Art in Argentina: Marta Minujin{\textquoteright}s Happenings, Performances, and Environments of the 1960s}, year = {2019}, school = {Columbia}, abstract = {This monographic dissertation traces the development of happenings and mass media art in Argentina through the works that Argentine artist Marta Minujin created between 1961 and 1968. It argues that, in its unparalleled pursuit of a mass audience, Minujin{\textquoteright}s art articulated a populist logic that allowed it to subvert authoritarianism in an oblique manner based in dissensus. This distinguished Minujin{\textquoteright}s practice from that of other politically radicalized Argentine artists, who had turned their art into a form of activism and overt critique of the dictatorship of General Ongania. This dissertation also demonstrates that Minujin{\textquoteright}s media-centric happenings and environments adopted a carnivalesque strategy of "positive negation" or ambiguous mimetic excess to reveal and critique the effects of an incipient spectacle culture.}, keywords = {Colonial and Modern Latin America}, author = {de Lacaze Mohrman, Michaela} } @mastersthesis {12920, title = {Portable Devotion: Philippine Christian Visual Culture 1521-1815}, year = {2019}, school = {Binghamton}, abstract = {This study focuses on physical and political structures that organized people and spaces in the Philippine Islands in the eighteenth century. Upon the launch of the first Manila Galleon in 1571, the Philippines became a crucial commercial and religious asset to the Spanish Empire, creating a lucrative conduit between Asia and the Spanish Americas. As the furthest colonial outpost from Spain, the Philippines required different tactics from those employed in the Spanish Americas. Populations scattered over unfamiliar island terrain and the destructive impact of recurring monsoons and earthquakes posed geographical as well as cultural challenges. Using imposing architectural styles and impenetrable materials, church complexes took on roles beyond mere sites of religious worship and instruction. Within the port city of Manila on the island of Luzon, the cathedral and its proximity to municipal structures maintained the peaceful segregation of the three primary ethnic groups that populated Manila: people of Spanish descent, people of Chinese descent, and people of Filipino descent. Part of this discussion analyzes how this strategic arrangement served or undermined the co-existence and interaction of these groups. The latter part of this dissertation examines how the Spanish adjusted their building programs to the sparsely populated but strategically important islands south of Luzon, which presented different challenges in regard to defense and interisland communication. My discussion culminates in the analysis of a cartographic image that encompasses the entirety of the Philippines, from its northernmost island of Luzon to the southernmost island of Mindanao. This map, accompanied by ethnographic vignettes, represents a unified territory. However, this assertion of control belies an area under tenuous and shifting command, and therefore represents a struggle of aspiration and anxiety over the viability of the Philippines as a Spanish holding.}, keywords = {Religion/Cosmology/Spirituality, South Asia/Southeast Asia}, author = {Little, Lalaine} } @mastersthesis {12832, title = {The Production of Modern Afro-Brazilian Art: African Decolonization, U.S. Black Power, and Transnational Religious Networks, 1966-88}, year = {2019}, school = {CUNY}, abstract = {Two competing artistic representations of Brazilian blackness emerged from 1966 to 1988. The first began in 1966 when the Brazilian government positioned itself as a leading diplomatic partner for newly independent African nations by showcasing black Brazilian art in West Africa. Through exhibitions, the Brazilian Foreign Ministry aimed to highlight the country{\textquoteright}s presumed homogeneous identity and absence of racism. The second definition arose through the work of artists inspired by U.S. social rights activism, who founded Brazil{\textquoteright}s civil rights movement in 1975. Brazilian artist-activists combined symbolism from U.S. Black Power, African liberation movements, and Afro-Brazilian culture to denounce racism in Brazil and promote a transnational black identity. By drawing on local images of Afro-Brazilian religion, state-sponsored and activist artists redefined blackness both nationally and internationally through their engagement with a dynamic global network of diasporic artists, institutions, and governments. My dissertation examines how Afro-Brazilian artistic production took shape transnationally amid the tensions between cultural diplomacy and black activism. I argue that artworks-including painting, sculpture, and photography-art criticism, and exhibitions articulated new notions of Afro-Brazilianness in conversation with culture and politics in Senegal, Nigeria, and the United States. While, previously, the Brazilian government and elite had dismissed Afro-Brazilian religious iconography as an exoticized representation of popular culture, the confrontation of state-sponsored and activist art in the 1960s to 1980s resulted in the elaboration of a modern Afro-Brazilian fine art, shifting the nature of modernism in Latin America through a transnational dimension focused on the African diaspora rather than Europe. Afro-Brazilian religious symbolism coalesced with geometric abstraction as well as Pop art, which were developing simultaneously in Brazil and elsewhere. Such imagery thus served to represent Brazilian modernism within a divisive political milieu, suggesting either the absence or presence of racism in Brazil. In particular, I focus on works by Rubem Valentim; Heitor dos Prazeres; Agnaldo Manoel dos Santos; Abdias do Nascimento; Mestre Didi; Januario Garcia; and Emanoel Araujo; as well as exhibitions curated by Clarival do Prado Valladares; Mestre Didi and Juana Elbein dos Santos; and Araujo. By studying the manifestations of the debate between the state and activists in Afro-Brazilian art, my dissertation incorporates a previously marginalized Afro-centric perspective into Latin American art history and contributes an international vision to the study of African American and Latinx art.}, keywords = {African American/African Diaspora, Colonial and Modern Latin America}, author = {Lapin Dardashti, Abigail} } @mastersthesis {12876, title = {Projecting Wishes on Flying Banners: Materiality and Painted Banners from Cave 17 in Mogao Caves, Dunhuang, China in the Ninth and Tenth Centuries}, year = {2019}, school = {USC}, abstract = {No record in ProQuest or USC ETDs}, keywords = {East Asia}, author = {Hwang, Yoon Ah} } @mastersthesis {12919, title = {Rebranding the Enemy: American Propaganda and Photography in Postwar Germany}, year = {2019}, school = {Boston}, abstract = {My dissertation analyzes visual propaganda produced by the United States government for four distinct audiences (German soldiers, German civilians, American soldiers, and American civilians) in the liminal period from the last phases of World War II to the early stages of the Cold War (1944-1949). I argue that photographs were employed as tools of warfare and diplomacy to rebrand Germany during its transition from enemy to ally. In order to do so, I compare previously censored and unpublished U.S. Army Signal Corps photographs from the National Archives Records Administration with images published in Heute, an American government-sponsored German-language picture magazine for German civilians; Army Talks, a U.S. Army magazine for American GIs serving in occupied Germany; Allied Psychological Warfare Division leaflets for German soldiers; and Life, a commercial magazine for American civilians on the home front. While the term propaganda often has an insidious connotation, implying disinformation, American propagandists employed Archibald MacLeish{\textquoteright}s "strategy of truth," carefully choosing which images and information to share with given audiences. Critical examination of the photographs and texts featured in and omitted from these publications reveals how images were edited, censored, and transnationally disseminated to support a carefully constructed and continuously evolving picture of German-American relations. My study comprises three chapters, each focusing on how subjects frequently portrayed in American propaganda were reframed for German and American readers during this five-year period as policy aims shifted. The first chapter examines how Signal Corps photographs of German prisoners-of-war were used to encourage German surrender in the war{\textquoteright}s last year and to buoy the spread of postwar democracy. The concentration camp and war crimes trials photographs studied in chapter two demonstrate the American government{\textquoteright}s use of photography to bring Nazi atrocities to light and to showcase democratic judicial processes. The third chapter analyzes photographs and cartoons of German women and children, which encouraged American soldiers first to fear and later to befriend their former enemies. Together these three case studies show how the government used photographs, and what I term a strategy of selective truth, to reshape American public opinion about Germans and German perceptions of Americans.}, keywords = {Photography}, author = {Hite, Tessa} } @mastersthesis {12853, title = {Reconciling Colonial Contradictions: The Multiple Roles of Sculpture in Eighteenth-Century Quito}, year = {2019}, school = {Florida}, abstract = {Throughout the eighteenth century, the colonial capital of Quito was a prolific producer of wooden polychrome sculpture. The indigenous and mestizo sculptors who created these objects used local and imported materials and international print and local sculpture models to create a distinctive Quitenian sculptural vernacular. The large corpus is identifiable by small-scale sacred and secular human subjects with large glass eyes, youthful pink faces, smooth shiny surfaces, and delicate details. Just as the three-dimensional object was multifaceted with its many viewing angles and intricate surfaces, so too was the history and role of sculpture in Quito. Through a series of overlapping examinations, I use a decolonial model to approach small-scale domestic sculpture in eighteenth-century Quito as an agent. I argue that sculpture was fluid and versatile, performing, embodying, and reconciling seemingly contradictory roles and meanings according to what colonial society in Quito accepted and required of its objects. Eighteenth-century published and notarial descriptions of sculpture reveal it was simultaneously perceived and treated by Quitenian owners and viewers as art, manufactured product, asset (bien mueble), and religious devotional figure (efigie de bulto). An examination of the steps involved in the production process reveals the agency sculptors wielded in creating sculpture, as well as how the refined style and quality were achieved to fulfill its role as an aesthetic object that was both European and yet also fully Quitenian. A focus on sculpture as a moveable asset shows how it circulated through the city and entered multiple contexts that were accessible to virtually all members of society. It was used as a social object that both united owners, yet also allowed them to assert differences of social status. Finally, an in-depth look at the viewing experience of sculpture in relation to its function as a religious devotional figure demonstrates how sculpture was capable of controlling the viewers gaze through Baroque spectacle, and yet free the viewer to engage in a personal, pleasurable connection with the divine through Rococo sculptural style.}, keywords = {Colonial and Modern Latin America, Eighteenth Century}, author = {Todd, Leslie E.} } @mastersthesis {12839, title = {Recovering Rural Non-Elites: Commoner Landscapes and Rural Infill in the Roman Middle Republic}, year = {2019}, school = {Michigan}, abstract = {In this dissertation, I examine the process of rural infill in central Italy- a pattern of regional change that saw an increase in dispersed material culture in rural areas across the Mediterranean between 500 and 200 BCE. In particular, I examine the role of rural commoners in this landscape transformation - commoners made up the majority of the central Italian population, but this group has seldom been considered in the various processes of change that occurred during this period. Legacy data from archaeological field surveys carried out over the last forty years furnishes a large corpus of data that has not been used to discuss Republican-period commoners. I develop a methodology for comparing diachronic trends in commoner activity drawn from field survey, informed by recent excavations. Throughout, I argue for a dynamic commoner presence in the middle Republican countryside and suggest that rural infill, while a pattern of change visible outside of central Italy, is best understood at a regional level as a series of shifting dynamics in material visibility, changes in networks of exchange, fluctuations in commoner surplus production, more visible commoner-commoner interactions, and evolving commoner-elite relationships. Old models, linking rural infill to the Roman conquest do not hold up to increased scrutiny. The first chapter provides context for this inquiry by reviewing previous studies of non-elites in the Roman world and suggesting that commoners and commoner studies provide a useful heuristic category for the focused examination of non-elites from the Republican period. Chapter 2 addresses rural infill at a "global scale" and synthesizes evidence from survey archaeology and rescue excavations across the Mediterranean region that show increased rural activity between 500 and 200. These explanatory models offered for this regional trend provide possible explanations for the central Italian case. While larger-scale transformations likely played a role in changes in rural material in central Italy, a focus only on the supraregional level elides the people and material that underlie the pattern of change. Chapter 3 discusses the comparison of data from survey archaeology and the various issues with this technique. This chapter focuses especially on issues of site classification in light of recent excavations that have called into question the relationships between surface and subsurface archaeological remains. This chapter also acts as a catalog of excavated commoner sites from central Italy, a small but informative corpus. Chapter 4 outlines my methodology for approaching survey comparison, suggesting a reanalysis of legacy data from the sherd up in order to reclassify rural evidence based on consumption categories structured around the commoner-elite heuristic divide discussed in Chapter 1. On a survey-by-survey basis, trends in commoner activity can be drawn out, and then these trends can be compared to examine regional patterns. Chapter 5 operationalizes this methodology, examining nineteen intensive field surveys from central Italy, elucidating trends in commoner activity, and reading these trends against the surveyors{\textquoteright} own interpretations. Chapter 6 compares trends and teases out conclusions, while also suggesting the importance of more focused new work to nuance our understanding of commoners in the Roman world. This project takes a bottom-up approach to rural change in the middle Republic, demonstrating the ubiquity of rural infill and seeking to shed light on the role of an oft-silent majority during this period of transition.}, keywords = {Ancient Greek/Roman Art}, author = {Samuels, J. Troy} } @mastersthesis {12848, title = {Robert Adam{\textquoteright}s Revolution in Architecture}, year = {2019}, school = {Pennsylvania}, abstract = {Robert Adam (1728-92) was a revolutionary artist and, unusually, he possessed the insight and bravado to self-identify as one publicly. In the first fascicle of his three-volume Works in Architecture of Robert and James Adam (published in installments between 1773 and 1822), he proclaimed that he had started a "revolution" in the art of architecture. Adam{\textquoteright}s "revolution" was expansive: it comprised the introduction of avant-garde, light, and elegant architectural decoration; mastery in the design of picturesque and scenographic interiors; and a revision of Renaissance traditions, including the relegation of architectural orders, the rejection of most Palladian forms, and the embrace of the concept of taste as a foundation of architecture. In his own time, he became the second architect in European history (after Andrea Palladio 1508-80) to be associated with an eponymous style -today known as the "Adam Style," and, in the eighteenth-century, the "Adamitic mode." Adam further distinguished himself as one of the first professional architects in modern Britain, within an era that had only recently adopted widespread use of the term "architect." To elevate his professional status, he freshly and sharply differentiated between the architect and builder, and undertook considerable self-promotional efforts. With his two pioneering publications (Ruins of the Palace of the Emperor Diocletian at Spalatro in Dalmatia of 1764 and his Works), he established himself as an erudite, scientific antiquarian and as a connoisseur of buildings. Moreover, the architect-cum-marketer deftly and innovatively composed his books to address a modern, critical, reading public (especially the emergent architectural connoisseur) and made robust arguments for the leading roles of domestic architecture and architectural decoration in shaping British identity. Drawing on a wide-range of sources, this project argues for a more comprehensive vision of the nature of Adam{\textquoteright}s revolution and new consideration of his significance as an architect, writer, and public figure. It also builds on scholarship that seeks to contextualize Adam as a product of the Enlightenment, the Romantic era, and a rapidly-changing, modern Britain.}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Hausberg, Miranda Jane Routh} } @mastersthesis {12907, title = {Roots/Routes: Religion and Modern Mobility in American Art, 1900-1935}, year = {2019}, school = {Delaware}, abstract = {In the early twentieth century, American artists and audiences embraced religious subject matter as a means to navigate new experiences of mobility and displacement. Such artworks located a spiritualized sense of place in an increasingly dislocated world-roots in the midst of routes-and challenge theories that modernization{\textquoteright}s forces have been unilaterally secularizing. This dissertation examines these artists, viewers, and objects in motion during decades of unprecedented movements of people and capital. Chapter 1 analyzes Underwood \& Underwood{\textquoteright}s stereographs of Palestine, which sought to produce virtual pilgrims out of its viewers. Chapters 2 and 3 consider how Henry Ossawa Tanner and John Singer Sargent constructed spiritual equivalents in their paintings for their transnational travels in the physical world. Chapter 4 examines Marsden Hartley{\textquoteright}s still lifes of New Mexican santos, created when various authorities sought to obstruct santos{\textquoteright} full mobility in local rituals. Chapter 5 investigates John Steuart Curry{\textquoteright}s paintings of Midwestern migrations, which show religious faith as a re-stabilizing force for the displaced. Together these examples demonstrate how differently positioned individuals from diverse backgrounds experienced American modernity{\textquoteright}s unmooring effects in distinct ways, and sought, in response, a means of spiritual anchorage through artistic representation. By focusing on Christian subjects across denominational traditions and regional boundaries, this project reveals striking affinities between artists rarely considered side-by-side, and thereby advances a more global, more richly intercultural history of American art in the modern era.}, keywords = {North America, Twentieth Century}, author = {Richmond-Moll, Jeffrey} } @mastersthesis {12840, title = {A Series of Acts that Disappear: The Valparaiso School{\textquoteright}s Ephemeral Architectures, 1952-1982}, year = {2019}, school = {CUNY}, abstract = {In 1952, Chilean architect Alberto Cruz (1917-2013) and Argentine poet Godofredo Iommi (1917-2001) launched one of the most idiosyncratic experiments in postwar art and architectural pedagogy in the industrial port of Valparaiso, Chile. Founded on the premise that architecture must be "co-generada" with poetry, the so-called Valparaiso School developed an expanded conception of the discipline that encompassed ephemeral forms, from urban drifting to performative and ludic actions. This dissertation examines four specific "acts" in the Valparaiso School{\textquoteright}s corpus: the exhibition, the poetic act, the journey, and the game. Across these different forms, I identify a tendency toward openness, improvisation, indeterminacy, and participation in the School{\textquoteright}s discourse and activities that corresponded with regional and global experimentation in postwar artistic education and neo-avant-garde collective practices. The School, however, developed a distinct approach informed by poetry rather than technology or communication theory, and in isolation from contemporary art circles. My study tracks the implications of the School{\textquoteright}s "open" artistic project and pedagogy against key shifts in the evolving sociopolitical and economic context in its first thirty years of existence, from 1952 to 1982, which spanned postwar developmentalism, Cold War geopolitics, and the era of Augusto Pinochet{\textquoteright}s military dictatorship (1973-1990). Examining the School{\textquoteright}s archive of "ephemeral architectures" within this historical context, I argue that the School{\textquoteright}s project was undergirded by a paradox between its rhetoric and aesthetic of openness and a type of closure-at times, "openness" operated as a liberating pedagogical and artistic strategy, and at others, elided the conflictive politics of its present. In doing so, this dissertation examines the contradictions of a dynamic less thoroughly examined in histories of vanguardism in Latin America, and interrogates the possibilities and limitations of such an "experimental pedagogy."}, keywords = {Architectural History/Urbanism/Historic Preservation, Colonial and Modern Latin America}, author = {Donato, Elizabeth} } @mastersthesis {12908, title = {Shaping the Royal Image: Gerrit van Honthorst and the Stuart Courts in London and The Hague, 1620-1649}, year = {2019}, school = {Delaware}, abstract = {In the first half of the seventeenth century, the Dutch painter Gerrit van Honthorst (1592-1656) developed a new method of picturing the courtly persona. My dissertation analyzes his contact with and commissions from Charles I of England and his sister Elizabeth Stuart, the exiled Queen of Bohemia in The Hague, to reformulate our understanding of the display and reception of early modern portraits as part of the enterprise of self-making. Previous literature has emphasized Honthorst{\textquoteright}s early, Caravaggesque work and has overshadowed the importance of his later, courtly paintings. My research brings the international contributions of the major part of his career into focus and better conceptualizes the role of the Netherlands in European court culture. Situating Honthorst as a piece within and product of the larger European system, this study insists on the transnationality of court culture and painters, further developing the international turn in scholarship on the history of Netherlandish art. It explores networking systems between courts by placing Honthorst and his paintings as a fulcrum around which such networks operated, providing new insight into the currency of art in the early modern era. The dissertation follows Honthorst{\textquoteright}s contact with and production for various courts from his return to Utrecht from Italy in 1620 to Charles{\textquoteright}s execution in 1649, which temporarily dissolved the Royal Collection. This project thus elucidates the role of art in the relationship between Charles and Elizabeth through the lenses of court culture, family relationships, and the work of a single artist. By thinking critically across Honthorst{\textquoteright}s body of work, we may better understand how he positioned himself in relation to his patrons and his patrons to one another.}, keywords = {Northern Europe, Seventeenth Century}, author = {Frederick, Michele} } @mastersthesis {12884, title = {Sheila Hicks: Weaving to the World}, year = {2019}, school = {USC}, abstract = {No record in ProQuest or USC ETDs}, keywords = {Fiber Arts and Textiles, Twentieth Century}, author = {Johnson, Grant} } @mastersthesis {12913, title = {Something to See Here: Staged Violence in Contemporary Art}, year = {2019}, school = {Pittsburgh}, abstract = {This dissertation focuses on artists working in the United States who, during the 1970s and beyond, stage violence against women, Latinx, Afro-Latinx, and Black/African American people-marginalized identities with which the artists themselves identify. In so doing, they call attention to the prevalence of disproportionate violence committed against women and people of color in the United States at a broader societal level. I examine how women, Black/African American, Afro-Latinx, and Latinx artists perform or stage scenes of violence as a means of making visible, palpable, and inescapable the effects of the real victimization their communities disproportionately face. Through surprise encounter, reality effects, and viewer participation, artists such as Ana Mendieta, Harry Gamboa Jr., and Shaun Leonardo convey the feeling of looming violence to viewers who, by perception or statistics, feel themselves to be safely outside of threats of identity-based violence. These artists take up and re-deploy violence, often in live or embodied artworks, to counter stereotypes about their communities, challenge their own historical exclusion from mainstream art networks, and open up affective space for viewers themselves to confront the disparities of violence in the US. Throughout, I put forth a theory of Permanent-Potential-Victimhood, a traumatic identity unique to marginalized communities in the United States. I characterize this condition as a kind of future trauma, the pervasive feeling that you are never far from being victimized on the basis of your visual presentation of racial, ethnic, and/or gendered identity-actual or presumed, and over which you have no control. By implicating viewers as witnesses, perpetrators, and/or as victims in scenes of violence against bodies of color, these artworks activate feelings of being equally close to the type of brutality in question, as a means to impact upon the viewer-participant{\textquoteright}s feelings about actual violence.}, keywords = {Performance Art/Performance Studies/Public Practice, Twentieth Century}, author = {Scalissi, Nicole} } @mastersthesis {13162, title = {Space Syntax and the Domestic Architecture of the Roman West}, year = {2019}, school = {Virginia}, abstract = {In the first century AD, following a period of expansion and conquest that stretched the bounds of its territory to the edges of the known world, the Roman Empire had grown to encompass the frontiers of the Roman northwest, a region which would come to be known as three separate provinces: Gaul, Germania, and the island of Britannia. These areas, at the edge of the Roman world, contained their own populations, replete with distinct cultures, architecture, and ways of life distinct from the cosmopolitan Mediterranean world of their Roman conquerors. Over the course of decades and centuries, indigenous ways of life adapted to and incorporated the advances and technological innovations brought by the Latin invaders. The phenomenon of this cultural change, long referred to by scholars as "Romanization," is manifest in the archaeological record. Nowhere is this truer than in the architectural remains of the domestic spaces occupied by these provincial inhabitants of the Roman Empire, traditionally grouped together under the umbrella term of "Celts." Employing a methodology grounded in network theory, the present study applies space syntax analysis to the architectural plans of over 350 domestic sites from the Roman northwest. The goal is to search for evidence of consistent patterns to the use and arrangement of space, and to follow those patterns to discern if there is detectable change over time and geographic space. From that data, the Romanization model, now over a century old, is put to the test. The layouts of these domestic structures, which appear outwardly Roman in their architecture, yet distinct from Roman houses elsewhere in the Empire, contain a missing piece of information regarding the nature of how these citizens northerly citizens of the Roman Empire adapted and negotiated their place in the larger Roman world.}, keywords = {Architectural History/Urbanism/Historic Preservation, Southern Europe and Mediterranean}, author = {Tennant, Sean} } @mastersthesis {13194, title = {Spirited Objects: Lobi Art in West Africa and Beyond}, year = {2019}, school = {Iowa}, abstract = {In this dissertation, I analyze the form, function, and context for Lobi figure sculpture in and beyond West Africa in order to examine the disciplinary tension between anthropological and avant-garde approaches to African art. Anthropological approaches examine the object in its African context in order to reveal artistic meaning and significance. Avant-gardist scholars argue that African art belongs in a global context where it can speak for itself and is open to universal interpretations. In order to engage this dialectical tension productively, I begin my dissertation with a close look at three meanings of "Lobi." First as a French colonial blanket-term, which covers seven separate culture groups in Burkina Faso, Ghana, and Cote d{\textquoteright}Ivoire. Second, as an anthropological term applied to participants in Joro, a pan-ethnic initiation ceremony established in the same region around 1870. Third, as a pure ethnic identity, as in the "Lobi proper." I examine these identity politics surrounding the term Lobi first in relation to what Daniela Bognolo calls "the three major archetypal style forms" in Lobi figure sculpture that pre-date Joro, and second, to thilkotina (ancestor figures), which have "had a significant influence on the stylistic development" of Lobi sculpture. Accordingly, I evaluate literature on Joro and objects used within it, and I share my observations of Lobi shrine figures in Burkina Faso and in European and American art collections. I conclude that without more detailed case studies on Lobi figures in African shrines, art collections, and the global market, theories on artistic origins and stylistic development remain speculative.}, keywords = {Africa, African American/African Diaspora}, author = {Gundlach, Cory} } @mastersthesis {12856, title = {Stills of Passage: Photography and Migration in the US-Mexico Borderlands 1978-1992}, year = {2019}, school = {CUNY}, abstract = {This project investigates documentary photography at a critical juncture in the history of the US-Mexico borderlands. Following a period of rapid industrialization and growth in Mexico, the 1970s and 1980s were marked by moments of economic and political crisis, which simultaneously spurred a massive wave of northward migrants and the militarization of the US-Mexico border. These developments produced a large class of Mexican undocumented workers in the US, which in turn stimulated the formation of a hybrid border culture. At the same moment, a generation of young artists from Mexico and the United States, eager to document these changes, radically rethought the meaning of documentary photography, and established new photography collectives in both countries. I argue that the development of a distinct aesthetic of border photography can be attributed to the convergence of these two moments in history---a renewed politicization of the US-Mexico border and an increased awareness of the documentary medium following 1978. As a cross-border network of photographers from the United States and Mexico came together, they fueled the creation of a unique border photography. This dissertation asks, how do documentary photographs contribute to our understanding of the lived reality of the border at this moment in history? Each chapter provides a lens by which to ponder this inquiry, through explorations of citizenship and identity; the urban environment; kinship and familial spaces; and migration narratives in the photo book format. Chapter 1, ""Images of Cross-Border Identities,"" considers the case study of Graciela Iturbide{\textquoteright}s Cholo/as series taken on both sides of the border---in Los Angeles in 1986 and Tijuana in 1989---to explore theories on citizenship, national/political identity, and photographic space as a site of agency and resistance. Chapter 2, ""The Urban Border,"" considers the case study of Ricardo Valverde{\textquoteright}s photographs that document the built environments of Los Angeles in the 1970s and 1980s, and critically engage with the geographical boundaries of where Latino/a populations live, positioning the city{\textquoteright}s spaces as central sites of political struggle. Chapter 3, ""Familial Spaces on the Border,"" explores how Louis Carlos Bernal{\textquoteright}s and Ricardo Valverde{\textquoteright}s photographs of domestic and familial spaces in the US-Mexico borderlands troubled propagated conceptions of heteronormative familial structures in the decades following the Chicano movement{\textquoteright}s peak. In chapter 4, ""Border Stories,"" I examine three published photo books by artists from both sides of the border: Eniac Martinez{\textquoteright}s Mixtecos: Norte Sur (1994), Lourdes Grobet{\textquoteright}s Tijuana: La casa de toda la gente (1989), and Alex Webb{\textquoteright}s Crossings (2003). These three publications contextualized immigrants{\textquoteright} struggles and made them the subjects of substantive and extended stories through the book format, serving as counternarratives to the derogatory images of immigrants in the mainstream media, several of which I analyze comparatively against the photo books.}, keywords = {Colonial and Modern Latin America, Photography}, author = {Fellah, Nadia Rivera} } @mastersthesis {12888, title = {A Stratification of Death in the Northern Renaissance: A Reconsideration of the Cadaver Tombs of England and Germany}, year = {2019}, school = {Temple}, abstract = {This analysis is on the function of cadaver or transi tombs in the south of England and Germany from the fifteenth to early sixteenth centuries, at particular moments when theological and cultural shifts related to Church reforms and the Reformation were tethered to new considerations about death, memorial, and changing concepts of the soul and matter. The study begins with a focus on the tombs of Henry Chichele (1364-1443) in Canterbury Cathedral in Canterbury, England, and Alice de la Pole (1404-1475) of Saint Mary{\textquoteright}s Church in Ewelme, Oxfordshire, England. Additionally, the memorial relief of Ulrich Fugger (1441-1510) in Saint Anna{\textquoteright}s Church in Augsburg, Germany, acts as a bridge to Hans Holbein{\textquoteright}s painted Dead Christ in the Tomb (1521) in the Kuntsmuseum Basel, in which Christ is simultaneously portrayed as an effigy, transi, and resurrected body. This was also an extended period when notions of visuality changed, along with preferences for different media and pressures on images and objects. As the demands of verisimilitude and discourses about presence and matter changed, media progressed from three-dimensional sculpture and carved relief to oil paint on wood. Transi tombs embodied this trajectory, altering uses and impressions of materials as they progressed from metal to stone to relief carving and paint. Transi tombs, in particular, structured time as a malleable construct, through the incorporation of varying images and their configuration in different visual strata and degrees of vividness and decay. By merging motifs of the dead with the Resurrected Christ, the transi tomb phenomenon situated death in relation to the viewer{\textquoteright}s experience of mortality, memorial, and remembrance. Through these changing images and media, public perception of death was inextricably transformed, coinciding with the advent of the Reformation.}, keywords = {Fifteenth- to Seventeenth-Century Art, Northern Europe}, author = {Gratson, Scott} } @mastersthesis {12875, title = {Style, Space and Meaning in the Large-Scale Landscape Paintings of Maruyama Okyo (1733-1795)}, year = {2019}, school = {Columbia}, abstract = {This thesis centers on groups of landscape paintings on sliding doors and wall panels for temples in and around Kyoto by the painter Maruyama Okyo (1733-1795), dating to the latter half of the eighteenth century. I discuss Snow Landscape of the Chiba City Museum of Art, presumed to have been painted for the temple Enman{\textquoteright}in in Otsu (Shiga Prefecture), and the former sliding door and wall paintings of Kiun{\textquoteright}in, a subtemple of Nanzenji in Kyoto, now in the collection of the Tokyo National Museum. The analysis is embedded into considerations of underlying genre principles in Okyo{\textquoteright}s art, the reflection on the relevance of "truthfulness to nature" (shasei) and considerations of how his works relate to established painting conventions in early modern Japan. I attempt to frame Okyo{\textquoteright}s landscapes as an expression of the painter{\textquoteright}s Chinese-inspired outlook on painting. Chapter One centers on Snow Landscape. I use stylistic comparison to argue that the paintings do not match other ink landscapes by Okyo of the so-called Enman{\textquoteright}in period, but resemble closely another set of sliding doors paintings of similar subject matter at Shokokuji, dated 1790. Snow Landscape can be understood as part of a small group of Okyo works that are thematically and formally related, and that all share obscure provenance and previously unaddressed questions of authorship. This includes sliding door paintings of the temple Daijoji (Hyogo Prefecture), of Nishi Honganji and of the former Hara collection of Toyooka, all of them with their current whereabouts unknown. In Chapter Two, I provide a detailed reconstruction of the original temple spaces based on the features of the extant paintings, then proceed to disentangle the modalities of Okyo{\textquoteright}s workshop production as the context from which the Kiun{\textquoteright}in paintings likely originated. Comparison of large-scale landscape paintings reveals that much of Okyo{\textquoteright}s approach relied on reuse of complete compositions, or at least, individual motifs. I argue that the Kiun{\textquoteright}in paintings were possibly painted by disciples. Chapter Three provides glimpses on primary source material written during Okyo{\textquoteright}s lifetime by his most important patrons: Banshi (1761-1773) by Prince Abbot Yujo, the diary Onjiki nikki (1787) by Imperial Prince Shinnin and the records of the temple Myohoin, Myohoin hinamiki. I argue that little in Banshi allows to conceive of Okyo{\textquoteright}s art as "modern;" rather, the documents character is shaped by Yujo{\textquoteright}s interest in technical matters of studio painting. Yujo and Shinnin are connected through familial ties at the court; in addition, attendance data from the Myohoin hinamiki foreshadows the later rift into a Maruyama school and a Shijo school after Okyo{\textquoteright}s death. Chapter Four provides a concluding discussion of the significance and context of Okyo{\textquoteright}s landscape paintings in Buddhist temples. I argue that Okyo{\textquoteright}s multi-room ensembles for temple interiors are based on artistic convention and spatial hierarchies that are comparable to approaches of the Kano school, and suggest that response to nature, such as allusion to topographical surroundings of a building, usually played a subordinate role. Okyo{\textquoteright}s art depended on the appreciation of ancient Chinese culture, and closely related to the intellectual outlook of the court of Emperor Kokaku. }, keywords = {East Asia}, author = {Bartel, Jens} } @mastersthesis {12914, title = {Tell Me About It: The Role of Confession in Contemporary Art}, year = {2019}, school = {Minnesota}, abstract = {No record in ProQuest or Minnesota ETDs}, keywords = {Performance Art/Performance Studies/Public Practice, Twenty-first Century}, author = {Flaherty, Shannon} } @mastersthesis {12849, title = {Theories of Space in Early Postwar Germany: 1946-1952}, year = {2019}, school = {Brown}, abstract = {No record in ProQuest and Brown ETDs restricted}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Hayat, Sara} } @mastersthesis {12931, title = {Through the Woods: documenta, Fairy Tales, and the Time of Enchantment}, year = {2019}, school = {Minnesota}, abstract = {Every five years, the town of Kassel, Germany hosts the contemporary art exhibition, documenta, an event that is a product of the post-WWII period and which began as a reaction against Nazi-era visual politics. In the early nineteenth century in the same town, the Brothers Grimm collected the fairy tales for which they are famous, and published Children{\textquoteright}s- and Household Tales. This dissertation reads the disparate histories of these two major institutions of Kassel together in order to explore how documenta itself functions as a kind of fairy tale - one that both transforms and haunts, and has the potential to rehabilitate but also to harm. Employing an experimental historiography that draws from both the historical methods of artists and fairy tales, this dissertation argues that the fairy tale themes of magic, transformation, and repetition are integral to documenta - an event that is rooted in trauma and recovery. This project is thematic in its approach, and as such is not meant to serve as an exhaustive overview of documenta, nor does it endeavor to catalogue every occurrence of fairy tale art that has been present at the event. Rather, it brings two disparate bodies of literature into conversation with each other. Additionally, the artwork case studies that each of the chapters are based upon are not based upon pre-existing fairy tales, but this dissertation argues the artworks function as fairy tales. Chapter 1 examines the relationship between the first documenta in 1955 and the Nazi exhibition, "Degenerate Art" from 1937, in order to examine the curatorial innovations and shortcomings that undergird documenta. Chapter 2 looks at Joseph Beuys{\textquoteright}s monumental environmental artwork 7000 Oaks and interprets it as a work that, through its metamorphosis, promotes both mourning and regeneration. Chapter 3 seeks out the ghosts that haunt Kassel and non-teleological forms of storytelling, through the case study of Stan Douglas{\textquoteright}s Suspiria. Chapter 4 takes Mariam Ghani{\textquoteright}s A Brief History of Collapses to think through both documenta{\textquoteright}s relationship with iconoclasm and an enchanted, repetitive form temporality that allow it to imagine better possible futures and radical forms of empathy.}, keywords = {Theory/Historiography/Methodology, Twenty-first Century}, author = {Lopez Prater, Erika S} } @mastersthesis {12869, title = {"True Americanism": Images of Race and Citizenship in Ansel Adams{\textquoteright}s Photobooks, 1940-1960}, year = {2019}, note = {Other subjects: Twentieth Century, Visual Studies}, school = {UIUC}, abstract = {The American photographer Ansel Adams is well-known for his stunning landscapes of the American West, his efforts to establish photography as a fine art, and his dedication to environmental conservation. Often omitted from the photographer{\textquoteright}s legacy is his extensive work with portraiture, his struggles to articulate photography{\textquoteright}s social and political potentials, and his close alliances with commercial and state institutions. This dissertation adds nuance to the photographer{\textquoteright}s legacy by examining the well-known as well as the overlooked aspects of Adams{\textquoteright}s practice within four photobooks produced between 1940 and 1960{\textemdash}Born Free and Equal: The Story of Loyal Japanese Americans (1944), My Camera in the National Parks (1950), The Islands of Hawaii (1958), and Progress Report (unpublished). These photobooks originate from diverse circumstances, from war-time documentary projects to independent creative expression to commercial commissions. Yet, paying particular attention to how these books engage debates around race and citizenship in the United States, I argue they all relate to Adams{\textquoteright}s broader project of "True Americanism:" a concerted effort on the part of the photographer to visualize and shape American identity along the lines of whiteness. Expertly employing the format of the photobook to advance his concept of "True Americanism," Adams redefined the imagined racial and geographic boundaries of the nation for a primarily white audience in the mid-twentieth century. Through projects dedicated to the internment of Japanese Americans during World War II, the social and political value of the national parks, a postwar bid for Hawaiian statehood, and the topic of African-American education, Adams participated in a process of race making within new frameworks of racial liberalism and liberal multiculturalism that both challenged and reinforced the racial status quo. Ultimately, however, Adams{\textquoteright}s projects reaffirm racial hierarchies of power and value within U.S. society, contributing to new forms of exclusion.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Photography, Race/Ethnicity}, author = {Johnson, Lauren A.} } @mastersthesis {12917, title = {Typophoto and the Reinvention of Photography in Weimar Germany}, year = {2019}, school = {USC}, abstract = {No record in ProQuest or USC ETDs}, keywords = {Photography}, author = {Brier, Jessica} } @mastersthesis {12891, title = {"Un Roi, Une Loi, Une Foi": Henri IV and The Portrait of the King}, year = {2019}, school = {Princeton}, abstract = {This dissertation examines how the first Bourbon king of France, Henri IV, created a groundbreaking artistic program that reinforced his nascent absolutist reforms and established Bourbon royal legitimacy after the Wars of Religion. It looks at a range of works in various media including painting, print, and sculpture from both the private and public spheres to explore how the king{\textquoteright}s program of royal portraiture worked in tandem with his policy of "un roi, une loi, une foi" (one king, one law, one faith) to establish unity of rule and religion vested within the figure of the king. While previous studies of Henri IV contextualize his art with that of the previous dynasty, the Valois, this project reassesses Henri{\textquoteright}s artistic patronage, arguing that the Bourbon king ultimately laid the groundwork for absolutist rule and its art, which would reach its peak with his grandson Louis XIV, through the creation of a royal visual program based upon the image of the monarch. The first chapter focuses on painted literary portraits of Henri and queen Marie de Medici. It demonstrates how the selection of contemporary texts as source material for these paintings allowed for flexible interpretation: the monarchs, by portraying themselves as the protagonists of epics and romances, were able to address issues pertinent to the royal agenda, such as legitimacy, succession, and religious unity. The second chapter examines the printed portrayals of the king, which became widespread under Henri{\textquoteright}s reign, and the depiction of power through the princely body. It looks at how printed portraits helped create a recognizable, iconic image of the king while broadsheets documenting royal ceremonies legitimized Bourbon power. The introduction of advanced burin techniques and the concept of works made contrafacta became essential for representing corporeality, which became increasingly important in establishing princely authority. The final chapter turns to the literal embodiment of the king through sculpted portraits-both small sculpture made for private spaces and monumental works intended for the semi-private and public spheres. The section examines the growing importance of the prince{\textquoteright}s corporeal form as it proliferated in both the public and private milieu.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Kwan, Jamie Anne} } @mastersthesis {12866, title = {Urban Etching: The Printmaking of Modern Paris, 1850-80}, year = {2019}, school = {Northwestern}, abstract = {Etching flourished as a printmaking medium in Paris during the Second Empire and early Third Republic, the precise timeframe of the city{\textquoteright}s drastic transformation due to the state-authorized phase of urban renewal implemented under the reign of Napoleon III by his prefect of the Seine, Baron Georges-Eugene Haussmann. This study focuses on the work of three etchers, Charles Meryon (1821-1868), Adolphe "Martial" Potemont (1827-1883), and Felix Buhot (1847-1898), who each worked primarily as printmakers and devoted much of their practice to the subject of the French capital during this period of constant demolition and construction that fundamentally altered the city space. Through an examination of their etchings of Paris, this dissertation asks how the material and formal aspects of the medium facilitated representation of the built environment and conditions of modern urban life during this era of relentless change. Challenging the prevailing dominance of painting and photography as privileged media in art historical analysis of this period, I attend to the specificity of etching as a medium profoundly engaged with the modernization of Paris. Each chapter explores an approach to urban representation generated by etching. The first is an emphasis on the unfinished as an aesthetic and, more importantly, as a structural property of the medium that coincided with understandings of the constantly evolving, never-finished urban fabric. Second, etchers developed compositions that accommodated multiple and simultaneous subjects and perspectives, pioneering techniques of montage to articulate urban experience. Third, as a technique of reproduction, etching enabled artists to re-present works by others, bringing historic context to contemporary change, and putting pressure on present-day priorities of authorship and chronology. Finally, these etchers incorporated text in their prints, not only acknowledging its pervasiveness in the visual experience of the modern city, but also embracing the polyglot language of their print medium to enhance the meaning and information conveyed by their work and to stake a claim on urban space. By analyzing how etchers employed their medium to depict the architectural, spatial, and social transformation of Paris, this dissertation expands art historical understanding of the graphic strategies with which artists contended with nineteenth-century urban modernity.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Nineteenth Century}, author = {Dunn, Ashley} } @mastersthesis {13109, title = {The Visual Culture of Women{\textquoteright}s Masking in Early Modern England}, year = {2019}, school = {Iowa}, abstract = {The act of wearing a mask, of concealing one{\textquoteright}s identity, has been one of the most enticing but controversial cultural practices since the 1500s. Masking evoked an even bolder act of self-fashioning when enacted by the female sex, since the gesture came to be read as a materialization of the deceitful and duplicitous character of woman{\textquoteright}s nature, proclaimed by the major state and religious institutions of the early modern era. The ubiquity of this cultural and religious trope, however, has overshadowed a parallel dimension of this phenomenon: women{\textquoteright}s appropriation of masking as means to obtain cultural agency and public (in)visibility in the context of a number of sartorial, theatrical, and entertainment practices. How visual representations of female masking served both maskers and audiences to navigate the social, moral, and cultural implications of this reality constitutes the subject of the present study. This dissertation explores the gendering of the act of (un)masking and its dissemination in visual culture during the early modern period in England, looking at four different cultural and chronological settings: the Carnival, the Stuart court masque, the Restoration urban space, and the Georgian masquerade. Through the examination of women{\textquoteright}s uses of masks and their artistic representations in these different contexts, the author argues that the iconography of the (un)masked woman not only pervaded contemporary imagery, but also acted as a primary vehicle to comment on, formulate, and negotiate models of femininity throughout the early modern period. As this was a quintessential form of self-fashioning, central to a number of pageants, entertainments, and rituals, the analysis of women{\textquoteright}s masking and its depictions reveals the core of early modern attitudes to power, gender, and class, in both the public and private realms. In order to flesh out such ideological discourses, this study considers a wide range of visual depictions and cultural practices, including drawings, prints, paintings, ephemera, costumes, fashion accessories, cosmetic customs, and architectural settings. In methodological terms, this dissertation applies an interdisciplinary, feminist, and art-historical perspective to the study of early modern masking in England, engaging at the same time with a number of interpretative tools from the fields of the history of costume, dance, theatre, and literature.}, keywords = {Genders/Sexualities/Feminisms, Northern Europe}, author = {Sandra Gomez Todo} } @mastersthesis {12892, title = {Willem de Kooning and the Cinema}, year = {2019}, school = {CUNY}, abstract = {No record in ProQuest or CUNY ETDs}, keywords = {Film/Video/Animation, Painting}, author = {Truxes, Anna} } @mastersthesis {12879, title = {Women{\textquoteright}s Books? Gendered Piety and Patronage in Late Medieval Bohemian Illuminated Codices}, year = {2019}, school = {Pittsburgh}, abstract = {The manuscripts forming the core of this dissertation{\textquoteright}s four case studies are some of the most artistically ambitious and theologically rich books to emerge from fourteenth-century Bohemia-and the European Middle Ages broadly-but they have not yet been considered together as an art historical phenomenon. Made at a moment when aristocratic women were playing a new role as divine matriarchs, these complicated and dynamic manuscripts open new avenues of inquiry into the intersection of later medieval gender and patronage. The pictorial programs of these manuscripts visualize the agency of their patrons, owners, and subjects in challenging and expansive ways and enrich our understanding of late medieval devotional practice and art production in the broadest terms. Each of the four case studies centers on a group of objects, people, and geographies that have often been pushed to the periphery of medieval manuscript studies, building upon pivotal investigations first put forward in the 1980s and 90s by a new wave of inquiry into the visual culture of late medieval women{\textquoteright}s mysticism. The first case-study chapter considers the richly illustrated manuscripts of Queen Elizabeth Richeza and recuperates Richeza{\textquoteright}s role as an influential art patron through a close look at twelve vibrant donor portraits found within her manuscript corpus. The Passional of Abbess Kunigunde is the focus of the second case study, which unpacks the manuscript{\textquoteright}s illustrated dedicatory page and the ways it subverts expectations about male-female monastic relationships and traditional scholarly assumptions about Kunigunde{\textquoteright}s interventions in the manufacture and use of her Passional. The third case study, which focuses on the Hedwig Codex, investigates why male patrons commissioned works of art for and about women. The fourth and final case study considers the so-called Krumlov Picture-Codex-a manuscript whose origins are contested in modern scholarship-and explores the interpretive potential of assigning both a female patron (Holy Roman Empress Anna Svidnicka) and user (the Franciscan nuns and beguines of the Cesky Krumlov cloister) to the manuscript. Together, these case studies demonstrate that works of art ostensibly made for or about women were used by both women and men to assert political ambitions, establish hereditary power, and claim a place in heaven.}, keywords = {Eleventh to Fourteenth Century, Patronage, Art Collecting}, author = {McCann, Allison} } @mastersthesis {12873, title = {Worshipping the Stars: The Buddha of Polaris in Early Modern East Asian Visual Culture}, year = {2019}, school = {UCLA}, abstract = {This dissertation examines how the inhabitants of East Asia, especially those on the Korean peninsula, understood and saw the stars before and during the fourteenth century. This is done by analyzing a Koryo dynasty hanging scroll titled Descent of Tejaprabha Buddha ("the Boston Tejaprabha Buddha"). Chapter 1 sheds light on the traditions of interpretation of "patterns of the sky" (C: tianwen, K: ch{\textquoteright}onmun) of fourteenth century Korea by focusing on the asterism diagrams of the painting. The painting reveals that its creation was not confined by traditions of science and religion, but instead, that it had its own norms overarching those fields. Chapters 2 and 3 deal with reinterpretation and reimagination of Tejaprabha Buddha and his pantheon. The descending motif of the Boston Tejaprabha Buddha is a special addition to the standard iconography of the Tejaprabha Buddha. The underlying beliefs of the fourteenth-century people of the Korean peninsula may have contributed to this addition and thus led to the creation of a new iconography related to the political intention of supporting the king{\textquoteright}s sovereignty. Meanwhile, stellar attendants surrounding the Tejaprabha Buddha show that the Buddha{\textquoteright}s pantheon is based on indigenous cults focusing on broad astral worship and thereby transcending Buddhism, Daoism, folk belief, and state-supporting ideas. Chapter 4 investigates the earlier Chinese Ruiguangsi Dasuiqiu dharani print which can be considered closest in visual representation to the Boston Tejaprabha Buddha. The investigation concludes that the partial resemblance of the two works is the result of a creative appropriation of transmitted visual elements. These elements may have kept the original medial and ritual meaning of the earlier object to a certain degree but were transferred into another context in the later work and given a new function. This dissertation investigates the many facets of the ch{\textquoteright}onmun tradition of worshipping the stars of the premodern Korea. By interpreting the Boston Tejaprabha Buddha beyond the scope of "Buddhist painting," the significance of the work becomes apparent, not only as a result but also as a starting point of further investigation of the ch{\textquoteright}onmun tradition of the Korean peninsula and its cultural and political connotations.}, keywords = {East Asia, Religion/Cosmology/Spirituality}, author = {Kim, Soyeon} } @mastersthesis {12855, title = {Xul Solar and the Argentinian Avant-Garde: Body, Language, Technology, Sociability}, year = {2019}, school = {Princeton}, abstract = {"Xul Solar and the Argentinian Avant-Garde: Body, Language, Technology, Sociability" concerns the work of the artist, writer, polyglot, and autodidact Xul Solar (Alejandro Schulz Solari, 1899-1963), whose singular position within the history of Argentinian art lies in his reformulation of his encounter with European modernisms in response to Argentina{\textquoteright}s modernity. From his artistic experiments produced in Europe after he relocated from Argentina in 1912 to his death in 1963 in Buenos Aires, Xul-as he came to be known-explored the nature of representation across a range of media. Following Xul{\textquoteright}s own terminology when urging fellow artists to combine several media in single artworks, the dissertation argues that the import of Xul{\textquoteright}s experiments with language, painting, games, and systems of notation lies in their combinatorial nature, that is, in the way they show the artist pulling together symbols and sources from across space and time in a nonhierarchical way. Departing from accounts of Xul{\textquoteright}s art as "outside of the schema of his time," or as "odd" and "without continuity," this study argues that Xul{\textquoteright}s combinatorial approach resulted from his autodidacticism, which shaped his response to specific conditions of Argentina{\textquoteright}s modernity. Through a close examination of artworks, Xul{\textquoteright}s texts, the contemporary reception of his work, and literary, philosophical, political, pedagogical, and sociological writings, I demonstrate that the anachronism of Xul{\textquoteright}s combinatorial practice permitted the artist to break with strict canonical distinctions between traditional media and pictorial genres as well as explore a range of formal and cultural possibilities unlike any other artist in Buenos Aires in his time. The project situates Xul{\textquoteright}s work within a vibrant new culture of print and broadcast media and a robust cultural cosmopolitanism in Buenos Aires that resulted from migration of peoples from across the Atlantic and rural regions. Amidst these shifts, Xul{\textquoteright}s work crossed borders between the pictorial, sonic, and linguistic, reconfiguring the relationship between painting, writing, and graphicness to engage problems of language and national identity. Xul did so as he grappled in his art with technological and pedagogical innovations that were giving rise to new models of reading and writing. In so doing, Xul proposed new modes of viewing art that invited the beholder to combine reading and looking practices in order to generate new forms of communication and sociability.}, keywords = {Colonial and Modern Latin America, Material Culture}, author = {Carletti, Sabrina} } @mastersthesis {12739, title = {Absence and Artlessness in Early Modern Church of England Martyr Portraits}, year = {2018}, school = {British Columbia}, abstract = {No record in ProQuest, British Columbia has it embargoed}, keywords = {Material Culture, Northern Europe}, author = {Muckart, Heather} } @mastersthesis {12766, title = {Adapting to the Market: Gabriel Metsu in Amsterdam}, year = {2018}, school = {Maryland}, abstract = {This dissertation examines the impact that the vicissitudes of the political and economic environment of the mid-seventeenth century Dutch Republic had on the stylistic and thematic character of paintings that Gabriel Metsu (1629-1667) executed after he moved from Leiden to Amsterdam in 1654. In the early 1650s the Dutch Republic faced a multitude of difficulties. Shortly after its independence from Spain in 1648, the sudden death of Stadholder Willem II of Orange in 1650, the First Anglo-Dutch War (1652-1654), and a plague outbreak in the mid-1650s, the country was in a perilous state. The political and economic uncertainties facing the country had a direct impact on art markets. This study examines how Metsu adapted his paintings to succeed in this changing environment. After he moved to Amsterdam, which was a much larger market than Leiden, he adopted Gerrit Dou{\textquoteright}s (1613-1675) subject matter and Jan Baptist Weenix{\textquoteright}s (1621-1659) fluid brushwork to create a new genre style. He also looked carefully at other contemporary genre painters, including Gerard ter Borch (1617-1681), Johannes Vermeer (1632-1675), and Pieter de Hooch (1629-1684), to broaden his thematic and compositional ideas. Metsu also applied his unique sense of humour, evident in expressive facial expressions and body language, to enliven his paintings and invite his viewers{\textquoteright} engagement. By utilizing personal connections to expand his clientele to include wealthy patrons, as well as by diversifying the sizes and subjects of his paintings, Metsu succeeded in broadening his reach to include both wealthy patrons and a broad base in the Amsterdam art market.}, keywords = {Painting, Seventeenth Century}, author = {Lee, Jihyun Sophia} } @mastersthesis {12731, title = {The Aesthetics of Decolonial Worlding: Contemporary Art and Activism Across Turtle Island}, year = {2018}, school = {UC Santa Cruz}, abstract = {The recent surge in global environmental justice movements has been accompanied and often leveraged by a resurgence of movements for Indigenous peoples{\textquoteright} justice. As these interconnected and mutually reinforcing movements have grown in parallel, they have also become more visible through dynamic "movement cultures"-cultural expressions that are born of the aforementioned movements. These cultural demonstrations of the struggles for environmental and Indigenous peoples{\textquoteright} justice stretch far beyond neatly printed posters and photographs, extending into mass collective walks, radical re-workings of cartography, the reclamation of names and places previously snatched up by colonialism, and aesthetic objects that resist co-optation through their continued connections to peoples, territories, and everyday life. Through the analysis of a variety of media-from grassroots drone video, to political printmaking and performative protest-this project puts forward the notion of decolonial worlding as an umbrella term to describe the myriad acts of creative resistance that emerge in generative opposition to colonialism, capitalism, and extractivism. These acts are united in their diversely expressed commitment to an actual postcolonial future. Drawing upon the methods of visual culture studies, with a commitment to decolonial and feminist approaches, The Aesthetics of Decolonial Worlding unites diverse decolonial projects through rigorous examination of what these activists and artists are resisting, as well as the futures they envision. The projects and actions explored seek to crack open and undermine past frames of hegemonic perception by inserting visions of subjectivity, nationhood, and sovereignty that are not necessarily new, but have been forcibly oppressed through colonial regimes of representation, state oppression, and biopolitical control. While some of these decolonial interventions may seem limited to the spheres of ephemeral protest actions or temporary art exhibitions, they also begin to simultaneously build and remember other worlds. They articulate an alternative visual narrative that seeks to overturn histories of colonialism and reveal counter-visualities of creative decolonial resistance. This project ultimately shows that these visual manifestations of environmental justice and self-determination comprise a collective aesthetics of decolonial worlding, and that turning our attention toward such actions may lead to a more just material reality across Turtle Island.}, keywords = {Indigenous Peoples, Visual Studies}, author = {Hickey, Amber} } @mastersthesis {12707, title = {After Watteau: Nicolas Lancret and the Creation of the Hunt Luncheon}, year = {2018}, school = {Missouri}, abstract = {Dining is inarguably one of the oldest, most prevalent and pervasive acts of social interaction. In the modern age the ability to display one{\textquoteright}s taste or refinement with regard to fashionable or trendy food items has become immediate due to social media. Instagram is filled with pictures of food: from farmers{\textquoteright} markets to prepared meals to selfies holding food. The foodstuff that people show themselves eating or getting ready to eat are indicators of their social identities and how they would like to be perceived by others. These food items also carry connotations ranging from rustic to luxurious or processed versus fresh, i.e. fried chicken compared to caviar or canned tuna in contrast to wild caught salmon. However, in our current culinary climate even the lowest of foods have been redeemed and made fashionable again -- think Spam fried rice. Paintings of food during the eighteenth century can be viewed in a comparable way. The items depicted by the artist(s) have certain social connotations and long-standing iconographic affiliations. The paintings of food both reflect how the patron or subject of the painting wanted to be interpreted or perceived and blur the lines between popular and court culture.}, keywords = {Eighteenth Century}, author = {Williams, Sarah Sylvester} } @mastersthesis {12695, title = {Afterimages of Socialism: Chinese Contemporary Art, 2000-2010}, year = {2018}, school = {Northwestern}, abstract = {This dissertation focuses on Chinese contemporary artists{\textquoteright} conceptualization of spectatorship in the 2000s, the decade when the state started to regulate art production within the parameters of cultural industry. I argue that these artists-Cai Guoqiang (b. 1957), Xu Bing (b. 1955), and Yang Shaobin (b. 1962)-adopted the visual language and ideals of socialist realism to make their artworks legible to national viewers, who were mostly unfamiliar with contemporary art in the 2000s. Their conceptualizations of spectatorship took the form of Cai{\textquoteright}s negotiation between the local and international art worlds, which held opposing opinions of socialist realism at a state museum; Yang{\textquoteright}s figurative tactics that called into question the efficacy of representing coalminers in a conventional gallery space; and Xu{\textquoteright}s effort to make contemporary art approachable for the public at a private museum. I consider these artworks to be afterimages, a term that refers to the image that persists on a viewer{\textquoteright}s retina after he or she is no longer exposed to the original object of perception. I suggest that these afterimages of socialism, though detached from direct engagement with historical conditions, provided opportunities for people to reconsider the contemporary relevance of the socialist past and the limitation of retracing this past in the present.}, keywords = {East Asia, Twenty-first Century}, author = {Guo, Xinran} } @mastersthesis {12817, title = {Afterlives of Communism: The Historical Turn in Contemporary Art from Eastern Europe}, year = {2018}, school = {Rutgers}, abstract = {This dissertation examines the phenomenon of the historical turn in contemporary Eastern European art as evinced in the cross-media works of Olga Chernysheva (b. 1962), Deimantas Narkevicius (b. 1964), Paulina Ooowska (b. 1976), and Ilya and Emilia Kabakov (b. 1933, 1945). Acknowledging the heterogeneity of the communist experience, I focus my study on these five artists who have worked since 1989 both inside and outside the region in Russia, Lithuania, Poland, and the United States, respectively. Looking back at and mining the recent past through artifacts, archives, reenactments, and reconstructions, they trace the afterlives of communism by actively questioning the histories of its lived experience across the former Eastern Bloc today. They use strategies of interruption to breakdown temporal barriers and redirect the course of official and unofficial, personal and collective, national and transnational narratives that demand our renewed attention. In doing so, their many films, paintings, photographs, installations, performances, and works on paper deconstruct representations of precarity, memory, gender, and identity that are intrinsic to our global condition and respond to widely held concerns regarding regional integrations into the art historical canon. Extending the context-focused methodology of a social history of art and the object-based rigor of formal analysis, I argue that contemporary Eastern European artists engaging in the historical turn are not merely re-presenting the empty signs of their communist pasts or post-communist presents but are proactively shaping future histories of Eastern European art for decades to come.}, keywords = {Twentieth Century}, author = {Nouril, Ksenia} } @mastersthesis {12777, title = {Alongside, Outside, Within, Against: Feminist Art and the American Museum, 1965-2007}, year = {2018}, school = {UC Santa Barbara}, abstract = {After nearly fifty years of exhibitions organized around this theme, "feminist art" has ceased to be a meaningful classification. Yet feminism remains an active cultural force and has enjoyed a recent mainstream resurgence. How have changing ideas about gender inequality transformed definitions of feminist art in the U.S.? Exhibitions like Sexual Politics: Judy Chicago{\textquoteright}s Dinner Party in Feminist Art History (Hammer Museum, 1996) and WACK! Art and the Feminist Revolution (MOCA Los Angeles, 2007) have revitalized conversations about gender inequality in the visual arts and the role of art in creating social change, but have also highlighted the problems in defining both feminism and feminist art. Some argue that feminism should remain partially undefined to allow for growth and diversity. Others claim that fluid definitions of feminism are so unclear that they are easily co-opted for other purposes, such as marketing. This dissertation, "Alongside, Outside, Within, Against: Feminist Art and the American Museum, 1965-2007" analyzes these debates through museum exhibitions, examining how they have reflected and shaped definitions of feminism in the U.S. Through integrating transdisciplinary feminist theory with critical analyses of artwork and primary sources such as exhibition catalogs and ephemera, the project investigates what it means for a thing-a work of art-to be described as feminist. It explores the tension between, on the one hand, "feminist art" as a term that can homogenize ideas and artwork and lead to tokenism and, on the other, narratives of feminist art that empower viewers to create change. This dissertation problematizes the assumption that the visibility of feminist art in museums necessarily promotes a feminist agenda in art history or the wider world and argues that museum exhibitions often limit the meanings of feminist art through depoliticizing the work.}, keywords = {Performance Art/Performance Studies/Public Practice}, author = {Lieberman, Shannon} } @mastersthesis {12823, title = {Ambivalent Lines: Urban and Architectural Appropriations in Contested Italo-Yugoslav Territories, 1918-1954}, year = {2018}, school = {IFA/NYU}, abstract = {From 1918 to 1954, Italy and Yugoslavia wrestled for control of the Adriatic borderlands between them. The collapse of the Austro-Hungarian Empire at the end of World War I suddenly left these multinational, multilingual territories in political limbo, ushering in a nearly four-decade-long campaign to claim them. This dissertation analyzes the use of architecture, imagery, and other artifacts in the claiming of these contested territories. In so doing, it explores the construction of these disputed borderland spaces, materially, as architecture and urban planning, and also in the imagination, considering how various parties were encouraged to perceive, to remember, and to mentally map lands as part of one state or the other. This process of border-making took place in a context of political tensions, revolutions, and war. A diverse range of governments came and went on both sides of the border in the period under investigation, most famously Mussolini{\textquoteright}s Fascist Italy and Tito{\textquoteright}s Communist Yugoslavia. This study draws upon a wide-range of primary sources in Italian, Slovenian, and Serbo-Croatian from archives and libraries in Croatia, Italy, Slovenia, and Serbia. This dissertation argues that a border is enacted, continuously and effortfully, by scores of actors. In developing this argument, the study focuses in particular on the agency of those doing this construction-for example, architects, engineers, politicians, preservationists-and examines the ambiguities and ambivalences embedded in the process. It challenges scholarship that simplifies agency by depicting architects and cultural producers either as soulless agents of states or as self-realized prodigies serving a transcendent cultural good. Instead, this dissertation teases out the complexity of these actors in their multiple allegiances, which include states and municipalities, patrons, industries, professions, ethical obligations, and ideologies. In parsing out these agendas by looking to the material of the border itself, we can make sense of the small, individual choices that ultimately lead to the reconceptualization of a subjectively-defined space into a "border." This includes the ways a border is marked, whether by memorials to fallen dead, for example, or by guard houses designed to be forbidding or welcoming, temporary or permanent. It includes analysis of the ways that the fabric of cities became modified over time, designed to emphasize certain aspects and slowly drain others of prominence. And it involves the ways that transportation and communication networks shifted to reflect not only the limitations that treaties put on the borders, but also to serve the infrastructural needs of a newly imagined {\textquoteright}us,{\textquoteright} as separate from {\textquoteright}them.{\textquoteright} Unpacking the material construction of the space, we begin to understand the physical material around the border as an adjunct to-a tool of-a much broader effort of constructing a mental map of the border that is premised on defining the difference between two imagined places.}, keywords = {Twentieth Century}, author = {Worsnick, Matthew} } @mastersthesis {12749, title = {American Art Histories: Framing Race in Exhibitions, 1842-1876}, year = {2018}, school = {Rice}, abstract = {In the mid to late nineteenth century, exhibitions in the United States presented histories of art by laying out sequences of objects. Paintings, sculptures, and prints were aligned or juxtaposed with so-called artifacts and specimens as well as plaster casts of classical sculpture in order to convey a sense of progress or development across epochs and cultures. Each chapter of this dissertation focuses on a sculpture or painting on display in Washington, D.C., New York, Ann Arbor, New Haven, Boston, and Philadelphia and outlines the terms by which the artwork was interpreted in situ. Drawing on installation photographs and previously unpublished lectures, this project reveals the formative role that ideas about race played in art exhibitions open to the public at the National Institute for the Promotion of Science, the Metropolitan Fair, academic art museums, and the 1876 Centennial Exposition during the political upheaval and radical social change surrounding slavery, the Civil War, and Reconstruction. Who should be a part of art history? How would their stories be told? i These questions were central to the organization of nineteenth-century art exhibitions and the answers formulated at that time have powerful ramifications even to this day. The notion that race could be defined by location, time, and physicality suggested that what was then known as the "fine arts" had something to contribute to a scientific study of race. Curators, artists, and scholars in the United States responded by arranging collections to make them speak to ideas of racial progress and categorization. Objects from Africa, Asia, the Americas, and Europe were gathered as points of comparison for modern American art and culture in displays that resulted in a contested racial politics of objects. This dissertation is the first to acknowledge public exhibitions as constitutive of early art historical discourse in the United States and racial categorization as fundamental to the institutionalization of the discipline.}, keywords = {Nineteenth Century, Race/Ethnicity}, author = {Hooper, Rachel} } @mastersthesis {12681, title = {Andean Concepts and Scripted Pictures: Ukhu, Sight, and Sound in the Drawings of Guaman Poma de Ayala}, year = {2018}, school = {Emory}, abstract = {This dissertation explores thirty-seven out of 398 drawings and associated texts of indigenous Andean artist/writer Felipe Guaman Poma de Ayala in his Nueva coronica y buen gobierno (1615/16). These are analyzed in relation to relevant watercolor drawings in Fray Martin de Murua{\textquoteright}s Historia del origen y geneologia real de los reyes de los Incas del Piru (1590), known as the Galvin Manuscript, to which Guaman Poma contributed around ninety images. To date, most scholarship on the Galvin drawings isolates them from Guaman Poma{\textquoteright}s oeuvre as a whole. I argue that his drawings in both manuscripts embody certain key concepts in the Inka language of Quechua and foreground specifically Andean visual rhetoric. The most revealing Quechua concept embodied in his work is ukhu, the interior/past/hidden in dialectical relation to its outward manifestation. While it primarily represents the power of the unseen-whether in the sacred landscape, the Inka built environment, or Guaman Poma{\textquoteright}s colonial illustrations-ukhu also entails the revelation of ancestral knowledge. The author stakes his claim, visually and textually, to accessing particular knowledge hidden to outsiders but apparent to the Andean audience he also sought to reach. Much of the previous scholarship on the Nueva coronica has focused on the author{\textquoteright}s European visual sources and privileged his use of the non-Andean book format. His Andean influences have been explored to a lesser degree. This study builds on both etic (external) and emic (internal) perspectives, tracing the manifestations of ukhu in pre-Hispanic works of art and establishing its trajectory through key moments of the colonial Nueva coronica. Guaman Poma{\textquoteright}s pictorial invocation of the senses of sight and sound, particularly surrounding images of shamanic religious practices of so-called hechizeros/as (sorcerers/sorceresses) in both manuscripts and his images of coyas (Inka queens) in the Nueva coronica, place him within ukhu spaces of spiritual importance and ancestral knowledge. In these nuanced and complex treatments, more so than in his earlier work, he obfuscates knowledge of indigenous religious practices while also arguing for own his status as eye-witness and heir to Inka power.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, South America}, author = {McKenzie, Andrea} } @mastersthesis {12718, title = {Angelic Devotion: Embodying Belief with Bernini{\textquoteright}s Angels on the Ponte Sant{\textquoteright}Angelo}, year = {2018}, school = {Brown}, abstract = {No record in ProQuest and Brown ETDs restricted}, keywords = {Fifteenth- to Seventeenth-Century Art, Sculpture, Seventeenth Century}, author = {Whitford, Kelly} } @mastersthesis {12746, title = {Animating Flatness: Moving Images in American Art, 1780-1895}, year = {2018}, school = {Pennsylvania}, abstract = {Moving pictures became an integral feature of American visual experience more than a century before the emergence of cinema. Scholars tend to locate the history of animated images within the domain of screen projection, concentrating on illusionistic optical toys and immersive panoramas. In contrast, this dissertation argues that nineteenth-century audiences{\textquoteright} interaction with moving image technologies primarily took the form of tactile encounters with a genre of intimately scaled, mass-circulated paper constructions that materialized in the United States by the late eighteenth century, especially layered anatomical illustrations, pull-tab prints, and manipulated books. These kinetic paper constructions beckoned viewers to their pliable surfaces, inciting beholders to lift flaps, open hinges, tug tabs, and glide slides into activated tableaux. Mass-circulated, intimately scaled, and used in settings ranging from schoolrooms to surgical theatres, tactile images invite new questions about how senses beyond sight operated in the pursuit of knowledge. Three thematic case studies show how diverse audiences physically engaged with paper as a means of learning, reasoning, and negotiating issues ranging from control of women{\textquoteright}s bodies to the abstract value of financial credit, ultimately carrying those same corporeal habits to encounters with painting and sculpture (including works by Raphaelle Peale, Hiram Powers, and David Claypoole Johnston). Challenging entrenched narratives of passive spectatorship and binaries of pictorial surface and depth, tactile images become a lens through which to understand questions central to art history: sensory reception, embodied viewing, and the cross-pollination of media.}, keywords = {Nineteenth Century, North America}, author = {Sperling, Juliet} } @mastersthesis {12654, title = {Another Modernism: Home Economics and the Conception of Domestic Space in the US, 1900-1960}, year = {2018}, school = {UC Santa Barbara}, abstract = {This project examines the conception of domestic space formulated in the US by the Home Economics movement in the first half of the twentieth century in texts and designs by primarily women designers and home economists, such as Helen Binkerd Young, Ella M. Cushman, and Lillian Gilbreth. Intended to ease the labor of an average American homemaker, the approach to space these designers and home economists described was fundamentally different from the approach to space adopted by contemporary modernist architects. Whereas the Home Economics model was centered on a user who intensely interacts with the interior in a tactile way, the modernist model of space was primarily visual. The former, assuming the engagement of the user{\textquoteright}s whole body, was intended to protect the user from bodily overexertion, in particular the user who performs the housework, while the latter{\textquoteright}s intention was primarily to reward the spirit via the aesthetic experience transmitted by optic data. The key categories for the home economists{\textquoteright} model were {\textquoteright}{\textquoteright}fit{\textquoteright}{\textquoteright} and "reach,{\textquoteright}{\textquoteright} the crucial value of the modernist model{\textquoteright}s was {\textquoteright}{\textquoteright}space,{\textquoteright}{\textquoteright} in particular "the unity of space." Although both movements strove for "efficiency," they understood it differently: for home economists the term meant design solutions that make the work of an average homemaker{\textquoteright}s easier, for modernist architects it signified functionalist aesthetics. While there is a substantive literature on the Home Economics movement, there is little or no recognition of the spatial innovation that the movement engendered, and its relation to architectural modernism of the first half of the twentieth century has not been tackled. My dissertation addresses these lacunae. Employing the theoretical framework derived from feminist (Judith Butler) and phenomenological (Maurice Merleau-Ponty) philosophies, the dissertation provides an analysis of the home economists{\textquoteright} conception of space and argues that their focus on the user{\textquoteright}s corporeality, tactility, preferences, and her direct engagement in every step of the design process, constituted an alternative model of modern architecture. Numerous women architects enacted this model in their spatial design practice. The dissertation also shows that this model and practice anticipated the movement of participation in architecture.}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Myjak-Pycia, Anna} } @mastersthesis {12638, title = {Architectural Citation of Notre-Dame of Paris in the Land of the Paris Cathedral Chapter}, year = {2018}, school = {Columbia}, abstract = {This study foregrounds the problem of the center and periphery of Gothic architecture near Paris. Taking architectural citation as its interpretive framework, it focuses on a core group of rural parish churches situated in the land of the Paris cathedral chapter. It addresses the visual links between Notre-Dame of Paris and the village churches, the ways in which architectural citation was put into practice, and the institutional context that imbued the resemblances with meaning. It demonstrates that quoting the architecture of the cathedral of Paris was the exception, not the rule, in the villages of the cathedral chapter. When they occurred, the citations were mostly superficial, not structural, and resulted from contact between the community of secular canons installed at the cathedral and the administrators responsible for the village churches. The introduction sets the problem of architectural citation in the land of the Paris cathedral chapter against the backdrop of architectural citation in other contexts in medieval France: namely, Cluniac, Cistercian, and Capetian. Proceeding according to the Notre-Dame of Paris construction sequence, Part One reveals the architectural citations of the cathedral of Paris found in the chapter{\textquoteright}s land: at Saint-Germain of Andresy, Saint-Hermeland of Bagneux, Saint-Lubin of Chatenay, Saint-Christophe of Creteil, Saint-Germain of Itteville, Notre-Dame of Jouy, Saint-Mathurin of Larchant, Saint-Nicolas of Mezieres, Notre-Dame of Rozay, Saint-Martin of Sucy, and Saint-Fortune of Vernou. Part Two introduces the Paris cathedral chapter as an institution and a community of individual canons, maps the chapter{\textquoteright}s rural property as it expanded from the ninth to the fourteenth century, articulates the language the chapter used to describe its villages and land, and explores the canons{\textquoteright} secular and sacred authority in its villages. Part Two concludes by bringing the institutional relationship to bear on the architectural evidence presented in Part One.}, keywords = {Architectural History/Urbanism/Historic Preservation, Eleventh to Fourteenth Century}, author = {Cook, Lindsay} } @mastersthesis {12616, title = {Architectural Decorum and Aristocratic Power in Late Antiquity: The Gens Anicii}, year = {2018}, school = {Temple}, abstract = {This dissertation explores in the ways in which decorum, or the appropriateness of form and behavior, served as an underlying principle in the patronage, design, and construction of monumental architecture, sculpture, and inscriptions by the aristocratic elite of late antique urban environments. Throughout the dissertation, I deliberately turn my attention away from imperial buildings like Emperor Justinian{\textquoteright}s (r. 527-565) Hagia Sophia and towards those projects financed by aristocrats and elites, with a focus placed upon those associated with the gens Anicii and their sphere. It is through the discussions of the built environments of Rome, Constantinople, and Ravenna in the fourth through sixth centuries CE, that my dissertation reveals the ways in which aristocrats and elites, like members of the gens Anicii and wealthy bankers like Julianus Argentarius, were able to concretize their power in periods of political change. Their employment of a decorum of architecture, based upon Vitruvian and Ciceronian ideals, demonstrates the central role these individuals played in the shaping of the visual culture of the late antique Mediterranean. It was through the patronage of statues and buildings that were thoughtfully dedicated, strategically located, and purposefully decorated that these wealthy patrons were able to galvanize their non-imperial authority. In historical moments wracked by war, plague, and political instability, the finance and construction of large-scale statuary on prominently inscribed plinths, as well as solid, immovable buildings afforded these elites with a sense of permanence and stability that, they hoped, would last in perpetuity.}, keywords = {500 BCE to 500 CE, Ancient Greek/Roman Art}, author = {Jewell, Kaelin} } @mastersthesis {12719, title = {Architecture and Audience in Donatello{\textquoteright}s Florentine Reliefs}, year = {2018}, school = {Penn State}, abstract = {Donatello confronted the problem of narrative relief throughout his career for varied patrons: public and private, civic and individual, ecclesiastical and secular. Several of these commissions feature prominent architectural settings that have not been cohesively studied by scholars in regard to their expressive meaning. This dissertation argues that Donatello manipulated architecture in his narrative reliefs as a means to imbue further meaning, and that the forms he chose for such purposes were addressed to the specific audiences of his respective works. When comparing his use of architecture in three early Florentine reliefs, created between 1417 and 1434, it becomes clear that Donatello restrained his innovative and disjunctive tendencies when tackling public commissions, only allowing them free rein when working for the Medici within the domestic sphere. I claim that Donatello found his ideal patron in Cosimo de{\textquoteright} Medici, and that the sculptor{\textquoteright}s desire to practice his art free of restraint drove him away from the Florentine public sphere, where his uninhibited style would be less appreciated.}, keywords = {Fifteenth- to Seventeenth-Century Art, Southern Europe and Mediterranean}, author = {Peterson, Elizabeth} } @mastersthesis {12648, title = {Architecture Incorporated: Authorship, Anonymity, and Collaboration in Postwar Modernism}, year = {2018}, school = {MIT}, abstract = {A broad transformation occurred in the scale and scope of professional architectural practice in the United States in the decades after World War II. My dissertation explores this shift, in particular the rise of the body of collaborative and team-based methods of production that came to be labeled as corporate architectural practice. An exploration of these practices reveals a climate of speculation on the corporation as a social and institutional form, and an interest in the potentials of anonymous and collective methods to reshape the nature of architectural production. Tracing these collaborative approaches from progressive project to the critique of the corporate, the dissertation challenges the historiographic methods premised on singular authorship that have governed interpretations of postwar modernism. While there exists a growing body of work on architecture produced for corporations in the postwar period, less attention has been paid to its corollary: the corporate production of architecture itself. Despite the dominance of large firms within contemporary architectural practice, a comprehensive account has yet to be written of the motivations for and growth of such practices after 1945, the shifting economic and political conditions which underlay their production, and the problematic reception of their work by architectural critics after the 1970s. The dissertation proposes a cultural and discursive history of corporate architectural practice, from its origins to its contemporary reception within the architectural field. I explore this trajectory through the history of The Architects Collaborative (TAC), founded in 1945 as an experiment in team-based design methods by seven young practitioners together with German emigre Walter Gropius. Despite the extensive historiography of Gropius and his work, there is as yet no history of TAC itself, the largest architectural firm in the U.S. by the 1970s and the collective body through which Gropius practiced for the last twenty-five years of his career. An exploration of the firm{\textquoteright}s origins and expansion, its work in the Middle East in the decades after World War II, and its demise reveals questions of anonymity, authorship, and expertise at the heart of the U.S. architectural corporation and its continuing global impact.}, keywords = {Architectural History/Urbanism/Historic Preservation, Theory/Historiography/Methodology}, author = {Kubo, Michael} } @mastersthesis {12651, title = {The Art and Architecture of the BAPS Svaminarayana Hindu Tradition}, year = {2018}, school = {Ohio State}, abstract = {In recent years, the growth of South Asian immigrant communities in North America and Europe has precipitated the founding of new and visually captivating religious spaces. One Hindu organization in particular, known as the Bochasanwasi Shri Akshar-Purushottam Swaminarayan Sanstha, or BAPS, has invested astounding resources for constructing traditional stone temples. Established in 1907, Gujarat, India, BAPS, is a sub-sect of a larger Hindu tradition known as the Svaminarayana sampradaya (tradition), which was founded in 1801 by the religious leader Sahajananda Svami (1781-1830). Between 1907 and the present, BAPS has established over forty-four, large-scale stone temples -thirty-eight of which were founded after 1971 -and over 1,100 smaller temple centers in India and abroad. For the adherents of BAPS, these structures serve both as spaces to incorporate the growing influence and evolving identity of Indian religious culture on a global scale and to conduct age-old ritual practices. Yet, despite the international visibility of BAPS{\textquoteright} temples, their historical, philosophical, and aesthetic origins -which are as complicated and fascinating as the buildings{\textquoteright} ornamental forms -have not been studied. Based on original field research, this dissertation synthesizes visual data and historical records and offers the first architectural and iconographic survey of BAPS{\textquoteright} major temples constructed from the early-twentieth century to the present day. In order to fully comprehend the philosophical and aesthetic roots of BAPS, my study further contextualizes this survey of BAPS{\textquoteright} architectural and iconographic traditions not only within the extent of the Svaminarayana sampradaya -out of which BAPS was founded -but also in the broader religious and artistic environment of nineteenth and twentieth-century Gujarat. Although there are a few scholarly explorations of pre-modern Indic temples that incorporate sectarian histories and narratives as a significant component of their analyses, this approach has rarely extended to studies of sacred architecture created by modern religious movements. This dissertation not only charts the temple building tradition of a particular Hindu sect, but also shows how its practice of constructing sacred structures continues to develop as a living tradition in modern times. Besides generating a crucial, historical mapping of BAPS{\textquoteright} visual traditions, my dissertation also explores the how organization{\textquoteright}s most recent structures continue to engage with traditional artistic sources, new visual forms, and technology. By examining the architectural and artistic evidence of this particular community, my research addresses the ways in which recent BAPS temples embody notions of tradition and modernity, and reframes our understanding of Indic temples as an evolving visual expression.}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Desai, Ankur} } @mastersthesis {12661, title = {Art and Jesuit Patronage in Colonial Quito: The Prophet Paintings at the Church of La Compania}, year = {2018}, school = {Delaware}, abstract = {For centuries, the sixteen paintings of Old Testament prophets that adorn the main nave of the Jesuit church in Quito-better known as the Church of La Compania-have been considered remarkable examples of Spanish colonial art. However, as is the case for most paintings from colonial Quito, little is known about the works{\textquoteright} authorship, chronology, and function. Through analysis of Jesuit texts from the colonial period (some of them never before consulted by scholars), examination of the paintings{\textquoteright} materials, and identification of numerous European prints that were used as sources, this dissertation uncovers the artistic techniques employed in the production of the paintings. In the process, this research contests previous unsubstantiated attributions given to the paintings, and proposes a new origin and chronology based on historical and scientific research, as well as formal analysis. Using seventeenth and eighteenth-century Jesuit sources, it addresses the interest of Quito{\textquoteright}s Jesuit College in art patronage and raises several questions regarding the circulation of religious images in the province. Ultimately, this research proposes that the paintings{\textquoteright} iconography, which emphasizes the supernatural aspect of the prophetic, allowed Quito{\textquoteright}s Jesuit College to reinforce its institutional values and present itself as an organization uniquely qualified to lead the evangelization of the Americas. This symbolic function was reinforced by the reflective materials that surrounded the paintings during the colonial period, particularly gilded surfaces and mirrors of different sizes.}, keywords = {Colonial and Modern Latin America, Painting}, author = {Oleas-Mogollon, Isabel} } @mastersthesis {12747, title = {Art at the Meeting Places of Britain and Oceania, 1788-1848}, year = {2018}, school = {Yale}, abstract = {This dissertation analyzes four distinct, yet networked, sites where British landscape aesthetics came into contact with the material culture and geographies of Oceania in the late eighteenth and early nineteenth century. I argue that this encounter produced points of intersection-what I term Meeting Places-where British artists interacted with Indigenous ways of shaping, marking and managing land. Landscape art was essential to British imperial knowledge of the Pacific: such views, I suggest, were inflected by Indigenous agency. British surveyors, merchants, missionaries and settlers traveled throughout the Pacific in the decades following James Cook{\textquoteright}s voyages (1768-1780), thereby creating a network of economic and political ties stretching across vast distances. This dissertation considers movement of artworks and the significance of their transit. Many were sent to London, where they became proxies for sensory experience of distant climates, geographies, and cultures. Artists conveyed crucial information between Britain and the Pacific by way of visual and tactile intermediation, tracing the contours of contested landscapes. Artistic representation became the visual testimony and legitimation of Britain{\textquoteright}s advancement in its Pacific sphere of influence, and yet also contained the imprint of interactions with Indigenous peoples and their art. This project traces the impact of the metropolitan construction of the "South Seas" in London, the effects of cross-cultural diplomacy on a painting of the so-called "cession" of a district in Tahiti, the Maori-shaped landscapes of Aotearoa New Zealand, and the genesis of a Tasmanian landscape school in the wake of the violent removal of Indigenous peoples from their carefully-managed territories. British artists came face-to-face with Pacific Indigenous material cultures, landmarks, and laws, all of which fundamentally shifted the terms of artistic production. By reinvesting a history of colonial art with the interactions on contested lands that generated its cultural production, this dissertation produces new insights and vantage points from which to interpret European landscape aesthetics.}, keywords = {Nineteenth Century, Oceania/Australia}, author = {Lum, Julia} } @mastersthesis {12666, title = {Art, Decoration, and the Texture of Modern Experience: The Interior Before 1900}, year = {2018}, school = {Michigan}, abstract = {This dissertation explores the critical fascination among artists, architects, and their publics with the interior and its image at the end of the nineteenth century. Focusing primarily on Belgium and France, it argues that the ambition to create work that engaged, confronted, and constructed the shifting texture of the wider world motivated much of this representational engagement with the interior. Whereas it had once constituted a paradigm for bourgeois fantasies of protective retreat, by the 1880s, new challenges of modernity prompted a destabilization and reconfiguration of the interior{\textquoteright}s representational and cultural resonances. These challenges included sweeping industrialization and urbanization, developments in psychological research, an increasingly fractured political landscape, and the combined juggernaut of exploitation and attempts to resist it. Questioning the widespread assumption that the interior was merely a defensive, nostalgic asylum from a turbulent and spectacular modern world, in my account it is rather recognized as a pervasive paradigm integral to modern life and an index of cultural transition at the turn of the century. In seeking to create work that critically engaged this revolutionizing modern world, artists and designers were faced with new formal problems. They responded by attempting to evoke experiential realities of such a world through new configurations of the spatial environment. Focusing on case studies that traverse a range of media, national and political boundaries, and critical ambitions, this dissertation assesses how material, psychological, or political components of an older program of the bourgeois interior were individually engaged, and challenged, through experimental artistic practices. Subjects of analysis include: James Ensor{\textquoteright}s painted interior scenes and their prompts to visually remodel a relation of the self and the stuff of everyday life, the materials and materiality of modern existence; Edouard Vuillard{\textquoteright}s intimiste paintings and "environmental" pictorial practices in relation to changing conceptions of interiority and the modern, psychological self; and Henry van de Velde{\textquoteright}s socially-inflected experiments in which he conflated notions of the activated, charged surface of contemporaneous painting with enlivened interiors realized in architectural design. As these case studies attest, the interior provoked no single response; however, by the end of the century and in response to its reimagined resonance in the wider culture, fruitful interplays arose between pictorial concerns and the architectural, lived environment. These experimentations with the interior were activated with the goal of evoking the complexities of experience in the modern world. Such complexity, I demonstrate, was not founded in the progressive dissolution of one form of representation for another, but rather in negotiating the ways in which we might understand the world-and the image- to continually and vibrantly negotiate between private and public, individual and collective, space and picture plane. By reassessing the role of artistic practice across media in this way, the interior offers itself up as a tool, a way in, to dynamically address the relation between the individual, phenomenological encounter with the image and broader conditions of historical change. This "interior effect," I argue, also has powerful consequences for the study of late-nineteenth century art and culture, and for a productive reassessment of the interplay between Art and Architectural History}, keywords = {Decorative Arts, Design History, Nineteenth Century}, author = {Fraser, Alexandra} } @mastersthesis {12676, title = {Art on the Internet and the Digital Public Sphere, 1994 - 2003}, year = {2018}, school = {UCLA}, abstract = {This dissertation narrates the development of internet art, a diverse set of practices united by their interrogation of the technological, social, and/or political bases of computer networks. Covering the period from 1994, when internet art coalesced around the rise of the World Wide Web, to 2003, when both internet art and internet culture writ large began to respond to the rise of social media and web 2.0 technologies, the dissertation homes in on specific net art projects that variously engaged or challenged this period{\textquoteright}s most persistent claim: that the internet is a new, digital public sphere. By studying how these artworks critiqued this claim, the dissertation uncovers three major models through which net art has asserted the publicness of computer networks-as an interpersonal network that connects or unites strangers into groups; as a virtual space akin to physical spaces of public gathering, discourse, and visibility; and as a unique platform for public speech, a new mass media potentially accessible to all. Claims for the public status of computer networks rest on their ability to circulate information and facilitate discussion and debate. This definition of publicness is rooted in the concept of the classical public sphere as theorized by Jurgen Habermas. The dissertation thus reviews Habermas{\textquoteright}s model of the classical public sphere, and its most significant critiques, in order to interrogate the terms of a digital public sphere. The dissertation also engages Michael Warner{\textquoteright}s work on the formation of publics, counterpublics, and the mass-cultural public sphere; Oskar Negt and Alexander Kluge{\textquoteright}s analysis of shared experience as the foundation of the formation of public spheres and the role of mass media in this process; Henri Lefebvre{\textquoteright}s articulation of the social production of space; and Gilles Deleuze and Alexander Galloway{\textquoteright}s respective analyses of the role of network logics in systems of control. As a whole, the dissertation provides an historical account and critical analysis of internet art that encompasses not only its technological evolution but also its confrontation with the claims of publicness upon which our understanding of computer networks, and the art made on and about them, are founded.}, keywords = {Digital Media/New Media/Web-Based Media, Twenty-first Century}, author = {Driscoll, Megan} } @mastersthesis {12824, title = {Ar(t)chive Production in Post-War Lebanon}, year = {2018}, school = {Indiana}, abstract = {My dissertation studies the uses of the notion of archive in post-war contemporary art practices around the Lebanese Civil Wars (1975-1990). After the wars, a group of artists from Lebanon began to collect data and produce documents that referenced the traces and memories of the conflict. These compilations metamorphosed into aesthetic projects that took archival-like forms. In this dissertation, I discuss the archival works of Walid Raad, Paola Yacoub/Michel Lasserre, Gilbert Hage, Jalal Toufic, Joanna Hadjithomas/Khalil Joreige, Lamia Joreige, Akram Zaatari, Rasha Salti/Ziad Antar and Marwan Rechmaoui. This boom of art practices around memory and archives in Lebanon has opposed the politics of amnesia sponsored by the Lebanese state through the Amnesty Law of 1991. Post-war artists, however, have addressed this official amnesia not by seeking to reconstruct the historical facts and recover the real documentation of the wars; instead, they have activated the memories of the wars by exploring the very destruction of these memories. These artists have produced and at the same time deconstructed archives by assembling fragmented, fabricated, para-fictional, and decontextualized collections of photographs, videos, and everyday materials. I describe these practices as ar(t)chive production (or archives-in-the-making). While the notion of archive is common in modern and contemporary art regarding trauma and memory, my hypothesis is that the archival works of these Lebanese artists are shaped by the new structural context of global war. Most European models of archive pursue a recovery of memory against the destruction in the total wars of the twentieth century, particularly exemplified by the artworks about the Holocaust. By contrast, the practices on the Lebanese Civil Wars engage in the logic of constructive destruction of what Carlo Galli has theorized as global war. Within this logic, violence is both destructive and productive. In this respect, instead of opposing the official amnesia by reviving the memories of the wars, the post-war Lebanese artists reflect on amnesia by showing the construction of the past by means of its own destruction.}, keywords = {Twenty-first Century, West Asia}, author = {Domene-Danes, Maria} } @mastersthesis {12722, title = {Artificial Appearances: Portraiture and Persona in Mid-Sixteenth Century Florence}, year = {2018}, school = {Washington University}, abstract = {Despite intense socio-political upheaval, portraiture flourished in Florence of the 1530s-1540s. These works remain understudied, and are primarily examined in isolation from their broader context. This study evaluates a series of case studies to determine novel approaches to formulating identity through portraiture during the chaotic second quarter of the sixteenth century in Florence. Positioning the sitter as part of a collective, the artists and their patrons use assertions of civic identity to transcend a sense of otherness as they forge new identities and define new positions. Situated in the transition from republic to duchy, this project offers new insights into portraits by the foremost contemporaneous artists while outlining ways the genre reflected evolving concepts of civic identity. This focused study deepens our understanding of sixteenth-century portraiture and the nature of self-presentation and civic identity. It further offers a framework for considering portraiture and expressions of identity in times of turmoil.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Kaplan, Stephanie} } @mastersthesis {12637, title = {At the Crossroads of Japanese Modernism and Colonialism: Architecture and Urban Space in Manchuria, 1900-1945}, year = {2018}, school = {Columbia}, abstract = {This is a study of the unexplored layers of the Japanese practice of urban planning and architecture in urban Manchuria (current northeast China) during the first half of the twentieth century. I reframe my examination within a broader context of international imperialism and Japanese reception of modern architecture during the first half of the twentieth century and argue that the dynamic interactions among the Japanese, Russian, and Chinese politicians and architects mutually shaped the international cityscapes in Manchuria. Moreover, I examine Japanese architects{\textquoteright} writings and buildings to illustrate how they regulated the indigenous and former colonial spaces and constructed a modern living space in Manchuria through the development of residential houses. In contrast to the conventional understanding of Japanese building activities in Manchuria as architecture propaganda, my dissertation highlights the role of social class and visual representation in shaping the public experience of space in Manchuria. The development of colonial tourism and its visual products, including tourist postcards, commercial photographs, and guidebooks, constructed a controlled spatial experience and selective landscapes that overshadowed the colonial living space. Engaging with previous scholarship, recent historical studies, and new archival materials, I map out multiple urban and social layers-including imperialist and nationalist, public and private, collective and individual, tangible and conceptual spaces-and illustrate how these layers overlapped and intertwined with each other.}, keywords = {Architectural History/Urbanism/Historic Preservation, East Asia}, author = {Yang, Yu} } @mastersthesis {12702, title = {Atlas Novus: Kawada Kikuji{\textquoteright}s Chizu (The Map) and Postwar Japanese Photography}, year = {2018}, school = {Columbia}, abstract = {This dissertation explores a vital moment in the history of Japanese photography through a sustained monographic analysis of Kawada Kikuji{\textquoteright}s 1965 photobook Chizu (The Map). Through this first full-length English-language study on Kawada{\textquoteright}s early work, I argue that Chizu is a palimpsest, where Kawada mobilizes both the malleability and medium-specificity of photography to create a temporal atlas of postwar Japan. Chizu is not legible cartography, but instead is an archival universe where the atomic bomb and its victims, Japan{\textquoteright}s past military aggressions, and national narratives of ruin and growth are interwoven in a state of temporal confusion and perpetual haunting. Chizu is also wedged chronologically and theoretically between two periods in the history of Japanese photography: the early 1950s hegemony of postwar "realism" and the avant-garde project of Provoke in the late 1960s and 1970s. My dissertation intersects a sociopolitical and psychological history of postwar Japan with visual and iconographic analysis, accompanied by comparative frameworks of contemporaneous publications that also dealt with the subjects of the atomic bomb, the Second World War, and the political unrest of the early 1960s. By structuring the dissertation around the three major thematic categories that I have identified within the visual language of the photobook-the "stains" of the Atomic Bomb Dome, the "memorial goods" of the Second World War, and the "signs of the present"-I dissect and contextualize the temporal layering and theoretical stakes at work within Chizu {\textquoteright}s complex network of traces. Chizu{\textquoteright}s enormous significance lies in its refusal to settle on a firm aesthetic or theoretical language of photography, preferring instead to alternatively mobilize and refute indexicality, to put forward a multisensory experience of the photograph, and to cast assumptions about photography{\textquoteright}s legibility into deep suspicion. I argue that this is a singular gesture of the period, one born not from individual subjectivity as dogmatic artistic ideology, but instead from an existential state of questioning the foundations of photography{\textquoteright}s relationship to time, to index, and to legible narrative. Finally, I argue that Chizu stands as an important artistic illumination of the concept of a longue duree violence: In this case, a violence continuously and insidiously enacted on a body of citizenry well before and well after the zero hour event of the atomic bomb.}, keywords = {East Asia}, author = {Mustard, Maggie} } @mastersthesis {12793, title = {Before Fontainebleau: Italian Artists in France, 1494-1534}, year = {2018}, school = {IFA/NYU}, abstract = {In consecutive Italian expeditions, Charles VIII of France conquered the Kingdom of Naples in 1494-95, and Louis XII of France took Milan and Pavia in 1499-1500. While Charles{\textquoteright} capture of Naples lasted only a year, the French occupation of Milan continued from 1499 until 1525, with one two-year interregnum from 1513 to 1515. These French occupations constituted a major period of transition for Neapolitan and Lombard artists, as well as for other artists elsewhere in Italy. Although political and economic historians have addressed the repercussions of the French occupations in Italy, there has not been a comprehensive study of the art historical and cultural ramifications of French power and patronage on Italian artists during this epoch since Leon de Laborde in 1850-55 and Eugene Muntz in 1885. At the outset of the sixteenth century, perhaps the most prominent examples of artworks made by Italian artist-emigres to France were found at the Chateau de Gaillon, the summer residence of Georges d{\textquoteright}Amboise, Cardinal Archbishop of Rouen, confidante of Louis XII and viceroy of Milan. At Gaillon, Italian sculptures by Guido Mazzoni, Antonio della Porta and Pace Gaggini functioned within buildings and courtyards that had been newly remade in a Renaissance style-the earliest of their kind in France. Italian architects and gardeners were also sought after for commissions of large-scale projects in France during the occupations of Naples, Milan and Genoa. Pacello da Mercogliano, a renowned Neapolitan gardener, introduced landscape designs to the gardens and fields of Gaillon, Amboise and Blois in the first decades of the sixteenth century. Moreover, many treasured objects of Lombardy-including manuscripts and suits of armor-were either seized or purchased by occupying French officials and transported across the Alps. Louis XII claimed the Visconti and Sforza manuscript collections, which were housed in the library at Pavia, and added them to the French royal libraries recently established at Blois. The French nobility were, before and after the Italian Wars, also great patrons of Italian armorers, commissioning skilled Milanese artists to build elaborate suits of armor. This dissertation also considers the effects of French patronage on Francesco Melzi, the Lombard nobleman and painter, who joined Leonardo da Vinci at Amboise at the end of that master{\textquoteright}s life. It, therefore, examines how Melzi, while working intimately with Leonardo, engaged with and disseminated certain Leonardesque motifs and ideas.}, keywords = {Sixteenth Century}, author = {Howard, Charles} } @mastersthesis {12820, title = {Before the Endless Miles of Wind and Sand and Empty Far Off Sky: Deserts in Hollywood{\textquoteright}s Silent Era}, year = {2018}, school = {UIC}, abstract = {When Robert Smithson donned a cowboy hat and boots in the classic 1968 film Mono Lake, he revealed how deeply the mythic imagery of the Hollywood Western has penetrated widespread attitudes towards the West. Scholars including Richard Slotkin and Kevin Brownlow have traced the development of the Hollywood Western into the iconic post-WWII blueprint, first clearly articulated by John Ford{\textquoteright}s 1939 film Stagecoach and later taken up by television shows like Gunsmoke and Bonanza. But there has been relatively little scholarly discussion of early films that, although marketed as Westerns, presented a radically different approach. These films explored the specific ecologies of Western spaces and featured women, Native Americans, and even animals in prominent roles. This dissertation analyzes three silent films from the 1920s, using them as case studies that articulate broader impulses and trends found throughout many films of the era. Chapter One focuses on Buster Keaton{\textquoteright}s Go West (1925), a Western satire in which Keaton works on an Arizona cattle ranch and develops a sincere friendship with a cow. The Wind (1928), directed by Swedish director Victor Sjostrom and starring Lillian Gish, is the subject of the second chapter, which explores the ways that Sjostrom{\textquoteright}s reduction of the landscape and his denial of pleasurable vision critiques and undermines the Manifest Destiny narrative. The third chapter looks at Redskin (1929), a film which sympathetically depicted Native American characters struggling with the early twentieth century boarding school experience and explored questions of indigenous assimilation into Euro-American culture. The methodology for analyzing these films is based in visual and cultural studies, and takes a broadly intersectional approach, allowing the films themselves to guide the choice of questions needed to investigate and analyze their representations of the desert landscape. Ultimately, this dissertation aims to help dismantle the dominance of mythic visions of the postwar Western, and open up new ways to relate to the West as a diverse set of ecologies with its own particular history.}, keywords = {Twentieth Century}, author = {Robyn, Mericle} } @mastersthesis {12764, title = {Bernhard Pankok and Design Reform in Germany, 1845-1914}, year = {2018}, school = {Princeton}, abstract = {This dissertation examines the early career of artist and designer Bernhard Pankok (1872-1943) as site of convergence for major threads in the history of German design reform. Pankok has long been counted as chief exemplar of Jugendstil, the German variant of Art Nouveau, but my study goes beyond dictates of style to consider a wider array of discursive practices and institutional actors. I argue that Pankok{\textquoteright}s most important work in the applied arts, from about 1895 to 1914, was integral to a larger, multifarious agenda premised on yoking graphic, interior, and furniture design with the construction of a unified national consciousness. A range of critics, curators, and businessmen, all with diverging projects, found Pankok especially suited to articulate a national artistic identity commensurate with the German Empire{\textquoteright}s newfound industrial might. To that end, the first chapter begins by charting the nationalist re-orientation of graphic art by German critics at the end of the nineteenth century and the attendant impact on Pankok{\textquoteright}s career as a graphic designer for publishers of major magazines (Georg Hirth, Alexander Koch), literary works (Eugen Diederichs), and newspapers (August Scherl). Chapter two surveys Pankok{\textquoteright}s contributions to the early years of the furniture atelier Vereinigte Werkstatten fur Kunst im Handwerk vis-a-vis changing modes in display spurred by both applied arts museums and world{\textquoteright}s fairs. The third chapter isolates Pankok{\textquoteright}s signal contribution to Jugendstil ornament, his revival of the wood-inlay practice known alternately as intarsia and marquetry, and suggests that German critics willfully couched their appraisals of Pankok{\textquoteright}s work in nationalist terms to obscure his debts to French designers associated with the Ecole de Nancy. The fourth chapter follows Pankok to Stuttgart and examines his imbrication with state bureaucracy, including an acrimonious feud with architect Theodor Fischer over the commission of a municipal exhibition building, a project that tested the capacity of modern architecture to mediate between changing concepts of nation and state. Reading Pankok{\textquoteright}s oeuvre opens onto larger questions of how a single artist can be understood to embody collective, national qualities, whether intentionally or not, and the shifting abilities of both individuals and groups to define and propagate these qualities.}, keywords = {Northern Europe}, author = {Fox, Peter} } @mastersthesis {12624, title = {Between Classicism and Orientalism: The Reception of Ancient Cypriot Sculpture, 1860-1900}, year = {2018}, school = {Northwestern}, abstract = {This dissertation analyzes the early excavation, classification, and publication of Cypriot sculpture and its collection and display in European universal museums. The author argues that the events and intellectual climate of the nineteenth century profoundly and lastingly shaped the perception of the ancient Cypriot tradition, determining the island{\textquoteright}s conventional place-or more often, absence-in contemporary scholarship within the fields of art history and archaeology. Early treatments of Cypriot religious sculpture and classifications of its "style" and aesthetics launched a series of debates in which its material culture was used as a tool to measure "foreign" influence and interaction with both "East" and "West," a fate reinforced by the political situations then (under Ottoman and British rule) and now (with the division of the island and its capital city into "Turkish" Cypriot and "Greek" Cypriot sectors).}, keywords = {Ancient Egyptian/Near Eastern Art, Southern Europe and Mediterranean}, author = {Olien, Catherine} } @mastersthesis {12634, title = {Beyond Hellenization: Terracotta Ritual Furniture in Ancient Sicily}, year = {2018}, school = {IFA/NYU}, abstract = {The consumption and adaptation of Greek material culture by non-Greek peoples in ancient Sicily and the wider ancient world has been an ongoing point of contention in scholarship-do Greek objects influence the peoples that use them, and by their movement and trade are these objects and their figured surfaces active agents of "Hellenization"? Acknowledging that framing this discussion through postcolonialism only perpetuates the anachronistic colonialist model, this dissertation applies the materialist theory of transculturality to a long-understudied class of ritual terracotta instruments distributed and adapted through ancient Sicily: louteria, arulae, and related ritual furniture impressed with cylinder-roll rollers. Imported from Corinth by the sixth century, the technique would find widespread popularity among the Greek, Phoenician, and indigenous communities of western Sicily, remaining a distinct tradition until the fourth century BCE. Ancient identity is far more fluid than previous scholarship allows, and it is a mistake to frame cultural history through homogenous ethnic groupings like "Greeks" or "Phoenicians." Deconstructing the center/periphery models traditionally used to understand the area{\textquoteright}s pre-Roman history, a complex multimodal network of cross- and transcultural interaction is proposed that goes beyond the linear and homogenizing model of hellenization. Stamped footed basins-whether louteria or perirrhanteria-were produced and distributed by workshops in the major Greek poleis, with certain iconographies being popular in certain areas, and entirely new stamp series developed for the varying needs of local communities. Miniature altars, generally the province of the square stamp, utilized cylinder rollers more frequently in non-Greek communities, and developed over the time period in a manner distinct from louteria. Other classes of terracotta furniture, including sarcophagi, pithoi, wellheads, and furniture legs, all demonstrate the flexibility of the technique, and the ubiquity of this originally Greek style in a growing West Sicilian koine that transcended cultural associations. Indeed, a technique once taken as a signifier of hellenization instead represents the development of a truly transcultural regional style that used legible chains of transformation to articulate local identity, coming to an end only with the loss of communal autonomy with the rise of Punic and Syracusan hegemony across the island.}, keywords = {Ancient Greek/Roman Art}, author = {Ward, Andrew} } @mastersthesis {12619, title = {The Bishop, his House, and his Church - Early Medieval Episcopal Complexes in Italia Annonaria (300-600 CE)}, year = {2018}, school = {Princeton}, abstract = {This dissertation examines the development of episcopal complexes, or insulae episcopalis, in the Roman diocese of Italia annonaria vis-a-vis the rise of the Early Christian bishop from 300 to 600 CE. The study traces the historical circumstances that were responsible for the bishop{\textquoteright}s emergence as the new leading figure of late antique and early medieval society and contextualizes the modes of representation employed by the bishop to make manifest his episcopal authority. Two bishoprics are of particular relevance to this study, Porec and Ravenna, as they offer ample archeological, architectural, and literary evidence for the depiction of episcopal auctoritas. The study of apsed halls (aulae), dining spaces (triclinia), and baths (balneae) reveals that the bishops made use of well-established and widely understood modes for highlighting the social status of a donor/founder by incorporating imperial architectural vocabulary into their bishoprics. The emerging trend of an {\textquoteright}imperialization{\textquoteright} of the Early Christian bishop, as argued in this dissertation, finds support in the employment of script, be it in the form of monumental inscriptions or abbreviated monograms. The use of precious materials, such as costly marbles, gold and mother-of-pearl, for decorating the episcopal complexes further augmented the social standing of the bishop in early medieval society. Ultimately, this research shows that the Early Christian bishops fully understood the symbolism of authority and were able to use it to their advantage in the context of their own episcopal sees in order to strengthen their position in both the ecclesiastic and the civic spheres.}, keywords = {500 BCE to 500 CE, Architectural History/Urbanism/Historic Preservation, Southern Europe and Mediterranean}, author = {Sturm, Jaqueline} } @mastersthesis {12800, title = {Bloomsbury{\textquoteright}s Byzantium and the Writing of Modern Art}, year = {2018}, school = {CUNY}, abstract = {"Bloomsbury{\textquoteright}s Byzantium and the Writing of Modern Art" examines the role of Byzantine art in Bloomsbury art critics Roger Fry{\textquoteright}s and Clive Bell{\textquoteright}s narratives of aesthetic Modernism. Fry, in his pre-World War I and interwar writings and teachings on art, and Bell, in seminal texts such as Art (1914), have been branded by art historiography as the prime movers in a Formalist, teleological narrative of Modern art still prevalent in textbooks today. Fry{\textquoteright}s and Bell{\textquoteright}s ideas were later adopted by important Modernist authors and cultural figures, such as Alfred H. Barr, Jr., first director of New York{\textquoteright}s Museum of Modern Art, and critic Clement Greenberg. Yet, less known is the integral role Byzantine art played in delimiting both Fry{\textquoteright}s and Bell{\textquoteright}s ideas of Modernism, and the art works they valued. Consistent with the international nineteenth- and twentieth-century interest in Byzantium, Fry and Bell each crafted an ahistorical idea of Byzantium. The Bloomsbury critics{\textquoteright} highly subjective definitions of Byzantine art and the Byzantine era allowed both Fry and Bell to project onto Byzantium qualities that aligned with their own intellectual interests. My dissertation uses these varied characterizations of Byzantium to reinterpret both authors{\textquoteright} writings on Modern art and subsequently to challenge canonical understanding of Western aesthetic Modernism. For instance, in my analysis of Fry{\textquoteright}s and Bell{\textquoteright}s idea of Byzantine art, I point to parallel qualities the critics{\textquoteright} valued in Modern pieces; and suggest that they used their concept of Byzantium to define a more secular, universalized spiritual conception of art as an alternative and counterpart to mainstream religions. I also explain how the critics relied on their definition of Byzantium to each advocate for non-Western art{\textquoteright}s aesthetic value, and I demonstrate how the authors utilized their characterization of Byzantine art to contest the precedent of both John Ruskin and establishment, Western art history. This dissertation unravels the myriad personal, intellectual, and contextual circumstances which led to Fry{\textquoteright}s and Bell{\textquoteright}s interpretation of Byzantine art, and, as a result, illustrates how art-world politics and world politics of the late-nineteenth and early-twentieth centuries impacted the writing of formative texts in Western Modern art.}, keywords = {Theory/Historiography/Methodology, Twentieth Century}, author = {Berkowitz, Elizabeth} } @mastersthesis {12760, title = {Boundaries of the Body: The Art of Anatomy in the Seventeenth-Century Netherlands}, year = {2018}, school = {UC Santa Barbara}, abstract = {Investigating the contents of art treatises, anatomical atlases and collections in the seventeenth-century Netherlands, my dissertation argues that anatomists adapted artists{\textquoteright} techniques and devices to proclaim the author{\textquoteright}s authority, mediate the perception of the viewer, and encourage disciplinary boundaries between art and medicine. Contrary to anatomists{\textquoteright} written comments, which often dismiss the role of the artist, anatomical prints, drawings, and prepared specimens rely on pictorial practice to produce knowledge about the body. Through representative techniques, including trompe l{\textquoteright}oeil, modeling, color, and drapery, viewers were convinced of anatomists{\textquoteright} discoveries. Pamphlets exchanged between physicians such as Frederik Ruysch and Govard Bidloo indicate that the persuasive power of these images and objects was also a cause for concern, particularly in its ability to deceive the viewer, and thus undermine the anatomist{\textquoteright}s credibility. Introducing artists{\textquoteright} voices to this debate, I contend that painters also placed limits on their engagement with anatomy. In his art theoretical treatise, for example, Samuel van Hoogstraten writes that Jacob van der Gracht{\textquoteright}s anatomical text for artists, "shows the way better for physicians, than for painters." These comments indicate the shifting relationship between artists and anatomists at a moment when nature and artifice were viewed increasingly as separate entities.}, keywords = {Northern Europe, Seventeenth Century}, author = {Travers, Erin} } @mastersthesis {12644, title = {Building Protestant Modernism: John D. Rockefeller Jr. and the Architecture of an American Internationalism (1919-1939)}, year = {2018}, school = {MIT}, abstract = {Following the First World War, American philanthropist and heir to the Standard Oil fortune, John D. Rockefeller Jr., financed an international body of cultural and scientific institutions, which he presented as sites of global ""brotherhood,"" intellectual cooperation, and shared world heritage. Combining religious history with an architectural and urban-spatial analysis of the built environments associated with these institutions, this dissertation argues that Rockefeller{\textquoteright}s putatively secular and inclusive promotion of culture and science was, in fact, designed to arrest the rise of ""savage"" nationalisms and a ""godless"" communism. While scholars have recognized the imperialism inherent in Rockefeller{\textquoteright}s philanthropy, they have largely ignored its theopolitical dimensions and its unexpected instrumentalization of secular buildings and landscapes towards religious concerns. Focusing on the so-called Orient (which valued modernity, sought freedom from European powers, and understood Western Christianity as an accomplice to imperialism), Rockefeller, a devout capitalist and Baptist, underwrote projects reconciling Christianity with modernity. Simultaneously, he presented Protestant America as a new civilizational leader to diverse audiences, including nationalists in the former Ottoman territories abroad and students from China and other modernizing nations studying in the U.S. Concentrating on two groups of buildings from his larger patronage---the International Student Houses and the museums and archaeological expedition-houses of the University of Chicago{\textquoteright}s Oriental Institute---I show how Rockefeller leveraged architecture to present an American internationalism and its scientific and religious modernity as a ""logical"" fit for diverse regions and conditions. From the Pacific Coast to the Middle East, his team of architects, theologians, archaeologists, and social reformers attempted to harmonize each of their buildings within its immediate geopolitical and aesthetic site. I show how Rockefeller{\textquoteright}s ""re-Orientation"" of Christianity (and America) coheres these eclectic, geographically dispersed buildings and landscapes into a rational or deliberate oeuvre, and is further revealed in specific erasures and accentuations of the built environment. Finally, this dissertation counters a widespread belief that religion in the modern era is solely contained within explicitly ecclesiastical architecture, or limited to societies ""outside"" the technoscientific modernity and secular progress of the global North. (Copies available exclusively from MIT Libraries, libraries.mit.edu/docs - docs mit.edu)}, keywords = {Architectural History/Urbanism/Historic Preservation, North America}, author = {Dawood, Azra} } @mastersthesis {12782, title = {Building the Body of Christ: Ecclesiastical Art, Architecture, and Identity Formation in Late Antique Italy, 350-450 CE}, year = {2018}, school = {Wisconsin}, abstract = {This dissertation reconsiders the phenomenon of religious change in Italy during the fourth and fifth centuries by arguing for the role of the visual arts in the formation of Christian identities. Contributing to the recent material turn in the study of early Christianity, which emphasizes the centrality of matter and the body in early Christian thought and practice, this project asserts that bishops and their congregations often employed the visual arts to construct and disseminate particular models of Christian identity. In addition to evoking Paradise and the presence of the divine, early ecclesiastical buildings and artistic programs appealed to the senses to persuade individuals to adopt certain beliefs, values, and practices consistent with emerging institutional Christianity. I focus in particular on the social dimensions of this identity, showing how specific sites in Rome, Aquileia, and Ravenna were designed to complement liturgical themes of ecclesiastical unity under episcopal authority. Working between theological texts and visual materials, I contextualize these case studies and show how each site responded to a wide array of social, political, and religious identities, including a diversity of private or domestic Christian beliefs and practices. Amidst this late antique context, ecclesiastical buildings and artistic programs rendered palpable to the senses an alternative social identity that emphasized membership and participation within a church community with a shared past, present, and future.}, keywords = {Race/Ethnicity, Southern Europe and Mediterranean}, author = {Cochran, Daniel} } @mastersthesis {12821, title = {By Any Means Necessary: The Art of Carrie Mae Weems, 1978-1991}, year = {2018}, school = {UCLA}, abstract = {This dissertation examines the photography of Carrie Mae Weems (born 1953) and her exploration issues of power within race, class, and gender. It focuses on the period of 1978-1991, from her first major series, Family Pictures and Stories (1978-1984), to And 22 Million Very Tired and Very Angry People (1991). In these early years of her career, Weems explores junctures of identity while levying a critique of American culture and its structures of dominance and marginalization. In the wake of the Civil Rights Movement of the 1960s and Second Wave Feminism of the 1970s, scholars-particularly women of color-began looking seriously at the intersectional nature of identity and how it manifests in culture and lived experience. These issues are the central themes Weems{\textquoteright}s career, and by looking at her early explorations this study provides critical context for her body of work. Chapter One examines Weems{\textquoteright}s first major series, Family Pictures and Stories (1978-1984). In this work, Weems uses autobiography as ethnography along with American and photographic history to question the cultural invisibility of black people. In her manipulation of personal images and history, Weems questions the process of representation, its consequences, and the constructed nature of power. Chapter Two juxtaposes her late-1980s series Ain{\textquoteright}t Jokin{\textquoteright} (1987-88) and Colored People (1989-90) to explore the black tradition of signifyin{\textquoteright} found throughout literature and art, a framework that shows how art and culture create layers of meaning. When Weems signifies in these two series, she plays with literal and metaphorical meanings of jokes and mental associations about or applied to black people. The final chapter evaluates the role of vernacular culture in three bodies of work, namely American Icons (1988-89), Then What? Photographs and Folklore (1990), and And 22 Million Very Tired and Very Angry People (1991). Each of these works use folklore-including oral traditions and utilitarian objects-to connect the dots between culture, race, and power. By transforming these objects into tools of political activism, Weems positions her work within a larger radical tradition.}, keywords = {Twentieth Century}, author = {Searcy, Elizabeth} } @mastersthesis {12733, title = {The Caliph{\textquoteright}s Prey: Hunting in the Visual Cultures of the Umayyad Empire}, year = {2018}, school = {Bryn Mawr}, abstract = {This dissertation interprets images of hunting in architectural decoration produced throughout the early Islamic Umayyad caliphate (ca. 661-750 CE) as a series of dialogs between the Arab-Muslim conquerors and their conquered subjects. Through four case studies I argue that conquered peoples who have been excluded from considerations of Umayyad art and patronage played a variety of roles in shaping visual cultures throughout the empire. The first case study examines a pavilion known as Azraq al-Shishan in the Azraq Oasis (in modern-day eastern Jordan), which was decorated with relief carvings that included images of hunting. Situating these images within their architectural and environmental context reveals that the landscape was a potent medium for the projection of imperial power, both in real hunting parties as well as their literary and visual depictions. The second case study focuses on a bathhouse known as Qusayr {\textquoteright}Amra (in modern-day Jordan), which was decorated for the Umayyad prince al-Walid ibn Yazid (r. 743-744). I draw attention to a consciousness of conquest and the geographic scope of empire reflected in the images that adorn its walls, and I see this building as articulating a visual mu{\textquoteright}arada (competitive comparison) between the centers and provinces of the caliphate. The third case study analyzes the suburban estate known as Chal Tarkhan-{\textquoteright}Eshqabad (in northern Iran, south of modern-day Tehran). It is decorated with stucco reliefs depicting "post-Sasanian" hunting scenes that could have been desirable to Muslim and non-Muslim elites, both of whom were in a position to patronize craftsmen in the provinces of the Umayyad caliphate. These reliefs demonstrate how members of each group might have employed pre-existing local imagery in an attempt to mediate between the two communities, echoing the broader cultural phenomenon of anti-Arab-exceptionalism known as shu{\textquoteright}ubiyya. The fourth case study explores the visual dialog that emerged between imperial patrons and their conquered subjects as a consequence of the Umayyad conquests by comparing murals produced on the eastern frontier of the Umayyad Empire in the Sogdian city of Panjikent (in modern-day western Tajikistan) and a floor painting from Qasr al-Hayr al-Gharbi (in modern-day Syria) in the Umayyad heartland. Considered together, these four case studies of hunting images reflect the processes by which a variety of aristocratic and imperial identities were negotiated and redefined in visual culture within the Umayyad Empire during the Arab-Muslim conquests of the late seventh and early eighth centuries.}, keywords = {Islamic Art, Sixth to Tenth Century}, author = {Brey, Alexander} } @mastersthesis {12763, title = {Canonizing Modernism: An Avant-Garde Legacy in France{\textquoteright}s Sacred Art Movement, 1939-1958}, year = {2018}, school = {Washington University}, abstract = {This dissertation offers a critical reassessment of modernist involvement in the Sacred Art Movement, the highly controversial Catholic art renaissance undertaken by the French Dominican Order in the fragile World War II era between 1937 and 1954. Marie-Alain Couturier and Pie-Raymond Regamey, the Dominican co-editors of the influential religious art journal L{\textquoteright}Art Sacre, led the Sacred Art Movement by arguing that to reveal the timelessness and universality of Catholic themes in the modern world, "it would be safer to turn to geniuses without faith than to believers without talent." Far less understood are the motives that compelled these same "geniuses without faith" to create art for the Catholic Church at such a tense political moment. I bring new insight to modernist interest in religious space by reframing the three sites at the center of the Sacred Art Movement debates as sites of international art pilgrimage that helped to promote the "avant-garde" character of the French tradition. I argue that the scandals that surround Notre-Dame de Toute-Grace in Assy, Henri Matisse{\textquoteright}s Chapelle du Rosaire in Vence, and Pablo Picasso{\textquoteright}s Temple of War and Peace in Vallauris obscure a pressing, post-traumatic desire by older modernists to leave an enduring record of their legacy in the illustrious tradition of Catholic monumentality. This dissertation therefore elucidates the shared, historicizing impulse behind these sites to tell a new story of the Sacred Art Movement, the story of modern art{\textquoteright}s "canonization."}, keywords = {Northern Europe, Twentieth Century}, author = {Read, Heather} } @mastersthesis {12792, title = {Carlo Borromeo{\textquoteright}s Itineraries: The Sacred Image in Post-Tridentine Italy}, year = {2018}, school = {UC Berkeley}, abstract = {This study follows the austere Catholic reformer Carlo Borromeo (1538-1584) on five different Italian pilgrimages in the decades following the Council of Trent. It aims to address the noticeable gap between theory and practice regarding image devotion in late sixteenth-century Italy. Treatises and decrees tend to rehash the oft-cited position of the Council of Trent, in which images are useful meditative and didactic tools, but must avoid {\textquoteright}licentiousness{\textquoteright}, inaccuracy, and any idolatrous confusion between the devotion to the material image and that owed to its heavenly prototype. However, the reality of religious art during this period bears little resemblance to this official position. It instead witnessed a growth in miraculous image cults, revived devotion toward freestanding sculpture, and placed unprecedented trust in the testimonial and sacramental power of art. Carlo Borromeo, cardinal-archbishop and later saint, is often considered an archetype of Tridentine piety. Although he wrote no artistic treatises, his use of images became a model to the Italian populace through many celebrated pilgrimages and devotions. This project sketches out a theory of art by looking at Borromeo{\textquoteright}s image-based behavior during five broadly defined pilgrimages, each using a particular destination to examine one facet of sacred images. We follow Borromeo as he renovates his titular church of Santa Prassede in Rome, revealing a sacramental definition of art, where images functioned, like ritual instruments, to perpetuate the antiquity of the liturgy. Borromeo{\textquoteright}s pilgrimage to the Shroud of Turin shows how narrative artworks were pressured to account for artifacts in this period of reform. We trace his devotions at the polychrome terracotta sculptures of the Sacro Monte of Varallo, which Borromeo viewed as the very antidote to idolatry. Borromeo{\textquoteright}s pilgrimages to the Holy House of Loreto demonstrate the symbiotic relationship between artists and replicas of miraculous images. Finally, we trace one final itinerary, carried out not by Borromeo but through his posthumous portraits, agents of his sanctity and witnesses in his trial for canonization. Together, Carlo Borromeo{\textquoteright}s itineraries carved out a landscape of sacramental, antique, artistic, and evidentiary sacred images that would direct the next century of Catholic image culture throughout its global territories.}, keywords = {Sixteenth Century, Southern Europe and Mediterranean}, author = {Harpster, Grace} } @mastersthesis {12772, title = {Cellist, Catalyst, Collaborator: The Work of Charlotte Moorman}, year = {2018}, school = {CUNY}, abstract = {When classically trained cellist Charlotte Moorman (1933-1991) moved to New York City in 1957, she swiftly positioned herself at the intersection of experimental music, performance, video, and the visual arts. She interpreted works by composers like John Cage, collaborated with artists such as Nam June Paik, and founded and organized the New York Avant Garde Festival from 1963 to 1980. This dissertation argues that Moorman{\textquoteright}s career sheds new light on what it meant to be an artist in this post-medium-specific moment and proposes that Moorman{\textquoteright}s deterritorialization of authorship exerts pressure on traditional art histories. The generative dynamics of her collaborations with Cage, Paik, and festival participants instead suggest alternative models for understanding creative contributions in an art world increasingly marked by performance-oriented, open-structured, and participatory practices. The models offered in each chapter are: relayed authorship as a counterpoint to the autonomous composer; the inverse power of the submissive in consensual scenarios of domination; the performativity of self-presentation in a fully mediated world; and the relationally-constituted catalytic productivity of the curator. Moorman{\textquoteright}s "minor history" demonstrates the vital work rendered invisible by the terms of major histories, and offers glimpses as paths not taken in regards to performance and curatorial practices that de-center singular authorship.}, keywords = {Performance Art/Performance Studies/Public Practice, Twentieth Century}, author = {Grayson, Saisha} } @mastersthesis {12688, title = {Chinese Traditionalist Painting and the Poetry of Du Fu (712-770): Politicization, Institutionalization, and Self-Expression between 1912 and 1966}, year = {2018}, school = {Ohio State}, abstract = {This dissertation outlines the history of the symbiosis between painting and Du Fu{\textquoteright}s poetry from the poet{\textquoteright}s time to the twentieth century. Examining the combination of the two arts between 1912 and 1966 will show artists{\textquoteright} various ways of incorporating Du Fu{\textquoteright}s poems in their paintings. It suggests that a shift of spectatorship from private circles of the educated elite to the common people and the Chinese Communist Party (CCP) took place around 1949, which fundamentally changed the functions of traditionalist art from private communication to service to the masses and the country. In the People{\textquoteright}s Republic of China (PRC, 1949 onwards) the establishment of the Du Fu Memorial Museum in 1955 marked an important moment in the processes of politicizing and institutionalizing the symbiosis of painting and Du Fu{\textquoteright}s poetry. The museum has directed and controlled the production, exhibition, and circulation of paintings after Du Fu{\textquoteright}s poems based on constantly changing political realities. In this context, I argue in this dissertation that artists used their agency and incorporated Du Fu{\textquoteright}s poetry in their paintings in ingenious ways. They transformed their paintings, with Du Fu{\textquoteright}s texts, into versatile spaces, where on the surface they might appear satisfactory to the censors, but at other levels suggested alternative meanings available to elite viewers.}, keywords = {East Asia, Painting, Twenty-first Century}, author = {Yin, Yanfei} } @mastersthesis {12759, title = {Clandestine Devotion, Spiritual Reformation and Community Perseverance in Seventeenth-Century Dutch Catholic Visual Culture}, year = {2018}, school = {UC Santa Barbara}, abstract = {In the Northern Netherlands, despite its interfaith diversity, toleration was tantamount to an unstable coexistence that limited the rights of subordinate faiths. After the Alteration in 1578 prohibited Dutch Catholics from publicly displaying their faith, holding public office, and dispossessed of all church property by Protestant civil authorities. My dissertation argues that, in these conditions, Catholics mobilized visual culture to create a permanent record of their distinctive shared experience of subordination, producing a collective culture of resistance that undermined Reformed hegemony. In so doing, they adapted to their devotional needs both the late medieval tradition of affective piety that originated in the Northern Netherlandish movement of the Devotio Moderna and the seventeenth-century mystical revival which was taking place across Europe. From their homes, Dutch Catholic women acted as leaders in their faith communities by transcribing sermons, circulating visual materials, and organizing secret performances of the Mass. By bringing together a wider range of visual materials, devotional texts and archival documents, this project envisions how visual culture ensured the continuity of the Dutch Catholic community. In this way, this dissertation challenges long-held assumptions about the Protestant nature of the post-Reformation Netherlands, while engaging with ever-relevant concerns regarding social relations between the powerful and powerless. From the act of hand coloring a small prayer card of Christ{\textquoteright}s flagellation to the foundation of clandestine sacred spaces, my dissertation surveys the material scope of Dutch Catholic visual culture and its driving role in community-organized reformation.}, keywords = {Northern Europe, Religion/Cosmology/Spirituality}, author = {Zumaya, Diva} } @mastersthesis {12622, title = {Cloth as Conduit: Aesthetics, Dress, and Commerce in Mande Diasporas}, year = {2018}, school = {Indiana}, abstract = {This dissertation explores apparent contradictions in contemporary {\textquoteright}traditional{\textquoteright} West African dress, the most significant everyday art form in West Africa. Essentially modern, imported fashion elements are closely associated with prestigious traditional dress. The cosmopolitan styles are not ethnic, not national, but have elements of those imaginaries embedded in their use and meanings. Based on field research in Mali, Senegal, and France, my analysis of contemporary dress is framed by a self-described cultural dynamic among Mande people of being at once open to the world and closed among themselves. I argue that this tension structures Mande aesthetic experience and the commercial, technical, and performance contexts that produce West Africans{\textquoteright} spectacular cosmopolitan styles. I show that while artists are technologically open-minded, they are also constrained by a body of enduring values and tastes to which new materials must be adapted. Even as the meanings of traditions are widely contested, a Mande aesthetic approach links contemporary dress to older art practices that have produced some of the most celebrated sculptures in African art history. In commerce and in use, I show how merchants and clients discursively create and promulgate identities tied to ethnicity, nationality, and Islamic faith. These dialogues, thick with local resonances, occur within larger regional and global networks of power, meaning, and commerce. Such networks are inscribed onto the bodies of men and women when they dress with intention and skill.}, keywords = {Africa, Decorative Arts}, author = {Fenton, Rebecca} } @mastersthesis {12818, title = {The Commonwealth of Abstraction: Black Artists in London, 1948-72}, year = {2018}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {Twentieth Century}, author = {Ohadi-Hamadani, Maraym} } @mastersthesis {12618, title = {The Construction of Sidewalks as Indicator of Social and Economic Interaction in Ancient Roman Cities}, year = {2018}, school = {Virginia}, abstract = {Sidewalks were central features of ancient Roman urban life and society. Previous scholarship, however, has all but ignored these structures. This study combines an analysis of textual, juridical, and physical evidence for the construction of sidewalks, or their absence, at four ancient Roman cities: Pompeii, Herculaneum, Ostia, and Minturnae. Using Structure from Motion and GIS to record and analyze the facades of these cities, this study determines that the way these cities provided for pedestrians reflected the prevailing urban social and economic culture, a culture that differed from city to city and transformed over time. At Pompeii and Herculaneum, sidewalk construction, or curbing at least, seems to have been legally required of buildings with street frontages, since sidewalks were constructed against nearly every building facade. In these cities, sidewalks existed, in part, to separate pedestrians from street traffic, keeping them removed from hazards, but they also facilitated social and economic interconnections that were characteristic of the late Republican and early Imperial periods. At Ostia and Minturnae, there were fewer sidewalks and curbs. Instead, corridors and alleys gave pedestrians access routes through and between buildings, away from the view and the social integration of the streets. These high-imperial cities seem to have no longer required sidewalks as a legal condition of construction, their facades instead overwhelmingly dedicated to commercial endeavors. At these cities during the high empire, economic competition was no longer so indelibly tied to social connections, just as domestic and economic properties had been disentangled and resituated into more discretely defined buildings. The four cities examined in this study allow for the suggestion that there was diachronic change in Roman social and economic relationships evident from the differing construction arrangements of the four cities{\textquoteright} frontages. The alteration in access and provisioning for pedestrians is suggestive of a larger shift in social and economic behavior that removed the focus of interaction from the public street to the privacy of indoors.}, keywords = {500 BCE to 500 CE, Ancient Greek/Roman Art}, author = {Weiss, Claire Jeanette} } @mastersthesis {12664, title = {Contemporary Transgressions: The Byzantine-Modern Connection}, year = {2018}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {Comparative, Theory/Historiography/Methodology}, author = {Batario, Jessamine} } @mastersthesis {12783, title = {Cor ad cor loquitur: Burning Hearts and the Iconography of Divine Charity in the Catholic World, 1570-1770}, year = {2018}, school = {Rice}, abstract = {This dissertation examines the iconography of divine charity (caritas) through the image of the burning heart and heart-bearing saints known as cardiofori between the early sixteenth century and late eighteenth century to illuminate a crucial period of spiritual development in the Catholic Church. I focus primarily on Italian, Spanish, and French works because a majority of the representations of cardiofori come from those heavily Catholic countries, even in the depiction of saints who were not native to those lands. I also cover a small sampling from the Spanish Viceroyalties of New Spain and Peru because they were the most prolific art centers in the New World and were heavily influenced by the art and literature of Catholic Europe. These works are viewed in the context of the post-Tridentine Church, Catholic Reformation, and Counter-Reformation. While these three designations have different definitions, and characterize a particular movement within the Church, the spirituality that emerges at this time calls for a deepening personal responsibility for one{\textquoteright}s spiritual life. This shift in spirituality called people to holiness, regardless of their station in life. The consensus among contemporary Catholic spiritual writers, following St. Paul{\textquoteright}s lead, was that the best way to achieve Divine Union with God was through the virtue of charity. The hearts of those who cultivated charity burned, as seen in the allegorical representations addressed here. This burning heart mirrored the Heart of Jesus, that burns with love for humanity. The journey of the soul to God passed through the wounded side of Jesus; it meditated on the Passion of his corpus, to reach his cor. Reception and adoration of the Eucharist, the "Sacrament of Charity," was central to understanding the love of God. In art, we see the transformation of the depiction of charity. In the earliest representations, charity is an allegorical personification; then the attribute is given to various saints whose lives and spirituality reference the heart and divine love. The saints, as models of Christian perfection, then make way for the viewer to be the direct recipient of God{\textquoteright}s burning love. The culmination is the image of the Sacred Heart of Jesus, specifically when he is shown offering his heart (presumably in exchange) to the viewer. Anyone standing or kneeling before the image of Jesus and his Sacred Heart is offered and can access Christian perfection; this is the visualization of the universal call to holiness promoted by Catholic Reformation spiritual writers. One of the earliest saints depicted as a cardiophori is St. Augustine of Hippo (d. 430), whose writing on charity is notably influential in the lives of other heart-bearing saints. During the sixteenth century, when representations of these saints proliferated, St. Augustine{\textquoteright}s iconography more frequently incorporated the burning heart. Perhaps as an indicator of St. Augustine{\textquoteright}s continuous influence in Catholicism, several saints, particularly female ones, recorded mystical visions or interactions with him. Eventually, through the emphasis of personal holiness, images of hearts aflame and making their way to God (often symbolized by the Sacred Heart of Jesus) came to embody the spiritual character of the period and the concern of the Church. This study of the iconography of the cardiofori in the post-Tridentine period reveals how art was used not only to educate the illiterate but to promote and encourage a shifting spirituality, a personal, almost tangible mysticism.}, keywords = {Religion/Cosmology/Spirituality, Seventeenth Century}, author = {Palermo, Melisa} } @mastersthesis {12614, title = {The Country under the City: The Symbolic Topography of the Rustic Past in Late Republican and Early Imperial Rome}, year = {2018}, school = {Princeton}, abstract = {This dissertation, The Country under the City: The Symbolic Topography of the Rustic Past in Late Republican and Early Imperial Rome, argues that fundamental to the Roman conception of their capital city was the idea of its being superimposed on top of a pre-existing rural topography, quite literally, a "rus sub urbe." To demonstrate the various strategies by which this "monumentalization" of the city{\textquoteright}s rustic past was achieved, the project considers a number of sites that rarely feature in discussions of Roman topography, largely because there is no trace of them in the archaeological record, ranging from plots of un-built public land termed "meadows" (prata) to the electoral voting precinct designated as the "Sheepyard" (Ovilia). Using the accounts of authors writing across a wide array of genres - pastoral and bucolic poetry, history and antiquarian investigation, as well as the agronomic writings of Cato, Varro, and Pliny the Elder - and comparison with existing structures, I reconstruct their physical appearance in order to demonstrate how, for centuries, the city{\textquoteright}s evolving architectural forms and preserved open spaces insisted on Rome{\textquoteright}s rustic origins, even as its growth into a pan-Mediterranean empire would suggest otherwise. Ultimately, the research shows that - even in the context of the march toward empire, even as the city{\textquoteright}s older buildings burned or fell down and were gradually replaced with ever grander ones - Romans used key topographic features both to vivify the story of the city{\textquoteright}s rise from humble beginnings, and to foster a genuine sense of continuity with the landscape and religion of their farmer ancestors, beyond mere nostalgia or conceit.}, keywords = {500 BCE to 500 CE, Ancient Greek/Roman Art}, author = {Brown, Nicole} } @mastersthesis {12811, title = {Creating 1968: Art, Architecture, and the Afterlives of the Mexican Student Movement}, year = {2018}, school = {CUNY}, abstract = {The student movement of 1968 in Mexico City staked a claim to urban space. Through mass gatherings in the Zocalo, posters in the streets, and marches past prominent landmarks, student activists countered the spectacles of national unity designed in preparation for the 1968 Olympic Games. These competing claims to space came to a head on October 2, 1968, when government agents fired on activists and bystanders gathered in Tlatelolco Square, killing dozens and imprisoning thousands more. Scholars and essayists have since framed 1968 as a watershed moment in twentieth-century Mexican history and the massacre at Tlatelolco as a "wound" in the national consciousness. I analyze how artists, architects and activists subsequently commemorated-or erased-the history of 1968 from three spaces in Mexico City that were central to the movement: Lecumberri Prison, the streets of the Centro Historico (Historic City Center), and Tlatelolco Square. I argue that many of these interventions troubled both the government{\textquoteright}s teleological timelines of progress and those canonized by movement leaders, offering alternative afterlives for 1968. Chapter one considers the renovation of Lecumberri Prison, which held movement protestors in the aftermath of 1968, that transformed it to become the Mexican National Archive. I contend that, through selective demolition and performances of progress, the Institutional Revolutionary Party-government attempted to reclaim Lecumberri{\textquoteright}s history from the movement activists who used it as a symbol of state repression during and after 1968. Several prison spaces and artist interventions, however, escaped these tidy timelines. Chapter two analyzes artworks made by the collectives Grupo Germinal, Grupo Suma, and Grupo Proceso Pentagono for the commemorative march on the tenth anniversary of the massacre, arguing that these opaque works offered a new paradigm for protest art and used the aesthetics of bureaucracy, muralism, and agrarian indigeneity against state claims to these strategies. The third chapter considers both La Grieta, the design that won the 1988 competition for a memorial in Tlatelolco Square, and the 1993 stela that activists eventually built in its place. I argue that both monuments proposed a "critical pre-Columbianism" against the state, and that the stela{\textquoteright}s widespread condemnation as a "failure" offers a locus of resistance. Chapter four returns to the street and the Square in 2008, considering the ephemeral and participatory artworks commissioned by the newly opened museum Memorial del 68, and arguing that their itinerant, archeological strategies refuse the nostalgic homecoming to Tlatelolco Square offered by the Memorial itself. Poetic protest banners, abstract monuments, and fleeting art installations escaped from the canonical timelines and territories of 1968, proposing new temporalities.}, keywords = {Twentieth Century}, author = {Dosch, Mya} } @mastersthesis {12762, title = {Creating a Scene: Art and Experimentation in Dusseldorf circa 1958}, year = {2018}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {Northern Europe, Twentieth Century}, author = {Hanson, Lauren} } @mastersthesis {12803, title = {Creativity{\textquoteright}s Shadow: Dalibor Vesely, Phenomenology and Architectural Education (1968-1989)}, year = {2018}, school = {Princeton}, abstract = {The dissertation explores an episode in the history of architectural education surrounding the career of the Czech architectural educator Dalibor Vesely. It follows the historical development of his career during the cold war (from the early 1960s to 1989). It begins with his life in totalitarian Czechoslovakia and then moves to his new life as an emigre in London teaching at the Architectural Association where he was one of the first unit masters in Alvin Boyarsky{\textquoteright}s new AA diploma unit system and Essex University where he taught in an innovative new history and theory teaching partnership with Joseph Rykwert. It ends with the mature phase of his career as a professor of architecture at Cambridge University, where he taught in close collaboration with Peter Carl. By examining the material, institutional and discursive world of the teaching practices surrounding Vesely, the dissertation explores the interaction between his interpretation of phenomenology, first formed in Czechoslovakia in the dissident culture of the artistic underground and the problems, and issues common to higher education in general and architectural education in particular. It argues that the logic of the underground stayed with Vesely from one context to the next, having both positive and problematic effects on the architectural education that he created. It explores how the terms of architectural education merged with and sometimes contradicted those of phenomenology and how phenomenological discourse had unwitting strategic effects within the terms of architectural education.}, keywords = {Theory/Historiography/Methodology}, author = {Bedford, Joseph T.} } @mastersthesis {12781, title = {Criticism without Authority: Gene Swenson, Jill Johnston, Gregory Battcock}, year = {2018}, school = {Chicago}, abstract = {In New York City, from roughly 1963 through 1972, art criticism became a site for the production of unlikely forms of art. For a few critics, art criticism offered improbable spaces to assemble queer ways of being and of writing that shatter things rather than shore them up, withhold comforts of certainty and political solidarity, allow for dithering and pleasure over resolute productivity, and let passions percolate to the surface. To describe this genre, I propose the term "criticism without authority." I locate critics Gene Swenson, Jill Johnston, and Gregory Battcock at the center of this endeavor to create criticism without authority-an endeavor that happened very near to and within the margins of the art world as it was expanding and becoming institutionalized in New York City. There exists an enduring sense within art history that "art criticism became a {\textquoteright}serious discipline{\textquoteright} in the US only at this time [the 1960s and 1970s], and primarily through the medium of Artforum," as art historian Hal Foster characterizes it. This dissertation traces a history of what unfolded outside the pages of Artforum, where it also happened that American art criticism came together as a collective project-albeit a very different kind of collective project shared among a loose constellation of critics and premised on instances of improbable alliance. Across three chapters, I dwell on moments when Swenson, Johnston, and Battcock manage to create alternative, queer ways of working, being, and relating in the world-scenes that include, for example, Swenson{\textquoteright}s solitary protest outside MoMA wielding only a giant question mark as a sign, Johnston{\textquoteright}s appearance on a panel discussion she organized titled "The Disintegration of a Critic: An Analysis of Jill Johnston," and Battcock{\textquoteright}s weekly column titled "The Last Estate" for the underground newspaper GAY. The methodology I assemble in this dissertation does not adhere to a theoretical framework or attempt to see things through a specific critical lens. Rather, I think of methodology in terms of practice-habits of wading through material, piecing together fragments, reading, and writing-guided by two primary commitments: close attentiveness to archival material and openness to being surprised. From a scattered network of archival remains, I reassemble the achievements of Swenson, Johnston, and Battcock{\textquoteright}s practices: episodes in which perverse, non-normative ways of knowing, dithering, slouching, and wandering manage to pierce through the noise of the era.}, keywords = {Queer/Gay Art, Twentieth Century}, author = {Sichel, Jennifer} } @mastersthesis {12801, title = {Cultural Translation and the Reception of French Art in the United States, 1970-1980}, year = {2018}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {Theory/Historiography/Methodology, Twenty-first Century}, author = {Myers, Allison} } @mastersthesis {12629, title = {The Death of the City and the Creation of a New Social Order in Late Roman Central Anatolia}, year = {2018}, school = {Michigan}, abstract = {This dissertation considers the end of Antiquity through the lens of urban change in the Roman Province of Galatia in Central Anatolia. It is based in part on fieldwork carried out from 2011 to 2014 at Pessinus (150 km west of Ankara), which represents the main case study of this work. The dissertation examines the urban development of Pessinus in the Late Roman Period (4th - 7th centuries CE) and compares it with that of other cities in the same region (Ankara and Amorium), examining both the cities themselves and their rural environs. This regional investigation represents a new trend in scholarship, as traditional studies have tended to focus either on excavation of individual cities or on surveys of their hinterlands, but seldom on both. Additionally, my focus on the development of Late Roman Central Anatolia, a region that has often been neglected by modern studies despite the fact that it became the heartland of the post-7th c. Byzantine Empire, is an important addition to the scholarship on the end of Antiquity. Contrary to the western and eastern coasts of Anatolia, cities in this region developed for the first time at the end of the 1st c. BCE, and thus this study also examines Late Roman urban change in the light of its long-term regional tradition. This research demonstrates that both cities and rural settlements in Galatia experienced their maximum expansion between the 4th-5th centuries and the 7th c. CE; the cities thus represent some of the last flourishing examples of Classical urbanism. Contrary to what has been observed on the better known western and southern coasts of Asia Minor, the unraveling of the Roman settlement pattern in Central Anatolia was more sudden and later, ultimately precipitated by a period of military, demographic, and economic crisis that peaked with Arab invasions after 650 CE. Although the Arabs did not destroy these cities, they destabilized the demographic and economic foundations on which they were based. By the later 7th century, only the central administration had the resources to support large settlements, such as provincial capitals (Amorium and Ankara); among rural communities, only those in the vicinity of important religious centers like Germia or in isolated, mountain sites in northern Pisidia proved capable of maintaining independent existence. Crucial to the continuity of occupation in rural and urban communities into the 7th c. CE was the progressive regional economic independence that began in the 4th-5th centuries CE. This process is well-attested by the production and circulation of Red Slip ware, a common type of high quality tableware. During the Roman Period, Central Anatolia was part of a larger international commercial network, as shown by the presence of imports from the rest of Anatolia and the Mediterranean world. In the Late Roman Period, these commercial ties broke down, and a series of local production centers emerged in order to fill this market. The development of ceramic workshops went hand in hand with an increase in agricultural production, which is well-attested in regional palynological data. By the 6th c. CE, Central Anatolia was the most agriculturally stable and productive region in Anatolia, and was therefore exceptionally well-equipped to support substantial urban life. Eventually, however, even this unusually resilient local network unraveled in the face of continuing instability and repeated invasions in the mid-9th century}, keywords = {Ancient Greek/Roman Art}, author = {Maranzana, Paolo} } @mastersthesis {12827, title = {Defying Gender - Redefining the Nude: Female Artists and the Body in Early 20th century Paris}, year = {2018}, school = {Rutgers}, abstract = {The nude has long been regarded as the gateway to artistic prominence. In the early twentieth century, it was the consummate subject whereby male painters expressed their virtuosity, ingenuity, and sexuality. For female artists to compete for eminence within the avant-garde as creative maestros of the modern nude was dubious, if not impossible. Even with newly gained access to life study, challenging masculine conventions of the genre or expressing sexual consciousness in art was considered unacceptable for women. Yet three important female artists who were painting in France during these years turned to the nude and the nude self-portrait and effectively claimed a place within this historical narrative. Suzanne Valadon, Emilie Charmy, and Marie Vassilieff attacked the nude without inhibition to express physical pleasure, contest gender binaries, and subvert time-honored approaches. They explored uncharted territory for female artists: the nude self-portrait, the male nude, and the lesbian body. Stylistically distinct, each artist transformed the nude in accordance with her own perception of gender, sexuality, and desire. Valadon, Charmy, and Vassilieff defied gender, as they effectively redefined the nude. Rather than a monolithic account of women artists in early twentieth-century France, this dissertation spotlights a heterogeneous trio of contemporaneous painters. No single theory or concept can succinctly illuminate their oeuvres. Therefore, each artist is the subject of a separate case study, with a different methodological approach. Chapter one posits that Valadon captured the female body through a specific lens - the model{\textquoteright}s gaze. From this embodied vantage point, she disrupted the normative cultural frameworks for the portrayal of the female nude and represented woman as subject. Chapter two focuses on Valadon{\textquoteright}s male nudes, overlooked by art historians. She experimented with diverse styles and media, creating various manifestations of the male form. Depicting the male body in consonance with her own desires, Valadon reversed traditional sex roles in art. Chapter three illuminates the parallels between Charmy{\textquoteright}s nudes and the writings of Colette, in particular, the suggestive veiling and unveiling of female sexuality. I argue that Charmy crafted an aesthetics of female jouissance, collapsed the standard subject-object dichotomy, and recast the relationship between artist and model. Chapter four shows how in her Cubist nudes Vassilieff leveraged avant-garde styles and theories to unhinge normative conceptions of femininity and masculinity. Through her androgynous male and female bodies, Vassilieff fused genders and conceived a radically new image of the nude. Finally, chapter five examines the understudied nude self-portraits by all three artists and demonstrates how Valadon, Charmy, and Vassilieff reclaimed the body, asserted agency, and pioneered modern body imagery.}, keywords = {Visual Studies}, author = {Jimerson, Lauren} } @mastersthesis {12730, title = {Diffusion: Women Light Artists in Postwar California}, year = {2018}, school = {Columbia}, abstract = {This dissertation redefines Los Angeles "light and space" art, tracing the multiple strains of abstract light art that developed in California during the postwar technology boom. These artists used new technical materials and industrial processes to expand modernist definitions of medium and create perceptual experiences based on their shared understanding of light as artistic material. The diversity and experimental nature of early Light and Space practice has been suppressed within the discourse of "minimal abstraction," a term I use to signal the expansion of my analysis beyond the boundaries of work that is traditionally associated with "minimalism" as a movement. My project focuses on three women: Mary Corse, Helen Pashgian and Maria Nordman, each of whom represents a different trajectory of postwar light-based practice in California. While all of these artists express ambivalence about attempts to align their practice with the Light and Space movement, their work provides fundamental insight into the development of light art and minimal abstract practice in California during this era. In chapter one, I map the evolution of Mary Corse{\textquoteright}s experimental "light painting" between 1964 and 1971, in which the artist experimented with new technology-including fluorescent bulbs and the reflective glass microspheres used in freeway lane dividers-to expand the perceptual boundaries of monochrome painting by manifesting an experience of pure white light. In chapter two, I plot the development of Helen Pashgian{\textquoteright}s plastic resin sculpture from her early pieces cast in handmade molds to her disc sculptures that mobilized the expertise of the faculty and aeronautical engineering technology available to her during an artist residency at the California Institute of Technology between 1969 and 1971. In chapter three, I chart the origins of Maria Nordman{\textquoteright}s ephemeral post-studio practice using natural light from her early works that modified the architecture of her Los Angeles studio, to installations in which she excised sections of the walls or ceilings of commercial spaces and galleries, and finally to her project at the University Art Museum at the University of California, Berkeley for the 1979 Space as Support series, in which she turned the museum building into a container for the light of the summer solstice. The reception history I construct outlines how gender bias suppressed the contributions of women within the critical and historical discourse surrounding light-based work and minimal abstraction, while also exploring how women mobilized Light and Space{\textquoteright}s interest in embodied perceptual experience as part of my wider analysis of the tactics deployed by women making abstract work before the discursive spaces of feminism and institutional critique were fully formed.}, keywords = {Genders/Sexualities/Feminisms, Twentieth Century}, author = {Gollnick, Elizabeth} } @mastersthesis {12612, title = {Domitian and Minerva at Rome: Iconography and Divine Sanction in the Eternal City}, year = {2018}, school = {Emory}, abstract = {Domitian{\textquoteright}s fondness for the Roman goddess Minerva has long been recognized; she dominated court-sanctioned literature, coinage, monuments, and festivals to such an extent that she became inseparable from Domitian{\textquoteright}s tenure as emperor. Modern scholarship has often dismissed this as one in a long line of symptoms linked to his descent into tyranny, an assumption that is rooted in the politically charged and defamatory literature published after his assassination. Minerva has rarely been separated from her Greek cousin Athena, and so becomes the transgressive foreign emblem of Domitian{\textquoteright}s heavy handed moral reforms through her status as a virgin goddess, or his battle lust through her position as a goddess of war. These approaches fail to consider the many unique Roman elements of Minerva{\textquoteright}s cult and their multivalent use under Domitian. This study examines Domitian{\textquoteright}s Minerva in light of her prominent role in Roman history, mythology, and religion and resituates his use of her as a calculated choice meant to connect him to that same legacy. Evaluating Minerva across various media, from her birth as an Etruscan goddess (Menrva) through the Flavian period, establishes that while she did retain several commonalities with Athena she also kept certain Italic elements, such as her healing cult (Minerva Medica), connection with prophecy, and powers over weather. Above all else she becomes associated with the welfare of the state and the power of empire through the palladium, a sacred icon from Troy which was said to take an active role in protecting Rome. Domitian{\textquoteright}s approach was two-pronged: first, through gender-fused portraits and then physical proximity, he sought to create an inextricable connection between himself and Minerva. Second, he flooded metropolitan Rome with images and references to her role in every aspect of Roman life and thus, through her divine patronage, legitimized himself as a worthy emperor. Examining Domitian{\textquoteright}s Minerva across media and considering her Italic qualities reveals a goddess that was not only much more central to Roman religion and history than previously thought, but a comprehensive propaganda campaign that would ultimately be extraordinarily successful.}, keywords = {500 BCE to 500 CE, Ancient Egyptian/Near Eastern Art, Ancient Greek/Roman Art}, author = {Jones, Kira} } @mastersthesis {12613, title = {Domus and Insulae in the City of Rome: Living Spaces, Design, and Development}, year = {2018}, school = {Emory}, abstract = {Excavations throughout the city of Rome over the last century now allow us to gather a much more complete image of urban ancient Roman housing. This study uses the decorations and organization of architecturally organized domestic spaces, which have been archaeologically recovered within the limits of the Aurelian walls between the first and fifth centuries CE, to elucidate how domestic spaces played a role in Roman life and society in this period. It examines how residences contributed to the social interactions and political status of households both on an interior scale, examining the individual spaces within Roman houses as settings for social interaction, and on an exterior scale, seeing how the placement of a household within the urban city plan and within the social networks in the city influenced the public development of Rome. First on the interior scale of domestic space, it examines the individual rooms of Roman houses through an architectural analysis of lines-of-sight, decoration, and architectural arrangement of rooms. Then on an exterior scale, using network analysis and GIS mapping, it examines how the placement of a household within the topography of the city was influenced by its position within social networks. The dataset consists of ninety-one domus or possible domus and twenty-eight insulae with possible multi-family residences and provides a foundation for the examination of three key questions. First, Romans consciously chose the decoration and design of their spaces. How do their choices of decorative program, lines-of-sight, and organization reveal the relative degree of accessibility that would have been expected in different types of domestic spaces? Second, it examines the decorative program of particular spaces to uncover decorative themes found in common in specific types of spaces, such as open-air courtyards or interior large decorative rooms. These themes indicate possible expectations for the use of these spaces. Finally, using network analysis and GIS, it asks if social networks among households in the fourth century, specifically relationships based on political standing, cultic participation, or familial ties, influenced the development of the topographical neighborhoods of the city. This study concludes that Romans consciously created spaces for flexible use to accommodate a maximum variety of social functions, both public and private, in the compact footprints available in the urban center of the city. Romans used key decorative themes to maximize the appearance of their status, wealth, and education, and tailored these themes to different types of rooms. While their social ties did not have a clear impact on the locations of domestic buildings in the city, their social status and wealth impacted the development of the urban plan and changed the shapes of the hills as they were expanded and built into by wealthy patrons.}, keywords = {500 BCE to 500 CE, Ancient Egyptian/Near Eastern Art, Ancient Greek/Roman Art}, author = {Mundy, Joanna} } @mastersthesis {12798, title = {The Dwelling of the War God: the Art and Architecture of Embekke Devale in Medieval and Early Modern Sri Lanka}, year = {2018}, school = {UCLA}, abstract = {Embekke devale (house of god) is a Hindu temple dated to the fourteenth to eighteenth century of the Gampola and Kandy periods. Located in Embekke village in central Sri Lanka, the temple is dedicated to god Skandha, the god of war and victory. The central paradox of Embekke devale is that it is a Hindu temple within a predominantly Sinhala Buddhist community with unusual woodcarvings in its Digg-ge (pillared hallway). The carvings are neither exclusively Hindu nor Buddhist and their purpose remains an ambiguity. By analyzing the historical shifts of the Gampola and Kandy periods, when the devale was built and perhaps renovated, I propose that the fluidity of religious and social identities resulted in the eclectic collection of art and architecture in Embekke devale and its contemporaneous temples, the Gadaladeniya and Lankatilaka temples. I also argue that rather than being an example of Sri Lankan art that lacks a prototype, the iconography of Embekke woodcarvings draws from designs and motifs that are prevalent within the broader scope of South Asian art. Instead of isolating the woodcarvings as a collection that is specific to Sri Lanka, I place Embekke devale in a more cosmopolitan historical setting where exchange of art and iconography took place frequently between sites and kingdoms. I propose that the appropriation of the pillars from a royal audience hall into a Hindu shrine has re-articulated the Digg-ge{\textquoteright}s architectural space; the variety of seemingly secular and non-secular mythical motifs in the woodcarvings create a visual transitionary point for the devotees as they move from the mundane to the sacred. Instead of compartmentalizing the historical narrative, I address the significant South Indian presence in Gampola and Kandy that is underscored by exchanges with South India and migrant artisans of the Vishwakarma caste. In conclusion, I argue that as a visual testament to the cultural syncretism during the diverse period between the fourteenth and eighteenth centuries, Embekke devale along with its two neighboring temples reflects the continuation of both Sri Lankan and South Indian architectural designs in Medieval and Early Modern central Sri Lanka.}, keywords = {South Asia/South East Asia}, author = {Senarath Gamage, Lakshika} } @mastersthesis {12630, title = {The Dynamics of Roman Honorific Arches: Space, Design, and Reception}, year = {2018}, school = {UT Austin}, abstract = {This dissertation reconsiders Roman freestanding honorific arches as essential shapers of Roman cities and as communication vehicles between ancient patrons and viewers. I explore a select corpus of well-known monuments that include the Arch at Orange in Gaul and the Arch of Trajan at Benevento, as well as Roman arches including the Arch of Titus on the Velia, the Arch of Septimius Severus in the Forum, and the Arch of Constantine. By looking at these monuments from a comparative perspective, I reveal specific topographical and visual strategies ancient patrons employed to communicate a wide variety of messages. I also investigate how those messages were perceived by their intended audiences. The study begins with an exploration of the urban context of arches showing how their location was crucial in evoking a network of symbolic associations. The analysis follows with a consideration of design strategies typical or arches to include their form, their architectural ornamentation, and the style of the associated sculpted reliefs. The last chapters of this dissertation consider, for the first time, issues of reception of ancient architecture with a particular emphasis on freestanding arches. I explore how the messages constructed through topographical siting and design were perceived by a multitude of viewers according to their individual visual and cultural horizons.}, keywords = {Ancient Greek/Roman Art}, author = {Rodriquez, Gretel} } @mastersthesis {12742, title = {The Eloquence of Things: Indigeneity and the 1925 Pontifical Missionary Exposition}, year = {2018}, school = {British Columbia}, abstract = {No record in ProQuest, British Columbia has it embargoed}, keywords = {Native American/First Nations, Twentieth Century}, author = {Bell, Gloria} } @mastersthesis {12701, title = {Embracing Death and the Afterlife: Sculptures of Enma and His Entourage at Rokuharamitsuji}, year = {2018}, school = {Kansas}, abstract = {This dissertation investigates a sculptural group of Enma and his entourage that was once enshrined in an Enma hall located within the Kyoto temple Rokuharamitsuji precinct, and hopes to highlight the role that significant yet understudied sculptures played in the development of the cult of Enma and the Ten Kings in premodern Japan. Rokuharamitsuji is of great importance to study the cult of Enma and the Ten Kings not only for its rare early sculptures of Enma and his two assistants created in the thirteenth century when the cult began to flourish in Japan, but also for the later addition of a seventeenth-century Datsueba sculpture, which reveals the evolution of the cult through its incorporation of Japanese popular belief. This study examines how the Rokuharamitsuji sculptural group presented images of hell within a designated space and conveyed messages of salvation to their beholders, responding to the environs of the salvation-oriented temple. It demonstrates that historical, geographical, and cultural attributes of the temple{\textquoteright}s surrounding area, namely Rokuhara (a field of skulls), strengthened the belief in Enma and the Ten Kings and contextualized the cult in combination with another belief in Datsueba.}, keywords = {East Asia}, author = {Kwon, Yegee} } @mastersthesis {12684, title = {The Empire{\textquoteright}s New Cloth: Western Textiles and Imperial Identity at the Eighteenth-Century Qing Court}, year = {2018}, school = {Bard Graduate Center}, abstract = {This dissertation reestablishes the forgotten history of Western (xiyang) textiles at the eighteenth-century Qing court, focusing on two categories-silk brocades with floral patterns and metallic threads and large woolen tapestries featuring complex pictorial designs. Both original European textiles and Qing court products incorporating European styles and techniques were called xiyang, a term with multiple connotations as a geographical space, a knowledge field, and stylistic attributes. Western textiles introduced a new spectrum of visual languages and pictorial concepts, and they played a prominent role in conveying the Qianlong emperor{\textquoteright}s ideologies of rulership. These textiles represent the apogee of high Qing artistic creativity and were imprinted with Qianlong{\textquoteright}s taste, imagination, and political agenda. Highlight the issues of transformation and reinvention, this dissertation traces Qing imperial encounters with and assimilations of European silk brocades and woolen tapestries, and examines the specific roles and meanings of Western textiles (both European imports and Qing products) in Qing imperial military ceremonies, religious spaces, and private palace interiors. 1 suggest that the semiotic opacity of the foreign patterns made Western silks a symbolically malleable surface on which Manchu martial identity and religious vision could be projected, while the visual devices and embedded spatial concept in European woolen tapestries offered Qianlong a novel form to personally reenact auspicious narratives pertinent to his emperorship. Taken together, I argue that xiyang silks and tapestries at the Qing court illustrate a unique pattern of Qing imperial engagement with global flows of art and objects: Western forms, styles, and related modes of seeing were internalized to defamiliarize conventional Chinese imagery while ultimately creating new means to reframe and reinforce time-honored messages.}, keywords = {East Asia, Eighteenth Century}, author = {Rado, Mei} } @mastersthesis {12784, title = {An Entire Chapel Cast and Engraved with Images{\textquoteright}: New Perspectives on the Tomb of St. Sebald in Nuremberg}, year = {2018}, school = {Columbia}, abstract = {This dissertation critiques the concept of art-historical periodization through a monographic study of the brass tomb of St. Sebald in the Church of St. Sebald in Nuremberg, Germany. From the time it was designed and cast between 1488 and 1519 by the Vischer family workshop, this object has been considered a sculptural masterpiece, often called the first Renaissance sculpture north of the Alps. And yet, it has not been the subject of a monograph since 1970. The tomb is unique; no other saint{\textquoteright}s tomb from the Holy Roman Empire displays such a dominant use of architectural forms. No other is cast in costly brass. No other employs classical and pagan motifs and ornament. And no other saint{\textquoteright}s tomb remains preserved in a Protestant church. The Vischer family executed the tomb at a time when certain Nuremberg artists and intellectuals became interested in the forms of the Italian Renaissance, and the tomb displays an arresting blend of traditional Gothic, Germanic elements and Italianate figure types and themes. It is an object that preserves a period of transformation for a great city in visual form. Through examination of the specific religious, economic, political, and cultural context in which the tomb was commissioned, the formal vocabularies employed in its design, the technology that was harnessed to cast it, and the ways observers have reacted to it throughout history, I distance the work from assumptions made by previous scholars intent on viewing the work as a Renaissance sculpture deeply indebted to Italianate notions about art and artists. The first chapter of this dissertation considers the specific ways in which the Vischer workshop cast the tomb of St. Sebald, and the relationship of those techniques to the rest of the workshop{\textquoteright}s objects, other founders in Nuremberg, and traditional casting techniques in German-speaking lands. The second chapter examines the tomb of St. Sebald as a site of saintly veneration, examining the ritual and economic aspects of the cult of St. Sebald in Nuremberg in the late fifteenth and early sixteenth century and the ways these factors may have affected the form and function of the brass tomb monument. My third chapter discusses the formal elements of the tomb, considering not only the classicizing ornament and pagan narratives, but also the ways that the Vischers employed traditional Gothic structural and decorative programs. This chapter also considers the specific motivations the patrons of the tomb may have had in encouraging these elements, and how they play off one another in a way that conforms to traditional hagiographic narratives. Finally, the fourth chapter traces the circulation of plaster casts of the whole tomb and its parts in the nineteenth century as a way to understand how the tomb and related objects were used to construct a sense of German national identity at the dawn of Germany as a unified nation. Through these various strands of investigation, a clearer picture of the role the tomb of St. Sebald played both in the time and place of its creation and the centuries of its continued existence will emerge, distinct from generalized conceptions of medieval or Renaissance artistic production.}, keywords = {Sculpture, Sixteenth Century}, author = {Gans, Sofia} } @mastersthesis {12751, title = {Evolving Photography: Naturalism, Art, and Experience, 1889-1909}, year = {2018}, school = {Chicago}, abstract = {In the final decades of the nineteenth century, Darwin{\textquoteright}s theory of evolution reverberated across nearly every part of culture, giving rise to new movements in philosophy, psychology, the social sciences, literature, and the visual arts, which collectively took up "naturalism" as their rallying cry. Rather than embodying a single idea, however, naturalism formed a contested terrain, wherein a mixture of old and new ideas about nature and human agency vied for cultural authority. For British and American photographers at the turn of the century, naturalism took root as a key organizing term, representing both an aesthetic ideal and a deeper set of philosophical commitments that engendered a new understanding of the medium. These photographers visualized the landscape, its human inhabitants, and wildlife subjects in ways that registered their novel beliefs about nature, and they simultaneously drew from those beliefs as they laid claim to photography as a mode of individual expression. The narrative follows the transatlantic flow of naturalism within photography, starting with a reappraisal of British photographer P. H. Emerson{\textquoteright}s famed decision in late 1890 to withdraw his controversial 1889 treatise, Naturalistic Photography for Students of the Art. The opening chapter details Emerson{\textquoteright}s formative engagement with Herbert Spencer{\textquoteright}s evolutionary philosophy, revealing how an encounter with William James{\textquoteright}s writings on psychology led him to reconsider his core convictions about photography and art. The second chapter traces the influence of evolutionary thought on American pictorialism through a comparative analysis of two competing claimants to Emerson{\textquoteright}s legacy, Alfred Stieglitz and Rudolf Eickemeyer, Jr. The third chapter furnishes a culturally situated account of the emergence of nature photography as a distinct genre and a popular activity starting in the mid-1890s, focusing on the peripatetic life and career of British-American photographer Arthur Radclyffe Dugmore. His work is read through his peripheral engagement with in the New York amateur photography scene and his involvement with the American nature study movement. Lastly, a chapter-length appendix recounts Emerson{\textquoteright}s attempt starting in the 1920s to secure his legacy by writing a history of artistic photography, which he completed but never published. Parsing the details of Emerson{\textquoteright}s unrealized history through his private correspondence with Stieglitz and Eickemeyer casts light on the fate of naturalism and the efforts of each photographer to shape the history of the medium in their own image.}, keywords = {Nineteenth Century}, author = {Fuldner, Carl} } @mastersthesis {12757, title = {Expanding Ceramics: Experimental Clay Practices in the United States, 1963-1973}, year = {2018}, school = {Yale}, abstract = {This dissertation considers the intersection between studio ceramics and vanguard art practices in the 1960s and early 1970s. During that time, a number of artists who had been trained in ceramics, including Lowell Darling, Jim Melchert, and Stephen Kaltenbach, began working in experimental modes that often left aside the physical material of clay. Instead, they favored more ephemeral idioms such as performance, projection, and text-based artworks, but to varying degrees, they continued to draw from the metaphors and processes of clay. These activities constitute what I term expanded ceramics . Expanded ceramics was significant for decoupling the medium from the physical presence of clay. For these artists, ceramics constituted not just an actual material, but also a set of strategies that could take shape either in clay or not. They engaged ceramics as an attitude, a position or state of mind they could occupy that opened metaphorical and thematic possibilities regardless of the material used. Further, ceramics could also function as a proposition, a conceptual or material foundation from which the work originated, but that in its final state bore little or no identifiable resemblance. The chapters in this study focus on particular instances during this period where expanded ceramics intersected with other vanguard art. The first chapter analyzes experiments in the medium that emerged in the San Francisco Bay Area in the early and mid-1960s, proposing that artists expanded the field first by incorporating hobbyist approaches and then by integrating themselves within a rich cross-disciplinary milieu. The second chapter examines how generational shifts in political awareness mobilized by the anti-Vietnam War movement created new possibilities for ceramics. It focuses on the nexus of Kent State University as the site not only of the generation-defining shootings of May 4, 1970, but also of works of expanded ceramics by Robert Smithson and Jim Melchert that same year. The third chapter analyzes the Brooklyn Museum exhibition Attitudes (1970) as a bringing together of Studio Craft and leading New York sculpture designed explicitly to reframe ceramics as a state of mind rather than as a material. The final chapter considers Lowell Darling{\textquoteright}s early ceramic projects, which unlocked raw clay as performative material for both himself and other artists who explored it as a time-based medium. Expanded ceramics waned in the later 1970s in the face of the inward turn of the Studio Craft movement, yet its strategies have re-emerged strongly in the last ten or more years among makers across a wide spectrum. The artists and artworks examined in this study can thus function as an alternate, and previously obscure, genealogy for current artistic experimentation using clay in the broadest possible sense.}, keywords = {North America, Twentieth Century}, author = {Miller, Sequoia} } @mastersthesis {12653, title = {Feeding Rome: Food, Architecture, and Urbanism, 1907-1943}, year = {2018}, school = {Brown}, abstract = {This dissertation examines the intersections of food, politics, city, and the environment during fascist Italy. Using Rome as an example, the capital that was heavily{\textellipsis}}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Lo, Ruth} } @mastersthesis {12815, title = {Figures and Things: Charles Demuth, 1907-1935}, year = {2018}, school = {Princeton}, abstract = {Between 1923 and 1929, Charles Demuth (1883-1935), an early-20th century American painter perhaps best remembered today for his Machine-Age precisionist landscapes, executed a series of ten non-mimetic portraits of artists and writers active in and around the American avant-garde. All ten portraits in the series transgress the traditional conventions of their genre, eschewing the body proper to depict their subjects instead by way of objects, words, and graphic inscription, and often by reference to-or "in the guise of," so to speak-his or her signature work or style. Bracketed between ca. 1908, the year that marks the onset of Demuth{\textquoteright}s mature production, and 1935, the year he succumbed to diabetes at the age of fifty-two, this study uses the "poster" portrait series as a lens to distill a set of conceptual engagements and formal problems across Demuth{\textquoteright}s complex and varied practice. While most scholars have treated the artist{\textquoteright}s delicate floral still lifes and intimately-scaled watercolor figure studies in isolation from the precisionist landscapes for which he is best remembered today, I argue that the portraits crystallize an underappreciated thread running across Demuth{\textquoteright}s practice-his persistent interrogation of the determinants-and limits-of pictorial meaning, genre chiefly among them. While Figures and Things trains its primary focus on Demuth, it also casts a wider view. Using the poster portrait series as a fulcrum to open onto a wider rereading of Demuth{\textquoteright}s oeuvre, I position Demuth in turn to pry open the mythos of unity and rupture central to the art-historical narrative of American Modernism more broadly-a narrative, and by extension a revision, which exceeds any one individual actor. Arguing neither for Demuth{\textquoteright}s exceptionalism nor against his marginality, I treat his singularity as a lens that brings into focus a richer and more complex account of the formal questions and historical pressures that shaped picture making in the early decades of the last century.}, keywords = {Twentieth Century}, author = {Levenson, Abra} } @mastersthesis {12705, title = {French Depictions of Napoleon I{\textquoteright}s Resurrection (1821-1848)}, year = {2018}, school = {Iowa}, abstract = {Despite the inherently multivalent nature of images of Napoleon Bonaparte created during the middle of the nineteenth century, scholars often employ only one lens to interpret them: the political context of the age in which they were created. In doing so, they effectively separate these images from the wider art historical narrative. A second-and equally fraught-effect of this tendency is the perpetuation of dominant assumptions that the popularity of his image was due to his status as a "Great Man." This dissertation examines a subset of mid-century Napoleonic imagery that demonstrates the flawed nature of neglecting other approaches to interpreting these works: depictions of the Emperor{\textquoteright}s resurrection. These images frequently portray the Emperor as an inherently democratic, republican, or Populist force that derives its power not from Napoleon{\textquoteright}s identity, but from the creativity, commemorative work, or critical thinking of the audience and the French people. This dissertation closely examines these images in their artistic and cultural contexts, applying cultural art historical methodology and close iconographical analysis to works that are either absent from or marginalized in the art historical narrative. In doing so, it reveals Napoleonic resurrection imagery{\textquoteright}s potential for commenting on changing social mores that privileged the cultural agency of the French people at mid-century. The underlying argument of this study is that Napoleon was a popular artistic subject not because of his status as a "Great Man," but because of his endlessly mutable identity. This mutability facilitated the creation of new forms of art and knowledge while allowing the French people to reflect upon their place in the changing cultural and artistic milieu. By demonstrating that this admittedly narrow subset of Napoleonic representation is open to cultural analysis, this dissertation opens up new avenues of inquiry for scholars of the Napoleonic Revival. The first chapter of this study is a largely theoretical examination of Napoleonic "ghosts" and their connection to the strained relationship between fine art and popular culture as well as the masses and "Great Men." Chapter two analyzes several images in which academically trained artists use Christ-like Napoleonic imagery to engage with the rising cultural and creative agency of the lower classes. The third chapter examines the political implications of the Napoleonic Revival. However, unlike earlier studies, it does so through the lens of the ongoing conflict between cultural narratives passed down from a centralized authority and popular culture that challenges these narratives. In particular, it contrasts the July Monarchy regime{\textquoteright}s marginalization of the "real" Napoleon with public enthusiasm for the image of his corpse. Finally, the dissertation considers Paul Delaroche{\textquoteright}s Napoleonic series in the context of the shifting locus of artistic production during the period.}, keywords = {Eighteenth Century, Nineteenth Century}, author = {Adams, Alissa} } @mastersthesis {12774, title = {From Minimalism to Performance Art: Chris Burden, 1967-1971}, year = {2018}, school = {Columbia}, abstract = {This dissertation was conceived as an addendum to two self-published catalogs that American artist Chris Burden released, covering the years 1971-1977. It looks in-depth at the formative work the artist produced in college and graduate school, including minimalist sculpture, interactive environments, and performance art. Burden{\textquoteright}s work is herewith examined in four chapters, each of which treats one or more related works, dividing the artist{\textquoteright}s early career into developmental stages. In light of a wealth of new information about Burden and the atmosphere in which he was working in the late 1960s and early 1970s, this dissertation examines the artist{\textquoteright}s work in relation to West Coast Minimalism, the Light and Space Movement, Environments, and Institutional Critique, above and beyond his well-known contribution to performance art, which is also covered herein. The dissertation also analyzes the social contexts in which Burden worked as having informed his practice, from the beaches of Southern California, to rock festivals and student protest on campus, and eventually out to the countercultural communes. The studies contained in the individual chapters demonstrate that close readings of Burden{\textquoteright}s work can open up to formal and art-historical trends, as well as social issues that can deepen our understanding of these and later works. Benefitting from access to the artist{\textquoteright}s estate, as well as archives collected at various institutions in Southern California, this dissertation is the first authoritative coverage of Chris Burden{\textquoteright}s early career.}, keywords = {Performance Art/Performance Studies/Public Practice, Twentieth Century}, author = {Teti, Matthew} } @mastersthesis {12690, title = {From the Earthly to the Celestial: Material Culture and Funerary Practice at Japan{\textquoteright}s Sixth-Century Fujinoki Kofun}, year = {2018}, school = {UC Berkeley}, abstract = {No record in ProQuest and UC Berkeley ETDs restricted}, keywords = {East Asia, Religion/Cosmology/Spirituality}, author = {Gellert, Carl} } @mastersthesis {12735, title = {Global Locality, National Modernity: Negotiating Urban Transformation in Early Republican Istanbul (1923-1949)}, year = {2018}, school = {Rice}, abstract = {By the time the Turkish Republic was founded in 1923, Istanbul had become a marginalized city. A series of wars and devastating fires during the final years of the Ottoman Empire took a massive toll on the city{\textquoteright}s economy and physical landscape, which posed the necessity of a comprehensive urban renewal. This dissertation traces the circulation of ideas, theories, and proposals about the modernization of Istanbul{\textquoteright}s built environment during the early republican period (1923-1949). Focusing on urban planning, architecture, and historical preservation, it offers an urban history of Istanbul at this critical, post-imperial juncture that coincided with the rise of nationalism and global modernism. This dissertation departs from the standard historiography that overemphasizes the agency of the nation-building program and its top-down state engineering in the social and spatial reconfiguration of Turkey. Instead, I argue that an entangled web of global, national, and local dynamics fueled the urban transformation of early republican Istanbul. Drawing on archival material and contemporary publications, I specifically focus on the crucial but hitherto neglected role of local agents in shaping the politics and practices of urbanism. By examining particular moments of urban intervention (such as the opening of boulevards, the redesigning of public squares, and the demolition of historical monuments) and the public debates that surrounded them, this dissertation demonstrates how Istanbul-based institutions and individuals transformed their city by navigating through the theories of modernism, the nationalist ideology, and their own diverse visions of modernity and urban modernization.}, keywords = {Islamic Art, Twentieth Century}, author = {Acikgoz, Umit} } @mastersthesis {12706, title = {Go-Between Portraits and the Imperial Imagination circa 1800}, year = {2018}, school = {Temple}, abstract = {This dissertation examines representations of Native peoples during the British Imperial Age of the late eighteenth and early nineteenth centuries. It concentrates specifically on diplomatic Go-Between figures, individuals who performed a mediating role between their own indigenous communities and the colonizers. The dissertation examines images and objects within a postcolonial framework, engaging notions of hybridity and mimicry in order to interrogate more traditional readings of colonial power and representation. The images of Native peoples that appeared in ethnographic studies, paintings, and prints, as well as in objects of material culture such as games, books, and toys, reveal a dislocating indigenous agency within their colonial contexts. By offering new considerations of artistic process and the role of late eighteenth- and early nineteenth-century British theatrical culture, the dissertation suggests that these Native figures were mediated by the tropes and conventions of contemporary theater through pose, gesture, and other dramaturgical allusions. In its exploration of the theatrical dimensions of imperial diplomacy and Go-Between representation, including evidence of performative mimicry by Go-Betweens themselves, my dissertation reveals an even more subtle interplay of identities in the context of colonial image-making than art historians have hitherto recognized. In addition to using theater history and performance theory to situate Go-Between images in relation to the contemporary English stage, the study also implicates the creative process and resulting artifacts themselves in the Go-Between status, affording the material object itself a hybridity that can become the site of ideological dislocation.}, keywords = {Eighteenth Century, Visual Studies}, author = {Hahn, Monica} } @mastersthesis {12720, title = {Gold, Stonework and Feathers: Mexica Material Culture and the Making of Hapsburg Europe}, year = {2018}, school = {Temple}, abstract = {This dissertation examines the initial contacts and cultural encounters between Europe and the Mexica and investigates the ways in which the Mexica treasures acquired by the conquistadores played a pivotal role in shaping social, cultural, political and religious perceptions and misperceptions about the Mexica, Hapsburgs and their empire, and Europe as a whole in the early sixteenth-century. The initial shipment of art, artifacts, weapons and other goods given to King of Spain and Holy Roman Emperor Charles V Hapsburg by the Mexica ruler Moctezuma (via Hernan Cortes) arrived in Seville on November 5th, 1519, followed by additional deliveries soon thereafter. The objects included in these shipments would play a significant role in shaping and promoting the newly-expanded imperial identity, while simultaneously contributing to the European audience{\textquoteright}s construction of an identity for the indigenous peoples of the New World, doing so through a European vision and recontextualization of pre-Columbian and early post-Conquest art and artifacts. This project explores these issues by focusing on three specific media: gold, mosaics (or small stonework) and featherwork, the three media most associated with the indigenous peoples and most coveted by European audiences. In doing so, I seek to understand what it was about these media specifically that inspired their new-found audiences to desire these materials so intensely, above all other forms of production to be found in the pre-Columbian Americas; how each art form fit into existing preconceptions and was used to shape new identities}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Benjamin, Aliza M.} } @mastersthesis {12737, title = {Guerra al metate!: The Visuality of Foodways in Postrevolutionary Mexico City (1920 - 1960)}, year = {2018}, school = {Florida State}, abstract = {This dissertation considers foodways as a vital symbolic and material force in the arts of Mexico{\textquoteright}s volatile postrevolutionary reconstruction (1920 - 1960). Although Mexican food history has stood at the forefront of a growing food studies movement, the field has been slow to appropriate image-based methodologies. Likewise, art history has been hesitant to embrace the historical performativity and materiality of foodways. This project thus seeks to fill a gap at the margins of food studies and art history, particularly at the nexus of indigeneity and urbanization. The dissertation traces the shifting relationships between art and food during a period of rampant modernization, in which the rise of modern cookery through electrical appliances and industrial foodstuffs converged and clashed with the nation{\textquoteright}s growing nostalgia for its pre-Columbian heritage. The book focuses on three case studies of artistic production and alimentary consumption-Tina Modotti and pulque, Carlos E. Gonzalez and mole poblano, and Rufino Tamayo and watermelon-that highlight the various ways in which visual renderings of food were used to frame indigenous culture as both the foundation of and a threat to the modern state. Each case study engages the convergence of racial imaginaries, artistic production, and foodways to show how conflictive attitudes toward indigenous heritage and bodies were made manifest through images of food and foodways. Therefore, this project demonstrates how seemingly innocuous images of foodstuffs and consumption became implicated in a broader visual, experiential, and commercial battle over the definition of nationalist attitudes toward indigeneity. The manuscript consists of five chapters and an appendix. Chapter 1, "Introduction," surveys Mexican food and art histories and establishes my intersectional framework. Chapter 2, "Nursing the Nation: Pulque and the Indigenous Body in Tina Modotti{\textquoteright}s Baby Nursing," argues that Tina Modotti{\textquoteright}s celebrated photograph Baby Nursing (1926) invokes the problematic consumption of pulque, an indigenous fermented beverage, as a metonym for nationalist ideologies that simultaneously celebrate and rebuke indigenous lifeways. Chapter 3, "The {\textquoteright}Spirit of Mexico{\textquoteright}: Consuming Heritage in Cafe de Tacuba," demonstrates how an iconic but previously unstudied painting depicting the mythic invention of mole poblano, commissioned for Mexico City{\textquoteright}s famous Cafe de Tacuba (1946), negotiates modern consumption by evoking colonial production. Chapter 4, "Mister Watermelon/Senor Sandia: Fruitful Anxieties in the Work of Rufino Tamayo," argues that Rufino Tamayo{\textquoteright}s still life mural Naturaleza muerta (1954), commissioned for the Sanborns department store cafe, mediated the state{\textquoteright}s aggressive removal of fruteros [informal fruit vendors] by acting as both an icon of Anglophone modernity and a visual celebration of Mexican tropicalia. Chapter 5, "The Colonial in the Contemporary: On the State of Mexican Gastronomy," presents the book{\textquoteright}s conclusions while engaging in a critique of Mexico{\textquoteright}s contemporary gastronomic movement and its reliance upon colonial aesthetics to veil Mexico City{\textquoteright}s socio-economic fragmentation. The Appendix catalogues recipes for pulque, mole poblano, and watermelon-based dishes, all of which have been compiled from nineteenth- and twentieth-century cookbooks and manuscripts.}, keywords = {Latinx, North America, Twentieth Century}, author = {Wolff, Lesley} } @mastersthesis {12806, title = {Handheld Cinema: The Ephemeral Avant-garde ca.1917-1944}, year = {2018}, school = {Georgia}, abstract = {This study considers dadaist and surrealist periodicals to show how they form a displaced, durational medium: handheld cinema. Handheld cinema doubly enhances our understanding of avant-garde efforts to democratize modernism as certain periodicals equalize art-making materials on the printed page and depend upon the mass media of print and film for their reception. This text thus traces a Euro-American network that speaks to the prevalence of radical re-mediation in an era that art historians most often associate with endeavors toward aesthetic purification. The project{\textquoteright}s three thematic chapters progress chronologically, from international dadaist periodicals printed during the waning years of World War I and its aftermath to the surrealist journals of interwar Paris and exiled artists during World War II. Whether the journals present melanges of typographic experimentation and photomechanical reproduction as in Tristan Tzara{\textquoteright}s Dada, subjects magnified to the point of obscurity as discussed in La Revolution Surrealiste and Documents, or pages that prescribe their own physical maneuvering through movable graphics as in VVV, all attest to handheld cinema{\textquoteright}s crucial role in avant-garde attempts to apply aesthetic programs to broader mediated environments.}, keywords = {Twentieth Century, Visual Studies}, author = {McClenathan, Erin} } @mastersthesis {12717, title = {The Hanse as Artistic Network in Late Medieval Lubeck}, year = {2018}, school = {Pennsylvania}, abstract = {This study investigates the artistic network of merchants in the Hanse trade organization from ca. 1400-1530. Also known as the Hanseatic League, the Hanse functioned as a late-medieval trading organization before the advent of early modern global trade. As a critical node in the extensive Hanse trade network, the city of Lubeck, Germany stood unrivaled artistically and economically by any other cities in the Baltic region. Strongly connected to mercantile ports across the Baltic and North Seas, as well as inland to Westphalia and Cologne, Lubeck merchants bought, negotiated, and transported art from workshops across network lines. This dissertation uses both the urban image of Lubeck and carved and painted altarpieces as models for artistic transactions in the Hanse during the "Golden Age" of Lubeck in the fifteenth century. As the first study to investigate Lubeck art across multiple media within the Hanse network, this dissertation reveals the decisive roles merchants played as consumers and agents in the production, mobility, and use of works of art in the Baltic region. Like Venice and Nuremberg to the south and Antwerp to the west, Lubeck{\textquoteright}s local and extraterritorial mercantile networks were instrumental in fueling an art market and crafting a civic identity in the late-medieval trade city.}, keywords = {Fifteenth- to Seventeenth-Century Art, Northern Europe}, author = {Tillery, Laura} } @mastersthesis {12819, title = {Harmonious Disagreement{\textquoteright}: Painters Eleven, Abstraction, and the Construction of Canadian Modernism in the 1950s}, year = {2018}, school = {British Columbia}, abstract = {This dissertation is an examination of Painters Eleven and the complex network of national and international discourses on modern art, abstraction, and cultural politics that converged in Toronto in the 1950s. As a practical grouping of artists, Painters Eleven relied on self-marketing and self-branding strategies to gain recognition for themselves as well as for modern art in general in English Canada. Through a close consideration of Painters Eleven{\textquoteright}s paradoxical idea of "harmonious disagreement," I explore the group{\textquoteright}s artistic practices, exhibition practices and pursuits, public and private statements, and their career successes and failures in order to highlight the idiosyncratic and contradictory mechanics of the group. I argue that the tensions between rhetoric and practice, cohesion and incohesion, and amicability and antagonism in the group{\textquoteright}s art and discourse form a complex series of conflicts=as well as attempts to overcome or smooth out these conflicts or frictions=which are at the crux of Painters Eleven{\textquoteright}s significance for abstract painting in midcentury English Canada. This study reframes the relationship between Painters Eleven and their reputations as pioneers of midcentury Canadian modernism by investigating how the group conceptualized, curated, and constructed their own reputations as avant-garde radicals. It also considers what their discourse and practice in Toronto can reveal about a transnational network of experimental abstraction in the era following the end of the Second World War, where contemporaneous artistic and critical activities in centers like Montreal, New York, and Paris were similarly preoccupied with advancing modern art as a national or international cultural force. I seek to understand how Painters Eleven attempted to mediate and reconcile the universalizing convictions of modernism and progress in art, science, and technology with the increasingly urgent concern for national identity in Canada during this period. By examining Painters Eleven through the lens of a postwar cosmopolitan ethos and vision, this inquiry offers new insight into their significance for the construction of Canadian culture in the postwar era.}, keywords = {Twentieth Century}, author = {Poon, Jessica} } @mastersthesis {12822, title = {Harry Bertoia and Postwar American Design Culture}, year = {2018}, school = {Stanford}, abstract = {This dissertation investigates the confluence of art, design, and corporate interests in the career and oeuvre of Harry Bertoia (1915-1978). Since the Industrial Revolution, modernist art has labored to distinguish itself from design and the associated threat of being dismissed as {\textquoteright}merely{\textquoteright} commercial, decorative, or craft. The decades following World War II saw an amplification of this modernist anxiety. Alongside the rise of Abstract Expressionism, a new design culture flourished in postwar America, bolstered by the powerful economic and political interests of big business. Design assumed unprecedented prominence as a central means of relating to increasingly abstract systems and institutions. Bertoia occupied a fraught position in this cultural landscape. In the course of his four-decade-long career, his practice routinely crisscrossed the categories of fine art, design, and craft. His extensive output includes hollowware, jewelry, monotypes, furniture, welded and cast metal sculpture, and sound recordings. This study demonstrates how his work dramatized the competing aims and claims of modernist art and design in the Cold War period.}, keywords = {Twentieth Century}, author = {Simon, Sydney Skelton} } @mastersthesis {12712, title = {The History and Significance of the Navicella Mosaic at St. Peter{\textquoteright}s, Rome}, year = {2018}, school = {Louisville}, abstract = {The Navicella mosaic is most famously an artwork created by Giotto di Bondone. Evidence for the appearance and dating of this giant mural is discussed in this dissertation with the conclusion that it was made in 1298 and its composition is best recorded in a Parri Spinelli drawing preserved in the Musee Conde in Chantilly, France. It was admired by untold numbers of worshipers who visited the grand Constantinian basilica of Old St. Peter{\textquoteright}s in the Vatican in Rome. The Navicella was located on the facade of Santa Maria in the Towers, an important chapel as well as the gatehouse affording entrance into the beauteous atrium of the church. Beginning in the sixteenth century and continuing into the seventeenth century Constantine{\textquoteright}s building was gradually demolished and replaced by New St. Peter{\textquoteright}s basilica, but this was not the end for Giotto{\textquoteright}s masterpiece. A copy of the mosaic can be seen today in the narthex above the central entrance into the church, comparable to its original location. Just as Giotto{\textquoteright}s Navicella was reconstructed for the new basilica, it is argued here that Giotto{\textquoteright}s mosaic was the replacement for a mosaic mural that had existed on the gatehouse probably since the middle to late fifth century and that was eventually destroyed in 1167. That the subject matter of this ancient mosaic was, like Giotto{\textquoteright}s Navicella, a scene of St. Peter being raised up from the Sea of Galilee by the hand of Jesus Christ is accepted to be a strong likelihood. Although Old St. Peter{\textquoteright}s basilica is no more, its atrium was the last feature to be demolished, continuing to exist into the early-seventeenth century, and the subject of detailed architectural surveys and visual documentation. This evidence for reconstructing the old atrium, and the late-sixteenth-century copies of the Navicella, is considered together with the inscription beneath the mosaic, exegetical material on Matthew 14:22-36 (the verses which describe the event depicted in the Navicella), and writings on the symbolism of the mosaic{\textquoteright}s iconography in order to discuss the signification of the mural for worshiper{\textquoteright}s at Old St. Peter{\textquoteright}s during the late Renaissance.}, keywords = {Eleventh to Fourteenth Century, Southern Europe and Mediterranean}, author = {Adams, Eston} } @mastersthesis {12778, title = {History, Myth and the Worker Body: Vienna Actionism within the Longue Duree of 1848}, year = {2018}, school = {British Columbia}, abstract = {In June 1968, at the University of Vienna, artists Otto Muehl and Gunter Brus staged a radical action called Art and Revolution using the body and its most base processes, instead of traditional media, as primary material. Following the failed revolutions of 1848, Richard Wagner, composed an essay bearing the same name, arguing for the unifying potential of a total artwork. The purpose of the University action was to question the role of art under advanced capital, while denouncing the repressive hypocrisy of civilizing processes, with the whole, I argue, amounting to a collision between the material body and aesthetic practice as political action. This dissertation examines the Vienna Actionists{\textquoteright} reaction to the limitations imposed by painting, within the longue dur{\'e}e of 1848, as a response to a historical trajectory which eroded the political weight, or "mattering," of the finite body. It situates them in relation to their inheritance of an aesthetic discourse which privileged totalization in the midst of a modernist narrative that mirrored this aforementioned corporeal erosion through its insistence on abstraction. This study resists an argument which posits the development of modernity as driven solely by the pursuit of pure reason, viewing the Romantic critique of Enlightenment as an equally vocal note in the elaboration of aesthetic and political modernity. I view the Actionists{\textquoteright} focus on the body{\textquoteright}s finite materiality in the aftermath of fascist violence, in the midst of a postwar rise in consumer culture, and in relation to a modern discursive obsession with estrangement, as an attempt to call attention to the political stakes of a historically contingent corporeal alienation. I understand, however, their act of total refusal to be diluted by their operation within the limits and language of a masculinist established order. VALIE EXPORT, in response to her male cohort, I argue, occupied a more suitable position to expose the brutality of processes of subjugation based on bodily difference, further exposing a corporeal imperative to collective cohesion. I posit her refusal, however, to be limited by her own normative subject position, thus exposing a repeated myopia toward the totality of fragmented social ties.}, keywords = {Performance Art/Performance Studies/Public Practice}, author = {Parent, Vanessa} } @mastersthesis {12773, title = {History, Myth and the Worker Body: Vienna Actionism within the Longue Duree of 1848}, year = {2018}, school = {British Columbia}, abstract = {In June 1968, at the University of Vienna, artists Otto Muehl and Gunter Brus staged a radical action called Art and Revolution using the body and its most base processes, instead of traditional media, as primary material. Following the failed revolutions of 1848, Richard Wagner, composed an essay bearing the same name, arguing for the unifying potential of a total artwork. The purpose of the University action was to question the role of art under advanced capital, while denouncing the repressive hypocrisy of civilizing processes, with the whole, I argue, amounting to a collision between the material body and aesthetic practice as political action. This dissertation examines the Vienna Actionists{\textquoteright} reaction to the limitations imposed by painting, within the longue duree of 1848, as a response to a historical trajectory which eroded the political weight, or "mattering," of the finite body. It situates them in relation to their inheritance of an aesthetic discourse which privileged totalization in the midst of a modernist narrative that mirrored this aforementioned corporeal erosion through its insistence on abstraction. This study resists an argument which posits the development of modernity as driven solely by the pursuit of pure reason, viewing the Romantic critique of Enlightenment as an equally vocal note in the elaboration of aesthetic and political modernity. I view the Actionists{\textquoteright} focus on the body{\textquoteright}s finite materiality in the aftermath of fascist violence, in the midst of a postwar rise in consumer culture, and in relation to a modern discursive obsession with estrangement, as an attempt to call attention to the political stakes of a historically contingent corporeal alienation. I understand, however, their act of total refusal to be diluted by their operation within the limits and language of a masculinist established order. VALIE EXPORT, in response to her male cohort, I argue, occupied a more suitable position to expose the brutality of processes of subjugation based on bodily difference, further exposing a corporeal imperative to collective cohesion. I posit her refusal, however, to be limited by her own normative subject position, thus exposing a repeated myopia toward the totality of fragmented social ties.}, keywords = {Performance Art/Performance Studies/Public Practice, Twentieth Century}, author = {Parent, Vanessa} } @mastersthesis {12812, title = {I am for an art{\textquoteright}: the struggle of the San Diego group and the Women{\textquoteright}s Caucus to reinvent photography in the Society for Photographic Education, 1962-1982}, year = {2018}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {Twentieth Century}, author = {Evans, Ariel} } @mastersthesis {12741, title = {The {\textquoteright}I{\textquoteright} of the Artist-Curator}, year = {2018}, school = {CUNY}, abstract = {This dissertation charts the proliferation of artist-curated exhibitions in museums and institutions of art from 1969 to the early 2010s. It is my contention that the artist-curated exhibitions of these four decades can be divided chronologically into several types: in the 1970s and {\textquoteright}80s, they disrupted museological conventions and helped contemporize the (perceived) aging collections of historical institutions; in the late 1980s and {\textquoteright}90s, they tackled pressing social and political issues, reimagining the practice of "institutional critique"; in the late 1990s and 2000s, they indulged in solipsistic investigations of the artist{\textquoteright}s psyche, reinforcing the traditional, romantic conception of the artist as a singular creative genius. The growth of such exhibitions has transformed the fields of curating and exhibition design, redefining the parameters of exhibition-making and blurring the once distinct lines between installation art and exhibitions, as well as artists and curators. This dissertation is as much a critical analysis and history of artist-curated exhibitions as it is a narrative of the rise of contemporary art as a distinct and influential field. Whereas such artist-as-curator programs were inaugurated by historical museums seeking to render themselves more contemporary, in recent years they have been adopted by contemporary art institutions. This incongruous development is the result of a shift in the understanding of the category of contemporary art. No longer a mere descriptor denoting the present, the contemporary has come to designate a period that is out of time, asynchronous and multi-temporal. This dissertation will thus demonstrate that the proliferation of artist-curated exhibitions-with their largely unconventional, ahistorical approaches-has resulted in the dismantling of history as it was understood and represented during the modern period.}, keywords = {Museum Practice/Museum Studies/Curatorial Studies/Arts Administration, Twentieth Century}, author = {Musteata, Natalie} } @mastersthesis {12795, title = {Illuminating the Scriptorium: The St. Michael Collection and Monastic Book Production in the Fayyum Oasis, Egypt during the Ninth and Tenth Centuries}, year = {2018}, school = {IFA/NYU}, abstract = {In 1910, a group of Egyptian farmers claimed they had discovered forty-seven Coptic manuscripts in a stone vat outside the village of al-Hamuli of the Fayyum Oasis. Known today as the St. Michael Collection (after the Monastery of St. Michael), the manuscripts were sold in 1911 to collector J. Pierpont Morgan. Unique for the number and quality of the manuscripts as well as for the preservation of their original bindings and paintings, the collection is one of the most important in the Morgan Library and Museum in New York. Produced between 822 and 914 CE, the collection includes compilations of martyrologies and hagiographies; smaller, single hagiographic and homiletic texts; Bible lectionaries; and other selections of scriptures from the Old and New Testaments. The colophons provide rare, detailed information about the scribes, artists, donors, and production locations of the manuscripts. Compared to contemporary Egyptian manuscripts, which were often bound in wooden book covers and were rarely decorated, the St. Michael Collection embodies a costly investment of time and money on the part of artisans and donors. While these manuscripts may represent a portion of one or more monastic libraries, scholarship on the St. Michael Collection has not addressed how and why the manuscripts were produced for their extended monastic community. This dissertation investigates a broad spectrum of evidence-literary texts, colophons, and paintings-to address questions of manuscript production and use. This investigation also emphasizes the material culture associated with the manuscripts. As objects, some of the manuscripts likely served the performance of the recitation of the liturgy. As a library, the collection appears to represent a textual preservation project on behalf of the monastic community in the region near a Monastery of St. Michael. Textual and pictorial evidence also reveals, through sustained analysis, formal and consistent book production centers in the Fayyum Oasis. These discussions substantially enhance our understanding of the economic aspects of book production and functions of monastic libraries. Using methods of art history, codicology, paleography, social network analysis, and material and cultural studies, this thesis illuminates the vibrancy of monastic book culture in medieval Egypt and provides avenues for future research on monastic economy, manuscripts studies, and the study of Egyptian Christian art.}, keywords = {Sixth to Tenth Century}, author = {Achi, Andrea} } @mastersthesis {12714, title = {Images for Personal Devotion in an Age of Liturgical Synthesis: Bilateral Icons in Byzantium, ca. 1100-1453}, year = {2018}, school = {Yale}, abstract = {This dissertation investigates the genesis, dissemination, settings, and functions of Byzantine bilateral icons, focusing on examples that, in each case, consist of a single panel with figural images distributed among the two prominent sides. Bilateral icons appeared in modest numbers in the twelfth century, but their wide-spread production and use did not begin until the late thirteenth century. Andre Grabar once suggested that bilateral icons served alongside different liturgical services and certain examples participated in religious and military processions. Later studies by Demetrios Pallas and Hans Belting demonstrated iconographic connections between bilateral icons and texts read at services for Holy Week in Stoudite monasteries. Belting has insisted "it is especially the bilateral icons that played a role in a service or procession." Subsequent art historians have adopted and reinforced this approach, noting iconographic connections between bilateral icons and texts, then proposing the panels were processed at liturgical services. For more than fifty years, art historians have placed bilateral icons in the liturgy and grounded their arguments in iconographic studies. The dissertation revises both the approach of earlier scholars and interpretations that assign bilateral icons to liturgical services and processions of Holy Week. Iconographic connections suggest the proximity of bilateral icons to the monastic agrypnia, an all-night vigil that, following adoption of the Neo-Sabaitic rite in monasteries, became a weekly liturgical event. The dissertation demonstrates, however, that proposals for a bilateral icon{\textquoteright}s setting do not immediately reveal its function. It argues that bilateral icons emerged in the twelfth century not from developments in the liturgy per se but as part of developments in Byzantine Christians{\textquoteright} devotional language and identities shaped by attendance at liturgical services. The panels{\textquoteright} functions lay closer to this language and these identities than to any uniformly prescribed role in the liturgy. In addition to the panels themselves, my evidence includes texts recited as part of liturgical services, as well as independent of these services, and I propose the impact made upon Byzantine Christians through repetition of the texts{\textquoteright} words, sentiments, and rhetorical structures. For example, repetition of liturgical and non-liturgical laments cast a Byzantine Christian in the role of Mary as she mourns Christ at the crucifixion, whereas a hymn delivered at the agrypnia presented its speaker as a mortal supplicant in need of divine assistance, hence its invocation of Mary as "protector." Study of Byzantine Christians{\textquoteright} changing identities through language inflected by liturgical and non-liturgical texts evokes the ways bilateral icons participated in devotional practices independent of liturgical prescriptions and processions. The gradual involvement of bilateral icons at the agrypnia, when Byzantine Christians delivered some of their most fervent hymns, accounts for their proliferation in the Palaiologan period. In addition to outlining their general progression beginning in the twelfth century and continuing through the fifteenth, the dissertation contributes the following: it revises a predominant interpretation that links bilateral icons to Good Friday services; it distinguishes between impulses behind bilateral icons{\textquoteright} inception and forces that drove their rising numbers, connecting the former to developments in Byzantine Christian piety and the latter to the history of the monastic rite; it argues that Byzantine Christians{\textquoteright} language, identities, and devotional habits were mediating, decisive factors between liturgical texts and bilateral icons; and it curbs the tendency in scholarship to represent bilateral icons in direct dialogue with monastic liturgy, demonstrating the need to address the intermediate subjects of spoken devotional language, memory and creativity in Byzantium, and the impact of ritual on Byzantine Christians{\textquoteright} pious practices.}, keywords = {Eleventh to Fourteenth Century}, author = {Rodriguez, James A.} } @mastersthesis {12627, title = {Imaginibus vel Simulacris: Depicting Urban Landscapes and Architecture in Roman Antiquity}, year = {2018}, school = {IFA/NYU}, abstract = {Pictorial representations of real, non-fictive urban landscapes and architecture permeated the ancient Roman world on media such as frescoes, reliefs, mosaics, and coins, dating from the 2nd century B.C.E. through the 4th century C.E. Given the rhetorical constraints of ancient literary sources and the fragmentary nature of Rome{\textquoteright}s architectural environment, the robust corpus of these pictorial representations sheds unique light on historic, three-dimensional architectural structures and topographical relationships and yields important information regarding both their actual form and symbolic value. Rather than following methodological precedent by analyzing these objects individually, based on an isolated medium, context, or chronological dimension, my work is the first to resituate this material in context and comprehensively treat these artifacts as primary sources that together constitute a significant body of evidence. By asking what factors, conscious and unconscious, may have influenced artists and patrons in the production of such objects, this dissertation provides an emic interpretation of these artifacts, recognizing them as inherently communicative devices and disentangling them from as much retrospective bias as possible. This dissertation addresses the way patrons and artists across the Mediterranean world in diverse socio-political contexts interpreted built structures and in turn fabricated an image, or {\textquoteright}simulacrum,{\textquoteright} that replicated and diverged from the buildings they represented to communicate an ideology. In order to best understand this communicative content, my study establishes in its first chapter a foundation that explains the origins and semiotics of architectural representation in Rome and subsequently follows a format according to the agency of the artists and patrons who produced architectural simulacra . These producers developed architectural simulacra according to a system of communication within specific cultural, political, religious, and economic frameworks, one dictated by their intended messages and the responses they expected to draw from their audience, but limited by the constraints of physical materials and mimetic reproduction. Using carefully selected case studies, I trace the choices of these producers beginning with commissions by Republican and imperial administrative officials, followed by those authorized by local and peripheral political entities and communities, and finally on media commissioned and distributed in a non-official capacity, traditionally termed {\textquoteright}arte plebea.{\textquoteright} I argue that these producers recognized the power of the built environment to elicit strong, emotional responses from an audience and attempted to provide their own narrative of historic and contemporary Rome by capturing the most memorable aspects of their urban surroundings and reconfiguring this subject matter as best suited for the story they wished to tell. This dissertation aims to provide the first comprehensive study of architectural simulacra and treat these artifacts as primary sources that enrich our knowledge of the ideology of monumenta and the formulation of socio-cultural identity in ancient Rome{\textquoteright}s urban milieu. Accepting that the entire corpus of architectural simulacra cannot ever be treated fully in one study, it is my hope that this work will provide scholars in a variety of disciplines a fundamental text to approach the study of this material and will encourage further research.}, keywords = {Ancient Greek/Roman Art}, author = {Kidd, Allison} } @mastersthesis {12825, title = {Imprinting Art and Ideology: Memory and Pedagogy in the Early German Democratic Republic}, year = {2018}, school = {Boston}, abstract = {No record in ProQuest or Boston ETDs}, keywords = {Twenty-first Century}, author = {Dalton, Caitlin} } @mastersthesis {12776, title = {In the New Body: Simone Forti{\textquoteright}s Dance Constructions (1960-61) and their Acquisition by the Museum of Modern Art (MoMA)}, year = {2018}, school = {UCLA}, abstract = {This study, focusing on the 2015 acquisition of Simone Forti{\textquoteright}s Dance Constructions, a suite of performance works first shown in New York in 1960 and 1961, by the Museum of Modern Art (MoMA), details the museum{\textquoteright}s first acquisition of historical dance works and an important model for collecting live performance and time-based artworks. Most commentators agree that because it is a living, temporal, and embodied experience, dance cannot be held in a repository such as an archive, library, or museum. But without a consensus on what constitutes dance "preservation," and as the museum deals with the changes brought by non-object-based ephemeral art, it may offer another avenue for thinking about dance{\textquoteright}s continuation into the future, which is reflected in Forti{\textquoteright}s arrangements with MoMA. My treatment tracks the changes: the transfer, translation, and (re)invention of Forti{\textquoteright}s artworks as well as the museum at the moment of their encounter, which newly defined the works as well as the institution. The case study offers insight into transformations of the art object, evolutions of the institutions that care for them, and changes in values for both visual art and dance over the last half-century. Using an interdisciplinary approach, the dissertation brings together art history, dance history, performance studies, and conservation and museum studies to build upon the mostly monographic studies of Forti to date that treat the historical and contemporary conditions of the artist{\textquoteright}s work separately. The co-articulation of Forti{\textquoteright}s Dance Constructions with MoMA represents a convergence of dance and art as well as the past and the present, shedding critical light on the artworks as well as the processes of making history. A theoretical introduction identifies the key conceptual problematics underlying art, dance, and institutions that are generated by considering Forti{\textquoteright}s dances and the museum together, laying out the terms for the discussion that follows. Part I looks back to the emergence of the Dance Constructions from Forti{\textquoteright}s nascent practice, produced within an interdisciplinary landscape of experimentation in the late 1950s and early 1960s. The performances proposed new models of movement and composition for dance, while also examining sculptural questions and the nature of artworks more generally. Posing very basic questions about bodies and objects-even turning bodies into objects-they made radical propositions that shaped future work in dance and art. Part II of the dissertation details the materials and procedures developed by the artist and the museum for MoMA{\textquoteright}s 2015 acquisition of the Dance Constructions. Using models from both dance and visual art, protocols were developed that challenge, revise, and offer alternative definitions for issues central to the art museum: the art object, authenticity and provenance, and continuation/conservation. The process gave the Dance Constructions new resources and definition, bringing to light aspects of the works that were unconscious, unknown, or otherwise unspecified prior to that point while at the same time providing for their future. Tracking the Dance Constructions through time from inception to institutional acquisition reveals shifts in the core functions of the museum since the 1960s, as well as changes in dance and evolutions of Forti{\textquoteright}s practice. This raises legal, ethical, and practical issues in addition to aesthetic ones, which implicate all postwar art as potential objects of museum acquisition, and contains lessons for historians, practitioners, and institutions alike.}, keywords = {Performance Art/Performance Studies/Public Practice, Twenty-first Century}, author = {Metcalf, Megan} } @mastersthesis {12621, title = {The Incarnational Imagination: Image, the Imagination, and Theological Aesthetics in Religious Education}, year = {2018}, school = {Graduate Theological Union}, abstract = {This dissertation argues that the principal work of Christian faith formation is the formation of the imagination. Rooting in the works of William F. Lynch, S.J., and Alejandro Garcia-Rivera, the project examines the relationship between the imagination and the disciplines of theological aesthetics and religious education from a particularly Catholic context. It also examines visual catechisms in general and specifically the Catholic Ladder used in the Pacific Northwest, offering them as examples of the connection between theology and the imagination. The dissertation concludes that a new emphasis is necessary in the work of faith formation. This emphasis grows from the formation of the imagination in a Christian life that imagines self as an analogue of Christ, who, by embracing the whole of salvation history, has responsibility for the anagogical work that empowers humanity to the dignity of their creation.}, keywords = {Aesthetics, Art Education/Pedagogy/Art Therapy}, author = {Fraher, Lawrence} } @mastersthesis {12659, title = {Indigenous Literacies in the Techialoyan Manuscripts of New Spain}, year = {2018}, school = {UC Berkeley}, abstract = {Though alphabetic script had become a prevailing communicative form for keeping records and recounting histories in New Spain by the turn of the seventeenth century, pre-Columbian and early colonial artistic and scribal traditions, including pictorial, oral, and performative discourses still held great currency for indigenous communities during the later colonial period. The pages of a corpus of indigenous documents created during the late-seventeenth and early-eighteenth centuries known as the Techialoyan manuscripts abound with vibrantly painted watercolor depictions, alphabetic inscriptions, and vivid invocations of community elders{\textquoteright} speeches and embodied experiences. Designed in response to challenging viceregal policies that threatened land and autonomy, the Techialoyans sought to protect and preserve indigenous ways of life by fashioning community members as the noble descendants of illustrious rulers from the pre-Columbian past. The documents register significant events in the histories of communities, often creating a sense of continuity between the colonial present and that of antiquity. What is more, they provide the limits of the territory within a depicted landscape using a reflexive, ambulatory model. Representations of place evoke ritual practices of walking the boundaries from the perspective of the ground, enabling readers to acquire different forms of knowledge as they move through the pages of the book and the envisioned landscape to which it points. The different communicative forms evident in the Techialoyans, including pictorial, alphabetic, oral, and performative modes contribute to understandings of indigenous literacies of the later colonial period by demonstrating the diverse resources and methods upon which indigenous leaders drew to preserve community histories and territories. The Techialoyans present an innovative artistic and scribal tradition that drew upon pre-Columbian, early colonial, and European conventions, as well as the contemporary late-colonial pictorial climate. The artists consciously juxtaposed traditional indigenous materials and conventions with those of the contemporary colonial moment to simultaneously create a sense of both old and new. Not only did the documents recount indigenous communities{\textquoteright} histories and affirm their noble heritages, they also proclaimed possession of an artistic and scribal tradition that was on par with that of their revered ancestors, thereby strengthening corporate identity and demonstrating their legitimacy and autonomy within the colonial regime.}, keywords = {Colonial and Modern Latin America, Indigenous Peoples}, author = {Stair, Jessica} } @mastersthesis {12723, title = {Industrial Color: Chromatic Technologies in Britain, 1856-1969}, year = {2018}, school = {Yale}, abstract = {This dissertation proposes a new understanding of how color shaped modern visual culture in nineteenth and twentieth century Britain. During this period, new technologies transformed the manufacture of color from an artisanal practice into an industrial process. Colors that were once organically derived, hand-made, and hand-applied, became mass-produced, machine-made and chemically synthesized. These new ways of making color transformed the meaning of color in modern Britain, establishing color as crucial site where the experience of modernity was not simply registered and reflected, but negotiated and contested. Challenging conventional understandings of color as a subjective, unruly phenomenon, which is difficult to regulate or control, this dissertation examines how modern industries, institutions. and technologies were predicated on the standardization of color. Exploring how standardized chromatic experiences were generated through the mass production of paints, inks, and dyes, as well as mass media including color printing, film and television, this dissertation shows that it was not the appearance of industrial colors, but how they were made, that imbued them with meaning. It demonstrates that industrial color helped shape the social and political landscape of modern Britain, from the reorganization of labor demanded by systems of mass production in the late nineteenth century, and the shifting relationship between Britain and its empire from the early twentieth century, to the critical reformulation of British racial identity that gained urgency in the postwar period. Beginning with the invention of synthetic coal-tar dyes in 1856 and ending with the BBC{\textquoteright}s full conversion to color broadcasting in 1969, the dissertation unfolds over four chapters in chronological order, each examining the mass production of color in a different media: painting, printing, film, and television. The first chapter examines the manufacture of artists{\textquoteright} colors, or oil paint, in the second half of the nineteenth century. During the late Victorian era, when paint-making was transformed from a skilled artisanal craft into a mechanized industry, it was not the hue or saturation of colors that changed, but their texture and stability. This chapter considers how the painters George Frederic Watts and William Holman Hunt mobilized the texture of their paints to articulate an anticapitalist, moral aesthetic at a time when mass production made oil colors homogenously buttery and smooth, as well as fugitive and unstable. The second chapter explores chromolithography-the first technology for producing affordable color prints on an industrial scale. Initially focusing on the challenges of mass-producing ink to meet the demands of industrial color printing, the chapter goes on to explore how the separation of colors in late Victorian chromolithographs operated as a visual analogy for the separation of labor required to produce them. Grain is a central concern of this chapter, which examines how industrially made chromolithographs, conventionally considered gaudier than artisanally made color prints, were instead distinguished by the mechanized surface pattern of colors that marked them as the product of deskilled industrial labor. The third chapter considers British Technicolor cinema, which from the 1930s became the dominant mode for mass-producing color films in the United Kingdom. Focusing on the use of the dye-imbibition system at the British Technicolor laboratory, which manufactured color films for distribution all over the world. this chapter contends that because the films were produced by industrial dyeing mechanisms, they revisit the history of Britain{\textquoteright}s textile industry as a metaphor for the corporation{\textquoteright}s own imperial ambitions. I consider how British Technicolor therefore became a way to negotiate the dissolution and decline of the British Empire during the twentieth century. The fourth chapter reflects upon the moment when the BBC converted to color broadcasting between 1967 and 1969. It interrogates how the corporation tackled the issue that its first color broadcasts were primarily viewed on black-and-white televisions, which is presented here as both a technological and an ideological problem. Taking The Black and White Minstrel Show as a case study, this chapter places the BBC{\textquoteright}s conversion to color in dialogue with the so-called color problem of late 1960s Britain, when immigration from the country{\textquoteright}s former colonies made race a crucial concern for notions of British identity.}, keywords = {Film/Video/Animation, Material Culture}, author = {Dootson, Kirsty} } @mastersthesis {12675, title = {Infinitesimal to Infinity: Ryoji Ikeda{\textquoteright}s Data Composition and Space of Sensing}, year = {2018}, note = {Fourth subject: Sound art}, school = {Stony Brook}, abstract = {This dissertation examines the audiovisual work of Paris-based Japanese-born composer and visual artist Ryoji Ikeda (born 1966 in Gifu, Japan). It provides a detailed overview of Ikeda{\textquoteright}s work at the intersection of sound, art, digital computation and data that has evolved last three decades since the 1990s, crossing the boundaries of electronic music, contemporary art and media culture. This analysis describes a wide spectrum of Ikeda{\textquoteright}s work---sonic albums, publication, audiovisual installations and performances, and public art. The dissertation begins by examining the evolution of Ikeda{\textquoteright}s art in the ""aesthetic revolution in the 1990s,"" particularly from his association with laptop music and the glitch culture and with Japanese experimental intermedia performance collective dumb type. It also illuminates its art historical and media aesthetic links from the sound practice and visual art from the 1960s and {\textquoteright}70s to position Ikeda{\textquoteright}s art in the historical trajectory of contemporary art and media culture, while discussing the specificities that Ikeda{\textquoteright}s art opened up a new domain of the audiovisual practices and data art. Then, challenging the discussion of Ikeda{\textquoteright}s work as the resurrection of Modernist formalism in digital media art, I argue that Ikeda created a unique minimalism that encompasses specific cultural context and social critique of data culture, stimulating the viewer{\textquoteright}s experience of unfathomable data. This dissertation further examines the ways in which Ikeda{\textquoteright}s data composition---certainly evolved from his music composition---articulates sonic, visual, and numeric data from the infinitesimal to the infinite to make the microactivity of digital computation and data{\textquoteright}s inherent ""sonicity"" into the sensate experience in real time and space. The matrix of data, however, is not meant to be decoded nor interpreted in the linguistic sense. I contend that, unveiling the temporal processuality of data processing at the threshold of the viewer{\textquoteright}s perception and cognition, Ikeda{\textquoteright}s work manifests the aesthetics of nothingness, which ensures the viewer{\textquoteright}s highly sensible experience of data. Finally, this dissertation account for the viewers{\textquoteright} shared experience in Ikeda{\textquoteright}s work as space of sensing that brings a new sensibility to our world of data.}, keywords = {Digital Media/New Media/Web-Based Media, Installation/Environmental Art, Multimedia/Intermedia}, author = {Lee, Joo Yun} } @mastersthesis {12656, title = {Inspired Invention: Cristobal de Villalpando{\textquoteright}s Paintings of the Life of Saint Francis}, year = {2018}, school = {Bryn Mawr}, abstract = {This project is an in-depth study of Cristobal de Villalpando{\textquoteright}s cycle of paintings depicting the life of Saint Francis of Assisi, commissioned in 1691 for the Franciscan Convent in Antigua, Guatemala. This seminal group has not been the subject of a focused study since 1986 and the sources of its unique iconography, as well as its impact on later depictions of this saint{\textquoteright}s life in New Spain, have never been fully explored. In a larger context, examining the scenes illustrated in Villalpando{\textquoteright}s series, which were likely selected under the guidance of his Franciscan patrons, tells us something about the Franciscans conception of their mission in the Spanish colonies. I posit that these works offered the Franciscan brothers in Antigua a carefully constructed visual model of their founder{\textquoteright}s life, which they could aspire to imitate and which reinforced the importance of their order{\textquoteright}s work in the Americas.}, keywords = {Central America, Seventeenth Century}, author = {Castro, Mark} } @mastersthesis {12745, title = {Interior Impressions: Printed Material in the Nineteenth-Century Home}, year = {2018}, school = {Minnesota}, abstract = {No record in ProQuest or Minnesota ETDs}, keywords = {Nineteenth Century, North America}, author = {Michelon, Christina} } @mastersthesis {12797, title = {Intimate Durations: Reimagining Contemporary Indian Photography}, year = {2018}, school = {UCLA}, abstract = {This dissertation examines a mode of photographic practice in contemporary India marked by intimate, long-term engagement between artist and subject. I argue that the aesthetic of intersubjectivity embodied in this work lays claim to a sophisticated, progressive politics of gender and alterity through attention to complex negotiations of social hierarchy within contemporary India. In exploring the under-examined role of photography in the development of recent South Asian art, I further argue that this work anticipates the participatory paradigm that came to prominence in South Asia in the early 2000s, and that the unique history of photographic practice in the subcontinent opened significant possibilities for more substantially relational engagement between artist and subject. Building on this history allowed the three photographers at the heart of my project to develop a form of quiet activism, exemplary within the trajectory of contemporary art in South Asia. My analysis is grounded in the work of three Delhi-based photographers: Sheba Chhachhi (b. 1958), Dayanita Singh (b. 1961), and Gauri Gill (b. 1970). Each embraces a mode of social outreach across boundaries of cultural difference over long periods of time, often more than a decade. Chhachhi began her work with women activists, and later explored the lives of female sadhus (Hindu religious renunciates). Singh photographed Mona Ahmed-a member of the highly insular hijra (transgender/eunuch) community in South Asia, and later focused on the equally insular communities of India{\textquoteright}s social and economic elite. Gill pursued relationships with several rural communities in Rajasthan, and spent more than eighteen years photographing girls and their families as they negotiated harsh conditions of survival often beyond the purview of the state. This dissertation proposes a framework for understanding the intersubjective aesthetic embodied in these works on the basis of three interrelated qualities: a long temporal duration that enables complex representations of time within the work; a struggle for personal and cultural recognition on the part of both photographer and subject within South Asia{\textquoteright}s complex social hierarchy; and ethical agency on the part of the photographer to represent her subjects responsibly and bear witness to the complexity of their lives.}, keywords = {South Asia/South East Asia}, author = {Powers, Alice S.} } @mastersthesis {12667, title = {It{\textquoteright}s Styled by Helen Dryden{\textquoteright}: The Fine Art of Good Taste}, year = {2018}, school = {Missouri}, abstract = {In the throes of the Great Depression the struggling automobile manufacturer Studebaker made the extraordinary decision to hire a woman to design their new model. The woman Studebaker hired was Helen Dryden, a New York based artist with an international reputation as a style authority and an arbiter of good taste. Through a combination of artistic talent, privileged upbringing, and sheer luck Helen Dryden forged a successful career as a commercial artist and became one of the founders of the industrial design profession. This dissertation explores the complex intersection of art and consumerism, and the ways in which this intersection helped and hindered efforts by women to establish careers as commercial artists in America during the interwar years. During this period the boundaries between fine art and commercial art temporarily relaxed, encouraging experimentation and facilitating the rise of the industrial design profession. This dissertation traces the inevitable consolidation of the industrial design profession through the lens of Helen Dryden{\textquoteright}s colorful career. Known primarily for her magazine illustrations and theatrical costume designs the extent of Dryden{\textquoteright}s role at Studebaker is contested. However, archival evidence corroborates Dryden{\textquoteright}s position as a vanguard of industrial design. This dissertation reconstructs Dryden{\textquoteright}s biography in an effort to understand why she was forgotten and to uncover new avenues for exploring the history of design. Her work sheds new light on the formation of industrial design as a profession by countering gendered stereotypes and revealing the limited conditions under which a woman could succeed.}, keywords = {Decorative Arts, Design History, Twentieth Century}, author = {Horne, Sarah M.} } @mastersthesis {12700, title = {Jinling Remembered: Nanjing as topos in the Seventeenth century}, year = {2018}, school = {Brown}, abstract = {My dissertation considers visual modes of memory in Chinese paintings through site-specific landscape images of Nanjing from the seventeenth century. Nanjing is ideal for examining{\textellipsis}}, keywords = {East Asia}, author = {Huang, Amy} } @mastersthesis {12670, title = {Karl Blossfeldt: Variations. A Study in Image Replication}, year = {2018}, school = {Princeton}, abstract = {The unique body of work produced by Karl Blossfeldt (1865-1932) consists of thousands of photographs of astonishing stylistic consistency that reproduce highly enlarged plant details. Created at the end of the nineteenth century, first as scientific illustrations for the decorative-arts reformer Moritz Meurer (1839-1916) and later used as teaching materials for Blossfeldt{\textquoteright}s own "Modeling after Living Plants" class, with the publication in 1928 of Urformen der Kunst (Art Forms in Nature, 1929) they became world famous as art photographs. Karl Blossfeldt: Variations-A Study in Image Replication analyzes the genesis and replication of Blossfeldt{\textquoteright}s botanical motifs in teaching materials, pattern books, art books, exhibitions, and in the pages of the illustrated press. The dissertation argues that the extraordinary proliferation of Blossfeldt{\textquoteright}s plant images in the late 1920s was due not only to a fascination with plant forms, but also to the increasing interest in comparative viewing, parallelisms, analogs, and repetition. The six chapters of the study trace the paths Blossfeldt{\textquoteright}s legendary plant motifs pursued as specimens, illustrations, patterns, analogs, models, and abstractions from 1892 to 1945 (in which year they appeared in Raymond Lecuyer{\textquoteright}s Histoire de la photographie, thus no longer as contemporary works but as a part of history). Major topics explored in this first book-lenth monograph on Blossfeldt include theories of ornament and the doctrines of Jugendstil; the photobook in the Weimar Republic; Surrealism, British Modernism, and biomorphic abstraction. The dissertation also examines the enthusiasm with which the images were greeted in the interwar period in the popular mass media and in National Socialist circles. The rediscovery of Blossfeldt{\textquoteright}s motifs in the architecture, photography and design of the past twenty years highlights the adaptability of the images{\textquoteright} formal austerity and Blossfeldt{\textquoteright}s scientistic approach-at once minimalist and yet grounded in the natural-to recent interests in the typological and the ornamental.}, keywords = {Decorative Arts, Design History}, author = {Meyer, Stump} } @mastersthesis {12697, title = {The Kofukuji Nan{\textquoteright}endo and Its Buddhist Icons: Emplacing Family Memory and History of the Northern Fujiwara Clan, 800-1200}, year = {2018}, school = {Kansas}, abstract = {This dissertation investigates how the memorial function of the Nan{\textquoteright}endo (Southern Round Hall) at Kofukuji in Nara began, continued, and transformed within the history of the Northern Fujiwara clan from the ninth through the twelfth centuries. Departing from the previous scholarship on the Nan{\textquoteright}endo, this study considers that ancestral commemoration is as important as religious devotion in considering the visual forms of the sanctuary and its relationship with the Northern Fujiwara clan. With a longue duree approach to the Nan{\textquoteright}endo along with analyses of its visual program and an array of texts such as courtier diaries, setsuwa tales, travel journals, and temple records, I demonstrate that the architecture of the building and its Buddhist images functioned as a locus of memory and an engine of remembering for the maintenance of family institution, its tradition, value, and ways of thinking. Spatial and visual components of the Nan{\textquoteright}endo were like "building bricks" employed to construct an image of the Northern Fujiwara as a familial group, present their preoccupation with lineage and kinship, and make their existence and experiences visible . This dissertation therefore uses a novel approach to illuminate the interactions between place, memory, and family in Japanese Buddhist studies and unravel the role of religious sites as a visual means through which the faithful developed ideas about themselves and attitudes toward their lives. Chapter One outlines the history of Kofukuji, the tutelary temple of the Fujiwara clan, from the eighth to twelfth century. This delineation sets up a religious and familial context, in which the Nan{\textquoteright}endo was situated and its history unfolded. Chapter Two examines the creation of the Nan{\textquoteright}endo as a memorial in 813, exploring how the practices of religious devotion and ancestral commemoration coalesced and manifested in the architectural features of the hall and its iconographic program. Chapter Three deals with the transformation of the Nan{\textquoteright}endo as a miraculous site beginning in the mid-eleventh century. I explore the factors that contributed to this transformation and analyze Nan{\textquoteright}endo setsuwa tales and replications of the building that testified to the sanctification of the site. Chapter Four delves into the devotion history of Fukukenjaku Kannon (Skt. Amoghapasa Avalokitesvara) in the Northern Fujiwara family from the eighth to the twelfth century. I analyze the process in which the icon of this deity in the Nan{\textquoteright}endo became identified as the protector of the Northern Fujiwara clan in the late eleventh century. In doing so, I examine images of the deity, accounts of the family{\textquoteright}s devotion to it, and copies of the Nan{\textquoteright}endo Fukukenjaku Kannon. Chapter Five investigates the reconstruction of the Nan{\textquoteright}endo and its images during 1181-1189 with a focus on the patronage of Fujiwara (Kujo) no Kanezane (1149-1207), showing how his role as the chieftain of the family, his Pure Land devotion, and contemporary belief in living Buddhas ( shojin butsu) informed the restoration of the hall.}, keywords = {East Asia}, author = {Chan, Yen-Yi} } @mastersthesis {12649, title = {The Labyrinth and the Cave: Archaic Forms in Utopian Projects in Europe, 1952-1972}, year = {2018}, school = {CUNY}, abstract = {This dissertation examines the prevalence of spatial archetypes as potent symbols that manifested in art, architecture, exhibition design, and urban planning in the aftermath of World War II and into the Cold War. Owing to the dual influence of structuralism and phenomenology in French intellectual culture, many examples discussed here were produced in France or made by artists who spent significant time there. These figures include Jacqueline de Jong, Paul Virilio, Claude Parent, Andre Bloc, and the Groupe de Recherche d{\textquoteright}Art Visuel (GRAV), all of whom made projects evoking speculative realities that oscillated between utopian and dystopian. Given their focus on the future and concomitant desires to fundamentally change their environments, the presence of labyrinths and caves in their work- as both spatial metaphors and physical forms- is all the more surprising. By marrying the archaic with the futuristic, these artists and architects sought to disrupt linear and progress-based historical narratives and work through anxieties surrounding new technologies and the looming threat of nuclear disaster. The works in this dissertation stage a collision between post-history and pre-history: the possibility of a barren, post-apocalyptic landscape, home to the last surviving humans, was often expressed through an imagined primordial landscape occupied by the first humans.}, keywords = {Architectural History/Urbanism/Historic Preservation, Twentieth Century}, author = {Burleigh, Paula} } @mastersthesis {12679, title = {Landscape into History: The Early Printed Landscape Series by Jan van de Velde II (1593-1641)}, year = {2018}, school = {Columbia}, abstract = {This dissertation examines the life and works of Jan van de Velde II, with a focus on the large body of original landscapes that he both designed and etched himself. Van de Velde was one of the most prolific printmakers of the seventeenth century, whose emphasis on creating and promoting his own designs not only exceeded the usual professional ambitions of most contemporary printmakers but also proved pivotal in the development of a distinctively Dutch landscape tradition. The fact that innovation in the landscape genre was propelled through the print medium inverted the usual relationship between painters and printmakers, in which painters were usually held as the primary artistic innovators. This study provides the first focused treatment of Van de Velde{\textquoteright}s original landscape etchings, as well as the first critical study of the artist{\textquoteright}s prints generally. The first two chapters offer a detailed biography of Van de Velde, and incorporate a comprehensive gathering of archival documents related to his life, network, and career as a printmaker. Chapter 1 examines his early life and training, along with the remarkable letters from his father, who actually encouraged him at the outset of his career to invent his own designs. Chapter 2 details his professional life in Haarlem and Enkhuizen, and challenges the previously held notion that he more or less abandoned the pursuit of original printmaking after his marriage, as well as the notion that he developed financial problems later in life. At stake in this reassessment is the proper grounding of his enterprise of artistic self-definition, one that has repercussions for the status of printmaking generally in this era. The remaining chapters address different aspects of Van de Velde{\textquoteright}s original landscape etchings, particularly those produced at the beginning of his career, c. 1614-1618. Chapter 3 examines the balance of types of imagery in his landscape series, between the seemingly real and the imaginary, and between the local and the foreign. Chapter 4 is a study of the high prevalence of ruins in Van de Velde{\textquoteright}s etchings, both as subjects in their own right, and as ones that dramatized their landscape settings and reflected a new form of visual antiquarianism at a time of peak interest in local history and antiquity. Chapter 5 looks at the significant subset of Van de Velde{\textquoteright}s landscapes couched in the visual time-cycle tradition of Seasons and Months, and how the Neo-Latin captions found in these series offer a range of innovative commentary. It specifically examines in detail a series of Months that demonstrate how Van de Velde{\textquoteright}s relationship with the previously unidentified humanist author Reinier Telle clearly led to a significant transformation of that tradition to reflect both local and Protestant values.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Seventeenth Century}, author = {Fucci, Robert} } @mastersthesis {12647, title = {Landscapes of the Nation in Transition: Istanbul in the Photographs of Othmar Pferschy, 1934-1960}, year = {2018}, school = {Binghamton}, abstract = {This dissertation examines the representations of Istanbul in the state sponsored photography of the 1930s Turkey. The official state photographer Pferschy{\textquoteright}s photos of the spaces of the new nation-buildings, cities, and landscapes played an active role in the discursive construction of Turkey{\textquoteright}s national iconography. These photographs, documents of Turkey{\textquoteright}s nation-building project, reconstructed Istanbul{\textquoteright}s image as a museum and a landscape versus the progressive and modern face of the republic, Ankara. Iconic photographs of architectural and urban modernization from the early Republican era have been identified with the monolithic vision of the Kemalist regime. Being a project of the mono-party era propaganda apparatus, state photography was an attempt to cast a unified, complete self-image, which Pferschy{\textquoteright}s perfect compositions and depictions of monumentality supported. The present study shows that this totalizing image, which represented the national identity, fell short to keep its uniformity; and that the Republican era Turkish national identity was a process of negotiation with the Ottoman past and Orientalism. To do this, instead of concentrating on individual photographs, I trace Pferschy{\textquoteright}s works over the timespan of almost thirty years, in a number of different publications such as La Turquie Kemaliste (journal), Turkey in Pictures (photo album), Hayat (magazine), tourist guidebooks and postcards. The venues where the photos are published, used, and reused (or by the same token, excluded and unpublished) are as important as the individual photos themselves. In this dissertation, I emphasize the ways in which photographs circulate and recirculate, the texts that accompany the photographs, and the discourses that create the photographic meaning. I examine not only the discursivity of photographic representations of built spaces and landscapes but also the changing identity and style of the photographer depending on broader contextual choices, such as the demands of patrons or direct political and monetary interventions. The study of the dissemination, intertextuality, and recycling of the photographic images is expected to show different moments, venues, and agents that disrupted totalizing perceptions of the periods, styles and genres.}, keywords = {Architectural History/Urbanism/Historic Preservation, Southern Europe and Mediterranean}, author = {Dogan, Ca{\u g}atay} } @mastersthesis {12710, title = {Le Roman de la Poire: Constructing Courtliness and Courtly Art in Gothic France}, year = {2018}, school = {Chicago}, abstract = {This dissertation examines a unique thirteenth-century illustrated manuscript written in Old French, Le Roman de la Poire ("The Romance of the Pear"), as an entry point into a reconsideration of medieval and modern understandings of "courtly art." Chapter One examines assumptions shared by most medievalists about court culture in the later medieval period, such as the existence of a homogenous court style and the importance of royal or princely patronage. Chapter Two explores elite identity formation and the dynamics of concealment and revelation in works of courtly art and literature. This chapter focuses on the ways in which medieval artists and authors manipulated supposedly rigid systems of visual signification, such as heraldry, to interrogate and shape chivalric and authorial identities. The representation of potentially fictional heraldry is compared to episodes of chivalric incognito in Arthurian romance and examples of authorial incognito effected through acrostics and anagrams. Chapter Three examines the problematic relationship between vision, legibility, and truth in works of courtly art. Visual representations of episodes from the legend of Tristan and Isolde form the central focus of this chapter, which considers what was at stake for viewers who looked at images of secret looking. The final chapter considers the role that material objects played in the lives of medieval men and women, symbolizing as well as structuring their relationships. This chapter argues that the logic of the fetish is a primary characteristic of courtly art and proposes that the thematization of erotic love performed important conceptual as well as artistic work in medieval culture. This project conceptualizes courtly art in a way that is not narrowly defined by style or place of production but instead encompasses a broad range of themes, including elite identity formation, manipulation of visual and verbal codes, visual pleasure, the fixation and deferral of desire, the interplay of word and image, and the role of the viewer as the subject and object of vision.}, keywords = {Eleventh to Fourteenth Century, Northern Europe}, author = {Woodward, Elizabeth} } @mastersthesis {12771, title = {Learning to Refuse: Pedagogy, Protest, and Lecture - Performance, 1964-1975}, year = {2018}, school = {Pennsylvania}, abstract = {This study examines how artists in the US reimagined aesthetic practice through performances of refusal from 1964 to 1975. Attending to the emergent genre of the lecture-performance, I analyze pedagogical projects that articulate dissent through interventions into existing models of knowledge, asking: what is to be learned from saying no? These projects respond, in part, to artists{\textquoteright} encounters with university training. They redefine artistic activity through critical engagements with the labor of the information worker, a figure sartorially invoked by the bespectacled uniform of a professorial archetype. Artists deployed the lecture format to imagine how knowledge might be assembled otherwise: within counter-institutional frameworks, beyond authorized discourse, through embodied tactics of performativity, and toward socially transformative ends. They did so at a moment when artists{\textquoteright} academicization proceeded as an explicitly gendered project that privileged masculine-coded cognitive labor over and against modes of work coded as feminized craft. Jettisoning these divisions, the lecture-performance situates knowledge in the specificity of embodied agents. In this way, lecture-performance renegotiates the discursive practices that regulate bodies of knowledge and knowledgeable bodies. Placing these developments in conversation with the agitational speech of artist activism, my study focuses on affiliates of the 1970 Art Strike Against Racism, Sexism, War, and Repression. It tracks forms of pedagogy and protest across a range of media beyond the lecture-performance, including video lectures, pamphlets, and photographic series by Robert Morris, Adrian Piper, Faith Ringgold, and Andy Warhol. Its case studies toggle between artworks, performative speech acts, and direct action, arguing for the porousness of their categorical boundaries in this period. Redressing the claim that artists{\textquoteright} strikes, protests, and boycotts foreclose possibilities for productive engagement, I route practices of refusal toward their generative, dialogic capacities. Charting the convergence of movements in art and activism from 1964 to 1975, this study asks what we have to learn from statements of refusal delivered at the interstices of academic lecterns, political podiums, and sites of artistic display.}, keywords = {Performance Art/Performance Studies/Public Practice, Twentieth Century}, author = {Firunts, Mashinka} } @mastersthesis {12625, title = {Legacies of Matter: The Reception and Remediation of Material Traditions in Roman Sculpture}, year = {2018}, school = {Columbia}, abstract = {Roman sculpture of the late republic and empire is characterized by wide-ranging practices of formal imitation and replication of earlier figurative traditions, particularly those of the Hellenized Eastern Mediterranean. Works that exhibit this retrospective character may be replicas of famous statues, adaptations of familiar compositions, or inventive creations based on established styles and features. The links of subject and style that these works created in the Roman context engendered systems of mutual reference and evaluation that helped articulate the socio-political, ideological, religious, and other aims of the representations. As sculptural types or even loosely related images were produced in a rich variety of materials, their proliferation enmeshed bronze, marble, colored stones, terracotta, and plaster into formal, technical, visual, and historical relationships. This dissertation investigates the materials of Roman sculpture as both agents and products of a transformative reception of earlier local and foreign traditions. The inquiry focuses on the nexus of Roman formal replication and material manipulation, investigating diverse choices of material and technique against the common background of a type{\textquoteright}s subject, style, composition, and deployment in the Roman world. The project{\textquoteright}s focus is circumscribed around sculptural types whose large-scale replicas are extant in more than one material; the survey in Chapter 2 is intentionally broad and includes replicas of famous Greek works, Idealplastik, and works related to Egyptian archetypes, as well as the large-scale, positive plaster casts from Baia. In this way, it sets out on a broad investigation of the nature of the reception of media practices in Roman sculpture, studying technical processes as much as formal connections and treating the reproductive interest in Greek, Egyptian, and even recently invented forms as complementary parts of a single retrospective approach to sculpture. This project proposes a methodology for investigating historically contextualized materialities that marries the approaches of historical reception, reception aesthetics, and remediation. The case studies apply this methodology in a four-part examination of Roman contexts of material reception, including production, display, and recontextualization. These chapters articulate the impact of techniques of formal reproduction on material selection and manipulation, assess the relevance of the medium of the formal archetype, demonstrate the plurality of contextualized material relationships that constitute materiality, clarify the nature of material mimesis as a selective and partial illusion, account for changing tastes in material decorum, and highlight ongoing engagement with the materiality of physically present antiques. The project illustrates that the Roman material context within which the selection, manipulation, and evaluation of sculptural materials must be situated is predicated upon both simple and sophisticated engagements with historical material traditions, both local and exotic. It shows that investigating the ways in which material traditions were available for reception in the Roman world-by the dissemination of plaster casts or by the importation of antiques, whose surfaces might be altered by age or later intervention-can reveal scholarly misconceptions and can realign modern interpretations with ancient practices. Engaging with the multiple, co-existing relationships that define a work{\textquoteright}s materiality, this dissertation suggests that this plurality of references could be valued in much the same way that the recombination of distinct period styles could articulate new meanings in a Roman context. In the process of tracing these numerous material relationships, this dissertation{\textquoteright}s analyses point to further avenues of research, indicating the relevance of Egyptian and North African material traditions for Roman uses of colored stones, calling attention to sophisticated engagements with issues of representation, and demonstrating that lack of coherence (in material references and in display) could be exploited as a means of enriching artworks that were conservative in their form and subject matter.}, keywords = {Ancient Greek/Roman Art, Sculpture}, author = {Cook, Emily} } @mastersthesis {12703, title = {Like Life: Royal Portraits of the Joseon Dynasty (1392-1910) in Ritual Contex}, year = {2018}, school = {Kansas}, abstract = {This dissertation examines the functions and meanings of Joseon royal portraits by investigating them in light of the material culture and the ritual practices of royal ancestor worship in royal portrait halls, where offerings of wine and food were presented before portrait paintings for royal ancestral rites. This study classifies portrait halls as either official or informal, depending on their inclusion in or exclusion from the official state rites and goes on to discern the different features and functions of specific portrait halls through in-depth investigation of the ritual goods used therein and the interior settings and adornment of the halls. By distinguishing repositories, where portraits were not formally worshipped, from portrait halls, it also offers case studies of portraits in the repositories and illuminates their original function and distinctive character in form and style. The first chapter focuses on the way the early Joseon court legitimated the rituals for the portrait halls of King Taejo and King Sejo by incorporating them into the state rites, which drew on Confucian textual traditions rooted in Chinese antiquity. It demonstrates that the principle of "serving the dead as if they were alive" shaped both the ritual practice and the material culture of portrait worship and resulted in the adoption of contemporary secular objects for use as offering vessels and furnishings in the portrait halls. The second chapter elucidates the functions of Yeonghuijeon, Jangnyeongjeon, and Hwaryeongjeon, the official portrait halls of the late Joseon and discusses the ways the status of individual halls was expressed through the material goods used in their rituals and physical environment. The third chapter concentrates on the distinguishing, exceptional features of Seonwonjeon, the informal portrait hall for the royal family in the inner quarter of the palace. Through an analysis of its material culture, this chapter addresses the origin of Seonwonjeon and identifies the distinguishing features and functions of the hall that arose out of popular customs and religious traditions other than state rites. Within this overarching scheme, the fourth chapter considers the issues of status and formality related to the displayed portraits as objects of worship in specific portrait halls. Recognizing the commemorative and "quasi-public" function of official portrait halls, it also examines the Joseon concepts of "rulership" embodied by the portraits displayed in them and the way the visual formulas for these portraits changed over the course of the dynasty. For the latter, I use the history of the imperial portraits of the Ming Dynasty as a foil. The fifth chapter notes the emergence of several repositories in the late Joseon period and discusses portraits of certain late Joseon kings that were installed in the repositories. It argues that these portraits functioned not only as stand-ins for the kings but also served broader political agendas.}, keywords = {East Asia}, author = {Son, Myenghee} } @mastersthesis {12802, title = {Listening to Contemporary Art: Vocality as a Technology of Relation}, year = {2018}, school = {Wisconsin}, abstract = {No record in ProQuest or Wisconsin ETDs}, keywords = {Theory/Historiography/Methodology, Visual Studies}, author = {Bullock, River} } @mastersthesis {12671, title = {The Lost-wax Casting in Bronze Age China: Technology, and Social Agency}, year = {2018}, school = {Princeton}, abstract = {The present dissertation adopts a comprehensive, thorough, and systematic approach toward early Chinese lost-wax castings. It first verifies that the lost-wax technique truly existed in Bronze Age China, and analyzes how it came to be used in each casting for which it is confirmed. After investigating the chronology and social context of the early lost-wax cast bronzes, it finally looks for the technological origin and artistic driving force of the lost-wax casting in Bronze Age China. As this dissertation shows, the dominant belief that lost-wax is the optimal method for metal casting, and its arrival was an earthshaking development, deserves more rigorous examination. In a broader sense, the dissertation provides a study on the concept of "norms," which many historians and art historians constantly rely on, but seldom question or clarify. If we accept the lost-wax process as the norm in casting, early Chinese metalworkers must be regarded as favoring an inferior technology. By revealing the picture that Chinese founders often chose not to use the lost-wax process they had clearly mastered, the dissertation refutes the idea that lost-wax is the only "right way" to cast bronzes. This research aims to show that a "norm" is in many ways a misconception that twists our comprehension of art, technology, civilization, and history.}, keywords = {Decorative Arts, Design History, East Asia}, author = {Peng, Peng} } @mastersthesis {12726, title = {Lotte Reiniger and the Animated Ornament in Experimental Film, 1919-1937}, year = {2018}, school = {Bryn Mawr}, abstract = {Beginning in 1919, Lotte Reiniger created over sixty fairy tale films composed of ornate silhouettes shot on an animation table of her own design. She founded an experimental animation studio, collaborated with artists associated with the avant-garde, and published essays that must now be counted among the earliest tracts of film theory. Formal analysis of a selection of her films from the Weimar period, with an extended discussion of The Adventures of Prince Achmed (1926), reveals Reiniger{\textquoteright}s distinct aesthetic as an ornamental mode of animation. When considered in the context of a series of exhibitions in Berlin, Bristol, London, and Manchester, Reiniger{\textquoteright}s oeuvre emerges as a central episode in the history and theorization of experimental animation in interwar Europe. The migration of ornament (as both decorative silhouette and geometric abstraction) has been largely neglected in both film studies and art history. Drawing on Alois Riegl{\textquoteright}s theory of ornament, this dissertation explores key moments in Reiniger{\textquoteright}s practice that deploy qualities such as tactility, horizontality, and flatness as important facets of the ornament-in-motion. Theories of ornament are deeply connected to conceptions of the Orient and this project positions Reiniger in a landscape of Weimar cinema, where both shadow play and silhouette cutting fed orientalist fantasies on film. Reiniger used both but drew technical inspiration from the Orient, producing films that model an ethical encounter with the Other at odds with the prevailing aesthetic of orientalist cinema. This decorative aesthetic set her in uneasy relation to the avant-garde, whose strenuous attempts to distance abstraction from ornament took the form of "absolute film." Claims for aesthetic integrity were staked out on territory these artists largely had in common. Period critics realized this and an analysis of the deployment of terms such as "ornament" and "decorative" presents a more complex conception of opticality and abstraction, materiality and content than previously acknowledged in Weimar film scholarship. A critical review of a series of extraordinary exhibitions establishes that experimental animation was conceived in relation to its materials and that Lotte Reiniger{\textquoteright}s practice stands as a precursor to later and better-known attempts to negotiate the relationship between the gallery and the moving image.}, keywords = {Film/Video/Animation, Twentieth Century}, author = {Rochester, Katherine} } @mastersthesis {12672, title = {Making Spaces: Art and Politics in the Whig Country House, 1688-1745}, year = {2018}, school = {Yale}, abstract = {This dissertation offers a critical study of the decoration of principal rooms in British country houses between 1688 and 1745. With wall painting, sculpture, tapestry, plasterwork, woodcarving and furniture, these rooms, individually as well as en enfilade, functioned as total aesthetic experiences. I argue that these spaces generated new forms of transcontinental and intermedial artistic exchange, and in the process forged a new visual language for the expression of modern British political ideology. The production of art inextricably intertwines with national, familial, and cultural politics. In the wake of the Glorious Revolution of 1688, ascendant Whigs-members of the political party dedicated to constitutional monarchy and the Protestant succession-invested substantially in the construction and decoration of country houses. The development of these seats and symbols of their power was part of their own self-fashioning set within a broader landscape of economic, social, and political change. Continental influences-often initiated by patrons{\textquoteright} experiences abroad and realized by immigrant artists-invigorated the arts in Britain and linked country houses with the courtly spaces of Europe. Intended above all to glorify their patrons and to promote their political ideologies, these decorative programs provided opportunities for artists to showcase their skills, to train apprentices, and to work collaboratively and competitively with other artists and artisans. By re-centering attention on the artistically generative space of the interior, my work draws new attention to the dynamic exchanges occurring both across media and across national boundaries. I argue that interior spaces at houses such as Chatsworth, Boughton, and Blenheim are essential to understanding a longer history of British art and architecture, as key precursors to William Hogarth{\textquoteright}s subject paintings as well as to a longer legacy of interior designers such as William Kent and Robert Adam.}, keywords = {Decorative Arts, Design History, Eighteenth Century}, author = {Peterson, Laurel O.} } @mastersthesis {12617, title = {Mapping Immigrant Communities through their Tombstones in Archaic and Classical Athens}, year = {2018}, school = {Duke}, abstract = {My dissertation, "Mapping Immigrant Communities through Their Tombstones in Classical Athens," seeks to rescue the history of these foreigner residents by studying how they represented themselves on grave markers and how they integrated themselves into the city and its cemeteries. By analyzing the findspots of tombstones of foreign residents, I reconstruct where in the city and alongside whom foreigners were buried. My dissertation has two main objectives. The first is to show that foreigners were among the few individuals in the mid-5th century whose burials were marked by permanent tombstones. Second, I argue that immigrant communities buried their dead in groups, with immigrants coming from the same place burying together. Moreover, people from different regions of the Aegean tended to bury in different cemeteries in Athens. Though egalitarian on its face, the Athenian democracy was still extremely exclusive, and immigrant communities residing in Athens responded by preserving traditions and promoting their citizenship in other poleis within cemeteries.}, keywords = {500 BCE to 500 CE, Ancient Greek/Roman Art}, author = {Shea, Tim} } @mastersthesis {12725, title = {Marginal Centers: Parties on, off, and through Manhattan Public Access Television, 1972-1983}, year = {2018}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {Film/Video/Animation, Twentieth Century}, author = {Carmack, Kara} } @mastersthesis {12810, title = {Mary Cassett (1844-1926) American Tastemaker: Portrait of the Artist as Advisor}, year = {2018}, school = {IFA/NYU}, abstract = {Best known as an Impressionist painter and printmaker, Mary Cassatt (1844-1926) deserves greater recognition for her widespread and lasting impact on the formation of American taste in European art. Her advising career was launched in tandem with her discovery of Impressionism upon settling in Paris just after her thirtieth birthday and the group{\textquoteright}s first exhibition in 1874. She began by counseling close friends and family to buy the art of her circle while learning the tools of the trade in contemporary art. By the 1890s, her advice was sought by a growing network of collectors in New York, Philadelphia, Boston, Chicago, and beyond, and she had become a valuable ally for dealers and artists in the promotion of Impressionism overseas. Around the turn of the century, she expanded her repertoire to include the Old Masters and eventually dealt in objects as diverse as medieval sculptures, Japanese prints, and Persian potteries. She also began to propose works of art directly to museums in a quest to cultivate the appreciation of fine art in America. While her pace slowed around the time of the First World War, she remained involved in the market until her final years. Cassatt had a direct hand in exporting hundreds of works of art to more than a dozen collectors her native country, but her influence reverberated far beyond individual transactions. Her greatest contribution was as a tastemaker, capitalizing on her magnetic charm and insider status among the American upper class and the French avant-garde to help whet the appetite for Impressionism that has endured for nearly 150 years hence. This dissertation is the first study to bring this aspect of Cassatt{\textquoteright}s life to the forefront and catalogue the full scope of her fifty-year career in the art market. Grounded in archival research, it situates her activities in an era when the artist-advisor was ceding ground to the professional expert and probes her web of associations, evolving methods, and layered motivations to craft a nuanced view of her significance to the history of collecting in the Gilded Age.}, keywords = {Twentieth Century}, author = {Dickey Corey, Laura} } @mastersthesis {12715, title = {A Material Sign of Self: The Book as Metaphor and Representation in Fifteenth-Century Northern European Art}, year = {2018}, note = {Fourth Subject: Religion/Cosmology/Spirituality}, school = {Ohio State}, abstract = {In Shakespeare{\textquoteright}s Twelfth Night, Duke Orsino confesses his passion for Olivia to Viola, his confidante, by telling her "I have unclasp{\textquoteright}d / To thee the book even of my secret soul." Writing in the end of the sixteenth century, Shakespeare refers to the ancient and medieval metaphor of the book of the self, a metaphor that arguably continues to shape our imagination of the inner self today. My dissertation examines visual depictions in fifteenth-century Northern European art of the book as a metaphor for the heart, soul, and self, at a time when words and thoughts were believed to impress concretely on the heart, brain, and soul - carrying the power to save or to damn. By exploring both images in which depicted figures clutch, extend, and wear books, and others where they are completely replaced by books, my research will contribute to our understanding of the medieval concept of self as an equal union of physical body and immaterial soul, exemplified in the metaphor of the book. Through analysis of scenes of judgment, of Annunciations, and depictions of the devout at prayer offering books to divine figures, my project will beg for a reconsideration of some of the central fifteenth-century Northern European artworks. Investigating the materiality of that most medieval of objects, the book, my research reveals that illegible writing can refer to abstract ideas, that blank books signal transformation and not lack of time or talent, and that books which donors present, hold, or touch may not only be prayer books but also serve as their avatars. Thus, my dissertation links studies of the book as object and the book as concept, through an investigation of the book as self. Because of the nature of my project, I hope it will contribute to the fields of the history of art, theology, history of the book, literary criticism and history.}, keywords = {Fifteenth- to Seventeenth-Century Art, Material Culture, Northern Europe}, author = {Sandoval, Elizabeth} } @mastersthesis {12658, title = {Matrices of Devotion: Lima{\textquoteright}s Seventeenth- and Eighteenth-Century Devotional Prints and Local Religion in the Viceroyalty of Peru}, year = {2018}, school = {Tulane}, abstract = {This dissertation analyzes how local devotional prints united South America in the seventeenth and eighteenth centuries, creating a shared regional sacred geography parallel or even in opposition to that imported from Europe. I argue that locally made prints representing regionally situated miracle-working paintings and sculptures allowed devotion to these images to travel throughout South America, forging a new community of devotees linked by a Catholic sacred geography specific to the region. This project shifts away from the centre-periphery, Europe-New World, model taken by prior studies of prints in South America, and moves towards one that privileges the local and regional as a site for the creation of knowledge, religion, and culture. In so doing, I demonstrate the secondary importance of the mimetic, hybrid, or perceived European qualities of prints, focusing instead on the ways in which diverse communities defined by ethnicity, profession, class, or, often, shared concerns about the afterlife, employed prints to recruit new members, express belonging, or guarantee contracts of mutual support.}, keywords = {Colonial and Modern Latin America, Drawings/Prints/Work on Paper/Artistic Practice}, author = {Floyd, Emily} } @mastersthesis {12639, title = {Measuring the Past: The Geometry of Reims Cathedral}, year = {2018}, school = {Iowa}, abstract = {Reims Cathedral holds a great deal of significance for the history of Gothic architecture, as well as the larger history of France as the coronation church. Given the historic significance of Reims, it is not surprising that much scholarship has been dedicated to the building{\textquoteright}s sculpture, glass, and architecture. Most studies dealing with the cathedral{\textquoteright}s architecture are based on stylistic and archaeological analysis, augmented by the use of surviving documents related to the construction. Although much fruitful work has been done in this vein, important questions about the building{\textquoteright}s chronology and design still remain unresolved. The extent to which the design of the cathedral was established at the start of its construction, for example, continues to be disputed. The most recent monograph on the cathedral, published by Alain Villes in 2009, suggests that dramatic revisions to the overall plan and elevation were introduced during the course of its construction, going beyond the alterations to the facade designs that many previous authors have noted, but his theses remain controversial. Subsequently, Robert Bork has produced geometric models of the cathedral, which suggest that its plan was more coherent and unified. Additionally, French archaeologist Walter Berry has conducted new excavations, which further reveal additional archaeological evidence not yet taken into account by other Reims scholars. My dissertation, "Measuring the Past: The Geometry of Reims Cathedral," examines the architectural design from a geometric perspective, augmented by archaeological, stylistic, and historic evidence. The primary contribution that my dissertation makes to art history is the development of a new, modern plan of the cathedral. I developed this plan by taking thousands of measurements using handheld devices and laser mapping, which I then incorporated into a single data set. This work allowed Bork and me to further refine the underlying geometry that created the cathedral{\textquoteright}s layout and proportions. This new plan indicates that a master plan devised by the first architect governed the whole church, with subsequent modifications affecting its articulation rather than its overall layout. In addition to explaining how this plan was originally conceived, my dissertation also examines the anomalies and mistakes made during construction, which at times forced minor deviations from the plan. Some of these building errors and the obvious attempts to correct them give clues to the order of construction, in addition to supporting the notion that the masons repeatedly returned to the uniform scheme. This allows me to reassess the scholarship written about the cathedral and the complex history of the building project, while resolving some of the disputes over the cathedral{\textquoteright}s construction and design.}, keywords = {Architectural History/Urbanism/Historic Preservation, Eleventh to Fourteenth Century}, author = {Smith, Rebecca A.} } @mastersthesis {12711, title = {The Medieval Art of Fear: Christ Pantokrator after Iconoclasm}, year = {2018}, school = {Stanford}, abstract = {Centuries before the modern conception of surveillance, medieval subjects imagined an entity that monitored their every move: Christ Pantokrator (Ruler of All). My dissertation, The Medieval Art of Fear, investigates how Byzantine image-makers constructed this all-seeing figure in three-dimensions and manipulated spaces in order to create immersive encounters with the fearsome image. Following the crisis of Byzantine Iconoclasm (726-843), the making and display of Christ Pantokrator structured the visual perception of absolute power. Dramatic poetry, rituals and theologies, replete with fear of the Last Judgment, established the modes through which the faithful would perceive the image. My study taps into this textual evidence as it engages in close analysis of how specific monuments and objects were embedded in public and private rituals that invoked this all-seeing figure. Ultimately this dissertation argues for the critical significance of the image of Christ Pantokrator to the study of fear as a visual, spatial and material experience.}, keywords = {Eleventh to Fourteenth Century, Sixth to Tenth Century}, author = {Binning, Ravinder} } @mastersthesis {12642, title = {Mediums for the Masses: Stained Glass \& Murals in the Age of Mechanical Reproduction}, year = {2018}, school = {USC}, abstract = {No record in ProQuest or USC ETDs}, keywords = {Architectural History/Urbanism/Historic Preservation, Nineteenth Century}, author = {McGeorge, Christopher} } @mastersthesis {12691, title = {Memorializing Imperial Power through Ritual in the Illustrated Legends of Ishiyama-dera Handscroll}, year = {2018}, school = {Pittsburgh}, abstract = {The fourteenth-century illustrated handscroll Ishiyama-dera engi e ([special characters omitted] Illustrated Legends of Ishiyama-dera) stands out for its unusual depictions of "secret" rituals. Esoteric Buddhist rites from which the uninitiated were barred from observation and participation. The artists of the handscroll carefully hid the central ritual activity behind curtains or beyond the picture plane, thus preserving a sense of secrecy. For the creators of Ishiyama-dera engi e, ritual was a means of attaining success, particularly the success of the imperial line, as evidenced in the scroll text, which credits the births of several generations of emperors to the intervention of Ishiyama-dera{\textquoteright}s main icon, a secret icon (hibutsu [special characters omitted]) of Nyoirin Kannon ([special characters omitted]). However, the scrolls utilize ritual in another way: through the memorialization of historic rituals for the benefit of their fourteenth-century audience. In this dissertation, I argue that images of historic rituals were used to promote belief and encourage patronage of Ishiyama-dera by appealing to a lay experience of ritual and by providing models of ideal patrons throughout Ishiyama-dera{\textquoteright}s history. Approaching rituals through their representation in painting offers insights into how lay viewers and patrons of Buddhist rituals saw ritual. Both physically, as the curtained, restricted rituals in Ishiyama-dera engi e demonstrate, and metaphorically, as a means to control their own power and success.}, keywords = {East Asia, Religion/Cosmology/Spirituality}, author = {Morrissey, Elizabeth} } @mastersthesis {12734, title = {Migrant Constructions and Mahjar Monuments: Transnational Art and Architecture in Modern Argentina, 1910-1955}, year = {2018}, school = {Rice}, abstract = {This dissertation examines the art and architectural patronage of the Arabic-speaking diaspora (mahjar) in Latin America{\textquoteright}s southern cone. It focuses on public memorials and spaces of collective strength and wealth (mutual aid associations, banks, and clubs), faith (places of worship) and health (hospitals) sponsored by these diverse immigrants in Argentina from the early to mid-twentieth century via archival records, site documentation, and interviews. By considering key monuments sponsored by this diaspora through the lens of modernism, I demonstrate how public sculpture and architecture helped reconstruct shifting transnational identities while activating multiple mobilities in a nation where their presence was first contested. Bridging the gap between migration studies and the humanities, I engage interdisciplinary methodologies to highlight the agency of immigrant artists, architects, and patrons in the shaping of transnational identities and modern movements in the southern cone. Mobility and temporality are two key concepts used to frame mahjar monuments (a term which describes the art and architecture crafted by the Arabic-speaking diaspora) as "migrant constructions"- public expressions of interconnected sites and multiple mobilities (social, economic, and ethnic) within the urban fabric. Whether circulated in print imagery or embodied by social clubs, migrant constructions not only represented their immigrant sponsors, but also the complex socio-economic trajectories of their patrons between the host country and the "old country," as well as the transnational and transcultural identities negotiated at the intersection of local and global imaginaries. My project contributes to a greater understanding of diverse transatlantic dialogues circulating in Latin America, as well as the vital role of diaspora communities in the crafting of modernity across the Americas.}, keywords = {Islamic Art, South America}, author = {Wolf, Caroline "Olivia" M.} } @mastersthesis {12694, title = {Migrating Subjects: the problem of the "Peasant" in contemporary Chinese art}, year = {2018}, school = {Pittsburgh}, abstract = {My dissertation, Migrating Subjects: The Problem of the "peasant" in contemporary Chinese Art presents the narrative of contemporary artworks in China made about marginalized communities, as exemplified by migrant workers and rural inhabitants, from the 1990s to the present. These groups, often referred to as nongmin in popular discourse, were upheld as revolutionary heroes throughout much of the 20th century, but lost their cultural valence with the onset of China{\textquoteright}s integration with global market mechanisms in the late 1970s. By examining artworks involving nongmin participation from the 1990s to the present, this study explores, for the first time, the ways in which Chinese artists have continued to make art with the goal of helping these communities against the background of contemporary artists{\textquoteright} own cultural marginalization in the early 1990s, their acceptance into the international art arena over the turn of the century, and their provisional embrace by the Chinese central government at the beginning of the 21 st century. It considers the new relational possibilities introduced when a time-honored subject (the "peasant") is approached through the direct participation of nongmin communities in comparison to imagistic renderings in traditional media. Through this historical narrative, I argue that the Chinese "peasant" in contemporary art, as in the early 20th century, continues to be considered a key factor for the indigenous development of a utopian Chinese society under the changing circumstances brought about by globalization.}, keywords = {East Asia, Twenty-first Century}, author = {Eschenburg, Madeline} } @mastersthesis {12785, title = {Milanese Bronze, Spanish Stone, and Imperial Materials: Sculptural Interchange and the Leoni Workshops (1549-1608)}, year = {2018}, school = {Michigan}, abstract = {This dissertation investigates how one Italian workshop grew and adapted to working in and for an expanding empire as it negotiated the continuation of dynastic traditions with the influx of new territories, industries, and resources. Leone and Pompeo Leoni were the primary sculptors for the Hapsburg court during Charles V and Philip II{\textquoteright}s rule over their extensive and heterogeneous empire, then at the height of its power. The Leoni{\textquoteright}s sixty years of collaboration were marked by three distinctive phases in their professional and personal acculturation. The pair began work for the Hapsburgs from Leone{\textquoteright}s workshop in Milan and continued to use this site for their bronze casting for forty years. While they cast their sculptures exclusively in their northern Italian location, Pompeo eventually expanded their operations to a new workshop in Madrid, where he balanced finishing the Milanese bronzes with new Spanish commissions. This required collaborations with his father in Milan, employing local and foreign sculptors, and utilizing a new range of sculptural materials available in Spain and imported from imperial territories, often at the behest of his Hapsburg patrons. Finally, this decades-long negotiation between divisions of labor, centers of power, and evolving sculptural practices culminated in Pompeo{\textquoteright}s establishment of a bronze foundry in Madrid, thereby marking the successful consolidation of the Leoni{\textquoteright}s multi-regional practice firmly on Spanish soil. What follows is a sustained study of the Leoni{\textquoteright}s output for Spanish royalty that mines archival documents and focuses on the sculptures in their settings and the materials out of which they were made. Particular attention is paid to how the materials conveyed meanings related to their geographic origins and their sites of manufacture: Milanese bronzes and Spanish stones. I situate Leone{\textquoteright}s casting, not simply in opposition to Spanish sculptural practices, but within a network of metallurgical techniques and sculptural industries, complicating art historical conceptions about "Italian" and "Spanish" art in the period. I return to the primary sources in order to provide new chronologies and analyses of the collaborative manufacture of the Hapsburg commissions undertaken by the Leoni. The Leoni{\textquoteright}s treatment of sculptural materials and the ends to which their patrons mobilized and activated these materials are keys to understanding the ambitions of these projects. I present chronologically the Leoni{\textquoteright}s three most extensive commissions for the Hapsburgs, two of which formed a central part of El Escorial{\textquoteright}s monumental dynastic and religious program. In Chapter 2, I examine a series of eleven portraits, including the Charles V and Furor, that are now in Madrid{\textquoteright}s Prado Museum, commissioned in Brussels, cast in Milan, returned to Brussels still unfinished for royal approval, and finally brought to Madrid to be finished in Pompeo{\textquoteright}s newly established workshop. Twenty-three years later, Pompeo received the commission for the El Escorial altarpiece whose contract is the centerpiece of Chapter 3. Pompeo worked in collaboration with his father on this project, returning to Milan to work on the sculptures prior to Leone{\textquoteright}s death. Lastly, the tomb monuments that flank El Escorial{\textquoteright}s high altarpiece, treated in Chapter 4, feature ten gilded bronze and multi-media kneeling sculptures of Charles V, Philip II, and their family members. These works were made exclusively in Madrid by collaborative workshops on which the Hapsburg court continued to rely, even after Philip II{\textquoteright}s death in 1598, and which stayed active until Pompeo{\textquoteright}s death in 1608}, keywords = {Sculpture, Sixteenth Century}, author = {Sepponen, Wendy} } @mastersthesis {12779, title = {Minimal Art and Body Politics in New York City, 1961-1975}, year = {2018}, school = {MIT}, abstract = {In the mid-1960s, the artists who would come to occupy the center of minimal art{\textquoteright}s canon were engaged with the city as a site and source of work. These artists drew on the social, material, and spatial conditions of the surrounding environment, producing sculpture that addressed the problem of the city as a problem of the body. At the same time, minimal art was deployed by civic leaders, including New York City{\textquoteright}s mayor John V. Lindsay, as an instrument to organize a public and project a new urban image in the midst of sweeping social and economic change. The work of Carl Andre, Tony Smith, Dennis Oppenheim and many of their peers, informed by Merleau-Ponty{\textquoteright}s phenomenology, promised to heighten one{\textquoteright}s consciousness of self, others, and environment. The Lindsay administration and its allies positioned sculpture as an aesthetic rupture that could ameliorate the sensorial burden and alienation of urban life. The phenomenological and spatial claims of minimal art were adopted and mobilized by the city{\textquoteright}s power brokers as they sought to assert authority over New York. This dissertation assesses the intertwined agency of artists, political leaders, corporate stakeholders, and private developers as they made proprietary claims for urban space. In the canonical formation of minimal art, the city has been marginalized as a field of meaning. The phenomenological reading has become naturalized in historiography. Rather than perpetuate this historiographical opposition, this dissertation pursues an urban history of minimal art and a social history of its phenomenology. It focuses on artists and organizers whose work constitutes a sustained engagement with the social, material, and spatial realities of New York City in the 1960s. Merleau-Ponty{\textquoteright}s phenomenology resonated with artists in 1960s New York, in part, because it overlapped with a politics of the urban body that was developing simultaneously. The city{\textquoteright}s use of minimal art was closely related to the problematic visibility of politicized bodies. As Lindsay was confronted with issues of race, gender, and class that emerged in the wake of massive social and economic transition, his administration turned to minimal art to serve as a tangible sign of order. Sculpture was deployed as a tool to orient the body and the public within the city{\textquoteright}s new spatial realities}, keywords = {Politics/Economics, Twentieth Century}, author = {Ketcham, Christopher} } @mastersthesis {12736, title = {The Miqat of al-Juhfa: An Archaeological Study}, year = {2018}, school = {Victoria}, abstract = {The Miqat of al-Juhfa is located in the west of Saudi Arabia about 187 km northwest of the Holy City of Mecca. Al-Juhfa is one of the five fixed places called Mawaqit, or entry stations to the pilgrimage (Hajj). These Mawaqit were designated during the early Islamic period for any pilgrim comes through them with the intention of Hajj. During the early Abbasid period, al-Juhfa was the largest occupied Miqat in the Islamic world. This study focuses primarily on historical and archaeological aspects of the Miqat of al-Juhfa during the early Islamic period. To illustrate these aspects, the study analyzed many primary sources that mention al-Juhfa in order to reconstruct the historical and cultural development of the site and to establish the extent to which it functions as an urban center. The study benefited from important information provided by these sources in this respect, such as the chronology of the site, its strategic location, topographical features, the nature of the landscape at different times, the function of specific objects, human activities that took place at the site, and factors that led to its prosperity and decline. The study also undertook a fieldwork at al-Juhfa site=primarily archaeological survey and excavation. This fieldwork enabled us to test the results of the textual analysis and to reveal other characteristics of the site (such as its cultural role, urban elements, planning and defences, architectural functions, building technique, building material, and other features). Moreover, the study analyzed both the formal and technical qualities of all archaeological discoveries on the site, comparing them with their analogues at other early Islamic sites in the Middle East. The study derived many results that clearly indicate the great importance of al-Juhfa as an urban center characterized by several urban functions during the early Abbasid period in the late of 8th century until its importance began to decline gradually between the second half of 11th century and the first half of 12th century. This chronology is supported by both written sources and the archaeological evidence. Several architectural elements and a collection of archaeological finds of different pieces of pottery, ceramic, glass, worked stone, and metal were discovered at al-Juhfa. These discoveries provide us with more information about the extent of mutual influence and active interaction between various cultures during pre-Islamic period as well as the high cultural and commercial level achieved by al-Juhfa and the relationship it had with other Islamic sites in the Middle East.}, keywords = {Islamic Art}, author = {Alsubaie, Mohammad} } @mastersthesis {12828, title = {Mobilizing Masquerades: Urban Cultural Arts in Sierra Leone and Beyond}, year = {2018}, school = {UC Santa Cruz}, abstract = {Contrary to conventional academic knowledge, which considers African masked performance as a specifically rural or folkloric manifestation, masquerade has been and is still being invented in Africa{\textquoteright}s cities. Ordehlay masquerade arts were founded in the tense socioeconomic landscape of Freetown, Sierra Leone{\textquoteright}s capital city, by various marginalized migrant communities locally and later, abroad. Even though the youthful masquerade arts were seen as dangerous and subsequently banned by the government or shunned by the public, they eventually gained recognition and a foothold in the political, cultural, and economic cityscape. Particularly successful because of their open membership, organizational structure, willingness to adapt and adopt any cultural aesthetics, and ability to entertain, they became so successful that they were able to provide welfare and mutual aid for their members and immediate community. Originally tied to the specificity of Freetown{\textquoteright}s locality, Ordehlay was quickly and eagerly adopted by rural towns elsewhere in Sierra Leone as part of population growth and urbanization strategies that mirrored those in Freetown, and because they were seen as being successful and integral to the country{\textquoteright}s cultural milieu. Feeding off of one another to create a local yet shifting sense of identity as cosmopolitan/urban or rural, the masquerades break down the urban to rural binary. Similar masquerade societies are now cropping up in the diaspora as migrant communities and masquerades themselves expand and contract through the agency of digital and social technologies. Drawing from and connecting to imaginaries of home and diaspora, social media becomes an empowering tool for Ordehlay and related Hunting society members to manufacture steadily increasing bonds outside of family, race, religion, or age-echoing Ordehlay{\textquoteright}s founding recipe. The dissertation argues that publicly performed Ordehlay masks are designed by an ever-increasing community of migrants and youth to creatively access, harness, and control the various fabrics of a globalized cityscape, at home and in the diaspora. They then influenced new, and inherently contemporary, cultural traditions as membership and masquerade aesthetics fluidly mobilize and are mobilized by the communities that need them. This dissertation ultimately seeks to challenge disciplinary and categorical boundaries of art, history, and culture so as to contribute to a larger shift that incorporates and values multicultural intelligences, aesthetics, and worldviews beyond the confines of age, geography, space, and time. It additionally considers youth and marginalized communities as cultural and political actors that create and negotiate artforms, meriting scholarly-and public-attention. Actively engaged with their local and global environments, Ordehlay members do indeed have agency: in performing themselves, they perform-and shape-the city and the world.}, keywords = {Visual Studies}, author = {Maples, Amanda} } @mastersthesis {12743, title = {Modern Arts and Pueblo Traditions in Santa Fe, 1909-1931}, year = {2018}, school = {CUNY}, abstract = {This dissertation examines art produced in and around Santa Fe, New Mexico during the early twentieth century, putting the works of Pueblo artists who lived in the area into dialogue with the works of Anglo-American modernists who traveled there. I take as case studies three artists whose practices are linked by both circumstance and agenda: Maria Martinez, a famed Pueblo potter; John Sloan, a leading member of The Eight and the Ashcan School; and Tonita Pena, a Pueblo watercolor painter. Weaving together Anglo-American and American Indian art history - which are too often bifurcated into separate accounts, omitting rich histories of intercultural exchange - I critically analyze two bodies of work often neglected by art historians: the work Sloan produced outside of New York, and hybrid American Indian art production that combines Native traditions with modernist Anglo influences. I propose that Martinez, Sloan, and Pena had a common agenda - conveying the fantasy of the "authentic Indian" - but pursued it in different ways and towards different ends. Each artist{\textquoteright}s mobilization of the problematic notion of authenticity tacked between lived experiences of American Indians and Anglo projections. By attending to the ways these artists both interrogate and depend on the problematic concept of an "authentic Indian," this project has important implications for our understanding of the pictorial and performative construction of race. It also promotes a fuller geographic and conceptual understanding of Sloan{\textquoteright}s career, attends to the crucial performativity of Martinez{\textquoteright}s oeuvre, and brings to the fore the paintings of Pena, a significant artist whose works have until recently languished on the sidelines of both the history of American Indian art as well as narratives of American art.}, keywords = {Native American/First Nations, Twentieth Century}, author = {Hawley, Elizabeth S.} } @mastersthesis {12796, title = {Modern Design for Living in Venezuela: Miguel Arroyo and his Circle, 1948-1963}, year = {2018}, school = {Bard Graduate Center}, abstract = {This work examines the life and legacy of Miguel Arroyo (1920-2004), a Venezuelan designer, potter, educator, and museum administrator who was one of the first professional designers in Venezuela. A little-known figure outside specialized design historical and art historical circles today, his practice indelibly shaped Venezuelan, and, indirectly, Latin American modern design, this study contextualizes Arroyo{\textquoteright}s contributions within the broader narrative of his early life and formative beginnings to the end of his career as well as within the history of modern Venezuela. It also traces various circumstances that impacted both his personal life and modern Venezuela, from the late 1930s to the 1960s, as well as Arroyo{\textquoteright}s direct contribution to the development of modern Venezuelan design, crafts, and design education, all of which have been largely overlooked, particularly the latter two. This study presents the first detailed study of Arroyo{\textquoteright}s impact on the creative and intellectual formation and practice of a generation of designers, studio craftspeople, fine artists, patrons and others, whose circles intersected with his. Arroyo played a key role within this wider network and helped shape a new type of modern Venezuelan national identity, beginning in the 1940s. This study contextualizes Arroyo{\textquoteright}s work with those of his peers who shared his interests and strategies, including his affiliation from afar to the group Los Disidentes in Paris (194550) and considers the ways in which Arroyo designed, produced, retailed and promoted what he considered "good design" objects for daily life in Venezuela. At the same time, it explored Arroyo{\textquoteright}s role in promoting studio ceramics in Venezuela, and argues that his lifelong dedication to ceramics was a major factor in the elevation of the status of pottery to a fine art form in Venezuela, and brought international visibility and acclaim to both the medium and the country.}, keywords = {South America, Twentieth Century}, author = {Rivas Perez, Jorge} } @mastersthesis {12767, title = {Modernity{\textquoteright}s Caravaggio: Reinventing a Seicento Artist for the Twentieth Century}, year = {2018}, school = {Iowa}, abstract = {In 1905, Caravaggio was resurrected as a figure of historical importance when art critic Roger Fry designated him as the harbinger of modern art. In his commentary on the artist, Fry declares that: "He was, indeed, in many senses the first modern artist; the first artist to proceed not by evolution but by revolution; the first to rely entirely on his own temperamental attitude and to defy tradition and authority." Fry{\textquoteright}s assertion of Caravaggio{\textquoteright}s modernity is derived from early-modern biographies on the artist, which claim that Caravaggio self-consciously broke from the art of the past in a deliberate act of artistic revolution. The conflation of the artist{\textquoteright}s biography with his work has remained a constant in Caravaggio scholarship since its inception. Modernity{\textquoteright}s Caravaggio is a character with many guises - a painter, a sodomite, a pimp, a murderer, a fugitive, and a knight - all of which have molded our perception of a man who died centuries ago. Caravaggio{\textquoteright}s modern appeal is evident in the numerous exhibitions, movies, miniseries, novels, and even a ballet, produced in celebration of the artist Fry proclaimed "one of the most interesting figures in the history of art." This dissertation traces Caravaggio scholarship, as well as popular manifestations of the artist, through the twentieth century to present day by probing the theoretical and methodological trends that have shaped the discourse. My aim is to demonstrate that modernity{\textquoteright}s Caravaggio is a construction derived from the most prevalent historical, aesthetic, and philosophical debates of the twentieth century.}, keywords = {Painting, Seventeenth Century}, author = {Thorpe, Heather D.} } @mastersthesis {12786, title = {Monumental Endeavors: Sculpting History in Southeastern Europe, 1960-2016}, year = {2018}, school = {Maryland}, abstract = {This dissertation focuses on monumentality and the ways it has developed in the sociopolitical conditions of late socialist and postsocialist Southeastern Europe. It examines monumental production in this region between the 1960s and 80s, and the artistic practices that constitute responses to socialist monumentality undertaken in the postsocialist period in the republics of the former Yugoslavia and in Albania. It considers the relationship between ways of remembering the Second World War and the monumentalization of what is often referred to as {\textquoteright}actually existing socialism.{\textquoteright} Additionally, it explores how legacies of socialist monumentality have affected contemporary artists working in relation to socialist heritage and to more recent traumatic experiences, such as the wars coincident with and following Yugoslavia{\textquoteright}s dissolution. Southeastern Europe{\textquoteright}s modernity has been a particularly conflicted one, both geopolitically and culturally. Home to an overwhelming number of (frequently overlapping and amorphous) ethnic, linguistic, and religious groups, the region is notable for the hybrid and disparate ways political and cultural actors-from dictators to democratically elected officials-have attempted to cultivate a collective historical consciousness. Monuments serve as particularly rich examples of the ways politicians, artists, and publics navigate collective values and contest both projected pasts and futures. The transition from late socialism to postsocialism provides diverse examples of how public monuments in countries such as Macedonia, Croatia, and Albania relate to debates on ethnicity, gender, political economy, and class-consciousness in the context of continued redefinitions of Europe{\textquoteright}s borders and culture as a whole. Furthermore, ongoing attempts to preserve, restore, relocate, or destroy socialist-era monuments offer a rich and complicated body of evidence for the ways that histories are repurposed, especially the histories of the Partisans{\textquoteright} transnational antifascist struggle during the Second World War. This dissertation argues that many contemporary artists from Southeastern Europe have focused precisely on the ambiguous and conflicted meanings of socialist monuments, and have avoided treating monuments as monolithic forms associated with official ideological forces, in need of demythologization. Instead, these artists have turned to monuments in order to address the disparate histories of struggle that have given rise to Europe{\textquoteright}s current sociopolitical situation.}, keywords = {Sculpture, Southern Europe and Mediterranean}, author = {Raino, Isto} } @mastersthesis {12729, title = {Monumental Women: Gender, Place, and Heroism in American Public Statues, 1980-2018}, year = {2018}, school = {Stony Brook}, abstract = {This dissertation analyzes public portrait statues built between 1980-2018 to the five most commemorated women in the United States: American Indian navigator Sacagawea; suffragist Susan B. Anthony; abolitionist Harriet Tubman; aviator Amelia Earhart; and civil rights activist Rosa Parks. Using patronage as a framework, this study provides an inclusive reading of these statues and the processes behind their conception, commission, and reception. The creators of these monuments have chosen to navigate the often-thorny issues of history, gender, race, and representation at the local level through the enduringly resonant figurative monument. I argue that the cumulative effect is a new and granular understanding of America{\textquoteright}s national past, one that acknowledges the conception of a heroic women through the reinvigoration of the traditional portrait statue.}, keywords = {Genders/Sexualities/Feminisms, Sculpture}, author = {Rooney, Sierra} } @mastersthesis {12738, title = {A Mother of Light in the Age of Enlightenment: Heterodoxy, Interiority, and Epistemology in Eighteenth-Century New Spain}, year = {2018}, school = {UIUC}, abstract = {Colonial Mexico was a land steeped in Marian devotion, both to invocations brought from Europe and those arising locally. Into this Marian Zodiac of New Spain, Madre Santisima de la Luz entered in the early 18th century, and her devotion swiftly proliferated. The cult and image of this Most Holy Mother serve as an excellent case study to examine certain contentions in the age of Enlightenment, because just at the beginning of the period of contention, she burst into view in a blaze of light, proclaiming an alternate vision of a divine feminine, disciplined interiority, and knowledge as experience-alternate, that is, to the vision of enlightened reform and enlightened philosophy that was in process of taking root. In this dissertation, I examine these contentions of ideas and practices between what scholars have called traditional baroque devotion and both enlightened reform religiosity and the more radical enlightened philosophy. This examination is based on a study of the history, visual imagery, and iconography of Madre de la Luz; and of many texts, including devotionaries, treatises on mystical theology, artistic treatises, archival materials, council proceedings, and other resources. The areas of contention that I study are principally three: (1) heterodoxy; (2) interiority and exteriority; and (3) epistemology. In each of these areas, the image and cult of Madre de la Luz offer serious challenges to an orthodoxy that is established or is in process of being established. With regard to heterodoxy, they provide an alternate view to particular Catholic dogmas and religious attitudes. The challenge is made through the divine feminine redemptive force, blurring dogmatic options and tolerating ambiguity, that Madre represents. With regard to interiority and exteriority, they provide an alternate view to the newly developing orthodoxy of enlightened reform, with its preference for states of interiority intended to serve external useful ends and for the new bounded self. This challenge is made through a valuation of interiority for its own sake, tolerating a fluid self. With regard to epistemology, they provide an alternate view to the newly developing orthodoxy of the enlightened epistemology of disengaged study that claims dominance over an epistemology of direct experience. This challenge is made by proclaiming the value of the epistemology of experience, while appreciating the enlightened epistemology. Through the study of these contentions, the dissertation makes a number of claims as part of the extended scholarly project that contrasts ideas from the baroque and enlightened eras. It proposes that both the enlightened reformers of the late 18th century and modern scholars have misunderstood the roles of interior and exterior practices in both baroque Catholicism and enlightened reform Catholicism; thereby suggesting that we need to free ourselves from a reliance on enlightened reformers{\textquoteright} judgments, and attend to the teacher-practitioners of baroque religion themselves. Its more careful study of baroque devotional texts on Madre de la Luz (than any previous study), has identified intense interiorizing practices promoted within a context of exterior practices; thereby suggesting that we need to not only re-evaluate our understanding of the two Catholicisms, but also how we conceive of interiority, exteriority, and their interrelation. The dissertation gives voice to proponents of baroque interiorizing religion, a voice that has been hitherto poorly heard in the scholarly literature; and thus offers a more nuanced view of baroque interiorizing religious practice. It elaborates connections between iconography and devotional practice. It presents a comparative metaphorology of baroque and Enlightenment visual images, expanding the work of earlier scholars{\textquoteright} Enlightenment metaphorologies. It contrasts baroque epistemology of experience versus enlightened epistemology of disengaged study. It expands cases of particular doctrinal heterodoxies to express challenges against wider orthodoxies. Finally, as an undercurrent, it suggests first, the value of studying other religious systems (such as the religious philosophies of India) for understanding devotional religion in Mexico, and second, the importance of taking the researcher{\textquoteright}s experience into account when doing historical research.}, keywords = {Latinx}, author = {Cesarone, Bernard} } @mastersthesis {12680, title = {The Mystery of the Monogram AC at the Margins of Early Printmaking}, year = {2018}, school = {Pennsylvania}, abstract = {Engravings attributed to the anonymous early sixteenth-century Netherlandish printmaker known as Monogrammist AC survive in collections worldwide, leading to their inclusion in seminal publications devoted to the history of European prints. Nevertheless, these rare prints remain understudied, due in large part to their frequently diminutive scale and relative invisibility. Extant impressions are often bound in collector{\textquoteright}s albums or early modern manuscripts that lack adequate photography. Many are classified as ornament prints, a category of primarily decorative compositions that often lack the figurative or functional specificity that sustains extended inquiry. Other AC-monogrammed prints have been dismissed as derivative due to their reliance on models by other prominent early printmakers. Furthermore, many AC-attributed engravings are markedly dissimilar to one another, due to the variant appearances of their signatures (or lack thereof) and the uneven technical approach and proficiency of the printmaker(s) responsible for them. Over the centuries, the AC monogram has become a catchall for many sixteenth-century prints without another home. This dissertation, the first comprehensive reassessment of the AC corpus, interrogates the validity of long-accepted attributions and introduces previously undescribed impressions to clarify our view of the monogram and its place in the history of early printmaking. In the process, it contends that a careful study of these sometimes small, disparate, and seemingly marginal prints offers fresh perspectives on bigger issues at the core of early modern print scholarship: such as the nature and function of copying in the sixteenth-century; the relationship between prints and other crafts, like metalwork; the tactics printmakers employed to appeal to specific markets and the business strategies necessary to keep those markets supplied; the activities of print workshops before the rise of professional print publishers; and the practices of early print collectors, to name a few large, interrelated themes. In excavating and examining the prints attributed to one anonymous monogrammist, it demonstrates how the activity of print collecting and the methods of print scholarship have limited the scope of inquiry to select, named figures. For this reason, the project also serves as a methodological case study in the challenges and rewards of an archaeological print research.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Sixteenth Century}, author = {Rich, Brooks H.} } @mastersthesis {12814, title = {Narrative Forms and Visual Sequences: The New Photography in American Practice and French Discourse, 1968-1989}, year = {2018}, school = {British Columbia}, abstract = {No record in ProQuest, British Columbia has it embargoed}, keywords = {Twentieth Century}, author = {Lee, Anton} } @mastersthesis {12657, title = {The New Look of Mountains and Rivers: Landscape and the Imagining of Socialist China during The Seventeen Years Period (1949-1966)}, year = {2018}, school = {UCLA}, abstract = {As the most dominant subject matter in the history of Chinese art, landscape representation has undergone many alternations in its form, theme, function, and context of application since its emergence as an independent artistic genre in the tenth century. For a long time, this subject of art has favored the portrayal of mountains and rivers as the key visual motifs for self-cultivation or meditation. However, during the nation-building era of the People{\textquoteright}s Republic of China in the 1950s and the early 1960s, landscape depictions began to characterize a new visual and spatial-temporal order, earning what official art critics of the time called "the New Landscape." Prior scholarship tends to consider such representations as the by-products of contemporary cultural policies, resulting in very little research that critically investigates the visuality of those images and their functions as an instrument for shaping viewers{\textquoteright} conceptions and interpretations of the public image of their nation-state. This dissertation examines the function of the New Landscape as a site for political imagining during the art historically overlooked period known as "The Seventeen Years" (1949-1966) of the People{\textquoteright}s Republic of China. Unlike most scholarship which primarily examines the era{\textquoteright}s depiction of landscape within the medium of Chinese ink painting, I investigate it across different visual media and textual sources, under the critically understudied angle of imagining. This work examines the New Landscape by major art producers-including, but not limited to, painters from the Jiangsu Traditional Chinese Painting Institution in Nanjing, woodcut artists from the nation{\textquoteright}s collective farm in Beidahuang, and filmmakers of the Changchun Film Studio in Changchun. By critically investigating how the visual construction of their landscape arts connected to the political interpretation of the spatiality and temporality of the state{\textquoteright}s history surrounding the portrayed site, my research argues that the New Landscape served to reconfigure viewers{\textquoteright} conceptions of the revolutionary past, socialist present, and communist future of the Chinese state. Thereby, the New Landscape served as a public art for managing the vision and the political envisioning of the viewers during the arduous process of Chinese socialist nation-building. This research intervenes in Chinese art history through its strong emphasis on the connections between landscape representation and political imagining, illuminating how the depiction of space in art could trigger affective responses in the viewer in the context of nation-building.}, keywords = {Central and North Asia, Twentieth Century}, author = {Mak, Kathy} } @mastersthesis {12674, title = {New Values in Art: Japanese and Japoniste Ceramics, 1866-1904}, year = {2018}, school = {Columbia}, abstract = {This dissertation explores a constellation of interrelated, and under-investigated, French and Japanese ceramics spanning the period between 1866, the year that marked the production of the first ceramic set that came to be known as japoniste, and 1904, the year of the St. Louis World{\textquoteright}s Fair, where contemporaneous Japanese and French ceramics shared a common vocabulary. The historical data I collected in France and Japan and its analysis, through qualitative and quantitative sociological tools, led me to conclude that Japonisme represented a tightly knit social network in which ceramics were used as currency to broker unprecedented links within and between the central binaries of the nineteenth-century French art world: academic/ avant-garde, art/ craft, fine art/ decorative art, painting/ other mediums, intrinsic/ instrumental, representational/ self-referential, and tradition/ innovation. Until now, most attention to Japonisme has been concentrated on the ukiyo-e woodblock prints used instrumentally by the Modernist practitioners of what Duranty called the "new painting." My study turns our attention to a medium in which cultural power relationships were more evenly balanced, and in which, therefore, we can trace how two cultures can interact productively. Japanese ceramics taught French collectors and artists how to begin to discern between Chinese and Japanese traditions and to "read" the cultural references embedded in Japanese decoration. Also, French collectors{\textquoteright} antiquarian interest in Japanese ceramics was readily matched by French potters who reformed their practice and altered hierarchies of medium by drawing on the European arabesque tradition, the Rococo Revival, and the Japanese aesthetic of playfulness. In return, Meiji- and Taisho-period Japanese potters and porcelain manufacturers emulated European japoniste ceramic vocabulary in what constituted a renegotiation of the balance between tradition, on the one hand, and imported technologies and new global markets, on the other. Their ceramics reflected several rounds of exchange between the Japanese and French art worlds. These objects demonstrated just how complexly two social networks from two previously distinct cultures had been influencing each other in a medium they both valued, ceramics. I call this phenomenon "uroboric" Japonisme because it most fully illustrates the circular nature of transcultural exchanges and the central role that such exchanges play in the renewal of aesthetic and sociocultural identities.}, keywords = {Decorative Arts, Nineteenth Century}, author = {Coman, Sonia} } @mastersthesis {12626, title = {Old Houses, New Viewers: Domestic Renovation in Roman Sicily}, year = {2018}, school = {Johns Hopkins}, abstract = {Drawing on a range of media, from architecture to wall-painting and mosaic, this dissertation charts a new approach to the study of Roman Sicily. Focused on the island{\textquoteright}s transition from Hellenistic and Punic to Roman control, my investigation analyzes the role of house renovations in the articulation of local Sicilian identities during the Roman Imperial period. Deploying renovation as a theoretical category, I consider the diachronic nature of domestic architecture as a tool of self-fashioning. In this study I suggest that we think about renovation not as a single action but as a conceptual framework that allows us to critically approach the modifications made to architecture and decor. I define renovation as the process of actively selecting which decorative elements to keep or add to one{\textquoteright}s domestic ensemble. I have chosen the term "renovate" as opposed to rebuild, redecorate, or transform because it implies a sense of continuity between old and new. Through this lens we can think diachronically about continually occupied spaces such as the houses of Roman-era Sicily. The primary benefit of this approach is that it restores the human element to the architectural evidence. By placing an emphasis on the architecture itself, we can access both the "how" and "why" of changes made to a house over time. In particular, I examine the stratigraphic evidence and decor of three renovated houses across Sicily: House B at Tyndaris, The House of Leda at Soluntum, and The House of the Gazelle at Agrigento. Modifications to a house are direct evidence of a shift in the needs of its inhabitants. They reveal what structural and decorative elements-Hellenistic, Roman, or a combination of the two-were selected for at the individual level. Each townhouse, and its renovation, is contextualized within the city{\textquoteright}s local history. My analysis reveals that the domestic ensembles of House B, the House of Leda, and the House of the Gazelle were extremely heterogeneous and polyvalent because they were sites of identity construction for the homeowners, who had a foot in both worlds as local patrons in each of their respective cities but also as members of the provincial elite. I demonstrate that Sicilian homeowners drew upon the island{\textquoteright}s rich cultural past, especially that of the Late Hellenistic period, to highlight Sicily{\textquoteright}s tradition of Hellenism. In all three cities, it is clear that the homeowners used the decor of their houses to negotiate between local traditions and wider-reaching trends. During the Imperial period each Sicilian city, and each province, had its own way of capturing and asserting its position within the wider, Roman-dominated Mediterranean. While previous work has focused on the import of Sicilian luxury materials by Roman elites on the Italian mainland, in this study I consider the production, style, and reception of Hellenism in Sicily itself and in respect to broader Mediterranean trends.}, keywords = {Ancient Greek/Roman Art}, author = {Berlin, Nicole} } @mastersthesis {12709, title = {Paolo Veneziano and the Patronage and Reception of Venetian Gothic Painting}, year = {2018}, school = {Yale}, abstract = {This dissertation treats a selection of works by the Venetian painter Paolo Veneziano (ca. 1290-1358), one of the leading Italian artists of the fourteenth century. Rather than adopting a connoisseurial approach to the painter{\textquoteright}s oeuvre, as scholars have done since the early twentieth century, I study the provenance and patronage of Paolo{\textquoteright}s works in order to understand their potential meanings and original functions in relation to their earliest viewers. In addition, I consider some of the innovative types of images Paolo created as well as the broad transmission and reception of their style, content, and format. My overarching aim is to illuminate the specific historical and religious contexts in which the artist{\textquoteright}s paintings were commissioned, seen, and used, not only in Venice but throughout northern Italy, Croatia, and southern France. In Chapter 1, I reevaluate the direction of Paolo{\textquoteright}s career just after he finished the Palaferiale (1345), a painting commissioned by Doge Andrea Dandolo to serve as the cover for the high altarpiece of the great church of San Marco in Venice. By identifying several princely patrons, I argue that the painter{\textquoteright}s reputation rose as his patronage network expanded in new directions. Paolo{\textquoteright}s debut in Croatia is the focus of Chapter 2, in which I treat two paintings destined for the northeastern Adriatic. For each one I propose its original location, patron, and audience while explaining the significance of its program. Chapter 3 continues in this vein but moves geographically southward to Dubrovnik, where Paolo shipped two paintings. The first was an altarpiece for a merchant with connections across Italy, Croatia, Albania, and Serbia, while the second was the most imposing image the painter ever created. Comprised of three separate panel paintings, Paolo{\textquoteright}s five-meter-tall, six-meter-wide "Crucifixion Group" was unprecedented in design and widely influential, inspiring numerous replicas in Italy, Croatia, and the eastern Mediterranean. By following these approaches, I demonstrate that far from being a conservative painter whose later work after 1345 was relatively unimportant, Paolo Veneziano was an accomplished and inventive artist with one of the most extensive patronage networks of any medieval Italian or European painter. His clients-among whom I propose to add an Italian cardinal in France, a Dalmatian bishop, a Venetian doge, a Ghibelline tyrant, a Ragusan noble family, and an Istrian flagellant confraternity-were geographically and culturally diverse and came from different echelons of the Church and society. His pioneering image types influenced other artists, both local and foreign. And his art, especially its style, iconography, and design, was well-received across a significant expanse of southern Europe in the mid-fourteenth century and thereafter.}, keywords = {Eleventh to Fourteenth Century, Fifteenth- to Seventeenth-Century Art}, author = {Platts, Christopher} } @mastersthesis {12813, title = {Partition and the Historiography of Art in South Asia}, year = {2018}, school = {UCLA}, abstract = {This dissertation investigates the impact of the partition of the Indian subcontinent in 1947 on the development of art, art institutions, and aesthetic discourse in India and Pakistan in the twentieth century. At the core of this study is the history of the Lahore Museum, whose collections of art and archaeology were divided between the emerging nations of India and Pakistan beginning in 1948. My analysis traces the contours of this division of movable art and heritage, against the broader spirit of madness of the period, to bring forth the crisis of dispossession that the Lahore collections endured in response to this unprecedented process of bifurcation. I argue that the fate of the Lahore collections in the twentieth century dramatizes the partition{\textquoteright}s empirical and epistemological ramifications for art and art writing across South Asia both then and now. It exposes the forms of physical and ideological violence imposed on art and culture in the course of this process of decolonization and nation-building; it elucidates the pivotal role that museums have played in negotiating the ruptures of place, history, and identity concomitant to the experience of partition in South Asia; and, it unravels the dialectics of non-belonging and nationalization that entangle India and Pakistan into the present. I contend, moreover, that the case of the Lahore Museum stands as an allegory for the partition as an unfinished process of cultural fragmentation in South Asia. Methodologically, this dissertation combines extensive archival records, formal analysis of art objects, and histories of archaeology and museum spaces, with debates in Indian historiography and post-colonial criticism to weave a cross-border history of art and museums. It uproots the nationalist logic at the center of prevailing art historiography in South Asia by foregrounding repressed art histories of division, displacement, and dispossession. By writing on and across the Indo-Pakistani border, my analysis further emphasizes the continued ties between archives and museum collections in India and Pakistan, and seeks to intertwine these resources otherwise isolated by virulent national divides. In the process, this dissertation asserts the necessity of the visual arts to any writing of partition history in South Asia, and ultimately exposes how the experience of partition in South Asia has, through either memory or representation, perpetuated a pervasive ethos of division that continues to structure the art history of modernism in India and Pakistan today.}, keywords = {Twentieth Century}, author = {Kumar, Aparna} } @mastersthesis {12788, title = {Paul Thek: Untimely Bodies, 1963-1988}, year = {2018}, school = {Stanford}, abstract = {This dissertation examines the work of the American artist Paul Thek (1933-1988), an important but nearly forgotten figure of the 1960s art world. Framed by the concept of {\textquoteright}untimeliness{\textquoteright}, it addresses Thek{\textquoteright}s disappearance from the dominant narratives of postwar modernism, examining his absence in light of an early and anachronistic commitment to sculptural figuration (or "disfiguration"), as well as the critical re-appraisal of his work after his death from AIDS-related complications. The dissertation brings Thek{\textquoteright}s repulsive, disfiguring sculptures of meat of the 1960s, his pioneering installation art of the 1970s and 1980s, and the painterly practice he maintained throughout his career into dialogue with close readings of the voluminous body of writing contained in nearly one hundred of the artist{\textquoteright}s extant notebooks. Thek{\textquoteright}s oeuvre becomes a prism through which to re-assess the formation of art history itself while raising important questions of phenomenology, technology, and materiality in post-1960s aesthetic practice in America and Europe vis-a-vis issues of national belonging, religiosity, queer sexuality, and the body.}, keywords = {Sculpture, Twentieth Century}, author = {Schultz, Oliver} } @mastersthesis {12628, title = {The Persistent Past: Refoundations in Sicily and Magna Graecia in the 5th and 4th Centuries BCE}, year = {2018}, school = {Princeton}, abstract = {In this dissertation, I examine the ways in which communities negotiated the physical and ideological remains of the past. I argue that following moments of crisis which often involved demographic changes, ancient communities practiced particular rituals that allowed them to selectively and deliberately engage with the spaces, materials, and iconographies of the past. These communities did so in order both to define the terms of membership to their collectives and to make sense of their turbulent present. I demonstrate that, through a careful consideration of the built environment, material remains, and habits that have been preserved in the archaeological record, we can begin to understand how these rituals enabled communities to construct their collective identities. To fully explore this concern, I focus on a group of Sicilian settlements that were destroyed and refounded in the fifth and fourth centuries B.C.E., a period of significant political and social turbulence on the island. The settlements of ancient Sicily endured the rise of powerful tyrants and assaults by foreign forces; they forged both hostile and friendly relationships with immediate neighbors and more distant communities. As populations were forcibly moved, their settlements were often repopulated with free citizens and hired mercenaries at the whim of the island{\textquoteright}s many demagogues. The diverse communities that came to occupy these settlements had to necessarily engage not only with the physical debris of the past but also with the ideological burdens of their predecessors. Each of my case studies examines one specific technique by which a community negotiated its past through ritual engagement with the places, monuments, and images of their predecessors. I consider the reuse or abandonment of sacred space at Morgantina; the distribution and rearticulation of funerary space at Leontini; and the messages communicated by coins minted by several settlements following the destruction of Naxos. Ultimately, this dissertation poses and offer answers to questions that are critically important for our understanding of the ancient world about the ways in which communities manipulated the past in order to construct their collective identities.}, keywords = {Ancient Greek/Roman Art}, author = {Lieberman, Leigh} } @mastersthesis {12683, title = {Photography in the First Person: Robert Mapplethorpe, Peter Hujar, Francesca Woodman, Nan Goldin and Sally Mann}, year = {2018}, school = {Yale}, abstract = {Photography in the First Person offers an alternative account of postmodernism in American art during the 1970s and {\textquoteleft}80s by examining the work of five photographers. Robert Mapplethorpe. Peter Hujar, Nan Goldin and Sally Mann, who are united, not by circumstance, style or acquaintance, but rather by how each one of them used aspects of their personal lives as subject matter, whether it was their friends, lovers, families or children. Collectively their art explores many of the same themes as that of the Pictures Generation, but is structurally opposite to it. Where the Pictures artists appropriated images from popular culture in order to demonstrate how identities were not given or natural, but were discursively and institutionally constructed, the practitioners of what I call photography in the first person set their sights on the ostensibly neutral viewer predicated by these same discourses and institutions{\textemdash}a viewer who is invariably male, white and heterosexual. Through a series of four case studies, it is shown how each of the aforementioned artists used the medium of photography and the specific contours of their personal lives through strategies of excess and indeterminacy to establish a different ethical stance towards the work of art. from one of detachment to one that forces us to consider our own bodies, desires and identifications.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice}, author = {Adams, Harrison} } @mastersthesis {12641, title = {The Physiognomy of a Collection: Architectural Legibility and Historical Expression at the Musee des monuments francais, 1795-1816}, year = {2018}, school = {Pittsburgh}, abstract = {The Musee des monuments francais (1795-1816) began as a depot for newly nationalized property during the first years of the French Revolution. The depot rapidly filled with tomb monuments, sculptures, and architectural fragments from the former churches and palaces of the ancien regime in Paris and its environs. The growing cache of historic artifacts and art objects inspired Alexandre Lenoir to shape the storehouse into a collection for public display. The Musee des monuments francais subsequently developed into a site of historical discourse. Previous scholarship has predominately framed the museum as an institution central to the growth of ideas about French patrimony in the nineteenth century. My dissertation traces the development of Lenoir{\textquoteright}s complex system of art and architectural classification and examines the theoretical implications of the museum within contemporaneous dialogues about architectural legibility and historical interpretation. Lenoir integrated physiognomy, formal artistic analysis, and the theoretical potential of the body to navigate uncertain meanings in a period of political and social upheaval. Each gallery of the Musee des monuments francais engaged the visitor in a new and different relationship with time and history. The Introduction Hall presented a hieroglyphic overview of French art, the five century rooms temporalized the ancien regime into a historical taxonomy based on the body of the king, the three courtyards revealed a history of architecture that transcended the vocabulary of the legible body, and the garden, called the Elysee, celebrated universal human virtue and genius. In the Elysee, Lenoir buried the remains of the honored dead where their presence activated the senses of the living. The sequence of spaces presented competing interpretations of the relationship between history, material culture, and the individual in which no single historical system dominated. Museum visitors judged the progress of artistic achievements, admired the clarity of scientific classification, mused over the tangible remains of distant centuries, and even conversed with the dead. The Musee des monuments francais engaged the sensation and judgment of an emerging museum-going public in the practice of coding temporal and historical relationships onto objects, architectural spaces, and historical bodies.}, keywords = {Architectural History/Urbanism/Historic Preservation, Museum Practice/Museum Studies/Curatorial Studies/Arts Administration}, author = {Donnelly, Jennifer} } @mastersthesis {12635, title = {Pictorial Representations of Monkeys and Simianesque Creatures in Greek Art}, year = {2018}, school = {Missouri}, abstract = {"Primates are visually disturbing to many--at least I thought so when I was young. Their physical and behavioral similarities with humans were uncomfortable and jarring to my developing mind. As an adult, however, I have become fascinated by these "disturbing" qualities and how they facilitate human interactions with, reactions to, and beliefs about the animal. While visiting the St. Louis Zoo, for example, I watched children display an array of emotions--laughter, fear, excitement, and confusion--when viewing chimpanzees. They noticed especially the similarities between "us" and "them:" their hands, which have five fingers; their gesticulations; and to some extent their eyes, which are intense and emotive. Adults notice these parallels as well, but in less innocent ways: for instance, there is a silverback gorilla named Shabani, located at the Higashiyama Zoo and Botanical Gardens in Nagoya, Japan, that draws crowds of women who find his buff physique, piercing eyes with visible sclera, and gentle manner towards his young both handsome and alluring. In other words, women are attracted to him because he vaguely resembles a muscular, fatherly, human man. Despite the parallels between our species, which we understand is the result of evolution, we are still conscious of the differences between us, as humans, and them, as animals. This is because we live in an era that gives us unlimited access to information of all kinds. Simians, in particular, we study in school, can research on the internet, or visit nearly any species at a local zoo. What about an ancient person, however, who perhaps only knew about primates through imported art and travelers{\textquoteright} tales? Would they have known the difference? If so, to what extent? Though simians are not native to Greece or the Mediterranean, they are frequently represented in Egyptian, Mesopotamian, Phoenician, Cypriot, and Anatolian art, while the Greeks occasionally depicted monkeys. The Greek renditions, in particular, encompass a broad range of media: vase painting, relief, portable sculpture (terracotta, bronze, stone, ivory, gold, silver, bone, amber, lapis lazuli, glass), pithemorphic aryballoi, seals, fibulae, mosaic, gems, and jewelry. Greek monkeys crouch or squat, touch their mouths or heads, embrace their young, eat and drink, and perform various human activities (e.g. ride horses, play music, dance, make bread, wear clothing, and hold manmade objects) and lewd actions (e.g. masturbation, "flipping the bird," and copulation). Such images are likely inspired by the art of Egypt and Mesopotamia, where simians were imported, sanctified, worshipped, illustrated, and kept as pets for thousands of years prior to their appearance in the visual materials of Greece. For this dissertation, I analyzed two-dimensional, or pictorial, representations of monkeys in Greek art. Every example exhibits two distinct similarities: first, they are consistently marginalized, or rendered as a peripheral character, within larger narratives. This occurs in one of two ways: with respect to their 1) physical location, or placement on the object (e.g. on/near frieze lines, between borders or frames, among ornamentation, or beneath handles) or 2) bodily form (e.g. most are nude, hairy, and ugly); this latter category includes lewd or lowly postures and gestures (e.g. genital rubbing, pointing, dancing, crouching, and tight-rope walking). The second similarity these creatures share is iconographic inconsistency: their physical bodies, postures, gestures, sizes, and levels of detail differ within each image; no two are alike. Since all pictorial representations of Greek monkeys are marginalized and iconographically inconsistent, I have included all the ones I discovered in this survey. Three-dimensional objects, like sculpture, are often too fragmentary to label with certainty and thus were not considered. One of the clearest examples of locational marginalization occurs on the MacMillan aryballos (Cat. 3.4): a lion-spouted vessel, only 6.8 centimeters high, that was used for the storage and the application of salves and ointments, likely by athletes in the gymnasium. The body features scenes of processing warriors, horsemen, and animals. Between the legs of one of the cavalrymen crouches a small monkey, who waves its fist as the rider passes by. As a diminutive element on a small vase, the monkey is nearly imperceptible to the naked eye, which is a strong indication that the maker deliberately chose to include it among the humans, horses, and other animals. Conversely, physically marginalized monkeys are rendered in larger, more noticeable ways. A clear example is featured on a red-figure olpe, now in the Louvre (Cat. 4.3): a thin, nude, emaciated simian reaches for a young, beautiful boy{\textquoteright}s apple; the boy physically turns away from the creature, either out of disgust or to protect his snack. Previous scholars, like Greenlaw (2011) and McDermott (1938), have surveyed simian art in the Mediterranean but none of their publications attempt to explain the method of representation and/or meaning of monkeys in Greek art. In general, such images are dismissed as humorous interpolations or ornamental filler, like the birds and small animals that appear on many Geometric, Proto-Attic and Corinthian, and Archaic vessels. Though seemingly insignificant within larger narrative contexts, I believe these marginalized creatures hold meaning. In addition to monkeys, a series of simianesque creatures, or humanoid figures with monkey-like characteristics, are also marginalized in larger narratives. Puzzlingly, only a few occur prior to the representation of monkeys in the experimental Protoperiods; most appear in Archaic and Classical art. Scholars often identify them as human, satyr, or monster; they are rarely associated with simians even though they share distinct similarities with the animal, like face shape, posture, and gesture. Additionally, as with the monkey motifs, scholars rarely attempt to explain their locational and physical marginalization, and corpora on Greek simian imagery do not make note of them because they do not represent the animal for certain. This dissertation surveys pictorial representations of monkeys and simianesque creatures in Geometric, Archaic, and Classical art in an attempt to explain the creature{\textquoteright}s presence as a secondary, marginal element in larger narratives; the Bronze Age and Hellenistic Period are explored as bookends to this phenomenon. It seems evident that the use of simians in Greek art is deliberate and significant based on the following: Greek authors{\textquoteright} disdainful acknowledgement of the similarities between humans and simians, the locational and physical marginalization of these creatures in art, and the clear disconnect between these motifs and the Eastern sources that inspired them. In an attempt to explain the presence of these marginalized and iconographically inconsistent monkeys in Greek art, I developed the following questions, which I will work to answer over the course of this dissertation. 1) Are the visual and textual representations of monkeys disconnected, or is there a unified view? Textual descriptions of simians are often derisive and judgmental, but are these sentiments evident in Greek art as well? 2) The Greeks{\textquoteright} monkey and simianesque motifs were obviously influenced by imported Eastern and Egyptian art, which had been flooding westward since the Bronze Age. Were the meanings and functions of these foreign simian motifs, which often had religious undertones, imported as well? If so, how long did these influences last? 3) How are these creatures represented when part of decorative systems, or larger narratives, in pictorial Greek art? What are the uniformities and inconsistences? 4) There is evidence of taxonomic tension in Greek texts regarding the classification of simians, i.e. they are simultaneously human and animal. Does this tension suggest other, preexisting models by which to understand these motifs? If so, which ones relate most to simians and why?"--Chapter 1, Introduction.}, keywords = {Ancient Greek/Roman Art}, author = {Wolfson, Elizabeth} } @mastersthesis {12790, title = {Picturing Devotion in Dutch Golden Age Huiskerken}, year = {2018}, school = {Maryland}, abstract = {Although the seventeenth-century Dutch Republic was officially Protestant, Catholics made up nearly one-third of the population. To circumvent laws prohibiting public worship, Dutch Catholics celebrated Mass in private homes converted into lavishly decorated huiskerken (house churches). Unfortunately, most huiskerken have been destroyed or poorly documented, and previous scholarship has examined altarpieces out of their historical contexts. This dissertation examines the decorative programs of two well-documented huiskerken: St. Bernardus in den Hoeck in Haarlem, rebuilt in 1638 and part of a large community of lay religious women (kloppen ) in Haarlem, and {\textquoteright}t Hart, founded in 1663 in Amsterdam, and preserved today as the Museum Ons{\textquoteright} Lieve Heer op Solder (Our Lord in the Attic). This is the first English-language study of the complete decorative programs of these two huiskerken and their liturgical functions, and I argue that devotional paintings are best understood as pieces of these decorative programs, which included embroidered textiles, illustrated sermon manuscripts, and liturgical silver. I employ reception theory to show that the imagery in these two huiskerken aided the celebration of Mass and meditation of laypeople, especially lay religious women. The examples of St. Bernardus and {\textquoteright}t Hart demonstrate that the decorative programs of huiskerken are largely indebted to lay religious women, who acted as patrons and creators of devotional objects. I prove that crafts like embroidery and inexpensive engravings, commonly considered "low" art, in fact served as creative sources for "higher" art forms like paintings. Furthermore, I conclude that the use of imagery in huiskerken is more closely related to medieval devotional practices than has previously been assumed.}, keywords = {Seventeenth Century}, author = {Harrington, Margaret} } @mastersthesis {12665, title = {Picturing the System: Counter-Institutional Practices in British Art of the 1970s}, year = {2018}, school = {Columbia}, abstract = {This dissertation examines a range of politicized artistic practices in Great Britain during the 1970s, a decade marked by economic decline and social fragmentation. The artists I primarily focus on in the pages that follow-William Furlong, Stephen Willats, Mary Kelly, and Conrad Atkinson-all appeared on Audio Arts, a "spoken magazine" distributed on audiocassette that was founded by Furlong in 1973. During the 1970s, Furlong, Willats, Kelly and Atkinson renegotiated their relationship to art institutions, expanded the role of the artist in society, and conceived of art as a form of political praxis, and this dissertation explores the strategies these artists devised to connect to publics outside the elite, bourgeois audience of art.}, keywords = {Conceptual Art, Twentieth Century}, author = {Campbell, Thomas} } @mastersthesis {12787, title = {Plastic Fantastic: American Sculpture in the Age of Synthetics}, year = {2018}, school = {Maryland}, abstract = {This dissertation considers the role of plastics as a sculptural medium in the United States in the 1960s and 1970s. At this time, artists were turning to synthetics in large numbers and with great enthusiasm, in spite of wavering public opinion on plastics in the U.S. I argue for the significance of this "plastics moment" for the arts by looking closely at the work of four artists: Donald Judd (1928-1994), Eva Hesse (1936-1970), De Wain Valentine (b. 1936), and Frederick Eversley (b. 1941). I position their sculptures in the social context of synthetics in twentieth-century America. In their distinctive practices, Judd, Hesse, Valentine, and Eversley each used plastics with a pioneer{\textquoteright}s zeal: working with local industries, creating new means of production, and even developing formulas for the materials. Plastic Fantastic is an interdisciplinary text, engaging scientific and cultural histories in conversation with American art scholarship. I focus on the production accounts of the objects to understand how these four artists took on the challenge of synthetics, and consider the diversity of substances used, looking at sculptures in Plexiglas, Fiberglas, and polyester resin. Using a technical approach to art history, I expand the literature on artworks from this period, which often omits material details and overlooks plastics{\textquoteright} place at this crux of sculpture in the U.S. My dissertation illuminates the important innovations of Judd, Hesse, Valentine, and Eversley to understand this juncture in the 1960s and 1970s, when American art found plastics.}, keywords = {Sculpture, Twentieth Century}, author = {O{\textquoteright}Steen, Danielle} } @mastersthesis {12650, title = {Political Postmodernisms: Architecture in Chile and Poland, 1970-1990}, year = {2018}, school = {Duke}, abstract = {"Political Postmodernisms" argues that postmodern architecture can be radically rethought by examining its manifestations in Chile and Poland in the 1970s and 1980s. Postmodern architecture tends to be understood as politically indifferent and devoid of the progressive agenda embedded in modernist architecture-a view typically rooted in the analyses of North America and Western Europe. By investigating the cases of Chile during the neoliberal dictatorship of Augusto Pinochet and Poland during the late socialist Polish People{\textquoteright}s Republic, my project unfolds a less acknowledged narrative-one in which postmodernism is profoundly entangled with the political. Drawing from interviews I conducted with a range of Chilean and Polish architects, as well as analyses of physical buildings, urban development plans, and architectural journals from Santiago and Warsaw, I show how these South American and Eastern European sites reveal an altogether different dynamic between capitalism, democracy, and architecture. The dissertation is composed of an introduction, four chapters, and a conclusion. The Introduction discusses the current revivalism of postmodernism and its critique, tracing the roots of this criticism in foundational scholarship on postmodern architecture, and analyzing how postmodernism is defined in architectural scholarship. It also discusses why Chile and Poland are chosen as case studies. The first chapter, "Postmodernism and the State: Chile," discusses propagandistic uses of postmodern architecture by Pinochet{\textquoteright}s regime in Chile, using two case studies-the Plaza de la Constitucion in Santiago de Chile (1980) and the Congreso de Chile in Valparaiso (1987). The second chapter, "Postmodernism Against the State: Chile," examines the practices of architects who were members of CEDLA, an independent collective of Chilean architects established in 1977 in Santiago, who promoted a version of politically and socially engaged postmodernism that could counter Pinochet{\textquoteright}s neoliberal agenda. Chapter Three, "Postmodernism and the State: Poland," analyzes how the Polish Socialist Party first appropriated postmodernism as a Soviet invention and then used it as a means to appease social tensions in times of increasing unrest. It focuses specifically on state-sanctioned architectural discourse and the Na Skarpie housing estate in Krakow (1985). The final chapter, "Postmodernism Against the State: Poland," discusses Polish architects organized under the Dom i Miasto group (1980-1984), which united postmodern inspirations with agendas that opposed the vision of society imposed by the Polish People{\textquoteright}s Republic. It also discusses the work of Marek Budzynski, for whom postmodernism created a "third way" beyond socialism and capitalism. Across these chapters, I argue that Chilean and Polish architecture between 1970 and 1990 complicate the generally accepted view of postmodern architecture as politically disengaged and as an exclusively neoliberal phenomenon, disinterested in any progressive social agenda. In both countries, postmodern currents were appropriated by the regimes for propagandistic purposes and used to oppose the agendas of the State.}, keywords = {Architectural History/Urbanism/Historic Preservation, Twentieth Century}, author = {Klein, Lidia} } @mastersthesis {12668, title = {The Postmaster{\textquoteright}s Porcelain: Collecting European Decorative Arts in Middle America}, year = {2018}, school = {Missouri}, abstract = {This dissertation provides a case study of a type of art collecting that has not received significant scholarly attention, one based on the collecting activity of middle-class Americans living in the Midwestern United States, but who nonetheless are interested in the appeal of European "high" art. I intend to show that collecting and the appreciation of art are not limited to those with the financial acumen of a Rockefeller, Guggenheim, or Saatchi. The following analysis centers on Philip and Mildred Strain, a postmaster and schoolteacher, and the obstacles they overcame to amass a collection that reflected their interest in eighteenth-century European aesthetics. Typically, collectors attract the attention of scholars when they have access to art and artists that become revered enough to be placed in the art historical canon. Access to the work of those artists necessitates the ability to connect with dealers, as well as the artists themselves, in global cultural centers like Paris, New York City, or London. In 1958, Aline B. Saarinen published a book titled The Proud Possessors, which is composed of fifteen biographical sketches of American art collectors. It established a canon of American collectors on which the scholarship of collecting is based. 1 Saarinen, an art critic for The New York Times, narrates the lives of men who built the physical, economic, and political infrastructure of the United States, women whose names now adorn major American museums, and the world travelers who brought the work of modern artists like Picasso and Matisse to America. Saarinen writes that "the overpowering common denominator" that unites these collectors is that "collecting art was a primary means of expression" and that their "involvement with art collecting was passionate and urgent."2 Saarinen{\textquoteright}s comments about the motives of the socially prominent collectors, whose financial resources and connections allowed them access to the international art market, can also be applied to Mr. and Mrs. Strain. The Strains also used their collection to express an identity of their own making. However, the Strains could be categorized as "outsider collectors," a term that echoes the concept of the outsider artist, a recognized genre in the art-historical canon. Outsider artists operate separately from mainstream art establishments; they are often self-trained and labor for years in obscurity before being discovered by a dealer, curator, or scholar. The Strains built their store of connoisseurial knowledge through secondary sources such as auction catalogs and collecting guides. Their close relationship with Jack Drew, an art and antiques dealer in Omaha, mimicked the relationships between the canonical collectors and dealers, galleries, and auction houses with Drew serving as a consultant facilitating access to the art and antiques markets of metropolitan cultural centers. The Strains lacked the financial and social resources of Saarinen{\textquoteright}s canon of collectors, but they shared a passion that motivated their appreciation of the art to which they were most attracted. I approach the Strains{\textquoteright} collecting activities as Saarinen approached wealthy collectors. This dissertation will examine the Strains{\textquoteright} biography to locate the origin of their interest in the art they collected. It includes a detailed documentation of the methods they used to display their collection in their home, since that environment no longer exists. Their collection has been dispersed and their residence remodeled for future inhabitants. My discussion relies on interviews with individuals who knew the Strains in order to understand how they lived with their collection. My analysis provides another chapter to the story of art collectors in America, expanding our understanding of the human impulse to express ourselves through the objects we possess.}, keywords = {Decorative Arts, Design History, Patronage/Art Collecting}, author = {Jones, Sarah S.} } @mastersthesis {12805, title = {Postmodern Perestroika: Ukrainian Artistic Networks of the 1980s-1990s}, year = {2018}, school = {Rutgers}, abstract = {This dissertation examines Ukrainian painting of the perestroika era produced by the last generation of Soviet artists trained in the Socialist Realist method and steeped in the Manichean dualism of official and unofficial cultures. While rejecting the ideological purpose underlying their training, these Ukrainian artists witnessed not only the decomposition of Socialist Realism but also that of Soviet Socialist reality. I explore the historical circumstances during which this new art was born, displayed, and reviewed, particularly the semi-alternative exhibitions scene and the art squats illegally populated by artists in Kyiv and Moscow. Propelled by the paradoxical nature of perestroika, these artists were challenged to create a new quality in art while still invested in the past with its pre-existing art styles and specific expressions of local Ukrainian history-especially during the Baroque epoch. My analysis of major-but understudied-paintings utilizes archival materials, rare catalogues, and my interviews with numerous artists. I show that the hybrid nature of Ukrainian perestroika era painting reveals the porous nature of borders that separated East and West in the 1980s. My text shows how distant and sometimes distorted echoes of Western theoretical concepts, such as Postmodernism, Neo-Expressionism, Transavantgarde and Neo-Baroque, reached and impacted late Soviet art. These terms were freely employed by most sympathetic yet often disoriented liberal Soviet critics to describe the new phenomena. The artists themselves were not entirely familiar with the trends, yet they readily accepted-and then just as eagerly denounced-such definitions. My dissertation carefully tests and demonstrates the relevance of those theories to Ukrainian perestroika era art. My conclusions are based on a critical reexamination of Soviet era material, including the permutations of late Socialist Realist doctrine and the debates between Moscow Conceptualists and unofficial meta-realist poets. Beginning with the uproar created by Arsen Savadov and Heorhiy Senchenko{\textquoteright}s scandalously popular Cleopatra{\textquoteright}s Sorrow (1987), shown at the 1987 Youth Exhibition in Moscow, and continuing with the relocation to the Furmanny Lane art squat of the Resolute Edge of National Post-Eclecticism group, perestroika era Ukrainian painting appears irrevocably entangled with the culture of Moscow during the collapse of the USSR. I show how Ukrainian artists maintained throughout a productive dialogue with Moscow Conceptualism. Highlighting the constellation of often conflicting concepts and ideas that define and inform this generation{\textquoteright}s art, my dissertation rejects singular definitions attributed to it. I argue instead that the plurality of cultural impacts and discoveries of local histories require a more nuanced explanation, and my findings indicate that the state of political turmoil of the time is, in fact, reflected in art that subscribed to partial explanations and fragments of multiple discursive systems.}, keywords = {Twentieth Century, Visual Studies}, author = {Martynyuk, Olena} } @mastersthesis {12799, title = {Post-Yugoslav Generation: Art, History and Theory at the Unidentified Grave of Yugoslav Twentieth Century}, year = {2018}, school = {Duke}, abstract = {The dissertation examines the work contemporary artists, curators, and scholars who have, in the last two decades, addressed urgent political and economic questions by revisiting the legacies of the Yugoslav twentieth century: multinationalism, socialist self-management, non-alignment, and war. I conceptualize the work of contemporary artists as that of Yugoslavia{\textquoteright}s "surviving generation," and use it as a starting point for a reconstruction of what I argue is a decolonial twentieth-century Yugoslav aesthetics that has persisted into the present despite numerous and violent historical ruptures. I also seek analogies between this aesthetics and a number of theoretical frameworks, in particular those of Edmund Husserl, Frantz Fanon and Judith Butler, whose work similarly arose out of constellations of crisis, death, and survival. The worldwide strengthening of conservative and nationalist movements following the crisis of capitalism in 2008 reveals the violent break-up of socialist Yugoslavia in the 1990s as a precursor to global developments, rather than an exception, and my dissertation argues for a global import of the Yugoslav experience. From the anti-imperialist assassination of Franz Ferdinand in Sarajevo in 1914, the communist-led resistance during WW2, the anti-Stalinist socialist state and its prominent role in the Non-Aligned Movement, to the war-ridden, post-communist transition, the Yugoslav century is not only co-extensive with the dreams and disasters of the "short twentieth century" (1914-1991), but can be seen as this century{\textquoteright}s metonymy, or even, synecdoche. The engagement of contemporary artists, scholars and curators with the aesthetic and political legacies of the Yugoslav century, the dissertation argues, opens up the possibility to read Yugoslavia both as a proper name, designating a particular history, and as a universally valid signifier for a number of unresolved and persisting questions of the past: the quest for social equality, ongoing forms of colonialism and decolonization, the return(s) of nationalism, and the crises of capitalism and democracy.}, keywords = {Theory/Historiography/Methodology, Twentieth Century}, author = {Bago, Ivana} } @mastersthesis {12756, title = {Precisionism in the Long 1920s}, year = {2018}, school = {Princeton}, abstract = {This dissertation reconsiders American Precisionism, an early-twentieth century movement recognized today for meticulous paintings of skyscrapers and empty factories, although its artists just as frequently pictured country barns, domestic interiors, and still lifes, in media as various as drawing, lithography, watercolor, pastel, and photography. Its participants include Charles Sheeler, Charles Demuth, Georgia O{\textquoteright}Keeffe, Elsie Driggs, Louis Lozowick, Stefan Hirsch, George Ault, and Niles Spencer. The central thesis of this dissertation is that Precisionism should be recognized as a movement, not because these figures declared themselves a group or because their works shared a singular style, technique, or subject matter. Rather, what they had in common was exactly their non-compatibility-a preservation of solitude and restraint that I reveal to be central to the definition of "precision." Excavating the latent meanings of precision in poetry, philosophy, and popular science puts Precisionist art in tension with the Machine Age discourses with which it is usually associated. This reassessment begins in chapter one, where I trace the etymology of precision and examine its usage in 1920s popular culture, parsing the separate genealogies of "scientific" and "aesthetic" precision. Chapter two considers the ways in which language and visual art struggled to find new modes of communication by defining a "Precisionist address" in the artworks and writings of Morton Schamberg, Charles Sheeler, Ezra Pound, and Leo Stein. Chapter three focuses on Georgia O{\textquoteright}Keeffe and the poet Marianne Moore, looking at the pervasive metaphors of "surgery" used to describe the effects of realism in their art. Following these studies of individual artists, the final chapters return attention to Precisionism{\textquoteright}s group-formation. Chapter four analyzes the inaugural Biennial of Contemporary Painting at the Whitney Museum in 1932, where, I argue, the Precisionists were physically exhibited together for the first time. A fifth chapter concludes the dissertation by characterizing Precisionist painting as a still life genre. Under that category, three qualities of the movement are reassessed: objectivity, temporality, and privacy. The serial structure of still-life painting provides a final key to understanding how a Precisionist idiom persisted through the "Long 1920s."}, keywords = {North America, Twentieth Century}, author = {Lazevnick, Ashley} } @mastersthesis {12643, title = {Presque un Monument: Republican Urbanism and Commercial Architecture of the Rue Reaumur (1896-1900)}, year = {2018}, school = {Yale}, abstract = {The Rue Reaumur, cleared and constructed between 1896 and 1900, was the first major urbanism project initiated in central Paris after the dismissal of Haussmann. Realized under the Third Republic and under the guidance of a democratically elected Paris Municipal Council, the street provoked an unprecedented public debate about urbanist priorities, the management of municipal debt, and architectural aesthetics. Disappointed with the visual homogeneity of the Haussmannian boulevard, Councilors liberalized building code and declared a Concours des Facades in the Rue Reaumur in order to visually revitalize their city. That variation of the streetscape would turn on a monumentalization of the urban party-wall building through enlarged saillies and avant-propos, corbelled facade elements hitherto banned in the streets of Paris. Conceived as a central business district, the Rue Reaumur was also a unique concentration of commercial architecture, which encouraged an expanded use of iron structure to open building interiors and facades into naturally illuminated, floor-through spaces of manufacture. Construction in the Rue Reaumur was, then, guided by contradictory impulses. Charged with psychically countering the uniformity of the rationalized city, the exuberant elevations of the new street simultaneously masked a reordering of the architectural object by similar pressures towards economic and technological efficiency. This dissertation treats the architecture of the Rue Reaumur and the public debate that shaped it as mutually determining engagements of architectural modernity. It situates the street{\textquoteright}s evolution as a response to the political, economic, spatial, and psychic challenges posed by the emerging capitalist metropolis. Reconstruction of the architectural and social discourses that informed design practice in the Rue Reaumur positions late-century eclecticism as an indispensable step in the development of interwar Parisian modernism. That architecture served as the primary object of rejection within modernist historiography and avant-garde theory due to its reliance on historical vocabularies. This study demonstrates that the perceptual immediacy desired of the late-century Parisian facade was of equal importance to the development of architectural modernism as theories of structural rationalism. It considers eclecticist architecture like that of the Rue Reaumur as a moment of dynamic invention within nineteenth-century theory and design practice, the terms of which would integrally condition Le Corbusier{\textquoteright}s reconception of architecture and architectural aesthetics a generation later.}, keywords = {Architectural History/Urbanism/Historic Preservation, Nineteenth Century}, author = {Zirnheld, Bernard} } @mastersthesis {12673, title = {Print and Screen, Muriel Cooper at MIT}, year = {2018}, school = {Columbia}, abstract = {Muriel Cooper (1925-94) worked at the Massachusetts Institute of Technology (MIT) for more than four decades as a graphic designer, an educator, and a researcher. Beginning in the early 1950s, she was the first designer in MIT{\textquoteright}s Office of Publications, where she visualized the latest scientific research in print. In the late 1960s, she became the first Design and Media Director for the MIT Press, rationalizing its publishing protocols and giving form to some of the period{\textquoteright}s most significant texts in the histories of art, design, and architecture, among other fields. In the mid-1970s, Cooper co-founded the Visible Language Workshop in MIT{\textquoteright}s Department of Architecture. There she taught experimental printing and explored new imaging technologies in photography and video. And from the 1980s until her death, Cooper was a founding faculty member of the MIT Media Lab, where she turned her attention to the human-computer interface. Cooper helped cultivate a design culture at MIT. And before her premature death, she established some of the metaphors and mentored some of the designers that have shaped our contemporary digital landscape. Few 20th century designers have made significant contributions in both print and digital media, or helped to navigate the epochal transition between the two. Yet Cooper, in designing and redesigning roles for herself within new fields at MIT, did just that. Over her career and across multiple media, Cooper{\textquoteright}s concerns remained quite consistent: She focused on developing both design tools and user experiences that would provide greater control and quicker feedback, eventually to be aided by machine intelligence. She sought to create experiences that were dynamic rather than static and simultaneous rather than linear, ones that engaged multiple media and a range of human senses. Cooper applied her knowledge of print design to software, and considered print and the process of its production as a prototype for the experiences that she would seek on screen. She also borrowed freely from media such as photography and film to inspire some of the effects she would later explore in new media. Cooper{\textquoteright}s career traced an arc, in her practice and her pedagogy, from a focus on objects to one on systems. And her relationship to the digital evolved from a set of effects to be emulated in other media to seeing the computer at first as a tool, then as an assistant, and finally, as the medium itself. At the same time, she participated in a broader shift during this period from the paradigm of the humanist subject to the digitally augmented, "posthuman" condition of the present. In her interests and her achievements, Cooper exceeded any traditional definition of a graphic designer. At the same time, her work has defined the present state of the field. This dissertation, the first dedicated to Cooper, charts her pathbreaking career at MIT while also shedding new light on vital moments in the history of art, design, architecture, and media in postwar America.}, keywords = {Decorative Arts, Design History, Twentieth Century}, author = {Wiesenberger, Robert} } @mastersthesis {12678, title = {Prints on Display: Exhibitions of Engraving and Etching in England, 1780-1858}, year = {2018}, school = {CUNY}, abstract = {During the long nineteenth century, in cities throughout Europe and North America, a new type of exhibition emerged - exhibitions devoted to prints. Although a vital part of print culture, transforming the marketing and display of prints and invigorating the discourse on the value and status of printmaking, these exhibitions have received little attention in existing scholarship. My dissertation aims to answer the question of when, where, and how did print exhibitions emerge during this period. It examines the initial development of these displays in England, home to the earliest print exhibitions and an innovative exhibition culture, from the 1770s to 1858. Through an analysis of specific exhibitions in four categories-commercial, independent, national, institutional-this dissertation reveals the motives of the publishers, artists, and organizations who mounted these exhibitions, outlines the wide variety of etchings and engravings displayed, from caricatures and book illustrations to reproductive prints and original etchings, and documents the audience and critical reception. These exhibitions were launched during a critical period for printmaking, when it was typically considered a secondary, minor art form and given little or unsatisfactory spaces in larger art exhibitions of paintings, sculpture, and drawings. By establishing a unique, dedicated space for the viewing of prints, this dissertation argues that exhibitions were developed as a critical tool to draw attention to prints, stimulate the market, and reposition prints as valuable art works. They mark a significant movement towards the professionalization of printmaking, which would be continued during the second half of the nineteenth century with the launch of the etching revival, and served to bring prints to an increasingly broad and engaged audience.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Nineteenth Century}, author = {Simpson, Nicole} } @mastersthesis {12765, title = {Public displays of affection: Negotiating power and identity in ceremonial receptions in Amsterdam 1580-1660}, year = {2018}, school = {UC Santa Barbara}, abstract = {The Union of Utrecht treaty (1579) established a confederation of Dutch provinces that previously had never formed a cohesive geographical or political entity. United mostly by a common enemy, this region and its inhabitants were soon in search of a common identity: a task that not only involved the consolidation of a varied range of locally defined power structures, but also that of a notably heterogeneous body politic. Mythic narratives regarding the nation{\textquoteright}s ancient origins and heroic leadership and liberation were developed to provide an inspired cover for the political and religious strife living directly underneath its surface. To gain insight into the processes by which idealized notions of patria were evoked differently by competing factions in the Republic, this dissertation examines ceremonial receptions of military leaders and royal visitors that took place in Amsterdam during the first eight decades of the Dutch Republic (1580-1660). I argue that these events and their representations in print functioned as platforms for the formation and contestation of emerging hierarchies, and ask to what political end various media such as performance, poetry and print were employed to help negotiate a new system of government, as well as sustain proto-nationalistic narratives and diplomatic efforts on behalf of the city. Seen through the lenses of urban space, print culture, cultural networks and cultural memory theory, this dissertation analyzes several ceremonial entries that took place in Amsterdam between 1580 and 1660. These are discussed in chronologically ordered chapters that trace how artistic and literary conventions were applied and transformed in relation to their immediate historic and political circumstances. In my first chapter I focus on the receptions of William of Orange (1533-1584) in 1580 and the Earl of Leicester (1533-1588) in 1586, taking place in the transitional period shortly before and after the Union of Utrecht (1581), as well as two triumphal entries of William{\textquoteright}s son, Stadtholder Maurice (1567-1625) in 1594 and 1618. As I argue in this chapter, these entries demonstrate that a monarchical ceremonial language was used to explore, negotiate and legitimize the terms of a "mixed constitution" Republic, in which an aristocratic Captain-General (the Stadtholder) served the provinces and States-General. The joyous entries of the exiled Maria de{\textquoteright} Medici (1575-1642), Queen-Mother of France, in 1638 and her daughter Henrietta Maria Stuart (1609-1669), Queen of England, in 1642, form the topic of my second and third chapter. I contend that these remarkable receptions utilized tropes of Dutch Republican progress and state-making to bolster the credibility of the young state on the international diplomatic stage, through alternative emphases on Amsterdam{\textquoteright}s merchant regents and the House of Orange. In my fourth and last chapter, finally, I argue that the marriage politics of the Oranges effectively pressured Amsterdam to orchestrate two receptions of Orange-Nassau family members during the First Stadtholderless Era (1650-1672), in 1659 and 1660. As such forcing a public consideration of the importance of the Stadtholders during the Revolt years, the events yielded mixed responses from Amsterdam{\textquoteright}s polemical printing press.}, keywords = {Northern Europe}, author = {Van De Meerendonk, Suzanne} } @mastersthesis {12780, title = {Ray Johnson: Collage as Networked {\textquoteright}Correspondance.{\textquoteright}}, year = {2018}, school = {CUNY}, abstract = {Scholars unfailingly comment on the complex community of artists, poets, and musicians that form the foundation of Ray Johnson{\textquoteright}s visual language, yet do not examine the implications of these relationships on Johnson{\textquoteright}s art. "Ray Johnson: Collage as Networked {\textquoteright}Correspondance{\textquoteright}" looks at Johnson{\textquoteright}s mail art and collages through the lens of Social Network Theory, a sociological concept used to analyze social groups, to investigate possible meanings recorded within Johnson{\textquoteright}s elaborate imagery and show how his relationships manifested in his work. I argue that Johnson used his mail art to gather people and information to create a network, which he then manipulated and documented in his collages. This dissertation explores key examples of mail art and collages to examine the points where Johnson{\textquoteright}s social circle and art intersect to present a more comprehensive understanding of the artist and his work than has hitherto been offered. I bring in related concepts of game play and gossip to nuance my argument and suggest alternative historical narratives that traditional research overlooks or dismisses, particularly references to homosexuality. To conclude, I show that this project was egocentric. Namely, he built an archive for this select community that not only preserves its history, but also cements him as deeply involved with it.}, keywords = {Queer/Gay Art, Twentieth Century}, author = {Pistell, Gillian} } @mastersthesis {12748, title = {Real and Ideal: The Realism of Jules Breton}, year = {2018}, school = {Minnesota}, abstract = {Real and Ideal: The Realism of Jules Breton examines the artistic production of Jules Adolphe Aime Louis Breton (1827-1906) in relation to theories of realism, the historiography of Realism, and the discursive formation of the "peasant" in the visual culture and history of the nineteenth century. In his cultivation of the persona of the preeminent peintre paysan, and through his works which represented his vision of country life, Breton, perhaps more than any other French artist of the nineteenth century, was involved in an explicit negotiation of two fundamental concepts, which effectively constituted the terms of the "realist debate": the "real" and the "ideal." In negotiating past and present, rural and urban, the particular and the universal, notions of the real and the ideal, which perhaps began as nothing more than what Umberto Eco termed a "semiotic enclave," became an entire discourse on truth, aesthetics, and social welfare in the artistic and critical output of the period dominated by Realism (1830-1885) and its subsequent historiography. Rather than reinforce this binary as it has appeared in much of the scholarship on Realism, this dissertation aims to restore a productive ambivalence to these terms and conceives of this perceived opposition as operatively valuable within the discourse of realism itself and as emblematic of its inherent tensions. By analyzing Breton{\textquoteright}s paintings, poetry, and prose through an exploration of some primary concerns of Realism: truth, type, and the artist{\textquoteright}s self, this dissertation proposes that the antagonism between the "real" and the "ideal" that has underscored so much of the historiography of Realism is rather more apparent than actual. It concludes that within this more capacious understanding of Realism, as at once antinomical and dialectic, Jules Breton emerges as its most typical practitioner.}, keywords = {Nineteenth Century, Painting}, author = {Acosta, Taylor} } @mastersthesis {12677, title = {Recalibrating the Museum: The Politics of Stewardship and the Physical/Digital Repatriation of Te Hau-Ki-Turanga}, year = {2018}, school = {UC Santa Cruz}, abstract = {In July 2012, New Zealand{\textquoteright}s Parliament passed the Rongowhakaata Settlement Act, which returned ownership of the Maori meetinghouse Te Hau-Ki-Turanga from the Museum of New Zealand Te Papa back to its indigenous iwi, Rongowhakaata. The transfer of title set in motion several important developments for both New Zealand{\textquoteright}s bicultural government and the intangible and tangible redress of Maori cultural heritage. This dissertation is an inquiry into the politics of stewardship, or care of cultural heritage, and related issues, concerning in particular, the control of conservation and interpretation at the local, national, and international levels. The history of Te Hau-Ki-Turanga{\textquoteright}s creation, preservation, and display constitutes an important case study through which to address core questions that explore New Zealand{\textquoteright}s history of struggles with power, control, and indigenous self-determination. Key questions include the following: How are New Zealand{\textquoteright}s indigenous communities challenging and contesting the very definition of a museum and its role in modern times? Can indigenous self-determination exist within a Western museum infrastructure? Can such a museum ever be truly post-colonial? Through three Te Hau-Ki-Turanga projects taking place between 2017 and 2020, the Rongowhakaata iwi is working both within and outside the New Zealand national museum to develop alternative models for reconnecting the meetinghouse with iwi descendants and disseminating information to the public on the iwi{\textquoteright}s own terms. By looking at the case study of Te Hau-Ki-Turanga, we can begin to uncover the entangled power relations between New Zealand{\textquoteright}s bicultural government and its Pakeha and Maori populations from the early nineteenth century to the present day.}, keywords = {Digital Scholarship/History, Museum Practice/Museum Studies/Curatorial Studies/Arts Administration}, author = {Ferguson, Brinker} } @mastersthesis {12611, title = {Reconstructing Marcus Antonius: Rethinking the Representation of a Roman Triumvir in the Hellenistic East}, year = {2018}, school = {Emory}, abstract = {The identification of Marcus Antonius with the Hellenic god Dionysos has long been defined in terms of alienation from Rome and Roman cultural ideals, a perception born from an ancient literary record shaped by the victory narrative of the Augustan age. During the triumviral period, Antonius{\textquoteright}s enemies distorted his associations with Dionysos to impugn his character, and remnants of these invective attacks are evident in the largely non-contemporaneous literary reports that Antonius publicly declared himself neos (new, young) Dionysos and imitated the god in his mode of life. Frequently cited in support of these literary reports are two inscriptions attesting to divine honors for Antonius in Athens, IG II2 1043 and Agora XVIII H273 (= Agora Inv. I 3071), and the issues of cistophori (RPC 2201-2202) from Asia bearing the portrait of Antonius crowned with the ivy wreath of Dionysos. A lack of effort to analyze these objects outside the literary narrative has led to a limited view of the relationship between Antonius and Dionysos, a view that has not adequately accounted for the role of the honorific traditions connected with Hellenistic ruler cults. This study evaluates the Athenian inscriptions and the cistophori as independent documents generated within an environment where cities and groups routinely offered isotheoi timai (divine honors) to worthy benefactors like Antonius in the kind of euergetic exchange familiar from the Hellenistic rulership model. Consideration of the evidence from this perspective suggests that Antonius became associated with Dionysos as part of honors bestowed upon him on account of the victories of his armies over the Parthians in 39-38 B.C.E., the protocols surrounding the ritualized reception of important persons in cities, and possible benefactions afforded to at least one association of technitai (artists) of Dionysos. These connections between the development of Antonius{\textquoteright}s identification with Dionysos and the bases for honorific treatment through ruler cult are informed by, but not directly expressed in, the literary sources. Expanding the conversation in this way demonstrates that a more nuanced and multi-dimensional assessment of Antonius and his career in the Hellenistic East is achievable on a much larger scholarly scale.}, keywords = {500 BCE to 500 CE, Ancient Egyptian/Near Eastern Art, Ancient Greek/Roman Art}, author = {Cupello, Katherine} } @mastersthesis {12696, title = {Reframing Art Photography: Strategies of Display and Design in British Pictorialism}, year = {2018}, school = {Brown}, abstract = {The decades surrounding the turn of the twentieth century marked a critical period for the acceptance of photography as an art form. To achieve this{\textellipsis}}, keywords = {East Asia}, author = {Barber, Julia} } @mastersthesis {12769, title = {Regina Christina Antiquario: Queen Christina of Sweden{\textquoteright}s Development of a Classical Persona Through Allegory and Antiquarian Collecting}, year = {2018}, school = {Penn State}, abstract = {By examining how Queen Christina of Sweden collected, what she collected, and where she displayed objects, we can better understand her motives for amassing what became the Early Modern period{\textquoteright}s largest collection of antiquities owned by a woman. This dissertation argues that personal and political reasons motivated her to develop what could be considered a borderless, genderless, classical persona, that is represented in her display of antique objects. When her collecting habits are assessed alongside her sponsorship of classical scholarship, it becomes clear that Christina{\textquoteright}s development of antiquities collections was inextricably tied to the large body of allegorical imagery associated with the queen. I claim that she sought a hybrid historical identity as both Swedish and European, and that the necessity to maintain political authority in both political contexts gave shape to the queen{\textquoteright}s self-fashioning through the antique. Through an examination of her scholastic connections, artistic patronage, and adoption of antique guises, this analysis coalesces seemingly disparate aspects of Christina{\textquoteright}s visual, rhetorical, and political agendas, reframing them as parts of a lifelong campaign to figure and redefine her Gothic identity.}, keywords = {Patronage/Art Collecting, Seventeenth Century}, author = {Christensen, Theresa Kutasz} } @mastersthesis {12685, title = {Religion, Politics, and Gender: Childbirth Images in Edo Japan}, year = {2018}, school = {Pittsburgh}, abstract = {This dissertation explores birth imagery in Edo Japan (1608-1868) by focusing on how cultural and socio-political conditions affect the ways of representing childbirth. Traditionally, birth scenes printed in jokunsho ([special characters omitted] female educational books) have been regarded simply as supplementary illustrations that record visual aspects of birth practices. As the first comprehensive study of this subject, my dissertation provides a detailed visual analysis of the iconographical changes in birth scenes, which places Edo birth imagery in the socio-historical context in which it was produced. Central to the discussion are two iconographic issues. First, from the medieval to Edo periods, the emphasis in birth scenes shifted from the moment of giving birth to the post-partum care. Second, the mother figure as a central player in birthing events gradually disappeared from later Edo birth imagery; and the scene of the infant{\textquoteright}s first bath took center stage. By taking an interdisciplinary approach that incorporates studies of religion, demography, gender, and visual culture, my dissertation demonstrates that such specific transformations are closely associated with political, ideological and cultural factors, such as the foundation of the Tokugawa Shogunate and the promotion of Confucian ideology, population crisis and the regulation of local government over birthing bodies, and the enactment of the Kansei reforms and the reinforcement of conservative cultural policy. Through these in-depth analyses, this dissertation addresses three main research questions: how birth imagery represents the diverse social values invested in the event of childbirth, how the shift of cultural paradigms changes the way of depicting childbirth, and how birth imagery shapes people{\textquoteright}s perception of childbirth and actively functions as a means to promote the authority of ideology.}, keywords = {East Asia, Genders/Sexualities/Feminisms}, author = {Kim, Jung Hui} } @mastersthesis {12655, title = {Remapping Topographies of Race and Public Space: Asian American Artists in California (1970s to Present)}, year = {2018}, school = {UC Santa Barbara}, abstract = {This study seeks out diverse and complex intersections of space, place, and identity through selected Asian American artists working in California from the 1970s to 2000s. It does so in the format of three case studies exploring artwork by Kearny Street Workshop (1972-1977), Masumi Hayashi (1945-2006), and Isamu Noguchi (1904-1988). This art historical research attends to how aesthetics and politics meld together and investigates this through themes of race and public space. By analyzing representations of physical and cultural landscapes, I argue how important central texts and subtexts of the featured work divulge negotiated, culturally hybrid terrain. The study first examines Kearny Street Workshop{\textquoteright}s community arts engagement and graphic arts posters in urban ethnic neighborhoods. As such, new public images of Asian Americans were to emerge during a tumultuous era of social activism and cultural affirmation in the 1970s. It next considers Hayashi{\textquoteright}s "American Concentration Camps" series of panoramic photo collages (1990-1999) representing pilgrimage landscapes of the WWII Japanese American internment (1942-1945). It investigates the imagery{\textquoteright}s transformative reflections upon history, memory, and civil liberties in crossgenerational ways. Lastly, it focuses on Noguchi{\textquoteright}s sculpture garden California Scenario (1980-1982) and nature-culture relations within a postsuburban environment, noting its global, transcultural, and performative intersections. Each of these case studies reveals how cultural specificity and cultural heterogeneity in contradistinction dispels any sense of singular or fixed spaces, places, and identities. (PsycINFO Database Record (c) 2019 APA, all rights reserved)}, keywords = {Asian American/Asian Diaspora}, author = {Gavino, Julianne P.} } @mastersthesis {12791, title = {Rembrandt{\textquoteright}s Treatment of Themes from Classical Antiquity}, year = {2018}, school = {IFA/NYU}, abstract = {Rembrandt{\textquoteright}s relocation to Amsterdam in 1631/1632 coincided with a rise in humanist activity in the city, marked by the inauguration in 1632 of the Athenaeum Illustre-an institute of higher learning in the humanities-and the opening in 1637 of the Amsterdam Schouwburg-the country{\textquoteright}s first modern theater and a venue for productions of various ancient tragedies. In these same years, large amounts of classical and Italian Renaissance art entered Amsterdam collections, most notably the vast holdings of antiquities and cinquecento paintings acquired in 1629 by the merchants Gerrit and Jan Reynst from the Venetian collector Andrea Vendramin. In addition, an enormous number of Dutch translations of ancient texts appeared in printed editions throughout the century. To this rich cultural environment Rembrandt contributed a significant body of work-some twenty-five paintings, a handful of prints, and numerous drawings treating various ancient themes. Building on studies of this material by Wilhelm Valentiner, Fritz Saxl, Julius Held, Amy Golahny, Eric Jan Sluijter, Ernst van de Wetering, and others, this dissertation reveals new aspects of the artist{\textquoteright}s engagement with the material and literary remains of classical antiquity and situates his achievement within the intellectual culture of seventeenth-century Amsterdam. Woven throughout the dissertation are discussions of Franciscus Junius{\textquoteright}s book De Pictura Veterum (The Painting of the Ancients), first published in Latin in 1637 and translated into English and Dutch by the Leiden-trained scholar in 1638 and 1641, respectively. This text, which assembles passages from numerous ancient sources on art, oratory, and poetry to construct a theory of painting in antiquity, stood as the authoritative account of ancient art until Winckelmann{\textquoteright}s seminal publications of the 1750s and 1760s. Informed by Thijs Weststeijn{\textquoteright}s recent full-length study of Junius{\textquoteright}s Dutch edition, I treat the book not as a source for Rembrandt but as an important indicator of contemporary ideas and expectations against which the artist{\textquoteright}s treatments of ancient subjects and topoi can be assessed. This study employs a flexible set of art historical methods, incorporating iconographic analyses within an interdisciplinary framework and recognizing the agency of visual art to shape broad ideas, values, and expectations.}, keywords = {Seventeenth Century}, author = {Sheers, Joanna} } @mastersthesis {12768, title = {Reverse Painting on Glass: Seeing through the Surface of American Modernism}, year = {2018}, school = {Delaware}, abstract = {This dissertation examines the production and reception of reverse paintings on glass by modern American artists. Rockwell Kent (1882-1971), Marsden Hartley (1877-1943), Joseph Stella (1877-1946), and Rebecca Salsbury James (1891-1968) created paintings ranging from kaleidoscopic abstractions to spare still lifes by layering paint in reverse order on the back of a glass support. As the first critical study of modern American reverse painting on glass, the dissertation employs the frameworks of material culture studies and feminist art history to focus on the materiality of glass and on the gendering of the medium as feminine. I argue that modern American artists engaged diverse nineteenth-century glass painting precedents while also responding to glass as a new, quintessentially modern material. In the Introduction, I explore Kent{\textquoteright}s reverse-painted mirrors to show that he conceived of glass painting as simultaneously old-fashioned, feminine, and modern. Chapter 1, on Hartley{\textquoteright}s still lifes of 1917, addresses the mutability of the "usable past" in relation to Bavarian hinterglasmalerei and tinsel painting. Chapter 2 underscores the ubiquity and multiple meanings of glass in New York City through analysis of Stella{\textquoteright}s reverse paintings of technology and nature. Chapter 3 investigates the relation of James{\textquoteright}s 1930s work to New England tinsel painting, New Mexican tinwork, and new materials and Precisionist form. My research on reverse painting on glass reveals that ideas about the usable past, gender, and new materials and techniques were mutually constitutive in the early decades of the twentieth century in America.}, keywords = {Painting, Twentieth Century}, author = {Wurzelbacher, Karli} } @mastersthesis {12794, title = {Rising Above the Faithful: Monumental Ceiling Crosses in Byzantine Cappadocia}, year = {2018}, school = {CUNY}, abstract = {The design of Byzantine architecture created viewing conditions that reveal social and spatial contexts of Christian ritual, private devotion, and expressions of identity. This is apparent in the decoration of ceilings, which were crucial visual elements within spatial relationships in late antique and medieval architecture but are rarely discussed because few examples survive. However, Byzantine Cappadocia, a region that is now central Turkey, has a high number of extant medieval ceilings in its rock-cut architecture. About eighty monuments there have monumental ceiling crosses that were painted or carved in relief between the sixth and eleventh centuries. In this dissertation the three case studies in St. Sergius Chapel in Goreme (sixth century), St. Basil Church in the Gomeda Valley (late ninth to tenth century), and a tomb in Karabas Church in the Soganli Valley (ca. before 1061) demonstrate viewing experiences that use aniconic imagery to reflect Byzantine approaches to spatial relationships over time. They also reflect ways that aniconism and the formal properties of the cross symbol were indicative of medieval visuality and the evolving Cult of the Cross. This dissertation approaches the process of viewing as experiential and socially constructed. It elucidates ceiling design as a means of guiding the viewer{\textquoteright}s spiritual and social activities within architectural spaces. Comparative methods using textual sources (such as hagiography) and material evidence (comparative objects and the monuments themselves) demonstrate Cappadocians{\textquoteright} sophisticated sense of design using both aniconic motifs and the iconicity of the cross, highlighting the role of the visual as an essential element of Byzantine spirituality. This dissertation is available in the CUNY Academic Works repository (academicworks.cuny.edu). The catalog of monumental ceiling crosses is also being published as Linked Open Data in Open Context (opencontext.org) as the "Cappadocian Ceiling Crosses" project using the following Digital Object Identifier: https://doi.org/10.6078/M7N58JFG.}, keywords = {Sixth to Tenth Century, Visual Studies}, author = {McMichael, Alice Lynn} } @mastersthesis {12732, title = {Robert Irwin{\textquoteright}s New Materialism}, year = {2018}, note = {Fourth subject: Twenty-first Century}, school = {Maryland}, abstract = {This dissertation examines the complete oeuvre of contemporary installation artist Robert Irwin from his early work in the 1950s to the present day. The first chapter considers his early paintings as well as his early sculptural objects, including his discs and acrylic columns made from 1968-70. The chapter considers the extent to which these works depart from the models of transcendence and interiority exemplified in late modernist painting. This analysis draws on recent writing in new materialist theory to challenge prevailing historiographic models that describe Irwin{\textquoteright}s interest in light and space as inferior to more "material" minimalist sculpture being made in New York City at the same moment. The second chapter includes Irwin{\textquoteright}s installation works for art museum and gallery spaces from 1970-2016, particularly his 1973 installations at the Panza Stables in Varese, Italy. This chapter considers the nature of the subject in Irwin{\textquoteright}s work, arguing that his installation pieces create a new, contingent model of human subjectivity that reflects contemporary developments in post-structuralist and new materialist theory. The final chapter examines Irwin{\textquoteright}s works for public and outdoor spaces from the early 1980s to the present day. This chapter considers whether Irwin{\textquoteright}s public works embrace or resist a spectacular mode of art viewing and consumption shaped by late capitalist aesthetics. In addition to a critical rehabilitation of Irwin{\textquoteright}s work, the dissertation concludes with a broader discussion about the nature of "critical" or politically progressive art at the turn of the 21st century, and about the limitations of earlier interpretive models that art historians have used to create hierarchies of value for postwar sculpture and installation art.}, keywords = {Installation/Environmental Art, North America, Twentieth Century}, author = {Vetter, Michael} } @mastersthesis {12640, title = {Round Barns of Wisconsin}, year = {2018}, school = {Wisconsin}, abstract = {The centric barn building type, whether round, octagonal, or multi-sided, is rare and comes in a wide variety of forms, materials, and designs. Its late nineteenth and early twentieth century origins in the United States are chiefly found in the professional and self-consciously progressive work of ambitious yeoman farmers, agricultural scientists, journalistic boosters, and professional builders at the turn of the twentieth century. Typically intended as carefully designed machines for agricultural efficiency. Yet each centric barn turns out to be largely distinctive and possesses a complex set of adaptations according to their respective contexts at odds with formal prescriptions. This dissertation examines a series of examples in Wisconsin in order to examine the ways in which individual cases, while based in part on prescriptive literature, adapted to particular farmer{\textquoteright}s needs. Drawing from research originated in professional work in the architectural preservation field, specifically the "Wisconsin Centric Barns Multiple Property Listing," completed in 2013 for the National Register of Historic Places, this dissertation develops a deeper understanding of Wisconsin barns through the themes of technology, identity, or place, all common themes in the academic literature on vernacular architecture. Chapters elucidate background on the history and typology of the centric barn form; examine the role of technological change and application in design; consider personal identity and its impact on the specific history of a barn; and explore the role of the immediate natural and human environments in centric barn design and use. "Centric Barns of Wisconsin" tells a story about the relationship between the specifics of the barns themselves and their professional design influences through a close study of technology, identity, and place. This relationship, where the local alters the professional intent through a process of adaptation, reflects the nature of vernacular building in the modern world and especially reflects the transitional period at the turn of the twentieth century in the United States. By studying this relationship, the work moves beyond a typology of the building type and arranges a model of looking at barns elsewhere in a richer context.}, keywords = {Architectural History/Urbanism/Historic Preservation, Folk Art/Vernacular Art}, author = {Davidson, Rowan} } @mastersthesis {12708, title = {The Sacred Landscape of Mayapan, A Postclassic Maya Center}, year = {2018}, school = {UIC}, abstract = {The northern Maya region of the Yucatan Peninsula has been the site of urban development for over 1,000 years. Some of the greatest Precolumbian cities in the New World were built in the area and today the Yucatan peninsula still hosts a vibrant Maya culture. The Yucatan peninsula is therefore a place rich in history, and the exceptional preservation of many of its Precolumbian cities provides excellent opportunity for art historical and archaeological study. Unfortunately, however, study of the region has too often been eclipsed by research dedicated to Maya cities in Chiapas, Mexico, the Peten of Guatemala, Honduras, and Belize. In response to the relative lack of information we have for Postclassic (12th through 16th centuries) urbanism in Yucatan, the present study focuses on the influential city of Mayapan. Located in the interior of the peninsula, Mayapan rose to power in the 13th century and fell roughly seventy years before the Spanish arrived. It was the most powerful Maya city of its day with extensive trading networks reaching as far as Guatemala, the Gulf Coast and central Mexico. Mayapan{\textquoteright}s urban identity is marked by such internationalism, especially in the city{\textquoteright}s ritual core. There, structures and art reference both Maya and central Mexican worlds. Its major buildings, for example, are close copies of those at earlier Maya centers and many of its murals and sculptures are similar to those from central Mexican cities. However, Mayapan was far more than a reference to other places. It was, instead, a center into which outside elements were anchored and physically bound. As this dissertation explores, it was the landscape upon and through which Mayapan was built that ultimately dictated Mayapan{\textquoteright}s urban design and formalized the city{\textquoteright}s visual identity.}, keywords = {Eleventh to Fourteenth Century, Fifteenth- to Seventeenth-Century Art}, author = {Landry, Khristin} } @mastersthesis {12809, title = {Sam Francis: Functional Abstraction}, year = {2018}, school = {IFA/NYU}, abstract = {This dissertation examines two intertwined trajectories within postwar American art: the abstract paintings of Sam Francis (1923-94) and the avant-garde conviction that art can motivate change by working on the viewer. Contrary to dominant readings of mid-century abstract painting as a progressive reduction of form or an arena for an artist{\textquoteright}s actions, Francis shifted focus away from medium or artist onto the spectator. In Francis{\textquoteright}s viewer-centered philosophy of painting, which this study calls "functional abstraction," the canvas both staged and invited the spectator{\textquoteright}s self-conscious reflection on the perceptual act, and even became a therapeutic site for the beholder{\textquoteright}s self-actualization. By disregarding modernism{\textquoteright}s antipathy to painting{\textquoteright}s instrumentalization, Francis became a model for an overlooked strand of postwar modernism that stressed the social value of abstract art. Focusing on the first two decades of his career, from 1950 to 1970, this dissertation traces Francis{\textquoteright}s development of the socio-aesthetic paradigm of functionalism in the 1950-56 Paris paintings, the 1957-60 travel paintings, and the 1963-69 edge paintings. In these years, Francis wove together the diverse influences of phenomenological philosophy, psychology, psychedelic culture, and the perceptual experience of flight to posit the centrality of embodied viewership in place of high modernism{\textquoteright}s disinterested, disembodied opticality. Charting a functional path for abstract painting reliant upon what painting does rather than what it is made of, Francis illuminated an alternative passage from 1950s to 1960s art that recuperated early abstractionists{\textquoteright} concern with self-actualization.}, keywords = {Twentieth Century}, author = {Buhe, Elizabeth} } @mastersthesis {12740, title = {The Samuel H. Kress Collection: A Cultural Legacy of Italian Renaissance Art in Midcentury America}, year = {2018}, school = {USC}, abstract = {No record in ProQuest or USC ETDs}, keywords = {Museum Practice/Museum Studies/Curatorial Studies/Arts Administration, Patronage/Art Collecting}, author = {Dodds, Lauren} } @mastersthesis {12692, title = {Sanctified Commodities: The Buddhist Paintings of Wu Bin (c. 1540 - 1626) and the Late Ming Buddhist Revival}, year = {2018}, school = {Stanford}, abstract = {My dissertation intervenes in the current approaches to China{\textquoteright}s late Ming (c. 1572--1644) Buddhist revival by analyzing the paintings of the elite gentleman and devout lay Buddhist, Wu Bin (c. 1540--1626). As a lower-elite individual who maintained the aura of painting for leisure yet made his living with his brush, Wu Bin{\textquoteright}s life and works offer a new perspective on the late Ming Buddhist revival, outside of the current focus on official examination elites, famous monks, and the imperial family. In tracing the sociocultural environments, artistic choices, and reception of Wu Bin{\textquoteright}s Buddhist paintings, I first identify the Buddhist network of support that developed around significant temples in China, revealing an undiscovered motivation for the sixteenth-century rise in figure painting. I analyze Wu Bin{\textquoteright}s responses to this alternate form of support, investigating his donation of a set of 500 Luohans paintings to Nanjing{\textquoteright}s Qixia Temple and his self-fashioning of a deeply devout Buddhist persona. Then, turning to his key works, my research uncovers Wu Bin{\textquoteright}s engagement with broader late Ming discourse around the problematic nature of Buddhist visual representation. Wu Bin{\textquoteright}s paintings expose his responses to contemporaneous debates surrounding the incursion of images into traditionally textual spaces and the potential pitfalls of colorful images enticing the viewer away from a deeper understanding of Buddhist philosophy. Within the context of the sixteenth and seventeenth-century publishing boom, which helped create an audience steeped in Buddhist visual and doctrinal material, Wu Bin formulated engaging, efficacious images that embodied religious concepts as well as economic concerns. By realigning Wu Bin, an artist currently associated predominantly with landscape painting, into the contemporaneous understanding of him as primarily a Buddhist painter, my dissertation brings religious and art-historical methodological frameworks into dialogue, establishing a previously overlooked source for reconstructing the complex role of Buddhist painting and lived religion across wide cultural and social strata in early modern China.}, keywords = {East Asia, Seventeenth Century}, author = {Pawlowski, Anna} } @mastersthesis {12620, title = {Sculpting the Narrative: The Material Practice of Epi-Olmec Art and Writing}, year = {2018}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {500 BCE to 500 CE, Art of the Ancient Americas}, author = {Strauss, Stephanie} } @mastersthesis {12755, title = {Sculptural Bodies of the Great Depression}, year = {2018}, school = {Yale}, abstract = {In the 1930s, the conventional bronze and stone figures that had defined American sculpture since the mid-nineteenth century suddenly appeared as "errors" and "monstrosities," at odds with Depression-era political concerns and the aesthetic imperatives of emergent modernisms. And yet, the devaluation of the academic sculptural monument did not do away with the public function of sculpture. This dissertation argues that American artists in the 1930s significantly reinvented the materiality and politics of sculpture{\textquoteright}s public life. Without abandoning sculpture{\textquoteright}s civic orientation or commitment to figuration, the artists in this study responded to the era{\textquoteright}s societal turbulence and the rise of documentary photography in forms that remade conventions of monumentality, race, and public display for sculpture during a period of radical political and cultural transformation. This dissertation does not aim simply to reinstate sculpture alongside documentary photography and mural painting in the canon of American modernism. Rather, my study reveals a dynamic intermedial exchange across the boundaries of sculpture and photography. This project engages photography as the critical interlocutor for sculptural production and display, from the first chapter{\textquoteright}s analysis of Berenice Abbott{\textquoteright}s photographic portrayals of nineteenth-century bronze and stone statuary, to the second chapter{\textquoteright}s enlivening portrayals of Augusta Savage{\textquoteright}s sculptures of African American subjects in photography and film, to the final chapter{\textquoteright}s consideration of the presence of the photographed body of a lynching victim in a work of sculpture by Isamu Noguchi. I consider Abbott, Savage, and Noguchi-examined together here for the first time-through the rubric of "sculptural bodies," a term I use to suggest this study{\textquoteright}s focus on the public life and bodily presence figurative sculpture. Considering sculptural figures as bodies raises questions. Whose body? Whose space? Whose public? The works of art I discuss respond to these questions in sculptural bodies pointedly and visibly shaped by contemporary history, including the forces of labor struggles, natural disasters, and white supremacy. This dissertation restores the public life of figurative sculpture in the Depression era to a central place in our histories of American art. In doing so, I rethink dominant narratives of American modernism through the lens of critical race studies and expand media-limited approaches to the study of sculpture through a focus on intermediality. Most significantly, like the artists in this study, I seek to foreground the social and political stakes of reimagining sculpture{\textquoteright}s site, materiality, and meaning.}, keywords = {North America, Twentieth Century}, author = {Korobkin, R. Tess} } @mastersthesis {12750, title = {Sculpture, Slavery, and Commence in the Nineteenth-Century Atlantic World}, year = {2018}, school = {Columbia}, abstract = {This dissertation investigates the intersection of nineteenth-century figurative sculpture with an American slave economy whose impact reverberated across time and transnational geographies. Scholars have long acknowledged how sculptural depictions of the enslaved body by Hiram Powers, John Bell, and Francesco Pezzicar played vital roles in dialogues about abolition and Emancipation on both sides of the Atlantic. Yet renewed examination of individual works of art, the terms of their circulation and display, and the markets and regimes of racialized value they occupied suggests that the production and consumption of these statues also unfolded in physical and conceptual proximity with systems of commerce and commodification formed under slavery. Working at the intersection of material culture studies, critical race theory, and legal and literary studies, this study conceives of sculpture as a transactional object that inhabited an interconnected world of art and commerce spanning merchants{\textquoteright} exchanges and cotton factorage houses in the American South, industrial manufacturing firms in Britain, sculptors{\textquoteright} studios and art academies in Italy, World{\textquoteright}s Fairs, and private homes. Following an introductory discussion of the entanglement of art and the economy of slavery in nineteenth-century Atlantic spaces writ large, chapters examine the traveling exhibition of Hiram Powers{\textquoteright} Greek Slave in antebellum New Orleans, the manufacture and display of John Bell{\textquoteright}s statues depicting enslaved black and mixed- race women in the abolitionist British Atlantic, and the circulation of Francesco Pezzicar{\textquoteright}s sculptural commemoration of American slavery between post-Civil War Philadelphia and Risorgimento Italy. From these case studies it is argued that sculpture stood as a highly visible but deeply unstable site from which to interrogate the politics of slavery, on one hand because of the medium{\textquoteright}s entanglement with trade and commerce, and on the other because of its relationship to considerations of the corporeal. Nineteenth-century concerns with the animacy of sculpture - long understood as measures of artistic virtuosity in making a statue appear as if it were living - were inextricable from the hierarchies of race and subjectivity that shaped the institution of slavery and its structures of bodily commodification. In raising questions about the motivation and management of subjects and objects in slavery{\textquoteright}s wake, this study complicates discussions about the status of the object in art history and criticism while contributing to broader interdisciplinary dialogues concerning race, representation, and the body.}, keywords = {Nineteenth Century, Sculpture}, author = {Beach, Caitlin} } @mastersthesis {12704, title = {Seductive Surfaces: The Still Life Paintings of Anne Vallayer-Coster (1744-1818)}, year = {2018}, school = {Rutgers}, abstract = {Anne Vallayer-Coster (1744-1818) was one of four academiciennes admitted to the French Royal Academy of Painting and Sculpture in the late eighteenth century. As a woman artist and a still life painter, however, Vallayer-Coster has been largely neglected in art historical scholarship. Vallayer-Coster depicted a range of textures through vivid color and expressive facture, making the viewer conscious of the embodied acts of looking at, touching, smelling and tasting. My dissertation places her work in dialogue within eighteenth-century discourse on sensory experience, thus offering a new, synesthesiac framework for understanding her still life paintings. This dissertation is organized around the materials that occupied Vallayer-Coster throughout her career. In each chapter, I focus on a few key case studies, exploring formal, material, and sensual implications of each work. My first chapter sketches Vallayer-Coster{\textquoteright}s personal and professional life, her social and patronage networks, and the academic context of still life painting in the late eighteenth-century. The second chapter analyzes her three largest paintings, which allegorize art, nature and war, respectively. The third chapter deals with Vallayer-Coster{\textquoteright}s representations of food, which are evocative of taste and entangled within the cultural, economic, and philosophic food systems of eighteenth century Paris. Vallayer-Coster{\textquoteright}s paintings of guns and game, best understood within the recreational and artistic tradition of the hunt, are the subject of the fourth chapter. In the fifth chapter, I situate Vallayer-Coster{\textquoteright}s representations of shells and minerals in the context of conchological collecting practices during this period. In the sixth and final chapter, devoted to Vallayer-Coster{\textquoteright}s flower paintings, I probe the relationship between the perceived {\textquoteright}femininity{\textquoteright} of Vallayer-Coster{\textquoteright}s subject matter and painting technique}, keywords = {Eighteenth Century, Genders/Sexualities/Feminisms, Visual Studies}, author = {Brosnan, Kelsey} } @mastersthesis {12816, title = {Seeing Class: Graphic Satire and the Cultivation of Radicalism in the Weimar Republic}, year = {2018}, school = {Michigan}, abstract = {The power of visual images to foster political identities and mold ways of seeing has long been a concern for scholars of print. From the outbreak of the Reformation to the development of serial illustrated publications, historians of European print culture have documented a widespread belief that print media, properly aimed and deployed, can transform like-minded viewers into reliable constituencies, or even a revolutionary force. While such insights have proven decisive for studies of eighteenth- and nineteenth-century graphic satire, art historical discussion of twentieth-century production remains oddly unaffected, especially so in the case of the Weimar Republic, a period of intense political polarization that saw a resurgence of graphic satire. Seeing Class: Graphic Satire and the Cultivation of Radicalism in the Weimar Republic aims to address this lacuna through an in-depth exploration of how artists of the interwar period reshaped graphic satire for political ends. The representational flexibility of graphic satire provided partisan artists ample resources to attack the republican government and ridicule perceived enemies. Focusing on the German Left, I show how the targeting of working class audiences spurred formal experimentation and led to reevaluations of graphic satire{\textquoteright}s artistic import and political potential. Upon its foundation in 1919, the German Communist Party (KPD) garnered immediate support from a number of recognized avant garde artists (e.g. George Grosz, John Heartfield, Rudolf Schlichter) who eventually became regular caricaturists for party publications. Their goal was to translate structural foes of the working class into identifiable enemies whose visibility would assist in propagating a revolutionary perspective. How to meet this goal became a topic of debate, as the party struggled to define a consistent approach to visual culture and artists struggled to relate to a politics of proletarian revolution. Early efforts were guided by the writings of the Marxist cultural historian Eduard Fuchs, who championed graphic satire as a potent "agitational medium" (Kampfmittel) before WWI. By the end of the 1920s, however, the political value of such imagery was no longer so clear. Criticized for being aloof and "too negative" by party leaders, the sardonic drawings of Grosz, Schlichter, and fellow caricaturists gave way to more positive, "social" themes. Over the course of three chapters I discuss why this shift occurred and how it relates to changing conceptions of class, visual culture, and artistic production during this period, within and beyond the Communist milieu. I combine extensive archival research with analyses of images within and across specific publications, resulting in an approach that holds the political significance of visual art to be irreducible to formal innovation and highly dependent upon its ability to resonate with the lived experience and perspectives of specific audiences.}, keywords = {Twentieth Century}, author = {Mandarino, Grant} } @mastersthesis {12682, title = {Seeing Plus: Group f.64 Photography and the Political}, year = {2018}, school = {Princeton}, abstract = {Although famous for launching a revolution in photography that championed hard-edged "pure" photographs of natural forms and Western landscapes against soft-focus Pictorialism, a confluence of forces motivated the establishment in 1932 of the California art photography collective called Group f.64. The society{\textquoteright}s overarching preoccupation with photographic transparency poses questions about its affinities to East Coast and European modernist photography, its relationship to documentary photography and the Great Depression, and tests the boundaries between so-called artistic and socially concerned image making. Moreover, members{\textquoteright} wide-ranging interests in transcendentalist and esoteric philosophy, horticulture and nutrition, interwar race relations, and labor suggest complex humanitarian investments. Yet, existing literature on f.64 lacks a serious consideration of the group{\textquoteright}s decidedly multifaceted practice. By examining the breadth of f.64{\textquoteright}s endeavors and its diverse prints, this dissertation shows how a persistent concern with clarity and non-bias in photographic representation undergirded the collective{\textquoteright}s practice, and ultimately expands conceptions of socially concerned image making in 1930s America.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Twentieth Century}, author = {MacFarlane, Ellen} } @mastersthesis {12744, title = {Shaped by the Camera: Navajo Weavers and the Photography of Making in the American Southwest, 1880-1945}, year = {2018}, school = {Bard Graduate Center}, abstract = {No record in ProQuest, Bard does not include abstracts}, keywords = {Native American/First Nations}, author = {Jensen, Hadley} } @mastersthesis {12663, title = {Shifting Landscape: Depictions of Cultural Disruption and Continuity in the Mapa Uppsala of Mexico-Tenochtitlan}, year = {2018}, school = {Tulane}, abstract = {The Mapa Uppsala is a map of early colonial Mexico City and its environs painted by indigenous artists circa 1541. This dissertation analyzes the facture, formal elements, and historical context of the Mapa Uppsala to recover and elevate the perspectives of the artists who created it. Through visual and historical analysis and a study of the map{\textquoteright}s facture, this dissertation argues that the Mapa Uppsala is a visual and political statement made on behalf of the artists to help solidify a secure position in early colonial Mexican society amid dramatic cultural, environmental, and social changes. By contextualizing the map within a history of both indigenous and European mapmaking, this dissertation argues that indigenous artists harnessed compositional strategies and pictorial conventions from both traditions to effectively communicate their perception of Mexico City and its environs, simultaneously innovating cartographic production in New Spain.}, keywords = {Colonial and Modern Latin America}, author = {Saracino, Jennifer} } @mastersthesis {12646, title = {Sikh Diasporic Necropolitics: Hate Violence Against Bodies and Buildings in the Age of Empire}, year = {2018}, school = {UC Irvine}, abstract = {This dissertation examines how ethno-religious communities are affected by and respond to white supremacist hate violence on their bodies and buildings in the contemporary moment. I illustrate how the violent construction of white nationhood in and outside the U.S. through the latter{\textquoteright}s statecraft of Islamophobia translates to precarity for Muslims and "Muslim-looking" bodies and buildings, particularly Sikhs and gurdwaras. I critique education and awareness programs that Sikh advocacy organizations in the U.S. have created as their means to combat the hate violence that results from white supremacy. My analysis of these programs reveals that their insistence on the Sikh community as a "model minority" is not only anti-Black and anti-Indigenous, but that such a narrative also evades the harsh realities of significant portions of Sikhs in the U.S. who are working class, undocumented, and far from the elitist narrative of "Sikhs in America" that these programs articulate. Since many of these education and awareness programs proliferated in the growing global Islamophobia after 9/11, I argue that their focus on who Sikhs are has the pernicious implication of who Sikhs are not: Muslims. Through these critiques, my dissertation brings to light the inherent Islamophobia that structures Sikh advocacy in the U.S. Through a mixed methodology of interviews, data and media analysis, photographs, and site visits, I also look at various memorial activities and institutions created by Sikh communities across the globe. I focus specifically on ones that contextualize Sikhs{\textquoteright} struggles with state and hate violence with those faced by other racialized communities. I argue that, in order for true alignment with Sikh ethos, and for reasons of long-term efficacy, the current structure of Sikh advocacy in the U.S. must be revised such that it is staunchly anti-imperialist and anti-capitalist. My dissertation serves as a rubric through which to imagine this revision.}, keywords = {Architectural History/Urbanism/Historic Preservation, Race/Ethnicity}, author = {Kaur, Tavleen} } @mastersthesis {12728, title = {Sisterhood as Strategy: The Collaborations of American Women Artists in the Gilded Age}, year = {2018}, school = {Missouri}, abstract = {This dissertation employs four case studies-illustrator Alice Barber Stephens in Philadelphia; Louisville-born sculptor Enid Yandell; photographer Frances Benjamin Johnston in Washington, D.C.; and the Newcomb College Pottery in New Orleans-to show how individual women artists from a variety of media utilized collaborative strategies to advance their professional careers. These strategies included mentoring, teaching, and sharing commissions with one another; establishing art organizations; sharing studio and living spaces; organizing and participating in all-female art exhibitions; and starting businesses to market their work. At a historical moment when expectations and ideas towards gender roles and feminine performance were shifting, these women artists negotiated these changes as well as those of a fine art world that was redefining itself in an increasingly consumer-based culture that challenged traditional definitions of the "professional" artist. "Sisterhood as Strategy" intersects with important work in the fields of American History, Women{\textquoteright}s and Gender Studies, and Art History. It bridges a gap between broad, cultural histories of women{\textquoteright}s artistic production and more focused scholarly studies on women{\textquoteright}s labor and organized womanhood. Indeed, this dissertation brings more specificity to these areas by focusing on particular artists who were highly acclaimed during their lifetime but who have since fallen through the cracks of the art historical canon and by attending to the wide array of genres and media that all artists, men and women, worked with during the era: illustration, photography, public sculpture, and the decorative arts. By analyzing the art produced as a result of collaboration; the artists{\textquoteright} letters, photographs, and personal papers; and contemporary mass media, particularly art journals and popular ladies{\textquoteright} magazines, this dissertation recovers the voices of artists who served as professional role models and creates a far more diverse picture of the people and art forms that constituted early modern American visual culture.}, keywords = {Genders/Sexualities/Feminisms, Nineteenth Century}, author = {Malone, Kelsey Frady} } @mastersthesis {12721, title = {Site Specificity, Christian Archaeology, and Naturalism in Roman Altarpieces, ca. 1600-1630}, year = {2018}, school = {Rutgers}, abstract = {This study considers a previously unexplored aspect of what scholars have termed the "Early Christian Revival" in the first decades of the seventeenth century: the site specificity of altar paintings depicting early Christian saints, works intended for a holy site-a tomb, a well, the sewers-associated with that figure. Each of the altarpieces in my case studies (including works by Cigoli, Giovanni Bilivert, and Ludovico Carracci) has been dislocated from its original site in some way, whether through destruction, dispersion, or seclusion. My study focuses on understudied but historically significant altarpieces and placing them within various contexts, including their chapels, their churches, and their places in Rome{\textquoteright}s topography. My method to recover the work{\textquoteright}s original context combines the close study of surviving artworks, including drawings and prints, alongside contemporary written material like pilgrimage manuals, artistic guidebooks, and martyrologies. I propose that holy sites in Rome could drive specific iconographical and artistic choices in ways heretofore unappreciated-arguing for a holy site specificity in early modern art. My study enhances understanding of the many ways the Early Christian Revival manifested itself, particularly in the early seventeenth century. I offer compelling evidence that the renewed focus on the holy sites in Rome drove artists to create works that allowed contemporaries, whether devout residents of the sacred capital or pilgrims, to imagine or reenact scenes from the church{\textquoteright}s early history. The case studies presented in this dissertation have demonstrated ways in which sacred painting connected seventeenth-century viewers to Rome{\textquoteright}s early Christian foundations. Paintings "of the histories of the mysteries of our Redemption," these altarpieces brought to life those mysteries on the same sacred soil the saints themselves once walked. My case studies demonstrate a remarkable interdependence between image and relic that was particular to the sacred topography of Rome, the heart of Christendom since Early Christian times, as embodied by St Peter{\textquoteright}s location, built over the first pope{\textquoteright}s tomb. Site-specific altarpieces functioned as essential and active instruments in supporting the agenda of the post-Tridentine Church hierarchy to reaffirm the unbroken descent of church authority from Peter to the present pope, the cult of the saints, and the efficacy of relics.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Fraiman, Jeffrey} } @mastersthesis {12693, title = {Situating Contemporary Korean Art in the Age of Globalization}, year = {2018}, school = {Kansas}, abstract = {This dissertation examines the development of contemporary Korean art from the late 1980s through the first decade of the 21st century under the influence of globalization through case studies of selected internationally known Korean artists, Yiso Bahc (1957-2004), Do-ho Suh (b.1962), and Gimhongsok (b.1964) who are engaged with globalization through their personal experiences, works of art, and critical responses surrounding their works and activities. Bahc, Suh, and Gim exemplify a new generation of Korean artists who were born in the 1950s and 1960s and studied abroad in the 1980s and 1990s. Based on their transnational experience, these artists emerged in the Korean and global art scene from the 1980s to the early 2000s responding to different temporal, ideological, and discursive backgrounds. This dissertation not only analyzes these three artists{\textquoteright} work in relation to the impact of globalization in the Korean and global art scene, but also discusses the transformation of social, cultural, theoretical, and discursive settings of their works and activities through the investigation of curatorial projects and art criticism surrounding them. The first chapter broadly maps out social, cultural, institutional, and critical spaces from the late 1980s by tracing the changes in Korean society, art institutions, tendencies of curatorial projects and artists{\textquoteright} activities and situating these three artists in these sociocultural, institutional, and discursive spaces. The next three chapters analyze each artist individually, but focus on drawing common issues from these three artists{\textquoteright} works. First, these chapters address these three artists{\textquoteright} examination of the formation, conflict, and transformation of identities through the encounter with different physical, cultural, linguistic, and social spaces. Second, these chapters consider the possibilities and limitations of connection, communication, and translation across different communities, cultures, and societies, as seen in the three artists{\textquoteright} works. Third, these chapters discuss the change of social structure and the notion of the public under globalization advanced in the three artists{\textquoteright} works. In other words, the research of these artists focusing on common issues enables the tracing of the construction of cultural identity of contemporary Korean art encountering outside worlds. Complementing the current scholarship, this dissertation, at the basic level, not only provides in-depth art historical analysis of Bahc, Suh, and Gim beyond the current essays mainly published in exhibition catalogues, but also comprehensively weaves the analysis of artists, art institutions, curatorial projects, and art criticism together beyond fragmented discussions. By exploring the social, cultural, and critical spaces with which these artists personally engage, in which their works are produced, and in which their works are received and critical responses are created, this dissertation attempts to locate Bahc, Suh, and Gim in contemporary Korean art history and situate Korean art in the globalization age.}, keywords = {East Asia, Twentieth Century}, author = {Park, Eunyoung} } @mastersthesis {12632, title = {Society and Burials from Central-Western Macedon, 550-300 BCE: Intersections of Gender, Age, and Status}, year = {2018}, school = {Michigan}, abstract = {This dissertation studies Macedonian mortuary behavior between 550 and 300 BCE to learn more about the society that performed it. The topic has rarely been studied using a large dataset, and much can be learned, especially about women, children, and non-elites. This work moves away from a focus on a handful of exceptional graves and also works from the archaeological record outward instead of assuming an athenocentric model that places Macedon as "the Other." To do this, a feminist, intersectional framework is used to investigate how different facets of identity interacted, both at the level of individuals and groups. In the process, this study questions overarching historical arguments based on textual and ethnographic sources, in many places either nuancing or contradicting narratives about Macedonian society. The work is divided into three parts. Chapters 1 through 3 introduce the theoretical frameworks and methodology used as well as providing an overview of Macedonian mortuary behavior and the data available. The second part focuses on social personae, with Chapters 4=6 devoted to men, women, and children, respectively. Chapter 4 argues that while weapons and military associations were important for many Macedonian men, they were far less universal than one might expect and, importantly, dwindled in importance just as Late Classical and Hellenistic armies began to expand. Chapter 5 looks at women, concluding that women{\textquoteright}s status was possibly related to fertility but that they were also active in religious life and even production or property ownership. There is no unequivocal evidence for female warriors in the archaeological record to support textual sources mentioning them, but elite women were buried with more objects usually associated with men, perhaps speaking of an intersection between gender and wealth where similar symbols were used to indicate status or gender depending on the context. Chapter 6 on children yields some of the most surprising evidence for intersections of the different aspects of identity. While the vast majority of infants and young children were buried in ways or in places that have not been archaeologically recovered, the burials that have been published paint a rich picture of how Macedonians conceived of childhood. Status was clearly ascribed at least in some cases and could be aspirational, but some graves have also yielded evidence for children being seen as in need of special care-taking and looking after. Crucially, the differences between wealthy and poor child burials are dramatic, perhaps reflecting the importance of dynasties and family lineages to the elites, ideologies not shared by those less well off. The final part, consisting of Chapter 7 to 9, looks at the big picture: hierarchy and change over time and space. While the graves contained differing amounts of grave goods, the distribution is a continuum rather than forming clearly identifiable classes that could be mapped on to groups mentioned in textual sources. Macedon was a profoundly unequal society throughout the period under study, but interestingly the wealth supposedly flooding into the area in the Late Classical and Hellenistic periods seems to have trickled only to a narrow elite, with the majority of burials getting poorer. Variation seems to be driven mainly by diachronic shifts rather than regional differences, although certain local idiosyncrasies can be pointed to. The Hellenistic period seems to have accommodated more individual variation and a broader range of grave goods.}, keywords = {Ancient Greek/Roman Art}, author = {Salminen, Elina} } @mastersthesis {12804, title = {Some of My Basic Assumptions: Oyvind Fahlstrom 1952-1976}, year = {2018}, school = {Yale}, abstract = {This dissertation analyzes the wide-ranging aesthetic production of the transnational artist Oyvind Fahlstrom (b. Sao Paulo 1928, d. Stockholm 1976), taking his individual practice as a window onto a larger untold history of how twentieth-century art contended with newly networked technologies. Oyvind Fahlstrom was a surrealist and concrete poet, painted idiosyncratic sign-systems, wrote political manifestos, plays and performances, and made experimental films. His early encounter with Norbert Wiener{\textquoteright}s theories of cybernetics shaped his concept of language as a dynamic network with a set of rules that the artist can both actualize and challenge. This study argues for a synthetic reading of Fahlstrom{\textquoteright}s art across media, periods and locations, grounded in his sustained inquiry into the conditions for political agency. Through four thematic and chronological chapters, I contend that Oyvind Fahlstrom{\textquoteright}s visually evocative practice was organized by a preoccupation with rendering semiosis, or representation, visible. Some of My Basic Asumptions analyzes Fahlstrom{\textquoteright}s artworks through the filters of the meticulous plans he produced for their execution, his writing on art and politics, and his personal correspondence. This study synthesizes the disparate literature on the artist, while also making selected primary source available in English translation. As such, it establishes an interpretive framework for the artists that can function as the foundation for future scholarship. This dissertation critically engages the intertwined trajectory of aesthetics, politics and technology in the art of Oyvind Fahlstrom as a lens that brings into focus wider cultural concerns surrounding the changing landscape of signs after World War II.}, keywords = {Twentieth Century, Visual Studies}, author = {Borgen, Maibritt} } @mastersthesis {12689, title = {The South Korean {\textquoteright}Meta-Avant-Garde,{\textquoteright}1961--1993: Subterfuge as Radical Agency}, year = {2018}, school = {CUNY}, abstract = {My dissertation examines South Korean performance and conceptual art from 1961 to 1993 during the Cold War military dictatorship, and focuses on the dynamics of socio-political tension between the military dictatorship and the opposition of political dissidents comprised mostly of artists, students, and intellectuals, who defined themselves as "avant-garde artists." Censored and suppressed by both the authoritarian government and the complacent art establishment, these art movements were omitted from conventional South Korean art history, and oftentimes dismissed as derivatives of Western art. My dissertation offers a critical revision of these activities by framing them instead as forms of radical dissent. It argues the Western notion of the avant-garde and its various post-World War II manifestations-such as Happenings, Fluxus, Conceptualism, and Environmental art-were appropriated and re-purposed by South Korean artists{\textquoteright} collectives to mask their socio-political resistance and to evade imprisonment and torture under repressive military regimes. I contend that the various strains of Western avant-garde art, due to their perceived exoticism and artistic aura, functioned as a protective device against censorship and persecution for the artists who took critical stances against the authoritarian governments and the compliant modernist establishment during this period. Paralleling artistic currents in other countries such as Japan, Latin America, and the United States from the 1960s to the 1980s, these South Korean artists expanded their critique beyond the core of the art world itself to make forays into broader cultural and political arenas, by utilizing diverse forms of art with coded critical messages. This alternative model of art-as-covert-political-agency undermines the dominant center/periphery paradigm in global art history. My analysis of these South Korean case studies demonstrates how these artists expanded the global discourse on the avant-garde by resurrecting it after its alleged death in the West. This re-purposed and resurrected avant-garde as subterfuge, which I term the "zombie-avant-garde," proved useful for the South Korean artists to further their own social and political ends. By examining the dialectic, push-pull relationship of the South Korean artists vis-a-vis the Western avant-gardes, this study provides a renewed and nuanced interpretation of this phenomenon, contributing to an alternative understanding of non-Western art historical trajectories in multiple directions. It also augments South Korean renditions of the avant-garde, which I define as the "meta-avant-garde," and adds to scholarship on political and activist art under totalitarian regimes by bringing in Eastern philosophical frameworks for meta-critique.}, keywords = {East Asia, Politics/Economics}, author = {Choi, Sooran} } @mastersthesis {12669, title = {Stamping History: Stories of Social Change in Ghana{\textquoteright}s Adinkra Cloth}, year = {2018}, school = {Michigan}, abstract = {Adinkra is one of the best-known textiles of Africa. This dissertation examines how adinkra cloth has evolved from royal dress among Akans in Ghana during the early nineteenth century to its expanding roles today as a global icon of Africa. Akans wear adinkra cloth to communicate messages through the cloth{\textquoteright}s distinct graphic symbols that evoke proverbs, moral beliefs, and cultural values. These messages are not fixed. They change. Joining visual and verbal arts, Ghanaians have transformed the symbols to represent personal meanings as well as narratives about Ghanaian history and African identity. "Stamping History" traces the "biography" of adinkra, bringing together diverse voices that have reinterpreted the cloth across time and space. This approach places field and archival research in conversation with interdisciplinary theoretical issues of object biography, fashion, and social memory. By reframing adinkra cloth as fashion rather than "traditional" - a label that evokes unchanging practices - the dissertation argues that Akans have given multiple, changing meanings to adinkra that revitalize the past in contemporary life. Through research in Ghana, England, and the Netherlands, the dissertation reveals the dynamics of adinkra cloth that have contributed to how Ghanaians have expressed identity and navigated relationships for over two hundred years. "Stamping History" contributes to fields of African social and cultural history, including Ghana and Akan society. The dissertation intervenes in critical debates on the complex relationship between history and memory to advance scholarship on how historical artistic practices have become markers of cultural and national identity.}, keywords = {Decorative Arts, Design History}, author = {Martino, Allison} } @mastersthesis {12631, title = {Stylistic Allusions in Campanian Wall Painting and the Boscoreale Workshop}, year = {2018}, school = {Michigan}, abstract = {My dissertation has several aims: first, to address the use and validity of August Mau{\textquoteright}s Four-Style system as a methodological tool for analyzing Campanian wall painting and the domestic space it adorns; second, to shine light on the processes of maintenance and repair, and also redecoration, in early imperial Campanian villas, in order to reframe earlier painting through this later lens; and third, to provide a more nuanced interpretation of Roman domestic decorations of the first-century CE, one that possibly arrives at a better understanding of the category of painting referred to as the "Fourth Style" and its variegated aesthetic. In order to do this, I investigate how Romans themselves wrote and thought about style, a concept that was profoundly theorized in Graeco-Roman culture because of its value to rhetoric. Indeed, rhetorical training gave one the tools to communicate appropriately, whether in speech or writing, publicly or privately, and so in the Roman setting it became an essential part of education for men of a range of social backgrounds. By the first century BCE, there was demand for handbooks that explained this ancient technology, and the ones that have survived antiquity offer intriguing glimpses of not only how ancient people regarded rhetoric, but also painting and sculpture, which seem to have been perceived as parallel arts. Such texts reveal a mentality quite different from how we approach ancient art in the present. The villa was not a museum: decorations were meant to serve particular functions there, especially in ways that reflected well on their owners. Today we might describe an object by its dating, its artist, workshop, or school, its specific medium (to scientific precision), and its provenance. In the Roman domestic sphere, even in opulent maritime villas, this kind of information seems not to have been as prioritized; more important was whether the art was appropriate for display in its particular setting (e.g., library, garden, etc.) and whether it appropriately reflected the cultural values, education, or social aspirations of its owner. With this understanding of the value of decoration in domestic display, I propose a new interpretive model for assessing wall painting, one that prioritizes its visual function and not its dating. I also explore how style was supposed to be used in the Roman context: with varietas, or variety, which in the rhetorical texts is a stylistic value that relates to the use of many different styles in a single composition. I show how even among non-rhetoricians, particularly Pliny the Younger, varietas was an important aesthetic of oratory and writing, and it also had meaning beyond rhetoric: as a significant aesthetic concept in Roman art and villa culture, signaling qualities related to abundance, security, and wealth of resources. I argue this is an overlooked but significant concept when we assess the visual experience of Roman domestic decoration, especially wall painting. My final body chapter presents Villa A at Oplontis as a major case study, all the more useful because of the Villa{\textquoteright}s intense recent analyses by the Oplontis Project. Reinterpreting "style" as functional, rather than temporal, allows us to focus on strategies of display in the mid-first century CE, and perhaps helps us better understand the functioning of the category of wall painting referred to as the "Fourth Style" in a Campanian maritime villa.}, keywords = {Ancient Greek/Roman Art}, author = {Sachs, Emma} } @mastersthesis {12633, title = {The Tablinum: A Space and Stage for {\textquoteright}Private{\textquoteright} and {\textquoteright}Public{\textquoteright} Rituals in the Houses of Pompeii and Herculaneum}, year = {2018}, school = {USC}, abstract = {No record in ProQuest or USC ETDs}, keywords = {Ancient Greek/Roman Art}, author = {Spinelli, Ambra} } @mastersthesis {12775, title = {Telepresence: Joan Jonas and the Emergence of Performance and Video Art in the 1970s}, year = {2018}, school = {Columbia}, abstract = {This dissertation is a study of the early career of the American artist Joan Jonas that spans the years 1970-1984. At the turn of the 1970s, Jonas was one of the first artists to pick up a video camera. Exploring "live" video{\textquoteright}s unique capacity to mediate the present moment, Jonas actively integrated the technology into her live pieces, which are some of the earliest examples of what was then first called "performance art." Performance art has often been aligned with presence. In contrast, I argue that what at stake in the proliferation of live artworks by Jonas and others that merged performance and video was not a reserve of unmediated experience, but a presence that was newly technologized: telepresence. As Jonas investigated the novel ability to perform at a distance enabled by electronic media, her work led somewhere surprising: to telegraphy, telepathy, and the earliest telephones-"tele"-technologies that appear long obsolete (or completely fantastical). Evoking optical telegraphs, spirit mediums, speaking trumpets, and science fictional prostheses, Jonas{\textquoteright}s early oeuvre reactivates the historical contexts and unrealized potentials surrounding these dead media. In so doing, she illuminates enduring formations of the body, subjectivity, and teletechnology underlying not only the twinned emergence of performance and video art in the 1970s, but also telepresence as a seemingly very contemporary (and increasingly pervasive) category of experience.}, keywords = {Performance Art/Performance Studies/Public Practice, Twentieth Century}, author = {Young, Gillian} } @mastersthesis {12698, title = {Temporary Ruins: Miyamoto Ryu{\textquoteright}ji{\textquoteright}s Architectural Photography in Postmodern Japan}, year = {2018}, school = {Columbia}, abstract = {My dissertation examines South Korean performance and conceptual art from 1961 to 1993 during the Cold War military dictatorship, and focuses on the dynamics of socio-political tension between the military dictatorship and the opposition of political dissidents comprised mostly of artists, students, and intellectuals, who defined themselves as "avant-garde artists." Censored and suppressed by both the authoritarian government and the complacent art establishment, these art movements were omitted from conventional South Korean art history, and oftentimes dismissed as derivatives of Western art. My dissertation offers a critical revision of these activities by framing them instead as forms of radical dissent. It argues the Western notion of the avant-garde and its various post-World War II manifestations-such as Happenings, Fluxus, Conceptualism, and Environmental art-were appropriated and re-purposed by South Korean artists{\textquoteright} collectives to mask their socio-political resistance and to evade imprisonment and torture under repressive military regimes. I contend that the various strains of Western avant-garde art, due to their perceived exoticism and artistic aura, functioned as a protective device against censorship and persecution for the artists who took critical stances against the authoritarian governments and the compliant modernist establishment during this period. Paralleling artistic currents in other countries such as Japan, Latin America, and the United States from the 1960s to the 1980s, these South Korean artists expanded their critique beyond the core of the art world itself to make forays into broader cultural and political arenas, by utilizing diverse forms of art with coded critical messages. This alternative model of art-as-covert-political-agency undermines the dominant center/periphery paradigm in global art history. My analysis of these South Korean case studies demonstrates how these artists expanded the global discourse on the avant-garde by resurrecting it after its alleged death in the West. This re-purposed and resurrected avant-garde as subterfuge, which I term the "zombie-avant-garde," proved useful for the South Korean artists to further their own social and political ends. By examining the dialectic, push-pull relationship of the South Korean artists vis-a-vis the Western avant-gardes, this study provides a renewed and nuanced interpretation of this phenomenon, contributing to an alternative understanding of non-Western art historical trajectories in multiple directions. It also augments South Korean renditions of the avant-garde, which I define as the "meta-avant-garde," and adds to scholarship on political and activist art under totalitarian regimes by bringing in Eastern philosophical frameworks for meta-critique.}, keywords = {East Asia}, author = {Cushman, Carrie} } @mastersthesis {12662, title = {Theater of the Self. Photography, Race, and Progress: Fotografia Rodriguez and Benjamin de la Calle, Medellin (Colombia), 1891-1938}, year = {2018}, school = {IFA/NYU}, abstract = {This dissertation examines the work of two photographic studios, Fotografia Rodriguez and Benjamin de la Calle, active in Medellin, Colombia from 1891 until 1938. Focusing on individual photographs, it addresses the ways in which the portraits produced by these photographers challenged or circumscribed a discourse based around the invention of a "new race." In the Department of Antioquia, with Medellin as its capital, a strong identity discourse around the notion of progress was cultivated with particular attention to the idea of the "raza antioquena." This discourse was epitomized when these two studios were active proclaiming the superiority of the Antioquian race. Rather than focusing on scientific photography, the dissertation investigates studio portraiture in order to trace a parallel history of "racial" photography through the construction of whiteness as an ideal standard in society. This project not only explores the work of Fotografia Rodriguez and Benjamin de la Calle, but it also raises theoretical questions regarding the status of the photographic image and its alleged objectivity at the turn of the nineteenth century in Colombia.}, keywords = {Colonial and Modern Latin America, Twentieth Century}, author = {Solano Roa, Juanita} } @mastersthesis {12826, title = {Theological Avant-Garde: The Arts Program at the Judson Memorial Church, 1958-1973}, year = {2018}, school = {UC Santa Barbara}, abstract = {This dissertation examines intersections of theological perspectives and artistic practices at the Judson Memorial Church in the Greenwich Village neighborhood of New York City from 1958-1973. With a theology and ecclesiology informed by social justice, the Judson ministers engaged artists, activists, and congregation members in creative projects that they believed enhanced the larger goals of the Church to create a space for social change. Engagements with civil rights, women{\textquoteright}s liberation, anti-Vietnam war protests, and gay liberation became central motifs in art and social programming. Focusing on the relationships between the Judson ministry and artists, I contend that the Judson ministers were engaging in artistic practice in their own right through their commitment to facilitating and developing creative work. Howard Moody, Alvin ("Al") Carmines, and Bernard ("Bud") Scott responded to the needs of their community by creating a space where faith practices and art converged, eventually transforming the sanctuary into a performance space. Through chapter case studies of Allan Kaprow and Claes Oldenburg at the Judson Gallery, Phyllis Yampolsky{\textquoteright}s Hall of Issues, Al Carmines{\textquoteright} Judson Poets{\textquoteright} Theater productions, and Judson Dance Theater members Yvonne Rainer and Carolee Schneemann{\textquoteright}s connections to the Church, I reveal the extent to which the ministry and the space itself impacted the art produced there. In examining these interactions, I explore a set of key concepts that shape discussions of the 1960s and continue to frame artistic practice today, namely spirituality, democracy, sexuality, participation, community, social responsibility, and the avant-garde. To look closely at the ways in which these concepts functioned at this particular institution furthers an understanding of the legacy of 1960s art. Rather than thinking about 1960s American art as a rejection of universals, faith, and spirituality, this study reveals significant connections between art and religiosity, expanding the definition of artistic practice as the venture not only of artists but also of ministers and community activists.}, keywords = {Twenty-first Century}, author = {Mcguire, Mary} } @mastersthesis {12652, title = {Theories of Space in Early Postwar Germany: 1946-1952}, year = {2018}, school = {Brown}, abstract = {The present study reveals several overlooked discussions of architectural space which took place across a politically and economically diverse early postwar Germany. Architectural, urban, and {\quotesinglbase}{\"A}{\textparagraph}}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Hayat, Sara} } @mastersthesis {12615, title = {Threads in the Urban Fabric: Patterns of Non-Elite Housing at Pompeii}, year = {2018}, school = {Virginia}, abstract = {This study presents the first comprehensive GIS analysis of the full range of non-elite, working class housing in ancient Pompeii at the time of its destruction in 79 CE. Using the presence and absence of particular architectural features to identify discrete units of property, a new survey of the city reveals a wide spectrum of domestic arrangements that resist interpretation by traditional models, those that have focused on atrium house examples. Turning instead to middle- and lower-class housing, this project engages Pompeii on three mutually-informative levels: the city, its neighborhoods, and its discrete residences to paint a fuller picture of the city and its inhabitants. Toward these goals, a series of spatio-statistical tools in GIS software are employed to interrogate the location, attributes, and diversity of non-elite houses throughout Pompeii{\textquoteright}s urban fabric, revealing never-before-seen patterns in the siting and distribution of residential property types. The GIS analyses furthermore identify the locations of neighborhoods of non-elite housing at Pompeii, illuminating elements of the urban armature that either promote or discourage their clustering. Finally, by reconsidering the architecture, decoration, and artifactual remains of working-class houses in Pompeii, this project explores the performance of non-elite identities, offering a new understanding of the built and lived environments of Pompeii{\textquoteright}s middle- and lower-class citizens. A new approach promises to transform the typical narrative by shifting academic discourse towards overlooked, popular issues of Pompeian urbanism and domestic studies. By viewing Pompeii through the lens of the non-elites, the city is shown to have pronounced patterns in its urban topography that reveal, among other trends, a spatial zone in which most middle-class housing appears. The diverse and socially distinct neighborhoods identified through the GIS analyses correspond to theorized locations of ancient Pompeian vici, the voting districts centered around crossroads shrines and built from a working-class core of citizens. Also employing Latin texts from the Republic and Empire concerned with the house as a social index, this study associates a series of banking records with specific properties and endeavors to place residents of varied status back in their homes. These literary details are corroborated by the physical elements of the houses and their positions in the city. What emerges from this multivalent and interdisciplinary examination is a new understanding of the ancient conception of status as it is documented by the archaeological record. In short, this dissertation proposes a reading of non-elite identity at Pompeii that is built from the most populous, yet neglected body of evidence: the homes of the majority residents, the middle- and lower-classes that lived in, worked throughout, and shaped the city, just as they were shaped by it.}, keywords = {500 BCE to 500 CE, Ancient Greek/Roman Art}, author = {Gorham, Benjamin Robert} } @mastersthesis {12716, title = {The Thun-Hohenstein Album: Constructing the Armored Body in the Holy Roman Empire}, year = {2018}, school = {Kansas}, abstract = {Through the lens of the Thun-Hohenstein album, this dissertation explores the ways that late medieval constructions of martial identity continued to inflect how the armored body was represented and perceived in the early modern Holy Roman Empire. The album includes 112 artworks with diverse origins and antecedents, which were created from the 1470s through the 1590s. This diversity lends itself to the use of case studies of individual drawings as foci from which chapters depart to explore thematic nodes within the bound collection. These case studies illuminate the ways that the drawings{\textquoteright} pictorial antecedents and retrospective representation of specific armors situate the album within a culture of remembrance centered around Maximilian I and his court. The chapters{\textquoteright} progression roughly parallels the viewer{\textquoteright}s progress from the beginning of the album through its codicological arrangement. It simultaneously evokes a temporal progression through the martial culture of the fifteenth and early sixteenth centuries and its retrospective representation in the middle and late 1500s and into the early seventeenth century, when the album was bound. Chapter 1 introduces the album{\textquoteright}s history and codicology, as well as the artistic circles from which the drawings that fill it emerged. This chapter also traces the development of European plate armor as well as the historiography of arms and armor studies, and establishes theoretical foundations for considering how armor functioned within the commemorative imaginary of the early modern Holy Roman Empire. Chapter 2 focuses on three late-fifteenth-century drawings placed between the album{\textquoteright}s first and second quires. As the oldest works that the Thun album collects, these images represent fifteenth-century pictorial and literary genres that established visual languages of the armored body that resonate through the album{\textquoteright}s later drawings. Identification of the drawings{\textquoteright} original contexts or antecedents exposes aspects of the unknown compiler{\textquoteright}s body of source material, which, in turn, hints at what associations he was seeking to evoke in compiling the collection of drawings in the album. Chapter 3 considers visualizations of the tournament collected in the album and the pictorial traditions that influenced them. It suggests that the Thun album derived meaning not only from its own content and from the meanings associated with the real armors represented on its pages, but also from the pictorial strategies, representational lineages, and retrospective focus that it shared with the tradition of Augsburg artworks from which it emerged and in which it took its place. Chapter 4 examines a drawing that depicts Maximilian I clad in armor and riding a horse that is also fully encased in steel plates from its head to its hooves. This image was drawn during the 1540s, but it retrospectively imagines Maximilian{\textquoteright}s ceremonial entries into the cities of Namur and Luxembourg in 1480. By analyzing this drawing and its models, Chapter 4 places the drawing within a tradition that mythologized Maximilian{\textquoteright}s Burgundian exploits and retrospectively celebrated his idealized knightly identity. Chapter 5 considers a drawing of a splendid armor that is part of a group of sixteen full-figure drawings that form the album{\textquoteright}s fourth and fifth quires, at least nine of which picture recognizable armors crafted for imperial or princely wearers. This chapter analyzes the drawing and its codicological context within the album alongside exploration of the real armor{\textquoteright}s history as a component of a commemorative collection in the so-called Heroes{\textquoteright} Armory of Archduke Ferdinand II of Tirol. In each case, the armor-both real and depicted-was juxtaposed with other armored bodies that were associated with the Habsburg imperial court. The Conclusion highlights conceptual narratives that unfold through the five chapters and identifies pathways for future research. Four Appendices support this study by providing diagrams of armor for man and horse, a table of codicological data that details the previously unstudied physical structure of the album, visualizations of the familial and social networks that connected Augsburg artists and armorers, and a glossary of common technical terms that appear throughout the dissertation.}, keywords = {Fifteenth- to Seventeenth-Century Art, Northern Europe}, author = {Kirchoff, Chassica} } @mastersthesis {12752, title = {Tracing The Arctic Regions: Exploring Ice and Time in Nineteenth-Century Photographs of Greenland}, year = {2018}, school = {Stanford}, abstract = {"Tracing The Arctic Regions: Exploring Ice and Time in Nineteenth-Century Photographs of Greenland" is a study of a single, rare photographic book. Created by the American marine painter, William Bradford, The Arctic Regions was a lavish publication that paired the artist{\textquoteright}s narrative of an audacious art expedition to Greenland with 141 photographs taken to document the journey. This dissertation treats these images both as traces of real things=the people, animals, and ice that existed on the western coast of Greenland in the summer of 1869=and as expressions of how nineteenth-century Americans understood natural history and their place on its lengthening arc. Case studies of specific photographs show how images of a world that seemed strange and remote helped Americans to understand their home environments and the rights of others living within them. With attention to distant and often-marginalized subjects, "Tracing The Arctic Regions" is a study of how different kinds of looking=close looking, past looking, and environmental looking=can generate new perspectives in art history in an age of changing climate.}, keywords = {Nineteenth Century}, author = {Lebourdais, George Philip} } @mastersthesis {12645, title = {Transactional Terrains: Partnerships, Bargains and the Postwar Redefinition of the Public Realm, New York City 1965-1980}, year = {2018}, school = {MIT}, abstract = {This dissertation traces the architectural and urban history of the privatization of the public realm. At the center of the research is New York City during the ""urban crisis"" years of the 1960s, as the city grappled with issues of civil rights, urban policy, and physical decline. The period saw an ongoing shift in how city and state governments initiated, financed, and managed architecture and urban development. As an administrative apparatus of crisis management. the public-private partnership was the fiscal and legal device that was at the center of this shift. With the public-private partnership, there was an increased emphasis on transactions between jurisdictional authorities and private sector actors. These transactions privileged negotiations and bargains that exchanged power, responsibilities, resources, expertise, and narratives across a network of public and private sector entities such as city and state governments, quasi-governmental agencies and thinktanks, developers, design practices, and nonprofits. The 1960s saw the beginnings of an organized cultivation of private sector participation by city and state governments, in the funding, management and provision of public goods (parks, plazas and housing). Privately-owned public plazas, privately-managed public parks, privately-owned and managed low-income housing and Special Zoning Districts are some of the outcomes of these partnerships that have shaped and influenced New York City{\textquoteright}s public realm ever since. By examining the ecology and economy of these public-private partnerships, this dissertation seeks to examine the privatization of the public realm in New York City as a series of complex intersections between the city{\textquoteright}s economic, political, urban, architectural and real-estate histories beginning in the 1960s. (Copies available exclusively from MIT Libraries, libraries.mit.edu/docs - docs mit.edu)}, keywords = {Architectural History/Urbanism/Historic Preservation, North America}, author = {Ramaswamy, Deepa} } @mastersthesis {12660, title = {Treasures and Splendors: Exhibiting Colonial Latin American Art in U.S. Museums, 1920-2020}, year = {2018}, school = {UC Santa Cruz}, abstract = {Over the last century, art museums in the United States have mounted dozens of exhibitions of Colonial Latin American art, but their reasons for doing so have changed over time. Most of the exhibits from 1920-1959 played an important role in international diplomacy as the U.S. government attempted to influence Americans{\textquoteright} attitudes about Latin Americans, and vice versa, for economic and political gains. However, government interest largely waned in the 1960s and {\textquoteright}70s, leaving a power vacuum that was filled by individual art collectors, who became the tastemakers of the era. This was financially unsustainable, though, and by the 1980s and {\textquoteright}90s, major conglomerates began to convert their fiscal power into charitable goodwill by sponsoring crowd-pleasing blockbuster exhibitions. Yet for all these shifts, the most rapid changes in American society came after the turn of the millennia with the rise of the internet and an increase in international terrorism. As technology and social pressures have combined to make the past more accessible and desirable, there has been an increase in the number of museum exhibitions and reasons for their existence. The last two decades have seen exhibits produced on behalf of national governments, wealthy art collectors, and corporate entities, but now they tend to be more driven by scholarship and academic interests, as well. While this project is interested in tracking and documenting these changes over time, its focus on the relatively small number of exhibitions of Colonial Latin American art in the United States over the last hundred years serves a greater goal; the questions it asks are more philosophical. What role does the museum play in society? What happens to public opinion when trusted and authoritative institutions forward specific visions of culture and cultural production? Whose voice is really being heard and assimilated? Although I cannot offer definitive answers to these questions, this project does ultimately suggest that museums do not simply reflect popular notions about other cultures, but in fact play major roles in constructing those opinions. Even though the vast majority of the population will never see any given exhibition-let alone read every label, peruse all wall text, or study every item displayed-museums, often subtly, sometimes overtly, exert influence by drawing attention to specific cultures and histories, and by privileging particular perspectives. The ways influence has been manifested in and through museum exhibitions are the topic of this study; also under consideration are the consequences of the kind of work museums have done and might possibly do in the future.}, keywords = {Colonial and Modern Latin America, Museum Practice/Museum Studies/Curatorial Studies/Arts Administration}, author = {Hobart, Aubrey} } @mastersthesis {12623, title = {Unaccountable Modernisms: The Black Arts of Post-Civil Rights Alabama}, year = {2018}, school = {UC Santa Barbara}, abstract = {Within the discipline of art history, the terms "outsider," "folk," or "self-taught" have been historically applied to artists who have worked outside of prevailing institutional structures. Such classifications have often marginalized the artistic production of untrained, working-class African American artists in the twentieth century, particularly in the Southern United States. My dissertation reframes the discussion of twentieth-century Southern black art as a thoroughly modern and contemporary phenomenon, grounded in particular material and social conditions that, far from isolated, have instead engendered rich artistic communities. It does so by taking as a case study the Birmingham-Bessemer School, a group of male artists working in postindustrial Alabama in the decades following the Civil Rights movement. Though excluded from the primary narratives of American modernism, the artistic production of Lonnie Holley (b. 1950), Thornton Dial (1928-2016), and Ronald Lockett (1965- 1998) contest received histories of modern artistic production, including, but not limited to: found object assemblage, relational art and performance, site-specific installation, and nonrepresentational painting. First, I examine how the formal and material characteristics of work produced by the Birmingham-Bessemer School-the use of discarded and recycled materials, assemblage-like structures, and the prevalence of yard installations-are tethered to the unique environmental conditions of the greater Birmingham area as it gave rise to industry at the turn of the twentieth century. Secondly, I discuss the entry of the School{\textquoteright}s artistic production into the predominantly white art world through museum exhibitions beginning in the 1990s. I argue that the curatorial struggle to showcase the complex social and cultural origins of their work has prevented this form of visual expression from being fully understood within the mainstream art world, as defined by prevailing institutional structures of the museum and the art market. In an effort to historically account for the Birmingham-Bessemer School, my study integrates formal analyses of artwork, artist interviews, exhibition catalogues, and media responses through the lens of queer and critical race theory. This dissertation removes Southern black art from mythologizing narratives of isolated genius or quaint, folk production, by situating it as a challenge to longstanding regional centers of modern and contemporary art in the United States.}, keywords = {African American/African Diaspora, Twentieth Century}, author = {Alexander, Aleesa Pitchamarn} } @mastersthesis {12761, title = {Unfolded Worlds: Allegory, Alchemy, and The Image As Structure of Knowledge In Early Modern Northern European Scientific Books}, year = {2018}, school = {Chicago}, abstract = {"Unfolded Worlds: Allegory, Alchemy, and The Image As Structure of Knowledge In Early Modern Northern European Scientific Books" focuses on alchemical book illustration. It places the corpus of alchemical images 1450-1650, found as both print and manuscript in significant British collections, within the broader scope of the intellectual history of Northern European books. I argue that alchemical book images do the essential work of making humanist arguments about matter as allegory, and transmitting those arguments across space and time. These images simultaneously serve as sources of beauty, codes for laboratory procedures, and statements about the order of the universe and the position of man in it. Specifically, my first section focuses on Elias Ashmole, antiquarian, scientist and founding member of the Royal Society, and in particular on his alchemical and botanical manuscripts and their relationship to one another. In addition to my previously published work on the Ripley Scrolls, mysterious 25-foot long encoded alchemical symbolic manuscripts, I also draw out a new Neo-Platonic reading of embedded and recovered knowledge in alchemical images. My second thesis section focuses on Glasgow MS Ferguson 6, whose illustrations reflect the tendency of alchemical material in particular to draw both text and images back from the print corpus into manuscript again. Here I discuss the intentional use of manuscript as a way of conveying meaning and change outside the basic copied textual material. I also propose a framework for the alchemical miscellany not as a hodgepodge, but as a carefully selected whole within a general epistemology that frames the acquisition of secret knowledge as physical, mental, and spiritual desire. I also address, in my third chapter, garden books and alchemical books taken together within the sphere of an Early Modern library. The illustrated borders of Elias Ashmole{\textquoteright}s published print anthology, the Theatrum Chemicum Brittannicum, and Bodleian MS Ashmole 1423, a manuscript formula book with unique botanical-themed illustrations and intriguing garden fauna, form key case studies. This chapter discusses the relationship between antiquarianism and the materiality of the book, and that of the garden and garden literature, in light of 17th century conflicts and ideas about how to create a more perfect universe in light of man{\textquoteright}s ultimately fallen state. The role of the archive and garden as salvific technology is connected to alchemical book illustration as a locus of these intersecting beliefs and ideas, all within a period of ecological change and growing awareness of both the botanical and chemical processes of nature. Finally, my last thesis section draws these themes together, employing them in a study of Michael Maier{\textquoteright}s Atalanta Fugiens. This emblem book, printed by the house of Merian and De Bry, references an account of the Palatine wedding procession and the designs for the palace garden at Heidelberg by Salomon De Caus. I argue that this book is a means of reading alchemical secrets embedded within the Hortus Palatinus and the broader world, and that it also addresses essential questions about the idea of re-creating a lost Edenic paradise, universal languages of truth, and the interconnectedness of text, collection, image, textile, horticulture, dance, and song in the Early Modern learned worldview. In viewing the Ripley Scrolls, the Theatrum Chemicum Brittannicum, MS Ferguson 6, and the Atalanta Fugiens, among many other books in context, my doctoral thesis connects these key cases with reference to period literary works. I raise new and questions about the relationship between images, language, and meaning creation in Early Modern scientific books.}, keywords = {Northern Europe, Sixteenth Century}, author = {Marraccini, Alexandra} } @mastersthesis {12770, title = {Unreliable Narrators: Staging Performance in the 1970s}, year = {2018}, school = {Columbia}, abstract = {The 1970s are widely considered the decade of performance, with both the formulation of the term "performance" and fierce debates about its precise definition. Championing this novel genre, critics and artists sought to distinguish performance from the conventions of theater and the prescriptions of commercial entertainment. In the definition that has since dominated art history, performance implied the exclusion of narrative, script, artifice, and theatricality. However, this understanding of performance relies on a caricature of the genre that excludes much of the work made in downtown New York City in the 70s: performance{\textquoteright}s constitutive moment. Drawing on original archival research, the dissertation is a critical study of this important but heretofore neglected history. Structured around case studies of pivotal works by Laurie Anderson, Julia Heyward, and Jill Kroesen, pioneering figures in the downtown milieu, the project considers how artists melded narrative forms, theatrical devices, and charismatic onstage personae with biting social critique. Often challenging television, rock music, and advanced art alike, the performances at hand exemplify the period{\textquoteright}s complicated matrix of "selling out" and "crossing over," adding new dimensions to a longstanding conversation about the relationship between the avant-garde and mass culture. Rather than a total denial or negation of the elements of theater, as has often been proposed, "performance" I argue, emerges in the 1970s, in a complex dialectical relation with theater{\textquoteright}s elements (while often nonetheless rhetorically distancing itself from theater tout court). "Performance" as a genre, I argue, emerged in the 70s as something to be fundamentally staged.}, keywords = {Performance Art/Performance Studies/Public Practice, Twentieth Century}, author = {Damman, Catherine} } @mastersthesis {12753, title = {The Visual Art Legacy of the 1992 Los Angeles Riots}, year = {2018}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {North America, Race/Ethnicity}, author = {Salseda, Rose} } @mastersthesis {12807, title = {Visual Pedagogy in Cold War America: Berenice Abbott, Will Burtin, and the International Visual Literacy Association}, year = {2018}, school = {Pittsburgh}, abstract = {This dissertation explores a Cold War moment in which artists, intellectuals, educators, and businessmen urgently argued that modern life was being newly defined by constant interaction with visual media. Many responded to the increased presence of photography, film, and TV in all sectors of society by proposing that an ability to skillfully consume and produce images was essential to participating as a free-thinking citizen in a modern liberal democracy. This notion was based on the assumption of deep connections between photography and human cognition and profoundly shaped education targeted at American youth and the general public in the period from the 1950s through the 1970s. Photographer Berenice Abbott, graphic designer Will Burtin, and the International Visual Literacy Association all engaged in practices of visual pedagogy that aligned the use of photography and other visual media with individual subjectivity, freedom of thought, and democratic access to knowledge. This dissertation connects these practices to show the role that visual pedagogy played in the articulation of American citizenship in the context of the Cold War.}, keywords = {Twentieth Century, Visual Studies}, author = {O{\textquoteright}Reilly, Colleen} } @mastersthesis {12713, title = {Visualizing Knowledge in the Illuminated Manuscripts of the Breviari d{\textquoteright}amor}, year = {2018}, school = {CUNY}, abstract = {Diagrams blur the line between text and image; they are both tools for communicating linguistic meaning and powerfully evocative visual forms. However, scholarship on medieval diagrams has focused primarily on their didactic functions, emphasizing the ways in which monks and other scholars used diagrams as tools for learning-about everything from Christian theology to ancient philosophy-and for developing modes of thought that support such learning. In the late Middle Ages, as education expanded beyond the realm of the intellectual elite, new book types emerged. One of which, the encyclopedia, endeavored to simultaneously instruct and delight a broader, non-monastic and non-scholastic audience, including court society and a burgeoning merchant class. In this new manuscript context, diagrams supported didacticism, but surpassed their role as instruments of learning; they became sensuous art objects that incited wonder for knowledge itself. One particular encyclopedia, the Breviari d{\textquoteright}amor (Occitan, ca. 1288-1292), takes an original artistic approach. With over two hundred images in complete manuscripts, the Breviari is a highly inventive "visual encyclopedia," a spectacular manifestation of the idea of the encyclopedia as a "mirror" to the world. Its vast cycle of imagery accompanies a summa of knowledge framed around the concept of love-a historically contingent idea defined in this work by its permeation through three branches of thought: natural philosophy, Christian history, and fin{\textquoteright}amor (courtly love) ethics. Of its vast cycle of imagery, the Breviari{\textquoteright}s series of cosmological schemata stand out as the most visually stunning, inventive, and original; unlike the narrative and figural scenes pertaining to Christian history, they are unparalleled in late-medieval manuscript culture. This dissertation reveals the ways in which late-medieval encyclopedic diagrams are more than mere learning aids for introductory scholastic education, elucidating numerous aspects that parallel, exceed, and/or contradict epistemic instrumentality. Crucially, the Breviari{\textquoteright}s cosmological diagrams prompt consideration of the artistic potentiality of schematic forms, as their dynamic compositions, luxurious coloration, and patterned ornamentation rival the finest illuminations of their time. Their spectacular qualities are achieved through intervisual connections with arts in other media; these diagrams integrate elements from elite materials like sumptuous metalwork and textile, as well as more utilitarian objects like state-of-the art scientific technology. In the meta-context of the encyclopedia, these intervisual connections negotiate the special place of the diagrammatic, as a mode of representation, in the pursuit of knowledge. But they are also often incomprehensible-whether due to corruptions or by design, whether because of their overwhelming complexity or their arresting sensorial appeal. Thus, this dissertation argues, these diagrams express a historically contingent type of wonder rife with contradiction: they both invite intellectual engagement and confound understanding; they both celebrate facts and revel in the mysteries of the natural cosmos.}, keywords = {Eleventh to Fourteenth Century, Visual Studies}, author = {Partridge, Joy} } @mastersthesis {12789, title = {Visualizing the 1630-31 Plague Epidemic in Early Modern Venice and the Veneto}, year = {2018}, school = {Michigan}, abstract = {In the summer of 1630 a catastrophic plague epidemic struck Venice and its subject cities in the Veneto region, killing around 100,000 inhabitants, disrupting travel and trade, and affecting all aspects of life over the course of its 18-month duration. In response to the outbreak, the Venetian State and other local governments and boards of health implemented widespread plague controls and other initiatives, such as quarantine, travel restrictions, and citywide prayers. The 1630-31 plague generated a rich visual and material culture, both during the epidemic and in its aftermath. Works related to this outbreak range from modest ex-votos created during the plague by individuals, to large-scale architectural and decorative campaigns designed as memorials to the tragedy, commissioned by the Venetian Senate, confraternities, and other social institutions. This dissertation explores the making and the efficacy of art associated with the 1630-31 plague in Venice and the Veneto. Building on iconographic conventions and motifs introduced during earlier plague epidemics, artists such as Domenico Tintoretto, Antonio Zanchi, and Giambattista Tiepolo took up the challenge of representing the plague visually. The imagery in altarpieces, votives, and confraternity halls emphasized disease-stricken bodies, ubiquitous body-removers (pizzigamorti), and timely sacred intercession by saintly protectors. A balance was struck between evoking the dire conditions of plague, affirming the power of the Venetian State to manage the epidemic, and instilling a sense of order in the community. In this way, visual art promoted social cohesion, countering the destabilization caused by the outbreak. In later memorials and retrospective works, the triumph over the 1630-31 plague became a topos used to characterize local civic and religious identities. Following the Introduction, Chapter 2 of this dissertation presents a timeline of the progression of the 1630-31 plague epidemic and introduces the most important social and religious institutions responding to plague in seicento Venice. Chapter 3 explores Venice{\textquoteright}s two plague hospitals (lazzaretti), which operated continuously and exerted influence over life in Venice and its subject cities during plague epidemics and in times of general wellness. The second half of the dissertation offers detailed analyses of individual works of art representing the 1630-31 plague. Chapter 4 examines case studies of works of art that were created in Venice during the outbreak, addressing issues related to patronage and the challenges affecting art production during major outbreaks of plague. Topics include Venice{\textquoteright}s relationship with its colonies in Dalmatia, and the common themes related to holy intercession that were shared across media, linking sacred music composed by Claudio Monteverdi to painted plague votives. The focus of Chapter 5 is Antonio Zanchi{\textquoteright}s monumental painting created for the Scuola Grande di San Rocco in 1666, arguably the most extensive visualization of plague{\textquoteright}s effects on a city in the early modern world. This chapter considers the conceptual frameworks shared by seventeenth-century painting and the performance arts, particularly public opera. The dissertation concludes by leaving Venice proper in Chapter 6 to explore the impact of the 1630-31 plague epidemic on art production in Este, a subject city in the province of Padua. A series of commissions are tracked, from an ex-voto completed during the seventeenth-century outbreak, to a commemorative altarpiece created by Giambattista Tiepolo in 1759. The role of plague in generating collective memories and supporting socio-cultural identity in the eighteenth century is examined.}, keywords = {Seventeenth Century, Southern Europe and Mediterranean}, author = {Gear, Jennifer} } @mastersthesis {12686, title = {Visualizing the Past: Collecting and Representing Chinese Antiquities in Late Choson Korea}, year = {2018}, school = {UCLA}, abstract = {This dissertation examines collecting Chinese antiquities in Korea during the Choson dynasty (1392-1910) and its impact on visual and material culture. Through investigation of textual records and visual sources, it becomes apparent how collectors{\textquoteright} passions for Chinese bronzes contributed to new types of pictorial objects and how painters incorporated aspects of Chinese bronzes in their paintings and embroidery in response to increasing demands and shifts in artistic conventions. The aim is to offer insight into the cultural significance of acquiring Chinese bronzes and to illuminate the intellectual and artistic motivations of literati during the late Choson dynasty. Chapter One investigates the circumstances in which Chinese ritual bronzes were imported and revered, from the Koryo (918-1392) through the Choson dynasties. Ritual handbooks and illustrated catalogs reveal characteristics of Koryo and Choson vessels, of bronze, celadon, and brass, that integrated ancient and archaistic models from Ming (1368-1644) and Qing (1644-1911) China. Chapter Two discusses the appreciation of Chinese antiques by the elite in Korea, who enriched their collections for their scholarly pursuits. Thus, collectors were a force in shaping the sociocultural environment along with the aesthetics that promoted new painting genres in the late Choson dynasty. Chapter Three analyzes the ways in which Choson artists appropriated motifs of Chinese bronzes and visualized patrons{\textquoteright} desire for Chinese antiquities, focusing on screens of Antiques that feature Chinese bronze vessels and on screens of Books And Scholarly Utensils, also known as ch{\textquoteright}aekkori. Chapter Four considers Chinese bronzes in collectors{\textquoteright} portraits and in paintings of antiques and flowers. By comparing objects in these paintings to those in Chinese illustrated catalogs and archaistic bronzes, these two chapters explore possible pictorial sources, modified visual elements, and cultural transmission. Depicting Chinese antiquities enabled patrons to demonstrate their knowledge of Chinese culture as part of their own high cultivation and thereby to enhance their social prestige. The Choson elite sought to claim their standing within their own society and to secure their status in East Asia through the reception of selected elements of Chinese culture and through the adaptation of these to their own traditions.}, keywords = {East Asia, Nineteenth Century}, author = {Lee, Ja Won} } @mastersthesis {12699, title = {Water, Ice, Lapis Lazuli: The Metamorphosis of Pure Land Art in Tang China}, year = {2018}, school = {Chicago}, abstract = {Western Pure Land transformation tableaux are images that depict a distant paradise governed by Amitabha Buddha, who vowed to save the souls of sentient beings from our current world. In Tang dynasty (618-907 C.E.) China, Amitabha{\textquoteright}s paradise emerged through painted images as a majestic water-bound palace. This dissertation reconceives of the Pure Land tableau-not as a straightforward reflection of Buddhist doctrine or a resource for the historical study of Tang architecture-but as an innovative mode of image-making, one that through painting transformed conceptions of pictorial space and the possibilities of vision in East Asian art. The Pure Land tableau reveals a daring new attitude towards the visual depiction of material phenomena in the Tang Empire, encouraging viewers to see through forms, from bodies, to buildings and landscapes. The Tang Pure Land tableau emerged at the intersection of two developments: First, the tableau allowed painters to explore the power of their own craft as mode of world making. Second, Pure Land visuality was the product of a new imperial vision, with a controlling gaze that sees through architecture, organizing a cosmopolitan synthesis of Chinese, Indic, and Central Asian forms. I argue that the Pure Land tableau became a threshold for new practices of envisioning transparency, the transmutation of substance, and the transformation of space. These developments coalesce around understandings of water as the conceptual ground-a medium and metaphor-for the Pure Land. This study examines Pure Land transformation tableaux at a cave complex called the Dunhuang Grottoes in west China, during the strongest presence of Tang control in the region between the 640s and 770s. This work consists of four chapters, each with a different emphasis on the Pure Land tableau. The first chapter reviews recent scholarship on Pure Land art at Dunhuang. The second chapter focuses on the Ajatasatru Narrative and theories of viewing related to landscape imagery, the third chapter deals with the Sixteen Meditations and the painter{\textquoteright}s craft of representing meditational processes. The last chapter discusses the phenomenological experience of the Pure Land tableau through the device of the "lotus pond". Taken together, these chapters argue for a period of striking innovation in Chinese art, one that led to a dynamic rethinking of the relation of the human body to the surface of an illusionistic painting.}, keywords = {East Asia}, author = {Feng, Anne} } @mastersthesis {12727, title = {The Watts Towers from Eyesore to Icon: Race and the Spaces of Outsider Art}, year = {2018}, note = {Fourth subject: Twentieth Century}, school = {UC Berkeley}, abstract = {No record in ProQuest and UC Berkeley ETDs restricted}, keywords = {Folk Art/Vernacular Art, North America, Race/Ethnicity}, author = {Silverman, Emma} } @mastersthesis {12754, title = {Women{\textquoteright}s Suffrage in American Art: Recovering Forgotten Contexts, 1900-1920}, year = {2018}, school = {CUNY}, abstract = {In 1920, women in the United States finally won the right to vote. The campaign for suffrage, which began in the 1848, with the first women{\textquoteright}s rights convention held at Seneca Falls, NY, involved the efforts and enthusiasm of countless women who believed that they both deserved and needed the right to vote. This dissertation investigates the ways in which women artists both responded to and contributed to this divisive movement through painting and sculpture during the final decades of the campaign, when visual culture and propaganda played a crucial role in advancing the suffrage and anti-suffrage agendas. The literature on the visual culture of women{\textquoteright}s suffrage has centered almost exclusively on popular imagery, while painting and sculpture has received very little attention. In using the suffrage movement as an interpretive frame, I add a new layer of understanding and analysis to painting and sculpture by women of this period, while enriching a historically important movement through the inclusion of fine visual art. Employing a social-historical methodology with women{\textquoteright}s suffrage as a contextual framework, this dissertation uses formal, biographical, and archival evidence to interpret certain examples of painting and sculpture by women artists who supported the movement. Each chapter investigates specific themes, which demonstrate how women artists conceived of diverse, sometimes obvious, and, often, nuanced ways of giving voice and credibility to their status as women and professionals, and their collective struggle to be fully acknowledged American citizens. Several chapters explores the more obvious manifestations of suffrage in fine art: Chapter 1 looks portraiture and the creation of a "pantheon" of suffrage pioneers; Chapter 2 focuses on depictions of parades and demonstrations. The latter chapters explore specific themes that reflect an engagement with women{\textquoteright}s suffrage in subtler, less obvious ways. Chapter 3 looks at Joan of Arc as a militant icon; Chapter 4 is concerned with the appropriation of the maternal imagery in suffrage propaganda; Chapter 5 carries forward the theme of motherhood into the realm of municipal housekeeping and progressive reform; Chapter 6 hones in on the problem of prostitution and white slavery during the Progressive Era; and Chapter 7 considers the appearance of suffrage thought in the context of modernist art. This thematic study of selected artists will show compelling evidence for the often subtle, sometimes explicit, insertion of suffrage dialogue into the rarified world of fine art.}, keywords = {North America, Twentieth Century}, author = {Heung, Elsie} } @mastersthesis {12636, title = {The Work of Lauretta Vinciarelli in Context: Artist, Teacher, Theorist}, year = {2018}, school = {CUNY}, abstract = {This dissertation centers on the interdisciplinary work of Italian-born artist, architect, teacher, and theorist Lauretta Vinciarelli (1943-2011), a key yet relatively unknown figure who occupies a historic place in the 1970s revival of architectural drawings, Columbia University{\textquoteright}s housing studio, Peter Eisenman{\textquoteright}s influential Institute of Architecture and Urban Studies (IAUS) in New York, and architectonic trends in contemporary painting. She was the first woman to have drawings acquired by the Department of Architecture and Design at the Museum of Modern Art (MoMA, in 1974), she was among the first women to teach architecture studio courses at Columbia University (hired in 1978), and she was the first and only woman granted a solo exhibition at the IAUS (in 1978). She also collaborated on architectural projects with Minimalist artist Donald Judd from the late 1970s to the late 1980s, and had a significant influence on his furniture design and printmaking as well. I consider the totality of Vinciarelli{\textquoteright}s architectural and artistic output, asserting her impact on each discipline and situating her work in relation to postwar Italian Marxism and feminism.}, keywords = {Architectural History/Urbanism/Historic Preservation, Drawings/Prints/Work on Paper/Artistic Practice}, author = {Siefert, Rebecca} } @mastersthesis {12724, title = {The World is (Still) Watching: The Televisual, Early Video, Nonviolent Direct Action, 1930s-1970s}, year = {2018}, note = {Co-chaired by T. Guning, D. English, C. Mehring, and M.J. Jackson}, school = {Chicago}, abstract = {Art historians have positioned video as a rupture initiated by the commercial release of the Sony Portapak in l967. As the story goes, artists in their studios turned the black and white portable video camera directly on their own bodies, initiating a return of figuration after the dominance of abstraction in American painting-a move that has been interpreted influentially by Rosalind Krauss in 1976 as a shoring up of the borders of self, a form of narcissism. Alternatively, video has been interpreted as a social process enabled by the camera{\textquoteright}s capacity for playback. Artists such as Paul Ryan in the late 1960s positioned video as the possibility to take in our own outsides in the presence of others. Challenges to Krauss{\textquoteright}s narrative such as David Joselit in his influential 2007 account of early video, Feedback: Television Against Democracy, have foregrounded Ryan{\textquoteright}s early reading and positioned video art as a democratic challenge against television. Replacing {\textquoteright}narcissism{\textquoteright} with the concept of {\textquoteright}feedback{\textquoteright} in the Portapak narrative, Joselit and subsequent scholars have utilized the technical process in which an output is re-introduced as an input, initially developed in telecommunications as a method of reducing interference in an electronic signal, for a powerful metaphor for socially-engaged critique. However, even the social reading of video{\textquoteright}s primal scene requires an account of how precisely the capacities of video as a medium were mapped onto politics. I believe that to understand the stakes of the early practices in video requires a less tidy account of the relation between video and television than a positioning of video as a countercultural challenge. I argue that artists and critics re-conceptualized television in the 1960s, from a mode of transmission for art ("art on television") to a site of possibility for artists ("artists{\textquoteright} television"). This expansion in the role of artist came into synchronicity with the performative strategies of the civil rights movement. Like video, direct action emerged internationally and was translated to the U.S. in the early 1940s. Martin Luther King, Jr. imagined direct action as a provocation of violence against oneself through nonviolent means with the aim of "dramatizing" injustice, a creative act that innovated new modes of address. As nonviolent direct action became a popular movement, "direct" bodily interventions were re-conceptualized as televisual events. Modes of performance in direct action during the early 1960s-including the friction between durational movements through the streets and the production of iconic images for TV-carried over into the televisual performance of video art. Such a confluence of factors puts the art movements of the 1960s precisely in the context of civil rights, rather than in its wake. The problem with the Portapak is not its association with the personal vision of artists, whether working individually or in collectives. What the Portapak narrative has obscured is the very definition of the term "video art." Within art history, the words "video art" were first used in 1970 in the catalogue exhibition for "Vision and Television" at the Rose Art Museum. But even in this case, "video art" and "television art" are used in tandem. If one turns to the immense body of critical journalistic writing on television that preceded the art historical birth of the term by several decades, it becomes clear that video was once widely used as another word for television: a technology of audiovisual signal transmission. I argue that the first generation of television critics, for instance, Andre Bazin in France, Jack Gould in the Unites States, and later, Raymond Williams and Stuart Hall in Britain, developed a form of writing alongside the transformation of the television that they were describing, and it was television{\textquoteright}s capacity for self-reflexivity in its representations of actuality that attracted a generation of TV critics and artists to the medium. Gould, the New York Times{\textquoteright} first television critic, wrote about what he called "video art" starting as early as 1946, long before magnetic tapes became commercially accessible and decades before the invention of the portable video cameras. What Gould and other journalists on the "TV beat" meant by "video art" was: the aesthetic possibilities of television. In the early 1970s, the artist-critic Gregory Battcock cited Gould in his essay "Explorations in Video" for his foundational role in "the definition of a new genre of video criticism." TV criticism has remained entirely unknown to art history, despite its formative role in defining video and investment in explaining the development of "artist{\textquoteright}s television."}, keywords = {Film/Video/Animation, Multimedia/Intermedia}, author = {Nelson, Solveig} } @mastersthesis {12808, title = {Writing with Light: Cameraless Photography and Its Narrative in the 1920s}, year = {2018}, school = {CUNY}, abstract = {Cameraless photography{\textquoteright}s resurgence in the 1920s has long been discussed by art historians and critics as either a facet of modernist "new photography," or as a specialized practice associated with prominent figures of the interwar avant-garde. In their discussions of the medium, scholars have aligned cameraless photography with specific movements, groups, schools, or individuals, as a means of situating its emergence and subsequent popularity in the 1920s. This dissertation broadens the understanding of cameraless photography (also referred to as photograms) and its narrative by shifting the focus to the publications responsible for the medium{\textquoteright}s articulation and dissemination in the years between 1920 and 1929. A focus on three distinct periods of time-1920-23, 1924-26, and 1927-29-provides a framework to chart cameraless photography{\textquoteright}s evolution in the 1920s, from its "rediscovery" in 1919 to its status as a key component of the "new photography" at the end of that decade. This change in focus elucidates the importance of the publications to the history of cameraless photography in the 1920s, making clear that the current understanding of cameraless photography has been determined as much by what has been written about it-when, where, and by whom-as it has by the objects themselves. Beginning with cameraless photography{\textquoteright}s "re-discovery" in 1919 by Geneva Dadaist Christian Schad, and the subsequent publication of Schad{\textquoteright}s work in Dada in 1920, the first chapter focuses on the publications that together established the discourse of invention surrounding the medium{\textquoteright}s embrace in the early 1920s by Dada and Constructivist artists, such as Man Ray, Laszlo Moholy-Nagy, and El Lissitzky. In the following chapter, the focus shifts to a period of codification, 1924-26, when popular and more specialized art, photography, and avant-garde publications sought to position cameraless photography within existing and emerging discourses around abstraction, technology, film, revolution, and art photography. These early attempts to position cameraless photography as a new art form succeeded in bringing cameraless photography into alignment with the "new photography" and the push for visual literacy at the end of the decade. The last chapter focuses on the final years of the decade (1927-29) and the culminating moment for cameraless photography{\textquoteright}s role in teaching, popularizing, and debating, the "new photography." The decade{\textquoteright}s final years also brought increased criticism and negative responses to the more experimental forms that comprised the "new photography." This shift in thinking signaled cameraless photography{\textquoteright}s waning popularity with the rise of New Objectivity and other forms of modern photography that privileged the camera. By charting cameraless photography{\textquoteright}s appearance, articulation, and dissemination in print, this dissertation provides a clearer picture of the medium{\textquoteright}s importance to interwar art and photography that moves beyond earlier attempts to categorize the medium as either an individual practice or as tangential to the larger field of interwar photography.}, keywords = {Twentieth Century}, author = {Barber, Karen} } @mastersthesis {12687, title = {Yu Zhiding (ca. 1646-ca. 1716) and the Envisioning of the Early Qing World}, year = {2018}, school = {Columbia}, abstract = {This dissertation offers an expanded understanding of the life and work of the artist Yu Zhiding (ca. 1646-ca. 1716). Yu is best known for the portraits he painted of famous men, particularly the top echelon of officials serving at the court of the Kangxi emperor (r. 1662-1722), and previous scholarship has accordingly contextualized his creative contribution within the history of Chinese portraiture. In fact, portraiture was only one aspect of Yu{\textquoteright}s set of responsibilities in and around the Kangxi court, a diverse range that encompassed cartographic illustration, architectural drawing, still life, printed book illustration, landscape, and more. I attempt for the first time to integrate Yu{\textquoteright}s portraits with his other artistic activities into a coherent picture. I provide a detailed biography of the artist, I introduce his innovative merger of antiquarian landscape painting with portraiture, and I analyze several images he provided to semi-official court productions that reveal the extent of his aspirations and the manner in which he pursued them. The artist who emerges through this inquiry was much more than just a portraitist to the powerful. In his rare combination of skills, in his willingness to experiment with new visual modes, in his bold combinations of existing genres, and in his persistent attempts to capture the attention of the Kangxi emperor himself, he appears as a uniquely illuminating lens through which to understand the unusually ambitious milieu of the Kangxi court.}, keywords = {East Asia, Painting}, author = {Scheier-Dolberg, Joseph} } @mastersthesis {12548, title = {Abstraction Unframed: Abstract Murals in New York, 1935-1960}, year = {2017}, school = {Pennsylvania}, abstract = {In the decades around World War II, a number of abstract painters sought to "unframe" their abstractions and expand them into wall-filling murals. This dissertation analyzes moments from the history of unframed abstraction during modernism{\textquoteright}s rise and popularity in the United States, from ca. 1935 to ca. 1960, in and around New York. Scholars have generally treated such murals as large-scale paintings rather than murals; moreover, they have located American abstraction{\textquoteright}s growing scale firmly in the postwar years. This dissertation revises these views by examining the rich history of abstract wall painting across the 1930s, 1940s, and 1950s, and situating the murals within the architectural, social, and institutional contexts of their sites. Installed on the walls of public houses, hospitals, private homes, and office buildings, these murals raised urgent questions about art{\textquoteright}s place in daily life, abstraction{\textquoteright}s relationship to decoration, and collaboration between architects and painters. Using archival sources and period literature, it reconstructs the spatial and visual logic of the murals, many of which are now lost or altered. It also draws on a growing interest in reception and consumption within studies of modern American art. Arranged roughly chronologically, each chapter examines murals located in a different site type: the public institutions of the New Deal state, the pavilions of the 1939 World{\textquoteright}s Fair, the 1940s home, and postwar commercial and civic buildings. The project situates the geometric abstractions of the American Abstract Artists within an ethos of community and social life, inculcated by the New Deal Art programs; compares painted and kinetic murals at the 1939 Fair to contemporary graphic design and exhibition display; explores Jackson Pollock{\textquoteright}s murals within the decorative values of the upper-middle-class home; and shows how both the American Abstract Artists and the Abstract Expressionists benefitted from a boom in postwar building, which enabled the realization of ambitious murals for educational, religious, and corporate spaces. Together, the chapters offer a history of how abstraction functioned in the built environment at a time of tremendous change in American social and cultural life.}, keywords = {North America, Twentieth Century}, author = {Warner, Emily S.} } @mastersthesis {12435, title = {Accounting for the Past: Historic House Museums and the American Midwest}, year = {2017}, school = {Boston}, abstract = {Although a sizable subcategory of the nonprofit museum sector, historic house museums have received limited attention in discussions of best practices, most notably in topics of administration, funding, and risk management. Historic house museums serve as a cornerstone of American and international cultural tourism for their accessibility and low, or free, attendance costs. This research argues for historic house museum operations, rather than its period of restorative preservation, as the focus of inquiry. The subjects of this research are three sites that were the products of late nineteenth-century industrialization in the American Midwest, a region under-studied in current literature. Past scholarship on historic houses has been dedicated to preservation methodology and interpretation. No study of house museums attends to business and legal concerns as well as architectural history and preservation. Utilizing archives, interviews, and financial documents in the analysis of three case studies, I argue that historic house museums provide an illuminating lens onto issues of professional practice facing museums in the twenty-first century. This dissertation focuses on three historic house museums constructed after the 1876 Centennial and before the turn of the twentieth century. Chapter One offers the history of the Pabst Mansion in Milwaukee, a German Renaissance Revival structure built in 1892 for brewing magnate Captain Frederick Pabst, and provides a discussion of community funding and post-recession heritage tourism. Chapter Two details the story of the Driehaus Museum in Chicago, a Renaissance Revival mansion built in 1883 for banker Samuel Nickerson and now funded primarily by investor Richard Driehaus. This chapter illuminates the issues of single-donor funding, the problematization of definitions of the historic house museum, and modern development of private art collections. Chapter Three is dedicated to the Samuel Cupples House in St. Louis, a Richardsonian Romanesque residence constructed in 1890 for manufacturing magnate Samuel Cupples and now owned by Saint Louis University, and delves into topics of institutional stewardship and university management of cultural resources. The conclusion proposes a diversification of scholarship concerning historic house museums that embraces financial management to ensure operational sustainability.}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Beaulieu, Rebekah} } @mastersthesis {12477, title = {Active Aesthetics: Display Bones, Plain Bronzes and Colorful Pebbles from Yinxu in Late Shang China (ca. 1250-1046 BCE)}, year = {2017}, school = {Yale}, abstract = {Ornate, monumental bronze vessels and finely crafted jades have long been the focus in art historical scholarship on Yinxu (ca. 1250-1046 BCE), the last capital of Shang in present-day northwestern Anyang City, Henan Province. This study looks, instead, at display oracle bones, plain bronze vessels, and clusters of colorful pebbles excavated at Anyang. It asks how aesthetics acted upon the world of Yinxu. By approaching Yinxu from an aesthetic point of view we see that there was more to display in inscribed oracle bones than inscriptions; more to plain bronze vessels than mingqi (vessels for spirits); and, there were stones, other than jade, that had social value. At issue is how the active aesthetics of display bones, plain bronzes and colorful pebbles respectively helped maintain the political legitimacy of the ruling apparatus, form new social categories, assert the religious significance of mortuary rituals, and perpetuate group ties at Yinxu. The social basis of aesthetics is in question.}, keywords = {East Asia}, author = {Yeung, Ingrid} } @mastersthesis {12405, title = {Afro-Brazilian Architecture in Southwest Colonial Nigeria (1890s-1940s)}, year = {2017}, note = {other subjects: Colonial and Modern Latin America, Comparative, Race/Ethnicity, Religion/Cosmology/Spirituality}, school = {Princeton}, abstract = {This dissertation studies the funerary, residential and religious architecture of Afro-Brazilian migrants who left Brazil and resettled within kingdoms in the Lagos Colony and what later became the Southern Nigeria Protectorate of the British Empire. Over a period of seven decades, thousands of Afro-Brazilians landed on the shores of the Bight of Benin and in Lagos, they deployed an idiosyncratic neo-baroque architecture, which was inspired by the churches and houses that they worked on, repaired or saw in city centers in Brazil. Not limiting their settlements to the West African coast, they also migrated further inland and built structures for monarchs, merchants, contractors, chieftains, and soldiers who were inspired by the foreigners{\textquoteright} architecture in Lagos. These buildings constituted the second wave of an architectural revolution. This inquiry asks how the influx of these Brazilians affected the architectural and fashion tastes of Nigerian communities, as well as their social customs. The thesis argues that the Afro-Brazilians worked with other African settlers and indigenous elites in Colonial Nigeria to create a unique built environment. The research critically engages with historical-critical methods of art and architectural history and consequently gives accounts of people who used architecture-in tandem with other expressions of culture-to transform societies in ways that would have eluded the traditional historiographical approaches. To wit, the architecture of the Afro-Brazilians symbolized their desires to be at home in certain Southwest Nigerian societies, and create spaces where they could refashion their identities. Thus, the dissertation examines unconventional sources in order to produce an overall picture of the cultural lives of inhabitants who had limited freedom within their polities. Overall, the dissertation argues that these Afro-Brazilians and others from the African diaspora, who were physically and psychologically displaced, used architecture to define both their shifting identities and what constituted "home." Their material and spatial responses proved that they were dialecticians who wrestled with these issues and gave answers-provisional, experimental, and long lasting-that allowed them to feel grounded.}, keywords = {Africa, African American/African Diaspora, Architectural History/Urbanism/Historic Preservation}, author = {Teriba, Adedoyin} } @mastersthesis {12431, title = {All Streets Lead to Temples: Mapping Monumental Histories in Kanchipuram, ca. 8th - 12th Centuries CE}, year = {2017}, school = {Yale}, abstract = {This dissertation examines the transformation of the South Indian city of Kanchipuram into a major cosmopolitan sacred center during the course of the eighth through twelfth centuries. In this pivotal five hundred-year period, Kanchipuram served as the royal capital for two major dynasties, the Pallavas and then the Cholas. Both dynasties sponsored the production of prominent sacred monuments built from locally sourced stone. These temples were crowned with pyramidal towers, adorned with sculpted and painted figures of deities amid groves and palatial landscapes, and elegantly ornamented with courtly Sanskrit and Tamil inscriptions. Over time, the temples functioned as monumental statements of power, sites of devotion, and municipal establishments where diverse social groups negotiated their claims to political authority and economic prosperity. In Kanchipuram, temples also played a crucial role in defining urban space by demarcating the city{\textquoteright}s center and borders, marking crucial junctions, and orienting the gods towards avenues, hydraulic features, and royal establishments. As religious monuments, they also fostered vibrant circuits of pilgrimage and travel that were integrated with a broader Indian Ocean network. The dissertation argues that the construction of temples fundamentally shaped and reordered landscape. The four chapters, organized chronologically, address the expanding geography of Kanchipuram and its widening sphere of influence. The first two chapters trace the city{\textquoteright}s shifting contours and the emergence of a major pilgrimage route that led precisely through the urban core. The city was radically reconfigured around this new central road, which functioned as a processional pathway that created relationships between monuments both inside the city and beyond its borders. The third chapter reveals patterns of movement linking the city with its rural and coastal hinterland, and considers connections with Southeast Asia. Temples in more remote areas disclose links to Kanchipuram through their use of shared architectural forms, a standardized iconographic program, and inscriptions that detail economic and political ties to the urban hub. The fourth chapter focuses on colonial-era encounters with Kanchipuram and the city{\textquoteright}s role in the broader production of colonial knowledge. As a site of antiquarian interest and military history, Kanchipuram was subject to competing narratives about India. Whereas European officials and surveyors such as James Fergusson saw in the city{\textquoteright}s monuments India{\textquoteright}s past glory and inevitable decline, other travelers found no evidence of rupture or disrepair. I read these conflicting representations against the grain to expose Kanchipuram{\textquoteright}s continuity as a flourishing cosmopolitan center. The dissertation{\textquoteright}s goal is twofold. First, it documents Kanchipuram and maps its monuments spatially and chronologically in relation to each other, the city, and features of the natural environment. Second, it situates the temples within their ritual and civic functions as agentive establishments that both served and fostered a growing urban landscape.}, keywords = {Architectural History/Urbanism/Historic Preservation, South Asia/South East Asia}, author = {Stein, Emma Natalya} } @mastersthesis {12491, title = {The Altarpieces of Domenico Ghirlandaio (1449-1494): Between Heaven and Earth, Faith, and Art}, year = {2017}, note = {subject: Southern Europe and Mediterranean}, school = {Maryland}, abstract = {This dissertation examines the altarpiece paintings of the late fifteenth-century Italian artist Domenico Ghirlandaio (1449-94). While Ghirlandaio{\textquoteright}s frescoes have often been studied as paradigms of portraiture and visual narrative, the artist{\textquoteright}s 12 surviving altarpiece paintings have received little attention, despite Ghirlandaio{\textquoteright}s status as one of the major figures in the history of Renaissance painting. This study is the first comprehensive and contextual investigation of Ghirlandaio{\textquoteright}s altarpieces, and one of the first to consider his works on panel outside questions of attribution. My analysis utilizes archival discoveries, alongside focused examinations into the identities of patrons, the commission histories of these works, the original locations of the altarpieces, and the paintings{\textquoteright} diverse sacred iconography. Organized around a range of case studies that include altarpieces for religious orders, cathedrals, civic hospitals, and private patrons, this dissertation also demonstrates the purposes and uses of altarpieces, revealing how this persistent type functioned as a form of visual and sacred power. Altarpieces visualize and index the divine presence contained and invoked at the altar, while also drawing the beholder fully into that presence. As a vehicle between the visible and the invisible, the altarpiece was the perfect means by which artists could explore the challenges of naturalism and mimesis, illusion and the imagination. Rather than seeing artists and their altarpieces as simply reflecting cultural and religious mores, this study argues for the active role that altarpieces played - and the artists who created them - in articulating the ontologies of the altar and its liturgies. Through an examination of Ghirlandaio{\textquoteright}s altarpieces, this study proposes a new definition of the fifteenth-century altarpiece as a dynamic object that mediated between the realm of art, as an aesthetic artifact, and the realm of the sacred, as an image that participated in the liturgies of the altar. As the first study to explore Ghirlandaio{\textquoteright}s altarpieces, this dissertation produces a new body of knowledge about the artist, his workshop, and his painting practices. More broadly, it reassesses the materiality, functions, and ontologies of altarpieces, leading not only to a greater understanding of Renaissance religious art, but also of sacred art more generally.}, keywords = {Fifteenth- to Seventeenth-Century Art, Painting, Race/Ethnicity}, author = {Cadagin, Sarah} } @mastersthesis {12592, title = {Alternative Modernisms: Collective Creativity}, year = {2017}, school = {Yale}, abstract = {Alternative Modernisms: Collective Creativity examines the cultural output of three interconnected, interwar communities: The Stettheimer Sister{\textquoteright}s famous community, Alwyn Court, in midtown Manhattan, Galka Scheyer{\textquoteright}s private residence/house museum/commercial art gallery, Blue Heights, in the Hollywood Hills, and Mabel Dodge Luhan{\textquoteright}s experimental community, Los Gallos, in Taos, New Mexico. While the study remains geographically grounded in the U.S., many artists orbiting these communities were canonical figures of the European avant-garde. This dissertation, therefore, internationalizes traditional models of "Modernism" while destabilizing our understanding of many well-known figures, from Marcel Duchamp to D.H. Lawrence to Paul Klee. Specifically, this dissertation labors to substantiate two simple claims: one, that there existed within modernism a social category that we could call the small, alternate community (or SAC, for brevity{\textquoteright}s sake). And two, because of their group-orientation, each communities{\textquoteright} social organization significantly influenced the art that emerged from its space. It is no accident that this alternate social-category often produced content that was markedly different from the historical avant-garde, and we could call this alternate cultural category "collective creativity." The relationship between an SAC{\textquoteright}s social organization and its cultural output is, therefore, especially bilateral. Or in other words, the SAC is unique because, quite often, what was occurring socially, inside its gathering space, was also occurring formally, inside its art forms. It is also no coincidence that many modernist SACs were women-led. This dissertation, then, is not a revolt against the modernist canon; the acts and objects that you will encounter here simply fall under the rubric of a different cultural category. Rather, this dissertation takes things seriously that have rarely been taken seriously, and it does so mainly because there is the germ of a hope buried inside this impulse; that through such a study we can achieve what art historians and other similar-minded scholars have always wanted to achieve-to distinguish between the soft murmurs of the past, to recuperate the grain of those lost voices, and, now hearing them better, converse with them more freely.}, keywords = {Twentieth Century}, author = {Abrams, Matthew} } @mastersthesis {12428, title = {American Collegiate Gothic Architecture: The Birth of a Style and its Architects, Patrons, and Educational Associations, 1806-1906}, year = {2017}, school = {Iowa}, abstract = {Collegiate Gothic architecture can be found on many American campuses, yet its beginnings in nineteenth-century United States are something of a mystery. As the nation{\textquoteright}s colleges and universities grew more innovative in their modernized curricula and research, strangely, their architecture became more anachronistic with Collegiate Gothic being the most popular. Around the greens of their campuses, Americans built quadrangles of crenellated buildings and monumental gate towers with stained-glass windows, gargoyles, pointed arches, turrets, and spires, thus transforming their collegiate grounds into likenesses of the Universities of Oxford and Cambridge. Why medievalizing buildings came to represent the archetypal college experience has confounded many educators, scientists, and industrialists, who wondered why some of America{\textquoteright}s most revolutionary institutions built libraries and academic halls in a style that seemed to oppose everything that was modern. Scholarship has not fully addressed the reasons why Collegiate Gothic buildings came to occupy so many American college campuses. Authors have not regarded the style in its own right, having its own history within the nineteenth-century{\textquoteright}s dynamic developments in higher education, religion, politics, urban planning, and architecture. My dissertation evaluates these relationships by addressing the Collegiate Gothic{\textquoteright}s first one hundred years on American campuses from 1806 to 1906.}, keywords = {Architectural History/Urbanism/Historic Preservation, Nineteenth Century}, author = {Springer, Mary R.} } @mastersthesis {12494, title = {An American Jesuit Treasury of Religious Art: The Van Ackeren Collection in the Greenlease Gallery at Rockhurst University}, year = {2017}, school = {Kansas}, abstract = {On 13 October 1967 Virginia P. and Robert C. Greenlease donated a walnut crucifix by French sculptor Cesar Bagard to Rockhurst University{\textquoteright}s Jesuit community in Kansas City, Missouri. This gift initiated a collaboration of thirty years between Mrs. Greenlease and Rockhurst{\textquoteright}s president, Father Maurice E. Van Ackeren, S.J. Together they sought to enhance the university and its students{\textquoteright} spiritual and educational experience by making fine religious works of art accessible for viewing on campus. Virginia financed the purchases that Father Van Ackeren made, the sum of which came to be known as the Van Ackeren Collection of Religious Art. Throughout their endeavor, the two took advantage of the expertise of the curators of the William Rockhill Nelson Gallery of Art in Kansas City, Missouri (now known as The Nelson-Atkins Museum of Art) and employed that institution as an intermediary station for evaluating works before they were purchased. The majority of objects were acquired during the 1970s. This timing proved fortuitous for the assembly of the university{\textquoteright}s collection, as museum-quality sacred works were available at fairly reasonable prices. The result for Rockhurst was a diverse collection of exemplary objects depicting religious subjects and/or with liturgical functions that date from the late medieval through the rococo periods. The works that comprise the collection are of Italian, German, Austrian, French, and Spanish provenance and their mediums range from lindenwood, polychromed wood, alabaster, and marble statues, to paintings rendered in tempera on wood panel and in oil on canvas and copper, as well as to works on paper, furniture, textiles, and silver. Many of the collection{\textquoteright}s works are associated with known artists, but most have scarcely been considered with regard to those artists{\textquoteright} respective oeuvres. Painters and sculptors of Italian and non-Italian origins whose works are represented in the collection include Andrea di Bartolo (1360-1428), Gil de Siloe (c. 1450-1501), Francesco d{\textquoteright}Ubertino Verdi, also called Il Bachiacca (1494-1557), Antiveduto Grammatica (1571-1626), Peter Strudel (1660-1714), Pietro da Cortona (1596-1669), Bartolome Esteban Murillo (1617-1682), Francesco Trevisani (1656-1746), Ehrgott Bernhard Bendl (1660-1738), Felix Planner (active 1690-1710), Giuseppe Maria Crespi (1665-1747), and Giambattista Tiepolo (1696-1770). The dissertation is divided into three sections. Part one chronicles the collection{\textquoteright}s history and discusses the acquisition process, how choices were made in the selection of objects, which works were chosen, and what those decisions might indicate about personal taste, contemporary art market trends, and addressing the rationale for assembling a collection for educational purposes. Following the introduction is a catalog of the collection{\textquoteright}s objects. The entries are divided into two categories: "Paintings and Works on Paper" and "Sculptures and Metalwork," and each is arranged in chronological order. The contextual and iconographic assessment of these objects comprises the core of this study.}, keywords = {Fifteenth- to Seventeenth-Century Art, Patronage, Art Collecting, Seventeenth Century}, author = {Whittaker, Loren} } @mastersthesis {12596, title = {The Animate Object of Kinetic Art, 1955-1968}, year = {2017}, school = {Pennsylvania}, abstract = {This dissertation examines the development of kinetic art-a genre comprising motorized, manipulable, and otherwise transformable objects-in Europe and the United States from 1955 to 1968. Despite kinetic art{\textquoteright}s popularity in its moment, existing scholarly narratives often treat the movement as a positivist affirmation of postwar technology or an art of mere entertainment. This dissertation is the first comprehensive scholarly project to resituate the movement within the history of performance and "live" art forms, by looking closely at how artists created objects that behaved in complex, often unpredictable ways in real time. It argues that the critical debates concerning agency and intention that surrounded moving artworks should be understood within broader aesthetic and social concerns in the postwar period-from artists{\textquoteright} attempts to grapple with the legacy of modernist abstraction, to popular attitudes toward the rise of automated labor and cybernetics. It further draws from contemporaneous phenomenological discourses to consider the ways kinetic artworks modulated viewers{\textquoteright} experiences of artistic duration. Structured around case studies of four artists, the chapters draw from archival material and close examinations of artworks to elucidate diverse approaches to the kinetic. Chapter One examines Jean Tinguely{\textquoteright}s early motorized reliefs, modeled on the paintings of the historical avant-garde, and argues that their shifting compositions enact an intensifying doubt about the principles of abstract composition. Chapter Two addresses Pol Bury{\textquoteright}s exploration of perception in his slow-moving objects, linking the intense experiences of anticipation and suspense they generate to their Cold War context. Chapter Three treats Gianni Colombo{\textquoteright}s flexible rubber and Styrofoam artworks, connecting them to the burgeoning field of Italian design and Umberto Eco{\textquoteright}s nascent concept of the "open work." Finally, Chapter Four investigates Robert Breer{\textquoteright}s Float sculptures, and demonstrates how these works parody Minimalist principles while also intervening into cybernetic debates about behavior and intentionality in self-driven objects. While grounded in the postwar period, this project intersects with contemporary scholarly interests in performance, animation, and materiality.}, keywords = {Twentieth Century}, author = {Isgro, Marina} } @mastersthesis {12598, title = {Anthropologies of Fiber: Claire Zeisler, Ed Rossbach, Sheila Hicks}, year = {2017}, school = {Boston}, abstract = {In the 1960s and 1970s, American artists Claire Zeisler, Ed Rossbach, and Sheila Hicks helped forge an international art movement that expanded the boundaries of fiber usage and, by extension, the boundaries of art itself. Often with only a loom, hook, or their own hands as tools, they crafted soft sculptures from thread, string, and rope. In contrast to recent formalist and feminist attempts to recover the overlooked genre of Fiber Art, this dissertation explores the ways in which artists employed fiber to register the ethnic and economic tensions of their era. Zeisler, Rossbach, and Hicks borrowed anthropological strategies to research the materials and processes associated with non-Western, Native American, and South American textile histories. Incorporating these principles into their own work, the artists in this project promote such art forms while simultaneously appropriating them as a ground for articulating their own responses to issues of industrialization and globalization. Chapter One contextualizes the dissertation{\textquoteright}s three case studies by describing the Fiber Art movement, its contemporary reception, and its relationship to anthropology. Chapter Two highlights Chicagoan Claire Zeisler, who used her personal collection of African, Oceanic, and Native American art as source material for her thread-based sculptures. She therefore promoted diverse cultural traditions while also taking advantage of these art forms to establish her own artistic identity. Ed Rossbach, the subject of Chapter Three, studied international textile traditions as a teacher and theorist at the University of California, Berkeley. He repurposed ancient and foreign techniques using ephemeral, mass-produced materials, thereby challenging the romanticized distinction between the industrial present and preindustrial past. Finally, Chapter Four considers how Sheila Hicks engaged directly with fiber workshops in Mexico, Chile, India, Morocco, and France through travel and collaboration. By assimilating motifs and materials from these experiences into installations that were shown in corporate settings, her art alluded to the complex relationships between workers around the world. In their respective roles as collector, scholar, and traveler, these artists drew from anthropological discourses to provide critical perspective on United States society at a time when global communication and transportation technologies brought cultures into collision.}, keywords = {Twentieth Century}, author = {Parrish, Sarah} } @mastersthesis {12505, title = {The Apotheosis of the Quattrocento Condottiere: Art, Power and Identity in Fifteenth-Century Italy}, year = {2017}, school = {Indiana}, abstract = {This is a study of a nexus between art and political power: the art patronage of elite mercenary soldiers-condottieri-in quattrocento Italy. In most scholarship to date, political patronage is understood as a device the Italian elite used to lay claim to virtue, political power and military might by associating themselves in commissioned works with figures from Arthurian romance and Roman antiquity. There is strong evidence, so far largely unaddressed, that condottieri commissioned self-aggrandizing works that greatly exceeded associative references to historic figures or allegorical models, which had been, until then, established and accepted assertions of power. My argument is that in their patronage, numerous condottieri suggested through purposeful deployment of religious backgrounds, themes and motifs that they themselves possessed divine or quasi-divine power, might and virtue. This approach to political patronage is new and encourages a reassessment of quattrocento political art in light of these audacious expressions of power. Federico da Montefeltro (1422-1482), famous condottiere and Duke of Urbino (1474-1482), will be the locus of my examination. A prolific art patron, Federico is thought to have spent more on commissioned works in the form of painting, sculpture and architecture than any other prince in fifteenth-century Italy. He transformed Urbino into one of the greatest humanist courts of the Renaissance. Federico da Montefeltro{\textquoteright}s socio-cultural context among his contemporaries is crucial to understanding his work and influence. I will briefly discuss instances in the patronage of four other quattrocento condottieri -Sigismondo Malatesta, Ercole I d{\textquoteright}Este, the condottiere-king, Alfonso V of Naples and Bartolomeo Colleoni-in which assertions of divinity or divine authority are apparent. The relationships between condottieri and the communities they served were conflicted and paradoxical. Mercenaries were celebrated as champions of territorial expansion and stability but were also feared and mistrusted as unreliable strongmen. condottieri were specialists in a ritualized form of warfare. While this aspect of their role in society was ceremonial, their martial skills were real. They exacted from their employers land, political influence and huge sums of money. Successful condottieri were among the most powerful politicians-and most prolific art patrons-of the Italian Renaissance.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Edgerton, Hannah} } @mastersthesis {12605, title = {Appropriation Art, Intellectual Property, and Fair Use Since the 1990s}, year = {2017}, school = {Duke}, abstract = {This dissertation is a historical examination of the broad and multifaceted role of appropriation in twentieth and twenty-first century American art. It argues for the complementarity of research in legal and art theory with respect to the origins, significance, and future of appropriation and contends that the historical development of appropriation art is indissolubly interconnected with changes in intellectual property laws. This dissertation proposes that a history of contemporary appropriation requires an interdisciplinary approach, employing art historical, legal, and economic theory to examine interrelations between appropriation art, postmodern theory, and the legal doctrine of fair use. Special attention is paid to the development of terms used to describe and define appropriation art. The art historical definition of appropriation is traced through a review of academic criticism and museum exhibitions. The legal understanding of appropriation, which has a direct impact on the creation and dissemination of art that builds on prior works, is explored and clarified. Economic claims about artistic property rights and art markets are also considered and differentiated. Throughout, I question established understandings of appropriation and identify unresolved issues in the scholarly treatment of appropriation art. I draw distinctions between ethical and legal guidelines for reuse of images and suggest that further development of ethical guidelines is more important than further clarification of legal rules. Ultimately, I conclude that transformative use is a valuable framework for understanding appropriation, but conclude that judges cannot be expected to determine whether or not a work is transformative without expert guidance, preferably from artists themselves, and recommend that artists participate actively in the development of an ethical fair use.}, keywords = {Twenty-first Century}, author = {Devine, Katherine De Vos} } @mastersthesis {12597, title = {Apres l{\textquoteright}impresentable: contemporaneite du sublime dans les oeuvres de Shirin Neshat, Olafur Eliasson et Ryoji Ikeda}, year = {2017}, school = {McGill}, abstract = {Apres l{\textquoteright}impresentable focuses on the manner in which contemporary artists approach the question of the sublime and the singularity of their reinterpretations vis-a-vis the conceptual history of the sublime. While many recent studies have attempted to theorize a new iteration of the sublime, known as the "contemporary sublime," their interpretations rely too heavily on modern and postmodern interpretations and address art merely as a manifestation of these theories. This thesis challenges such perspectives by examining how individual artworks can be considered as interpretations of the sublime in their own right, specifically addressing three case studies: Shirin Neshat{\textquoteright}s film series Turbulent (1998), Rapture (1999) and Fervor (2000); Olafur Eliasson{\textquoteright}s installation The Weather Project (2003-2004); and Ryoji Ikeda{\textquoteright}s multimedia installations systematics (2012) and datamatics (2012). In doing so, I highlight how these artworks represent anew the relations between humans and nonhumans and defend the hypothesis that the most recent interpretations of the sublime emphasize the power of cultural and technological mediations to render the interconnections between the human and the nonhuman presentable. These new interpretations correspond with the shift from modern conceptions of the sublime, which largely hinged on humanity{\textquoteright}s superiority over nature, and postmodern reinterpretations that have conceived of the sublime as the effect of an inadequacy between a discourse and the excess or otherness it produces. My research is divided into three parts. The first part examines the conceptual history of the sublime, especially as this concerns modern, postmodern, and contemporary theory. Through this examination, I show how influential modern and postmodern discourses on the sublime have shaped the way we understand the relationship between humans and nonhumans, imposing on these categories a dualistic opposition and reducing their relationship to a discursive or ideological construction. In concluding this first part, I analyze the limitations of reapplying modern and postmodern interpretations before considering a new method for conceptualizing the "contemporary sublime." The second part compares and contrasts two feminist reinterpretations of subjective experiences of the sublime: on the one hand, the postmodern discourse of the feminine, female and feminist sublime; and on the other hand, the symbolic and political forms of resistance enacted by the female protagonists of Neshat{\textquoteright}s films. I scrutinize these two approaches -the view of the sublime as unrepresentable and its understanding as a presentable experience -to emphasize how the latter provides the most fruitful way to redefine the sublime. The third part focuses on two themes representative of the modern sublime: nature and technology. It probes how modernity produced two emblems of its hierarchical model of the relationship between humanity and nature: the romantic landscape and the steam locomotive. This serves to situate the works of Eliasson and Ikeda not only within the history of the development and re-appropriations of the categories of nature and technology but also in relation to two current cosmological models, the Anthropocene and the Technosphere. Here, I argue that the artworks{\textquoteright} contribution to the reconceptualization of the sublime lies in their capacity to mediate between the human and the nonhuman. In the conclusion, I propose a summary of the thesis{\textquoteright}s major claims and establish how artistic representation of the sublime in the works of Neshat, Eliasson, and Ikeda -understood both as a subjective experience and an attribute of a form or an object -formulates a specifically contemporary interpretation.}, keywords = {Twentieth Century}, author = {Ouellet, Maryse} } @mastersthesis {12471, title = {Art, Architecture, and the Asai Sisters}, year = {2017}, school = {Pittsburgh}, abstract = {In early modern Japan, women, like men, used art and architectural patronage to perform and shape their identities and legitimate their authority. Through a series of case studies, I examine the works of art and architecture created by or for three sisters of the Asai family: Yododono (1569-1615), Joko-in (1570-1633), and Sugen-in 1573-1626). The Asai sisters held an elite status in their lifetimes, in part due to their relationship with the "Three Unifiers" of early 17th century Japan-Oda Nobunaga (1534-1582), Toyotomi Hideyoshi (1537- 1589), and Tokugawa Ieyasu (1543-1616). As such, they were uniquely positioned to participate in the cultural battle for control of Japan. In each of my three case studies, I look at a specific site or object associated with one of the sisters. The objects that I examine-a mausoleum, a portrait, and a memorial temple-were all associated with death and memorial rituals. Mortuary culture may have been seen as an appropriate subject for women{\textquoteright}s patronage because it was inherently a family responsibility, and it served to define and propagate the lineage. Since portraits and memorial buildings were expensive, ostentatious luxury objects, they were one of the most public ways that women could participate in patronage. This dissertation addresses two research questions: how the social identities of the Asai sisters, specifically their lineage connections and roles in the complex web of political marriages of the time, were defined and asserted by architectural and artistic patronage; and how these three case studies expand our understanding of the problematic term "patronage" and its relationship to women.}, keywords = {East Asia, Genders/Sexualities/Feminisms}, author = {Self, Elizabeth} } @mastersthesis {12547, title = {Art Collecting and Shaping Publics at the Turn of the Twentieth Century: A Philadelphia Story}, year = {2017}, school = {Temple}, abstract = {This dissertation traces the rhetoric of two Philadelphians, attorney John G. Johnson and Dr. Albert C. Barnes, as they collected art with a specific public in mind, namely working Philadelphians around the turn of the twentieth century. The individual bequests and resulting legacy institutions of Johnson and Barnes serve as rich case studies to assess the efforts of collectors to control the reception of their respective collections by the public. These particular histories, exceptional in their own ways, are juxtaposed to offer an objective view onto previously understudied challenges to the status quo, mounted by a few collectors by way of unique discursive practices and the establishment of distinctive single collection institutions, in the formative period for American art museums around the turn of the twentieth century in Philadelphia. The focus is on the two men{\textquoteright}s often shared, but eventually divergent, ideas pertaining to art and the public, which can be tracked to relevant discourses that informed those views. At stake in this investigation is the relative tension between the agency of the collectors and the repurposing of their individual collections by future publics. More plainly, the goal is to study the interrelated narratives of collectors, Johnson and Barnes, as they unfolded over the course of the long twentieth century with an eye to what is gained or lost from the unraveling of the deliberate plans left by the collectors, which in both of these cases, included relocating the art work from the original site, leading to coincident shifts in the manner of display and targeted audience. It is not the point of this study to weigh-in on matters of justice regarding the individual cases, rather the goal is to probe the limits of an art collector{\textquoteright}s vision held against the dynamic needs of publics, and evaluate what this might mean for the twenty first century.}, keywords = {North America, Twentieth Century}, author = {Seymour, Brian} } @mastersthesis {12479, title = {Art, Commerce, and Caricature: Satirical Images of Artistic Life in Paris, 1750-1850}, year = {2017}, school = {Duke}, abstract = {This dissertation examines a corpus of 486 satirical images of artistic life in Paris. The Parisian art-world was regularly the subject of a form of satirical criticism conducted in visual media. More significantly, this satirical criticism was produced in the medium of print, and in its reproducibility, could broadcast its satire to large audiences. By doing so in the amusing and subversive tone of satire, it constituted a visual counterpart to art criticism. I examine what these images reveal to us collectively over time as they overlap with representations of the art world disseminated in other equally understudied popular media, namely popular theater (vaudeville and opera comique) and panoramic fiction (physiologies, short fiction, and so on). This project sits at the intersection of the study of graphic satire and visual culture, and several strains of the social history of art, namely institutional histories of Paris{\textquoteright} art world, and the study of the representation of the artist and of artistic sociability. I also employed Digital Humanities Methodologies, namely Qualitative Data Analysis using NVivo, to produce distant and close readings of this corpus of images. Late eighteenth- and early nineteenth-century art-world caricature was preoccupied with the art world and its actors, such as artists, connoisseurs, art critics, Salon juries, art audiences, dealers and sellers, and patrons and buyers. Further still, art-world caricature was overwhelmingly attentive to the relationship among different types of actors as mediated by an invisible system of structural relations, made visible via graphic satire{\textquoteright}s representational language. These objects thus collectively mounted a coherent critique of the shifting structural relations within Paris{\textquoteright} art world. This dissertation argues that satirical images of artistic life in Paris presented a social type designed to contradict images of the artist as exceptional and as genius. Instead, art-world caricature proposed the "inglorious artist," or the mediocre, common, and ordinary artist who toils, struggles, and ultimately fails to succeed in an increasingly liberalized art world.}, keywords = {Eighteenth Century, Nineteenth Century}, author = {Desplanque, Kathryn} } @mastersthesis {12578, title = {Art for Mission: Christian Visual Culture in Contemporary Taiwan}, year = {2017}, school = {Graduate Theological Union}, abstract = {Using an intercultural framework to gain new insights into the contextual representation of global Christian faith, this dissertation conducts a study of art and visual culture emerged from the encounter of Christianity and Asia. Located within the contemporary Asian context, Taiwan in particular, this study engages Christian images produced by home-grown artists, recognizing the need of local Christian communities for a dialogical conversion from merely adapting Western stylistic expressions to creating new indigenous narratives. These artworks can be better perceived as new products emerging from cultural mediations that crosses borders and risks encounters between gospel and context, thereby breaking new ground on articulating the negotiation of Christian faith within its Asian setting. The first part of the dissertation elucidates the nature, discourse, and method of study art and mission in Asia (Chapter One), exemplified in the works of Sadao Watanabe in Japan, Solomon Raj in India, and He Qi in China (Chapter Two), along with mission objects during the early twentieth century of China and Taiwan (Chapter Three). The second part engages Christian art by five contemporary Taiwanese artists: Etan Pavavalung and Cheng Chien-Chung (Chapter Four), Wang Jen-Wen and Chris Chou (Chapter Five), and Stanley Fung (Chapter Six), and their uses of visual strategies of symbols, metaphor, and allegory for mission as prophetic dialogue. The commitment of Asian Christian artists to reinterpret Christian identity brings a new appreciation to the transformative dimension of a lived Christian faith not only for Asia, but also for a global world, affirming that God is present in the vital relationship between art and mission.}, keywords = {South Asia/South East Asia}, author = {Lin, Su-Chi} } @mastersthesis {12488, title = {Art, History, and the Creation of Monastic Identity at Late Medieval St. Albans Abbey}, year = {2017}, school = {Florida State}, abstract = {Although later medieval St. Albans Abbey has long been renowned as a preeminent center for the writing of historical chronicles, previous studies have not acknowledged that the monastic community also had a sustained tradition of visually representing the house{\textquoteright}s institutional history. This dissertation demonstrates that between the late eleventh and early sixteenth centuries, the monks of St. Albans depicted and evoked their abbey{\textquoteright}s past in a large and diverse collection of artworks, ranging from illuminated manuscripts and pilgrim badges to monumental paintings and architecture. Monastic historical imagery was rarely produced during the Middle Ages, but the images and objects from St. Albans present a remarkably rich and complete account of the abbey{\textquoteright}s history from the time of its illustrious origins through the eve of its dissolution. Using an interdisciplinary approach to contextualize these artworks within the monastery{\textquoteright}s history and traditions, this study argues that the visual historiography of St. Albans served as a potent vehicle for the expression and self-fashioning of the abbey{\textquoteright}s corporate identity and historical memory. As will be demonstrated, this vast corpus of imagery focuses on three fundamental elements of the monastery{\textquoteright}s past: Saint Alban and his early cult, the eighth-century foundation of the monastery by King Offa of Mercia, and the house{\textquoteright}s post-foundation history. Through these artworks, many of which have not previously received the attention of art historians, the monks of St. Albans documented, celebrated, and occasionally manipulated their abbey{\textquoteright}s long and distinguished history, thereby providing a compelling justification for its continued prosperity and prestige.}, keywords = {Eleventh to Fourteenth Century}, author = {Carter, Deirdre} } @mastersthesis {12462, title = {Art. internet: musees, entreprises et oeuvres en ligne dans le passage vers le nouveau millenaire (1996-2002)}, year = {2017}, school = {Montreal}, abstract = {At the end of the 1990s and the beginning of the 2000s, museums sought to revitalise their image with the aim to attract increasingly diversified audiences. The general view of the Internet as a democratic force in western societies lead institutions to consider it as an opportunity to acquire new audiences through participation which was thought to foster emancipation and dialogue. Enthused, museums thus acquire internet artworks and some even commission them in order to inaugurate newly developed media arts programs. For what reasons? Our case studies provide an answer to this question, along with a cultural analysis of artworks, annual reports, press releases and other pertinent documents: Ding an sich (The Canon Series) by Piotr Szyhalski acquired by the Walker Art Center; Uncomfortable Proximity by Graham Harwood commissioned by the Tate; IdeaLine by Martin Wattenberg presented by the Whitney Museum of American Art. We found that these artworks are at the intersection of converging interests on the part of the institutional and business worlds as they are presented in online infrastructure developed in close collaboration with the technological industry. To this industry artworks are enticing as they offer an opportunity to expose a favourable clientele to its products; to the institution artworks are an asset to attract expert business partners able to enhance the online museum brand in the eyes of audiences. As such, artworks are located in hybrid spaces: between exhibition and information spaces, between artistic purpose and democratising discourse, between collection and philanthropy. At these crossroads, artworks take a sharp look at the conditions and dynamics that underlie their arrival. In the face of connoted discourses, they conceptualise the technological industry not as hegemonic commercial authority but as theoretical apparatus, rich with thematic strategies and operating modes ripe for dismantling, diverting, reversing, and criticising.}, keywords = {Digital Media/New Media/Web-Based Media}, author = {Leonard-Brouillet, Karine} } @mastersthesis {12582, title = {The Art of Living in the Historical Avant-Garde}, year = {2017}, school = {Columbia}, abstract = {This dissertation reexamines the art-into-life narrative of the historical avant-gardes through an analysis of a set of experimental life practices established by artists across Dada, Orphism, and Surrealism. Focusing on Tristan Tzara{\textquoteright}s performances of identity, Sonia Delaunay{\textquoteright}s fashions and self-branding, and the collective endeavor to open and operate the Surrealist Research Bureau, my project proposes a broader envisioning of avant-garde material culture to examine the ways in which artists creatively produced an "art of living" in relation to the normative types of "lifestyle" produced contemporaneously in France during the years 1910-1930. Rooted in original archival research and interdisciplinary in focus, my discussion of these artists is centered on three distinct sites within material culture (the manifesto, advertising, the office) and reveals how these activities at times challenge and at times replicate various dominant discourses.}, keywords = {Theory/Historiography/Methodology, Twentieth Century}, author = {Silveri, Rachel} } @mastersthesis {12500, title = {Art, Ritual, \& Reform: The Archconfraternity of the Holy Crucifix of San Marcello in Rome}, year = {2017}, school = {Rutgers}, abstract = {"Art, Ritual, and Reform" is the first comprehensive study of the social history, devotional practices, and art patronage of the Arciconfraternita del SS. Crocifisso di San Marcello a Roma, one of the most prominent lay religious associations in sixteenth-century Italy. Divided into four main chapters, the dissertation first develops the innovative theory of conspicuous devotion through a documented examination of the company{\textquoteright}s religious rituals and urban processions during the Catholic Reformation. The following chapters apply the theory to analyses of the confraternity{\textquoteright}s commissions in the Cappella del Crocifisso in San Marcello and the nearby Oratorio del Crocifisso, in which Perino del Vaga (1501-47), Daniele da Volterra (1509-66), Giovanni de{\textquoteright} Vecchi (ca. 1536-1615), Cesare Nebbia (ca. 1536-1614), and Niccolo Circignani (ca. 1517/24-after 1596) painted. Challenging traditional interpretations of Central Italian painting from 1520 to 1590, the object-focused project argues that conspicuous meaning and form served conspicuous devotion to both instruct and inspire, in accordance with the reforms of the Catholic Church. A final chapter explores the archaism of paintings produced by Jacopino del Conte (1510-98) and Marcello Venusti (ca. 1512-79) for Santa Chiara a Monte Cavallo, a Capuchin convent founded by the confraternity on the Quirinal Hill. Reinforcing the assertions of the preceding chapters, the discussion demonstrates the company{\textquoteright}s keen art historical, or stylistic, understanding, which enabled it to choose between different artistic modes to suit different subjects and contexts, as required by the Council of Trent (1545-63). Recovering both the variety and the devotional significance of lay festive performance and art patronage in sixteenth-century Rome, this crucial research offers a much needed critical reassessment of art, ritual, and reform in the Catholic Reformation.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Albinsky, Kira Maye} } @mastersthesis {12532, title = {Arts Awareness at the Metropolitan Museum of Art: Art Museum Education as Artistic and Political Practice}, year = {2017}, school = {UIC}, abstract = {In the early 1970s, teens played bongo drums among the mummies at the Metropolitan Museum of Art. They burned incense, shot video, and performed interpretive dance in the museum{\textquoteright}s European Sculpture Court--often to the chagrin of the Met{\textquoteright}s administrators, curators, and security guards. Arts Awareness was a museum education program comprised of a series of experiences in art forms such as movement, music, photography, and video through which high school students created direct responses to artworks in the museum. This dissertation project is a close analysis of Arts Awareness, considering the program{\textquoteright}s historical and cultural context, analyzing its pedagogy, and interpreting the perspectives of its creator Philip Yenawine and several affiliated artist-educators. The study of Arts Awareness is valuable not merely as a historical excavation, but as an example of participatory pedagogy that provides important lessons for the contemporary moment. In particular, the interest in participatory pedagogy as the site of social justice work in museums links Arts Awareness with today{\textquoteright}s practitioners. Chapter 1 situates Arts Awareness within the institutional history of the Met as well as its broader historical moment, tracing the ways in which Arts Awareness diagnosed the museum{\textquoteright}s struggles with racial, cultural, and economic diversity not simply as the result of curatorial or outreach decisions, but of institutional power dynamics within the museum itself. Chapter 2 argues that Arts Awareness attempted to leverage the unique potential of museum education as a site for challenging these power dynamics, positing a participatory pedagogy that made critical reflection on the power relations between individual and institution a fundamental component of engagement with art, and with the museum itself. Chapter 3 compares the motivations, objectives, and methods of Arts Awareness with those of contemporary practitioners of participatory and social-justice-oriented pedagogy through the lens of their respective approaches to the question of the "outsider." Arts Awareness provides a crucially important model of educational practice driven by critical reflection on the relationship between pedagogy and institutional power dynamics-a reflection that any museum education program that aspires to the mantles of "inclusion" or "social justice" as they are predominantly articulated today must undertake.}, keywords = {Museum Practice/Museum Studies/Curatorial Studies/Arts Administration, Twentieth Century}, author = {Greenberg, Alyssa} } @mastersthesis {12485, title = {Assaults on the Faith: Imagining Jews and Creating Christians in the Late Middle Ages}, year = {2017}, school = {Rutgers}, abstract = {My dissertation examines manuscripts and early printed books of the "Fortress of Faith" (Fortalitium fidei) as influential works in late medieval constructions of Jewish and Christian identity. I argue that the "Fortress of Faith" moves beyond traditional polemics in its comprehensive use of popular argumentative approaches, particularly in its use of images, which appealed to a variety of late medieval audiences. I suggest a revised stemma, giving preference to the influence of woodcuts over miniatures. Through both types of images, Christians were armed with mental pictures of themselves as knights guarding a Christian fortress. The first two chapters study surviving manuscripts and incunabula of the text with regard to their material execution, visual imagery, verbal content, and regional production and dissemination. The presentation of the text evolved with its shifting audience from the time it was composed around 1460 by a Castilian Franciscan friar to the time it was translated into French and illuminated around 1480 and also while it was printed numerous times between 1471 and 1525. A third chapter addresses the "Fortress of Faith{\textquoteright}s" role in shaping communal memory. It verbally and visually underscored the perceived dangers non-Christians posed to Christianity and suggested the unique danger that the faith{\textquoteright}s own delinquents posed toward it. The final chapter focuses on the hermeneutical Jew represented in the "Fortress of Faith" and beyond. In this text the "bad Jew," so familiar in the medieval world, became the template for the much more broadly defined monstrous "other." My analyses show how the images of the preaching manual within the Latin manuscript and incunabula and French manuscripts of the "Fortress of Faith" contributed to the text{\textquoteright}s slandering of its enemies: heretics, Jews, Muslims, and demons. The body of images appropriated the visual symbols of courtly romance for new use in molding religious identity. For readers of the Fortalitium fidei, the fortress became the central feature in a universal program of animosity toward Jews and other non-Christians. This message was significant in its historical moment, affecting the understanding of medieval Jews, but also modeling their treatment throughout the early modern period in Europe.}, keywords = {Eleventh to Fourteenth Century, Fifteenth- to Seventeenth-Century Art, Film/Video/Animation}, author = {Falk, Brooke} } @mastersthesis {12424, title = {At the Threshold of the Heavens: The Narthex and Adjacent Spaces in Middle Byzantine Churches of Mount Athos (10th-11thCenturies) - Architecture, Function, and Meaning}, year = {2017}, note = {other subjects: Religion/Cosmology/Spirituality, Sixth to Tenth Century, Southern Europe and Mediterranean}, school = {Princeton}, abstract = {The narthex, the entrance room of the Byzantine church, seems to be particularly prominent in monastic churches of the Middle Byzantine period (9th to 12th centuries). The churches of the oldest coenobitic monasteries of Mount Athos, built between the late 10th and mid-11th centuries, are no exception: they all have elongated, three-bayed narthexes, which is typical for the period. On the other hand, the presence of an upper storey and, especially, its twin-domed design are not so common. Moreover, an additional, outer narthex, and two subsidiary chapels were appended to a few narthexes soon after their completion. Although the presence of these spaces has not passed unnoticed, our knowledge of their functions and the reasons for their inclusion, as well as the interpretation of their forms and the location in the narthex zone are fragmentary or entirely lacking. This dissertation deals precisely with this problem. The first part, by providing the first comprehensive examination of all known Athonite narthexes and adjacent structures (Chapter 1), looking at the possible influences through a survey of coevals in Constantinople, Bithynia, and elsewhere (Chapter 2), and establishing the narthex{\textquoteright}s liturgical and other uses from written sources and performative traditions (Chapter 3), lays a groundwork for the analytical assessment of the examples in question from multiple perspectives. This is offered in the second part. Chapter 4 focuses on the narthex itself and suggests interpretations of a few characteristic architectural elements, the painted decoration, pieces of furnishing, and other design solutions found in the essentially plain and simple interior. Chapter 5 explores the narthex{\textquoteright}s upper storey (kat?choumena), its form, the functions accommodated, and its overall meaning. Chapter 6 examines exonarthexes, subsidiary chapels, porches, and phialai, and investigates their purpose and relationship with the narthex. Engaging a wide range of material, the study also addresses such issues as the interaction between form and function, and the formation and transmission of liturgical spaces within the monastic context. The results not only lead to fuller understanding of Athonite narthexes, but they also shed light on the role and meaning of the Byzantine narthex in general.}, keywords = {Architectural History/Urbanism/Historic Preservation, Eleventh to Fourteenth Century, Film/Video/Animation}, author = {Stankovic, Nebojsa} } @mastersthesis {12606, title = {The Athletic Turn in Contemporary Art}, year = {2017}, school = {Bryn Mawr}, abstract = {For too long, the worlds of art and sport have occupied opposing ends of the cultural spectrum, contributing to a widely held belief that the audiences in either arena are mutually exclusive, drawn to separate and competing visual spectacles. The physicality of the athletic contest, we imagine, invites a raucous crowd, whereas works of fine art provide occasions for quiet contemplation. In this dissertation, I trace the origins of such prejudices to the middle of the nineteenth century and the rise of modern sport. Alongside this history, I narrate the formation of a parallel sphere, the art world, and of the development of the cultural hierarchy that favors art as an elite, intellectual pursuit with sport as its unsophisticated opposite. Over the last 25 years, an increasing number of contemporary artists have made sport the explicit subject of their work, allowing viewers to question the supposed divisions between these two spectatorial realms. As I discuss and historicize in the first chapter, by conflating the spectacles of art and sport, these artists present both arenas as complex sites of cultural exchange. In chapter two, I explore representations of the athletic arena by Julie Mehretu and Andreas Gursky, whose works I describe (counter to many art critics) as exhibiting a sense of wonder over the size, scope, and diversity of the audiences who gather therein. Contending with Immanuel Kant{\textquoteright}s influential theory of a universal aesthetics, I posit that the arena presents a space in which consensus is forged by way of our shared acts of looking. In the third chapter, informed by the philosophical work of Walter Benjamin, I consider works by Paul Pfeiffer and a collaboration between Douglas Gordon and Philippe Parreno in which both athletic contests and the work of art are marked by irresolution and filled with dialectical tensions. In the fourth and final chapter I turn to works by photographers Catherine Opie and Collier Schorr featuring high-school athletes, and frame these series using the gender theories of Judith Butler and J. Halberstam. By playing with cultural stereotypes, these artists defy our notions about "jocks" and present a more capacious portrait of adolescent masculinity.}, keywords = {Twenty-first Century}, author = {Roesch, Nathanael} } @mastersthesis {12549, title = {Babylon, New Jerusalem, and the Brooklyn Bridge: Modern Vastations in American Art}, year = {2017}, school = {Graduate Theological Union}, abstract = {At the beginning of the twentieth century, New York City was a city on the rise, literally and figuratively. Beyond even the elevated visage, technological and industrial advancements, and chaotic anonymity of the new American metropolis, however, the city became the muse of the twentieth-century artist, fostering new theological and aesthetic possibilities and dilemmas alike within its environs. Sublimity and beauty coexisted in the urban environment, just as materialism and spirituality both pervaded the city{\textquoteright}s burgeoning character. In particular, Georgia O{\textquoteright}Keeffe, Alfred Stieglitz, and Joseph Stella all turned to the city time and again in their artwork, highlighting the salvific possibilities and spiritual pitfalls of the city and its effect upon human experience. Disputing the line of thinking that claims that such artists were part of a secularizing process, this project demonstrates instead the specific ways that these iconic modernists used religious currents as present in American literature and pragmatism for their depictions of New York. However, art history has largely ignored the theological dimensions of these seminal modernists. O{\textquoteright}Keeffe, Stieglitz, and Stella drew deeply on a canon of spiritual writing by Ralph Waldo Emerson and Walt Whitman, and were engaged with the subsequent pragmatist philosophy, where religion played a central role (particularly in the work of William James). The work of these spiritual forebears permeated these artists{\textquoteright} celebrations of embodied experience, the sanctity of the surrounding world, and art{\textquoteright}s transcendent power, imbuing a particularly American sense of religious expression in such seemingly secular works. In essence, establishing the connections between these artists and this spiritual lineage in American literature and philosophy will allow us to see these well-known depictions of the city in a different light, and thereby to call forth the neglected narrative of modern art{\textquoteright}s spiritual history. This dissertation explores the way these artists created new images of the metropolis that were shaped by a democratic theology of spiritual experience. The American urban environment fostered the creation of a visual language capable of expressing this new spiritual experience, rendering even Babylon as within reach of redemption.}, keywords = {North America}, author = {Munson, Meredith Massar} } @mastersthesis {12587, title = {Between Limit and Possibility: Art in Cuba during the Special Period}, year = {2017}, school = {IFA/NYU}, abstract = {This dissertation studies the examination by contemporary Cuban artists of the role, the purpose, and the meaning of art making during the 1990s, at a time when the Marxist-Leninist nation first undertook several market economy initiatives. Often known as the Special Period in Time of Peace, this decade was marked by the severe economic recession that impacted the island after the final fall of the Soviet Bloc in 1991. Among the revenue generating measures implemented by the government to tackle the crisis was the granting of permission to artists to be freelance and self-employed, and to copyright their works. This allowed artists to gain private profit, a privilege that was not accessible to most sectors of the population then. At the same time, the regime{\textquoteright}s introduction of a differentiation between intellectual and manual labor, a distinction foreign to socialist thinking, propelled the artists to dwell on the significance and function of their profession within fast-changing, end-of-the-century Cuba. Many artists in their work from that decade explored other careers that were also related to both manufacturing and the visual arts. Adopting the role of designers, masons, and archeologists, among other occupations, these artists engaged with bricolage, construction, and restoration practices in their oeuvre. These series of skills were also related to the developing cityscape of Havana: from the exponential growth of precarious do-it-yourself items, to the conservation of the Old Havana colonial quarter, passing by the crumbling down of dozens of ruinous buildings in other areas of the city, the Cuban capital transformed in leaps and bounds during the 1990s. Thus, as the literal site of the everyday, and as the symbolic space of the collective, Havana often appeared in the work of these artists as a metaphor of the shifting revolutionary project. Through the case studies of altered objects, housing, and streets in six artworks by Gabinete Ordo Amoris, Los Carpinteros, Lazaro Saavedra, Manuel Pina, Tania Bruguera, and Carlos Garaicoa, this project contemplates how the artists{\textquoteright} evaluation of their own trade through their pursuit of different crafts involved a reflection on what should be recuperated, preserved, and built within the revolutionary project.}, keywords = {Latinx, Twentieth Century}, author = {Serrano Ortiz De Solorzano, Blanca} } @mastersthesis {12601, title = {Beuys, Terror, Value: 1967-1979}, year = {2017}, school = {Yale}, abstract = {In this dissertation I argue that the work of the German artist Joseph Beuys deserves to be taken seriously because it represents the most ambitious effort of the post-1945 era to totalize the concept of art in order for it to serve as the basis of a new, liberated social order. Although Beuys did not succeed in realizing his ambitions, the attempt to do so nonetheless stands as a limit case that formalizes issues of continuing relevance to the politics of aesthetics, the relation between art and economics, and the boundaries between art and other spheres of life. I proceed through readings of a few key works dating from 1967 to 1979, including, most notably: the Fond series of the 1960s and {\textquoteright}70s; a number of vitrine sculptures from the same era; Arena, 1970-72; Show Your Wound, 1974-75; the Art = CAPITAL multiples of the late 1970s; Tram Stop, 1976; Unschlitt/Tallow, 1977; and Honey Pump, also 1977. I demonstrate that Beuys{\textquoteright}s practice attempted to fix a relation between social or political significance and the material forms of his art by way of a strategy that I define as "myth." Rather than simply denounce his myth as disingenuous, however, I make a case that the coherence of Beuys{\textquoteright}s practice is keyed to a real social and economic dynamic: namely, the accumulation of capital. Although Beuys aimed to overcome capitalism, I claim that his art{\textquoteright}s most fundamental metaphors constitute a mimesis to the capitalist form of value. Through this mimesis, Beuys in effect aimed to subsume capitalism to his "expanded concept of art." In turn, the fractures that emerge within this project disclose capital{\textquoteright}s own deathliness. In fleeing from the terror of history - not just the Nazi past, but also the automatism of the postwar economy - Beuys{\textquoteright}s art ineluctably came to incarnate a terror of its own.}, keywords = {Twentieth Century}, author = {Spaulding, Daniel} } @mastersthesis {12489, title = {Biography of a City: Art, Urbanization, and Shifting Structures of Power in Carrion de los Condes, 1050-1200}, year = {2017}, school = {Pennsylvania}, abstract = {One of the central narratives in the study of Spanish Romanesque art is that of the Camino de Santiago de Compostela, the medieval pilgrimage to the tomb of St. James. While the Camino has been conceptualized primarily as a conduit of people and ideas, the monuments of the pilgrimage city of Carrion de los Condes demonstrate an intra-referentiality that challenges this unilateral construct. Pilgrimage must be understood as a binary phenomenon, comprised of not only the moving, transitory parties, but also the infrastructure that at once supports and is supported by them. This dissertation examines the three extant medieval monuments built during Carrion{\textquoteright}s period of greatest growth and prominence, ca. 1050-1200: the monastery of San Zoilo and the parish churches of Santa Maria and Santiago. Each addresses distinct audiences corresponding to its particular moment in Carrion{\textquoteright}s development and position within the city. Reframing the pilgrimage city as a crucial site of social and economic interaction, this dissertation situates the three monuments in relation to one another within a single, evolving urban fabric, one that had to negotiate and address multiple audiences-transient and enduring-through its artistic production.}, keywords = {Eleventh to Fourteenth Century}, author = {Lastra, Elizabeth} } @mastersthesis {12599, title = {Body Analyses / Poetic Acts - Ambivalences of Austrian Performance Art after 1945}, year = {2017}, school = {Chicago}, abstract = {Body Analyses / Poetic Acts - Ambivalences of Austrian Performance Art after 1945 presents a critical genealogy of Austrian performance art, tracing the emergence of the body-centric and action-based practices of Viennese Actionism to the early 1950s and the notion of "poetic action." In 1953, Hans Carl Artmann wrote an "Eight-Point-Proclamation of the Poetic Act," which I read as a manifesto for a group of artists, including Artmann, Friedrich Achleitner, Konrad Bayer, Gerhard Ruhm, and Oswald Wiener, that became known as the Vienna Group. In years marked by the perceived stagnation of the institutions of art in Austria, the Vienna Group interrogated its cultural and linguistic inheritance by means of a playful but also politically charged exploration of the implication of poetry and action. In works of concrete poetry and experimental typography, as well as in readings and cabarets, they explored ambivalences of articulation, both linguistic and corporeal, that, in the 1960s, I argue, would be taken up by the generation of artists who would collectively become known as the Viennese Actionists. These artists, including Gunter Brus, Otto Muhl, Hermann Nitsch, and Rudolf Schwarzkogler, more explicitly foregrounded the body in performances that generated, and reflected on, anxieties about authority, masculinity, and community. Brus would call these "body-analyses." Culminating in the notorious event staged at the University of Vienna, Kunst und Revolution (Art and Revolution, 1968), these performances provoked an extreme reaction from the Austrian media and police, which condemned their "excessive" and "scandalous" techniques. In Body Analyses / Poetic Acts, I unfold the surprising formal continuities and shared preoccupations of these two groups of artists, linking post-war ambivalences of language and the body as they emerged in response to political, social, and artistic conditions. The dissertation consists of a preface and four chapters, each of which examines a threshold between performance art and "conventional" media and techniques: from poetry to painting and tapestry. I argue that attention to the collaborations between members of the Vienna Group and the Viennese Actionists allows for an art historical reframing of what has often been characterized as the belated Austrian avant-garde.}, keywords = {Twentieth Century}, author = {Schopp, Caroline Lillian} } @mastersthesis {12437, title = {Body and Apparition: Material Presence in Sixteenth-Century Italian Religious Sculpture}, year = {2017}, school = {University of Washington}, abstract = {In early modern church interiors across the Italian peninsula, religious devotees gazed upon, spoke to, and touched sculptural sacred objects. These forms of contact reinforced the sensation of presence and communication between the devotee and the sacred figure, often inciting offerings of garlands, jewelry, and other adornment at many cult sites. Bound up in this religious practice, multiple materials are at work: in the offerings bequeathed-ephemera, wax, precious metals-but also in the sculptures themselves. Over the course of the sixteenth century, multiple artists and patrons used sculpture to underscore the sacred message of their subject matter through resonant materials: in the canonical materials of marble and bronze, but also in terracotta, wood, and wax. All of these materials have the potential to convey meaning. That confluence of subject and matter in Italian sacred spaces led to innovations of sculptural discourse across regions and media. This dissertation addresses the position of sculpture in early modern acts of devotion. The case studies explore original installations and sacred ritual-specifically, how sculpture fit within the sacred interior-as well as the ways in which the medium physically, materially, and symbolically fostered a religious experience for early modern believers. This discussion begins with the Santa Casa di Loreto, or Holy House of the Virgin (1511-1579); Chapter One focuses on how this cult site, seemingly composed of discordant materials, effectively transports the viewer into a biblical space, the home of the Virgin and supposed site of the Annunciation. Between crumbling bricks and polished marble, the Holy House combines a pilgrimage destination with an apparitional experience that is reinforced by the combination of material trompe l{\textquoteright}oeil and tactile devotion. This multimedia experience appears also in the case of the Sacro Monte at San Vivaldo (ca. 1500-1530). As the first case study of Chapter Two, this Tuscan holy site combines innovations of sculpture and architecture to guide and instruct the visiting pilgrim through the stages of Christ{\textquoteright}s life, death and resurrection. Again, touch and physical proximity reinforce the sacred message. Conversely, the second case study of this chapter, Antonio Begarelli{\textquoteright}s Deposition in Modena (1531), compounds its sacred meaning through multiple material references. Through the surface treatment of the sculptures, Begarelli visually transforms his terracotta bodies into marble, and as such the artist conveys twice as many symbolic referents as would a single medium. Finally, this dissertation concludes with Chapter Three and two marble altarpieces: Michelangelo{\textquoteright}s Risen Christ (1514-1521), and Francesco da Sangallo{\textquoteright}s Virgin and Child with Saint Anne (1522-1526). As with the Santa Casa and Begarelli, marble assumes multiple material significances, referring to antiquity, immortality, and the immateriality of the apparition. The case studies explored in this dissertation illuminate the multivalence of sculptural imagery across sixteenth-century Italy in an effort to reveal the divine presence in sacred space.}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Giffin, Erin} } @mastersthesis {12576, title = {The Bruegelians: Formation and Canonization of Peasant Imagery in the Tradition of Pieter Bruegel the Elder}, year = {2017}, school = {Maryland}, abstract = {Pieter Bruegel the Elder{\textquoteright}s peasant imagery has come to be the picture of mid-sixteenth-century Flemish art and a reflection of the native countryside before the ravages of the Dutch Revolt. A hundred years later, its impact on seventeenth-century Dutch and Flemish low-life genre scenes by Adriaen Brouwer, Adriaen van Ostade, David Teniers the Younger, and Jan Steen is undeniable. This dissertation examines the longevity of Bruegel the Elder{\textquoteright}s subjects, manner, and motifs, identifying how and why this imagery retained its appeal through years of drastic social and political change. The acquisition of Bruegel the Elder{\textquoteright}s paintings by the highest pinnacle of society, Emperor Rudolf II and his Austrian Habsburg kin, fueled an existing market of emulative paintings and prints. Identification of the artists who supplied these works and their relationship to Bruegel the Elder and his imagery reveals that many artists, particularly Marten van Cleve and Karel van Mander, contributed subjects and manner to a period style later associated with Breugel the Elder. Foremost in the process of appropriating peasant imagery under the name Bruegel were Pieter Bruegel the Elder{\textquoteright}s two painter sons, Pieter Brueghel the Younger and Jan Brueghel the Elder, and Karel van Mander, whose Het Schilderboeck (1604) canonized Bruegel the Elder as the archetypal landscape and peasant painter. Three case studies trace the trajectory of Bruegelian imagery from the middle of the sixteenth century to the middle of the seventeenth century. A contrast with emulative works by Bruegelian artists reveals the singularity of Pieter Bruegel the Elder{\textquoteright}s artistry.}, keywords = {Seventeenth Century}, author = {Payne, Brighton} } @mastersthesis {12504, title = {Building Blocks of Power: The Architectural Commissions and Decorative Projects of the Pucci Family in the Renaissance}, year = {2017}, school = {Columbia}, abstract = {This dissertation focuses on the artistic and architectural patronage of the Pucci family, Medici stalwarts whose carefully constructed political and cultural alignment with the ruling family of Florence was the impetus for their rising fortunes over the course of the 15th and 16th centuries. Their homes, chapels, and palaces in Tuscany and Rome were designed and furnished with paintings, sculpture, and intarsiated woodwork attributable to Michelozzo; the Pollaiuolo brothers; Botticelli; Giuliano da Sangallo and the heirs to his workshop: Francesco da Sangallo and Antonio da Sangallo the Younger; Baccio d{\textquoteright}Agnolo; Pontormo; Bronzino; Baccio and Raffaello da Montelupo; Pietro and Domenico Rosselli; Michelangelo; Bartolommeo Ammannati; Giovanni Battista Naldini; Alessandro Allori; and Giovanni Battista Caccini.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {D{\textquoteright}Arista, Carla} } @mastersthesis {12434, title = {Building the Home Front: The Lanham Act and the Modernization of Housing in the United States}, year = {2017}, school = {IFA/NYU}, abstract = {The dissertation examines the domestic architecture of the World War II home front, specifically that which was built under the Lanham Act, a bill passed in October 1940 to provide emergency housing for America{\textquoteright}s defense production workers. The study aims to situate wartime housing projects within the history of twentieth-century architecture and show that the nation{\textquoteright}s brief focus on emergency housing had a profound impact on the modernization of the home and the urban landscape, in large part because of the unique objective: to attract low- and middle-income workers and their families to live in the homes, so that they could contribute to the war effort. The endeavor to provide housing to approximately eight million war workers occurred against a backdrop of demands for economy and speed, as well as strategic concerns about national migration, raw materials, transportation, and the threat of air raid attack. Despite these challenges, many independent architects-including prominent American and European modernists-creatively adapted their work to new modes of living, building techniques, construction methods, and planning norms. In a reflection of the war{\textquoteright}s uncertainty (and post-war possibilities), many embraced the concept of flexibility as a primary objective in working out designs for structural systems, house plans, furniture, schools, community and shopping centers, and even in the larger project and town plans, which were expected to be able to adjust to future needs. The goals of this study are to offer an analysis of American housing that focuses on specific problems of aesthetics, technology, politics, and social history. It traces the federal government{\textquoteright}s role in financing, planning, standardizing, and building defense and war housing, and the concomitant transformation of a piecemeal, craft-centered home building industry into a technologically progressive arm of the American production machine. It also focuses on the work of specific architects-particularly Clarence Stein and William Wurster-whose projects challenged traditional notions of neighborhood planning, technology and materiality. The issues of prefabrication and demountability, in particular, forced architects and manufacturers to reassess their respective roles in the building profession, and the design implications of using standardized, modular, and often moveable building components. What this analysis, and additional discussions of landscape and community building design, demonstrates is that the objectives of modern architecture, particularly its ethos of rational efficiency, was shown to be consistent with the objectives of America{\textquoteright}s war on the home front, that is, to mobilize workers and stimulate industry, thus harnessing American production for victory.}, keywords = {Architectural History/Urbanism/Historic Preservation, Twentieth Century}, author = {Peterson, Lindsay} } @mastersthesis {12419, title = {The Business of Commemoration: A Comparative Study of Italian Catacombs}, year = {2017}, school = {Michigan}, abstract = {Late antique funerary workers shaped the material forms of burial and commemoration and played influential roles in the social world of the cemetery. In this dissertation, I present a social-historical inquiry into their working practices and interactions with their patrons. In particular, I examine the work of gravediggers, painters, and engravers who labored in catacombs-the massive subterranean necropoleis that developed outside some Italian urban centers in the third to sixth centuries CE. The catacombs of Domitilla (Rome), San Gennaro (Naples), and San Giovanni (Syracuse) furnish the large corpora of architecture, painting, and inscriptions through which I study the late antique funerary industry, using methods drawn from classical archaeology, art history, and philology. Throughout I argue for the application of "network thinking" to the study of these poorly understood workers: where we cannot trace the movements of an individual, we should look for workshops, communities, and other "collective agents" accomplishing funerary labor through social interaction. The first chapter provides context for this inquiry by outlining its theoretical and methodological approaches, major sources, and datasets. Chapter 2 addresses the Roman fossores-the gravediggers who excavated and managed catacombs-and reviews longstanding debates about the extent of the Church{\textquoteright}s control over their work. Chapter 3 proposes criteria for workshop attribution in catacomb painting by systematically examining painting of the so-called "red and green linear style" in Naples, a style often overlooked in favor of the figural types employed in catacomb decoration. Chapter 4 approaches engravers from two directions: quantitative analysis of a large epigraphic corpus to find workshop-specific patterns in the use of words and images, and an examination of a small group of inscribed plaques as artifacts, in order to uncover the working practices and trade networks of engravers. Chapter 5 considers the work of fossores, painters, and engravers in the social contexts of catacombs, attempting to chart these workers{\textquoteright} interactions with their patrons, with each other, and with members of non-funerary professions. This interdisciplinary project takes a worker-centered approach to funerary labor in late antiquity, seeking to shed light on the social contexts of cultural production in the catacombs.}, keywords = {Ancient Greek/Roman Art}, author = {Kreiger, Jenny} } @mastersthesis {12507, title = {The Caduceus Unwound: The Head of Medusa and the Painterly Grotesque in Rubens}, year = {2017}, school = {Harvard}, abstract = {Artistic identity is often sought in self-portraits or in artists{\textquoteright} theoretical writings. This dissertation explores how Peter Paul Rubens shaped a creative persona through mythological and allegorical work. Central to this were a set of paintings that invoked spontaneous generation, the natural scientific theory that certain species or life forms emerged directly from raw matter. Painted in Antwerp, all depict processes related to image-making such as formation, figuration, or procreation. They include Rubens{\textquoteright}s Head of Medusa (ca. 1613-18), the Finding of Erichthonius (ca. 1613-18), Deucalion and Pyrrha (ca. 1635), and Neptune Calming the Tempest (ca. 1634). These images center on the fluctuations of raw matter. They therefore theorize, in different ways, the relationship between matter and artistic agency, offering a means to explore Rubens{\textquoteright}s art theory and ideas about his own creativity. There was widespread fascination in Rubens{\textquoteright}s time with nature{\textquoteright}s "artistry." Churning out formations that resembled and preserved metamorphic processes, nature was analogized with the artist in the visual practices of the Kunst- und Wunderkammer. The Head of Medusa responds to this interest as well. It depicts the gorgon{\textquoteright}s blood spawning a virtual cabinet of insects, snakes, and other reptiles, including a monstrous two-headed snake, painted by the still life specialist Frans Snyders. Erupting from the gorgon{\textquoteright}s petrifying mask, her blood is posited as a symbolic "prime matter" of both nature and painting. I discuss this stunning conceit in relation to Rubens{\textquoteright}s artistic identity as it was shaped through his other works. I also argue that Head of Medusa thematized its own collaborative authorship. Both in it and in Prometheus Bound (1611-12), the reserves where the painters hands exchanged are depicted as wounds with regenerative connotations, implying images as living bodies in whose creation matter is an active agent. My second chapter centers on two further myths of spontaneous generation: the Finding of Erichthonius and Deucalion and Pyrrha. In both of these images, Rubens lends Mother Earth a symbolic body of rocks, stone, or mud; and he emulates sculptural practice in order to conceptualize painting{\textquoteright}s enlivening qualities. Zeroing in on the animating fluctuations of monochrome relief, he shows ancient matter erupting into new forms as it is enlivened by water and air. The third chapter centers on Neptune Calming the Tempest, in which water and air are whipped up into a storm whose embodiment is the North wind Boreas. Rubens created the scene for the festive entry of a Habsburg ruler into Antwerp on April 17, 1635. I argue that Rubens embedded his artistic authority in the cycle, in the two water deities in the Stage of Welcome who activate the procession through images. Rubens{\textquoteright}s oil sketch of Neptune Calming the Tempest depicts Boreas as a transparent cloud-figure whose "flesh" mingles brushwork with the preparatory layer of the imprimatura. In this, I argue, Rubens invokes the topos of the "image made by chance," showing that his oil sketches could model art-theoretical ideas. The works discussed in this study thus offer a surprising conception of matter -not as something that the painter must heroically shape or overcome, but rather as a collaborator in image-making or even a stand-in for the artist.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Mandabach, Marisa} } @mastersthesis {12570, title = {Ce que la polemique fait aux oeuvres. Une etude en trois temps de controverses dans l{\textquoteright}art contemporain}, year = {2017}, school = {Montreal}, abstract = {While they are often relegated to the margins of art history, controversies nevertheless have an eminently transformative effect : they do something to artworks. Devoted to the study of recent debates surrounding contemporary works, this thesis brings into light what arises from these conflicts, namely new objects, new actors, and new modi operandi. The analysis is structured around three case studies: the censorship of the film "A Fire in My Belly" (1986-1987) by David Wojnarowicz at the National Portrait Gallery in Washington, D.C. in 2010, the whitewash of a mural by street artist Blu at the Museum of Contemporary Art, Los Angeles that took place the same year, and the destruction of "Dialogue avec l{\textquoteright}histoire" (1987) in 2015, a work of public art created by Jean Pierre Raynaud for the Place de Paris in Quebec City. These controversies reveal that there is a new dynamic taking place regarding the role of circulating images in the unfolding of such debates: these reproductions, extensively disseminated in the web, and more generally in public spaces and the public sphere, shape the artworks{\textquoteright} trajectories. Not only does this confers them a higher visibility, but their very modes of existence are modified in this process, works get to live, in a manner of speaking, through fixed or animated images that proliferate online. Drawing upon a pragmatist approach to publics (Dewey), actor-network theory, and sociology of mediation, we also study the forming of collectives born jointly with this dissemination of "viral" images. Actors involved in the controversies, either artists or activists, seek to make the censored or destroyed works reappear in various forms, including replicas, derivative works or even Internet memes. We demonstrate that this phenomenon of appropriation, inexistent during controversies prior to the 2010s, is linked to sharing dynamics that appeared with the "web 2.0".}, keywords = {Politics/Economics}, author = {Roberge Van Der Donckt, Julia} } @mastersthesis {12535, title = {The Civic Art of Francis Davis Millet}, year = {2017}, school = {Columbia}, abstract = {This dissertation explores the important but long forgotten career of the American artist Francis Davis Millet (1848-1912) and in the process calls into question several common understandings of turn-of-the-century American civic art. Through an examination of Millet{\textquoteright}s civic art, including mural painting, illustration, and parades, I argue that Millet attempted to use the works he created for large audiences to help viewers navigate a common modern experience: the cultural diversity they encountered all around them. While many American artists making civic art during this period focused on allegorical scenes and emphasized whiteness, Millet{\textquoteright}s images taught audiences about cultural diversity and even reflected a certain cultural sensitivity in their careful rendering of nonwhite subjects. In doing so, Millet employed the rhetoric of empiricism and engaged with his subject matter in a manner understood by his audience to be under the purview of science. This, I argue, aligned his project to the hierarchical understanding of "culture" and "evolution" presented by the anthropological community at the time, which argued for the superiority of white over nonwhite groups. In this way, though Millet attempted to move away from all-white subject matter and used global themes relevant to a modern moment, the underlying message he promoted served to reinforce notions of Anglo American hegemony.}, keywords = {Nineteenth Century, North America}, author = {Butler, Eliza} } @mastersthesis {12509, title = {Civic Monuments and Naval Celebrity in the Dutch Republic}, year = {2017}, school = {IFA/NYU}, abstract = {This dissertation charts the patronage of the arts by the navy of the Dutch Republic in the seventeenth century with a focus on the construction of naval celebrity through sculpture, objects, and paintings. The Stadholderless Period of 1650-72 marked the high point of naval promotion, which was integral to Johan de Witt{\textquoteright}s statecraft and the naval wars waged to defend mercantilism and republican free trade, or "mare liberum." It was during this time that the Admiralty colleges engaged most actively in urban ritual to establish and project their role in governance. Stately and costly marble monuments in honor of Dutch admirals were erected in the seven main cities of the coastal provinces, where they served to promote the ideals of the urban elite as represented by the naval councils. Erected in Dutch Protestant churches, the monuments{\textquoteright} iconography, placement, ritualized form, and the exuberant style of sculptors Artus Quellinus and Rombout Vershulst elevated admirals as exemplary citizens in the honorable service of state. By engaging the principles "civic Calvinism", States Party republicans co-opted common and enduring aspects of Dutch political culture that had been formulated in the Revolt period. Moreover, the resurrection of heraldic form and symbols, emphasis on the admirals{\textquoteright} effigies, and extensive use of Carrara marble reinvigorated the status of sculpture as a medium of authority within a religious environment. In 1667, the commission and display of Ferdinand Bol{\textquoteright}s portrait of Admiral Michiel de Ruyter in the naval councilors meeting rooms of the five colleges represented a significant challenge to the stadholderate and Orangism. The final chapter considers naval celebrity as experienced and recast by admirals who were negotiating their newfound status to shape their social image in painted portraits. Bartholomeus van der Helst and Abraham Blooteling played a central role in this reformulation of the admiral{\textquoteright}s image as worldly, professional men of state.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Schmid, Vanessa} } @mastersthesis {12536, title = {Civic Visions: The Panorama and Popular Amusement in American Art and Society, 1845-1870}, year = {2017}, school = {Virginia}, abstract = {Though now often overlooked, moving panoramas were one of the most viewed forms of American visual art in the middle of the nineteenth century. Whether it was across the Atlantic, down the Mississippi, or into the Arctic Circle, moving panorama exhibitions relied on the effect of virtual travel to engage the viewer in what was typically a two-hour performance, intent on edifying its participants. When viewed as a collection of static images the painted panorama appeared with many of the same formal conventions of contemporary landscape painting, but as a spectacle it allowed for its audience to consider any political or social tensions evoked by the showman. The group experience of public amusements, along with their associated ephemera-pamphlets, engravings, and notices in the press-framed the panoramas in a variety of conversations: about religion, scientific discovery, national expansion, and the viability of slavery within the United States. Their adaptation in domestic settings allowed for a disparate and unsure audience to coalesce around shared values. These works have often been examined as marginal forms of popular entertainment that were simply emulative of the interests of landscape painting. Instead, this dissertation argues that the consumption of these exhibitions by the American populace allowed them to publicly declare their values through the didactic entertainments they embraced, as well as those they eschewed.}, keywords = {Nineteenth Century, North America}, author = {Oliver, Christopher} } @mastersthesis {12460, title = {Claude III Audran, Modern Ornemaniste of the Rococo Style}, year = {2017}, school = {CUNY}, abstract = {The ornemaniste Claude III Audran worked over the course of some forty years to delight elite aristocrats, including Louis XIV, by creating cutting-edge arabesque designs with motifs drawn from popular culture. He became a maitre in the Academie de Saint-Luc. He chose not to become a member of the Academie royale de peinture et sculpture, but he subcontracted work to Academie artists and achieved unparalleled status as a master of his craft. Despite the longevity of his successful career, previous scholarship has only examined a handful of individual projects and the arc of his career has never been fully examined. Differences in the assessment of Audran{\textquoteright}s talent in contemporary accounts and subsequent scholarship have left Audran{\textquoteright}s artistic status ambiguous. I argue that Claude III Audran, over the course of his career, acted as a connection between the Maitrise and the Academie royale and earned renown for the creation of interiors he directed. This dissertation follows the arc of Audran{\textquoteright}s career and includes consideration of contextual variables that impacted his work. Chapter One relates the known biographical facts about his background and training. Noting that he achieved his acceptance as a member of the Maitrise when the circumstances of the crown finances limited state patronage and impacted Audran{\textquoteright}s choices as he established himself as a Maitre ornemaniste. This situation and additional variables in the marketplace will be discussed in this and in the chapters that follow. Chapter two provides a history of the arabesque from its roots in the ancient grotesque to the end of the seventeenth century. Tracing the characteristics of the grotesque and the evolution of the motifs provides an understanding of the utilization and of design precedents. The dissemination of the motifs through various media had brought the use of grotesque decoration to France; e.g., through the work of Italian emigre artists working for Francois I at Fontainebleau. Subsequent generations of artists modified the motifs to suit their decorative purposes, such as Charles LeBrun and Jean Berain, who were Audran{\textquoteright}s immediate predecessors. Chapters three, four and five present case studies of commissions following Audran{\textquoteright}s career. Chapter Three discusses the application of arabesque motifs in venues used to escape the rigors of Louis XIV{\textquoteright}s court for leisure pursuits, such as the hunt or the enjoyment of music in aristocratic interiors. Those projects lead to Audran{\textquoteright}s commission to decorate the Menagerie at Versailles. Audran used motifs drawn from La Fontaine Fables for that commission and another at the Chateau de Reveillon, which are discussed in Chapter four. The chapter also considers the influences driving Audran{\textquoteright}s choice of those motifs. Chapter five considers later commissions during the Regence for newly rich patrons who brought a different set of criteria to Audran for designing arabesques. Finally, Chapter Six discusses Audran{\textquoteright}s competition in the artistic marketplace and his influence as a mentor to other artists and their subsequent work. Living to the age of 76, Audran earned a reputation for excellence recognized by the crown and aristocratic elites. The examination of his career and his contributions to interior design adds to the historical narrative of the rococo period.}, keywords = {Decorative Arts, Eighteenth Century}, author = {Laux, Barbara M.} } @mastersthesis {12470, title = {Clothing as Culture: Delineating National Character in Costume Prints, c. 1600-1650}, year = {2017}, school = {Pennsylvania}, abstract = {At the turn of the seventeenth century, European printmakers began issuing single-sheet series portraying how people dressed in different parts of the world. These works are only briefly acknowledged in artists{\textquoteright} monographs-if such studies exist-or treated summarily in studies of fashion illustration, where their aims are insufficiently differentiated from those of fashion plates. This dissertation investigates the emergence and didactic functions of costume prints produced between 1600 and 1650, reframing them as artifacts of an era when clothing was considered the primary visual indicator of cultural difference. Collected in the albums of connoisseurs, affixed to the walls of alehouses, or incorporated into household objects, costume prints that pair national types with descriptions of customs and behaviors instructed viewers to read clothing as an index of civility, morality, and status. The project addresses the interplay between images and inscriptions, parallels with period texts, and the varied modes of reception. To acknowledge the fluid boundaries of early modern print culture, it encompasses a range of artists, audiences, and regions, chiefly the Low Countries, England, and France. Arranged chronologically and according to the geographic scope of each costume series, the dissertation traces how Europeans{\textquoteright} increasing knowledge of global sartorial diversity precipitated an intensified preoccupation with the role of dress in their own societies. In three chapters, the project considers how Pieter de Jode{\textquoteright}s series of European costumes draw from the representational strategies of illustrated voyage accounts and from the principles of antiquarianism, cosmography, and geography; explores how allegories of the Twelve Months and the Four Continents rely on the premise of an inextricable bond between appearance and character to rank the peoples of the world; and examines the divergent attitudes toward luxury in English society by contrasting the demonization of French fashion in popular satires with Wenceslaus Hollar{\textquoteright}s sensuous depictions of women{\textquoteright}s attire. Through these studies, Clothing as Culture situates costume prints in the ongoing process of self-awareness about the capacity of clothing to constitute individual and collective identities in early modern Europe. Less}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Seventeenth Century}, author = {Hughes, Heather} } @mastersthesis {12459, title = {Communicationists and Un-Artists: Pedagogical Experiments in California, 1966-1974}, year = {2017}, school = {CUNY}, abstract = {A network of experimental workshops, classes, and schools foregrounding interdisciplinary, non-hierarchical, and process-based approaches to teaching and learning emerged in coastal California between 1966 and 1974. These initiatives embodied a new pedagogical approach that I call "communication pedagogy," in which students were taught to exchange ideas and collaborate, rather than to produce objects. Analyzing three central case studies, Anna and Lawrence Halprin{\textquoteright}s Experiments in Environment workshops, Ant Farm{\textquoteright}s proposals for learning networks, and Allan Kaprow{\textquoteright}s {\textquoteright}Happenings{\textquoteright} course, I argue that communication pedagogy helped to foster a new paradigm for artistic practice: the artist as facilitator and network-creator. By the mid-1970s the new pedagogy had lost traction in educational institutions-the economic crisis caused severe budget cuts, resulting in restrictions to experimental curriculum. However, I posit that, far from becoming obsolete, the communicator-artist was a precursor to the neoliberal model of the network-driven worker and communication pedagogy anticipated the current proliferation of extra-institutional education initiatives.}, keywords = {Conceptual Art, Twentieth Century}, author = {Scott, Hallie} } @mastersthesis {12413, title = {A Community in Stone: The {\textquoteright}Cenotaph{\textquoteright} Stelae of Abydos}, year = {2017}, school = {IFA/NYU}, abstract = {During the Egyptian Middle Kingdom, the area of North Abydos adjacent to the Osiris Temple was home to a large group of offering chapels owned by non-royal Egyptians hoping to foster an eternal connection to the god Osiris. These offering chapels originally contained stelae and other inscribed materials which were eventually dispersed to museums around the world, in most cases divorced from both their archaeological context and the rest of their assemblages. William Kelly Simpson compiled many of these pieces into Abydos North Offering Chapel (ANOC) groups to facilitate their study, and excavations conducted by a University of Pennsylvania-Yale University Expedition uncovered the remains of around one hundred and fifty of the offering chapels from this votive zone. However, an attempt had not been made to reconstruct specific ANOC chapels using the information gathered during the excavations as a guide, or to examine the votive zone data from a chronological and socioeconomic perspective. This dissertation takes two of Simpson{\textquoteright}s ANOC groups, representative of the variety seen in the chronological and socioeconomic range of the site, and analyzes them in depth, deploying not only historical and art historical perspectives, but the little used archaeological perspective as well. This analysis concludes with theoretical reconstructions of each owner{\textquoteright}s offering chapel, in an attempt to return them as close to their original context in the votive zone as is possible with our current state of knowledge.}, keywords = {Ancient Egyptian/Near Eastern Art}, author = {Kopleff, Heather} } @mastersthesis {12415, title = {The Complex Sensations of Divine Music in Archaic and Classical Greek Art}, year = {2017}, school = {Yale}, abstract = {Music was integral to Archaic and Classical Athenian culture: musical contests were held during religious festivals, music accompanied ritual processions and animal sacrifice, and instrumental music and song were essential features of the symposium. Yet music was not restricted to the human sphere: the Athenians believed that the gods were proficient musicians and often depicted them performing masterfully on any instrument. By understanding the gods{\textquoteright} musical activities as separate and distinct from that of their human counterparts, this dissertation positions scenes of divine performance within well-defined religious contexts, in order to draw attention to the ritual significance that representations of divine musical performance had for ancient worshippers and the crucial role that music played in facilitating interactions with the gods. This project takes as its evidence painted vases and carved reliefs made in Attica between the sixth and fourth centuries BCE, emphasizing those that feature the gods most frequently shown performing music, namely Apollo, the Muses, Dionysos, and Pan. Since the manner in which ancient beholders experienced this imagery was tied to the environment in which they viewed it, the objects are contextualized within their original setting in order to reconstruct how worshippers could have responded to visual representations of the gods{\textquoteright} musical skill. By drawing attention to the multisensory dimension of divine performance through careful formal analysis, this project demonstrates how, from the perspective of ancient viewers, the god{\textquoteright}s music might expand beyond the limits of the image, so that each scene created the opportunity for human viewers to become the god{\textquoteright}s audience. The complex sensations provoked by such images could have generated epiphanic experiences that were as much auditory as visual, since ancient worshippers could have perceived divine presence as imagined sound by looking at representations of the gods{\textquoteright} music. Although the musical instruments in these scenes are often interpreted as attributes, so that Apollo is identifiable by his lyre, or Pan by his pipes, regarding instruments as identificatory symbols overlooks the response that each god{\textquoteright}s music evokes. Drawing upon Aristotle{\textquoteright}s De anima, this project argues that it was possible for human beholders to hear imaginatively the sounds of the instruments by looking at the gods{\textquoteright} performance. This multisensory mode of interaction, called here the viewer{\textquoteright}s {\textquoteright}complex sensation,{\textquoteright} is theorized as a process in which the viewer sees the image of a god playing his instrument, cognitively generates the sounds of the instrument, and experiences divine presence through this conflation of sensory perceptions. The divine may thus be located in the confluence of sight and sound{\textquoteright}s material consistency, so that multisensory perception was a necessary condition for any viewer{\textquoteright}s interaction with the sacred. The project progresses through five chapters. The first positions vase-paintings of Apollo playing his lyre within the political culture of the sixth century BCE, where the vases circulated throughout Athens. By encountering Apollo{\textquoteright}s melody, individuals were exposed to his musical harmony, which could then foster social harmony. Chapter two examines vases on which Apollo plays his lyre and pours a libation, where Apollo{\textquoteright}s musical performance harmonizes the ritual actions between the god and his companion. Each image invites the viewer to imagine the sounds of the god{\textquoteright}s melody, in order to activate Apollo{\textquoteright}s libation and experience the god{\textquoteright}s presence. Chapter three discusses vases on which the Muses are shown ambiguously, with little distinction made among Athenian woman, hetaira, and Muse. The conflation of these figures suggests that the divinities could impart inspiration to their audience throughout the city of Athens. Chapter four analyzes scenes in which Dionysos is surrounded by satyrs{\textquoteright} musical performances. Within the symposium, viewers created the opportunity for Dionysos to manifest when they consumed the presence of the god through drinking wine, listening to music, or looking at their actions reflected on the vase-paintings. Chapter five examines votive reliefs that depict Pan playing pipes and the Nymphs dancing. Since these reliefs were found in cave shrines, the archaeological record allows for a reconstruction of the worshipper{\textquoteright}s religious experience. Ancient worshippers could have gazed upon reliefs visually similar to the physical cave, so that the distinction between image and reality collapsed. The images invited worshippers to imagine the sounds of Pan{\textquoteright}s pipes, enact their own musical performance, and dance alongside the Nymphs. This dissertation thus argues that representations of the gods{\textquoteright} musical performances, when encountered in evocative contexts filled with song, music, and dance, were capable of bringing about multisensory epiphanies of the divine for their human audience.}, keywords = {Ancient Greek/Roman Art, Race/Ethnicity}, author = {Laferriere, Carolyn} } @mastersthesis {12553, title = {A Concrete Alliance: Modernism, Communism, and the Design of Urban France, 1958-1981}, year = {2017}, school = {Princeton}, abstract = {This dissertation examines the long-lasting alliance established between a group of mid-century modern architects and elected officials of the French Communist Party (PCF) between 1958 and 1981. During this period, the PCF developed an idiosyncratic form of architectural patronage in which political agents wished to exert a centralized authority but were not the dominant political power. To manage the reduction in the Party{\textquoteright}s prestige and influence and fulfill its desire to communicate a message rather than mobilize workers for revolution, the protagonists of this dissertation used architectural modernism not only to physically shape the urban environment in order to resist Gaullism and its aftermath, but also, and more importantly, to correlate with political discourse. Indeed, architecture was one of the primary mediums through which communist political leaders projected their political program. This dissertation traces how this metaphor evolved within the larger political narrative of the French postwar era. Its title, "A Concrete Alliance," refers both to the concreteness of architecture as a political tool and to the role of concrete in architectural design, which resurfaced not only in communist-sponsored campaigns, debates, and publications such as La Nouvelle Critique (the Party{\textquoteright}s intellectual monthly, 1948-1980), but also in the buildings that this alliance produced in French cities. Focusing on four distinct cases, this dissertation follows the attempts of architects Paul Chemetov and Jean Deroche (members of the Atelier d{\textquoteright}urbanisme et d{\textquoteright}architecture, AUA, 1960-1985), Oscar Niemeyer, Jean Prouve, Renee Gailhoustet, and Jean Renaudie to demonstrate that modern architecture mattered as much if not more in its iconographic, visual, and discursive aspects as it did in its functional ones.}, keywords = {Northern Europe}, author = {Grossman, Vanessa} } @mastersthesis {12481, title = {Consequences of Drawing: Self and History in Jacques-Louis David{\textquoteright}s Preparatory Practices}, year = {2017}, school = {Chicago}, abstract = {This dissertation is a comparative study of Jacques-Louis David{\textquoteright}s drawing procedures for his large-scale history paintings. Using close visual analysis of the entirety of the artist{\textquoteright}s extant sketchbooks and dozens of loose drawings, this study reveals key differences between David{\textquoteright}s earlier and later drawing techniques, examining their impact on the development of his compositions. Focusing on routines and procedures of drawing as carriers of meaning, it explores the ways David used tracings, reversals, collages, grids and sketchbooks as artistic tools. Laboratory examinations and close measurements are used to uncover the constraints of David{\textquoteright}s preparatory process, showing that as his career progressed, new and unpredictable aspects of that process became manifest in his finished works. The product of this research is a renewed analysis of the structures, properties and meaning of some of David{\textquoteright}s most well know history paintings. The changes in the role of drawing in David{\textquoteright}s work recorded in this dissertation have never been studied before. They show how one of the hallmarks of modern art-an emphasis on the process of making art and display of that process in the exhibited work of art-could be traced back to David. These findings run contrary to the view that draws a sharp contrast between the aims and values of his neoclassical art and those of the Romantic art that followed.}, keywords = {Eighteenth Century, Nineteenth Century}, author = {Mayer, Tamar} } @mastersthesis {12564, title = {Contemporary Art and the Search for History - The Emergence of the Artist-Historian}, year = {2017}, school = {UIUC}, abstract = {Focusing on the concept of the artist-as-historian, this dissertation examines the work of four contemporary artists in a transnational context. In chapter one, I examine the representations of economic inequality and globalization (Allan Sekula, the United States); in chapter two, the racial memory and remnants of colonialism (Santu Mofokeng, South Africa); and in chapter three, the trauma of civil war and subsequent conflicts (Akram Zaatari, Lebanon and Chan-kyong Park, South Korea). My focus is on photographic projects=a photobook (Sekula), a private album (Mofokeng), and archives and films (Zaatari and Park)=that address key issues of underrepresented history at the end of the twentieth century. Chapter one concentrates on how to make sense of the complex structure of Sekula{\textquoteright}s Fish Story (1995) and suggests the concept of surface reading as an alternative to traditional, symptomatic reading and posits that some historical truths can be found by closely examining the surface of events or images. In Fish Story, photographs represent the surface of our globe, while the text reveals the narratives that have been complicated beneath that surface. I then analyze how three types of text=caption, description, and essay=interact with images. Chapter two problematizes the historical position of the African subjects represented in Mofokeng{\textquoteright}s The Black Photo Album=Look at Me: 1890=1950 (1997). I discuss the fluidity of identity and how that fluidity intersects with the process of modernization and historical experience of colonization in South Africans near the beginning of the twentieth century. As I focus on the mnemonic role of the textual components of the project, which evokes the sense of presence for the photographic figures, I also investigate the meaning of the term ambivalence and question how it is connected to Mofokeng{\textquoteright}s means of "doing history." Chapter three begins with by investigating the terms parafiction and truthiness, and then discusses those terms=from hoax to plausibility, from less true to truer=in the context of Zaatari{\textquoteright}s and Park{\textquoteright}s works. To contextualize the fictional narratives employed by the two artists, I use the terms docu-fiction (for Zaatari) and imaginary-documenting (for Park) to designate the unique ways that the artists unite documenting and fiction. Ultimately, I investigate how their works evince that fiction=when coupled with a genealogical method and affect elements=can emancipate a history from its locally specified knowledge to engage with a wide range of international audience. Throughout the dissertation, I assert that each artist discussed sheds light on the others by engaging different geographical boundaries (between the global, local, and regional), as well as creating different conceptual spaces (between the amnesic, mnemonic, and virtual spaces), where they can pursue history. Finally, throughout this dissertation, I look to Foucault as the theoretical armature for my own work, yet I am as much concerned with the limitations of his theory as I am with his insights. In this vein, the artists that I investigate here reveal in productive ways how we might think about history beyond Foucault{\textquoteright}s relativism, skepticism, and cynicism.}, keywords = {Photography, Theory/Historiography/Methodology, Twenty-first Century}, author = {Jang, Sunhee} } @mastersthesis {12450, title = {A Contextual and Stylistic Analysis of Late Helladic IIIC Pottery from Mycenae}, year = {2017}, school = {Temple}, abstract = {This dissertation examines trends in the production of pottery at Mycenae in the Late Helladic (LH) IIIC period (ca. 1200-1125 B.C.E) through the analysis of published ceramic material from the site. It includes my own study of select unpublished material from recent excavations on the Citadel (Building Kappa) and in the Lower Town. The LH IIIC period, considered the beginning of the Dark Ages in Greece, immediately followed the end of the Mycenaean palatial system, a phenomenon referred to as the Collapse. The Collapse is characterized by the complete destruction of many sites, possible loss of population, and a decrease in the number of occupied areas, and the subsequent LH IIIC period is associated with socioeconomic, demographic, and artistic decline. There are, however, notable indications of continued activity at many Greek mainland sites, a notable sign being the proliferation of elaborate vase painting. Through an examination of how certain pottery shapes and decorative styles were manufactured and utilized at LH IIIC Mycenae, key trends and developments can be discerned, and the changing preferences of the market for which these objects were produced can be understood. I conclude that these developments can be characterized as intentional responses of potters to the crisis that followed the demise of the palatial administration. Potters in LH IIIC were able to create and exploit a sustainable market, one that both reflected and influenced shifting political and social realities of communities now operating outside of a palace-dominated system; their advances would influence pottery production in Greece for centuries to come.}, keywords = {Ancient Greek/Roman Art, Before 1500 BCE}, author = {Peterson, Sarah} } @mastersthesis {12425, title = {Crafting Nobility in Sicily: The Painted Ceiling of the Palazzo Chiaramonte-Steri}, year = {2017}, school = {Cornell}, abstract = {This doctoral thesis situates the Mediterranean island of Sicily as a magnet of competing political desires in the thirteenth and fourteenth centuries: for the Kingdom of Aragon, the island provides a stepping stone towards recovering the Holy Lands and recuperating a Norman legacy; for the Angevins at Naples, a strategically-placed military asset; and, according to the Papacy, a treasure stolen and tumbling to perdition. Locally, Sicilian nobility negotiated each of these claims in a variety of ways. My focus on the Chiaramonte family and their patronage of art and architecture, especially at the Palazzo Chiaramonte-Steri, demonstrates how commissions operated as a key tactic of gaining visibility and legitimacy in the face of continual upheaval. The dissertation unfolds in two sections proceeded by a comprehensive introduction to the monument and the Chiaramonte family: in the first section, composed of three chapters, I focus on the tradition of painted ceilings in Sicily and treat at length the painted beamed ceiling of the Palazzo Chiaramonte-Steri{\textquoteright}s reception room, the so-called Sala Magna. The second part of the project, divided into two chapters, investigates the Chiaramonte family{\textquoteright}s involvement in rehabilitating Sicily{\textquoteright}s reputation in light of its challenged religious status.}, keywords = {Architectural History/Urbanism/Historic Preservation, Eleventh to Fourteenth Century, Southern Europe and Mediterranean}, author = {Streahle, Kristen} } @mastersthesis {12468, title = {Crafting the Image of the Human Body: The Development of Interactive Anatomical Models in Early Modern Europe}, year = {2017}, school = {Penn State}, abstract = {This study explores the development of interactive anatomical models in the early modern era. The first chapters explore flapped prints and ivory manikins and their impact on later models including and full-figure wax models. The first chapter provides a narrative on the creation, replication, and dissemination of printed flap anatomies throughout Europe. These were some of the earliest anatomical images made predominantly for a lay public. Their creator was a man originally trained as a physician but who made a career as a printer. He combined his skills in medicine and the arts to create singular anatomical prints with multiple flaps-or "flap anatomies." Their emergence in the Reformation era is not a coincidence-they were the product of an ideological revolution committed to making knowledge once held in academic hands available more broadly to a lay public. Chapter two tells the story of ivory manikins. The earliest of these were produced by an ivory turner who translated his expertise in minute carved ivories with fitted parts into anatomical models. He created a niche market that fulfilled the needs of new kinds of doctors. Educated male physicians were making inroads in women{\textquoteright}s medicine and subsequently played a controversial role in a highly gendered field. They found they could increase their authority by demonstrating with objects crafted ad hoc. These small models could be used to illustrate lectures, but could not convey the intricacies of anatomy-accentuating the importance of the lectors{\textquoteright} words. Chapter three relates the afterlives of each of these models through changes in how they were seen in both the public and academic realms. Each flowed and ebbed in popularity, changing from anatomical tools to curiosities, antiques, and spectacles. This chapter follows each and also details the emergence of newer dissectable models-with an emphasis on Enlightenment era wax models-from the eighteenth and twentieth centuries. Exploring the making of models and comparing their historical contexts reveals that anatomical accuracy could be delivered selectively to adapt to specific social climates. The models I consider here were not simple representations of the body, but teaching tools, advertisements, and pieces of art that were intentionally crafted to incite curiosity and enhance the memory. Here, we can begin to understand how artists innovated ways to connect audiences to knowledge through objects.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Northern Europe}, author = {Buckley, Cali} } @mastersthesis {12543, title = {Crossing the Threshold: Nabi Depictions of Men in Public, Private, and Pretend Spaces}, year = {2017}, school = {IFA/NYU}, abstract = {This dissertation analyzes Nabi representations of men as they moved between public and private spheres of fin-de-siecle Paris. Engaging in distinctly modern activities and modes of comportment, the Nabis{\textquoteright} painted, drawn, and printed male bodies collectively suggest a newly-emerging definition of masculinity. By eschewing old models of heroism and challenging society{\textquoteright}s deeply engrained dichotomies, such as public/private, work/leisure, male/female, working class/bourgeois, and individual/collective, the Nabis{\textquoteright} art reflected a broader, more loosely defined conception of masculinity. Fueled by interpersonal relationships and flexible enough to encompass such stereotypically "feminine" traits as sensitivity and compassion, this modern masculinity rendered men more humane and more resilient in a rapidly changing world. After an introductory examination of the Nabis{\textquoteright} deep personal and professional ties to the world of avant-garde theater, this two-part study analyzes Nabi imagery of men in public and private spheres. In both Part One and Part Two, a chapter on theater programs precedes a chapter on representations of quotidian life. Appearing at the intersection of Realism{\textquoteright}s interest in everyday life and Symbolism{\textquoteright}s desire to burrow into the human psyche, theater programs afforded Nabi artists a safe space to experiment with pictorial language loose enough to telegraph a newly amorphous masculinity. Thus the freedom inherent in the theater enabled the Nabis to challenge conventional gender norms in their depictions of the "real" world. Part One, consisting of two chapters, considers images of men in the public sphere. Chapter One compares Henri-Gabriel Ibels{\textquoteright}s theater program designs featuring subdued soldiers, barge haulers, and miners to the alternately lionized or demonized versions of these men produced by other artists to suggest that Ibels invited bourgeois theater patrons to consider commonalities of modern masculine experience across social classes. Chapter Two marshals a wide array of Nabi images of men in the public sphere, with a special emphasis on depictions of public leisure, to argue that, contrary to much contemporary popular opinion, participation in the crowd did not diminish individual man{\textquoteright}s humanity but expanded it through engagement with a broad range of society. Part Two, likewise comprising two chapters, turns to imagery of men in the private sphere. Chapter Three uses Nabi theater programs designed to accompany plays about marital discord as lenses to view the evolution of domestic relations in an era when changes in inheritance, paternity, and divorce laws were challenging traditional gender norms. Chapter Four examines images of men in the home. Depictions of men performing activities or in poses historically associated with women transcend divisions between public and private, work and leisure, and especially male and female and are thus central to understanding the lived, human experience of all Parisians at the dawn of the twentieth century. Less}, keywords = {Nineteenth Century}, author = {Vrooman, Jason} } @mastersthesis {12465, title = {Cultural imPRINT: Contemporary Northwest Coast Native Art in Print}, year = {2017}, school = {New Mexico}, abstract = {Cultural imPRINT provides the first substantive art historical investigation into Northwest Coast Indigenous prints. Since the 1960s, Northwest Coast artists have employed the print medium to share their histories, heritage, and culture amongst each other and with the larger world. Because print artists number in the hundreds, and print editions in the thousands, this dissertation takes a socio-cultural approach to understanding the purposes for the medium{\textquoteright}s production and circulation. First, it analyzes the deep histories of reproduction in the North American art world and in Northwest Coast Indigenous communities, asserting that reproduction within coastal communities serves to perpetuate history from one generation to the next. Both objects and images are imbued with the authority to carry histories so they may be retold. From this foundational understanding, prints are presented as the cultural ambassadors of the Northwest Coast Native art market. The chapter on the market centers prints to critically reevaluate the larger creation and continuance of a distinctive art world. The final chapter details the biographies of key print artists Robert Davidson, Roy Henry Vickers, Marvin Oliver, and Susan Point. These artists strategically employ the medium to create a social space for themselves and their communities{\textquoteright} arts practices. Their prints educate the public about Northwest Coast Indigenous cultures and insist upon the visibility of Indigenous peoples in the Pacific Northwest. In observing changes to creation, reproduction, and circulation, the conclusion documents the beginning of a new era for printmaking. Cultural imPRINT surveys the first revolution in the cycle of a vital Northwest Coast arts tradition.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Native American/First Nations}, author = {Young, India} } @mastersthesis {12478, title = {Culture of Illusion: Landscape Gardens, Fabricated Ruins, and the Diorama, c. 1750 - 1850}, year = {2017}, school = {UT Austin}, abstract = {This project examines questions of fabrication and authenticity in landscape garden design and the Diorama, bridging England and continental Europe in the eighteenth and nineteenth centuries, proposing that certain sites rely on illusion and the interpretative value of fabrication. As a space characterized as {\textquoteright}natural{\textquoteright}, the English Landscape Garden was also highly designed; a paradox that manifests in the form of the fabricated ruin. Through four case studies, this project examines a variety of uses and values of illusion in the formation of the landscape and its visual representation. The first half of the project focuses on the design and experience of illusion in the eighteenth-century landscape garden. In England, Wimpole and Wrest Park include fabrications as participatory elements that instill the landscape with an imagined history. Illusion and theatricality are essential elements of the English landscape style as it was translated to the continent. At Schwetzingen, the late eighteenth and early nineteenth century landscape attached to Elector{\textquoteright}s palace relies on illusion to frame the experience of the {\textquoteright}natural{\textquoteright} in the {\textquoteright}English{\textquoteright} style part of the landscape. Representation is the focus of the second half of the project. Theatrical effects and illusion were arguably implicit in the landscape experience, forming the basis for the {\textquoteright}theatrical{\textquoteright} images in Humphry Repton{\textquoteright}s Red Books. The reception of those images further connected the landscape garden with forms of theater in the wider visual culture. By the early nineteenth century, landscape scenes featuring ruins became a common feature of the theater without actors called the Diorama. The illusion of this spectacle derived from experiential expectations established in the landscape garden, which then became a framework for viewing Daguerre{\textquoteright}s garden designs at Bry-sur-Marne in the mid-nineteenth century. In these studies, fabricated structures in the garden generate and participate in a culture of fiction and theatrical illusion that is an integral part of the landscape experience and its representation. As fictional and experiential spaces, landscapes with fabricated ruins and their representations create a space where the roles of historical authenticity, illusion, and imagination are negotiated, throwing into question the very nature of fabrication and our relation to history.}, keywords = {Eighteenth Century, Nineteenth Century}, author = {Alt, Kasie} } @mastersthesis {12584, title = {De la theorie de l{\textquoteright}art comme systeme fantasmatique : les cas de Michael Fried et de Georges Didi-Huberman}, year = {2017}, school = {Montreal}, abstract = {Using critical discourse analysis, this dissertation proposes an epistemological reflection on the specific relationships that art history and theory hold with fantasy, as understood in its psychoanalytic, and, more precisely, Freudian definition. With this analysis I aim to shed light on the mechanisms by which fantasy and theory are articulated in art discourse, taking into account the psychoanalytic, philosophical, historical, social and political implications of these junctures. Based primarily on the work of the French philosopher Sarah Kofman, whose singular approach is informed by Freud and Nietzsche, I address this problematic by way of psychoanalytic, critical and feminist analysis of the exemplary works of two historians and theorists of art who share a particular relation to phenomenology: the American Michael Fried and the French Georges Didi-Huberman. In-depth study of these two "cases" allows me to expose the formation of real fantasy systems and to analyze their content, structure and defensive functions. By adopting a feminist (Kofmanian) approach yet to be applied within art historical analysis, I demonstrate that issues of gender and sexual difference are the subjects of complex negotiations (conflicts, compromises) within these systems. I commence with a re-reading of a set of foundational psychoanalytic texts in order to better define my use of the concept of fantasy (and those related, such as neurosis, psychosis, perversion and delirium), to lay the foundations for an inquiry into the relationships between fantasy, theory and theory of art, and to establish the stakes of my analytical methodology. Following Kofman{\textquoteright}s feminist work on the "sexual economy" of philosophical systems (notably those of Comte, Kant, Rousseau and Nietzsche), I develop an alternative reading of the opposing approaches of psychobiography and structural analysis. This method proposes a consideration of theorists{\textquoteright} textual works as "compromises" between individual and collective fantasies, as well as the biographical, pathological and theoretical. In the second part, I implement this method through two major case studies (Fried and Didi-Huberman), analyzing the systematic and fantasmatic, even delusional, modalities of each corpus, with particular attention paid to the structures and motives related to femininity and/or sexual ambivalence. This analysis leads me to consider the various positions adopted by Fried (hysteria, paranoia) and Didi-Huberman (hysteria, fetishism, melancholia) in their respective work, and to draw more general conclusions about the theory of art as a privileged site of fantasy.}, keywords = {Theory/Historiography/Methodology}, author = {Chagnon, Katrie} } @mastersthesis {12447, title = {The Dialogue between Art Nouveau and Minoan Art and Its Role in Early Twentieth-Century Perceptions of Bronze Age Crete}, year = {2017}, school = {Temple}, abstract = {This dissertation examines the relationship between Minoan art and Art Nouveau. The Minoan civilization was rediscovered at the turn of the twentieth century when the Art Nouveau movement reached its peak. Due to this coincidental timing, their artistic resemblance has raised questions about whether Minoan art had inspired Art Nouveau and whether Art Nouveau played a role in the restoration of Minoan art. The possibility of a Minoan influence on Art Nouveau is considered through a number of aspects, which include news reports on the excavations, Minoan collections acquired by museums, reference to the Minoans in various fields, application of Minoan motifs, and the attractiveness of the Minoans to Art Nouveau artists. As for the reversed influence, the research analyzes how archaeologists came to see the Minoans as a "modern" civilization, investigates the background of the restorers of Minoan objects, and provides examples of fresco restorations that illustrate an Art Nouveau preference of the early archaeologists and restorers. With the evidence and the discussion, I argue that the existing connection between Minoan art and Art Nouveau is beyond doubt.}, keywords = {Ancient Greek/Roman Art, Before 1500 BCE}, author = {Hsu, Sheng-chieh} } @mastersthesis {12472, title = {Displaying Authority: Ashikaga Formal Display in the Muromachi Period}, year = {2017}, school = {Pittsburgh}, abstract = {This dissertation project investigates the socio-political and socio-economic contexts of the Ashikaga collection of Chinese paintings and objects and the associated development, function, and multifaceted meanings of formal decoration and display in medieval Japan. Scholars have been interested in the Ashikaga collection, kaisho reception halls, and shogunal art manuals (Kundaikan sochoki) as either a way to understand the Japanese reception of Chinese paintings or to trace and reconstruct shoin-style architecture. However, formal display as an ensemble and a means of representing the patrons{\textquoteright} identities within the political and economic spheres of Kyoto have not been adequately addressed. My dissertation also investigates the relationship between the Ashikaga and their cultural advisors (doboshu) who were in charge of the arrangement of the collection. I show that the Ashikaga skillfully combined Japanese court and Buddhist traditions with elements of continental culture as a means to consolidate their own political and cultural authority. Additionally, I explore the gradual change in the meaning of formal display from an expression of political authority to a commodity circulated among the elite following the onin War (1467-1477). The architectural space where the objects were displayed will be examined through visual and textual evidence. To this end, this dissertation moves beyond a survey of shogunal palaces and examines the development of interior space in medieval Japan and the relationship between formal interior display and the identity of the patron or owner.}, keywords = {East Asia, Patronage, Art Collecting}, author = {Lee, Jungeun} } @mastersthesis {12590, title = {Dissident Education: Socially Engaged Art from Eastern Europe (1980-present)}, year = {2017}, school = {Rutgers}, abstract = {My thesis identifies and analyzes the effectiveness of a particular mode of politicized art praxis: radical pedagogical initiatives launched within specific art communities in the region from 1980 to the present. My research addresses a newly integrated Europe, a region currently shaped by the economic crisis, growing social inequalities and the rise of nationalist rhetoric. I focus on three artists{\textquoteright} groups, (IRWIN with Marina Grzinic from Slovenia, Chto Delat? from Russia, and Lia Perjovschi and Dan Perjovschi from Romania) who created new practices around suppressed topics during periods of political duress. The issues their art raised included gender discrimination, the false construction of national and ethnic identities, the corrupt nature of political power, and the ethics of working under socialism, and capitalism. I show how these artists realized their concerns in the social sphere in an era when they were repressed or crudely denounced by conservative officials. My strategy addresses the broader question of why, and how, artists who came to maturity under repressive political regimes continued to question the transition from socialism to capitalism.}, keywords = {Twentieth Century, Visual Studies}, author = {Apostol, Corina Lucia} } @mastersthesis {12467, title = {Dissolving the Bonds: Robert Sayer and John Bennett, Print Publishers in an Age of Revolution}, year = {2017}, school = {Delaware}, abstract = {This dissertation presents the first study of the British print publishers Robert Sayer (1726-1794) and John Bennett (c. 1745-1787). From 1748 to 1794, the two men ran one of the largest print- and map-publishing businesses in the London. The importance of their firm lay chiefly in its ability to influence the design, production, distribution, and consumption of prints across the British Empire and the European continent. In the 1770s, the publishers issued a series of mezzotints that responded to the conflict in the British colonies in North America. Though intended to be short-lived, one of them-The Bostonians Paying the Excise-Man, or Tarring \& Feathering-instead became an enduring emblem of the American Revolution. Following this print from its creation, through its transatlantic travels, and into its nineteenth-century afterlives demonstrates that Sayer \& Bennett{\textquoteright}s publications significantly shaped how British and American viewers understood their changing empires in an age of revolution. This dissertation argues for the necessity of foregrounding the publishers{\textquoteright} perspective in order to study the aesthetic, political, and social changes that occurred in the print-publishing industry in the second half of the eighteenth century. Arranged in roughly chronological order, each chapter examines Sayer{\textquoteright}s priorities in a given decade alongside an aspect of the print-publishing business. Chapter 2 evaluates the audience for prints and the effects of print shops within the London streets. Chapter 3 reconstructs the relationships Sayer formed with the tradesmen he employed, since the significance of any one firm cannot be ascertained without an understanding of the industry as a whole. Chapter 4 returns Tarring \& Feathering to its original political context to recover how its meaning shifted from specific and local to general and imperial. Chapter 5 posits a study of a visual culture of dissolution by tracing the material histories of the firm{\textquoteright}s copper mezzotint plates, whose limited durability amplified their publisher{\textquoteright}s tenuous mental stability. Finally, the epilogue investigates how translations across media in the nineteenth century transformed Tarring \& Feathering into a trigger for cultural memories about national origins and a contested symbol of the dangers of popular democracy.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, North America}, author = {Torbert, Emily} } @mastersthesis {12404, title = {Divine Spectacle: The Early Byzantine Triconch at the Red Monastery in Egypt}, year = {2017}, school = {Temple}, abstract = {This dissertation focuses on the Red Monastery church, an early Byzantine monument located in Egypt. A monastic community which came to be known as the Red Monastery joined an ascetic federation led by the nearby White Monastery. In the fifth century C.E., the monks of the White and Red Monasteries commissioned monumental church buildings. The Red Monastery church is a smaller copy of the White Monastery church. Both are triconch basilicas, and their enclosure walls imitate the external profiles of pharaonic temples. The interior elevations of the two church sanctuaries adopt an architectural type called multistory aedicular facades. These kinds of facades adorned elite public buildings in the eastern Mediterranean region. Although a lot of scholarship has been done on the White Monastery and its famous abbot Shenoute (ca. 346-465 C.E.), the Red Monastery church was almost completely overlooked until recently. Between 2000 and 2015, Elizabeth S. Bolman directed a major multidisciplinary project that focused on the triconch sanctuary of the Red Monastery church. Its ensemble of architectural sculpture, polychromy, and figural paintings is virtually intact. Bolman and Dale Kinney have substantially advanced the state of knowledge about monastic visual culture in late antique Egypt by focusing on the Red Monastery church. My dissertation builds on their conclusions. I have identified a different perspective from which to understand the late antique triconch at the Red Monastery. The category of sacred spectating is the interpretive lens through which I view this building.}, keywords = {500 BCE to 500 CE, Sixth to Tenth Century}, author = {Szymanska, Agnieszka} } @mastersthesis {12523, title = {Dragging Away: Queer Abstraction in Contemporary Art}, year = {2017}, school = {Wisconsin}, abstract = {Investigating the resurgence of abstraction in the work of contemporary artists who are marked as non-normative primarily in terms of gender or sexuality, this dissertation reconsiders the tension between form and content that is still an active problem of modernism to demonstrate how form{\textquoteright}s excess is mined in a current wave of practice as a generator of possibility. I analyze the recent turn to tactics of abstraction among contemporary artists often analyzed in terms of identity to take seriously what is at stake in taking up a history of abstract forms that might seem unavailable to artists read in terms of their difference. The tactics of abstraction central to this study alter the logics of difference by deploying certain modernist forms in ways that "drag away" from the hold of representation. This dissertation makes two contributions to current scholarship. First, it charts a genealogical trajectory and transhistorical affiliation between modernist abstract artists and their contemporary interlocutors in order to demonstrate how new work with such modernist devices as the grid and the monochrome alter how we read the genealogies of these forms. Second, this dissertation posits abstraction as a contemporary practice of queering that moves beyond what is currently a focus on biography in art historical accounts of minority artists. Instead of reading abstract forms as encoded signs of identity, I argue that formal tactics of abstraction do their transformative work by an excess that defies the presumed legibility of difference.}, keywords = {Genders/Sexualities/Feminisms, Visual Studies}, author = {Lancaster, Lex Morgan} } @mastersthesis {12456, title = {Dressing Andean Spaces: Textiles, Painting, and Architecture in the Colonial Imagination}, year = {2017}, school = {UCLA}, abstract = {This dissertation addresses the striking preoccupation with textiles in colonial Peru. Both as luxury goods in domestic and sacred interiors and as a key focus of Peruvian painters, textiles demanded and received considerable attention in the period after the Spanish Conquest of 1532. Considering their importance in the Pre-Columbian world, I examine the ways in which textiles were uniquely valued, displayed, and conceptualized in the colonial Andes. Centering on Cusco between 1650 and 1750, I trace the evolution of indigenous textile types in an increasingly global colonial society, paying particular attention to new categories of textiles (tapestries, wall hangings, bedspreads, and rugs) generated by European tastes. While significant scholarship exists on Pre-Columbian and colonial garments, the study of non-garment textiles, as well as the spatial use of textiles in the Andes, has been largely unexplored. In response, this dissertation combines extensive archival research and first-hand examination of numerous textiles, prints, and paintings, including a well-known, but historically misunderstood colonial tapestry, and a series of thirty-eight paintings (c. 1740), today in the Convent of San Agustin in Lima, by Cusco artist Basilio Pacheco. I conclude by investigating the dominant focus on illustrated textiles within Cusco School paintings, articulating a painterly strategy of textile embellishment used by indigenous and mixed-raced artists of the Cusco School. Methodologically, this dissertation reassigns textiles to a central position within scholarship, and endeavors to recover their original value, importance, and centrality in Andean culture. In contrast to previous scholarship, which has primarily focused on prints as sources for paintings, I demonstrate the complex process by which prints informed textile production, and both prints and textiles influenced the Cusco School of Painting. This study proves textiles to have had a much more dynamic role not only in Peruvian interiors, but also within the transmission of motifs across artworks of various media in the early modern period. By illuminating the tangled realms of textiles, prints, paintings, and architectural interiors, I offer a more nuanced view of artistic production and indigenous representation in colonial Peru.}, keywords = {Colonial and Modern Latin America, South America}, author = {McHugh, Julia} } @mastersthesis {12402, title = {Drinking a God and Sacrificing a Drink: Agency of the Hittite Libation Vessels}, year = {2017}, school = {Columbia}, abstract = {The material manifestation of the Hittite libation ritual, the vessels made from different materials, are known to us through the contemporary written evidence, the representations in the visual arts, and the archaeologically attested examples. All three types of evidence reveal a variety of vessel forms used for the acts of libation. In this study, I focus on the objects themselves and provide an overview of their specific forms: the beak spouted vessels, the ovoid shaped relief vessels, the arm shaped vessels and BIBRU shaped in divine attributes. These vessels have been previously published in site reports, survey books, and museum catalogues, as individual examples or part of an assemblage, but not as a corpus nor as agents in the ritual. The hitherto unpublished examples are introduced to expand and revise the typological classifications. I propose to highlight the materials and the forms of these vessels as important for the Hittites not only to serve a decorative function but as encompassing a presence and agency to achieve the completion of the ritual: serving and pleasing the deities. Therefore, I describe, contextualize, and analyze the vessels in order to outline the relation between form and function, as well as categorizing them according their formal qualities into sub-types. As the containers, they embody the gift, the sacrificial liquid, offered to the deities, preceding the offering and even the act itself. I define their role as "the fourth element of sacrifice", following the offerer, the receiver and the liquid offered. The vessels are reevaluated in this study as agents dictating the respective acts of libation, and defining the ritual.}, keywords = {1500 BCE to 500 BCE, Ancient Egyptian/Near Eastern Art}, author = {Pilavci, Turkan} } @mastersthesis {12529, title = {Enacted Sites: Art and the Visualization of Spatial Justice in Los Angeles, 1966-2014}, year = {2017}, school = {UC Santa Cruz}, abstract = {For decades, art historical scholarship about Los Angeles has explored how artists engage the city{\textquoteright}s distinctive urban landscape. Much of this work, however, has privileged artists situated within a network of galleries and art institutions that represent a fraction of the artist communities housed within the city. My dissertation draws upon this foundation of work in order to expand the geographic scope of Los Angeles art history. Specifically, this dissertation considers how black and Mexican American artists in South Los Angeles developed aesthetic practices grounded in improvisation in order to respond to social and political conditions that are manifested within the built environment. By examining artworks that respond to the deleterious effects of housing segregation, freeway construction, gentrification, and anti-immigrant legislation, I argue that improvisatory aesthetic practices provided artists with a set of tools for enacting egalitarian visions of urban space within sites historically marked by inequality. The first half of the dissertation argues that artists influenced by jazz improvisation re-envisioned the landscape of South Los Angeles in the decades following the 1965 Watts uprising before expanding on the notion of improvisation as a form of visual expression through an examination of works by Mexican-American artists who integrated conceptual art practice with elements of urban visual culture. By drawing upon social practices that transform urban space on a human scale, such as the collection of detritus, the formation of desire paths, the production of graffiti, and the creation of vernacular urban forms, I contend that the artworks I examine suggest an alternative to monumental scale and subsequent erasure of social, economic, and ethnic difference imposed by the logics of urban planning. By analyzing how artists such as Noah Purifoy, Judson Powell, Maren Hassinger, Daniel J. Martinez, and Mario Ybarra Jr. engage with forms that are localized, spontaneous, and responsive to their environments, this dissertation offers a framework for understanding how improvisatory aesthetic practice can help enact spatial justice within the urban landscape.}, keywords = {Latinx, Visual Studies}, author = {Thomas, Mary} } @mastersthesis {12473, title = {Engraving Identities in Stone: Stone Mortuary Equipment of the Northern Dynasties (386-581 CE)}, year = {2017}, school = {Chicago}, abstract = {The Northern Dynasties (386-581 CE) marked a turning point in Chinese history. After the collapse of the Han Empire in 220 AD, the native Han Chinese were never again able to establish an enduring unified dynasty again. Consequently, the Northern Dynasties represented the final stage of the longstanding political division between dynasties in the south, ruled by Han aristocrats and generals, and the kingdoms in the north, founded by various peoples of nomadic origins. From the Northern Wei (386-534 CE) to the Northern Zhou (557-581 CE), nomadic Xianbei rulers created and consolidated a ruling coalition composed of multiple cultural and ethnic groups, which paved the way for the reunification of China in 589 CE and the emergence of the so-called golden age of Chinese civilization. The interaction between diverse cultural and ethnic groups that characterized the Northern Dynasties was especially intense among the uppermost echelon of the society. The key to understanding the dynamism of this interaction is a careful consideration of the colorful ways in which people of the period defined themselves politically, culturally, and personally. To this end, this dissertation addresses the question of how the elites of the Northern Dynasties used stone mortuary equipment to express their identity. Eschewing the hackneyed analytical paradigm of sinicization (or desinicization), this dissertation draws attention to political, communal, and individual identity through a series of case studies. By so doing, it also reveals the intersection of identities during the Northern Dynasties. This dissertation is comprised of three chapters and chiefly uses visual analysis to account for the material properties, spatial strategies, and narrative images of mortuary stones. The first chapter investigates the mortuary stones of three groups of people: the Tuoba royalty of the Northern Wei, Sogdian immigrant merchants, and Han scholarly officials. It demonstrates how these people articulated their distinct political, communal, and cultural identity by taking advantage of the ritual significance, versatility, and natural beauty of the material of stone. Concentrating on the Shi Jun sarcophagus, the second chapter reveals the dualistic identity (secular and spiritual) of a Sogdian immigrant merchant. Shi Jun{\textquoteright}s tomb brings together two distinct spaces-a physical space of ancestor worship constructed according to Confucian ritual protocols and a virtual space of paradisiac afterlife invoked by religious visual devices. The third chapter focuses on the narrative engravings of mortuary stones and demonstrates that artists of the Northern Dynasties tended to customize standardized illustrations in such a way that they could capture the personal identity of the tomb owner. This chapter first discusses how artists transformed filial son illustrations into mortuary symbols or allegorical portraits of the deceased. Secondly, this chapter shows how the artists that created the Shi Jun sarcophagus composed a pictorial biography of the deceased by deploying the illustrations of the Buddha{\textquoteright}s life.}, keywords = {East Asia, Sixth to Tenth Century}, author = {Xu, Jin} } @mastersthesis {12406, title = {Exhibition Platforms and Transnational Networks: Artistic Agency in Senegal}, year = {2017}, school = {Stony Brook}, abstract = {This study proposes an analysis of platforms-cultural institutions, spaces for (re)defining subjectivity, and globetrotting exhibitions-that modern and contemporary artists from Senegal have employed to shape a career that goes beyond ideological or diplomatic goals of the state. Even as they participated in some nationalist projects, some artists chose to join the exhibition in order to achieve personal goals of extra-national exposure and establish transnational relationships. In most scholarship in the field of African art history, the artworks and careers of many artists, including those from Senegal, have been oversimplified or ignored, even though each artist sits at the center of a sprawling web of influence. In the course of this study, the artists of Senegal are situated against institutions, political actors, cultural enthusiasts, and fellow creators as they operate around the globe: from Kingston to Tokyo, Ouagadougou to Quebec, Mexico City to Gwangju, and Venice to Los Angeles. Across four chapters, as the four platforms-1) Tendances et confrontations, an exhibition of modern/contemporary art that took place at a significant festival in 1966, 2) Art Senegalais d{\textquoteright}Aujourd{\textquoteright}hui, an exhibition that toured globally between 1974 and 1982, 3) Biennales for contemporary art, and 4) Musee Boribana, a privately-funded museum for contemporary African and Diasporic art-are contextualized within the particular international or transnational networks they engage, each chapter also features a case study on an individual artist and his/her navigation of that platform. These four artists-Iba N{\textquoteright}Diaye, Bocar Pathe Diong, Fatou Kande Senghor, and Camara Gueye, respectively-gained visibility and advanced their artistic careers along different transnational lines of influence, depending on their tactics for leveraging the opportunities provided by the platform.}, keywords = {Africa, African American/African Diaspora}, author = {Underwood, Joseph} } @mastersthesis {12589, title = {Exhibitions of Outsider Art Since 1947}, year = {2017}, school = {CUNY}, abstract = {The search for a "raw art," untouched by the corrupting effects of culture, led Jean Dubuffet and others to collect, under the heading Art Brut [Outsider art], art made by the mentally ill and otherwise disenfranchised, poor, uneducated, elderly, and/or physically disabled. Since Dubuffet{\textquoteright}s codification of Art Brut around 1945, the Outsider has been identified by cultural isolation, mental distance and a requisite discovery by some cultural insider, paternal or exploitative. This discoverer, whether doctor, artist or collector, becomes a translator of sorts, instructing audiences through exhibitions as to how they should receive this work by marginalized artists. Because there is no discourse among Outsider artists, the field does not conform to the standard paradigm of the artistic {\textquoteright}movement,{\textquoteright} but coheres through a history of these exhibition and collecting practices. Collecting of Outsider work becomes a treasure hunt, where trophies from contact with the abnormal -- cast as capable of pure artistry -- are returned to normative realms. My dissertation charts that history through a series of exhibition case studies, from the mid-twentieth century to the present. I begin with Dubuffet{\textquoteright}s Art Brut collection in Switzerland as background, and its dark presentation still invokes asylum. I move quickly to the United States, however. I study the history of the American Folk Art Museum and its erasures of difference among anonymous Folk artists, and then look at Southern Outsider environments such as those constructed by Howard Finster and Kenny Hill. The dissertation ends with the contemporary scene: the Outsider Art fair, workshop/galleries for artists with developmental disabilities and Outsiders in the mainstream.}, keywords = {Twentieth Century, Twenty-first Century}, author = {McCollum, Christina} } @mastersthesis {12513, title = {Faire un Cinema{\textquoteright}: Marcel Duchamp and the Moving Image}, year = {2017}, school = {Pennsylvania}, abstract = {Marcel Duchamp was among the first artists in the transatlantic avant-garde to acquire his own movie camera in 1920. Yet he would produce only a single complete film, Anemic Cinema (1926), over the course of his decades-long career. As the lone film made by an artist better known for his work in other media, Anemic Cinema occupies a contested place in histories of avant-garde art and cinema. For some, it is a Dada-inspired effort to parody the conventions of silent film, and is determinedly "anti-cinema". For others, it is a perceptual experiment entirely divorced from filmmaking, relating instead to the artist{\textquoteright}s kinetic sculpture-like "optical machines". This dissertation reassesses Duchamp{\textquoteright}s engagement with the moving image, arguing that the artist interrogated period conceptions of the cinematic medium and spectatorship in both filmic and non-filmic works made between 1911 and 1968. Through extended analyses of visual art and films by Duchamp and his contemporaries, scrutiny of archival materials, and readings in media and film theory, Faire un Cinema constructs an alternative history of avant-garde moving image production in France and the United States during the emergence and maturation of popular cinema across the first half of the twentieth century. Four chapters, arranged roughly chronologically with a comprehensive introduction and conclusion, trace the artist{\textquoteright}s moving image works and their significance within period film and media discourses. The project examines the shifting notions of the cinematic articulated in the artist{\textquoteright}s "chronophotographic" cubist paintings of 1911 and 1912 and mixed-media-on-glass The Bride Stripped Bare by Her Bachelors, Even (The Large Glass) (1915-23); the optical machines, cinematographic experiments, and film notes leading up to Anemic Cinema in the 1920s; a three-minute dream sequence within the feature film Dreams That Money Can Buy (1947) and accompanying cover design Please Touch; and the assemblage Etant donnes: 1{\textlnot}$\infty$ la chute d{\textquoteright}eau, 2{\textlnot}$\infty$ le gaz d{\textquoteright}eclairage (1946-66) and its Manual of Instructions (1966). Together, the chapters offer a new perspective on the role of moving images within avant-garde culture, one that also addresses current concerns regarding cinema and medium-specificity in the post-celluloid digital age.}, keywords = {Film/Video/Animation, Twentieth Century}, author = {Kauffman, Alexander} } @mastersthesis {12566, title = {Faith in the Field: The Art of Discovery in Auguste Salzmann{\textquoteright}s Photographic Albums, 1854-1875}, year = {2017}, school = {Boston}, abstract = {This dissertation is the first study of the complete oeuvre of the nineteenth-century archaeologist, photographer, and academic painter Auguste Salzmann, who created some of the earliest European archaeological photographs in the field. His 1854 photographs of Jerusalem have long been praised for their aesthetic beauty, but they have yet to be fully integrated into his full oeuvre of five photographic albums created between 1854 and 1875-a nearly two-decades-long engagement with the photographic medium and an extensive archaeological praxis rooted in the Bible and developed in Greece and the Middle East. Created by an academically trained painter, exchanged to sell artifacts across international borders, and reproduced to contest archaeological theories, Salzmann{\textquoteright}s photographs were active participants in a dense cultural web of religious history, scientific thought, aesthetics, economics, and nationalism. In response to these social forces Salzmann{\textquoteright}s photographs adopted various forms-bound and unbound, singular and serial, devotional and documentary, scientific and artistic. By demonstrating how Salzmann{\textquoteright}s multivalent work had multiple simultaneous social lives in their original historical contexts, this project creates an interdisciplinary model for the study of photographs and photographic albums. Each chapter focuses on one album to illuminate the trajectory of Salzmann{\textquoteright}s pictorial methods. The first chapter traces the genesis of Salzmann{\textquoteright}s most famous commercial album, the grande edition of Jerusalem: Etude et reproduction photographique de la ville sainte, to discover the many forms his photographs adopted between his 1854 journey to Jerusalem and the album{\textquoteright}s 1856 publication. Through the petite edition of Jerusalem the second chapter reveals how Salzmann channeled French religious history to promote contemporary French nationalist interests in the Holy Land. The third chapter turns to Voyage en Terre Sainte (1863) to demonstrate how Salzmann{\textquoteright}s pictorial methods adapted to competing archaeological theories and modes of scientific illustration. The fourth chapter centers upon his posthumous Necropole de Camiros (1875) of Rhodian antiquities to establish how the rhetoric of archaeological discovery granted photographs a multivalent status as scientific specimens, economic goods, and art objects. Challenging previous scholarship that approaches photographic albums as passive repositories of information, the project formulates them as dynamic, mobile actors that produce new knowledge.}, keywords = {Photography}, author = {Lebowitz, Anjuli} } @mastersthesis {12550, title = {Familial Identity and Site Specificity: A Study of the Hybrid Genre of Dutch Family-Landscape Portraiture}, year = {2017}, school = {Kansas}, abstract = {In the seventeenth century, the proliferation of Dutch family portraits among the broad middle class was a distinctive facet of artistic production. Within this visual trend, the vast majority of such paintings present the sitters in outdoor environs rather than the domestic sphere. This dissertation focuses on such images and adopts the term "family-landscape portrait" to highlight the hybrid nature of the images that commemorate a particular family within a specific locale. I consider the particularities of seventeenth-century Dutch family-landscape portraiture as a separate pictorial genre and attend to the ways in which these images construct identity and generate meaning, including through the blending of portraiture and landscape conventions. In order to investigate the complex meanings of family-landscape portraits, this dissertation will consider the images from the perspective of the biographical circumstances of the sitters{\textquoteright} lives; contemporary cultural, socioeconomic and political issues that inflect the choice of symbols or locale; and the pictorial traditions from which the images stem. Chapters divided by commonalities in locale reveal that mercantile or professional identities and values resonated strongly with families pictured along a coast. Kin groups portrayed near urban landmarks tended to highlight communal memory and political or civic values as facets of familial ideals. Groups adjacent to ruins displayed a concern with history, familial memory and cultural sophistication. Families depicted on their country estates highlighted communal and professional identities, earned leisure and hospitality as integral to familial identity.}, keywords = {Northern Europe, Seventeenth Century}, author = {Giannino, Denise} } @mastersthesis {12538, title = {Farmscapes: Picturing Land Transformation in Nineteenth Century America}, year = {2017}, school = {Louisville}, abstract = {This dissertation examines American farmstead imagery of the nineteenth-century and how those images reflect the environmental history of the North. In this study, images of farms illustrate, through the landscape, the transition from subsistence farming to agribusiness that fundamentally changed American life and the land over the century. By comparing the actual ecological and economic conditions of the farm and farmer to the images depicted by artists, it is possible to see both representations of change and the persistence of the agrarian myth in spite of dramatically different realities. This study focuses on the process of change in the American landscape, beginning on the north eastern coast in the early nineteenth century and developing westward through the end of the century with Frederick Jackson Turner{\textquoteright}s closing of the western frontier. Chapter One provides a foundation for the yeoman ideal using works like Thomas Cole{\textquoteright}s The Hunter{\textquoteright}s Return (1845). Industrious, independent, hard-working, and noble, the yeoman cleared the countryside and established subsistence farms across the northeast, bringing to fruition Jackson{\textquoteright}s agrarian nation. Chapter Two demonstrates the transition from pioneer yeoman farmstead to farmer{\textquoteright}s agribusiness as reflected in imagery from the mid-nineteenth century. From technological advancements to prospect views, images of agribusiness express very different values than the yeoman farmsteads in the wilderness. Works by Jasper Francis Cropsey and Edward Hicks are the focal points of this chapter. Chapter Three looks at the farmstead along the Union and Confederate boundary as a site of anti-slavery sentiment. Farms were simultaneously the site from which slaves wished to depart, the site that harbored them in the escape, and the site of their potential futures, while providing an escape from war for their free counterparts. Other than those depicting Southern plantations, farm imagery that deals specifically with issues of slavery is scarce. Robert Duncanson, Sanford Gifford Robinson, Worthington Whittredge, and William McKendree Snyder provide examples in this chapter. Finally, Chapter Four follows the path west, looking at representations of major agricultural centers in the West, including the Great Plains and California. This chapter is divided into two sections. The first examines monolithic narratives of a singular "Great West," and the second section looks at specific people and places of the West.}, keywords = {Nineteenth Century, North America}, author = {Yanoviak, Eileen} } @mastersthesis {12537, title = {Foreign-born Artists Making {\textquoteright}American{\textquoteright} Pictures: The Immigrant Experience and the Art of the United States, 1819-1893}, year = {2017}, school = {CUNY}, abstract = {Despite the fact that historians centralize immigration as a defining social phenomenon of the nineteenth century, art historians maintain nationalistic parameters that suppress artists{\textquoteright} immigration and assimilation experiences. While scholars have foregrounded the transatlantic migration of artists who entered during the postbellum Great Wave (1881-1920) and the twentieth century, immigration in the first two-thirds of the nineteenth century has been largely neglected, a striking omission given that roughly six million people arrived to the United States between 1820 and 1865. To reconcile this gap, this dissertation examines artists who were part of the major antebellum- and Civil War-era migration streams from the British Isles: Thomas Cole (1801-1848), Frances Palmer (1812-1876), and Thomas Hovenden (1840-1895). In a series of case studies, the dissertation discusses these artists{\textquoteright} careers in relationship to the larger patterns of immigrant behavior and reconsiders certain nationalistic images in the context of their maker{\textquoteright}s immigrant status. Whereas previous scholars have separated immigrant artists from the immigrant masses, I argue that artists were neither exempt from the socio-economic factors that fueled mass migration, nor were they immune to concerns of financial and personal security provoked by resettlement in the United States. Employing a social-historical methodology, the dissertation utilizes formal, biographical, statistical, and archival evidence to argue that the artists in question lacked a fixed sense of nationhood; their imagery not only reflects a complex relationship to the United States but also a transnational cultural fluency. The merging of primary evidence with immigration data supports an interrogation of how these artists{\textquoteright} foreign birth influenced their creative output and how their careers were complicated by their acculturation to a new country and a need to cater to patrons seeking U.S. subject matter. While the individuals in question arrived as adults steeped in local artistic traditions, their oeuvres have been positioned within an Americentric framework. This dissertation offers a new perspective, using assimilation theories to examine works that have heretofore only been interrogated within a nationalistic discourse, such as Palmer{\textquoteright}s Across the Continent: "Westward the Course of Empire Takes Its Way" (1868; Library of Congress) and Hovenden{\textquoteright}s The Last Moments of John Brown (1882-84; Metropolitan Museum of Art). By asserting the importance of these individuals{\textquoteright} immigration and assimilation experiences, this dissertation foregrounds a critical aspect of artists{\textquoteright} biographies unacknowledged in present scholarship and thereby delivers a transformative reading of their life and work}, keywords = {Nineteenth Century, North America}, author = {Thompson, Whitney} } @mastersthesis {12534, title = {A Forward Looking Art: Education, Creative Exchange, \& the Rise of Modern Native American Art}, year = {2017}, school = {USC}, abstract = {No record in ProQuest or USC ETDs}, keywords = {Native American/First Nations}, author = {Murphy, Elizabeth} } @mastersthesis {12466, title = {The fraternity throughout the world{\textquoteright}: American and German Photography, Interactions from 1840 to 1890}, year = {2017}, school = {Rutgers}, abstract = {Histories of early photography have routinely focused on France, England, and the US, seldom mentioning the region we call "Germany" today, and often discuss each country{\textquoteright}s affairs in isolation from others. This dissertation, in contrast, explores how photographers, photographs, photographic processes, and writings about the medium have been traversing cultural borders since its invention. By understanding photography as a vehicle of cross-cultural dialogue, this dissertation investigates the specific interactions it enabled between the United States and Germany. It uncovers their exchange of photographs, technologies, and ideas about the medium between the 1840s and 1880s, a period when roughly six million Germans immigrated to America{\textquoteright}s shores. It further suggests that networks of exchange between Germany and the US, cultivated through a large immigrant community, were pivotal to the development of photography on American soil. Chapter One examines the work of German immigrants William and Frederick Langenheim, who operated a studio in mid-century Philadelphia. By looking at their advertisements and celebrated panorama of Niagara Falls, this chapter argues that their success was tied to their connection with their German homeland. Chapter Two analyzes the shift in photographic vision in three editions of a stereoscopic guidebook on the White Mountains of New Hampshire produced by the Bierstadt brothers. More than simply illustrated travel guides, their aesthetics and photomechanical printing techniques functioned transculturally, much like the artists themselves. Chapter Three chronicles Dr. Hermann Vogel{\textquoteright}s position as the German correspondent to the American journal the Philadelphia Photographer from 1866 until 1886. It outlines how his column advanced the growing relationship between German and American photographic circles. Chapter Four examines the photographs of Alfred Stieglitz during his years of study in Berlin and compares them to his German photographic peers. Emphasizing the importance of German photographic culture to Stieglitz, beyond just noting his education, runs counter to dominant narratives about his artistic formation and can thus change future studies about him and American art photography more broadly. My dissertation uses the interactions between German and American photography in the nineteenth century to reframe the medium{\textquoteright}s historiography in transnational terms, contributing to its so-called global turn.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, North America}, author = {Lopes, Shana} } @mastersthesis {12568, title = {From Both Sides of the Lens: Anthropology, Native Experience \& Photographs of American Indians in French Exhibitions, 1870-1890}, year = {2017}, school = {Boston}, abstract = {This dissertation considers photographs of American Indians in Parisian exhibitions between 1870 and 1890 as part of a mobile and dynamic visual culture in the larger Atlantic World and as the embodiment of performative cross-cultural encounters. The project analyzes western American survey photographs disseminated abroad, as well as pictures of Native performers taken in the French capital. The study ranges from John K. Hillers{\textquoteright}s output for John Wesley Powell and William Henry Jackson{\textquoteright}s work for Ferdinand V. Hayden to the photographic albums of Prince Roland Bonaparte, the grandnephew of Napoleon I. Active in French scientific circles, Bonaparte photographed Plains Indian performers in 1880s Paris. Working within the developing fields of American and French anthropology, these photographers and their project directors transmitted pictures internationally in order to present their respective nations as scientific and political powers and showcase American Indians as figures of competing national patrimonies. Composed of four case studies based on exhibitions, the study challenges readings grounded solely on the original imperialist intentions of the objects{\textquoteright} producers. Instead, a transcultural perspective examines American Indian agendas and circumstances in these photographic exchanges. The dissertation also traces the changing meaning of these pictures over time. Chapter One analyzes a set of Hillers{\textquoteright}s photographs of Hopi villages sent to the Societe de geographie de Paris in 1877 by Powell as part of an international competition to claim authority regarding Southwest cultures. Chapter Two examines Jackson and Hayden{\textquoteright}s Photographs of North American Indians (1878) similarly given to the Societe d{\textquoteright}anthropologie de Paris in 1879 in this culture of rivalry. However, a close reading of the volumes{\textquoteright} delegation portraits disrupts the imperialist framing of its text. Chapter Three explores Bonaparte{\textquoteright}s album, Peaux-Rouges (1884) of frontal and profile photographs of Umo nhon (Omaha) at the Jardin d{\textquoteright}acclimatation and argues that references to performance and histories of contact subvert its essentializing physical anthropology approach. Chapter Four reads Bonaparte{\textquoteright}s volumes of Buffalo Bill{\textquoteright}s Wild West in Paris for the 1889 Exposition Universelle. Here, allusions to intercultural exchanges of the Lakota performers abroad, as show members and tourists, also challenge a hegemonic interpretation of Bonaparte{\textquoteright}s anthropological photographs.}, keywords = {Photography}, author = {Voelker, Emily L.} } @mastersthesis {12591, title = {From Design to Completion: The Transformation of U.S. War Memorials on the National Mall}, year = {2017}, school = {CUNY}, abstract = {This dissertation looks at U.S. war memorials on the National Mall built between 1983-present. Each memorial designer was selected through an open design competition process and was subject to the same government approval processes. The Commission of Fine Arts (CFA), the National Capitol Monuments Commission (NCMC), and the National Park Service (NPS) all must approve memorials built on the National Mall. In some cases, the memorials shared project architects and sponsoring agencies. The case studies show that the design competition process ultimately shapes the meaning and appearance of the built memorials. I argue that the guidelines, winning design, sponsoring agency, jury, and approval processes are all mitigating factors in the appearance and meaning of contemporary memorials designed through a competition process, and that the Vietnam Veterans Memorial (1982), the Korean War Veterans Memorial (1995), and the National World War II Memorial (2004) present three models of transformation prompted by the design competition and implementation process. Each case study analyzes the way in which sponsoring agencies reshaped the designs throughout the process, with the consequence that content was driven by the intervening agencies as opposed to the winning designers.}, keywords = {Twentieth Century, Visual Studies}, author = {Weintraub, Sara} } @mastersthesis {12432, title = {From Global War to Global Cities: Planning, Art, and Post-WWII Urban History in New York, Berlin, and Tokyo}, year = {2017}, school = {MIT}, abstract = {Thinking about cities became increasingly global during and after WWII. {\textquoteright}Global{\textquoteright} here refers to how, in the context of the war, the roles and meanings of cities in the world were beginning to be understood differently. This dissertation investigates urban histories since the 1940s in their connection to changing imaginaries of the world that were shaped by the experience of war, and that have received little attention in historical literature. The dominant narratives of postwar urban history are focused on issues such as destruction and reconstruction, and the ideological divides between East and West. Global history is here employed as a nonhegemonic methodology for going beyond these larger narratives, and to demonstrate that in an age of global war, cities were becoming global long before economic discourses on globalization labeled them as such. New York City, West Berlin, and Tokyo are used as case studies because they are the principal cities of three industrialized nations that were heavily affected by WWII. New York became a center of the US war industry and beacon of the proclaimed Western values of freedom and democracy. However, the hypocrisy of fighting for freedom and democracy abroad, while racial violence and injustice was experienced at home, led to housing and segregation in New York being seen in global context. Discourses on fighting fascism at home and abroad, and artistic representations of the city illuminate these narratives. In Berlin-especially with the founding of the two German states in 1949 and the building of the Berlin Wall in 1961-urban planning and development are most easily understood to be part of East-West ideological divides. Visions for the city of the future that were produced in secluded West Berlin demonstrate, however, that the city was also imagined in ways that transcended its local conflict and positioned it as a democratic tool for a global urban society. Tokyo{\textquoteright}s destruction during WWII, and its subsequent reconstruction, dominates the city{\textquoteright}s postwar history, but Japan{\textquoteright}s experience of war and nuclear bombings led to the creation of urban models that were more global in scope. An analysis of Japanese involvement in world{\textquoteright}s fairs and of architectural and urban thought in response to the nuclear bombings connects these threads. In different ways, these case studies substantiate the connection between global war and global cities and introduce global history methodology into the analysis of global thinking in urbanism during and after WWII.}, keywords = {Architectural History/Urbanism/Historic Preservation, Theory/Historiography/Methodology}, author = {Schmidt, Sebastian} } @mastersthesis {12526, title = {From Raqqa with Love: The Raqqa Excavations of the Ottoman Imperial Museum (1905-06 and 1908)}, year = {2017}, school = {Victoria}, abstract = {The Ottoman Empire initiated a serious attempt in the archaeological exploration of ancient sites lying in its territory during the Hamidian period. By claiming ownership over the heritage of past civilizations, it aimed to counterbalance the European hegemony over its antiquities while constructing a new, "civilized" identity as part of its modernization programme. Adopting European archaeological practices, it became an active participant in the scholarly scene. Despite being latecomers and lacking sufficient resources and expertise, Ottoman archaeologists pioneered and promoted archaeology so successfully that, they were able to achieve the disciplinary criteria in archaeological practice established by their Western counterparts. However, due to ideological factors, their names are absent from the standard account of early history of archaeology while their accomplishments are yet to be recognized in historiography. This dissertation examines two excavation campaigns undertaken at Raqqa by Theodore Macridy and Haydar Bey on behalf of the Imperial Museum in 1905-6 and 1908 respectively and their finds collection housed within the Museum of Turkish and Islamic Arts in Istanbul. While documenting these two excavations and their corresponding finds thoroughly for the first time, this study also reveals the contributions of such key figures of Ottoman archaeology to the development of archaeology during its formative years. The history of Ottoman archaeology is yet to be written. Analyzing the field methods, collection strategies, and restoration practices of the two Ottoman archaeologists working at Raqqa within a historical and disciplinary context, this study offers insights into the practice and the conceptualization of archaeology as a discipline in the Ottoman Empire, a subject that has been overlooked in scholarship. Moreover, this study demonstrates the importance of the Raqqa excavations as exceptional cases in targeting mainly ceramic finds with no interest in the architectural remains of the site, a practice contrasting with contemporaneous excavations. Besides, a collection of fairly modest components, the Raqqa finds indicate an emerging interest in the potential of artifacts as sources of information rather than being merely objects for museum display, thus representing a key milestone in the newly emerging discipline of Islamic archaeology.}, keywords = {Islamic Art}, author = {Tutuncu Caglar, Filiz} } @mastersthesis {12560, title = {From Red Square to Pushkin Monument: Russian Performance Art in Public Spaces in the 1990s}, year = {2017}, school = {Indiana}, abstract = {As the Soviet Union crumbled, Russian visual artists felt free for the first time since the early twentieth century to create art performances in public urban spaces. My dissertation focuses on unsanctioned site-specific performances that took place in Moscow in the last years of Mikhail Gorbachev{\textquoteright}s perestroika period (1990-1991), the first decade of post-Soviet presidency of Boris Yeltsin (1992-1999), and the first months of Vladimir Putin{\textquoteright}s presidency. Site-specific performances, as I argue, are a sub-group-together with site-generic performances-of performance art created in public spaces. Chapter 1 narrates the development of site-generic performances and traces growing popularity of site-specific performances in the late twentieth century in western Europe and North America. The following chapters discuss the case of Russian site-specific performance art. The historical changes that affected politics, economy, and culture in Russia in the 1990s are essential to understanding the development of Russian performance art. The choice of specific places in the city became vital and a crucial way of self-expression-a Lefebvrian spatial practice-for performance artists in the 1990s. I chose to analyze performances created in culturally, politically, and historically important locations such as the Red Square, vicinities of monuments, the Moscow Metro, and unfinished building sites-both latter and former, in opposite ways, the legacies of the Soviet Communist system. Mass media interest and reports on these performances secured their wider reach, beyond those viewers who were present at the actual sites of performance. As Russian artists entered these specific sites with their performances they opened a critical dialogue with Lefebvrian representational spaces of the chosen locations and addressed a plethora of issues: from Soviet ideology and its reverberations in post-Soviet years, to Yeltsin{\textquoteright}s politics, questions of post-Soviet identity, and ideas about the present role of an artist. These performances, majority of them created by young artists (Aleksandr Brener, Natalia and Valerii Cherkashin, Grigorii Gusarov, Anton Litvin, Oleg Mavromatti, Anatolii Osmolovskii) and artist groups (Absolute Love Sect, ETI, New Moscow School, Non-Governmental Control Commission, zAiBi) became a rare voice of criticism among largely contented intelligentsia and artists of the older generation.}, keywords = {Performance Art/Performance Studies/Public Practice, Twentieth Century}, author = {Matuszak, Joanna} } @mastersthesis {12603, title = {A {\textquoteright}Funny Guy{\textquoteright} Comes to America: Humor, Sex, Machines and the Viewer in the Work of Francis Picabia, 1913-1918}, year = {2017}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {Twentieth Century}, author = {Wong, Hannah} } @mastersthesis {12531, title = {Ghost Writer: Bela Balazs{\textquoteright}s Hauntology of Film}, year = {2017}, school = {Columbia}, abstract = {The Hungarian-born Bela Balazs was an integral part of the film and media culture of the 1920s and 1930s. He is widely recognized as the author of three books of film theory. The three books are regularly excerpted in anthologies, two of them recently appeared in English translation (the third was translated in the 1952), and they have been the subject of several article-length studies. Few treatments of Weimar film and media fail mention them, even if only in passing. As unavoidable as Balazs has become, his books rarely withstand close analysis. Scholars tend to discuss his work in order to demonstrate the limits of "early" statements on film and often use Balazs as a foil to other, more conceptually mature film theorization. As a film theorist, Balazs did not amount to much. Still, no one has ventured an alternative lens through which to understand this seminal figure. This dissertation treats Balazs from the viewpoint of film production. While posterity has looked to Balazs to establish coherence within our conception of "classical" film aesthetics, his contemporaries had other reasons to read his work. During the 1920s, Balazs collaborated with several of the practitioners responsible for making the most definitive films of the Weimar era. He worked on approximately two dozen sets during this decade. His opinion was sought out by major production companies. His name was recommended for a range of genres. The films on which he worked had afterlives in remakes. He was invited to film schools, research labs and film congresses. Because of his skill set, Balazs was often brought in at pivotal junctures in film production. More than once his intervention rescued a film from financial ruin or censorship. The prominent name Balazs made for himself was made on the ground and in the film studio. The skills Balazs brought to the studio were related to his practice as literary author. The first chapter of the dissertation demonstrates that English-language scholarship has consistently ignored Balazs{\textquoteright}s literary work. Reviewing his reception within the discourse of the history of early film theory and Area Studies, it proposes that Balazs continued to self-identify as "author" [Filmautor] with reference to his function in the film industry. It ends by introducing the aspect of film production to which Balazs arguably most contributed: the film scenario. The second focuses on the scenario. Spanning the decade during which the scenario formally emerged as an operational document, Balazs{\textquoteright}s work proved invaluable to the German film industry as it introduced a bird{\textquoteright}s eye point of view from which total control could, in principle, be asserted. In practice, however, the command the scenarist had over the image was nominal, as Balazs experienced repeatedly when encountering the final version of his film. The scenarist{\textquoteright}s lack of authority is demonstrated in the legally ambivalent status of their claim to the film, as demonstrated by a discussion of Berthold Brecht{\textquoteright}s copyright dispute over Balazs{\textquoteright}s co-authored adaptation of his Threepenny Opera play. As with Brecht, Balazs{\textquoteright}s point of view as author gave him a false impression of command over image production. No matter how meticulous his plan for the film, the image on screen inevitably differed from his imagined version. Balazs{\textquoteright}s film aesthetics must be read with reference to his work as scenarist. Balazs repeatedly stresses that the film image is embodied. The last two chapters investigate the significance of the female body to this conception of film. One chapter responds to a crucial insight by the historian Erica Carter who proposes to read his books with reference to the phenomenon of the New Woman, a figure of emancipation she finds among his literary colleagues and partners. Broadening the range of work surveyed to include his literary and theatrical production in Hungarian, the chapter argues that while Balazs often forged literary partnership with women, he treated then not as equals so much as vessels, mediums of material surfaces for his intellectual and aesthetic expression. The brutal disregard Balazs had for his female partners is demonstrated in the final chapter with a close reading of a film scripted by Balazs, Miss Else (1929). Miss Else was the final film in a series of collaborations between Balazs and the Austrian actress Elisabeth Bergner. The film is a psychological portrait of a young woman who is emotionally and mentally destroyed by a set of instructions she receives in a telegram. Hit by a sudden bout of "hysterical" voicelessness, Else is demonstrated to mimic the condition of the silent film actress whose ability to act is destroyed by the fragmentary narrative format of the scenario.}, keywords = {Multimedia/Intermedia, Twentieth Century}, author = {Polonyi, Eszter} } @mastersthesis {12453, title = {Global Luxuries at Home: The Material Possessions of an Elite Family in Eighteenth-Century Minas Gerais, Brazil}, year = {2017}, school = {Delaware}, abstract = {Focusing on the belongings of Joao Pinto Alvares, Mariana Correia de Oliveira, and their offspring, this dissertation examines the consumption of luxury goods among the mine-owning elite in eighteenth-century Minas Gerais, the main gold mining region of Brazil. Although Minas Gerais has traditionally been perceived as isolated, the wealth emanating from the mines enabled the local elite to acquire commodities from manufacturing centers throughout the world. Although historical research has largely overturned the idea of mineiro isolation in recent years, the importance of imported luxury goods for the dissemination of cultural knowledge among the mining region{\textquoteright}s elite has received little attention. With few exceptions, scholarship on domestic life in the region has focused on illegitimate families of mixed race living in urban centers. Examination of the lives of four generations of the Oliveira Pinto family reveals that the mine owning elite instead often formed legitimate families of highly educated rural aristocrats. Analysis of the family{\textquoteright}s post-mortem inventories from 1748 to 1807 demonstrates that the local elite acquired foreign imports throughout the century and that, like their contemporaries in Portugal and other regions of the world, the mineiro elite gradually adopted new furniture types, modes of dress, and decorative styles. Among the family{\textquoteright}s possessions, the ceramics collections, clothing and jewelry, and hammocks were particularly powerful signifiers of their owners{\textquoteright} status, cosmopolitan knowledge, and sophistication. These luxuries functioned as tangible evidence of the gold mining region{\textquoteright}s significance to Portuguese imperial expansion, and participation in global commercial and cultural exchange.}, keywords = {Colonial and Modern Latin America, Material Culture}, author = {Zimmerman, Rachel} } @mastersthesis {12574, title = {Globalising the periphery: Poland-Lithuania and cultural entanglement, 1587-1668 cultural entanglement, 1587-1668}, year = {2017}, school = {McGill}, abstract = {No record in ProQuest or McGill ETDs}, keywords = {Seventeenth Century}, author = {Grusiecki, Tomasz} } @mastersthesis {12497, title = {"Grant peine et grant diligence": Visualizing the Author in Late Medieval Manuscripts}, year = {2017}, school = {Ohio State}, abstract = {Author portraits, those initial introductions to the creator of a text that are usually located on the very first folio, are ubiquitous in medieval illuminated manuscripts, yet this subject has not been the focus of a systematic art historical survey. For this reason, few are aware of the evolution of this genre over the course of the Middle Ages, moving beyond the early static figures of authors posing with their works, or seated writing on scroll or codex. This dissertation expands our understanding of this tradition, focusing on a limited selection of examples drawn from a variety of popular formats for author portraits that were employed in the fourteenth century. In particular, this study addresses representations of contemporary scholars-authors shown dreaming of their subject matter, accompanied by personifications or objects representing the content of their text, diligently engaged in translating an important work from Latin into the vernacular, or meeting privately with the recipient to deliver and discuss their work. Each category is explored through close examination of one outstanding example, and includes an analysis of the entire manuscript, in order to place the image within its textual, socio-political, and art-historical context. Although each case study embodies a different role for the author, as a group they reflect changing perceptions of authorship in the Late Middle Ages, and the increasing understanding of and respect for both the physical and intellectual labor required. These depictions of scholastic authors provide visual evidence of the interest in the author as an individual that Alastair Minnis, in his seminal work, Medieval Theory of Authorship, ultimately associated with the implementation of the "Aristotelian prologue" type, an introductory tool employed in education and commentary which encouraged reflection on an author{\textquoteright}s life, reputation and working methods. The images suggest a narrowing of the gap between ancient Roman auctors and late medieval scholars, as well as a sharing of influences and ideas with contemporary literary figures. At the same time, they provide clues about the complex collaborative relationships among authors, readers and members of the professional book trade, including project managers, scribes, rubricators and illuminators. A critical evaluation of these innovative new approaches to author portraits invites further careful scrutiny of the images as a genre, and not just as a seemingly minor part of the overall program of miniatures that accompany a text.}, keywords = {Fifteenth- to Seventeenth-Century Art, Seventeenth Century}, author = {Iacobellis, Lisa} } @mastersthesis {12422, title = {Hair in Archaic and Classical Greek Art: An Anthropological Approach}, year = {2017}, school = {IFA/NYU}, abstract = {Anthropologists and sociologists have made hair the focus of numerous studies since the late nineteenth century, noting the importance of hair behavior during rituals and the ways in which communities in different cultures harness this uniquely expressive body part to signal inclusion and change in status. Although hairstyles in Greek and Roman Antiquity have frequently been the subject of scholarly attention, no systematic study of the meaning of hair in Greek art has previously been undertaken. This dissertation investigates hair in the Archaic and Classical periods in a variety of ways, with an emphasis on how it could visually demarcate ideal figures and situations from chaotic, dangerous ones. Hair is considered both practically and symbolically in relation to the consolidation of gender roles in Greek society, concentrating on its erotic potential, as well as the importance of grooming and self-care in establishing the community members in opposition to the unstable characters found outside the bounds of society in myth. The unique capacity of hair to signal order, energy, and emotion is demonstrated using a wealth of surviving visual material with an emphasis on vase painting and sculpture.}, keywords = {Ancient Greek/Roman Art}, author = {Stoner, Lillian} } @mastersthesis {12554, title = {Hans Thoma and the German Nation: Painting and National Identity in Modern Germany}, year = {2017}, school = {Indiana}, abstract = {This study analyzes Hans Thoma{\textquoteright}s (1839-1924) creative motivations, artistic development, and struggle for recognition in the context of modern German painting. More importantly, it examines Thoma{\textquoteright}s place in nineteenth-century German art, particularly that of fin-de-siecle German Realist art from 1870-1900, with its contributions to the newly-formed government{\textquoteright}s initiative of constructing a generic German national identity through his landscape paintings and genre scenes. I contend that Hans Thoma{\textquoteright}s paintings played a part in constructing the German idea of the {\textquoteright}Deutsche Heimat{\textquoteright} [German Homeland] at this time. Thoma{\textquoteright}s paintings of the day-to-day life of people living in rural Germany and their surrounding landscapes came to represent an identity of the collective whole. Because he primarily painted the people and landscape in and around his hometown of Bernau, in southern Germany{\textquoteright}s region of Baden-Wurttemberg, it also expressed Thoma{\textquoteright}s regionalist pride. Regionalism, and its varying identities, became a foundation for larger definitions of German nationalism toward the end of the nineteenth century. Unfortunately, Thoma{\textquoteright}s paintings have received little consideration since the early part of the twentieth century due to a posthumous association with the Third Reich{\textquoteright}s propaganda campaigns during World War II. As a result, this study will attempt to dispel the negative associations that resulted in his marginalization. It will also analyze his contribution to German art and consider his role in the visual construction of German nationalism. It is the aim of this dissertation to reintegrate Hans Thoma into German art history and present his artwork as quintessential to discussions about German art and nationalism.}, keywords = {Nineteenth Century, Painting, Twentieth Century}, author = {Bentley, Christine} } @mastersthesis {12528, title = {The Harvest of Modernity: Art, Oil, and Industry in the Venezuelan Twentieth Century}, year = {2017}, school = {IFA/NYU}, abstract = {In the middle decades of the twentieth century, Venezuela experienced an efflorescence of modernist experimentation in art, architecture, and visual culture that accompanied a correspondent surge of industrialization and urbanization. So celebrated is this moment that the dominant narrative of Venezuelan modernism privileges the rise of kinetic art in the 1950s and 1960s as the singular outstanding cultural achievement of the country, yoking a nationalistic belief in progress with the aesthetic of geometric abstraction. This narrative, however, smoothes over the disjunctions that were inherent in the modernist project, namely its foundation in a developmentalist push that sought nothing less than the wholesale reinvention of the country through the "sowing of the oil," or the total development of its vast petroleum reserves. This dissertation traces the origins, construction, and ultimate dismantling of Venezuelan modernism through the lens of petroleum, from the first major wave of concessions and development by foreign oil companies in the 1930s to the nationalization of the industry in 1976. In four case studies and an epilogue, it examines the forces and presumptions that led to the unexpected conflation of export commodity capitalism, nationalist pride, and modernist discourses in the Venezuelan twentieth century. Part I discusses the material legacy of Creole Petroleum Corporation, the Venezuelan subsidiary of Standard Oil of New Jersey and the largest oil producer in the country until nationalization. It considers the development of abstract modernist design by Carlos Cruz-Diez, Gerd Leufert, and Nedo Mion Ferrario in the corporate oil journal El Farol (1939-1975); as well as the reconfiguration of natural and manufactured space in Creole{\textquoteright}s Amuay refinery complex-cum-housing community (1946-1955). Part II takes up more indirect manifestations of oil as they appeared in the realm of the arts. It addresses the consolidation of kinetic art through a case study of several monumental, informalist murals constructed in 1961 by Jesus Soto, which thematize the physical translation of matter into energy; and the rejoinder issued by the dissident leftist artist collective El Techo de la Ballena (1961-1969), whose theory of "magma" conceived of viscous crude oil as an anarchic, fluid counter-structure to modernity. An epilogue concludes this study with a brief meditation on the petroleum-based work of Rolando Pena, which literalizes the operative binary of structure and spillage. Drawing from artistic and corporate archives, print journals, and interviews, this dissertation offers a multidisciplinary view of Venezuelan modernism that accounts for the geopolitical forces and ideological matrices that determined its parameters. It proposes a reading of petroleum itself as ideology: rooted in notions of rapid industrialization, radical material transformation, and human mastery over nature, oil organized the actual and imagined shape of Venezuelan modernism, even as it veiled the ideological processes that conditioned its production. This study seeks to uncover not simply the manner in which national(ist) histories and identities are constructed, but more critically the means by which they are fashioned as natural, inevitable, and self-evident.}, keywords = {Latinx, Twentieth Century}, author = {Nesselrode, Sean} } @mastersthesis {12572, title = {Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935-1945}, year = {2017}, school = {UCLA}, abstract = {This dissertation presents the first extended analysis of Alberto Giacometti{\textquoteright}s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti{\textquoteright}s iconic postwar work. Those interventions - disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body - developed from Giacometti{\textquoteright}s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti{\textquoteright}s pre- and postwar oeuvres, this decade-long interval merges two distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture{\textquoteright}s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti{\textquoteright}s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures. Giacometti{\textquoteright}s crisis moreover coincided with political and social crises in France and Switzerland in the 1930s and 40s. The rhetoric addressing these crises took up the terms of figurative sculpture to describe the destabilization of national self-representation: a loss of face, the inability to form a cohesive image of the body-politic, and the dissolving boundaries of the individual citizen. These metaphorical "figurations of crisis" are refracted in Giacometti{\textquoteright}s crisis of figuration through its disruptions of the surface, scale relations, and integrity of figurative sculpture. Tracking these resonances, this dissertation articulates concrete and contextualized terms for the artistic crisis at its center - not as shambolic breakdown, but as a form and experience of substance attained through processes of destruction.}, keywords = {Sculpture, Twentieth Century}, author = {Fiduccia, Joanna} } @mastersthesis {12516, title = {How to Hit the Ground: Motion and Measurement in Moving Pictures before the Great Crash}, year = {2017}, school = {Pennsylvania}, abstract = {How to Hit the Ground: Motion and Measurement in Moving Pictures before The Great Crash Will Schmenner Karen Redrobe, Advisor On December 21, 1914, the Keystone Film Company released Tillie{\textquoteright}s Punctured Romance, directed by Mack Sennett. Roughly seven weeks later, depending on where one lived in North America, D.W. Griffith released The Birth of a Nation (1915). For cinema and media studies, this moment launched the form of the classical Hollywood feature-length narrative-the roughly ninety-minutes to three-hour film that since became ubiquitous. The two movies, despite sharing a longer-than-normal duration, could hardly be more different. The Birth of a Nation purports to be history. President Woodrow Wilson was famously quoted as saying, "It{\textquoteright}s like writing history with lightning." Griffith carefully designed his broad overarching themes about race and gender so that they would drive the narrative. On the other hand, Tillie{\textquoteright}s Punctured Romance pieces together a narrative that is often seen as secondary, at best, to the slapstick comedy animating the picture. My dissertation delves into this difference, which cannot be solely contributed to slapsticks desire to burlesque Griffith. By building up an argument from the forms that bodily motion took in the shots, across the edits, and in the narrative structure of Buster Keaton{\textquoteright}s 1920s features, I argue that cinema and media studies needs to reconsider how it thinks about so-called non-narrative techniques and passive audiences. In short, Keaton worked with the visual habits of his audiences to create a set of non-narrative techniques that make up the very narrative structure of his movies. By engaging with the bio-politics of bodily motion in the 1920s, Keaton was able to take the well-established visual habits of an industrializing America and tactically alter them to critique how bodies are moved and monitored, who controls the moving of those bodies, and who sets the understanding of efficient, permissible, and effective motions. In the context of The First Red Scare (1920 - 1921) and what John Dos Passos called "the deportations delirium," Keaton{\textquoteright}s comedy offered a more realistic depiction of how disjointed, contingent and chaotic the experience of everyday life could be.}, keywords = {Film/Video/Animation}, author = {Schmenner, William} } @mastersthesis {12493, title = {I Modelli di Virtu: Mythological Heroes in the Art of Fifteenth-Century Florence}, year = {2017}, school = {Cornell}, abstract = {Images of mythological heroes, the half-mortal descendants of pagan deities, abounded in the visual culture of Florence. Whether wrought in stone, depicted on canvas, or articulated in numerous other mediums, depictions of valiant deeds and those who accomplished them were commissioned and collected in growing numbers. While the sixteenth century saw the production of large-scale painted narrative cycles depicting their various exploits as recounted in ancient texts, this interest in the representation of heroes had its iconographic roots in the previous century. My dissertation considers the role of mythological heroes in the visual construction of the heroic ideal in Quattrocento Florence. I argue that changing notions of virtue and a robust culture of exemplarity inherited from ancient and medieval traditions influenced the reception of mythological heroes and account for their reemergence in the visual arts of the city at this time. This type of hero, I maintain, served as a model of civic virtue at a moment when secular ideals began informing public identity. Definitions of the hero changed over time. By examining the reception and resonances of the figures of Aeneas, Hercules, and Orpheus-three mythological heroes who enjoyed significant symbolic ties to the Republic of Florence in the fifteenth century-this study highlights and attempts to rebuild the nexus of literary and visual precedents that together provided the foundation for the mythological hero{\textquoteright}s visual prominence in the expansive painted narratives and large sculptures of the next century. These three heroes were selected for closer study in this context in part due to their presence in greater numbers in the visual record than other mythological heroes at the time. In tracing a classical theme from its representational origins in material culture, often located within the domestic or private sphere, to its eventual imbrication within the monumental arts commissioned for public spaces, my research situates mythological heroes and their representation in the Quattrocento within the social fabric of Florence and moves beyond a Medicean-centric context that has frequently framed discussions of classical reception in Florentine culture.}, keywords = {Fifteenth- to Seventeenth-Century Art, Painting, Southern Europe and Mediterranean}, author = {Ehrlich, Victoria Heidy} } @mastersthesis {12436, title = {The Idea of Architecture in Sixteenth-Century France}, year = {2017}, school = {Toronto}, abstract = {In early sixteenth-century France, architecture was more an idea than a set of buildings. Architecture was drawn upon as a rhetorical authority around 1500, where sculptors, painters, goldsmiths, printers, masons, and other skilled craftsmen strived to act as architects in the media in which they were skilled. Rhetoriqueurs used the architectural idiom increasingly to flatter patrons and receive commissions. Perhaps due to the fact that "architecture" was not circumscribed by guild membership, it was often conceptually elided with other notions like sculpture, the antique, and ornament. This thesis reconsiders the relationships between the artistic categories of architecture, sculpture, and painting. It also analyses the word "ornament", and suggests that the term assumed ambiguous designations in the early modern period that rarely reflected the definitions it inherited from eighteenth-century contexts. Four chapters establish how architecture as an idea is given presence in the early decades of the sixteenth century. The first chapter shows how ceramicists, painters, and sculptors practiced "architecture" when they migrated to France to furnish the royal chateaux. The chapter further argues that concepts of order and license were derived from these various craft contexts, and related less to concepts of harmony and proportion that has been conventionally attributed to "classical" architecture. The second chapter is an exploration of architecture{\textquoteright}s corpus as a collection of objects. With this in mind, the chapter investigates the relationship between the culture of collecting, the naming of objects, and the appeal of the fragment. Chapter three shows how architecture was commonly presented as a frame, particularly in royal entries and as title pages. The final chapter shows how some of the most enduring architectural types, particularly the temple, were most effectively expressed in miniature and as what we conventionally think of as ornament.}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Bissett, Tara} } @mastersthesis {12429, title = {I.M. Pei, William Zeckendorf, and the Architecture of Urban Renewal}, year = {2017}, school = {CUNY}, abstract = {This dissertation reevaluates the practice of design and real estate in the United States through an insufficiently understood case study of the architect-developer team of I. M. Pei and William Zeckendorf and their twelve-year partnership in urban renewal. William Zeckendorf (1905-1976) was the most ambitious real estate developer in the United States in the 1950s, with an outsize personality and larger-than-life plans. Unlike most developers of the era, Zeckendorf believed that quality design and visionary planning were critical to remaking city cores through urban renewal. To accomplish this, he hired I. M. Pei (b. 1917), a talented, young designer out of Harvard{\textquoteright}s Graduate School of Design, creating a scenario that fundamentally changed the traditional working relationship between developer and architect. In 1948, Pei joined Zeckendorf as the in-house architect of Webb \& Knapp, and together, they became the most active urban renewal developer and architect in the country. Webb \& Knapp{\textquoteright}s urban empire stretched coast to coast, remaking huge swaths of New York, Chicago, Philadelphia, Pittsburgh, and Washington, DC, through federally funded urban renewal. It also developed privately funded urban renewal schemes in Denver, Los Angeles, and Montreal. Yet despite this tremendous volume of influential executed works in urban planning and design, this untold history has fallen prey to sweeping, simplistic condemnations of urban renewal as a "failed policy." Zeckendorf and Pei provided an alternative and effective model for real estate development and design practice within the context of the most aggressive city-rebuilding programs in the history of the United States. This study raises serious questions about practice and the history of urban architecture and modernism, which all too often privileges information about "architect-creators" to the exclusion of such important other actors as real estate developers. The pathbreaking and successful collaboration between this visionary developer and a talented, young architect offers a more nuanced-and more accurate-evaluation of urban redevelopment strategies in the United States than previous critiques. It moves beyond a scholarship that to date has been dominated by an oversimplified and distorting dichotomy between Robert Moses and Jane Jacobs-the respective avatars of "top down" and "bottom up" approaches to urban planning. Zeckendorf and Pei imagined, designed, and built large-scale urban projects imbued with substantive architecture, mixed in use, technological and financial ingenuity, a distinct modernist aesthetic, and bold new thinking about how people should live, work, move around, and entertain themselves in cities. The nature of the Zeckendorf-Pei collaboration was unprecedented, but the results were not without controversy. Pei and Zeckendorf{\textquoteright}s unique twelve-year partnership and their urban renewal work broke design and planning barriers. Together, developer and architect skillfully played their parts in a powerful public-private collaboration that altered the American city and redefined how Americans thought about urbanism.}, keywords = {Architectural History/Urbanism/Historic Preservation, North America}, author = {Clark, Marci Muhlestein} } @mastersthesis {12552, title = {Images of Processions in Seventeenth-Century Dutch Visual Culture}, year = {2017}, school = {Kansas}, abstract = {This study examines representations of religious and secular processions produced in the seventeenth-century Northern Netherlands. Scholars have long regarded representations of early modern processions as valuable sources of knowledge about the rich traditions of European festival culture and urban ceremony. While the literature on this topic is immense, images of processions produced in the seventeenth-century Northern Netherlands have received comparatively limited scholarly analysis. One of the reasons for this gap in the literature has to do with the prevailing perception that Dutch processions, particularly those of a religious nature, ceased to be meaningful following the adoption of Calvinism and the rise of secular authorities. This dissertation seeks to revise this misconception through a series of case studies that collectively represent the diverse and varied roles performed by processional images and the broad range of contexts in which they appeared. Chapter 1 examines Adriaen van Nieulandt{\textquoteright}s large-scale painting of a leper procession, which initially had limited viewership in a board room of the Amsterdam Leprozenhuis, but ultimately reached a wide audience through the international dissemination of reproductions in multiple histories of the city. I argue that the painting memorialized a storied, yet defunct ritual and, in doing so, inscribed the values of community, civic charity and tolerance within Amsterdam{\textquoteright}s cultural memory. Chapter 2 investigates Caspar Barlaeus{\textquoteright}s Medicea hospes, a lavishly illustrated book produced to honor the 1638 visit to Amsterdam of Marie de{\textquoteright} Medici, Queen Regent of France. Intended for an elite European audience, the text featured a series of etched and engraved images depicting the Queen{\textquoteright}s ritual procession through the city as well as the tableaux vivants and water spectacles staged in her honor. I suggest that Barlaeus and the Amsterdam city council capitalized on Marie{\textquoteright}s ritual entry and its subsequent representation in the Medicea hospes as opportunities to aggrandize and disseminate the city{\textquoteright}s reputation at home and abroad. Chapter 3 considers paintings and prints of religious processions designed for an open, middle-class market. Often intimate in scale, these images demonstrate an ongoing interest in and demand for depictions of processional subjects, which civic and ecclesiastical bodies routinely subjected to legislation. I focus on scenes of parades held on Twelfth Night and Shrovetide, the two processional rituals most often depicted by Dutch artists, and argue that viewers desired such images for their pictorialization of communal identity and the concomitant cultural values they espoused. Chapter 4 examines Hendrick van der Burch{\textquoteright}s unusual painting of the graduation procession of a doctoral candidate at Leiden University. The subject of such an institutional rite of passage, I suggest, would have appealed to residents of the surrounding university neighborhood as a familiar, seasonal marker of celebration and as a symbolic representation of the intersection between academic ritual and the local community. Collectively, the four chapters assert the changing roles, yet continued relevance of Dutch processional images within an increasingly secular, urban and culturally pluriform society.}, keywords = {Northern Europe}, author = {Blocksom, Megan} } @mastersthesis {12583, title = {Imaging the In-Between: The Serial Art of Richard Tuttle}, year = {2017}, school = {Georgia}, abstract = {This study reconsiders the perplexing abstract art of the American artist Richard Tuttle (b. 1941) by arguing that Tuttle{\textquoteright}s practice is a paradoxically serial one. As the first to insist upon the serial nature of his art, this study contends that since the beginning of his career in the mid-1960s, Tuttle has worked almost entirely and deliberately in series, producing at least three hundred series in a variety of media and demonstrating a commitment to serial art that is unrivaled within postwar art. While the term {\textquoteright}series{\textquoteright} has been used casually to describe some of Tuttle{\textquoteright}s projects, examinations to date have yet to interpret Tuttle{\textquoteright}s oeuvre within a framework of seriality, perhaps because Tuttle{\textquoteright}s series confound the rigidly systematic conventions of postwar serial art that yielded logical order, sequences and, in some cases, predictable conclusions. Although at times Tuttle{\textquoteright}s series employ identical materials and similarly formed objects, quintessential features of conventional serial logic, his series do not follow discernible patterns but rather appear unfinished and willfully unresolved, as if each object within the series represented a new and different moment in a provisional unfolding. Furthermore, the last object of any given series appears to be an arbitrary end, an abrupt break in the series that might have continued. Consequently, Tuttle{\textquoteright}s serial art can be said to privilege uncertainty and irresolution. Hence this dissertation argues that Tuttle{\textquoteright}s seriality images a serial process that is purposefully and perpetually in-between beginnings and endings. This study also examines Tuttle{\textquoteright}s serial art within the broader framework of art history - the origins of art in antiquity and the Renaissance, the legacies of abstraction, and various movements in postwar art, namely Minimalism, Postminimalism, and Process Art. As this study contends, Tuttle{\textquoteright}s serial art functions as a form of philosophy, and it establishes important affinities between Tuttle{\textquoteright}s seriality and its philosophical counterparts, such as the processual and generative philosophy of Gilles Deleuze.}, keywords = {Theory/Historiography/Methodology, Twentieth Century}, author = {Smith, Laura Lake} } @mastersthesis {12527, title = {An Imperial Diet: From Cacao to Coconuts - Representing Edible Bodies in the Americas from the Eighteenth Century to the Present}, year = {2017}, school = {Rutgers}, abstract = {This dissertation endeavors to prove through a series of visual mediations that the alimentary tract signifies a gastropoetical dialectic between the eater and the eaten. Alimentary discourse is capable of developing a visual language that illustrates the interiority of appetites of empire through the politics of provender. In this study sugar, cacao, pineapples, and coconuts operate as a lens to view the scaffolding of social and artistic strategies. This project is committed to the excavation of image construction, the visual representation of the African Diaspora in the Americas, and understanding the formation of gastronomical narratives through colonial discourse. Anthropologist Sidney W. Mintz suggests that anthropology has the capabilities to answer the outside and inside meanings of food pathways; but so far it has not done so. This dissertation will be able to offer insight into these issues. In a way, this work calls out what I consider obvious omissions regarding the connections between art history, the visual archive, and tropical food pathways by clearly articulating the power of these foods to transform cultures of vision and the induction of a modern world system. Ultimately, my dissertation offers a critical study of race, gender, sexuality, transnational, and transhistorical food pathways.}, keywords = {Latinx, North America}, author = {Thomas, Tashima} } @mastersthesis {12442, title = {Impressions of Innovation: Early Netherlandish Printmaking, 1520-1540}, year = {2017}, school = {Toronto}, abstract = {Printed images played an active role in the local visual and material culture of the sixteenth-century Low Countries. In the first half of the century, printmakers were not restricted by guild systems and patronage structures, and thus they had considerable freedom to adopt and innovate styles, subjects, techniques, and pictorial effects. In the Netherlands, Lucas van Leyden, Dirck Vellert, Frans Crabbe, Nicolas Hogenberg, Master AC, and Jacob Cornelisz. van Oostsanen produced printed images that engaged with and responded to contemporary areas of interest and anxiety, including antiquity, vernacular identity, ideal beauty, and local nobility. Their etchings, engravings, and woodcuts were not just important to the development of printmaking in northern Europe; the prints were also on the forefront of important artistic and stylistic developments, and they were in dialogue with art production in the region across media. Despite their local significance, early Netherlandish prints are viewed as derivative of developments in German-speaking lands, and Albrecht Durer{\textquoteright}s residence in Antwerp in 1520-21 continues to be cited as the impetus for Netherlandish artists to take up printmaking. This study argues that Netherlandish printmaking in the first half of the sixteenth century arose from collaborative engagements with artistic traditions both local and foreign. Lucas van Leyden and his contemporaries drew on German and Italian prints that were circulating in the region, yet they adapted these models to suit local tastes and contexts. I view such changes and adaptations as innovations that held particular significance to the local visual milieu. All printmakers from the first half of the sixteenth century were active in other media (including panel paintings and stained glass), and I examine how their diverse artistic backgrounds informed their artistic and commercial strategies. Etchings, engravings, and woodcuts are examined separately in this study, for these print techniques originated from diverse artistic traditions, and therefore held distinct material, social, and cultural resonances. I examine emerging discourses of artistic identity and authority in the formation of the Netherlandish printmaker, and I argue that many of the artistic, commercial, and stylistic innovations introduced in the early sixteenth-century anticipated the expansion of the printmaking industry at mid-century.}, keywords = {Artistic Practice/Creativity, Drawings/Prints/Work on Paper/Artistic Practice}, author = {Horbatsch, Olenka} } @mastersthesis {12454, title = {Indigenous Artists, Ingenuity, and Resistance at the California Missions After 1769}, year = {2017}, school = {UCLA}, abstract = {This dissertation aims to place California Indian agency and artistry at the forefront of California mission art studies through close analysis of Chumash and Tongva practices at four of Southern California{\textquoteright}s missions: San Gabriel, San Buenaventura, Santa Barbara, and Santa Ines. Although the mission churches and their decorations reflect European stylistic influences, all twenty-one mission sites are the products of California Indian ingenuity and resistance. By examining primary accounts and ethnographic sources, this dissertation presents an Indigenous reading of Chumash and Tongva dances, stone sculpting, basket weaving, and painting carried out under great adversity at the missions. After entering the missions, California Indians continued to practice their ancestors{\textquoteright} traditions that pre-dated the Franciscan friars{\textquoteright} 1769 arrival. California Indian artists also combined local materials with European and Mexican styles, which gave their art and the mission buildings a unique appearance. This dissertation draws upon decolonizing methodologies, rooted in interdisciplinary studies, to deconstruct Eurocentric biases in archival sources and romanticized misunderstandings in historical scholarship about mission art and California Indian contributions. The traditional art historical tools of formal analysis and iconography bring to light the artistic talents of California{\textquoteright}s first peoples and dignify Indigenous art on its own terms. No end date is given in this dissertation{\textquoteright}s title because California Indian art survived and the descendants of the people who built the missions are continuing their legacy today. Readers will find a new perspective on the missions that seeks to honor the California Indian people who bravely expressed their beliefs and traditions through art in these contested spaces.}, keywords = {Colonial and Modern Latin America, Native American/First Nations}, author = {Chavez, Yve} } @mastersthesis {12517, title = {The indigenous sovereign body: gender, sexualities and performance}, year = {2017}, school = {New Mexico}, abstract = {Gender variance and artist production are not topics that are often discussed within the discipline of art history. In fact gender variance and in particular its relationship to sexual orientation was not a topic studied, much less discussed outside of the medical community until the mid-twentieth century. It was generally thought that sexuality and gender were "biologically determined" and deviation from the heterosexual norm was considered pathological. In contrast, Indigenous nations in Canada and the United States had a very different understanding regarding the relationship between gender, biology, and sexual object of choice. One area that provides us with a glimpse into how Indigenous people construct knowledge regarding gender and sexual identity is through the study of their artistic production. Before the 1990s, much of the discourse and research on Indigenous gender and sexual expressions written by explorers, medical professionals, and anthropologists dominated the field of research. This discourse reflected non-Native concerns and ideas and beliefs regarding gender and sexuality. In these contemporary times we have seemingly witnessed an increasing acceptance of gender variance, but nonetheless acts of violence against those who do not conform to a binary construction of gender and sexuality are a constant reminder of the vulnerability of those who do not conform to expectations. The stories of individuals contained in this dissertation not only show how Indigenous nations constructed knowledge regarding gender differently, but also that binary gender and sexual categories are not perdurable. My claims are informed by the retelling of actual historic and contemporary experiences of individuals who did not conform to settler nation state constructions of gender. This knowledge demonstrates that the binary construction of gender is a construction and we must ask ourselves, what are the consequences for Indigenous nation building and sovereignty if we maintain constructions of gender that perpetuate heteronormativity, and heteropatiarchy?}, keywords = {Genders/Sexualities/Feminisms, Native American/First Nations}, author = {McGeough, Michelle} } @mastersthesis {12608, title = {Infiltration and Excess: Experimental Art and the East German State, 1980 - 1989}, year = {2017}, school = {UC Santa Cruz}, abstract = {Art and cultural historians have long characterized the relationship between East Germany{\textquoteright}s experimental artists and its state bureaucrats as at best one of division, opposition, and hostility. In this view, artists are either victims or pawns of the state. In "Infiltration and Excess: Experimental Art and the East German State, 1980-1989" I expand this framework to reveal how experimental culture actually engaged with the state and exposed and critiqued its core disjunctions. I focus on artists who used body-based practices, like performance, film, and photography, to create new vocabularies for representation, as well as their uses of reproducible media in the creation and circulation of their work. By the Cold War{\textquoteright}s final decade, the GDR government{\textquoteright}s inability to produce a collective and coherent public significantly frayed its power. Thus, I argue that experimental practice was not only an antidote for, but also a diagnosis of a weakening state: a foil and a mirror to official culture. In fact, the East German experimental arts scene produced an alternative public-a counter-public-with commitments to culture, community, and interdisciplinarity that state socialism had sought to inspire. This irony, really an inversion of state socialist principles, lies at the heart of my dissertation. Oversimplified narratives of the Cold War era have consistently defined the Eastern Bloc by its victimization or complicity under Communism, leaving little room for details about regional variation in culture or civic politics. My scholarship-based on substantial archival research and numerous interviews-highlights one case among many, joining an emerging field of academics and artists whose work examines the Cold War past as a means of revitalizing and globalizing areas of the world once again at risk of cultural and political isolationism.}, keywords = {Twentieth Century, Visual Studies}, author = {Blaylock, Sara} } @mastersthesis {12569, title = {Joseph Beuys and Social Sculpture in the United States}, year = {2017}, school = {CUNY}, abstract = {Alongside the rise of the activist movements in the late 1960s, the German artist Joseph Beuys (1921-1986) proposed his concept of "social sculpture"-a method of fostering creativity, aimed at transforming society through interdisciplinary dialogue-as an alternative to the chaotic political, economic, and social life of postwar West Germany. He sought to heal society through a work of art with holistic and spiritual intentions, centered on the belief that art can include the entire process of living and therefore can be created by a wide range of people beyond artists. Although his ideas are understood and even celebrated in Europe, this dissertation contends that a misunderstanding of his artistic practice as separate from his political engagement resulted in a lack of recognition by art historians and a weakened dissemination of his ideas to politically active artists in the United States until the Reagan-Bush era (1980-1993). This dissertation argues for the centrality of Beuys{\textquoteright} concept of social sculpture to the development of a form of socially engaged public art, now identified as "social practice," that developed in the United States during this period to address what artists perceived as failing social structures and increasing inequality. Focused on the interaction between artists and audiences, the form of social practice that is informed by Beuys{\textquoteright} concept of social sculpture is characterized not only by its performative nature, but also by the diversity of its audiences, pedagogic intentions, and politically charged themes. This dissertation provides a nuanced understanding of Beuys{\textquoteright} theories and practice in order to convey how his work resonated in the United States following his acceptance by pioneers in the field of social practice in the late 1980s and 1990s. Beuys{\textquoteright} theory and reception is analyzed through two key figures in U.S. art of the 1990s: artists Suzanne Lacy (b. 1945) and Rick Lowe (b. 1961). While not a method exclusive to these artists, the work of Lacy and Lowe offers two models for the confluence of social sculpture and community-based activist artistic practice in the United States. Lacy is known for her site-specific feminist media interventions, which in the 1980s and 1990s took the form of bringing together diverse groups to discuss issues such as race and teen violence using mentorship programs and planned performances. Beginning in 1993, Lowe became involved with a low-income African-American area of Houston, which he has socially and economically revitalized using art and dialogue via a long-term collaborative initiative called Project Row Houses. This dissertation will demonstrate how each has interpreted Beuys{\textquoteright} concept by adapting social sculpture to fit the needs of their audience, and thereby revealing Beuys{\textquoteright} shifting critical reception over time, as well as demonstrating the breadth of Beuys{\textquoteright} impact in its application to a range of issues including feminism and racism. By establishing how these artists have employed an aesthetic concept of politics in a manner similar to Beuys, I will argue that the type of artistic practice that was impacted by social sculpture differs from other participatory art practices that have emerged in the United States and Europe since the 1980s.}, keywords = {Politics/Economics, Twentieth Century}, author = {Jordan, Cara} } @mastersthesis {12457, title = {Just an Amateur: Adam Clark Vroman, Photography, and the American West, 1895-1904}, year = {2017}, school = {Rutgers}, abstract = {From 1895 to 1904, Pasadena bookstore owner Adam Clark Vroman (1856-1916) made eight summer trips to photograph the landscape and indigenous peoples of the Arizona and New Mexico Territories. In Southern California, his contemporaries recognized him as a local photographer of note and an authority on Southwest Indian cultural practices. Vroman consolidated his distinguished national reputation by forming working relationships with the staff of the Smithsonian Institution{\textquoteright}s Bureau of American Ethnology. The Bureau, established in 1879, was the key institutional proponent of social evolutionary theory in the United States. Adherents to the theory sought to map the development of the human mind as it evolved from the meanest state of savagery to middling barbarism and finally to fully realized civilization. The material cultures and social practices of the living indigenous peoples of North America were highly important to social evolutionary theory; they were cited as contemporary proof of the baser mental phases through which the civilized mind had long since evolved. Fully engaged with Smithsonian anthropology, Vroman endeavored to produce work relevant to the activities of the Smithsonian in the Southwest. These scientific aspirations fundamentally shaped his approach to picture-making, resulting in a body of work marked by directness, precision, and detachment-aesthetic qualities that scholars, underemphasizing the actual causes, have cited as evidence of artistic exceptionalism on Vroman{\textquoteright}s part. This dissertation proposes a significant shift and correction in our view of Vroman and his work. It demonstrates that although certain aesthetic aspects of Vroman{\textquoteright}s art may now appear to be exceptional and forward-looking, his photographic practice was in fact fully embedded in, motivated by, and reflective of contemporary anthropological discourses. Moreover, Vroman{\textquoteright}s association with the Smithsonian casts new light on the photographic literature of the time: It reveals the great extent to which that literature-both technical and critical-adopted the language of social evolutionary theory in an effort to prove the medium{\textquoteright}s rapid evolution from a savage to a civilized art. This has important ramifications for our understanding of Vroman{\textquoteright}s photography and its early reception. In contemporary photographic circles, the characteristics for which Vroman{\textquoteright}s photographs are now admired were then understood as the hallmarks of an amateur. The amateur photographer was held responsible for the field{\textquoteright}s developmental stagnation and was denounced, in social evolutionary terms, as a savage. Vroman was keenly aware of such characterizations, and he agitated against them. His attempt to balance the demands of science against an implicit aesthetic repudiation accounts for the extraordinary complexity and ambivalence of his work. The first chapter uses Vroman{\textquoteright}s photographs of the Hopi Indian Snake Dance to demonstrate that social evolutionary theory informed contemporary efforts to trace the origins of photography. Chapter 2 explores Vroman{\textquoteright}s first collaboration with the Smithsonian. The chapter underscores a set of ambiguities that, from the start, characterized his photographic project. Most central was his amateur status in two fields-photography and anthropology-that were quickly professionalizing. Chapter 3 expands on the uncertain future of Vroman{\textquoteright}s photographic endeavors, addressing his status as a self-taught amateur operating outside the salon system. The chapter serves to demonstrate that, at the turn of the century, the amateur was held responsible for the field{\textquoteright}s developmental stagnation and was rebuked, in social evolutionary terms, as a savage. Chapter 4 focuses on Vroman{\textquoteright}s dogged pursuit of photographing desert clouds. As an avid reader of ethnologies of the Pueblo Indians, Vroman understood the significance of clouds to the Southwest{\textquoteright}s indigenous peoples. Although in contemporary critical terms Vroman{\textquoteright}s technique may have been decidedly primitive, his cloudscapes represent an unprecedented approach to landscape photography, one informed by Puebloan cosmology. The conclusion uses the insights gained from the case of Vroman to propose a new perspective on modernist photography in the United States. It considers whether post-World War I anthropology might be a useful theoretical tool with which to understand the development of modernist photographic discourses.}, keywords = {Conceptual Art, North America}, author = {Shannon, Heather A.} } @mastersthesis {12475, title = {Juxtaposing Brushes: Painting Collaborations in Early Modern Japan}, year = {2017}, school = {Princeton}, abstract = {This dissertation centers on a group of eighteenth-century collaborative paintings from Japan that juxtapose deities and immortal figures with Japanese maidens. The paintings-Kume the Immortal by Kano Terunobu and Nishikawa Sukenobu, Fukurokuju with Courtesan and Geisha by Kitao Shigemasa, Isoda Koryusai, and Tanshukusai Shoboku, and Enma and His Mirror by Ko Sokoku and Katsukawa Shunsho-feature combinations of distinct painting modes, brushed by painters of different ateliers. Produced on silk with rich colors, they were time and labor intensive works that required complex logistical coordination and high material costs. These collective endeavors and others like them raise issues of patronage, artistic lineages, as well as painting practices. In the three main chapters, I unravel each of these collaborative paintings, analyzing how the various layers of juxtaposition within them functioned, and what they meant to their audiences. I show that modern classifications of the paintings as ukiyo-e ("pictures of the floating world") and mitate-e ("parody pictures") fail to address the essential aspect of multiple authorship and its implications. These works, I argue, engage both juxtaposition and collaboration, so it is necessary to examine them under both rubrics to broaden our comprehension of painting production and consumption in early modern Japan. My study compares the paintings to literary illustrations and printed works of the same subjects to investigate the significance of the collaborative process. I employ detailed formal analyses to gain a deeper understanding of painting modes and their relevance to the formation of lineages and artistic reputations. Through a close reading of contemporary sources such as Nishikawa Sukenobu{\textquoteright}s 1748 "Painting and Color Application Methods ( Gaho saishiki ho)," and Segawa Tomisaburo{\textquoteright}s 1818 published directory, The Edo Compass (Edo hokaku wake), I contextualize how painters self-identified and also how they were perceived by others. I consult, too, other primary materials such as diaries kept by painters and daimyo to explore the interactions between painter and patron. I end with a discussion of subsequent painting collaborations in the nineteenth century.}, keywords = {East Asia}, author = {Chiong, Wai Yee} } @mastersthesis {12556, title = {Kazimir Malevich and Russian Modernism}, year = {2017}, school = {Chicago}, abstract = {Although Malevich{\textquoteright}s abstract Suprematist paintings are canonical images of modern art, standard avant-garde or modernist paradigms have little purchase on them. This dissertation proposes that Malevich{\textquoteright}s modernism was the product of an attempt to make sense of both Russian and Western art of the recent past. Such an approach shows that Malevich{\textquoteright}s art is both an idiosyncratic elaboration of Russia{\textquoteright}s own image-making traditions and a self-conscious attempt to participate in Western European modernism. To make this case, I sketch an alternative to the story of post-Enlightenment aesthetics that ground received histories of modernism. Emphasizing the weakness of a secularizing tradition in Russia, I look to texts by Russian religious and secular thinkers to understand Russian modernism in the visual arts as a departure from traditional ideas of modernist medium specificity. Malevich{\textquoteright}s autobiography demonstrates his sympathy with this alternative tradition. This is not to say that Malevich sought to create a purely national art; in fact, I begin by showing that Malevich{\textquoteright}s early career was defined by its "mimesis" of predominantly French painting. This practice of creative imitation dislocated styles from their original socio-historical contexts, thereby generating a "meta-modernist" practice. Suprematist painting too challenged notions of mimesis apropos abstract art. A critical reading of Malevich{\textquoteright}s Suprematist manifestos discloses their constitutive contradictions between virulent attacks on objects and the persistence of the tradition of painting. I conclude by demonstrating that Malevich{\textquoteright}s late works, rather than a form of artistic reaction, self-consciously put on view the local and international origins of the artist{\textquoteright}s practice.}, keywords = {Painting, Twentieth Century}, author = {Phillips, Daniel K.} } @mastersthesis {12474, title = {Kitagawa Tamiji{\textquoteright}s Art and Art Education: Translating Culture in Postrevolutionary Mexico and Modern Japan}, year = {2017}, school = {Kansas}, abstract = {This dissertation investigates the life and career of the Japanese painter, printmaker, and art educator, Kitagawa Tamiji (1894-1989), and his conception of Mexico as cultural Other. Today, Kitagawa is widely recognized in Japan as an artist and educator, whose thought and practices were deeply inspired by his long-term residence in postrevolutionary Mexico (1921-1936). Kitagawa left Japan at the age of twenty to study art in the United States. After engaging in several temporary jobs and briefly being trained at the Art Students League of New York, he went to Mexico in 1921, to eventually spend the next decade and a half working as an artist and art educator. Kitagawa{\textquoteright}s conception and narrative of Mexican culture-especially that of the Mexican indigenous population-are noteworthy for an early twentieth-century artist/intellectual. Rather than seeing Mexico in terms of its widespread stereotype as a distant tropical country, he regarded the country as a key locus of the emerging anti-colonial notion of culture. Based on his experience in the utopian political/social milieu immediately after the Mexican Revolution (c.1910-1920), after his return to Japan, Kitagawa took Mexico as a crucial reference point in conceiving the future trajectory of post-1945 Japanese modernity. In this dissertation, Kitagawa{\textquoteright}s career as an artist and educator will be investigated alongside the notion of "ethnography" as addressed by James Clifford in the late 1980s. Beyond the common understanding of the term within academic anthropology as a professional practice of participant observation and writing, Clifford defines ethnography as an omnipresent experience of displacement and cultural encounter in the contemporary global world shared by a variety of subjects such as immigrants, tourists, and "native" informants. Clifford emphasizes the experience of travel in ethnography, or a process of moving away from "home" in modern Euro-America, which often leads one to critical meditations on the normative cultural/political values in the West, including those represented by the discourse of nationalism, socio-economic progress and colonial domination over non-Western Other. According to Clifford and others, ethnography is a practice that prompts an alternative understanding of the modern/contemporary global world, in which the conventional boundary between "civilized" Self and "backward" Other has increasingly been blurred. Keeping Clifford{\textquoteright}s notion of "ethnography" in mind, this dissertation argues that Kitagawa{\textquoteright}s experience of travel over the Americas and his long-term residence in Mexico equipped him with an ethnographic perspective of modernity. After his return to Japan, expressing such critical standing on modernity, Kitagawa embarked on a difficult task of cultural translation in order to exercise his Mexican-inspired art and pedagogy within a post-1945 Japanese social context. His activities revolved around knowledge of the cultural Other that emphasized an alternative mode of modernity. In negotiating the dominant West-centered narrative of culture, Kitagawa{\textquoteright}s art and pedagogy dealt with social ethics and worldviews that were inherently incompatible with the dominant ideologies of Western modernity.}, keywords = {East Asia, South America}, author = {Kumagai, Takaaki} } @mastersthesis {12444, title = {La poitique de l{\textquoteright}ivresse: discours et pratiques modernes interpelles par l{\textquoteright}intoxication creatrice}, year = {2017}, school = {Montreal}, abstract = {This thesis examines the operating presence of intoxication as a concept in many of modernism{\textquoteright}s founding discourses as well as in some of its practices. Intoxication is considered both as a way to understand artistic creation and as a chemically-induced state allowing artists to access a specific kind of creativity. The first part of the thesis shows how, in the 19th century, speculations about altered states of consciousness (alcohol, opium, hashish, etc.) intersected with poietic and aesthetic considerations. To demonstrate this, we link the development of an imaginary construct of intoxication that is filled with references to painting with writings on artistic creation that celebrate psychophysiological disorders. To support our hypothesis that the relationship linking art and intoxication is constitutive of the spirit of modernism we solicit the points of view of four writers who have adopted a physiological perspective on art: Stendhal, Balzac, Baudelaire and Nietzsche. Our aim is to elaborate notions of intoxication that are specific to each without losing sight of their respective sociohistorical contexts. By doing so, it becomes possible to delineate the emergence of the figure of the intoxicated artist and to analyze its ideological character. In the second part of the thesis, we observe the implications of this construct on artistic practices during the 20th century. We begin by attesting to the challenges and material difficulties which states of intoxication can pose to painters. We thereby identity reasons why artists from the early avant-gardes kept their distance from intoxication. We then turn to painters who, from the inter-war period on, instead sought states of intoxication and developed strategies to exploit them to creative ends: S.I. Witkiewicz, Josef Sima, Andre Masson, Jackson Pollock and Kazuo Shiraga. First, we observe how these processes tend to detach themselves from a rigorist pictorial formalism, granting instead a determining function to empathy in the creation as well as the reception of the artwork. We go on suggest two distinct types of pictorial expression of intoxication: one which still requires the expedient of figuration, the other which is grounded in a spontaneous involvement of the artist{\textquoteright}s body. The notions of trace and aura theorized by Walter Benjamin allow us to tie these two modes of practicing intoxication to ways of conceiving artistic creation during a period distinguished by Taylorism as well as by image reproduction technologies.}, keywords = {Artistic Practice/Creativity}, author = {Lachance-Provencal, Francois} } @mastersthesis {12445, title = {L{\textquoteright}art comme pratique transformatrice au XXe siecle: la soma-esthetique de David B. Milne (1882-1953)}, year = {2017}, school = {Montreal}, abstract = {For most of the 20th century the dominant trends of art history and theory, from protoformalism to poststructuralism, have valiantly devoted their efforts to the formulation of scientific instruments whose disciplinary benefits remain very important despite some contestable ideological excesses. To this end, these approaches have nonetheless consciously excluded the lived situatedness of numerous remarkable bodies of works as a valid factor of analysis. The artistic practice as an art of living in the strongest sense, the manner in which art transforms the artist who grasps it as a realm of exploration of the self, the ethics that accompanies any aesthetic, as well as the majority of questions related to creation and subjectivity have all been part of a systematic repression in the study of visual arts. We suggest that it is precisely this repressed lived dimension that is manifesting as a symptom or a backlash in the research concerning the spiritual in art that has multiplied since the end of the 20th century. This research indeed mediates at its core a conception of art as a human conduct capable of transforming and expanding one{\textquoteright}s consciousness, even elevating it to a state of transcendence. It succeeds, however, by repeatedly resorting to the sacred, the numinous or the inexpressible, and in so doing escapes a necessary questioning on the concrete practice of art and its specific interactions with the human being. Questioning this dual shortcoming = the repression of the artist{\textquoteright}s experience, the omission of the reality of the practice = and responding with a new secular and scientific methodology of analysis allowing to better understand how art forms are linked to human attitudes and pursuits is the central problematic of this thesis. To this end, the discipline of somaesthetics elaborated by philosopher Richard Shusterman (USA, 1949=) serves as our principal theoretical resource. This pragmatist conceptual framework enables the analyst to consider the artist as an active body-mind guided by a personal melioristic objective that is inseparable from his/her realisations; it consequently encourages an inventory of the artist{\textquoteright}s works, writings and lifestyle, including physical, attentional and spiritual practices, and makes it possible to draw from this research material a non-hierarchical description of the analytical, pragmatic and practical aspects of the artist{\textquoteright}s creative approach. Applied here to the endeavour of Canadian painter David B. Milne (1882=1953) = an exemplary case for having been labeled alternately an {\textlnot}{\textasciiacute} ultramodern {\textlnot}{\textordfeminine} painter and a {\textlnot}{\textasciiacute} deeply spiritual {\textlnot}{\textordfeminine} artist = somaesthetics produces an unprecedented connection between the artistic facts judged legitimate (the works, definitions of art and influences) and the biographical information deemed anecdotal (the ethical, procedural, domestic, experiential and intimate data). This interaction clarifies Milne{\textquoteright}s positions and actions in his cultural-historical context, offers a precise understanding of his painting as an exercising and transformative ground, reframes his body-mind gestures within the practices necessary to the act of creation, and thus revises the restrictive modernist interpretation of his work without resorting to an all encompassing spirituality. In describing {\textlnot}{\textasciiacute} artistic meliorism {\textlnot}{\textordfeminine} as a full-fledged field of research, this thesis finally wishes to rehabilitate a section of art history{\textquoteright}s historiography which is already sensitive to the human experience but has been reduced to silence by the dominant discourses. It strives to continue it by contributing to the movement of critical reclamation of the {\textlnot}{\textasciiacute} life and work {\textlnot}{\textordfeminine} model that is currently emerging and that revitalises the communication of art by affirming its potential of being a tool for existential knowledge.}, keywords = {Artistic Practice/Creativity}, author = {Ninacs, Anne-Marie} } @mastersthesis {12495, title = {The Lay of the Land: Themes in Early Modern English Landscape Painting}, year = {2017}, school = {University of Washington}, abstract = {Landscape paintings generally offer a far and wide view of external world, including all parts of the built and natural environment that pass before the eye. As a genre in England, landscape painting arose slowly in the second decade of the seventeenth century, portraying royal palaces and their prosperous environs along the Thames. This dissertation examines the development of an English landscape iconography based on property, both real and intellectual. I argue that during the seventeenth and early eighteenth centuries traditional English hierarchies of ownership were combined with new concepts of achievement to reimagine exclusive rights. To analyze visual works within an early modern context, I draw on a range of late sixteenth- to late eighteenth-century written sources, including diaries, journals, private correspondence, public rolls, personal account ledgers, periodicals, poetry, histories, travel texts, and scientific works, as well as economic, political, and aesthetic treatises. Such a broad literature of source material is interdisciplinary and situates landscape imagery in its historical period. Similarities and differences in verbal and visual representations reveal how concepts of knowledge changed throughout the period: just as contemporary manuscripts and printed texts celebrated increasing concentrations of riches and innovative technologies, landscapes depicted larger properties, advances in science, and recent sources of prosperity. Large numbers of patrons chose portraits of their houses surrounded by local landscape features and familiar terrain. But they also commissioned paintings of birds and animals in landscape settings that stylistically mimicked the rhetoric of English scientific societies. In addition to technological advances, both commercial successes and productive land also inspired novel landscape imagery. The exotic territory of foreign lands, for example, proved as well-suited to glorifying England{\textquoteright}s thriving trade as it did to advertising a patron{\textquoteright}s progressive taste or range of knowledge. I examine how landscape images fit into these cultural processes and, in conclusion, I find that the newly emerging themes of landscape painting promoted a reevaluation of customary patterns. In particular, painters designed and copied imagery in which new sources of wealth and intellectual skills brought the same social and political advantages as did the ownership of land and great houses.}, keywords = {Fifteenth- to Seventeenth-Century Art, Renaissance/Baroque Art}, author = {Budnick, Barbara} } @mastersthesis {12469, title = {Le Arti del Fuoco: The Art History of Mining and Metallurgy in Sixteenth-Century Italy}, year = {2017}, note = {subject: Visual Studies}, school = {Maryland}, abstract = {This dissertation is the first study of early modern mining and metallurgy from an art-historical perspective. Metallurgy, the science of metals, concerns the physical and chemical properties of metallic elements and techniques of manipulation of these materials. Focusing on Italy, I explore ways in which practitioners, authors, and artists used the available pictorial languages of both traditional art objects and scientific and technical illustrations to record and communicate techniques and technologies of mining and metallurgy. I discuss the historical and technological contexts for these practices through the sixteenth century and the Aristotelian worldview that humanism and other systems of thought challenged. Three case studies demonstrate how discussions and debates about the natural world were enacted through visual media related to mining and metallurgy: the illustrations of Vannoccio Biringuccio{\textquoteright}s De la Pirotechnia (Venice, 1540); Domenico Beccafumi{\textquoteright}s alchemical-metallurgical woodcut series; and art objects with the theme of Vulcan at his forge commissioned by elite patrons. I argue that the significant attention given to mining and metallurgical pursuits by artists, craftsmen, patrons, and philosophers in the early modern period led to a kind of apotheosis of these fields and to a parallel rise in the status and recognition of practitioners and artists in their association with and representation by images of Vulcan at his forge. A defining feature of the early modern period is artists{\textquoteright} growing self-recognition of their value to society as sources of craft knowledge. Their skills as makers, engaging practices from a variety of mechanical arts and science, offered men of learning new methodologies with which to approach natural philosophical inquiries. Artists and artisans demonstrated their virtu through their ingenuity and their mastery of materials, appealing to elite patronage through their virtuosic works. Men of learning could similarly increase their own virtu by engaging with craft practices. Focusing on the fields of mining and metallurgy, this dissertation aims to bring early modern artists and practitioners closer together by arguing that both groups pursued their mutual goal of elevated status in similar ways and that their works share a visual language by which they further their cause.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Painting, Southern Europe and Mediterranean}, author = {Dubinsky, Caroline} } @mastersthesis {12586, title = {L{\textquoteright}edizione dell{\textquoteright}Abecedario Pittorico di Pellegrino Antonio Orlandi, aggiornata da Pietro Maria Guarienti (1753), una fonte per la storia dell{\textquoteright}arte portoghese}, year = {2017}, school = {Montreal}, abstract = {This dissertation, presents a study and commented edition of artistic-historical information regarding Portugal included in the Abecedario Pittorico by Pellegrino Antonio Orlandi, republished by Pietro Guarienti in Venice in 1753. Guarienti lived in Lisbon from 1733 until 1741 and among his main activities he was an art critic and merchant, in addition to a restorer. His success as connoisseur allowed him to get in touch with a wide range of collectors, therefore giving him the chance to see innumerable collections and familiarise himself with Portuguese art. At the end of his career, while working on the new expanded edition of the Abecedario, an encyclopediac universal dictionary of artists, he inserted, all the information on Portuguese art and collections he had gathered during his stay into this masterpiece. During the first half of the eighteenth century in Portugal, art literature basically did not exist, so the Abecedario represents the first printed work which sheds light on the life of various artists in that country. It includes biographies of twentyfive masters, mostly painters working in Portugal, going from those living in the fifteenth century to those still alive in the thirties and forties of the eighteenth century. Guarienti collected manuscripts and oral information from painters, collectors and erudite people, adding his personal notes derived from the direct observation of works of art. As a consequence, the lives of the artists do not simply carry biographical data, but also include news on the masterpieces present in Lisbon at that time. On top of the lives, the Abecedario also contains much information as far as collections are concerned. The author after all, accurately recalls the paintings from all the various schools he was able to see in the places he visited: the Royal Palace, churches and monasteries around Lisbon, Mafra and Evora and many homes of over thirty private collectors. This is a corpus without comparison in Portuguese art literature, since the published sources which give information on eighteenth century art collecting in Portugal, are rare and rather incomplete. Few of the art amateurs mentioned by the author have been studied; as a matter of fact, some were even unknown. It is also clear that, on top of people traditionally belonging to the aristocracy, a wider public of high officials, merchants and artists existed. But above all this corpus reveals the existence of an extraordinary collection of paintings from the most famous Italian, Flemish, Dutch and Spanish masters, a patrimony that, up until now, has not been studied.}, keywords = {Theory/Historiography/Methodology}, author = {Viggiani, Daniela} } @mastersthesis {12521, title = {Left and Right: Politics and Images of Motherhood in Weimar Germany}, year = {2017}, school = {CUNY}, abstract = {Art historians and cultural critics have long debated the aesthetic and political implications of the stylistic shift in Germany from pre-war experimentations with abstraction and expressive distortion to more clear-cut figuration in their paintings during the years following World War I. They have questioned whether this shift represents a regressive return to tradition or a new artistic direction and if it should be associated with a reactionary or progressive political stance. This dissertation broadens our understanding of German interwar realism, commonly referred to as Neue Sachlichkeit, by examining representations of mothers, a popular theme in the realist painting of the Weimar period (1919-1933). Through a series of case studies I explore how artists, as well as art critics and collectors, working from a range of political positions, used the image of the mother, employing various strategies of realism, to engage with the social and political conflicts of the tumultuous Weimar years. Focusing first on leftist figures I examine how socially-engaged artists, including Kathe Kollwitz and Rudolf Schlichter, produced simplistically realistic images of proletarian mothers as propaganda for the German Communist Party{\textquoteright}s campaign to legalize abortion. I then study the veristic realism of representations of working-class mothers by Otto Dix, one of the most (in)famous painters of the Weimar period, in an attempt to resolve the controversy about whether his minute attention to detail and exaggerated color typical of the German Old Masters relates to a need to expose the social evils of the Weimar years. The next chapter focuses on Georg Schrimpf{\textquoteright}s maternal images and how his employment of an idealizing and classicizing naturalism grounded in the Italianate pastoral tradition gives form to his utopian, anarcho-socialist beliefs. In the final chapter I consider how members of the Weimar art world affiliated with the political right also championed artistic realism by examining the posthumous reception of Paula-Modersohn Becker. As I discuss, numerous right-wing art historians, critics and collectors appropriated her motherhood works to support various nationalist and conservative agendas. By demonstrating the political and stylistic complexity of German interwar painting, my dissertation challenges previous attempts to interpret Neue Sachlichkeit simplistically as either right/reactionary or left/liberal while also opening up new understandings of some of the movement{\textquoteright}s most important members.}, keywords = {Genders/Sexualities/Feminisms, Twentieth Century}, author = {Vangen, Michelle} } @mastersthesis {12533, title = {Les acquisitions du Musee d{\textquoteright}art contemporain de Montreal 1992-2012}, year = {2017}, school = {Montreal}, abstract = {The aim of this thesis is to document and examine 20 years of collecting at the Museum of Contemporary art of Montreal between 1992 and 2012, a period during which the collection went from 3300 works of art to more than 7700. We investigate the development of the collection and its representation via exhibitions organized by the Museum. We seek to report what the acquisitions tell us about the institution, the orientation it is giving its collection and the message it seeks to transmit. Our research based on analysis of facts collected in public documentation examines the composition and functioning of the various decision committees responsible for acquisitions, and the financing of the institution. It details acquisitions made via purchase and gift, looks at the style and date of the works selected. It documents the arguments (justifications) brought forward in order to acquire the work and add it to the collection. It observes the image the Museum wants to convey of its collection through its exhibitions. Our study draws a factual portrait of collection during the mandates of the 3 directors in charge of the Museum over a 20 year period and the idea of the collection they tried to communicate via exhibitions.}, keywords = {Museum Practice/Museum Studies/Curatorial Studies/Arts Administration}, author = {Dubreuil, Martine} } @mastersthesis {12464, title = {"Les Costumes Grotesques" by the Larmessin Family: Prints and Professional Habits during the Reign of Louis XIV}, year = {2017}, school = {Florida State}, abstract = {This dissertation provides the first comprehensive study of Les Costumes Grotesques, a group of one-hundred black and white single-figure etchings of elegantly-posed characters wearing or composed of items related to a specific occupation, profession, or trade. The Costumes Grotesques was initiated by Parisian printmaker Nicolas I de Larmessin in 1688 and expanded in the years after Nicolas I{\textquoteright}s death by his wife, brother, and associate. From the first to the last, these prints are itemized illustrations of seemingly every imaginable consumer object that was crafted, sold, and utilized for the purposes of enhancing early-modern life. In dressing these characters in work-related goods, the creators of the Costumes prints connected their figures-quite literally-to the processes, tools, and products of manufacture. In some, characters are dressed in twelve signs of the zodiac, in masks, in explosives, and in plans of military fortifications, thus expanding the ensemble{\textquoteright}s subject matter to include many other types of professions aside from artisanal expertise. In dressing these characters in occupation-related items, the creators of the Costumes prints connected their figures-quite literally-to the processes, tools, and products of manual and intellectual labor. The existing literature on the Costumes Grotesques has clarified issues of attribution, established the individual prints that comprise the ensemble, and has identified possible influences on its conceit. Yet a study of the place the Costumes ensemble occupies, in its broader historical context and the specific visual culture in which it was created, has yet to be explored. Similarly, issues concerning the extent of its publication, circulation, and reproduction by other printmakers require further scrutiny. In this dissertation I argue that the Costumes Grotesques delighted audiences with its detailed, encyclopedic, and imaginative renderings of occupational tools and products, while also entertaining viewers with subtle (and, often, not so subtle) critiques of the monarchy and the pretensions of aristocratic culture. Throughout the ensemble are references to the specific period of Louis XIV{\textquoteright}s reign in which they were created: an era marked by the monarch{\textquoteright}s war-mongering, which threatened the nation{\textquoteright}s economic health, and by the gradual dimming of the splendor of Versailles, which was no longer the site of festivities on the scale they had been at the start of the monarch{\textquoteright}s reign. At the same time, I suggest, the Costumes celebrated numerous important achievements, accomplishments, and contributions of the French monarchy. In the chapters of my dissertation, I provide the first substantial definition of the Costumes Grotesques as a monument. I also analyze the production and circulation history of the ensemble, and examine the compositions of all known surviving original and pirated editions of the Costumes that have been preserved in US and European print repositories. By comparing the composition of editions of variants to those comprising the distinct publication phases identified in previous scholarship, I reveal the complexity of the ensemble{\textquoteright}s circulation, and determine the place that variants, which were produced soon after the ensemble{\textquoteright}s initiation, occupied in its production history. Other chapters focus on the question of sources for the Costumes Grotesques. A number of themes emerge and overlap in these three chapters, such as the increasing permeability of the boundary that had previously separated the court from the public sphere, and the complex public perception of Louis XIV{\textquoteright}s reign at the end of the century.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Fifteenth- to Seventeenth-Century Art}, author = {Buck, Sarah} } @mastersthesis {12498, title = {Live, Struggle, and Die: A Study of Antique Forms in Late-Quattrocento Sculpted Reliefs}, year = {2017}, school = {Penn State}, abstract = {A series of sculpted reliefs produced in late-15th-early-16th-century Florence and Padua - reliefs crafted by such artists as Bertoldo di Giovanni, Michelangelo Buonarroti, the workshop of Andrea del Verrocchio, and Andrea Riccio - display a number of conspicuously pagan motifs and subjects. The strangely provocative character of these motifs precludes a neatly allegorical method: in other words, these tropes cannot easily be dismissed as either harmless trifles or Christian allegories. I argue that these motifs represented modes of thought and emotional states which could not be conveniently reconciled with prevailing doctrines. To this end, in the following pages, I examine the relation of the pagan-inflected sculpted relief in the period to the technical and ethical norms prescribed by the contemporary theorists of the visual arts, particularly Leon Battista Alberti. I also explore these sculpted reliefs within the larger context of the 15th-century revival of pagan antique culture, a revival which manifested itself through a renewed attention to both the physical (gems, statues, sarcophagi) and literary (surviving poetical works, philosophical treatises, etc.) evidence on the part of both collectors and humanists. To this examination of primary sources and objects, I add a theoretical component inspired by the work of Aby Warburg and Edgar Wind. This component consists of the application of the concept of the pathosformel (a motif which uses implied movement to express emotion) to clarify the emotive meanings contained within each sculpted relief. Though some of these artworks - such as Michelangelo{\textquoteright}s Battle of the Centaurs - will be familiar to students of Art History, my approach yields new directions through which to explore the pagan-inflected sculptural reliefs of early modern Italy. Additionally, my scope is expanded to include some lesser-known examples which provide useful and challenging insights into the zeitgeist in question.}, keywords = {Fifteenth- to Seventeenth-Century Art, Southern Europe and Mediterranean}, author = {Millard, Robert} } @mastersthesis {12440, title = {Living Time, Performing Memory: Maya Ceremonies of Foundation and Renewal}, year = {2017}, school = {UC Santa Cruz}, abstract = {Living Time, Performing Memory: Maya Ceremonies of Foundation and Renewal is concerned with how Maya notions of cyclical time were practiced, looking specifically at how the past, present, and future coexisted in particular moments. Ceremonies of renewal that took place at certain foldings of time, such as period endings and royal accessions, were crucial occasions when the proper rituals had to be re-enacted in order for the world to continue. Rulers and elites not only performed these rituals, but also left objects that functioned as memory markers to recall actions of the past into the present. This project looks at primary sources in the form of carved stelae, reliefs, painted ceramics, murals, and the built environment from the Preclassic to the Postclassic Maya period. The sites of Palenque and Copan serve as case studies for how rulers performed and recorded their embodied remembrances of time-renewal ceremonies. Small portable objects offer insight as to additional characters who participated in these rituals, which enriches the traditional focus on the role of the ruler. Through the case studies and a close analysis of the primary materials, this study expands on the notion of cyclical time in Maya culture as was previously understood to one that includes a vision and practice of a coexistence of times, or what I call timefulness. Rulers and elite created these moments of timefulness through elaborate ceremonies in order to renew time and thus, guarantee their future. These ideas of reaching for the past in a way that propels Maya people towards the future, and not as a sense of nostalgia, challenges current Western ideas that place modern-day Maya as always stuck in the past. Thus, this project enlightens our understanding of ancient Maya philosophies and practices as well as how these ideas endure amongst their contemporary descendants.}, keywords = {Art of the Ancient Americas, Indigenous Peoples}, author = {Rose, Diana} } @mastersthesis {12555, title = {On London Ground: The Landscape Paintings of Frank Auerbach and Leon Kossoff}, year = {2017}, school = {CUNY}, abstract = {This dissertation is the first critical analysis of the parallel, seven-decade-spanning urban landscape oeuvres of British painters Frank Auerbach (b. 1931) and Leon Kossoff (b. 1926). Since the post-World War II era of widespread political, geographical, and psychological displacement, when the practice of observation-based landscape painting had all but disappeared from international advanced art, Auerbach, who came to England in 1939 as a German-Jewish child refugee from the Nazis, and Kossoff, a first-generation Londoner of Ukrainian-Jewish heritage, have obstinately pursued an art of place. As art students in London, the two simultaneously developed laborious painterly processes of accumulation and scraping based in on-site drawings of the motif in order to convey their sensory experiences of the ever-changing city: from the massive upheaval of the Reconstruction-era building sites both represented in the 1950s to the animations of the everyday streets, parks, and railway stations they depict in their subsequent, separate, locally-rooted practices. The resulting images, which hover between illusionistic form and abstract brushwork, expand the visual languages of representation and complicate the established discourses of international postwar painting by refusing any notion of a binary between abstraction and figuration. My dissertation argues that together, Auerbach and Kossoff have not only produced an unprecedented visual portrait of postwar and contemporary London, but also that these two urban, Jewish artists of non-British background have each revitalized the deeply "British" legacy of landscape depiction by expanding the genre{\textquoteright}s range of subject matters, modes of representation, and the processes by which landscape paintings are made and viewed. Building on the phenomenological approach to the artists{\textquoteright} works established by David Sylvester, my chapters merge close visual analysis with social and cultural history to offer original interpretations of Auerbach{\textquoteright}s and Kossoff{\textquoteright}s images and sequences. My project proposes that the artists{\textquoteright} dual body of London landscapes challenges the naturalist and nationalist assumptions of the landscape tradition, evinces the unique and understudied contributions of postwar British painting, and reveals the ongoing significance of place as a subject of artistic attention in the rapidly shifting modern and contemporary world.}, keywords = {Painting, Twentieth Century}, author = {Hallman, Lee} } @mastersthesis {12519, title = {Lt. Claggett Wilson, Queer Masculinity, and the Formation of American Modernism}, year = {2017}, note = {subject: Twentieth Century}, school = {Missouri}, abstract = {An American artist best known for a 1919 watercolor series that depicts scenes of the First World War, Claggett Wilson{\textquoteright}s varied oeuvre includes watercolors, oil paintings, stage sets, costumes, murals, and decorative interiors. Through skilled social-networking, self-promotion, and a willingness to reach outside the discipline boundaries of fine art, Wilson successfully navigated the interwar art world, securing exhibitions, garnering critical favor, and attracting prominent commissions and benefactors. Whether rendering the theater of operations or crafting spaces within which inhabitants performed fashioned identities, his decades-long career was heavily influenced by his involvement within various New York art and theater scenes and his familiarity with contemporaneous queer culture. This dissertation culls the archives to reconstruct the life of this now-forgotten artist, calling attention to his performative stance as an ideal soldier and aesthete. Additionally, this dissertation provides a framework for situating Wilson{\textquoteright}s art through close studies of his most discussed bodies of work, which include war scenes, paintings of Basque sailors, and the mural program and interior design of Ten Chimneys in Genesee Depot, Wisconsin. I argue that Wilson{\textquoteright}s art was at once conservative in its upholding of certain national, racial, and class values, while at the same time sexually rebellious, pushing against contemporary norms of bourgeois respectability. His visual humor employed a range of references, from historical aesthetic styles to contemporary racial stereotypes and political events, and spoke to particular interpretive communities that became increasingly narrow as his artistic projects moved from the New York art scene to midwestern domestic interiors and back.}, keywords = {Genders/Sexualities/Feminisms, North America, Queer/Gay Art}, author = {Conley, Niki Eaton} } @mastersthesis {12573, title = {Luca Giordano: Speed, Imitation, and the Art of Fame}, year = {2017}, school = {Delaware}, abstract = {Over the course of his long career, the Neapolitan painter Luca Giordano (1634-1705) engaged in a widespread enterprise of painting, becoming one of the most famed artists of his time, and the first Neapolitan painter to achieve international acclaim. His body of work offers a fascinating depth of artistic activity in which he moves fluidly across numerous styles and media with marked unconventionality. Looking at several prominent areas of his artistic output-including imitations, "fast" paintings, and paintings on glass that were sold on the market for the applied arts-this dissertation reconstructs how these unusual artistic modes were part of Giordano{\textquoteright}s strategic drive for fame, and evidence of his market-driven approach to painting. Taking the economic and artistic life of Giordano as a case study, this dissertation analyzes the mechanics of attaining international success on the seventeenth-century art market, and explores how his works confront issues of technique, theories of artistic practice, patronage, and colonial exchange. The diversity of Giordano{\textquoteright}s body of work serves as a valuable indicator of the vastness of the seicento art market and the varied collecting tastes of its patrons. In each chapter of this study, I show that Giordano cultivated a persona of an artist who specialized in the virtuosic mastery of difficult and wide ranging techniques, tailoring his output to fit the broad array of collecting interests that characterized seicento Europe. This is explored via analyses of Giordano{\textquoteright}s specialization in rare types of skills, including painting with speed, mimicking a remarkable range of old masters and contemporaries, and becoming the most dominant producer of reverse paintings on glass. In exploring the unconventional means by which Giordano attained fame and built his reputation, this study illuminates the myriad ways in which an artist{\textquoteright}s value was determined, and questions certain scholarly biases that have imposed a restrictive definition for what constituted artistic greatness in the seicento. The present study will offer insights into the strange and often-oversimplified artistic philosophy of Luca Giordano, demonstrating the ways that his distinctive career provides compelling new information about artistic celebrity, the market, and theoretical stances on speed and imitation. In doing so, it can be shown that Giordano{\textquoteright}s fame was the product of an intelligently crafted marketing strategy, theatrical displays of virtuosity, and a tireless ambition to outdo his competition.}, keywords = {Seventeenth Century, Southern Europe and Mediterranean}, author = {Racco, Tiffany} } @mastersthesis {12458, title = {Ludic Conceptualism: Art and Play in the Netherlands, 1959 to 1975}, year = {2017}, school = {CUNY}, abstract = {This dissertation, the first extended study on art in the Netherlands in the 1960s and {\textquoteright}70s, investigates the phenomenon of ludic art, taking its lead from Johan Huizinga{\textquoteright}s definition of {\textquoteright}ludic{\textquoteright} in his seminal Homo Ludens (1938). According to Huizinga, the ludic is characterized by masquerade, freedom, and purposelessness, to which I add my own theoretical contribution-absurdity. I argue that the key instantiation of Huizinga{\textquoteright}s ideas is found in the utopian project New Babylon (1959-74) by Constant Nieuwenhuys. In the 1960s, ludic art was deployed as a strategy of social critique that attacked from an oblique angle, sometimes effectively, but often misunderstood. When ludic art of the period overlapped with the Conceptual art movement, a new genre emerged, for which I have coined the term Ludic Conceptualism. The dissertation follows a diachronic thread of play in art, from the first iteration of New Babylon in 1959, until the death of Conceptual artist Bas Jan Ader in 1975. The roles of curators, museums, and governmental institutions were crucial factors in the production and legibility of the ludic exhibition, and I regard the manner of exhibiting ludic art as a potentially ludic endeavor in and of itself. Accordingly, particular attention is paid to Willem Sandberg and the Stedelijk Museum in Amsterdam, and to four historically critical exhibitions- Die Welt als Labyrinth (1960), Bewogen Beweging (1961), Dylaby (1962), and Op Losse Schroeven (1969). A chapter is devoted to a comprehensive re-examination of the career of Robert Jasper Grootveld, an outsider previously misunderstood as a madman. By revisiting his oeuvre through the construct of play as a critical strategy, I argue that Grootveld emerges as the quintessential ludic artist, an innovator who made seminal contributions to the development of this genre. The last chapter of the dissertation analyzes examples of Ludic Conceptualism that parody public institutions as a means of indirectly criticizing Dutch culture: the A-dynamic Group, AFSRINMOR, the Sigma Center, the Internationaal Instituut voor Herscholing van Kunstenaars (International Institute for the Re-Schooling of Artists), and the television program Hoepla. I contend that Huizinga{\textquoteright}s Homo Ludens provided the intellectual foundation of a disparate range of artwork characterized by myriad manifestations of play. Furthermore, I argue that playful art was fostered by the social, economic, political, and cultural conditions of post-World War II Dutch society. Created in an environment that benefited by strong institutional support, ludic art enjoyed an enthusiastic critical and public reception. Ludic Conceptualism thus offers a localized definition of art that does not fit better-known categories-such as Fluxus and Nouveau Realisme-and attends to the particular social and political context of the Netherlands in the 1960s. The new term allows for a more specific categorization of Dutch art and artists, while providing a potential template for further research into ludic work made in other locales that may have been equally misrepresented, eluded categorization, or simply neglected within the history of art.}, keywords = {Conceptual Art, Twentieth Century}, author = {Schoenberger, Janna} } @mastersthesis {12408, title = {Making Moroccan {\textquoteright}Heritage{\textquoteright}: Art, Identity, and Historical Memory in the Early French Protectorate of Morocco (ca. 1912-1931)}, year = {2017}, school = {Michigan}, abstract = {This dissertation argues that transnational negotiations over the meaning and content of Morocco{\textquoteright}s cultural heritage and identity during World War I and the interwar period (ca. 1912 - 1931) were critical to the French Protectorate{\textquoteright}s cultural campaign in Morocco. During the first decades of the twentieth century, the early French Protectorate regime, led by Resident-General Hubert Lyautey from 1912 until 1925, established one of the earliest and most comprehensive programs for arts and heritage management in Africa and, arguably, the world; the legacy of this colonial project is still reflected in notions and practices of "heritage" in Morocco and France today. Existing literature depicts the Protectorate{\textquoteright}s exceptional attention to preserving Morocco{\textquoteright}s "traditional" architecture, arts, neighborhoods, and cultural practices as a colonial campaign pursued in the service of social control, economic exploitation, and political dominance. I diverge from this current scholarship by examining the dynamic relationship between the colonial politics of cultural representation within Morocco and the intellectual, commercial, and political stakes of representing a cultural image of Morocco on the international stage. In this way, I broaden our understanding of the early-twentieth-century cultural relationship between France and Morocco beyond the realm of colonial politics to consider its formative role in articulating twentieth-century notions of "art," "heritage," and "identity" on both sides of the Mediterranean. By the turn of the nineteenth century, Morocco had taken on a central position in imperial politics as the object of economic and political competition among the major European powers. With the formal establishment of French and Spanish protectorates in the region in 1912, the image of Morocco as a long independent Muslim kingdom in North Africa continued to have symbolic currency for its European protectors and allies who held a particular stake in disassociating Moroccan society and politics from the German-allied Ottoman world. Following years of political and economic instability in their country during the second half of the nineteenth century, the first decades of the twentieth century also presented an opportunity for diverse actors in Morocco to reimagine themselves and their society in relation to evolving cultural, national, and transregional identities and relationships. Drawing upon recent museum and heritage theories, I consider how different communities and actors in France and Morocco exploited the representational tools afforded by concurrent developments in museum display, cultural exhibition, and the emerging scholarly disciplines of Islamic and African art to articulate competing claims over Morocco{\textquoteright}s cultural image and national identity. The significance of this project varied for its stakeholders: some strove to make sense of Morocco{\textquoteright}s diverse arts, cultures, and histories in relation to globalizing narratives of "tradition," "modernity," and national identity, while others endeavored to profit from the commercial and professional opportunities afforded by growing international interest in Morocco{\textquoteright}s cultural products. My analysis brings together a range of exhibitionary contexts in France and Morocco typically discussed separately in historical studies - the Exposition Franco-Marocaine in Casablanca (1915), the museums of art and ethnography established by the French Protectorate in Morocco (1915-1929), the first exhibition of Moroccan art in France (1917), the Grande Mosquee de Paris (1922-26), and the international and colonial expositions of the early twentieth century in Marseilles (1922) and Paris (1925 and 1931) - to demonstrate the varied political, commercial, and intellectual objectives that shaped local and global notions of Moroccan "heritage" in the twentieth century.}, keywords = {Africa, Islamic Art}, author = {Miller, Ashley V.} } @mastersthesis {12411, title = {A material world: confluences between {\textquoteright}contemporary{\textquoteright} urban Dogon art and rural Dogon creative practices in Mali}, year = {2017}, school = {Indiana}, abstract = {My dissertation examines confluences between so-called "contemporary" Dogon artists working in the international art market and "traditional" Dogon ceramists, blacksmiths, carvers, indigo dyers, dancers, and other artists operating in a more localized, often religious-based market on and around Mali{\textquoteright}s Bandiagara Escarpment. I will identify the many ways that urban-international Dogon artists are presently disrupting Euro-American binarisms of traditional and contemporary African art. I will also explore how they use local and European art techniques to engage with lesser known, yet highly essential Dogon artistic mediums, themes, and aesthetic concepts. I have found that Dogon artists of both rural and urban-international art markets show a profound interest in the invisible forces of the earthen ground and space. Knotholes adorning wood sculptures, the untouched regions of papers and canvases, and the layout of objects on the gallery floor or rural village plaza are all manipulated by Dogon artists to explore local philosophies surrounding space, the landscape, and the human body. Emphasis is also placed on the materiality of art. The power of Dogon art materials derives from their distinct physicochemical qualities, their \&jnodot;\&igr;ama (vital energies), and their capacity to transform through the technical-ritual activities of assigned experts. In Dogon rural society, this role often falls upon members of endogamous {\textquoteright}artist{\textquoteright} clans. Rural-based Dogon artists, particularly under-represented women ceramists, are often stereotyped as mindlessly repeating the activities of their ancestors. By recording artist commentaries and analyzing individual works, I will demonstrate how their diverse creations are, in fact, the product of multiple intellectual and creative decisions made in a given environment. I will also discuss how their work has inspired urban-international Dogon artists in countless ways. Due to my many years working with internationally recognized Dogon artist Amahiguere Dolo, his prolific works are my primary focus. Engagements with the Institut National des Arts, Musee National du Mali, and numerous local artist associations have led to other artist contacts.}, keywords = {Africa}, author = {Hurd, Jessica} } @mastersthesis {12487, title = {Mediterranean Trade and Architectural Production: The Church of S. Corrado in Molfetta}, year = {2017}, school = {Duke}, abstract = {The 12th- and 13th-century cathedral of S. Corrado in Molfetta (Apulia) illuminates the effects of Mediterranean trade on architectural production. The town{\textquoteright}s engagement with long-distance commerce supported professional travel and prompted new institution-building strategies in ecclesiastical and lay society. In these ways trade reshaped the finances, building process, and specialized expertise of S. Corrado. This study applies a combination of approaches to the written record and built fabric of the church. Documents are examined for their financial structures and symbolic ramifications. The building fund is found to have manifested the competitive relationships of many large institutions, producing a multiplicity of forms and functions in the cathedral. A new chronological analysis informed by construction archaeology (detailed photography, on-site measurement, digital modeling, and diagrammatic visualization) suggests that the cathedral was designed in a series of flexible episodes, and not in accordance with an original plan. New technical comparisons suggest that the specialized knowledge of the work force of S. Corrado was transmitted from a range of contexts (including the northern Adriatic and southern France). These dynamics can be related, more precisely than before, to specific conditions of the commercializing economy. Thus the findings of this study can inform the methods and frameworks of architectural history in the larger Mediterranean context.}, keywords = {Eleventh to Fourteenth Century, Southern Europe and Mediterranean, Visual Studies}, author = {Williams, Joseph Chandler} } @mastersthesis {12546, title = {Merchandise, Mass Media, and Accessibility: Keith Haring{\textquoteright}s Pop Shop}, year = {2017}, school = {CUNY}, abstract = {During the peak of his career in New York, Keith Haring took his highly recognizable artistic style and distributed it in the form of merchandise in his Pop Shop, established in 1986. Stemming from his early work displayed on the New York streets, directly within public space, and his explorations into mass media strategies, he learned he could make his work accessible to new audiences outside contemporary art institutions and art circles. He translated his work across several surfaces: from subways or canvases, to everyday functional merchandise, such as buttons, t-shirts, and bags sold in his shop. Responding to a shift in advanced capitalist society, Haring mastered the language of commerce and promotion in order to mass distribute his ideas, and to increase the visibility of his art. His innovative approach to the market served as important model, predicting new norms of art in subsequent decades, and offers an important study on the often contentious relationship between art, everyday commercialism, and consumer culture.}, keywords = {North America, Twentieth Century}, author = {Raffel, Amy} } @mastersthesis {12501, title = {Michelangelo Moving Time}, year = {2017}, school = {Washington University}, abstract = {Michelangelo{\textquoteright}s painting and sculpture have long been lauded for their clarity of form and force of expression. But his approach to figural narrative is far more elusive. Space and its representation in Renaissance art have enjoyed considerable attention; however, the corresponding problem of movement and its relationship to time remains understudied. A feature particular to Michelangelo{\textquoteright}s work is his compression of multiple narrative moments into one work of art. By asserting that the movement of Michelangelo{\textquoteright}s figures is an agent of temporal duration, this project investigates the interrelationship of time and movement in Michelangelo{\textquoteright}s art. Drawing upon the philosophy of time in the Renaissance, I provide an interpretive re-appraisal of select works by the master, and a more robust account of time perception in the Renaissance. The result is a reflection on how our own cultural perceptions of time have affected our understanding of Renaissance art.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Anno, James} } @mastersthesis {12451, title = {Micromosaics: Souvenirs, Collective Memory, and the Reception of Antiquity on the Grand Tour}, year = {2017}, note = {subject: Nineteenth Century}, school = {Missouri}, abstract = {Micromosaics were popular souvenir objects on the eighteenth- and nineteenth-century Grand Tour, a didactic trip taken by elite, young men. Created from tiny, intricately arranged tesserae, micromosaics typically depict classically-derived scenes, famous Roman monuments, daily life scenes, or Renaissance and Baroque paintings and were intended to appeal to Grand Tour travelers. My dissertation seeks to analyze ancient monuments, mosaics, paintings, and sculptures on early modern European micromosaics in order to demonstrate how much these objects enhance our understanding of Grand Tourists{\textquoteright} experiences. I examine how micromosaicists memorialized, erased, altered, and added components to these antiquities depicted on micromosaics with the intention to make them marketable to tourists. By examining micromosaics as souvenirs I have been able to suggest a methodology for looking at souvenirs during the Grand Tour that contributes to our understanding of both tourists{\textquoteright} desires and their actual experiences understanding antiquity in the eighteenth and nineteenth centuries.}, keywords = {Ceramics/Metals/Fiber Arts/Glass, Eighteenth Century, Material Culture}, author = {Disalvo, Lauren Kellogg} } @mastersthesis {12443, title = {Mihri Rasim (1885-1954): L{\textquoteright}ambition d{\textquoteright}une jeune-turque peintre}, year = {2017}, school = {Montreal}, abstract = {Mihri Rasim (1885-1954) is Turkey{\textquoteright}s most important painter and feminist pioneer. The widely shared assumption about her is that she was a marginal, unclassifiable artist, who died in misery and resentful for having dedicated her life to art. Without any real information, authors and art historians obscured their ignorance by elaborating her life story out of her fascinating personality. My dissertation, which is also the first exhaustive art historical study on the artist, is dismantling this myth. Rasim was an ambitious artist and an upstart, Young Turk, who had a strategy to achieve her ambition. From the beginning of her career and for the rest of her life she pursued two goals: she expanded women{\textquoteright}s horizon of possibilities and she aspired to be considered, in her own words, "among the talented people". In Istanbul at a time when Turkish women could barely leave their harem, she set up the first fine arts school for women. While she was the head of women{\textquoteright}s Academy, she introduced the first female nude classes in the history of Turkish arts. She allowed women to receive an art education comparable to European artistic standards and provided them access to a new profession. She created a scholarship for her students at the academy and tried to constitute an association of mutual help for female painters. She also made the portraits of Young-Turk leaders and of their entourage. She used her political connections in Istanbul, and, as she moved from Turkey to Europe to the United-States, she developed her artistic project with new interlocutors and in different contexts but always with the same purposes. She built a network to support her career. In order to achieve this she portrayed great modernist men of the first half of the twentieth century, even controversial ones = Alphonse XIII, Benito Mussolini, Mustafa Kemal Ataturk, Franklin Delano Roosevelt, Thomas Edison. With a feminist approach my dissertation establishes the importance of this cosmopolitan artist of the twentieth century. I am uncovering the details of her life and art, which were disregarded until today. Using original and unpublished archival materials, her elementary biographical facts are clarified. Dates for her works are submitted and identifications of her sitters are made. I propose an innovative approach to examine the painter and her artistic production not only in relation to Turkish plastic arts but also in relation to a more global artistic context. I assess the impact of her actions in her time and ours. My dissertation stands as a testament to the importance of major cultural and political women, and the limits that were and are once again placed upon them.}, keywords = {Artistic Practice/Creativity}, author = {Dagoglu, Gulin} } @mastersthesis {12575, title = {Miraculous Visions, Demonic Temptations: Francisco de Zurbaran at Guadalupe}, year = {2017}, school = {Johns Hopkins}, abstract = {This dissertation offers a new analysis of eleven paintings executed by Francisco de Zurbaran (1598-1664) between 1638 and 1647 for the Royal Hieronymite Monastery of Our Lady of Guadalupe (Caceres, Spain). The monastery was a major pilgrimage site that had attracted royal favor since the fourteenth century. In 1590, its monks initiated an ambitious renovation project that culminated in the building of a new sacristy and contiguous chapel. Through three separate commissions made between 1638 and c. 1640, the monastery contracted Zurbaran to decorate the sacristy with eight canvases portraying scenes from the lives of fifteenth-century Guadalupan monks, and the chapel with three paintings from the life of Saint Jerome, the namesake of the Hieronymite Order. The only monastic paintings by Zurbaran to remain in situ, the Guadalupe pictures have long been interpreted as illustrations of virtues such as faith, hope, and charity. Beyond reflecting common spiritual ideals, however, the paintings are dominated by visionary subjects that were part of a robust legendary tradition within the Hieronymite Order. This dissertation reveals the sacristy and chapel paintings at Guadalupe to be an exploration of the complexities of visionary experience on the part of both patron and artist. I suggest that the subjects of the paintings align with the writings of the prominent Hieronymite Jose de Siguenza (1544-1606), who argued that the Spanish Hieronymites combined cenobitic monasticism with a visionary life characteristic of the eremitic life of the Desert Fathers. I furthermore argue that the wide range of visionary subjects that Zurbaran was asked to represent challenged the artist to consider critically how different types of visions were understood to operate, and to define the extent to which painting might replicate an invisible visionary encounter.}, keywords = {Seventeenth Century}, author = {Letvin, Alexandra} } @mastersthesis {12463, title = {Mobilizing the Macabre: Rosso, Rovezzano, and Rustici and the Language of Transgression, 1500-1530}, year = {2017}, school = {Johns Hopkins}, abstract = {This dissertation argues that the macabre, an estranging language of death-based motifs involving somatic doubling between uncorrupt body and putrefying corpse, was polemically employed during the first three decades of the sixteenth century to oppose, to subvert, and to satirize the idealizing mythography of the Medici, which has itself long held sway over Florence{\textquoteright}s history and historiography. Part one discusses Benedetto da Rovezzano{\textquoteright}s marble cenotaph (1505-1512) for Piero Soderini, Florence{\textquoteright}s premier and sole gonfaloniere a vita. I argue that the triumphal crown on the tomb{\textquoteright}s monumental skull satirizes the heraldic device used by the Medici and by the Rucellai - Soderini{\textquoteright}s deadliest enemies - and that the memorial{\textquoteright}s proliferating and foliated skulls recast the Medici{\textquoteright}s dynastic metaphors of an eternally regenerative Golden Age as the unnatural rule of revenants. I further demonstrate how Benedetto used the macabre to present Soderini{\textquoteright}s tenure as the embodiment of a just and lawful Republican government, and thereby the antithesis of previous Medicean regimes. Part two argues that the hellish banquets produced by the Companies of the Cauldron (Paiuolo) and the Trowel (Cazzuola) during the Medici{\textquoteright}s de facto rule of 1512 to 1527 served as macabre reflections on the Medici{\textquoteright}s triumphal spectacles, and that their deadly re-interpretations of Medici magnificence echoed contemporary criticism of the Medici and their feste. Death was employed to characterize the experience of living under Medicean rule, and to expose the Medici{\textquoteright}s fraudulent propaganda of peace and prosperity. The conclusion examines Michelangelo{\textquoteright}s Medici Chapel (1519-1534) and Antonfrancesco Grazzini{\textquoteright}s final novella of the Cene (1540s) as the respective "afterlives" of Soderini{\textquoteright}s cenotaph and the companies{\textquoteright} festivities. I detail how the chapel{\textquoteright}s frenzied masks echo Benedetto{\textquoteright}s screaming skulls in ridiculing Medicean ambitions, and how Michelangelo similarly subverts Medicean temporal metaphors of dynastic renewal. I then evince that Grazzini{\textquoteright}s use of the Cazzuola{\textquoteright}s Maestro Manente for the victim of a sorcerous Lorenzo de{\textquoteright} Medici{\textquoteright}s malicious beffa demonstrates the macabre{\textquoteright}s enduring appeal for expressing dissent, and underscore the affinities between the dining sodalities and the transgressive Academia degli Umidi (1540-1541). Whether conveyed through marble or through meals, the macabre proved an ideal means to oppose Medicean supremacy.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Fifteenth- to Seventeenth-Century Art}, author = {Blom, Laura} } @mastersthesis {12520, title = {Monica Mayer: Translocality and the Development of Feminist Art in Contemporary Mexico}, year = {2017}, school = {CUNY}, abstract = {This dissertation focuses on Monica Mayer (b. Mexico City, 1954), analyzing her work to understand the role played by the artistic and activist exchanges between feminists from Mexico City and Los Angeles in the development of feminist art in Mexico from the 1970s to the present. While scholars and curators are increasingly drawing attention to Mayer{\textquoteright}s large body of work, which includes prints, drawings, installations, and public art interventions, the available literature emphasizes her connections to other artists working in her home country, positioning her artistic production within narratives of contemporary Mexican art. In contrast, this dissertation foregrounds Mayer{\textquoteright}s position within different artistic circuits, examining how the artist strategically adapted the model of feminist art developed by the Feminist Studio Workshop (FSW) in the 1970s to the specific conditions of Mexico City{\textquoteright}s art world. This study employs the concept of translocal translation to interpret her work as a deliberate artistic and political strategy that shaped the scope and direction of feminist art in her home country and abroad. Through her artistic negotiations, Mayer explored the role of gender in the visual arts of Mexico, thereby challenging the social structures that shaped women{\textquoteright}s experiences in her home country. Her work expanded the repertoire of feminist artistic production, and recognizing her contributions challenges existing narratives of a universal feminist art movement based in the United States and Europe. This study thus develops an understanding of feminist art in Mexico within a larger translocal arena that remains absent in the available literature, highlighting Mayer{\textquoteright}s role as a mediator of different artistic and activist models circulating in Mexico City and Los Angeles. My examination also emphasizes the ways in which Mayer challenged representations of femininity and maternity in the Mexican artistic canon. Through her artistic projects, the artist developed a sustained critique of the representational systems that aided in the construction of women{\textquoteright}s social roles. Mayer{\textquoteright}s projects challenged the idealized visions of mujeres abnegadas, or passive selfless women, that emerged in post-revolutionary visual culture but continued to shape understandings of gender in Mexican society during the late twentieth century. This dissertation analyzes the numerous collaborative artistic projects developed by Mayer, including her work in feminist art collectives such as Tlacuilas y Retrateras (Women Scribes and Portraitists) and Polvo de Gallina Negra (Black Hen Powder), as well as the archival project of Pinto mi Raya (I Draw My Line). These art collectives further allowed Mayer to adapt the FSW model of artistic practice, developing a form of feminist art that questioned that questioned the hierarchical structures of Mexican society. Her artistic production, or translocal translations, shaped the scope and trajectory of feminist art in her home country, serving as a powerful model that would inspire subsequent generations of women artists, activists, and scholars.}, keywords = {Genders/Sexualities/Feminisms, North America, Twentieth Century}, author = {McKelligan Hernandez, Alberto} } @mastersthesis {12588, title = {A Moral Persuasion: The Nazi-Looted Art Recoveries of the Max Stern Art Restitution Project 2002-2013}, year = {2017}, school = {Toronto}, abstract = {In 1937, under Gestapo orders, the Nazis forced the Dusseldorf-born Jewish art dealer Max Stern to sell over 200 of his family{\textquoteright}s paintings at Lempertz, a Cologne-based auction house. Stern kept this fact a secret for the rest of his life despite escaping from Europe to Montreal, Canada, where he settled and became one of the country{\textquoteright}s leading art dealers by the mid-twentieth century. A decade after Stern{\textquoteright}s death in 1987, his heirs (McGill University, Concordia University, and The Hebrew University of Jerusalem) discovered the details of what he had lost, and how in the post-war years Stern travelled to Germany in an attempt to reclaim his art. To honour the memory of Max Stern, they founded the Montreal-based Max Stern Art Restitution Project in 2002, dedicated to regaining ownership of his art and to the study of Holocaust-era plunder and recovery. This dissertation presents the histories and circumstances of the first twelve paintings claimed by the organization in the context of the broader history of Nazi-looted art between 1933-2012. Organized into thematic chapters, the dissertation documents how, by following a carefully devised approach of moral persuasion that combines practices like publicity, provenance studies, law enforcement, and legal precedents, the Max Stern Art Restitution Project set international precedents in the return of cultural property. The dissertation reveals how the Max Stern Restitution Project used a self-generated methodology to recover works of Nazi-looted art from both private and public collections in countries including Spain, the United States, Germany, and the Netherlands. It addresses how in just over a decade, the Max Stern Art Restitution Project became one of the world{\textquoteright}s leading advocates in the reclamation of Nazi-era spoliated art and an authority on the subject of a judicious approach toward cultural property.}, keywords = {Twentieth Century, Twenty-first Century}, author = {Angel, Sara} } @mastersthesis {12610, title = {Mortuary Places, Rituals, and Memories: Anatolian Cemeteries in Context}, year = {2017}, school = {Brown}, abstract = {Extramural cemeteries are part of the visual, social, and symbolic landscapes of settlements. They can transform according to the needs of changing social conditions, but they also do not always reflect the circumstances of the living. This dissertation examines the role of landscape, rituals, and memories in the formation of mortuary traditions of Bronze Age Anatolia. The goal is to understand how social and ritual change was expressed materially in cemeteries, and how these expressions continued over time. This research analyzes mortuary evidence from western- and central- Anatolian cemeteries and evaluates them in a social and ritual context. Through an anthropological framework, I challenge the argument, widely-accepted in the study of Bronze Age Anatolia, that burials were direct expressions of one{\textquoteright}s wealth and identity. Mortuary data from third- and second-millennium cemeteries show that mortuary places, interactions with the dead, and burial objects were strongly influenced by social memories, local choices, and ritual practices more than they were by individuals{\textquoteright} economic statuses. This research concludes that despite the local diversity in settlements and in burial objects, mortuary practices show clear similarities in different regions in western and central Anatolia. They continue -almost unchanged - for long periods of time. The communal aspect of the mortuary rituals and the location of cemeteries in the landscape play a central role in the continuity of cemeteries as important social and symbolic places.}, keywords = {West Asia}, author = {Durgun, Pinar} } @mastersthesis {12420, title = {On the Move: Mobility in Southwest Anatolia and the Southeast Aegean during the Late Bronze to Early Iron Age Transition}, year = {2017}, school = {Michigan}, abstract = {The end of the Late Bronze Age has long been considered a period of heightened mobility after the collapse of a number of polities, namely the Hittite Empire of central Anatolia, the Arzawan lands of western Anatolia, and the Mycenaean kingdoms of Greece. One such major population movement according to ancient historians was the so-called {\textquoteright}Ionian migration{\textquoteright}, traditionally understood as a large-scale unidirectional migratory event of Greek speakers into western Anatolia. Recent literary and historical studies, however, have suggested that these accounts represent invented traditions created centuries later after the events they purported to record. This dissertation re-evaluates the archaeological evidence for this supposed migration in the period spanning the end of the Late Bronze Age and the dawn of the Early Iron Age (ca. 1200-800 BCE). More generally, it examines the connections between mobility, intercultural contact, and identity formation in southwest Anatolia (Ionia, Caria, and Lydia) with a focus on ties to the southeast Aegean. This dissertation shows that, rather than seeing a large-scale influx of new people into Anatolia at the end of the second millennium BCE, this period witnessed a more complex admixture of concomitant processes. These include more localized forms of mobility, continuing practices established before the 13th century BCE; increased interaction between communities across southwest Anatolia during the gradual process of the emergence of new Early Iron Age polities; and a slow conceptual shift from more open-ended notions of communal identity in the earlier periods to the establishment of more sharply defined and oppositional identities (e.g., between Greek and non-Greek) by the end of the Early Iron Age. Mobility had been a fact of life for the communities of the Anatolian littoral for centuries. Rather than a large-scale migration, it was this protracted low-intensity movement of smaller social groups that enabled southwest Anatolian communities to form and maintain close contacts across both local and regional economic and social networks, combining existing local networks with those of the incoming individuals.}, keywords = {Ancient Greek/Roman Art}, author = {Mokrisova, Jana} } @mastersthesis {12602, title = {Movement and orientations: four interactive installations from Latin America}, year = {2017}, school = {McGill}, abstract = {This dissertation examines four interactive installations: Mariela Yeregui{\textquoteright}s Proxemics (2005); Alfredo Salomon{\textquoteright}s Infinite Justice (2004); Rejane Cantoni and Leonardo Crescenti{\textquoteright}s Tunnel (2011); and Julio Le Parc{\textquoteright}s Lumiere en mouvement (1962-1999). Each one of these works produces a complex articulation of movement and stillness through embodied relations with observers. By looking at the core concepts of movement and orientation, this dissertation investigates an oblique angle of interactive installations and contests the paradigm of progress that drives social practices and relations. The broad argument is that while these case studies have forward-moving orientations as their basis, the encounter with observers interrogates movement{\textquoteright}s progressive and modern foundation. Each chapter examines a specific oriented movement. The artworks solicit this movement -the observer{\textquoteright}s and the object{\textquoteright}s oriented motion in the installations - but never determine it. In each case, oriented movement unfolds as an alternative to or a critique of progressive definitions of movement. Orientation is most often a dis-orientation that discloses the physical, social, and cultural dimensions of movement. Each chapter connects through similar questions: observer movement in the work, and habitual movements troubled by dis-oriented interaction with the piece. Each chapter also brings the question of self-Other relations as orientations from Latin America.}, keywords = {Twentieth Century}, author = {Vergara-Vargas, Erandy} } @mastersthesis {12496, title = {Movements of the Mind: Beyond the Mimetic Likeness in Early Modern Italy}, year = {2017}, school = {Ohio State}, abstract = {Early modern Italian portraiture is so well known that it might seem that nothing new could be written about it. After all, many of the period{\textquoteright}s most celebrated portraits, such as Leonardo da Vinci{\textquoteright}s Mona Lisa, are endlessly reproduced and known to nearly everyone. Yet, this dissertation contends that there is much more to these images than meets our contemporary eyes. I argue that early modern artists intended to do more than simply render a naturalistic image of a particular person in materials like painting, bronze, or stone. Rather, the goal of early modern portraiture was to perpetuate a sitter{\textquoteright}s memory in time. This dissertation aims to explain precisely how fifteenth- and sixteenth-century Italian portraitists managed this complex task, creating specific compositions that purposefully recalled the ways that they understood our memories to function. Early modern artists ingeniously created portraits paired with symbolic and allegorical devices, which addressed not only the sitter{\textquoteright}s appearance but also aspects of his/her character-what period persons called "the movements of the mind." The artist{\textquoteright}s ultimate goal was to better communicate these things to the mind of the viewer, instilling the whole of the sitter{\textquoteright}s persona therein. As such, this dissertation explores an unexamined feature that figures prominently in this strategy, namely, the way that period portraits paired with devices were composed to mirror or imitate understandings of the workings of memory itself, often analogized as the impress of a seal in wax or as a group of images stored within a memory house. Other formats aimed to better perpetuate memory by directly communicating with the viewer, based on guidelines set forth by period authors such as Leon Battista Alberti, or by recalling period studies of the interior and exterior of human bodies. Thus, from portrait medallions, whose three-dimensional forms appear ready to "impress" themselves in the mind, to painted panel portraits accessed by way of decorated covers, thereby imitating the effect of a memory house, this dissertation sees the very structure of early modern portraits as reflecting beliefs about vision, communication, and the perpetuation of ideas in the mind}, keywords = {Fifteenth- to Seventeenth-Century Art, Seventeenth Century}, author = {Howard, Rebecca} } @mastersthesis {12403, title = {The Nemean Wells: Sanctuary Context and Ritual Activities in the Northeast Peloponnese}, year = {2017}, school = {Missouri}, abstract = {Nemea is known as the site of the panhellenic Sanctuary of Zeus and yet can also be considered a place of rural cult activity due to its location within the Nemea Valley, removed from large polis centers. The sanctuary is often overlooked in the study of Greek religion and sanctuaries. As one of the lesser known panhellenic sanctuaries, discussion of the site is often incorporated only into larger dialogues of the panhellenic cycle assuming that the site functioned in a similar way. My dissertation uses a chronologically restricted study that includes the archaeological record, the architectural programs, and the landscape to refine the history of the sanctuary and reconstruct visitors{\textquoteright} experiences. I specifically look at the archaeological record of ten well assemblages to propose a new methodology for the study of sanctuary religion. This methodology breaks new ground in recognizing the usefulness of wells within the discussion of Greek sanctuaries and religion.}, keywords = {1500 BCE to 500 BCE, Ancient Greek/Roman Art}, author = {Kimmey, Stephanie} } @mastersthesis {12515, title = {Nostalgic Media: Histories and Memories of Domestic Technology in the Moving Image}, year = {2017}, school = {Ohio State}, abstract = {Nostalgic Media: Histories and Memories of Domestic Technology in the Moving Image investigates the history of four consumer technologies - slide projectors, Pixelvision toy cameras, home video, and video games - and their appropriation in experimental cinema and contemporary art. Considering the socio-cultural emergence of each technology alongside close analysis of films, videos, and gallery installations, I demonstrate how cinema artists harnessed these technologies{\textquoteright} plural histories in their practice. Analyzing the work of numerous American experimental filmmakers and figures from the international art world, I argue that cinema artists have turned to ephemeral moving-image technologies as a part of what I call "nostalgic media." Through an interdisciplinary approach that draws upon histories and theories of cinema studies, art history, psychoanalysis, and media archaeology, I contend that the practice of nostalgic media interweaves personal and cultural memory with technological history, displaying a longing for the past not yet experienced. In contrast to the postmodern condemnation of nostalgia as a sentimental and stereotypical return to the static, idyllic past, I illustrate how these artists use experimental cinematic forms to reveal nostalgia as a moving image, one that highlights how contingent memories of film and technology alter their form over the passage of time. Intervening in current debates concerning obsolescence and rapid technological development, my project embraces nostalgia as a time-based process that resists the determinism of technological progress and examines how artists intertwine the disappearing past into the fabric of an ever-changing, globalized present.}, keywords = {Film/Video/Animation}, author = {Hansen, James} } @mastersthesis {12439, title = {Notre-Dame de Louviers: Architecture and Urban Identity in Late Medieval Normandy}, year = {2017}, school = {Rice}, abstract = {Primarily concerned with the production and reception of Late Gothic architecture in Normandy, this study of the parish church of Notre-Dame de Louviers illustrates how a confluence of new social values, economic prosperity, and urban rituals gave rise to the extravagant displays of technical virtuosity and sophisticated ornament typical of ecclesiastical architecture at the turn of the sixteenth century. The first chapter provides a detailed chronology of construction based on a thorough analysis of documentary sources and the physical fabric of the church. The early Gothic campaigns of the thirteenth century are reviewed before focusing on the Late Gothic expansions. This investigation reveals that a change in architect occurred at a pivotal moment during the construction of the celebrated south facade. After defining the relationship between Louviers, cardinal Georges I d{\textquoteright}Amboise, and Roulland Le Roux, chapter two argues that the transformational design of the new south facade and projecting porch elevated the parish church into a class of monuments more befitting of its location on the "hypergothic highway" -an episcopal and royal route that linked Louviers to Rouen and Gaillon. Situating the church in this broader architectural and geographic context confirms that the new architecture of Louviers reinforced early sixteenth-century ideals of prestige and authority that helped construct a visual argument of power promoting the French king and Georges I d{\textquoteright}Amboise. Chapter three demonstrates how the transformation of Notre-Dame de Louviers played a crucial role in the social, spatial, and ritual experience of the town. The organization of urban space surrounding the church, tensions between the municipal government and craft guilds, performative aspects of public religious celebrations, and impact of royal entries are highlighted. The fourth and final chapter surveys the various ways that re-presentations of Louviers in stained glass, cityscapes, and maps carried meaning and suggests that these images were capable of crossing time and space much more effectively than the building{\textquoteright}s physical fabric. In some cases, the memory of the church outlived its physical reality.}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Sweeney, Kyle} } @mastersthesis {12579, title = {Objects of Devotion: Representations of Muslim Saints in Early Modern South Asian Painting, 1500-1700}, year = {2017}, school = {Virginia}, abstract = {Representations of Muslim saints in early modern South Asian painting are a unique synthesis of Persianate and Indic devotional cultures. They also offer a fascinating window into the Indianization of Islamic spirituality. Despite the ubiquity of this multifaceted genre of Indian painting, there has been no prior study in the field of art history that addresses it in depth. By focusing on devotional images made for an elite Indo-Muslim audience between circa 1500 and 1700 this dissertation aims to identify and preliminarily survey the development and dissemination of the genre, focusing on thematic continuities derived from Muslim devotional literature and religious thought. The research also identifies the key historical moment when images of saints began to take on a more expressly devotional significance as objects of meditation and remembrance. Around 1640 a unique turn in imperial Mughal patronage reconfigured Muslim devotional painting. At this time, two of Emperor Sh{\={a}}h Jah{\={a}}n{\textquoteright}s children entered an Islamic mystical order of Sufism under the guidance of the well-known shaykh, Mulla Shah. As the first in the Mughal imperial line to be formally initiated into Sufism, Dara Shikoh and his elder sister Jahanara Begum, the first lady of the empire, became central patrons of devotional painting in North India. Before the imperial siblings{\textquoteright} entry into mysticism, images of ascetics and saints produced for a Muslim audience were used primarily for purposes of imperial self-fashioning- supporting the Mughal claim to divinely ordained kingship- and as didactic tools to transmit deeply rooted princely values shared across the Indic and Persianate worlds. After Jahanara and Dara{\textquoteright}s initiations the stylistic language of the representation of saints shifted and some of the images acquired a meditative function. My research employs an interdisciplinary methodology that combines art historical concerns with close analysis of Persian primary literature. Of central importance are passages drawn from the philosophical, autobiographical and devotional writings of Jahanara Begum, Dara Shikoh and Mulla Shah.}, keywords = {South Asia/South East Asia}, author = {Mumtaz, Murad} } @mastersthesis {12540, title = {Objects of Memory: Paul Gauguin and Still Life Painting, 1880-1901}, year = {2017}, school = {Maryland}, abstract = {Memory plays a profound role in the aesthetic philosophy and still-life painting of French Symbolist artist Paul Gauguin (1848-1903). Throughout Gauguin{\textquoteright}s career, memory and imagination served him as an artistic tool, a personal resource, and a metaphor for the freedom of artistic expression. These themes recur in his writing, and this dissertation locates their visual expression in Gauguin{\textquoteright}s still-life painting, wherein he gave tangible form to his theories through reflection upon and manipulation of objects. In chronologically-arranged case studies, I examine three types of memory: visual memory, nostalgia, and the ephemeral nature of autobiographical memory, situating each within nineteenth-century and present-day science. In so doing, I perform a type of interdisciplinary methodology called "cognitive historicism" that is new to art history. Art historians have long noted the exceptional qualities of several of Gauguin{\textquoteright}s still lifes, but have not to date identified what in particular sets the genre apart. My research has located and articulated the achievement of Gauguin{\textquoteright}s still life as a body of work in which he repeatedly grappled with memory, its processes, and its meaning. A concentrated analysis of period beliefs about memory and the ways memory appears in Gauguin{\textquoteright}s visual art and writing reveals the depth and significance of the relationship between aesthetic Symbolism and the nineteenth-century interest in individual, autobiographical memory. In turn, this study contributes to a larger historical inquiry into the meaning of memory to the late-nineteenth-century mind. As Gauguin was explicitly attuned to the scientific developments of his time, he functions as a lens through which to consider the art and science of memory. While I ground my investigation in theories proposed during Gauguin{\textquoteright}s lifetime, I situate historical intellectual developments in the context of recent science. This project thereby constitutes an exploration of interdisciplinary methodologies that bridge science and the humanities in a way that privileges the artwork and its historical circumstances. It demonstrates the rich but previously untapped potential of this method that uses frameworks and vocabulary derived from cognitive science to inform art historical inquiry, which promises to provide new directions for the discipline.}, keywords = {Nineteenth Century, Painting}, author = {Shields, Caroline} } @mastersthesis {12410, title = {Olokun Shrines: Their Functions In The Culture Of The Benin Speaking People Of Southern Nigeria}, year = {2017}, school = {Florida}, abstract = {Olokun the deity associated with the seas and oceans, has long been venerated among the Edo-speaking people of Benin City and the surrounding region of southern Nigeria. Olokun is believed to endow those who honor him with wealth and fertility, bestowing health and wellness upon his followers. As a force of nature, Olokun is a harbinger of the beautiful, and the shrines dedicated to his worship are adorned with an elaborate display of earthen sculptures and an array of many objects and materials including: effigy staffs, pots, sculpted chalks, miniature boats, drums, gongs, bells, and maracas, among other objects. It is the belief that the complementary use of such visual objects and specific substances such as those collected from various medicinal shrubs and minerals in the construction of the shrine sculptures, combines to activate the potency of the deity during the actual worship experience. Despite the powerful impact of modernity and the increased role of introduced religions, Olokun worship still thrives, supported significantly by related material culture, including the construction of sacred spaces, shrines filled with sculptural forms given an order that can be compared to that of the court of the oba of Benin. I argue that the construction of such shrines or sacred spaces depends both on local traditions and ideas as well as on innovative and introduced elements exclusive to the owners of the different communal and individual shrines. Through the understanding of the various symbolic meanings associated collectively with the selection of materials, the methods of construction and the iconography contained in the sculptures, some of the conceptualizations that underpin the idea and practice of constructing these shrines can be further understood.}, keywords = {Africa}, author = {Ezeluomba, Ndubuisi} } @mastersthesis {12461, title = {Open Works{\textquoteright}: Between the Programmed and the Free, Art in Italy from 1962 to 1972}, year = {2017}, school = {CUNY}, abstract = {This dissertation historicizes and theorizes a group of Italian artists who were among the first to use computers and cybernetics to make artworks, developing the genre of Arte Programmata, or Programmed Art. It argues that the artists of Arte Programmata (Bruno Munari, Enzo Mari, and collectives Gruppo T and Gruppo N) turned to the generative, interactive, and probabilistic aspects of early computers not simply as new media for making art but as platforms for radically altering what it means to be a participant in an increasingly mediated and networked world. This is apparent in how each of their works deploys computers to restructure the relationship between subjects and their environment. In kinetic sculptures modeled on computer programs, the audience is invited to participate in the creation of the work; in immersive environments based on cybernetics and information theory, visitors are simultaneously activated, disoriented, and manipulated; and underlying designs for home goods is a concept of the world as an adaptable, interconnected system of subjects and space. Far from being antagonistic to liberty, Arte Programmata{\textquoteright}s multi-faceted oeuvre demonstrates that technology supports individual{\textquoteright}s capacity to act upon and affect their environment. Therefore I contend we should understand that programming, cybernetic systems, and even control are not categorically antithetical to individual freedom but comprise the conditions that allow for and encourage subjective agency. Bridging art history and media studies, this dissertation underscores how both art and technology are ways of visualizing and structuring social interaction, and it argues for a reassessment of the political, critical, and even visionary role of new media art like Arte Programmata.}, keywords = {Digital Media/New Media/Web-Based Media, Multimedia/Intermedia, Twentieth Century}, author = {Caplan, Lindsay} } @mastersthesis {12559, title = {Opera for Automatons: Charlotte Moorman{\textquoteright}s Early Collaborations with Nam June Paik}, year = {2017}, school = {Stony Brook}, abstract = {Throughout the 1960s and 70s, the cellist and Happenings artist Charlotte Moorman performed avant-garde compositions in a manner that exceeded her job description. Rather than interpret scores with fidelity to the composers{\textquoteright} intent, she read political or affective content into notation, ignored time brackets, and explored what I will refer to as the meta-histrionics of simultaneously being and being tasked to act like a professional performer. Moorman{\textquoteright}s most notorious performances occurred while working with the composer and media artist, Nam June Paik. Beginning with their first collaboration in 1964 and concluding with the 1969 performance that followed her arrest for indecent exposure, this dissertation analyzes how Moorman{\textquoteright}s radical interpretation style conditioned the methods and politics underlying their co-creations. It reveals that their conflation of Cagean indeterminacy with operatic motifs sought to defy both social and compositional control over performing bodies. Such a conflation reflected their roles within systems of production and is best understood through the automatons that populate their performances. As analogies for aesthetic hybridity, uncanny effects, and the rebellion of subaltern populations, automatons embodied the amalgamated form as well as the counter-cultural sentiment of the compositions in which they were situated. Against the conceit that Moorman and Paik{\textquoteright}s experimentation with cybernetic instruments "humanized technology," I argue that cyborgs, robots, and "living sculptures" denounced the instrumentalization of women and workers. I further argue that Moorman{\textquoteright}s meta-histrionics, transhuman identification with her cello, and criminal trial helps usher a feminist discourse on objectification into the postwar media ecology.}, keywords = {Performance Art/Performance Studies/Public Practice, Twentieth Century}, author = {Landres, Sophie} } @mastersthesis {12544, title = {Origins, Journeys, Encounters: A Cultural Analysis of Wayang Performances in North America}, year = {2017}, school = {Victoria}, abstract = {This dissertation examines an Indonesian-North American version of an evolving, transnational and hybrid multimedia art form which has come about through forty years of adaptations made by cross-culturally located artists in creative conversation with Indonesian performers involved in the Javanese and Balinese forms of musical theatre known as wayang. Wayang theatre employs puppets and other components including gamelan music (Indonesian percussion instruments, drums, flutes, strings and vocals). Given this complexity, there are many possibilities for variations, changes, and hybridization. In this research project, I analyze aspects of this hybrid performance by analyzing select Indonesian-North American wayang performances, as case studies. In order to isolate complex changes and various adaptations of wayang performances in the North American setting, I also analyze and contextualize a hybridization of Javanese and Balinese wayang performances. As a performance art form, wayang has always been changing historically=at some points more quickly and dramatically than at other periods of time, thus resisting firm categorization that would provide a baseline for comparison. I have developed the wahiyang theoretical framework as an analytical tool to identify the influence of North American culture on the wayang performances in my case studies. I argue that new genre of wayang is emerging, creating a hybridized form that I call wahiyang gaya NA. This process has progressed to the point that wahiyang gaya NA can be said to represent a new genre of multimedia world art, which combines elements of local and global artistic practises, making the form even more flexible and adaptable than its original forms in Indonesia. The gradual spread and popularization of wayang in North America has definite historical contexts, namely the early 19th-to-mid 20th century conjunction of decolonization and Third World nationalism, with the more recent decades{\textquoteright} layering of multiculturalism and push towards conscious cultural responses to economic globalization. This developing continuum of new hybrid forms spans a spectrum of cultural inclusion and expansion of wayang and new components. At times these may be seen as wayang influence upon Western performance practice; at other times an entire Indonesian wayang production with additional elements added from Western music, theater, and other disciplines may be presented. These developments signify an enhanced and expanded exchange of cultural products between the nations of the world, taking place in an expanded space for dialogue between the artists of the developed and developing countries. I will show, using case studies, how this process has produced and is producing a new branch of wayang as part of a continuum of hybridized wayang forms. By examining selected performance collaborations that have taken place over the last 40 years, I will provide a detailed analysis, which for the first time, lays out the components that constitute the variation of wayang art performance that has developed in response to geographical and cultural contexts of the Pacific Northwest of USA and Westcoast Canada.}, keywords = {North America, South Asia/South East Asia}, author = {Hartana, Sutrisno Setya} } @mastersthesis {12567, title = {Ottomans Abroad: The Circulation and Translation of Nineteenth-Century Ottoman Portrait Photographs}, year = {2017}, school = {Boston}, abstract = {This dissertation maps a cross-cultural portrait atlas that traces Ottoman faces within the spaces and places of the nineteenth-century visual economy between 1863-1908. These photographic portraits reveal a reciprocal exchange and shared discourse between modernizing Ottoman and Euro-American worlds as mediated by expositions, publications, and museums. Three case studies are considered: sultanic portraits by Ottoman studios and their varied appearances in the picture press; the sumptuous album of regional Ottoman costumes commissioned in 1873 the Elbise-i Osmaniyye for the Weltausstellung Wien; and student portraits in a fifty-one volume photographic study gifted to the United States and Great Britain by Sultan Abdulhamid II in 1893 and 1894. It positions Ottoman portraits by photographers such as Pascal Sebah and Abdullah Freres as more than "Eastern" or "European," "other" or "Islamic." It considers these photographs multi-cultural, cosmopolitan, and politically complex entities that chart an international and networked history of art. Ottomans Abroad explores the ways in which contradictory notions about Ottoman identity materialize in a range of portrait images, and demonstrates how these photographs confront the effects of cultural belonging in a place where identity, and representations of that identity, have always been fluid. My first chapter maps the stories behind the small number of Ottoman sultanic photographic portraits made of Abdulaziz and Abulhamid II between 1863 and 1908. My second chapter concentrates on the 1873 Elbise-i Osmaniyye, exploring sartorial customs and regional costumes as portraits in their own right. My third chapter concentrates on school imagery in the 1893 Abdulhamid II albums, identifying how these photographs localize the topography of the nineteenth-century imperial terra firma; it connects regional portraiture to regional landscape, thus, broadening representations of likeness in nineteenth-century photographs. By articulating a local history of Ottoman photographs, tracing individual images and the stories that surround them, this project argues that photographs not only represent cultural identity, they also produce it. In so doing, this dissertation subverts a conventional biographical model, situating Ottoman portrait photographs in a multivalent, messy and transnational framework, which, in turn, generates photographic meaning.}, keywords = {Photography}, author = {Nolan, Erin Hyde} } @mastersthesis {12565, title = {Ottomans Abroad: The Translation and Circulation of Nineteenth-Century Ottoman Portrait Photographs}, year = {2017}, school = {Boston}, abstract = {This dissertation maps a cross-cultural portrait atlas that traces Ottoman faces within the spaces and places of the nineteenth-century visual economy between 1863-1908. These photographic portraits reveal a reciprocal exchange and shared discourse between modernizing Ottoman and Euro-American worlds as mediated by expositions, publications, and museums. Three case studies are considered: sultanic portraits by Ottoman studios and their varied appearances in the picture press; the sumptuous album of regional Ottoman costumes commissioned in 1873 the Elbise-i Osmaniyye for the Weltausstellung Wien; and student portraits in a fifty-one volume photographic study gifted to the United States and Great Britain by Sultan Abdulhamid II in 1893 and 1894. It positions Ottoman portraits by photographers such as Pascal Sebah and Abdullah Freres as more than "Eastern" or "European," "other" or "Islamic." It considers these photographs multi-cultural, cosmopolitan, and politically complex entities that chart an international and networked history of art. Ottomans Abroad explores the ways in which contradictory notions about Ottoman identity materialize in a range of portrait images, and demonstrates how these photographs confront the effects of cultural belonging in a place where identity, and representations of that identity, have always been fluid. My first chapter maps the stories behind the small number of Ottoman sultanic photographic portraits made of Abdulaziz and Abulhamid II between 1863 and 1908. My second chapter concentrates on the 1873 Elbise-i Osmaniyye, exploring sartorial customs and regional costumes as portraits in their own right. My third chapter concentrates on school imagery in the 1893 Abdulhamid II albums, identifying how these photographs localize the topography of the nineteenth-century imperial terra firma; it connects regional portraiture to regional landscape, thus, broadening representations of likeness in nineteenth-century photographs. By articulating a local history of Ottoman photographs, tracing individual images and the stories that surround them, this project argues that photographs not only represent cultural identity, they also produce it. In so doing, this dissertation subverts a conventional biographical model, situating Ottoman portrait photographs in a multivalent, messy and transnational framework, which, in turn, generates photographic meaning.}, keywords = {Photography}, author = {Hyde Nolan, Erin} } @mastersthesis {12427, title = {The Painted Fortified Monastic Churches of Moldavia: Bastions of Orthodoxy in a Post-Byzantine World}, year = {2017}, school = {Michigan}, abstract = {In the decades after the fall of Constantinople in 1453, the principality of Moldavia=lying within the borders of northeastern modern Romania and the Republic of Moldova=emerged as a Christian frontier at the crossroads of western European, Slavic-Byzantine, and Ottoman cultures. Contacts with neighboring regions resulted in the local assimilation of select elements from distinct visual traditions. This eclecticism with respect to sources is most evident in the painted and fortified Orthodox monastic churches of Moldavia built under the patronage of two rulers, Stephen III "the Great" (r. 1457-1504) and Peter Rares (r. 1527-1538; 1541-1546), Stephen{\textquoteright}s illegitimate son and heir. The mural cycles painted on the interior and exterior walls of some of these churches show religious scenes interspersed with historical narratives adapted to address contemporary anxieties about a perceived Ottoman threat against the region{\textquoteright}s political independence and religious identity. This study addresses the compound visual character of the Moldavian churches, the historical circumstances under which they were built, and the cultural connections that extended between Moldavia and its neighbors that resulted in the visual and semantic eclecticism so characteristic of late medieval Moldavian art and architecture. I also examine the varied dimensions of Orthodox monastic spaces and the visual and spatial manifestations of dynastic, spiritual, and military concerns on the part of the patrons in the monastic sphere. In engaging with the architecture, image programs, and functions of the Moldavian churches in the context of religious politics and patronage, the Orthodox liturgy, the cult of saints, and the theory of images, I analyze the extent to which these churches aided in the construction of a new sacred landscape in Moldavia, while also presenting visual responses to and commentaries on a series of crises located in the past, present, and future: the events of 1453, the declared end of the world in 1492 as predicted by some Eastern Orthodox Christians, and the failed Ottoman siege of Vienna in 1529. Notions of history, cultural memory, artistic integration, spatio-temporal experiences, kinds of cross-cultural rapport and modes of translation are concerns central to this study.}, keywords = {Architectural History/Urbanism/Historic Preservation, Material Culture}, author = {Sullivan, Alice Isabella} } @mastersthesis {12409, title = {Past Black and White: The Color of Photography in South Africa, 1994-2004}, year = {2017}, school = {Chicago}, abstract = {My dissertation investigates photographic series by Santu Mofokeng (b. 1956), Gideon Mendel (b. 1959), David Goldblatt (b. 1930), and Guy Tillim (b. 1962) that deeply influenced the production, style, and display of color photography in South Africa after apartheid{\textquoteright}s official end, 1994-2004. During this time of dramatic social and political transformation, these photographers expressed misgivings that the activist images of the prior era presented an incomplete view of life in South Africa-focusing on extreme moments of violence and cliched scenes of protest at the expense of nuance, subtlety, and complexity. Well-known for politically progressive, black-and-white documentary-style photography, they increasingly experimented with color for personal projects in the 1990s-2000s. Their new explorations revealed a mix of anxiety, excitement, and ambivalence about color that informs ongoing discussions about the roles of photography inside and outside of South Africa. In this project, I position this experimentation with photographic form-in this case, color photography-as a way that photographers found a new direction with the medium, but I argue that in doing so, they muddied distinctions between art, reportage, and documentary practices. In this way, South Africa in the post-apartheid era provides a rich, complex example through which to explore the links between photographic practice and technologies, visual forms, and ideology. My dissertation{\textquoteright}s introduction traces the development and popularization of color photography in South Africa. Premised on the notion of "fixing the rainbow," it addresses how apartheid society shaped individual access to photographic tools and techniques as well as approaches to representing subject matter. I discuss the technical challenges facing early enthusiasts trying to "fix," or retain, lasting color prints in colonial South Africa. I also consider "fix" in its meaning as a corrective, to examine how photographers and viewers associated color with particular politically transformative potential. The project thus becomes a platform for exploring shifting attitudes to black-and-white and color photography, especially their affective and ethical associations, notions of their appropriateness for specific subject matter, and their roles in shaping public attitudes and in determining racial and social classifications. The project{\textquoteright}s case studies locate contemporary South Africa as a place of high-stakes debates over and approaches to visual representation that makes claims to art, activism, and social commentary. In the project Chasing Shadows, (1996-2006) Mofokeng explored the effects of black-and-white in low light to represent sites of spiritual practice and devotion. Through spectral blurs and dark shadows, the photographs interrogate the associations of black-and-white photography with truth and the limits of visually representing human experience. Aiming to convey the dignity of his photographic subjects, Mendel used black-and-white photographs to represent aspects of the HIV/AIDS epidemic in the series titled A Broken Landscape: HIV and AIDS in Africa, exhibited at the South African National Gallery and published as a book in 2001. Mendel{\textquoteright}s project debuted just after photographers such as Chris Ledochowski (b. 1956) and Zwelethu Mthethwa (b. 1960) made assertive claims for the dignifying potential of highly saturated color photography in South Africa{\textquoteright}s townships; I consider these competing notions of the dignified image on the brink of Mendel{\textquoteright}s subsequent turn to color photography for his subsequent series addressing HIV/AIDS. With Intersections (2005), Goldblatt sought to photograph South Africa{\textquoteright}s changed landscape as a post-apartheid nation, finding color technology much improved and expressing less anxiety than in his earlier work that color{\textquoteright}s association with lyricism might override social commentary. Lastly, Tillim{\textquoteright}s sojourn in Johannesburg{\textquoteright}s inner city resulted in Jo{\textquoteright}burg, (2004) as an exhibition and a book featuring muted color photographs of vulnerable black residents in substandard housing. The project served as an elegiac meditation on the urban environment after South Africa{\textquoteright}s first decade of democracy. Works by these photographers provide significant insight into how black-and-white and color function across photographic genres and how form relates to photographic meaning and political efficacy. Demonstrating new possibilities for the medium in the post-apartheid era-with particular attention to nuance, subtlety, and complexity-their projects unsettled traditional categories of photographic practice inside and outside the museum in ways that shed light on emerging lens-based art in South Africa. My project shows that these veteran photographers blurred traditional boundaries, from photojournalism to documentary to art, with implications reaching far beyond South Africa{\textquoteright}s borders.}, keywords = {Africa, Photography}, author = {Wilson, Leslie} } @mastersthesis {12522, title = {Pathopolitics: Feminist Performance Art, Biopolitics, and Affect in 1970s America}, year = {2017}, school = {UC Irvine}, abstract = {This dissertation brings affect theory (the study of the political dimensions of emotion and feeling in culture and everyday life) in contact with the history of American feminist performance art, a fitting yet underexamined overlap. Following Michel Foucault{\textquoteright}s theory of biopolitics, my theory pathopolitics scrutinizes the increasingly politicized nature of the cultural representation of emotions in contemporary American culture. I argue that feminist performance artists of the 1970s were particularly attuned to the multifaceted ways the cultural politics of emotion were shifting in their time in popular culture, news media, and capitalistic enterprises, especially advertising and the medical-industrial complex. The politics of feminist art practice across the nation worked to disturb conventional ways of "thinking feeling" that had theretofore hindered political objectives of the feminist movement. To demonstrate this, I turn to three artists representing three geographies across the U.S. Ana Mendieta, a Cuban-American artist working in Iowa, performed horrifyingly realistic Rape Scenes in response to a grisly local murder, overcoming her own fears of violence and radicalizing audiences{\textquoteright} encounter with the subject of rape. Adrian Piper, an African-American artist-philosopher working in New York and most known for her later work in the 1980s and 1990s, utilized a Kantian model of rationality and meditative practice in The Mythic Being and Food for the Spirit to devise a methodology of art production that confronts the illogical nature xenophobia in her audiences while forestalling their psychological projection, which could undermine the political efficacy of her work. Finally, Lynn Hershman adopted the depressed persona of Roberta Breitmore, whose experience in her daily life of writing in her diary, working, meeting dates, and going to psychiatrist appointments and support groups testifies to the contemporaneous shift in psychological thought and medical practice to an individualistic, biomedical model of mental illness, leaving many to bear the burden of mental illness alone. Together, these case studies demonstrate a tidal shift in 1970s America in the articulation and contestation of cultural politics through individual affect, attesting to the need to refine our theoretical and historical methodologies in the study of the politics of emotion.}, keywords = {Genders/Sexualities/Feminisms, Twentieth Century, Visual Studies}, author = {Huber, Jason} } @mastersthesis {12448, title = {Pathways Towards Urbanism and Social Complexity in the Mirabello Region of Crete from Middle Minoan II to the Late Minoan IB Collapse}, year = {2017}, school = {Temple}, abstract = {This dissertation focuses on social organization in the Mirabello region of Crete from the Final Neolithic to the end of the Protopalatial period. The primary goal of this study is to provide a more localized and nuanced understanding of the political and economic strategies that preceded the rise of palatial administration. Traditionally, explanations of social change in Pre- and Protopalatial Crete were expressed broadly as island-wide phenomena that occurred either gradually through internal evolutionary processes, or suddenly, in response to foreign contacts and ideas. Rather than attempting to understand the development of Minoan culture as a whole, or viewing change in terms of evolution or influence, this regional study focuses on a range of local factors, including the cycles of growth and collapse observable in the archaeological record. Here, a dual-processualist approach is employed in order to better explain these shifts. This approach contrasts two types of political behavior, network and corporate, which are not mutually exclusive, but operate concurrently and according to varying degrees within the same society. It is argued here that EM I-II network strategies were effective in generating wealth and status, but were ultimately limited by their focus on exclusionary and competitive behaviors. At the end of EM IIB, a series of destructions seems to have initiated a shift toward more corporate organization, which is evident in both settlement patterns and mortuary practices. The character of the evidence, when compared with the earlier period, suggests that this new form of organization was ideological, rather than wealth-centered, and was built upon the creation of larger corporate identities, which were legitimized through the control of communal rituals and degrees of access to a shared ancestral past.}, keywords = {Ancient Greek/Roman Art, Before 1500 BCE}, author = {Kunkel, Brian} } @mastersthesis {12502, title = {Patronage, Politics, and Humanism: Andrea Riccio{\textquoteright}s Reliefs for the Altar of the True Cross in Santa Maria dei Servi, Venice}, year = {2017}, school = {Rutgers}, abstract = {My dissertation is a close study of the first major public work by the Renaissance master of bronze Andrea Riccio. The reliefs with the Stories of the True Cross and the related tabernacle doors are today in the Ca{\textquoteright} d{\textquoteright}Oro Museum in Venice but were once assembled on an altar standing against the choir screen of Santa Maria dei Servi, mother church of the Servite order in Venice. Commissioned by the patrician Girolamo Donato at the turn of 1500 to commemorate a relic of the True Cross that he had donated to the Servites, the reliefs, as I argue, represent an important chapter in Venetian history regardless of their relatively small dimensions and their fragmentary status. Through an attentive examination of their complex iconography and a reconstruction of their original context, my dissertation shows how these bronze panels attest the past greatness of the Servite order in Venice, the crucial liturgical role of the altar that they decorated, and the archaeologically-oriented antiquarian language promoted by humanists of the caliber of Donato. Most importantly, the reliefs embody the multi-faceted character of the myth of Venice as a new Rome, new Constantinople, and new Jerusalem, in the wake of its development during the tumultuous years before the Cambrai wars (1508-1516). Each chapter focuses on specific aspects associated with the altar of the True Cross: its unprecedented format, its significant function, the audiences it addressed, and the political message that it was designed to convey. The ultimate goal of my study is to raise Andrea Riccio{\textquoteright}s reliefs to the level of monumental art by demonstrating the pivotal position that they held in the artistic, cultural, and political context of Venice toward the end of the fifteenth century.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Baseggio Omiccioli, Eveline} } @mastersthesis {12593, title = {Performativity as critical praxis: J.L Austin, Jacques Derrida, Judith Butler, Catherine Malabou, c. 1955-2014}, year = {2017}, school = {McGill}, abstract = {n the second half of the twentieth century, the concept of "performativity" came to play a leading role in academic discourse in the philosophy of language, deconstruction, queer and gender studies, art theory, and performance studies. Most recently, it has taken centre stage in the emerging interdisciplinary field of performance philosophy. Despite its ubiquity, however, performativity remains enigmatic. Accounting for the capacity of speech to bring about the action that it designates, and the processes through which identities are enacted, and meaning is produced, the concept lies somewhere in the tensions among language, embodiment, and action. As such, it is a singularly important term in understanding the meaning and significance of contemporary art and performance in relation to modernist norms and values. My dissertation provides a rigorous historicization and theorization of performativity by means of an analysis of the key texts by its major theorists. It argues that J.L Austin, Jacques Derrida, Judith Butler, and Catherine Malabou envision modes of performative writing that enact the ideas that their texts describe. In other words, I propose that they resist traditional modes of logical argumentation and disseminate their theories of performativity in a performative manner. An intellectual history written in the first person, each chapter narrates my phenomenological reception of a rhetorical performance by one of the above philosophers. Through it, performativity emerges as a mode of critical praxis characterized by both discursive resistance and embodied transgression -one that makes the ontological borders between philosophy and art more porous.}, keywords = {Twentieth Century}, author = {Andersen, Tawny} } @mastersthesis {12541, title = {The Photographic Effect: Making Pictures After Photography, 1875-1905}, year = {2017}, school = {Michigan}, abstract = {This dissertation examines the effects of photography and photographic concepts of picturing on painterly practice and theory in late-nineteenth century Europe. It argues that the permeation of photography into the material production and critical interpretation of pictorial art impelled painters, art photographers, and their critics to differentiate more sharply the qualities of creative labor from those of unthinking imitation. Focusing on case studies in France and England, the two countries with the longest histories of photographic practice and discourse, I consider methods of making that challenged the framework of medium, and the standards of "art" and "truth" on which distinctions between media were based. Subjects of analysis include the art criticism of British painter Walter Sickert (1860-1942); a libel trial initiated by Belgian painter Jan Van Beers (1852-1927); the plein-air painting practice of French naturalist Jules Bastien-Lepage (1848-1884); composite photographs and theories of pictorial art by British photographer Henry Peach Robinson (1830-1901); the "photographic" characteristics of paintings by Gustave Caillebotte (1848-1894); and the painterly realism of French artist Edgar Degas (1834-1917), which was set apart from photography in the nineteenth century and came to be aligned with it in the twentieth. I distinguish my approach from traditional narratives of cross-media exchange, which emphasize artists{\textquoteright} visual responses to paintings and photographs, by showing that photography{\textquoteright}s influence was felt most palpably in the invisible realms of pictorial production and its theoretical conception. Photography provoked no single stylistic response from painters, nor was its presence in a picture substantiated by any fixed set of criteria. By the 1890s photography had destabilized "medium" as a secure category of classification, as paintings were designated "colored photographs" and photographers employed the term "picture" to classify their images as art. I examine the radical reconfiguration of the hierarchy of pictorial art that took place in the late nineteenth century, showing that photographic methods of making and paradigms of picturing undermined the visual surface as a reliable source of meaning. As a result, these hybrid pictorial practices intensified anxieties about the terms of truthful depiction, and how an authentic sense of the real might be conveyed through material means. Rather than being settled by the turn of the century, as modern theories of medium specificity would have it, I maintain that photography catalyzed tensions between the manual and intellectual aspects of art-making that trigger debates and fuel artistic experimentation to this day.}, keywords = {Nineteenth Century, Photography}, author = {Talbot, Emily} } @mastersthesis {12455, title = {Planters and the Enslaved: The Contested Landscapes of Nineteenth-Century Brazilian Coffee Fazendas}, year = {2017}, school = {UC Santa Barbara}, abstract = {Through an examination of coffee plantations (fazendas) in the Vassouras region of Rio de Janeiro state from the time of Brazil{\textquoteright}s independence in 1822 to the abolition of slavery in 1888, I argue that in how plantation space was formed and used for surveillance, work and leisure pursuits, and religious practice, planters and slaves affected each other{\textquoteright}s belief systems and ways of living. An analysis of the plantation landscape and related material culture reveals that the fazenda reflected accommodations the planters enacted in order to support the institution of slavery as well as the ways slaves were able to challenge and modify the spatial structures designed to oppress them. Nineteenth-century visual representations of plantations and slaves were also used to form an idealized view of slavery as well as justify the practice at a time when most other nations had abolished the institution.}, keywords = {Colonial and Modern Latin America, Nineteenth Century}, author = {Simmons, Briana} } @mastersthesis {12446, title = {Play at the Turn of the Millennium: Reframing South Asian Diasporic Art (1980s - present)}, year = {2017}, note = {subject: Twentieth Century}, school = {Cornell}, abstract = {Play at the Turn of the Millennium develops a theory of play around aesthetic forms such as camp, parody, and caricature that re-remembers art in the age of identity. This dissertation historicizes a moment of political emergence in South Asian diasporic art (in North America and the UK) that coincides with the postcolonial in the art world. In a rush to inaugurate a confrontation to the canon, art criticism focused on historically marginalized content - an urgent and overdue intervention that shifted traditional approaches in art history, but one that came at the expense of a formal analysis of what the artists were doing in the work - their aesthetic labor. Furthermore, where aesthetics were emphasized, recurring themes include nostalgia, collective solidarity, and opposition have dominated the framing of contemporary art from South Asia and its diaspora. Through formal analysis, archival research, historical contextualization, and interviews this project uncovers an under-examined set of subversively playful aesthetics across multiple South Asian diasporas. I argue for play as a transformative aesthetic that not only counters regimes that regulate visibility but that renders them absurd. Fostering a transnational gaze in art history at the intersection of area studies, diaspora studies, and gender and sexuality, this dissertation shows how attention to playful aesthetics during this period exposes how mainstream conceptions of diversity and multiculturalism police what cultural difference should look like.}, keywords = {Asian American/Asian Diaspora, North America, South Asia/South East Asia}, author = {Bissonauth, Natasha} } @mastersthesis {12492, title = {Portraits and Visions in Renaissance Veneto: Titian, Moroni, Veronese}, year = {2017}, school = {Virginia}, abstract = {At the turn of the sixteenth century, a series of striking portraits emerged in Northern Italy. Patrons, once confined to the independent likeness or sacra conversazione, began to commemorate themselves anew in scenes from the life of Christ. From the Nativity to Calvary, individuals appear in variable landscapes without intercessory saint or any mode of physical demarcation. Although these portraits came to characterize the work of celebrated Veneto artists, scholars have yet to establish their origin and evolving significance. My dissertation offers the first systematic study on this iconographic pattern I term the visionary portrait.}, keywords = {Fifteenth- to Seventeenth-Century Art, Painting}, author = {Dwyer, Elizabeth Ann} } @mastersthesis {12416, title = {Portraits of Grief: Death, Mourning, and the Expression of Sorrow of White-Ground Lekyothoi}, year = {2017}, school = {Columbia}, abstract = {In Athens in the early 5th century BCE, a new genre of funerary vase, the white-ground lekythos, appeared and quickly grew to be the most popular grave gift for nearly a century. These particular vases, along with their relatively delicate style of painting, ushered in a new funerary scene par excellence, which highlighted the sorrow of the living and the merits of the deceased by focusing on personal moments of grief in the presence of a grave. Earlier Attic funerary imagery tended to focus on crowded prothesis scenes where mourners announced their grief and honored the dead through exaggerated, violent and frenzied gestures. The scenes on white-ground lekythoi accomplished the same ends through new means, namely by focusing on individual mourners and the emotional ways that mourners privately nourished the deceased and their memory. Such scenes combine ritual activity (i.e. dedicating gifts, decorating the grave, pouring libations) with emotional expressions of sadness, which make them more vivid and relatable. The nuances in the characteristics of the mourners indicate a new interest in adding an individual touch to the expression, which might "speak" to a particular moment or variety of sadness that might relate to a potential consumer. To facilitate a meaningful discussion of the range of ways that white-ground painters articulated grief and lament in their vases, the dissertation is divided into six chapters, each of which concentrates on a particular type of mourner: women, men, elderly men, infants, vocal visitors and the deceased. Discussing the visual iconography across these different groups demonstrates that the shared and individual, public and private, intentional and candid aspects of grief and mourning can be shown simultaneously and that it was of interest to the Athenians to look at images that incorporated all of these aspects.}, keywords = {Ancient Greek/Roman Art}, author = {Allen, Molly} } @mastersthesis {12581, title = {Posthumanist Animals in Art: France and Belgium 1972-87}, year = {2017}, school = {CUNY}, abstract = {This dissertation traces the changing role and increased importance of nonhuman animals in art of the 1970s and 80s. Focused largely on artists in France and Belgium, this period stands at the head of a wide-ranging re-conceptualization of animality that continues to unfold today. Pivotal moments in ecology (beginning with the 1972 United Nations Conference on the Human Environment in Stockholm), animal ethics and ethology (such as the Universal Declaration of Animal Rights proclaimed in 1978), and philosophy (specifically the biopolitical and deconstructive currents critiquing the centrality of the humanist subject), all converge as stress points along long held anthropocentric conceptions of culture, nature, and history. In simplest terms, the resulting visual cultural shift qua the animal can be described as follows: hegemonic forms of representation based on humanist iconography and symbolism began to weaken in the face of a politics of nonhuman representation-including, crucially enough, self-representation via indexical mediation or in situ installation and performance. I contend that this radical shift presents a challenge to art historical research-since it is diffuse and cannot be localized in any one movement or group-and opens pathways for assessing the ways in which art making can pry open obdurately static conceptions of animality (consequently making nonhumans sensible in culture and politics). Accordingly, my research comprises four disparate case studies: Chris Marker{\textquoteright}s ethologically inflected work of the 1970s and 80s; a history of exhibitions from the mid-1980s demonstrating the enmeshment of posthumanist, transhumanist, biopolitical, and ecological forms of thinking; Marcel Broodthaers{\textquoteright}s interwoven treatment of animals, poems, and the readymade; and eco-feminist strategies of identifying (or over-identifying) with animality as resistance to violent, andro-humanist historical forces. This dissertation thus provides a multi-faceted historical genealogy of the now widespread incorporation of nonhuman animals in contemporary art and underscores the productive convergence of art history with the posthumanities and critical animal studies.}, keywords = {Theory/Historiography/Methodology, Twentieth Century}, author = {Gerspacher, Arnaud} } @mastersthesis {12595, title = {Priests of the Sun: Photography and Faith, 1860-1910}, year = {2017}, school = {IFA/NYU}, abstract = {This dissertation explores how faith motivated British and American photography during the long nineteenth century. As a medium dependent on the physical world for its subject matter, photography was invested with aspirations and ambivalences connected to Victorian religious debates. On both sides of the Atlantic, photography supplied empiricism and mysticism in the midst of what the cultural critic Matthew Arnold described as faith{\textquoteright}s "melancholy, long, withdrawing roar." The photograph{\textquoteright}s dual status as a record of empirical "truth" and a conduit of mystical, alchemical experience predisposed it to answer to some of the most urgent religious questions of a half century of unprecedented doubt about the Bible{\textquoteright}s accuracy, the rise of alternative Christianities, and a more vocal and pervasive secularism. Photographs seemed to materialize divine light circa 1860; by 1900, they assured spiritual communion with the machine. Religious associations and desires have continued to surround the medium in the twentieth century, from the moralizing rhetoric of straight photography to the theory of Equivalence proposed by Alfred Stieglitz and elaborated by Minor White. Religion was not only an occluded component of nineteenth-century photographic practice; photography was a vital tool for exploring religion{\textquoteright}s centrality to a certain critique of modernity hinging on the desire to impute magical qualities to industrial products like the camera.}, keywords = {Twentieth Century}, author = {Fiedorek, Kara} } @mastersthesis {12563, title = {The Profane and Profound: American Road Photography from 1930 to the present}, year = {2017}, school = {Temple}, abstract = {This dissertation historicizes the enduring marriage between photography and the American road trip. In considering and proposing the road as a photographic genre with its tradition and transformation, I investigate the ways in which road photography makes artistic statements about the road as a visual form, while providing a range of commentary about American culture over time, such as frontiersmanship and wanderlust, issues and themes of the automobile, highway, and roadside culture, concepts of human intervention in the environment, and reflections of the ordinary and sublime, among others. Based on chronological order, this dissertation focuses on the photographic books or series that depict and engage the American road. The first two chapters focus on road photographs in the 1930s and 1950s, Walker Evans{\textquoteright}s American Photographs, 1938; Dorothea Lange{\textquoteright}s An American Exodus: A Record of Human Erosion, 1939; and Robert Frank{\textquoteright}s The Americans, 1958/1959. Evans dedicated himself to depicting automobile landscapes and the roadside. Lange concentrated on documenting migrants on the highway traveling westward to California. By examining Frank{\textquoteright}s photographs and comparing them with photographs by Evans and Lange, the formal and contextual connections and differences between the photographs in these two decades, the 1930s and the 1950s, become evident. Further analysis of the many automobile and highway images from The Americans manifests Frank{\textquoteright}s commentary on postwar America during his cross-country road trip-the drive-in theater, jukebox, highway fatality, segregation, and social inequality. Chapter 3 analyzes Ed Ruscha{\textquoteright}s photographic series related to driving and the roadside, including Twentysix Gasoline Stations, 1962 and Royal Road Test, 1967. The chapter also looks at Lee Friedlander{\textquoteright}s photographs taken on the road into the mid-1970s. Although both were indebted to the earlier tradition of Evans and Frank, Ruscha and Friedlander took different directions, representing two sets of artistic values and photographic approaches. Ruscha manifested the Pop art and Conceptualist affinity, while Friedlander exemplified the snapshot yet sophisticated formalist style. Chapter 4 reexamines road photographs of the 1970s and 1980s with emphasis on two road trip series by Stephen Shore. The first, American Surfaces, 1972 demonstrates an affinity of Pop art and Frank{\textquoteright}s snapshot. Shore{\textquoteright}s Uncommon Places, 1982, regenerates the formalist and analytical view exemplified by Evans with a large 8-by-10 camera. Shore{\textquoteright}s work not only illustrates the emergence of color photography in the art world but also reconsiders the transformation of the American landscape, particularly evidenced in the seminal exhibition titled New Topographics: A Man-Altered Landscape, 1975. I also compare Shore{\textquoteright}s work with the ones by his contemporaries, such as Robert Adams, William Eggleston, and Joel Sternfeld, to demonstrate how their images share common ground but translate nuanced agendas respectively. By reintroducing both Evans{\textquoteright}s and Frank{\textquoteright}s legacies in his work, Shore more consciously engaged with this photographic road trip tradition. Chapter 5 investigates a selection of photographic series from 1990 to the present to revisit the ways in which the symbolism of the road evolves, as well as how artists represent the driving and roadscapes. These are evident in such works as Catherine Opie{\textquoteright}s Freeway Series, 1994-1995; Andrew Bush{\textquoteright}s Vector Portraits, 1989-1997; Martha Rosler{\textquoteright}s The Rights of Passage, 1995; and Amy Stein{\textquoteright}s Stranded, 2010. Furthermore, since the late 1990s, Friedlander developed a series titled America by Car, 2010, incorporating the driving vision taken from the inside seat of a car. His idiosyncratic inclusion of the side-view mirror, reflections, and self-presence is a consistent theme throughout his career, embodying a multilayered sense of time and place: the past, present, and future, as well as the inside space and outside world of a car. Works by artists listed above exemplify that road photography is a complex and ongoing interaction of observation, imagination, and intention. Photographers continue to re-enact and reformulate the photographic tradition of the American road trip.}, keywords = {Photography, Twentieth Century}, author = {Wang, Han-Chih} } @mastersthesis {12512, title = {Promiscuous Technique: Theories of Mixed Media in Donatello{\textquoteright}s Workshops}, year = {2017}, school = {Harvard}, abstract = {This dissertation resurrects the controversial discourse surrounding material trickery in early Renaissance Italy, especially as it was negotiated in the work of that era{\textquoteright}s foremost sculptor, Donatello (1383/6-1464). Throughout his career, Donatello used extraordinary technical processes to make his materials take on the perceptual properties of other substances entirely. To effect these changes he employed an unprecedented range of specialists, de-compartmentalizing their disciplinary territories in an effort to make bronze resemble flesh, limestone simulate porphyry, to give leather the look of mosaic. This project tracks that pursuit across Donatello{\textquoteright}s oeuvre; its valorization within popular oral traditions (e.g., rumors, anecdotes, stories); and its uneasy relationship to the marketplace, where these same processes were used to defraud customers. In doing so, Donatello{\textquoteright}s Promiscuous Technique offers an alternative to the dominant understanding of sculpture as a "liberal art," grounded in disciplines like geometry, rhetoric, and ethics. Donatello took his models instead from cunning enterprises aimed at transforming or disguising matter (e.g., prestidigitation, cosmetics, alchemy, idolatry), staking his authority on an ability to deceive viewers with a near-elemental craftiness. To the discipline of art history, more broadly, the dissertation contributes a new way of conceptualizing the sculptural medium, looking beyond categories like medium-specificity and truth-to-materials in favor of others like dissimulation, hybridity, and adulteration.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Zolli, Daniel} } @mastersthesis {12476, title = {Properties of Word and Image: Mou Yi{\textquoteright}s 1240 Fulling Cloth Handscroll}, year = {2017}, school = {Princeton}, abstract = {This dissertation is a close examination and a cultural biography of Mou Yi{\textquoteright}s (1178-between 1240 to 1265) Fulling Cloth, a 1240 monochromatic handscroll painting based on a poem of the fifth-century writer Xie Huilian (407-433), with Xie{\textquoteright}s poem inscribed by the original recipient Dong Shi (act. mid-13th c.), two colophons by the painter himself, and eight hundred years{\textquoteright} worth of twenty subsequent colophons written by ten viewers and collectors, all attached to the painting itself. It argues that Mou Yi helped pioneer a new relationship between poetry and painting and introduced a new form of painterly commentary which would later become standard practice in Yuan (1279-1368) literati painting. Furthermore, it shows that Mou Yi offers a strong defense of his artistic pursuit by quoting the philosopher Zhuangzi-a reference which has been overlooked by viewers until now-against anticipated criticism of his devotion to painting. It also demonstrates that a section of the current painting has been cut during remounting and is now lost. The cultural biography I construct from the extensive colophons is the portrait of a peripatetic handscroll, which travels not only through time, but geographically, socially, economically, and philosophically. As such, this work has accumulated a spectrum of identities and meanings bestowed by its ever-changing owners with shifting priorities. Art historically, from subject matter to material, composition to technique, artistic to authorial invention, and creation to afterlife, this work complicates the received scholarly consensus regarding the so-called Yuan-dynasty literati revolution and its artistic praxis. Very few extant works of Chinese art rival this handscroll{\textquoteright}s eight hundred years of nearly continuous documentation, but it has received little modern attention. These colophons record the diverse attitudes the painter, collectors, and viewers held toward the work and what it represents through time. The cultural biography of the handscroll shows, I claim, the vicissitudes and historicity of taste and connoisseurship.}, keywords = {East Asia}, author = {Riggs, Amy} } @mastersthesis {12483, title = {Prud{\textquoteright}hon{\textquoteright}s Evolving Classicism}, year = {2017}, school = {Iowa}, abstract = {Attempting to make sense of the oeuvre of Prud{\textquoteright}hon in 1876, Edmond de Goncourt in his Catalogue Raisonne de Prud{\textquoteright}hon contrasts Prud{\textquoteright}hon{\textquoteright}s paintings with the predominant art of David and his students. He describes Prud{\textquoteright}hon as an isolated romantic artist, full of elegance, going against the virile masculine academic traditions of his day. Goncourt sees in Prud{\textquoteright}hon the epitome of an erotic classicism, which he considers unique for his time. I seek to demonstrate that Prud{\textquoteright}hon{\textquoteright}s embrace of classicism reflects and propels a variety of contexts from the literary, aesthetic, philosophical, and cultural developments of his time. The significance of poignant upheaval and the political change from the ancien regime through the Revolution and the Empire had a considerable impact on the various moments examined in my dissertation. I use selected examples from his works and those of his contemporaries to serve as case studies to reveal key moments in the development of his oeuvre. Prud{\textquoteright}hon{\textquoteright}s oeuvre is vast, but my dissertation will highlight case studies from 1770-1815. I have analyzed central concepts of this period{\textquoteright}s aesthetic and philosophical ideals, especially the philosophic treatises by French Enlightenment thinkers such as Rousseau and Diderot, and by classicists like Winckelmann and Quatremere de Quincy. Prud{\textquoteright}hon{\textquoteright}s transformations were also clearly impacted by the historical reality of the French Revolution and Empire.}, keywords = {Eighteenth Century, Nineteenth Century}, author = {Ridlen, Michael Traver} } @mastersthesis {12510, title = {Quasi Alterum Byzantium: The Preservation of Identity through Memory and Culture by Aristocratic Byzantine Women, 1440-1600}, year = {2017}, school = {Boston}, abstract = {This dissertation analyzes the preservation of Byzantine culture, memory, and identity after 1453 by a network of aristocratic Byzantine women. By integrating art history, history, and anthropology to follow the lives, social networks, and patronage patterns of these women, this project examines the cultural contributions of this small, yet remarkable population. The first chapter discusses Anna Palaiologina Notaras, who perpetuated Byzantine culture through texts and images in Venice. By negotiating between the Byzantine emigres and the Venetian authorities, she secured unprecedented privileges and recognition for the marginalized community. The second chapter centers on Zoe (Sophia) Palaiologina, niece of Emperor Constantine XI, who was raised as an exile at the papal court. In 1472, she married the Grand Duke of Moscow and became a vital translator among the visual languages of Byzantium, Italy, and Russia. Through her entourage, objects, and familial connections, the princess solidified Moscow{\textquoteright}s connection to the fallen Byzantium. Chapter three focuses on Cantakuzina (Catherine) and Mara Brankovic, daughters of Serbian Despot, George Brankovic. In 1435, Mara married Ottoman Sultan, Murad II and became stepmother to Mehmed II, conqueror of Constantinople. Throughout her life, she participated in a series of diplomatic efforts, which allowed her to become a patron of Byzantine culture within the confines of the Ottoman Empire. Mehmed II relied on Mara to validate symbolically his rule in the eyes of his Byzantine subjects, for whom she was a de-facto spokeswoman. Mara and Cantakuzina negotiated peacefully between Mehmed, the Venetians, Athonite monastics, and prominent post-Byzantine figures. Chapter four discusses Helena Palaiologina, another niece of Constantine XI, and her daughter Charlotte. In 1442, Helena married John II of Cyprus, and became Queen of Cyprus, Armenia, and Jerusalem. Helena applied her power to welcome an important group of post-1453 refugees to Cyprus. Charlotte was forced into exile and ended her life at the papal court, to which she gifted a number of valuable objects. Together, Helena and Charlotte helped preserve the Byzantine imperial traditions of philanthropy and diplomatic gift giving. This dissertation contributes to early modern women{\textquoteright}s studies and provides a more nuanced understanding of cultural perpetuation.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Sloutsky, Lana} } @mastersthesis {12412, title = {Radical Aesthetics: The Art of the Black Panthers, 1966-1982}, year = {2017}, school = {Northwestern}, abstract = {Founded in Oakland, California, in 1966 to confront the crisis of anti-black police violence in the Bay Area, the Black Panthers advocated armed struggle against the violences and aggressions of racist American imperialism domestically and internationally. Against interpretations that would deem their image-making to be secondary to their professed political agenda, merely a supplementary or propagandistic means by which to disseminate their worldview, this dissertation argues that aesthetic concerns were central to their militant politics. Panther artists and their sympathetic counterparts mobilized an arsenal of images, from political cartoons to feature-length films, to convey their organizational ambitions and orient the public to their committedly anti-racist and anti-imperialist perspectives. By focusing on the Panthers{\textquoteright} theorization, production, and circulation of their imagery, as well as their numerous creative collaborations, I offer a detailed and comprehensive analysis of their organizational development and evolving ideological positions. My attention to the materialization and spatialization of the Panthers{\textquoteright} revolutionary thinking in and through images clarifies what is seen and known of one of the most iconic political movements of the twentieth century. Far from an addendum to dominant art historical narratives about the American art and visual culture of the 1960s and 1970s, "Radical Aesthetics" recalibrates these histories as it traces how the Panthers{\textquoteright} artistic activities diverged from and explicitly critiqued what would be canonized as the most important interrogations of space, subjectivity, audience, and media in the period. Emphasizing that the Panthers pointedly situated their aesthetic contributions outside the institutional and discursive bounds of the art world, I assert the valence of their image-making for larger debates about art{\textquoteright}s "site" and relationship to politics in the 1960s to the present.}, keywords = {African American/African Diaspora, Twentieth Century}, author = {Reitz, Erin} } @mastersthesis {12426, title = {Rearing the Royals: Architecture and the Spatialization of Royal Childhood France, 1499-1610}, year = {2017}, school = {Duke}, abstract = {Investigating the manner in which architecture actively shaped and was transformed by the French royal family, "Rearing the Royals: Architecture and the Spatialization of Royal Childhood in France, 1499-1610" examines architecture{\textquoteright}s role in the monarchy{\textquoteright}s symbolic self-representation, quotidian existence, and dynastic strategies at the chateaux of Amboise, Blois, Fontainebleau, and Saint-Germain-en-Laye. Using a range of sources from French, Spanish, and Italian archives, the project fuses archival research and close readings of buildings. The unique relationship between the French royal children and architecture affected politics, court rituals, and architectural forms. Existent literature analyzes the construction and decor of royal chateaux, but little is known about their functions, which later renovations and a formal focus obscure. This dissertation argues that buildings engaged in mutually influential relationships with their occupants, indoctrinating the children and their entourages into the monarchy{\textquoteright}s social hierarchy and cultural regime at a time when European politics were shifting. The dissertation contributes to and engages with architectural history, court studies, social history, and spatial theory, providing a multifaceted analysis of the royal family{\textquoteright}s instrumentalization of architecture. By analyzing changes in the monarchy{\textquoteright}s modes of inhabiting its kingdom, from fortified towers to the socio-architectural experiment that was Versailles, this dissertation emphasizes the relationship between architectural manifestations of power and the monarchy{\textquoteright}s evolving political strategies.}, keywords = {Architectural History/Urbanism/Historic Preservation, Fifteenth- to Seventeenth-Century Art, Seventeenth Century}, author = {Dawn Narkin, Elisabeth} } @mastersthesis {12423, title = {Reconsidering the Tribune in Early Gothic Architecture of Twelfth-Century Northern France}, year = {2017}, school = {Columbia}, abstract = {This work reconsiders the tribune, its functional and symbolic importance in Gothic style architecture of twelfth-century France. Three case studies, the cathedrals of Notre-Dame of Noyon and Senlis and the priory church of Saint-Leu at Saint-Leu-d{\textquoteright}Esserent, serve as a means to examine the origins, function and medieval conceptions of this enigmatic second story. An analysis of the cathedral fabric, together with the episcopal palace and chapel, in conjunction with an examination of the sociological and political context are undertaken in an effort to start a new dialogue regarding this architectural entity, long neglected in the discourse of Gothic architecture. The outlier in this study is the Cluniac priory of Saint-Leu, constructed with a tribune-like elevation yet lacking a proper tribune; the priory serves as a foil with which to test the assumptions surrounding the cathedral case studies. The careful examination of evidence reveals a nuanced understanding of this architectural entity, undermining the traditional narrative that holds it to be purely a constructional device used by medieval builders in the race for taller, more spacious churches. This new perspective situates the tribune in the broader context of the episcopal complex as an architectural entity physically and symbolically linking the different buildings of the cathedral, episcopal chapel and palace. Finding its roots in royal and imperial architectural complexes of the Byzantine and medieval empires the tribunes of Notre-Dame of Noyon and Senlis express propriety befitting the stature of the bishop and his cathedral, while this second story as a space of devotion confirms its spiritual supremacy. Notably, the use of this architectural form at this time occurs when bishops sought to reassert their authority, following a period of institutional weakness.}, keywords = {Architectural History/Urbanism/Historic Preservation, Eleventh to Fourteenth Century}, author = {Griggs, Nicole} } @mastersthesis {12600, title = {Ree Morton and feminist installation art: 1968 - 1977}, year = {2017}, school = {McGill}, abstract = {This dissertation takes the artwork of Ree Morton (1936 - 1977) as a case study to investigate the significance of women making installation art in the United States in the 1970s. Since the 1980s, academics and institutions have foregrounded and prioritized the legacies of male artists in narratives of installation art. In reproducing these gender-biased histories many women installation artists and the wider impact of gender and feminist politics in the emergence of installation art histories have been overlooked. This study examines Morton{\textquoteright}s practice within the proposition of "feminist installation art" between 1968 and 1977 to argue that her and other women{\textquoteright}s installations developed in dialogue with key cultural issues such as domesticity, labor and space and therefore made valuable contributions to the emergence and development of installation art more generally. As the first sustained art historical study of the artist{\textquoteright}s career, Morton{\textquoteright}s practice is not only contextualized within adjacent histories of conceptual art, postminimalist sculpture, land art, installation art and feminist art, but her work is brought into dialogue with relevant discourses including women{\textquoteright}s autobiographical writing and art, feminine aesthetics and gendered domestic labor. This study furthermore takes a unique approach utilizing Morton{\textquoteright}s notebooks and artworks as equivalent objects of critical analysis to explore new ways of historicizing women{\textquoteright}s autobiographical art practices within theoretical frameworks of gendered subjectivity, agency, materiality and labor.}, keywords = {Twentieth Century}, author = {Shapiro, Abigail Jane} } @mastersthesis {12503, title = {The Reinvention of the Bronze Statuette in Renaissance Italy: Presentation, Material, Facture}, year = {2017}, school = {IFA/NYU}, abstract = {This dissertation examines the emergence of the independent bronze statuette in the second half of the fifteenth century in central and northern Italy as a type of art object prized in court and university circles. Its proliferation in the decades around 1500 is a significant aspect of the revival of antique forms and values that characterize the period. Statuettes partake of the unique qualities of statuary, sharing human form, three-dimensionality and physical autonomy with their makers and viewers. Their small scale brings the subject and the substance of sculpture into a close relationship with the viewer, one often characterized by interaction and manipulation. The form was established almost exclusively in bronze, the exceptional material properties and deep historical resonance of which made it a privileged medium throughout Mediterranean and European cultures. The confluence of material, size and subject in the Renaissance bronze statuette, and its resulting relationship to its beholder, has been studied less than questions of authorship, dating and iconography. This dissertation aims to recuperate a historical consciousness of these sculptures, to situate them in the physical environment of the late fifteenth century and its artistic and humanistic discourse. The early bronze statuettes are characterized through three themes: the implications of their medium, their modes of production, and their interactive life in the hands and on the desks and shelves of their owners. As the primary precondition to the emergence of the statuette, the reinvention of the independent statue by Donatello in the 1430s is also addressed. Statuettes by Filarete, Antonio del Pollaiuolo, Bertoldo di Giovanni, Bartolomeo Bellano and Antico are at the heart of this study, as are texts by Leon Battista Alberti and Pomponio Gaurico.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Bell, Peter} } @mastersthesis {12486, title = {Religious Experience and Monastic Identity in Romanesque Sculpture at Santa Maria de Ripoll (Catalonia), 1020-1180}, year = {2017}, school = {Wisconsin}, abstract = {This dissertation offers the first comprehensive study of the twelfth-century architectural sculpture and tomb monuments at the once powerful Catalan abbey of Santa Maria de Ripoll (Girona, Spain). I study the Romanesque sculpture of Ripoll as interfaces between liturgy and history, outlining the affective religious experiences and stimuli to multi-sensory religious experience that this sculpture engendered. Located about sixty miles north of Barcelona in a mountain valley at the confluence of two rivers, Santa Maria de Ripoll was known across the Iberian Peninsula and Western Europe as a crossroads of art, learning and music in the eleventh and twelfth centuries. A sculpted stone portal was added to existing eleventh-century walls and the cloister was decorated with marble capitals and variegated stone columns around 1140 to 1160. The scale and comprehensiveness of the twelfth-century portal and the richness of the marble cloister capitals show that the abbots and priors who initiated these works valued sculpture and the plastic arts for the purpose of memorializing the monastery{\textquoteright}s past and promoting the identity of the monks. Architectural sculpture at Ripoll also mediated and shaped monastic rituals, time cycles, and institutional politics, holding a particular power on the religious imagination. By exploring resonances between sculpted decorations, illuminated manuscripts, sacred space, and affectivity, I aim to provoke a much boarder discussion of sculpture at Ripoll than what has been offered. I develop a case study with close-knit comparisons that contributes to larger discussions in the field of Medieval Studies around materiality and the senses. This study is divided into two parts. Part I is comprised of two chapters on the sculpted west portal: Chapter 1 examines voice and personification in the Ripoll portal, and Chapter 2 examines the portal archivolts within the framework of spiritual and corporeal vision. Part II is comprised of two chapters on the Ripoll claustro-panteon as the burial site of the Catalan Counts: Chapter 3 examines the tomb of Ramon Berenguer III as a representation of funerary liturgy, and chapter 4 explores the sculpted cloister capitals and the themes of the cleansing, protection, and resurrection of the body.}, keywords = {Eleventh to Fourteenth Century, Sculpture}, author = {Westerby, Matthew} } @mastersthesis {12449, title = {Riverine Landscapes in Minoan Crete}, year = {2017}, school = {Temple}, abstract = {The goal of this dissertation is to provide a comprehensive study of scenes of fresh water in Minoan art from the Middle Minoan II (MM II) through the Late Minoan I (LM I) periods. This dissertation addresses and fills the gap in the scholarship regarding the depiction of riparian environments and the special place of these depictions in Aegean art. It also attempts to clarify the use and function of riverscapes across chronological periods. Rivers, marshes, streams, and springs, appear on a variety of media and fulfil multiple functions from MM II onward. Images of fresh water were used as topographical markers, ornamentation and decoration, and for religious purposes. Moreover, several images suggest that the Minoans may have believed that the realm for the goddess (or one of the goddesses) was a lush, riverscape. A second goal of this dissertation is to clarify and dispose of the term "Nilotic" as a label for images of fresh water in the Aegean. Since its introduction into the literature of Aegean studies in the beginning of the 20th century, the term "Nilotic" has been used inconsistently to describe Aegean scenes of fresh water that may or may not contain Egyptian elements. This assumption has led some scholars to state that Aegean riverscapes are ultimately derived from Egyptian scenes of fishing and fowling because they share similar iconographic elements. Unfortunately, the process of synthesis is important to the understanding of Aegean riverscapes, and iconographic similarities are somewhat superficial. Furthermore, the term has been used without regard for a long-standing tradition of the depiction of riparian environments in Bronze Age Aegean art. To fully address both goals of this project, the origin of individual iconographic elements has been traced through various media, including glyptic art, pottery, and wall painting. Wall paintings from the Cyclades and some Late Helladic IA scenes have been included when appropriate. Whenever possible, categories of riverscapes have been grouped together, but each wall painting, has been examined and interpreted individually. Some unique, highly pictorial, and detailed images in other media have also been addressed separately. Parallels in Egyptian and, in some cases, Near Eastern art have been sought to determine the validity of the term "Nilotic," and a special study of Egyptian scenes of hunting in the marshes has been conducted in comparison to Aegean scenes. Iconography, synthesis, and context have all been taken into consideration.}, keywords = {Ancient Greek/Roman Art, Before 1500 BCE}, author = {Pearce, Ariel} } @mastersthesis {12417, title = {The Roman Middle Republic at Sant{\textquoteright}Omobono}, year = {2017}, school = {Michigan}, abstract = {This dissertation presents the results of an analysis of the middle Republican (ca. 4th=3rd c. BCE) architectural remains of the Roman temples of Fortuna and Mater Matuta at the Sant{\textquoteright}Omobono site in Rome{\textquoteright}s Forum Boarium. The analysis relies on a total station survey of nearly the entire site coupled with photogrammetric documentation, hand drawing, and archival research. It fills a gap in archaeological knowledge by describing in detail the structures of an important religious site in the center of ancient Rome. The results of the analysis allow new questions to be posed of the Classical texts that describe the temples and the rites performed therein. As part of the contextual material for the mid-Republican architecture, a new overview of the use of volcanic tuff in Roman construction has been prepared. The study identifies three principal phases that can be dated with certainty or a high degree of probability to the middle Republic: a pavement in blocks of Anio tuff that occupies the forecourt of the temples, possibly of the 4th c. BCE; a rebuilding of the temples represented by a pavement in slabs of Anio tuff along with two altars, between the late 4th and mid 3rd c. BCE; and a massive rebuilding of the entire precinct with Tufo Giallo, Lapis Albanus, and Anio tuff foundations and a pavement in thin slabs of Anio tuff, dated to 212 BCE.}, keywords = {Ancient Greek/Roman Art}, author = {Diffendale, Dan} } @mastersthesis {12418, title = {Rome at Its Core: Reconstructing the Environment and Topography of the Forum Boarium}, year = {2017}, school = {Michigan}, abstract = {This dissertation presents the results of a recent geoarchaeological investigation in the heart of Rome. Using an interdisciplinary approach with underutilized methodologies, namely coring survey and environmental sampling, I have been able to investigate deeply buried levels in Rome{\textquoteright}s river valley, called the Forum Boarium. This region marks the site of Rome{\textquoteright}s original river harbor and an important crossroad in prehistoric central Italy. By drilling a series of cores that produce sediment boreholes more than 15m long, it becomes possible to survey previously inaccessible archaeological and geological stratigraphy across a wide area and with great depth. As coring survey effectively explores the interactions and relationships of past peoples with their landscape, utilization and refinement of these techniques will help launch promising new research in the field of environmental history. In the case of Rome, environmental archaeology offers new perspective on the nascent city by providing data on the pre-urban environment and urban development of Rome{\textquoteright}s river valley. Among other things, my survey exposed key features of the natural landscape in the Forum Boarium, including the location of Rome{\textquoteright}s original river harbor and the nearby section of raised floodplain at the base of the Capitoline Hill. I argue that Rome{\textquoteright}s origins as a harbor settlement helped the city achieve regional dominance from its inception. Moreover, I posit that the exponential growth of trade between Etruria and Greece in the seventh century BCE created new opportunities, which motivated the early inhabitants of Rome to begin engaging in large scale building and landscape modification projects, aimed at building a cohesive city that could also be protected from nuisance flooding. The substantial dataset produced by coring survey and environmental sampling provides an empirically-driven timeline for Rome{\textquoteright}s urbanization process, corroborating a rich archaeological and literary record that signals sixth century Rome as transformative and exceptional. The available paleoenvironmental evidence suggests that the Tiber riverine system was relatively stable during the early centuries of human habitation at the site of Rome, but sometime after the early sixth century the Tiber began a process of rapid aggradation. Between 580 and 480 BCE, 5.8m of sediment was deposited in the Forum Boarium. This sedimentation rate represents a significant hydrological shift in the Tiber basin well beyond the norm of nuisance flooding, which I argue is a direct consequence of the Romans{\textquoteright} prolific urban activities on the local landscape. I introduce evidence for dredging in the Forum Boarium as early as the fifth century BCE as one of a variety of flood-mitigating activities pursued in Rome. In sum, this project shows how environmental pressures not only shaped the physical landscape of the early city, but also emergent socio-political institutions, as the Romans were compelled to adapt to their volatile river in order to protect important ritual and commercial pursuits in the Forum Boarium valley.}, keywords = {Ancient Greek/Roman Art}, author = {Hallock, Andrea} } @mastersthesis {12508, title = {Rubens and the Stoic Baroque: Classical Stoic Ethics, Rhetoric, and Natural Philosophy in Ruben{\textquoteright}s Style}, year = {2017}, school = {Victoria}, abstract = {Rubens is known as a painter; he should also be defined as an art theorist. Following Robert Williams{\textquoteright} theory that Early Modern art became philosophical, I believe that style can connote art theoretical interests and philosophical models, and that in Rubens{\textquoteright}s case, these included the classical Stoic. While it would be possible to trace Rubens{\textquoteright}s commitment to Stoicism in his subject matter, I investigate it in his style, taking a Baxandalian approach to inferential criticism. I focus on Rubens{\textquoteright}s formal choices, his varied brushwork, and his ability to create a vibrant picture plane. My study is divided into chapters on Ethics, Logic, and Physics. In Chapter One I treat Stoic moral philosophy as an influence in the design of Rubens{\textquoteright}s paintings, consider similarities between classical and Early Modern interest in viewer/reader response, and argue that Baroque artists could use style to avoid dogma while targeting viewers{\textquoteright} personal transformation. In Chapter Two I focus on Rhetoric, a section of the Stoic philosophy of Logic. Stoic Logic privileged truth: that is, it centred on investigating existing reality. As such, Stoic rhetorical theory and the classical literature influenced by it promoted a style that is complex and nuanced. I relate this to the Early Modern interest in copia, arguing that this includes Rubens{\textquoteright}s painterly style which, apropos copia, should be better termed the Abundant Style. In Chapter Three I explore similarities between Stoic Natural Philosophy and the Early Modern artistic interest in the unified visual field. The Stoics defined the natural world as eternally moving and mixing; with force fields, energy, and elements in constant relationships of cause/effect. The Stoic concept of natural sympathy was a notion of material/energetic interrelatedness in which the world was seen as a living body, and the divine inhered in matter. I consider ways that these classical Stoic concepts of transformation, realism, and vivified matter might be discerned in Rubens{\textquoteright}s style.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Nutting, Catherine} } @mastersthesis {12585, title = {Sacred Fragments: The Reception of Christian Antiquity in Post-Tridentine Rome}, year = {2017}, school = {Columbia}, abstract = {This dissertation analyzes cultural attitudes and modes of reception of Christian antiquity and Early Christian art in late sixteenth-century post-Tridentine Rome, and its effects on the antiquarian, historical, and artistic culture of the time. It challenges the established scholarly paradigm that Christian archaeology was an apologetic discipline and the by-product of Catholic ideology, and argues instead that the discovery and investigation of Christian antiquity was instrumental to the critical reappraisal of the methods of classical historical scholarship, leading to a fundamental revolution in both historical and antiquarian method, and artistic taste. With their unrefined formal qualities, rather unappealing to eyes still accustomed to Renaissance style, Early Christian artifacts played a fundamental role in establishing less narrow criteria to approach and assess art beyond the classical canon, paving the way for a new and more favorable evaluation of art objects hitherto ignored when not despised.}, keywords = {Theory/Historiography/Methodology}, author = {Di Croce, Alessandra} } @mastersthesis {12594, title = {The Sao Paulo Neo-Avant-Garde: Art, Collaboration, and Print Media, 1970-1985}, year = {2017}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {Twentieth Century}, author = {Binnie, Mari Rodriguez} } @mastersthesis {12514, title = {Seizing the Everyday: Lettrist Film and the French Postwar Avant-Garde, 1946-1954}, year = {2017}, school = {Chicago}, abstract = {Despite Paris{\textquoteright}s cultural eminence before World War II, many art historical narratives shift to New York after 1945 and rarely mention Europe until the 1960s. However, Seizing the Everyday argues that 1950s films produced around the Lettrist movement by Isidore Isou, Maurice Lemaitre, Guy Debord, Gil Wolman, Yves Klein, Raymond Hains, and Jacques Villegle exemplify the quick regeneration of postwar European art. Raucous screenings with jarring sound, hand-scratched imagery, and sculptural screens incited audience reactions and depicted their young group as a force for change in the streets of Paris, providing a deep lineage of activist practices before the student protests and worker strikes of May 1968. While artists later broke into factions of Lettrism, the Situationist International, and Nouveau Realisme, this project highlights the common origin to groups that most scholars study separately. Beyond tropes of critique and negation, a microhistory of the early postwar French avant-garde with close readings of films, press coverage, circulars, and correspondence uncovers the quotidian habits and spaces framing artistic production. Lettrism shows how movements function as a lifestyle and belief system that saturate the creation and content of artworks. In the history of the avant-garde, Lettrism marks a subtle shift in paradigm that reveals a conflicting vision of art as activism from a position of marginalization coupled with a deep-seated desire for institutionalization. Lettrist demonstrations at cine-clubs and the Cannes International Film Festival questioned the postwar programs of storied venues re-establishing their public roles after Vichy, but also secured high-profile screenings for their films. This dissertation contributes a renewed analysis of artists{\textquoteright} relations to mass media by showing how Lettrists adopted the cinema to briefly occupy and transform cultural institutions that patronized artists, molded public reception of the arts, and figured social progress in reconstruction France.}, keywords = {Film/Video/Animation, Twentieth Century}, author = {Sarve-Tarr, Marin} } @mastersthesis {12480, title = {The Sheremetevs and the Argunovs: Art, Serfdom, and Enlightenment in Eighteenth-Century Russia}, year = {2017}, school = {Columbia}, abstract = {This dissertation studies a case of Enlightenment art created in feudal conditions of servitude. The Sheremetevs, one of the richest and most powerful families in eighteenth-century Russia, had some of their hundreds of thousands of serfs trained as painters, architects, opera singers, and musicians. Two of these serfs, Ivan and Nikolai Argunov, became successful portraitists who painted a range of sitters from Empresses to fellow serfs. Tensions between social rank and individuality, already a preoccupation for eighteenth-century portrait painters, became particularly pronounced in this situation. While recent scholarship has focused on the Argunovs{\textquoteright} cosmopolitan influences, their paintings of fellow serfs and others of low rank are sometimes visually and iconographically distinct from their usual output. This category of portrait, this dissertation argues, should be considered within the context of the other artistic projects of the Sheremetev household. Despite strong Western European influences on the Argunovs, the painters were also exposed to extremely personal and local precedents. These include earlier portraits, garden prints, an atlas project, the Sheremetevs{\textquoteright} many collections, and operas staged by the family{\textquoteright}s renowned serf theater. Working within this visual environment, Ivan and Nikolai Argunov painted their subjects in intricately allusive ways. Their portraits represented and negotiated the complications of serfdom in a setting where unusual social change was possible.}, keywords = {Eighteenth Century, Nineteenth Century}, author = {Helprin, Alexandra} } @mastersthesis {12525, title = {The Simurgh: Representations and Meanings in Persian Painting}, year = {2017}, school = {Victoria}, abstract = {The fantastic Simurgh, the mythical bird of ancient Persia, has maintained a significant presence in Persian culture. The visual and textual references to this bird manifest a mysterious and complex symbolism shaped around this super-natural creature in Persian literary sources. The Simurgh evolves from a myth, to the symbol of royalty, to the guardian of Persian kingdom, and finally to represent the Divine. This promotion and transformation is facilitated through the idea of divine protection and kingship inherited from ancient Persia, transforming the representations of the Simurgh into powerful images. The intertextual analysis of the Avestan and Pahlavi references to the Simurgh, and their comparison with the characteristics of the Simurgh in the Shahnama, allows this study to trace the amalgamation of these sources in the Persian national epics. Through a process of literary creativity, Firdausi combines the characteristics of the two mythical birds, Sa{\textflorin}{\`\i}na and Vareghna, to shape the Simurgh in the Shahnama. The transformation of ancient Persian myths into Islamic Persia continues in the works of Islamic philosophers such as Suhrawardi who, once again, synthetized the mythical bird of pre-Islamic Persia with its recent embodiment in the Shahnama. In this phase of transformation and in the work of Suhrawardi{\textquoteright}s contemporary, {\textquoteright}Attar, the Simurgh was raised to the symbol of the Divine. It is in the light of these literary sources from the genres of epic literature and religious writings that the representations of the Simurgh are contextualized in this study, and the formation of three iconographic prototypes for the bird are proposed. In addition, the presence of the royal, divine, and Iranian glory (farr-i izadi, farr-i Irani), sought for by both rulers and individuals in the Persian system of though, charges the representations of the Simurgh in the illustrated manuscripts of the Shahnama produced between the fourteenth and the seventeenth-century, in the realm of Persian painting in particular, as well as in Iranian visual vocabulary, in general.}, keywords = {Islamic Art}, author = {Nabavi Nejad, Behrang} } @mastersthesis {12441, title = {Sojourn to the Sun God: Places of Emergence and Movement in Mixtec Codices}, year = {2017}, school = {Florida State}, abstract = {Mixtec codices are sacred books folded like accordions and composed of strips of deer hide or fig-tree bark that visually narrate activities of deities, supernatural culture heroes, and the actions and genealogies of historical Mixtec kings and queens who wanted to emulate them. Recorded in a pictographic writing system, Mixtec codices are cultural artifacts that offer the viewer glimpses of the complex and layered representations of a specific people from particular places during the Postclassic epoch of Mesoamerica. A salient part of these visualized narratives is the act of travel. In Mixtec codices, travel typically begins with the physical act of emergence of a substance, being, or historical figure. Emergence is a visual point of departure for various narratives that pulsate with ongoing movement that we are here defining as travel itself, as the itinerant traversing of place, as the formation of visual trails in the landscape and in the narrative display and reading of the pages in Mixtec codices. Travel is repeated as a conceptual, visual, and performative trope throughout Mesoamerica in various media produced by distinct ethnic groups and communities with various levels of power in the wider webs of Mesoamerican praxis. Travel in the Mixtec codices connects to the incipient founding of community, to the contemporary people, place, and cultural rhythms of communal, ritual life. Through the visual narratives recorded in the codices, an understanding of Mixtec identity, memory, and therefore history is linked to specific places through specific actions such as emergence from and travel to points of origin. By examining such visually codified narratives, this dissertation posits that Mixtec ethnogeographies of travel form part of recording a community{\textquoteright}s identity and its connection to place.}, keywords = {Art of the Ancient Americas, Indigenous Peoples}, author = {Schaeffer, D. Bryan} } @mastersthesis {12577, title = {Soundsites: Max Neuhaus, Site-Specificity, and the Materiality of Sound as Place}, year = {2017}, school = {Stony Brook}, abstract = {The dissertation examines the sound-based artworks, or sound works, of the experimental musician and installation artist Max Neuhaus (1939-2009). This analysis accounts for the diverse roles of sound as an artistic medium in postwar American music, performance, and environmental art, 1958-1980. The dissertation provides a detailed overview of the musical performances, anti-musical compositions, and post-musical installations of Neuhaus and others to situate sound against dominant historical and theoretical accounts of site-specific and environmental art. The dissertation begins with an analysis of Neuhaus{\textquoteright}s tutelage and departure from new music composers John Cage and Karlheinz Stockhausen, 1958-1968, and assesses the diverse artistic, social, and institutional developments of the artist{\textquoteright}s innovative practice of sound installation. The dissertation orients sound installation, and its origin in percussion performance, as a convergence of postwar avant-garde art and music. In particular, this research describes how sound installation anticipated the spatial, temporal and phenomenological conditions of 1970s site-specific art. The dissertation also examines Neuhaus{\textquoteright}s use of printed matter and electronic media, including electronic circuits, phonography, telephone networks, and radio broadcasting, as a nascent model for networked aesthetics. This framework illustrates how the concepts of site and place are conditioned by distributed media environments. Finally, the dissertation proposes a new model of unfixed site-specificity to account for the fluidity of sound in complex material and virtual forms, redefining boundaries of music, sculpture, and public art. In this sonic frame, the act of listening is revealed as an essential paradigm for understanding the concepts of site, materiality, and place in postwar American art.}, keywords = {Sound Art, Twentieth Century}, author = {Eppley, Charles} } @mastersthesis {12557, title = {Staging the Foreign: Niccolo Manucci (1638-ca. 1720) and Early Modern European Collections of Indian Paintings}, year = {2017}, school = {Columbia}, abstract = {My dissertation explores the formative stages of European interest in, engagement with and consumption of Indian pictorial art over a period of one hundred and fifty years, from the mid-16th century up to the early 18th century. During this period, European cabinets of curiosities witnessed the arrival of increasing numbers of a previously unknown class of collectible: Indian paintings on paper. Interest in these paintings was spurred by a growing curiosity about the East, combined with a general re-orientation of the European system of knowledge towards a more "scientific" methodology of inquiry, which encouraged a revision of the stereotypes that had informed medieval European conceptions of India through engagement with original sources. The relevance of this phenomenon to the history of early modern exchanges between India and Europe can hardly be overstated. Yet, modern scholarship has tended to ignore it, focusing instead on the Indian fascination with and reception of European artistic forms and techniques. This dissertation seeks to develop a more exhaustive picture of the early modern artistic encounter between India and the West, one in which European consumption of Indian paintings is dutifully represented and India plays an active role in the emerging system of knowledge. The starting and central point of my investigation consists of the vast and diversified collection of Indian paintings gathered by a Venetian traveler to India, Niccolo Manucci (1638-ca. 1720), as a visual accompaniment to his travel account, the so-called Storia do Mogor. This collection, which has remained largely ignored, makes a crucial case-study for approaching issues relative to the nature of European interest in Indian paintings in early modernity, the contexts and modalities through which this interest was articulated, as well as its relevance to processes of knowledge making and identity construction that were prompted by European encounters with alterities. The first part of my study provides an in-depth analysis of Manucci{\textquoteright}s collection performed through a careful examination of the paintings it comprises along with contemporary textual sources, including the original manuscripts of the Storia do Mogor. My analysis exposes the interrelatedness of Manucci{\textquoteright}s collecting enterprise with his authorial project, as well as assessing its broader scope and intended aims. The second part of the dissertation situates this collecting enterprise within its broader historical context by examining other European collections of Indian paintings dating from the 16th and 17th centuries and characterized by comparable subject matter: portraits of historical and living personages associated with Indo-Muslim dynasties, depictions of native Indian peoples and socio-religious customs, and representations of deities of the Hindu pantheon. Besides delving into the specifics of these collections, I explore their dialogic relation to one another and to descriptive practices and interpretative discourses that gained shape in European travel writing and print culture. In doing so, I highlight their participation in broader cultural trends and their contribution to evolving European approaches towards the Orient. This corpus of largely neglected works offers precious insights into the complex dynamics of cross-cultural encounter, as well as exposing the pivotal role played by early modernity in shaping later trends in Indo-European artistic interactions. Offering a direct antecedent to "Company painting," a 19th-century Indian pictorial genre for European consumption, these works call for a revision of traditional understandings of the latter as an artistic development prompted by the rise of British colonial interests and agendas, and invite a broader reassessment of a unique historical era - the early modern one - that is key to understanding the roots of institutionalized Orientalism.}, keywords = {Patronage, Art Collecting, South Asia/South East Asia}, author = {Becherini, Marta} } @mastersthesis {12414, title = {Statues of the {\textquoteright}Other{\textquoteright}: An Examination of Three-Dimensional Representations of Foreigners in Ancient Egypt}, year = {2017}, school = {IFA/NYU}, abstract = {This dissertation is the first detailed study of the ancient Egyptian limestone statues of kneeling bound foreign captives that are commonly referred to as prisoner statues. Fragments of these nearly life-size, free-standing statues have been discovered in six late Old Kingdom royal pyramid complexes (c. 2465-2150 B.C.E.), namely those of the pharaohs Neuserre, Djedkare-Isesi, Unas, Teti, Pepi I, and Pepi II. Several unprovenanced examples are also in American and European collections. As depictions of defeated enemies, these statues magically reinforced the king{\textquoteright}s overarching power and his ability to maintain cosmic order. I argue that the statues first arose as a new form of architectural decoration at a time when the decorative program of the pyramid complex was changing. They became a major feature of the late Old Kingdom pyramid complex, and consequently, this study significantly adds to the modern understanding of the appearance, function, and symbolism of these monuments. Using data gathered from direct examination of fragments and archival photographs, notes, and original excavation journals, I trace the prisoner statues through the Old Kingdom, focusing on the evidence from each complex in order to highlight how the genre changed and developed. I address several crucial and unresolved questions, including their original location in the pyramid complex, their relationship to similarly themed reliefs in each complex, and the possibility of their ritual destruction. I also consider the question of portraiture and realism in Egyptian art through a critical examination of the heads and facial features. These differ from the typically idealized features of most Egyptian statuary and instead reflect a degree of individualization, which is partly a result of stylistic developments during the late Old Kingdom but also the artists{\textquoteright} attempt to convey a wide range of different ethnic characters. In addition, in order to better situate the prisoner statues within the history of ancient Egyptian art, they must be compared to other three-dimensional representations of foreigners. The relevant monumental depictions are clearly related in terms of theme and need to be considered when trying to understand the function and purpose of the prisoner statues themselves. Thus, this dissertation also offers important preliminary observations on earlier and later statues of foreigners. In this way, I begin to consider the overall role of statuary in ancient Egypt. By analyzing more unusual representations that differ considerably from the common Egyptian statues of divine, royal, and private, elite individuals, I hope to facilitate broad observations and comparisons of the prisoner statues as a distinctive genre of ancient Egyptian statuary, while expanding scholarly understanding of the purpose of statuary in ancient Egypt.}, keywords = {Ancient Egyptian/Near Eastern Art}, author = {Prakash, Tara} } @mastersthesis {12562, title = {Street Views: Automotive Vision and Postwar American Photobooks}, year = {2017}, school = {Stony Brook}, abstract = {n three canonical postwar photobooks-Robert Frank{\textquoteright}s The Americans (1959), Ed Ruscha{\textquoteright}s Every Building on the Sunset Strip (1966) and William Eggleston{\textquoteright}s William Eggleston{\textquoteright}s Guide (1976)-Serial photographs imitate the connective powers (and pitfalls) of the automobile on the American road. These artists{\textquoteright} practices put the camera explicitly within a larger apparatus: the "medium" of amateur photographic practice, with its role in the construction of self, including patters of perception framed by automotive vision. Vernacular culture and everyday uses of photographic technologies haunt these artists{\textquoteright} photobooks, each of which has been held up as exemplary of modern photography in an art context that traditionally disavows vernacular influences. Re-telling the histories of these photobooks with automotive vision in mind draws attention to the ways these artworks integrate the surrounding world. Beyond the shared iconographic motif of the automobile, and as more than a sub-tradition of travel-based projects within established art-historical categories, The Americans, Every Building on the Sunset Strip, William Eggleston{\textquoteright}s Guide and their contemporary successors are connected by the shared reflexive, recursive relationship between the works{\textquoteright} form and their subject. This focuses on these works as systems, where the technologies used in making the artworks both create and delimit their possibilities of representation. In their own idiom, and often within the structures of the art-historical categories they have come to define, these artists all wrestle with the question of how to picture the United States and to represent what it is to connect with America. Their ultimate subject is the production of self-knowledge and social belonging, advanced as a question about the ability of certain media (photography, specifically from the road) to produce a satisfactory or positively valued version of this knowledge. By considering these photobooks as articulations of vernacular, everyday technologies, I propose an alternate method by which to evaluate their artistic legacy and a way of understanding the historical development of photographic modernity.}, keywords = {Photography, Twentieth Century}, author = {Smucker, David} } @mastersthesis {12580, title = {Surrealism and the Art of Consumption}, year = {2017}, school = {Chicago}, abstract = {French Surrealism-the international avant-garde movement that coalesced around Andre Breton and his legacy between 1924 and 1969-is well-known for its sustained artistic and literary attacks against capitalism. Yet, despite the movement{\textquoteright}s early forays into French communism, surrealists approached the selection and organization of their artistic techniques as a process of "consumption." They "shopped" pre-existing modes of visual display found in early 20th century Paris, the European capital of luxury consumer industries and the epicenter of the department store{\textquoteright}s emergence. This project asks what we should make of surrealist artwork made explicitly about consumption, through acts of consumption, and for consumers given the movement{\textquoteright}s assimilation as a stylistic language of fashion and design. Consumption provided the intellectual foundation and material substrate of the surrealist critique of the economic and political context in which the movement first developed and quickly gained renown. The engagement of Surrealism with contemporary economic structures is crucial to understand, not only in order to clarify the complex political stakes and aesthetic diversity of its objects and images. While surrealism is perhaps best known through its painting, collage, and photography, surrealists embraced the exchangeable and often ephemeral forms of consumer culture in order to strategically re-circulate their ideas. Seemingly marginal media like magazines and shop windows, therefore, were more central to the movement{\textquoteright}s aesthetic and political aims than traditional artistic categories. In a series of in-depth case studies, this dissertation interrogates the historical significance of these "minor" categories of surrealist artistic media.}, keywords = {Theory/Historiography/Methodology, Twentieth Century}, author = {Cohen, Jennifer} } @mastersthesis {12490, title = {The Symbolic Significances of Early Modern Paintings on Metal and Stone Supports, c. 1520-1700}, year = {2017}, school = {Temple}, abstract = {By the second decade of the twenty-first century, the preponderance of scholarship examining oil paintings made on stone slabs or metal sheets in Western Europe during the early modern period (fifteenth-eighteenth centuries) had settled on an interpretation of these artworks as artifacts of an elite taste that sought objects for inclusion in private collections of whatever was rare, curious, exquisite, or ingenious. In a cabinet of curiosities, naturalia formed by nature and artificialia made by man all complemented each other as demonstrations of marvelous things ( mirabilia). Certainly small-scale paintings on stone or metal exhibited amidst these kinds of rarities aided in aggrandizing a noble or bourgeois collector{\textquoteright}s social prestige. As well, they might have derived their interest as collectables because of the painter{\textquoteright}s fame or increased capacity for miniaturization on copper plates, or because the painter left a slab of lapis lazuli, for example, partially uncovered to reveal its visually arresting stratigraphy or coloration. Nonetheless, while the lithic and metallic supports might have added value to the oil paintings it was not thought to add meaning. A totalizing theory about this type of artwork, based on a perception of them as if they had only served as conspicuous consumables, therefore overlooks that in other circumstances the stone and metal supports did contribute to the iconographic substance of the paintings. As this dissertation will argue, the introduction of metal and stone supports allowed patrons and painters literally to add another layer of meaning to an oil painting{\textquoteright}s imagery. These materials mattered not just as passive receptacles of meaning but as active shapers of significance. Evidence for this hypothesis exists in the historical record in at least three identifiable contexts: Leonardo da Vinci{\textquoteright}s Portrait of Ginevra de{\textquoteright}Benci (ca. 1474-1478) in relation to the epistemological debate known as the Paragone; funerary monuments in Roman churches inclusive of painted portraits in relation to theories about color and lifelikeness; medallion-shaped, chest plates known as Escudos de monjas (Nuns{\textquoteright} Shields) worn by nuns of some religious orders in Colonial Mexico in relation to pre-Hispanic sacral materials. All three of these case studies ultimately concern the paradoxical materialization of the immaterial fame of the painter, the soul of the deceased, and the Christian divine. Observing them in tandem provides an outline of the origins and development of the technique of painting with oils on stone and metal, and consequently broadens our understanding of this wider, early modern phenomenon.}, keywords = {Fifteenth- to Seventeenth-Century Art, Material Culture}, author = {Cavallo, Bradley} } @mastersthesis {12433, title = {The Syntax of Sites: Art and United States Urban Infrastructure, 1956-1980}, year = {2017}, school = {UCLA}, abstract = {Through chapter-length studies of works by Isamu Noguchi (Chase Manhattan Plaza, 1956-64), Robert Smithson (Dallas/Fort Worth Regional Airport, 1966-67) and Mierle Laderman Ukeles (New York City sanitation system, 1977-80), this dissertation proposes a dialogic relationship between the historical emergence of site-engaged artworks and the "mega-project era" in U.S. urban policy, a surge of federally-funded infrastructure projects that dramatically reimagined and reshaped U.S. cities. Contemporary artworks are typically marginalized within the historical understanding of large-scale urbanist schemas, narrated as either decorative addenda to the cityscape or reactive counterproposals to planning projects. This dissertation argues that both these dominant art historical models have not gone far enough to examine art{\textquoteright}s multimodal engagement with the materials, sites and processes of urbanism during the 1950s-1970s, a period in which urban infrastructure emerged as a new arena for advanced art practice and discourse. The study thus presents a rejoinder to art historian Rosalind Krauss{\textquoteright} influential concept, as outlined in her 1979 essay "Sculpture in the Expanded Field," that post-1960 sculpture began to share its logical structure with those of architecture and landscape, broadly-defined. By presenting a selective history of urbanism alongside analysis of exemplary artworks by Noguchi, Smithson and Ukeles, this dissertation grounds art{\textquoteright}s "expanded field" in the representational systems and material output of urban planning and civil engineering, fields that were simultaneously undergoing systemic change related to federalist programs of urban reconstruction. The dissertation asserts that well-known categories such as site-specific art, systems art, and Land art should be seen as various means of comprehending a historically-specific project of urban transformation. At the same time, urbanism sought new terms of engagement with art, as planners and architects contracted "artist consultants" on the means of producing the future of U.S. cities. And, finally, this embedded position within urbanism enabled art{\textquoteright}s epistemological inquiry into the era{\textquoteright}s infrastructure as a new "syntax of sites."}, keywords = {Architectural History/Urbanism/Historic Preservation, Twentieth Century}, author = {Machida, Nicholas} } @mastersthesis {12551, title = {Systems Depictions: A.R Penck and the East German Underground, 1953-1980}, year = {2017}, school = {Chicago}, abstract = {This dissertation examines two interrelated topics: the art produced by A.R. Penck before his forced deportation from the German Democratic Republic (GDR) in 1980 and the collaborative nature of unofficial art in the GDR in the 1950s, 60s, and 70s. These artists engaged not with the dictates of the East German cultural authorities; instead, they sought out wide ranging inspiration from a variety of sources both from the pre-war avant-garde and new post-war aesthetic experiments coming from Western Europe and the United States. I examine how these artists responded to both the repressive, controlled system of cultural institutions within socialist East Germany and the greater transatlantic art world. This project considers narratives of the history of modernism and abstraction by exploring how Penck and East German artists understood their role as artists in socialist East Germany.}, keywords = {Northern Europe, Twentieth Century}, author = {Klemm, Hannah} } @mastersthesis {12545, title = {Taste in the City: Depictions of Food Consumption in Urban America, 1880-1920}, year = {2017}, school = {Iowa}, abstract = {From 1880 until the enforcement of Prohibition in 1920, depictions of food consumption evolved as a newly significant genre of American art. As restaurant dining became increasingly popular and the social norms governing food changed rapidly, the dining table functioned as a space for the negotiation of class, ethnicity, and identity. In the contexts of increased immigration, shifting class structures, and tumultuous urban environments, depictions of food consumption served essential sociocultural functions. Artists and viewers utilized depictions of food to justify and internalize difference, often working to combat change. The proliferation and diversification of food imagery during this period is evidence of changing tastes, for both food and imagery. Depictions of restaurant dining, food labor, ethnic restaurants, and other venues for food consumption served as spaces for the negotiation of change and the performance of class, identity, and status.}, keywords = {North America, Twentieth Century}, author = {Freese, Lauren} } @mastersthesis {12430, title = {Temple Construction, Iconography, and Royal Identity In the Eastern Kalacuri Dynasty}, year = {2017}, school = {Ohio State}, abstract = {This dissertation examines how temple and monastic architecture and the patronage of new religious traditions and their iconographies worked together to help construct and protect ritual authority and royal identity in the Eastern Kalacuri Dynasty. Through analysis of monuments, sculptures, and inscriptions, I propose two new interpretive categories, "functional lineage" and a "multi-centered mandala", to explain the changes in patronage and cultic associations evident in the Eastern Kalacuri kingdom. I focus upon key monuments and sculptures created in the tenth century that hold religious, historical, and strategic significance for the Eastern Kalacuris, including: temple and monastic architecture at Gurgi and Masaun, the yogini temple at Bheraghat near the dynastic capital of Tripuri, and Vaisnavite imagery from the sites of Bandhavgarh and Bilhari. The patrons of the monuments were Kalacuri royalty, Saivite acaryas associated with the state cult, and political ministers serving within the Eastern Kalacuri Mandala. These patrons supported various sectarian traditions, including the two forms of Tantra; the Mattamayura branch of Saiva Siddhanta, considered to be a moderate form of Tantra, and yogini traditions frequently associated with Vidyapitha or Kaula Tantra traditions. This study examines ways in which these religious methodologies were employed through their monuments to demonstrate and protect royal sovereignty in the Eastern Kalacuri kingdom and enable the dynasty to expand from the capital north towards the Gangetic Plain. Key contributions made by this study include: analysis of the transition of the Eastern Kalacuri state cult from Pasupata to Mattamayura Saivism, through sculptures and monuments, a detailed analysis of the dynasty{\textquoteright}s employment of yoginis for protective and inflictive purposes, and analysis of politically charged iconographies in monuments commissioned by Vaisnavite ministers of the state, through which they assert their own authority alongside that of the Eastern Kalacuri monarchs. As part of this study, I am presenting and analyzing previously unpublished works, including monuments and sculptures from Bandhavgarh, Madhya Pradesh, yogini sculptures from across the Eastern Kalacuri lands, and early goddess sculptures from Bheraghat, Madan, and from other yogini sites across central India. This study creates new interpretive categories in its analysis of Eastern Kalacuri monuments and state formation. I propose that in this new Tantric state, the transition from Pasupata to Mattamayura Saivism and matrka to yogini veneration demonstrates a "functional lineage" in state patronage. I argue that through their monuments and inscriptions, the Eastern Kalacuris meet several criteria for effective statehood and religious efficacy. From this evidence, I propose a new state model, which I designate as a "Multi-Centered Mandala," in order to explain the effects of Eastern Kalacuri patronage in the tenth century. These findings contribute to our broader understanding of the mechanisms that enabled pre-modern Indian states to establish and protect their kingdoms. It also demonstrates the fluid and dynamic nature of Indian statehood, challenging established state models and underscoring the critical role that artistic patronage plays in state formation and protection.}, keywords = {Architectural History/Urbanism/Historic Preservation, South Asia/South East Asia}, author = {Masteller, Kimberly} } @mastersthesis {12482, title = {Terroir after the Terror: Landscape and Representation in Nineteenth-Century France}, year = {2017}, school = {MIT}, abstract = {In the decades following the French Revolution, landscape paintings appeared at exhibitions in greater numbers than ever before and with more critical approval; at the same time, France{\textquoteright}s actual landscapes were being reconfigured, in both physical and symbolic ways. This dissertation investigates the relationship between land reform and landscape representation following the French Revolution through to the early Third Republic (1790-circa 1880), combining object study with environmental history to draw out the political stakes of seemingly picturesque scenes. Looking beyond painting to include an analysis of decorative arts and visual culture, this study challenges established hierarchies of fine and decorative arts, canonical and non-canonical artists, and attention to Paris over the provinces. My first chapter considers the role of mountains, and their depiction, in defining France{\textquoteright}s "natural limits"; the second, state-supported representations of ports, from images of the nation{\textquoteright}s coastal strongholds painted by Joseph Vernet in the eighteenth century to engravings produced by his nineteenth-century successor, Louis Garneray, as a form of visual border control; the third, the impact of a stringent forestry code passed in 1827 on Barbizon artists{\textquoteright} aesthetic and material choices; and finally, the state{\textquoteright}s decision, in 1857, to drain wetlands in the southwest and the resulting effort on the part of local photographer Felix Arnaudin to preserve that disappearing landscape in images. Taken together, these chapters evidence the active role images played in renegotiating the meaning of land in post-Revolutionary France, and I argue for a more expansive view of the promise and possibility of landscape representation in both consolidating the nation and registering local reaction.}, keywords = {Eighteenth Century, Nineteenth Century}, author = {Presutti, Kelly} } @mastersthesis {12558, title = {Thought into Action and Action into Object: Joseph Beuys and the Political Work of Social Sculpture}, year = {2017}, school = {UCLA}, abstract = {This dissertation examines the political turn, circa 1967, in the work of German artist Joseph Beuys (1921-1986), and his concurrent development of the concept of "social sculpture," which avowed that everyday actions imbued with creativity could re-shape society. Between 1967 and 1986, Beuys established several political action groups and a free university, lectured widely across Europe and the United States, and campaigned for public office. He also produced a wide-ranging oeuvre of objects, performances, and installations that concretized the rhetoric of his larger projects, while having their purview broadened in turn. This dissertation focuses on Beuys{\textquoteright}s political organizations, multiples, and the installation 7000 Eichen (7000 Oaks) in order to characterize how social sculpture manifested in his work and how it diverged from his stated motives. In contrast to the prevailing understanding of Beuys{\textquoteright}s work as guided by a totalizing ideology and shamanistic self-mythology, this project demonstrates that Beuys{\textquoteright}s work was rife with contradiction, ambivalence, tension, doubt, and surprising openness and heterogeneity, all of which was brought to bear on his relationship with the Nazi past. Chapter 1 traces the origins of Beuys{\textquoteright}s aesthetic ideology, which was informed by contemporaneous neo-avant-garde practices (notably Fluxus), Dada, nineteenth-century Romantic thought, the writings of Rudolf Steiner, and fascist rhetoric. It goes on to analyze Beuys{\textquoteright}s importation of political forms into artistic contexts under the banner of social sculpture and the impact of his continued creation of art objects alongside dialogic work. Chapter 2 turns to Beuys{\textquoteright}s production of multiples, arguing that the political work performed by the nascent medium was its staging of tensions between reproducibility and aura, repetition and difference, singularity and plurality, and, finally, individual and community-competing values with implications for Beuys{\textquoteright}s construction of authorship and authority. Chapter 3 presents a close study of the 1982-87 project 7000 Oaks, installed for documenta 7 in Kassel, Germany. Excavating the project{\textquoteright}s iconography and historical contexts exposes ambiguity and multiplicity of meaning, as well as social sculpture{\textquoteright}s dual backwards-looking and utopian aspirations, levels of complexity illuminated most effectively by successive generations of documenta artists.}, keywords = {Performance Art/Performance Studies/Public Practice, Twentieth Century}, author = {Gyorody, Andrea} } @mastersthesis {12499, title = {Titian and the Culture of Mid-Century Rome: The Venetian Among the Ruins}, year = {2017}, school = {Temple}, abstract = {The Venetian painter Tiziano Vecellio (c. 1488-1576), called Titian, spent eight months in Rome from 1545 to 1546 at the court of Pope Paul III Farnese. His time there was marked by the creation of a suite of highly praised portraits of the male members of the Farnese family, as well as with the Danae for the pope{\textquoteright}s nephew, Cardinal Alessandro Farnese, and a lost Ecce Homo for Paul III himself. His time at the papal court brought Titian into contact with the glories of ancient Rome as well as contemporaries like Michelangelo, Sebastiano del Piombo, and Giorgio Vasari, who would later write critically of the Venetian painter{\textquoteright}s encounter with the Central Italian artistic tradition in the 1568 edition of the Lives of the Artists. Scholarship on Titian has generally assigned limited importance to the artist{\textquoteright}s Roman sojourn based on the understanding that this experience had relatively little impact on his stylistic development. This approach, however, obscures significant shifts in the artist{\textquoteright}s artistic and business practice that took place in the first half of the 1540s, catalyzed by his "Farnese turn" on the one hand, and his Roman experience on the other. This dissertation uses Titian{\textquoteright}s time in Rome as a lens onto the larger frame of his activity in the early part of the decade in order to reveal the fresh artistic and entrepreneurial strategies with which he responded to the pressures of a changing patronage base, a growing family, and financial concerns. During this period, Titian recruited his portraits-the type of work for which he received the most contemporary praise-as mobile social agents that could perform work on his behalf among a network that included Pietro Aretino, Pietro Bembo, Giovanni della Casa, and Cardinal Alessandro Farnese, among others. The artist{\textquoteright}s experience of Rome itself reveals further areas of resistance and experimentation which have been undervalued in previous research, including his first effort at painting on slate, his engagement with a developing canon of self-representation, and his rhetorical employment of style as calling-card in his competition with Michelangelo and other Central Italian artists. Titian{\textquoteright}s response to the uncertainty and transition he faced in the first half of the 1540s reveals itself in this investigation as far more creatively charged than has previously been recognized.}, keywords = {Fifteenth- to Seventeenth-Century Art, Visual Studies}, author = {Dimarzo, Michelle} } @mastersthesis {12607, title = {To Be Two Places At Once: Technology, Globalization, and Contemporary Korean Art}, year = {2017}, school = {Ohio State}, abstract = {This dissertation studies the politics of the global in contemporary Korean new media art at the intersection of globalization and technology from the sixties to the present. The period coincides with the "global turn" in contemporary art as well as the emergence of global capitalism. Against this backdrop, my goal is to offer a much more complex interpretation of the "global" by highlighting how "old" signifiers of race, nation, and history continue to shape "new" media art. The present study focuses on the career of artists Nam June Paik and Young-Hae Chang Heavy Industries (YHCHI). They are often deemed as successful global new media artists who use mediums such as video, television, and the World Wide Web. By grounding their electronic art in local, national, and material contexts, I examine how the global is simultaneously imagined and contested. These artistic mediums help Paik and YHCHI promote the imagination of global village as well as portray the Korean body as nomadic on screen. In this light, it is true that the celebration of the global as borderless and nomadic gives them international success and visibility. However, I contend that the global reception of their art effaces the specific South Korean political and historical situation they stem from: a post-colonial state, a Cold War frontier, and a technologically advanced nation. The Korean context reveals how their art is located at the complex nexus of the global and national, fraught with ideological clashes, desire for economic success, and aspiration for global technology. As such, it is crucial to ground Paik and YHCHI in their local context to avoid depoliticization and deshistoricization. This dissertation concludes that global art history must acknowledge heterogeneous trajectories of its players to resist a monolithic account that still centers around the West.}, keywords = {Twenty-first Century}, author = {Yoo, Ahyoung} } @mastersthesis {12604, title = {Torn and Most Whole{\textquoteright}: On the Poetics of Difference in the Art of Zarina Bhimji}, year = {2017}, school = {IFA/NYU}, abstract = {This dissertation provides the first scholarly monograph and a critical reappraisal of the work of Ugandan-British artist Zarina Bhimji (b. 1963, Mbarara), whose photography, installations and films trace the emotional impact of political violence and migration. Bhimji has lived in England since 1974, following Idi Amin{\textquoteright}s expulsion of Asians from Uganda; she came of age there during an era marked by the anti-immigration campaigns of the National Front, and made her artistic debut in London in the mid-1980s. As a result of various political and artistic contexts, her work is often framed in alignment with the black British art movement of that decade or with discourses surrounding identity politics in art. Bhimji, however, has consistently objected to categorizations based on identity and eschewed the didactic techniques most often associated with political art, instead producing works that are unexpectedly abstract and enigmatic. This dissertation both interrogates and circumvents the problem of "situating" Bhimji and places her work in dialogue with a wider network of local and international influences. The dissertation begins by chronicling the reception of Bhimji{\textquoteright}s early photo-text work in light of the broader outlook for black and non-Western artists in 1980s Britain, a time when widespread segregation and tokenizing attitudes influenced exhibitions, criticism and the allocation of resources. Then turning to a closer focus on her art, the dissertation brings forward the social intelligence inherent in Bhimji{\textquoteright}s formalism, suggesting that her political critique is not inhibited by her emphasis on color, light or form over figuration and iconography, but rather is embedded in the very fabric of her elusive compositions. Mining the photographic archives of Enlightenment-era institutions such as eugenics, ethnography and imperialism, wherein power relations and modes of surveillance are manifest in visual devices such as framing, perspective and classificatory structures, Bhimji disrupts and subverts those "ways of seeing" long associated with the objectification of women and colonized subjects. Absent cultural signifiers or representations of the body, her work nonetheless inspires viewers to consider the ways in which we regard, internalize or seek to manage forms of "difference" in society and visual culture.}, keywords = {Twentieth Century}, author = {Young, Allison} } @mastersthesis {12407, title = {Traditions of Modernity in an African City: Continuity and Change in the Architecture of Kumasi}, year = {2017}, school = {Columbia}, abstract = {This is a history of architectural adaptation and innovation in Kumasi, Ghana, beginning at the apex of the Asante Empire in the early nineteenth century and continuing through the end of the colonial era (1824-1957). Positing Kumasi{\textquoteright}s architectural "originary modernity," the thesis examines the continuities in Kumasi{\textquoteright}s role as incubator of architectural innovation and as symbol of Asante selfhood against a long history of global exchange and a shorter period of colonial rule. The project focuses on specific architectural expressions in the city of Kumasi from 1824 to the late 1950s, focusing on key buildings in the developing urban fabric as emblems of particular modes of architectural change.}, keywords = {Africa, Architectural History/Urbanism/Historic Preservation}, author = {Dumouchelle, Kevin} } @mastersthesis {12539, title = {Translating Art into Words: The Work of Claude Monet in the Writings of Gustave Geffroy and Octave Mirbeau}, year = {2017}, school = {UT Austin}, abstract = {This study identifies and assesses evocative modes of description along with visually or pictorially inspired adaptations of language in the critical and literary writings of Claude Monet{\textquoteright}s staunchest allies = Gustave Geffroy (1855-1926) and Octave Mirbeau (1848-1917). Not only did these two authors publish more on Monet than any other critics of their generation, they also maintained an intimate perspective on the artist{\textquoteright}s development from the middle of the 1880s to the very end of their lives. As much as Monet{\textquoteright}s artistic fortune benefited from their favorable and informed publicity, Mirbeau and Geffroy{\textquoteright}s aesthetic, literary, and critical practices mature and diversify based upon their experience of his paintings. An integration of literary tropes will show how the creative and critical projects of these two authors were informed by and intersected with some of Monet{\textquoteright}s pictorial methods and aesthetic. At its core, this study considers how these two authors grapple with the issue of relating the discursiveness of verbal language to the presumed near-instantaneity in the appreciation of visual images. It operates as a comparative phenomenological study with Monet{\textquoteright}s art serving as its focal point. Mirbeau and Geffroy{\textquoteright}s interpretation of Monet{\textquoteright}s paintings provides the primary avenue for exploring similarities and differences in the two author{\textquoteright}s approaches to translating works of art and other sensory phenomena into words. What descriptive and rhetorical strategies do they develop to close a divide between seeing and saying, between thought and language? How does writing about Monet{\textquoteright}s paintings intensify their struggles with the limitations of their expressive means? How do their ways of overcoming perceived inadequacies of prose compare with Monet{\textquoteright}s solutions to pictorial challenges? Through close readings of a limited selection of their texts, I aim to demonstrate how both critical and creative writing can give {\textquoteright}meaning{\textquoteright} to {\textquoteright}pictures.{\textquoteright} In the process of converting their experience of Monet{\textquoteright}s art into prose, both critics effectively remake the painter and his canvases in their own image. We will uncover how Geffroy and Mirbeau{\textquoteright}s artwriting stimulates and appeals to a reader{\textquoteright}s imagination, along with how their distinctive visualizations and versions of {\textquoteright}Monet{\textquoteright} and his art shape our own.}, keywords = {Nineteenth Century, Painting, Southern Europe and Mediterranean}, author = {Goldstein, Jason A.} } @mastersthesis {12561, title = {Unfixing Space and Time in Contemporary Photography How Porosity, Social Constructions of Space and Reenactment Produce Alternative Histories}, year = {2017}, school = {New Mexico}, abstract = {This dissertation examines how the photograph can exceed the long-rooted debate around medium specific notions of photographic truth, since all realisms are historical and constantly changing. Applying theories of socially constructed space and porous time to analysis of these case studies presents alternative photographic histories that show past and present together. Boris Mikhailov, as a dissident artist and post-Soviet documentarian of new Russian capitalism, presents histories of visual culture that compete and overlap during the Soviet era and afterward. Mikhailov refers to the multiplicity of voices found in his photographic practice as a state of "coexistence." Looking at photographs of Chicago public housing projects in the media and documenting their destruction using a theoretical understanding of urban space as produced by social relations presents a different history than the official one put forth by the city, one that is more community focused. Stacy Krantiz{\textquoteright}s disturbing documentary history depicts her infiltrating a reenactment group centered on celebrating the SS. Krantiz, as an outsider and a Jew, relives a historical danger of existing among American white supremacists who claim to be working in the name of "pure history." Finally, in exchanges between the Lakota people and representatives of the government at the massacre of Wounded Knee, the AIM{\textquoteright}s occupation of the site in 1973, and the Big Foot Memorial ride, both the Lakota and the US government battled to inscribe their own versions of history. The photographs discussed in the four case studies dispel binary relationships such as true and false, authentic and inauthentic, as conditions of the document. Instead they use the concept of narrativity and its subjective qualities, the fluctuations of memory and methods of remembrance, and ever-changing framing of the past by historical context to question the documentary as referencing one static moment in time, one version of history, one set of evidentiary conclusions. In their presentation of narrativity, these photographic series go beyond notions of a singular narrator, whether that narrator is the artist, an invented external voice, the subjective viewer, or the dominant voice of history, revealing a tendency toward a heteroglot and cross-temporal exchange between soldiers of the past and reenactors of the present, economic and political systems, the state, its colonial subjects and its citizens.}, keywords = {Photography, Theory/Historiography/Methodology}, author = {Stein, Emma Brooke Lehrer} } @mastersthesis {12438, title = {"Upon this Rock": Architectural, Material, and Visual Histories of Two Black Protestant Churches, 1881-1969}, year = {2017}, school = {Boston}, abstract = {This dissertation comparatively analyzes the architectural and visual histories of two black churches as examples of the material contribution of African Americans to the nation{\textquoteright}s built environment. As cultural repositories, Metropolitan African Methodist Episcopal Church (AME) (1881-1886), Washington, D.C., and the Shrine of the Black Madonna $\#$1, Pan African Orthodox Christian Church (1925/1957), Detroit, MI, are two sites that represent distinct forms of Black Nationalism. The history of Metropolitan AME uncovers aspects of late nineteenth century Classical Black Nationalism cultural practice. The Shrine of the Black Madonna $\#$1 reflects the revisionist agenda of the Black Cultural Nationalist Movement of the 1960s and 1970s. The objective of this study is to expand through a cultural lens the growing body of scholarship that seeks to excavate under-recognized African-American visual and architectural traditions. This study contrasts different modes of claiming space for cultural affirmation: construction and real estate acquisition. Chapter one offers a rationale for the artifactual interrogation of African American churches and outlines the interdisciplinary methodologies employed in the case studies. In chapter two, Metropolitan A.M.E. Church{\textquoteright}s architectural history presents an instance of an African American community using popular architectural and artistic styles in an associative manner to articulate racial advancement. Chapter three documents the aesthetic legacy of Metropolitan A.M.E. Church by considering the sanctuary{\textquoteright}s stained glass window program, mural commissions executed by two rarely-discussed African American artists, donated art objects and the circulation of images of the religious site. Chapter four explores the Shrine of the Black Madonna $\#$1{\textquoteright}s 1957 purchase of a 1925 Colonial Revival ecclesiastical structure. This assessment contextualizes the lived interventions of a radical congregation to understand how shifts in material and visual patterns expressed cultural identity. Chapter five critically explores the aesthetic history of the Shrine of the Black Madonna $\#$1 that begins with the Black Madonna and Child (1967) chancel mural by Glanton V. Dowdell. As the conclusion indicates, African American churches contain visible but hidden histories that expand African American art by introducing new iconographic considerations and revealing new art communities.}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Harvey, Melanee} } @mastersthesis {12530, title = {Violence and Virtue in the Provinces of New Spain: Images of Novohispanic Franciscan Martyrs in 18th Century New Mexico}, year = {2017}, school = {New Mexico}, abstract = {In the middle of the eighteenth century, Franciscan martyr portraits became popular in monastic spaces of the Spanish viceroyalties of central Mexico. To visually construct the meritorious life of these martyrs, artists drew inspiration from hagiographic chronicles that described various Native rebellions, which featured the graphic depiction of the gruesome deaths of friars. The prospect of martyrdom enticed novices to follow in their footsteps in service to God, but also to the Crown, whose presence in to the northern territories of New Spain intensified during the period of the Bourbon reforms. In my dissertation I explore this propagandistic approach to martyr images by analyzing examples anchored to the Franciscan missionary history of New Mexico. This dissertation also aims to address the understudied nature of the history of Testimonies of Violence and their portrayal of anxiety towards Native uprising. These types of images aim to place the viewer as an observer of a historic event, and represent a distinctive genre of Novohispanic painting that has have been historically relegated to an intersectional position between document and "popular painting." This stance requires an analysis that privileges the historic importance of these images over their aesthetic value.}, keywords = {Latinx}, author = {Ortega, Emmanuel} } @mastersthesis {12609, title = {Visual Excess in Contemporary Art from the South Asian Diaspora}, year = {2017}, school = {Rutgers}, abstract = {This dissertation investigates video-based installation practices of three nonwestern contemporary women artists working since the 1990s: Indian artist Nalini Malani (b. 1946), Trinidadian-U.K. Roshini Kempadoo (b. 1959), and Pakistani-U.S. artist Shahzia Sikander (b. 1969). While recent scholarship astutely theorizes the immersive and interactive potential of video-based installation works, it has yet to address what this experiential encounter yields within the context of gendered and racial difference. Arguing for the importance of both historical context as well as an analysis of the content of installation works, this dissertation offers a theoretical construct of strategic excess to describe both the material and metaphorical engagement with gender that is at the basis of each of these artist{\textquoteright}s practices. Through this strategic excess these installations confront and challenge the gendered complexity of globalization and concomitant nationalist agendas. In this ethical encounter fostered through an immersive excess, their works also represent a new formal practice that currently exists beyond the margins of art historical discourses. The very idea of a transnational feminist praxis has yet to be fully delineated in art historical discourse. As such, it exceeds the discourse itself. Traversing across three distinct cultural contexts and three very different types of installation practices, this dissertation reveals that the enormity of the task of a transnational feminism is not impossible, but rather, is a compelling opportunity for discourse to exceed itself and transform into something new. Focusing on one artist at a time, this dissertation charts three different modes of excess, which, while all fundamentally different, can be united under their shared production of an ethical encounter between the viewer and the work itself. The immersive installations of these three artists all portray a multiplicity of female protagonists, who, through temporal and geographical leaps in video sequences and animation, fuse historical pasts with contemporary realities in India, Pakistan, Trinidad, and their diasporas. Troubling conceptions of South Asian and Caribbean feminine identity, these artists{\textquoteright} works evade essentializing definitions and stereotypes of race, gender, and nationhood. Their works materialize a radical agency for the subaltern woman that exceeds not only the historical and ongoing gendered oppression and violence, but also the boundaries between art, literature, and political engagement. Rather than charting a historiography of these artist{\textquoteright}s practices, this dissertation instead engages with their works ontologically, that is, it asks: what exactly do their works evoke? What is a transnational feminist installation practice? Contextualing the mythic and imaginative scope of these installation practices within their sociological and historical conditions, this dissertation engages with a metaphysical query into the power of art. Ultimately, all three artists discussed in this dissertation engage with an intersectional feminist approach to representation, and through the evolution of their practices into immersive installation formats, this approach is revealed as a powerful tool for producing an ethical encounter with both the subaltern woman as well as with difference more generally conceived. As such, this intersectional feminist approach is important not just for feminist concerns of gender violence, oppression, and inequality, but rather, can be conceived of as a methodological tool that can be utilized in other contexts, other situations, and different concerns.}, keywords = {Twentieth Century, Visual Studies}, author = {Harbin, Virginia Allison} } @mastersthesis {12518, title = {Visual Humor: Female Photographers and the Making of Modern American Womanhood, 1860-1915}, year = {2017}, note = {subject: Photography, Twentieth Century}, school = {Missouri}, abstract = {The Paris Universal Exposition of 1900 was a defining moment for American professional female photographers as much as it was for the United States as a whole. The turn of the century exposition represented the global embodiment of progress. It was an event that exhibited and embraced a theme of innovation and national achievement. The United States (U.S.) saw the exposition as the corner stone to earning affirmation in its unprecedented economic and industrial growth. The U.S delegates were determined for the world to see what their country had accomplished and one of the most influential declarations of the United States innovation was an exhibition of American female photographers. However, the original vision of the U.S. at the Paris Exposition did not include a single woman. President McKinley{\textquoteright}s appointed delegates were convinced that a woman representative or even a representation of femininity would lessen their position of power among the world{\textquoteright}s leading nations. Many women took this as an exceptionally large step backwards given their strong presence in the 1893 World{\textquoteright}s Columbian Exposition of Chicago. The Women{\textquoteright}s Building of the Chicago Exhibition gave women an active voice and presence in America. The revelation that not a single woman was appointed to any position on the board of delegates shocked numerous prominent women active in the 1893 exposition, most notably Bertha Honore Palmer, the Head of the Board of Lady Managers for the World{\textquoteright}s Columbian Exposition. American women expected to have some representation in the 1900 Paris event given the progressive visibility of women in the Columbian Exposition. Yet, many United States male officials objected the presence of women in the international exposition arguing that women would ultimately be a "fifth wheel" and that "we have no such funds to spend in such a useless direction". Ferdinand W. Peck even went so far as to say that women would be "embarrassed" because the appointees would likely be "{\textquoteright}persona non grata{\textquoteright} to the French Officials". However, Mrs. Palmer was not to be dissuaded and persisted to push her agenda. A few months before the scheduled inauguration, Palmer was appointed by President McKinley as one of the eighteenth honorary commissioners of the United States Delegation to the Universal Exposition of 1900. Male delegates aimed to pacify Palmer and her unrelenting quest for a visible female American voice claiming that the French had agreed to a Women{\textquoteright}s Pavilion. However, the Paris Pavilion presented a much different representation of womanhood than Palmer had envisioned. According to Frederick Skiff the Women{\textquoteright}s Pavilion was "a miserable fake ... more of a comfort station than a serious exhibition hall", As Art Historian Bronwyn Griffith discusses, the Paris Pavilion did not match the progressive embodiment that the Chicago Women{\textquoteright}s Building presented, but rather reinforced and encouraged women to continue their traditional roles of wife and homemaker. Thus, Palmer turned to her own devices and tasked her assistant, Ellen Henrotin, in contacting twenty-five women who exemplified professional positions in their field. Known as a leading figure of photojournalism and an active agent in creating a female photographic community, Francis Benjamin Johnston was asked by Henrotin to compile a representative collection of leading American female photographers.}, keywords = {Genders/Sexualities/Feminisms, Nineteenth Century, North America}, author = {McClellan, Meghan} } @mastersthesis {12542, title = {The Visual Rhetoric of Charles Callahan Perkins: The Early Italian Renaissance and a New Fine Art Paradigm for Boston}, year = {2017}, school = {Boston}, abstract = {The art historian Charles Callahan Perkins (1823-1886) taught Boston elites to embrace early Italian Renaissance art, and, in so doing, transformed the cultural landscape of his city. Mostly Unitarian in their religious beliefs, the local elites had previously spurned Italian paintings and sculpture of the fourteenth and fifteenth centuries for their Roman Catholicism. However, when the new Museum of Fine Arts opened on July 4, 1876, the institution displayed close to one hundred art objects of the period, mostly copies. Perkins, who had returned recently from twenty-five years in Europe as an acclaimed scholar and illustrator of early Italian Renaissance sculpture and an expert in fine arts museums, was responsible for this result. Perkins focused on art whose "visual rhetoric" reflected the early Italian Renaissance humanist belief in clarity of line and subject as the most pleasing and edifying in art. These Renaissance principles emerged in his view from classical rhetoric, that is strategies for persuasive spoken and written communication, which had long been the core curriculum of Harvard University where Boston elites studied. Perkins also capitalized on the city{\textquoteright}s taste for classical sculpture by privileging quattrocento sculpture, which, while more devotional in subject than had traditionally been displayed, did feature a naturalism that evoked ancient art. Chapter one presents four biographical case studies of individuals who were important players in shaping the fertile cultural ground upon which Perkins built a generation later. Chapter two forges the link between classical rhetoric and the fine arts in ante-bellum Boston. Chapter three examines the broad-based revival of early Italian Renaissance art that Perkins encountered in mid-century Europe. Chapter four assesses his own professional oeuvre within that context. The concluding chapter demonstrates how Perkins revamped ideas of what constituted fine art and how it could be viewed by positioning early Renaissance art at the new Museum as a powerful visually rhetorical tool, thus achieving a far more wide-reaching cultural change than previous scholarship has suggested.}, keywords = {Nineteenth Century}, author = {Stein, Deborah} } @mastersthesis {12571, title = {Visualizing Zones of Occupation: Making Tangible the Violent Infrastructures in the Global Economy of Fear}, year = {2017}, school = {Duke}, abstract = {In our capitalist world-economy, fear has become the primary source material for wealth production. Fear underwrites regimes of limited access and various systems of occupation. Occupation as a strategic operational paradigm extends into civilian life of the dark and unresolved colonial, imperial and totalitarian legacies. The domestic and international exclusion of certain populations is grounded in age-old, mostly violent self/other distinctions that have been re-activated from their latent state and again made into viral political discourse material. An array of complex infrastructures, which include legal architectures and the built environment, have acquired operational importance. Such infrastructures are characterized by a built-in violence designed to control, contain, and redirect the massive population flows created by the globally destabilizing and denaturalizing affects of contemporary capital. Access to opportunity, vital resources, and security have become the crucial equity that populations compete for in the early 21st century. The very nature of capital has been transformed into actual economies of fear. Whereas parts of the world{\textquoteright}s population will have the chance to live a dignified life, other parts will be indefinitely deprived of such fortunes and left to perish. The end result of such economies is the death-world. The analysis proposed by this dissertation blurs the disciplinary boundaries between art, cultural anthropology, sociology, military history, economics, political science, psychology, architecture, urban studies, philosophy. This transdisciplinary methodology originates from the understanding that an effective critique of global capital as the dominant economic world-system can no longer be explained via a single knowledge field or academic specialty. Moving a step beyond interdisciplinary studies to bona fide informational crossovers between textual and visual archives allows for a more encompassing and thick investigation. The multi-sited approach of this study examines the visual traces found in the built environment and the controversial social realities expressed in current global geopolitics. The resulting synthesis between theory and practice offers new pathways for citizen participation and for potential solutions to collective grievances and global risks. This transdisciplinary approach gives art a leading role in establishing a new sense of place in which people are empowered to articulate their ideas-a new place built from a rehabilitated understanding of trust in self, trust in collective institutions, and trust in reality and truth. Above all, this new place holds the promise of a future worth living and fighting for.}, keywords = {Politics/Economics}, author = {Tauschinger-Dempsey, Michael} } @mastersthesis {12484, title = {Waterscapes: Representing the Sea in the American Imagination, 1750-1800}, year = {2017}, school = {Delaware}, abstract = {This dissertation critically examines representations of oceanic space in American art to bring fresh insight into how colonial and early national identity was constructed on and through the environment, specifically the sea. In the late-eighteenth century period of empire, revolution, nation-formation, and economic and territorial expansion, the world{\textquoteright}s oceans were at once a ubiquitous fact of life and an illusory space to comprehend. For people in British America, whether they had been to sea or not, paintings, prints, and trade objects conveyed the texture of a maritime world that connected colonies, nations, and empires. Americans registered environmental, political, cultural, and economic associations with the sea through these forms of representation. However, such objects and images also had the power to manifest the physical and intellectual distance between Americans{\textquoteright} position in the world and their ambition to master it. Examining depictions that range from the open oceans of the Atlantic and Pacific to the protected harbors of the American coast, this dissertation examines how the traversals and imaginings of oceanic space were made visible and meaningful through material representation. By examining representations of the sea in art and material culture, it brings new forms of evidence to bear on assessing the early United States in its global and oceanic context.}, keywords = {Eighteenth Century, North America}, author = {Casey, Emily} } @mastersthesis {12506, title = {What Burckhardt Saw: Restoration and the Invention of the Renaissance, c. 1855-1904}, year = {2017}, school = {IFA/NYU}, abstract = {Nineteenth-century scholars created a version of the Italian Renaissance that still shapes perceptions of the period, an "invention" that has been much studied. This dissertation considers instead the physical artworks of the Renaissance at that moment in historiography, exploring intersections between the writing of art history and the restoration of paintings from c. 1840 - 1904. Its first chapter presents the rediscovery of murals by Giotto in Florence, notably those in the Bardi and Peruzzi chapels of Santa Croce, vis-a-vis changes in textual definitions of the artist, and offers Jacob Burckhardt{\textquoteright}s description of the art historical imagination as a contemporary model to describe restoration{\textquoteright}s function. The second outlines conservation at the National Gallery in London under its first director, Charles Eastlake, who orchestrated a comprehensive and academic approach to the treatment of the museum{\textquoteright}s acquisitions, largely Italian paintings. The third pairs the conservation histories of seven pictures associated with Titian, restored at various moments in the century, with scholarly responses that updated historical tropes for the works{\textquoteright} modern appearances - notably Joseph Crowe and Giovanni Battista Cavalcaselle{\textquoteright}s groundbreaking monograph on the artist. The fourth chapter discusses the Kaiser Friedrich Museum in Berlin as a Renaissance Museum and a collaborative project between its director, the art historian Wilhelm Bode, and the restorer Alois Hauser, Jr. Broadly considered, art history and restoration are found to have been closely and reciprocally related in the period. Scholarship both responded to restored pictures and determined pictures{\textquoteright} restorations.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Hayes, Matthew} } @mastersthesis {12524, title = {When Time{\textquoteright}s Arrows Collide: Historical Critique in Indigenous Contemporary Art}, year = {2017}, school = {Pittsburgh}, abstract = {This dissertation examines the work of four indigenous contemporary artists: Gabriel Maralngurra, George Nuku, Corey Bulpitt and Nonggirrnga Marawili. In bringing them together, it reveals a key tendency within recent indigenous art towards a reflexive critique of modern historicism. Rather than merely representing alternative modes of representing the past, this dissertation argues that these artists are engaged in meta-historical attempts to picture the ways in which multiple modes of history making overlap, intersect and collide in our world today. Examining four distinctive case studies, this dissertation explores the ways in which indigenous contemporary artists engage with the institutions of art and ethnography, while exploring the nature of subject-object relations substantiated by these institutions. This dissertation considers the implications of this practice for indigenous self-representation, while considering the role of art in cross-cultural dialogue.}, keywords = {Indigenous Peoples, Twentieth Century}, author = {Skerritt, Henry} } @mastersthesis {12452, title = {Where Sight is Scarcely Able to Assure: Iridescence, Vision, and Belief in the Early Modern Spanish World}, year = {2017}, school = {USC}, abstract = {In the early modern Hispanic world, artists and authors on either side of the Atlantic engaged with iridescent materials in a wide variety of sources that range from still-life paintings and treatises on natural history, to political tracts, epic poems and theatrical comedies. This dissertation interrogates period responses to iridescent feathers, textiles, shells, and mineraloids as a means to examine the relationship between sight and belief in sixteenth and seventeenth-century Spain and Mexico. Because these materials appeared to change color with minute alterations in the angle of view or illumination, they undermined understandings of corporeal vision that identified hue as a characteristic of the objects that made up the visual field. For viewers in this context, where sight was woven into the very fabric of empire and ideology, the visual disturbance provided by this transient color transformed its material carriers into emblems of sensorial deception. Turning our attention to these responses not only reveals the important role that iridescent materials played in shaping Hispanic discourse on the limitations of sense perception, in which shifting color could serve as both exemplar of the terrestrial dangers posed by deceit and proof of the true nature of the divine, but it also sheds light on how individuals in Spain and the Spanish Americas actively engaged with newly disseminated ideas from the classical past. Through reanimating a discourse on iridescent color that was transmitted through skeptical philosophy, they could address the pressing concerns of the seventeenth century. Ultimately, looking at this response helps to situate the diverse array of people who thought with transient color in the Hispanic world within the context of larger debates about the production of knowledge in Western Europe from which they have traditionally been excluded.}, keywords = {Colonial and Modern Latin America, Fifteenth- to Seventeenth-Century Art}, author = {McMahon, Brendan} } @mastersthesis {12421, title = {The Writing on the Wall: Inscriptions and Memory in the Temples of Late Antique Greece and Asia Minor}, year = {2017}, school = {Pennsylvania}, abstract = {This dissertation documents late antique (fourth to seventh century CE) Christian responses to earlier, pagan inscriptions at sanctuaries, as seen in the archaeological record. I argue that Christians in Greece and Asia Minor neither ignored nor unthinkingly destroyed older inscriptions, but rather were generally tolerant toward these legible reminders of the pagan past, selectively editing them only occasionally. In order to clarify the types of inscriptions that Christians encountered on temple walls and architraves, I have assembled the first catalog of inscriptions on temples, which reveals that the majority of texts inscribed on sacred structures between the seventh century BCE and the third century CE were, counterintuitively, not about religion, but rather civic matters: political privileges, economic/territorial rights, and elite social structures. This data further reveals regional variations and chronological trends in the ancient practice of inscribing temples, including a proclivity for the practice in Caria and a break in the Roman imperial period from the Hellenistic habit of inscribing important documents on temples. Christian reception of these inscribed texts is explored in depth at six sites: Ankara, Sagalassos, Labraunda, the Corycian Cave (Cilicia) Clifftop Temple, Aizanoi, and Aphrodisias. Inscriptions on temples at these sites have been overlooked in late antique scholarship because of disciplinary biases. Art historical/archaeological studies have traditionally fixated on the original appearance of monuments rather than their full lifespan, while epigraphic publications often treat texts as historical data rather than elements of larger, trans-temporal architectural settings. Each of these sites shows a different approach toward the older inscriptions, including preservation in place, reuse, modification, and erasure. I argue that the civic-focused nature of the majority of inscribed texts on temple walls inflected late antique conceptualization of temples and provided a counterbalance to the negative, polemical depiction of temples presented in hagiographical texts. This study therefore adds a new facet to our understanding of Christianization between the ancient Roman and early Byzantine periods.}, keywords = {Ancient Greek/Roman Art}, author = {Sitz, Anna} } @mastersthesis {12511, title = {The Young Mattia Preti in Rome: Style, Baroque Painting, and the Art Market, c. 1630-1653}, year = {2017}, school = {Rutgers}, abstract = {The outstanding reputation of Mattia Preti (1613-1699), one of the foremost Italian Baroque painters and draftsmen, rests on his vibrant easel paintings and dynamic murals executed across a long career and a geographic expanse encompassing Rome, Modena, Naples, and Malta. He arrived in Rome by 1632 and attained his first success by gaining the patronage of two papal families and earning the prestigious commission for a fresco cycle (1650-51) behind the high altar at Sant{\textquoteright}Andrea della Valle, a major monument of Baroque art in the Eternal City. Yet scholarship has mostly neglected the two decades (c. 1632-53) the painter spent in Rome, in favor of his later years in Naples and Malta. My dissertation instead challenges the entrenched and limited characterization of Mattia Preti{\textquoteright}s general reputation and historical place within Italian Baroque studies by looking afresh at his two Roman decades. I argue that Preti{\textquoteright}s success is due to his ability to respond with unusual alacrity and flexibility to the demands of Rome{\textquoteright}s burgeoning open art market. Close examination of paintings offers evidence for my argument that Preti consciously and simultaneously experimented with different stylistic modes, deliberately manipulating his style in order to sell his paintings and attract major patrons. I trace how he moved fluidly among seemingly incompatible regional styles, like Roman Caravaggism, Bolognese classicism, and neo-Venetianism, before developing a personal manner combining aspects of all these styles, which is best exemplified in his Sant{\textquoteright}Andrea della Valle frescoes Chapter One focuses on Preti{\textquoteright}s earliest half-length easel pictures of genre and religious subjects and traces the painter{\textquoteright}s imitation of, emulation of, and innovation upon earlier Roman Caravaggesque precedents. Chapter Two analyzes Preti{\textquoteright}s large-scale Caravaggesque paintings and argues that Preti ennobled his Caravaggesque style by updating its visual language and increasing the canvases{\textquoteright} scale, working in an idiom I have coined "Caravaggism of the Grand Manner." By examining how Caravaggio{\textquoteright}s style still served as a viable stylistic mode near the middle of the seventeenth century, the chapter also sheds light on the demand for this manner among Rome{\textquoteright}s noble elite, which illuminates Preti{\textquoteright}s network of patrons during these pivotal years of his career. Chapter Three first examines Preti{\textquoteright}s engagement with Venetian painting, including Titian{\textquoteright}s mythological landscapes and Veronese{\textquoteright}s history paintings, to understand the appeal of Preti{\textquoteright}s stylistic experiments for contemporary collectors and how his paintings impacted collecting practices. Chapter Four presents an in-depth study of Preti{\textquoteright}s most important fresco commission in Rome: the Martyrdom of St. Andrew in the apse of Sant{\textquoteright}Andrea della Valle by situating Preti{\textquoteright}s frescoes within the iconographic tradition of the apostle Andrew and the trend of frescoed apse walls in seventeenth-century Rome. In sum, this dissertation employs key case studies of different styles from Mattia Preti{\textquoteright}s vast Roman output to shed new light on the two decades the painter spent in Rome, which are the least well-known but the most crucial for understanding Preti{\textquoteright}s artistic identity.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Yuen, Melissa} } @mastersthesis {12342, title = {Academic or Industrial: Educating the Artist in Nineteenth-Century Cincinnati}, year = {2016}, school = {Indiana}, abstract = {The education of artists became a national discussion in America during the last third of the nineteenth century. In the wake of the Civil War, businesses began to retool, searching for new ways to bolster export products and increase manufacturing. Civic leaders embarked on projects that would build cultural foundations in their rapidly expanding cities. The formation of schools of design during this period is no mere coincidence. The idea of promoting the arts (and artists) not only appealed to the manufacturers and to the emerging social groups, whose agenda included the improvement of living conditions and the development of cultural organizations, but it was also considered one of the possible solutions to their problems. Cincinnati, a city eager to rebuild after the Civil War, was one of the earliest to embrace these ideas and comprehend the potential of linking art with industry. The opening of the McMicken School of Design in Cincinnati (later to become the Art Academy of Cincinnati) in 1869 reestablished the city as an important center for artists and art education throughout the expanding Midwest region. This study of the founding and first thirty years of the Art Academy of Cincinnati examines the economic and social conditions that led the city to establish this school of design in 1868. Support from the business community helped to promote the idea for a school, but it was the financial backing of philanthropist and art lover, Joseph Longworth, who actually moved the project forward. Although the first principal and teacher, Thomas Satterwhite Noble, was a promising young art academician, the fledgling art school chose to direct its education to the industrial classes of the city. Of particular interest are the teaching pedagogies used by the early instructional staff, especially Benn Pitman, who championed the creation of art-carved furniture and prepared young artists for work at the successful Rookwood Pottery. Despite the national reputation of its first director, Thomas Satterwhite Noble, a rising star at the National Academy of Design, Cincinnati{\textquoteright}s art school struggled to establish its defining identity during the first twenty years of operation. However, in the face of conflicts and criticism, the school was productive in ways the founders could not foresee. The art school in Cincinnati became an important and influential site for the American decorative arts movement, particularly the Rookwood Pottery, which flowered in the city in the mid-1880s. By the 1890s, this hybrid program that combined early design education with elements of academic training was able to provide both a culture for artists to thrive and serve as a training ground Cincinnati{\textquoteright}s thriving art industries.}, keywords = {Nineteenth Century}, author = {Bilbo, Rebecca Wright} } @mastersthesis {12225, title = {Addressing the People: Architecture as a Medium of the Fascist Narrative of National Identity, Case del Fascio, 1922-1943}, year = {2016}, school = {MIT}, abstract = {This dissertation examines a building program for Fascist headquarters, or Case del Fascio, established by the Partito Nazionale Fascista (PNF) during the years of Italian Fascism, from 1922 to 1943. The PNF planned over 11,000 buildings by 1943 on the Italian mainland and in their colonial territories. This examination is a chronological study of these buildings demonstrating that the PNF expressed its political messages in built-form. Between 1919 and 1943, the PNF developed its political ideology, documented in the Statute of 1921, and its modifications in 1926, 1929, 1932, and 1938. The PNF building program mirrored their constantly modified political goals, as well as the PNF{\textquoteright}s decisions in areas of culture, religion, and foreign policy. The physical form of the Casa del Fascio embodied the PNF{\textquoteright}s evolving character that changed from fringe to progressive, to dominant, to authoritarian and militaristic. While the politicians developed programmatic needs for the PNF headquarters building, many architects developed their own consensus about its design from articles in their professional periodicals. Journalists featured PNF sponsored competitions for Case del Fascio, Palazzi del Littorio, and Torri Littorie - all versions or components of the developing headquarters building. Wide spread participation of architects in national competitions for fascist headquarters allowed architects to observe other solutions and offer their interpretations. Articles and newsreels of building inaugurations aided the architect{\textquoteright}s view of the PNF{\textquoteright}s preferred examples. What began as a clandestine meeting space evolved into a building that could be identified at a distance as a Casa del Fascia - a symbol of the PNF, if not Mussolini, himself However, no one model stood as the template for the new political building. Variations in form, plan configuration, and aesthetics continued until the PNF{\textquoteright}s 1943 demise, despite the 1936 "Declaration of the Empire" and the PNF{\textquoteright}s association with Germany - which would have suggested a government-sanctioned "monumental Roman" model. The outcome reveals that architects had unusually strong design control. My study is a chronological analysis, using over 4,000 architectural examples, overlaid with the changing ideology of the PNF, which reveals the reactive design interpretations by professional architects during the Ventennio.}, keywords = {Architectural History/Urbanism/Historic Preservation, Twentieth Century}, author = {Bentel, Carol Rusche} } @mastersthesis {12385, title = {An Aesthetic of Comprehension: The Distribution of Conceptual Art and Land Art in Germany, 1968-1975}, year = {2016}, school = {USC}, abstract = {This dissertation looks at the display and distribution of land art and conceptual art in Germany in the late 1960s and early 1970s. Its subjects are not so much the works of art per se as they are the tools and strategies used to bring the often ephemeral, remotely located or immaterial works of art to viewers beyond the original site of display. In the late 1960s, conceptual art and land art changed the terms of the art object, pressing it beyond something physical and discrete to include the process or idea underlying it as well as the relationships it generated among artist, viewer and work of art. Whether a massive excavation of soil in the Mojave Desert by Michael Heizer, or a set of instructions for producing one of Sol LeWitt{\textquoteright}s wall drawings, land art and conceptual art traded in projects that renegotiated the relationship between the work of art and efforts to make it visible, exhibitable and distributable to audiences. Reproductive tools such as photographs, Xeroxes and publications were employed to new ends, understood for their ability to make the work of art present for viewers under a variety of circumstances. The examples discussed here break down into four categories of distribution through which these documentary materials reached their viewers. These are books, artists{\textquoteright} magazines, television and exhibitions. The techniques and strategies of presentation taken up in each of these four categories are investigated, and the ways in which they worked to bridge the distance between a work of art and its viewer are addressed. As a result, the document is reconceived, understood not as a belated facsimile of something located beyond its borders, but as an aesthetic object capable of bringing the viewer into contact with the work of art{\textquoteright}s most central inquiries.}, keywords = {Twentieth Century}, author = {Mastroianni, Megan} } @mastersthesis {12271, title = {Affordable Luxury: The Entanglements of Metal Mirrors in Han China (202 BCE-220 CE)}, year = {2016}, school = {British Columbia}, abstract = {This dissertation is a relational study of the multiple entanglements of metal mirrors with consumers in the context of a monetized economy during the Han dynasty (202 BCE-220 CE). By looking at the triad of physical, economic, and semiotic interdependences, I trace the complex ways in which Han users shaped their mirrors and vice versa. Balancing transmitted and excavated sources, qualitative and quantitative methods, and physical sciences and art historical inquiries, I foreground an interdisciplinary understanding of the early imperial history of luxury consumption. This study follows these objects, from the accoutrements of mirrors such as ribbons, stands, pouches, and boxes, to all sorts of metal mirrors made from bronze, iron, lead, and those with additional ornaments, as they were purchased, then displayed and appreciated in the quotidian as well as mortuary settings of both wealthy and middle classes in Han China. I argue that these specular discs served as a dominant form of affordable luxury, signaling personal intimacies, monetary wealth, and aesthetic enjoyments. This study is divided into four chapters. Chapter 1, "Introduction," introduces the theoretical framework of entanglement and a perspective on the consumption of mirrors as luxuries. Chapter 2, "The Physical Entanglements," explores the use value of Han mirrors, arguing for the portability and intimacy of the relations between these small yet intricate objects and their Han users as revealed through the holding, viewing, wearing, and burying practices. Chapter 3, "The Economic Entanglements," investigates the market value of the mirrors, the socioeconomic status of consumers, and the gifting practices based upon such value. Chapter 4, "The Semiotic Entanglements," highlights the physical, optical and symbolic interdependence between mirrors and the people of early imperial China. Moving beyond issues of representation, this chapter closely scrutinizes the aestheticization, symbolic correlations, and attainment of brightness in a variety of practices dependent upon the medium of Han mirrors. This study contributes to the field of early Chinese art with a nuanced examination of Han mirrors as treasured things that created systems of value, and with a reconstruction of lost linkages between the mirror as physical paraphernalia, source of value, and embodied aesthetic.}, keywords = {East Asia}, author = {Guo, Yanlong} } @mastersthesis {12356, title = {Alexander Calder, Collaborative Abstraction, and Public Art}, year = {2016}, school = {Virginia}, abstract = {This dissertation examines the sources for and significance of the American artist Alexander Calder{\textquoteright}s interest in abstract art for public space. I focus upon how and to what ends Calder (1898-1976) collaborated to create abstract art for various public spaces such as modern museums, gardens, public expositions, campuses and plazas, from his first fulfillment of commissions for abstract works in the mid-1930s until the end of his life in 1976. The designs that these collaborations brought about are geographically dispersed, and many have been dismantled, lost or decontextualized by repositioning or changes to their environments; some were unrealized. Scholarship on these designs and efforts has been concentrated in studies of one- to two-decade periods in Calder{\textquoteright}s career; his links to specific countries and regions; and in descriptions that consider his principal sculptural forms, such as mobiles and stabiles, in isolation. I reframe Calder{\textquoteright}s large-scale, site-specific works in this study by emphasizing their links to collaborative relationships that grew from and affected Calder{\textquoteright}s interests in social ideals, modern architecture and urban design. Each chapter of my dissertation examines an interrelated set of collaborations that fostered key evolutions in the form of Calder{\textquoteright}s site-specific and public work and in the procedures and materials that underlay it. Chapter One describes how Calder{\textquoteright}s first commissions for abstract work reflected and fostered his patrons{\textquoteright} interests in the social dimensions of modern architecture in mid-1930s America. Chapter Two examines how Calder{\textquoteright}s relationships with and effect upon the Museum of Modern Art{\textquoteright}s curators and trustees related to his interests in expanding the scale and architectural and social potential of his sculpture from the late 1930s to the end of World War II. My third chapter examines how the logistical complexities inherent to Calder{\textquoteright}s 1940s and 1950s commissions by an international group of architects and organizers of public events affected his approach to public commissions. In my fourth chapter, I analyze key differences between Calder{\textquoteright}s late-career commissions for a range of urban and social contexts and their implications for his approach to his own final commissions during the ascendance of postmodernist site-specific and public work.}, keywords = {North America, Twentieth Century}, author = {Reed, Emily} } @mastersthesis {12297, title = {All Those Who Fight: Violence, Justice, and the Motif of Paired Combatants in Medieval Art, ca. 1000-1215}, year = {2016}, school = {Boston}, abstract = {This dissertation examines images of single combat in Romanesque art. Between the mid-eleventh century and the first decades of the thirteenth century, representations of head-to-head battle between two human opponents were abundant, especially in architectural sculpture. The appearance of these combats is concentrated in northern Spain and southwestern France, although this imagery is found throughout Europe and the Mediterranean. Only a small number of these images are identified by labels or accompanied by an explanatory text. However, those few examples show that the motif of single combat served different purposes and conveyed a variety of meanings, ranging from representations of historical figures to encounters drawn from epic literature to allegorical renderings of spiritual battle. Despite the prevalence of this iconography, this dissertation is the first study to address the entire corpus of Romanesque single combats. Beginning with the few examples to include a contemporary text, it addresses the variety of identities and meanings attached to the single combat motif in eleventh- and twelfth-century works. Analysis of those examples sheds light on the interpretive problems that arise for the larger body of unlabeled images comprising the corpus, whose significance is assessed by considering both formal attributes, and the spatial, functional and visual contexts in which the motif appears. Finally, the dissertation brings new focus to the motif{\textquoteright}s temporal and geographic characteristics by addressing the high concentration of combat images in parts of Spain and France. Examination of the discourses concerning the early crusades and the Iberian {\textquoteright}reconquest{\textquoteright} suggests that these images acted not just as representations of those locally prevalent events, but as visual components aimed at promoting the Iberian cause and aligning peninsular warfare with endeavors in the Holy Land. This dissertation shows that the single combat motif coincides with and reflects a crucial shift in the ways violence and conflict were conceived and addressed in Christian society. Considered within the context of the contradictory discourses on fighting circulating at this time, this multivalent motif is shown to reflect the many meanings battle held for medieval viewers.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Pugliano, Elizabeth} } @mastersthesis {12235, title = {All We Have: Performance Photographs and Artist Interviews in the Contemporary}, year = {2016}, school = {Minnesota}, abstract = {This dissertation examines two distinct but related sources used in the writing of history about the present and recent past: documentary photographs and artist interviews. Contemporary art history relies heavily on both tools as offering historical evidence. The two also share some attributes as sources: they are simultaneously of the moment and out of time, fragmentary while also appearing to be encompassing, definitive in their possibility of making meaning despite being highly mediated. While photographs and interviews act within a constellation of evidence, I argue that there is something particular about their use in contemporary art history. My goal is to interrogate what might be lost and gained in using photographs and interviews as historical evidence, and therefore what looking at or reading these tools responsibly might entail. To do so, I begin with introducing words and pictures in the contemporary most broadly, before providing literature reviews related to both interviews and photographs more specifically. I then examine these tools through the framework of what I call "networked witnessing," proposing how we could and should use photographs and interviews within contemporary art history. With this framework established, I turn to my case studies-first performance photographs, then artist interviews-in order to offer examples of carrying out my recommendations. While my case studies explore the variety of conclusions one might productively draw from understanding historical evidence through networked witnessing, I ultimately reveal the ways in which photographs and interviews require a type of inter-viewing-of looking again, from various perspectives, through many layers of mediation, for what might be unfamiliar-that can change our perceptions of our own scholarly responsibility.}, keywords = {Artistic Practice/Creativity, Twenty-first Century}, author = {Wolff, Rachel} } @mastersthesis {12245, title = {Allegories of the Modern: The Female Nude in Art Nouveau}, year = {2016}, school = {Virginia Commonwealth}, abstract = {Modernism is a plurality, not a singular concept. This project explores examples of Art Nouveau nudes to describe the particular expressions of the modern through varied and complicated allegorical bodies. The female nude as a nexus for ideals of gender, art, and beauty, is informed by and constructs the understanding of these ideals within society. Art Nouveau thus employed the nude to represent complex manifestations of modernity. Three diverse cases provide the subjects of each chapter. All explore modernism through objects and interiors, in public and private environments, and each connects the decorative arts with accounts of European modernism in the late nineteenth and early twentieth century. The modernist movement, in these decades, is still predominantly understood through painting. This project draws its case studies from Paris, Glasgow, and Vienna, each a distinct cultural arena during the 1890s and 1900s: the sculptural furniture of Francois Rupert Carabin (1862-1932); the metalwork of Margaret Macdonald (1865-1933) and her sister Frances Macdonald (1873-1921); and the graphic motifs of Ver Sacrum, created by the artists of the first Vienna Secession (1897-1905). In conception and expression, these nudes articulated the diverse representational practices of different modernisms. They each embody drastically different histories, aesthetics, and social expressions. Their varied modernisms expose the prominent nationalism of Art Nouveau. Examination of these three very different cases expands and complicates current understandings of the nude, allegory, and the modern.}, keywords = {Decorative Arts, Nineteenth Century}, author = {Davis Winthrop, Emily} } @mastersthesis {12346, title = {Amerikanischer Malkasten: American Art and Dusseldorf}, year = {2016}, school = {Stanford}, abstract = {This dissertation examines the group of American painters who lived and worked in Dusseldorf, Germany, in the decades before the American Civil War. By emphasizing that such important works of art as Emanuel Leutze{\textquoteright}s "Washington Crossing the Delaware, " Richard Caton Woodville{\textquoteright}s "War News From Mexico, " and Albert Bierstadt{\textquoteright}s "Roman Fish Market, Arch of Octavius" were all produced in this small city on the Rhine, "Amerikanischer Malkasten" seeks to reframe the historiography of American art before the Civil War by arguing that the American experience in Dusseldorf was not marginal or incidental to that story, but rather essential to it. In recent years Americanists have rejected or refined narratives of American art that assert its isolated, nationalistic character in favor of ones that see American art as deeply engaged with the wider world. However, the American Civil War remains something of a dividing line for many scholars, who view the generation of artists who came to maturity in the 1840s and 1850s as essentially provincial in character, by contrast with later generations of cosmopolitans. Through in-depth case studies of Leutze, Woodville, and Bierstadt, this dissertation upends this tradition periodization in two ways. First, it shows how these individual artists engaged with a wide variety of transatlantic thought, including theatrical meolodrama; the interrelated discourses of "Bildung" and Self-Culture; and the marketing o the Wild West, in particular its American Indian inhabitants. Second, and most importantly, it articulates a vision of American art before the Civil War that emphasizes not only its cosmopolitanism, but also the ways in which these and other artists were possessed of an essentially outward-facing and communal ethos, which I contrast with the more idiosyncratic and personal vision favored by later generations. Ultimately, "Amerikanischer Malkasten" redefines both the history of American art of the antebellum period and how historians of American art conceive of--and speakabout--that history.}, keywords = {Nineteenth Century}, author = {Hamming, Grant} } @mastersthesis {12401, title = {Analog Constellation, Digital Assemblages: Contemporary Egyptian Video Art and the Politics of Modernity}, year = {2016}, school = {Florida}, abstract = {Through an analysis of thirteen contemporary Egyptian artists who work in video, my dissertation argues that many artists who came of age during Mubarak{\textquoteright}s presidency took up video to explore the forces that shaped modern Egypt. Video became a privileged medium as artists of this generation mobilized to engage urgent themes such as Cairo{\textquoteright}s rampant urban sprawl, Egypt{\textquoteright}s Pharaonic and Islamic history, and the impact of colonialism and globalization. The artists I explore in this study are Maha Maamoun, Hassan Khan, Shady El Noshokaty, Wael Shawky, Sherif El-Azma, Lara Baladi, Hala El Koussy, Rana ElNemr, Doa Aly, Ahmed Basiony, Amal Kenawy, Bassem Yousri, and Basim Magdy. My dissertation historically situates these thirteen artists in the cultural, political, and institutional context of Egypt during the late twentieth and early twenty-first centuries, demonstrating how they charted the dramatic transformations of modernity in their video work. By analyzing the work of these at this critical time, I examine the role of the visual arts amid radical social transformation and reexaminations of personal, cultural, and national identity.}, keywords = {West Asia}, author = {Jakubowski, Dan} } @mastersthesis {12197, title = {Ancient Puebloan Human Effigy Vessels: An Examination of Iconography and Tradition}, year = {2016}, school = {Virginia Commonwealth}, abstract = {This dissertation provides an iconographic interpretation of a group of Ancient Puebloan human effigy vessels and fragments from the American Southwest, dating to the Pueblo II period, c. 900 -1150 CE. Initially, this project focuses on Ancient Puebloan human effigy vessels from three specific collections; a single vessel in the collection of the National Museum of the American Indian in Washington, D.C., a human effigy vessel in the collection of the American Museum of Natural History in New York, and the so-called Putnam Human Effigy Jar from Chaco Canyon at the Peabody Museum of Archaeology and Ethnology at Harvard University. This study interprets these three vessels primarily as expressive sculptural forms, as opposed to ritual or utilitarian objects. Stylistically and formally, these vessels are similar to several other human effigy vessels attributed to the Ancient Puebloan tradition. Two catalogs have been compiled for this study. Catalog A consists of Ancient Puebloan style human effigy. Catalog B presents comparable human effigy vessels created in a variety of ancient Southwestern styles, related to, but considered distinct from the Ancient Puebloan style. Formal and iconographic similarities between human effigy vessels in these cultures and the Ancient Puebloan culture suggest a shared cultural phenomenon, or, at the very least, is evidence of regional cultural relationships. Similar human effigy vessels can also be found outside of the ancient Greater Southwest in Precolumbian cultures. Of particular scholarly interest is the nature of the perceived relationship between the Ancient Puebloan tradition and the cultures of Casas Grandes, West Mexico, and Mesoamerica. The analysis of these three vessels and their associated tradition provides additional insight into this on-going scholarly discussion.}, keywords = {500 BCE to 500 CE, Native American/First Nations}, author = {Marshman, Amy} } @mastersthesis {12211, title = {Architecture and the Sacred: The Non-Peripteral Temples of South Italy and Sicily}, year = {2016}, school = {IFA/NYU}, abstract = {In modern scholarship, the archetype of a Greek temple is peripteral, a rectangular sacred building surrounded on all four sides by a monumental colonnade. While this type, exemplified by the Parthenon, represents an essential strain in the narrative of Greek sacred architecture, its dominance in guidebooks and scholarly texts belies the importance of temples lacking peristyles: oikos temples. Little studied, these sacred structures represent the rule rather than the exception in ancient Greek sacred architecture, outnumbering their peripteral counterparts. Oikos temples are past due for study not only because of their prevalence, but also their potential significance to the understanding of the connection between Greek architecture and cult. A number of factors contribute to make South Italy and Sicily an ideal focus for an investigation of these buildings. First, the majority of temples (about 65\%) in the region are of this type. Second, recent interest in oikos temples by archaeologists working in South Italy and Sicily has resulted in the publications of many of these structures, making them accessible for study. Finally, because of the large number of all types of temples built in this region during these periods, the design and chronology of oikos temples may be considered side-by-side with those of peripteroi. By integrating oikos temples into the narrative of monumental sacred architecture in South Italy and Sicily, this dissertation creates a more complete understanding of the sacred architecture among the Western Greeks in the Geometric through Classical periods.}, keywords = {Ancient Greek/Roman Art}, author = {Fisher, Marya} } @mastersthesis {12226, title = {Architecture of Bibliophilia: Eighteenth-Century Ottoman Libraries}, year = {2016}, school = {MIT}, abstract = {Libraries were a new building type of Ottoman architecture by the beginning of the eighteenth century. However, they quickly gained a considerable place among the endowments of Ottoman elites and remained one of the most carefully approached architectural questions throughout the century. More than twenty purpose-designed libraries were built in Istanbul until the early nineteenth century. This dissertation investigates the social and cultural conditions that paved the way for this library movement, the dynamics that affected the variety of architectural formulas developed for these buildings, and the receptions of the trend in the elite circles. The Ottomans designed some of the libraries with allusions to the image of mosques and to that of the pilgrimage shrine, and thus created symbols of the highly venerable status they gave to the effort of learning, especially to religious studies. In several library buildings, they made identifiable quotations from other monuments. This variety in library architecture is interpreted here as a reflection of the rise of knowledge of architectural past as a subject of gentlemen{\textquoteright}s curiosity, akin to interests in history, geography and literature. The latter genres had remarkably large places in library collections compared to the public collections of earlier centuries that lacked their own buildings. The broad demand for the accessibility of books in a wide range of fields certainly formed a pillar of the library movement, but the rivalry emerged between the dignitaries to donate rich libraries as urban landmarks demonstrates the power of this investment as a social asset and a political gesture in the eighteenth century. These were predominantly manuscript libraries; manual reproduction of books and accessibility of rare items were quite important in this library regime.}, keywords = {Architectural History/Urbanism/Historic Preservation, West Asia}, author = {Sezer, Yavuz} } @mastersthesis {12241, title = {Art and Dematerialization, 1966-79}, year = {2016}, school = {Virginia Commonwealth}, abstract = {This study constitutes the first critical history of dematerialization. Coined by critics Lucy Lippard and John Chandler in their 1968 essay, "The Dematerialization of Art," this term was initially used to describe an emergent "ultra-conceptual" art that would render art objects obsolete by emphasizing the thinking process over material form. Lippard and Chandler believed dematerialization would thwart the commodification of art. Despite Lippard admitting in 1973 that art had not dematerialized into unmediated information or experience, the term has since entered art historians{\textquoteright} lexicons as a standard means to characterize Conceptual Art. While art historians have debated the implications of dematerialization and its actuality, they have yet to examine closely Lippard and Chandler{\textquoteright}s foundational essay, which has been anthologized in truncated form. If dematerialization was not intrinsic to Conceptual Art, what was it? By closely analyzing "The Dematerialization of Art" and Lippard and Chandler{\textquoteright}s other overlooked collaborative essays, this dissertation will shed light on the genealogy of dematerialization by contending they were not describing a trend limited to what is now considered Conceptual Art. By investigating the socio-historical connections of dematerialization, this dissertation will advance a more far-reaching view of the ideology of dematerialization, a cultural misrecognition that the world should be propelled toward immateriality that is located at the intersection of particle physics, environmental sustainability, science-fiction, neoliberal politics, and other discourses. This analysis then focuses on three case studies that examine singular works of art over a twenty-year period: Eva Hesse{\textquoteright}s Laocoon (1966), James Turrell{\textquoteright}s Skyspace I (1974), and Anish Kapoor{\textquoteright}s 1000 Names (1979-85). In doing so, this dissertation will accomplish two objectives. First, it looks at how these works materially respond to the ideology of dematerialization and provide a means for charting how this cultural desire unfolds across space and time. Second, this dissertation contends that contrary to Lippard and Chandler{\textquoteright}s prognostication, dematerialization-and immateriality-does not correlate to emancipation from capitalization. Rather, it will be shown that dematerialization, its rhetoric, and its strategies can actually be enlisted into the service of the commoditizing forces Lippard and Chandler hoped it would escape.}, keywords = {Conceptual Art, Theory/Historiography/Methodology, Twentieth Century}, author = {Duffy, Owen} } @mastersthesis {12332, title = {Art and Epic Theater in Cold War Germany}, year = {2016}, school = {USC}, abstract = {This is a study of medium mixing, border crossing, and genre defiance in the era of Cold War Germany, when such acts had grave political consequences. Beginning in the 1960s, set designers in West Germany gained unprecedented dominance in the theater and directors commissioned scenic works from visual artists who had only ever exhibited in galleries. Television broadcasts of these productions further contributed to discourses of medium specificity and liveness. The first chapter explores the visual foundations of the proletarian "epic theater" tradition in works by artist John Heartfield and dramaturge Bertolt Brecht from interwar Berlin to postwar East Germany. In the 1960s Brecht{\textquoteright}s acolytes in Bremen gave classical German plays a transatlantic dimension by adapting American Pop art for stage backdrops. The third chapter focuses on a 1979 Hamlet production in Cologne for which Fluxus artist Wolf Vostell turned the stage into a site of Cold War anxieties about espionage and electronic media. The directors in the last chapter staged theater in bombed and abandoned ruins, which they remodeled after contemporary installations by Joseph Beuys, Edward Kienholz, and Paul Thek. These productions were vital contributions to Regietheater (Director{\textquoteright}s Theater), a postwar shift in emphasis from the playwright{\textquoteright}s script to the director{\textquoteright}s revisionist interpretation. The perpetual re-invention of epic theater offers defamiliarized narratives of Pop art, Fluxus, and installation art. The major figures in Director{\textquoteright}s Theater mounted political critiques that had not been possible in the gallery installations on which their productions were premised. Artists who worked for the theater were able to resist the pressures of identifying with communism in East Germany or the social market economy in West Germany by cycling their images from gallery to stage to television and sharing authorship among theater collectives. Accounts of Brecht{\textquoteright}s impact on postwar art focus on his theory and politics rather than on his connections to actual artists. Looking across stage productions, gallery installations, and journals, this study shows that Brecht{\textquoteright}s theory was itself fundamentally visual. I draw on these intermedial and participatory histories to argue that democracy came to triumph on German stages even in moments when it staggered in art galleries and political practice.}, keywords = {Installation/Environmental Art, Performance Art/Performance Studies/Public Practice}, author = {Adams, Samuel} } @mastersthesis {12352, title = {Arthur G. Dove: Illustrations and Abstractions: 1903-1933}, year = {2016}, school = {Virginia}, abstract = {Arthur G. Dove, America{\textquoteright}s first abstract artist, created close to one thousand wholly figural illustrations for books and magazines between 1903 and 1930. Despite their publication in periodicals such as Collier{\textquoteright}s, The Saturday Evening Post, and Life, alongside the work of fellow artists John Sloan and William Glackens, they have remained a little studied aspect of his work. This dissertation compiles these illustrations, and examines them closely to make visible the multiple thematic, technical, and conceptual continuities and interactions between Dove{\textquoteright}s illustrating and his abstractions and assemblages. Re-integrating Dove{\textquoteright}s illustrations into his total body of work reveals illustration{\textquoteright}s on-going position as a creative laboratory within Dove{\textquoteright}s artistic process, and the instrumental role of illustrating in allowing Dove to make the leap into abstraction.}, keywords = {North America, Twentieth Century}, author = {Kirschner-Perlstein, Melanie} } @mastersthesis {12237, title = {The Artist as Immigrant: Performative Photographic Projects by Tseng Kwong Chi, Nikki S. Lee, and Annu Palakunnathu Matthew}, year = {2016}, school = {Kansas}, abstract = {Tseng Kwong Chi, Nikki S. Lee, and Annu Palakunnathu Matthew each employ our associations with photography, performativity, and self-portraiture to compel us to re-examine our views of immigrants and immigration and bring them up-to-date. Originally created with predominantly white European newcomers in mind, traditional assimilative narratives have little in common with the experience of immigrants of color for whom "blending in" with "white mainstream America" is not an option. Through self-portraiture, then, Tseng, Lee, and Matthew significantly confront the issue of the "raced body" directly, such that their work reveals as much about their adoptive country{\textquoteright}s attitudes towards each artist{\textquoteright}s perceived group-Chinese, Korean, and Southeast Asian-as the individuals themselves. In approaching their imagery as case studies of the contemporary immigrant experience, this dissertation argues that Tseng{\textquoteright}s East Meets West (1979-89), Lee{\textquoteright}s Projects (1997-2001), and Matthew{\textquoteright}s An Indian from India (2001-07) share affinities with trends in contemporary literature in that the three artists{\textquoteright} self-portraits, like the writings of their author counterparts make a claim for the immigrant{\textquoteright}s rightful place within the U.S. The first chapter contextualizes the three artists{\textquoteright} series by providing an overview of the history of Asian immigration in the United States. Each of the subsequent chapters explores one of the photographic series of interest, beginning with Tseng{\textquoteright}s East Meets West; this chapter delves into the intersectionality of identity, by looking at how the artist cleverly employs Western stereotypes of the "inscrutable Chinese" to promote a worldview in which is regarded as an artist first, gay Asian man second. Amongst Lee{\textquoteright}s larger photographic series, her Schoolgirls and Young Japanese (East Village) Projects have been paid little scholarly attention. By addressing this lacuna in the third chapter, this dissertation claims that the two "subprojects" play a key role in understanding Lee{\textquoteright}s Projects as a whole. The fourth and final chapter looks to Matthew{\textquoteright}s An Indian From India as providing the most "personal" glimpse into the immigrant experience by noting her use of audiences{\textquoteright} associations with nineteenth-century portraiture of Native Americans to affirm her South Asian Indian identity within the U.S.}, keywords = {Asian American/Asian Diaspora, Photography}, author = {Raimond, Ellen} } @mastersthesis {12371, title = {Artist under Technocracy: Gyorgy Kepes and the Cold War Avant-Garde}, year = {2016}, school = {Stanford}, abstract = {This dissertation explores the fraught relationship between art and science during the Cold War through the work of artist, designer, and visual theorist Gyorgy Kepes (1906-2001). Faced with a crisis of confidence in the contemporary relevance of the arts, Kepes cultivated collaborations with the sciences at Chicago{\textquoteright}s New Bauhaus and especially at the Massachusetts Institute of Technology (MIT), where he taught from 1946 until his retirement in 1974. Kepes evocatively termed his interdisciplinary mission "interthinking" and "interseeing." This study examines the aesthetics and politics of these powerful, and still timely, ideas. It asks: Can the "two cultures"=art and science=actually work together for a common purpose? Or are they fundamentally incompatible, condemned to mutual skepticism of their respective motivations and methodologies? What is the purpose of art in a world dominated by science and technology? Scholars have previously described Kepes{\textquoteright}s ambitions as a reactionary glorification of the imagery and ideology of science. This study does not ignore the regressive associations of Kepes{\textquoteright}s work, but it also considers its progressive potential and provides a more nuanced, and conflicted, account of Kepes{\textquoteright}s contradictory practice. Using new archival evidence, this dissertation puts forth two major arguments. First, it demonstrates how Kepes developed a hitherto unrecognized paradigm for aesthetic practice in a scientific context: the "artist under technocracy." This figure operated within rather than against a scientific institution; seeking refuge, he retreated from the art studio to the research laboratory. Second, it situates Kepes as the major artistic figure within a startling constellation of experts engaged in sophisticated war and weapons research. While many artists renounced this technocratic culture=many also encouraged Kepes to do so=Kepes instead chose to remain part of it. He attempted to shift and shape this technocratic culture from a unique position under it. This study tracks these themes across four chronological chapters and examines Kepes{\textquoteright}s study of camouflage during World War II; his development of visual design at MIT in the 1950s; his work in the 1960s on an unfinished and unpublished magnum opus he called "The Light Book"; and the Center for Advanced Visual Studies that he founded at MIT in 1967. "Artist under Technocracy" provides a genealogy for interdisciplinary phenomena that are commonplace in both the academy and the art world today, such as the study of visual culture and the use of new media.}, keywords = {Twentieth Century, Twenty-first Century}, author = {Blakinger, John R.} } @mastersthesis {12306, title = {Artistic Patrimony and Cultural Politics in Early Seicento Venice}, year = {2016}, school = {Columbia}, abstract = {In the period following the Cinquecento Renaissance, contemporary seventeenth century Venetian artists were presented with two enormous challenges. The first was to attempt to reinterpret their visual tradition within a shifting political climate without declining into an overt stylistic retrospection. The second was to try and retain a semblance of the personification of state identity-those qualities that had been established and distinguished by Venetian art in the Cinquecento -and which were present in the visual patrimony of paintings and drawings. Carlo Ridolfi, art critic and author of Le maraviglie dell{\textquoteright}Arte (1648) eloquently stated the problem in his biography of Giovanni Contarino, a student of Titian{\textquoteright}s, when he praised the work of the Cinquecento masters as the epitome of artistic production to the extent that he says, "it is with reason that one could use as motto the two columns of Hercules with the words: "Ultra quid faciam?" it is in fact vain to pretend better examples, and rarer beautiful things could be made." This dissertation considers two parallel issues at work: the stylistic legacy of Cinquecento Venetian masters and their importance in the work of their Seicento heirs, and the purposeful dissolution and sale of collections of work by those masters during the seventeenth century. The business activities of art dealers Marco Boschini (1602/5-1681), Paolo del Sera (1614-1672) and their associates are examined alongside their perceptions and criticisms of Cinquecento and Seicento artistic production, and the voracious appetite of English collectors for Venetian pictures in the opening decades of the seventeenth century is considered. Exploring the situations-political (the artist), economic (the dealer), and social (the patron)-present in Venice during the early seventeenth century and their direct relation to the perceived aesthetics of a cultural legacy, this project provides a reassessment of how established value sets in Venetian art were considered successful or not within their cultural context, and how those stylistic evaluations affected artists working in Venice during the early Seicento.}, keywords = {Fifteenth- to Seventeenth-Century Art, Patronage, Art Collecting}, author = {Zarillo, Taryn Marie} } @mastersthesis {12381, title = {As Criticism: From {\textquoteright}Cultural Criticism{\textquoteright} to {\textquoteright}Art Criticism{\textquoteright}}, year = {2016}, school = {Virginia}, abstract = {As a member of a loosely affiliated group that came to be known as the New York Intellectuals, Clement Greenberg started out writing cultural criticism for Partisan Review in the late 1930s. By the 1950s, when he began to contribute to the art press, he was known as an art critic. This shift resulted from a "change in the order of discourse" that occurred when the critical discourse that originated in the little magazines of the 1930s merged=or converged=with the art discourse of the interwar period in the mid-1950s, leading to the formation of a critical field and the emergence of a critical art discourse in the early 1960s. This trajectory started with the establishment, in the first decades of the twentieth century, of an "independent social criticism" by the "young intellectuals" (a group that included Randolph Bourne and Van Wyck Brooks), who sought to develop a more generalized critical discourse outside the academy with its disciplinary divisions and discourses. Cultural criticism evolved out of this practice. What counted as criticism between the wars had more to do with a certain kind of critical engagement than a particular critical approach: social criticism and cultural criticism were broader in scope than the literary criticism (and art criticism although there was much less of it) that was published in the little magazines and journals of opinion, but all of these practices exhibited an intellectual engagement that was not found in the descriptive or impressionistic "journalism" that passed for criticism in the popular press and the art press. By the late 40s, with the rise of New Criticism, literary criticism had become professionalized, which meant that it was on its way to becoming a discipline. Cultural criticism took a divergent path as its practitioners endeavored to establish the social role of the intellectual. By the 50s, cultural criticism had lost its political focus and was beginning to disperse. As cultural critics, including Greenberg and Harold Rosenberg, began to write for a rapidly evolving art press, a new discourse emerged that combined the disciplinary specificity of art discourse and the analytical rigor of critical discourse.}, keywords = {Twentieth Century}, author = {Leclere, Mary} } @mastersthesis {12398, title = {At the Edge of Ruin: Seeing Art under Perpetual Conflict}, year = {2016}, school = {UC Santa Cruz}, abstract = {At the Edge of Ruin: Seeing Art Under Perpetual Conflict engages four different art practices that are embedded in current political conflicts and struggles over abuses of power: the seemingly endless warfare in Palestine, the worsening refugee crisis in Europe, the racial injustices of the U.S. criminal court system, and the ongoing environmental catastrophe in the Democratic Republic of the Congo (DRC). Focusing on artworks by Emily Jacir, Kader Attia, collaborators Keith Calhoun and Chandra McCormick, and Sammy Baloji, the project considers what insights these art practices can give into the current global conditions of both art and of social and political unrest. At the Edge of Ruin offers a response to the recent thematic emphasis of global art discourse. Artworks shown at recent large-scale global art exhibitions such as the Venice Biennale or dOCUMENTA, and through museum initiatives like the new global art programs at the Tate Modern and the Guggenheim, have increasingly focused on the disasters and conflicts that roil the 21st Century. Yet contemporary art scholarship has largely failed to consider how global art is being linked to conflict and crises and to grapple with the challenges and possibilities this poses for art interpretation. Instead, artworks tackling different geopolitical issues, for instance, the racialized politics of the mass incarceration of African Americans or the economic and labor issues within immigration struggles in France, are being shown alongside each other in international art venues with little attention paid to how these practices are producing and circulating knowledge about such disparate practices and crises. This project utilizes the conflicted space of global art to better understand worldwide unrest and turmoil. It develops a model of interpretation that investigates unfolding current events and the histories from which they spring through the responses being made in art practices.}, keywords = {Twenty-first Century, Visual Studies}, author = {Nelson, Rachel} } @mastersthesis {12219, title = {At the Threshold of the Mediterranean: Architecture, Urbanism, and Identity in Early Modern Sicily}, year = {2016}, school = {Harvard}, abstract = {This dissertation looks anew at the architectural and urban development of early modern Sicily under the aegis of the Spanish Habsburg Empire with a focus on the transformation of the port city of Palermo into a viceregal capital over the course of the sixteenth century. It demonstrates that itinerant architects dispatched to the island not only assimilated idioms and innovations originating in Italian and Iberian centers, but openly experimented with models and typologies then in circulation across a wider geography, from the eastern colonies of the Venetian {\textquoteright}stato da mar{\textquoteright} to Ottoman outposts along the coastline of North Africa. Against this backdrop, this dissertation proposes that Sicily was an active participant in the architectural culture of the early modern Mediterranean world. In doing so, it seeks to chart a new methodology for the study of the built environment of sixteenth-century Sicily, which continues to be marginalized in scholarship on the architectural history of early modern Italy and Spain alike. The text focuses upon four primary case studies: first, large-scale urban planning initiatives; second, the patronage of foreign mercantile communities; third, fortification design; and finally, landscape interventions. Throughout, it questions how local identity - understood geographically, culturally, and architecturally - was constructed on the island. More broadly, it argues that Sicily offers a rare opportunity to rethink both the underpinnings of the Italian Renaissance canon and contemporary theorizations of early modern exchange and cross-culturalism. Finally, in response to a rising interest in Spain{\textquoteright}s expanding geographical boundaries in the Mediterranean and beyond, this dissertation reassesses Sicily{\textquoteright}s unique position within the landscape of so-called {\textquoteright}Spanish Italy,{\textquoteright} and raises new questions as to how Spanish imperialism was performed, experienced, and ultimately assimilated on Italian shores.}, keywords = {Architectural History/Urbanism/Historic Preservation, Fifteenth- to Seventeenth-Century Art}, author = {Kassler-Taub, Elizabeth} } @mastersthesis {12320, title = {Bachelors Bridging the Baltic: The Artistic Ambitions of the Tallinn Brotherhood of the Black Heads, c. 1400-1550}, year = {2016}, school = {Michigan}, abstract = {The Brotherhood of the Black Heads was a religious, military, and commercial corporation unique to the territory of Livonia (modern-day Estonia and northern Latvia). This dissertation examines the artistic patronage of the Brotherhood in fifteenth- and sixteenth-century Reval (Tallinn, Estonia). I focus on the agenda and values of the corporation through an interrogation of the Brotherhood{\textquoteright}s artistic ambitions. During the fifteenth- and sixteenth-centuries, the Hanseatic League oversaw a vital trade network in the Baltic Sea region. Reval served as a crucial port town on the easternmost reaches of the mercantile community. I seek to move beyond conceptions of centre-periphery relations in the Hanseatic League and I use the Brotherhood as a case study to engage with larger issues of artistic exchange and mediation. The aspirations of the corporation and its construction of identity are arguably most compellingly visualized in the two extant altarpieces co-commissioned by the association with its father organization, the Great Guild. The two retables are the Saint Nicholas Altarpiece (1478-81, oil and tempera on panel and polychrome oak sculpture) by Hermen Rode and the Mary Altarpiece by the Master of the Saint Lucy Legend (before 1493, oil and tempera on panel). The altarpieces convey the way in which the Brotherhood wanted to be perceived as an organization open to the world, yet with a local orientation, asserting its Revalian position as a lucrative gateway to Orthodox Russia. Imported from the artistic centres of Lubeck and Bruges, these retables display saints such as Victor of Marseille and Nicholas of Myra, who are showcased within ornate, earthly interiors adorned with luxury articles such as Baltic furs, amber jewelry, Flemish tapestries, eastern Mediterranean carpets, and Spanish tiles. The altarpieces point to the desire of Brotherhood members to promote themselves as wealthy merchants with links abroad, but above all, to demonstrate their piety and devotion as servants of God seeking salvation. Both retables are fashioned with a degree of material opulence and conspicuous display intended to overwhelm viewers. Together they demonstrate the scope and diversity of art patronage in the Hanseatic League beyond the cultural center of Lubeck.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Keelmann, Lehti Mairike} } @mastersthesis {12308, title = {Battle and Representation in Cinquecento Art and Theory}, year = {2016}, school = {Harvard}, abstract = {This dissertation examines the emergence of an art-critical discourse surrounding the representation of war during the Cinquecento. It situates battle scenes within the context of contemporary artistic, rhetorical, scientific, and literary theories, and turns to the major figurative episodes of the period - for example, the battles by Leonardo and Michelangelo - to reinsert them into a history of the genre. By doing so, it argues that sixteenth-century depictions of war are defined by an inherent conflict between legibility and pathos: between the need to impose the order that makes war narratable, and to convey the chaos that secures its emotional impact. Framed as the most difficult and lofty subject an artist could engage with, war offered a rhetorical register that justified the recourse to powerful artistic means, attracting painters as a field of competition: against other artists, media, or the subject matter itself. These images have long been marginalized in the art historical narrative as evidentiary illustrations of military events, or means of political propaganda. Little attention has been paid to how they look, and how they were looked at by Renaissance viewers. Yet "How to Represent a Battle" is a recurrent chapter in the artistic literature of the period. This dissertation turns to artistic treatises rather than military ones, to painters{\textquoteright} writings rather than battlefield chronicles. The resulting account elucidates how battle scenes were conceptualized and received, and restores them to their privileged position in the history of painting as formulated by early writers on art.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Borgo, Francesca} } @mastersthesis {12248, title = {The Bauhaus Wall-Painting Workshop: Mural Painting to Wallpapering, Art to Product}, year = {2016}, school = {CUNY}, abstract = {The wall painting workshop at the Bauhaus was established in fall 1919, the first semester of the famed and influential German school of art, architecture, and design. Over the course of the next thirteen years, the workshop experimented with many techniques, philosophies, and strategies for painting, coloring, and covering wall surfaces. This dissertation analyzes the evolving approaches of the Bauhaus wall painting workshop. Early Masters of Form, Oskar Schlemmer and Wassily Kandinsky, oversaw abstract and figurative murals like those developed for the 1923 Bauhaus exhibition, and the student wall painters used color to form and mold architectural spaces in, for example, Walter Gropius{\textquoteright}s colored office and the experimental Haus am Horn. In 1924 Kandinsky identified color as the workshop{\textquoteright}s medium, which was applied in a variety of approaches by the former students and later leaders of the workshop, Hinnerk Scheper and Alfred Arndt. Arndt{\textquoteright}s painting scheme in Haus Auerbach and Scheper{\textquoteright}s supervision of the coloration of the new Bauhaus Dessau school building are central to this dissertation and provide excellent examples of these two wall painters{\textquoteright} approaches and differing philosophies. In 1929, during Hannes Meyer{\textquoteright}s directorship at the Bauhaus, a new opportunity arose for the workshop to design mass-produced wall color, which would enable color to be more efficiently, cheaply, and uniformly applied. Subsequently, Bauhaus wallpaper became the most profitable Bauhaus product and was quickly hanging on the walls of large housing estates and in retail stores throughout Germany. Murals, wall painting schemes, and wallpapers beyond the Bauhaus, in the architecture of, for example, Bruno Taut and Le Corbusier, provide comprehensive and international comparisons for the Bauhaus projects. This dissertation explores the many restored and recreated Bauhaus wall paintings, while addressing the frictions inherent in collaborations between architect and wall painter and the tension in merging color with architectural form at the Bauhaus.}, keywords = {Decorative Arts/Textiles/Design History/Interior Design, Twentieth-Century Art}, author = {Ridler, Morgan} } @mastersthesis {12397, title = {Behind Immaterial and Material Divides: East German Photography, 1949-1989}, year = {2016}, school = {Michigan}, abstract = {In 1950, Walter Ulbricht declared socialist realism as the official artistic method in the German Democratic Republic (GDR). Using the implementation of this method in the East German art world as a starting point, this dissertation examines the careers of several influential photographers, notably Arno Fischer, Brigitte Voigt, Helga Paris, Gundula Schulze Eldowy, and Maria Sewcz, whose artistic practices did not cater to the ideological imperatives of socialist realism. These photographers, who neither saw nor positioned themselves as political dissidents, not only sustained their independent practices, but also had successful careers in the GDR. Some were hired to teach photography at the Academy of Arts (Berlin-Weissensee) and the Academy of Fine Arts (Leipzig) and to work as editors and photographers at popular illustrated magazines, including Das Magazin and Sibylle, both of which contained little to no overt news and permitted photographers to practice under the radar of official censorship. Others were able to disseminate their work in small exhibitions organized by the East German Cultural Association. By the late 1970s, when photography was recognized as an autonomous art form in both Germanys, these photographers were granted further opportunities to circulate their work. Their photographs began to appear in specialized photography journals and state-sponsored art exhibitions, often alongside regime-affirming propaganda. By investigating the increasing support offered to Fischer, Voigt, Paris, Schulze Eldowy, and Sewcz by the East German state and its cultural apparatuses, this dissertation challenges the labels "official" and "unofficial" photography: it argues that the classification "official" can also be applied to their work and has little value in identifying the different kinds of photography and photographic practices that flourished in the GDR. Based on the disparate types of photographic images that circulated in East Germany{\textquoteright}s visual culture in the 1980s, this dissertation also claims that cultural authorities no longer knew how to treat photography, at least not to the same degree as they did in the 1950s and 1960s, and failed to reach a consensus on how to photographically depict the GDR during the country{\textquoteright}s last decade of existence. [}, keywords = {Twentieth Century, Twenty-first Century}, author = {Hamelin, Candice} } @mastersthesis {12231, title = {Between Istanbul and Edirne: Ottoman Architecture in the Seventeenth Century}, year = {2016}, school = {Harvard}, abstract = {No record in ProQuest or Harvard ETDs}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Yildiz, Ozge} } @mastersthesis {12360, title = {Beyond Binding: Reconceptualizing Watson and Kaye{\textquoteright}s {\textquoteright}The People of India{\textquoteright} (1868-1875)}, year = {2016}, school = {UCLA}, abstract = {Published in eight volumes between the years 1868-1875, and comprising 480 pasted-in albumen prints accompanied by descriptive letterpress, The People of India (henceforth POI) is a publication more (in)famous now in the twenty-first century than it was ever well-known at any point during the nineteenth. It stands in our historiographic imagination as a seminal text through which colonial authorities established the technical and conceptual practices that would shape the photographic activity on the subcontinent for over a century. And while there is no doubt that the bigoted attitudes and cultural misconceptions manifest in the volumes do exemplify a very real and persistent phenomenon, the publication itself was not a substantial factor in the formation and establishment of the notions intimated in its text. However, to dismiss the POI as a work of great historical significance on the grounds that it was not a direct agent in the codification of the legacy would be tantamount to throwing the baby out with the bathwater. Once the project is approached in terms of individual images with the potential for multiple manifestations and modes of textualization, scholarly enquiry is no longer limited by the dearth of historical evidence regarding the application and reception of the volumes. In reframing the POI as a photographic project and explicating it in terms of images circulating in a broader public sphere, this dissertation endeavors to identify commercial media in a popular Western arena as an extremely significant yet largely unarticulated mechanism in the formation and establishment of colonial knowledge. Centered firmly in the metropole, the popular sphere was unregulated, with a mass audience, and characterized by a diffuse and long-lasting circulation and repurposing of images. Upon charting the dissemination and circulation of POI images in a variety of display contexts and modes of reproduction, it becomes clear that the prolific repurposing of individual POI portraits in contexts of popular mass circulation-rather than the formal publication- is primarily responsible for the transformation of the arbitrarily constructed "native types" contained in the volumes into recognizable and functioning categories.}, keywords = {Photography, South Asia/South East Asia}, author = {Farquhar, Jessica J.} } @mastersthesis {12264, title = {Beyond Surrealism: Kitawaki Noboru and the Avant-Garde during Wartime Japan, 1931-1951}, year = {2016}, school = {UCLA}, abstract = {This dissertation traces the life and work of the artist Kitawaki Noboru (1901-1951), utilizing his story as a case study to explore issues related to surrealism in Japan, the pressures on avant-garde expression during wartime, and the general shift from authoritarianism toward a postwar artistic subjectivity and discovery of individual autonomy. While Kitawaki{\textquoteright}s work is often dense and idiosyncratic, bringing together obscure references from science, philosophy, and Chinese divination, his search for meaning in the underlying order and structure of the natural world was part of a more universal pursuit of knowledge and a fundamental understanding of the world in which he lived. Like some of his contemporaries, Kitawaki saw surrealism through the lens of Japanese nativism, often locating foreign surrealist concepts and terms within an indigenous Japanese-specific context. This impulse was not simply a means to make sense of surrealism in Japan, but more specifically, a means of making sense of surrealism within the unique context of wartime Japan and its immediate aftermath. Kitawaki was first and foremost a realist who believed that surrealism could provide the means and methods for unlocking hidden meaning in the world as it exists-not its imagined alternative. He viewed the world through the lenses of natural science, color theory, morphology, and physics-all of which have concrete, measurable results based in reality-but when trying to synthesize this worldview into an all-encompassing theory that could explain the meaning, order, and interconnectedness of such phenomena, he turned to irrational practices such as numerology and Chinese divination to fill in the gaps. Kitawaki{\textquoteright}s surrealism, or transcendence of reality, then, is most compelling when the artist attempts to articulate the structure and order of a world that is so inherently complex and multi-faceted so as to render such attempts fundamentally impossible. It is this intellectual paradox, and its surrealistic pursuit that defines Kitawaki and his work. This study attempts to articulate Kitawaki{\textquoteright}s unique position within the history of Japanese art, providing needed context to the life and work of an artist who was synonymous with surrealism in Japan, but ultimately transcended this categorization.}, keywords = {East Asia, Twentieth Century}, author = {Ritter, Gabriel R.} } @mastersthesis {12303, title = {Beyond the Frame: Images of Vegetal Nature across the Arts in Northern Renaissance Europe}, year = {2016}, school = {Toronto}, abstract = {Nature became a significant object of attention in the early modern era. Images of plant life changed significantly in the arts and architecture of Northern Europe near the beginning of the sixteenth century. Representations of branches, vines, and other botanical material become more prominent, proliferating in every medium. As designs based on nature became a field for creative innovation, botanical material sometimes transgresses the role of marginal ornament, and natural settings appear in new contexts. Other studies tend to either disregard plant ornament or they argue that landscape became a central subject in northern art but connect its origins and impetus to sources in ancient Rome and early modern Italy. Rather than seeking connections with Italy, this study demonstrates the impact of other factors, arguing that the changes in representing trees and plants reflect cultural shifts, including changes in knowledge production and religious thought. A consideration of the factors that concerned vernacular culture, as well as humanists, provides insights that deepen our understanding of early modern art. Nature could serve as a representational strategy to visualize these concerns. The broad and contradictory significances that natural imagery carried made it an ideal vehicle to express the concerns of northern European culture in a time of religious reform. Nature{\textquoteright}s polyvalency may suggest alternate points of view, enabling the work as a whole to participate in current themes of discourse and debate. This project examines the inventive uses of plant imagery, and demonstrates the impact of its cultural contexts. The geographical context is from the Alsace to the Czech Republic, the Low Countries, and especially the German-speaking lands. Some works were produced by renowned artists, while others are little known in North America. This study addresses the roles nature played in early modern visual culture, in ways not yet addressed by other scholars.}, keywords = {Fifteenth- to Seventeenth-Century Art, Northern Europe}, author = {Lamsechi, Guita} } @mastersthesis {12289, title = {The Bishop Performed: Sculpture, Liturgy, Episcopal Identity in Thirteenth-Century France}, year = {2016}, school = {Indiana}, abstract = {This dissertation examines the intersections of monumental sculpture, architectural space, and liturgical ceremony in shaping conceptions of the identity and authority of bishops in late-medieval France. It specifically investigates the translation of saintly vitae, or the acts and miracles performed by saints, into the sculpture adorning the entranceways of the thirteenth-century cathedrals of Amiens, Bourges and Reims. These sculptural programs contain scenes from the vitae of local saints and martyrs. Art historians generally argue that the local thrust of this imagery complemented the adjoining Last Judgment portals on the cathedral facades. Read as part of a broader eschatological narrative, the saintly vitae functioned to celebrate and elevate the place of the local church within the universal Christian order. My research reevaluates the meaning of the iconography, investigating it within local political and ritual contexts. Placing the portal sculpture within a larger body of hagiographic literature, I demonstrate that the sculpted scenes, like earlier textual accounts of the saints{\textquoteright} lives, contained details that were modified to speak to the specific socio-political moment in which they were created. Further, presenting new evidence of processional movement through the churches drawn from late-medieval liturgical manuals, I argue that the portals played an important role during ceremonial processions by establishing visual links between the thirteenth-century bishops and the mythical founders of their dioceses. Processions moving through the portals activated the spaces, transforming the bishops in stone into participants in the liturgy. Such performances fused past and present, allowing the sculptures to imbue the contemporary bishops with the sanctity and authority of their predecessors while admonishing them to appropriately and justly administer their sees. Employing a methodology that combines art and architectural history with history, religious studies and musicology, this project investigates the interplay between human performativity and the built environment. By examining the physical topography, architectural decoration, and ceremonial use of the portals, it demonstrates that monumental architectural sculpture of the Gothic period did not exist independently from the liturgy, but was rather indivisible from it. The sculpture framed liturgical rites and became an active element in performances that moved through the spaces.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation, Sculpture}, author = {Hansen, Lindsey} } @mastersthesis {12298, title = {Blood on the Cross: The Crucifixus Dolorosus and Violence in Italian Medieval Art}, year = {2016}, school = {Johns Hopkins}, abstract = {Blood on the Cross investigates contemporary perceptions of the violent imagery of crucifixi dolorosi in Italy. Crucifixi dolorosi are life-sized wood crucifixes that present the painfully stretched and contorted, often startlingly bloody body of Christ. They proliferated across Europe in the late thirteenth century, particularly in Germany{\textquoteright}s Rhine region and across Italy. Deriving from no clear artistic predecessor, the Italian crucifixi dolorosi have been labeled foreign, resulting in their persistent marginalization from the history of Italian medieval art. Previous scholarship generally sought out the origins of the image type, most often cited as Cologne. My dissertation takes a different approach by investigating the previously unexplored questions of how these objects functioned and were perceived by contemporary viewers. Arguing that the crucifixi dolorosi were a visual means of making late-medieval theological concepts, especially scholastic concepts of vision and beauty, accessible to ordinary viewers, it studies the Italian crucifixes as objects in their own right. My dissertation investigates the crucifixes at their points of intersection with contemporary devotional, scientific, and theological concern. Through their striking imagery, the crucifixi dolorosi called on beholders to regard them as loci of contact with the Divine and as instruments to aid in the devotional quest to imitate Christ. They compelled viewers to confront the limitations of visual representation and facilitated the ascent from physical to spiritual seeing. Such imagery encouraged the contemplation of Christ{\textquoteright}s sacrifice, of his deformity on the cross and his true beauty - salvation. My study indicates the need to reevaluate the standard scholarly narrative of the history of Italian medieval art. Challenging the perception that the portrayal of wounds and suffering was characteristic of the North while the beautiful alone prevailed south of the Alps, I demonstrate that the deformed appearance of these crucifixes engaged with local devotional needs, as well as contemporary debates about the role and status of the image and the Eucharist. Blood on the Cross therefore returns the Italian crucifixi dolorosi to their local contexts and provides a deeper understanding of how late-medieval Italians intended their images to work.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Raucher, Meredith} } @mastersthesis {12390, title = {Bodies of Anxiety: The Female Nude in Modern Canadian Art, 1913-1945}, year = {2016}, school = {Toronto}, abstract = {Often censored and much debated, the female nude in Canadian art has held a contentious position since the early twentieth century. In 1927, Canadian artist John W. Russell was driven to return to Paris following public outcry over his nude paintings. In 1931, Bertram Brooker{\textquoteright}s Figures in Landscape was removed from an Ontario Society of Artists exhibition at the Art Gallery of Toronto and in 1933 Lilias Torrance Newton{\textquoteright}s painting Nude was deemed too immodest and censored from a Canadian Group of Painters show. The nude garnered moral criticism from conservatives; yet, according to critics and artists, it remained central to the development of modern art in Canada. While the nude in Europe has been the subject of both theoretical and historical studies there exists to date no scholarly study of the nude in Canada. The historic focus within Canadian art history on the landscape painting of the Group of Seven has meant that themes concerning the figure and the nude have largely gone unexamined. This study examines the female nude as an artistic genre in Canada from 1920 to 1940 in an effort to understand how it became the site of moralizing discourse, as well as attending to the reasons for the disenfranchisement of the genre in Canadian art history. It is important to read the nude in modern Canadian art for what it reveals about concerns over gender, class, race, and national identity. I address how masculinity was central to the historic emphasis on the Group of Seven{\textquoteright}s work, an emphasis that has meant that predominantly urban themes concerning the figure and the nude have been censored and repressed. In my analysis of a selection of artworks by Canadian artists from the interwar period I contend that the nude was a nexus point for the often diverse, and at times incompatible, ways that artists and the public responded to the development of modern art and the conditions of modernity.}, keywords = {Twentieth Century}, author = {Smither, Devon} } @mastersthesis {12279, title = {Bodies of Knowledge: Fuseli and Girodet at the Turn of the Nineteenth Century}, year = {2016}, school = {Columbia}, abstract = {This dissertation situates the works of Anglo-Swiss artist Henry Fuseli and French artist Anne-Louis Girodet within a vast and heterogeneous epistemological transformation occurring in the late eighteenth and early nineteenth centuries. It examines three distinct but interlocking case studies-physiognomy, electricity, and the guillotine-each of which constellates scientific discourses, representational practices, and popular attractions. Although working in separate contexts and different modalities, Fuseli and Girodet both engaged with these discourses and practices. Yet they did so in ways that also tested and undermined them. They painted bodies that emphatically failed to conform to the scientific discourses they cited; they painted bodies that were similarly unable to represent heroic virtues or legible narratives. In this way Fuseli and Girodet compel us to read the stylistic shift from neoclassicism to romanticism as participating in a significant realignment of the relationship between knowledge, representation, and the body. By the first decades of the nineteenth century, the body no longer served as a privileged agent of knowledge production within the scientific discourses and artistic practices under consideration. The physiognomic body was no longer self-identical; the electric body was no longer internally continuous. The guillotine offered, in their places, bodies without heads and heads without bodies, whose mechanisms of sensation and cognition were only ever partially and provisionally aligned.}, keywords = {Eighteenth Century, Nineteenth Century}, author = {O{\textquoteright}Rourke, Stephanie} } @mastersthesis {12336, title = {Buffalo Dancer: The Biography of an Image}, year = {2016}, school = {Michigan}, abstract = {This dissertation is the first book-length study to bridge American and Native American art histories and Native studies. To do so, it develops methods of image biography, or following a particular image through space and time. The image in question begins as Karl Bodmer{\textquoteright}s watercolor portrait of a Numak{\textquoteright}aki [Mandan] Benok Ohate [buffalo bull society] leader, later titled Mandan Buffalo Dancer (1834). Starting from its creation point in Indian Territory, the narrative subsequently tracks Mandan Buffalo Dancer in and out of various historical and cultural contexts, forms, and genres across the nineteenth and twentieth centuries, in both Native American and non-Native settings. Tracing how this story{\textquoteright}s various agents utilized print (broadly construed as processes of technological image reproduction), I argue that nineteenth-century systems of racial oppression, based on visual criteria of difference, emerged in part through the very mechanics by which print operates. These mechanics underwrote not only a system of racial notation--the very language of "stereotype," "cliche," and "racial typing" belie their sourcing in print technologies--but also a larger, wide-ranging system of knowledge reproduction and distribution that facilitated the containment of Native peoples under the logics of Manifest Destiny. Simultaneously, Native American communities employed print (or auratic cultural practices that reproduce social memory) to promote the continuation of Native societies. These two long histories of print fed the rise of Native political activism in the 1960s and 1970s, as Native communities and artists worked to transform the historical effects of Manifest Destiny{\textquoteright}s print enterprise. Writing these histories in parallel, this project produces an infrastructural study of print image production and valuation. It develops a critical, historical, and cross-cultural language for North American print studies. Finally, in assembling its archive of paintings, prints, drawings, photographs, diaries and letters, advertisements, archaeological artifacts, architecture, journalism, ethnological reports, political cartoons, museum displays, literature, and Native language, this study boldly re-imagines its methodological contact zone, whereby Native histories challenge long-standing paradigms of American art history, visual and material culture takes a significant place in Native studies, and Native art history interprets its objects through local languages, histories, and cosmologies.}, keywords = {Native American/First Nations, North America}, author = {Ronan, Kristine} } @mastersthesis {12199, title = {Building Faith: Ethiopian Art and Architecture during the Jesuit Interlude, 1557-1632}, year = {2016}, school = {Princeton}, abstract = {This dissertation examines the relationship between the art and architecture of Roman Catholicism and Ethiopian Orthodoxy during the Jesuit Ethiopian mission (1557-1632), and that of its royal Ethiopian sponsors. Challenging assumptions about unidirectional Afro-European cultural exchanges, it considers the effects of an African culture on Europeans in the early modern period, and how Africans chose, reused, or adapted elements of European culture. With reference to its schematic reconstructions of key sites, this dissertation considers the nature and symbolic significance of layout, style, and ornament of secular and religious constructions. Its chronological analysis demonstrates that stone construction began in the 1570s, exclusively using the Ethiopian vernacular until the 1614 introduction of a hybrid Ethio-European style ( modo etiope). It shows that the foreign prototypes adapted for churches and palaces were not Baroque or "Jesuit style," but combined elements drawn from classicizing architectural treatises, the Portuguese estilo chao, and Ethiopian architecture. A careful reading of Ethiopian and European primary sources clarifies the architectural contributions of the Jesuits, further proving that Ethiopians, Indians, and Egyptians also designed and built the era{\textquoteright}s constructions. Equally, it establishes Ethiopian royals as the primary funders-and thus influencers of-Catholic churches. The second part of the dissertation assesses the role of books, prints, and religious art as tools of conversion and artistic models. It considers how objects were imported, adapted from the Orthodox Church, or locally commissioned, arguing that the Jesuits used familiar and emotionally powerful imagery of the Virgin Mary and Christ to first attract worshipers, and then advance Counter-Reformation Catholic doctrines. Using rare mission-era prints, the project demonstrates how European models were first modified for Orthodox use in the 1620s, and explores their subsequent alteration following the Jesuits{\textquoteright} expulsion. Based on field and archival research conducted in Ethiopia, Portugal, and Italy, this dissertation ultimately argues that Jesuit-era Ethiopian art and architecture demonstrates the kind of cultural accommodation evident in other global Jesuit missions, and that it shares stylistic and iconographic hallmarks with Ethiopia{\textquoteright}s later "Gondarine style." Thus, it proposes that the "Gondarine style" originated during the Jesuit interlude, rather than after the 1636-37 foundation of Gondar.}, keywords = {Africa, Fifteenth- to Seventeenth-Century Art}, author = {Windmuller-Luna, Kristen} } @mastersthesis {12224, title = {Building in Public: Critical Reconstruction and the Rebuilding of Berlin after 1990}, year = {2016}, school = {CUNY}, abstract = {Reconstructing Berlin{\textquoteright}s ruined contours after 1990 was one of the most important ways that reunified Germany made a public display of its relationship to the violence wrought by both the Nazis and East Germany during the twentieth century. By integrating historical forms into new buildings in the city{\textquoteright}s commercial center, Berlin{\textquoteright}s urban planners hoped to show the world that the nation had transcended totalitarianism and was worthy of a prominent place in the new global order. In order to achieve this vision, they adopted an approach called "Critical Reconstruction," which required architects to follow rigid design standards based on traditional building typologies. In doing so, they also sought to rein in a flood of eager international investors who threatened to turn central Berlin into a landscape of flashy, corporate experiments. However, because of its strict insistence on historical styles, its ambivalence towards - if not affinity for - Nazi architecture, as well as its rejection of contemporary movements such as Deconstructivism, Critical Reconstruction was interpreted by many observers as reactionary and dangerously conservative. Historians and social scientists commonly refer to it as a controversial, backward-looking representation of German national identity. In this dissertation, I fundamentally reassess the discourse of Critical Reconstruction and argue that this so-called "conservative" turn in Berlin city planning practice was in actuality driven by socially progressive planners making a failed attempt to shape a new democratic society through the regulation of built form. My research thus casts doubt on one of the most central post-Enlightenment claims about architecture: that its aesthetic qualities can both directly represent and influence people and politics. Critical Reconstruction is mentioned often in recent histories of Berlin, and a handful of architectural historians have also examined isolated aspects of its deployment in terms of its relationship to trends in architecture and urban planning. However, without considering how it functioned discursively on multiple levels and in diverse arenas (professional, economic, and political), scholarly portrayals of Critical Reconstruction are reductive at best; at worst, these accounts risk reinscribing the same rigid and simplistic view of Berlin{\textquoteright}s planning culture that they seek to critique. My project offers the first detailed examination of Critical Reconstruction as both a public discourse and a planning methodology, showing how planners{\textquoteright} endeavors to revive Berlin{\textquoteright}s landscape in a socially responsible way ultimately gave rise to the opposite: a landscape of homogenous commercial buildings whose construction mainly served corporate interests, while simultaneously bolstering Berlin{\textquoteright}s connections with the worst facets of its own history. Additionally, as discussions in the national media revealed Critical Reconstruction{\textquoteright}s formal affinities with fascist architecture, suspicions grew amongst the general public that both this theory{\textquoteright}s aesthetics and its authors also harbored authoritarian tendencies. The city that resulted from Critical Reconstruction{\textquoteright}s intervention was thus, ultimately, a hyper-capitalist landscape that harkened back stylistically to the very moment in its violent history that Berlin desperately wanted to symbolically supersede. This research goes beyond one-dimensional depictions of Critical Reconstruction as a unilateral statement about German identity, revealing its status as a set of planning tactics situated within a network of conflicting institutional and political formations. As such, it also addresses two fundamental problems faced by architects and planners in the global age: how to productively contend with the forces of capital while advocating for sustainable local growth, and how to make buildings into legible signifiers of politically acceptable narratives about a nation{\textquoteright}s history and identity without risking public and professional misinterpretation. The case of Critical Reconstruction, I demonstrate, illustrates just how difficult such a contradictory set of tasks can be; indeed, the means of architecture and urban planning may be wholly inadequate for such a monumental undertaking.}, keywords = {Architectural History/Urbanism/Historic Preservation, Theory/Historiography/Methodology}, author = {Hohensee, Naraelle} } @mastersthesis {12222, title = {Building Order on Beacon Hill, 1790-1850}, year = {2016}, school = {Delaware}, abstract = {"Building Order on Beacon Hill, 1790-1850," considers the history of Boston{\textquoteright}s iconic Beacon Hill neighborhood during the period of its most intensive development. It reconsiders the scholarly and popular understanding of this place as a district of wealth and refinement to show that its inhabitants and their houses reflect a more complete cross-section of Boston{\textquoteright}s population. It provides a much fuller accounting of this neighborhood{\textquoteright}s significance by interpreting the residences of a wide range of its population, including the free African-Americans and Irish immigrants who occupied Revere and Joy streets in the 1840s as well as the developers, merchants, and attorneys who built along Beacon and Mount Vernon streets in the 1790s and 1800s. At the same time, it illustrates how houses, whether expensive mansions, speculative rows or tenements, worked to bring order to everyday life, whether by regulating the movement of guests and servants through a gentry house of the 1810s or by providing an arena for polite sociability in the double parlors of the 1830s and 40s. This analysis shows how the residents of Beacon Hill attempted to solve perceived social problems through building. While it is attentive to built form, recording standing buildings in plans and photographs, it also takes pains to populate Beacon Hill{\textquoteright}s buildings through careful attention to the documentary record, to show how the significance of architecture is contingent and dependent on use. Several of Charles Bulfinch{\textquoteright}s remarkable mansions, for example, were demolished within two generations, converted to rows of smaller and more profitable houses in the 1830s and 40s. By considering the changing significance of the neighborhood and its individual buildings over several decades, it shows the fleeting quality of architectural significance as well as the limitations of any approach to architecture that only considers the moment of its creation.}, keywords = {Architectural History/Urbanism/Historic Preservation, North America}, author = {Klee, Jeffrey} } @mastersthesis {12349, title = {Caillebotte{\textquoteright}s Things: People and Possessions Entangled}, year = {2016}, school = {Northwestern}, abstract = {This dissertation focuses on the interiors of French Impressionist Gustave Caillebotte (1848-1894), whose work in the early Third Republic made visible the social anxieties of his upper-middle-class milieu lurking in the midst of mundane domestic life. Visual culture and mass media from the period suggest that self-expression was forged and worried over at home through habitual use of functional objects like furniture. Unusually for a male Impressionist, Caillebotte made the interior a critical site for exposing the contradictory effects that the possession, use, and movement of objects in daily domestic life have on modern subjectivity. In his paintings, interior decoration is a homey veneer on space that he found to be uncomfortable, asocial, and uninhabitable. The four chapters of this dissertation examine different instances of this tension inherent to the unhomely interior: Caillebotte{\textquoteright}s use of the home as studio and artistic subject, his rearrangement of furniture as disruption to domestic sociability, his and his brother{\textquoteright}s collecting practices, and his use of defurnished space to engage with anxieties that his period{\textquoteright}s decorative impulse sought to paper over. In each case, I consider the effects these tensions had on modern sociability, identity-as often masculine as not-and the decor that was used to bolster them. This dissertation argues that Caillebotte{\textquoteright}s ability to locate strangeness in the interior, coupled with his indifference to any form of reconciliation, rests at the heart of his contribution to the representation of modern life.}, keywords = {Nineteenth-Century Art}, author = {Benjamin, Elizabeth} } @mastersthesis {12193, title = {Cajamarca Ceramic Spoons: Forming a Symbolic Function}, year = {2016}, school = {Virginia Commonwealth}, abstract = {Ten painted Cajamarca-style ceramic spoons form the foundation for an investigation of the way that these seemingly utilitarian objects were bestowed with economic and symbolic value both within and outside of the borders of the Cajamarca region, located in the north highlands of present-day Peru. Since the ceramic spoons have been recovered from sites associated with large and powerful societies and states, such as the Moche of the north coast and the Wari of the central highlands, an analysis of the form, style and imagery present on these spoons reveals how these objects transcended cultural boundaries. To assess and evaluate the cultural traits shared by the Cajamarca and neighboring polities, George Kubler{\textquoteright}s concept of form-classes, which groups together objects with similar primary traits regardless of chronology, is utilized. The application of the concept of form-classes is significant because of the lack of written language in the region and the dearth of archaeological investigations in the Cajamarca area. Consequently, the form and style of the object is considered as the primary point of analysis and can be compared and contrasted with the form and style of spoons from other pre-Hispanic cultures, including the Wari and Huarpa. Perceived as small, utilitarian items, ceramic spoons were actually elite goods traded or carried across thousands of miles for the purpose of establishing new, and reaffirming existing, ideological connections in a period of intense exchange and economic growth.}, keywords = {1500 BCE to 500 BCE, Art of the Ancient Americas}, author = {Nicewinter, Jeanette} } @mastersthesis {12276, title = {Carved into the Living Rock: Japanese Stone Buddhist Sculpture and Site in the Heian and Kamakura Periods}, year = {2016}, school = {Kansas}, abstract = {This dissertation examines cliff-carved Buddhist stone sculpture through four site-specific case studies: two from the Heian period (794-1185) and two from the Kamakura period, including both central and peripheral sites in Nara Prefecture, the eastern Kant? region, and eastern Kyushu. The discussion of each site will focus on the role these sculptures played in the creation of a local sacred geography and the relationship between each site and its local pilgrimage practices, ranging from small-scale individual practice to the development of large-scale, multi-temple pilgrimage routes in the Edo period.}, keywords = {East Asia}, author = {Voorhies, Rachel} } @mastersthesis {12295, title = {Cathedral and Commune in Medieval Lucca: The Facade of San Martino}, year = {2016}, school = {Pennsylvania}, abstract = {The richly decorated facade of the cathedral of San Martino in Lucca is both a masterpiece of Tuscan medieval art and a witness to the political and social developments of its era. Created between the late twelfth and the mid-thirteenth century, its rise paralleled that of Lucca as an independent city-state and the transfer of power from the city{\textquoteright}s bishop to its citizens. This dissertation interprets the facade and its decoration as a direct response to these changes. It begins with a summary of San Martino{\textquoteright}s history and a detailed examination of the documents pertaining to the cathedral opera, the administrative body overseeing the facade{\textquoteright}s construction. Based on this material, it proposes that San Martino{\textquoteright}s bishop and canons should be seen as the facade{\textquoteright}s principal intellectual designers and shows how these individuals used this monument to maintain their institution{\textquoteright}s centrality in Lucca{\textquoteright}s public life and to overcome the internal divisions that threatened their city{\textquoteright}s stability. Communicating through architectural form, intarsia, and sculpture, San Martino{\textquoteright}s clergy encouraged Lucca{\textquoteright}s citizens to understand their city as a sacred space, deployed ornamental imagery calculated to appeal to a broad swath of the population, and presented images of saints that served as models of both episcopal and lay behavior. Looking at San Martino in this way allows us to recognize the local character and originality of Lucchese art and architecture, as well as the interdependence of religious and political life in medieval Italy.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation, Southern Europe and Mediterranean}, author = {Sanecki, Jamie} } @mastersthesis {12290, title = {A Changing Mosaic: Multicultural Exchange in the Norman Palaces of Twelfth-Century Sicily}, year = {2016}, school = {Toronto}, abstract = {This dissertation examines the twelfth-century residences associated with the Norman Hautevilles in the parklands that surrounded their capital at Palermo. One of the best-preserved ensembles of medieval secular architecture, the principal monuments are the palaces of La Zisa and La Cuba, the complexes of La Favara and Lo Scibene, the hunting lodge at Parco, and the palace at Monreale. The Norman conquest of Sicily in the previous century dramatically altered the local population{\textquoteright}s religious and cultural identity. Nevertheless, an Islamic legacy persisted in the park architecture, arranged on axial plans with waterworks and ornamented with muqarnas vaults. By this time, the last Norman king, William II, and his court became aligned with contemporaries in the Latin West, and Muslims became marginalized in Sicily. Part One examines the modern "discovery" and reception of the twelfth-century palaces. As secular examples built in an Islamic mode, they did not fit preconceived paradigms of medieval Western architecture in the scholarly literature, greatly endangering their preservation. My examination reconstructs the vast landscape created by the Norman kings, who modified their surroundings on a monumental scale. Water in the parklands was harnessed to provide for artificial lakes and other waterscapes onto which the built environment was sited. Part Two presents in-depth studies of lesser known sites associated with Roger II, including the likely pre-Norman Lo Scibene, perhaps a prototype for the later La Zisa built by his successors. In the second half of the century, monumental epigraphy in Arabic crowned the pavilions of the Genoard Park. These texts were significant visual constructs, delimiting a newly formed space of power, whose content referenced paradise at these palaces that were also sites of song. The last royal residence at William II{\textquoteright}s fortified monastic complex of Monreale was built as a miniaturized version of the Benedictine cenobium. Largely self-sufficient, the construction of Monreale, where the secular and ecclesiastical spheres were joined together, also denotes deteriorating Christian-Muslim relations. The dissertation participates in an emerging discourse on the medieval Mediterranean through an examination of royal parkland architecture that undermines prevailing notions of Norman Sicily as a syncretic kingdom throughout the entire century.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation}, author = {Katz, Dana} } @mastersthesis {12312, title = {City, Crown, and the Staging of Global Commerce: The Royal Exchange in Early Modern London}, year = {2016}, school = {Binghamton}, abstract = {In the architectural history of early modern London, the seventeenth century has always seemed an unpromising time to look for expressions of English national identity. Rather, it is the courtly works of Inigo Jones and the city churches of Christopher Wren that have been posited as characterizing the "style" of the period. Architectural historians of early modern London have challenged this conventional viewpoint, which has been developed primarily on the basis of John Summerson{\textquoteright}s two classic volumes, Georgian London (1945) and Architecture in Britain 1530-1830 (1953), both of which inform the view of Palladianism as a normative model of explanation until the mid-twentieth century. Most previous studies have focused on discovering hitherto unknown architectural exemplars that fill the gaps left by the "Summersonian" typological approach that seeks to construct the common building style of a period. This dissertation, instead, introduces a new approach to understanding the architectural identity of seventeenth-century London, taking a well-known building, the Royal Exchange, as an exemplar whose epithet was "Great Britain{\textquoteright}s Glory" and the "Eye of London," but whose architectural presence has nonetheless not been considered as representative of the city and the nation, although it was proudly deployed as the iconic image of the city and of the nation, particularly from the seventeenth century onwards. By focusing on the perception of space in seventeenth-century London that is understood as theatrical in the visual and textual representations of the Royal Exchange, this dissertation navigates the construction process of the spatial specificity of the Royal Exchange. While identifying the theatrical mode of spatial perception, this study examines the building via a tripartite structure, considering it through the lens of three thematic subdivisions: the "Walks," an open courtyard for world commerce, as a microcosmic world between the market and the theater; the "Pawns," a nexus of enclosed long and narrow walkways for luxury shopping, as a stage for self-fashioning; and the facade of the building as the face of the city and the nation. Each chapter demonstrates that the iconic status of the Royal Exchange was not bestowed by any particular designer, but was, in effect, driven by the following changes in early modern London: England{\textquoteright}s growing power in global commerce, the luxury consumption of the emerging commercial bourgeois in the pursuit of the privileged status of the English gentleman, and the city{\textquoteright}s tense relationship with the crown. This dissertation proposes to understand architecture of early modern London not as a static, fixed entity, but as a constituent of performativity.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Chin, Hyeyun} } @mastersthesis {12324, title = {Collaborative Painting Between Minds and Hands: Art Criticism, Connoisseurship, and Artistic Sodality in Early Modern Italy}, year = {2016}, school = {Toronto}, abstract = {The intention of this dissertation is to open up collaborative pictures to meaningful analysis by accessing the perspectives of early modern viewers. The Italian primary sources from the fifteenth to the seventeenth centuries yield a surprising amount of material indicating both common and changing habits of thought when viewers looked at multiple authorial hands working on an artistic project. It will be argued in the course of this dissertation that critics of the seventeenth century were particularly attentive to the practical conditions of collaboration as the embodiment of theory. At the heart of this broad discourse was a trope extolling painters for working with what appeared to be one hand, a figurative and adaptable expression combining the notion of the united corpo and the manifold meanings of the artist{\textquoteright}s mano. Hardly insistent on uniformity or anonymity, writers generally believed that collaboration actualized the ideals of a range of social, cultural, theoretical, and cosmological models in which variously formed types of unity were thought to be fostered by the mutual support of the artists{\textquoteright} minds or souls. Further theories arose in response to Giovanni Paolo Lomazzo{\textquoteright}s hypothesis in 1590 that the greatest painting would combine the most highly regarded old masters, each contributing their particular talents towards the whole. Presented with this ideal involving inimitable hands and minds, Francesco Scannelli, Carlo Cesare Malvasia, and Marco Boschini each reflected on the practical conditions and possibilities of such a scenario. Collectors and connoisseurs, meanwhile, often discerned multiple hands in a single picture, leading to dubious attributions of collaborative authorship, particularly when the social circumstances supporting the collaboration were thought to be projected in the subject matter. The connoisseur{\textquoteright}s fanciful tendency could even be exploited by the art market, a phenomenon that is especially observable in a group of half-length figures that was purportedly made by Giorgione, Sebastiano del Piombo, and Titian. Finally, a case study of the Venetian painters Palma Giovane and Aliense, whose families were bonded in marriage on the eve of a series of joint projects, tests the implications of those values in criticism, theory, and connoisseurship when collaboration was put into social practice.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Murray, Colin} } @mastersthesis {12238, title = {Conjuring Cane: The Art of William Berryman and Caribbean Sugar Plantations}, year = {2016}, school = {Stanford}, abstract = {This dissertation examines the depiction of sugar plantations in the colonial Caribbean, with a specific focus on Jamaica during the late eighteenth and early nineteenth centuries. Over the course of the eighteenth and early nineteenth century, there were few better examples of modern industrial labor systems than those found on Caribbean slave labor plantations, specifically those that produced sugar. These plantations were the nexus of the slave, sugar and rum trades. Though protected by mercantilist policies, these trade networks, and their arbiters, incredibly wealthy merchants based in the metropole, were capitalist at their core. The very functioning of the sugar plantation, with its state-of-the-art technology, and coordination of an enormous, highly disciplined labor force in the field with a highly skilled labor force the sugar mill under a rigorous, time-sensitive, and detailed schedule, was the epitome of modern labor. In addition to its economic and industrial impacts, the plantation was a site where new cultures were created through the process of what has at times been called creolization, hybridization, or cultural syncretism. Although crucial to modernity, the history of sugar plantations has often been overlooked in its histories in lieu of events like the Industrial Revolution or French Revolution. In this dissertation, I argue that the images produced and widely circulated of West Indian plantations, usually in the Picturesque style, created an impression of the plantation as a pastoral site, which, like the pastoral and Georgic images of rural British estates, not only placed these sites in a distant past, but also extracted them from their modern reality. The theories behind the Picturesque found their roots in the idea of the omniscient eye produced by property surveys, one of the first visual strategies aimed at representing land as privately owned capital. Thus, the Picturesque reinforced and naturalized European ownership and control over plantations at a time when, in many cases, that ownership was in peril. Countering this narrative is the work of artist William Berryman. Although his work has remained relatively unknown, his paintings and drawings of Jamaica in the early nineteenth century present a view of the inner workings of plantation society. This dissertation is the first extensive study of his archive, which contains approximately three hundred images from his eight year sojourn in Jamaica.}, keywords = {Caribbean, Nineteenth Century}, author = {Newman, Rachel} } @mastersthesis {12384, title = {Contingent Bodies Art In and Around Los Angeles, 1969-75}, year = {2016}, school = {IFA/NYU}, abstract = {In January 1971, the same year a young Chris Burden performed his landmark Shoot in Santa Ana, Robert Morris published an essay in Artforum describing the work of three "extra-visual" West Coast artists. All three, it turned out, were fictional. Their real-life prototypes, however, are clear in retrospect; several are even named in the essay. Whether a parody or a projection of Morris{\textquoteright} own artistic aspirations, the essay described a real artistic trend underway in California: there, artists were creating, as Morris wrote, "situations of {\textquoteright}being{\textquoteright} rather than the implied actions of the {\textquoteright}having done{\textquoteright} common to much {\textquoteright}thing{\textquoteright} art that is now available." The primary goal of this dissertation is to identify a distinctive crucible of Los Angeles-based avant-garde art in the years 1969-1975 that focused on "situations of being" rather than "things." This area of physically-oriented artistic practice is part of-yet distinct within-the history of performance art in general. As Paul McCarthy, one its most recognized members, has noted, there is a "history of individual artists and groups of artists which in a large sense [has] gone unrecognized within the international art community...Their work was highly respected and influential in California at that time and deserves more attention now." As Morris{\textquoteright} essay implies, California was a center of intense post-Minimalist practice. Minimalism, as Michael Fried famously pointed out, had brought the spectator{\textquoteright}s body into active play by introducing phenomenological specificity to the aesthetic experience; in the late 1960{\textquoteright}s, artists took the logical next step of locating the artwork in the body itself. In California, artists such as Burden, McCarthy, Bas Jan Ader, Allen Ruppersberg, Barbara T. Smith, and the collectives Asco and Bodacious Buggerrilla extended this further with their own radical experiments in integrating the artist and the audience into the artwork. A fertile institutional environment further encouraged fresh and surprising artistic outcomes. The full-throttle sensibility of this scene is well-known through of its most luminary elements, like Burden, but also extended to many lesser-known participants. This dissertation discusses their work not solely in terms of typology (e.g., performance art, conceptual art), individual achievements, or emergent social movements (e.g., feminism, Chicanismo), but rather as the product of an interrelated intellectual community shaped, in part, by its specific context in southern California. This community of artists, working simultaneously across the region, generated some of the most vital artistic statements in this period of contemporary art history. The dissertation consists of four chapters examining performance work in this era in relation to its political, social, and institutional context; its immediate artistic precursors, particularly minimalism and post-minimalism; the development of diverse interactive practices; and the emergence in performance of a collaborative, communitarian approach to art-making. A final conclusion examines the later 1970s and the emergence of punk and cabaret elements in performance.}, keywords = {Twentieth Century}, author = {Lowery, Rebecca} } @mastersthesis {12293, title = {Crafting Marian Devotion: The Representation of the Theophilus Legend in Northern Europe (9th-14th c.)}, year = {2016}, school = {Emory}, abstract = {The Theophilus legend is the tale of an apostate clerk, who sold his soul to the devil with the help of a Jewish magician, but was saved, after a period of repentant prayer, by the intervention of the Virgin Mary. Known in the Latin West by the late ninth century as a saint{\textquoteright}s life, by the thirteenth century, the legend was one of the most well-known stories told about the Virgin in northern Europe, gaining the status as her official miracle. This dissertation traces the history of that transformation, arguing that penance, devotion to the Virgin Mary, and anti-Jewish rhetoric were the driving forces behind the amplification of the Theophilus legend as a narrative in texts and images. The Latin history of the legend provides an essential context for understanding the pictorial tradition that developed alongside it in stained glass, illuminated manuscripts, and exceptionally, in monumental sculpture. While the earliest representations of the legend in the visual arts were influenced by Theophilus{\textquoteright}s role as a penitent, by the thirteenth century images of the tale focused on the Virgin Mary{\textquoteright}s presence in the story as an intercessor. Additionally, the figure of the Jew took on a more prominent role in Theophilus imagery by the thirteenth century in parallel to growing anti-Jewish sentiment in northern Europe. Whether depicted in the context of the monastery, the cathedral, or the city, the Theophilus legend served as a catalyst for a brand new image of the Virgin Mary, represented as a dynamic figure who performed her role as intercessor before the beholder.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation}, author = {Lyons, Jennifer} } @mastersthesis {12247, title = {Crafting New Citizens: Settlement House Art and Craft in New York and Boston, 1900-1945}, year = {2016}, school = {UC Berkeley}, abstract = {This dissertation explores the creation and exhibition of immigrant-made art in American settlement houses in New York and Boston from 1900 to 1945. The lace, embroidery, and ceramics Southern and Eastern European immigrant artists created provide an important avenue to illustrate how European traditions survived, changed, or disappeared, and how Jewish and Italian communities in New York and Boston adapted to new circumstances while maintaining distinct identities. This dissertation proposes that art can help reveal what is gained and what is lost when communities uproot and settle far from their homelands: an issue as relevant for turn-of-the-century immigrants as it is for emigrant groups arriving in the United States and countries across the world today. The two object sets that are examined closely-ceramics from Boston{\textquoteright}s Paul Revere Pottery and textiles from New York{\textquoteright}s Scuola d{\textquoteright}Industrie Italiane-reveal the working and living patterns of first and second-generation Jewish and Italian women as they interacted with middle and upper class settlement house reformers, collectors, and museum professionals to negotiate their place in American social and political life. Beginning in the late nineteenth-century, college-educated men and women founded settlement houses in rapidly expanding urban immigrant neighborhoods. They initiated programs designed to help newly arriving Southern and Eastern Europeans adapt to American urban life. By 1900, there were over one hundred settlement houses across the United States peopled by progressive reformers eager to address the perceived moral and social problems of poor tenement neighborhoods. The history of settlement house efforts to alter basic living and working conditions is well documented, as are the lives of many of the most influential reformers such as Jane Addams of Chicago{\textquoteright}s Hull-House. However, historians have yet to adequately address the pivotal role of art production in settlement house reform efforts or to underscore the role immigrant practitioners played in the fashioning of their own identities through artistic practice. The first section of this dissertation focuses on the work of young Italian and Jewish women who decorated ceramics at the Paul Revere Pottery. The workshop{\textquoteright}s glazed earthenware dishes, mugs, and tiles decorated with images of American historical events and agrarian scenes are emblematic of a larger impulse to adapt workers to American taste through the language of the colonial revival. The young Jewish and Italian painters of the Pottery specialized in designs depicting scenes of flora and fauna native to New England and suggestive of the city{\textquoteright}s colonial history. Designers hoped such iconography would teach newly arrived immigrants about their new nation{\textquoteright}s values. The Pottery fostered women who made careers for themselves as artists and librarians while cementing their role as the rightful heirs to the North End{\textquoteright}s historic structures and its Revolutionary history. The second section explores textiles created at the Scuola d{\textquoteright}Industrie Italiane in New York{\textquoteright}s Richmond Hill settlement house and reveals how immigrant-made lace and embroidery represent a negotiated identity for the young Italian women who created them. At the Scuola, founders worked to preserve Italian lacemaking traditions while providing Italian women with alternatives to factory labor. Founders Gino Speranza and Florence Colgate worked to preserve Italian lacemaking traditions by creating a school based on Italian revival lace workshops that the pair visited while travelling in Italy. The nineteenth-century Italian revival of lacemaking and its importation to the United States represents a particular understanding of heritage filtered through the lens of settlement house reformers. The Scuola{\textquoteright}s heyday also coincides with the tremendous vogue among upper class American collectors for Antique European lace. The Scuola{\textquoteright}s objects are based on highly coveted antique fragments re-conjured in altered forms to appeal to American tastes. As first and second-generation immigrants, the women of the workshop well understood their roles as skilled craftswomen and representatives of an old-world practice. These needlewomen used their positions to cement roles in the social and economic forums of their city. This dissertation augments previous examinations by turning not only to early twentieth-century reformers and art patrons, but by exploring the social and economic world of immigrant craftswomen and how their practices intersected in unexpected ways with collectors and connoisseurs in Boston and New York. While the voices of individual practitioners in cooperative workshops are often difficult to unearth, this project proposes new ways to read the work of settlement house artisans as vital clues to document their lives. The study addresses settlement houses as negotiated spaces and the objects produced there as vital means to support and enhance immigrant communities while furthering the interests of various constituencies. The cases in question reframe the Arts and Crafts movement as a trans-Atlantic venture that linked more than just America and Britain. These settlement house craft workshops connected disparate countries and social spheres in networks of cultural exchange and shared influence.}, keywords = {Decorative Arts/Textiles/Design History/Interior Design, North America}, author = {Greenwold, Diana Jocelyn} } @mastersthesis {12265, title = {Cultural Essence and National Ceramics: The Formation of the Korean Folk Art Museum under Japanese Colonial Rule}, year = {2016}, school = {Boston}, abstract = {My dissertation investigates the connection between hobby (shumi ), aesthetic appreciation (kansho), and the imagining of Japan-centered "oriental ceramics" (toyo toji) in Okuda Seiichi{\textquoteright}s thought during the period of rapid modernization and aesthetic nationalism that accompanied Japanese imperialist expansion. The main task of this study is to highlight and analyze the role of Okuda Seiichi (1883-1955) in presiding over modern ceramic scholarship. It seeks to understand the peculiarities of Taisho-period society (1912-1926) that catalyzed the emergence of ceramic hobby and appreciation, especially among a circle of Japanese business, intellectual, and cultural leaders. This cultural climate encouraged the gradual formation of the study of ceramic history as an academic discipline and ceramic hobby began to reconfigure and merge with scholarly activities through groups such as Tojiki kenkyukai (Ceramic Studies Society, founded 1914), the Saikokai (Colored Jar Society, 1916), and Toyo toji kenkyujo (The Institute of Oriental Ceramics, 1924). Okuda played an instrumental role in the establishment of professionalism in ceramic study and cultivated the notion of ceramic appreciation by claiming superiority for Japanese aesthetic discrimination. My dissertation illuminates the ways in which the notions advanced by Okuda to define ceramic hobby and appreciation indicate Japan{\textquoteright}s acceptance of Western "fine arts" and aesthetic canons, which privileged painting and sculpture. While the complexity of Okuda{\textquoteright}s ideas can be understood as part of the broader intellectual concern of Japan{\textquoteright}s art history, his most significant efforts can be found in highlighting not only artistic qualities but also the conceptual and technical supremacy of ceramics. The dissertation also investigates how Okuda established an historical narrative for Asian ceramics in which Japan could compare its tradition with the West and assert its unique role in a unitary Asian civilization. In rivalry with the West{\textquoteright}s advancement of Asian ceramic studies, Okuda stressed his unique, historically conditioned role as a leader in the field, while involving his works in a dialogue with Western scholars. By contextualizing Okuda{\textquoteright}s evolving thoughts within the intellectual currents of his time, this dissertation sheds new light on the origin of the study of ceramic history in the Taish? period, when the idea of ceramic appreciation underwent a pivotal redefinition.}, keywords = {East Asia, Twentieth-Century Art}, author = {Sang, Seung Yeon} } @mastersthesis {12194, title = {Cultural Geography and Cultural Identity of the Southeast Aegean from the End of the Bronze Age through the Eighth Century (1300-700 BCE)}, year = {2016}, school = {Missouri}, abstract = {This dissertation examines communities in the Dodecanese and the Carian coast for patterns of subregional behavior. Although societies in the region are often discussed in homogenous terms, an analysis of funerary material reveals the distribution of different practices throughout the region. I argue that this pattern is a reflection of different social agencies operating within the landscape, and that different social groups can thus be identified. These social groups are identified and described, and then traced through the period of societal upheaval that marks the Late Bronze Age -- Early Iron Age transition and the Aegean migrations. I further suggest that the distribution of different social groups and their foreign contacts can partially explain the Dorian identity that began to be expressed in the following centuries.}, keywords = {1500 BCE to 500 BCE}, author = {Barnes, Tristan} } @mastersthesis {12246, title = {The Culture of Dress History in France: The Past in Fashion, 1814-1900}, year = {2016}, school = {Bard Graduate Center}, abstract = {"The Culture of Dress History in France: The Past in Fashion, 1814-1900," studies the role of historic dress and dress history in creating knowledge about the past in nineteenth century France. This research examined how the practice of writing about, collecting, exhibiting, making, and representing historic and historicizing dress helped the French visualize their past. The conceptual questions raised by looking at the way that people observed and used historic artifacts not only expands the history of studying artifacts but also contributes to our thinking about how to study an artifact. Chapter One reveals the role played by Jules Quicherat (1814-1882), the first professor of medieval archaeology at the Ecole des chartes, in helping clothing to be seen as a valid material source within the writing of French history. Drawing on a critical analysis of texts, visual sources, and material culture to support an overarching theoretical argument on the role of the fashion industry in French history, this dissertation argues that Quicherat{\textquoteright}s Histoire du costume en France was first modern history of French fashion. Chapter Two looks closely at the debates that arose over display practices, exhibition politics, groups of organizers, and authenticity within the first exhibitions of historic dress. By 1900, the practice of dress history had shifted from the hands of scholars and historians such as Quicherat to artist-collectors such as Maurice Leloir (1853-1940). This shift was accompanied by a spectacularization of dress history that was part of the wider cultural interest in historic dress reenactments, fashion historicism, and historical romanticism. Chapter Three explores the symbolic function of dress reenactment within the historical imagination of nineteenth-century France. The practice of recreating and wearing historic dress to fancy dress events and in local historical pageants allowed participants to actively explore the French past in order to resolve social or political conflicts and create emotional attachments to the nation or the pays. Chapter Four examines historic travestissement, or fancy dress, within the broader context of dress historicity. The donning of fancy dress allowed its wearers to enact the past and play a role. It also allowed working-, middle-, and upper-class men and women to become amateur historians, antiquarians, and costumers. This chapter explores elite fancy dress balls, popular carnival balls, local historic pageants, and private family photographs of costumed tableaux. Chapter Five looks at the use of historic dress in fashion, notably the transformation of eighteenth-century garments into nineteenth-century fashionable dress. Here the issue of authenticity, a leitmotiv of the previous chapters, comes to a fore: these transformed garments, were perceived as more "distinctive" that historicizing fashions because they were made from authentic historic dress. "Authenticity" was opposed to "fakeness," a cultural phenomenon tied to the industrialization of goods and the rise of mass-produced objects of consumption.}, keywords = {Decorative Arts/Textiles/Design History/Interior Design, Nineteenth-Century Art}, author = {Bass-Krueger, Maude} } @mastersthesis {12256, title = {The Decisive Network: Magnum Photos and the Art of Collaboration in Postwar Photojournalism}, year = {2016}, school = {USC}, abstract = {This dissertation studies the daily operations of the international photo cooperative Magnum in order to explain what happened to the system of photography following the end of World War II. Making use of business correspondence culled from over a dozen archives, it reconstructs the production history of Magnum{\textquoteright}s photo essays and maps the networks of collaborators who helped Magnum{\textquoteright}s work to accrue financial and cultural value. The project demonstrates that Magnum brought the aesthetic and production mode of photojournalism into multiple markets over the course of the fifties, including humanitarian aid promotion, travel campaigns, corporate publicity, and advertising, and that it made journalistic photography integral to postwar visual culture more broadly. It argues that the photo agency is a privileged site for understanding how multiple factors-including newsworthiness, financial gain, aesthetics, professional partnerships, and self-promotion-shaped photographic production and circulation, especially in postwar America.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Twentieth Century}, author = {Bair, Nadya} } @mastersthesis {12399, title = {Decorating for Discrimination: Nativism and Eugenics in American Decorative Arts and Design, 1893-1924}, year = {2016}, school = {Rochester}, abstract = {At the turn of the twentieth century, women antisuffragists argued not only against the right to vote, but against the very need. Reconfiguring the concept of republican motherhood popular in the early nineteenth century, these women claimed they could influence men{\textquoteright}s votes through childrearing, home decorating, and philanthropic activities. "Decorating for Discrimination" asks, if immigration restriction was a primary political issue at the time, how did women decorate to restrict immigration and advocate for discrimination in the broadest and most public sense? A study in American material and visual culture, this dissertation examines the ways northern, wealthy, nativist American women imbued decorative objects and domestic spaces with a distinctly "American" character and engaged art objects rhetorically to promote immigration restriction. The project begins with a study of the changing character of republican motherhood throughout the nineteenth century through prints of George Washington and Betsy Ross as mother and father of the country, and translates the period{\textquoteright}s ideal womanhood and its procreative role to combat race suicide at the Second International Exhibition of Eugenics (1921), an exhibition credited with influencing the Immigration Restriction Act of 1924. With that conceptual groundwork, subsequent chapters develop the iconography of American women{\textquoteright}s nativism through the National Flower Movement and so-called "grandmother{\textquoteright}s gardens" like Celia Thaxter{\textquoteright}s and Maria Oakey Dewing{\textquoteright}s, and its promotion through newspaper articles and gardening manuals authored by women for women, and American Impressionist paintings that recorded these seasonal spaces. Leaders in the Arts and Crafts and Colonial Revival then translated these symbols to objects for consumption, as did Tiffany and Company, Rookwood Pottery, the Pocumtuck Basket Makers, and the Society of Blue and White Needlework. The seemingly antimodern craft forms were not, however, against modernism as a whole, but against the changes in national ethnic and racial composition associated with industrial labor. Positioned within the home alongside American antiques, they prompted conversation and helped women make arguments against unfettered immigration. The dissertation concludes with the canonization of these art forms and historical American craft in museums and the subsequent loss of their nativist origins as American art.}, keywords = {Visual Studies/Visual Culture Studies}, author = {Leary, Erin} } @mastersthesis {12209, title = {Dedication and Display of Statues in Hellenistic Greece: Spatial Practices and Identity Politics}, year = {2016}, school = {Duke}, abstract = {This dissertation models a new approach to the study of ancient portrait statues-one that situates them in their historical, political, and spatial contexts. By bringing into conversation bodies of evidence that have traditionally been studied in discrete categories, I investigate how statue landscapes articulated and reinforced a complex set of political and social identities, how space was utilized and manipulated on a local and a regional level, and how patrons responded to the spatial pressures and visual politics of statue dedication within a constantly changing landscape. Instead of treating sites independently, I have found it to be more productive-and, indeed, necessary-to examine broader patterns of statue dedication. I demonstrate that a regional perspective, that is, one that takes into account the role of choice and spatial preference in setting up a statue within a regional network of available display locations, can illuminate how space shaped the ancient practice of portrait dedication. This level of analysis is a new approach to the study of portrait statues and it has proved to be a productive way of thinking about how statues and context were used together to articulate identity. Understanding how individual monuments worked within these broader landscapes of portrait dedications, how statue monuments functioned within federal systems, and how monuments set up by individuals and social groups operated along side those set up by political bodies clarifies the important place of honorific statues as an expression of power and identity within the history of the site, the region, and Hellenistic Greece.}, keywords = {Ancient Greek/Roman Art}, author = {Baltes, Elizabeth} } @mastersthesis {12288, title = {Depicting the Sound of Silence: Angel-Musicians in Trecento Sacred Art}, year = {2016}, school = {Temple}, abstract = {The effusion of music-making angels in medieval art stood in opposition to the fact that in Scripture, angels did not perform music, and to contemporaneous beliefs that they were both bodiless and silent. This rupture between signification and idiom suggests that angel-musicians were more than passive symbols of "concelebration," the idea that angels and humans performed the liturgy in concert with one another. I propose a synthetic account of their meanings and functions, focusing on Trecento Tuscany as a place where diverse artistic modes and devotional practices blended and clashed. Because the medieval Church evolved images and rituals based on the notion that angelic ministry was exemplary for human practice, I have organized my chapters around four key precepts of angelology: the angels{\textquoteright} liminality, operations in the aesthetic realm, ideal enactment of the liturgy, and multiplicity. Considered in these terms, images of angel-musicians effected the presence of actual angels in order to entice human viewers into joining their liturgy mystically, an act of profound spiritual benefit. This contention is predicated on the beliefs that although angels were technically ineffable, they were also able to traverse the divide between heaven and earth. By mediating the sensible and suprasensible, the images achieved their goal by facilitating individual acts of contemplation; by aestheticizing the spiritual sweetness of angels{\textquoteright} song; by modeling the angels{\textquoteright} roles as co-worshippers, ministers, and celestial assistants; and by proliferating in all types of sacred art, in which they were forces of active engagement that helped to "angelize" people{\textquoteright}s mental worlds and ritual behaviors.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation}, author = {Gillette, Amy} } @mastersthesis {12339, title = {Developing Italy: Photography and National Identity during the Risorgimento, 1839-1859}, year = {2016}, school = {CUNY}, abstract = {The introduction of photography to Italy in 1839 coincided with the nationalist movement known as the Risorgimento, which began with a series of Constitutionalist uprisings in 1820 and culminated in political Unification in 1861. Photography thus developed alongside a country in the making, and the project of building a nation was historically entwined with the new technology. This dissertation analyzes the impact of photography on the political movement that made Unification possible, emphasizing how early photographers engaged and expanded upon the iconographic traditions of prints, paintings, and literature in order to envision the Italian nation. By depicting politically charged monuments, sites, and figures in modern and life-like images that circulated among local and international audiences, photography made a significant contribution to constructing and disseminating a national discourse during the Risorgimento. Framing this history between the invention of photography in 1839 and the Second War of Independence in 1859, I examine the production and reception of photography among Italy{\textquoteright}s scientific communities, publishing industry, and artistic circles in order to demonstrate how those cultural networks seized upon the medium as a potential vehicle for propagating nationalist political goals. In order to elucidate the cultural significance that photography held during the Risorgimento, I present case studies of several representative figures: the botanist Antonio Bertoloni (1775-1869), the physicists Macedonio Melloni (1798-1854) and Gaetano Fazzini (1806-1878), and the optician Giovanni Battista Amici (1786-1863), who, through transregional and transnational scientific networks, spread the earliest information about the invention of photography, arguing for its utility to the economic progress of Italy; the print publisher Ferdinando Artaria (1781-1843), who issued an early commercial series of aquatints based on daguerreotypes that portrayed Milan as an exemplary modern Italian city; the pioneering photographer Stefano Lecchi (1804-1863?) whose documentation of the aftermath of the defense of the Roman Republic in 1849 contributed to the personal commemoration of the Risorgimento; the painter and photographer Giacomo Caneva (1813-65) whose staged peasant studies and allegorical scenes resonated with the development of a national art within Italy; and the editor, engraver, and photographer Luigi Sacchi (1805-61) who photographed throughout the Italian peninsula, depicting Italy{\textquoteright}s monuments as a source of shared history, and thus national identity. Whereas previous studies of photography and the Risorgimento have focused primarily on the images of political heroes that circulated after the Second War of Independence in 1859, this thesis is the first to examine critically the contribution of early photographers to the development of a shared identity before that important date.}, keywords = {Nineteenth Century, Photography}, author = {Saunders, Beth} } @mastersthesis {12274, title = {The Diamond Ordination Platform of Tongdo Monastery: Buddhist Spaces and Imagery in 18th-Century Korea}, year = {2016}, school = {Kansas}, abstract = {The Diamond Ordination Platform at Tongdosa is a stone structure reportedly constructed in the early seventh century by the eminent Silla monk Jajang (fl. 636-645). It was intended to enshrine the true-body relics of sakyamuni Buddha that Jajang had allegedly procured from Manjusri Bodhisattva on Mt. Wutai in China. The history of the Diamond Ordination Platform and the rarity of the true-body relics enshrined there are the core reasons why Tongdosa was granted the prestigious status of "the Buddha Jewel Monastery" in Korea. Of particular interest is the manner in which the title and visual form of the Diamond Ordination Platform have come to be perceived in Korean Buddhism today. Indeed, not only do the name and form of the Diamond Ordination Platform combine to evoke an awareness of the true-body relics being housed within it, but its architectural form is also perceived as validating the authenticity of these relics. The question of how this phenomenon developed has not been raised thus far by modern scholars. Scholarly neglect of this critical component in the history of the Diamond Ordination Platform can be attributed to the widely accepted assumption that the prestigious status and absolute authority of the Diamond Ordination Platform today are natural outcomes of its original founding by Jajang in the seventh century. This dissertation reconsiders historical accounts of the cultic ascendancy of the true-body relics brought to Silla by the monk Jajang as well as the construction of the Diamond Ordination Platform at Tongdosa. It argues that, in the face of challenges to the authenticity of their relics and in competition with other monasteries, the late-Joseon Tongdosa monks successfully conferred absolute authority to their Diamond Ordination Platform while maintaining active interaction with the platform to visualize its supposed, invisible power. This dissertation asserts that the popular perception that the title and architectural form of the Diamond Ordination Platform function together to validate the enshrined objects as true-body relics and also lends sacred authority to them was a logical result of a shift in emphasis. That shift, which acknowledged that such sanctity was granted not merely by the presence of the true-body relics themselves but was also conferred by the Diamond Ordination Platform{\textquoteright}s status as a specially demarcated place through the ritual spaces and images consecrated in various ceremonies over the centuries.}, keywords = {East Asia}, author = {Jung, Ghichul} } @mastersthesis {12240, title = {Digital Materialisms: Information Art in English Canada, 1910-1978}, year = {2016}, school = {Toronto}, abstract = {Information art has a long history in English Canada. The multidisciplinary production of Bertram Brooker (1888-1955) is paradigmatic of early-twentieth-century English-Canadian artists{\textquoteright} distinctive responses to, and interventions within, the channels of an emergent social formation characterized by an unprecedented circulation of "information." Brooker{\textquoteright}s counter-hegemonic renderings of information as a corporeal and qualitative alternative to the mathematical frameworks embraced by American peers cleared a path for a subsequent generation of information artists inspired by the percepts of Marshall McLuhan (1911-1980), notably the Vancouver-based N.E. Thing Co. Ltd. (1966-1978). Like Brooker before them, NETCO{\textquoteright}s co-presidents would attribute somatic and ontological meanings to information that trouble the cognitive, linguistic and structuralist frameworks conventionally mobilized by discussions of Conceptual art. In tracing the sources of this discourse network to the Canadian-born British proto-media theorist Wyndham Lewis (1882-1957), as well as its subterranean legacy in the Postminimalism of Robert Smithson (1938-1973), this study simultaneously troubles essentializing narratives of English-Canadian identity that problematically project representations of Canadianicity onto the territorial borders, and terrain (or "landscape"), of the nation state. Inspired in equal measure by recent developments in media archaeology and a resurgent scholarly interest in McLuhan, detailed investigations of discrete information media and instrumentalities are woven into a trajectory of progressive "informationalization" coterminous with the rise of an information society. Through original readings of archival materials and other primary sources, this dissertation argues for a revised understanding of information art produced in and beyond the borders of English Canada as articulating a critique of transcendence. Artists and thinkers implicated in the common "discourse network" delineated in these pages harnessed information concepts and information media to express shared visions of immanence. This dissertation historicizes and marterializes these non-technological visions of information by undertaking an archaeology of specific media and discourses.}, keywords = {Conceptual Art, Digital Scholarship/History}, author = {Lauder, Adam} } @mastersthesis {12212, title = {Domesticating Spectacle in the Roman Empire: Representations of Public Entertainment in Private Houses of the Roman Provinces}, year = {2016}, school = {Michigan}, abstract = {Gladiatorial combats, animal fights, and public executions of criminals were parts of the munus - public spectacles that took place over the course of multiple days and were an integral component of the social and political life of many communities across the Roman Empire. In this dissertation I reevaluate a corpus of 79 known images of spectacle dating from the 1st century BCE to the late 5th century CE, focusing on images of gladiatorial fights and animal hunts found on floor mosaics and wall paintings in areas once part of the Roman Empire. Rather than regard the images as illustrations of specific historical spectacles sponsored by a given patron, I argue that depictions are visual constructs that condense perceptions of the events into abstracted, abbreviated images. The images do not function as {\textquoteright}eye-witness{\textquoteright} snapshots but instead are commentaries on a multivalent event. Taking into account the historical background of the munus, features of the visual representations themselves, the archaeological contexts in which the representations occur, and the greater geographical setting in which the sites are found, I identify both commonalities and regional variations among images. The formal analysis of the images reveals that the images conform to types and that they were often consciously adapted to fit specific architectural contexts. My reassessment of the archaeological contexts indicates that the great majority of images of spectacle originally appeared in publicly accessible spaces in private houses, including hallways, reception rooms, and bedroom, in addition to dining rooms. The distribution of these images throughout the Roman Empire is surprisingly uneven, with the largest clusters found at three sites: Cos (Greek Islands), Leptis Magna (Libya), and Trier (Germany). These clusters are shown to be the result of local fashions, historical associations, and the presence of prolific workshops. In contrast to earlier scholars, I understand the images of spectacle as celebrations of victory that drew upon established conventions for representing the munus. My study shows that the images fulfilled a variety of functions that reflected the social setting, wealth, and identity of a patron, all of which were often heavily influenced by the regional context.}, keywords = {Ancient Greek/Roman Art}, author = {High-Steskal, Nicole} } @mastersthesis {12258, title = {Drawing Machines: The Manual and the Mechanical in Art of the Early Republic}, year = {2016}, school = {Harvard}, abstract = {Although early modern authors frequently used mechanical analogies to describe the operations of both the human mind and body, by the turn of the nineteenth century the term "mechanical" had acquired a new set of associations. Whereas pre-industrial machines had extended and amplified the forms and effects of bodily exertion, the new sources of power and principles of motion that drove industrialization cast the machine, not as an analog or extension of the body, but as its antithesis. This dissertation examines the ways in which the growing breach between bodily and industrial mechanics was bridged by an alternate form of manual labor -that is drawing. Through a series of four case studies on writing, military drawing, patents, and portraiture, the project consider the ways in which graphic practice came to replace the forms of embodied knowledge that had long governed practices of construction and manufacture. It examines the ways in which both artistic creativity and agency were reinvented through their interaction with the processes of both mechanization and industrialization, while also demonstrating the importance of the artist{\textquoteright}s body as a continued source of productive power in a context where production was increasingly driven by machines. Bringing together objects from both the fine and the mechanical arts, the dissertation explores the interdependence of representation and industrialization as a broad cultural phenomenon, with repercussions well beyond the walls of the manufactory. The resulting account describes a vibrant visual and material culture largely overlooked by the history of American art, but essential to understanding the origins of industrial capitalism and the subsequent estrangement of body and machine that has come to define the modern industrial paradigm.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice}, author = {Bacon, Elizabeth} } @mastersthesis {12323, title = {Ein liebhaber aller freyen khuenst{\textquoteright}: Bonifaz Wolmut and the Architecture of the European Renaissance}, year = {2016}, school = {Princeton}, abstract = {This dissertation addresses the development of the Central European Renaissance through the career of a single architect, Bonifaz Wolmut (c. 1500-1579). As Prague{\textquoteright}s chief architect in the sixteenth century, Wolmut was among the most important European architects of his era. His projects, including the Belvedere, ball court, and Diet Hall at Prague Castle, and the tower and organ loft of St. Vitus cathedral, set a new direction for northern Renaissance architecture with an innovative mix of classicizing and Gothic forms. Additionally, Wolmut owned a large collection of books on astronomy, astrology, mathematics, and history, many of which are still extant and available for study, thus shedding light on the architect{\textquoteright}s reading habits and participation in the intellectual communities of Vienna and Prague. Despite his contributions to sixteenth-century architecture, Czech nationalism and Soviet isolationism ensured that the German-born Wolmut was treated as peripheral to the development of Renaissance architecture. This dissertation constitutes the first complete study of Wolmut{\textquoteright}s life, oeuvre, library and context and will establish his place in the history of architecture. In doing so, it addresses issues of the architect{\textquoteright}s role at court, his use or rejection of sixteenth-century architectural publications, and the intersection of Renaissance and Gothic architecture in this period.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Lynch, Sarah} } @mastersthesis {12325, title = {El Greco and the Art of Portraiture}, year = {2016}, school = {IFA/NYU}, abstract = {Best known for his expressionistic paintings of religious subject matter, El Greco (Domenikos Theotokopoulos, 1541-1614) was also a virtuoso portraitist. He painted likenesses of individuals throughout his career, and his independent portraits, of which approximately thirty survive, constitute a considerable portion of his oeuvre. These works continued to be celebrated for their lifelikeness, even when his painting style in general fell out of fashion soon after his death. This dissertation suggests that portraiture is one of the keys to understand El Greco{\textquoteright}s art and career. The first two chapters discuss the artistic and social implications of the painter{\textquoteright}s individual likenesses and their presence in religious narrative paintings that he executed in Italy and Spain. Through portraiture, El Greco absorbed the naturalism of Venetian Renaissance art during his formation as an Italianate painter. His skill in the genre allowed him to strengthen ties with existing patrons and to attract new clients, which led to the advancement of the artist{\textquoteright}s social and economic standing to a certain degree. The third chapter broadens the concept of portraiture and explores the inherent fluidity of the genre, which El Greco recognized and exploited to create innovative portrait-like images of saints that had a wide appeal in Counter-Reformation Spain.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Park, Jeongho} } @mastersthesis {12221, title = {Embedded Remnants in Modern Architecture: Karl Friedrich Schinkel and the Historiography of Remains}, year = {2016}, school = {Yale}, abstract = {"To work historically, is to know that history is movement." This phrase, scribbled down on a loose sheet of paper by the Prussian architect Karl Friedrich Schinkel ca. 1825, provides the catalyst for a revisionist account of his work. Existing scholarship has introduced us to Schinkel the neoclassicist, Schinkel the urban visionary, Schinkel the Prussian reformer, Schinkel the master form-giver, Schinkel the building technologist, Schinkel the romantic image-maker. Each of these characterizations has merit. Yet by focusing on a singular aspect of the architect{\textquoteright}s multiple oeuvre, each one has, at one point or another, been degraded into fodder for rival architectural camps, fighting to name Schinkel as one of their progenitors. This dissertation sets as its task the introduction of yet another Schinkel: Schinkel the philosopher of history, a figure who differs from all the previous iterations in the synthetic scope of his thought. Indeed, the dissertation is motivated by a belief that an exploration of Schinkel{\textquoteright}s meditations on historiography provides the best means of engaging the many facets of his work, without privileging a single aspect at the expense of the others. The dissertation focuses on the model of historical understanding which Schinkel formulated, tested and refined over the course of his career. Rather than articulating his historiographic theories with words, the dissertation demonstrates how Schinkel developed his conception of history through a series of design experiments, conducted primarily between the years 1824 and 1839. In particular, the thesis analyzes a pair of building complexes, Schloss Glienicke and the Court Gardener{\textquoteright}s House at Charlottenhof, two sites where Schinkel re-incorporated actual, material remnants of antiquity into his designs. In much the same way as an art historian uses words to re-frame a piece of art, re-training the eyes of its contemporary audience, Schinkel used the material and spatial effects of architecture to challenge existing perceptions of antique remains. Schinkel too re-framed, re-staged, and re-organized pieces of antiquity in a way that demanded reconsideration of their histories, their survival, and the historical endurance of architecture, more generally. He hoped to develop models whose didactic potential would surpass those of the Wunderkammer, the romantic fragment pile or the carefully assembled artificial ruin. Ultimately, Schinkel{\textquoteright}s remnant-encrusted building projects challenge the notion that the history of architecture must necessarily unfold through a sequence of coherent styles, each one rooted in a specific geographical domain. Inspired by the spolia-encrusted buildings of Venice, Aquileia and Triest, Schinkel began to contemplate another model of architecture{\textquoteright}s historical progress, one patterned on dispersal, displacement, and the far-reaching travels of individual building remnants, followed by their subsequent reuse. Such theories were also shaped by the great patrimonial upheavals which he had witnessed at the turn of the century, especially those initiated by the French Revolution and the Napoleonic Wars. Faced with the fragments of ancient buildings scattered across Western Europe by the age of Imperialism, Schinkel used his own buildings to redefine historical thinking in such a way that it might come to terms with this phenomenon of dispersal, and make of this very Zerstreuung a productive force for a new architecture moving forward. The body of evidence assembled in this dissertation demonstrates, for the first time, that in Schinkel{\textquoteright}s mind - and in his buildings - this movement of history acquired a symbolic resonance with a specific geometry: the helix. Imagine the circular horizon of Schinkel{\textquoteright}s famously panoramic vision, but sliced and twisted along a temporal scale. The helix is a shape that re-traces its path in two dimensions, while moving forward in a third. In this sense, its geometry perfectly captures a diagram of architectural progress based on a remnant that wanders from its origin, yet eventually returns to use, in a process primed to repeat ad infinitum.}, keywords = {Architectural History/Urbanism/Historic Preservation, Nineteenth Century}, author = {Lauritano, Steven} } @mastersthesis {12359, title = {Embodied Paradox: Taxidermy and Contemporary Art, 1990-Present}, year = {2016}, school = {Rutgers}, abstract = {Taxidermy-the product of preparing, stuffing, and mounting animal skin-is constructed of both animal and man-made materials. It promotes an illusion of life predicated on the reality of death. Although popular in the late nineteenth century, taxidermy fell out of scientific favor during the twentieth century. At the turn of the twenty-first century, however, the relevance of taxidermy was revived by visual artists. By peeling back the layers of taxidermy{\textquoteright}s unique materiality and revealing its hidden historical, cultural, and theoretical implications, this dissertation argues that taxidermy was resurrected as a popular artistic medium due to its ability to-literally and metaphorically-embody paradox. Embodied Paradox examines the contemporary art world{\textquoteright}s fascination with taxidermy by investigating the oeuvres of Damien Hirst, Mark Dion, Maurizio Cattelan, and Petah Coyne. These artists gained notoriety in the nineties and their work, which heavily features taxidermy, embraces contradiction. They demonstrate that opposites-such as truth and illusion, nature and culture, and the masculine and the feminine-do not exist in opposition of one another; rather, they coexist. Furthermore, by forging connections among the fields of Art History, Animal Studies, and New Materialism, it will become clear that taxidermy is linked to important issues of the 1990s and 2000s, such as: technology and craft, beauty and abjection, identity and the environment. It will also become clear that contemporary artists are using taxidermy to comment on humanity{\textquoteright}s ever-present, ever-changing, and ever-troubled relationship with animals.}, keywords = {Performance Art/Performance Studies/Public Practice, Twenty-First-Century Art}, author = {Cammarata-Seale, Heather} } @mastersthesis {12232, title = {The Emergence of the Bird in Andean Paracas Art, c. 900 BCE to 200 CE}, year = {2016}, school = {CUNY}, abstract = {In the first millennium BCE, an enigmatic cultural group now known as Paracas inhabited the remote desert coast of southern Peru. Following its disappearance, Paracas culture did not emerge in the historical record until 1927, when three burial centers were scientifically excavated on the arid Paracas peninsula that gave the culture its name. The burials contained over 400 mummy bundles that preserved the only physical remnants of this culture and its unique art forms. When unwrapped, mummy bundles of elite males revealed multiple layers of finely woven and elaborately embroidered textiles and painted ceramics, along with gold objects, feathers, and other finely crafted artifacts. Such items indicate that the individuals were part of a stratified village society whose members participated in complex ceremonial activities. The art works feature figural imagery based, to a great extent, on the numerous species of sea, air, and land fauna of the south coastal area. In fact, avian imagery and costumes, generally understood to represent humans impersonating supernaturals, dominate in Paracas iconography. The intensity of this interest in birds, demonstrated by their prominence in the art forms, indicates that they held special meaning and value in Paracas society. In addition to art historical methodologies, this project investigates the emergence of avian imagery and costume in Paracas art by employing the approach of evolutionary aesthetics. It interprets these avian subjects and feathered accessories as reflections of evolved aesthetic inclinations, activated and amplified by the rich bird life in the Paracas region, local ideology, and social needs of the elite members of this hierarchical society. Inspired by the ecology of the Paracas coastal realm, the emergence of the bird in Paracas art initiated a break from an earlier supernatural triad of serpent, bird, and jaguar forged in the first millennium in the Andean highlands. This avian intervention thus reveals a previously unrecognized artistic and ideological agency among Paracas people that demonstrates that they were much more autonomous and inventive than previously acknowledged in scholarship. My study of the small-scale, coastal Paracas society, frequently overlooked in favor of larger highland cultures such as the earlier Chavin and later Inca, also enriches our understanding of the artistic contributions of the many diverse cultures of the South American Andes and the Pre-Columbian Americas as a whole.}, keywords = {Art of the Ancient Americas}, author = {Brown, Mary} } @mastersthesis {12195, title = {Envisioning Nasca: Sculptural Polychrome Ceramics, c. 1-450 CE}, year = {2016}, school = {Emory}, abstract = {The Nasca culture thrived during the Early Intermediate Period on the south coast of modern-day Peru (c. 1-750 CE). At the foothills of the Andes, Nasca artists created superlative works of art, not only the famous Nasca Lines (geoglyphs) and three-dimensionally embroideries, but also the most colorful ceramic tradition, as examined here. Early Nasca ceramic imagery is more decipherable and so provides a productive starting point for interpretive approaches, in contrast to the Late Nasca style in which images appear with appended emanations and "signifiers" that make the images increasingly difficult to read. In the past, studies of Nasca iconography tend to focus on the subject matter that relates to the terrestrial world, concluding that the Nasca were intent on documenting nature. Images for which no natural counterpart could be easily identified were then relegated to the realm of the supernatural, leading to sacred-secular dichotomy in the Nasca scholarship. By contrast, this art-historical study analyzes a corpus of 243 polychrome sculptural vessels in the forms of head jars and full-body effigy vessels depicting bodies on a continuum of transformation between human and animal, implying shamanic visionary experience was considered central. Shamanic themes of cephalocentrism and transformations between life and death also emerge. Further, the imagery and forms of these disembodied and embodied beings point up the essential shamanic capacity to sustain dual consciousness. Visual and ethnographic analysis suggests the vessels served less as representations or illustrations, but rather constituted beings in and of themselves.}, keywords = {500 BCE to 500 CE, Art of the Ancient Americas, South America}, author = {Tierney, Meghan} } @mastersthesis {12331, title = {Experiencing the Otherworldly: Magazine Reading and Illustrations of Orientalist Domestic Space in the United States, 1880-1920}, year = {2016}, school = {Minnesota}, abstract = {"Experiencing the Otherworldly" analyzes images of exotic furnishings and interiors-magazine illustrations, advertisements, and photographs-in order to show the ways in which turn-of-the-century white upper- and middle-class American women may have engaged with exoticism. I focus specifically on images produced between 1880 and 1920 that depict styles that evoke North Africa and the Middle East. Employing close visual and textual analysis of four decades of American taste-making periodicals, I have discerned a noticeable increase in illustrations and discussion of exoticized interiors, especially in the 1890s. Noticing this decisive shift through exhaustive review, I anchor my analysis in the illustrations found in The Decorator and Furnisher (1882-1897) and The Art Amateur (1879-1903), because they exemplify this increasing interest. I argue that women used magazine illustrations of "Persian," "Moorish," and "Turkish" interiors as a means of participating in the public discourse of imperialism through the private consumption of images. The sensory stimulation that women experienced through viewing illustrations of exotic interiors created an affective participation in imperialism. This same sensory stimulation also allows us to think about the means by which magazine readers accessed the architectural space found within the illustration. Images of exotic domestic interiors are vehicles that visually transport the viewer out of their mundane circumstances and into an elaborate, exoticized world. Immersive engagement is a form of reading that, through the imaginative response to illustrations, permits a form of travel without leaving the spaces of everyday life, which included the home, the department store, the seat on the subway/trolley, or the front porch. To formulate my interpretative theory, I draw upon scholarship from the late nineteenth century to the 1980s that addresses: the perception of art (Alois Riegl and Bernard Berenson), everyday life studies (Michel Foucault, Michel de Certeau, and Henri Lefebvre), and phenomenology (Gaston Bachelard, Martin Heidegger, Maurice Merleau-Ponty, and Jean-Paul Sartre). I use chapters one and two to contextualize magazine reading and imagined transportation into illustrations of exotic interiors by exploring the representation of otherness at the nationally significant, and culturally catalytic, 1893 World{\textquoteright}s Columbian Exposition, juxtaposing this with a study of how white women could use exotic goods as a means of self-expression. Chapter one, "Coming (Home) to the Midway Middle East: Familiarity and Domestication," addresses the exposition, namely Cairo Street, housed in the exposition{\textquoteright}s entertainment district, the Midway Plaisance. I argue that its architectural spaces, were similar to what visitors already knew in their own hometowns, and thus visitors could control their exposure to otherness through consumer choices. Chapter two, "Seeing the Interior: Consumerism and the Exoticization of Self," takes up the notion of how the exotic came home, namely through purchase of consumer goods and interior furnishings. I assert that the ease and availability of exotic goods allowed white women to demonstrate a feminized form of imperialism, through the pastime of shopping. The acquisition of exotic goods into the home also served a second purpose: it was a way for white women to intimately engage with the exotic, and express something of their psychological interiority through self-othering. This dual understanding of women as both imperialistic and Other demonstrates the contradictory social placement value that white women held in American culture. In establishing a cultural and visual connection between exotic furnishings and female consumers, I then focus specifically on illustrations of exoticized interiors found in decorating- and women{\textquoteright}s magazines in the second half of the dissertation. Chapters three and four assert the importance of the visual representations of exotic spaces in the everyday life of female readers. In chapter three, "Magazine Reading and the Material Culture of Escape," I assert that the practice of magazine reading was a form of escape from women{\textquoteright}s everyday environments, especially powerful as reading was a socially-acceptable form of leisure. In considering reading as retreat alongside the characterization of exotic interiors as offering complete relaxation, I argue that looking at illustrations of exotic interiors in particular could stimulate the mind to explore, through the imagination, the interiors depicted. In chapter four, "Text, Image, and Immersion into Illustrated Interiors," I analyze this imagined exploration. When a reader enters reverie, she explores the two-dimensional image as an imagined three-dimensional interior. Both the image and accompanying text stimulate the senses, thus activating the reader{\textquoteright}s imagination in order to explore the illustrated space.}, keywords = {Graphic/Industrial/Object Design, North America}, author = {Truitt, Andrea} } @mastersthesis {12396, title = {Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935-1969}, year = {2016}, school = {CUNY}, abstract = {Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. I do not concentrate on the Italian art scene per se, or on the American reception of Italian shows. Through a transnational perspective, instead, I examine the role of art exhibitions, publications, and critical discourse aimed at American audiences. Inaugurated by the Fascist regime as a form of political propaganda, this form of cultural outreach to the United States continued after WWII as Italian museums, dealers, and critics aimed to vaunt the new republic{\textquoteright}s political validity and cultural vitality in a process of national rehabilitation and economic modernization. My thesis is that, beyond the immediate aim of political propaganda and of creating a new foreign market for Italian art, these cultural manifestations had a more important function for their makers: they served as laboratories for Italians to construct their own modern identity. The United States, in fact, represented not only the world{\textquoteright}s new dominant cultural and economic power, but also the paradigm of modernity. Bringing contemporary Italian art to the US in key moments when the relationship between the two countries was redefined, was a way to re-invent Italy{\textquoteright}s self-image at home. Export / Import argues three major points that complicate standard narratives of Italian Fascist propaganda on the one hand and of American Cold War imperialism on the other. First, I challenge the idea of propaganda as a one-way action that affects only the receiving end by showing the transformative power that the making of propaganda has on the identity of its makers. Secondly, I question the idea of influence, ubiquitous in art historical discourse. What has been deterministically simplified as the phenomenon of Americanization of Italian culture and identity is studied here as a pro-active and non-linear process of identity construction on the part of the supposedly passive object of cultural imperialism. Finally, I address traveling exhibitions as a form of translation: both physical and cultural. Exported to a different country, artworks changed context and took on new meaning. Some of them entered American collections, others returned to Italy with new connotations attached to them. After an introduction, which examines futurist artist Fortunato Depero{\textquoteright}s experience in New York (1929-1931) and his subsequent fixation with America, the discussion begins with the exhibitions of contemporary art organized by the Fascist Regime in the US (1935-1940). The second chapter investigates Twentieth-Century Italian Art held at MoMA in 1949 and other postwar shows that promoted a "New Italian Renaissance," allegedly the fruit of both the Allied liberation of Italy and the defeat of Communism in the Italian political elections of 1948. Chapter three focuses on a third wave of shows that, during the "economic boom" of the late fifties, advertised a "New Italy," optimistic and open to American culture. The final chapter analyzes the launch of Arte Povera on American soil as both a specifically Italian reaction against "Cocacolonization" and part of the international protests of the late sixties.}, keywords = {Twentieth-Century Art, Visual Studies/Visual Culture Studies}, author = {Bedarida, Raffaele} } @mastersthesis {12244, title = {The Fabric of the Church: Textiles and the Interpretation of the Architectural Arts at Chartres Cathedral, c.1200-1224}, year = {2016}, school = {Harvard}, abstract = {This thesis examines the sculptural attention accorded textiles in the Confessors portal on the south transept facade of Chartres cathedral (before 1224). The six jamb figures of clerical saints exhibit such a high degree of physiognomic and material verism that the life-sized sculptures are often cited as mirrors not just of their patrons, but of their era. These figures, their socles and the reliefs that rise above them in the tympanum and voussoirs raise questions about the function of Gothic naturalism both in the clerical sphere and with regard to relationships between architectural sculpture and artistic media such as metalwork and textiles. The thesis accounts for the prominence of textiles in the portal by considering the sculptures from three contextual perspectives: 1) the role of verism in articulating spiritual history and identity in the first quarter of the thirteenth century; 2) the signifying function of textile ornament, especially within the archdiocese of Sens; and 3) cultures of clerical role-playing that relied on liturgical vestments for commentary on both clerical identity and the use of sculpture within the cathedral.}, keywords = {Decorative Arts, Eleventh to Fourteenth Century, Film/Video/Animation}, author = {Gray, Charlotte} } @mastersthesis {12266, title = {Fashioning Identities in Late Ming Portraits: Zeng Jing and the Literati of Late Ming Jiangnan}, year = {2016}, school = {UC Santa Barbara}, abstract = {No record in ProQuest and UC Santa Barbara ETDs restricted}, keywords = {East Asia, Twenty-first Century}, author = {Choi, Seok Won} } @mastersthesis {12370, title = {Figure as Model: The Early Work of Michelangelo Pistoletto, 1956-1966}, year = {2016}, school = {UCLA}, abstract = {In modern and contemporary art history, figuration has been characterized as propagandistic, anti-modernist, and invalid as a strategy for progressive creative practice in the twentieth century. This reading is especially well-supported by the history of postwar Italian art, largely defined by politicized cultural debates that set realism, primarily manifest in figurative painting, in conflict with abstraction, which ultimately emerged as the dominant form of vanguard Italian art post-Reconstruction. While scholarship has focused on abstraction{\textquoteright}s importance for key developments in postwar and contemporary Italian art, the continued history of figuration, from neorealismo to the Transavanguardia, remains largely unattended. This dissertation revises the understudied history of figuration in postwar Italian art and the politicized historiography against it. The work of Italian artist Michelangelo Pistoletto, a central player within the European avant-gardes of the 1960s best known for his association with Arte Povera, is used as a case study. Background discussion of the artist{\textquoteright}s early figurative paintings, design work, and writings from the late 1950s and early 1960s, some addressed here for the first time, frames close study of three bodies of later work to demonstrate how Pistoletto negotiated conventional figuration as a problem for postwar Italian art by remaking the figurative strategy into a figural one that straddles realism and reality. Chapter One, "Reality as Realism: The Plexiglasses, 1964," addresses a set of plexiglass structures and assemblages, which presents imagistic elements as real, everyday objects in the space of the viewer. Chapter Two, "Cold Images: The Protest Pictures, 1965," calls attention to a little-known series of highly polished, steel "mirror paintings," collaged with life-size figures sourced from photographs of Italian protests. Chapter Three, "Poor Designs: The Minus Objects, 1965-1966," re-examines a collection of design-inspired objects in relation to a "figural turn" in postwar Italian advertising. Using formal, semiotic, and social art historical analysis supported by extensive archival and field research conducted in Italy, France, and the United States, this dissertation situates Pistoletto{\textquoteright}s "conceptual figuration" within the politicized national and transatlantic context of postwar Italian art. Building upon post-structuralist and art historical theories of "the figural," it finds in Pistoletto{\textquoteright}s practice a new model of postwar avant-gardism motivated by a strategic reworking of figuration. It also identifies a new politicized language of figuration for art history as one of increased economic and political agency for 1960s leftist subjects.}, keywords = {Theory/Historiography/Methodology, Twentieth Century}, author = {Bick, Tenley} } @mastersthesis {12394, title = {Finish Fetish: Art, Artists, and Alter Egos in Los Angeles of the 1960s}, year = {2016}, school = {CUNY}, abstract = {This dissertation interrogates the intersection of artistic identity, humor, and Hollywood in the late twentieth century. I examine how humor, irony, and satirical self-authoring and self-representation influenced artistic development in postwar Southern California in particular, and the United States more broadly. Previous literature has primarily interpreted the artworks in question in relation to the development of urban space, technological advancements, and the shifting cultural economy of the period. I analyze instead the complex strategies operating both in tandem with and in opposition to West Coast cliches, and highlight the crossover between the art world and the Hollywood film industry. Using author-conducted interviews, archival evidence, and firsthand observation of artworks, I discuss how artists ranging from Billy Al Bengston and Ed Ruscha to Larry Bell and Judy Chicago rethought the place of humor and artistic identity in relation to their artwork; tapping the role-playing strategies of the neighboring film industry, these artists presented themselves and their work alongside a range of satirical aliases and altered egos. Rather than asserting their art world and political views through theoretical writings (as did, e.g. Donald Judd and Robert Morris), these artists used a dialect of Southern California-that of character construction-to assert an altered form of authorship and to critique the social, political, and art world orders informing the era. My project showcases the diverse ways in which artists devised strategies to both conform to and undermine the hierarchy of the art world while simultaneously and slyly addressing the socio-political state in the midst of both the Cold War and the Vietnam War.}, keywords = {Twentieth-Century Art, Twenty-First-Century Art}, author = {Steinberg, Monica} } @mastersthesis {12362, title = {Frame Work: The Contexts of Walker Evans}, year = {2016}, school = {Columbia}, abstract = {In 1971, on the eve of his retrospective at the Museum of Modern Art, Walker Evans declared his photographs to be "documentary style" rather than documents. "A document has use, whereas art is really useless," Evans would claim. "Therefore art is never a document, though it certainly can adopt that style." Yet, the photographer produced the majority of his pictures as documents for various individuals and institutions throughout his life. How, then, does one reconcile this tension between the work of art and its contexts, between the photograph and its various uses, between individual autonomy and the institutions of photography in Evans{\textquoteright}s career? This dissertation seeks to elucidate this dichotomy within the changing contexts for photography from the early 1930s to the mid-1970s. Three chapters focus on key contexts for the production and dissemination of Evans{\textquoteright}s work. The Introduction revisits the literature on Evans and the issues of context versus style in the history of photography. The problem of "documentary style" in the 1930s is addressed in Chapter One, which examines the overlooked context of architectural surveys during that decade. Two explores how Evans engaged with mass culture through independent projects, commissioned photo essays, and his job as photographic editor at Fortune magazine from 1948 to 1965. After thirty years of working for magazines, Evans became a professor of photography at Yale University. Three exhumes his role as a theorist and didact, examining how he crafted new interpretations of his photographs and photography that suited the new institutional contexts of the art world. Through both his pictures, writings, and their presentations, Evans continually worked with and against his contexts.}, keywords = {Photography, Twentieth Century}, author = {Sawyer, Andrew} } @mastersthesis {12214, title = {From Luxury Product to Mass Commodity: Glass Production and Consumption in the Hellenistic World}, year = {2016}, school = {Michigan}, abstract = {In the second and early first millennium BCE, glass was exclusively a luxury product employed by high status elites, but by the Roman period, glass wares were regularly used as everyday objects. This dramatic change in the scale and context of glass use has long been attributed to the revolutionary invention of glass blowing in the first century BCE and its subsequent spread during the early Roman empire. This dissertation argues that the conceptual and functional origins of glass as a common, everyday product occurred earlier, during the late Hellenistic period, when producers and consumers began to treat glass tablewares and small objects as quotidian, mass-produced commodities rather than luxuries reserved for rhetorical manipulation by elites. This dissertation compiles previously published information on glass objects from archaeological contexts dated from c. 350-50 BCE in the Mediterranean basin, Black Sea, and Western Asia in order to demonstrate a dramatic rise in the quantity of glass available to consumers and its integration into urban and domestic life over the course of the Hellenistic period. In most regions, consumption of luxury glass products continued unabated from the first millennium BCE into the Roman period. However, within the eastern Mediterranean and Syro-Palestine, an expanding number of glass workshops served local consumer markets, and consumers began to adopt glass tablewares, adornment, gaming pieces, and tools for household use. This change in glass production and consumption occurred within a broader political, economic, and cultural environment in which increasing wealth was vested in the hands of aggrandizing middle elites. As the hegemonic control of Hellenistic empires waned in the late second and early first centuries BCE, ambitious and moderately wealthy individuals engaged in elite identity practices involving glasswares, including conspicuous consumption and elaborate drinking and dining. Producers responded to growing consumer demand by exploiting natural resources to manufacture raw glass, simplifying manufacturing processes, and opening new workshops, which trained more workers and reached additional markets. Such experimental and entrepreneurial workshop behavior facilitated the technological innovation of glass blowing by which glass was fully transformed from a luxury product into a mass commodity.}, keywords = {Ancient Greek/Roman Art}, author = {Larson, Katherine} } @mastersthesis {12354, title = {From Site to Comparative Relations: Works by Michael Asher, 1976-1998}, year = {2016}, school = {UCLA}, abstract = {This dissertation is a study of how U.S. artist Michael Asher (1943-2012) integrated what he called a "logic of comparative relations" into his situational, site-based method from the mid-1970s to the end of the 1990s. Art historians have canonized Asher as a pivotal artist who developed the Minimalist strategy of site-specificity into a conceptual critique of art institutions. Asher is largely understood today through his early architectural interventions in the "white cube" space of galleries and museums in the late 1960s and 1970s, in which pre-existing elements found on-site were temporarily removed or rearranged to reveal the physical, social, and/or economic systems on which the commissioning art institution depended in order to function. This dissertation brings into view how Asher{\textquoteright}s concept of site transformed by the end of the 1990s to encompass a greater range of spatial, historical, and discursive references by producing comparative relations between elements found at an institutional site to those outside of it, which in turn determined the institutional site in some foundational way. By using "comparative relations" to juxtapose elements found inside and outside an institutional site, Asher{\textquoteright}s later works used a relational logic to redefine site as a location that could be understood through both local and global perspectives and as a point in time linked to both the past and the future. Each chapter of this dissertation is devoted to the conceptualization, production, materialization, and interpretation of one work by Asher, covering the arc of the work{\textquoteright}s history from its inception to reception. The chapters examine the following artworks: Asher{\textquoteright}s "Installation Munster" (1977, 1987, 1997) for Skulptur Projekte in Munster, Germany, a recurring exhibition of outdoor public art; his untitled work (1991) for the Stuart Collection at the University of California, San Diego, a permanent collection of site-specific art; and his untitled installation (1998) for the 24th Sao Paulo Bienal in Brazil, an international contemporary art biennial.}, keywords = {North America, Twentieth Century}, author = {Moon, Kavior} } @mastersthesis {12335, title = {George Maciunas and the Art of Paperwork}, year = {2016}, school = {Columbia}, abstract = {This dissertation focuses on the role of George Maciunas as "chairman" of the neo-avant-garde movement Fluxus. Its introductory chapter provides an overview and assessment of Fluxus scholarship, and advances the argument that Maciunas established an intersection between post-Cage aesthetics and postwar administration. The succeeding chapters situate Maciunas{\textquoteright}s work in relation to apparatuses regulating education, circulation, production, and health care. Taking as its primary objects Maciunas{\textquoteright}s "paperwork"-his visually striking charts, newsletters, card files, architectural plans, and other documents-this study shows how Maciunas employed administrative techniques to build the infrastructure for Fluxus{\textquoteright}s collective practice and, concurrently, drew on Fluxus{\textquoteright}s aesthetic tactics to disrupt or evade state regulation. Chapter two, "Card Files \& Charts", reconstructs how Maciunas{\textquoteright}s training in the professions of architecture and art history was applied to organizing Fluxus{\textquoteright}s publications and concerts; Chapter three, "Newletters \& Postcards", traces Maciunas{\textquoteright}s maintenance of an international Fluxus network via the postal service; Chapter four, "Registrations \& Catalogs", reveals how Maciunas codified Fluxus{\textquoteright}s negotiation of individual and collective authorship within the legal framework of US copyright law; and, finally, Chapter five, "Prescriptions", locates in Maciunas{\textquoteright}s performances a body marked by medical administration.}, keywords = {Multimedia/Intermedia, Twentieth Century}, author = {Chamberlain, Colby} } @mastersthesis {12329, title = {Girl, if you make the movie, I promise you somebody will see it{\textquoteright}: DIY, Grrrl Power, and Miranda July}, year = {2016}, school = {UIC}, abstract = {In 1995 an aspiring young artist named Miranda July withdrew from her sophomore year in a California film school and relocated to Portland Oregon, a city that was home, in the early 1990s, to a thriving punk and feminist youth subculture called Riot Grrrl. Today July is a major force in contemporary culture: her work has the unusual distinction of being extremely accessible at the same time as it is celebrated in a contemporary art world well known for its inaccessibility. She has won major awards in the typically separate disciplines of independent film, visual art, and fiction writing, has been a pioneer of interactive and internet-connected art, and has developed a difficult to pin down, multi-hyphenate artistic practice that is a model for interdisciplinary culture-makers in the present. My research works to situate twenty years of Miranda July{\textquoteright}s career within the histories of visual art, feminist activism, and popular culture on which it draws. I argue that July{\textquoteright}s singularity as a cultural figure is deeply entangled with the ethos and aesthetics of the Riot Grrrl movement that drew her to the Pacific Northwest at the start of her career, and I work to illuminate the various ways that the legacy of Riot Grrrl for visual art is represented in the artist{\textquoteright}s work. My analyses draw on a range of cross-disciplinary theories and histories, as well as archival materials including zines, videotapes, and posters. My discussions of July{\textquoteright}s work, and that of her forbears and peers, seek to illuminate the webs of connection and influence that support her complex presence as a visual artist in both the art world and the popular culture.}, keywords = {Genders/Sexualities/Feminisms, Twentieth Century, Twenty-First-Century Art}, author = {Smulevitz, Cara A.} } @mastersthesis {12207, title = {Globalizing the Sculptural Landscape of the Isis and Sarapis Cults in Roman Greece}, year = {2016}, school = {Duke}, abstract = {"Globalizing the Sculptural Landscape of Isis and Sarapis Cults in Roman Greece," asks questions of cross-cultural exchange and viewership of sculptural assemblages set up in sanctuaries to the Egyptian gods. Focusing on cognitive dissonance, cultural imagining, and manipulations of time and space, I theorize ancient globalization as a set of loosely related processes that shifted a community{\textquoteright}s connections with place. My case studies range from the 3rd century BCE to the 2nd century CE, including sanctuaries at Rhodes, Thessaloniki, Dion, Marathon, Gortyna, and Delos. At these sites, devotees combined mainstream Greco-Roman sculptures, Egyptian imports, and locally produced imitations of Egyptian artifacts. In the last case, local sculptors represented Egyptian subjects with Greco-Roman naturalistic styles, creating an exoticized visual ideal that had both local and global resonance. My dissertation argues that the sculptural assemblages set up in Egyptian sanctuaries allowed each community to construct complex narratives about the nature of the Egyptian gods. Further, these images participated in a form of globalization that motivated local communities to adopt foreign gods and reinterpret them to suit local needs. I begin my dissertation by examining how Isis and Sarapis were represented in Greece. My first chapter focuses on single statues of Egyptian gods, describing their iconographies and stylistic tendencies through examples from Corinth and Gortyna. By comparing Greek examples with images of Sarapis, Isis, and Harpokrates from around the Mediterranean, I demonstrate that Greek communities relied on globally available visual tropes rather than creating site or region-specific interpretations. In the next section, I examine what other sources viewers drew upon to inform their experiences of Egyptian sculpture. In Chapter 3, I survey the textual evidence for Isiac cult practice in Greece as a way to reconstruct devotees{\textquoteright} expectations of sculptures in sanctuary contexts. At the core of this analysis are Apuleius{\textquoteright} Metamorphoses and Plutarch{\textquoteright}s De Iside et Osiride, which offer a Greek perspective on the cult{\textquoteright}s theology. These literary works rely on a tradition of aretalogical inscriptions-long hymns produced from roughly the late 4th century B.C.E. into the 4th century C.E. that describe the expansive syncretistic powers of Isis, Sarapis, and Harpokrates. This chapter argues that the textual evidence suggests that devotees may have expected their images to be especially miraculous and likely to intervene on their behalf, particularly when involved in ritual activity inside the sanctuary. In the final two chapters, I consider sculptural programs and ritual activity in concert with sanctuary architecture. My fourth chapter focuses on sanctuaries where large amounts of sculpture were found in underground water crypts: Thessaloniki and Rhodes. These groups of statues can be connected to a particular sanctuary space, but their precise display contexts are not known. By reading these images together, I argue that local communities used these globally available images to construct new interpretations of these gods, ones that explored the complex intersections of Egyptian, Greek, and Roman identities in a globalized Mediterranean. My final chapter explores the Egyptian sanctuary at Marathon, a site where exceptional preservation allows us to study how viewers would have experienced images in architectural space. Using the Isiac visuality established in Chapter 3, I reconstruct the viewer{\textquoteright}s experience, arguing that the patron, Herodes Atticus, intended his viewer to inform his experience with the complex theology of Middle Platonism and prevailing elite attitudes about Roman imperialism. Throughout my dissertation, I diverge from traditional approaches to culture change that center on the concepts of Romanization and identity. In order to access local experiences of globalization, I examine viewership on a micro-scale. I argue that viewers brought their concerns about culture change into dialogue with elements of cult, social status, art, and text to create new interpretations of Roman sculpture sensitive to the challenges of a highly connected Mediterranean world. In turn, these transcultural perspectives motivated Isiac devotees to create assemblages that combined elements from multiple cultures. These expansive attitudes also inspired Isiac devotees to commission exoticized images that brought together disparate cultures and styles in an eclectic manner that mirrored the haphazard way that travel brought change to the Mediterranean world. My dissertation thus offers a more theoretically rigorous way of modeling culture change in antiquity that recognizes local communities{\textquoteright} agency in producing their cultural landscapes, reconciling some of the problems of scale that have plagued earlier approaches to provincial Roman art. These case studies demonstrate that cultural anxieties played a key role in how viewers experienced artistic imagery in the Hellenistic and Roman Mediterranean. This dissertation thus offers a new component in our understanding of ancient visuality, and, in turn, a better way to analyze how local communities dealt with the rise of connectivity and globalization.}, keywords = {Ancient Egyptian/Near Eastern Art, Ancient Greek/Roman Art}, author = {Mazurek, Lindsey} } @mastersthesis {12301, title = {Godfried Schalcken (1643-1706): Desire and Intimate Display}, year = {2016}, school = {Delaware}, abstract = {Dutch seventeenth-century artist Godefridus Schalcken (1643-1706) was famed during his lifetime for his romanticized and evocative paintings of nighttime. My project situates his paintings and his persona in the framework of the late Dutch Golden Age, the history of nocturnal imagery, and the elegant style and sensual themes that appealed to viewers at the end of the seventeenth century. Schalcken flouted contemporary criticism that set darkness and beauty in opposition and instead invented a new graceful dark manner that continues to captivate beholders today. His extraordinary pursuit to become the leading artist of his day in the depiction of artificial light grew to be his defining artistic signature. Schalcken worked from circa 1670 to 1706, which coincided with the end of the Dutch Golden Age. In this era, the Dutch Republic suffered major economic and political setbacks that left artists in a state of flux. The only way to compete in the new market was to innovate, to strive to match one{\textquoteright}s peers while also distinguishing one{\textquoteright}s individual talent. Schalcken met this challenge by molding himself as a master of candlelight and a virtuoso of alluring nocturnal imagery. The figures in his paintings interact in late night flirtations and romantic liaisons, illuminated by the warmth of candlelight. His paintings beckon to the beholder with a subtle eroticism and they fulfill the early modern artistic goal to seduce the eyes of the spectator.}, keywords = {Fifteenth- to Seventeenth-Century Art, Northern Europe, Twentieth Century}, author = {Cook, Nicole Elizabeth} } @mastersthesis {12217, title = {Henry Varnum Poor: Crow House, Craft, and Design}, year = {2016}, school = {Bard Graduate Center}, abstract = {No record in ProQuest, Bard does not include abstracts}, keywords = {Architectural History/Urbanism/Historic Preservation, Decorative Arts, Twentieth Century}, author = {Hannah, Caroline} } @mastersthesis {12254, title = {Her Representation Precedes Her: Transatlantic Celebrity, Portraiture, and Visual Culture, 1865-1890}, year = {2016}, school = {University of Washington}, abstract = {Analysis of representations of London{\textquoteright}s professional beauty and the tomboy heroine of the American West reveals the centrality of female celebrities to debates regarding feminine labor, gendered consumer behavior, and racial right to imperial rule during the second half of the nineteenth century in Britain and the United States. In the first three chapters of this dissertation, a consideration of the development of commercial photography and album culture leads to an analysis of how professional beauties, including Lillie Langtry, Mary "Patsy" Cornwallis West, Margaret Wheeler, and Lady Lonsdale harnessed representational tools to create a powerful sense of public intimacy that motivated celebrity culture, threatened expectations of gendered consumer behavior, and risked a visual miscegenation with colonized subjects in the minds and hands of indiscriminate viewers. The final two chapters analyze reports of frontier women such as Calamity Jane (Martha Jane Canary) and sensational dime novel fiction, out of which grew the figure of the tomboy heroine of the American West. A symbol of possibility on an expanding frontier, the Western tomboy heroine found a welcome a home in the popular imagination and was successfully performed by Annie Oakley in Buffalo Bill{\textquoteright}s Wild West. While a short-skirted sharp shooter would seem a transgressive female figure for Victorian-era audiences, analysis of her positive reception in Britain during the American Exhibition of 1887 reveals that a return to a more "natural" womanhood was considered a viable alternative to the negative effects of an industrialized urban environment. Utilizing sensitive attention to object materiality, consideration of socio-historical context drawn from primary sources, and examination of various modes of public performance, this dissertation implements a hybrid methodology to interrogate the imaginative fantasies required of and sustained by celebrity and consumer culture. Analysis of these case studies amidst London{\textquoteright}s visual ecosystem during the second half of the nineteenth century demonstrates the ways in which representations of women were utilized to illustrate the hopes and anxieties of an imperial era.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Nineteenth Century}, author = {Henneman, Jennifer} } @mastersthesis {12374, title = {The Host and the Roast: Kitchen Humor in Feminist Video Art and Pop Culture}, year = {2016}, school = {UIC}, abstract = {This project addresses questions of female subjectivity by examining video art made in the 1970s by American artists Suzanne Lacy and Martha Rosler. Their work is considered in comparison to popular culture by means of two television cooking programs The French Chef, hosted by Julia Child, and Nadia G.{\textquoteright}s Bitchin{\textquoteright} Kitchen, hosted by Nadia Giosia. Each chapter in this dissertation examines the functions of kitchen humor and popular culture, and how each woman uses it in her work. This dissertation tracks the genesis of kitchen humor. A theory of kitchen humor has been developed made up of three elements that include the perturbed relationship women have with the domestic sphere as both a site of oppression and a site of resistance; the performance of domestic rituals, such as food preparation; and the use of humor, such as satire, to bring attention to the problems of socially prescribed gender normativity. Pop culture examples range from Betty Friedan{\textquoteright}s The Feminine Mystique to Lucille Ball{\textquoteright}s slapstick performances on I Love Lucy, and also include formative American cook books from the pre-war era. Taking all of this in stride, feminist video artists in the 1970s used kitchen humor to grapple with the multifaceted nature of what it meant to be a feminist and used satire to advocate for change in the definition of gender roles. Key texts used in understanding the political nature of humor include Umberto Eco{\textquoteright}s "Frames of Comic {\textquoteright}Freedom,{\textquoteright}" Mary Douglas{\textquoteright} "Jokes," and Richard M. Stephenson{\textquoteright}s "The Conflict and Control Functions of Humor." These texts are further supported through the discussion of feminist authors{\textquoteright} work including (but not limited to) Betty Friedan{\textquoteright}s Feminine Mystique, Helene Cixous{\textquoteright} "Laugh of the Medusa," and Judith Butler{\textquoteright}s Gender Trouble: Feminism and the Subversion of Identity. The trajectory of kitchen humor beginning with post-war pop culture, moving through 1970s video art, and ending with contemporary popular culture shows kitchen humor to be a considerable element in feminist visual culture.}, keywords = {Twentieth Century}, author = {Berrill, Margot K.} } @mastersthesis {12389, title = {How to Look Sachlich: Fashion and Objectivity in Weimar Germany}, year = {2016}, school = {Michigan}, abstract = {"How to Look Sachlich: Fashion and Objectivity in Weimar Germany" is an analysis of the representation and treatment of fashion in the late Weimar works of the architect and designer, Lilly Reich (1885-1947) and the painters, Otto Dix (1891-1969), Christian Schad (1894-1982), and Lotte Laserstein (1898-1993). Its argument is that these artists, through their acute handling of clothing and fabric, pushed the aesthetic program of Neue Sachlichkeit (New Objectivity) beyond strict Sachlichkeit (objectivity) and ultimately show that Neue Sachlichkeit, contrary to its association with sobriety, is a style of material extravagance. The terms "Sachlichkeit" and "Neue Sachlichkeit," popular in every facet of Weimar culture from fashion to architecture and painting to journalism, connoted matter-of-factness, functionality, and realism. By examining the treatment of fashion and fabric in these paintings and architectural projects, this study, drawing upon design and architectural theory, sheds new light onto the painterly practices of Neue Sachlichkeit, while also demonstrating that an emphasis on surface materiality was an aesthetic strategy common to both the architecture and painting of the period. In this way, fashion and an accentuation of tactile surfaces serve as critical links between architectural Sachlichkeit and painterly Neue Sachlichkeit during the Weimar Republic. Schad, Dix, Laserstein, and Reich undermine rationality and sobriety in their sachlich and neu sachlich works by emphasizing the texture and appearance of material surfaces to the extent that they take on expressive lives of their own. By presenting this material excess, these artists respond to a cultural preoccupation with objectivity, the sociopolitical conditions of the period, and counter the outgoing discourse of spiritualized subjectivity that was tied to Expressionism. For Schad, Dix, Laserstein, and Reich, Sachlichkeit offered a mode of cultural production that was oriented around externalized facts and the objective world. Instead of exposing social realities through abstraction and appeals to emotion, these artists represented tangible surfaces and charged them with the task of expressing the material realities of modern life. While neither rational nor sober, the striking appearance of surfaces in their works is nonetheless "objective" in the sense that it constitutes a mimetic response to the processes of objectification and fetishization in market capitalism, which transform both people (subjects) and commodities (objects) into instruments to aid in its perpetual growth.}, keywords = {Twentieth Century}, author = {Schroeder, Kristin} } @mastersthesis {12358, title = {Human Resources: The Body of the Extra in Classical Hollywood, 1925-1940}, year = {2016}, school = {Yale}, abstract = {This dissertation examines extras casting practices in Classical Hollywood in the era between the founding of the Central Casting Corporation in 1925 and the appointment of former FBI agent Howard R. Philbrick as its General Manager in 1940. By understanding how studios found, organized, and typecast people in film backgrounds, this dissertation argues that extras were verbally and visually articulated as an underclass perceived through the lens of criminal identification practices. Aligning the casting process with policing mechanisms both criminalized the body of the extra and situated the casting agent as an investigator. Chapter One examines this link through the formation of Central Casting in the aftermath of the Roscoe "Fatty" Arbuckle scandal and trial in the early 1920s, and the "extra problem" in which the moral graft of the movie colony was understood as a result of a population influx of job-seekers. Central Casting was then charged with the task not just of controlling the extra population for employment, but also in categorizing them according to moralizing standards, for which it engaged as its primary tool Alphonse Bertillon{\textquoteright}s anthropometric criminal portrait. Despite the grooming of a highly efficient and bureaucratic system, Central Casting{\textquoteright}s basis in and focus on moralization and classification necessitated the establishment of an auxiliary "runners system" described in Chapter Two. This system was established in order to sufficiently communicate and draw upon viable extra players who lived in segregated neighborhoods around Los Angeles, and who did not use the "call-in" system, as did the registered extras, but who instead were the domain of a hired intermediary representative of a satellite community (a "runner"). Chapter Three understands the implications of this system{\textquoteright}s described organization as it impacted the bodies of extras, which were put in danger, harmed, and sometimes destroyed by movie-making. In particular, this chapter investigates Noah{\textquoteright}s Ark (Michael Curtiz, 1928), whose flood sequences are known to have resulted in the death of employed extras, and which, on screen, literalizes the allegory of credit, preserving the billed bodies in the structure of the ark, and putting at risk those uncredited. Chapter Four finalizes the link between extra and criminal bodies by looking at films that engaged incarcerated populations as extras. By employing prisoners in film backgrounds, films called attention to parallel issues across these groups of people: portrayal and anonymity, arrest of movement, cataloguing, labor compensation, and finally, silence.}, keywords = {North America}, author = {Roland, S. Zelda} } @mastersthesis {12294, title = {The Illustration of the Meditations on the Life of Christ: A Study of an Illuminated Fourteenth-Century Italian Manuscript at the University of Notre Dame (Snite Museum of Art, Acc. No. 85.25)}, year = {2016}, school = {Yale}, abstract = {For more than fifty years, the Meditationes Vitae Christi (MVC) and the most famous of its illustrated manuscripts (Paris, Bibliotheque nationale, Ms. ital. 115) have been employed by scholars to exemplify late medieval female spirituality. The mid-fourteenth century illuminated manuscript of the Meditationes in the Snite Museum of Art at the University of Notre Dame that is the subject of this dissertation provides valuable evidence of the popularity of the famous text originally written for a woman religious and its appropriation by urban laity. As an example of the shorter text, in Italian, with 43 chapters plus prologue, its 48 large colored miniatures and the decorated initials that begin each chapter, point to a wealthy patron quite unlike the Poor Clare to whom the MVC text was initially directed. The style of the miniatures indicates that the manuscript was illuminated ca. 1350 in Bologna, site of the pre-eminent European university for the study of law. The dissertation explores how the Meditationes Vitae Christi was adapted for an educated and prosperous husband and wife. While written in the vernacular, the Snite MVC illuminations bear a strong resemblance to the illustrations in fourteenth-century Bolognese legal manuscripts. Despite the vivid and often unconventional imagery of the text that is designed to stimulate the reader{\textquoteright}s affective response to its re-telling of the story of the life of Christ, the miniatures tend to preserve traditional iconographies. The superficially conventional Snite miniatures, which often seem indifferent to the visual specifics of the text, serve to align it with orthodox doctrine and underscore the veracity of its contents. An analysis of the illuminations of the Snite MVC reveals a particular attentiveness by the illuminator to the representation of male exemplars that would appeal to an elite educated patron, who might have been a judge or lawyer, or law professor. The Infancy miniatures in particular depict St. Joseph in a prominent role and dressed as a late medieval professional man The dignified representation of St. Joseph is consistent with his scriptural appellation as a "just man " By attending to the themes of justice and wisdom in both the MVC text and in its scriptural sources, the Snite miniatures prove to be much richer in meaning than first glance would suggest, and their affinity with legal manuscript illumination hardly accidental. The iconographic analysis of the Snite miniatures is complemented by the study of the social and intellectual context in which the manuscript was produced. Despite the seeming simplicity of the miniatures, the illuminator and his advisor prove to be theologically sophisticated and scripturally literate. By means of the illuminations, the MVC is made compatible with the religious and professional concerns of the elite laity, providing access for men wielding worldly authority into the life of Christ in which powerful and learned men play largely negative roles. The Snite manuscript responds to the lay patron{\textquoteright}s desire to see in the example of Christ and the events of his life confirmation of late medieval social, juridical, and political structures. In its miniatures, it provides saintly models for the educated laity desirous of reconciling their Christian commitments with the demands of an active, urban, professional life.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation}, author = {Phillips, Dianne} } @mastersthesis {13332, title = {In the Guise of Holiness: Sanctity and Portraiture in the Early Modern Hispanic World}, year = {2016}, school = {Harvard}, abstract = {This dissertation examines the intersection of sacred and profane imagery in Spanish territories, including Spain, New Spain, and Naples, between 1520 and 1700. In particular, it focuses on so-called sanctified portraits, which explicitly cast their sitters as holy figures; paintings of saints, which drew on the conventions of court portraiture; and portraits that were repainted with halos and other attributes that transformed them into objects of devotion. It brings together official and non-official (or "popular") examples of making and using such images, and examines cases from Europe and colonial Latin America in tandem. By doing so, it demonstrates that the overlapping of portraiture and religious imagery was not a marginal phenomenon in early modern art, but one that raised some of the period{\textquoteright}s most pressing issues, including the mutability of status and identity, the surveillance of religious experience, and the vernacular imitation of official images and image practices.}, keywords = {Seventeenth Century, Southern Europe and Mediterranean}, author = {Jasienski, Adam} } @mastersthesis {12277, title = {The Institutional Reception of American Abstract Expressionism in Taiwan and China}, year = {2016}, school = {Binghamton}, abstract = {Abstract Expressionism exerted considerable influence upon the postwar world. It was the first American art school with a profound and international influence. Its rise enabled New York to replace Paris as the center of Western art after World War II. From its origins in the United States, Abstract Expressionism spread throughout the world, becoming an international language whose dissemination and global influence have been described by many art historians as the product of American political, military and cultural power. This study examines the reception of Abstract Expressionism in Taiwan and China where the respective encounters with American Abstract Expressionism were closely related to the context of Cold War diplomacy. My research on the arrival of Abstract Expressionism in Taiwan and China focuses, however, on the response of art institutions (museums and galleries) and critics, and I am able to show that, in both Taiwan and China, the reception of American Abstract Expressionism was equally influenced by their internal cultural and social contexts and by local frames of meaning and value. Exhibitions of American Abstract Expressionist works exported by American institutions were received in Taiwan and in China in very different social and political contexts and were framed by very different local concerns and interests. Critical responses to these exhibitions of Abstract Expressionist works were thus shaped in China and Taiwan by very different narratives. The understanding and interpretation of Abstract Expressionism had its own peculiar local characteristics, making it very different in China and in Taiwan, but also marking the difference between local frames of understanding and the representation of Abstract Expressionism that American institutions wanted to promote. Just as the meaning of a text is not defined by the sender{\textquoteright}s intention, so the cross-cultural or transnational transmission of art cannot be subsumed under the strategic interests and cultural-political agendas of the country of origin. The conditions of reception have an active and central role in shaping the meanings the works take on. Consequently, the international popularity of Abstract Expressionism cannot be simply seen as the product of American cultural power and its Cold War strategy. By exploring the institutional and critical reception of Abstract Expressionism in Taiwan and China, this dissertation contributes to a new account of the global impact of postwar American avant-garde art.}, keywords = {East Asia}, author = {Wang, Ya-ling} } @mastersthesis {12196, title = {The Jiuquan Tombs: Re-ordering Art and Ideas on China{\textquoteright}s Frontier}, year = {2016}, school = {Columbia}, abstract = {The Jiuquan tombs, on the western frontier of China and dated to the third and early fourth centuries, deploy architecture, paintings, and burial goods to redefine space and express new concepts in mortuary art. Constructed over a period of about fifty years, the consistent rendering of distinct areas across these eleven tombs reflects a consensus in the expectations related to commemorating the dead and the division of souls in the burial process. Aboveground features show that powerful families in Jiuquan disregarded imperial edicts for austere burials. Underground, each tomb features a "screen wall" that rearranges spatial compositions to situate the celestial realm in an iconic position near the bottom of a tall tower. The front chambers are presented as courtyards under an open sky, surrounded by an estate, farms, pastures and wildernesses. Here, tomb occupants are not portrayed in a grand cosmic setting or lauded as Confucian archetypes; instead they are dynamic agents at the center of the action. Pastoral peoples are displayed within a context of harmonious co-existence and cultural exchange. These images combine to reflect an optimistic outlook that ignores the upheavals in the Chinese heartland. By contrast, the rear chambers show a retreat to traditional styles and subject matters, creating a stillness that reinforces the solemnity of laying the corpse to rest. Jiuquan{\textquoteright}s geographic location and topography made it both stable and prosperous while precipitating contact with migrants from the Chinese heartland, the northern steppes, and the Western Regions. The vibrancy and originality of the tombs at Jiuquan, as well as what they reveal about changes in beliefs, increase appreciation for the role of peripheral zones in shaping Chinese art and history.}, keywords = {500 BCE to 500 CE, East Asia}, author = {Clydesdale, Heather} } @mastersthesis {12278, title = {John Flaxman: Beyond the Line}, year = {2016}, school = {Iowa}, abstract = {Scholarship on the British neoclassical sculptor and draughtsman John Flaxman (1755-1826) focuses predominantly on his artistic style, namely, his use of a contour to define forms. This technique of using an outline to create figures was a common practice for late eighteenth- and early nineteenth-century artists who wanted to emulate the style they thought characterized ancient Greek and Roman art. Contour is an important aspect of his oeuvre. In fact, Flaxman{\textquoteright}s outline drawings for classical texts such as Homer{\textquoteright}s Iliad and Odyssey established his reputation throughout Europe and inspired many neoclassical and even Romantic artists. But the scholarly emphasis on Flaxman{\textquoteright}s formal elements downplays the fact that his works represent narratives taken from ancient literature. There has yet to be an in-depth study of his subject matter. How Flaxman represented the narratives that he interpreted from classical texts is the focus of my study. The presentation of narrative is central to his artistic practice. A thorough understanding of the textual source shaped how he portrayed the episode. So, Flaxman{\textquoteright}s engagement with his literary sources goes beyond simply looking to them for subject matter. Since he consulted the sources in their original language whenever possible, Flaxman{\textquoteright}s compositions are more than simple artistic depictions. I consider his work to be visual translations of texts; he translates words into images. This interpretation especially holds true for his contour drawings of the Iliad, the Odyssey, and Aeschylus{\textquoteright}s tragedies, which were not meant to accompany any text. The images replace the written word. To compose his narratives, Flaxman engaged with many contemporary European cultural discourses. His exposure to classical scholarship developed his understanding of the ancient world. Flaxman utilized the expressive potential of the human body, a renewed subject of interest in the second half of the eighteenth century, to help him convey his stories. Since he visualized episodes from written texts, Flaxman engaged with an important discourse of the period that debated the relationship between poetry and art. The interaction of text, image, and social context in my study treats Flaxman{\textquoteright}s works as products of complex historical and intellectual interactions. My study has a broader objective than expanding understanding of Flaxman{\textquoteright}s oeuvre. Exploring how neoclassical artists interacted with their written sources can nuance understanding of how late eighteenth- and early nineteenth-century European artists looked to the past for inspiration at the same time they created works that embodied contemporary cultural ideas.}, keywords = {Eighteenth Century, Nineteenth Century}, author = {Hainy, Joshua D.} } @mastersthesis {12378, title = {John Singer Sargent: A {\textquoteright}Modern Old Master{\textquoteright} and the Italian Renaissance}, year = {2016}, school = {IFA/NYU}, abstract = {This dissertation examines John Singer Sargent{\textquoteright}s (1856-1925) lifelong commitment to Italian Renaissance art. Born in Florence, Sargent spent much of his childhood there and in Rome, where he was immersed in the study and appreciation of Renaissance art and theory. He developed an important attachment to Italy that would shape his creative practice and philosophy and compel him to return there throughout his life. Sargent was surrounded by a culture that privileged the Italian Renaissance as the pinnacle of the art historical tradition. He fashioned his own practice on Renaissance ideals and studied the finest examples of art from antiquity to the present-a strategy followed by diverse masters such as Michelangelo, Tintoretto, Manet, and Rodin, all of whom he greatly admired. Sargent viewed his commitment to the Renaissance as an essential component of the creation of contemporary art. During the course of his career, Sargent exploited the art of fifteenth and sixteenth centuries to suit his creative agenda. His early study of Michelangelo, Tintoretto, and antiquity influenced the technique and style of his portrait practice. In the 1880s his knowledge of fifteenth-century Italian painting and sculpture informed his aesthetic choices and his connection to the Pre-Raphaelites in England. His commitment to the Italian Renaissance inspired his three American mural commissions. In all these endeavors, he drew upon the Renaissance, revealing his aspirations to position himself as an heir to that tradition. Sargent saw his connection to the art of the past as essential to his identity and his legacy.}, keywords = {Twentieth Century}, author = {Herdrich, Stephanie} } @mastersthesis {12355, title = {John Sloan: Between Philadelphia and New York, 1892-1907}, year = {2016}, school = {Virginia}, abstract = {This dissertation takes the early career of John Sloan (1871-1951) as a case study for understanding the importance of place and artistic community in American art. While Sloan is best known as a member of The Eight or the so-called Ashcan School in New York at the turn of the century, his formative years in Philadelphia have not been fully explored. This project recasts a well-known story in the history of American art with new attention to the geographic and temporal specificity of events in Sloan{\textquoteright}s life and in his artistic development. The "sensation" caused by The Eight exhibition in 1908, and the legacy of the works he displayed there, cemented his reputation as a New York artist. However, Sloan spent the first thirty-three years of his life in Philadelphia and produced a large body of work there as well. Revisiting his earliest choices and diverse artistic output=newspaper illustrations, caricature drawings, prints, photographs, amateur theatrical scripts, and oil paintings=reveals the sources of Sloan{\textquoteright}s progressive, pictorial invention. The seeds of it lie in Philadelphia. This study reverses the commonly-held notion that Sloan{\textquoteright}s modern vision derived chiefly from his New York experiences by concentrating on the understudied Philadelphia period between 1892 and 1904 and by finding correspondences between that oeuvre and the more well-known art he produced in New York between 1904 and 1907. In doing so, this research demonstrates that Sloan{\textquoteright}s experiences in Philadelphia, and the journey between the two cities, significantly fostered his approach to seeing, apprehending, and transcribing modern life. The dissertation is organized around environments to assert the importance of place for Sloan and to argue that his regional consciousness catalyzed his coming of age. Chapter 1 begins in "The Newspaper Room" to consider first how the institution{\textquoteright}s working conditions contributed to the development of Sloan{\textquoteright}s artistic identity; and second, how the materiality of the newspaper{\textquoteright}s physical space engendered the artist to invent new pictorial devices that he would utilize in his later paintings. The second chapter, titled "The Studio," examines how Sloan and his colleagues sought to create a Philadelphia version of the artists{\textquoteright} Bohemia. Chapter 3, "The Street," turns to Sloan{\textquoteright}s first paintings in Philadelphia. It elucidates how the conceptual and compositional devices Sloan learned in Philadelphia combined with his attention to regional identity, history, and modernity to form building blocks for the creation of his iconic New York paintings. Ultimately I argue that Sloan{\textquoteright}s art and artistic identity were importantly informed by his regional consciousness and his specific position as a Philadelphia artist removed to New York at the turn of the century. What he learned in Philadelphia, and through his circulatory movement between the art world{\textquoteright}s center and periphery in 1898, culminated in 1907 with the works shown at the Macbeth Gallery.}, keywords = {North America, Twentieth Century}, author = {Parsons, Jennifer Stettler} } @mastersthesis {12326, title = {King of the Renaissance: Art and Politics at the Neapolitan Court of Ferrante I, 1458-1494}, year = {2016}, school = {Maryland}, abstract = {In the second half of the fifteenth century, King Ferrante I of Naples (r. 1458-1494) dominated the political and cultural life of the Mediterranean world. His court was home to artists, writers, musicians, and ambassadors from England to Egypt and everywhere in between. Yet, despite its historical importance, Ferrante{\textquoteright}s court has been neglected in the scholarship. This dissertation provides a long-overdue analysis of Ferrante{\textquoteright}s artistic patronage and attempts to explicate the king{\textquoteright}s specific role in the process of art production at the Neapolitan court, as well as the experiences of artists employed therein. By situating Ferrante and the material culture of his court within the broader discourse of Early Modern art history for the first time, my project broadens our understanding of the function of art in Early Modern Europe. I demonstrate that, contrary to traditional assumptions, King Ferrante was a sophisticated patron of the visual arts whose political circumstances and shifting alliances were the most influential factors contributing to his artistic patronage. Unlike his father, Alfonso the Magnanimous, whose court was dominated by artists and courtiers from Spain, France, and elsewhere, Ferrante differentiated himself as a truly Neapolitan king. Yet Ferrante{\textquoteright}s court was by no means provincial. His residence, the Castel Nuovo in Naples, became the physical embodiment of his commercial and political network, revealing the accretion of local and foreign visual vocabularies that characterizes Neapolitan visual culture.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Riesenberger, Nicole} } @mastersthesis {12261, title = {The Language of {\textquoteright}Photography{\textquoteright} in China: A Genealogy of Conceptual Frames from Sheying to Xinwen sheying and Jishi sheying}, year = {2016}, school = {Binghamton}, abstract = {This dissertation explores the emergence and transformation of the Chinese conception of photography from the late nineteenth century to the mid 1970s, a century that marks profound cultural, political and social change in China. Instead of seeing photography in China as a visual reflection of (counter) ideology or as merely an artifact of material culture, this study conceives photography as a discursive apparatus and presents its history as a history of discursive ruptures. In line with recent scholarly efforts to explore the cultural specificity of photography in China, this dissertation offers a genealogical development of the Chinese conceptualizations of photography, from the counter-posing of two translations for "photography" - zhaoxiang and sheying -in the late Qing dynastic period (1840-1911) to the development of the concepts of xinwen sheying (photo-reportage) and sheying yishu (photographic art) in the Republican and Socialist eras (1912-1976). It shows that the Chinese conception of photography never duplicated those of the West, but always responded to China{\textquoteright}s problems, conflicts and possibilities emerging at specific historical moments, in which photographic works were produced, circulated, viewed and understood. It reveals the Chinese notions of photography and pictorial truth to be multi-layered, contingent discursive outcomes inflected by Chinese intellectual traditions, Sino-Japanese and Sino-Soviet relations, political and cultural competition between the Nationalist Nanjing government and the Chinese Communist Party, and the national project of modernization. The result is not a story of dissemination from the core to the periphery, but rather a new critical framework that contributes to the plural global histories of photography.}, keywords = {East Asia, Photography}, author = {Zhou, Dengyan} } @mastersthesis {12391, title = {Light Play: Light Art in 1920s Germany}, year = {2016}, school = {Rice}, abstract = {This dissertation examines mechanical light art made in 1920s Germany by Raoul Hausmann, Nikolaus Braun, Ludwig Hirschfeld-Mack, and Laszlo Moholy-Nagy. It reframes Moholy-Nagy{\textquoteright}s Light Prop for an Electric Stage, which begins most accounts of light art, as the last in a decade of sustained artistic engagement with electric light. Although these artists worked in different circles, in different cities, and over a span of ten years, each responded to Germany{\textquoteright}s rapid electrification during the mid-twenties, a process symbolized by the streetlights and lighted advertisements of the nighttime metropolis. In reconstructing these lost works, I argue that artists{\textquoteright} encounters with light technologies inspired them to re-purpose electric light as an artistic medium. Here the similarities end, for the light arts were as different as the technologies that inspired them. Dada artist Raoul Hausmann{\textquoteright}s optophone of 1921 was an unbuilt device that projected colored light and transformed it into corresponding sound using photoelectric cells. This technology and the science behind it proved light{\textquoteright}s unstable materiality, the central theme of Hausmann{\textquoteright}s optophonetic art. In 1923, November Group member Nikolaus Braun exhibited his alternating light pictures, reliefs lit internally by hidden light bulbs and inspired equally by his teacher{\textquoteright}s light studies and his work in his father{\textquoteright}s brilliantly lit cafes. His light art{\textquoteright}s affinity with the cafe{\textquoteright}s sculptural light fixtures engaged with contemporary debates about cafe culture. The same year, Bauhaus student Ludwig Hirschfeld-Mack premiered his color-light plays, pseudo-cinematic projections of moving colored shapes synchronized with music. The color-light plays used electric light to create the absorptive psychological state the artist experienced while making art and, in his late pedagogical work, observed in children at play. The final chapter returns to Laszlo Moholy-Nagy{\textquoteright}s Light Prop at the 1930 Paris Werkbund exhibition. I argue that the Light Prop constituted Moholy-Nagy{\textquoteright}s critique of the exhibition{\textquoteright}s message of standardization, while also betraying the artist{\textquoteright}s inability to come to terms with electric light{\textquoteright}s commercial origin in lighted advertising. Despite their differences, Weimar Germany{\textquoteright}s light artists shared a deep, often conflicted, relationship with electric light that spoke equally to its potential and limitations as an artistic medium.}, keywords = {Twentieth Century}, author = {Venator, Melissa} } @mastersthesis {12236, title = {The Little Studio That Could: The Contribution of Walt Disney Feature Animation Florida to the Animation Renaissance and Theme-Park Entertainment}, year = {2016}, school = {Florida State}, abstract = {This dissertation examines the unique situation of an animation studio, known as Walt Disney Feature Animation Florida, existing within a theme-park attraction, The Magic of Disney Animation, which debuted in 1989 at the Disney-MGM Studios in Orlando, Florida. Operating during the period now identified as the Disney Renaissance (1989-1999), this facility represents a microcosm of what was occurring in the animation and theme-park industries due the introduction of computer technology. While much of the academic literature on this period focuses on the Disney Company{\textquoteright}s main studio in California, this study of the studio/attraction provides evidence of technological advancements and sociological change occurring within a single structure. To achieve an in-depth perspective of these developments, I utilize oral histories from the artists, administrators, and support personnel, who worked within this unique situation, combined with contemporary journalism and subsequent academic investigation. The result is an illustration of what was occurring in the animated art form, seen in the dramatic shift from traditional hand-drawn animation to a purely digital format-the movement from a state of mechanization to computerization. This shift is mirrored in The Magic of Disney Animation attraction, which served as a grand experiment whereby theme-park guests were transformed from passive observers of the animation process into active participants keen to experience that process for themselves. Moving through a chronological format, I argue that a history of the Florida Studio is emblematic of how the computer revolutionized animation as an art form-growing from a supporting technology to a dominant position in the industry-and that a cultural revolution was also taking place, demonstrated by The Magic of Disney Animation{\textquoteright}s evolution as a theme-park attraction.}, keywords = {Artistic Practice/Creativity}, author = {Lescher, Mary} } @mastersthesis {12302, title = {Lore of the Studio: Van Dyke, Rubens, and the Status of Portraiture}, year = {2016}, school = {Columbia}, abstract = {This dissertation offers a new interpretation of Anthony van Dyck{\textquoteright}s art and career, taking as its point of departure a body of contemporary anecdotes, poems, and art theoretical texts that all responded to Van Dyck{\textquoteright}s portrait sittings. It makes a decisive break with previous scholarship that explained Van Dyck{\textquoteright}s focus on portraiture in terms of an intellectual deficit or a pathological fixation on status. Instead, I argue that throughout his career, Van Dyck consciously made the interaction between painter and sitter a central theme of his art. Offering an alternate account of Van Dyck{\textquoteright}s relationship to Rubens as a young painter, the opening chapter examines Van Dyck{\textquoteright}s initial decision to place portraiture at the heart of his production. I trace that decision to Van Dyck{\textquoteright}s work on a series of history paintings that depict the binding of St. Sebastian, interpreted here as a programmatic statement on the part of a young artist with a deep commitment to life study and little interest in an emerging hierarchy of genres that deprecated portraiture. The second chapter surveys the portrait copies of both Rubens and Van Dyck, demonstrating that imitative and historicist investigations link their approaches to portraiture. Van Dyck drew upon his copies of Titian and Raphael in paintings such as his epochal portrait of Cardinal Guido Bentivoglio, which awakened an ambivalent response on the part of Italian artists and critics. But Van Dyck{\textquoteright}s practice of imitation also extended to his comportment and self-presentation in public, as exemplified by his emulation of Sofonisba Anguissola. A discussion of Van Dyck{\textquoteright}s encounter with Anguissola leads to the contention that Van Dyck saw himself as participating in an alternate genealogy of art that placed court portraiture at the heart of an ambitious career and offered a rare opening to female practitioners. Van Dyck{\textquoteright}s reception by one such painter, the English portraitist Mary Beale, provides a Leitmotiv throughout the dissertation. The third chapter situates Rubens{\textquoteright}s and Van Dyck{\textquoteright}s contrasting approaches to female portraiture within a larger shift in the status of portraits of women in the early seventeenth century, as embodied by the pan-European phenomenon of the "Gallery of Beauties." This chapter also offers readings of the two artists{\textquoteright} contrasting depictions of Maria de{\textquoteright} Medici, who visited both of their homes during her exile in the Southern Netherlands. Such visits to Van Dyck{\textquoteright}s studio provide the subject of the fourth and final chapter, which reexamines early biographers{\textquoteright} accounts of Van Dyck{\textquoteright}s sittings and surveys his legacy for English painting and art theory over the course of the long seventeenth century. Whereas in their own writings, artists emphasized the opportunities for courtly self-assertion afforded by the sitting, poets and playwrights were more likely to depict sittings as threats to the sexual and moral order. Both attitudes represent important aspects of Van Dyck{\textquoteright}s critical reception. The conclusion looks ahead to the tenacious hold of the portrait sitting on modern imaginings of the studio. Examining the portrait practices of such artists as Lucian Freud, Andy Warhol, and Alice Neel, the conclusion reveals the persistence of a fascination with the sitting that had its origin with Van Dyck.}, keywords = {Fifteenth- to Seventeenth-Century Art, Northern Europe}, author = {Eaker, Adam} } @mastersthesis {12208, title = {Lower Nubian C-Group Figurines: Corpus and Context}, year = {2016}, school = {Emory}, abstract = {This dissertation examines and analyzes as fully as possible the surviving corpus of clay figurines produced by the Lower Nubian C-Group. These small sculptures were individually modeled in the form of livestock and predominantly female human beings. Archaeological teams from numerous institutions around the world excavated these figurines from cemeteries and settlement sites along the Nile Valley from the First to the Second Cataract over the course of the twentieth century. Dating from approximately 1850 to 1650 BCE, these figurines have not, to date, been examined as a discrete object class although they hold great potential for improving current knowledge of C-Group social life and relationships with neighboring cultures. The reasons for the historical neglect of this artistic corpus are assessed and problems associated with their study are reviewed. To avoid subjective typological distinctions that could prejudice analysis, as well as resolving issues of diverse identification systems from multiple museums and issues of unpublished pieces, this dissertation introduces a novel alphanumeric identification system rather than developing a traditional typology. All figurines that were available for examination, or for which published images provide sufficient visual information, are included in two catalogs as appendices, organized for ease of visual legibility and reference. A two-pronged approach is taken in analysis of the corpus. The figurines are first examined and analyzed in terms of their formal and stylistic properties, and then analyzed in terms of their archaeological context. Maps of sites, including thumbnail images of pieces from each site, are included in the appendices. Results of formal and contextual analyses allow for inferences to be made concerning the subject matter, represented activities, and some ways that the original owners may have used these objects. The concluding chapter summarizes these interpretations and goes on to compare C-Group figurines, in terms of subject, activities of subjects, and use values, with earlier, Neolithic Sudanese figurines, Predynastic Egyptian figurines, coeval Egyptian figurines, and coeval figurines from neighboring Kerma. A trajectory of influenced is traced linking C-Group figurines to Upper Nubian prehistoric cultures rather than Egyptian prototypes.}, keywords = {Ancient Egyptian/Near Eastern Art}, author = {Butterworth, Jennifer} } @mastersthesis {12375, title = {The Lure of Albion: American Artists in England during the Transatlantic Gilded Age}, year = {2016}, school = {IFA/NYU}, abstract = {This dissertation examines the careers of eleven American artists in England during the last quarter of the nineteenth century and first decade of the twentieth. This study is the first serious examination of the American expatriate community in England in the late nineteenth century. Each artist studied in this dissertation, from the transcendently famous James McNeill Whistler and John Singer Sargent to the near-forgotten William Mark Fisher and Edmund Aubrey Hunt, actively chose England for their professional lives. It is only by examining their oeuvres simultaneously that the heterogeneity of the group becomes legible as part of a larger complex of drives: the brute force of financial imperative; the search for origins and authenticity; the yearning for an imagined past; and the fascination with mythic archetypes of England and its inhabitants. The first chapter focuses on issues of Anglophilia and national identity as they manifest in the portrait practices and personal histories of James Abbott McNeill Whistler, John Singer Sargent and three lesser-known American artists: James Jebusa Shannon, Anna Lea Merritt, and John McLure Hamilton. These artists constructed English identities for themselves and their patrons by capitalizing on the growing desire for commemoration and glorification in reference to eighteenth-century grand manner tropes. The second chapter takes landscapists working in rural England as its subject and examines how their idyllic visions of the countryside relate to and exploit nostalgia for a timeless but imagined rural origin. This chapter provides a case study of American-born landscape painter William Mark Fisher. Trained by George Inness in Boston and at the atelier of Charles Gleyre in Paris, hailed by father and son Pissarro as one of the only landscapists of worth active in England, Fisher exhibited consistently with other prominent landscapists in London, where he was a member of both the Royal Academy and a founding member of the avant-garde New English Art Club. Short sections on Ernest Parton, Sarah Paxton Ball Dodson, and Edmund Aubrey Hunt expand this analysis. Chapter Three focuses on issues of Anglophilia and identity in the narrative and genre images of George Henry Boughton, Edwin Austin Abbey, and Francis Davis Millet. From subject matter and style to reception, Abbey{\textquoteright}s work in particular epitomizes the nostalgia for England. The conclusion contextualizes the expatriates studied herein by examining them in comparison to American artists who returned to the United States to pursue their careers, those who stayed in Paris, and those who followed them in England. An appendix collects information on the thirty-three American artists (including twenty-one artists not discussed in the main text) known to have worked in England and participated in the transatlantic network of expatriate artists.}, keywords = {Twentieth Century}, author = {Dingledine Woods-Puckett, Grace} } @mastersthesis {12296, title = {The Making of Girona Martyrology and the Cult of Saints in Late Medieval Bohemia}, year = {2016}, school = {IFA/NYU}, abstract = {This dissertation examines the Girona Martyrology (M.D. 273), with an emphasis on the circumstances surrounding its production, its function as a martyrology, and its connection to the cult of saints in Bohemia from the beginning of Luxembourg rule until the reign of Wenceslas IV (1361-1419). Chapter 1 traces the known history and historiography of M.D. 273. I summarize and contextualize existing studies of the manuscript within their own historical moments. The second chapter presents a comprehensive examination and analysis of M.D. 273, including its codicology, paleography and materiality. I argue that the Martyrology survives in a completed state. The third chapter engages in a thorough examination of the methods of the Martyrology{\textquoteright}s illuminators. Based on the observation that the manuscript{\textquoteright}s illumination program is inconsistent in terms of style and quality, I suggest that M.D. 273 was completed in haste. I propose that a bookseller ( librorum venditor) was hired to produce the manuscript and that he engaged two separate groups of illuminators to complete it: a sophisticated group of illuminators and a less-sophisticated group of illuminators. This argument implies that Prague{\textquoteright}s illuminated manuscript market had a similar infrastructure to that of medieval Paris, whose history of booksellers (called libraires) is well documented. The fourth chapter presents the first complete historical study of the textual genre of the martyrology. I argue that the martyrology is a central textual descendent of the earliest forms of the Christian calendar and, accordingly, amongst the Church{\textquoteright}s most ideologically significant book types. I argue that its choice in late-medieval Bohemia was both ideologically intentional and significant. The fifth chapter builds on chapter four by situating the Martyrology within the broader context of late-medieval Bohemia and its historical engagement with the cult of saints. With newly considered archival evidence, I argue that the ideological significance of the Martyrology makes it a plausible gift for Wenceslas IV to have given the Cistercians at Sedlec Monastery. The observations made in this dissertation raise more questions than answers about the Martyrology. It would be incorrect to suppose that present-day evidence proves the Martyrology{\textquoteright}s patron and intended destination. Instead, I merely suggest that under present circumstances, my proposal makes the most of evidence we have available.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation}, author = {Suda, Alexandra} } @mastersthesis {12286, title = {Manipulating Matter: Figural Stucco Sculpture in the Early Middle Ages}, year = {2016}, school = {Johns Hopkins}, abstract = {Stucco relief was an essential component of many of the most elaborate and luxurious decorative programs produced in western Europe during the early Middle Ages. This dissertation explores the conceptual and ideological dimensions of stucco{\textquoteright}s use as a material for figural sculpture from the fifth century to the eleventh, and in four chapters, examines four monuments where sculpture in stucco appears as a part of a larger, multimedia decorative program. The case studies are: the fifth-century Orthodox Baptistery in Ravenna, the eighth-century Tempietto Longobardo in Cividale del Friuli, the ninth-century Westwerk in Corvey, and the eleventh-century St. Ulrich Chapel in Mustair. Methodologically, the project blends aspects of traditional iconography with approaches developed in material culture studies. It uses hagiographies, sermons, poems, histories, and other period texts to reconstruct the culturally specific connotations stucco carried at each site. In doing so, it provides four accounts of the diverse meanings a single, often overlooked, artistic material could evoke in distinctly different contexts. In the four monuments analyzed in this dissertation, stucco relief is by turns associated with the account of the Creation of Man from mud in Genesis 2, deployed to articulate a fundamental difference between divine and earthly modes of existence, used to simulate a sense of antiquity, and adopted as the visual signature of a single patron. The multiplicity of meanings enabled by a particular artistic material is in keeping with a larger medieval habit of thinking in which materials were multivalent. However, this study argues that, in the case of stucco relief, it was not inert matter but the actions to which matter was subjected that were the richest sources of meaning. By locating meaning not in the raw materials of art but in the actions used to shape and exhibit materials, the study provides a model for theorizing materials that foregrounds human agents as makers of art. It argues for the need to keep human acts of mediation at the center of the discussion of medieval materiality and for a larger methodological imperative to treat the materials of medieval art historically.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation, Sixth to Tenth Century}, author = {Danford, Rachel} } @mastersthesis {12379, title = {Mapping a Cultural Breakthrough: A Study of Avalanche Magazine (1970-76), the New Forms of Art Making and Emerging International Networks}, year = {2016}, school = {IFA/NYU}, abstract = {No record in ProQuest}, keywords = {Twentieth Century}, author = {Konaty, Kim} } @mastersthesis {12262, title = {Mapping Sacred Spaces: Representations of Pleasure and Worship in Sankei Mandara}, year = {2016}, school = {Columbia}, abstract = {This dissertation examines the historical and artistic circumstances behind the emergence in late medieval Japan of a short-lived genre of painting referred to as sankei mandara (pilgrimage mandalas). The paintings are large-scale topographical depictions of sacred sites and served as promotional material for temples and shrines in need of financial support to encourage pilgrimage, offering travelers worldly and spiritual benefits while inspiring them to donate liberally. Itinerant monks and nuns used the mandara in recitation performances (etoki ) to lead audiences on virtual pilgrimages, decoding the pictorial clues and touting the benefits of the site shown. Addressing themselves to the newly risen commoner class following the collapse of the aristocratic order, sankei mandara depict commoners in the role of patron and pilgrim, the first instance of them being portrayed this way, alongside warriors and aristocrats as they make their way to the sites, enjoying the local delights, and worship on the sacred grounds. Together with the novel subject material, a new artistic language was created-schematic, colorful and bold. We begin by locating sankei mandara{\textquoteright}s artistic roots and influences and then proceed to investigate the individual mandara devoted to three sacred sites: Mt. Fuji, Kiyomizudera and Ise Shrine (a sacred mountain, temple and shrine, respectively). For each of the sites, we read the histories (political, religious, economic, social) and diaries (of pilgrims, monks and warlords), noting upheavals, power dynamics, and institutional relationships, and how these circumstances and relationships changed over the course of the 16th and early 17th centuries. We then apply this textual history to a formal analysis of each of the mandara devoted to the site, studying how the history of the site and the layout of the shrines and temples and the route to them are expressed in the pictorial language of the mandara, and we try to imagine how these paintings were employed and enlivened in etoki performances. Furthermore, by closely studying similarities and differences in choice and emphasis we show that the mandara, above their call for pilgrimage and donations, also encode the historical conditions at the time they were painted, capturing for example the tensions between religious groups and classes or the changing fortunes of a particular institution over time. This investigation thus aims to show how reading the artistic language of sankei mandara enlarges our understanding of a particular moment in Japan{\textquoteright}s social and religious history, making these images valuable primary sources that enhance and supplement research in a wide range of fields.}, keywords = {East Asia, Politics/Economics}, author = {Andrei, Talia} } @mastersthesis {12351, title = {Marfa, Marfa: Minimalism, rasquachismo, and Questioning {\textquoteright}Decolonial Aesthetic{\textquoteright} in Far West Texas}, year = {2016}, school = {Binghamton}, abstract = {This dissertation focuses on Marfa, Texas. Within art history, Marfa is understood as the most developed example of Donald Judd{\textquoteright}s standards for permanent installation of works. He moved there in 1972, and developed multiple sites in and around town as demonstrations of his "platinum-iridium standard" for how art should be displayed. Catalyzed by Judd{\textquoteright}s presence, galleries, arts foundations, festivals, and independent studio practices have established themselves there. Marfa was established in the late 1800s as a railroad stop. Ranchers in the surrounding area used Marfa as a central location for sending cattle to market, socializing, and picking up supplies. The laborers who supported this industry and provided services in town are mostly of Mexican descent. Marfa was also a base in the off-season for many families who made a living as farmworkers, traveling west to California as the seasons dictated. The overarching project of this dissertation can be framed by the aesthetic practices of these two groups. The names for these practices are Minimalism and rasquachismo. The former is rejected by those it names, and the latter is rarely named or considered as an object of contemplation in itself, but rather as a daily mode of living. Both are names devised by critics and intellectuals. Rather than stage a confrontation or attempt a translation, this dissertation reads the situation through a "decolonial aesthetic" lens. What comprises decolonial aesthetics is a relatively new and open question for the collective project Modernity / Coloniality / Decoloniality (MCD). This project is my contribution through a highly localized, specific consideration with implications for Chicano / a Studies and postwar art history.}, keywords = {North America, Race/Ethnicity}, author = {Franco, Josh} } @mastersthesis {12299, title = {The Materiality of Luca della Robbia{\textquoteright}s Glazed Terracotta Sculptures}, year = {2016}, school = {Rutgers}, abstract = {This dissertation examines the role of color, light, surface, and relief in relation to the novel medium of glazed terracotta sculpture developed by the Florentine artist Luca della Robbia (1399/1400-1482) during the 1430s and produced by his heirs until the mid-sixteenth century. Luca devised a tin glaze more brilliant, uniform, and opaque than any existing recipe which, applied to terracotta figures and decoration, produced an inimitable medium celebrated by his peers as an "invention". In the last forty-five years, scholars have identified the resonances glazed terracotta sculpture held with valued media like marble, mosaic, and semiprecious stones. Yet new technical analysis of Della Robbia sculptures during the past three decades makes it possible to more precisely specify the possibilities -and thus the formal choices-available to Luca in relation to color, reflectivity, and relief in his distinctive new medium. Rooted in the physical qualities of glazed terracotta, this dissertation examines the artist{\textquoteright}s choices in thematically organized chapters focused on invention, whiteness and light, color, and space. It argues that Luca{\textquoteright}s engagement with color, relief, and reflectivity emphasized the materiality of his sculptures as tactile objects, placing them into productive tension with the illusionistic aims emerging in fifteenth-century Florentine art. Chapter One of the dissertation traces the development of a narrative of invention around Luca{\textquoteright}s glazed terracotta sculpture, showing how contemporary audiences conceived the medium as both novel and related to existing arts of painting, sculpture, and fire. Chapter Two identifies the white bodies of Luca{\textquoteright}s saints as a locus for perceiving effects of light that both modeled form and emphasized surface, materializing and dematerializing his subjects and contributing to an understanding of the ontology of holy figures, especially that of Christ as the Lux Mundi. Chapter Three contextualizes Luca{\textquoteright}s negotiation of hue, tone, and saturation in his glazes in relation to available pigments and to the concerns recorded in treatises directed to painters and practitioners of the arts of fire. Finally, Chapter Four considers how Luca deployed relief, color, and composition in order to characterize the space of his glazed figures in relation to that of the viewer and to preexisting Florentine traditions.}, keywords = {Fifteenth- to Seventeenth-Century Art, Material Culture}, author = {Kupiec, Catherine} } @mastersthesis {12251, title = {McLuhan{\textquoteright}s Bulbs: Light Art and the Dawn of New Media}, year = {2016}, school = {Columbia}, abstract = {"McLuhan{\textquoteright}s Bulbs" argues that the 1960s movement of "light art" is the primary site of negotiation between the discourses of "medium" and "media" in postwar art. In dialogue with the contemporaneous work of Marshall McLuhan, who privileged electric light as the ur-example of media theory, light art eschewed the traditional symbolism of light in Western art, deploying it instead as a cipher for electronic media. By embracing both these new forms of electronic media and also McLuhan{\textquoteright}s media theory, light art ultimately becomes a limit term of the Greenbergian notion of medium-specificity, heralding the transformation of "medium" into "media" on both a technological and a theoretical level. This leads to a new understanding of the concept of media as not peripheral, but rather, central to the history and theory of contemporary art. Drawing on extensive archival research to offer the first major history of light art, the project focuses in particular on the work of leading light artist Otto Piene, whose sculptural "light ballets," "intermedia" environments, and early video projects responded to the increasing technological blurring of media formats by bringing together sound and image, only to insist on the separation between the two. Piene{\textquoteright}s position would be superseded by the work of light artists who used electronic transducers to technologically translate between light and other phenomena, particularly sounds. These artists are represented here by Piene{\textquoteright}s close friend and colleague, Wen-Ying Tsai. In the spirit of earlier examples of "computer art," Tsai{\textquoteright}s "cybernetic sculptures" used light to announce that art would no longer be defined by its material substrates, anticipating the fluid condition of media that we associate with new media art, and digital technology more broadly, today.}, keywords = {Digital Media/New Media/Web-Based Media, Twentieth Century}, author = {Ryan, Tina Rivers} } @mastersthesis {12285, title = {The Meanings of Duccio{\textquoteright}s Maesta: Architecture, Painting, Politics, and the Construction of Narrative Time in the Trecento Altarpieces for Siena Cathedral}, year = {2016}, school = {Columbia}, abstract = {Duccio{\textquoteright}s Maesta, made between 1308 and 1311 for the high altar of Siena Cathedral, is one of the best-known works of medieval painting. Astoundingly complex, with dozens of individual fields and several narrative cycles, it measured around 15 feet or four meters square. It was, and long remained, the largest panel painting ever made. But why did its designers reach so far outside the bounds of normal altarpieces, and why did they stretch the media of panel painting to new heights? Replacing Duccio{\textquoteright}s Maesta within its original Trecento context demonstrates that the altarpiece cannot be explained by either earlier Cathedral images or by earlier Marian panel paintings made for monastic churches, whose imagery the Maesta appropriated but drastically expanded. Instead, the creation of Duccio{\textquoteright}s Maesta comes into clearer focus when understood in its original setting, the civic Cathedral. Santa Maria della Assunta comprised not just its particular physical space, but a political and economic one. Duccio{\textquoteright}s Maesta interacted with the specific, material building, especially the Cathedral{\textquoteright}s unique hexagonal crossing and its dense green-black and white stripes; both features may have contributed to a reading of the Maesta{\textquoteright}s central Virgin as a symbol for Ecclesia, occupying her own Temple of Solomon. But the Maesta also crucially served as the backdrop to the city{\textquoteright}s biggest annual holiday, the Feast of the Assumption. Though generally characterized by scholars as a unifying event, the Feast was in fact a means of social control, regulated by the state, where participation was enforced by law and on point of fine, and whose main event was the legally mandated presentation of candles to the Virgin in the Cathedral. Moreover, Duccio{\textquoteright}s high altarpiece was commissioned during a troubled period: threatened by plotting nobles, and having steered the city through a sensitive election for a new bishop, the Government of the Nine was increasingly intent on regulating the Assumption Feast and the Cathedral{\textquoteright}s commissioning body, the Opera del Duomo, which was largely funded through the wax donated on the Assumption. Confronted by unique pressures, Duccio and his unknown potential collaborators created unique solutions, contextualizing popular Marian imagery within the Cathedral{\textquoteright}s theological and political concerns through the use of elaborate narrative cycles. Faced with the puzzle of fitting an entire image program onto a panel painting, Duccio privileged a coherent spatial setting, drawn largely through carefully-depicted architecture, that allowed him to keep figure size constant and that therefore to create a smooth spatio-temporal reading of the altarpiece; his arrangement of the narrative scenes allowed for new meanings and cross-readings; Duccio further used different perspectival constructions to direct the viewer{\textquoteright}s reading of the altarpiece. Duccio thus turned painting{\textquoteright}s limitation, its lack of time, into a strength, showing new ways in which images could be deployed to interpret narrative; he also spurred a long conversation among artists on the very nature of their medium and what, exactly, it could accomplish: Within 40 years, four altarpieces, occasioned again by architecture, were commissioned for the Cathedral{\textquoteright}s patronal altars. Located near to Duccio{\textquoteright}s high altarpiece, these altarpieces would reflect their artists{\textquoteright} reception of Duccio{\textquoteright}s Maesta. These radical works by Simone Martini and Lippo Memmi, Pietro and Ambrogio Lorenzetti, and Bartolommeo Bulgarini include the first narrative altarpiece and probably the first painting to pretend it is a view through a window in Western art. Above all, the patronal altarpieces demonstrate an interest in narrative, played out in the depiction of time and an attendant depiction of commensurate pictorial space.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation, Patronage, Art Collecting}, author = {Conrad, Jessamyn} } @mastersthesis {12345, title = {Media and the Politics of Satire in the Art of Honore Daumier}, year = {2016}, school = {Princeton}, abstract = {Though famous for his lithographic caricatures, the French artist Honore Daumier worked in a variety of artistic materials, creating paintings, drawings, sculptures, and woodblock prints, often reworking the same motif in two or more media. Daumier{\textquoteright}s oeuvre, perhaps more than any other in the modern era, shows the interdependence of various media, both visual and verbal. His media translations pose questions about process, reception, genre, and authorship, reshuffling the hierarchy of value attached to artistic materials and their modes of display. Yet the literature lacks a serious consideration of his decidedly multimedia practice. By interrogating the role of media in Daumier{\textquoteright}s art, this dissertation shows that the politics of satire motivated Daumier{\textquoteright}s long-standing investment in problems of representation. The artist had a deep and abiding engagement with two literary satirists, Moliere and Cervantes. By appropriating some of their imitative and parodic strategies, satire became a conceptual model for Daumier{\textquoteright}s material practice. This dissertation seeks to bridge the scholarly divide between Daumier{\textquoteright}s work for the illustrated press and his more private paintings, sculptures, and drawings by proposing that his media translations established the same kind of reflexive references to representation as satire, challenging the boundaries of medium, genre, style, and censorship law and artistic movements during periods of severely restricted speech. Drawing on extensive archival research and close analysis of the artist{\textquoteright}s works, I bear down on several pivotal moments of entanglement between popular media and more traditional categories of artistic production in the 19th century. Art historians have been writing about the influence of popular media on the fine arts since the 1960s, but unlike most artists included in such histories, the print was often Daumier{\textquoteright}s final goal, while the so-called fine arts were his way stations, experiments, and throwaways. He manipulated the viewer{\textquoteright}s impressions of scale and speed through shifts in material, format, and technique and interrogated each medium{\textquoteright}s conventions of access and display. Ultimately, I argue that the political force of Daumier{\textquoteright}s work hinges on his experiments with artistic media and on his engagement with literary and theatrical forms of parodic critique.}, keywords = {Nineteenth Century}, author = {Duncan O{\textquoteright}Neill, Erin} } @mastersthesis {12387, title = {Mediums and Messages: Collage and Narrative in Los Angeles in the 1960s and 1970s}, year = {2016}, school = {IFA/NYU}, abstract = {This dissertation examines the growing influence of narrative-in terms of content, compositional structures, and critical strategies-on artists working with collage in Los Angeles in the 1960s and 1970s. Los Angeles is a city long steeped in narrative-related mediums, from studio-based and experimental film production to the dramas playing out on television. It was also the locus for a burgeoning postwar involvement with collage. The text explores how several Los Angeles artists turned to both found objects and narrative tactics in an effort to order and reorder recognizable imagery. They generated configurations that suggest potential storylines, yet remain open to interpretation, at a postwar moment when figuration and narrative were shunned by the New York avant-garde. In the process, these artists offered viewers a dynamic approach to narrative that harnessed its persuasive communicative powers while promoting alternate endings and alternative worldviews. The first chapter establishes collage-defined broadly as work incorporating found objects and imagery-as a key medium in the development of Los Angeles{\textquoteright}s avant-garde art scene in the 1950s. It demonstrates further how collage became a catalyst for artists to incorporate narrativity into their work in the 1960s, and proposes the concepts of temporality, tangibility, and dialogism as useful tools in weaving together a discussion of collage and narrative. These devices provide a framework for subsequent monographic chapters on Wallace Berman{\textquoteright}s Verifax collages, Edward Kienholz{\textquoteright}s narrative tableaux, and Robert Heinecken{\textquoteright}s altered magazines and Polaroid scenarios. Many past framings of collage have focused on its anti-narrative, deconstructive proclivities, which serve to confuse and obfuscate meaning. This project, by contrast, employs formal analyses, historical context, considerations of spectatorship, and writings from the field of narratology to elucidate collage{\textquoteright}s potential to construct narratives that, in turn, expose the constructed nature of stories, artworks, and the larger social sphere. An epilogue considers the proliferation of narrative strategies across all media in Los Angeles in the 1970s onward, including as a productive model for women artists working between collage and conceptual approaches.}, keywords = {Twentieth Century}, author = {Rifelj, Claire} } @mastersthesis {12252, title = {Modeling the Network of Dutch and Flemish Print Production, 1550-1750}, year = {2016}, school = {Maryland}, abstract = {The production of artistic prints in the sixteenth- and seventeenth-century Netherlands was an inherently social process. Turning out prints at any reasonable scale depended on the fluid coordination between designers, platecutters, and publishers; roles that, by the sixteenth century, were considered distinguished enough to merit distinct credits engraved on the plates themselves: invenit, fecit/sculpsit, and excudit. While any one designer, plate cutter, and publisher could potentially exercise a great deal of influence over the production of a single print, their individual decisions (Whom to select as an engraver? What subjects to create for a print design? What market to sell to?) would have been variously constrained or encouraged by their position in this larger network (Who do they already know? And who, in turn, do their contacts know?) This dissertation addresses the impact of these constraints and affordances through the novel application of computational social network analysis to major databases of surviving prints from this period. This approach is used to evaluate several questions about trends in early modern print production practices that have not been satisfactorily addressed by traditional literature based on case studies alone: Did the social capital demanded by print production result in centralized, or distributed production of prints? When, and to what extent, did printmakers and publishers in the Low countries favor international versus domestic collaborators? And were printmakers under the same pressure as painters to specialize in particular artistic genres? This dissertation ultimately suggests how simple professional incentives endemic to the practice of printmaking may, at large scales, have resulted in quite complex patterns of collaboration and production. The framework of network analysis surfaces the role of certain printmakers who tend to be neglected in aesthetically-focused histories of art. This approach also highlights important issues concerning art historians{\textquoteright} balancing of individual influence versus the impact of longue duree trends. Finally, this dissertation also raises questions about the current limitations and future possibilities of combining computational methods with cultural heritage datasets in the pursuit of historical research.}, keywords = {Digital Scholarship/History, Fifteenth- to Seventeenth-Century Art}, author = {Lincoln, Matthew} } @mastersthesis {12393, title = {Modern Architecture and Capitalist Patronage in Ahmedabad, India 1947-1969}, year = {2016}, school = {IFA/NYU}, abstract = {This dissertation examines the architectural patronage of a small cadre of industrialists, textile millowners, who controlled the city of Ahmedabad, India economically and politically between Indian independence in 1947 and 1968, the year communal riots shattered that city{\textquoteright}s self-image. It examines the role modern architecture played for these elites in projecting Ahmedabad as a modern, cosmopolitan city, though one steeped in a unique history and culture. On the one hand, modern architecture was used to promote the city as a node in the global network of capital and industry that developed after the Second World War. As such, most of the architects selected by these industrialists came from the ranks and institutions of the global modern movement, mirroring the industrialists{\textquoteright} attempt to place the city{\textquoteright}s industry into global networks of capital and development. On the other hand, the millowners employed modern architecture as a way to naturalize Ahmedabad{\textquoteright}s sweeping social changes, so that they appeared as an inevitable outgrowth of Ahmedabad{\textquoteright}s and India{\textquoteright}s own history. In this, the modern architecture of Ahmedabad was suffused with references both to Ahmedabad{\textquoteright}s textile industry and India{\textquoteright}s imagined and historical past. The first chapter examines projects that represent the industrialists{\textquoteright} earliest overtures towards the global network of modern architects and institutions. The goal of the projects, which included an unbuilt store by Frank Lloyd Wright, a store inspired by Buckminster Fuller{\textquoteright}s geodesic domes, and Achyut Kanvinde{\textquoteright}s Gropius influenced ATIRA headquarters, was to instantiate a capitalist model of modernity in Ahmedabad through the fostering of consumer markets and the rationalization of industry. The second chapter delves further into the millowners{\textquoteright} use of modern architecture for the instantiation of capitalist values and self-representation by comparing the city{\textquoteright}s two most famous modern projects: Louis Kahn{\textquoteright}s Indian Institute of Management and Le Corbusier{\textquoteright}s Millowners{\textquoteright} Association Building. The third and fourth chapters turn to the cultural and domestic sphere, exploring projects that negotiated modern, Indian identity in the public and private context. Cultural institutions by architects like Le Corbusier, Charles Correa, and Balkrishna Doshi interrogated the relationship between the elite{\textquoteright}s new vision for Ahmedabad and the city{\textquoteright}s history. Meanwhile houses by many of the same architects for industrialists showed a modern domesticity that negotiated between community, the joint family and the individual by fusing modern forms to older domestic spatial organizations. This dissertation contributes to the growing body of research focused on the role modern architecture played in shaping postcolonial Indian identity and subjectivity. While previous research has often focused on the patronage of the socialist state, the examination of the patronage of an elite group of capitalists shows how modern architecture became the locus for debates about the direction of modern Indian society. Further, the dissertation{\textquoteright}s focus on capitalist patronage places this dissertation in a larger body of research that traces the connections between capital and modern projects, though such issues have rarely been explored in the Indian context.}, keywords = {Twentieth Century}, author = {Williamson, Daniel} } @mastersthesis {12368, title = {Modern Art of Pakistan: Lahore Art Circle, 1947-1957}, year = {2016}, school = {Virginia Commonwealth}, abstract = {This dissertation focuses on the modern art of Pakistan from 1947-57, more specifically, the role of six important artists who founded the Lahore Art Circle (LAC) in1952. The group played a pivotal role in the formulation of modernism in Pakistan after its establishment as an Islamic Republic. Framed within postcolonial theories and criticism, this study will address the role of modern art in developing new artistic sensibilities in the nation of Pakistan. In order to understand the context of LAC{\textquoteright}s framing of "modernism" and "nationalism" in terms of specific historic and hybrid nexus, my research will provide an investigation of works of only the founding members of the Lahore Art Circle including: Shakir Ali (1924-1975), Sheikh Safdar Ali (1924-1983),Moyene Najmi (1926-1997), Ali Imam (1924-2000), Ahmed Parvez (1926-1979) and Anwar Jalal Shemza (1928-1985). In analyzing the works of individual artists and the role of LAC during the first decade of the establishment of Pakistan as a nation-state, this study provides a framework to understand the specific condition of modernism in Pakistan that was dictated by these artists{\textquoteright} careers and works. Thus, this research investigates how the framing of modernism for these artists took on highly personal, international, incipiently national and distinctly local forms in the early years of the Pakistan after the Partition of 1947. Lastly, it will also examine how the individual LAC artists situated themselves in the discourse between constructing a newly established Pakistani identity within the larger paradigms of international modernism.}, keywords = {South Asia/South East Asia, Twentieth Century}, author = {Iqbal, Samina} } @mastersthesis {13331, title = {Modern Dreams: Building Machado{\textquoteright}s Cuba, 1925-1933}, year = {2016}, school = {Southern Methodist}, abstract = {This dissertation examines the legacy of nation building in Cuba and its cultural stakes in a wider hemispheric and global context during the twentieth century. It focuses on the public works program of President Gerardo Machado. Political histories often condemn Machado as a U.S.-backed dictator, overthrown in a labor revolt and popular revolution in 1933. Architectural histories tend to catalogue his regime{\textquoteright}s public works as derivatives of U.S. and European models. The building campaign of the machadato (Machado{\textquoteright}s regime) has yet to be viewed within the broader cultural context of twentieth-century Cuba. This dissertation addresses that gap by viewing the regime{\textquoteright}s public works program as a visual project, entwined in long-held debates over definitions of national and cultural citizenship in terms of race, gender, and ethnicity. In this discussion, the public works of the machadato articulated a forceful and highly nuanced politics of space, vision, and cultural experience.
The dissertation unpacks five components of Machado{\textquoteright}s program of monumental construction and infrastructural transformation. Chapter 1 discusses the history of simulacra - the images of images - present in Havana{\textquoteright}s neoclassic Capitol building. Chapter 2 examines the repetitions of colonial history in the public monuments that surround El Capitolio. Chapter 3 analyzes infrastructural responses to hurricanes, automobiles, airplanes, and tourism in Havana and the Cuban countryside. Chapter 4 deals with outsider-insider visions of Havana in urban studies and photography through the works of French, U.S., and Cuban cultural producers. Chapter 5 analyzes Cuba{\textquoteright}s civic and prison environments and the resonance of the nation{\textquoteright}s history of plantation slavery reflected in the Panopticon "Model Prison" on the Isle of Pines. Each of these projects is a case study in the rhetorics of culture, power, and representation under the Machado regime.
The dissertation concludes that the regime{\textquoteright}s public works communicated meanings well beyond Machado{\textquoteright}s immediate ends. These monuments were quickly woven into the cultural politics of Cuba and the wider hemisphere. They remain relevant today. Those palaces, prisons, and highways still "speak" in ongoing debates over cultural identity, sovereignty, and the role of foreign influence in Cuba.}, keywords = {Architectural History/Urbanism/Historic Preservation, Caribbean, Twentieth Century}, author = {Joseph R. Hartman} } @mastersthesis {12216, title = {Modernism with a Human Face: Synthesis of Art and Architecture in Eastern Europe, 1954-1958}, year = {2016}, school = {CUNY}, abstract = {The "synthesis of the arts," which usually referred to the integration of murals, sculptures and reliefs into architecture, was a key aspect of art and architecture in many parts of the world during the 1950s, from Western Europe to Latin America. It was intended to "humanize" the increasingly industrialized modern architecture, while providing art with a platform from which to act outside of the confines of museums and galleries, in the "real" space of society. More importantly, the concept centered on the collaboration between people of different skills and backgrounds, such as artists, architects and craftspeople, who ought to form a cohesive creative community in order for synthesis to emerge. For this reason, the synthesis of the arts was often envisioned as a metaphor for the greater social order of the postwar period and thus, as will be argued here, became particularly prominent in periods of political transition. This dissertation focuses on such a time and place when the concept resurged: Post-Stalinist Eastern Europe, a time when both the aesthetics and politics of Stalinism had to be reformed in the hopes of attaining a "Communism with a Human Face." The synthesis of the arts was key to this process, as it allowed for different social visions to be tested in the delimited space of art and architecture before being applied to society as a whole. At the same time, the term{\textquoteright}s instability and inherent vagueness allowed its continued usage throughout this transition, and within distinct contexts. It could refer to a wide range of things, from interior design to murals and sculptures integrated into modernist architecture, and from immersive, multi-media environments to historicist architecture featuring ornaments in ceramic and stone. Each model represented a different mode of artistic production, as well as a different vision for art{\textquoteright}s role under socialism. The dissertation thus compares such visions of synthesis, as both a theoretical construct and a practical application, in three Eastern European countries: the Soviet Union, the undisputed political center of the bloc; its largest satellite, the People{\textquoteright}s Republic of Poland, which experienced a swift and dramatic de-Stalinization and subsequently became a center for reformist thought; and finally, Yugoslavia, whose efforts at developing its own brand of socialism began to bear fruit at the time, when the country emerged as a non-aligned, third pole within the Cold War. This geographical span is counterbalanced by a sharply focused chronology that allows for a close examination of this paradigm shift. Beginning in 1954, when the first signs of aesthetic change can be discerned, it concludes in 1958, when the new, "socialist-modern" mode of synthesis reached its apogee with the Eastern bloc pavilions at the Brussels World Fair. I argue that the synthesis of the arts constitutes a key element of reformist communist culture, a short-lived phase when a renewed faith in mass utopia was still possible, before the dissident culture of 1960s and 1970s Eastern Europe took hold. Still firmly inscribed within the official culture, the late-1950s practices examined here sought a difficult compromise between increasing art{\textquoteright}s autonomy while preserving the social purpose assigned to it under communism.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, Twentieth-Century Art}, author = {Drosos, Nikolaos} } @mastersthesis {12228, title = {Modernization and Architecture under the Rural Electrification Administration, 1935-1945}, year = {2016}, school = {Brown}, abstract = {In the campaign to bring electricity to the American farm, the New Deal{\textquoteright}s Rural Electrification Administration (REA) enlisted architecture to ideological and propagandistic ends. Though{\textellipsis}}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Rovang, Sarah} } @mastersthesis {12215, title = {Mortuary Practices in Late Antique Corinth}, year = {2016}, school = {IFA/NYU}, abstract = {Corinth{\textquoteright}s Late Antique mortuary archaeological record, consisting of more than 600 graves revealed during the course of over 100 years of excavation, offers a unique window on the religious beliefs, urban changes, economics, and ethnic composition of the city as it gradually abandoned the classical model. This dissertation considers in detail two expansive burial grounds: the first, of 6th to early 7th century A.D. date, within the area of Lerna Court and farther west within the line of the Classical city wall, and the second, dating from circa 600 A.D. to the 9th century, in and around Corinth{\textquoteright}s abandoned Forum. The topographical relevance of these cemeteries to the community of the living, tomb architecture, mortuary objects and ritual, and special cases of mortuary deviation from local tradition by non-Greek individuals are assessed with the assistance of extensive documentary material including inventoried artifacts, field notebook records, and images, most of which is unpublished and presented here for the first time. Substantial continuation of preceding Roman practices in regard to cemetery location, tomb architecture, and deposited objects is demonstrated into the early 7th century and corresponds closely to Athens and other sites in southern Greece. While burials of the latter 7th to 9th centuries differ importantly from their 6th and early 7th century predecessors, especially in the sharp decrease in ceramic deposition, such trends may be explained in part by altered forms of object deposition within a ritual that remained largely constant, or by the increasing use of perishable objects. These relatively late burials are invaluable for the characterization of continuing occupation at Corinth, and find only limited points of comparison across Greece. Other changes, most dramatically the sudden appearance of weaponry in mortuary contexts and an increase in some forms of personal clothing accessories and jewelry, testify to the presence of non-Greek individuals arguably originating in the migratory groups of Eastern Europe and potentially residing at Corinth as soldiers within the Byzantine military. The only city in southern Greece possessing clear archaeological evidence for such persons, Corinth thus offers an important model of a Late Antique multiethnic community.}, keywords = {Ancient Greek/Roman Art}, author = {Ott, Jeremy} } @mastersthesis {12382, title = {Moscow Conceptualism and {\textquoteright}Shimmering{\textquoteright}: Authority, Anarchism, and Space}, year = {2016}, school = {Princeton}, abstract = {To investigate the contemporary legacy of the 1970s circle of underground Russian artists and writers known as the Moscow Conceptualists, this dissertation explores the concept of "shimmering" from their lexicon. Shimmering describes a strategy of principled tergiversation between irreconcilable artistic and ideological discourses, such as the Russian avant-garde and Soviet Socialist Realism. The dissertation examines the paintings of Erik Bulatov (b. 1933), the installations of Ilya Kabakov (b. 1933), the performances of the Collective Actions group, and the works of other Moscow Conceptualists, tracing the development of shimmering into a vital means of artistic resistance to authoritarian ideology. In doing so, it establishes the importance of Moscow Conceptualism for contemporary political and oppositional art in Russia.}, keywords = {Twentieth Century}, author = {Leiderman, Daniil} } @mastersthesis {12275, title = {Mother of the Nation: Femininity, Modernity, and Class in the Image of Empress Teimei}, year = {2016}, school = {Kansas}, abstract = {This dissertation examines the political significance of the image of the Japanese Empress Teimei (1884-1951) with a focus on issues of gender and class. During the first three decades of the twentieth century, Japanese society underwent significant changes in a short amount of time. After the intense modernizations of the late nineteenth century, the start of the twentieth century witnessed an increase in overseas militarism, turbulent domestic politics, an evolving middle class, and the expansion of roles for women to play outside the home. As such, the early decades of the twentieth century in Japan were a crucial period for the formation of modern ideas about femininity and womanhood. Before, during, and after the rule of her husband Emperor Taisho (1879-1926; r. 1912-1926), Empress Teimei held a highly public role, and was frequently seen in a variety of visual media. Through the investigation of various discursive forms of visual materials featuring Empress Teimei, this dissertation aims to reveal the political significance of Teimei as a role model of middle-class and aristocratic femininity. To this end, this dissertation examines Empress Teimei{\textquoteright}s appearance in formal portraiture, representations of Teimei in popular media, and emulations of the Empress by upper class women, as well as tracing changes in her image through time as related to political circumstances and her personal biography. As a public figure, Empress Teimei held great sway over women{\textquoteright}s decorum in the first three decades of the twentieth century; she was the first Empress to establish monogamous modern family relations, and was the first modern Empress to mother the successive Emperor. Despite her relevance to the narrative of Japanese imperial history, very few publications, particularly in English, have fully discussed the historical importance of the Empress. Furthermore, the visual representation that was so crucial to the formation of her public persona and image has received scant scholarly consideration. This dissertation will fill a void in art history, visual culture, and Japanese studies, opening up future avenues of research on how art and visual culture impacted the politics of gender and power in modern Japan. Specifically, this dissertation will pioneer the study of how the media presentation of the Imperial Family was intrinsically connected to the construction of feminine norms in the 1910s-30s. By bringing the image of Empress Teimei to the center of study, this dissertation contributes to the understanding of issues of gender and power as related to the Imperial Family in early twentieth-century Japan.}, keywords = {East Asia}, author = {Miller, Alison} } @mastersthesis {12283, title = {Mount Carmel in the Commune: Promoting the Holy Land in Central Italy in the Thirteenth and Fourteenth Centuries}, year = {2016}, school = {Duke}, abstract = {The Carmelite friars were the last of the major mendicant orders to be established in Italy. Originally an eremitical order, they arrived from the Holy Land in the 1240s, decades after other mendicant orders, such as the Franciscans and Dominicans, had constructed churches and cultivated patrons in the burgeoning urban centers of central Italy. In a religious market already saturated with friars, the Carmelites distinguished themselves by promoting their Holy Land provenance, eremitical values, and by developing an institutional history claiming to be descendants of the Old Testament prophet Elijah. By the end of the 13th century the order had constructed thriving churches and convents and leveraged itself into a prominent position in the religious community. My dissertation analyzes these early Carmelite churches and convents, as well as the friars{\textquoteright} interactions with patrons, civic governments, and the urban space they occupied. Through three primary case studies-the churches and convents of Pisa, Siena and Florence-I examine the Carmelites{\textquoteright} approach to art, architecture, and urban space as the order transformed its mission from one of solitary prayer to one of active ministry. My central questions are these: To what degree did the Carmelites{\textquoteright} Holy Land provenance inform the art and architecture they created for their central Italian churches? And to what degree was their visual culture instead a reflection of the mendicant norms of the time? I have sought to analyze the Carmelites at the institutional level, to determine how the order viewed itself and how it wanted its legacy to develop. I then seek to determine how and if the institutional model was utilized in the artistic and architectural production of the individual convents. The understanding of Carmelite art as a promotional tool for the identity of the order is not a new one, however my work is the first to consider deeply the order{\textquoteright}s architectural aspirations. I also consider the order{\textquoteright}s relationships with its de facto founding saint, the prophet Elijah, and its patron, the Virgin Mary, in a more comprehensive manner that situates the resultant visual culture into the contemporary theological and historical contexts.}, keywords = {Eleventh to Fourteenth Century, Fifteenth- to Seventeenth-Century Art, Film/Video/Animation}, author = {Dodson, Alexandra} } @mastersthesis {12328, title = {The Moving Image in Public Art: US and UK, 1980-Present}, year = {2016}, school = {CUNY}, abstract = {This dissertation examines the work of artists who use moving images in contemporary public art. Specifically, these works are understood through their intersection with practices of media consumption and public interaction passersby negotiate when they encounter a work of moving image-based public art. To this end, I argue, through an analysis of public art, that screen spectatorship is an inherently situated experience. The project of this dissertation is two-fold. First, I outline a typology of moving image-based public art by dividing significant practices into three categories-the enchanting spectacle, the ludic interface, and the illumination of place. These distinctions illustrate how moving images in public space attract the spectator{\textquoteright}s eye, generate new social spaces, and interact with existing discourses of place. Second, this dissertation examines these particular screen situations in relationship to broader practices in media spectatorship in public space, considering screens not only as transmitters of images, but also as potentially site-specific objects and part of a larger web of monetized urban spaces. Public art becomes a lens through which I examine broader changes in screen culture and public space. Furthermore, by considering works of public art as situations embedded within larger practices of media distribution and consumption, this dissertation charts a path between art and commerce to illustrate potentially positive encounters with visual spectacle in public space-that artists can and do succeed in creating productive moments of play and engagement through moving images. The contributions of this dissertation are not only close analyses of significant and often under-studied works of art, but also the groundwork for future study of contemporary public art and perhaps even a redirection of film and media theory toward an understanding of broader screen spectatorship as enchanting encounters between viewer, screen, and context.}, keywords = {Film/Video/Animation, Twenty-First-Century Art}, author = {Dell{\textquoteright}Aria, Annie} } @mastersthesis {12309, title = {Multo in parvo: Joris Hoefnagel{\textquoteright}s Illuminations and the Gathered Practices of Central European Court Culture}, year = {2016}, school = {British Columbia}, abstract = {This dissertation examines the works of illumination produced by the itinerant Flemish miniator, Joris Hoefnagel (1542-1600), during his tenure as court artist to the Wittelsbachs and Habsburgs in the last two decades of the sixteenth century. Comprising illuminated manuscripts as well as independent miniatures, the works at the center of this study provide novel insight into Hoefnagel{\textquoteright}s practice as an illuminator and also into the status and function of illumination at the Central European courts of Munich, Ambras, and Prague. Not simply extending a traditional interest in the medium at these sites, Hoefnagel{\textquoteright}s works on parchment transformed illumination into a new form bringing together a range of practices and discourses associated with the courts, with humanism, and with emerging disciplines dedicated to the production of new knowledge. Artistically inventive and conceptually productive, Hoefnagel{\textquoteright}s compositions helped shaped an identity for the artist as a hieroglyphicus=an initiate into and maker of a privileged language of representation. Unlike other medieval and early modern art, the illuminated page could bring together, on one surface, different media (text and image), genres (heraldry, portraiture, nature studies, biblical narrative, and ornament, among others), and modes of representation (realism, illusionism, symbolism, and abstraction). This study shows that the persistence of illumination into the late 1500s=particularly in the form of Hoefnagel{\textquoteright}s projects=stemmed from this aggregative character. The medium enabled the artist to present his viewers with diverse and innovative compositions of pictorial and textual content. Set against the contemporary interest in assemblage which shaped the early modern Kunstkammer and led to the production of atlases, natural history albums, and other compendia, Hoefnagel{\textquoteright}s artworks come into focus as dialogic responses to these surrounding processes of aggregation.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Boychuk, Joan} } @mastersthesis {12213, title = {Music, Performance, and Identity in Fourth-Century BCE South Italian Vase Painting}, year = {2016}, school = {Virginia}, abstract = {The present study investigates how music is represented in Apulian red-figure vase-painting of the late 5th and 4th centuries BCE. The project has two primary goals: first, to establish a corpus of scenes in which musical instruments and musicians are represented, and second, to consider how musical iconography may reflect contemporary performance culture. To answer the proposed research questions, an iconographic analysis of the vases is carried out by examining the gender, gesture, dress, and attributes of figures depicted with musical instruments, as well as the compositional patterns of musical scenes. In addition, literary, archaeological, and epigraphic evidence for the aural landscapes of 4th century BCE South Italy and Sicily are introduced in order to identify when and where visual and performance culture may have intersected. Musical imagery is widespread in Apulian red-figure vase-painting, and 1,652 vases bearing representations of musical instruments are documented in the accompanying catalogue. The study begins with a brief introduction to Apulian vase-painting, followed by a survey of musical performance culture in ancient Greece and Magna Graecia. Subsequently, the analysis of the vases is divided thematically, beginning with a chapter on nuptial scenes and followed by a chapter each on music in Dionysian, mythological, and funerary imagery. In the conclusion, iconographic trends extending across the four themes are identified and selected visualizations of the dataset as a whole are discussed. Evidence for Italiote aural or performance culture may be found in Apulian vase-painting representations of music, particularly in the depiction of chordophones such as the Apulian kithara. It is demonstrated, however, that musical instruments are predominantly depicted as non-performative attributes across all types of Apulian scenes and compositions. Since the majority of the patterns and trends identified in the present study of musical imagery correlate closely to shifts in Apulian red-figure vase-painting iconography as a whole, it is suggested that Apulian musical iconography primarily reflects a visual, not performative, tradition.}, keywords = {Ancient Greek/Roman Art}, author = {Ikeshoji-Orlati, Veronica} } @mastersthesis {12319, title = {Narratives of Origin in Netherlandish Art: Maarten de Vos and Late Sixteenth-Century Print Design as Visual Exegesis}, year = {2016}, school = {IFA/NYU}, abstract = {Maarten de Vos (1532-1603) was an artist for whom the history of Adam and Eve held a particularly sustained pictorial interest, one that spanned the last three decades of the sixteenth century. As the leading figure of the Antwerp school, and the most sought-after draughtsman of his day, de Vos produced an extraordinary number of designs for religious prints, many of which represent God{\textquoteright}s creation of Adam, Eve, and all living creatures in Paradise, as well as the Fall of Man, and other episodes from the Book of Genesis. De Vos{\textquoteright}s origin imagery evidences the biblical story{\textquoteright}s profound importance to the visual culture of early modern Europe. Although the narrative accounts of the Creation and the Fall of Man together take up only a handful of passages in the Bible, they played a central role in shaping Protestant and Catholic understandings of human nature and the natural world during the Reformation era. With the power to convey specific doctrinal concerns over humanity{\textquoteright}s existential state, de Vos{\textquoteright}s pictures of God{\textquoteright}s creation of the universe, Paradise and its earliest inhabitants, and the downfall of Adam and Eve raise salient questions about the relationship between verbal and visual interpretations of Scripture-that is, between verbal and visual hermeneutics. Do Maarten de Vos{\textquoteright}s visual narratives of origin tell a different story from the Bible{\textquoteright}s verbal narrative? Do they reflect, engage in, or mediate the theological imperatives of the Reformation? Speaking both to the visual narrativity of the image, as well as to its status as visual exegesis, de Vos{\textquoteright}s use of figurative and analogical symbols and types, as well as exegetical metaphors and allegories, to represent the origins of humankind, points to the artist{\textquoteright}s transformation of the biblical image from narrative illustration into exegetical instrument. De Vos reimagined humanity{\textquoteright}s history in prints exploring the relevance of the past to contemporary sixteenth-century epistemological concerns, revealing him to be an artist-exegete who deftly navigated the contentious religious and political landscape of Antwerp during the Dutch Revolt (1566-1648). Shedding new light on the work of this prolific draughtsman and painter, Narratives of Origin in Netherlandish Art represents the first in-depth examination of the exegetical nature of Maarten de Vos{\textquoteright}s little-studied print design work, and it opens a unique window onto the production, circulation, and reception of his prints within the sensitive theological context of the Reformation and Counter Reformation in the Low Countries and abroad during the sixteenth and seventeenth centuries.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Herrin, Amanda} } @mastersthesis {12259, title = {Nature and Nostalgia in the Art of Mary Nimmo Moran (1842-1899)}, year = {2016}, school = {CUNY}, abstract = {This dissertation is the first comprehensive study dedicated to the work of American painter-etcher Mary Nimmo Moran (1842-1899), an innovative printmaker and influential interpreter of the American landscape. She began her career in 1863, studying drawing and painting with her husband, artist Thomas Moran (1837-1926). Throughout the 1870s, she exhibited works at both the Pennsylvania Academy of the Fine Arts and the National Academy of Design, and published wood engraved illustrations in books and popular monthly magazines. Yet it was in the medium of etching that she achieved her greatest recognition: between 1879 and her untimely death in 1899, she executed an extensive oeuvre of expressively etched, tonal landscapes that nostalgically preserve America{\textquoteright}s agrarian past as it was beginning to disappear. Working primarily in East Hampton, Long Island-where she and Thomas Moran built a home-studio in 1884-she also traveled extensively throughout her career etching landscapes of Pennsylvania, New Jersey, Florida, California, Scotland, and Wales. Her technical expertise and inventive approach to printmaking, which included experiments with tools, techniques, inks, and papers, placed her at the forefront of the etching revival-a movement that aimed to promote original etching as the preeminent medium capable of conveying personal, autographic expression. Nimmo Moran was a major contributor to this popular and influential movement, which began in France and England in the 1860s, before reaching its height in the United States in the 1880s. She was the first woman elected to both the New York Etching Club and London{\textquoteright}s Society of Painter-Etchers, and her prints were widely exhibited and critically acclaimed in cities across the United States and in Europe. While her skilled and innovative works placed her on the cutting edge of American printmaking, this dissertation argues that Nimmo Moran used the newly revived medium of etching to promote a nostalgic vision of nature. I contend that her etchings visually preserve the landscape of America{\textquoteright}s eastern seaboard, idealizing a pastoral past in the face of an increasingly industrialized present. As a result, her etchings appealed to an urban clientele, satisfying their growing demand for original, expressive, and affordable works of art, while also providing visual respite for those seeking to escape the complexities of modern-industrial life. I analyze her landscape aesthetic amidst the rise of American Tonalism, revealing the ways in which she deftly manipulated the etching medium to create harmonious tones in monochrome. Her oeuvre thus illustrates the importance of etching to the development of the Tonalist aesthetic in American painting, printmaking, and photography at the end of the nineteenth century.}, keywords = {Drawings/Prints/Works on Paper/Artists{\textquoteright} Books, North America}, author = {Vittoria, Shannon} } @mastersthesis {12317, title = {Necessary Luxury: The Illuminated Manuscript at the French Courts, ca. 1460-1520}, year = {2016}, school = {Pennsylvania}, abstract = {The period from 1460 to 1515 in France was marked by a number of significant shifts-both politically as feudal systems were consolidated under a more powerful centralized monarchy, and artistically, as print and panel painting challenged the primacy of traditional medieval media. Previous scholarship has treated the enduring French preference for manuscripts among court patrons as an anachronistic medieval holdover, and likewise, the period{\textquoteright}s illumination as an art in decline. This project revises this view by considering adherence to the manuscript form as a core component of French royal and aristocratic identity. Manuscripts, with their ability to imitate, contain, and transcend other media, provided a tactile, visual, and conceptual connection to an imagined past: a Middle Ages of knightly deeds, romances, bibliophile kings, and the courtly splendor before the rupture of the Hundred Years{\textquoteright} War. Closely analyzing this nostalgic turn to the past-revival and performance of chivalric values in semi-public aristocratic venues, preservation of history in terms of military and cultural traditions, and efforts to make the past not simply legible but extremely relevant and important to a late fifteenth-century audience-reveals noble-class anxieties about the future of family, identity, and ways of life. This dissertation examines several aspects of late medieval manuscript culture at the French courts to provide an account of the material and ideological significance of the manuscript book during a time of major political and artistic restructuring. It addresses how royal and aristocratic patrons negotiated the political transitions of the age in visual and material ways. It establishes that any discussion of late medieval manuscripts must consider the other media with which they interacted, particularly exchange with print, which was mobilized for specific political and artistic purposes and only within the frameworks of courtly taste and patronage. In this complex and uncertain moment in French royal history and in the history of the book, manuscripts became implicated in the conception of the idealized stability of the medieval past, functioned as repositories for aristocratic identity, and stood as objects of collective memory-a status maintained well into the sixteenth century.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Grollemond, Larisa} } @mastersthesis {12340, title = {Neo-Pre-Raphaelitism: The Final Generations}, year = {2016}, school = {University of Washington}, abstract = {The Pre-Raphaelite Brotherhood was a group of seven young men who wanted to rebel against the teachings and orthodoxies of the Royal Academy. It was a short-lived movement, beginning in 1848 and ending in the early 1850s, but this dissertation will argue that their influence lived on and inspired a group of artists who were working at the turn of the century and well into the twentieth-century. This dissertation is unprecedented; it is the first publication which aims to specifically categorize certain artists whose oeuvres are indebted to various generations of Pre-Raphaelitism. In short, I am characterizing these artists and thereby dubbing them "Neo-Pre-Raphaelite," channeling an early twentieth-century description of some of these artists. The most obvious reason to refer to them by this term is that they are stylistically and/or thematically linked to members of the original PRB or later generations / manifestations of Pre-Raphaelitism. The individuals on whom I am focusing are all British and produced Pre-Raphaelite inspired work from roughly 1895-1950. Consequently, the parameters within which I am working are threefold; firstly, the artists were exhibiting in the late 1880s/1890 - 1920 (a Neo-Pre-Raphaelite period that overlapped for most of them); secondly, those whose work echoed that of the Pre-Raphaelite Brotherhood; and thirdly, persons having a working relationship with Edwin Austin Abbey-an American artist who was in a unique position to be a hybrid between the earlier PRB and these younger artists. Accordingly, the investigated artists are: Frank Cadogan Cowper, John Liston Byam Shaw, Eleanor Fortescue-Brickdale, John William Waterhouse, and Thomas Cowper Gotch. There is an additional investigation that establishes a Neo-Pre-Raphaelite classification which could exist outside of Abbey. This alternate combination was directly connected to Pre-Raphaelitism through Edward Burne-Jones, and demonstrated a visual indebtedness to both the Pre-Raphaelites and the artist-these devotees applied the unique Burne-Jonesian style to favorite subjects of the PRB. For the purposes of this dissertation, this supplementary circle has been termed "outliers"-in that they met the same aforementioned criteria but did not share an alliance with Abbey-including: Marie Spartali Stillman, Kate Bunce, Evelyn Pickering de Morgan, Sidney Meteyard, and John Melhuish Strudwick.}, keywords = {Nineteenth Century, Twentieth Century}, author = {Waterman, Amanda} } @mastersthesis {12322, title = {The New World, the Basque Language, and the Power of Painting: The Art and Writing of Baltasar de Echave Orio}, year = {2016}, school = {IFA/NYU}, abstract = {At the turn of the seventeenth century, the Basque emigre Baltasar de Echave Orio (1558-1623) was the leading painter in Mexico City, then the capital of the Spanish Viceroyalty of New Spain (present-day Mexico and Central America). Echave is an important figure in the history of New Spanish art-his compositions were repeated by artists of later generations like Jose Juarez and Cristobal de Villalpando, and both Echave{\textquoteright}s grandson and great grandson went on to become successful painters in their own right. In 1607, at the height of his career, Echave published the Discursos de la antiguedad de la lengua cantabra bascongada, an ambitious treatise on the history of the Basque language. Scholarship on Echave either mentions the Discursos only in passing or leaves it out completely. This dissertation shows the Discursos to be closely bound up with Echave{\textquoteright}s artistic output. Looking at his writing and painting together brings into focus Echave{\textquoteright}s interrogation of the relationship between the New World and the Old World and his reflection on the function of the artist in New Spanish society. The first chapter presents an in-depth analysis of the Discursos. Echave begins by using the Spanish conquest of the Aztec empire to illustrate the way the Romans overtook the Basques in ancient Iberia. Later in the text, Echave decries Spanish imperial expansion for luring Basques overseas, severing their connection to their homeland. Throughout the treatise Echave imports techniques from his work as a painter in order to make his argument more compelling. The second chapter considers Echave{\textquoteright}s contact with church authorities, including the Inquisition and the Archbishop of New Spain. In his interactions with members of the ecclesiastical hierarchy, who were also his principal patrons, Echave adopted a position of extreme deference to the policies of the Counter Reformation. At the same time, Echave used that position to stake out a privileged role for producers of sacred art predicated on their ability to channel devotion toward specific heavenly figures. The final chapter examines three paintings in which Echave confronts the concepts of the relic and the acheiropoieton (an image made through divine action). Echave{\textquoteright}s works provide a visual complement that increases the impact of these semi-divine objects. His paintings catalyze the relationship between the faithful and sacred artifacts, paralleling the use of illusionism in the Discursos to connect modern Basques with their biblical ancestors. Across his work as both a painter and a writer Echave develops a uniquely New Spanish theory of art. Founded on the principles set forth in the Council of Trent that cast sacred images as conduits between humanity and divine beings, Echave{\textquoteright}s theory also sees painting as able to bridge the conceptual and physical distance that separates the New World from the Old World. Painting in seventeenth-century New Spain is often considered unsophisticated and entirely beholden to European models. The work of Baltasar de Echave Orio highlights the role of the New World in shaping New Spanish painting, and suggests a framework that allows us to reevaluate art from this period on its own terms.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Lazer, Brett} } @mastersthesis {12376, title = {New York School Painters and the Development of Avant-Garde Printmaking in the United States}, year = {2016}, school = {IFA/NYU}, abstract = {This dissertation documents two parallel narratives. One narrative chronicles opportunities for vanguard printmaking in the United States in the 1940s through the early 1960s, as they were introduced by innovative entrepreneurs such as Stanley William Hayter, Tatyana Grosman, and June Wayne. For many first-generation New York School painters working during this period, printmaking retained associations with social realism and figurative imagery. At the time, avant-garde concerns were dominated by an emphasis on abstraction, the autographic gesture, and the unique object-concerns which were philosophically and aesthetically opposed to printmaking{\textquoteright}s populist associations, its reliance on professional printers, and its techniques of replication. Yet even while Abstract Expressionism and Color Field painting dominated the critical and commercial sectors of the art world, painters such as Jackson Pollock, Willem de Kooning, Barnett Newman, and Philip Guston actively engaged with printmaking. With the encouragement of Hayter, Grosman, and Wayne, these artists helped to transform certain technical and aesthetic conditions of printmaking in ways that contributed to its viability as a progressive medium among a subsequent generation of artists. The second narrative reveals the ways that, conversely, these painters{\textquoteright} investigations in printmaking stimulated them to integrate certain fundamental aspects of that medium into their broader artistic practices. Hayter{\textquoteright}s emphasis on the "sculptural" properties of intaglio reinforced an integrated strategy in Pollock{\textquoteright}s artmaking, while providing a new technical vocabulary that specifically informed the development of his drip paintings. In 1957, de Kooning and Harold Rosenberg collaborated on an etching and aquatint that contains allusions to drama and contemporary art history, in a way that is consonant with the illustrational role that printmaking had traditionally fulfilled. The experience contributed to a particularly eclectic period of de Kooning{\textquoteright}s career, which culminated in two radical, painterly lithographs made in California in 1960. Newman and Guston both turned to lithography to correct periods of low productivity in their painting practices. Newman{\textquoteright}s preface to his lithographic portfolio, 18 Cantos, remains the most substantial statement on printmaking to be made by a first-generation New York School painter. In 18 Cantos, Newman exploited the booklike organization of the print portfolio to pursue heightened degrees of variation within a serial format, and to summarize, in a pedagogical way, certain esthetic concerns in his painting practice. These structural and didactic aspects of 18 Cantos would become central to Newman{\textquoteright}s late art-making strategies across a range of mediums.}, keywords = {Twentieth Century}, author = {Field, Jennifer} } @mastersthesis {12267, title = {Objects and Their Subjects: Art, Power, and the Making of History in Modern Japan and Europe}, year = {2016}, school = {Yale}, abstract = {This project focuses on the exchange of art objects between Asia and Western Europe during the late nineteenth and early twentieth centuries. Each chapter is focused on the work of a different painter and examines how each incorporated foreign elements into their paintings. The works of Jean Auguste Dominique Ingres, James McNeill Whistler, Vincent van Gogh, and Shigeru Aoki each reveal the different ways in which the past, history, the foreign, and notions of Otherness are reliant on the possession and collection of material objects, and therefore how History painting as a genre represents the intersection of the imagined fantasies and the earthly machinations of Imperialism. It also posits the existence of History painting (especially Neoclassicism) as a form of reflexive Orientalism.}, keywords = {East Asia}, author = {Bailey, Bradley} } @mastersthesis {12330, title = {October, Sexual Politics, and the Limits of Postmodernism}, year = {2016}, school = {Delaware}, abstract = {No record in ProQuest or Delware ETDs}, keywords = {Genders/Sexualities/Feminisms, Twentieth Century}, author = {Triandos, Theodoros} } @mastersthesis {12233, title = {Ogata Korin (1658-1716) and the Possibilities of Painting in Early Modern Japan}, year = {2016}, school = {Columbia}, abstract = {This dissertation investigates the work of Ogata Korin (1658-1716), one of the most idiosyncratic artists of Japan{\textquoteright}s early modern period. By employing aspects of literature and theater, as well as a focus on Korin{\textquoteright}s experimentations with the effects of style, materials, and artistic media, I elucidate how his oeuvre is characterized by a continuous strive to test the faculties of painting. Following a chronological approach, the four chapters of the dissertation trace Korin{\textquoteright}s life and work from his early steps as a painter to the collaboration with his brother Kenzan (1663-1743) during his final years. The chapters are framed by an introduction, a conclusion, and an appendix. The first chapter focusses on Korin{\textquoteright}s earliest works: two hanging scrolls depicting the medieval poet Sogi (1421-1502) and Hotei Playing Kemari, as well as a pair of screens entitled Poetic Meanings of the Twelve Months. These works reveal Korin{\textquoteright}s intellectual indebtedness to late medieval culture and the imperial court. Korin{\textquoteright}s initial engagement in the arts occurred alongside his first confrontation with medieval ink modes, which laid the foundations for Korin{\textquoteright}s lifelong understanding of that material. Numerous contemporary sources testify to Korin{\textquoteright}s passion for the Noh theater. This little-studied, formative period of Korin{\textquoteright}s life established his aesthetic sensibilities and is thus critical for understanding his art, a connection examined in the second chapter. Korin{\textquoteright}s perennial engagement with Noh put him in contact with high-level aristocrats, such as the Nijo family, as well as upper-tier clergy at the temples Daigoji and Nishi Honganji. The theater also provides a possible reading of key works by Korin, such as his screen painting Irises. The third and fourth chapters explore Korin{\textquoteright}s diversified dialogue with the material qualities of ink. The third chapter surveys his appropriation of a particular technique, tarashikomi, first championed by Tawaraya Sotatsu (d. ca. 1640). I propose that Korin turned to tarashikomi as he prepared to leave his native Kyoto for Edo, where he was active for around five years. The chapter argues that Korin used tarashikomi, a painting method associated with Kyoto culture, to solicit clients in the shogunal capital of Edo. The last chapter is devoted to Korin{\textquoteright}s collaboration with Kenzan. From the 1710s onward, the brothers created numerous examples of sabi-e, works in iron oxide on square ceramic vessels that emulate the techniques and visuality of paintings in ink. This unprecedented expansion of the boundaries of one medium to envelop another resulted in approximations of traditional ink paintings in ceramics. In the process, Korin expanded the paradigm of ink to include an entirely new material component. The appendix includes the first complete English-language translation of the collection of extant Edo-period letters and other documents by and about Korin that are contained in the Konishi Archives, held at the Kyoto National Museum, the Osaka Municipal Museum, and various other collections in Japan.}, keywords = {Artistic Practice/Creativity, East Asia}, author = {Feltens, Frank} } @mastersthesis {12253, title = {The Orientalist Book Industry (1840-80): Prisse d{\textquoteright}Avennes, Systems of Borrowing and Reuse, and the Marketing of Egypt}, year = {2016}, school = {Binghamton}, abstract = {Following the work of Edward Said (1935-2003) and the associated postcolonial wave of scholarship that arose in the 1990{\textquoteright}s, most scholars working on nineteenth-century orientalist art concentrated their attention on ideological questions and attempted to demonstrate the political implications that were the key factors in its creation. Few researchers have delved into the issues of commercialization and marketability of orientalist imagery. Since art historians stressed the agency of the individual specialists of oriental culture, when considering the orientalist publications, they have dissociated the illustrations included in these books from their original context of production and from their attached texts, which were often written by other orientalists, and thus ascribed a particular value to them as free standing images made by a single author. In this dissertation I explore the process of production and the system of organization of the nineteenth-century orientalist book industry on Egypt (1840-1880), by examining a variety of textual and visual sources produced by the key players of this industry, such as Emile Prisse d{\textquoteright}Avennes (1807-79). By focusing on two orientalist publications to which Prisse contributed, namely the Oriental album (London, 1848) and L{\textquoteright}art arabe (Paris, 1868-1877), I examine the extent to which the materiality of these books, their unstable notion of authorship, the complex relationships between publishers, artists, writers and printmakers, and lastly the new technologies of reproduction affected this orientalist book production and its representation of Egypt. This study aims to recast the notion of an independent orientalist voice in the hope of contributing to the postcolonial understanding of orientalism, by considering it not uniquely as a cultural construct, but also through nineteenth-century publishing practices that were undergoing changes, as the main engine of production, dissemination and naturalization of this orientalist imagery.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Nineteenth Century}, author = {Banas, Paulina} } @mastersthesis {12383, title = {Out from the Shadows: Andy Warhol{\textquoteright}s Abstractions}, year = {2016}, school = {IFA/NYU}, abstract = {This dissertation is about Andy Warhol and abstraction. It examines the origins of Warhol{\textquoteright}s relationship with abstract art in the 1940s and 1950s, his uses and misuses of abstractionist picture making strategies in the 1960s, and the cultural contexts that influenced his first two major series of abstract paintings-the Oxidation paintings and the Shadows-in the late-1970s. The current study represents an attempt not just to provide a more complex understanding of Warhol{\textquoteright}s engagement with abstract art, but also to reconsider his late abstract paintings according to the more immediate contextual forces that shaped the conditions of their production and reception. The Oxidation paintings and the Shadows designate a culmination of certain, otherwise obscured trajectories in Warhol{\textquoteright}s work as much as they provide an introduction to the themes and methods that would dominate his painting practice during his final decade. By tracing these trajectories from their source, this study aims to participate in the mode of perception that it hopes to describe. Its goal is to provide a glimpse into the shadow history of Warhol{\textquoteright}s art.}, keywords = {Twentieth Century}, author = {Loiacono, Mark} } @mastersthesis {12318, title = {Outside Looking In: Francisco de Holanda and the Margins of Renaissance Art}, year = {2016}, school = {IFA/NYU}, abstract = {Francisco de Holanda{\textquoteright}s four dialogues have been of interest to art historians as a Renaissance treatise on art theory and practice featuring Michelangelo as an interlocutor. The dialogues are the second part of a much longer text, Da Pintura Antiga (1548), following the first book of forty-four expository chapters. Generations of scholars have discussed whether Holanda may have recorded ideas that he heard in conversations with Michelangelo. Holanda also made more than one hundred drawings of antiquities and other things he had seen while traveling to Rome. These drawings have never been published at full scale or in full color so they have remained largely unknown and scarcely studied. Beginning with examination of the media and techniques of the original drawings, this study identifies graphic sources for some of the folios to show that Holanda{\textquoteright}s project was more complex than merely sketching what he saw. Like his text, his drawings involved a process of research and the selection and adaptation of sources. An overlooked self-portrait in one of these drawings is a linchpin of a more complex interpretation of the meaning and function of the drawings: this artist identified himself as a scholar. Considering the drawings in relation to the text, and both works in relation to the contexts of their making, this study concludes that the drawing-book and the treatise were parts of a multi-media campaign aimed at what Greenblatt called "self-fashioning." To this end Holanda used Roman antiquity as a framework, but the artist/author was the central subject matter of both the treatise and the drawings. He aimed at elevating the status of all artists in Portugal, and was particularly concerned with improving his own unlucky career.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Hecker, Joanna} } @mastersthesis {12327, title = {Painterly Vernacular and Pictorial Piety: Rogier van der Weyden, Robert Campin, and Jan van Ruusbroec}, year = {2016}, school = {Emory}, abstract = {Historians of Netherlandish art have long hailed Rogier van der Weyden (c. 1399-1464) and Robert Campin (c. 1375-1445) as founding innovators of northern Renaissance painting, renowned for their virtuosic naturalism, detail, and affective piety. Campin{\textquoteright}s work has frequently been cited for dizzying theological erudition, while Rogier{\textquoteright}s panels find praise for their emotion and formal elegance. I argue that the devotional tropes employed in many of these artists{\textquoteright} sacred paintings evince an important engagement with vernacular mysticism, particularly the work of the great Brabantine recluse and exegete, Jan van Ruusbroec (1293-1381). Ruusbroec{\textquoteright}s texts were actively disseminated among reform-minded groups within the Church by the Carthusians, an order that also exerted a pronounced impact on Rogier{\textquoteright}s work. In fact, Rogier{\textquoteright}s son became a Carthusian at the Charterhouse of Herne, a historic center for copying Ruusbroec{\textquoteright}s treatises. Ruusbroec expounded his complex theology in the untried lexicon of the vernacular, frequently punctuating his prose with highly visual analogies and colorful, rhetorical flourishes. I contend that his descriptions of divine vision and his vivid explication of Scripture resonate closely with the imagery employed by Rogier and Campin, who explored similar themes in their paintings, such as tailoring the soul to align with Christ, using images to commune with the incarnate "image" of God{\textquoteright}s son, and seeking mystical unification with the Father through the Eucharistic Christ. My dissertation examines the ways that Rogier and Campin borrowed, extrapolated, and reinterpreted Ruusbroec{\textquoteright}s literary tropes to construct the arguments in many of their paintings. Viewers of their work-particularly Carthusian custodians of Rogier{\textquoteright}s panels-would have been prompted to recall their own reading of Ruusbroec{\textquoteright}s texts as they meditated on the images. Ruusbroec, however, is just one of the sources that informed Rogier and Campin{\textquoteright}s oeuvres. Their compositions are by no means "illustrations" of his texts, and their allusions and tropes are distinct from his and also distinct from each other. Even so, Ruusbroec{\textquoteright}s Middle Dutch treatises offer an important and largely overlooked methodology for plumbing unprecedented devotional depth in northern Renaissance painting, a depth that extends well beyond formalism and iconography.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Wise, Elliott} } @mastersthesis {12311, title = {Painting as a "Modern Art": The Era of Giotto}, year = {2016}, school = {IFA/NYU}, abstract = {This dissertation studies the "modern art" (arte moderna) of painting as it was practiced and conceived in fourteenth- and early fifteenth-century Italy. The three chapters analyze texts ranging in date from the 1390s to the 1440s that describe painting as "modern." In each case, Giotto stands at the center of the discussion. Together, these sources demonstrate that the Middle Ages had its own distinctive criteria for the "modernity" of an "art," and that these criteria not only persisted, but even guided painting into the period known as the Renaissance. The first chapter studies Cennino Cennini{\textquoteright}s famous assertion, written around 1400, that Giotto "changed the art of painting from Greek into Latin and made it modern." In order to understand this statement, which has long intrigued scholars, I propose that it is necessary to better understand the genre in which Cennini was writing. I argue that the form, structure, and conceptual parameters of Cennini{\textquoteright}s handbook (the Libro dell{\textquoteright}arte) are the same as those of a wide variety of contemporary treatises on the "arts"-that is, artes, in the wide, medieval sense of the term that encompassed activities as diverse as arithmetic, poetry, carpentry, music, and preaching. Within this genre of late medieval technical literature, to make an art "modern" meant setting it on a new foundation in "science" (scientia) and rationalizing its procedures accordingly. When we compare the techniques described in Cennini{\textquoteright}s handbook with those of a Byzantine Greek treatise known in Italy during the same years, we see that the difference between the "Greek" and "modern" art of painting satisfied these same criteria. Giotto, in Cennini{\textquoteright}s eyes, had rationalized painting as a mode of production, imitating nature more closely not only in its outward appearance, but also inwardly, in its manner of operation. The second chapter studies a novella written by the Florentine poet and novelist Franco Sacchetti in the 1390s. In it, a debate arises among the leading Florentine artists of the mid-fourteenth century as to who the greatest painter had been aside from Giotto. Alberto Arnoldi, a prominent sculptor of the time, "resolves" the debate by arguing that a group of "modern painters" had in fact superseded Giotto: the women of Florence, experts in their use of makeup. In support of this ironic claim, Alberto embarks on a long, detailed description of the feats of modern makeup: the improvement of complexion, the straightening of the nose, etc. As I show, each and every one of these cosmetic transformations actually corresponds to a characteristic visual difference between Greek and "modern" paintings. Praising makeup as if it were painting, Alberto mocks the putatively "vulgar" outlook that understood painting{\textquoteright}s modernization as a process of mere beautification, neglecting the criteria proper to the "art" as such. Sacchetti thus writes in defense of a more sophisticated conception of "modern art" akin to Cennini{\textquoteright}s, but in doing so reveals that this concept belonged to a circumscribed group of elite painters and intellectuals who consciously defined their views against those of the general populace. The final chapter considers the fate of this fourteenth-century concept of "modern art" in the Renaissance by studying the work of the Paduan physician Michele Savonarola. Writing in the 1440s, Savonarola praised Giotto as the painter who "first modernized (modernizavit) ancient and mosaic figures," but also criticized him and his followers for their failure to fully rationalize the art{\textquoteright}s underlying idea (idea): the ideal human form. As a corrective, Savonarola develops a physiologically and statistically accurate canon of proportion to serve as a new scientific foundation for the art. In his mind, however, this ongoing process of modernization cannot help but steer the art back to the same state of perfection that Polykleitos had established in antiquity. Cennini{\textquoteright}s paradigm persists, but in practice, modernization is now indistinguishable from the imitation of the ancients.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Brennan, Robert} } @mastersthesis {12281, title = {Painting, Authority, and Experience at the Twilight of the Grand Siecle, 1688-1721}, year = {2016}, school = {Harvard}, abstract = {This dissertation offers a new reading of French painting between the decline of Charles Le Brun and the maturity of Jean-Antoine Watteau, a period long dismissed as a transition to the rococo. Drawing on a constellation of polemical aesthetic debates, it traces how the intellectual and political crises that beset France during the final years of Louis XIV{\textquoteright}s reign and the Regency destabilized the sources of authority that previously secured painting{\textquoteright}s meaning and mission. Artists{\textquoteright} confrontation with the period{\textquoteright}s shifting ground of sovereignty transformed the relationship between painting and spectator, making the encounter with art a moment for the formation of a subjectivity independent of royal power. Contrary to the accounts that have portrayed absolutism as the antithesis of aesthetic innovation, this study thus relocates the story of modern art and subjectivity within the heart of absolutist culture. Each chapter is centered on a different institution of established authority and the paintings that called the legitimacy of those institutions into question, focusing on the era{\textquoteright}s four most innovative artists: Charles de La Fosse, Jean Jouvenet, Antoine Coypel, and Antoine Watteau. Chapter one, on La Fosse{\textquoteright}s mythological paintings for the royal retreats of the Trianon de marbre, examines the king{\textquoteright}s private body as a new site of artistic freedom as it became increasingly alienated from the representational machinery of the absolutist state. Chapter two, on Jouvenet and La Fosse{\textquoteright}s frescos for the dome of the Royal Church at the Invalides, investigates how the paintings pitted the precedence of the mystical bond between God and King against the claims of a newly empowered spectator. Chapter three explores how Coypel{\textquoteright}s Gallery of Aeneas, painted for the regent after Louis XIV{\textquoteright}s death, responded to the crisis of the hero in the wake of the Sun King by putting forward a new idiom of "modern" painting that spoke to the moral and political stakes of spectatorship during the Regency. A coda, on Watteau{\textquoteright}s fetes galantes, argues that, by eliciting reverie in the spectator, Watteau{\textquoteright}s canvases challenged painting{\textquoteright}s new-found authority to promote the primacy of the viewer{\textquoteright}s private, subjective experience.}, keywords = {Eighteenth Century}, author = {Wile, Aaron} } @mastersthesis {12392, title = {Painting, Popular Culture, Politics: Depicting Tradition on the Eve of the Spanish Civil War (1936-1939)}, year = {2016}, school = {Michigan}, abstract = {This dissertation focuses on painterly explorations of tradition, modernity that supposedly opposed it, and the putrefaction and decay inherent in each cultural pole, during the years leading up to the Spanish Civil War. These themes are manifest in the work of Jose Gutierrez Solana (1886 - 1945), Maruja Mallo (1902 - 1995) and Salvador Dali (1904 - 1989), all active as painters in Madrid at the beginning of the 20th century. Although each came from provinces wherein regional identities were strongly asserted, their artistic output does not betray evidence of a particular interest in exploring these aspects of locality. Rather these artists, also all accomplished writers, were drawn toward the complex realities of everyday historical existence as they played out more generally in a Spanish context. They refused promotion of the stereotypical cultural elements of Spanish folklore just as they were suspicious of modernity and the supposed infrastructural and social improvements it involved. Solana, a member of the old guard of painting, celebrated by Madrid{\textquoteright}s avant-garde circles, looks at Spain and sees and paints decay. His treatment of the theme in a sustained pictorial language is so recognizable that it engendered its own adjective: solanesco. Mallo and Dali, committed modernists, celebrate the diverse offerings of the machine age, which would seem to place them a world apart from the older artist. Moreover, in their paintings the younger artists, friends during their student years, were known for the application of an ever-changing panoply of figurative styles, further differentiating their work from Solana{\textquoteright}s. Yet like Solana they recognized elements of decay and putrefaction within their environs, and their plastic considerations of these themes took on a decidedly solanesco character. This dissertation brings the paintings and writings of these artists into a productive conversation revealing not only shared attitudes concerning tradition in Spain during the first decades of the 20th century, but also allowing for a reframing of their work. I consider Solana{\textquoteright}s oeuvre not as representative of the end of particular tradition of Spanish genre painting, but as a stimulus for avant-gardists Mallo and Dali, usually discussed within the context of Surrealism.}, keywords = {Twentieth Century}, author = {Wieck, Anna} } @mastersthesis {12243, title = {Parallel Processing: Conceptual Art in the Age of Revolt}, year = {2016}, school = {British Columbia}, abstract = {This dissertation investigates Conceptual artists and their practices ranging from John Latham in 1966 to Hans Haacke in the early 1970s, with a particular focus on the link with educational institutions, student protest movements, and a desire for autonomy found in all three. It is through an analysis of the relationship between Conceptual art and the various notions of autonomy that result in a different way of understanding Conceptual art. Instead of perceiving Conceptual art as merely reflecting the social context of an administered society, or conversely of artist-intellectuals critiquing institutions, I highlight that often these two modes existed simultaneously to create a sense of being bound and free at the same time. The neutrality and distance of early Conceptual works from the more politically engaged protest movements is reassessed as a radical disengagement that operated as a model for artist and viewer to self-question their presuppositions of existing norms through a set of relations with the work. In effect, working as a cultural site of radical possibility that offered an alternative to the world in its current form, and simultaneously heightening the awareness of the provisional nature of any given viewpoint. Likewise, I analyze how later Conceptual works that negatively highlighted the extent that social and institutional systems supported the status quo, while important at the time, may have unintentionally set contemporary art on a path towards functionalization that ironically has led to less autonomy rather than more autonomy. The philosophical approach I have taken using Theodor Adorno{\textquoteright}s theories has allowed for not only uncovering the desire for autonomy, but how this desire helped explain the very contradictions within artistic practices that were attempting to navigate uncharted waters. The quest for autonomy highlights Conceptual artists re-imagining themselves as intellectually engaged artists through which their do-it-yourself approach to education produced truly new forms of art instead of just recreating past traditions. The contradictions detailed in these practices highlight what was both resisted and subsumed by social and economic circumstances, as well as the potential and pitfalls.}, keywords = {Conceptual Art}, author = {Narusevicius, Vytas} } @mastersthesis {12316, title = {Patterns of Salvation: Visual Typology in the Low Countries, 1550-1600}, year = {2016}, school = {Emory}, abstract = {In the Middle Ages, typology as a means of conveying divine truths dominated the liturgical and hermeneutical sphere. The sixteenth century saw its expansion into the public domain, as well as a significant diversification in its application, particularly in the visual arts. The foundation of typological thought is the idea that God{\textquoteright}s salvific plan for mankind is reflected in and revealed through his Creation, and can be discerned by studying patterns in the Bible, History and Nature. In this dissertation it is argued that a biblical definition of typology has impeded our understanding of visual typology and an alternative definition is proposed: Typology is an exegetical method that looks for patterns in salvation history as manifestations of the divine will and its purpose for mankind. This dissertation explores the way in which sixteenth-century artists in the Low Countries reexamined typology{\textquoteright}s interpretative potential to invite their viewer{\textquoteright}s engagement in a visual hermeneutical process, encouraging both a close reading of the Scriptures, and a reflection of the viewer{\textquoteright}s own place in salvation history. At the core of the dissertation are selected works of four prominent artists from the Low Countries: Maarten van Heemskerck ( Clades Judaeae Gentis, print series, 1539), Karel van Mander ( Adoration of the Shepherds Surrounded by Six Prophets engraving, 1588, and The Crossing of the River Jordan, a painting from 1604), Cornelis Cornelisz van Haarlem (the Prinsenhof Quartet: Massacre of the Innocents, Monk and a Beguine, Fall of Man, Wedding of Peleus and Thetis, painted 1591-1593) and Marten de Vos (Wedding at Cana altarpiece of 1597, and the Panhuys panel, 1574-1575). These four artists each employed typology to make their arguments in works of art that carried great personal significance to them and reflect the social and political turmoil of the second half of the sixteenth-century in the Low Countries.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Groentjes, Mirjam} } @mastersthesis {12287, title = {Performing Paradise in the Early Christian Baptistery: Art, Liturgy, and the Transformation of Vision}, year = {2016}, school = {Johns Hopkins}, abstract = {Images representing paradise were some of the most pervasive in Early Christian churches throughout the Mediterranean from approximately the fourth to sixth centuries, but it was only through the baptistery and its attendant rituals that the Christian initiate entered the faith community and had subsequent access to the pictorial cycles within the church interior. The baptistery was both the actual and metaphysical gateway for Christian initiates entering the Church, understood symbolically as the body of Christ and physically as the primary location of Christian cult adjacent to the baptistery. The role of paradise within that space, therefore, offers unique insight into the trajectory of Early Christian beliefs in salvation, as well as the threshold of earthly and heavenly existence that Christian initiates were thought to inhabit within baptismal space. Baptistery research has surged in the last fifteen years, but the focus has been primarily architectural and typological. This dissertation shifts the discussion toward a more theoretical context for understanding how visions of paradise were constructed in Christianity{\textquoteright}s central induction ritual. The dissertation examines the pictorial, material, and liturgical strategies employed in Early Christian baptisteries of the Mediterranean to recreate paradise sensorially. The experience of paradise not only transformed baptismal initiates into new Adams and Eves reenacting the fall of humanity upon an Edenic stage, but it also facilitated the transformation of the carnal senses into spiritual perception, deemed necessary for physical bodies occupying a liminal space that was thought to unify terrestrial and celestial realities. I examine the development and transmission of paradisiacal motifs and strategies of vision and the manipulation of sensory experience in the baptisteries of Italy, North Africa, and the southwestern Balkans, pairing them with contemporary theories of performative space and late-antique discourse on sensory perception.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation, Sixth to Tenth Century}, author = {Dennis, Nathan S.} } @mastersthesis {12333, title = {Performing Pedagogy: Anna Halprin, Allan Kaprow, Robert Watts, and Alison Knowles{\textquoteright} Workshops in Experimental Education}, year = {2016}, school = {USC}, abstract = {Anna Halprin, Allan Kaprow, and Alison Knowles each established an artistic practice that made use of scores for event-based performances. In 1959 Halprin innovated her improvised form of ordinary, task-oriented kinesthetic movement in collaborative events with her San Francisco Dancers{\textquoteright} Workshop (SFDW), founded that year. Also in 1959, Kaprow staged his first large-scale public Happenings, which evolved into more intimate Work Routines and Activities. Knowles first wrote and performed her abbreviated scores, or Propositions, with Fluxus in 1962 and since then has produced participatory intermedia events and installations. What is less well known is how Halprin, Kaprow, and Knowles incorporated event-based performances into experimental education in California in the 1960s and 1970s. Although a few monographs or scholarly studies discuss these artists{\textquoteright} pedagogical interests, this is the first dissertation to delve deeply into how they integrated event scores into specific courses and collaborative workshops in self-generated contexts or established art schools and universities. In the chapters that follow, I demonstrate how they imbricated their performances into teaching by using everyday activities and mundane materials, by activating the body and sensory perception, by exploring urban sites and natural environments, and by encouraging communication and collaboration. I argue that the integration of their performance methodologies and pedagogical strategies facilitated experimental and experiential learning, allowing students to acquire knowledge and to access multiple intelligences. I conclude that the event-based teaching experiments undertaken by Halprin, Kaprow, and Knowles in the 1960s and 1970s continued to influence their subsequent artistic production and remain relevant today given the resurgent interest in pedagogy since the mid-2000s.}, keywords = {Installation/Environmental Art, Performance Art/Performance Studies/Public Practice}, author = {Moss, Karen} } @mastersthesis {12363, title = {The Photographic Universe: Vilem Flusser{\textquoteright}s Theories of Photography, Media, and Digital Culture}, year = {2016}, school = {CUNY}, abstract = {Despite accelerated changes in the way we create, view, and experience photographs, critics and scholars in North America continue to read and assign an accepted canon of photography theory, often predicated on old concepts and technologies. This dissertation seeks to remedy that situation. It focuses on the work of Czech-Brazilian philosopher Vilem Flusser (1920-1991), author of such books as Towards a Philosophy of Photography (1983), Into the Universe of Technical Images (1985), and Does Writing Have a Future? (1987), which develop a theory of technical images that reaches beyond photography to include film, television, video, computer, and satellite images. Rather than reading images textually, Flusser employed philosophy and information theory to consider the apparatuses of image making and the screens through which we communicate. Born in Prague in 1920 and forced to flee Europe in 1939, Flusser spent thirty-two years in Brazil before returning to Europe. He was a philosopher, yet practically an autodidact. His entire family was killed in the holocaust and he became a proponent of migration and wrote in multiple languages: German, Portuguese, French, and English. Moreover, Flusser was writing at a moment when digitization and biotechnology and were both emerging and these overlap in books like Vampyroteuthis infernalis (1983) and his "Curie{\textquoteright}s Children" column for Artforum magazine (1986-1991). This dissertation will examine Flusser{\textquoteright}s thought from its roots in European thinkers like Husserl, Heidegger, Wittgenstein and Kafka, to its place alongside contemporary theorists and media philosophers such as Marshall McLuhan, Friedrich Kittler, Jean Baudrillard, Paul Virilio, Donna Haraway, Alexander R. Galloway, and Francois Laruelle. Not only this does this dissertation introduce Flusser into the U.S. conversation on photography history and theory, it coincides with renewed interest in other artists and theorists from the seventies and eighties whose work, rather than becoming "obsolete", like early versions of technology, aids us in thinking about images and culture today.}, keywords = {Photography, Visual Studies/Visual Culture Studies}, author = {Schwendener, Martha} } @mastersthesis {12202, title = {Photography in the Colonial Congo, 1885-1960}, year = {2016}, school = {Columbia}, abstract = {Historians of photography have generally represented colonial photography as a predictable and oppressive genre. Taking the Belgian Congo (1885-1960) as its subject, this dissertation argues that the medium has also been the instrument of a rapprochement between metropole and colony, not only in the hands of Europeans, but also in those of Africans, as the consequence of a long-lasting reaction against the worldwide diffusion of the so-called "Congo atrocities" pictures (1904-1908). Chapter One explores this pivotal episode in the history of photography. The exceptional violence of these images prompted the counter-development of a representational ideal-the colonie modele-that was deployed at two historical moments: first, in the interwar period with the illustrated magazine L{\textquoteright}Illustration Congolaise, and after World War II with the governmental photographic service InforCongo. In Chapter Two and Three, the studies of L{\textquoteright}Ilustration Congolaise and InforCongo trace how this colonial rapprochement was encouraged by increasingly representing Congolese decor and subjects as the mirrored image of Belgium, until it peaked in the late colonialism{\textquoteright}s concept of a "Belgian-Congolese community." Chapters Four and Five turn to Congolese family albums and queries how Africans{\textquoteright} self-representations sought to integrate-or not-the model colony. Based on research carried out in Belgium and in the Democratic Republic of the Congo, this dissertation is the first in-depth study of a history of photography in the Congo and the first comprehensive history of photography within a single colonial regime. Similarly, this project presents the first in-depth study of African family albums, examined in the multiple aspects that make up the significance of the photographic subject{\textquoteright}s experience. Photography in the Belgian Congo developed in three contexts: European, African and colonial, which overlap but have usually been explored separately. This dissertation aims to weave together these different aspects, fully appreciating and integrating the vivid racial tensions inherent in a colonial system, but ultimately aspiring to complicate the visual colonial relations materialized in photography by taking into consideration parameters of assimilation and collaboration, co-authorship, or again, seduction.}, keywords = {Africa, Photography}, author = {Colard, Sandrine} } @mastersthesis {12350, title = {The Photography of Absence: Death in Postmodern America}, year = {2016}, school = {Rutgers}, abstract = {It is a paradox that postmodern photographic theory-so thoroughly obsessed with death-rarely addresses intimate scenes of explicit death or mortality. Rather, it applies these themes to photographs of living subjects or empty spaces, laying upon each image a blanket of pain, loss, or critical dissatisfaction. Postmodern theorists such as Rosalind Krauss and Geoffrey Batchen root their work in the writings of Roland Barthes, which privilege a photograph{\textquoteright}s viewer over its subject or maker. To Barthes{\textquoteright} followers in the 1980s and 1990s, the experiences depicted within the photograph were not as important as our own relationships with it, in the present. The photographers of the Pictures Generation produced groundbreaking imagery that encouraged the viewer to question authority, and even originality itself. Little was said, though, about intimacy, beauty, the actual fact of death, or the author{\textquoteright}s individual experience. However, a significant group of American art photographers at the end of the twentieth century began making works directly featuring their own personal experiences with mortality. This dissertation examines the motivations and strategies of four such photographers: Robert Mapplethorpe, JoAnn Verburg, Nan Goldin, and Sally Mann. Additionally, it addresses the social environment that gave rise to these artists{\textquoteright} reflections, such as the AIDS crisis and the aging Baby Boomer population. The photographers discussed here share not only social context, but also values and aesthetic concerns. Included on this list are the embrace of unironic emotional expression, the co-option of beauty as an aesthetic and emotional tool, emphasis on the photograph as a physical object, and a desire to convey to the viewer what it is like to be them-a unique person existing in a particular space and time, feeling specific joys and losses. It is impossible to fully understand the subsequent photographic work of the twenty-first century without considering these artists{\textquoteright} influence alongside that of the Pictures Generation. Doing so allows a deeper, more subtle analysis of contemporary photography{\textquoteright}s engagement with time, mortality, intimacy, and beauty, as well as irony, critique, trauma, and appropriation. It enables us to see the true hybrid of influences that have created twenty-first century photography.}, keywords = {North America, Photography}, author = {Scott, Mary Kate} } @mastersthesis {12201, title = {Picturing Freedom{\textquoteright}s Shores: The Visual Culture of Liberian Colonization, 1821-1861}, year = {2016}, school = {Virginia}, abstract = {This dissertation examines how different actors used visual culture to promote and respond to the African colonization movement in the United States from 1821, the year of Liberia{\textquoteright}s establishment by the American Colonization Society (hereafter, ACS), to 1861, the start of the American Civil War. Exploring a wide range of material including popular prints, book and newspaper illustration, paintings, settler architecture, daguerreotypes, and indigenous African material culture, I consider how Liberia functioned as an idea in the popular imaginations of various people on both sides of the Atlantic, including colonization promoters, Liberian settlers, abolitionists, the American public, and indigenous Africans. In doing so, I seek to fill noticeable gaps in two fields of literature: the study of race in antebellum American visual culture, which has yet to consider how colonization pictures were in conversation with popular antislavery imagery; and the history of the African colonization movement, which has overlooked the role of the visual in the Liberian settlement project. Exploring the process of Liberian place creation that took place beyond the boundaries of written discourse, this dissertation demonstrates that the creation, reproduction, and transatlantic circulation of visual and material culture shaped the colonization movement and antebellum American culture in ways that scholars have yet to acknowledge. Examining how colonization iconography developed in conversation with popular anti-slavery visual culture, I argue that the colonization and abolition movements, though often antagonistic toward one another, were nevertheless more fluid and entangled than historians have traditionally recognized. Through an analysis of early maps of Liberia, I also demonstrate that the ACS{\textquoteright} desire to "civilize" the African continent was articulated in terms of spatial transformation using strategies that anticipated those of later European imperialists. While historians have been reticent to frame Liberian colonization within the context of early American imperialism, Liberian maps as well as the collection and public display of African artifacts in the United States = which contributed to the development of the myth of a "Dark Continent = reveal that the ACS{\textquoteright} settlement project indeed embodied a goal of establishing a "United States of Africa." After Liberia{\textquoteright}s transition to independence in 1847, I further contend, popular representations celebrating the young republic as a "coloured America on the shores of Africa" also reveal the contradictions and ironies inherent in the settlement process, as elite settlers ultimately established plantation landscapes dependent on the exploitation of indigenous labor.}, keywords = {Africa, North America}, author = {Schade, Jill Baskin} } @mastersthesis {12257, title = {Picturing Greater America: US Modernist Photographers and the Mexican Cultural Renaissance, 1920-45}, year = {2016}, school = {Brown}, abstract = {Artists were among the many cultural and political pilgrims who traveled or expatriated from the United States to Mexico after its Revolution (c. 1910-1920) in{\textellipsis}}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Twentieth Century}, author = {Bravo, Monica} } @mastersthesis {12270, title = {Picturing the Afterlife: The Shojuraigoji Six Paths Scrolls and Salvation in Medieval Japan}, year = {2016}, school = {Princeton}, abstract = {The set of Six Paths paintings completed in the mid-thirteenth century and owned by Shojuraigoji temple in Shiga Prefecture represents one of the most ambitious attempts to render the first chapter of The Essentials of Birth in the Pure Land (ojoyoshu, 985) in pictorial form. The Essentials extols the virtues of the nenbutsu, or recitation of Amida Buddha{\textquoteright}s name, as a paramount practice for attaining birth in the Pure Land and salvation at the time of death. The first chapter, more specifically, describes the suffering in the six paths of rebirth-hell, hungry ghosts, animals, fighting demons, humans, and celestial beings-to emphasize the urgent need to practice the nenbutsu to avoid an afterlife filled with torture and affliction. Indeed, both mediums present a similar view of the cosmological structure of the Buddhist universe, and the paintings, like the descriptions in the text, depict the various punishments that await a person in each of these realms should he or she commit transgressions or neglect Buddhist practice while alive. In my dissertation, I reexamine and contest the claim that the paintings served as entirely faithful illustrations of The Essentials. In challenging a longstanding methodology in Buddhist art history that gives primacy to scripture and understands images as consequences of its production, I investigate the role of text in the painting process by focusing on those places where the images diverge from the writings they purport to illustrate. Through a close analysis of the Shojuraigoji scrolls, and by drawing on contemporaneous paintings that also depict the six realms, as well as courtiers{\textquoteright} diaries, votive inscriptions, Buddhist iconographic compendia, narrative tales, and architectural records of halls designed for funeral services, I argue that these images reflected shifts in belief and practice, and in turn, informed the meaning of the very texts from which they derived their authority. I show how the Shojuraigoji scrolls became the new archetype of hell-related imagery employed in a ritual context for the benefit of the deceased and to ensure liberation for those still living, and how the paintings endured over time as exemplars of Buddhist faith.}, keywords = {East Asia}, author = {Chusid, Miriam} } @mastersthesis {12273, title = {Poetry and Painting: Qiao Zhongchang{\textquoteright}s {\textquoteright}Illustration to the Second Prose Poem on the Red Cliff{\textquoteright} Handscroll}, year = {2016}, school = {Brown}, abstract = {Qiao Zhongchang{\textquoteright}s (active early twelfth century) Red Cliff is a multiple-scene handscroll illustrating Su Shi{\textquoteright}s (1037-1101) narrative poem, "The Second Prose Poem on the Red Cliff." Sherman Lee hailed it as a "masterpiece of the highest quality and originality" and a "key monument" in the early history of scholar painting. The work, however, possesses peculiar formal features that challenge our understandings of the emergence of scholar painting during the late Northern Song (960-1127) and the text-image and poetry-painting relationships in the Chinese tradition. Popular semiotics and narratology theories developed out of the Western art and literary traditions appear to be inadequate to explain the purposes and functions of these features. This dissertation applies a literary theory proposed by Kao Yu-kung specifically for Chinese poetry and narrative to an investigation of Qiao{\textquoteright}s Red Cliff. The theory suggests that when composing poems and narratives, pre-modern Chinese authors used two types of languages -propositional and imagistic languages -to invoke in their readers two sets of experiences -narrative and lyrical experiences. Because the Northern Song scholars considered poetry and painting to be homologous arts, this theory is applicable to a scholar painting such as Qiao{\textquoteright}s Red Cliff. Furthermore, by performing visual analysis on the images and inscriptions, examining the colophons written by the artist{\textquoteright}s contemporaries, and utilizing recent findings derived from multimedia learning and teaching, this dissertation reconstructs Qiao{\textquoteright}s Red Cliff{\textquoteright}s original viewing situation and its intended viewers{\textquoteright} viewing behaviors, and reveals the rationales behind the features that we deem peculiar today. For example, it answers a question that had long baffled many of us: Why is the protagonist not rendered in the climax scenes? In conclusion, this dissertation finds that the conventions of poetry making influence the image composition and text placement of a scholar painting and that a scholar{\textquoteright}s poetry reading habit affects his painting viewing practice. More importantly, this dissertation{\textquoteright}s theoretical framework has general applicability, offering a new perspective and method to study scholar painting, narrative painting, handscroll painting, and text-image tradition in China.}, keywords = {East Asia}, author = {Jiang, Wei} } @mastersthesis {12305, title = {Poussin, Ballet, and the Birth of French Classicism}, year = {2016}, school = {Columbia}, abstract = {Examining a group of pictures painted in the early-to-mid 1630s, this dissertation sets out to demonstrate that Nicolas Poussin{\textquoteright}s turn to the subject of dance helped him transform his style from the sensuous Venetian manner of his early years to the cool, crisp, relief-like approach that would characterize his mature work and form the basis for French Classicism in subsequent decades. Painting dancers allowed Poussin to work through the problem of arresting motion, to explore the affective potential of the body represented, and to discover a measured, geometric compositional method capable of containing and harnessing that potential. The resulting pictures, painted in Rome, were warmly received in Paris by a group of early collectors that included dancers, patrons, amateurs, and theorists of another modern French art: the ballet de cour. Ballet{\textquoteright}s cultivation of a fiercely controlled physicality, its wild Dionysian characters and learned Apollonian conceits, above all, its insistence on a hidden geometric order underlying the chaos of embodied experience primed early French observers of Poussin{\textquoteright}s dancing pictures to recognize something of themselves in his new approach. Though Poussin did not set out to define French Classicism, and though his brief service as premier peintre to Louis XIII demonstrates how ill-suited he was to the role of official artist, the fact that his dancing pictures shared so much-on the level of patronage, iconography, even, perhaps, theoretical underpinnings-with the ballet de cour may help explain why these works (and, indeed, Poussin himself) were so eagerly appropriated by France in the Classical Age.}, keywords = {Fifteenth- to Seventeenth-Century Art, Painting}, author = {Beeny, Emily} } @mastersthesis {12367, title = {The Power of Objects: Ars Sacra and the Negotiation of the Sacred in Late Byzantium (13th-16th Centuries)}, year = {2016}, school = {Northwestern}, abstract = {This dissertation, The Power of Objects: Ars Sacra and the Negotiation of the Sacred in Late Byzantium (13th-16th Centuries), shows how the production, decoration, donation, and use of liturgical objects both created and reflected tensions in Byzantine ritual practice. During the late Byzantine period, liturgical objects-the chalice, paten, associated vessels, and altar textiles-became increasingly central in the religious lives of Byzantine worshippers, a reaction to a breakdown of other means of religious involvement during the church service. Worshippers took communion as seldom as once a year, most prayers were whispered inaudibly, and the view of the altar was blocked by a screen covered in icons. In this context, the donation and use of liturgical objects created an alternative means of sacred access for worshippers. At the same time, the very liturgical objects that could provide access to the divine for the worshipper also reinforced the superior role of priests. To understand these dynamics, I trace the lives of liturgical objects, beginning with their commission, design, and inscription, and moving through their use during the service. The argument is structured by important moments in the lives of the ritual objects: it is divided sequentially into two major parts, focusing first on the objects{\textquoteright} role before the liturgy and then on the precise use of ars sacra during the liturgy itself. Part one, "The Patron{\textquoteright}s Part", considers the commission and donation of liturgical objects, situating them within broader trends of patronage during late Byzantium at all social levels. Drawing on gift theory, this section investigates the role of donation in shaping the triangular relationship between donor, community, and the divine. This relationship is explored further in chapter two, which features two case studies. Chapter one discusses the wider dynamics of giving, while chapter two shows that within these larger trends each object navigates very specific political and religious circumstances. Part two, "The Ritual Lives of Things", shifts to the ritual enactment of the liturgical objects. The objects are considered as they were experienced by the laity and clergy within a Eucharistic service. Chapter three follows the procession of the objects from the nave to the altar in the Great Entrance, while chapter four considers the use of the objects during Communion itself. This section considers the formal qualities, development, and ritual roles of these liturgical objects. Drawing inspiration from sensory studies, part two places them within the church space in order to emphasize the sensorial experience of ars sacra by a broad variety of congregants and clergy. As a whole, the dissertation questions the role of ars sacra in orchestrating lay and clerical experience from commission through ritual use.}, keywords = {Sixth Century CE to Eleventh Century CE Art}, author = {Hedrick, Tera Lee} } @mastersthesis {12218, title = {Prepared with great craftiness{\textquoteright}: St. Magnus Cathedral, Rognvaldr Kali Kolsson, and Orkney{\textquoteright}s Autonomy in the Medieval North Sea World}, year = {2016}, school = {Virginia}, abstract = {This project reevaluates the political position of the Earldom of Orkney within the medieval North Sea world by tracing aesthetic and cultural links between St. Magnus Cathedral and churches in England, Scotland, and Norway. The cathedral does not represent national subjugation and cultural dependency as previously assumed; rather, the cathedral and its iconography in Orkneyinga saga embed the Norse earls within patronage and narrative trends of foreign and Biblical kings to make a final, if ultimately unsuccessful, claim for Orcadian autonomy.}, keywords = {Architectural History/Urbanism/Historic Preservation, Eleventh to Fourteenth Century, Film/Video/Animation}, author = {Grayburn, Jennifer} } @mastersthesis {12337, title = {Prophecy, Power, and Change: Meetings between the Skwxwu7mesh and Tsimshian in the Early 20th Century}, year = {2016}, school = {British Columbia}, abstract = {No record in ProQuest, British Columbia has it embargoed}, keywords = {Native American/First Nations}, author = {Crosby, Marcia} } @mastersthesis {12223, title = {Provisional Capital: National and Urban Identity in the Architecture and Planning of Bonn, 1949-1979}, year = {2016}, school = {CUNY}, abstract = {This dissertation explores the physical transformation of Bonn in the postwar period, with a particular focus on the 1960s and 1970s, as the city accommodated the West German federal government. Bonn{\textquoteright}s long campaign in the 1960s to redraw its municipal borders and the federal government{\textquoteright}s construction of several high-rises in the city and its neighbor, Bad Godesberg, were the most concrete markers of Bonn{\textquoteright}s evolution as a capital city in this period. The complex political processes and sometimes bitter conflicts behind each of these developments paralleled the gradual and successful entrenchment of democracy in the Federal Republic of Germany. At the same time, the close entanglement of Bonn{\textquoteright}s urban space and federal architecture with West German national identity confounds our expectations about the ways that capital cities represent the values of the political systems and cultures that build them. Individually and collectively, Bonn{\textquoteright}s government buildings offered little in the way of symbolic forms onto which citizens could project their growing sense of national identity and attachment to the democratic institutions that they housed. At the local level, the public universally despised the invasion of their cherished landscape. By focusing instead on the processes behind the planning initiatives and the reception of the new buildings, this dissertation demonstrates that Bonn{\textquoteright}s perennially unfinished and provisional federal districts perfectly expressed the conflicting forces at work as West Germans consolidated their identity as members of a democratic and pluralistic civil society.}, keywords = {Architectural History/Urbanism/Historic Preservation, Politics/Economics}, author = {Sadow, Samuel} } @mastersthesis {12377, title = {The Purpose of Public Sculpture: Artistic, Institutional, and Cultural Motivations from 1965-1995}, year = {2016}, school = {Michigan}, abstract = {Since the mid-1960s, the pace and scale of public sculpture production in America has increased exponentially. Notably, the purpose of these sculptures was not commemorative (as is the case for monuments and memorials), but rather for public benefit, broadly conceived. Within two decades, public sculpture moved from a handful of privately-funded examples at major buildings to a veritable industry, thanks to large government-led public art programs, hundreds of smaller public and private initiatives, and the widespread interest of artists and communities. Along the way, an infrastructure developed to maintain that work and ensure its continual production. And yet, beyond a handful of well-known controversies, remarkably little is known about how this new field took shape, what motivated various artistic, institutional, and cultural actors to participate, and what factors fueled and sustained its expansion. Existing scholarship on public sculpture has taken two major paths: celebratory and uncritical surveys of existing artworks, and studies that frame public sculpture as a site that has seen occasional engagement with the major concerns of modern art, but also one that has been unable to maintain any sort of critical or social import. This study reconciles those two approaches and offers an alternative. It uses a combination of focused case studies, data analysis, and attention to structural growth in order to understand how and why public sculpture has become a fixture of the modern American urban landscape. It considers the rapid expansion of public sculpture production as both an artistic and cultural phenomenon-one that has seen sustained and widespread public and institutional interest, but also one that hardly factors into current studies of modern art. This text argues for a reconsideration of the significance of that work and a fuller understanding of the relationship between the dramatic growth of public sculpture production and the larger project of sculpture making in the later half of the twentieth century.}, keywords = {Twentieth Century}, author = {Hartigan, Nicholas} } @mastersthesis {12366, title = {Radical Immersion in the Work of Melvin Van Peebles, Isaac Julien, and Steve McQueen}, year = {2016}, school = {Pennsylvania}, abstract = {My dissertation theorizes immersion as a Black radical aesthetic. More specifically, it traces how transatlantic filmmaker Melvin Van Peebles and a subsequent generation of transatlantic artists and filmmakers, notably Isaac Julien and Steve McQueen, use immersion to both visualize the lateral, interconnected relations of what Edouard Glissant would call "creolization" and explore how Blackness, as an aesthetics and politics, occupies the position of object within, rather than distanced from, the scene. Standing in sharp contrast to the dominant understanding of moving-image immersion as an agent of late capital, Van Peebles{\textquoteright}s landmark film Sweet Sweetback{\textquoteright}s Baadassssss Song (1971), Julien{\textquoteright}s three-channel installation Baltimore (2003), McQueen{\textquoteright}s first feature-length film Hunger (2008) and his installation Western Deep (2002) chart an alternative version of immersion in the movie theater or museum, a model of space and relations that transgresses, condenses, and ultimately creolizes the space separating spectatorial subject from displayed object. In so doing, these works imagine another world, a creolized world out from under the hierarchical order of our current one.}, keywords = {Race/Ethnicity}, author = {Ickes, Charlotte} } @mastersthesis {12343, title = {The Radical Print: British Art and Graphic Experiment in the Paper Age}, year = {2016}, school = {Yale}, abstract = {This dissertation examines connections between high art, printmaking and political radicalism in late eighteenth-century Britain to argue for the print as a formative site of artistic modernity. In a series of case-studies from James Barry{\textquoteright}s Phoenix (1776) to William Blake{\textquoteright}s Laocoon (1826-27), it establishes a framework for thinking about art in what contemporaries called the "Paper Age," in which pamphlets, newspapers, and banknotes, among other print genres, mediated the values and ideas of a society in the midst of intensified political contestation and change. This is the first study to bring the prints of Barry, John Hamilton Mortimer, James Gillray, Thomas Bewick and Blake together for exploration through the lens of radical politics. Considering these artists as a group of printmakers allows for new connections and comparison, but it also provides a way to approach the larger question of artistic transformation in an "Age of Revolution." It further suggests how the print itself shared a number of late eighteenth-century radicalism{\textquoteright}s structuring concerns: the related problems of temporality, freedom, mediation, and the location of an origin. Chapter One examines Barry{\textquoteright}s Phoenix, produced in immediate response to the American Revolution, as a signaling instance of a larger claim: that radical politics stimulates revaluations at the level of medium as well as in iconography and style. The Phoenix lays down the challenge of thinking about the ephemeral political print as the locus of ambitious art; it reflects upon and reconfigures the temporality of the print.}, keywords = {Nineteenth Century}, author = {Chadwick, Esther} } @mastersthesis {12313, title = {Raphael{\textquoteright}s Stanza della Segnatura and the Rhetoric of Julian Justice}, year = {2016}, school = {Virginia}, abstract = {Raphael{\textquoteright}s School of Athens (1508-1509), an icon of antiquity{\textquoteright}s rebirth, has become synonymous with the Renaissance. The image commonly appears on the covers of textbooks, where Plato and Aristotle command an assembly of philosophers populating one of the greatest illusionistic vistas in the history of Western art. Yet even though numerous volumes on this famous masterpiece crowd library shelves, scholars still struggle to untangle the complexities of the painting{\textquoteright}s design, and the fresco is too often divorced from its companion images in the Stanza della Segnatura. Recent studies have focused on identifying Raphael{\textquoteright}s intellectual advisor for the room{\textquoteright}s painted program, but scholars have avoided discussion of the artist{\textquoteright}s innovative manner. To address the Roman renewal of the Christian capital under Julius II, Raphael invented a novel classicism that emulated and rivaled the restoration of ancient eloquence, but this new pictorial rhetoric has been scarcely examined. A new course of interpretation = one that centers on the Stanza{\textquoteright}s most neglected aspect, the books it once housed = has the potential to redraft our understanding of how the artist{\textquoteright}s creative intellect reshaped the symbolic landscape of papal Rome. Raphael (1483-1520) rose to fame in Renaissance Rome under the auspices of the warrior and canon lawyer Pope Julius II (1503-1513). Raphael{\textquoteright}s most famous works, his decorations in the Bibliotheca Iulia, or the pope{\textquoteright}s private library, today known as the Stanza della Segnatura, include four frescoes: the School of Athens (Philosophy), the Disputa (Theology), the Parnassus (Poetry), and the Jurisprudence (Justice), which sing of the great books and heroes celebrated within the library walls. Astonishing though it may sound, no one has yet proposed a single theme that adequately unifies the disciplines represented by the paintings and explains their collective meaning. By resituating the room, its images, and its collection of manuscripts and printed books within the literary milieu that defined the Julian court, I demonstrate that Raphael invented a lofty new pictorial rhetoric, one that extols the history of the Christian Church, announces the Millennium, and proclaims the theme of Julian Justice. What emerges is a new understanding of Raphael{\textquoteright}s innovative manner, and of Julius II not as a mere warrior, but as a considerable intellectual whose juridical ideology is closely tied to Raphael{\textquoteright}s designs. The result of my study is a major revision to the traditional account: At last it is clear that the Stanza della Segnatura was conceived as a literary and aesthetic ensemble, whose style and contents herald the Julian Golden Age as the New Jerusalem.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Cosgriff, Tracy} } @mastersthesis {12395, title = {Rauschenberg, ROCI, and Cuba{\textquoteright}s Young Lions}, year = {2016}, school = {New Mexico}, abstract = {During the 1980s Robert Rauschenberg conceived of an art exhibition for which he would travel to different countries and collaboratively create work about the nations he visited. He called the project Rauschenberg Overseas Culture Interchange, or ROCI. He proposed the project as an endeavor to promote peace and understanding by communicating "worldly" through art. This research is a case-study of the impact of ROCI at its seventh stop, Havana, Cuba. Following an introduction and a discussion on the mechanics of ROCI, the dissertation moves on to a critical analysis of the ROCI art. The purpose of such an analysis here is to expose the subjective nature of the work and explore how viewers engage with it differently. The final chapter is an examination of the performance art of Aldo Damian Menendez and other Cuban artists, who I refer to as Cuba{\textquoteright}s Young Lions, that chose to engage with Rauschenberg at the opening reception in Havana. Menendez pointed out that Rauschenberg{\textquoteright}s effort was an act of what Menendez called "cultural colonization." The performance became an indicator that there exists in Cuba a post-colonial condition. Comments and interviews with Roberto Retamar, Antonio Eligio, and Menendez serve as evidence of this condition and its effect on the exchange. I argue that Menendez{\textquoteright}s performance, although powerful and appropriate, was also predictable. It was a reaction that Rauschenberg foresaw yet he followed through with his global project regardless. He had intended the project to exist above the problems and issues we face in transnational communication due to the post-colonial condition. Yet, because of the performances by Cuba{\textquoteright}s Young Lions we know that Rauschenberg failed in at least this particular facet of his project.}, keywords = {Twentieth-Century Art, Visual Studies/Visual Culture Studies}, author = {Beatty, Brett} } @mastersthesis {12353, title = {Ready to Blow Your Mind: Andy Warhol{\textquoteright}s Exploding Plastic Inevitable}, year = {2016}, school = {Iowa}, abstract = {Andy Warhol{\textquoteright}s Exploding Plastic Inevitable (EPI) was a drug-fueled rock concert-cum-multimedia art event where layers of mediation mixed with immediate experience: The Velvet Underground performed their innovative music in front of films of themselves performing, Factory Superstars danced and performed poetry, various Warhol films projected on the walls, flashing lights flickered on mirrored surfaces, and a crowd of spectators - both famous and unknown - packed in to see and be seen, to dance and trip into the early hours of the morning. The experience of the EPI was a potent combination of alienation, mediation, and commercialization. The EPI was a promotional vehicle for Warhol, Warhol{\textquoteright}s Factory crew, and the Velvet Underground, but is also a complex example of spectacle that has been under-analyzed in recent scholarship. The EPI{\textquoteright}s unabashed emphasis on marketing, packaging, consumer goods, and empty celebrity are all manifestations of fears of late capitalist excess, but beneath the veneer of vapidity was an undercurrent of counterculture political activism and social awareness. Original contributions include cultural analysis, interpretation of contemporary reviews and reports, examination of the event{\textquoteright}s lack of art historical presence, and incorporation of music scholarship into the Warhol historical canon.}, keywords = {North America, Twentieth Century}, author = {Lentz, Alycia Faith} } @mastersthesis {12280, title = {Reconceiving Childhood: Women and Children in French Art, 1750-1814}, year = {2016}, school = {Iowa}, abstract = {My dissertation examines visual representations of children and childhood in French art from the 1750s until the first decades of the nineteenth century. This period in France is distinct because of the sweeping social and political changes with which images of children and childhood were in dialogue, including the redefinition of bourgeois familial relationships, new medical discoveries that influenced how artists interpreted the human mind and body, the chaos of the French Revolution, and the rise of Napoleon and his codification of the laws of nature. By 1750, Enlightenment thinkers and social reformers viewed the education, nurturing, and protection of innocent children as among the fundamental moral acts that defined humanity. Childhood, once considered insignificant, became a special period of human development that women were naturally suited to cultivate. Amidst the corruption of the Ancien regime, the violence of the French Revolution, and the instability of the state, children were unthreatening emblems of social regeneration and hope. Throughout my dissertation, I explore how the complex written and visual language of nature informed artists{\textquoteright} conceptions of children and childhood during the long eighteenth century. Opposing themes of nature{\textquoteright}s wildness, containment, wholesomeness, and mysteriousness in different forms paralleled discourses on children and child-rearing. Prominent eighteenth-century artists like Chardin, Boucher, Fragonard, Greuze, Vigee Lebrun, Marguerite Gerard, and others analyzed contemporary scientific, philosophical, artistic, and pedagogical movements to depict children naturally. Even when Romantic artists like Gericault or Prud{\textquoteright}hon imagined nature as a dangerous or mystical entity, the emphasis on the unique truthfulness of a child{\textquoteright}s character continued to be a subject of great interest, especially when the scientific community recognized child psychology and pediatrics as their own fields of medical study in the early nineteenth century. Compared to studies that have broadly surveyed the ideologies of childhood as reflected in art, my dissertation investigates the socio-historical contexts in which representations of children were commissioned, produced, and displayed. Why did revolutionary events, artists, and patrons appropriate images of the enlightened child? I propose that representations of children from this period offer indisputable symbolic value: they functioned emblematically to advance the morality of a woman{\textquoteright}s reputation, or to philosophically communicate an idea about the state of French society during key moments of social and political upheaval. Through a study of images of pastoral children for Madame de Pompadour, representations of bourgeois children with pets, portrayals of the royal children during the French Revolution, and Romantic depictions of children in portraiture, my dissertation traces the socio-historical implications of the representations of children and childhood to make way for new interpretations of artworks.}, keywords = {Eighteenth Century, Nineteenth Century}, author = {Strasik, Amanda K.} } @mastersthesis {12400, title = {Reform, Secularism, and Nationalism in the Cartoons of the Early Republican Period in Turkey (1923-1928)}, year = {2016}, school = {Indiana}, abstract = {Focusing on mass-produced images of the first five years of the Turkish Republic (1923-1928), this study demonstrates the extent to which political cartoons participated in the process of nationalist myth-making from the modern state{\textquoteright}s inception. These cartoons project spectacular narratives of the new Republic{\textquoteright}s abolitionist reforms and in this way constitutes mass-produced visual culture capable of shaping modernist public discourses. The images that emerge from this period of rapid transition vividly reflect a wide spectrum of responses to various aspects of the larger modernization project in Turkey: from fear of reactionary opposition to the secularization of law and education (1924-1926) to overwhelming hope and faith in the new government actively legislating sweeping reforms such as the abolishment of the Caliphate (1924) and alphabet reform (1928). I demonstrate that these cartoons and the rise of popular print media in the twentieth century were integral to the formation of a visual analogue to an "imagined" notion of Turkish national identity precisely at a moment when these identifiers were in flux. These cartoons developed a method of propagating reform using text- and image-based contrastive discourses of transformation that persist to this day, especially with regard to the issues of modernization and secularization. Surveying the ways in which popular cartoon arts inflected, manipulated, and even subverted an existing Ottoman visual culture to fit the needs and visions of Turkish Republican leaders and intellectuals, my research underscores the contested nature of visual political discourse at this critical moment.}, keywords = {Twentieth Century, West Asia}, author = {Gencer, Yasemin} } @mastersthesis {12386, title = {Reimagining the Baroque in Italian Modernism: From the Fin-de-siecle to Fascism}, year = {2016}, school = {Duke}, abstract = {While Italian art of the twentieth century is usually associated with either the avant-garde practices of Futurism or the classicism of Fascist visual culture, the Italian modernists{\textquoteright} complex engagement with concepts of the {\textquoteright}Baroque{\textquoteright} has yet to be explored. Through an extensive analysis of paintings, sculptures, publications, collecting practices, and exhibitions, my dissertation addresses this lacuna by investigating how the Baroque was discursively constructed and visually represented in Italian modernist artistic and cultural debates between 1880 and 1945. I study how artists and critics such as Umberto Boccioni, Giorgio De Chirico, Adolfo Wildt, Lucio Fontana, and Roberto Longhi championed or disparaged the Baroque in the context of heated debates over the import of Italy{\textquoteright}s rich cultural heritage, its status in modern Europe, and the potential role of avant-garde art as a catalyst for national regeneration. In contrast to previous scholars I argue that the development of modern art in Italy was actively shaped by cultural perceptions about the Baroque. My dissertation therefore sheds new light on the role of style in the cultural politics of Italy, which in turn will transform our understanding of visual culture in modern Italy, and of twentieth-century representations of the Baroque in art, literature, and aesthetics.}, keywords = {Twentieth Century}, author = {Moure Cecchini, Laura} } @mastersthesis {12203, title = {The Representation of Landscape in Contemporary South African Photography}, year = {2016}, school = {Florida}, abstract = {This dissertation presents a discussion of contemporary South African landscape photography through a close reading of post-apartheid practices by a group of individual photographers. Land-based imagery has become increasingly pronounced in the work of emerging and established photographers in South Africa since the end of Apartheid in 1994. Recent graduates of public workshop and university art programs, as well as established artists are using landscape photography to examine a diversity of topics, such as: visual legacies of apartheid in the landscape, land use in South Africa, psychic connections to natural settings, and aesthetics of the urban and rural environment. Through analyses of work by eleven photographers, this dissertation advances three arguments regarding the use of landscape by contemporary South African photographers. First, this study posits that the mode of landscape photography practiced today grows out of the social documentary tradition of the late 1970s and 1980s in South Africa-known as Struggle photography-and continues the legacy of this key period in the post-apartheid era. Rather than address concerns through social documentary photography, many young artists use landscape images to draw attention to social and economic imbalances across the modern landscape, going beyond environmental issues to address land as a site of nation building, and very literally a surface on which visual legacies of the apartheid era have been imprinted. Second, this dissertation identifies the diverse ways contemporary South African photographers use landscape imagery. In South Africa, many late nineteenth and early twentieth century photographers used to landscape images to celebrate the expansion of industry, spread of civilization, and to naturalize the presence of Europeans in contested spaces. Today, however, South African landscape photographers work in modes that are dramatically different from these predecessors. These artists use landscape images to interrogate and reflect on the legacies of apartheid in the urban and rural spaces, and to reimagine their own relationship to the South African landscape after the advent of democratic rule. Finally, this study advocates for the use of multidisciplinary lenses and theories in the analysis of South African landscape photography. It draws most directly upon frameworks from religion and nature studies to explore ways South African photographers use landscape images to mediate a personal connection to land in a post-apartheid context. For many South African photographers, land acts as a spiritual resource, a materialization of the sacred, forms the basis of their community, and offers important analogy for social relations in the nation.}, keywords = {Africa, Photography}, author = {Kirkwood, Meghan} } @mastersthesis {12269, title = {Representing Talented Women in the Eighteenth-Century Chinese Painting: Thirteen Female Disciples Seeking Instruction at the Lake Pavilion}, year = {2016}, school = {Kansas}, abstract = {As the first comprehensive art-historical study of the Qing poet Yuan Mei (1716-97) and the female intellectuals in his circle, this dissertation examines the depictions of these women in an eighteenth-century handscroll, Thirteen Female Disciples Seeking Instructions at the Lake Pavilion, related paintings, and the accompanying inscriptions. Created when an increasing number of women turned to the scholarly arts, in particular painting and poetry, these paintings documented the more receptive attitude of literati toward talented women and their support in the social and artistic lives of female intellectuals. These pictures show the women cultivating themselves through literati activities and poetic meditation in nature or gardens, common tropes in portraits of male scholars. The predominantly male patrons, painters, and colophon authors all took part in the formation of the women{\textquoteright}s public identities as poets and artists; the first two determined the visual representations, and the third, through writings, confirmed and elaborated on the designated identities. The works recorded memorable moments of the lives of these women, and their circulation promoted the scholarly personas of the paintings{\textquoteright} figures beyond their immediate families. The inscriptions also recorded the positive reception of this coterie of intellectuals and were endorsements of their unconventional behavior. Thirteen Female Disciples survives in the form of at least four versions, testifying to the fame and popularity of the painting{\textquoteright}s theme and the figures depicted in it.}, keywords = {East Asia}, author = {Chen, Janet} } @mastersthesis {12282, title = {Revising Devotion: The Role of Wooden Sculptures in Affecting Painting and Devotion in the Late Medieval Period in Italy (XII-XV Century)}, year = {2016}, school = {University of Washington}, abstract = {This dissertation offers a reconsideration of medieval wooden sculptures and a new perspective for understanding their role in affecting devotion and pictorial production in late medieval and Renaissance culture. My study focuses on the diffusion and use of the sculptures from the group of the Descent from the Cross through the development of the animated sculptures of Christ from around 1100 to around 1560. Historically these objects have been considered principally as devotional objects and utilized to understand devotional practices and ceremonies; conversely, I assert that they represented the catalyst of a new, unfiltered experience of the sacred in which the laity were able to access and shape a powerful and direct relationship with the human side of Christ, eluding the controlling role of the Church. Even if the iconography of these sculptures did not bring anything new in comparison with their pictorial counterpart, I argue that the utilization of these sculptures guaranteed a connection with the divine through physicality and the ability to create a spatial experience of the sacred. The devotional use of these sculptures contributed to an identification of the faithful with the scene, which allowed devotees to begin to stand in for the characters in the Descent from the Cross. As a consequence the faithful created a dimension in which they were real participants in the scene, transcending time and space rather than creating e mere reenactment of this dramatic moment of the Passion of Christ. The distinctive media, qualities and adornments that these sculptures had endorsed them to become real in front of the faithful in a way that was not possible to replicate with the pictorial medium. This new relationship with the sculptures and the creation of a real sacred scene in which the faithful participated, I argue, greatly influenced the pictorial medium, especially in the shift toward a more naturalistic representation of the sacred scene during the later Middle Ages and beginning of the Renaissance. Painters translated visually what they experienced in the contemporary devotional context of this new, compelling, effective and physical relationship between sculptures and faithful, because of their conviction that what they witnessed could be understood to be real and authentic, not a mere representation. As a consequence sculptures attained such an important role in promoting the experience of the sacred that wooden representations of the body of Christ were treated and identified as if it they were the real human body of Christ.}, keywords = {Eleventh to Fourteenth Century, Fifteenth- to Seventeenth-Century Art, Film/Video/Animation}, author = {Di Lodovico, Daniele} } @mastersthesis {12334, title = {The Rhine System: Konrad Fischer and the Logistics of Artists, 1967-1974}, year = {2016}, school = {Columbia}, abstract = {In 1967, the German dealer Konrad Fischer opened his gallery by importing artists rather than their works. The result was a new infrastructure between America and Europe whose parameters defined the art of the 1970s and continue to resonate today. This dissertation considers the origins and ramifications of this shift on the level of market organization and a redefinition of the artistic process in computational terms.}, keywords = {Material Culture, Twentieth Century}, author = {Sanchez, Michael} } @mastersthesis {12292, title = {The Ripoll Bibles: Unity, Continuity, and Monastic Practice}, year = {2016}, school = {Harvard}, abstract = {In the first half of the eleventh century, the Benedictine monastery of Santa Maria de Ripoll reached its creative and intellectual apogee, producing some of the most densely illustrated bibles of the Middle Ages. Known collectively as the Ripoll Bibles, these single-volume, prodigiously large manuscripts -each around half a meter in height -bring together biblical and extra-biblical texts with illustration ranging from decorative initials to multi-page narrative cycles. At a time when individual parts of the Bible -such as gospel books or psalters -were far more common than complete bibles, this monastery in the northeastern Iberian peninsula chose to invest the significant material costs, time, and labor to produce multiple complete bibles. Having remained within the very monastery that produced them, the Ripoll Bibles were designed to meet the specific needs of this monastic community. Chapter 1 presents a twofold consideration of context, both the broad geographic context and the more specific context of Ripoll{\textquoteright}s library and culture of learning. Comparisons of multiple copies of the same book are often dominated by discussions of model-copy relationships. This approach ultimately obscures the creativity inherent in such ambitious manuscripts. The scenes common to the Ripoll and Roda Bibles, the focus of Chapter 2, offer clear evidence of how individual agency transcended any desire to produce strict copies. Scholarly attention to medium, layout, and iconography can be harnessed in new ways, not to trace the lineage of these manuscripts but rather to uncover how their makers engaged with text and image as part of an ongoing receptive process. Illustration of the biblical text could function as a visualization of the spoken word, particularly in the case of divine messages transmitted through prophets (Chapter 3, Part 1). The images of callings and speech acts encouraged the monks to give voice to the text and reinforced their roles as willing messengers and interpreters of divine messages. Like images of prophetic speech, depictions of biblical vision and theophany (Chapter 3, Part 2) could also invite the reader to participate in the narrative, either sharing in a visionary experience or else seeing and understanding what certain biblical figures could not. As a text of universal history, the Bible served as the organizing principle with which readers could make sense of their lives in the present. Illustrations of the often-violent histories recounted in the Bible (Chapter 4) made the text vivid and memorable, but also encouraged certain monastic behaviors. Images of self-sacrifice and willing suffering could prompt the monks to visualize their daily practices as part of the larger narrative of salvation history. A biblical text without images could have served the simple liturgical needs of the community, and so the extensive illustration in the Ripoll Bibles necessarily points beyond these needs to the pedagogical and symbolic value of these manuscripts. Through repetition of visual themes within a single-volume format, the monks proclaimed the unity and harmony of the biblical text and, by extension, emphasized the divine plan unifying and governing the past, present, and future.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation, Sixth to Tenth Century}, author = {Loic, Erika} } @mastersthesis {12388, title = {Rome Year Zero: Continuity in Post-World War II Architecture and Culture in Rome}, year = {2016}, school = {IFA/NYU}, abstract = {In January 1944, Italian philosopher Benedetto Croce posited that Italian Fascism had not developed from pre-Fascist Liberal Italy but was a specific ailment caused by the First World War. His characterization of Fascism was that it was merely a short-term phenomenon, a "parenthetic break" or rupture that had not adversely affected the "general good health" of Italian politics. Debunking this myth of rupture is among the most significant and compelling results emerging from recent scholarship on architecture of the Italian Fascist period. However, most of this scholarship focuses on interwar architecture and does not explore relationships with the postwar Italian condition, and hence, the relationship between inter- and postwar architectural production remains largely uninvestigated. The goal of this dissertation is to present an interpretation of architecture and planning in Rome in the two decades following its liberation in 1943 that unravels the many threads of continuity linking it to the interwar decades. First, it defines the concept of continuity that engaged architects in a postwar dialogue as to which specifically Italian past would provide the key to construction in a newly democratic Italy. Second, it provides a close reading of concrete continuity, i.e. architectural projects commenced during the interwar period and reinitiated after the war, using as a case study the early postwar planning for the EUR and ending in 1960 with the Olympic Games. Finally, it investigates institutional continuity, specifically with regard to the education of a new generation architects at the University of Rome "La Sapienza" tracing the student unrest that led to the protests of the generation of 1968. Suggesting a new reading of architectural theory, production and education in postwar Rome as products of the agency of a generation of architects, who worked under the Fascist State and continued their careers after the war, allows for the hypothesis that the relative political autonomy of architectural practice in Fascist Italy allowed these architects to maintain their influence in the decades following the Second World War.}, keywords = {Twentieth Century}, author = {Schafer, Susan} } @mastersthesis {12314, title = {Rubens Remaking Rubens: Self-Repetition, Transformation, and Invention in Early Modern Art}, year = {2016}, school = {IFA/NYU}, abstract = {This dissertation examines, on the one hand, the practice of self-repetition in the work of Peter Paul Rubens, and, on the other, early modern attitudes to creativity and replication. Unlike Michelangelo, who, according to Ascanio Condivi, never repeated a line, Rubens made extensive use of recycling. Elements reused in different works underwent various degrees of transformation to ensure their successful integration into a new whole. The strategy of recycling was applied not only across the artist{\textquoteright}s entire oeuvre, in various compositions on different subjects, but also across works devoted to the same theme, such as the Descent from the Cross. Rubens{\textquoteright}s creative prowess is amply demonstrated in his almost endless variations on the topic. In these compositions the artist often reused and recombined earlier elements in a new way, providing fresh solutions and thus demonstrating that repetition and originality need not be seen as mutually exclusive. The close analysis of works of art is juxtaposed with a thorough examination of contemporary sources. The early modern notion of invention was far from a monolithic concept, its understanding shifting over time and across different authors. Most importantly, it simultaneously embraced the idea of novelty and that of repetition. The success of a work of art was often understood to be dependent on the beauty of its invention, and therefore it was frequently perceived as precious and requiring protection from infringement. The examination of early modern attitudes to self-repetition recovered from primary and secondary sources leads me to conclude that Rubens used certain strategies of transformation in order to disguise his self-replication. Artists{\textquoteright} anxiety over self-reproduction is confirmed by their own testimonies, from Michelangelo to Artemisia Gentileschi, Poussin, and Rubens himself. Supporting evidence from correspondence, poetry, art theory, and artist biographies demonstrates there was far more ambivalence about self-repetition than modern scholarship has allowed. Through a thorough investigation of both artistic practice and early modern sources, this dissertation attempts to contribute to a better understanding of Rubens{\textquoteright}s creative process and thereby yield a more balanced view of early modern conceptions of replication and creativity - a view that has long been hindered both by modern notions of uniqueness and singularity of artistic expression, and by postmodern biases for reproduction and derivation.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Daiman, Marina} } @mastersthesis {12344, title = {A Rule without Measure: Michelangelo Buonarroti{\textquoteright}s Afterlife in French Painting, 1814-1837}, year = {2016}, school = {Princeton}, abstract = {This dissertation focuses on the ways in which early nineteenth-century French artists on both sides of the Classicist-Romantic divide drew upon the art of the past to define themselves in the present. I examine how the figure of Michelangelo Buonarroti was used by a network of critics, administrators, and artists to embody the irreconcilable demands of tradition, on the one hand, and a new market-driven taste for originality, on the other. My first two chapters examine Michelangelo{\textquoteright}s persona in contradistinction to that of Leonardo da Vinci and Raphael Sanzio, by analyzing their writings and artworks in light of the aesthetic discourse of their time. I argue that Michelangelo and his biographers constructed a historical persona in which he functioned as a {\textquoteright}rule without measure,{\textquoteright} that is, an inaugural limit or norm within a chain of emulative relationships. The remainder of the dissertation examines the use of Michelangelo as an academic counter-model in France during the Restoration and July Monarchy. I begin by examining the commissioning, execution, and critical reception of Xavier Sigalon{\textquoteright}s full-scale replica of Michelangelo{\textquoteright}s Last Judgment ordered by Adolphe Thiers. Painted in Rome by Xavier Sigalon, the copy{\textquoteright}s installation in Paris in 1837 led Eugene Delacroix to declare Michelangelo the "father of modern art." The following chapter analyses Horace Vernet{\textquoteright}s anecdotal history painting, Raphael au Vatican (1833) in light of then-current debates over pedagogy and emulation. My concluding chapter examines the early development of lithography in France within the framework of the Michelangelesque and the use of Renaissance models of production. In particular, I read Theodore Gericault{\textquoteright}s contributions to a monumental series of illustrated travelogues, the Voyages pittoresques, as allegorical meditations on the impact of the new medium. It was the capacity of the authoritative figure of Michelangelo to suspend the antinomies of Romanticism-past and present, worker and genius, finished and unfinished, classicist and Romantic-which artists of the time found compelling. I conclude that Michelangelo{\textquoteright}s essentially vexed relation to the art of the past allowed him to signify both the continuity guaranteed by the emulation of old masters and the disruptive force of genius.}, keywords = {Nineteenth Century}, author = {Doyle, Allan} } @mastersthesis {12210, title = {A Scale-Free, Relational Approach to Social Development in Late-Prehistoric Tyrrhenian Central Italy}, year = {2016}, school = {Michigan}, abstract = {This dissertation examines the interplay between relational patterns and trajectories of social development within late-prehistoric Tyrrhenian Central Italy (TCI). Despite historical disagreement, TCI is now recognized as a context of radical social transformations leading to or even encompassing the formation of states and cities. Between the end of the Bronze Age and the Early Iron Age (12th-8th centuries BCE), in concert with substantial changes attested in the funerary record, hundreds of small settlements distributed evenly across the research area were replaced by a few large and formally heterogeneous centers. Based on a narrow evidentiary range, these developments tend to be viewed in terms of differential progression along a single axis of complexity, with the emerging centers categorized according to apparent scale and historical prominence. The aim of this work is not to establish TCI as a case of state formation and urbanization according to one or another definition. Following anthropological perspectives that emphasize the importance of parsing the dynamics underlying qualitative changes in the form of social collectives, I focus on tracing developmental trajectories within a systematically validated relational plane as a first step toward identifying better bases for comparison, categorization, and ultimately explanation. In practice, I derive large datasets for network reconstruction from the TCI mortuary record and apply tools developed for the study of complex networks to track the position of social collectives over time and extract summary measures of relational distance. I use these measures to evaluate three aspects of the transformations attested between the end of the Bronze Age and the Early Iron Age: 1) the degree of local and regional coordination involved in the shift from a large number of small villages to relatively few large centers; 2) the impact of shifting axes of long-distance exchange on local relational patterns; and 3) the relationship between the formal characteristics and internal substance of the new settlements. I conclude that the watershed changes attested across the research area can be understood in reference to uniform endogenous processes leading to the emergence of comparable social collectives.}, keywords = {Ancient Greek/Roman Art}, author = {Cangemi, Ivan} } @mastersthesis {12229, title = {School of Frankenstein: James Whale and the Experience of Art as Education in Progressive Era America}, year = {2016}, school = {Stanford}, abstract = {This dissertation analyzes the relationship between art and education in interwar America by studying in detail one production still-photograph from Frankenstein, the 1931 film adaptation directed by James Whale of the novel "Frankenstein; or, The Modern Prometheus, " written in 1818 by Mary Shelley. The film presented audiences of that period and of years to come with a haunting scene of education. It portrays two children learning about the world through experience: a man-made creature and a little girl at a lake, floating daisies. As encapsulated in the still, the scene revolves around the two characters=movingly played by Boris Karloff and Marilyn Harris=exchanging flowers, which teaches them the joys of new-found friendship, the beauty and pleasures of the world, and in this unfortunate case, the perils of taking the world{\textquoteright}s gravity too lightly. This text is a monograph both on the still and on its author{\textquoteright}s visual and spatial imagination as it relates to art and education. I treat the still as a haunting philosophical object=one which captures the high dramatic point of not only this scene of education and others within the film (many coming from Shelley{\textquoteright}s Bildungsroman regarding child-rearing), but the sensibility and artistic awareness of experience-based education in 1930s America of British director James Whale (1889-1957). I propose we read it as a testament to the attempts of American Pragmatism =most prominently in the work of philosopher John Dewey (1859-1952)=to merge art, education, and democracy during that period after World War I, at the peak of the Machine Age, right into the Great Depression, when the most heated debates took place about the role of art, mass education, and technology in a society wanting to remain democratic in the face of international upheaval. I analyze the still as a complex cultural artifact, its subject existing only within a world beyond itself, thus denying a single definition. It contains within it both the world that shaped it as well as the one it is about to shape, complicating questions of the materiality assigned to its medium. The film still from Frankenstein exists on three different planes: firstly, it pictures a scene from the novel, as envisioned by its director. Secondly, it exists as a shot taken for publicity representing a different type of scene, that from a film to be shown in actual theaters, on a screen in front of a concrete audience=a preview for an actual experience. Thirdly, it exists as a historical document, depicting actors at work, in costume, in a particular location where it was produced. In addition, it is with this relation between artistic experiences and places that the still grants us a variety of pictured architectures=referring to both the physical buildings and the designed structures we inhabit. Therefore, I think of the still and the School of Frankenstein, that is, this dissertation, as one and the same thing=our ticket to a guided tour of the architecture of experiential education in three chapters. Such is the beauty of this still-photograph: shot only once, on Monday, September 28, 1931, it nonetheless carries with it three different American scenes of education: the Monster and the girl at the lake in Frankenstein evoking children all over the country{\textquoteright}s schools, the theaters where the films played as the site of a grand pragmatist project in education, and finally the cast and crew working for Universal Pictures in Hollywood envisioning their role as educators of a democratic populace. The dissertation ends with a tribute to the still as art form and to its mnemonic powers=that is, its powers for remembrance of everything it contained.}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Vivanco, Eduardo} } @mastersthesis {12304, title = {Sensual Bodies and Artistic Prowess in Netherlandish Painting ca. 1540-1570}, year = {2016}, school = {Toronto}, abstract = {In the middle of the sixteenth century, Netherlandish painters turned their attention toward the sensual nude. The leading contemporaries of Pieter Bruegel, including Frans Floris, Willem Key, Jan Massys, Maerten van Heemskerck, and Michiel Coxcie, favoured subjects that allowed them to elaborate their respective approaches to the ideal body. Artists{\textquoteright} deliberate attention to the visual and tactile qualities of their painted figures had affective and artistic aims: painters sought to cultivate empathetic responses in their viewers while simultaneously asserting their individual brands. These artists also favoured subjects that presented the sensual nude as a problem-an object for erotic delectation and one that could raise salient social concerns around gender, love, and coupling. An important feature of the paintings in this study is the way they orchestrate the possibility for contrasting points of view, thus complicating attempts to derive unequivocal interpretations. Indeed, contemporary rederijker drama, public festivity, vernacular literature and poetry, authoritative classical texts, and prints from across Europe suggest the range of issues that might have been projected onto Netherlandish depictions of the nude. While little is known of the patrons of such works, the scale, quality, and erudite subject matter point to a relatively affluent and educated class of individual; we know, for example, that Frans Floris{\textquoteright}s nudes were collected by Antoine Perrenot de Granvelle, a Habsburg official and the Bishop of Arras, and by the wealthy Antwerp financier, Nicholas Jonghelinck. Such patrons were as attracted by the visceral, affective qualities of the sensual body as they were by the opportunities it gave to display their erudition. They also valued how the leading artists adapted the fashionable formal vocabulary of antiquity and post-Raphaelesque figure painting to Netherlandish thematic demands and artistic traditions. By allowing their works to negotiate between the international and the local, Frans Floris and his contemporaries were active participants in a discourse on the sensual nude that had regional relevance and pan-European purchase. This very prominent and prestigious image category must be better integrated into art historical narratives of Netherlandish painting and Renaissance art.}, keywords = {Fifteenth- to Seventeenth-Century Art, Northern Europe}, author = {Uchacz, Tianna} } @mastersthesis {12338, title = {Shadows and Light: Seeing Senescence in American and British Genre Painting, c. 1850-1910}, year = {2016}, school = {University of Washington}, abstract = {This study suggests the potential benefits of enhanced sensitivity towards aging in the history of art. Cultural representations of senescence in nineteenth-century genre painting, whether drawn from scenes of the hearthside, chaperonage, age-disparate coupling, or cross-generational play, provide the visual material from which a general perception of the life course can be drawn. The argument at the center of this study is that something is to be gained for Anglo-American art history from age studies and its related phenomena. Age articulates difference, and abandoning mono-generational research perspectives might sharpen our awareness of the role this difference plays in visual culture. There are unique challenges that one must responsibly address when prying into the omissions and oversights within a discipline, and the thematic image groupings which comprise the chapters of this study were selected to present a survey of the signifiers of old age without adhering to a simple story line. Both American and British visual culture demonstrate instances of lack and plenty in relation to the complex notions of Victorian aging, and ageism in the historiography of art can be made much clearer by reading this evidence with intention and respect. By electing to use the life cycle to appraise and navigate Victorian genre painting, historians of British and American painting would acknowledge the basic notion that ageism is perhaps the most neglected and socially permitted discriminatory system. An assessment of nineteenth-century visual culture designed by this supposition is bound to reveal significant and instructive truths.}, keywords = {Nineteenth Century, North America}, author = {Palmor, Lauren} } @mastersthesis {12272, title = {Shaping Religious and Cultural Aspiration: Engraved Sutras in Southwestern Shandong Province from the Northern Qi Dynasty (550-577 CE) China}, year = {2016}, school = {Duke}, abstract = {This dissertation explores how the Buddhist texts carved on the cliffs of mountains served their patrons{\textquoteright} religious and cultural goals. During the Northern Qi period (550-577 CE), these carved Buddhist sutra texts and Buddha names were prevalent, and were carved directly onto the surfaces of numerous mountains in southwestern Shandong Province. The special focus of this study is on the Buddhist engravings at Mt. Hongding in Dongping, and at Mt. Tie in Zoucheng. Created in approximately 553-564 CE, the carvings at Mt. Hongding stand as the terminus a quo of the history of Buddhist sutras carved into the rocks of the Shandong mountains. The Buddhist carvings at Mt. Hongding served monastic goals. The monk patrons, Seng{\textquoteright}an Daoyi, Fahong, and others created the carvings as an integral part of their Buddhist meditation practices. The carvings at Mt. Tie paint a very different picture. At Mt. Tie, a colossal Buddhist sculpture-style carving was created in 579 CE. Sponsored by several Han Chinese patrons, the carving was designed in the form of a gigantic Chinese traditional stele. This study suggests that several Han Chinese local elites proudly displayed their Han Chinese linage by using the gigantic stele form of Buddhist text carving as a means to proclaim Han Chinese cultural and artistic magnificence. To achieve these non-religious goals, they appropriated rhetorical devices often used by the Han elite, such as the stele form, written statements about the excellence of the calligraphy used, and discourse on calligraphy connoisseurship.}, keywords = {East Asia}, author = {Ha, Jungmin} } @mastersthesis {12365, title = {The Social Life of Coins: Local Reactions to Roman Imperialism beyond the Frontiers}, year = {2016}, school = {Brown}, abstract = {This dissertation centers around questions related to multiple forms and manifestations of cultural contact along provincial borderlands and frontier regions. I explore these themes within the context of the Roman Empire, and focus on how interactions both crafted and were reflected in local reactions to imperialism. My dissertation contributes to the discussion of cultural interaction at the edges of the Roman Empire through a careful archaeological examination of the role coinage played within societies that were physically located on the edges of the empire. Using a comparative analysis of three case studies (Scotland, Scandinavia, and South Arabia), I explore how the selective consumption or transformation of coins expressed the ways indigenous populations in these three different regions viewed their relationship with the expanding Roman state. My project explores Roman and local connections and unravels the varied ways coins have been entangled within a discourse of imperial contact and local response.}, keywords = {Politics/Economics}, author = {McBride, Kathryn} } @mastersthesis {12268, title = {Something Rubbed: Medium, History, and Texture in Japanese Surimono}, year = {2016}, school = {Harvard}, abstract = {This thesis analyzes the history and development of privately commissioned prints of the Edo period (1603-1868) known as surimono, which flourished from c. 1790-1830. Created by the same artists and publishers responsible for commercially sold ukiyo-e woodblock prints, or nishiki-e, surimono have been justly celebrated for their virtuosity and technical sophistication, from the earliest treatises on Japanese art history in the late nineteenth century until the present. Until now, however, this genre of printmaking has been studied primarily through the cataloguing of collections, and its popularity understood mostly as one manifestation of conspicuous luxury consumption among wealthy urbanites. My study proposes that surimono should not be treated as isolated or lesser works due to their high levels of craftsmanship, as contemporarily, surimono were understood to be an important facet of print culture amongst intellectually engaged ukiyo-e practitioners. This will be done through a comparative study of other circulating media that influenced the appearance and trajectory of surimono development, namely poem presentation sheets (kaishi), abbreviated calendars (daisho), celebratory prints for the New Year (nenga), Chinese manuals intended for painting instruction (huapu), and the illustrated deluxe volumes of kyoka poetry known as e-iri-kyoka-bon. The curtailment in the production of e-iri-kyoka-bon in the 1790s due to the sumptuary regulations initiated as part of the Kansei reforms encouraged the uptake of certain printing practices and aesthetics in surimono. The extent to which surimono practitioners conceptualized their own activities is discussed through an examination of the Ukiyo-e ruiko (Thoughts on Ukiyo-e), the first history of ukiyo-e, written in several recensions during the nineteenth century. A study of the Ukiyo-e ruiko, combined with the high incidence of e-iri-kyoka-bon themes in surimono reveals a community deeply concerned with their own past lineage. The specialist vocabulary developed around surimono, as articulated in the Ukiyo-e ruiko, reveals their importance as experiential objects, rather than as objects of passive viewership.}, keywords = {East Asia}, author = {Brooks, Kit} } @mastersthesis {12369, title = {Souvenirs of Venice: Reproduced Views, Tourism, and City Spaces}, year = {2016}, school = {McGill}, abstract = {This dissertation is the first study of the three-hundred year history of souvenir images of Venice produced by local Venetians for tourists from the eighteenth century to the twenty-first century. The project traces the changes and the elements of continuity in the Venetian spaces depicted and in the visual conventions used. The Introduction explains why Venice is a significant subject for a study of souvenir imagery and outlines the theoretical ideas related to travel and souvenirs that inform the work that follows. Chapter One focuses on the view paintings of Venice by Giovanni Canaletto and Francesco Guardi, as well as Antonio Visentini{\textquoteright}s engravings of Canaletto{\textquoteright}s paintings, within the context of both the Grand Tour and Venice{\textquoteright}s dwindling power leading up to the fall of the Republic in 1797. Chapter Two explores nineteenth-century photographs of Venice made by local photographers Carlo Ponti, Carlo Naya, and Tomaso Filippi, with the photographs organized into central and peripheral spaces in the city, and with attention devoted to archival material in the little-known Archivio Filippi. Chapter Three considers the photographs in their serial form, as images included in commercial souvenir albums. Chapter Four analyzes twentieth-century postcards of Venice, which used the nineteenth-century photographs for their images. The Conclusion includes a study of a company in Venice that is continuing the tradition of producing postcard views of the city for visitors. The chapters also call attention to how the figures of locals and foreigners are presented in the images; to the tourist circuits through Venice implied in collections of images bound together, which are read here as visual guidebooks; and to spaces that brought tourists together to engage with the city{\textquoteright}s souvenir images, specifically Joseph Smith{\textquoteright}s viewing gallery on the Grand Canal in the eighteenth century, photographers{\textquoteright} shops in San Marco in the nineteenth century, and the post office at the Fondaco dei Tedeschi in the early twentieth century. This thesis shows how Venetian souvenir images participated in reinforcing and shaping the spaces of tourism in the city, as in, for example, the emergence of the Bridge of Sighs as a significant tourist site. Furthermore, these reproduced views influenced not only which sites tourists visited and how they enacted their roles as tourists but also how they anticipated and remembered their travels. However, tourists were not passive recipients. Arguing for a dynamic relationship between the producers and consumers of the tourist imagery, this thesis incorporates travel writing, guidebooks, and literature of the eighteenth, nineteenth, and twentieth centuries to highlight that tourists were aware that their perceptions of the city were shaped by the representations they had seen. Moreover, tourists had a hand in shaping the souvenir views presented to them. In the eighteenth century, Canaletto and Guardi{\textquoteright}s patrons suggested subject matter, size, and viewpoints for the view paintings. In the nineteenth century, photographers took into account the Gothic and Romantic sensibilities of visitors when photographing Venice, and tourists were able to choose the images included in the commercial souvenir albums they purchased. This collaboration between producer and consumer is seen most tangibly in postcards, in which the tourist{\textquoteright}s own words accompany the commercial image. This project is at the intersection of art historical work on material culture, in which a close reading of visual conventions is at the fore, and sociological work on tourism, which explores the rituals associated with travel. Engaging with the city one visits through texts and images has often been disparaged as diminishing travel. In contrast, this project suggests that such an experience is an integral aspect of travelling, especially in Venice, a city that has for centuries had a place in the minds of visitors through its representations in literature and art.}, keywords = {Southern Europe and Mediterranean}, author = {Bellon, Liana} } @mastersthesis {12310, title = {Spaces of Art in the Exhibition Age: Italy as a Laboratory for Global Exhibition Paradigms since 1970}, year = {2016}, school = {IFA/NYU}, abstract = {Italy represents an art historical anomaly, a conglomeration of unique factors and conditions. It is home to the Venice Biennale (the first and longest-lasting international biennial exhibition of its kind), some of the world{\textquoteright}s oldest museums and public exhibition spaces, and a prolific system of private foundations managed by corporations and individual collectors. Since the 1970s, biennials, museums, and private foundations have increasingly shaped Italian cities. Indeed, Italy is a laboratory for exhibition practice over the past forty years. This dissertation considers the growth of exhibitions in Italy since 1970 by looking at the intersections of art and architecture: it argues that the exhibition is the main vehicle for new developments in the conjunction of the two. Existing literature treats architectural developments, institutional practice, and exhibition history as separate phenomena. This dissertation fills a gap, necessarily exploring how cities have a dynamic relationship with exhibitions. In order to explore the interactions of art and architecture, chapters examine the form of the biennial, museum, and foundation across three different Italian cities: Venice, Rome, and Milan. The first chapter explores how the Venice Biennale first systematically expanded outside the gardens in the 1970s, catalyzing a host of new interactions in city life, as the city of Venice and the Biennale have since become interwoven. The second chapter considers the case of Roman museums, demonstrating how temporary exhibitions have complicated the definition of an art museum as a space to permanently safeguard works of art and have catalyzed a new conception of the museum that engages the city in a dynamic way. The third chapter examines how Milan has witnessed the materialization of the fondazione from an amorphous source of financial support to a veritable system that occupies built structures, produces scholarship, and mounts exhibitions. Finally, the epilogue applies the Italian case to the global context by unpacking what can be learned from this unique history of exhibition spaces and by offering a new vantage point from which to consider the biennial, museum, and foundation.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Brandon, Claire} } @mastersthesis {12249, title = {Speculative Biologies: New Directions in Art in the Age of the Anthropocene}, year = {2016}, school = {Duke}, abstract = {This dissertation is an attempt to explain art in the 21st century by an artist/researcher. It is a theoretical writing on art informed by current discourses that influence art such as science and technology. There are two goals of this project. The first one is to understand art{\textquoteright}s cultural role in the age of the anthropocene. What is the anthropocene? How does art{\textquoteright}s role in society change in this particular geological epoch (following Crutzen{\textquoteright}s definition), compared to for instance Holocene? This brings us to the second goal of my project. To better understand art{\textquoteright}s role in society, can we benefit from a theory of art, that could present an insight on the dynamics within an artistic experience? What are the current tools and tendencies that can help form such a theory of art? Which fields can contribute to such an understanding? As an instance of artistic research practice which involves both academic research and art practice, I will be using art projects as case studies to reach these goals. Case studies will consist of my own projects as well as projects by other artists who had been working on similar topics such as Edward Burtynsky, Chris Jordan, Louis Bec, Trevor Paglen, Patricia Piccinini and Lynn Hershmann to name a few. From Timothy Morton to Mackenzie Wark to Donna Haraway cultural theorists of our time, highlight the fact that there is a need for a cultural theory that can attend to what we might call the anthropocene. What is the contribution of art for such a theory? Or can art be instrumental in building a cultural theory at all? My dissertation offers a multi-disciplinary argument for the need to address such questions . Starting from art{\textquoteright}s roots in biology and extending to what we might call our biological imagination, the dissertation focuses on art{\textquoteright}s connection to biology to initiate a formula for art in the age of the anthropocene.}, keywords = {Digital Media/New Media/Web-Based Media, Installation/Environmental Art}, author = {Yoldas, Pinar} } @mastersthesis {12307, title = {St. Augustine among the Mendicants: The Order of Augustinian Hermits and Early Renaissance Art in Italy}, year = {2016}, school = {Penn State}, abstract = {In the early fourteenth century, the recently established Order of Augustinian Hermits began to promote the claim that St. Augustine of Hippo (354-430) had founded their mendicant order in fifth-century Italy. By refashioning the historical account of their Order{\textquoteright}s founding in textual and visual sources, the Hermits transformed St. Augustine from a North African bishop to a mendicant father, alongside St. Francis of Assisi and St. Dominic. This dissertation examines how the Order promoted its evolving founding narrative and celebrated its spiritual ideals through monumental artistic narratives of Augustine{\textquoteright}s life, produced in churches and monasteries in fourteenth- and fifteenth-century Italy. As the friars invented a new iconographic tradition for the saint, they highlighted a different aspect of Augustine{\textquoteright}s identity - his singular role as the father and founder of the Hermits. My focus on Italian monumental cycles enables me to discern patterns of decoration in early Renaissance churches and to examine the importance of narrative art to the Order{\textquoteright}s corporate aims. My study provides a richer understanding of mendicant patronage by examining a saint whose vita differed from the biographies of traditional founder saints, and an order whose founding narratives contrasted sharply with the more contemporary origins of the better known Franciscans and Dominicans. Despite the prominence of the Hermits as distinguished artistic patrons, the scholarship on Augustinian art remains scarce in comparison to the voluminous studies devoted to Franciscan and Dominican patronage. As a result, the Hermits are often excluded from studies of Franciscan and Dominican art. As a fifth-century North African saint, Augustine differed in many fundamental ways from his fellow mendicant founders. My study investigates how the "new" St. Augustine fit into the established paradigm of the mendicant founder, and how the Order{\textquoteright}s representation of their founder compared to the conventional models of mendicant art patronage in general. In some cases, this comparative approach reveals the creativity of artists and patrons in transforming Augustine{\textquoteright}s image to conform to the established model of mendicant founder, as European saint and mendicant exemplar. In other instances, this study illuminates how the Hermits challenged the traditional image of the mendicant founder and departed from the artistic traditions of the Franciscans and Dominicans.}, keywords = {Fifteenth- to Seventeenth-Century Art, Southern Europe and Mediterranean}, author = {Zins, Katie} } @mastersthesis {12206, title = {Steel Conversations and Emotional Kinesthetics: The Sculpture of Sokari Douglas Camp}, year = {2016}, school = {Wisconsin}, abstract = {No record in ProQuest or Wisconsin ETDs}, keywords = {African American/African Diaspora, Sculpture}, author = {Curtis, Susan Jane} } @mastersthesis {12198, title = {Stuart Davis{\textquoteright}s Art Theory, 1920-1928}, year = {2016}, school = {Virginia Commonwealth}, abstract = {This dissertation provides the first in-depth examination of American artist Stuart Davis{\textquoteright}s early theoretical writings made between 1918 and 1923. These writings are seminal documents in his artistic development. They lay the foundation for the creation of some of his most important works, including his groundbreaking Tobacco paintings of 1921 to his renowned Egg Beater series of 1927-1928, which Davis claimed set the direction for all his subsequent artistic output. One of the key ideas in these early writings is Davis{\textquoteright}s concept of realism. This study traces the origin of Davis{\textquoteright}s realism to his interaction with a network of ideas arising from cubism, symbolism, New York dada, and anarchist philosophy. In doing so, this study considers how Davis{\textquoteright}s notion of realism informed both the development of his style and his iconography in his works of the 1920s.}, keywords = {Aesthetics, Painting, Twentieth Century}, author = {Andrus, Timothy} } @mastersthesis {12315, title = {Taste and Prudence in the Art of Jusepe de Ribera}, year = {2016}, school = {Johns Hopkins}, abstract = {Throughout his long career in southern Italy, the Spanish artist Jusepe de Ribera (1591-1652) showed a vested interest in the shifting practices and expectations that went into looking at pictures. As I argue, the artist{\textquoteright}s evident preoccupation with sensory experience is inseparable from his attention to the ways in which people evaluated and spoke about art. Ribera{\textquoteright}s depictions of sensory experience, in works such as the circa 1615 Five Senses, the circa 1622 Studies of Features, and the 1637 Isaac Blessing Jacob, approach the subject of the bodily senses in terms of evaluation and questioning, emphasizing the link between sensory experience and prudence. Ribera worked at a time and place when practices of connoisseurship were not, as they are today, a narrow set of preoccupations with attribution and chronology but a wide range of qualitative evaluations, and early sources describe him as a tasteful participant in a spoken connoisseurial culture. In these texts, the usage of the term "taste," gusto, links the assessment of Ribera{\textquoteright}s work to his own capacity to judge the works of other artists. Both taste and prudence were crucial social skills within the courtly culture that composed the upper tier of Ribera{\textquoteright}s audience, and his pictures respond to the tensions surrounding sincerity of expression or acceptance of sensory experience in a novel and often satirical vein. Prudence, a courtly virtue enabling both judgment and dissimulation, appears in Ribera{\textquoteright}s work as a native trait of the judgment and dissimulation that the art of painting respectively invites and carries out. Far from representing a propagandistic or anti-intellectual expression of post-Tridentine visual culture, Ribera{\textquoteright}s oeuvre participates ambitiously in his generation{\textquoteright}s questioning of what pictures are, what it means to look at them, and what they have authority to do and say.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Friedman, Hannah} } @mastersthesis {12341, title = {Tell Me a Story{\textquoteright}: Narrative and Orality in Nineteenth-Century American Visual Culture}, year = {2016}, school = {Delaware}, abstract = {This dissertation explores issues of narrative and storytelling as they apply to nineteenth-century art and visual culture, focusing particularly on objects produced between 1830 and 1870. During the decades following the establishment of the National Academy of Design in 1825, artists and patrons struggled to broaden the American art world through the creation of institutions for the display and criticism of art. Genre painting in particular rose to new prominence for American art audiences, with some of its major practitioners like William Sidney Mount and Richard Caton Woodville skyrocketing to fame. Viewers encountered these works in a culture where orality and the spoken word served as a primary medium through which citizens would engage with public and private life. Facility with orality and storytelling was an important skill for Americans in multiple arenas of endeavor, and viewers brought their experiences and expectations to encounters with the visual arts, along with a range of specifically taught viewing behaviors that conditioned how to see and interpret images. Genre paintings, popular illustrations, sculptures, and even ephemera like games and advertisements produced during this time period often relied heavily on narratives to enchant viewers and communicate specific messages. People were accustomed to a paradigm wherein education, politics, private family entertainments, and public displays of art and lectures all revolved around the spoken word and narrative. This dissertation asserts that paintings produced during this period that expressly address the topic of storytelling and speech should be viewed in this context. Chapter One introduces the subject of the dissertation. Chapter Two addresses why genre paintings in general and images about storytelling in particular rose to such prominence during the middle decades of the nineteenth century. American lives were richly interwoven with orality, and the oral and aural nature of art is approached through two kinds of evidence: 1) speeches made in front of paintings, like the lectures of George Catlin and John Banvard that directly combined spontaneous verbal exposition with display of images, and 2) speech about, in front of, and in criticism of artwork, considering ways in which Americans encountered art in public and private and how dialogue and verbal response played a role in the viewing process. Chapter Three focuses on a single painting, The Tough Story, of 1837, by William Sidney Mount, reinserting it into its original historical context of "tough" stories and tall talk. There follows an analysis of the chain of presentations and representations the painting underwent in text and print. Chapter Four argues that the experience of viewing images was a learned practice, and it examines pictures intended for children, which informed youthful viewers{\textquoteright} later roles as citizens and viewers of art. The Rollo books by Jacob Abbott offer evidence of how children learned to identify characters, stories, motivations, and morals in visual productions through the use of visual codes of representation. An in-depth analysis of two paintings by Lilly Martin Spencer and Seymour Joseph Guy-both of whom represented the telling of nursery rhymes-demonstrates how artists attempted to render the process of mental imagining visible for the viewer.}, keywords = {Nineteenth Century, Visual Studies}, author = {Walsh, Catherine} } @mastersthesis {12348, title = {Thinking with Birds in British Art and Visual Culture, 1840-1900}, year = {2016}, school = {Wisconsin}, abstract = {No record in ProQuest or Wisconsin ETDs}, keywords = {Nineteenth Century}, author = {Silberman, Caitlin} } @mastersthesis {12347, title = {Thomas Cole on Architecture: Picturing the Gothic}, year = {2016}, school = {Delaware}, abstract = {This dissertation studies Thomas Cole and the Gothic Revival. Through an examination of Cole{\textquoteright}s paintings of landscapes and architecture, as well as his writings, this dissertation demonstrates Cole{\textquoteright}s preference for the Gothic Revival as an architectural style, and how he visually associated the Gothic with the American wilderness and American Indians. Furthermore, by considering Cole{\textquoteright}s beliefs in the cyclical theory of history, and the Gothic{\textquoteright}s place within that history, it shows that Cole drew a connection between the Gothic and specific Christian spiritual implications. An in-depth analysis of the painting The Architect{\textquoteright}s Dream, Cole{\textquoteright}s essay "Letter to the Publick on the Subject of Architecture," his paintings based on James Fenimore Cooper{\textquoteright}s gothic novel The Last of the Mohicans, and his numerous landscapes with both classical and Gothic ruins reveal how Cole defined the Gothic. For Cole, the Gothic symbolized all that was wild and free as opposed to classicism{\textquoteright}s order and control. He made the Gothic manifest through his paintings of Gothic buildings within the landscape and by drawing from the tools of gothic novelists. This dissertation establishes how Cole developed the Gothic as a pictorial trope in order to contextualize more fully our understanding of the nineteenth-century Gothic Revival.}, keywords = {Nineteenth Century}, author = {Schwartz, Rebecca Ayres} } @mastersthesis {12300, title = {Thomas Wijck{\textquoteright}s Painted Alchemists at the Intersection of Art, Science, and Practice}, year = {2016}, school = {Delaware}, abstract = {The sixteenth and seventeenth centuries represent an alchemical "Golden Age." During this era, alchemists were engaged in a wide array of commercial enterprises, from mining to dye and pigment manufacture to the production of chemical medicines. Yet despite its past ubiquity and utility, alchemy has since borne negative associations with magic, occultism, delusion, and greed, and alchemical imagery has in turn suffered misinterpretation or obscurity. Many modern interpretations of alchemical art centralize Pieter Bruegel the Elder{\textquoteright}s 1558 satirical print, The Alchemist, a scene that lampoons vain hopes for transmutated gold; others focus on the mess and disorder of the pictured workshop as signs of alchemy{\textquoteright}s failures. Yet the alchemical paintings of Thomas Wijck (1616-1677) present a remarkable challenge to narratives of greed and folly. Wijck{\textquoteright}s painted laboratories model domestic harmony, scholarly study, and expert knowledge of materials. Rather than charlatans or dupes, his alchemists are respectable and scholarly artisans who pursue intellectual and empirical work. In representing alchemists as artisans, Wijck reframes alchemy in the context of the familiar, as well as socially and economically vital, artisanal workshop. His images further present colored powders and raw materials that epitomize desirable and useful alchemical products, particularly pigments and dyes. Wijck{\textquoteright}s choice to depict his alchemists as makers of artists{\textquoteright} materials, rather than seekers of gold or cures, is a remarkable one. It affirms his subject{\textquoteright}s utility as a tool for fashioning an artistic identity rooted in curiosity, ingenuity, and transformation. As a painter, and particularly as a painter in oils, Wijck was connected to a legacy of experiment in workshop process, as well as concerns for mimesis, naturalism, and material change. While the work of alchemists and painters might be considered artisanal, both alchemists and artists claimed a special status owing to their creative powers. Alchemy shared deeper connections (and rivalries) with art-making, centering on the replication of nature. Wijck{\textquoteright}s formation of an artistic and professional identity around alchemical themes indicates his desire to explore this curious territory, and ultimately to demonstrate art{\textquoteright}s superior claims to knowledge of the natural world.}, keywords = {Fifteenth- to Seventeenth-Century Art, Northern Europe}, author = {Berry Drago, Elisabeth} } @mastersthesis {12234, title = {Three Case Studies in Critical Regionalism: Takashi Sugimoto, Kengo Kuma, and Hiroshi Sambuichi}, year = {2016}, note = {other subject: Twentieth Century}, school = {Bard Graduate Center}, abstract = {This study examines the relationship between the design philosophies and practices of three Japanese case study subjects-the commercial space designer Takashi Sugimoto, the architects Kengo Kuma and Hiroshi Sambuichi-and the body of architectural theory knows as "Critical Regionalism" as well as some related theoretical work (including bioclimatic design theory), in both in Japan and in the West. The thesis examines the extent to which their work integrates concerns associated with local values and traditions (and often with topographical particularities) into strategies for practice in the international marketplace. Based on interviews, site visits, and analyses of selected writings and design works, the author enunciates key concepts, techniques, and qualities in each designer{\textquoteright}s oeuvre, focusing on "regionalist" elements and on each designer{\textquoteright}s response to the exigencies of design practice in the era of globalization. The study also considers recent work by design historians on the impact of globalization on scholarship and practice, insights from which are applied to the case studies alongside those derived from an examination of the debate in twentieth century architectural theory and practice over the place of "regional" and "universal" elements. Attention is paid to the rise and proliferation of the International Style as the architectural manifestation of (universal) Modernism and the responses to this by mid-twentieth century American regionalists. In addition, practitioners of Postmodernism in Japan and the West are examined alongside the central concern with "Critical Regionalism" as articulated in the early 1980s by Liane LeFaivre, Alexander Tzonis, and Kenneth Frampton. The study concludes that critical regionalist theory offered a perspective that combines the functional efficiency of Modernism with concern for the distinctiveness of particular sites. However one of the reasons this theory did not translate into a sustained practice movement was that available technologies were insufficient at the time to support the full vision of practitioners in this regard. While the study does not argue that any single approach can satisfy all design clients and stakeholders, it further concludes that regionalist ideals, realized through today{\textquoteright}s technology, can provide a new paradigm for architectural and space design practices that preserve a high degree of local cultural specificity while resisting homogenization and responding effectively to rising concerns regarding environmental sustainability-at least when applied as adroitly as in the work of Sugimoto, Kuma, and Sambuichi.}, keywords = {Artistic Practice/Creativity, East Asia, Theory/Historiography/Methodology}, author = {Shinn, Masako} } @mastersthesis {12284, title = {Tree, Vine, and Herb: Vegetal Themes and Media in Gothic Germany}, year = {2016}, school = {Yale}, abstract = {This dissertation examines vegetal themes and media in religious images produced in Germany during the final chapter of the medieval period before the onset of the Reformation in 1517-what German scholars call the Late Middle Ages (das ausgehende Mittelalter). It complements the prevailing symbolic interpretations of the burgeoning herbal forms in late-medieval art, and demonstrates that painters and sculptors also exploited the indexical potential of matter to simulate the inner essence and tangible output of plant life and trees. Wood, for instance, assumed new prominence among spiritual writers, such as Henry Suso (d. 1366) and Stephan Fridolin (d. 1498), who alongside artists relished the multiple semantic registers that the substance and yield of both the inert and living conditions of wood made possible. In addition to the formal representation of nature{\textquoteright}s outer appearance, this study analyzes artists{\textquoteright} sensitivity to the constitutive humors, secretions, and other salutary qualities of organisms perpetually in flux, from growth to human intervention: vines cultivated for wine, plants{\textquoteright} saps drained for salves, and the Wood of the Cross bled for tree resins and turpentine. Indeed, this dissertation explains how the explosion of vegetal forms in religious images of the period indicates a wider interest in the outer appearance of greenery as well as its inner quality and tangible output. Despite its specific arboreal connotation, I argue for the term ligneous to describe the large visual corpus of spiritualized greenery (geistliche Maien) that expresses a formal and material likeness with vegetation. Just as its English counterpart in wood, lignum is defined by fibrous pulp and the fully formed greenery-trees and shrubbery-that it comprises. Ligneous images, therefore, represent trees, vines, and herbs as both subject and medium-hence the dissertation{\textquoteright}s subtitle: vegetal themes and media in Gothic Germany. For sculptors of religious images in wood, this included representational strategies like maintaining the physical integrity of the tree throughout the carving process. In identifying wood carvers{\textquoteright} sensitivity to the form and essence of their erstwhile living medium, the research presented here engages with persistent arguments over and offers an alternative explanation for the appearance of unpainted wood sculpture in southern Germany at the time. Turning to the artistic personality whose works are best known to exhibit the phenomenon, the dissertation re-evaluates the Franconian sculptor Tilman Riemenschneider{\textquoteright}s (d. 1531) occasional renunciation of color as no act of aesthetic restraint but rather a bombastic artistic maneuver to assert wood, in its own right, as a carrier of sacred significance. Monochrome painting, a fraught representational genre that is said to be overtly self-conscious of medial specificity and difference, also participated in the artistic exchange about mimesis and material simulation. Matthias Grunewald (d. 1528), a painter and trained hydraulics engineer who was familiar with carpentry and horticulture, infused his grisaille paintings for the Heller altarpiece (1507-09) with earthy browns to heighten the physical presence of the teeming vegetal forms and their saintly namesakes. His fascination for the substance of nature in addition to its appearance also manifests itself in the Isenheim altarpiece (1512-16), where he creatively deployed his paintbrush to convey the comparable plasticities of coagulated blood and hardened tree resin. As this dissertation shows, spiritualized vegetation (Geistliche Maien) in visual and verbal form built on the syntax of emanation from Genesis 1:27, expounding on the imagistic likeness of humans to their God and their botanical companions on earth. Artists in this period were also entangled with the sources of their material production. Instead of expressing it as mastery over and effacement of, I argue for a fundamental recalibration of our accounting of the creative process as one of respect for and harmony with raw materials.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation}, author = {Bryda, Gregory} } @mastersthesis {12372, title = {The Triangle Arts Trust: Contemporary Art and Transnational Production}, year = {2016}, school = {Toronto}, abstract = {This dissertation presents a historical overview and contemporary analysis of the Triangle Arts Network, an international network of artists and arts organizations that promotes the exchange of ideas and innovation within the contemporary arts. It was established in 1982 through a workshop held in Pine Plains, New York and quickly grew into an international network of artist led workshops around the world. More than twenty years later the network continues to grow and includes a roster of ongoing workshops as well as artist led organizations and centres. This dissertation situates Triangle as a major global phenomenon, yet one that operates outside the mainstream artscapes. My research follows the network{\textquoteright}s historical links from Saskatchewan, Canada, to New York and onto South Africa. This web-like evolution demonstrates the complexity of global art networks and the fluidity of boundaries needed for contemporary art discourse. This research explores how the movement of ideas, artists and infrastructures complicate our understanding of clearly defined boundaries within contemporary art and globalization. Using Actor-Network Theory (ANT) as a metaphor for the Triangle Network, I attempt to unpack the complexities of an art system without objects, a process without product and the entangled relationships between artists, workshops and grassroots models of production.}, keywords = {Twentieth Century}, author = {Aronowicz, Miriam} } @mastersthesis {12239, title = {Un arte social y revolucionario (A Social and Revolutionary Art): Marcelo Pogolotti and the International Avant-Garde}, year = {2016}, school = {IFA/NYU}, abstract = {Un arte social y revolucionario: Marcelo Pogolotti and the International Avant-Garde, examines the work of Marcelo Pogolotti (b. 1902, Havana - d. 1988, Havana), a key figure in the Cuban vanguardia, through his participation in a number of transnational art movements and artists{\textquoteright} groups. Although he is today little recognized outside of Cuba, Pogolotti spent the majority of his career in Europe in the 1930s, where he was fully integrated into the international avant-garde, first as an associate of the Turin Futurist group in Italy, and then as a member of the Paris-based Association des Artistes et Ecrivains Revolutionnaires (AEAR). This latter collective of politically engaged artists and writers profoundly influenced Pogolotti, and led to the development of his mature artistic production. Characterized by an abstracted figurative style, Pogolotti{\textquoteright}s mature works reveal his engagement with the political and social upheaval of inter-war Europe and reflect his efforts to create what he termed, "a social and revolutionary art." As the first extended study about the artist written in English, this dissertation offers a greater understanding of the contribution of this important painter to the development of figurative art with a political inflection in Cuba as well as in France and Italy, the two countries where he spent the majority of his creative years. Chapter one introduces the historical and cultural context that shaped Pogolotti{\textquoteright}s life and early career. Critical to this chapter is a discussion of Pogolotti{\textquoteright}s participation in the exhibitions that defined Cuba{\textquoteright}s vanguardia generation and his relationship to his Cuban artist peers. The second chapter addresses Pogolotti{\textquoteright}s early years abroad, opening with a comparison to other Cuban artists who nostalgically referenced Cuba while in Paris. In contrast, Pogolotti{\textquoteright}s interest in a more universal aesthetic, based "more in the time than the place," led him to incorporate mechanomorphic imagery. This approach coincided with the interests of the Turin Futurist group with whom Pogolotti became involved. Strongly opposed to fascism, how Pogolotti navigated his position amongst the Futurists will be considered through an analysis of the manifestos and exhibitions in which the Cuban artist participated. Pogolotti{\textquoteright}s 1930-31 drawing series, Nuestro Tiempo (Our Time), is the focus of the third chapter. Composed of thirty-five works, this series depicts explicit political and social commentaries about contemporary issues such as capitalism and corruption, and merits focused study as the major aesthetic and political turning point in Pogolotti{\textquoteright}s career. Chapter four addresses Pogolotti{\textquoteright}s involvement with the AEAR, whose political and intellectual milieu informed the development of Pogolotti{\textquoteright}s mature phase paintings. Of particular focus will be his 1933 Cuban Landscape (Figure 4), Pogolotti{\textquoteright}s most recognized canvas. Traditionally interpreted in terms of cubanidad, by reinscribing this work within the context of Pogolotti{\textquoteright}s participation in the AEAR, this chapter presents a new interpretation of this canonical painting based on Pogolotti{\textquoteright}s political commitments and the particular historical moment. The final chapter considers how the exhibition history and critical reception of Pogolotti{\textquoteright}s art impacted his subsequent historiography. Beginning with an analysis of Pogolotti{\textquoteright}s first and only solo exhibition in Paris, the chapter then turns to the reception of Pogolotti{\textquoteright}s work upon his return to Cuba in 1939, considering how it differed from that of his contemporaries. The dissertation concludes with a consideration of how recent reevaluations by Cuban scholars may reflect a reclamation of Pogolotti{\textquoteright}s radical political perspectives in terms of Cuban Revolutionary ideology, as well as a renewed interest in promoting the international nature of Cuban culture.}, keywords = {Central America, Twentieth Century}, author = {Temkin, Susanna} } @mastersthesis {12205, title = {Unfinished Bodies: The Figurative Object in Southeast Africa, 1860-1920}, year = {2016}, school = {Harvard}, abstract = {The incomplete body is a persistent motif in carved works from nineteenth-century South Africa. Prior to this period, images of the human form were rare in Nguni visual cultures along the southeast African coast, but they began to proliferate in the second half of the nineteenth century. Yet despite this new enthusiasm for representing the body{\textquoteright}s form, many figures sculpted in the round are partial, fragmented, or otherwise distorted. Proceeding from this contradiction, my dissertation investigates what it meant for the human form to become a subject of visual representation in this time and place. Through a series of case studies, I situate figurative objects within their broader cultural landscape: an environment that was both newly flooded with pictorial media, and deeply preoccupied with anxieties about the body{\textquoteright}s cultural meaning and its physical vulnerability. These uncertainties were the product of various historical forces, which included a volatile atmosphere of heightened colonial intervention, Christian missionary activity, rapid economic change, and war. At the same time, the increasingly accessible media of photography and print enabled the body{\textquoteright}s image to be manipulated and estranged from its subject in new ways. I argue that anthropomorphic objects must be understood in light of these conditions, as material sites where the status and meaning of the human body were in the process of being negotiated, undermined, and remade. Each chapter traces a different motif of fragmentary anthropomorphism. Chapter One examines carved staffs that incorporate representations of human heads. Chapter Two looks at the motif of functional objects carved in the form of headless female bodies. Chapter Three analyzes the strange corporeality that characterizes a class of elaborate wooden vessels. Chapter Four describes relationships between violence and figurative representation in objects made to commemorate war. Through these case studies, I offer a new interpretation of nineteenth-century objects carved in the round. I show how the emergence of figurative representation was inextricably linked to broader cultural histories of the body in this region and era.}, keywords = {Africa}, author = {Sims, Theresa} } @mastersthesis {12357, title = {Unsettled Masses: Public Transportation in the Art of New York City, 1929-1941}, year = {2016}, school = {Penn State}, abstract = {During the Great Depression and World War II, public transportation thrived as an alternative to costly travel by railroads or private cars. This dissertation uses depictions of mass transit as points of departure into contextual examinations of three artists who repeatedly used passengers as subjects: Reginald Marsh (1898-1954), Donald Freeman (1908-1978), and Walker Evans (1903-1975). I argue that travel imagery attests to mobility as a common experience-an aspect of American life that viewers would recognize. Through a close examination of representations of mobility, it becomes clear that the motif appealed to these artists because it was simultaneously common and complicated-implicitly moving but explicitly stationary. As such, New York City{\textquoteright}s commuters could convey social commentary, cultural observations, or artistic declarations. Marsh moved away from the specificity of his 1930s works and populated his transit settings with solitary female passengers with similar features, poses, and expressions. Freeman{\textquoteright}s self-published magazine Newsstand demonstrates the close relationship between mass transit, mass media, and artists{\textquoteright} pursuit of democratic formats. Analysis of Evans{\textquoteright}s methods and editorial decisions for his multi-year subway portraiture series highlights his concepts of candidness, anonymity, and truth. While previous studies have used art to illustrate subway histories, I focus on interwar visual culture to examine transit{\textquoteright}s significance in light of American Scene paintings, documentary photography, New Deal arts programs, and commercial publications. Primary sources provide the necessary information to trace the artists{\textquoteright} urban movements and public perception of transit modes. Scholarship on the experience of train travel in the nineteenth century complements recent developments in mobilities studies as an interdisciplinary pursuit, an approach that beneficially interweaves topics previously considered insular.}, keywords = {North America, Twentieth Century}, author = {Schiller, Emily} } @mastersthesis {12227, title = {Utilite publique: Architecture, Urbanism, and Aesthetic Reform in Turn-of-the-Century France}, year = {2016}, school = {MIT}, abstract = {This dissertation documents how the aesthetic dimension of architecture came to be seen as an object of public utility in late nineteenth and early twentieth century France. It examines the work of a network of architects, artists, political representatives, art critics, poets, archaeologists, pedagogues, and other intellectual elites, who argued, through journals, pamphlets and books, and various legislative debates, that architecture{\textquoteright}s aesthetic capacity could both remedy public problems and reform the public itself. The study casts these "aesthetic reformers" as motivated not only by a wish to serve the public, but moreso by a desire to serve architecture itself, rehabilitating its social status through claims to its own utility. Drawing forth the influence of contemporary theories of philosophical aesthetics, psychology, and pedagogy on these aesthetic reformers, I demonstrate how they concluded that architecture{\textquoteright}s social utility lay in its ability to improve the morality of the French public. The project argues that this conclusion accordingly reoriented architecture{\textquoteright}s focus to from the building itself, to the city, and finally to entirety of the environment over the course of approximately forty years, as architecture became increasingly invested in its relationship to the public. I substantiate this argument through studies of private associations and societies which collectively sought to intensify the aesthetic affect of the built environment through the preservation of both buildings and natural features, the promotion of architecture as a form of art for the public, and the new practice of urban planning. In bringing this moment when architecture{\textquoteright}s aesthetics were conceived as public utility to light, my study offers a new genealogy of the idea that architecture could better society.}, keywords = {Architectural History/Urbanism/Historic Preservation, West Asia}, author = {Tuerk, Stephanie} } @mastersthesis {12361, title = {Various Representational Tasks: Art and Activism in the Early Work of Martha Rosler, Allan Sekula and Fred Lonidier, 1967-1976}, year = {2016}, school = {Columbia}, abstract = {This dissertation presents the early work of Martha Rosler, Allan Sekula and Fred Lonidier as an attempt to intertwine political and aesthetic practice that was fundamentally distinct from the dominant, contemporaneous models of politicized avant-garde art. Throughout the first half of the 1970s these artists were in constant, close dialogue with one another, and, for the first time, this dissertation attempts to read their work during this period as a shared project. Considering the initial few years of their careers, it is an effort to understand how their practice emerged, and how it set itself apart from predominant forms of Conceptual art, post-Minimalism and institutional critique. In particular, it will explore how these three artists conceived of a relationship between political and aesthetic practice that was not dependent upon a self-reflexive investigation of their own art work{\textquoteright}s conditions of possibility. Drawing on realist and documentary traditions from the first half of the 20th century, Sekula, Rosler and Lonidier sought to create art that was always related to something beyond itself, developed in relation to the social world in which it existed. These artists neither assumed dependence on a given institutional, discursive formation, nor held out for an absolute escape from the institutions of the art world. Instead, they moved strategically between various locations, various publics and various discourses in a continual attempt to speak intelligibly within those sites most relevant to the political struggles they addressed. In order to understand this strategic movement, it is necessary to read these artists{\textquoteright} works as utterances within momentary, contested discursive fields. As a result, this dissertation will provide close readings of several works through a detailed consideration of the particular situations in which they were created, displayed and received. Whether as flyers handed out at protests or self-consciously gallery friendly photo-text works, every piece will be read as a precise intervention within a specific location. Following this approach, each chapter focuses on a small number of works and reads them within the social and political events they both instigate and enter into, whether those are, as in the first chapter, a public dispute over the nature of art between two academic departments, or, as in the second chapter, the protests against the Vietnam War. Through each of these analyses this dissertation outlines these artists{\textquoteright} shared attempt to produce art that only emerges through the discourses into which it enters, but is never entirely home wherever it might find itself. By describing this fundamental premise of Rosler, Sekula and Lonidier{\textquoteright}s work, this dissertation both seeks to provide a more adequate accounting of this group{\textquoteright}s shared project, and an alternative model for conceiving of the relation between political engagement and the post-war avant-garde.}, keywords = {Photography, Twentieth Century}, author = {Frobes-Cross, Nicholas Huffa} } @mastersthesis {12380, title = {Vernacular Modernism: Joseph Cornell and the Art of Populism}, year = {2016}, school = {IFA/NYU}, abstract = {This dissertation explores two entwined trajectories within twentieth-century American art: the career of Joseph Cornell (1903-1972), and interwar attempts to create a populist modern art. During this period of social unrest, the question of how art could stand for an imaginary whole known as "the people" became particularly urgent. Cornell{\textquoteright}s attempts to narrow the gulf between the material world and metaphysical experience became a model for a strand of modernism that drew upon idealist discourses to combat established hierarchies of taste and value. His translation of vanguard principles into a vernacular idiom was informed by-and, in turn, helped to shape-a number of episodes whose collectivist roots have yet to be explored, including the transatlantic migration of Symbolism, Surrealism, ballet, and Neo-Romanticism; the renewed interest in folk art; and the emergence of New York School poetry. These ostensibly discrete movements venerated spiritual or affective forces as the primary source of artistic creation, and offered an alternative to the abstraction and large-scale realism of the 1930s and 40s. My project traces the trajectory of this overlooked strand of modernist practice from its emergence during the Great Depression, through its suppression as the growing threat of totalitarianism led belief, affect, and spirituality in art to be discredited as a tool of top-down control.}, keywords = {Twentieth Century}, author = {Kwon, Marci} } @mastersthesis {12321, title = {The Vision in Stone: Melchiorre Cafe in the World, 1636-1667}, year = {2016}, school = {Harvard}, abstract = {This dissertation examines the theory and practice of sculpture by the Maltese artist Melchiorre Cafa in the 1660s in Rome. It explores how the concept of a sculptural softness, or morbidezza, cultivated from hard stone, emerged as a predominant aesthetic category in the seventeenth century. Part I of this dissertation traces the development of "soft sculptures" in the Seicento, arguing that physical labor, long expressed as a deficiency of sculpture, was celebrated and aestheticized in Cafa{\textquoteright}s many artworks. This quality of supple marble and soft stone was commented on by poets, artists and in the art literature of the time. Part II is a case study of Cafa{\textquoteright}s 1665 Rose of Lima and an angel, a performance of these surface qualities. It investigates how the sculpture was first displayed in Rome during the celebrations of the beatification of Rose in 1668, situating it within a network of art theoretical and hagiographical texts, paintings by Lazzaro Baldi, and sonnets by Orazio Quaranta. In 1670, Cafa{\textquoteright}s weighty marble sculpture was sent to Lima, Peru, one year before Rose{\textquoteright}s canonization as the first saint born of the Americas. Part III investigates how Cafa{\textquoteright}s patron mobilized this sculptural softness and its metaphorics in the world as he set out to create a persuasive image for Rose of Lima. Through the examination of Cafa{\textquoteright}s sculptures for Santa Caterina a Magnanapoli, Sant{\textquoteright}Agostino, and Sant{\textquoteright}Agnese in Agone, this dissertation situates Cafa{\textquoteright}s practice of sculpture as a precipitating factor that led to the global event of the canonization of Rose of Lima.}, keywords = {Fifteenth- to Seventeenth-Century Art}, author = {Kinew, Shawonipinesiik Kiwetinashiik} } @mastersthesis {12255, title = {A Visual Affair: Popular Culture and L{\textquoteright}Affaire Dreyfus}, year = {2016}, school = {Minnesota}, abstract = {This dissertation examines the popular culture and visual material connected to the Dreyfus Affair in nineteenth century France. The Dreyfus Affair was an important political and social event that took place in the 1890s in which Alfred Dreyfus, a Jewish army officer, was wrongfully accused of treason and found guilty, despite a lack of evidence. In the aftermath of the verdict, French society split into opposing camps, largely based on social and political values. Newspapers and journals covered the Dreyfus Affair prolifically and a broad variety of materials were produced that related to the Affair, such as postcards, posters, novelties, and games. It is through these items that the public really engaged with the Affair, an aspect of it that has largely been overlooked. This dissertation posits that the material produced contained a variety of functions for the public, from didacticism to entertainment. An overview of common subjects and themes is discussed to provide a general framework before the more lengthy discussion of the materials possible functions. Also explored are the concepts of low-brow and high-brow material, especially as it connects to the figure of the collector.}, keywords = {Drawings/Prints/Work on Paper/Artistic Practice, Nineteenth Century}, author = {Trittipo, Kathryn} } @mastersthesis {12291, title = {The Visual Hagiography of St. Margaret of Antioch in Thirteenth-Century Stained Glass in Europe}, year = {2016}, school = {Emory}, abstract = {This dissertation is a study of the visual hagiography of the early Christian virgin martyr St. Margaret of Antioch in thirteenth-century stained glass in Europe at the French cathedrals of Chartres and Auxerre, the French church of Saint-Julien-du-Sault, and the Church of St. Margaret at Ardagger Abbey in Austria. These monumental narratives depicting Margaret{\textquoteright}s life have not been seriously studied. Research on Margaret focuses on her textual vitae and on her role as a patroness of childbirth. In contrast, I demonstrate that conceptions of Margaret in thirteenth-century stained glass are more nuanced, tailored to each unique context through the window{\textquoteright}s location within the church{\textquoteright}s sacred topography and through its relationship with surrounding imagery and the church{\textquoteright}s liturgical rituals. Each window expresses a different version of Margaret{\textquoteright}s life through the scenes selected to depict her story and through the use of diverse narrative strategies. Furthermore, stained glass involved both the laity and clergy in its production, reflecting institutional identity and programmatic thinking, while also drawing on lay patrons. I argue that the patrons of these windows used these highly visible visual narratives to claim Margaret for their own purposes, including promoting the saint{\textquoteright}s local relics, highlighting the saint{\textquoteright}s intercessory efficacy, encouraging devotion to the saint, or conveying moral models for viewers. Chapter one examines the history of Margaret{\textquoteright}s cult and vitae . Chapter two discusses the historiography of the cult of saints and stained glass. Chapter three considers the Margaret window at Auxerre, which cleaves closely to her textual vita and emphasizes her tortures and the witnesses to her suffering. A consideration of the nearby Margaret window at Saint-Julien-du-Sault reveals the significance of multiple depictions of Margaret within close geographic proximity. Chapter four examines the window depicting Margaret at Chartres, where she appears less like a virgin martyr and more similar to the confessor saints surrounding her through an omission of her tortures. Chapter five discusses the window of Margaret at Ardagger Abbey. At Ardagger, Latin verse inscriptions surrounding each scene of Margaret{\textquoteright}s life offer commentary on and interpretations of the imagery that encouraged prolonged contemplation on the significance of Margaret{\textquoteright}s passion.}, keywords = {Eleventh to Fourteenth Century, Film/Video/Animation}, author = {Laverock, Ashley} } @mastersthesis {12200, title = {The Visual Nation: Exhibition, Quilting, and Cultural Diplomacy in Liberia, 1847-2015}, year = {2016}, school = {Indiana}, abstract = {This dissertation argues that exhibitions and quilting functioned as important forms through which cultural diplomacy and national representation was constructed in the Republic of Liberia from independence through the present. Liberia staged National and World{\textquoteright}s fair exhibits, capitalizing on the world exposition phenomenon in the nineteenth and twentieth centuries to present its arts and economic resources to international audiences. Concurrently, Liberian officials began to deploy quilts as diplomatic gifts and displayed in fair and museum exhibits. The exhibits constructed visual representations of Liberian culture depicting an idealized version of a culturally diverse but nationally unified Republic. Moving beyond canonical works of Liberian art, I analyze Liberian exhibits and quilting to show how Liberians conceived of national cultural identities and represented Liberia since the nineteenth century. I also consider who constructed and curated these versions of Liberian culture. Such an approach is the first to approach Liberian exhibition by looking at the participation of Liberian curators as well as American anthropologists and art historians who shaped the scholarship of Liberian art history in the second half of the twentieth century. In doing so, I explore why a century-and-a-half-old art practice by Liberian women has been absent from the literature. Analysis of Liberian quilters{\textquoteright} works contributes to the recuperative work of feminist art historians, but also allows me to contribute new perspectives on women{\textquoteright}s political participation in the development of Liberia. The project is not only recuperative, but also asks that viewers look at the artworks differently, in terms of both the histories of Liberian exhibition and historical contexts in which they were created. Not only have women actively shaped international cultural diplomacy through making diplomatic gifts, the art forms allow women to negotiate their multiple heritages and experiences visually. By investigating the ways that Liberian women artists contribute to cultural diplomacy, the active nature of Liberian curators at the fairs, and the absence of both from art historical literature, my dissertation demonstrates the necessity to reconsider and expand the Liberian art historical canon to incorporate trans-Atlantic art histories that are critical to the study of Liberian art.}, keywords = {Africa, Material Culture}, author = {Beck Cohen, Stephanie} } @mastersthesis {12373, title = {The Visual Regime of Augmented Reality Art: Space, Body, Technology, and the Real-Virtual Convergence}, year = {2016}, school = {McGill}, abstract = {My research investigates the aesthetic and perceptual dimensions of Augmented Reality (AR), one of the most fertile fields of technological innovation and artistic exploration within post-desktop philosophy and practice. Although AR has seen rapid expansion and development, it remains largely undertheorized in the humanities. In this sense, my study contributes to the definition of AR, the identification of the most relevant artworks, and the systematization of a theoretical framework for the field. AR is defined as a set of visualization and interaction systems that permit the perceptual overlay of virtual information (including photos, videos, 3D graphics, texts, sounds) on top of our material reality, in real time, site-specifically, and in an interactive manner. AR{\textquoteright}s capacity to articulate a hybrid space that seamlessly merges real and virtual elements is what I call convergence. AR artworks such as Jan Torpus{\textquoteright} Living-Room 2 (2007), Janet Cardiff and George Bures Miller{\textquoteright}s Conspiracy Theory (2003), Jeffrey Shaw{\textquoteright}s The Golden Calf (1994), Julian Oliver{\textquoteright}s Artvertiser (2008), John Craig Freeman and Will Pappenheimer{\textquoteright}s Hans Richt AR (2013), and recent AR mobile applications such as Layar and Wikitude are relevant examples of the way in which AR makes reality and virtuality not only adjacent but also perceptually convergent within the same space-image. Thus, the questions that arise and which are examined in this study are as follows: to what extent does reality-virtuality convergence particularly affect a user{\textquoteright}s experience of space? Can we see AR as a confirmation or challenge to the established models of visuality? Or does it amount to a perceptual and aesthetic paradigm change? I contend that AR proposes a different visual regime as evident from the fact that it extends the traditional definition of the image (proposing instead a processual space-image that integrates reality and virtuality), redefines the role of the interface (transforming it into a context-aware, user-centric device), and reconsiders viewer{\textquoteright}s experience of space (by embedding virtual data into the everyday environment). A key element of my argument is that regardless of the technical form and artistic solutions employed, AR should be seen as a concept rather than a technology (hence the mixed methodological approach that includes art history, media studies, and computer science). My study concludes that, while grounded on historically validated artistic endeavors that aim at merging real and fictional worlds (such as installation art and Virtual Reality art), AR proposes a different spatial and media experience and therefore a different regime of visuality.}, keywords = {Twentieth Century}, author = {Avram, Horea} } @mastersthesis {12204, title = {Visualizing Culture: Women{\textquoteright}s Artistry in Northeastern Ghana and Southern Burkina Faso}, year = {2016}, school = {Indiana}, abstract = {This dissertation concerns women{\textquoteright}s artistry in northeastern Ghana and southern Burkina Faso. Women have traditionally beautified the walls of their earthen compound-style homes with spectacular paintings that are the area{\textquoteright}s most highly renowned and widely recognized art forms. Compositions include a large repertoire of red, black, and white motifs representing elements of daily life and traditional culture. Women artists are also known for their expertly formed pottery wares and brightly colored baskets, many of which feature the same designs used in wall painting compositions. This study explores several important themes relating to women{\textquoteright}s historical and contemporary artistic practices, particularly emphasizing artists{\textquoteright} role in facilitating the incorporation of new social, cultural, and religious influences into indigenous culture over the last century. Through detailed descriptions of artistic processes, I examine women{\textquoteright}s technical ingenuity and innovation in developing and adapting their methods to accommodate shifting circumstances. I present women not only as artists taking part in time-honored traditions, but as individuals, each with her own ideas, opinions, experiences, knowledge, and personality. Along with this, I interrogate connections between women{\textquoteright}s artistry and identities, particularly highlighting the indigenous concept of the pogeminka, or ideal woman, who respects herself and takes pride in her work. Through descriptions of painted walls, discussions with women artists, and examinations of historical documents, I explore similarities and differences between interpretations of design names and meanings across space and time. I argue that motif names and meanings are not fixed, but rather that paintings are sites of education and storytelling, where individual and collective cultural identities are constantly created and reimagined by artists and their audiences. I also showcase women{\textquoteright}s artistic goals, parameters for success, and mutual critique, as well as the indigenous terminology used in aesthetic discourse. Finally, this dissertation explores the history of women{\textquoteright}s artistry from a range of perspectives, particularly those of women artists, highlighting connections across time, space, and forms of art.}, keywords = {Africa}, author = {Sheldon, Brittany} } @mastersthesis {12263, title = {Walking Out of Ground Zero: Art and the Aftereffects of the Atomic Bombs in Postwar Japan}, year = {2016}, school = {USC}, abstract = {This dissertation examines the ways in which artists of postwar Japan visualized the aftereffects of the atomic bombs and conditions arising from the catastrophes-despite their unrepresentability. It asks how artists and individuals engaging in cultural productions took the nuclear issues and politics as their own, rendered the catastrophes vis-a-vis the crises of vision, ontology, and the environment, or, if not, denoted the detachment from ground zero in the decades after the atomic detonations. The project thus speaks for the productive force of the atomic bombs and their legacies, the possibility of creative and intellectual challenges that question, expand, or override the predominant narrative of the nuclear catastrophes and its relationship to visual representations as trauma, a tabula rasa, or a fundamental rupture. The study approaches the subject by clustering it around five themes-documentary, explosion, metamorphosis, site-specificity, and pilgrimage-and corresponding case studies. It begins by problematizing the ideas of documentation and documentary art by exploring the large but nearly forgotten art exhibition Nihonjin no kiroku/Records of the Japanese (1959) in Hiroshima. While dissecting the facile association of art about the atomic bombs with clear-cut documentation, the chapter serves as a critical introduction to various artistic representations of the man-made catastrophes. Chapter Two looks at how the atomic bomb calamities are being reconsidered as a means to question their iconic images, such as explosions and mushroom clouds, and the historical narratives they represent. This is done by centering on Okamoto Taro{\textquoteright}s monumental mural in Mexico City, Asu no shinwa/Myth of Tomorrow (1968-1969). Chapter Three investigates the visualization of invisible radioactivity and other industrial toxins but as productive energy rather than a destructive kind, through Kudo Tetsumi{\textquoteright}s deployment of a visual theory of metamorphosis from the 1950s to the 1970s. Chapter Four revisits the artist collective Chim-Pom{\textquoteright}s hotly debated guerrilla art project in Hiroshima (2008) so as to illuminate negotiations between site-specific artwork and site-specific memory, which eventually led them to depict Hiroshima as something fluid and transient, liberated from the actual time and space of the 1945 disaster. The study concludes with an epilogue that contemplates the notion of pilgrimage out from and to ground zero to emphasize a process of healing and understanding the aftereffects of the bombs rather than focusing on a singular conclusion or tangible artwork. In this manner, the dissertation embraces the complexities, confusions, contradictions, and flexibility that arise when we face such unimaginable and unrepresentable events.}, keywords = {East Asia, Twentieth Century}, author = {Hiro, Rika} } @mastersthesis {12260, title = {The Way to Be Modern: Empress Dowager Cixi of the Late Qing Dynasty}, year = {2016}, school = {Pittsburgh}, abstract = {No record in ProQuest or Pittsburgh ETDs}, keywords = {East Asia, Photography}, author = {Dong, Lihui} } @mastersthesis {12220, title = {Witnesses to Terror: Nationhood and Trauma in Memorials to Victims of Terrorism}, year = {2016}, school = {Stony Brook}, abstract = {This dissertation studies the collective memory of the September 11, 2001 terrorist attacks through the exploration and historicization of memorials commemorating the victims of the event and examines how the reoccurring formal features of vernacular memorials serve as the organizing principles for an ongoing process of cultural trauma. The study begins with a discussion of the three official, national memorials and traces the history of their design competitions. It argues that in their use of a minimalist style and deliberate rejection of national symbolism and figural representation, the national memorials allow for multiple interpretations and address the personal, psychological traumas of individual visitors. Nevertheless, the complicated and fraught processes that brought the works into being reveal the multiplicity of views propagated by varied interested parties and the underlying tensions regarding the heroes and victims of the attacks, their impact on the nation, and the appropriate security measures needed to protect the American people from future acts of terrorism. As a consequence, the resulting memorials, while ostensibly devoid of explicit meaning or narrative, are nonetheless pervaded by a political agenda of creating empathy with the victims of the attacks, all the while obscuring the insecurities and fears that continue to preoccupy the American people. On the contrary, as this study argues, vernacular memorials both appropriate and create symbols of post-9/11 America in order to address the cultural trauma sustained by the nation during the attacks. Rather than healing individual visitors, these municipal and private memorials attempt to create a clear visual and rhetorical narrative of national strength, courage, and historical continuity in response to the vulnerabilities and fears sustained as a consequence of the attacks. Using conservative materials and forms, as well as tropes from previous commemoration, ranging from the preservation of attack relics to the near veneration of first responders, these memorials deliberately eschew the abstract language of their official counterparts in order to quell the citizen{\textquoteright}s anxieties regarding the national security, as well as the realities of the attacks and their aftermath.}, keywords = {Architectural History/Urbanism/Historic Preservation, Folk Art/Vernacular Art}, author = {Sauzade, Alena} } @mastersthesis {12242, title = {Writing Calculations, Calculating Writing{\textquoteright}: The Art of Hanne Darboven}, year = {2016}, school = {Chicago}, abstract = {Conceptual art is widely heralded as the first truly international art movement. My dissertation asks precisely how conceptual art is international, and why this matters. Art historical scholarship has tended to elide the differences between a broadly American and Western European (primarily male) conceptual art in contrast to broader, related movements of global conceptualism in areas including Latin America, Eastern Europe, and Japan. I argue, rather, that the form of conceptual art that developed in Europe, in particular in Germany, is distinct from American conceptual art. To make this case, I focus on German conceptual artist Hanne Darboven, whose three years living in New York (1966-68) and extensive participation in the American art scene even after her return to Germany make her crucial to thinking through how these different models of conceptual art differ. I discuss Darboven{\textquoteright}s calculation-based art in the context of changing perceptions of mathematics and math pedagogy in light of the Cold War, as well as the gendered history of computers, computation, and data processing. Darboven is best known for her calendar drawings, in which she performs calculations based on the calendar date for a period of time, variously representing and reorganizing these calculations. Her critics frequently note the patience, attention to detail, and repetitiveness - even obsessiveness - her hundreds of pages of calculations mandate. These are the very same terms frequently used to discuss the sorts of work considered appropriate to women in the mid-20th century, from human computers to craft, textile, or decorative work. Darboven{\textquoteright}s conceptual art, in contrast to many of her male peers and to what art historian Benjamin Buchloh terms an "aesthetic of administration," purposefully retains an aspect of the personal, the concrete, and even the decorative. I argue that Darboven{\textquoteright}s choice to eschew discursive language for numerical calculations is not a mere avoidance of subjectivity or mimicking of a depersonalized aesthetic of administration, but rather a consciously political choice, engaged with questions about the changing nature of labor, authorship, and responsibility in the information age.}, keywords = {Conceptual Art, Twentieth Century}, author = {Salinger, Victoria} } @mastersthesis {12230, title = {Writing Modernity: Constructing a History of Chinese Architecture, 1920-1949}, year = {2016}, school = {UC Santa Barbara}, abstract = {This dissertation joins the contemporary debate on rewriting the history of Chinese architecture by critically (re-)examining the initial stage of discourse formation during the Republican period. Focusing on the ordinary house in the city, I excavate the popular voice on Chinese architecture from the newspapers and magazines, examine the municipal government{\textquoteright}s effort in modernizing the city and life, as well as the professional community{\textquoteright}s attempt to establish the authoritative figure of the modern architect to replace that of the traditional craftsman. I show that these different constituencies of Chinese architecture articulated and presented a more vibrant and complex scene of discourse and practice than we have recognized until now. Although each held different forms of power, and focused on different issues, these early interpreters of Chinese architecture nevertheless converged on their understanding of reforming the Chinese house and Chinese architecture. The municipal government{\textquoteright}s modernizing projects in the city served to bolster the professional community{\textquoteright}s claim to expertise that culminated in writing a new history of Chinese architecture. This history subsequently became the standard historiography, suppressing and subsuming the popular voice and relegating it to history{\textquoteright}s dustbin for decades. By retrieving the popular discourse of Chinese architecture from this period, we not only gain a fuller understanding of the formative stage of Chinese architectural historiography, but are also provided with helpful indications pointing to a possible route to rewrite the history of Chinese architecture.}, keywords = {Architectural History/Urbanism/Historic Preservation}, author = {Yan, Wencheng} } @mastersthesis {12250, title = {Zen and the Art of Software Performance: John Cage and Lejaren A. Hiller Jr.{\textquoteright}s "HPSCHD" (1967-1969)}, year = {2016}, school = {UIC}, abstract = {This dissertation examines John Cage and Lejaren A. Hiller Jr.{\textquoteright}s computer-assisted music event HPSCHD (1967-69), constituting a crucial moment in the history of software in artistic practice. Engaging both Cage{\textquoteright}s interest in indeterminacy as well as Hiller{\textquoteright}s creative application of information theory in composition, the two collaborators programmed an event juxtaposing the mechanical simplicity of the harpsichord with the complex capabilities of a supercomputer to investigate procedural and ontological notions of chance operations. This ambitious multi-media performance was composed of seven solo pieces for harpsichord derived from processed works by Mozart, Beethoven, Chopin, Schumann, Gottschalk, Busoni, Schoenberg, Cage, and Hiller, 52 microtonal, computer-generated magnetic tapes, and over 8,000 slides and 40 films. Despite its ambitious computational concept, art historical discourse often over-determines Cage{\textquoteright}s involvement in the HPSCHD performance, focusing on its techno-utopian visuals rather than its programming achievements. In contrast, an exploration of Hiller{\textquoteright}s methodology programming the "HPSCHD" software and its many subroutines demonstrates the underlying parallels between the dematerialization of both information and art; considering programming as a performance reveals how HPSCHD, as well as many influential early computer artworks, fits into the greater historical trend of dematerialization transforming both art and information in the latter half of the 20th century. Though its premiere received mixed reviews-the most negative chiefly due to the technological dysphoria heightened by the tumultuous socio-cultural climate of the late 1960s and early 70s-contemporary re-stagings of HPSCHD emphasize its participatory ethos and indeterminate form, encouraging radical, creative adaptations of both proprietary and open-source technologies for experimentation and performance.}, keywords = {Digital Media/New Media/Web-Based Media, Multimedia/Intermedia}, author = {Funk, Tiffany} } @mastersthesis {12050, title = {Abstract Impressions: Women Printmakers and the New York Atelier 17, 1940-55}, year = {2015}, school = {Rutgers}, abstract = {This dissertation is the first to consider the innovative prints of the ninety-one women artists who worked at Atelier 17, the avant-garde printmaking workshop in New York between 1940 and 1955, alongside the emergence of the New York School. Situating the prints of a core group of eight artists-Louise Bourgeois, Minna Citron, Worden Day, Dorothy Dehner, Sue Fuller, Alice Trumbull Mason, Louise Nevelson, and Anne Ryan-within the context of midcentury gender norms, my dissertation discusses how women artists used groundbreaking techniques to achieve novel forms of abstraction. I argue that women printmakers stood at the center of artistic and societal debates about acceptable feminine roles and women in the workforce. These artists both followed and challenged notions of femininity through their material and physical experimentations with abstract printmaking. Chapter One{\textquoteright}s critical historiography of American women printmakers from 1800 through the 1930s illuminates why Atelier 17 was so significant to the development of women{\textquoteright}s professional identities. By scrutinizing midcentury gender norms that prescribed acceptable spaces of work and types of feminine labor, Chapter Two uses signaling theory to explain how women artists relied on printmaking{\textquoteright}s physicality to demonstrate their serious professional intentions. The rigorous process of carving plates and woodblocks, for example, simulated sculpting, spurring many women to enter this male-dominated field. Chapter Three examines the potential of gender and socio-cultural norms to affect the meanings of printmaking{\textquoteright}s tools. Chapter Four considers the formal strategies that Atelier 17 artists employed to make their prints relevant to Abstract Expressionism. Although women artists could be leading practitioners of avant-garde printmaking, critics initially deemed their small prints unambitious and placed them on the periphery of Abstract Expressionism. Chapter Five examines the networks that women artists developed to promote their reputations as abstractionists and send prints widely to print annuals, group exhibitions and solo shows. The dissertation{\textquoteright}s case studies expand conceptions of Abstract Expressionism and identify isolated instances of women working towards gender equality before the Women{\textquoteright}s Art Movement. The great creative strides women artists took while experimenting with avant-garde printmaking at Atelier 17 had lasting impacts on later generations of women artists.}, keywords = {Drawings/Prints/Works on Paper/Artists{\textquoteright} Books, Twentieth-Century Art}, author = {Weyl, Christina} } @mastersthesis {12001, title = {Adventures on Paper and in Travesia: The School of Valparaiso Visualizes America, 1965-1984}, year = {2015}, school = {UT Austin}, abstract = {Since 1984 faculty at the School of Architecture and Design at the Pontificia Universidad Catolica de Valparaiso (PUCV) have experimented with the concept of the traveling studio. In contrast to the typical, one-off trip abroad undertaken by most schools, the Valparaiso group has made their trips an annual journey into their backyard: the wildernesses of South America. Most importantly, these curriculum-based trips, known as travesias (crossings), are rooted in the School of Valparaiso{\textquoteright}s manifesto: Amereida I (1967). This poem emerged from the first travesia of 1965. The revamped School of Architecture at the PUCV had only been up and running for a decade when a group of professors decided to embark on a two-month journey through the wilds of Chile, Argentina, and Bolivia. This trip was the first opportunity to test their radical philosophy: making poetry the source of their creative process. As they met with locals, installed small-scale works, and elaborated performances, the poetic word was always present. Moreover, this first travesia inspired the participants to collectively write Amereida I, an epic poem that blends the Aeneid, conquest-era chronicles, and abstract drawings of the South American continent. At the heart of Amereida I is a summons to perceive the continent{\textquoteright}s abandoned "interior sea" through direct observation and experience. Though many of the School{\textquoteright}s activities give poetry a central place, the travesias alone can fully carry out the ambitions outlined in Amereida I. This dissertation explores the arc of inspiration and realization between the first travesia, Amereida I, two exhibitions held at the Museo Nacional de Bellas Artes in Santiago, and the 1984 travesias. What unites these activities is the South American continent. Over the course of 19 years (1965-1984) the School of Valparaiso visualized America in a number of ways: impromptu murals, drawings within a poem, chalkboard renderings, and finally movement through real space. Through this visual thread I will address several questions about the School of Valparaiso=are they closed off to the world; does their rhetoric resonate beyond their community; and, what are they proposing through their version of America?}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, South America, Twentieth-Century Art}, author = {Bravo, Doris} } @mastersthesis {12156, title = {Aftermarket A Game Design Philosophy}, year = {2015}, school = {Duke}, abstract = {Aftermarket, a Game Design Philosophy documents the community histories and material practices of players who, over the last decade, have transformed videogames from "entertainment systems" into instruments, equipment, tools, and toys for playing, thinking, and making in the aftermarket of the videogame industry. Through a close investigation of the hardware, software, and code enabling tool-assisted speedruns, real time attacks, and ROM hacks, Aftermarket explores how play can become a form of game design located between human experience and the speeds and scales of digital media. Beyond documenting how these different groups convert packaged products into open platforms for critical making, Aftermarket both argues for and enacts a model of game design as a critical practice in which playing, making, and thinking about videogames occurs within the same act-a true game design philosophy. Focusing on the material properties, technical capacities, and social play around a single game, Nintendo{\textquoteright}s Super Mario Bros., this "close playing" and "platformer study" does not seek to reify Miyamoto, Tezuka, Kondo, and Nagako{\textquoteright}s game, but appropriates, manipulates, duplicates, perforates, aggregates, and dissipates Super Mario Bros. into a different kind of "Mario Paint"-a medium for making art.}, keywords = {Theory, Historiography, and Methodology}, author = {Lemieux, Patrick} } @mastersthesis {12138, title = {Amateurs: Photography and the Aesthetics of Vulnerability}, year = {2015}, school = {Chicago}, abstract = {This dissertation examines the role of aesthetics within the practice of amateur photography. I begin by considering the 1893 World{\textquoteright}s Columbian Exposition as a democratizing space for photography, one that required middle-class amateurs to fit newly emergent "Kodakers" into an existing hierarchy of practitioners. Kodakers became linked to a rhetoric of negative vulnerability: as aesthetically indiscriminate and quantity-obsessed as the devices with which they were associated. Next, I explore the recent appearance of vernacular photographs in art institutions-principally in the contexts of exhibition and accessioning. I suggest that the ambivalent critical reception they{\textquoteright}ve received in this setting reveals a hesitation to apply received aesthetic criteria to material that has long wavered at the conjunction of the art/not-art binary. I argue instead that amateurism can productively be considered in terms of an aesthetics of praxis, a view that attends seriously to the features of amateur photography that make it deeply familiar to viewers-those that prompt viewers into moments of recognition engendered by their own relationship to the equipment and habits constituting its burgeoning history. This familiarity-with, for example, the endearingly unlovely pictorial consequences of a shaky hand, an uncooperative subject, or the impulse to frame a cliched scene-can be read formally: as blurs, hands covering a face, and a dozen similar snapshots of the Leaning Tower of Pisa. The aesthetics of amateurism, in other words, inheres in encounters that activate the formal knowledge we acquire as practitioners, viewers, and subjects of vernacular practice. If exhibitions of vernacular photography do not move us towards a critical consideration of amateurism, it is because they simply reflect our familiarity back to us. I suggest, however, that a strain of contemporary photography has been working to challenge viewers in precisely this way through photographic series that prompt viewers to embody a multivalent perspective in order to make sense of what they encounter. These series, by artists Bettina von Zwehl, Shizuka Yokomizo, and Ann Hamilton are united by the almost scientific way in which they ask viewers to investigate a string of similar images in order to understand what lies beneath their doggedly methodical construction; in this way, they address their viewers as bearers of a praxis-based visual intelligence rooted in vernacular photographic habits.}, keywords = {Photography, Visual Studies/Visual Culture Studies}, author = {Lee, Anna} } @mastersthesis {12113, title = {America Seen Through the Work of Paul Sample}, year = {2015}, school = {Case Western Reserve}, abstract = {Paul Starrett Sample (1896-1974) was an artist of the American Scene movement who worked primarily in Los Angeles, California, and Hanover, New Hampshire. He produced paintings that were revered in his lifetime but mostly forgotten in later art-historical scholarship. Sample{\textquoteright}s body of work offers considerable insight into the art of the 1930s and 1940s, since he was involved in nearly every facet of American art. He showed paintings in prominent exhibitions, connected with Regionalist and California School artists, created murals for businesses and New Deal programs, produced illustrations for leading magazines, taught at the University of Southern California, served at Dartmouth as one of the first artist-in-residents in the United States, and worked as an artist-correspondent for LIFE magazine during World War II. Sample{\textquoteright}s artwork is part of a larger discourse on masculinity. During the Great Depression and World War II, he continually represented scenes of male camaraderie, which seems to have had a powerful personal resonance for him. Sample was a gifted athlete who led an active life as an undergraduate at Dartmouth College but later had to abandon physical activity due to illness. Shortly after graduation he and his younger brother Donald were diagnosed with tuberculosis; they spent over four years together in a rest cure at a sanatorium, but Donald died of the disease. This emotional trauma influenced the way Sample would depict men in his American scenes. Unlike most other painters and muralists of the 1930s who portrayed American men as muscular, heroic figures, Sample represented them as downtrodden, frustrated, or idling. Sample{\textquoteright}s paintings offer a different view of masculinity -a definition that is rooted in listlessness and leisure rather than in physicality and work. Sample produced his most notable paintings during the 1930s when he lived in Southern California. This dissertation revisits those paintings and reconsiders their Regionalist context, demonstrating why it is important to see America and its art through the work of Paul Sample and why he is a significant figure to American art.}, keywords = {North America, Twentieth-Century Art}, author = {Larson, Christina} } @mastersthesis {12125, title = {American Tan: Modernism, Eugenics, and the Transformation of Whiteness}, year = {2015}, school = {UC Santa Barbara}, abstract = {This dissertation explores the emergence of the suntanned white body in the United States between the World Wars and its dual significance to modernism and the eugenics movement. The suntan serves as a revealing lens for examining the nexus of health, class, gender, and race in early American modernist art and visual culture. Rather paradoxically, as Euro-Americans were trying to preserve certain racial boundaries through eugenics, they also experimented with their own skin color in unprecedented ways. Yet through the popular practice of suntanning, Euro-Americans often transgressed the very racial color lines they sought to maintain. Suntanning-a physical transformation whose most visceral form is the visual-has yet to be critically examined as a subject of art history. This study considers the nineteenth-century medical origins of suntanning as heliotherapy, modern notions of the skin as surface in the consumer culture of the 1920s and {\textquoteright}30s, and the primitivist impulse of early American modernist artists in their appropriation of Native American cultural references as well as skin tone. I examine a broad spectrum of visual material ranging from travel, fashion, and cosmetic advertisements to Alfred Stieglitz{\textquoteright}s photographic portraits of a suntanned Georgia O{\textquoteright}Keeffe "playing Indian." I also assert that suntanning is a visual phenomenon in and of itself, a performative process by which skin changes color and texture and becomes a natural canvas. The tanned white body, therefore, serves as a floating signifier suggesting everything from eugenic health to primitivist desire. This dissertation adds richer dimension to our understanding of early American modernism by exposing the colored side of whiteness.}, keywords = {North America}, author = {Daigle, Patricia Lee} } @mastersthesis {12132, title = {Animate Architecture at Kabah: Terminal Classic Art and Politics in the Puuc Region of Yucatan, Mexico}, year = {2015}, school = {UT Austin}, abstract = {This dissertation explores sociopolitical dynamics in the Puuc region during the Terminal Classic period (c. 750-1000 CE) through a multi-level examination of architectural sculpture. It begins with a broad look at the regional iconography, reassessing the meaning of the most common motifs within an architectural context. It then narrows in on Kabah, where I consider the range of art and architecture present at a single site. The remainder of the dissertation is devoted to one of Kabah{\textquoteright}s most remarkable buildings, the Codz Pop. In light of recent archaeological discoveries and extensive archival research, I suggest that while shared Puuc iconography reflects a regional ideology, the modification of such imagery allowed powerful rulers to transform buildings into symbols of local authority and instruments of social order. Fundamental to this argument is the idea that Puuc architecture was conceived of as an animate extension of the natural world, imbued with a supernatural energy that was harnessed by local rulers. In addition to an iconographic analysis, this dissertation includes a summary of archaeological work at Kabah and a detailed historiography of the Codz Pop. The text is further supplemented by an extensive collection of images, including recent photographs of Kabah, new illustrations of the sculpted doorjambs from the site, and a catalog assembling the loose stones from the Codz Pop{\textquoteright}s Hieroglyphic Platform. The result is a comprehensive overview of Puuc iconography that not only expands our knowledge of regional ideology and history, but more broadly contributes to studies on the articulation of rulership in ancient Mesoamerica.}, keywords = {North America}, author = {Rubenstein Dankenbring, Meghan Lee} } @mastersthesis {11987, title = {The Archaeology of a Colchian Landscape: Results of the Eastern Vani Survey}, year = {2015}, school = {Michigan}, abstract = {This dissertation examines rural settlement patterns around the 1st millennium BCE site of Vani in Western Georgia (ancient Colchis) through the presentation of the results of a new intensive archaeological survey. Beginning in the 8th to 7th centuries BCE and extending into the Hellenistic Period, Vani grew to become an important place in the Colchian landscape. Evidence from the 7th-1st centuries BCE in particular, points to the emergence of a wealthy elite and suggest growing political and religious authority at the site. Unusually well-preserved and showing evidence for the emergence of strong political authority and increased contact with peoples living on the borders of Colchis, Vani has become one of the most important sites for reconstructing ancient Colchian society in the 1st millennium BCE. The Eastern Vani Survey (EVS) was developed as an intensive survey component of the larger Vani Regional Survey project to examine an area to the east of the ancient site that had hitherto been little explored archaeologically. The main goals of the project were to better understand rural settlement to the east of Vani, to evaluate and characterize the level and complexity of social organization in the environs of the site and to use this new data to contextualize previous research on Vani and its region. The data recovered by the Eastern Vani Survey, combined with previous research in the area, revealed that settlement to the east of Vani was dispersed with particular places in the landscape serving as focal points of communal and/or elite activity. The most important of these places are Mshvidobisgora, Gabelauri, Isriti, Kveda Bzvani and Kveda Gora. The survey has also made it clear that a good deal of the increase in Classical and Hellenistic ceramic material evidenced in the region is tied very closely to developments at Vani and suggests an expanded use of ceramics. Though these developments are very related to changes in population in the region between the 7th-1st centuries BCE, the ceramic data from the survey alone does not allow a quantification of that growth.}, keywords = {Ancient Greek/Roman Art}, author = {Hughes, Ryan C.} } @mastersthesis {12142, title = {Architecture and Statehood in Late Byzantium: A Comparative Study of Epiros and Trebizond}, year = {2015}, school = {UIUC}, abstract = {This study examines the architectural patronage of the Komnenodoukai in Epiros and the Grand Komnenoi in Trebizond during the thirteenth and early fourteenth centuries. The main focus is on churches and monasteries constructed, rebuilt or renovated by the ruling families and aristocracy in the capitals, Arta and Trebizond, and in the periphery of their dominions. Analysis of the buildings-their architectural design, construction, decoration, function and symbolism-and the available literary sources aim at defining the political and historical context of the architectural projects considered. Focusing on patrons{\textquoteright} intentions, pursuits and cultural background, this study seeks to determine major turning points in the cultural orientation of Epiros and Trebizond. This study proposes revised dates for a number of architectural projects. In the case of Epiros, these concern particular historical periods within the thirteenth century and the patronage of specific rulers. The traditional view of Michael II Komnenos Doukas (1231-1267/1268) and his wife Theodora as great patrons of religious foundations is questioned. I point out that some of Michael{\textquoteright}s most celebrated projects-such as the remodeling of the Blacherna church into a royal mausoleum, the first phase of the Pantanassa church and the Paregoretissa church-might have been constructed later than the mid-thirteenth century and not necessarily during his reign. Likewise, Theodora{\textquoteright}s contribution in the remodeling of her future burial place, the church of Hagia Theodora, is not self-evident and requires additional documentation. On the contrary, the reign of Nikephoros I (1267/8-1296/8) and Anna Kantakouzene Palaiologina (d. after 1313) emerges from this study as the most important period of building activity in Arta and Epiros due to intensified royal and aristocratic patronage. The revision of dates proposed for Trebizond significantly affects the picture of the thirteenth-century city as it is known to us from previous studies and the architectural patronage under the Grand Komnenoi. I argue that the Chrysokephalos and St. Eugenios were probably rebuilt by 1291, and that the construction of Hagia Sophia could also be placed in the last quarter of the thirteenth century. Accordingly, the reign of John II (1280-1297) and Eudokia Palaiologina (d. December 1301) appears as a most important period of building activity for the city and the "empire"-a claim supported by a number of related projects attributed to them. My dissertation stresses the contribution of members of the Palaiologan dynasty as royal consorts and regent queens in shaping the cultural landscape of Epiros and Trebizond, which seems to have been greater than previously recognized.}, keywords = {Sixth Century CE to Eleventh Century CE Art}, author = {Georgiadou, Sofia} } @mastersthesis {12018, title = {The Architecture of 19th-Century Cuban Sugar Mills: Spaces of Creole Power and African Resistance in Late Colonial Cuba}, year = {2015}, school = {CUNY}, abstract = {By the mid-nineteenth century, Cuba had become the world{\textquoteright}s leading sugar producer, providing about a third of the world{\textquoteright}s supply. As a result, sugar mills dominated the Cuban countryside, each one growing into a micro-town, with housing complexes (mansions for owners and slave barracks or bohios for workers), industrial facilities (mills and boiler houses), and adjoining buildings (kitchens, infirmaries, etc.), all organized around a central, open space, known as a batey. Owned by the Creole elite (New World offspring of Spanish settlers) and worked by African slaves, sugar mills became places of enslavement and subjugation as well as contact, interaction, and mestizaje. My dissertation will provide the first comprehensive and in-depth study of the architecture of nineteenth-century Cuban sugar mills, with a twofold aim: first, to examine how the Creole sugar planters designed and manipulated the architectural forms and spaces to convey order, power, and affluence, and to enforce slavery and racial difference; second, to analyze how African slaves countered Creole power through violent forms of resistance (intentional fires, collective protests) as well as non-violent ones (preservation of native customs, beliefs, music and dance) that involved subversive and transformative uses of architectural spaces. A study of socio-spatial negotiation, this dissertation traces the process by which an architectural setting designed for subjugation developed a distinctive architectural language. The first chapter reconstructs the typical plantation scheme adopted by most Cuban planters in the early nineteenth century, analyzing how it combined earlier Spanish models with more contemporaneous Neoclassical ones. The second chapter analyzes the architecture of the industrial naves, along with the beautifully rendered nineteenth-century lithographs of Eduardo Laplante, in the context of the Creoles{\textquoteright} fascination with technology and mechanization. Chapter three explores the ways in which planters used architecture to enforce segregation, full visibility, and panoptic surveillance, while chapter four examines the development of a unique, distinctively Cuban architectural language, clearly manifested in the bohios and casas de viviendas. The fifth and last chapter investigates how the slaves appropriated and transformed the architectural spaces to undermine Creole power and make their own condition more bearable.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Tezanos, Lorena} } @mastersthesis {12014, title = {The Architecture of Knowledge: The Jesuit College of Oaxaca, XVI-XIX Centuries}, year = {2015}, school = {Virginia Commonwealth}, abstract = {The educational endeavor that the Jesuits - members of the religious order known as the Society of Jesus - carried out in Mexico in the course of the colonial period, when this territory belonged to the Viceroyalty of New Spain (sixteenth to nineteenth centuries), was exceptional. Even though this endeavor has been extensively studied, not much has been written about the edifices, and their significant artistic contents, that not only facilitated the endeavor, but also allowed it to thrive. With the aim of contributing to fill that gap in the scholarly literature, this study engages in an artistic and architectural examination of one among the dozens of school complexes that the Jesuits built and decorated in New Spanish territory: the College of Oaxaca. This establishment was the primary educational institution in one of the most prosperous cities of the viceroyalty, and it ranked third in importance among the colleges that the Jesuits founded in New Spain, representing a clear example of the process of spiritual, intellectual and material expansion that the Society of Jesus carried out in Spanish America. By locating, transcribing and interpreting primary sources (primarily inventories and commissions for works of art) that have not been noticed before or have remained unpublished, and by analyzing the material remains that have survived to this day, it has been possible to reveal that the former Jesuit complex - which today serves, simultaneously, as an apartment building, an indoor parking, a series of storefronts, and a church served by a community of Jesuits - once featured a significantly rich artistic and architectural program, the result of assimilating, but also of rejecting, local and Jesuit traditions. This program, unfortunately, has been progressively disappearing since the expulsion of the Jesuits from Oaxaca in 1767.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Mellado Corriente, Marina} } @mastersthesis {12169, title = {The Architecture of the Book{\textquoteright}: El Lissitzky{\textquoteright}s Works on Paper, 1919-1937}, year = {2015}, school = {Harvard}, abstract = {Although widely respected as an abstract painter, the Russian Jewish artist and architect El Lissitzky produced more works on paper than in any other medium during his twenty year career. Both a highly competent lithographer and a pioneer in the application of modernist principles to letterpress typography, Lissitzky advocated for works of art issued in "thousands of identical originals" even before the avant-garde embraced photography and film. Lissitzky also devoted more effort to theorizing what he called "the architecture of the book" than to any other single issue, publishing statements in 1919, 1923, 1927 and 1931 that demonstrate a consistency otherwise lacking from his incredibly varied career. This phrase encapsulates Lissitzky{\textquoteright}s view of the book as a global structure uniting all the formal and technical capabilities of a culture: initially derived from Victor Hugo{\textquoteright}s claim that Gutenberg{\textquoteright}s invention of moveable type had replaced architecture as the universal form of popular expression, Lissitzky{\textquoteright}s term emblematizes the expanded field of architecture in which he operated. This dissertation approaches Lissitzky as a theorist and practitioner of this expanded architectural field. Chapters one and two outline Lissitzky{\textquoteright}s general project, treating the lithographic portfolios in which he circulated his abstract paintings and the journals and books he designed as model structures of print{\textquoteright}s "architecture." Its third chapter examines the changes that Lissitzky{\textquoteright}s experiments with photography, both in cameraless abstract compositions and multi-negative montages, wrought on his conception of print. Rather than conceiving photography and film as exemplars of reproducibility as such, Lissitzky saw them as heralding a reorganization of existing systems of reproducible media linked by a broad cultural practice of reading. Chapter four shows how artists and printers in the USSR continued to debate these evolving practices of cultural literacy under Stalin, negotiating new technological possibilities and new political demands. As a leading figure in this debate, Lissitzky{\textquoteright}s works exemplified the contradiction between advancing technical possibilities and diminishing popular participation in public life while remaining entirely affirmative toward the regime. The dissertation{\textquoteright}s final chapter places the photographic albums Lissitzky produced in collaboration with his partner, Sophie Kuppers, in relation to an emergent Stalinist patron class.}, keywords = {Twentieth-Century Art}, author = {Johnson, Samuel} } @mastersthesis {12187, title = {Architectures of Aliveness: Building Beyond Gravity}, year = {2015}, school = {Duke}, abstract = {In the context of today{\textquoteright}s global mobility, information, bodies and goods are circulating across the globe, and even further into outer space. However, we face a paradox: the more we move, the more we become sedentary. The modes of transportation that enable our global mobility are working against us, insidiously dwindling our psycho-physical mobility. Globalization is thus not the world becoming bigger (or too big), but the world becoming immobile. Taking the body as the central non-place of political space, Architectures of Aliveness: Building Beyond Gravity interrogates the possibility of inhabiting circulation as a pragmatic form of resistance to the contemporary immobilization of life. In an era in which bodies and goods are ever more constantly in global circulation, architectures of aliveness ask, what would an experience of weightlessness do for us? Biotechnology serves as the current dominant model for enlivening architecture and the mobility of its inhabitants. Architectures of aliveness invert the inquiry to look instead at outer space{\textquoteright}s modules of inhabitation. In questioning the possibility of making circulation inhabitable -as opposed to only inhabiting what is stationary-architectures of aliveness problematize architecture as a form of biomedia production in order to examine its capacity to impact psychic and bodily modalities toward an intensification of health. Problematized synchretically within life{\textquoteright}s mental and physical polarization, health is understood politically as an accretion of our capacity for action instead of essentially as an optimization of the biological body. The inquiry emerges at the intersection of biotechnology, neurosciences, outer space science and technology, and architecture. The analysis oscillates between historical and contemporary case studies toward an articulation that concentrates on contemporary phenomena while maintaining an historical perspective. The methodology combines archival research, interviews, and artistic and literary analysis. The analysis is informed by scientific research. More precisely, the objective is to construct an innovative mode of thinking about the fields of exchangeability between arts and sciences beyond a critique of instrumentality. The outcomes suggest that architectures of aliveness are architectures that invite modes of inhabitation that deviate from habitualized everyday spatial engagements. It also finds that the feeling of aliveness emerges out of the production of analog or continuous space where the body is in relation with space as opposed to be represented in it. The analysis concludes that the impact of architecture on our sense of wellbeing is conditioned by proprioceptive experiences that are at once between vision and movement and yet at the same time in neither mode, suggesting an aesthetic of inhabitation based on our sense of weightedness and weightlessness. These outcomes are thus transduced to the field of media studies to enchant biomediatic inquiry. Proposing a renewed definition of biomedia that interprets life as a form of aesthetic relation, architectures of aliveness also formulate a critique of the contemporary imperialism of visualization techniques. Architectures of aliveness conclude by questioning the political implications of its own method to suggest opacity and agonistic spaces as the biomediatic forms of political space.}, keywords = {Visual Studies/Visual Culture Studies}, author = {Boucher, Marie-Pier} } @mastersthesis {11990, title = {The Art of Power: Ambiguity, Adornment, and the Performance of Social Position in the Pompeian House}, year = {2015}, school = {Michigan}, abstract = {In the tumultuous period between 80 BCE and 79 CE, social actors in the Italian Peninsula struggled to effectively articulate their positions in connection to the new political landscape of Rome. For these individuals, power was constructed visually; visual markers from jewelry and wall paintings to monumental temples and arches all acted as materializations of personal and social power intended to express physical presence and to reinforce personal, social, and political boundaries; while such boundaries are a mental construct, they are performed and maintained in the physical world, and thus require such material mediations to be made real. This dissertation asserts that self-presentation creates social realities, and that by examining material evidence associated with such acts of self-presentation -jewelry and depictions of jewelry -we can access and explore social tensions. It offers up a new paradigm for the interpretation of jewelry and depictions of dress practices in the archaeological record of Pompeii, stepping away from a system that privileges words over images to explore the ways in which interactions between adornment and viewership elucidate the creation and maintenance of social hierarchies in Pompeii. The dissertation concludes that jewelry is far more than an indicator of wealth, that adornment practices are themselves a form of socially determined knowledge, that the positive transformative power of adornment should be understood as a catalyst, and that this underutilized corpus of material offers up myriad opportunities for future research.}, keywords = {Ancient Greek/Roman Art}, author = {McFerrin, Neville} } @mastersthesis {12157, title = {Arte Ambientale and Arte nel Sociale in Italian Art of the 1970s}, year = {2015}, school = {Boston}, abstract = {No record in ProQuest or Boston ETDs}, keywords = {Twentieth-Century Art, Twenty-First-Century Art}, author = {Tanga, Martina} } @mastersthesis {12044, title = {Artful Mediums: Women, Seance Photography, and Materialization Phenomena, 1880-1930}, year = {2015}, school = {Toronto}, abstract = {This dissertation examines the photographic documentation of the spiritualist movement that took place during the late nineteenth and early twentieth centuries. In an attempt to scrutinize and expose the claims of mediums, a number of leading scientists brought cameras into the seance in order to capture supernatural phenomena on film. The ensuing chapters explore the images that resulted from some of these experiments, with an emphasis on the documentation of several prominent female mediums, including Eva C., Eusapia Palladino, and Linda Gazzera. The investigations of Drs. Albert von Schrenck Notzing, Camille Flammarion, Gustave Geley, and Charles Richet inform the bulk of these pages. Scientific seance photography ultimately documented a wide range of "materialization phenomena" within the darkened conditions of the seance, consisting of ectoplasmic materials, ghostly faces, and spectral body parts, which appeared to emanate from the medium{\textquoteright}s body and then dissolve into nothingness. My project hinges on the premise that these mysterious apparitions were symbolic creations, much like artworks, which carried implicit cultural and aesthetic meaning. I have sought through the ensuing analysis to examine the frameworks of meaning that surrounded the art of the seance, and to situate the medium as an artist within her own right.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art, Twentieth-Century Art}, author = {Reddy, Meredith} } @mastersthesis {12055, title = {Art{\textquoteright}s Public Lives: Sculpture in China After 1949}, year = {2015}, school = {Michigan}, abstract = {This dissertation considers through sculpture how after the Communist Revolution in 1949 the official line in China for art to serve "the people," or renmin, sought to institutionalize a new value system in the arts. Specifically, how did the idea of "the people" shape artistic practice and how did the artist through his or her artwork will the concept of "the people" into being? What was the role of sculpture in mobilizing the masses around the idea of "the people"? The case studies of three important sculptural projects--Monument to the People{\textquoteright}s Heroes (1952-1958), the Sichuan Sculpture Exhibition (1964), and Rent Collection Courtyard (1965)--reveal the actual challenge of shaping into concrete form an idea on which the Chinese state grounded its own sense of nation. By focusing on how sculpture was interacting with its audience rather than what is being represented, this study asserts the centrality of sculptural aesthetics involving three-dimensional scale, materiality, and process in engaging the viewer with the politics of postwar socialist China. Sculpture{\textquoteright}s significance under the leadership of Mao Zedong lies not only in how sculpture functioned as a visual and tangible national symbol to assert a certain definition of "the people," but also in how it posited a new kind of people, or humanism, for the world during the rise of international Maoism in the 1960s and 1970s. By way of rigorous visual analysis, archival research, and personal interviews, this study also reveals the uneven development of cultural production on the ground versus the state{\textquoteright}s absolute vision, which included tasking artists in early Communist China to create a new culture for a new nation.}, keywords = {East Asia, Twentieth-Century Art}, author = {Li, Vivian Y.} } @mastersthesis {12182, title = {Assemblage as Opposition: California{\textquoteright}s Counterculture and the Struggle for US Cultural Definition}, year = {2015}, school = {CUNY}, abstract = {No record in ProQuest or CUNY ETDs}, keywords = {Twenty-First-Century Art}, author = {Dierkes, Anne-Louise} } @mastersthesis {12041, title = {At the Court of the Prince: The Patronage and Art-Historical Legacy of Cesare Borgia, 1492-1503}, year = {2015}, school = {Florida}, abstract = {Cesare Borgia (1475-1507), son of Pope Alexander VI, is an established historical character in the Italian Renaissance narrative, but his role as a patron of art and his use of visual projects has been largely overlooked by art historians. This research examines the idea that he was an important figure by reconstructing his art historical legacy through an examination of the art, artists, objects, and events that he patronized. He employed and impacted the careers of some of the most important artists of the time, including Leonardo da Vinci, Michelangelo, Raphael, Pinturicchio, Antonio di Sangallo it Vecchio, Signorelli, and Bramante. For him they designed and executed paintings, civic architecture, weapons, coats-of-arms, personal devices, costume, and spectacular ephemeral exhibitions. Much of this visual display was used by Cesare as a performative tool of self-fashioning, presented to make strong statements about his wealth, power, education, culture, tastes, and physical prowess. These elements have been coalesced to establish a general patronage oeuvre, and to construct a broad reconsideration of his far reaching impact on Italian Renaissance art. The great wealth of historical information about him has been viewed in a new context and through an art historical lens, bringing updated perspectives and details to the discourse. The most notable of these findings are the detection of Julius Caesar{\textquoteright}s apotheosis comet in the Pax Romana image on Cesare{\textquoteright}s sword, the importance and meaning of the hydra in Cesare{\textquoteright}s personal iconography, the connection between Leonardo{\textquoteright}s sketch Three Views of a Bearded Man and the artist{\textquoteright}s now lost altarpiece for the Sanctuary in Piratello. Other important examinations included the possible links between Cesare and Michelangelo{\textquoteright}s commissions in Sant{\textquoteright}Agostino in Rome and the Piccolomini altar in Siena, Pinturicchio and Raphael{\textquoteright}s work in the Piccolomini Library, and Signorelli{\textquoteright}s work in the San Brizio chapel in Orvieto.}, keywords = {Decorative Arts/Textiles/Design History/Interior Design}, author = {Bemis, Elizabeth H.} } @mastersthesis {12017, title = {Augustan Kings: The Art and Architecture of Herod the Great of Judea and Juba II of Mauretania}, year = {2015}, school = {Yale}, abstract = {The Augustan age was an age of Roman royalty. From southern Britain to the Bosporus via the Middle East and North Africa, kings and queens allied to Rome, and subordinate to the Princeps, ruled over areas of crucial importance for the empire{\textquoteright}s security, and the free flow of trade. These allied monarchs formed part of a complex network of kingdoms that spanned the Roman world, and the relationships between these rulers and the Princeps are crucial to our understanding of the political history of the early Empire. Less well known are the fragmentary remains of these subordinate kingdoms{\textquoteright} vibrant cultural outputs. Using Herod the Great of Judea and Juba II of Mauretania as case studies, it is shown that these courts were centers of cultural innovation, spurred on by pressure on the rulers of these diverse kingdoms to respond to the new imperial imageries, and political realities, of the Augustan age. The dissertation focuses on three aspects of Herod and Juba{\textquoteright}s royal imagery that, braided together, offer a novel conception of allied rulers{\textquoteright} participation in, and alteration of, the Julio-Claudian imperial landscape. Firstly, royal imagery was designed to operate across a range of cultural media, from coins and wall paintings, to sculpture and literary history. Secondly, these programs were operated as part of concerted royal efforts to forge links with other allied kings, queens and local communities around the Roman Mediterranean, complicating previous binary models of metropolis-periphery relationships in the Augustan age. And, thirdly, these royal, artistic innovations had a profound effect on how material culture in their kingdoms was used to shape meaning, memory and identity, long after the death of the ruler and Roman annexation of their territory. This monumental legacy thus offered local communities the chance to construct alternative, material histories of their region, which could modify or undercut official narratives of annexation or resistance.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Teverson, Richard} } @mastersthesis {12130, title = {Back to the Drawing Board: Ed Ruscha 1956-68}, year = {2015}, school = {Harvard}, abstract = {This dissertation considers Ed Ruscha{\textquoteright}s work through the theoretical lens of tacit knowledge, thereby making the argument that the commercial artist{\textquoteright}s drawing board, and the world that it embodies, constitutes the material and conceptual framework of his 1960s art. Educated at Los Angeles{\textquoteright}s Chouinard Art Institute, where he studied advertising design from 1956-60, Ruscha received extensive instruction in all aspects of two-dimensional design, from layout to typography. As he began to pursue a fine art career, the mechanics and methods of drawing board production became a model for art making as reflective upon and transformative of the designed world. It was through his drawing board methods that Ruscha addressed foundational concerns of post World War II art, such as the nature of the picture plane, art{\textquoteright}s relationship to consumer culture, the workings of vision and perception, and the mechanics of printed matter. Alongside histories of the avant-garde and mass culture, the dissertation proposes a new narrative of Ruscha{\textquoteright}s art, from the point of view of practice and in regard to the technical skills and conceptual operations of mid-century design. The dissertation concludes with a reflection on the history lessons and contemporary relevance of Ruscha{\textquoteright}s work.}, keywords = {North America}, author = {Quick, Jennifer} } @mastersthesis {12131, title = {Beauty and the Bestiary: Animal Art and Humane Thought in the Gilded Age}, year = {2015}, school = {Stanford}, abstract = {This project investigates how American artists contended with the problems and exploited the possibilities of representing animals during the final decades of the nineteenth century. Thanks to the precipitous rise of Darwinism, the anti-cruelty movement, zoological parks, and conservationism, as well as the emergence of modern forms of taxidermy, pet breeding, and pet keeping, this period witnessed a wholesale reevaluation of human and animal alike. Fascinated by these transformations, Americans voraciously sought out new opportunities to encounter animals, both in life and in art. "Beauty and the Bestiary" focuses on four turn-of-the century American artists=James Henry Beard, Winslow Homer, Astley D. M. Cooper, and Albert Laessle=who actively engaged with animal subjects during this transformative time. Their work not only reflected but actively participated in the development of in humane thought, an interdisciplinary field of inquiry which, much like contemporary animal studies, grappled with the ethical, epistemological and ontological ramifications of human un-exceptionalism. In their sculptures and paintings of animals, these artists charted the shifting boundary between the human and the nonhuman, thoughtfully interrogating the personal and political meaning of our relations with other species. Revisiting and reconsidering their unruly visions is imperative, not only to nuance our understanding of American art, but to fully grasp how its evolution has shaped our present-day commitments to the natural world.}, keywords = {North America}, author = {Ronan, Anne} } @mastersthesis {12103, title = {Benjamin West{\textquoteright}s Nelson Memorial: Neoclassical Sculpture and the Atlantic World, ca. 1812}, year = {2015}, school = {Delaware}, abstract = {This dissertation closely examines Benjamin West{\textquoteright}s Grand Model of Neptune giving up the Body of Nelson, with the Dominion of the Sea into the Arms of Britannia, a significant pediment designed by West, executed in Coade stone, and erected at the Royal Navy{\textquoteright}s Hospital for Seamen at Greenwich in 1812. My work re-positions West and this work within a local London backdrop of sculpture, architecture, and space, as well as a global, imperial contest for British cultural, industrial, and political power. I argue that West{\textquoteright}s efforts to realize the Nelson pediment helped him to secure his artistic and pedagogical legacy for posterity while simultaneously positioning London as the preeminent creative center of the modern, industrialized world. The second chapter of the dissertation explores West{\textquoteright}s involvement with the project of contemporary British history painting and asks how canvases like The Death of General Wolfe (1770) and The Death of Nelson (1806) worked to advance emergent nationalistic ideologies in turn-of-the-century London. The third chapter of the project explores Benjamin West{\textquoteright}s early nineteenth-century homage to Horatio Nelson, The Grand Model of Neptune giving up the Body of Nelson, with the Dominion of the Sea into the Arms of Britannia (1810-1812). I contend that West attempted to reconcile the goals of the British project of history painting with an emergent need for an innovative, formal language for public monuments through this pediment. By closely examining the formal components of the pediment, this chapter demonstrates that the visual cues and forms in West{\textquoteright}s pediment, much like those seen in his well-received history paintings, connected his monument to some of the most revered artists and artworks of all time. Building from our understanding of the pediment{\textquoteright}s form and iconography, the fourth chapter of the dissertation investigates how West{\textquoteright}s choice to use Coade stone as his primary construction material actually made the realization of a project of this magnitude possible. This project builds upon the work of several key scholars of sculpture and material culture including Joan Coutu, Malcolm Baker, and Douglas Fordham. Linda Colley and John Barrell{\textquoteright}s work on the reception of art and objects in late-eighteenth and early-nineteenth-century Britain provided an excellent underpinning for investigating themes of British imperialism, economics, and populism. The work of David Solkin and Rosie Dias was especially illuminating for understanding period modes of exhibition and presentation. This dissertation expands upon existing American and British art historical scholarship by integrating West{\textquoteright}s designs for heroic sculptures into a scholarly dialogue about transatlantic neoclassicism circa 1812. Broadening the methodological base of American sculpture, it reconciles West{\textquoteright}s sculpture by positioning the pediment within significant Anglo-American space(s) of reception, remembrance, and nationalistic sentiment. Further, this project considers how an object like The Grand Model of Neptune - at once British and American - resisted a static assignment of nationalistic meaning by virtue of its authorship, viewership(s), and fixed location at Greenwich. Ultimately, the dissertation works toward an integration of discussions of the significance of sculpture in the radiating rings of architecture, landscape, spatiality, and the Atlantic world.}, keywords = {Nineteenth-Century Art, North America}, author = {Wood Kirchhoff, Mary Catherine Lee} } @mastersthesis {12188, title = {The Bentvueghels: Networking and Agency in the Seicento Art Market}, year = {2015}, school = {Temple}, abstract = {This dissertation evaluates the position of Netherlandish migrant artists in the dynamic cultural environment of seventeenth-century Rome through an examination of the role of the Bentvueghels ("birds of a feather") as a social and economic nexus for the city{\textquoteright}s foreign community. One of the most distinctive societies in the history of art, this high-spirited ex-pat "brotherhood" attracted hundreds of travelling artists and was notorious throughout Europe for its raucous initiations and for the raw depictions of Rome by Pieter van Laer and his followers, the Bamboccianti. While earlier scholarship has established important aspects of the group, such as its history and the artistic significance of individual members, the society has been characterized largely as antagonistic and antithetical to organizations and institutions specific to Rome. I offer instead a fresh outlook on the Bentvueghels that examines their day-to-day economics and response to (and even driving of) market forces in Rome, in order to determine how the society of foreigners as a whole operated functionally within a shifting creative environment in one of the most vital artistic centers in Europe. To address these issues, each chapter is arranged thematically and chronologically, focusing on the period between 1620, when the group first organized, through the close of the seventeenth century, when the last known images of Bentvueghel initiations were created. Using a methodology that integrates art historical primary source investigation with migration theory and network analysis, I analyze the various stages of the journey to Rome for these artists, from initial arrival, to the establishment of a workshop, to the achievement of success in local and international markets. The Introduction (Chapter One) sets up the methodological and historiographical framework for the dissertation. In the second chapter, "Arriving in Rome: The Bentvueghels as a Social and Economic Nexus," the social activities of the Bentvueghels and their networks are discussed. Archival sources including parish censuses, criminal court records, and notarial documents demonstrate how the group enabled migrant artists to adapt to a different-and often hostile-market by fostering surrogate kinship networks. The Bentvueghels offered migrant artists, who were typically young (around 22-25 years of age), male, and single, a place to live, a ready-made network of friends, and critical financial assistance. Chapter Three, "Working in Rome: Bentvueghel Workshops and Working Practices," establishes the working practices of Dutch and Flemish artists, a relatively unchartered area of research, and locates economic and social network formation within the space of the workshop. Centers of artistic production in the city are scrutinized, from the highly trafficked studios of Netherlandish artists such as Paul Bril to the private drawing academies hosted by prestigious patrons, including the celebrated Genoese aristocrat, Vincenzo Giustiniani. Paintings, drawings, and prints produced by Dutch and Flemish Italianate artists are compared to identify patterns in workshop practices, determine market impact, and measure the degree to which they were influenced by their new surroundings and by their association with the Bentvueghels. In the fourth and final chapter, "Staying in Rome: Cornelis Bloemaert II as a Case Study for Long-term Strategies of Networking," I explore strategies of integration among members who remained in Rome for extended periods, focusing on the engraver Cornelis Bloemaert II as a case study. Collaborative enterprises such as large-scale book productions, which comprised a significant proportion of Bloemaert{\textquoteright}s artistic output in Rome, provided ways for artists to enhance their artistic education and experiment with new techniques and motifs, while also encouraging further expansion and development of an artist{\textquoteright}s social and economic networks. This study thus evaluates the full scope of a foreign artist{\textquoteright}s experience in Rome, highlighting with greater accuracy the ways in which affiliation with the Bentvueghels influenced acclimation and eventual integration within the social and cultural fabric of the city. It offers, moreover, a much needed contextualization of the artistic relations between northern European and Italian artists in seventeenth-century Rome, and the important position of the Bentvueghels within this cosmopolitan environment.}, keywords = {Visual Studies/Visual Culture Studies}, author = {Downey, Erin} } @mastersthesis {12139, title = {Beyond Art and Science: Eadweard Muybridge in Philadelphia, 1884-1887}, year = {2015}, school = {Brown}, abstract = {This dissertation examines the reciprocal influence of Eadweard Muybridge{\textquoteright}s motion studies from Animal Locomotion and the researches of the artists and scientists who worked with Muybridge at the University of Pennsylvania. Because Muybridge{\textquoteright}s photographs recorded phases of movement invisible to the naked eye, they raised doubts about the viability of empirical knowledge. I demonstrate that Muybridge{\textquoteright}s collaborators not only shaped the methods and objects of his project, but also investigated the same questions raised by the motion studies in their own practices. Often, as in Muybridge{\textquoteright}s work, these epistemological considerations intersected with studies of the human body and were informed by medical and social understandings of gender. This dissertation therefore contributes to the literature on Muybridge{\textquoteright}s motion studies by approaching Animal Locomotion as a collaborative undertaking. More broadly, it reassess how nineteenth-century users and viewers of photographs negotiated the limits and identity of the medium. Chapter 1 provides an overview of Muybridge{\textquoteright}s career, and situates his arrival at the University within the larger context of scientific professionalization and the postbellum "University revolution" in the United States. Chapter 2 contends that Muybridge{\textquoteright}s instantaneous photographs exemplified an ideal of trained and unbiased vision that by the late 1880s had become a defining attribute of both the modern scientific enterprise and the modern figure of the professional scientist. Chapter 3 relates Muybridge{\textquoteright}s motion studies of men to a new discourse of embodied masculinity that emerged in the late nineteenth century. Through a close reading of physical culture photographs and manuals, I argue that photography created a space for the self-reflexive performance of masculinity. Like chapter 3, Chapter 4 focuses on the nexus of photography and the body by analyzing the semiotic status of the blur in relation to Muybridge{\textquoteright}s studies of subjects with movement disorders and within the larger context of photographically illustrated medical texts, many of which were written by physicians in Muybridge{\textquoteright}s circle. Finally, in a brief epilogue I explore how Muybridge{\textquoteright}s photographs challenged the thought of two early experimental psychologists, Francis Galton and James McKeen Cattell.}, keywords = {Photography}, author = {Handlin, Emily} } @mastersthesis {11999, title = {Beyond Euthenics: Home Economics and the Reinvention of the American House, 1893-1939}, year = {2015}, school = {Penn State}, abstract = {This dissertation examines the role played by the academic discipline of Home Economics in shaping American house design in the first few decades of the twentieth century. The evolution of the American house, while bearing signs of modernist theory, has essentially been a tale of compromise, and as such serves as an apt allegory for the history of Home Economics itself. Whereas the house, as understood and experienced by most Americans, exhibits the ostensibly conflicting traits of traditionalism and modernism, historicism and technical innovation, Home Economics instructors sought to inspire their female students to improve the functional aspects of the home with scientific theories and techniques while, at the same time, reminding them that their natural sphere of influence was confined to its walls. Beginning with the Lake Placid Conference in 1899, domestic scientists encouraged women to reevaluate the home as not only a space of comfort and repose but as a workspace badly in need of reform. The efforts toward that reform ranged well beyond the classroom, sparking a cultural phenomenon; its impact was felt in every aspect of American culture, from rural Extension Services to popular magazines, from corporate marketing strategies to Herbert Hoover{\textquoteright}s Commerce department. The lessons of Home Economics were embraced, appropriated, and repeated ad infinitum, and are still part of our collective experience today.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, North America}, author = {Swisher, Christine} } @mastersthesis {12190, title = {Black Circassia: Frederick Douglass and Racial Pictures in the Wake of the Civil and Caucasian Wars}, year = {2015}, school = {Yale}, abstract = {This dissertation reveals the discursive power of an understudied set of racial pictures about the Caucasus-the storied locus of purported white racial purity, revealed as racially heterodox-that lingered in the minds of those involved in the project of racial formation from Winslow Homer to Langston Hughes to Woodrow Wilson, from the postbellum period to the turn of the twentieth century. My project explores the inward performance of these Black Sea-related photographs by leading photographers Mathew Brady and Charles Eisenmann, arguing that they conjured became, as Frederick Douglass would describe them, "thought pictures" critical for American racial formation. Working at the intersection of art history and critical race studies, this project argues that such images involved with the history of racial formation extend in such a way to tie the Black Atlantic world to the typically disconnected terrain of the Black Sea. What does it mean that an aesthetic that we commonly associate with black racial authenticity once represented white racial purity? This project began when women in two images in the archive prompted this question. The magnum afro-coiffed purported exemplars of white racial purity, "the Circassian Beauties," as they were called, debuted in 1864 at P.T. Barnum{\textquoteright}s American Museum at the end of the American Civil War, a shrewd choice on the impresario{\textquoteright}s part, for battle-torn Circassia was quickly becoming a potent racial contradiction in the cultural imagination of nineteenth-century America just as Americans were confronting fears about the permeability of constructed racial boundaries. My research has found that during the Civil War and beyond, Circassia became a corporeal conundrum, a racial impossibility, a figurative interrogative about the veracity of the lines between racial categories in nineteenth century America. As if to drive the point home, one Circassian Beauty, Zumigo, also promoted as a purported exemplar of the region{\textquoteright}s unimpeachably "white" status, was of African descent. Just after the first Circassian Beauty premiered, confederate agents tried to set the American Museum on fire. The chapters trace the unstable image of the racially-Janus Caucasus that curiously lingered in the imagination of those who were involved in the international project of racial formation and representation from the Civil War to World War I and beyond. For example, Wilson, the first southern elected president after the Civil War, requested an official report about the "legendary beauty" of the women from the Caucasus at the end of World War I, suggesting a sense of the unresolved, fabricated foundations of the international project of racial formation. At the end of his life, Homer, the famed painter created humanizing images of African Americans in a sea of racist caricature, sketched a Circassian Beauty with loose, improvisational marks of private, developing thoughts set upon the page. Years later, when Hughes traveled to Transcaucasia for the failed film project, Black and White, his fascination with the women in the Caucasus and their veiled brown and white faces in particular made him meditate anew on the notion of the color line with a meditation on Du Bois{\textquoteright}s veil-dependent notion of double consciousness. The racially-shifting sense of the Caucasus is, too, encoded in Leo Tolstoy{\textquoteright}s first book and final novella about the Caucasus, The Cossacks and Hadji Murat which popularized the image of the Caucasus on American shores. If Barnum could put the Circassian Beauties on the stage as curiosities, it was because the image of Circassia in the Caucasus revealed the foundations of race itself to be the curious image worthy of the stage. What the enduring images about Circassia do is tell us as much about the inner worlds of these individuals-Barnum, Homer, Tolstoy, and Wilson-as they do about the fugitive notions of race, claims to citizenship, and ultimately the emerging concepts of internationalism in the early twentieth century. By modeling a "visual turn" in our analysis of critical race theory, this dissertation aims to reimagine the intersections of art history, critical race theory, and the archive, reframing pictures as a potentially disruptive conceptual site for the fictions that have hardened into facts about race.}, keywords = {Visual Studies/Visual Culture Studies}, author = {Lewis, Sarah} } @mastersthesis {12179, title = {Black Conceptualism and the Atmospheric Turn, 1968-2008}, year = {2015}, school = {Stanford}, abstract = {This dissertation analyzes the work of six African American conceptual artists from the late twentieth century and early twenty-first century who explored the problem of race and representation in the wake of what I term "the atmospheric turn." Although African American art is often connected to visual representations of racialized experience and Conceptual art is regularly positioned as disinterested in political content, an analysis of artistic practices since the late 1960s reveals that artists, both black and white, regularly investigated race as a site of conceptual significance. Throughout the last half of the twentieth century, transformations in race discourse shifted the idea of race from an embodied essence to a social force, in a kind of "dematerialization." I focus on Black conceptual artists who, despite prevailing expectations that their work reflect the black experience, responded through the critique of representation itself, troubling the role of the visual field as the guarantor of racial expression. Their purposeful denaturing of blackness as a visual signifier of race yielded two possibilities: the mobilization of blackness as a conceptual strategy and the embrace of the extravisual dimensions of racial meaning, such as sound, voice, performance, and proprioception. Over the course of four chapters, I examine the artistic practices and theories of African American artists from the Civil Rights generation=David Hammons, Charles Gaines, and performance artist Lorraine O{\textquoteright}Grady=and post-Civil Rights generation=photographer Lorna Simpson and sound artists Nadine Robinson and Jennie C. Jones=as they engaged the legacies of Conceptual art to interrogate and challenge the insistent materialization of race. By situating their practices in relation to historical debates on Conceptual art and African American art, and combining formal analysis of artworks with theories of racialization, this project offers an inquiry into the complex intersections of American art, Conceptual art, and African American art that posit the racial self, and blackness, as a productive site of artistic meaning.}, keywords = {Twentieth-Century Art}, author = {Tani, Ellen Y.} } @mastersthesis {12036, title = {Boucher{\textquoteright}s Bijoux: Luxury Reproduction in the Age of Enlightenment}, year = {2015}, school = {Columbia}, abstract = {This dissertation examines the translation of paintings and drawings by Francois Boucher (1703-1770) into luxury media. Eighteenth-century collectors expended small fortunes on precious objects that reproduced Boucher{\textquoteright}s work: cameos, intaglios, enamel-painted porcelain vessels, gold boxes, biscuit porcelain figurines, wool and silk tapestries, and furniture upholstery. Existing studies of eighteenth-century reproduction have tended to focus on innovations in printmaking that enabled the production of inexpensive and extremely faithful facsimiles of works of art. Luxury reproductions, by contrast, were expensive, scarce, and materially assertive, often calling attention to their mediums, and to the act of mediation itself. Through an investigation of the morphological, material, and temporal stakes of these intermedial translations, I show that luxury copies were not derivative substitutes for absent originals, but rather were generative tools of social, artistic, and political identity construction. A central figure in this story is the royal mistress Madame de Pompadour (1721-1764), who was an avid collector of Boucher{\textquoteright}s work (and of reproductions after his work), and who reproduced his cameos and intaglios in a limited-edition set of engravings. Through her engravings and decorative installations, Pompadour demonstrated a keen interest in the material processes of transmission and the agency of media. I examine Pompadour{\textquoteright}s work and patronage in relation to her political identity as a mediator between the court and the king. Boucher was the perfect collaborator in Pompadour{\textquoteright}s project; the material processes of intermedial translation often became the very subject of his work. Boucher{\textquoteright}s and Pompadour{\textquoteright}s deep investment in the materiality of mediation demands that we revise our understanding of the Rococo "unity of the arts," which too often is attributed to a dematerialized mobility.}, keywords = {Decorative Arts/Textiles/Design History/Interior Design, Eighteenth-Century Art}, author = {Wager, Susan} } @mastersthesis {12097, title = {The Brahmin and the Fakir: Picturing {\textquoteright}Type{\textquoteright} in Early Colonial India}, year = {2015}, school = {IFA/NYU}, abstract = {This dissertation examines methods of surveilling Indian individuals and groups targeted by British criminal legislation in India{\textquoteright}s early colonial era (ca.1820-1880) that employ a range of visual media, including paintings, drawings, models and photographs. The chronological scope is limited to early negotiations of criminological representation, and pivots upon the changes wrought by the Uprising of 1857, when broad swathes of the Indian population rose up in rebellion against the British occupation. Tracing the historical arc of the relationship between discourses of criminality and visual representation across a range of media, the dissertation pays particular attention to modes of representation believed to be indexical, that is, believed to be causally related to their subjects; these include fingerprinting, body casting, and photography. The dissertation argues that the evidentiary and illustrative values of criminal representations were in flux during this period, dependent upon the shifting criminological imperatives of the pre- and post-Uprising regimes. Organized chronologically in three sections, the dissertation begins with the "thuggee campaign" of the 1830s, the first administrative campaign to identify and pictorially document entire caste or professional groups. In this early period, I look at the role of representation in the process of criminalization and the range of visual media employed, including paintings, drawings, and clay models of thuggee types. These early criminal transcriptions, which targeted populations with fluid caste and professional identities, repeatedly focused on representing acts of criminality, rather than on static criminal typologies. The second chapter focuses on the era of the Uprising, and the production of more informal visual typologies in the forms of photographs of criminals arranged in the recently introduced genre of the photographic album. Made by officers in British service, and featuring carefully organized photographs of Uprising insurrectionaries, the albums are war-inflected, marginal narratives of criminality that demonstrate the imbrications of personal and public histories in the formation of criminological registers. Finally, the dissertation concludes with an examination of post-Uprising experiments in identifying criminal types. Including experiments in early fingerprinting and custodial photography, criminal transcription projects of the 1860s and 1870s reveal unsystematic negotiations of representation, and shed light on the idiosyncratic, marginal, even personal, origins of criminological indexing as a state-sponsored endeavor. They also reveal significant intersections between ethnology (later, ethnography), photography and practices of criminalization and incarceration. Discussions on the significance of the arrival of photography have often been framed in terms of the indexicality of the medium, drawn from the theories of the nineteenth-century semiotician Charles Sanders Pierce. Pierce described the index as a sign bearing a causal connection to its object, differing from other types of representation in its physical contiguity and causal relation to that object. Because of the claims made for its indexical nature, the photograph has been historically privileged as a technology of representation that offers unmediated documentation, well represented by Henry Fox Talbot{\textquoteright}s title for his treatise on the camera, The Pencil of Nature (1844-1846). However, although they were (and continue to be) widespread, claims for the indexicality of the photograph have been consistently met with skepticism. In fact, early uses of the photograph in the criminological context reveal a far more complex engagement with the photograph as a site of representation than that suggested by any simple embrace of its indexical potential. The narrative of this dissertation intertwines two threads. Firstly, through a focus on indexing as performance-as transcriptions of encounters between the transcriber and transcribed- I re-insert the visual into a larger sensory regime. Such a re-location of the visual reveals shifts in the nature of criminological transcription before and after the Uprising. Secondly, I deliberately shift between the contiguous domains of the public and private spheres, moving away from traditional readings of colonial criminology as a systematic institutional project of empire. This conceptual departure has revealed the marginal, often highly localized origins of methods of criminal transcription-a marginality that, I contend, provided the latitude for varied experiments with indexing and visualizing criminality, some of which would later be deployed in the metropole.}, keywords = {Middle Eastern/Western Asia}, author = {Viswanathan, Rashmi} } @mastersthesis {12133, title = {The Breath with the Breath: Contemporary Performance Art in India}, year = {2015}, school = {Minnesota}, abstract = {This dissertation examines contemporary performance art practices in India, with a particular focus on the work of three artists with diverse approaches to this ever-evolving art form: Ratnabali Kant, Samudra Kajal Saikia and Nikhil Chopra. The performances that serve as the focus of my analysis took place during the period of 1985 to 2012. In my examination of specific performances, I weave together strands of performance studies, histories of performance art and theater, and a theoretical analysis of "the performative" nature of society at large. The works I examine question the ways in which historical memory is itself performed through national spectacle, the reiteration of social norms, and the production of subject formations.}, keywords = {Performance Art/Performance Studies/Public Practice, Twenty-First-Century Art}, author = {Heer, Melissa Rose} } @mastersthesis {12154, title = {Building a {\textquoteright}Modern{\textquoteright} Temple Town: Architecture and Patronage in Eighteenth- and Nineteenth-Century Banaras}, year = {2015}, school = {Yale}, abstract = {This dissertation is a study to reframe Banaras as a "modem" temple town. The city of Banaras is often extolled as an ancient Hindu pilgrimage center, famous for its holy temples built along the Ganges River. Contrary to its ancient reputation, however, the city{\textquoteright}s current form is in fact largely a result of extensive rebuilding during the eighteenth and nineteenth centuries. From the late eighteenth century onwards, new temples and palaces sprang up on the banks of the Ganges River, built by patrons who were themselves newcomers in North India{\textquoteright}s political arena. Focusing on the city{\textquoteright}s Hindu temples, this dissertation examines the strategies of placemaking by varying groups of local, regional, and trans-regional patrons, from the revival of pilgrimage sites to initiating a new tradition of ritualistic performance, and their impact on the spatial transformation of Banaras as the archetypal "Hindu" pilgrimage center. Built during the formative period of the study of Indian art, Banaras{\textquoteright}s temples were cited in those early studies as examples of the archetypal "modern" Hindu temple architecture. Yet there was no definition of what constituted "modern," except in terms of its digression from the "classical" principles of earlier temple forms. As "modern" comparative examples, Banaras{\textquoteright}s temples played a central role in constructing the canon of Hindu temple architecture, although it was, ironically, that very role that excluded them from recognized as canonical. To reinsert these temples into the history of Indian temple architecture, "modern" must be redefined as a period of creative transformation, not as derivative imitations of the Indian past or the Western present. To do so, I refocus on the architecture and argue that Banaras{\textquoteright}s temples represent a new architectural vocabulary that expressed complex political and religious aspirations of the patrons and index the broader exchange of artistic traditions. Eager to reinvent themselves as nobility, the emergent patrons in Banaras appropriated the visual vocabulary and practices of the Mughals and Rajputs, the dominant royal courts in north India prior to the eighteenth century. Such pan-Indic visual forms were reiterated through local architectural and craft practices, creating a style specific to eighteenth and nineteenth-century Banaras. I investigate this dialogue between the local and the trans-regional through a consideration of Hindu and Jain temples and their decorative program, landscaping, site-specific performances, and representations of Banaras{\textquoteright}s urban space in wall paintings, pilgrimage maps, and panoramas. These examples demonstrate a desire to participate in the pan-Indic courtly world in the most up-to-date visual garb and present a picture of Banaras as a "modern" temple town receptive to its specific social, political, and cultural moments.}, keywords = {South Asia/South East Asia}, author = {Shin, Heeryoon} } @mastersthesis {12010, title = {Building for the Poor and the Pauper: Architecture, Morality, and Medical Models in Victorian England, 1850-1900}, year = {2015}, school = {IFA/NYU}, abstract = {In the wake of explosive urban growth during the first part of the nineteenth century in England, societal beliefs about the mechanisms of charity towards the poor, which had varied little over the previous two centuries, changed dramatically. No longer regarded as subordinates who might ask for charity from their betters, the poor became a class that required reform so that they would become self-sufficient. In the Victorian era, while these definitions were constantly parsed and often contradictory, correct identification of the worthy poor versus the unworthy pauper was central to public and private policies, as well as the growth of institutions designed to educate, heal, and reform the poor. As it was widely held that buildings influenced their inhabitants (particularly the lower orders) acting upon their emotions, physical health, and moral behavior, Victorian efforts to reform the poor incorporated building designs, plans, and materials believed to support the reformative process by acting upon individuals within a particular institution. Theoretically, the important distinctions between the worthy and the unworthy were incorporated into buildings constructed for them by elites, and articulated in architectural design and planning. The dissertation demonstrates, however, that Victorian workhouses and model dwellings, developed to house and manage disparate categories of the poor, far from reinforcing this distinction were, in reality, strikingly similar. Further, these similarities not only persisted, but actually increased between about 1850 and 1900, an era of changing public policies and private beliefs that further emphasized distinctions between the two groups, seeking to elevate the industrious poor and eradicate the worthless pauper. It is this gap between theory and practice that forms the field of inquiry for this thesis. Analytical case studies of representative examples located in London{\textquoteright}s St. Pancras parish consider the physical evidence of buildings, materials and sites, as well as archival evidence related to building conception, design and construction. Based on these findings, and further supported by syntactical spatial and viewshed analyses, this study argues that the urban workhouse and model dwelling, in form, plan, spatial expression, and materials, responded to inherently contradictory theories about poverty and pauperism, which were in turn, closely related to evolving but incomplete medical models of disease and contagion. As the relationship between reformative architecture and medical models has not been considered in previous studies, charting the changes in workhouses and model dwellings concomitant with evolving ideas about disease and contagion forms a significant portion of the supporting evidence for this thesis. Far from being passive objects, buildings for these populations not only responded to, but helped construct, the medico-social programs they embodied. Indeed, workhouses and model dwellings contributed to the location, expression or containment of poverty and disease in the physical and social geography of Victorian England, and thus reveal a great deal about the role of architecture in nineteenth-century society.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Harkrader, Nina} } @mastersthesis {12143, title = {Byzantine Carved Gemstones: Their Typology, Dating, Materiality, and Function}, year = {2015}, school = {Harvard}, abstract = {This dissertation examines gemstones carved in relief from the middle and late Byzantine periods. Byzantine gems share a similar aesthetic with relief carvings in ivory and steatite, but they have not been as thoroughly studied. This dissertation seeks to address the lacuna in scholarship by assembling, dating, and analyzing two hundred Byzantine gems. Carved gemstones average less than four centimeters in height. Bloodstone, a variety of jasper, was carved the most frequently. Almost all are enkolpia, or pectoral pendants. The earliest pieces can be dated to the tenth through the early eleventh centuries. They are skillfully carved, and some display imperial themes such as the standing Christ and a symbol that is reminiscent of the globus cruciger. Some display iconographic and stylistic similarities with icons in ivory, which are also associated with emperors. The greatest number of pieces date to the twelfth century, and their quality varies considerably. This seems to suggest that initially gemstone enkolpia were owned by emperors and other elites, but that by the twelfth century they had become more accessible and their use increased. This finding is consistent with our knowledge of the cultural climate and religious practices of the twelfth century, which is characterized by a taste for luxury objects and a form of piety that was focused upon attaining individual salvation. The function of gemstone enkolpia was explored through iconographic and textual analysis, as well as a through the study of their materiality. It was found that all of the gems are carved with religious subject matter and that most display portrait images of holy figures who were known as intercessors and protectors. This suggests that gemstone enkolpia were primarily used to mediate a devotional relationship with a patron saint. Textual sources indicate that wearing an enkolpion "over the heart" was an act of devotion that ensured that the saint{\textquoteright}s presence was carried at all times. An examination of the materiality of gems revealed that their meanings and associations were brought to bear upon the devotional function of gemstone enkolpia in a variety of complex ways. It was also found that gemstone enkolpia had an amuletic nature and could be used for healing, protection, and divination.}, keywords = {Sixth Century CE to Eleventh Century CE Art}, author = {Harrison, Katherine} } @mastersthesis {12025, title = {Calendar, Column, Crucifix: Material Reuse in the Early Modern Transatlantic World}, year = {2015}, school = {Yale}, abstract = {The entrance of an artifact into the lifecycle of another monument constitutes one means by which a viewer can perceive historical change. Reuse offers a glimpse into the complexity of art{\textquoteright}s history as an imbrication of facture and reception, the latter formed by an act of destruction coupled with an act of making again. This dissertation examines practices of material reuse in the early modern transatlantic world, with a particular focus on the art and architecture of New Spain. By placing case studies within a comparative and connected history, it posits structural parallels between artifacts in the New World and the Old to draw out the distinguishing markers of their material and historical circumstances. The dissertation begins with a fundamental enabling circumstance of reuse-rediscovery. In 1791, the recently unearthed Aztec Calendar Stone was mounted on the facade of the cathedral in Mexico City. The display of a pre-Columbian monolith on a church edifice articulated a seam between pagan and Christian, and proudly proclaimed an ancient past that had taken place far from European soil. While studies have shown the excavations at Herculaneum and Pompeii played an influential role in the early archaeology of the Americas, I turn back to the year 1506, when the Laocoon was unearthed in Rome and installed in the Vatican. Chapter One casts light on the formation of the idea of antiquity, Mexican and Mediterranean, by exploring the structural resonance between these chthonic rediscoveries. It shows how the reception and reuse of the Calendar Stone in eighteenth-century New Spain legitimated an archaeological quest for the pre-Hispanic past, but within a mode of agonistic retrospection first canonized by the Laocoon. It further sets up the idea that artifacts, through reuse, retain temporalities that look back in time. The sixteenth century, the first chapter concludes, was marked by a dialectic of rediscovery and loss just as Greco-Roman statuary was unearthed in Renaissance Europe, Aztec sculpture, the Calendar Stone included, was buried in viceregal Mexico. Other pagan artifacts, however, were put toward new purposes. Chapter Two departs from iconoclasm{\textquoteright}s premise of productive destruction to examine pre-Columbian sculpture redeployed in the building campaign of Mexico City. My analysis turns on the question of the rhetoric of their reuse. Objects that communicate the ideology of triumphalism serve as a conceptual foil for thinking more deeply about Christian spoliation. Through a consideration of patristic and art-historical traditions of interpretatio christiana, I pursue an interpretive model for thinking about reuse-the hermeneutic of conversion. In Mexico City, the indigenous church of Santa Maria la Redonda and its monumental stone baptismal font, carved from a Mexica sculpture of the deity Quetzalcoatl, yield new insights into how typology, figuration, and metaphor structure the associations of authoritative pasts within the Christian tradition. The connotative force at work at this colonial site revises our understanding of European models of spoliation. From the allusive qualities of repurposed pagan artifacts explored in the second chapter, Chapter Three investigates ambivalence and dissimulation as semantic components of reuse. I turn to a type of life-size Christian cult image produced by casting lightweight materials and suspending those mold-made forms onto similarly lightweight armatures. In New Spain, such statues were often fashioned out of repurposed documents. The complexities of their manufacture and materiality stage meaning along a series of interpretive routes. Sixteenth-century observations on replication as a means of spiritual and moral development testify to the positive valence that mold-making as a sculptural innovation accrued in colonial Mexico. The inclusion of recycled paper in the manufacture of these sculptures points to the kinds of pressures on art-making that colonialism effected, a process that speaks to a growing interest in ecology as an approach to thinking about cultural production. Ultimately, this seemingly banal material ecology of the colonial artifact, concealed within the hollow cores of these lightweight crucifixes, discloses a sacred economy of the abject. Through replication and reuse, the earthly matter of the divine is invisibly present, determined by obfuscations of technique and medium. The study of reuse privileges the material artifact as an object of study. Brought together, the case studies of this dissertation speak to a renewed interest in materialism. But reuse, as an approach to art, foregrounds problems of both product and process. As such, the dissertation reveals that the criteria for art-historical interpretation reside not only in materiality, but also in making, and in recuperations of the creative force when matter is made anew.}, keywords = {Central America and Caribbean, South America}, author = {Ryu, Sara} } @mastersthesis {12054, title = {Casting a New Design: The American Silver Industry and Japanese Meiji Metalwork, 1876-1893}, year = {2015}, school = {Kansas}, abstract = {The flood of Japanese decorative arts that reached American shores after Commodore Matthew C. Perry of the U.S. Navy compelled the opening of Japan to the West in 1854, initiated a mutually beneficial circuit of exchange that concomitantly enabled both countries to achieve international acclaim for their artistic merit in the field of metalwork. This dissertation explores the momentous technical, stylistic and creative impact that Japanese metalwork had upon the American silver industry in the last quarter of the nineteenth century and the equally transformative impact that entry into the American market had upon Japanese metalwork, as the country emerged from international isolation during the Meiji era (1868-1912). The introduction of Japanese design amidst myriad Western revival movements allowed for the emergence of a complete break from the historicized European motifs, forms and iconography to which American silver had been subserviently tied. Leading silver firms, such as the Gorham Manufacturing Company and Tiffany \& Co., adopted and adapted Japanese aesthetics and techniques to create visually stunning works, which garnered worldwide recognition and praise not previously achieved. Drawing on the dual traditions of Buddhist bronze casting and Samurai sword making, late nineteenth-century Japanese metalsmiths created works for display at American world{\textquoteright}s fairs that served to revitalize the Japanese metalworking industry, promote commercial export of Japanese metalwork and internationally showcase the metalworkers{\textquoteright} technical and artistic virtuosity, and thus that of the nation{\textquoteright}s artistic culture as a whole. The beauty of Japanese mixed metalwork encouraged imitative reproductions in America, yet, more significantly, the ingenuity of traditional Japanese metalwork inspired the silversmiths of Tiffany and Gorham to develop a distinctly American realization of Japan{\textquoteright}s technically challenging processes, producing aesthetically striking results of international hybridity. Equally impossible to conceive would be the international position and critical assessment of Japanese artists and designers in the early twentieth century, without the unequivocal impact of the country{\textquoteright}s aesthetics on the Western world, especially America. The predominant role of the Japanese metalworker entering a national phase of flux and the international rise of the American silversmith burgeoning beyond its borders converged to produce not only an explosion of innovative design, technology, and industry for both countries, but also an exponential expansion of an admiring international audience, boldly willing to cast aside past traditions, constraints, and biases. A new design was cast, indefinitely and concomitantly altering and transforming the American silver industry and Japanese Meiji metalworkers.}, keywords = {East Asia, North America}, author = {Williams, Elizabeth} } @mastersthesis {12185, title = {Casual Conduct at the Margins of Conceptual Art}, year = {2015}, school = {Yale}, abstract = {Artists and critics from the 1960s forward have promoted the notion of the "casual" as a form of negligence, which they could oppose both to administrative order and affected sentimentality. In Casual Stances, I explore what they mean when they call artworks "casual." The term typically refers not merely to the physical or material property of an artwork, but also to the indifferent stance artists take towards their work and a corollary lack of engagement on the part of their audiences. I draw out the complex political consequences of casual stance-taking in the production and reception of art as I explore why it became a crucial, albeit latent, dimension of the conceptual art of the 1960s and 1970s-- since then attaining a prominent position in the contemporary art world.}, keywords = {Twenty-First-Century Art}, author = {Stewart-Halevy, Jacob} } @mastersthesis {12095, title = {Cem Evleri: An Examination of the Historical Roots and Contemporary Meanings of Alevi Architecture and Iconography}, year = {2015}, school = {Ohio State}, abstract = {Cem ceremonies are the primary communal assemblies of the spiritual lineages of the Alevi Muslim minority living in Anatolia, the Balkans, and the surrounding regions. Alevis designate settings for the cem known as cemevis or cem evis (literally "houses of the cem"). Cemevis may be purpose built structures or buildings temporarily converted for ritual observance. The essential requirement of the cemevi is that it be suitable for the cem, both spatially and in terms of the intentionality and appropriate moral background of the host and participants. The setting must permit all in attendance, men and women, to have equal visual and aural access to each other and to their Dede, the elder spiritual guide who descends from the family of the Prophet Muhammad. This leaves the cemevi open to a wide variety of design schemes, materials, furniture and decor, all of which make the ceremony possible, yet do not determine or confine its liturgy. The emphasis on community and comportment allows symbolic imagery and reenactments to activate and envelop the space in a meaningful, albeit often temporary, manner. Both the increasing visibility of purpose-built Alevi centres since the late twentieth century and the hidden nature of cem sites during periods of persecution dating back to the sixteenth century are related to Alevi resistance to elements in mainstream Islamic culture in the region. Alevis sometimes refer to the practices and ideologies of their Sunni neighbours as "cami kulturu" ("mosque culture"), differentiating this from themselves and their own cem-centred worship. This project explores the development, use, meaning, and changing role of the Alevi cemevi and its iconography from the thirteenth century to the present within the geographical region framed by the Turkish Republic. Through a combination of architectural site visits, the collection of oral histories, and an analysis of the historical setting, this study examines the relationship between ceremony and space, village architecture and religious settings, definitions of places of worship determined by Turkish law, and the place of an Alevi architecture within the history of Islamic religious architecture.}, keywords = {Middle Eastern/Western Asia}, author = {Andersen, Angela} } @mastersthesis {11975, title = {Ceremonial and Economical Life in the Royal Palace of New Kingdom, Egypt}, year = {2015}, school = {Penn State}, abstract = {It is significant that in the New kingdom, the last and greatest Empire Age of Ancient Egypt, the architecture and illustration of the Royal Palace provide new insight into royal life and vast wealth aggrandized the ruler and honored some members of his family and court. In this study, I have investigated three terms used for royal structures associated with king since the Old kingdom including Ch, stp-s3, and pr-nsw and defined their meaning and use during the New Kingdom. Although these three terms were in general used as designations of the "Royal Palace", each one has specific reference to a particular type of royal structure with its own structure and purpose. This study concentrated in detail context and significance on these terms as they use during this period. Evidences were drawn from a variety of texts including commemorative autobiographical, narrative, and religious texts, besides pictured scenes from tombs, temples, etc. These evidences proved that the Royal Palace Ch was functioned as a royal residence of the king and headquarter of the kingship where the king lived and practiced his authority as the legitimate ruler of Egypt. Stp-s3 was definitely an essential component of the Royal Palace associated with the king duties as a ruler. Unlike the pr-nsw which seems to be connected with the vizier and government. In additional to the three overarching terms for the Royal Palace informing the discussion adumbrated above, I conducted a taxonomic break-down of the physical components of the Royal Palace. These included architectural elements such as gateways, doors, window of appearance used to frame the power and authority of the ruler during his public appearance. In addition, the identity and arrangements of halls, courts and chambers were investigated along with their functions. That included all the essential parts of the Royal Palace, both the residential area and headquarters of the kingship (stp-s3). The design and plan of the Royal Palace was purposely thought to provide segregation between the public and private areas of the Royal Palace while providing the king and inhabitant of the Royal Palace with all the means of luxury life. The location, design and even decoration of each hall and suite within the Royal Palace (whether of the headquarters or living area of the Royal Palace) associated with its function and use. Thus, the Royal Palace comprised various types of halls and suites that were investigated in this chapter using textual, pictorial and archeological sources pertaining to the period of study. The focus of the third chapter is the royal income during the New kingdom. The various sources of the royal income were examined along with the Egyptian terms used for each type of the royal income. The sources of royal income varied during this period to include not only inland sources but also income from the foreign lands that certainly made the New kingdom fabulously wealthy.}, keywords = {Ancient Egyptian/Near Eastern Art}, author = {Aly, Reham} } @mastersthesis {12078, title = {Christ as Exegesis: Visual Interpretation in the Moralized Bible, circa 1225-1235}, year = {2015}, school = {Florida State}, abstract = {The Bibles moralisees are a group of seven heavily illustrated Bibles made during the thirteenth and fourteenth centuries. This dissertation analyzes the thirteenth-century French Moralized Bible now housed in the treasury of Toledo Cathedral. This analysis demonstrates how the manuscript{\textquoteright}s images create visual exegesis of scripture that is unique and co-equal to the accompanying textual interpretations. The visual exegesis of these images follows the fourfold method of interpretation that was popular during the Middle Ages. Exegetes employed this method to examine the literal meaning of scripture and uncover spiritual meanings of biblical figures and events. These spiritual interpretations allegorically taught the reader Christian doctrine, tropologically created morals to guide behavior, and anagogically reminded the Christian of their future hope of eternal life with Christ. In order to demonstrate how the images of the Toledo Moralized Bible visually interpret scripture according to the fourfold method, this study focuses on exegesis created by images of Christ in the books of 1-4 Kings and the Evangelium. In doing so, this dissertation identifies three roles that Christ plays in the Toledo Bible{\textquoteright}s interpretive images: authenticator, parent, and princely guide. Analysis of these roles as played by Christ expands our understanding of thirteenth-century Christology and the didactic goals of the Toledo Bible{\textquoteright}s designers. Scholars agree that Louis IX of France was the intended recipient of the Toledo Bible, and the manuscript presents interpretation of scripture tailored to a royal reader. The Bible{\textquoteright}s images contain affirmation of religious doctrine and condemnation of non-Christian religions and sects, present insight into attitudes towards Judaism and Jews that is complex and nuanced, and encourage secular rulers to exercise power in service of the Church.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Andyshak, Sarah} } @mastersthesis {12104, title = {Claude Monet: Behind the Light}, year = {2015}, school = {Yale}, abstract = {This dissertation seeks to revise our understanding of Claude Monet{\textquoteright}s practice by attending to the dark, strange and exceptional paintings in his oeuvre. History remembers Monet more for his sunny and flower-filled subjects than for the somber and sometimes sinister paintings that complicate his practice and the Impressionist paradigm more broadly. This dissertation argues that Monet{\textquoteright}s most unusual paintings can help us come to a deeper understanding of the complexities and contradictions inherent in his quest tb capture light. The paintings under discussion here date from before 1880, a year that is widely acknowledged to be a turning point in Monet{\textquoteright}s practice. In John House{\textquoteright}s terms, Monet{\textquoteright}s focus moved from "nature into art," surrendering its foothold in objective reality for the sake of surface unity.1 I aim to demonstrate the special complexity of arriving at this point. In so doing I hope to complicate Clement Greenberg{\textquoteright}s understanding of the arc of Monet{\textquoteright}s painting and of modernism more broadly as a linear progression from traditional illusionism to optical flatness.2 The paintings discussed here show Monet consistently and consciously wrestling with what this transition would require. Above all they reveal that Monet was much more than "only an eye,"3 as Cezanne once claimed. Chapter 1 is devoted to analysis of one of Moneys earliest and least studied paintings, Coin d{\textquoteright}atelier (1861), through which I explore the latent Romanticism and unexpected violence of Monet{\textquoteright}s early beginnings. I also investigate the relationship between painting and hunting in Monet{\textquoteright}s practice as it is evidenced in Coin d{\textquoteright}atelier, arguing that the image posits a connection between painting and the pursuit of prey. Hunting is a leitmotif of this dissertation and, I argue, of Monet{\textquoteright}s practice. Chapter 2 turns to one of Monet{\textquoteright}s most well-known and most unusual paintings, Le dejeuner sur l{\textquoteright}herbe (1865-66), focusing on elements of it that have received relatively little attention from scholars. Among the themes discussed is Monet{\textquoteright}s engagement with the work of Watteau and with the ritual of hunting as practiced in the forest of Fontainebleau. Demonstrating how Monet{\textquoteright}s Dejeuner draws from the language of eighteenth-century paintings of the hunting party luncheon, I frame the work as part of a broader phenomenon whereby the hunt became a metaphor for the socio-cultural transformation actualized by the development of urban modernity. Chapter 3 investigates Monet{\textquoteright}s paintings of his first wife, Camille Doncieux. While it has often been suggested that Monet cared little more for the people in his painting than for the leaves on a tree, I argue that Monet{\textquoteright}s approach to the landscape is in fact linked to his work with the figure of Camille. Tracing the development of Monet{\textquoteright}s paintings of Camille over time, I argue that her body was the human terrain across which Monet addressed broader questions of his practice. Chapter 4 is devoted to the last painting of Camille that Monet ever made, Camille sur son lit de mort (1879), which has not been the subject of extended scholarly analysis until now. Underscoring the contrast between this painting and contemporaneous models of commemorating lost loved ones, I focus on Monet{\textquoteright}s attention to the invisible air surrounding Camille and her consequent effacement in this picture. In so doing I consider the work within a particular moment in French history when the invisible became the site of the interrogation of the limits of human perception. In the final chapter I turn to a series of still lifes of dead birds that Monet painted in the wake of Camille{\textquoteright}s death. Like many of the paintings under discussion in this dissertation these particular still lifes have not been the subject of in-depth analysis. I argue that these paintings frame the act of making a picture in terms of life and death and ultimately reveal the singular driving force of Monet{\textquoteright}s painting to be the fact of its lying between these two states, bridging the divide between nature and morte, the two terms that structure the French conception of still life. 1 John House, Monet: Nature into Art (New Haven: Yale University Press, 1986), 2. 2 See "On the Role of Nature in Modernist Painting," in Art and Culture: Critical Essays (Boston: Beacon Press, 1961). 3Attributed to Paul Cezanne by Ambroise Vollard in his Paul Cezanne (Paris: Galerie A. Vollard, 1914), 88.}, keywords = {Nineteenth-Century Art}, author = {Desmarais, Mary Dailey} } @mastersthesis {12087, title = {Color{\textquoteright}s Absence: The Visual Language of Grisaille in Burgundian Manuscripts}, year = {2015}, school = {UC Santa Barbara}, abstract = {Among the defining characteristics of fourteenth- and fifteenth-century Northern European manuscripts is the trend for grisaille, a technique of rendering images primarily in tones of gray, black, and white. Grisaille miniatures take many forms: sometimes figures in gray appear against full-color backgrounds; sometimes an entire scene is rendered in complete monochrome or with sparse applications of gold leaf; and occasionally areas of color and gray are not neatly delineated but overlap in complex ways. This dissertation explores how grisaille embodies meanings, how it signifies, in order to understand its particular representational mode. I focus on grisaille in Burgundian manuscripts, especially those made for Duke Philip the Good and his courtly milieu by some of the most renowned miniaturists of the period. Grisaille in these manuscripts does not conform to one set of representational rules and cannot be interpreted along strict iconographical lines; its function is neither steadfastly hierarchical nor chronological. Instead, grisaille is a multivalent visual language. It expresses meaning through comparison with color, as a non-color, an anti-color, or the stripping away of color, and this rupture, this deviation from naturalism, creates an inherent effect of otherness and distance that can function in various ways. It can act, for example, as a path to unknown experiences and higher truths, as a shift in representational levels of reality, as a reminder of the artistic act of creation as well as the act of viewing, as a marker of personal status, and as an aid to devotion.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Rochmes, Sophia} } @mastersthesis {12124, title = {The Comic Grotesque: Satirizing the Body Politic in American Caricature, 1925-1945}, year = {2015}, school = {Washington University}, abstract = {This dissertation examines the comic grotesque as a strategy of critical engagement within the thriving field of U.S. graphic satire from World War I through the Great Depression. During this period, artists across the political spectrum were using disruptive bodily forms, along with references to pain, vulgar associations and crude techniques, to challenge political authority, undermine attempts to smooth over political turbulence, and address communal anxieties about social tensions and the direction of the nation. Emerging in the context of record unemployment rates, the explosion of political radicalism, dramatic shifts of gender and class power dynamics, and emerging threats of fascism, these iconoclastic, rebellious, or evocative bodies gained popular attention within a thriving publishing industry that maintained much of its readership during the Depression through its graphic satire. I focus on works in the magazines The Masses, New Masses, Daily Worker, The New Yorker, and Vanity Fair. Through case studies examining such artists as John Sloan, Robert Minor, Henry Glintenkamp, Jacob Burck, Gardner Rea, James Thurber, and William Gropper, I argue that the comic grotesque served as a means of challenging the often totalizing construction of society embedded within many of the debates in the period around recovery and progress. This project draws from the field of disability studies, recent scholarship on eugenics culture, and studies on political citizenship in the U.S., as well as the theories of the grotesque by such early twentieth century figures as Mikhail Bakhtin and Kenneth Burke, to consider the various ways that the comic grotesque was used as a form of sociopolitical activation. The comic grotesque not only served as a metaphorical tool, I argue, but also as a means of challenging viewers{\textquoteright} ideological foundations through somatic forms of engagement. At the same time, artists also utilized grotesque racial and gender stereotypes, in the process justifying and reaffirming racial prejudices. This project also situates these works within broader traditions of the comic grotesque that may be traced back to the early modern period, particularly as a tool of critique employed by such artists as British eighteenth-century caricaturist James Gilray, French nineteenth- century artist Honore Daumier, and U.S. nineteenth century graphic satirist Thomas Nast.}, keywords = {North America}, author = {Campbell, Bryna} } @mastersthesis {12093, title = {Competing Constructivisms: Modern Architecture and Design in Japan and Korea, c. 1925-1940}, year = {2015}, school = {Maryland}, abstract = {This dissertation focuses on a set of dynamic Japanese and Korean architects and artists who, during the interwar period, actively adopted and transformed the principles of Russian Constructivism, the Bauhaus, and International Architecture into their own artistic style. This study provides the first comprehensive study of the multifaceted connections between Europe, Japan, and Korea to explore the richness of this relatively underrepresented, but decisive, modern aesthetic impulse. Prior to and during the period of the activities of the two major architectural groups in Japan, Bunriha Kenchikukai (1920-1928) and the Sousha (1923-1932), Yamaguchi Bunzo (1902-1978), the leader of the Sousha, demonstrated a strong commitment to Marxism and promoted gorishugi kenchiku (rationalist architecture), which acted on his vision of social transformation through a rationalist and functional approach to architectural design. In contrast, Yamawaki Iwao (1898-1987) enjoyed a rather socially neutral perspective of Constructivism and searched for a synthesis between the principles of the Bauhaus style and traditional Japanese interior designs of private houses. Furniture designer Kurata Chikatada (1895-1966), the leader of Keiji Kobo (1928-1940), employed the idea of standardization derived from the Bauhaus workshops, and tried to find a way to mass-produce handcrafts. Whereas Yamaguchi, Yamawaki, and Kurata used Constructivism to open up a wide field of modernist opportunity and inventiveness, Korean architects and artists, who worked under circumstances defined mostly by the colonial status of the nation, embraced the international movement only in a rather informative and redemptive way-a "local" way to assert a suppressed national dynamism. The first generation of Korean architects, which included Park Gil-ryong (1898-1943) and Park Dong-jin (1899-1981), suggested a way to incorporate the qualities of Constructivist style into Korean homes. Korean artists Lee Sun-seok (1905-1986) and Yoo Youngkuk (1916-2002), who studied in Tokyo during the 1930s, adapted the Constructivist style to suit the local customs and artistic conventions of Korea after they returned to their homeland. This comparative study will provide new insights into the history of modern architecture and design in Japan and Korea and a reassessment of the significance of these architects and designers who, from the mid-1920s, contributed to make Constructivism internationally recognized.}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {Kim, Suzie} } @mastersthesis {12004, title = {The Conceptualization of Prudence in Sixteenth-Century Art and Architecture of the Veneto: From Mythos to Logos}, year = {2015}, school = {British Columbia}, abstract = {This thesis investigates the connection between prudence and visual culture in the sixteenth-century Veneto. More specifically, I examine the iconographic transformation of the figure of Minerva, and how, through an adaptation from her mythical origins to a more astronomical association, the nature of prudence identified with the goddess became incorporated in art and architectural theory during the period. This study draws on Plato{\textquoteright}s conceptions of myth and the impact of the Platonic academies, as well as treatises of architecture, and navigation. The role of poetry in the Platonic academies in Vicenza is also considered in order to reconstruct how debates about prudence and myth during the period were converted into visual forms. To begin, Anselmo Canera{\textquoteright}s fresco of Prudence in the Palazzo Thiene (1542) in Vicenza is analyzed for how the personification of the virtue acquires a cosmological significance. Next, Daniele Barbaro{\textquoteright}s villa at Maser (1558) is examined to explore the articulation of prudence in architecture. Drawing on Barbaro{\textquoteright}s definition of prudence as a temporal conversation = where the present is in communication with past and future, Chapter Two considers relations between time and space in his villa. Chapter Three investigates the Villa Rotonda (1570) and argues that Andrea Palladio{\textquoteright}s developing interest in prudence can be aligned with the plan of the building, and the choices it offers for moving through its interior spaces. Focusing on the tricipitium, an emblem for prudence and Titian{\textquoteright}s Allegory of Prudence, this dissertation concludes by considering how the emblem and painting elicited engagement with the complex meanings that accrued to the virtue. By evaluating how pictorial and architectural representations of prudence substituted for written interpretations of the virtue for sixteenth-century Venetian humanists, this dissertation considers how visual imagery was sometimes perceived to be a better vehicle than the written word when it came to philosophical debates.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Coughlin, Michael} } @mastersthesis {12115, title = {Conflicting Lines: The Ambush on America{\textquoteright}s World War I Combat Art}, year = {2015}, school = {Iowa}, abstract = {During World War I, art produced in the United States shaped various opinions about the nation{\textquoteright}s role in global affairs, whether that art supported isolation or intervention. The U.S. government called on its artists to rally public support, and for the first time in its history, the military officially commissioned eight men, most of whom were classically-trained artists who worked as illustrators, to go to the front lines on its behalf. The AEF 8, as the official artists are commonly called, created approximately 500 artworks illustrating all aspects of the First World War, which were used in the popular press and exhibitions in an attempt to connect Americans "over here" with the efforts of the soldiers "over there." By uncovering the Army{\textquoteright}s dilemma of how to visually depict a controversial war, how the military used these images, and how the public responded to them, a new understanding of early twentieth century American art comes to light, linking the conflicting approaches of pictorial representation in early American modernism. By the spring of 1918, the eight illustrators landed in Europe and began their service as captains in the Army Engineer Corps. These men-William Aylward (1875-1956), Walter Jack Duncan (1881-1941), Harvey Dunn (1884-1952), George Harding (1882-1959), Wallace Morgan (1873-1948), Ernest Peixotto (1869-1940), J. Andre Smith (1880-1959), and Harry Townsend (1879-1941)-had unique access to locales and opportunities during the Great War. Back home, the U.S. government rallied other artists and effectively utilized their images, either in poster, print advertisement, film, or photographic form, to elicit support for the war. The Army hoped the official combat artworks would do the same, as well as become a visual and historical record of the war. This recognition of illustration{\textquoteright}s ability to persuade-and document-coincides with the rise of advertising, illustrated books and periodicals, and new printing technologies that occurred at the fin de siecle and into the 1910s. Most illustrators received decent wages for their work, and a few reached a level of popularity that garnered them significant salaries. Yet, many in the "high art" world considered the work of commercial artists and illustrators as less significant than that in the fine arts and, furthermore, denigrated the status of the professional fine artist. However, the skills of an illustrator-to be thorough yet quick, efficient yet detailed, and truthful yet artistic-were suited perfectly for combat art production, and the occupational limitations or criticisms of being a commercial artist seemed moot in the minds of those who commissioned the AEF 8. Considering the amount of time, effort, and funding the War Department extended to the creation of this new corps of combat artists, one must question what became of the art, what its purpose was, and if it fulfilled the mission stipulated by the Army, the patron for these eight artists. The Army desired that the art reveal the hard work and hardships of the common soldier to the American public, thus eliciting support for the war. One way citizens interfaced with the art was through magazines, journals, and books. Another more public form of interaction occurred in the museum setting. The analysis of these platforms presents a broader understanding-both historical and cultural-of the ways in which the official World War I art accomplished or failed in its mission to connect with the American public.}, keywords = {North America, Twentieth-Century Art}, author = {Lueth, Ranelle M.} } @mastersthesis {12084, title = {Constructing Campanilisimo: The Sacred Topography of Ravenna in the Middle Ages}, year = {2015}, school = {UNC Chapel Hill}, abstract = {This dissertation examines the 856 CE relocation of the relics of Ravenna{\textquoteright}s patron saint, Apollinaris, to the church of Sant{\textquoteright}Apollinare Nuovo. Previously, Sant{\textquoteright}Apollinare Nuovo was the palatine church reserved for the secular elite, but I argue its reinvention as a place of cultic worship in the ninth-century was a deliberate calculation by the archbishops of Ravenna, who were driven by ideological motives relating to the current political situation of the Mediterranean world-specifically the rise of a sovereign Papal State in Italy. Scholarship on the medieval topography of Ravenna, its art, and its monuments has traditionally produced monographic studies that focused on teleological questions of iconography, style, influence, and production history, but there has yet to be an attempt to synthesize material in order to understand how each of these monuments functioned together within the urban fabric of the city. My dissertation contributes to this extant literature through a reassessment of the church of Sant{\textquoteright}Apollinare Nuovo and its relationship to its surrounding built environment by considering novel approaches to medieval urbanism, space, place, and sacrality. I argue that the re-invention of this site as a cultic center was an integral part in a larger campaign of social and political propagation by the archbishops of Ravenna to produce feelings of local civic pride-campanilismo-through a carefully orchestrated manipulation of art, architecture, liturgy, and ritual.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Longenbach, Erica Marie} } @mastersthesis {12032, title = {Contemporary Art and Internationalism at the Solomon R. Guggenheim Museum, 1952-1988}, year = {2015}, school = {CUNY}, abstract = {This dissertation maps the Solomon R. Guggenheim Museum{\textquoteright}s important yet uncharted exhibition history during the period of the directorships of James Johnson Sweeney (1952{\quotesinglbase}{\"A}{\`\i}1960) and Thomas M. Messer (1961{\quotesinglbase}{\"A}{\`\i}1988), comparing the museum{\textquoteright}s approach to exhibiting contemporary art to that of rival institutions. An argument is made for the singularity of the Guggenheim{\textquoteright}s exhibition program in light of its commitment to internationalism and pluralism. Through its dedication to internationalism, the Guggenheim imported and promoted artwork from regions overlooked by comparable institutions, especially Latin America and Eastern Europe, while encouraging international dialogue among artists and institutions. Pluralism, in its early application at the Guggenheim, allowed for the exhibition of art that expanded then-current conceptions of modern art. This dissertation also demonstrates the limitations of the Guggenheim{\textquoteright}s internationalism and pluralism, mainly its inability to see past its Western-centric view when creating exhibitions of international art, and an uncritical implementation of pluralism that often resulted in a seemingly arbitrary assortment of exhibited work without a meaningful curatorial framework. Through extensive use of archival sources, this dissertation examines dozens of the Guggenheim{\textquoteright}s exhibitions of contemporary art, providing an understanding of the programmatic nature of the Guggenheim{\textquoteright}s exhibition history over more than three decades. Finally, this dissertation contextualizes the Guggenheim{\textquoteright}s later global corporate model as having been predicated in part upon this earlier history.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Chatalbash, Rachel} } @mastersthesis {12081, title = {Controlling Passions: Emotional Expression in Thirteenth-Century German Sculpture}, year = {2015}, school = {UC Santa Barbara}, abstract = {Control of emotion was central to the medieval understanding of Christian salvation, and monumental sculptures were a key mode by which ecclesiastical patrons instructed the laity in correct emotional behavior. Each of this dissertation{\textquoteright}s three chapters focuses on the facial expressions and gestures of emotion in a single monument. I contextualize these expressions in relation to contemporaneous visual and textual materials. Theology, sermons, courtesy manuals, and Middle High German courtly literature offer textual perspectives on the complicated moral status of emotional behavior. In chapter 1, I examine the Bamberg Last Judgment (ca. 1224-5), where smiles appear on the faces of both the blessed and the damned. The distinction between a virtuous and a sinful smile at Bamberg, as in contemporaneous artworks and texts, is one of context and degree. Appropriate smiles were a response to salvation, whereas inappropriate smiles revealed a lack of preparation for judgment. Early Christian and medieval writers emphasized that those who laugh during their earthly lives will know only tears at Christ{\textquoteright}s Second Coming. The reverse is also true: those who weep over their sinful nature and for Christ{\textquoteright}s sacrifice will be rewarded - will smile - on Judgment Day. The complex treatment of smiles on the Bamberg tympanum channels these discourses into a single scene, showing the virtuous smiles of the blessed and the sinful laughter of the damned side by side. Chapter 2 examines the contrast between violent anger and calm joy on a late thirteenth-century Stoning of St. Stephen currently in the Mainz cathedral museum. This sculptural ensemble holds important implications not only for the history of art and emotion, but also for the history of Christian-Jewish relations. The extant scholarship consistently holds that medieval representations of Jews encouraged stereotypes and promoted violence. Against this trend, I argue that the Stoning condemns violence perpetrated by Christians against Mainz{\textquoteright}s Jewish population in the 1280s by taking the irrational performance of anger as its central theme. The Jewish identity of these figures is here ambiguously marked. The sculpture therefore shifts blame for the violence away from the inherent evil of Jews and onto a failure to control emotion. Chapter 3 investigates the famous west choir and screen (ca. 1250) in Naumburg Cathedral. I argue that the facial expressions of the cathedral donors sculpted in the choir, who were members of the local nobility 200 years earlier, are best understood by focusing on their location: a cathedral choir that was the site of daily masses. The donor portraits respond emotionally to the mass and other liturgical performances associated with Christ{\textquoteright}s Passion. The appropriate emotional responses of the portrayed donors emphasize their authority to be the spiritual guardians of the cathedral and of the local elite to continue in this role, as well as modeling correct responses to the mass for the living to imitate.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Ferguson, Brigit} } @mastersthesis {12006, title = {The Corporate Model: Sculpture, Architecture, and the American City, 1946-1975}, year = {2015}, school = {UT Austin}, abstract = {This dissertation is a theoretical and historical account of urban sculpture in the U.S. following World War II. The title refers to an example set by corporations during the 1940s and 1950s for commissioning modernist office towers and abstract sculpture that fundamentally shaped the early history of a modern public art in the U.S. This corporate model was taken up by American cities during the 1960s in the construction of new civic centers that combined large-scale, abstract sculpture with glass and steel city office buildings. Federal funding further encouraged new sculpture commissions, which proliferated across the U.S. Emerging theories about visual communication impacted both urban planning and the corporate image during this period, as urban renewal reshaped cities for maximum legibility and corporations commissioned designers to create new trademarks. I argue that these twin aims conditioned the planning, production, and distribution of urban sculpture, whose status oscillated between the landmark within urban planning and the trademark of corporate America, between a concrete city element and an abstract symbol. I tell the history of post-war urban sculpture through three case studies. In the first case study, I examine three significant sculpture commissions for urban building lobbies realized by the architects Skidmore, Owings \& Merrill during the 1950s: Harry Bertoia{\textquoteright}s screen (1954) at the Manufacturers Trust Company Bank on New York{\textquoteright}s Fifth Avenue; Richard Lippold{\textquoteright}s Radiant "I" (1958) at the Inland Steel Company Headquarters Building in Chicago; and Alexander Calder{\textquoteright}s mobile (1959) for the Chase Manhattan Bank branch at 410 Park Avenue. In the second case study, I trace the parallel trajectories of urban renewal in downtown Grand Rapids, Michigan and Alexander Calder{\textquoteright}s fountains and stabiles made for World{\textquoteright}s Fairs and international expositions, which intersected in La Grande Vitesse (1969), the National Endowment for the Arts{\textquoteright} first sculpture commission for its Art in Public Places program. In the third case study, I look at three sculptures produced by the fabricator Lippincott Inc., either as a series or in multiple editions, during its first five years of operation: Tony Rosenthal{\textquoteright}s cubes (1967- 68), Barnett Newman{\textquoteright}s Broken Obelisk (1963-67), and Claes Oldenburg{\textquoteright}s Geometric Mouse (1969-71).}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Douberley, Amanda} } @mastersthesis {12173, title = {Courbet{\textquoteright}s Nudes: Realism and the Rococo Revival}, year = {2015}, school = {IFA/NYU}, abstract = {Even a brief overview of the abundant literature on Gustave Courbet (1819-1877) reveals the importance of the female nude within his oeuvre. From his student days in Paris in the early 1840s until his exile in the aftermath of the Paris Commune, Courbet turned repeatedly to the subject of bathing, sleeping, and reclining women, producing a relatively small but important group of about fifty known paintings of nudes. Controversial and often scandalous in their aggressive subversion of classical Academic standards, Courbet{\textquoteright}s unidealized and frequently erotic nudes forever changed the genre. It is therefore surprising that there has been no systematic or comprehensive study of Courbet{\textquoteright}s nudes as a distinct genre within his body of work. This dissertation is thus the first critical analysis to chart the development of what can be called the Realist nude over the course of Courbet{\textquoteright}s career. A predominantly iconographic study, this dissertation looks specifically at the visual sources, both high and low, that informed Courbet{\textquoteright}s unique approach to the motif, placing his production within the context of social, political, and commercial motivations. Divided into two parts, this study considers Courbet{\textquoteright}s nudes in relation to the art of the past as well as that of the artist{\textquoteright}s own time. Part 1 explores Courbet{\textquoteright}s nudes in the context of the Rococo revival, an important, lifelong influence that has either been ignored or treated superficially in most of the scholarship on the artist. Counter to current views, this study has sought to contextualize Courbet{\textquoteright}s erotic, Rococo-inspired nudes within the artist{\textquoteright}s commercial endeavors rather than as social satires. Part 2 examines Courbet{\textquoteright}s creation of the Realist nude in the context of contemporaries like Ingres and Manet. It was the competition he felt with living artists that fueled his search for a new category within the nude genre, ultimately fueling his drive to establish the first truly modern nude.}, keywords = {Twentieth-Century Art}, author = {Myers, Nicole} } @mastersthesis {11984, title = {Creating the Elsewhere: Virtual Reality in the Ancient Roman World}, year = {2015}, school = {Ohio State}, abstract = {At first glance the ancient world may seem an odd place to study concepts of virtuality, but I believe that looking at the art and architecture of the ancient Romans through the modern lens of the virtual can provide surprising insights into how these spaces were viewed, experienced, and understood by their ancient users and may elucidate a further factor in the development of Roman painting beyond mere changes in aesthetic taste. Using a reexamined definition of the "virtual" that divorces it from a reliance on the digital and modern technology, I will investigate how ancient spaces were used to create environments that were intended to transport the viewer to another often distant or fantastic place, to a virtual "elsewhere." In explaining how these Roman spaces worked to effect such "transportation" through their architectural forms and decorative schemata, I have had recourse to two primary theoretical frameworks. The first is the burgeoning sub-field of cognitive linguistics known as Text-world Theory, which attempts to provide an understanding of how humans universally process discourse through the creation of mental "worlds" into which they project themselves, a projection which I believe forms the basis of virtual experience. The second is the work of French philosopher Gilles Deleuze, in particular his discussion of framing in his first book on cinema, and his idea of the hors-champ or the out-of-field, that which is outside of any bounding frame. For Deleuze, as a set of elements becomes ever more bounded and closed the out-of-field can imbue a it with a certain metaphysical duration, with what he terms a fourth dimension of "time" and a fifth of "spirit." Thus a (nearly) closed set acquires a certain trans-spatial existence. My dissertation research suggests that the architecture and decorative programs of many Roman houses created just such not-quite-closed sets, and that as a result they appealed to the viewer{\textquoteright}s "spirit," engaging him in imagination of a "more radical elsewhere." Less}, keywords = {Ancient Greek/Roman Art}, author = {Bowman, Michael} } @mastersthesis {12029, title = {Creole Semiotics: Contemporary Caribbean Art and Creolization}, year = {2015}, school = {Wisconsin}, abstract = {This dissertation puts the thinking of Edouard Glissant in contact with Caribbean visual arts to offer a way of accounting for Caribbean art{\textquoteright}s often unacknowledged participation in the process of creolization. Through this double interpretive move, I posit how the concepts and analytic tools developed by Glissant-particularly in his Caribbean Discourse (1981) and Poetics of Relation (1990)-can open a way of not only illustrating Caribbean art{\textquoteright}s contribution to creolization but also of counteracting the tendency to expropriate creolization and other related concepts as an abstracted metaphor for globalization. I carry out my argument by dividing the dissertation into two parts with two chapters forming each section. In the first part, "Art History and Creolization", I contrast recent international exhibitions and publications with examples in the visual arts through the lens of Creole studies. The two chapters that make up this section ask us to reconsider the modes in which the Caribbean and its art has been presented in discourses surrounding global contemporary arts and think, instead, of the entangled, incomplete, and counter-archival ways in which to discuss its art as a process that defies positivist definitions. In the second part, "Creolizing Art History", I develop the concept of Creole semiotics. Through the analysis of artworks from the Pan-Caribbean region-including works by artists from the Anglophone area (Christopher Cozier, Joscelyn Gardner, and Janine Antoni), the Francophone region (Jean-Ulrick Desert, Herve Beuze, and Rigaud Benoit), and the Spanish-speaking islands (Miguel Luciano, Regina Jose Galindo, Quisqueya Henriquez, Felix Gonzalez-Torres, and Alvaro Barrios)-I show how Creole semiotics allows us to trace differences but also repetitions across a series of iconic signs that recur in the arts of the region. Extending the field of Creole linguistics and poststructuralist semiotics to Caribbean visual arts, I articulate how Creole semiotics provides a method for studying Caribbean art as a chain of signifiers that form a visual syntax or common vocabulary that links the arts of the different countries in the region in a floating chain of signifiers that include islands, boats, and the sea as the ultimate sign and agent of creolization.}, keywords = {Central America and Caribbean, Twenty-First-Century Art}, author = {Guerrero, Marcela C.} } @mastersthesis {12137, title = {Death and Photography in East Asia: A Vernacular Use of Portrait Photography}, year = {2015}, school = {CUNY}, abstract = {This dissertation expands and elaborates upon my 2009 project, "Korean Funerary Photo-Portraiture," which examined the uses of portrait photography in funerals and ancestor worship in Korea. By extending the geographic scope of the earlier project to encompass East Asia, its aim is to investigate how funerary photo-portraiture is intertwined with geopolitical issues across the region. In order to explore the historical and socio-political layers of vernacular photography in East Asia, this dissertation compares the practice of funerary photo-portraiture in five countries by examining the basic concepts underpinning it. China, Korea, Japan, Taiwan, and Vietnam all incorporate portrait photography into funerals and annual ancestor worship rituals, differentiating portrait photography of the deceased from that of the living. Funerary portrait photographs of historical victims also play a role in establishing national memorials and shrines in these countries, and these portraits reflect experiences that are transnational, such as the Japanese colonial experience. The dissertation explores how changes in family dynamics, geopolitics, and the flow of capital have challenged and complicated the traditional use of funerary photo-portraiture. In particular, it reveals the ways in which funerary portrait photography not only is involved in establishing a national identity, but also how it jeopardizes the social imaginary of a communal identity. Because experiences of colonialism and war affect the use of funerary photo-portraiture, the discourse of hegemony is central to exploring the influence of geopolitics on structuring visual cultures of East Asia. This dissertation is conceived as a socio-political history of vernacular photography in that funerary portrait photography has been used in each country of East Asia to structure as well as to challenge national identity. My dissertation also aims to contribute ways of overcoming essentialism in dealing with the culture of the Other through cross-regional and comparative methodologies, while suggesting the importance of a parallax view as a way to overcome the problem of transparency. This dissertation shows that anthropologists and scholars of cultural studies might assume a more neutral and object posture as analysts of different perspectives rather than as translators or interpreters of culture. It ultimately aims to explore how studies of vernacular photography might contribute to revealing the passage of hegemony throughout East Asia, while deconstructing the desire for imagining a homogenous identity in each country of the region. Unlike postmodern pluralist politics that emphasize heterogeneity and incommensurability, this dissertation revolves around issues like pluralism and difference. It will focus on relationships of power in order to discover how some differences operate as relationships of subordination. The dissertation{\textquoteright}s aim of exploring antagonism and conflict created by seemingly pan-Asian cultural practices will contribute to a reconsideration of what kind of insight studies of photography can offer to contemporary society.}, keywords = {Photography, Visual Studies/Visual Culture Studies}, author = {Kim, Jeehey} } @mastersthesis {12174, title = {Definite Means: Arp{\textquoteright}s Cut-Outs, 1911-1930}, year = {2015}, school = {Princeton}, abstract = {Through an examination of the Franco-German sculptor Hans (Jean) Arp{\textquoteright}s (1886-1966) commitment to the procedure of cutting out ( decoupage), this dissertation theorizes the cut-out as a "means" of artmaking and knowing obscured by dominant narratives about collage and the historical avant-garde. The project treats Arp{\textquoteright}s work in paper, wood, print, and cardboard as facets of a single and prolonged cut-out practice, arguing that the cut-out provided him with a "definite means" (Arp{\textquoteright}s words) to engage with and respond to four media central to avant-garde practice of the 1910s and 1920s-collage, painterly abstraction, typography, and photomontage. In doing so, it establishes decoupage as an as yet under-examined deployment of cutting within modernism, where collage and montage have served as the dominant paradigms.}, keywords = {Twentieth-Century Art}, author = {Paneth-Pollak, Tessa} } @mastersthesis {12159, title = {Developing Experience: Alexander Dorner{\textquoteright}s Exhibitions, from Weimar Republic Germany to the Cold War United States}, year = {2015}, school = {MIT}, abstract = {Following the work of German-American curator Alexander Dorner (1893-1957) from his early curatorial career in Niedersachsen to professorships in New England, this dissertation explores the intersections of Euro-American modernism and developing ideations of experience within aesthetic philosophy. Dorner{\textquoteright}s work was formulated in deep engagement with (and often intentional contradiction to) the art theory being incubated in contemporaneous art institutions, pedagogies, and practices. His written texts and museum praxis responded to emerging notions of subjectivity, restoration, and perception in the aesthetic theory of Alois Riegl and Erwin Panofsky, art restoration mandates advocated by German museum leaders such as Max Sauerlandt and Kurt Karl Eberlein, and the artistic productions of El Lissitzky and Herbert Bayer. Against shifting expressions of democracy in Weimar Germany and the mid-century United States, Dorner{\textquoteright}s polemical focus on museum experience was, in effect, an attempt to train citizens for collective but heterogeneous social life.}, keywords = {Twentieth-Century Art, Twenty-First-Century Art}, author = {Uchill, Rebecca} } @mastersthesis {12045, title = {A Discourse on Drawings: Amateurs \& Connoisseurs and the graphic arts in early eighteenth-century Paris}, year = {2015}, school = {Columbia}, abstract = {This study looks at a group of art collectors whose interests in the graphic arts contributed to the status of drawings in Paris in the first half of the eighteenth century. The collection of 19,000 drawings formed by Pierre Crozat (1665-1740) provided the locus for a discourse on the graphic arts that developed outside of the Royal Academy of Painting and Sculpture. The print-making initiatives of the members of this circle and their writings helped to elevate the status of drawings from a secondary art form in service to the noble arts of painting or sculpture to one wherein drawings were appreciated in their own right. Pierre-Jean Mariette (1694-1775) and Anne-Claude-Philippe de Tubieres, le comte de Caylus (1692-1765) and Antoine-Joseph Dezallier d{\textquoteright}Argenville (1680-1765) among others brought a focus and attention to the graphic arts which had a profound effect on the developing connoisseurship and critical discourse on prints and drawings in the first half of the eighteenth century.}, keywords = {Drawings/Prints/Works on Paper/Artists{\textquoteright} Books, Eighteenth-Century Art}, author = {Jones, Jennifer} } @mastersthesis {12030, title = {Discourses of Dissent in Contemporary Honduran Art}, year = {2015}, school = {New Mexico}, abstract = {My dissertation constitutes a descriptive and interpretative analysis of modern and contemporary artistic practices in Honduras. This analysis is carried out comparatively, contrasting mainly the formative decades of Honduran "modernism" (1920s-40s) against the last 15 years of artistic production. Along this diachronic strategy, my interpretation of these processes is anchored in detailed accounts of the socio-historical durations that bear upon them. For each case, at least one case study is developed thoroughly, elucidating thus the dialectic entwinement of art and history. For such purpose, the modes of production and reception entailed by the practices of Arturo Lopez Rodezno (active 1940s-1960s) and Lucy Argueta (active 2005-present) are read in close relation to the social historical processes in which they are incrusted. It thus becomes apparent how some practices, like that of Lopez Rodezno, deny social history and contemporary realities, and others, like that Argueta, prompt participation in making sense of contemporary history, even while artists are too diffident or market-oriented to openly acknowledge meaning.}, keywords = {Central America and Caribbean, Twenty-First-Century Art}, author = {Larach, Gustavo} } @mastersthesis {12071, title = {The Disobedient Isle: Bermudian Aesthetic and Material Culture in the British Atlantic, 1609-1753}, year = {2015}, school = {Columbia}, abstract = {This dissertation examines the unique aesthetic and material culture produced in and around the historically misunderstood island of Bermuda from the beginning of its European discovery through the height of its economic prosperity in the mid-eighteenth-century. As a naturally uninhabited island located in the northern Atlantic Ocean, I argue that the first cartographic images of Bermuda alternately pictured it as a virgin utopia and foreboding "Isle of Devils" for captivated European audiences. Following the settlement in 1609, however, I demonstrate how Bermuda{\textquoteright}s own visual culture illustrates islanders{\textquoteright} efforts to challenge these mythologies and develop a local culture predicated on colonial disobedience, economic opportunism, and Atlantic cosmopolitanism. Each chapter of my dissertation thereby examines a separate category of aesthetic objects related to Bermuda{\textquoteright}s cultural development, beginning with cartographic maps and continuing to natural history illustrations, portraiture, and woven straw bonnets made as part of a profitable cottage industry. Given my alternating my focus on locally and externally produced Bermudian objects, this dissertation participates in post-colonial studies that challenge the privileging of the metropole over colony. Indeed, as participants in a predominately maritime economy, I argue that eighteenth-century Bermudians were deeply connected to communities throughout the British Atlantic and used the objects circulating in this space to craft multiple, locally resonant identities. The broad range of object categories considered in this work also creates new space for examining the lived experiences of Bermudian slaves, who are traditionally under-represented in the historical record. As these Creole- and Anglo-Bermudians also went on to live and work in other Caribbean and North American colonies throughout the British Atlantic, I argue that they also disseminate Bermudian experiences abroad and helped integrated islanders{\textquoteright} unique interpretations of British colonial identity into the transatlantic cultural webs linking these communities throughout the long eighteenth-century.}, keywords = {Eighteenth-Century Art, North America}, author = {Charuhas, Christina} } @mastersthesis {12164, title = {The Disposition of Persons: Conventions of Pose and the Modernization of Figural Art, 1886-1912}, year = {2015}, school = {Princeton}, abstract = {"The Disposition of Persons: Conventions of Pose and the Modernization of Figural Art, 1886-1912" examines the emergence of new conventions for posing and positioning the human figure in late nineteenth- and early twentieth-century European art. Organized as a sequence of studies on the painting Poseuses (1886-1888) by the French Neo-Impressionist artist Georges Seurat, the Beethovenfries mural (1902) by the Austrian Secessionist painter Gustav Klimt, and the ballet L{\textquoteright}Apres-midi d{\textquoteright}un faune (1912) by the Russian dancer and Ballets Russes choreographer Vaslav Nijinsky, the dissertation argues for the significance of correlations between shifting aesthetic approaches to corporeal presentation, and new conceptualizations (scientific, sociological, psychological) of the human disposition. The decades around 1900 witnessed a remarkable departure from some of Western figural art{\textquoteright}s most enduring conventions for posing human figures, as artists working in various European contexts, and in diverse media, began to abandon techniques of pose that had been standard for several centuries up through Impressionism-the foreshortening and ponderation of bodies, for instance, and the variation of postures and gestures among discrete figures. By eliminating lateral torsions along the body{\textquoteright}s central vertical axis, aligning bodies "frontally" (directly parallel or perpendicular to the support, in the case of works of visual art, or to the viewer, in the case of theatrical performances), restricting flexions and extensions of limbs, and often presenting multiple bodies in identical positions, turn-of-the-century artists broke decisively with inherited paradigms of figural mimesis, effecting a formal rupture that destabilized prevailing visual codes for signifying the existence of the inner life of the human subject. Focusing on three works that engaged these new strategies of figural presentation in distinct ways and to varying ends, "The Disposition of Persons" interrogates the motivating circumstances and theoretical significance of this formal development, addressing the ways in which the appearance of new types of figural poses in modern artworks staged aesthetic and epistemological challenges in turn-of-the-century European culture to many deeply held assumptions about human consciousness and the human being{\textquoteright}s privileged status in the world. As a whole, the dissertation argues that the repudiation of inherited conventions of pose across Poseuses, the Beethovenfries, and L{\textquoteright}Apres-midi d{\textquoteright}un faune both reflected and participated in the reconceptualization of the human disposition that took place in the later nineteenth century in the wake of the two major intellectual developments Sigmund Freud described in 1917 as the "biological" and "psychological" blows to "human narcissism;" namely, the recognition by the new field of evolutionary biology of the animal descent of the human species, and the recognition in the modern disciplines of psychology, psychiatry, and psychoanalysis of the unconscious dimensions of human mental life. The dissertation situates Seurat{\textquoteright}s, Klimt{\textquoteright}s, and Nijinsky{\textquoteright}s works in dialogue with concepts of sexual instincts, of hypnosis, of somnambulism, and of dreams as articulated in writing by prominent period thinkers including Charles Darwin, Jean-Martin Charcot, Gabriel Tarde, and Freud. These are by no means unfamiliar intellectual contexts to bring to the study of modern culture around 1900. This study aims to isolate some very concrete ways in which these new forms of knowledge about the human subject impacted upon aesthetic traditions of figural representation, destabilizing and transforming the enduring enterprise of presenting the human being in artistic form. In doing so, the dissertation also identifies visual forms that enrich and complicate our understanding of new concepts of subjectivity that emerged as central to a range of discourses in Europe in the decades around 1900.}, keywords = {Twentieth-Century Art}, author = {Butterfield-Rosen, Emmelyn} } @mastersthesis {12110, title = {Documenting Douglas Huebler: His Early Conceptual Works, 1968-1975}, year = {2015}, school = {Virginia}, abstract = {This dissertation considers the early conceptual work of Douglas Huebler, from 1968 to 1975, focusing on his drawings, mapping, and photographic strategies. It argues for his singular place in the emergence of American conceptual art merited by his inventive linguistic approach to the image, a systematic procedure that extended beyond the conventional tenets of conceptualism and generated a particular openness to his surrounding world. This is the first monographic treatment of Huebler{\textquoteright}s early career, examining the critical phases of his work in relation to the art and linguistic currents of the time. The introduction contains biographical information relevant to Huebler{\textquoteright}s production-his path from Michigan to his innovative years at Bradford College in Massachusetts where he began his conceptual art in collaboration with New York curator Seth Siegelaub. Each chapter includes detailed analyses of selected works from his categories of location, duration, and variables, those pieces that have particular significance in relation to his carefully devised text. His work is situated in relation to other artists producing in a similar vein during the 1960s and 70s, such as John Baldessari, Lawrence Weiner, and Robert Smithson. Huebler often preferred procedure by chance, presenting the results as snapshot photographs that were shuffled in sequence and often with seemingly disjunctive language. Using the caption, cliche and aphorism, Huebler asks the reader to question conditions of appearance in the photographs, allowing the viewer to go beyond direct visual perception. The dissertation concludes with a look at his Everyone Alive series.}, keywords = {North America, Twentieth-Century Art}, author = {Haviland, Mary} } @mastersthesis {12020, title = {Drawing on Architecture: The Socioaesthetics of Architectural Drawing, 1970-1990}, year = {2015}, school = {MIT}, abstract = {This dissertation examines a period in the late twentieth century when architectural drawings provoked a profound re-evaluation of architecture. It does so through novel research of the individuals, galleries, institutions, and events-and the networks that originated therefrom-that drove this reappraisal by shifting the perception of architectural drawings. During the 1970s and 1980s, for the first time, architectural drawings became more than an instrument for building. Prior to this period, except for scattered instances, buildings were considered to be the goal of architectural practice; architectural drawings were viewed simply as a means to an end. However, through a confluence of factors architectural drawings emerged from this marginal role. Drawings attained autonomy from the architectural process and were ultimately perceived as aesthetic artifacts in and of themselves. No attention has been given to this shift, and recovering this period{\textquoteright}s forgotten history reveals a rich and complex tapestry. Research unearths interrelated individuals, galleries, institutions, and events outside of practice that impacted the perception of architectural drawings during this period. This reveals the uniqueness of this period, for at no other time was debate generated in the same way, since at no other time did the necessary structures exist to support this change. During this period, architectural drawings became the driving force of architectural debate, not for what architects put in them, but for what others asked them to be and saw in them. Through exhibitions that emphasized drawings in and of themselves, through collectors and galleries, through the development of a market for architectural drawings, and through the interrelation of these, all of which this work reconstructs for the first time, the role and perception of drawings fell between and among aesthetic, artistic, architectural, commercial, conceptual, cultural, and historical understandings. It was this shifting that drove questioning during this period of nearly all facets of architecture.}, keywords = {Architectural History/Historic Preservation, Drawings/Prints/Works on Paper}, author = {Kauffman, Jordan} } @mastersthesis {11974, title = {Egypt in Empire: Augustan Temple Art and Architecture at Karnak, Philae, Kalabsha, Dendur, and Alexandria}, year = {2015}, school = {Iowa}, abstract = {This dissertation explores interchanges and connections between Rome and Egypt that occurred during the four decades immediately following Egypt{\textquoteright}s annexation into the Roman Empire in 30 B.C.E. The dissertation focuses on five temple precincts that were expanded under the first Roman emperor, Augustus (27 B.C.E.-14 C.E.), who as new ruler of Egypt, continued the venerable practice of building cult temples. In order to gauge the level of imperial support and analyze how local and imperial precedents were combined at temple sites, the dissertation compares the built space at sacred sites in three regions. The comparison reveals programmatic emphasis on areas where public worship occurred over inaccessible areas reserved for the gods, and that the combination of local and imperial elements strengthened cultic connections to each region{\textquoteright}s center. Five chapters demonstrate temples in the Augustan period were created to encourage continued public use and worship by forming space where public veneration could be carried out, and by integrating pharaonic and imperial elements appropriate for the temple precincts{\textquoteright} transcultural local and visiting audience. This analysis indicates that temples in Augustan Egypt, like those in other areas of the Roman world, were tied to the existing traditions of the local community, engaged with new imperial elements, and were designed to encourage public involvement and continued use. Through encouragement by Augustus and his advisors, religion and culture mediated change as Egypt was annexed as a Roman province.}, keywords = {Ancient Egyptian/Near Eastern Art, Ancient Greek/Roman Art}, author = {Peters, Erin A.} } @mastersthesis {11973, title = {Eliot Elisofon: Bringing African Art to LIFE}, year = {2015}, school = {Case Western Reserve}, abstract = {As a public figure and a famous LIFE magazine photographer, Eliot Elisofon participated in the mainstream appreciation and discussion of African art more than many scholars. He publicized African art in magazine articles, exhibitions, books, lectures, films, television documentaries, and much more during his career. Elisofon exposed a wider population to unknown art forms, peoples, and cultures. By putting this content into the mass media, he was ahead of his time. Through stimulating interest in African art, he contributed to its transformation from natural history artifact to fine art. The occasional flaws of his promotion tactics reveal some of the perceptual difficulties encountered during the formation of the field of African art history. This examination of Elisofon{\textquoteright}s life{\textquoteright}s work delineates his unique place in African art history by assessing his contributions to the study and appreciation of African art. It is a field of study that defined a large part of his life, and his affiliated activities give us a window into the history of reception of African art in America from the late 1940s through the early 1970s. Elisofon was fascinated with Africa and African art, and he wanted to convey this interest to the widest audience possible. While he never earned a degree in art history, his photographs of African art and words on this topic influenced generations. Elisofon brought the public along on his journey for knowledge about African art and Africa, initiating public consideration of what most people regarded as a foreign and intimidating topic. His projects embody the varied perceptions of the time. As Elisofon first discovered African art, he appreciated it because of its influence on modern European art. Later he began to discuss its aesthetic value independent of modern art, and its meaning for Africans. He participated in the debate over how much information should be presented to the public about these objects without getting in the way of appreciation of them as art. Toward the end of his life, he continued to serve as a proponent of African art and culture in the mass media, forming an interest in how his work could encourage black pride.}, keywords = {Africa, Twentieth-Century Art}, author = {Flach, Katherine} } @mastersthesis {12063, title = {Embodied Materials: The Emergence of Figural Imagery in Prehistoric China}, year = {2015}, school = {Columbia}, abstract = {This dissertation explores the emergence of figuration in prehistoric China. It approaches the topic by focusing on image-makers{\textquoteright} engagement with the materials they used to fashion figural works. Chapter 1 presents a survey of zoomorphic and anthropomorphic images created from the Epipaleolithic through the Neolithic periods. It highlights a multiplicity of forms, materials and representational approaches while uncovering recurring patterns. Chapter 2 introduces the principal theories scholars have applied to discuss this corpus, and draws out their similarity with paradigms used in Western scholarship on prehistoric art. The discussion further draws attention to a bi-directional influence exerted on the reception of prehistoric imagery in Europe and China. Chapter 3 focuses on images produced prior to or around 5,000 BCE, and repositions their emergence in the context of broader interests in materiality and representation. The analysis uncovers trends and explores circumstances that notably led image-makers separated in time and space to represent human heads as flat entities. Chapter 4 investigates the role of pareidolia in the emergence of images. It reveals that perceptive imagination informed the creation of some works, when craftspeople drew inspiration from forms in raw materials or artifacts. Chapter 5 explores the possibility that image-makers sought to achieve material-representation synergies. The discussion presents a new taxonomic model addressing materiality and the sensory channels through which figurative images are perceived, and it describes how these factors possibly constituted a core aspect of mimesis. The analysis proposes that some image-makers employed both visual and tactile qualities of substances to represent animals and human beings.}, keywords = {East Asia}, author = {Larrive-Bass, Sandrine} } @mastersthesis {12101, title = {The Empire on Display: Exhibitions of Germanic Art and Design in America, 1890-1914}, year = {2015}, school = {Columbia}, abstract = {This dissertation offers the first comprehensive and critical study of Germanic art and design exhibitions of the late Wilhelmine Period in America, analyzing how they served as newfound modes of cultural diplomacy in the United States. It centers on the preparation, execution, and reception of large-scale displays mounted at the Louisiana Purchase Exposition (1904), Harvard Germanic Museum (1903), Metropolitan Museum of Art (1909), and Newark Museum (1912-1914); and draws primarily from unpublished archival materials and original sources. While these were by no means the only methods of German transatlantic artistic exchange during this period, they offer exceptional breadth and variety in terms of curatorial aims, financial support, tactics of display and critical reception. Although varied, each show manifests the confidence that exhibitions can accomplish diplomatic goals. Some were patronized by the Kaiser himself. Others were mounted exclusively outside the aegis of the imperial crown. Each acting as a discrete embodiment of German national identity-intentionally or unintentionally-these exhibitions, I argue, were distinct and critical motivating factors in the American reception of German culture at large. Mounted at a time when Germany experienced increased international criticism for its colonial endeavors and foreign policy in general, the shows in this study shed light on the central role played by German emigres and their efforts to bridge two national identities. Simultaneously, the United States was also entering the international stage as a modern nation-state and economic powerhouse, and other world powers looked to make inroads and forge new alliances across the ocean. Moreover, this project offers a new model for research into art and diplomacy more generally, as previously-unsearched archival collections serve as my most compelling and important source material. Locating German-American artistic exchange at the heart of fin-de-siecle transatlantic crosscurrents, my dissertation reveals the significant place of Germanic art in the American imaginary before the outbreak of the First World War.}, keywords = {Nineteenth-Century Art, North America}, author = {McCarthy, Megan} } @mastersthesis {12067, title = {Entangled Modernities: The Representation of China{\textquoteright}s Past in Early Twentieth-Century Chinese and Japanese Painting}, year = {2015}, school = {Chicago}, abstract = {This dissertation explores the transcultural relationship between China and Japan as it was negotiated through the practice of history painting from the 1860s to the 1930s. In particular, I focus on the visual representation of China{\textquoteright}s past. During the nation-building period of both countries, ancient China was reimagined to be an idealized cultural entity that accommodated divergent views on conceptualizing the origin of East Asian culture and the value of East Asian art vis-a-vis the West. Combining visual and textual analysis with historical and social-political accounts surrounding these works, I reveal that Japanese and Chinese artists redefined their cultural identities in relation not only to the West, but also to each other, and to each other{\textquoteright}s histories. This dissertation reconstructs a more interconnected history of East Asian art by demonstrating that the Japanese and Chinese reimaginings of the past, present and future were intricately intertwined. The goals of this project are multiple. First, it offers a revised understanding of "history painting." Past scholarship interpreted the significance of history painting along the core narrative of nationalism in respective countries. By contrast, this project elaborates the historical complexities of the Sino-Japanese relationship embedded in the art productions in both countries. Second, it problematizes the relationship between medium and cultural identity. As oil paintings completed in the mode of French academic art, this body of work was viewed strictly along the East-West dichotomy. By closely examining artists{\textquoteright} works and writings, this dissertation argues that artists from both countries endeavored to break down the East-West binary model that had been tied to the mediums they practiced. Third, this dissertation proposes a viable methodology to discuss modern East Asian art in a global context. Rather than belated responses to Western art, these works demonstrated artists{\textquoteright} attempt to reconfigure temporality, which reflected their profound reflections on what constituted the essence of their own cultures and what position it occupied in the global history of art. This dissertation focuses on two pioneering artists who ventured to practice history painting: Nakamura Fusetsu (1866-1943) of Japan and Xu Beihong (1895-1953) of China. The four chapters are arranged in chronological order, tracing their artistic careers from East Asia to Europe and back to examine their changing engagements with the representation and discourse on ancient China. Each chapter centers on the major concepts that guided their approaches, which were shaped by the interactions between the two countries and the concurrent global trends. In these four chapters, this dissertation demonstrates that ancient China did not simply serve as a passive subject to be appropriated by Japan. Instead, there were multidirectional flows of ideas between China and Japan, even when their power relationship was imbalanced.}, keywords = {East Asia}, author = {Su, Stephanie} } @mastersthesis {12094, title = {Entertaining Virtue: Gender, Personification, and the Naturalization of Confucianism in Edo Print Culture}, year = {2015}, school = {Wisconsin}, abstract = {The Utagawa school of printmakers was the dominant creative force in ukiyo-e woodblock prints in the nineteenth century. Founded by Utagawa Toyoharu (1735-1814) during the second half of the eighteenth century, the school flourished and its members came to define every sub-genre of woodblock prints. This dissertation goes beyond standardized approaches to the study of individual artists of the Utagawa school, or focused study of their thematic output, to instead investigate how the school and its individual members employed specific strategies involving artistic lineage, Utagawa "brand" recognition, and creative specializations that allowed the school and its members to find unparalleled success and fame within the highly competitive publishing industry of Edo Japan. This dissertation begins by investigating how the school and its members worked together to establish a continual artistic lineage based not only in the previous ukiyo-e schools of the Torii and Katsukawa lineages, but also mimicking strategies employed by the official Kan? school. The strategy where this is most evident is in the unique appearance of shini-e, or memorial prints, produced at the death of the school{\textquoteright}s most prominent members. The production of memorial prints of the artists of the school helped to establish and disseminate a lineage and history of the Utagawa name that elevated its artists from simple craftsmen. To help achieve this elevated status and build market success, the school{\textquoteright}s members-starting with its founder Toyoharu- utilized the poetic connotations of their artistic name and employed visual and textual strategies that identified them as Utagawa, creating a distinct "brand." The brand was further solidified by the establishment and codification of a recognizable Utagawa-style of kabuki actor prints by Utagawa Toyokuni (1769-1825). Through these strategies, the Utagawa name constantly and positively reinforced a dynamic artistic legacy and is inextricably linked to the entertainments of Edo. Like Toyokuni, other individual artists working under the Utagawa name established creative specialties, which were reinforced in their own work as well as that of their fellow members. Success in individual specialties gave rise to collaborative designs. Utagawa-school artists and related publishers were able to capitalize on the wide recognition its artists had previously gained for certain artistic specialties, demonstrating how these collaborations constituted a distinct, but flexible genre of ukiyo-e prints with fresh variations produced for customers ever eager to be on trend.}, keywords = {Japanese/Korean Art}, author = {Mueller, Laura Jean} } @mastersthesis {12126, title = {Envisioning Egypt: American Orientalism in Turn-of-the-Century New York, 1880-1920}, year = {2015}, school = {Rutgers}, abstract = {Dominated by studies of French painting, considerations of Orientalism in the arts have largely overlooked American visual culture. This dissertation argues that the United States produced a distinct strain of Orientalist art between 1880 and 1920 that reflected the country{\textquoteright}s implicit imperialist desires. This dissertation thus explores the singular role of Egypt within the developing cultural capital of New York City. In four chapters that explore case studies across varied artistic media, I argue that images of both ancient and modern Egypt were collected, crafted and performed in spectacular ways to enact a unique type of cultural colonialism that helped both the metropolis of New York and the nation fashion itself in the image of its greatest European counterparts. Chapter One explores the acquisition and installation of the ancient Egyptian obelisk Cleopatra{\textquoteright}s Needle in New York City. Exploring the elaborate removal, transport and installation process, as well as the fanatical journalistic coverage, this chapter argues that the monolith served as an American form of the imperial Roman practice of spolia, or the removal and appropriation of art from its original context and into another work of art for political or ideological purposes. Chapter Two explores the collecting practices of three of New York City{\textquoteright}s cultural institutions: Barnum{\textquoteright}s American Museum, The Abbot Collection of Egyptian Antiquities and The Metropolitan Museum of Art. Examining their three distinct approaches to collecting and display, this chapter argues for an implicit imperialist reading of the Metropolitan Museum{\textquoteright}s archeological excavations as part of the success of their Egyptian collection. Chapter Three shifts from authentic Egyptian objects to representations of Egypt in paintings and illustrations by American artists Frederick Arthur Bridgman and Maxfield Parish. Despite their disparate styles, both artists negotiate an image of Egypt that operates between reality and fantasy for middle class audiences. Finally, Chapter Four explores a series of spectacular performances of Egyptian subjects that includes Giuseppe Verdi{\textquoteright}s Aida, the Barnum and Bailey Circus{\textquoteright}s Cleopatra Spectacle and two silent filmic representations of Cleopatra, arguing that these spectacles produced an image of Egypt divorced from its authentic past to symbolize America{\textquoteright}s imperialist ambitions.}, keywords = {North America}, author = {Delossantos, Jenevieve} } @mastersthesis {12082, title = {Etude critique des mises en exposition et du discours museal quebecois depuis le milieu du XXe siecle sur le patrimoine du Moyen Age}, year = {2015}, note = {Also listed is Paul Valery University}, school = {Montreal}, abstract = {This thesis aims to study the various representations of the Middle Ages in Quebec through a corpus of temporary exhibitions held during the twentieth century and the early 2000s. We question the role played by the Quebec museums in the diffusion of discourses about this European period. In order to highlight the religious, cultural, political or linguistic reasons for museums to focus on a specific representation of the Middle Ages, each exhibition is replaced within its original context of creation.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Guyot, Elsa} } @mastersthesis {12171, title = {An Exhibit/An Aesthetic: The Independent Group and Postwar Exhibition Design}, year = {2015}, school = {Harvard}, abstract = {This dissertation tracks the exhibition design practices developed in and around the Independent Group (IG) from the late 1940s through the 1950s. A loose affiliation of artists, architects, and critics, the IG gathered at London{\textquoteright}s Institute of Contemporary Arts in the early to mid-1950s to debate the aesthetic, socio-political, and techno-scientific forces of their present (key figures included Lawrence Alloway, Reyner Banham, Richard Hamilton, Nigel Henderson, Eduardo Paolozzi, Alison and Peter Smithson). Synthesizing science-fiction, Dada, theoretical biology, and cybernetics (among many other topics) within a single mode of research, IG members formulated a non-hierarchical model of the cultural "continuum" in discussions, presentations, and most importantly, collaborative exhibition designs. The dissertation contends that exhibition design provided the IG with a timely strategy for navigating the contradictory traditions of aesthetic and technical production that came together in Britain during postwar reconstruction, from interwar avant-gardes to emergent American technocracy. IG members realized that exhibition design was the one technique that could move fluidly between the phenomenological conditions of architecture and display and the technological networks of communication, image distribution, and scientific production structuring the "continuum." The goal was to bring these circuits and spaces-gallery, factory, laboratory, office, home, cinema, television, street-to bear on bodily experience so they might first be lived, then studied and redesigned. Chapter 1 examines Hamilton{\textquoteright}s Growth and Form (1951), arguing that the exhibition{\textquoteright}s apparatuses for displaying images and models of organic processes materialized a looming shift in global power structures. Chapter 2 unpacks a "Brutalist" empiricism from Parallel of Life and Art (1953), a web of photographs of cultural and technical materials. Chapter 3 investigates Hamilton{\textquoteright}s Man, Machine and Motion (1955), which was less exhibition armature than metallic machine of production. Chapter 4 considers IG participation in This is Tomorrow (1956), a collection of propositions for artistic integration. Here, the IG met spectators, not in the realm of bodily experience, but on the plane of fantasy. Chapter 5 examines Hamilton{\textquoteright}s an Exhibit and Exhibit 2 (1957/59), proto-Conceptual projects testing whether forms of affect, play, and chance might be fabricated within production systems no longer requiring human operators.}, keywords = {Twentieth-Century Art}, author = {Lotery, Kevin} } @mastersthesis {11976, title = {Experiencing the Hittite Empire in Its Borderlands}, year = {2015}, school = {Brown}, abstract = {My dissertation is a study of imperial dynamics and borderlands of the Hittite Empire. The Hittite Empire dominated parts of what is now modern Turkey{\textellipsis}}, keywords = {Ancient Egyptian/Near Eastern Art}, author = {Durusu Tanriover, Muge} } @mastersthesis {11992, title = {Faces in the Frame: From Masks to Heads in the Borders of Roman Art}, year = {2015}, school = {Rutgers}, abstract = {Satyric and comedic masks, in addition to lively-seeming heads that could almost be masks, appear with pattern-like regularity wherever the Romans had a foothold; however, the near instinctive impulse to assign a straightforward, Hellenistically-derived Dionysiac message to the borders where these faces reside has rendered both masks and heads almost invisible to further iconographic study. The masks are more thoroughly examined as remnants of Classical theatre than in studies of antique mosaics, while the heads that supplant them are treated neither in theatrical studies nor, aside from stylistic analyses, in art historical scholarship. The assumption that satyrs (and their depictions) in the Roman world retained the same meanings and functions that had been given to them by their Greek originators ignores fundamental distinctions between the two cultures. This study follows in the tradition of scholars who have jettisoned the belief that iconological interpretation inevitably accompanies iconographic appropriation. This study uses the distinctly Roman cultural background that led to the use of masks as border motifs in early imperial Roman mosaics, and the ways in which that cultural heritage may have influenced the a preference for more lifelike and idealized heads instead of masks, to gain insight into the role and function of the supernatural wilderness in Roman life and iconography.}, keywords = {Ancient Greek/Roman Art}, author = {Paulsen, Mieke} } @mastersthesis {12091, title = {The Fear of Rape, the Threat of Looking: Art, Activism, and Spectatorship}, year = {2015}, school = {Binghamton}, abstract = {This dissertation will contribute to the study of the role images play in either challenging or reaffirming dominant narratives of sexual violence in the United States. Specifically, my research examines how and when rape is, or is not, represented, both in artistic production and scholarly writing within the disciplines of Art History and Visual Studies. A particularly violent form of domination, rape is arguably the most persistent means of maintaining gendered power dynamics within patriarchal culture. Yet there remains scant scholarly material and artworks that deal with its subject. One of the aims of my aims is to understand why. I approach this query with acute attention to how rape has been historically understood within the social sphere since it first came into public consciousness in the U.S. beginning with the Women{\textquoteright}s Movement and the rise of feminist art practices in the early 1970s, a moment when feminist art and activism were intimately connected. Through a rigorous study of the work of Suzanne Lacy, Leslie Labowitz-Starus, and Ana Mendieta, artists who are central and exceptional in their address of the relationship between feminist art, activism, and rape, I attend to historical oversights in the treatment of rape while generating a series of theoretical propositions about what it means to both create and look at violent imagery. Art addressing rape, I argue, provides a space for contemplating the precarious conditions of visibility for rape, conditions that have allowed rape to become a common trope in popular visual culture while it is continually suppressed elsewhere.}, keywords = {Genders/Sexualities/Feminisms, Performance Art/Performance Studies/Public Practice}, author = {Szymanek, Angelique} } @mastersthesis {12186, title = {Festivals of Art, Carnivals of Images: On Contemporary Art and the Neoliberal Globalization}, year = {2015}, school = {New Mexico}, abstract = {In this dissertation, I look at the changing praxes of contemporary art and culture vis-a-vis neoliberalism. With examples from the Americas, the Middle East, and Eastern Europe, I acknowledge, but trespass the visible effects and outcomes of globalization with regard to art and culture. In current literature they often are interpreted as straightforward and homogeneous developments, but in this dissertation, I show the complexity, heterogeneity and inequality of new social, political, and cultural relationships wrought by and against the neoliberal ideology and processes that affect all corners of the world. My main focus is on the dialectics of contemporary art and neoliberalism: Are pluralization and dissemination of contemporary art an indication of a new democratic consciousness or the outcome of a rapidly expanding neoliberal market? In postmodernist theory, the political dimension of the aesthetic experience has been the key to understanding contemporary forms of art. I argue that, at present, in this era of global revolt, the aesthetic dimension of the political experience is the key to understanding contemporary society, as well as radical politics. I offer a novel approach to understanding the relationship between aesthetics and politics that challenges greatly what is accepted as political in society and what is accepted as aesthetics in art. My aim is to bring the art history discipline closer to radical politics by showing how contemporary cultural, artistic, and activist activities are entangled in forming a new politics of resistance that envisions renewed forms of democratic life.}, keywords = {Twenty-First-Century Art}, author = {Tunali, Tijen} } @mastersthesis {12122, title = {Figuring a World: William Bartram{\textquoteright}s Natural History}, year = {2015}, school = {Yale}, abstract = {This dissertation examines how the act of drawing provided a model for William Bartram{\textquoteright}s natural history. Bartram (1739-1823) approached drawing as a means of discovery, a form of cognition, and an act of imaginative collaboration and memory. Influenced by John Locke, Joseph Addison, and William Hogarth, he understood "figuring" as a series of reciprocal interactions among natural world, artist-naturalist, and observer, an understanding that coincided with his view of a dynamic, perpetually shifting cosmos. Key eighteenth-century epistemological theories, aesthetic treatises, and natural histories provide the context for this study, with particular attention paid to the emergent theory of vitalism. Vitalism, which held that all matter was infused with an animating force, recast nature as animate and mutable and laid the groundwork for nascent ecological thought. Though the term "ecology" is of nineteenth-century origin, the study of the natural world{\textquoteright}s relationships-rather than the categorization of purportedly isolatable "essences"-emerges in the eighteenth. Bartram{\textquoteright}s graphic work acknowledges this affinity between drawing and an interconnected natural world. In short, Bartram presented a new mode of natural history representation, one intended to accommodate nature{\textquoteright}s flux. His drawings call attention to their construction through visual quotations, jostling perspectives, and unusual flourishes, and demand the viewer{\textquoteright}s active engagement. Rather than serve as transparent windows onto the natural world, Bartram{\textquoteright}s drawings function as extensions of its organic processes and patterns.}, keywords = {North America}, author = {Athens, Elizabeth} } @mastersthesis {12092, title = {Fire on the Mountain: A Comprehensive Study of Greek Mountaintop Sanctuaries}, year = {2015}, school = {Princeton}, abstract = {Mountains dominate the Greek landscape, recognized as sacred places from the Bronze Age on, inspiring the dedication of sanctuaries on their summits. Both the archaeological and literary records preserve evidence of cult activity on mountaintops, offering insight into the religious practices that took place in these sanctuaries. Even so, with the exception of the Minoan peak sanctuaries on Crete, little attention has been devoted to the study of mountaintop sites elsewhere in Greece, and to their specific role in Greek religion and society. Using the archaeological and literary evidence, this dissertation explores the topographic and religious significance of mountaintop sanctuaries in ancient Greece, and the consequent patterns of ritual activity. This study is organized into five chapters and a site catalog. A summary of the Minoan peak sanctuaries on Crete is presented first, followed by an examination of the perception of mountains and mountaintop sanctuaries in Greek religion and society. Turning to the individual sanctuaries, an outline of the sites included in the catalog precedes a more detailed examination of mountaintop sanctuary features and the ritual and social activities with which they were associated, including altars and sacrifices, votive offerings, drinking and dining, festivals and athletic competitions, and temple building. The final chapter focuses on the relationship between topography and sacrificial practices. The archaeological evidence for the existence of cult activity on mountaintops is often limited to the remains of burnt sacrifice, represented by a deposit, sometimes extensive, of ash and burned animal bone fragments mixed with pottery and votive objects. Although many Greek sanctuaries eventually marked places of sacrifice with a stone-built altar, in the case of mountaintop sanctuaries, the accumulated remains of repeated animal sacrifice alone frequently formed a permanent feature in the sanctuary. Literary sources support a conclusion that such "ash altars", while not a feature of all Greek mountaintop sanctuaries, were associated predominantly with ritual activity on mountaintops. Overall, this dissertation is intended to serve a broad purpose, as a comprehensive compilation of the available archaeological and literary material related to these sites, and as a resource for the future study of mountaintop sanctuaries}, keywords = {Greek/Roman Art}, author = {Belis, Alexis} } @mastersthesis {12040, title = {Folk Couture: A Fashion Exhibition at the American Folk Art Museum}, year = {2015}, school = {Stony Brook}, abstract = {This dissertation describes the conceptual framework and the materialization of the exhibition I guest-curated at the American Folk Art Museum, Folk Couture: Fashion and Folk Art. Based on the tradition of artists using fashion to produce artworks, (for instance, Sylvie Fleury{\textquoteright}s installation Poison, which commented upon issues of consumerism); couturiers appropriating images from art to create garments (such as Yves Saint Laurent{\textquoteright}s Mondrian Dress, in which the designer replicated a painting made by the Russian constructivist artist), and collaborations between fashion designers and artists (for example, designer Marc Jacobs{\textquoteright}s and artist Yayoi Kusama{\textquoteright}s collaboration for Louis Vuitton), thirteen New York fashion makers were invited to create ensembles inspired by the American Folk Art Museum{\textquoteright}s collection. Both fashion-associated with the feminine and corporality in Western Culture-and folk art-made by the self-trained and not preoccupied with conceptual discourses-have been peripheral to mainstream narratives of art. In the last decades, however, scholars and curators have begun to rethink the artistic "status" of both fashion and folk art. The blockbuster exhibition Alexander McQueen: Savage Beauty held at the Metropolitan Museum of Art, which is considered crucial in the current phenomena of showcasing fashions in art museums, demonstrated the relevance of fashion in contemporary culture. Likewise, folk art has recently become more accepted in the contemporary art sphere. In 2013, curator Massimiliano Gionni included a work called the Palazzo Enciclopledico, (The Encyclopedic Palace) by the self-taught artist Marino Auriti as the centerpiece of the 55th Venice Biennale. It is in the spirit of such developments that the exhibition Folk Couture operated. This dissertation postulates that by echoing the move of fashion and folk art from "periphery to center" in contemporary cultural practices, and exploring the boundaries between artistic disciplines, the major contribution of the exhibition Folk Couture was to exhibit together two {\textquoteright}outsiders{\textquoteright} of mainstream art-namely fashion and folk art.}, keywords = {Decorative Arts/Textiles/Design History/Interior Design, Visual Studies/Visual Culture Studies}, author = {Carreno, Alexis} } @mastersthesis {12023, title = {Framing Latin American Art: Artists, Critics, Institutions, and the Configuration of a Regional Identity}, year = {2015}, note = {fourth subject: Twenty-First-Century Art}, school = {Duke}, abstract = {This dissertation investigates how non-academic agents (i.e. artists, curators, and institutions) helped construct the current canon of Latin American art. It takes as case studies key exhibitions held in Brazil in order to examine how the central concepts of anthropophagy, geometric abstraction, and the political came to characterize the art of the region. Drawing on extensive archival research and interviews, this work traces a local genealogy, thus offering a different starting point for understanding the Latin American art canon that has been recently institutionalized in such places as the Museum of Modern Art (MoMA) in New York as part of the global turn in art history. Citing their different language and colonial history, Brazilian artists and critics have tended to view their art production as distinct from that of the rest of the continent. This dissertation, by contrast, recognizes Brazil as a fundamental player in the shaping of both a Latin American cultural identity and an expanded notion of the Americas. This expansion of Latin American art influences how artists represent themselves and how such production is actively being inserted into collections around the world.}, keywords = {Central America and Caribbean, North America, South America}, author = {Maroja, Camila} } @mastersthesis {12015, title = {Francesco di Giorgio and the Formation of the Renaissance Architect}, year = {2015}, school = {Virginia}, abstract = {This dissertation examines the prodigious career of the Sienese architect Francesco di Giorgio Martini (1439 {\quotesinglbase}{\"A}{\`\i} 1501), and considers the modes of his practice within the broader framework of the emerging early-modern architectural profession. The role of the early-modern architect is a subject of longstanding historical interest, as during this period the character of the building designer remained substantially undefined. Yet, whereas scholars customarily highlight the heterogeneity displayed by Renaissance architects {\quotesinglbase}{\"A}{\`\i} who followed diverse courses of training and executed a wide range of building commissions {\quotesinglbase}{\"A}{\`\i} my study draws attention to the skills, design procedures and social networks these practitioners shared in common. Francesco di Giorgio, I argue, is exemplary of the early-modern architect due not only to the breadth of his practice {\quotesinglbase}{\"A}{\`\i} which extends beyond the modern definition of architecture and challenges our historical understanding of this polysemic concept {\quotesinglbase}{\"A}{\`\i} but also the degree to which his activities may be examined through primary source documentation. Perhaps even more importantly, Francesco di Giorgio is a model of the early-modern architect due to his well-documented desire to delineate the nascent profession, an ambition which found a receptive audience in his popular Trattato di Architettura. Previous scholarship on Francesco di Giorgio has tended to atomize his career {\quotesinglbase}{\"A}{\`\i} focusing on either his Trattato di Architettura, his work as fortification designer, or his tenure at the court of Urbino. These highly focused studies have created a fragmented vision of the important architect, glossing over crucial aspects of his life because they exhibit no immediate link to his cardinal architectural achievements. This thesis, by contrast, examines Francesco{\textquoteright}s career in its entirety, drawing attention to the underlying conditions which structured his practice, and which in turn linked the many, seemingly disparate components of his professional life. Three conditions which structured Francesco di Giorgio{\textquoteright}s career, and which I argue came to epitomize the profession more broadly, are technical training, travel, and social-political engagement. These three lenses provide not only an objective framework for understanding the complex architect, but also allow us more easily to draw comparisons between his work and that of his contemporaries. Beyond Francesco di Giorgio, this is a study of Renaissance building and design practices, and the development of artistic professionalism. The attention given to the technical nature of early-modern architecture {\quotesinglbase}{\"A}{\`\i} which often required knowledge of hydraulic engineering, machine design, and defense construction {\quotesinglbase}{\"A}{\`\i} is particularly noteworthy, as these themes have been substantially neglected in art historical scholarship, despite their central role in early modern practice.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Merrill, Elizabeth} } @mastersthesis {12090, title = {Frederic Bazille and Masculinity between Paris and Montpellier, 1841-1870}, year = {2015}, school = {Rutgers}, abstract = {The Early Impressionist painter Frederic Bazille, who moved frequently between Paris and his hometown of Montpellier, attended medical school for four years before deciding to paint full-time. Yet scholarship on Impressionism neglects these facts, thereby resisting the relevance of his medical training or provincial upbringing to his paintings. My dissertation instead embraces Bazille{\textquoteright}s dual training and double geographies to illuminate the contradictions that riddled notions of masculinity during the French Second Empire. I contend that Bazille{\textquoteright}s awkwardly posed and ambiguously structured bodies do not simply represent an immature phase of Impressionism that ended with his premature death in the Franco-Prussian War in 1870, but that they instead thematize contemporary anxieties about intimacy and vulnerability in social conduct. Bazille{\textquoteright}s attempts to order his knowledge of corporeal structures and processes essentially required him to grapple with the problem of knowing too much. Chapter One argues that Bazille{\textquoteright}s medical training shaped his paintings of male nudes in natural settings, as the Montpellier school{\textquoteright}s Vitalist doctrine theorized the body as a holistic system that demanded both internal and external harmony. Chapter Two posits that Bazille{\textquoteright}s struggles to merge medicine and art into holistic painted bodies backfired, leading him to fixate in his portraits on clothing details that emphasized the separation between the structures of bodies and the clothes that overlay them. Chapter Three examines how Bazille{\textquoteright}s portraits of his Impressionist friends and their portraits of him present intimate homosocial dynamics that compel a reconsideration of Impressionism{\textquoteright}s origin story. Finally, Chapter Four actively redresses Impressionist scholarship{\textquoteright}s geographical bias by situating Bazille{\textquoteright}s vision of his Southern home, articulated through his images of soldiering and laboring bodies, against the increasingly vulnerable Second Empire.}, keywords = {Genders/Sexualities/Feminisms, Nineteenth-Century Art, Visual Studies/Visual Culture Studies}, author = {Manning, Mary} } @mastersthesis {12192, title = {On the Fringe of Fascism: An Examination of the Relationship between Leftish Italian Futurists and the Russian Avant-Garde}, year = {2015}, school = {CUNY}, abstract = {Vinicio Paladini{\textquoteright}s career as an artist, architect, and cultural critic illuminates the paradoxes of the Italian avant-garde between the World Wars. He emerged as an early proponent of communist-Futurism in 1922 and attempted to integrate futurist techniques with the Marxist theories of Antonio Gramsci. In addition, Paladini provided a direct point of contact between the Russian and Italian avant-garde, traveling to Moscow and reporting to the Italian public on Soviet artists{\textquoteright} developments in film, photomontage, and architecture. Yet he struggled to merge his leftist ideology with his artistic practice as Fascism spread throughout Italy. Although he has been largely neglected in studies of Italian modernism, Paladini was well known to fellow artists and architects in the 1920s and 1930s, but he quickly became a pariah due to his unwillingness to compromise his ideals for regime recognition. Mussolini{\textquoteright}s pluralistic patronage, however, provided Paladini and leftist intellectuals with opportunities to continue contributing to the state-sponsored artistic milieu. A study of Paladini{\textquoteright}s career imparts valuable insights into why and how leftist intellectuals worked under the auspices of the fascist government. His participation in fascist-affiliated groups, such as Futurism and Rationalism, and contributions to government approved journals implicated his work in regime propaganda, yet also allowed him a public platform for the expression of his revolutionary ideas. Despite the origins of his art in Soviet Constructivism and communist agit-prop, he influenced the style, iconography, and propaganda efficacy of the futurist machine aesthetic, the state-sponsored film industry, and regime exhibition design in Italy. Clear divisions between left and right-wing factions within post-war art movements, such as Italian Futurism and Rationalism, are difficult to draw. Rather, it is vital to consider how Paladini consciously blurred the lines between the two in the wake of World War I and in response to Fascism. By examining the shifts within his leftist agenda and how it became commandeered by fascist propaganda, or unwittingly served it, my research documents commonalities in the politicized aesthetics by both left and right.}, keywords = {Twentieth-Century Art, World Art}, author = {Brungardt, Christina} } @mastersthesis {12170, title = {From Michelangelo to Mussolini: Devotion, Attribution, and Appropriation in the Cultural Biography of the Pieta di Palestrina}, year = {2015}, school = {Penn State}, abstract = {Near the end of January 1657, the Barberini governors of Palestrina, Prince Maffeo Barberini (1631-1685) and Anna Colonna-Barberini (1601-1658), began the construction of a new church dedicated to the plague saint Santa Rosalia of Palermo in response to the lifting of the plague that had recently devastated their princely fief. About a decade later, Maffeo{\textquoteright}s uncle, Cardinal Francesco Barberini I (seniore, 1597-1679), installed the unfinished marble sculpture group known today as the Pieta di Palestrina on the altar of the family{\textquoteright}s new burial chapel. With this act, the Pieta first enters the known historical record. Over the intervening three centuries (and more), this enigmatic group was destined to be repeatedly attributed, and then de-attributed, to the hand of Michelangelo Buonarroti (1475-1564). Michelangelo{\textquoteright}s well-known mastery of this subject in great pieces of marble sculpture - some of them famously unfinished, like the Palestrina group itself - prompted the desire to see it as yet another specimen of his work in this mode. As a result of this continuous (and to some extent, still continuing) attributional back-and-forth, it comes as no surprise that almost all of the extant scholarship has been devoted to its supposed relationship to the Florentine master and his oeuvre. But, as this dissertation endeavors to show, there is much more to learn from the intriguing "life story" of this group than its apparently dubious relationship to Buonarroti. Indeed, a fresh look at the records of its long and often contested history shows that this object has lived not one, but several, distinct cultural "lives." In the course of these lives the Pieta has been subject to a variety of conflicting and even paradoxical meanings. This dissertation provides a critical and contextual account of the changing fortunes of the Palestrina Pieta through new archival documentation. I trace the piece from its shadowy origins to its installation in the Barberini chapel at Santa Rosalia and its ultimate rise-and-fall during the twentieth century. My research chronicles the events from the Pieta{\textquoteright}s "rediscovery" by culturally minded travellers to Palestrina at the beginning of the century, to its sudden removal from its provincial home to public display in Rome and Florence. In the process, I reveal the behind the scenes maneuvers that lead to the "restoration" of the piece and its appropriation to serve the agendas of Liberal and later, Fascist, authorities.}, keywords = {Twentieth-Century Art}, author = {Kulpa, Pierette} } @mastersthesis {12107, title = {From Page to Stage: Isabella Stewart Gardner{\textquoteright}s Photograph Albums and the Development of Her Museum, 1850-1920}, year = {2015}, school = {Boston}, abstract = {This dissertation traces the arc of Isabella Stewart Gardner{\textquoteright}s professional development through her photographic and archival practices in the late nineteenth and early twentieth centuries. While Gardner{\textquoteright}s museum in Boston is well known, she destroyed evidence pertinent to her curatorial agenda. To recover these methods, this project surveys Gardner{\textquoteright}s involvement with photography through two of her earliest travel albums, all fifteen of her illustrated guest books, and five albums of the evolving galleries in the Isabella Stewart Gardner Museum. The process of photographic album making supported strategies of research, collection, installation, and preservation that Gardner would use as a patron and institutional leader. Gardner{\textquoteright}s albums illuminate her actions not only as a collector of travel photography by Antonio Beato, Francis Frith, Pascal Sebah, and others, but also as a snapshot photographer and a commissioner of professional architectural photography in Boston. Her multivalent photographic practices reveal the ways in which she used albums and photography to realize her professional ambitions. Collecting, creating, arranging, and displaying photographs were not sentimental pastimes for Gardner, but processes intrinsic to the formation of her identity as a cosmopolitan innovator and civic leader. The first chapter analyzes the handwritten narrative, watercolor paintings, and commercial photography of Egyptian antiquities in Gardner{\textquoteright}s 1874-1875 "Egypt Diary" to discover the earliest origins for her actions as a collector. The second chapter analyzes the photographic assemblages of Gothic architecture in Gardner{\textquoteright}s 1879 travel albums of England to show how that journey influenced her design of the galleries and garden at Fenway Court. The third chapter reads Gardner{\textquoteright}s guest books as socially networked photographic objects to demonstrate their role in cultivating institutional supporters and shaping the cultural mission of her museum. The fourth chapter establishes the importance of reproductive technologies in the assembling of Gardner{\textquoteright}s collection of art and the pivotal role of architectural photography in the preservation of her civic bequest. The case studies within this dissertation form a comprehensive examination of Gardner{\textquoteright}s photographic engagements and the importance of photography in the formation and preservation of her institutional legacy.}, keywords = {North America, Photography}, author = {Riley, Casey} } @mastersthesis {12120, title = {The Fruits of Empire: Contextualizing Food in American Art, 1865-1900}, year = {2015}, school = {New Mexico}, abstract = {The Fruits of Empire is a social and visual history of food in American art and culture. With four fruit case-studies on representations of grapes, oranges, watermelons, and bananas, this project demonstrates how the visual culture of food provides a platform for examining the expansion and reconstruction of the United States in the decades following the Civil War. While chapters on grape and orange representations from California and Florida reveal the ways in which fruit serviced national expansion and the colonization of America{\textquoteright}s fruit-lands, a chapter on watermelon imagery illustrates the racial stereotypes assigned to food that reinforced social divisions between white from "colored" eaters. A final chapter on depictions of bananas investigates the exploitation of land and labor underwriting American fruit corporations in Central America. By directing attention to representations of fruit in the Sunbelt and broader Americas, this dissertation reorients the American Art History canon centered in the Northeast to art and artists in the country{\textquoteright}s borders. This project also widens the scope of American Art History by looking beyond the fine arts to the visual culture of cookbooks, crate labels, and silverware. Examining those who labored the fruits visible in artistic depictions sheds light on another overlooked topic within the field of American art. In the end, readers discover that representations of food in American art and culture are neither innocent nor straight forward, but politically-charged pictures driven by ideologies that support or challenge an imperial agenda in North America. By excavating the cultural histories of food in American art, The Fruits of Empire reveals how the cultivation of fruit in soil and on canvas participated in the cultivation of American empire.}, keywords = {North America, Visual Studies/Visual Culture Studies}, author = {Klein, Shana} } @mastersthesis {12127, title = {Gamblers and Grifters: Morality, Economy, and Identity in Nineteenth-Century American Art}, year = {2015}, school = {Indiana}, abstract = {Perhaps no other nineteenth-century pastime elicited reactions as strong as those generated by gambling. Americans were deeply ambivalent about gaming: while the dominant culture was trying to establish a narrative of personal success through hard work and moral rectitude, it was undeniable that chance and "the breaks" increasingly played a major role in the making of fortunes. The subject of gaming was a persistent and culturally significant topic of discourse throughout the nineteenth century. Not surprisingly, it was addressed often by writers, moralists, fabulists, and artists, each of whom had his or her own approach to the issue. What is surprising is that such a hotly disputed cultural undercurrent has received little, if any, attention from modern art historians. This dissertation will examine gambling in American art as a site of cultural contention, in which there was a confluence of contemporary discourses about morality, economics, and national identity. As a contested phenomenon, gambling intersected predictably with certain contemporary discussions-about the value of hard work and skill in a meritocracy, for example-but also with some less obviously related issues, such as ethnicity and economic uncertainty. My project will be organized at those areas of intersection, where artists used gambling as a trope to intervene in or moralize about some aspect of identity or contemporary culture. The dissertation is organized into four chapters. The first places gambling in a larger context of American reform and moralizing movements. The second chapter centers on William Sidney Mount and his works that reference gambling in opposition to a proper work ethic. Chapter three deals with a variety of works produced at mid-century, and examines the ways in which gamblers were depicted as inveterate cheats; it also examines how images of that cheating did cultural work in a growing, but increasingly unstable, national economy. The last chapter describes gambling at the turn of the century, focusing on how the activity-considered socially inappropriate for a variety of reasons-was associated with various ethnic or religious groups to insinuate that they were similarly unwelcome in American society.}, keywords = {North America}, author = {Haslit, Andrew} } @mastersthesis {12111, title = {Gatecrashers: The First Generation of Outsider Artists in America}, year = {2015}, school = {Duke}, abstract = {Although interest in the work of untrained artists has surged recently, appearing everywhere from the Venice Biennale to The New Yorker, the art world{\textquoteright}s fascination with American autodidacts began nearly a century ago. My dissertation examines how and why American artists without formal training first crashed the gates of major museums and galleries between 1927 and 1940 through case studies on the most celebrated figures of the period: John Kane (1860-1934), Horace Pippin (1888-1946), and Anna Mary Robertson "Grandma" Moses (1860-1961). All three painters were exhibited as "modern primitives", a category that emerged in the wake of the French naive Henri Rousseau (1844-1910) but which took on a distinct character in the United States where it became a space for negotiating renewed debates about authenticity in American art as well as pervasive social anxieties over how immigration, race, and industrialization were changing the country. In addition to establishing how the "modern primitive" fit into the pluralistic landscape of American modernism, my dissertation reaches into the present, exploring how the interwar breakthroughs of Kane, Pippin, and Moses prefigured the ubiquity of self-taught artists-often referred to as "outsider" artists-in American museums today.}, keywords = {North America, Twentieth-Century Art}, author = {Jentleson, Katherine} } @mastersthesis {12012, title = {Gifts and Giving in Architectural Sculpture of the Holy Roman Empire, ca. 1150- 1235}, year = {2015}, school = {Yale}, abstract = {As architectural sculpture began to develop in the Holy Roman Empire in the mid-twelfth century, gift giving emerged as one of its principal themes. At issue are sculptures of donors, the Sacrifice of Cain and Abel, and the Adoration of the Magi, which adorned not only the great portal entrances of cathedrals and abbeys but also the doors of small village churches. These representations visualized the act of giving at a time when generosity was a noble virtue and gifts could forge or destroy social relationships, and their placement as the sole image on a church exterior or the focus of a visual program underscores their importance to their communities. Through analyses of iconographic trends, donation records and customs, law codes, and the social norms that attended gift giving, this dissertation reanimates the social role and function of these sculptures. In so doing, it shows that the early architectural sculptures of the Holy Roman Empire, although often simple in form, were composed with careful regard for the communities who beheld them. I begin by laying out the basic principles and inherent tensions of medieval gift culture. Under discussion here are norms of obligation, reciprocity, and social prestige, and these concepts are illustrated by sculptures drawn from across the Empire. Subsequent chapters organize individual monuments according to specific iconographic themes or motifs, drawing together related sculptures but situating each in its local gift culture. I turn first to the image of Biblical gift giving and the ways that these forebears of medieval donors served as proto- and antitypes for proper giving. Tympana of the Sacrifice of Cain and Abel in central Germany prove to engage with the flourishing tithe trade in and around the bishopric of Minden, while two tympana of the Adoration of the Magi are shown to have deviated from iconographic precedent in order to emphasize gift giving and remind viewers of the rewards of pious generosity. The following chapter explores an outgrowth of donor image iconography informed by local legal traditions, which appeared in the region of the Upper Rhine. The extent to which gift culture reached all levels of society is the subject of the final chapter, which demonstrates how members of lower social classes were worked into images of donation on churches of the Upper Rhine and East Frisia. Over the course of the dissertation, I demonstrate that the representation of gift giving in architectural sculpture not only reflected gift culture but was a means for an institution to participate in that culture, engage the viewer, and address the needs of its community.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Luther, Stephanie} } @mastersthesis {12053, title = {Global Designs: Art and Empire in the Maritime Republics of Trecento Italy}, year = {2015}, school = {Rutgers}, abstract = {My dissertation examines how in the fourteenth century, the rival republics of Pisa, Venice, and Genoa each commissioned major civic monuments that featured Old Testament and cartographic references as well as local saints, traditions, and themes. I argue that their complex programs were intended to assert their respective republics{\textquoteright} supremacy in the Mediterranean world and to legitimize their claims to global empire by establishing unsurpassable pedigrees. Chapter one and two examine the extensive fresco cycles adorning the Pisan Camposanto, the miraculous cemetery composed of soil stolen from Jerusalem. As the frescoes charted two thousand years of Pisan impact on Asia, Africa, and Europe, they testified that, in fact, Pisa was the center of the world. Chapter three analyzes the grand epigraph encircling the nave of San Lorenzo Cathedral in Genoa with an encomium to the republic{\textquoteright}s prestigious descent from Abraham, Noah, and Janus. Working in conjunction with the other Old Testament references and the very material of the church, the inscription touted the cathedral{\textquoteright}s position as the heart of Genoa{\textquoteright}s empire through which its international resources were funneled. Chapter four explores how the Trecento facade of the Venetian Palazzo Ducale combined Old Testament imagery, cartography, an international style, and allusions to diplomatic exchanges with the peoples of the world-including the Mongols and the Turks-to visualize the vast pursuits and ancient heritage of the Venetian empire. My analyses crystalize how, as their mariners navigated the Mediterranean Sea, these three ports became filters that synthesized and reconciled pagan and Judeo-Christian knowledge. The monuments facilitated this syncretic process using the Old Testament-with its unparalleled early history, its cross-cultural relevance, its rare topographic descriptions of the East, and its connection to medieval cartography-as a familiar framework upon which to graft changing notions of space and time. Like contemporary texts, the artistic programs of each monument employed the Old Testament to compose more nuanced and cross-cultural (though still hierarchical) geographical world histories that supported their global designs. The monuments thereby fostered a new model of geographically and historically conscious communal identity that transformed how Europeans saw the world and ushered in the Renaissance.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Haakenson, Hilary} } @mastersthesis {11979, title = {God of Confusion?: An Examination of the Egyptian God Seth in New Kingdom Expressions of Royal Ideology}, year = {2015}, school = {Emory}, abstract = {There exists a tendency in Egyptology to focus on three specific aspects of Seth{\textquoteright}s character: murderer, homosexual, and lord of foreign lands. This approach separates Seth out as an abnormality within the Egyptian pantheon, framing him as an irregular deity whom the ancients had to deal with the best they could. Advances in the perception of Egyptian myth and religion allow for a fresh re-examination of the god Seth and confirm that he, like all members of the Egyptian pantheon, possessed a fluid and flexible character that changed in relation to the context in which he was found. After studying Seth{\textquoteright}s role in one specific context, that of New Kingdom expressions of royal ideology, Seth is proven to be a part of divine ordered creation who is a supporter and representative of legitimate Egyptian Kingship.}, keywords = {Ancient Egyptian/Near Eastern Art}, author = {Shanley, Andrea} } @mastersthesis {12086, title = {Gothic on the Edge: Light, Levitation, and Seismic Culture in the Medieval Religious Architecture of the Eastern Mediterranean}, year = {2015}, school = {Columbia}, abstract = {The works of Latin ecclesiastical architecture of the 13th and 14th centuries at the periphery of Gothic geography in the eastern Mediterranean have been thought to be provincial. The party line is that the Gothic system developed in France, and shortly thereafter appeared in England, Germany and Spain with relatively good fidelity; however, the elegance of this system of attenuated vertical structure got lost in translation when exported to Mediterranean regions such as Italy and the Latin states in the mainland Levant, Greece, Rhodes and Cyprus. We question this center-and-periphery conceptualization of Gothic by focusing on the works at the most distant of the Gothic horizon, the mainland Levant and Cyprus, to find that the desires of the patrons and builders were similar to those in France, but constrained more by seismic geography than remoteness from the center of production in the Paris basin. These Levantine and Cypriot buildings on the so-called periphery have much to teach us of the precarious nature of Gothic architecture and why such an art of levitation and light cast in heavy stone vaults was able to flourish in Ile-de-France, among other places.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {O{\textquoteright}Neill, Rory} } @mastersthesis {12175, title = {Grace McCann Morley and the Dialectical Exchange of Modern Art in the Americas, 1935-1958}, year = {2015}, school = {IFA/NYU}, abstract = {In 1935 the San Francisco Museum of Art, now known as the San Francisco Museum of Modern Art, opened its first permanent residence and became the United States{\textquoteright} second museum dedicated to the collection and exhibition of modern American and European art. While the scholarship on museum and exhibition history addresses the achievements of the Museum of Modern Art in New York, the San Francisco Museum{\textquoteright}s development has been given little attention. Moreover, the contributions of Grace McCann Morley, the San Francisco Museum{\textquoteright}s first director, have been overlooked in most scholarly literature. Morley, a monumental yet unrecognized figure in the history of modern art from the Americas, dedicated her career to promoting marginalized artists, especially those working in Latin American countries and on the West Coast of the United States. This dissertation examines Morley{\textquoteright}s pioneering involvement in the establishment of the San Francisco Museum, advancement of modern art in California, and promotion of collections and exhibitions dedicated to modern Latin American art in the United States. The introduction outlines Morley{\textquoteright}s educational and professional background as a student at the University of California and University of Paris, and position as the first general curator at the Cincinnati Art Museum. Chapter one explores early exhibitions dedicated to Latin American art-involving primarily Bolivia, Colombia, Mexico, and Peru-which Morley organized for the San Francisco Museum and Golden Gate International Exposition. Chapter two addresses Morley{\textquoteright}s involvement with the Office of the Coordinator of Inter-American Affairs, chiefly the organization of La Pintura Contemporanea Norteamericana, an exhibition of modern art from the United States, which traveled to Mexico, South America, and the Caribbean in 1941 as a means to establish good-neighbor relations during the Second World War. Chapter three considers Morley{\textquoteright}s scholarship on Latin American art-lectures, publications, and unpublished reports-as well as her professional relationship with Argentine artist and museum director, Emilio Pettoruti, and key figures who developed collections and exhibitions of Latin American art in the United States including Alfred Barr, Stanton Catlin, and Lincoln Kirstein. Chapter four explores Contemporary Latin American Art, a traveling exhibition which Morley organized in 1941, as well as the development of the San Francisco Museum{\textquoteright}s collection of Latin American art. Chapter five investigates Morley{\textquoteright}s evolving contributions to international activities including her involvement with UNESCO and organization of the exhibition Pacific Coast Art, which served as the United States{\textquoteright} representation at the third Bienal de Sao Paulo in 1955.}, keywords = {Twentieth-Century Art}, author = {Potter, Berit} } @mastersthesis {12128, title = {The Great American System: The Cosmic Aesthetic in the Revolution and Early Republic}, year = {2015}, school = {Yale}, abstract = {Historical studies of early national America routinely construe its visual culture as stunted and uninspired, as exhibiting, as the historians Stanley Elkins and Eric McKitrick have contended, a certain "wasteland quality." This dissertation by contrast finds a thriving, complex program of art at play in the late eighteenth-century United States, one by turns systematic and quixotic. I argue that a single aesthetic modeled after the heliocentric solar system dominated the visual and material culture of the American Revolution and the early Republic. Invoked often by political theorists during the era as a model for federal government, the solar system supplied a template for the American state, whose new central government structurally paralleled the cosmos{\textquoteright}s central sun. Practitioners of the visual arts translated this commonplace verbal conceit into visual form, flooding the early Republic with concentric and radial imagery symbolizing the new nationalist order. Center-periphery designs surfaced in early national emblems and currency, in battle maps and flags, in paintings, architecture, and urban plans. I argue that this heliocentric aesthetic configured a symbolic form for American federalist political theory, merging the Enlightenment{\textquoteright}s deist understanding of the natural world as a rationally designed construct with the centralized mechanics of the state. I moreover contend that this center-periphery format self-referentially mapped the era{\textquoteright}s model of art and the envisioned disseminative network of empiricism, where visual objects were accorded the sensual power to outwardly shape their environs. In chapters analyzing the manifestation of the cosmic aesthetic in late eighteenth-century American astronomy, military experience, architecture and urban design, economic practice, and temporal philosophy, I posit the founding generation{\textquoteright}s sweeping ideal national paradigm as a great American system with its parts interdependent and orderly outspread. But despite the imagined clean and tidy array of the Federalists{\textquoteright} experiential order, my analysis unsparingly takes their cosmic conceit to its logical conclusion. The solar system, they would find, involves cycle as much as system, rendering darkness and seasonal shift an ineludible part of their cultural model{\textquoteright}s workings. I condude the dissertation by probing the fall of the Federalists and their heliocentric aesthetic, interpreting the ascendancy of Jeffersonian Republicanism at the turn of the century as engendering a new prevailing national model of decentralized space and linear time. Nineteenth-century artists, I argue in my final chapter, further drained the founding form of its rhetorical power, subversively employing the prior era{\textquoteright}s aesthetic only to indict and nullify it, supplanting Enlightenment rational system with a new Romantic visual ethos. In the epilogue, I suggest what endures from the fall of the Federalists and their aesthetic through a case study of the northwestern frontier town of Marietta, Ohio, settled in 1788 by a band of New England nationalists In 1801, the settlers converted an ancient concentric Indian mound extant at the site into the city{\textquoteright}s cemetery, as if to entomb the Federalists{\textquoteright} founding form synchronously with their party{\textquoteright}s broader downfall. I conclude the manuscript by interpreting this aesthetic gesture as an articulation of both the limits of rational system and the deliverance that surfaced out of the Federalists{\textquoteright} demise. By unearthing the theoretical and nationalistic heft of the era{\textquoteright}s visual production, this study thus overturns the predominant understanding of the unoriginality and conceptual deficiency of late eighteenth-century American visual practice. Directly challenging the idea of a long nineteenth century, a construct often invoked by art historians as an interpretational framework for early American visual culture, I instead posit the American Enlightenment{\textquoteright}s artistic output as a distinct and profound movement in its own right.}, keywords = {North America}, author = {Jacks Gamble, Lauren} } @mastersthesis {12145, title = {The Hadrianic Baths of Aphrodisias: A Study of Monumentality and Transformation in Late Antiquity}, year = {2015}, school = {IFA/NYU}, abstract = {The Hadrianic Baths of Aphrodisias are an extraordinary survival of thermal architecture of the High Imperial period. Commissioned by the provincial city{\textquoteright}s elite, they were vital to the ambitious program of urban monumentalization of the Roman East. The complex is remarkable for the preservation of post-Hadrianic renovations that ensured its longevity through half a millennium of use. This dissertation investigates the architectural and archaeological evidence for modification of these baths, in a broader study of the adaptation of bathing culture through Late Antiquity. The sustainability of baths - a phenomenon confirmed by these cycles of repair - is a compelling narrative of continuity and change for these monuments, and the civic institution they represented. While most High Imperial public balneae underwent severe contraction or were abandoned in the wake of social and economic upheaval in the 3rd century, those still standing by the 4th were largely converted to alternative, typically industrial use. By comparison, these Hadrianic Baths at Aphrodisias are uncommon for having continuously provided bathing facilities to the public through vicissitudes of fortune, and until the urban center{\textquoteright}s abandonment in the 7th. Changing social and economic imperatives drove the sustained patronage and architectural renovation of the Baths. Archaeological support for these modifications reveals its transformation into a "summer bath" - a development exclusive to public bathing during the 4th to 6th centuries, and of which few surviving examples are known. To date, as one of only five such balneae across the empire for which remains exist, the reinvented Summer Olympian Baths of Aphrodisias provide rare insight into the articulation of this Late Antique phenomenon. The evidence of sustainability, adaptation, and reinvention define both the monument{\textquoteright}s long-term cultural viability at Aphrodisias and its resilience as a Roman civic institution.}, keywords = {Sixth Century CE to Eleventh Century CE Art}, author = {Mcdavid, Allyson} } @mastersthesis {12109, title = {The Hall of Fame for Great Americans: The Evolution of a Forgotten Memorial}, year = {2015}, school = {CUNY}, abstract = {The period between the Civil War and World War I was the first great age of public art in the United States. Outdoor sculptures were a part of a larger attempt to construct a didactic environment where shared American ideals could inspire and uplift citizens. It was within this climate that Dr. Henry MacCracken (1840-1918), Chancellor of New York University from 1891-1910, conceived the Hall of Fame for Great Americans (HOF) as part of a City Beautiful campus designed by Stanford White (1853-1906) in the Bronx. This dissertation is the only comprehensive examination of the HOF, beginning with its conception and ending with its decline. The memorial officially opened in 1901 and belongs to a public art tradition defined by nineteenth-century values that emerged after the Civil War. This tradition emphasized patriotism and good citizenship, coupled with a veneration of heroes prompted by the sacrifices of the war. The HOF was realized over the course of the twentieth century; it was the country{\textquoteright}s first hall of fame and a unique institution on a college campus. The HOF (now part of Bronx Community College) houses ninety-eight bronze portrait busts representing differing categories of honorees such as statesmen, lawyers and judges, military, scientists, educators, and authors. Although no longer in the limelight, the HOF remains an exceptional collection of Beaux-Arts portrait busts that reflects the values of the Gilded Age, when the nation was taking its place as a world leader. Many factors contributed to the waning of interest in this monument including changing concepts of heroes and heroism, the rise of modernism, and the decline of the Bronx location of the memorial. The HOF reveals the values of those who conceived of it, funded it, participated in its elections, and celebrated its honorees. This research furthers understanding of the elaborate matrix involving the conception, patronage, creation, and reception of what was once a major American monument.}, keywords = {North America, Twentieth-Century Art}, author = {Gerami, Sheila} } @mastersthesis {12158, title = {Hans Haacke: Beyond {\textquoteright}Systems Esthetics{\textquoteright}}, year = {2015}, school = {Emory}, abstract = {This dissertation expands the purview of scholarship on the work of the conceptual artist Hans Haacke. Well known for his commitment to politics and social justice, Haacke is one of the pioneers of institutional critique (a subcategory of conceptualism that attempts to illuminate the ways that art institutions affect the value and meanings of the objects they contain). Haacke{\textquoteright}s long artistic trajectory is typically viewed through a narrow scope. Artworks created before 1969 and after c.1975 generally receive limited attention. Rejecting previous narratives of a complete break in Haacke{\textquoteright}s oeuvre in 1969 with his initial pieces incorporating text, I explore continuities between the artist{\textquoteright}s earlier and later works. I argue that much of Haacke{\textquoteright}s art reflects a "systems esthetic," a concept developed by the critic Jack Burnham. In systemic works, the artist locates objects, spectators and institutions within interconnected circuits. Moreover, I develop new interpretative approaches uniting Haacke{\textquoteright}s oeuvre in other ways. Drawing upon the ideas of J. Hillis Miller, I describe his work as both pedagogic and "parasitic" (antagonistic and nourished by host institutions). Furthermore, I examine how the artist{\textquoteright}s projects activate audiences, often provoking them to become performers. Haacke{\textquoteright}s projects typically reprogram art institutions. By transmitting more information about their workings, prompting a shift in modes access, and enabling more active visitor participation, his artworks make art galleries and museums more democratic. The first chapter considers Haacke{\textquoteright}s early participatory works. I focus on the radical potential of adult play in the sixties and seventies, historically contextualizing his ludic artworks. The second chapter is dedicated to the analysis of the kinetic-light installation Photoelectric Viewer-Programmed Coordinate System (1966-68). I consider the work{\textquoteright}s relationship to a wide range of inter-media practices and developing notions of "theater." Showing Haacke{\textquoteright}s oeuvre in a new light, the third chapter, "Performing Conceptual Art," explores the way that apparently strictly conceptual art projects can possess bodily materiality and relate to developments in performance. In the final chapter, I analyze the effects of censorship and role of mechanical reproduction and writing in Haacke{\textquoteright}s oeuvre.}, keywords = {Twentieth-Century Art, Twenty-First-Century Art}, author = {Tyson, John} } @mastersthesis {12168, title = {Helhesten and the Danish Avant-Garde, 1934-1946}, year = {2015}, school = {CUNY}, abstract = {This dissertation examines the avant-garde Danish artists{\textquoteright} collective Helhesten (The Hell-Horse), which was active from 1941 to 1944 in Nazi-occupied Copenhagen and undertook cultural resistance during the war. The main claim of this study is that Helhesten was an original and fully established avant-garde before the artists formed the more internationally focused Cobra group, and that the collective{\textquoteright}s development of sophisticated socio-political engagement and new kinds of countercultural strategies prefigured those of postwar art groups such as Fluxus and the Situationist International. The group and its eponymous journal involved the Danish modernists Asger Jorn, Ejler Bille, Henry Heerup, Egill Jacobsen, and Carl-Henning Pedersen, as well as anthropologists, archeologists, psychologists, and scientists. Helhesten{\textquoteright}s twelve issues from April 1941 to November 1944 featured essays on art theory, non-Western artifacts, literature, poetry, film, architecture, and photography, together with exhibition reviews and profiles of contemporary Danish artists. The group appropriated certain stylistic traits from German Expressionism, Dada, and Surrealism. Yet rather than partaking in a retrograde modernist nostalgia, the Helhesten artists radically reformulated the tactics of these movements into what they called a "living art," or "new realism," which emphasized subjectivity, indeterminacy, and a fundamental anti-essentialism that rejected the Nazi obsession with purity as much as it did the prescriptive manifestos of the historical avant-gardes. What emerged was purposefully unskilled, brightly colored painterly abstraction and naive styles that were humorous and disarmingly child-like on the surface but trenchant and sophisticated underneath. Helhesten consciously challenged Nazi racist propaganda and its conception of Volk, caricatured the idealized Aryan body, defied Hitler{\textquoteright}s attempts to assert a common Nordic heritage, and critiqued the National Socialist obsession with historical continuity and order. Moreover, as a fundamental link between pre- and postwar vanguard art movements, Helhesten{\textquoteright}s living aesthetic celebrated quotidian existence through play, disruption, and heightened awareness in a manner that presaged the postwar avant-garde{\textquoteright}s engagement with everyday life.}, keywords = {Twentieth-Century Art}, author = {Greaves, Kerry} } @mastersthesis {11996, title = {Heritage of the Red Orient: Theories and Practices of Architectural Restoration in Soviet Central Asia (1920-1991)}, year = {2015}, school = {MIT}, abstract = {By critically reviewing theoretical, methodological and practical approaches to the restoration of Islamic architecture in Soviet Central Asia, this dissertation reveals the mechanisms of transmitting ideologically predicated vision of the past into the physical fabric of historic monuments. It proceeds from unpacking the Marxist-Leninist concept of "progressive" heritage formulated within the discipline of historical materialism; in Soviet historiography of Central Asian architecture the category of progressive heritage was linked to the mathematics of proportioning and harmonization derived from Neoclassical architectural theory. Thus the progressiveness of architectural monuments was measured against the rises and falls of scientific rationalism in the history of the region while the Soviet stage of historic development was postulated as its ultimate triumph. The dissertation locates the "proportionalist" school of architectural historiography in Soviet Central Asia led by Mitkhat Bulatov, which united most of the practicing restorers in the region. It traces the history of proportionalist discourse from purely speculative schemes to efforts in grounding the mathematical relationships extracted from schematized measured drawing of architectural monuments in mediaeval geometric treatises. The careful textual analysis of Soviet scholarship (its key texts are translated and included in the appendix to the dissertation) testifies to the apparent anachronism of the proportinalist speculations, which in the Soviet Union were accepted as the successful reconstruction of medieval Islamic architectural theory and highly praised a triumph of Communist science by cultural authorities. Using Central Asian archives and published records of major restoration projects the dissertation documents the functioning of a mechanism that generated lost or never built parts of architectural monuments by treating them as mathematical equations of complex proportioning and harmonization. The scientific certainty achieved by Soviet restorers is reviewed in the context of international historic preservation standards to which they consciously resisted. Finally the materialization of Marxist-Leninist ideology in the medieval Islamic heritage of Central Asia is interpreted as an instance of de-conceptualization, which made ideology immediately accessible to the masses through non-reflective visual and corporal experience.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, Middle Eastern/Western Asia}, author = {Demchenko, Igor} } @mastersthesis {13138, title = {Home Wars: Resistance, Trauma, and Memory in Domestic Arts of the Civil War Era}, year = {2015}, school = {Yale}, abstract = {This dissertation offers a critical study of domestic arts of the Civil War era. In the midst of social, political, and emotional upheavals that transformed the United States between 1861 and 1877, women and men in the North and South used crafts rooted in the daily rhythms of domestic life to participate in the war and articulate its stakes. Antebellum discourses that privileged the home, the household, and domestic life as the prime unit of American society imbued homefront material cultures with the potential to be both piercingly intimate and politically impactful. Women and freedpeople, emergent political constituencies that had been relegated to the domestic sphere in the antebellum decades, used political gifts of Tiffany Co. silver to place pressure on the Union government officials. Union prisoners-of-war suffering inhumane conditions in Confederate prisons articulated their trauma through the boyhood pastime of whittling. Confederate women and the enslaved households they enforced struggled to achieving their opposing aims of racial oppression and freedom through the work of making cloth. Families of dead soldiers explored private experiences of grief and remembering through associative "fancywork" memorials. I argue that these creative practices forged new material and visual languages for the articulation of resistance, trauma, and memory while also engendering heretofore unrecognized forms of participation in the production of Civil War memory and history. By re-centering domestic life as a generative space of art and politics in the mid-nineteenth century, this project questions historiographic traditions that simply align domestic arts with refinement and propriety. The arts that arose from and populated domestic interiors of the Civil War era are essential to understanding relationships between art and violence in American culture.}, keywords = {Decorative Arts}, author = {Dibble, Rebecca} } @mastersthesis {12146, title = {Horacio Coppola and Grete Stern: Defining the Modern in Argentine Photography, 1930-1956}, year = {2015}, school = {IFA/NYU}, abstract = {Consistently labeled harbingers of "modern" photography in Argentina, Horacio Coppola and Grete Stern are routinely associated with a crucial shift in artistic practice there. As artists who worked in both the South American country and various European cultural capitals, Coppola{\textquoteright}s and Stern{\textquoteright}s respective biographies paint the picture of two photographers deeply imbedded in a heady, international world of twentieth-century vanguard arts and letters. This dissertation aims to push beyond biographical narrative to examine the particular propositions about modern photography{\textquoteright}s aesthetic features and potential social uses ventured by these artists. In an era when photography{\textquoteright}s artistic value was still debated among Argentine photographers, Coppola and Stern were confident in the medium{\textquoteright}s legitimacy as an independent art form. They each embraced and promoted photography (if in differing ways) as ideally suited to the material, cultural, and social realities of the modern world. Focused on case studies that elaborate key moments in the development of these artists{\textquoteright} respective views on modern photography{\textquoteright}s aesthetic properties and social functions, this dissertation takes a close look at the ways in which Coppola{\textquoteright}s and Stern{\textquoteright}s ideas sat in dialogue with those of other artists and thinkers, both inside and outside of Argentina. The first chapter analyzes three formative experiences in Coppola{\textquoteright}s early career: his work as a founding member of the Cine Club de Buenos Aires (Buenos Aires Film Club), his contributions as a critic to the cultural review Clave de Sol, and his work with the renowned literary journal Sur in 1931 and 1932. Chapter two concentrates on the time Coppola and Stern spent together in Europe between 1932 and 1935, a period that included studies at the famous German art school, the Bauhaus. It also looks at the role these years played in shaping the pair{\textquoteright}s landmark exhibition at Sur{\textquoteright}s headquarters in Buenos Aires in 1935. The second half of this dissertation focuses on Coppola{\textquoteright}s and Stern{\textquoteright}s images of the city of Buenos Aires, a site that served as a crucial testing ground for their theses on modern photography{\textquoteright}s varied looks and uses. Chapter three examines the production of Coppola{\textquoteright}s best-known publication, the photobook Buenos Aires: vision fotografica (1936), and chapter four delves into Stern{\textquoteright}s multiple, nuanced approaches to capturing the city for various personal projects and publishing endeavors. In digging into the circumstances that surrounded the creation of key bodies of work within these photographers{\textquoteright} oeuvres, as well as the historical, geographic, and cultural circumstances that conditioned the reception and interpretation of their photographs, this study sheds new light on the aims of Coppola, Stern, and their many collaborators.}, keywords = {South America, Twentieth-Century Art}, author = {Roberts, Jodi} } @mastersthesis {12072, title = {Horrid Beauty: Rococo Ornament and Contemporary Visual Culture}, year = {2015}, school = {Toronto}, abstract = {This dissertation analyzes a type of ornamentation I describe as radical through an examination of its effects and affects, which are observed in the common formal and functional aspects of French rocaille ornaments and in the material details of contemporary body-horror films. Although these areas of study have obvious differences, by demonstrating what their materiality has in common I make innovative claims about the potential agential power of ornament. In Chapter One, the lack of analysis of rocaille forms is examined in the work of little-discussed rocaille artists. I explain that the framing systems formed by rocaille ornaments are open and that their effects are like Derrida{\textquoteright}s parergonality. I also equate the actions of rocaille ornaments with the work of the informe. Chapter Two examines how the contemporary materiality, which I term heterogeneous organic detail (HOD), is physically comparable to that of rocaille ornaments, while its actions are explained as viral and prosthesis-like. Viral actions are described as those of breaking boundaries, communicating infection, and transforming infected subjects into symptomatic ones. Chapter Three demonstrates that rocaille ornaments and HODs have such powerful affect that they allow their viewing subjects to connect to imaginary space and become other via what is explained as prosthetic imaginary experiences. Due to this affective process, rocaille space is argued to be subjective because it is resolved in the viewer{\textquoteright}s imagination. Another implication of radical ornament{\textquoteright}s induced prosthetic experiences is that the infected subject{\textquoteright}s personal identity may be transformed. Thus, the areas most affected by the work of radical ornament are the subject{\textquoteright}s perception of space and the subject{\textquoteright}s personal identity. The dissertation concludes that unlike other forms of ornamentation, radical ornaments destroy order and the centrality of subject matter by creating associations and connections between segregated sectors that allow for intersubjectivity. This disruption causes radical ornament{\textquoteright}s subject to be re-embodied and the split between subject-object and mind-body to be effaced. By addressing the lack of material and theoretical examination of these two types of materiality, this dissertation contributes to a rethinking of the nature and agency of ornament.}, keywords = {Eighteenth-Century Art, Twenty-First-Century Art}, author = {Boivin, Julie} } @mastersthesis {12096, title = {The Illustrated Manuscript Tradition in Iran, 1040s/1630s-1070s/1660s: Patronage, Production, and Poetics in the Age of the {\textquoteright}Fresh Style{\textquoteright}}, year = {2015}, school = {IFA/NYU}, abstract = {This dissertation examines the historical and cultural significance of group of sixteen illustrated manuscripts produced during the second century of Safavid dynastic rule in Iran. Dated between the 1040s/1630s and 1060s/1650s, and including multiple copies each of the Shahnamah of Firdawsi, the Divan of Hafiz, and Suz u Gudaz of Naw{\textquoteright}i, the manuscripts are illustrated in interrelated styles associated with several practitioners whose names are known from contemporary signed pictures, including Muhammad {\textquoteright}Ali, Muhammad Yusuf, and Muhammad {\textquoteright}Ali. Four of the manuscripts internally record their patrons as governors of the provincial city of Mashhad, a major Shi{\textquoteright}ite pilgrimage destination and an economically and militarily strategic center. Recent studies have therefore posited the existence of a previously unrecognized Mashhad-based school of painting, characterized by a unique style distinct from the visual modes practiced contemporaneously in the royal capital, Isfahan. Many of the remaining twelve manuscripts, which lack a record of their sites of production, have been ascribed to Mashhad based on illustrative style. Less attention has been devoted to the evidence that the group provides more broadly for the patronage, production, use, and appreciation of illustrated books in later Safavid Iran, an area of limited scholarly focus. This dissertation begins by establishing historical and epistemological frames for investigation. Chapter One presents a brief overview of the Safavid period. Chapter Two delineates boundaries in modern knowledge with respect to manuscript construction, sites of production (including elite patrons{\textquoteright} kitabkhanahs), and patron-artist relationships in Safavid Iran. The role of "the painter" in later Safavid culture is also addressed in this chapter: it is argued that past scholarly emphasis upon individual painters{\textquoteright} identities is undermined by a scanty textual record and ambiguities in painters{\textquoteright} signatures (which become increasingly prevalent during this period). Moreover, stylistic individuality, often considered to be a hallmark of later Safavid painting, may have been a less important factor in visual creativity than previously believed. Instead, Chapter Two emphasizes the prominence imitation of and response to past masters{\textquoteright} work in painting of this era, drawing parallels to principles of creativity in the newly emergent "fresh style" of poetry, whose practitioners aimed to disrupt classical conventions and revitalize the poetic canon. Relying on the framework of the preceding chapters, Chapter Three re-examines the codicological, documentary, and stylistic evidence for the "Mashhad school" hypothesis; it is argued that sustained production in that center during the mid-eleventh/seventeenth century remains open to question. This dissertation then turns to manuscripts that have been ascribed to Mashhad but are insufficiently studied. Chapter Four investigates a deluxe Shahnamah (National Library of Russia, Dorn 333), focusing on its construction, its internal documentation, and the career of its patron, Murtaza Quli Khan Qajar, as recorded in period sources, to suggest that the manuscript was executed according to a piecemeal process that challenges an ascription to any single center. Dorn 333{\textquoteright}s unique textual and pictorial contents are then examined as evidence for the reception of the Shahnamah among later Safavid military and courtly elites, as inflected through the lens of "fresh-style" poetics. The last two chapters compare multiple copies of the Divan of Hafiz (Chapter Five) and Suz u Gudaz of Naw{\textquoteright}i (Chapter Six). The physical features of these manuscripts indicate patronage across the socio-economic spectrum, while text-image analysis suggests that their poems were broadly interpreted and appreciated through the lens of "fresh styles" poetics.}, keywords = {Middle Eastern/Western Asia}, author = {Chagnon, Michael} } @mastersthesis {12085, title = {Image and Inscription in the Painterly Manuscripts from Ottonian Cologne}, year = {2015}, school = {Harvard}, abstract = {Focusing on a small number of richly illuminated manuscripts produced in Cologne around the year 1000-and known to scholars since the early twentieth century as the so-called "painterly" group of manuscripts-this dissertation takes the close study of a well-defined group of objects as the starting point for an examination of issues central to broader histories of medieval art. A diptych-like pairing of miniatures with inscriptions, each of which is given a full page, constitutes a characteristic feature of these manuscripts. Because these inscriptions were written specifically to accompany the facing images, the manuscripts from Cologne afford us a rare glimpse of a discourse on art and image making in the tenth and eleventh centuries, as well as providing insights into how such miniatures were meant to be viewed. The first chapter establishes a theoretical framework for the project, which examines both the historical and the scholarly origins of the Cologne School. Moreover, the concept of a "painterly" style is scrutinized and its use is traced back to significant developments in German art-historical writing of the late nineteenth century. The second chapter-devoted to a remarkable, yet relatively unknown tenth-century gospel book in Milan-demonstrates how the manuscript{\textquoteright}s carefully-crafted pictorial program draws upon an impressive tradition of Carolingian poetry and epigraphy in order to instill a pointed moralizing lesson on its recipient. A closely related sister-manuscript, preserved today in Paris, forms the subject of the third chapter, which demonstrates how the designer of its program employed philosophical and dialectical terms-taken from the school texts of the day-in order to devise an ambitiously complex set of miniatures and inscriptions, centered on a contemplative engagement with the paintings. The dissertation concludes with a chapter on the more famous Hitda Codex, illuminated at the behest of a powerful abbess in the early eleventh century. Through an analysis of the manuscript{\textquoteright}s narrative program, the chapter details how both image and inscription coordinate the active engagement of the viewer-prompting a consideration of the ways in which the pairings function as allegories of introspection. Throughout the dissertation I aim to reconcile the innovative formal qualities of the miniatures with the unusual complexity of their accompanying inscriptions. As a consequence of this study, it can be demonstrated that in the painterly manuscripts from Cologne, the close intertwining of image and inscription results in sophisticated programs of illumination, which elucidate an unprecedented contemporary reflection on the nature of painting in age otherwise known for its scarcity of written sources on art.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {O{\textquoteright}Driscoll, Joshua} } @mastersthesis {12114, title = {Imagining the Early Cold War: Photographs in Life Magazine, 1945-1954}, year = {2015}, school = {Virginia Commonwealth}, abstract = {This dissertation analyzes Life{\textquoteright}s early coverage of the Cold War (1945-1954) in order to explicate this publication{\textquoteright}s creation and reinforcement of prescriptive attitudes about this ideological engagement through photographically illustrated news. By uncovering Life{\textquoteright}s editorial approach this project proposes a new diagnostic for evaluating documentary images by re-configuring Hayden White{\textquoteright}s incisive theory of emplotment{\textemdash}the process of engendering historical narratives with meaning{\textemdash} through semiotic models proposed by Louis Hjelmslev and Roland Barthes, thereby offering a useful tool for future scholars to re-examine modern media{\textquoteright}s transition towards prizing visual immediacy over critical engagement. Life{\textquoteright}s editors{\textquoteright} link narrative devices and rhetoric with photographs to make these images appear as first-hand experience and function as objective conclusions. Life characterizes the Cold War as an epic moral struggle between the US and USSR, and its 1943 special issue on Russia acts as the comedic prologue to this narrative by distinguishing these ideologically disparate wartime allies. After post-war agreements fail, this congenial atmosphere swiftly transitions into another battle between democracy and tyranny, defined through literary conventions. Life employs synecdoche and allegory to encode photographs of individuals as icons of valorous populations (Americans and Eastern Europeans) and to symbolize concepts (democracy and charity). Metonymy and irony transform photographs into direct signs of Communism and visual evidence of its degeneracy. Life{\textquoteright}s comic presentation of Marshal Josip Tito contrasts with its satiric coverage of Senator Joseph McCarthy to direct readers{\textquoteright} attention towards the best and worst possible courses of action regarding the Communist menace, at home and abroad.}, keywords = {North America, Twentieth-Century Art}, author = {Lewis, Kathryn L.} } @mastersthesis {12068, title = {Imagining the Supernatural Grotesque: Paintings of Zhong Kui and Demons in the Late Southern Song (1127-1279) and Yuan (1271-1368) Dynasties}, year = {2015}, school = {Columbia}, abstract = {This dissertation is the first focused study of images of demons and how they were created and received at the turn of the Southern Song and Yuan periods of China. During these periods, China was in a state of dynastic crisis and transition, and the presence of foreign invaders, the rise of popular culture, the development of popular religion, as well as the advancement of commerce and transportation provided new materials and incentives for painting the supernatural grotesque. Given how widely represented they are in a variety of domains that include politics, literature, theater, and ritual, the Demon Queller Zhong Kui and his demons are good case studies for the effects of new social developments on representations of the supernatural grotesque. Through a careful iconological analysis of three of the earliest extant handscroll paintings that depict the mythical exorcist Zhong Kui travelling with his demonic entourage, this dissertation traces the iconographic sources and uncovers the multivalent cultural significances behind the way grotesque supernatural beings were imagined. Most studies of paintings depicting Zhong Kui focus narrowly on issues of connoisseurship, concentrate on the painter{\textquoteright}s intent, and prioritize political metaphors in the paintings. This study expands understanding of these images by contextualizing them within contemporary beliefs in the supernatural world, which are reconstructed through a heterodox array of thirteenth-century sources encompassing nuo exorcist rituals, physiognomy manuals, joke books, codes of law, and writings on weddings. This study also examines the psychological impact images of grotesque supernatural beings had on their pre-modern viewers by analyzing original translations of inscriptions written in response to these paintings. This study reveals that paintings depicting Zhong Kui are heavily influenced by religious, social, and cultural currents at the time, despite their better-known political readings; that images of demons share interesting iconographic traits with portrayals of humans of foreign origins and in abject conditions; that and that aside from provoking feelings of disgust and fear, demons served as comic relief and spectacles in paintings which had been largely interpreted as moralistic. This study fills a gap in Chinese demonology-which had focused largely on visual and textual sources before the Six Dynasties and after the Ming dynasty-by examining images of demonic creatures from the Song and Yuan periods. It enriches cross-cultural studies of monsters and the monstrous by offering an analysis of comparable Chinese examples. It contributes to studies of Song-Yuan painting by focusing on a category of images that have been understudied because they were at odds with literati taste. Finally, it adds to scholarship on Zhong Kui by offering new readings on three well-known paintings of the Demon Queller and synthesizing studies on him in literature, religion, and folklore.}, keywords = {East Asia}, author = {Tsai, Chun-Yi J.} } @mastersthesis {12074, title = {Imperial Balls: The Arts of Sex, War, and Dancing in India, England, and the Caribbean, 1780-1870}, year = {2015}, school = {Yale}, abstract = {This dissertation is a study of figures dancing or in attitudes of extraordinary physical metamorphosis who, by means of their translation into flat images, create a new typology in the history of art: the "dancing image." Characterized by highly decorative and expressive gestures, poses, and steps, the figures in these "dancing images" bear the hallmarks of many different choreographic traditions from across the globe. These expressive movements are then translated by the "dancing image" onto the flat surfaces of lithographs, mica paintings, tinsel prints, oil paintings, photographs, theatrical cut-outs, and other visual media of empire. Staged by the establishment of what historian C. A. Bayly calls the "nnperial meridian" of British commerce and colonization linking India, England, and the Caribbean, the "dancing image" emerged simultaneously across the oceanic spaces of empire as the dominant solution to the problem in art of how to represent the figure in motion in the 1770s. By the 1870s film had begun to take over from prints and paintings as the dominant means by which to produce "dancing images"; it also became the source of their most progressive ontology. The evolution of the idea of movement in the history of art is the theoretical background against which this dissertation is set. The "dancing image" rises out of the intellectual genealogy of Heinrich Wulfflin, Aby Warburg, Henri Focillon, Geoge Kubler, and Robert Farris Thompson as an extra-European phenomenon of art with roots in the early baroque-a period coincident with the global expansion of European colonial powers; it reaches forward also into the present era of international dance and performance art. This dissertation argues that, because they are sensitized to depict physical metamorphosis, in the overall history of art "dancing images" show with high synchronic explicitness the way things moved in specific places at specific times in the history of colonialism, and also, for the same reason, that they exhibit collectively the movements and changes of art and history diachronically across the imperial meridian of the eighteenth and nineteenth centuries. Furthermore this dissertation argues that the art histories of "dancing images" in India, England, and the Caribbean, can only be fully understood in light of one another. Thus the dissertation takes a double shape: India, England, the Caribbean; India, England, the Caribbean. Chapter 1 argues that the colonial phenomenon of "nautch" dancing in India created an entirely new strata of shared formal language in colonial visual culture which critiqued the destiny of empire through the art and movement of nautch girls and tawa{\textquoteright}ifs. Chapter 2 presents the new mediums of cut-outs and tinsel prints alongside lithography to argue that in England "dancing images" exhibited a stylized assembly and artificial disfiguration of the moving parts of the body which expressed the ideological tensions of empire. Chapter 3 proposes a new genre in the history of art and colonialism through an analysis of the dancing images of Agostino Brunias and the history of the Caribbean couple dance: the fete Caraibe; this genre, it is argued, signifies the development of a new creole culture-in-motion through "dancing images." Chapter 4 returns to India to argue that the creation of "dancing images" in the princely states of India during the period of the British Raj directly preceded and foretold the potential of the princely state to enact revolutionary violence. Chapter 5 argues that the "lightness," "ease," and "gracefulness" traditionally associated with the classic ballet are ultimately derived from the freedom to move implied by colonial paramountcy. Chapter 6 concludes the dissertation by pinpointing the ineradicable traceries inscribed by ephemeral gestures on the Caribbean landscape and the anti-colonial possibilities of choreographic Marronage.}, keywords = {Eighteenth-Century Art}, author = {Cooper, John} } @mastersthesis {12144, title = {Imperial Doors of Assyria: Monumentality, Spatiality, and Rituality of the Neo-Assyrian Architectural Doors from Balawat}, year = {2015}, school = {Harvard}, abstract = {The present dissertation, titled "Imperial Doors of Assyria," aims to examine the artistic form and cultural value of Neo-Assyrian architectural doors as highlighted by the three concepts of monumentality, spatiality, and rituality, using the three bronze-banded wooden doors from Balawat as a case study. Having introduced the materials and questions to be raised in this dissertation in the introductory Chapter I, Chapter II on the "monumentality" of the Balawat doors explores the commemorative value of the Balawat doors respectively through material, image and text. The scale and material was the "vehicle of conveyance" for monumentality. The commemorative value of the Balawat doors as Assyrian imperial monuments lies also in their ability to tell stories through historical narrative relief imagery on decorative bronze bands, and cuneiform texts accompanying the reliefs. Chapter III on "spatiality" engages with a spatial reading of the door-band programs, and argues for a "spatial schema" governing the historical narrative on both the closed and the open door. When closed, the program reflects a "center -- periphery" schema, implying a political order between the Assyrian king and his conquered lands; when open, it changes into an "inside -- outside" schema, indicating an ideological order between the god, the people, and the king in-between as an intermediary connecting the two. Either way, the "spatial schema" encapsulates the essence of a clearly Assyrian-oriented world order, with the king always at the center/inside as the maintainer of such order. Chapter IV on "rituality" examines how the monumental doors interacted with people, and how the monumental space was then transformed into a "ritual place." Owing to the architectural function and commemorative value of the Balawat doors, their "rituality" lies in both their constructive roles of ritual events enacted at the doors, and reflective roles of ritual activities depicted on the doors. These two aspects would have cooperated and interacted with each other, and constitute a self-referential system which then reinforces the effectiveness of the ritually-meaningful images on the door. The final Chapter V concludes by highlighting the case of the Balawat doors as an important disclosure of the rules that manifested the syntax of the artistic, architectural, and social expressions of imperial Assyria. As visual metaphors for the Assyrian proto-imperial system, the door-band decorative programs demonstrate the ambitious world view of an expanding territorial state, soon to become one of the strongest empires in the ancient world.}, keywords = {Sixth Century CE to Eleventh Century CE Art}, author = {Jia, Yan} } @mastersthesis {12027, title = {Import/Export: Raw Materials, Hemispheric Expertise, and the Making of Latin American Art, 1933-1945}, year = {2015}, school = {MIT}, abstract = {Historians have tended to characterize Latin American art either as a self-evident term or as a category designated by U.S. institutions. This dissertation argues instead that artists from the region were agents in shaping this emerging field through their selective cooperation with, and resistance to, the United States{\textquoteright} Good Neighbor Policy networks. Artists, haunted by criticisms that art in Latin America was a "cultural import" from Europe, engaged with a U.S. market that treated their art as a source of "exportable prestige." This dissertation analyzes the entanglement of this cultural discourse of import/export with the mechanisms of commerce as a new paradigm for thinking about Latin American art. The period that is the focus of this dissertation-1933 to 1945-represented a transitional era between Latin America{\textquoteright}s "export age" (1870-1930) and postwar modernization, import substitution industrialization, and the birth of what would come to be known as developmentalism (desarrollismo). Framed by the Great Depression and by World War II, this "long decade" was coeval with the Good Neighbor Policy, in which the nations of the Americas pledged non-intervention in the hemisphere and more intimate commercial and cultural ties. Through case-studies of Candido Portinari, David Alfaro Siqueiros, Joaquin Torres-Garcia, and Nelson Rockefeller, the dissertation places special emphasis upon the relationship between materiality, raw materials, and import substitution industrialization in analyzing works of art and the networks in which they were mobile.}, keywords = {Central America and Caribbean, South America, Twentieth-Century Art}, author = {Vicario, Niko} } @mastersthesis {12037, title = {In Pursuit of Art Manufacture: The Business and Design History of Gillow and Company, British Cabinet Maker and House Furnisher, 1862-1897}, year = {2015}, school = {Bard Graduate Center}, abstract = {No record in ProQuest, Bard does not include abstracts}, keywords = {Decorative Arts/Textiles/Design History/Interior Design, Nineteenth-Century Art}, author = {Microulis, Laura} } @mastersthesis {12161, title = {Inefficient Moves: Art, Dance, and Queer Bodies in the 1960s}, year = {2015}, school = {Harvard}, abstract = {This dissertation examines the intersection of art, dance, and queer sociality though Andy Warhol, Jack Smith, and their lesser-known contemporary, Fred Herko, a dancer and choreographer. Traversing art history, dance studies, and queer theory, this study uses analyses of movement, gestures, and embodiment as a bridge between the artistic and the social. In film, photography, and dance, these artists not only made art as queer artists, but their work stemmed from the form of sociality of their communities-the social and creative labor spent on seemingly unproductive ends, such as lounging together on a sofa, posing in performative-social studio sessions, or dancing in an improvised performance-party. Gestures and embodied experience became both the site of the art, and the site of the production of queer subjectivity in this watershed decade for art and queer histories. To unpack their cultural significance, I draw on the work of anthropologist Marcel Mauss on "techniques of the body," and recent scholarship on embodiment and subjectivity. I propose queer gestures as dances of "inefficiency" in the Maussian sense, that is, as techniques of the body that do not confirm or sustain the social scripts of somatic norms. Given the contemporaneous debates about work, leisure, and alienation in the 1960s, inefficient techniques-as represented in the recurrent motif of the recumbent, languorous male body, for example-can also be read as a critique of industrial efficiency and heteronormative definitions of (re)productivity. Through this focus on bodily techniques, I open up a dialogue between this "underground" body of work with contemporaneous artistic milieus in which the body played an important role, including in 1960s sculpture, proto-feminist practices, postmodern dance, photography, and experimental theater. Throughout I also foreground the intertwinement of dance culture and queer culture. Drawing on Eve Kosofsky Sedgwick{\textquoteright}s reading of the psychoanalyst Melanie Klein, this study interprets artistic practices through a reparative lens, drawing together a queer repertoire made up of inefficient moves-just as the artists{\textquoteright} engagements with, and making of, dance culture and queer culture were reparative: an accretive practice of assemblage for imaginative and embodied sustenance.}, keywords = {Twentieth-Century Art}, author = {Aramphongphan, Paisid} } @mastersthesis {12019, title = {Inhabiting the World: Architecture, Urbanism, and the Global Moral-Politics of Marion Mahony and Walter Burley Griffin}, year = {2015}, school = {MIT}, abstract = {This dissertation revises the history of internationalism through a study of the American architects Marion Mahony and Walter Burley Griffin, who practiced in the United States, Australia, and India between 1895 and 1949. Unlike previous studies of internationalism, which have focused exclusively on the transfer of architectural and planning knowledge from the putative {\textquoteright}West{\textquoteright} to the {\textquoteright}non-West{\textquoteright}, this dissertation uncovers a global formulation of community proposed within the colonial periphery. It does so through a sustained analysis of two objects by Mahony and Griffin: Magic of America, an unpublished memoir and political treatise consisting of correspondence and essays, which Mahony compiled and edited between 1938 and 1949, and Castlecrag, a residential suburb along Sydney{\textquoteright}s Middle Harbour, which Mahony and Griffin developed between 1920 and 1935. Delineating the scope and provenance of their theoretical writings on imperialism, democracy, international conflict, and trade, as well as their design of common property at Castlecrag, this study charts the emergence of a non-nationalist alternative to empire. Concomitantly, it argues that the conceptual sources and motivations for this alternative, global community were far removed from instrumental politics, and flowed instead from a moral-philosophical thesis that evaluative meaning existed in our relations with others. Finally, this dissertation examines how Mahony{\textquoteright}s and Griffin{\textquoteright}s written and built work was shaped by the dialectic of fin-de-siecle utopianism and International Socialism.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Banerji, Shiben} } @mastersthesis {12066, title = {Ink Painting in Medieval Kamakura}, year = {2015}, school = {Columbia}, abstract = {This dissertation reconsiders the early history of ink painting in Kamakura- (1185-1333) and Muromachi-period (1336-1573) Japan, focusing on art in the former administrative capital of Kamakura, the cradle of Chinese-style monastic Zen and the Sinocentric cultural apparatus that accompanied it. I examine the early reception of Chinese painting by the city{\textquoteright}s political and ecclesiastical elites and subsequent artistic production by priest-painters active at local Zen monasteries. My study reveals Kamakura as the nucleus of a heretofore disregarded cultural sphere in medieval eastern Japan, one in which Zen priest-painters engaged with nearby collections of Chinese painting to create a local pictorial tradition that would endure, seemingly immune to artistic trends in Kyoto, through the late fifteenth century. I examine the history of ink painting in Kamakura in an introduction, five chapters, a conclusion, and one appendix. Chapter 1 surveys the establishment in Kamakura of Japan{\textquoteright}s first two Rinzai Zen monasteries modeled exclusively on Chinese precedents, namely Kenchoji and Engakuji, cultural exchange between Kamakura and the Southern Song Chinese capital Hangzhou, and the early reception of Chinese painting. I use extant diaries and documents to partially reconstruct the vast collections of Chinese works of art held in thirteenth and early fourteenth-century Kamakura and investigate the large-scale deaccessioning of these same objects after the collapse of the Kamakura shogunate in 1333. A full English translation of the only extant inventory of one of these collections, that of the Engakuji subtemple Butsunichian, is included as an appendix. Chapter 2 focuses on the long-term development by local priest-painters of a unique ink painting style derived from works associated with the Chinese master Muqi Fachang (fl. 13th c.), affording the first sustained view of ink painting in Muromachi-period Kamakura. Chapters 3 through 5 focus in varying ways on Kamakura{\textquoteright}s enigmatic fifteenth century, characterized by relative isolation from artistic developments in Kyoto and a dearth of extant documentary materials. Chapters 3 and 4 investigate the obscure Kamakura priest-painter Chuan Kinko (fl. first half 15th c.), known and misconstrued since the Edo period (1603-1868) as "Chuan Shinko." Chapter 3 traces the fabrication of "Chuan Shinko" that occurred piecemeal from the mid-seventeenth century to the present day, while Chapter 4 reimagines the painter as "Chuan Kinko" through an examination of his relatively large, mostly unstudied corpus of ink paintings. In Chapter 5, I survey a large body of devotional paintings produced by a multi-generational circle of anonymous artists active at Kamakura{\textquoteright}s premier Zen monastery, Kenchoji, and posit the existence of a prolific painting studio that served as a primary source of models for painters active at other monasteries in Kamakura and throughout eastern Japan. In the conclusion, I begin to explore the continued impact of this local painting tradition on ink painters active in Kamakura and the surrounding region during and after the recommencement of artistic exchange with the capital in the late fifteenth century.}, keywords = {East Asia}, author = {Rio, Aaron M.} } @mastersthesis {12026, title = {Installing Latin American Art for Cold War Culture: US Exhibitions (1959-1967)}, year = {2015}, school = {IFA/NYU}, abstract = {In 1959, the very year the Cuban Revolution amplified Cold War tensions, museum-goers in the United States witnessed a sudden surge in exhibitions of Latin American art. These shows offered privileged spaces to newly codify this category in ways that supported rather than threatened U.S. interests. "Latin American Art" became an agent of cultural diplomacy, marshaled by curators and critics to propagandize hemispheric unity and perpetuate the belief that New York was the center of the art world. At the same time, these group exhibitions involved multiple conflicting voices, thereby complicating the broad geographic-aesthetic label and its political uses. Curators questioned the term{\textquoteright}s viability given the region{\textquoteright}s stylistic heterogeneity, and the artworks often operated as dissident inhabitants rebelling against the frames purporting to hold them. This dissertation documents a complex network of transcultural exchange in the early to mid-sixties as artists, curators, and critics debated how Latin American art could be visually staged and conceptually positioned. While many scholarly publications address the 1930s fascination with Mexican modernism, the subsequent "boom" has received little attention. My project fills this historical gap and reveals that many of the field{\textquoteright}s most persistent methodological problems emerged and became entrenched from 1959 to 1967. During this time, one finds prescient confrontations with international style, biennale syndrome, canonicity, institutional power, mainstreaming, category formation, processes of exclusion, and the very idea of "Latin American Art." By focusing on major museums like the Solomon R. Guggenheim Museum, Walker Art Center, and Art Institute of Chicago, I address how these discourses surrounding Latin American art unfolded before broad audiences in a powerful arena of the art world. The first three chapters each examine a geographic scope-Latin American, international, and national-used by curators to introduce this category and its art to U.S. viewers. The final chapter analyzes the Museum of Modern Art{\textquoteright}s entanglements with Latin American art in the sixties given its unique position in the field. My project also sheds new light on the early work and reception of now-canonical artists like Luis Camnitzer, Lygia Clark, Jorge de la Vega, Marisol, and Luis Felipe Noe and the critical perspectives of Lawrence Alloway, John Canaday, Thomas Messer, Mario Pedrosa, and Jorge Romero Brest. These exhibitions and the many artists, writers, and issues drawn into their orbit offer new vantage points that enrich our understanding of the "global sixties."}, keywords = {Central America and Caribbean, South America, Twentieth-Century Art}, author = {Solomons, Delia} } @mastersthesis {11994, title = {The Integrated Interior: Parish Church Architecture in Eastern England, ca.1330-ca.1550}, year = {2015}, school = {Columbia}, abstract = {The "hall churches" of East Anglia, which number fewer than two dozen, were among the most distinctive of the thousands of parish churches built or rebuilt in England during the Late Middle Ages. Indeed, at the time of their construction, these buildings were nothing short of revolutionary since their open configurations upended centuries-old conventions of church planning. All medieval parish churches, by virtue of their function as spiritual centers for the common faithful, possessed two important ritual zones: the nave (traditionally maintained by the laity) and the chancel (traditionally maintained by the clergy). The vast majority treated these zones as semi-autonomous spaces. But a tiny minority, namely "hall churches," treated them as a single fully integrated volume of continuous extent and congruent design. Historians of art and architecture, in evaluating these one-of-a-kind structures, have been quick to praise their phenomenological homogeneity as architectural ensembles but slow to parse their ontological heterogeneity as composite spatial enclosures and conglomerate social enterprises. This dissertation seeks, in contrast, to investigate the implications of this productive tension between affect and reality via object-oriented methods derived from the spatial turn in the humanities. It argues-with special reference to three case study buildings in the cathedral city of Norwich-that the provocative contradictions of late medieval parish "hall churches" enabled parishioners to problematize identity by exploiting the fundamentally pliable relationship between form and meaning in architectural production.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Stewart, Zachary} } @mastersthesis {12149, title = {Interaction and Imitation: Chimu Art after the Conquest by the Inka Empire, 1460-1534}, year = {2015}, school = {Emory}, abstract = {Between 1428 and 1534 CE the Inka conquered the world{\textquoteright}s largest territory controlled by a single state (5,500 km). The conquest of their main rivals, the Chimu, c. 1460 brought 1,300 km of coastline into the Inka empire. This dissertation provides the first in-depth analysis of Chimu-Inka ceramics. I frame Chimu-Inka ceramics in a comparative approach with Chimu and Inka precedents, tracking these changes in four specific forms: double-to-single spout vessels, urpus, urpu-like vessels, and coquero vessels. Through a comparative analysis of the technological, proportional, and iconographical elements of Chimu-Inka vessels, I argue that the unique blend that emerged from ceramic artists working creatively to balance their North Coast tradition with that of their highland conquerors during this tumultuous period. The distinguishing features of this period were created as a mutually beneficial compromise between the local lords of the North Coast and the Inka regime.}, keywords = {South America}, author = {Siegler, Jennifer} } @mastersthesis {11997, title = {Kingdom, Territory, State: An Architectural Narrative of Honolulu, Hawai{\textquoteright}i (1882-1994)}, year = {2015}, school = {Penn State}, abstract = {This dissertation examines the architecture of Honolulu, Hawai{\textquoteright}i from 1882 to 1994. Hawai{\textquoteright}i{\textquoteright}s historical trajectory from indigenous sovereign kingdom to U.S. state within this period situates it within U.S. colonial discourses and allows for the study of Honolulu as a colonized city. I focus on a small, select group of architectural structures in downtown Honolulu, Waikiki, Ala Moana, and Pearl Harbor in order to assess the tension between native and foreign identities as well as the ways in which these identities influenced the built environment. The architectural narrative of regionalism, U.S. nationalism, and internationalism in Honolulu captures the complicated negotiations between governmental actors, architects and city planners, businesses, and public and private institutions both in the city and abroad. This study uncovers an architectural history that is both a curiosity because of its Pacific island setting and, yet, strangely familiar in form, function and style. It aims to disrupt hierarchies of knowledge that relegate Pacific island cities to the periphery and, instead, position Honolulu{\textquoteright}s architectural heritage within global conversations about identity, politics, and culture.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, North America}, author = {Moses, Kelema Lee} } @mastersthesis {12048, title = {La presse satirique illustree et la colonisation (1829-1990)}, year = {2015}, school = {Montreal}, abstract = {This doctoral investigation studied satirical colonial iconography in the French satirical illustrated press between 1829 and 1990. From counting and analysis of twenty-two satirical periodicals, representing di erent editorial lines, this thesis aims to inform an unknown part of this colonial iconography. Two serious illustrated papers complement the general corpus to reintegrate results in the general fields of media images. For a diachronic, the aim should be to identify the major axes of the colonial satirical illustration. To understand the construction, operation and role of colonial imagery from satirical titles, this research also intends to define the genre "satirical press". By analyzing the historical evolution, popular features and the hallmark of this media class, we will highlight the crucial relationship between gender and colonial images.}, keywords = {Drawings/Prints/Works on Paper/Artists{\textquoteright} Books, Nineteenth-Century Art, Twentieth-Century Art}, author = {Taouchichet, Sofiane} } @mastersthesis {11986, title = {Late Roman Ceramics from the Panayia Field, Corinth (late 4th to 7th c.): The Long-Distance, Regional, and Local Wares in their Economic, Social, and Historical Contexts}, year = {2015}, school = {Missouri}, abstract = {This dissertation presents the Late Roman (late 4th- to 7th-century) ceramic material from the archaeological excavations of the Panayia Field (Corinth, Greece). Through careful analysis of the ceramic fabrics, including petrographic analysis, all of the major wares from the site are characterized, and the mechanisms and networks responsible for each ware{\textquoteright}s distribution are reconstructed. A major contribution of this study is the equal attention paid to local and regional wares alongside the better-understood long-distance imports. A typological presentation of the ceramic forms documents the range of vessels manufactured in each ware with a consideration of what their presence or absence reveals about activities practiced on or near the site. Additionally, comparison with assemblages from other regional sites illustrates that similar relationships with long-distance, regional, and local networks existed elsewhere. This study concludes with the application of these results to broader issues of economic, social, and historic significance. It explores Corinth{\textquoteright}s relationship with regional ceramic workshops (the ceramic koine) and argues that a context of economic stability (not decline) was responsible for the intensification of local production and regional networks. Finally, it examines how the study of these ceramics and the various networks that distributed them contributes to the understanding of the history of Corinth and the northeastern Peloponnese at the end of antiquity.}, keywords = {Ancient Greek/Roman Art}, author = {Hammond, Mark D.} } @mastersthesis {12089, title = {The Liber Feudorum Maior and the Court of Alfonso II, King of Aragon and Count of Barcelona (r. 1162-1196)}, year = {2015}, school = {IFA/NYU}, abstract = {This dissertation examines the artistic patronage of Alfonso II, King of Aragon and Count of Barcelona (r. 1162-1196), with an emphasis on the illuminated cartulary known as the Liber Feudorum Maior (LFM) and its ideological function. Chapter 1 discusses the king{\textquoteright}s patronage and practice of troubadour poetry, in which themes of love and politics intertwine with a deliberate ambiguity. I argue that trobar could be an effective political tool not only through its content but also by virtue of its language, and that Alfonso{\textquoteright}s embrace of this poetry amounted to an appropriation of Occitan culture intended to legitimize his authority in Provence. The lyrical imagery of the works in question-particularly the theme of feudal vassalage-yields surprising parallels to the visual arts. Chapter 2 considers illustrated cartularies as a genre, presenting Iberian examples that precede the LFM to provide a documentary and iconographic context. I then discuss the origins of the LFM itself-its producers, its original structure, and the purpose of its creation-along with its current physical state. Chapter 3 focuses on the LFM{\textquoteright}s incorporation of two radically different artistic styles: one more abstract (or "Romanesque"), and one more naturalistic (or "Gothic"). I argue that their coexistence provides insight into medieval artistic reception, and critique modern scholars{\textquoteright} problematic tendency to deride stylistic pluralism in the LFM and in general. Chapter 4 investigates the iconographic themes of the LFM, all of which are highly unusual in the corpus of medieval art. The cartulary{\textquoteright}s repeated depictions of the courtly ritual of vassalage, for instance, are among the earliest extant representations of these ceremonies. Its two full-page illuminations, meanwhile, glorify different aspects of kingship in iconographically unprecedented ways: one shows Alfonso as an active administrator, participating in the compilation of the cartulary itself, while the other depicts an enthroned couple set against an abstract background, transcending time and space. I demonstrate how the LFM{\textquoteright}s artists appropriated religious iconographic models to glorify their patron, creating a complex interweaving of sacred and secular themes. Chapter 5 considers the function of illustrations in charters and cartularies more broadly by interrogating notions of portraiture, likeness, and identity. I discuss whether and to what extent images in cartularies can be related to sigillographic practice. Finally, drawing on the previous two chapters, I demonstrate how style and content colluded in the LFM, contributing to the identity formation of the count-kings of Aragon and Catalonia.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Wearing, Shannon} } @mastersthesis {12098, title = {Libidinal Engineers: Three Studies in Cybernetics and Its Discontents}, year = {2015}, school = {Stanford}, abstract = {Libidinal Engineers offers a cultural history of automatic control in North American avant-garde media cultures of the Cold War. It tells the story of how three artists worked through the implications of Cold War "closed world" discourses of control and communication, their disastrous application in the "technowar" in Vietnam, and in the lived condition of "control societies." The dissertation follows this trajectory by means of three dilating rings: from instruments to delimited environments to lived conditions. First, I examine an instrument of automatic control, the Camera Activating Machine in Michael Snow{\textquoteright}s now-canonical La region centrale (1971) and its heretofore unknown relation to discourses of Cold War surveillance, in particular technologies of the Early Warning Line and anxieties of representation. Second, I address a delimited environment of multimedia assemblage, Carolee Schneemann{\textquoteright}s Meat System 1: Electronic Activation Room (1970), and how it appropriated both the discourse and devices of automatic control, such as human intrusion detectors, as a means to foreground issues of sexuality and gender immanent to media cultures of the Vietnam War. Finally, I introduce an examination of the lived conditions of technocratic determination, formulated in Tom Sherman{\textquoteright}s performance Hyperventilation (1970) and his construction of the part-instruments, part-sculptures Orgone Energy Accumulator (1972) and Faraday Cage (1972), where Sherman explores the darker side of American counterculture{\textquoteright}s techno-utopia and the coextensive character of control and communication on terms of not only cybernetics but a longer history of discourses of mind control. Based in new, in-depth archival research, I examine the interrelation of technologies and discourses of national defense and artistic experiments in film, video, and multimedia design. Emphasis is placed on terms of desire and affect. I focus especially on cybernetics, defined as "control and communication in the human and machine, " a discourse originating in the defense industries of World War II and scientific research in fields of physics, mathematics, and engineering. Drawing upon primary sources such as patent records, declassified wartime reports, and operating manuals, I assert artists{\textquoteright} engagement with the mechanical basis of cybernetics in mechanical and electrical engineering, insisting upon a necessary shift from the prevailing focus upon metaphors of feedback to the hardware by which feedback was materially constituted: servomechanisms, the technology of automatic control.}, keywords = {Multimedia/Inter-media, Twentieth-Century Art}, author = {White, Kenneth} } @mastersthesis {12134, title = {A Light in the Darkness: Argentinian Photography during the Military Dictatorship (1976-1983)}, year = {2015}, school = {CUNY}, abstract = {In 2006, on the thirtieth anniversary of the military coup that brought Argentinian democracy to a halt, a group of photojournalists put together an outstanding exhibition of images from the dictatorship. This dissertation critically engages with the most enduring photojournalistic works produced during this period and featured in the landmark retrospective. By researching the historical context of these photographs, I aim to underscore the important contributions photojournalists made not only during the dictatorship, but also in its immediate aftermath, when the most iconic images were republished in printed publications including newspapers, magazines and books. As a starting point, I review the initial phases of photography in Argentina, and sui generis photojournalistic ventures. I then demonstrate that the field became very quickly divided between fine art photography and photojournalism. The first part of my dissertation points to the contradictory attitudes of the renowned photographers Sara Facio and Alicia D{\textquoteright}Amico, who publicly praised the work of socially engaged photography in international colloquia, while at the same time disregarding the work of young photojournalists. Many of the photojournalists of the 1980s took a political stance, which was manifest in the exhibitions they organized. I argue for the historical significance of these photojournalists{\textquoteright} exhibitions as artistic points of resistance to official discourse at the time. Next, I identify news images as photojournalistic icons that have been repeatedly reused in diverse contexts after their original publication, articulating new meanings based on available social knowledge. I engage with the different uses of the term icon for such images. Finally, I analyze the official visual discourse during the dictatorship period to argue that the relevance given to "the visual" during those years indirectly benefited photojournalism. I conclude by studying the 2006 exhibition that inspired this project, because it represented a milestone for the recognition of photojournalism in Argentina. I also indicate directions for future research regarding the current state of institutions of memory by describing photographic works that have dominated the gallery spaces of such establishments in recent years, and hint at the future for photojournalistic icons.}, keywords = {Photography, South America}, author = {Tallone, Ana} } @mastersthesis {12165, title = {The Lives of Working Objects: Functionalism and the Institution in the Archival {\textquoteright}Readymades{\textquoteright} of George Maciunas}, year = {2015}, school = {IFA/NYU}, abstract = {This dissertation examines key works by George Maciunas (1931-1978), the leader of the Fluxus movement, and the trajectory they trace toward a deeper, more complex engagement with the readymade and the historical meaning of the postwar avant-garde project. This requires analysis of his intense involvement with functionalism as a result of his training in architecture, as well as consideration of his conception of the archive. These two aspects of his work converged first in the design and construction of the Archive Room (1974-76) for collector Jean Brown in her Shaker Seed House in Tyringham, Massachusetts, a work entirely overlooked in the literature, and subsequently in the Flux Cabinet (1976-77), the last Fluxus anthology. In these, the institution of art emerges as an accumulated body of choices susceptible of transmission and also recreation across generations. Maciunas thus complicates not only prevailing views on the historiography of the avant-garde since the seventies, but accepted narratives on the reception of the readymade. This approach to Maciunas{\textquoteright} work attends closely to the relevance of historical context, from discourses on the concept of functionalism to the reception of the readymade and the avant-garde. Archive theory, theories of the avant-garde and the readymade, and institutional theory inform the analysis. The main thrust of the original research comprises interviews with key figures including Susan Reinhold, commissioner of the Flux Cabinet, as well as extensive archival research at Archiv Sohm, Kunstgalerie Stuttgart; the Tate Archive, London; the Silverman Collection, the Museum of Modern Art, New York; the Jean Brown Papers at the Getty Research Institute, Los Angeles, California; and at the Shaker Seed House itself, before the disassembling of the Archive Room in 2013.}, keywords = {Twentieth-Century Art}, author = {Carrasco, Carolina} } @mastersthesis {12150, title = {Local Identity in the Face of Empire: Loro Ceramics of the Middle Horizon Peruvian South Coast}, year = {2015}, school = {UC Santa Barbara}, abstract = {The production and use of Loro ceramics in the Middle Horizon (c. 750-1000 CE) persisted during a period of cultural conflict as the highland Wari empire annexed the south coastal region of Peru. The Loro peoples, primarily residing in the Las Trancas river valley, developed a discrete and little known ceramic style with abstracted iconography and distinctive formal features that reflects their position within the political and social landscape. As the Wari controlled the economics, politics, and religious landscape of the remainder of the south coastal Nazca region, the Loro polity developed tight ethnic bonds and maintained autonomy for the duration of the Wari empire{\textquoteright}s presence. In this dissertation, I examine the physical and visual elements of Loro ceramics, situating these objects within the extant archaeological data, and proposing a definition of the style. I ultimately demonstrate that, through their ceramic forms, technique, and imagery, the Loro established a resolute group identity in a striking political response to the intrusive Wari empire. That the Loro rejected the hegemony of the Wari is discernable through settlement patterns, bioarchaeology, and the visual language of their ceramic iconography. Notable for its starkly abstracted imagery, disavowal of symmetry, and loose brushstroke in the painting technique, Loro fineware intentionally opposed the naturalistic, calculated, and precise aesthetic of Wari material culture. In particular, the Loro embodied their local identity on face-neck jars, one-handled vessels consisting of a modeled human head atop a globular body. With standardized facial features, a range of reductive motifs, and a tendency toward female representation, Loro face-neck jars contrast markedly with similar Wari vessels depicting individuals dressed in elite male costume and bearing symbols of Wari state religion, leading me to argue that the Loro deployed their face-neck jars to solidify social cohesion and to emphasize difference. This dissertation situates the form and style of this culture in its social, political, and geographical contexts, examining the Loro as a case study of a local group{\textquoteright}s material response to imperial presence.}, keywords = {South America}, author = {Spivak, Deborah} } @mastersthesis {12069, title = {Localizing National Art in Maoist China: The Chang{\textquoteright}an School of Ink Painting, 1949-1976}, year = {2015}, school = {Ohio State}, abstract = {As the Chinese Communist Party sought to redefine socialism in the Chinese context and position itself in shifting international currents during the first decade of the newly founded People{\textquoteright}s Republic of China (1949-1959), the country{\textquoteright}s art establishment rejected Western modernism in favor of academic styles and selective forms of traditional Chinese practices. State-employed artists, tasked with visualizing party policies, placed themselves at the juncture of historical narratives and social discourses that defined the first decade and a half of the PRC. This dissertation examines a particular group of artists, based in the northwestern provincial capital of Xi{\textquoteright}an, who reformulated the traditional practice of ink and color painting (guohua) as a modern artistic medium through their unorthodox brushwork and subject matter. Led by the Yan{\textquoteright}an printmaker-turned-painter Shi Lu (1919-1982) and the former Dagongbao sketch journalist Zhao Wangyun (1906-1977), the six ink painters the Chinese Artists Association-Xi{\textquoteright}an Branch employed garnered national acclaim for exhibiting their xizuo ("studies") in a series of well-publicized exhibitions that began in October 1961 in Beijing. Praised for their integration of artistic style with the "character" of the northwestern region based on their firsthand observations, Shi, Zhao and their colleagues - He Haixia (1908-1998), Fang Jizhong (1923-1987), Kang Shiyao (1921-1985) and Li Zisheng (1919-1987) earned a collective name: the Chang{\textquoteright}an School (Chang{\textquoteright}an huapai). The "success" of the Xi{\textquoteright}an ink painters as a modern, regional ink painting "school" was considered not merely a local or personal achievement but a national one. Through five thematic chapters that focus on the school{\textquoteright}s structural and theoretical foundations, this study suggests the Xi{\textquoteright}an artists gained momentum through their ability to function effectively as a work unit (danwei), as content providers for the mass media and as interpreters of the broad concepts of "life" and "tradition," which aligned with political discourses of the early Maoist period. This dissertation contends that an emotional confrontation with the nation{\textquoteright}s path to sovereignty and modernization constituted the subtext of Chinese modernity in the early PRC, and that without participating directly in global trends that we identify as modernist art, the Xi{\textquoteright}an artists visualized an alternative modernity based on the resiliency of Chinese art. By examining the formation and promotion of the Chang{\textquoteright}an School, from the perspectives of its benefactors and proponents - the national art leadership, provincial leadership and the artists themselves - this dissertation suggests that "regional" and "traditional" art in the early PRC were negotiable constructs formulated jointly by the state, artists and viewers to assist in visualizing a communist Chinese nation.}, keywords = {East Asia}, author = {Wang, Yang} } @mastersthesis {12108, title = {Los grupos and the Art of Intervention in 1960s and 1970s Mexico}, year = {2015}, school = {CUNY}, abstract = {Throughout the 1960s and 70s, Mexican artists employed art interventions in commercial galleries, cultural institutions, and city streets to facilitate a renegotiation of the role of art (and the artist) in society. The art intervention, a mode of conceptualism, served to circumvent traditional spaces for the display of art and to destabilize and expose the hierarchies or power structures that shaped the art world and society at large. Artists began to explore alternative definitions of the artist and the art object as early as 1961, when progenitors of conceptualism such as Mathias Goeritz, Jose Luis Cuevas, and Alejandro Jodorowsky produced art interventions in galleries, theaters, art schools, museums, and public spaces. These new interventionist practices were forged within the context of local and global social revolutions. In Mexico, widespread repression and censorship at the hands of the state culminated in the 1968 student and workers{\textquoteright} movements. Tragically marked by the government-initiated massacre of peaceful demonstrators in Tlatelolco, the movement accelerated incidents of protest, police and military brutality, and a crisis within cultural institutions. Though the Mexican government presented itself as aligned with socialist causes, the 1970s saw an unofficial dirty war launched against perceived radicals to quash the momentum activists had gained in 1968. This heated environment found artists in a continuing struggle to find new forms of expression as well as spaces for the display of their work. Many turned to collectivization and conceptualist tactics in what has come to be called the movimiento de los grupos or the "Group Movement" that flourished between 1973 and 1979. Despite the proliferation of art interventions across the two decades (and within similar socio-political conditions) connections between the 1960s generation and the Grupos of the 1970s have not been adequately addressed. Accordingly, this project examines the ways in which strategies of intervention served as a form of resistance for both generations. I argue that the intervention served as a primary tool in the renegotiation of the social role of art and the artist. As a vehicle of conceptualism, interventionist practice served to introduce institutional critique, new media and mass communication, as well as performative actions as artistic modes, irreversibly altering the cultural landscape of Mexico.}, keywords = {North America, Twentieth-Century Art}, author = {Decker, Arden} } @mastersthesis {12162, title = {Marginal Dislocations: Fashioning Surrealism in the Pages of Interwar French Vogue}, year = {2015}, school = {Yale}, abstract = {From its inception in 1920, French Vogue imagined itself to be a nexus of the newest trends in fashion and art. However, the interwar art scene in Paris at times ran counter to acceptable notions of fashionability. The fashion magazine{\textquoteright}s somatic nature shows us the permeability and resistance to various kinds of art practice, unique to the set of circumstances surrounding it. This dissertation traces the tensions resulting from Surrealism{\textquoteright}s interest in the fashion magazine as a site of intervention and the magazine{\textquoteright}s editorial policy of legibility and clarity that largely squeezed certain kinds of avant-garde art into the margins. Reading the magazine as the medium, the context-rich site of this exchange and not just the silent and invisible repository of Surrealist images, the thesis investigates how an image can be both claimed for the editorial voice of the magazine and also resist the structure of the periodical. In these chapters, familiar images like Man Ray{\textquoteright}s Noire et Blanche, take on new contextual resonance as they are woven into the pages of Vogue, while Man Ray{\textquoteright}s Chess Set disturbs and disrupts the space of advertising. In the 1920s, Surrealism and French Vogue attempted to leverage one another, with successes and failures on both sides. The result is a distinctly French story about Surrealism{\textquoteright}s engagement with the fashion arts.}, keywords = {Twentieth-Century Art}, author = {Barron-Duncan, Rachael} } @mastersthesis {12177, title = {Martin Kippenberger and Mike Kelley: The Artist Persona and the Precarious Middle Class}, year = {2015}, school = {Princeton}, abstract = {This dissertation is an analysis of the work of artists Martin Kippenberger (German, 1953-97) and Mike Kelley (American, 1954-2012) in the context of postwar political and economic internationalization, particularly between West Germany and the U.S. It describes the tactics that they developed to engage imported and imposed aesthetic vocabularies and to navigate a nascent international art market. Central to the analysis is the concept of the artist persona, a figure implied in the artists{\textquoteright} work, writing, and art-world behavior that merged the punk rock antagonism of their local countercultures with the painterly idioms-principally abstraction and Pop-championed by art schools, fairs, and galleries as the visual language of international culture. Although these artists came from very different backgrounds (Kippenberger grew up in an economically booming West Germany while Kelley was from the declining American Midwest), their personae were performed in response to the same confluence of social, cultural, and economic phenomena developing in step with 1970{\textquoteright}s and 80{\textquoteright}s Western globalization: the emergence of post-1968 anti-idealism; the rise of neoliberal economic policies and, with them, the production of a new, entrepreneurial socio-political subject; and the emergence of a global art market, one increasingly dominated by transnational galleries, group shows, and art fairs and biennials. In their early work, Kippenberger and Kelley used their personae to mimic the effects of internationalization on their local middle-class cultures. However, these personae, which were adaptive, hyper-productive, and flexible with respect to style and media, proved well suited to the art market emerging between West Germany and the U.S. As they became popular in this transnational market, their personae were tasked with mapping the complex of spaces, educational practices, and production methodologies that called for transitive art objects and art makers-a kind of exchangeability that was increasingly built into art works and the lives of artists. Finally, at the very end of their lives, when their work and personae were all but transformed by their transitivity, Kippenberger and Kelley started to explore modes of disconnecting as a way to disrupt this international network and to preserve some vestige of their selves.}, keywords = {Twentieth-Century Art}, author = {Reitz, Christopher} } @mastersthesis {12178, title = {Marvelous Spectacle: The Role of Ostend{\textquoteright}s Benediction of the Sea in Selected Paintings and Drawings by James Ensor}, year = {2015}, school = {IFA/NYU}, abstract = {This dissertation investigates selected examples of James Ensor{\textquoteright}s most important processional imagery as they relate to the annual Benediction of the Sea celebration (Benediction de la mer in French or Zeewijding in Flemish), which took place in his native coastal city of Ostend, marking the official opening of its renowned summer season. This dissertation provides a vivid, detailed history of this beloved local holiday during the last three decades of the 19th century, and examines the pictorial inspiration Ensor drew from this event, tracing the initial spark back to a large-scale, yet ultimately abandoned, project of early 17th century Spanish soldiers undertaken in the early years of his artistic maturity in the 1880s. Additionally, it considers the manner and extent to which the compelling features of the Benediction festivities inspired both the content and form of his monumental depictions from his creative peak, including his masterpieces, Christ{\textquoteright}s Entry into Brussels in 1889 and The Temptation of Saint Anthony, as well as his important processional endeavors from his later oeuvre of the 20th century. In so doing this dissertation challenges the prevailing scholarly analysis of these works, which to date has treated this processional subject matter in general terms, or linked it to spectacles outside Ostend such as religious processions in nearby locales or mass demonstrations of a social and/or political nature in the capital city of Brussels. Among the central questions posed in this dissertation are how Ensor interpreted and transformed the features of the Benediction of the Sea in devising his own processional imagery, and how he gradually accumulated the observing, experiencing and rendering of such spectacles over his long lifetime.}, keywords = {Twentieth-Century Art}, author = {Swinbourne, Anna} } @mastersthesis {12184, title = {On Matthew Barney: Deadpan Conceptualism, Animality, and Sculpture}, year = {2015}, school = {Duke}, abstract = {This dissertation explores and theorizes the work of American artist Matthew Barney through the concept of deadpan, and situates it in relation to themes of hybridity and animality in parallel histories of sculpture, performance art, and film.}, keywords = {Twenty-First-Century Art}, author = {Routh, Mitali} } @mastersthesis {12021, title = {Maude I. Kerns: Crafting a Modern Art, 1907-1940}, year = {2015}, school = {CUNY}, abstract = {Maude Irvine Kerns (1876-1965) was first active as an artist and educator during the early decades of the twentieth century in multiple locations along the Pacific Coast, including her home state of Oregon where she was primarily based. Limited considerations of her career have yet to examine the dynamic nature of the dual roles she assumed during these critical years and therefore fail to account for her significance to the later artistic and cultural growth of the region. This first reading of the initial phase of Kerns{\textquoteright}s lengthy career centers on her activities between approximately 1890 and 1932. Through key aspects of her biography, I establish for the first time a new standpoint through which to reassess the full scope of her career thereby bringing into better clarity Kerns{\textquoteright}s significance as an artist and educator to the artistic development of the Pacific Northwest and Coast regions in the first decades of the twentieth century.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Burnham, Mary Helen} } @mastersthesis {12112, title = {Mexican Modernism at Home and Abroad: The Legacy of Ines Amor and the Galeria de Arte Mexicano}, year = {2015}, school = {IFA/NYU}, abstract = {In 1935, the Galeria de Arte Mexicano (GAM) opened in Mexico City to advance the production and sale of modern Mexican art. Following the outbreak of World War II, the international ambitions of Mexican artists turned to the north as U.S. institutions cultivated a Pan-American spirit and loans of art from an embattled Europe became increasingly difficult. Ines Amor, GAM{\textquoteright}s director, embraced this opportunity to develop exhibitions for her artists at U.S. museums, galleries, and private arts spaces. Through a close study of Amor{\textquoteright}s activities, the works she promoted, and their critical reception, an understanding emerges of how Mexican modernism operated within the transnational frameworks of cultural diplomacy and the art market, while striving to restructure national perceptions of Mexican art. This dissertation begins in 1940, investigating the parallels and convergences of three exhibitions that launched Amor, her gallery, and her artists onto the international scene: the International Exhibition of Surrealism at GAM, Twenty Centuries of Mexican Art at the Museum of Modern Art in New York, and an exhibition of Mexican prints at the New York World{\textquoteright}s Fair. Following the themes established by a discussion of these three exhibitions, the second chapter provides a focused case study of Mexican Art Today, a large survey exhibition held at the Philadelphia Museum of Art in 1943. Through Amor{\textquoteright}s leadership and close collaboration with curator Henry Clifford, the exhibition reframed modern Mexican art for U.S. audiences through its scope and scale. The third chapter investigates the integration of GAM into established networks and systems in the United States. Amor developed a New York outpost for her artists through collaborations with the Knoedler Galleries and worked with the International Business Machines Corporation in the development of its art collection, forging an early model of global corporate identity. The final chapter returns to Mexico to explore Amor{\textquoteright}s activities in expanding notions of Mexican art at home in the decade under consideration. Her work led to the creation of a national art museum, a product of her efforts that would provide an alternative to her gallery at both the local and international level. Amor has been cited by scholars to illuminate the study of a particular artist or exhibition, however this approach denies the opportunity to grasp the full scope of her contributions. Though these previous studies point to Amor{\textquoteright}s magnitude, they neither sufficiently evaluate her activities within the cultural-political context of her time nor analyze the legacy of her decisions in the field of modern Mexican art. Through a combination of focused case studies and investigations of general themes, this dissertation underscores Amor{\textquoteright}s critical contributions on both sides of the border. It returns the agency in the organization of major exhibitions of Mexican art in the United States to Mexico and recognizes an important female player in the international gallery and curatorial scene of the 1940s. With Amor as a connecting thread, this dissertation explores the tensions and developments in Mexican art in this period. A new generation of artists supported by Amor and GAM emerged and fought for recognition and validation in the wake of the Mexican mural movement, which had largely dominated perceptions of Mexican art in the preceding decades. This dissertation adds to the growing body of scholarly work that reintroduces these artists to U.S. readers and builds on recent efforts to diversify a monolithic vision of the so-called Mexican School.}, keywords = {North America, Twentieth-Century Art}, author = {Kaplan, Rachel} } @mastersthesis {12060, title = {Mireuksa, A Baekje Period Temple of the Future Buddha Maitreya}, year = {2015}, school = {Ohio State}, abstract = {The Mireuksa, literally, "Temple of the Future Buddha Maitreya," was built during the reign of King Mu (r. 600-41) of the Baekje dynasty (18 BCE-660CE), Korea. It was constructed as the grand imperial temple of the kingdom, and has a distinct ground-plan with three pagodas and three image halls. No other temples with such a layout have been discovered in East Asia to date. Therefore, this temple has attracted the attention of numerous scholars of Buddhist studies. Although the impressive remains of the Mireuksa have been the topic of several monographic studies in Korean, a comprehensive analysis has been lacking. By means of a thorough examination of the written documents, material remains, temple plan, contemporaneous images of Maitreya (Ch. Mile, Kr. Mireuk, Jp. Miroku) in East Asian Buddhist art, and most importantly, the historical temple-construction traditions of East Asia, I hope to provide such a comprehensive study. The investigation of the written evidence about the Mireuksa, in particular, the golden reliquary plate that was written and installed in the west pagoda in 639, has revealed important evidence of Buddhist practice associated with the temple construction. Fulfilling the devotional purpose of the sakyamuni Buddha{\textquoteright}s relics, the reliquary plate reveals the belief of the king and the queen as Buddha, based on the Buddha-land concept, and also a definitive declaration of royal authority. Along with an ardent dedication to Buddhism, the inscription also provides the Baekje court{\textquoteright}s deep awareness of Buddhist practice, including veneration of the Buddha relic, and beliefs in karma, and concept of tathagatagarbha (Buddha essence in every individual). The comprehensive exploration of the Mireuksa temple plan within the East Asian temple construction tradition has shown that the temple design of the Mireuksa is derived from the "one pagoda, one image hall" plan, namely the Yongningsi plan in China, the Baekje plan in Korea, and the Shitennoji plan in Japan. The temple{\textquoteright}s three separate sections recall a general concept found in Chinese cave temples built with the "multiple shrine, but single" concept design during the Northern and Southern dynasties, e.g., the Dunhuang Mogao Caves 272 and 275, the Tanyao Five Caves, the Yungang Caves 9 and 10, and the Three Binyang Caves at Longmen. But, the parallel tripling of pagodas and image halls in the Mireuksa was, so far as is known, an innovative Baekje design uniquely suited to Maitreya{\textquoteright}s methodologies. Although no direct evidence exists for the Buddhist images of the Mireuksa, we can assume the temple{\textquoteright}s possible iconography from the physical evidences at the site, the literary sources, and the context of the Maitreya practices in East Asia. The Mireuksa reified the three teaching assemblies of the Buddha Maitreya at the time of Ketumati, which can be seen in several early Chinese examples. From the survey of Buddha Maitreya in East Asia, we can reiterate the well known assumption that the practice of Maitreya had arrived in China from Gandhara and associated regions and moved to Korea and on to Japan as one of the most important forms of Buddhism of the period. It was left to King Mu of the Baekje to build the largest and most elaborate Maitreya temple in all of East Asia.}, keywords = {East Asia}, author = {Choi, Hyejeong} } @mastersthesis {12034, title = {Mirrors from 500-200 BC Middle Yangzi Region: Design and Manufacture}, year = {2015}, school = {Princeton}, abstract = {This dissertation investigates how and why bronze mirrors from 500-200 BC Middle Yangzi Region of China were designed and manufactured. Study of the designs and manufacturing techniques of mirrors reveals the decision-making process of the producers and the organization of their factories. Before 500 BC, mirror decorations were executed via freehand carving on molds or models. After 500 BC, however, such direct carving of decorations was superseded by a technique called "the multiple-transfer method", which enabled the mass production of mirrors. The invention of the method implies that there was likely a market demand large enough to encourage mass production. By reconstructing the production processes of the method, tracing the histories of diverse designs, and relating the producers{\textquoteright} choices of designs to manufacturing techniques, we can postulate that there were at least two systems competing simultaneously in the mirror market. This dissertation revisits prevailing art historical and archaeological assumptions and offers new trajectories of research that incorporates socio-economic analyses in studies of ancient China. It also attempts to create methods of conducting experiments with images.}, keywords = {Decorative Arts/Textiles/Design History/Interior Design, East Asia}, author = {Li, Kin Sum} } @mastersthesis {11991, title = {Monkey and Ape Iconography in Minoan Art}, year = {2015}, school = {Temple}, abstract = {This dissertation examines monkey and ape iconography in Minoan art during the Aegean Bronze Age (ca. 3,000-1,100 B.C.). Although a broad range of animals exist for depiction, Minoan artists carefully selected each subject in order to fulfill specific roles. Monkeys and apes appear to function differently than the other creatures that are depicted in art. Rather than subscribing to the general roles played by other animals, these primates may be shown outdoors, behaving like wild animals, or in a ceremonial context, participating in a ritual. Monkeys also imitate human activities. The deviation of primates from the typical roles of other animals found in Minoan art invites a deeper investigation of the role and iconography of apes and monkeys. In this study, three types of media that bear depictions of primates are considered. These media include figurines, glyptic art, and wall paintings. First, a review of the stylistic features of Minoan art and the possibility for the use of pattern books is discussed. Next, monkey and ape iconography in Egyptian art is explored. A thorough review of the creatures{\textquoteright} iconography in Minoan art follows, which includes the identification of figures as either ape or monkey, as well as a detailed description and conclusions about each type of representation. A new possible reconstruction of the Saffron Gatherer fresco is also included. Finally, the possible origins of Minoan primate iconography are considered, as well as the possible implications of the creature{\textquoteright}s history, development, and roles. With this information in mind, the Offering to the Seated Goddess scene is then examined. The possible reconstruction of a crocus ceremony is proposed and explained, and the Levantine parallels for the compositional arrangement of the scene are also addressed. These conclusions may directly inform greater themes in Minoan culture, such as religion and cult practices.}, keywords = {Ancient Greek/Roman Art}, author = {Pareja, Marie} } @mastersthesis {12123, title = {Murals, Montage, Modernism: Public Art in the 1930s United States}, year = {2015}, school = {Washington University}, abstract = {This dissertation examines painting, photography, and film to assert that Soviet montage theory and aesthetics made a critical impact on muralism and the development of modern arts in the 1930s United States. It thereby revises the current scholarly assessment that montage at this time was specifically a European category operating on European terrain. It begins by exploring the significant role that montage played in the Film and Photo League and at the Museum of Modern Art, establishing a substantial institutional framework for montage in the country. This project then theorizes the cross-fertilization of media that took place during this period, arguing that some muralists adapted filmic and photographic montage techniques for their painted murals in order to modernize and popularize American muralism, and to activate viewers through a more dynamic visualization of history. It considers a series of case studies, murals by Ben Shahn, Stuart Davis, and others, to assert that montage became central to a predominantly leftist faith in the capacity for cultural and political renewal. In examining murals whose montage aesthetics straddle the divide between realism and abstraction, this study also works to reverse assumptions that have prevented our understanding of how socially conscious public art advanced American modernism.}, keywords = {North America}, author = {Barnhart, Clara} } @mastersthesis {12167, title = {National and International Modernism in Italian Sculpture, 1935-1959}, year = {2015}, school = {Michigan}, abstract = {My dissertation crosses the divide between the inter-war and post-war periods in closely examining the sculptural production, exhibition, and critical reception from 1935 to 1959 of two Italian sculptors, Marino Marini (1901-1980) and Fausto Melotti (1901-1986). Since Italian culture has largely been segregated around the Second World War, a parentheses has been put around Fascist culture, largely because of the Regime{\textquoteright}s wartime connection to Nazism. Yet, both Marini and Melotti were productive before, during, and after WWII. This dissertation brings attention to how these sculptors{\textquoteright} wartime production can be seen as both relating to and moving away from their inter-war artworks. While many critics and scholars have praised Italian sculptors{\textquoteright} post-war production as a phoenix rising from the ashes of Fascism, my project posits that the beginnings of post-war vibrancy can be found during the war years. The intensification of totalitarian controls on culture resulting from both Mussolini{\textquoteright}s empirical agenda and the Italo-German alliances of 1936 and 1939 led to a sense of urgency among many artists to make new work. This new post-Fascist work would be separate from their own earlier modernist works championed under early-Fascism. This paradigm shift in the mid-1930s did not result in a complete disavowal of their modernist projects however, but rather a continued challenging of the possibilities of sculptural modernism. Through an examination of the two case studies, Marini and Melotti, my dissertation provides a more dynamic understanding of modernist Italian sculpture across the Fascist divide. Correspondingly, my dissertation sheds light on the post-war Trans-Atlantic critical frameworks that were used to understand these sculptors{\textquoteright} modernist sculpture. These works{\textquoteright} exhibition and reception reveal critical connections to the debates of the early Cold War. For Melotti, a new sculptural modernism blurred the lines between art and consumerism, being understood as Italy{\textquoteright}s new robust democratic cultural labor in the aftermath of WWII. For Marini, his sculpture became embroiled within the Trans-Atlantic debates about Cold War ideals of modern sculpture, while at the same time being valued for its cultural cachet within American collections.}, keywords = {Twentieth-Century Art}, author = {Gamble, Antje} } @mastersthesis {12033, title = {Native American Chic: The Marketing of Native Americans in New York between the World Wars}, year = {2015}, school = {CUNY}, abstract = {Focusing on four key figures -Morris de Camp Crawford, John Sloan, Amelia Elizabeth White, and Rene d{\textquoteright}Harnoncourt - this dissertation analyzes museum and gallery exhibitions of Native American art mounted in the United States, particularly New York City, during the interwar period, and documents the immediate and lasting impact these shows and their promotion had on the emergence of "Indian Chic" in women{\textquoteright}s fashion and interior design. In the late 1910s, Crawford, a research editor for Women{\textquoteright}s Wear and honorary research associate at the American Museum of Natural History, mounted a campaign encouraging Euro-American designers to seek inspiration in museum collections, particularly Native American production. Crawford{\textquoteright}s efforts led to the AMNH{\textquoteright}s 1919 Exhibition of Industrial Art in Textiles and Costumes; a series of exhibitions at the Brooklyn Museum in the 1920s; and Mallinson Fabrics{\textquoteright} 1928 "American Indian Series." Meantime, Sloan bolstered awareness of Native American art through exhibitions of Pueblo watercolors at the Society of Independent Artists exhibitions in the 1920s, and the groundbreaking Exposition of Indian Tribal Arts in 1931. White, a New York socialite living in Santa Fe, joined Sloan in his efforts, financing the EITA and promoting the incorporation of Native American art into modern Euro-American decor through her New York City gallery and exhibitions of her personal collection. In the mid-1930s, Indian Chic received government backing with the creation of the Indian Arts and Crafts Board. As its general manager, D{\textquoteright}Harnoncourt promoted Indian art{\textquoteright}s suitability as inspiration for modern Euro-American design in two landmark exhibitions: the Indian Court at San Francisco{\textquoteright}s Golden Gate Exposition in 1939 and Indian Art of the United States at New York{\textquoteright}s Museum of Modern Art in 1941. These exhibitions created a sensation that was widely reported in the popular press, and U.S. consumers responded enthusiastically to Indian-inflected and inspired clothing, accessories, footwear, cosmetics, and household goods and accent pieces. The notion of Native American Chic, created in the 1910s by Crawford and promoted by Sloan, White, and d{\textquoteright}Harnoncourt throughout the interwar period, endures today.}, keywords = {Decorative Arts/Textiles/Design History, Native American}, author = {Navratil, Emily Schuchardt} } @mastersthesis {12051, title = {Networks, Copies, Collaboration: Ventura Salimbeni, Philippe Thomassin, Raffaello Guidi, and Printmaking in Rome, 1585-1620}, year = {2015}, school = {Yale}, abstract = {This dissertation positively re-evaluates printmaking in late-sixteenth-century Rome through an analysis of the closely related phenomena and copying and collaboration. Traditionally, individual "genius", uniqueness, and originality have been the parameters by which art historians have assessed the importance and worth of artists{\textquoteright} work. Such an approach looms large particularly in studies of the Renaissance, a period in which scholars posit the emergence of the very ideas of individuality and original authorship. Because of its essential characteristics, the art of printmaking, especially at the height of its commercial success in Rome in the late Cinquecento, fads foul of these limited interpretative categories and has consequently been relatively neglected by art-historical literature. Only very recently have late-sixteenth-century prints received the attention that their sheer quantity, quality, iconographic complexity and variety command. At the heart of this project is the exploration of the overlapping activity of three printmakers working in Rome around i600: the Sienese painter-etcher Ventura Salimbeni, the French engraver Philippe Thomassin, and the Florentine engraver Raffaello Guidi. Lesser-known figures even in printmaking scholarship, these three artists all knew one other, worked together on a variety of printmaking projects, and exploited their personal and professional networks to create, market, and publicize their works. A sign of the cosmopolitan nature of the Roman printmaking world, all three artists also forged and maintained strong connections with Flanders: the other major contemporary centre of European print production. Further, all three artists were born outside of Rome and moved to the papal city, attracted by the international reach of the opportunities it afforded. This project was undertaken with a number of aims in mind. At the most basic level, this dissertation is an attempt to break down traditional scholarly boundaries between studies of engraving, etching, painting, and book history. Throughout, emphasis has been placed on the spaces and connections shared by artists, publishers, collectors and patrons, and on the proximity in which works in these different media were created. Of crucial importance for the methodology of print studies was the firm intention of moving away from the limiting modem construct of "reproductive print" towards a richer conception of the Renaissance print as a palimpsest of authorial inputs, or - to modify a well-known definition - a deposit of collaborative relationships. A wide-ranging and detailed analysis of copies and collaborations, therefore, was crucial to this interpretative "rebalancing act". Related to this was the aim of eroding the separation between the study of northern and southern European prints. Indeed, close scrutiny reveals that Renaissance printmaking was a truly international artistic enterprise, sustained by far-reaching networks of knowledge and personal connections. In other words, at this time prints were produced in, and for, a "republic of images" that spanned the whole European continent. Finally, by focusing on the manifold manifestations of collaboration in art-making, the dissertation should contribute to refraining the discourse of artistic authorship more broadly in the sixteenth and early seventeenth centuries. After examining a variety of examples of sixteenth-century copies, collaborations, and contemporary responses to them in the first chapter, the dissertation is divided into three parts, each dedicated to one of the printmakers under consideration. The chapter dealing with Salimbeni is the first comprehensive study of his printed works: both of the etchings he made and contemporary prints after his designs. The third chapter is a broad reconstruction of Thomassin{\textquoteright}s collaborative networks through the analysis of documents and of his significant - and here substantially expanded - oeuvre. Raffaello Guidi and the importance of his mastery of the Flemish manner of engraving for his career as a collaborative copyist are the subject of the fourth and final chapter. These subdivisions are necessarily artificial, and a certain degree of overlap between the three chapters contributes to making the imbricated nature of Rome{\textquoteright}s artistic milieu all the more vivid. The act of separating the strands of each individual artist{\textquoteright}s activity - a requirement of narrative clarity - can only provide a partial and fragmentary glimpse into a complex creative world. Rather than three distinct case studies, these three chapters aim to tell the same story from three different points of view.}, keywords = {Drawings/Prints/Works on Paper/Artists{\textquoteright} Books}, author = {Gabbarelli, Jamie} } @mastersthesis {12136, title = {New Documents to Pictures: Lee Friedlander and the Re-Making of the Photographic Image, 1962-1989}, year = {2015}, school = {Yale}, abstract = {New Documents to Pictures: Lee Friedlander and the Re Making of the Photographic Image, 1962-1989 addresses photography{\textquoteright}s relationship to other forms of media in postwar United States through the work of the artist Lee Friedlander. Looking at Friedlander{\textquoteright}s work made between the 1960s and 1980s, I argue that the intermedial aspects of his photographs articulate a changing definition of the photographic document and an emergent screen culture just prior to photography{\textquoteright}s digital turn. Of particular focus are his photographs in which glass is figured as multi-functional surfaces of transmission, reflection, and compression. In them, Friedlander structures and shapes a concept of screen media through a reformulation of the photographic document in qualifies of flatness, mobility, and blankness. Chapter one addresses the history of the photographic document and its changing definition in postwar United States through the seminal exhibition "New Documents," curated by John Szarkowski at The Museum of Modern Art, New York, in 1967. Focusing on Friedlander{\textquoteright}s photographs of television screens and storefront windows, I argue that they function as a kind of screen on which other images and objects from multiple spatial registers meet. In their oscillation between legible space and pure surface, these photographs mark the beginning of a redefinition in the roles of photographic document in terms of flatness. Chapter two considers the parallels between Friedlander{\textquoteright}s storefront photographs and the way in which Xerox 914 copier redefined the way that documents were being created and used. Tracing the development of Xerox Corporation and the history of electrophotography, I view Xerox as a participant in the document{\textquoteright}s reformulation in the public sphere according to similar principles of flatness, speed, and mobility figured in Friedlander{\textquoteright}s work. Chapter three considers two technology-related commissions Friedlander received in the mid 1980s, one from the Massachusetts Institute of Technology Committee on the Visual Arts and the other from Cray Research, to examine the relationship between analog photography and digital technology in the United States. In these works, a dialectic between photography{\textquoteright}s documentary capacity and the document{\textquoteright}s blankness plays out in making of images of emergent computing technology. These works not only document the evolution of computing technology that would impact photography, but also a world in which computing systems also increasingly take on what I argue to be a photographic logic. Chapter four centers on Friedlander{\textquoteright}s discovery and subsequent purchase printing of a set of glass plate negatives by the photographer E.J. Bellocq. It considers the relationship between the photographic negative and the photographic document to map out photography{\textquoteright}s afterlife in relation to itself and other print media. The photographic document in this case is tied up with issues surrounding image ownership, appropriation, authorship, and circulation. Chapter five considers the mobility of the photographic document in relation to the medium of film and beyond. It looks at the many afterlives of the photographic document created through Friedlander{\textquoteright}s Bellocq prints to trace what happens to a photograph after it is made. Through Louis Malle{\textquoteright}s 1978 film Pretty Baby and the subsequent proliferation of the image of Brooke Shields, I read the film{\textquoteright}s narrative as an allegory of the relationship between photography and film and the inherent blankness of the photographic document as producing its very mobility across different media, from a glass screen to movie screen. In their varying relationships of glass and image, each of these series proleptically figures the ways in which screen surfaces emerge through the older camera medium. Although created in black-and-white analog form, Friedlander{\textquoteright}s photographs enact what I call a "proto-digital" logic in which the strategies of new media are conceptualized before their time.}, keywords = {Photography, Twentieth-Century Art}, author = {Kim, Jeehye} } @mastersthesis {11993, title = {A New Imperial Landscape: Ritual, Representation, and Foreign Relations in the Qianlong Court (1735-1796)}, year = {2015}, school = {Yale}, abstract = {Elaborate state rituals were a fundamental part of the Chinese program of foreign management during the Qing dynasty. During the reign of the Qianlong emperor (r. 1736-1795), the forms of these guest rituals and the sites where they were held dramatically changed. In tandem with this development, a new kind of painting was created for the sites where ritual was held. These large works utilized elements of Jesuit lineal perspective and European techniques of portraiture and scientific representation to depict real ritual sites. Building on extensive archival research and GIS analysis, this project restores these paintings to their original locations, revealing a new pattern of borrowed landscapes that clarify, enhance, and serve the power of the sites where they were hung. This analysis addresses three unique sites, three different rites, and three separate modes of visual expression. First, I examine the annual Lunar New Year{\textquoteright}s rites in Beijing and a painting entitled Envoys from Vassal Countries (wanguo laichao tu), which hung in the emperor{\textquoteright}s private studio for celebrating this day. I show that the abstracted mode of representing landscape and figures reflects a theoretical system based on the power of cyclicality, repetition, and the slow Sinicization of foreign peoples. Next, I prove that Qianlong moved the formal celebration of his birthday, the wanshou shengjie from Beijing to the Imperial Hunting Lodge in Chengde. The paintings commissioned for the new ritual hall he constructed for this ritual, Horsemanship (mashu tu) and Ceremonial Banquet in the Garden of Ten Thousand Trees (wanshuyuan ciyan tu) borrowed a complete Mongol ceremonial landscape, linking annual patterns of ritual with the rites used to mark the surrender of foreign chiefs. The importance of Mongol ritual forms was rising at the court, and my final section follows the visual model first created for Chengde back to Beijing, where a visually similar program of landscape was constructed in a temple/war memorial called the Ziguangge (Hall of Purple Light). Here, three paintings constructed a unified vision of Mongol ritual united around the power of a single ritual moment to effect lasting change, establishing immediate personal and political relationships between the emperor and foreign countries. This conception of ritual, anchored in Mongol ritual forms, increasingly served as the basis of Qing guest ritual in the Qianlong era. Together, this dissertation brings new focus to the manner in which European representational techniques were utilized at the Qing court for political effect. It explores a unique relationship between real and represented ritual sites, challenging our understanding of representation and its connection to real space. And finally, it incorporates art and architecture into a discussion of Qing foreign policy, bringing new clarity to the way in which ritual sites were constructed and used as political tools.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, East Asia}, author = {Greenberg, Daniel} } @mastersthesis {12046, title = {Odilon Redon: The Color of the Unconscious}, year = {2015}, school = {Princeton}, abstract = {"Odilon Redon: The Color of the Unconscious" is the first modern study of the influential color work of French Symbolist Odilon Redon (1840-1916). Redon established himself in the 1880s with black lithographs and charcoals, yet around 1890 he developed an extensive body of luminous oil paintings and pastels. Their astonishing colors puzzled commentators of his era including J. K. Huysmans, Paul Signac, and Leo Tolstoy. This dissertation contends that Redon{\textquoteright}s color work signals a shift in form{\textquoteright}s relationship to color and color{\textquoteright}s relationship to mimesis a generation before art historians often locate the invention of abstraction. To explore this argument the dissertation first examines Redon{\textquoteright}s relationship with Eugene Delacroix, showing that Redon embraced what he characterized as Delacroix{\textquoteright}s "moral" color rather than Charles Blanc{\textquoteright}s advocacy of line. Chapter Two then looks at Redon{\textquoteright}s Yeux Clos paintings, in which his novel uses of color develop. This chapter analyzes Redon{\textquoteright}s relationship to Neo-Impressionist color as well as his friendship with Paul Gauguin to show that Redon{\textquoteright}s color develops alongside new technologies of pigment synthesis and explores identifications with French colonial subjects, resulting in a palette Redon described as "color derived from an Other". Chapter Three examines Redon{\textquoteright}s portraits of women alongside contemporaneous works on the unconscious mind to demonstrate color{\textquoteright}s centrality to signal interiority in Redon{\textquoteright}s portraits of "la femme nouvelle". The final chapter and conclusion take up Redon{\textquoteright}s relationship to Paul Cezanne, Henri Matisse, Marcel Duchamp, and Redon{\textquoteright}s reception at the American 1913 Armory Show to trace the afterlife of Redon{\textquoteright}s color in the development of modern art. Overall, the dissertation demonstrates that color{\textquoteright}s capacity to express interiority is a crucial aspect of Redon{\textquoteright}s legacy. Drawing on a range of French and Dutch archival materials from the Archives Nationales, the Musee d{\textquoteright}Orsay and the Rijksmuseum as well as the Andre Mellerio archives at the Art Institute of Chicago, this dissertation examines Redon{\textquoteright}s late color work as a means to address broader art historical debates about the nature of color in the development of abstraction, the relationship of technology in fin-de-siecle representation, and the role of the spectator in viewing artwork.}, keywords = {Drawings/Prints/Works on Paper/Artists{\textquoteright} Books, Nineteenth-Century Art, Twentieth-Century Art}, author = {Pollack, Maika} } @mastersthesis {12153, title = {Of Men and Gods, and Things: The Making of Maratha Art in India and Britain, 1700-1900}, year = {2015}, school = {Yale}, abstract = {This dissertation investigates the complex process by which the Marathas and the British crafted new artistic styles, subjects, and methods between 1700 and 1900 in the region of Maharashtra. The art that they created and collected at this time offers a diachronic and trans-regional history of a visual modernity that gained particular force through its multiple iterations and replications. As a geographic designation, the word Maratha defines the residents of the region where the language Marathi is primarily spoken mostly in present-day Maharashtra. However, the Marathas as a political entity rose to power in the eighteenth century, between the decline of Mughal hegemony and the rise of British colonialism. As a new military elite, they forged an aesthetic from local artistry in Maharashtra and the wider Deccan region and the artists and objects they encountered on their routes of conquest throughout north and south India. In the 1790s, this fluid, syncretic Maratha artistic production incorporated aspects of British art, and vice-versa, in oil paintings, watercolors and sculpture. Maratha art was again transformed through printed publications around 1800, both regionally and far beyond the subcontinent. Portable sculptures and paintings could travel with European patrons, the most pivotal of whom was the East India Company official, Edward Moor, whose collection of works produced in western India formed the base of his Hindu Pantheon (1810). Translated into spare outline engravings, the works that he collected in Maharashtra served as the basis for a new Anglo-Maratha aesthetic. These engravings were repeatedly copied during the nineteenth century, transformed by Christian missionaries into tools of conversion and by colonial arts administrators into models for design. By 1900, western Indian nationalists again reformulated these materials to create an historicist Maratha visual culture that adapted the varied, eclectic aesthetics of the previous century to broker a new revolutionary one for independence. This project focuses both on the fluid formation of arts made under the Marathas in the eighteenth century, and with its subsequent morphologies that allowed for the formulation of a "Maratha art" to be a question in the nineteenth and early twentieth century. I approach such a study through a series of archival case studies because the sources for a history of art of this region and period are fragmented and dispersed. Colonial writers and scholars of recent generations have implied that the Marathas simply did not have a distinctive artistic tradition. This dissertation argues, however, that by collating the art produced and in circulation in this region with historical records, it is possible to begin to write a history of art in the Maratha lands. The five chapters, which form an arc from the eighteenth to the early twentieth century, together form a prism of the intercultural world of art production, circulation and collection in Maharashtra, and specifically Pune during this period. This regional history of art intimately entwines with a transnational one through empire, nationalist agitation, and printed images exchanged across continents.}, keywords = {South Asia/South East Asia}, author = {Shaffer, Holly} } @mastersthesis {12155, title = {Of Networks and Narratives: Collecting Indian Art in America, 1907-1972}, year = {2015}, school = {Cornell}, abstract = {Beginning in the early 20th century, art museums in America were among the first to collect and display Indian objects as fine art. Although the appreciation of the aesthetic value of Indian art in colonial India took place in the wake of burgeoning nationalism, parallel developments in framing Indian art, albeit with differing impetuses were taking place in America. The aim of this dissertation is therefore to unpack the ways in which Indian objects were placed within the American art museum, and how such framings contributed in specific ways to the contouring of the field of Indian art beyond the nation. A history of the transnational, cosmopolitan networks along which individuals, objects and ideas traveled, that underpinned this process is therefore recovered, while the shifts in the contours of the field during different historical periods within the 20 th century are also traced. The dissertation focuses on key individuals and their collections of Indian art in America in the period between 1907 to 1972, in order to track and analyze how Indian objects were variously accorded value in aesthetic, monetary, cultural and art historical terms.}, keywords = {South/Southeast Asian Art}, author = {Kumar, Brinda} } @mastersthesis {12016, title = {Of Water and Healing: Ad Mediam and Hercules in the Context of Imperial Roman Expansion and the Provinces, 2nd-3rd ca. CE}, year = {2015}, school = {UC Santa Barbara}, abstract = {This dissertation presents a framework for interpreting healing sites in the Roman provinces as vehicles for the adaptation, transmission and reception of Roman material culture. Using a wide range of interdisciplinary methods, this dissertation is the first to consider the important role of Hercules at the intersection of healing, landscape, and imperial expansion dynamics. It addresses a number of case studies of naturally occurring thermal mineral healing sites in the provinces with primary associations to the hero-god Hercules, located in Numidia, Gaul and Greece, and Dacia, while examining a wide range of material, including sculpture, numismatics, inscriptions, and small finds. Important for understanding the formation of Roman identity, Ad Mediam - an ancient curative sanctuary of thermal springs located thirty miles from Trajan{\textquoteright}s bridge into Dacia (roughly modern day Romania), like other healing sites, supported transprovincial networks and served as important arena of cultural, social, religious, and political transmission in the Roman Empire. Through an analysis of space, dedicatory activity, representation strategies, and the natural environment, past interpretations regarding the significance of material culture in the context of healing sites are here reconsidered. Engaging with later historiography, this dissertation strives to integrate a variety of objects and material culture more typically treated separately in the specialized literature in order to challenge assumptions about the homogeneity of Roman "provincial" material culture and to explore the importance of stylistic variety, objects{\textquoteright} use values, and the importance of the natural and built landscape in the formation of Roman identity.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Mitrovici, Ana} } @mastersthesis {11983, title = {Ornament and Art Theory in Ancient Rome: An Alternative Classical Paradigm for the Visual Arts}, year = {2015}, school = {Chicago}, abstract = {This dissertation identifies an overlooked classical conceptual paradigm, used to theorize visual culture in Ancient Rome. It contends that, alongside the Greek-derived ideal of the {\textquoteright}great artist{\textquoteright}, there existed a contemporaneous Roman paradigm that stood in tension with this, and conceptualized visual works, not in terms of their internal dynamics, wrought through an artist{\textquoteright}s skill, but rather in relation to their external impact upon the environment in which they were exhibited. This paradigm was expressed through the language of {\textquoteright}ornament{\textquoteright}. This project first analyses the application of this overlooked concept in extant Latin and Greek texts of the Roman Empire to reconstruct this ancient aesthetic perspective. It subsequently demonstrates how this notion fundamentally shaped Roman visual culture, informing the commissioning, production, and viewing of Roman works in civic space, domestic environments, and funerary monuments. The category of ornament emerges as a paradigmatic concept for the Roman visual arts.}, keywords = {Ancient Greek/Roman Art}, author = {Barham, Nicola Jane} } @mastersthesis {12160, title = {Painting against the Grain of History: Radical Traditionalism in Twentieth-Century German Art}, year = {2015}, school = {Stony Brook}, abstract = {Focusing on the years immediately following World War I and concluding with the present, this dissertation examines the connections across a range of artists and periods in German art in terms of what I will call radical traditionalism. This analysis involves the work of George Grosz, Otto Dix, Gerhard Richter, and Neo Rauch, all artists who, despite their differences in styles and contexts, can be grouped together in their commitment to bringing forth a heterogeneous vision of figurative painting that looks beyond the limitations that have tended to frame the discussion of artistic modernism, namely, the opposition between abstraction and representation. These artists have in common not only a desire to engage with their world through figuration, but also through the adoption and adaptation of traditional models of painting that had been marginalized in mainstream modernism. Nonetheless, their turn towards tradition is anything but conservative or reactionary, as such turns in the twentieth century typically have been conceived, particularly in the long shadows of fascist and socialist realisms; neither does it represent the traditionalism that was a favored tactic of postmodern artists. Examining the work of these artists within a critical framework that draws upon Bertolt Brecht{\textquoteright}s conception of dialectical realism, Walter Benjamin{\textquoteright}s theory of allegory, Theodor Adorno{\textquoteright}s discussion of natural history, and Kaja Silverman{\textquoteright}s theory of analogy, among others, this dissertation argues that these artists produce a critical, dialectical form of realism expansive in its outlook and form, borrowing from tradition to put it into productive dialogue with their own historical moments and in ways that expand the concept and practice of realism, pointing to its continued significance in the present and future.}, keywords = {Twentieth-Century Art, Visual Studies/Visual Culture Studies}, author = {English, Travis} } @mastersthesis {12022, title = {Painting and Theater in France during the Eighteenth Century}, year = {2015}, school = {IFA/NYU}, abstract = {This dissertation concerns the relationship between painting and theater during the late-seventeenth and eighteenth centuries in France. It is intended to redress the somewhat fragmentary way in which individual aspects of this subject have been studied thus far in literature on the history of art as well as theater. Each chapter treats a distinct topic pertaining to the painting-theater affinity. While the material is essentially chronological, these topics are, where appropriate, briefly traced beyond the chronological scheme. Chapter One, "Acting Painting and the Passions," considers the history of the role of acting and acting theory in the development of seventeenth- and eighteenth-century painting. In particular, the significance of bodily and facial gesture in the practice and depiction of rhetorical expression is studied with evidence from theoretical texts on art, science and theater as well as historical accounts of actual performance practices. Chapter Two, "History Painting and Court Theater," and Chapter Three, "Costume Portraiture and the Theatre de Societe," concern the iconography and patronage of painting and theater at court and among the aristocracy. These chapters record the numerous-and heretofore largely unremarked-instances in which painting (or printmaking) and stage productions during the late-seventeenth and early-eighteenth centuries share specific subject matter and allegorical content. Chapter Four, "Salon as Spectacle," addresses the way in which painting and theater were often connected in the livrets and art-criticism related to the annual painting Salon, including parodic discourse. Chapter Five, "Tableau-Vivant," contains a discussion of how commercial theater drew on painting, transforming celebrated paintings of the day into staged scenes, or tableaux-vivants . It also considers the extensive influence that painters exerted on theatrical costume reform, especially during the vogue for neo-classicism. The implication of this thesis is that the relationship between painting and theater in France, especially during the eighteenth century, takes the form of a complex matrix through which the theory and practice of both arts, as well their official, aristocratic, critical and popular audiences, are wholly interdependent.}, keywords = {Baroque and 18th-Century European}, author = {Carroll, Stephanie} } @mastersthesis {12059, title = {Painting Authenticity: Intersections in the Lives and Art of Zhang Yu, Huang Gongwang, and Ni Zan}, year = {2015}, school = {IFA/NYU}, abstract = {This study explores the relation between individual and collective practices and concerns, and between painting strictu senso and the closely related practices of calligraphy, poetry, and criticism, during the second half of the Yuan dynasty (1271-1368). This period cuts across the biographies of the three intellectuals and artists, Zhang Yu (1283-1350), Huang Gongwang (1269-1354), and Ni Zan (1306-1374), who belonged to different generations and very different social backgrounds. Their practices are examined in relation to material reaching back into medieval and ancient times. The Yuan dynasty was an era of significant discontinuities in society and art. Changes happened within one generation or less, allowing us to observe the effects within the lifespan of individual artists. The second half of the Yuan dynasty saw the consequences of the interruption of normative dynastic forces previously defining the elite{\textquoteright}s life and career, especially in the south, far from the Mongol capital. This political and social change meant more freedom for, but also demanded more personal decisions from, artist-intellectuals than before. Zhang was an acclaimed poet, calligrapher, and influential professional Daoist of the important southern Shangqing order. Huang, an orphan from a poor family and administration clerk falsely accused of being complicit in his supervisor{\textquoteright}s criminal activities, and Ni, son of a wealthy landowner who apparently had to sell off his property and turned to a recluse-like life, were Daoist adherents. The three men formed a small group with particularly strong ties. While Huang and Ni later became famous especially for their painting, Zhang has been little studied, to the point of being largely disregarded in Western scholarship. And yet Zhang, as this study shows, was not only a role model for both, but was a moral and intellectual authority for many intellectuals in the south, particularly after the death of Zhao Mengfu (1264-1322), with whom Zhang had maintained a close relationship. From an in-depth study of key artworks, it becomes apparent that the three intellectuals developed in their visual art production a discursive engagement with topics such as moral authenticity and the evaluation of historical role models. They not only drew on models from the recent past such as Qian Xuan (c. 1235-before 1307) and Zhao Mengfu, but also and especially employed discursive modes from as early as the eleventh century BCE until the Six Dynasties period.}, keywords = {East Asia}, author = {Augustin, Birgitta} } @mastersthesis {12105, title = {Painting in Paris: Vincent Van Gogh, 1886-1888}, year = {2015}, school = {Temple}, abstract = {In Painting in Paris: Vincent Van Gogh, 1886-1888, Christa DiMarco explores the two-year period Van Gogh lived and worked in Paris. The paintings the artist made in The Netherlands, where he lived prior to Paris, and those he produced in Arles, where he moved afterward, usually receive scholarly attention. The imagery from the artist{\textquoteright}s time in the capital is generally marginalized. DiMarco considers how and why the artist used a brighter palette and energetic brushwork while painting in Paris. Considering that his artistic practice spanned only a decade from 1880 to 1890, the artist{\textquoteright}s time in the capital represents a significant period of growth in terms of his engagement with the art market, his exposure to avant-garde imagery, and his understanding of Symbolist theory in the visual arts. Van Gogh accomplished significant goals in Paris, though some of his well-developed imagery does not necessarily figure into discussions regarding the canonical paintings of the artist{\textquoteright}s body of work. Attention to the Paris-period not only locates Van Gogh{\textquoteright}s pictorial development within the context of the Impressionists and Neo-Impressionists, but also establishes the ways in which the artist diverged from the artistic aims of the Parisian avant-garde, such as Claude Monet and Camille Pissarro, as he developed his Symbolic approach.}, keywords = {Nineteenth-Century Art}, author = {Dimarco, Christa} } @mastersthesis {11978, title = {Palatial Paintings and Programs: The Symbolic World of the Egyptian Palace in the New Kingdom (c. 1550-1069 BCE)}, year = {2015}, school = {IFA/NYU}, abstract = {Recent studies of ancient Egyptian palatial architecture and literary references to the palace have demonstrated that these buildings functioned as a microcosm for the divinely created universe. Yet details about which specific environments within the universe the palace was meant to replicate are scarce. Instead, one must turn to the mechanism that was mostly responsible for transforming these simple mudbrick buildings into complex mythological spaces: the words and images that adorned almost every surface. The walls, floors and ceilings of the royal palaces of the Egyptian New Kingdom were, like many buildings in ancient Egypt, covered with complex visual programs, mostly executed in paint on plaster. For more than a century, these paintings have been regarded as little more than an attempt to create a visually pleasing space for the king. Yet our new understanding of Egyptian palaces, as well as the transformative power of visual programs within Egyptian architecture, suggest that this was not the case. This dissertation provides first a holistic study to the evidence for image programs from palatial settings. This evidence suggests a number of different motifs used within the palace throughout the Egyptian New Kingdom. The symbolic meanings imbedded in these images of these varying motifs, which are explored in detail, all indicate that palatial wall paintings were designed to replicate a specific space and time as described in Egyptian solar cosmogonies, the eastern horizon at the moment the sun first rose from the primordial waters. In the Egyptian worldview, this mythological location, and the activities carried out within, were the embodiment of the universe in its purest and most perfect form. The placement of the king within the ordered universe at this moment of solar creation provided the king with the legitimacy necessary to rule.}, keywords = {Ancient Egyptian/Near Eastern Art}, author = {Salland, Patrick} } @mastersthesis {12163, title = {Para-realism and the Early Sculpture of Rachel Whiteread}, year = {2015}, school = {IFA/NYU}, abstract = {"Para-realism and the Early Sculpture of Rachel Whiteread" proposes a new framework for examining the work of this pioneering British artist. Focusing on select examples of Whiteread{\textquoteright}s sculpture from the late 1980s through the 1990s, the dissertation advocates a new paradigm for addressing her work that is anchored in the stylistic, thematic and political roots of nineteenth-century realism and its later twentieth-century incidences in England. Surveying the current state of literature on Whiteread, the dissertation begins by demonstrating the limitations of the current modes through which the work is typically analyzed. This chapter establishes the need for an alternative model that takes into account the works{\textquoteright} great attachment to the real-world objects and spaces from which Whiteread casts. Subsequent chapters take up the term "realism" and argue for its continued relevance in contemporary art, particularly Whiteread{\textquoteright}s. Though the term might suggest a rear-guard or antiquated approach to art making, certain facets of realism remain absolutely relevant, opportune, and central to accessing more fully much of Whiteread{\textquoteright}s oeuvre. The discussion also provides a way forward for realism in the twentieth century-how it might be opened up to accommodate and coexist with other theoretical modes of study. Later chapters look closely at Whiteread{\textquoteright}s earliest works, from sculptures produced in graduate school to the casts of small domestic objects to her larger projects like House, (1993) and Water Tower (1998), which were mounted in public spaces. It is the intention of this project to redirect critical discourse on Whiteread{\textquoteright}s work away from earlier interpretive modes limited to its relation to Minimalism, artistic biography, and memory. Instead, this dissertation offers a new framework that highlights the singular way her oeuvre engages with a particular type of actual, lived experience. This text demonstrates the extent to which Whiteread{\textquoteright}s work mines the terrain of the everyday, ultimately revealing details, reflections, and commentaries that enable viewers to consider more deeply the exigencies of their own daily lives.}, keywords = {Twentieth-Century Art}, author = {Burnett Abrams, Nora} } @mastersthesis {12049, title = {Patronage, Power, and Aesthetic Taste: The Marketing of James McNeill Whistler{\textquoteright}s Art and Legacy}, year = {2015}, school = {Rutgers}, abstract = {This dissertation focuses on aspects of the work and reputation of James McNeill Whistler. I argue that by striving to control the dissemination of his artistic vision Whistler was able to reach an unprecedented vast international audience. Nationalism, as it appeared under various guises in art throughout the nineteenth century, here is understood as the driving force in the growth of a global art community, which began in the late eighteenth century, when the ideology of nation-states began to shape cultural production. I am particularly interested in how Whistler dissolved this notion of a national project. To accomplish this goal I will track modalities, or pathways of cultural transmission, by exploring different ways Whistler connected with international artist peer groups, implemented exhibition strategies, and communicated to his patrons when producing and selling his prints and drawings that depict the body. Throughout his career Whistler experimented with ways to capitalize on the new networks of communications, developed by the emerging progressive journals and art galleries, ultimately establishing a significant impact on the agency an artist retains when forming his or her reputation in the twentieth century. Within the international art market, Whistler revolutionized the role of the artist by experimenting with marketing devices. Managing the propagation of his work and aesthetic values through targeting groups of patrons, strategic exhibition programs, and establishing a network to support his work within specific art markets allowed the artist to secure his legacy with the canon of the history of art. Broader implications of my study offer new insights to the emerging art markets in the long nineteenth century begging the re-consideration of Whistler{\textquoteright}s oeuvre based in a single country, arena, or media. Connecting the early success of Whistler{\textquoteright}s Thames Set etchings, the Venice Pastels exhibition at the Fine Art Society in London, and finally the late lithographs and pastel drawings, to the artist{\textquoteright}s devoted practice of drawing the figure emphasizes the importance of these works of art to understand how Whistler created an aesthetic dialogue with his audiences.}, keywords = {Drawings/Prints/Works on Paper/Artists{\textquoteright} Books, North America}, author = {Rodgers, Josephine} } @mastersthesis {12080, title = {Per Sanctum Vultum de Luca! Il Volto Santo and its Relic Cult during the Late Eleventh through Thirteenth Centuries}, year = {2015}, school = {Florida State}, abstract = {Contemporary pilgrimage activities associated with the Volto Santo may be traced to the origins of the cult, which, as I argue in this dissertation, was established in the late eleventh century. I propose this new date of the cult{\textquoteright}s establishment, as well as its development and promotion in the twelfth and thirteenth centuries, based on research in the areas of Lucca{\textquoteright}s political, religious, and economic histories, as well as other Lucchese relic cults, the hagiographic and iconographic traditions associated with the Volto Santo, other competing relic cults in Tuscany, and the impact of Lucca{\textquoteright}s textile industry. This dissertation provides the first substantial contribution to the art historical contextualization of Il Volto Santo during the latter Middle Ages by investigating the intricate relationships between the religious, political, and economic affairs involving the Volto Santo during the late eleventh through thirteenth centuries. In addition, it complements the growing scholarship dedicated to pilgrimage studies associated with the Via Francigena.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Fee, Carey} } @mastersthesis {12147, title = {Photography, Video, and Mutilated Bodies: Constellations and Paradoxes in the Representation of Current Violence and Internal Conflict in Contemporary Art in Colombia between 1991 and 2012}, year = {2015}, school = {Stony Brook}, abstract = {How do contemporary artworks address and give visibility to the wounded body without reinvigorating trauma, without repeating the spectacular and homogenizing strategies used by the media? How do artworks move beyond denunciation to aesthetically and historically name and rearticulate bodily violence? And fundamentally, how do artworks offer an historical understanding of the political historicity of contemporary violence without uncritically resorting to myth and structural trauma? We intend to answer these questions within the context of art and violence in Colombia in 1990s. In this direction, we examine four artworks produced between 1993 and 1998, by artists Alberto Baraya, Clemencia Echeverri, Jose Alejandro Restrepo, and Juan Manuel Echavarria; artworks that deal with the challenge of thematizing trauma and memory of violence in conditions of coloniality, particularly in relation to spectacular and terrifying mutilations produced during the period. These artworks have been traditionally regarded in terms of a registration or denunciation of violence and (neo)colonialism, or else in terms of registration of collective trauma. In this study, however, we show that these works also problematize themselves with regards to such acts of registration and denunciation [in order to] critically address cultural mechanisms of memory. More precisely, we argue that these artworks inaugurate an effort of offering decolonial redistributions of the sensible that reveal, interrupt, and rearticulate ways in which historical trauma and loss have been problematically assumed, by Colombian society at large and artworks in particular, in terms of myth, absence, and transhistorical structural trauma. We finally analyze these group of artworks as a constellation (i.e., bringing them together without reducing one to the other or to a general idea), and build from them a map that help us to conceptualize how they mobilize techniques of parody and subversion in order to deal with trauma and loss. This map may serve, in the future, for further studies of artworks produced during the period and later. In this study we have interpreted and appropriated Dominick LaCapra{\textquoteright}s analysis of absence, loss and trauma, Jacques Ranciere{\textquoteright}s notion of redistribution of the sensible, and Santiago Castro-Gomez{\textquoteright}s and Ramon Grosfoguel{\textquoteright}s decolonial proposal.}, keywords = {South America, Twenty-First-Century Art}, author = {Guerrero-Hernandez, Juan Carlos} } @mastersthesis {12172, title = {Picasso{\textquoteright}s Guernica in the Shadow of Incandescence}, year = {2015}, school = {Virginia}, abstract = {This thesis is an analysis of electric light and depictions of the light bulb in Pablo Picasso{\textquoteright}s oeuvre beginning with two cubist works from 1912 and 1914, and recurring with great significance in 1935, reaching a symbolic apogee in the masterpiece, Guernica, 1937, and thereafter granting its continued importance in war-time and post-war still lifes. The overlooked importance of the light bulb-the only technological element in a vast repertoire of figures founded upon Antiquity, Alchemy, various mythologies and everyday items that took highly symbolic form in his portraiture, still lifes, and other genre scenes-is considered for the diachronic mode of its dispersal with respect to the specific contexts in which it is seen. The filament light bulb conjoins other important themes in Picasso{\textquoteright}s work, but it is distinguished in all circumstances through a conception of malevolence and evil and the breakdown of the natural order of the world as he saw it; that is, as a devolution of the domain of light as the common Good, as a waning life force. Electric light is taken along side Picasso{\textquoteright}s "candles of war" that evolve from his adept and keen awareness of the symbolic power of light as a progeny in Barcelona in 1895. Written in five illustrated chapters, the dissertation begins with an overview of the impact that electric light had had upon late nineteenth and early twentieth century life, in Paris in particular, as a scientific advancement, par excellence, and as a new cultural icon. Walter Benjamin{\textquoteright}s thesis on the Marxist notion of the phantasmagoria is considered apropos the exceptional electric lighting campaigns of the Paris World Expositions of 1881 and 1900 in which various advancements in the technology of the light bulb contributed to the sense of overall "blinding" as a pacification of the masses. This prologue builds to an analysis of Guernica that premiered at the Spanish Republic Pavilion in the Paris Exposition Universelle of 1937 amidst an incandescent extravaganza that was adroitly organized for sociopolitical, capitalist, and fascist agendas, especially by the Third Reich who utilized lighting programs as a tool of propaganda. In that the light in Guernica is a panoptical eye powered by a single, dangling bulb, Picasso countered the prevailing excessive theatrical incandescent culture with an image that has become one of the most potent anti-war icons of the warring twentieth century: the electric sun. The thesis takes into account alterations of the sun as a degraded, inverted, and mocked signifier of sacred light. I demonstrate that from 1930 to the conclusion of Guernica in June of {\textquoteright}37 how images of the sun were central to Picasso{\textquoteright}s ongoing ire against the war in Spain and the burgeoning realities of fascist aggression in pre-World War II France. Given the extraordinary lambency of incandescence and its symbolic impact, beyond the real ways in which it reshaped perception in early modern life, expressed in every epoch of modernism, including cubism, futurism, rayonism, surrealism, constructivism, and vorticism, and in the literary arts, heterogeneous types of electric light and light bulbs may be claimed as the most singularly potent emblems of new utopias and tomorrows borne from the catastrophic strain caused by the Great War and the interwar years leading up to the Spanish Civil War and World War II. In that Picasso{\textquoteright}s light bulbs are taken for their explicit correspondence to acts of violence, scenes of death and sacrifice, and as a penultimate signifier of darkness-in-the-light, the dissertation identifies the "seraphim light bulbs" of bullfight scenes from 1934-35 that have not been recognized and are indisputable precursors to the electric sun in Guernica. Furthermore, attention has been paid to the morphology of the wire filament both in 1914, identified as the "Filament-Harlequin," and in 1937, in which I identify the filament in the electric sun as an approximation of the Luftwaffe flight patterns for the aerial bombing scheme in the destruction of the Basque village, Gernika.}, keywords = {Twentieth-Century Art}, author = {McKinnon, Luanne} } @mastersthesis {12140, title = {Picturing Number in the Central Middle Ages}, year = {2015}, school = {Michigan}, abstract = {Numeracy was as highly valued as literacy in the schools of Latin-speaking Europe around the year 1000, and the skills inculcated by masters, engendering specific modes of seeing and imagining, had demonstrable impact on contemporary visual culture. The trivium-grammar, rhetoric, and dialectic-continued to be taught as the foundation of learning, but the quadrivium, the four disciplines of number-arithmetic, geometry, astronomy, and music-received new emphasis. Two of the era{\textquoteright}s greatest intellects, Gerbert of Aurillac (Pope Sylvester II; c.940-1003) and Abbo of Fleury (c.944-1004), gained renown for their mathematical prowess and charismatic teaching. They educated a generation of Europe{\textquoteright}s powerful elites-including Emperor Otto III-and a host of anonymous clerics, monks, and priests. In the closed economy of the central middle ages, these men were also the primary patrons, makers, and viewers of objects. Works of the time, like the Pericope Book of Henry II, reveal new qualities when examined through the lens of number. This project is located at the cathedral school of Reims and the monastery school of Saint-Beno{\^\i}t-sur-Loire (Fleury)-where Gerbert and Abbo were masters, epicenters of a pan-European network of exchange linking monastic, episcopal, and lay institutions. Numeric knowledge was drawn from late antique and early medieval tracts by such figures as Boethius, Calcidius, Macrobius, Martianus Capella, Cassiodorus, Isidore of Seville, and Bede. Manuscript copies of these works produced and used at Reims and Fleury c.1000 give evidence of active engagement with their content, visual as well as verbal. Diagrammatic images earlier devised to explicate numeric concepts were now adapted and artfully elaborated for classroom use. This is evident in important introductions to the quadrivial disciplines prepared by Abbo (Explanatio in Calculo Victorii), Abbo{\textquoteright}s student Byrhtferth of Ramsey (Enchiridion), and Gerbert (Isagoge geometriae). Accompanying images to these tracts are witness to contemporary notions of materiality, sight, and the limits of representation. Students of arithmetic became freshly attuned to placement and order. Computistic study developed an active, agile, and "curious" eye, while the practice of geometry exercised the intellectual eye, sharpening it, according to Gerbert, "for contemplating spiritual things and truths."}, keywords = {Sixth Century CE to Eleventh Century CE Art, Visual Studies/Visual Culture Studies}, author = {McNamee, Megan Camille} } @mastersthesis {12009, title = {Places of Performance: Baldassarre Peruzzi (1481-1536), A Renaissance Painter-Architect}, year = {2015}, school = {Virginia}, abstract = {With far-reaching consequences, early modern painters in cities like Rome bent established rules of the guild system and participated in the building industry which had been traditionally controlled by masons and carpenters who had expert knowledge on construction materials. My dissertation examines the career of Baldassarre Peruzzi (1481-1536) as one of the best examples of the "pittore- architetto" (painter-architect) - an important yet little-studied professional trajectory that emerged in the Renaissance art world. By appropriating into the structural design process both, techniques and theories from the representational arts, painter-architects like Peruzzi actively helped transform architecture from a mechanical art to a visual (and therefore a liberal) art with consequences that continue to guide practice to this day. This dissertation considers Peruzzi{\textquoteright}s skillful synthesis of media as a case study to explore broader questions on Renaissance creativity and disciplinarity. The project not only offers a new synthetic profile of this influential figure, but also argues for a more inclusive approach towards the history of the arts - moving away from the medium-specific model that has dominated modern historiography.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Hara, Mari Yoko} } @mastersthesis {12073, title = {Pleasure and the Body: The Bath in Eighteenth-Century French Art and Architecture}, year = {2015}, school = {UNC Chapel Hill}, abstract = {This dissertation examines the eighteenth-century French interest in the bath from the perspective of the arts, evaluating a wide range of material, including paintings, sculptures, printed images, and architectural interiors. The primary period under review (circa 1715-1785) saw a revival of bathing practices in France after nearly two centuries of decline; concurrently, artists and patrons increasingly turned to the contemporary-rather than classical or biblical-bather as a subject of art, and specialized suites for bathing were incorporated into private residences with greater frequency than ever before. I investigate the relationship between these related developments in the social practice of bathing and the arts, tending to the ways in which representations of and architectural spaces for bathing both reflected and helped to shape period attitudes towards the bath. The significance of the visual material, however, extends beyond illustrating an increasingly promoted activity. Bathing was, I contend, an ideal subject through which eighteenth-century artists and architects might engage with new understandings of the body. Of particular interest is the association of the bath with various sensory (and at times, sensual) pleasures, a connection present in a variety of eighteenth-century texts, including personal writings and architectural treatises. Throughout the study, I examine the ways in which pleasure is central to both the works of art and architecture themselves and the viewer{\textquoteright}s reception of them, focusing on the role of gender within this process. Further supporting my analysis with medical guides, philosophical texts, and literary works, I explore the complex interconnections between bathing and emerging discourses on aesthetics, pleasure, sensation, and physical health in eighteenth-century France, producing new interpretations for a corpus of visual material that has been only superficially understood.}, keywords = {Eighteenth-Century Art}, author = {Arpen, Katherine J.} } @mastersthesis {12011, title = {Politics, Controversy, and Design in Post 9/11 American Mosques: The Islamic Society of Boston Cultural Center, Roxbury, Massachusetts}, year = {2015}, school = {Binghamton}, abstract = {Most studies on mosque architecture in the U.S. examine the purpose-built mosque in an isolated manner based on an object-centric approach by focusing on the built structure, stylistic aspects, and components of design. These studies characterize the mosque through typologies of finished products and built exemplars, yet ignore the transformative, extended, and often contested process of design that leads to the realization of these structures. The previous research fails to explain the forces and conflicts behind mosque construction and how these forces and conflicts operate within the wider socio-economic and political context of specific Muslim communities. This dissertation provides an alternative critical framework to understand mosque architecture in the U.S. by focusing on the production process that situates the mosque within its wider socio-economic and political context in the last decade post 9/11. It looks at the mosque as a result of a combination of complex and shifting processes influenced by a variety of forces and individuals. Through a close examination of the production process of The Islamic Society of Boston Cultural Center (ISBCC) in Roxbury, Massachusetts, this dissertation contributes a profound understanding and new definition of the American mosque. In this dissertation, I trace the process of making the mosque from its very early inceptions in the early 1980s until the final completion of its first built stage in 2009. By doing so, I will show how the mosque was developed conceptually and architecturally in a fluid process that was influenced by several factors like the ethnic make-up of the Muslim community, funding agencies, political influences, the authoritarian power of the Boston Redevelopment Authority, the architect{\textquoteright}s desires, as well as codes and regulations.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Ibrahim, Anwar} } @mastersthesis {12183, title = {A Politics of Action: Hans Haacke in Germany, 1972-2006}, year = {2015}, school = {UIUC}, abstract = {Examining the works of Hans Haacke (b. 1936, Cologne) made in and about Germany between 1972-2006, this dissertation argues that the investigation of that country{\textquoteright}s political structures comprises the very core of Haacke{\textquoteright}s motivating concerns. Haacke{\textquoteright}s long-term interrogation of German politics, now extending over more than three decades and including museum, gallery, and public art projects, reveals a new and crucial way of understanding his overarching enterprise, one which developed in direct response to the history of Nazi Germany and its aftermath in the following decades. His determination to figure out how things work stemmed, I argue, from his drive to understand how the Nazi history came to be, and to work against a repetition of such events in the future. In early work this focused on physical and biological systems before moving into the political sphere, examining how powerful people and institutions operate and act in the world according to their interests. The generous attention to the aftermath of Haacke{\textquoteright}s most provocative works in both Germany and the United States, while certainly central to his oeuvre, has obscured crucial attention to the initiation of his work. I consider Haacke{\textquoteright}s work in light of Hannah Arendt{\textquoteright}s proposition of action, which focuses on the outset of a project and its inherent potential to initiate a process in a new direction. My chapters correspond to the central themes in Haacke{\textquoteright}s German works-memory, the public sphere, and participatory citizenship-and are organized in terms of the "what," "where," and "how" of these projects. His individual works comprise a larger inquiry into the failures of Germany{\textquoteright}s work of coming to terms with the past and are a type of memory work, but one attuned to historical recovery rather than trauma or mourning. In so doing, they engage questions of the "public," both in physical terms of public space as well as in an engagement of public audiences, and generate a version of Arendt{\textquoteright}s "space of appearance," in which participants come together to examine and debate contentious histories and their current implications. Ultimately, I argue, Haacke{\textquoteright}s works take on the fraught and sweeping question of citizenship in Germany-of who is included or excluded from the German people either by prejudice or law-and carry an implicit call for participation that challenges the interests of large-scale institutions. Accounting for multiple moments of first West Germany{\textquoteright}s and then reunified Germany{\textquoteright}s efforts to define themselves, I contextualize Haacke{\textquoteright}s German works within the larger question that underlies this dissertation, and in which they are necessarily situated, namely, Germany{\textquoteright}s postwar reckoning with its history.}, keywords = {Twenty-First-Century Art}, author = {Ewing, Margaret} } @mastersthesis {12152, title = {Politics, Poetry, and the Figural Language of South Asian Textiles, 1600-1730}, year = {2015}, school = {Yale}, abstract = {This dissertation is the first account of the period sensibility that informed the production, reception and circulation of textiles in early modem South Asia and throughout the broader world. The project deploys diverse source materials - silken textiles, small-scale Mughal paintings, courtly and mercantile Hindi poetry, East India Company letter books, and royal inventory records - to craft a history of textiles within the Mughal court, the Deccan sultanates, the kingdoms of Rajasthan and the burgeoning European empires. Despite the consolidation of power under the Mughal Emperor Akbar and his successors, seventeenth-century regional courts in Rajasthan and the Deccan maintained distinct cultural practices. Gifts of textiles acted as diplomatic emissaries on behalf of the Mughal nobility, while cotton cloth traded between the Deccan and Rajasthan brought the cosmopolitan visual culture of the Indo-Islamic world to provincial Rajput courts. When European merchants and diplomats arrived in the early seventeenth century, they encountered a finely-tuned language of textile patterns, colors and textures. This language was comprehensible to provincial courtiers but remained opaque to the foreign arrivals. The dissertation examines the local, regional and global trade in seventeenth-century Indian textiles to reveal three broader facets of early-modern South Asia: the existence of inter-regional networks of cultural exchange, the worldliness of the South Asian elite, and the active participation of cloth in the politics and pageantry of courtly life. The five chapters provide focused accounts of textile circulation and consumption that, when taken together, illuminate forgotten social and political practices of early modem South Asia. The first, chapter focuses on figural silk textiles from Safavid Iran that bore imagery and inscriptions from Persian romance poetry. When imported by the Mughal elite, the cloth introduced a layer of signification into Mughal visual culture that was more expressive than the strictures of imperial painting would usually allow. The second chapter uses courtly inventory records and Hindi mercantile poetry to show how textiles imported into the Rajput court of Amber-Jaipur from Iran, Bengal and the Deccan transformed the spaces of the remote fort and reoriented the courtly imaginary. The third chapter moves to the production and materiality of painted cotton cloths, showing how varying dye colors and painting techniques are revelatory of changing artisan networks in the northern Deccan, where Persian migrations and the appearance of the Dutch and English East India Companies altered artistic practices. The fourth chapter focuses on a series of monumental painted cotton textiles that were made in the Deccan sultanate of Golconda. The chapter uses descriptions of urban life and festivals from Persian-language histories to show that the images on the cloths, long thought to be merely decorative, are truly complex portraits reflecting a diverse and prosperous society. The fifth chapter examines the moment when painted cotton cloths traveled from India to Britain, where they revolutionized female embroidery practices and the interior of the British home. The dissertation shows how in South Asia{\textquoteright}s history, textiles reshaped architectural spaces, religious rituals, political dynamics, social hierarchies, intimate encounters and literary tropes. Far from serving as mere commodities in a long-distance trade, textiles were the agents of spatial, social and sensory transformation.}, keywords = {South Asia/South East Asia}, author = {Houghteling, Sylvia} } @mastersthesis {12052, title = {Politics, Punishment, and Prestige: Images of Johan van Oldenbarnevelt and the States Party in the Dutch Republic, 1618-1672}, year = {2015}, school = {Northwestern}, abstract = {This dissertation offers an account of the formative role art played in the identification of political factions whose antagonism structured the Dutch Republic-and simultaneously addresses perceptions of justice, legitimacy, and cultural memory in the northern Netherlands and early modern Europe more broadly. It focuses on images that were enlisted in the formation and representation of two opposing factions-the pro-stadholder Orangist faction and their opponents in the "Arminian League" (before 1650) and the States Party (after 1650)-whose rivalry over the course of the century structured this new early modern state. The primary subject is the representation of Johan van Oldenbarnevelt (1547-1619), who opposed the quasi-monarchic rule of the newly founded Republic by Stadholder Prince Maurits of Orange-and who lost his life as a result, when Maurits engineered his trial and execution. Throughout the seventeenth century, politically engaged citizens employed a wide range of representations of Oldenbarnevelt that were supplied by economically and politically motivated artists and publishers to advocate for their ideals; Oldenbarnevelt was a hero to the States Party in the seventeenth century and to the Patriots in the eighteenth century. By analyzing these images in light of state formation, legal practices, theological debates, and contemporary notions of honor and infamy, this dissertation offers an innovative and compelling account of the visual rhetoric of early modern Republicanism. Chapter One examines prints from 1618-1619 that attempt to justify Oldenbarnevelt{\textquoteright}s downfall by depicting him as the head of the "Arminian League," an imagined coterie of treasonous statesmen and spiritual leaders. Chapter Two explores strategies printmakers used to express a partisan bias in images of the punishment of this league in 1619. Chapter Three analyzes prints and paintings made after a foiled plot to assassinate Prince Maurits in 1623 that endeavor to persuade viewers about the import of the conspirators{\textquoteright} actions and Oldenbarnevelt{\textquoteright}s legacy. Chapter Four considers images and objects related to Oldenbarnevelt from the Stadholderless Period (1650-1672) that hail him as a political martyr, foreshadowing the politically-motivated murder of Johan and Cornelis de Witt. The epilogue gives an overview of the continued significance of Oldenbarnevelt for eighteenth-century artists.}, keywords = {Drawings/Prints/Works on Paper/Artists{\textquoteright} Books}, author = {Warren, Maureen} } @mastersthesis {12079, title = {The Portrait Potential: Gender and Devotion in Representations of Book Owners in Northern French Prayer Books, 1230-1330}, year = {2015}, school = {Bryn Mawr}, abstract = {As the representation of specific, identifiable persons in art, portraiture often reflects ideas of selfhood or individuality while simultaneously participating in their construction. Since the introduction of physiognomic likeness into the visual language of western portraiture in the mid-fourteenth century, this quality has come to exemplify the portrait{\textquoteright}s capacity to represent an individual subject. Yet, although likeness and portrait have become synonymous in modern parlance, portraiture as a form of representation predates the addition of likeness to its semiotic system. This dissertation explores the reception of portraits in the absence of physiognomic likeness through a study of medieval "owner portraits," the deceptively simple representations of book owners in their prayer books. A group of eight illuminated books of hours and psalter-hours produced in northern France between 1230 and 1320 displaying a remarkable number of owner portraits provides a wealth of evidence for the study of the motif. Although formulaic in appearance, owner portraits have the capacity to convey a range of identities that shift and expand based on the context of their reception. As the first chapter demonstrates, owner portraits signify identity by inviting the self-identification of their viewers, who recognize their own performances of piety anticipated in the images. This understanding allows for further deconstruction of the markers of identity embedded within the portrait image. The second chapter examines the gendered imagery of the owner portrait through the metaphor of the mirror, as medieval rhetoric feminized the act of introspective viewing associated with mirrors and books alike. Rather than faithful records of religious use, owner portraits must be understood as ideological images that construct literate devotion in the Middle Ages as a feminine activity. The third chapter explores further the issues of gender and identity in manuscripts that juxtapose male and female owner figures. In representing distinct masculine and feminine modes of prayer alongside one another, such manuscripts invite cross-gendered reception of owner images, even while asserting essentialist modes of devotion. The final chapter addresses the effects of repetition specific to this group of manuscripts. Portraits repeated throughout a book evoke a ritual time that collapses not only past and present, but also future. In looking to the future, the portraits embrace their subjects{\textquoteright} mortality, accommodating reception by later viewers while also promising eternal life. The manuscripts discussed in this work include: the Aspremont-Kievraing Prayer Book (Oxford, Bodleian Library MS Douce 118 and Melbourne, National Gallery of Victoria inv. 1254-3); the Baltimore-Paris Psalter-Hours (Baltimore, Walters Art Museum MS W.113 and Paris, Bibliotheque nationale de France MS nouv. acq. lat. 915); the Cambrai Hours (Cambrai, Mediatheque municipale MS 87); the de Brailes Hours (London, British Library Add. MS 49999); the Franciscan Psalter-Hours (Paris, Bibliotheque nationale de France MS lat. 1076 and Marseille, Bibliotheque municipale MS 111); the Margaret Hours (London, British Library Add. 36684 and New York, Morgan Library MS M.754); the Metz Psalter-Hours (Metz, Bibliotheques-mediatheques MS 1588); the Morgan Hours (New York, Morgan Library MS M.92); and a book of hours in the collection of Renate Konig, Cologne.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Doyle, Maeve} } @mastersthesis {12166, title = {Portraits in Dialogue: A Reconsideration of Egon Schiele{\textquoteright}s Portraiture}, year = {2015}, school = {Bryn Mawr}, abstract = {With few visual precedents, Egon Schiele (1890-1918) was the first artist to systematically explore double self-portraiture{\textquoteright}s potential to convey multiple meanings, by painting, drawing and collaboratively photographing thirteen works in the genre. In this dissertation, I argue that these works reflect Schiele{\textquoteright}s interest in establishing a deep engagement with the viewer. I consider Schiele{\textquoteright}s double self-portraiture in two distinct categories: as an original, intended group from 1910 and 1911 that, borrowing from two of the works{\textquoteright} titles, I call the Self-Seers, and as a sequence of unique, experimental works after 1913. While the Self-Seers paintings exhibit Schiele{\textquoteright}s concern with the act of viewing, his subsequent works suggest double self-portraiture{\textquoteright}s potential to be multivalent, engaging with the opposite qualities such as inner and outer, the spiritual and the mundane, and death and life in a highly experimental, yet strategic manner. To Schiele, the work of art is itself an animate being and art itself is eternal. His views on art{\textquoteright}s eternal nature stand in stark contrast to the impermanence of selfhood that scholars agree was his deepest concern, as evinced by his serial self-portraits. While his double self-portraits evoke similar themes found in the Romantic Doppelganger topos, Schiele{\textquoteright}s interpretation of topics such as mirror images, shadows, and death are distinct from it because he does not depict his double as a threat. Instead, the doubles beseech the viewer to be understood differently, for their kinship with the metaphysical to be explored and even embraced. These singular works address Schiele{\textquoteright}s creative concerns as well as the preoccupations of Viennese culture, and they display his capacity to create art that is thoughtful and thought provoking, presenting an unexamined facet of Expressionistic art.}, keywords = {Twentieth-Century Art}, author = {Felton, Lori} } @mastersthesis {12075, title = {The Power of Friendship: Amity and Politics in European Art and Gardens of the Eighteenth Century}, year = {2015}, school = {Georgia}, abstract = {The attention that Enlightenment philosophers and their patrons and readers paid to theories of friendship in the eighteenth century has been examined by cultural historians. Yet, art historical interest in the subject has been limited to the iconography of friendship deployed around 1750 by the marquise de Pompadour, royal mistress of the French king Louis XV, to secure her position after the end of their sexual relationship. Examining the numerous allegories commissioned by elite European patrons before and after Pompadour{\textquoteright}s death, my research challenges the assumption that an iconography of friendship began and ended with the marquise. It identifies the actual and metaphorical settings of Pompadour{\textquoteright}s and other patrons? allegories that were located in gardens characterized by their remove from court and city and by the emerging English landscape style, and it contextualizes these sites of friendship within a contemporary critical discourse on the nature and existence of friendship. Enlightenment thinkers, especially the French Voltaire, the marquise de Lambert, and the English Joseph Addison and Alexander Pope debated the nature and existence of friendship in society throughout the eighteenth century. They considered who should be counted as a friend, the extent of friends? obligations to each other, the function of friendship, and the possibility of true and perfect friendship. They were informed by philosophers of antiquity, the Renaissance, and the seventeenth century who had written on friendship and who, like their eighteenth-century counterparts, found true friendship to be a rare virtue. The dissertation begins with the contemporary literature on friendship and a re-examination of the marquise de Pompadour{\textquoteright}s friendship iconography, and it concludes with the project initiated by the Russian empress Catherine the Great to memorialize her friend, Voltaire. These two patrons of friendship allegories, like the others discussed here, variously found themselves on the margins of the elite societies to which they desired membership, and they deployed their representations of friendships as claims to such status. Their allegories of friendship commemorated personal relationships, but they were also means by which they claimed to possess the virtue of friendship and to share that virtue with select, influential friends.}, keywords = {Eighteenth-Century Art}, author = {Everhart, Emily} } @mastersthesis {11977, title = {The Practices and Meaning of Reuse in Egyptian Royal Contexts}, year = {2015}, school = {Emory}, abstract = {The reuse, appropriation, usurpation, or renovation of predecessors{\textquoteright} monuments by kings was a continual, frequent occurrence throughout pharaonic history, roughly 3000 to 30 BCE. This dissertation interprets the practice of reuse within the context of ancient Egyptian kingship by looking at precedents for appropriation scholarship in discourses in other areas and disciplines, including but not limited to late Roman, medieval, and modern and contemporary art history. Through the compilation of a catalogue of reused royal objects found in museum collections in Europe, Britain, and the United States, the dissertation argues that reuse was not isolated to any one site, period, or reign in Egyptian history and the performance of reuse was part of the practice of kingship. The ideological grounding of the Egyptian worldview suggests that while some acts of reuse may have been convenient or had a practical outcome, the act of reuse itself was never neutral in the context of Egyptian kingship. Each individual act of reuse was the result of a decision-making process which may be opaque to modern scholars but was nevertheless a complicating and significant factor in its performance.}, keywords = {Ancient Egyptian/Near Eastern Art}, author = {Kreiter, Rachel} } @mastersthesis {11971, title = {Primitive before Primitivism: Medieval and African Art in the 19th Century}, year = {2015}, school = {Columbia}, abstract = {This dissertation chronicles how medieval, and particularly Romanesque art, came to be understood as "primitive" and "originary" throughout the nineteenth century. I argue that because Romanesque sculpture was perceived to be both an anterior and foreign style, its alterity disturbed the linear nationalistic narratives being developed throughout the nineteenth century. The rediscovery of Romanesque monuments, following a fraught and violent period of destruction, confused the entire notion of "origins," because even though they were ancient, they lacked purity and innovation. Romanesque art was non-naturalistic, de-centralized and did not conform to the established aesthetic canons of the time in which it re-entered the European imagination. Theoreticians{\textquoteright} engagements with Romanesque furnished them with language and a model of comparison for the great variety of nonwestern, and mostly non-naturalistic, styles that were brought back to Europe during the same period. I propose that Primitivism developed as a strategy of identity formation arising out of an unprecedented and radical disavowal of the past during the French Revolution, in which medieval art played a generative role. Each chapter traces the interdependence of margins and metropoles in the concomitant fashioning of national and colonial identities, as France gradually intensified its expansion into Africa. Through synchronous analysis of new technologies of reproductive media, particularly lithographs and photographs, I argue that neither African nor Medieval art entered the nascent discourse of art history in isolation, as the respective historiographies of those fields would have us believe. Most importantly, my research reveals the intellectual and pictorial dialogue between anthropology and art that lead to the foundation of two seminal museums, The Museum of Ethnography and The Museum of Comparative Sculpture at the Trocadero, by the eminent architect and theoretician, E.E. Viollet-le-Duc. I also argue for the anthropological origins of Art History in the late nineteenth century and the effect that the former{\textquoteright}s methods had on the categorization of certain arts as "primitive." More specifically, I show that perceptions of African art were not conceived in a vacuum, nor did they arise distinct from European material culture and aesthetics. Indeed, both Romanesque and African art were first treated as ethnographic evidence of "primitive" societies steeped in collective ritual, entirely at odds with the individual secularism at the core of Modernity. Since anthropology and ethnography treated visual material as reflections of the stages of civilization rather than as forms with their own self-regulated logic, the theorization of Romanesque and African art was colored by the biases of a different discipline. This pre-history shows that the circulation of African art in the early Colonial period did not engender Primitivism but rather that pre-existent notions of "primitivity" attached to Romanesque sculpture were extended to this newly discovered material culture.}, keywords = {Africa, Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Majeed, Risham} } @mastersthesis {12047, title = {The Print Portfolio and the Bourgeoisie in Fin-de-Siecle Paris}, year = {2015}, school = {CUNY}, abstract = {In fin-de-siecle Paris, the print portfolio experienced a popularity that was unprecedented over the course of its long history. Adapted sporadically by graphic artists from the Renaissance onward, prints were produced as series in greater numbers and by a wider range of artists than ever before between 1880 and 1900, and symbolized new, bold, and varied aspirations for the graphic arts as an original and experimental medium. In addition to its stylistic value, artists valued the print portfolio for the subject matter it could cultivate. A growing number of works produced at this time highlighted social issues and expressed political views, especially given the fluctuating boundaries of public space and morality in fin-de-siecle Paris. Print portfolios often engaged these social shifts and built upon an association between the series and evocative, literary subject matter developed by great printmakers throughout history, from Albrecht Durer to Francisco Goya. Although such works were inevitably produced by male artists, they frequently engaged women as subject matter-less as a means of social activism but rather of symbolism, of revealing a site in which the morals, impropriety, and hypocrisy of the bourgeoisie were exposed. This dissertation argues that the print portfolio provided a direct forum for artistic expression of the growing sense of unrest that followed these shifts and defined life in fin-desiecle Paris. Privately circulated and viewed, print portfolios were revived at this historical moment because they epitomized and brought together those qualities that were most revolutionary about the graphic arts: circulation of ideas, community formation, and subversion of the traditional channels of artistic exchange. Beyond its subject matter, the print series diverged from formal traditions of art production and consumption by allowing extended thematic exploration, technical experimentation, and engaged viewing. This study considers the print portfolio as a material object in order to understand not only its social role in fin-de-siecle Paris, but also the broader cultural, intellectual, and historical issues that this format represented to its contemporary audiences. For the potential it offered artists in terms of both subject matter and visual creativity, the series contributed legitimacy to the graphic arts in nineteenth-century France. As a genre that was embraced by prominent artists of the past and advantageously used the technical properties of printmaking, the portfolio connected a long and respected history of printmaking to its revitalization. Less}, keywords = {Drawings/Prints/Works on Paper/Artists{\textquoteright} Books, Nineteenth-Century Art}, author = {Salsbury, Britany} } @mastersthesis {12135, title = {The Problem of the Missing Museum: The Construction of Photographic Culture in the GDR}, year = {2015}, school = {USC}, abstract = {This dissertation examines the impulse toward the construction of photographic culture in the German Democratic Republic during the Cold War within the Cultural League or Kulturbund and on its periphery. This entailed the creation of a new photographic history to suit to socialist context and, ultimately, led to the idea of a national Museum of Photography. The instances of engagement with the photographic medium, including its historicization and display, presented in this study demonstrate the complexity of photography{\textquoteright}s role within the "official" realm of East German culture, as well as the need for more fleshed-out historical explorations of its institutions and initiatives, as well as the historical actors who engaged with the photographic medium. The GDR{\textquoteright}s answer to The Family of Man, the 1967 exhibition Vom Gluck des Menschen or On the Happiness of People, was designed by staunch socialists Rita Maahs and Karl-Eduard von Schnitzler. It confronted the Western example of Edward Steichen{\textquoteright}s universal humanism with a view of the human family that was intended to portray the socialist human family as a triumph of the socialist project initiated by the October Revolution. Meanwhile, within the Kulturbund, the construction of a GDR-specific photographic culture called for a new history of photography, focused primarily on the Weimar-era leftist activist Worker Photographers as representatives of the international worker{\textquoteright}s movement. Throughout initiatives aimed toward forming this history through publications and exhibitions, signs pointed to the need for the establishment of physical collections and a photography museum to house them. The second half of the dissertation first highlights the history and international context of a small museum for photography that existed for 12 years in Dresden, Walter Hahn{\textquoteright}s Museum fur Photographie. It then shows the various attempts made from 1970 to place photography in the museum, including Ullrich Wallenburg{\textquoteright}s work at the Staatliche Kunstsammlungen Cottbus to building a collection of photography in his museum, and Ulrich Domrose{\textquoteright}s research project on the early history of GDR photography from 1945-1960, which would eventually become the photography collection of the Berlinische Galerie post-1989. Initiatives conceived within the Kulturbund involved complex, unrealistic plans for photography museums without the collection to fill them. Ultimately, this study details the various attempts within the "official" culture of the GDR to confront the "problem of the missing museum".}, keywords = {Photography, Twentieth-Century Art}, author = {Goodrum, Sarah} } @mastersthesis {12191, title = {Programming Archipelago: Digital Visual Cultures and Nationalism in Indonesia}, year = {2015}, school = {Rochester}, abstract = {Programming Archipelago explores how practices in computer programming have transposed the ways in which narratives of nationalism are constructed visually and conceptually in everyday public discourse in post-authoritarian Indonesia (1998-present) by examining the emergence of "digital nationalism"-a new mode for imagining the construction of national identity through the mediation of software codes and algorithms. As an emerging economic power, Indonesia has been expressly enthralled by the use of digital technologies as an avenue for political and cultural participation after the fall of Suharto{\textquoteright}s regime in 1998. When Indonesian student activists used the internet as an alternative medium for organizing their protests that led to the collapse of the regime, the moment represents a significant instance of the Indonesian people{\textquoteright}s on-going experimentation with digital media as a conceivably empowering medium. This dissertation sets up from this moment of transformation to chart changing conceptions of nationalism in popular discourse propagated by the logic of computer programming. Instead of focusing mainly on the causal effects of digital nationalism in the realm of Indonesian politics, this study scrutinizes the process of this experimentation to show the significance of software and its programmability in redefining Indonesian archipelagic identity. Using approaches in software studies and digital ethnography, this dissertation demonstrates how technological affordances of three digital media formats-Free Open Source Software (FOSS), video games, and social media-have portrayed Indonesian nationalism in ways that highlight three most basic aspects of digital media use: open, playable, and distributed. Consequently, it highlights how optimism in the projects of constructing "digital Indonesian archipelago" elucidates the under-examined relationship between "post-nationalist" views of contemporary digital collaboration and the nationalistic aspirations of the Indonesian digital generation. Exploring the relationship between computer programming and the collective imagining of nationhood is a central goal of Programming Archipelago. Through its readings of multiple figurations of digital nationalism, this dissertation produces a more nuanced account of how people in non-western contexts deal with the portrayal of the digital as a liberating technology in our contemporary era. In the end, it demonstrates the continued and unstable entanglement between technological visions and identity formations.}, keywords = {Visual Studies/Visual Culture Studies}, author = {Zulkarnain, Iskandar} } @mastersthesis {12176, title = {Public Construction: Christo and Jeanne-Claude{\textquoteright}s "Running Fence"}, year = {2015}, school = {IFA/NYU}, abstract = {Christo and Jeanne-Claude{\textquoteright}s Running Fence - an 18-foot high, 24.5 mile long ribbon of white nylon - was installed in the hills of Northern California for two weeks in September 1976. The creation of Running Fence occupied forty-two months of collaborative effort, fundraising, and political wrangling, including more than a dozen public and court hearings. Following the completion of the project, Christo and Jeanne-Claude released several documentary accounts of the work: a lavishly illustrated, limited edition monograph designed by Christo, and an hour-long film directed by Albert and David Maysles and Charlotte Zwerin. Departing from previous accounts of the project, and of Land Art in general, this dissertation posits a complex definition of the work that includes the process and recorded history of its production, with special emphasis on the interaction between the project{\textquoteright}s authors (Christo and Jeanne-Claude) and the wider network of individuals and organizations that variously facilitated and obstructed the development of Running Fence. Factors such as financing, organization, construction, documentation, representation, and legitimation, often considered secondary to the identity or meaning of the work, are shown instead to be constitutive. Finally, this comprehensive description of a single project seeks to offer a new approach to the critical analysis of Land Art, one that addresses the degree to which the physical ambition of such a work differentiates its conditions of production from other modes of artistic practice.}, keywords = {Twentieth-Century Art}, author = {Rabinowitz, David Jacob} } @mastersthesis {12058, title = {Putting Lhasa on the Map: 18-20th Century Depictions of the Capital{\textquoteright}s Monuments}, year = {2015}, school = {Ohio State}, abstract = {Scattered among the world{\textquoteright}s museum and library archives are a curious type of Tibetan art about which little is known: the indigenous paintings of Lhasa. These variegated works display the city{\textquoteright}s existing monuments, including the Potala palace, Jokhang temple, the great monastic centers and other recognizable sites from Lhasa valley and beyond, which drew so many monks, pilgrims and visitors over the centuries (themselves featured in the paintings engaged in a variety of activities and significant formal events). As visual images the paintings function in many realms and defy traditional modes of classification. These works are simultaneously representations of the physical world but also abstracted, selective and heavily edited re-imaginings. As distinct and individual artistic expressions, they reveal their makers{\textquoteright} and their patrons{\textquoteright} perceptions and desires about Lhasa, the cultural and spiritual heart of Tibet. These images are puzzling, for not much is known about the specific circumstances that produced them or the purposes they may have fulfilled. Until now, this unique sub-genre has not been studied in depth or collectively on the large-scale. This dissertation is an effort to fill that gap by drawing together dozens of Lhasa paintings for the first time, providing a body of material to be analyzed and explored. This study is divided into two parts. The first two chapters provide an analysis of what is seen is in the Lhasa paintings, their visual program and appearance. I show that, to some extent, this group had conventions of iconography and composition which simultaneously made their subject recognizable while also purposefully distorting and re-envisioning the subject. The last two chapters seek the broader contexts of art history, history and culture in which these works were situated. I show that the Lhasa paintings emerged as a distinct artistic genre in the 18th century, but have as their roots various distinct artistic traditions, including traditional Tibetan portraiture. I also evaluate roles sometimes ascribed to these works, specifically that they function as pilgrimage paraphernalia or as maps. I show that the Lhasa paintings operate outside conventional classifications and that they offer scope for many different readings.}, keywords = {East Asia}, author = {Arthur, Brid} } @mastersthesis {12062, title = {Qian Du (1763-1844) and the Senses in Early Nineteenth-Century Chinese Literati Painting}, year = {2015}, school = {Princeton}, abstract = {The works of the literatus painter Qian Du (1763-1844) are examined in this dissertation for their particular use of sensuous allusion to secure social relationships. Qian Du was considered by his contemporaries to be one of the most renowned artists of his generation. But that generation has been overlooked by modern historians of Chinese art who have preferred to write about artists involved in stylistic and political revolution. A fundamental aspect of literati painting culture that those historical biases have encouraged us to forget is the role of the senses. As this study of Qian Du shows, literati paintings were keystone objects that secured social relationships within networks of elites in early nineteenth-century China, and sensuous allusion was a central tool for referencing the knowledge and experiences shared among those elites. Chapter One lays the groundwork for this argument with a biography of Qian Du followed by a historiographic critique of modern literati painting scholarship. Each of the next three chapters isolates a literati material culture with which Qian Du{\textquoteright}s painting intersected and shows how painting could document the senses of touch, smell, and hearing experienced in the practice of those material cultures. Chapter Two describes the prominent theme of tea appreciation in Qian Du{\textquoteright}s painting and the ways in which the fleeting fragrances, sounds, and tastes of tea could be cued in a literati painting. Chapter Three isolates the haptic qualities of the "archaic and awkward" brushwork adopted by Qian Du from the study of epigraphic inscriptions. Chapter Four describes the ways that Qian Du alluded to fragrances in his plum blossom paintings in order to describe the upstanding character of his fellow literati. Combined, these chapters draw from recent work on material and visual culture in order to redirect the insights of those fields back onto painting studies, unsettling it from myopic interests in stylistic precedents and avant-garde political messages by telling the story of an underrated artist and his depictions of the sensuous experiences of the early nineteenth-century literati world. The dissertation concludes by asking what a sensuous history of literati painting could look like.}, keywords = {East Asia}, author = {Hatch, Michael} } @mastersthesis {12013, title = {Rationalism and Ruins in Roma Mussoliniana: The 1934 Palazzo del Littorio Competition}, year = {2015}, school = {Columbia}, abstract = {This dissertation examines the intersection of architecture, urban planning and archaeology in Mussolini{\textquoteright}s Rome; in particular, it focuses on the first competition to build the Palazzo del Littorio (1934), the Fascist Party headquarters, on the Via dell{\textquoteright}Impero. The competition is singularly important as a barometer and benchmark of Italian interwar architectural practice in the period when the country was at the apogee of its self-confidence and international regard. Yet it was also a moment of aesthetic crisis, when the two stylistic poles of modernism and traditionalism oscillated between acceptance and censure in a struggle to be the dominant style of the professional establishment. At issue in the Palazzo Littorio competition was the prized objective of giving monumental definition to Fascist identity that would resound across the ages. This study traces the attempt of modernist critics and architects, such as Pietro Maria Bardi and Giuseppe Pagano, to make avant-garde architecture the de facto architecture of the state. The Palazzo Littorio competition tested Italian modernism{\textquoteright}s capacity to create a suitable representative structure and confront the problem of monumentality. The competition was also inextricably linked to the transformation of the central archaeological area through excavations and road building. The palazzo{\textquoteright}s site in the ancient center of Rome made it the primary example of the regime{\textquoteright}s attempt to associate contemporary buildings with Roman ruins and thereby root itself in imperial Rome. This study describes the vast program of excavations in the city center and the creation of the Via dell{\textquoteright}Impero, a road framed by ruins transformed into a scenographic backdrop to urban spectacle. The objective is not only to illuminate the contours of the competition and the intersection of architecture and archaeology, but also to elucidate the means by which architects answered the dual demands of rhetoric and ruins in the heart of the Eternal City.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Manson, Andrew} } @mastersthesis {12000, title = {The Reach of the Pit: Negotiating the Multiple Spheres of the Chicago Board of Trade Building in the Late Nineteenth Century}, year = {2015}, school = {Penn State}, abstract = {This dissertation centers on the Chicago Board of Trade Building, designed by William W. Boyington, completed in 1885 and demolished in 1929, as a significant example of shifting social and cultural values that were responses to larger transformations in the city{\textquoteright}s economy. Serving as the region{\textquoteright}s central grain exchange, the monumental Board of Trade Building in downtown Chicago bridged the far-reaching palpable repercussions of industrial capital{\textquoteright}s expansion into Midwestern agriculture with the less conspicuous representational and conceptual evidence in the everyday experience of the built environment. Architectural histories have afforded little room for this building since its appearance seems to preclude it from its more progressive neighbors- the early skyscrapers of Chicago built at the same time. The Chicago Board of Trade Building, as well as the multiple spheres that intersected with it, uncover a contested terrain between the processes of commercial and industrial capitalism and expose the "modernity" of the city to be a matter of a difficult transition. This analysis repositions this building{\textquoteright}s significance as an important example of early corporate identity formation, a negotiated image within a contested field of commercial dominance, new forms of capital security and risk, changing definitions of social space and morality, and especially interpretations of public and the common good.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, North America}, author = {Tritch Roman, Gretta} } @mastersthesis {12180, title = {Realism and Representation: Arman, 1954-1964}, year = {2015}, school = {Johns Hopkins}, abstract = {This dissertation, "Realism and Representation: Arman, 1954-1964," examines the first decade of Arman{\textquoteright}s career as a self-proclaimed realist, and offers a new account of four key series he produced in that period: the Cachets, Allures d{\textquoteright}objets, Accumulations, and Poubelles. Arman{\textquoteright}s early work, which involved first the indexing of real objects and then the display of the objects themselves, was understood at the time as an art of presentation rather than representation, a means of skirting the problems associated with transcribing or even altering "the real." That interpretation was espoused by the critic Pierre Restany, who championed Arman as the ultimate practitioner of Nouveau Realisme, a kind of neo-dada realism based in the direct appropriation and presentation of objects from the world, without any intervention on the artist{\textquoteright}s part. Arman{\textquoteright}s practice came to be seen as purely objective -a simple embrace of reality itself as art - and that reading has persisted in the scholarship since the 1950s. This dissertation instead contextualizes Arman{\textquoteright}s artworks within the complex set of renegotiations occurring in his particular historical milieu, and argues that the former are part of a highly intentional and individual project which participates in the larger artistic, literary, and cultural conversations of his time, most crucially the interrogation of the notion of "the real." I suggest that Arman{\textquoteright}s early artworks represent a sustained and powerful engagement with the dialectics of directness and mediation, presentation and representation, and the possibilities for realism therein.}, keywords = {Twentieth-Century Art}, author = {Watson, Jennifer} } @mastersthesis {12116, title = {Re-Framing the American West: Contemporary Artists Engage History}, year = {2015}, school = {Kansas}, abstract = {This study examines contemporary artists who revisit, revise, reimagine, reclaim, and otherwise engage directly with art of the American Frontier from 1820-1920. The revision of the historic images calls attention to the myth and ideologies imbedded in the imagery. Likewise, these contemporary images are essentially a framing of western imagery informed by a system of values and interpretive strategies of the present. The re-framing of the historic West opens a dialogue that expands beyond the frame, to look at images and history from different angles. This dissertation examines twentieth- and twenty-first century artists such as the Cowboy Artists of America, Mark Klett, Tony Foster, Byron Wolfe, Stephen Hannock, Bill Schenck, and Kent Monkman alongside historic western American artists such as Frederic Remington, Charles M. Russell, Timothy O{\textquoteright}Sullivan, Thomas Moran, W.R. Leigh, and Albert Bierstadt. The goals of the contemporary artists vary greatly, but collectively they challenge the notion of a singular history and interpretation of the American West. They examine the way in which the American West was framed through history, contributing to our understanding of both the nineteenth-century images and the contemporary experience.}, keywords = {North America, Twenty-First-Century Art}, author = {Besaw, Mindy} } @mastersthesis {12056, title = {Re-Imaging China: Ai Weiwei and Contemporary Chinese Art}, year = {2015}, school = {Iowa}, abstract = {This dissertation connects the life and work of Ai Weiwei to Chinese art history. This field is dynamic and, during certain periods, an influx of outside ideas has revolutionized it. Ai{\textquoteright}s belief in democratic values-criticized as being anti-Chinese-is part of a tradition in China emphasizing diversity. From the Hundred Schools of Thought (zhu zi baijia) during the Warring States (475 BCE-221 BCE) to the spread of Buddhism during the post-Han era (220-589), divergent thinking has been part of China{\textquoteright}s intellectual development. This diversity, however, has been crushed by ideology during other periods. Ai embraces diversity as the future of China. His life and work reestablish a narrative of Chinese intellectual history. This narrative is free from ideological mandates to erase the past. Ai looks at everything critically. His art reveals new ways of understanding China. His career also corresponds to the policies of opening China known as Gaige kaifang. As a result, economic issues are recurrent themes in Ai{\textquoteright}s work. He questions the value of liberalizing China{\textquoteright}s economy when political and judicial systems are still closed. This contradiction could have manifold consequences to the world. Another feature of Ai{\textquoteright}s work is the legacy he inherited from his father, the Modern poet Ai Qing. This legacy is being tasked with modernizing China. The issues about modern China are addressed in this dissertation, and it is contextualized according to a balance between Western and Chinese thought. Ai has passed down this legacy to young artists, and his example recalls the axiom "the green comes from the blue and will surpass it" ( qing chu yu lan, er sheng lan. A student{\textquoteright}s abilities have the potential to surpass the teacher{\textquoteright}s talent. Ai Qing was a great poet, but his son is his "masterpiece." Ai Weiwei has hope that the next generation will be better than his. The way they improve it is by including heterodox voices in Chinese society. China is ascendant, but its opaque system appears to be contradictory to Ai{\textquoteright}s desire for transparency and the sharing of information globally. The future could resemble the lamenting of Lu Xun{\textquoteright}s provincial character Jiujin laotai: "Yes, indeed. Each generation is worse than the last." Ai{\textquoteright}s life and work show that the future of China is far from being determined. What is certain, and what Ai has done through his art, is that China and the world must be engaged. Human rights, specifically the freedom of expression, are paramount. The outcome of the twenty-first century depends on it.}, keywords = {East Asia, Twentieth-Century Art}, author = {Peterson, Nathan J.} } @mastersthesis {12189, title = {Relief Effects: Giotto{\textquoteright}s Triumph}, year = {2015}, school = {Yale}, abstract = {Relief Effects: Giotto{\textquoteright}s Triumph establishes a hitherto unacknowledged connection between Giotto{\textquoteright}s Cappella degli Scrovegni in Padua and a specific set of ancient Roman monuments. The chapel will be shown to constitute a response to the Arches of Titus and of Constantine on the occasion of the First Jubilee (1300): Erected on the ruins of antiquity, the Arena Chapel celebrates the historical triumph of the Trinity in the form of a double triumph of Mary and Christ. The interior bay of the Arch of Titus, containing polychrome reliefs with triumphal scenes in the side walls and the apotheosis of Titus in the center of the vault, would be transformed into the two halves of the uniquely shaped, tunnel-like chapel: One vault shows Mary and baby Jesus in a faux stone frame, the other Christ as Pantocrator in dematerializing ornaments. The doubling of the vault counters the hubris of the ancient Emperor with Marian and Christian humility. The entire chapel presents itself as a complex visualization of the Incarnation not only in allegories, but in its medial qualities and gradations of illusionism. The architectural simulation and the sophisticated program behind setting up the storiated fields as simulacra of ancient Roman polychrome reliefs is explained in relation to Padua itself, the university town with special interests in optical studies and in teaching with objects, the ancient town of Livy. It is highly likely that the program was developed by Giotto in discussion with at least one theologian or scholar. The model of the Titus reliefs for the scenes of the Lives of Mary and Jesus is crucial: Giotto, so my argument runs, inaugurates the early modern image, that which Alberti later calls storia, by transforming ancient polychrome reliefs from specific Roman monuments into painted simulacra on the walls of that chapel in a unified faux marble system of frames, pilasters, and marble paneling. This first resurrection of the ancient-pagan model of representation, the maniera latina, in a Christian place of worship depends on St. Augustine as historical and theological hinge between the worlds of classical paganism and of Christianity. Famous texts such as his City of God but also his theories on the three visions of God (corporeal, intellectual, and spiritual) can help to explain the chapel{\textquoteright}s iconographic, stylistic, and architectural choices. Dante and other contemporary authors will complete the literary context on relief, mimesis, and triumphs. Three methodological strategies apply: Firstly, a classical art historical analysis (Chapter I, Effigies), secondly, a consideration of the Augustinian theology, other poetic concepts, and the historical context in relation to the chapel (Chapter II, Logos), and thirdly the concept of relief effects in painting embedded in the critical assessment of nineteenth- and early twentieth-century scholarship (Chapter III, Ekstasis). There are consequences for the Assisi controversy: Once the Paduan scenes are considered as relating like simulacra to that ancient model in polychrome relief, they can no longer serve as the traditional standard for Giotto{\textquoteright}s style, and the obvious stylistic differences between Assisi and Padua suddenly make sense instead of throwing into question Giotto{\textquoteright}s authorship for Assisi. The connection between the Roman reliefs and the Paduan paintings relates to Giotto{\textquoteright}s contact to ancient predecessors, to contemporary sculptural models, to the problem of idolatry, to Byzantine imagery and aesthetics, and to the question of naturalism, life-likeness, and mimesis. Finally, the tone-setting Giotto historiography from the nineteenth and early twentieth centuries helps explaining why the very obvious Roman connection of this famous monument has not yet been considered in its entirety in the scholarship of the past centuries. The most profound consequence of Giotto{\textquoteright}s singular project appears to be the generation of a new kind of spectatorship: The viewer is called to decipher the messages given by the medium and to decide about the nearness, distance, and materiality of the represented matter. Relief effects in painting are defined as an intra-pictorial phenomenon that organizes the relation between two- and three-dimensional elements within the representation in relation to the picture plane, and then in relation to the viewer. This heightened role for the viewer leads back ultimately to Augustine, from whose thought the chapel{\textquoteright}s program seems to stem. If this lineage underscores the building{\textquoteright}s debt to the past, the profound impact of these effects on the following centuries of Western art demonstrates that it looks just as much into the future.}, keywords = {Visual Studies/Visual Culture Studies}, author = {Lange, Henrike} } @mastersthesis {12064, title = {Representing Difference: Early 20th-Century Japanese and Korean Art}, year = {2015}, school = {Chicago}, abstract = {This dissertation examines the various ways in which Japanese and Korean artists depicted colonial Korea (1910-45) within the formation of a modern East Asian artistic canon. Through an examination of imperial Japan and colonial Korea, the project contributes to the field by taking as its premise that the modern histories of Japan and Korea cannot be adequately grasped without extensive reference to each other. The emphasis here is two-fold: to examine the nuances of the Japanese cultural gaze upon colonial Korea but also to consider how Korean artists returned this gaze as they both engaged in modernism{\textquoteright}s call to test the limits of representation. The modern Japanese encounter with colonial Korea was articulated through a self-conscious gaze that immediately transformed both the colonizer and the colonized: to look at colonial Korea was to distinguish its differences and performances of identity and to exemplify what made Koreans Korean for an external observer. Concurrently, the awareness of being gazed at instigated in Korean artists a consciousness of the need to assert Korea{\textquoteright}s cultural distinctiveness of within Japanese imperial culture. I explore how Japanese and Korean artists experimented with new forms of representation and responded to Western artistic movements as they developed a shared visual culture, despite the history of their uneven and oppositional relationship under colonialism. I argue that four newly reformulated genres were inaugurated as Japanese and Korean artists alike strove to fulfill the challenges of artistic modernism: the picturesque East Asian landscape; the self-portrait of the East Asian artist; the modern beauty; and images of "local color." In reconsidering these images as a single corpus, I expand the conceptualization of modern art to include paintings and prints that were discounted previously as artifacts of imperial conflict.}, keywords = {East Asia}, author = {Lin, Nancy} } @mastersthesis {12028, title = {Revolutionizing Modernities: Visualizing Utopia in 1960s Havana, Cuba}, year = {2015}, school = {Duke}, abstract = {In 1967 a massive graphic print based on Cuban photographer Alberto Korda{\textquoteright}s world famous image of Che Guevara was draped over the five-story Ministry of Interior Building in Havana{\textquoteright}s Plaza de la Revolucion. The print became the iconic image of the Cuban Revolution, reaching beyond its architectural surface into an international market of consumer-based goods. My dissertation is concerned with the ways in which Cuba{\textquoteright}s architectural past was put to very different use by the Cuban Revolution, and how Cuban modernity was re-imagined in new architectural projects, in the governmentally supported visual arts, and in curatorial work which brought the fine and popular arts into Cuba{\textquoteright}s new and re-inhabited spaces. Drawing from critical theory, formal analysis, and methodologies of art and architectural history along with visual studies, I explicate the ways in which art, design and architecture play a significant role in mediating a revolutionary mythology. I argue that national identity, or cubanidad, becomes reliant on such a mythology of revolution, defined by a Third World solidarity and Cuba{\textquoteright}s position within a broader socialist world as much as it is by local elements. My dissertation explores the history of the Cuban Revolution{\textquoteright}s visual culture in six thematic chapters, looking at themes such as modernities, revolution, appropriation, utopia, propaganda, and postmodernity. Each chapter explores developments in the relationship between art and architecture, and situates 1960s Havana within Cuba{\textquoteright}s broader history as a republic and a colony. Concerned with the role the visual and spatial played within a socialist setting, Cuba became a productive platform to engage in international debates regarding modernity at the height of the Cold War era. My dissertation examines how Cuba deliberately projected its modernity to the world via architecture and the arts, and how these visual and spatial manifestations speak to the utopic character of modernity within Latin America and the Caribbean.}, keywords = {Central America and Caribbean, Twentieth-Century Art}, author = {Rivera, Alfredo} } @mastersthesis {12024, title = {Sacrificing the Jaguar Baby: Understanding a Classic Maya Myth on Codex-style Pottery}, year = {2015}, school = {UT Austin}, abstract = {The Jaguar Baby vessels belong to a large corpus of Late Classic Maya pictorial ceramics dubbed Codex-style pottery and originating from archaeological sites, such as El Mirador and Nakbe, in the north-central area of Peten, Guatemala, where they were made for a brief period shortly before and/or after the turn of the eighth century AD. Through strategic juxtapositions of images and words, the vessels convey the story of a rain god and a death spirit who, in the darkness between the sun{\textquoteright}s setting and dawn, sacrifice an infant, a jaguar, or an infant with jaguar traits on a mountain in the midst of water, as an offering during the conjuring of an elderly deity. New evidence from a fragmentary Codex-style vessel recovered from the site of Calakmul in the southern half of Campeche, Mexico, suggests that the sacrifice is part of a pre-accession ritual serving to endow royal heirs with the ability to conjure, which, in turn, was integral to assuming the throne.}, keywords = {Central America and Caribbean, North America}, author = {Steinbach, Penny} } @mastersthesis {12083, title = {The Santo Sepulcro in Torres del Rio (Navarra): Historiography, National Identity, and a Reconsideration of {\textquoteright}Mozarabic{\textquoteright} and {\textquoteright}Mudejar{\textquoteright} Architecture}, year = {2015}, school = {Bryn Mawr}, abstract = {The church of the Santo Sepulcro in Torres del Rio in the region of Navarra in northern Spain was constructed between 1160 and 1180. Most scholarship conducted in Navarra presents its medieval history through the lens of Christian/Muslim duality, and generally disregards scholarship that investigates the polyethnic nature of medieval Iberian society. In this context the Santo Sepulcro, which is most famous for its interlacing ribbed vault that is often compared to Islamic domes, is an anomaly that challenges standard narratives of Navarra{\textquoteright}s history and art history. The goal of this dissertation is to contextualize the Santo Sepulcro historically and art historically in a way that makes sense of some of its most salient features. The first chapter discusses the state of the problem and proposed avenues for the research presented in the remaining chapters. The second chapter presents the building in detail. Chapter Three builds a historical context for the region of Navarra from its prehistory to the death of Sancho el Fuerte in 1234, approximately fifty years after completion of the Santo Sepulcro. In addition to establishing details of political history that will facilitate later discussions, this chapter looks at the Ebro River Valley as a unified geographic area. Chapter Four turns to the historiography of Navarra and investigates how its national identity is dependent upon standard narratives of its medieval history. Chapter Five uses the analysis of Navarra{\textquoteright}s history to demonstrate how historiography reflects contemporary political and cultural frameworks and impinges on art historical interpretation. I suggest that the Santo Sepulcro is representative of a local style that integrated "Christian" and "Islamicate" elements. Chapter Six bridges the historical and art historical inquiries with a reconsideration of the terms Mozarabic and Mudejar, which designate ethnic groups that lived in medieval Iberia and periods and/or styles of art. The region of Navarra remains at the margins of scholarship conducted in the English-speaking academic community, and one of the goals of this dissertation is to make information available to those unable to engage with scholarship in the language of Castile.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Kim, Robin Haedong} } @mastersthesis {12129, title = {Sarony{\textquoteright}s Living Pictures: Performance, Photography, and Gilded Age American Art}, year = {2015}, school = {Indiana}, abstract = {This dissertation investigates the complex artistic legacy of Napoleon Sarony, a pioneering figure in American photography. Based in Manhattan from 1866 until his death in 1896, Sarony was the most celebrated photographic portraitist of his era, known best for adapting the drama and fantasy of Gilded Age theatre to his construction of public images. Rather than creating straightforward likenesses of his subjects such as Sarah Bernhardt and Oscar Wilde, Sarony used flamboyant pose and costume, elaborate set-pieces and skillful retouching to create what he called "Living Pictures"-expressive portraits that blurred the distinctions between painting and photography, between the realms of performance and everyday life. Drawing upon previously unexamined images and archival materials, this project focuses on four areas of innovation in Sarony{\textquoteright}s practice-his use of role play, his artistic branding of his portrait studio, his orchestration of posed "motion" studies, and his exploitation of mixed media-in order to reveal the photographer{\textquoteright}s largely overlooked role in shaping visual culture between 1865 and 1900. Previous scholarship has either concentrated primarily upon Sarony{\textquoteright}s famous clients or compared him unfavorably with later generations of photographers due to the perceived staginess of his work. In contrast, this study examines Sarony{\textquoteright}s photography and its critical reception within the specific context of late nineteenth-century art and media, arguing that the artifice of his portraiture did not preclude its artistic sincerity, but rather helped to define it for both the photographer and his contemporaries. Building upon recent scholarly studies of skeptical vision, Sarony{\textquoteright}s staged portraiture is considered here as evidence that Gilded Age visual culture rewarded not only the critical identification of deception, but also and equally, the immersive pleasures allowed by a willing suspension of disbelief. Moreover, given the profound cultural significance of the theatre during this period, the study demonstrates how parallels between late nineteenth-century theories of acting, portraiture, personality and aesthetics might offer fuller understanding of the ways period vision and period art reception were informed by the illusive realisms of the contemporary stage.}, keywords = {North America}, author = {Erin Pauwels} } @mastersthesis {12102, title = {The Secret Figure{\textquoteright}: Artistic Anatomy and the Search for the Medical Body in Nineteenth-Century American Art}, year = {2015}, school = {Boston}, abstract = {This dissertation examines nineteenth-century American art and visual and material culture, interrogating the ways that art communicated medical knowledge to artists, doctors, and the public. Attention is paid to the relationships forged between medical professionals and artists via joint endeavors towards understanding human anatomy and picturing the body. These collaborations produced works of art that legitimized American professional medicine and arts pedagogy. Chapter one, which focuses on the display of classical casts at Massachusetts General Hospital, Harvard Medical School, and the Boston Athen√{\textparagraph}um, claims that these idealized sculptures accomplished surprisingly similar ideological ends, enforcing cultural capital while affecting ideas about corporeality. The second chapter analyzes four Southworth \& Hawes daguerreotypes and one print from 1846-47 that depict the first public ether demonstration and two subsequent surgeries in the Massachusetts General Hospital amphitheater. By attempting to photograph ether and pain{\textquoteright}s absence, their production linked medicine with technological and chemical advancements. Chapter three surveys a selection of anatomy illustrations painted between 1849 and 1854 by Oscar Wallis for Dr. Henry Bigelow{\textquoteright}s lectures at Harvard Medical School. These diagrams relate to the development of visual diagnostics, a core goal of the American Medical Association. Chapter four concentrates on the U.S. Army Medical Museum and explores two sets of engravings, fragmented Vesalian torsos and renderings of plaster casts of Civil War amputations, from The Medical and Surgical History of the War of the Rebellion (1861-65). Chapter five evaluates artistic anatomy instruction at the Pennsylvania Academy of the Fine Arts and analyzes Thomas Eakins{\textquoteright}s plaster and bronze anatomical cadaver casts. They mark a significant transition in corporeal representation away from the model elaborated upon in chapter one, which relied on visual translation centralized around idealized proportions and classical models, and towards a tactile understanding of the human body as a medically complex three-dimensional organism. In assessing methods for corporeal representation across the nineteenth century, this dissertation claims that the study of anatomy affected representations of the human body and, through their dissemination, the American publics{\textquoteright} notions about what the human body looked like, how it functioned, and how it should be represented.}, keywords = {Nineteenth-Century Art, North America}, author = {Slipp, Naomi} } @mastersthesis {12061, title = {Seeing the Things You Cannot See: (Dis)-solving the Sublime through the Paintings of Hiroshi Senju}, year = {2015}, school = {Graduate Theological Union}, abstract = {This dissertation explores the artwork and thought of the contemporary Japanese artist Hiroshi Senju, amplifies it through select perspectives from Japanese aesthetics and ethics, and applies them to recent debates surrounding the religio-aesthetic concept of the sublime. It contends that Hiroshi Senju{\textquoteright}s installation artworks evoke a sublime marked by a depth that emphasizes particularity and participation, thereby responding to problems within current discussions of the sublime. The dissertation is organized in two parts. Part one is an exposition and amplification of Hiroshi Senju{\textquoteright}s art. It aims to provide an overview of his work as well as an elaboration of its key insights in dialogue with perspectives within Japanese aesthetics and ethics. First, it provides an overview of Senju{\textquoteright}s oeuvre. Next, it examines a specific work, the Shofuso Japanese House in Philadelphia. Then, it engages with the Japanese aesthetic concept of, yugen, the emphasis on materiality and time in the Japanese aesthetics of nature, art, and the everyday, and Watsuji Tetsuro{\textquoteright}s theory of ethics. Part two applies the results of part one to contemporary debates surrounding the sublime. Recent critiques from different theoretical perspectives-including theological aesthetics, environmental aesthetics, and critical theory-have identified problematic points in the sublime that contain significant ontological, aesthetic, and ethical consequences. After an initial historical survey of the sublime, the individual critiques and their constructive proposals are investigated. Finally, the dissertation considers how the earlier study of Senju{\textquoteright}s art and Japanese aesthetics and ethics compares with the constructive suggestions, highlighting similarities and occasional differences. In these ways, the dissertation interweaves multiple fields of study in order to better appreciate the art of Hiroshi Senju and effectively fashion a bridge toward a more global, sustainable, and peaceful sublime.}, keywords = {East Asia}, author = {Doebler, Peter} } @mastersthesis {12118, title = {Shadow Feminism: Disavowed Feminized Labor in Postwar American Art}, year = {2015}, school = {Minnesota}, abstract = {This dissertation examines the ways in which postwar art historical discourses routinely trivialize feminine creative, emotional, and physical labor, as well as the artists whose work is associated with this labor. It takes form of five case studies, each of which coheres around a different type of feminized laborer, including the domestic, the cook, the entertainer, the hostess, and the widow. It asserts that the labor that characterizes these roles gets written over by art historical practices that cannot conceive of time as doing anything but moving forward, of radicality as involving anything other than rejection of the past and of artistic and social conventions, and of the art object as anything other than autonomously authored and produced. These case studies do not correspond with an examination of four independent artists. Rather, they emulate the gendered work of American kin-work, a set of sustaining practices identified and studied by social scientists since the eighties. Each chapter traces a network of relations between artists whose affiliations are not legible within traditional art historical narratives. The artists who populate this study include a selection of those whose work has been trivialized on the basis of its affiliation with feminized labor, such as Janet Sobel, Lee Krasner, Mierle Laderman Ukeles, Charlotte Moorman, and J Morgan Puett. These artists{\textquoteright} careers span the transition from modernist to postmodernist art practices and several generations of feminist thought. These figures do not just serve to represent exclusion, however. Nor is it this project{\textquoteright}s goal to rescue them from obscurity. When we hold back, in order to survey what art historical narratives have left behind, we find that these remains offer alternative methods of meaning making, methods that abide by, rather than seek to dispel, obscurity. This project looks to other contemporary artists whose work addresses itself to the erasure of feminized creative, emotional, and physical labor-including Theaster Gates, Carrie Mae Weems, Lorna Simpson, and Dario Robleto-to develop these historical methods.}, keywords = {North America, Twenty-First-Century Art}, author = {Joseph, Laura Wertheim} } @mastersthesis {12076, title = {The Sheriff{\textquoteright}s Picture Frame{\textquoteright}: Art and Execution in Eighteenth-Century Britain}, year = {2015}, school = {Yale}, abstract = {This dissertation is the first to consider the relationship between the production of art-its making and its conceptualization-and the spectacle of punishment in eighteenth-century Britain. Throughout this period, public hanging remained the primary means of criminal deterrence in mainland Britain. In many cases, this ultimate penalty was supplemented by others. The corpses of hanged highwaymen were gibbeted; those of murderers dissected and laid open to view. Who attended these events? What were they meant to see, and what-as far as can be told-did they actually see? And how was such seeing understood to enable, impair, or otherwise condition their visual experience of other things-for example, a picture, sculpture, or print? Focusing on Tyburn, London{\textquoteright}s chief execution ground, chapter 1 establishes the public execution as a key site of eighteenth-century British visual culture. With the aid of drawings, prints, newspaper accounts, and other published commentaries, it examines the ritual, space, and spectators of Tyburn, as well as the moral and aesthetic theories that underpinned the executions staged there. The subsequent three chapters unfold as a series of chronological case studies, each one exploring a specific point of intersection between eighteenth-century spheres of punishment and contemporary practices of art making, instruction, and display. Chapter 2 concentrates on the art of William Hogarth and, in particular, on his Four Stages of Cruelty (1751), the most brutally violent of his graphic works. Situating the series in relation to ongoing anxieties and debates over London{\textquoteright}s mounting crime rates, it advances a new reading of this work as one that is centrally concerned with the social and moral effects-the powers and dangers-of spectacular punishment. Chapter 3 investigates the appropriation of criminal bodies for the instruction of artists at London{\textquoteright}s Saint Martin{\textquoteright}s Lane and Royal Academies, focusing particularly on a group of plaster-cast anatomical models produced by the physician William Hunter from the bodies of hanged felons. Hunter{\textquoteright}s casts were conceived as tools of the academy. However, they are also works, this chapter argues, that actively participated in and were fundamentally shaped by contemporary punishment practices. Finally, chapter 4 explores the relationship between the evolving ritual of public execution and a crucial development in the art culture of this period: the emergence of the public art exhibition. Taking its cue from a popular eighteenth-century term for the gallows-"the sheriff{\textquoteright}s picture frame"-it proposes that painting{\textquoteright}s new subjects, audiences, and aims developed in relation and opposition to the "pictures" framed at Tyburn (and later Newgate) gallows, and to the public audiences called forth there. In eighteenth-century Britain, the very notion of the work of fine art-what it ought to look like, how it ought to function, and whom it ought to reach-was defined with and against the sight of execution. Ultimately, this dissertation seeks not only to bring a new set of histories to light, but also to revise long-dominant art-historical narratives. While past accounts have placed overwhelming emphasis on the refinement, modernity, and "politeness" of eighteenth-century British art and culture, this project foregrounds the formative role that brutal and ostensibly pre-modern modes of violence played in its creation.}, keywords = {Eighteenth-Century Art}, author = {Gamer, Meredith} } @mastersthesis {12003, title = {Shiva{\textquoteright}s Waterfront Temples: Reimagining the Sacred Architecture of India{\textquoteright}s Deccan Region}, year = {2015}, school = {Columbia}, abstract = {This dissertation examines Deccan India{\textquoteright}s earliest surviving stone constructions, which were founded during the 6th through the 8th centuries CE and are known for their unparalleled formal eclecticism. Whereas past scholarship explains their heterogeneous formal character as an organic outcome of the Deccan{\textquoteright}s "borderland" location between north India and south India, my study challenges the very conceptualization of the Deccan temple within a binary taxonomy that recognizes only northern and southern temple types. Rejecting the passivity implied by the borderland metaphor, I emphasize the role of human agents-particularly architects and makers-in establishing a dialectic between the north Indian and the south Indian architectural systems in the Deccan{\textquoteright}s built worlds and built spaces. Secondly, by adopting the Deccan temple cluster as an analytical category in its own right, the present work contributes to the still developing field of landscape studies of the premodern Deccan. I read traditional art-historical evidence-the built environment, sculpture, and stone and copperplate inscriptions-alongside discursive treatments of landscape cultures and phenomenological and experiential perspectives. As a result, I am able to present hitherto unexamined aspects of the cluster{\textquoteright}s spatial arrangement: the interrelationships between structures and the ways those relationships influence ritual and processional movements, as well as the symbolic, locative, and organizing role played by water bodies. The project therefore reimagines the Deccan{\textquoteright}s sacred centers not as conglomerations of disjointed monuments but as integrated environments in which built structures interact with, and engage, natural elements, and vice versa.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, South Asia/South East Asia}, author = {Kaligotla, Subhashini} } @mastersthesis {12106, title = {Sleep, Sickness, and Spirituality: Altered States and Victorian Visions of Femininity in British and American Art, 1850-1915}, year = {2015}, school = {University of Washington}, abstract = {This dissertation examines representations in art of the Victorian woman in "altered states." Though characterized in Victorian art in a number of ways, women are most commonly stereotyped as physically listless and mentally vacuous. The images examined show the Victorian female in a languid and at times reclining or supine pose in these representations. In addition, her demeanor implies both emotional and physical depletion, and there is both a pronounced abandonment of the physical and a collapsing effect, as if all mental faculties are withdrawing inward. Each chapter is dedicated to examining one of these distinct but interrelated types of femininity that flourished throughout British and American art from c. 1850 to c. 1910. The chapters for this dissertation are organized sequentially to demonstrate a selected progression of various states of consciousness, from the most obvious (the sleeping woman) to the more nuanced (the female Aesthete and the female medium). In each chapter, there is the visual perception of the Victorian woman as having access to otherworldly conditions of one form or another. In this compelling strand of imagery, the Victorian woman is depicted in a variety of altered states of consciousness. For the first time, this pervasive representation of Victorian femininity is linked to the period{\textquoteright}s medical and cultural discourse. New analysis reveals that these depictions were part of a much greater cultural and artistic fixation that emerged in several forms and originated, in many ways, from within the scientific and medical communities at large. Accordingly, focus is given to the complex interplay between medical "fact" and pictorial interpretation or outright fiction. In addition, a portion of this dissertation delves into the representation of the female Aesthete both in fine art and popular culture. The final chapter contextualizes the female medium within the Spiritualist movement.}, keywords = {Nineteenth-Century Art}, author = {Hereford, Kimberly} } @mastersthesis {12151, title = {Small Town, Incredible Hell: Visual Arts, Advertising, and Mass Media during the Early Democratic Transition in Chile (1988-1994)}, year = {2015}, school = {UT Austin}, abstract = {No record in ProQuest or UT Austin ETDs}, keywords = {South America}, author = {Vidal, Sebastian} } @mastersthesis {12043, title = {The Social Media Image: Modes of Visual Ordering on Social Media}, year = {2015}, school = {Pittsburgh}, abstract = {My dissertation considers the organization of large sets of user-generated photographs across social media platforms, and delineates the ways in which time and place are mediated through their presentation and analyses. Addressing the unprecedented scale of social media visual expressions, together with their implementation, structure and presentation within specific media platforms, I examine how visual social media data is processed, structured, and presented, and theorize the consequences of these forms for the ways we culturally understand and experience contemporary visual information. Taking an integrated approach, this work offers a qualitative and quantitative analysis, and draws on methodologies from media theory, information science, software studies, art history, cultural studies, and computer science. I combine distant critical reading of larger organizational patterns and their cultural meanings (studying visual arrangement in exiting platforms, experimental computational research, and artistic works) with a close analytical reading of groups of photos, using computational and visualization tools. This twin process allows me to develop my theoretical understanding based on particular results, but also illustrates the problem that is the focus of this dissertation: how to understand new visual production scales, their organizations, and their interpretation.}, keywords = {Digital/Internet/New Media}, author = {Hochman, Nadav} } @mastersthesis {11981, title = {The Soft Style: Youth and Nudity in Classical Greece}, year = {2015}, school = {Chicago}, abstract = {This dissertation is a cultural history of an artistic mode, herein named the "soft style", which developed in ancient Greek coroplasty, a modern term for figurines modeled in clay, during the fifth century BCE. The soft style was a new way of representing male and female bodies that has hitherto been attributed to Praxiteles, a fourth century Athenian sculptor who worked in marble and bronze between ca. 370 and 330 BCE. The defining characteristics of the style are the representation of underdeveloped muscles minimally articulated by gradual transitions, smoothened facial features that blend into one another, and an s-curve running through the torso to create the impression of a relaxing pose. This study reconsiders Praxiteles{\textquoteright} contribution to this style in light of broader artistic changes visible in coroplasty, vase-painting, and sculptural relief. Combining visual analyses of surviving artworks that predate Praxiteles with contemporary historical accounts that praise the power of persuasion (peitho), the following chapters argue that the soft style was part of a new conception of masculinity in the fifth century that emerged as an alternative to the established ideal of the citizen-soldier. The style{\textquoteright}s origins are traced from the coroplastic industries of Boiotia and Ionia, where it might have emerged because of clay{\textquoteright}s pliable quality, to its dissemination throughout the Mediterranean via the trade of terracotta figurines. Instead of relying on authorship to explain the style{\textquoteright}s popularity, this study argues that it was fashionable because of its relevance in the contemporary debate regarding the nature of masculinity during a period of socio-political change preceding the rise of the Macedonian empire in the second half of the fourth century. In addition to offering a new history of a prominent artistic style from ancient Greece, this study has several complementary goals relevant to art history, archaeology, and classics. The first is to provide a revised understanding of stylistic change in the visual arts that is documented by specific artworks. Style is typically connected either to an artist or workshop, to a nation or ethnic group, or to a particular historical time period in the history of Greek art. By contrast, this dissertation demonstrates that style could be self-consciously deployed in the Classical period in light of ideological terms that cut across individual persons, cultures, or time periods. In doing so, this project addresses the roles of gender, sexuality, and the family unit in the dialectical discourses of persuasion (peitho) and self-control (enkrateia) as they were defined by opposing modes of representing power during the fifth and fourth centuries BCE. Finally, this dissertation offers an account of how the soft style came to be associated with Praxiteles through an anecdotal tradition that was retroactively used during the Hellenistic and Roman periods to interpret an earlier historical development.}, keywords = {Ancient Greek/Roman Art, Twentieth-Century Art}, author = {Rosenberg, Angele} } @mastersthesis {12099, title = {Something of an Architect: Thomas Cole and the Country House Ideal}, year = {2015}, school = {UC Berkeley}, abstract = {The Anglo-American artist Thomas Cole is now firmly established in the canon for his landscape paintings and allegories but it has not been adequately understood how deeply he was invested in architecture. This dissertation seeks to remedy that oversight by studying archival evidence that shows his sophistication as a painter, designer, and critic of buildings and his participation in intellectual currents of the time through the built environment. What discussion there has been of Cole{\textquoteright}s little known work in architecture in the past has treated the episodes under discussion as anomalous or peripheral to his core work. On the contrary, "Something of an Architect: Thomas Cole and the Country House Ideal" demonstrates the extent to which many of his best known paintings were the product of practical architectural endeavors with which he was involved in the same years, and that he approached the built environment pictorially. The three chapters study three distinct but related elements of his response to architecture. Chapter One focuses on Cole{\textquoteright}s writings about public architecture, including the Washington Monument, the Ohio Statehouse, and an essay he called "Letter to the Publick on the Subject of Architecture." These documents, most of them never before published, demonstrate a preoccupation with architecture as a force for harmony, unity, and permanence in a fractious society that sorely needed all three. Chapter Two studies Cole{\textquoteright}s little known "house portraits": paintings of the country houses of three patrons. These seemingly topographical views have been largely disregarded as regrettable concessions to financial necessity that have little to tell viewers about the concerns of an artist better known for grand allegories like The Course of Empire. However, considering them in relation to new evidence of his architectural thought shows these enigmatic images to be participants in a vibrant contemporary discourse about country houses as ways of civilizing and inscribing the wilderness with history and about the place of aristocracy in a republic. Chapter Three studies Cole{\textquoteright}s extensive plans for an Italianate villa of his own that would put his study of architecture in general and the country house in particular into practice. While most of these designs were unexecuted due to his financial circumstances, they testify to his participation in this moment of national literal and metaphorical investment in country life. This context urges a rethinking of much of the oeuvre of "the father of the Hudson River School" and of the ideologies with which country life and its representations were fraught in the antebellum era.}, keywords = {Nineteenth-Century Art, North America}, author = {Coleman, William L.} } @mastersthesis {12100, title = {A Southerner{\textquoteright}s Agenda: Charles Fraser and his Landscape Images}, year = {2015}, school = {Georgia}, abstract = {Art historical scholarship related to nineteenth-century American art traditionally engages with artistic activities conducted in the Northeast, while largely neglecting contemporaneous enterprises that occurred in the American South. The intention of this dissertation, broadly considered, is to spark a reassessment of the South{\textquoteright}s place in American art history by examining the significant changes affected by one southern artist in particular, Charles Fraser (1782-1860). More specifically, I argue that Fraser, who is most often discussed as a miniaturist, is still more significant to American art as a landscape painter and promoter of the fine arts during the antebellum era. Indeed, the artist avidly pursued landscape painting before the genre had a significant market in the United States and prior to its emergence as a signifier of America{\textquoteright}s natural exceptionalism and cultural identity. He was not the only southern artist working during the first half of the nineteenth century, but, as this dissertation demonstrates, Fraser was extraordinarily persistent in his pursuit of artistic training, his promotion of the fine arts in Charleston, and his determination to maintain a diplomatic stance in the midst of escalating tensions between North and South.}, keywords = {Nineteenth-Century Art, North America}, author = {McCain, Sandy} } @mastersthesis {12121, title = {St. Nicholas Magazine{\textquoteright}: A Portable Art Museum}, year = {2015}, school = {CUNY}, abstract = {In November 1873, St. Nicholas Magazine: Scribner{\textquoteright}s Illustrated Magazine for Girls and Boys made its publishing debut. While it was intended to be a literary magazine, visual imagery was an important component of the monthly. Illustrations and reproductions of fine art and architecture from Antiquity, the Old Masters, and contemporary academic artists illustrated fictional serials, accompanied art historical information, and stood alone as art work for the reader to visually consider. Innovative page layouts took their inspiration from the aesthetic theories and art styles popular among those associated with the American genteel tradition. By choosing certain styles for illustration and page layouts, and by choosing to feature certain stylistic periods in the history of art, the editors of St. Nicholas attempted to train its readers in the acceptable taste associated with high culture, provide morally uplifting art that would inspire a proper Victorian American life, and train the upper and middle classes to become visual consumers. I argue that St. Nicholas should be considered an art magazine specifically designed for the aesthetic training and art education of children, taking its place within the art and aesthetic education movement of the late nineteenth-century. The art and aesthetic program was a complicated and premeditated agenda for the cultural education and visual training of America{\textquoteright}s future citizens. By supplying children with reproductions of fine art, art historical essays, and illustrations and page layouts that parallel the styles and types of fashionable art, St. Nicholas provided children with the foundations of art education.}, keywords = {North America, Visual Studies/Visual Culture Studies}, author = {Zawadzki, Mary} } @mastersthesis {12038, title = {Studies on Costume Histories from the Age of German Kulturgeschichte}, year = {2015}, school = {Bard Graduate Center}, abstract = {This is a historiography of nineteenth-century German clothing and fashion histories studied in the broader context of Kulturgeschichte. It examines the work of four prominent German researchers and demonstrates how the study of historical clothing and fashion acquired a political role that was part of the nation building process. The first researcher is Altertumskundler and cultural historian, Jakob von Hefner-Alteneck (18111903) whose work was predominately informed by the methods of antiquarianism. He offered a model of clothing research based on the systematic study of Denkmaler, monuments, and artifacts. I propose that by reviving historical awareness, his work became an assurance for the continuation of a past broken by revolutions and social upheaval in early nineteenth-century Germany. Widely informed by the universal histories of the eighteenth century, librarian Gustav Klemm (1802-1869) offered a particular science-oriented anthropological model in search for the "original conditions of humanity" with particular regard to the progress of culture. His methodology of clothing research echoed his general view of humankind based on a polarity between "passive" and "active" races. Cultural historian and museum curator Jacob von Falke (1825-1897) is closely linked with the heyday of Kulturgeschichte. Informed by the nascent discipline of art history and, in particular, by German art historian Karl Schnaase, Falke championed the survey-style narrative for the history of clothing and fashion. At the center of Falke{\textquoteright}s studies stood his theory of historical progress as a struggle for harmony between the spiritual and the material sides of culture. I argue that his writings on historical clothing and fashion reflect the disillusionment of the bourgeoisie after the failed Revolution of 1848 by his strong underlying attack on the German social and political system. Borrowing methodologies used in the natural sciences, anthropologist, physician, and politician, Rudolf Virchow (1821-1902) focused exclusively on Trachten, as the "true" carrier and representative of the Germanic peoples, in search of the origin of Germanic culture. Ultimately, this investigation of Trachten served a specific agenda, namely supporting and maintaining the status quo of the political and social system in the German Empire at the end of the nineteenth century.}, keywords = {Decorative Arts/Textiles/Design History/Interior Design, Nineteenth-Century Art}, author = {Scholz, Frederun} } @mastersthesis {11982, title = {Surface, Suggestion, and Seeing Through: Visual Perception and the Significance of Objects Depicted in Roman Wall Painting}, year = {2015}, school = {Johns Hopkins}, abstract = {In this dissertation, I investigate the depiction of luxury objects in Roman wall paintings as emblematic and visually evocative of public spectacle and displays of art. In spite of their ubiquity in the paintings of a period that saw historic changes in the social and material culture of the Roman world, such objects have largely been studied only as a select corpus of illusionistically framed "still lifes" or subsumed into more general discussions. Through a diachronic analysis of exemplary objects - textiles, opaque and transparent vessels - I investigate how these depictions evoked their real counterparts through visualizations of material properties. In my first three chapters respectively, I closely analyze these paintings of objects and the optical effects that made them appeal - by means of vision - to a viewer{\textquoteright}s sense of touch. Through a close reading of Latin and Greek sources on ekphrases in rhetorical training and its deployment in texts, I contextualize the phenomenon in ancient theories of argument, communication, and, above all, visualization. I argue that, in ancient painting, the detailed materiality of objects was the primary vehicle of enargeia, or vividness. Just as ancient authors describe the sparkle of metals or the lifelikeness of figures embroidered into textiles, painters produced these effects and ornaments in the paintings of all Four Styles, and both strove to make something material - an object, event, experience - present to their audience. The results of my study provide new insights into core problems in the study of Roman fresco and ancient art more broadly. Through my investigation I demonstrate how depictions of objects played an integral role in the creation of intersubjective meaning and shaped the visual experience of viewers. I argue that techniques of trompe l{\textquoteright}oeil - founded not only on conceits of deception but also displays techne - provided a theoretical and aesthetic basis for the paintings{\textquoteright} address to viewers. This argument furthermore supports the identification of objects and materiality, as opposed to space, as the foundation of ancient systems of perspective. I argue that given these emphases and goals, ancient paintings often incorporated a balance of haptic and optic visual properties. Through my examination of a selection of depicted objects and ancient texts that provide insight into the generative process of representations and their reception, I develop a method of visual analysis that provides a better understanding of how Roman frescoes succeeded as seductive illusions. Both imitative and vivid, the paintings demonstrate their anonymous makers{\textquoteright} attention to perception and imagination in their success as convincing representations that connected elite Romans with the spectacles of public events, spaces, and displays of art.}, keywords = {Ancient Greek/Roman Art, Visual Studies/Visual Culture Studies}, author = {O{\textquoteright}Connell, Shana} } @mastersthesis {12002, title = {Surrealism for the Masses: Housing the Unconscious from Barcelona to Buenos Aires, 1938-1960}, year = {2015}, school = {MIT}, abstract = {In the late nineteen-thirties, Buenos Aires grew at an unprecedented rate due to large rural migrations and the diaspora of the European conflicts. These new populations affected the composition and intellectual discourse of the city. Avant-garde discussions on the unconscious, psychoanalysis, and the primitive responded to the fear generated by a growing population and its struggle for a place in the city. Catalan architect Antonio Bonet took up the challenge of housing these masses. He incorporated his experience working with Josep Lluis Sert, Le Corbusier, and Roberto Matta to propose a series of housing projects that sought to mine the tactics of Surrealism. In order to do so, he collaborated with a rotating cast of architects and artists including Jorge Ferrari Hardoy and Juan Kurchan, artists Horacio Coppola, Grete Stern, and in the context of discussions by Jorge Luis Borges, Roger Caillois, Jose Ortega y Gasset, and Tomas Maldonado. At the same time, he courted opposing political orientations, from the totalitarianism of a military dictatorship (1943-1946) to the populist politics of president Juan Peron (19461955), to his strategic erasure by the military government of General Aramburu (1955-1958). These different iterations of the Argentinian state came to view architecture as a useful tool in the fabrication of a modern image. Each chapter is focused on one housing project, examined as the intersection of various disciplines, politics, and geographies, connecting the discourse of the Spanish Civil War with Argentinian Nationalism, and CLAM urbanism with the sprawl and growth of Buenos Aires. Public housing, an architectural program where political discourse, culture, and city growth collide, brings these multiple networks together. The growing, restless population gave increased urgency to Bonet{\textquoteright}s proposals. Where and how to house the incoming masses was a question directly related to the containment or channeling of their political power. These political, intellectual, and social forces gradually transformed Bonet{\textquoteright}s projects, from an idealist celebration of the masses to the repression of their political power.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, South America}, author = {Leon Crespo, Ana Maria} } @mastersthesis {12119, title = {Technology and Artistic Practice in 1960s and 1970s Southern California}, year = {2015}, school = {Boston}, abstract = {This dissertation traces the ways in which the emergent countercultures on the West Coast, in parallel with the high-technology industrial complex of Southern California, fostered ad-hoc experimentation with technology in studio and post-studio practices. In the studio, individual artists researched, experimented with, and became self-taught experts on discrete technologies. In comparison, post-studio methods functioned less as a top-down mastery and innovation within a singular craft (as in the initial studio methods), and, instead, involved the creation of immersive, perceptual environments. The Introduction situates the development of the art/technology phenomenon alongside the emergence of the art scene in Los Angeles, expanding the literature in relation to other more established histories. Each of the first three chapters focuses on one case study--Larry Bell, Mary Corse, and Fred Eversley--to reveal the scope of appropriated technologies and the permutations within various mediums (glass sculpture, industrial lighting schematics, acrylic painting, and polyester sculpture). Chapter 4 analyzes this plurality, focusing on the appropriation of cognitive psychology. As technological appropriation became more commonplace, and particularly as some artists came to require larger spaces, curators and institutions helped orchestrate experimentation with immersive environments. I explore the range of post-studio practices in the works of Lloyd Hamrol, Tom Eatherton, Michael Asher, Robert Irwin, James Turrell, Maria Nordman, and Eric Orr, among others, and include Hal Glicksman as a key example of curatorial influence. The concluding chapter considers the art/technology legacy alongside themes of dilapidation and obsolescence. This dissertation demonstrates how art with reflective and/or transparent materials of high-tech industry prescribed movements for viewer engagement--an embodied experience of mobile spectatorship in Los Angeles of the 1960s and 1970s. I correlate these movement patterns, in parallel with light, space, and sourced technology, to the experience of each work.}, keywords = {North America, Twenty-First-Century Art}, author = {Smith, Ginger Elliott} } @mastersthesis {11998, title = {Thomas Jefferson{\textquoteright}s Designs for the Federal District and the National Capital, 1776-1826}, year = {2015}, school = {Virginia Commonwealth}, abstract = {This dissertation examines six major points: 1) it argues that Jefferson is an architect of the United States Capitol, having direct and final say over its design; 2) it asserts that Jefferson set two nationally influential models of architectural taste as part of his movement to reform American architecture, first in Richmond as the Virginia State Capitol and second in Washington as the United States Capitol; 3) it explores those models to define what Jefferson called "cubic" and "spherical" architecture; 4) it suggests that Jefferson used his political appointments to maximize his influence over the design of the United States Capitol in order to ground the building in classical sources; 5) it surveys the sources Jefferson looked to for inspiration, both printed texts and images as well as extant buildings in Europe and America; and 6) it proposes that Jefferson and B. Henry Latrobe worked hand in hand to execute a design for the United States Capitol that subdued and at times even replaced the official plan adopted from William Thornton{\textquoteright}s winning design. This dissertation starts with the idea that Jefferson{\textquoteright}s architectural reform consisted of conjoining vernacular building custom with architecture of the classical tradition. Most of what Jefferson knew about classical architecture came from books. Chief among them are Claude Perrault{\textquoteright}s 1684 French translation of Vitruvius{\textquoteright} Ten Books on Architecture and the three London editions of Giacomo Leoni{\textquoteright}s versions of Andrea Palladio{\textquoteright}s Four Books of Architecture in English translation. Using these print sources, Jefferson reinterpreted many of the standard public buildings of Virginia into temple forms. In addition, Jefferson{\textquoteright}s plan to reform public architecture rested on two overriding principles: erecting buildings with masonry and organizing those buildings using the classical orders. Furthermore, this dissertation proves that, like the ancients, Jefferson wanted to build on a monumental scale. Jefferson{\textquoteright}s own plan for a national capitol shaped like the Roman Pantheon, long misunderstood, clearly reinforces this interpretation. Finally, this dissertation demonstrates that Jefferson and B. Henry Latrobe worked in concert to execute a design for the United States Capitol that subdued the official plan adopted from William Thornton{\textquoteright}s winning design.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, North America}, author = {Reynolds, Craig} } @mastersthesis {12070, title = {The Toji Screen and the Historiography of Yamato-e}, year = {2015}, school = {Yale}, abstract = {The past is interpreted through modern lenses, but that reality is often hidden. In the case of Japanese art history, the Heian period (794-1185) is celebrated as a time of isolation, refinement, and elegance, filled with poetic sensitivity and aesthetic glory. A notable example of an art historical achievement from that time is the Toji Kyuzo Senzui Byobu or the Toji screen. Literally, "a landscape screen formerly owned by the temple Toji", this six-panel folding screen is one of the oldest screens in Japanese art history and the only survivor from the Heian period. Recognized as a national treasure, the Toji screen is noted for its ostensibly Chinese subject as well as for its Japanese landscape. As a work that combines Chinese and Japanese elements, scholars often use it to illustrate the historical development of Japanese art known as yamato-e. Literally, "Japanese pictures," yamato-e is considered as the pictorial manifestation of the emerging Japanese identity during the Heian period as the Japanese declared their independence from centuries of continental influences to discover their own values in art and literature. The concept of yamato-e occupies a central position in art history as it represents the beginning of painting that was uniquely Japanese. However, I will show in this project that our current understanding of the Toji screen as a work that shows Chinese and Japanese artistic elements, and the patriotic significance behind the concept of yamato-e do not come from the 11th century Heian period, but from the 20th century Showa period. Through a critical examination of modern scholarship about the Toji screen, I reveal the problematic notion of "China" and its association with the pictorial program of the Toji screen by tracing, how the screen has been described in the past century. By surveying 20 th century research that define yamato-e, I reveal that the amalgamation of conflicting definitions that currently exist for this concept come from scholarly conventions and oversights in the past century. In doing so, I expose some of the pitfalls of studying premodern objects and concepts through the mediation of previous modern scholarship. This dissertation consists of an introduction, four chapters, and a conclusion. In the introduction, I present the Toji screen and the concept of yamato-e as they are conventionally understood today in order to highlight the vague definitions and descriptions that currently exist. In Chapter One, I address the relationship between the Toji screen and factors that led to its current association with the concept of kara-e, or "Chinese painting." However, I will show the concept of "China" is complex and inappropriate as a description for the screen. In Chapter Two, I survey the scholarship that establishes the provenance and purpose of the Toji screen in order to highlight the importance of nomenclature in research and its far-reaching consequences. In Chapter Three, I outline the historical designation of the Toji screen as an example of yamato-e, kara-e, a combination of both and as neither yamato-e nor kara-e to show the fickle relationship between the screen and these fundamental concepts in Japanese art history in order to underscore our problematic understanding of the concept of yamato-e . In Chapter Four, I survey the historical formation and development of the concept of yamato-e in 20th century writings to answer why the notion of yamato-e is confusing and contradictory despite its fundamental importance in Japanese art history. In my conclusion, I highlight the need to recognize the strong impact modern scholarship has had on our understanding of the premodern, in order for us to make new discoveries about the past.}, keywords = {East Asia}, author = {Yang, Yan} } @mastersthesis {12057, title = {Transition and Transformation: Contemporary Chinese Art in the Global Marketplace}, year = {2015}, school = {Alberta}, abstract = {Taking an interdisciplinary approach combining sociology and art history, this dissertation considers the phenomenal rise of Chinese contemporary art in the global art market since 1989. The dissertation explores how Western perceptions of difference and dissidence have contributed to the recognition and validation of Chinese contemporary art. Guided by Nathalie Heinich{\textquoteright}s sociology of values and Pierre Bourdieu{\textquoteright}s work on the field of cultural production, the dissertation proposes that dissidence may be understood as an artistic value, one that distinguishes artists and artwork as singular and original. Following the careers of nine Chinese artists who moved to France in and around 1989, the dissertation demonstrates how perceptions of dissidence = artistic, cultural, and political = have distinguished Chinese artists as they have transitioned into an artistic field dominated by Western liberal-democratic values and artistic taste. The transition and transformation of Chinese contemporary art and artists then highlights how the valorization of dissidence in the West is both artistic and political, and significant to the production of contemporary art.}, keywords = {East Asia, Twenty-First-Century Art}, author = {Leduc, Marie} } @mastersthesis {12005, title = {Tunisia, 1940-1970: The Spatial Politics of Reconstruction, Decolonization, and Development}, year = {2015}, school = {Princeton}, abstract = {This dissertation investigates the dialectical discourses of modernism and the vernacular in Tunisian architectural and urban projects, from the late French protectorate into the period of independence, 1940-1970. With a particular focus on issues of habitation and heritage, this project tracks the reorganization of social space in the reconstruction efforts of the postwar French colonial administration and the architectural and patrimonial discourses of the Tunisian nation-state that came into existence in 1956. In an era that witnessed mass-scale land expropriations, rural-urban migrations, and popular anti-colonial sentiment, this project traces the material effects of Tunisians{\textquoteright} displacements and urban adaptations to their rapidly changing socio-political condition. Underscoring the dialectics intrinsic to the postwar notion of development, namely, tensions between formal and informal settlements, vernacular building traditions and prefabrication methods, and patrimonial preservation and erasure, this dissertation explores the ideological negotiations of architectural progress in the longue duree of decolonization. Throughout this tumultuous period, social housing projects sprouted in parallel with the spread of gourbivilles (earthen dwellings) and bidonvilles ({\textquoteright}tin can{\textquoteright} towns) on the outskirts of Tunisia{\textquoteright}s urban centers. Both colonial and postcolonial institutional and state-led reckonings with vernacular architecture forwarded not only modernist building agendas, but promoted primitivizing mythologies of local construction techniques, rooted in racist attitudes towards the purportedly backward indigene. Challenging the predominant historiographical narrative that presents the independence of 1956 as a stark political rupture, this dissertation instead demonstrates that the vestiges of urban and preservationist policy schemes remained ingrained, on an institutional level, from protectorate rule. How the spatial and political processes of decolonization, nation-building, and development intersect with the ethics and economics of habitation undergirds this project.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Demerdash, Nancy} } @mastersthesis {11989, title = {A Typology and Chronology of Ceramics from Bactra, Afghanistan, 600 BCE-500 CE}, year = {2015}, school = {Michigan}, abstract = {Bactra was the capital of Bactria during the Achaemenid and Seleucid periods, as well as the capital city of the Graeco-Bactrian Empire. It remained one of the most populous cities in pre-Islamic Central Asia and was a center of trade along the Silk Route until its destruction by Genghis Khan in the 13th century CE. Despite its prominence, archaeological excavation has only recently reached its ancient phases. This dissertation presents a typology and chronological sequence of the ceramic corpus of Bactra found during the 2004-2008 excavations by the French Archaeological Delegation. It constitutes the results of my analysis of ca. 30 metric tons of pottery over four field seasons, a quantity that allowed for greater chronological and typological resolution than was previously possible. Thirteen common ceramic fabrics were identified, and 177 rim types and 40 base types were delineated. Subsequent statistical analysis of co-occurrence using multi-dimensional scaling produced a chronological sequence of six major phases, each with three subphases. Contextualization of these ceramic phases within the broader historico-political setting of Central Asia highlights several trends of Bactra{\textquoteright}s ceramic traditions that have implications for understanding its role in the region. The previously unknown Achaemenid-era material from Bactra is largely homogenous with a narrow range of shapes, as well as consistent vessel dimensions and firing practices. The ceramics of the Hellenistic period exhibit significant functional and stylistic changes that are likely indicative of a shift in dining habits. The Hellenistic ceramics were similar in character to those of other large city sites in Bactria and Sogdiana, yet distinctly different from the elite Greek wares found at Ai Khanoum, suggesting that Ai Khanoum, not Bactra, is the outlier. Many ceramic aesthetics that were introduced during the Hellenistic period were retained and adapted in the Nomadic and Kushan periods. During the Kushan and Kushano-Sasanid periods a new standardization of forms, decoration, and production technique reasserted itself. In sum, this dissertation provides a more refined and accurate dating of Bactra and its environs and lays the groundwork for research on regional and long distance trade in the region}, keywords = {Ancient Greek/Roman Art}, author = {Maxwell-Jones, Charlotte} } @mastersthesis {11972, title = {Un Nouveau Besoin: Photography and Portraiture in Senegal (1860-1960)}, year = {2015}, school = {Columbia}, abstract = {Senegal{\textquoteright}s leading role in the development of African modernism in the 1960s is well known. Lesser-known is that, a century earlier, photography first arrived and took root in Senegal before circulating across French West Africa. This dissertation focuses on the genre of photographic portraiture in a country that did not have sculptural or masquerade traditions. It studies the ways in which photography accommodated and fostered new social and artistic practices and identities in Senegal between 1860-when the first studio opened in Saint Louis, the historical capital-and the 1960s, when photography became a "social imperative," to use Geoffrey Batchen{\textquoteright}s description (2001). The first chapter discusses cartes-de-visite commissioned as early as the 1860s by the first Senegalese patrons. In the course of this discussion, I challenge unilateral conceptions of photography as an apparatus of ideological control monopolized by the colonial authority. Chapter Two argues that Islam-the predominant religion in Senegal since the late nineteenth century-facilitated the popularity of the genre of portraiture through the circulation of devotional images in the form of lithographs, glass painting and photographs between the 1890s and 1920s. Chapter Three focuses on two photo series by amateur photographers from Saint Louis in the interwar period. I argue that these snapshots delineate the birth of a new subjectivity that neither mimicked French culture, nor conformed to Wolof customs. The last chapter juxtaposes the work of Mama Casset and Oumar Ka, two studio photographers working in the 1960s and 70s, in the capital and the rural interior of the country, respectively. In doing so I revisit the association between photography{\textquoteright}s modernity and urban living, and propose that modernity can also be linked with "rural" tastes and styles. Rather than interpret it as either a "foreign" or "local" technology, this dissertation traces the fluctuations of photography{\textquoteright}s significance in a dialectic relation with European, Islamic, American, African and Indian sources, revealing the nature of the medium as a multiplier of visions. Given Senegal{\textquoteright}s privileged status within La Grande France, this analysis will contribute to our understanding of the relationship between photography and modernity in Africa and beyond.}, keywords = {Africa, Photography}, author = {Paoletti, Giulia} } @mastersthesis {12007, title = {Undercurrents of Urban Modernism: Water, Architecture, and Landscape in California and the American West}, year = {2015}, school = {UT Austin}, abstract = {"Undercurrents of Urban Modernism: Water, Architecture, and Landscape in California and the American West" conducts an art-historical analysis of historic waterworks buildings in order to examine cultural values pertinent to aesthetiteics in relationships between water, architecture and landscape in the 19th and early 20th centuries. Visual study of architectural style, ornamental iconography, and landscape features reveals cultural values related to water, water systems, landscape/land use, and urban development. Part 1 introduces a historiography of ideas of "West" and "landscape" to provide a context for defining ways in which water and landscape were conceived in the United States during turn-of-the-century urban development in the American West. Part 2 provides a historical context for California waterworks with a discussion of major U.S. city waterworks from 1799 to 1893 in Philadelphia, Louisville, New York, and New Orleans. Primary architectural styles discussed are Greek Revival, Egyptian Revival, and Roman Revival. Part 3 presents the dissertation{\textquoteright}s central object of study: waterworks and hydropower architecture for the greater San Francisco Bay Area between 1860 and 1939. From substations to dams, architects who designed waterworks structures drew from historical revival, academic eclecticism, and structural design traditions. The specific waterworks structures anchoring inquiry in this chapter are two round, peripteral, neoclassical water temples built for San Francisco{\textquoteright}s water supply to mark key underground aqueduct features. I analyze these two temples--the Sunol Water Temple from 1910 and the Pulgas Water Temple from 1939--in formal terms as well as from within broader urban and historical contexts. Part 4 culminates the dissertation with a case study of two dams whose aesthetic features were obscured by unneeded buttressing when concerns for dam safety arose after a Southern California dam failure had killed several hundred people in 1928. I inquire into a cultural ambivalence stemming that seems to stem from historical conflicts determining the relative aesthetics of "use" and "beauty" in utilitarian waterworks structures. The overall questions in this dissertation inquire into ways in which aesthetic aspects of architectural design of waterworks structures expressed cultural values regarding water, architecture, and landscape in California between 1860 and 1939.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Faletti, Rina} } @mastersthesis {12117, title = {Unleashing the Black Fantastic: Afrofuturist Feminism in Contemporary Art}, year = {2015}, school = {Florida}, abstract = {Identifying and creating spaces in which $\#$blacklivesmatter is imperative in this time of increased attention to police brutality and extrajudicial killings of black women and men. The visual arts is one such space that allows practitioners the ability to address stereotypes and controlling images that continue to overdetermine black womanhood in the United States. This dissertation examines racist and patriarchal tropes of black womanhood and the ways in which artists{\textquoteright} work can be interpreted as rendering those preconceptions powerless through Afrofuturism. Afrofuturism is an aesthetic and artistic practice that provides a way of doing and thinking about black liberation. It coopts the techniques and mediums of science fiction and technology to situate blackness amongst narratives of futurity, fantasy, and reimaginations of the past. This dissertation will define a visual language of Afrofuturism, while expanding the discursive space of black womanhood in American art. Mammy, hair, heroism (strong black woman), primitivism, and sexuality all play into notions of black womanhood but usually within the context of pathology and excess that are associated with the histories of enslavement and settler colonialism. Reimagining a world in which black womanhood does not equate pathology or excess is the counterhegemonic strength of Afrofuturist narratives in the visual arts. In case studies (interviews, artists{\textquoteright} statements, and writings) and close readings, the dissertation will examine Afrofuturist feminism (Susana Morris, 2012) as a black feminist visual theory (Judith Wilson, 2003) in the work of Sanford Biggers, Pierre Bennu, Janelle Monae, Erykah Badu, Octavia Butler, Alison Saar, Renee Cox, Robert Pruitt, Mequitta Ahuja, Haile Gerima, Dawolu Jabari Anderson, and Kara Walker. Through their visual, sonic, and literary texts, they create transformative spaces for black womanhood that attempt to transcend patriarchy and white supremacy.}, keywords = {North America, Twenty-First-Century Art}, author = {Hamilton, Elizabeth C.} } @mastersthesis {12042, title = {The Unmaking of Metalwork in Early Modern Europe: Events of Liquidation, 1527-1636}, year = {2015}, school = {Yale}, abstract = {This dissertation explores an understudied process in the history of human artifacts: the melting down of gold and silver objects to produce new forms. It frames as "events of liquidation" a series of contexts in early modern Europe in which large amounts of precious metalwork were smelted; in so doing, this study reconstructs the circumstances-confessional change, fiscal crisis, war-that sent long-protected sacred and secular treasures to the crucible. Although often characterized as mere financial expediency, the melting down of gold and silver plate could serve as a powerful symbolic gesture, creating material symbols of unity and performing priorities of value for communities facing significant upheaval. For those who resisted or resented liquidation campaigns, attending to and remembering the provenance of reformed metalwork-what it used to be-constituted a mode of resistance to the deforming powers of the furnace. Part One, "Confession," considers cases in which confessional change or conflict precipitated the liquidation of church treasure, resulting in a literal "re-formation" that fulfilled the requirements of newly reformed communities. The first chapter summarizes the various fates of metalwork in Europe{\textquoteright}s Protestant Reformations. It takes as a case study the city of Bern, Switzerland, which followed Zwinglian tenets of reform in 1529 by melting down hundreds of pounds of ecclesiastical plate, a process partly directed by the artist, writer, and city official Niklaus Manuel Deutsch. The second chapter investigates the context of Munster, whose radical Anabaptists outlawed money and private property in 1534, striking new metallic tokens from collected communal treasure. The third chapter moves temporally into the Thirty Years{\textquoteright} War and geographically to the city of Paderborn, where a Protestant military commander looted a beloved silver shrine from the cathedral treasury and made anti-clerical coins from its silver. Part Two, "Emergency," focuses on two events in which plate was liquidated during military engagements. It introduces the category of Notklippen (emergency coins), currency manufactured hurriedly from precious metalwork to pay soldiers during a siege or while on campaign. Although designed as temporary, these tokens gained a souvenir value that stabilized them because of their role in pivotal events. Coin cabinets and early numismatic publications were two mechanisms through which Notklippen were preserved, discussed, and disseminated. The fourth chapter focuses on the Sack of Rome in 1527, when Pope Clement VII was held captive and forced to melt down papal treasures to pay a ransom to imperial forces, a task performed in part by the sculptor Benvenuto Cellini. The fifth chapter turns to gold and silver Klippen produced during the Ottoman siege of Vienna in 1529; these coins, as visceral anti-Ottoman propaganda, quickly became collector{\textquoteright}s items. A brief coda, "Conquest," turns to Tenochtitlan / New Spain and ingots poured from the liquidated remains of pre-Columbian metalwork confiscated by the Spanish. The Unmaking of Metalwork makes central what has long been considered to be an epistemological endpoint in art historical studies: the moment at which the object{\textquoteright}s form is "lost" in metal{\textquoteright}s transit from solid to liquid. It redefines that moment as a crux demanding a truly materialist methodology, which aims to restore to the history of static objects the movement of matter separate from form.}, keywords = {Decorative Arts/Textiles/Design History/Interior Design}, author = {Stielau, Allison} } @mastersthesis {12008, title = {Urban Renewal in the Interwar Era: The Remaking of Chicago{\textquoteright}s Loop, 1918 to 1942}, year = {2015}, school = {UIC}, abstract = {This dissertation argues that the quarter-century period between the two World Wars was a period of ongoing renewal that coincided with shifts in Chicago{\textquoteright}s economic geography. This is in contrast to older writings on the city{\textquoteright}s architecture and urbanism, which tend to feature a boom-and-bust narrative. Redevelopment of the 1920s cleared hundreds of older, loft industrial buildings, walk-up office blocks, and ornate yet small-scale theaters and hotels from the Loops peripheral streets, while a host of substantial twelve- to fourteen-story elevator buildings on LaSalle Street fell as if along a fault line. Their replacement by high-rise garages, widened and double-decked thoroughfares, luxurious skyscrapers, massive business hotels, and dazzling movie palaces signaled the start of the Loops gentrification to a high-end office, retail and entertainment district aimed to attract and retain upper-income customers and tenants during a period of rapid decentralization. Such private- and publicly-funded urban interventions pushed out low-end businesses and light-industrial uses considered incompatible with the downtown elites vision of a modern, efficient business district. The 1930s featured widespread demolition of all buildings types for parking lots, creating large swaths of open space where previously none had existed. The simultaneous and universal embrace of Depression-era downtown building modernization also served to "renew" the urban landscape while showing confidence in downtown through reinvestment. The large-scale removal of older and unprofitable buildings during the interwar era served as a prelude to the redevelopment that occurred after World War II, a period more commonly associated with urban renewal.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Guarino, Jean L.} } @mastersthesis {12077, title = {Visual Meditations of Mourning and Melancholia in France, 1790-1830}, year = {2015}, school = {UNC Chapel Hill}, abstract = {This dissertation investigates the ways artists and patrons in early-nineteenth-century France used portraits, gardens, prints, and material objects to mitigate and publicly express experiences of loss, deep sorrow, and remembrance. By interpreting art objects alongside a range of textual materials, including popular novels, medical treatises, memoires, and art theory, I uncover the ways images of mourning and melancholia were linked to the cult of the individual while also expressing Romantic sensibilities about the psyche, imagination, and death itself. I trace evolving perceptions about melancholia, mourning, and death from the decades immediately following the French Revolution until the exile and death of Napoleon Bonaparte through case studies of specific objects. I argue that melancholia, death, and mourning rituals reflect the centrality of the post-revolutionary self and constitute a critical aspect of the social and visual climate of nineteenth-century France. Scholarship on the Romantic Period typically has focused on England and Germany where landscape painting expressed national identity and the artist{\textquoteright}s subjective experience. I distinguish a particular strain of French Romanticism that expresses loss and melancholia through the relationship between figures and spaces, arguing that Romanticism, an arts movement that emphasized emotion over reason and captured subjective sentimental experiences, is particularly suited to conveying personal responses to the period{\textquoteright}s events in France. Scholarship on mourning and melancholia in the eighteenth and nineteenth centuries in France has centered on the increased secularization of ideas associated with death and mourning. My research shows the limitations of this approach by demonstrating the complex, varied, and nuanced ways mourning objects were linked not only to religious practices but also to political and social events, Romanticism, and concepts of selfhood.}, keywords = {Eighteenth-Century Art}, author = {Hafera, Alison} } @mastersthesis {11985, title = {Visualizing Autochthony: The Iconography of Athenian Identity in the Late Fifth Century BCE}, year = {2015}, school = {Johns Hopkins}, abstract = {Autochthony, or the belief of an earthborn ancestry, was a potent aspect of Athenian democratic ideology, closely linked to the political equality of citizens in the Classical polis. Moreover, the concept became a pervasive notion in the visual and verbal atmosphere of fifth century BCE Athens. It permeated multiple facets of Athenian political, social, and religious life, and was a point of pride for the Athenians, who in referring to themselves as αὐτόχθονες believed they were descendants of an early line of kings who were literally born from the Attic soil. Infused with this notion were aspects of the mythological and historical traditions that were at the very heart of the city{\textquoteright}s understanding of its origins and relationships with the gods, in particular to Athena and Hephaistos. There is evidence that autochthony was known from the mythological traditions of the early kings Kekrops and Erechtheus, dating to the Homeric tradition of the eighth century BCE, leading scholars to posit that the Athenians believed they had always lived in Attica and had not migrated from the outside. Although it became a popular visual tool in the iconography of Athenian red-figure vases after the defeat of the Persians in 479 BCE, I argue that autochthony saw a decisive shift in meaning during the Peloponnesian Wars of 431 to 404 BCE. This is reflected in the literature of the time, particularly in the tragedies of Euripides, but more prominently in a number of complex scenes of Late Classical red-figure vase painting. Furthermore, the concept of autochthony is evident in the narrative of the sculpted frieze of the Erechtheion, as first proposed by Ludwig Pallat. Today, iconography from vase painting that was unknown to Pallat more than a century ago allows for a greater understanding of the Erechtheion frieze{\textquoteright}s function as a part of the visual landscape of the Acropolis and Athens. Truly a city of images in the latter years of the fifth century BCE, Athens promoted the iconography of autochthony first as a means of building empire and then as a instrument to provide comfort and understanding of identity through its exploration of Athenian ancestry as tied to the land threatened by Spartan invasion during the Peloponnesian Wars. Through the analysis of the material culture and the spatial relationships in the topography of the city of Athens, this project makes several important contributions to the study of autochthony and Athenian identity in the late fifth century BCE. In addition to an in depth survey of the presentation of Erichthonios in vase painting, the dissertation brings together for the first time in nearly a century all related fragments of the Erechtheion frieze, which depicted themes of autochthony. With these fragments, I reflect upon the implications for the monumental depiction of the myths of Erechtheus and Erichthonios on the Athenian Acropolis and within the topography of Athens. Moreover, I consider these fragments of the sculpted frieze of the Erechtheion in the broader context of what I refer to as a "landscape of autochthony" that was present in Athens during the Peloponnesian War. Through a programmatic iconography of myths and histories related to the ancestry and identity of the Athenians, I explore the concept of autochthony on an expansive scale in the Attic landscape, suggesting that it was an omnipresent force in the iconographic fabric of the Late Classical city.}, keywords = {Ancient Greek/Roman Art}, author = {Clements, Jacquelyn} } @mastersthesis {12148, title = {Visualizing Divine Authority: An Iconography of Rulership on the Late Middle Horizon and Late Intermediate Period North Coast of Peru}, year = {2015}, school = {Columbia}, abstract = {Before the mid-1980s Lambayeque style artifacts were often mislabeled in museums, private collections and catalogues as representative of the Chimu style. This "Chimuization" (Zevallos Quinones 1971) of Lambayeque style objects was symptomatic of long-standing confusion between the two sets of material culture, which are now better defined thanks to ongoing archaeological projects in the north coast regions of Peru where the objects were produced. The semblance between these artistic traditions, which was responsible for their initial classificatory muddling, is often mentioned anecdotally in works concerning the late Middle Horizon and Late Intermediate Periods of Andean prehistory during which the styles flourished. The exact nature of the relationship between them, however, awaits a thorough, directed study. This dissertation aims to address this lacuna in pre-Columbian art historical scholarship by means of a comparative iconographic analysis focused on a specific type of figural imagery that was ubiquitous in each corpus and associated with institutions of divinely sanctioned rulership. The primary sample of images compiled and reviewed by this project is limited by medium to those found on ceramic vessels. Ultimately, however, iconographic representations and objects of ritual use in various media are positioned as different facets of the same overarching aesthetic concept, offering one possible model for interpreting the visualization of divine rulership in ancient cultures more generally.}, keywords = {South America}, author = {Gannaway, Amanda} } @mastersthesis {11995, title = {A Wall of the Faithful: A Spatial Analysis of Military Order Architecture on Medieval Iberia{\textquoteright}s Religious Frontier}, year = {2015}, school = {Virginia}, abstract = {In 1170, the military-religious Order of Santiago identified themselves as "a wall of the faithful" in their foundational Rule. As the premier Christian institutions residing on the fortified border between Christian and Muslim territory, Iberia{\textquoteright}s military orders may have formed a metaphorical wall, but their architecture existed in a much more complex spatial system. These orders were so pervasive in Iberia that until now, scholars have considered a comprehensive survey of their architecture to be {\textquoteright}impossible.{\textquoteright} This dissertation argues that regimented, data-driven methods make it possible to study patterns in the distribution and intention of military order architecture in Iberia in the mid 12th through 14th centuries. When combined with historical context, these patterns reveal strategies that have gone unnoticed in past scholarship. Four patterns governing the manifestation of the wall of the faithful are represented at multiple spatial scales in this work. First, the Iberian military orders were founded at fortified sites that lie near the "edges" of Christian-controlled territory. Second, these sites were chosen based on their ability to surveil and influence the landscape. Third, the wall of the faithful was closer to a shifting, intervisible and/or spatially connected network than a linear wall. Finally, two architectural case studies reveal that the military orders were capable of and motivated to manifest their identity on the frontier through the construction of large-scale, fortress-monastery headquarters. By combining peninsula-wide patterns with in-depth studies of two sites - the fortress-monastery of Calatrava la Nueva and the Castillo-Convento de Montesa - this study reveals that the meager and isolated appearance of the hilltop fortresses of the military orders conceals the central role they played in the formation of a vast religious frontier.}, keywords = {Architectural History and Urbanism/Urban Planning/Historic Preservation, Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Triplett, Edward} } @mastersthesis {12031, title = {War at a Distance: Conceptual Realism in Contemporary Art}, year = {2015}, school = {Boston}, abstract = {Working across a range of media, the Lebanese-American artist Walid Raad severs and re-wires the links between reality, history, narrative fiction, and photographic indexicality, often by intervening in the presumed socio-political implications or technical aspects of canonical photographic forms. Raad relies on fiction to tell stories based on truths, merging visual abstraction and photographic realism to point to a dimension of reality that the documentary image alone cannot grasp. While Raad{\textquoteright}s artistic project has typically been described as a fictional archive and thus a critique of history tout court, this dissertation aims to describe his work according to a revised rubric of realism. Drawing on the literature and theory of trauma, I argue that Raad constructs a new language to narrate the otherwise inaccessible history of Lebanon{\textquoteright}s civil wars. Raad{\textquoteright}s projects to date have engaged two core topics: the disastrous period of conflict in Lebanon (1975 to 1991) and the rise of a powerful global art market. Focusing primarily on The Atlas Group-which includes notebooks, videos, installations, and photographs-this dissertation analyzes Raad{\textquoteright}s use of photography to complicate the real events his works describe. Chapter One traces the combined effects of living through the early years of the civil war in Lebanon and Raad{\textquoteright}s emigration to and education in the United States, where he has lived since 1983. Chapter Two looks at the role of language in Raad{\textquoteright}s work-from elaborate narrative captions and lecture-performances to the invention of an entire cast of fictional characters. Chapter Three examines several Atlas Group projects via their interrogation of photography{\textquoteright}s historical conjunction of evidence and indexicality. Chapter Four continues this line of investigation, but does so from a seemingly opposite perspective, investigating Raad{\textquoteright}s use of fiction, which he melds with an embrace of formal abstraction to echo the conceptual abstraction deployed in his narratives. In my conclusion, I consider Raad{\textquoteright}s most recent series of artworks in relation to his involvement in the artist-run activist group Gulf Labor to address how his engagement with realism is directly bound up with the politics of the global art world.}, keywords = {Contemporary Art, Drawings/Prints/Works on Paper}, author = {Ditner, Judy} } @mastersthesis {11988, title = {Water, Aemulatio, and Legitimization: Republican and Augustan Fountains in the City of Rome}, year = {2015}, school = {Emory}, abstract = {This dissertation examines expressions of political legitimacy through fountain construction in the center of Rome during the second and first centuries BC. My research reveals that victorious generals, from Aemilius Paullus to Augustus, intentionally employed the Roman practice of aemulatio in fountain design to visually celebrate supreme status earned through military conquest, political authority, and divine favor. Aemulatio, close emulation of an existing form with observable enhancements, is apparent in the design, location, and symbolism of five public water monuments located along triumphal routes in the Roman Forum and Imperial Fora. Modern scholarship, which frequently privileges Greek forms, has not yet fully considered Roman originality in the creation of Roman water monuments. This dissertation argues that the earliest known lacus (pools) in the Roman Forum were once natural recessions in the archaic landscape, which republican Romans intentionally monumentalized as forms of commemoration of their heroic past. Generals, dictators, and emperors accessed the Roman tradition of aemulatio to memorialize existing pools as well as create original fountains to proclaim collective and individual glory. Affiliation with a public water monument that referenced archaic Roman topography, received a continuous supply of water, and required careful maintenance insured perpetual memory of a patron{\textquoteright}s accomplishments for generations past his own lifetime. Fountain construction, accessible to only the elite few, therefore survives as a paradigm of the power struggles that led to the formation of the Roman Empire.}, keywords = {Ancient Greek/Roman Art}, author = {Lytle, Elizabeth} } @mastersthesis {11980, title = {Water Display and Meaning in the High Roman Empire}, year = {2015}, school = {Virginia}, abstract = {This study examines public water-displays throughout the Early and High Roman Empire (first three centuries CE) to understand the meaning behind their placement in the built environment. There are two main goals of the dissertation: to explore ancient Roman perceptions of water and to investigate fully an individual{\textquoteright}s interaction and reaction to its display. In order to accomplish these goals, an approach that employs the framework of the archaeology of the senses, along with those of memory and identity. By laying the groundwork for understanding the sensorial pleasures that all humans gain from their encounters with moving water, we can begin to comprehend how both memory and identity are created in an architectural space. A wide variety of evidence is employed to gain a fuller understanding of exactly why Romans displayed water in certain locations. Ancient literary sources of both prose and poetry, particularly from the first century CE, demonstrate the Romans{\textquoteright} fascination with water, due to its inherent pleasure, its necessity, and its related sensorial response. The archaeological evidence is based on 151 examples of public water-displays collected from throughout the High Roman Empire and located in 17 modern countries. Previous studies have excluded a number of examples of water-displays, based on modern terminologies (e.g., nymphaea and "monumental" fountains) that are predicated primarily on size. In an effort to cast the net as widely as possible, as many examples as possible of public fountains installed at least in part for display are included here. By examining water-displays, that is structures that show water flowing into some sort of basin (allowing the water to serve a secondary function), this dissertation is able to tap into a wide variety of public fountains related to civic, religious, and entertainment-related settings. The three contexts help to illustrate the following: throughout the Empire, no matter the date, location, or context, water-displays were present; public fountains connect all individuals in the Empire, due to the omnipresence of water-displays, the sensorial experience related to moving water, and a sense of shared identities; fountains also alter the physical interaction an individual has with a particular space. The demonstration of moving water allows for sensory reactions in a built environment that all humans, regardless of their time or place, inherently and inevitably respond to in a positive way. By investigating the contexts of public water-displays, the meaning behind their placement is demonstrated, both in terms of the inherent experiences and the notion of identity that they created.}, keywords = {Ancient Greek/Roman Art, Architectural History and Urbanism/Urban Planning/Historic Preservation}, author = {Rogers, Dylan} } @mastersthesis {12039, title = {Westernwear and the Postwar American Lifestyle}, year = {2015}, school = {Bard Graduate Center}, abstract = {No record in ProQuest, Bard does not include abstracts}, keywords = {Decorative Arts/Textiles/Design History/Interior Design, North America}, author = {Abrego, Sonya} } @mastersthesis {12141, title = {Worldly Adornments: Women{\textquoteright}s Precious Metal Jewelry in the Early Medieval Eastern Mediterranean (500-1100 CE)}, year = {2015}, school = {IFA/NYU}, abstract = {Silver and gold jewelry counted among women{\textquoteright}s most precious possessions in the Byzantine and early Islamic eastern Mediterranean. Such adornments figure prominently in texts, and numerous examples have been found in recent excavations. Most scholarship on such jewelry focuses on the dating of individual pieces and on identifying centers of production; yet such studies are fundamentally frustrated by the objects themselves, which resist easy classification. In this dissertation, a different methodology is presented, which weaves together texts, objects, and visual representations to explore thematic issues, including concerns about appearance, the preservation and presentation of wealth, taste-making, and idealized beauty. This dissertation starts with concrete uses of jewelry in women{\textquoteright}s lives and moves to more abstract questions about ornamentation and adornment. Chapter one presents evidence for jewelry{\textquoteright}s functions in dowries, marriage ceremonies, and burial, focusing on continuities and divergences in practices as Islam dominated in the region. The second chapter focuses on evidence for jewelry as part of fashionable dress, showing that stylish women{\textquoteright}s jewelry transcended regional or sectarian dress practices. Issues of sectarian allegiance and women{\textquoteright}s appearances come through in greater detail in the third chapter, which studies normative Christian, Jewish, and Islamic religious sources to outline how texts sought to regulate women{\textquoteright}s jewelry and dress. Chapter four considers moralistic attitudes towards the adorned female form shared in Christian and Islamic sources, where adornment served as common shorthand for discussions about the dangers of the wonton display of wealth and the merits of divine beauty. This leads to a broader evaluation of adornment in the conclusion, which argues for an aesthetic of jewel-encrusted surfaces shared both by Byzantium and the Islamic world. Finally, this dissertation concludes with catalogues documenting finds and presumed hoards that can be securely dated to the medieval eastern Mediterranean through their archaeological contexts. Throughout, it will become apparent that the close study of jewelry from these periods is important for prompting questions about the relationship of widespread political and social change to lived experiences on the microlevel during the transformative centuries of the late antique and medieval periods.}, keywords = {Sixth Century CE to Eleventh Century CE Art}, author = {Dospel Williams, Elizabeth} } @mastersthesis {12035, title = {Woven Paintings, Woven Writing: Intermediality in Kesi Silk Tapestries of the Ming (1368-1644) and Qing (1644-1912) Dynasties}, year = {2015}, school = {Columbia}, abstract = {This dissertation explores pictorial kesi, silk-woven tapestry, from its origins in China through the Qing dynasty, focusing on objects and sources from the Ming and Qing periods. While pictorial kesi imitated the visual appearance of paintings and calligraphy, no in-depth study of the three media in relation to each other has been undertaken. By approaching kesi through the techniques of the weaver and the materiality of the finished product, this dissertation explores an important pictorial art form on its own terms. This dissertation is divided into two parts, the first focusing on the origins, technology and techniques of weaving kesi in China. While tapestry weave was imported from Central Asia in the seventh century, Chinese craftsmen embraced the technology of creating colorful clear designs in silk and used it to imitate court paintings of the Song dynasty in the twelfth century. The author will study the intricate techniques of color blending and color joining that were developed by Chinese weavers to create complicated, beautiful images inspired by paintings. Looking at a kesi reproduction of a calligraphy scroll by Dong Qichang (1555-1636), I will analyze kesi calligraphy through the process of its making and the meaning in its materiality, as well as the political implications of this work. The second part will study kesi in relationship to the visual arts, focusing on painting. Examining a kesi attributed to the woman weaver Zhu Kerou (active twelfth century) will shed light not only on the practice of weaving painting-like images but also on the elaborate system of male connoisseurship in the Ming and Qing dynasties that judged and categorized it. Lastly, focusing on a composition attached to the name of a famous Ming painter, Shen Zhou (1427-1509), this dissertation will study the issue of authorship in kesi and the practice of adding famous names to woven compositions. Through studying the issues of intermediality, reproduction, connoisseurship, and materiality, the author will shed a new light on kesi, believed for so long to be decorative copies of paintings. These works incorporate complex techniques developed to solve aesthetic problems and have a unique visual language of their own. Through this study, the objects, so carefully and painstakingly created by craftsmen and weavers, will begin to speak for themselves.}, keywords = {Decorative Arts/Textiles/Design History/Interior Design, East Asia}, author = {Tunstall, Alexandra} } @mastersthesis {12088, title = {Woven Words in the Lindisfarne Gospels}, year = {2015}, school = {Johns Hopkins}, abstract = {This dissertation investigates the meanings and function of the five ornamental pages that decorate the Lindisfarne Gospels (London, British Library, Cotton Nero D.IV), a Gospel book produced in the British Isles, most likely in the Isle of Lindisfarne, around 720 CE. Along with the ornament, the manuscript is embellished with portraits of the Evangelists and display scripts. Since the publication of a facsimile edition in 1960, the manuscript has been widely studied. A vast bibliography has explored the meanings of the miniatures, analyzing the ornament within the early medieval pictorial tradition of the Mediterranean basin. The present research relies on these studies, and takes a slightly different perspective by examining the ways that the ornamental pages work within the book itself. Interpreting each carpet page in light of the preceding portrait and the following text, it explores the ways in which the written and figurative languages share means of construction with the ornamental pages and enhance their metamorphic nature. The carpet pages transform the geometric shapes into crosses, they blur the positive and the negative spaces, they reveal and hide crosses and geometric shapes. This dissertation interprets the ornament not so much as a static image, but rather as a composition in motion that exists in tension between figurative and abstract, between mimicked materials and pure signs. The fluid and transformative character of the carpet pages prompts the beholder to assume an interpretative role, discerning new patterns and shapes each time he looks at the ornament. As a whole, the dissertation demonstrates that ornament is a progressive element. The carpet pages activate the beholder{\textquoteright}s senses and the paradoxes of perception: they mimic textiles and enamels that cannot be touched; they show crosses and forms that disappear in the background; the intricacy of the carpet pages makes the viewer{\textquoteright}s eyes wander within the pictorial composition and act on its meanings each time the viewer looks at it. The obscurity of the carpet pages provides an obstacle even to the most educated eyes, and by hiding more than revealing the Word, it enegages with the nature of an invisible divine.}, keywords = {Eleventh- to Fourteenth-Century CE/Medieval Art}, author = {Valle, Chiara} } @mastersthesis {12065, title = {The Writer{\textquoteright}s Art: Tao Yuanqing and the Formation of Modern Chinese Design (1900-1930)}, year = {2015}, school = {Harvard}, abstract = {The dissertation examines the history of modern design in early 20th-century China. The emergent field of design looked to replace the specific cultural and historical references of visual art with an international language of geometry and abstraction. However, design practices also, encouraged extracting culturally unique visual forms by looking inward at a nation{\textquoteright}s constructed past. The challenge of uniting these dual, and seemingly contradictory, goals was met in a collaborative book cover design project between Lu Xun (1881-1936), China{\textquoteright}s most influential modern writer, and Tao Yuanqing (1893-1929), a painter who transformed ancient motifs into a transnational vocabulary of modern design. As the title suggests, the dissertation provides a history of modern Chinese design in four chapters, with the Lu Xun-Tao Yuanqing collaboration at its core. The investigation begins with the moment of culmination, wherein Lu Xun and Tao Yuanqing{\textquoteright}s intersubjective dynamic allowed for evocative yet inscrutable book cover designs to be created. In the new medium of design, the writer{\textquoteright}s anxiety regarding the inadequacy of language converged with the artist{\textquoteright}s desire for ambiguity in art. The critical analysis then moves back to earlier instances of design and examines how the history of design in China was inflected by the World Exposition, Japan, art education, and commercial art. The inquiry finally moves forward to the discussion of Tao Yuanqing{\textquoteright}s art and design{\textquoteright}s relationship with a range of discursive fields in aesthetics and literary criticism, including modern notions of beauty, childlikeness, empathy, the native soil movement, cosmopolitanism, symbolism, and ambiguity in art. This part reveals how Tao Yuanqing{\textquoteright}s innovations ironically endorsed while simultaneously subverting contemporary interpretive efforts.}, keywords = {East Asia}, author = {Ren, Wei} } @mastersthesis {12181, title = {Your Art Here: Print Advertisements and Contemporary Art, 1964-1974}, year = {2015}, school = {IFA/NYU}, abstract = {Emboldened by the cultural appropriations of Pop art, many artists in the 1960s and 1970s began directly interposing their work into the pages of mass media publications. Numerous scholars have tracked this avant-garde trend from a sanctioned, executive perspective, studying magazines like Avalanche-run for and by artists-or editorial essays such as Dan Graham{\textquoteright}s Homes for America-crafted for Arts Magazine in 1966. Few historians, however, have recognized the equal importance and prevalence of a parallel infiltrational practice during this period: the artist-generated print advertisement. This dissertation remedies this gap in knowledge by establishing {\textquoteright}ad art{\textquoteright} as a paradigmatic vehicle for postwar artists to expound upon critical themes in their oeuvre and foster incisive, often satirical, dialogues on the foremost issues of the day. Relying heavily on primary source research, artist interviews, formal analysis and social art historical context, this dissertation aims to be an extensive study of the key progenitors of ad art and their work during the medium{\textquoteright}s formative first decade. As such the dissertation is divided into three main sections: chapter one concerns the advertisements of Yoko Ono, Ray Johnson and Terry Fugate-Wilcox who critiqued the growing commodification of art with conceptualism, crafting elaborate imaginary galleries that existed only in one{\textquoteright}s mind and within the borders of various print ads; chapter two considers the announcements of Southern California artists Ed Ruscha, Judy Chicago and Bruce Conner as divergent responses to the prevailing machismo of Angelino culture in the 1960s; finally, chapter three reveals the complex production and reception behind Lynda Benglis{\textquoteright}s infamous 1974 Artforum ad, positioning the spread as a cutting satire of the commercial and intellectual hegemony of the magazine, alongside a timely mockery of feminism, gender and sexuality in contemporary art. Taken in concert, these case studies reveal fresh insights into the work of established and unknown artists alike to demonstrate how the understudied medium of ad art served as a vital tool to challenge postwar cultural norms.}, keywords = {Twentieth-Century Art}, author = {Wright, Katharine} } @mastersthesis {11798, title = {Abstract Art in 1980s Shanghai}, year = {2014}, school = {UC San Diego}, abstract = {My dissertation, "Abstract Art in 1980s Shanghai," examines political, conceptual, historical, and formal aspects of abstract paintings produced in Shanghai from 1976 to 1989. This study argues that Shanghai abstract paintings were formulated in the unique historical and sociopolitical context of post-Mao Shanghai and, thus, have unique characteristics that do not always fit the conventional definition of abstract art. More specifically, it studies what kind of ideological meaning that abstract art held in the People{\textquoteright}s Republic of China (PRC), how the 1980s Chinese art circle defined abstract art, which cultural and historical background existed that allowed 1980s Shanghai abstract art to blossom, and how five select Shanghai artists, namely Li Shan (b. 1942), Zhang Jianjun (b. 1955), Qiu Deshu (b. 1948), Yu Youhan (b. 1943), and Ding Yi (b. 1962), each expressed their own understanding of abstract art through their paintings. Through this study, I ultimately aim to reveal that there are multiple versions of abstract art that are incongruent with its institutional description, thereby expanding our understanding of abstract art. This dissertation consists of five chapters. The first chapter, an introduction, establishes the problem with the canonization of the term, "abstract art," and the single narrative of its history; provides a historical background of 1980s China; explains the modern art history of Shanghai; and locates this study in the broad range of scholarship. The four subsequent chapters focus on the ideological meaning of Chinese abstract art constructed by China{\textquoteright}s socialist identity; the discourses of abstract art in 1980s China; the unique cultural history of Shanghai; and the artworks of five representative Shanghai abstract artists. I conduct extensive visual analyses of abstract paintings and scrutinize historical, social, political, and cultural aspects of 1980s Shanghai. As the first English publication on 1980s abstract art in China, my dissertation sheds light on one of the most significant, yet often overlooked, if not neglected, concepts in not only the global history of abstract art but also the art of modern China.}, keywords = {Chinese Art}, author = {Jung, Ha Yoon} } @mastersthesis {11917, title = {The Aesthetics of Assimilation: Non-Elite Roman Funerary Art, 100 BCE-200 CE}, year = {2014}, school = {Emory}, abstract = {Funerary monuments with portraits represent the single largest genre of art commissioned by non-elite Roman patrons, especially manumitted slaves, in the city of Rome from the first century B.C.E. through the Imperial period. With little or no access to other forms of public, monumental self-representation, freedmen used funerary monuments to give shape to their social and commemorative concerns. These concerns revolve primarily around assimilation into Roman society, resolution of the destructive effects of death on the family and community, the preservation of individual and collective memories, and the assertion of status and erudition. This dissertation explores the aesthetic and commemorative strategies deployed in non-elite Roman funerary monuments to achieve these goals. Whereas previous studies have characterized non-elite patrons as passive consumers of elite visual culture who imitate elite models blindly, this dissertation demonstrates that non-elite patrons actively engaged with contemporary social, political, and visual culture in order to create innovative monuments for themselves and their families. Moreover, it privileges the sepulchral context of these monuments in order to reframe the discussion of social status in terms of anxieties over death and the obliteration of freedmen{\textquoteright}s newly acquired citizenship. Freedmen patrons appropriated the style and iconography of elite visual culture in order to contest the social dominance of the elite, and to assert concomitant claims to legitimacy in Roman society. They utilized aesthetic strategies such as repetition, reproduction, imitation and emulation in ways analogous to the Roman emulation of Greek ideal sculpture, exhibiting a high degree of visual literacy and art historical knowledge. Similarly, they used reproduction to establish a sense of communal or collective identity within their broader social group that endured over the course of centuries. This dissertation refutes the traditional contradistinction between elite and non-elite Roman art, instead emphasizing the concordances in the patrons{\textquoteright} artistic and self-representational interests.}, keywords = {Greek/Roman Art}, author = {Stewart, Devon} } @mastersthesis {11898, title = {Altered States: The American Psychedelic Aesthetic}, year = {2014}, school = {Northeastern}, abstract = {This dissertation traces the development of the American psychedelic aesthetic alongside mid-twentieth century American aesthetic practices and postmodern philosophies. Psychedelic aesthetics are the varied creative practices used to represent altered states of consciousness and perception achieved via psychedelic drug use. Thematically, these works are concerned with transcendental states of subjectivity, psychic evolution of humankind, awakenings of global consciousness, and the perceptual and affective nature of reality in relation to social constructions of the self. Formally, these works strategically blend realist and fantastic languages, invent new language, experimental typography and visual form, disrupt Western narrative conventions of space, time, and causality, mix genres and combine disparate aesthetic and cultural traditions such as romanticism, surrealism, the medieval, magical realism, science fiction, documentary, and scientific reportage. This project attends to early exemplars of the psychedelic aesthetic, as in the case of Aldous Huxley{\textquoteright}s early landmark text The Doors of Perception (1954), forgotten pioneers such as Jane Dunlap{\textquoteright}s Exploring Inner Space (1961), Constance Newland{\textquoteright}s My Self and I (1962), and Storm de Hirsch{\textquoteright}s Peyote Queen (1965), cult classics such as Tom Wolfe{\textquoteright}s The Electric Kool-Aid Acid Test (1968), and ends with the psychedelic aesthetics{\textquoteright} popularization in films like Roger Corman{\textquoteright}s The Trip (1967) and Tobe Hooper{\textquoteright}s Eggshells (1969). In their postmodern concern with ontological questions of consciousness, being and reality, these texts make visible the central tensions of an American culture in the throes of dramatic societal and technological change.}, keywords = {Film/Video, Twentieth-Century Art}, author = {Cook, Lana} } @mastersthesis {11822, title = {American Architecture and the Promise of Modernization in Postwar Turkey}, year = {2014}, school = {Toronto}, abstract = {This dissertation examines the Turkish reception of American architectural culture in the post-World War II period, with particular focus on the manner and geographical scope of the transfer of American architecture overseas in the wake of the Marshall Plan. I analyze the vehicles for the transmission of American architecture, including professional publications, exhibitions, technical assistance missions, scholarly exchanges, and projects constructed with US funds. In order to account for the circulation of American architectural ideals in postwar Turkey, I also draw on new research on popular culture and examine films, women{\textquoteright}s and family magazines, travelogues, and newly-emerging consumption habits that were effective in transmitting and disseminating ideas about the American way of life. My main concern is to show how in the context of Turkey{\textquoteright}s modernization efforts during the 1950s Turkish architecture looked to, reinterpreted, and even contested American architecture, planning ideals and building technologies. To this end, this dissertation delineates three different instances of cultural interaction between Turkey and the United States, which highlight the diffusion of American architectural ideals to Turkish architectural scene: the construction of the Istanbul Hilton Hotel as the centerpiece for Turkey{\textquoteright}s attempt to increase its share of the growing international travel market; the US contribution to the Izmir International Trade Fair where American domestic design and consumer goods were put on display; and the establishment of a school of architecture and planning in the Turkish capital Ankara with the assistance of American experts. I argue that American architecture cannot simply be viewed as serving to advance US political and economic interests in Turkey. American buildings, planning ideals, and notions of domestic modernity helped channel Turkey{\textquoteright}s pursuit of modernization and progress which was concentrated in three major areas: the development of international tourism, the creation of a consumer economy and the establishment of institutions of higher education.}, keywords = {Contemporary Art}, author = {Gonlugur, Emre} } @mastersthesis {11731, title = {American Neon: Illuminating the Built Environment with Messages of Consumerism, 1900-1970}, year = {2014}, school = {Wisconsin}, abstract = {Neon signage heralded a revolution in American advertising that brought unparalleled scale, color, and boldness to product marketing beginning in the 1920s. This medium{\textquoteright}s appearance represented technological modernity by serving as a visual expression of mass electrification. Neon transformed nighttime cityscapes and roadsides from darkened environments into spaces that glowed with colored light. This dissertation examines the ways within which neon visually reinforced the presence of product advertising within the nightscape and consumer consciousness. It traces the cultural, technological, economic, and architectural forces that shaped neon{\textquoteright}s development between in the nineteenth and twentieth centuries. The deceptively mundane neon sign offers insight into how mass marketing impacted American culture. Neon served as an early form of electrical media. It used the ephemeral medium of light to communicate with the buying public. Its study enriches our understanding of technology{\textquoteright}s influence on consumerism and national advertising campaigns like those conducted by Budweiser or Ford. Neon remains an indelible feature of the American landscape. It has become synonymous with cultural icons such as Las Vegas and Times Square. Despite its visual prominence, its history has been under-examined. My dissertation differs from other works on the history of neon by emphasizing artifact driven analysis. This interdisciplinary dissertation draws upon art history, technological history, and mass communication in a manner far different from previous writings on electrical signage.}, keywords = {Architectural History/Historic Preservation, Art of the United States, Decorative Arts/Textiles/Design History}, author = {Osdene, Stefan} } @mastersthesis {11776, title = {American Painting and the Systems of World Ornament}, year = {2014}, school = {Harvard}, abstract = {This dissertation examines the work of nineteenth-century American painters Frederic Edwin Church, William Michael Harnett and Albert Pinkham Ryder, and focuses on the relationship between their work in painting and their work in the decorative arts. Through their decorative work, all three artists explored "systems of world ornament" that introduced them to an international range of ornamental form by compiling, cataloguing, and comparing ornament from nearly all cultures and eras. Combining all of world culture single folios, these "systems of world ornament" promised to help American artists and designers study and sort a wide range of cultural influences into temporal and geographic order and thus make sense of the increasingly internationalized nature of American material culture. As this dissertation argues, the study of these "systems of world ornament" became for American artists and designers a powerful-if problematic-tool for distilling the increasingly international nature of American art and culture into a material form-and a formal painterly language-that opened it up to comment and critique. Ornament has to a large extent been understood as a mode of retreat rather than engagement with the clean lines and streamlined aesthetic of the twentieth-century, a crust that had to be cleared from painting{\textquoteright}s surface so that it might embrace the revolutionary potential of the technological and artistic innovations of the twentieth-century, but this dissertation argues the opposite-that ornament crucially informed American painters{\textquoteright} attempts to update painting in response to the artistic challenges of increasingly internationalized twentieth-century life.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Pfohl, Katie} } @mastersthesis {11803, title = {Ancient Methods and New Knowledge: The Art Market and Traditional-Style Painting Practice in Early Republican Beijing: 1911-1937}, year = {2014}, school = {UC San Diego}, abstract = {In the early twentieth century, traditional-style painting practice was profoundly affected by the rapid changes sweeping through Chinese society. As traditional-style painting was excluded from art educational system and expelled from governmental supports in the first two decades of the twentieth century, the art market became one of the most important institutions for artists to revitalize traditional constructs through their active involvement with modern practice. The art market was not only an economic and social force conducive to individual painter{\textquoteright}s publicity and celebrity, but also a cultural space formalizing collective judgments, meanings, and relationships, which in turn shaped the image of traditional Chinese painting in modern art history. This study of the marketing mechanism in early Republican Beijing presents an alternative to the visual approach that has largely dominated scholarship of Chinese art history. Through delving into the socio-economic dimension of painting production and consumption, this dissertation examines the formation and development of the art market in early twentieth-century Beijing and investigates the measurable impacts that the marketing mechanism exerted on traditional-style painting characterized with adherence to the ancient subject matters and styles. Moreover, taking the art market as a jumping-off point, this dissertation redress the oversimplified and stereotyped vision that underestimates painting styles in early Republican Beijing as a belated and conservative antithesis to the innovations exhibited in painting produced in southern China. It argues that the art market in early Republican Beijing was an institution embedded in specific social, historical, intellectual, and cultural contexts. The determining and formative roles that urban cultural elites played in shaping and directing the art market made it an irreplaceable agency for traditional-style painters to affirm Chinese cultural and national identity as the country was integrated into the modern world and to define a cultural China as the political authority eroded in the post-imperial era.}, keywords = {Chinese Art}, author = {Yin, Tongyun} } @mastersthesis {11886, title = {Anthropomorphized Animal Imagery on New Kingdom Ostraca and Papyri: Their Artistic and Social Significance}, year = {2014}, school = {IFA/NYU}, abstract = {Because of the lack of provenance or accompanying text, the depictions of anthropomorphized animals on ancient Egyptian New Kingdom ostraca and papyri have long puzzled Egyptologists. Attempts to understand the ostraca usually focus on the role reversals where predatory animals serve their natural prey, which is evident in some of the motifs. Some scholars have suggested that these images are satirical and served as an outlet for mocking elite society. However, their social and cultural context, which has not been thoroughly explored until this dissertation, shows that it is unlikely that the images were considered to be negatively charged social satire. Rather, it is more likely that they were envisioned as humorous parodies of primarily elite imagery that were produced by individuals who considered themselves to be elite as well. "Anthropomorphized Animal Imagery on New Kingdom Ostraca and Papyri: Their Artistic and Social Significance" is also the first time the vignettes are given a full art historical treatment in which the formal qualities of the drawings are studied and evaluated. As a result, this dissertation addresses the aesthetic value of these drawings in ancient Egypt, which will be of interest to the discipline of art history on more general terms as well. Another section of this dissertation discusses the narrative potential of the papyri and ostraca on which these anthropomorphized images are drawn. Though the narrative qualities of these images have been discussed before, this dissertation addresses the broader concerns of visual narrative construction in ancient Egyptian art, which has thus far been given little scholarly attention. The figured ostraca and papyri on which these anthropomorphized animals are drawn show that visual narrative construction in ancient Egypt is not necessarily linear and sequential, but can also embody fluid, and more open-ended narrative constructions that is evident in not only the decorative programs of elite tombs, but in written ancient Egyptian literature as well.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Babcock, Jennifer} } @mastersthesis {11874, title = {Antichrist, Eschatology, and Romance in the Illustrated Harley Apocalypse, "Sibylle Tiburtine," and the "Tournoiement Antecrist" (MSS Harley 4972 and Douce 308)}, year = {2014}, school = {Florida State}, abstract = {This dissertation examines the transformative power of imagery in illustrated Apocalypse manuscripts made in the Lorraine region of France at the turn of the fourteenth century. The first part of this dissertation examines these manuscripts collectively as the Lorraine group. I have identified both Latin and vernacular Apocalypses in this group that follow iconography from a Latin Apocalypse made early in the development of English Apocalypses but with various adaptations. Iconography alone, however, does not link the Lorraine Apocalypses together. None of the extant Lorraine Apocalypses is a true copy of another. Texts, style, artists, and specific figures form threads of relation among the Lorraine Apocalypses. Much of the exchange of imagery witnessed in these manuscripts came about from artists operating out of small, individual ateliers and parsing out pieces of illustration as a form of collaboration. Most significant are the varying ways each Apocalypse manuscript was altered through supplementary figures and texts, which reveal new attitudes about Apocalypse design and the desires of manuscript patrons. One illustrated Lorraine Apocalypse now in the British Library exhibits striking adaptations indicative of the changes Apocalypse manuscripts underwent at the end of the thirteenth century and throughout the first half of the fourteenth century. This Apocalypse was once part of a manuscript compilation now split between London, British Library, MS Harley 4972 and Oxford, Bodleian Library, MS Douce 308. In addition to the vernacular Apocalypse, an Old French prose Prophecy of the Tiburtine Sibyl and Huon de Mery{\textquoteright}s Old French poem, The Tournament of Antichrist, form what I call the Antichrist compilation since all three texts and their illustrations address in some way the legend of Antichrist. This manuscript is remarkable for its blending of sacred and secular elements in its assemblage of diverse genres, biblical, ancient prophecy, and romance, and in the visual interconnectivity that streamlines the three texts into a single object. The second half of this dissertation examines the Antichrist compilation and the Harley Apocalypse as a case study on how changes to Apocalypse manuscripts affect the reception of Revelation. I argue that in the Harley Apocalypse various components, mise-en-page, miniature composition, decorative details, and other visual devices, evoke illustration practices in secular, vernacular manuscripts and convey meaning by recalling aspects of popular vernacular literature and court culture, lending a courtly veneer to the mysteries of John{\textquoteright}s Revelation. The cultural impact of the vernacular led to what I call "visual vernacularity" in which layout, decoration, and illustration draw from diverse elements of popular legend, literature, and court culture. The thirty-five historiated initials of the Douce Tournament of Antichrist present the only known illustration of Huon{\textquoteright}s poem. Their primary function is to punctuate the text at key points, highlighting virtues and vices most applicable to courtly reader-viewers. Visual allusions to Arthurian romance and a selection of courtly virtues establish an idealized miles Christi, or soldier for Christ, as an exemplar for how to defeat temptation in the form of Antichrist or his army of vices and win personal salvation. The compilation as a whole offered a relatable guide for personal eschatology for secular audiences and an alternative to erudite Latin Apocalypses that was more in line with lay abilities and tastes. Combined, the visual and textual elements of the Antichrist compilation present a remarkable blend of sacred and secular material that sheds new light on popular religion and secular eschatology.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Griffith, Karlyn} } @mastersthesis {11825, title = {Antonio Saura{\textquoteright}s Monstrifications: The Monstrous Body, Melancholia, and the Modern Spanish Tradition}, year = {2014}, school = {UIUC}, abstract = {In an effort to learn more about evaluation theory and practice, particularly the tensions and benefits of integrating two different evaluation approaches, this study was a critical reflection of the issues and tensions related to blending program theory evaluation and constructivist evaluation into one evaluation approach that I labeled constructivist program theory evaluation. A past program evaluation of a school district{\textquoteright}s new principal mentoring program served as the "case{\textquoteright} that underwent a reflective metaevaluation. This metaevaluation study explored two questions. First, how did integrating constructivist and program theory evaluation affect the quality of the evaluation? Second, how did this integration of two evaluation theories affect the utility of the evaluation? There were three primary data sources used to answer those research questions: an analysis of entries from a reflection journal that was kept during the time of the evaluation, interview responses from a metaevaluation panel that consisted of program evaluators and mentoring program administrators, and a comparative analysis using five program evaluations. The findings from this analysis suggested that the strengths of the evaluation were that it provided good contextual understanding of the program, fairly represented multiple stakeholders, and that the program theory structure aided the readers{\textquoteright} understanding of the program and led to new insights about how programs might be improved. As for weaknesses of the evaluation, the study found that the contextual factors surrounding the mentoring program were not explored as broadly as they should have, evidence of causality was not presented, and the easy convergence of multiple stakeholder program theories suggested a possible bias. The thematic analysis found three themes that highlight the importance of context in program evaluation, the difficulty of representing program complexity, and the importance of identifying clear criteria of merit and worth and clarifying their sources.}, keywords = {Contemporary Art}, author = {Herrero-Matoses, Fernando} } @mastersthesis {11962, title = {Apocalypse According to Vasily Kandinsky}, year = {2014}, school = {UIC}, abstract = {The main objective of this dissertation is to identify and analyze the influence of Russian icons, frescoes and popular broadsheets ( lubki) and prove their essentiality to Vasily Kandinsky{\textquoteright}s breakthrough into abstraction. This study scrutinizes the painter{\textquoteright}s thematically and stylistically radical transition during the five-year period prior to the outbreak of the First World War and argues that the stimulus of the Russian sacred and folk art was far greater than previously thought. The dissertation points out that the 1910 visit to Russia was critical to Kandinsky{\textquoteright}s artistic development. It attaches significance to the painter{\textquoteright}s participation in the artistic ambiance of Moscow and maintains that exposure to Neo-primitivism and to the mystic currents within Russian philosophy was instrumental to Kandinsky{\textquoteright}s progress, since the artist stood in need of an imaginative graphic foundation for his messianic vision of the New Spiritual Era. This dissertation assesses the interconnection between Kandinsky{\textquoteright}s specific visual, formal strategies and his emerging synthesis of a wide variety of spiritual traditions, practices, and beliefs and their zeitgeist. The study ascribes particular importance to Kandinsky{\textquoteright}s religious orthodoxy and his drive toward the genetic apprehension of the Word; to the concept of affirmative, positive (cataphatic) theology and negative (apophatic) theology and scrutinizes the artist{\textquoteright}s use of reverse perspective, which takes into account the intuitive, spiritual, and psychological aspects of the creative process. The dissertation is specifically focused on the first seven Compositions since they represent and chronicle the artist{\textquoteright}s path to abstraction.}, keywords = {Twentieth-Century Art}, author = {Najda, Aleksander} } @mastersthesis {11732, title = {Apotheosis of the Public Realm: Civic Classicism in New York City{\textquoteright}s Architecture}, year = {2014}, school = {CUNY}, abstract = {In the years around the consolidation of Greater New York in 1898, a renewed interest in republican political theory among progressive liberals coincided with a new kind of civic architecture. For the first time in American history, cities and the urban public emerged as crucial parts of democratic citizenship, at least for progressives such as Frank Goodnow, Frederic Howe, and Herbert Croly. At the same time, New York City was promoted as the nation{\textquoteright}s cultural and commercial capital: the "American metropolis," in Croly{\textquoteright}s words. Architects, too, played a key role in articulating the city{\textquoteright}s and the urban public{\textquoteright}s new status and visibility. New York City was a site for the simultaneous reimagining of citizenship, the public realm, and architectural and urban form. In this context, an informal school of architecture in New York that I call "civic classicism" developed three distinctive design modalities to reform the city{\textquoteright}s public space: the ensemble of buildings in a garden-like terrace, the continuous street wall around a historic square, and the free-standing monument juxtaposed to the gridiron urban plan. By attending to issues of publicity-of public space and visibility-broadly considered, architectural works by Carrere \& Hastings, Cass Gilbert, and others are shown to be linked to the civic, political concerns of their time. The dissertation thus moves beyond the conventional biases in the historiography of this architecture, which has treated the work in mostly pejorative terms. Chapter one traces the course of the nineteenth-century American "architectonic public realm"-that is, the ways in which political thought and architectural and urban form conditioned one another-as a foundation for understanding the changes around 1898. In Chapter two, Herbert Croly{\textquoteright}s political theory and architectural criticism are studied together to reveal the connections between his republican politics and his pragmatic architectural aesthetics, which championed civic classicism{\textquoteright}s suitability to the modern city. Chapters three, four, and five examine the three architectural modalities at the Staten Island Civic Center, Bowling Green, and the New York Public Library, respectively. The conclusion briefly suggests some reasons why civic classicism declined in the 1920s and after.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Ranogajec, Paul Andrija} } @mastersthesis {11824, title = {Appropriation Art and US Intellectual Property Law since 1976}, year = {2014}, school = {UC San Diego}, abstract = {This dissertation examines the notion of "appropriation" in contemporary art since the mid-1970s in relation to simultaneous developments in United States intellectual property law. The five chapters analyze specifics art works and legal cases involving the Pictures Generation and late postmodern appropriation art generally, tactical media practices and "post-appropriation" art in the present. U.S. copyright law, trademark law, and artists{\textquoteright} moral rights comprise the legal frameworks through which appropriation is understood as both artistic expression and critical gesture. Additionally, critical theory, poststructuralism, new media theory and other scholarship are employed to analyze ideologies of authorship, the status of art in society, and artists{\textquoteright} ethical responsibilities. The dissertation begins with simple questions: what is the status of appropriation in contemporary art today? Why has appropriation art seemed to enjoy a status above the law in ways that other cultural expression (e.g., music, documentary film) does not? While describing instances in which appropriation artists have been taken to court over alleged infringements, the chapters ultimately argue that appropriation art as a subversive practice has helped to usher in a new, "postmodern" intellectual property law, in which increased tolerance for creative copying has come at the expense of neutralizing appropriation art{\textquoteright}s critical power. As the dissertation progresses, the author attempts new ways of defining what form a critical, twenty-first century appropriation art might take.}, keywords = {Contemporary Art}, author = {Harrison, Nathanael Karl} } @mastersthesis {11783, title = {Arcadia Americana: American Landscape in the Art during World War II}, year = {2014}, school = {Yale}, abstract = {Arcadia Americana: Landscape in American Art during World War II charts the shift in the attitudes towards landscape in American art in the early 1940s. It focuses on works by Arshile Gorky, Pavel Tchelitchew, and Yasuo Kuniyoshi, three figures not associated with the same artistic movement or stylistic concerns, but whose common status as outsiders in America during the war defined their view of landscape, painting, and art{\textquoteright}s role in mediating both personal and geopolitical trauma. Closely linked to specific geographic locations within the United States, the work of these artists challenges the contemporaneous modernist trajectory of understanding landscape as either a metaphor for psychic space or a retrogressive embodiment of the historical tableau tradition. Instead, the works in question envision local scenery as a locus of the global, a place and space in which both domestic and international issues can be imagined and reshaped. The first chapter centers on Tchelitchew{\textquoteright}s painting Hide-and-Seek from 1940-42. Based on copious studies of the New England scenery, this "metamorphic landscape" renders visible the complex networks of queer communities within the unhomely space of wartime New York. The second chapter considers Kuniyoshi{\textquoteright}s paintings of desolate ruins from the early 1940s, in particular his Nevadaville from 1942. By locating the death and destruction of war on American soil, this image of a Western ghost town creates an unmitigated point of encounter between the viewer and the violence and devastation of their contemporary moment. The third chapter traces the development of Gorky{\textquoteright}s work in the early 1940s in relation to the artist{\textquoteright}s growing interest in the direct observation of nature and his wartime involvement with the theory and practice of camouflage. Together, this study contextualizes these works in relation to the shift in territorial visuality brought by war, while also addressing the contemporaneous discourse on the spatiality of difference in American society, constructed around the categories of race, sexuality, and national identity.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Zhurauliova, Tatsiana} } @mastersthesis {11888, title = {The Archaeology of Achaemenid Rule in Egypt}, year = {2014}, school = {Michigan}, abstract = {This dissertation is an archaeological examination of the period of Achaemenid Persian rule of Egypt, Manetho{\textquoteright}s 27th Dynasty, c. 525-404 BCE. As an Achaemenid satrapy, Egypt in the 27th Dynasty presents an invaluable opportunity to study both Egyptian experiences with foreign imperialism and the nature of Achaemenid rule. Egypt is especially interesting as a case study because of its profound cultural and political importance in the greater Mediterranean and the Near East, and in the Achaemenid Empire in particular. The dissertation has three major goals: 1.) To examine the intellectual foundations of our knowledge of the archaeology of the 27th Dynasty, with a view towards distinguishing between the products of ancient agency and those of modern scholarship. 2.) To assemble a corpus of material culture pertinent to the 27 th Dynasty. 3.) To use that corpus to characterize the nature and impact of Achaemenid rule on both institutions (cultural, economic, religious and political) and individuals (natives and foreigners) living in Egypt. After an introduction (Chapter One), Chapter Two focuses on the venerable city of Memphis, together with its necropoleis. As the seat of the satrap and the administrative center of Egypt, Memphis was a major locus of interaction between native Egyptians, newcomers, and the mandates of empire. Thus it provides a rich body of evidence set within a dynamic urban and mortuary landscape at the apex of the Nile Delta. As a rural and more remote counterpoint to the ancient city of Memphis, Chapter Three considers the Kharga Oasis in the western desert. The oasis was another site of significant activity during Achaemenid rule, as evidenced by the construction of temples and the introduction of qanat irrigation there. Chapter Four concerns representations of individuals, in the form of statues, reliefs, inscriptions, and seals. The manner in which individuals conceived of themselves and their broader places in society informed how they chose to represent themselves in statues and seals; thus examination of these sorts of personal monuments reveals how certain individuals in Egypt conceived of themselves in the context of Achaemenid rule. Chapter Five examines changes in ceramics corpora from the 26th to the 27 th Dynasty. The procurement and use of ceramic vessels was also informed by broader social and economic conditions, including culturally charged dining practices, so these changes represent potentially momentous shifts in the social environments of certain Egyptian communities. Finally, Chapter Six addresses the role played by coins in the Egyptian economy. As a satrapy Egypt had to pay tribute to the empire, and to do this it was necessary for the Egyptians to convert grain to silver, which they did by importing coins from the Greeks in exchange for grain and other products. The most prevalent silver coin in the eastern Mediterranean at this time was the Athenian tetradrachm. By the end of the fifth century it was not only the most common coin in Egypt, but it was also being used alongside Egyptian weight standards for silver. Imitations of it were even being struck there, and it is clear that this was a significant period in the monetary history of Egypt. In each of these five areas my main findings are 1.) that contrary to conventional wisdom, the Persian Period was one of significant presence in Egypt, having important impacts on a wide range of institutions, individuals, and localities; and 2.) that during the 27th Dynasty people living in Egypt (Egyptians and others) had a wide variety of experiences with Achaemenid rule. For some the empire presented opportunities and options which were advantageous or attractive; for others its impact ranged from the negligible, invisible, or restricting, to one worthy of resistance. This variability is reflected in the spectrum of material culture from Egypt belonging to this period assembled and analyzed in this dissertation.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Colburn, Henry} } @mastersthesis {11914, title = {The Archaic Korai from the Athenian Akropolis: A Reexamination of the Material Evidence}, year = {2014}, school = {IFA/NYU}, abstract = {Marble statues of standing draped maidens, or korai, were dedicated on the Athenian Akropolis for nearly a century in the 6th and 5th centuries B.C.E. The mystery of their identity has drawn many scholars to study various aspects of their visual characteristics. In the early part of the 20th century, the main focus was on stylistic and chronological considerations. Some studies also examined their iconographical possibilities. In the last 20 years or so, the korai have been the subject of many new publications, ranging from an update of Richter{\textquoteright}s work on the korai to arguing that the korai were portraits of actual Greek maidens. Studies furthering previously suggested identifications for the korai have also been taken up again. And recently, investigations of the social and political implications as well as the religious function of these statues have been carried out. Despite these new contributions, questions still remain, and a thorough reappraisal of the Akropolis korai that closely examines the sculpture for evidence and at the same time incorporates new work would still be useful. The comprehensive treatments of the korai from the Akropolis are over eighty years old, and so it seems that a new appraisal of the evidence and a reconsideration of the material in light of more recent discoveries and studies are needed. The aim of this dissertation is to re-examine the korai and the material related to them, and to bring the discussion about the various issues associated with the Akropolis korai up to date, including their function, meaning, and identity.}, keywords = {Greek/Roman Art}, author = {Lee, Minna Mee-young} } @mastersthesis {11746, title = {Architecture, Expertise and the German Construction of the Ottoman Railway Network, 1868-1919}, year = {2014}, school = {Harvard}, abstract = {The dissertation examines the production of knowledge and architecture through the German-sponsored construction of the Ottoman railway network, comprising four discrete projects: the railways of European Turkey, the Anatolian railways, the Baghdad railway and the Hejaz railway and its Palestinian tributaries. The German construction of the Ottoman railway network is an historic event that proffers the opportunity to critically reconsider the epistemological tenets of expertise in broader political, economic and cultural structures distinct from the normative creative processes that dominate the historiography of empires. The dissertation capitalizes on the ambiguous colonial nature of the German role in the architecture, engineering, and urbanism of the late Ottoman empire and situates it as a variegated and occasionally dialogic model of European cultural expansionism by way of a process identified here as ambiguous transmutation. Previous scholarship on the railways has focused near exclusively on its self-evident geopolitical and economic import. This is the first comprehensive and critical consideration of the railways{\textquoteright} role in placemaking and the production of cultural artifacts not limited to train stations, settlements, maps, bridges, monuments and an archaeological canon. These aspects are presented in a wide survey of textual archival sources, visual records and the extant constructions themselves. In its five chapters, the dissertation gives hue and insight into the motives, methods and artistic goals of the German, Ottoman, and extra-national agents involved in the railways{\textquoteright} gestation and five collateral forms of knowledge in which it was situated: political, geographic, topographic, archaeological and architectural and urban. Wider findings emerge from this study. First, a burgeoning interdependency of modernity and secular rationalism with geopolitical strategy is manifest. Second, a new paradigm of the power / knowledge genre develops and privileges the transnational "expert" in the production of design knowledge in an early globalizing world order. Third, the railways{\textquoteright} construction reveals new insight into the geopragmatic origins of multiculturalist logic. Lastly, the German construction of the Ottoman railway network materialized a site for paradigmatic mutations in architectural form. The dissertation explains these mutations and interprets their meaning. The dissertation serves an instructive function: explaining the dynamics of ambiguity as a way of negotiating innovation in knowledge amidst the excitement and duress of modernity.}, keywords = {Architectural History/Historic Preservation}, author = {Christensen, Peter Hewitt} } @mastersthesis {11756, title = {Architectures of Global Communication: Psychoacoustics, Acoustic Space, and the Total Environment, 1941-1970}, year = {2014}, school = {Harvard}, abstract = {This dissertation examines architectural engagements with communication technologies, within the framework of mid-twentieth-century efforts to institute a global community and engineer media democracies. I interrogate the sound modernities that architects constructed in collaboration with engineers, officials, and acousticians, and I demonstrate the architectural strategies that informed them: the theater, the concert hall, the cinema. These interiors, I argue, reconfigured the international community as a networked audience, and the institutions of world organization as the main stages of international diplomacy. My research interrogates key episodes in the development of these sites and the "global space" they hoped to create around two institutional constructions of globality. First, I examine the design and organization of the United Nations. I follow architects, engineers, interpreters, and diplomats as they assemble humans and nonhumans in communication organisms. These actors brought debates on technological amplification, automation, translation, and intelligibility, inside the space of global governance. They implicated infrastructural concerns with aesthetic considerations regarding the atmospheres and intimacy. In this way, the UN was engineered as a media-transparent, instantaneous global network. The second part examines the "stereophonic environments" constructed by the Bureau Internationale des Expositions. This experience of multiple perspectives in World Expo pavilions, furnished the myth of a "global village" with narratives of fluidity, simultaneity, and heterogeneity. The design of these spaces reveals the architects{\textquoteright} role in framing the relationship between subjectivities and the electroacoustic spaces of communication in the post-World War II period. Loudspeakers, multichannel consoles, and microphones, I argue, point to dialogues between networks and environments, engineering and mid-century aesthetic theories. These dialogues were set in motion by architects. Their ultimate result was to reconfigure the public sphere as a multimedia environment, and its experience as the experience of a mixed reality interior. Through the design and construction of these spaces, architects participated in the mythopoetics, the myth-making, of "global village" narratives in the post-World War II period.}, keywords = {Architectural History/Historic Preservation}, author = {Touloumi, Olga} } @mastersthesis {11935, title = {Art and the Sportsman, Sporting Art and the Man: Gustave Caillebotte and the Changing Nineteenth-Century Male Body}, year = {2014}, school = {Temple}, abstract = {This dissertation focuses primarily on the Impressionist artist Gustave Caillebotte{\textquoteright}s paintings of rowers on the Yerres River outside Paris, created in the late 1870s. The works engage with many of the radical shifts in social and cultural norms that took place during the latter half of the nineteenth-century as industrialization and urbanization increasingly affected daily life in Europe and America. The paintings are in dialogue with developments in the fine arts, including the growing influence of Impressionism and avant-garde artists, and deal extensively with the male figure, reacting to and engaging with changing norms of masculinity. To fully examine the works, I focus on five areas of comparison. First, in considering the possible implications of changing masculine ideals in relation to the physical body during the period, I consider Caillebotte{\textquoteright}s controversial nude male bathers. I then contrast Caillebotte{\textquoteright}s oarsmen with both the professional rowers portrayed by his American contemporary Thomas Eakins, and the more leisurely boating scenes of his fellow Impressionists. Finally, I examine the history of the dandy/flaneurs figure, arguing that Caillebotte{\textquoteright}s rowers illustrate the artist{\textquoteright}s attempt to reinvent and modernize the concept. My thesis attempts to bridge different methodological approaches that have tended to isolate aspects of the artist{\textquoteright}s work, thereby obscuring his overall project of engaging with both the social and theoretical concept of modernity. Although the artist is underrepresented in the general literature of Impressionism, he has lately played a significant role in texts examining Impressionist interest in the suburban vacation spots along the Seine River. Such authors have illuminated Caillebotte{\textquoteright}s background as a serious sportsman, an aspect of the artist previously underexplored. I also build on feminist and queer theorists, who in recent years have called attention to the potential for sexual subversity within Caillebotte{\textquoteright}s oeuvre. Although acknowledging a debt to all of these scholars, my dissertation is an attempt to expand the scholarly conversation by examining how these works explore the concept of modernity, both formally, in the manner in which Caillebotte calls attention to the artifice of painting and socially, in how he engages with the changing physical landscape and the increasing potential for leisure activities outside Paris following the Franco-Prussian War. Finally, in arguing that Caillebotte rowers are transported flaneurs, who, though now engaged in daytime paddling rather than evening strolling, continue their mission of anonymity and observation, I suggest an expansion of the very definition of flaneurs, and by extension, the dandy figure that remains relevant as a type even today.}, keywords = {Nineteenth-Century Art}, author = {Lehman, Erin} } @mastersthesis {11827, title = {The Art of Artists{\textquoteright} Personae: Yayoi Kusama, Yoko Ono, and Mariko Mori}, year = {2014}, school = {UIC}, abstract = {This dissertation presents artists{\textquoteright} personae as a trajectory of contemporary art, while conceptualizing persona as an unstable yet productive site that can reveal the complicated relations among performance, representation, and perception of artists and their artworks. By combining theories of performance, celebrity, dramaturgy and postcolonial theory, I specifically analyze the image of three Japanese artists who have gained exceptional visibility in the mainstream Western art world since the 1950s: Yayoi Kusama (b. 1929), Yoko Ono (b. 1933), and Mariko Mori (b. 1967). I argue that it has been their media images and their identities as Japanese women that have determined the reception of their artworks while the artists have also strategically played with the Western audience{\textquoteright}s cultural, racial, and gendered stereotypes and fantasies about Japan and East Asian women. Chapter 1 discusses the critical and practical importance in contemporary culture of artists{\textquoteright} media images and personae formations by tracing the modern phenomenon of art stars to Jackson Pollock and Andy Warhol in postwar New York. Chapter 2 examines Yayoi Kusama{\textquoteright}s effort at persona creation in New York in the 1960s and argues that her kimono-clad public performances were not merely crude mongering acts but a survival tactic and satirical parody of Orientalist stereotypes about kimonoed Japanese women. The kimono fetish had become prominent in American culture during the Cold War. Chapter 3 traces the history of the Dragon Lady stereotype and reveals how Yoko Ono since the 1960s has embraced prejudice as a source of her work and how her assertive performances have contributed to the transformation of the originally negative stereotypical role of Dragon Lady into contemporary model of female power. Chapter 4 explores the relationship between Mariko Mori{\textquoteright}s Made in Japan series and the rise of Japanese soft power in the 1990s by explicating Japanese mass cultural aesthetics of kawaii ("cute") and Japanimation in Mori{\textquoteright}s art and persona. It also demonstrates how the genealogy of contemporary Japanese art stars represented-in the order of ascendance-by Yasumasa Morimura (b. 1951), Mori, and Takashi Murakami (b. 1962) parallels the shift of the image of Japan from a techno-power dystopia to cute and then to cool dreamland of commodity culture. Chapter 5 emphasizes the roles of celebrity, branding, and mass media in the current art world system, and considers the cases of Nikki S. Lee, Banksy, and Marina Abramovic.}, keywords = {Contemporary Art}, author = {Lee, Soojin} } @mastersthesis {11775, title = {The Art of Reconciliation: The World{\textquoteright}s Industrial and Cotton Centennial Exposition, New Orleans, 1884}, year = {2014}, school = {Georgia}, abstract = {An examination of the visual culture of the New Orleans{\textquoteright} World{\textquoteright}s Industrial and Cotton Centennial Exposition is revelatory of the formation of American attitudes about race, ethnicity, aesthetics, and regional as well as national identity. Overlooked in the American art historical scholarship on world{\textquoteright}s fairs, the New Orleans event was one of a number of regional and international expositions held in the United States between Philadelphia{\textquoteright}s Centennial Exhibition of 1876 and Chicago{\textquoteright}s World Columbian Exposition of 1893 that endeavored to promote regional reconciliation after the Civil War and establish a cohesive national identity. Although the relationship between developments in the fine arts in the United States and world{\textquoteright}s fairs held there is an established part of American art historical scholarship, there has been no art historical scholarship on the fine arts exhibition at the New Orleans fair. This dissertation seeks to cast light on that fine arts exhibition in the context of the New Orleans world{\textquoteright}s fair. To do this effectively the visual culture of the fair itself requires exploration. The buildings, fairgrounds, various displays created by the states and the United States government, and magazine illustrations created to cover the event, provide a broader socio-historical context in which to consider the art exhibited. This will, in turn, illuminate the national commercial and cultural agenda in which artistic production took place, as well as the role played by the New Orleans fair in the promotion of regional reconciliation during the postbellum era, the establishment of a singular national identity, and fair{\textquoteright}s place in the development of American art.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Pauly, Sandra} } @mastersthesis {11817, title = {The Artist in the City: Contemporary Art as Urban Intervention in Ho Chi Minh City, Vietnam, and Phnom Penh, Cambodia}, year = {2014}, school = {Cornell}, abstract = {This thesis examines the development of contemporary art in Vietnam and Cambodia by introducing new ways of visually analyzing the city as a site of experience and field of representation. As part of a micro-region loosely referred to as "the Mekong," named for the river that runs through it, Ho Chi Minh City and Phnom Penh share an intimate geography despite the contentious history their respective nations of Vietnam and Cambodia have experienced for centuries. Pivotal experiences shaping the present in both cities include their colonial pasts as part of French Indochina, postcolonial "golden ages" of independence, and deep imbrication in the wars of the 1960s-70s and traumatic aftermaths including societal upheaval and genocide. New forms of artistic practice and subjectivity began to emerge in the 1990s and became especially pronounced in the first decade of the new millennium, as market-oriented economic reforms in Vietnam and procedures of democratization in Cambodia indexed new relationships to neoliberalism and globalization. While these parallel events guide the comparison of the present, the larger argument is framed by a rigorous engagement with the politics of place and possibilities of built space. As such, I let the detailed stories of two cities relate how artistic practices represent complex affiliations with city and nation, as well as a form of social and creative labor with ties to past forms of modernism. Contemporary art is thus accounted for as a historical episode, a discursive category, and a socio-spatial intervention in the urban and national landscape.}, keywords = {Contemporary Art, South/Southeast Asian Art}, author = {Corey, Pamela Nguyen} } @mastersthesis {11922, title = {The Arts in the Showcase: Santiago{\textquoteright}s Exposicion Internacional of 1875}, year = {2014}, school = {Stony Brook}, abstract = {During the 1870s, exhibition culture attained particular relevance among the Chilean elite, who saw exhibitions as a forum for portraying Chile as a modern nation. In this context, Santiago{\textquoteright}s Exposicion Internacional of 1875, the first international exhibition carried out in the country, provided a unique opportunity for the display of Chile{\textquoteright}s material and cultural progress among national and international audiences. This dissertation examines the role the arts played in shaping the international image of Chile as a "civilized" nation, while simultaneously attempting to highlight the unique features of Chilean national identity during the mid-to-late nineteenth century. Thus, the use of imagery inspired by previous international exhibitions, the construction of an exhibition building, and a number of promotional and display strategies will be regarded as instrumental in aligning Santiago{\textquoteright}s international exhibition with its European predecessors. Rather than assuming that international exhibitions functioned merely as commercial platforms for exhibitors, this study looks at these universal exhibitions as settings that greatly surpassed the commercial realm to become strategic platforms for the host countries to put nationalism on display. By focusing on artistic media, iconographies, and the participation of private collectors, this study will also demonstrate that the exhibition was not only a setting that was instrumental to the shaping of the country{\textquoteright}s public image for international audiences, but also a stage on which the prevailing ideas of the nineteenth century Chilean art system were expressed.}, keywords = {Latin American/Caribbean Art, Nineteenth-Century Art}, author = {Drien, Marcela} } @mastersthesis {11905, title = {Asia Minor at the End of Antiquity: A View from the Countryside}, year = {2014}, school = {Michigan}, abstract = {This dissertation examines the changes in Graeco-Roman life that mark the end of antiquity in southern Asia Minor and northwest Syria using the archaeology of the countryside. By 700 CE, the eastern Roman empire had changed fundamentally: many cities had been largely abandoned, economic networks reconfigured, and social relationships renegotiated. This process is often understood as a systemic collapse into a "dark age" caused by conflict with Persians and Muslims, political and economic instability, the rise of Christianity, plague, earthquakes, climate change, and land degradation. What did this process feel like for those experiencing it? Did Graeco-Roman life collapse, or change into something new? Answers have traditionally been sought with evidence from cities alone, but doing so ignores the landscapes surrounding them. I look beyond cities and investigate the countryside using the methods of regional survey and environmental archaeology and science. I aim to understand the end of antiquity by identifying broad patterns of change related to population and settlement dynamics, economic patterns, subsistence strategies, and environmental conditions. My secondary goal is to determine the usefulness of these methods in investigating a major historical problem. My research suggests that society became less complex and life more difficult for many people in these regions during the seventh century. Population declined, communities became less secure, and access to many commodities, goods, and services became restricted or cut off. The post-seventh-century fates of two networks of exchange provide a key to understanding these changes and how communities responded to them. Whereas greater dependence on the state redistribution system made certain communities vulnerable to the disruptions of this period, the continuation of commercial exchange, operating primarily via local and regional networks but also interregionally, provided a safety net allowing future resilience. Communities survived the unpredictability of these centuries by eschewing long-term investment in favor of risk-sensitive strategies that increased their flexibility: they lived in villages rather than cities or farmsteads, abandoned intensive agriculture for more balanced agropastoralism, and restricted family size. These responses reflect an aggregate desire to make life safe and fulfilling in the face of apprehension about an unknown future.}, keywords = {Greek/Roman Art}, author = {Commito, Angela} } @mastersthesis {11818, title = {Assembling Social Forms: Sociological Art Practice in Post-1968 France}, year = {2014}, school = {Pennsylvania}, abstract = {The social sciences rarely figure in histories of 1960s and 70s art despite the fact that sociology, anthropology, and psychology inspired novel artistic practices in that period. This dissertation is the first comprehensive study of "sociological art," a movement and artist collective that developed in France following the upheavals of May and June 1968 and declined by the election of the Socialist Francois Mitterrand in 1981. Artists and critics associated with the movement, including artists Fred Forest, Herve Fischer, and Jean-Paul Thenot, who founded the Sociological Art Collective in 1974, and critics Francois Pluchart, Pierre Restany and Bernard Teyssedre, sought to make art more responsive to the world by combining sociological methods and theory with new artistic currents and media. This dissertation draw on significant archival resources to chart the formation and work of the Sociological Art Collective and to identify dynamic and constitutive relationships between the emergence of sociological art and contemporaneous intellectual, social, and political changes. Structured around four key actions-organizing, questioning, animating, and teaching-the chapters lead readers chronologically through the history of sociological art, seeking, at each turn, to expand art historical interpretation beyond the objects produced to the processes initiated. In its historiographic dimensions, this dissertation examines the concurrent "cultural turn" in the social sciences and "social turn" in art and art history in the 1970s, methodological shifts that led to a dramatic re-conception of art. Rather than rarified objects made by individuals, art would be increasingly envisaged as a cooperative process of communication operating within an enlarged visual field. Furthermore, this project positions sociological art as an important yet unacknowledged historical precedent and foundation for the recent rise of "relational" and "socially-engaged" art practices since the mid-1990s. Originating at the shifting interfaces between the arts, humanities, and social sciences, sociological art advances a hybrid and interdisciplinary model for future histories of art.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Erickson, Ruth} } @mastersthesis {11737, title = {Bakers and Bakeries in the Roman Empire: Production, Power, Prestige}, year = {2014}, school = {Virginia}, abstract = {Bakers and Bakeries in the Roman Empire: Production, Power, and Prestige, proposes specialization and subsequent commercial production as two of the driving forces of urbanization, economic growth, and other forms of cultural change under the Roman Empire. At the heart of this study is a simple hypothesis: industrial architecture is shaped by the same social relationships that defined Roman domestic spaces, such as master and slave or patron and client. This study weaves the material evidence {\quotesinglbase}{\"A}{\`\i} and associated theory {\quotesinglbase}{\"A}{\`\i} with the literary, epigraphic, papyrological, and juridical evidence. The physical remains of the bakeries are visualized and analyzed in GIS, but assessed through network and viewshed analyses. Although GIS provides the basic framework for analysis, operating sequences (chaines operatoires) provide the necessary interpretive link between the patterns in the material remains and the processes that defined them. The archaeological remains of bakeries suggest that bakers were fully capable of providing bread for entire cities, were making fairly large sums of money, and found themselves in the rather unique position (at least for the Roman world) of being neither elite, nor poor and destitute. The epigraphic and legal evidence indicates that the commercial success of Roman bakers earned them a degree of power, but their behavior, collectively, is more characterized by their restraint {\quotesinglbase}{\"A}{\`\i} or unwillingness {\quotesinglbase}{\"A}{\`\i} to implement that power.}, keywords = {Architectural History/Historic Preservation, Greek/Roman Art}, author = {Benton, Jared} } @mastersthesis {11937, title = {The Beast Within: The Contested Image of the Railroad in French Visual Culture, 1837-1877}, year = {2014}, school = {Iowa}, abstract = {Between 1837, when the first railroad were authorized by the July Monarchy, through the 1870s there were vociferous public debates on the utility of the train, large scale government funding for rail infrastructure, and notable depictions of the train in print, photography and literature. During this period there was also a notable - if currently unrecognized - dearth of painted depictions. This absence suggests that the Impressionists{\textquoteright} paintings of the railroad in the 1870s were more than novel images of modern life, and provide evidence of the contested perception of the railroad, industrialization and aspects of modernization in the aftermath of l{\textquoteright}annee terrible that so far have been unaddressed by art historians and scholars of the nineteenth century.}, keywords = {Nineteenth-Century Art}, author = {Ostergaard, Tyler E.} } @mastersthesis {11865, title = {Becoming Walker Evans: Photography, Literature, and Transnational Modernism, 1926-1938}, year = {2014}, school = {Brown}, abstract = {This project foregrounds the connections between American, European, and Latin American influences in American art history as signaled by the use of "transnational" in my dissertation title. Using a contextualist approach, I demonstrate how the iconic American photographer Walker Evans{\textquoteright}s images from the Great Depression were created in a period that forged aesthetic alliances between disparate international influences, including the work of the French photographer Eugene Atget, the poetry of Hart Crane and other American writers, the agrarianism of William Faulkner, and the radical politics of the Diego Rivera circle. Moreover, I examine how debates about immigrant policy and racial politics in the United States and cultural relations with Cuba informed the subjects of Evans{\textquoteright}s photographs. This project contributes to the discipline of visual studies by renegotiating the parameters and delineations of art history. It questions traditional regional and continental divisions, preferring instead to adopt a more culturally integrative approach to the study of American art, one that focuses on the fluidity of artistic and intellectual exchange in a broadly defined North America. Chapter one situates Walker Evans within the polarized context of modernism and considers his work both as product of American vernacular traditions and as representative of a progressive aesthetic movement towards what would become an iconic American documentary style during the 1930s. The following chapter shifts to a discussion of Evans{\textquoteright}s photographs of interiors of working class and immigrant homes during the Great Depression. Chapter three examines Evans{\textquoteright}s first solo exhibition at the Museum of Modern Art in 1933, Walker Evans: Photographs of Nineteenth-Century Houses. The final chapter looks at two remarkably different projects by Evans created during the 1930s. The first is his photographic work for Carleton Beals{\textquoteright}s The Crime of Cuba (1933), a project for which he traveled to a politically unstable and violent Cuba during a period of strained cultural relations between that country and the United States. The second is his publication in 1938 of his well-known book, American Photographs.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Oehlrich, Kristen} } @mastersthesis {11728, title = {Between Africa and Islam: An Analysis of Pre-Colonial Swahili Architecture}, year = {2014}, school = {UC Santa Barbara}, abstract = {This work re-considers current descriptions of pre-colonial Swahili stone architecture by applying formal analysis to structures from the {\textquoteright}golden age{\textquoteright} of the fourteenth and fifteenth centuries and the Swahili heartland regions of mainland Tanzania and Kenya. The results of this analysis are compared to mainstream descriptions of Swahili architecture. They are then used to make comparisons between the remains of pre-colonial Swahili stone structures and those in built environments that are popularly identified as essentially {\textquoteright}Islamic.{\textquoteright} This project seeks to generate an updated description of early Swahili architecture while providing a useful case study of Islamic architecture at the margins of the field. The data for this work was attained through a combination of archival and onsite research. The latter was carried out through visits to Kenya and Tanzania over the course of two summers, 2006 and 2009. The analysis is separated into sections focusing on religious, domestic and public spaces that were chosen from a cross section of stone town sites. The findings support that pre-colonial Swahili spaces were designed by and for the local Swahili community. The analysis of religious structures suggests that nine-bay mosques may have had a commemorative function. For larger mosques it is proposed that longitudinal orientation and the visual obstruction of the mihrab by central pillars are deliberate (rather than accidental) features that were intended to emphasize the direction of prayer. The analysis of housing reveals that pre-colonial Swahili stone houses exhibit only minimal degrees of visual restriction: the stringently gendered, intimacy gradient that is thought to circumscribe both social and physical Swahili space was a relatively late development that can be linked to the period of Omani colonization in the eighteenth and nineteenth centuries. The late colonial period also marks the earliest evidence of a formal relationship between Swahili stone houses and coastal South Arabian houses. The analysis of public space suggests that pre-sixteenth century parallels between Mijikenda and Swahili urban form are tenuous at best. When these parallels exist they can be ascribed to a shared cultural climate without the necessity of identifying direct links between one or another local groups.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Lauren, Samantha} } @mastersthesis {11741, title = {Between Architectures: Institutionalization and Architectural Discourse in Early Twentieth-Century Poland}, year = {2014}, school = {MIT}, abstract = {This dissertation explores the development by architects in interwar Poland of new epistemological approaches responsive to the challenges of modernity and modernization in the early twentieth century. It probes the establishment of institutional structures in higher education, publishing, and corporate life, investigating their development in relation to concomitant evolution of discourses around the role of history, architectural pedagogy, the social role of the architect, and the legal status of the architecture profession -crucial matters at the limen between the romantically glorified past and gloriously hopeful future. I argue that the robust intellectual currency ultimately shared among architects across the newly reconstituted Polish state facilitated challenges to long-standing narratives of romantic nationalism thus paving the way for a reconstruction of collective identity and consequently sophisticated contributions to cultural modernity and economic modernization. Presenting this largely untold story contributes to reevaluation of the genesis, development, and impacts of modernist culture in ostensibly peripheral locals, such as Central Europe, revealing these phenomena to be more pluralistic and nuanced than canonical historiography of modernism suggests. I present the construction of this institutional and epistemological armature as a process in three phases, with a segment of the developing network taking the leading role in each. Chapter one provides historical context and outlines a model of theory change developed by Ludwik Fleck in which social forces with particular historical contours are embodied in institutions crucial to the development of characteristic "thought styles" underlying the persistence of unique "thought collectives." Chapter two explores the newly formed Department of Architecture at the Warsaw University of Technology, showing how its faculty and students worked to form themselves into an intellectual community reimagining the historical and aesthetic foundations of Polish architecture. Chapter 3 addresses strategies for communication deployed in Polish architectural journals, where the articulation of a disciplinary identity for architecture as professionalized occupation, cultural phenomenon, and intellectual project was presented for both practitioners and a broader public. The final chapter focuses on architects{\textquoteright} negotiation of conflicts both internally between generational groups and externally against peer engineers in the marketplace to formalize the corporate and legal organization of their profession.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Matteson, Matthew Benjamin} } @mastersthesis {11745, title = {Beyond the Factory Gates: Detroit and the Aesthetics of Fordism, 1903-1941}, year = {2014}, school = {Harvard}, abstract = {This dissertation analyzes the ways in which the new mode of industrial organization associating mass production with mass consumption in the early twentieth century-what we call Fordism-had profound cultural repercussions on urban spatial practices. I address Fordism as a mode of socialization that deployed industrial techniques to reconstitute the very nature of social relations. This attempt at broad socialization through technological means reflected a type of technical thought coalescing in the industrial practices of the early twentieth century that both brought spatial practices into its service and radically altered existing social relations. As such, Fordist ideas formulated to address efficiency in industrial production extended to the city, its architecture, and its inhabitants, construing them as technological artifacts subject to the same economies of scope and scale, and requirements of production and consumption as the manufacture of automobiles, demonstrating that Fordist modes of production permeated not just manufacturing processes but also the organization of management structures, the architectural layout of factories and offices, the social spaces of the city, and popular conceptions of individuality, subjectivity, and the body. What distinguished Fordism from earlier incarnations of industrial and corporate power was the expression of mass automated production through a new politics of aesthetics both emerging from and producing the rationalized, modernist, and populist society forming at the turn of the twentieth century. The new aesthetics prompted by Fordism reconfigured understandings of what it meant to be an urban citizen, specifically by repositioning the urban subject as a potential object of production in the Fordist aim to "make new men" as evidenced through parallels associating working (class) bodies, modern buildings, and efficient machines. I trace the emergence and distribution of this Fordist industrial aesthetic in and through key urban institutions: the factory, the museum, the hospital, and the school. Thus, in examining how Fordism extended beyond the factory gates to make its standards and practices both visible and intelligible to the public, this research reveals how the ideologies of a production process came to redefine the urban habitus, reconstruct broad cultural discourses on the modern city, and generate new subjectivities.}, keywords = {Architectural History/Historic Preservation}, author = {Cephas, Jana} } @mastersthesis {11918, title = {Beyond the Modern Beauty: Takehisa Yumeji and the New Media Environment in Early Twentieth-Century Japan}, year = {2014}, school = {Harvard}, abstract = {This thesis focuses on the modern Japanese artist Takehisa Yumeji (1884-1934) and his diverse range of graphic production, from illustrations in socialist newspapers and magazines with images of anti-war and leftist sentiment to fashionable images of beautiful women, referred to as "Yumeji-style beauties" (Yumeji-shiki bijin) in newspaper illustrations, coterie magazines, postcards, frontispieces, posters, and advertisements. Such works circulated widely and within the context of a growing female readership and the emergence of a new media environment that transformed the print medium from its "floating world" profile of the previous century into a technically diverse medium of modern visual culture and avant-garde pictorialism. Yumeji{\textquoteright}s graphic works participated in the generation of new kinds of modern identity. An extensive consideration of Yumeji{\textquoteright}s life and works reveals his role in the cultivation of a new demography of viewers and readers. The chapters address his production from the start of his career in 1905 to 1923: the reconsideration of his beauty images; his socialist and anti-war illustrations; the redefinition of reproducible media as art objects and the issues of design and consumption within the development of a young female readership; his involvement with avant-garde pictorialism and anti-academism; and the culmination of his commercially successful images and his politically radical expressions via his Tokyo Earthquake Sketches. Yumeji{\textquoteright}s works engaged spheres of popular culture, with images of women becoming emblems of modernity and the primary loci around which debates of contemporary lifestyle and culture took place. Simultaneously, his involvement with rising avant-garde artists sheds light on the reinvention of the woodcut medium from a reproducible media into a creative form of production in Japanese artistic modernism. The thesis also introduces a substantial body of Yumeji{\textquoteright}s texts, including diary entries, poetry, essays, and books in English translation for the first time.}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {Naoi, Nozomi} } @mastersthesis {11752, title = {The Body and the Building: Architecture, Urbanism, and Hygiene in Early Nineteenth-Century Paris}, year = {2014}, school = {Harvard}, abstract = {This dissertation examines the transformation of the French built environment alongside medical discourses of the body in the early 19th century, arguing that emerging theories on health and hygiene comprised a politically charged subtext in the design of spaces where gender and class identities were formed. Following the military defeats that led to the collapse of the Napoleonic Empire, fears over national decline spurred medical thought on the regeneration of French citizens. The ensuing debates about the body and hygiene gave rise to new architectural programs - such as gymnasiums, swimming schools, and public gardens - where emergent practices for rehabilitating the bourgeois body, both male and female, were implemented. I trace the translation of these spatial forms and practices across a range of military, educational, and recreational settings, to analyze the role of architecture in shaping 19th-century embodiments and expressions of gender, class, and citizenship. This dissertation thus situates the prescriptions that were put in place to educate and reform bodies in the early 19th century at the epistemological juncture of science, politics, and space. Chapter one explores the post-Napoleonic crisis of the soldier ideal and the introduction of physical education and gymnasiums in the army. Chapter two discusses schoolboys{\textquoteright} exposure to new bodily practices through military models, and the consequent evolutions in educational architecture. Chapter three studies the transformation of girls{\textquoteright} schools as emerging theories of hygiene advocated measures, adapted from military practices, to strengthen the female body. Chapter four turns to the public sphere, examining new urban institutions that were imagined and built for a healthier populace, including community gymnasiums and swimming pools. Finally, chapter five explores the public recreation parks of the Restoration and the July Monarchy, where games and exercises were pursued in what had formerly been private gardens of aristocratic estates. I examine these institutional and private interventions in the context of the densifying, deteriorating environment of early 19th-century Paris, arguing that the resultant spaces of hygienic activity gave figure to conceptions of modern urbanism at the local, architectural level, prior to the large-scale, state-led urban transformations of the Second Empire.}, keywords = {Architectural History/Historic Preservation}, author = {Park, Sun-young} } @mastersthesis {11960, title = {Body, Subject, Self: The Art of Piero Manzoni}, year = {2014}, school = {Harvard}, abstract = {Piero Manzoni (1933-1963) is one of the best-known and under-theorized artists in all of postwar Europe. His body of work includes a range of practices from monochrome painting to readymade objects, from participatory sculpture to designs for architecture. More than simply innovative in its form and media, however, Manzoni{\textquoteright}s practice articulates a politics of the body and of the self that departs radically from the belief systems at stake in the work of his contemporaries in both Europe and America. If other postwar artists still claimed access to transcendence, to nature, or to autonomous subjectivity, Manzoni responds with works that reveal the body and the self as material and discursive effects of power relations. Each chapter of the dissertation examines an individual work or linked group of works in Manzoni{\textquoteright}s oeuvre. Chapter One draws on the theoretical approaches of Michel Foucault and Guy Debord to analyze an array of Manzoni works involving eggs and fingerprints. In Chapter Two, a group of participatory works centered around the Magic Base (1961) recruit spectatorial bodies and even the earth itself as readymades, thereby leveraging previously-liberatory avant-garde techniques in a radical reification of the body and the self. Chapter Three looks to the dialectic of organicity and syntheticity in Manzoni{\textquoteright}s use of materials, especially plastic, to argue that under the linked impacts of synthetic materials and industrial design culture, aesthetic practice can no longer claim access to "nature." Chapter Four offers a reading of Manzoni{\textquoteright}s blank book Piero Manzoni: Life and Works, made of transparent plastic, in the context of literary and aesthetic negation from Mallarme through Duchamp to neo-avant-garde of the later 1960{\textquoteright}s. There then follows a coda, a short meditation in ten notes on Manzoni{\textquoteright}s achrome series Pacchi (Packages) of 1962. Drawing on many themes presented in these chapters, the Conclusion positions Manzoni historically and theoretically as a European counterpart to Andy Warhol.}, keywords = {Twentieth-Century Art}, author = {McGrath, John} } @mastersthesis {11734, title = {Boston Motordom: Automobiles and the Transformation of the City, 1899-1930}, year = {2014}, school = {Virginia}, abstract = {This dissertation examines how the city of Boston accommodated automobiles in their first decades of use, from about 1899 to 1930. The technological advances related to automobiles and their rapid rise in popularity among consumers did not immediately lead to the creation of a city for automobiles, especially in the downtown area and elsewhere in the central business district. Rather, the center city was only remade for automobilists after a protracted period of conflict. This interim period - one that saw a city built largely for pedestrians transformed into one built largely for motorists - was marked by several trends. The earliest accommodation was discrete, with automobilists adaptively reusing the existing public and private landscape. This dissertation discusses that reuse, especially the transformed customs that guided everyday use of the street and the transformation of urban stables into experimental and highly flammable garages. It offers a geography of the automobile landscape that emerged to sell, service and store motor cars, discussing the formation of Boston{\textquoteright}s two "automobile rows" and the distribution and changing designs of garages and showrooms. It presents an architectural history of important but overlooked buildings, such as a livery stable designed by Peabody \& Stearns, the Massachusetts Automobile Club (first built in 1902), and the Motor Mart (first built in 1905). This dissertation also accounts for the role of planners and other city officials as they worked to undo Boston{\textquoteright}s fossilized landscape in a series of aggressive campaigns to widen existing roads and to create new boulevards for suburban commuters, beginning around 1917. Though these campaigns consistently failed in their promises to alleviate automobile congestion, Boston{\textquoteright}s planners undertook increasingly drastic measures to chase this goal, with great repercussions for traditional urban form. Though Boston is offered as an arena in which to conduct a vivid reconstruction of early automobile use in a dense urban center, this project is not exclusively about a particular large city. Rather, it is about the impact of a technological paradigm shift on the built landscape and ordinary urban practices. Broadly, this dissertation provides insight into the transformative process of a now-familiar revolution, interrogating our assumptions about the development of the automobile-centric twentieth-century century city.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Spelman, John} } @mastersthesis {11908, title = {Bucolic Architecture: Hellenistic Pastoral Temples in the Peloponnese}, year = {2014}, school = {Minnesota}, abstract = {The historical setting of the Hellenistic period in the Peloponnese has been covered in great detail in scholarly literature, as well as the scope of Hellenistic religion and the role of monumental temples during this period. However, the role of small extra-urban temples has been somewhat overlooked in favor of larger and more easily accessible temples within the city or predominant sanctuary. The Peloponnese is rich in such modest rural temples, all exhibiting architectural similarities which I will show point to not only a specific architectural style in this region but a multi-functional role of these small temples for the city and surrounding landscape. The overarching goal of the dissertation is to examine how the role of the pastoral temple contributed to the agenda of the city and community. This is the first comprehensive description, examination, and collection of these modest yet pivotal temples from the Hellenistic period in the Peloponnese. I posit that the built environments of the city and countryside functioned together, rather than in opposition to each other as is often suggested: the temples do not merely reflect the socio-political ideals and identity of the city, but actively participate in and shape these agendas. Some of these small temples were administered by the city state, but located outside the urban space and functioned as markers of expansion and territorial influence of the city and as regional centers for cults uniting the rustic population. Additionally, some sites, although being under administration of nearby city states, served to hold a stance of neutrality between extra-urban populations in instances of trade or for those seeking temporary asylum. In turn, what made these temples so critical to the rising poleis is that they bolstered civic identity, social cohesion and territorial integrity among a diverse constituency. In doing this, the rural sanctuaries engaged networks of community through already established ties of cult which was especially vital to the formation of major cities seeking to establish and legitimize their political position. The impressive result of these efforts was a common sense of history and community, strengthening the ethnos in these areas.}, keywords = {Greek/Roman Art}, author = {Franck, Sara} } @mastersthesis {11870, title = {Byzantine Cameos and the Aesthetics of the Icon}, year = {2014}, school = {Johns Hopkins}, abstract = {Byzantine icons have attracted artists and art historians to what they saw as the flat style of large painted panels. They tend to understand this flatness as a repudiation of the Classical priority to represent Nature and an affirmation of otherworldly spirituality. However, most extant sacred portraits from the Byzantine period were executed in relief in precious materials, such as gemstones, ivory or gold. Byzantine writers describe contemporary icons as lifelike, sometimes even coming to life with divine power. The question is what Byzantine Christians hoped to represent by crafting small icons in precious materials, specifically cameos. The dissertation catalogs and analyzes Byzantine cameos from the end of Iconoclasm (847) until the fall of Constantinople (1453). Because they have not received comprehensive treatment before but represent saints in iconic poses, they provide a good corpus of icons comparable to icons in other media. Their durability and the difficulty of reworking them also makes them a particularly faithful record of Byzantine priorities regarding the icon as a genre. In addition, the dissertation surveys theological texts that comment on or illustrate stone to understand what role the materiality of Byzantine cameos played in choosing stone relief for icons. Finally, it examines Byzantine epigrams written about or for icons to discover cultural motifs and metaphors that shaped icon production. The study finds that Byzantine cameos are exceptionally homogeneous: nearly all in relief, representing sacred persons against a blank ground, and typically cut in green stones. Where middle Byzantine cameos are most homogeneous, later Byzantine examples show more variety of stone, color and style. While theological sources do not construct a symbolism of materials, they generally associate the Prophet Daniel{\textquoteright}s dream of a stone not cut by human hands with Christ{\textquoteright}s reign through the mediation of icons in precious materials. Byzantine poetry, on the other hand, emphasizes the icon as a renewal of Creation. The dissertation concludes that Byzantine cameos were made not so much for personal protection as for public display of divine power. They reveal icons as traces of that presence in Creation, renewing humanity in the present age.}, keywords = {Early Christian/Byzantine Art}, author = {Magruder, James} } @mastersthesis {11800, title = {Cartographic Empire: Production and Circulation of Maps and Mapmaking Knowledge in the Song Dynasty (960-1279)}, year = {2014}, school = {McGill}, abstract = {My dissertation is a study of the social meanings of maps and various forms of geospatial knowledge in Song China (960-1279). I argue that geographical knowledge was produced, reproduced and transformed through mapmaking and circulation within the contexts of print culture, civil service examinations, and political reforms. I divide the maps and other graphic representations I examine into three categories according to their subject matter and social functions: (1) imperial maps and diagrams commissioned by the Song court serving administrative and military purposes; (2) maps, tables and charts made by literati scholars in constructing the geography of a canonical past based on the "Tribute of Yu"; and (3) gazetteer maps made primarily by local scholars as a venue in which both the consciousness of the "local" and its bond with the state were formulated and negotiated. Maps in these three categories, viewed as objects within the context of social relations, were produced and commissioned by various echelons of the social elite. I conclude that both the Song literati{\textquoteright}s social identities and understanding of the empire were shaped by the interactions and exchanges of geospatial and cartographic knowledge.}, keywords = {Chinese Art}, author = {Lin, Fan} } @mastersthesis {11750, title = {Change and Continuity: An Analysis of the Socio-Spatial Fabric of Tesuvikiye-Nisantasi, 1945-1960}, year = {2014}, school = {Binghamton}, abstract = {The 1950s was a time of intense change in Istanbul which transformed family, household structure and built form. The Democratic Party, led by Adnan Menderes, launched and developed a new spatial image for the city marked by the building of apartments for nuclear families in place of the existing urban fabric consisting of extended families living in wooden or concrete houses and large Ottoman mansions. Based on informal interviews, this research explores how people, through their socio-spatial practices, transformed their neighborhoods and appropriated and adapted for their own needs. Conversely, I assess the extent to which new spatial relations affected individuals and families during the 1950s. I emphasize the changes as well as continuity in everyday practices, structure of family and household and kin relations to show the changing social fabric of the city during the decade when major transformations were taking place in the name of modernization. This dissertation also examines the impact of Turkification policies in Istanbul, namely in an upscale neighborhood, Tesvikiye-Nisantasi, by using testimonies of the locals regarding social relations between Muslims and non-Muslims, daily interactions, and narratives of traumatic events. Its goal is to clarify the historical and political context of the time period that envisioned homogenization of the population and thus changed the conditions for long-established minority groups. My study takes large-scale political events that affected all of Istanbul (and all of Turkey) and asks how the residents of Tesvikiye-Nisantasi, some of whom were minorities who remained behind rather than joining the mass emigration from Turkey, dealt with these major historical episodes and their aftermath.}, keywords = {Architectural History/Historic Preservation}, author = {De Rouen, Aynur} } @mastersthesis {11802, title = {Characters of Design: Writing and Materiality in Early China}, year = {2014}, school = {UC Berkeley}, abstract = {This dissertation examines ornamental writing on bronze vessels, ceramic eave tiles, and silk textiles dated from the Spring and Autumn period (ca. 771-476 BCE) to the end of the Eastern Han dynasty (25-220 CE). These inscriptions--cast, inscribed, incised, or woven for display--provide an analytically rich site for providing a theory of writing because part of, if not all, of their identity is defined by an artisan{\textquoteright}s deliberate occlusion of their readability. I use a two-part method to study these scripts. The first approach attends to the recursive and replicatory design process of artisanal practice through epigraphical studies of extant characters and analyses of technological limitations and developments during the period in which these objects were produced. The second path explores how ornamental writing visually elaborates and conveys information. While the initial step addresses design and material technology, this line of inquiry provokes its audience in asking, "What do we see?" and "What do we read?" when confronted with ornamental script at various stages of its production. Research into excavation sites, workshop practices, and artisanal literacy informs my reconstruction of the conditions under which these inscriptions were seen.}, keywords = {Chinese Art}, author = {Wang, Michelle} } @mastersthesis {11844, title = {Charming Monsters: The Spectacle of Femininity in Postwar France}, year = {2014}, school = {Binghamton}, abstract = {This dissertation traces postwar and decolonial discourses of young womanhood in France through their manifestations in art, fiction, and film, exploring the conditions and repercussions of the emergence of a new fantasy of femininity that took shape during the 1950s and 1960s; a fantasy that, caught between nostalgic desires to recreate prewar values and ways of life and the seemingly relentless forces of change exemplified by the pressures of "Americanization," decolonization, and the latent threats of the Cold War, became a powerful cipher for the identity crisis affecting the country at large. Specifically, I examine the role played by the increasingly powerful mass media in reimagining young womanhood and how artists, writers, and filmmakers using appropriation internalized, reproduced, and otherwise reacted to the dominant and oppositional images of young women that were becoming more and more visible the public sphere. At once a symbol of female enfranchisement and symbolic of the socio-cultural power of male desire, the utterly contemporary young women who appeared in France after the Liberation were as difficult to define as they were ubiquitous in newspapers, movies, and magazines. The goal of the this dissertation is thus twofold: 1) to track and analyze the changing definition of what it meant to be young and female in postwar France vis-a-vis the social, political, and cultural debates surrounding decolonization and reconstruction; and 2) to interrogate how and why this utterly contemporary conception of young womanhood became such a powerful symbol of the collective anxieties related to these processes in the work of the artists, writers, and filmmakers associated with the Situationist International and the New Wave.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Kennedy, Jen} } @mastersthesis {11926, title = {Charting the Course of Revolution: Artur Barrio and Artistic Education and Exchange in Brazil (1967-1971)}, year = {2014}, school = {IFA/NYU}, abstract = {This dissertation explores the work of artist Artur Barrio (b. 1945) and selected contemporaries in the context of the writings of critic and curator Frederico Morais (b. 1936) and a series of exhibitions that defined a new approach to artistic production in Brazil beginning in the late 1960s. Barrio is best known for his Situation series (begun 1969), in which he dispersed sacks filled with abject materials such as raw meat and trash-what he called "bloody bundles"-into the museums, waterways, and streets of major Brazilian cities. Created during a time of military dictatorship, this series has been widely interpreted as an indictment of the junta that ruled the country between 1964 and 1985. I take up a rather different aspect of the work of Barrio and his contemporaries, little explored but no less crucial. Focusing in particular on four Brazilian exhibitions-the Salao da Bussola (1969), Do Corpo a Terra (1970), Expo-projecao (1973) and Prospectiva 74 (1974)-I consider the artists{\textquoteright} participation in the transnational development of "post-studio" practices such as arte povera, land art, mail art, and new media art, and how they adapted those practices to speak to local concerns such as Third Worldism. Barrio{\textquoteright}s use of cheap and easily accessible materials, for example, allowed him to subvert economic hierarchies. Like other Brazilian artists he rejected the advanced technologies and communications theories in vogue at the time because of their association with neocolonialism, opting instead for "poor" materials and simple bodily expression. At the same time, these artists were attracted to the increased mobility afforded by the new forms of art making. "Post-studio" practices thus allowed artists to signal a commitment to Third Worldism through the use of inexpensive materials while simultaneously reaching a large international audience, exhibiting their work, alongside that of their foreign peers, in landmark exhibitions such as the Museum of Modern Art{\textquoteright}s Information (1970). I pay particular attention to exhibition history and Morais{\textquoteright}s critical writings because combined they provide the clearest articulation of a Brazilian engagement with transnational trends. In both Morais{\textquoteright}s writings and the critical reception of the explored exhibitions, Brazilian artists were positioned in terms of comparable "post-studio" movements abroad. Morais further posited Brazilian artists as heirs to earlier vanguard movements such as constructivism and Dadaism that similarly proposed a collapsing of art and life, thereby extending the social lessons of the historic avant-garde to define the formation of a Brazilian neo-vanguard. Far from passively adopting foreign trends, Brazilian artists at this time fundamentally shaped what would later be called "global conceptualism." The work of Barrio and his contemporaries exemplifies the changing artistic and social landscape of what I term the "post-studio" era. The unique properties of this type of production and the expanded audience it reached allowed these artists to address local concerns in the international arena.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Brodbeck, Katherine} } @mastersthesis {11899, title = {Cinema at the Crossroads: Bruce Conner{\textquoteright}s Atomic Sublime, 1958-2008}, year = {2014}, school = {Bryn Mawr}, abstract = {This dissertation examines the films of Kansas-born, San Francisco-based artist Bruce Conner (1933-2008) over a period of fifty years, and contextualizes these works against the backdrop of Cold War American culture, politics, and history. It offers close readings of Conner{\textquoteright}s films and related activities, from his pioneering work with found footage, to the visionary works he shot with his own camera, as well as his involvement in psychedelic light shows and in the Bay Area counterculture. Throughout, I explore how Conner{\textquoteright}s films, situated at the historical "crossroads" of the Cold War, negotiated the cultural politics of race, nation, gender, and sexuality during this fraught period, with particular attention to their complex, and often ambivalent, engagement with popular culture. The dissertation is loosely chronological, with each chapter focusing on a specific cross-section of Conner{\textquoteright}s filmmaking practice. It begins with Conner{\textquoteright}s first film, A MOVIE (1958), a densely packed montage of found footage fragments that is widely celebrated as an incisive critique of both Cold War ideology and the cinematic medium itself. A MOVIE is the first instance in which Conner used the iconic image that would reappear in his films over the following two decades: the atomic mushroom cloud. Footage of atomic explosions resurfaces in many later films, culminating with CROSSROADS (1976), an extended motion study comprised of archival footage of the Bikini Atoll underwater atomic tests. CROSSROADS supplies the title of this dissertation, as well as its central metaphor-"cinema at the crossroads"-and its primary hermeneutic, the "atomic sublime". Throughout, I argue that Conner{\textquoteright}s films visualize the tense oscillation between dystopian anxieties and utopian aspirations that epitomized the atomic age. These tensions, I propose, are encapsulated in the aesthetic category of the "atomic sublime", which describes the paradoxical experience of "terrible beauty", prompted by the visual spectacle of an atomic explosion. By providing an in-depth examination of Conner{\textquoteright}s distinctive body of films, this study ultimately aims to expand the narrative of postwar American art to account for the pivotal roles played by both avant-garde cinema and West Coast artists in that history.}, keywords = {Film/Video, Twentieth-Century Art}, author = {Gosse, Johanna} } @mastersthesis {11826, title = {Community at a Distance: Ray Johnson{\textquoteright}s Correspondence Art Network, 1955-75}, year = {2014}, school = {UIUC}, abstract = {During the 1960s, as the US Post Office underwent a radical restructuring, the artist Ray Johnson (1927-1995) initiated a new mode of artistic practice that would come to be called "correspondence art" or "mail art." Utilizing the postal system as an alternative site for the distribution of art, Johnson sent recipients a letter or object in the post, asked them to add to or subtract from that item, and then mail it onward to another participant or back to Johnson. Through this process, Johnson and his collaborators built a network of correspondence artists that challenged conventional modes of artistic production, distribution, and reception. My dissertation analyzes this form of artistic production as well as the model of community Johnson engendered through its development and utilization. Reading correspondence art through the lenses of postal history, network studies, and theories of gender and sexuality, I argue that the collectively produced assemblages circulated by Johnson and his collaborators revealed a correlation between the purification, automation, and privatization of the US Post during the 1960s and the desire to segregate and censor certain populations (e.g. an increasingly visible gay community) from other segments of the American public. On the other hand, I suggest that Johnson{\textquoteright}s project, which depends on an interpersonal network of collaborators (composed of friends and strangers alike), speaks to a decentralized understanding of subjectivity as it emerged in the latter half of the 20th century. It is around this model of subjectivity that Johnson formulated, what I call, a community at a distance.}, keywords = {Contemporary Art}, author = {Kienle, Miriam} } @mastersthesis {11751, title = {Competing Visions, Common Forms: The Construction of Mosque Architecture in Canada and the US}, year = {2014}, school = {McGill}, abstract = {From minarets to geometric patterned tiles, the reach and influence of Islamic architectural forms extends far beyond the geographic limits of the Muslim world. Indeed, as early as the eighteenth- and nineteenth- century the architecture and visual cultures of Islam has travelled to North American shores and has affected its built environment. This dissertation examines the making of both the Moorish Revival and mosque architecture in Canada and the US. I argue that these two types of buildings, which have been created by Muslims and non-Muslims alike, show the variability and polarizing nature of contemporary Islamic architecture. For Muslim communities, the primary expression of Islamic architectural ideals is manifested in the building of mosques. In this study, I examine how these contemporary mosques straddle notions of traditional visual and architectural forms with the realities of urban, non-Islamic environments. Through the examinations of mosques that have either been renovated from existing structures and ones that have been purpose-built, I investigate the ways in which these buildings have been responsive to and shaped by the existing architectural norms, political and social circumstances in Canada and the US from the early twentieth century onward. In studying these two contrasting examples of mosques, I argue that a commonality between these structures exists: they both mark a break from the traditional practice of Islamic architecture and reveal a uniquely diasporic Muslim tension with the question of authenticity and difference. These contemporary mosques not only show what is at stake in the use of Islamic architectural tropes but also provide a glimpse of the varied application and amalgamation of built forms by Muslim communities living in Canada and the US. Within Western Muslim communities, debates on the nature of inclusion and agency of women in mosques have also increased in the last decade. The performance of women-led prayers and sermons, most notably led by Amina Wadud, has challenged the segregation of men and women commonly practiced in mosques. Outside the Muslim community, groups such as the Shriners and Masons to wealthy individuals such as aviator-cum-entrepreneur Glenn H. Curtiss and Hudson-school painter Frederic Edwin Church have also made use of the architectural forms associated with Muslim cultures. I look at how built-forms such as the minaret, bi-coloured brickwork and use of hand-painted tiles have been incorporated in their homes and masonic lodges. Although Moorish Revival buildings utilize a visual language similar to those of mosques, they envisioned an Islam wholly through the lens of Orientalism and removed from the racialized realities of North American Muslim populations. Drawing on the work by Edward Said, I examine the lingering legacy of the Moorish Revival and that, when compared to Islamic mosques, and their diverse congregants show the distinct fundamental difference between the two.}, keywords = {Architectural History/Historic Preservation}, author = {Kurd, Nadia} } @mastersthesis {11856, title = {The Concept of Photography in Korea: The Genealogy of the Korean Conception of Sajin from the Late Choson Dynastic Period through Japanese Colonialism}, year = {2014}, school = {Binghamton}, abstract = {The dissertation explores the emergence and transformation of the Korean conception of photography across the crucial social, cultural and political changes that mark Korea{\textquoteright}s history from the late Choso{\`A}{\'a}n Dynastic Period through the era of Japanese Colonialism. It puts aside the notion of photography as a universal medium with its own internal historical evolution. Instead, it conceives of photography not only as a cultural technology and machinery of production but also as a discursive system. To this end, the dissertation maps out the linguistic shifts and changing discursive frames, shaped by political, cultural and intellectual constraints as well as the intercultural relationship with Japan, that mark the word sajin [special characters omitted]. The term sajin literally means "transcription of truth." Having been earlier applied to portraiture, it was later adopted as a translation for photography at a time of imperialistic expansionism in the late nineteenth century when Japan and Western powers began to encroach on the territories of Korea. Focusing on linguistic shifts of the term, this study examines how photography was assimilated into a Korean cultural frame and how a specifically Korean discourse on photography took shape. A genealogical study of the term and its extension to photography offers a means to trace the processes by which photographic technologies were not simply imported into Korea but were actively recoded in ways that responded to changing cultural and political conditions affecting Korea and its relations with Japan from the late nineteenth century to the colonial era. The language in which photography was defined and validated opens a window on a complex history of debates and a dense web of reference to Korean intellectual traditions, to intercultural relations between Korea and Japan, and to national projects only just emerging in a crucial historical period of transition. By following the shifts of the meaning of the term closely, this dissertation arrives at a critical analysis of the concept of photography as it developed historically that represents a marked departure from the way in which the history of the medium has been presented in earlier Korean histories of photography.}, keywords = {Drawings/Prints/Works on Paper, Japanese/Korean Art}, author = {Oh, Hye-ri} } @mastersthesis {11911, title = {Concepts of Time and Temporality in the Visual Tradition of Late Archaic and Classical Greece}, year = {2014}, school = {Columbia}, abstract = {This dissertation presents, for the first time, a freestanding account of notions of time and temporality as seen in the visual arts of the late Archaic and Classical Greece and contextualizes it within the larger cultural history of time. There is a growing consensus among scholars regarding a societal shift in fifth-century Greek attitudes towards time, from the authority of the past to the uncertainties and the immediacy of the present. This dissertation explores such changing notions of time in the visual tradition in four different ways: firstly through the personification of the key notion of kairos, which embodies on many levels the manifestation of this new temporality; secondly by investigating the emergent interest of the "historical present" in the artistic subject matter of the so-called Historienbilder; thirdly through a detailed investigation of new pictorial strategies in Greek vase painting that carry specific temporal attributes, by focusing on the motifs of jumping, lifting and dropping; and lastly, by dissecting the anatomy of the popular motif of "erotic pursuits" in vase painting, which embodies the sensory nature of this new temporality that hinges upon the notion of suspense and delay. These investigations employ a new phenomenological framework that centers on the "embodied viewer", connecting the temporality as understood by the viewer with that which is portrayed in the object, bringing together the visible temporality in art and the experienced temporality of the society, which the viewer inhabits. This framework is first sketched out by offering a phenomenological reading of a full 3-D digital reconstruction of the Lysippan Kairos. Such changes in the notion of time in the visual arts, seen as early as the late sixth century BCE and fully manifest in the Classical period, is also put into relief by a brief examination of analogous literary techniques, with a focus on the case of Aeschylus.}, keywords = {Greek/Roman Art}, author = {Kim, Seungjung} } @mastersthesis {11754, title = {Concrete Dreams: Architecture, Politics, and Boston{\textquoteright}s New City Hall, 1960-2010}, year = {2014}, school = {Boston}, abstract = {Although it has long been a controversial building, Boston{\textquoteright}s New City Hall sparked a revolution in both architecture and politics. Designed in 1962 by Gerhard Kallmann, Michael McKinnell, and Edward Knowles, the building boasts a distinctive design that responded to trends in European and American modernism, as well as the politics of 1960s Boston. During the past 50 years, the building has become widely reviled because of its architectural style and political symbolism. At the same time, it has influenced architecture and politics in its hometown, throughout the United States, and abroad. While recent scholarship has explored discrete aspects of the building{\textquoteright}s design, no comprehensive history of New City Hall has previously been attempted. Moreover, the building{\textquoteright}s relationship to politics remains under-examined. This dissertation fills these voids by providing an interdisciplinary study of Boston{\textquoteright}s New City Hall. Using governmental and architectural archives, interviews, and a host of buildings worldwide as primary sources, I argue that the building{\textquoteright}s checkered architectural history is connected to changing political, economic, and social conditions. Chapter One surveys Boston{\textquoteright}s political and architectural history during the first half of the twentieth century, explaining how mid-century urban renewal efforts sought to end the corrupt politics and architectural sclerosis that had long afflicted the city. Chapter Two explores Boston{\textquoteright}s unusual yet consequential method for selecting an architect for the project: an open, national architectural competition. This selection process led to an avant-garde design that reflected the progressive politics of the era. Chapter Three analyzes the design from the competition stage through construction. It not only relates the building to the architects{\textquoteright} distinctive philosophy of "Action Architecture," but also situates it within the contexts of local politics and international architecture. Chapter Four delves into the long-standing controversy surrounding the building, assessing the influence of changing political and architectural circumstances and attitudes on the building{\textquoteright}s reputation during the past five decades. Finally, Chapter Five investigates the building{\textquoteright}s local and global legacy and significance in terms of political and architectural history. It concludes with a discussion of historic preservation issues presented by unpopular buildings in general and New City Hall in particular.}, keywords = {Architectural History/Historic Preservation}, author = {Sirman, Brian} } @mastersthesis {11836, title = {Connecting across Boundaries: Interdisciplinary and Transcultural Perspectives on the Use of Chinese Images in Choson Court Art}, year = {2014}, school = {UCLA}, abstract = {Connecting Across Boundaries: The Use of Chinese Images in Choson Court Art from Transcultural and Interdisciplinary Perspectives examines how visual objects derived from China were represented and manipulated for royal court rites and palaces in Choson Korea. This study investigates the importance of art in understanding cultural transmission and intercultural connections as well as the manifold relationship among artistic agents and objects in the ritual, political, socio-economical, and intellectual contexts of the Choson dynasty. Focusing on eighteenth- and nineteenth-century Choson court screens, which depict themes deriving from Chinese textual and pictorial sources that were widely appreciated in Korea and Japan, this dissertation explores the perception and circulation of images, the dissemination of knowledge and social customs, the ritual use of visual objects, the deployment of art in palatial structures, and the role of artistic agents in the consumption and production of court art. It encompasses examination of the ways in which meaning is constructed, modified, and reinstated both in textual and visual forms, and what may happen when themes from a literary text are adapted to painting as well as moving across time and cultures. While challenging the idea of a unilateral Chinese {\textquoteright}influence{\textquoteright} on Korean culture, which neglects the role of Korean artists, patrons, and beholders as active agents, this study aims to unveil the process of appropriation of Chinese themes and the causes that affected this process, whether political, socio-economic, intellectual, or artistic. In order to identify the dynamics between human agents, institutional systems, and objects and to analyze the cultural transmissions from China and the eclecticism reflected in Choson art, I use two important theoretical concepts, "agency" and "cultural translation." Emphasizing the political functions of court art, I use three case studies of court paintings produced to decorate palace buildings and to commemorate court rituals. First, I examine commemorative court screens in which stories of celebrated figures from Chinese literature and lore are fused with actual Choson court events. These paintings successfully satisfied the demands of agents who wanted to elevate contemporary events by superimposing well-known exemplary ancient images on current secular occasions. Second, I analyze paintings depicting two legendary banquets of Chinese mythical and historical figures, which were produced to celebrate festive court rites in the nineteenth century. By identifying the patrons, their political standing, and the purpose of the paintings, I explore the way these paintings constructed a symbolic space pertaining to state rituals and expressed the agendas of a particular political party. I further explore how these paintings expressed the social values and political agendas of their patrons in a ritualistic way by examining the interplay between visual and non-visual forms of art in court rites. Third, I use screen paintings depicting Chinese sage rulers and idealized images of Chinese antiquity to explore how Chinese rulership and ideal society was represented at the Choson court and how the current material culture and knowledge introduced from outside were integrated in the representation of an imaginary, ancient Chinese empire.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Japanese/Korean Art}, author = {Seo, Yoonjung} } @mastersthesis {11863, title = {Consuming Images: Paul Outerbridge, Jr. and the Art of American Commerce, 1920-1945}, year = {2014}, school = {Wisconsin}, abstract = {This dissertation examines the work of Paul Outerbridge, Jr. (1896-1958), an American photographer who oriented his fine art and commercial practice around modernist movements taking place in Europe and the United States as well as the demands of his advertising world constituents. Employing similar stylistic and technical devices to both commercial assignments and independent experiments with photography, Outerbridge reinterpreted traditional genres of portraiture, still life, the nude and the domestic interior to address advertising culture, sexuality and machine age technology. His contributions to the medium reveal the dramatic shifts in philosophy and approach of photographers wrestling with the divide between consumer culture and fine art. By tracing Outerbridge{\textquoteright}s oeuvre in four thematic chapters, this study shows how his engagement with the commercial sphere shaped his overall approach toward the photographic medium. Chapter one analyzes his early experiments with pure form and abstraction to consider why Cubist principles became sources for commercial photographers in the early 1920s. Chapter two examines Outerbridge{\textquoteright}s transition to color by comparing work he made for two magazines, House Beautiful and Life and the range of domestic tableaux he constructed for both publications. The distinct identities of each magazine often dictated-or even clashed with-Outerbridge{\textquoteright}s artistic vision. Chapter three assesses a series of female nudes photographed in the privacy of his studio, presenting a decadent, erotic presentation of the female body as a site of modern consumption. Chapter four focuses on the production and reception of his book Photographing in Color (1940), a hybrid work that combined Outerbridge{\textquoteright}s technical expertise with artistic strategem to assert himself as a holistic figure and tastemaker in modern society. This study argues that a career like Outerbridge{\textquoteright}s is integral to understanding more accurately photography{\textquoteright}s engagement with mass culture in the 1920s through the 1940s. By considering how photographers such as Outerbridge worked within mass media to expand their engagement with modernism, I demonstrate the different ways in which the dichotomy between fine and commercial art became dismantled.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Lehtinen, Linde Brady} } @mastersthesis {11816, title = {Contemporary Pre-Columbian Art: Recasting Artifacts through Object Biographies}, year = {2014}, school = {USC}, abstract = {Unburied from layers of dirt, recovered from subterranean tombs, or stumbled upon during a traipse in the jungle, pre-Columbian artifacts have sparked a curiosity in their discoverers since before the Spanish Conquest. Their strange appearance, masterful execution, and illegible hieroglyphs have confounded explorers and archaeologists avant la lettre. Though scholars have resolved many of the mysteries of pre-Columbian objects, they continue to perform a representational duty that exceeds an intellectual interest. Beginning in the seventeenth century, but reaching an apex in the nineteenth century, certain Aztec images and objects were marshaled around a Mexican national identity with its epicenter in Mexico City, previously the Aztec capital city of Tenochtitlan. The Calendar Stone, Coatlicue Statue, and image of the eagle atop a prickly pear cactus were heralded as central iconic figures that could unite a fragmented Mexican population after Independence. Museums collected and consolidated the artifacts resulting both from government-sponsored archaeological excavations and informal digs in peripheral communities. Though this Aztec-centric national identity was intended to corral the citizens around a common set of mutually agreed upon images, the government practices continued to disenfranchise the outlaying communities most heavily impacted by the policies of colonization and coloniality. In the twentieth and twenty-first centuries, Mexican artists have grappled with this representational legacy. This dissertation examines three contemporary artists who reinterpret pre-Columbian visual culture to challenge the Aztec-centric national identity promulgated in the nineteenth-century. The three artists under consideration are Tatiana Parcero, Mariana Castillo Deball, and Demian Flores. I analyze a few key works by each artist through an object biography methodology that traces the pre-Columbian object from its original manufacture to its acquisition in a U.S. or European institution to its most recent iteration in contemporary art. Through the object biography approach, I can more fully unpack the different circumstances of these objects{\textquoteright} existence, and their corresponding ontological and epistemological changes over time. I argue that these artists employ the materials and technologies of archaeological representation, including black-and-white photography, plaster casts, and oil painting, to critically examine the role of archaeology in underwriting an Aztec-centric national identity. Structuring the dissertation is the theoretical framework of decoloniality, which insists on the continued repercussion of historical colonialism for source communities and pre-Columbian objects.}, keywords = {Contemporary Art, Pre-Columbian Art}, author = {Reynolds-Kaye, Jennifer} } @mastersthesis {11829, title = {A Countercultural Movement: Examining Carolee Scheemann{\textquoteright}s Kinetic Theatre Between 1963 and 1970}, year = {2014}, school = {McGill}, abstract = {This dissertation examines Carolee Schneemann{\textquoteright}s kinetic theatre performances (1963-1970) within the specific context of the art of the 1960s and the counterculture. In 1962, Schneemann coined the term "kinetic theatre" to describe her particular form of happenings and performance art. Although this definition was recognized in the initial art criticism of the 1960s, this is a genre of art that has been lost within current forms of feminist art history, performance studies and postwar art. Indeed, there has been no critical study of kinetic theatre within art history. My research examines the emergence of Schneemann{\textquoteright}s kinetic theatre, establishes its relationship to the counterculture and provides an explanation for its disappearance in 1970. Feminist art historians and critics have almost exclusively focused on the agency and the role of Schneemann{\textquoteright}s body within her performances. However, these interpretations have failed to address the political and aesthetic use of her group choreography within her kinetic theatre. This research charts a new direction of scholarship on Schneemann and more broadly it addresses the discourse on mid-twentieth performance art and feminist art history. I demonstrate that Schneemann was working in collaboration with male artists such as Stan Brakhage and that her kinetic theatre was politically situated within the antiwar movement, the politics of antipsychiatry and the New Left. By examining Schneemann{\textquoteright}s intricate network and collaborative associations in the 1960s this research provides a more expansive and less mythic understanding of the counterculture and the particular kinds of feminist and artistic interventions that she made within the antiwar movement.}, keywords = {Contemporary Art}, author = {Simonds, Sylvie} } @mastersthesis {11901, title = {Creation sonore et cinema contemporain : la pensee et la pratique du mixage}, year = {2014}, school = {Montreal}, abstract = {This thesis describes and analyzes the esthetic, material and conceptual conditions that make the acoustic structures of contemporary cinema possible. The refinement of tools used for manipulating sound, the growing importance the sound designer and the emergence of a new space for sounds to coexist in (brought on by Dolby and multichannel sound systems) are factors that, over the past 30 years, have transformed the way we work with and listen to sound in film. These transformations reveal a new paradigm: mixing gradually imposed itself as the creative and perceptual act capable of accounting for our contemporary sensibility. This thesis explores the effects of the "thought process of mixing" (which functions by resonance, simultaneity, dosage and modulation) on the way we hear and understand the cinematographic experience. Working from the accounts of sound designers (Murch, Beaugrand, Thom Allard...), theoretical texts on film sound (Cardinal, Chion, Campam), documentaries on improvisational musicians (Lussier, Glennie, Frith), fiction films with a acute acoustic sensibility (Denis, Van Sant), philosophical texts on perception (Leibniz, James, Straus, Szendy...) and analyses of the cinematographic sound apparatus, this thesis renders audible the tensions, the recurrences, the structural connections and the problems, old and new, that forge and direct the theoretician, the artist and the auditor{\textquoteright}s way of listening. By questioning the auditory dimension of perception, action, space and thought, this thesis aims to change the way we hear, create and think cinema.}, keywords = {Film/Video}, author = {Dallaire Tremblay, Frederic} } @mastersthesis {11828, title = {Critical Realism in Contemporary Art}, year = {2014}, school = {Pittsburgh}, abstract = {This study responds to the recent reappearance of realism as a viable, even urgent, critical term in contemporary art. Whereas during the height of postmodern semiotic critique, realism was taboo and documentary could only be deconstructed, today both are surprisingly vital. Nevertheless, recent attempts to recover realism after poststructuralism remain fraught, bound up with older epistemological and metaphysical concepts. This study argues instead for a "critical realism" that is oriented towards problems of ethics, intersubjectivity, and human rights. Rather than conceiving of realism as "fit" or identity between representation and reality, it is treated here as an articulation of difference, otherness and non-identity. This new concept draws on the writings of curator Okwui Enwezor, as well as German critical theory, to analyze the work of three artists: Ian Wallace (b. 1943, Shoreham, UK), Jeff Wall (b. 1949, Vancouver, British Columbia), and Allan Sekula (b. 1951, Erie, Pennsylvania, d. 2013, Los Angeles). Placing their art in a critical-realist framework not only offers an original perspective on three established artists whose practices have long been seen as mutually divergent, but connects their accomplishments to broader themes in modernist historiography, particularly anti-theatricality, commodification and utopian longing.}, keywords = {Contemporary Art}, author = {Oliver, Alexandra} } @mastersthesis {11778, title = {A Cultural Trade: Canadian Magazine Illustrators at Home and in the United States, 1880-1960}, year = {2014}, school = {Stony Brook}, abstract = {This dissertation analyzes nationalisms in the work of Canadian magazine illustrators in Toronto and New York, 1880 to 1960. Using a continentalist approach-rather than the nationalist lens often employed by historians of Canadian art-I show the existence of an integrated, joint North American visual culture. Drawing from primary sources and biography, I document the social, political, corporate, and communication networks that illustrators traded in. I focus on two common visual tropes of the day-that of the pretty girl and that of wilderness imagery. Through visual and verbal rhetoric, and through institutional controls to exclude particular kinds of illustration from counting as culturally or artistically worthy, nationalist politicians, writers, and illustrators built a sense of difference between American and Canadian cultures by owning the wilderness imagery, while distancing themselves from the pretty girl imagery practiced by expatriates in New York and by some peers in Toronto. In reality, however, both wilderness and pretty girl illustration evolved from American print culture, and both continued to be practiced by Canadians and Americans together. I document and contextualize some subtle differences, but essentially this joint visual culture drew Canadian and American readerships closer, and did indeed "Americanize" Canadians just as nationalists feared. The Americanized depiction of women in particular spelled a loss of individuality and active citizenship for Canadian women. But where nationalists believed that similarity of print consumption would lead to the political annexation of Canada by the United States, I find that the modicum of difference coupled with the patriotic visual culture centred on wilderness imagery, deployed by nationalists, staved off assimilation. Furthermore, I find that by maintaining similarity with Americans, the persistence of Canadian production and consumption of "American" illustration contributed to a break with British culture that facilitated Canada{\textquoteright}s emerging nationhood. Similarity has also contributed to a friendliness with the United States that has ensured and continues to ensure that the U.S. does not perceive Canada as a threat-thus reducing likelihood of annexation by force or suasion, while affording Canadians economic benefits. I conclude, then, that "Americanized" Canadian illustration has not been a case of cultural weakness and betrayal, as nationalist policy has treated it. Rather, continentalist Canadian illustration has always been a legitimate expression of Canadian identity, and a key component in maintaining Canadian sovereignty.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Grove, Jaleen} } @mastersthesis {11951, title = {A Culture of Dissonance: Wassily Kandinsky, Atonality, and Abstraction}, year = {2014}, school = {UT Austin}, abstract = {A Culture of Dissonance: Wassily Kandinsky, Atonality, and Abstraction by Lynn Edward Boland, Ph.D. Supervisor: Linda D. Henderson Wassily Kandinsky{\textquoteright}s interest in music as a source for abstraction in painting has often been noted in the scholarship on his art. However, no studies have sufficiently explained how the artist employed musical strategies, especially as he was developing his abstract style in the first decade of the twentieth century. Kandinsky{\textquoteright}s looked primarily to Arnold Schoenberg{\textquoteright}s new musical idioms and theories, and he was deeply inspired by highly dissonant music, but his ideas were set within a much broader context that further suggested and encouraged the expressive and transformative power of dissonance. By the late nineteenth century, extended passages of dissonance were common in musical compositions. At the same time, the concept of dissonance as a positive force was suggested in a wide range of late nineteenth-century literature, including the writings of Friedrich [should be this spelling throughout] Nietzsche, occult authors, popular texts on physics and experimental psychology, as well as within music and art theory. Close readings of Kandinsky{\textquoteright}s theoretical texts and selected works of art provide insights into how he might have understood and employed these concepts in his formation of an abstract style. Kandinsky{\textquoteright}s paintings Impression III (Concert) of 1911 and Composition VII of 1913 are the primary artistic foci of this study, along with his book Concerning the Spiritual in Art and the anthology Der Blaue Reiter, which he co-edited. This dissertation will seek to restore the concept of musical dissonance and its application in the visual arts to its historical context for Kandinsky. This will facilitate more informed formal analyses of Schoenberg{\textquoteright}s music and Kandinsky{\textquoteright}s paintings, which, in turn, suggest strategies of atonal musical composition applied to abstract painting. Additionally, this dissertation will establish an artistic context of visual dissonance that goes beyond Kandinsky, including artistic movements in France and Russia, allowing additional comparisons and a consideration of the larger impact of these ideas.}, keywords = {Twentieth-Century Art}, author = {Boland, Lynn} } @mastersthesis {11860, title = {Curious Realism: Dada and Die Neue Sachlichkeit in 1920s Karlsruhe}, year = {2014}, school = {Rutgers}, abstract = {This dissertation recovers the historical specificity of the terms and tactics that defined German realism after Dada. It focuses on a trio of artists-Karl Hubbuch, Rudolf Schlichter, and Georg Scholz-who studied together at the Karlsruhe Academy before World War I. Their innovative and immersive forms of realism, forged in the print workshops of the regional academy and later revised in dialogue with modernist networks in Berlin, challenge art historical understandings of the relationship between Dada and Die neue Sachlichkeit (The New Objectivity). Where realism had traditionally demanded distance and observation-a sober, level head and a practiced hand-the Dadaist heritage called for a politics and a poetics of total immersion. This dissertation tracks the legacy and the lingering traces of Dadaist strategies in the realist production of the German 1920s, examining how these pictorial modes signified in specific political, institutional, and regional contexts. It thus repositions a set of representational drawings, prints, photographs, and paintings that are usually valued for their fierce optical clarity, rather than for their emphatic, tactile made-ness. Chapter One establishes the challenge to realism posed by Rudolf Schlichter and his colleagues in the secessionist Gruppe Rih, whose members met as students at the Karlsruhe Academy between 1908 and 1914. Their disparate artworks performed a syncretic language of mental instability and formalist naivete that sought to upend painterly norms in Karlsruhe. Chapter Two traces the modernist dialogues between Karlsruhe and Berlin through the drawn and printed montages of Karl Hubbuch, who developed an embodied form of somnambulist realism that was inspired by silent films and serial novels of the 1910s and 20s. Chapter Three examines the persistence of such mass cultural models and modes of vision in the satirical work of Georg Scholz, whose politically strident brand of painting and printmaking engaged with post-Dada narratives in Berlin. Chapter Four demonstrates that a return to the academy transformed the painterly and pedagogical practices of both Hubbuch and Scholz after 1925, interrogating a realism under pressure to signify in response to the environment of unstable vision and subjectivity created by previous avant-garde interventions.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Connelly, Shannon} } @mastersthesis {11811, title = {On Darren Aronofsky{\textquoteright}s Filmography from 1998 to 2014: Obsessions, Addictions, and the Pursuit of Perfection}, year = {2014}, school = {Stony Brook}, abstract = {The subject of the proposed dissertation is the oeuvre of the film director, screenwriter, and producer Darren Aronofsky in the period 1998-2014. Chronologically speaking, Aronofsky{\textquoteright}s themes can be traced along the following trajectory of dualities: obsession and acceptance (Pi, 1998), addiction and reality (Requiem for a Dream, 2000), denial and acceptance (The Fountain, 2006), faded perfection and resignation ( The Wrestler, 2008), artistic perfection and reality (Black Swan, 2010), idealization and reality (Noah, 2014). Aronofsky{\textquoteright}s filmography is discussed with respect to his style and the themes of his films. His films deal with existential questions facing humanity, providing artistic counterparts to well-known philosophical works. Hence, the themes and the questions arising from his films are discussed in relation with relevant philosophical writings. In addition, Aronofsky{\textquoteright}s filmic sensibility and his treatment of his themes demonstrate the influence of and shared sensibility with several notable directors. In particular, his inclination towards storytelling, involving characters that are caught up in obsessions that lead to extraordinary situations, shows affinity with both Kubrick{\textquoteright}s and Spielberg{\textquoteright}s work, despite their opposing sensibilities. Aronofsky{\textquoteright}s films extend the genre of melodrama by coupling complex characters and their transformations with ambiguous endings. Despite working in different times and different cultures, the melodramatic tone brings him close to Fassbinder, who redefined the melodrama genre through the presentation of human psychology, the elasticity of moral convictions and the elusiveness of satisfying desire. The Appendix to this manuscript includes a transcript of the conversation I had with Aronofsky on December 2, 2013.}, keywords = {Contemporary Art, Film/Video}, author = {Skorin-Kapov, Jadranka} } @mastersthesis {11903, title = {The Death of Myth on Roman Sarcophagi}, year = {2014}, school = {UC Berkeley}, abstract = {A perplexing development sweeps over Roman sarcophagi in the middle of the third century: the unexpected Entmythologisierung or "demythologization" of their imagery. These lavishly carved coffins, often sculpted with figural scenes of the most astonishing workmanship, had featured bold mythological characters since the very beginning of their mainstream production in the early second century, when inhumation had replaced cremation as the favored means for disposing of the dead. Evocative testament to Rome{\textquoteright}s ongoing love affair with classical Greek culture, they derived visual force from their resonance with an artistic tradition centuries old while providing catharsis and consolation to those still living. How then to make sense of this imagery{\textquoteright}s peculiar withering and subsequent abandonment on later sarcophagi, as mythological narratives were truncated, gods and heroes were excised, and genres featuring no mythic content whatsoever-such as the late third century{\textquoteright}s endless procession of sarcophagi featuring bucolic shepherds and studious philosophers-came to the fore? That it must represent a major shift of some kind in the cultural values of the Late Empire is usually taken for granted, given the central position occupied by sarcophagi in the Roman visual imagination of the third century. But no consensus exists regarding its precise significance; and most explanations proposed for the shift groan and collapse under the weight of other evidence. This enigmatic phenomenon-the extinction of mythological imagery on Roman sarcophagi-is what this dissertation decisively reframes. For critical traction it turns to both archaeological and textual evidence, examining the altered spatial relationships between house and tomb that came to dominate in the Late Empire. This reveals what was at stake in sarcophagi{\textquoteright}s demythologization: new demands among the living, manifested across all social registers, for greater proximity to their dead. The dissertation thus integrates recent archaeological findings, social-scientific analysis of religious change, and analysis of hundreds of Roman metropolitan sarcophagi with a humanist{\textquoteright}s eye for shifts in cultural values as refracted through funerary art. The results will be of interest to Classicists, Archaeologists, and Art Historians as well as scholars of religious history and early Christianity.}, keywords = {Greek/Roman Art}, author = {Allen, Mont} } @mastersthesis {11929, title = {Decorative Painting and Politics in France, 1890-1914}, year = {2014}, school = {Michigan}, abstract = {Decorative Painting and Politics in France, 1890-1914" examines the preoccupation with "decorative" painting and aesthetics in France, from the 1890s to World War I, a period in which artists and design reformers challenged the subordination of the decorative arts to the fine arts and the restriction of both to the elite. It demonstrates that this decorative ideal was not merely a response to the commercial potential of the increasingly fashionable decorative arts or of a sensually appealing formal harmony. Rather, it brought together multiple, sometimes contradictory, paradigms: older traditions of history and mural painting -both associated with elevated subject matter and grand architectural settings -along with newer, avant-garde conceptions of visual form as a universal language that spoke directly to the senses. The critics and artists examined in this dissertation turned to decorative aesthetics in the hopes of communicating with, and even acting upon, a wider public. In doing so, they asserted a social, political role for art. They nevertheless struggled to articulate the exact nature of this role, and which elements of the decorative ideal best furthered its aims. This struggle is traced through three case studies. The first highlights the use of the term "decorative" to describe the (seemingly opposed) work of the painter Pierre-Cecile Puvis de Chavannes and the commercial artist Jules Cheret: the shared label communicated a desire to combine the accessible, modern aesthetic of the poster with the collective significance of monumental civic decorations. The second foregrounds Neo-Impressionist Paul Signac{\textquoteright}s combination, via decorative painting, of the didactic logic of anarchist propaganda with the "purely aesthetic emotion" of visual form. The final case study examines a similar effort, with opposite ideological aims, on the part of Maurice Denis to reconcile his Symbolist belief in the emotional power of formal distortions with the reason, order and technical perfection advocated by nationalist politics. These case studies complicate the enduring association of the decorative with an empty visual harmony. Rather than divesting art of its social character, decorative aesthetics signaled an (albeit, fraught) attempt to find an integral role for visual form in social and ideological engagement.}, keywords = {Nineteenth-Century Art}, author = {Brion, Katherine} } @mastersthesis {11840, title = {Deforming the {\textquoteright}Homo Sovieticus{\textquoteright}: The Collective Subject in Polish Art (1982-1992)}, year = {2014}, school = {Rochester}, abstract = {The 1980s in the People{\textquoteright}s Republic of Poland (Polska Rzeczpospolita Ludowa or PRL in Polish, the name given to the satellite state under Communist rule) witnessed the flourishing of social resistance with the emergence of the independence movement Solidarity (Solidarnosc) as well as its subsequent repression with the imposition of Martial Law from 1981-1983. These years also saw the prolific rise of artist collectives in the country{\textquoteright}s underground exhibition circuit. Polish art historians and cultural critics have characterized this emergence as either a pragmatic strategy to shelter the individual from persecution in a period of renewed state repression, or a logical outcome of sociality between artists of the younger generation. This dissertation takes this collectivization to be an aesthetic strategy engaging the question of collectivity as an artistic and political form by concentrating on the organization of artistic grouphood and the art objects produced by four 1980s Polish artist collectives: Gruppa, Neue Bierimiennost, Kolo Klipsa, and the Wyspa circle. Along with the choice to produce and exhibit art collectively, the Polish artist collectives that I examine equally engaged the human body in pursuit of a collective aesthetic experience. However, the body that these groups represent and address is an inchoate one: a painterly body that is disfigured, a sculptural body that is fused with animal forms, and a spectatorial body whose sensorial confusion is enacted by disorienting installations. In this dissertation I further argue that, through their twinned engagements with collectivity and the corporeal, these Polish artist practices disrupted Soviet models of collective and individual identification not by opposing their bio-political operations, but by establishing an alternative affective model within them: namely an affect of alienation. This occurred, I argue, through the common formal dedication of these artist collectives to disfiguring representations of the body and its sensorium that have served as the basis for collective aesthetic representation in official Soviet cultural production. This process might analogously deform the coherent body image and bodily logic that also has served as the basis and target of collective and political organization or more generally through what Giorgio Agamben has called the "anthropological machine" of modern political orders.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Alisauskas, Alexandra} } @mastersthesis {11858, title = {Degas, Cassatt, Pissarro, and the belle epreuve}, year = {2014}, school = {Temple}, abstract = {Focusing on the prints of Edgar Degas, Mary Cassatt and Camille Pissarro, my dissertation explores the development of the belle epreuve, or the fine print, in relation to the Impressionist movement. I firstly consider the commercial tactics of the Impressionists in the face of the evolution of the modern art market and the decreasing relevancy of the Salon and expound on previous scholarship by demonstrating how the Impressionists{\textquoteright} modes of presentation proved especially conducive to showcasing works on paper and how we might apply observations about the speculative nature of the Impressionists{\textquoteright} formal innovations to their prints. Additionally I highlight contemporaneous observations about the heterogeneity of the Impressionist exhibitions that reveal meaningful insights into the nineteenth-century perception of the artists{\textquoteright} relationships to each other, thus questioning the tendency to divide the exhibitors into two groups, the Degas-led realists and the Monet-led colorists. Then I consider the printmaking practices of Degas, Cassatt and Pissarro individually, elucidating how each artist{\textquoteright}s attitudes toward work, craft and business manifest formally in a small selection of examples from their printed oeuvres intended for exhibition or publication. Among the core members of the Impressionist group, Degas, Cassatt and Pissarro represented those most enamored with printmaking, even collaborating to create prints for a never-realized journal during the winter and spring of 1879 and 1880. I posit that the artists{\textquoteright} shared compulsions for regular work, fascination with artistic processes, technical flexibility and curiosity and forward-thinking disregard for the traditional hierarchy accorded to media rendered them particularly suited for making rarified, laborious prints. A final factor that connects Degas, Cassatt and Pissarro is that all three artists had complicated relationships with the business of art or the need to sell. The dichotomy of art making versus art marketing manifested itself in their prints. While printmaking as a process implies multiple pulls of an original image for commercial reasons, by emphasizing handicraft through idiosyncratic techniques, Degas, Cassatt and Pissarro accentuated the artistry and labor of their prints. Because of the complicatedness of their practices, printmaking did not turn out to be particularly lucrative for any of them, yet the artists{\textquoteright} efforts correlate to a concurrent vogue for intimate exhibitions and works, in terms of both size and technique, and Degas, Cassatt and Pissarro seemingly undertook printmaking with the progressive clientele already established for Impressionism in mind. I thusly connect my discussions of biography and personality to a consideration of Impressionism{\textquoteright}s relationship to the changing art market of the late nineteenth century, in which facture, as a record of artistic temperament, became a sought-after commodity for collectors of avant-garde art. Despite superficial differences with regard to their subject matter and approaches, an examination of Degas, Cassatt and Pissarro{\textquoteright}s printmaking practices reveals the assumed draftsmen and the colorists of the New Painting as kindred spirits, for whom the how of art-making proved just as significant as the what and for whom marketing was important but making was vital. The artists{\textquoteright} uses of combinations of etching, softground, drypoint and aquatint demonstrates concerns for both design and tone, and each artist accordingly strove to achieve in their prints a balance of personal sensations and decorative artifice.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Kruckenberg, Whitney} } @mastersthesis {11722, title = {Departures: A Critical Study of the Ona Group and the Spread of Onaism}, year = {2014}, school = {Wisconsin}, abstract = {In the late 1980s, amid mounting political conflict in Nigeria, five graduates of the University of Ife (from 1987 forward, Obafemi Awolowo University) formed an art collective named the Ona Group. Since that time, these artists--namely Moyo Okediji, Kunle Filani, Tola Wewe, Bolaji Campbell, and Tunde Nasiru--have continually intervened in the political landscape and used the generative power that exists in the world (ase) to construct new realities. Their art must therefore be uniquely understood as a mode of what Yoruba linguist Olabiyi Babalola Yai terms "constant departure." In this dissertation, I situate the Ona Group within modern Nigerian art discourse and follow the spread of Onaism in the 1990s, when the group dispersed, and some established themselves in Nigeria under Sani Abacha{\textquoteright}s corrupt military regime and others relocated to the United States to pursue graduate study.}, keywords = {African Art (sub-Saharan), Contemporary Art, World Art}, author = {Sytsma, Janine} } @mastersthesis {11735, title = {Designing Progress: Race, Gender and Modernism in Early Twentieth-Century America}, year = {2014}, school = {Virginia}, abstract = {In the late 1930s Amaza Lee Meredith (1895-1984), an African American woman from Lynchburg, Virginia, designed and built a modern style house for herself and her female companion on the grounds of Virginia State College. Between the wars, she studied at Columbia Teacher{\textquoteright}s College in New York, receiving a BA in Fine Art in 1930, and an MA in Art Education in 1935, under a curriculum designed by Arthur Wesley Dow. Remarkably, unlike many African Americans who relocated north to take advantage of training and employment opportunities, including those artists who sought the community support of Harlem{\textquoteright}s cultural network, Meredith returned to the rural South. Here, at her alma mater, Virginia State College, where she had earned a teaching certificate in 1922, Meredith established the art department and implemented a progressive art curriculum, teaching art production and art appreciation. In addition, Amaza Lee Meredith practiced architecture as a personal and community endeavor, designing homes for friends and family and planning a vacation community for African Americans on Long Island{\textquoteright}s Sag Harbor, once a whaling village and now a cosseted resort for African American elite. Examining Amaza Lee Meredith{\textquoteright}s life and work through a multidisciplinary lens, this dissertation provides a re-thinking of the New Negro Movement, New Womanhood, and American art and architecture between the wars, enriching theories of gender, race, and sexuality in illustrating the significance of aesthetics in the formation of a modern African American identity.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Taylor, Jacqueline} } @mastersthesis {11947, title = {Dipanakara Buddha and the Patan Samyak Mahadana in Nepal: Performing the Sacred in Newar Buddhist Art}, year = {2014}, school = {Virginia Commonwealth}, abstract = {Every four years, in the middle of a cold winter night, devotees bearing images of 126 Buddhas, Bodhisattvas, and other important deities assemble in the Nepalese city of Patan for an elaborate gift giving festival known as Samyak Mahadana ("The Perfect Great Gift"). Celebrated by Nepal{\textquoteright}s Newar Buddhist community, Samyak honors one of the Buddhas of the historical past called Dipankaraa. Dipankara{\textquoteright}s importance in Buddhism is rooted in ancient textual and visual narratives that promote the cultivation of generosity through religious acts of giving (Skt. dana). During Samyak, large images of Dipankara Buddha ceremoniously walk in procession to the event site, aided by a man who climbs inside the wooden body to assume the legs of the Buddha. Once arranged at the event, Dipankara is honored with an array of offerings until dusk the following day. This dissertation investigates how Newar Buddhists utilize art and ritual at Samyak to reenact and reinforce ancient Buddhist narratives in their contemporary lives. The study combines art historical methods of iconographic analysis with a contextual study of the ritual components of the Samyak Mahadana to analyze the ways religious spectacle embeds core Buddhist values within in the multilayered components of art, ritual, and communal performance. Principally, Samyak reaffirms the foundational Buddhist belief in the cultivation of generosity (Skt. dana paramita) through meritorious acts of giving (Skt. dana). However, the synergy of image and ritual performance at Samyak provides a critical framework to examine the artistic, religious, and ritual continuities of past and present in the Newar Buddhist community of the Kathmandu Valley. An analysis of the underlying meta-narrative and conceptualization of Samyak suggests the construction of a dynamic visual narrative associated with sacred space, ritual cosmology, and religious authority. Moreover, this dissertation demonstrates the role of Samyak Mahadana in constructing Buddhist identity in Nepal, as the festival provides an opportunity to examine how Newar Buddhists utilize art, ritual, and performance to reaffirm their ancient Buddhist heritage.}, keywords = {South/Southeast Asian Art}, author = {Brown, Kerry L.} } @mastersthesis {11795, title = {Drawing from Life: Mass Sketching and the Formation of Socialist Realist Guohua in the Early People{\textquoteright}s Republic of China (1949=1965)}, year = {2014}, school = {Stanford}, abstract = {This dissertation examines how traditional Chinese landscape painting, often the site of an inward-turning private subjectivity, was revolutionized through mass sketching campaigns during the early years of the People{\textquoteright}s Republic of China (1949-1965). One of the most comprehensive programs to reform artistic practice in the history of Chinese art, state-sponsored sketching campaigns developed amid institutional, ideological, and aesthetic changes. Based on sketchbooks and paintings by the ink painters Fu Baoshi (1904-1965), Li Keran (1907-1989), and Guan Shanyue (1912-2000), this study tracks sketching tours that were designed to reform elite artists into cultural workers, to provide experiential knowledge of the essence of socialist reality, and to transform their observations into landscapes that would give shape to and embody the national culture of new China. The sketching tour routes mapped the industrial, revolutionary history, and cosmopolitan geographies constitutive of socialist landscape that, in turn, served as affective journeys for artists to conceive of themselves personally bound to the conceptualization, articulation, and practice of cultural work as a collective endeavor. Tracing the signal importance placed upon drawing and sketching under Maoist ideas of knowledge, consciousness, and practice, I argue that the practice of sketching in art education allowed for the discursive incorporation of previous historical approaches to painting, while inaugurating a critical emphasis on experiential authenticity and artistic participation that is central to socialist cultural production.}, keywords = {Chinese Art}, author = {Ho, Christine I.} } @mastersthesis {11777, title = {A Dreamer and a Painter: Visualizing the Unconscious in the Work of Arthur B. Davies, 1890-1920}, year = {2014}, school = {MIT}, abstract = {The paintings of U. S. artist Arthur B. Davies (1863-1928) spoke to his viewers in terms of the emergent discipline of psychology, creating visualizations of dreaming. This dissertation examines his work and its reception between 1 890 and 1920, exploring the diversity characterizing American beliefs about dreams and their function in the unconscious. Painted during a period in which shifting, coalescing disciplines contested the understanding of the inner world of the modern psyche, Davies{\textquoteright}s art uneasily blended figuration and looser forms of representation, calling up the ambivalence with which his contemporaries greeted profound socio-cultural changes in the Gilded Age and Progressive Era. As I show in five chapters that parallel the trajectory of the artist{\textquoteright}s career, the discourses of Symbolism, science, spiritualism, psychoanalysis, and various forms of modernism all laid claim to the value of dreams and to Davies{\textquoteright}s art in wide-ranging, even contradictory ways. Reading Davies{\textquoteright}s paintings in light of critical responses and popular sources, I examine his varied reception across the art world. First, Sadakichi Hartmann{\textquoteright}s arguments for Davies{\textquoteright}s ability to capture suggestive, visionary meaning of Symbolist dreams in the 1890s asserted his paintings{\textquoteright} significance as transcendent forms of creative imagination. Then, as psychology emerged as a discipline, Davies{\textquoteright}s paintings were reinterpreted in light of newly scientific approaches to the unconscious. These claims were paralleled by the competing and overlapping tenets of Spiritualism, the pursuit of psychic research, and the foundation of new religions and forms of popular psychotherapy. After 1909, views of the subconscious began to coalesce under the psychoanalytic approaches offered by Sigmund Freud and Carl Jung, which nonetheless blended with the philosophies of Henri Bergson, to extend and also challenge prior interpretations of dreams. In the teens when Davies explored Cubist form after his involvement with the Armory Show, Havelock Ellis{\textquoteright}s ideas about the synaesthetic operation of dreams provided yet another framework by which critics interpreted the artist{\textquoteright}s hybrid interests. Despite his popularity in his own time, Davies{\textquoteright}s is largely absent from art historical narratives today. I argue that epistemic changes shaped his art{\textquoteright}s perceived quality, relevance, and even its visibility.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Gephart, Emily} } @mastersthesis {11942, title = {Dynamics and Divisions at the Salons of the Rose + Croix: Statistics, Aesthetic Theories, Practices, and Subjects}, year = {2014}, school = {CUNY}, abstract = {A variety of alternative Salons arose in France following the demise of the official Salon. Within this phrenetic climate for alternative exhibition venue creation, Josephin Peladan founded the Salons of the Rose + Croix (1892-1897). He framed the Salons as ideologically unified exhibitions at which idealized works focusing on spirituality, tradition, and beauty would engender social reform by encouraging a decadent society to focus on timeless poetic and mystical ideas. Nevertheless, in practice the Rose + Croix functioned mainly as an exhibition venue for artists whose work only loosely responded to the established platform. The exhibited works reveal some overlap with Peladan{\textquoteright}s mystical, idealized, and reformist aims, yet even the central ten exhibitors deviated from the leader{\textquoteright}s published mandates in myriad ways, showing that the Rose + Croix was not an ideologically united group. I determine the ten central exhibitors with statistical analysis of the salon catalogs and fifty contemporary reviews, moving beyond anecdotal considerations to base my conclusions on the ideas and production of the group{\textquoteright}s main affiliates. Peladan{\textquoteright}s principles are clearly those of a writer attempting to direct artists. Rarely discussing specific techniques, he usually focused on subject matter and conceptual frameworks. The exhibiting artists built on many of his broader ideas, developing anti-naturalist methods to express their focus on eternal, mystical Ideas. Nevertheless, contemporary reviews and critical writings by Peladan and the artists reveal divergences between the platform and implementation in terms of: the relationship between art and life, the transformation of nature, and the influence of history and earlier artistic movements. Additionally, the artists associated with the group incorporated a range of religious and scientific-or pseudo-scientific-influences into their works, combining Catholic, Rosicrucian, and theosophical principles with optical science and psychology, especially theories about hysteria. The depictions of women and the highly varied literary illustrations and themes reveal that even in areas where Peladan issued specific guidelines, the exhibited works often deviated from his principles. The group also expressed conflicting attitudes toward women because at least five female artists exhibited works at the Salon-violating a central group tenet that outlawed women{\textquoteright}s participation.}, keywords = {Nineteenth-Century Art}, author = {Slavkin, Mary} } @mastersthesis {11964, title = {The Early Work of Agnes Martin}, year = {2014}, school = {IFA/NYU}, abstract = {Since the American artist Agnes Martin{\textquoteright}s (1912-2004) first retrospective in 1973, her career has been divided into two periods: early work from 1957-1967 and later work from 1974-2004, separated by Martin{\textquoteright}s retreat from painting from 1967 through 1974. This accepted chronology neglects the formative phase of Martin{\textquoteright}s development from 1940-1957, which provides the terms that define all of Martin{\textquoteright}s subsequent work. This revision complicates the teleology of Martin{\textquoteright}s work by suggesting unresolved, contingent, and rapidly evolving creative processes and pictorial solutions-in contrast to the rigid focus and reduced means of her paintings after 1974. The first chapter investigates the development of Martin{\textquoteright}s formal language at the University of New Mexico after the Second World War. The second chapter discusses the surrealist and biomorphic abstractions Martin created in New York and Taos between 1951 and 1957. This section further traces the networks of artists Martin established from San Francisco to New York, allowing her to engage in serious artistic discourse. The third chapter describes Martin{\textquoteright}s return to New York in 1957, her representation by Betty Parsons and her increasingly geometric abstractions, as Martin evaluated the approaches of Barnett Newman, Ad Reinhardt and Mark Rothko against her emerging vision. The fourth chapter documents the end of Martin{\textquoteright}s apprenticeship and suggests, in distinction to established narratives, the breadth of Martin{\textquoteright}s quest for a singular model of abstraction. Seeking a departure from Abstract Expressionism while living on Coenties Slip, Martin drew upon her work in Taos while experimenting with Assemblage and Pop. The conclusion traces the evolution of Martin{\textquoteright}s grid paintings, her move to the Robert Elkon Gallery and the widespread misreading of Martin{\textquoteright}s work as Minimalist, which spawned a persistently reductive understanding of her art. This dissertation argues that the innovations of Martin{\textquoteright}s grid paintings were the result of two decades of continual experimentation and self-critical discernment. As such, Martin{\textquoteright}s early work resists conventional periodization. Utilizing an object-based approach that integrates art history with conservation, this dissertation brings scholarly attention to an overlooked aspect of Martin{\textquoteright}s career.}, keywords = {Twentieth-Century Art}, author = {Rosenberger, Christina} } @mastersthesis {11967, title = {The Early Works of Niki de Saint Phalle}, year = {2014}, school = {IFA/NYU}, abstract = {In 1949, the year Simone de Beauvoir published The Second Sex in France, a young artist in New York City named Niki de Saint Phalle was struggling to establish her own identity. Like Beauvoir, Saint Phalle explored the different roles and expectations assigned to women, but she also gazed unflinchingly at her own life from her conservative upper-class French Catholic heritage to her love for pop-culture icons such as Wonder Woman and Bette Davis. Through her subjects, materials, and artistic practices, she examined the masculine and feminine constructs of her cultural environs, both in the United States where she was raised and Europe where she settled as an adult. As she wrote in 1991, she felt caught between cultures and genders: "I felt half French, half American . . . half man and half woman." As Saint Phalle{\textquoteright}s work matured, gender became one factor in a larger consideration of power: who had it, how they established it and how they perpetuated it. Saint Phalle found these tools of hegemony insidiously encoded within objects of popular culture and everyday life from fairy tales, consumer products, children{\textquoteright}s toys, and mass media. Her work incorporated elements of both European and American culture to explore patriarchy, political hegemonies, and religion{\textquoteright}s often-insidious presence in all of these. In this dissertation, I examine the evolution of Saint Phalle{\textquoteright}s works made between 1953 and 1966, from folk paintings to Dada-inspired assemblages to carnivalesque public performances to monumental sculpture. I position her creations in their historical, cultural, and artistic contexts with a particular focus on the cultural institutions that her work critiqued. My thesis is predicated on formal readings of her works, offering an analysis of her themes and the metaphorical function of her materials, constructions, and compositions. My study of the artworks unfold a narrative of Saint Phalle{\textquoteright}s art and how it explored gender and cultural tensions that were simmering just before the women{\textquoteright}s liberation and counter-culture movements of the 1960s came to a roiling boil.}, keywords = {Twentieth-Century Art}, author = {Sudul, Jennifer} } @mastersthesis {11887, title = {Embodiment of the Halaf: Sixth-Millennium Figurines from Northern Mesopotamia}, year = {2014}, school = {Columbia}, abstract = {This dissertation answers the question, "What are Halaf figurines?" In response to that question, this study examines a corpus of anthropomorphic figurines from archaeological sites dating to the Halaf period (Sixth Millennium cal BCE) known from excavations in Turkey and Syria. Included in this dissertation is a detailed catalog of 197 figurine examples, both whole and fragmented, and analysis of their excavated contexts from seven Halaf sites in Turkey and nine sites in Syria. The study also reviews and discusses existing literature on Halaf and figurine studies and examines and critiques modern biases, assumptions, and influences, especially as related to the interpretive concepts mother goddess and steatopygous. It proposes a different methodological approach to prehistoric figurines based upon morphology and typology rather than interpretation. It argues that this methodology of recording and analyzing figurine morphology, typology, and archaeological context brings the field closer to four points of human interaction in the object biographies of figurines including: conceptualization, making, use, and discard. This approach to the evidence, the dissertation suggests, can support theoretical ideas about how the lived body was conceptualized and adorned in the Halaf and allows consideration of ways that these embodied ideas and imagery were shared across settlements. A constructed typology consists of five overall types further divided by subtype and Halaf phase, based upon pose, technology, and morphology. Two appendices present the data associated with each figurine in catalog form. A final appendix presents the data condensed to 12 comparable elements. The results of this research are that the typology of Syrian and Anatolian Halaf figurine assemblages are quite different. While the well-known seated clay figurines are indeed most plentiful, they come from only a very tight geographic area in northeast Syria and only from late Halaf contexts. Standing figurines, by contrast, are known from all areas and phases but occur in lesser numbers and in great variety. Analysis of the archaeological contexts reveals that nearly all the figurines in the corpus were isolated finds amidst unremarkable fill contexts. Therefore, it can be concluded that, when Halaf figurines were no longer needed or wanted by the community, they were discarded without special circumstances amongst regular domestic refuse.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Belcher, Ellen} } @mastersthesis {11796, title = {Embracing the Circle: Domical Buildings in East Asian Architecture ca. 200-750}, year = {2014}, school = {Princeton}, abstract = {This dissertation reconceptualizes the notion of built environment against the religious culture of East Asia in the early medieval period. Through a study of domical building forms in brick, cave and timber, the author argues, as interior devices domical forms are central to the architectural tradition of East Asia in the creation of sacral spaces. At the heart of this dissertation are three significant case studies which transcend religious and national boundaries. Starting with Buddhist cave temples preserved at Dunhuang in northwestern China, the author probes into the beginning and early permutations of a particular cave type (fifth through the late sixth centuries), which, despite its square plan, evinces artistic endeavors, plastic and painterly, to inscribe a domed circular space within the square. The next case study takes place in eighth-century Nara, then the newly established capital of Japan, where the earliest timber "circular" buildings on record are found, with the qualification that they are, in fact, octagonal in plan and yet are almost unanimously considered circular in contemporaneous documents. Finally, larger issues pertaining to technology, ideology, and the domical form are explored in the contexts of mortuary and ritual buildings in China. On the one hand, the author charts technological advancement in brick construction which laid the ground for the emergence of a complete cosmos in Chinese tombs at the dawn of the Common Era. In the meantime, however, discussions of the series of failed attempts to construct the domical ritual structure of the Bright Hall from this period onwards reveal a case of how excessive expectations on the dome{\textquoteright}s capacity to signify undermined its own realization in material form. These three case studies, viewed jointly, also afford a picture of the material culture of religious practice in East Asia in this period. Architectural forms are shown to be no mere physical spaces in which religious images are placed. Rather, as representations and enclosures, they enjoyed a meaning and status equivalent to their pictorial or sculptural counterparts.}, keywords = {Chinese Art}, author = {Hu, Jun} } @mastersthesis {11835, title = {Emma Hamilton, a Model of Agency in Late Eighteenth-Century Europe}, year = {2014}, school = {Montreal}, abstract = {Emma Hamilton (1765-1815) had a marked impact at a pivotal moment in European history and art. This dissertation shows that Emma drew her particular potency from her ability to negotiate these different and at times contradictory identities=object and subject; model and sitter; artist, muse, and work of art; wife, mistress, and prostitute; commoner and aristocrat; socialite and ambassadress; and performer of myriad historical, biblical, literary, and mythological male and female characters. Emma displayed astonishing resilience, found an effective way to assert her agency, and was a powerful inspiration for generations of artists and of women in their own search for expression and self-actualization. The wife of England{\textquoteright}s ambassador to Naples, the favourite of the queen of Naples, and the lover of Admiral Horatio Nelson, she was an agent on the political stage during the Revolutionary and Napoleonic era. She adapted, adjusted, and reinvented herself in her dizzying rise from rags to riches. She entertained and beguiled countless writers, artists, scientists, aristocrats, politicians, and royalty. She participated in the dissemination of Neoclassicism in Europe at the very moment of its efflorescence. She created her Attitudes, a performance that tapped into her epoch{\textquoteright}s taste for classicism, was admired and imitated throughout Europe, and inspired generations of female performers. She learnt to dance the tarantella and introduced it into aristocratic drawing rooms. She influenced an early nineteenth-century network of women that spanned Paris to St Petersburg and included Elisabeth Vigee-Le Brun, Germaine de Stael, and Juliette Recamier. An unmatched model and sitter, she inspired artists to produce what they acknowledged to be some of their best work. She appeared in works produced by the major artists of her time, among whom Angelica Kauffman, Benjamin West, Elisabeth Vigee-Le Brun, George Romney, James Gillray, Joseph Nollekens, Joshua Reynolds, Thomas Lawrence, and Thomas Rowlandson. And she repeatedly pushed against the limits of social mores. Nevertheless, Emma did not attempt to present a coherent, unified, polished identity. Instead, she was a kaleidoscope of different selves that she kept active and in dialogue with each other, constantly reconfiguring the pieces so that she could simultaneously express herself fully and present to others what they wanted to see.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Eighteenth-Century Art}, author = {Ersy Contogouris} } @mastersthesis {11910, title = {Empowering Images: Negotiating the Identity of Authority through Material Culture in the Hellenistic East, 140-38 BCE}, year = {2014}, school = {Maryland}, abstract = {During the late-second to first century BCE, Tigranes II the Great of Armenia (140-55 BCE), Antiochos I Theos of Commagene (ca. 86-38 BCE), and Mithridates VI Eupator of Pontus (134-63 BCE) employed multivalent imagery to legitimize their positions and assert their authority amid the changing political landscape of the Hellenistic East. Each king{\textquoteright}s visual program shaped and reflected the political dynamics of his reign, the mixed cultural identity of his population, and the threats posed by foreign powers. As the kings negotiated their positions within an environment rife with military conflict and in territories composed of multi-ethnic populations, they created nuanced visual programs that layered ties to multiple historic precedents and religious authorities. Each king{\textquoteright}s program intended to communicate differently to diverse audiences-both foreign and domestic-while simultaneously asserting the king{\textquoteright}s position as the ruler of a powerful and unified realm. This dissertation considers the rulers{\textquoteright} creation and dissemination of such imagery, revealing new dimensions of ruling ideologies and visual culture in the Late Hellenistic East.}, keywords = {Greek/Roman Art}, author = {Hwang, Hyosil} } @mastersthesis {11928, title = {The Entangled Aesthetics of Alex Janvier}, year = {2014}, school = {Columbia}, abstract = {Dene abstract painter Alex Janvier (b. 1935-) is a canonical figure in Native American art history due to his pioneering engagement with modernism and his role in shifting the reception of Native art in Canada from a craft to fine arts status. While his historical consequence is respected, however, the formal and critical content of his work is little understood. That content adapts the Bauhaus pursuit of an abstract grammar to Dene conceptions of mapping land through hunter{\textquoteright}s dreams, producing a richly entangled cartography of Janvier{\textquoteright}s traditional homeland, the present-day Cold Lake Air Weapons Range in the Canadian provinces of Alberta and Saskatchewan. It also appropriates popular imagery of Plains Native Americans, deploying that pictorial iconography in provocatively ambiguous ways that blur the boundaries of Native identity. Both Janvier{\textquoteright}s pictorialism and abstraction present a conceptual and formal aesthetic of cultural and personal entanglement, generating a complex, postcolonial ambivalence not widely recognized in the work of first generation Native modernists. This close study reopens Janvier{\textquoteright}s modernist oeuvre to consider its conflicted as well as triumphant elements, and to argue that their uncanny synthesis in his work constitutes his defining contribution to modern art.}, keywords = {Native American}, author = {Dueker, Christopher} } @mastersthesis {11774, title = {Episodes at the End of Landscape: Hudson River School to American Modernism}, year = {2014}, school = {Harvard}, abstract = {This dissertation examines the dissolution of landscape painting as a major cultural project in the late nineteenth-century United States. As a genre aligned with the goals of nation building, landscape maintained a privileged artistic status for much of the nineteenth century. Yet as frontier development, land speculation, environmental change, and other factors slowly rendered its conventions meaningless, landscape became the site through which American artists most urgently sought to come to terms with the modern world. This argument is anchored by unorthodox artworks, from landscapes resembling banknotes to paintings made out of bird feathers-limit cases that allude to the failure of landscape in sustaining American cultural goals. Chapter One concerns Albert Bierstadt{\textquoteright}s aesthetic struggles in post-frontier America. During the 1890s, Bierstadt{\textquoteright}s anxieties about landscape surfaced in the particularities of objects that fold and unfold, from butterflies painted by chance to expanding railway cars-objects that might be considered the subconscious of a genre built upon expansionist ideology. Chapter Two argues that Martin Johnson Heade{\textquoteright}s tropical and marsh paintings of the 1870s and 1880s used "groundless" conditions to express cultural insecurities about traversable land and its representation. The pictorial blockages and interferences in Heade{\textquoteright}s paintings challenge both the compositional legibility espoused in the blockbuster canvases of his mentor and rival Frederic Church and the physical accessibility promised by the period{\textquoteright}s environmental interventions. Chapter Three proposes that Ralph Blakelock{\textquoteright}s nocturnes and money paintings-produced in the context of rampant land speculation, volatile art markets, and representational doubts surrounding paper currency-attempt but fail to overcome landscape{\textquoteright}s monetary entanglements. Blakelock{\textquoteright}s paintings theorize the value of labor and material accumulation in the increasingly abstract economic world of the last decades of the nineteenth century. Chapter Four reconsiders the trope of the "figure in the landscape" using Abbott Thayer{\textquoteright}s turn-of-the-century representations of animal camouflage. In these mixed-media artworks, Thayer{\textquoteright}s attempts to visualize invisibility demonstrate the ways in which camouflage proved irreconcilable with landscape{\textquoteright}s figure-ground principles. Together, these episodes trace pictorial attempts to resolve spatial problems arising with modernity, and in so doing, they signal a shift toward new paradigms of representation.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Cao, Maggie Meng} } @mastersthesis {11909, title = {Eternal Personae: Chiusine Cinerary Urns and the Construction of Etruscan Identity}, year = {2014}, school = {Washington University}, abstract = {Portraiture is a vital topic of art historical discourse, and portraiture in Etruscan art is usually studied as a stylistic predecessor to the Roman veristic tradition and not within its own cultural milieu. Portraiture, as a physical manifestation of personal identity, must be considered in relation to its social context in order for its artistic form to be understood fully. Identity is expressed not only through visual convention, but also through aspects of performance and interaction. This dissertation reframes the discussion of the Etruscan "portrait" as a performative representation of identity, illustrated through a study of Hellenistic cremation urns with figural lids produced at the site of Chiusi. This study is the first of its kind to engage in a focused, quantitative and qualitative analysis of Chiusine urn lid figures and their attributes. Large-scale studies have focused primarily on the inscribed names of the deceased on each urn, or the urn boxes and their attributes, whereas this investigation considers the largest corpus (over 800) of Chiusine urn lids to date. While the reliefs on the boxes demonstrate the Etruscan understanding and incorporation of myth into funerary contexts and the inscriptions provide demographic information and illustrate changes in the language over time, the lid figures reveal how the Etruscans chose to portray themselves in death. Although changes in Etruscan society during the Hellenistic period are evident in the funerary environment, the form and placement of cinerary urns and their lid effigies illustrate remarkable continuity in the Etruscan understanding of the afterlife. A case study approach investigates a range of burial environments at Chiusi in order to identify broader Etruscan priorities in the treatment of the dead, as well as variations among family members in a single tomb or between different necropoleis. Using ethno-anthropological and archaeological approaches to the study of non-Western and prehistoric cultures and the construction of identity, this dissertation seeks to identify a more nuanced concept of identity and representation in the Hellenistic period. The cinerary urns are not singular objects; they serve as integral components of a dynamic funerary environment. In this context, the importance of the lid effigy does not lie in its physical resemblance to the deceased. Through aspects of performance, interaction, and visual convention, these urns maintain the deceased{\textquoteright}s personhood in the afterlife, an identity that relates to familial relationships and active participation in important social practices.}, keywords = {Greek/Roman Art}, author = {Huntsman, Theresa} } @mastersthesis {11733, title = {Everyone{\textquoteright}s an Outsider: Architecture, Landscape, and Class in Michigan{\textquoteright}s Copper Country}, year = {2014}, school = {Wisconsin}, abstract = {This dissertation interrogates space, materiality, and mobility in domestic landscapes to explore complex social identities in America between 1870 and 1913. Engaging with interdisciplinary approaches in the spatial humanities, including cultural landscape, material culture, and vernacular architecture studies, this investigation focuses on Michigan{\textquoteright}s far northern Copper Country as a case study for using overlapping social landscapes as a framework for place-based examinations of class and gender identities. Suburban models of domestic development, whose separate spheres came to define middle-class American values, co-existed with and eventually informed changing ideas of company paternalism and corporate welfare in Michigan{\textquoteright}s Copper Country. Beginning in the 1870s, mining companies disposed of unwanted land by selling single-family lots outside of town to successful merchants and white-collar professionals. Examination of the East Houghton house of James Pryor demonstrates ways that an individual family negotiated an elevated social identity by repeatedly overhauling their property to be both an industrial manager{\textquoteright}s house, looking down on workers from a fashionable hilltop residence, and a suburban country cottage. Fifteen years later, the Quincy Mining Company, one of the region{\textquoteright}s most powerful, established an exclusive neighborhood in which businessmen and eventually company managers used space and taste to differentiate themselves from places and people associated with labor. A few houses in this neighborhood of East Hancock allow us to compare the mobility of a live-in servant with that of her mistress, revealing different rhythms and opportunities in their performances of identity. A final chapter examines the sense of place constructed through taste in architecture and interior furnishings to interrogate the spatial and material nature of class formation at the end of the period. Complicating existing histories of the Copper Country, this dissertation looks beyond company-built landscapes and inculcates the region{\textquoteright}s separate white-collar neighborhoods in the social rifts that culminated in the Miners{\textquoteright} Strike of 1913{\quotesinglbase}{\"A}{\`\i}14. More broadly, this dissertation complicates the relationship between domesticity and working landscapes in ways that can have implications for studying industrial communities and suburbanization around the country.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Scarlett, Sarah Fayen} } @mastersthesis {11881, title = {Experiment and Visual Transformation in Illuminated Manuscripts of the Roman de la rose, ca. 1338-1405}, year = {2014}, school = {Michigan}, abstract = {The Roman de la rose, by far the most popular romance in medieval Europe, was also one of the most richly and imaginatively illuminated works in French vernacular literature. Illuminators began providing miniatures in the late thirteenth century, focusing first on narrative episodes contained in the portion of the text composed by Guillaume de Lorris c. 1225-40, but increasingly coming to terms with Jean de Meun{\textquoteright}s continuation, written about forty years later. In the course of more than two centuries of illumination, no single set of images emerged to accompany the narrative: pictorial cycles varied greatly in number of images, placement, and iconographic content. Over time, artists distinguished their copies from the work of predecessors by changing their manner of rendering and clothing the large cast of characters according to the latest fashions. Toward the end of the fourteenth century, when intellectuals in court circles began to debate the morality of Jean{\textquoteright}s continuation, patrons became eager to own deluxe versions of a text that had by now become a classic. In this dissertation, I trace the nature and extent of these visual transformations over time by focusing on the production of Rose manuscripts in four shops active in Paris from c. 1338-c.1405. Richard and Jeanne de Montbaston (active c. 1338-1353), a husband and wife team, developed image cycles for at least seventeen manuscripts that exhibit the range of variation found in later copies of the text. Artist L of the Bible moralisee of John the Good (active c. 1350-65), working at a moment of market saturation, responded with image cycles that highlighted new fashions and more fully articulated the romance{\textquoteright}s narrative. Four copies of the Rose illuminated by the Maitre du Policratique de Charles V (active c. 1366-1403), and a singleton volume illuminated by an artist participating in a style known as the "Bedford Trend" (c. 1405-15), provide evidence that their artists collaborated with planners to create image cycles that reflected contemporary interests in the ethical and philosophical aspects of the text.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Sympson, Melanie} } @mastersthesis {11938, title = {Extracting the Identity of Anna Ancher: Reframing the Artist as Danish Symbolist, Modernist, and Independent Artist}, year = {2014}, school = {Temple}, abstract = {This dissertation reframes the Danish artist Anna Ancher (1859-1935) by expanding the context in which the artist has been considered, to position her as a Symbolist, modernist and independent artist. A revered and familiar artist in Denmark, most scholars discuss her paintings in association with the development of the art colony in Skagen, an important site of Denmark{\textquoteright}s Modern Breakthrough in the 1880s. The represented image of Ancher in paintings by male colonists during this period indicated her centrality within the group, depicted her as a fashionable bourgeois wife and respectable mother, but simultaneously neglected to reference the development of her professional practice. By 1889, Ancher had sold major paintings and gained national and international recognition. Michael Ancher{\textquoteright}s portrait of his wife in reform dress in Coming Home from Market (1902) signifies her freedom from conventional gender roles. Despite her affiliation with the Skagen colony, Ancher matured as a painter during the 1890s after its heyday. At this time Danish Symbolism and Vitalism came to eclipse the Naturalist orientation of the prior decade. The painter{\textquoteright}s study in Paris in 1889 and her contacts in cosmopolitan Copenhagen forged an avant-garde network that in many ways referenced, but also resisted, movements from the urban French center. An aesthetic that draws from the ostensibly contradictory and divergent ideas of Charles Baudelaire, Hans Christian Andersen and Friedrich Nietzsche can be found in Ancher{\textquoteright}s painting, positioning her alongside other Danish Symbolists. Ancher was also a native of the Jutland peninsula, which experienced the growth of pietist movements and major shifts impacting agricultural labor. Ancher{\textquoteright}s paintings of religion and harvest at the beginning of the twentieth century challenged contemporary French primitivist images of Breton peasants, especially those of Paul Gauguin. After 1900, Ancher{\textquoteright}s increasingly abstract paintings of unoccupied interiors reflect the complex modernist shift in valuation of the dwelling and a new emphasis on minimal decoration and strong planar surfaces in the home as conducive to physical and psychological health. In her paintings of her own studio, Ancher challenged normative gendered divisions in the organization of the home and asserted her identity as an autonomous artist.}, keywords = {Nineteenth-Century Art}, author = {Price, Alice} } @mastersthesis {11931, title = {Face Value: The Reproducible Portrait in France, 1830-1848}, year = {2014}, school = {Ohio State}, abstract = {This dissertation examines the understudied topic of portraiture during the July Monarchy (1830-48), the constitutional regime that has long been associated with both the social and political rise of the bourgeoisie as well as the development of an extensive commercial culture in France. The second quarter of the nineteenth century witnessed the proliferation of portraits executed in a variety of alternative media that allowed for their mechanical reproduction and subsequent distribution to a mass audience of cultural consumers. This phenomenon coincided with the development of a new kind of celebrity, one that was dependent upon a brand of notoriety generated by the rapidly expanding press as opposed to lineage or professional accomplishment, the sources of more traditional forms of personal fame. This dissertation examines these intertwined phenomena in detail and posits them as evidence of a fundamental reconceptualization of the notion of the self during the July Monarchy. Both media-driven celebrity and the reproduction and large-scale distribution of portrait imagery attest to the fact that the self was no longer a solidly fixed identity emanating from some internal "essence" of the individual, but rather the product of an increasingly complex network of perceptions and representations. This dissertation begins with an investigation of the theoretical literature on selfhood and how it pertains to the crisis of self in the post-revolutionary age. Concurrent with the explosion of portraits in printed media was an unprecedented rise in the production of traditional, one-of-a-kind painted portraits and their public display at the Salon. As representations of contemporaries, portraits served as discursive and participatory sites not simply for aesthetic debates about representation but, more largely, about questions of class, politics, and gender-debates that in turn contributed to the generation and constantly changing discourses of the self. The second half of the dissertation focuses on the examination of three sets of portraits in reproducible media. I examine the role of the reproducible portrait in the solidification and dismantling of the political identity of King Louis-Philippe. The so-called "citizen-king" sought to market himself to the constantly shifting "middle" through a variety of often contradictory guises, which resulted in an incredibly unstable and uncontrollable image. In 1831, the journal L{\textquoteright}Artiste began publishing a suite of portraits of the cultural icons of the day. Through their casual style and representational format, the portraits seek to create intimate, approachable images that immerse the famous sitters not in the world of their celebrity, but in that of the viewer. The lithographs recall the tradition of portrait drawing, thereby translating the vicarious one-on-one private experience of the unique portrait drawings to the mass-marketed celebrity culture. The dissertation concludes with an examination of the most famous portraits-in-multiple to be produced during the July Monarchy: the 500 portrait medallions by the republican sculptor David d{\textquoteright}Angers. This chapter explores the tension between the sculptor{\textquoteright}s rather grandiose conception of these portraits as perpetuating a long and distinguished tradition of artistic commemorations of grands hommes in France, on the one hand, and their status as small-scale commodities circulating on the open market, on the other.}, keywords = {Nineteenth-Century Art}, author = {Delouche, Sean} } @mastersthesis {11814, title = {Fame, Celebrity, and Performance: Marina Abramov√/=c Contemporary Art Star}, year = {2014}, school = {Case Western Reserve}, abstract = {This dissertation analyzes Marina Abramovic{\textquoteright}s rise to mainstream attention and her subsequent status as a celebrity through the prism of her major New York City performances -House with the Ocean View (2002), Seven Easy Pieces (2005) and The Artist is Present (2010) -as well as the most recent iteration of her Biography (The Life and Death of Marina Abramovic, 2011/13), and her plan to build the Marina Abramovic Institute in Hudson, New York. While the popular success of Abramovic{\textquoteright}s Manhattan performances is widely acknowledged, especially, for example, the fanfare that surrounded The Artist is Present, serious consideration of how these performances have sustained such a devoted fan base and why she has become an intense presence in the media remains lacking. Comparison with a diverse roster of past and present artists, including Andy Warhol, Hannah Wilke, Shirin Neshat, Chris Burden, and Tehching Hsieh, helps to formulate my investigation. I present strong links between the recurring, interactive use of the telescope and/or camera lens in Abramovic{\textquoteright}s three New York performances in relationship to the film studies concept of "intimate strangers," the "It-effect," and 1990s relational aesthetics. Although Abramovic is avowedly not a feminist, I argue that concepts of gender performativity inform not only the reception of her work, but also her Internet and mainstream media presence. She is seen to fit the paradigm of the "executive female artist," a designation used in this instance to reconfigure collaborative performance art practices. Abramovic{\textquoteright}s status as an art star is paradoxically rooted in a multiplicity of presences and absences that exhibit both a corporeal and corporate structure.}, keywords = {Contemporary Art, Performance Studies}, author = {Lacis, Indra} } @mastersthesis {11808, title = {Feminism and Photography in Britain in 1970s and Early 1980s}, year = {2014}, school = {Binghamton}, abstract = {The 1970s and early 1980s in Britain, which are the backdrop of this study, marked a period of instability that experienced the collapse of the welfare state, massive unemployment, race riots, and workers{\textquoteright} strikes. At this time various forms of social activism emerged, including the Women{\textquoteright}s Movement, which, like other forms of social activism, turned increasingly to photography as a practice perceived as capable of impacting the social sphere. Whereas there is a large body of materials addressing feminism and photography from this period, these fields have not been adequately considered together. This study, which is based on archival research conducted in London and Leeds, contextualizes feminist photography practices in the frame of debates on feminism and photography and in relation to social and political events. It thus aims to establish a measure of independence from the influential interpretations of the period advanced by feminists and cultural historians who participated in events at the time. The dissertation is organized around a series of themes related to feminism and photography. One of them is the field of media images as a site of feminist photographic intervention and contestation, with feminist photography practices countering gender stereotypes in advertisements, feminist photo-montages incorporating advertising rhetoric to advocate social issues, and sexist billboard advertisements being spray painted with biting feminist retorts. Another theme is the political role of street photography in relation to the tensions around gender, sexuality, race and worker{\textquoteright}s rights that erupted on British streets. Feminist photographic documentation is explored in relation to events such as Reclaim the Night marches and the Grunwick Strike, both of great significance for the Women{\textquoteright}s Movement. Finally, the dissertation considers the institutionalization, at the end of the 1970s, of feminist photography practices that were initially developed outside the museum and academia. It considers the arguments for and against this entry into mainstream cultural spaces, the impact of the accelerating role of the art market as public spending on the arts declined, the tensions that resulted, and the outcomes of the process that changed the place and purpose of feminist political action.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies, Drawings/Prints/Works on Paper}, author = {Klorman-Eraqi, Na{\textquoteright}ama} } @mastersthesis {11902, title = {A Feminist Inheritance? Questions of Ambivalence and Subjectivity in Paul McCarthy, Mike Kelley, and Robert Gober}, year = {2014}, school = {CUNY}, abstract = {Feminist art of the 1970s was groundbreaking in many regards and importantly impacted specific projects by three male artists: Paul McCarthy{\textquoteright}s performance Sailor{\textquoteright}s Meat (1975), Mike Kelley{\textquoteright}s installation Half a Man (1989) and Robert Gober{\textquoteright}s 1989 installation at the Paula Cooper Gallery. Despite the general absence of feminist artists as possible influences in the critical literature on these artists, feminist sources have been hidden in plain sight in regards to these works. These artists all take up the problematic of identity formation within the domestic sphere, which was made a legitimate area of inquiry in art by numerous feminist artists in the 1970s. The artists under discussion responded to feminism at different points in its development from the 1970s to the mid 1980s, and so I trace the debates surrounding feminism relevant to the works under discussion during this period. Chapter One contextualizes McCarthy{\textquoteright}s performances of the 1970s with his male forebearers and feminist contemporaries and focuses on themes of personae and rituals. Chapter Two explores Kelley{\textquoteright}s referencing feminist art via the idiom of craft, both in terms of its implications for different expressions of masculinity, and for his deeply ambivalent relationship with feminism. Chapter Three proposes a connections between Gober and feminist art founded on the shared exploration of the ways subjectivity is constituted by the daily repetition of activities within the domestic sphere. In this regard, his work is discussed in relation to works by artists working in the 1970s as well as his contemporaries that highlight the psychic emanations of particular household objects, and conceptually, to those that demonstrate how the domestic environment socially conditions its subjects. I conclude the project by discussing how a younger generation of contemporary women artists have reinterpreted works by McCarthy, Kelley and Gober in ways in which they are able to recognize and recover strands leading back to feminism. The dissertation aims to demonstrate that the contributions of feminist art had a greater effect on the field of contemporary art than is often acknowledged.}, keywords = {Genders/Sexualities/Feminisms, North America}, author = {White, Marisa} } @mastersthesis {11952, title = {Figure and Ground: Producing National Subjects in Egyptian Painting and Photography, 1919-1936}, year = {2014}, school = {IFA/NYU}, abstract = {This dissertation examines the emergence of a discourse and praxis of modern Egyptian art in the late-19th century, and its subsequent and sustained negotiation along major political and cultural fault lines of the early 20th century. Many accounts of Egyptian art of this period--and indeed of most art produced outside of Europe and America--tend to insist on the conceptual coherence of the objects and practices at hand. In contrast, I trace the various conflicting pressures and seemingly irresolvable inconsistencies informing this history, not to reveal the hollowness of the category of Egyptian modern art, but to better appreciate its discursive and material complexity, as well as the insights it facilitates into the historiography of colonial and postcolonial-era non-Western art. The text attempts to bring into relief the contours of the broader milieu within which most artists were operating. Even so, I rely on an in-depth exploration of the activities of certain groups and individuals, including: the so-called Pioneer, or first generation of Egyptian modern artists; Chimera ( Jama{\textquoteright}at al-Khayal, or Imagination Group); the Essayistes ( al-Muhawilun); the League of Egyptian Artists (Rabitat al-Fannanin al-Misriyyin); and the Art and Freedom Group (Jama{\textquoteright}at al-Fann wa-l-Hurriyya). Individual chapters focus on tracing the implications of various practices with consideration to site (Chapters One and Two), commodity (Chapter Three), and the archive (Chapter Four), respectively. The political and socioeconomic conditions immediately informing these discussions are also a central consideration. Beginning in 1919, and as part of a wider bid to position itself as the symbolic head of an Egyptian nation, a local political and economic elite aligned with some of Egypt{\textquoteright}s earliest art-school graduates advocated the institutionalization of the fine arts. However, the subsequent establishment of a state arts sector in the late 1920s seemed to guarantee Palace control and marginalize the role of Egyptian artists within Egypt. Against this backdrop we are better able to assess the emergence of practices that reflected-and reflected upon-the conditions through which they were constituted.}, keywords = {Twentieth-Century Art}, author = {Davies, Clare} } @mastersthesis {11723, title = {Finding Place: Diaspora Experiences in Contemporary African Women{\textquoteright}s Art}, year = {2014}, school = {Stony Brook}, abstract = {This dissertation examines the issue of "place" in the lives and works of three contemporary women artists of the African Diaspora: Maria Magdalena Campos-Pons, IngridMwangiRobertHutter, and Wangechi Mutu. Place as a location is a core challenge of globalism: though fundamental to our existence, it has ceased to be permanent or definite. However, place is more than location-it is cultural, gendered, historical, interactive, personal and social, among other things-and can only be fully understood in considering several of these different facets. Each of the artists in this dissertation has had to navigate through instances of bias (such as racism and chauvinism), and physical displacement in order to create, find, and represent their places. In three case studies, the artists{\textquoteright} works and interviews serve as points of departure, illustrating how insights from Phenomenology (Merleau-Ponty and Casey) and from Humanistic Geography (Tuan, Relph, Massey) as well as from the discourses of feminist geography and contemporary art historiography can help us understand place. As there is currently no systematic study of place in art, nor an art-specific place theory to use in analysis, it provides a summary of the geographical and phenomenological insights and proposes a "lens" of place to apply to art works and artists.}, keywords = {African Art (sub-Saharan), Critical Theory/Gender Studies/Visual Studies}, author = {Bares, Eva} } @mastersthesis {11907, title = {For Your Eyes Only: Private Propaganda in Roman Imperial Cameos}, year = {2014}, school = {Ohio State}, abstract = {The contribution of this dissertation to the field of Roman art is threefold. First, this dissertation examines exclusively the iconography of large Roman Imperial cameos. While previous scholars have thoroughly examined individual Roman Imperial cameos and their iconography, I address the cameos as a coherent group. In this way, I reveal how large Imperial cameos are in conversation with one another and are referential. That is, the Gemma Augustea is a response to the Tazza Farnese and the Grand Camee is a response to the Gemma Augustea. Second, my study of the iconography of Roman Imperial cameos reveals a language of private propaganda that is different from the public art seen by the general population. In particular, I analyze the iconography of large Imperial cameos for what the private symbolism says about Octavian/Augustus, and the Julio-Claudians. For example, in cameos emperors and members of the Imperial family had the freedom to present themselves, and their family members, how they truly wished to be viewed, versus art in the public sphere in which the emperor and his family had to adhere to certain criteria. Finally, this study will illuminate the importance of these Roman Imperial cameos in understanding the development of Roman Imperial art. The iconography of Roman Imperial cameos follows Goran Hermeren{\textquoteright}s four stages of the development of symbols. In these four stages of development, Imperial cameos experiment with transmitting new Imperial messages that will become common in subsequent dynasties. In other words, the Tazza Farnese, Gemma Augustea, and Grand Camee de France serve as an iconographic testing ground for the Julio-Claudians. Furthermore, perhaps the most important contribution of this dissertation is that these large Imperial cameos, which are for all intents and purposes private works of art, actually address a broad cultural sphere. In other words, the style and iconography of the Tazza Farnese, Gemma Augustea, and Grand Camee de France are Hellenistic and Imperial in orientation rather than being very limited in their scope.}, keywords = {Greek/Roman Art}, author = {Fischer, Julia} } @mastersthesis {11810, title = {Fragments along the Archipelago: Photography of the Contemporary Spanish Caribbean and Its Diasporas}, year = {2014}, school = {Wisconsin}, abstract = {This dissertation seeks to reconsider the medium of photography as a system of visual and aesthetic representation within the context of the contemporary Spanish Caribbean and its U.S. diasporas. Aspects of fracture, fragmentation, and incoherence haunt both of the interdisciplinary areas into which this inquiry delves: the history and theory of photography and Caribbean studies. Comprised of discrete but interconnected case studies, my project replicates the fragmented form of Antonio Benitez-Rojo{\textquoteright}s metaphorical meta-archipelago and serves as a critical intervention into the history of photography via the Spanish Caribbean, including its U.S. diasporas. I consider the afterlives of Walker Evans{\textquoteright}s Havana 1933 portfolio and the photographs produced for it; vernacular photographs in circulation; the work of contemporary artists using photography in the Spanish Caribbean, including Carlos Garaicoa, Raquel Paiewonsky, Karlo Andrei Ibarra; and artists using photography in the U.S. diasporas, including Abelardo Morell, Scherezade Garcia, and Adal. Each section is examined as a distinct photographic fragment along the archipelago of the contemporary Spanish Caribbean and its U.S. diasporas. Throughout the project, I repeatedly push against the notion that the Spanish Caribbean as a cultural designation can be bounded solely by the places where the edge of an island meets the sea. Instead, I expand the place of the contemporary Spanish Caribbean to include its diaspora populations in the United States and even the spaces of transit and circulation between psychic and geographic locales. Similarly, the diversity of the photographic case studies from or about the Spanish Caribbean that I consider through the four thematic chapters of this project gestures to the lack of homogeneity inherent in the set of images we nevertheless refer to uniformly as "photography." Ultimately, I posit photography as a form of visuality rather than as a visual medium as such.}, keywords = {Contemporary Art, Drawings/Prints/Works on Paper, Latin American/Caribbean Art}, author = {Zinsli, Beth A.} } @mastersthesis {11743, title = {Framing the Ancients: A Global Study in Archaeological and Historic Site Interpretation}, year = {2014}, school = {Penn State}, abstract = {Although rarely addressed in modern scholarship, over the last several decades, design implemented at archaeological and historic sites has become the organizing agent to present ancient cultures to the international public. Using topologies such as site museums, reconstructions, interpretive installation art, and comprehensive site planning, physical construction is now used to metaphorically guide visitors through the chronology and visual culture of a specific place while physically guiding them through the material remains. This dissertation examines the concepts of space, culture, and design and their junction as part of the overarching concept of "heritage interpretation." Through a series of individual site studies, this document discusses how different types of intervention can affect visitor understanding, experience, and the interpretation of history and ancient cultures by the greater public. As a comprehensive study, the research examines what methods have been used and are currently being used to facilitate public engagement with ancient remains through design, specifically placing physical interpretations within an immersive theoretical and historical context. By utilizing a multidisciplinary approach, the dissertation examines how the concepts of ancient art, cultural heritage, and modern construction interact at some of the most famous world historical sites, and how archaeological interpretation can affect a broader understanding of time, place, and culture.}, keywords = {Architectural History/Historic Preservation, World Art}, author = {Barry, Kristin} } @mastersthesis {11831, title = {Fred Kabotie, Elizabeth Willis DeHuff, and the Genesis of the Santa Fe Style}, year = {2014}, school = {Virginia Commonwealth}, abstract = {Those scholars who have overlooked the relevance of Fred Kabotie and the Santa Fe Style he developed have missed an important historical segment of early Native American painting. This dissertation underscores the convergence of diverse intellectual, artistic and cultural backgrounds, especially those of Kabotie and Elizabeth Willis DeHuff, his first art teacher, which led to the formation of the Santa Fe Style in 1918. This style was formative for Dorothy Dunn{\textquoteright}s later Studio School at the Santa Fe Indian Boarding School. This first generation of the Santa Fe Style of watercolor painting was empowered by highly educated men and women, who helped to ensure the national recognition Kabotie{\textquoteright}s work received. Among Kabotie{\textquoteright}s early supporters were Elizabeth Willis and John DeHuff, Mabel Dodge Luhan, Edgar Lee Hewett, Kenneth Chapman, Robert Henri, Maynard Dixon, Marsden Hartley, John Sloan, John Louw Nelson and George Gustav Heye. By uncovering the multiple discourses connecting these individuals with Kabotie and his work, this study develops a basis for analyzing the many perspectives this new style synthesized and advanced. This dissertation positions Kabotie and the Santa Fe Style within these and several larger cultural arenas, including Hopi culture, modern art and Santa Fe intellectuals, thus providing a multistoried dimensionality overlooked in earlier scholarship. Through evaluating these individuals who informed and empowered the creation of the Santa Fe Style, while carefully considering Kabotie{\textquoteright}s response to them in his work, this dissertation initiates a clearer understanding of early twentieth-century cultural and artistic interactions, both locally and nationally. The Santa Fe Style provided a new direction for American Indian art prior to World War II; it initiated a fresh dialogue between the Hopi people and the Anglo government, and it afforded a complex and ongoing conversation for not just Fred Kabotie and his art, but also, through him, the Hopi people. Moreover, it had a profound effect on the development of Southwest Native American painting over the next fifty years.}, keywords = {Contemporary Art}, author = {Welton, Jessica W.} } @mastersthesis {11892, title = {French Artists in Rome: An Examination of Eighteenth-Century Drawing Album}, year = {2014}, school = {IFA/NYU}, abstract = {This dissertation examines the sketchbooks and albums made by French prix de Rome winners in Italy during the final decades of the eighteenth century. Although drawing had always been fundamental to the pedagogical program of the Academie royale de peintre et de sculpture, it became a particular site of exploration and formal experimentation in the sketchbooks made by Jacques Louis David and the circle of French artists that gravitated toward him, especially in the numerous architectural vignettes made en plein air by David and his favorite student Jean-Germain Drouais while traversing the Roman Campgana. Interactions between painters, architects and sculptors of diverse European nationalities were characteristic of the Roman sojourn. As a result, contemporaneous architectural theories put forth by such writers and antiquarians as Quatremere de Quincy authorized a radically formalized conception of the ways in which non-representational elements could be linked to the ideal beauty of the antique, untethered from subject matter, but still able to communicate the most elevated of concepts. It was therefore through the formal explorations of the architectural vignette that David and Drouais developed the conceptual apparatus for a neoclassicism that increasingly communicated through simplified formal relationships rather than relying on subject matter and imitation. This dissertation suggests that there took place a confluence of circumstances in Rome, including the increasing autonomy of artists from the Academie, whereby the space opened to them for formal experimentation in their plein air architectural drawings of the Campagne, alongside the need to collect the figures of antiquity as individual signifiers for use in a career back in Paris. As a result, the sketchbooks of French artists functioned as a site of experimentation unbound from academic stricture and instrumental in the developing conception of the artist as individual genius.}, keywords = {Eighteenth-Century Art}, author = {Bell, Andrea} } @mastersthesis {11740, title = {From Berlin to Broadacres: Central European Influence on American Visionary Urbanism, 1910-1935}, year = {2014}, school = {CUNY}, abstract = {In the 1920s and 1930s, Eliel Saarinen, Richard Neutra, and Frank Lloyd Wright each designed plans for real and imagined American cities. Saarinen{\textquoteright}s Chicago and Detroit plans of 1923-1924, Neutra{\textquoteright}s Rush City Reformed of 1926, and Wright{\textquoteright}s Broadacre City of 1935 are stylistically unique but all contain a similar fascination with hypothetical transportation networks and high-speed expansion that reflect a common relationship to the development of urban planning as a discrete field in Berlin and Vienna around 1910. This dissertation will highlight several features of turn-of-the-century Central European planning that played an outsize role in the development of these visionary responses to machine-age American urbanism, including suburban extension and infrastructure projects, municipal planning exhibitions, and a model of metropolitan expansion propagated by Otto Wagner. It will also root Saarinen{\textquoteright}s, Neutra{\textquoteright}s, and Wright{\textquoteright}s plans in their immediate context of interwar Chicago and Los Angeles, where the effects of the car and associated changes to the cityscape provided a rich backdrop for futuristic design. Finally, the dissertation will examine what these urban plans reveal about the perceptions of the new American car culture among modern architects.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Herman, Margaret} } @mastersthesis {11859, title = {From Sacred to Spectacular: Gustave Dore{\textquoteright}s Biblical Imagery}, year = {2014}, school = {Columbia}, abstract = {This dissertation argues that the biblical imagery of Gustave Dore (1832-83) successfully conveyed various modern ways of encountering the Bible, in both sacred and secular contexts. Dore was one of the most popular artists in nineteenth-century Europe and America, and his images have continued to be widely reproduced (to date, his Bible illustrations have been incorporated into over 700 publications). Emerging at a time when the Bible was taking on cultural roles beyond the moral and theological, Dore{\textquoteright}s images negotiated the challenges facing biblical representation, and introduced generations around the world to a new and modern way of understanding Judeo-Christian scripture. From the emergence of the "Bible as literature," to Holy Land archaeology, to the spectacularization of biblical narratives, to modern religious pedagogy, the impact of Dore{\textquoteright}s biblical pictures was felt on a scale heretofore unknown. More broadly, this project deals with the intersection of art, religion, and modernity through the study of one influential artist. The history of Dore{\textquoteright}s images extends across temporal, geographical, and denominational boundaries, and is crucial for understanding how the Bible has maintained its sacred and secular functions through the present day. Despite his centrality to the nineteenth-century art world, Dore{\textquoteright}s work has maintained a relatively marginal place in standard art histories. Art historians and sociologists of religion are becoming increasingly interested in the importance of religious imagery in modernity and Dore{\textquoteright}s works are often invoked, but there has yet to be a sustained study of the forms, history, and persuasive power of his images. Redressing art history{\textquoteright}s meager attention to modern religious art, I hope not only to recuperate Dore for art history, but also, more generally, to demonstrate how religious art helped make us modern.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Schaefer, Sarah} } @mastersthesis {11884, title = {From the Seed of the Gods: Art, Ideology, and Cultural Exchange with the Persian Court Under the Roman Tetrarchs, 284-324 CE}, year = {2014}, school = {Columbia}, abstract = {Examining a circumscribed period of intense contact, conflict and competition between the late Roman Empire in the west, and the Sasanian Persian Empire in the east, this project reconsiders in a cross-disciplinary light those canonical objects of inquiry that shape modern characterizations of the later Roman Empire. Identifying for the first time significant similarities between late Roman and Sasanian court commissions, the project demonstrates how Roman emperors of the late third and early fourth centuries selectively imported, adapted and repackaged aspects of Sasanian ideology and court culture-including elements of palatial design, performative ceremonial and specific iconographies. It is argued that this cultural appropriation was part of an effort to redress the negative image of Roman power propagated by the Sasanian court.}, keywords = {Egyptian/Ancient Near Eastern Art, Greek/Roman Art}, author = {Chen, Anne} } @mastersthesis {11939, title = {Geographie symbolique dans Modern Painters de John Ruskin, vol. 3, 4, et 5}, year = {2014}, school = {Montreal}, abstract = {John Ruskin writes Modern Painters Volumes III, IV, and V as events such as The Crimean War (1854-56), the Indian Mutiny (1857-59), and the Second Italian War of Independence (1859) unfold. As such, Ruskin{\textquoteright}s work tends to reflect and respond to the political context of his time. In these works, Ruskin tries to symbolically interpret and represent geopolitical and taxonomical characteristics of the European continent, generally in an imperial narrative, paying particular attention to British identity and national stereotypes. Ruskin articulates his ideas using a unique style that combines visual and written elements to create powerful allegories. In these volumes, Ruskin is especially concerned with what he sees as an impending "crisis of civilization" of which the aforementioned conflicts are symptoms. As a response, Ruskin strongly advocates societal reform in the form of a return to old Christian values. He also supports a military alliance between Britain and France.}, keywords = {Nineteenth-Century Art}, author = {Reian, Corina} } @mastersthesis {11839, title = {Ghastly Females{\textquoteright} and {\textquoteright}Wanton Corrosion{\textquoteright}: The Appropriation and Modernization of German Old Master Motifs in Otto Dix{\textquoteright}s Images of Weimar Women}, year = {2014}, school = {Rutgers}, abstract = {Otto Dix, who was associated with the Neue Sachlichkeit artistic style that arose during Germany{\textquoteright}s chaotic Weimar Republic (1918 -1933) appropriated themes and motifs used by Old Master artists and manipulated them to address both his personal anxieties and Germany{\textquoteright}s unstable present. He specifically engaged Old Master motifs pertaining to death, decay and women who cause men harm including the Totentanz, vanitas motifs, the Judgment of Paris and witches. He made no secret of his admiration for artists of the past such as Hans Baldung Grien, Lucas Cranach and Albrecht Durer and his calculated references to their works were not only acknowledgements of the inspiration he found in them but also challenges to their artistic legacies. Dix was particularly intrigued by Old Master motifs that linked women, sex and death as these themes coincided with key elements of the philosophy of Friedrich Nietzsche. During the interwar years, anxieties about gender politics manifested themselves in debates pertaining to the changing status and roles of women. In particular, the economically and sexually liberated Neue Frau was perceived as posing a threat to the patriarchal social order and to German masculinity. In light of Germany{\textquoteright}s humiliating defeat, "deviant" women, including New Women and prostitutes, were perceived as being socially and morally suspect and were accused of a variety of offenses ranging from the corruption of society to the emasculation of German men. In many of his Weimar works, Dix linked the ideas of death and decay with images of "fallen" women, such as New Women, widows and prostitutes. In these ambiguous representations of "deviant" females in which the distinctions between prostitutes and non-prostitutes are elided, the tensions between perceptions and images of prostitutes and New Women are confronted but never fully resolved. In these works, Dix deliberately referenced and ambitiously manipulated Old Master motifs and incorporated elements of Nietzsche{\textquoteright}s philosophy in order to make a case for his own artistic legacy and to propagate a public persona that fulfilled Nietzschean ideals of the Ubermensch.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Magnusen, Kaia L.} } @mastersthesis {11725, title = {The Global Reach of a Fashionable Commodity: A Manufacturing and Design History of Kanga Textiles}, year = {2014}, school = {Florida}, abstract = {This study examines the global forces and variety of players involved in the creation, design, and manufacture of a particular textile genre, kanga, popular throughout east Africa. The history of kanga textiles brings together a wide range of players, who work variously together and compete to create, market, sell, and consume this industrially manufactured textile. I illustrate how this regionally popular cloth, often worn as wrap garments by east African women, actually evolved from expanding trade networks and an enlarging global economy centered in nineteenth-century Zanzibar. Throughout the twentieth and twenty-first centuries, the manufacture and design of these textiles continued to be affected by both global and local politics. Based on colonial government reports, archival materials, published travelogues, import statistics, historical postcard photographs, interviews, hand-drawn designs, dozens of sample pattern books and thousands of extant kanga textiles, I argue that this genre of printed cloth was created through the interactions between a global network of players, who converged in Zanzibar in the nineteenth century and subsequently centered in Dar es Salaam following World War I. kanga textiles, in their history as well as visual impact, reproduce traces of the various players involved in their creation and subsequent manufacture. As political realities changed, so too did demands for graphic representations printed on these inexpensive, fashionable textiles. By emphasizing the changing dynamics of not only the historical moment but also the convergence of players involved in the kanga trade, this dissertation posits that kanga textiles are a reflection of the global forces that compete to capture the market in this regionally popular cloth. As the primary research presented in this work demonstrates, the history of this commodity points to global competition played out first in Zanzibar and subsequently in Dar es Salaam in women{\textquoteright}s fashionable consumption during the colonial era.}, keywords = {African Art (sub-Saharan), Decorative Arts/Textiles/Design History}, author = {Ryan, Mackenzie Moon} } @mastersthesis {11893, title = {The Great House of Benjamin West: Family, Workshop, and National Identity in Late Georgian England}, year = {2014}, school = {Maryland}, abstract = {Anglo-American painter Benjamin West (1738{\quotesinglbase}{\"A}{\`\i}1820) holds a unique position in the history of Western art. Active during the foundational periods of not one, but two, national schools of art to which he could rightfully claim membership, West recognized his inimitable position in the development of English and American art and sought to position himself at the forefront of each nation. This dissertation examines his fluid national and artistic identities over the course of his instructional relationships with his American students, and the shifting personal and professional goals harbored by each party. While scholars have acknowledged the relation of West{\textquoteright}s pedagogical practice to his identity as an artist, this study presents an organic account of the relationships between teacher and students as an embodiment of West{\textquoteright}s ongoing and unprecedented attempts at fame, fortune, and legacy. This legacy was central to Benjamin West{\textquoteright}s identity as an artist. His professional career was dedicated to the self-aggrandizement of his identities as an (exotic) American, a prolific painter of high-minded scenes of history and religion, and the head of a workshop teeming with artists who shared his heritage, though not always his aesthetic inclinations. Over his career he cultivated a reputation as a welcoming instructor, always willing to give advice or lessons to any artist who approached him. This was not solely an act of altruism. Instead, it was the cornerstone of his construction of a proverbial House of West, a workshop-family whose members and their works would reflect back on the genius of the master, just as strongly as his own oeuvre. Through the examination of four case studies of his instruction of American students-that of Charles Willson Peale, Gilbert Stuart, John Trumbull, and a circle of students led by Washington Allston-this study integrates Benjamin West{\textquoteright}s teaching practice with his career aspirations, positioning his pedagogy within the greater framework of his self-presentation. In doing so, it presents a history painter engrossed in the promulgation of his name throughout history, through his own artistic output and those of his children and students, as the progenitor of American artists working in the European tradition.}, keywords = {Eighteenth-Century Art}, author = {Fox, Abram} } @mastersthesis {11823, title = {Group Material and the 1980s: A Materialist Postmodernism}, year = {2014}, school = {Harvard}, abstract = {Group Material{\textquoteright}s seventeen-year collaboration began in New York in 1979 through the artists{\textquoteright} shared interests in collective, politicized practices and their immersion in a localized network of countercultural activities. While GM{\textquoteright}s cadre of participants shifted over time (from the dozen who launched its first year to a smaller core comprising Doug Ashford, Julie Ault, Mundy McLaughlin, Felix Gonzalez-Torres, and Tim Rollins), its practice developed a consistent aesthetic vocabulary in dialogue with major figures of 1980s art and with an eye to 1960s conceptualism and the Soviet avant-garde. GM threw open the class coordinates of art{\textquoteright}s public and introduced a distinct set of responses to the central problematics of 1980s art: the debates over representation, appropriation, painting, public space, and activism. In turning to Group Material, I track an alternate genealogy of postmodernism that complicates 1980s art-historiography by connecting British Cultural Studies with Frankfurt School analyses of the culture industry and poststructuralist critiques of representation. Calibrated to intervene in a decade marked by the consolidation of neoliberalism, social conservatism, the Cold War, and the AIDS crisis, GM{\textquoteright}s materialist postmodernism opens up a larger-still pressing-desideratum of the left in a post-1960s context, caught in a squeeze-play between the generation-defining reception of critical theory and the dissolution of the Eastern Block. The dissertation moves to provide a missing analysis of the historical conditions that made it possible, and urgent, to pursue such work in the 1980s. Its four chapters correspond to the key strategies of GM{\textquoteright}s influential and until now under-researched career. (1) Room-scale exhibition projects confronted social conditions and material culture by spatializing strategies of appropriation and re-imagining avantgarde techniques of exhibition design. (2) Wall-mounted timelines leveraged anachronistic models of chronological time to theorize a curiously timely phenomenology of counter-memory. (3) Street posters clarified concerns latent in the alternative distribution forms of 1960s conceptualism while issuing an implicitly feminist reevaluation of the public sphere. (4) Discursive projects transposed an ethos of radical democracy as an aesthetic principle, establishing both a catalyzing example and--through measures of distance and historical memory--proleptic critique of the preeminent field now called social practice.}, keywords = {Contemporary Art}, author = {Grace, Claire} } @mastersthesis {11843, title = {Guilt Cinema: Memory, Boundaries, and Ethical Criticism in Postcolonial Korea}, year = {2014}, school = {Rochester}, abstract = {Guilt Cinema: Memory, Boundaries, and Ethical Criticism in Postcolonial Korea reorients the (re)constitution of colonial memory and national narrative in South Korea-the unprecedented return of colonial memories to Korean society, which had been suspended until the late 1980s. Guilt, defined in the broadest sense as regret for past mistakes or deficiencies, constitutes a foundational concept with which to account for how Korean society now engages with these once-foreclosed domains of colonial memories. Domains of colonial memory, such as national archives, museums, film and other media, as well as scholarly and popular discourses, erect a structure of guilt to bring to light tensions between the past and the present, especially in terms of historical crosscurrents that run between the colonial past and the contemporary horizon. I argue that cinematic representations of the colonial era, particularly through reimagining the vanished past on the screen, introduce climactic scenes that disclose the structure of guilt that operates in colonial remembrance-a term that refers not only to a collective sentimentality entangled with residual colonial debts but also to a retroactive temporality in Koreans{\textquoteright} anxious search of the past in the form of retribution that would correct the mistakes or deficiencies, discharging the guilt. Reflecting Walter Benjamin{\textquoteright}s and Werner Hamacher{\textquoteright}s readings of history writing through the morally charged term "guilt," this project stresses the ethical rationale embedded in colonial remembrance in contemporary Korean society.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Kang, Kyoung-Lae} } @mastersthesis {11841, title = {Hollywood{\textquoteright}s {\textquoteright}Commercial Moments{\textquoteright}: Seeing Difference in the Postwar Era}, year = {2014}, school = {Rochester}, abstract = {Commercial Moments: Cinema, Capital, and the Formation of Postwar American Identity examines the ways in which Hollywood films from roughly 1945-1960 adopted the visual and affective rhetoric of postwar commercial culture. I argue that, predating product placement and independent of narrative function, these "commercial moments" reflected the period{\textquoteright}s reevaluation of collective and individual identity. For postwar audiences, advertising language referenced the extra-diegetic formation of identity politics, recalling class-driven labor disputes and consumption-based political acts such as boycotts and sit-ins. At the same time, it also alluded to Madison Avenue{\textquoteright}s segmentation of the mass market into age-based categories (such as children and teenagers) and thus a growing awareness of the distinct phases of human development. Through films such as Niagara, Pillow Talk, and Destination Moon, I argue that commercial moments broadened Hollywood{\textquoteright}s classical projection of mainstream identity, forcing popular film to acknowledge difference within its once-homogenizing representation of the ideal "self"-both national and personal. This project looks beyond product placement in order to focus on the cultural connotations of both the visual language and the material commodities that commercial moments cite. Since I suggest that the commercial moment represents a particular postwar visuality (and thus the social, material, and historical elements that comprise this era{\textquoteright}s "way of seeing"), I have organized the dissertation around the various directions in which postwar Americans trained their sight; four fields of vision that came to signify the politics of collective selfhood while providing a mirror to the newly distinguished stages of human development. Chapter 1, "Looking In," situates the cinematic appropriation of commercial rhetoric in relation to growing popular focus on one{\textquoteright}s mind and body; Chapter 2, "Looking Back," explores how commercial moments{\textquoteright} infantilization of grown men provided a template for postwar Americans to re-imagine collective history; Chapter 3, "Looking Forward," addresses the commercialized representation of teenagers and the ways in which a new emphasis on adolescence served as a metaphor for imminent social change; Chapter 4, "Looking Beyond," examines how the commercial moment{\textquoteright}s articulation of old age lent form to the era{\textquoteright}s fear of an unknowable future.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Burditt, Rebecca} } @mastersthesis {11904, title = {The Iconography of the Athenian Hero in Late Archaic Vase Painting}, year = {2014}, school = {Virginia}, abstract = {This study questions how Athenian vase-painters represented heroic figures during the late sixth and early fifth centuries B.C. - specifically from the death of Peisistratos in 528 B.C. to the return of Theseus{\textquoteright} bones to Athens in 475/4 B.C. The study focuses on three specific Attic cult heroes with a strong presence both in the Greek world and on Athenian vases: Herakles, Theseus, and Ajax. Although individual studies have been published regarding various aspects of these three heroes, such as subject matter, cult worship, literary presence, and social history, the current one departs from them by categorizing, comparing, and contrasting the different portrayals of the three chosen heroes. Using Athenian vases as the primary form of evidence, the current study endeavors to uncover how individual iconography can - or cannot - identify the heroic figure. By using an iconographic approach of looking at attributes, dress, gestures, poses, and composition, a more complete picture of the image of the hero may be understood. Evidence of both the cult of, and importance of, the Athenian hero is stressed both in ancient texts and through archaeological evidence, thus supplemental material is taken into consideration. Illustrations of Greek heroes can be found on a variety of vase shapes of various techniques, and the accompanying catalogue includes almost 300 examples. The first chapter introduces the concept of the hero in ancient Athens. The subsequent chapters are organized by the hero examined (e.g., Herakles, Theseus, Ajax) and the final chapter is devoted to combinations and juxtapositions of heroic subjects. Based upon the evidence, there appears to be no correlation between the general iconography of all heroic figures; yet the evidence does support the conclusion for certain similarities between the iconography among individual heroes, or natural pairings and groupings of heroes, whether by means of poses, attributes, or even composition. In addition, the evidence points to a similarity in representation between heroic figures and general depictions of athletes and warriors on vases. As a result of this iconographical conclusion, along with the combined and juxtaposed compositions of heroic subjects on a single vase, one can argue that these three heroes were presented in a manner that alluded to everyday life of the active citizen.}, keywords = {Greek/Roman Art}, author = {Bartlett, Elizabeth} } @mastersthesis {11919, title = {Illuminating Discourse: The Role of Pictorial Narrative in Classical Japan}, year = {2014}, school = {UC Berkeley}, abstract = {No record in ProQuest and UC Berkeley ETDs restricted}, keywords = {Japanese/Korean Art}, author = {Kersey, Kristopher} } @mastersthesis {11875, title = {The Image of the World in Thirteenth-Century Rome}, year = {2014}, school = {Princeton}, abstract = {This dissertation reconsiders the relationship between art and knowledge in thirteenth-century Italy. It examines two encyclopedic fresco cycles: the crypt of the cathedral of Anagni (ca. 1235-50) and the newly recovered wall paintings in Santi Quattro Coronati in Rome (ca. 1245-50). Both murals were painted by the same anonymous painters and both painted spaces served as gathering halls for members of the papal court. Yet, the most striking common feature of the two fresco cycles was their encyclopedic ambition, that is, their effort to pictorially represent all fields of available knowledge in a comprehensive and systematic way. The two pictorial programs-so this dissertation argues-introduced a new category of painting in late medieval Italy, the aims of which are captured in the period{\textquoteright}s term for encyclopedia, imago mundi, or image of the world. The chapters of this study develop this argument through close visual analyses of the imagery in the Anagni crypt and the cardinal{\textquoteright}s residence of Santi Quattro Coronati. These analyses explore the ways in which the two monuments engaged with the period{\textquoteright}s innovations in science and technology and the ongoing translation and dissemination of Greek and Arabic knowledge. The unknown mural painters working in Anagni and Rome could integrate newly acquired knowledge into a revised image of the world, and through various pictorial means, such as the use of color and framing, could create the effect of a unified whole. In this process, and for the first time in the history of medieval art, complex diagrams and other scientific imagery were transposed from the realm of manuscript illumination to that of monumental wall painting. Significantly, this artistic development emerged in the cultural context of the thirteenth- century papacy. Previous scholarship has assumed that artistic innovation in medieval Rome was stifled by the conservative attitudes of popes and cardinals, who remained content to repaint their basilicas with images of saints and biblical stories. This study overturns such previously held assumptions by foregrounding the pivotal role Roman artists and their curial sponsors played in creating a new painting of knowledge.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Hauknes, Marius} } @mastersthesis {11845, title = {Images of Reality/Ideals of Democracy: Contemporary Korean Art, 1980s-2000s}, year = {2014}, school = {Rochester}, abstract = {This dissertation concerns the shifting notion of what I call "democratic aesthetics" in South Korea from the 1980s-a decade when the country{\textquoteright}s pro-democracy social movement called "minjung undong " (lit. "people{\textquoteright}s movement") provided a political stage of postcolonial, anti-statist, and anti-authoritarian dissent until its nation-wide spread effectively forced the dictator to step down by 1987. The heroic participation of artists as a propaganda unit during this successful march towards democracy in the 1980s is well noted in the country{\textquoteright}s political history. Yet the history of art has yet to consider the exhibition values as well as the formal and aesthetic implications of the political art of this period-which, by 1985, obtained the moniker "minjung misul" (lit. "people{\textquoteright}s art"). This dissertation begins by addressing this lack, and furthermore it asks the question about political art after the institution of parliamentary democracy. In other words, what happened to art when the political struggle was over? In the 1990s and the 2000s, how did South Korean artists constantly reactivate their political engagement with the shifting realities in the age of globalization and neoliberal urban development, as well as democracy? This inquiry has led me to concentrate on four specific moments of "democratic aesthetics": the conceptualization of dissident reality by artist groups Reality and Utterance and Gwangju Freedom Artist Association in the early 1980s; Choi Jeong-hwa{\textquoteright}s postcolonial mimesis of vernacular and commercial urban landscape in the late 1980s to the 1990s; art collectives Sungnam Project and FlyingCity{\textquoteright}s pursuit of publicness in neoliberal urbanization in the late 1990s to the early 2000s; and the democratic understanding of division with North Korea in the art of Oh Yoon, Sin Hak-chul, and Seung Woo Back from the 1980s to mid-2000s. Establishing a genealogy of Korean contemporary art within the concurrent workings of political democratization and cultural globalization, this dissertation ultimately constitutes an epistemological inquiry into three implicated terms: "Korean (hankuk)"; "contemporary (hyo{\`A}{\'a}ndae )"; "art (misul)." As a visual and cultural studies inquiry into the history of political aesthetics in South Korea, a country still reconciling with its (post-)colonial dilemma and an antagonistic relationship with the "other" Korea in the North, this dissertation seeks to contribute to, and complicate, how art history has thus far envisioned the 20th-century history of political avant-garde art.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Lee, Sohl} } @mastersthesis {11744, title = {Imagined Communities: Race, Gender, and the Architecture of Public Housing in America, 1933-1974}, year = {2014}, school = {Yale}, abstract = {This dissertation examines the architecture of public housing design in the United States from its inception under the Public Works Administration (PWA) in 1933 through passage of the Housing and Community Development Act in 1974, which expanded federal and local housing authorities{\textquoteright} abilities to provide vouchers and other types of financial assistance for use in the private housing market, marking the end of the short period in which public housing was the government{\textquoteright}s primary means of providing housing assistance to the poor. It argues that during this time, conceptions of race and gender were central to public housing design, shaping many of the projects{\textquoteright} unit and building plans, facade designs and surrounding open space design as architects and landscape architects commissioned to design public housing during this time increasingly turned to contemporary sociological accounts of American race and poverty to inform their project designs. This thesis seeks to correct the dominant narrative within architectural history that has seen public housing in the U.S. as an iteration of International Style modernism, and to widen the scope of urban and political histories of the public housing program which treat public housing projects as backdrops, with little attention to the ways in which space was deployed to achieve specific social ends. Chapter One examines the building program of the PWA in the years 19331937, arguing that the first corpus of public housing projects to be built were conceived as women{\textquoteright}s space that were intended to elide contemporary gendered and racialized notions of urban poverty, showing that from the program{\textquoteright}s inception, public housing was conceived as an architecture of alterity. Chapter Two pinpoints the emergence of a new "imagined community" of public housing tenants in the 1950s that was defined by race and ethnicity just as federal public housing projects were forcibly desegregated by the Supreme Court; in particular, it examines three projects in California, all built for different ethnic groups that sought to represent aspects of these groups{\textquoteright} cultural identities and includes a fresh reading of Richard Neutra{\textquoteright}s Elysian Park Heights (1952) project in Los Angeles, contextualizing it in contemporary ethnic politics. Chapter Three traces the integration of public housing in postwar New York City into public officials{\textquoteright} capitalist urbanization strategies, and within this context examines the design of several parks, plazas and playgrounds in public housing projects in Harlem, East Harlem and the Lower East Side in the 1960s that were designed to address contemporary social problems in the racial and ethnic ghettos, with special attention to the work of the landscape architect M. Paul Friedberg. In Chapter Four, I discuss Bertrand Goldberg{\textquoteright}s Hilliard Homes (1966) within the context of Chicago{\textquoteright}s racial geography and contemporary sociological accounts of African-American poverty and modern family structures, concluding with a brief examination of Stanley Tigerman{\textquoteright}s Woodlawn Gardens (1969), which provided an alternative model of African-American architecture in the Black Belt. Relying upon research conducted in a number of different archives, author interviews with many of the architects and landscape architects discussed and prodigious research into the primary materials associated with the public housing program, the dissertation presents a nuanced picture of public housing architecture within its social and political context, arguing for the central role of race and gender in shaping these projects and also the significance of public housing architecture within the scheme of the history of American architecture as a prime site of negotiation and struggle over racial and gender identity in the 20 century.}, keywords = {Architectural History/Historic Preservation}, author = {Brown, Marisa Angell} } @mastersthesis {11970, title = {Imaging the Dalai Lama: Incarnations in Art and Practice}, year = {2014}, school = {Ohio State}, abstract = {No record in ProQuest or Ohio State ETDs}, keywords = {World Art}, author = {Getzelman, Sarah} } @mastersthesis {11932, title = {An Insistent Subject: The Countess de Castiglione Facing the Lens}, year = {2014}, school = {Michigan}, abstract = {An Italian aristocrat renowned for her spectacular beauty, the Countess de Castiglione (1837-1899) arrived in Paris in 1855 and became a short-lived star in Napoleon III{\textquoteright}s fete imperiale. For a considerably longer period, between 1856 and 1895, she staged more than four hundred portraits of herself in collaboration with the commercial photographer Pierre-Louis Pierson (1822-1913), creating an elaborate and anomalous corpus in the context of the history of photography. This dissertation examines how at the hands of Castiglione photography became a productive means for the figuring of the feminine subject in nineteenth-century France. The study argues that Castiglione{\textquoteright}s consistent and considered relationship with the medium of photography has much to offer in terms of expanding our understanding of how photography provided particular inroads for women{\textquoteright}s authorship and agency in the period. The medium of photography and the early photographic portrait have been understood to objectify photographic sitters and Castiglione{\textquoteright}s corpus has historically been interpreted to represent vivid proof of this process. Rather than focusing on the objectifying function of the camera, it is suggested that photography{\textquoteright}s status as an autogenic medium -one in which the subject inscribes itself in the image -provides a compelling metaphor for Castiglione{\textquoteright}s creative practice. By attending to a series of significant trials involving Pierson{\textquoteright}s firm that sought to define photography as art under French law, this study analyzes how photography{\textquoteright}s indeterminate status as an art or an industry enabled Castiglione to mobilize the medium for her own ends. As a subject who figured prominently in the popular press, Castiglione employed photography as an autobiographical means through which to formulate counter-narratives about herself. While the corpus is usually described as a private collection of images that she compulsively created to satisfy her narcissistic desires, three series of costume portraits that had important public purchase are examined. This dissertation proposes a correspondence between Castiglione{\textquoteright}s photographic practice and memoir culture in Second Empire France (1852-1870). It argues that Castiglione{\textquoteright}s photographic strategies and practices bear witness to an artistic agency and urgency for self-expression that reconfigure our understanding of female subjectivity in the context of nineteenth-century French photography.}, keywords = {Nineteenth-Century Art}, author = {Johnson, Monique L.} } @mastersthesis {11963, title = {The Integration of Showmanship into Modern Art: Dali, Picasso, Georges Mathieu, and Yves Klein, 1945-1962}, year = {2014}, school = {IFA/NYU}, abstract = {This dissertation plots the integration of showmanship into modern art during the long 1950s, introducing this development as both a unique historical phenomenon of inherent interest and a turning point, during which the showmanship of earlier artists like Alexander Calder is recognized as art and to which the showmanship of contemporary artists like Jeff Koons return. Showmanship became essential and ultimately convincingly avant-garde in postwar France, where it was met with more enthusiasm and less hostility than in the United States. Whereas American avant-garde artists were becoming depoliticized and would thus be instrumentalized in Cold-War cultural propaganda, the European artists studied in this dissertation were repoliticized around the same time, deliberately seeking to use showmanship to influence society and politics in the context of the Cold War. The explosion of mass media, the pressure on fine art to become a performing art, and the expiration of nineteenth-century modes of popular cultural entertainment were common to both the French and American immediate postwar contexts. Indeed, the adaptability of large-scale gestural painting to dramatic presentation for the camera can in part account for this French and American period style{\textquoteright}s timeliness and success. However, only in France, where there was no categorical opposition between modern art and popular culture and where there were deep traditions of political engagement in painting, did modern artists turn to the newly vacated and thus available modes of popular cultural performance that had anyways long inspired their subject matter. Showmanship significantly constitutes an additional factor in the perceived shift of the art world from Paris to New York in this period. Not only was showmanship suppressed in New York, but, along with chauvinism, it arguably also had a hand in the loss of Picasso{\textquoteright}s prestige and in the rejections of Salvador Dali, Georges Mathieu and Yves Klein in New York. More recently, the Situationist concept of the spectacle has been invoked in order to dismiss such artists, for example, Mathieu, on whom there exists no doctoral dissertation. Reconsidering the Situationist spectacle as a later, related historical object, this work attempts to account for these artists{\textquoteright} joint developments, providing basic information, a detailed narrative and analyses of their work. It was through these artists{\textquoteright} collaboration and competition that showmanship entered modern art. In their hands, it had rich and specific social and political content and meaning.}, keywords = {Twentieth-Century Art}, author = {Perl, Annmarie} } @mastersthesis {11807, title = {Interactive Art and the Action of Behavioral Aesthetics in Embodied Philosophy}, year = {2014}, school = {IDSVA}, abstract = {A new language to discuss and critique interactive artwork is emerging from the intersections of cybernetics, neuroscience, and embodied philosophy. This language includes both biological materialism and posthuman developments as part of an evolutionary trend in aesthetics. Interactive aesthetics has emerged from the historical discourse of a phenomenally situated subject. Adding a neuroscientific lens to our understanding of embodiment brings into further focus some of the detailed ways in which we deploy choices in our actions. This project challenges the traditional notion of neuroaesthetics as a reductionist methodology. As an alternative, neuroscientific findings can provide ways in which to understand the brain as a series of patterns of activity that provide introspection for full-body actions within the larger world. Using the frame of behavioral aesthetics, this project offers a critique that argues interactivity as a common language for the post-biological object to have voice approximate to that of the biological subject. This multidisciplinary investigation explores the ways in which interactive artworks are reinventing a place in contemporary practice that focuses our attention on how experience creates aesthetic purpose. Embodied aesthetics deploys the phenomenological affirmation that we are always present in thought and perception. We load cognitive work onto the environment and the environment offers us fresh stimuli. The environment is very much a part of a cognitive system and is able to impact the configuration of our cognitive function, often in unpredictable ways. Cognition is body-based and works in a distributed way across all systems to employ -to urge from the environment -an empathetic participation. A study of interactive artworks brings attention to this act of creative inhabitance.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Hall, Jennifer} } @mastersthesis {11946, title = {An Interconnected World?: Evidence of Interaction in the Arts of Epiclassic Cacaxtla and Xochicalco, Mexico}, year = {2014}, school = {Columbia}, abstract = {The Epiclassic period (AD 650-900), a time of major political and artistic changes, saw the rise of independent polities throughout Mesoamerica that sought to take advantage of the decline of Teotihuacan and to express their newly formed identities through public monuments of a highly eclectic nature, stemming from the extensive interaction of distant regions. Two of these centers in Central Mexico, Cacaxtla and Xochicalco, developed distinctive art styles expressed primarily in single media categories that prominently deploy elements from the Maya style, known from the faraway tropical lowlands, today southern Mexico, Guatemala, and Honduras. To date most art historical studies have focused on the analysis of Cacaxtla murals and Xochicalco sculpture, while often relying on sixteenth-century historical documents to interpret developments at these centers. Other media categories-elite sumptuary or ritual goods (greenstone masks, figurines, and pendant plaques; tecali vessels; obsidian eccentrics; worked and unworked shell; ceramic effigy vessels) and utilitarian trade goods (ceramics, obsidian)-can also shed light on Cacaxtla{\textquoteright}s and Xochicalco{\textquoteright}s distant contacts, while also revealing contextual patterns that suggest different agendas in forging distinctive identities in monumental artworks. References to Teotihuacan and Maya monuments, and to a lesser extent those from Oaxaca and Veracruz, suggest different strategies were employed in the discourse of identity formation at these two centers.}, keywords = {Pre-Columbian Art}, author = {Nagao, Debra} } @mastersthesis {11819, title = {An International Firebrand: Germano Celant{\textquoteright}s Role as Radical Critic, Innovative Curator, and Contemporary Art Historian}, year = {2014}, school = {University of Washington}, abstract = {Within the field of contemporary Western art history, the careers and influence of professional art critics have attracted serious scholarly attention. The work of critics whose activities encompass an international range of artists and exhibitions, however, has rarely been examined. This dissertation provides for the first time an overview of one such person in the career of Italian art critic, historian and curator Germano Celant (1940- ), now recognized as one of the most influential interpreters of the late twentieth-century avant-garde and someone whose work aided in transforming the narrative of contemporary art history. This study provides a detailed discussion of Celant{\textquoteright}s biography, the range of his contributions to the contemporary art world, and a historiography of his writings on "Arte Povera", a term Celant coined to characterize the most influential group of contemporary Italian avant-garde artists. Among Celant{\textquoteright}s initial goals in identifying this group of Italian artists was to distinguish the unique artistic research occurring in Italy from the work of American Minimalist artists who were seen by many U.S. and European critics as leaders of the avant-garde in the 1960s. In his writings and curation of exhibitions, Celant not only foregrounded the achievements of Italian and European contemporary artists, but also sought to illustrate congruencies among artists working on both sides of the Atlantic. This dissertation analyzes Celant{\textquoteright}s efforts over the last fifty years to encourage a strong international dialogue among artists, curators, art critics and other important figures guiding major institutions. Celant has accomplished this objective in large part through his role as the Senior Curator of Contemporary Art at the Solomon R. Guggenheim Museum in New York from 1989 to 2008 and currently as the Artistic Director at the Prada Foundation in Milan. Celant has furthered the careers of many influential artists who might otherwise have been overlooked because their work engages issues such as gender and identity, feminism, institutional critiques, and consumerism, and who moreover did not achieve commercial success. He has also helped to revolutionize the manner in which many contemporary exhibitions are created by rethinking the important dynamic relationship that occurs between the art object and the environment in which it is shown. Recently he has become a leader in the theory and practice of re-staging influential twentieth-century exhibitions. Because of his revolutionary approach in both his art historical writings and his curatorial practices, Celant is both controversial and broadly influential. This dissertation will review these controversies as well as his acknowledged successes in order to elucidate Celant{\textquoteright}s range of contributions to the fields of art history, criticism and curation.}, keywords = {Contemporary Art, World Art}, author = {Auz, Lucienne Dorrance} } @mastersthesis {11920, title = {Interregional Reception and Invention in Korean and Japanese Ceramics, 1400-1800}, year = {2014}, school = {Columbia}, abstract = {One of the most stimulating issues in East Asian art history is the influence and reception of art and culture. My dissertation presents a case study of ceramic production and consumption between 1400-1800, in which Korea is a source for new art, and Japan is not only a recipient but an active transformer and innovator. The dissertation focuses on the following three themes: 1) ceramic production in Korea ca. 1400-1600, especially the unique buncheong ware; 2) the reception and consumption in Japan of buncheong and other non-porcelain ceramics produced in Korea ca. 1500-1700, some of which were made specifically for Japanese consumers; 3) the production of Korean-inspired stoneware in Japan, particularly in northern Kyushu, ca. 1600-1800.}, keywords = {Japanese/Korean Art}, author = {Lee, Soyoung} } @mastersthesis {11730, title = {Inventing Architectural Identity: The Institutional Architecture of James Renwick, Jr., 1818-95}, year = {2014}, school = {Virginia}, abstract = {James Renwick, Jr. (1818-95) ranks among the most influential architects in the history of American architecture. Throughout his proficient career, Renwick designed some of the most recognizable urban monuments and complexes while exhibiting great fluency in historical modes and modern methods of design. The architect{\textquoteright}s work, indeed, established lasting models of various building types and institutions, which directed how contemporaries viewed certain institutional spaces through their enduring designs. Renwick{\textquoteright}s overall corpus embodies the architectural mosaic of late-nineteenth-century America, especially through its embrace of the period{\textquoteright}s most fundamental cultural and societal developments. The myriad of building types in which Renwick showed proficiency in design, moreover, enhances even further his overall contribution to the urban landscape of his time. This dissertation shows how Renwick gave architectural image to a number of unprecedented building types in America, which still emerge as foundational models for historical conception and modern design. Following a chapter that offers a survey of Renwick{\textquoteright}s career, including discussion of his upbringing and education, the study examines a selection of the architect{\textquoteright}s institutional design. First, it deals with St. Patrick{\textquoteright}s Cathedral and its role as an icon of Catholicism in the United States. Next, this study analyses Renwick{\textquoteright}s museum designs, which include the Smithsonian Institution and Corcoran Gallery of Art in Washington, D.C., whose unique architecture embodies the concept of cultural control within the museum setting. Lastly, Renwick{\textquoteright}s health-care buildings on Blackwell{\textquoteright}s Island, New York City will be discussed as major contributions to the fledgling practices of medicine and reform in nineteenth-century America. This dissertation presents the first major study on James Renwick, Jr., whose prolific career will emerge not only as representative of contemporary trends, but also as foundational to the formation of the architectural legacies of numerous institutions that play a major role in the social, religious, and cultural climate of nineteenth-century America.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Genau, Nicholas} } @mastersthesis {11857, title = {Inventors and Manipulators: Photography as Intellectual Property in Nineteenth-Century New York}, year = {2014}, school = {Brown}, abstract = {Ownership of photographic depictions was as contentious in the nineteenth century as it is today. In 1852, a photography journal queried: "Why is it that Americans do not add to their reputation as inventors as well as manipulators in the art?" But in the United States over the latter half of the century, manipulation gradually came to be reframed as invention. This dissertation considers individual and institutional efforts to manage the development and circulation of photographs and photographic ideas in the United States between 1839 and 1884, and contends that American legal conditions both influenced and were influenced by photographic conceptions to a degree not previously acknowledged. Historians tend to describe photographic innovations as motivated by a drive for reproducibility, but in the United States legal developments contributed to efforts to curtail photographic reproduction. This project attends to early reluctance to adopt techniques of photographic replication as well as ownership claims that sought to restrict duplication of chemical and formal compositions. Looking to New York portrait studios and publications as an important nexus for studying American practices, I argue that deeper understanding of the business of photography offers greater insight into its visual forms. The first chapter examines why negative-positive photography was unable to find commercial footing in New York despite its popularity in Europe, arguing that the city{\textquoteright}s culture of counterfeiting made photographic reproducibility suspect. The second chapter explores how changing patent regulations impacted perceptions of photographic invention, and redefined photographic ideas as individual intellectual property rather than shared experimental activity. The third chapter studies how the production and circulation of photographic portraits complicated attempts at copyright regulation. Painted backdrops and elaborate poses were increasingly used to secure legal and commercial protections, developments detailed in the fourth chapter. The epilogue demonstrates the extent to which photographic portraiture and legal debates continue to be mutually informed. Nineteenth-century precedents established the real and rhetorical manipulations that remain crucial in efforts to stake claim to photographic portraits and processes.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Harris, Mazie M.} } @mastersthesis {11806, title = {Invisible Men: The Risks and Pleasures of Self-Portrayal in the Work of Contemporary American Male Artists}, year = {2014}, school = {Minnesota}, abstract = {This dissertation examines the rare phenomenon of self-portrayal in the work of contemporary American male artists. The feminist art movement of the 1970s provided the aegis for many women artists to challenge the gendered dichotomy of artist/subject via the strategic deployment of their own bodies as artistic subjects. Yet remarkably little study has been dedicated to the question of why male artists so rarely make their own, allegedly privileged bodies the subjects of their work. I propose that the shifting definitions of masculinity in postwar America have in fact produced a stringently regulated economy of images of the male body. In four case studies of four contemporary American male artists (Kenneth Anger, Ron Athey, Robert Mapplethorpe, and Glenn Ligon), I employ visual analysis and comparative readings of juridical rulings and institutional policies that dictate the state of the body in contemporary American art.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Deland, Lauren} } @mastersthesis {11882, title = {Isabel of Castile, Flemish Aesthetics, and Identity Construction in the Works of Juan de Flandes}, year = {2014}, school = {UT Austin}, abstract = {This dissertation explores how Isabel of Castile employed Flemish visual forms in the cultivation of both royal and personal identity through an analysis of the paintings created by the Flemish artist Juan de Flandes (active 1496-1519) during his career in Spain. Isabel{\textquoteright}s importation of a Northern European court artist to work within a Castilian milieu popularized a hybridized Hispano-Flemish visual style that concurrently facilitated the combined impressions of international sophistication and localized Iberian identity. During his career at the Castilian court, Juan de Flandes created paintings that oscillated between the visual styles, compositional devices, and iconographies of his Flemish training and those of his adopted artistic environment. One is unable to organize his oeuvre into a teleological narrative, where early works conform to Netherlandish standards which then organically incorporate an increasing number of local Spanish idioms resulting in "late" pieces that more fully display Iberian aesthetics. This problematizes the interpretation of formal qualities in sixteenth-century painting as passive indicators of regional schools, individual artistic hands, and broad cultural phenomena. By interpreting the paintings of Juan de Flandes within the context of Isabel{\textquoteright}s self-fashioning as queen of Castile, I argue that aesthetics can also be understood as a facet of production that can be negotiated during the commission process and can communicate socio-political ideologies. Therefore, Isabel{\textquoteright}s aesthetics as expressed in the works of Juan de Flandes what might be termed a proto-nationalistic awareness of a specifically "Castilian" visual identity, the manipulation of which coincides with her broader aims as ruler.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Weiss, Jessica} } @mastersthesis {11894, title = {Italian Frescoes in German Baroque Palaces: Visual Culture and Princely Power in the Holy Roman Empire}, year = {2014}, school = {UIUC}, abstract = {Beginning in Central Europe in the 1690s and spreading to the German principalities of the Holy Roman Empire by 1700, large-scale Italian ceiling paintings soared in popularity as nobles of all ranks competed with one another to produce ever more lavish decorative schemes that expressed their claim to princely power and political authority. This dissertation explores this phenomenon by focusing on several fresco cycles (1710-1753) created for the baroque palaces of Bensberg, Schleissheim, Ludwigsburg, and Wurzburg. The residences under consideration contain paintings by Antonio Bellucci (1654-1726), Giovanni Antonio Pellegrini (1675-1741), Domenico Zanetti (active 1694-1712), Jacopo Amigoni (1682-1752), Carlo Innocenzo Carlone (1686-1775), and Giovanni Battista Tiepolo (1696-1770). My dissertation examines these images not as isolated commissions but as an interrelated group of works whose themes define a new type of visual and princely culture in the Empire. Whereas previous art historians have focused primarily on iconographic issues and the paintings{\textquoteright} political meanings, I locate the works of art within their broader cultural and historical context. This thesis focuses on three of the most crucial themes in the frescoes: martial prowess; cultural patronage; and Europe in a global setting. I relate these themes to the changing conditions and attitudes of the Imperial aristocracy, explaining why rulers shifted from emphasizing military heroism to stressing their cultivation of the arts and sciences, and why expressing membership in a specifically European civilization emerged as an integral visual theme and a key ambition of the Imperial nobility.}, keywords = {Eighteenth-Century Art}, author = {Fulco, Daniel} } @mastersthesis {11867, title = {Italians and the New Byzantium: Lombard and Venetian Architects in Muscovy, 1472-1539}, year = {2014}, school = {CUNY}, abstract = {This dissertation explores how early modern Russian identity was shaped by the built environment and, likewise, how the built environment was a result of an emerging Russian identity. I focus on the years 1472 to 1539 because they were crucial to the formation of this early modern Russian identity. Muscovite princes, seeking to rebuild Moscow{\textquoteright}s cityscape in a grander style, imported a large community of architects, engineers, stonemasons, and statesmen from Lombardy, the Veneto, and Rome. At least six architects, and an unknown number of masons, from Italy worked in Muscovy during these years, and their presence indelibly changed the face of Russian architecture and culture. The Muscovite princes sought to recreate the cityscape of Moscow as a symbol of the power gained when Ivan III freed his people from Mongol control and began consolidating Russian lands into an emerging, unified state. Furthermore, with the collapse of the Byzantine Empire in 1453, Muscovy declared itself capital of Orthodox Christendom, casting its authority across the Russian lands. Accordingly on the ascent, Muscovy actively sought to define its emerging sense of national identity in a new architectural language; it deliberately looked to the traditions of Medieval and Renaissance Italy to assist in this process. The resulting hybrid architecture was a combination of the revered architectural traditions of medieval Kiev and Novgorod with the Western Renaissance, all overlaid with a fervent Byzantine theological persuasion. Thus, Muscovy{\textquoteright}s use of foreign architects is emphatically not indicative of a deference to a "superior" West or of a desire to become or appear Western, as some older scholarship implies. Instead, it reveals the ingenuity of a culture on the verge of statehood, one that seems to have understood that artistic forms could be transferred and "repurposed."}, keywords = {Early Christian/Byzantine Art, Renaissance/Baroque Art}, author = {Hurst, Ellen} } @mastersthesis {11876, title = {Jean Bourdichon (1457-1521): Tradition, Transition, Renewal}, year = {2014}, school = {IFA/NYU}, abstract = {This dissertation provides a comprehensive and methodologically diverse reassessment of the French court painter and illuminator Jean Bourdichon (1457-1521), revealing his role as a primary engineer of Valois self-representation and visual projection. Through a chronological presentation of extensive basic research, Bourdichon{\textquoteright}s career is reconstructed at a microhistorical level, with a degree of detail and precision hitherto unthinkable for a French artist of the period. Though he had long been neglected by scholars or else understood on superficial or even derogatory terms, this study reaffirms the privileged position Bourdichon enjoyed as a lifelong peintre du roy, a familiar of four successive French monarchs and a favorite of countless prelates, princes, and high court officials. Along with a rigorous investigation of attributed works and published archival documents, this study uncovers substantial new and previously-ignored documentary evidence, and proposes important new attributions that contribute to a rich, contextualized account of the painter{\textquoteright}s role during four crucial decades of French history. Due to his long presence at court, Bourdichon{\textquoteright}s work, which included manuscript illumination and panel painting as well as polychromy, cartography, coinage design, funeral effigies, furniture painting, ceremonial ephemera, and death masks, is revealed as a lens through which wider transformations in French political and artistic culture can be assessed. In his closeness to royal power and in the longevity of his employ, Bourdichon can be compared to the elite group of contemporary authors, poets, and chroniclers alongside whom he served. A deeper knowledge of the painter{\textquoteright}s precise interactions with patrons and other artistic figures, meanwhile, provides a framework for a better understanding of his predecessors, contemporaries, and successors.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Herman, Nicholas} } @mastersthesis {11966, title = {Just Add Water? Architecture and Humanitarianism, 1991-2011}, year = {2014}, school = {IFA/NYU}, abstract = {Histories of architectural modernism omit the humanitarian project and histories of modern humanitarianism exclude architecture, in spite of an exchange that has been central to each. The humanitarian field has viewed architecture only through the lens of functionalist emergency planning, while the discipline of architecture has equally misread the informality and ephemerality of humanitarian environments. In the former, this problem has stemmed from insensibility to its visual, spatial, and cultural impacts, and in the latter, from fetishization of the technical and cultural matter of high-tech innovation, avant-gardism, and monumentality. By critiquing modes of seeing, the dissertation seeks to denaturalize architecture and archives, and recuperate a counter-history of institutional and informal discourses, practices, politics, and cultures shared between architecture and humanitarianism from the Cold War era to the present. It draws from artifacts in Somali camps and Museum of Modern Art exhibitions, documents in emergency zones, and oral histories taken with dozens of refugees, humanitarians, and architects. It recovers a twenty-year architectural history of a site obscured from maps, the Dadaab complex in Kenya, a significant duty station for humanitarians and architects known commonly as "the world{\textquoteright}s largest refugee camp." It locates modern architecture culture{\textquoteright}s humanitarian gaze within a history of its postcolonial concerns with development, disaster, and tropical climate, juxtaposing disciplinary discourses and practices against an originary politics that has mobilized architecture{\textquoteright}s legitimating status. Through microhistories of artifacts that constitute an ever-globalizing humanitarian space, it analyzes aesthetics, technopolitics, and the commodification of aid. The dissertation counters presumptions that camps merely follow the fulfillment of a technical aim, like the establishment of a water source. Instead it exposes urbanity, enterprise, industrial activity, and monumental aspiration, interrogating a long history of architecture{\textquoteright}s relation to sovereignty and human rights, as well as humanitarianism{\textquoteright}s cultural claims.}, keywords = {Twentieth-Century Art}, author = {Siddiqi, Anooradha Iyer} } @mastersthesis {11949, title = {Krishna in His Myriad Forms: Narration, Translation, and Variation in Illustrated Manuscripts of the Latter Half of the Tenth Book of the Bhagavata Purana}, year = {2014}, school = {Columbia}, abstract = {This dissertation focuses on a seventeenth-century (so-called) Malwa manuscript that illustrates the story of Krishna, and the copy manuscripts that were produced after it. It explores how the story is transformed in its incarnations as the vernacular text inscribed on the manuscript, the cycle of illustrations depicting that text, and then the copies made from what appear to be the initial illustrations. The claim is that narrative variations which find their way into these different embodiments should almost never be considered "mistakes," even when an act of misunderstanding seems to be clearly implied. Rather they are moments when the artist{\textquoteright}s or author{\textquoteright}s engagement with contemporary sectarian concerns, literary trends, artistic strategies and popular culture is manifest. The first three chapters of the dissertation are devoted to an analysis of text, illustration and copy illustration respectively, while the fourth presents the broader context in which such Krishna manuscripts were circulating. The underlying objective is to re-evaluate the conventional narrative of North Indian illustrated manuscripts. This is cast as the teleology of court styles where political history is used to decide important and influential ateliers. Visually compelling and historically important illustrated manuscripts such as the ones I study, but whose patronizing court is undecided, are largely ignored. This dissertation showcases an alternative, interdisciplinary approach that undertakes thorough visual and textual analyses alongside an examination of the broader socio-religious trends that impacted artistic production. It advocates that every illustrated manuscript should be studied individually, rather than as just a member of a predetermined stylistic group.}, keywords = {South/Southeast Asian Art}, author = {Poddar, Neeraja} } @mastersthesis {11906, title = {Lapis Gabinus: The Quarries at Gabii and the Roman Tufo Industry}, year = {2014}, school = {Michigan}, abstract = {In this dissertation I consider the role which tufo quarries played in the economy of urban construction at Rome by analyzing, in detail, one such quarry just east of the city -that which produced lapis Gabinus, a building stone used widely at Rome in the first century BCE. The principal evidence for this analysis consists of the remains of quarry faces at Gabii, associated archaeological features, and the distribution of the stone in extant Roman monuments. Wherever possible, petrographic analyses were utilized to confirm the presence of lapis Gabinus, which has been misidentified in the past. I use this evidence to develop a picture of the scale, organization, and techniques of the production and transportation of lapis Gabinus blocks. In addition, I explore methods of quantifying the cost of stone quarrying, in terms of manpower, in order to assess the economic significance of the quarries more generally. I demonstrate that the use of lapis Gabinus was influenced by a number of factors, including the decline of the town of Gabii, Roman knowledge of the stone{\textquoteright}s physical characteristics, and the ease with which it could be transported by river to the capital. Moreover, processes of lapis Gabinus extraction and transportation played a large role in tying Rome to the countryside and highlight the intersection of stone quarrying with other industries in the wider economy. While most studies of Roman stone quarrying focus on imperial involvement and on marbles and other fine decorative stone, by reconstructing the processes of extraction and transportation for the lapis Gabinus quarries I provide insight into the everyday working of a production site which is more representative of stone extraction across the empire. At the same time, lapis Gabinus appears in some of the most significant Roman monuments of the first century BCE, and the organization of its production therefore has implications for Roman public architecture more generally. This approach exposes in greater detail the dynamics of the construction industry in the Late Republic and provides a unique lens with which to view the economic ties between Rome and its immediate hinterland.}, keywords = {Greek/Roman Art}, author = {Farr, Jason} } @mastersthesis {11748, title = {The Larz and Isabel Anderson House, Washington D.C., by Little \& Browne (1902-1905)}, year = {2014}, school = {Virginia Commonwealth}, abstract = {In 1902, Larz Anderson III, a Washington diplomat, and his wife, Isabel Weld Perkins Anderson, a Boston author, commissioned the Boston architects Arthur Little and Herbert W. C. Browne to design their winter residence in the District of Columbia. Completed in 1905, this Beaux-Arts mansion now serves as an historic house museum and as the national headquarters for the Society of the Cincinnati, a patriotic organization established by Revolutionary War officers in 1783. Larz Anderson was a member and a descendant of one of the founders of the Society. The fact that Anderson House was designated a national historic landmark in 1996 indicates that it is worthy of national recognition, yet the architectural and historical significance of this socially and politically important building has not been fully investigated. This dissertation examines the edifice by focusing on its patrons, families, architects, design, art collection, and mural paintings.}, keywords = {Architectural History/Historic Preservation}, author = {Cooper, Lynda} } @mastersthesis {11953, title = {Late Modern Industry: The Politics, Rhetoric, and Design of Industrialized Housing in France, 1954-1981}, year = {2014}, school = {Northwestern}, abstract = {This dissertation examines two episodes of French architectural production in the 1950s and the 1970s when leftist architects were enlisted by the government to reimagine the relationship between architectural form and industrialized production. Created under the mantle of reform following two tumultuous periods, the open competitions for the Ministere de la reconstruction et de l{\textquoteright}urbanisme{\textquoteright}s (MRU) design-build programs in the mid-1950s and the Plan Construction of 1970s were designed to revolutionize the construction industry while overhauling failed policies for urbanism and mass housing. In a shift away from earlier visions of the state architect as haut fonctionnaire, in the second half of the twentieth century, leftist architects such as Georges Candilis and Paul Chemetov entered into the technocratic system of production in the nebulous role of {\textquoteright}innovator{\textquoteright} to serve diverse, even antithetical political goals. Rather than leading to a new functionalism, this dissertation argues that the contradictory impulses embodied in these competitions-at once propaganda, marketing, and reform-opened onto a vast and unpredictable universe of post-WWII theories and mythologies that were deeply embedded in the politics of the welfare state, the legacy of French colonial urbanism, the Cold War race for technological dominance, and the artistic and political recriminations of postmodernism. The first chapter examines the modalities and impact of the little known proposal and realizations by the firm Candilis-Josic-Woods for the 1954 MRU competition Operation Million. The second chapter offers a new history surrounding the evenements of May 1968 in the architecture program at the Ecole des Beaux-Arts, highlighting the new Unite Pedagogique 1 and their radical commitment to a "pratique operationnelle" for modular construction. In the third chapter I provide a critical archaeology of the Plan Construction, focusing on the development of three architectural competitions-the PAN, REX, and Modeles Innovation-designed to function as a veritable laboratory for industrial housing design. The fourth chapter treats architect Paul Chemetov{\textquoteright}s work on industrialisation ouverte-an ultimately illusive form of open source prefabrication promoted by Plan Construction-which intersected with his politics as one of "derniers puritains" dedicated to the ethics and materialism of modern architecture into the 1970s.}, keywords = {Twentieth-Century Art}, author = {Fisher, Alison} } @mastersthesis {11854, title = {Lenygon \& Morant (ca. 1904-1943): {\textquoteright}Period Style,{\textquoteright} Interior Design, and the Transatlantic Market for English Antiques}, year = {2014}, school = {Bard Graduate Center}, abstract = {Lenygon \& Morant (c.1904-1943) is not a name well-known today outside the world of antique dealers and scholars of English furniture. In its heyday, however, the firm had a reputation as a "high-class" antique dealership and house of interior decorators with offices in London and New York.{\textquoteright} Through the collaboration of its founder, Francis Lenygon (1877-1943), and a series of managing directors, over the course of four decades Lenygon \& Morant sustained a position, in both Britain and the U.S.A., as a reputable company, with specialist expertise in English historic period styles, fine antiques, and quality reproductions. It catered to a class of clientele that included members of the British royal family, and peerage, as well as some of the wealthiest businessmen and industrialists of the era, and executed hundreds of interiors on both sides of the Atlantic. Despite Lenygon \& Morant{\textquoteright}s reputation during the interwar era as a leading firm of transatlantic dealers and decorators, most references to the firm{\textquoteright}s activities and commissions in scholarly publications are vague and often inaccurate. Taking a thematic approach, this dissertation seeks to correct existing fallacies in what is the first comprehensive examination of the company, from its founding in approximately 1904 to the death of its founder in 1943. Through a detailed study of its founder and of the background, training, and pursuits of its managing directors, I assess Lenygon \& Morant{\textquoteright}s status, during the years between 1904 and 1943, and analyze how the firm both created and maintained its reputation and market position. Studied in the wider context of the transatlantic antiques market, the field of interior decorating and the intersection of the two, I seek to detail the history of a transatlantic company, which was both a dealership and decorating firm, and its commissions. Utilizing the rich resource of the Francis Henry Lenygon and Jeannette Becker Lenygon Architectural Records and Papers (c.1910-1967), at the Drawings and Archives Department of the Avery Architectural and Fine Arts Library, Columbia University, in combination with existing interiors and objects, I illuminate Lenygon \& Morant{\textquoteright}s activities on both sides of the Atlantic. Interdisciplinary in nature, drawing upon existing scholarship in the fields of design and architectural history, material culture studies, business history, and the growing interest in the history of the antiques market, I hope that this detailed case study will contribute a further layer to our understanding of the taste for, and execution of, "period style" design in early twentieth-century Britain and the U.S.A. 1. James Roe to the Secretary of the Treasury, 3 February 1938, Office of Works and Successors: Official Residences, 10 Downing Street Works 1931-38, WORK 12/225, National Archive, Kew.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Dew, Eleanor} } @mastersthesis {11954, title = {Leo Castelli and the Market for American Contemporary Art}, year = {2014}, school = {IFA/NYU}, abstract = {Leo Castelli is widely credited as having a significant influence on in the development of postwar American art. In this dissertation I analyze Leo Castelli{\textquoteright}s practices that contributed to his success. I compiled a database of over 20,000 transactions harvested from the sales archives of galleries operating in the 1950s and 1960s. Using digital tools such as network visualization and maps, I show how Leo Castelli generated fame and fortune for Jasper Johns and Robert Rauschenberg through a novel, selective sales strategy. I discuss the historical context for Leo Castelli{\textquoteright}s practices as a dealer. I trace the development of art markets, starting with the first primary market for art in Antwerp in the late fifteenth century. I examine the roots of the rapid internationalization of this market and discuss the emergence of the entrepreneur art dealer. I describe the anomalous development of a primary market for avant-garde art in the United and the efforts of collectors, dealers, artists and institutions to make American culture more responsive to new art, efforts that came to fruition at the same time that Leo Castelli opened his gallery. Castelli was ideally situated to take advantage of this moment in the American primary market. Castelli{\textquoteright}s Jewish background, old-world European demeanor, and {\textquoteright}playboy{\textquoteright} lifestyle are found to have been major factors in his success, particularly his affinity with the Jewish community that was emerging as an important force in collecting avant-garde art. Reviewing the market conditions in postwar Europe, I show how Leo Castelli{\textquoteright}s success in Europe was more the result of the lack of interest of American dealers to enter the international market than Castelli{\textquoteright}s marketing skills. Using Castelli{\textquoteright}s practices as a model, along with the insights of anthropologists such as Arjun Appadurai and sociologists Bruno Latour and Pierre Bourdieu, I theorize that art works obtain value in the primary market through dealers{\textquoteright} carefully constructed biographies for these works (which include but are not limited to provenance).}, keywords = {Twentieth-Century Art}, author = {Hulst, Titia} } @mastersthesis {11849, title = {L{\textquoteright}histoire de l{\textquoteright}art mise en pieces. Analyse materielle, spatiale et temporelle de la period room comme dispositif museal}, year = {2014}, school = {Montreal}, abstract = {This dissertation studies the period room as exhibited in the art museum. Through an examination of its material, spatial, and temporal specificity, I analyze the mechanisms proper to this exhibition strategy and identify its main conditions of possibility. I study the several knowledges at play in this exhibition strategy and their interactions, as well as the period room{\textquoteright}s reciprocal contribution to the construction of these knowledges. In so doing, I establish the basis for an epistemology of the period room and argue for the period room{\textquoteright}s singular contribution to the elaboration and mediation of history within the museum space. This study allows me to lay down conceptual foundations for rethinking the period room{\textquoteright}s role for art historical practice, and thus to overcome the aporias of historicism and authenticity for which the period room is most often discredited. In the first part, I establish the period room{\textquoteright}s museographic typology. Through an analysis of its double status as pastiche and simulacrum, I consider the issues, especially ideological, related to the question of the period room{\textquoteright}s "authenticity." In addition, I elaborate one of this dissertation{\textquoteright}s theoretical premises by demonstrating that, because it consists of the articulation of powers and knowledges, the period room is an apparatus (dispositif) as understood by Michel Foucault (1977) and Giorgio Agamben (2007). In the second part, I examine the period room{\textquoteright}s material specificity by showing that it is simultaneously a gathering of objects and a "whole," that is to say, a museographic object in itself. I study the epistemological implications of this idea for the representation of history that the period room offers, while paying special attention to the political stakes informing this representation in the museum space. In the third part, I concentrate on the spatial and temporal particularities of this exhibition strategy. I demonstrate that, despite its seeming unity of place and time, the period room is composed of multiple spaces and concentrates various times. By drawing on its specificity, I develop new theoretical and methodological tools that contribute to the renewal of the period room{\textquoteright}s function for the shaping and transmitting of history.}, keywords = {Decorative Arts/Textiles/Design History, Eighteenth-Century Art}, author = {Marchand, Marie-Eve} } @mastersthesis {11763, title = {"Licit Magic": The Touch and Sight of Islamic Talismanic Scrolls}, year = {2014}, school = {Harvard}, abstract = {The following study traces the production and history of the talismanic scroll as a medium through a Fatimid, Ayyubid, and Mamluk historical periods. My dissertation understands the protocol of manufacturing and utilizing talismanic scrolls. The dissertation is a study of the Qur{\textquoteright}an, prayers and illustrations of these talismanic works. I begin by investigating a theory of the occult the medieval primary sources of the Neo-platonic tenth century Ikhwan al-Safa{\textquoteright} and al-Buni (d.1225). I establish that talismans are generally categorized as science ({\textquoteright}ilm). Next, a dynastic spotlight of talismanic scrolls creates a chronological framework for the dissertation. The Fatimid talismanic scrolls and the Ayyubid pilgrimage scrolls are both block-printed and are placed within the larger conceptual framework of pilgrimage and devotion. The two unpublished Mamluk scrolls from Dar Al-Athar Al-Islamiyyah are long beautiful handwritten scrolls that provide a perspective on how the occult is part of the daily life of the practitioner in the medieval Islamic culture. Through an in depth analysis of the written word and images, I establish that textually and visually there is a template for the creation of these sophisticated scrolls. Lastly, I discuss the efficacy of these scrolls, I use theories of linguistic anthropology and return to the Islamic primary sources to establish that there is a language of the occult and there are people that practiced the occult. The word of God and the Qur{\textquoteright}an empower the scrolls I studied. As for the people who practiced the occult, I turn to the tenth century Ibn al-Nadim and Ibn al-Khaldun (d.1406), the people of the occult are understood. Yet, keeping in mind, that there is always a tension with the theologians that condoned practices of Islamic magic. This study illuminates new perspectives on the study of the occult. It becomes apparent there is a conceptual relationship between the occult and devotion. The talismanic scroll and its contents recontextualizes ideas about piety, belief, and concerns for the medieval Muslim believer be they supplications to God and the prophet Muhammad, or concerns about health, travel, military achievements or Judgment Day.}, keywords = {Art of the Middle East/North Africa}, author = {Al-Saleh, Yasmine} } @mastersthesis {11855, title = {The Life and Work of Mary McFadden with Special Emphasis on the Ancient and Ethnic Sources of Her Design}, year = {2014}, note = {Bard site lists this as awarded posthumously}, school = {Bard Graduate Center}, abstract = {No record in ProQuest, Bard does not include abstracts}, keywords = {Decorative Arts/Textiles/Design History}, author = {Fisher, Ellen} } @mastersthesis {11851, title = {Littoral Crossings: Imagery of Women and Water from Nineteenth-Century Britain}, year = {2014}, school = {UNC Chapel Hill}, abstract = {This dissertation analyzes the representation of women and water in Victorian visual culture during the second half of the nineteenth century. Many notions of the feminine ideal aimed to situate women firmly within the domestic sphere. However, a body of visual work that includes Victorian painting associated with the Pre-Raphaelite Movement as well as female figureheads on the prows of ships, challenges these notions by repeatedly placing women outside the home and in connection with the sea, an external element. Through a re-evaluation of the accepted knowledge that connects Victorian women with domesticity, I argue that water is a site through which men and women question, negotiate, and contest the ideal Victorian woman as private and domestic. Furthermore, this dissertation posits that these paradigms are inadequate for understanding the complex personal and social relations that these images represent. Analysis of women and water images allows us to understand contradictions regarding women, as well as the anxieties and confusion of men in the face of watery women.}, keywords = {Decorative Arts/Textiles/Design History, Nineteenth-Century Art}, author = {Sanford, Lauren M.} } @mastersthesis {11759, title = {Louis H. Sullivan: The Aesthetic Movement, Classical Monumentality, and the Skyscraper}, year = {2014}, school = {Virginia Commonwealth}, abstract = {This dissertation looks at some of the most famous structures by talented and cryptic American architect Louis Sullivan (1856{\quotesinglbase}{\"A}{\`\i}1924) for fusions of Aesthetic Movement surfaces and two-part Classical Monumentality. For architects, the Aesthetic Movement allowed for a greater amount of freedom when it came to sources, massing, and ornament, which resulted in the creation of more highly textured surfaces than ever before. Under raking light, this texture produces some scintillating effects. Sullivan used this textural freedom throughout his career, creating some surfaces that sparkle. It will also be demonstrated that Sullivan changed his drawing style to better articulate his textural visions to others. The second way in which this dissertation looks at Sullivan{\textquoteright}s architecture is through the lens of Classical monumentality, specifically that used in Donato Bramante{\textquoteright}s Palazzo Caprini (constructed ca. 1512), which is better known today as the House of Raphael. Composed of a basement surmounted by a major order, Bramante{\textquoteright}s venerable two-part pattern spawned legions of descendants. This dissertation will demonstrate that Sullivan applied lessons from derivatives of this structure{\textquoteright}s facade to a range of building types. Visual analysis of select building facades will demonstrate that Sullivan kept combining these two themes throughout his career.}, keywords = {Architectural History/Historic Preservation}, author = {Yarger, Colleen Truax} } @mastersthesis {11969, title = {Made to Music: Interactions of Music and Art, 1955=1969}, year = {2014}, school = {UT Austin}, abstract = {This dissertation examines the methods by which postwar American and European visual artists engaged with aspects of music in their work. Focusing on four case studies spanning from 1955 to 1969, I look to artistic interest in composition, musicianship, music theory, and sensory experience. These artists are tied culturally through their communities, performances, and exhibition histories; I further show how their mutual interests in Eastern mysticism and poetry forge an even more profound connection among them, and this dissertation offers an alternate cultural history for understanding modes of postwar abstraction in the United States. Chapter one explores the early conceptual art of American Minimalist composer and Fluxus performance artist La Monte Young. Young{\textquoteright}s two series of typeset event scores from 1960-1961 opened up the arena of musical performance to non-musicians and visual artists. This chapter positions Young as an interlocutor between the worlds of avant-garde music and art in exploring a cultural history of the event scores, their adaptations, and Young{\textquoteright}s role in the discourse on intermedia. Chapter two looks at the musical systems and styles that served as stimuli for two abstractionists, Larry Poons and Leo Valledor. Whereas Poons used a quasi-musical and mathematical system in composing his dot paintings, Valledor improvised upon the qualities of the jazz music he most admired through color experimentation. Chapter three provides an analysis of the eight volumes of the German music periodical Die Reihe, a close look at the composition techniques of Die Reihe{\textquoteright}s co-editor Karlheinz Stockhausen, and the response to these ideas within the early serial sculpture of Sol LeWitt. Die Reihe, a journal of postwar serial music, was an important source for American artists in the 1960s, but has been little studied. This chapter offers an alternative reading of LeWitt{\textquoteright}s projects in terms of new music theories. The last chapter considers the sound sculpture of Greek kinetic artist Vassilakis Takis. In his efforts to capture the "music of the spheres," Takis{\textquoteright}s sound-producing sculpture combined his interests in Zen Buddhism, physics, magnetics, and sound waves through the use of various metals and magnets.}, keywords = {Twentieth-Century Art}, author = {Warak, Melissa} } @mastersthesis {11956, title = {Maisons du Peuple: Modernity and Working Class Identity in French Architecture, 1919-1940}, year = {2014}, school = {IFA/NYU}, abstract = {The dissertation examines French interwar Maisons du peuple. Located at the intersection of Modernism, municipal politics and class identity, these buildings are situated between turn of the century utopian, philanthropic and cooperative projects dedicated to social reform and popular education, and ostensibly depoliticized post-World War II Maisons de la culture. Maisons du peuple are architectural and programmatic hybrids incorporating social, political, cultural, recreational and economic functions. They provide the basis for a study of how mainstream and avant-garde Modernist architects negotiated the complex network of relations between aesthetics, technology, politics and patronage. The dissertation develops a social and political history of the production and reception of Maisons du peuple. It furthermore describes architectural and urban strategies deployed to make Maisons du peuple a defining component of predominantly working-class municipal centers on the metropolitan periphery. At issue are architects{\textquoteright} efforts to embody working-class identity, but also their attempts to give form to innovative social and cultural positions, and to modernity itself. The first chapter, centered on themes of social reform and leisure, examines Maisons du Peuple in garden cities of the Paris region. Three central chapters focus on themes of monumentality and representation, looking to the more architecturally and programmatically ambitious Maison du peuple in Belfort, Palais du travail in Villeurbanne and Palais des arts in Narbonne. The fifth chapter examines complex encounters between technical modernization and more radical aesthetic modernism in the Maison du peuple of Clichy. The conclusion reviews shifting social, cultural, architectural and urban roles and concurrently evolving constituencies. This politically and culturally contextualized architectural and urban analysis treats interwar French Maisons du peuple as a fluctuating constellation of amenities embodying distinctly modern political agendas, social identity, programmatic priorities, urban situations and architectural form. It concludes that the term "Maison du peuple" acts primarily as a slogan-broadly understood to represent an institution participating in the social, cultural and political life of all urban populations. Thus, the story of French interwar Maisons du peuple is less about creating symbolic amenities for working-class populations than about articulating a newly flexible, multifunctional and more nearly universal urban amenity.}, keywords = {Twentieth-Century Art}, author = {Katz, Ariela} } @mastersthesis {11770, title = {Makers, Masters, and Manufacturers: Early Industrialization of the Silver Trade in Antebellum New York}, year = {2014}, school = {Bard Graduate Center}, abstract = {Whether prosaic or elaborate, mid-nineteenth-century New York City silver flatware and hollowware illustrates a fascinating phase of American artistry and innovation. Manufactured through combinations of traditional and modern mechanical techniques, silver fabricated during this period embodied the practices of a trade immersed in a transitional phase of industrialization. Two of New York City{\textquoteright}s most important silversmiths from the period, William Gale (1799-1867) and John C. Moore (1803-1874), were immersed in these changes and as a result produced some of the most celebrated and archetypal silver of the period. Material analysis and comparison of their work reveals an essential history of New York{\textquoteright}s silver flatware and hollowware trades and the leading artisans and manufacturers who created, promoted, and traded their wares before, during, and, immediately following the United States{\textquoteright} Civil War. William Gale was among the most prolific and successful of New York{\textquoteright}s mid-nineteenth-century silversmiths. Between 1821 and 1867, he was a leading silver manufacturer, who made and sold an extensive range of innovative and conventional silver flatware and hollowware and ran a diverse factory and retail outlet located within the nations{\textquoteright} largest and fastest-growing port metropolis. A workshop-trained silversmith, who at his peak employed over 150 artisans and laborers, Gale{\textquoteright}s importance as one of the country{\textquoteright}s most influential antebellum silver manufacturers often is overshadowed by the wider renown of John C. and Edward C. Moore (1827-1891). Together and separately, John C. and Edward C. Moore manufactured silver for the city{\textquoteright}s largest antebellum luxury emporiums: Tiffany, Young \& Ellis, Ball, Tompkins \& Black, and their successors, Tiffany \& Co. and Ball, Black \& Co. Edward C. Moore, who trained under his father, became, through his work for Tiffany \& Co., the most influential silversmith of the nineteenth century. Gale and Moore were at the forefront of a group of influential New York City artisans and manufacturers integrating new forms of mechanization and age-old craftsmanship. Their work is emblematic of the best American silver of the period -as well as of New York{\textquoteright}s leading precious metal flatware and hollowware trades -and represents key intersections of artistry, invention, and business acumen. In examining two primary categories of silver manufactured by Gale and Moore -flatware and hollowware -this dissertation analyzes the physical characteristics of a selection of these objects as evidence of the wider social, economic, and political undercurrents at play in the United States during a formative phase of industrialization. Through this lens, this study presents a material history of antebellum New York City{\textquoteright}s silver trade during an important and formative, yet understudied, transitional period.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Schmidt-Bach, Debra} } @mastersthesis {11925, title = {Manuel de la Cruz Gonzalez: Transnationalism and the Development of Modern Art in Costa Rica}, year = {2014}, school = {CUNY}, abstract = {While scholars are increasingly scrutinizing twentieth-century Latin American art and inserting it into the canon of modern art history, studies of the region usually leap from Mexico to South America, skipping Guatemala, El Salvador, Honduras, Belize, Nicaragua, Costa Rica, and Panama. This is not due to a lack of dedicated artistic effort in the isthmus, but rather to poor cultural infrastructure, which made being a modern artist in the region particularly challenging, and the underdeveloped state of local art histories, which have yet to traverse national borders. This oversight of Central American art makes it difficult to grasp the full scope of Latin America{\textquoteright}s adaptation of, and contribution to, international modernism. My dissertation counteracts the privileging of art from North and South America and introduces Costa Rican art history to an international audience by examining the art and life of Manuel de la Cruz Gonzalez Lujan (1909{\quotesinglbase}{\"A}{\`\i}1986), one of Costa Rica{\textquoteright}s most influential modern artists. It emphasizes the importance of the transnational cultural currents that influenced Gonzalez and his colleagues, and systematically discusses two fundamental phases of artistic growth in the country, the 1930s and the 1960s. By placing Gonzalez{\textquoteright}s artistic production within the socio-historic, cultural, and aesthetic contexts of Costa Rica, this dissertation is a groundbreaking case study of the development of modern art in this Central American nation. Gonzalez prodded the boundaries of the provincial Costa Rican art world and moved beyond local frameworks to take part actively in the spread of modernist trends. He embraced regionalism, modernismo, and Latin American impressionism while in Costa Rica, and surrealism and geometric abstraction during the ten years he spent abroad in Cuba (1948{\quotesinglbase}{\"A}{\`\i}1950) and Venezuela (1950{\quotesinglbase}{\"A}{\`\i}1957). Upon his return, he shared his knowledge and experience of international modernism, but was faced with an unprepared and unpropitious artistic setting that neither accepted nor encouraged his geometric abstract art. What his story shows is that in order for a transnational style or idea to take hold in a country such as Costa Rica, which could be any "ex-centric" location, it is necessary to have a receptive context. This analysis of Gonzalez{\textquoteright}s career thus highlights the tension of being a provincial artist, attuned to transnational cultural flows, yet challenged by the limitations of his environment.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Bonilla-Merchav, Lauran} } @mastersthesis {11915, title = {Marble, Memory, and Meaning in the Four Pompeian Styles of Wall Painting}, year = {2014}, school = {Michigan}, abstract = {This dissertation explores developments in the use of decorative marble and other stone and their representation in wall paintings from Roman domestic buildings in Campania from ca. 150 B.C.E. to 79 C.E. I use wall paintings from houses and villas to explore three main thematic issues: (1) how transformations in attitudes toward luxury and the display of wealth and power played out in the domestic sphere; (2) the role of wall painting in communicating social, ethnic, and political identity and status in Pompeii in the aftermath of Roman colonization; and (3) the relationship between memory and changes in the meaning and reception of visual culture. I focus on the representation of decorative stone in wall paintings from the houses and country villas of the Bay of Naples region. Imported decorative stone is especially relevant to these topics, in large part because it is mentioned frequently in Roman literature in the context of moralizing discourses on luxury. These sources highlight the fascination marble held for ancient Romans and its symbolic and socio-political importance. Imitation marble is also common in most periods of wall painting and often makes up the majority of the decorated wall surface. My approach takes into account evidence in the form of relevant examples of painting, other related archaeological data, and written sources, to investigate the social and cultural significance of Roman painting. My study shows that stylistic changes in wall painting were motivated by a combination of individual communities{\textquoteright} internal dynamics, local histories, and broader cultural shifts in the Roman Empire. In addition, the reception of older paintings by subsequent generations depended on shifting contemporary attitudes toward private displays of wealth as well as the construction of the past in the memory of a particular period. Painting functioned as an entirely separate form of communication from literature that did not always agree with what the texts presented. My examination of imitation stone in wall painting sheds light not only on how Roman attitudes toward luxury changed over time, but also on how different types of evidence provide us with information that is sometimes complementary and sometimes contradictory.}, keywords = {Greek/Roman Art}, author = {McAlpine, Lynley} } @mastersthesis {11720, title = {Masks and the Modern: African/European Encounters in Twentieth-Century Art}, year = {2014}, school = {Columbia}, abstract = {Taking Paris as its geographical nexus, this dissertation tracks European and African modernist appropriations of African sculpture across a three-tiered historical trajectory spanning from 1905 to 1980. Part I charts engagements with West and Central African masks and statues by the Fauves and Pablo Picasso; Part II assesses the work of pioneering black South African artists Ernest Mancoba and Gerard Sekoto; and Part III chronicles the nationalization of modern art in Senegal under President Leopold Sedar Senghor. Through examinations of the cross-cultural, formal, and politicized dynamics of African sculpture-or so-called art negre-in modern art discourse and practice on two continents, the dissertation argues that European and African artists shared certain form-based approaches to African objects, coupled with tactical understandings of those objects{\textquoteright} cultural origins. The artists diverged-both individually and by movement-insofar as they appropriated African art to different ends reflective of historical period, social context, and personal approach. More broadly, the dissertation argues that the early-20th-century European avant-garde "discovery" of African sculpture became globally significant through its eventual catalytic role for modern art movements in Africa. It argues that some of the most important modernist appropriators of African sculptural forms were African painters who both studied and subverted their European precursors in that practice.}, keywords = {African Art (sub-Saharan), Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Cohen, Joshua} } @mastersthesis {11924, title = {Material Witness: Doris Salcedo{\textquoteright}s Practice as an Address on Political Violence through Materiality}, year = {2014}, school = {Harvard}, abstract = {This dissertation investigates Doris Salcedo{\textquoteright}s practice and the means by which she addresses political violence relying on materials rather than figural images. She evokes the imminence of violence, the presence of the absent victims, and the hidden wounds of the survivors. An examination of her sculptures and installations begins by focusing on the socio-political context and history of prolonged civil violence Salcedo has experienced during her life in Colombia. Following this I analyze: the artist{\textquoteright}s deliberate choice of sculpture as her medium; her preference for everyday objects, such as domestic furniture and materials charged with meaning but without reference to specific victims; her rigorous, highly involved process; and finally, her emphasis on surface as an evocative element integral to the work. The ideas of Beatriz Gonzalez, Joseph Beuys and Marcel Duchamp are considered to the extent to which they were engaged in or contested by Salcedo in developing her practice. Finally, by analyzing a particular body of Salcedo{\textquoteright}s work, I propose a series of six visual strategies the artist employs to convey through materials without pictorializing the enduring effects of political violence: 1) the suggestion of space to place, 2) the sense of the uncanny and anthropomorphism, 3) the materiality of the heavily worked surfaces of her sculptures, 4) the weight of time as a material presence, 5) the correspondence of body to scale, and 6) the sense of disjunction and disorientation. Over the course of her career, I propose that Salcedo has focused on two principal concerns: political violence, first in Colombia and now throughout the world; and materiality, making materials speak on behalf of the victims through a complex, painstaking process using increasingly ephemeral materials. I conclude that Salcedo{\textquoteright}s project pushes materiality beyond its expected parameters and that her recent work challenges the definition of sculpture and the object, as well as the idea of the temporal, in an audacious expression born of her longstanding vision and commitment to the victims of political violence.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {Enriquez, Mary Schneider} } @mastersthesis {11834, title = {Medieval Art, Audiences, Embodied Responses, and Cognitive Theory}, year = {2014}, school = {Florida State}, abstract = {This dissertation explores how modern physiological studies and cognitive theory can yield new readings of medieval art objects in the form of embodied responses by medieval viewers. Cognitive theory is useful for understanding the dynamics, or interactivity, between medieval viewers and objects. The mechanics of cognitive reception occur at a physiological level; thus, integrating studies of how the human brain visually processes art objects allows us to understand reception as an embodied response. This dissertation uses cognitive theory as a methodology to investigate three bodies of artwork: thirteenth-century Apocalypse manuscripts, secular ivory mirror cases from fourteenth-century France, and select folios from the fourteenth-century cleric Opicinus de Canistris. The paper not only assesses the value of cognitive theory in understanding the reception of medieval art but also predicts potential audiences, rather than universal ones, for each body of work. In Chapter 2, I investigate how medieval viewers may have perceived images of the Dead Whore of Babylon from thirteenth-century Apocalypses. The depiction of the Whore as a woman instead of a city in Revelation 19 is limited to a few manuscripts. Contrary to scholarship that suggests that this image of the Whore would disengage a medieval audience, I argue that medieval viewers may have had a sympathetic or empathetic response to the Whore{\textquoteright}s image. I cite scientific studies involving the human brain{\textquoteright}s response to body position and eye contact as evidence of an embodied response in this chapter. An empathetic response could potentially override the totally negative characterization of the Whore in the text of Revelation. In Chapter 3, I argue that viewers would have had individual, variable embodied responses to the male and female figures on secular ivory mirror cases. The narrative reference of these objects is highly ambiguous, so I suggest that viewers would have assessed the dynamic between male and female figures based upon their degree of eye contact or lack thereof. Scholarship discusses the relationship between these men and women based upon a theoretical assessment of {\textquoteright}the gaze{\textquoteright}, while I apply scientific studies to uncover its physiological implications. Here, cognitive theory allows us to understand the mechanics behind reception and the highly individual interpretations by medieval viewers. Chapter 4 investigates the role of text and textual schemata as navigational devices that encourage embodied responses in medieval viewers. The textual and visual components of fol. 24r are too complex to speculate about the general medieval reception of the image, so I construct a hypothetical cognitive map for a limited audience comprising learned men. Scientific studies demonstrate that motor neurons allow a viewer to conceive of Opicinus{\textquoteright}s work as an artistic device that could lead to a spiritual embodied response. I conclude that, when properly applied, scientific studies and cognitive theory are useful tools for understanding the physiological aspects of the reception of medieval art objects by medieval audiences. Each type of art object demands different studies and applications of cognitive theory. In addition, the embodied responses of medieval viewers are always hypothetical because an individual viewer{\textquoteright}s cognitive map, or unique understanding of the world, always mediates the brain{\textquoteright}s physiological responses. Despite the fact that embodied responses are ultimately subjective, physiological and cognitive studies allow art historians to hypothesize about medieval reception in new terms.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Early Medieval/Romanesque/Gothic Art}, author = {Pawelchak, Nadia} } @mastersthesis {11891, title = {Mercantile Aesthetics: Art, Science, and Diplomacy in French India (1664-1761)}, year = {2014}, school = {Northwestern}, abstract = {This dissertation focuses on the integration of the French East India Company with the painted and printed textile industry along India{\textquoteright}s Coromandel Coast from the late seventeenth to mid-eighteenth century. It aims to illuminate how, in mercantile economies, multifarious forms of exchange restructure our narratives about cross-cultural exchanges during the pre- and early-colonial era. I argue that the Coromandel textile industry mediated the development of European natural history, forms of collecting and gift exchange between France and Asia and within India itself, and luxury consumerism and constructions of exoticism within France. These three factors recast European conceptions of modernity in the eighteenth century as being deeply imbedded in, and informed by, indigenous South Asian knowledge of natural history and aesthetic and social practices. Chapter one provides a critical overview of the complex trade and marketing networks created by merchants and brokers within India and abroad, both before and during the arrival of East India Companies. Processes of exchange within trade networks of the Indian Ocean imbued these textiles with diverse interpretive layers through which Europeans came to understand and define {\textquoteright}Asian{\textquoteright} exoticism. This chapter also examines how Indian textiles assumed contradictory meanings within varying social contexts by examining their use as currency in the slave trade concomitant with their circulation in French luxury markets. Chapter two argues that the Coromandel textile industry served as a point of convergence for both aesthetic practice and scientific knowledge about the botanical world. Specifically, I look to the Jardin de Lorixa (c.1695-1725), a compendium of 725 botanical images painted by Indian textile painters for a French company physician. I emphasize how this work mediated European and Indian knowledge and representation of nature. The final chapter investigates the transition from mercantile to imperial forms of interchange from three perspectives: gifting, iconoclasm, and the self-fashioning of France{\textquoteright}s chief Tamil broker. The extant writings and portrait of Ananda Ranga Pillai overturn traditional notions of colonialism in which Europeans arrive, restructure, and dominate. Conversely, instances of violent iconoclasm and destruction of Hindu temples by the French highlight how images served as a focal point around which contested canons of beauty, religious belief, and political power collided.}, keywords = {Eighteenth-Century Art, South Asia/South East Asia}, author = {Oliver, Elizabeth Lee} } @mastersthesis {11789, title = {Metropolitan Dystopia: Color Photographs of Mississippi, Tennessee, and Louisiana 1968-2005}, year = {2014}, school = {Duke}, abstract = {This dissertation examines color photographs made in Mississippi, Louisiana, and Tennessee between 1968 and 2005 and their relation to evolving racial discourse. My discussion revolves around three photographers: William Eggleston, Birney Imes, and William K. Greiner, who make striking color photographs in the U.S. South. I discuss the critical reception of their work and place it within the context of political and cultural attitudes toward the region and issues of race expressed in the media in the 1970s-early 00{\textquoteright}s. The important role played by Museum of Modern Art [MoMA] curator John Szarkowski was central in shaping discussions about contemporary photography during this period, placing Eggleston as the herald of the color photography explosion. I explore changing attitudes toward artistic and documentary color photography among photographers, critics, and the general public leading into the 1970s, arguing that these attitudes influenced the reception of the often high-intensity color images of Eggleston, Imes, and Greiner, in the decades that followed. I discuss the critical reception of William Eggleston{\textquoteright}s 1976 photography exhibition at MoMA. I examine how Imes{\textquoteright}s color photographs of juke joints and roadhouses in Mississippi utilize the expressive potentials of color film to depict these liminal, public/private spaces as sites of boundary crossing in a racially divided culture. I explore the ways in which William K. Greiner uses color to depict the pre-Hurricane Katrina New Orleans metropolitan area. My contribution is to show how Eggleston, Imes, and Greiner employed the expressive, visceral potentials of color photography to interpret and navigate the uncertain moral terrain of the U.S South in the era following the passage of the Civil Rights Act and Voting Rights Act.}, keywords = {Art of the United States}, author = {Kivlan, Anna} } @mastersthesis {11957, title = {Michael Asher and the Art of Infrastructure}, year = {2014}, school = {Princeton}, abstract = {Los Angeles-based artist Michael Asher (1943-2012) is critically acclaimed for a handful of works he mounted during the 1970s in which he questioned the institutional conventions governing the reception and display of art. In the most famous of these examples, his 1979 contribution to the 73rd American Exhibition at the Art Institute of Chicago, Asher had the museum relocate its 1916 bronze copy of French sculptor Jean Antoine-Houdon{\textquoteright}s 1792 statue of George Washington from the front steps of the museum to the museum{\textquoteright}s 18th-century gallery, thus highlighting the disjunction between the statue{\textquoteright}s symbolic function as a public monument, and its aesthetic origins as an 18th-century artwork. The renown and influence of this and other projects that fall under the rubric of "institutional critique" have dominated interpretations of Asher{\textquoteright}s practice, to the point of eclipsing a more systemic understanding of his long and varied career. Further limiting scholarship on Asher has been the scarcity of documentation on works outside the chronological period covered by his Writings 1973{\quotesinglbase}{\"A}{\`\i}1983 on Works 1969{\quotesinglbase}{\"A}{\`\i}1979, a volume published in 1983 and now out of print. This dissertation seeks to make sense of the full arc of Asher{\textquoteright}s oeuvre, looking at projects dating from 1965{\quotesinglbase}{\"A}{\`\i}2011. It begins with a chronological account of the first part of Asher{\textquoteright}s career in order to trace the development of his practice from minimal-type objects to his rejection of such objects in favor of environment-based works. The second half of the dissertation uses case studies to address two of the major themes that appear in the later part of Asher{\textquoteright}s career-his engagement with the institutional histories of museums, and the urban context of cities. Throughout, it argues for Asher{\textquoteright}s consistent attention to physical and conceptual infrastructure-namely, his consideration of the literal, material, and spatial elements constituting an artwork, as well as social, economic, or political concerns. Arguing for a more historically-accurate understanding of Asher{\textquoteright}s practice, this study consistently attends to the contemporary developments in art and art criticism with which Asher was deeply engaged, including debates surrounding painting, minimal art, process art, environmental art, conceptual art, and public sculpture.}, keywords = {Twentieth-Century Art}, author = {King, Jennifer} } @mastersthesis {11773, title = {Mobile Americans: Geographic Mobility and Modernity in US Visual Culture, 1860-1915}, year = {2014}, school = {Pennsylvania}, abstract = {Throughout U.S. history, commentators have claimed Americans{\textquoteright} restlessness as an important--even distinctive--national trait. Such assertions gained particular prominence during the late nineteenth and early twentieth centuries as the growth of transportation networks, increased immigration and urbanization, and rise of an industrial capitalist economy spurred an unprecedented flow of people and goods. This dissertation adapts and expands recent, cross-disciplinary scholarship on the social, political, and ideological significance of geographic mobility in the United States to understand how the visual arts shaped these notions. Specifically, through a diachronic analysis of three case studies, this dissertation examines the ways that genre artists and their audiences turned to representations of geographically mobile subjects to probe the politics of modern life during the period between the Civil War and World War I. Chapter 1 reconsiders genre paintings that Eastman Johnson produced during the 1860s and 1870s in relation to growing concerns about the socioeconomic effects of increased spatial mobility during and after the Civil War. Chapter 2 examines artworks by Thomas Hovenden, Robert Koehler, and John J. Boyle at the 1893 World{\textquoteright}s Columbian Exposition in Chicago that engaged the Fair{\textquoteright}s rhetorical linking of Americans{\textquoteright} geographic mobility with the United States{\textquoteright} recent economic and cultural ascendancy. Chapter 3 turns to work by the Ashcan artists, especially John Sloan, to consider how visual engagement with themes of geographic mobility evolved to suit an urban context at the turn of the twentieth century. Sloan{\textquoteright}s depictions of urbanites moving through the city explore the social and psychological isolation affecting crowds of daily commuters and the seemingly impenetrable barriers between economic classes, even as rich and poor moved through the city in close proximity to one another. Together, the works studied in this dissertation illuminate how depictions of mobile subjects opened a critical space to explore the shifting social relationships of modern life during a period in which profound political, economic, technological, and demographic transformations seemed to further unsettle a highly mobile American public.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Baradel, Lacey} } @mastersthesis {11801, title = {Modernism Reoriented in a Chinese Context: Painting of Modernist Artiti in Wartime Chongqing, 1937-1945}, year = {2014}, school = {IFA/NYU}, abstract = {This dissertation is a case study of the modernist practice of Lin Fengmian (1900-1991) during the wartime (1937-1949), a significant transitional period of the artist who is a key figure in the formation of modern art history of 20th century China. Through critical analysis of the formal and thematic issues Lin Fengmian dealt with in his wartime work that experimented with sinicizing modernism in an unusual historical period, it argues that modernism in China was not a simple derivative of its Western import but one of syncretism and hybridity that resulted from a complex negotiation of the Western and Chinese art traditions. The sinicized modernist art was Chinese artists{\textquoteright} choice driven by specific social, political and cultural situation of China{\textquoteright}s search for a new cultural identity. This sinicized modernism had been constantly reoriented, reframed and redefined in a direction toward a new mode of Chinese type in the first half of the 20th century. The first part of the dissertation starts with an investigation of how Lin Fengmian and his peers -mostly artists returned from their studies in Europe -dedicated themselves in prewar China to promoting a largely undefined modernism through institutional spaces, particularly the Art Movement Society, of which Lin Fengmian was a leading figure. It is followed by an analytical narrative of modernists{\textquoteright} marginalization in the art world reshaped by China{\textquoteright}s national crisis and their response to the country-wide call for jiuwang (national salvation) and kangzhan (resistance against Japanese invasion). The focus of this part is on how Lin Fengmian{\textquoteright}s wartime life experience affected his modernist practice, with a detailed discussion of his loss of institutional authority and his journey from the urban to the rural. The second part of the dissertation focuses on Lin Fengmian{\textquoteright}s practice of a sinicized modernism in the genres of landscape, figure and still life, in which he developed his strategies of denationalizing the highly nationalist shanshui painting, incorporating a primitivist approach into his painting of rural and urban women, and deforeignizing still life to fit into a Chinese approach to painting. Throughout this case study, the dissertation explores significant issues of modern Chinese art such as the relationship between Western-style painting and Chinese ink painting, traditionalism and modernism, academic realism and formal modernism, nationalism and universalism.}, keywords = {Chinese Art}, author = {Qian, Zhijian} } @mastersthesis {11739, title = {Modernism with Style: History, Culture, and the Origins of Modern Architecture in Berlin, 1780-1870}, year = {2014}, school = {MIT}, abstract = {This dissertation traces the continual, but overlooked, impact of Islamic architecture on practicing architects in nineteenth-century Berlin. As such, it examines the origins of Modernism by considering design strategies by architects in post-Schinkel Berlin. The reasons and motivations for this interest in Islamic architecture by German architects are not easily connected to imperial prerogatives. Rather, this dissertation argues that the use and interpretation of Islamic architectural forms by German architects during this period-often characterized as a "crisis of style"-provide insight into Germany{\textquoteright}s uncertain path to Modernism in the twentieth century. Lost within the historiography of style debates during the first half of the century, which sought to establish a new style appropriate for a modern industrial society, existed proposals that rejected both trends of an uncritical eclecticism and pure industrial abstraction. These architects sought a solution to this crisis by challenging the cultural aspects of style. Thus, it was through the study of Islamic architecture that some German architects found an unlikely answer, which differed from those proposed by advocates of design reform in contemporary Britain. For some, Islamic architecture came to be understood as sharing a common ancestry in classical antiquity, yet it was different and abstract enough such that it would not be closely associated with either the Neoclassical or Gothic. As such, Islamic forms were unlikely to be associated with the political, ideological and religious ideas so ingrained in Europe{\textquoteright}s architecture. This dissertation alters traditional understandings of Modernism by demonstrating how this "path," ultimately not taken, can be used to reconceptualize our understanding of what Modernism is, was, or could have been. Thus, instead of attempting to establish a different type, or "alternative{\textquoteright} Modernism, the dissertation challenges the historiography of the modern canon significantly in order to understand Modernism as a global condition, while simultaneously rejecting the inherited limits of the term {\textquoteright}modern{\textquoteright} as a formal or stylistic category only. By exploring what these architects sought outside of Europe, and studying how they integrated what they found into their work during the rapidly changing nineteenth century, this dissertation significantly challenges Modernism{\textquoteright}s established historiography.}, keywords = {Architectural History/Historic Preservation, Nineteenth-Century Art}, author = {Hedrick, Christian A.} } @mastersthesis {11790, title = {Monster{\textquoteright} Masculinity: The Veteran-Artist and Figural Representation in Postwar Chicago, 1946-1959}, year = {2014}, school = {McGill}, abstract = {This dissertation examines the formation and milieu of a group of artists working in Chicago after the Second World War, known as the "Monster Roster." It argues that this group was marginalized in large part because the grotesque and vulnerable bodies often depicted in its artists{\textquoteright} work were incompatible with the dominant trend of abstraction in postwar American art and art history, as well as the national political project of solidifying the United States{\textquoteright} reputation as a powerful, liberating force on the global stage. It also contends that the veteran status of many Monster Roster artists made them suspect subjects in the postwar "crisis of masculinity," further rendering them inadequate bearers of the avant-garde reputation that was being constructed around New York School artists. This project adds substance and texture to the current conversations about postwar American art by bringing into focus both the marginalized site of Chicago and the virtually unexplored subject-position of the Second World War veteran. Building on important literature that has re-politicized the content and context of Abstract Expressionist artwork, this dissertation elucidates the tensions between the constructions of New York abstraction and Chicago figural representation. These constructions were often erroneously posited as binary opposites during a period in which conversations about art, and its aesthetic and political implications, adopted increasingly strident tones. This project also explores the postwar construction of the embodied ideal male subject as a signifier of state power. While the male veteran may have represented the nation{\textquoteright}s military victory overseas, he also revealed the vulnerability of the male body. Postwar public discourse often obscured the harrowing events of the war -including veteran experience -in favor of celebratory rhetoric. By examining the intertwining structures that resulted in the marginalization of Chicago as a site of cultural production, figural representation as a mode of image-making, and the veteran as a non-normative male subject, I situate the artists of the Monster Roster and their artworks in the political and cultural context of postwar America.}, keywords = {Art of the United States}, author = {Maynard, Elizabeth} } @mastersthesis {11900, title = {Movement in Vision: Cinema, Aesthetics, and Modern German Culture, 1918-1933}, year = {2014}, school = {Columbia}, abstract = {This study addresses the intersection of the avant-garde and mass culture through a close reading of three singular works from the Weimar Republic in Germany. Bauhaus founding director Walter Gropius (1883{\quotesinglbase}{\"A}{\`\i}1969) designed a "Total Theater" (1927, unbuilt) whose multiple screens encircled an interior structure for the presentation of twelve simultaneous film projections. In 1930, Hungarian-born Bauhaus professor Laszlo Moholy-Nagy (1895{\quotesinglbase}{\"A}{\`\i}1946) completed a rotating, metallic sculpture for the projection of light effects, which has assumed a number of different configurations within theater, film, and the museum since its inception in 1922. In the 1910s and 20s, Swedish-born Viking Eggeling (1880{\quotesinglbase}{\"A}{\`\i}1925) experimented with the properties of line by transferring static, two-dimensional collages from the animation table to the cinematic screen. In addition to undoing experimental film{\textquoteright}s logic as a genre, this study addresses the epistemological questions each of these works introduce-namely, the production of artistic and scientific knowledge in the early twentieth century, the evidentiary status of reproducible media, and the institutional framing of works of art. Rather than establish a genealogy between early twentieth-century kinetic and light experiments and the "expanded cinema" practices of the 1960s and 70s, this dissertation approaches these objects as "adjacencies" to the cinematic dispositif, within which their relationship to art and politics, technological determinism, the ontology of the work of art, and the compartmentalization of media are examined.}, keywords = {Film/Video, Twentieth-Century Art}, author = {Williams, Alena} } @mastersthesis {11726, title = {The Multiple Lives of Objects: Museums, Heritage, and Modernity in the Cameroon Grassfields}, year = {2014}, school = {UCLA}, abstract = {The Grassfields region of Cameroon is home to many museums. In a region that is known for its prolific, well studied, vibrant arts and cultures, museums have been a part of the cultural landscape for nearly one hundred years. This dissertation seeks to address questions about constructing heritage and how that heritage transforms objects, is understood by different communities, and is used by people in power through the lens of four recently constructed museums in the region: the Mankon Museum, Baham Museum, Babungo Museum, and Bafut Palace Museum. First, this dissertation will address how these museums are used to construct heritage and, keeping in mind that heritage is the utilization of the past for the needs of the present, specific examples will be examined to understand how heritage fulfills the agendas of those involved in the funding, organization, and ownership of the museums. An understanding of how the museums are utilized with regard to heritage leads into a discussion of how the museums are consequently perceived by a variety of constituencies. With an emphasis on local visitors, this dissertation attempts to delve into the range of perceptions expressed by Cameroonian residents of the regions where museums exist, and some of the driving factors behind these opinions. As the act of utilizing cultural objects to create heritage narratives has a clear impact on the way that locals view their own material culture, this dissertation also examines the effects that this process has on the objects themselves. Finally, as institutions that have the ability to mold heritage and history, impacting the ways in which locals understand their own culture and the way that objects take on entirely new roles in the museum, Grassfields palaces have come to understand that museums have great potential to act as arbiters of change. Consequently, this dissertation also addresses the ways in which museums are being used towards political ends in the region; sometimes they function as tools to further the political aspirations of local kingdoms, at other times they become weapons in regional power struggles. Museums in the Grassfields are powerful objects in and of themselves -they have the ability to shape history and influence local politics. By examining their places within their local communities we can start to garner a better understanding of the place of monarchy, modernity, and memory in the lives of local Grassfields populations.}, keywords = {African Art (sub-Saharan)}, author = {Jones, Erica P.} } @mastersthesis {11852, title = {Munthe{\textquoteright}s Myths: Designing a Norwegian Nation in Decorative Art}, year = {2014}, school = {Minnesota}, abstract = {This dissertation contemplates the role of the Norwegian landscape painter and designer Gerhard Munthe (1849-1929) in constructing the Norwegian nation. During the nineteenth century, the production of narratives that trace a progressive trajectory for Norway{\textquoteright}s history, within historical and decorative arts museums, along with art objects and visual culture, played a major role in constructing, defining, and promoting Norway as an independent, European nation. The Norwegian artist Gerhard Munthe, as a participant in the Paris 1900 World{\textquoteright}s Fair and through his role as a board member of the Norsk Folkemuseum (Norwegian Folk Museum) and the Kunstindustrimuseet (Museum of Decorative Arts and Design) in Oslo, participated in the nation-building process which effectively manipulated Norway{\textquoteright}s past as well as criticisms of Norway to construct and promote a modern Norwegian national identity. In their assessments of Munthe{\textquoteright}s tapestries, nineteenth- and early twentieth-century critics and scholars have noted the national aspects of his designs and some have struggled to note the tapestries place as expressive of national identity, while also noting how they might signal ambivalence towards that identity. The folktales depicted in the tapestries have the potential to negotiate that ambivalence, while also engaging with the larger project to imagine "the people." This larger project includes the efforts of the folklorists Peter Asbj√∏rsen and J√∏rgen Moe, and philologist Ivar Aasen, who sought to recuperate and document folklore and language. Despite the failings of these projects, they, along with Munthe{\textquoteright}s tapestries, remain central to the story of Norwegian nationalism. Some contemporary critics seeks to demonstrate Munthe{\textquoteright}s significance in an art historical context beyond Norway through an investigation of Munthe{\textquoteright}s work and its engagement with the theories and motifs of the Aesthetic movement, the Arts and Crafts movement, art nouveau, japonisme, and Symbolism. In examining these modern movements and positioning Munthe as engaged with their ideas, it becomes clear that these movements or trends are tied together by certain repetitive narrative threads, including an insistent borrowing and imagining, a focus on craftsmanship, and a repurposing of the historical.}, keywords = {Decorative Arts/Textiles/Design History, Nineteenth-Century Art}, author = {Warren, Erica} } @mastersthesis {11897, title = {Music and Time: Relation of Nam June Paik{\textquoteright}s Early Works to Video Art}, year = {2014}, school = {Rutgers}, abstract = {This dissertation is about the influences of Nam June Paik{\textquoteright}s musical career in the 1950s over his video art in the following decades. Paik is remembered more as a technology-savvy video artist than as a musicologist and musical composer and his active involvement in New Music and avant-garde musician circles in the mid- to late-1950s. This dissertation points to the fact that the artist{\textquoteright}s philosophy of music as a musician developed into the invention of video as an art medium. His musical objective was not simply to produce music but to redefine what music is and to challenge conventional notions of music. Through his incessant quest for an answer to the question, what is music?, Paik established music of his own invention, which evolved into multimedia art. After a decade of active participation in the discussion of modern music as a musical composer and musician, Paik held his first solo show, "Exposition of Music-Electronic Television," at Galerie Parnass, Wuppertal, in 1963, in which he showcased a series of television art wired to be visually manipulated according to audio input. This show was a watershed for Paik{\textquoteright}s career, as it propelled him into electronic image manipulation through his exploration of music, hence essentially foregrounding Paik{\textquoteright}s creation of video art. Before he arrived at this unique combination and visual and audio, he delved into two major components of modern music: one was the idea of Gesamkunstwerk, a term that describes the synthesis of various genres of arts, professed by Richard Wagner and the other was the cutting edge technologies for electronic music in the 1950s. This dissertation addresses that the interesting marriage of the two led Paik to discover the visual aspect of his musical compositions, which expanded his music horizon and enabled him to push the envelope for unique music of his own that subsequently led to the invention of video art.}, keywords = {Film/Video, Performance Studies}, author = {Oh, Gyung Eun} } @mastersthesis {11842, title = {The Myth of Movement: Lucinda Childs and Trisha Brown Dancing on the New York City Grid, 1970-1980}, year = {2014}, school = {Rochester}, abstract = {The Myth of Movement: Lucinda Childs and Trisha Brown Dancing on the New York City Grid, 1970-1980 is set in New York City during the 1970s, a decade during which recession struck Manhattan became a post-industrial stage for young artist-innovators. This dissertation focuses on two of these innovators, choreographers Lucinda Childs and Trisha Brown. Their dances of the period performatively intervened in otherwise overlooked city spaces in order to reveal the architectural and economic topography of the City in flux and the shifting, often porous, demarcation between public and private spaces. My chronological investigation proposes that Childs{\textquoteright}s and Brown{\textquoteright}s site situated dances reflected crucial ideological and physical changes in the metropolitan fabric. First concentrating on their outdoor, loft-studio, and gallery and museum performances of the early to mid 70s, and afterward on their dances for the proscenium stage, I establish the growing cultural and economic legitimacy of post-Judson postmodern dance. The move to the proscenium may seem like a betrayal of their earlier work, yet I allege that the ideas and methods that Brown and Childs generated in alternative spaces during the first part of the decade patently influenced how they later negotiated the theater. The choreographic structures that Brown and Childs employed during the 70s, in particular grids, were indicative of experimental choreographic formalism and a relevant response to the choreographers{\textquoteright} urban environment. Dancing in the metropolitan grid and on aesthetic grids, I argue that Brown and Childs illustrated the symbiotic relationship between bodies and the landscape. Each of my chapters is a case study of one of their grid dances. In chapter one I discuss Brown{\textquoteright}s Roof Piece (1971, 1973, remounted 2011); in chapter two Childs{\textquoteright}s Calico Mingling (1973); in chapter three Brown{\textquoteright}s Locus (1975); in chapter four Childs{\textquoteright}s Dance (1979, remounted 2009). By alternating between dances by Brown and those by Childs I attempt to demonstrate the confluence between their choreographic concerns over the course of the decade and highlight their divergent techniques.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Graham, Amanda} } @mastersthesis {11821, title = {Nancy Spero: Feminism in a Continuous Present}, year = {2014}, school = {UIUC}, abstract = {This dissertation argues that works by American artist Nancy Spero made feminist interventions into the medium of painting and into exclusionary patriarchal narratives as they are presented in museums. The result is an oeuvre visualizing what Gertrude Stein called a "continuous present," revealing how misogyny recurs in different ways throughout time. Spero achieved this by utilizing printmaking methods and by tying her own contemporary production to art of the past, both through appropriation of imagery and physical juxtaposition. This study is organized thematically into three chapters. Chapter One posits that Spero{\textquoteright}s decisions to work on paper and employ printmaking methods strengthened her feminist political content. Though trained as a painter, she made a deliberate decision in 1970 to work only on paper because it is a consistently undervalued medium and surface. To her, oil painting on canvas symbolized the monolithic patriarchal art world system that showed no interest in women artists. Spero{\textquoteright}s adoption of print matrices allowed her to repeat appropriated images dozens of times in dramatically different contexts, while at the same time providing a continuity throughout her long career. Chapter Two orients her use of language into four phases during her career: as titles, quotations, narratives, and "hieroglyphics." Unlike contemporaries such as Joseph Kosuth, Spero{\textquoteright}s use of text was not a withdrawal from the visual; indeed, she continuously altered the appearance of her text to effect meaning. Early works incorporate painted phrases, but she came to prefer printed or typed letters, and ultimately eliminated the linguistic altogether in favor of image-signs that had gained meaning for her through repetition. Chapter Three considers her connection to nineteenth-century history painting methods to create moralizing feminist narratives. I argue that she constructs a new kind of historical record within individual works, for example in her epic multi-paneled collage Notes in Time on Women (1976-79), and also through sitespecific installations. In these ways Spero underscored the oppression of women through history, initially expressing outrage but later adopting a celebratory approach that sought to recognize women{\textquoteright}s resilience and successes. In her work Spero juxtaposed images of women from the past and present, stressing the critical importance of history today. It is for this reason her oeuvre exemplifies a "continuous present."}, keywords = {Contemporary Art}, author = {Ferber, Andrea} } @mastersthesis {11832, title = {National Socialist Exhibition Design, Spectatorship, and the Fabrication of Volksgemeinschaft}, year = {2014}, school = {Chicago}, abstract = {This dissertation explores how National Socialist exhibitions beyond the realm of the fine arts became sites of formal experimentation for the artists, architects, designers, and others who contributed to conceiving and realizing these spaces. What ultimately propelled the formal experimentation in many Nazi exhibitions, this project argues, was an attempt to mediate a spectator{\textquoteright}s relationship to the Volksgemeinschaft, or "people{\textquoteright}s community." Part of this involved developing formal strategies to represent processes of community formation and, more broadly, to visualize ideas related to the ways in which individuals were encouraged to participate in strengthening the "people{\textquoteright}s community." The other part involved using the formal features of an exhibition space to implicate visitors into what I call performances of community. While these performances were on many levels "directed," they nonetheless granted a spectator a considerable degree of autonomy within an exhibition environment, usually in order to foster feelings of involvement and agency within the so-called Volksgemeinschaft. This dissertation begins with a chapter about the 1934 show Deutsches Volk-Deutsche Arbeit, which exemplifies a wider uncertainty about how to design exhibition spaces shortly after the National Socialists{\textquoteright} assumption of power. Chapter two, which focuses on the use of photomurals in two photography-themed exhibitions from 1933 to 1937, contends that those working on these shows not only rejected but also appropriated and transformed modernist practices and principles. This process of appropriation and transformation points to a more ambivalent engagement with modernism than most current scholarship has acknowledged-one that shifts the photomurals{\textquoteright} political stakes from the realm of subjugation, where the images are generally positioned in existing literature, to that of participation. Chapter three, which concerns health exhibitions staged between 1935 and 1939, addresses how these shows placed representations of bodies in dialogue with a spectator{\textquoteright}s own body, and how such modes of dialogue may have contributed to reshaping a spectator{\textquoteright}s relationship to the "people{\textquoteright}s body" of the so-called Volksgemeinschaft. A key argument advanced by this chapter is that the formal features of exhibition spaces belied an attempt to elicit divergent modes of spectatorship vis-a-vis representations of "good" bodies (i.e., bodies positioned as "Aryan") and "bad" bodies (i.e., bodies that supposedly threatened the so-called German race). The final chapter of this dissertation considers how the concept of fragmentation (i.e., the failure of an object{\textquoteright}s or environment{\textquoteright}s various parts to come together as an "organic unity") became mobilized in three exhibitions between 1937 and 1942 that vilified the so-called Jewish-Bolshevist enemy. While fragmentation had a well-entrenched function in Nazi visual culture of signifying the disunity and chaos of the "Other," this chapter investigates how fragmentation went beyond signifying "Otherness." In particular, it asks how fragmentation became used to elicit a set of experiences for spectators in order to make them feel and think differently about themselves in relation to the Jewish-Bolshevist "Other" represented or otherwise alluded to in an exhibition space.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Decorative Arts/Textiles/Design History}, author = {Tymkiw, Michael} } @mastersthesis {11805, title = {Never an Alibi: The Dialogical Museum}, year = {2014}, school = {IDSVA}, abstract = {Bakhtin{\textquoteright}s concept of the dialogical has recently entered the museum world where it is sometimes understood as a communication tool between museums and visitors. While Bakhtin highlights the position of author and hero, it must be noted that the dialogical is not a dyadic but a triadic phenomenon, which is to say, it is through the plurality of autonomous voices, independent from the authorial discourse, that dialogue is actualized. This dissertation argues that Bakhtin{\textquoteright}s dialogism can serve as a model for the contemporary museum as it seeks to give itself new relevance in the wake of Poststructuralism. It is specifically concerned with the contested issue of authority in the museum space. Instead of viewing authority as a form of power and control, the Bakhtinian perspective is predicated on an architectonics of co-authorship allowing a myriad of voices to interact simultaneously. That isn{\textquoteright}t to say that every voice is the same or, no voices will be heard. Architectonics, which is the distinguishing feature of Bakhtin{\textquoteright}s dialogism, is an exchange within the boundaries of ratio and proportion while at the same time being open to change. Bakhtin{\textquoteright}s concept of authoring changes the way we experience museums as it rejects the centrality of voice, be it the institution{\textquoteright}s, the collection{\textquoteright}s or the visitor{\textquoteright}s. Significantly, dialogism emphasizes the ethical call of signifying other identities and rendering them complete. Thus understood, dialogism anchors the museum as a place where intersubjectivity can be explored, experienced, and learned. A corollary claim is made for artist interventions in the museum space as a way to break through the institution{\textquoteright}s hegemonic structure. Drawing from museums and artists as well as critical theory and philosophy (Bakhtin, Kristeva, Foucault, Ranciere, Agamben, etc.) this dissertation seeks to redefine notions of authority, subjectivity, community, participation and experience in contemporary art and museum.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Bogaard, Cornelia} } @mastersthesis {11871, title = {Offer him gold; that is true love{\textquoteright}: Ottonian Gold Repousse and the Western Medieval Church Treasury}, year = {2014}, school = {IFA/NYU}, abstract = {This dissertation explores the significance, function, and history of Ottonian gold repousse within the context of the Western medieval church treasury (a.k.a, the thesaurus). First, the operation of the church treasury, from roughly the Carolingian era through the first half of the thirteenth century (i.e., the Early and High Middle Ages), is described. The function of the church treasury, a dynamic ensemble comprising the objects, books, vestments, and textiles necessary for both Christian cult performance and the adornment of sacred space, encompassed the liturgical, the economic, and the political/memorial. The preciousness, both earthly and otherworldly, of treasury objects is most overtly signaled in the conventions of their storage. The dissertation therefore gathers a succinct architectural history of the treasury chamber (which could double as a sacristy and/or vestry). Consideration is also given to cupboards, armaria, relic shrines and altarpieces, and other types of liturgical storage furniture. Next, the dissertation surveys the history, function, and generic conventions of church treasury inventories from roughly c. 800 to c. 1250. Finally, the dissertation turns to a worked precious metal--gold--to see how it mattered within the context of the church treasury. The multi-registered existence of gold was reflected, practiced, and maintained not only in the phenomenon of the church treasury, but also in the compositional and stylistic use of hammered gold in the objects themselves. Specifically, I argue that Ottonian metalwork, drawing upon Late Carolingian precedents, initially prioritized the use of gold for presentational ends--that is, early Ottonian precious-metal objects, even when worked with low-relief figural repousse, emphasize the presentation of gold as a stuff to be admired (as opposed to a medium for images). However, a shift occurs during the eleventh century, from which gold begins to be used for more representational purposes (i.e., as a platform or medium for images). Metalwork images become either more plastic (via hammering into higher relief) or, in the second dimension, more painterly (via the development and application of champleve enamel). By c. 1100 the earlier Ottonian preference for pure-gold repousse gives way to a preference for silver and copper-alloy, both gilt and non-gilt.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Ackley, Joseph} } @mastersthesis {11877, title = {Offering the Sacred Word: Alcuin, Charlemagne, and the Gospels of Sta. Maria ad Martyres (Trier, Stadtbibliothek, Cod. 23, 122a/b)}, year = {2014}, school = {Delaware}, abstract = {The Gospels of Sta. Maria ad Martyres (Trier, Stadtbibliothek, Cod. 23, 122a/b), a Carolingian manuscript of ca. 800, contains a dedication poem mentioning Albinus, the Anglo-Saxon scholar Alcuin, as its author and donor of a two-part gift to a king, traditionally identified as Charlemagne, ruler of the Franks and Alcuin{\textquoteright}s friend and benefactor. The manuscript{\textquoteright}s luxurious, albeit decidedly non-classicizing, appearance disrupts the dominant interpretative paradigm, long associating the period of Charlemagne with the longing to revive a lost roman imperial tradition and its distinctive classical mode of visual expression. As such, the Trier manuscript has been relegated to a realm of secondary relevance in the scholarly discourse on Carolingian book production, and presumed to be a copy of the now lost original gift, regardless of the lack of known precedent for this practice. This dissertation problematizes this marginalization through a systematic investigation of the manuscript{\textquoteright}s textual and pictorial components, and proposes a likely place and context for its production. The closing years of the eighth century witnessed the Carolingian elite{\textquoteright}s engagement with complex issues pertaining to Frankish tradition, orthodoxy, and conversion, which unfolded against a rapidly changing political landscape involving the papacy, the declining Roman Empire based in Constantinople, and the rising Caliphate. It is against this multi-layered backdrop that Alcuin{\textquoteright}s own anxieties and projected aspirations of Frankish leadership of the Imperium Christianum begin to emerge, and necessitate Charlemagne{\textquoteright}s embracing Christ as the sole acceptable model of rulership. Alcuin{\textquoteright}s promotion of christomimesis allowed for the simultaneous exaltation and admonition of the Carolingian ruler, and provides a compelling filter through which other prominent aspects of Charlemagne{\textquoteright}s reign can be reassessed, including the design of the Aachen chapel, the imperial coronation of Christmas Day 800, and the Trier codex. This dissertation makes a strong case for the recognition of the Gospels of Sta. Maria ad Martyres as the gift mentioned in the dedication poem, and not as a later, and lesser copy of this offering. In the process, this study directly engages with, and disrupts interpretative paradigms that have long dominated the scholarship on Carolingian art and thought, highlighting the need for an overdue revision of distorting and anachronistic projections, which fail to account for the totality of the remaining evidence and its undeniable diversity. The approach presented in this dissertation can therefore be productively applied to other works from this period whose appearance, format or contents have long been unsatisfactorily sidelined by modern scholarship, and therefore help paint a truer, more reliable picture of artistic production and patronage at the time of Charlemagne.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Lachat, Isabelle} } @mastersthesis {11787, title = {The Opulent City and the Sylvan State: Art and Environmental Embodiment in Early National Philadelphia}, year = {2014}, school = {Temple}, abstract = {This dissertation investigates the ways in which Philadelphia artists and architects visualized, comprehended, and reformed the city{\textquoteright}s rapidly changing urban environment in the early republic, prior to the modern articulation of "ecology" as a scientific concept by late nineteenth-century naturalists such as Ernst Haeckel. I consider a variety of different media-including popular depictions and manifestations of Penn{\textquoteright}s Treaty Elm, fireplace and stove models by Charles Willson Peale, architectural designs for the Philadelphia Waterworks by Benjamin Henry Latrobe, and a self-portrait bust by the sculptor William Rush-in order to demonstrate that the human body served as a powerful creative metaphor in Philadelphia circa 1800, not only for understanding and representing natural processes in political or aesthetic terms, but also for framing critical public discourse about the city{\textquoteright}s actual environmental conditions. Specifically, I reveal how this metaphorical framework produced a variety of effects in art and architecture of the period, sometimes facilitating and at other times obscuring an understanding about the natural world as an arena of dynamic transformation. By revealing the previously unexplored environmental significance of the objects in question, my dissertation asserts that ecological change played an instrumental role in shaping artistic production and urban development in the decades following United States independence.}, keywords = {Art of the United States}, author = {Igoe, Laura Turner} } @mastersthesis {11757, title = {Ornament and Identity in the Immigrant-Built Tenements of Boston and New York, 1870-1920}, year = {2014}, school = {Boston}, abstract = {During the Gilded Age, the use of elaborate architectural ornament extended to the facades of tenements built for the working class in Boston and New York. Yet these lavish "decorated tenements," which used industrially-made ornament, did not represent the established view of how a tenement should look. Elite architects, prominent citizens, and housing reformers almost universally created spartan buildings when designing for these classes. In contrast, most of the decorated tenements were built by immigrant entrepreneurs, who remade the landscape of their communities in a way that challenged the notion of tenement districts as sites of unmitigated austerity. The dominant narrative on housing in this period derives from a reform literature that has focused on elite experiments in building and on regulating architecture for the poor. This study, instead, utilizes extensive vernacular architecture fieldwork methods and documentary research to put the more common decorated tenement at its center. The immigrant builders of these structures demonstrated their accommodation to an American landscape of material prosperity by using ornament to tap into longstanding associations with stability, power, and, surplus. In doing so they created an identifiable building type that represents an intersection of European sensibilities, industrial production, American material surplus, social striving, and cultural aspiration. As chapter one demonstrates, the antebellum period saw the rise of explicitly classed landscapes for the working class. Full of worn-out buildings these neighborhoods were dismissed as {\textquoteright}slums.{\textquoteright} Chapter two examines the complex web of people who built the decorated tenement, immigrant builders, and architects who largely wiped away the physical severity of the slum. Chapter three explores the design and decoration of the tenement, describing the ways in which ornament was used on these buildings, its production, cost, availability, and meanings. The decorated tenement was part of a wider phenomena described in chapter four in which forms formerly associated with the working class were replaced with industrially-made goods in styles associated with the elite. Chapter five details how the Arts and Crafts movement for aesthetic purity corresponded to the social and cultural simplicity manifested in the housing reform movement.}, keywords = {Architectural History/Historic Preservation}, author = {Violette, Zachary} } @mastersthesis {11873, title = {Ornament as Argument: Textile Pages and Textile Metaphors in Medieval German Manuscripts (800-1100)}, year = {2014}, school = {Toronto}, abstract = {This dissertation explores notions of ornamentation and issues of materiality in early and high medieval manuscript illumination. Focusing on ornament that evokes the weave patterns of Byzantine and Islamic silk in tenth and eleventh century manuscripts from Echternach, Einsiedeln, Reichenau, and elsewhere, this study argues that-in specific contexts-ornament has meaning and serves functions that go beyond mere decoration. The dissertation contextualizes so-called textile pages in the codicological and iconographic structure of the manuscripts in which they appear and examines them in light of exegetical texts that discuss the function and metaphoric meaning of matter in religious art. After the first chapter clarifies the formal relationship between medieval textiles and textile ornament, the subsequent chapters bring the ornamental images together with various textile metaphors. From such a reading of textile iconography emerge three major strands of meaning: the notion of scripture as a veil of revelation, the Incarnation as a symbolic garment, and textile-ornamented manuscripts as the corporeal book-bodies of scripture. In addition to an investigation of the allegorical meaning of textile ornament, a discussion of the function of physical matter in private meditation and the liturgy opens new perspectives on the utility and necessity of physical props for contemplative and liturgical purposes in medieval worship.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Bucheler, Anna} } @mastersthesis {11950, title = {Painting for the Collective: Art, Politics, and Communication in Russia, 1918-1932}, year = {2014}, school = {Northwestern}, abstract = {During the Cold War, the western literature on Russian art described Soviet realist painting as a product of totalitarianism. Recent scholarship, however, has demonstrated that many Soviet artists came to voluntarily support the development of a socialist realism, and that their support fostered an open public debate about the political function of such an aesthetic. The question of why these artists agreed that a turn to realist painting was necessary has, until now, remained unexplored. The evolution and political implications of realist painting within the Soviet and post-Soviet context cannot be adequately understood until this question is addressed. This dissertation demonstrates, through an analysis of art objects and archival material from the Soviet arts debates, that realist painting was accepted as central to socialist culture, because of its perceived potential to help maintain a space for politics within industrial modernity. Chapters one, two, and three demonstrate that the platform in support of painting developed out of an unprecedented agreement between a group of Modernist artists and the group of realist painters who would go on to found the Association of Artists of Revolutionary Russia (AKhRR). The members of these factions concurred that the abandonment of non-utilitarian forms of art in favor of experiments with the objects and processes of industrial production, which the Constructivist/Productivists advocated, could lead to the destruction of the proletariat, thus rendering the development of a socialist collective impossible. AKhRR argued that only a realist aesthetic that mimicked the substance and form of the human figure could help the new Soviet man resist the instrumentalizing effects of industrial technology. Chapter four demonstrates that while the Modernist painters agreed that a recognizable realism was necessary, their work was critical of AKhRR{\textquoteright}s mimetic style. As such it offers insight into the limits of mimetic figuration as a collectivist aesthetic. Chapter five describes why the Constructivist/Productivists eventually conceded to AKhRR and Modernist painters{\textquoteright} position that realist painting was necessary for the collective, and begins to describe how the three factions{\textquoteright} shared interest in the transmission of information across broad expanses of space affected the further development of Soviet realist painting.}, keywords = {Twentieth-Century Art, Visual Studies/Visual Culture Studies}, author = {Lucento, Angelina} } @mastersthesis {11885, title = {Paintings of Foreigners in Eighteenth-Dynasty Theban Tombs, 1550-1372 BCE}, year = {2014}, school = {Emory}, abstract = {In ancient Egypt, one of the primary roles of the king was to maintain order and destroy chaos. Since the beginning of Egyptian history, images of foreigners were used as symbols of chaos and thus shown as captives being bound and trampled under the king{\textquoteright}s feet. The early 18th dynasty (1550-1372 BCE) was the height of international trade, diplomacy and Egyptian imperial expansion. During this time new images of foreigners bearing tribute became popular in the tombs of the necropolis at Thebes, the burial place of the Egyptian elite. These tribute-bearing foreigners carry luxury goods, which serve as symbols that underscore the tomb owner{\textquoteright}s wealth and access to such products. The tomb owner is thus considered a figure of prestige, as he is present in these scenes and is associated with the king and international affairs. Foreigners, who are inherently chaotic according to traditional Egyptian ideology, are represented in an orderly fashion in these scenes. This not only shows the ability of the Egyptian state to impose order on foreign lands, but these images are symbols of the tomb owner{\textquoteright}s ability to overcome the chaos of death and achieve a successful afterlife.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Anthony, Flora} } @mastersthesis {11729, title = {Palaces on Main Street: Thomas W. Lamb, Rapp \& Rapp, John Eberson, and the Development of the American Movie Palace}, year = {2014}, school = {Virginia}, abstract = {This dissertation is a thematic examination of the movie palace focusing on the three leading firms specializing in the type{\textquoteright}s design, those founded by Thomas W. Lamb, C.W. and George Rapp, and John Eberson. Movie palaces are commonly held as quintessentially American buildings, "democratic institutions" developed to attract the middle class by providing a respectable site for the interaction of audiences of differing social-economic classes. This study reaches beyond this well-recognized role; reevaluating the type{\textquoteright}s evolution and studying overlooked aspects. First, it provides a much-needed comprehensive survey of the Lamb, Rapp, and Eberson firms, examining aspects of their backgrounds that impacted movie palace development. Second, it reveals the movie palace{\textquoteright}s emergence and subsequent evolution as a continual process of one-upmanship among a handful of competing architectural firms. Lamb, the Rapps, and Eberson led this process, successively producing the major design innovations that fueled the type{\textquoteright}s development, which were adopted and further adapted by other movie palace architects. Third, it establishes the type{\textquoteright}s role as a tastemaker, exposing and educating moviegoers about historical and modernist varieties of art, architecture, and furnishings. This influence was most notable in relation to the domestic interior, where the type was marketed as a vehicle by domestic reformers to promote better taste and to Americanize its working-class, ethnic, and immigrant audiences. Finally, it examines the type{\textquoteright}s widespread transmission overseas as a notable episode within the narrative of the internationalization of American architecture. The Lamb, Rapp, and Eberson offices were at the center of this process, which encompassed both their own foreign commissions and the influence that their work in the United States yielded over their counterparts abroad. Throughout, the dissertation challenges a tendency to examine movie palaces in isolation by contextualizing them as products of the fast-evolving motion picture industry with its constantly evolving stylistic, functional, and technological requirements, and as a response to local conditions. This approach not only illuminates the contributions of the leading movie palace designers but also better integrates the type into the narrative of 20th century architectural history.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Fox, Jason} } @mastersthesis {11736, title = {Patronage in the Re-Christianized Landscape of Angevin Apulia: The Rebuilding of Luceria Sarracenorum into Civitas Sanctae Mariae}, year = {2014}, school = {Toronto}, abstract = {This dissertation examines the early fourteenth-century architecture, art, and urbanism of Lucera in Apulia, a city that for most of the thirteenth century served as the only Muslim settlement on the Italian peninsula until its violent purge and destruction by the king of Naples on August 15, 1300. As a city that was suppressed, repopulated, and rebuilt within the span of two decades, Lucera is unique and facilitates a case study that bridges scholarship on the art and architecture in southern Italy, urbanism, multiculturalism, and the emergence of states. This interdisciplinary work argues that Lucera{\textquoteright}s destruction and reconstruction were due to the rise of an Angevin state and investigates how the repopulated city{\textquoteright}s art and architecture were affected by the priorities of consolidation and centralization. This dissertation emphasizes the growth of Angevin cities as social and historical phenomena within an analysis of their built environments and the art forms that inhabited them. The most fundamental question raised is how did the emergence of the centralized Angevin crown, the same force that willed the end of Muslim Lucera and its subsequent reconstruction, affect architectural production as well as the dissemination of artistic styles throughout the kingdom? In addition, what was the relationship between arts on a smaller scale, many examples of which were "imported" from regional artistic centers, and buildings, which largely were vernacular constructions? This dissertation argues that the links between political centralization, building production, and artistic circulation within the Angevin South were inextricable. It reaches three fundamental conclusions: the development of an Angevin state meant that a large population of visible religious and ethnic minorities at Lucera was seen as detrimental to political, social, and cultural consolidation, necessitating a purge; the group of outsiders was located within an economically important region of the kingdom, prompting an immediate reconstruction to complete a network of urban centers that had begun three decades earlier; and the same commercial and diplomatic networks of which rebuilt Lucera formed one of the final pieces facilitated the circulation of materials, individual expertise, and art work employed to build, govern, and furnish the reconstructed city. In essence, this dissertation provides a history of the Angevin state through a detailed examination of Lucera{\textquoteright}s art and architecture rather than providing purely monographic histories of each object.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Harper, Alexander} } @mastersthesis {11766, title = {Performativity{\textquoteright}s Moment: Vogue, Queer Video Production, and Theoretical Discourse}, year = {2014}, school = {Pennsylvania}, abstract = {Performativity{\textquoteright}s Moment: Vogue, Queer Video Production, and Theoretical Discourse examines filmic depictions of voguing, a dance form from Harlem{\textquoteright}s queer subculture that rose to mainstream popularity circa 1990, and voguing{\textquoteright}s persistent association with contemporaneous performativity theory, particularly that of Judith Butler{\textquoteright}s 1990 book Gender Trouble: Feminism and the Subversion of Identity. While the ubiquitous scholarly focus on performativity speaks to voguing{\textquoteright}s significance as a touchstone for histories of theoretical discourse in the early 1990s, voguing{\textquoteright}s larger significance within queer visual cultures has been insufficiently explicated. Through case studies of Jennie Livingston{\textquoteright}s Paris Is Burning (1990), Marlon Riggs{\textquoteright} Tongues Untied (1989), and Rashaad Newsome{\textquoteright}s voguing videos from 2008 to the present, Performativity{\textquoteright}s Moment examines voguing as a means of self-presentation, as a conceptual and aesthetic framework, and as a proxy for rhetorical strategies surrounding performativity{\textquoteright}s moment. Using the words of ballroom community members, visual records of ballroom history, and the historiography of ballroom{\textquoteright}s entrance into academic literature, Performativity{\textquoteright}s Moment considers ballroom community theorization as a key influence in the development and revision of gender performativity theory, culture wars discourse, and popular notions of identity formation and performance. Examination of these materials reveals that ballroom theory and practice offer an embodied, subcultural critique of the notions of gender, self, and identity so crucial to the circa 1990 moment. In particular, voguing{\textquoteright}s emphasis on stilling and framing the body embody and abstract ballroom{\textquoteright}s practices of self-definition and self-representation while complicating easy correlations between ballroom, performativity theory, and culture wars discourse. Consideration of Paris Is Burning suggests that its depiction of voguing shows an embodied critique of the conditions of performance, while voguing in Tongues Untied proves to critique the oppositional politics of the culture wars through a radically open vision of community. Finally, Rashaad Newsome{\textquoteright}s work manifests the developments in voguing and in ballroom community traditions of the decades post 1990, while signifying on voguing{\textquoteright}s ongoing relationship with performativity{\textquoteright}s moment.}, keywords = {Art of the United States, Contemporary Art}, author = {Trench, Carolyn J.} } @mastersthesis {11767, title = {Photographing Place: Urban Space in Catherine Opie{\textquoteright}s Los Angeles Landscapes}, year = {2014}, school = {Stony Brook}, abstract = {Catherine Opie achieved success and notoriety during the 1990s for several controversial photographic series of herself and members of her LGBT community that explored themes of sexuality, gender, and identity. She also, however, built a contemporaneous body of work throughout the 1990s comprised of landscape series. These images embraced a cool stoicism and deadpan aesthetic that contrasted the intimacy and dissidence of Opie{\textquoteright}s portraits, as well as the early branding of her as a contemporary provocateur. They therefore received little scholarly attention. More recent renewed interest in Opie{\textquoteright}s landscapes is largely inspired, retrospectively, because images of place have now overtaken images of people within her oeuvre; however, much of the commentary attempts to relate the landscapes to the portraits without supplying sufficient analyses of the landscape series themselves. "Spatial identity" has become a catch-phrase for characterizing the themes within Opie{\textquoteright}s work, and most critics do not probe further than to state that place and identity are simply "related" for Opie. This dissertation analyzes Opie{\textquoteright}s early landscape series in order to amend an oversight within the existing scholarship, as well as supply the necessary grounding to discuss the relationship between place and identity in her work. Focusing primarily on Opie{\textquoteright}s landscapes of the 1990s, this dissertation argues that her seemingly indifferent imagery of depopulated and banal places-freeways, mini-malls, and suburban housing developments-responds to the specific sociopolitical climate of Los Angeles, as well as to the cultural milieu of the millennium that anticipated an increasing physical alienation in the context of new virtual technologies. Ultimately, I argue, Opie{\textquoteright}s works demonstrate how identity is a product of regionalism, and that both literal geographical place and abstract space are germane to self-ideation. Her landscapes are therefore not simply about place, but about the self and its multiplicity within forever shifting contexts.}, keywords = {Art of the United States, Contemporary Art}, author = {Woltmann, Kim} } @mastersthesis {11788, title = {Place and Identity in the Work of Three Japanese American Artists: Kenjiro Nomura, Kamekichi Tokita, and Takuichi Fujii}, year = {2014}, school = {University of Washington}, abstract = {During the 1930s, Kenjiro Nomura, Kamekichi Tokita, and Takuichi Fujii, immigrants from Japan, were regarded as peers among Seattle{\textquoteright}s advanced artists. Having made their home in the United States, Nomura (1896{\quotesinglbase}{\"A}{\`\i}1956), Tokita (1897{\quotesinglbase}{\"A}{\`\i}1948), and Fujii (1891{\quotesinglbase}{\"A}{\`\i}1964) established their artistic practice in the Western oil painting tradition and were received as American modernists among the mainstream art community. Their paintings of their adopted home won prizes in regional competitions, earned them invitations for solo exhibitions at the Seattle Art Museum, were selected for national juried exhibitions in the San Francisco Bay Area, and were exhibited in New York and Washington, DC. Like hundreds of American artists who were well recognized in their time, however, their names have mostly been forgotten and their accomplishments overlooked. Yet the reasons for this erasure are more complicated than those for artists of European descent. Japanese immigration history and restrictive American laws, the forced removal from the West Coast of all people of Japanese ancestry during World War II, and modernism{\textquoteright}s racial categorizing all contributed to the reception, disruption, physical loss, and eventual neglect of their work. This dissertation establishes an account of the artists{\textquoteright} production during the fullness of their activity in the interwar years and demonstrates their agency in constructing their identity and representation. It is the first in-depth study of these artists collectively and has been undertaken to examine and exemplify the interweaving of individual social and cultural histories, regional history, place, and artistic production. Their production is considered in terms of individual identities that derive from the particularities of their generation, specific cultural and immigration histories, the Seattle Japanese community in which they lived, the larger Seattle region in which they participated, and the universalizing artistic modernism to which they aspired. It reclaims and critically examines their artistic contribution, sharing in the broader undertaking to disrupt, complicate, and expand the canonized history of American art.}, keywords = {Art of the United States}, author = {Johns, Barbara} } @mastersthesis {11779, title = {The Place, Space, and Practice of Andrew Wyeth{\textquoteright}s "Hay Ledge"}, year = {2014}, school = {UC Berkeley}, abstract = {The works of the American painter Andrew Wyeth (1917-2009) have for many decades been subjects of contentious debate among historians and critics of art. The great majority of these scholars have tacitly agreed, however, that Wyeth{\textquoteright}s works are simple matters-that be they good or bad, "artistic" or "illustrative," innovative or apish, "modern" or "traditional," they are obviously or self-evidently so. Such beliefs are implied, at least, by the practice of withholding from publication the concrete observations about individual works upon which broad, totalizing claims about Wyeth and his practice have been reached. Intending to correct this mistaken belief about the simplicity and uniformity of Wyeth{\textquoteright}s work, this dissertation enacts a sustained encounter with a single painting-Hay Ledge (1957)-working at length over the course of three close-knit chapters to demonstrate 1) the formal, conceptual, and sentimental depth of this particular work, 2) the fact that Wyeth{\textquoteright}s art practice changed over time, and 3) the complexity of the cultural contexts to which that practice responded and in which Wyeth{\textquoteright}s works in general, and Hay Ledge specifically, have been received and appraised. It thereby begins to bring Wyeth{\textquoteright}s practice into a more stable, balanced light, thus enabling scholars of art and culture more broadly to reconsider an historically significant phenomenon that they might previously have found too opaque or too polarizing to engage.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Harvey, Edwin} } @mastersthesis {11804, title = {Place-Produced Thought: The Agency of Place and the Co-Production of Knowledge in Heidegger, Baudrillard, and Others}, year = {2014}, school = {IDSVA}, abstract = {Place has been a central consideration in much philosophical discourse since at least the ancient Greeks. This dissertation will argue, however, that in certain instances in the history of thinking, place has played a significant and unique role, one beyond typical considerations. In these specific intellectual projects, place is a method for situating and focusing the development of thought. This relationship with place produces a particular type of thought, one that ontologically fuses place and thinker together. I regard this merger as a topographical convergence of situated contemplation that creates a localized episteme, or in other words, "place-produced thought." Within this reciprocal relationship between place, thinker, and thought, I argue that the agency of place plays a far more significant role than it is routinely ascribed. Throughout this thesis, I also argue for the distinctive possibilities of indigenous knowledge. Much of this argument is built upon certain instances of thinking with/in place, in which the place itself asserts its agency and influence into the actual production of thought. My argument is constructed in a manner that illustrates how this relationship between thinker and place is much different than other approaches of creating a relationship with one{\textquoteright}s surroundings. Finally, I have tried to elucidate the innovative and irruptive possibilities for place-produced thought -important sources of new identities, thoughts, boundaries, and modes of being. In an increasingly globalized and technological world, the potential value and efficacy of such thought needs to be considered.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Blair, Gregory} } @mastersthesis {11959, title = {The Politics of Display: Exhibiting Modern German Art in America, 1937-1957}, year = {2014}, school = {Indiana}, abstract = {This dissertation explores how exhibitions were influenced by and responded to four political events or discourses that defined German-American relations between 1937 and 1957. First, it considers how the atmosphere of appeasement and isolationism in the late 1930s encouraged curators to frame exhibitions of German art as "apolitical" and to avoid displaying works by German artists known for political activism. Second, it contends that the National Socialists{\textquoteright} "degenerate art" campaign of 1937 and 1938 led to the privileging of Expressionism (the prime target of Nazi cultural defamation) in American exhibitions held before and during the Second World War. Third, it suggests that domestic controversy over German and Jewish refugees provided impetus for curators to invoke the concept of exile when displaying modern German art, but to downplay the German cultural identities of exiled artists in exhibitions held during the war. Finally, it asserts that the postwar presentation of German modern art was significantly shaped not only by the politics of the Cold War, but by the lack of public discourse about the Nazi legacy in the postwar period. The findings and assertions of this dissertation complicate standard reception histories of German modernism and draw attention to moral ambiguities inherent in its presentation in these two decades. My conclusions are based upon extensive archival research, and the analysis of exhibition checklists, installations, catalogue texts, and critical reviews.}, keywords = {Twentieth-Century Art}, author = {McComas, Jennifer} } @mastersthesis {11738, title = {Pompeian Peristyles: Form, Function, and Meaning}, year = {2014}, school = {Iowa}, abstract = {This dissertation expands upon previous analyses of the social functions of Pompeian domestic architecture by articulating the essential role of the peristyle garden in communicating the status of the homeowner while structuring the interactions of residents and visitors with the art and architecture both of the peristyle itself and with the house as a whole. Peristyles provided light, air, and circulation space for the home, but their aesthetic function was just as significant; embellished with painting, sculpture, fountains, and plants, peristyles were important centers of display. Although typically the largest and most lavishly decorated architectural space in a Pompeian house, the peristyle is often treated summarily in studies of Pompeian domestic architecture. This study fills a lacuna in scholarship, examining the architecture of peristyles in conjunction with the paintings, sculptural ensembles, and other features that adorned them. This synthetic approach to the material remains allows for an examination of peristyles as lived spaces rather than as collections of disparate decorative elements. The dissertation is divided into four chapters, each focusing on a specific problem related to the design and function of peristyles. The first chapter presents the characteristic architectural and decorative features of true, or fully colonnaded, peristyles in Pompeian houses. The second chapter consists of two case studies of true peristyles that demonstrate the role and function of the true peristyle within the Pompeian house. These case studies articulate the function of the peristyle relating to issues of status, access, and display in the House of the Vettii (VI.15.I) and the House of the Lovers (I.10.11). The third chapter addresses the architectural and decorative features of truncated peristyles, or those that are not fully colonnaded. This chapter also addresses differences in size, architecture, and decoration between true and truncated peristyles. The fourth chapter uses the truncated peristyles of the House of Marcus Lucretius (IX.3.5) and House of the Vettii (VI.15.1) as case studies to assess the various roles of truncated peristyles within the domestic setting. Together, these chapters bring about a more complete understanding of the social and aesthetic function of Pompeian residences and how domestic art and architecture shaped the experience of the viewer, enhanced the prestige of the owner, and affirmed social hierarchy.}, keywords = {Architectural History/Historic Preservation, Greek/Roman Art}, author = {Trentin, Summer} } @mastersthesis {11923, title = {Posed and Deposed: Propaganda and Resistance in Carte-de-visite Photographs of Maximilian von Habsburg during Mexico{\textquoteright}s Second Empire (1864-67)}, year = {2014}, school = {Florida}, abstract = {In 1864, Austrian Archduke Maximilian von Habsburg was crowned Emperor of Mexico. This political experiment was supported militarily by Napoleon III of France and politically by a group of Mexican monarchists with the intention to bring peace and stability to Mexico after nearly half a century of war. In an effort to win over undecided factions of the populace to the Second Mexican Empire (1864-67), the Mexican monarchists undertook a propaganda campaign that included the distribution of thousands of carte-de-visite photographs of the soon-to-be Emperor Maximilian. Three years later, after the execution of Maximilian, another series of photographs circulated in the Americas and Europe. These were cartes-de-visite of Maximilian{\textquoteright}s body, his personal effects bloodied from execution, and the locations associated with his death. Portraits of Maximilian are some of the most iconic images of the time period, yet these photographs have received little scholarly attention. In this dissertation I investigate the role of carte-de-visite portraits of Maximilian in the rise and fall of the Second Mexican Empire. Over the course of this dissertation I argue that Maximilian{\textquoteright}s figure was posed to assert opposing perspectives. I show that these carte-de-visite portraits served as propaganda for the imperialistas and as calls to resistance for the republican opponents of the Second Mexican Empire. I argue that the affordable photographs of Maximilian, showing him posed like many middle-class men, contradicted the otherwise magnificent image promoted by the empire through high ceremony and pomp, and thus contributed to the empire{\textquoteright}s demise. I also assert that Maximilian added to the ambiguity that surrounded his political image by posing himself in a variety of fashions to suit his audience. I examine the carte-de-visite photographs of Maximilian{\textquoteright}s deposed corpse within a social context. I assert that the subsequent collectible memorial portraits were produced in part because people wanted to remember the political event, but also because of the mass mourning response inspired by the photographs associated with his execution in a decade of mourning mania. Finally, I demonstrate the legacy of Maximilian{\textquoteright}s portraits with later examples of cartes-de-visite that include portraits of revolutionaries, criminal corpses, and execution imagery.}, keywords = {Latin American/Caribbean Art, Nineteenth-Century Art}, author = {Laughlin, Eleanor} } @mastersthesis {11965, title = {Postmodern Warfare in Images: the Aesthetics of War Photography in the Late 1970s and 1980s}, year = {2014}, school = {IFA/NYU}, abstract = {My dissertation examines the photographic representation of war at the turn of the nineteen-eighties, taking up as a case study the Sandinista Revolution and the Contra War in Nicaragua (1978-1989). By applying art historical methods to the analysis of documentary photography and photojournalism, I seek to unravel the production of esthetic structures in contentious political climates, exploring the meanings of images as socio-cultural entities and their relation to memory. Nicaragua presents a compelling context for analysis, as documentary materials - including photographs, photo-books, films and various forms of non-fiction writing - were instrumental in forwarding both pro-war and anti-war agendas, motivating violent and non-violent strategies of resistance in turn. Located at the intersection of social upheaval and civil unrest, revolutionary idealism and nation-building processes, militancy, activism and human rights, these photographic objects speak to a transitional period during the late seventies and eighties, when important debates around documentary practices accompanied the emergence of critical theory and postmodern discourse in Latin America and in the United States. Throughout the Cold War, and more actively during the nineteen-eighties, a transnational network of Latin American, North American, and European photographers followed the development of revolutionary movements and civil wars in Central America. An extensive visual record ensued, documenting decades of instability, and some of the deadliest and most violent global conflicts from the second half of the past century. Unbound by territory, preserved in various repositories throughout the world, this inter-textual "imaginary archive" of documentary photography has rarely been analyzed in relation to broader contemporary esthetic practices. Through this study, I seek to recover and resituate some of the fragile objects contained, reconstructing the context of their making, and placing them in conversation once more, through the lens of history.}, keywords = {Twentieth-Century Art}, author = {Selejan, Ileana} } @mastersthesis {11782, title = {Powering a Nation: The Cultural Landscape of the Tennessee Valley Authority, 1933-1945}, year = {2014}, school = {Penn State}, abstract = {In the 1930s, the United States government embarked on several large-scale infrastructural water projects largely constructed by the Army Corps of Engineers and the Bureau of Reclamation. In May of 1933, a new Act created the Tennessee Valley Authority (TVA) to build a series of dams in the Tennessee River watershed that spanned seven states. From its inception, the TVA was controversial because it changed the influence that private business had over water rights, and paved the way for government regulation of electricity prices. This dissertation situates the visual dissemination of the TVA dams project through an examination of the role of its publicity as a modernizing tool in mid 20th - century America. Much scholarly work has explored the Tennessee Valley Authority from the perspective of its socio-economic effects and its contentious ecological ramifications, yet the Authority{\textquoteright}s rich visual culture has escaped prolonged scholarly engagement. This is surprising considering that the TVA was an explicitly visionary enterprise, time and again enlisting photographers to illustrate articles and books that would reach and teach citizens of the Tennessee Valley, the country, and other nations, about the modernizing goals of the project. The TVA promoted its projects via posters, documentary photographs and film, paintings, post cards, museum exhibitions, fair exhibitions, journals and newspaper articles. As the images shifted, so did the understanding and approval of the project, but the images needed to change frequently to keep up with public opinion. Public perception altered the way the TVA sought out a targeted audience in order to gain approval for a project that was constantly fighting legal battles in the Supreme Court (and more emotional battles in the impoverished and segregated rural south). The TVA blossomed during and after the Great Depression, but its endeavors in the fine arts and visual culture resonate beyond the immediate context of the New Deal. These activities point to a rethinking of the very concept of modernization. My research explores the confluence of these differing ideals and also their shifting focus-in all their richness and contradictions. Using the material cited above, I aim to investigate how the TVA defined its politics and asserted its agenda through visual means.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Sivert, Laura} } @mastersthesis {11772, title = {Presence in Print: William Hogarth in British North America}, year = {2014}, school = {Delaware}, abstract = {This dissertation addresses the ways in which the artist William Hogarth (British, 1697-1764) was present in eighteenth-century British North America without ever setting foot on its shores. Newspaper articles and advertisements, diaries and probate inventories all reveal the extent to which Hogarth{\textquoteright}s prints and aesthetic treatise took hold of the British-American imagination in the years surrounding the Revolutionary War. These objects clearly contributed to the development of humor, morality, and the American artistic scene more generally, yet their presence in America is virtually unexplored in both the scholarship on eighteenth-century American art and that related specifically to the British artist and his preeminent role in establishing a British school of art. In its evaluation of Hogarth{\textquoteright}s presence in the original thirteen colonies from as early as 1739, the dissertation considers the significance of this presence in the lives, material circumstances, and cultural outlook of colonials and early national Americans in British America into the early years of the nineteenth century. It gives special consideration to the reproducible role of print, both as text and image, in imbuing Hogarth with a currency extending far beyond the artist{\textquoteright}s natural sphere of influence. Just as newspapers from London made the journey across the Atlantic at the request of British-American merchants and statesmen, so too did cargoes made up of prints, and among them were engravings by Hogarth. Through cultures of print, Hogarth{\textquoteright}s name attained a level of familiarity in British North America so profound that it was adopted into the lingua franca with associations of narrative humor. I make a case for the importance of Hogarth{\textquoteright}s prints in the history of American art and their role in the formation of American cultural identities.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Terry, Colleen} } @mastersthesis {11742, title = {The Productive Unconscious: Architecture, Experimental Psychology, and Techniques of Subjectivity in Soviet Russia, 1919-1935}, year = {2014}, school = {MIT}, abstract = {This dissertation examines how Soviet architecture employed the achievements of experimental psychology in order to transform human subjectivity during the Interwar period, particularly in the years defined by the First Five-Year Plan of Economic Development (1928-1932). In this program of forced modernization, every resource including human muscular, intellectual, and emotional energy had to be channeled into the construction of an industrialized economy. Inspired by studies of unconscious, physiological responses to visual stimuli and by an accompanying turn to psychologism in the philosophy of science, Soviet architects, artists, and bureaucrats reinterpreted architectural work as the design of subjective perception, the purpose of which was to produce an energetic subject who would actively and efficiently participate in the implementation of the Plan. The dissertation examines three episodes in which Soviet architecture and design aspired to control the unconscious in order produce a new energetic subject. The first part explores the theoretical research on unconscious perception conducted by Nikolai Ladovskii{\textquoteright}s Rationalist architectural movement, which, following the philosophy of empiriocriticism, strove to economize the energy of perception. The second illustrates how the theory of the unconscious was tested and developed experimentally, assessing the program of wallpainting developed by architect Moisei Ginzburg, Bauhaus designer Hinnerk Scheper, and others as an artistic and architectural discipline that aspired to produce working energy. The third and final episode exemplifies how unconscious perception was put to practical use in the Moscow Central Park of Culture and Leisure under Beni Glan, where creative energy was evoked by material objects and the spatial environment.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Vronskaya, Alla} } @mastersthesis {11833, title = {The Proleptic Image: An Investigation of the Medium in Byzantium}, year = {2014}, school = {Yale}, abstract = {The Proleptic Image analyzes the articulations of the Byzantine icon{\textquoteright}s medium through a three-pronged investigation, considering: (1) the theological and philosophical underpinnings of the icon{\textquoteright}s materiality; (2) its spatial and sonic deployment in the Divine Liturgy; and, (3) its temporal unfolding within a Byzantine eschatological model. These three lines of inquiry are structured by a series of intellectual "collisions" between contemporary art historians, philosophers, theologians and their Byzantine counterparts. The Proleptic Image, as such, treats primary and secondary source material to equal close-reading and scrutiny so as to enfold the historiography of the Byzantine icon into an historical investigation of wall-painting, mosaics, and manuscripts. This methodology enables an exploration of the theoretical manifestation of religious images in Byzantium through a mutually rigorous analysis of how the icon has unfolded in contemporary scholarly imagination and discourse. Chapter one opens the question: What is the medium? This chapter produces a mutual study of the intellectual history of the medium in art historical discourse and its articulation in Byzantine sources. Post-iconoclastic image theory stressed the image as a replicable type (typos) through which the circumscribable humanity and uncircumscribable divinity of Christ could be perceptually manifested. Thus, Byzantium utilized the notion of typos as the mobilizing strategy of image production in manners that expanded the terms of the image beyond any specific technical support. Through a rigorous analysis of art historiography in the past thirty years, particularly regarding pre-modern images, this chapter analyzes the tacit intellectual tradition of the medium in the writings of medieval art historians and its effects on the field. Chapter two focuses on the liturgy and its performance in order to consider the manifestation of the medium in its actuality. Here prolepsis takes on a definition akin to that of habitus, as a system of belonging that trains the viewer into enacting the rules of the medium and its image. In the late-eleventh century, Byzantine Gospel lectionaries evidenced a flourishing of figural initials and accompanying marginalia alongside elaborate miniatures. These initial images often stress the orality and aurality of the text while visualizing the very words they form and elucidating their syntactical structure. As functional texts in the Liturgy, these illuminations have perplexed art historians, who have dealt with these images as lavish ornamentation for elite patronage. Nevertheless, the mass eruption and short duration of such images in a period that saw the production of significant image theory and liturgical commentaries suggests that such images function beyond mere contemplation, indexing the complex of practices and perceptions of the image-text that relate directly to questions regarding the manifestation of forms through the bodies and actions of the liturgical celebrants. In these texts, the medium of the divine image is the body of the priest and clergy, who must giving up their literal voice and form for the manifestation of Biblical time and the narratives being manifested through their performance of the rite. This chapter addresses various fundamental questions regarding Byzantine illumination and the liturgy: Why were liturgical manuscripts illuminated? How do images on the margins of perception function? In chapter three, the question of time in the proleptic comes to the forefront through a comparative study of eschatological thinking in Byzantium and the West. While not exceptional, depictions of the Apocalypse are not common in Byzantium. Most extant depictions emerge in provincialized places, such as Cappadocia; usually where contact with the Western, Latin Church is prominent, as in Lusignan Cyprus and Torcello. The Second Coming is addressed in liturgical commentaries and exegetical texts, yet its manifestation is often derived through synecdoche; for example, interpreting the Christ in the dome as the Christ in Judgment. Here it is argued that the scarcity and deployment of the Byzantine Last Judgment effected a unique Byzantine temporality. The Latin Church{\textquoteright}s future-driven Last Judgment operates on an event-based history that is to come, whereas the Greek Church conceives of history as a perpetual fulfillment, as a present-oriented state of manifestation. This temporality is articulated as prolepsis-a state of the now that retrieves the future into the present. This chapter asks: How does one{\textquoteright}s futurity constitute the now? How do these almost imperceptible differences constitute the/a trajectory of Western historiography?}, keywords = {Critical Theory/Gender Studies/Visual Studies, Early Christian/Byzantine Art}, author = {Betancourt, Roland} } @mastersthesis {11869, title = {Real Presence, Iconic Images, and Iconoclasm from Byzantium to the Reformation}, year = {2014}, school = {Virginia}, abstract = {This dissertation examines the relation of iconic images to Real or spiritual presence, analyzing key debates and exemplary case studies in a long history of controversy, from the iconoclastic period of eighth and ninth centuries in Byzantium to the Reformation in Italy of the sixteenth. The focus is the icon of Christ{\textquoteright}s Passion-what became the imago pietatis in the Latin West and the related pieta - examined as a site of cultural conflict, theoretical reflection and artistic negotiation. The study begins with the icon{\textquoteright}s development in Byzantium, emerging in the wake of religious conflict, and examines its cultic appropriation in Italy, where it becomes bound to controversy as the Eucharistic vision of Gregory the Great. It culminates in the icon{\textquoteright}s transformation by Renaissance artists in the sixteenth century, when Reformation critique of cult images as mediators of spiritual presence lay at the center of a crisis that would define modern Europe. By articulating a shared history of spiritual imaging between Byzantium and Italy, my study offers an alternative to canonical narratives of artistic progress that cast them in hierarchical terms, contributing to a reevaluation of Renaissance art history currently underway. Attending closely to the work of images in relation to their viewers - as mediations of presence, beyond their status as representation - the dissertation articulates the mutual interrelation of artistic and cultic functions, integrating realms of study traditionally divided in scholarship. More broadly, by setting Renaissance artworks within a longer historical dynamic of icons and iconoclasm, this study reflects upon the deep structure of tensions regarding images and idolatry that were formative to the thought and culture of early modern Europe, and continue to resonate with force in our day.}, keywords = {Early Christian/Byzantine Art}, author = {Kim, Anna Marazuela} } @mastersthesis {11958, title = {Recoding Capital: Socialist Realism and Maoist Images 1949-1976}, year = {2014}, school = {Duke}, abstract = {This dissertation examines the visual production of capital in socialist realist images during the Maoist era (1949-1976). By deconstructing the pseudo-opposition between capitalism and socialism, my research demonstrates that, although the country was subject to the unchallenged rules of capital and its accumulation in both domestic and international spheres, Maoist visual culture was intended to veil China{\textquoteright}s state capitalism and construct its socialist persona. This historical analysis illustrates the ways in which the Maoist regime recoded and resolved the versatile contradictions of capital in an imaginary socialist utopia. Under these conditions, a wide spectrum of Maoist images played a key role in shaping the public perception of socialism as a reality in everyday lives. Here the aesthetic protocols of socialist realism functioned to create for the imagined socialist world a new currency that converted economic values, which followed the universal laws of capital, into the fetish of socialism. Such a collective "cognitive mapping" in Fredric Jameson{\textquoteright}s words-which situated people in the non-capitalist, socialist world and inserted them into the flow of socialist time-rendered imperceptible a mutated capitalism on the terrain of the People{\textquoteright}s Republic of China under Mao. This research aims to build a conversation between the real, material space subordinated to the laws of capital and the visual production of imaginary capital in the landscapes of socialist realism, for the purpose of mapping out how uneven geographical development contributed to activating, dispersing, and intensifying the global movement of Soviet and Chinese capital in the cultural form of socialist realism. This study also illustrates how, via the image-making process, socialist realist and Maoist images influenced by Mao{\textquoteright}s romantic vision of the countryside were meant to neutralize this uneven development in China and mask its on-going internal colonialism. Through this analysis, I argue that, in the interesting juncture where art for art{\textquoteright}s sake and art for politics intersected, Maoist visual culture ended up reproducing the hegemony of capital as a means of creating national wealth.}, keywords = {Twentieth-Century Art}, author = {Lee, Young Ji} } @mastersthesis {11878, title = {Reconsidering the Career of Nicholaus Artifex (Active c.1122 -c.1164) in the Context of Later Twelfth-Century North Italian Politics}, year = {2014}, school = {Columbia}, abstract = {The present study revises the chronology of the twelfth-century North Italian artifex Nicholaus, whose signature appears on sculpture at the Sagra di San Michele, Ferrara Cathedral, Verona Cathedral, and San Zeno in Verona, demonstrating that his career began c.1122 in Piacenza, and ended in Verona around 1164, revising the c.1110 to c.1150 dating most recently proposed for this artist by various scholars. The best documentation for Nicholaus records that he was put in charge of supervising the construction and decoration of the new cathedral in Ferrara in 1135. His activity here seems to have ended only around 1150, at which time the interior of the cathedral was functional. With his atelier, he executed a monumental entranceway with a double-storied protiro on the south side of the church as well as on the facade, two smaller western portals, capitals and other architectural sculpture for the exterior and interior of the cathedral, and church furniture. In the early 1140s, Nicholaus{\textquoteright}s associates and possibly the artifex himself crossed the Alps in order to execute the corbel table sculptures on the apse of the imperial burial church at Konigslutter in Lower Saxony. Nicholaus and his atelier were in active in Verona by the 1150s. After 1164, having completing the western entranceway to the cathedral-the best preserved of Nicholaus{\textquoteright}s works-they began the construction of the entranceway at San Zeno. The elegiac tone of two signature inscriptions here indicates that Nicholaus is no longer active and most likely deceased. Artists here working in a late version of the Nicholaus style include Guillelmus known for his signature inscription and the Genesis Master, who executed the facade reliefs at San Giovanni in Venere in Fossacesia (Abruzzo), dated c.1190. The facade at San Zeno was assembled only c.1200 with the Wheel of Fortune window and famous bronze doors as well as the Nicholaus sculpture. It has long been agreed that certain subjects in the Nicholaus portal sculptures refer to the contemporary political scene. The reform policies of Pope Gregory VII supported by Matilda of Canossa inspired the subject of The Temptations of Christ depicted on the lintel at Piacenza Cathedral. Luigi Simeoni proposed that the formation of the commune of Verona in 1135 is celebrated by the scene on the lunette at San Zeno, which depicts Verona{\textquoteright}s patron saint in the midst of the Veronese troops. However, my research into the long-term relationship between Verona and the emperor has allowed me to conclude that the image on the lunette at San Zeno documents the formation in 1164 of the Veronese League, the forerunner of the Lombard League the actions of which would end Frederick Barbarossa{\textquoteright}s plan to make Northern Italy again part of the Empire. A second subject here, The Hunt of Theodoric, seems to have been chosen to insult Barbarossa, previously well received in Verona. My methodology can be described as follows: as I lacked firm documentary evidence for the dating of Nicholaus{\textquoteright}s Verona projects, because the subject matter seemed to reflect a particular historical situation the date of which allied with my stylistic analysis regarding the probable date of the sculptures, I used the date for that event as the terminus post quem for that work. Still to be examined and agreed upon by the scholarly community is the organization of the workshop with regard to the number of artists, who worked under the Nicholaus name, and the assignment of the individual sculptures to designated masters including the artifex himself.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Spiro, Anna} } @mastersthesis {11961, title = {Rediscovering Madrid through the Lens of Tourism: An Analysis of "La Luna de Madrid," 1983-1984}, year = {2014}, school = {IFA/NYU}, abstract = {The cultural sensation known as the movida madrilena has been a subject of fascination since its origins in Madrid throughout the late 1970s and 1980s. This dissertation examines one of its most famous products, the journal La Luna de Madrid (1983-1988). This dissertation explores examples of illustration and photography throughout the journal{\textquoteright}s first seven issues, from November 1983-May 1984. Concentrating on the use of strategies from tourism promotion, this framework reveals how visual elements work with text to encourage readers to become tourists of modern Madrid. Chapter One provides a background of how tourism images and messages have shaped perceptions of Spanish cultural identity from dictatorship to democracy, from the 1950s to the 1980s. Within this context, it is possible to understand the efficacy of tourism promotional tropes in portraying an attractive vision of Madrid in the journal{\textquoteright}s pages. Chapter Two emphasizes how the movida represented the positive changes developing in Post-Franco Madrid, leading local and regional political leaders to employ this phenomenon in programs focused upon cultural revitalization and civic participation. This chapter argues that the movida not only appears as the main cultural tendency of interest within La Luna de Madrid, but that its treatment within the journal allows it to be viewed as an attractive tourism destination. Chapter Three and Chapter Four provide close readings and in-depth visual analysis of certain repeated illustrated and photographic segments within La Luna de Madrid from November 1983-May 1984. By narrowing the research scope to these first seven months of publication, we can examine how patterns of viewing are established that encourage readers to contemplate selective historical and contemporary cultural trends in Madrid from the perspective of a tourist. The combination of text and imagery at work in La Luna de Madrid reinforces the efforts of the various creative practices of the movida while giving readers opportunities to participate in this cultural scene. This dissertation argues that experiments with the visual and rhetorical tropes of tourism in La Luna de Madrid attempt to foster favorable impressions of the Spanish capital{\textquoteright}s past and present.}, keywords = {Twentieth-Century Art}, author = {Morris, Meredith} } @mastersthesis {11948, title = {Re-Imagining Indian Womanhood: The Multiple Mythologies of Phoolan Devil}, year = {2014}, school = {UIC}, abstract = {This dissertation examines the work of three artists, Rekha Rodwittiya, Chitra Ganesh and Sangeeta Sandrasegar, and their images of Phoolan Devi, India{\textquoteright}s Bandit Queen. By contextualizing each object within the artists{\textquoteright} oeuvres and through careful analysis of individual images, this dissertation reveals how Phoolan Devi becomes a new model of Indian womanhood in late twentieth-century India. Additionally, mythologization is reconsidered by examining how the meaning of the term has shifted in the context of late twentieth-century India. Mythology becomes a brand symbol that projects a seamless image of a modern and traditional India. The artworks, by addressing power relationships and the dichotomy between tradition and modernity, reveal how each work disrupts the illusion of a stable brand for the nation, thus constructing a new, more complex model of Indian womanhood that challenges the fixed meaning of a brand symbol. Rekha Rodwittiya{\textquoteright}s print, Untitled (Phoolan Devi), 2001, reveals themes explored in the artist{\textquoteright}s body of work: violence against women, domesticity, a sisterhood of all women and woman-as-goddess. This imaging of Phoolan Devi{\textquoteright}s life comments on these themes and the tension between modernity and tradition. Chitra Ganesh{\textquoteright}s paintings, Phoolan Devi{\textquoteright}s Other Life, 1998, alongside the masking theories of Joan Riviere, Homi K. Bhabha and Frantz Fanon, reveal how the use of masking can disrupt societal status quo and shifts power relations from the dominant to the oppressed group. This masking of Phoolan Devi presents late twentieth-century Indian womanhood to be an unstable sign that can be read in multiple manners. Sangeeta Sandrasegar{\textquoteright}s series, Goddess of Flowers, 2003, is a multi-media installation that addresses the tension between opposites. By taking into consideration the domestic craft materials, the violent and unstable subject of Phoolan Devi, and modernity and tradition, the works reveal the complex and shifting sign of Indian womanhood in late twentieth-century India. This project contributes to the discourse on late twentieth-century South Asian women artists as they are situated within debates on modernity in postcolonial contexts, allowing for a new, critical reading of the representation of Indian womanhood.}, keywords = {South/Southeast Asian Art}, author = {Heer, Sarita} } @mastersthesis {11846, title = {Relocating Rochester: A Critical Historiography of American Photography in the 1960s and {\textquoteright}70s}, year = {2014}, school = {Rochester}, abstract = {Despite the status photography now claims in American art institutions and academia, its current position is largely the result of a period of rapid expansion in the 1960s and 1970s known as the "photo boom." This dissertation argues that the city of Rochester, New York, was a crucial hub during this expansion, yet remains largely excluded from the photographic literature. Rochester served as the base of operations for a constellation of figures and institutions working to build an infrastructure for the field, and advocating for photography{\textquoteright}s inclusion in a broad, interdisciplinary discourse on art, images, and contemporary culture. However, historical accounts of this period typically focus on the Museum of Modern Art in New York City, resulting in a limited understanding of the era{\textquoteright}s renewed sense of pluralism and critical engagement. Though not intended as a monographic study, this project focuses on the work of Nathan Lyons, the unifying force behind the programs at George Eastman House, Visual Studies Workshop, the Society for Photographic Education, and the Rochester "photo community" at large, and his efforts to investigate the full spectrum of diverse artistic practice that characterized the era. In doing so, this dissertation complicates the persistent historical division between "photographers" and "artists using photography." While other recent studies have attempted to decentralize the history of American photography, none has focused on Rochester. This dissertation aims to fill this important gap in the conventional history of photography while challenging its traditional linear structure.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {McDonald, Jessica} } @mastersthesis {11880, title = {The Remembrance of Good Men and the Stories of the Deeds of Valiant Men Justly Enflames and Excites the Hearts of Young Knights: Representing History in the Fifteenth Century}, year = {2014}, school = {IFA/NYU}, abstract = {My dissertation examines a methodological dilemma confronting the study of fifteenth-century manuscript illumination: to what extent does art-historical interpretation recover the "original" meaning of a work of art, and how much are these past meanings a refracted and reshaped version of the art historian{\textquoteright}s own present response to the still-extant work? Can we reconcile these two temporal/heuristic poles - one that views the meaning of the work as sealed away in the past, the other that conceives of a work{\textquoteright}s meaning as blossoming forth only in the present - without either being overpowered and hidden by the other? These larger questions emerge out of an examination of Paris, Bibliotheque Nationale de France, manuscrit francais 2646, an illuminated manuscript produced in Bruges in the late fifteenth century containing the fourth book of Jean Froissart{\textquoteright}s Chroniques. Francais 2646{\textquoteright}s visual program is repeatedly singled out as a particularly "violent," "agitated," or "dramatic" rendition of the Chroniques. Typically, art historians explain these distinctive emotive qualities as effects intentionally encoded into fr. 2646 at the time of its creation, for example by the Master of Anthony of Burgundy, one of the manuscript{\textquoteright}s artists, or by Louis of Gruuthuse, this manuscript{\textquoteright}s patron. Historically specific names offer a natural-seeming way to integrate the object into a fifteenth-century context, and thus reduce the reader{\textquoteright}s awareness of the present experiences on which the art historian draws in his reconstruction of the past But words like "violent" and "dramatic" generate a subjective emotional power that sits uneasily within this reconstructed historical context, and these words thus point to a more complex relationship between past and present. My dissertation attempts to exploit this uneasy tension, and to move towards a more dynamic, articulate understanding of how the present engages affectively with the past. Drawing on work by Eve Kosofsky Sedgwick and Carolyn Dinsahw on the intersection between emotion and historical/critical practice, I arrive at a conceptualization of history that is overfull with idiosyncratic emotionality, in which the meaning of past continually shifts and changes. My own, present experience of these objects is juxtaposed with the reconstructed past, and I describe how this experience is plagued with frustrations and disappointments that interfere with history{\textquoteright}s reconstructive imperatives. I use this frustrating and abortive relationship with the past to revisit traditional art historical methods of contextualization, and to question the meaning derived from a manuscript{\textquoteright}s connection to a particular artist or patron. How might these images not only reflect medieval artists{\textquoteright} and patrons{\textquoteright} intentions, but also create a differently, yet equally, meaningful relationship with future viewers? How might a manuscript provide different kinds of hermeneutic experiences as its context changes, as it comes into contact with an open-ended succession of viewers throughout its long existence? It is precisely this interest in the future -- in other words this "futurity" -- that is lacking in art history{\textquoteright}s focus on reconstructing the medieval object{\textquoteright}s original or intentional meaning. My dissertation will make space for these future readings, and for the idiosyncratically emotive meanings that arise from them--for a history that, rather than disguising the subjective present in favor of the objective past, explores their messy codependence.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Sullivan, Brendan} } @mastersthesis {11747, title = {Renovation in the Campo Vaccino: The Churches on the Roman Forum from Clement VIII to Alexander VII}, year = {2014}, school = {Temple}, abstract = {The Forum, once the most central and sacred part of the ancient city of Rome, evolved over the course of centuries into a cluttered space at the threshold of the built-up city and its more rural periphery. Among the rubble of antique monuments-destroyed by earthquakes, flooding, or purposeful spoliation-livestock grazed at the site, giving it the appellation Campo Vaccino, or cow pasture, in the early modern period. Despite these obstacles, the Forum remained a vital part of the spiritual life of Romans after several of its structures were Christianized beginning in the sixth century. It became the province of the Catholic Church, and underwent a significant rehabilitation through papal patronage in the late sixteenth and seventeenth centuries. The seven churches ringing the Forum{\textquoteright}s periphery were restored or rebuilt over the course of about fifty years, allowing the patrons to harness the symbolism of the pagan and Christian past of the site to promote the glorious reviving Church. In this dissertation, I examine the Forum from a variety of vantage points, in order to reconstruct the antiquarian understanding of the site, its monuments, and history in the seventeenth century. The first chapter examines the historiography of the Forum and its churches, while outlining the issues at stake in the refashioning of this urban center. Chapter Two provides an overview of the Forum{\textquoteright}s history up to the sixteenth century. In Chapter Three, I consider the phenomenon of the Paleochristian Revival of the Counter-Reformation, and the ways in which it manifested itself at the Campo Vaccino. Chapter Four begins a series of case studies, organized by papacy, to elucidate the state of the Forum and its churches. Clement VIII Aldobrandini{\textquoteright}s direct patronage and other projects dating to his papacy initiated the wave of renovations that continued over the next several decades. The papacies of Paul V Borghese and Gregory XV Ludovisi are the subject of Chapter Five, when the urban environment at the edge of the Forum underwent new developments, in addition to works at the churches themselves. In Chapter Six, I focus on the two projects commissioned by Urban VIII Barberini: SS. Cosma e Damiano and SS. Luca e Martina, which demonstrate two very different approaches to ancient buildings. Finally, Chapter Seven considers works in the Campo Vaccino during the reign of Innocent X Pamphili, and the unification of these disparate renovations by the dramatic remaking of the central space by Alexander VII Chigi. These numerous projects carried out between 1592 and 1656 completely remade the Forum, renewing its historical importance in the city while highlighting its connection to Rome{\textquoteright}s dual history. The imperial and Early Christian past at the Forum now stood alongside the monuments of early modern Rome. The seventeenth century project added a new layer to the palimpsest of this eminently historical site.}, keywords = {Architectural History/Historic Preservation}, author = {Cloud, Jasmine} } @mastersthesis {11764, title = {Representational Realism in Cross-Cultural Perspective: Changing Visual Cultures in Safavid Iran and Mughal India, 1580-1750}, year = {2014}, school = {Harvard}, abstract = {The concept of realism in visual representation has been defined and deployed largely within the domain of the Western artistic canon. In the field of art history, the term is often used in ways that depend on implicit, culturally coded assumptions about its connection with the formal markers of optical-naturalism. The Persianate tradition of pictorial representation by contrast, has been traditionally characterized in modern scholarship as stylized and decorative, with little acknowledgment of an interest in realism in its own visual language. Furthermore, normative Euro-centric attitudes have perpetuated the assumption that an engagement with realism entered Persianate artistic practices with the advent of Europeanizing modes of depiction in Safavid and Mughal spheres of production around the late sixteenth-century. This dissertation explores the topic of realism from the perspective of Persianate visual culture. In so doing, it proposes to refine our understanding of the concept in terms that accommodate the varied artistic production of cultures that laid claims to cultivating representational realism in their own primary sources. The first chapter draws on multi-disciplinary discussions to challenge art historical treatments of pictorial realism as a style, in favor of a functional definition of the concept as an emergent quality rooted in formal strategies that activate particular patterns of mirror-response in their audiences. The second and third chapters reject the principle of evaluating the realism of Persianate representations according to their degree of proximity to European models. The second chapter discusses the structural conditions of change in visual habitus in cases of inter-cultural encounter between foreign modes of representation and the resulting works of aesthetic hybridity. The third chapter presents material evidence of early modern Safavid and Mughal albums as discourses of aesthetic heterogeneity. The fourth chapter explores the local Persianate roots of realism, including the changes these realism strategies underwent in the early modern period. The fifth and final chapter develops case studies of two seventeenth-century Mughal and Safavid drawings, which cultivate representational enlivenment in depicting harrowing moments of death. The discussion delves in greater detail into the particular patterns of realism developed in the seventeenth-century Persianate visual culture.}, keywords = {Art of the Middle East/North Africa}, author = {Botchkareva, Anastassiia} } @mastersthesis {11933, title = {Representer et construire la psychiatrie en France, 1801=1863. L{\textquoteright}art des premiers alienistes}, year = {2014}, school = {Montreal}, abstract = {Over the last four decades, famous publications have analyzed the history, art, and architecture of late nineteenth-century psychiatry to denounce the negative aspects of this science: the voyeurism directed toward the person of the insane, the dehumanization of the asylum, the self-glorification of the psychiatrist, the abuse of power. It is this one-sided view that I seek to undermine in this dissertation by focusing my analysis on artworks produced at the birth of psychiatry in the early nineteenth century. It reveals another side of the psychiatric science, one that is philanthropic, humane and motivated by a real hope of cure. By examining unpublished or neglected iconographic material, I construct a new history of the birth of psychiatry = that of its visual culture = which reveals both its ideals and the distance from its own aspirations brought about by this new science{\textquoteright}s need for legitimation and professionalization. My dissertation proposes an epistemological investigation of the history of French alienism by studying the rhetorical discourse of the artworks commissioned by its founders. The first chapter is dedicated to the earliest asylums. Designed as the continuation of the body of the psychiatrist, they are analyzed in relation to the values of the new science. I demonstrate that the concept of asylum, affecting our sensations and our cognition, both followed the Enlightenment theories of architecture and expressed the specific needs of psychiatry. The second chapter identifies, for the first time, a set of portraits of the first generation of psychiatrists and their pupils. I argue that this corpus sought to impose the image of the psychiatrist as a model of reason and to establish the profession. In the process, the image of the psychiatrist gradually lost its paternalist and humanist characteristics. The third chapter analyzes the illustrations of the insane produced for the founding treatises of psychiatry published in France. The vector of my analysis and the big challenge for art and for science come from the ethics of the first psychiatrists: how to represent mental illness without reducing the sick person to alterity? One of the first phases of production grants autonomy and subjectivity to the insane individual. But in order to objectify the patient to fulfill the scientific needs of psychiatry, the madman was once again relegated to otherness. The fourth and last chapter focuses on the ornamental cycle in the chapel of the Hospice de Charenton (1844-1846), the main Parisian asylum at the time. It reveals how religious art played a role in psychiatry by borrowing from the force and power of religious iconography to mark the presence of the psychiatrist{\textquoteright}s authority even in the asylum chapel. The nineteenth century generated hopes for the recognition of the freedom of individuals and of equality between people. While these hopes were ultimately disappointed, the artworks produced for alienism show the promises that had been made to the weaker groups of society, promises of recognition of their subjectivity, of their autonomy, and of their dignity.}, keywords = {Nineteenth-Century Art}, author = {Jubinville, Ginette} } @mastersthesis {11930, title = {A Republic of the Arts: Constructing Nineteenth-Century Art History at the Musee National du Luxembourg, 1871-1914}, year = {2014}, school = {Duke}, abstract = {Before the rise of the ubiquitous MOCA (museum of contemporary) there was the Musee national du Luxembourg that since its foundation in 1818, served as the first museum anywhere dedicated to contemporary art. Yet the Luxembourg has been left to lurk in the shadows of art history. Best remembered for its mismanagement of the Caillebotte Bequest (1894{\quotesinglbase}{\"A}{\`\i}1897) that left the French state as the beneficiary of several dozen Impressionist canvases, the Luxembourg has been dismissed as epitomizing official support for an exhausted academicism. This dissertation has sought to correct these misconceptions of the museum and the Third Republic Fine Arts administration. It provides an institutional history of the museum under the early Third Republic (1871{\quotesinglbase}{\"A}{\`\i}1914) that reconsiders how different interpretations of republicanism informed its curators{\textquoteright} policies and practices. Information culled from archives, official publications, art criticism, and even tourist brochures, has revealed that in the 1890s and especially the 1900s, the museum{\textquoteright}s curators embraced the politics of solidarism. Applying solidarist principles such as eclecticism, tolerance, and commitment to public education, its curators defended their acquisition of both avant-garde and academic works of art. These principles further spurred curators to trace the spectrum of contemporary painterly styles to French artist tradition. In so doing, the Luxembourg{\textquoteright}s administrators implicitly upheld republicanism as a characteristically, even classically, French ideology that, in its translation into paint and institutional policies, testified to the nation{\textquoteright}s continued cultural, artistic, and political supremacy.}, keywords = {Nineteenth-Century Art}, author = {Clark, Alexis M.} } @mastersthesis {11837, title = {Revolting Visions: Contesting Aesthetics in Brazil{\textquoteright}s Era of Slave Rebellion}, year = {2014}, school = {Wisconsin}, abstract = {This project explores how quotidian images and objects shaped the contested ideals of cultural hegemony and resistance that motivated slave rebellions in the Atlantic world. Taking as its case study the crisis launched by a wave of maroon communities and slave rebellions in the northeastern Brazilian province of Bahia between 1760 and 1835, this project argues that a range of visual culture, including military cartography, illustrations of daily life in travel narratives, Catholic baroque sculpture, and African-Atlantic religious assemblages all collectively shaped the diverse and contested ideals of racial and political autonomy, African cultural resistance, and hegemony that motivated slave rebellions in the Atlantic world. This argument emerges through close examination of a wide range of previously unstudied late eighteenth and nineteenth century Brazilian visual media, placed in conversation with judicial and personal accounts of slave rebellion that characterize Bahia at this time. Departing from a history of analyzing the visual culture of Brazilian slavery as a documentary source, this project utilizes a rich corpus of materials to argue that Bahia{\textquoteright}s slave rebellions were centrally motivated, waged, and suppressed through the politics of visual representation.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Latin American/Caribbean Art}, author = {Rarey, Matthew Francis} } @mastersthesis {11762, title = {Revolution and Renaissance in Modern Egyptian Art, 1880-1960}, year = {2014}, school = {Yale}, abstract = {Modern Egyptian art represents a node in transnational networks of art and ideology. In the late-nineteenth and early-twentieth centuries, Egyptian artists incorporated European art movements such as Abstraction, Classicism, and Surrealism into Egypt{\textquoteright}s nationalist project, building a truly international art movement. However, while Egyptian artists appropriated modernist formal techniques from abroad, they turned inward in their subject matter to reference Egyptian history and contemporary culture. I argue that this turn is best understood through the artists{\textquoteright} place within a global ideology of nationalism transmitted across a network of intellectual elites. Their nationalism resulted from their need to define themselves and their art within in a transnational art network. Beginning with an investigation of the visual culture of the late nineteenth century, this dissertation subsequently examines the art and institutions that came to define modern Egyptian art in the twentieth century. This study focuses on five artists: Nazli Fadil (1853-1913), Ya{\textquoteright}qub Sanu{\textquoteright} (1839-1912), Mahmoud Mukhtar (1891-1934), Mahmoud Said (1897-1964), and Abdel Hadi el-Gazzar (1925-1966). These five artists exhibit the three central aspects that define Modern Egyptian art: nationalism, modernism, and the return of the figure. First, Egyptian artists participated in the imagining of the modern nation of Egypt, educating an Egyptian public about how to imagine their nation and also differentiating Egyptian art within a wider global market of art circulation. Second, Egyptian artists selectively appropriated from European artistic techniques. Through archival research and direct object analysis, I pinpoint the precise intersections of Egyptian modern artists with their European counterparts. Third, modern Egyptian art signals the return of the predominance of the figure to Egyptian art following the Islamic period. By illustrating the complex web of artistic, national, and religious influences embedded in modern Egyptian art, I demonstrate the possibilities for understanding the significance of transnational networks in twentieth-century art.}, keywords = {Art of the Middle East/North Africa, Twentieth-Century Art}, author = {Seggerman, Alexandra Dika} } @mastersthesis {11890, title = {A Revolutionary Empress in the Age of Napoleon: Marie-Louise, Archduchess of Austria, Empress of the French, and Duchess of Parma, Piacenza, and Guastalla (179-1847)}, year = {2014}, school = {UNC Chapel Hill}, abstract = {This dissertation analyzes representations of Marie-Louise, second wife to Napoleon Bonaparte and Empress of the French. I argue that visual images of Marie-Louise not only reflected and shaped women{\textquoteright}s changing positions in politics and society under Napoleon{\textquoteright}s regime but also underlined her unique position in European politics. Against the backdrop of the volatile political climate and rise of nationalism, I pose Marie-Louise as a transnational figure who navigated multiple aristocratic positions in nineteenth-century Europe, serving as Archduchess of Austria (1791-1810), Empress of the French (1810-15), and Duchess of Parma, Piacenza, and Guastalla (1815-47). My project considers images by well-known artists, Francois Gerard and Antoine-Jean Gros, as well as those less familiar, such as Pauline Auzou, who all carefully fashioned the empress within a centuries-old visual genealogy of queenship while emphasizing her national and dynastic ties. My investigation analyzes art objects as participating in changing definitions of national identity, contemporaneous political discourses, and roles of aristocratic women. This project reclaims Marie-Louise for nineteenth-century art history, while simultaneously offering a re-evaluation of Napoleonic commissions.}, keywords = {Eighteenth-Century Art, Nineteenth-Century Art}, author = {Dunn, Lindsay} } @mastersthesis {11936, title = {Revolutionizing the Antique: French Artists and Artistic Community in Napoleonic Rome, 1803-1816}, year = {2014}, school = {UC Berkeley}, abstract = {French painters working in Napoleonic Rome were faced with a quandary: how were they to render and interpret the Antique they had been sent to emulate in a newly French city, despoiled of its canonical treasures? In this changed landscape, artists such as Ingres, Blondel, Heim, and Gericault looked to newly excavated Ancient artifacts and sites, to the "restoration" of Ancient Roman monuments by their fellow pensionnaires at the Villa Medici, and to the Roman popolo as descendants of the Ancient Romans to recast the Antique from a traditional Beaux-Arts model to a radically non-canonical, Rome-specific Antique.}, keywords = {Nineteenth-Century Art}, author = {Mathieu, Camille} } @mastersthesis {11895, title = {Rococo Massacres: Hunting in Eighteenth-Century French Painting}, year = {2014}, school = {Harvard}, abstract = {My dissertation is a study of paintings with hunting subjects made in France between the 1730s and 1750s, concomitantly with the escalation of Louis XV{\textquoteright}s (r. 1715{\quotesinglbase}{\"A}{\`\i}1774) obsession with hunting. It concentrates on up-close depictions of dying and dead animals by prominent artists such as Jean-Baptiste Oudry (1686{\quotesinglbase}{\"A}{\`\i}1755), Francois Boucher (1703{\quotesinglbase}{\"A}{\`\i}1770), and Jean-Francois De Troy (1679{\quotesinglbase}{\"A}{\`\i}1752). Particular attention is paid to how the moments that surrounded the kill of the prey by royal hunters-the hallali and the curee-were conjured up by these painters, and how their canvases were integrated into interiors, particularly those dedicated to the king{\textquoteright}s after-hunt gatherings. These painted drops of blood, hanging tongues, dislocated bodies, and tortured carcasses complicate the lack of seriousness and alleged playfulness of the discursively and ideologically determined category of the Rococo. To deal with the initial visual shock prompted by these pictures, I combine artistic, cultural, scientific, aesthetic, and theoretical approaches. The tripartite division of the dissertation follows a spiraling movement that carries us from center to periphery. For the first chapter, I study a group of striking life-size paintings featuring malformed antlers that record unusual specimens caught by the king himself, and interrogate how they related to hunting rituals and pictorial concerns. In chapter 2, I tackle a detail in Francois Boucher{\textquoteright}s luxuriously painted Diana Returning from the Hunt (1745) that has been overlooked despite its conspicuous visibility: fingers crushing a dead bird{\textquoteright}s eyes in the center of the composition. This detail constitutes a blind spot in Boucher{\textquoteright}s oeuvre, a case of thematic and epistemological invisibility that activates questions of blindness and of cruelty. In the last chapter, I investigate the junction of hunting and eating practices in pictures of hunting meals that were created for the decors of Louis XV{\textquoteright}s new after-hunt dining room at Fontainebleau. The spiraling distribution of bodies in these pictures embodied an experience of space that recalled that of the hallali and the curee in the quasi-immersive painted decors, forming a vortex where forms and formalities dissolved.}, keywords = {Eighteenth-Century Art}, author = {Girard, Catherine} } @mastersthesis {11916, title = {Roman Wall Painting and the Art of Vision}, year = {2014}, school = {Virginia}, abstract = {This study uncovers ways in which the Roman fascination with the sense of sight is translated into its visual culture. The dissertation has two main goals: to examine the pictorial language of internal viewer-figures in mythological wall paintings from ca. AD 20-79 and suggest ways in which these representations interacted with their audience, provoking, stimulating, or initiating reactions. Although the presence of and emphasis on internal gazes in Roman paintings has been repeatedly noted in prior scholarship, this motif has occupied a marginal place in the wider study of wall painting, which has focused primarily on the representation of supernumerary, or spectator figures, as compositional signposts. This study departs from earlier work in examining multiple types of viewers and treating these motifs as more than meaningless formal elements. An iconographic approach is used to look at the behavior, context, and gestures of the internal audience to identify and distinguish different types of viewers while concurrent cultural notions of vision help inform the potential reception of these images. Drawing from both art historical evidence and ancient scientific theory on optics and catoptrics, the analysis offers further insight into how Romans visualized different ways of seeing and potentially interacted with these representations. Representations of sight and viewing experience are found in a variety of mythological scenes and the accompanying catalogue includes over 200 examples. Based on the evidence, there appear to be three overarching motifs: spectators; reflections, mirrors, and the figures who look at them; and lovers. Each of these motifs is distinguished by a formulaic iconography including gesture, relationship with other figures, and physical position within the composition. In addition, the motifs are discussed in relation to the contemporary scientific theories of optics and cultural traditions of spectatorship to suggest ways in which these internal figures may act as more than compositional signposts. In accordance with the first century AD trend towards more active spectators as well as the noted popularity of tactile, physical vision, one can argue that the painted internal viewers, reflections, and lovers offer different modes of meaning for the external viewer not connected to mythological narrative. Based on this conclusion, the wall paintings and the motif of internal viewers signal new methods of visual communication which blur the divide between painting and viewer, virtual and real space.}, keywords = {Greek/Roman Art}, author = {Molacek, Elizabeth} } @mastersthesis {11727, title = {The Royal Palace of Dahomey: Symbol of a Transforming Nation}, year = {2014}, school = {Iowa}, abstract = {The Royal Palace of Dahomey, which stands in varied states of decay and restoration in Abomey, Benin, has been subject to change and manipulation throughout its history (c. 1645-present). This dissertation focuses on its transformations during the French colonial and post-colonial periods and investigates how the palace functions as a site for religious ceremonies, a center for political struggle, and a symbol of non-European identity. It documents what physical transformations the palace complex underwent in relation to its changing roles, explores the ethics of external political forces, and investigates what influence the palace and royal history have had on contemporary identity and domestic architecture.}, keywords = {African Art (sub-Saharan)}, author = {Larsen, Lynne A. E.} } @mastersthesis {11945, title = {Ruffling Feathers: Hawaiian Feather Art, 1770-2012}, year = {2014}, school = {Indiana}, abstract = {The feather-work of ancient Hawai{\textquoteright}i has been admired by societies of the Western world for centuries. But for as long as it has been an object of curiosity and awe, this creative form has been relegated to the class of {\textquoteright}craft{\textquoteright} within art historical discussions. Doing so ignores featherwork as a continuing and vital fine arts tradition within the Hawaiian Islands, a living art worthy of study, conservation and esteem. Though featherwork is deeply rooted in a centuries-old artistic practice combining cultural meaning, religious significance and political power, today it functions on a global scale, playing a major role in the creation of identity, on both an individual and national scale. Within the process of identity formation, featherwork creates and conflates space, the theoretical concept of an atmospheric locale, and place, the concept of a specific location. Often overlooked in the current art-historical literature, the absence of a thorough study of how feather-works function contextually to form identities leaves a significant and unfortunate gap that ignores the importance of the social, political, and cultural structures of both ancient and modern Hawai{\textquoteright}i. This dissertation seeks to address that absence by examining feather-arts in their entirety; providing a history of feather-work, both within Hawai{\textquoteright}i and more broadly throughout the Pacific, an overview of the variants of known feather-work, their symbolism, construction techniques, the contemporary feather-artists of Hawai{\textquoteright}i, and their museological treatment through a variety of theoretical approaches. Doing so allows for a modern contextualization of Hawaiian feather-work through a culturally sensitive lens.}, keywords = {Oceanic/Australian Art}, author = {Wilkins, Teresa} } @mastersthesis {11872, title = {Sacred History and Christian Kingship in the Le√>=n Bible of 960}, year = {2014}, school = {UNC Chapel Hill}, abstract = {The scholarly history of the Leon Bible of 960 [Leon, Archivo Capitular, Real Colegiata de San Isidoro, MS 2] is predominantly concerned with the pictorial antecedents from which the manuscript was believed to have derived. Retaining a purportedly ancient format of illustration ultimately derived from scrolls, the Bible of 960{\textquoteright}s system of illumination has inspired investigation into its diverse Latin and Byzantine sources. While the search for pictorial sources is a significant aspect of iconographic inquiry, and as such is a useful methodology for examining the visual repertoire available to a given scriptorium, it is in some cases unable to satisfactorily document the character of the manuscript. This dissertation attempts to deploy an alternative methodology in which the pictorial program, rather than iconographic particularities, is the primary subject of examination. By considering the Bible of 960{\textquoteright}s miniatures as elements within a larger program of illustration, this study suggests that rather than serving as predominantly literal visual analogues to the biblical text, the illustrations, particularly those of Exodus and Kings were chosen to correspond, at least in part, to a more cohesive exegetical significance related to both the Mozarabic liturgy and popular exegesis, such as Beatus of Liebana{\textquoteright}s Commentarius in Apocalypsin. In examining the relationship between the Bible of 960{\textquoteright}s program of illustration and the exegetical and liturgical traditions available to its scribes, especially those related to the Easter season, I hope to reinvigorate the scholarly conversation regarding early peninsular Bible illustration, its relationship to other genres or manuscript illumination, and the potential connections to contemporary liturgical practice. Using the Bible of 960{\textquoteright}s program of illustration, I also examine how the manuscript may have stood as a deluxe production at the intersection between sacred and secular interests.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Black, Krysta} } @mastersthesis {11813, title = {Scale and the Incas}, year = {2014}, school = {Harvard}, abstract = {This dissertation studies the concept of scale in the worldview of the Inca civilization, and was precipitated by the countless "miniature" objects made throughout the Pre-Columbian Andean world. Often relegated to the background of scholarship, scaled objects are not well understood and have exerted little influence on the academic understandings of the Incas. This study hypothesizes that scale was a fundamental concept in the Incas{\textquoteright} tableau of ideas, actively shaping much of the way they conceptualized the world. The Incas regularly created scaled relationships between objects, entities, and people to embed and convey meanings. These scaled objects did not always bear a clear visual resemblance to their referent objects, but often embodied their referent objects through material substances. This emphasis on vitalized matter likely is connected to the Inca concept of camay. Scaled relationships are first examined in Inca material culture, particularly conopas and reduced scale burial offerings used in the Purucaya, followed by those in Inca built environments, including commensurate scale corn plants from the Qoricancha, the Sacred Rock at Machu Picchu, the Sayhuite Stone, Teteqaqa, a third reduced scale landscape at Machu Picchu, Inca terraces, the enlarged scale quoins of Sacsayhuaman, and a reduced scale wall at Chinchero. Finally, scaled relationships are examined in the Inca worldview including dark cloud constellations, the Punchao, the Dumbarton Oaks Tunic, huauques, reduced scale dressed figurines, and children sacrificed in Capacocha rituals. This study concludes that while many scaled relationships structured Inca thought, rituals, and artistic production, the Incas most commonly conceptualized the world in terms of reduced scale relationships. Reduced scale offerings seem to have been often viewed as essentialized and generative objects capable of soliciting their referents. Although the Incas inherited much of this worldview from previous cultures, preliminary evidence suggests this engagement with scale was precipitated by the topographical scale of the Andean landscape. In examining the Incas{\textquoteright} understanding of scale, this dissertation advances a theoretical framework for considering scale that can be utilized in future studies of other cultures.}, keywords = {Contemporary Art, Latin American/Caribbean Art, Pre-Columbian Art}, author = {Hamilton, Andrew James} } @mastersthesis {11786, title = {Sculpting the Citizen Soldier: Reproduction and National Memory, 1865-1917}, year = {2014}, school = {Delaware}, abstract = {This dissertation examines the development of the citizen soldier monument: the profusion of figures, obelisks, and columns that appeared after the Civil War in honor of the war veteran. I explore the citizen soldier monument in an effort to understand the relations between sculptural form, the formation of national memory, and the marketing of multiplied art in the late nineteenth century. Engaging with the work of scholars of Civil War memory outside the field of art history, including David Blight, John R. Neff, Drew Gilpin Faust, and Eric T. Dean, I offer a new interpretation of the importance of the citizen soldier monument in the American landscape. I propose that the citizen soldier monument is a phenomenon catering to the memorial needs of a culture struggling with meaning in the wake of America{\textquoteright}s first modern war. In this context, the soldier monument, so often interpreted as lacking originality, became an emblem for the enormity of Civil War death, the connection between local loss and national memory, and the tastes of a public trained to experience sculpture through plaster casts and other copies. In considering why these statues look the way they do, and how they came to be so popular, I propose that sculptural form is key to understanding the creation of national memory in the wake of the Civil War. In Chapter Two, I investigate the relationship between the monumental soldier, the reality of postwar life for the veteran, and the commemoration of the dead in the context of the nascent monument industry in the former Union states. Chapter Three considers how Southern Confederate monuments, using the same classical iconographies of victory employed in the North, negotiated the delicate ground of memorializing a lost cause during Reconstruction. In Chapter Four, I read Daniel Chester French{\textquoteright}s Minuteman as an emblem of Civil War commemoration, placing the Minuteman alongside the heightened rhetoric of Civil War reconciliation encouraged by the 1876 Centennial Exhibition in Philadelphia. And finally, Chapter Five examines the Spanish-American War, where copies of Hikers created by Theo Alice Ruggles Kitson and Allen George Newman were marketed by prestigious foundries, mirroring the global imperial concerns of the war in the standardization of production.}, keywords = {Art of the United States}, author = {Beetham, Sarah} } @mastersthesis {11889, title = {Seals, Identity, and Patronage in the Ancient Near East (ca. 1550-1050 BC)}, year = {2014}, school = {Columbia}, abstract = {Numerous art historians and anthropologists such as Rudolf Wittkower, Michael Baxandal and Alfred Gell have addressed the question of how art reflected the people by and for whom it was produced in the context of different cultures and periods. In my dissertation, I intend to contribute to this discussion through a study of two hundred and sixteen Mesopotamian and Syrian seals and seal impressions. Made of a variety of precious and semi-precious materials such as stones or metals, and carved with detailed designs and pictorial images, seals are some of the most distinctive types of ancient Near Eastern art, and were widely diffused in the society. The seals studied in this dissertation originally belonged to the individuals, from royalty to special cooks, representing different segments of the society, and are dated to the second half of the second millennium BC. I carried out a detailed analysis of the material, inscriptions, images on these objects and their context of use. This analysis shows that the seals that belonged to royal and non-royal individuals such as princes, priests/priestesses, scribes, doctors, singers, tax collectors and other temple and state officials may indicative of certain aspects of their owners{\textquoteright} identity such as social class, profession and gender. Additionally, most of these seals were not mass-produced, but unique items created according to the choices of individual patrons. However, it was still possible to recognize the works of different craftsmen especially in the seals from Babylonia and Assyria through their distinctive styles. In this sense, Near Eastern seals were complex works of art in which the stylistic inputs of craftsmen were fused with the iconographic and compositional choices of the patrons, who commissioned them. These different choices, in return, might have signified the social class, gender, professional affiliation, and even political ambitions of the ancient seal owners.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Yalcin, Serdar} } @mastersthesis {11848, title = {Secrets of Enlightenment Spain{\textquoteright}s Contested Islamic Craft Heritage}, year = {2014}, school = {MIT}, abstract = {This dissertation examines the artistic and architectural mutations occurring in Spain during the eighteenth century, when Spain decided to participate in the Enlightenment{\textquoteright}s philosophical project that emphasized the classification of art, crafts, and other knowledge, and thereby raised important questions regarding the value of national heritage relative to a universal one. Spain was always viewed by Northern Europeans and Spaniards alike as tainted by its Muslim history, and its culture seen as semi-Oriental. In endeavoring to become part of the Enlightenment, Spanish artists, architects, natural philosophers, and policymakers struggled to come to terms with two challenging factors: their inheritance from the peninsula{\textquoteright}s Islamic past, and their corresponding isolation from the institutions of Northern Europe. They were forced to consider the hierarchies of the "liberal" over the "mechanical," intellectual over manual, high over low. The quest of the Spanish crown for economic reform shaped the relations among art, architecture, and crafts, which were manifested in the contrasting institutional stances on those hierarchies in the Academy of San Fernando (est. 1752) and the Economic Societies (est. in the 1770s). This dissertation probes how the reconsideration of past categories in light of the economic reform affected the practice and theory of architecture. It looks at ornament as a key site where Christian Spain sought to confront the marginality imposed upon it during the Enlightenment. Spain{\textquoteright}s experience-grappling with its Christian Iberian identity, its Arab and Jewish legacies, and its relationship to European institutions-constitutes a neglected episode in the art-historical narrative, one that informs the history of the decorative arts and knowledge construction in the eighteenth century.}, keywords = {Decorative Arts/Textiles/Design History, Eighteenth-Century Art}, author = {Francis, Razan} } @mastersthesis {11760, title = {Self-Portraiture and the Rise of {\textquoteright}Arab{\textquoteright} Art: Tarek Al-Ghoussein, Hassan Musa, and Walid Raad}, year = {2014}, school = {Michigan}, abstract = {This dissertation offers three monographic case studies of contemporary artists from the Arab world, Tarek Al-Ghoussein (Palestine/Kuwait), Hassan Musa (Sudan/France) and Walid Raad (Lebanon/US), to challenge the prevalent reading and curatorial framing of non-EuroAmerican contemporary art through generalized notions of identity. I focus on self-portraiture, arguing that the artists use it to complicate assumptions about identity. By including Arab artists of diverse national, geographic, religious and diasporic experiences, I start with the premise that the term "Arab" embodies a broad spectrum of identities. Additionally, I outline a history of the international exhibitions and biennials that have contributed to the rise of art from the Middle East and North Africa. I highlight the role of scholars of African art in this process, for by insisting on the diversity of the term "African," they included Arab North African artists. I position Al-Ghoussein, Musa and Raad within art historical trajectories that illustrate their engagements with western art history while also referencing their collective histories. Al-Ghoussein stages photographs that integrate the genres of self-portraiture, landscape and performance in an interrogation of Palestinian identity, both his as an exile as well as the terrorist connotations prevalent in the media. The themes that emerge-belonging, longing, land and isolation-find resonance in post-1948 Palestinian literature and art. Musa{\textquoteright}s paintings illustrate "ArtAfricanism," a term he coined to critique the art world{\textquoteright}s promotion of African art that reflects a narrow conception of African identity. Identifying as "Arab, African and Western," he produces artworks that reference the display and performance of essentialized identities. Raad references formative theories about photography and historical avant-garde artists to question notions of truth, institutional authority and authenticity. He does this in two multimedia projects about 1) the Lebanese Civil War (1975-1990) and 2) the burgeoning art industry in the Middle East and Arabian Gulf. Al-Ghoussein, Musa and Raad each uniquely approach the project of self-portraiture, tempering the representation of identity with strategies that stymie simplistic readings. By elucidating these artists{\textquoteright} engagements with western art history, this dissertation argues for the expansion of curatorial and scholarly approaches to artists from outside the EuroAmerican context.}, keywords = {Art of the Middle East/North Africa, Contemporary Art}, author = {Zarur, Kathy Yusuf} } @mastersthesis {11940, title = {A {\textquoteright}Series of Operations{\textquoteright}: Edgar Degas, the Steeplechase, and the Thematics of Loss}, year = {2014}, school = {Johns Hopkins}, abstract = {This dissertation is the first sustained analysis of Edgar Degas{\textquoteright}s two monumental paintings of the steeplechase theme: The Steeplechase, which the artist began around 1866 and continued to revise over the course of four decades, and The Fallen Jockey which he painted around 1896-8. With regard to The Steeplechase my dissertation argues against the conventional art historical view that the painting unproblematically represents Degas{\textquoteright}s first major effort to picture modern life. Until now, scholars have viewed the painting within the framework of the art of his impressionist contemporaries, namely those painters who focused on the open air, the vie moderne of Parisian life, the pleasures of the landscape and its many entertainments. Instead, my dissertation redirects attention to the powerful influence of the generation of French painters that preceded Degas, specifically those who themselves took up the theme of horse painting. Through a close textual analysis of Salon criticism, I argue that for Degas, as for his predecessors, the equestrian subject served as a useful pictorial construct by which to grapple with questions to do with the transformation and, ultimately, the loss of history painting - or la grande peinture - during the first half of the nineteenth century. Probing the nature of Degas{\textquoteright}s modifications of The Steeplechase, including its final iteration in the form of The Fallen Jockey, this dissertation seeks to demonstrate the depth of Degas{\textquoteright}s commitment to ambitious painting - even at the cost of self-exposure of the most intimate kind. Additionally, in tracing the shifting pictorial norms over the course of the second half of the nineteenth century within the context of Degas{\textquoteright}s evolving treatment of the steeplechase theme this dissertation will offer an alternative account of the aging artist: rather than a solitary recluse we discover an artist deeply responsive to contemporary currents in art. This appreciation serves as the foundation for my account of Degas{\textquoteright}s masterful, yet understudied Fallen Jockey: as essentially a final statement on the fate of ambitious painting in the fin-de-siecle.}, keywords = {Nineteenth-Century Art}, author = {Robicsek, Hyla} } @mastersthesis {11761, title = {The Shape of the Support: Painting and Politics in Syria{\textquoteright}s Twentieth Century}, year = {2014}, school = {MIT}, abstract = {This dissertation offers an intellectual history of painting in Syria in the 1940s, 1950s, and 1960s that accounts for new regimes of political representation, from French Mandate rule to the mass mobilizations of youth-oriented ideological parties to Cold War cultural diplomacy. After an extended introduction that lays out the conditions for the emergence of modern art in Syria, each subsequent chapter situates an artist or artists in a specific institutional setting that provided new terms for critically evaluating the stakes of painting against new ideas about art and its social activation. Chapter Two reads the work of Adham Ismail (1920-1963) against the Bath political movement of the 1940s, as he mobilized an aesthetic theory of the arabesque to produce radical paintings meant to inculcate Arab modes of cognition supporting a Arab polity. Chapter Three chronicles the Syrian artists who traveled abroad to the Italian art academy system in the early 1950s, detailing the patronage networks that produced "modern Arab art" as an identity category while promoting a conception of Mediterranean aesthetics as a shared milieu of free exchange. Chapter Four analyzes Fateh al-Moudarres{\textquoteright}s (1922-1999) transgressive critique of heritage ideals in Syria, an interrogation of regional identity that brought surrealist automatic painting methods into coordination with the modernist cultural project of Shicr (Poetry) magazine in Beirut. The final chapter explores the debate about painterly abstraction that was centered around the College of Fine Arts at the University of Damascus in the 1960s and conducted against the waxing and waning of enthusiasm for different tenets of artistic responsibility. Taken together, these case studies of Syrian painting practices and their politics not only shed light on a little-understood formation within the expanded field of modernist practices, but also support a historiographical investigation into the writing of history from the periphery of centralizing market activity. Here, the political party, foreign fellowship, literary magazine, and national university are recognized as generative institutional supports, such that the European bourgeois norms of gallery, museum, and free press are not presumed as a necessary condition for modern painting.}, keywords = {Art of the Middle East/North Africa, Twentieth-Century Art}, author = {Lenssen, Anneka} } @mastersthesis {11912, title = {Shaping Identity: An Analysis of Hellenistic Southern Italian Ceramics and Its Implications for Cultural and Societal Change}, year = {2014}, school = {Missouri}, abstract = {No record in ProQuest or Missouri ETDs}, keywords = {Greek/Roman Art}, author = {Knapp, Jennifer} } @mastersthesis {11809, title = {Signal Disruptions: Gendered Tropes and Feminist Burlesque of Martha Rosler}, year = {2014}, school = {Stony Brook}, abstract = {My dissertation reveals the role of burlesque and humor in the feminist art of Martha Rosler. Rosler is acknowledged as a key figure in the feminist art movement, as well as a pioneer in video art, yet the fact that humor was integral to what I call her "feminist burlesque"-Rosler{\textquoteright}s parodic interpretation and re-presentation of the gendered imagery portrayed by the mass media-has been largely ignored in the literature surrounding her work. As such, this dissertation analyzes Rosler{\textquoteright}s feminist artwork from the 1970s that directly appropriated tropes of gender from the mass media and popular imagination in relation to both the extant body of literature, as well as the history of burlesque and the notion of a feminist aesthetic burlesque. I deliberately chose artworks that Rosler produced during the era in which the "second wave" of feminist activity crested, as these works not only reflect the role of the media in the construction of gendered identities, but also remain a poignant reminder of the media{\textquoteright}s continued dominance in representing tropes of femininity and masculinity, to this day. I selected artworks created by Rosler in which she directly engaged with the dominant tropes of gender portrayed within the media, as well. This dissertation asserts that Rosler{\textquoteright}s feminist burlesque of these tropes creates an aesthetic space for viewers to reconsider the role of the media, and the capitalist economy that supports and drives it, in constructing and confirming gendered identity, as well as the larger ideologies at play. I viewed Rosler{\textquoteright}s artwork through the lenses of carnivalesque laughter (Bakhtin), the history of burlesque, as well as Brechtian distanciation, and a feminist analytics of power (Scott). In doing so, this dissertation opened a new avenue for the analysis and discourse of feminist art and artists-that of the feminist burlesque.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Kruglinski, Jennifer} } @mastersthesis {11830, title = {On Site, Out of Sight: Viewing Devices in Canadian Land Art, 1969-1980}, year = {2014}, school = {McGill}, abstract = {This doctoral dissertation addresses land art -ephemeral, site-specific works created from found materials, such as plants, stones, logs, earth, and water, in public and private outdoor locales -by Canadian artists from 1969 to 1980. I examine lesser-known artworks and writings by, and archival materials pertaining to, the N.E. Thing Co. (Iain and Ingrid Baxter), Dean Ellis, Robin Mackenzie, Reinhard Reitzenstein, and Bill Vazan. Despite the diversity of materials and settings chosen by artists, the artworks of interest to this study are united by their operation as viewing devices that transformatively mediate the beholder{\textquoteright}s view of the sites in which the works are located. My central argument is that three viewing devices featured in Canadian land art -frames, viewfinders, and apertures -deliberately destabilize the conception of site. These devices undermine the commonly assumed stability, visual coherence, fixity, and boundaries of sites by producing new, visually experienced sites displaying unstable, mutable, even contradictory appearances. I further underscore that these views respond critically to issues in Canadian culture, history, and regional politics in the post-Centenary era. To develop this argument, the Introduction situates Canadian land art in relation to existing scholarship on theories of visual perception and site specificity in 20th-century outdoor art (predominantly devoted to American and European art). The Introduction specifies this study{\textquoteright}s original contributions to previous scholarship before mapping the structure of the dissertation. Chapter One defines essential terms, concepts, and debates, and proposes a contextual definition of visually oriented land art in Canada. Each of the subsequent four chapters, chronologically and thematically ordered, analyzes a particular type of viewing device and model of site in an artwork by a Canadian artist discussed in connection with contemporaneous works by international artists. The Conclusion reprises the central argument, expands on the contextual definition, and extricates the principal characteristics defining land art{\textquoteright}s manipulation of site through sight.}, keywords = {Contemporary Art}, author = {Van Toorn, Tai Amida} } @mastersthesis {11861, title = {Soviet Photo and the Search for Proletarian Photography, 1926-1937}, year = {2014}, school = {UIUC}, abstract = {This dissertation examines the history of the journal Soviet Photo (Sovetskoe foto; called Proletarskoe foto 1931{\quotesinglbase}{\"A}{\`\i}33) from its founding in 1926 through 1937, reading its photographs and theoretical and political discourse in order to analyze how it defined, and sought to create, a truly Soviet, proletarian photography. Soviet Photo was the USSR{\textquoteright}s most-printed and longest-lived periodical devoted to the discussion and instruction of photography. It was also the only one that attempted to address the entire public, from beginning amateurs to worker-correspondents, established photojournalists, and professional photographers. While Soviet Photo eventually became the state{\textquoteright}s organ for Socialist Realism in photography, its early years were characterized by stylistic diversity. It played a major role as a forum for the discussion of "proletarian" art during the cultural revolution (ca. 1928{\quotesinglbase}{\"A}{\`\i}32) and in the formation of the ideas and practices that contributed to the Socialist Realist method. Chapter One explores Soviet Photo{\textquoteright}s project to unify the USSR{\textquoteright}s photographers and their work, which it sought to realize by fully integrating amateurs into institutional structures and reforming the style and content of people still working along pre-Revolutionary lines. Chapter Two considers the attempt to redirect all photographers{\textquoteright} work to the movement of worker- and peasant correspondents as a way of increasing their presence in the press, and the reasons why this attempt could not succeed. Chapter Three is devoted to Soviet Photo{\textquoteright}s reception of the Soviet Photographic avant-garde, specifically, the interrelationship between that journal, the journal Novyi lef, and the October group. Chapter Four examines the changes to this relationship and to these groups{\textquoteright} status during the cultural revolution{\textquoteright}s aesthetic debates and after the 1932 "restructuring decree" that dissolved all independent arts organizations. Chapter Five considers the ways that Soviet Photo applied the major tenets of Socialist Realism to photography and participated in the further development of Socialist Realism as a method and style after its official instatement in 1934. As a whole, this dissertation addresses how photography was supposed to fulfill certain ideological goals in the early Soviet Union and the related question of how Soviet Photo shifted from focusing on mass photographic production to advocating a practice whose mass character was in name only.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Evans, Emily Joyce} } @mastersthesis {11758, title = {The Spatial Economy of British Colonial Penology in India, 1858-1911}, year = {2014}, school = {UC Santa Barbara}, abstract = {Prison construction was among the most important infrastructural changes brought about by British rule in nineteenth-century India. It introduced India to a radically new system of punishment based on long-term incarceration. These prisons were designed to respond to the demand for a more rigorous mode of convict discipline by implementing a strict penal system based on remunerative labor. At the same time, these controlled spaces provided the British an opportunity to study and explore the bodies of Indian convicts from medical, labor, and anthropological perspectives. Visual representations of prisons and prisoners helped to codify British colonial opinions about the particular characteristics of the Indian convict, as well as the need for the prison institution in India. My dissertation studies these processes of representation through an examination of prison architecture and the spatial formations of prisons in colonial Bengal, between, 1858 and 1911, a period that witnessed critical transformations of the penal landscape. Changes included the construction of numerous central and district jails, medical management that aimed to reduce prisoner mortality, and the implementation of a streamlined program of prison labor. By analyzing the visual and architectural archive of these prisons, I propose a new spatial model for understanding how the prison both exemplifies and challenges the claims of British colonial rule. This will be first project to provide a detailed analysis of the visual corpus of colonial penology in India, particularly the architecture of colonial prisons, while at the same time demonstrating the contested character of the colonial prison.}, keywords = {Architectural History/Historic Preservation}, author = {Waits, Mira Rai} } @mastersthesis {11896, title = {Spectacular Maneuvers: Explorations of Sexual Deviancy and Early Film in Henri de Toulouse-Lautrec{\textquoteright}s "Au cirque" Series}, year = {2014}, school = {Penn State}, abstract = {My analysis of Henri de Toulouse-Lautrec examines previously overlooked aspects of his work. It begins with a consideration of Lautrec{\textquoteright}s depiction of sexual deviancy in the Au cirque series and its relationship to the rise of the feminist movement in France. After exploring how his drawings engaged in the changing experiences and desires of women in the fin de siecle, I investigate how Lautrec represents the divergent pressures of masculinity in the series. I then turn to the role animality plays in the Au cirque drawings. Finally, I evaluate the relationship between Lautrec{\textquoteright}s portrayal of movement in his work and the scientific and technological innovations made toward recording movement. I incorporate elements of Lautrec{\textquoteright}s experiences and those of his family and friends, and build my analysis on a strong theoretical framework. My analysis looks at both the contemporary discourses on sexual deviancy, masculinity, animality, and the recording of movement, as well as current research on these subjects. The biographical details of Lautrec{\textquoteright}s life anchor the theoretical aspects of my argument to the time period and demonstrate the extent to which the issues occupied the artist{\textquoteright}s mind. Ultimately, I examine how Lautrec{\textquoteright}s work participated in a cultural moment that grappled with changing gender roles and rapidly developing technology.}, keywords = {Film/Video, Nineteenth-Century Art}, author = {Datchuk, Kimberly Musial} } @mastersthesis {11791, title = {The Spectral Imagination: American Art between Science and Superstition in the Late Nineteenth Century}, year = {2014}, school = {UIUC}, abstract = {This dissertation explores how tensions between science and superstition were embedded in and constitutive of the visual arts in late nineteenth-century America. By focusing on the work of artists Henry Alexander (1860-94), William Merritt Chase (1849-1916), Edwin Romanzo Elmer (1850-1923), and Irving Ramsay Wiles (1861-1948), this project examines the interplay of these ostensibly opposing worldviews in painting. It traces how the interdependence of these terms-which were very much in flux during the era-provided a creative paradigm for negotiating the professionalization of science, the nascent discipline of psychology, new theories of perception and memory, as well as attempts to penetrate material and supernatural mysteries broadly. This dissertation reassesses distinctions between so-called realistic and visionary idioms in American art, and it offers a revised conception of the intersections between art and science around 1900.}, keywords = {Art of the United States}, author = {Thomas, Adam} } @mastersthesis {11864, title = {Speculating on Paper: Print Culture and the German Inflation, 1918-1924}, year = {2014}, school = {USC}, abstract = {"Speculating on Paper: Print Culture and the German Inflation, 1918 - 1924" takes the post-World War I boom in print production in Germany as its subject and considers the German Inflation (1914 - 1923) as a major influence on the production and reception of the graphic arts during this period. While scholarship has focused extensively on German artists{\textquoteright} responses to the First World War and the November Revolution that followed, my dissertation explores how Weimar print culture was shaped by a decade of inflation. Given the pervasiveness of the graphic arts during these years, this dissertation also argues that it was not {\textquoteright}new{\textquoteright} media such as photography and film, but established graphic media that engendered and rehearsed key aspects of Weimar modernity during the Republic{\textquoteright}s earliest days. Germinating in the print portfolios of artists like Max Beckmann, Otto Dix, and George Grosz are debates about mass production and mass audiences, popular versus fine art, and the status of the reproduction. Although scholars have considered the graphic production of the immediate postwar period as a continuation of pre-WWI stylistic and conceptual trends, I assert that postwar print culture was distinct, particularly in the way it engaged with the variety of media-manual as well as photomechanical processes-and with the possibilities of a mass cultural public sphere. Prominent critics, curators, and historians recognized that the contemporary print faced an identity crisis between the low-edition hand-printed graphics embodied by the artist group Die Brucke and the cheap photomechanical mass editions produced by artists like George Grosz. Some worried that mass production eroded the print{\textquoteright}s aesthetic value and cultural status. But mass production represented a more palpable threat in the climate of inflation, as the inundation of fine art prints coincided with an unprecedented surge in the production of Paper Marks, part of the government{\textquoteright}s response to, and a leading cause of, ever-rising prices during the inflationary period. Both types of overproduction were described and depicted as a flood, a tidal wave of printed paper that threatened to drown the populace. This dissertation looks at print culture in a broad sense, incorporating not only the fine art prints of key figures such as Beckmann, Dix, and Grosz, but also the content of illustrated magazines as well as and the Notgeld, or emergency money, printed during these years in its analysis. Speculation frames the postwar print boom in both economic and conceptual terms. Dealers, publishers, collectors and artists all speculated on the financial value of prints for opportunistic reasons. But these figures also speculated on the symbolic capital of the print and its future as a progressive art form.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Maynes, Erin Sullivan} } @mastersthesis {11780, title = {Speculations: Art and Real Estate Development in Los Angeles, 1960-1986}, year = {2014}, school = {Yale}, abstract = {"Speculations: Art Real Estate Development in Los Angeles, 1960-1986," looks at how the convergence of real estate development, artistic practice, and cultural philanthropy has positioned art and its institutions as paramount drivers of economic development in cities today. I examine this convergence within the work of a set of related artists and developers working in the Los Angeles region as it grew into the national paradigm of postwar sprawl. Artists and architects such as Ed Ruscha, Lewis Saltz, William Leavitt, and Frank Gehry drew on the visual culture of this built environment, mediating and speculating on its changing nature. At the same time, many of the developers responsible for the construction of tract homes, strip malls, and subdivisions the artists pictured began second careers as local patrons of contemporary art, often collecting works by those same figures. When, in the later 1970s, such builder-philanthropists founded Los Angeles{\textquoteright} Museum of Contemporary Art, on a disused lot of a stagnated downtown urban renewal project, they in essence placed contemporary art and artists at the heart of a project remaking Los Angeles{\textquoteright} image as an aesthetically distinguished global economic and cultural capital.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Newbury, Susanna} } @mastersthesis {11784, title = {Staging Modernism at the 1915 San Francisco World{\textquoteright}s Fair}, year = {2014}, school = {Columbia}, abstract = {Drawing upon theories concerning visuality, spectatorship, consumption, and the institutionalization of culture, this dissertation considers the ways that the art exhibition at the Panama Pacific International Exposition (PPIE) attempted to make modern art accessible and acceptable to a mass audience in America. The story of the exhibition in the Palace of Fine Arts demonstrates how the American artistic establishment incorporated modernism into the conservative idiom of a major international exposition by promoting a definition and understanding of "modern" art that was distinctly national, celebrated individual style over subject matter, and was even open to personal interpretation. Making use of lessons learned at the Armory Show, the PPIE Art Department provided visitors with clear instruction on how to experience the exhibition, how to contextualize it within the broader history of art, and how to subjectively engage with individual works. Through analysis of the exhibition{\textquoteright}s design, the didactic practices of the Art Department, and the commentary that ensued in the popular press, this project documents the PPIE as a significant institutional venue for the advancement of American art history, as well as the process and contradictions of creating a public for modern art. Chapter One provides an overview of the details of the exhibition{\textquoteright}s organization, its role within the larger structure of a vastly popular, commercial, and nationalistic enterprise, as well as a framework for defining modernism as it pertained to the PPIE. Chapter Two compares paintings in the art exhibition with other attractions that featured fine art as paid entertainment at the Fair, as a means of examining provincial and national anxieties about nudity, the Futurists, and the definition of high art. Chapter Three analyzes the fine art guidebooks and how they organized, controlled and encouraged certain kinds of viewing experiences of the art exhibition. Focusing on Sargent and Bellows as case studies in how Art Department officials attempted to create a genealogy for modern art, Chapter Four considers the relationship established between the more radical artists in the competition galleries and those canonized as major figures with galleries of their own. The conclusion discusses the lasting impact of the fair through sales and the establishment of a permanent museum for San Francisco.}, keywords = {Art of the United States}, author = {Applegate, Heidi} } @mastersthesis {11815, title = {Standard Deviations: Reality, Reproducibility, and Politics in Performance Art since 1989}, year = {2014}, school = {CUNY}, abstract = {Performance art is conventionally seen as having a privileged relation to reality because of the way it insists on the immediate experiences of specific human bodies, the full depth of which can never be adequately reproduced or captured. This understanding of performance as accessing authenticity through ephemerality has long made it a stage for artistic and political subversion. Since the early 1990s, however, a group of European artists responding to processes of globalization that have changed the nature of political economy-the demise of the Soviet Union, NAFTA, and new regulations concerning trade and travel in the E.U.-have developed performance strategies that unsettle the traditional understanding of performance that insists on the potency of an eruptive ephemerality. This dissertation discusses how the performance-based works of Santiago Sierra (b. 1966, Spain), Artur Zmijewski (b. 1966, Poland), Christoph Schlingensief (1960-2010, Germany), and the artist collective, Neue Slowenische Kunst (formed 1984, Slovenia) use non-artist participants as a primary medium alongside photography, video, and web-based platforms to assert the reproducibility of both people and events. I argue that performance art since 1989 comprises a new mode of addressing audiences designed to illustrate how history persists and repeats in the present, especially when we imagine we can escape it. As such, each artist engages and describes a specific local horizon that defines a global totality in its own terms, at once acknowledging the newness of the post-1989 world and refuting it. The works I analyze present audiences with the "same" object of interpretation in order to elicit and describe the range of responses possible. I argue that every reproducible performance functions as a sonar ping, issuing from the work of art and mapping the surrounding human territory. From this notional zero-point, the work creates a political portrait, detailing a spectrum of opinions and speculating on their historical derivation. Because of how these works themselves deviate from traditional performance, they are able to chart a cognitive landscape that describes where each of us stands in relation to others-they picture us and our various pictures of the world as so many standard deviations.}, keywords = {Contemporary Art, Performance Studies}, author = {Westerman, Jonah} } @mastersthesis {11968, title = {State Art or Sites of Resistance: Socialist Realism in Romania: 1945-1989}, year = {2014}, school = {UIC}, abstract = {During the Revolution of December 1989, the dictator Ceausescu and his wife Elena were ousted from power and executed by firing squad. Fifteen years later, the "Ceausescu Palace" (1983), for which twenty percent of Bucharest had been torn down during construction, opened as the first National Museum of Contemporary Art and the first democratic Parliament. My dissertation problematizes this allegedly smooth transformation of an authoritarian symbol to a metaphor of freedom. Is such a transformation at all possible; in what ways and to what extent does re-using a building re-use its ideology? This research takes the overlapping functional programs (palace, "house of the people," house for art, house for legislation) of the building as its point of departure. It focuses on the collection of Socialist Realist paintings located in the Museum and explores the implementation of Soviet Socialist Realism in Romania. In the five chapters that make up the dissertation, I explore artistic agency during the dictatorship of Nicolae Ceausescu in Romania and examine Socialist Realist paintings as tactics used by artists simultaneously to survive in and to alter the system. My project challenges established arguments in art history claiming that artists working under oppressive regimes lack individual agency. Instead, I argue that Socialist Realist paintings served the state as didactic art but also countervailed state power by serving as surreptitious coded sites of resistance. The interdisciplinary debate that most informs this dissertation comes from Postcolonial Studies, Critical Theory, Political Science, and Women{\textquoteright}s Studies. Because of this overlap, the Socialist Realist painting per se acts as an intersection between discourses about art and power, culture and politics, space and memory. Therefore, I argue, the painting is not just the product of the general totalitarian art canon, but also a collection of particular aesthetical choices. Historian Boris Groys considers interest in Socialist Realism to have been dominated by a single question: "Are we dealing with art here?" My dissertation argues that indeed we are dealing with art here precisely by examining its here-ness in the newly born democratic Romania. The Romanian moment of Socialist Realism requires us to consider a simultaneous double-consciousness: first, we must attend to the particularities of its restricted aesthetic; second, we must become aware of the possibilities not available for artists, but imagined or known about, that existed outside the boundaries of those restrictions. To meet this complex moment, my research, both, focuses on circumstantial details and points to a broader theoretical framework. Rather than narrowly labeling the art commissioned by the regime and the artists, I focus on the aesthetic, social, iconographical, and stylistic choices these artists made when faced with the implementation of Soviet Socialist Realism in Romania. I look at how they painted the canonical political portrait.}, keywords = {Twentieth-Century Art}, author = {Tanta, Mirela} } @mastersthesis {11943, title = {Stillness: Self and Space in Symbolist Portraiture}, year = {2014}, school = {UC Berkeley}, abstract = {No record in ProQuest and UC Berkeley ETDs restricted}, keywords = {Nineteenth-Century Art}, author = {Telfair, Catharine} } @mastersthesis {11765, title = {Strategies of refusal: Art and Cultural Politics in the Work of Edward W. Said and Hassan Khan}, year = {2014}, school = {McGill}, abstract = {This dissertation examines the thought of Palestinian-American literary scholar Edward W. Said and selected works by London-born Egyptian artist Hassan Khan. Through a comparison and contrast of their respective approaches to the production and critique of Arab representations I argue that Said{\textquoteright}s work from the 1970s and 1980s is of lasting importance for art historians dealing with contemporary art from the Middle East in general and Khan{\textquoteright}s work in particular. Much recent scholarship on contemporary art in the Middle East and Egypt has focused on features of artworks that contribute to notions of Arab political, ethnic and national identity. While such studies are valuable in describing the social and political contexts of emerging Middle Eastern art practices, they often pass over the formal, stylistic and aesthetic strategies employed by artists in the region. Through an examination of Said{\textquoteright}s published writing and his unpublished correspondence, I argue that his approach to literary and visual art interpretation accounts for both identity-political and more strictly formal or stylistic features of artworks and practices from the contemporary Middle East. In this dissertation I examine Said{\textquoteright}s interpretative strategies to prepare for an analysis of selected artworks by Hassan Khan. This is not a regional study of Arab or Middle Eastern art. Indeed, Said{\textquoteright}s work and Khan{\textquoteright}s, albeit in different contexts, with different means and to varying degrees challenges and often refuses generalizations about political, ethnic and national identity on which regional art histories are based. This dissertation thus aims to describe Said{\textquoteright}s and Khan{\textquoteright}s critical, highly individual and often eccentric approaches to Arab representations, rather than represent and identify them as Arabs, and explain their work as a consequence or expression of such a fixed identity. In the interest of preserving the particularity of Said{\textquoteright}s work and of Khan{\textquoteright}s I examine their reckoning with these problems in context.}, keywords = {Art of the Middle East/North Africa}, author = {El-Sheikh, Tammer} } @mastersthesis {11838, title = {Superfluous Man: Melancholy, Modernity, and Realism in Nineteenth-Century Russia and France}, year = {2014}, school = {Rutgers}, abstract = {The idea that melancholy pervades cultural production and serves as one of the primary temperaments has deep roots in Western culture. But in nineteenth-century Europe, a growing interest in what was seen as a new and pervasive kind of malaise became central to discourses on the rise of Realism in art and literature. This dissertation explores how painters in two of the primary artistic centers of Europe -Paris and St. Petersburg -sought to depict these inner psychological struggles associated with modern life. There was a dialogue between France and Russia in the nineteenth century and the distinctly modern form of existential sadness was viewed in both primarily as a malady among men, one which arose concomitant with new male heroes in literature. In Russia, the character type known as the "superfluous man" suggested growing fears about the idleness of male aristocrats and in France, discourses on the flaneur and spleen formed a central part of ideas on the detrimental effects of modern life. All were fundamentally alienated beings, but their visual manifestations illuminate the divergence in these two countries{\textquoteright} use of Realism and their respective experiences of modernity. As much as subject matter was analogously considered a vehicle for bringing about social change, artists in these nations utilized the depiction of "real life" to varying effects. While French artists such as Gustave Courbet, Edouard Manet, and Edgar Degas valued impartial observation and objectivity, Russian artists like Pavel Fedotov, Ivan Kramskoy, and Ilya Repin were exponents of a Realist style that prized tendentious judgment and empathy. Drawing on a wide variety of literary material from the nineteenth century -from poetry, prose and criticism to letters, memoirs, and manifestoes -this dissertation discusses these disparate kinds of writing in dialogue with paintings and graphic works from the same period. The work seeks via this interdisciplinary and cross-cultural method of analysis to present the constitutive signs of the affective experience of modern life as a complex constellation of visual structures that are tied inextricably to the environments of class upheaval, political change, and warfare in which they were produced.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Leigh, Allison} } @mastersthesis {11879, title = {Tactile Pleasures: Secular Gothic Ivories}, year = {2014}, school = {Penn State}, abstract = {This study approaches secular Gothic ivory mirror cases from the fourteenth century. Even more specifically, it considers scenes of so-called "romance" or "courtly" couples, which were often given as love pledges and used as engagement presents. There has been a recent flourishing of art historical interest in materiality and visual culture, focusing on the production, distribution, consumption, and significance of objects in everyday life, and my examination adds to that body of work. My purpose is not to provide a survey, history, or chronology of these objects, but rather to highlight one important, yet little-studied aspect. My dissertation situates the sensation of touch in the context of a wider understanding of the relationship between the object and the human body, with specific secular Gothic ivories as case studies. I investigate, through the imagery and physical evidence, the ways in which these objects inform and are informed by tactile exploration. The size, material, and subjects of these ivories both encouraged and rewarded close study and touching. Secular Gothic ivory appealed to the sense of touch and Gothic people touched and were inclined to think about touch when looking at and holding these objects. The repetition in ivory decoration of men and women looking, touching, and offering themselves as objects to be looked at and touched suggests to me that these individuals were seeing surrogate selves represented in ivory. Ideally, the reader comes away with an appreciation for the role of the sense of touch in experiencing art.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Staab, Katherine} } @mastersthesis {11853, title = {Tapestry and Tableau: Revival, Reproduction, and the Marketing of Modernism}, year = {2014}, school = {USC}, abstract = {During the three decades that followed the Second World War, dozens of canonical modern artists and architects, prestigious dealers and curators, and significant collectors participated in a revival of tapestry as a medium for modern art. These tapestry revivers included artists as diverse as Joan Miro, Robert Motherwell, and Frank Stella, architects Le Corbusier and Gordon Bunshaft, dealers Sidney Janis and Denise Rene, the founding director of the Museum of Modern Art, Alfred H. Barr, Jr., and the noted art critic Clement Greenberg. By revealing these and other figures{\textquoteright} participation in the modern tapestry revival, this dissertation demonstrates not only how integral tapestry was to modernism and but also how we must reconsider our received narratives of modern art in order to account for its historic inclusion of tapestry. Both tapestry and modernism reached unprecedented critical, economic, and institutional success during the same historical moment, the twenty-five years following World War II. The coincident rise of tapestry and modern art is a mark of the dialectic relationship between them, particularly the close relationship between tapestry and modernist painting. This dialogue between modernist painting and tapestry occurred both on a conceptual level, through similarities in how they were described and understood, and on a structural level, through similarities in how they were commissioned, circulated, marketed, and collected. This dissertation thus proposes that tapestry, as both a medium and a concept, actually enabled the successful marketing of modernism during the postwar period. By working through the medium and concept of tapestry, modernists were able to emphasize the novelty of modern art while situating it in a historical lineage, to reproduce works by celebrated modern artists for multiple collectors, to advocate a decorative function for modern art as part of modern life, and to articulate the flatness and textile qualities of modernist painting. Examining modern tapestry illuminates how modernists justified and disseminated their art, and how they marketed modernism through exhibitions, reproduction, architecture, and criticism.}, keywords = {Decorative Arts/Textiles/Design History, Twentieth-Century Art}, author = {Wells, K. L. H.} } @mastersthesis {11793, title = {Technologies of Aesthetics: Art and Alchemy in Nineteenth- and Twentieth-Century Chinese Art}, year = {2014}, school = {UC Berkeley}, abstract = {No record in ProQuest and UC Berkeley ETDs restricted}, keywords = {Chinese Art, Nineteenth-Century Art, Twentieth-Century Art}, author = {Zhong, Yueni} } @mastersthesis {11769, title = {Teenagers Have Taken Over the House{\textquoteright}: Print Marketing, Teenage Girls, and the Representation, Decoration, and Design of the Postwar Home, ca. 1945-1965}, year = {2014}, school = {Bard Graduate Center}, abstract = {The rapid development of consumer culture during the two decades after World War II, coupled with the rise of the teenager, resulted in a powerful cultural and socioeconomic shift that marketers exploited to sell goods and ideas. In this dissertation, I analyze particular spaces and objects marketed to teenagers, particularly teenage girls, for use in the postwar home, both real and imagined. I highlight the ways in which age, gender, privacy, personal identity, parental concerns, and familial relationships intersected with the design and use of specific spaces, interior decoration, and selected objects. I examine the recreation room and family room, the teenage bedroom, the dressing table, the telephone, and what I call the "teenage trousseau" as examples of interiors and objects marketed to reflect heteronormative and gendered expectations. I also consider the ways in which teenage girls derived pleasure from and expressed agency through consuming, creating, and envisioning domestic space. The increased prominence of teenage girls embodied this tension, which was at once bound to the social pleasures found in feminine culture and to the influence of marketers responding to postwar affluence. At this time, magazines such as Seventeen, a publication marketed expressly to teenage girls, forged a symbiotic relationship with commercial interests. Consequently, household furnishings and objects figured prominently in editorial and advertising discourse, providing a rich source of information concerning the cultural attitudes and expectations relating to middle-class teenage girls at that time. A paradoxical space, the postwar home was at once a place of containment as well as one of autonomy and power, where teenage girls could socialize, experiment, and assume different identities and roles. The consistent emphasis on consumption and its relation to domesticity makes the study of representations of teenage girls particularly integral to the analysis of the interpretation, decoration, and design of the postwar home.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Lichtman, Sarah} } @mastersthesis {11792, title = {This Imperial Body: The Cultural Enterprise of Empress Dowager Cixi (1835-1908)}, year = {2014}, school = {UCLA}, abstract = {Empress Dowager Cixi was the last formidable imperial woman of dynastic China and the de facto ruler of the Qing Empire between 1862 and 1908. Her significance in modern Chinese politics is well studied, but the matriarch{\textquoteright}s encompassing engagement in art remains understudied. This dissertation examines concentrically Cixi{\textquoteright}s avid participation in portraiture, attire and daily accessories, painting and calligraphy, as well as imperial garden palaces, to illuminate her self-expressions in visual and material cultures. I argue that Cixi utilized the notion of court art as a symbolic realm of sovereignty and adapted prior Qing rulers{\textquoteright} patterns of representing authority to visualize the power she exercised. As such, the late Qing court art organizations were at her service to stage her performance as a female ruler. While adopting the visual language of imperial portraiture to represent her authority, the strategic choices of subjects and motifs in the portrait maintained the sitter{\textquoteright}s womanly identity. In the realm of decorative arts, Cixi manipulated the production of imperial porcelain ware to assert her role as a ruler, but she imprinted a touch of feminine taste in the porcelain by using designs that shared similar color schemes and patterns with those on imperial women{\textquoteright}s attire. In comparison, the matriarch{\textquoteright}s performance of the high arts operated differently. Cixi displayed the fondness and capability to participate in the gentlemen{\textquoteright}s arts. She also spared no effort to model after the painting and calligraphic works of earlier Qing emperors to make an intimate connection with the imperial genealogy. The most ambitious dimension of her patronage lies in the empress dowager{\textquoteright}s renovation and reconstruction of the imperial space, whose apex was the reconstruction of the Gardens of Nurtured Harmony, which was transformed into an arena of female agency.}, keywords = {Chinese Art, Critical Theory/Gender Studies/Visual Studies}, author = {Peng, Yingchen} } @mastersthesis {11768, title = {Threads of Empire: The Visual Economy of the Cotton Trade in the Indian and Atlantic Ocean Worlds, 1840-1990}, year = {2014}, school = {Yale}, abstract = {This dissertation examines the art and material culture of the Anglo-American cotton trade in the nineteenth century to consider how these transnational processes influenced different modes of production: artistic, industrial and textile. The Anglo-American cotton trade{\textquoteright}s importance in the nineteenth century rested on the Atlantic slave trade and its aftereffects. Therefore this study foregrounds the centrality of African American history and culture to the trade{\textquoteright}s structures of exchange, encounter and transmission as they inflected nineteenth-century British and American artistic production and industrial expansion. In four chapters beginning in 1840 and ending at the beginning of the twentieth century, I juxtapose the work of contemporary artists with historical case studies. I argue that these contemporary artists -Leonardo Drew, Lubaina Himid and Yinka Shonibare -offer new interpretive frameworks for approaching the transactional and transnational contexts of nineteenth-century British, American and African American art and material culture. Chapter one focuses on the relationship between plantations in the American South and New England, using prints, paintings and textiles that reveal the plantation and factory to be connected landscape. I trace how cotton{\textquoteright}s movement shaped constructions around place, and materialized connections between communities of labor in antebellum America. Chapter two opens with Lubaina Himid{\textquoteright}s Cotton.com (2002) and expands the historical relationship of plantation and factory out across the Atlantic. Centralizing Eyre Crowe{\textquoteright}s Slaves Waiting for Sale, Richmond, Virginia (1861) and the export of printed cotton from Manchester, it examines the convergence of the trade in cotton with the trade in slaves. It considers how these market relations shaped the commodification of the enslaved body, British experiences of factory labor, and Manchester production of printed cloth for consumers across the globe. Chapter three begins with Leonardo Drew{\textquoteright}s Number 25 to consider the tensions between materiality and abstraction in the production and commodification of cotton and art objects. I then examine paintings by Edgar Degas, A Cotton Office in New Orleans (1873), and Winslow Homer, The Cotton Pickers, (1876) to explore how these artists negotiated the status of cotton as a global commodity and grappled with the changing networks, of labor, production and commerce in postbellum America. Eyre Crowe{\textquoteright}s painting of factory workers in Lancashire, The Dinner Hour, Wigan (1874) concludes this section, which examines how the international market for cotton was influencing the representation and experience of industry in north west England. My final chapter, commencing with an installation by Yinka Shonibare MBE Scramble for Africa (2003), focuses on the commercial logic and visual rhetoric of three Southern international exhibitions. I examine how these exhibitions constructed the South -through visions of cotton plantations and black cotton pickers -as a space for domestic colonial expansion. Alongside this I look at the ways Africa was being constructed as a new cotton market -both as a site of cultivation and a site of consumption. In both sections I underscore how the language of commerce, colonialism and cotton shaped particular constructions of space and meanings around the African, and African American body. I conclude with the work of Meta Warrick Fuller to briefly examine how black Americans dismantled these tropes of exclusion, signified by cotton, to project claims for equality. The project argues that the art works under examination here draw on an economic language to visualize particular ideas and constructions around labor, production and race in three ways. It traces the contours of a market-driven aesthetic in the ways cotton was used to illustrate or materialize connections to a circulating economy of goods. It describes how cotton{\textquoteright}s movement shaped the construction of imagined geographies around sites of labor and spaces of consumption. And it sketches out the speculative vision that emerged throughout the nineteenth century in the material and metaphorical associations of cotton, commerce and African American identity. In revealing the representational possibilities of cotton in this way, this dissertation looks at understudied objects to consider the nuanced ways that local cultural forms have, historically, intersected with global processes in the Atlantic world. It centralizes the experience of African Americans, within an Anglo-American culture of exchange and its relationship to a global network of trade and transmission. In doing so it seeks to reframe the ways we might approach historical processes of visuality and perception in the long nineteenth century in order to create a more global, or at least transnational, perspective on the art of this period.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History, Nineteenth-Century Art}, author = {Arabindan-Kesson, Anna} } @mastersthesis {11749, title = {Throwing Stones at Friars: The Church of San Francesco in Piacenza}, year = {2014}, school = {Duke}, abstract = {In 1278, the Franciscan Order of Piacenza acquired a large piece of land in the center of the city. The land had been confiscated by the commune when the property{\textquoteright}s former owner had been exiled several years earlier. However, that land was occupied by at least eleven other private and commercial tenants, including the jurisdictions of five different parishes. The friars immediately set to work demolishing the houses, and sealing off the site with a high enclosure wall. They then began construction on a large church and convent. The impact on the economy of the parish churches in loss of charitable revenue was immediate. One month into their project, a representative of the Bishop and Chapter of the Cathedral arrived at the site and denounced the friars in the name of the harm it was inflicting on the surrounding parishes. The friars ignored the warning and the result was their excommunication. Four years later Pope Martin IV sent three delegates to investigate the Franciscans{\textquoteright} actions. The inquest that followed was recorded in a detailed manuscript that is preserved in Parma{\textquoteright}s Archivio di Stato. The document records the testimony of eighteen witnesses, including parish priests, neighboring lay people and workers on the building. Their testimony and the accompanying documentary material allows us to reconstruct the alteration to the economic and urban fabric of the parish community caused by the Franciscans.}, keywords = {Architectural History/Historic Preservation}, author = {D{\textquoteright}Antonio, Aurelia} } @mastersthesis {11850, title = {Tomimoto Kenkichi and the Discourse of Modern Japanese Ceramics}, year = {2014}, school = {Boston}, abstract = {In Japan, ceramics has long been considered a medium associated with elevated aesthetic expression and high cultural capital. However, the late nineteenth and twentieth centuries saw transformations of its epistemological underpinnings. The collapse of the feudal system gave rise to the multivalenced concept of "art craft" (bijutsu kogei) that included "art ceramics." For individual artists like Tomimoto Kenkichi (1886-1963), ceramics traversed a parallel path with other mediums of modern art that emphasized self-expression and hybridizations of multiple geo-historical sources. Ultimately, these ceramics became significant state-supported symbols of the nation. An analysis of the art, praxis, and theories of Tomimoto Kenkichi presents an ideal case study for illuminating the central mechanisms responsible for the emergence and development of modern Japanese art ceramics. With a wide angle yet critical perspective lacking in previous studies, this dissertation not only reveals Tomimoto{\textquoteright}s complex individual role in the history of modern ceramics, but also sheds light on the ontology of modern Japanese craft itself. By considering Tomimoto{\textquoteright}s entire oeuvre-including calligraphy, ceramics, design goods, painting, and prints-we may track the development of his modernist embrace of the direct observation of nature, abstract form, and original expression. His praxis, synergistically modeled on William Morris and Ogata Kenzan, reveals a modernist stance towards Japanese literati culture in which ceramics became a medium negotiating between British Arts and Crafts design; modernist European sculpture; and Chinese, Korean, and Japanese historical ceramics. The dissertation{\textquoteright}s diachronic structure charts artistic concepts, ideologies, and creative works from the late Meiji to the mid-Showa eras, relying on formal analysis as well as organizational analysis of pedagogical systems, art organizations, and exhibition structures. Chapter One considers Tomimoto{\textquoteright}s lineal inheritances, university education, and self-study. Chapter Two explores Tomimoto{\textquoteright}s discourse of self-expression and the equivalency of artistic mediums. Chapter Three deconstructs the image of the ceramic vessel and Tomimoto{\textquoteright}s discourse of ceramic form according to respective engagements with Joseon porcelain and modernist sculpture. Chapter Four analyzes the sinophilic and modernist aspects of his overglaze enamel porcelain. Finally, Chapter Five surveys the role of exhibitions and preservation efforts in positioning ceramics as art and national tradition.}, keywords = {Decorative Arts/Textiles/Design History, Japanese/Korean Art}, author = {Jones, Meghen} } @mastersthesis {11944, title = {Totalitarian Aesthetics and the Democratic Imagination in the United States, 1937-47}, year = {2014}, school = {Northwestern}, abstract = {In the years framing World War II, artworks helped shape the image of the Soviet Union as, alternately, an ally or enemy to the United States. At the same time, Soviet art helped to establish parameters of a term new to American audiences: "totalitarianism"--at once an elusive designation, the legibility of which grew in importance as the war drew to a close. This dissertation examines the impact of Soviet art in the United States order to trace the evolution of a visual identity for totalitarianism in the American context. In doing so, it argues that print media, paintings, architecture and exhibition design from the Soviet Union shown in the US served as transformative, dialogical sites of civic engagement in which new terms of democratic aesthetics could be exercised and honed. The outcomes of the aesthetic deliberations between Soviet art forms and American art workers in the 1940s fueled the transition into a Cold War where competing images of cultural and ideological difference undergirded military tension. The introduction "Soviet Art before Totalitarianism" studies how visual hallmarks of totalitarianism began to take root in the United States, and how these images intersected with the evolving identity of Soviet art 1933-37. Chapter one "Joseph E. Davies{\textquoteright} Landscape(s) of Terror" examines US Ambassador to Moscow Joseph Davies{\textquoteright} collection of Russian paintings against the backdrop of the Soviet purges, known as the "terror" of 1937-38. Chapter two, "Soviet Spectacle at the New York World{\textquoteright}s Fair" analyzes the Soviet contribution to the 1939 World{\textquoteright}s Fair amidst the anti-fascist collective peace of the Allied nations. Chapter three, "Dangerous Persuasions at the Museum of Modern Art" examines plans for the monumental and unrealized anti-totalitarianism exhibit For Us the Living, spearheaded by director Alfred H. Barr, curator Leslie Cheek and literary luminaries Lewis Mumford and Archibald MacLeish in 1940. Chapter four, "Democratic Design between Soviet Stencil and American Screen" addresses the reception of Soviet wartime stenciled posters in the United States and the transformation of the popular American medium of silkscreen printing in 1941-43. The conclusion "Realism Unbound 1943-47" looks at the unraveling of Soviet-American cultural relations and the beginning of the Cold War.}, keywords = {North America, Twentieth-Century Art}, author = {Bugajski, Jill Elaine} } @mastersthesis {11755, title = {Towards a New Hospital: Architecture, Medicine, and Computation, 1960-1975}, year = {2014}, school = {Harvard}, abstract = {This dissertation provides an account of how computing left behind its origins in academic and military research to become part of the hospital{\textquoteright}s equipmental setting. I examine the efforts of reformers, including administrators, planners, architects, and computer consultants, to provide appropriate accommodation for modern biomedicine. I explore three stories in order to untangle the admixture of architecture, medicine, and computation as they intertwined through a mutual engagement with automation, operations research, cybernetics, and biomedical research in the postwar hospital. In Boston, pioneering research consultants Bolt Beranek and Newman collaborated with the Massachusetts General Hospital on an experimental total information system known as the Hospital Computer Project. In London, architects Llewelyn Davies Weeks used computer algorithms to help design Northwick Park Hospital. And in Canada, the Montreal Neurological Institute adopted computing to transform its expertise in clinical brain imaging research. When possible, I emphasize specific computers, arguing that attention to the presence of the machine itself contributes to our understanding of hospital life. In examining hospital reform after the Second World War, I claim that the hospital building must be conceived as something other than a physical representation of medical knowledge, first, because the new computer-oriented hospital practices often took place in buildings not purpose-built to accommodate them; and second, because reformers who used computation to design and construct new hospitals sought an architecture that would accommodate a state of permanent progress. The resulting buildings were deliberately planned to provide only a "loose fit" to biomedical knowledge. Hospital computer information systems and hospital architecture developed homologous designs meant to forestall obsolescence and self-adjust to growth and change. I conclude that the failures and reversals these optimistic reformers encountered indicate the emergence of a stable sociotechnical configuration, a set of places and practices intertwined with problems that could not be overcome through improved designs, more diligent scientific research, or through calling for more compliant users, especially nurses, or re-training them. Finally, I posit the lattice diagram as the best image of the forces that linked architecture, medicine, and computation together in the drive towards a new hospital.}, keywords = {Architectural History/Historic Preservation}, author = {Theodore, David} } @mastersthesis {11799, title = {Traces of a Lost Landscape Tradition of the Early Joseon Dynasty (1392-1550): A Case Study of the Cross-Cultural Relationships in Korean and Chinese Paintings}, year = {2014}, school = {Kansas}, abstract = {This dissertation traces a lost landscape tradition and investigates cross-cultural relationships between Korea, China and Japan during the fifteenth and mid sixteenth centuries. To this end, the main research is given to Landscapes, a set of three hanging scrolls in the Mori Museum of Art in Yamaguchi prefecture, Japan. Although Landscapes is traditionally attributed to the Chinese master Mi Youren (1075-1151) based on title inscriptions on their painting boxes, the style of the scrolls indicates that the painter was a follow of another Northern Song master, Guo Xi (ca. 1020-ca. 1090). By investigating various aspects of the Mori scrolls such as the subject matter, style, its possible painter and provenance as well as other cultural aspects that surround the scrolls, this dissertation traces a distinctive but previously unrecognized landscape tradition that existed in early Joseon times. The dissertation research challenges the An Gyeon-centered view of landscape art and gives an expanded perspective that furthers our understanding of early Joseon paintings. Through this process of examination and assessment of early Joseon paintings, this dissertation also touches upon the intimate political, trade and cultural relationships between China, Korea and Japan as materialized in the inter-Asian crisscrossing of art works and cultural trends during the fifteenth to mid sixteenth centuries. Especially, it shows the sharing of cultural trends between the Joseon and Ming courts, and also explores the frequent political and material culture exchanges between the Joseon court and the Ouchi clan of Japan. Lastly, this dissertation attempts to trace how early Joseon paintings were transmitted to Japan and lost their Korean identity in the process of authentication by Japanese connoisseurs during the Muromachi (1392-1573) and early Edo (1603-1867) periods. The result is an expanded view of the vigor and creativity of the early Joseon period and its significance in the larger history of Korean art and culture that can be achieved through art historical research conducted within an East Asian perspective.}, keywords = {Chinese Art}, author = {Lee, Sangnam} } @mastersthesis {11794, title = {Tradition Revitalized: The Chinese Painting Research Society of Republican Beijing}, year = {2014}, school = {Maryland}, abstract = {In 1920 a group of traditional artists in Beijing formed the Chinese Painting Research Society, an art institution that enormously influenced Chinese art in the twentieth century. This dissertation locates this society within contemporary social, historical, and cultural trends and argues that its use of traditional Chinese art, antiquities, and even archaeology to counter Western art influence was part of a larger search for national and cultural identity. The first part of the dissertation focuses on the historical and theoretical foundations of the society. The second part sets the artistic activities of the group, including their exhibitions and journals, against contemporary cultural backdrops. The study accomplishes a number of goals. First, it sorts out the historical facts of this overlooked society in a way that reintroduces it to art historical scholarship. Second, it demonstrates that the seemingly conservative stance of the society was just a way to secure its standing and guard its goals. Third, it establishes the group{\textquoteright}s importance to the field of modern Chinese art. Finally, by thoroughly examining the society and its accomplishments, this dissertation shows that the traditional artistic approach championed by the society is worth scholarly attention, and that the modernization of Chinese painting occurred not only in Chinese-Western synthesis. Innovation within tradition was equally viable.}, keywords = {Chinese Art, Twentieth-Century Art}, author = {Zhang, Jingmin} } @mastersthesis {11797, title = {Transnational Perspectives on Eighteenth-Century Court Documentary Painting in China and Korea}, year = {2014}, school = {Kansas}, abstract = {No record in ProQuest and Kansas ETDs restricted}, keywords = {Chinese Art}, author = {Im, Sooa} } @mastersthesis {11866, title = {The Triumph Theme and Its Variations in Long Renaissance Prints}, year = {2014}, school = {Yale}, abstract = {This dissertation explores the origins and the adaptations of the long printed image and the subject of triumph in the Renaissance. The triumph subject enjoyed enormous popularity in the late fifteenth and early sixteenth centuries concurrent with the rise and expansion of prints made up of multiple sheets. The long, horizontal format of printed papers pasted together end-to-end was an ideal vehicle for the subject of triumphal procession; the format and subject spurred each other along. The spread and lower cost of print enabled the triumph iconography to spread across Italy and into Northern Europe. Artists could assume their viewer{\textquoteright}s familiarity with the triumph formula suggested by the format of the long multi-sheet print. The long print format itself provided the basis for adaptation, parody, invention, and satire. Chapter One investigates the foundations of the triumph and the invention of the long multi-sheet print in the work of Andrea Mantegna, during the quattrocento triumph-mania sparked by Petrarch{\textquoteright}s long poetic work, I Trionfi. Mantegna{\textquoteright}s Battle of the Sea Gods, the first independent print over two sheets, takes an antique triumph as its inspiration. Mantegna{\textquoteright}s Triumph of Caesar stretches a triumphal procession across nine sequential canvases divided by pilasters; part of this project was translated into print by engravers working in his circle. All of these elements would prove foundational to later prints. Chapter Two explores the first three-block long print, Jacopo de{\textquoteright} Barbari{\textquoteright}s woodcut The Triumph of Men Over Satyrs. This print, along with the Battle of Men Over Satyrs, offers a taxonomy of formats and a fantastical, humanist variation on Mantegna{\textquoteright}s Triumph. Elements of mild parody of the triumph mania and of Mantegna punctuate Jacopo{\textquoteright}s work, which also participates in the rise of the Venetian pastoral theme. Chapter Three explores Titian{\textquoteright}s Triumph of Christ, which began as a three-block long woodcut but was expanded into five blocks, showcasing the advantageous expandability specific to the format and the processional subject matter. Titian{\textquoteright}s lively, humorous variation on the triumph inserts several types of time, from narrative to eternity in his portrayal of theological history. Chapter Four returns to Mantegna through the work of Andrea Andreani, whose Triumph of Caesar after Mantegna is not a variation in iconology but a variation of medium as he translates the canvases, pilasters, and a sculpted bust of Mantegna into chiaroscuro print. An epilog points to the use of the long multi-sheet print in the North, using three examples to show that the triumph formula underpinned the long print even when the subject was not ostensibly a triumph. These examples are The Distribution of Fool{\textquoteright}s Caps attributed to Erhard Schon, The Peoples of Africa and India (The King of Cochin) by Hans Burgkmair, and The Manners and Customs of the Turk by Pieter Coecke van Aelst and his widow, Mayken Verhulst. This study is not a comprehensive collection of all of the prints in multiple blocks in long format, but is a focused analysis of the rise of a particular genre in European art. It connects decisions of composition and media with iconography, issues often separated in the study of art history. In a shift from past scholarship, it argues that the long multi-sheet print should be distinguished from multi-sheet prints of larger proportions, given the different artistic decisions and limitations required to produce a long horizontal image over several sheets. The long multi-sheet print offers a case study in the interconnection between subject matter and format in the history of art.}, keywords = {Drawings/Prints/Works on Paper}, author = {Allan, Eva} } @mastersthesis {11927, title = {The Triumphs of Alexander Farnese: A Contextual Analysis of the Series of Painting in Santiago, Chile}, year = {2014}, school = {Virginia Commonwealth}, abstract = {This dissertation examines a series of nine paintings depicting the battles of Alexander Farnese in Flanders created by the Cuzco School of Painters in eighteenth-century Peru. This research asks why and how paintings depicting sixteenth-century European battles were meaningful in the eighteenth century. Due to an absence of archival documentation on the authorship, production and patronage of the series, the research method is contextual. Starting with a formal and iconographic analysis of the paintings centered on a comparison between the paintings and the engravings upon which they are based, differences in the use of space and the conspicuousness of individual elements representing opposing forces are studied. These issues are then regarded contextually by way of an examination of the visual characteristics of the Cuzco School, the history behind the creation of the original engravings and the political and social circumstances extant at the time of the creation of the paintings. Building on previous scholarship, this research shows that attribution to the Cuzco School of painters is likely correct given the formal qualities of the paintings. It is possible that the stylistic characteristics of the Cuzco School, which became very popular, served as a marker of place within the Empire in colonial America. One of the main contributions of the dissertation is the identification of a seventeenth-century biography of Alexander Farnese, De Bello Belgico as the book in which the engravings that served as the sources for the paintings were published. These engravings served as the basis for all of the depictions of Alexander in colonial Latin America. Finally, the paintings were created during the reign of the first Bourbon king of Spain and served to foster a sense of continuity at a time of transition. The series would have been meaningful in eighteenth- century Chile due to its militarization, which continued throughout the colonial period. The use of space and the clarity with which opposing forces are depicted in the paintings left no moral, military or political ambiguities regarding the mission of the greater Spanish Empire.}, keywords = {Latin American/Caribbean Art}, author = {Panbehchi, Michael} } @mastersthesis {11785, title = {Turbulent Bodies: Disruptive Materiality in American Painting, 1880-1940}, year = {2014}, school = {Washington University}, abstract = {This study historicizes the physical processes of painting of the American artists Winslow Homer (1836-1910), Albert Pinkham Ryder (1847-1917), and John Marin (1870-1953). It situates their practices in the context of late-nineteenth and twentieth-century American culture by thinking of painting as a phenomenal experience shaped by beliefs and attitudes towards the material world and the function of painting. More specifically, this study examines what I identify as these artists{\textquoteright} struggles, in selected paintings, with the viscous and voluptuous nature of oil painting as a process rooted in the visceral world of the body and base materials. In these works, the artists struggled with paint as a resistant yet seductive substance in ways that disrupted aesthetic practices and threatened fundamental attitudes towards art and physical experience. These material conflicts, in turn, generated metaphysical conflicts inflected by shifting beliefs and anxieties concerning the relationship between the mind, body, and matter in American culture, manifested in developments in philosophy, science, and literature that challenged fundamental attitudes towards the self, nature, and experience.}, keywords = {Art of the United States}, author = {Bailey, Matthew} } @mastersthesis {11820, title = {Un renversement grotesque: les sculptures mi-humaines, mi-animales de Jane Alexander, de Patricia Piccinini et de David Altmejd}, year = {2014}, school = {McGill}, abstract = {This dissertation takes as its focus the half-human, half-animal sculptures of Jane Alexander (born 1959), Patricia Piccinini (born 1965) and David Altmejd (born 1974). My central assumption is that, contrary to classical sculptures, the dominant models of humankind in the Western representation economy, grotesque sculptures, permeated with the motif of animality, stand as counter-models to the figure of sameness. In so doing, they propose a new politics of the body and its boundaries, and suggest a broader sense of humankind. Though plastically very different and expressing distinct concerns, these works have in common that they (1) concretely revisit the metaphysical and biological opposition between human and animal (two categories of beings generally understood as singular universals), (2) erode the great dualisms of the Cartesian cogito (soul/body, subject/object, culture/nature), and (3) explicitly transgress any standardized representation of the human body so as to better embody and problematize differences (racial, gender, sexual, social, etc.). While situating the studied works within a history of art based on the analysis of forms and figures (grotesque, bodily representation, sculpture), my analysis draws principally on contemporary philosophical theories (Giorgio Agamben, Judith Butler, Donna J. Haraway, Elizabeth Grosz and Gilles Deleuze) that seek to dismantle the modern concept of the subject by revising the Cartesian vision of animality, conceived as the conceptual opposite of humanity. The notions of homo sacer (Agamben) and of the precarity of life (Butler), in particular, underpin my discussion of Alexander{\textquoteright}s hybrid sculptures, made as critiques of racism, animalization of the Other and modern segregation policies (in relation to South African socio-political reality during and after apartheid). Haraway{\textquoteright}s theories on the implosion of the notions of nature and culture inform my analysis of Piccinini{\textquoteright}s works. Inspired by the development of reproductive biotechnology and genetic engineering, her hyperrealistic chimeras problematize the patriarchal (pro)creation myths and revisit the age-old correlation between women, monsters and animality, long used to regulate the female body, sexuality and imagination. Lastly, the theories of Grosz and of Deleuze examining the close link between art and animality serve to show how Altmejd{\textquoteright}s grotesque sculptures (werewolves, bird men and transgenic giants) convey the idea that alterity is a substantive constituent of the living being.}, keywords = {Contemporary Art}, author = {De Blois, Ariane} } @mastersthesis {11753, title = {Undoing Architecture: Temporalities of Painted Space in Early Modern Amsterdam}, year = {2014}, school = {UC Berkeley}, abstract = {This dissertation explores the entanglement of temporality, realism, and representation in the making and viewing of Dutch art. I explore these issues through paintings, prints, and drawings by Dutch artists of Amsterdam made in the second half of the seventeenth century. Printed maps, paintings, drawings, and engravings of the destruction and ruination, both historical and imagined, of well-known Amsterdam structures, and images that have been understood to be straightforward portraits of Amsterdam buildings and spaces are the main subjects of this study. This is not, however, a dissertation about architecture, or even, directly, about the representation of real architecture. Instead, I consider what happens in the intervals between representation and represented, the spaces where imagination transforms the experienced into the imaged. That is, this study begins with the assumption that what is represented in the works of art under consideration is not something that resides in the physical world, but rather the artist{\textquoteright}s imagining of what could, or should, or might exist in its place. This dissertation therefore questions the very structure of Dutch realism, arguing that the realism effect was actually the location of the severing of world from image. I argue that Amsterdam cityscapes subvert their own apparent status as realistic representations of contemporary Amsterdam. Though these images have always been treated as mimetic, they actively resist recording the present city, sometimes including structures that have yet to be built, in other instances destroying edifices that were already extant. These images, by Rembrandt, Ruisdael, and Jan van der Heyden, among others, visually remake the city in a variety of ways: as it was meant to appear in the future; as a nostalgic and idealized version of its lost, past self; as a decayed ambivalent version that is neither clearly past nor clearly future. Denying the present, seventeenth-century images of Amsterdam convey unease about contemporary urban experience and probe the uncomfortable limits of representation itself. These creative reconstructions of Amsterdam were a form of resistance to the modernizing environment of the city, for they catered to both a false nostalgia for a fictive ancient past, and a deep ambivalence about the modernization and monumentalization of the urban fabric. I argue that Dutch art, which appears to insistently transcribe contemporary experience, is also paradoxically invested in the erasure of the present and the construction of alternate realities. The realist mode favored by many Dutch artists was far more concerned with the construction of new paradigms for society than with the representation of contemporary life.}, keywords = {Architectural History/Historic Preservation}, author = {Sakai, Jennifer} } @mastersthesis {11955, title = {Unfolding Modernism: Reconsidering Clement Greenberg{\textquoteright}s Art Criticism and the Paintings of Helen Frankenthaler, Morris Louis, and Kenneth Noland, 1948-1961}, year = {2014}, school = {IFA/NYU}, abstract = {This dissertation locates Color Field painting in the cultural context of post-war America. Focusing on five painters-Helen Frankenthaler, Morris Louis, Kenneth Noland, Jules Olitski, and Frank Stella-it explores how Color Field painting negotiated modernist art criticism, other artistic movements, and contemporary culture. Although Color Field painters were supported by Clement Greenberg, Michael Fried, and other modernist critics, this study argues that there were diverse discussions and exchanges involved in their evaluation and interpretations. The associative function of Color Field painting is especially considered among them. The relationship between Color Field painting and modernist art criticism is reexamined to show that it was never monolithic or unilateral. I argue that through their varied relationships with critics, Color Field painters had an active role in the formation of modernist art criticism. I also consider Color Field painting in relation to other contemporary art movements, such as Pop Art, Op Art, and Minimal Art. I discuss how several key exhibitions in the 1960s emphasized their shared interests, despite their overt differences when seen from today{\textquoteright}s vantage point. To this end, I consider the common ground shared by Color Field painters and minimalists, such as the issue of non-composition, and Stella{\textquoteright}s dual position in both camps, in addition to the minimalists{\textquoteright} interest in some of the Color Field painters. Last, I consider Color Field painting from a cultural viewpoint, including its association with commodities and mechanical reproduction and its use in interior design for private homes. The viewing experience of Color Field painting is compared with that of widescreen cinema in terms of its enveloping effect on the viewer. I discuss the ways in which Color Field painting, due to its simple colors and designs, incited interior designers to imitate Color Field paintings in products that went beyond the field of art in the 1970s. Through these investigations, this dissertation portrays the complexity of Color Field painting in a broader pattern of twentieth-century American modernization and modernity.}, keywords = {Twentieth-Century Art}, author = {Kajiya, Kenji} } @mastersthesis {11883, title = {Unforgivable Sin: Depicting Suicide in Medieval Art, 1100-1400}, year = {2014}, school = {Boston}, abstract = {The pictorial representation of suicide in medieval culture has attracted little scholarly examination. This lacuna stands in contrast to the work of social historians and literary scholars, who have demonstrated the rich potential the subject of suicide holds for study of the Middle Ages. Filling this gap, my dissertation examines the genesis, formal and iconographic developments, and social functions of images of self-killing in early and high medieval art through an analysis of the suicides of Judas Iscariot, King Saul, and Queen Dido in selected artworks from France and Germany. Locating representations of these figures{\textquoteright} suicides at the intersection of medieval intellectual and social history, this dissertation reveals how the iconography of suicide in the Middle Ages developed from and embodied complex social, religious, and political attitudes rather than reflecting an unchanging Christian prohibition. Chapter one charts the emergence of a distinct Christian ethos on suicide and its impact on the visual arts, and explores how this ethos engendered the creation of a negative iconography of suicide based upon the hanging of Judas Iscariot. Chapter two examines the development of the iconography of Judas{\textquoteright} suicide between 800 and 1150 in illuminated manuscripts and French Romanesque architectural sculpture, probing the relationship between the image and religious thought and exegesis, liturgical ritual, and eleventh- and twelfth-century discourses over simony. Chapter three reveals how the image of King Saul{\textquoteright}s suicide was a subject of particular interest to royal Carolingian and Capetian patrons, who employed the image as part of their visual rhetoric of kingship. Chapter four examines the medieval reception history of the pictorial and literary image of the suicide of Queen Dido, arguing that twelfth-century French and German vernacular translations of Virgil{\textquoteright}s Aeneid inspired in thirteenth-century manuscript illustration a renewed interest in portraying her death. Chapter five summarizes the dissertation{\textquoteright}s conclusions, and is followed by three iconographic appendices recording all known images of the suicides of Judas, Saul, and Dido in medieval art to the year 1400. As this dissertation demonstrates, if suicide were considered an unforgivable sin in the Middle Ages, it was by no means an unrepresentable one.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Zweig, Benjamin} } @mastersthesis {11921, title = {Urbanism, Signs, and the Everyday in Contemporary South Korean Cities}, year = {2014}, school = {Ohio State}, abstract = {My dissertation will investigate South Korean urbanism through the phenomenon of commercial signs, one of the most prominent but understudied aspects of the cityscape in the country. Known as kanp{\textquoteright}an in Korean, commercial signage refers to the prolific and often dense array of advertisements, generally consisting of billboards and neon-signs with store names and announcements hung on the exteriors of commercial buildings. From its first appearance in Korean public space in the early 20th century, commercial signage has prompted vigorous criticism, which sees it as a disruption of ideal and top-down government planning, a primary example of urban degeneration and alienation, and evidence of the complete loss of critical and public space. Although commercial signs are often seen as a corruption of public space due to the inundation of consumerism and capital, I argue that these environments are a crucial part of everyday urban experience, where people can find new ways of being in common and making sense, which cannot be simply reduced to our general rubrics of spectacle, private consumption, or the culture industry. Instead of describing commercial signage as a given, objective entity, I focus on the diverse modes of interaction between urban populations and the affective dimensions of commercial signage, thus fostering a reconsideration of the relationship between urbanism and everyday life in South Korea. My goal is to reveal another way of thinking about Korean urbanism in the postwar period, which locates some of the more ethically and politically challenging models of urbanism and community in these commercially saturated environments. In doing so, I offer a much more complex interpretation of urban space, and suggest new ways of looking at the interlocking realms of public, private, and commercial space in East Asian cities in general, and in postwar Korea in particular.}, keywords = {Japanese/Korean Art}, author = {Paek, Seung} } @mastersthesis {11868, title = {The Virgin of Dom Rupert: Image, Function, Assimilation}, year = {2014}, school = {Harvard}, abstract = {This dissertation examines a Mosan stone relief of the Virgin and Child Enthroned housed in the Grand Curtius Museum in Liege that has not yet been the subject of detailed analysis. This study focuses on the formal and iconographic aspects of the relief. It discusses the novel image of the Virgin and relates it to developments in medieval art during the late twelfth and the early thirteenth centuries, establishing a date for the relief to that period. In particular, this study explores the significance of the Mary Lactans and the function of text and image in the relief for the explication of Mary{\textquoteright}s role in the economy of salvation. It identifies the Virgin of the relief as a "Mother of Sorrow" and considers this to be a key aspect of the image of the Lactans in the relief, highlighting its incarnational, eucharistic, and intercessory character. Tied to the theme of the Passion, the Liege Lactans anticipates later examples of the Virgin related to the theme of the Double Intercession. It shows that the representation of Mary as "Mother of Sorrow" draws on Byzantine icons, the relief thus adding a transalpine example of a byzantinizing Virgin to the better-known Italian ones and expanding the "Byzantinische Frage" north of the Alps and to the context of stone sculpture. This analysis identifies a mechanism of assimilation in the transalpine reception of Byzantine art. The representation of Mary Lactans accords with western theological and devotional interests, and the enthroned Mary adheres to the western cult image. The choice of frame, use of text, and predilection for high relief is faithful to the principles and developments of Mosan art at this time. Further, this study underscores Italy as the intermediary in the transmission of Byzantine art to western Europe. The medium and manner of presentation of Mary connects the work with liturgical reliefs such as retables, antependia, and choir screens with the enthroned Virgin and Child. Its affinities with this class of objects suggests it possibly functioned in the altar space, perhaps as an altar retable.}, keywords = {Early Christian/Byzantine Art}, author = {Karterouli, Konstantina} } @mastersthesis {11812, title = {Visual Disobedience: The Geopolitics of Experimental Art in Central America, 1990-Present}, year = {2014}, school = {Duke}, abstract = {This dissertation centers on the relationship between art and politics in postwar Central America as materialized in the specific issues of racial and gendered violence that derive from the region{\textquoteright}s geopolitical location and history. It argues that the decade of the 1990s marks a moment of change in the region{\textquoteright}s cultural infrastructure, both institutionally and conceptually, in which artists seek a new visual language of experimental art practices to articulate and conceptualize a critical understanding of place, experience and knowledge. It posits that visual and conceptual manifestations of violence in Central American performance, conceptual art and installation extend beyond a critique of the state, and beyond the scope of political parties in perpetuating violent circumstances in these countries. It argues that instead artists use experimental practices in art to locate manifestations of racial violence in an historical system of domination and as a legacy of colonialism still witnessed, lived, and learned by multiple subjectivities in the region. In this postwar period artists move beyond the cold-war rhetoric of the previous decades and instead root the current social and political injustices in what Anibal Quijano calls the {\textquoteright}coloniality of power.{\textquoteright} Through an engagement of decolonial methodologies, this dissertation challenges the label "political art" in Central America and offers what I call "visual disobedience" as a response to the coloniality of seeing. I posit that visual colonization is yet another aspect of the coloniality of power and indispensable to projects of decolonization. It offers an analysis of various works to show how visual disobedience responds specifically to racial and gender violence and the equally violent colonization of visuality in Mesoamerica. Such geopolitical critiques through art unmask themes specific to life and identity in contemporary Central America, from indigenous genocide, femicide, transnational gangs, to mass imprisonments and a new wave of social cleansing. I propose that Central American artists-beyond an anti-colonial stance-are engaging in visual disobedience so as to construct decolonial epistemologies in art, through art, and as art as decolonial gestures for healing.}, keywords = {Contemporary Art, Latin American/Caribbean Art}, author = {Kency Cornejo} } @mastersthesis {11862, title = {Visualizing Stalinism: Photography of Early Gulags}, year = {2014}, school = {UC Berkeley}, abstract = {No record in ProQuest and UC Berkeley ETDs restricted}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Aglaya Glebova} } @mastersthesis {11781, title = {Visualizing the Irradiated Body and Radioactive Landscape in American Art, 1945-2010}, year = {2014}, school = {Boston}, abstract = {Looking beyond mushroom-cloud imagery, this dissertation investigates the greater effect that radiation science had on intellectually and imaginatively stimulating the visual artists Laszlo Moholy-Nagy, Ralston Crawford, Ben Shahn, and Bruce Conner, who sought knowledge of the long-range consequences of nuclear testing. Primarily concerned with the specter of the tests{\textquoteright} aftermath rather than the spectacle of the explosions themselves, these artists explored the toxicity of radiation and ultimately discovered, I argue, that they lived in perpetual and uneasy co-existence with their subject. This study chronologically follows the course of scientific inquiry into radiological effects, from the Second World War to the height of the Cold War, beginning in the first chapter with a discussion of the role of nuclear medicine in the work of Moholy-Nagy. In postwar Chicago, he developed his earlier engagement with x-ray photographs into a deeper knowledge of atomic processes, which culminated in two paintings that suggest the healing and hazardous effects of nuclear energy. The second chapter considers Crawford{\textquoteright}s commission by Fortune magazine in 1946 to illustrate an atom-bomb test in the Pacific, for which he made several renderings based on post-blast meteorological and radiological data. The critical response to these works exposed not only the public{\textquoteright}s lack of understanding about the invisible phenomena of the bomb, but also Crawford{\textquoteright}s own loose grasp of the pertinent science. Continuing the focus on newsworthy nuclear events, the third chapter examines Shahn{\textquoteright}s portraits of J. Robert Oppenheimer, following the latter{\textquoteright}s official censure by the Atomic Energy Commission in 1954, and Shahn{\textquoteright}s paintings and drawings about a contemporaneous fallout disaster leading to the death of a Japanese fisherman. Both series link the heedless actions of scientists and their government employers to the rise of universal radiation sickness, precipitated by what Shahn perceived as mass dehumanization. The fourth and final chapter addresses Conner{\textquoteright}s long-held view that San Francisco, the city in which he lived, was radioactively contaminated and a potential target of nuclear attack. Through the representation of self-destruction in his assemblages and films, Conner mimed a cultural malaise that struck him as particularly rampant in the local environment of nuclear experimentation.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Orgeman, Keely} } @mastersthesis {11934, title = {Wallflowers: Tapestry, Painting, and the Nabis in Fin-de-siecle France}, year = {2014}, school = {IFA/NYU}, abstract = {This dissertation examines the dialogue between painting and tapestry that developed in late nineteenth-century France, specifically at the Manufacture nationale des Gobelins, and in the work of the avant-garde artists known as the Nabis. Nineteenth-century tapestry remains an obscure subject in scholarship and its influence on painting is thus not well-known or understood. This study aims to recover the symbiotic relationship that existed between tapestry and painting, and demonstrate the importance of studying the fine and decorative arts in tandem. It furthermore presents an evaluation of tapestry{\textquoteright}s place in the history of modern art, as well as a study of the socio-cultural anxieties that accompanied rapid industrialization and technological progress in the late nineteenth century, examined through the luxury craft of tapestry. Part I outlines a history of the Manufacture Nationale des Gobelins, the state tapestry manufactory, from the birth of the Third Republic in 1871, to the 1900 Universal Exposition in Paris. It is divided into three chapters following the tenure of three directors: Alfred Darcel, Edouard Gerspach, and Jules Guiffrey. Part II examines the needlepoint hangings of the Nabi circle in the 1890s. With a chapter each on Aristide Maillol, Paul Ranson, and Jozsef Rippl-Ronai, this section compares and contrasts the approaches of these three artists to needlepoint "tapestry," in order to elucidate the issues of art{\textquoteright}s relationship to industry, nationalism, ideals of patronage, and gendered labor. With regard to the last issue, it was the artists{\textquoteright} wives/ companions-Clotilde Narcisse, France Ranson, and Lazarine Boudrion- who executed the majority of their designs. Part III analyzes how Edouard Vuillard drew from tapestry to re-conceptualize modern painting through two monumental decorative commissions: The Album (1895), and the Vaquez panels (1896). These are exemplary of his so-called "tapestry aesthetic." I go beyond the general scholarly assessment that his paintings resemble tapestry to argue that tapestry provided him a haptic model for painting, and explore how his painting engaged with tapestry in the wider circulation of material culture of the fin-de-siecle. An epilogue follows Vuillard{\textquoteright}s tapestry aesthetic into the twentieth century and examines how it was buried and replaced by Henri Matisse{\textquoteright}s re-definition of the decorative in modernist painting.}, keywords = {Nineteenth-Century Art}, author = {Kang, Cindy} } @mastersthesis {11913, title = {Water and Benefaction as an Expression of Julio-Claudian Power}, year = {2014}, school = {UT Austin}, abstract = {In the arid Mediterranean world the careful management of water was essential for survival. Control of this resource was akin to political power. Rome and its environs were no different: water was an important status symbol and granting public access to it was considered a particularly generous gesture. During the principate a successful emperor was expected to demonstrate concern for the needs of the populace and one of the most effective ways for him to do this was by providing abundant quantities of water. As a political tool, water proved to be invaluable in its versatility. Imperial gifts could manifest in the form of access to drinking water, leisure spaces such as public gardens and baths, or even spectacular games and shows given on purpose-built artificial lakes. Additionally, massive engineering works such as aqueducts, harbors, and drainage projects, aimed at improving the water and food supply, were carefully designed to showcase the resources and generosity of the imperial patron. This study traces the origins of these forms of largesse, following their development from the Republican period to the end of the Julio-Claudian dynasty. By examining the water-related monuments and spectacles of each individual Julio-Claudian emperor in the context of their time, this dissertation aims to reconstruct the structures themselves, their intended audiences, and the water policies and patterns of influence created by each Julio-Claudian emperor. The first principes of Rome were still shaping their role and exploring ways in which they could balance their exercise of power with their expected responsibilities to the different strata of Roman society. The early principes began to experiment with water related munificence, and created many new forms of buildings and displays for the public that would eventually become canonical components of Imperial largesse and legitimization.}, keywords = {Greek/Roman Art}, author = {Lardi, Joelle} } @mastersthesis {11724, title = {We Have Always Been Fashionable: Embodying Cosmopolitanism and Nationalism through Fashion in Accra, Ghana}, year = {2014}, school = {Florida}, abstract = {Fashion, a rapidly changing and innovative mode of dress, is one of the most potent and visually present forms of artistic expression on the African continent. Scholars from multiple disciplines have begun to acknowledge its significance, yet much of African fashion remains largely unaddressed. The antecedents of contemporary African fashion cultures, as well as the ability of fashion to reflect important historical realities and cultural shifts, have continued to elude thorough academic investigation. Richards{\textquoteright} dissertation serves to remedy this existing deficiency by documenting the fashion culture of Accra, Ghana from 1953 to 2013. By relying on articles and photographs published in the Accra newspapers the Daily Graphic and the Sunday Mirror, this dissertation begins by establishing that a complex fashion culture, comprised of multiple realms of fashion, was firmly established in Accra by 1953. An exploration of the most significant fashion designers in Accra is the central focus of this dissertation, beginning with the recognition of the first formally trained fashion designer in Accra, Juliana Norteye. Her innovative fashions revolutionized existing dress practices by blending historical forms and materials with contemporary techniques and approaches to dressing, creating garments that visually represented the post-independence culture of Accra. The designs of Norteye paved the runways for ensuing fashion designers in Ghana{\textquoteright}s capital. Their careers and designs, placed in their respective temporal contexts, are explored in subsequent chapters. Specific fashions are examined in detail, illustrating how garments can encapsulate significant moments of cultural change, serving as physical manifestations of specific eras in the history of Ghana. The theoretical thread woven throughout this dissertation relates the fashions of Accra to a nationalist cosmopolitanism, illustrating that Ghanaian designers and their fashions embody this distinctive feature of Accra and its inhabitants. Richards ultimately argues that fashion is essential in ensuring the continuation of historical dress practices in Ghana and that the citizens of Accra have always been fashionable.}, keywords = {African Art (sub-Saharan), Decorative Arts/Textiles/Design History}, author = {Richards, Christopher L.} } @mastersthesis {11721, title = {Weapons and Refuse as Media: The Potent Politics of Recycling in Mozambican Urban Arts}, year = {2014}, school = {Florida}, abstract = {My dissertation explores contemporary Mozambican urban artists who use recycled materials in their art. This investigation is founded on interrelated themes that include object materiality, recycling, art making in urban Africa, and post-conflict resolution. The transformation of recycled materials into art reflects a nexus of environmental, economic, and cultural issues I investigate to determine how and why artists utilize recyclia to create distinctly Mozambican art. Many creative, environmental, and financial factors, including the impact of past wars, the development of the Transforming Arms into Plowshares /Transformacao de Armas em Enxadas (TAE) project, and poverty illustrate how recyclia provides an advantageous art medium. Each of the artists addressed in this analysis comes from vastly different economic, social, and educational backgrounds, yet all use recycled materials. These artists utilize natural and urban detritus to produce art, continuing recycling traditions, which are pervasive throughout Africa. This investigation addresses these artists and their varied motivations as I define widespread recycling use by artists in urban Mozambique.}, keywords = {African Art (sub-Saharan), Contemporary Art}, author = {Schwartzott, Amy} } @mastersthesis {13237, title = {Wenzel Cobergher and His Neapolitan Years, 1580-1598: Flemish Expatriates, Money, Piety, and Erudition}, year = {2014}, school = {Penn State}, abstract = {Wenzel Cobergher (c. 1561-1634) was a Flemish Renaissance painter, architect, antiquarian, and polymath, who enjoyed remarkable international favor and prestige during his lifetime, as well as the appreciation of artists, scholars, and royals alike. As a court architect and engineer in the service of the Archdukes Albert and Isabella, he achieved several projects with a major impact on the social and economic life of Flanders. His artistic accomplishments receive only local and regional recognition today, although his contemporaries held him in high esteem, on a par with {\textendash} if not above {\textendash} Peter Paul Rubens. This dissertation argues that Wenzel Cobergher{\textquoteright}s leading status as an artist was determined by his exertion to build a career informed by humanist learning and a wide range of artistic and scientific interests, which closely matched the paradigm of the successful Renaissance artist articulated by Leon Battista Alberti. My study seeks to illuminate those aspects of Cobergher{\textquoteright}s career in Naples (1580-1598), as well as the set of concepts, beliefs, and artistic practices that were instrumental in building his international reputation and in prompting his appointment as a court artist in Brussels. The arguments are informed by archival research, and include a re-assessment of Cobergher{\textquoteright}s career as a painter in Naples as one of the leading and highest paid artists of his time, and one of the very few who enjoyed viceregal patronage. They show that his remarkable artistic skills, intellectual abilities, and social networking placed him at the center of the cultural exchanges between Italy, Spain, and the Low Countries, thus justifying his leading status in both Italy and Flanders. Although overshadowed by the colossal career of Peter Paul Rubens, Wenzel Cobergher emerges as a true cosmopolitan of the late Renaissance, one of the last artists to embody an "uomo universale," and an important figure of the art of the Counter-Reformation.}, author = {Langusi, Daniela} } @mastersthesis {11771, title = {What We See, What We Sing{\textquoteright}: American Illustrated Sheet Music from the Civil War to World War I}, year = {2014}, school = {Boston}, abstract = {This dissertation engages America{\textquoteright}s illustrated sheet music through topical analyses of political and social ruptures from the Civil War to World War I. In so doing, it demonstrates that music illustrations fit into larger networks of American picture making, participating in the recording and redirecting of contemporary American anxieties. Chapter 1: Bloody Banner, Silent Drum: The Material Wounded on Civil War Sheet Music argues that violated flags and drums in music illustrations transcended their martial functionality to signify loss of innocence and life; in so doing, they took on their own subjectivity. Chapter 2: Banjos, Rifles, and Razors: Picturing American Blackness investigates the transition from black-face minstrel songs to the "coon song craze" of the 1880s and 1890s, arguing that the stock character{\textquoteright}s razor, a weapon frequently figured in the songs, was not only a symbol of violence but of white fears of black social mobility. Chapter 3: Hoopskirts and Handlebars: Gender Construction and Transgression in Victorian America offers two case studies, one of cross-dressing pictures after the Civil War, the other of gendered bicycle images, arguing that the American public between the war and the turn of the century enjoyed contemplating the flexibility of gender roles and boundaries. Chapter 4: "There Were Giants in the Earth": Monsters of the First World War argues that popular pictures of American giants and monstrous war machines engaged in symbolic battle with monstrous Huns, who symbolized German atrocity for a Euro-American public uncomfortable with the idea of war with European peoples. At the same time, giants represented the common belief of America{\textquoteright}s special role in international peace, as neutrality gave way to declared war. Sheet music illustration was a vibrant part of American visual culture. By assessing the layered meanings of these often ignored pictures, my dissertation seeks to recover and restore lost memories of America{\textquoteright}s usual but fraught visual romance with popular song.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Hartvigsen, Kenneth} } @mastersthesis {11941, title = {Women and the 1913 Armory Show}, year = {2014}, school = {Louisville}, abstract = {This dissertation is the first comprehensive study of women{\textquoteright}s involvement in the 1913 Armory Show as financial backers, art collectors, and artists. The Association of American Painters and Sculptors organized this seminal exhibition, which represents a pivotal change in the course of artistic developments in the early twentieth century. For the first time in American history, the public could view contemporary works of art created by both Europeans and Americans in a huge exhibition. Due to the new abstract work on display, the show sparked controversy and debates about art and challenged both American artists and collectors to reconsider artistic production and consumption. The Armory Show has been celebrated over the past century as a watershed moment in the history of art. However, most of the art historical discourse has championed the work of the men artists and organizers to the exclusion of women, thus portraying the Armory Show as a gendered event and thereby rendering women{\textquoteright}s participation in the development of American modern art as negligible. This study reveals that women participated in the Armory Show as critical financial backers, influential art collectors shaping visual culture, and artists who exhibited their work alongside their male colleagues. The purpose of this dissertation is to reclaim the valuable work of women who were ardent supporters and producers of modern art and whose lives intersected at this colossal event. Before, during, and after the Armory Show, women were highly visible participants in modern society, moving into public spheres that empowered them as creators of cultural capital at a transitional time in history. The inclusion of these women and their work is needed to tell a complete story of both the Armory Show and the development of modern art in this country.}, keywords = {Nineteenth-Century Art}, author = {Shircliff, Jennifer} } @mastersthesis {11847, title = {Zainichi Koreans (Koreans in Japan): A Cinematic History}, year = {2014}, school = {Rochester}, abstract = {In his documentary film 100 Years of Japanese Cinema (1995), Nagisa Oshima predicts that the protagonists of Japanese film in the 21st century will be the non-Japanese minority directors. While the emergence of successful zainichi Korean (literally Koreans in Japan) directors in the past decades appears to corroborate Oshima{\textquoteright}s prediction, my study demonstrates that zainichi Koreans have been active participants throughout the postwar period as zainichi "cineastes," if not as directors. I define "cineastes" as liminal figures that occupy the interstices of cinema: Oshima{\textquoteright}s Korean assistants, documentary directors, and organizers of "para-filmic" practices such as re-editing, collecting, and re-interpreting films. Zainichi Cineastes intervenes in the dominant approach to discussing minority cinema wherein the question of identity manifests only in relation to authorship or politics of representation. I argue instead that zainichi Koreans have negotiated their diasporic identity in the "para-filmic" spaces in which they reinvented themselves as historiographical subjects who use films as artifacts, monuments, and placeholders of memory. I bolster this claim by charting the history of zainichi cineastes{\textquoteright} "para-filmic" activities from the immediate postwar years to the recent proliferation of retrospective film screenings honoring zainichi cineastes that demonstrate the ways in which Korean cineastes have responded to pivotal moments in the diaspora{\textquoteright}s history through "para-filmic" practices. Contra Oshima{\textquoteright}s speculation of the diasporized future of Japanese cinema, my project locates diasporic figures in the past, thereby radically altering our understanding of Japanese film in the pivotal eras of the Occupation, the 1960s "New Wave", and the independent documentary film movement since the 1970s. Zainichi Cineates interrogates the structural question that underlies the relationship between identity and cinema. Through my study of the rich history of the diasporic cineastes, I argue that the pressing cultural concern for a maturing diaspora group such as zainichi Koreans no longer centers on the othering of the minority group in mainstream culture, but rather the ambivalent inheritance/distanciation of the group{\textquoteright}s own past. The complex question of how to inherit and pass on the memory of the Issei (first generation) is central to much of recent artistic, institutional, and intellectual projects involving zainichi Koreans, including but not limited to the works of popular zainichi Korean directors such as Sai Yoichi, Lee Sang-il, and Yang Yong-hi.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Ogawa, Shota} } @mastersthesis {11505, title = {Abbott Laboratories: Provisioning a Vision}, year = {2013}, school = {Florida State}, abstract = {From 1935 to 1945, the Chicago pharmaceutical corporation Abbott Laboratories, the military{\textquoteright}s primary medical supplier during the Second World War, commissioned dozens of artists in a unique contractual agreement to produce hundreds of paintings and drawings creating advertisements and illustrations for both its medical journal What{\textquoteright}s New and for the United States Government{\textquoteright}s War Department. The contract specifically barred direct company profit from the imagery or advertisements created by commissioned artists yet simultaneously demonstrated Abbott{\textquoteright}s goodwill and "altruism" by donating the proceeds from public art exhibitions and the sales of color reproductions directly to the government{\textquoteright}s Treasury Department. Artists participating in the combat arts program received payment, travel expenses, and commissions as full-fledged active-duty military officers in exchange for works over a breadth of war subjects. Despite Abbott Laboratories{\textquoteright} large expenditure for these projects, it fulfilled its contractual obligation to turn over all of the commissioned paintings and drawings to the federal government{\textquoteright}s War Department in June 1945. The terms and conditions of this contract, the tri-partite corporation-patron-artist relationship, the works created through Abbott Laboratories{\textquoteright} various art initiatives, and the mass reproduction and mobilization of these images for popular culture constitute the focus of this dissertation. Abbott skillfully designed a system of corporate patronage that masked both its intentions and its benefits to result in artistically rich and commercially viable propaganda. In order to understand Abbott{\textquoteright}s wartime patronage, one must consider the company{\textquoteright}s need to rehabilitate its corporate image and its consequent negotiation of the projection of that image, its patronage within the context of 1940s corporate sponsorship and the broader context of wartime patronage, the circumstances surrounding the commission and creation of the individual words within its collection and the circumstances leading to the exhibition, distribution, and final ownership of the artwork. Finally, understanding Abbott{\textquoteright}s patronage is critical to providing insight into the 1940s American artist{\textquoteright}s mediation of art and advertising.}, keywords = {Art of the United States}, author = {Burrell, Brandon} } @mastersthesis {11704, title = {Abstract Painting and the Minimalist Critiques: Robert Mangold, David Novros, Jo Baer}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation undertakes a critical reappraisal of Minimalism through an examination of three key painters-Robert Mangold, David Novros, and Jo Baer-figures who have historically been considered lesser participants in a predominantly sculptural movement. By establishing these artists{\textquoteright} substantive engagements with Minimalist discourse, this project builds on recent revisionist efforts to posit Minimalism as a discursive field, one in which painting was a particularly fraught subject. In addition to recuperating the literalist dimensions of these painters{\textquoteright} practices, it also historicizes and challenges the period{\textquoteright}s "death of painting" critiques that have been so influential to theories of modernism and postmodernism in the visual arts. Chapter One examines Lawrence Alloway{\textquoteright}s 1966 "Systemic Painting" exhibition at the Solomon R. Guggenheim Museum. In its attempt to theorize a painterly analogue to recent sculptural production-a paradoxical endeavor in the eyes of many observers-the exhibition serves as a barometer for painting{\textquoteright}s critical status at mid-decade. Chapter Two focuses on Robert Mangold{\textquoteright}s "Walls" and "Areas" series of 1965, arguing that they dialectically sublate the period{\textquoteright}s dominant aesthetic poles of literalism and opticality, staking claim to painting{\textquoteright}s viability through a process of critical negation. Chapter Three studies the early career of David Novros, with a particular focus on his relationship with Donald Judd. It examines the nature of Novros{\textquoteright}s debts to Judd{\textquoteright}s criticism-debts which are in and of themselves remarkable given the latter{\textquoteright}s contemporary reception as the period{\textquoteright}s preeminent "death of paining" theorist-and considers the implications of Judd{\textquoteright}s commission of a Novros mural for his studio and residence. Chapter Four articulates a new critical framework for Jo Baer{\textquoteright}s "Mach band" paintings, viewing them as meditations on the medium{\textquoteright}s ontology at a time of grave critical pressure, rather than as exercises in perceptual psychology, as the bulk of the scholarly literature would suggest. The Conclusion considers the influence this period{\textquoteright}s "death of painting" critiques have held for the critical models of recent art history and suggests ways in which these painters{\textquoteright} practices complicate these paradigms.}, keywords = {Twentieth-Century Art}, author = {Levy, Matthew} } @mastersthesis {11574, title = {The Adaptation and Application of Goldsmith Techniques in Medieval Manuscripts from the Early Eleventh to the Mid-Thirteenth Century}, year = {2013}, school = {Boston}, abstract = {This dissertation offers proof that tooling was not a new phenomenon of thirteenth century Gothic illumination, as has up until now generally been believed, but was part of a well established technical tradition in twelfth century manuscript decoration. Gold surfaces are tooled with metal instruments in as many as fifty-six extant manuscripts illuminated between 1125 and 1200 in French, English, and German workshops. These manuscripts show that Romanesque illuminators employed a variety of techniques to embellish gold grounds and other metallic surfaces with an assortment of ornamental patterns that range from simple dot clusters to elaborate foliate, diaper, and checkerboard designs. This is the first study to systematically examine tooling techniques and their relationship with gilding procedures in twelfth century manuscripts. This technical approach, combined with analysis of the decoration of relevant manuscripts, opens new insights about the initiation of tooling in medieval illumination, the working methods of twelfth century illuminators, and the contribution of individual artists to the conceptualization of manuscript decoration. In addition, the data collected in this study provides new evidence relevant to broader issues in Romanesque art, namely the meaning of gold grounds in manuscript decoration, the interrelationship of the arts, the artistic exchange across national boundaries, and the transmission of Byzantine features to twelfth century Western illumination. Aside from service books, manuscript examples include copies of patristic, early medieval, scholastic, and pagan texts, in which tooling was used to enhance the visual appeal of gold surfaces to a monastic audience. These manuscripts provide evidence that French and English illuminators used punches fashioned for the blind-tooling of leather bindings which has been dismissed in previous scholarship on punch marks in painting. Hildesheim illuminators borrowed punches from the local bronze casting workshop. Tooling has also proven useful in tracing the careers of individual illuminators, such as the Lambeth Master, and their movements across national borders. This study on the development of tooling in twelfth century illumination thus provides important new evidence that, it is hoped, will make a significant contribution to our general understanding of Romanesque art.}, keywords = {Drawings/Prints/Works on Paper, Early Medieval/Romanesque/Gothic Art}, author = {Moebus-Bergeron, Susanne} } @mastersthesis {11668, title = {Adriaen van Ostade{\textquoteright}s Images of Idyllic Rural Life}, year = {2013}, school = {Maryland}, abstract = {Seventeenth-century Dutch artist Adriaen van Ostade (1610-1685) created paintings of rural life that exude life and vitality. The artist devoted hundreds of canvases and panels to depicting rural folk enjoying a dance or a drink, singing songs, and enjoying the pleasures of the pipe. Though he inherited many aspects of the peasant genre tradition from predecessors such as Pieter Bruegel (c.1525-1569), Ostade, a lifelong resident of Haarlem, developed his own type of peasant image by depicting leisure activities in small inns and taverns that presented a sympathetic view of rural inhabitants. Ostade{\textquoteright}s mature paintings of festive country folk relied on preconceived notions about the peace and beauty of Haarlem{\textquoteright}s rural environs and were meant to enhance the idea of a peaceful rural escape for urban viewers. Through a critical examination of Ostade{\textquoteright}s oeuvre, I will compile a coherent and detailed look at the images of rural festivity that Ostade created throughout his long career. Ostade transformed traditional rollicking kermis scenes into subdued, leisurely celebrations focused on simple interactions along with singing and dancing. He changed the traditional stereotype of the festive peasant from a brutish, crude figure into a rustic, yet idyllic, rural fixture. The content people Ostade depicted in his mature work reflect the desires of an urban bourgeois class in Haarlem that prized their city{\textquoteright}s rural environs, which had long been extolled in literature and art. A thorough study of the works and the market for which they were produced illuminates the meaning and function of his animated pictures of rural life.}, keywords = {Renaissance/Baroque Art}, author = {Hoffman, Jessica} } @mastersthesis {11675, title = {Aenschouwer, siet hoe alle dingh verkeeret!{\textquoteright}: Envisioning Change in the Seventeenth-Century Dutch Cityscape}, year = {2013}, school = {UC Santa Barbara}, abstract = {This dissertation argues that pictures of changes occurring in seventeenth-century Dutch cities-burning, demolition, construction, renovation and social change-activated collective memories that viewers used to craft their personal, professional, and political identities. Physical urban change, both intentional and unexpected, was ubiquitous in the seventeenth-century Netherlands, and its pace and extent so great that change itself became characteristic of Dutch urban life. The dissertation challenges the predominant scholarly opinion that cityscapes are foremost expressions of pride. Falling outside many of the subject matter conventions of cityscapes, images of change often depict areas that are dirty, in chaos, or that no longer exist. Such images were related by artists and viewers to past political and social events through quotations of visual precedents and accompanying textual interpretations. Part I of the dissertation studies the city dismantled by fire and demolition. Chapter 1 analyzes Jan van der Heyden{\textquoteright}s Fire Hose Book of 1690, arguing that Van der Heyden{\textquoteright}s fire imagery recalls the horrors of war, and then combines image and text to provide the reader with a means of participating in protecting the city from such threats. Chapter 2 examines images of demolished buildings that allowed the viewer to position himself as a social "insider" by claiming a personal relationship to memories of the pre-change urban landscape. Part II studies the city rebuilt by construction, renovation, and social change. Chapter 3 looks at images of urban growth and renovation and argues that these physical turning points in the city{\textquoteright}s development gave artists and viewers the opportunity to attach meaning to the economic and aesthetic consequences of growth. Chapter 4 examines images of social interactions in the city, arguing that a variety of relationships to urban "others" could be asserted, from a socially distant acceptance to a restatement of the status quo that mocked one{\textquoteright}s social inferiors. The final chapter proposes avenues for further research, including the expression of time in cityscape imagery.}, keywords = {Renaissance/Baroque Art}, author = {Packer, Michelle} } @mastersthesis {11447, title = {Aesthetics in Action: Matatu Art in Nairobi}, year = {2013}, school = {Indiana}, abstract = {With over 2,800,000 people, Nairobi is East Africa{\textquoteright}s cosmopolitan hub. Public service vehicles called matatus, often vans seating 12 to 25, have provided most of Nairobi{\textquoteright}s transport since colonialism. For this reason, the matatu industry is one of the most successful niches of Nairobi{\textquoteright}s dynamic informal sector. The industry{\textquoteright}s fabled art and its underlying philosophy of what I call the aesthetics of control, embody an important ideological stance in post-colonial Nairobi. This dissertation examines the often provocatively designed public transport vehicles of Nairobi, and the artists, matatu crew members, and passengers that have created and participate in the aggressive aesthetic practices that bring the vehicles to life. This study will help illuminate why the aesthetics of control was so vital to matatu art and how central matatu design was to life in Nairobi in 2004 and 2005. The aesthetic of control has two interdependent categories. While these categories cannot be separated it is helpful to distinguish them for discursive purposes. The first category includes the principles of aesthetic action and the second, the sensory predilections manifested as tangible stylistic choices. Some of these main principles include the following: 1) colors with high contrast; 2) designs with visual and conceptual unity; and 3) images and phrases that communicate toughness, street cool, and prowess. Within these guiding concepts graphic artists manipulated visual predilections including verbal images and phrases, as well as the colors, fonts, and styles with which to render them. Individuals involved in the matatu industry generally used association with vehicles boldly designed according to these aesthetic principles to build self- and public images as tough, savvy contenders. These principles of action and personal predilections were indispensable tools with which people realized individual potency requisite for entrepreneurial success in their highly competitive business.}, keywords = {African Art (sub-Saharan)}, author = {Hemmert, Kitty} } @mastersthesis {11448, title = {Aesthetics in Motion: Matatu Design in Nairobi}, year = {2013}, school = {Indiana}, abstract = {No record in ProQuest or Indiana ETDs}, keywords = {African Art (sub-Saharan)}, author = {Johnson, Kitty} } @mastersthesis {11703, title = {Agit-plakat: The Destalinization of Soviet Political Posters (1956-1966)}, year = {2013}, school = {Pennsylvania}, abstract = {During the first decade of destalinization, inaugurated in 1956 with Nikita Khrushchev{\textquoteright}s denunciation of Joseph Stalin{\textquoteright}s "rule by terror," younger artists sought to reformulate the artistic language of Stalinist Socialist Realist political and social posters, characterized by narrative legibility and finessed realist form. The anti-realist changes that the artists pursued continued despite Leonid Brezhnev{\textquoteright}s 1964 takeover, a leadership change linked to a retrograde reaction. By drawing on archival documents, contemporaneous responses, and interviews with the artists, this dissertation illuminates the discursive and visual strategies that artists at the smaller publishing houses, Agit-plakat and Soviet Artist, negotiated in order to subvert the academic-painting-based formula of Stalinist posters produced by the conservative Central Publishing House, Izogiz. Under the banner of "poster-specificity," a daringly formalist but otherwise tactically open-ended term, progressive artists and critics advocated the decoupling of poster design from the influence of academic painting, the dominant genre whose careful modeling, mixed colors, and privileging of human figure defined the look of Izogiz posters since 1934. Agit-plakat, not incidentally founded in 1956, and Soviet Artist slightly lifted the ban on the forbidden modernist idioms. Their artists referenced the graphic austerity and whimsy of Rosta Window posters (1918-1922), disjunctive Constructivist photomontages from the mid-1920s through the early 1930s, and the modernized Socialist Realist style of Polish posters. As a result, Agit-plakat and Soviet Artist posters flaunted flattened fields, pure colors, formal de-skilling, and the previously suppressed anti-painterly materials and procedures, such as collage, photomontage, and photography, at times, translated into drawing. A metaphorical model of the "political still life" emerged to justify the intrusion of montage-inflected idiom. A recalibration of the thematic repertoire from grandiloquent Stalinist statements to mundane, "internal" topics, in conjunction with the deployment of caricature, legitimated further anti-realist tendencies in political poster design, e.g. the eruption of pinks in lieu of red, the displacement of exclamation points with question marks, an increase in compositional complexity, disfiguration of the human body, among others. Finally, the study throws into relief the post-Stalinist development of "allegorical mentality" that resisted the literariness of Socialist Realist posters, encouraging more active, agitated perception.}, keywords = {Twentieth-Century Art}, author = {Kowell, Masha} } @mastersthesis {11455, title = {Airs of Modernity 1881-1914}, year = {2013}, school = {Princeton}, abstract = {This dissertation considers the burgeoning aeronautical culture in France between the Franco- Prussian War and the First World War as the setting for a conceptualization of air as a modernizing phenomenon. Changes from aerostatic to aerodynamic flight during this time--that is, the shift from lighter-than-air flight via balloons to heavier-than-air flight with airplanes in nineteenth-century France--resulted in a rethinking of the envelope of air that moved through buildings and surrounded cities as something that was not exactly air, into something that was more than just air. Air fragmented into several modernities: It was recast as ground and treated like its own legal domain; It was an abstraction made material due to experiments in laboratories and the development of advanced representation and measurement techniques; Air even occupied its own separate historical domain--these developments all came about due to the collision, so to speak, of aeronautics and architecture. And yet architecture was the very device, the instrumentality that made the cultural ramifications of this collision apparent. Different modes of representation will be analyzed for their role in using architecture to communicate aspects of these aerial modernities. L{\textquoteright}empire de l{\textquoteright}air (1881), by the French ornithologist and artist Louis Pierre Mouillard (1834-1897) features drawings of large birds of prey to introduce the idea of air as a supporting and dynamic substrate. The conception of air as a "column" of geometricized space from two legal treatises by the French jurist Paul Fauchille (1858-1926) considers the relationships between building envelopes on aerial sovereignty. Photographs of smoked air flowing over solid objects by Etienne-Jules Marey (1830-1904) show how an architectural apparatus--a sealed, wood-framed wind tunnel with a glazed wall--can be used to turn moving air from something that was "optically empty" to a discernible, tangible phenomenon. Finally, the idea of a wind tunnel as an architectural object reaches its fullest expression in Gustave Eiffel{\textquoteright}s (1832-1923) aeronautical experiments. His wind tunnels at Champ-de-Mars and Auteuil are analyzed as architectural machines for the recording of pressurized streamlines on solid objects. In short, Eiffel{\textquoteright}s wind tunnels will be understood as part of a larger entanglement between architecture and human flight via the convention of line drawing. This dissertation will conclude with an examination of architectural drawings by Adolphe Augustin Rey (1864-1934). Though Rey{\textquoteright}s name is not associated with advances in French aeronautics, his drawings for a worker housing competition sponsored by the Fondation Rothschild nevertheless stand for an important proposition underlying this dissertation. Rey{\textquoteright}s plans and elevations for the Rothschild housing scheme suggest a new kind of relation between architecture and its surrounding air. Here, architectural drawings help elucidate how air has become a historical and material condition coextensive with architecture.}, keywords = {Architectural History/Historic Preservation, Drawings/Prints/Works on Paper}, author = {Ramirez, Enrique} } @mastersthesis {11466, title = {Alberti at Rimini: The Process of Patronage in Fifteenth-Century Italy}, year = {2013}, school = {Rutgers}, abstract = {In 1450, Leon Battista Alberti was hired by the condottiere Sigismondo Malatesta to redesign the church of San Francesco in Rimini, now known as the Tempio Malatestiano. Alberti{\textquoteright}s design has been recognized as the first classically-inspired church facade of the Renaissance. For the other decorative facets of this project Sigismondo employed accomplished, high profile personalities: Piero della Francesca, Matteo de{\textquoteright} Pasti, Agostino di Duccio. Yet Alberti had a notable absence of architectural training or experience. This dissertation explains why Alberti was selected for this high-profile commission, despite his lack of architectural resume. Therefore I approach the Tempio Malatestiano not as an exemplar of Italian Renaissance architecture, but rather as the starting point of an effort to understand the various forces at work in the process of artistic patronage in fifteenth-century Italy. This study investigates how and why Sigisimondo and Alberti came together to produce the monument of the Tempio Malatestiano. The analysis addresses the complex issue of the definition of the architect in the transitional period of the mid-fifteenth century - a development in which Alberti himself was a key player - and explores the backgrounds of both protagonists in an effort to determine why Alberti was chosen over the many established architects of the period. I show that Alberti had many other qualifications in his myriad intellectual activities; in this regard he was no exception to Sigismondo{\textquoteright}s rule of hiring accomplished courtiers. Furthermore, Sigismondo{\textquoteright}s patronage agenda had as much to do with his personal and political aims and circumstances as it did artistic ones, and I show how only Alberti could satisfy these goals. In the process a new view of Alberti{\textquoteright}s important and controversial time in Rome is proposed. Finally, this study contributes to the wider field of Alberti studies in its discussion of the ways in which Alberti{\textquoteright}s other intellectual activities contributed to his career as architect and how these played out in the design of the Tempio Malatestiano.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Logan, Nicole Wallens} } @mastersthesis {11662, title = {Albrecht Durer{\textquoteright}s Journey to the Netherlands, 1520-1521: A Reconsideration of Past Scholarship and the Importance of Antwerp to the Artist{\textquoteright}s Late Work}, year = {2013}, school = {Case Western Reserve}, abstract = {Albrecht Durer{\textquoteright}s Oblong Passion drawings of the early 1520s, previously considered as preparatory studies for an unfinished woodcut Passion series, are here conceived as independent works. When examined formally and within their historical context, they yield fresh insights into Durer{\textquoteright}s late artistic and intellectual interpretation of Christ{\textquoteright}s Passion, his spiritual engagement in the early Reformation, and his creative response to Netherlandish art. Representing four episodes from the Passion narrative and one from Christ{\textquoteright}s infancy, the eleven drawings reveal Durer{\textquoteright}s appropriation of Netherlandish compositional devices in order to depict a new conceptual and iconographical representation of the Passion narrative, one that specifically featured theological principles set forth by Martin Luther. For the first time, in this dissertation the Oblong Passion drawings are interpreted through the lens of Luther{\textquoteright}s Sermon von der Betrachtung des heiligen Leidens Christi of 1519, a popular tract that emphasized complete faith in Jesus{\textquoteright} atoning sacrifice instead of the prevailing belief that acts of affective piety and good works resulted in salvation. Durer{\textquoteright}s de-emphasis of Jesus{\textquoteright} suffering and that of his followers, as well as the artist{\textquoteright}s overall attention to the temporality of the narrative, diverge from his previous renditions of the subject and demonstrate the artist{\textquoteright}s evangelical reconsideration of Christ{\textquoteright}s Passion. In addition to the widened format of the drawings, Durer{\textquoteright}s treatment of space, figural arrangement, and dramaturgical pathos reflect his adoption of Netherlandish artistic principles, particularly those of his contemporary Lucas van Leyden. Although early scholars have noted the overall Netherlandish impression of the drawings, I provide specific and conclusive comparative examples to affirm Durer{\textquoteright}s receptivity to foreign artistic stimuli during this late phase in his career. This critical interpretation of the Oblong Passion drawings brings much needed attention to an understudied aspect of Durer{\textquoteright}s religious output and furthers our understanding of Durer{\textquoteright}s late creative process, his application of evangelical principles to his works, and the explicit ways in which he engaged with Netherlandish art.}, keywords = {Renaissance/Baroque Art}, author = {Cowen, Dana} } @mastersthesis {11608, title = {Altars and Empire: Studies in Roman Altars and Divine Kingship, (c. 300 BC-AD 96)}, year = {2013}, school = {UT Austin}, abstract = {In the concluding remarks to her 1913 dissertation, Helen Bowerman notes that "[a]lthough the sacrificial altars [sic] form a group of comparatively unimportant monuments." This study is an attempt to both refute Bowerman{\textquoteright}s conclusion and to replace altars into the dialogue about Roman architecture and political propaganda during the late Republic and early Empire. While I challenge the standard, scholarly categorical definition of Roman altars set forth in the early 20th century, the primary aim of my study is to explore the complex environments in which altars, of all sizes, appear in the Imperial period and the ways in which these altars performed in their political and urban contexts. Furthermore, with an eye to topographical relationships in Rome itself, I trace the use and manipulation of altars by emperors, a type of analysis that has long benefitted our understanding of other manifestations of state, honorific monuments. As monuments, altars were unique in their stylistic and contextual adaptability while simultaneously remaining essentially uniform in their function, the place of ritual sacrifice. Congruently, I explore the role that altars played in the negotiation between an emperor{\textquoteright}s position as a man and his potential as a divinity. That is, I examine the means by which the emperor=or dictator in the case of Caesar=used the altar form to at once avoid direct assimilation with the gods while simultaneously establishing the veneration of divine powers unequivocally associated with him. In this discussion, I seek to define how the altar form, its imagery, and the honorific system in which it operated conceptualized the new office of the princeps, reconceived the traditional institutions of power, and transformed the role of altar monuments in the early Empire.}, keywords = {Greek/Roman Art}, author = {Cline, Lea} } @mastersthesis {11503, title = {An Alternative by Any Other Name: Pulp Genres and Fandom in American Alternative Comics, 1974-2000}, year = {2013}, school = {CUNY}, abstract = {"Alternative comics" is a term that describes comic books produced since the mid-1970{\textquoteright}s that occupy a space at the intersection of mass culture and the avant-garde and represent an example of what I call, following literary scholar David M. Earle, the popular avant-garde. While acknowledging the problematic nature of the avant-garde as a model, this dissertation maintains that the popular avant-garde comprises a contradictory but real set of cultural practices. Alternative comics are conventionally defined by critics and academics by the absence of superheroes and other action-oriented mainstream comics genres, but this dissertation argues that the genres and other practices of mainstream comics have in fact been integral to many of the most critically acclaimed and influential examples of alternative comics. These comics incorporate mainstream genres through the use of what I term disjunctive genre hybridity, a technique in which "undigested fragments" of different genres are combined in ways that disrupt the fictional reality or norms of these genres, a concept that, like the popular avant-garde, has applications beyond the field of comics. In addition to alternative comics, disjunctive genre hybridity has also been used by some mainstream cartoonists, demonstrating the fluid boundary between alternative and mainstream comics. Another link between them is the fact that alternative cartoonists often portray themselves or their alter egos as fans and collectors, roles that have been central to the culture of mainstream comics since the 1970{\textquoteright}s, despite the fact that alternative cartoonists see fans, including themselves, as pathetic, socially marginal figures, echoing the derogatory stereotype of the fan prevalent in popular culture. Mainstream comics also figure prominently in the history of The Comics Journal (1977-), the most important magazine of comics criticism, which is often upheld as the most prominent advocate of alternative comics, although it was originally a conventional mainstream "fanzine" (fan magazine) that focused primarily on mainstream and groundlevel comics throughout the 1970{\textquoteright}s and 1980{\textquoteright}s, alternately criticizing and praising them, and only shifted its critical focus to alternative comics in the 1990{\textquoteright}s}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Singsen, Doug} } @mastersthesis {11629, title = {On and Off the Streets: Photography and Performance in Mexico City, 1974-1984}, year = {2013}, school = {IFA/NYU}, abstract = {"On and Off the Streets: Photography and Performance in Mexico City, 1974-84" is the first monographic study of two artist collectives founded by Adolfo Patino: the Grupo de Fotografos Independientes (GFI, active 1976-84) and Peyote and Company (active 1974-84). Similar to other contemporary artist groups, both collectives navigated both traditional and alternative art spaces. Although the production of each group was distinct, the GFI and Peyote shared many of the same members and demonstrated similar artistic interests, such as the urban environment of Mexico City, critical exhibition practices, and the media of photography and performance. The first section of the dissertation discusses the GFI, who employed the street as a site for their itinerant photography exhibitions, but also as a source of subject matter. The GFI pursued official institutional collaborations alongside their alternative practices, maintaining an element of institutional critique in both avenues. The dissertation{\textquoteright}s second part examines Peyote and Company, a cohort of artists interested in arts promotion, film, installation, performance, and mixed-media art. The primary projects of the Peyote group include the Super-8 film Yin-Yang (1976) and the mixed-media installation and performance series Artespectaculo: Tragodia II (1979). Photography continued to be a central element to Peyote{\textquoteright}s practice, both as documentation for performance and as material for mixed-media works, which also incorporated found materials from the street.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Birkhofer, Denise} } @mastersthesis {11566, title = {Andy Warhol, Publisher}, year = {2013}, school = {Rochester}, abstract = {This dissertation looks at a specific selection of Warhol{\textquoteright}s books and magazines. These publications span his first years in New York City in the 1950s to the height of his career in the 1960s to the last book he published before his death in 1987. While unabashedly a monographic study, my project sets out to de-center the act of publication to a cast of co-producers, technologies, institutional frameworks, and readers. Along those lines, the title of my dissertation is meant to signal a necessary shift in how we grapple with the medium of the artist{\textquoteright}s book. Warhol was a publisher in the sense that he self-published his first books and he was listed on the masthead of inter/VIEW magazine as its publisher, yet many of his books were published by established publishing houses-Harcourt, Random House, Harper and Row-therefore, my title also refers to Warhol as a publisher in a less literal sense. His books and magazines incorporate the conditions of their production and reception into their content and meaning. Whether the capacities of the typesetter, the graphic display of the magazine{\textquoteright}s front page, the input of an editor, the publisher{\textquoteright}s publicity program, or the reader{\textquoteright}s response, Warhol shows us that these elements of publication are available for him to take up as his art. A recurrent theme in this dissertation is to unpack how Warhol{\textquoteright}s art challenges our understanding of the construction of "reading" publics and the social performance of identity and affiliation that is facilitated through and in print media. I attend to the specific technological and social processes that define each of Warhol{\textquoteright}s publications and I historicize these publications in relationship to Warhol{\textquoteright}s other work, the work of his contemporaries, and the broader spheres of the literary marketplace and American popular culture. Unpacking what publishing meant to Warhol, then, becomes a means of understanding how a major postwar artist appropriated the mechanisms of print culture-of publishing, publication, and publicity-as a way of exploring and exploiting the value of being visible, or even partially visible, in a public.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Mulroney, Lucy} } @mastersthesis {11641, title = {Anticlericism in Goya{\textquoteright}s Los Caprichos}, year = {2013}, school = {Iowa}, abstract = {My dissertation examines a still much neglected facet of Goya{\textquoteright}s art, namely his depictions of anticlericalism throughout his career. I address how the cultural, religious, social, political, and literary history of Spain help to explain why the artist denigrated members of the Catholic Church in his art. A great deal has been written on some of Goya{\textquoteright}s well-known religious paintings, yet his fierce anticlericalism that informs so much of his art has been largely overlooked. The first chapter introduces anticlericalism and examines the historiography of Goya{\textquoteright}s works. It also explains my methodological approach and how my dissertation seeks to expand upon the scholarship that discusses Goya{\textquoteright}s complex relationship with religion. My second chapter addresses the role of religious commissions in Goya{\textquoteright}s early career from his training to his beginnings in the royal court of Madrid. I emphasize how even in his early career, Goya{\textquoteright}s religious paintings had begun to satirize the Catholic clergy as well as depart from traditional religious iconography. Subsequent chapters focus on works he created while he was becoming the most famous and sought after artist in Spain. Specifically in chapters three and four I examine anticlericalism in his print series Los Caprichos and Disasters of War as well as in his paintings and drawings completed while living in Spain. My final two chapters examine Goya{\textquoteright}s anticlericalism in the last years of his life, first under the restored monarchy of Fernando VII and then during his self-imposed exile in Bordeaux. The late works reveal the extent to which Goya continued to meditate on and represent the abuses of the Catholic clergy in Spain, a topic that would be on his mind until his final days.}, keywords = {Nineteenth-Century Art}, author = {Bushman, Karissa E.} } @mastersthesis {11698, title = {The Apparently Marginal Activities of Marcel Duchamp}, year = {2013}, school = {Princeton}, abstract = {This study focuses on a series of fugitive operations (or what I am calling "activities") that Marcel Duchamp (1887-1968) incited in order to test, theorize, position, and even make his work as such. Not conventionally "artistic" in nature, even if intimately connected to the collection, presentation, reception, and valuation of art, these activities include Duchamp{\textquoteright}s role as administrator, archivist, art advisor, curator, publicist, reproduction-maker, and salesman of his own oeuvre. Rather than merely procedural, auxiliary, or incidental, they might be thought of as constitutive, resulting in a still understudied but profoundly influential output by an artist who redefined so much of what, hence forth, would be called art. Here, those most iconic of Duchamp{\textquoteright}s inventions, the readymades, although not the central objects of this study, are understood as significant insofar as they were not simply "nominated" to become artworks, but more importantly, because they were curated. It is precisely through curatorial operations-relative to much of Duchamp{\textquoteright}s production, and constituting one of the central activities that this dissertation explores-that the artist rendered the discourse, institutions, marketing, and presentational strategies of art into something like his cardinal "medium." Tracing Duchamp{\textquoteright}s perennial relationship to photography, reproduction, the museum, and the archive, and spanning the period between 1913 and 1969, three chapters closely examine a number of undeniably material things: chapter one considers the artist{\textquoteright}s boxes of photographically replicated notes, the Box of 1914 (1913-14) and Boite verte (1934); chapter two examines documentation of ephemeral exhibitions, recording Duchamp{\textquoteright}s curatorial interventions as well as suitcases filled with miniature reproductions, the Boite-en-valise (1938-42); and chapter three is dedicated to a permanent installation, Etant donnes 1. la chute d{\textquoteright}eau, 2. le gaz d{\textquoteright}eclairage (1946-66). However, the premise of this dissertation is that all of these gain a new significance if studied in relation to the elusive activities that actually constituted them as artworks. Together, they formed a counter-conception of the role of the artist, articulating-and complicating-the conceptual stakes of much of what is known of his practice and thickening into what Walter Benjamin called the artist{\textquoteright}s "theory of the work of art."}, keywords = {Twentieth-Century Art}, author = {Filipovic, Elena} } @mastersthesis {11583, title = {Apse Mosaics of the Virgin Mary in Early Byzantine Cyprus}, year = {2013}, school = {Johns Hopkins}, abstract = {The dissertation examines three early Christian apse mosaics preserved in medieval churches on the island of Cyprus. The mosaics of the Panagia Kanakaria at Lythrankomi, the Panagia Angeloktistos at Kiti, and the Panagia tes Kyras at Livadia portray the Virgin Mary as a central figure, representing a significant development after the Council of Ephesos in 431, when she was confirmed as Theotokos (God-bearer). Similar depictions of the Virgin or Virgin and Child would occupy the apse consistently in middle and late Byzantine programs. Despite the notable subject matter and the rare survival of wall and vault mosaics in the Eastern Mediterranean, the group has never been the subject of an extensive inquiry. Part one of the dissertation determines the dates of the apse mosaics using conventional art historical methods and evaluates the original production, decline, and preservation of the mosaics. Part two analyzes and contextualizes the mosaics more fully by concentrating on a set of themes: sacred space and liturgy, metaphor, and intercession. Through these themes, the dissertation explores the prominence of the Virgin Mary in the apse mosaics of Cyprus and investigates the multiple functions of apse decoration in the early Christian period. Prevailing theological interpretations of early Christian apse decoration emphasize the importance of the Virgin for Christology, but overlook other essential functions elaborated here. Additionally, early Byzantine homiletic, hymnographic, hagiographic, and liturgical texts are used to illuminate various aspects of the mosaics and issues of their contemporary reception.}, keywords = {Early Christian/Byzantine Art}, author = {Shilling, Brooke} } @mastersthesis {11482, title = {Architecture for a New Age: Imperial Ottoman Mosques in Eighteenth-Century Istanbul}, year = {2013}, school = {Harvard}, abstract = {The eighteenth century saw the Ottoman capital Istanbul undergo some of its most significant physical changes. Restored as the seat of government in 1703 after the court had spent fifty years in Edirne, the city became the site of lavish architectural patronage intended to reinscribe the sultans{\textquoteright} presence. This campaign culminated in the years 1740-1800 with two distinct but related developments: the revival of the imperial mosque as a building type, and the creation of a new architectural style-the so-called Ottoman Baroque-informed by Western models. Though these shifts have typically been viewed within a well-established decline paradigm branding the material decadent and derivative, this study demonstrates that the eighteenth-century mosques were powerful symbols of sultanic authority designed to reassert and redefine the empire{\textquoteright}s standing on a changing world stage. The dissertation engages a range of unexplored primary sources, including Ottoman diaries and Western diplomatic reports, to reconsider the mosques as exemplary buildings by which to understand broader cultural and sociopolitical shifts. Reflecting the growing importance of sultanic visibility, the buildings evinced ever bolder devices for proclaiming their royal status. These innovations, which distinguished the mosques from Istanbul{\textquoteright}s existing architecture, won the admiration of the empire{\textquoteright}s inhabitants, for whom the structures were charged settings in which to view the sultans{\textquoteright} ceremonial visits. Moreover, the new style-with its conspicuous but creatively adapted Western references-also spoke to an international audience, impressing foreign travelers and diplomats who recognized its cross-cultural tenor. Challenging existing scholarly approaches that either condemn the architecture as imitative or vindicate it by underplaying its Western elements, I contend that the Ottoman court-utilizing the expertise of native non-Muslim artisans with networks in Europe-deliberately fashioned a globally legible style befitting an age of heightened East-West contact. The existence of comparable traditions like the Petrine Baroque in Russia provides a meaningful framework for this reinterpretation, as too does the Ottomans{\textquoteright} own claim to an antique architectural heritage, expressed through the mosques{\textquoteright} numerous Byzantine allusions. This remarkably cosmopolitan new style permanently transformed the Ottoman capital{\textquoteright}s fabric, establishing a model that would remain influential until the empire{\textquoteright}s end.}, keywords = {Art of the Middle East/North Africa}, author = {Rustem, Unver} } @mastersthesis {11547, title = {Arriving at the Caribbean: Constructing Visual Representations of Transatlantic and Transcultural Experience}, year = {2013}, school = {Stony Brook}, abstract = {Identity, which remains a central theme for contemporary Caribbean and diaspora artists, exists in tension with a long tradition of stereotypes and tropes employed by its colonizers to describe the region through the construction of difference and otherness. The European myth of {\textquoteright} discovery{\textquoteright} fashioned the Caribbean as an uncivilized paradise, constructed in contrast to the normative of Western modernism. The Caribbean is compelled then to repeatedly assert its identity as well as its contemporaneity within a highly contested and over-determined space. The model of diaspora positions the Caribbean within a transnational space of dynamic cultural exchange, emphasizing the experience of travel, whether forced or voluntary and the encounter of difference. The transatlantic journeys with their vertiginous consequences were a defining feature of modernity. Estrangement and displacement emerge as a recurring creative force which has impacted contemporary artistic practice within the diaspora and requires new methodological approaches of interpretation. A {\textquoteright}re-turn{\textquoteright} is proposed as a reconfiguring turn, a critical break or deflection which re-examines historical narratives and results in a paradigm shift. Four moments are proposed for consideration within a diasporic genealogy aimed at interrogating the past-present continuum to refigure the past, illuminate absences and develop methodological approaches that provide an expanded context in which to look at contemporary Caribbean art. The contemporary work of Sonia Boyce provides a model for re-assessing diaspora experience; the late sixteenth century illustrations of travel journals by Flemish book publishers, the De Brys were unprecedentedly influential in disseminating a constructed vision of the earliest transatlantic encounters; French post-impressionist Paul Gauguin re-framed his experiences of Martinique in the Volpini Suite through memory, allegory and myth; and Wifredo Lam and Aime Cesaire re-deployed surrealism{\textquoteright}s language of conceptual revolution and aesthetic juxtaposition to foreground the African presence as a constituent part of Caribbean experience. Questions of language and authority as represented through the intersection of words and images recur throughout these examples. These four moments present an expanded spatial and temporal context in which to rethink the interpretation of work by four contemporary artists in Barbados beyond previously established nationalist paradigms.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Thompson, Allison} } @mastersthesis {11590, title = {Art for an Antipope: Patronage at the Court of Clement VII (1378-1394)}, year = {2013}, school = {IFA/NYU}, abstract = {Clement VII, elected in 1378, is best known as the first schismatic Pope, competing for control of the church with Urban VI in Rome. Although one might expect his architectural patronage and manuscript production to express the fraught circumstances of the papacy, they primarily reflect the local history of the papacy{\textquoteright}s century-long sojourn in Avignon, and the international character of the papal court. A thousand year-old tradition had forged a strong spiritual link between the city of Rome and the authority of the Catholic Church. However, in the twelfth and thirteenth centuries, political turmoil in Rome led the papacy to spend increasingly long periods outside the city. While the first Avignon pope, John XXII, endowed several churches and monasteries serving the local populace, subsequent popes focused their efforts on the massive Papal Palace. Clement VII returned to a policy of architectural patronage addressing the surrounding city. This change was clearly tied to Clement{\textquoteright}s efforts to express his legitimacy as the head of the Latin Church. One of his major architectural projects, the church of St. Peter Celestine, transformed the grave of a local saint into a major pilgrimage site. The other, the Cluniac monastery of St. Martial, promoted a Gallic saint as a local version of St. Peter, whose body was buried in Rome. This monastery also reinforced the papacy{\textquoteright}s links with its greatest ally, the French monarchy. Manuscript production at Clement{\textquoteright}s court combines elements of French, Italian, Spanish, Bohemian, and English traditions. It is an example, not of the French "International Style," but of a genuinely international style corresponding to the international character of the Avignon papal court. This hybrid character has presented a recurrent problem for art historians accustomed to "national" styles. Despite Clement{\textquoteright}s image as military leader, elected Pope for purely political reasons, the manuscripts he commissioned reveal a man of serious devotion. Although Clement himself drafted an influential prayer for the resolution of the Schism, explicit references to the Schism are notably limited in his devotional manuscripts. Clement{\textquoteright}s claims to spiritual and political authority are instead expressed by veiled and sophisticated allusions, textual and figurative.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Monti, Elizabeth} } @mastersthesis {11691, title = {Art in between Empires: Visual Culture and Artistic Knowledge in Late-Mughal Delhi, 1748-1857}, year = {2013}, school = {Columbia}, abstract = {This dissertation focuses on the artistic culture of late Mughal Delhi spanning the last century of Mughal rule and the administration of the English East India Company in North India, from the mid-eighteenth to the mid-nineteenth centuries. It brings a hitherto unrecognized period of artistic accomplishment to light and studies the transformations within painting culture in the multicultural Anglo-Mughal society of Delhi. Rather than being fixated on the continuum of Mughal painting over centuries, this dissertation suggests that the art of the late Mughal period should be studied on its own terms as a response to immense socio-political and cultural changes. At its core this study is concerned with dissolving the stylistic barriers between Mughal and Company painting in the late eighteenth and nineteenth centuries. I take up the question of what the term {\textquoteright}late Mughal painting{\textquoteright} entails and discuss how the term privileges the notion of a court centric culture of painting in an era when the Mughal court was only one of many venues of artistic expression. On the other hand, I highlight the inadequacy of the term {\textquoteright}Company painting{\textquoteright} to address the variegated nature of works produced under East India Company patronage in this period. Thus, this dissertation attempts to view seemingly disparate works within a common framework of visual analysis. In a period where the story of the Mughal empire appears as an appendage to the dominant historiography of the East India Company{\textquoteright}s rise to power, this investigation of painting culture in Delhi reveals how paintings were critical for either maintaining or upsetting the status quo between court and Company and how this critical balance of power between the two was negotiated in the visual sphere. The first chapter of this dissertation discusses the role of cartography as a means for projecting Mughal imperial identity in the face of a growing Company dominance. Using a body of previously unexplored maps and cartographic drawings I show how painters used topographic markers to illustrate Mughal presence using both European and local conventions of drawing. Such works, I argue, also initiated the creation of visual histories of later Mughal rule at Delhi, as they pictured events often discussed in private correspondence. Paintings produced in the royal court of Shah Alam II reflected upon the historical legacy of Mughal ideas while referencing the emotive context of Indo-Persian and Braj bhasha poetics that constituted the wider expressive culture of this period. As this dissertation reveals, a large majority of paintings produced in courtly and non-courtly settings were, in fact, executed by the same group of painters belonging to the family atelier of the painter Ghulam Ali Khan (active 1790-1855). This dissertation offers a first look into the network of painters active in Delhi during this period and also offers a plausible genealogy of their family. I provide an overview of Ghulam Ali Khan{\textquoteright}s career spanning the breadth of his early work on architectural views of Delhi{\textquoteright}s buildings to his work on portrait studies of Delhi{\textquoteright}s residents for the newly powerful group of Company officers, William Fraser (1784-1835) and Colonel James Skinner (1778-1841). The dissertation also suggests a connection between Ghulam Ali Khan and the British topographical painter Thomas Daniell (1749-1840) through a study of Daniell{\textquoteright}s scraps (illustrated notes) from his private papers. Moreover, my research situates Ghulam Ali Khan as the driving force for painting at the Rajput court of Alwar and the Jat court of Jhajjar enabling us, for the first time, to create a near-complete picture of his career. This dissertation presents first time look into the pictorial archives at Alwar and uses new evidence to substantiate the painter{\textquoteright}s pivotal role in shaping painting culture at Alwar in the nineteenth century. The penultimate section of this dissertation presents facets of European patronage that link closely with the cultural and political conditions at Delhi. In particular, I examine the circumstances surrounding the commission of portraits of Delhi{\textquoteright}s residents by the Company officer William Fraser that were part of the (now) world famous album compiled between the years 1810 and 1825. I draw attention to the pragmatic considerations surrounding land settlement that bore upon Fraser{\textquoteright}s interest in creating a visual record of the Delhi countryside. Finally, this dissertation charts the later years of painting at Delhi and its dilution into souvenir copies painted on ivory that I call, "Mughalerie". Overall, this study of painting culture in Delhi aims at enriching the mainstream historiography of the modern period of Indian painting and offers a compelling reassessment of this transition period in Indian art history.}, keywords = {South/Southeast Asian Art}, author = {Sharma, Yuthika} } @mastersthesis {11492, title = {An Art of Translation: French Prints and American Art (1848-1876)}, year = {2013}, school = {Columbia}, abstract = {This dissertation calls attention to the significance of translation for two related trends in American art and visual culture of the antebellum and Civil War eras: the transatlantic expansion of the nineteenth-century French art publishing industry, and the conceptual shift in the period{\textquoteright}s literature on reproductive prints from the notion of imitation to that of translation. The production, circulation, and consumption of reproductive prints were tied to the period{\textquoteright}s innovations in printing, and to broader patterns of transatlantic economic integration and exchange. These developments placed Americans in increased contact with European art and visual culture. Focusing on the decades following the Parisian firm Goupil \& Company{\textquoteright}s establishment in New York, this dissertation investigates the impact of the proliferation and widespread dissemination of what Americans saw as translated images-that is, French-made reproductions of European and American works of art. The first part of this dissertation explores how Goupil{\textquoteright}s establishment in New York in 1848 and the firm{\textquoteright}s subsequent investments in lavish publications of American paintings destabilized the American approach to the translation of the image and influenced the manner in which both critics and artists conceived of the visual arts as a repository of American national identity. Engravers{\textquoteright} lines were more than a place for the adaptation and representation of the European artistic legacy. They were also a locus for critical cultural, social, and political transformations. The second part of this dissertation examines how American artists working either in the United States or in Europe engaged with the period{\textquoteright}s transatlantic visual culture of reproduction, and with a notion of translation conceived both in literary and visual terms. George Caleb Bingham and Richard Caton Woodville, two of the leading antebellum American genre painters, and Thomas Nast, the most influential cartoonist of the Civil War and Reconstruction era, deployed the visual possibilities of translation in relation to the transatlantic production and circulation of reproductive engravings not only to address various local, national, and transnational audiences but also to articulate their own creative practices and mode of artistic expression in an expanding art world. Unlike earlier studies, which focused on American artists{\textquoteright} expatriation to Europe in the later part of the nineteenth century, this dissertation shifts attention to the early impact of French prints on the visual imagination of American artists and illustrators during the antebellum and Civil War eras. Focusing on the circulation and displacement of images rather than artists{\textquoteright} migration, this thesis demonstrates that continuous processes of integration, representation, and transformation were as significant to the artistic relationship between France and America as were the later experiences of rupture and estrangement highlighted by the studies of artists{\textquoteright} expatriation. By foregrounding American artists{\textquoteright} approach to the metaphorical understanding of reproduction as translation, this dissertation extends our understanding of the nineteenth-century practices and processes of Euro-American exchanges beyond the tensions between the recognition of an artistic affiliation and the search for artistic independence. Positioning American art in a world frame, this dissertation enriches the broad investigation of cultural exchanges that have been at the core of the recent scholarship on American art.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Delamaire, Marie-Stephanie} } @mastersthesis {11507, title = {Art Paradox of Elitism: Vision, Risk, and Diplomacy in the European Career of Colonel John Trumbull}, year = {2013}, school = {UC Santa Barbara}, abstract = {"Paradox of Elitism: Vision, Risk, and Diplomacy in the European Career of Colonel John Trumbull (1756-1843)" reconsiders Trumbull{\textquoteright}s life and works within the context of the eighteenth-century Federalist political ethos, American foreign policy, and nationalist trends of the Neoclassical academic style through the War of 1812. Articulating Trumbull as a Smithian "economic man" through five chapters, this study explores his artistic practice as the foundation and formulation, but also the failure, of a conservative Federalist aesthetic that was usurped when a more radical Democratic-Republicanism became the dominant cultural discourse in the first decades of the nineteenth century. Deeply faithful to Alexander Hamilton, Trumbull saw himself fulfilling the proper role of the public American artist, embracing the so-called {\textquoteright}invisible hand{\textquoteright} of the market to facilitate his vision. Trumbull, like the Federalists, faded into unpopularity in the first decades of the nineteenth century, but given his prominence in the Federalist community, he, much more than the decidedly neutral Gilbert Stuart, ought to be credited as the inventor of Federalist vision-the politically-infused synthetic Neoclassicism that expressed the fair rule of the executive few over the following many. The dissertation{\textquoteright}s first two chapters reassess Trumbull{\textquoteright}s early life through his service in the Continental Army, and to his mysterious first trip to Europe, on which he took part in a secret plot with Benjamin Franklin, entered artistic study in London with Benjamin West, was arrested on suspicion of espionage, imprisoned, and eventually granted freedom. The third and fourth chapters follow Trumbull through the most imaginative and productive phase of his career, between 1784 and 1789, and explore the ways in which Trumbull merged the nationalizing styles of academic Neoclassicism in Great Britain and France, with continually evolving academic theories of art and his own rational, commercial view of the world that reduced the idea of history to variables of risk and profit. The product was Trumbull{\textquoteright}s own synthetic modes of historical painting and portraiture. The final chapter of this work examines the ways in which Trumbull, in his dual roles as an American diplomat and a picture-dealer in Europe in the 1790s, attempted to integrate risk management, United States foreign policy, and connoisseurship into his Federalist political enterprise.}, keywords = {Art of the United States}, author = {Fisk, Matthew} } @mastersthesis {11508, title = {Art Perpetuating Fame: Posters of Buffalo Bill{\textquoteright}s Wild West}, year = {2013}, school = {Kansas}, abstract = {From 1883 until 1913, Buffalo Bill{\textquoteright}s Wild West attracted fifty million people in more than one thousand cities in ten countries. William Frederick "Buffalo Bill" Cody{\textquoteright}s globe-galloping extravaganza would not have attained its status as one of the most widely attended and wildly popular turn-of-the-century spectacles without an extensive and effective promotional system to perpetuate its fame. Using the exhibition{\textquoteright}s posters as primary objects of inquiry, this dissertation examines the Wild West{\textquoteright}s most iconic and resonant elements. Each of four case studies is anchored by a key image-a poster that serves as a platform from which to investigate other imagery devoted to the same theme-and incorporates visual and contextual analysis, contemporary public reception, and an exploration of influential iconography originating from both fine art and popular sources as well as their literary counterparts. The first chapter focuses on the man at the center of it all, Buffalo Bill himself, and the meanings of the various roles he played within the Wild West{\textquoteright}s arena and in its advertising. The second chapter analyzes the complicated and shifting status of Indians near the close of the nineteenth century. The cowboy, who, like the Indian, experienced a change in reputation vividly chronicled by the Wild West and its promotional imagery, is the subject of the third chapter. The Congress of Rough Riders of the World, a reflection of increasing American imperialism, cultural hegemony and exceptionalism during an era when the word "frontier" no longer strictly referred to the American West, is the topic of the final chapter. The posters of Buffalo Bill{\textquoteright}s Wild West advertised more than a traveling exhibition that captivated millions for three decades. A century after the exhibition met its fate on the auction block, the posters designed to promote it still perpetuate its fame. Simultaneously, images of Buffalo Bill, Indians, cowboys, and multinational Rough Riders continue to illuminate many defining currents of the late-nineteenth and early-twentieth centuries. When considered in their cultural context, the posters of Buffalo Bill{\textquoteright}s Wild West both influenced and underscored complex sociopolitical ideologies, perspectives, and values that challenged and shaped America.}, keywords = {Art of the United States}, author = {Fox Knappe, Stephanie} } @mastersthesis {11486, title = {Art Photography and the Contentions of Contemporary Art: Rhetoric, Practice, and Reception}, year = {2013}, school = {Chicago}, abstract = {This dissertation provides a new narrative of art photography whose alternative perspective on twentieth- and twenty-first-century art history fully integrates photography into mainstream art practice, theory, and criticism. I explore the shifting rhetoric, practice, and reception of the photographic medium by investigating photography{\textquoteright}s relation to mainstream modern and postmodern art criticism, to Conceptual Art, and to recent technological developments that have significantly influenced both the photograph{\textquoteright}s physical form and the theoretical contentions of contemporary art photography. My close analysis of photographic works by Alfred Stieglitz, Francesca Woodman, Cindy Sherman, Andreas Gursky, and Jeff Wall highlight the longstanding dissonance between theory and practice. While emphasizing that postmodernist photographic theory popularized the notion of a radical break in art photography, my aim in this dissertation is to provide an alternative which reveals the continuities of art photography. Chapters 1 and 2 challenge Greenberg and Krauss{\textquoteright} theoretical characterizations of photography as literary and indexical, arguing that the photographs of Stieglitz, Woodman, and Sherman demonstrate photography{\textquoteright}s multifaceted characteristics. My analysis of the artists{\textquoteright} works allows for a reassessment of postmodern art criticism. Chapters 3 and 4 explore photography{\textquoteright}s reciprocal relationships with Conceptual Art, European-American institutional interchange, the reemergence of the painting movement, and advances in digital and print technology that made art photography a central form of contemporary art. While examining how the Conceptualists{\textquoteright} idea-centered photographic practice paradoxically led to the reaestheticization of the deaesthetized photograph, I construct a coherent account of art photography by connecting the photographic practice of Stieglitz, Ed Ruscha, and Gursky. My narrative of art photography, integrating mainstream art theory and photography, constructs a theoretical genealogy which runs through Stieglitz-Greenberg-Krauss. In the final chapter, I rethink the postmodernists{\textquoteright} break from modernism and dismissal of the aesthetic through an understanding of complex relationships among the theories of Douglas Crimp, Rosalind Krauss, Michael Fried, Jean-Francois Chevrier, and Diarmuid Costello. I explicate theoretical contentions surrounding photography through a synthetic analysis of the theorists{\textquoteright} concepts of photography/picture/tableau in relation to the modern and postmodern theory of medium. This analysis argues for a photographic theory that is simultaneously aesthetic and conceptual. With Jeff Wall{\textquoteright}s work as an example of multilayered contemporary sensibility, I conclude with an account of art photography which bridges modern and postmodern photographic practice and considers the tensions and deviations of criticism, ideology, and artwork.}, keywords = {Art of the United States, Contemporary Art}, author = {Lee, Phil} } @mastersthesis {11709, title = {Artist or Critic?: Guy Pene du Bois and the Search for Artistic Identity}, year = {2013}, school = {IFA/NYU}, abstract = {The story of twentieth century modern art is tied inextricably to Guy Pene du Bois (1884-1958) and his contributions as an artist and critic. Writing for publications like the New York American and the New Yorker and exhibiting his Realist paintings widely, Pene du Bois achieved acclaim as a young master in both his fields by the time he was thirty years old. Already by 1913 as a key planner behind the momentous Armory Show of that year, he had established himself not only as one of the most respected critical voices and purveyors of art scholarship to the public but also as a leading artist of the period. Yet, Pene du Bois is mostly forgotten today. Best known for his paintings of urban sophisticates attending opera or flappers dining in Parisian cafes, Pene du Bois was also a man with deepseated concerns about his identity and legacy. Much as his mannequin-like figures often seem ill at ease, clearly putting on airs and unnaturally performing their high-class identities, Pene du Bois continually felt like an actor stuck in the wrong role, never fully comfortable in either of his public personas. Even at the height of his critical career in the nineteen-teens, he yearned for greater recognition as an artist and for more time to devote to his first love: painting. Thus, despite early success, for the first twenty-five years of his professional life, the ramifications of having a dual career and split public identity preoccupied Pene du Bois. With his legacy constantly in mind, he maneuvered carefully between his overlapping arenas of art and journalism, and this dissertation traces out how the choices he made - aesthetically in his art and professionally in his career - may have only exacerbated his lifelong concerns about his permanence in art history. Always aspiring for more and never satisfied with his present status in either field, it would take leaving not only his critical career behind but also America altogether in the 1920s to help Pene du Bois realize what his true identity was and to accept what his greatest legacy would be.}, keywords = {Twentieth-Century Art}, author = {Rich, Alexander} } @mastersthesis {11562, title = {Artist Writings: Critical Essays, Reception, and Conditions of Production since the 60s}, year = {2013}, school = {Toronto}, abstract = {This dissertation uncovers the history of what is today generally accepted in the art world, that artists are also artist-writers.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Carroll, Leanne} } @mastersthesis {11531, title = {Artist-Parents: Nature, Nurture, and Identity in Contemporary Art}, year = {2013}, school = {Delaware}, abstract = {This project calls attention to artists{\textquoteright} representations of parenting, their children, and the domestic as a critical and much needed reflection on contemporary life. Artists have long been parents but rarely have they dealt with it as the subject matter of their art-this has significantly changed in the contemporary period. I assert that the championing of the simultaneous linkage of art and parenting by contemporary artists reflects a conscientious self-fashioning of a new kind of identity, one that I am calling the {\textquoteright}artist-parent.{\textquoteright} By examining the work of three artists from distinct national backgrounds-Guy Ben-Ner, El≈{\textordmasculine}bieta Jaboonska, and the collective Matky a Otcove-his project reveals how these artists have engaged with the domestic and personal in order to articulate larger, perhaps universal, issues of parenting in contemporary life. Arranged as three case studies, each chapter explores the particular national, cultural, and artistic influences that circumscribe understandings of the artist{\textquoteright}s practice, whether it be photography, performance, video or mixed media installation, as well as notions of gender, parenting, and the family. The second chapter examines the works of El≈{\textordmasculine}bieta Jaboonska, who uses her maternity as a modality in which to challenge, critique and appropriate notions of femininity, gender, and domestic roles. In particular, Jaboonska{\textquoteright}s artistic practice draws on stereotypes of Polish womanhood, namely the Polish Mother. The artist ironically performs and visualizes this stereotype to engage discourse on the continued burden of mothers to become and act as superwomen and superheroes. Chapter 3 closely examines the video work of Guy Ben-Ner, who from 1999-2008 almost exclusively utilized and featured his children in his work. Ben-Ner{\textquoteright}s videos transform the domestic spaces of the home into places of artistic activity, fantasy, and child education. Through his appropriation of slapstick, early body art, and cinema, I argue that Ben-Ner is able to assert himself as an artist-parent who is concerned with the intellectual, artistic, and personal growth of his children. The fourth chapter focuses on the activities of the mixed-gender artist collective, Matky a Otcove or Mothers and Fathers. Based in Prague, CZ, the members of this group utilize their biological status as parents to investigate the private and public spaces of the family and the gendered issues it raises. I contend that the existence of a collective such as Matky a Otcove not only provides a model for artistic practice for parents, but also individuals more broadly. Their works, ranging from photography, public installation, sculpture, and performance, generate a discourse on gender roles, domesticity and artistic identity both within the borders of their home country and beyond. Through this examination of three case studies of artist-parents, we begin to see the social, political and artistic pressures that circumscribe contemporary parenting. The artists highlighted in this project, bravely enter this discourse in order to make sense of their own identities, of their own roles as cultural workers and parents, and to show that art about children, the domestic, and parenting need not be kitschy, sentimental, or saccharine.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Kutis, Barbara} } @mastersthesis {11682, title = {Artists as Agents: Artistic Exchange and Cultural Translation between Venice and Constantinople-the Case of Gentile Bellini, 1479-1481}, year = {2013}, school = {UC San Diego}, abstract = {This dissertation is a historical study of Gentile Bellini{\textquoteright}s artistic visit to Constantinople and its artistic products-the painted and the medal Portrait of Mehmed II and drawings of Ottoman people-that articulates Bellini{\textquoteright}s role as an agent of artistic exchange. Although recent publications purport to celebrate Bellini{\textquoteright}s intercultural experience, they remain within what I call the Renaissance and documentary paradigms: Bellini{\textquoteright}s works are treated either as a universal achievement of Renaissance art that amazed the Sultan, or as documents of social life and customs in Constantinople. My dissertation, in contrast, argues that these works are a logical outgrowth of the practices of visiting court artists, the increasingly prominent role of images in political and cultural communications between courts and states, and the rising role of artists in diplomacy, which developed during the second part of the fifteenth century on the Italian peninsula and in the Greater Mediterranean. This dissertation examines how Bellini{\textquoteright}s artistic products reflect Mehmed II{\textquoteright}s politically motivated interests in ruler portraiture, as well as relate to theories and functions of portraiture in Renaissance courts. That is, this dissertation argues that Bellini{\textquoteright}s works have an expressive symbolic purpose; thus my work revises and in part contradicts Renaissance accounts of how Bellini amazed Mehmed II and his court with his superior knowledge of art and skills in verisimilitude. My analysis demonstrates that Bellini learned from the art that he encountered in Constantinople, and that, while there, he tried to make his work comprehensible to viewers familiar with Eastern traditions. Bellini fashioned a new, polyglot visual language out of Romano-Byzantine, Venetian, and Timurid artistic traditions to express imperial authority and to visually proclaim the emerging cosmopolitan structure of Ottoman society developed by Mehmed II. In the end, this dissertation reveals that Bellini drew from a wide range of artistic conventions, including contemporary models available to him in both Venice and Constantinople-distinct, heterogeneous cultural capitals in the Mediterranean, interconnected by trade and cultural exchange.}, keywords = {Renaissance/Baroque Art}, author = {Sizonenko, Tatiana} } @mastersthesis {11453, title = {As Facts and Not as Shadows: Four American Architects and Their Travel Impressions}, year = {2013}, school = {Rutgers}, abstract = {This dissertation examines American architectural and social history of the late nineteenth and early twentieth centuries through the material culture of study abroad. Focusing on sketchbooks, journals, drawings, correspondence, and photographs of three generations of architects, the study will explore attitudes toward European cultural hegemony, the perceived value of foreign travel, changes in architectural education in the United States, and the process of image-making in the age of photography. Although the idea of observing and drawing existing monuments is rooted in the tradition of the Grand Tour and the heritage of architectural theorists dating back to Vitruvius, this essay will argue that the practice took on new meaning during a period of expansion, urbanization, and industrialization in America, c. 1850 through the 1930s. Using case studies of Frank Miles Day, Eleanor Manning, William Jarrett Hallowell Hough, and Louis Skidmore, I have investigated historical, social, and scientific epistemologies, including visual theory, of the period, and the ways in which they affected the education and professional status of American architects. My dissertation also asks why architects continued to draw after photography became commonplace, and why study abroad remained de rigueur even when the first schools of architecture were established in America. In the conclusion, I have discussed the role of hand-drawing in the modern architectural office, and how the use of computer technology is altering architectural practice.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Sablove, Henrietta} } @mastersthesis {11445, title = {Asante Stools and the Matrilineage}, year = {2013}, school = {Harvard}, abstract = {Discussions of Asante stools in Western literature and museum records have focused exclusively on their association with male chiefs. My research, which combines archival and oral histories, and sets the existing literature and documentation on stools in comparative perspective, reframes existing thinking by asserting that asese dwa (sing. sese dwa), or conventional Asante stools, are intimately connected with women, and especially, queen mothers. Although the stool today is known widely as a symbol of male chieftaincy, chiefs do not sit on them in public. They use them only in very specific private spheres. It is queen mothers who sit on stools publically as seats of authority. The physical form of the stool, especially the mmaa dwa or "woman{\textquoteright}s stool" is a powerful symbol of female fecundity and the propagation of the Asante peoples. By exploring queen mother{\textquoteright}s archives of stools and their dynamic uses of them, I present a more expansive history of these important cultural objects that challenges the taxonomies established by R. S. Rattray (1927) and others during the twentieth century. Contrary to the clearly defined hierarchies of symbolism, materials and structure that have informed assessments of historical stools in the West, Asante queen mothers have commissioned and used stools in an ongoing and context-dependent process of negotiation for at least a century. In this dissertation I explore the history of Asante stools since the late-nineteenth century through the lens of queen mothers{\textquoteright} perspectives.}, keywords = {African Art (sub-Saharan)}, author = {Hale, Catherine M.} } @mastersthesis {11478, title = {August Endell{\textquoteright}s Construction of Feeling}, year = {2013}, school = {Columbia}, abstract = {The German architect August Endell (1871-1925) is best known for his idiosyncratic buildings and interiors. As the first monographic study on his work in English, this dissertation uncovers the little-known design philosophy behind his works, and elucidates the intellectual origins and career of his important theory of experiential form. Endell was a polymath versed in scientific philosophy, empirical psychology, musicology and architecture. A man of extraordinary intellectual range, he saw his architectural practice as a laboratory for conducting experiments in psychology. In particular, his buildings explored architectural forms patterned on the workings of the human brain, as understood in late nineteenth century Germany. Previous studies of Endell generally have tried to situate him within one of the major German schools of thought in psychology, alternatively as a proponent of abstraction or empathy. Through detailed analyses of his built works and written texts, this dissertation argues that Endell was in fact attempting a reconciliation between abstraction and empathy, through what I have interpreted as experiential forms, namely forms drawn from collective memories, feelings, and ethical relations. Endell was an activist for architectural design driven by a "science" of consciousness, and he was convinced that built experiential forms could serve an important unifying social function, counteracting processes of social disaggregation he believed was taking place in pre-World War I Germany. Endell was discredited and ignored for much of the twentieth century, perhaps because his claims about the influence of architecture in the functioning of the human brain and sensorium, in the absence of scientific proof, seemed condemned to remain hypothetical. To re-examine his work today, when neuroscience is giving us an entirely new picture of the brain, is to recover an important chapter in the pre-history of attempts to adequate our built environment to our human condition.}, keywords = {Architectural History/Historic Preservation}, author = {Mims, Martina} } @mastersthesis {11545, title = {Away from the Mainstream: Three Alternative Spaces in New York and the Expansion of Art in the 1970s}, year = {2013}, school = {Florida}, abstract = {Radical practices that emerged in the sixties complicated the political and aesthetic possibilities of art in the seventies. Medium specificity, so closely identified with the modernist criticism of Clement Greenberg, was challenged in the sixties and seventies by new media and site-specific, performance-related art as well as by institutional critique and socially-engaged practices. As artists worked in the expanded context, the notion of medium opened to other media and to politico-economic and socio-cultural logic. These circumstances expanded the boundaries of art, and led the contemporary art world to directly intervene in sociopolitical, economic, and cultural domains. My study addresses the relationship between the emergence of alternative spaces and the expanded notion of medium in the 1970s. I argue that the alternative spaces provided a new field of discourse to encourage artistic experiments and to produce new ideas of art. My dissertation centers on three case studies of key alternative spaces founded in New York City in the early 1970s: 112 Greene Street, The Kitchen, and Artists Space. I also interpret significant changes in MoMA as the counterpart of alternative spaces in relation to the protests mounted by the Art Workers{\textquoteright} Coalition and its limits as an 9 incubator of new art. Through a methodical analysis of artistic practices at these spaces, I attempt to provide a detailed picture of the alternative art scene in downtown New York, from which the notion of medium expanded into context-related and community-related levels. First, to address how the early alternative spaces expanded the artistic context, I focus on artistic practices at 112 Greene Street. Next, I examine the role of the early alternative spaces in understanding electronic media as an art medium by addressing the practices at The Kitchen. Thirdly, I investigate Artists Space in terms of production of the postmodern aesthetic, and demonstrate its transformation to a postmodern art institution.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Lee, Im Sue} } @mastersthesis {11563, title = {Barry Le Va: The Sculptural Aftermath}, year = {2013}, school = {Virginia}, abstract = {In the late 1960s, the artist Barry Le Va (b. 1941) began to use such nontraditional materials as shattered glass, spent bullets, sound recordings, scattered flour and even sharpened meat cleavers to execute a striking body of ephemeral sculptures. Taking inspiration from popular crime novels as well as contemporary art theory, Le Va conceived of these works as a kind of aesthetic aftermath. He charged his viewers to act like detectives at a crime scene, attempting to decipher an order underlying the apparent chaos. This dissertation will provide the first monographic treatment of Le Va{\textquoteright}s career, examining four critical phases of his art and their relationship to various cultural, political and intellectual currents. In addition to building on Le Va{\textquoteright}s ongoing rediscovery-major works have recently been acquired by MOMA, the Yale University Art Museum and the National Gallery (Washington, DC), this dissertation contributes to the ongoing reevaluation of the art of the late 1960s. Le Va{\textquoteright}s work constitutes a particularly suitable object of inquiry because it weaves together, in a uniquely articulate way, many of the period{\textquoteright}s most historically significant themes. Le Va{\textquoteright}s assemblages of shattered glass, spent bullets and scattered flour attest to the ways in which the pervasive distrust of hallowed art objects, orthodox politics and scientific objectivity figured one another. Additionally, this dissertation uses Le Va{\textquoteright}s work to assess the ways in which challenging, ephemeral art from the late 1960s and 1970s has been incorporated into the official institutions of the art world. As many such works were intended to put pressure on the traditional durability of the art object, their reconstruction in museum settings raises questions about the artist{\textquoteright}s involvement in the reconstructive process, the use of period materials and the status of the work{\textquoteright}s "originality" that are worthy of careful consideration. Because Le Va{\textquoteright}s work has always been about the complex nature of reconstruction-he repeatedly exhorted his viewers to follow the pattern of the detective at a crime scene and reconstruct a past event out of its fragmentary remains-Le Va{\textquoteright}s work is a uniquely appropriate entry point into such questions}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Maizels, Michael} } @mastersthesis {11705, title = {Becoming Global: Contemporary Art Worlds in the Age of the Biennials Boom}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation examines the global proliferation in recent decades of international large-scale perennial contemporary art exhibitions-"biennials" as they are generically known-and the increasingly unified global contemporary art world they have instantiated. Devoted to analyzing biennials in the aggregate, Chapter One firms up the vague estimates of their numbers prevailing in recent discussion; contextualizes the proliferation of such exhibitions within the expanding cultural sector generally (including other festivals); and defines the structural features of the {\textquoteright}biennial-as-medium{\textquoteright} that explain its success in varied political and economic contexts. Social-professional networks and curatorial practices across geographically disparate art scenes are examined as the glue that binds together the global contemporary art world, with biennials serving as principal sites of exchange, integration, and discourse production. Chapters Two and Three provide case studies of the Havana Biennial, founded in 1984, and the Shanghai Biennale, founded in 1996. These studies elaborate the transformations these events have undergone in relation to both domestic issues unique to each context and to the coalescing global contemporary art world as a whole. From the identification of founding impulses and key personnel, through analysis of specific biennial editions and their contents, to interpretive reflections upon the significance of (parallel) changes witnessed in each event, these narratives provide models for art historical examination of the information-dense biennials medium that is a primary facet of the globalization of contemporary art. Yet these histories clearly reveal that the globalization process has been driven by individual art world actors within evolving networks of relationships and varying circumstances, yielding a more nuanced view of how the art world has become increasingly integrated (and homogenized) in disparate contexts. Although conceived as freestanding investigations, the case studies inform analyses and descriptions of systemic structures and processes offered in the first chapter. The broader perspectives of the first chapter provide a contextual background for understanding the art and institutional histories set forth in detail thereafter. The dissertation concludes by reconsidering the nature and extent of "globalization" as manifested in the working processes of the international contemporary art world and the continuing evolution of its structures.}, keywords = {Twentieth-Century Art}, author = {Lin-Hill, Joe} } @mastersthesis {11564, title = {Ben Enwonwu: His Life, Images, Education, and Art in the Context of British Colonialism in Nigeria}, year = {2013}, school = {Chicago}, abstract = {A sculptor and painter who significantly advanced modern art in Nigeria during the 1940s and 1950s, Ben Enwonwu was highly celebrated in Nigeria, Britain, and certain circles in the United States during that time and as he continued to work and exhibit until his death in 1994. As a successful artist who attracted commissions, held exhibitions, represented Nigeria in international conferences, and persistently engaged the media, Enwonwu made unprecedented history in Nigerian art and in Nigerian and British cultural diplomacy during Nigeria{\textquoteright}s British colonial period (1914-1960). In 1948, after he had graduated from the Slade School of Art in London, he assumed the colonial civil service position as art supervisor of Nigeria. In that role, he lectured, exhibited paintings and sculpture, developed his reputation, and worked for the colonial Public Relations Department. Enwonwu held that position until 1957, when he was appointed Federal art advisor, as Nigeria transitioned from managed decolonization to the independence. This study focuses on Enwonwu{\textquoteright}s colonial period. It examines four signposts in Enwonwu{\textquoteright}s life: first, his unprecedented royal portrait of Queen Elizabeth II (1957), a legendary biography, an ingenious use of media, and an educational process in the context of British colonialism in Nigeria. In examining these signposts in the historical conditions of indigenous Igbo and British institutions, this study traces Enwonwu{\textquoteright}s modern artistic vision to his family, to his Igbo culture and community in Onitsha, and to his study of art under the tutelage of the Kenneth C. Murray School in the British colonial educational system, including Murray{\textquoteright}s link to modern art in Britain and Europe. At the same time, it examines indigenous precedents of royal sculpture to understand the continuum and difference in that history. Along with artistic vision, Enwonwu developed sensitive critical skills to negotiate colonialism and strategic alliances to advance his career. Yet as a colonial subject and modern artist in the transitions of managed decolonization, his commissioned portrait of Queen Elizabeth II and his colonial position put him in an ambivalent position that set him apart from young Nigerian artists as Nigerians strived for independence. Yet, it gave him unprecedented access to media. He used it to shape his public identity, and to develop an archive of his photographic self-portraits to preserve his history. Enwonwu recognized the function of the photograph, as Roland Barthes wrote, "to inform, to represent, to surprise, to cause to signify, to provoke desire" (1993, 28). But, unlike Barthes, who denies the transparent "truth" in photographs, Enwonwu used the photograph to bear witness to his history. The photographs were reproduced in the media, and today are included in his exhibits. Exemplary of this process are photographs concerning his portrait of Queen Elizabeth II, which kept the sculpture{\textquoteright}s image before the pubic even as the figure itself was removed from public display and seemed to disappear. Enwonwu{\textquoteright}s high-profile role and overt recognition of British rule during the late years of colonialism were criticized, as was what younger artists and the independent country{\textquoteright}s art establishment perceived as elitism. However, Enwonwu{\textquoteright}s photographs and art triumphed in preserving his legacy in art history: renewed interest in art came after his death and even his statue of the queen returned to public view in the Independence exhibition of 2010. This study interprets this colonial history, the most innovative period of Enwonwu{\textquoteright}s career.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Tesfagiorgis, Freida} } @mastersthesis {11685, title = {Bernardino Licinio: Portraiture, Family, and Community in Early Modern Venice}, year = {2013}, school = {Toronto}, abstract = {Bernardino Licinio was a painter of Bergamasque origin active in Venice from c. 1510 to c. 1550. Licinio was a prolific painter of portraits, concert scenes and religious images for the home and headed a prosperous family workshop. Yet the artist is largely denied importance within the current art historical narrative, being conceived as "minor," "provincial" or "second-rate." My dissertation questions the "constructedness" of historical identities and presents the first nuanced understanding of Licinio{\textquoteright}s place within Venetian culture. I argue that his status as "minor" is a modern construct rather than a reflection of his contemporaries{\textquoteright} perception. My dissertation inscribes itself within endeavours to "de-centre" the Renaissance conceptually, and is especially indebted to recent studies of material culture that challenge art historical hierarchies and aesthetic biases. The dissertation provides a multilayered reading of Bernardino Licinio{\textquoteright}s artistic identity through frameworks that stem from what I consider unique aspects of his practice, while others arise from problems posed by his historiographical reception. The artist{\textquoteright}s position between Venice and Bergamo provides the line of enquiry for chapter one, where I engage with the Bergamasque community conceived, on the one hand, as a form of historiographical framing, and on the other, as a social reality. In chapter two, music as a cultural phenomenon provides a frame for exploring Licinio{\textquoteright}s intellectual world. I contend that his engagement with musical themes suggests an involvement with the communities of interest fostered by music as a social act. Chapter three addresses Licinio{\textquoteright}s hitherto unrecognised contribution to shaping a tradition of female portraiture. The chapter thus challenges the accepted conceit of women{\textquoteright}s "artistic invisibility" in Venetian art, while simultaneously highlighting Licinio{\textquoteright}s role in forming the genre of family portraiture. Chapter four presents a case study of two images where the artist talks about himself and his family: the Portrait of Arrigo and Agnese Licinio with their Children and the Self-Portrait with Workshop. Through these portraits, I explore the convergence of familial and professional identities, the conceptual ties between the home and the family, and the structures of kinship that provided the foundation for the Renaissance workshop.}, keywords = {Renaissance/Baroque Art}, author = {Tsoumis, Karine} } @mastersthesis {11465, title = {Between City and Country: Architecture, Site, And Patronage at Palladio{\textquoteright}s Villa Pisani at Montagnana}, year = {2013}, school = {Princeton}, abstract = {This dissertation examines the patronage of the Venetian patrician Francesco Pisani, with a particular focus on his villa at Montagnana, built in 1553-54 by Andrea Palladio (1508-80). Pisani supported major Veneto artists at work in mid-sixteenth-century Venice, including Paolo Veronese and Alessandro Vittoria, but until recently little was known about him. This dissertation offers new insights, based on extensive archival research, about his life and the history of his two villas located in Venetian mainland territory at Montagnana and Monselice. Pisani represents a striking counter-example to the image of the Renaissance patrician who sojourned at his country estate primarily during times of harvest and whose principal social, cultural, and economic activities took place in the city. Although he belonged to one of Venice{\textquoteright}s most prominent families, he eschewed the political and mercantile pursuits of many Venetian noblemen. He also opted not to invest in a family palace there but rented instead, so that he could erect his primary residence close to his agricultural estate at Montagnana. The first two chapters reconstruct Pisani{\textquoteright}s private and public life in his native city before turning to his rented residences in Venice and his smaller villa at Monselice. This "stop-over villa" accommodated his travel between Venice and the estate at Montagnana, and its relationship to the larger villa is proclaimed in both its architecture and decoration. The second part of the dissertation focuses on Villa Pisani at Montagnana. Chapter three presents the acquisition history of the property and analyzes Palladio{\textquoteright}s hybrid villa-palace design in light of the suburban site. Chapter four argues on the basis of new documentary evidence that the villa{\textquoteright}s unrealized wings, published by Palladio in his treatise I quattro libri dell{\textquoteright}architettura (1570), should be considered part of his original project as commissioned by Pisani. This chapter presents Villa Pisani as a case study for conceptualizing the relationship between the apparently "ideal" projects of Palladio{\textquoteright}s treatise and his executed buildings. Chapter five moves inside Villa Pisani and considers its function as villa and palace, a locus of both otium and negotium. In his artistic patronage as in his living situation, Pisani lived between terraferma and lagoon, between country and city.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Heinrichs, Johanna} } @mastersthesis {11481, title = {Between Script and Print: Exploring Publications of the American Syria Mission and the Nascent Press in the Arab World, 1834-1860}, year = {2013}, school = {Binghamton}, abstract = {Printing in the Arab world, unlike its European counterparts, only became regionally prevalent during the late nineteenth century. As such, studies on Arabic printing in Middle Eastern cities emphasize the press{\textquoteright}s late nineteenth-century modernizing role, particularly its standardization of technological production and aid in spurring fin de siecle intellectual movements. In contrast to the widespread and unequivocal shift from scribal to printing practices in the late 1800s, the Arab press{\textquoteright}s noteworthy nascent stage (ca.1830s-1860s) may be exemplified by works published for Ottoman Syria{\textquoteright}s multi-confessional residents at the Presbyterian Syria Mission{\textquoteright}s "American Press" in Beirut. During this earlier period, print still existed within a larger network of local manuscripts, leading to a dynamic interface between these two technological modes, their visual conventions and sites of production at a time when local conceptions of books and their functions were being significantly altered. This dissertation examines the transformative examples of early secular and religious books printed at the American Press between the years 1834-1860 as dynamic textual and material objects produced in response to various local and external social, political and visual impulses. I demonstrate how these books{\textquoteright} changing design programs throughout the Press{\textquoteright}s early years negotiated shifts in the social concerns, intellectual attitudes, and notions of the book amongst local Arab Muslims and Christians. The religious and socio-political dimensions of these publications are assessed within a complex body of unpublished primary source material from missionary archives, historical chronicles documenting Ottoman Syria{\textquoteright}s inter-communal history, and contemporary literary, historical, and urban studies on early concepts of modernity in the Arab world. Through an analysis of these works, which at times embodied a modernist spirit of innovation, this dissertation illustrates a highly adaptive situation when diverse local religious values, societal interests, visual conventions and notions of the book were in flux. Exploring missionary-local resident interactions during a period of social, intellectual and political transformation, my dissertation also uses the printed Arabic book to demonstrate how the evolving needs of resident urban societies served as the real impetus for widespread change.}, keywords = {Art of the Middle East/North Africa}, author = {Auji, Hala} } @mastersthesis {11644, title = {Beyond Polychromy: John Gibson, the Roman School of Sculpture, and the Modern Classical Body}, year = {2013}, school = {CUNY}, abstract = {This dissertation is a study of the life and career of the British sculptor John Gibson (1790-1866), whose Roman studio near the Piazza del Popolo was a frequently visited site for Grand Tourists during the nineteenth century. I argue that, for Gibson, classicism was modern, and thus he developed new methods for creating and disseminating the modern classical body in nineteenth-century sculpture. Gibson is considered by scholars to be the first nineteenth-century British artist to reintroduce polychromy in marble sculpture, as exemplified by his best-known work, the so-called Tinted Venus, 1851-53, which was displayed in London at the International Exhibition of 1862. Because this tinted statue challenged sculpture{\textquoteright}s purity of form, the subsequently negative historiography of this work has obfuscated Gibson{\textquoteright}s numerous other accomplishments in the history of nineteenth-century art. In this dissertation I discuss many of his other free-standing marble statues of modern classical subjects, such as Cupid Disguised as a Shepherd Boy, ca. 1830, a popular work commissioned in marble nine times for different patrons, and The Hunter and His Dog, 1840-41, a statue considered by his contemporaries to be his masterpiece for its balance of idealism with a close study of nature. I also examine a selection of his portrait busts and monumental statues, bas-reliefs, drawings, and work in other media, such as porcelain statuettes and engravings, for a broader perspective of his exploration of the modern classical body. Rather than ignore his polychrome sculptures, however, I offer new readings of them to show how they intersected with these other important aspects of his career. Although I focus on one artist and use published and unpublished archival sources to discuss Gibson and his work, my methodology is pluralistic. I engage biography with nineteenth-century exhibition history and critical art reviews, and I link patronage and art production to gender studies and queer theory. I also engage with sculpture in its international context, as Gibson himself would have been exposed to it in the cosmopolitan art center that was Rome. Thus, the work of Antonio Canova and Bertel Thorvaldsen, the two leading sculptors in the Roman school, are components of this dissertation, as are the works of native British sculptors such as John Flaxman and Joseph Nollekens to demonstrate what Gibson learned from his early teachers and how he evolved to craft his own version of the modern classic in Rome. I contextualize his work with that of his contemporaries in Rome, such as the British sculptor Richard James Wyatt, the Dutch sculptor Mathieu Kessels, and the Italian sculptor Adamo Tadolini, for a better assessment of Gibson{\textquoteright}s sculptural practices. I also discuss his patronage by aristocrats like Queen Victoria and Czar Alexander II, politicians such as Sir Robert Peel, and bourgeois industrialists such as the Liverpool manufacturer Richard Vaughan Yates, as well as the global dissemination of his work during his lifetime, which was exhibited internationally throughout Europe, Russia, Australia, North America, and India. In the introductory chapter, I establish my argument, that through a reexamination of Gibson{\textquoteright}s life and career beyond his experiments with polychrome sculpture, one can better assess his importance to the history of sculpture itself by reconsidering how he redefined the modern classical body. The second chapter is a biographical overview that demonstrates how Gibson{\textquoteright}s roots in the British school of art influenced his ideas about classicism as a form of modernity. Chapter three considers Gibson{\textquoteright}s studio practice, from the close examination of his account books to his influence on his most famous pupil, the American sculptor Harriet Hosmer. Chapter four focuses on the homoerotic male body in Gibson{\textquoteright}s oeuvre. An advocate of the writings of Johann Joachim Winckelmann, Gibson created heroic and ephebic male nudes, such as Mars Restrained by Cupid, 1819-25, a work that suggests issues as diverse as homosocialism and queer subjectivity. Chapter five discusses Gibson{\textquoteright}s interest in reproductive media and how, in shifting his role from a hands-on sculptor to a designer, he explored reproductive technologies in cameo production, ceramics, and printmaking to disseminate images of the modern classical body to the rising bourgeoisie. The final chapter explores Gibson{\textquoteright}s legacy, including his influence on New Sculptors such as Hamo Thornycroft. Ultimately, this dissertation argues that through a reexamination of the life and work of Gibson, one can begin to move past the pejorative sensibilities of Neoclassicism itself as merely historicist and reconsider classicism as a form of modern art in the nineteenth century.}, keywords = {Nineteenth-Century Art}, author = {Ferrari, Roberto C.} } @mastersthesis {11490, title = {Binding Lives: American Photo-Books and the Great Depression}, year = {2013}, school = {CUNY}, abstract = {In the 1930s and 1940s the University of North Carolina (UNC) Press published many photobooks on the American South that have since escaped serious scholarly attention. This study argues that a new type of photobook emerged within a regionally and culturally specific context. The UNC Press photobooks demonstrate a balance between being art objects and parts of a burgeoning mass media. They also represent attempts by academics to bring up economic and social issues, such as sharecropping during the Depression, to a mainstream public. Critically, most of the authors were Southerners themselves. This is important because the North had traditionally dominated the representation of the South, both visually and in writing. The Southern authors often employed the popular stereotypes of the South in order to engage a larger audience and ultimately reconstruct what were understood as Southern characteristics. The UNC photobooks represent a specific type of Southern photobook that includes colloquial speech and folklore, sociological data (literally or visually in the form of photographs), current issues, and a call for social reform. Their written and photographic acknowledgment of racial issues in the South was groundbreaking in comparison to the practices of the larger publishing profession. Under the influence of UNC sociologist Howard Odum and UNC Press director William Couch many photobooks utilized government photographs from the Farm Security Administration (FSA) and forged ties with certain government employees, such as Roy Stryker, director of the FSA Historical Division. Both the UNC and the FSA were interested in the way photography could be embraced by the social sciences and their collaborations went beyond the production of photobooks into projects involving university exhibitions and even course offerings. As such, this material not only expands the history of photography in and about the South and the history of photobooks, but of the FSA as well.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Suchma, Sharon} } @mastersthesis {11658, title = {Bodies Politic, Bodies in Stone: Imagery of the Human and the Divine in the Sculpture of Late Preclassic Kaminaljuyu Guatemala}, year = {2013}, school = {UT Austin}, abstract = {Bulldozed, effaced, and paved over by the buildings and winding streets of Guatemala City, the vast majority of the archaeological remains of Kaminaljuyu are now lost to us. This early site, which reached its peak during the Late Preclassic period (ca. 300BC-250AD), was once the largest and most influential site of the Maya highlands and one of the most important sites of early Mesoamerica. This dissertation, begun as an art historical salvage project, is at once documentary and analytical. It not only focuses on recording and preserving the Late Preclassic bas-relief stone sculptures of Kaminaljuyu through accurate technical drawings, but also provides cautious and detailed analyses regarding what this iconography can tell us about this ancient site. In essence, the following chapters approach, flesh out, and describe the bodies of Late Preclassic Kaminaljuyu---the stone bodies, the divine bodies, and the human bodies that interacted with them across the built landscape. They discuss topics like human sacrifice, the Principal Bird Deity, and the myriad supernatural forms related to water and wind at Kaminaljuyu. They consider the noisiness of performance, the sensory impact of costumed rulers, and the ways in which these kings utilized the mythical, supernatural, and divine to sustain their rule. In addition to untangling the complex iconography of these early sculptures, these chapters give voice to the significance of these stones beyond their carved surfaces. They contemplate the materiality of stone and the ways in which the kingly body and sculpted monuments were inscribed, made meaningful, and performed to establish and maintain ideological, socio-political, and economic structures. In essence, then, these chapters deal with the interwoven themes of stone and bone and flesh and blood; with the structuring of human, sculpted, and divine bodies; and with the performative role these bodies shared as transformative spaces where extraordinary things could happen. In other words, this dissertation not only addresses stone carvings as crucial points of access into the belief structures and political strategies of Kaminaljuyu, but as active participants in the social, economic, and ideological processes that shaped human history at this ancient site.}, keywords = {Pre-Columbian Art}, author = {Henderson, Lucia} } @mastersthesis {11459, title = {A Bohemian Monastery: The Last Bishop of Prague (1301-1343) and the Augustinian Canons at Roudice on the Elbe}, year = {2013}, school = {Brown}, abstract = {Roudnice monastery in the Kingdom of Bohemia has fascinated scholars due to two facts regarding its cultural context; first, the Prague bishop Jan IV of Drazice (1301-1343) invited a mason from Avignon to build a bridge in the town of Roudnice, and second, the same bishop requested that only Czechs whose mother and father spoke Czech be admitted to the new monastery. Thus far, Czech scholars have discussed Roudnice monastery in the context of stylistic development of fourteenth-century Bohemia, possible influence of the French mason, and nationalistic sentiment of the patron. This dissertation will go beyond these initial studies to examine the monastery in its full medieval cultural context including the political and ecclesiastical motivations of the patron, the context and reasons for the foundation, and the functions of the monastery through the analysis of the Roudnice Statutes or monastic customs. Jan IV was at the forefront of the growing international movement in fourteenth century Europe and became one of the most important art patrons in Bohemia. Prague was subordinate to the archdiocese of Mainz from its inception in 973, and the drive to elevate Prague to an archdiocese was a great inspiration for the bishop. Roudnice monastery introduced Augustinian regular canons to Bohemia and adopted the Augustinian customs of Saint Ruf abbey, Avignon, as a model. Under the bishop{\textquoteright}s guidance, the monastic architecture at Roudnice reflected a combination of local building traditions, archaic architectural forms, and imported technique to project a combined sense of authority and long-standing legitimacy.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Klima, Alice} } @mastersthesis {11711, title = {Building for the Bomb: Monumentality and the Manhattan Project}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation examines the architecture of the Manhattan Project (1942-46), the United States{\textquoteright} atomic weapons program during the Second World War, situating it both within the history of architecture, and the evolving energy production landscape of the twentieth century. The buildings constructed to produce the first atomic bombs and the emergence of a concomitant visual culture are at the center of this study, which aims to accomplish two main objectives. First, it investigates a building context that has remained marginal to accounts of twentieth-century architecture, in order to complicate the history of wartime and postwar architecture and design. Second, it positions atomic building within a broader network of image production during the war and early postwar years. The formation of an atomic industry necessitated the construction of new facilities for research, development, and assembly of bombs at three primary sites: Oak Ridge, Tennessee, Hanford, Washington, and Los Alamos, New Mexico. The results of this military endeavor would manifest in the first atomic explosion on July 16, 1945 near Alamogordo, New Mexico, known as the Trinity Test, a preparative event that set the stage for the bombings of Hiroshima and Nagasaki in August of 1945. An interweaving set of forces-architectural, bureaucratic, and scientific-shaped this episode of fast-paced, large-scale building, which included the erection of new industrial spaces, as well as new towns built from the ground up to house workers and scientists employed at these sites. The Manhattan Engineer District, the Army Corps of Engineers entity that managed the Manhattan Project contracted both professional architects, such as the firm of Skidmore, Owings, and Merrill to design town plans and housing and industrial corporations to build the atomic plants that processed uranium and produced plutonium used to create the first bombs. Through an exploration of the advent of the genre of atomic architecture, this research analyzes the discourse surrounding architectural monumentality during the war, placing the Trinity Test, as well as the industrial facilities at Oak Ridge, Hanford, and Los Alamos within this evolving mid-century debate.}, keywords = {Twentieth-Century Art}, author = {Sheward, Deanna} } @mastersthesis {11582, title = {Burial and Resurrection: The Sculpted Sarcophagi of Ravenna and Visions of Perpetuity in an Age of Flux}, year = {2013}, school = {UNC Chapel Hill}, abstract = {The rich artistic remains in the city of Ravenna on Italy{\textquoteright}s northeastern coast are invaluable to scholars interested in the dynamic years between antiquity and medievalism. Famous for its mosaics, Ravenna is also home to dozens of late antique / early medieval sculpted tombs. These sarcophagi have received less scholarly attention. This dissertation examines the funerary objects alongside the wealth of additional material at Ravenna, demonstrating that the sarcophagi represent a vital facet of the city{\textquoteright}s aesthetic heritage. Further, it explores the sculpture as a means to better understand the contemporary cultural landscape. The imagery reflects a regional pictorial tradition that can be connected to the broader socio-political atmosphere of this urban center, it celebrates the prestige of local, ecclesiastical leaders, and it visually manifests multivalent theological concepts and concerns. The tombs of Ravenna are, therefore, a useful lens by which to view a key urban center at a pivotal crossroads in European history.}, keywords = {Early Christian/Byzantine Art}, author = {Fox, Allison} } @mastersthesis {11535, title = {Camping the Canon: Yasumasa Morimura{\textquoteright}s Queer Performative Critique of Art History}, year = {2013}, school = {Washington University}, abstract = {The late 1980s through the early 1990s were years of critical disruption and challenge within the discipline of art history. Postmodern artists began making work that disrupted dominant ideologies about gender and race as natural and revisionist scholars questioned the standing interpretations and histories of art works within the canon by considering the political and social context of artists and their work. This dissertation places camp (often defined as an ironic penchant for poor taste) within this historical moment and theorizes it as a strategy used by artists at this time to critique the canon of western art and to intervene in revisionist art historical scholarship. I focus on the history and theory of camp, particularly how it has been reclaimed by queer theorists and employed by such photographic artists as Marcel Duchamp, Andy Warhol, and Cindy Sherman. As a case study, I focus on the work of Japanese artist Yasumasa Morimura. In his Art History Series (1985-2004) Morimura inserted himself into canonical works of art, often performing ethnic and gender drag. I argue that through the use of camp, Morimura critiques normative notions of gender, race, and sexuality and further queers the existing critiques of the art-historical canon by challenging revisionist approaches to identity, including feminism, Marxism, postcolonialism, and critical race theory. Building on the work of queer theorists such as Judith Butler, I argue that camp allows Morimura to reveal identity as denaturalized and performative and to question the usefulness of the very process of forming a consensus about what works of art are worthy of study. Camp thus offers the promising possibility of multiple art-historical narratives.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Warbelow, Anna} } @mastersthesis {11640, title = {Caspar David Friedrich and the Science of Landscape}, year = {2013}, school = {Toronto}, abstract = {No record in ProQuest or Toronto ETDs}, keywords = {Nineteenth-Century Art}, author = {Amstutz, Nina} } @mastersthesis {11674, title = {The Catafalque of Paul V: Architecture, Sculpture, and Iconography}, year = {2013}, school = {Columbia}, abstract = {This dissertation examines the catafalque erected for the reburial of Pope Paul V in S. Maria Maggiore on January 30, 1622. The catafalque, commissioned by the pope{\textquoteright}s nephew Scipione Borghese, was only the second catafalque ever built for a pope. It was a large tempietto type structure, fashioned of wood and plaster and covered with black cloth and candles. It was constructed by Sergio Venturi and Giovanni Battista Soria and adorned with thirty-six sculptures by Gian Lorenzo Bernini. These details are known to us through a funeral book, the Breve Racconto della trasportatione del corpo di Papa Paolo V della Basilica di S. Pietro a{\textquoteright} quella di S. Maria Maggiore, Con Oratione recita nelle sue Esequie, \& alcuni versi posti nell{\textquoteright}Apparato, written by the poet Lelio Guidiccioni which contains extensive descriptions of the monument and obsequies as well as eighteen engraved plates of its architecture and sculpture. Further details are found in the eye witness accounts of Giacinto Gigli and Paolo Alaleone as well as payment records preserved in the Borghese Archives. These sources allow us to reconstruct the appearance and iconography of Paul{\textquoteright}s catafalque. Meaning is created through formal choices in the architectural design of the catafalque and the sixteen personified virtues which adorn it. While the iconography is not explicitly dealt with in the Breve Racconto, the visual clues are reinforced by poetry and scriptural quotations which appear both on the actual monument and in the funeral book. The iconography of the catafalque stresses the Borghese family{\textquoteright}s Romanitas and underscores the importance of Paul{\textquoteright}s patronage in both purifying the Roman Church and ushering in a new Golden Age. This dissertation begins by investigating the context of Paul{\textquoteright}s reburial. Chapter one looks the protocol surrounding the death and burial of seicento popes. It examines how Paul{\textquoteright}s obsequies fit into this tradition and where his catafalque sits in the trajectory of the development and use of catafalques for ecclesiastical funerals. Chapter two looks at the Breve Racconto and evaluates the accuracy of both the text and its author. Particular attention is paid to Guidiccioni{\textquoteright}s intellectual pursuits and his relationship with both Scipione Borghese and Bernini. Chapter two is devoted to Scipione Borghese and his patronage of art and architecture. Chapter three rehearses the history of the Borghese family, Paul{\textquoteright}s accomplishments as pope and his patronage. It also considers his presentation in contemporary panegyric. Chapter four outlines the appearance of the catafalque. Its form echoes both Imperial mausolea and early Christian martyria. Through this formal mimicry the very architecture becomes a metonym for the Pauline resurgence of Rome; it indicates Paul{\textquoteright}s physical and spiritual restoration of the early Church and also the new Golden Age ushered in by Borghese munificence and patronage. Chapter five tackles the question of the catafalque{\textquoteright}s authorship. It examines the involvement of Venturi, Soria and Bernini, attempting to reconcile the style of the building with each of their known works. Chapter six is devoted to the iconography of the sculptured virtues. It starts by considering the history of defining a ruler through his virtues and the appearance of these virtues in art. It then investigates the choice and portrayal of the sixteen virtues in this catafalque. The virtues chosen are ostensibly organized around the exegetical conceit of the Four Daughters of God, clearly suggesting Paul{\textquoteright}s triumph as pope and Christian prince. But many are also closely associated with Augustus and the Imperial cult and there is a clear undercurrent stressing Paul{\textquoteright}s Romanitas and comparing his reign to that of his imagined Imperial forbearers. This theme is familiar from Borghese panegyric, and presumably intended to further the reputation not only of the pope but also of his surviving family members.}, keywords = {Renaissance/Baroque Art}, author = {Packard, Arianna} } @mastersthesis {11485, title = {Cataloguing Critique: Experimental Forms of Documentation in American Art, 1970-1977}, year = {2013}, school = {USC}, abstract = {This dissertation focuses on catalogs and other publications that served as critiques of conventional art and museum practice by artists and curators of American art during the 1970s. This study attends to both experimental forms of curating and the publications that accompanied them, as well as to the catalog as an exhibition or curatorial process in itself. The objects of this study, often collaboratively produced, were lodged between the traditional categories of art, catalog, exhibition, and book. "Cataloguing Critique" explores the idea of "curating" a catalog, when artist curators work as authors, editors, and producers. By looking closely at particular curatorial and publication projects of the early to mid 1970s, this project endeavors to highlight the importance of the exhibition catalog as a site of expression, political critique, and collective action among American artists at the time. These case studies provide examples in which artists and curators radically experimented with the formal and conceptual possibilities of the printed catalog. In each of them, the catalog fulfills a function beyond that of documentation. The manipulation of images, text, and attention to format, layout, and binding play a part in the objects of this study as they do in other printed artistic media. This conception of the catalog as a space of exploration parallels the growth in artists{\textquoteright} books and self-published magazines in the twentieth century. If artists{\textquoteright} books and magazines live at the margins rather than the established center, then the catalogs examined in this project lie somewhere in between. The artists, curators, critics, and collectives featured in this project operated in dialogue with institutions at some level, seeking to augment or even undermine an exhibition by presenting supplementary, alternative, or oppositional ideas and images within the catalogs they produced. The subjects of this study show how, in the late 1960s and 1970s, curators, artists, and critics increasingly called into question the purpose of the museum as a passive and ideologically neutral space of display. The precedent of non-traditional, experimental catalogs explored early in the dissertation paved the way for activist and feminist approaches to formulating, documenting, and also critiquing exhibitions. Thus this project also contributes to existing scholarship on collective action among American artists during this period to mount political critiques through their actions or their art production. The objects of this study fall within that same context, and an expanded view of American art history should include them. Rather than emphasize the differences among experimental exhibition catalogs in post-war American art, this project seeks to foreground what this material has in common. The producers of these objects revised the audience{\textquoteright}s expectations about how catalogs function. They redefined the role of the traditional catalog from that of documentation to one with the potential to express critical or contradictory viewpoints and to become a distinct art object in its own right-separate to, or in place of, the exhibition. The 1970s witnessed a real slippage among functions of positions in the art world, especially in the function of the curator. While challenging the aesthetic and institutional framing of art practice, the case studies in this dissertation demonstrate that this shift in curatorial practice changed the practical relationship between artist and curator-and, as a result, the relationship between curator and institutions.}, keywords = {Art of the United States, Contemporary Art}, author = {Kerrigan, Katherine} } @mastersthesis {11493, title = {Catharine Lorillard Wolfe: Collecting and Patronage in the Gilded Age}, year = {2013}, school = {CUNY}, abstract = {Until now, Lorillard-tobacco heiress, philanthropist, and art patron Catharine Lorillard Wolfe (1828-1887) has been largely overlooked in the study of the cultural life of post-Civil War America. Nevertheless, as one of the founders of the Metropolitan Museum of Art and a preeminent collector of contemporary European art that she bequeathed to the Museum, she made her mark in the 1870s and 1880s as a prominent tastemaker in Gilded-Age New York. At the same time, Wolfe extended her artistic reach to the seaside resort of Newport, Rhode Island. With her architects, the firm of Peabody \& Stearns, she embarked on the construction of a great summer house that enabled her to showcase her architectural and artistic sophistication. Her patronage of leading artists and designers of the English Aesthetic and Arts \& Crafts movements there helped propel their work into the American visual consciousness. There were two components to Wolfe{\textquoteright}s patronage, each encompassing a specific residence, a particular locale, and a distinct aesthetic. Few art patrons, especially unmarried women, have had such a direct impact on the Gilded Age{\textquoteright}s cultural landscape in this dual way. Using a method derived from material culture and patronage studies, and the archival and contextual analysis of objects and buildings, this dissertation analyzes the range and significance of her contribution to the two sites she inhabited. The study of Wolfe{\textquoteright}s projects and her ability to negotiate between the domains of city and resort enable one to assess how one member of New York{\textquoteright}s elite was able to use the amassing of material culture to elevate her status in the city at a time when social classes were being redefined. It was also a transformative period in Newport, which was on its way to becoming the premier resort on the Eastern seaboard. Wolfe{\textquoteright}s creation of a great house there became an important signifier of her status and made a permanent mark on the built environment of Newport. This dissertation contributes to our understanding of art consumption, display, and identity formation, and how they functioned in different contexts and in different ways through the acts of collecting and patronage.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Laster, Margaret} } @mastersthesis {11509, title = {Chicago and the Visual Art of the {\textquoteright}New Negro Movement,{\textquoteright} 1925-1940}, year = {2013}, school = {Iowa}, abstract = {The New Negro Movement, also referred to as the New Negro Renaissance or Harlem Renaissance, was a blossoming of literature, music, and visual art that took place in northern urban African American communities circa 1925 through the mid-1930s. To date, scholars examining this historical period have largely focused on the Harlem area in New York, hence the popular catchphrase used to describe the times, "the Harlem Renaissance." Certainly, Harlem artists were prolific and the work they produced was significant in the ways in which it conveyed to the public the message of racial uplift and pride in African heritage embedded within the New Negro Movement. Nevertheless, African Americans residing in other major cities, such as Chicago, also were demonstrating significant developments in all aspects of the arts. In my dissertation, "Chicago and the Visual Art of the New Negro Movement, 1920s-1940," I undertake an in-depth examination of the African American visual arts scene in Chicago during this period, and analyze the manner in which the work of Chicago artists fit into the national discourse of the New Negro Movement. The many and varied accomplishments of these artists, coupled with their roles as agents for social change, make them attractive and significant research interests, well deserving of a place in the art history canon. My dissertation will help fill an important gap in the history of American art and of the African American {\textquoteright}New Negro{\textquoteright} period.}, keywords = {Art of the United States}, author = {Glenn, Kimberly L.} } @mastersthesis {11462, title = {The City Walls of Pompeii: Perceptions and Expressions of a Monumental Boundary}, year = {2013}, school = {UT Austin}, abstract = {Fortifications often represent the largest and most extensive remains present on archaeological sites. Their massive scale is the primary reason for their survival and reflects the considerable resources that communities invested in their construction. Yet, until recently, they have largely remained underrepresented as monuments in studies on the ancient city. Beyond their defensive function city walls constituted an essential psychological boundary protecting communities from unpredictable elements including war, brigandage, and more elusive natural forces. These factors have led scholars to identify fortifications as playing a distinct role in the definition of a civic identity. Nevertheless, beyond the recognition of some general trends, a definitive diachronic study of their performance within a single urban matrix is still lacking. This dissertation examines the city walls of Pompeii as an active monument rather than a static defensive enclosure. The city preserves one of the most intact set of defenses surviving since antiquity which, in various shapes and forms, served as one its defining elements for over 600 years. Pompeii{\textquoteright}s fortifications, through construction techniques, materials, and embellishments, engaged in an explicit architectural dialogue with the city, its urban development, and material culture. Their basic framework changed in response to military developments, but their appearance is also the result of specific political and ideological choices. As a result, the city walls carried aesthetic and ideological associations reflecting the social and political organization of the community. This study is the first of its kind. It provides a diachronic examination of the Pompeian fortifications by assessing their role in the social and architectural definition of the city. The walls were subject to appropriation and change in unison with the ambitions of the citizens of Pompeii. From their original construction through subsequent modifications, the fortifications expressed multivalent political, religious, and social meanings, particular to specific time periods in Pompeii. This analysis reveals a monument in continuous flux that changed its ideological meaning and relationship to civic identity, in response to the major historical and social developments affecting the city.}, keywords = {Architectural History/Historic Preservation, Greek/Roman Art}, author = {Van Der Graaff, Ivo} } @mastersthesis {11474, title = {A City Within a City: Community Development and the Struggle Over Harlem, 1961-2001}, year = {2013}, school = {Harvard}, abstract = {This dissertation examines the idea of community development in the last four decades of the twentieth century through the example of the Harlem neighborhood of New York City and, in doing so, explains the broader transformation of the American city in these decades. Frustration with top-down urban redevelopment and the rise of Black Power brought new demands to Harlem, as citizens insisted on the need for "community control" over their built environment. In attempting to bring this goal to life, Harlemites created new community-based organizations that promised to realize a radically inclusive, cooperative ideal of a neighborhood built by and for the benefit of its predominantly low-income, African-American residents. For several reasons, including continued reliance on the public sector, dominant leaders, changing sociological understandings of poverty, and the intransigence of activists, however, such organizations came to advance a narrower approach in Harlem in succeeding years. By the 1980s, they pursued a moderate vision of Harlem{\textquoteright}s future, prioritizing commercial projects instead of development that served residents{\textquoteright} many needs, emphasizing economic integration, and eschewing goals of broad structural change. In examining community design centers, community development corporations, self-help housing, and other neighborhood-based strategies, I conclude that local actors achieved their longstanding aspiration that they could become central to the process of development in Harlem and similar places, but built a dramatically different reality than the idealistic hope that had fueled demands for community control in the late 1960s. This ironic outcome reveals the unexpected, radical roots of urban landscapes that by the end of the century were characterized by increasing privatization, economic gentrification, and commercial redevelopment. Likewise, it demonstrates that such dramatic changes in American cities were not simply imposed on unwitting neighborhoods by outsiders or the result of abstract forces, but were in part produced by residents themselves. Understanding the mutable nature of community development helps to explain both the complicated course of urban development in the aftermath of modernist planning and the lasting, often contradictory consequences of the radical demands that emerged from the 1960s, two areas that historians have only begun to examine in detail.}, keywords = {Architectural History/Historic Preservation}, author = {Goldstein, Brian} } @mastersthesis {11480, title = {Civic Center and Cultural Center: The Grouping of Public Buildings in Pittsburgh, Cleveland, and Detroit and the Emergence of the City Monumental in the Modern Metropolis}, year = {2013}, school = {Pittsburgh}, abstract = {The grouping of public buildings into civic centers and cultural centers became an obsession of American city planners at the turn of the twentieth century. Following European and ancient models, and inspired by the World{\textquoteright}s Columbian Exposition in Chicago in 1893 and the McMillan Commission plan for the National Mall in Washington, D.C. in 1901, architects sought to create impressive horizontal ensembles of monumental buildings in urban open spaces such as downtown plazas and quasi-suburban parks in direct opposition to the vertical thrust of commercial skyscrapers. Hitherto viewed largely through the narrow stylistic prism of the City Beautiful vs. the city practical movements, the monumental center (as Jane Jacobs termed it) continued to persist beyond the passing of neoclassicism and the rise of high modernism, thriving as an indispensable motif of futurist aspiration in the era of comprehensive and regional planning, as municipalities sought to counteract the decentralizing pull of the automobile, freeway, air travel and suburban sprawl in postwar America. The administrative civic center and arts and educational cultural center (bolstered by that icon of late urban modernity, the medical center) in turn spawned a new hybrid, the center for the performing arts, exemplified by Lincoln Center and the National Cultural Center (the Kennedy Center for the Performing Arts), as cities sought to integrate convention, sports, and live performance venues into inner-city urban renewal projects. Through the key case studies of Pittsburgh, Cleveland, and Detroit, one-time juggernauts of heavy industry and twenty-first century regions of rust-belt collapse, this study examines the emergence of the ideology of grouping public buildings in urban planning as well as the nineteenth century philology of the keywords civic center and cultural center, terms once actively employed in discourses as diverse as Swiss geography, American anthropology, Social Christianity, the schoolhouse social center movement, and cultural Zionism. It also positions these developments in relation to modern anxieties about the center and its loss, charted by such thinkers as Hans Sedlmayr, Jacques Derrida, and Henri Lefevbre, and considers the contested utopian aspirations of the monumental center as New Jerusalem, Celestial City, and Shining City on a Hill.}, keywords = {Architectural History/Historic Preservation}, author = {Simpson, Donald} } @mastersthesis {11673, title = {The Civic Cornucopia of Ornament: Somatic Visioning of the Festive City in the "Florentine Picture Chronicle" (1470-75)}, year = {2013}, school = {Chicago}, abstract = {Long disparaged by critics as chiefly decorative, in recent years there has been a surge of interest in ornament for examining the early modern observer{\textquoteright}s sense of identity in relation to the experience of the urban environment. Ornament has also been reexamined as a site of engagement with sensorial affect. However, how ornament visualizing the dialogue between somatic responses to the city and the spatial mapping of an emerging Renaissance civic identity has not yet been explored. Yet ornament reflected an experience of embodied spatiality for the Renaissance viewer that hinged on the viewer{\textquoteright}s somatic responses to the festive city. Overlooking ornament{\textquoteright}s increasingly complex relationship to space in the late fifteenth century perpetuates the misconceived notion of a break between late medieval beliefs in magic and the Renaissance{\textquoteright}s embrace of geographic rationality, and thus does not allow us to understand how this period was characterized by both thought systems (which are often posited as binary). My dissertation, "The Civic Cornucopia of Ornament: Somatic Visioning of the Festive City in the Florentine Picture Chronicle (1470-75), examines the central role of ornament in shaping the viewer{\textquoteright}s civic experience of the city in early modern Florence. I study the Florentine Picture Chronicle, an overlooked collection of 87 history drawings whose highly ornamental, {\textquoteright}cornucopian{\textquoteright} style fused vegetal motifs of fertility and abundance from classical culture with calligraphic lines. What results are city scenes in which festival architecture and costume highlighted a hybrid antiquity in order to ground Florence{\textquoteright}s civic values in an ancient, esteemed historical continuum. To thus decorate the city was a strategy for imbuing images as propaganda so as to create a somatic experience through representation that triggered cultural memories of the ancient past. My work brings together critical studies on early modern architecture, affect, magic, and theatre in order to demonstrate how ornament was crucial to reinforcing Florentine civic mythologies inscribed in the environment. It lays the groundwork for the study of ornament as a new framework for reintegrating overlooked yet vital Renaissance beliefs within modernity{\textquoteright}s historiographical trajectory.}, keywords = {Renaissance/Baroque Art}, author = {Olah, Iva} } @mastersthesis {11476, title = {Clay Pipes, Marble Surfaces: The Topographies of Water Supply in Late Seventeenth Century and Early Eighteenth-Century Ottoman Istanbul}, year = {2013}, school = {Binghamton}, abstract = {The eighteenth century witnessed extraordinary {\textquoteright}building{\textquoteright} activities within the old city of Istanbul and its surrounding countryside. The current scholarship, however, has viewed the changes in the urban characteristics of Istanbul as the outcomes of pleasure pursuits of the Ottoman ruling elite, and as a short-lived era of Westernization. This dissertation presents a rethinking of the significance of this period in Ottoman architectural and urban history. It examines the reshaping of civic (urban) spaces and the natural environment in the capital city of the Ottoman Empire during the late seventeenth and eighteenth centuries through the lens of water use and management practices, the evolution of private water rights, hydraulic/architectural patronage, fountains and land use. Drawing on a large corpus of Sharia court registers, Ottoman chronicles and travelogues in addition to the previously overlooked visual sources, especially waterway maps and archaeological evidence, I argue that through the waning years of the seventeenth century, the new elite sectors of Ottoman society grew to understand water infrastructure construction as commercial investments and speculation on the one hand, but also as sites of contestation and domination as they began to play a central role in the renewal and restructuring of built landscapes of the capital on the other. The next four chapters discuss how commercialized transformation of Istanbul{\textquoteright}s water supply infrastructure became so immersed in the political, legal and cultural regimes that the simultaneous existence of an urban-based, economic elite and a more popular audience for tap water not only fostered the recognition of private water ownership rights resulting in the development of a formal water market, but also created a new architectural vocabulary in the city as well as a vast, complex water system beneath it. Ultimately, this study uncovers the role of such {\textquoteright}spatial{\textquoteright} practices in shaping the social topography of eighteenth-century Istanbul, and from there, the uses of the built and natural environments to resist and negotiate the established distributive and administrative political order at the time.}, keywords = {Architectural History/Historic Preservation}, author = {Karakas, Deniz} } @mastersthesis {11710, title = {A Coat that Doesn{\textquoteright}t Fit: Jean Dubuffet in Retrospect, 1944-1951}, year = {2013}, school = {Chicago}, abstract = {My dissertation explores how Jean Dubuffet (1901-1985) navigated a range of cultural institutions and artistic environments and examines the commonalities and differences in his approach to self-definition in each situation. Each chapter of the dissertation is devoted to a crucial moment in Dubuffet{\textquoteright}s early career between 1944 and 1951: his first solo exhibition at Galerie Rene Drouin in Paris in October 1944; his campaigns to Algeria between 1947 and 1949; and his trip to Chicago in December 1951 to attend the opening of his retrospective exhibition and to deliver his "Anticultural Positions" lecture at the Arts Club of Chicago. I use these three case studies both to argue against a prevailing notion in art historical literature-that there was a universal cultural rupture that occurred as a result of World War II-and to highlight aspects of Dubuffet{\textquoteright}s formal working process and self-definition in the 1940s and early 1950s. I find that Dubuffet repeatedly required certain kinds of mental and physical interruptions-or breaks-in order to advance his work and his positions on contemporary art at the time. By investigating the ways in which Dubuffet navigated institutional and personal relationships, in conjunction with his developing artistic philosophy, this dissertation foregrounds Dubuffet as an artist who established complicated patterns of geographic and social connection and disconnection. In the planning and execution of Dubuffet{\textquoteright}s first solo exhibition, I reveal the extent to which Dubuffet was impacted by the deeply complex artistic (and literary) world that was actively in flux during the Occupation and after Liberation; I also suggest that Dubuffet embraced Dada-especially the work of Paul Klee-allowing him to connect with an art historical moment without having to acknowledge his own past. Via Dubuffet{\textquoteright}s trips to Algeria, I assess his periodic need to experience a kind of cultural electroshock, a process that mentally and physically removed him from Paris and its oppressive art institutions. Finally, in the case of Chicago, I explore a situation in which Dubuffet was able to depart from his usual practice and to establish a sense of place and connection, one that seems, in turn, to have had surprising consequences for his self-definition in relationship to institutions. My work should serve as a methodological correction to much previous scholarship on the artist. Even when Dubuffet has been contextualized, the accounts have too often followed the mythologizing model that he set in his autobiography. In presenting him as an artist associated with the Liberation of Paris, for example, art historians typically emphasize that Dubuffet emerged as the product of a physical and cultural rupture that occurred in Europe during the Second World War. In this dissertation, I show that Dubuffet{\textquoteright}s work and his appearance on the Paris art scene in the early 1940s require a broader frame of contextualization. Although the Liberation of Paris was the specific moment of Dubuffet{\textquoteright}s first solo exhibition in 1944, the show cannot fully be understood in terms of a postwar, revolutionary situation, isolated from the practice and the reception of art l{\textquoteright}entre-deux-guerres and during the wartime period. In other words, Dubuffet and his work must not be considered as representing the sort of abrupt and phoenix-like rebirth that he himself favored in recounting his past in his autobiography, but rather as a skillful maneuvering of political and artistic continuities and changes through the 1930s and 1940s. To be sure, his own penchant for creating scenarios of rupture and dislocation, which I explore in both the post-war and the Algerian context, seems to have been fundamental for his creativity and self-definition, and I do not dispute that he may himself have experienced his own history in this fashion. Ruptures of his own making, however, should not blind us to the ways that Dubuffet was, despite himself, a kind of bridge between the first half and the second half of the century. Thus I contend that art historians must reconsider the history of Dubuffet according to Dubuffet. Secondary literature consistently recycles Dubuffet{\textquoteright}s own writings about himself that were written in retrospect, resulting in the perpetuation of certain mythical anecdotes about the artist. Scholars have also been led into misreading Dubuffet{\textquoteright}s artistic projects and philosophies by utilizing selections of his correspondence and other texts without sufficient awareness of the complexity of historical contextualization in the immediate post-war period and in his own personal artistic and philosophical trajectory. Seeking to do justice to that complexity and to make a methodological contribution to the literature on Dubuffet and art of the 1940s has been one of my principal objectives in this dissertation.}, keywords = {Twentieth-Century Art}, author = {Shaw, Jill} } @mastersthesis {11632, title = {The Colectivo Acciones de Arte, the Chilean Neo-Avant-Garde, and the Politics of Visibility, 1975-1989}, year = {2013}, school = {IFA/NYU}, abstract = {In the violent aftermath of the Chilean military{\textquoteright}s coup d{\textquoteright}etat against the government of President Salvador Allende on September 11, 1973, General Augusto Pinochet{\textquoteright}s regime undertook an aggressive campaign to erase the social and cultural legacy of Allende{\textquoteright}s Unidad Popular coalition (1970-1973). A climate of fear and self-censorship overtook the nation{\textquoteright}s public intellectual life and institutions. In response to the stifling post-coup cultural environment, a set of new artistic practices slowly emerged. Founded by visual artists Juan Castillo and Lotty Rosenfeld, writer Diamela Eltit, poet Raul Zurita, and sociologist Fernando Balcells in 1979, the Colectivo Acciones de Arte (C.A.D.A.) was a central component of this neovanguard scene known as the Escena de Avanzada, and it was dedicated to creating artworks open to interpretation on many levels by the fractured Chilean social body. This dissertation explores the central themes of C.A.D.A.{\textquoteright}s art actions and the individual projects of the group{\textquoteright}s members. Chapter One focuses on C.A.D.A.{\textquoteright}s "art document" Ruptura, 1982, and on Eltit{\textquoteright}s performative novel Lumperica, 1983, exploring the fundamental role text and writing played in the collective{\textquoteright}s artistic production. Chapter Two analyzes the place of the body in the works Para no morir de hambre en el arte, 1979, and Viuda, 1985, as well performances by Eltit and Zurita, charting the effects the perpetual threats of detainment, disappearance, and torture had on the Chilean visual arts. The third chapter highlights C.A.D.A.{\textquoteright}s art actions Inversion de escena, 1979, and Ay, Sudamerica!, 1981, as well as Rosenfeld{\textquoteright}s Una milla de cruces sobre el pavimento, 1979, examining the ways the Chilean landscape was used as a metaphor for the challenges of life under the authoritarian government and detailing the group{\textquoteright}s tactic of retaking the public sphere by mentally and physically re-inhabiting the public spaces of Santiago. Chapter Four positions No + (No mas), 1983, as a work that thoroughly blurs the line between art and politics, tracking C.A.D.A.{\textquoteright}s contribution to the cultural struggle against the military dictatorship and investigating the collective{\textquoteright}s use of photography and video.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Dubs, Jason} } @mastersthesis {11542, title = {Collective Actions: Moscow Conceptualism, Performance, and the Archive, 1976-1989}, year = {2013}, school = {Rutgers}, abstract = {This dissertation charts the history of Collective Actions, a group of artists, poets, musicians, and other intellectuals who staged conceptual actions that investigated the nature of viewer perception and aesthetic experience in late-Soviet Moscow. Focusing on the period between 1976 and 1989, the dissertation draws on perspectives from art history, performance studies, and Soviet cultural history to closely analyze the enigmatic actions, dispersed multi-media archive, and voluminous theoretical writings of Collective Actions and Andrei Monastyrski, a founding member and the group{\textquoteright}s chief theoretician. In doing so, it reveals how the lack of institutional location in both Soviet and Western art worlds allowed Collective Actions to create highly unstable works that were produced discursively by audience participation, rather than formally determined by the artists themselves. It traces the shifting boundaries between poetry, action, factographic object, and documentary photograph, and shows how each artistic encounter served to test viewer perception and became, over time, the object of documentation and extended group discussion. The group{\textquoteright}s collective practice, the dissertation argues, became a key site for the elaboration of a Moscow Conceptualist vernacular. The dissertation seeks to locate this collective project of producing an alternative institution within the specific conditions of unofficial art in Moscow in the last Soviet decades, and in this way, offers a new way of understanding the signal postwar movements of conceptual and performance art and their relationship to institutionalization in the postwar period.}, keywords = {Contemporary Art, Performance Studies}, author = {Kalinsky, Yelena} } @mastersthesis {11699, title = {Collision and Collusions: Interactions in Le Corbusier{\textquoteright}s Art and Architecture, Purism and Beyond}, year = {2013}, school = {IFA/NYU}, abstract = {Le Corbusier (1887-1965), the prolific Swiss-born French architect, painter, urbanist, critic and designer, embodied a spirit of interdisciplinary exploration through his experimentation across media. Between 1918 and 1927 Le Corbusier and the painter Amedee Ozenfant created Purism, a response to Cubism which forged a vital link between avant-garde practices in early 20th-century painting and architecture through its return to clear, ordered forms expressive of the modern machine age. In this early period of painting, he concentrated on treating the canvas not as a pictorial surface but as a tectonic space, experimenting with perspectival elisions and spatial ordering, and several key studies have addressed the relation between Le Corbusier{\textquoteright}s painting and architecture at this point of his development. This thesis extends this line of inquiry by addressing the connections between his art and architecture during the 1930s with particular emphasis on tracing the themes which defined his paintings and drawings from the late 1920s onwards and how they informed his architectural production. It examines the changing and dynamic relationship between his art and architecture, a relationship which evolved as he enlarged his artistic vocabulary and began include new objects and forms. The developments in his paintings often foreshadowed changes in his architecture, as he moved away from a Purist syntax of clearly ordered and regimented lines and spaces by embracing French vernacular architecture and celebrating Mediterranean colors and light. In his paintings, Le Corbusier continued to use and modify motifs from his Purist period, but his treatment of line, color, and texture evolved, and eventually even his pictorial frame of reference began to change. Concurrently, he began to explore new textures, arrangements and configurations in his architecture, experimenting with combinatory effects. A careful reading of his graphic works in conjunction with his architectural projects reveals that he was constantly searching for ways in which they might interrelate. This dissertation argues that understanding the seminal and continuous role played by his paintings throughout his career is essential to grasping the totality of his work.}, keywords = {Twentieth-Century Art}, author = {Hendricks, Ruth Genevieve} } @mastersthesis {11551, title = {A Colony Within: Art and Identity in London{\textquoteright}s East End since World War II}, year = {2013}, school = {Bryn Mawr}, abstract = {This dissertation brings together artists living and working in the East End of London since World War II whose art uses the particular connotations of its East End location to address the changing and often contested issue of British identity. Chapter 1 compares and contrasts Nigel Henderson{\textquoteright}s photographs of the postwar East End neighborhood of Bethnal Green with scenes from Robert Hamer{\textquoteright}s 1947 film It Always Rains on Sunday set in the same neighborhood to look for indications of how the media of film and photography might manifest visually the significant changes to the urban fabric of the East End of London in the immediate postwar period. Chapter 2 examines select works by Gilbert \& George from the Red Morning and The Dirty Words series, both of 1977, and other untitled series made in 1978 and 1980 (Paki, Kitchener, Britisher, Patriots, Death, War, and Fighter) to hypothesize about the relationship between their art and issues of nationalism and identity on the eve of the Thatcher years. This chapter includes a coda in which I consider filmmaker Mike Leigh{\textquoteright}s 1983 made-for-television film Meantime in relation to the works by Gilbert \& George. Chapter 3 analyzes how the work of Rachel Whiteread preserves some trace of the once thriving Jewish community in the East End, while also manifesting the significant changes that have taken place in the postwar period. Where in the prior chapters, I turn to film as a point of reference and comparison, here I look to literature, specifically, two late nineteenth century novels by the Jewish East Ender Israel Zangwill, Children of the Ghetto: A Study of a Peculiar People and The Big Bow Mystery, whose plots produce an uncanny echo when read in light of Whiteread{\textquoteright}s work. Taken together, these three chapters create a portrait of the colony within that is East London in the postwar/postcolonial period.}, keywords = {Contemporary Art}, author = {Haavik-MacKinnon, Amy} } @mastersthesis {11461, title = {Constructing the Camara Santa: Architecture, History, and Authority in Medieval Oviedo}, year = {2013}, school = {Toronto}, abstract = {My dissertation examines the Camara Santa of the Cathedral of Oviedo as both a medieval and modern monument, shaped by twelfth-century bishops and twentieth-century restorers. I consider the space as a multi-media ensemble, containing manuscripts, metalwork, and sculpture, arguing that we must view it as a composite=if fragmented=whole. My analysis focuses on the twelfth century, a crucial period during which the structure, decoration, and contents of the Camara Santa were reworked. A key figure in this story is Bishop Pelayo of Oviedo (d. 1153), who sought to enhance the antiquity and authority of the see of Oviedo by means of the cult of its most important reliquary: the Arca Santa. I argue that this reliquary shapes the form and function of the twelfth-century Camara Santa, considering the use of the space in the context of liturgy and pilgrimage. Finally, I consider the sculpture that lines the walls of the space, arguing that it animates and embodies the relics contained within the Arca Santa, interacting with the pilgrims and canons who used the space. Thus, this sculpture represents the culmination of the long twelfth-century transformation of the Camara Santa into a space of pilgrimage focused around the Arca Santa and the memory of the early medieval patrons of the Cathedral of Oviedo, a memory which abides to this day. What is importantly new about my project is this historiographic frame, combined with a theoretical approach that challenges traditional methods and interpretations. I foreground the importance of the Camara Santa for both regional and national identity. My reflexive reading of the medieval and modern histories of the Camara Santa offers alternative interpretations for a space whose meaning has long been presented as ideologically fixed.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Ward, Flora} } @mastersthesis {11538, title = {Contemporary Argentine Art and Ecologica Crises}, year = {2013}, school = {Tulane}, abstract = {This dissertation explores contemporary Argentine art that has responded to local environmental issues and global ecological crises. This text focuses on diverse works produced between the 1960s and the present by artists based in La Plata and Buenos Aires. The projects analyzed in this study reveal the complexity of the concepts of nature, earth, land, environment and ecological crisis in contemporary society. They expose a series of interrelated issues and layers through which these concepts are defined. In order to designate the major approaches to ecological crises adopted by these artists, this study is divided into three sections, which denote distinct artistic methods and values: raising awareness: fighting against urban degradation; recuperation; and exploration. An analysis of individual works in relation to their central methods and contexts reveals a series of convergences and divergences. I argue that my selection of artists{\textquoteright} works contended with the conflict caused by industrial development and neoliberal economic policies and/or reconsidered the concept of nature and individuals{\textquoteright} relationship to it, shifting the dialogue about the environment to questions of place, engagement and adaptability. Collectively these artists{\textquoteright} works present a multifaceted image of the environment and its relationship to people, which is shaped by both the nuances of a particular location and each site{\textquoteright}s or artist{\textquoteright}s connection to a broader international context.}, keywords = {Contemporary Art, Latin American/Caribbean Art, Performance Studies}, author = {Crossman, Lisa} } @mastersthesis {11617, title = {Contextualizing Roman Honorific Monuments: Statue Groups of the Imperial Family from Olympia, Ephesus, and Leptis Magna}, year = {2013}, school = {UNC Chapel Hill}, abstract = {This dissertation contextualizes Roman sculpture within its local environment, giving particular attention to the honorific statue groups of the imperial family in the first and second centuries CE. Previous studies focus primarily on issues of style and typology, whereas this project examines how statues influenced and were influenced by surrounding architecture, topographical features, and significant landmarks. Moreover, it asks how social, political, and historical phenomena relate to a group{\textquoteright}s significance and its effect on the ancient viewer. The ultimate goal of this investigation is to explore the social and physical contexts of imperial dynastic ensembles in order to improve our understanding of how honorific monuments functioned within the local landscape. The study focuses on three ancient sites - Olympia, Ephesus, and Leptis Magna - that provide some of the best preserved imperial honorific and dynastic material as well as a broad geographical spread. Groups from Rome and the West largely are omitted since epigraphic material often is lacking. The three main chapters present imperial honors (both individual and familial) in chronological order and consider relevant architectural, historical, and topographical developments. Dynastic groups with preserved statues, display contexts, and patron(s)/dedicator(s) are discussed in separate sections that outline the group{\textquoteright}s historical background, patron(s), associated sculpture, honorands, date, arrangement, and relationship to previous honors. This study confirms that dynastic groups from the three sites are centered in four major types of architectural settings: temples, nymphaea, entertainment structures, and fora/agorai. Familial groups also coexist with individual honors and ensembles of other dynasties. This investigation further demonstrates that the Julio-Claudian and Antonine households have the most extant evidence for dynastic honors and that a correlation exists between the initial phases of a dynastic monument and the first emperor of a new dynasty. Both prominent citizens and civic groups erected representations of the imperial family in areas that were visited frequently in order to express loyalty and gratitude toward the ruling household as well as visually convey their power, wealth, and prestige. These communal areas ensured maximum visibility and interaction with the statues during everyday events and special rituals related to the city{\textquoteright}s identity.}, keywords = {Greek/Roman Art}, author = {Olson, Emily V.} } @mastersthesis {11526, title = {Creating Visual Emblems for Eastern Zhou Militarized Frontier Societies (771-221 BCE)}, year = {2013}, school = {Pittsburgh}, abstract = {My dissertation examines the hybrid imagery on burial objects from the tomb of the Zhao Minister of the Jin State in and the Zhao King Tomb No. 2, for example, gilded plaques decorated with paired dragon motifs (Fig. 1) and bronze daggers with a combat scene of tiger and bird (Fig. 2). These objects were considered to be modeled on Sino-Siberian motifs in past scholarship. Instead of using the term {\textquoteright}hybridity{\textquoteright} merely as a stylistic label to describe these bronze artifacts as in previous scholarship, I re-define my use of this term and analyze how hybridity is practiced in different aspects. Hybridity is seen as a hybrid design on burial objects. It is also reflected in the purposeful selection of different practice for elite tombs and in the co-existence of both Zhou and local population in commoner burials in this frontier region. My research explores multiple meanings of these hybrid artifacts of the Jin and Zhao and consists of manifold approaches. I analyzed the broad social and political context of Jin and Zhao based on textual documents, which accounts for the needs of empowering themselves. A more confined perspective to examine these hybrid artifacts in burial setting aims to analyze how the Jin and Zhao elites used these artifacts to create a unique identity displayed at the time of their death. The third approach focuses on trade networks and bronze production in the region in order to show the development in the design of these hybrid style bronzes and to suggest a reciprocal relationship between the Chinese states and the frontier groups. In conclusion, the creation and placement of the hybrid bronze artifacts in the elite Jin and Zhao tombs revealed a unique cultural identity for them that goes along with the unstable political tides around the 500 BCE. The practice of hybridity manifested itself on burial artifacts and programs and so were in accord with their all-inclusive diplomatic strategies that these practices became the sanctioned and collective means to negotiate their cultural identity and assert their power in the region.}, keywords = {Chinese Art}, author = {Han, Jiayao} } @mastersthesis {11557, title = {Credulous Spectatorship from Zeuxis to Barthes}, year = {2013}, school = {Bryn Mawr}, abstract = {This dissertation explores intersections between trompe l{\textquoteright}oeil painting and photography. It began as an interest in contemporary photographers, such as Thomas Demand, whose photographs of constructed paper models encourage viewers to discover the nature of his interventions. His strategy resonates with a centuries-old strategy in trompe l{\textquoteright}oeil painting, but now in the terms of photographic, rather than pictorial presence. That is, most of Demand{\textquoteright}s photographs do not compel the viewer{\textquoteright}s belief in the tangible presence of the object represented; instead, they exploit photography{\textquoteright}s indexical promise of delivering the world as it once appeared, in order to temporarily trick viewers about the terms of that indexical delivery. Beyond intersections in artistic strategies, I track reception accounts of trompe l{\textquoteright}oeil painting and photography for their reliance on a credulous spectator. Pliny{\textquoteright}s Zeuxis, who is tricked by Parrhasius{\textquoteright}s painting of a curtain, remains the model for this errant credulity. In their efforts to reveal the manipulation of photographs, historians and theorists assume that the natural attitude for viewing photographs is wholly credulous and recast postmodern viewers as contemporary Zeuxises. Instead of admonishing spectators for such credulity, I argue that trompe l{\textquoteright}oeil facilitates a pleasurable experience of oscillation between belief and disbelief. I also suggest that these trompe l{\textquoteright}oeil deployments of oscillation tend to coincide with historical moments of perceived change in visual technologies-changes due to digitalization, as well as mechanical or other forms of reproduction. Trompe l{\textquoteright}oeil artists play upon our supposed willingness to accept reproductions for the objects they represent. The inclusion of photographs and/or engravings in these trompe l{\textquoteright}oeil paintings simultaneously stages and reprimands our desire for the aura of the actual object. Finally, I suggest that a contemporary renewal of trompe l{\textquoteright}oeil in the medium of photography reveals an interest in recuperating belief in photographs-a belief not unlike that which Roland Barthes narrates in Camera Lucida. Just as Barthes can discover something of photography{\textquoteright}s indexical promise, even after decades of his own scholarly efforts to unveil photography{\textquoteright}s rhetoric of construction, so might we, even while heeding the postmodernist lessons of disbelief, recuperate a moment of belief in a skeptical age.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Drawings/Prints/Works on Paper}, author = {Robbins, Carrie} } @mastersthesis {11449, title = {The Dak{\textquoteright}Art Biennial in the Making of Contemporary African Art, 1992-Present}, year = {2013}, school = {Emory}, abstract = {This dissertation examines the shift in contemporary African art in the 1990s. By focusing on the Dak{\textquoteright}Art Biennial as an important context of analysis, it argues that the genesis of this shift was the economic and political failures of the postcolonial states in the 1980s, which led artists to reject cultural nationalism and the decolonizing aesthetics of easily identifiable but reinvented African art forms and leitmotifs. African artists began to reflect an expanded repository of creative and cultural references, and to work with more diversified media of creative expressions in the 1990s. The study thus explores a range of works exhibited at Dak{\textquoteright}Art in the last two decades. A large-scale international exhibition, Dak{\textquoteright}Art was established in 1989 by the government of Senegal to promote latest examples of African art. I show how early iterations of Dak{\textquoteright}Art in 1992 and 1996, which exhibited mostly paintings and sculptures, reflected the formal outlines of post-independence modernism in Africa. I demonstrate how Dak{\textquoteright}Art began to exhibit new trends, such as conceptual art, and art forms, including performance, installation, and time-based art that are international in orientation, from 1998 on. The study also explores Dak{\textquoteright}Art{\textquoteright}s pan-African internationalism, a framework for cultural visibility, and argues that it is distinct from the approaches advanced in the pan-African events in Africa in the 1960s and 1970s. These events, which included the International Congress of African Culture in 1962 and First World Festival of Negro Arts in 1966, promoted global black solidarity and cultural nationalism that were based on the notion of "returning to the source." Instead, Dak{\textquoteright}Art is outward looking, and seeks to secure a foothold for African and African diaspora artists in the mainstream artworld. Yet, in spite of Dak{\textquoteright}Art{\textquoteright}s pan-African orientation, works in its exhibitions have not pursued any sectional aesthetic ideology. Ultimately, I argue that the absence of a collective aesthetic ideology represents the most significant manifestation of the shift in contemporary African art since the 1990s.}, keywords = {African Art (sub-Saharan)}, author = {Nzewi, Ugochukwu-Smooth} } @mastersthesis {11581, title = {Death in a New Key: The Christian Turn of Roman Sarcophagi}, year = {2013}, school = {Toronto}, abstract = {Christian sarcophagi were produced in Rome during a long fourth century for a narrow audience. Their iconography marks a discontinuity in a centuries-old medium, a turn away from pagan and profane themes towards biblical narratives and Christian ideas. Following their patrons and viewers, these sarcophagi "converted" to a new religion and visually expressed its novel conception of death. This dissertation approaches these monuments as autonomous historical documents that merit examination on their own terms, which is not to deny the importance of social, economic, religious or artistic developments. Some of these extrinsic elements of context are addressed in the initial chapters. In particular, inferences are drawn concerning the cohort of individuals who bought, occupied and saw these sarcophagi based on estimates of cost and the Roman income distribution. Visibility, conditions of access and the circumstances of reception are also examined. Following these contextual considerations, the study focuses on two distinct and chronologically separated groups of Christian sarcophagi. The first consists of monuments with the Jonah theme, the single most popular form in the period before 350 CE. Jonah sarcophagi are representative of the widespread use of scriptural symbolic narrative, combining Old and New Testament allusions with other potential associations. The second group are sarcophagi displaying the so-called traditio legis (a modern Latinism), an important example of the late-century "conceptual" forms that allude to religious tenets without any specific scriptural anchor. This complex and controversial form of representation suggests a composite design, a conflation of images into a single form. Through a close reading of both the Jonah and traditio legis sarcophagi, the discussion elucidates various facets of reception and a range of over-determined and alternative meanings. The conclusion considers how the fourth century Roman sarcophagi contributed to the construction of a Christian imaginaire of Christian death among their viewers.}, keywords = {Early Christian/Byzantine Art}, author = {Couzin, Robert} } @mastersthesis {11610, title = {Decoration and Display in the Imperial Thermae of Rome: Visual Experience and Intended Meaning}, year = {2013}, school = {IFA/NYU}, abstract = {Throughout the Roman Empire, bathing was a highlight of the day and a major social event. Ubiquitous literary and epigraphical evidence conveys the significance of baths to people{\textquoteright}s daily routines and relationships. In fact, baths were so valued that their patronage became a powerful public relations tool and greatly enhanced one{\textquoteright}s popular and political clout. It is hardly surprising, then, that as a spectacular gift to the people, the emperors commissioned eight magnificent baths in the city of Rome between 25 BCE - 337 CE. While these baths, the so-called imperial thermae, have been the subject of extensive scholarship in terms of architectural design and construction, the lived experience of these luxurious spaces warrants much closer attention. This dissertation fills the need for a critical study that brings the lived and visual experience of Roman baths into dialogue with the original appearance of the monuments themselves, as well as the underlying ambitions of imperial patrons. This dissertation analyzes the extensive decoration of the best preserved of these complexes, the Baths of Caracalla (inaugurated 216 C.E.). This decoration was a carefully strategized ensemble, meant to impart a particular message to a diverse Roman audience. I examine the subtext of this sumptuous display, addressing the visual experience of the baths and elucidating the decoration{\textquoteright}s critical role in articulating innuendo and advancing imperial agendas. The case studies addressed herein, ranging from architectural to freestanding sculpture and mosaic, demonstrate that endowing monumental baths was a concern of dynastic legitimacy and imperial largess, and that decorative programs articulated these themes by consistently drawing analogies between the subjects of the decoration and the emperor who had paid for it. Decorative choices were by no means incidental, but rather purposeful decisions by Caracalla and his architect to honor the emperor and to consolidate his power and reputation. Throughout, this dissertation aims to provide a novel interpretative framework with which to consider issues of patronage, infrastructure, and the resultant experience of daily life in ancient Rome. Although focused on baths, it is hoped that this framework will inspire further research into experiential aspects of Roman architecture and urbanism.}, keywords = {Greek/Roman Art}, author = {Gensheimer, Maryl B.} } @mastersthesis {11655, title = {Decoration and Symbolism in the Late Works of Odilon Redon}, year = {2013}, school = {Iowa}, abstract = {From approximately 1900 until 1914, Odilon Redon worked almost exclusively on decorative projects, both privately and publicly commissioned. Additionally, he created numerous uncomissioned decorative works - highly ornamental paintings with decorative subject matter that were conceived of by the artist himself as decorations. Yet despite the fact that decorative works made up a significant portion of Redon{\textquoteright}s late oeuvre, he is rarely considered as a major figure within the decorative arts movement at the turn of the century, unlike his contemporaries Paul Gauguin and the Nabis. His close involvement with these artists, as well as his affiliation with a number of the same important critics, makes his exclusion from discussion of the decorative revival all the more surprising. There has been very little scholarship on Redon{\textquoteright}s decorative works that consider them in relation to the international decorative movement. Nevertheless, his late works actively engaged with the avant-garde aesthetic theories of the time. My dissertation will place Redon in the context of the decorative and Symbolist art movements by examining the profusion of decorative projects with which he was involved during the last decades of his career. By considering important themes within these movements, like elevation of craft arts, the encouragement of floral designs, the revival of religious and mythological subject matter, and principles regarding the unification of the arts, I argue that Redon warrants consideration as a decorative painter at the turn of the century in France. My first chapter introduces the idea of the decorative revival in the nineteenth century, and considers the way the definition of the term "decorative" evolved during the period. I also present the historiography of Redon scholarship, as it relates to his decorative works. The second chapter examines the historical background of the decorative and Symbolist movements in the nineteenth century. I focus first on the pan-European decorative revival, especially in England and Belgium, then examining how this influenced French art. The Symbolist artistic movement developed simultaneously, and as such, I will examine the ways in which the two movements overlapped. Finally, I consider how Redon{\textquoteright}s artistic development was affected in this aesthetic climate. Subsequent chapters examine specific themes in Redon{\textquoteright}s decorative oeuvre, and how these related to ideas and undercurrents in the general decorative and Symbolist art movements. Chapter three focuses on flowers and nature as decoration, exploring the increase of floral imagery in both decoration and Symbolist painting, and how Redon adapted his own artistic language from these influences. Chapter four examines the revival of traditional imagery from religious and mythological subjects, as well as occultist themes, and explores the way Redon used his decorative style to create new symbolic meanings for these themes. Chapter five focuses on Redon{\textquoteright}s murals at the Abbaye de Fontfroide, in which I argue that they represent a modern Gesamtkunstwerk . My final chapter underscores Redon{\textquoteright}s place within the decorative and Symbolist movements and examines the influence he exerted on his contemporaries through his use of the decorative arts.}, keywords = {Nineteenth-Century Art}, author = {Yoder, Abigail Eileen} } @mastersthesis {11696, title = {Decorative Modernity and Avant-Garde Classicism in Renoir{\textquoteright}s Late Work, 1892-1918}, year = {2013}, school = {IFA/NYU}, abstract = {Renoir{\textquoteright}s late work represents a paramount contribution to the history of modernism that has often been overlooked and obscured according to a paradigm of reactionary escapism. This dissertation instead positions Renoir{\textquoteright}s staunch commitment to the decorative arts, and his advocacy of decorative and classical styles of painting in the late work, as central to the political and cultural debates of its time--both as a link to the traditions of the eighteenth century that satisfied politically conservative cultural nationalists, and as a badge of avant-garde formalism among new collectors of modern art such as the Steins, Maurice Gangnat, Paul Guillaume, and Albert C. Barnes. Renoir{\textquoteright}s response to modernity was less one of denial than one of protest against a mode of production that diminished the hand crafted sensuality of the object in favor of machine made efficiency. This interpretation re-imagines the dominant teleology of Modernism by re-installing the decorative and the Symbolist movement as the important aesthetic revolutions they were for Renoir and his young admirers: the Nabis, Picasso, Maillol, and Matisse. During his late career Renoir adopted successive hybrid styles that combined decorative and classical forms and which encouraged synesthetic responses in the viewer. His pictures of music-making, dress-up, millenary, and the notorious late bather paintings and sculptures unabashedly revel in the depiction of decorative motifs and tactile flesh, ultimately locating the origins of aesthetic form in the slippages between the senses of sight and touch. Ultimately Renoir{\textquoteright}s late work serves as an alternative paradigm of modernity, one that complicates the traditional narrative predicated on Greenbergian purity, media specificity, and flatness. Instead, Renoir presents a body of work which traffics in opposites: a decorative style that is willfully heterogeneous, synesthetic, and which explores the liminal space between the pictorial and the sculptural. As an antihero of modernism, a detailed understanding of Renoir{\textquoteright}s late work expands our understanding of this period by intertwining decorative, classical and avant-garde painting styles in a web connecting the diverse aesthetic movements and social upheavals of the late nineteenth and early twentieth centuries.}, keywords = {Twentieth-Century Art}, author = {Donahue, Nathaniel} } @mastersthesis {11694, title = {Decors: Marcel Broodbrothers{\textquoteright} Late Exhibition Practice, 1974-75}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation catalogues and examines the large-scale artworks and retrospective exhibitions Marcel Broodthaers (1924-1976) organized of his own work in the last two years of his life. In early 1974, Broodthaers turned a gallery into a verdant winter garden entitled Un Jardin d{\textquoteright}Hiver for a group exhibition at the Palais des Beaux-Arts, Brussels. Later that year he organized a large retrospective at the same institution and was invited to stage five more European solo museum exhibitions. During this period, Broodthaers used the term "decor" to describe room-sized thematic groupings such as Un Jardin d{\textquoteright}Hiver as well as his late retrospective exhibitions. Broodthaers frequently re-sited and recontextualized his earlier work in the Decors exhibitions, thus demonstrating his own oeuvre{\textquoteright}s future as a malleable cultural material and also permanently complicating the critical interpretation of his practice. His often-stated intention with these shows was to give his objects a function, or purpose. As such, he used some of the Decors as sets for his artist films. The Decors project came to uniquely evoke modernism{\textquoteright}s complex relationship with utility, and with such seemingly antithetical terms as ornament, decoration, and theater. The many historical referents discussed in this dissertation directly relate Broodthaers{\textquoteright}s art to changing exhibition styles, poetry, colonialism, and the transference of objects from private collections to the public realm. Through a history of the works, exhibitions, films, and publications related to the Decors, this dissertation shows Broodthaers to be one of the most innovative artists to use the exhibition as a medium in the second half of the twentieth century.}, keywords = {Twentieth-Century Art}, author = {Chaffee, Cathleen} } @mastersthesis {11621, title = {Depositing the Dead: Material Culture and Funerary Practices in Kamarina, Sicily, ca. 5th to 3rd Century BC}, year = {2013}, school = {Virginia}, abstract = {The Greek site of Kamarina (southeastern Sicily) was founded as a sub-colony of Syracuse around 599/598 BC. Excavations by Giovanni Di Stefano (1980-1983) uncovered approximately 1007 burials in the Passo Marinaro necropolis (5 th through 3rd c. BC). Of these, 258 were available for study. Using the concept of materiality as an interpretive framework, this dissertation is an interdisciplinary examination of the Passo Marinaro sample for the purpose of reconstructing the synchronic dynamics, state of health and mortuary practices of Kamarina. The results of osteological, material culture and ritual analyses reveal details regarding burial customs, demographic trends, state of health, ancestry, ethnicity, social status and magical beliefs. When data concerning grave goods (types, counts) and the ritualistic treatment of the deceased (body/head position, grave orientation, burial receptacle) are compiled for the sample and compared to contemporary necropoleis from Sicily and southern Italy, the trends witnessed at Passo Marinaro are closest to those of other Greek necropoleis in Sicily. This finding provides support for the theory that the Greeks living in Sicily participated in an independent burial tradition that was unique to the island. When material evidence is combined with findings from the biological study of the human remains, a more complete portrait of Kamarina emerges. The majority of people did not live past young adulthood. Throughout their lives, most experienced dental diseases (linear enamel hypoplasia, dental caries, antemortem tooth loss, dental calculus, periodontal disease, dental crowding and impaction), some developed degenerative joint disease, anemia (porotic hyperostosis, cribra orbitalia) and bone infections (periostitis), others possessed physical deformities (craniosynostosis, pituitary dwarfism), and a few were the victims of interpersonal violence (blunt and sharp force) and possibly cancer (leukemia). Kamarina was a place where magic (curse tablets, deviant burial) and surgery (trepanation) were practiced, and individuals of diverse ethnicities (Greek, non-Greek) and ancestries (two possible sub-Saharan Africans) were united in life and death by shared culture and funerary practices. Through the combination of methods drawn from classical archaeology and physical anthropology, this study, the first of its kind for Greek Sicily, has shed new light on the life- and deathways of Classical Kamarina.}, keywords = {Greek/Roman Art}, author = {Sulosky Weaver, Carrie} } @mastersthesis {11523, title = {Descent of the Deities: The Water-Land Retreat and the Transformation of the Visual Culture of Song Dynasty (960-1279) Buddhism}, year = {2013}, school = {Harvard}, abstract = {This dissertation identifies a paradox at the heart of the visual culture of Song-dynasty (960-1279) Buddhism. On the one hand, as the celestial pantheon expanded, it was conceptualized in ever more bureaucratic ways, mirroring the growth of the terrestrial government itself. On the other hand, the boundary separating that supramundane realm from the human world became decidedly more permeable; ghosts and deities became an omnipresent part of daily life. How to treat these two contradictory phenomena-one pointing to rational orderliness, the other pointing to unpredictable unruliness-posed a distinct problem for Song visual artists, spurring the development of new strategies of pictorial representation and forcing reflection upon the nature of representation itself. Chinese Buddhist art was never to be the same again. I argue that the key to understanding these new forms of art lies in the Water-Land Retreat (Shuilu zhai), a massive, icon-filled ritual of decidedly cosmic pretensions. The patterns of practice and strategies of visual representation associated with this ritual constitute a system that broke with earlier Chinese tradition. Practitioners of the liturgy created an open ritual syntax that allowed it to take on myriad forms in accordance with its sponsors{\textquoteright} needs, while also allowing it to absorb deities and practices from non-Buddhist traditions. This dissertation examines these phenomena in three parts. Part 1 excavates the social place, methods of practice, and visual profile of the Water-Land Retreat in and around the Song. Relying extensively on paintings from the Jiangnan region, cliff carvings from Sichuan, and numerous liturgical manuscripts, I argue that image and practice are inextricably bound in this ritual. Part 2 focuses on the motif of the cloud in Water-Land-related images and texts. Through an examination of images of cloud-borne descending deities, I contend that this motif became the locus for reflection on the mediational nature of ritual and representation. Finally, Part 3 addresses the bureaucratization of ritual practice and pictorial production in Song Buddhism. I argue that practitioners of the Water-Land Retreat simultaneously embraced and transcended a bureaucratic idiom drawn from Daoism and contemporary government to create a new Buddhist vision of the cosmos.}, keywords = {Chinese Art}, author = {Bloom, Phillip} } @mastersthesis {11446, title = {Developing the Colonial Museum Project in British Nigeria}, year = {2013}, school = {Emory}, abstract = {In 1943, Kenneth Crosthwaite Murray began a survey of antiquities in the British colony of Nigeria. This project led to his own department, which wrote antiquities legislation, regulated archaeological excavations, and established all of the museums in the country - seven before independence. These museums were established for antiquities{\textquoteright} preservation, but were also a demonstration of Britain{\textquoteright}s imperial presence in Africa. The formation and products of the department of antiquities reveal the way in which the British intended to use the museum to unite a diverse population while at the same time use artifacts to educate and create the modern colonial African subject. The department of antiquities looked to British institutions as a model for antiquities legislation and museum practice. "Developing The Colonial Museum Project in British Nigeria" explores the processes by which European museum models were translated to colonial-era African museums and analyzes how knowledge production and heritage formation were generated within these institutions. The colonial African museum maintained ties to the institutions in Europe, yet it was something different because it was set within colonial territories and catered to colonial European and African audiences. This in turn shaped the classification of art objects, which affected our perceptions of what the Nigerian visual culture is today. Nigeria plays an important role in museum development on the continent because the department of antiquities opened the first bilingual institution to train museum professionals, thus influencing museum practice across Africa. This dissertation examines Nigerian museums as both an extension of and departure from the way British museums were used for social and political purposes. The focus is the development of the department of antiquities and the institutions it founded in the period leading up to its establishment in 1946 and the dismantling of the British Empire with Nigerian independence in 1960. The final chapter considers the department in the 1960s through the Biafran War and into today.}, keywords = {African Art (sub-Saharan)}, author = {Hellman, Amanda} } @mastersthesis {11693, title = {The Dialectical Object: John Heartfield, 1915-1933}, year = {2013}, school = {Columbia}, abstract = {In 1933, after the election of the National Socialists in Germany, John Heartfield fled Berlin for Prague, leaving behind the significant intervention in contemporary cultural and social discourses that his photomontages for the Arbeiter-Illustrierte Zeitung comprised. While this body of work, produced from 1930, has been understood as Heartfield{\textquoteright}s master work, it has also often been understood as straightforward "popular front" propaganda and the accomplished embodiment of the "dialectical" method that were significant aspects of the cultural policy of the official left. There have been few attempts to work through the formally innovative aspects of Heartfield{\textquoteright}s particular "dialectical" method, and more broadly speaking, little critical consideration of the complex engagement of social realism that characterizes the A-I Z photomontages. Taking as a point of departure Heartfield{\textquoteright}s presence in institutional and scholarly discourses, and adopting an approach that is thematic rather than chronologically exhaustive, this dissertation investigates his collaborative engagements of performance, theatrical production, film, and the newly-emergent "photo book" to argue for a more nuanced treatment of the A-I Z photomontages than has been the case. Critical writing focused on the decade between Heartfield{\textquoteright}s Berlin Dadaist affiliations and his work for the Arbeiter-Illustrierte Zeitung has been conspicuously absent, and his work with film and theater have not been considered in relation to his photomontage practice of the later 1920s. Drawing on the theorizations of Michel Foucault and Gilles Deleuze regarding subjectivity and aesthetic engagement, the formation of cultural collectives, and processes of meaning production, this dissertation will argue that Heartfield{\textquoteright}s involvement in specifically performative cultural formations is central to understanding the advanced photomontage practice he developed, even as this orientation also rendered his intervention in the modes and institutions of cultural production incomprehensible to the various historical paradigms, left and otherwise, of modern art. In my conclusion, I draw Heartfield back into the present to consider the import and resonance of his interventions for contemporary interests and practices. Bringing recent theorizations of the public sphere in relationship to investigations of subversive subjectivities and models of meaning production formed around the "event," my dissertation argues for an expanded notion of aesthetic reception, critical realism, and "political" art.}, keywords = {Twentieth-Century Art}, author = {Bush, Diana} } @mastersthesis {11516, title = {On Display: Photography and American Ideology at the World{\textquoteright}s Fairs}, year = {2013}, school = {UC Santa Barbara}, abstract = {This study examines the uses, classifications, and reception of American photography at three World{\textquoteright}s Fairs. The three expositions chosen for this analysis represent distinct discourses that characterize nineteenth-century America: at the Crystal Palace of 1851, a rising abolitionist voice as America{\textquoteright}s unseen slave population was increasing, at the Centennial Exhibition of 1876, an obsession with order and clarity following the chaos of the Civil War, and at Chicago{\textquoteright}s Columbian Exposition of 1893, the emergence of commerce as an American standard. Together, the treatment of photography at these expositions helped to give shape to issues of nationalism and power. However, this assimilation often resulted in a complicated environment of resistance and ambiguity, which in turn, was mapped onto the photographic field. Ultimately, this study demonstrates the way in which photography{\textquoteright}s uses at the fairs have formed our current complex understanding of the medium.}, keywords = {Art of the United States}, author = {Volpe, Lisa} } @mastersthesis {11479, title = {Displaying Domesticity: Life in the Mid-Twentieth Century Modernist Glass House}, year = {2013}, school = {UC Santa Barbara}, abstract = {The mid-twentieth century glass and steel-framed house in Southern California challenged conventional ideas about domestic design and suggested dilemmas for modern domestic life. This study will analyze glass houses in Southern California-Los Angeles, Palm Springs, Ojai and Santa Barbara-built between 1945 and 1970 to better understand modernist space, the capabilities of building with steel and glass, and the ways in which home was defined at the mid-twentieth century. My historical study of architecture borrows methods from cognate fields of sociology, anthropology and women{\textquoteright}s studies to analyze exterior materials, structure, design, and spatial layout, the built landscape, domestic space, and the inhabitants who made the glass house into a home. The examples will be drawn from a study group of over one hundred glass houses designed and constructed in post-World War II Southern California from 1945-1970.}, keywords = {Architectural History/Historic Preservation}, author = {Papineau, Katherine} } @mastersthesis {11472, title = {Don{\textquoteright}t Fence Me In{\textquoteright}: Architecture, Tourism, and Segregation in Las Vegas}, year = {2013}, school = {UC Santa Barbara}, abstract = {"Don{\textquoteright}t Fence Me In": Architecture, Tourism, and Segregation in Las Vegas examines the architecture, planning, and social choices that contributed to the creation of a landscape of heightened inequity in Las Vegas, Nevada, from the development of the Westside to the integration of the school district. This study explores patterns of segregation in Las Vegas and considers the communities and architecture, including clubs, schools and churches, as well as the material culture, such as signage, posters and promotional materials, that expand our understanding of segregated living in the desert city. Intermingled histories of image and building reflect the intersections of both the social and built landscape; therefore, my analysis moves between three scales and modes of evidence-the visual and oral, architectural, and the larger scale of the city. Patterns of discrimination and separation began in the city{\textquoteright}s earliest days and remnants of these divisions continue to resonate in Las Vegas. Thus, while the period of de facto segregation is the core of this work, chapters are structured chronologically to follow patterns in Las Vegas{\textquoteright} racial landscape from the incorporation of the city as a railroad settlement to 1970. These include discussions of Depression-era growth supported by federal investment in the region, the resultant division of labor and community simultaneous with the growth of tourism, creation of the segregated Westside and its clubs and casinos, the opening of the integrated Moulin Rouge, the rise of political resistance in the face of racism, and the results of interstate construction and school district desegregation between 1965 and 1971. This study takes into account Las Vegas{\textquoteright} rich material culture and spatial problematic in order to understand the interrelationship of violence, class, racism, and architectural practice that has produced the city{\textquoteright}s urban and cultural topography and traces the ways in which architecture and urban spaces were implicated in the struggle to locate opportunities for resistance in the face of rapid urban growth and discrimination.}, keywords = {Architectural History/Historic Preservation}, author = {Chute, Mahlon} } @mastersthesis {11603, title = {The Early Howard Hawks: The Director and His Films, 1926-1936}, year = {2013}, school = {Yale}, abstract = {This dissertation defines and historicizes Hollywood director Howard Hawks{\textquoteright}s (1896-1977) unique authorial contribution through a comprehensive set of autobiographically informed close readings and the practice of a thorough cultural analysis that seeks to frame Hawks{\textquoteright}s cinema within the appropriate ethnic, philosophical, political, religious and social contexts. This project centers on the first ten years of Hawks{\textquoteright}s work as director, insisting that it is within this comparatively unseen and under-analyzed body-of-work that the filmmaker{\textquoteright}s singular artistic identity emerges with the greatest degree of clarity. To begin with, it is in this site of origin for the "Hawksian" idiom that the filmmaker{\textquoteright}s special embodiment of the post-World War I decade receives its most straightforward and comprehensive expression. This dissertation accordingly offers an exhaustive, gendered accounting of popular historian Frederick Lewis Allen{\textquoteright}s "revolution in manners and morals" and the period{\textquoteright}s nascent consumer culture in relationship to the director{\textquoteright}s earliest surviving feature, Fig Leaves (1926). In so doing, this project relies not only on the film text, but also the period{\textquoteright}s star-oriented and trade publications in identifying Hawks{\textquoteright}s particular and separate address to male and female audiences. Hawks{\textquoteright}s partially Garden of Eden-based, battle-of-the-sexes comedy Fig Leaves consequently provides a thematic template for the filmmaker{\textquoteright}s late silent-period, often female-targeted Fox contract features, Paid to Love (1927), The Cradle Snatchers (1927) and Fazil (1928), which this dissertation analyzes as both expressions of the same postwar culture-a discussion of the "sheik" archetype is especially germane to both the era{\textquoteright}s new mores and also its consumer culture-and in relationship to the technological and aesthetic changes that emerged with the arrival of sound and the Hollywood influx of German emigre talent. This project thusly considers these same thematic and stylistic features in the filmmaker{\textquoteright}s pre-Code masterpiece Scarface (1932), which serves to fulfill the director{\textquoteright}s late silent idiom while pointing the way toward Hawks{\textquoteright}s consequent early sound-era artistry (which provides the remaining focus of the dissertation). The next of the biographically relevant sources that this dissertation explores is the First World War, which Hawks experienced as a non-combat flight instructor. It is the claim of this dissertation that Hawks{\textquoteright}s service impacted his corpus{\textquoteright}s "group" orientation and emphasis on male homo-sociality, which begins to obtain with the director{\textquoteright}s first talking picture, The Dawn Patrol (1930). This project accordingly considers the deeper cultural origins of the filmmaker{\textquoteright}s group focus in particular, locating the same social vision in the nineteenth century genre painting of George Caleb Bingham; American art historian David Lubin describes Bingham{\textquoteright}s worldview in terms of a "collective individualism" that this project likewise adopts, importing this rubric to Hawks{\textquoteright}s Rio Bravo (1959) and the Missouri River-situated The Big Sky (1952). This dissertation also uses an Americanist approach in response to the "professionalism" theme that this project considers beginning with its signature expression in the Depression-era prison picture, The Criminal Code (1931). In particular, this project compares Hawks{\textquoteright}s emphasis on vocation with that of Colonial New England portraitist John Singleton Copley, thus building on the scholarship of art historian Wayne Craven. This dissertation consequently argues that Hawks{\textquoteright}s professional subject matter makes evident the same "Protestant Ethic" that Craven interprets, using, as will this dissertation, the scholarship of German sociologist Max Weber as a hermeneutic key and point of departure. Indeed, upon extending Weber{\textquoteright}s analysis to the fundamentally Protestant incursion of "perilous" professional activity within films such as Tiger Shark (1932) and Come and Get It (1936), The Early Hawks considers the filmmaker{\textquoteright}s place in Rooseveltian America with additional analyses of Barbary Coast (1935) and Ceiling Zero (1936) clarifying the director{\textquoteright}s specific intervention. As this project argues, the latter in particular provides the most focused articulation of Hawks{\textquoteright}s anti-New Deal politics, even as the director{\textquoteright}s films retain an auto-critical ethos that further establishes the centrality for Hawks of the postwar decade-and in this case its "debunking" mentality. In the end it is this postwar moment of the director{\textquoteright}s "rising adulthood," the filmmaker{\textquoteright}s early twenty-something experiences of the First World War, and his inheritance of a longer Calvinistic Protestant tradition that provide Hawks{\textquoteright}s singularity within a Hollywood that did not always share his same W.A.S.P. value system and abundantly practical American aesthetic.}, keywords = {Film/Video}, author = {Anderson, Michael Jay} } @mastersthesis {11612, title = {Economy and Environment in Complex Societies: A Case Study from Bronze Age Sardinia}, year = {2013}, school = {Michigan}, abstract = {This dissertation proposes a synthetic framework of the economic processes that underlie the formation and growth of social complexity, with specific emphasis on the recursive relationships among the mobility of non-elites, natural resource availability, elite strategizing, and the environment. Non-elites in a complex society have little motivation to overproduce beyond their own needs, and they have an interest in maintaining the long-term productive capacity of their territory. In contrast, elites may be more concerned with the immediate goal of increasing production to support competitive displays. If elites can enforce their own goals over those of non-elites, or if they can convince non-elites to participate in their strategies of competition, resource degradation may occur. However, if non-elites can use mobility to resist elite demands, elites may be forced to find other ways to support competitive displays, including raiding, taking slaves, refining craft production, and making greater use of the symbolic resources of distance and time. This theoretical framework is used to interpret the relationship between the political economy and environmental change at a Middle Bronze Age Nuragic settlement (ca. 1700-1450) on the Siddi Plateau in south-central Sardinia. Excavation and survey evidence suggests that incipient elites had difficulty controlling non-elite labor due to low population densities and the availability of mobility as a form of resistance. Elites were forced into strategies of motivation and reward to secure the cooperation of non-elites, which led to agricultural extensification. The leaders of the Siddi Plateau settlement system increasingly focused their production on foods that were water-intensive to raise - wheat and pigs - and the Siddi Plateau community had to travel at least two kilometers to reach the nearest streams. The Mediterranean climate may also have become drier during the Middle Bronze Age, making water-intensive agriculture even more difficult. The settlement system of the Siddi Plateau was abandoned at the end of the Middle Bronze Age, and the productive capacity of the Siddi Plateau region does not appear to have been damaged. The abandonment of the plateau should be seen as a compromise between elites seeking higher agricultural productivity and non-elites resisting higher labor demands.}, keywords = {Greek/Roman Art}, author = {Holt, Emily} } @mastersthesis {11646, title = {Edwin Lord Weeks: An American Artist in North Africa and South Asia}, year = {2013}, school = {University of Washington}, abstract = {Artist, adventurer, travel writer and cultural commentator Edwin Lord Weeks (1849-1903) was one of America{\textquoteright}s most celebrated expatriate artists. From the 1870s through the 1890s the Boston native and Paris resident traveled throughout Spain, Syria, Egypt, Morocco, Turkey, Persia and India, venturing well beyond "the Orient" familiar to many of his professional colleagues. His scenes of Egypt and Morocco established early successes in France and America. Travels to India beginning in 1882 inspired a new vision of that region centered on its monumental architecture, colorful street life and vibrant culture. His fresh, bold images of India distinguished Weeks from rival American and European Orientalist painters, established his mature reputation, and brought sustained international acclaim. The dissertation situates Weeks{\textquoteright} life and work in a broad socio-political context. For the first time, Weeks{\textquoteright} reputation as an intrepid "artist-adventurer" is examined relative to critical and popular reception, the construction of artistic identity, the interdependence of text and image, and the evolving definition of the modern American artist. Original research confirms, clarifies and augments Weeks{\textquoteright} biography. New analysis places Weeks at the center of artistic life in 1870s Boston, sheds light on his confusing Moroccan excursions of the 1870s and early 1880s, and brackets his Indian itineraries of the 1880s and 1890s. Weeks{\textquoteright} enduring associations with the Ecole des Beaux-Arts, Leon Bonnat and Jean-Leon Gerome are considered in depth. Despite these academic affiliations, Weeks{\textquoteright} consistent emphasis on the effects of sunlight, glare, immediacy and viewer participation indicates that he was thoroughly immersed in contemporary aesthetic concerns. Weeks{\textquoteright} major paintings of India, exhibited at the Paris Salon and internationally, emerge as conceptually innovative and transformative when viewed against the long French and British traditions of visualizing India. Moreover, they may be read as richly layered commentary on contemporary topics such as architectural preservation and the geopolitics of Central/South Asia. The cross-cultural circumstances of their production, their integration of French and British visual and textual sources, and the pervasive backdrop of colonialism reveal Edwin Lord Weeks{\textquoteright} career as a complex transnational project grounded in an American identity and perspective.}, keywords = {Nineteenth-Century Art}, author = {Garvey, Dana} } @mastersthesis {11501, title = {Elective Affinities: Artistic Practice at Black Mountain College, 1948-1953}, year = {2013}, school = {Johns Hopkins}, abstract = {This dissertation explores the significance of a particular ideal of community to artistic practice at Black Mountain College between the years 1948 and 1953. Never an art school per se, Black Mountain was once home to many advanced artists and was famously the site of any number of key artistic breakthroughs and collaborations. Community living was also valued at the relatively isolated North Carolina school, and the College sought to instill in its students not only an acute self-awareness but also the ability to live productively with others. Drawing on extensive archival research, in three chapters organized around case studies of the work of Josef Albers, Cy Twombly, and Merce Cunningham respectively, I argue that the school{\textquoteright}s practical and rhetorical emphases on relationships proved fundamental to the development of idiosyncratic artistic projects at Black Mountain. By way of a careful investigation of each man{\textquoteright}s artistic production as well as of the College itself, I suggest that the sorts of interactions-artistic and otherwise-fostered by the Black Mountain setting served to catalyze the articulation and advancement of singular creative enterprises: inflecting the dynamics of Josef Albers{\textquoteright}s Variants series (1947-1950); facilitating Cy Twombly{\textquoteright}s ability to formulate his nascent painterly project and situate it within the broader art world; and informing Merce Cunningham{\textquoteright}s negotiation of the relationship between himself as dancer-choreographer and his fledgling dance company. Though "Elective Affinities" takes as its focus three particular artists, I maintain that working with or in intense awareness of others turned out to be of vital importance not only to Albers, Twombly, and Cunningham specifically but also to art-making at the school more generally. In attending to artistic practice at Black Mountain around midcentury, this dissertation expands and complicates familiar narratives of the development of postwar American art that center primarily on occurrences in and around New York. A closing discussion of British artist Tacita Dean{\textquoteright}s film Craneway Event (2009) then stakes a claim for the ongoing relevance of key Black Mountain emphases and ideals, particularly those having to do with notions of togetherness, to contemporary art.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Markoski, Katherine} } @mastersthesis {11606, title = {Eternalizing the Emperor: Architecture, Cult, and Deification in Imperial Rome}, year = {2013}, school = {Emory}, abstract = {Honored with majestic temples that dominated the urban cityscape of imperial Rome and invoked repeatedly throughout the festal year as an integral part of maintaining the favor of the gods, the deified emperors were central to the religious and political development of the Roman Empire. The status of the deified emperors transcended dead mortals, while architecture and cult worship subsumed them within the totality of Roman religious remembrance. This dissertation offers a new approach to the phenomenon of deification through the lens of social and cognitive theories of collective memory. Focusing on the early Empire, Chapter 2 assesses the Temples of Divus Julius and Divus Augustus as commemorative and theological models that shifted the memorial focus of the dead emperors from individual biography to universalizing, sacred history, categorizing the divi as eternal gods of the Roman state pantheon that reflected and constructed a Roman identity that sought divine legitimation through their deified rulers. Chapters 3-7 evaluate significant milestones in the development of deification in Rome: the Temple of Divus Claudius as a crucial turning point after the civil wars of 68-69, experimentation and mnemonic disjunction under the Flavians, the consolidation of a canon of good emperors under Trajan, the expanding and merging of ideologies related to the deified emperors and eternal Rome under Hadrian, and the concerted return to the beginning of the tradition under the Antonines with the conspicuous and well-publicized restoration of the Temple of Divus Augustus. A synchronic analysis suggests that despite ruptures in the dynastic transfer of imperial power, temples and cults of the deified emperors served as an index, a physical and ritual testament within the city of Rome to an eternal Empire encompassing the past, present, and future. Finally, by exploring how Romans negotiated imperial commemoration that simultaneously claimed superiority to, and alignment with, the past; and how and when emperors asserted dynastic legitimacy in the face of Senatorial ambivalence toward dynastic succession, this dissertation sheds light on pervasive tensions in imperial commemoration and self-representation.}, keywords = {Greek/Roman Art}, author = {Blevins, Susan} } @mastersthesis {11570, title = {Exhibiting Ireland: Irish Villages, Pavilions, Cottages, and Castles at International Exhibitions, 1853-1939}, year = {2013}, school = {Wisconsin}, abstract = {As the first comprehensive exploration of Ireland and Irish representations at international exhibitions, this project investigates five exhibitions that correspond with key moments in Irish history between the Famine and the signing of the Constitution of the Republic of Ireland. Moving throughout the Atlantic world to consider exhibitions in Dublin, London, New York, Chicago, and Glasgow, I argue that each successive fair offered Irish organizers the opportunity to envision of a new version of Ireland for international consumption. These exhibitions provided a physical space for the imaginative reconstruction of past images and icons of Irish identity. This study illuminates not only the national aspirations of a range of organizers from a variety of socio-economic and national backgrounds, but also the responses to, acceptance, and interpretations of these visual and material constructions of Ireland by various audience groups. As exhibitions were inherently visual and material experiences, this project relies heavily upon postcards, souvenirs, personal photographs, and journalistic illustrations to examine the important role of international exhibitions in fostering multiple international versions of Ireland throughout the late nineteenth and early twentieth centuries. The exhibitions covered include the 1853 Dublin International Exhibition where organizers attempted to erase and overwrite the impact of the Famine on Ireland and the related stereotypes of the Irish in the British press and public opinion to replace them with a non-partisan, industrial utopia. In the 1890s, English and Scottish philanthropists joined with Irish municipal authorities to construct a nostalgic vision for Ireland at American exhibitions as rural and hearty, but still in need of economic support from American and Irish-American communities. The Irish villages at these fairs laid the groundwork for subsequent exhibitionary Irish villages, including that of Ballymaclinton at the 1908 Franco-British Exhibition in London where a small County Tyrone soap company{\textquoteright}s replica town physically embodied the paradoxes of Anglo-Irish relationships leading up to Irish independence in the 1920s. The final two chapters investigate the first exhibitions to showcase Northern Ireland/Ulster and Eire/Ireland as independent nations and the conflicts and continuities between the two new that such international exhibitions can uniquely illuminate.}, keywords = {Decorative Arts/Textiles/Design History, Nineteenth-Century Art, Twentieth-Century Art}, author = {Malloy, Caroline} } @mastersthesis {11678, title = {The Exotic Gift and the Art of the Seventeenth-Century Dutch Republic}, year = {2013}, school = {Kansas}, abstract = {This dissertation examines the intersection between art and the gifting of exotic objects in the seventeenth-century United Provinces, directing attention to a special class of imagery visualizing the remarkable extent to which Europe{\textquoteright}s first consumer culture became intertwined with foreign goods and influences. Its four chapters present representative case studies encompassing a range of media, including prints and paintings, and artistic genres, such as still life, portraiture, landscape, and allegory, from the mid- through the late- seventeenth century. These episodes of exotic gift exchange and their manifestation in art belonged to public and private spheres, the gifting of men and women, and multiple classes of society. In analyzing these images, my methodology draws on close readings; socioeconomic, historical, pictorial, and cultural contexts; gender; and issues in gift theory, including reciprocity, identity, personalization, and commodity/gift status, to explore the pictures{\textquoteright} meanings or functions for their audiences. Chapter one posits that Rembrandt van Rijn{\textquoteright}s 1650 print of a Filipino shell was designed by the artist to function as a gift necessitating reciprocation, and/or as a work of art for sale, in an effort to ameliorate his tenuous financial situation. Chapter two provides a cultural biography of two c. 1665 paintings depicting Brazil by Frans Post, which Johan Maurits van Nassau gave to Louis XIV in 1678, and considers the pictures{\textquoteright} significance for their original Dutch audience, the giver, and the French court. Chapter three focuses on Nicolaes Berchem{\textquoteright}s c. 1665 Harbor Scene and proposes that the exotic gift exchange portrayed in the allegorical picture conflates trade and gift in the context of the burgeoning commercial city of Amsterdam. Chapter four highlights Gerard Hoet{\textquoteright}s c. 1678 Portrait of Anna Elisabeth van Reede that appears to make a statement about the noblewoman{\textquoteright}s role in her family and society by virtue of her wearing a garment evocative of Japanese robes gifted to the Dutch, which became a convention of male portraiture. This representative selection of pictures reveals the incorporation of the exotic gift into the fabric of Dutch art and culture, indicating the significant role the exotic played in the formation of Dutch identity.}, keywords = {Renaissance/Baroque Art}, author = {Rife, Ellen O{\textquoteright}neil} } @mastersthesis {11669, title = {Fictive Frame and Image in Northern Italian Quattrocento Painting}, year = {2013}, school = {IFA/NYU}, abstract = {Fictive Frames in Mantegna{\textquoteright}s Devotional Art Drawing on a rich heritage of Roman, Byzantine, Paduan, Tuscan and northern European illusionism, Andrea Mantegna (1431-1506) was the preeminent Quattrocento designer of fictive frames. Focusing on five devotional paintings from 1453 through 1506, this dissertation examines how his illusionistic frames contributed to a new and more dynamic relationship between image and viewer in a time of religious transformation. By describing painting as a picture seen through an open window in De Pictura, Alberti made the frame essential to defining the boundaries of the image in accordance with perspectival theory. While fully aware of Albertian aims, Mantenga recognized the limitations of this essentially unidirectional, stationary and mathematically directed approach. Informed by a range of humanist ideas on the nature of representation as well as Netherlandish art, Mantegna sought to create more versatile enclosures. Beginning with Mantegna{\textquoteright}s Presentation in the Temple, the rose marble fictive frame is examined not only in terms of its Christological associations with the altar and holy sepulcher, but as a vehicle to express a new, more intimate form of devotion ushered in by the reformer Ludovico Barbo. The wide distribution in northern Italy of Thomas a Kempis{\textquoteright}s Imitatio Vita Christi argued for the spread of the Devotio Moderna and its impact on the use of Christ-centric images. By extension, Mantegna{\textquoteright}s faith and his identification with Christ is studied through the lens of the fictive frames in Christ the Redeemer and Christ Carrying the Cross. Turning to public devotion, Mantegna{\textquoteright}s sophisticated fictive architecture in the San Zeno Altar is decoded in light of Abbot Correr{\textquoteright}s humanistic piety. Focusing on the gap between the actual frame and its fictive counterpart, I explore how Mantegna{\textquoteright}s all{\textquoteright}antica architecture creates a distance between the viewer and the Holy Court to enhance contemplation. With an emphasis on the function of fictive frames, the Ca{\textquoteright}d{\textquoteright}Oro St. Sebastian is reconsidered for the first time as a gonfalone, marking its new role as an image of redemption and salvation. This study emphasizes the versatility of illusionistic framing both as an expression of faith and as a new vehicle for the artist to control the image.}, keywords = {Renaissance/Baroque Art}, author = {Imbrey, Jai} } @mastersthesis {11552, title = {Folding Spaces and Porous Bodies: Sound and Sight in Bruce Nauman{\textquoteright}s Oeuvre}, year = {2013}, school = {Toronto}, abstract = {This dissertation is tuned to the sonic procedures, sculptures, installations and drawings created by American artist Bruce Nauman (b.1941) from 1965 to the present. Probing the move from making sense to making sensual-sense in the interstice between sight and audition, my study traces and contextualizes Nauman{\textquoteright}s works in relation to the modernist hegemony of the visual and its contemporary interruption by sound. From sculpting ears or making his body a sonoric instrument producing soundscapes in the gallery space, to composing theatrical cacophonies for the visitor to occupy, Nauman{\textquoteright}s oeuvre marks a history of sound art cultivated within the San Francisco Bay Area during the 1960s. This historical unfolding links new relations between music and the plastic arts and is induced by experimental and electroacoustic music, such as the work of Arnold Schoenberg, Pierre Schaeffer, John Cage, Pierre Boulez, Luciano Berio, and the innovations of such Minimalist composers as Steve Reich, La Monte Yonge, Terry Riley, and Philip Glass. My study contends that Nauman{\textquoteright}s use of sound challenges both the production of art and its reception profoundly. By importing sound into the realm of vision, Nauman questions the praxis of making sense under the assumed superiority of sight. No longer mute, sonic objects abrogate the hierarchy of the senses and mark the move from the spatio-temporal settings of passive spectatorship to the medial topologies of the sensuous perceiving body. Reckoned as "arguably the most internationally influential figure of his generation of Americans" by MoMA curator Robert Storr in 1995, Nauman{\textquoteright}s work anticipates the move to the multisensual practices of Augmented Reality and New Media. By contrasting the tight, almost synonymous relations between knowing, thinking, seeing and appearing with the turn to the sonorous and the tactile, my study places Nauman{\textquoteright}s sonic objects within the tense relation between philosophical ideas of perception entrenched in systems of signification and logic and those that pertain to the superiority of the senses.}, keywords = {Contemporary Art}, author = {Louria-Hayon, Adi} } @mastersthesis {11605, title = {Foodways and Cultural Identity in Roman Republican Italy}, year = {2013}, school = {Michigan}, abstract = {Foodways - the methods of production, preparation, and consumption of food and drink - are credited with reflecting and constituting expressions of identity throughout history. One of the benefits of foodways studies is their potential to reach into the domestic realm: how do the daily behaviors of individuals express their personal identity, and how does this relate to changes and expressions of cultural identity in the public realm? This dissertation uses the examination of food and dining in Republican Italy to illuminate the nature of cultural change in central Italy. Methods of studying the cultural effects of Roman contact and conquest have focused primarily on the observations of changes in the public realm: that is, city planning, architecture, and monumentality through inscriptions and art. While such evidence informs our understanding of the cultural associations desired by both individuals and entire cities, these outward displays of cultural affiliation often differ from people{\textquoteright}s more private practices. Using two sites in central Italy as case studies, I undertake a systematic morphological examination and use-alteration analysis of ceramics from domestic contexts used for cooking, preparing, and serving food and I compare trends in the use of ceramics to trends in the faunal record from the same locations. I use statistical analyses to compare changing vessel sizes, proportions of vessel types, and associations between different patterns of wear in order to determine how ceramics were being employed by ancient users. I examine changing proportions of animal species, cuts of meat, and processing methods. Through detailed study, it becomes possible to deduce cooking methods and the types of foods being prepared and consumed. I also consider how contemporary Latin authors, all of whom originated from outside of Rome, articulate cultural identity through foodways. I conclude that food behaviors in this period suggest a complexification of Roman Italy over time and I highlight the importance of regional variation and the continuity of local environments. Ultimately, this project nuances how we understand the expansion of Rome in Italy by adding an important dimension to the methods employed in studying inter-cultural contact.}, keywords = {Greek/Roman Art}, author = {Banducci, Laura} } @mastersthesis {11467, title = {Forming Dorasamudra: Temples of the Hoysala Capital in Context}, year = {2013}, school = {Columbia}, abstract = {The village of Halebid, in the southwestern Indian state of Karnataka, was once a city called Dorasamudra, capital of the Hoysala dynasty from the mid-11th to mid-14th centuries. Although the site is home to more than twenty temples and temple ruins, as well as the fragmentary remains of a fort wall and palace compound, the place name "Halebid" today is nearly synonymous with a single monument: the lavishly sculptural Hoysalesvara temple. This expansive, double-shrine temple would have been a dominant feature of the Hoysala capital from the time of its construction around 1120 C.E., but the near monopoly it has over the site in both popular and academic circles has caused other buildings to be overlooked. This focus on the Hoysal{\textflorin}{\`\i}svara temple has also isolated the building from its surroundings, obscuring its relationship to other features of the historical city. In this dissertation I develop a fuller understanding of the Hoysala capital and its temples by expanding the scope of inquiry to include the whole city. Taking the archaeological material and published inscriptions of the entire site into account, I consider the ways in which a selection of Dorasamudra{\textquoteright}s temples relate to one another and to other features of their surrounding landscape. This site-contextualized study provides insight into the relevance of the temples{\textquoteright} spatial and sculptural forms, ritual purposes, and patrons{\textquoteright} goals. Comparison with monuments at other sites reveals that many temples of Dorasamudra contributed to the city{\textquoteright}s prestige through their distinctive visual properties or their association with important deities or authoritative institutions. In addition to offering new perspectives on individual temples of the Hoysala capital, this study provides a greater understanding of the social and architectural characteristics of distinct neighborhoods, routes of access to specific temples and throughout the city, and a dynamic urban landscape that would have been visually and spatially altered with each new construction.}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Kasdorf, Katherine} } @mastersthesis {11573, title = {The Foundations of Videogame Authorship}, year = {2013}, school = {UC San Diego}, abstract = {Videogames have an ambiguous status as texts, in their dual nature as objects of play and computer-mediated systems of representation. This has led to an impasse in game studies, making it difficult to identify authorial voice, to make useful distinctions in style of game design, and to account for the varieties of modes of reception. This dissertation addresses the problem by proposing a model for the interpretation of videogames based on the semiotic theory of Charles S. Peirce. This model is the basis of a series of analyses of a range of videogames and other interactive work on the dynamics of genre, style and authorship. While most of the research involved the close play of games, using video transcriptions and tools to analyze game footage, it also relies on interviews with game creators, industry reports, and discussions with game players in both North America and Japan.}, keywords = {Digital Media/Animation}, author = {Huber, William Humberto} } @mastersthesis {11697, title = {Framing Los Angeles: Environments and Institutional Space, 1962-1994}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation re-evaluates the relationship between contemporary art practices and art institutions. In most current scholarly and critical accounts, the exhibiting institution is understood as a tangle of mostly conservative ideological functions concealed beneath a facade of "white cube" neutrality, and the artists of note are those who can be assimilated to the critical goals of the historical avant-gardes. This approach tends to be reductive with respect to artists who fall within its purview, and negligent with respect to those who do not. My research on contemporary Los Angeles artists reveals their relationship with institutions to be dialectical. If art museums have become less didactic, more inclusive, and more popular than ever before, what role has contemporary art played in all of this? Los Angeles, where art institutions are relatively young and mutable, has proved to be particularly fertile ground for complex and multifaceted artistic interventions. Moreover, the presence of the film and television industries has provided local artists with behind-the-scenes access to the methods and means of producing spectacular environments that compel a more expansive view of the institution as a site of aesthetic and affective encounter. By considering the encounter between the artwork and the institution as a negotiation, we can see each one more clearly, avoiding two common traps: the naturalization of the institution and the subordination of the artwork to the institutional frame. The first chapter of the dissertation summarizes the stakes of this re-consideration, situating it in relation to the discourses of institutional critique and site specificity. The four chapters that follow are case studies, organized chronologically, which discuss selected works by Edward Kienholz, Allen Ruppersberg, Michael C. McMillen, and Paul McCarthy. Particular attention is paid to formal qualities, affective impact, and conditions of production. Together, these studies constitute a proposition: that we may understand recent changes within art institutions-the accommodation of improvised works, the expansion of art audiences, a heightened threshold for spectacle, and the proliferation of electronic media-as responses to, and negotiations with, contemporary installation practices.}, keywords = {Twentieth-Century Art}, author = {Federman, Rachel} } @mastersthesis {11530, title = {Fred Wilson{\textquoteright}s {\textquoteright}Un-Natural{\textquoteright} Histories: Race, Trauma, and the Visual Production of Knowledge}, year = {2013}, school = {Minnesota}, abstract = {This dissertation examines the relationship between historical trauma and race through the work of contemporary African American installation artist Fred Wilson.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Chisholm, Anna} } @mastersthesis {11585, title = {The French Romanesque Portals of Moissac, Souillac, and Beaulieu: A Response to the Papal Reform Movement and Popular Heresy}, year = {2013}, school = {USC}, abstract = {The papal reform movement, beginning in the mid eleventh century, was an international effort, spearheaded by the papacy to purify the Church, particularly by removing or rehabilitating clergy guilty of the heresies of simony and nicolaitism. By publically exposing the clergy{\textquoteright}s corruption and calling upon the laity to judge the suitability of their priests to minister the Mass, the papal reform movement opened up the door for radical, and more importantly unsanctioned, challenges to the Church. In early twelfth-century southern France, popular heretical preachers began to repudiate Church doctrines such as the Eucharist, prayers for the dead, and even the need for the church building. Heresy, therefore, was a major concern of Church officials during the eleventh and twelfth centuries. In this dissertation, I shall examine how three related Benedictine Romanesque portals in southwestern France, namely those of Moissac, Souillac and Beaulieu, can be interpreted as visual rhetoric in the debate over heresy within and without the Church. With the exception of Jean Marie French{\textquoteright}s 1972 dissertation on Beaulieu, popular heresy has not been adequately explored in relation to these sculptural programs. Moreover, their relationship to papal reform has been largely ignored, an omission that I intend to remedy. The constant presence of these monumental portal programs, located facing marketplaces, provided the cloistered monks of the monasteries with an ideal opportunity to engage local audiences in order to promote their connection to the papacy and its reforming agenda and to combat the spread of popular heresy. I shall demonstrate that the inclusion of rarely depicted subjects, like Theophilus{\textquoteright}s deal with the devil at Souillac or Daniel slaying the false serpent god at Beaulieu, as well as unusual iconographic additions to common themes, such as Christ{\textquoteright}s crown at Moissac, suggests that the authors of these sculptural programs were attempting to address contemporaneous concerns over heresy. Moreover, by evoking the sacred presence of Christ, his apostles and his saints through their monumental depictions and by portraying the terrifying torments of the impious, these sculptural programs forcefully insisted upon the necessity of the Church in order to achieve salvation and conveyed the horrible fate awaiting those who failed to heed Christ and his Church{\textquoteright}s teachings, a timely reminder at a moment when the Church was attempting to rid its own ranks of heretical priests and to halt the spread of popular heresy.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Besancon, Cathrine} } @mastersthesis {11473, title = {From Jim Crow to Gentrification: Race, Architecture, and Tourism in the Urban South, Memphis, Tennessee, 1954-1991}, year = {2013}, school = {Virginia}, abstract = {This dissertation studies urban renewal and city planning in Memphis, Tennessee, its effects on the African American community, and its subsequent effects on the city{\textquoteright}s tourism industry.}, keywords = {Architectural History/Historic Preservation}, author = {Faircloth, Justin} } @mastersthesis {11540, title = {From {\textquoteright}Special Period{\textquoteright} Aesthetics to Global Relevance in Cuban Art: Tania Bruguera, Carlos Garaicoa, and Los Carpinteros}, year = {2013}, school = {UCLA}, abstract = {This dissertation investigates the impact Cuba{\textquoteright}s Special Period (1990s) had on the arts through analyses of artworks by Cuban artists Tania Bruguera, Carlos Garaicoa, and Los Carpinteros (Alexandre Arrechea, Marco Castillo, and Dagoberto Rodriguez). In 1990, following the collapse of the Soviet Union and termination of subsidies to Cuba, Cuba entered the "Special Period in a Time of Peace" (Special Period). Throughout the early 1990s Cubans suffered from severe shortages of necessary food and goods, and strict rations were imposed on the island. In 1993, to stabilize the economy, the Cuban government did the unthinkable; it legalized the U.S. dollar as a second form of currency. It established a formal dual economy and by the end of the decade Cuba more aggressively inserted itself into the global capital market. While Bruguera, Garaicoa and Los Carpinteros work in different media with varying objectives, the alterations to their practices over the course of the decade reveal the greater socio-economic changes occurring at the time. I argue in Chapter Two that during the early 1990s the artists{\textquoteright} student work from the Instituto Superior de Arte (ISA) reflected on the absence and loss prevalent at the time, as well as the role and responsibility of the artist during a national crisis. Then, following the legalization of the dollar (1993) the artists could begin earning the currency for the sale of their work; I contend in Chapter Three that their work displayed at the Fifth Havana Biennial (1994) recorded the transition to the dual economy and doble moral (double standard) it created within Cuban society. Finally, in Chapter Four I connect Cuba{\textquoteright}s reinsertion in the global market to the artists{\textquoteright} time spent abroad participating in residencies and exhibitions. I assert the artists assumed the role of shifters, transporting and translating information about Cuba and other locals through their work. Ultimately, I argue that the artworks produced by Bruguera, Garaicoa, and Los Carpinteros in the 1990s document this turbulent period in Cuba{\textquoteright}s history from the extreme hardships experienced through the acclimation to a dual economy and acceptance of Cuba{\textquoteright}s renewed role in the global economy.}, keywords = {Contemporary Art, Latin American/Caribbean Art}, author = {Rosenblum, Beth} } @mastersthesis {11677, title = {From the Chapel to the Gallery: The Aestheticization of Altarpieces in Early Modern Italy}, year = {2013}, school = {Toronto}, abstract = {This dissertation examines the aesthetic response to altarpieces in early modern Italy, which culminated in the reconstitution of altarpieces as gallery paintings, when, beginning in the seventeenth century, wealthy collectors began removing them from churches and displaying them in their private collections. Such a transformation not only entailed a complete rupture in the function of these paintings = from object of public veneration to private delectation = but also frequently met with resistance and censure from local authorities. It is precisely because it was a very difficult thing to do that the documents concerning the removal of altarpieces are frequently revealing about contemporary attitudes toward art among collectors as well as ecclesiastics. In order to understand the mechanisms - both theoretical and practical - that had to be in place for such a transformation to occur, I explore the history of the altarpiece from the rise of ius patronatus as an economically motivated form of piety in late-medieval Italy, through the encroachment of artistic criteria such as invention and difficulty in the making and viewing of religious art in the sixteenth century, and, finally, to the post-Tridentine discourse on sacred images. Because the purpose of this study is to establish the church as a venue for a nascent connoisseurial discourse, I also consider the development of art collecting in Italy, which was circumscribed in extent through most of the sixteenth century. Lastly, I provide a comprehensive overview of the removal of altarpieces in seventeenth-century Italy, a phenomenon that has previously received only scant attention in art historical literature.}, keywords = {Renaissance/Baroque Art}, author = {Richards, Sandra} } @mastersthesis {11689, title = {From the Court of Akbar to the Courts of Rajasthan: North Indian Portraiture, 1570-1630}, year = {2013}, school = {Virginia}, abstract = {During his nearly fifty year reign from 1556 to 1605, Akbar, the third Mughal sovereign of India, established the empire{\textquoteright}s largest painting workshop. Among the products of this atelier were portraits of prominent political, cultural, and religious figures from across north India. These depictions constitute the first examples of naturalistic portraiture in India, as pre-Mughal painting is often characterized by the generic quality of its figures. Despite the innovatory nature of Akbari portraiture, this corpus of paintings has received little scholarly attention. A large portion of surviving Akbar period portraits are presented here for the first time. Critically engaging historical texts and painted remains, these portraits are positioned within the political and cultural environment in which they were commissioned and created. In addition to discussing the imperial ideology manifest in these works, the dissertation explores how these portraits shaped Mughal political and military policies: Akbar believed that these images provided valuable information about individuals{\textquoteright} personalities, governing abilities, and loyalties which could be exploited for political profit. As such, this project examines Akbari portraits as both visual documents and active historical agents. The dissertation also provides an analysis of significant networks of cultural exchange through which imperial, Mughal aesthetics and the portrait genre were introduced to Rajput patrons and artists in nearby Rajasthan in the late sixteenth and early seventeenth century. Codocologial and connoisseurial methodologies are applied to demonstrate that Akbari portraits, frequently presented as diplomatic gifts to regional leaders, were collected in Rajasthan. In addition to gifted portraits, imperially-trained artists played a pivotal role in the early development of various Rajasthani painting traditions. Relying heavily on unpublished painted and inscriptional evidence, the dissertation reassesses the evolution of portraiture in late sixteenth and early seventeenth century north India, foregrounding works of art from the reign of Akbar. Stylistic innovations typically associated with the patronage of his son, Jahangir, are reattributed to the artists of Akbar{\textquoteright}s atelier. In so doing, the dissertation argues that an assessment of Akbari portraiture is essential in order to paint a more comprehensive and nuanced picture of the origins of the portrait genre in Mughal India.}, keywords = {South/Southeast Asian Art}, author = {Gulbransen, Krista} } @mastersthesis {11639, title = {From the Tessera to the Square: Russian Modernism and the Russo-Byzantine Revival}, year = {2013}, school = {Yale}, abstract = {This dissertation charts the gradual rediscovery and rigorous reassessment of the medieval Russo-Byzantine artistic tradition in Imperial Russia in the years 1870-1920. Born of an essentially revivalist, nationalist impulse, this trend rapidly evolved into a crucial catalyst for Modernist experimentation with far-reaching artistic and theoretical implications for the twentieth-century avant-gardes. In particular, this dissertation challenges traditional accounts of this phenomenon, which interpret it as a Russian NeoPrimitivist movement. Instead, it argues that rather than being seen as outmoded, primitive relics of a bygone past, Russo-Byzantine art in general, and icons more specifically, were increasingly perceived as highly sophisticated, dialectical structures with philosophical and utilitarian-as well as aesthetic and cultural-significance for the Modern world and twentieth-century psychology. Artists, art historians, philosophers, theorists and art critics were all profoundly affected by the rediscovery of this previously neglected artistic patrimony. For many young talents, Russo-Byzantine visuality not only provided a powerful pictorial alternative to the then pervasive nineteenth-century naturalism still propagated by the European Academies, but it likewise offered a different formal and conceptual genealogy to ascending French Modernism. Through a close analysis of a wide array of architectural, artistic and textual material, this dissertation examines the variable and fluid citations, reiterations and after-lives of the iconic tradition throughout the trajectory of Russian modern art. In doing so, it interrogates not only the inherent mechanisms and theoretical underpinnings of Russian Modernism, but also the internal logic of its rapid rise to international prominence in the early twentieth century. The first chapter traces the broader context of the revival in art and architecture as it unfolded in Imperial Russia in the second half of the nineteenth century. Adopting a comparative model of inquiry, it examines how this phenomenon differed in Russia from its European variants in Britain and France, where it was predominantly seen as being part of the larger Orientalist trend. It likewise analyzes the emergence of prominent scholars of Byzantine art and architecture such as Nikodim Kondakov and Dmitrii Ainalov, as well as the theories of major twentieth-century art historians and critics such as Nikolai Punin and Nikolai Tarabukin, who became important advocates of the avant-garde. The second chapter examines the works of Mikhail Vrubel (1856-1910), active in the late-nineteenth century, for whom Russo-Byzantine art became an important forebear of an indigenous anti-Realist, proto-abstract painting that seemed to presage his own Modernist innovations. The unusual iconography and characteristically Modernist pictorial structure of Vrubel{\textquoteright}s paintings ensured that he was subsequently espoused by leftist art criticism as the mythical origins for the Soviet avant-garde project. The third chapter traces Vasily Kandinsky{\textquoteright}s (1866-1944) nascent interest in the iconic tradition on the eve of his move to non-objectivity. In addition to producing a series of religious paintings at this time, Kandinsky appeared to rely on the image philosophy of the icon in the formulation of many of his key concepts and ideas on abstract painting-as he expressed them in his theoretical text On the Spiritual in Art (1911). Lastly, the fourth and final chapter of the dissertation explores the abandoning of easel painting altogether in the Corner Counter-Reliefs of Vladimir Tatlin (1885-1953). Tatlin{\textquoteright}s firsthand experience with monumental church frescos allowed him to re-conceptualize the spatial relationships between an artwork and the viewer on the one hand; while on the other hand, it foregrounded alternative ways in which an art object could function in society. Paradoxical at is may seem, for Tatlin the icon became the perfect conceptual model for the new Soviet art object, which was meant to be transpersonal, collective and ideological. Consequently, even as late as the 1920s, at the height of a secularized and politicized Soviet culture, the icon continued to structure artistic practice and theory.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Taroutina, Maria} } @mastersthesis {11611, title = {Gender, Dress, and Nuptial Imagery in Greek Vase-Painting}, year = {2013}, school = {Virginia}, abstract = {This study questions how Athenian vase-painters represented nuptial figures during the sixth and fifth centuries BC. Using Athenian black-figure, red-figure, and white-ground vessels as the primary form of evidence, the study endeavors to uncover how costume can affect the identity of an individual. Looking at dress, gestures, and attributes, the approach is iconographic and synthesizes gender and dress theories. The importance of dress for women, and brides in particular, was often stressed by ancient authors, thus literary evidence is also taken into consideration. Although studies have been published regarding the ritual of marriage, the current one departs from them by including adornment and physical appearance as a form of evidence since dress often enhances, reinforces, or enforces a certain cultural identity. Illustrations of ancient Greek weddings can be found on a variety of vase shapes, and the accompanying catalogue includes over 300 examples. The first chapters are organized by theme, figural types (e.g., groom, bride, attendants, etc.), and dress, and one is devoted to adornment representations in domestic settings. Since mythological figures have been identified through inscriptions, these scenes and how they compare to the weddings of unidentifiable couples are examined. Based upon the evidence, there appears to be no attempt through costume to distinguish either {\textquoteright}mortal{\textquoteright} or {\textquoteright}mythological{\textquoteright} individuals. As a result of this conclusion on dress along with the formulaic composition of black-figure wedding processions in general, one can argue that the bride and groom are not presented as mortals but as idealized, mythological figures taking part in a heroic procession. Since marital imagery includes scenes of death and evidence for associating these rites can be found in literary and visual sources, these representations are presented. While mythical figures, such as Persephone or certain characters in tragedy, actually wed in Hades, their portrayals in vase-painting as brides and grooms of death are few. The phenomenon of marrying in the Underworld can best be discovered through pottery since nuptial vessels are found as burnt offerings and/or grave markers. Additionally, the idealization of the dead in prothesis imagery demonstrates the vase-painter{\textquoteright}s attempt to depict these figures as brides and grooms.}, keywords = {Greek/Roman Art}, author = {Gondek, Renee} } @mastersthesis {11670, title = {Gentile Bellini and Transformations in Fifteenth-Century Venetian Art}, year = {2013}, school = {UCLA}, abstract = {Despite the Bellini being the most influential and well-researched artistic family of fifteenth-century Venice, no comprehensive study of the Bellini workshop as an entrepreneurial venture has been published. The circumstances of the workshop{\textquoteright}s establishment, early expansion, transference from one generation to the next, as well as other basic issues remain largely unexplored. Many scholars presumably believe that the meager traces of relevant material provided by fifteenth-century sources cannot support an extensive inquiry into these and related topics. Indeed, the major research problems include enduring questions concerning the biological and legal relationships between the Bellini, a scarcity of extant paintings executed by the Bellini prior to 1460, and a dearth of documents describing the early Bellini workshop. The dissertation demonstrates, however, that by employing cross-disciplinary methods and novel approaches, and by drawing upon a wide range of primary sources that include civil laws, acts of magistracies, tax registers, home inventories, Scuole records, legal documents, and, of course, paintings and drawings by the Bellini and their contemporaries, it may indeed be possible not only to lay significant groundwork toward such a history of the Bellini workshop, but also to commence its construction. After establishing the biological and legal relationships between the Bellini and periodizing the development of the Cittadini Originari, the burgeoning social class to which the family belonged, the dissertation isolates and explores a number of decisive turning points in the life of the workshop and of its current master. These include the workshop{\textquoteright}s foundation, its early expansion, and its transference from Jacopo to Gentile, as well as Gentile{\textquoteright}s legal emancipation, ennoblements, rise to de facto official painter of Venice, and artistic "emancipation." In the case of the Bellini, the dissertation argues that the exigencies of running a successful fifteenth-century painting workshop demanded business tactics that often exerted a discernible and sometimes commanding influence over the pictorial strategies in the art that the workshop produced. Acting both as Medieval artisan and emerging Renaissance artist, Jacopo Bellini integrated a fount of creative artistic spirit with an entrepreneurial pragmatism that was characteristically bold, oftentimes clever, and occasionally miscalculated. Because the history of the Bellini family of artists is so closely tied to that of painting in early Renaissance Venice, the dissertation reshapes our understanding of the importance of commercial concerns, legal issues, social identity, fama or civic reputation, marketplace competition, and the uneven demand for various types of paintings in the Bellini workshop, and by extension, on the development of Venetian Renaissance art.}, keywords = {Renaissance/Baroque Art}, author = {Maze, Daniel Wallace} } @mastersthesis {11576, title = {Geographies of a World In-between: Colonial Maps of Mesoamerica that Define Identity, Image Empire, and Negotiate Self}, year = {2013}, school = {Florida State}, abstract = {This study examines sixteenth-century cartographic documents that chronicle the cultural exchange between the old and new worlds. Maps included in this work come from Spain, dating between 1524 and 1579, from the Valley of Puebla, from 1535 to 1560, and from the collection known as the Relaciones Geograficas, made between 1579 and 1581. Both the Spanish monarchy and the native nobility made these maps for having joined with the other and they created them for similar purposes - to negotiate the rapidly changing sociopolitical climate and their status within it on their respective continents. Charles V and his son Philip II bolstered Spain{\textquoteright}s reputation with maps that narrated for Europeans the unfolding story about the extent and wealth of the New World. The native lords commissioned maps that made declarations of fealty and negotiated their retention of privilege, rulership, and their ancient identities under colonialization. Identities of empire and Christianity pervade this group of maps and I focus on these two constructs. For Spain, conquering the Mexica Empire coalesced with Charles I elevation to Charles V, Holy Roman Emperor. These two events catapulted Spain to the forefront of European political power and maps of its territory helped document this rise. Facing a yet uncertain future, the native nobility of New Spain made maps that negotiated their claims to rulership at a local level while investing themselves in Spanish authority. They did this by appropriating Spanish symbols of empire embedded in maps with otherwise traditional iconography. The Amerindian people worshiped a pantheon of false gods and made human sacrifices; a behavior that caused Spain to launch a second spiritual conquest. Spain had obligations to convert the native population and colonial maps became a medium to claim this Christianization. By the 1540s, demonstrating their new faith, at least its overt expressions, appealed as much to the native aristocracy as it did to Spanish authorities. I establish the Cortes Map as a harbinger of subsequent performance. I conceive it as part of the continuing rhetoric with which Spain had defined itself during the Reconquista and the role the Spanish monarchy assumed as defender of the Catholic faith. I argue that the image, as printed in the Praeclara Ferdinadi Cortesii and coupled with a portrait of Clement VII, created a simulacrum of a foundation medal that celebrated the founding of New Spain as Christian. The Praeclara Cortesii Ferdinadi, brought to Europe{\textquoteright}s attention at a time of religious rebellion, created a consequential position for the Spanish monarchy that compelled it to fulfill its promise to convert the people. Later maps, such as the Hispaniae novae sivae magnae recens et vera descriptio, suggested, with 162 church buildings, a completed Christianization, yet corroboration of this fact had not yet been heard from the Americas. The numerous maps of the Relaciones Geograficas that included conventos or simple church buildings offered, with a native voice, this proof. I expand the existing dialogue on a handful of maps from the Valley of Puebla, produced in the first half of the sixteenth century, to demonstrate how they reconstructed powerful colonial identities for the nobility, based on the authority of their ancestors and through strong ties with the Spanish. Maps such as the Lienzo de Quauhquechollan (1535-40) and the Lienzo de Tlaxcala (1550-54) adopted Hapsburg imperial symbols to show allegiance to Spain while simultaneously appealing for privileged status due to the towns{\textquoteright} military contributions towards the conquest. Both Lienzos prominently display the Hapsburg Double Eagle, the personal symbol of Charles V, in their opening scenes. I explore the context of this emblem{\textquoteright}s use, the implications of the alterations made to it, and its meaning within the lexicon of Mesoamerican visual language. While scholars have scrupulously examined the images on the Mapa de Cuauhtinchan No. 2 (1540s), they sought its overall meanings and similarities with other codicil images. Although well acknowledged, most attribute the adoption of European technique to the mendicant training native artists received. I suggest reasons other than the implementation of newly learned techniques. Especially in the migration histories from Cuauhtinchan, intertwining the native style with European technique reflected allegiance to Imperial Spain and a new transformation--the maps no longer depicted the tribe{\textquoteright}s founding migration, but its transition from a Tenochcan altepetl to a colonial cabecera.}, keywords = {Drawings/Prints/Works on Paper, Latin American/Caribbean Art}, author = {Steinhilper, Diantha} } @mastersthesis {11635, title = {Global Conceptualism and Cildo Meireles{\textquoteright} Cultural Critique}, year = {2013}, school = {UIUC}, abstract = {In 1970, Brazilian artist Cildo Meireles began a series of artworks, commonly grouped under the title Insertions into Ideological Circuits, which has since become emblematic of a Latin American art often termed "ideological conceptualism." This dissertation problematizes the limits of this terminology in shaping the readings of the Insertions into Ideological Circuits by offering detailed analyses of what the Insertions series is, how it operates, where it was first publicly received and what the impact of its exhibition was for different audiences. The main argument of this dissertation is that the Insertions series uses the notion of a system as its medium, and in so doing, seeks to question two interconnected systems: the system of art and the capitalist system. To support this argument, this dissertation draws from preexisting scholarship to offer analysis of the reproducibility and circulation of the projects in the art world as well as to demonstrate how language plays a significant role in the operation of the series as a system in and of itself. To further provide bases for my argument, I have used an investigative methodology that includes interviews with Meireles, the art critic Frederico Morais, as well as other Brazilian art historians. I have also examined archival materials including unpublished correspondences, periodical articles and criticism available at the Museum of Modern Art{\textquoteright}s Archives, the International Center for the Arts of the Americas{\textquoteright} Digital Archive at the Museum of Fine Arts, Houston and Meireles{\textquoteright}s personal papers. I argue that the notion of circuit, which first appeared in Meireles{\textquoteright}s writings and projects between 1970 and 1975, is decisively associated with the notion of system. As a system in operation, the Insertions series engages in, and assimilates feedback from, its first occurrence. This dissertation explores some of the different contexts in which the general schema of Insertions was realized-notably, the exhibitions INFORMATION and Agnus Dei in addition to publications- and addresses some of the feedback and the disputes in the art world regarding the categorization and legitimation of the Insertions series produced in the wake of conceptualism. By offering the first comprehensive study of the Insertions series in its historical specificity, this dissertation paradoxically allows us to understand how the Insertions series continues to operate today as a feedback system within the work of contemporary artists in Brazil.}, keywords = {Latin American/Caribbean Art}, author = {Jardim De Santa Cruz Oliveira, Teresa Cristina} } @mastersthesis {11618, title = {Gods, Emperors, and the City: The Urban Transformation of Roman Asia}, year = {2013}, school = {UT Austin}, abstract = {This study provides an in depth analysis of three temples dedicated to emperors in Roman Asia (western Asia Minor): the Temple of Divine Rulers at Aphrodisias, the Temple of Divine Rulers at Ephesus and the Temple of Zeus Philios and Trajan at Pergamon. Focusing on each case study in a separate chapter, the project provides a brief introduction to each city{\textquoteright}s history and a detailed discussion of each temple{\textquoteright}s name, dating, patronage structure, architectural form, sculptural program, and the application techniques of sculptural and architectural details. The study proposes an understanding of these temples as key monuments of constantly changing dynamic urban landscapes rather than simple symbolic gestures towards the Roman emperors. Utilizing Kevin Lynch{\textquoteright}s terminology, the project suggests close links between each monument and the already existing urban elements of each individual city, further strengthening its overall urban image. These structures were essential to their urban contexts, and their meanings and functions were directly linked to the culture and history of each city. Finally, the project demonstrates that through their architectural designs and sculptural programs, each temple emphasized the perspectives of the local elite. The methodology of the project involves a careful study of the city plans, an analysis of context-specific local features and finally a consideration of multiple-viewer perceptions. This dissertation aims to provide an alternative model for later studies in Roman provincial art and architecture.}, keywords = {Greek/Roman Art}, author = {Ozturk, Onur} } @mastersthesis {11651, title = {Gods in Exile{\textquoteright}: Late Victorian Painters of the Mythic School}, year = {2013}, school = {Yale}, abstract = {This dissertation examines a corpus of works by Victorian artists John William Waterhouse, Frederic Leighton, George Frederic Watts, and Edward Burne-Jones. While each artist has recently received individual attention in the form of monographic studies and exhibitions, here I consider them together as a collectivity that, borrowing from John Ruskin, I call the "Mythic School." In key paintings, these four artists adopted mythological personae, which enabled them to explore their haunted relationship to a remote past, an age that was supposedly a font of human creativity, knowledge, and mythopoetic richness from which these artists alternately imbibed and felt alienated, pondering over their exile in modernity. The title and concept of this dissertation draws from an essay by Heinrich Heine that had a profound impact on the cultural imaginary of later-Victorian Britain, "Gods in Exile (1853)," in which he imagines the fate of the pagan gods residing in the Christian world in disguise. The artists of the Mythic School exhibit the dual sense of exile at work in Heine{\textquoteright}s essay: they are simultaneously like the ancient gods exiled in modernity and like the modern mortals estranged from the past. Melancholy and anxious about diminishing creative potency in the modern age, the artists of the Mythic School nonetheless asserted their continued relevance and power as creators and agents in the world. The writings of Walter Pater, Aestheticist critic and classicist with a deep interest in myth, were a powerful influence on late-Victorian culture and are also prominent in this dissertation{\textquoteright}s analyses. His writings emphasized the subjective dimension of aesthetic experience, promoting the kind of personal introspection that operates in the works of the Mythic School. Pater identified a continual dialectic throughout history between the forces of the past and those of modernity, a dynamic that manifests itself in the Mythic School as an uneasy but productive tension. Each chapter of the dissertation is organized around a central painting that reveals this tension engaging with myth as a way to examine and negotiate its creator{\textquoteright}s identity within late-Victorian modernity. In Chapter 1, I argue that the sorceress of Waterhouse{\textquoteright}s The Magic Circle (1886) embodies the combination of charm and menace that permeates his other works, one which contemporaries perceived as "theatrical" and imperiling the viewer by threatening his critical faculties. However, Waterhouse engaged with the theatrical mode to forge a proto-modernist notion of a purely pictorial art and to create a space of mystery to counteract the blase in an age of disenchantment. In Chapter 2 I focus on Leighton{\textquoteright}s second version of Clytie (1896). Clytie, a nymph whose love for the sun god Helios/Apollo is tragically unrequited, reflects Leighton{\textquoteright}s life-long interest in solar themes but also reveals a more troubled side to his Hellenism, usually perceived as serene. The figure of Clytie represents Leighton{\textquoteright}s yearning after an Apollonian ideal: while upholding a mode of art-making he associated with ancient Greece-spontaneous, instinctive-Leighton expressed anxiety that he himself was too modern, self-conscious, and polished to embody his ideal. Chapter 3 centers on Watts{\textquoteright}s second version of Hope (1886) in which, I argue, the artist presents himself as an Orphie musician whose art ennobles the souls of its listeners. As symbolically suggested by Hope{\textquoteright}s broken lyre, Watts was anxious as to whether he could successfully strike a chord with his audience and redeem them from the soulless materialism of modernity. However, through his public persona and painterly technique, centered on a rhetoric of physical austerity and perpetual striving, he reconfigured what was potential failure into a form of spiritual success. Finally, in Chapter 4, I argue that in Last Sleep of Arthur in Avalon (1880s-1897), Burne-Jones identified with the dying King Arthur as a tragic hero, taking his cue from the poet Alfred Tennyson, who had portrayed Arthur as self-conscious of his status as a failed visionary. Burne-Jones, who spent his career trying to reverse the depredations of modernity through the creation of beautiful objects, doubted in his old age whether art could effect change in the world. However, Avalon offers a space of productive seclusion in which the vital presence of beauty replenishes not only Arthur/Burne-Jones{\textquoteright}s spirits, but also those of the viewer. In Avalon Burne-Jones created a model of artistic spectatorship that contrasted with the kinetic one of his age: by slowing down time, art can paradoxically restore the viewer to life.}, keywords = {Nineteenth-Century Art}, author = {Portugeis, Chloe} } @mastersthesis {11471, title = {Graphic Apparatuses: Architecture, Media, and the Reinvention of Assembly, 1956-1973}, year = {2013}, school = {Princeton}, abstract = {This dissertation examines the work of a number of architects who sought to rethink the physical, visual, and historiographic problems of assembly at a moment when the discipline was being destabilized by changing cultural politics and the proliferation of new electronic media. Through a series of case studies, it analyzes buildings, images, publications, prototypes, and films made from the late 1950s to the early 1970s by architects in London (Theo Crosby and Edward Wright), Vienna (Hans Hollein, Gunther Feuerstein, Walter Pichler), Paris (the Utopie group), and Florence (the Superstudio group). I argue that during these years the making of composite images was intensely identified with imagining new forms of construction, a dynamic informed by concepts of montage pioneered by the historical avant-gardes. Rather than compare postwar experiments to those of the 1920s, the dissertation considers how emerging media practices responded to the absorption of montage into postwar mass culture. The rethinking of montage paralleled a changing attitude toward machines, in which an earlier twentieth-century ambition to master mechanization through design and prefabrication gave way to an attitude emphasizing a more flexible combination and rearrangement of parts, materials, and concepts drawn from a wide range of sources. Assembling an image out of disparate photomechanical elements graphically enacted the manner in which architects imagined appropriating technologies and materials from outside the domain of architecture in a bid to transform the discipline. During these years architects engaged montage as a mode of working both within and against the space of architectural publicity; one that was less illustrative than it was performative. If efforts to reinvent problems of assembly aimed to shift discourse within the discipline, they were also shaped by changes in the technological apparatuses of mechanical reproduction, notably the displacement of industrial letterpress by photo-offset lithography. In retrospect, grasping changing ideas of assembly helps to comprehend how during these years the status of building shifted within architectural culture, while also prefiguring how habits of "cut and paste,"-the continual combination and alteration of ready-made visual material-would become central to the operational culture of digital tools in our own time.}, keywords = {Architectural History/Historic Preservation}, author = {Craig Buckley} } @mastersthesis {11491, title = {Harriet Hosmer (1830-1908): Fame, Photography, and the American {\textquoteright}Sculptress{\textquoteright}}, year = {2013}, school = {Toronto}, abstract = {"Harriet Hosmer (1830-1908): Fame, Photography, and the American {\textquoteright}Sculptress{\textquoteright}" is a case study inspired by one nineteenth-century sculptor{\textquoteright}s career and a rare body of photographs showcasing the artist and her work.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Beggs, Margo} } @mastersthesis {11569, title = {Havana: A Study in Interiors, Identities, and Ideologies}, year = {2013}, school = {Delaware}, abstract = {This dissertation investigates the interplay between ideology and everyday objects through an examination of domestic advice and advertisements found in Cuban popular magazines during the 1950s and 1960s. By engaging new sources of evidence, this study explores the relationship between politics and popular print media during the period from 1950 to 1970, when Cuba transitioned from a quasi-capitalist nation, inextricably linked to the United States, to a socialist nation isolated from the United States economically and culturally during the revolutionary era. Domestic advice writers and advertisers cast images of domestic interiors and objects for the home in juxtaposing visions of ideal domesticity, one marked by the possibility for individual expression and upward mobility through capitalist democracy, and the other founded on the ideal of equality and self-empowerment through socialism. In addition, this study explores the interplay between modernity and modernist aesthetics at mid-century. Both before and after the Cuban Revolution, a modernist aesthetic was promoted in popular print media as expressive of the prevailing ideology. The material world of the everyday glorified and idealized in popular magazines served as the most vivid symbols of modernity for Cubans during the 1950s. And in the revolutionary period, the Castro regime effectively used the language commonly employed in U.S. advertising practices to promote the new ideals associated with socialism during the 1960s. This dissertation illuminates the ways in which ideology is both explicitly and implicitly propagated in popular media, and it reinforces the idea that design played an integral role in the dissemination of ideology at mid-century.}, keywords = {Decorative Arts/Textiles/Design History, Latin American/Caribbean Art}, author = {Reed, Sara Desvernine} } @mastersthesis {11615, title = {Heating and Fuel Consumption in the Forum Baths at Ostia}, year = {2013}, school = {Virginia}, abstract = {This study examines how the heating systems of the ancient Roman baths operated and the amount of fuel needed to run them. The Terme del Foro (Forum Baths) at Ostia Antica are used as a case study, because they are structurally well-preserved, contain both typical and unusual architectural elements in their design, and were one of the most important bathing facilities in the Roman city. By using an interdisciplinary approach that synthesizes archaeological data, ancient literary sources, comparative visual and physical evidence, modern experimental calculations, and heat transfer equations, a more complete picture of Roman baths is created. In this way, the reliability of the results is greatly expanded by minimizing unnecessary assumptions. This study also presents the archaeological history of bathing and a summary of bath research, and it provides a structural examination of the Terme del Foro. A database program has been created to store all of the physical data collected from the site and to process measurements through heat transfer equations. In this way, simple mistakes are avoided, all calculations are performed consistently, and results are produced instantaneously. Moreover, small permutations can be made to the initial base study design to illustrate how changes in temperature, time of year, hour of the day, and structural modifications affected fuel consumption. Once the necessary quantity of fuel for heating the Terme del Foro to the proper temperatures is determined, the greater implications of these results are examined. By computing the total weight and the total volume of space that the necessary wood occupied, the number of trees that had to be harvested, the number of carts needed to transport the fuel to the city, the ease of moving the wood through the city, and the necessary storage space for a month{\textquoteright}s supply of fuel is ascertained. Questions of deforestation are addressed, and it is concluded that the Terme del Foro did not create a heavy burden on the neighboring forestland. Instead, the operation of the baths was efficient enough that fewer than 150 trees had to be harvested to fuel the baths for an entire year.}, keywords = {Greek/Roman Art}, author = {Miliaresis, Lsmini Alexandra} } @mastersthesis {11664, title = {Henry Clay Frick: The Making of an American Collector, 1880-1905}, year = {2013}, school = {IFA/NYU}, abstract = {Over four decades during the late nineteenth and early twentieth centuries, steel magnate Henry Clay Frick (1849-1919) assembled one of the world{\textquoteright}s finest private collections of European paintings. This dissertation reconstructs the first quarter-century of Frick{\textquoteright}s career as a collector, from its beginning in Pittsburgh until the time that Frick relocated to New York and began to conceive concrete plans for the museum that bears his name. It was during these twenty-five years that Frick caught the fever for collecting and discovered the powerful effect that art patronage and donation could have on his public image. While economic historians have expounded Frick{\textquoteright}s critical role in the industrial transformation of American society, his activity in the newly globalized art market of the late nineteenth century has thus far escaped comprehensive study. The preservation of primary sources concerning the formation of his collection, however, makes Frick an excellent subject of research. The Frick Art Reference Library maintains an extensive archive of Frick{\textquoteright}s letters, contracts, and invoices, while other repositories in this country and abroad contain the records of dealers and artists involved in the formation of the Frick Collection. This abundance of historical documentation makes it possible to reconstruct the development of Frick{\textquoteright}s taste, and to uncover the influences and events that transformed him from a sporadic buyer of popular modern paintings into a discriminating owner of rare Old Master works whose acquisitions became international news. My methodology involves placing Frick{\textquoteright}s choices in the cultural sphere against the broader backdrop of his primary career as an industrialist. Frick applied to the art market the same commercial logic that ensured his success as a corporate manager and investor. Contextualizing the creation of the Frick Collection alongside the founder{\textquoteright}s formative experience in the fiercely competitive atmosphere of American business during the Gilded Age deepens our understanding of the complex amalgam of sensual, social, material, and patriotic interests that impelled Frick and several of his contemporaries to amass great art collections and then give them away.}, keywords = {Renaissance/Baroque Art}, author = {Finocchio, Ross} } @mastersthesis {11706, title = {Heterogeneous Objects: The Sculptures of Martin Puryear}, year = {2013}, school = {Princeton}, abstract = {Often described as a perplexing anomaly, originating - chronologically and aesthetically - in the murky interstice between minimal art of the 1960s and postmodern art of the 1980s, the crafted abstract sculpture of Martin Puryear (b. 1941) has long been considered remote from mainstream sculptural practices. Its joint appeals to such craft traditions as woodworking and rich allusions to the architectural schemes of non-Western cultures are often counted as the sources of its unique nature and appearance. Relying upon close formal analyses of Puryear{\textquoteright}s sculpture alongside critical analyses of the dominant trends in postwar sculpture, I argue, however, that it does indeed engage such developments of his time as minimalism{\textquoteright}s primary structure and commodity art{\textquoteright}s appeal to borrowed forms. Yet, as I argue further, Puryear{\textquoteright}s sculpture maintains its individuality on the basis that Puryear makes it with his own hands as opposed to relying upon processes of industrial fabrication. Using construction as his method, preindustrial materials such as wood, rawhide and sod for his materials and a mix of western and non-Western sources as references, Puryear makes single yet formally complex sculptures which double metaphorically as complex subjects. These subjects-- Puryear himself, mountaineer Jim Beckwourth, and Reconstruction era activist and educator Booker T. Washington-- are the specific persons to which my dissertation gives focus. I posit all three African American subjects as model makers who construct culturally hybrid or heterogeneous selves, variously demonstrating that the term "African American," as Puryear suggests, is not a biological marker of an essential sameness across persons. Registering the processes of their own making, Puryear{\textquoteright}s sculptures demand their viewers to trace out visually their constitutive elements, the close combination of which produces the construct of a formally and culturally hybrid self. Making visible the processes by which identities become visible as processes of manual construction, I demonstrate that sculptural making articulates processes of self-making with sculpture and subject alike constructed as layered, heterogeneous and complex configurations rather than monolithic solids. In the context in which artist and art alike assume the market strategies and material conditions of the culture industry, Puryear, as I argue, carves out an autonomous space for self and sculpture to produce meanings not delimited by consumer society. With his body of sculpture a complex puzzle to sort, Puryear has scarcely been a subject of dominant art-histories, past or contemporaneous, which all too often theorize intelligible group identities and their prevailing heroes. The first book-length study of Puryear{\textquoteright}s oeuvre, my dissertation seeks to remedy its occlusion from the literature on postwar art, sculpture in particular. It highlights Puryear{\textquoteright}s role as a maker in postwar America and the implications of his self-proclaimed status as one for his sculptures and their viewing audience from the 1970s to the 1990s; it analyzes the mainstream sculptural trends contemporaneous to his own sculptural production; and assesses his sculptural project of self-making in relation to the strategies of commodity art practiced by his immediate peers and distant predecessors.}, keywords = {Twentieth-Century Art}, author = {Maxwell, Jessica Ann} } @mastersthesis {11457, title = {Holy Blood, Holy Cross: Architecture and Devotion in the Parochial Complex of Rothenburg ob der Tauber}, year = {2013}, school = {Columbia}, abstract = {This dissertation explores the spatiality of the parochial complex in Rothenburg ob der Tauber and the dynamic interrelation of architecture, figural art, and devotional practice. Among the spaces of the parish church of St. Jakob, the neighboring charnel-house chapel of St. Michael, and the urban cemetery between unfolded an intricate thematic program whose leitmotif was a miracle-working blood relic. Scholars are beginning to reassess the role of architecture in structuring and creating meaning among the seemingly disparate elements of medieval multi-media church programs. This meaning was not only contained in individual artworks but was also expressed in the interrelation among different pieces. The parochial complex of Rothenburg ob der Tauber was bookended by two elevated chapels: the pilgrimage chapel of the west end of St. Jakob contained the altarpiece of the Holy Blood by Tilman Riemenschneider; the free-standing octagonal cemetery chapel of St. Michael housed a Riemenschneider altarpiece of the Holy Cross. Between these spaces stretched an intricate network of associations that promised the faithful resurrection and salvation. Chapter one considers the potential for patrons to convey meaning through the choice of recognizable architectural models. Chapter two studies the power of local campaigns and spatial compositions to stage pilgrimage and to promise divine protection to the faithful. Chapter three demonstrates the ability of architecture to draw simultaneously on local referents and on distant prototypes in order to communicate ideas. Finally, chapter four explores the interconnections among the spaces of an architectural complex and among the elements of its multi-media figural program.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Boivin, Katherine Morris} } @mastersthesis {11554, title = {House Work: Domesticity, Belonging, and Salvage in the Art of Jess, 1955-1991}, year = {2013}, school = {UC Berkeley}, abstract = {This dissertation examines the work of the San Francisco-based artist Jess (1923-2004). Jess{\textquoteright}s multimedia and cross-disciplinary practice, which takes the form of collage, assemblage, drawing, painting, film, illustration, and poetry, offers a perspective from which to consider a matrix of issues integral to the American postwar period. These include domestic space and labor; alternative family structures; myth, rationalism, and excess; and the salvage and use of images in the atomic age. The dissertation has a second protagonist, Robert Duncan (1919-1988), preeminent American poet and Jess{\textquoteright}s partner and primary interlocutor for nearly forty years. Duncan and Jess built a household and a world together that transgressed boundaries between poetry and painting, past and present, and acknowledged the limits and possibilities of living and making daily. This study begins by addressing the household shared by Jess and Duncan, which was a physical place but also a multivalent site that is imaginary, collective, and political. For these two men, the household was the primary condition of production, which revalues domestic work, or house work, and destabilizes its gendered status. Collaboration is also taken up here, as a concrete act between individuals, but also as leading to an essentially unbridgeable artistic difference. A close reading of one work, Narkissos, a collage that evolved around the mythical figure of its title and that occupied Jess for over three decades, permits the appropriative nature of collage as a model of self-generated myth and belonging to emerge. Salvage is Jess{\textquoteright}s primary operative mode, and is read with and against his formation as a wartime chemist serving on the Manhattan Project monitoring plutonium production. Jess abandoned science soon after World War II and moved to San Francisco, where he shed his last name, Collins, and pursued a career in art. Yet the scientific method and the threats of the atomic age are wrestled with throughout his body of work. What follows is a monographic treatment, but one that moves through a life and a body of work to raise and analyze problems and issues apposite to current scholarship. Difference is the fabric of this work, and this study considers its concrete and metaphorical manifestations, from the construction of the queer household to the salvage of outmoded or marginal historical material.}, keywords = {Contemporary Art}, author = {McDowell, Tara} } @mastersthesis {11701, title = {Hybrid Species: Lee Bontecou{\textquoteright}s Sculpture and Drawing, 1958-1971}, year = {2013}, school = {Princeton}, abstract = {Though known today for being forgotten, sculptor Lee Bontecou (b. 1931) was broadly recognized in the early and mid-1960s as one of the leading artists of her generation. Tapping into art historical debates of the 1960s that turn on the question of the medium specificity, drawing on Jacques Derrida{\textquoteright}s theory of the "law of genre," and mining the etymology of the term "hybrid," I argue that Bontecou{\textquoteright}s metal and fabric wall reliefs are hybrids of painting and sculpture: they are paintings generically and sculptures specifically. Medium hybridity divests of the dominant histories and criticisms of this period that pose sculptural or otherwise three-dimensional practice as a logical elaboration or corrective repudiation of modernist painting. In the late 1960s, Bontecou discontinued the wall reliefs altogether and turned to figurative, if otherworldly, sculptures of fish and flower forms in translucent plastic that were poorly received. I propose that the plastic sculptures hybridize the categories of the organic and the mechanical: clad in screwed-on armor and gas masks, her plant and marine forms are post-apocalyptic mutants outfitted for and by a violent ecology. They position specificity in relation to evolutionary, survivalist specialization and modernist medium specificity alike-to endangered natural species and sculpture in the face of extinction. My dissertation also treats Bontecou{\textquoteright}s soot, graphite, and charcoal drawings, considering how they give coherence to and pry open Bontecou{\textquoteright}s sculptural practice. Following the 1971 exhibition of her plastic sculptures, Bontecou withdrew from the New York art world, refusing to sell or show new work until 2003 when a major retrospective brought about her second meteoric rise to fame. My dissertation is the first book-length study of Bontecou{\textquoteright}s oeuvre during the period of her most active public production. It offers a narrative of Bontecou{\textquoteright}s sculpture and drawing, homing in on hybridity and constellating around the terms of the specific and the general; it analyzes her reception; and it negotiates her place/non-place in the field of postwar American sculpture, arguing that her work tracks, and resists, the shift from the modernist emphasis on the specific medium to the postmodernist, post-medium notion of art in general.}, keywords = {Twentieth-Century Art}, author = {Katz, Anna} } @mastersthesis {11463, title = {The Hydrographic City: Mapping Mexico City{\textquoteright}s Urban Form in Relation to its Aquatic Condition, 1521-1700}, year = {2013}, school = {MIT}, abstract = {Mexico City is a special case in urban history because the measures taken by the Aztec and Spanish to avoid inundations have fundamentally changed the city{\textquoteright}s character. In 1521, it was an island-city; in 1629, it lay near the banks of Lake Mexico; and by 1700, it rested on a reclaimed mainland. This transformation is significant, speaking not only to the flood control approaches of the Aztec and Spanish, but equally important, to how these methods profoundly altered this city{\textquoteright}s urban condition. Like the Aztec, the Spanish sought to control the six lakes surrounding the city to prevent inundations, yet their approach was quite different. The Aztec relied on containment and regulation, while the Spanish undertook drainage, referred to as the desague. Despite the scholarly attention devoted to pre-Columbian and colonial hydraulics, no research examines the relationship between the city{\textquoteright}s lacustrine environment and its urban transformation. "The Hydrographic City" addresses three key questions: (1) What were the respective flood control approaches of the Aztec and Spanish? (2) How did these approaches shape two different cities? (3) How did the Aztec and the Spanish differ in how they conceived the city{\textquoteright}s aquatic condition, and what were the epistemological roots of their strategies for coming to terms with it?}, keywords = {Architectural History/Historic Preservation, Latin American/Caribbean Art}, author = {Lopez, John F.} } @mastersthesis {11548, title = {I Want to Go to the Future Please: Jenny Holzer and the End of a Century}, year = {2013}, school = {Harvard}, abstract = {The task of this dissertation is to assess the historical conditions that permitted Jenny Holzer to formulate a practice premised on language and conceptions of public space to break from historical avant-garde and neo-avant-garde practices. My aim is to demonstrate the recourses sought by Holzer-through language, collaboration, and form-to reveal the operations of repression at work in the public spaces of place and language in particular moments of crises at the end of a-and at the ruined start of a new-century: the economic collapse of the late 1970s, the AIDs crisis, and the wars on terror following the events of September 11, 2001. The exemplary projects that I study in this dissertation-from her Truisms posters in downtown Manhattan in the late 1970s, to her collaborative work with The Offices of Fend, Fitzgibbon, Holzer, Nadin, Prince, and Winters, to her work with electronic signs and stone sarcophagi to address the AIDS crisis at its most dire period in 1987-89, to her light projections whose moving impermanence reflect on the continuity of mourning as an activity-each demonstrate the impossibility of neutrality. Concentrating on works conceptualized for and realized (for the most part) in New York City over the course of a quarter century, my study uses the seeming consistency of geography, or at least the fixity of a longitudinal and latitudinal intersection, to indicate the seismic changes inflicted on the city and its residents by economic, legal, political, and violent actions-and, in the case of the AIDS crisis, criminal inaction. My dissertation argues that Holzer{\textquoteright}s unflagging demonstration of threatened subjectivity is the necessary form of protest to an ever-more bureaucratized world.}, keywords = {Contemporary Art}, author = {Breslin, David} } @mastersthesis {11648, title = {Iconographies of Faith and Doubt in the Painting of Maurice Denis, the Nabis and Their Contemporaries}, year = {2013}, school = {UC San Diego}, abstract = {Iconographies of Faith and Doubt in the Painting of Maurice Denis, the Nabis and their Contemporaries identifies, describes and examines visual representations of spirituality by a loose group of French artists including Paul Gauguin, Maurice Denis and Paul Serusier working between the later 1880s and the first years of the twentieth century. It interrogates issues of doubt, faith and modernity as France moved toward secularization in the late nineteenth century. Each chapter analyzes paintings that engage with Christian imagery, ranging from the Christological symbology of the Crucifixion and the prefiguring narratives of the Old Testament to the modern iconography of Joan of Arc and the belief systems of French Spiritisme. The work of the ardent Catholic, Maurice Denis and his contemporaries, is central to my inquiry. I argue that they arrive at a somewhat uniform style for depicting religious subject matter, despite their varied relationships to institutional Christianity. I situate the work of well-known and historicized artists such as Gauguin alongside lesser-known members of the late nineteenth century avant-garde by revealing their shared address not only to the forms and meanings of modern spirituality but to a wider culture in which the very notion of public and state-sanctioned religion -as well as the nature and effects of private devotion-were in dispute. I argue that the concept of "Frenchness" that had been tied to the Catholic faith for centuries complicated issues of citizenship and identity throughout the nation. Each chapter navigates a different cultural geography beginning in chapter 1 with rural Brittany, the site of one of the last vestiges of publically performed, community-based Catholicism. I examine competing architectural campaigns in the nation{\textquoteright}s capital that gave rise to the Eiffel Tower and the Sacre Coeur Basilica (chapter 2); and the antithetical representations of Joan of Arc as secularists in the Third Republic sought to claim her as a soldier for France rather than as a spiritual warrior for the Catholic Church (chapter 3). The final chapter presents a comparative study of French Spiritualist visual art bringing the paintings of Denis alongside those of James Tissot, demonstrating that the visual culture of new and unorthodox spiritualities was, in fact, founded on the iconographical traditions of Catholicism}, keywords = {Nineteenth-Century Art}, author = {Hoeger, Laura Kathleen} } @mastersthesis {11597, title = {Identity, Burial Practice, and Social Change in Ptolemaic Egypt}, year = {2013}, school = {Michigan}, abstract = {This dissertation critically examines accepted ideas of ethnic identity in Ptolemaic Egypt through an archaeological analysis of patterns in mortuary behavior. Since the representation of individuals in death is intentionally arrayed by the living, mortuary practices provide an ideal means for investigating questions of identity and social distinctions. Ptolemaic-period funerary practices are often approached with an a priori assumption that they are "ethnic" in nature, reinforcing the traditional perspective that "Greek" and "Egyptian" identities were the primary organizing identities of Ptolemaic society. This work reassesses the archaeological evidence for mortuary activity in Ptolemaic Egypt, without any presumption that ethnic identity is explicitly expressed by the material culture, in order to determine whether ethnicity is expressed in the archaeological data, to determine what identities are expressed in mortuary practice, and how those vary over across regions. To achieve these goals, I employ a close analysis of funerary practices at three sites, Alexandria, Thebes, and Abydos. For Alexandria, I concentrate on the use of cremation and communal burial structures as identity markers, two practices which have largely been interpreted from a specifically Greek perspective. The analysis of Thebes focuses on the reuse of tombs and the complex system of funerary management undertaken by local priests. The Abydos analysis incorporates material from original fieldwork undertaken in 2011 and 2012, which focused on an elite tomb complex of two local priests. Rather than purposefully expressing an outwardly "ethnic" identity, the mortuary variability of these sites reflects specific local socio-cultural conditions and identities. Important factors were the diverse immigrant community in Alexandria, and the political and religious importance of both Thebes and Abydos. Social change due to cross-cultural interaction as expressed through mortuary practice is more obvious at Alexandria, the newly founded city of immigrants, than in the longstanding communities at Thebes and Abydos. Through a more contextualized analysis of each site, it is possible to gain a more nuanced understanding of Ptolemaic society, and move away from strict dichotomies of Greek versus Egyptian.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Landvatter, Thomas} } @mastersthesis {11520, title = {Identity, Modernity, and Hybridity: The Colonial Style of Taiwanese Painter Chen Cheng-po (1895-1947)}, year = {2013}, school = {Ohio State}, abstract = {At the end of the nineteenth century and beginning of the twentieth, the collision of rapid modernization and cultural identity caused massive upheaval in East Asia as wars redrew national boundaries and occupation reshaped traditional viewpoints. From the First Sino-Japanese War (1894-1895) to the Second World War (1939-1945), conflict brought both destruction and cultural exchange. Few places demonstrate this more clearly than Taiwan. Occupied by the Japanese from 1895 to 1945, Taiwan was enriched by a modernized educational system and an active colonial government but was overwhelmed by forced cultural assimilation. Artworks of the time illustrate the interaction of these forces, but one artist in particular, Chen Cheng-po (1895-1947), combined a multitude of influences to create uniquely Taiwanese works. His paintings capture the interplay of colonialism, identity, and cultural hybridity in a way that defines the era for Taiwan. Born the year the occupation began, Chen was educated in the Japanese system, studied in Tokyo, taught in Shanghai, and returned to work in Taiwan. Although killed by the Kuomintang government, his paintings and success as an artist in the three regions he traversed demonstrate Chen{\textquoteright}s ability to harness cultural interplay. This dissertation examines Chen Cheng-po{\textquoteright}s artworks and personal documents to explore the meaning of identifying oneself as a Taiwanese individual and colonial subject during the Japanese occupation. This dissertation explores primary sources, such as Chen{\textquoteright}s own writings and his collection of reproductions of art, within the colonial context through the writings of theorists such as Edward Said, Fernando Ortiz, Homi Bhabha, and Claude Levi-Strauss. It considers how Chen does not simply conform to colonial government standards in the creation of his artworks. Instead, his paintings manifest his ability to understand and succeed within a variety of art circles, and consciously adopt specific elements to create independent and original works of art that exemplify his travels and absorbed ideologies. Returning to Taiwan, Chen{\textquoteright}s efforts functioned as a catalyst for the growth and development of the Taiwanese art world, even after his death. Despite this acclaimed career, how is it that Chen is scarcely recorded in Japanese and Chinese art histories, and only now receiving the attention as an artist that he deserves? Political oppression prevented detailed study of the materials associated with Chen until the 1980s, and new primary sources are still emerging. It is my goal in this dissertation to fill voids in the historical accounts of this period, particularly as the last few years have revealed an outpouring of paintings and documents that have been concealed since Chen{\textquoteright}s lifetime. This study will examine his works in the contexts of identity and colonization, excavating the layers of complexity in the hybrid nature of colonial Taiwan as revealed in Chen{\textquoteright}s paintings.}, keywords = {Chinese Art, Twentieth-Century Art}, author = {Mathison, Christina} } @mastersthesis {11495, title = {Images of American Children and Social Reform, 1870-1915}, year = {2013}, school = {Case Western Reserve}, abstract = {During the period 1870-1915, painters and photographers created some of the most famous contributions to American imagery. More often than not, these images dealt with the extraordinarily complex social issue of children and childhood, and the way that the sentimental value of children evolved alongside a transitioning nation. Post-bellum genre painters portrayed boys as defiant mascots of the nation, in communion with nature, at odds with social institutions like the school. These painters foreran the realist "Ashcan School," whose paintings of misfit children illustrated the vices of the growing, clashing American city. Yet these were not the only images of children produced in this period. Paintings of the "Genteel Tradition" portrayed pampered children, and their photographic analogue, the "Photo-Secessionists," attempted to establish a highly artificial rhetoric of the "child-angel." Often, these discreet artists ironically unmasked the psychological complexity of real, living child models. Finally, documentary reform photographers invented a new, stark aesthetic mode to advocate disenfranchised child laborers. American art about children was not only profuse, but also treated the subject in new and unusual ways that often directly paralleled contemporaneous literature and social commentary. Yet curiously, while psychologists, literary and cultural theorists, and historians have generated a vast body of scholarship on the role of the child in America, their observations never intersect systematically with research on children in American art. This dissertation will attempt to rectify this gap in art historical research. It focuses on the brief but fecund time frame when American artists overwhelmingly depicted children. It discusses children exclusively as a subject, as opposed to the extant survey-oriented studies that sandwich children within a list of disempowered social groups. Simultaneously, I attempt to draw comparisons and contrasts between contemporaneous visual media -paintings, photographs, and drawings. This dissertation, though primarily intended to analyze visual culture at a specific historical moment, is interdisciplinary. By bringing observations from sister disciplines into the field of art history, and studying images side-by-side that are rarely spoken about together, I am hopeful that a more comprehensive understanding of the child in American art and society will emerge.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Stitt, Amber} } @mastersthesis {11586, title = {Imagined Crusaders: The {\textquoteright}Livre d{\textquoteright}Eracles{\textquoteright} in Fifteenth-Century Burgundian Collections}, year = {2013}, school = {UIUC}, abstract = {The following study analyzes the conception and reception of the illuminated volumes of the crusade history the "Livre d{\textquoteright}Eracles" (hereafter "Eracles") as it was conceived and collected in the fifteenth-century court of Burgundy, centered in the Burgundian Netherlands. It considers four individuals, Jean V of Crequy, Wolfert VI of Borssele, Louis of Gruuthuse, and King Edward IV of England, all of whom moved in the orbit of the fifteenth-century Burgundian dukes, and analyzes how their political activities and art collecting responded to Burgundian crusade ideology and court culture in distinct ways. These knights of Philip the Good{\textquoteright}s chivalric Order of the Golden Fleece each owned the same crusade chronicle, the "Eracles", a French translation and continuation of William of Tyre{\textquoteright}s twelfth-century crusade chronicle, "Historia rerum in partibus transmarinis gestarum", revived and retranslated into Middle French in the Burgundian Netherlands after over a century of neglect. The "Eracles" and its individualized cycles of images innovatively re-envisioned the crusading past in the guise of the fifteenth-century present for a group of men who responded to the fifteenth-century renewed crusade fervor caused by the contemporary Ottoman invasions with varying levels of commitment. Refining the conception of Burgundian crusading culture, this study reveals it as a creation of interactions among diverse players with independent political agendas, instead of a monolithic ideology imposed by the Duke of Burgundy. My analysis of the "Eracles" within the context of noble and royal collections reveals the complexity of the Burgundian crusade culture in the mid-fifteenth century. Each chapter examines the construction of one of four "Eracles" manuscripts, analyzing their distinctive visual cycles and textual recensions, the context of the libraries in which they resided and considers the historical evidence regarding the lives and practices of their patrons to determine to what extent the "Eracles" echoes their interests in and engagement with the idea of chivalry in general or of the Burgundian crusade in particular. This study demonstrates that each of the four manuscript cycles expresses its patron{\textquoteright}s level of engagement with the fifteenth-century crusade in independent and nuanced ways. Jean V of Crequy held a sincere interest in the crusades, choosing the longest and more historical form for his "Eracles text" (Amiens, Bibiliotheque municipale, Ms. 483 F), the Acre continuation, and commissioning an illumination cycle that demonstrates a close reading of the text to create a sophisticated visualization of the chronicle before he personally voyaged to the Holy Land. Despite Wolfert VI of Borssele{\textquoteright}s lack of participation in any battles abroad, his densely illuminated and luxurious "Eracles" (Geneva, Bibliotheque de Geneve, Ms. fr. 85) visualizes the events surrounding the reclamation of Jerusalem in a way that brings to the fore the contemporary problem of rendering Constantinople into Christian control. Louis of Gruuthuse{\textquoteright}s "Eracles" (Paris, Bibliotheque nationale de France, Ms. fr. 68) contains a smaller, rapidly produced illumination cycle; this manuscript functioned like an object d{\textquoteright}art, concentrating on chivalric crusading heroes. Edward IV{\textquoteright}s royal "Eracles" (London, British Library, Royal Ms. 15 E i) is a departure from the copies made for Burgundian nobility because the artists who planned its illuminations expressly highlighted English crusading valor and portrayed propagandistically ideal visions of kingship.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Donovan, Erin} } @mastersthesis {11543, title = {Imagining the Posthuman: Art, Technology, and Living in the Future}, year = {2013}, school = {Minnesota}, abstract = {This project examines works of contemporary performance, digital, and bio-art that reflect the blurring of boundaries once perceived as impermeable, whether between art and science, organism and machine, or the natural and modified. They reflect what has been called posthumanism, which, broadly defined, sees past the isolated, self-contained individual subject celebrated by liberal humanism to understand humans as bound to and shaped by their organic and technological others. As increasing scientific knowledge and rapidly expanding digital and communications technologies render increasingly obsolete the boundaries between humans and animals, organisms and machines, scholars including Cary Wolfe, Katherine Hayles, and Donna Haraway have wrestled with what this posthuman present means, yet have largely failed to address a critical aspect of understanding and imagining the posthuman: the visual. In a posthuman environment in which distinctions are created or obscured by means of what can or cannot be seen, and in which lives are increasingly mediated by ubiquitous screens and images, understanding the role the visual plays is crucial. Examining works by artists Christa Sommerer and Laurent Mignonneau, Orlan, Oron Catts and Ionat Zurr, Char Davies, and Stelarc, this project focuses on how technologies of sight reveal and structure the posthuman experience; how artistic practice shapes and is shaped by a posthuman world; how the body is viewed as modifiable or even replaceable; and what posthuman ways of seeing and creating imagery mean for human interaction, understanding, and agency. Recognizing posthumanism as a way of seeing and being seen allows not only a more complex understanding thereof, but has real-world implications for the freedom, movement, and agency of those human subjects interacting in a posthuman world.}, keywords = {Contemporary Art, Performance Studies}, author = {Myers, Cerise} } @mastersthesis {11524, title = {Improvising a Great Age: The Creating of Qingming Shengshi (A Great Age Under a Benign Regime)}, year = {2013}, school = {British Columbia}, abstract = {From the Ming to the Qing dynasty, Qingming shanghe tu was among the paintings most frequently copied by professional painters and most often collected and viewed by urban residents, merchants, scholar officials and nobles. Over one hundred copies are extant. Modern scholars have disregarded these paintings, considering them not as "original works" but as mere copies and/or forgeries after Zhang Zeduan or Qiu Ying. This thesis proves their value by showing that though based on earlier works, Qingming painters created distinctive paintings that visualized pre-modern viewers{\textquoteright} various conceptions of a "great age," an ideal society from the traditional Chinese perspective=Qingming Shengshi. Through comparisons of the earliest Qingming scroll by Zhang Zeduan of the Song dynasty and six selected Qingming paintings from the sixteenth to the eighteenth century, my thesis shows that later painters reinterpreted the subject matter, copied and modified original motifs, and added new motifs drawn from contemporary life experiences and concerns. That is, these painters created new paintings using the title and structure of the well-known Zhang Zeduan scroll. Many Ming-Qing viewers stated that the Qingming scrolls were portrayals of a prosperous age. My analysis shows that themes in these paintings relate closely to the economic success and social changes in this period. In other words, painters and patrons extracted elements of the prosperity and cultural transformations of their age to design paintings based on the notion of Qingming shengshi. The variety of these scrolls and responses via inscriptions demonstrate that people from various backgrounds and different times and places held diverse views of an ideal world. Analysis of the six paintings reveals that over time this ideal world grew from a smaller prosperous economy to a much larger one, and changed from one where humble customs were followed to a much more luxurious, unrestrained and fashion-conscious way of living. Despite these changes, certain conservative ideas were preserved. Such traits demonstrate that people{\textquoteright}s view of a great age was a dynamic conjunction of various conventions and new fashions, and lead us to believe that this was a new mode of visual cultural production: a model of improvisation.}, keywords = {Chinese Art}, author = {Chang, Su-chen} } @mastersthesis {11656, title = {In the Specter of Sovereignty: Experimental Art in Hungary and Yugoslavia circa 1968-1989}, year = {2013}, school = {Duke}, abstract = {This dissertation analyzes experimental art movements in Hungary and the former Yugoslavia from 1968 to 1989, examining the variety of ways that artists responded to the ideological and practical failures of communism. I also deliberate on how artists, living in the specter of Marxist ideology, negotiated socio-political and cultural systems dominated by the state; how they undermined the moral consciousness that state socialism imposed from above; and how they created alternative ways of being in an era that had promised the opening of society and art but that failed that pledge. I suggest that some artists increasingly questioned the state{\textquoteright}s hegemony in everyday relationships, language, and symbols, and attempted to neutralize self-censorship and gain sovereignty over their own bodies and minds through "decision as art." The dissertation approaches authoritarian domination within the context of the artists{\textquoteright} aesthetic choices, especially the development of conceptual and performance art as a mode of opposition. Deliberating on the notion of decision as central to the conceptualization and execution of resistance to the state, I focus on the alternative ways in which Yugoslavian and Hungarian artists made art in variegated forms and modes of ethical commitment. I argue that such art must be understood as an active decision to live in and through art while enduring political circumstance.}, keywords = {Performance Studies, Twentieth-Century Art}, author = {Tumbas, Jasmina} } @mastersthesis {11528, title = {An Intimate View of the Inner Quarters: A Study of Court Women and Architecture in Palace Banquet}, year = {2013}, school = {Princeton}, abstract = {Palace Banquet is a large hanging scroll in the collection of the Metropolitan Museum of Art. The painting, dated by the museum to the late 10th to early 11th century, depicts an elaborate palatial compound filled with female figures. The scene is presented on a steeply tilted ground plane allowing the viewer an intimate and detailed glimpse of both the women and their privileged architectural setting. The rarity of its subject matter and the high quality of its execution make Palace Banquet an illuminating starting point for the exploration of the art historical issues involved with the portrayal of women and architecture in early Chinese painting. This dissertation presents a close analysis of Palace Banquet in order to address fundamental questions about the painting and the complex artistic processes at play in the work. The problems of identifying the date, subject matter, artist, and patron of the painting, despite the lack of any early accompanying text or seals, are discussed throughout. The original display context and its intended audience, as well as the possibility of Palace Banquet{\textquoteright}s originally being part of a set, are also addressed. The buildings and courtyards portrayed in Palace Banquet afford a unique opportunity for the study of early architectural painting practices. This dissertation argues that the artist(s) responsible for the painting subtly manipulated the structure of the compound to best stage the actions of the female figures. This tension between the contesting artistic responsibilities towards architectural fidelity and narrative transparency is a hallmark of Palace Banquet. The bodies and attire of the women that inhabit these quarters are also considered alongside the hierarchical relationships between them. The figures are shown to be a historical hybrid, which raises further questions about the intended time period of the scene and the artist{\textquoteright}s own period. The level of historical knowledge possessed by the artist, not only of architecture and furniture but also the fashions of female dress and coiffure, is then assessed. Together these queries provide an important new window into the development of architectural and figural painting in China.}, keywords = {Chinese Art}, author = {Kwok, Zoe} } @mastersthesis {11679, title = {Italian Renaissance Depictions of the Ottoman Sultan: Nuances in the Function of Early Modern Portraiture}, year = {2013}, school = {Columbia}, abstract = {This project was inspired in a fundamental way by an interest in the function of Italian Renaissance portraiture. The essential question is concerned with the expanded functional range of portraiture within the context of early modern cross-cultural engagement between traditional foes. The dissertation casts a spotlight on the relationship between Italy and Ottoman Turkey, the most powerful and prominent of its contemporary Near Eastern counterparts. The first chapter explores the influence of the diplomatic culture particular to Venice on the artistic output-including drawings, a painted portrait and a portrait medal-resulting from the late fifteenth-century journey of the city{\textquoteright}s famous son Gentile Bellini to the Istanbul court of the Ottoman sultan Mehmed II (Mehmed the Conqueror). The representations of the Turkish ruler are discussed as objectively motivated, fact-focused diplomatic "documents" in the spirit of the singularly Venetian tradition of the relazione produced by diplomats of the city upon the completion of diplomatic missions. The second chapter explores the renowned portrait collection of the early sixteenth-century Comasque scholar Paolo Giovio. As part of his assiduously cultivated collection of images of "famous" men and women, Giovio unconventionally possessed portraits of both deceased and contemporary Near Eastern figures. Among these were eleven images of Ottoman sultans. Although the influence of traditional motivations for collecting portraits is in evidence, the collection as a whole can also be fruitfully explored as a reflection of the scholar{\textquoteright}s lifelong interest in history and its chronicling. The unconventional inclusion of Near Eastern and other foreign figures suggests his preoccupation with global interconnection. His carefully crafted textual treatment of the figures-he eventually composed brief eulogies to hang beneath each of the portraits-suggests the precariousness of attempting to handle neutrally the Near Eastern "other." The images in conjunction with the text operate as an innovatively bold and frank commentary on contemporary history. A century separates Gentile{\textquoteright}s execution of Mehmed II{\textquoteright}s portrait and a series of portraits of the house of Osman produced by the workshop of another Venetian master, Paolo Veronese, through the indirect commission of the sultan Murad III (1574-1595) and his grand vizier Sokollu Mehmed Pasha. The inspiration for the third chapter, these fourteen portraits, produced, significantly, in the wake of the momentous Battle of Lepanto, are singular within the tradition of sultan portraiture for the degree to which the figures have been animated and humanized. Even allowing for the shift in stylistic trends from the end of the fifteenth to the end of the sixteenth century, I suggest that the psychological impact of the Battle of Lepanto and a specifically Venetian brand of civic self-consciousness played a heightened role in the formal solution adopted for the commission. "Veronese{\textquoteright}s" approach to the depiction of the Ottoman sultans shifted attention away from symbolic markers of difference, such as clothing, and focused attention instead on the corporeal reality and the psychological presence of the sultans, aspects highlighting the European potential of the figures and attesting to the reality of subtle rather than rigid boundaries in the definition of Europeans as categorically different from the Ottoman Turks-a subtle act of assimilation in a crucial moment in the history between Europe and Ottoman Turkey that ultimately exhibits once again the functional flexibility of portraiture. Considered in relation to each other, the three case studies demonstrate the subtle functional flexibility of portraiture within a context bridging diverse cultures. These various acts of representation demonstrate the culture of early modern European cooperativity through their common effort to understand a foreign culture by means of visual accommodation.}, keywords = {Renaissance/Baroque Art}, author = {Rossi, Nassim} } @mastersthesis {11496, title = {James Hazen Hyde and the Allegory of the Four Continents: A Research Collection for an Amateur Art Historian}, year = {2013}, school = {Indiana}, abstract = {James Hazen Hyde (1876-1959) spent much of his life gathering a comprehensive and diverse collection of artworks representing the Allegory of the Four Continents. These works ranged in date from the mid-sixteenth to the late nineteenth centuries. Hyde was born in New York but spent a major part of his life in Paris: this dissertation investigates his complex personality as a collector and considers how his beginnings in New York society of the Gilded Age and his subsequent transplantation into the Parisian milieu affected his collecting practices. Indeed, Hyde embraced the model of the amateur, whose personal life is inseparable from his work: tending his collecting habit constituted his everyday activity. This dissertation also argues that Hyde{\textquoteright}s collection was intrinsically linked to the process of writing and, more specifically, to the writing of art history. The second part of this dissertation consists of studies on the iconographical theme of the Four Continents, first as it appeared during Antiquity and the Middle Ages: ancient personifications, the myth of Europa and the Bull, the story of Noah and the division of the earth among his three sons, and the legend of Magi. A second chapter is then dedicated to the allegory of the continents within Northern European print culture of the early modern Europe, with a focus on representations of America. For artists of the Netherlands the depiction of America-instead of illustrating the reality of people living in distant lands-was a way to express political beliefs against the Spaniards and their colonization policy. I also specifically look at the interrelation of text and image and how these components work toward creating an original but polemical representation of the New World. Finally, this dissertation presents a discussion of this allegory as it reaches its apogee in the eighteenth century, through one specific example: the Allegory of the Four Parts of the World by Francesco Solimena, now preserved at the Indiana University Art Museum. The third part of this dissertation reconstructs the catalogue of James Hyde{\textquoteright}s dispersed collection.}, keywords = {Art of the United States, Renaissance/Baroque Art}, author = {Arizzoli, Louise} } @mastersthesis {11659, title = {Johan Maurits{\textquoteright}s Brazilian Collection: The Role of Ethnographic Gifts in Colonial Discourse}, year = {2013}, school = {Boston}, abstract = {This dissertation examines the acquisition and dissemination of the famous Brazilian collection of Johan Maurits of Nassau-Siegen (1604-1679), the governor-general of Dutch Brazil from 1637 to 1644. Maurits amassed an extraordinary collection of ethnographic images and objects while governing the Dutch colony, which he then distributed as a series of diplomatic gifts to the Elector of Brandenburg Frederik Wilhelm I, Danish King Frederik III, and French King Louis XIV. I argue that Maurits{\textquoteright}s Brazilian gifts-which traveled from Brazil to The Hague, Berlin, Copenhagen, Cleves, Paris, Malta, and St. Petersburg-acted as temporal registers of alterity, responding to and initiating nuanced narrative shifts when they changed hands. It is a fundamental argument of this dissertation that the cross-cultural circulation of people, objects, and ideologies in the early modern period yielded dynamic shifts in meaning resulting from disparate geographic and temporal trajectories. My approach, therefore, situates Maurits{\textquoteright}s gifts within a broad spectrum of exchange that extends from Brazil to Western Europe. First, I examine the significance of Maurits{\textquoteright}s role as governor-general, arguing that he carefully constructed an identity as a colonial ruler based on his experiences and education in both Europe and Brazil, which provided the foundation for his participation in an exchange culture in both contexts. Then, I examine the practice of exchange in The Netherlands and Brazil, demonstrating that gift-giving became a vehicle for articulating fluctuating narratives of social order that could neutralize political tensions or amplify the appearance of authority. I also contend that visual representations of exchange encounters, which were underwritten by European notions of imperialism and dominance, played an essential role in imagining complex systems of social negotiation. Finally, I closely examine Maurits{\textquoteright}s gifts to Frederik Wilhelm, Frederik III and Louis XIV, arguing that these presentations initiated alternate modes of display and reception, which underscores the importance of geographic and temporal distance as meaningful factors in exchange.}, keywords = {Renaissance/Baroque Art}, author = {Anderson, Carrie} } @mastersthesis {11647, title = {Jules Dalou and the Problem of Monumental Commemoration in Third-Republic Paris}, year = {2013}, school = {Ohio State}, abstract = {Jules Dalou (1838-1902) was the greatest monument-maker of the Third Republic, but he has long been eclipsed by the fame of his greatest rival Auguste Rodin. This dissertation examines how the aesthetic attributes of Dalou{\textquoteright}s public sculptures in Paris participated in the complex process of formulating republican meaning and community during the early French Third Republic. My analysis focuses on the public reception of his monuments as determined not only by their iconographical content and the manifest political agendas of their creator and/or patrons but also as dependent upon their formal and stylistic characteristics as key aspects of their communicability. The dissertation begins with a discussion of sculptural theory, which established the medium as an inherently neoclassical and therefore fundamentally limited art form-a belief that resonated throughout the century and particularly influenced the creation of public monuments. I then investigate Dalou{\textquoteright}s two monumental reliefs for the Salon of 1883-La Fraternite and Mirabeau repondant a Dreux-Breze dans la seance du 23 juin 1789-which disrupted sculptural norms by Dalou{\textquoteright}s utilization of a dynamic, painterly style on the one hand, and a historical, naturalistic style on the other. In my investigation of Dalou{\textquoteright}s largest and most important public monument, the Triumph of the Republic, I engage with the theoretical work of Gilles Deleuze and Felix Guattari. I argue that Dalou{\textquoteright}s break with neoclassical sculptural traditions and subsequent embrace of the work{\textquoteright}s material presence results in a monument that works through what Deleuze and Guattri call "fabulation", rather than commemoration. The Triumph therefore has the potentiality to fabulate a republican community, due to the powerful "affect" of Dalou{\textquoteright}s style. The sculptor{\textquoteright}s next public work, the Monument to Delacroix, through a combination of its allegorical content, style, and material constituted a kind of visual affirmation of the most fundamental Deleuzoguattarian strategies instigated by the Triumph, i.e. temporality, fabulation, and affect. During the 1890s, Dalou{\textquoteright}s art would take a significant turn. I examine his monuments to Boussingault, Leclaire, and Alphand in terms of the sculptor{\textquoteright}s negotiation between naturalism and monumental conventions, and between individualism and collectivism. In the end, I argue that these monuments suggest an allegiance to the formation of a social, public, and specifically republican community through the communicative ability of public works that is simultaneously troubled by the underlying social strife of the period. I briefly address Dalou{\textquoteright}s never executed Monument to Labor as a final example of that tension in his later works. I conclude with a short comparison between Dalou and Rodin in order to highlight the difference in their approaches to sculpture. Rodin{\textquoteright}s sculptures increasingly spoke to the modern alienated, private viewer, whereas Dalou{\textquoteright}s works addressed themselves to an imagined public and incorporated a vision of a republican collective. It was ultimately this approach that led to Dalou{\textquoteright}s success as the greatest monumental sculptor of Third Republic France.}, keywords = {Nineteenth-Century Art}, author = {Getson, Jennifer} } @mastersthesis {11529, title = {A Known World: The Pictorial Construction of Place in the Art of Shen Zhou, Wen Zhengming, and Lu Zhi}, year = {2013}, school = {IFA/NYU}, abstract = {No record in ProQuest}, keywords = {Chinese Art}, author = {Lui, Lihong} } @mastersthesis {11484, title = {Korean American Artists and the 1992 Los Angeles Riots}, year = {2013}, school = {UC San Diego}, abstract = {The historiography of the 1992 Los Angeles Riots have several trajectories within the history of Los Angeles that reshape the contours of the transnational turn in the humanities. The riots move the discursive framework towards a comparative scope that allows for an overlap of the structures of migration, inequality, and globalization. The state of emergency that framed the riots exposes the ideological state apparatus within multiple levels of hegemony. This dissertation synthesizes the event, the art objects, and the Kunstwollen that are intertwined to produce art historical research. A foundational understanding of the visual culture and the riots provide a clear subtext to the political and economic genealogy of art objects in this dissertation. The overarching argument in my dissertation is that art practice yields a particular kind of knowledge production. The rhetorical positions articulated by Korean American artists about the L.A. riots elucidates localized geopolitical struggles. Instead of a biographical survey of one artist, the analysis of multiple artists centered around one event propels art historical analysis towards a transdisciplinary approach that extends the hermeneutics of art practice towards cultural geography, critical media studies and epistemology. My work intervenes the rhetoric of the necessary third to fourth generation gap for the kind of assimilation and development of identity formation that should not be unilaterally assumed and applied to all immigrant histories. Rather than regurgitating a multicultural thesis, my framework uses the arguments made visual in the artwork that de-romanticizes the story of migration. Therefore my analysis of the artworks elucidates alternative approaches to Korean American history.}, keywords = {Art of the United States, Chinese Art, Japanese/Korean Art}, author = {Park, Eun Jung} } @mastersthesis {11654, title = {Labor, Ideology, and the Origins of the Industrial Aesthetic: Constantin Meunier{\textquoteright}s and Maximilien Luce{\textquoteright}s Representations of Belgium{\textquoteright}s Black Country}, year = {2013}, school = {Delaware}, abstract = {My dissertation examines the effects of industry on workers{\textquoteright} bodies and psyches, as well as the environment through a detailed analysis of the representations of labor and industry produced by Constantin Meunier (1831-1905) and Maximilien Luce (1858-1941) in the last quarter of the nineteenth century. By studying Meunier{\textquoteright}s and Luce{\textquoteright}s portrayals of mining, metallurgy, and industrial landscapes in relation to contemporary art reviews, as well as the political, medical, technological, and anthropological discourses of the time, my dissertation argues that they emphasize pollution and fatigue, the two most visible negative effects of industrial development on workers and the environment. While Meunier, a Belgian artist closely associated with the Parti Ouvrier Belge, highlighted occupational diseases and degeneracy, Luce, a French anarchist, depicted the problems of industrial development through sublime landscapes and spectacular paintings of metallurgical operations. The last part of my project shows that unlike earlier Impressionist landscapes, Meunier{\textquoteright}s and Luce{\textquoteright}s industrial landscapes portray a development in ecological thought going hand in hand with intensive industrialization, presenting a world in which factories and mines can no longer be assimilated into the natural environment.}, keywords = {Nineteenth-Century Art}, author = {Weidinger, Corina} } @mastersthesis {11643, title = {Labor in the Cauldron of Progress: Jules Dalou, the Inconstant Worker, and Paris{\textquoteright}s Memorial Landscape}, year = {2013}, school = {Maryland}, abstract = {French populist identity and changing notions of masculinity converge in the monument projects of Jules Dalou, revealing the fissures in the Third Republic{\textquoteright}s attempts to unify the nation. Treating the worker as France{\textquoteright}s representative man, Dalou intervened in a memorial sphere where the male laborer{\textquoteright}s ambiguous position manifested the effects of profound cultural traumas stemming from the annee terrible and the development of new social and economic structures. This dissertation investigates how Dalou, the leading public sculptor of the early Third Republic, consistently altered his depictions of the worker as he pursued a monumental idiom and representation of the masculine icon appropriate for modernity. The formal and thematic inconsistencies that resulted reveal the sculptor{\textquoteright}s efforts to navigate the ruptures between social traditions and emergent political, scientific, and industrial values that rendered the fin-de-siecle memorial environment a cauldron in which the era{\textquoteright}s conflicting social dogmas and cultural doctrines forged new amalgams. Manifesting the complicated relationships between public art, modern aesthetics, and the formation of new national mores, these projects illustrate the social angst of the last decades of the nineteenth century and anticipate the visual language of divisive twentieth-century ideologies.}, keywords = {Nineteenth-Century Art}, author = {Eschelbacher, Andrew} } @mastersthesis {11598, title = {Landscape Aesthetics and the Sublime in France, 1750-1815}, year = {2013}, school = {CUNY}, abstract = {This dissertation examines the expression of the sublime in French painting between the years 1748 and 1830, a period spanning ancien regime, Revolution, Terror, Directory, First French Empire, and Bourbon Restoration. It reveals the existence and persistence of a grand classical strain of the sublime derived from Longinus{\textquoteright}s first century On the Sublime that was passed into the eighteenth century by Nicolas Boileau-Despreaux{\textquoteright}s 1674 French translation, Traite du sublime [Treatise on the Sublime]. These works stress noble greatness and elevation more than the fear and terror more commonly associated during this period with the sublime as articulated by Edmund Burke in his 1757 A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful. In addition to establishing the existence and examining the articulation of the sublime in eighteenth-century France that is primarily based on the conveyance of noble elevation and greatness, this dissertation also suggests that the French sublime is unique in that it incorporates the influence of the Burkean sublime of fear and terror. Thus, the sublime in France is what I call multivalent; it can express both greatness and fear, elevation and terror. This complex admixture is significant for its rich and varied range of meanings particularly in the context of landscape painting, a relatively unimportant category of painting at the beginning of the eighteenth century, but which became a major genre in France between 1740 and 1790. This time period that forms the core of this dissertation, not incidentally, also saw the emergence of an intense focus on the subject of aesthetics, including the aesthetic category of the sublime. In his commentary on work submitted to the Paris Salon, the French critic Denis Diderot devotes roughly a quarter of his Salon of 1767 to the work of Claude-Joseph Vernet (1714-1789) and Hubert Robert (1733-1808). In his elaborate discussion of these artists, one who had a penchant for painting wild seascapes and shipwrecks and the other who had a proclivity for painting ruins, Diderot lent critical weight not only to the genre of landscape but also to the connection between their work and the sublime. This is significant in that unlike England with its well-documented sublime landscape tradition, eighteenth-century France has been viewed as virtually bereft of a sublime tradition due to its close ties to the Classical landscape tradition. The sublime is a powerful and nuanced concept that expressed a cultural and political ideology tied to the grandness and continuity of France. More than an inert aesthetic category, the sublime is also an incredibly flexible and powerful conduit of a wide range of ideas. It can be seen expressed in Vernet{\textquoteright}s emphasis on the heroic individual in his paintings of shipwrecks, Pierre-Jacques Volaire{\textquoteright}s (1729-1799) emphasis on the natural power of volcanic eruption as a vital new way of viewing the natural world, and in Robert{\textquoteright}s painting of the Louvre in ruins that attests to the cultural monumentalization of France projected into the future. Finally, the elevation, or apotheosis, of the cultural and political-sublime greatness-of Restoration France was inscribed on the ceiling of the 1826 Musee Charles X in the institutionalization of that sublime ideology.}, keywords = {Eighteenth-Century Art, Nineteenth-Century Art}, author = {Beachdel, Thomas} } @mastersthesis {11661, title = {The Landscapes of Gaspard Dughet: Artistic Identity and Intellectual Formation in Seventeenth-Century Rome}, year = {2013}, school = {Maryland}, abstract = {The paintings of Gaspard Dughet (1615-1675), an artist whose work evokes the countryside around Rome, profoundly affected the representation of landscape until the early twentieth century. Despite his impact on the development of landscape painting, Dughet is recognized today as the brother-in-law of Nicolas Poussin rather than for his own contribution to the history of art. His paintings are generally classified as decorative works without subjects that embody no higher intellectual pursuits. This dissertation proposes that Dughet did, in fact, represent complex ideals and literary concepts within his paintings, engaging with the pastoral genre, ideas on spirituality expressed through landscape, and the examination of ancient Roman art. My study considers Dughet{\textquoteright}s work in the context of seventeenth-century literature and antiquarian culture through a new reading of his paintings. I locate his work within the expanding discourse on the rhetorical nature of seventeenth-century art, exploring questions on the meaning and interpretation of landscape imagery in Rome. For artists and patrons in Italy, landscape painting was tied to notions of cultural identity and history, particularly for elite Roman families. Through a comprehensive examination of Dughet{\textquoteright}s paintings and frescoes commissioned by noble families, this dissertation reveals the motivations and intentions of both the artist and his patrons. The dissertation addresses the correlation between Dughet{\textquoteright}s paintings and the concept of the pastoral, the literary genre that began in ancient Greece and Rome and which became widely popular in the early seventeenth century. The pastoral world, with its melancholic atmosphere and nostalgia for antiquity, was quickly assimilated into landscape painting, most effectively in the work of Poussin and Claude, and also in Dughet{\textquoteright}s paintings. For artists in the seventeenth century, the pastoral landscape was a place of meditation on the ancient past and the future inevitability of death, a theme present in Dughet{\textquoteright}s work as well. The dissertation reveals connections to ancient Roman paintings unearthed at the time and to antiquarian culture and contemporary interpretations of early frescoes. This study presents a renewed and comprehensive appreciation for Dughet{\textquoteright}s landscapes and a more nuanced view of his intellectual contribution as an artist.}, keywords = {Renaissance/Baroque Art}, author = {Cantor, Sarah} } @mastersthesis {11681, title = {The Late Career of Pietro da Cortona and Roman Baroque Painting after 1650}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation follows several paths toward an understanding of the life and career of Pietro da Cortona (1597-1669) and his contribution to Italian painting in the latter half of the seventeenth century. Chapter I is a biographical sketch of the aging artist, considering his professional position in papal Rome, his personality and preoccupations, relationships with patrons and other artists, and his physical and spiritual health in his senescence. The second chapter on Cortona{\textquoteright}s critical fortune addresses notions of a decline in his work and late Italian Baroque painting, which I argue are largely the result of changing standards of taste that developed toward the end of the seventeenth century. The characteristics of Cortona{\textquoteright}s late style are explored in Chapter III through case studies on five of the major canvases from the late period. In the final chapter, I discuss Cortona{\textquoteright}s relationship with Venetian painting, arguing that his experiences in central and northern Italy, marked by two trips to Venice in 1637 and 1644, were pivotal for shifting his focus away from the artistic principles formulated in his early Roman works and that his direct interaction with Venetian painting was a catalyst for this change. Thereafter follows a documentary appendix of primary source material related to Cortona{\textquoteright}s late career.}, keywords = {Renaissance/Baroque Art}, author = {Schneider, Lindsey} } @mastersthesis {11607, title = {Late Neolithic Pottery in Greece}, year = {2013}, school = {Temple}, abstract = {The Late Neolithic (defined here as the LN I of Sampson1993 and Coleman 1992) is both the culmination and the turning point of Greek Neolithic culture from the preceding phases. It lasts some 1,000 years, from approximately 5,300 to 4,300 B.C. The ceramic repertoire of the Late Neolithic period in Greece is a tremendously diverse body of material. Alongside this diversity, other aspects of the ceramic assemblage, such as Matt-painted and Black-burnished pottery, share broad similarities throughout regions, constituting a " koine." The commanlities, however, are most apparent during the earlier part of the Late Neolithic (LN Ia); in the later phase (LN Ib) phase, more regional variations proliferate than before. In the Late Neolithic, all categories of pottery-monochrome, decorated, and undecorated-are at their technological and stylistic acme in comparison with earlier periods. While some of the pottery types demonstrate unbroken continuity and development from the preceding Early and Middle Neolithic phases, new specialized shapes and painting techniques are embraced. For the first time in the Neolithic, shapes appear that are typically thought of by archaeologists as being for food processing (strainers and "cheese-pots"), cooking (tripod cooking pots and baking pans), and storing (pithoi ). More recent research, however, has demonstrated that these "utilitarian" vessels were more often than not used for purposes other than their hypothesized function. These new "utilitarian" vessels were to dominate the next and last phase of the Neolithic, the Final Neolithic (also called the Chalcolithic, Eneolithic, or LN II) when painted pottery disappears from most Greek assemblages just before the beginning of the Bronze Age. During the past two decades, there has been much research into Late Neolithic Greece, particularly in Northern Greece (Macedonia). This dissertation incorporates the most up-to-date information from these recent excavations with the older material from sites in Thessaly, Central Greece, and Southern Greece. Since this study draws solely upon published material, both old and new, there are certain limitations to the type of analysis that can be performed. The approach, then, is more of an art-historical and historiographical overview than a rigorous archaeological analysis. It provides an overview of the major classes of pottery (decorated, monochrome, and undecorated) and their primary shapes, motifs, and technological aspects. While it emphasizes commonalities, regional and chronological variations are also highlighted. The technological means of production of vessels, their use, circulation, and deposition are also considered. The structure of this paper is that each pottery chapter is devoted to a broad class (such as Matt-painted), which is broadly defined and then more closely examined at the regional level for chronological and stylistic variations. Likewise, a sub-section then discusses the technology of a particular class and its regional and or chronological similarities and differences. When necessary, outdated scholarship is addressed and rectified.}, keywords = {Greek/Roman Art}, author = {Bonga, Lily} } @mastersthesis {11519, title = {The Literati Lenses: Wenren Landscape in Chinese Cinema}, year = {2013}, school = {Chicago}, abstract = {This dissertation probes into the Chinese cinematic appropriation of landscape aesthetics, particularly the established motifs and themes within the literati art tradition. The period under examination is between the 1950s and late 1970s. While literati art itself has undergone many changes in the twentieth century and has found itself in a delicate situation in the post-1949 political reality, and while its marriage to cinema, an audacious although sometimes crude project undertaken by so many films in the 1930s and 40s and apparently suspended in mainstream cinema during the three decades after 1949, this dissertation demonstrates that its vital signs are still detectable in many of the films and are especially vivid in some of the "problematic" films made during the sporadic "thawing" periods in between political campaigns and crackdowns. This research uncovers this obscure lineage between cinema of this era and traditional landscape art and sheds light on how such allusions to the pictorial traditions and conventions associated with a bygone era took on different significances and even transformative meanings in the contemporary context. In particular, this work examines the representation of iconic loci in traditional landscape art such as Mt. Huang and "jiangnan" in films such as Li Shizhen (1956) and Stage Sisters (1965), and it interrogates the notions of monumentality, history, and memory. The dissertation further investigates the visual motif of a Chinese antiquarian utopia "Peach Blossom Spring" and how that motif is re-appropriated and re-framed in the 1964 film Early Spring in February. This film embodies a complex history of discourses as it is based on a 1929 novella that reflects on the post-1919 psychology of new Chinese intellectuals, and it is a film made in the 1960s that pays homage to the unfinished enlightenment project of the 1920s that was interred by the current political culture. The last chapter is a study of ruins in post Cultural Revolution films such as Legends of Tianyunshan (1979) and how ruins, an interesting visual theme in literati landscape paintings, are introduced in the film to embody the experiences of Chinese intellectuals in the recent history of People{\textquoteright}s Republic of China. This dissertation contributes to the study of Chinese cinema a fresh look at landscape representation and how landscape can be infused with a narrative to heighten the agenda of the film{\textquoteright}s political goal and sometimes to offer a quiet and disquieting alteric text that upsets and undermines the apparent message. They can be utopian conjurations, monumental sites, and loci of history, but they can also be heterotopian spaces, sites of memory that whisper another story in the voice of the (un)dead, asking to be exhumed and re-examined.}, keywords = {Chinese Art, Film/Video}, author = {Liu, Yinxing} } @mastersthesis {11452, title = {Living on the Level{\textquoteright}: The Significance of Horizontality in Reshaping Postwar America}, year = {2013}, school = {Boston}, abstract = {After 1945, a visual dichotomy emerged in the United States. Americans from the late 1940s into the 1950s gradually understood "living on the level"-or the nation{\textquoteright}s visual transformation toward the horizontal axis-to be progressive, a comfortable existence postponed by two decades of Depression and war. While the obsession with skyward progress (epitomized by technological achievements such as airplanes and skyscrapers) dominated the early decades of the twentieth century, postwar Americans turned away from life on the vertical axis and toward horizontality as the nation{\textquoteright}s dominant organizational scheme. In fact, postwar Americans experienced life almost exclusively horizontally in their day-to-day activities, and few anticipated the effects that such a dramatic spatial re-orientation would have on the landscape. Drawing on the methodological example of Michael Leja{\textquoteright}s book Looking Askance, this dissertation is an interdisciplinary project that re-imagines several crucial ways in which postwar Americans experienced their new horizontal environment (from cinema to interstate highways to commercial and domestic architecture) as a dramatic shift away from verticality and toward horizontality in a Cold War context. Chapter 1 discusses mainstream Hollywood{\textquoteright}s widescreen cinematic processes that emerged during the early 1950s. This chapter explores the ways that technological advances in cinematic exhibition incorporated horizontality and demonstrates the correlation between the widescreen frame and the western genre{\textquoteright}s popularity. Chapter 2 uses census data and government records to situate the construction of the Federal Interstate Highway System during the Eisenhower administration. The resulting horizontal concept of sprawl re-visualized the American landscape; the interstates{\textquoteright} creation echoed the construction of the transcontinental railroad a century earlier. Chapter 3 looks at nationwide construction pattern books and business postcards to examine the effect that horizontality had on commercial architecture-from Main Street to regional shopping centers and motels-and the resulting change in consumerism that fundamentally altered how daily business was transacted. Chapter 4 analyzes house plans and blueprints to examine domestic architecture{\textquoteright}s rejection of verticality and embrace of horizontality-the postwar ranch house-by situating its low-profile silhouette and horizontal orientation as shelter against the dangers of the atomic age.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Root, Colin} } @mastersthesis {11626, title = {Locating Abstraction: The South American Coordinates of the Avant Garde, 1945-1959}, year = {2013}, school = {Harvard}, abstract = {This dissertation investigates how the project of abstraction, initiated in interwar Europe, was reconstructed, continued, and transformed in mid-twentieth-century South America. Through an examination of the work and thought of three key artists (Tomas Maldonado of Argentina, Alejandro Otero of Venezuela, and Lygia Clark of Brazil), it posits historical continuity and universality as both central problems of mid-century South American projects of abstraction and potential avenues toward a new understanding of their historical specificity. I identify three key features of interwar abstraction that were consciously continued in the work of Maldonado, Otero, and Clark: the adoption of abstraction not as a style, but as a progressive teleology with a linear history and singular goal; the ambition to reach the end of painting as an autonomous activity and integrate abstraction into the built environment; and the belief in the power of abstraction to forge new subjects and collectivities. In all three cases, the encounter of a universalistic project with particular socio-historical realities had resonances unanticipated by their European predecessors. Whereas abstraction in interwar Europe was intimately tied to struggles against bourgeois subjectivity and for a new form of egalitarian collectivity, artists in mid-century South America were rather faced with accelerated, state-driven developmentalism and the emergence of populist politics. Against this background, I demonstrate how each artist envisioned abstraction as a tool to contribute to or disrupt newly emerging forms of collectivity, contrasting Maldonado{\textquoteright}s insistence on an international, class-based collective, Otero{\textquoteright}s efforts to forge a modern national community, and Clark{\textquoteright}s advocating for a contingent intersubjectivity as a way of resisting top-down projects of collectivity. Finally, I investigate how the engagement with ideas of continuity and universality, as exemplified by these three artists, intersected with broader conceptions of historical progress and development circulating in Latin America between the Second World War and the Cuban Revolution. The rise and fall of abstraction in South America during this period, I conclude, was closely linked to the dream of catching up with "universal history" and its eventual abandonment.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {Sullivan, Megan} } @mastersthesis {11702, title = {Lois Mailou Jones, Diasporic Art Practice, and Africa in the 20th Century}, year = {2013}, school = {Duke}, abstract = {This dissertation, Lois Mailou Jones, Diasporic Art Practice, and Africa in the 20th Century, investigates the evolving dialogue between twentieth-century African-American artists and Africa-its objects, peoples, diasporas, and topography. The four chapters follow the career of artist Lois Mailou Jones (1905-1998) and focus on periods when ideas about blackness in an African-American context and its connection to Africa were at the forefront of artistic and cultural discourses. Chapter 1 traces African-American artists contact with African art during the first decades of the twentieth century. Chapter 2 examines Jones{\textquoteright}s use of Africa in her art produced at the start of her career (1920s-1940s) and repositions her in relation to the Harlem Renaissance and Negritude movements. Chapter 3 considers Jones{\textquoteright}s engagements with the African Diaspora via travels to France, the Caribbean, and Africa in the 1960s and 1970s, voyages that I argue result in the creation of a Black Diasporic art practice predicated upon the act of viewing. Chapter 4 critiques the signifying grasp of Africa in African American art. By looking at Jones{\textquoteright}s turn to pastiche as an aesthetic choice and cultural commentary, the chapter argues that that the possibility of a seamless reconciliation of Africa in African American art is impossible. Where the limited scholarly discourse on the subject has emphasized a heritage-based relationship between Black artists and Africa, this project{\textquoteright}s cross-cultural approach is one of the first to consider the relationship between Africa and Black artists that goes beyond looking for African retentions in African American culture. In doing so the project also suggests an alternative to the internationalization of American artists in African, rather than European terms. Moreover, though Jones is broadly cited within African American art history beyond monographic considerations her work has yet to be critically examined particularly in regards to larger debates concerning blackness and the African Diaspora.}, keywords = {Twentieth-Century Art}, author = {Keegan, Rebecca} } @mastersthesis {11488, title = {Lurelle Guild{\textquoteright}s Historical Modernism: The Legacy of the Colonial Revival in American Modernist Design}, year = {2013}, school = {Boston}, abstract = {Lurelle Van Arsdale Guild (1898-1985) was an author and illustrator of interior decorating literature; a collector of Americana; a pioneering industrial designer; and an amateur architect. Both a popular antiquarian and a modernist, his diverse interests often intermingled in his industrial designs. This dissertation uses Guild{\textquoteright}s multifaceted and at times contradictory career, which lasted from the 1920s to the 1960s, to explore how modernism drew upon the legacy of colonial American design to create objects that appeared contemporary but were grounded in tradition. This study positions Guild as the archetypal "historical modernist" while creating a larger framework for exploring the intersection of historicism and modernism in American design. The dissertation{\textquoteright}s introduction and chapter one explore the stylistic plurality that existed in the 1920s and 1930s and introduce the term "historical modernism" as a way to define the aesthetic and ideological overlaps between the era{\textquoteright}s dominant styles: the Colonial Revival and modernism. Chapters two and three focus on Guild{\textquoteright}s early career as an author and illustrator promoting traditional taste. The persona he created of the "Itinerant Antiquer" reflected his interest in early American decorative arts and architectural elements, which he and his wife collected and installed at Milestone Village, their property in Connecticut. Chapter four looks at how Guild{\textquoteright}s personal collection informed his work as an industrial designer. In the 1930s, Guild became a leading figure in the nascent field of industrial design. He drew upon his knowledge of Americana to create hybrid objects that appeared modern but were informed by the past and reflected the ambivalence many American consumers felt towards modernism. Chapter five explores the postwar years when Guild began to retreat from modernism. Instead, he focused on historicist design projects and became an amateur architect, building series of historical fantasy houses. Most histories of American modernism have disproportionately focused on forward-looking designs. This dissertation uses the work and biography of Lurelle Guild to reintroduce the idea of aesthetic pluralism into the historiography of modernist design and explores the legacy of the Colonial past on modernism in America.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Gordon, John Stuart} } @mastersthesis {11687, title = {Luxury and Loyalty: Anne de Montmorency as Patron of the Arts}, year = {2013}, school = {CUNY}, abstract = {This project examines the art patronage of sixteenth-century French aristocrat Anne de Montmorency. Credited as being a great diplomat, statesman, political advisor, and military hero, this aspect of his life has been neglected in the scholarship on the period. There is evidence, however, that his patronage was key in the development of what art historians today consider a distinctly French Renaissance style. This study provides a comprehensive view of one of the most influential art patrons of the late Renaissance and addresses architecture, sculpture, painting, and decorative arts media. Current scholarship on developments in the arts of the sixteenth century focuses on Italy{\textquoteright}s influence on the rest of Europe and the New World. While this influence was significant, Montmorency{\textquoteright}s patronage also reveals a desire to maintain continuity with local French traditions. Montmorency serves as a case study in the process by which powerful figures utilized the visual arts to express their identity and affirm their power in the Early Modern Era.}, keywords = {Renaissance/Baroque Art}, author = {Vuagniaux, Anne} } @mastersthesis {11716, title = {Making Do for the Masses: Imperial Debris and a New Russian Constructivism}, year = {2013}, school = {Ohio State}, abstract = {Russian Constructivist artists rejected the "elitist" medium of painting and instead set about redesigning the objects of everyday life under socialism in a devastated and "closed" economy. This dissertation expands the conventional art historical narrative by arguing that Constructivism adapted, rather than failed, in the 1920s. In so doing, I identify an alternative Constructivist strain that developed a tactic of recycling and reappropriation in response to factory shortages and lack of raw materials. I examine how the former Imperial era{\textquoteright}s debris became both the physical and ideological building material for its class enemies{\textquoteright} society, and the repository of lost Constructivist ideals. Applying anthropological models borrowed from Claude Levi-Strauss, I show how his mythmaker typologies-the "engineer" and "bricoleur"- illustrate, respectively, the canonical Constructivists and Russian artists on the margins that deployed a wide range of clever "make-do" tactics. I show how specific examples of existing porcelain "blanks," clothing, film footage, and architecture from the newly requisitioned "collective stock" underwent transformation. For example, at Paris{\textquoteright}s glamorous international exposition of industrial and decorative arts in 1925, a former Russian dressmaker to the Imperial Court received a grand prize for a flapper dress sewn from household table linens. Similarly, while the Soviets had to import Western "capitalist" films to compensate for the shortage of raw film stock in the 1920s, filmmaker Esfir Shub recycled Imperial-era film footage, creating Fall of the Romanov Dynasty, a masterpiece of Soviet propaganda and first feature-length compilation film. St. Petersburg{\textquoteright}s Winter Palace, a symbol of Imperial rule and splendor, became a shifting stage for performance, government offices, a museum of the revolution, film set, and at the end of the 1920s, auction house. Similarly, leftover Imperial porcelain dishes, with marks from three previous tsars on their bases, now carried Bolshevik propaganda on their surfaces. These were portable artistic objects whose meanings came from their status as captured loot, a radical surface for socialist themed decoration by State Porcelain Factory artists. Yet, if these artists made innovative use of materials on hand, their methodological approach had already been modeled by the Bolshevik government{\textquoteright}s reallotment of aristocratic mansions and reuse of requisitioned private goods. My study is intended, not merely to add these works to the Constructivist canon, but to change the shape of the current discussion, broadening the definitions of "mass production" and "industrial art" as well. Re-appropriated fragments of a former enemy era provided a wider range of play and possibility in the decade between 1918 and 1928. The use of scavenged Imperial leftovers as "raw materials" was economically strategic, but it also allowed artists to manipulate ideology embedded in the found material, creating objects with radically new emotional and symbolic trajectories.}, keywords = {Twentieth-Century Art}, author = {Walworth, Catherine} } @mastersthesis {11637, title = {Making History: The Role of History in Contemporary Native American Art}, year = {2013}, school = {UC San Diego}, abstract = {This dissertation investigates the ways in which traditional Native American and Canadian First Nations ideas and concepts of history influence contemporary art made by artists with these backgrounds. It further takes into account an understanding of historicity as an approach to the philosophies that underlie concepts of history. The methodologies used in this analysis include investigations of mythology and ritual practice, ideas about landscape, and the roles of personal lives and biographies as forms of historical documentation. It also includes an examination of specific government laws and treaties, which are forms of more standard historical sources. Throughout the text, there is a concern with the ways in which artists use their practice to reclaim historical agency lost in the process of colonization. This agency is manifest in myriad ways, including the reference of traditional myths and ritual practices described in academic texts and artistic critiques of the laws enacted by settler governments. This dissertation also considers the manner in which this agency is transferred from artist to art object, allowing the artwork to manifest and display the agency of the artist herself or himself. Through the use of traditional concepts of history and historicity, Native American and Canadian First Nations artists reassert their rights of agency within the historical record. They do so through reference to traditional ideas and as full participants in the contemporary art world. In so doing they reclaim a degree of control over their own histories, producing works and discourses that present, or intentionally refuse to present, a continuity with the historical past that has otherwise often been denied to modern indigenous Americans.}, keywords = {Native American}, author = {Cluff, Leah Diane} } @mastersthesis {11561, title = {Maniera Devota/Mano Donnesca: Women, Virtue and Visual Imagery During the Counter-Reformation in the Papal States, 1575-1675}, year = {2013}, school = {CUNY}, abstract = {The history of women{\textquoteright}s participation in religious movements during the Early Modern period in Europe has long been less commented upon in modern scholarship than that of their male counterparts. This project will enlarge our understanding of the participation of women in the visual program of the Counter-Reformation in the Papal State of Bologna. The study focuses on Bologna since the city had an unprecedented large group of active women artists as well as being a crucial site of Catholic reform. Knowledge of Bologna{\textquoteright}s women is still incomplete; therefore this dissertation is structured as a series of interlinked case studies, some of which rescue forgotten artists, while others add a new dimension to better-known figures. This research thus takes a necessarily broad approach, combining aspects of iconography, patronage, gender studies, and reception studies; it also integrates media neglected in previous studies such as prints and embroidery. The goal is to insert these artists into the larger philosophical and theoretical context of the city{\textquoteright}s intellectual history, first by investigating the links between religion, science, and naturalism; and second, by unpacking critical terms from the historiography of style that came to bear on their work. Lastly, the project explores the city{\textquoteright}s concern with women{\textquoteright}s virtue, as it is a constant thread woven into visual imagery of all media, from the sixteenth into the seventeenth century. The synthesis of all this material will produce a wider view of the still understudied and ill-documented relationship between women, religion and the visual arts in the complex period of the Counter-Reformation.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Renaissance/Baroque Art}, author = {Rocco, Patricia} } @mastersthesis {11593, title = {The Marking of Monastic Space: Inscribed Language on Romanesque Capitals}, year = {2013}, school = {USC}, abstract = {The period between 1080 and 1140 saw an explosion in monastic construction throughout Western Europe. Such architectural refurbishment frequently went hand-in-hand with monastic reform and the creation of spaces for spiritual renewal. These projects coincided with the understanding of the church building as a representation of the community of the faithful (the Church). Since the eleventh century, every facet of the church building and its decoration was subject to encyclopedic allegorical exposition, yet there was no mention of the many monumental inscriptions. This is a striking omission if one considers the numerous monumental inscriptions produced in monasteries between 1080 and 1150, particularly inscriptions on capitals. There has been no broad study of inscribed capitals in relation to architectural space and ritual activity. This dissertation examines the interaction of text and image on inscribed capitals in order to understand the ways in which religious orders defined monastic space. I compare the capitals{\textquoteright} placement, iconographical, and inscriptional content in seventy-six French Romanesque monasteries with evidence of ritual performance in customaries, hymnals, cartularies, and chant manuscripts. I propose that the relationship between text and image within architectural space provided performative cues for both the monastic and lay audience. I argue in this study that the inscriptions on these capitals did more than identify a scene or figure; they transmitted the monastic mission, highlighted the liturgical function of an area, and bounded sacred space. The interpretations developed in this study draw from the fields of epigraphy, art history, history, archaeology, musicology, and liturgical studies.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Tanton, Kristine} } @mastersthesis {11527, title = {The Materiality, Style, and Culture of Calligraphy in the Northern Song Dynasty (960-1127)}, year = {2013}, school = {Boston}, abstract = {The cultural accomplishments of the Northern Song dynasty are unrivalled in Chinese history. Song literati were particularly enthusiastic about calligraphy and writing materials, and the scale of their engagement in the art of writing exceeded that of both former and later dynasties, leaving plentiful legacies of calligraphic culture for later generations to study and appreciate. However, most modern studies emphasize the transmission of calligraphic culture from the Tang to Song and neglect the dynamics of disconnection and transformation between these two dynasties. By demonstrating how the technologies of brush, paper, ink cake, ink stone, and chair and desk (the "materiality" of calligraphy) shaped the look of calligraphy, this dissertation proposes an alternative understanding of the nature of Song innovations in the art of writing. Insofar as these innovations reconfigured the subsequent history of Sinitic calligraphy (calligraphic traditions based on Chinese characters), this dissertation argues that we cannot understand the art of writing without exploring the technology of writing. Through this study, I present the processes by which the literati of Northern Song traced, received, and modified the calligraphic culture of the past in creating their own Northern Song culture. Because of cultural discontinuity and transformation, what they ultimately reconstructed served as the foundation for their own culture, and has become the basis for how we think of the pre-Song past.}, keywords = {Chinese Art}, author = {He, Yanchiuan} } @mastersthesis {11589, title = {A Matter of Life and Death: Forms, Functions, and Audiences for {\textquoteright}The Three Living and the Three Dead{\textquoteright} in Late Medieval Manuscripts}, year = {2013}, school = {Toronto}, abstract = {This dissertation examines approaches to illustrating the Three Living and the Three Dead, a moralizing tale known across Europe in the late Middle Ages. Illustrated versions of the texts survive in a number of different manuscript contexts. While the earliest depictions show an apparently benign conversation occurring between living and dead, by the late fifteenth century other ways of illustrating the tale had emerged. The most striking of these was the aggressive chase after the living by the dead, which most often accompanied the prayers of the Office of the Dead in Books of Hours. While previous art historical investigations have concentrated on localization, chronology, as well as stylistic and formal analyses, my project engages with the larger questions of function, audience, and the relationship between text and image. The thesis begins by situating the Three Living and the Three Dead in the scholarship on the art of death of the late Middle Ages. The art of that period has long been perceived as a reflection of a time of decline. This perspective was established mainly through consideration of large-scale monuments, mostly French and primarily displayed in public, funerary contexts. I expand the discussion to include small scale, private devotional images of death, and demonstrate that such images could serve practical and positive functions for their users. The wide range of possibilities for illustrating the story in its early history is established in chapter 2. This overview is followed by a series of chapters that offer close examinations of individual manuscripts and establish the functions that the Three Living and the Three Dead served for their original users. In sum, my project sheds light on the importance of the imagery of death and more specifically of the Three Living and the Three Dead in late medieval culture. It contributes to our understanding of a story that became popular across Europe in a variety of forms in response to the context in which it appeared, the function it was intended to serve and the audience for which it was intended}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Kralik, Christine} } @mastersthesis {11588, title = {Meanings in the Margins: Between Text and Image in the Medieval Haggadah}, year = {2013}, school = {IFA/NYU}, abstract = {Noteworthy for its iconographic richness and preoccupation with orthopraxy, the late fourteenth-century Barcelona Haggadah (London, British Library MS Add. 14761) exemplifies the visual sophistication of the supposedly aniconic Jewish people. Contained within its folios is the liturgical text for Passover, the Jewish festival commemorating the biblical Exodus from Egypt. Beginning with a critical reassessment of the uniquely pervasive ritual imagery, the first chapter exposes the means through which the illumination structured the performance of the seder, connecting participants to the biblical past and the redemptive future, and providing a site for instruction, reflection, and for the fashioning of Jewish identity. The subsequent chapter explores the marginal realm, which forms a complex web of visual glosses, commentaries, and allusions. The sacred text thus dwells amongst a plurality of referents, colliding purposefully with contemporary realities. Densely freighted and multivalent, the interplay of word and image mediates the religious experience, imbuing the haggadah with tremendous intellectual, religio-historical and creative force. With neither a colophon nor documentation of its commission, the manuscript is often dated around the year 1340. However, by reexamining the compendium of liturgical hymns appended to the central text and by reconstructing the life of the poet Abraham b. Isaac ha-Levi, the third chapter anchors this haggadah in its historical context: late fourteenth-century Catalonia, likely Girona ca. 1370. Such a late date challenges the essentialist narrative of Jewish history and underscores the inadequacies of stylistic analysis. Thus, the fourth chapter details the many historiographic and methodological biases impeding the study of medieval (Jewish) art in the Iberian Peninsula. Only through comparison with contemporary works of art-Jewish, Christian, and secular-is it possible to realize the subtlety, complexity, and creativity of this haggadah; therefore, the final chapter reveals the richly textured aesthetic milieu in which it was produced. Ultimately, the illumination in the Barcelona Haggadah reflects the religious priorities and social outlook of its anonymous patron as well as the heterogeneity of artistic visions in the medieval Crown of Aragon, which gave rise to new and different forms of meaning and representation.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Kornfeld, Abby} } @mastersthesis {11623, title = {A Measured Harvest: Grain, Tithes, and Territories, Hellenistic and Roman Sicily (276-31 BCE)}, year = {2013}, school = {Princeton}, abstract = {During the reign of the Syracusan monarch Hieron II (269-215 BCE), Sicily{\textquoteright}s famed agricultural resources were, for the first time, comprehensively mobilized through a sophisticated administrative system designed to collect an annual grain tithe from cities within his kingdom. Hieron{\textquoteright}s administrative system was so effective at harnessing the productivity of the island that the Romans, eager to feed their growing urban and soldier populations, retained the annual grain tithe and applied it to the whole of Sicily, thereby transforming the first of their provinces into the grain-basket of their burgeoning empire. As Roman authority replaced that of Hieron in Sicily, so the groundwork was laid for Rome{\textquoteright}s expansion across the Mediterranean. My dissertation recasts this narrative in terms of monumental granaries, standardized grain measures, and the circulation of bronze coinage-material elements of agricultural administration emerging from excavations on the island. Chapter One offers a brief historical introduction to topic of agricultural administration in Hellenistic and Roman Sicily and situates the dissertation within the existing field of scholarship. Chapter Two introduces a new and largely unstudied class of artifact into the discussion of agricultural administration, namely ceramic vessels used for measuring dry goods, such as wheat and barley. I use the standardized vessels to demonstrate that metrological unification may be treated as an index of political consolidation. Chapter Three presents a pair of monumental granaries at Morgantina and considers their function in relation to the agrarian policies pursued by Hieron and the Romans. I argue that the construction of the granaries at Morgantina is symptomatic of political control over agricultural resources. Chapter Four considers the substantial body of numismatic material from the agora at Morgantina in light of taxation and trade in grain. I argue that the circulation of bronze coinage at sites on the interior of the island may document transactions of grain for cash. Taken together, these three material elements offer a rich and contextual perspective on the impact of agricultural administration on the political, economic, and social environment of Sicily between the third and first centuries BCE.}, keywords = {Greek/Roman Art}, author = {Walthall, Denton Alexander} } @mastersthesis {11667, title = {Melancholy Figures: From Bosch to Titian}, year = {2013}, school = {Columbia}, abstract = {My project examines the pictorial and theoretical dimensions of the concept of melancholy as they were understood, expressed, and, most importantly, figured by Renaissance artists. By focusing on the figural pose traditionally associated with the melancholic state and humor, it presents a hitherto unexplored connection between Northern and Southern Europe, considering the different ways in which artists self-identified as melancholics and expressed this understanding in their art. In both Italy and the North, the basic figural structure is appropriated for somewhat different ends. The relationship of the isolated figure to its cultural context varies, either declaring a special creative status, responsive to a higher inspiration, or setting the figure apart as an outsider with special insight into the follies of this lower world. Chapter One serves as an introduction to the pose of melancholy, its historical weight and the visual meaning carried by the isolated, brooding figure, generally with lowered head supported by a hand and often with legs crossed. This is the figure epitomized in Durer{\textquoteright}s Melancolia I. Chapter Two considers Michelangelo as the exemplar of a melancholic and addresses the cultural and personal identification of him as such. The relevance of the melancholy pose to the identification of the artist in sixteenth-century Italy is demonstrated by Raphael{\textquoteright}s depiction of the melancholy Heraclitus in The School of Athens, which I accept as portrait of Michelangelo; articulated in his poetry, the artist{\textquoteright}s self-identification as melancholic is visually declared in his Last Judgment. Chapter Three addresses the works of Hieronymus Bosch, in whose art the figure of melancholy runs as something of a leitmotif, although it has remained generally unobserved; the figure serves as a running comment on the thematic concerns of the paintings-such as The Garden of Earthly Delights and Death and the Miser-at once participant and outsider. Chapter Four explores the role of melancholics in specific paintings by Bruegel, especially The Triumph of Death, and the relationship between melancholics and fools in the artist{\textquoteright}s oeuvre. Chapter Five has at its focus Titian{\textquoteright}s Flaying of Marsyas and the artist{\textquoteright}s self-inclusion in the guise of the melancholy Midas. As a conclusion, this chapter reflects on the personal significance of melancholy for Renaissance artists.}, keywords = {Renaissance/Baroque Art}, author = {Hetherington, Anna Ratner} } @mastersthesis {11633, title = {Mexico as a Center of Anti-Fascism: Global Affairs in the Taller de Grafica Popular, 1937-45}, year = {2013}, school = {IFA/NYU}, abstract = {Mexico City{\textquoteright}s Taller de Grafica Popular (TGP) has been the subject of significant scholarship which catalogues the vast oeuvre of the anti-fascist print workshop during its most productive period, 1937-1950. This dissertation examines those internal histories in dialogue with external narratives of the activist groups with which the TGP came into contact during World War II, creating a better understanding of the TGP{\textquoteright}s role in the global anti-fascist community. Chapter One considers the TGP{\textquoteright}s early history and allegiances as articulated through and in contrast to local histories, particularly the members{\textquoteright} reading of the legacy of Jose Guadalupe Posada. Through a professed allegiance to Posada and a corresponding minimization in their personal histories of avant-garde artistic production, the TGP members positioned themselves within a revolutionary narrative of distinctly Mexican roots and origins. Chapter Two contains the first major scholarly study of Jose Vasconcelos{\textquoteright} pro-Fascist magazine Timon, published in 1940 in the Nazi Embassy in Mexico. Despite a dearth of scholarship on the magazine, there are important consistencies between Vasconcelos{\textquoteright} development of indigenismo and advocacy for the Third Reich. A comparison of Timon and the TGP{\textquoteright}s reactions to fascist incursions in Mexico reveals the opponents{\textquoteright} sophisticated adaptation of their respective political philosophies in the creation of propaganda. Chapter Three and Chapter Four discuss the collaborative community created by the TGP and the German-speaking leftists who fled Fascist Europe for Mexico City. Chapter Three describes the many points of contact and cooperation between the TGP members and the emigres and the mutual benefits of their relationship. Chapter Four is a case study of their most significant product: El Libro Negro del Terror Nazi, a global collection of essays and images published in Mexico City in 1943. A study of the book reveals subtle fissures between the emigre and TGP communities. These fissures emphasize the independence of the TGP{\textquoteright}s contributions and reinforce the printmakers{\textquoteright} roles as artist-intellectuals. This understanding of TGP artists in context, in turn, serves as a powerful refutation of the center-periphery model often applied to Latin American studies. I propose instead a network model with implications beyond this particular historical moment.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Merfish, Beth} } @mastersthesis {11688, title = {Michael Sweerts (1618-1664) and the Academic Tradition}, year = {2013}, school = {Maryland}, abstract = {This dissertation examines the career of Flemish artist Michael Sweerts (1618-1664) in Brussels and Rome, and his place in the development of an academic tradition in the Netherlands in the seventeenth century. Sweerts demonstrated a deep interest in artistic practice, theory and pedagogy over the course of his career, which found remarkable expression in a number of paintings that represent artists learning and practicing their profession. In studios and local neighborhoods, Sweerts depicts artists drawing or painting after antique sculpture and live models, reflecting the coalescence of Northern and Southern attitudes towards the education of artists and the function and meaning of the early modern academy. By shifting the emphasis on Sweerts away from the Bamboccianti - the contemporary group of Dutch and Flemish genre painters who depicted Rome{\textquoteright}s everyday subject matter - to a different set of artistic traditions, this dissertation is able to approach the artist from new contextual and theoretical perspectives. It firmly situates Sweerts within the artistic and intellectual contexts of his native Brussels, examining the classicistic traditions and tapestry industry that he encountered as a young, aspiring artist. It positions him and his work in relation to the Italian academic culture he experienced in Rome, as well as investigating his engagement with the work of the Flemish sculptor Francois Duquesnoy (1597-1643) and the French painter Nicholas Poussin (1594-1665). The breadth of Sweerts{\textquoteright} artistic and academic pursuits ultimately provide significant insight into the ways in which the Netherlandish artistic traditions of naturalism and working from life coalesced with the theoretical and practical aims of the academy. This dissertation thus seeks to broaden our understanding of the artistic exchanges between the North and South, and the evolving role of the artist and the academy in the changing artistic landscape of the Netherlands in the mid-seventeenth century.}, keywords = {Renaissance/Baroque Art}, author = {Yeager-Crasselt, Lara} } @mastersthesis {11577, title = {Michel de Marolles and the Rise of Printmaking in the Grand Siecle}, year = {2013}, school = {Delaware}, abstract = {This dissertation examines the achievements and legacy of Michel de Marolles, abbe de Villeloin (1600-1681), who earned a reputation as the premier print collector of the Grand Siecle through his enterprising collecting activities, the publication of two catalogues, and the sale of his first collection to the French Crown in 1667. Marolles was a patron of the Parisian printmakers, a contributor to French prints, and a prolific author who celebrated his compatriots in verse and aspired to write a comprehensive history of the arts. His writings are sources to which connoisseurs and art historians have turned for centuries. The abbot{\textquoteright}s curiosity for woodcuts, engravings, and etchings led him to assemble two vast collections comprised of 123,400 and 111,424 works, respectively. Counted among his holdings were hundreds of volumes of prints devoted to specific painters, printmakers, and subjects, as well as illustrated books and drawings. Marolles acquired works by Italian, German, Dutch, Flemish, and French masters, and he catalogued his collections in 1666 and 1672. While a profusion of artists{\textquoteright} names and numerical totals dominate the publications, the books likewise impart valuable insights into his philosophies on collecting. The first four chapters of this study examine the biography and critical fortune of Marolles, the context in which he collected and in which his holdings were acquired for the king, his extraordinary forays into printmaking, and the two collection catalogues. The final chapter considers the ambitious, unpublished history of the arts, the rhyming Livre des peintres et graveurs of circa 1677, and Marolles{\textquoteright} influence on Florent Le Comte{\textquoteright}s Cabinet des singularitez, published at the turn of the century. This dissertation examines the full spectrum of Marolles{\textquoteright} contributions to the history of printmaking, and provides a contextual case study of a remarkable collector and champion of the print in early modern France.}, keywords = {Drawings/Prints/Works on Paper, Renaissance/Baroque Art}, author = {Aube, Christina} } @mastersthesis {11663, title = {Michelangelo{\textquoteright}s Marian Imagination}, year = {2013}, school = {Virginia}, abstract = {Michelangelo scholarship has traditionally focused on the artist{\textquoteright}s images of the male nude and the artist{\textquoteright}s biography. By contrast, the artist{\textquoteright}s depictions of women have been largely overlooked. This project represents the first comprehensive study of the artist{\textquoteright}s Madonnas: a subject that spanned decades and media. In situating them in their contemporary religious and visual contexts, I demonstrate that Michelangelo{\textquoteright}s images of the Madonna have much to tell us about the artist{\textquoteright}s religious understanding, his contemporary religious milieu, and likewise provide a vital means for exploring his expert manipulation of visual imagery. The first chapter treats Michelangelo{\textquoteright}s early Madonnas, particularly their theological and iconographic connections to the pagan, prophetic women known as sibyls. These so-called "sibylline" Virgins give visual form to Mary{\textquoteright}s prophetic nature as explored in the books of Wisdom and Isaiah. The second chapter provides, for the first time, a liturgical and devotional context for Michelangelo{\textquoteright}s Rome Pieta. This work, commissioned by a French cardinal for his tomb monument, was part of a larger ensemble of worship and death. The third chapter seeks the presence of the Virgin Mary in the Sistine Chapel by examining the most understudied of places: the lunettes. The families pictured in the lunettes, as the Ancestors of Christ, not only announce the coming Savior, but also his Immaculate mother, which closely conforms to contemporary Franciscan theology. The fourth chapter re-examines Michelangelo{\textquoteright}s gifts for Vittoria Colonna in the context of her devotion to the Madonna and the practice of mediation. Inspired by his friend and spiritual guide, Michelangelo{\textquoteright}s Florence Pieta is an early attempt by the artist to combine art and meditation. The fifth and final chapter argues that Michelangelo, through his relationship with the Jesuits, combined his devotional and artistic practice in his late drawings and sculpture. Ultimately, it was the Virgin who Michelangelo repeatedly contemplated and meditated upon as he faced death.}, keywords = {Renaissance/Baroque Art}, author = {Fenichel, Emily} } @mastersthesis {11619, title = {Minoan Town Planning}, year = {2013}, school = {Temple}, abstract = {"Prehistoric Town Planning in Crete" was published in 1950 by Richard Hutchinson. He determined there was no evidence of town planning on Minoan Crete except for two instances. Hutchinson{\textquoteright}s approach compared the layout of the few excavated Minoan towns to other contemporary sites, such as Kahun, Egypt and Harrappa, India. These towns were laid out in grid-like squares, on flat, level ground. Compared to these sites the settlements on Crete appeared as an amalgamation of disorganized, organic growth. More than half a century has elapsed between Hutchinson{\textquoteright}s article and this study. Within that time many more Minoan sites and towns have been excavated and published. This greater corpus offers an opportunity to examine Minoan town planning with a new eye. This greater number of excavated Minoan towns allows for a study of town planning by comparing Minoan communities to one another. When an investigation is done comparing sites within Crete only, a pattern starts to emerge. To accomplish this analysis nine elements of Minoan town planning are defined, examined at individual sites, and compared among settlements. These nine elements are: 1. A street system adhering to the natural contours of the land; 2. Buildings arranged in irregular, attached blocks defined by the street system; 3. A large plateia or centrally located community court easily accessible from all parts of the town; 4. Other open public spaces throughout the settlement; 5. An elite building near the plateia; 6. Public buildings in which there is no habitation; 7. Semi-public buildings; 8. Built fortifications; 9. Extramural dependencies, which are structural features or natural areas outside the borders of the town proper but are an integral part of the community. This comparison elucidates a very specific and existing type of Minoan town planning. It began at least as early as Early Minoan II and reached its apogee in Late Minoan I. What at first glance looks random, is not. Minoan towns were laid out within the constraints of the local landscape and with the desired aesthetic. The result was a lifestyle in LM I far beyond subsistence living.}, keywords = {Greek/Roman Art}, author = {Papit, Judith} } @mastersthesis {11464, title = {Mission Galactic Household: The Resurgence of Cosmological Imagination in the Architecture of the 1960s and 1970s}, year = {2013}, school = {Princeton}, abstract = {This dissertation traces a resurgent cosmological imagination in the architecture of the 1960s and 1970s. It documents how the exploration of outer space fueled a radical ecological architectural debate that addressed the reinvention of the household and domestic economy, as both a scientific and an ontological project. I am arguing that in the anticipation of a cosmic view and the search for our coordinates in the universe, there was a disciplinary inflation of previous perceptions of habitation, amplifying the household to an interplanetary organism that can capture the immensity of the cosmos and the obscure density of living systems. Reflecting the spectacle of a finite "spaceship-earth," previous concepts of nature{\textquoteright}s flawless preservation, as separated from the urban milieu, engendered a novel naturalism of artificial ecology, where the functions and operations of nature were copied as precise analogues in man-made systems. At this time, the space program played a fundamental role in the reformation of the building industry, effectively adopting, rationalizing and simulating nature{\textquoteright}s operations in the cautious cycling of provisions. The potential for conversion of all waste materials into useful ones became eminently important, as a means of survival within the enclosed space of the spacecraft. However, NASA{\textquoteright}s experiments were not only evoking unearthly fictions; they were a catalyst for re-thinking transformed social and technical relationships as architectural problems, particularly in the domestic sphere. The space program, as a paradigm of reinventing habitation in extreme physiological conditions and instrumentalizing human agency in terms of input and output invoked an ecological sense of inhabiting the world, as seen in houses equipped with digesters, hydroponic systems, composting devices, solar components and wind generators. The projection of humanity to outer space gestated a new type of a recirculatory house, a cybernetic laboratory that can reproduce the ecosystem in its totality in smaller closed systems. In light of this lineage, my study explores the critical intersection between ecology, cybernetics and experimentation with materials and building processes. Bringing this discussion to face contemporary debates, it is worthwhile to observe that two major peripheral areas of the architectural discipline-computation and sustainability-that are considered in almost all cases as disjunctive or irrelevant fields stem from equivalent epistemological aspirations and converged at a time when cosmological imagination (and the idea of leaving the earth) was a core disciplinary preoccupation.}, keywords = {Architectural History/Historic Preservation, Performance Studies}, author = {Kallipoliti, Lydia} } @mastersthesis {11627, title = {Moche Mural Painting at Panamarca: A Study of Image Making and Experience in Ancient Peru}, year = {2013}, school = {Harvard}, abstract = {This dissertation is a study of the late Moche murals found within the adobe temples of Panamarca, Peru (ca. 600-850 CE). This project was designed to redress the problem of iconographic decontextualization of the Panamarca paintings that, through limited documentation and repetitive scholarly publication, had become effectively untethered from their material moorings and spatial settings. New fieldwork succeeded in contextualizing and conserving remains of all known mural paintings. This field research also resulted in the discovery of a new corpus of paintings at the site. Together these paintings form a case study on image making and visual experience in a Pre-Columbian era without contemporaneous writing. This art historical study of archaeological monuments makes several contextual moves. Most concretely it mounts evidence for the situated experiences of images by ancient beholders. This includes analysis of spatial patterns that governed both visual and kinaesthetic approaches to images, as well as forensic indices of human-image engagement and response through time. The approach is not, however, exhausted by the nested contexts of architecture, archaeology, and geography. Meaning is further established through the discernment of philosophical propositions set forth in the broader corpus of ancient Moche art, material culture, and ritual practice. This work proposes to yield emic perspectives on mimesis, corporeality, and spatiality. An embodied approach to image and space is not merely imported from theory developed elsewhere, but is grounded in the Andean cultural setting at hand. The orthodox Moche imagery of the Panamarca murals was arrayed in specific, strategic ways in both plazas and private spaces. In some areas life-size paintings may have modeled mimetic performance that perpetually enlivened ritual architecture. Elsewhere densely composed imagery would have enveloped the bodies of ritual practitioners and devotees, as they were absorbed into a private architectural repository of specialized knowledge. This is unusual in the Moche world where the innermost spaces of lavishly decorated temple complexes are themselves usually devoid of painted images. The paintings of Panamarca are interpreted as efficacious in the articulation, embodiment, and recollection of late Moche ideology and identity as it crystallized on the southern periphery in the Nepena Valley.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {Lisa Senchyshyn Trever} } @mastersthesis {11707, title = {Modernist Orientalisms: Klee, Matisse, and North Africa, c. 1906-1930}, year = {2013}, school = {Washington University}, abstract = {The ambivalent relationship between Orientalism and modernism is the central theme of this dissertation. Art historians have primarily considered Orientalism in the visual arts within the framework of the long nineteenth century. Until now, Paul Klee and Henri Matisse{\textquoteright}s separate exotic travels to Tunisia and Morocco just before World War I and their related works have been regarded as culminations of conservative academic nineteenth-century Orientalist practice. However, Klee and Matisse responded to both shifting discourses on the Orient during periods of radical social and political upheaval in Europe and the Orient as well as to changing conceptions of modernism as it entered the mainstream. This dissertation therefore argues that these modern artists engaged with Orientalist art, literature, and popular culture in order to continually redefine their own places within modernism. Furthermore, Klee and Matisse often juxtaposed Orientalism and modernism in ways that alternately uphold and interrogate their shared foundational myths of originality, authenticity, and autonomy. Thus, their work ultimately, albeit sometimes unintentionally, breaks down barriers between Orientalism and modernism, and high art and popular culture.}, keywords = {Twentieth-Century Art}, author = {McGavran, Sarah} } @mastersthesis {11609, title = {The Monumental Province: Asia and the Temples of the Roman Empire}, year = {2013}, school = {Washington University}, abstract = {This dissertation presents a study of monumental temples built or appropriated by the Romans in the province of Asia from the late 1st to the middle 2nd century AD. The practice of constructing extraordinarily large temples in Asia originated during the Hellenistic period but ceased for several centuries until the Roman Empire took control of the region and began to build monumental temples in the province. This study focuses on five temples that best represent the Roman relationship with monumental temple building in the province of Asia: the Wadi B Temple at Sardis, the Vetters Temple at Ephesus, the Red Hall at Pergamon, the Temple of Hadrian at Cyzicus, and the Temple of Artemis and Antoninus Pius at Sardis. In contrast to previous studies that examined each individual temple, this dissertation looks at them as a group according to their design, cult affiliation, size, and setting. Although each of the five temples is unique, they are unified by a shared monumentality, especially as it is encouraged by their syntheses of Roman and Greek design, affiliations with the Roman Imperial Cult, enormous sizes, and strategic placements. This study confirms that a Roman Imperial campaign of monumental temple building existed in the province of Asia and concludes that the five representative temples appear to have been constructed to promote regional acculturation within the Roman Empire. By harnessing the local Asian tradition of monumentality, the Romans built the five noted temples to be prominent reminders of Roman Imperial rule that also emphasized the rich architectural and cultural history of the region. Through these five temples, therefore, the Romans evoked the memory of a fondly remembered regional past while at the same time affirming the contributions and the importance of the province and its cities to the Empire.}, keywords = {Greek/Roman Art}, author = {Findley, Andrew} } @mastersthesis {11514, title = {Monuments to the {\textquoteright}New Woman{\textquoteright}: Public Art and Female Image-building in America, 1876-1940}, year = {2013}, school = {Iowa}, abstract = {From the late nineteenth-century until the outbreak of World War II, monuments were erected in large numbers across the United States. Critics referred to the phenomenon as "statue mania," because of the number and diversity of monuments appearing in cities across the country. Women{\textquoteright}s clubs and organizations were heavily involved in this monument culture, commissioning and raising funds for monuments to America{\textquoteright}s heroes. After the Woman{\textquoteright}s Building at the 1893 Chicago World{\textquoteright}s Columbian Exposition advanced the idea of a monument honoring women{\textquoteright}s work in civic space, organizations began to commission monuments to honor individual women. With few precedents to build on, both artists and patrons were challenged to create a visual language that could represent the work of real women, ideally. These monuments first followed the established form of the "hero statue," using historical figures to represent precedents for women{\textquoteright}s contemporary demands for the economic and social privileges of citizenship. Women became voters when the Nineteenth Amendment was ratified in 1920, but still lagged behind full economic and social equality. A brief period of experimentation in the 1920s attempted to create monuments representing the accomplishments of women{\textquoteright}s collective work, demanding recognition of the demographic at large as contributing members of the electorate. By the 1930s, "ideal" figures replaced individual identity in women{\textquoteright}s monuments, reflecting the demand to acknowledge the many women participating every day in reform work. Public monuments visually marked the narrative of women{\textquoteright}s reform work in civic space, supporting their patrons{\textquoteright} ambition for autonomy and the rights of full citizenship in a democracy.}, keywords = {Art of the United States}, author = {Shannon, Lindsay E.} } @mastersthesis {11579, title = {Moving Pictures: Motion and Time in Photography at the Institute of Design}, year = {2013}, school = {Yale}, abstract = {In 1937 a group of industrialists brought the designer, artist, and Bauhaus teacher Laszlo Moholy-Nagy from Europe to Chicago to found a new design school. Intended to educate designers who would support Midwestern industry, the school became home to the most influential fine art photography program in the United States. A group of young photographers associated with the Institute of Design [ID] in Chicago during the 1950s and 1960s responded to and engaged with emerging cultures of individual experience, speed, and moving images, which were undergoing radical change in the years following the Second World War. These emerging cultures might have rendered photography{\textquoteright}s documentary and expressive capabilities obsolete, but instead they enlivened the medium by leading its practitioners to push their work in new directions. Exemplifying these are the photographs of Harry Callahan, Aaron Siskind, and their students, including Kenneth Josephson, Ray K. Metzker, and Thomas Barrow. Responding to moving images and automobiles as new models for seeing in motion, they pushed at the limit conditions of their medium by focusing on its inability to achieve certain qualities, including fluid movement and the passage of time, within a single frame. They gave form to these limits by developing new visual languages, using extended series and experimental photographic techniques including multiple exposures, combined negatives, manipulated lenses, cut-outs, and photomontage. These visual languages exemplify the paradox that is at the center of this project: the use of photography, a medium defined by its ability to freeze motion and time, to depict those very phenomena. This dissertation has two intertwined goals: to identify the ID as one of the key places where photographers took on the relationship between still and moving images in a serious and prolonged way, and to demonstrate the extent to which the imagery produced by ID photographers formed a photographic approach that filtered documentary interests in important elements of postwar American popular culture through personal expression. Rather than understanding ID photography as an empty replaying of styles drawn from the European avant-garde without the former movement{\textquoteright}s ideological substance, as it has sometimes been understood, I argue in contrast that this work reflects profound social changes in the postwar American scene, that these photographs come out of a particular historical moment, and that collectively they make up a complex project to understand and express the novel sensations of that moment. It is an important archive of the dynamic and productive struggles of a group of photographers to explore the boundaries of their medium in a changing media environment.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Anderson, Asher} } @mastersthesis {11553, title = {The Myth of Multiculturalism: The Works of Roger Shimomura}, year = {2013}, school = {Florida State}, abstract = {This study examines the works of Roger Shimomura. I argue that the ukiyo-e elements infuse the artist{\textquoteright}s paintings and prints with a secondary iconography that is overlooked by art historians to date. I accept Shimomura{\textquoteright}s assertions that he is completely unfamiliar with the iconography of Japanese art. However, I assert that his use of this visual sign system creates new meanings in the eyes of educated viewers, beyond the intentions of the artist. In addition, I argue that Shimomura adopts visual rhetorical devices that aid in the didactic function of many of his works. This study explores how Shimomura creates and communicates ideas within individual works. Moreover, I examine particular figures that appear repeatedly in his art over time, and how these figures develop meanings that are particular to Shimomura{\textquoteright}s works. Underlying the entirety of this study is Shimomura{\textquoteright}s exploration of identity, both ethnic and personal. I utilize literature from numerous fields, including art history, history, Asian studies, literature, anthropology, and sociology. These enrich the contextual sources, including reviews of Shimomura{\textquoteright}s works, articles from journals and newspapers, and other works of art. All of this supplements interviews with Shimomura, as well as primary documents, such as his artist{\textquoteright}s statements, essays, and personal papers. Together, these materials help to create an understanding of not only the artist{\textquoteright}s working methods and intentions, but also his inspirations. In addition, the critical approaches allow me to discuss how his works are entrenched in socio-political contexts that may not be immediately apparent. Finally, these sources open up new discourses on Shimomura{\textquoteright}s oeuvre, including how he adopts disparate visual languages and utilizes them to didactic ends.}, keywords = {Contemporary Art}, author = {McCormick, Allison Morgan} } @mastersthesis {11683, title = {Naturalism and Libertinism in Seventeenth-Century Italian Painting}, year = {2013}, school = {UC Santa Barbara}, abstract = {The work of Caravaggio, which was recognized as revolutionary in his own time and exerted a profound influence on seventeenth century painting all over Europe, has prompted a wide range of interpretations among modern art historians. Some, emphasizing the controversy generated by his religious pictures, have seen him as a daringly irreverent artist, while others have found his unidealized "naturalistic" style fundamentally well-suited to the spirit of the Catholic Counter-Reformation. Some detect a boldly overt homoeroticism in many of his pictures, while others claim not to see it at all. Some understand him to have worked in an unprecedentedly direct, almost visceral way, while others emphasize his sympathy with new directions in the sciences or the intellectual sophistication with which he played his naturalistic style against the precedents of classical and earlier Renaissance art. Caravaggio{\textquoteright}s difficult personality has also lent itself to different readings. Some see him as a sociopath, if not a psychopath, while others see him calculatedly performing the role of social rebel in a manner that looks forward to the self-consciously dissident posturings of modern artists. Some art-historians have been led to conclude that he had highly-developed non-conformist values and tendencies that could be described as "libertine" in at least some of the varied senses in which that word was used during his time. The aim of this dissertation is to discuss the relation of Caravaggio{\textquoteright}s work and personal example to his immediate art-historical and cultural context, but also to trace their influence on an ever-more-disparate group of artists active in the seventeenth century in order to see whether his style, sometimes characterized as "Baroque Naturalism," actually implied a set of values beyond its efficacy as an artistic strategy, whether a commitment to it implied or was understood to imply a non-conformist or libertine orientation that might be a matter of deep conviction on the part of the artist or a position felt to be appropriate to certain themes or in certain contexts. The first chapter examines Caravaggio himself, while the second discusses three artists-Giovanni Baglione, Orazio Gentileschi, and Guido Reni-who knew him personally and responded to his work as it burst so dramatically on the scene in the very first years of the century. The third chapter discussed three artists who were active shortly afterward, whose engagement with Caravaggio testifies to a wider field of influence: Valentin de Boulogne, Domenico Fetti, and Guido Cagnacci. The final chapter sets two very different artists-Salvator Rosa and Nicolas Poussin-side by side in order to expose both the radically different responses to Caravaggio{\textquoteright}s legacy and the diverse senses in which the word "libertine" must be understood. While the evidence does seem to suggest that at least some artists utilized Caravaggesque naturalism in order to invoke a well-defined "alternative tradition," one that was understood to imply a certain range of values, very few committed themselves to his approach strictly or for very long. Poussin rejected it emphatically. Yet Poussin, too, deliberately positioned himself on the margins of the Roman art world in order to cultivate a distinctive approach to art, one that seems to have been consciously based on deeply-held philosophical convictions. The lesson seems to be that Caravaggio{\textquoteright}s example made it possible for later artists to develop strategies with which to express their dissent from the prevailing values and practices of their time, and that even if their work did not look like his, they were indebted to him.}, keywords = {Renaissance/Baroque Art}, author = {Taschian, Helen} } @mastersthesis {11713, title = {Navigating a Constantly Shifting Terrain: Yves Tanguy and Surrealism}, year = {2013}, school = {Virginia}, abstract = {Yves Tanguy (1900-1955) was one of the first visual artists to join the Surrealist movement and was considered one of its core members for the majority of his career. He was also a close friend and longtime favorite of the movement{\textquoteright}s leader, Andre Breton. Yet since his death, there has been surprisingly little written about his work that either adds to our understanding of why he remained in favor for so long and how he was able to do so. The aura of impenetrability that his paintings project, along with his consistent silence about them and a paucity of primary documents, has done much to limit the ways in which scholars, critics, and the public have been able (or willing) to engage with his work. As a result, Tanguy has been shuffled to the edges of recent developments in the critical discourse about Surrealism. This dissertation argues against the narrow, limited ways in which Tanguy{\textquoteright}s art has been discussed most frequently in the past. Such interpretations, even those penned for exhibition catalogues and monographs supporting his work, have tended to be broad, diffuse, and biographically- and chronologically-driven rather than engaged with the works of art themselves and a critical analysis of the context in which they were created. This paper seeks to re-engage Tanguy{\textquoteright}s art with the historical debates about some of the core issues that defined Surrealism, particularly those concerning proper technical approaches, subject matter, and paths of artistic development for its members, and to do so through theoretical mechanisms utilized by recent scholars to produce rich analyses of the work of Tanguy{\textquoteright}s colleagues. Each of this dissertation{\textquoteright}s three chapters is organized around an issue that was central to Surrealist ideology but that has not yet been discussed in depth in relation to its impact on Tanguy{\textquoteright}s artistic practice and career. Each chapter will address a significant set of tensions at play in Surrealism and will explore how they influenced Tanguy{\textquoteright}s mature work. Of particular importance to this project are the relationships between: figuration and abstraction (addressed in chapter 1); automatism and dream illusionism (explored in chapter 2); and artistic development and stagnation (discussed in chapter 3). These issues were central to the Surrealism{\textquoteright}s development during Tanguy{\textquoteright}s lifetime and have had an important role in shaping current writing on the movement (and his work) to this day. I will argue that with careful formal analysis, a sensitive consideration of social, political and biographical contexts, and the use of a variety of interpretive tools, his paintings can be understood as a rich and complex works of art that bear witness to Tanguy{\textquoteright}s active engagement with the ideas that shaped the cultural landscape of his era.}, keywords = {Twentieth-Century Art}, author = {Stuhlman, Jonathan} } @mastersthesis {11518, title = {Navigating Floating Worlds: Curatorial Strategies in Contemporary Chinese Art 1979-2008}, year = {2013}, school = {Princeton}, abstract = {In this dissertation, the author examines how curatorial strategies have influenced the production, exhibition and consumption of contemporary Chinese art in the post-Mao era. Over the past three decades, the exhibitionary complex for contemporary Chinese art has evolved to reflect the shifting balance of power between its primary players: the state, collectors, artists and curators. The dissertation is among the first scholarly works to historicize the production, display and consumption of art from the late 1970s to late 2000s, a period marked by the re-opening of China{\textquoteright}s doors, the 1989 Tiananmen Incident and the Beijing Olympic Games in 2008. The shaping of contemporary Chinese art into a coherent global phenomenon can be attributed in large part to the strategic and calculated approach of Chinese artists and curators who have capitalized on their hypersensitive readings of socio-political shifts, a chameleonic ability to adapt and perform to the expectations of the audience(s) in varying roles, and the clever absorption/ translation/ subversion of other cultural vocabularies into an ever-expanding lexicon they have made their own. Their efforts take place against the backdrop of seismic geopolitical shifts in China{\textquoteright}s relationship to other countries, globalization trends, and the advent of new technology that have transformed transport and communication networks. While the geographic parameters of my study extend beyond China{\textquoteright}s national borders, Beijing remains the psychological center in this mapping of contemporary Chinese art activities in the late 20th/early 21st centuries. In the first half of the dissertation, the author discusses how the Chinese government and foreign collectors have used exhibitions to further their political and economic agendas. In the second half of the dissertation, the author traces Chinese artists{\textquoteright} deepening involvement with exhibition-making, looking closely at how curatorial and artistic practices became entwined as artist-curators developed strategies of collaboration and resistance in order to navigate through the shifting cultural landscape. The author argues for the emergent role of the contemporary curator as an exhibition auteur and highlight how the cultivation of specific and new audiences have been important motivations for exhibition-making efforts, giving rise to new exhibition structures and thematic interests in exhibition-making and art practices by the early 2000s.}, keywords = {Chinese Art, Contemporary Art}, author = {Lim, Michelle} } @mastersthesis {11450, title = {The Neoclassical Backcountry: Architecture, Material Culture, and Hybrid Identities in the American South, 1780-1830}, year = {2013}, school = {Virginia}, abstract = {Merchants introduced and disseminated genteel culture and the Neoclassical style to Early Republic Backcountry residents. As Europeans and others explored communities around the Atlantic Ocean rim during the seventeenth and eighteenth centuries, they discovered local methods of basing one{\textquoteright}s worth held little value in other locations. The British elite formed an Atlantic culture - gentility - as a way of interacting and establishing political, economic, and social status. Americans living on the coast embraced gentility quickly while those living on frontier were resistant to these modes of interactions. Prior to the Revolutionary War, Europeans, American Indians, and Africans living on the American Southern frontier built shelters and made objects that followed the designs common to their place of origin. This largely politically- and culturally-separate population created a landscape filled with log cabins, wattle-and-daub houses, and wood-frame residences, and these persons employed many types of pottery, baskets, clothing, china, silverware, woven blankets, headdresses, hats, guns, knives, and agricultural tools. The Revolutionary War brought together the people dwelling in the Piedmont region with those living on the coast. Fighting for their land, their houses, their objects, their way of life fused these disparate peoples together. In the five decades after the Revolutionary War, Backcountry residents slowly embraced genteel culture, crafted houses and objects in the Neoclassical style, and participated in the Consumer Revolution by purchasing specialized goods. This dissertation explores how merchants used their houses to introduce the Neoclassical style, brought goods down the Great Wagon Road or made furniture to sell to their neighbors, and invested in a formal education to teach their children gentility.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Elliott, Jennifer} } @mastersthesis {11712, title = {Neoclassicism and National Identity: Japan, the United States, and International Expositions, 1862-1915}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation examines the imaging of national identity through the study of Japanese architecture at seven international expositions 1867-1915, preceded by its experiences in 1862, and of the United States as host at five of those events. World{\textquoteright}s fairs in this period encapsulated the most fundamental values of the modern nation-state at its dawn; challenging every participating country to distill its cultural, economic, intellectual, technological and political profile to a single, powerful materiality by which to shape global opinion. As guest and host, Japan and the United States present complementary positions of national image. Both new political entities at the time, each fervidly embraced exposition dogma, placed great importance on exposition identity, and with deliberation employed exposition image to stake a desirable position within the Spencerian hierarchy of civilization that dominated the thinking of the time. This philosophy saw Beaux-Arts neoclassicism as its quintessential expression. This dissertation analyzes why this idiom came to dominate as the framework of American expositions between 1876-1915, and how its altered in tandem with developments in the fairs themselves as the era progressed. The dissertation then analyzes this idiom with respect to Japan, then in the throes of radical transformation from a feudal system to modern polity. Among the most conspicuous and successful of guest nations, Japan exemplifies the complex challenges confronting societies whose ethnicity and heritage ran counter to accepted wisdoms, especially in light of its rapidly rising international profile. Japan stands out for the manner in which it found this philosophy a validating, effective tool towards national goals when melded in a supportive role to Confucian-Nativist Imperial ideology. To this end it adapted Neoclassicism to civic architecture at home. The dissertation shows how Japan used its exposition architecture to both domestic and international ends, epitomized by its pavilion at the 1893 World{\textquoteright}s Columbian Exposition, which in outward paradox, framed a historicist architectural image to Neoclassical norms, thus conforming to nascent notions of national-cultural identity in a way that would elevate Japan{\textquoteright}s standing as a civilization.}, keywords = {Twentieth-Century Art}, author = {Sigur, Hannah} } @mastersthesis {11666, title = {New Light on Hendrick Goudt: Artist and Nobleman}, year = {2013}, school = {Boston}, abstract = {From about 1605 to 1613, the Dutch printmaker and draftsman Hendrick Goudt produced seven prints after paintings by Adam Elsheimer, the celebrated German artist active in Rome. Goudt{\textquoteright}s prints are virtuosic works that introduced Elsheimer{\textquoteright}s famously-rare, much-admired paintings to a broader audience while showcasing Goudt{\textquoteright}s unique talents as a printmaker. Goudt also produced over three hundred drawings over the course of his career. Different from his prints, his sketches are often impulsive, unresolved works-in-progress that never supported final, or finished works of art in the conventional sense. While many are based on iconic examples, others suggest his spontaneous recording of scenes of everyday life. Since his own time, Goudt has mainly been discussed as a subordinate figure to the more famous Elsheimer. His prints are generally considered to be technically-accomplished but largely reproductive works, and his drawings understood as amateurish productions. This dissertation, in considering Goudt{\textquoteright}s life and artworks as interdependent areas of study for the first time in art historical scholarship, has three primary goals: to establish more concretely the facts of Goudt{\textquoteright}s life through a close reading of surviving archival documents; to provide a thorough understanding of his prints and drawings in terms of his technique and influences based on an analysis of his works in European and American collections; and to consider Goudt within his artistic and social context. This research draws on recent scholarly investigations of early modern print culture, integrating a more nuanced understanding of the reproductive print to elucidate Goudt{\textquoteright}s works as virtuosic performances of his self-identification as an artist, a cultivated gentleman and art lover (liefhebber ). His persona was shaped by notions of ideal behavior and etiquette promulgated in writings from the sixteenth century onward. His sketches, which demonstrate his commitment to drawing as a pedagogical tool, also relate to the practice of draftsmanship as a noncommercial activity among gentlemen, and thus suggest an image of Goudt as a privileged aesthete. In this sense, Goudt{\textquoteright}s works not only reflect his particular sense of self, but also embody the social values and ideals of the environment in which he and his artworks circulated.}, keywords = {Renaissance/Baroque Art}, author = {Harper, Katherine} } @mastersthesis {11546, title = {Noah Purifoy: Through the Fire}, year = {2013}, school = {USC}, abstract = {This dissertation examines and contextualizes the work of Noah Purifoy. Born in Snow Hill, Alabama in 1917, Noah Purifoy lived and worked most of his life in Los Angeles and Joshua Tree, California, where he died in 2004. He received an undergraduate degree from Alabama State Teachers College in 1943 and a graduate degree from Atlanta University in 1948. In 1956, just shy of his fortieth birthday, Purifoy received a BFA from Chouinard, now known as CalArts. A founding director of the Watts Towers Art Center, his earliest body of sculpture, constructed out of charred debris from the 1965 Watts Rebellion, was the basis for 66 Signs of Neon (1966), a landmark group exhibition on the riots, which traveled throughout the country. In line with the postwar period{\textquoteright}s general fascination with the street and its objects, Purifoy{\textquoteright}s 66 Signs of Neon constituted a Duchampian approach to the fire-molded alleys of Watts, a strategy that profoundly impacted artists then emerging in Los Angeles and beyond, such as David Hammons, John Outterbridge, and Senga Nengudi, who all worked with him. For the twenty years that followed the rebellion, Purifoy dedicated himself to the found object, and to using art as a tool for social change. In the late 1980{\textquoteright}s, Purifoy moved his practice out to the Mojave desert, where he lived for the last fifteen years of his life, creating ten-acres full of large-scale sculpture on the desert floor. Constructed entirely from junked materials, this otherworldly environment displays an artistic scope so diverse as to represent a veritable template for much of the art world{\textquoteright}s sculptural production of the last two decades. Noah Purifoy: Through the Fire explores a pivotal, though under-recognized, figure in the development of postwar American art whose effect is only beginning to be fully understood, investigating every aspect of his career, from his early experiences as a designer in Los Angeles{\textquoteright} flourishing midcentury design movement to his public policy work for the California Arts Council, through to his tenure in the Mojave desert.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Lipschutz, Yael} } @mastersthesis {11613, title = {Nobilibus Pinacothecae Sunt Faciundae: The Inception of the Fictive Picture Gallery in Augustan Rome}, year = {2013}, school = {Yale}, abstract = {This dissertation presents the systematic study of the beginnings of a specific historical genre of Roman mural decoration, the fictive picture gallery, during the late Republic and early Augustan period. The primary fiction of such murals was that the viewer stood inside an architectural structure outfitted with panel paintings; both the illusionistic architecture and the fictive panels, however, were worked in the same mural technique. The following dissertation combines rigorous formal analysis, specific historical inquiry, and a broad theoretical outlook; in so doing it re-evaluates not just the specific paintings under consideration but also the culture that produced them. The paintings appeared in the mid-first century BCE in structures built on the Palatine Hill in Rome; the style quickly become the dominant compositional formula in Roman wall painting during the Julio-Claudian period. The project approaches the murals from two primary perspectives. On the one hand it investigate the compositional principles of these paintings and seek to understand the pictorial logic that sustains them. On the other hand, it also attempts to situate the murals within the larger context of artistic production, consumption, and display that obtained in Rome during the late Republic and early Empire. This project seeks to reinsert Roman wall painting into the broader modern discourse of ancient art by examining the paintings of the early fictive picture gallery style from the point of view of contemporary Roman attitudes to art-including the religious, political, ethical, aesthetic, and historical-and by using the paintings, in turn, as a lens through which other Roman cultural practices may be re-evaluated. By incorporating the imitation of panel painting into the mural tradition in the first century BCE, the artists and patrons of these paintings folded a traditionally Greek style of painting into a traditionally Roman one. Accordingly the fictive picture gallery, this dissertation seeks to demonstrate, played a role in a larger re-evaluation of the function of Greek art in Rome. Understood as part of a larger response to a social issue, the fictive picture gallery style itself should be considered a socially significant phenomenon. After arguing in Chapter One for the validity and strength of the fictive picture gallery as an analytic category for the study of Roman wall painting, the dissertation proceeds both chronologically and thematically. Chapter Two traces the formal origins of the style on Roman walls and in the broader Mediterranean, and examines its flowering in the so-called House of Augustus on the Palatine Hill in Rome. Chapter Three examines the instantiations of the fictive picture gallery in the so-called House of Livia in Rome as responses to the authority of the past, including the authority of canonical Greek painters. Chapter Four considers the social and ethical status of Greek art in Rome from a broader perspective; it examines both the widespread collection and dedication of Greek art in the first century BCE and the moral debates that collection and dedication provoked. Chapter Five ranges beyond Rome to Campania, and takes up questions of medium and materiality inherent in the mural picture gallery style: as one art form is replicated in another the possibilities and boundaries of ancient concepts of media are put to the test. Chapter Six, finally, examines the murals of the late first-century BCE Villa della Farnesina. These frescoes present the densest and most complex collection of fictive panel paintings to have survived. This chapter investigates the paintings as visual testaments to a complex Roman Artworld, understood as both the mundane physical organization of art objects and the theoretical thinking lying behind that behavior. Looking both backwards and forwards, the fictive picture galleries explored in this dissertation established a new tradition in Roman wall painting that would to endure for over a century, but they did so by self-consciously conceiving that tradition in direct relation to earlier painting practices. In the relations they stage between panel and mural, past and present, and authority and novelty, these paintings reveal fundamental aspects of the ancient Roman concept of art itself.}, keywords = {Greek/Roman Art}, author = {Jones, Nathaniel} } @mastersthesis {11601, title = {Noir/Blanc: Representations of Colonialism and Cosmopolitanism in Eighteenth-Century Painting}, year = {2013}, school = {UC San Diego}, abstract = {Anne Louis Girodet showed his portrait of Belley at the Salon of 1798 during the height of the Directory government. Belley represented a history of where France had been and where it was at the time. When we look upon Girodet{\textquoteright}s painting we are compelled to reflect upon the sacrifices of three revolutions as well as the slave trade itself. Girodet absorbs and re-articulates an entire epistemology of the black figure in anglo as well as French painting. Belley accounts for a great deal of aesthetic shifts in fashion as well English effects on French artistic practices. Girodet presents not only a challenge to history painting but academic practices with regards to the body. What we see in Belley is a new France where a black man, former slave, can rise to be a French aristocrat. At the same time that Belley was being painted a young military officer from Corsica was starting to make a name for himself in France. Napoleon Bonaparte would have a meteoric rise to height that no one in the modern world has since surpassed. Ever present in his mind and manner, though, were his roots on the tiny island possession that had been conquered by France just before his birth. Through painting and controlled artistic propaganda we see Napoleon emerge as a figure who articulates the northern and southern extremes of his empire in addition to the historical lineage he attempts to lay claim to. Ingres{\textquoteright} 1806 of Napoleon Enthroned, later to be re-imagined by Andrea Appiani, is the concluding presentation of a body that has left the Mediterranean world and scaled the heights of Valhalla as well as absorbed the presentation of the ancient caesars. Like Belley, Napoleon is born into colonialism. Both men, however, break their chains. Each is ascendent and in representation shows a worldliness that few at the time possessed. Belley was capable of moving beyond the Atlantic and the West Indies to become a cosmopolitan man. So too was Napoleon a man of the world, however, in his case, it was a world which he controlled.}, keywords = {Eighteenth-Century Art}, author = {Jarvis, Matthew W.} } @mastersthesis {11458, title = {Normandy{\textquoteright}s Role in the Development of the Flamboyant Style: Decoration, Meaning, and Exchange in Late Gothic Architecture}, year = {2013}, school = {Iowa}, abstract = {This dissertation explores the significance of Norman Flamboyant architecture by considering its origins, its local meanings, and its place in the larger narratives of late medieval architectural history. This examination of Normandy{\textquoteright}s role in the development of the Flamboyant style includes a brief assessment of the historiography of the Late Gothic period, with emphasis on questions of regional and national identity. Since many elements of the Flamboyant style had been imported from the Decorated Style that developed in England, a country with which France was still at war when the Flamboyant began, the relationship between these traditions remains controversial even today. To address this controversy, this project examines the motivations of Norman patrons who employed these new forms in the context of the Hundred Years War, before going on to consider the later phases of the Flamboyant, adopted in Normandy after the expulsion of the English, and the demise of the style in the decades after 1500. By linking architectural form and social context, this work clarifies the history of Norman Gothic architecture and its cultural significance.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Kerrigan, Steven J.} } @mastersthesis {11544, title = {Objects Without Object: The Artwork in Flux, 1958-1969}, year = {2013}, school = {UCLA}, abstract = {This dissertation examines the late-20th-century transformation of the art object through the practice of Fluxus, an international, neo-avant-garde artist collective founded in 1962 and centered in New York. Focus is given to three key figures: George Maciunas (Lithuanian-American, 1931-1978), George Brecht (American, 1926-2008), and Robert Filliou (French, 1926-1987). It traces chronologically these artists{\textquoteright} development of three central Fluxus formats-the event score, Fluxbox multiple and Fluxshop-as they confronted established object categories pertaining to the mediums of music, painting, and sculpture; the emergent category of the multiple; and prevailing economic models of the commodity and the store/gallery. Fluxus was informed by the aesthetics of music, in particular the work and teaching of experimental composer John Cage. Chapter 1 thus provides an historical analysis of graphic notation in the 1950s in order to fully articulate the implications of the score model taken up by Fluxus artists in 1958-here seen as the foundational "diagram" for the Fluxus object. Chapter 2, focused on Brecht, examines the interrelation between the artist{\textquoteright}s event scores and object practice centered on readymade objects, here newly defined as "notational objects." Chapter 3 turns to Maciunas{\textquoteright}s production of Fluxbox multiples and that format{\textquoteright}s relationship to the medium of sculpture, the emergent market for artist multiples, and 1960s commodity culture, elaborating a theory of the Fluxbox as "transitional commodity." Finally, Chapter 4 considers the aesthetic and political potential of Fluxus{\textquoteright}s "unworking" by the late 1960s through experimental forms of distribution and community-building modeled in the under-recognized work of Filliou. The project thus moves from an articulation of the origins of Fluxus{\textquoteright}s unique object model to a theorization of how the group{\textquoteright}s "objects without object" (to borrow the title of a work by Filliou) amounted to a radical statement about postmodern subjectivity and community formation. It provides a new account of Fluxus and of a crucial moment within the paradigm shift in postwar artistic practice toward the conceptual, ephemeral, and performative art forms that have come to define the post-medium condition of postmodern and contemporary art.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Harren, Natilee} } @mastersthesis {11580, title = {Old in Substance and New in Manner{\textquoteright}: The Scultori and Ghisi Engraving Enterprise in Sixteenth-Century Mantua and Beyond}, year = {2013}, school = {Johns Hopkins}, abstract = {This dissertation seeks to reframe the way in which the prints of the incisori Mantovani, Giovanni Battista (1503-1575), Adamo (1530?-1587) and Diana Scultori (1547-1612), and Giorgio Ghisi (1520-1582), are examined. Previously, their contributions in the printmaking process, largely engraving prints that are after the designs of other artists, have been dismissed as reproductive. This dissertation examines the ways in which these printmakers worked to elevate their engravings from simply reproductive to creative works of art in their own right. Their engravings, which certainly took inspiration from the designs of Giulio Romano, among others, were not the product of a close collaboration between a master and the engravers. Instead, the engravers appear to have worked fairly autonomously, in Mantua and elsewhere, engaging with and manipulating their source material, experimenting technically and in the design of their prints, and finally questioning the role of engraving within the greater framework of artistic practice in the sixteenth century. Chapter one examines the work of Giovanni Battista, who used printmaking as a creative outlet, seeking a freedom not possible in his other sculptural projects that were carried out according to the specifications of patrons and artistic masters. His engravings can be seen as an attempt to "conquer" these outside influences. Chapter two considers the prints and career of Adamo Scultori, who used his prints to comment on the "enslavement" of reproductive printmakers to their sources. Chapter three focuses on the engravings of Giorgio Ghisi, who explored the artistic power of "re-animation," creating prints that resulted from a careful interweaving of other artists{\textquoteright} work with his own inventive contributions. Finally, chapter four examines the work of Diana Scultori, who sought to assert her learning through her prints and prove herself as an "initiate" into a literate community. In many of their prints, these four printmakers looked to achieve their ends through the inclusion of specific details that grounded the subjects of their prints, often biblical or historical in nature, within a specific sixteenth-century context. In doing this, they imbued their prints with an enhanced appeal by adding multiple meanings, celebrating the potential that printmaking held as an artistic medium.}, keywords = {Drawings/Prints/Works on Paper}, author = {Letwin, Hilary Hunt} } @mastersthesis {11715, title = {The Origins of Abstraction: Arthur Dove and American Modernism, 1910-1930}, year = {2013}, school = {Northwestern}, abstract = {This dissertation examines the first two decades of Arthur Dove{\textquoteright}s career as an American modernist. Tracing the origins of his bellwether nonobjective abstraction, my account places Dove{\textquoteright}s work and its reception within the broader sweep of institutional transformation then unfolding across the American artworld, from the politics of the exhibition of modern art to the burgeoning networks of art criticism. It is also concerned with the particular character of his abstraction and its capacity to resonate with contemporary American culture and experience. Within this framework, several themes make themselves known. First, there is the overlooked relationship between Dove{\textquoteright}s first foray into nonobjectivity and his understanding of the transatlantic ties between European modernism and its American possibility. Turning on questions of belatedness, the anxiety of influence, and national identity, I explore how the artist strategically positioned himself by turns within and against existing aesthetic traditions at home and abroad. Second, I also consistently investigate contemporary notions of "Americanness," the prevalent desire on the part of artists, critics, and other cultural figures to create an authentic-that is to say, native-American modernism, and the role nativist discourses played in Dove{\textquoteright}s agency, ambitions, and reception. Finally, there is the issue of Dove{\textquoteright}s abstraction itself. Calling new attention to the significance of nature in his paintings, I map the theories and working methods driving his work onto a cultural reconceptualization of the natural environment taking place in the United States. Moving in rough chronological fashion, each chapter concentrates on a limited number of artworks I consider as essential to understanding the artist{\textquoteright}s larger project at the time, especially revealing of significant aspects of culture in the United States during the teens and twenties, and crystallizing the institutional forces shaping modern American artistic identity. Throughout this study, I argue that Dove{\textquoteright}s status within established narratives of early twentieth-century American modernism nonetheless provides the opportunity for a new perspective on the period. Although long treated by his critical and historical interlocutors as an isolated, autochthonous inventor of a wholly American form of abstraction, this dissertation reveals an Arthur Dove deeply embedded in and engaged with the art and thought of the period.}, keywords = {Twentieth-Century Art}, author = {Tomlin, Patrick} } @mastersthesis {11616, title = {The Origins of Concrete in Rome and Pompeii}, year = {2013}, school = {Michigan}, abstract = {This dissertation presents an analysis of early concrete architecture in Rome and Pompeii. In the past, scholars of Roman building techniques have looked to these sites to date the introduction of concrete in the third c. BCE, on the basis of false ideas of evolutionary progress in the development of the technology. Pointing out the circularity of the arguments with which types of wall-facing, wall-painting, and decorated floors have been used to support the proposed chronology, I suggest that reliable dates can only be derived from ceramic assemblages collected from construction and occupation levels. The analysis concentrates on buildings for which stratigraphic data are available. The sample size in both Rome and Pompeii has dramatically increased in recent years, thanks to a new wave of excavations. While the archaeological record for the Middle Republican period (late fourth/third c. BCE) remains elusive, the evidence demonstrates that concrete first appeared around the middle of the second c. BCE. The implementation of the technique in public construction seems to have followed a phase of experimentation in the private context, for the refashioning of elite houses. Because the organization of public building in both Rome and Pompeii was in the hands of a small number of aristocratic families, who commissioned the work to private builders, this phase was probably not too long. Indeed the earliest public monuments at both Rome and Pompeii can be dated to the period from 150 to 125 BCE. The massive spread of concrete, however, can be more clearly seen only in the final decades of the second c. BCE. The new chronology demonstrates that the technological change was not a symptom of the Roman conquest of Italy, as previously thought. Concrete architecture emerged at a time when Rome{\textquoteright}s socio-economic foundations had already developed. Furthermore, the simultaneous adoption of the new technique in Rome, Pompeii and Campania undermines the idea that Rome had a direct role in its diffusion. The impetus came from local elites, often of non-Roman origin, in the context of broader changes in self-representation, which eventually brought about what we refer to as Roman Republican Architecture.}, keywords = {Greek/Roman Art}, author = {Mogetta, Marcello} } @mastersthesis {11575, title = {Ornament after the Orders: Percier, Fontaine, and the Rise of the Architectural Interior in Post-Revolutionary France}, year = {2013}, school = {MIT}, abstract = {This dissertation explores the collaborative work in interior decoration undertaken by the French architects Charles Percier (1764-1838) and Pierre-Francois-Leonard Fontaine (1762-1853), in order to argue that their shared aesthetic positioned the interior at the crux of a modem architectural discourse no longer dependent upon a Vitruvian theory of the orders. Percier and Fontaine{\textquoteright}s influential decoration book, the Recueil de decorations interieures (1801-1812) serves as my point of departure for investigating their idea of interior decoration and its engagement with the complex cultural milieu of France, circa 1800, from the end of the ancien regime to the rise of a militarized empire under Napoleon Bonaparte. Approaching Percier and Fontaine{\textquoteright}s interior decoration partnership from different thematic angles, this interdisciplinary study demonstrates their vital role in shaping the unexpected contours of modern architectural thought. Against the widespread revolutionary destruction of monuments, ornament, rather than the orders, ensured architecture{\textquoteright}s survival. Percier and Fontaine{\textquoteright}s vision of the interior signaled a movement away from an architecture of monumentality towards one of mobility, a shift precipitated by the violence of political events, the disciplinary pressure of engineering and the emergence of new conceptions of history. Scholars have argued that the utilitarian techniques of engineering constituted the primary impetus behind the formation of a post-Vitruvian building culture in France. By contrast Percier and Fontaine reaffirmed architecture{\textquoteright}s alliance with sculpture, painting and engraving, harnessing these artistic forms to new ends in their design practice. Through the Recueil, Percier and Fontaine claimed the interior-untouched by the spatial symbolics of the revolution-as architectural theory{\textquoteright}s proper terrain. Yet their publication simultaneously presented a fragile discourse of fragments, in which architecture was subject to the vagaries of fashion, commerce and history. Percier and Fontaine turned to their experiences designing theater sets in order to construct settings that would legitimize Napoleon{\textquoteright}s military conquests, beginning with the bellicose motifs at the chateau de Malmaison. Although the architects sought to colonize the interior as a site of Napoleonic power, it proved to be a porous and itinerant site of meaning that could not be claimed as the central domain of imperial force-or architecture-alone.}, keywords = {Drawings/Prints/Works on Paper, Eighteenth-Century Art}, author = {Moon, Iris} } @mastersthesis {11600, title = {Owing to Nature and Art: The Garden Landscape and the Eighteenth-Century French Interior}, year = {2013}, school = {IFA/NYU}, abstract = {The aim of this study is to chart the ways in which the garden landscape came to define the space of the domestic interior in eighteenth-century France. Framed within the broader context of contemporary cultural and intellectual discourse, this project considers the points of exchange between the garden landscape and the visual arts in France in the eighteenth century. The first chapter considers the ways in which the libertinage of the Regency, when the aristocracy was in retreat from Versailles to the urban gardens of Paris, left its mark on painting and art production. Reflecting Regency social practice, the private urban garden was ever present in the configuration of Parisian domestic interiors of the 1720s and 1730s. Through its unapologetic artifice, the rococo embodies the tension inherently present between the natural world and art objects. The second chapter builds on the idea of the rococo established in the previous chapter by addressing the intersection of interior spaces and decorative programs with the study of the natural sciences. The discourse on naturalia and the visual arts produced in the first half of the eighteenth century placed emphasis on sensory knowledge, particularly an object{\textquoteright}s potential to appeal to the eye. Considered in the context of aesthetic philosophy, the third chapter, through careful readings of selected examples of libertine fiction, likewise engages with the eighteenth-century polemic on the erotics of vision. Garden theory and design underwent significant change in the second half of the eighteenth century, from adherence to a more structured model of the earlier decades of the century, to a looser one betraying more of a painterly aesthetic. The subject of the final two chapters is pleasure pavilion architecture, closely associated with Regency libertinage, however, now situated within the altered context of the picturesque landscape. The artificial relaxation of order imposed on nature can be understood as directly proportional to the distancing of garden landscape design from the application of ideas related to scientific inquiry.}, keywords = {Eighteenth-Century Art}, author = {Cannady, Lauren} } @mastersthesis {11572, title = {Owning the Exotic: Production of Hispano-Islamic Lusterware and its Reception in Western Europe, 1350-1650}, year = {2013}, school = {CUNY}, abstract = {Lusterware, tin-glazed pottery decorated with striking iridescent designs, was first made in Basra, Iraq, in the ninth century. These luxury ceramics and the specialized technique involved in their creation spread rapidly throughout the Islamic world, with the Iberian Peninsula ultimately becoming a center for production. This dissertation examines the social, historical, and artistic circumstances surrounding Hispano-Islamic lusterware production and provides insight into its reception in Western Europe during the height of its consumption from 1350 to 1650. Given that available scholarship on Hispano-Islamic lusterware is primarily concerned with archaeological excavation, trade practices, and formal analysis, our understanding of what this pottery meant to the artists who created it and to the patrons whose tastes it satisfied has remained unclear. My dissertation clarifies these aspects by viewing both the creation and patronage of this lusterware as driven by its conception as an exotic luxury item in the Iberian Peninsula as well as in Northern Europe and Italy. Moreover, while waning lusterware consumption in sixteenth- and seventeenth-century Europe, and Spain in particular, has been viewed as evidence of a change of taste imposed by the growth of an Italian Renaissance aesthetic, I demonstrate that new types of attainable exotica, such as Chinese porcelain and New World ceramics, also diminished lusterware{\textquoteright}s popularity.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Ortuno, Andrea} } @mastersthesis {11591, title = {Owning the Exotic: Production of Spanish Lusterware and Its Reception in Western Europe, 1350-1650}, year = {2013}, school = {CUNY}, abstract = {Lusterware, tin-glazed pottery decorated with striking iridescent designs, was first made in Basra, Iraq, in the ninth century. These luxury ceramics and the specialized technique involved in their creation spread rapidly throughout the Islamic world, with the Iberian Peninsula ultimately becoming a center for production. This dissertation examines the social, historical, and artistic circumstances surrounding Hispano-Islamic lusterware production and provides insight into its reception in Western Europe during the height of its consumption from 1350 to 1650. Given that available scholarship on Hispano-Islamic lusterware is primarily concerned with archaeological excavation, trade practices, and formal analysis, our understanding of what this pottery meant to the artists who created it and to the patrons whose tastes it satisfied has remained unclear. My dissertation clarifies these aspects by viewing both the creation and patronage of this lusterware as driven by its conception as an exotic luxury item in the Iberian Peninsula as well as in Northern Europe and Italy. Moreover, while waning lusterware consumption in sixteenth- and seventeenth-century Europe, and Spain in particular, has been viewed as evidence of a change of taste imposed by the growth of an Italian Renaissance aesthetic, I demonstrate that new types of attainable exotica, such as Chinese porcelain and New World ceramics, also diminished lusterware{\textquoteright}s popularity.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Ortuno, Andrea} } @mastersthesis {11584, title = {Pagan Roman Religious Acculturation? An Inquiry into the Domestic Cult at Dura-Europos, Ephesos, and Karanis: The First to Fifth Centuries CE}, year = {2013}, school = {Temple}, abstract = {The ancient Roman domestic cult is often overlooked and marginalized in favor of state sponsored practices, monuments, and temples; yet it can give us insights into daily life, cultural interactions, and personal identity in the Empire. In my dissertation, I recreate a selection of domestic contexts in order to learn more about private cultic practices, thus illuminating those activities and behaviors that may be far removed from what appears in the literary sources or in monumental reliefs and paintings. Furthermore, the era considered is a crucial period in the history of the western world that included the rise of Christianity and dramatic changes in Roman pagan cults. By concentrating on the Roman East, I produce information relating to these changes outside of Italy and study the impact on cross-cultural exchanges and identities formulated by the Roman colonization of these cities. The Roman domestic cult in Italy invoked specific gods to maintain the well-being of the home in small shrines within the house. Material evidence for these practices survives in the form of statuettes and wall paintings of the gods, incense burners, and altars. Other divinities chosen by the head of the household could join or supplant the traditional domestic deities. These additions to private shrines acted as protective patron gods of the household and they reveal a personal relationship between deity and devotee. One barrier to the understanding of the domestic cult in its original context is the nature of multiculturalism in the Roman Empire. In the nineteenth and early twentieth centuries, scholars tended to equate the Roman Empire with the concept of the modern nation-state. The Empire was seen as a cultural juggernaut that disseminated a uniform Roman identity that was sent out from Italy to the provinces. Evidence for "Romanization" was noted in the introduction of the Roman city plan, and Roman habits were seen in new types of public buildings such as baths or amphitheaters, the adoption of Roman coinage, the toga and the Latin language, and the introduction of Roman cults, especially the cult of the emperor. Most scholars today prefer to view the expansion of the Empire as a process that included reciprocal acculturation between natives and their Roman masters. Using this model, I examine religious cross-currents on a domestic scale, thus contributing to the current scholarly discussion. By exploring the cult in the home, we can get a better indication of the interaction between native and Roman in the private sphere. Scholars agree that we can learn more from smaller, regional studies; it cannot be assumed that the same things occurred in all parts of the empire and at all times. The case-study approach has replaced the sweeping and sometimes vague histories of years past. I have chosen three sites from the Roman East since they have an abundance of material evidence that has not been exploited to its full potential: Karanis (modern Egypt), Ephesos (modern Turkey), and Dura-Europos (modern Syria). The significance of my project is three-fold. I present previously unpublished material from important sites in the Roman East. By looking at these three sites, I expand the dialogue from the singular discussion of domestic religion in first-century Italy, thus enriching it substantially. Through the consideration of acculturation between east and west I contribute to the discussion of "Romanization" in the first to fifth centuries CE. By comparing these sites with those better published, such as Pompeii and Ostia (Rome{\textquoteright}s port, largely abandoned in the second half of the third into the fourth centuries), I can more clearly show the contrast between the two halves of the Empire. My goals will be to determine how (and if) "Romanization" can be seen in these locations, what the impact of local artistic styles and indigenous deities is, and how the reciprocal relationship manifests in daily religious practices within the home.}, keywords = {Early Christian/Byzantine Art}, author = {Yandek, Amy} } @mastersthesis {11571, title = {Painting and the Luxury Arts in Paris, 1490-1515: Objects and Their Urban Contexts}, year = {2013}, school = {Virginia}, abstract = {How do you deal with collaborative artistic practice, particularly in a context where production processes differed so greatly from those ascribed to the Artist, that imagined genius who works alone? How do you reconstruct an artistic tradition when you have just enough archival information to provide the names of artisans and brief glimpses of their careers, but rarely the actual objects they produced? This dissertation offers answers to these questions, while also presenting a methodological framework and approach to collaboration that can be used in the study of other artistic centers before the bifurcation of artists from artisans. Across four chapters, this study examines the varied creative and social lives of Paris{\textquoteright} painters (chapter 1), printers and illuminators (chapter 2), tapestry weavers (chapter 3), and embroiders, goldsmiths, and ivory carvers (chapter 4), with an eye to patterns of cross-community relationships. To clarify and organize the different kinds of collaborative making that were prevalent in Parisian artistic production ca.1500, a "taxonomy of collaboration" is used throughout the text: translational collaboration (from designs to finished objects in other media), homogeneous collaboration (production between members of the same profession), and hybridizing collaboration (objects that incorporate the labor of individuals from different artistic professions). Concepts that move beyond the limitations of art history{\textquoteright}s propensity for specialization that privileges a single medium, these categories also mark the usefulness of genealogy and urban history for the analysis of cooperative artistic relationships - family members and neighbors being a readymade pool of potential collaborators. Completing this reconstructive process is the addition of a set of hitherto untranscribed documents: estate inventories that record the visual material of contemporary domestic spaces. Like genealogy and urban history, using inventories to approach the subject of Parisian artistic production from 1490-1515 can appear oblique. Their evidentiary value, however, is cumulative. Each small addition, whether a newly attributed object or a social connection between artists, brings to light more information about this context, each detail adding to our understanding of this moment in French art.}, keywords = {Decorative Arts/Textiles/Design History, Renaissance/Baroque Art}, author = {Baker, Katherine} } @mastersthesis {11636, title = {Paintings of the Sapa Inka: The Construction of History and Legitimacy in Colonial Peru}, year = {2013}, school = {UCLA}, abstract = {This dissertation examines a genre of art, paintings of the Pre-Columbian Inka dynasty, that were produced in Peru for three centuries, beginning with the earliest years of colonial rule and enduring into the first decades following Peru{\textquoteright}s independence from Spain. The genre emerged from the chaos of conquest and is notable for the diversity of its patronage. The paintings were collected by indigenous descendants of the Pre-Columbian Inka rulers, the Spanish colonial government, creoles (American-born Spaniards), and even foreign travelers. Furthermore, paintings of the Inka could be found in a variety of contexts, both public settings and private spaces, including the homes of indigenous elites in Cusco, indigenous parish churches in Lima and elsewhere, Lima{\textquoteright}s cabildo (city hall), in the residences of elite creoles, and even in the royal collection in Madrid, Spain. Because it focuses on understanding the significance paintings of the Inka accrued in those multiple contexts, the study gives insight into how representations of the Inka past were used to articulate political, cultural and social identities that were constantly in flux. Throughout this study, paintings of the Inka are read in conjunction with other sources in order to flesh out the discourses with which they intersected. These sources include: other artworks that are contemporary with the genre; historical documents, among them colonial accounts of Inka history written from the perspective of indigenous and European authors, archival documents including legal proceedings and wills, and traveler{\textquoteright}s accounts of Peruvian society. My study advances how paintings of the Inka provided a historical basis that legitimized their patrons. Rather than seeking a unified theory of the genre and its significance, the dissertation highlights how the paintings{\textquoteright} meanings were dependent on the diversity of their contexts of reception. While, in general, the subject matter and style of the paintings changed little over time, the period of the paintings{\textquoteright} production was marked by dramatic historical and political shifts, ranging from the years in which Spain{\textquoteright}s power was being consolidated to those in which Spain{\textquoteright}s hold over its Peruvian territories was in decline. Because paintings of the Inka were a means through which the paintings{\textquoteright} patrons could locate themselves historically and culturally within Peruvian society, the implications of the paintings likewise transformed. Paintings of the Inka could convey their subjects as noble ancestors or defeated enemies. They could uphold the legitimacy of the Spanish conquest of the Inka or question the limits of Spain{\textquoteright}s power. By focusing on how the paintings created meanings that, in some instances, intersected and overlapped, while in others were divergent and contradictory, the dissertation advances understanding into the shifting perceptions of the Pre-Columbian past, and the vital function of that past in constructing one{\textquoteright}s place in the present.}, keywords = {Latin American/Caribbean Art}, author = {Stephens, Janet Garver} } @mastersthesis {11502, title = {Paper Bullets: The Visual Culture of American World War II Print Propaganda}, year = {2013}, school = {Boston}, abstract = {This dissertation analyzes American World War II propaganda generated by the Office of War Information (OWI), the nation{\textquoteright}s primary propaganda agency from 1942 to 1945. The visual rhetoric of printed OWI propaganda, including posters, brochures, newspaper graphics, and magazine illustrations, demonstrated affinities with advertising and modern art and exhibited an increasingly conservative tone as the war progressed. While politically progressive bureaucrats initially molded the OWI{\textquoteright}s graphic agenda, research reveals how politicians suppressed graphics that displayed the war{\textquoteright}s violence, racial integration, and progressive gender roles in favor of images resembling commercial advertisements. To articulate the manner in which issues of American self-representation evolved during the war, this study examines the graphic work of artists and designers such as Charles Alston, Thomas Hart Benton, Charles Coiner, Ben Shahn, and Norman Rockwell. The investigation unfolds across four chapters. The first chapter examines the institutional origins of American World War II propaganda by exploring the shifting content of New Deal promotional efforts during the 1930s and early 1940s. This analysis is critical, as government agencies used propaganda not only to support economic recovery during the Great Depression, but also to prepare Americans for war before the Japanese attacked Pearl Harbor. The second chapter analyzes the ways OWI increasingly suppressed depictions of violence as the war progressed. While the agency distributed traumatic images of Axis hostility early in the war, such work was later deemed "too aggressive" by former advertising executives turned federal bureaucrats who preferred more friendly, appealing graphics. The third chapter focuses on propaganda intended for African Americans, whose support for the war was divided due to racist Jim Crow legislation. This section analyzes OWI efforts to address the nation{\textquoteright}s largest racial minority through posters, brochures, and newspaper graphics. The fourth chapter examines the OWI{\textquoteright}s efforts to influence middle-class white women, a demographic of consumers whose influence grew as the war progressed. This includes an examination of the OWI{\textquoteright}s role in modifying the "Rosie the Riveter" mythology in contemporary advertising to encourage women to pursue jobs outside of factory work.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Porter, Austin} } @mastersthesis {11649, title = {Paris-Vienna: Modern Art Markets and the Transmission of Culture (1873-1937)}, year = {2013}, school = {CUNY}, abstract = {Organized chronologically in four chapters, this dissertation provides a broad-based account of the cultural transfers between Paris and Vienna at a time of increased artistic mobility. Focusing on the period between the 1873 World Exposition in Vienna and the 1937 Exposition of Austrian Art in Paris, the study seeks to elucidate what specific works of art were transferred from one cultural region into the other, and how they were appropriated within different regimes of value. While Paris managed to establish itself as the capital of the modern art market with exports on a large scale, Vienna faced tremendous difficulties in its attempt to become a major player in the European art world. How the cultural optimism before the Vienna World Exposition turned into a deep and sustained economic depression is examined in chapter one. Consequently, a number of Austrian artists decided to seek their fortune in Paris where the powerful art dealer Charles Sedelmeyer managed some of their careers. Chapter two shows how the grandes machines, theatrically presented and toured internationally by dealers, became the target of criticism. While the Vienna Secession intensified contacts to French artists, dealers, and collectors, intimate displays and clear narratives were able to disguise the commercial character of its shows. The role of Carl Moll for the importation of French modernism is considered in chapter three. Not only did he serve as director of the Galerie Miethke but was also instrumental in the foundation of a museum of modern art in Vienna. The study closes with a discussion of the impressive Exposition of Austrian Art at the Jeu de Paume which is exemplary for the French government{\textquoteright}s active foreign cultural politics after World War I and the collapse of the Habsburg Empire. A powerful gallery-system, able to implement and sustain Austrian art on foreign markets, never developed in Vienna where private patronage and artists associations continued to play a much more significant role.}, keywords = {Nineteenth-Century Art}, author = {Huemer, Christian} } @mastersthesis {11638, title = {The Patronage of Modern Art by High Society Women in France, 1871-1914}, year = {2013}, school = {Delaware}, abstract = {This dissertation examines the patronage of modern art by the high society women of Paris during the Belle Epoque. As histories of modernism took shape, women{\textquoteright}s patronage was erased from the record, leaving almost no trace of their influence on the major artists and movements of the period. Patronage is an underdeveloped facet of the study of gender and women in the arts, and my work offers a new perspective on the history and theory of early modernism. In the first chapter, I consider how Countess Elisabeth Greffulhe validated her elite place in society through the patronage and promotion of art that conformed to her definition of "aristocratic modernism." In the second chapter, I examine how the patronage practices of wealthy Jewish women contributed to their assimilation into French society during a period of intense antisemitism, and argue that Jewish women{\textquoteright}s patronage had a major impact on the development and history of Impressionism. In the third chapter, I explore the art patronage of Winnaretta Singer-Polignac, an American expatriate in France who reinterpreted the work of the Symbolists to develop and articulate her identity as a lesbian in the early twentieth century. These case studies reveal that the gender, class, religion, and sexuality of women patrons had an important impact on the development of modern art. In turn, the patronage of modern art contributed to the formation of these identities in high society women. My study expands on the work of feminist art historians by looking beyond art and artists to consider the forgotten influence of women patrons on artistic style, the careers and reputations of artists, and the reception and understanding of modern art in France. An examination of women{\textquoteright}s patronage constructs an alternative history of early twentieth-century art, and allows for a more nuanced definition of modernism that considers lesser known artists and styles.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Melanson, Elizabeth} } @mastersthesis {11630, title = {The Pendulum{\textquoteright}s Swing: Defining Latin American Art from New York Collections, Exhibitions, and Auction Houses, 1960-1990}, year = {2013}, school = {CUNY}, abstract = {In the early 1980s, a growing number of international exhibitions on Latin American and Latino art and the creation of Latin American art departments at main auction houses in New York signaled an expanded interest in these art fields beyond an audience of specialists. In 1989, art historian Shifra Goldman named this phenomenon "the Latin American art boom," comparing it to the Latin American literary boom that propelled Gabriel Garcia Marquez and others into world renown in the 1960s. For Latin American and Latino art experts, "the 1980s Boom" became the historical concept of the decade, encapsulating the state of the field vis-a-vis the cultural mainstream. Critical accounts of the Boom by scholars of Latino and Latin American art such as Goldman and Mari Carmen Ramirez weighed the benefit of heightened visibility brought by signature Boom shows such as Art of the Fantastic: Latin American Art 1920-1987 (Indianapolis Museum of Art, 1987), and Hispanic Art in the United States: Thirty Contemporary Painters and Sculptors (Museum of Fine Arts Houston and the Corcoran Gallery, 1988), against the simplistic notions of Latin American and Latino art they projected. Experts perceived these shows, organized by museum staff with no expertise in the field, as perpetuating views of Latino and Latin American art as exotic, folkloric, and colorful. Historical readings of the Boom have focused on its climax of large-scale, traveling exhibitions, occurring between 1987 and 1993. But the focus on this mainstream break-through has overshadowed the histories of non-mainstream institutions committed to the art of Latinos and Latin Americans. This dissertation expands readings on the Boom, through an enlarged chronological scope covering from the early 1970s to the late 1980s, and a New York-localized analysis of the dynamics of circulation of Latin American and Latino art in selected exhibition venues and the secondary market. The city{\textquoteright}s proliferation of showcasing venues for Latin American and Latino art during that time and its cradling of the Latin American art market, harnessed national and international attention for this art. This dissertation is concerned with the underlying structure of a series of exhibitions staged by four focus venues, and their public reception. I argue that the Center for Inter- American Relations/Americas Society, El Museo del Barrio, Cayman Gallery/The Museum of Contemporary Hispanic Art, and the Bronx Museum, nurtured national mainstream interest in the art of Latinos and Latin Americans through the exhibitions they staged. In so doing, they helped to shape notions of Latino and Latin American art as irreducible to any specific style or aesthetic, and integral to Modern and contemporary art.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Caragol, Taina} } @mastersthesis {11614, title = {Performance and Visual Culture in Etruria: 7th-2nd Century BC}, year = {2013}, school = {Virginia}, abstract = {The Etruscan iconographic record is the primary source of information regarding performance activities, which include dance, music, gaming, ritual, spectacle, and athletics. In this study, performance theory is used as a framework for analyzing Etruscan material culture related to emically constructed and provisionally identified performance activities and ascertaining their meaning. Although evidence for Etruscan cultural activity, beliefs, and social interaction is limited, especially given the paucity of textual information, the application of performance theory to the archaeological record provides a means to analyze public and private transmission of messages, relationships, experiences, and cultural behaviors primarily in funerary and civic contexts. Although numerous Etruscan performances have been investigated individually by prior scholarship, performance theory has not been previously applied to Etruscan art and architecture and, therefore, this work takes a new approach towards the analysis of the archaeological record. Evidence included in this study dates between the 8th-2nd centuries BC and consists of wall painting, painted and relief vase decoration, stone and terracotta relief sculpture, engraved gems, and bronze mirrors, decorative attachments, figurines, and vessels. It is only through the study of such varied materials from a wide chronological range that a more complete understanding of Etruscan performance emerges. Following an overview of performance theory and its application to Etruscan visual culture, the remaining chapter are organized thematically, including investigations of Etruscan music and dances, play and games, and spectacle. An investigation of Etruscan performances reveals information about Etruscan relationships, beliefs, and about the communication of messages. Performance activities occur primarily in connection with Etruscan funerary events, due in part to the nature of Etruscan material record, but civic, mythological, and everyday contexts are also identified. Although both small- and large-scale performances are represented in the iconographic evidence, large-scale events appear with greater frequency. Most performance iconography dates to the Archaic Period in Etruria, the 6th and 5th centuries BC, although its nature changes throughout all media, beginning in the 4th century BC; many performance-related motifs are abandoned at this time, including banqueting, bands of revelers, and large-scale athletic competitions. Late Etruscan performance iconography focuses on processions, especially in relation to the journey to the underworld in death.}, keywords = {Greek/Roman Art}, author = {Layton, Stephanie} } @mastersthesis {11717, title = {Personal space: Simultaneities in the 1913 work of Robert Delaunay, Fernand Leger, and Sonia Delaunay-Terk}, year = {2013}, school = {Boston}, abstract = {"Personal Space" examines the influence of M. E. Chevreul{\textquoteright}s On the Law of Simultaneous Contrast of Colors (1839) on the 1913 work of Robert Delaunay, Fernand Leger, and Sonia Delaunay-Terk in order to show that each artist used color theory to develop not only an artistic style, but also a broader metier. That French term encompasses an individual{\textquoteright}s profession and technical skills as well as the identities, worldviews, and geographic locales associated with it. Michel Foucault{\textquoteright}s notion of historical problematization provides the framework for understanding how simultaneous contrast could define their art, personae, philosophical stances, and relationship to the urban fabric of Paris. Thus, this dissertation argues that all of these artists used the concept of spatial simultaneous contrast to construct a place for themselves in their intellectual, physical, and social environment. This is in contrast to the more temporal simultaneity of their Cubist and Futurist peers. The text begins with an overview of the problematization of space and time in 1913 Paris and demonstrates how debates about simultaneity could be seen in both works of art and on the streets of the city. The first chapter also shows that Montparnasse houses numerous competing spatial structures in order to explain why these three artists selected it as the home of their metiers. Chapter two argues that Robert Delaunay understood this law of color as a representation of the order of the world by placing his Simultaneous Contrast: Sun and Moon alongside the artist{\textquoteright}s interest in Baruch Spinoza and his frequent visits to the area surrounding the Paris Observatory, an institution central to the institution of Standard Time. In chapter three, an investigation of Fernand Leger{\textquoteright}s studios is used to explain how his Contrasts of Forms series expresses the artist{\textquoteright}s identification with heterotopian aspects of the modern built environment. Chapter four contends that Sonia Delaunay-Terk{\textquoteright}s Simultaneous Dress is the embodiment of her use of simultaneous contrast to manage the competing claims made on her identity, especially those found in the Bal Bullier dancehall.}, keywords = {Twentieth-Century Art}, author = {Ward, Tara} } @mastersthesis {11536, title = {Photographer as Participant Observer: The Photographs of Larry Clark, Nan Goldin, Richard Billingham, and Nobuyoshi Araki}, year = {2013}, school = {CUNY}, abstract = {This dissertation examines the tactics employed by four art photographers-Larry Clark, Nan Goldin, Richard Billingham, and Nobuyoshi Araki-whose approach is analogous to that of the so-called Gonzo journalists who notoriously blurred the line between author and subject. Operating from deeply insider positions, they brought topics of excess to the fore, often shocking viewers with the apparent lack of moral judgment or rationality on offer in their highly personal, autobiographical works. My study provides, by way of background, a genealogy of participant observation approaches in anthropology and journalism. It then traces how the anthropologists{\textquoteright} approach to ethnographic research on exotic others came to be applied to domestic subjects in the West during the 1970s. The 1960s and 70s saw explicitly subjective reporting techniques flourish in journalism; and I argue that participant observer photography was born of this cultural climate. Britain{\textquoteright}s strong documentary photography tradition saw a shift toward the subjective and the individual during the 1970s and 80s, while more personalized forms of photography quickly arose in Japan in the early 1970s. Thus, the shift toward a subjectivized or autobiographical photography can be seen as a trans-cultural and trans-national phenomenon. The chapters devoted to the principal artist-subjects of this dissertation examine their respective social and cultural contexts, and identify their particular modes of practice. Larry Clark{\textquoteright}s initial, insider position gave way to what I term a voyeuristic position, especially in films that depict with gritty realism the darker side of juvenile delinquency. Nan Goldin remained within her intimate circle to make works in what I call an integrated mode, an approach that reflected the culture of 1980s bohemian life in New York City. Following both the subjective documentary tradition in Great Britain and its family photography tradition, Richard Billingham{\textquoteright}s photobook, Ray{\textquoteright}s a Laugh, and video, Fishtank, were created by a detached observer whose approach I regard as a dissociated mode. As for Nobuyoshi Araki, he assumed a reflexive and performative mode, particularly in pornographic images that blurred factual recording with staged elements. The vaunted authenticity of participant observation photography falls prey to the paradox that once an artist achieves recognition, her or his subjects become more aware that they are exchanging privacy for exposure. Insider participant observation photography has flourished into a second generation of artists who face the challenges of their subjects{\textquoteright} awareness of the presence of the camera and the commercialization of the phenomenon, as exemplified by the emergence of so-called heroin chic in 1990{\textquoteright}s fashion photography.}, keywords = {Contemporary Art, Drawings/Prints/Works on Paper}, author = {Yi, Hyewon} } @mastersthesis {11489, title = {Photographic Domesticity: The Professionalization of Women Photographers from Home Studio to the Metropolis, 1880-1930}, year = {2013}, school = {Boston}, abstract = {This dissertation explores transitions in women{\textquoteright}s photographic practice in the United States from roughly 1885 to 1915. I examine the work of three photographers who negotiated the path from the more traditional and private Victorian ideal of womanhood to turn-of-the-century advanced ideas of a more public New Woman: Alice Austen (1866-1952), Catharine Weed Barnes Ward (1851-1913), and Frances Benjamin Johnston (1864-1952). Concurrently, a shift occurred within photography as women encountered changing definitions regarding what it meant to be an amateur, and it became increasingly acceptable for them to work as professionals. Finally, in the last decades of the nineteenth century women{\textquoteright}s photographic workspaces also transformed from makeshift home studios to professional spaces outside the home. I center my focus in the place where these three transitions merged: Victorian to New Woman, amateur to professional, and home to studio. I analyze how women photographers actively and creatively negotiated gender and used domestic ideology as a catalyst for personal advancement. Austen used her home, and the homes of her friends, as the stage for private performances and tableaux mocking Victorian conventions. Chapter One focuses on her use of the parlor and bedroom as photographic sites. The subject of Chapter Two, Barnes Ward established her first studio in the family attic yet wrote public articles advocating for women photographers and served as a national editor for The American Amateur Photographer. She considered interior photography the purview of women, yet wrote tirelessly for gender equality across the medium. Johnston, the subject of Chapter Three, opened a fully professional photographic studio in Washington D.C., an elaborate two-story addition behind her parents{\textquoteright} home including studio, darkroom, and personal office space. References to the Arts and Crafts movement, the colonial revival, and Kodak informed the decoration of her studio and her identity as a professional photographer. All three photographers used current domestic ideologies and spaces as empowering tools to further their photographic work rather than as a cage trapping them within a gendered role. Each will be considered within a wider social network rather than as exceptional figures who veered far from the norm.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Roscio, Jessica} } @mastersthesis {11456, title = {Photographs for the Modern City: An Enterprise in the Urban Transformation of Second Empire and Early Third Republic Paris}, year = {2013}, school = {CUNY}, abstract = {"Engineering, Photography, and the Construction of Modern Paris, 1857-1911" investigates the photographic practices of state civil engineers in the construction of public works in Paris during the Second Empire (1852-70) and the early Third Republic (1870-1940). It contends that Paris became expressly modern by means of a physical transformation that was inseparable from new modes of publicity arising in concert with technologies of representation and reproduction. Photographs commissioned in many building campaigns supervised by state engineers functioned as exemplary documents of rationalized urban management used to remotely monitor site conditions, construction progress, and detail construction techniques. The state{\textquoteright}s civil engineers not only documented building campaigns with photography, but they also orchestrated the circulation of these photographs of public works at sites for official publicity including universal expositions, publications, and the press. As a result of these and related efforts, civil engineers crafted modern Paris as a material space and as a virtual one, which drew the experience of spectators into the construction of the capital. This thesis is elucidated through five chapters that demonstrate how photography and civil engineering intersected with the urban transformation of the capital. The chapters progress chronologically and examine a series of case studies, which shift back and forth between applications of the medium in the field and the institutional environments that structured patterns of production and reception of these photographs. By doing so, this study argues that engineers{\textquoteright} construction of physical infrastructure was inseparable from their uses of photography, which together helped to construct the capital{\textquoteright}s modernity in the second half of the nineteenth century.}, keywords = {Architectural History/Historic Preservation, Drawings/Prints/Works on Paper}, author = {Weiss, Sean} } @mastersthesis {11468, title = {Picturing India{\textquoteright}s {\textquoteright}Land of Kings{\textquoteright} Between the Mughal and British Empires: Topographical Imaginings of Udaipur and its Environs}, year = {2013}, school = {Columbia}, abstract = {Eighteenth-century paintings depicting the courtly culture of Udaipur have been widely described as iconic images representing the decadent "voluptuous inactivity" of Indian princes within idyllic palaces. More recently, scholars have interpreted such paintings as royal portraits constituting meaningful assertions of political and cultural power. Yet scholars have overlooked a topographical genre of painting in which Udaipur artists not only portrayed the ruler{\textquoteright}s face but also captured the charisma of Udaipur{\textquoteright}s urban space. This dissertation examines the means by which artists pictured Udaipur and its environs for multiple patrons and mixed audiences, thereby constructing the city{\textquoteright}s memory and mapping diverse territorial claims of regional kings, courtly elites, and merchants, as well as religious institutions and the emergent British Empire. Central to this account is a corpus of large-scale paintings, scrolls, drawings, and maps made in a time period of transitions in northwestern India, marked by several new courtly and non-courtly alliances, between the decentralization of the Mughal Empire in the early 1700s and the proclamation of British rule at the Ajmer Durbar in 1832. I argue that itinerant artists practiced their arts literally and metaphorically in between empires, and thus formulated their subjective, and, at times, subversive interpretations of urbanity, territoriality, and history as they circulated among various domains. By tracing the critical role played by artistic practices in the British Political Agent James Tod{\textquoteright}s political and historical creation of "Rajasthan"--the land of kings--this dissertation challenges the dominant narrative that has mediated this region{\textquoteright}s architecture, landscape, and history. Separate chapters are devoted to shifts in artistic practice, from the painting of genealogical and poetic manuscripts to large-scale topographical paintings, relating them to tropes of praise, pleasure, and commemoration in the court{\textquoteright}s literary culture, mediation of urban memory, emergent forms of mapping, and spatial practices of processions. Udaipur{\textquoteright}s artists like Ghasi, who was also a "native" artist-assistant to Tod, the region{\textquoteright}s first British colonial agent, rendered Tod{\textquoteright}s explorations in the form of courtly processions while also adapting drafted architectural drawings for the depiction of Udaipur{\textquoteright}s princely domains. I compare the works of Ghasi and Tod, among several others, with those of artists working for the Jain religious and mercantile community. These little-studied paintings suggest the paradigmatic ways in which local artists reevaluated established pictorial genres and tropes for the purpose of mapping environs in relation to the emerging presence of the British Empire and reconfiguration of regional polities, religious sects, and mercantile communities. The visualization of South Asia{\textquoteright}s urban environs has largely been understood through the lens of the nineteenth-century British colonial archive of images and maps. Systematic studies of alternate imaginings found in contemporaneous pre-colonial Indian art have been all but absent. Addressing this lacuna, this dissertation cumulatively highlights a largely unknown visual archive of images of pre-colonial Indian cities to examine how both Indian and British artists imagined their urban environs for varied patrons. It contributes to a growing body of scholarship on the importance of affect in understanding epistemic practices and the nature of political, cultural, and artistic transitions in the long eighteenth century in the Indian subcontinent.}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Khera, Dipti Sudhir} } @mastersthesis {11692, title = {Picturing the Cosmos: Surrealism, Astronomy, Astrology, and the Tarot, 1920s-1940s}, year = {2013}, school = {UT Austin}, abstract = {This dissertation explores the presence and meaning of astronomical elements in the creative work of Surrealist artists and writers who were involved with the movement from the 1920s to the 1940s. Set against a backdrop of widespread popular interest in astronomy in France during these decades and those directly preceding them, Surrealists such as Andre Breton, Joan Miro, Max Ernst, Wolfgang Paalen, Oscar Dominguez, Matta, Remedios Varo, Leonora Carrington, and Kurt Seligmann all addressed cosmic themes in their artistic production. This dissertation identifies and analyzes their varied engagement with such themes, including their presence in the related areas of astrology and the Tarot. The heavens offered the Surrealists a rich terrain for invention=one that could be seen as scientific or occult, fanciful or factual, as well as ancient or up-to-date. In their quest to access previously unknown realms of reality, the Surrealists found in the little-explored and often strange territory of outer space a new realm for creative invention. As such, these artists and writers projected their surreal visions onto the universe in their continued search for the marvelous.}, keywords = {Twentieth-Century Art}, author = {Busby, Ashley} } @mastersthesis {11599, title = {Pierrot{\textquoteright}s Costume: Theater, Curiosity, and the Subject of Art in France, 1665-1860}, year = {2013}, school = {Yale}, abstract = {This dissertation traces in the history in representation of the stock character Pierrot as he was transformed into a type in art by Antoine Watteau (1684-1721), beginning with the large painting attributed to Watteau, Pierrot, dit Gilles (Musee du Louvre, Paris). The origins of the theatrical character in French theater of the seventeenth century is established, followed by an examination of seventeenth century prints of figures standing alone, important precedents for Pierrot, dit Gilles, which is discussed in light of the late seventeenth and early eighteenth century discourse on painting by Roger de Piles. Through the representation of Pierrot in both paintings and drawings, Watteau suggests that the subject of art can be a figure{\textquoteright}s presentation of itself, rather than a narrative or historical subject. Without a narrowly defined subject that ties him to a particular environment, Pierrot is able to travel widely in different media, and over the course of the eighteenth century, he appears with particular profligacy in decorative art of the Rococo style. The aesthetic of the cut-out figure, a principle for the circulation of Rococo design in printed form, is used by Jean de Jullienne as the basis of a collection of prints after Watteau{\textquoteright}s drawings of figures, the Figures de differents caracteres (1726-1728). Following the French Revolution, the large painting, Pierrot, dit Gilles, turned up in the hands of Dominique Vivant Denon, a gregarious collector who claimed to have rescued the painting from an antiques dealer who had written in chalk, on the painting itself: "how happy Pierrot would be, if he knew the art of pleasing you!" Meanwhile, the theatrical character of Pierrot enjoyed a Renaissance in early nineteenth century theater through the pantomime of Jean-Gaspard Deburau, whose son, Charles, was photographed by Felix Nadar in 1855, in a series of photographs that did much to elevate the artistic aspirations of French photography. I argue that the reason for Pierrot{\textquoteright}s longevity and popularity in French art lies in the way that he provides not only a blank surface for inscription, but a blank presence as well, which allows artists to use his figure as a field for the exploration of the work of art{\textquoteright}s presentation of itself, including a consideration of the way that the image becomes visible by "clothing" itself in the representational medium. As a figure in art, Pierrot asks that the viewer respond to the work of art without being able to "read" a narrative onto its objects: he asks, essentially, that the viewer respond to him, which restages the subject of art as an encounter between figure and beholder.}, keywords = {Eighteenth-Century Art, Nineteenth-Century Art}, author = {Knowles, Marika} } @mastersthesis {11560, title = {Piety and Politics in Peter Paul Rubens{\textquoteright}s Triumph of the Eucharist Tapestry Series}, year = {2013}, school = {Maryland}, abstract = {This dissertation explores the circumstances that inspired the Infanta Isabel Clara Eugenia, Princess of Spain, Archduchess of Austria, and Governess General of the Southern Netherlands to commission Peter Paul Rubens{\textquoteright}s "The Triumph of the Eucharist" tapestry series for the Madrid convent of the Descalzas Reales. It traces the commission of the twenty large-scale tapestries that comprise the series to the aftermath of an important victory of the Infanta{\textquoteright}s army over the Dutch in the town of Breda. Relying on contemporary literature, studies of the Infanta{\textquoteright}s upbringing, and the tapestries themselves, it argues that the cycle was likely conceived as an ex-voto, or gift of thanks to God for the military triumph. In my discussion, I highlight previously unrecognized temporal and thematic connections between Isabel{\textquoteright}s many other gestures of thanks in the wake of the victory and "The Triumph of the Eucharist" series. I further show how Rubens invested the tapestries with imagery and a conceptual conceit that celebrated the Eucharist in ways that symbolically evoked the triumph at Breda. My study also explores the motivations behind Isabel{\textquoteright}s decision to give the series to the Descalzas Reales. It discusses how as an ex-voto, the tapestries implicitly credited her for the triumph and, thereby, affirmed her terrestrial authority. Drawing on the history of the convent and its use by the king of Spain as both a religious and political dynastic center, it shows that the series was not only a gift to the convent, but also a gift to the king, a man with whom the Infanta had developed a tense relationship over the question of her political autonomy. I argue that when Isabel presented the tapestries to the Descalzas Reales she intended them to assert her power and, moreover, compel its reciprocation. This interpretation relies on archival documents that show that Isabel frequently gave religious gifts to establish relationships of reciprocity; the simultaneously religious and political functions the convent served the Spanish royal family; as well as on the tapestries themselves.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Renaissance/Baroque Art}, author = {Libby, Alexandra} } @mastersthesis {11515, title = {Pioneering Identity on the Frontier: Slaves, Soldiers, and Settlers in the American West}, year = {2013}, school = {Indiana}, abstract = {This dissertation proposes to fill a gap in the scholarship of frontier visual culture by examining the representation of African-American slaves, soldiers, and settlers in the West from roughly 1850 to 1900. Utilizing paintings, illustrations, and photographs as primary documents, I reexamine the art of George Caleb Bingham and Frederic Remington, two artists whose work became vehicles for a nationalistic agenda based on theories of expansion and progress, and consider the self-representation of African Americans in a collection of settler portraits from Leavenworth, Kansas, in an effort to determine how African Americans contributed to the formation of American identity, as well as the ways in which western opportunities helped to shape black identity at a critical point in African-American history. This project reconsiders nineteenth-century western representation by focusing not on the perceived authority of Anglo-American figures, but on African Americans as western subjects.}, keywords = {Art of the United States}, author = {Tate, Lauren Cordes} } @mastersthesis {11565, title = {Places to Stand: Histories of Native Art Beyond the Nation}, year = {2013}, school = {Rochester}, abstract = {In 1988, Cherokee activist and artist Jimmie Durham wrote, "I feel fairly sure that I could address the whole world, if only I had a place to stand." Following the American Indian Movement and the spread of postcolonial theory, Durham voiced the frustrations of a generation of Native artists and intellectuals that the United States and Canada continued to occupy not only the lands of indigenous peoples, but also the very field of their representation. Durham and other politically engaged artists of his generation have since joined their international peers to participate in art biennales and studio residencies abroad. In Places to Stand: Histories of Native Art Beyond the Nation, I consider the aesthetic, conceptual, and historical dimensions of their travels beyond national borders. I work to wrest a conversation about Native art history from the impasse Durham described, by considering a wider range of places to stand. As contemporary art historian Miwon Kwon and others have noted, many professional artists today hop from one exhibition to the next, turning the terrain of geopolitics into a generic itinerary: "one place after another." Given that traumatic cycles of loss structure so many Native subjects{\textquoteright} relationships to place, privileged itinerancy might seem like a seductive opportunity to move on. Devoting three chapters to close readings of multimedia installations by Durham in London, Luiseno artist James Luna in Venice, and Saulteaux artist Robert Houle in Paris, I show that this is not the whole story. Even as the artists inhabit current global conditions of flux, they create works that problematize a longstanding trope of artistic mobility in all its guises: modernist exile, postmodern liminality, and privileged itinerancy. In particular, they elect to trade unchecked transnational mobility for a kind of temporal agility, grounding their materials in the stories of Native performers, diplomats, and linguists who traveled before them. The works implicitly challenge art historians, addressing omissions in a historiography of Native art largely framed by national borders. Construing my dissertation as a lengthy response to their provocation, I devote two additional chapters to forgotten histories of Native art in Europe. My archival research abroad reveals that the first professional Native painters of the twentieth century were sending work to the Trocadero in Paris, the Venice Biennale, and beyond in the 1930s, establishing exhibition trajectories retraced by contemporary Native artists. I argue that expanded geographies have long broadened the conceptual possibilities available to Native artists grappling with displacement inside their nations of birth, while inspiring reinvestments in indigenous histories from afar.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Horton, Jessica} } @mastersthesis {11454, title = {Playing Indian{\textquoteright} in the American Southwest: Myths and Meanings in the Development of the Pueblo Revival Style, 1890-1930}, year = {2013}, school = {Virginia}, abstract = {This dissertation focuses on the development of the Pueblo Revival Style in the American Southwest at the turn of the twentieth century. It was one of several regional styles that emerged at this time. Buildings executed in the Pueblo Revival Style were based upon the buildings long constructed in the Southwest by the Pueblo Indians. However, at the turn of the twentieth century, this revival of building forms was not one in which Pueblo Indian people, themselves, engaged. Instead, the Pueblo Revival Style refers to the constructions of white Americans who began to design and commission buildings in the style of pueblos for their own use. Therefore, the development of what is today called the Pueblo Revival Style more aptly would be termed an appropriation, rather than a revival for it represents not the resurgence of building practices by Pueblo Indians, but the adoption and adaptation of building practices by an entirely new group of people. Central to this dissertation is the idea of {\textquoteright}Playing Indian{\textquoteright} a concept previously articulated by the scholar Philip Deloria in his 1998 book of that title. Deloria argues that white Americans{\textquoteright} definitions of identity were tied inextricably to those of Native Americans ever since the pre-Revolutionary era. In essence, in order for white Americans to define their own identities, a sense of self required them to define what they were not an other. Beginning in the mid-nineteenth century, white Americans began to play Indian architecturally as they built structures that were based on Indian models, such as wigwams and teepees. This kind of play by white Americans also appears to have intensified in the latter half of the nineteenth century. As archaeological and anthropological activity of the late nineteenth century increasingly came to center on the ancient and modern pueblos of the American Southwest, white Americans increasingly began to turn towards them as a model for their own building endeavors. This dissertation works to explore what particular meanings the pueblos carried for the white Americans who began to appropriate them with an increasing frequency at the turn of the twentieth century.}, keywords = {Architectural History/Historic Preservation, Critical Theory/Gender Studies/Visual Studies}, author = {Harlan, Gabrielle R.} } @mastersthesis {11625, title = {Political and Ritual Usages of Portraits of Japanese Emperors in Eighteenth and Nineteenth Centuries}, year = {2013}, school = {Pittsburgh}, abstract = {This dissertation examines portraits of Japanese emperors from the pre-modern Edo period (1603-1868) through the modern Meiji period (1868-1912) by questioning how the sociopolitical context influenced the production of imperial portraits. Prior to Western influence, premodern Japanese society viewed imperial portraits as religious objects for private, commemorative use; only imperial family members and close supporters viewed these portraits. The Confucian notion of filial piety and the Buddhist tradition of tsuizen influenced the production of these commemorative or mortuary portraits. By the Meiji period, however, Western portrait practice had affected how Japan perceived its imperial portraiture. Because the Meiji government socially and politically constructed the ideal role of Emperor Meiji and used the portrait as a means of propaganda to elevate the emperor to the status of a divinity, it instituted controlled public viewing of the images of Japanese emperors. Such differences between the private and public functions of imperial portraits suggest that imperial portraits from the pre-modern and post-Meiji periods developed for different purposes, moving from a religious, commemorative purpose to a more secular, political one. By examining the psychological responses to the representations of Japanese emperors through primary documents, including official documents, diaries, and letters, I show that images exerted an emotive force on viewers. I also address the following questions: 1) What makes the portrait more than an image? 2) What gives that image meaning? 3) And how can a portrait become the focus of devotion? Imperial portraits, whether used for religious or political reasons, maintain a spiritual connection to reality and illustrate the power of representation. I conclude that this research on portraits of Japanese emperors will help scholars understand how the power of representations did affect changes in behavioral patterns from the Edo to the Meiji periods.}, keywords = {Japanese/Korean Art}, author = {Morishima, Yuki} } @mastersthesis {11684, title = {Political Art of the Papacy: Visual Representations of the Donation of Constantine in the Early Modern Period}, year = {2013}, school = {Michigan}, abstract = {The famous forged document known as the Donation of Constantine has stirred interest from the inception of its critical fate not long after its creation in the eighth century. The document, most likely a product of the papal scriptorium, stipulated the endowment of the papacy by the first Christian Emperor Constantine (306-336 AD) with imperial prerogatives. In the early modern period, the debate over the authenticity of the document intensified under the pressure of religious divisions and political tensions in Europe. While modern scholars have explored the written discourse on the Donation, the sophisticated contribution of the visual theme of the Donation of Constantine to this heated debate in this period has not captured attention. Neither have the motives of the explosion of Constantinian imagery in this period nor the strategies employed to construct the image of Constantine been sufficiently studied. This dissertation explores the visual theme of the Donation of Constantine within the entire spectrum of Constantinian imagery produced in Rome, mostly at the papal court, in the sixteenth and seventeenth centuries. The visual repertoire includes works produced, in a variety of media, by celebrated artists of the time such as Raphael, Rubens, and Bernini, as well as by less famous and anonymous practitioners. The investigation of this repertoire is conducted from the perspectives of the commissioners, the artists who executed it, and the intended audience. Each chapter analyzes a different approach to the visual transposition of the Donation theme and how the historical figure of Constantine was exploited in defense of the Donation. The contention is that the Donation theme was employed not only to vouch for the veracity of the document, but primarily to introduce supplementary arguments into the debate focused on the document and on papal prerogatives. The principal strategies utilized were exegesis and dissimulation. This study proposes that when the debate became so vehement that a defense of the document, either in texts or in images, would have been profoundly detrimental to the papacy, other Constantinian episodes were sought in order to create substitutive "host episodes" and "proxies" for the Donation of Constantine.}, keywords = {Renaissance/Baroque Art}, author = {Tita, Silvia} } @mastersthesis {11477, title = {Politicization of Space: Urban Campus, Urban Renewal, and Development in the Temple and University City Areas of Philadelphia from 1947 to 1972}, year = {2013}, school = {Binghamton}, abstract = {The expansion of the Temple University and Drexel University campuses in Philadelphia after World War II revealed a shift in the perception of the appropriate form for an urban campus and signified a change in the relationship between the institution and the host neighborhood. This project first provides the context for campus design in the United States and then relates a brief political and economic history of the City of Philadelphia after World War II. The narratives for each campus were constructed from materials found in institutional archives and special collections, historic maps, Sanborn maps, city planning documents, contemporary periodical and newspaper articles, as well as analysis of the photographs, plans, and the structures associated with these sites. At the heart of the early states of each campus transformation was a dedicated architectural firm and a progressive administration whose relationships with the City Planning Commission and the Redevelopment Authority would help shape the appearance and direction of campus development. Changes in city and institutional administrations as well as changes to federal urban renewal policies altered the course of campus development and the role the institutions played in the process of urban renewal. Relations between the institutions and their residential neighbors became adversarial in the waning years of the 1960s and the beginning of the following decade. Campus plans and individual building designs became focal points for protests and residents{\textquoteright} demands for greater communication and transparency with the universities. Each institution handled the crisis in its own way and each continues to negotiate relations with the neighborhood, but neither has moved to alter the basic design parameters established in the postwar period. The two case studies discussed here exemplify the variety of design solutions possible under the same criteria set forth by the city, the state and the federal government with regards to siting, structure, and funding.}, keywords = {Architectural History/Historic Preservation}, author = {Keefer, Jeannine} } @mastersthesis {11444, title = {Politics, Gender, and the Art of Religious Authority in North Africa: Moroccan Women{\textquoteright}s Henna Practice}, year = {2013}, school = {Emory}, abstract = {Henna, a decorative dye, is applied to women{\textquoteright}s hands and feet at religiously significant occasions throughout North Africa-yet only in Morocco does this feminine art symbolize a nationalized, tolerant Islam. How and why does a body adornment dismissed by scholars as merely "cosmetic{\textquoteright} function, instead, as a powerful emblem uniquely within Morocco{\textquoteright}s territorial boundaries? I argue that the adornment{\textquoteright}s significance is related to localized interpretations of Islam, anchored in understandings of the material{\textquoteright}s blessed nature through its association with the Prophet Muhammad. Equally rooted in canonical text and popular tradition, Moroccan henna serves as a potent local signifier for normative gender roles, female spirituality and monarchical legitimacy. Involving comparative fieldwork and archival research across Morocco, France, Algeria, Tunisia, Libya and Egypt, this project ultimately yields a broader understanding of art practice, gender, religious and political authority, and art in North African society. Chapter 1 contextualizes the study{\textquoteright}s primary setting, introducing the historical, governmental and geographical specificities that render Morocco distinctive from its neighbors. Chapter 2 evaluates predominant Moroccan body adornment traditions in conjunction with local conceptions of the art forms{\textquoteright} respective importance. I argue that despite a shared iconography, only henna retains its position of prominence in contemporary society, due to commonly accepted religious ideas that define it as a material blessed by association with the Prophet. Chapter 3 examines the intersection of henna{\textquoteright}s religious value with cultural codes of appropriate gender behavior. Here, I analyze the ways in which henna inscribes normative values of gendered spiritual behavior on the flesh of men and women, and functions as a religious practice outside the space of the mosque. Chapter 4 traces the history of henna{\textquoteright}s politicization in post-colonial history and discusses it appropriation as an icon of cultural memory for nationalist artists in the search for a uniquely Moroccan identity. Chapter 5 analyzes the State{\textquoteright}s conscientious appropriation of henna in times of political crisis to signify a monarchically-promoted "Moroccan Islamic" brand, from the 2003 Casablanca bombings through demonstrations of the 2011 Arab Spring.}, keywords = {African Art (sub-Saharan), Art of the Middle East/North Africa}, author = {Rogers, Amanda} } @mastersthesis {11604, title = {The Polychromy of Roman Marble Sculpture: Aphrodisias and Corinth}, year = {2013}, school = {IFA/NYU}, abstract = {Ancient Roman marble sculpture was originally painted and embellished with precious metal leaf and other materials to create a rich variety of polychrome effects. Such coloration gave marble statues a striking physical immediacy and a range of different appearances that had powerful and often complex messages in their ancient environment. This dissertation is a study of the character and function of color on Roman marble statuary. It focuses on the applied polychromy-predominately painting and gilding-preserved on the large bodies of imperial-period sculpture excavated at Aphrodisias in Asia Minor and at Corinth in mainland Greece. Interdisciplinary study (including various forms of technical examination and of scientific materials analysis) elucidates the preserved polychromy on c. 110 items of sculpture, including examples of the principal types of Roman imperial production, such as honorific portraits with their dress costumes, idealized statuary and Roman "replicas" (i.e. marble translations) of celebrated works of Greek sculpture, colossal acrolithic cult images, and architectural sculpture including "historical" state relief. This research conclusively demonstrates that the little-studied surviving coloration on Roman marble sculpture is neither accidental nor random. Rather, it reveals the broad outlines of a flexible semantic system of polychromy and materiality on Roman marble sculpture. The repertoire of the ancient appearances of Roman marble statuary extended across a spectrum characterized by (1) a range of modes of representation varying from vivid realism to more refined forms of idealized naturalism, (2) a series of elevated visual idioms of representation, such as gilding (partial or total) and chryselephantine-like effects, and (3) deliberately "artful" types of coloration ranging from richly colored to its opposite, that is, subtle and restrained. Individual sculptures combined elements of this polychrome visual language to create subtle effects and nuanced meaning to their often highly-standardized subjects according to their intended display context and function. Much high-quality statuary with finely finished surfaces combined both the color on and the materiality of marble statuary to create particularly refined aesthetic effects and rich symbolic meanings. This dissertation thus demonstrates that color, materiality, and formal style were intimately intertwined in the flexible sematic language of Roman sculpture.}, keywords = {Greek/Roman Art}, author = {Abbe, Mark B.} } @mastersthesis {11510, title = {Postmortem Relationships: Death and the Child in Antebellum American Visual Culture}, year = {2013}, school = {Temple}, abstract = {Since Roland Barthes published Camera Lucida: Reflections on Photography in 1982, the prevailing theory about photography has revolved around its primary role as a manifestation of transience, death, and mortality. Whether one promotes the philosophy that the photographic image steals away the soul and promotes death, or that it simply captures images of those that have died or will die, the photograph has been commonly interpreted as a visual reminder of the finality of human life. At no time does such an interpretation appear to be more tangibly true than during the mid-nineteenth century when the photograph was commonly used to preserve the actual visage of death in postmortem portraiture. Here, death is not suggested or implied, but is vividly present. However, the theoretical emphasis that Barthes placed on death has limited our understanding of such images by eliding other meanings historically associated with them. As an addendum to Barthes, I propose that post-mortem images - particularly those of children - represent a more complex relationship between life and death as it pertained to nineteenth-century American culture. Moreover, I believe that it is important to consider post-mortem photography in tandem with painted mourning portraiture, and to contemplate both within a larger visual and cultural context in order to gain a more holistic understanding of these images in antebellum America. My dissertation will re-situate post-mortem representations of children within the material and religious culture of antebellum America, amid evolving historical beliefs about the life of children, the concept of childhood, and ideas about child-rearing, not just postmodern theoretical notions of death. My particular focus on children responds to the poignancy of childhood death in antebellum America and the way in which these images particularly embody the belief in continued existence through the afterlife. By placing such images within the wider context of nineteenth-century culture, I will demonstrate that life existed in death for antebellum Americans through the physical or material presence of the photograph along with Christian spiritual associations regarding the soul and the afterlife. In other words, belief in an ongoing relationship between material and immaterial "bodies" was exteriorized in the painted or photographic representation of the physical corpse, enabling antebellum Americans to interpret the image as both the icon and physical residue of the soul. I will demonstrate that the materiality of the postmortem image allowed antebellum Americans to preserve that sense of life within death. While the material presence of the image acted as a reflection of "being," spiritual beliefs in a heavenly afterlife permitted nineteenth-century viewers to meditate on the perpetuation, rather than the impermanence, of existence. While this complex historical dimension of post-mortem imagery - a dimension largely ignored by Barthes - provides the central focus of my dissertation, I will also analyze how these images were produced, commissioned, displayed, viewed, touched, cherished, and otherwise utilized in antebellum American culture.}, keywords = {Art of the United States}, author = {Iepson, Sarah} } @mastersthesis {11660, title = {Power of the Portrait: Production, Consumption, and Display of Portraits of Amalia van Solms in the Dutch Republic}, year = {2013}, school = {Pittsburgh}, abstract = {Portraits of Amalia van Solms, wife of Frederik Hendrik of Orange-Nassau and one of the most significant women in the Dutch Republic, were widely circulated and displayed during her lifetime (1602-1675). This study focuses on cases where specific audiences and sites of display can be isolated. When portraits can be viewed in their original context, they speak not only to those elements intrinsic to the image such as symbolism or fashion, but also to issues extrinsic to the image: social practices, cultural ideals, and individual identities. The meaning of a portrait depends as much on with whom it was intended to communicate as on whom it portrayed. Building on recent scholarship which established Amalia as a significant art patron, this dissertation focuses on her use of portraiture and how she chose to present herself to a variety of audiences. Portraits circulated ideas about the House of Orange in general and Amalia in particular during the Dutch war for independence. In public, they promoted a specific notion of elite identity to publics as varied as a bankrupt employee of an Amsterdam almshouse and the King of England. In more restricted environments, they structured the more private experience of the visitor to Orange palaces and speak to the type of relationship between viewer and viewed. At Honselaarsdjik, public spaces like galleries held formal portraits, but in restricted and elite spaces, the image of the resident changed in relation to audience. At Huis ten Bosch, the idea of the portrait is expanded beyond the edges of a canvas. Though the study of the Oranjezaal has generally focused on the deceased Frederik Hendrik, by considering the site as an integrated whole Huis ten Bosch is reframed as a portrait of Amalia: a living, large scale embodiment of lineage, triumph, and memory. This dissertation proposes a broader approach to portraiture that extends beyond physiognomic likeness and views architecture and audience as fundamental elements in the representation of identity.}, keywords = {Renaissance/Baroque Art}, author = {Beranek, Saskia} } @mastersthesis {11690, title = {Praise, Politics, and Language: South Indian Mural Paintings, 1500-1800}, year = {2013}, school = {Columbia}, abstract = {This study of mural painting in southern India aims to change the received narrative of painting in South Asia not only by bringing to light a body of work previously understudied and in many cases undocumented, but by showing how that corpus contributes vitally to the study of South Indian art and history. At the broadest level, this dissertation reworks our understanding of a critical moment in South Asian history that has until recently been seen as a period of decadence, setting the stage for the rise of colonial power in South Asia. Militating against the notion of decline, I demonstrate the artistic, social, and political dynamism of this period by documenting and analyzing the visual and inscriptional content of temple and palace murals donated by merchants, monastics, and political elites. The dissertation consists of two parts: documentation and formal analysis, and semantic and historical analysis. Documentation and formal analysis of these murals, which decorate the walls and ceilings of temples and palaces, are foundational for further art historical study. I establish a rubric for style and date based on figural typology, narrative structure, and the way in which text is incorporated into the murals. I clarify the kinds of narrative structures employed by the artists, and trace how these change over time. Finally, I identify the three most prevalent genres of painting: narrative, figural (as portraits and icons), and topographic. One of the outstanding features of these murals, which no previous scholarship has seriously considered, is that script is a major compositional and semantic element of the murals. By the eighteenth century, narrative inscriptions in the Tamil and Telugu languages, whose scripts are visually distinct, consistently framed narrative paintings. For all of the major sites considered in this dissertation, I have transcribed and translated these inscriptions. Establishing a rubric for analysis of the pictorial imagery alongside translations of the text integrated into the murals facilitates my analysis of the function and iconicity of script, and application of the content of the inscriptions to interpretation of the paintings. My approach to text, which considers inscriptions to be both semantically and visually meaningful, is woven into a framework of analysis that includes ritual context, patronage, and viewing practices. In this way, the dissertation builds an historical account of an understudied period, brings to light a new archive for the study of art in South Asia, and develops a new methodology for understanding Nayaka-period painting. Chapters Three, Four, and Five each elaborate on one of the major genres identified in Chapter Two: narrative, figural, and topographic painting. My study of narrative focuses on the most popular genre of text produced at this time, talapuranam (Skt. sthalapurana), as well as hagiographies of teachers and saints (guruparampara). Turning to figural depiction, I take up the subject of portraiture. My study provides new evidence of the active patronage by merchants, religious and political elites through documentation and analysis of previously unrecorded donor inscriptions and donor portraits. Under the rubric of topographic painting I analyze the representation of sacred sites joined together to create entire sacred landscapes mapped onto the walls and ceilings of the temples. Such images are closely connected to devotional (bhakti) literature that describes and praises these places and spaces. The final chapter of the dissertation proposes new ways of understanding how the images were perceived and activated by their contemporary audiences. I argue that the kinesthetic experience of the paintings is central to their concept, design, and function.}, keywords = {South/Southeast Asian Art}, author = {Seastrand, Anna} } @mastersthesis {11634, title = {Proofing the Nation: Contested Displays of Identity at the San Juan Print Biennial, 1970-2009}, year = {2013}, school = {UIUC}, abstract = {This dissertation, The Politics of Display: Identity and State at the San Juan Print Biennial, 1970-1981, is the first comprehensive study of the Bienal de San Juan del Grabado Latinoamericano (BSJ, 1970-2001) of Puerto Rico, and its reincarnation as the Poly/Graphic Triennial (2004 - Present). As the Caribbean{\textquoteright}s first art biennial, the creation of the BSJ was not only innovative, but also a strategic, bold project on the part of its organizers in their attempt to insert Puerto Rican graphic media production more forcefully into Latin American art history and in a clearer spotlight on the stage of global exhibitions. Organized by Institute of Puerto Rican Culture (ICP) with expert assistance from the New York Museum of Modern Art (MoMA) and the Museo de Arte de Ponce (MAP), the BSJ was established to legitimize and promote the island as a competitive force within the postwar biennial circuit and international art market. While examining its structure, historical context, and the role of key players in fashioning the BSJ as an emblem of Puerto Rican national identity, this dissertation sheds light on the relationship between the promotion of printmaking as a national medium, and populism as a political strategy in the 20th century. It critiques the strategies for forging a collective identity and presents a postcolonial reading of the ways in which BSJ organizers intended to convert San Juan into the epicenter of Latin American graphic art, by inserting Puerto Rico into both the international biennial circuit and the larger art historical narratives of Latin America. By focusing on moments of disruption, struggles, and even failure of the institution, which include a "counter biennial" and the shift from a biennial to a triennial model, this study goes beyond the particularities of the BSJ and shows the fissures of the models and categories of the larger biennial circuit, allowing for a more intricate history to emerge. Acknowledging the complexity of the BSJ as a physical institution, display site, and an ideological apparatus, this dissertation combines close analysis of the history, interconnected with a selection of BSJ general editions and their corresponding homage artist exhibits, exhibition catalogs, awarded prints, and critical reception. This study combines that approach with careful attention to archival materials that include unpublished correspondences and manuscripts, internal ICP-BSJ documents, interviews, as well as periodical articles and criticism. I contend that even though the Bienal de San Juan has not been afforded the same attention as numerous European-based biennials, as a "minor" moment in biennial history, its critical examination, challenges the established narratives of art biennials and of the U.S. and Puerto Rico, while simultaneously shedding further light on the complex cultural and political relations of the contemporary global art map. In these ways, The Politics of Display will engage in conversation not only with art historians, but sociologists, historians of contemporary Latin America and Latino Studies, as well as with scholars interested in cultural and visual theories as they touch upon the politics of exhibitions, arts institutions and prints.}, keywords = {Latin American/Caribbean Art}, author = {Gonzalez, Maria Del Mar} } @mastersthesis {11594, title = {Puabi{\textquoteright}s Adornment for the Afterlife: Materials and Technologies of Jewelry at Ur in Mesopotamia}, year = {2013}, school = {Columbia}, abstract = {This dissertation investigates one of the most important archaeological discoveries of the 20th century - the jewelry belonging to a female named Pu-abi buried in the so-called Royal Cemetery at the site of Ur in southern Mesopotamia, modern Iraq. The mid-third millennium B.C. assemblage represents one of the earliest and richest extant collections of gold and precious stones from antiquity and figures as one of the most renowned and often illustrated aspects of Sumerian culture. With a few notable exceptions most scholars have interpreted these jewels primarily as a reflection in burial of a significant level of power and prestige among the ruling kings and queens of Ur at the time. While the jewelry certainly could, and undoubtedly did, reflect the identity and status of the deceased, I believe that it might have acted as much more than a mere marker and that the identity and status thus signaled might have had a considerably more nuanced meaning, or even a different one, than that of royalty or royalty alone. Based on a thorough examination of the materials and methods used to manufacture these ornaments, I will argue that the jewelry was not simply a rich but passive collection of prestige goods, rather that jewelry that can be read in terms of active ritual, and perhaps cultic, production and display. The particular materials and techniques chosen for the making of Pu-abi{\textquoteright}s jewelry entailed methodological operations akin to what Alfred Gell has called the "technology of enchantment and enchantment of technology" and allowed these ornaments to materialize from their creation as a group of magically and ritually charged objects.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Benzel, Kim} } @mastersthesis {11511, title = {The Puritan Art World}, year = {2013}, school = {Harvard}, abstract = {In this dissertation, I argue that the iconoclastic and anti-materialistic "art of living to God" is the central theoretical preoccupation of English and American Puritan intellectuals. I call attention to a wealth of previously unacknowledged writing about image, art, architecture, and form in Puritan literature, while highlighting how recent materialist analyses of Puritan culture have effectively obscured evidence of iconoclasm and anti-materialism in this milieu. In the first chapter, I explore the Puritan inheritance of John Calvin{\textquoteright}s theology of the "living image," which defines human beings as God-made pictures and greater than all images that are man-made. I explain how Puritan image theory is wedded to a theorization of the art of living to God, such that Puritan art and image theory are one and the same. The second chapter delineates various ways in which the imitation of Christ undergirds the conceptualization of "art work" in Puritanism. Here I focus on how Puritan ideas about both art and image intersect with their theorizations of happiness, shining, walking, and printing/pressing. I examine the theology of "edification" in my third chapter, probing how godly Puritans were understood to be "living architecture" and "living plants." In Chapter 4 I consider how Puritan anti-formalism contributes to and complicates Puritan art and image theory. More than anything else, a preoccupation with theorizing image, art, architecture, and form is what makes intellectual Puritanism a coherent tradition across space (England and the Netherlands to New England) and time (ca. 1560-1730). In the fifth and concluding chapter, I address an aspect of Puritan ministerial writings in which pastoral practice is defined not as art work but in terms of image curatorship and conservation. I then suggest that Puritan biographical literatures are archives or histories of artful and edificatory performativity. I argue that texts such as broadside elegies, funeral sermons, the monumental collections of lives by Samuel Clarke and Cotton Mather, and perhaps even gravestones should be understood as histories of Puritan art and architecture.}, keywords = {Art of the United States}, author = {Lafountain, Jason} } @mastersthesis {11497, title = {The Rat Bastard Protective Association: Bruce Conner and His San Francisco Cohort, 1958-68}, year = {2013}, school = {CUNY}, abstract = {This dissertation is a theoretical and historical account of the art-making activities of the Rat Bastard Protective Association, a small, close-knit community living and working in mid-century San Francisco. Assemblage was a common denominator within the group, which included Wallace Berman, Joan Brown, Bruce Conner, Jay DeFeo, Wally Hedrick, and Manuel Neri, along with other, less constant members. The first book-length study devoted to the Rat Bastards, this project explores the political, social, and aesthetic concerns in their assemblages. It also reexamines the term assemblage, to take into account process and intent along with medium and technique. Allowing for this performative dimension impels a re-evaluation of these artists{\textquoteright} works, its impact on subsequent developments, and its place among process-based practices in art since the 1950s.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Aukeman, Anastasia} } @mastersthesis {11498, title = {Ray Johnson in Correspondence with Marcel Duchamp}, year = {2013}, school = {UT Austin}, abstract = {Believing that one thing was real only if it corresponded with others, Ray Johnson highlighted the connections between himself and famous artists such as Marcel Duchamp. The ways the two artists thought and how they shaped their lives corresponded like two elements in Johnson{\textquoteright}s collages. My study of Johnson through the lens of Duchamp allows me to discuss two highly intellectual and creative artists. I address the few direct interactions between Johnson and Duchamp as well as their mutual acquaintances who served as conduits of information, particularly in Johnson{\textquoteright}s direction. This dissertation focuses on Johnson{\textquoteright}s creative engagement with Duchamp and begins to explicate the depth and richness of that interchange. Each chapter focuses on several key works by Johnson, ranging from some of his earliest collages to what was perhaps the last work he completed. Through these works I explore the correspondences between the two artists outside of their individual works, with each chapter looking at one major theme including language, the viewer, performance, and identity. I outline the relationship between Duchamp and Johnson, using the selected collages to demonstrate how the synergy of the two artists is manifested in Johnson{\textquoteright}s work. My work sheds light on the enigmatic Johnson who has only very recently come under critical and historical investigation. By looking at Duchamp from this unique perspective I am also contributing to our understanding of one of the most influential artists of the twentieth century. Most artists after Duchamp felt that they worked in his shadow but Johnson{\textquoteright}s relationship to the elder artist was different. He seems to have understood Duchamp better than almost anyone and therefore was able to selectively choose his inheritance--defining himself alongside and against Duchamp.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Dempsey, Kate} } @mastersthesis {11558, title = {Reading with One Hand: Suggestive Folds and Subversive Consumption in Jean-Honore Fragonard{\textquoteright}s {\textquoteright}The Bolt{\textquoteright}}, year = {2013}, school = {Stony Brook}, abstract = {Examined within the context of libertine literature and popular prints, Fragonard{\textquoteright}s Le Verrou can be seen as an ironic attempt to sublimate low, erotic genre scenes into the form of high-status history painting. While "leaving the curtain drawn" on the sex act raises the work{\textquoteright}s status and seems to permit various moralizing pairings, Fragonard{\textquoteright}s inclusion of the massive genitalia hidden in the bed curtain parodies his own attempts to elevate and simultaneously points the viewer towards the appropriate "use" of this image - as erotic aid for masturbation. The original pairing with the Adoration of the Shepherds, once accepted as an allegory for sacred and profane love, becomes further blasphemous with the addition of the genitalia. The isolated phallus in Le Verrou exists within a visual culture of extracted genitalia in the eighteenth century ranging from genre scenes to political satire, traditions which themselves have a basis in objects and images from antiquity. In addition, the seduction depicted in Le Verrou must be examined within the discourse and politics of rape and virginity in relation to property laws and stereotypes about female sexuality as well as within the larger canon of seduction-resistance imagery. Appropriating John Cleland{\textquoteright}s Memoirs of a Woman of Pleasure as a literary and stylistic source, Fragonard embraces the ambiguity of the woman{\textquoteright}s resistance and culpability, a mixture of fear and desire characteristic of the Burkean sublime. With his hidden genitalia, I propose that Fragonard borrows directly from Cleland{\textquoteright}s stylistically veiled erotic metaphor, thus participating in a larger culture of concealment and rhetorical irony, and placing meaning-making in the hands of the consumer. In pairing a bambochade with a history painting of the Virgin Mary, Fragonard subverts the hierarchy of the genres, disrupting and complicating proper rules of convenance, ultimately merging high and low in the ancient form of rhetorical paradox.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Eighteenth-Century Art}, author = {Lenhard, Danielle} } @mastersthesis {11533, title = {Rearrangements: Participation and Politics at the Dia Art Foundation, 1988-89}, year = {2013}, school = {Minnesota}, abstract = {This dissertation deals with audience experience in contemporary participatory art. It approaches this topic both in terms of the changing conditions that produce certain forms of audience experience, and in terms of how artists, critics, and institutions historically have represented audience experience within narratives about art{\textquoteright}s social import. These questions inform my historical case study of two projects: artists{\textquoteright} collaborative Group Material{\textquoteright}s "Democracy" and artist Martha Rosler{\textquoteright}s "If You Lived Here..." both held at the Dia Art Foundation in New York City in 1988-89. In these participatory projects, the artists combined art exhibitions with public "town-hall" meetings to address pressing social issues, including AIDS, homelessness, and problems with New York{\textquoteright}s public education system. On the basis of extensive archival documentation of "Democracy" and "If You Lived Here..." I analyze how the idea of art{\textquoteright}s social engagement through audience participation configured relationships between institutional employees, the artists, and their audiences. I argue that Group Material and Rosler{\textquoteright}s projects are emblematic of a shift in which the rise of audience participation in contemporary American art rendered relationships between leftist artists and major art institutions less confrontational and more collaborative over the course of the late {\textquoteright}80s and early {\textquoteright}90s then they had been in the late {\textquoteright}60s and {\textquoteright}70s. These newly collaborative relationships revolved in particular around an equation of art{\textquoteright}s political impact with its pedagogical role for the audience, a correlation in which both activist artists and major art institutions could invest. I argue that since the 1980s this model of politics-as-pedagogy has become fundamental to the funding, exhibition, and reception of contemporary art, because of the ways in which it has helped artists and art institutions navigate an increasingly austere and politically inhospitable cultural environment.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Rounthwaite, Adair} } @mastersthesis {11460, title = {Rebuilding St. Kunibert: Artistic Integration, Patronage, and Institutional Identities in Thirteenth-Century Cologne}, year = {2013}, school = {Toronto}, abstract = {This dissertation examines the architecture and art of the early-thirteenth-century collegiate church of St. Kunibert in Cologne. Rebuilt completely from circa 1210 to 1247, St. Kunibert retains most of its original architectural fabric and an array of monumental images and liturgical furnishings from the time of the rebuilding. The latter include stained glass windows, frescoes, altars, a pavement, and reliquaries, all preserved in situ in the choir in the east end. One of medieval Cologne{\textquoteright}s preeminent religious houses, St. Kunibert provides a unique opportunity to investigate both the different modalities and the significance of artistic integration in the medieval church. Taking a synthetic approach to the building and its corpus of imagery, this study probes the relationship between high clerical artistic patronage and institutional identity in Cologne in the early thirteenth century. Part I examines the extended historical background of the rebuilding project, beginning with the foundation of the church by St. Kunibert (ca. 590-663?). This examination of the institution and the predecessor churches up to the rebuilding is followed in Part II by a detailed rereading of the chronology, design, and sources of the architectural fabric of the thirteenth-century church. The concluding chapter of Part II then situates the canonical community{\textquoteright}s architectural patronage within the institutional and ecclesiastical political context of the contemporary Church of Cologne. Part III analyzes the community{\textquoteright}s visual construction of institutional identity through integrative readings of groups of images, objects, and furnishings in the space of the clerical choir. These final three chapters address numerous overarching topics and issues, including the staging of the past; art and the liturgy; the cult of saints and relics; pictorial narrative; materiality and spolia; and individual artistic patronage among the canons and elite members of the urban laity. But one of several renovatio projects in Cologne at this time, the enterprise at St. Kunibert illuminates art and architecture{\textquoteright}s central role as active, integrated agents in the formation of identity among high medieval religious communities.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Stead, Adam} } @mastersthesis {11550, title = {Reclaiming Public Life, Building Public Spheres: Contemporary Art, Exhibitions, and Institutions in Post-1989 Europe}, year = {2013}, school = {Pittsburgh}, abstract = {This Ph.D. dissertation traces the emergence and development of an important current of socially engaged art in Central and Eastern Europe after the fall of communism. It examines various participatory, collaborative and dialogic projects in public spaces by contemporary artists, working in Bulgaria, Hungary and Romania. These works often directly engaged marginalized communities, such as the homeless, members of immigrant groups and the Roma. In various ways, these artworks revived leftist traditions in a local context where, as political ideologies and economic orders, socialism had become equated with authoritarianism and democracy with neoliberalism. Occurring at specific moments in time throughout the post-communist period, most often with the presence of both financial and institutional support from the USA and EU nations, specific contemporary art practices sought to reclaim public life and build inclusive public spheres as democratic forms within emerging civil societies. Relying on sociological theories of social and political capital, and on theories of civil societies in political science, my goal has been to identify the potentially transformative roles that socially engaged art forms played in the post-communist transition. Concerned with current socio-political issues and foregrounding spaces of participation and collaboration, such art practices implicitly proposed new modes for art{\textquoteright}s communication with the viewer, explored notions of public space as the locus of constantly negotiated public spheres, and provoked discussions of viable forms of democracy.}, keywords = {Contemporary Art}, author = {Galliera, Izabel Anca} } @mastersthesis {11499, title = {Re-envisioning Everyday Spaces: Photorealism in the San Francisco Bay Area}, year = {2013}, school = {Michigan}, abstract = {Photorealism, a style that transfers photographic imagery and conventions to the medium of painting, is one of the few artforms of the 1960s and 1970s that has yet to receive substantive reevaluation. Contrary to critics{\textquoteright} derogatory dismissals, the style raises issues of production and interpretation central to postwar aesthetics and critical theory. This study argues that Photorealism{\textquoteright}s hybrid forms and iconographical dedication to everyday subjects are essential to understanding realism{\textquoteright}s post-abstraction re-emergence, new directions in intermedial practice, and the cultural impact of demographic transformations of the American landscape. Taking three Photorealist painters-Robert Bechtle, Richard McLean, and Ralph Goings-from the San Francisco Bay Area as case studies, this dissertation considers how the artists are tied to both the region{\textquoteright}s artistic lineage and its socio-geographic development. Their training and artworks are evidence of the persistent, but frequently overlooked, dialectic of realist and modernist approaches, both in terms of formal strategies and notions of artistic commitment. Their collective iconography also registers pivotal postwar spatial developments. I contend Bechtle, Goings, and McLean{\textquoteright}s chosen subjects are not simple distillations of urban, suburban, or rural landscapes, but, rather, places where such categories are continuous-a national phenomenon with great social and ecological impact. These examinations of form and environment are balanced by a historiographic study of the ways in which Photorealism is key to critical and theoretical debates over contemporary realism. The style functions as a central node in these contentious dialogues, and is tied to both new directions in American figurative art and contemporaneous realist investigations in European literature and theory. These parallels point to a complex network between the visual and the verbal and the American and the European; my research documents how each party borrowed cultural goods to advance their own views on artistic innovation and cultural identity. Ultimately Photorealism is an essential part of the geographic, aesthetic, and critical discourses of its era. Its forms and subjects are significant artifacts of the spaces of everyday life and offer a fresh view of negotiations between the formal and the vernacular, the modern and postmodern, and new and traditional media.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Gilman, Bridget} } @mastersthesis {11676, title = {Rembrandt{\textquoteright}s Etched Sketches and Seventeenth-Century Print Culture}, year = {2013}, school = {Case Western Reserve}, abstract = {This dissertation examines nine etchings by seventeenth-century Dutch artist Rembrandt van Rijn that are characterized by their variety of finishes and disparate elements on the same plate, and, for some, the feature of rotation of the print required to view each element in its proper orientation. Despite the intensity of scholarly examination given to Rembrandt{\textquoteright}s prints historically, these etched sketches have been treated in a cursory manner with little or no connection to other works in Rembrandt{\textquoteright}s oeuvre, and they have certainly never been studied extensively as a group. This dissertation asserts that the etched sketches, while seemingly on the margins of Rembrandt{\textquoteright}s oeuvre, should be viewed as dynamic objects through which Rembrandt brought together many of his most recognizable artistic motifs and techniques in new and challenging ways, essentially creating ambiguous images that simultaneously demonstrate his skill and provide opportunities for deeper engagement from viewers. The etched sketches provide access -through varied finishes, disparate elements on the same sheet, and the element of rotation -to how Rembrandt himself thought through their formation. With consideration of the etched sketches, the conception of Rembrandt as a printmaker becomes not only more provocative, but also more playful.}, keywords = {Renaissance/Baroque Art}, author = {Reed Frederick, Amy} } @mastersthesis {11539, title = {Remotely Mexican: Recent Work by Gabriel Orozco, Carlos Amorales, and Pedro Reyes, Exhibited in the US}, year = {2013}, school = {Washington University}, abstract = {This dissertation contributes to an understanding of contemporary art practices from Mexico City, as they are received in Mexico and abroad, by interpreting the meaning of local and global sources in recent work shown in Mexico, the U.S., and Europe by three internationally established, contemporary artists from Mexico City: Gabriel Orozco, Carlos Amorales, and Pedro Reyes. These three artists established their careers in the 1990s, when, for the first time, Mexican artists shifted from a national plane to a global realm of operation. Through three case studies of recent bodies of work produced by these artists, I show how each of them engages with both Mexico{\textquoteright}s artistic lineages and global art currents in ways that bring to light the problem of identity for Mexican artists working internationally. This study explores the specific ways in which each artist deals with Mexican content, in order to discuss how contemporary notions of {\textquoteright}Mexican{\textquoteright} are framed, misconstrued, and contested in the artworks themselves, and in the critical discourse on these artists, in Mexico and internationally.}, keywords = {Contemporary Art, Latin American/Caribbean Art}, author = {Kovach, Jodi} } @mastersthesis {11568, title = {Repetitions: Memory and Making Degas{\textquoteright}s Ballet Classroom Series}, year = {2013}, school = {Michigan}, abstract = {This dissertation proposes a significant reevaluation of Edgar Degas{\textquoteright}s ballet classroom pictures, with a particular focus on two series: the foyer paintings (1873-75) and the frieze compositions (c. 1879-1907). Its principal objective is to examine the transformative role of repetition-both as a working method and as a register of meaning-in the evolution of the artist{\textquoteright}s work from an essentially realist enterprise to a process of endless iteration. Repetition for Degas involved the constant recycling and reorganization of pictorial motifs--dancers, architectural elements, props--as a means of exploring countless formal possibilities. It was also a means by which process, readable in the interrelations between multiple paintings, drawings, and prints, came to eclipse the importance of individual, "finished" artworks, thereby deferring the completion of commercially viable "products" and sustaining the possibility of future works in the series. The study begins with a rehearsal of related examples of repetition and seriality in modernist painting, along with the prevailing art-historical interpretations of the phenomena. It subsequently focuses on Degas{\textquoteright}s establishment of "place" (the term is drawn from Edmond Duranty{\textquoteright}s le language de l{\textquoteright}appartement) in the foyer series as a means of signaling a suitable quotient of realist "authenticity." By drawing on Henri Lefebvre{\textquoteright}s theorizations of social space, however, it is demonstrated that Degas{\textquoteright}s desire for illusionist manifestations of "place" was challenged by his increasing devotion to the processes of art-making. Hence the uneven development of the frieze format and the "dancer-motif"--the two defining forms of Degas{\textquoteright}s repetition. The increased horizontality of the format prompted the artist to forgo "place" in the interest of generating pictorial spaces in which a familiar repertoire of dancer-motifs could be arranged and rearranged, ad infinitum. This new preoccupation with process appeared in diverse media (drawing, monotype, and even casual doodling), and it involved an approach to composition that extended far beyond the limits of a single work. Degas{\textquoteright}s incessant experimentations accordingly spawned a self-referential and mnemonically driven working method exercised in multiple images over extended periods of time. There are parallels here both to Henri Bergson{\textquoteright}s notion of duration, and to Paul Valery{\textquoteright}s understanding of the primacy of "craft" in Degas{\textquoteright}s art, such that time, labor, and memory are (re)integrated into the art object as intuited knowledge. There are also consequences for the spectator, who witness the comings and goings of dancer-motifs in multiple pictorial spaces, and for whom the act of looking evokes past, present, and future interpretive encounters.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Vinson, Heather Jeanne} } @mastersthesis {11549, title = {Resonant Spaces, Sonorous Time: The Varieties of Acoustic Phenomena in Christian Marclay{\textquoteright}s Practice}, year = {2013}, school = {Bryn Mawr}, abstract = {This dissertation explores the work of Christian Marclay, a Swiss-American artist whose multivalent practice encompasses sound, performance, installation, sculpture, photography and video. Influenced by the work of Marcel Duchamp, John Cage, Fluxus, Vito Acconci and the various underground scenes of New York{\textquoteright}s musical landscape including punk, No-Wave and the collaborative jazz of John Zorn, since the late 1970s, Marclay{\textquoteright}s artistic practice has explored the power of sound and silence, music and noise to produce and condition individual and collective forms of artistic production and experience. The dissertation addresses the ways that Marclay{\textquoteright}s engagement with the category of sound informs his work with vinyl records, his visual practice, his performance and his video installations. I situate his practice in relation to genealogies of avant-garde aesthetic practice, histories of technology and the political and cultural contexts of the works in question. My analysis attends to the ways that Marclay{\textquoteright}s works mobilize acoustic phenomena to establish different types of spatial modalities for critical reflection. These include the material space of his sculptural installations, the visual space of his photographic installations, the social space of his collaborative performances and the televisual space of his video installation. In addressing these spatial concerns, my project accounts for the ways in which these different spatial modalities inform, reflect and intervene into the aesthetic, social and institutional sites of their display, from the gallery and the museum to the ruins of abandoned urban architecture. The introduction begins with The Bell and the Glass, a multimedia installation staged at the Philadelphia Museum of Art in 1994, in order to highlight the wide range of media that Marclay incorporates into his practice: sound, video, performance, photography, installation. Chapter one addresses the material space produced in and through Marclay{\textquoteright}s transgressive and destructive engagement with the physical media of acoustic technologies. The chapter focuses on two works: Footprints (1989) an installation of vinyl records that line the floor of the gallery and Tapefall (1989), a multimedia sound installation in which a reel to reel tape recorder, perched atop a ladder, plays a spool of tape of the sound of falling water that unwinds onto the floor. Chapter two examines two sets of photographic images, the Body Mix series composed of album covers sutured together to produce a set of monstrous hybrid bodies and faces and Fourth of July, a photographic installation composed of torn up photographs that Marclay had taken at a 4th of July parade in a small Hudson Valley town. I examine the ways that Marclay{\textquoteright}s use of the latent violence of the cut, the rip, the tear is deployed to produce historically resonant photographic spaces. Chapter three translates this line of inquiry into an analysis of Berlin Mix, a collaborative performance staged by Marclay in an abandoned trolley shed in Berlin in 1994. The chapter detects a wide range of aesthetic, historical, political and cultural resonances, exploring the ways in which the performance is embedded within the local context of its performance. Chapter four is devoted to an examination of four of Marclay{\textquoteright}s video installations, all of which deploy strategies of montage that disfigure cinematic space and that encourage a critical engagement with the technological platforms and spatio-temporal regimes of cinematic and televisual experience.}, keywords = {Contemporary Art}, author = {Feliz, Matthew C.} } @mastersthesis {11500, title = {Roles Recast: Eleanor Antin and the 1970s}, year = {2013}, school = {Columbia}, abstract = {"Roles Recast: Eleanor Antin and the 1970s" provides the first book-length study devoted to Eleanor Antin (b. 1935), and positions her practice as a pivotal point between late modernism and postmodernism in American art. The project focuses on Antin{\textquoteright}s work from 1971 to 1977, made while the artist was living in San Diego. During the period under consideration Antin integrated key facets from dominant art paradigms of the 1960s, especially Conceptualism and Minimalism, with a politics of desire and sexuality, creating art that instantiates a critique of vision. As such, Antin anticipated strategies that would become canonical by the late 1970s in art informed by postmodernist feminism, notably by artists associated with the "Pictures" generation. By arguing that San Diego was a key site from which art informed by postmodernist feminism emerged, I challenge the geographic binary that associates essentialist feminism with southern California and locates a more theoretically-inclined feminism in New York. Through what I call an "aesthetics of precarity," I contend that Antin reveals the vulnerability and potential for mutability that lie at the core of such fields as subjectivity, spectatorship and community. Related, she challenges the stability of visual representation and identity, and reveals the ways that fissures in one compromise the plenitude of the other. I argue that these features of Antin{\textquoteright}s work, integral to the particular feminism she advanced, served as a protest against the military triumphalist rhetoric-and its celebration of the heroic, stable soldier-that was prevalent during the Vietnam War era in which her artistic practice emerged.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Liebert, Emily} } @mastersthesis {11622, title = {The Roman Villa in Calabria: Case Studies in Visual Culture}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation demonstrates that villas of ancient Roman Calabria were as interesting and plentiful as those from other regions of Italy. While little known, and sometimes not well published and excavated, when combined with historical sources and a topographical perspective, the surviving remains do provide a means of reconstructing, a vivid impression of villa culture in this seemingly inhospitable part of the Italian peninsula. This dissertation focuses primarily on surviving architectural remains, sculptures, and mosaics, as well as small finds, although the latter are especially poorly published and often inaccessible for direct study. The preserved architectural remains of villas in this region demonstrate a wide range of types, dates, and functions, attesting to the long period of Roman occupation and the diversity of their activities in the Calabrian landscape. Sculptural finds, while few, are fine and demonstrate an affinity for the very same formats and subjects that are abundantly evident in villas of other areas of ancient Italy, particularly around Rome, the seat of power, and in the Bay of Naples, that cratera ilium delicatum or "Bay of Luxury" that Cicero and others like him relished so much. Mosaic evidence from Calabria also presents a range of stylistic and decorative options that were available to a villa owner, particularly in the imperial period, and include an evocative mixture of Italian and North African styles, subjects, and traditions. While other evidence, such as wall painting and elements of household accountrements, is particularly scarce, these objects can help provide a fuller context for the visual and cultural experience of these villas. Altogether, the available evidence for villa culture in Calabria, while challenging, provides an unexpectedly rich opportunity to expand our understanding of the Roman villa in Italy by taking more fully into account this neglected southern region of the peninsula.}, keywords = {Greek/Roman Art}, author = {Trentinella, Rosemarie} } @mastersthesis {11587, title = {Romanesque Casket Reliquaries: Forms, Meanings, and Development}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation traces the development of the casket reliquary-a box-shaped container for saintly remains-through the Romanesque period. It argues that casket reliquaries evolved to possess common forms and imagery that reflected specific liturgical contexts. Chapters 1 and 2 review the history of the cult of saints and relics and the use and appearance of casket reliquaries throughout the first millennium. Chapter 2 argues that early iconic casket reliquaries often featured Heavenly Jerusalem imagery and were made for use at church consecration and rededication ceremonies. Caskets displaying didactic narrative scenes typically featured the life of Christ or hagiographic scenes. Chapter 3 studies eleventh-century casket reliquaries from San Isidoro in Leon, Spain, made for Fernando I and Sancha. It proposes that the Beatitudes and Pelagius-John the Baptist caskets are Heavenly Jerusalem reliquaries and that they were used at church or altar consecration ceremonies and during various monastic Offices and the Easter season. It argues that the Isidore casket reliquary with its Genesis and laical scenes was used to facilitate the penitence of the royal couple as well as to assist in confirming their legitimacy as rulers, not to develop a public cult or establish San Isidoro as a place of pilgrimage. Chapter 4 analyzes eleventh-century casket reliquaries from the monastery of San Millan de la Cogolla in Spain. It proposes that the Aemilian reliquary, with its hagiographic scenes and Heavenly Jerusalem framework, served as a visual aid during Mass, Offices, and prayer as well as attracted local pilgrims, not international ones traveling to Santiago de Compostela. It also argues that the unusual Christological scenes on the Felix reliquary were not originally part of the eleventh-century casket. Chapter 5 surveys both unique, monumental as well as mass-produced, smaller-scale twelfth-century casket reliquaries. It reveals how the Heavenly Jerusalem reliquary grew to be a standard devotional aid expected to adorn at least one altar in every church. It examines the emergence of the small hagiographic casket reliquary, whose popularity most likely resulted from the rapid growth of the cult of saints and the proliferation of side altars dedicated to secondary saints within churches.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Hanan, Melanie} } @mastersthesis {11686, title = {The Sala Bologna in the Vatican Palace: Art and Astronomy in Counter-Reformation Rome}, year = {2013}, school = {Rutgers}, abstract = {This dissertation examines the ceiling fresco of the Sala Bologna in the Vatican Palace commissioned by Pope Gregory XIII in 1575. Portrayed on the vault is an uninterrupted view of the entire celestial sphere with each constellation represented in allegorical form and accurately placed with relation to one another. Each aspect of the ceiling{\textquoteright}s iconography is explored in detail, including the frieze of mythical gods and ancient astronomers painted in the curves of the vault below. I also consider the relationship between this celestial fresco and the terrestrial maps of Bologna painted on the lower walls of the room. Through an interpretation of the room as a single decorative program, I establish that the imagery of the Sala Bologna visually demonstrates Gregory XIII{\textquoteright}s use of empiricism to further his Post-Tridentine goals of Catholic reform. Moreover, it is my belief that this ceiling asserts the temporal and spiritual claims of the Church in a language that anticipates the increasingly important role of empirical science for the seventeenth-century papacy. The second goal of this dissertation is to contextualize the astronomical ceiling of the Sala Bologna within the tradition of celestial iconography. Although individual astrological frescoes have been explored in previous scholarship, there has been no explanation for the popularity of this imagery in the Renaissance and Baroque periods. By discussing over thirty celestial murals, I highlight several major themes and provide insight into the motivation behind the commission of this type of decoration.}, keywords = {Renaissance/Baroque Art}, author = {Urban, Emily} } @mastersthesis {11628, title = {Sanctifying Segregation: The Colonial Cathedral and Community of Mariana, Minas Gerais}, year = {2013}, school = {Delaware}, abstract = {The igrejas matrizes or "mother churches" that marked the centers of colonial Brazilian communities embodied the self-conscious beliefs and less-than-evident values that regulated civic life on South America{\textquoteright}s frontier. This dissertation explores these values and the social and spatial inequalities they nurtured by investigating the architectural and social history of the eighteenth-century Cathedral of Mariana, one of the most important igrejas matrizes built in colonial Brazil. Located at the heart of the gold-rich province (now state) of Minas Gerais, the Cathedral of Mariana served as the religious hub of colonial Brazil{\textquoteright}s wealthiest region. Gradually transformed over the course of the eighteenth century from a symbol of communion and community to an emblem of racial and socio-economic division, Mariana{\textquoteright}s cathedral offers insights into the persistent discrimination that continues to inform concepts of citizenship in Brazil. By analyzing the Cathedral of Mariana{\textquoteright}s architecture and material culture in terms of human experience, this dissertation investigates how the ideologies eloquently expressed in this and other churches{\textquoteright} walls and furnishings endured to influence much of Brazil{\textquoteright}s nineteenth, twentieth, and now twenty-first century spatial and social development.}, keywords = {Latin American/Caribbean Art, Renaissance/Baroque Art}, author = {Amott, David C.} } @mastersthesis {11708, title = {Science Fiction and Mystic Fact: Robert Smithson{\textquoteright}s Ways of World-Making}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation reexamines the work of Robert Smithson in the context of his exploration of myth, mysticism and science fiction, using each to deepen our understanding of his critique of the techno-rationalism of 1960s America and his dialectical conception of nature and artifice. Presenting an alternative to the theory-based, postmodern interpretations, I argue that Smithson aimed to explore epistemological questions rooted in the relationship between experience and its various modes of representation, and ultimately, the limits of human perception and knowledge. This project endeavors to establish a compelling link between Smithson{\textquoteright}s interest in mysticism and mythic ritual as received through his readings of William Blake, Mircea Eliade, and James Frazer, among others, and the transformation of these concerns through the influence of science fiction, with particular attention to the theme of irrationalism in the works of Edgar Allan Poe, Stanislaw Lem, and various authors of the experimental New Wave, represented by the journal New Worlds and significant authors including J.G. Ballard, Brian Aldiss, and Philip K. Dick, who developed experimental, self-reflexive and dystopian modes of science fiction. Smithson expressed the essence of this fertile relationship in the following terms: "I{\textquoteright}m trying to achieve a sublime nausea by using the debris of science and making it superstitious. Religion is getting so rational that I moved into science because it seems to be the only thing left that{\textquoteright}s superstitious." Experimenting with both irrational and rational ways of knowing the world and creating worldviews, Smithson intertwined visual and verbal languages and of myth, fiction, and science to reveal the inherent artifice and constructed nature of each. While I do not wish to overstate the role of science fiction as a singular unifying key to understanding Smithson{\textquoteright}s art, I argue that its inherently dialectical structure-paradoxically drawing together the competing epistemes of science and fiction-offers significant new insights into Smithson{\textquoteright}s complex art and sensibility. In the end, this approach expands our understanding of his practice beyond the dominant art historical of the 1960s to the expansive dualism of materialism and transcendentalism that has characterized so much of American art and literature.}, keywords = {Twentieth-Century Art}, author = {O{\textquoteright}Dea, Rory} } @mastersthesis {11620, title = {Second Style Painting and Social Ritual: The House of the Cryptoporticus at Pompeii}, year = {2013}, school = {UNC Chapel Hill}, abstract = {This dissertation analyzes the Second Style decorations (c. 40-30 BC) from the House of the Cryptoporticus in Pompeii, focusing on the roles the paintings played in the performance of daily social rituals enacted by the house{\textquoteright}s occupants and visitors in the late Republican period. The decorations, and especially the understudied wall paintings, acted as important {\textquoteright}set pieces{\textquoteright} in the performance of rituals that were vital to the social standing and influence of the patron of the house and his family. I discuss these decorations in terms of both their social and physical contexts, situating them within the complicated building history of the house. The decorations are linked through themes of leisure and luxury, all located in rooms used for the reception of guests. Yet, more than just being appropriate for such spaces, I demonstrate that the decorations, together with the architecture, played an active role in the practice of specific social rituals (strolling, bathing, and dining) that took place in those spaces. I use textual, archeological, and pictorial evidence to approximate a Roman viewer{\textquoteright}s experience of and interaction with the painted walls during such activities: investigating individual images (their antecedents, variants, comparanda), how the images worked with other images in the same room, how the decoration of a room operated with regards to the architectural and other physical factors, how the decoration functioned in the context of the activities that took place in that space, and finally how the decorated spaces were linked through within the larger building matrix. In the House of the Cryptoporticus, the wall paintings, mosaics, and stucco were not mere {\textquoteright}background{\textquoteright} to the social performances and rituals that took place in the decorated rooms, but were active agents in these rituals. Together the architecture and decoration created not just spaces of reception, but spaces of encounter for the ancient Roman viewer.}, keywords = {Greek/Roman Art}, author = {Raabe, Ashleigh} } @mastersthesis {11522, title = {Seeing{\textquoteright} the {\textquoteright}Ordinary{\textquoteright} at Lingyan Temple in Eleventh-Century China}, year = {2013}, school = {Michigan}, abstract = {This dissertation explores the little studied grouping of twenty-seven eleventh-century luohan (Skt: arhats) figures in Thousand Buddha Hall 千佛殿 at Lingyan temple 靈巖寺 in Shandong province to recover their place within the artistic, religious, and intellectual trends of the Song dynasty (960-1279). Dated to 1066, these life-size clay sculptures depict luohan- historio-mythical enlightened monks tasked with protecting Buddhism on earth-with a naturalism that blurs the visual distinction between luohan and monks. Not presented as sacred and supernatural divinities, these are instead rendered as "ordinary" clerics. Focused on the artistic and discursive practices around pictorial naturalism and the viewing strategies involved with "seeing" religious imagery during the Song period, this study offers three primary points. First, correlating the gestures, poses, and naturalism of the figures with contemporary monastic imagery and practice reveals the temple{\textquoteright}s engagement with contemporary Chan Buddhist practices and politics. During the years the sculptures were produced, the visual demonstration of the monastic community{\textquoteright}s competency in these matters would have been important, as Lingyan temple was being incorporated into the legal structure of the state and a larger network of Chan Buddhist institutions with its registration in 1070 as a Chan public monastery. Second, the naturalistic style of the sculptures raised concerns around the"truth" of imagery for a range of Song educated people-from Chan monks to civil officials, poets, and others. For these diverse viewers, the sculptures would have acted as sites for negotiation around the function of similitude, the objectivity of representation, and the authenticity of a represented subject. Appeal to these potential viewers and donors would have helped raise the temple{\textquoteright}s public visibility, securing its financial and institutional viability. Third, the viewing strategies of that potential public were diverse; "seeing" was not a singular experience during this period. Encounters with the Lingyan temple sculptures would have been shaped by a multiplicity of factors, including social and religious protocols, expectations of responses from divinities, and skepticism around viewing. Not simply objects of Buddhist devotion, these sculptures could be viewed as religious objects, as works of artwork, or both.}, keywords = {Chinese Art}, author = {Bieberly, Rebecca} } @mastersthesis {11537, title = {Seoul Art {\textquoteright}Under Construction{\textquoteright} from the Late 1960s to the New Millennium}, year = {2013}, school = {Binghamton}, abstract = {Since the late 1960s, during which the military government implemented mega-urban programs on a sweeping scale in Seoul, the capital of South Korea has undergone one of the most rapid transformations in history. The city{\textquoteright}s metamorphosis bears witness to South Korea{\textquoteright}s rapid economic growth, which is represented by the celebratory phrase "miracle on the Han River." And yet that transformation has posed challenge to the city{\textquoteright}s inhabitants, who negotiate lived spaces of Seoul that are constantly "under construction." This dissertation views artists based in Seoul as both ordinary and extraordinary inhabitants of the city, exploring how their immersion in the city{\textquoteright}s changes has inspired experiments in the visual arts, and how their artworks have offered a revealing understanding of the transformations of the city{\textquoteright}s architecture, urban design, and everyday objects from the late 1960s to the new millennium. This dissertation revisits in a chronological manner pivotal moments at which new modes of artistic production and changing spatialities of Seoul were inextricably bound to each other. These chapters focus on Kim Ku-lim{\textquoteright}s film and photocollages of the late 1960s, when various forms of artistic experiments with fresh media and vocabularies arose against the background of Seoul{\textquoteright}s metamorphosis during new mayor Kim Hyun-ok{\textquoteright}s tenure (1966-1970); paintings, collages, and photo-texts created by members of the artist collective Reality and Utterance in the late 1970s and early 1980s, in which the figurative art movement-which would be called later in the mid-1980s "Minjung art"-emerged as a concerted attempt to address changes in social space linked to urbanization and industrialization; Choi Jeong-hwa{\textquoteright}s interior design and urban photography of the early and mid 1990s, in which mixed-media installation works by young artists from the "new generation" or the "kitsch generation" bore witness to the city{\textquoteright}s turning into a "full-fledged" consumer society; and finally the artist collective flying City{\textquoteright}s visionary architecture All-things Park (2004), which was produced during the early 2000s when a growing demand for the reactivation of the oppositional legacy of Minjung art generated a particular set of project artworks addressing the entrepreneurial nature of the production of space in new millennium Seoul.}, keywords = {Contemporary Art, Japanese/Korean Art}, author = {Shin, Chunghoon} } @mastersthesis {11718, title = {Serial Aesthetics and the Concept of Technique: Mel Bochner and the 1960s}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation explores Minimalist artistic practices with regard to recent developments in science and technology in 1960s Europe and America. Focusing on key players in both music and the visual arts, it specifically makes use of Mel Bochner{\textquoteright}s early work to establish the coordinates of a new aesthetic approach to the object in art that emerged in relation to the theory and practice of post-War serial composition. Bochner{\textquoteright}s fundamental insight concerned the materiality of language and language-like structures. While Bochner{\textquoteright}s realization also came about in intense discussion with his peers, the emphasis of this study is on his reception of Donald Judd{\textquoteright}s "specific objects" and Dan Flavin{\textquoteright}s aesthetic application of standardized fluorescent lamps, as well as his interest in music theory. In particular, I argue for taking the category of the subject into account in Bochner{\textquoteright}s understanding of the material condition of the work. Drawing parallels to Theodor W. Adorno{\textquoteright}s post-Marxist critique of the Darmstadt School of musical serialism, this dissertation explores in depth areas of aesthetic discourse that are commonly treated separately, ultimately arguing for the temporal significance of the structural material of artistic work. The dissertation begins with a dispute over artistic technique among participants at the "Primary Structures" symposium in New York, in 1966. For artists at the time, recent advances in science and technology cast conventional artistic strategies into doubt. The status of the work had also, however, undergone significant changes in the reception of Marcel Duchamp{\textquoteright}s readymade in America. In this context, Bochner{\textquoteright}s interest in musical serialism yielded profound insight into the altered state of artistic technique, which Bochner addressed, in his writings as well as in his own work, in terms of the historical significance of specific ordering procedures in art. The dissertation then proceeds to examine the implications of a shifting conception of artistic practice for the subject in art, discussing the work of artists who followed John Cage, such as Allan Kaprow, La Monte Young and Robert Morris. The study concludes with Bochner{\textquoteright}s inaugural exhibition, "Working Drawings and Other Visible Things on Paper Not Necessarily Meant to Be Viewed as Art" (1966).}, keywords = {Twentieth-Century Art}, author = {Weiler, Derek} } @mastersthesis {11487, title = {The Seventh Regiment Armory and Aesthetic Movement Interiors}, year = {2013}, school = {CUNY}, abstract = {This dissertation is an exploration and analysis of the Seventh Regiment Armory, a privately funded, purpose-built headquarters for the nineteenth century{\textquoteright}s most elite volunteer militia. This project demonstrates how the conception and funding of the building were a direct response to Gilded Age labor-capital conflict-a means by which even non-member elites could participate in the most contentious socio-political debates of the day. Simultaneously, the Armory{\textquoteright}s commission and design reflected a new level of professionalization in the design profession(s) and specialization in architectural typology, and I argue that transformations in politics and professional practice were not discrete phenomena, but were manifestations of elite class consolidation in the face of unprecedented social change. This study tracks the evolution of the Seventh, establishing a connection between military proficiency and elite identity as reflected in a series of facilities used over the years. I connect the Seventh{\textquoteright}s policing duties with other elite initiatives to compel fiscal and social "reform" while establishing Aestheticism as a visual and stylistic corollary to those endeavors. Implemented by the first generation of American design professionals-architects, engineers and even artists-the class-based component of professionalism was brought to the fore in the late 1870s by the nascent labor movement, and this project explores the heretofore unexamined role that striking workers played in further catalyzing class consolidation among elite patrons and their peers in the design professions. The Armory was an exemplar of these professional and stylistic transformations. This analysis illuminates the continuity between the Seventh{\textquoteright}s interiors and other contemporaneous projects that are united (to a remarkable degree) stylistically, but otherwise typologically and geographically varied, further linking Aestheticism to the broader project of class consolidation and identity formation. By the mid-1880s, the style had fallen out of favor, thus the Armory is significant as a rare, extant example. It was the precedent for a subsequent boom in armory construction and inspired a number of imitators locally and across the country, but its sumptuous interiors were never matched. The Armory is an important and heretofore unexplored monument to a moment of incredible transformation in the country and city{\textquoteright}s history.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Bruner, Chelsea} } @mastersthesis {11534, title = {Sexuality and Signification: Episodes of General Idea{\textquoteright}s Subcultural Politics}, year = {2013}, school = {USC}, abstract = {Over the course of its twenty-five year career, Canadian artist group General Idea (1969-1994) systematically theorized an alternative form of politics present within the subcultures in which it participated. This subcultural politics had both different forms and different aims than traditional politics. Rather than such activities as demonstrations or boycotts, General Idea{\textquoteright}s subcultural politics manifested in the more everyday stuff of getting dressed, going to concerts, and participating in nightlife, seeking to produce alternative forms of culture in the present rather than advocate for changes in forms of government or public policy in the future. The group emphasized subcultural practices that were political precisely because of the ways they demonstrated culture as a motivated phenomenon that constantly seeks to naturalize itself and its values, hierarchies, and assumptions to support some forms of life while subjugating others. It pointed to actions that used the forms and processes of dominant culture as a signifying practice, but articulated them to different ends. As such, for example, a beauty pageant undermined not just femininity, but identity and subjectivity as fixed and given in general. As its career progressed, its work became less connected to specific subcultures, but it nevertheless continued to manifest this form of engagement, thereby demonstrating a general theory of subcultural politics that is applicable across the field of culture. Because General Idea{\textquoteright}s subcultures, be they the Canadada mail art network or the underground downtown scene in Toronto, were predominantly queer subcultures, it presented its subcultural politics as a form of sexuality itself. The group articulated its subcultural politics through the language and images of gay life, for example, or of fetish sex. These were political not simply because they crossed cultural norms, but because they highlighted norms in general as constructed phenomena. The group did more than simply point out the forms of politics circulating within subcultures, however. Through its engagement with other historical and contemporary art practices, General Idea also highlighted certain parallels between the forms of critical cultural engagement within subcultures and that present within a particular lineage of artistic practice, including self-evident examples like Dada and Pop but also less obvious examples like International Modernism or the work of Joseph Beuys. The group presented a form of queer art history by creating a queer avant-garde based not on the sexual identity of the artist, but on the practices{\textquoteright} demonstration of the very subcultural politics it strove to highlight in its own work. By manifesting subcultural politics within its projects, and constantly pointing to subcultural politics in other practices, General Idea emphasized the political potential of both artistic and social spaces excluded from both liberal democracy and also narratives of oppositional activity since the Second World War. These spaces are often the only source of refuge for subjects excluded from and therefore frequently indifferent to institutional modes of social justice, and still remain vibrant, though under-valued, arenas in our contemporary moment.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Solomon, Virginia} } @mastersthesis {11475, title = {The Shipping Container and the Globalization of American Infrastructure}, year = {2013}, school = {Michigan}, abstract = {Over the past few decades the transportation infrastructure of the United States has been globalized by the shipping container, an object that carries vast amounts of global commerce. Best known for traveling over the ocean, the container{\textquoteright}s ability to move in trucking and railroad infrastructures is equally crucial. As its intermodal capability allows for easy transfer between transport modes without its contents being loaded and unloaded, a container is able to follow a global trajectory through the use of multiple infrastructures. Consequently the domestic American transportation system has been integrated into the worldwide network of containerized freight movement. The American trucking and railroad systems have moved containers since the 1920s, and larger modern containers since the 1950s. Paralleling the dramatic rise in global trade, in recent decades the container has been widely carried by these two domestic infrastructures, and has also traveled on inland waterways sporadically. Trucking and railroads have been altered in many ways by containerization, both in terms of the necessary equipment and the routes of movement. Furthermore, the container{\textquoteright}s proliferation in the U.S. transportation network has necessitated the development of intermodal terminals, large facilities at key junctions of road and rail where containers are transferred from one transport mode to another. Yet the U.S. national infrastructure has kept many of its longstanding characteristics, for the container does not replace or transform it but rather depends upon it. The container{\textquoteright}s impact is substantial and results in some important changes, as American transportation systems must accommodate its physical qualities and other characteristics, but the fundamental nature of domestic infrastructure generally remains in place. In this regard containerization is typical of many processes of globalization, in that change is largely carried out within and through existing frameworks of the nation-state. The way the container impacts American transportation, therefore, is deeply affected by the historical, geographic, social and political realities of the nation and its infrastructure. Globalization is not a top-down transformation in which the worldwide scale inexorably dominates national, regional and local contexts, but rather is a nuanced and contingent process.}, keywords = {Architectural History/Historic Preservation}, author = {Heins, Matthew} } @mastersthesis {11504, title = {Shooting Underground: Andy Warhol{\textquoteright}s Cinema and the Making of a Public Image, 1963-1966}, year = {2013}, note = {University ETDS title: Andy Warhol{\textquoteright}s Cinema Beyond the Lens}, school = {UT Austin}, abstract = {This dissertation examines a small selection of the hundreds of films made by Andy Warhol and his collaborators between 1963 and 1968. Each chapter contextualizes a particular aspect of Warhol{\textquoteright}s filmmaking in terms of the artistic and cultural circumstances that informed it. Through an analysis of the content of specific films, rather than just their formal or stylistic tendencies, I discuss how the filmmaking process might have functioned for those involved in the films{\textquoteright} production, as well as how those films might have functioned for specific spectators. The first chapter is a speculation on how Warhol might have understood filmmaking as a method for creating concrete connections between feelings and things -- for collecting imagery with his camera in order to create a historical catalog of people and their emotions. This first chapter also considers how some art critics in the 1960s used Warhol{\textquoteright}s early silent films as exemplars for their own anti-formalist art-historical and critical discourses. The second chapter examines the relationship between Warhol{\textquoteright}s films and the proliferation of amphetamine use amongst his collaborators. Amphetamines functioned to perpetuate for its users a way of life based on an alternative conception of time, and often involved a continued engagement with bad feelings, which fueled much of the creativity of the artistic community whose locus was Warhol{\textquoteright}s Factory in the mid-1960s. As such, many of Warhol{\textquoteright}s films from this period exhibit what I term an "amphetamine aesthetic" -- visual clues that suggest the effects of long-term amphetamine use by its participants. The third chapter is an analysis of a single film, Lonesome Cowboys. Participants in the film{\textquoteright}s production used the conventions of the Hollywood Western film genre to create a circumscribed space for transforming their everyday lives and their relationship to contemporary politics in the late 1960s. All of these chapters explore the effects of Warhol{\textquoteright}s particular approach to filmmaking, which involved Warhol{\textquoteright}s own detached style of directing, as well as his cultivation of an ultrapermissive environment in which his collaborators -- actors, directors, writers, and technicians -- felt free to experiment. This environment was predicated on the idea that the boundary between the space in front of the camera and the world beyond it was simultaneously arbitrary and deeply imbricated. Such a fluid boundary between the world inside and outside the scope of Warhol{\textquoteright}s camera is in part why some spectators, watching his films a half-century after they were made, might still find new meanings for the present in the films themselves.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Weathers, Chelsea} } @mastersthesis {11506, title = {Show and Tell: Representation, Communication, and the Still Lifes of William M. Harnett}, year = {2013}, school = {Princeton}, abstract = {William Harnett is best known for his incredibly realistic paintings of inanimate objects like an aged edition of Don Quixote and a Colt .44 revolver. The imperceptible brushwork with which he depicted these subjects has prompted scholars to categorize his paintings as works of trompe l{\textquoteright}oeil that trained viewers to see through the deceptions that pervaded modern American life. But Harnett{\textquoteright}s output was incredibly diverse and readily divides into relatively distinct periods based on the successive subjects that he took up and the compositional adjustments that accompanied them. I analyze these stages, which span the breadth of the artist{\textquoteright}s career, in conjunction with period images, objects, and discourses in order to understand what it meant, as well as how it became possible, to make a painting (a still life) of things like texts and tools in late-nineteenth-century America. In fields as varied as the decorative arts, ethnography, and rhetoric-to cite just a few of the disciplines with which I put Harnett{\textquoteright}s work into dialogue-man-made things provided insight into the people who made and used them. I argue that Harnett investigated how such objects signified and adopted their rhetorical and technical strategies such that his paintings (like their ostensible subjects) were inscribed with and represented the mind at work. Although Harnett left no written records that can testify to his interest in this project, it challenges the illustrational quality of mid-century American landscape and genre paintings by exploiting the physical act, materials, and distinctly visual properties of painting. As such, his work, career, and the important ways that they intersect with those of other artists like Thomas Eakins and William Merritt Chase suggest that terms like "realism" and "illusionism" and the late-nineteenth-century works categorized by them have less to do with what a painting looked like than how it was made and the cognitive implications of this process for both artist and viewer alike.}, keywords = {Art of the United States}, author = {Elder, Nicole} } @mastersthesis {11567, title = {Sites Unseen and Scenes Unsighted: Histories of Feminist and Queer Alternative Art Spaces, ca. 1970-2012}, year = {2013}, school = {McGill}, abstract = {Histories of North American feminist, queer, and queer feminist art can be traced in relation to a history of the institutions, organizations, and structures that have helped to secure and legitimize feminist and queer art practices. My dissertation provides a queer feminist historiographical analysis of key feminist and queer alternative art spaces in three North American cities, in an effort to both affirm their enduring historical significance and to delineate the ways by which the present day histories of past queer and feminist practices support or challenge the dominant narrative lens through which the histories have come to be read. With focus on the 1970s feminist art movement in Los Angeles, the underground queer art communities formed in New York City in the 1980s and continuing into the mid-2000s, and the burgeoning queer feminist cultural communities working in the present day in Montreal, I show how the socio-political conditions of each place have resulted in divergent paths among the institutions. Putting each history into dialogue with contemporary queer feminist initiatives and interventions, I demonstrate how queer feminism can work, in the present day, both to secure the historical significance of these spaces and to critically engage histories of exclusion as integral to their continued relevance.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Silver, Erin} } @mastersthesis {11650, title = {Social and Political Transformation in the Balkans, 1856-1878: Visual Culture in an Era of Conflict and Change}, year = {2013}, school = {CUNY}, abstract = {No record in ProQuest or CUNY ETDs}, keywords = {Nineteenth-Century Art}, author = {Katanic, Jennifer M.} } @mastersthesis {11700, title = {The Soul of Solemn Places: The Interior Scenes of Henri De Braekeleer (1840-1888)}, year = {2013}, school = {IFA/NYU}, abstract = {Although largely unknown today, Henri De Braekeleer (1840-1888) was one of the foremost figures in Belgian art during the second half of the nineteenth century. Beginning in the mid-1860s, his interior scenes of lower-and-middle class residences and august historic landmarks in his hometown of Antwerp defined a novel type of subject matter in tune with the progressive principles of Realism: forthright, of-the-moment images of the spaces that structured contemporary Flemish life. The vivid specificity, effervescent luminosity, and quiet melancholy of De Braekeleer{\textquoteright}s paintings entranced audiences at home and abroad, most notably the late-nineteenth-century Belgian avant-garde. The writers Camille Lemonnier and Emile Verhaeren, the journals L{\textquoteright}art moderne and La Jeune Belgique, and the exhibition group Les XX enthusiastically celebrated his art. This dissertation, the first work to consider De Braekeleer{\textquoteright}s interior scenes as a thematic ensemble, investigates his paintings, their critical reception, and their broader artistic and cultural context, in order to recover his singular engagement with the spatial interior. The core of the dissertation is a discussion of De Braekeleer{\textquoteright}s manipulation of setting, and the relation between figure and setting, for heightened emotional and visual effect--an innovative compositional strategy rooted in the artist{\textquoteright}s adaptation of pictorial conventions established by seventeenth-century Dutch masters such as Johannes Vermeer and Pieter de Hooch. Careful historical analysis demonstrates that De Braekeleer{\textquoteright}s "expressive interiors" addressed some of the major concerns of his day: the often uneasy psychological entwinement of individual and milieu; the affirmation of national identity; and especially, the fraught status of history and the past in a rapidly modernizing society. De Braekeleer{\textquoteright}s paintings epitomize a Belgian population caught between nostalgia for the Golden Age of the Flemish Renaissance, and fear of tradition as a cause of social degeneration. The artist{\textquoteright}s formal and thematic originality made him a crucial, but vastly overlooked, precursor for the mysterious, psychically charged interiors found in fin-de-siecle Belgian Symbolism. In total, this dissertation affirms De Braekeleer{\textquoteright}s foundational contribution to Belgian modernism and identifies him as a key exemplar of the development of new approaches to the interior in nineteenth-century art outside of France.}, keywords = {Twentieth-Century Art}, author = {Hokanson, Alison} } @mastersthesis {11642, title = {Space into Time English Canals and English Landscape Painting 1760-1835}, year = {2013}, school = {Columbia}, abstract = {In a sense, it is always too late to talk about time. - Jacques Derrida England{\textquoteright}s canal network, critical to the nation{\textquoteright}s predominance in the development of modern industry, goes largely unnoticed today except by some scholars of transportation. As I suggest in my introduction, one of the reasons may be that since the Second World War the canals have been cleaned up and turned into an attraction for boaters and tourists. With their brightly painted cabins occupied by families on vacation, the boats, now motorized, glide slowly and silently past the bucolic banks of the canals. These are, in appearance, as originally proposed by the development companies and drawn and engraved for the newspapers: beautiful country spaces to be admired and enjoyed by the public. Another reason may be the exertion of a willful nostalgia: because the comparatively slow-moving canals can appear pre-industrial we choose to think of them that way. These choices have made the English canal system part of a pre-modern England, imagined just as the canals were being built. That England would always stand as "a living emblem" of itself remained for the most part uncontested (putting Cromwell to one side) until the construction of the canals. No narrative was required to explain the meaning of the countryside of estates and villages: they were "taken as a given" and had "no apparent origins". The canals visibly introduced time into what was perceived as an unchanging landscape. Time entered not only in the speed of transport on the canals but also in the factories that ran by the clock and the canals that ran by timetable. The geological layers unearthed in the digging of the canals revealed the passage of eons of time and the instability of the earth itself. Time entered in the movement of people and goods in bustling new towns that were in the interior of the country, made prosperous in part by the access the canals gave them to the seas. There was enthusiasm for the progress of English industry and science, a sense of national pride, and great expectations for the wealth of the country. There was a sense that if the old landscape and the new could not be reconciled, the identity of the nation would be lost. The general ambivalence about the changes the canals would bring began at the top with the landed nobility who first financed and built them. Their desire to extract wealth from their own lands overcame their fear of a dynamic population. Gainsborough, in his Cottage Door paintings, appealed to his audience{\textquoteright}s sense of nostalgia for the passing of the timeless English landscape at the very moment that the canals were being built and many of them were investing in them. Ambivalence is also present in Constable{\textquoteright}s attempts to cope with landscapes expressive of both time and space. The desire to return to an almost mythic prior time is palpable and his attempt to leap into the future with The Leaping Horse avoids the issue in the other direction. The heyday of canals, from 1765 to 1835, is the interstice between the early days of modernity in England and modern England in its full-blown glory. It is also a curious period in which the development of one technology, the canal, as it was elaborated in the landscape, propelled two generations of artists to work on the same problem: the visual representation of time and space. If one sets a later date for modernity (which I believe would be incorrect), one has the additional liability of facing a closed system of a time-based society and visual culture. By setting the onset of modernity in the 1760{\textquoteright}s, the anxiety and the failure of artists to develop the presence of both time and space in their work. At the very cusp of the period, in a work such as Turner{\textquoteright}s Dudley, Worcestershire, time does not empty space of meaning, any more than the supremacy of space in pre-modern England truly nullified time.}, keywords = {Nineteenth-Century Art}, author = {Cole, Susanna} } @mastersthesis {11470, title = {Spaces of Immigration: American Railroad Companies, the Built Environment, and the Immigrant Experience}, year = {2013}, school = {Rutgers}, abstract = {From the mid-nineteenth through early twentieth centuries, American railroad companies played a crucial role in shaping the physical and cultural landscape of the nation. These companies altered the land by constructing tracks, building stations, and platting towns. Railroad companies also redefined the cultural landscape of the nation by heavily promoting immigration, targeting specific ethnic groups that railroad officials considered desirable, such as northern Europeans, attracting them with employment opportunities, sale of cheap lands, and reduced transportation rates. Although dependent on immigrant traffic and land sales, railroad companies largely catered to the expectations of middle-class American citizens by designing their built environment in accordance with contemporary attitudes toward immigration, not only revealing class and ethnic hierarchies but also reinforcing them. On the East Coast, railroad companies operated at ports of entry in facilities like Baltimore{\textquoteright}s Immigrant Station (1868-1914), New York{\textquoteright}s Castle Garden (1855-1890) and the purpose-built Ellis Island Immigration Station (1892-1954), in order to move European immigrants as swiftly as possible through the station buildings and onto waiting trains headed for the country{\textquoteright}s interior. On the West Coast, however, restrictive legislation for Asian immigrants, who had largely constructed the Transcontinental Railroad, resulted in a prison-like design for the Angel Island Immigration Station (1910-1940), which featured barbed wire fencing, barred windows, and racially segregated barracks. Further along the immigrants{\textquoteright} journey into the United States, segregated train cars and waiting rooms quelled fears of foreign-born illness and reinforced ethnic and economic divisions between immigrants and citizen-travelers. Yet these immigrants were a source of profit for the railroads, and company officials organized ethnic enclaves in order to settle their Midwestern lands, targeting groups known for their agricultural skills, such as the German Mennonites. These spaces of immigration-ports of arrival, railway stations and train cars, and railway-established towns-may be read as physical manifestations of the country{\textquoteright}s changing immigration policies, of constructed popular ideas of otherness, and of ethnic and social hierarchies in the United States. This dissertation situates those spaces within the larger networks of American politics, capitalism, and culture.}, keywords = {Architectural History/Historic Preservation}, author = {Boland Erkkila, Catherine} } @mastersthesis {11653, title = {Spaces of Japonisme and the Art of Whistler, Van Gogh, and Monet: Collecting, Decoration, and the Japanese Other}, year = {2013}, school = {Washington University}, abstract = {The belongings a person surrounds himself with can be physical representations of his interior life and social aspirations. Many avant-garde artists in late nineteenth-century Europe collected Japanese art, particularly woodblock prints, and used this art to decorate their living spaces. In this dissertation, I studied the collections and decorations of Whistler, Van Gogh, and Monet, and analyzed their art to discover how they used ideas from Japanese art and their understanding of Japanese culture to define their artistic identities and to develop a decorative vision, moving away from spaces defined by linear perspective and tonal indications of volume, and toward styles emphasizing color, pattern, and surface texture. The history of Europe{\textquoteright}s importation of Japanese art objects is reviewed, and the collecting activities of the three artists are described. By collecting and living with Japanese art, they not only contemplated its formal conventions, but also laid claim to qualities associated with Japan. Japan represented a powerful counter-image to a Europe many in the avant-garde saw as diminished by industrial pollution, shoddy mass-produced goods, corrupt institutions, and tired artistic conventions. Aspects of Japan held up by Western writers as characteristic included its exquisite handcrafts, its people{\textquoteright}s alleged closeness to nature, their supposed genuine spirituality, and its extraordinary women, each praised for its difference from Europe. For Whistler, Japan provided a model for creating uncluttered beauty and elegance in his home and daily life, presented a new vision of the feminine, and suggested a way to aestheticize the industrialized shores of the Thames near his home in Chelsea. Van Gogh was inspired by his sense of Japan as a place of authentic spirituality where art was removed from commerce, and where artist-monks lived in harmony with one another in monastic brotherhoods, and learned about the transcendent through an intense study of nature. Monet found the model of the Japanese people living in intimate and contemplative harmony with nature especially compelling, and he admired the Japanese artist{\textquoteright}s close observation of seasonal and weather fluctuations. He not only filled his home with Japanese prints, but also designed a water garden that incorporated Japanese irregularity and asymmetry, and that would become his most important subject in his later years. For all three, their Japanese prints became significant parts of their mental store of images because of their everyday familiarity. These images incorporated into their living spaces could be drawn upon when searching for inventive solutions to artistic problems.}, keywords = {Nineteenth-Century Art}, author = {Towle, Diane} } @mastersthesis {11469, title = {Spectacles Plastiques: Reconstruction and the Debates on the {\textquoteright}Synthesis of the Arts{\textquoteright} in France, 1944-1962}, year = {2013}, school = {MIT}, abstract = {My dissertation examines the collaborative efforts of different individuals and groups-such as Le Corbusier, the Salon des Realites Nouvelles, Groupe Espace, and the lnternationale Situationniste-which advocated a "synthesis of the arts" in the time period that corresponds to the Liberation until the beginning of the Fifth Republic. I consider a wide range of archival sources and projects, from the collective decoration of permanent buildings to temporary installations in galleries by way of outdoors art exhibitions and theatrical performances, many of which were sponsored by Eugene Claudius-Petit and the newly founded French Ministry of Reconstruction and Urbanism. The "synthesis of the arts" discourse was more than a faint humanist echo of the Wagnerian model of the Gesamtkuntwerk, or "total work of art": it was one of the primary routes along which the cultural and political conflicts of French modernization and governmentality were discussed. My study locates the "synthesis of the arts" amidst the effort to renovate a universalizing discourse linked to modernist art, on the one hand, and a nascent welfare state notion of public space (and its correlative rhetoric of beauty, hygiene, functionality, and accessibility), on the other. As such, the postwar synthesis discourse not only reflected but directly participated in the development and expansion of the French "cultural state". Rather than showing this discourse as unitary, the dissertation explores its complex and sometimes contradictory dimensions by analyzing the political and social connotations of three different categories: a heroic model, associated with the figure of Le Corbusier; a bureaucratic model, developed by Groupe Espace (1951-1956); and an oppositional model, deployed by Asger Jorn, Pinot-Gallizio, and others who became associated with the Situationists (1954-1962). Case studies include Le Corbusier{\textquoteright}s Usine Claude et Duval in Saint-Die and Unite d{\textquoteright}Habitation in Marseille, Bernard Zehrfuss and Felix Del Marie{\textquoteright}s Regie Nationale Renault factory complex in Flins, Michel Ragon and Jacques Polieri{\textquoteright}s first Festival d{\textquoteright}Art d{\textquoteright}Avant-Garde, and Cobra and Situationists environments such as the Architects{\textquoteright} House and the Cavern of Anti-Matter.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Pezolet, Nicola} } @mastersthesis {11652, title = {The Spell of the Barricade: Art and Politics in France, 1830-1852}, year = {2013}, school = {UC Berkeley}, abstract = {This dissertation is about barricades and image production in the 1830s and {\textquoteright}40s. It comprises three chapters, each of which centers on a single work of art: Auguste Preault{\textquoteright}s Tuerie (1834), Ernest Meissonier{\textquoteright}s Souvenir de guerre civile (1849-1850), and Honore Daumier{\textquoteright}s L{\textquoteright}Emeute (c. 1848-1852). Together, the three chapters describe how the barricade oriented the period{\textquoteright}s multiple, often contradictory conceptions of class, revolution, history, and art. A new grammar of democratic politics took shape in the {\textquoteright}30s and {\textquoteright}40s, and it was one in which the street figured as both the site and medium of social transformation. Some would say, as I do, that the barricade was the 19 th century{\textquoteright}s most poignant and meaningful "symbolic form." It was also the most enchanting. Triumph is rare in these pages; tragedy sets their key. They turn on Preault{\textquoteright}s bas-relief, the political re-entrenchments of 1833-1834, horror, defeat, and disillusion rather than, say, the affirmative image of the barricade Eugene Delacroix{\textquoteright}s La Liberte guidant le peuple is often thought to have engendered; the uncertainties, ambivalences, and violence of artistic production in times of radical disintegration anchor their pivot. Not infrequently, they emphasize paintings, lithographs, and sculptures that evoke the barricade only in its absence. Yet while this dissertation reconfigures the image-map formerly in place, it does so not in pursuit of greater comprehensiveness-with the hope, as it were, of producing a total picture-but to capture something of the dividedness and fragmentariness that the barricade asserts even as it prefigures a world in which reconciliation is possible. Much was at stake in the {\textquoteright}30s and {\textquoteright}40s, and this dissertation aims to sharpen our sense of the true diversity and depth of the contemporary response, both to the limbo of the July Monarchy and the "dark times" (Brecht{\textquoteright}s phrase) after June 1848.}, keywords = {Nineteenth-Century Art}, author = {Rose, Jordan} } @mastersthesis {11512, title = {Staging Modern Domesticity: Art and Constructed Interior Displays in America, 1925-1940}, year = {2013}, school = {Indiana}, abstract = {This dissertation examines the interrelationship of aesthetic objects in domestic environments staged for public audiences during the interwar period in the United States (c. 1925-1940). In a quest to capitalize on the cultural ascendancy of avant-garde aestheticism visible in Europe, American mercantilists and cultural arbiters, such as the Lord \& Taylor, the Metropolitan Museum of Art, and world{\textquoteright}s fairs in Chicago and New York, started to exhibit fully furnished interiors. Harnessing what critics described as the illimitable power of suggestion through carefully crafted modern settings, these displays represent a successful attempt to set the terms and definitions of modernism for a new age. Heralded in their time as innovative examples of what domesticity should look like, model interiors articulated, and in short order, naturalized, the link between modern daily life and a modernist aesthetic. Notwithstanding their importance, these exhibits have been pushed to the periphery of scholarly inquiry because their position at the junction of fine art, decorative art and design, and popular culture is complex. My project recovers the history of these ephemeral spaces, analyzes the interrelationship of fine arts, decorative arts, and furnishings presented to the public, and asserts that these staged domestic interiors were prescriptive tableaus intended to inculcate desire for a modern lifestyle. The first chapter of the dissertation considers commercial interpretations of fully integrated interior displays that attempted to negotiate the duality of mass consumption and personal taste. The second chapter focuses on world{\textquoteright}s fair model interiors and the presentation of the ideal modern home as it contrasted with the economic realities of the Great Depression. Chapter three explores the ways museums adopted the practice of integrating fine arts and decorative arts in exhibitions during this era and the extent to which these displays included modernist interiors. The final chapter centers on governmentally sponsored exhibitions in which organizers believed showing the visual connections between contemporary art and new home furnishings would promote a nationalist ideal of democratic progress through the modernization of domestic life. By focusing on the shared exhibition tactics and the physical realization of these diverse exhibits, this study illuminates the power of these idealized spaces to reify modernity for a mass audience.}, keywords = {Art of the United States}, author = {McGoey, Elizabeth} } @mastersthesis {11517, title = {On the Streets and in the Suburbs: Photographers of the American Social Landscape, 1963-1976}, year = {2013}, school = {Kansas}, abstract = {Three American photographers came to prominence during the years bracketed by the assassination of President John F. Kennedy in 1963 and the American Bicentennial in 1976. Lee Friedlander (born 1934), Garry Winogrand (1928-1984), and Robert Adams (born 1937) each used an emotionally detached, "documentary-style" approach to picture the rapidly changing social landscape of this period. This dissertation aims to bring a fresh perspective to select bodies of work by these photographers. Though each chapter is intended as a singular discussion of specific projects, the essays are united by a methodological approach grounded in social art history, rather than the rhetoric of "photographic" formalism as espoused by John Szarkowski, who promoted the work of these three photographers through exhibitions and publications during his tenure as Director of Photography at the Museum of Modern Art, New York from 1962-1991. Significantly, the interpretations retain an appreciation for the unique aesthetic aspects of the photographs as they were informed by the historical moment in which they were produced and received. The first chapter focuses on Garry Winogrand{\textquoteright}s Public Relations, situating the photographs within the context of a burgeoning critical discourse about the impact of television and the mass media on social behavior as articulated by such writers as Daniel J. Boorstin and Marshall McLuhan. The second chapter reconsiders Winogrand{\textquoteright}s Women are Beautiful, and focuses on Winogrand{\textquoteright}s photographs of female subjects on the streets and in the public spaces of New York City within the context of the women{\textquoteright}s liberation movement and the sexual revolution. Robert Adams{\textquoteright}s photographs of suburban sprawl and industrial development along the Colorado Front Range and the Denver metropolitan area, which comprised three related series--The New West, Denver and What We Bought--are the focus of the third chapter. This essay proposes a new interpretation of Adams{\textquoteright}s photographs as rooted in a long tradition of American Transcendentalist thought and contemporaneous environmentally conscious writing. The fourth and final chapter focuses on Lee Friedlander{\textquoteright}s The American Monument, and considers these photographs as they resonate with the themes of history, memory, and patriotism in the wake of the Vietnam War and Watergate.}, keywords = {Art of the United States}, author = {Watson, April} } @mastersthesis {11555, title = {Synergy and Counterpoint: African-Derived Patterns in Contemporary Art}, year = {2013}, school = {Temple}, abstract = {This dissertation investigates aesthetics of African design and decoration in the work of major contemporary artists of African descent who address heritage, history, and life experience. My project focuses on the work of three representative contemporary artists, African American artists Kehinde Wiley and Nick Cave, and Ghanaian artist El Anatsui. Their work represents practices and tendencies among a much broader group of painters and sculptors who employ elaborate textures and designs to express drama and emotion throughout the Black Atlantic world. I argue that extensive patterning, embellishment, and ornamentation are employed by many contemporary artists of African descent as a strategy for reinterpreting the art historical canon and addressing critical social issues, such as war, devastation of the earth{\textquoteright}s environment, and lack of essential resources for survival in many parts of the world. Many artworks also present historical revisions that reflect the experience of Black peoples who were brought to the Americas through the transatlantic slave trade, lived under colonial rule, or witnessed aspects of post-colonial struggle. The disorderliness of intersecting designs could also symbolize gaps in memory and traumas that will not heal. They reflect the manner in which Black Atlantic peoples have pieced together ancestral histories from a patchwork of sources. Polyrhythmic decoration enables their work to act as vessels of experience, allowing viewers to bring together multiple histories and social references.}, keywords = {Contemporary Art}, author = {Sanders, Sophie} } @mastersthesis {11451, title = {System, Papa, in Everything{\textquoteright}: Plantation Networks in the late Antebellum Deep South}, year = {2013}, school = {Virginia}, abstract = {This dissertation combines careful study of physical evidence and documentary records to explore multiple plantation properties under a single owner in the Deep South in the 1840s and 1850s. Relying on methodologies developed by vernacular architectural historians and scholars of material culture, plantation networks frame the full plantation landscape, contextualizing mansion houses with agricultural buildings, working landscapes, and great houses on contributing plantations, filling the spaces with objects, and exploring spatial and social hierarchies. Three types of networks are case studies to understand ways plantation networks shaped the landscape, built environment, and material culture of hub and contributing properties, which, in turn, affected the lived experiences of elite whites and enslaved people on plantations. The first chapter defines three types of plantation networks represented by Millford, Melrose, and Ashland, as well as the ways John Manning, John McMurran, and Duncan Kenner acquired and managed them. Agricultural buildings of the working plantation landscapes are the subjects of the second chapter. The third chapter discusses architectural influences and design concerns of the mansion houses, great houses, and domestic cores. The fourth chapter fills the houses with furniture and goods, investigating consumption patterns and the role of fashion. The fifth chapter moves the reader through the landscape to the mansion house, through rooms of furniture, into social gatherings to understand circulation, access, spatial hierarchies, and social landscapes. The research documents how powerfully plantation networks altered the plantation landscape. Networks allowed planters to share resources, buildings, materials, and enslaved people with material and psychological implications for the landscape and people involved. Networks changed the scope of architectural and material consumption, allowing Southern planters to participate in fashionable trends sweeping the United States in the 1840s and 1850s. Finally, plantation networks created significant differences in social and spatial hierarchies in houses across the network. Networks answer questions about how people lived on and experienced plantations in the past and offer a framework for future plantation scholarship.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Johnson, Emilie Katherine} } @mastersthesis {11671, title = {Talismans of Art and the Combinatoric Mode in Northern Europe, 1510-1555}, year = {2013}, school = {Yale}, abstract = {mage Beyond Likeness: The Chimerism of Early Protestant Visuality c. 1525-1555 is the first study to describe early Protestant art in positive terms. Excellent studies of Protestant visual culture elucidate its response to anxieties of representation, examine iconoclasm{\textquoteright}s deleterious effects on workshops, and cull broader social themes from broadly circulated prints. Image Beyond Likeness claims that early Protestant art is not only of interest for its street-sold, propagandistic woodcuts, for didactic allegory, or for its later anxious turn to text, but primarily for its affirmation of a non-illusionistic visuality that preserved difference. The medium of middle-scale relief sculpture constrained perspectival effects and thrived; text motifs in book illustrations, panels, and church ceilings conserved conventional meaning yet emphasized its visual inflection; increasing interest in measurement, as in Hans Holbein the Younger{\textquoteright}s Ambassadors and related technological instruments, emphasized simultaneous disparate scales of time and space and provided an alternative to perspectivalist, Neoplatonist melancholy; and, in political allegories for the Electors of Saxony, Lucas Cranach the Younger integrated sociocultural problems of his time with sacred history, pushing the limits of a coherent iconology. The dissertation, in moving beyond hybridism, which blends difference into unified appearance, to focus on chimerism, which disjunctively preserves difference, introduces a new term for any study of encounters among divergent visualities. Image beyond Likeness also shows that this emphasis on difference, while thwarting traditional mimesis, reflects not anxiety but a confidence in representation that is only possible when likeness is not at stake.}, keywords = {Renaissance/Baroque Art}, author = {Nelson, Jennifer} } @mastersthesis {11680, title = {A Thematic Reconsideration of the Galleria Rucellai of Jacopo Zucchi}, year = {2013}, school = {Maryland}, abstract = {This dissertation presents new research into the Galleria Rucellai, a longitudinal, decorated interior created by Jacopo Zucchi for Orazio Rucellai sometime between 1586 and 1591, arguing for a unifying theme, namely time. Zucchi{\textquoteright}s technical and artistic formation, his social and patronal milieu in the years leading up to the execution of the Galleria{\textquoteright}s frescoes, and the identities of the patron and his family are key considerations, each connected to the proposed theme. The linearity of time, both as a sequence of lived or historical weeks and years and as an experiential index for the visual material assembled and subsequently described by Zucchi in his later treatise on the Galleria, constitutes the unifying thread. In selecting time as a theme for this monumental domestic decoration program for Rucellai{\textquoteright}s Roman palace, Zucchi meditates on its very nature, from intangible and distant mythological origin narratives from antiquity and Rucellai lore to the biographies of figures both famous and forgotten from Ancient Rome, in the era of the Gregorian Reform of the calendar, which changed how time{\textquoteright}s passage is marked. Concepts of lineage and descent, whether mythological, familial, or dynastic, express the theme and allow digression into examinations of biography and character, oscillating between the exemplary and the infamous and culminating in a uniquely Italian iteration of vanitas imagery. This combination of exemplum virtutis and memento mori both emphasizes the persistence of a complex form of identity, composed of the physical body, recorded actions, and external, sometimes posthumous character appraisal, and exhorts the viewer to careful consideration of behavior and life choices in the face of death as an end to the human experience of time. Specific appeals to the histories of Florence and Rome, the two chief cities of both Zucchi and Rucellai, link the figures{\textquoteright} own biographies, which flower into encomia that visually revisit, at indexical spots within the room itself, the accomplishments and character each. The entire project is crowned and completed in Zucchi{\textquoteright}s Discorso, a treatise that both elucidates the imagery and furthers the artist{\textquoteright}s carefully-constructed self-presentation through rhetoric, engagements with contemporary art theoretical debates, and challenges to Michelangelo{\textquoteright}s insuperability.}, keywords = {Renaissance/Baroque Art}, author = {Rudolphi, Adam} } @mastersthesis {11645, title = {Thomas Jeckyll, James McNeill Whistler, and the "Harmony in Blue and Gold": The Peacock Room (1876-77): A Re-Examination}, year = {2013}, school = {Virginia Commonwealth}, abstract = {This dissertation uncovers three previously unrecognized innovations of Thomas Jeckyll in the Peacock Room. At the same time, the dissertation admits that sometimes James McNeill Whistler chose a more conventional path in the design of the room than previously acknowledged. The dissertation illuminates the often overlooked principle of Classical Decor, first described in the first century BC by Vitruvius, and analyzes how it was instituted in the Peacock Room. Four major points illustrate this conclusion. First, the meaning of the sunflower in the West is explored to account for the flower{\textquoteright}s popularity and absorption into ancient heliotropic lore. Thomas Moore{\textquoteright}s poetry may have inspired Aesthetic Movement designers such as Jeckyll to use the motif. Second, this dissertation demonstrates that the Peacock Room is only a distant descendant of the traditional European porcelain chamber. It was a new idea to turn the porcelain chamber into a dining room. Further, the room lacks two of the three key features of a porcelain room: lacquer panels and large plate-glass mirrors. When Whistler made the surfaces of this room dark and glossy, he made the room more traditional, aligning it with the customary lacquer paneling of porcelain rooms. And Jeckyll{\textquoteright}s sho-dana shelving system in the Leyland dining room was without precedent in porcelain or other kinds of Western rooms, with influences from Japan and China. Third, Decor in the dining room was revealed as an established pattern in eating rooms from Ancient Roman triclinia to the present day. Fourth, Decor is present in the Peacock Room in four ways: in the trappings of the table used to decorate a dining room, in the darkness of this dining room, in the use of a foodstuff, the peacock, to decorate the room, and in the hearth{\textquoteright}s sunflowers. Through the lens of the history of Western domestic interiors, significant innovations by Jeckyll have been brought to light, and the meaning of specific elements in the Peacock Room has been elucidated. Jeckyll and Whistler gave the world a sensational story in the Peacock Room but also a complex work of art that is only beginning to be illuminated.}, keywords = {Nineteenth-Century Art}, author = {Fischer, Cynthia} } @mastersthesis {11556, title = {Through the Body: Corporeality, Subjectivity, and Empathy in Contemporary American Art}, year = {2013}, school = {Washington University}, abstract = {This dissertation considers the relationship between embodied experience, subjectivity, and empathy expressed in artworks created and exhibited in New York in the early 1990s and linked with identity politics. I focus on works that represented or evoked bodies and elicited viscerally somatic responses from viewers. As I demonstrate, the multicultural and post-structuralist interpretive frameworks applied to these artworks hinged on implicitly antagonistic notions of subjectivity which undercut the works{\textquoteright} affective potential. In particular, such models disregarded the powerful epistemological import of corporeality in favor of discursive constructions. Through three paired case studies, I investigate how these artists engaged with emerging discourses in queer, African American, and diasporic communities that directly addressed issues of embodiment, knowledge, and identity. Additionally drawing from recent writings in feminist and political theory on corporeality and solidarity, I argue that these artworks enact a cooperative conception of subjectivity, allowing for the possibility of loving exchange between subjects. My project shifts the critical focus away from interpretations of these works as merely signifiers of politicized identity and towards a recognition that the embodied engagement they demand can serve as a profound catalyst for empathy through a dynamic combination of both affective and intellectual operations.}, keywords = {Contemporary Art}, author = {Weichbrodt, Elissa} } @mastersthesis {11657, title = {To Live Again: The Possibilities of Re-performance in Twentieth-Century Arts}, year = {2013}, school = {Stony Brook}, abstract = {This dissertation analyzes the history and theory of reperformance, arguing it as a mode of reproduction for the dissemination and institutionalization of performance art practices. In four chapters, I draw together sources in art history, performance studies, sociology, and anthropology to frame how performances of the past are re-created and reinterpreted, specifically within the context of museums and the art historical canon. While reperformance has been integral to the development of performance art since its inception in the early decades of the 20th century, my focus will turn to how post-World War II practices have been engaged with in recent exhibitions and retrospectives, specifically in the work of Allan Kaprow, Alison Knowles, and Marina Abramovic.}, keywords = {Performance Studies, Twentieth-Century Art}, author = {Weil, Harry} } @mastersthesis {11494, title = {Touring Pictures: The Exhibition of American History Paintings in the Early Republic}, year = {2013}, school = {Delaware}, abstract = {During the early republic, an era of tremendous change, American artists such as John Trumbull, Thomas Sully, Rembrandt Peale, William Dunlap, and Samuel F. B. Morse first began independently exhibiting and touring history paintings. Producing meaningful work on speculation, artists hoped to earn compensation through admission fees, spreading the cost of their labor and materials out among many spectators. Painters were eager to paint for the public, to attempt meaningful subjects that could educate and inspire broadening American audiences. These exhibitions exposed communities across the country to fine art long before the establishment of most public museums. Moreover, as the print culture of this period demonstrates, the beginnings of art criticism, which date to this period, witness and can be tied to the emergence of public art exhibitions. How and why did touring paintings blossom around 1820, emerging from a few scattered examples in the mid-teens to become widely practiced just a decade later? Chapter one focuses on John Trumbull{\textquoteright}s Declaration of Independence (1818), commissioned by Congress for the U.S. Capitol Rotunda in Washington, D.C. In late 1818 and early 1819, Trumbull{\textquoteright}s four-city tour of the Declaration was both problematic and groundbreaking, the first systematic, multi-city exhibition of a history painting in America. Taking Thomas Sully as a case study, the second chapter identifies the emergence of a loose network of U.S. artists touring paintings in the early 1820s, facilitated by the establishment of artist-run exhibition venues in key cities. Chapter three examines Rembrandt Peale{\textquoteright}s The Court of Death (1820), with a new literary source enabling the painting to be read in split and doubled terms, as a "court" both royal and judicial. The fourth chapter explores the links between theater and the fine arts in America during the early national period, focusing on William Dunlap{\textquoteright}s painting Christ Rejected (1822). By the early 1830s, the hopes that many artists had fostered for single painting exhibitions had given way to some frustration, as exemplified in Charles Bird King{\textquoteright}s 1830 painting The Vanity of the Artist{\textquoteright}s Dream.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Pohrt, Tanya} } @mastersthesis {11719, title = {Tradition, Innovation, and the Construction of Identity in Otto Dix{\textquoteright}s Portraits and Self-Portraits, 1912-1925}, year = {2013}, school = {IFA/NYU}, abstract = {This dissertation investigates Otto Dix{\textquoteright}s response to the dramatic shift in German cultural identity within the first two decades of the twentieth century through a series of portraits and self-portraits. It rethinks the phenomenology of representation in portraiture in Germany between the Wilhelmine era (1890-1914) and the first half of the Weimar Republic (1919-1925) to consider Dix{\textquoteright}s interpretative role in depicting himself and his sitters within the circumstances faced by German society prior to, and directly following, the First World War. In focusing on his portraits and self-portraits, it addresses a central paradox of Dix{\textquoteright}s work: his consistent commitment to a genre whose very existence in terms of specificity and occasionality militates against the idea of modernism, which is frequently concerned with the rejection of mimesis and the representational traditions of the past. Though Dix{\textquoteright}s dogged adherence to portraiture would seem to be both anomalous and anachronistic, he used the genre to engage the German art-historical tradition in a critical dialogue. However much Dix appeared to be at the vanguard of a new aesthetic moment in German painting as the alleged progenitor of Neue Sachlichkeit portraiture, he painted with an innate conservatism that technically and iconographically involved harnessing the art-historical past. One of the central questions posed in this dissertation is why Dix returned to historicizing modes of portraiture and how he operated within the larger constraints of tradition, not in order to pay homage to the past, but to demonstrate the dialectical relationship between modern artistic innovation and received tradition.}, keywords = {Twentieth-Century Art}, author = {Wijegoonaratna, Michele Anne} } @mastersthesis {11578, title = {Tradition, Theory, and Practice: Drawings in the Italian Renaissance Workshop, from Pietro Perugino to the Pupils of Raphael}, year = {2013}, school = {CUNY}, abstract = {Throughout Pietro Perugino{\textquoteright}s career, pupils, assistants, and collaborators associated with his shops in Perugia and Florence were critical to his highly productive enterprise. The drawings of Perugino and his Florentine and Umbrian associates are a unique source of linear genealogy documenting the role of the master, the contributions and participation of the workshop, and the artistic exchange that occurred in the process. This dissertation examines the workshop practices of Perugino and his pupils as independent artists, using evidence furnished by workshop drawings. The drawings, byproducts of the daily operations of these workshops, reveal both continuity in practice over generations and the ways in which each generation adapted to changes in the artistic climate. The reconstructions, in addition, have the potential to shed additional light upon the intersection between tradition, theory, and practice, as well as socio-economic conditions, such as training, collaboration, and organization in the Renaissance workshop. The market for copies, variations, and replicas is considered in the context of the notion of imitazione and meaning and cultural value of copies unique to Perugino{\textquoteright}s time. And the different grades of workshop production are illuminated by Perugino{\textquoteright}s methods of production and design. Using evidence furnished by workshop drawings, this dissertation also examines the formative influence of the practices of Perugino on artists trained in his workshop. Among artists that came under his tutelage, two dominant tendencies emerge: a derivative style in Perugia among local artists under the shadow of Perugino{\textquoteright}s monopoly and an independent style, found outside of Perugia, reflecting the influence of Perugino{\textquoteright}s workshop instruction. The careers of two significant pupils, Berto di Giovanni in Perugia and Raphael in Florence and Rome demonstrate the transmission of the experience of Perugino{\textquoteright}s workshop through two very different career trajectories, and will be used as case studies. Characteristics of their practice that reflect the heritage of Perugino such as the systematic use of drawings, employment of tools and techniques of replication and the master{\textquoteright}s exemplum, and principles of organization will be evaluated to trace continuity and innovation in workshop practice.}, keywords = {Drawings/Prints/Works on Paper, Renaissance/Baroque Art}, author = {Kim, Jennie} } @mastersthesis {11596, title = {Traditional Mechanisms and New Applications: Identity Construction and Definition of Space through Image in Post-Amarna and Nineteenth-Dynasty Elite Tombs at Thebes}, year = {2013}, school = {Emory}, abstract = {This study seeks to understand the ancient visitors{\textquoteright} experience of the elite tomb chapel from the post-Amarna period through the 19th Dynasty (ca. 1333-1188 B.C.E.) in Thebes. The tomb itself was a multipurpose space, and the decoration and text found in the different areas of the tomb were selected and arranged with an awareness of the function of these spaces. Representing a great investment of capital on the part of the tomb owner, the tomb chapel was an open space created for the purpose of receiving visitors. In the past, discussions of tombs from this period have focused on the ritual function of the images and texts, seeing them primarily as tools to conduct the deceased to the afterlife and oriented toward the beyond. Such work is important and emphasizes a primary purpose of the tomb space, but the decoration of the tomb chapel was also oriented toward the living world and served as a major tool of self-presentation on the part of the tomb owner and his family. This second function is not entirely distinct from the first, because the representation of the deceased as an individual worthy of an afterlife due to his adherence to cultural values while alive was a prerequisite for entrance into the afterlife. In this study, I consider scene selection, placement, and composition in order to understand the self presentation of the tomb owner. In constructing his identity, the tomb owner frequently uses the juxtaposition of scenes to make nuanced statements about his identity, the importance of participation in the offering cult, and his expectations of visitors to the tomb chapel. Recognizing this mechanism, this study favors a holistic treatment of tomb decoration.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Fitzgerald, Clare} } @mastersthesis {11521, title = {Transtemporal and Cross-Border Alignment: The Rediscovery of Ming Yimin Ink Painting in Modern China, 1900-1949}, year = {2013}, school = {Ohio State}, abstract = {This dissertation addresses modern Chinese ink painters{\textquoteright} use of seventeenth-century yimin art as a philosophical, aesthetic, and political vehicle for synchronizing the fundamental values of Chinese art with the modern world during the first half of the twentieth century. In this case, the polemical term " yimin" designates "leftover subjects" or loyalists to a previous fallen dynasty. "Ming yimin art" refers to the ink paintings done by a group of seventeenth-century individualist masters-among whom the most famous is Shitao (1642-1707)-whose paintings often appear expressive or abstract from a modern perspective. The rediscovery of this individualist art in a modern context was carried out almost simultaneously in China and Japan, and later spread to Europe and America. Employing a body of still understudied materials from art journals, museum archives, and artists{\textquoteright} writings to paintings, my study challenges the common misconception that early twentieth-century Chinese ink painters were conservative and their paintings outdated. I argue modern ink painters re-appropriated and canonized seventeenth-century individualist painting with a dual purpose not only to legitimize and prioritize the value of traditional ink aesthetics within an international art scene, but also to create an ink painting suitable to a new forward-looking Chinese culture. The rediscovery and reformulation of Ming yimin painting by twentieth-century intellectuals can best be understood as a process of temporal and spatial "alignment" or "synchronization" as modern ink painters sought to situate themselves both within China{\textquoteright}s historical continuum and within an international scene increasingly aware of cross-cultural comparison and market competition. This bipartite act of synchronizing the past and present, the traditional/Chinese and modern/Western, enabled early Qing individualist painting to be reinterpreted as an art of modern value and transformed into something new by both Chinese and Western standards. The simultaneous impulses to historicize and renew are both responses to the exigencies of Chinese modernity. Well-exposed to the notions of Social-Darwinism and constantly reminded of the undeniable success of Western powers, early twentieth-century Chinese painters strategized to find an artistic heritage in China{\textquoteright}s past that could be compared, no matter how vaguely, to certain aspects of modern Western art. Concurrent with, and partially inspired by, contemporaneous Japanese interest in seventeenth-century individualist art, many late Qing and Republican ink artists readopted and reevaluated yimin painting in order to transform their medium into an art they considered distinctively modern. Their promotion of yimin art and theory as parallel to contemporary European art was aided by the modern means of printing and publishing. Reflecting the drastically changing ideological concerns of Chinese intellectuals in the first half of the twentieth century, the appropriation of yimin art and the reinvigoration of ink traditions were carried out in a variety of fashions by different generations of historians and painters.}, keywords = {Chinese Art, Twentieth-Century Art}, author = {Zhu, Yanfei} } @mastersthesis {11559, title = {Trecento Visuality and Visual Arts: The Role of Glass and the Influence of Optics on Italian Art of the Fourteenth Century}, year = {2013}, school = {CUNY}, abstract = {This project explores several facets of Trecento visuality as related phenomena and argues that the theoretical and spiritual conceptions of vision were inextricably linked to developments in optical technology, the practical experience of vision, and the visual arts. It does so by elucidating the role of sight and light in private devotional practices by examining religious art, especially reliquaries, which incorporate transparent glass. Early modern transparent glass had many functional uses-ranging from storage vessels to lenses, it was relatively cost-efficient, it was mentioned by ancient authors and natural scientists, and it was employed in religious symbolism. An examination of the many cultural associations that glass held in Trecento Italy demonstrates the ways a viewer used transparent glass in order to meditate their relationship with their world and their religious beliefs through their visual experiences and spiritual insights.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Renaissance/Baroque Art}, author = {Dillon, Sarah} } @mastersthesis {11602, title = {Unchecked Ideas: Humor and the French Revolution in Late Eighteen-Century British Political Graphic Satire}, year = {2013}, school = {Brown}, abstract = {This dissertation examines the visualization of abstract ideas - ideas that were in many ways inseparable from Revolutionary France - in British political graphic satire over the course of the 1790s. Redeploying these unchecked ideas and tropes from the Revolutionary milieu enabled satirists to charge their representations in ways that ultimately shaped the British political landscape and its visualization beyond the ways one might reasonably expect. In the following chapters, arranged chronologically, I investigate four specific cultural discourses and how they changed the way in which politics was visualized in the London satirical print market. Satirists advanced lively debates centering on religious liberty and the fear of religious dissent at the start of the decade, violence and radicalism at home expressed through caricatures of the Opposition Whigs during the Terror, the fear of assignats and paper money during the specie crisis of 1797 and the changing religious practices of radicals and Revolutionaries at the close of the century. Isaac Cruikshank, William Dent, James Gillray, William Holland, Richard Newton, Thomas Rowlandson, James Sayers and some anonymous print makers all engaged in these heated debates. By focusing on the three historical themes of religious fanaticism and sacrilege, revolutionary violence and financial policy, this project ranges across a number of chronologically grouped images to reveal larger frameworks in visual culture that transcend the individual groupings of various discrete events and include broader representational practices that have not been the focus of previous research, including: the representation of enthusiasm, the embodiment of debt, the role of the smile in images of sans-culottes, the theme of suicide, the shared central technique of incongruity in creating humor/horror hybrids, images commenting on the Batavian republic, the accusation of proselytization in an imperial context and sexually charged representations of Napoleon in Egypt.}, keywords = {Eighteenth-Century Art}, author = {Lahikainen, Amanda} } @mastersthesis {11672, title = {The Unconventional Career of Jacob van Loo (1614-70), Painter in Amsterdam and Paris}, year = {2013}, school = {IFA/NYU}, abstract = {Jacob van Loo (1614-70) is easily mistaken for an eccentric and social outcast. As a specialist of the nude as well as a convicted criminal, for manslaughter no less, the assumption that Van Loo must have been a scoundrel is quickly made. On the contrary, my dissertation demonstrates that while his iconographic specialty was unique, it was not artistically anomalous, nor morally unacceptable; neither was it a personal quirk. And just because manslaughter was punishable by law does not mean, as it does today, that a convicted criminal was automatically persona non grata. In fact, nothing is further from the truth. This dissertation rehabilitates Van Loo as a gentleman painter. Based on an abundances of written sources, such as diaries, correspondence, and travel journals, chapter one establishes him as an highly esteemed artist and a sophisticated, well-mannered, and connected gentleman. The second presents Van Loo{\textquoteright}s oeuvre as consistent in his choice of themes: narratives featuring love, seduction, and female beauty. Using Van Loo{\textquoteright}s nudes as case studies, chapter three explores the scope of academic practice and discourse in Amsterdam around 1650, offering insight into the specific preferences and practices of Van Loo and his {\textquoteright}academic{\textquoteright} colleagues, such as Rembrandt, Jacob Backer (1609-51), and Govert Flinck (1615-60). The fourth chapter identifies Van Loo{\textquoteright}s audience and redefines the nature of their often long-term, frequent, and personal relations. Drawing from social, historical, and criminological studies, chapter five reinterprets the manslaughter as a turning point in Van Loo{\textquoteright}s career, while challenging existing notions about honor and the nature of relationships between painters and their patrons. Apart from characterizing Van Loo{\textquoteright}s unorthodox artistic identity and market strategy for the first time, this dissertation contributes new material and insights to discussions of central importance to the history of Dutch art in the 17th century, such as the nature of patron-painter relationships, the evolution of academic thought about painting in Amsterdam, the status of the nude in Dutch painting, and the network of Dutch painters in seventeenth-century Paris.}, keywords = {Renaissance/Baroque Art}, author = {Noorman, Judith} } @mastersthesis {11483, title = {Vessels of Verse, Ships of Song: Persian Anthologies of the Qara Quyunlu and Aq Quyunlu Period}, year = {2013}, school = {IFA/NYU}, abstract = {Divided into two interrelated sections, this study examines the artistic and historic significance of a group of 15th to early 16th century Persian literary manuscripts. Chapters One through Five explore the cultural context in which these manuscripts were created, and establishes a basic historiography for the manuscript patronage of the Qara Quyunlu and Aq Quyunlu periods. Each chapter in this section describes works associated with a particular patron and identifies the important artists active during their reigns. Chapter Six summarizes these findings and explores other contexts for artistic training and production in this period, outside of the royal kitabkhaneh. These include the presence of several multi-generational families of artists in western Persia - suggesting another active context for the training of scribes and illuminators, and for manuscript creation. It also examines the role of Sufi foundations and other religious institutions as consumers of, and centers for, manuscript production. Having established some of the various political, historical, cultural, and artistic contexts for Qara Quyunlu and Aq Quyunlu manuscript production, the final sections of this dissertation examine a specific category of manuscript - the anthology. Chapter Seven identifies the various types of Persian {\textquoteright}anthologies{\textquoteright} that survive and the diverse terms that have been used to describe them (bayaz, safineh, etc.), and reviews the scholarly literature about Persian anthologies. Chapter Eight provides a detailed examination of a select group of oblong-format anthological manuscripts, often referred to as safineh. A general outline of their distinctive codicological characteristics is presented, including discussion of their overall dimensions, page layouts, and various paper embellishments. Finally, the last chapter considers more theoretical aspects of the visuality of these manuscripts - namely, the question of why non-narrative manuscripts appear to have encouraged artists to expand the boundaries of a reader{\textquoteright}s visual experience by introducing a greater variety of decorative techniques and designs than is found in other types of manuscripts. This concluding chapter demonstrates that the visuality of these Persian anthological manuscripts is a reflection of the texts that they contain.}, keywords = {Art of the Middle East/North Africa}, author = {Teece, Denise} } @mastersthesis {11592, title = {Vincenzo Danti at the Medici Court: Constructing Professional Identity in Late Renaissance Florence}, year = {2013}, school = {UT Austin}, abstract = {Vincenzo Danti (1530-1576), Perugian by birth and training, relocated to Florence in 1557 to work for the Medici court. While there, Danti completed visual and textual works oriented to the interests of Duke Cosimo I de{\textquoteright} Medici (1519-1574) and his son, Prince Francesco (1541-1587). Danti also participated in the literary and arts academies that were associated with the ducal program of establishing Florentine cultural supremacy. Danti{\textquoteright}s multi-disciplinary activities during his tenure at the Medici court demonstrate his hopes to secure long-term patronage and to become the primary sculptor to the Medici dukes. This project represents both a reappraisal of Vincenzo Danti{\textquoteright}s career and an examination of the ways that artists at the Medici court positioned themselves in relationship to their patrons and to one another.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Proctor, Anne} } @mastersthesis {11532, title = {A Voyage of Identities: Luigi Ontani and the Postmodern Question in 1970s Italy}, year = {2013}, school = {CUNY}, abstract = {"{\textquoteright}I Am Elsewhere{\textquoteright}" posits Luigi Ontani as a leading figure and pioneer of the postmodern tableau-vivant revival in Italy, 1969 to 1979. The tableau vivant as an artistic strategy and subject concerned artists both independent and affiliated with Arte Povera. The primary medium for these artists was photography and, secondarily, live performance, film, video, and painting. The main forerunners of this revival were painter Giorgio de Chirico and filmmaker Pier Paolo Pasolini. Ontani donned the visages of figures and characters from past paintings and sculptures, cultural history, and contemporary popular culture in tableaux primarily staged for the camera. He pioneered the use of color photography and video in the early 1970s. In the second half of the 1970s he performed his tableaux in front of an audience and executed a series of hand-tinted black-and-white tableau photos in collaboration with commercial photographers in India. This study combines object-based art history, cultural history, and critical theory. It connects Ontani{\textquoteright}s tableau works with camp aesthetics and queer theory, and investigates the economic, technological, social, political, cultural, and artistic circumstances out of which the tableau-vivant revival emerged and flourished in Italy. The tableau-vivant revival and Ontani{\textquoteright}s works are related to three contemporaneous socio-historical phenomena: image culture, or the saturation of everyday life with electronic and printed images starting in the early 1960s; the Italian gay liberation movement of the early 1970s; and internal terrorism from both left and right, afflicting the country from 1969 until 1980. This treatise problematizes the reductive view of contemporary Italian art as structured around the binary sequence Arte Povera-Transavanguardia. It addresses the phenomenon of the tableau-vivant revival, yet to be discussed in the literature on contemporary Italian art. The importance of this phenomenon cannot be underestimated since creating tableaux has become a central artistic strategy in the visual arts of the past thirty plus years, and is commonly considered a hallmark of postmodern aesthetics. "{\textquoteright}I Am Elsewhere{\textquoteright}" also contributes a study of one of the earliest extensive collaborations between an Italian and Indian practitioners in the postcolonial world}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Mecugni, Anna} } @mastersthesis {11665, title = {The Watching Night: Print, Power, and Jewish Vision in Early Modern Italy}, year = {2013}, school = {USC}, abstract = {In 1609 Leon Modena, the enigmatic Venetian alchemist, gambler and rabbi, edited a haggadah, the liturgy for the Jewish festival of Passover, at the press of the Christian Hebraist Giovanni di Gara. Populated with images of messianic redemption, necromancy and infanticide, the Venice Haggadah presented its readers with an irresistible invitation to imagine, remember and reenact the Israelite Exodus from Egypt. Describing the function of the images in a preface to the volume, Modena argued that the haggadah{\textquoteright}s visual program was intended to engage the eyes and imagination just as the book{\textquoteright}s text engaged the intellect. This project offers a radical reinterpretation of Jewish visual and material culture, arguing that the modern academic assumption of a contest between Jewish texts and the technology of image making is both ideologically suspect and factually false. While modernity has become comfortable with the notion of an aniconic Jewish past, I argue that early modern Jewish visual culture was constructed by continuities between phenomena previously taken to be in conflict: reading and seeing, intellect and affect, text and image. The Venice Haggadah serves as an appropriate backbone for this study. The book not only exerted a tremendous influence on early modern Jewish visual culture, but also poignantly signals an awareness of the combined interpretive virtues of visual and verbal material that I argue is a defining characteristic of Jewish visual culture in the early modern period. The text of the Passover haggadah is largely a conventional one. It redacts biblical passages, traditional hymns, and ancient rabbinic sources to narrate the redemption of the Israelites from enslavement in Egypt. Haggadah decoration, however, is historically specific and culturally idiosyncratic; it is largely in its decoration that one book is meaningfully distinguishable from others. At its printing in 1609, the Venice Haggadah contained the most elaborate visual program of any text printed for a Jewish audience. Its program of original woodcuts, including narrative images and architectural frames, span its forty pages and demonstrates the presence of a vibrant Jewish visual culture in early modern Italy.}, keywords = {Renaissance/Baroque Art}, author = {Glatstein, Jeremy} } @mastersthesis {11624, title = {When Worlds Collide: Art, Cartography, and Spatial Imagination in Early Modern Japan}, year = {2013}, school = {Columbia}, abstract = {A number of Momoyama (1573-1615) and Edo (1615-1868) period folding screens feature Western maps of the world as their subject. These map screens are among the earliest examples of Japanese visual culture to feature pictorial imagery shaped by European cartographic science, geographic knowledge, and overseas trade and exploration. In these works, anonymous Japanese artists adapted Western European maps and book illustrations, often making substantial changes of form and content. This dissertation confronts many current assumptions concerning the nature of the map screens. The study argues that Japanese artists who produced the screens grappled with a complex tension between European pictorial cartographic representations of a newly introduced world and the world views that prevailed in Japan. It proposes that European map imagery and pictorial forms, through the process of reinvention for the Japanese format of the folding screen and for Japanese tastes and sensibilities, became vulnerable to alternative, and often unintended, interpretations by the Japanese political and social elite. The present study considers various dimensions of the world map screens: the manner of their production; their meaning in relation to maps of Japan and other subjects; their implications in regard to an established world view and cosmological order; their circulation in a changing political and cultural sphere; and their position within the modern history of Japanese maps and art}, keywords = {Japanese/Korean Art}, author = {Loh, Joseph} } @mastersthesis {11714, title = {Winifred Knights (1899-1947) and Early-Twentieth-Century British Modernism}, year = {2013}, school = {Maryland}, abstract = {While largely forgotten until the present day, Winifred Knights (1899-1947) was one of Great Britain{\textquoteright}s most profound early-twentieth-century artists. As an artist working during the interwar years of the 1920s and 1930s in England, Knights embraced a dual role as both one of a distinctively English tradition of figurative modernism, and one deliberately rooted in the broader historical and specifically Trecento and Quattrocento Italian traditions. This dissertation closely analyzes the five major paintings that are at the heart of Knights{\textquoteright}s oeuvre in order to understand her contributions to the complex and multivalent nature of British Modernism, particularly during the years surrounding the First World War. In addition, this dissertation defines the entire body of Knights{\textquoteright}s oeuvre (fifteen paintings in oil, one painting in tempera, and 1,137 works on paper), in order to understand the fundamental role that preparatory drawing played in her compositional process. This dissertation will demonstrate how Knights{\textquoteright}s visionary paintings are all about the artist, but this is not hubris. She is instead connecting on a personal level with Christianity and, in the process, inviting the viewer to share in her vision that is as personal and spiritual as Stanley Spencer{\textquoteright}s imagery. The theme of resurrection runs throughout the series of Winifred Knights{\textquoteright}s paintings, present in the Ark floating in the background of The Deluge; the glasses of wine in The Marriage at Cana which symbolize the Eucharist and Christ{\textquoteright}s blood; the act of pilgrimage in The Santissima Trinita in order to, as Knights wrote, "have their sins washed away"; and the resurrection of a baby in Scenes from the Life of Saint Martin of Tours. Please note that throughout this dissertation, "WKCR" stands for "Winifred Knights Catalogue Raisonne." Each catalogue entry has a unique WKCR number.}, keywords = {Twentieth-Century Art}, author = {Taylor, Lyrica} } @mastersthesis {11541, title = {Wolf Vostell{\textquoteright}s Fluxus Zug, Model Museum, Academy, Archive}, year = {2013}, school = {Duke}, abstract = {This dissertation analyzes Wolf Vostell{\textquoteright}s Fluxus Zug, 1981, arguing that it was simultaneously a work of art, a museum, an academy, and an archive. I explore the art work/alternative institution in relation to other museums that Vostell conceived and realized from the 1960s until his death in 1998; the interdisciplinary collaborations that he established in the 1960s; his concept for an ideal academy from 1969; the archive that he began building in the 1950s; and recent theories of the Archive. This microhistorical study reveals Vostell{\textquoteright}s centrality to contemporary experimental art. I argue that the spirit of Vostell{\textquoteright}s art and ideas are very much alive today as artists demonstrate widespread interest in curating as an art practice, in the construction of alternative pedagogies, and in working in, with, and against the Archive.}, keywords = {Contemporary Art, Performance Studies}, author = {Hanas, Erin} } @mastersthesis {11595, title = {Word, Object, Image: The Bed as a Sign in New Kingdom Egyptian Art}, year = {2013}, school = {Emory}, abstract = {In this dissertation, I examine the bed as word, object, and image in the New Kingdom in order to explore the bed{\textquoteright}s function within the semiotic structure of Egyptian art. Like many western cultures today, the Egyptians associated the bed with the concepts of sleep, death, and sexual activity, but the conceptual framework in which it was comprehended was quite different from the modern perspective. The connotative meanings (in semiotics, the secondary or cultural meanings) that stem from the sign of the bed must be examined within its ancient framework. In addition to examining the bed within the material culture, I look at the bed in both text and image. Due to the pictorial nature of the Egyptian language, the bed not only appears as a subject of writing but as the writing itself-as a hieroglyph. The fine line between text and image within the Egyptian visual system is brought forward when examining the bed within both spheres. I have organized much of the material based on the ancient Egyptians{\textquoteright} concepts of sex, sleep, and death. These three ideas were intertwined within the Egyptian consciousness as sleep and death were often compared as liminal states and sexual activity in the Egyptians{\textquoteright} view led not only to birth in this life but also the next. I argue that the bed signaled to the viewer that the occupant was in a transitional state, with the bed becoming a location to successfully transfer its occupant into the next realm or protect the individual on the uncertain thresholds of sleep or conception. I propose the bed makes its own transformation as well, when it becomes the lion-headed funerary bier, indicating the nature and significance it holds in its funerary functions. The ultimate function for the sign of the bed is that of rebirth for its occupant.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Cummins, Elizabeth} } @mastersthesis {11695, title = {Words Matter: The Work of Lawrence Weiner}, year = {2013}, school = {Columbia}, abstract = {This dissertation explores the practice of contemporary artist Lawrence Weiner. From 1968 onwards, Weiner has presented his work using language and, as such, the artist is historically regarded as one of the pioneering practitioners of Conceptual art. The artist himself categorically refuses that designation, preferring to focus on the material aspects of his work. Nevertheless, his oeuvre has been largely received in terms of a predominantly linguistic intervention. Craig Dworkin encapsulates this position, when in discussing the Conceptual wager of Weiner{\textquoteright}s statements he writes: "Having tested the propositions that the art object might be nominal, linguistic, invisible, and on a par with its abstract initial description, the next step was to venture that it could be dispensed with altogether." By focusing equally on the linguistic and material aspects of Weiner{\textquoteright}s practice, this dissertation argues, conversely, that Weiner{\textquoteright}s work is primarily an object strategy, and not a dematerialized linguistic presentation. The first part of this discussion deals with Weiner{\textquoteright}s ground-breaking work from the mid 1960s to the early 1970s, analyzing the full implications of Weiner{\textquoteright}s extraordinary decision to present materials through language. Close comparisons are drawn with the profoundly materialist practices of contemporary artists such as Robert Rauschenberg, Carl Andre, Richard Serra and Robert Smithson. Weiner{\textquoteright}s use of language is also distinguished from the text-based works of Conceptual artists Joseph Kosuth and Douglas Huebler, problematizing the degree to which Weiner{\textquoteright}s statements can stand as an exemplar of postmodern textuality, inasmuch as their referential content remains of primary consequence. Several chapters of the dissertation focus on drawings, and in particular the artist{\textquoteright}s notebooks, an aspect of Weiner{\textquoteright}s practice that has remained largely unstudied. Crucially, the notebooks present a model of thinking which is wholly corporeal as opposed to purely analytical. Furthermore, they raise the problem of the visual in relation to a body of work that has been credited with the suppression of a traditional (optical) aesthetic. In being conceived by the artist as "maps," Weiner{\textquoteright}s drawings also invite an analysis of spatial considerations, and are thus linked to the artist{\textquoteright}s own designation of his work, not as art in general, but specifically as sculpture. Finally, the notebooks, like Weiner{\textquoteright}s films, practically dissolve the categories of reality and fiction. Indeed, Weiner himself would insist that every presentation of his essentially "realist" work is nonetheless inherently "theatrical." One of the long-standing criticisms of Conceptual art was that while it made aspects of circulation and distribution part of the work - thereby testing the limits of institutional constraint and expanding art{\textquoteright}s potential to engage in collective reception - it failed to achieve truly democratic access, in large part by neglecting issues of desire. Thus, Conceptual art{\textquoteright}s promise of collective accessibility was purportedly foreclosed by an art whose theoretical propositions lacked a democratic content. In closely considering the generic content of Weiner{\textquoteright}s work, this dissertation develops a picture not only of the concrete relationship between word and thing, but of the ways in which Weiner uses signs (drawings, text, films) to "objectify" desire, demonstrating that his "sculptures" must be seen as both conceptual and sensual, fully immersed in politicized questions of imaginary and bodily experience.}, keywords = {Twentieth-Century Art}, author = {Chiong, Kathryn} } @mastersthesis {11513, title = {WPA Posters: A New Deal for Design}, year = {2013}, school = {Wisconsin}, abstract = {This dissertation focuses on posters produced by the Works Progress Administration (WPA), a federal relief program designed to create jobs in the United States during the Great Depression. Between 1935 and 1943, the WPA established poster divisions in more than seventeen states and printed over two million posters from thirty-five thousand designs. These posters, which were commissioned by government agencies to promote various social programs and services, engaged some of the most pressing concerns of Americans during the New Deal. My project is organized thematically and concentrates on several issues addressed repeatedly in the roughly 2200 extant WPA posters: recreation and leisure, conservation, health and disease, and public housing. As I argue, these posters promote knowledge and social literacy as solutions to these and other social concerns. Moreover, they were sites of negotiation in which knowledge and literacy were regularly re-envisioned, both formally and conceptually, in the process of encouraging social reform. As a result, the posters legitimized various forms of knowledge and ways of knowing in translating the government{\textquoteright}s complex political and social goals into simple, legible forms that would capture the viewer{\textquoteright}s attention and mobilize Americans. They also engaged multiple and occasionally competing discourses - social, economic, political, and artistic. This approach positioned knowledge and social literacy at the center of the government{\textquoteright}s efforts to define and manage the relationship between self and society in modern America. It also promoted physical and social ideals that would have resonated in complex ways with the posters{\textquoteright} diverse viewing public, working both for and against the rhetoric of consensus employed by New Deal agencies.}, keywords = {Art of the United States}, author = {Pillen, Cory} } @mastersthesis {11525, title = {Younghegong: Imperial Universalism and the Art and Architecture of Beijing{\textquoteright}s "Lama Temple"}, year = {2013}, school = {Kansas}, abstract = {Yonghegong ("Palace of Harmony and Peace"), popularly known in English as the "Lama Temple," is often described as Beijing{\textquoteright}s largest and most important Tibetan Buddhist monastery, but from its establishment in 1694 during the Qing dynasty (1644-1911) to the present, Yonghegong has continued to evolve physically and functionally, from imperial prince{\textquoteright}s residence, to "travelling palace" (xinggong), to imperial ancestral shrine and Tibetan Buddhist monastic college, and finally to its current role as monastery, monastic college and museum. Despite its history and ubiquity as a Beijing landmark and destination for pilgrims and tourists, it has received limited academic attention. Furthermore, previous studies have emphasized the site as a Tibetan Buddhist monastery, downplaying its political significance. This study will provide a more comprehensive interpretation of Yonghegong as an expression of the Qing ideology of imperial universalism, focusing on the site during the reign of its major patron, the Qianlong emperor (r. 1735-1796). In order both to describe and interpret the multidimensional complexities of Yonghegong in a systematic fashion, I will employ as a heuristic device an interpretive model for the site inspired by two aspects the Indo-Tibetan tradition of the mandala: symbolic mapping and spatial ordering. The many symbols at the site will be arranged according to what I call the "three spheres" that center on the person of the Qianlong emperor: microcosm, the somatic sphere (symbols of the emperor{\textquoteright}s presence and personal history at the site); mesocosm, the socio-political sphere (multicultural symbols of the emperor{\textquoteright}s legitimacy); and finally macrocosm, the eschatological sphere (symbols of the emperor{\textquoteright}s role as enlightened ruler, ushering in the coming of the next buddha, Maitreya). Interpretation of the three spheres at Yonghegong is then applied first to the site{\textquoteright}s external features (e.g. site plan, architecture, what I call the "outer mandala") and then to examples of the internal features (e.g. sculptures, inscriptions, what I call the "inner mandala"). This study will both contextualize much of the overlooked symbolism of the Qianlong-era art and architecture at Yonghegong, as well as provide the first comprehensive interpretation of the site as a whole.}, keywords = {Chinese Art}, author = {Greenwood, Kevin} } @mastersthesis {11376, title = {30,000 Reasons to Remember: Patronage and Artistic Strategies for Memorializing Argentina{\textquoteright}s Disappeared}, year = {2012}, school = {CUNY}, abstract = {This dissertation traces the construction of memorials from 1976-2009 dedicated to the victims of state-sponsored terrorism under the 1976-1983 military dictatorship, now known collectively as the disappeared, and the creation of new paradigms in public art and memorialization practices in Argentina. I examine a typology of memorials to the disappeared and analyze the spatial power dynamics in the public realm under the dictatorship and in the democratic era. This dissertation is the first scholarly text to focus on the history of patronage and the range of visual forms in Argentine memorials to the disappeared. My research analyzes the relationship between a memorial{\textquoteright}s subject and the artists{\textquoteright} chosen formal representational strategies. I explore the artists{\textquoteright} use of various media and styles to memorialize the disappeared, including documentary photography, guerilla art, conceptualism, minimalism, abstraction, performance, and figuration. Aesthetic choices reflect the political platforms and goals of the memorials{\textquoteright} main patronage groups: human rights organizations, cultural institutions, and the government. My investigation reveals that the memorials dedicated to the victims of state-sponsored terrorism are part of a contentious struggle in the politics of public space that began under the military junta and continues to this day. The production of Argentine memorials that honor the disappeared are a reflection of the present moment in which they are designed. Artists and human rights organizations created these works to challenge and alter the established government order and cultural institutional spaces became sites of resistance against the historical narrative put forth by the military and the ruling democratic presidents. Minimalism, on the other hand appears to have become a favored choice for government-sponsored memorials because it lacks and therefore erases an apparent narrative. This project stresses the importance of understanding and considering audience response to the major paradigms of Argentine memorial construction. In addition, the interdisciplinary nature of my research incorporates the study of Latin American art with public art, and memory studies, thereby providing a new lens through which to analyze contemporary Argentine art production.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Lerer, Marisa} } @mastersthesis {11260, title = {Above Sea: Modern and Contemporary Art from the Ruins of Shanghai{\textquoteright}s New Heaven on Earth}, year = {2012}, school = {UCLA}, abstract = {Shanghai (translated as Above Sea) has long been characterized as Mainland China{\textquoteright}s most East meets West, and modern metropolis. Throughout the twentieth and twenty-first centuries, artists, designers, and filmmakers have confronted this identity, formulating diverging notions of Chinese modernity and contemporaneity vis-a-vis Shanghai{\textquoteright}s cultural hybridity. This dissertation examines these formulations by analyzing examples of art, as well as fashion, print media, and film produced in dialogue with cross-cultural Shanghai in three key periods: the 1920s-30s during the city{\textquoteright}s semi-colonial modernist heyday, the 1960s-70s during the Cultural Revolution (Wenhua dageming), and the 1990s-2000s as Shanghai has re-emerged as a global center. My analyses problematize the trope of East meets West that has long informed the discourses both on Shanghai and modern and contemporary Chinese art, by exposing other cultural collisions (e.g., semi-colonial cosmopolitanism vs. anti-imperialist nationalism in the 1920s-30s, Maoist collectivity vs. individualism in the 1960s-70s, and local identities vs. globalization in the 1990s-2000s). The examples explored (e.g., Liang You/Young Companion magazine, revolutionary woodcuts, and painting by Parisian-trained artist, Pang Xunqin, in the 1920s-30s, socialist realist murals, revolutionary Peking opera, and a documentary by Italian auteur, Michelangelo Antonioni, in the 1960s-70s, installations by transnational artists, Xu Bing and Gu Wenda, and films by Shanghai-based artists, Zhou Tiehai and Yang Fudong, in the 1990s-2000s) span time, media, and national boundaries, allowing for analyses of diverging notions of Chinese modernity and contemporaneity vis-a-vis visual culture and its transnational movements. Many of these examples are locationally linked through a particular neighborhood said to epitomize contemporary Shanghai. Today the site of Xintiandi (translated as New Heaven on Earth), a retail and cultural complex in Shanghai{\textquoteright}s former French Concession, this neighborhood encompasses an underground history of revolutionary art, film, and design, which this dissertation uncovers. While filtered through the lens of Shanghai, this dissertation confronts broader issues, including the stakes of non-Western art{\textquoteright}s integration into art historical canons, and the role modern and contemporary Chinese art plays in the emergence of a globalized culture industry.}, keywords = {Chinese Art, Contemporary Art}, author = {Lin, Jenny} } @mastersthesis {11261, title = {Admonition and the Academy: Installation, Video, and Performance Art in Reform-Era China}, year = {2012}, school = {MIT}, abstract = {China{\textquoteright}s Reform Era (1978-present) has seen the reinvigoration of academic, and artistic practice, and a rapprochement between the Chinese Communist Party and the intellectual elite. At its beginnings in the early- to mid-1980s the new availability of foreign texts and media led to Culture Fever, a widespread phenomenon throughout the intellectual and artistic spheres characterized by enthusiasm for the philosophy, literature, and art of the West and pre-Communist China and the simultaneous uptake of discrete Western and Confucian philosophies. These discussions often addressed modernity and modernism in China, a crucial homology to early twentieth century Chinese negotiations in literature and the arts and the development of an amalgamated "Chinese modernism" comprised of elements of both Confucian and Western philosophy and aesthetics. As this dissertation argues, key early experimental works of the Reform Era by Zhang Peili, Wu Shanzhuan, and Zhang Huan reveal a proclivity for subtle and indirect admonitory messages about China{\textquoteright}s socio-political climate - a contemporary inhabitation of the traditional elite scholar-artist and his obligation to criticize immoral or unjust policies or actions. This admonitory practice was built by artists educated in elite academies (specifically, the Central Academy of Fine Art in Beijing and the Zhejiang Academy of Fine Art in Hangzhou) yet utilized completely new and non-academic media. What this thesis terms as an "art of admonition" utilized traditional tropes, including direct remonstrations of officials, withdrawal from official life in protest, and the concept of the "middle hermit" - a scholar who admonishes official policy subtly and indirectly. The experimental practices of artists after their graduation from elite academies stemmed from the extra-curricular resources made available to them, especially the schools{\textquoteright} libraries. The connection of these unofficial works to the official academies, their validation by art market success, and the subsequent official endorsement accorded to these and other artists in the later Reform Era blurs the distinctions between official and unofficial artistic practice in China, suggesting a strong endorsement of the dissident artist{\textquoteright}s role as "middle hermit."}, keywords = {Chinese Art, Contemporary Art}, author = {Oen, Karin} } @mastersthesis {11321, title = {Afterlives: The Reuse, Adaptation, and Transformation of Roma{\textquoteright}s Ancient Theaters}, year = {2012}, school = {IFA/NYU}, abstract = {Antiquarians and archeologists have long studied and excavated ancient monuments in the hope of recapturing their original forms. This dissertation does the opposite: it aims to understand three ancient monuments-Rome{\textquoteright}s theaters of Pompey, Marcellus and Balbus-not as they were, but as they have become. It examines the ways in which these remarkable structures, inherited by successive generations, were reinhabited, reimagined and transformed over the centuries following antiquity. Rome{\textquoteright}s three theaters are among the most famous monuments of the ancient world, but they also became celebrated landmarks in their new incarnations, as the seats of some of Rome{\textquoteright}s most powerful medieval and early modern families. Even so, the post-antique histories of the theaters, particularly those of Pompey and Marcellus, have remained largely obscure-until now. Drawing on archival materials, pictorial sources and physical evidence, this dissertation reconstructs the evolution of the theaters though time: their breakdown during Rome{\textquoteright}s decline, their reconstitution as medieval family compounds, their transformation into early Renaissance palatia, and their continued evolution as ever more elaborate formal palaces. It also examines the motivations and methods behind the owners{\textquoteright} successive interventions on the structures, in light of family histories, social context and changing models of aristocratic habitation. The buildings produced by this series of transformations are very different from the great aristocratic palaces usually studied by art historians, but they offer two significant points of interest. One is a very practical but understudied aspect of the survival of antiquity: not the transmission of texts or forms, collectible remains or reusable fragments, but of habitable structures in situ. The other is an essential aspect of architecture in time: how buildings, even monuments created as the very symbols of endurance, exist in a state of flux, continuously transformed through the twin agencies of physical age, and of the changing needs and desires of those who own them.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Ajello, Guendalina} } @mastersthesis {11220, title = {Airport Urbanism: The Urban Infrastructure of Global Mobility}, year = {2012}, school = {Harvard}, abstract = {Around the world, the number of air passengers has quintupled since 1980. During the same time, air traffic in the Pearl River Delta-the urban region that includes Hong Kong, Shenzhen, and Guangzhou-has risen by a factor of 50. Scholars have typically studied that expansion by analyzing mega-projects like {\textquoteright}starchitect{\textquoteright} passenger terminals and high-speed airport railways. Yet they have ignored the emergence of parallel transport systems designed to plug less privileged people and places into the infrastructure of global mobility. Cheaper, rattier, and more geographically diffuse, these networks cater to passengers whose movement across international borders is limited by their income, citizenship, or place of birth. These incipient air travelers, and the so-called "transborder" systems that they use, have radically reordered the cross-border flow of goods and people in the Pearl River Delta. Focusing on Hong Kong International Airport (HKIA), the dissertation examines how the airport has been redesigned to accommodate larger and more diverse passenger flows. Tracing the movement of different types of passengers-the retiree, the toddler, the migrant worker-it demonstrates how each traveler{\textquoteright}s trajectory is determined by intersecting political, logistical, and financial considerations. The dissertation also investigates a network of airport check-in terminals that allow passengers to fly through HKIA without applying for a Hong Kong visa. Located deep inside Mainland China, these "upstream" check-in facilities cater to passengers who have difficulty obtaining a visa; such as Chinese tourists with a rural hukou, or African businessmen. A sealed ferry transports passengers from Mainland China to HKIA, where they are shuttled via an underground train to their departure gate. Isolated from other passenger flows, upstream travelers thus technically never enter Hong Kong. Through interviews, photographs, and digital mapping techniques, Airport Urbanism documents how HKIA-as well as the boundary between Mainland China and Hong Kong-have been reconfigured to abet the global circulation of capital and labor. In so doing, the dissertation posits airport infrastructure as a useful lens for interpreting broader changes in the regulation of cross-border mobility and the spatial articulation of national frontiers.}, keywords = {Architectural History/Historic Preservation}, author = {Hirsh, Max} } @mastersthesis {11227, title = {All Above: Visual Culture and the Professionalization of City Planning, 1867-1931}, year = {2012}, school = {Harvard}, abstract = {This dissertation is developed around questions of how cultural fascinations with seeing the city from above are intertwined with the birth and development of the city planning profession. To explore this question, I examine three contexts linked to already-familiar episodes from the history of city planning: Paris in the aftermath of Haussmann-ization, the visual approach of proto-planner Daniel H. Burnham, and the New York region in advance of the rise of master-planner Robert Moses. These settings serve as a basis for a reoriented approach to understanding how and why a new category of experts tasked with intervening in urban conditions emerged. Among other views, Paris is seen from the height of a tethered hot air balloon; San Francisco and Chicago from Twin Peaks and the roof of the Railway Exchange Building, respectively; and New York from the lens of a Fairchild aerial camera, as well as from the 86th story of the Empire State Building. The sublime experience facilitated by such vistas undergirds the discussion. It is employed to recast existing historical accounts of the birth of the city-planning profession at the end of the nineteenth and beginning of the twentieth centuries to more deeply reflect its interaction with the proliferation and subsequent breakdown of a visual culture of "the city" from above shared amongst experts and citizens alike.}, keywords = {Architectural History/Historic Preservation}, author = {Ross, Rebecca} } @mastersthesis {11319, title = {Alternative Topographies: {\textquoteright}Loca Sancta{\textquoteright} Surrogates and Site Circulation in Late Antiquity and Byzantium}, year = {2012}, school = {Northwestern}, abstract = {In his seminal 1942 article, "Introduction to an {\textquoteright}Iconography of Medieval Architecture{\textquoteright}," Richard Krautheimer argued that medieval architects transferred the Church of the Holy Sepulchre to the West in the form of architectural "copies," translating not only the meaning of the structure, but the locus sanctus of Jerusalem as well. Building on Krautheimer{\textquoteright}s conclusions, this dissertation addresses the non-architectural movement of place in the Middle Ages, instead tracing its translation through portable media. Though the objects under consideration employ different evocational strategies, all relate to the cult of relics, all have strong site-specific affinities, and all translate place into visual form. The chronology extends from Late Antiquity through the Middle Byzantine period, straddling Iconoclasm, and offering a diachronic analysis of tactics for the imaging and incarnation of surrogate places in different periods. Krautheimer observed that the Holy Sepulchre was reproduced in Europe through the dissolution of the original structure into its constituent units and their reorganization in multiple, serial surrogates. Taking this process of transfer as a structural model, this dissertation is organized under three thematics: Part one addresses objects that enact the replication of place through serialization, part two, those that facilitate the fragmentation and dispersion of place, and part three, those that codify place through small-scale architectural mimesis. Practically, these categories translate into three case studies: early Byzantine pilgrimage paraphernalia associated with Syrian stylites, fragments and reliquaries of the True Cross from the period around Iconoclasm, and Middle Byzantine micro-architectural reliquaries relating to Saint Demetrios of Thessaloniki. Despite their differences, these objects lend themselves well to an expanded art historical conception of place in the Middle Ages. The project draws the so-called minor arts into dialogue with geography, architecture, and the broader network of medieval power relations. By delving into questions of function, it views these artifacts as active agents in the development of notions of what a holy place was and how it operated. Ultimately, it aims to understand how these objects enacted surrogate loci through circulation and in the discourse on place beginning from an analysis of concrete objects rather than abstract theoretical models.}, keywords = {Early Christian/Byzantine Art}, author = {Veneskey, Laura} } @mastersthesis {11397, title = {Amalia van Solms and the Formation of the Stadhouder{\textquoteright}s Art Collection, 1625-1675}, year = {2012}, school = {Maryland}, abstract = {This dissertation examines the role of Amalia van Solms (1602-1675), wife of Frederik Hendrik, Prince of Orange and Stadhouder of the United Provinces of the Netherlands (1584-1647), in the formation of the couple{\textquoteright}s art collection. Amalia and Frederik Hendrik{\textquoteright}s collection of fine and decorative arts was modeled after foreign, royal courts and they cultivated it to rival those of other great European treasure houses. While some scholars have recognized isolated instances of Amalia{\textquoteright}s involvement with artistic projects at the Stadhouder{\textquoteright}s court, this dissertation presents a more comprehensive account of these activities by highlighting specific examples of Amalia{\textquoteright}s patronage and collecting practices. Through an examination of gifts of art, portraits of Amalia and her porcelain collection, this study considers the ways in which Amalia contributed to the formation of the Stadhouder{\textquoteright}s art collection. This dissertation seeks to provide a greater knowledge not only of Amalia{\textquoteright}s activities as a patron and collector, but also a more thorough understanding of the genesis and function of the collection as a whole, which reflected the power and glory of the House of Orange during the Dutch Golden Age.}, keywords = {Renaissance/Baroque Art}, author = {Treanor, Virginia} } @mastersthesis {11389, title = {The Anonymous Image: Landscape Painting and Mass Culture in England, 1830-1880}, year = {2012}, school = {Yale}, abstract = {This dissertation examines the relationship between landscape painting and mass culture in England between 1830 and 1880. It investigates the reception of the late works of J.M.W. Turner, and traces the legacy of Turner{\textquoteright}s project in the decades following the invention of photography. I argue that Turner{\textquoteright}s landscape paintings must be understood as a response to the new viewing conditions for art in the nineteenth century, when a mass audience for oil painting emerged as a result of industrialization and urbanization. Turner responded to these new conditions by conceptualizing landscape as a universal genre, which could incorporate within itself the multitude of historical styles that had become available to artists and audiences alike through public art museums; which could address the distracted crowd at exhibitions such as those of the Royal Academy all at once; and which could compete, as a form of visual spectacle, with new entertainment technologies such as the panorama. The Romantic idea of selfhood, I contend, emerged as a corollary to the appearance of mass culture, along with the notion that a work of art is primarily a form of self-expression. Critics and artists in the nineteenth century, I argue, were compelled to confront the contradiction between subjectivity and mass culture, a contradiction that was made even more acute by the democratization of image-making through the invention of photography, in 1839. It is from this perspective I interpret the troubled relationship between Turner and his greatest critic, John Ruskin. As a seventeen-year old, Ruskin had argued that criticism of Turner{\textquoteright}s fidelity to nature was beside the point, since it was the prerogative of Turner as a genius painter to paint whatever he imagined; but in the first volume of his Modern Painters, published in 1843, he would maintain, on the contrary, that Turner was in fact true to nature in every respect, and more so than any other painter in the history of art. In 1856, Ruskin wrote of what he called the "pathetic fallacy", the practice of ascribing human emotions to external nature, which he compared to mental illness. The notion of the pathetic fallacy, I contend, must be seen as a revision of Ruskin{\textquoteright}s own youthful enthusiasm for Turner. I argue, moreover, that an experience such as Ruskin{\textquoteright}s, of revisiting art or writing from one{\textquoteright}s youth and reacting with embarrassment, can be thought of as a structure that determines the possibilities of artistic production in the post-Romantic era. Instead of Turner{\textquoteright}s imaginative, emotive style of landscape painting, artists like John Everett Millais and John Brett studiously suppressed their own subjective view of the world in the name of a realism in which visual experience is not only made anonymous, but is also enhanced beyond the capability of any human being. I argue that their work constitutes a rejection of Turner{\textquoteright}s practice, even as they address the same issues as Turner did before them - the role of artistic genius in an emerging mass society, and the threat posed to painting by new technologies of representation. Landscape paintings that resembled Turner{\textquoteright}s would again appear in London in the eighteen-sixties and seventies, including the late landscapes of John Everett Millais, in which the now middle-aged artist abandoned the microscopic fidelity to nature of his youthful works to instead represent a subjective, emotionally invested view of nature; as well as the nocturnes of James McNeill Whistler, Ruskin{\textquoteright}s criticism of which prompted the famous libel trial brought against the critic by Whistler. In the concluding chapter, I argue that despite its superficial similarities to Turner{\textquoteright}s work, the aims of landscape painting in the eighteen-sixties and seventies were diametrically opposed to those of Turner himself addressing only the most rarefied of viewers rather than speaking to the entirety of the crowd at the Royal Academy at once; radically narrowing the survey of oil painting rather than expanding it so that it could encompass the entirety of human experience.}, keywords = {Nineteenth-Century Art}, author = {Percivall, Gustav} } @mastersthesis {11251, title = {Anxiety and Occlusion: New York in the Imagination of American Impressionist and Ashcan School Artists, 1885-1914}, year = {2012}, school = {Northwestern}, abstract = {Art historians have taken paintings of New York City by William Merritt Chase, John Sloan, and Childe Hassam to be forthright documents of a time when the city was becoming a world metropolis. Examining Chase{\textquoteright}s paintings of New York City{\textquoteright}s partially industrialized suburban fringe, Hassam{\textquoteright}s figure of the nocturnal solitary woman walking alone on Manhattan streets, as well as Hassam{\textquoteright}s and Sloan{\textquoteright}s crowd imagery, this dissertation shows that these artists offer a more circumspect vision than has been heretofore acknowledged. Moreover, the project links two groups, the American Impressionists and the Ashcan School Artists, who are rarely seen in existing accounts as having shared subjects much less a shared attitude to New York{\textquoteright}s rapid modernization during these years. In order to support this reinterpretation, the contemporary salience of subjects, such as Coney Island, luxury apartment buildings, solitary women, and overburdened commuter ferryboats, is reconstructed using newspaper accounts, graphic art, period photographs, court documents, novels, and governmental reports. However, this is not simply an exercise in iconographic identification. Modernist representational strategies that lessen verisimilitude, emphasize surface, and upset the continuity of the painting{\textquoteright}s fictive space are deployed to render these subjects in paint, and this project explicates the combination of formal ambiguity with an analogously contradictory tone of aversion mixed with fascination.}, keywords = {Art of the United States}, author = {Glisson, James} } @mastersthesis {11200, title = {An Architect of Place and the Village Beautiful: Alfredo Taylor in Norfolk, Connecticut}, year = {2012}, school = {Yale}, abstract = {Architect Alfredo Taylor (1872-1947) was educated at Columbia{\textquoteright}s School of Architecture and the Ecole des Beaux-Arts. Although he maintained an office in New York as a partner in the firm of Taylor \& Levi and engaged in work throughout New York and New England, the town of Norfolk, Connecticut, was central to both his personal and professional life. Choosing an alternate path to that of his high-profile Beaux-Arts contemporaries, Taylor developed a symbiotic relationship with Norfolk and formulated a philosophy of architecture that sought to capture and express the essence of the town. As an architect of place, Taylor drew on those elements that were integral to the town{\textquoteright}s place-bound identity: its natural environment and the cultural landscape. In 1902 when Taylor arrived in Norfolk as a summer resident, the cultural landscape was in the process of being transformed into a Village Beautiful. Norfolk{\textquoteright}s leading family-the Battells and Eldridges-began this transformation to promote their cultural heritage in a time of socio-economic change brought on by industrialization and the loss of the town{\textquoteright}s agrarian base. Through the invention of tradition, they rewrote history in the landscape of the Village Green with the construction of buildings and the creation of cultural and educational institutions to cultivate the community, giving birth to the Village Beautiful ideal. With the moral premise of City Beautiful ideology, the Village Beautiful placed architecture in the service of shaping an identity, promoting traditional values and cultural authority, acculturating the immigrant population, and maintaining the social structure. By manipulating history and suppressing certain aspects of Norfolk{\textquoteright}s past, these patrons of the Village Beautiful sought to perpetuate their cultural heritage. As an architect of place, Taylor participated in the continuing creation of the Village Beautiful, working within its idealism to enhance the town{\textquoteright}s identity. Taylor{\textquoteright}s artistic vision was informed by Arts and Crafts ideology, which tapped into the moral premise of the Village Beautiful and fostered a reassuring sense of stability. His creation of an artistic village center in the first decade of the twentieth century provided Norfolk with a romanticized image, while developing the Village Beautiful in a way that affirmed beauty, framed the attitudes and activities of townsfolk, and helped mediate socioeconomic change. At a time when many small towns in New England faced an uncertain future, the Village Beautiful strengthened Norfolk{\textquoteright}s place-bound identity.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Havemeyer, Ann} } @mastersthesis {11356, title = {Architectural Agency and the Construction of Athenian Democracy}, year = {2012}, school = {Princeton}, abstract = {The line between democratic architecture and architecture built and used by a democracy is a fine one. Political change is frequently reflected in the built environment, and the structures and buildings are often acknowledged to be the physical framework within which events occur. In this respect, a building may become "democratic" by virtue of existing within an historical context of democracy. This interpretation, however, deprives architecture of its own agency and reduces it to a passive backdrop. In this dissertation, I seek to reinvest the built environment of ancient Athens with its own active agency. In order to do so, I have isolated a specific chronological period, 514/13 and 480/79 B.C.E.-a time when Athens underwent a violent transition from tyranny and stasis to democracy-and have broadened the scope to include all monumental structures built in the astu of Athens as well as in the Attic countryside. In so doing, I am able to recalibrate the building chronology for Late Archaic and Early Classical Athens, with the result that a comprehensive building program can be identified. This building program was not necessarily centrally funded, and certain structures may not have been centrally planned, but the overwhelming alignment of date, construction and masonry techniques, geographic distribution, and purpose warrants the assignation. The agency of the built environment within this constrained geographic and chronological region is rooted in its phenomenological investment in use and function. Several of the structures built in the early years of the new democracy were constructed to fulfill particular administrative or sacred purposes, and often performed multiple roles that fluctuated between the poles-blurring the boundaries-of sacred and profane. These buildings were meant to be used and experienced in particular ways by particular people, and it is here that their agency lies. The multitude of buildings that arose in the city and countryside of Athens during this time period helped to generate the political change by means of their plans, ornamentation, site specificity, and use. In other words, the structures built by the early democracy did not merely reflect political change, but actively worked to enable democratic functioning.}, keywords = {Greek/Roman Art}, author = {Paga, Jessica} } @mastersthesis {11207, title = {Architectural Translations: Giuseppe Barberi (1746-1809) Between Rome and Paris}, year = {2012}, school = {Princeton}, abstract = {This dissertation considers the drawings of the Roman architect Giuseppe Barberi (1746-1809) in relation to broader contexts of architectural theory and culture of the late eighteenth and early nineteenth century. Barberi was engaged with professional networks in which ideas were being generated and circulated, both in Rome and Paris, and he drew on various strands of these ideas and incorporated them into his drawings. Thus, his drawings are interpreted in this dissertation as visual repositories of these ideas. The first chapter of the dissertation is an overview of Barberi{\textquoteright}s career, the purpose of which is to provide the reader with a sense of the various types of enterprises with which he was engaged, his professional networks, and how greater cultural institutions and political events shaped his professional practice. The subsequent three chapters focus on small groups of his drawings executed in different periods of his career. The second chapter considers a group of drawings of poet improvisers from a Roman literary academy most likely executed in the late 1770s or early 1780s. The third chapter considers architectural sketches drawn in a Borrominesque style of the late 1790s, and the last chapter considers large presentation drawings for a massive theater complex in the form of a classical amphitheater designed for Paris in 1805. Each of these groups of drawings is interpreted in relation to broader architectural and cultural dialogues that were taking place around Barberi, dialogues which I reconstruct using archival sources, contemporary artistic production, and a range of eighteenth-century and early nineteenth-century texts. Barberi{\textquoteright}s drawings in the second chapter are interpreted as being part of contemporary discussions on poetic improvisation. Those in the third chapter illuminate the eighteenth-century reception of Borromini, and those of the final chapter relate to discussions on the status of the public building as a monument in Paris in the early nineteenth century. Throughout the dissertation, the transformation of ideas on architecture brought about by the circulation of texts and the geographical transfer of people, mainly between Rome and Paris, is a central concern. This dissertation brings to light the significance of geographical and linguistic translation for Barberi{\textquoteright}s contemporaries and demonstrates how the analysis of specific instances of translation provides a tool with which to approach the study of architecture of this period, an approach that values architectural ideas and products as being part of dynamic cultural processes. Barberi, in his own travels through Italy and France, his reception of architectural theory coming out of linguistic translations, and his own translation of complex cultural issues into the visual language of architecture, emerges as a key figure of this broader culture of translation.}, keywords = {Architectural History/Historic Preservation, Eighteenth-Century Art, Renaissance/Baroque Art}, author = {Riggs, Marion} } @mastersthesis {11216, title = {Architecture and Popular Religion: French Pilgrimage Churches of the Nineteenth Century}, year = {2012}, school = {Columbia}, abstract = {Architecture was essential to the radical transformation of pilgrimage by the Catholic clergy in nineteenth-century France. To show how pilgrimage churches clericalized and modernized the devotions centered on sacred sites, this dissertation analyzes three important examples: Jacques-Eugene Barthelemy{\textquoteright}s Basilica of Notre-Dame de Bonsecours in Rouen (1840-44), Hippolyte Durand{\textquoteright}s Basilica of the Immaculee-Conception at Lourdes (1862-72), and Victor Laloux{\textquoteright}s Basilica of Saint-Martin in Tours (1886-1925). In the process, this study reveals the Catholic context of nineteenth-century French ecclesiastical architecture. Pilgrimage churches were paid for by the private donations of Catholics and their construction was overseen by priests: they were less determined by the government architectural bureaucracy than other churches. Notre-Dame de Bonsecours is a landmark of the beginning of the Gothic and Marian revivals during the July Monarchy. Influenced by Catholic authors and architects, the parish priest chose to give the basilica a thirteenth-century style, and a coordinated decoration that put Bonsecours at the forefront of the regeneration of religious art. In the midst of rapid industrialization, he and the donors sought to recreate an ideal medieval social order structured according to Christian principles. The Basilica of the Immaculee-Conception demonstrates the endurance of Catholic theories of the Gothic in the Second Empire, as well as a new preoccupation with economical church construction. The basilica evoked both twelfth-century churches and nineteenth-century mass production, thereby complementing the clergy{\textquoteright}s promotion of the pilgrimage to Lourdes as a continuation of medieval traditions and a modern spectacle. Erected above the grotto of the apparitions, the basilica reinforced the dogma of the Immaculate Conception and its ultramontane and legitimist implications. In contrast, the Basilica of Saint-Martin is proof of the influence on the clergy of Christian archaeology. A liberal bishop chose to evoke the fifth-century church that had stood on the site of Martin{\textquoteright}s tomb, in opposition to an intransigent lay group that wanted to rebuild the eleventh-century church that had stood there. While the lay project expressed a counter-revolutionary narrative of expiation, the built church connoted early Christianity and reflected a shift among the faithful towards accepting the Republic. This dissertation argues that, owing to their distinctive patronage model, pilgrimage churches expressed more clearly than other churches the evolving politics of French Catholicism.}, keywords = {Architectural History/Historic Preservation}, author = {Basciano, Jessica} } @mastersthesis {11224, title = {The Army Post as Design Laboratory: Experiments in Urban Planning and Architecture, 1917-1948}, year = {2012}, school = {Harvard}, abstract = {This dissertation examines the engagement of civilian designers in United States Army post architecture and planning between 1917 and 1948. During those years, the built environment of the Army was fundamentally transformed, as troops relocated from frontier posts and coastal fortifications to large permanent military bases. First conceived of as "soldier cities," by the end of World War II these posts had come to resemble garden suburbs. At the same time, the architecture and planning of civilian communities also changed. Turn-of-the-century affection for the industrial city had, by 1920, given way to a preference for suburban living among the upper classes. After World War II, suburbia would become ubiquitous, as federally-supported tract-house developments sprung up around the nation. These changes in civilian and military architecture and planning were, I argue, tightly connected, in part through the movement of civilian designers back and forth between civilian and military commissions. For architects and planners, the Army post was a kind of laboratory in which to experiment with design concepts outside the constraints of the real estate market. For Army officials, meanwhile, the involvement of outside experts in post design helped to convince potential recruits and the public alike that military life was not so different from civilian life. As the built environments of military and civilian America mutually influenced one another, the distinction between the two narrowed, and the Army effectively hid itself in plain sight. I track the exchange between civilian and military design ideals in five chronological chapters, each highlighting a particular episode in Army post design, and each connecting to broader themes in American urban and suburban history. The first two chapters take place during World War I and look at the planning of the Army{\textquoteright}s training camps, and the architecture of the YMCA and YWCA buildings therein. The third chapter focuses on the permanent post-building program of the 1920s and 1930s. The fourth chapter recounts the Army{\textquoteright}s pre-World War II experiments in prefabrication, and the final chapter examines the re-planning of the atomic town of Oak Ridge, Tennessee, in 1948.}, keywords = {Architectural History/Historic Preservation}, author = {Miller, Anna Darice} } @mastersthesis {11281, title = {Art and Language and the Politics of Art Worlds, 1969-1977}, year = {2012}, school = {Pittsburgh}, abstract = {My dissertation reassesses the role conceptual art played amidst the transition from modern to contemporary art during the second half of the twentieth century by focusing on the movement{\textquoteright}s international scope and structure. My inquiry centers on Art \& Language, an art collective comprising dozens of conceptual artists, and I emphasize a rarely discussed but absolutely essential aspect of their work together: the collaborations they undertook between the United States, England, Australia, and Yugoslavia that employed travel, exhibitions, publications, correspondence, and communication technologies to forge an unwieldy but productive alliance between likeminded thinkers and practitioners on three continents. I account for the art and writing that emerged from this interconnected web in terms of the innovative artistic and political strategies that Art \& Language developed by prioritizing written and spoken language, and I situate their work relative to the realignment of international relations during the period of their association. In so doing, I show how Art \& Language conceptualized opposition to the emerging global art world, which was-as it remains-driven primarily by monolithic institutions and official discourses. I argue that Art \& Language{\textquoteright}s preference for interpersonal contact and intercultural exchange provides tools for articulating a politics of artistic activity adequate to art{\textquoteright}s loss of autonomy and its gain of worldliness during the passage from modern to contemporary art.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Bailey, Robert} } @mastersthesis {11342, title = {Art, Illusion, and Social Mobility in Eighteenth-Century France: Hyacinthe Rigaud and the Making of the Marquis de Gueidan}, year = {2012}, school = {UNC Chapel Hill}, abstract = {Cultural capital was essential to social mobility in eighteenth-century France. Rising through the nobility required more than economic and social capital; one was also required to demonstrate familiarity with discourses on the arts and to show through one{\textquoteright}s appearance and behavior that one had internalized qualities associated with literature, rhetoric, music, dance, and painting. This dissertation examines the role of cultural capital in the social ascendancy of Gaspard de Gueidan (1688-1767), the great-grandson of a merchant who, through his career in the Parlement de Provence, the publication of his writings, and the collecting and commissioning of works of art, became a notable figure in the society of Aix-en-Provence. Aside from the publication of his Discours, Gueidan{\textquoteright}s most significant engagement with the arts was his commissioning of three portraits of himself from the most sought-after portraitist of his day, Hyacinthe Rigaud (1659-1743). Gueidan also published a false genealogy of his family, claiming that their nobility derived from service to the crown in the crusades, and he commissioned a mausoleum to his fictional forbears from the Provencal sculptor Jean-Pancrace Chastel (1726-1793). Gueidan{\textquoteright}s campaign of social ascendancy was in many respects very effective, and yet he was also harshly criticized by certain of his contemporaries, notably his nephew Pierre-Cesar de Charleval and the author of the Virelay en vers provencaux, a poem ridiculing Gueidan that circulated in manuscript among the nobility of Aix-en-Provence. The works Gueidan produced and commissioned fashion images of him as inherently noble, as naturally possessing noble qualities such as grace, moderation, and nonchalance, as well as a sense of duty and a zeal for filling his role within the social order. This dissertation examines the means by which these qualities were given visual forms and the ways in which those forms were used to fashion elite identities. Essential to these processes is the concept of decorum (la bienseance); it is the ideal to which artists hoped not only their portraits but all of their works would conform and it is the standard by which individuals and works of art were judged.}, keywords = {Eighteenth-Century Art}, author = {Currie, Christopher} } @mastersthesis {11288, title = {Art into Everyday Life: Department Stores as Purveyors of Culture in Modern Japan}, year = {2012}, school = {USC}, abstract = {This study examines the artistic practices of Japanese department stores, which have been obscured in the discursive realm of modern Japanese art history despite their pronounced and lasting manifestations in the praxis of modern Japanese art history. Since the turn of the twentieth century, when department stores first emerged in Japan, prominent artists of the day have engaged in various artistic projects of the stores, ranging from window displays to advertising to building design. The department stores also have constituted primary venues for displaying works of art since Mitsukoshi department store established its art section in 1907, motivated by the inauguration of the official annual salon Monbusho Bijutsu Tenrankai (Ministry of Education Art Exhibition) in the same year. From established artists to fledging ones, from central figures of the art establishment to avant-gardists challenging it, a diverse range of artists showcased their works at the department stores. Indeed, by stimulating public interest in art, the department stores contributed significantly to cultivating an audience for art in modern Japan. Nonetheless, the critical role that the department stores have played in the production, circulation, and consumption of art has not been a focus of research in the literature of modern Japanese art history. The main reason for this disregard is neither that the caliber of the artists and works that department stores sponsored was not high enough, nor is it that department stores were not valued enough as cultural institutions, but rather that the official inclusion of department store artistic practices in art history would undermine the concept of "fine art" which the modern institution of art has been predicated upon. The discipline of modern Japanese art history, under the sway of the notion of aesthetic autonomy, has been reluctant to look at artistic realities in which art was extensively involved in commercial interests, works of art became objects of conspicuous consumption, and the aesthetic autonomy of art itself was commodified. The artistic practices of the department stores epitomized the very aspects of art that the modern institution of art has attempted to efface in its history, exposing the meanings and functions that were assigned to art by bourgeois capitalist society but that were cloaked in the discourse of "fine art." The goal of this dissertation is not to recuperate the department stores as pivotal agents within the history of modern Japanese art, but to dismantle the false topos of "fine art," which constructed and manipulated the language, categories, and values that still structure our understanding of art, through a close examination of department store art practices that have been virtually ignored in the course of the formation of modern Japanese art history.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Japanese/Korean Art}, author = {Oh, Younjung} } @mastersthesis {11325, title = {Art of Documentation: The Sherborne Missal and the Role of Documents in English Medieval Art}, year = {2012}, school = {Harvard}, abstract = {This dissertation considers an unfamiliar but fundamental aspect of late-medieval art: the role of documentation. Documents played as critical a part in that society as they do in our own. In late-medieval consciousness, the charter loomed as large as the sacred image, and documentation mattered no less than devotion-while the two also had a profound and inextricable connection. Discussion begins with three principal arguments, explained in detail in the first chapter: (1) The materials of documentation are part of the history of art; and accordingly, art-historical methods render an important contribution to diplomatics. (2) Documents are an important subject of representation; and accordingly, works of art are important sources for the cultural reception of documentary practices. (3) Documents are an important model for representation; and, consequently, an understanding of the paradigmatic role of the document suggests an alternative dimension to the interpretation of late-medieval art. The chapters that follow pursue these arguments through the analysis of individual works of art-charters, seals, archival manuscripts, liturgical manuscripts, architecture, and sculpture. These chapters also include a study of one of the great monuments of English gothic art: the Sherborne Missal, produced c.1400 for the Benedictine abbey of Sherborne. Ideas of documentation constitute critical aspects both of the Missal{\textquoteright}s subject matter and its modes of representation, and these "documentary" elements also relate closely to the larger ideological project of the Missal{\textquoteright}s creators. As details of the manuscript{\textquoteright}s patronage, illumination, liturgy, inscriptions, and codicology all demonstrate, its creators associated documentation with central religious ideas about devotional images and the eucharist-essentially, the nature of valid representation and effective action. In keeping with the regional and institutional context of this principal study, the other objects discussed come primarily from English religious institutions. That context, however, by no means implies that the importance of documentation is limited either to England or to the conventual sphere, although it manifests itself differently from place to place and from one estate to another. The studies in this thesis represent only one example of where its arguments might lead, and what its approach might reveal in other works of art.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Berenbeim, Jessica} } @mastersthesis {11304, title = {The Art of Printing and the Culture of the Art Periodical in Late Imperial Russia (1898-1917)}, year = {2012}, school = {Alberta}, abstract = {This interdisciplinary dissertation explores the World of Art (Mir Iskusstva, 1899-1904), The Golden Fleece (Zolotoe runo, 1906-1909) and Apollo (Apollon, 1909-1917), three art periodicals that became symbols of the print revival and Europeanization in late Imperial Russia. Preoccupied with high quality art reproduction and graphic design, these journals were conceived and executed as art objects and examples of fine book craftsmanship, concerned with the physical form and appearance of the periodical as such. Their publication advanced Russian book art and stimulated the development of graphic design, giving it a status comparable to that of painting or sculpture. This work offers a detailed examination of the first or "inaugural" numbers, which represented manifesto-like editorial positions expressed in words and images. Thus, the World of Art announced the Europeanization of art theories and art themes and offered a Russian version of Art Nouveau; The Golden Fleece promoted Symbolist art, while Apollo advocated Apollonianism as a "classical revival". In exploring journals as art objects, this dissertation engages Gerard Genette{\textquoteright}s notion of "paratext", which serves as an umbrella approach to the explanation of the material dimension of the periodical. Treated as spatio-temporal media combinations, the art periodicals are analyzed as complex artefacts that combine text and image, which together affect meaning. This dissertation also explores in detail the historical preconditions of the rise of art journals, i.e. the emergence of the first art periodicals and illustrated press in the nineteenth century, the development of reproduction technologies and the role of art reproductions in culture - all of which are factors that led to the appearance of the journals as art objects. Further, it analyses the socio-historical context of the formation and function of editorial boards and examines the periodicals{\textquoteright} ideologies as articulations of "group identities" that became the impetus behind the art journals{\textquoteright} visual appearance.}, keywords = {Decorative Arts/Textiles/Design History, Twentieth-Century Art}, author = {Chuchvaha, Hanna} } @mastersthesis {11278, title = {Art on Television: 1967-1976}, year = {2012}, school = {USC}, abstract = {This dissertation provides an account of artists{\textquoteright} residency programs at two American public television stations in the earliest years of video art. The collaboration between artists and television professionals in an historical moment of rapid change in public media, visual arts, and social ideals illustrates the importance of institutional histories and dialogue between artistic and extra-artistic cultural spheres in post-war American art. The residency programs at WGBH-TV in Boston and KQED-TV in San Francisco, both initiated in 1967, appear similar on the surface, but the differences between the two offer specific insight into the history of post-war modernism and the emergence of post-modern practices. At WGBH-TV in Boston, artists and television professionals collaborated closely to produce a number of artworks for broadcast. These works often undermined the ideals of individuality and autonomy that are treated as foundations of visual art production, by explicitly demonstrating the ways in which the collaborative environment of the television station and the conventions of public broadcasting shaped the practices of participating artists. At KQED-TV in San Francisco, on the other hand, artists tried to retreat from the television world even as they inhabited it, by eschewing broadcast and embracing modernist abstraction. Despite a desire for autonomy, however, artists at KQED found their practices instrumentalized in other ways, as the television studio became a creative laboratory that merged the ideal of medium specificity with the think-tank culture of collaborative research and development. These residency programs had an effect beyond the boundaries of the art world and the new genre of video art. In a number of television shows produced at WGBH, KQED and WNET-TV in New York, art spilled over into regular programming. As art galleries began to buy television monitors on which to display video art, a handful of television shows introduced the strategies and techniques of video art as a bridge to the counterculture, in order to connect with the increasingly powerful baby-boomer demographic. These television shows are not categorized as artworks, but they show significant points of overlap with those products of the residencies that have been so categorized, existing as genuine hybrids of art and television. The activities and works documented in this dissertation demonstrate a clear point of overlap and entanglement between cultural spheres that are often kept at arms length from one another.}, keywords = {Contemporary Art, Film/Video}, author = {Hollenberg, Sarah} } @mastersthesis {11259, title = {The Artist-as-Celebrity: Picturing Artistic Fame in Vanity Fair, Vogue, and Harper{\textquoteright}s Bazaar Magazines, 1921-1951}, year = {2012}, school = {Pennsylvania}, abstract = {During the second quarter of the twentieth century, artists became increasingly prominent subjects of mass-culture imagery. On the pages of the highly regarded culture magazine, Vanity Fair, and the era{\textquoteright}s two leading fashion periodicals, Vogue and Harper{\textquoteright}s Bazaar, caricatures and photographs published from the 1920s through the early 1950s developed a distinctive visual vocabulary for picturing artists{\textquoteright} personas, incorporating them into the burgeoning celebrity culture of modern America. Forming a sizable and significant body of imagery of what I call the "artist-as-celebrity" that has yet to be examined in the scholarship, these images take as their subject the artist{\textquoteright}s fashionable fame itself. The artist-as-celebrity first found visual representation during the post-World War I "caricature craze". Caricature portraits integrated elements of the artist{\textquoteright}s work with his or her physical attributes and reputation, creating a "likeness" of his or her public personality. This representational strategy further developed in fashion photographs with works of art and in lifestyle photographs of artists in their homes and studios. Visually and conceptually portraying the artist in terms of three constituent aspects of celebrity identity-appearing as an emblematic icon, possessing fashionable glamour, and conducting an elite yet humanized lifestyle-these images helped shape artistic identity in interwar and postwar American culture. Published decades before Andy Warhol{\textquoteright}s explorations of fame and identity in his art and life, this imagery of the artist-as-celebrity paved the way for the later portrayals and art practices of such artists as Jeff Koons, Julian Schnabel, and Damien Hirst. This dissertation-which includes a systematic survey of all images of artists published in Vanity Fair, Vogue, and Harper{\textquoteright}s Bazaar from 1921 to 1951-examines images picturing and created by such artists as Cecil Beaton, Brassai, Miguel Covarrubias, Louise Dahl-Wolfe, Marcel Duchamp, Henri Matisse, Robert Motherwell, Pablo Picasso, Jackson Pollock, and Edward Steichen, revealing the extent to which art and celebrity culture were already enmeshed and actively impacting artistic identity by the second quarter of the twentieth century.}, keywords = {Art of the United States}, author = {Weiss, Alexandra Davis} } @mastersthesis {11208, title = {Artistic Culture in Naples in the Early Seventeenth-Century}, year = {2012}, school = {Temple}, abstract = {This dissertation explores how the rise of widely available digital technology impacts the way music is produced, distributed, promoted, and consumed, with a specific focus on the changing nature of the relationship between artists and audiences new technology has engendered. Through in-depth interviewing, focus group interviewing, and discourse analysis, this case study explores the contemporary artist-audience relationship. This study demonstrates that digital technology impacts the relationship by making it closer and more multidimensional. This is intensified by the fact that everyone is participating; the audience and artist actively engage each other. The omnipresence of music culture combined with the omnipresence of technology is particularly salient. Media consumers are simultaneously engaged with music through technology, and technology through music and this happens on many different levels. Taken as a whole, artist and audience{\textquoteright}s musical lives are fragmented as they occur in multiple online and offline places, at multiple times, and are continuous. They create, download, stream, listen, share, burn, and build upon content while engaging in multiple personal and social practices. And, in the process, they experience rich meaning making attached to particular life events, people, places, and times. Engagement in a music community is not just listening to music, or consuming music, but participating in a culture. The nature of contemporary music culture is best characterized by community and as such, this dissertation argues we might better think of the audience as accomplices to the artist.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Martone-Dragani, Concetta} } @mastersthesis {11368, title = {Artistic Production, Race, and History in Nineteenth-Century Cuba}, year = {2012}, school = {Harvard}, abstract = {This dissertation addresses the works of art of two free men of color, Vicente Escobar (1762-1834) and Jose Antonio Aponte (date of birth unknown-1812), who lived in late eighteenth and early nineteenth-century Havana. I offer the first consideration of these two artists together in order to illuminate the scope of visual artistic practice of free people of color prior to the foundation of the fine arts academy, the Academia de San Alejandro, in 1818. Creole and Spanish elites who supported the foundation of the school expressed concern that blacks had been "dominating" the arts and excluded them from studying there. I posit that both Escobar and Aponte worked as self-aware artists prior to the elite project of the fine arts academy, which followed an unclear path after its foundation. Escobar painted the portraits of colonial society{\textquoteright}s Spanish and creole elites. The works span the dates from 1785 to 1829. Aponte{\textquoteright}s only known work of art-a so-called libro de pinturas (book of paintings) found in 1812-no longer exists. However, a textual description of the book survives in the court record that documents his trial for conspiring to plan slave rebellions across the island. Aponte collaged together an array of images to depict a "universal black history" that we are now forced to imagine as the original work of art has been lost. I argue that both artists, through their artistic practices, embodied a self-awareness as artists that they directed to transformative ends. These artistic practices-as advanced by the works themselves as well as how they were produced and received-involved the articulation of two axes. The first axis moved from the representation of the visible, in the case of Escobar{\textquoteright}s portraits, to the representation of the invisible, in the case of Aponte{\textquoteright}s book of paintings. The second axis measures how the works themselves could be "historically effective"-following T.J. Clark-and transform a colonial black identity, operating on the scale of the individual to that of a larger community. For Escobar, his artistic practice was personal; for Aponte, his artistic vision extended beyond himself.}, keywords = {Latin American/Caribbean Art}, author = {Rodriguez, Linda} } @mastersthesis {11244, title = {Assembling Identity: The Object-Portrait in American Art, 1917-1927}, year = {2012}, school = {Rutgers}, abstract = {I examine the social and historical context for the creation of object-portraits in American art in the decade following the First World War. Object-portraits are portraits in which the artist has replaced an image of the subject{\textquoteright}s face or body with an object or a collection of objects. This phenomenon occurs specifically in the postwar moment when several actual and intellectual assault on selfhood - from the mechanization of the Great War, the effects of the Machine Age, developments in the field of psychology that challenged traditional notions of the self, and the burgeoning consumer culture and national advertising industry - caused artists to reassess the very nature of portraiture. What they were faced with was nothing less than the question of what it meant to be human in the modern age. Their answer to this problem, in the form of the object-portraits, redefined the boundaries between subject and object, human and thing. There are three main avenues of interdisciplinary inquiry this study has taken in order to determine how the social history of the self is written upon the object-portrait. First, I examine how contemporary shifts in the growing field of psychology impacted the understanding of identity in such a way as to de-center the self away from both the body and from the concept of a unified stable core. Object-portraits responded to this de-stabilizing of identity by searching for other means of visualizing the subject. Second, I analyze the history of technology and specifically of the body-machine metaphor to consider the various ways the object-portraits evince both a fascination with, and anxiety about, the machine in its myriad forms. And finally, I examine the contemporary advertising industry and consumer culture ideology, fueled by the application of psychology to commerce, and its manipulation of the subject/object relationship. I argue that the object-portraits, particularly the ones that appropriate an advertising aesthetic, participated in and commented on this marketed discourse. Therefore, the object-portraits examined here appear at the intersection of several histories. They anchor a variety of threads, from psychology to technology to advertising, and elucidate the construction of the self in the interwar period.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Sels, Kim} } @mastersthesis {11245, title = {Associated American Artists and the American Art World of the 1930s}, year = {2012}, school = {Case Western Reserve}, abstract = {This dissertation analyzes Associated American Artists, a business that sold American art at affordable prices through department stores, its own mail-order catalogues, and its own galleries. During the period of this study, 1934 to 1945, Associated American Artists{\textquoteright} founder, Reeves Lewenthal, capitalized on several conditions in order to effectively promote the sale of his art, several of which were directly in-line with his own personal beliefs and aspirations. These conditions included the growth of the consumer-driven retail economy evidenced by the popularity of department store shopping in large cities and the success of catalogue shopping across the nation; the need for an uplifting and positive art to calm the fears of those who were hit hard by the effects of the Great Depression; the burgeoning development of color advertisements in popular magazines, often including reproductions of fine art; and the interest of several major industrial corporations in repairing recently-damaged reputations by hiring fine artists to serve their various needs. Throughout this time period Lewenthal promoted the originality of his firm{\textquoteright}s strategies in selling its five dollar signed prints and other artwork, and also the methods of sale he utilized and his collaborations with corporate industry. Many of these corporate commissions resulted in the mass distribution of reproductions of artwork in the form of calendars, corporate literature, and advertisements. This mass distribution had an impact on the public{\textquoteright}s reception of the artwork, which, as will be seen, was both positive and negative. I explore these issues and evaluate both the critical and praiseworthy comments made by artists, executives, and critics in order to determine the ramifications of the various corporate programs with which Associated American Artists was involved. My critical assessment of Associated American Artists is the result of careful study of the firm{\textquoteright}s activities as well as a comparison with its predecessors and contemporaries, as described in the secondary literature on the art market in the United States and Europe. The history of advertising, consumerism, and Regionalist art also played a role as I analyzed the relevant literature pertaining to those topics. The dissertation contributes greatly to a clearer understanding of Associated American Artists and its relationship to the social-historical context of the 1930s and 1940s.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Washington, Tiffany} } @mastersthesis {11314, title = {Authorities of Presence: Robert Gill, the Photographic Survey of India, and the Colonial Sublime}, year = {2012}, school = {Brown}, abstract = {This study is about topographical photography of nineteenth-century British India, and the critical interpretation of that imagery. From the mid-eighteenth century, British makers of topographical paintings, prints, and drawings of the subcontinent mobilized languages of art as well as emerging ideas of scientific representation to construct their own identity and authority. Scholars often understand the advent of photography to have comprised a shift in these practices - towards systematic registration, a reified colonial gaze, and the epistemological regimes of institutional archives. Yet the arrival of photography did not close down the reflexive activity at play in earlier, non-photographic forms of colonial representation. Rather, photography changed the range of ideas, tools, visual languages, and frames of reference with which individual image-makers could engage. Drawing on the scholarship of Christopher Pinney, Ann Laura Stoler, Robin Kelsey, and others, this study explores how the photographic representation of sub-continental architectural sites could mediate and give meaning to the image-maker{\textquoteright}s position at an intersection of local and imperial knowledges and affinities. In particular, the study examines the photography of Robert Gill (1804-1879), a London-born officer in the Madras Army who, after studying at the Royal Academy, came to play an important role in the visual survey of Indian topography most notably at Ajanta, but also at other sites in the region of present-day Maharashtra. The study argues that as Gill mediated the colonial periphery for metropolitan audiences, his imagery addressed a gap between embodied colonial experience and orderly imperial modes of knowing. This was a gap in which Gill placed himself, using the camera to fuse old and emergent models of artistic, colonial, and masculine identity. In addition to providing an account of Robert Gill{\textquoteright}s work, "Authorities of Presence" traces a nineteenth-century colonial history of an identity formation scholars have largely located in the context of early twentieth-century European urban modernity. More broadly, the study contributes to a history of an aesthetic of photographic authority, and raises questions about the ways we understand colonial representation and its relationship with imperial archives.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Stein, Nathaniel} } @mastersthesis {11258, title = {Auto-America: The Automobile and American Art, circa 1900-1950}, year = {2012}, school = {Kansas}, abstract = {This dissertation explores the theme of the automobile in American visual art in the first half of the twentieth century, specifically as it appears in painting and printmaking. During the period under consideration, the automobile evolved from a technological novelty owned and operated by wealthy individuals to become a ubiquitous part of American society that stretched across the nation and touched all economic classes. When present in art, the automobile serves as a pregnant image of modernity. The freedom of motion and the velocity provided by the motorcar suggests a horizontal and accelerated perception of modern life. The influence of the automobile on society is found not only in images with motorcars, but also in compositions depicting the many support systems that developed to keep the nation mobile. The greater sense of automobility includes the newly built roadways and bridges, automotive factories, garages, gasoline pumps, auto-camps and eventual motels, roadside restaurants that aimed to serve and accommodate a populace on the move. Artists working in the United States responded to the expanding presence of motor vehicles in multiple and varied ways that reflect not only individual artistic tastes and styles, but also the artists{\textquoteright} personal experiences and associations as automobile drivers and passengers. Several artists utilized the motor vehicle as a mobile studio, with works being created on location, within the confines of the vehicle itself. My analysis explores various ways in which artists responded to the automobile and developed auto-related iconography. Depictions of the automobile{\textquoteright}s use in urban areas demonstrate its gradual acceptance and eventual dominance of city streets, while in rural areas the automobile offered opportunities for social engagement, shopping and entertainment. During the Great Depression, the motorcar served artists as a modern-day metaphor regarding the ship of state, with broken down and discarded vehicles used to address the nation{\textquoteright}s economic troubles. The study includes consideration of several artists{\textquoteright} use of automobiles as well as depictions made of and from the road. This dissertation concludes with a brief look at artistic responses to the automotive theme that followed the period under this study.}, keywords = {Art of the United States}, author = {Smith, Jerry} } @mastersthesis {11442, title = {Autonomy as a Temporary Collective Experience: Anna Halprin{\textquoteright}s Dance-Events, Deweyan Aesthetics, and the Emergence of Dialogical Art in the Sixties}, year = {2012}, school = {Victoria}, abstract = {Focusing on the event-based work of San Francisco dancer and choreographer, Anna Halprin, this dissertation argues that relational art and aesthetics is an integral feature of modernism that can be traced to the emergence of dialogue in art practices of the 1950s and 60s. I argue that John Dewey{\textquoteright}s pragmatist aesthetics provided Anna Halprin, and other artists in her circle, with a coexistent experiential site for art{\textquoteright}s conception and production. This alternative aesthetic model was based on an embodied, holistic approach to aesthetic experience that was fundamentally different from the Kantian-based formalism articulated by Clement Greenberg. Uncovering this alternative aesthetic model matters, not only because it is a neglected tradition with contemporary theoretical resonance, but because it allows us to see that event-based art produced during the 1960s was not merely deconstructive; it also had a constructive social purpose, namely the modeling of temporary, non-totalizing communal experiences. I analyze this contingent collectivism through an anarchist lens, in order to demonstrate that anarchic principles and models of agency were enacted and kept operational in art communities, networks, and events and, furthermore, were supported by holistic philosophies grounded in concrete experience.}, keywords = {Twentieth-Century Art}, author = {Shea, Tusa} } @mastersthesis {11254, title = {Average Joes and Mean Girls: The Representation and Transformation of the Average American, 1890-1945}, year = {2012}, school = {UC Santa Barbara}, abstract = {This dissertation investigates the depiction of the "average American," a statistical and visual trope that carried significant ideological weight at the end of the nineteenth century and in the first half of the twentieth century. On a symmetrical bell curve, the most aberrant representative data ground the curve to its horizontal axis, while the average is located at its central peak The center of the bell curve was a late nineteenth- and twentieth-century obsession, especially in the United States, where immigration, economic instability, and swift modernization made it seem ever more urgent to understand the nation{\textquoteright}s diverse population in "objective" terms. This dissertation examines how the average American-as determined by both statistical and anthropological models-was represented in sculpture. I trace the scientific and artistic trajectories of three sets of sculptures, a male and female figure commissioned by Dudley Allen Sargent from Henry Hudson Kitson and Theo Alice Ruggles to represent the average American man and woman at the Chicago{\textquoteright}s Columbian Exposition in 1893, the Races of Mankind exhibit commissioned by Chicago{\textquoteright}s Field Museum of Natural History from Malvina Hoffman which opened in 1933, and Norma and Normman, commission by Robert Latou Dickinson from Abram Belskie and which were put on display at the Cleveland Health Museum in 1945. These sculptures were meant to be seen by large audiences in public spaces, and were primarily didactic objects intended to promote physical, racial, and sexual fitness, and contributed to statistical imaginary of the interwar years. I argue that such representations derived their authority from their scientific aura and were an effective way to construct an imagined community blissfully unchallenged by diversity and difference. These sculptures were based explicitly on data compiled by large-scale statistical or anthropological projects. They were all meant to be seen by large audiences in public spaces (world{\textquoteright}s fairs, natural history museums, health museums) and were primarily didactic objects intended to promote physical, racial, and sexual fitness. Such representations derived their authority from their scientific and their artistic aura and were used as tools to develop a specific kind of public, while simultaneously discouraging the formation of others. They were effective ways by which to formulate and fix an imagined community in which the challenges of diversity and difference could be tamed if not fantasized away entirely.}, keywords = {Art of the United States}, author = {Howe, Catherine} } @mastersthesis {11264, title = {Baiyun Guan: The Development and Evolution of a Quanzhen Daoist Temple}, year = {2012}, school = {Kansas}, abstract = {This dissertation addresses the development and evolution of the Daoist temple Baiyun guan in Beijing, China. Based on textual sources combined with the analysis of architectural and sculptural features, this study provides the comprehensive history of the temple focusing on its growth, change, and its religious identity. A detailed study of the temple reveals the plans and intentions of the patrons evident in the change of its architecture, nomenclature, and enshrined images, which demonstrates shifting patterns of the temple pantheon. This study also interprets the meaning and function of its images with primary emphasis on those of Quanzhen Daoists. The contextual analysis of images highlights persisting religious sectarianism involving Quanzhen Daoism in Baiyun guan despite ongoing changes in the temple{\textquoteright}s patrons and in the iconographic program at the site. This dissertation provides an exemplary case study demonstrating the dual nature of the site: the enduring presence of religious sectarianism contrasted with constant transformation of the temple. Baiyun guan, still an active center of Quanzhen worship in the present day, continues to respond to shifting trends in Daoist practice in order to incorporate needs of contemporary worshippers while also ensuring the temple{\textquoteright}s popularity and existence. The history of Baiyun guan, then, reveals a dynamic landscape of Daoist images and practices, as well as the development of an institution that was a key site in the history of Daoist art and in the wider history of Chinese Daoism.}, keywords = {Chinese Art}, author = {Efurd, Youmi Kim} } @mastersthesis {11413, title = {Beautiful Painted Lies: Deception and Illusionistic Painting in the Seventeenth Century}, year = {2012}, school = {UC Santa Barbara}, abstract = {Traditions informing the deceptions perpetrated by seventeenth-century trompe-l{\textquoteright}oeil paintings shine considerable light on the behavior of seventeenth-century artists, patrons, and viewers in unexpected ways. This study considers illusionistic paintings and written accounts of those experiencing them in the seventeenth century in conjunction with non-art historical scientific, philosophical, and social discourses of the period concerned with the subject of deceit. Questions on naturalism that remain a central subject in Netherlandish art history are elaborated upon, for, when considered deceptive, artists and their paintings reveal a variety of intriguing concerns. From this perspective, this dissertation argues that artists and their patrons fostered viewing responses that are surprisingly ideological with wide-ranging political and intellectual ramifications dependent on the immediate contexts in which they were made. To lie well, particularly in such a way that revealed the clever machinations of the deceit and established the participants{\textquoteright} mastery of the subtleties of a given set of values, was a highly-desirable social and political achievement. Beautifully painted lies facilitated this exploration of deception. The complicity of original sites of trompe-l{\textquoteright}oeil reception in the deceptive act - in physical locations like artists{\textquoteright} studios, churches, town halls, homes, and the marketplace - was determined by attitudes to deceit specific to these contexts. A painting that lies will encourage very different responses determined by the expectations of the participants. The place of deception in the visual arts, and painting in particular, was a practice informed by professional concerns, art theory, and economic pursuits favored by seventeenth-century Netherlandish artists. The production of illusionistic painting by the artist Cornelis Norbertus Gijsbrechts for the Danish kings in the 1660s and 70s in particular terms of the complimentary goals of an emerging absolutist court and of the knowledge-producing system of a kunstkammer. Alternatively, two illusionistically painted organ screens painted for prominent churches in Amsterdam, one by Cornelis Brise and the other by Gerard de Lairesse, provides an entirely different set of responses within a context dominated by Protestant concerns and contemporaneous controversies. In this environment, the delicate balance between morally proscribed lies and the activation of compelling visual deceptions underscores the visual appeal of trompe-l{\textquoteright}oeil art of this period. The trompe-l{\textquoteright}oeil paintings of Samuel van Hoogstraten and several of his contemporaries produced deceptive imagery for middle-class and royal patrons in Restoration England. Analysis of the written experiences of the bureaucrat Samuel Pepys with their illusions, serves as a means of accessing the social pressures and intellectual pursuits that responded to, and in turn informed, artistic production. By expanding the cultural referents of deception to include those determined by the immediate contexts for which trompe-l{\textquoteright}oeil paintings were made, our understanding of a seemingly homogenous sub-genre is made far more complicated and versatile.}, keywords = {Renaissance/Baroque Art}, author = {Peterson, Charles} } @mastersthesis {11424, title = {Beauty, Poser, Propaganda, and Celebration: Profiling Women in Sixteenth-Century Italian Commemorative Medals}, year = {2012}, school = {Case Western Reserve}, abstract = {In the sixteenth-century, commemorative medals served as some of the most popular objects depicting the ideas and ideals of men and, as I contend, women from Italy. This dissertation considers the personal, cultural, and social significance and function of a select group of medals depicting women in Italy from approximately 1550 to 1620. My examination of this sample group of medals of women can be used to construct a general understanding of the meaning and functions of medals of women in mid to late sixteenth-century Italy which signify the themes and subjects of beauty and chastity, power and propaganda, and the celebration of women as vital members of the Renaissance family as well as individuals in their own right. I further assert that the text and images depicted on the medals both reinforces and contradicts the prescribed behaviors expected of women during this period. All of the medals examined in this dissertation were commissioned by men, but as I explain, many of the women who appear on them most likely took an active role in their own self-fashioning which is reflected in the meaning of the medals.}, keywords = {Renaissance/Baroque Art}, author = {Wolken, Christine} } @mastersthesis {11302, title = {Before Art Nouveau: The Invention, Commercialization, and Display of the Modern Interior in Nineteenth-Century France}, year = {2012}, school = {USC}, abstract = {This dissertation re-visits the history of the "modern" style in interior decoration. Adopting the lenses of the emerging profession of the interior designer, which existed in a parallel realm to that of official exhibitions dedicated to the "fine" arts, the project re-writes the history of eclecticism as one about stylistic harmony and themed decor. It analyses the aesthetic of the nineteenth-century bourgeois interior as described in sources published during the second half of the century by professional groups such as retailers, painters and sculptors, architects and illustrators, furniture and stage designers, upholsters and cabinet-makers, and department store officials. Together, their publications - prints and drawings, books and illustrations, photographs, trade journals, and department store catalogs - came to influence the shape and form the modern interior would take in the nineteenth century and the new profession of the interior designer would adopt in the twentieth. Finally, the dissertation argues that images of interior decoration designs were central to the radical changes that took place in the making of the modern art market during the second half of the nineteenth century, from the reintegration of the decorative arts into a public circuit of significant state-sponsored exhibition to the eventual development of the new aesthetic vocabulary of Art Nouveau.}, keywords = {Decorative Arts/Textiles/Design History, Nineteenth-Century Art}, author = {Lasc, Anca} } @mastersthesis {11408, title = {Bernini as the Seicento Michelangelo: Imitation and Identity in Art, Architecture, and Biography}, year = {2012}, school = {Toronto}, abstract = {This dissertation examines how Gianlorenzo Bernini (1598-1680), acclaimed the "Michelangelo of his age," constructed his identity by imitating the art, practices and persona of Michelangelo Buonarroti (1475-1564). Buonarroti{\textquoteright}s "inimitability," a disputed sixteenth-century notion that became ever more contentious as newly critical seventeenth-century perspectives of his work and practice questioned his worth as a model for imitation, furnishes the point of departure for investigating how Bernini became Bernini through and against his predecessor. By analysing Gianlorenzo{\textquoteright}s formal, stylistic, theoretical and conceptual references to Buonarroti in his early narrative sculpture (ch.1), his sculpted self-portraits (ch.2), his work at St. Peter{\textquoteright}s (ch.3), his architectural ornament (ch.4) as well as the intertextual strategies attending the literary uses of the association between the two artists (ch.5), I shed light on various imitative modes =ranging from emulation, allusion and paraphrase, to repetition, quotation and bricolage = that Bernini and his biographers employed to shape the artist into Michelangelo{\textquoteright}s worthy "son" rather than his burdened epigone. In positing a filial model as a flexible framework for understanding Bernini{\textquoteright}s life-long relationship to Michelangelo, I take a cue from early modern art writers who suggested that the way to overcome Buonarroti{\textquoteright}s inimitability was to resemble him faintly, the way a son resembles a father. Yet while the latter saw filial likeness as fixed, I show that the son{\textquoteright}s (Bernini{\textquoteright}s) resemblance to his chosen father (Michelangelo) changed by degree and in demeanor over time, according to discipline and, sometimes, from subject to subject. And by reconstituting the respective prisms through which Bernini and his biographers regarded the work and life of Buonarroti, I show that each perceived Michelangelo differently based on the manifold representations of him, his work and his practice that existed in critical, biographical, theoretical and pictorial sources. In turn, multiple constructions of Bernini{\textquoteright}s identity as the seicento Michelangelo emerge. This dissertation ultimately suggests that to imitate Michelangelo successfully was not only to inscribe oneself into history but to rewrite the past by altering the perception of Buonarroti from an inimitable vanguard to a fecund "father" of a new generation.}, keywords = {Renaissance/Baroque Art}, author = {Mangone, Carolina} } @mastersthesis {11341, title = {Between Friends: Representations of Female Sociability in French Genre Painting, 1770-1830}, year = {2012}, school = {UNC Chapel Hill}, abstract = {This dissertation examines spaces of female sociability and their representation in late-eighteenth- and early-nineteenth-century genre paintings and portraiture. I look to paintings that feature female companions engaging with one another in various locales - the exotic colonial island, the convent, the boudoir, the salon, and the artist{\textquoteright}s studio - and analyze the ways in which artists represent female friendship in such settings. Despite the historical tradition that negated women{\textquoteright}s extra-familial relationships and instead privileged the male enjoyment of the offices of friendship, the companionship, intimacy, and collaboration that unfolds within the canvases suggests a dynamic that deserves more attention than has been heretofore been given. Historical and art historical narratives of this period before, during, and after the French Revolution consistently focus on male artistic and social networks, foregrounding them in a language of brotherhood and public virtue, but sisterhood existed in other significant forms. The images I investigate are drawn from the period 1770-1830, an era of genre painting and portraiture that presents a particularly rich set of scenes featuring female sociability, often in the absence of men. Intimate moments between mothers and maids, friendly strolls in the picturesque garden, scenes of shared confidences, friendship portraits and other physical tokens of affection and memory, and creative companionship all speak to a strong tradition of female collaboration and sociability, often displaying friendship as a means for individual development and shared emotion. Alongside treatises on friendship, fictional and real letters exchanged between female friends, and personal memoirs, the paintings that this dissertation addresses both reveal and construct the history of female friendship in early modern France. Ultimately, paintings of female sociability suggest that it allowed women to step beyond the strict identity roles of mother and wife and to develop unique subjectivities and identities. The culture of sensibility, in part, aided in the development of a language of female friendship and in the flourishing of images of the period that picture the intimate bond.}, keywords = {Eighteenth-Century Art, Nineteenth-Century Art}, author = {Medakovich, Molly A.} } @mastersthesis {11438, title = {Between Self and Nation: Memory Deterritorialized in Two American Soldiers{\textquoteright} Monuments}, year = {2012}, school = {Bryn Mawr}, abstract = {National monuments are high-stakes projects contributing to master narratives of national identity based on historical events. Historical narratives are frequently given as a fixed series of still poses, or a sequence of divinely-driven cause and effect relationships, leading to a predestined conclusion. Thus, one difficulty arises from the fact that monuments must typically single out an event or individual for immortal fame, thereby privileging certain moments over others. Frequently, these privileged moments are accepted as universal even when national identity is the collective effect of contingent individuals. As a solution, I deploy theories that detach meaning of events from static historical obligation. Using as analytical tools, Bergson{\textquoteright}s concept of duration and Deleuze{\textquoteright}s later expansions on Bergson{\textquoteright}s model of history as becoming and the unprivileged any-instant-whatever, I explore how meaning and history are invoked through form and experience in Augustus Saint-Gaudens{\textquoteright} Memorial to Robert Gould Shaw and the Massachusetts Fifty-fourth Regiment (1884-1897), and Maya Lin{\textquoteright}s Vietnam Veterans Memorial (1982). The memorials{\textquoteright} dates of installation match the historical emergence and re-emergence of the concept of duration, the initial conceptualization by Bergson followed Deleuze{\textquoteright}s later expansions. Overall, this project demonstrates how time is represented in two different ways-as a sequence of static moments in the Shaw Memorial and as continuous (like a filmstrip) in Lin{\textquoteright}s memorial. The Shaw Memorial represents the determination of American racial equality as a pregnant moment deferred, interrupted, and suspended, while Lin{\textquoteright}s memorial as enigmatic signifier establishes the notion of alterity as a condition of national identity.}, keywords = {Twentieth-Century Art}, author = {Ho, Tienfong} } @mastersthesis {11241, title = {The Big Canvas{\textquoteright}: Scale, Size, and the Spaces of American Painting, 1948-1968}, year = {2012}, school = {Virginia}, abstract = {This dissertation considers the implications of large-scale abstract painting in the United States, from the rise of the wall-spanning canvas in Abstract Expressionism beginning in the late 1940s through the accelerated expansion of works in the 1960s, focusing on the real-spatial relations established among paintings, architecture, and observers. It argues that the history of "The Big Canvas," as the critic and curator E.C. Goossen described it in 1958, is most intelligible as a history of paintings and the places where they were shown. The dissertation makes the case for a close alliance of Abstract Expressionist painting to the architecture of the residential-scale commercial galleries where it was first shown. Artists allied their work to the wall and the room by means of formats, scale, and facture. Against the common reading of large-scale Abstract Expressionist painting as uniformly contemplative and absorbing, the dissertation points to evidence in the work of Pollock and Newman of an impetus to activate and place the embodied observer in the real space of the gallery. The alignment with the scale of the body and the room that characterized their work does not persist in the increasingly large abstract paintings of the 1960s, works as large as Al Held{\textquoteright}s fifty-six-foot-long Greek Garden of 1966. It is in regard to the big paintings of Held and others that critics begin to suggest that "sheer size" has replaced scale. The expansion of painting in the sixties, I argue, has to be understood in relation to the major expansions of museum galleries during the decade, including those of the Museum of Modern Art, the Whitney Museum, and the Jewish Museum. The expanded works and spaces of the 1960s, I conclude, are harbingers of the present, when there seems to be no limit to the size of new museum galleries and the works that fill them.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Ashe, Lisa Frye} } @mastersthesis {11316, title = {The Body and the Copy: Confession, Practice, and Ways of Drawing in the Seventeenth Century}, year = {2012}, school = {Princeton}, abstract = {In this dissertation, I argue that drawing in the early-modern period engaged with modes of perception beyond the visual. I focus on a printed drawing book, the Artis Apellae liber (1650-56), designed by the Utrecht artist Abraham Bloemaert (1566-1651) and engraved by his son Frederik. This work teaches a student to draw by copying, leading the practitioner from sensory organs to bodily fragments (hands, legs, torsos), culminating in studies of the nude and historical compositions. I contextualize the Artis Apellae liber within the confessional debates of the seventeenth century, arguing that as the Catholic, Calvinist and Lutheran churches established official doctrines, questions about the body and its relationship to the divine and matter were re-examined. In turn, developments in early-modern natural philosophy challenged previously held beliefs about the body and its capacity for movement and rest. I situate the drawing of the body in the seventeenth century within these theological and philosophical revolutions, maintaining that the body as a corporeal instrument (beyond the field of vision) was integral to seventeenth-century artistic practice. The first chapter, Books and Matter, grounds the process of learning to draw from a book in early-modern discourses on reading. This chapter examines the intersecting practices of reading as devotion and reading as a means to retire from the world to foster qualities of imagination and judgment. For both practices, the book acts as a metaphor for the body. The second chapter, Bodies (Universal and Particular), examines drawing the male nude in seventeenth-century practice and pedagogy. Through an investigation of the artistic vocabulary surrounding the study of the model in the studio-nae t{\textquoteright}leven (from life), wel-dragen (to bear, endure) and wel-stand (well-being)-I suggest that Bloemaert{\textquoteright}s drawings of the male figure engage with a new sense "space," in which bodies stand and move in relationship to each other. The third chapter, Senses and Knowledge, looks at early-modern discourses on vision and the senses. While scholars have focused on perspective as a metaphor for seeing in early-modern artistic practice, there has been little attention to a divergent pedagogy grounded in the senses. I connect the roles of seeing, hearing, smelling, tasting and touching in artistic practice to a wider seventeenth-century Neo-Artistotelianism and its critics, who sought how, or if, all knowledge is founded in the senses. The fourth chapter, Faces and Passions, examines the role of drawing the face in artistic pedagogy, arguing for love (Caritas-divine love) as a mode of perception. Beginning with Alberti, many artist theorists discussed how the senses first perceive objects in the heart. I connect these dialogues on the heart and the senses with wider theological discourses, arguing that Bloemaert{\textquoteright}s lessons for drawing the face engage with the heart{\textquoteright}s ability to perceive the "other." From books, hands, eyes, faces, skin and bodies, this dissertation examines the surfaces of seventeenth-century artistic processes and pedagogy, arguing that surfaces in the seventeenth-century were as much about the invisible as the visible. The Artis Apellae liber taught students not only to draw but also to understand their bodies as perceptive tools capable of shaping their worlds, represented and real.}, keywords = {Drawings/Prints/Works on Paper, Renaissance/Baroque Art}, author = {Fowler, Caroline} } @mastersthesis {11290, title = {Bound Together: Being-With Gay and Lesbian Leather Communities and Visual Cultures, 1966-1984}, year = {2012}, school = {UT Austin}, abstract = {Bound Together elucidates how gay and lesbian leather communities, in the years between 1966 and 1984, contested and expanded fungible notions of sex, community, and history, mostly through material and visual cultural systems: dress codes such as the hanky code, architectural spaces (bars, bathhouses, private clubs), garments, posters, advertisements, newsletters, films, and performances. In examining visual and material cultures, procedures of archival research, as well as the physical states of key archives associated with historic gay and lesbian leather communities, this dissertation opens out a discussion of a set of visual documents and terms rarely considered within the discipline of art history, or academia at large. Through rigorous rhetorical experimentation Bound Together seeks to propose new ways of writing histories. Long and short chapters are interpolated, telescoping between historical leather communities and key works of contemporary art which reformat 1970s documents and visual sources. Jean Luc-Nancy{\textquoteright}s conception of "being-with," a state of coterminous existence that lies at the foundation of being and subjecthood, provides an ideal framework for coming to terms with the challenges of writing leather histories. Nancy{\textquoteright}s notion is one that privileges mutual and relational difference. The structure of Bound Together works similarly, building a set of differential modes of viewing, analyzing and writing. In this way I wish to, in the words of Tilottama Rajan, use "history as the condition for an internal distanciation and for self-reflection on what we do," and to furthermore present alternatives to a discipline{\textquoteright}s often "routinized, even commodified [{\quotesinglbase}{\"A}{\textparagraph}] repeatable techniques."}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Campbell, Andrew} } @mastersthesis {11315, title = {Briefkultur: Art and the Epistolary Mode of Address in the Age of Albrecht Durer}, year = {2012}, school = {Yale}, abstract = {Historians of art have traditionally read letters to secure biographical information, provide evidence for patronage relationships, or bolster the image of the artist as a modern, self-aware individual. Often cherished as documents of proof, letters have less frequently been considered as objects with histories. By the chances of their unexpected detours, their subjection to copying, or their successful delivery and survival over centuries, letters may accumulate audiences, creating a kinship of readers that far exceeds the scope of their initial intent. By virtue of these traits the letter provides a model for understanding one of the ways in which the work of art functioned in Germany around the year 1500: as an agent of communication. It was this manner of image making that Germany{\textquoteright}s most famous artist of the time, Albrecht Durer (1471-1528), played a large role in advancing. The aim of this dissertation is twofold. One is to provide an assessment of the different kinds of letters that were written in Durer{\textquoteright}s time-the ways in which they were formulated, the patterns by which they traveled, and the means by which they established relationships between authors and readers. The changing fates of the letter are considered within three historical contexts: the effects of the printing press on redefining the scope of receivership; the expansion of an Empire that was constantly re-imaging itself in response to discovery, trade, and narrativization; and the beginnings of the Reformation movement, which forced reconsiderations of privacy, literacy and authorship, while formulating new kinds of social awareness. The second aim of this project is to argue that the experience of writing, sending, and receiving letters shaped how artists in the age of print-chiefly Albrecht Durer-reflected upon the unique message-bearing properties of the work of art. I develop the idea of an epistolary mode of artistic address, marked by an appeal from artist to viewer that is direct and intimate while at the same time acknowledging the distance and delay that defers the message. Balancing intimacy with public address and proximity with distance, certain images by Durer mimic the letter{\textquoteright}s ability to connect author and recipient, directing through dialectics of advertisement and concealment how individuals address one another and how communities construct their borders. Over the course of seven chapters, the argument unfolds in a consideration of the different kinds of letters and delivery systems, and analogous approaches to artistic representation. Focusing primarily on prints, but presenting also drawings, paintings, tapestries, maps, courier annotations, and messenger brooches, this dissertation proposes to modify Jacob Burckhardt{\textquoteright}s all-encompassing story of the Renaissance as the "discovery of the world and of man" by offering a complex set of models for how art figures communication both within and across the boundaries of the frame. This dissertation also participates in a recent methodological debate about whether a history of art should be written from the perspective of the artist, or as a history of reception. Drawing on archival material and through close readings of images, I present the work of art as a communication in transit.}, keywords = {Drawings/Prints/Works on Paper, Renaissance/Baroque Art}, author = {Brisman, Shira} } @mastersthesis {11203, title = {Building Across the Sacred Landscape: The Romanesque Churches of Verona and their Urban Context}, year = {2012}, school = {Columbia}, abstract = {This project explores the intersection of art, religion, and community within the historical context of the Middle Ages, where architecture acts as an expression of the experience of urban life, as well as an affecting locus of social interaction. It focuses on medieval Verona, where the immense architectural renovations of the eleventh and twelfth centuries were an integral response to a period of intense social and religious transformation. Here, the churches are examined as an ensemble, as a network of interconnected buildings that were produced under similar social circumstances. Instead of focusing on defining a Veronese architectural style through a number of decorative features, however, this dissertation explores difference as being an important factor in defining the look of each Veronese church, focusing on the Romanesque churches{\textquoteright} relationships to the city, floorplans, and elevations as evocations of a period of considerable creativity. This variation is considered in terms of the experiences of the communities and individuals who commissioned them, and how the buildings{\textquoteright} historical and cultic associations were identified within the larger urban context.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Fluke, Meredith} } @mastersthesis {11205, title = {The Building Program of Archbishop Walter de Gray: Architectural Production and Reform in the Archdiocese of York, 1215-1255}, year = {2012}, school = {Columbia}, abstract = {Walter de Gray became archbishop of York in 1215 while attending the Fourth Lateran Council in Rome. King John of England recommended Walter for the role, and the new archbishop ruled for the next four decades with the skills of a well-connected royal administrator and a commitment to reforming his churches according to the principles advanced by the general council. Over the next four decades the archbishop reorganized and revitalized a province that had lost much of its stature through neglect and mismanagement by his predecessor. Architectural patronage played a central role in Gray{\textquoteright}s reform program, and it created four well-known Gothic edifices at the metropolitan church of York and at its dependent satellites, or minsters, Beverley, Ripon, and Southwell. Each construction project was supported by an indulgence from the archbishop and happened alongside important constitutional changes at each church. York Cathedral received a new transept as Gray campaigned for the canonization of a former archbishop and restructured the chapter and its offices. He rebuilt the damaged choir of Beverley Minster as a shrine to its bishop-founder St John while packing its prestigious chapter with trusted lieutenants. He completed Ripon Minster with a two-towered facade after promoting its legendary saint Wilfrid and creating a rich new stall for the chapter. Gray also may have been instrumental in choosing the design for the new east end of Southwell Minster, where he provided new statutes and stipends for the resident canons. The institutional relationships and the programmatic significance of these monuments have not been considered previously, and the four studies here show that reform and rebuilding worked together successfully to raise the profile of York and its minsters. During the building campaigns Gray created new prebends and augmented benefices in order to recruit talented clergy, and he and his allies laid down new statutes to foster the professional ecclesiastic standards and education favored by the Lateran Council. New architectural settings encouraged veneration of local saints, and their stories as pious past prelates of York bolstered the reputation of Gray and his office. New chapels allowed for the founding of chantries, often endowed by the archbishop{\textquoteright}s handpicked churchmen, and these paid for extra masses and the elaborate liturgical schedules expected of important churches in thirteenth-century England. The story of Walter de Gray and his building program gives scholarly attention to a leading figure in English medieval history, and it provides a new historical structure for understanding several important Gothic churches that rarely find a place in the architectural history of the Middle Ages. Moreover, these four monuments serve as a test case by which to evaluate scholarly approaches to English Gothic architecture of the twelfth and thirteenth century that have attempted to go beyond stylistic analysis, particularly Peter Brieger{\textquoteright}s idea of an "episcopal" style.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Miller, Jeffrey} } @mastersthesis {11307, title = {Building the Modern Turkish Household: Koc Industries, 1947-1980}, year = {2012}, school = {UIC}, abstract = {This dissertation is a study of the changing visual and spatial culture of Turkey during and after the so-called "Marshall Plan Years," from 1947 to 1980. Looking at a series of cultural reconstructions, the dissertation traces the transformations that remade the visual, symbolic, and utilitarian spheres of the nation. Focusing on four seminal products, and the design and production sectors that produced them, notably Koc Industries, the dissertation examines tensions within the process of modernization: tensions between tradition and innovation, between local and national, between national and neo-colonial, and between private and state-controlled production and dissemination. By foregrounding the main strand of Koc businesses that introduced four seminal products- instantaneous water heater, refrigerator, private automobile and television-this study exposes the development of a feedback loop that brought forth Turkey{\textquoteright}s consumer economy. A hybrid process occurred in which products came into existence both as a result of Vehbi Koc{\textquoteright}s responses to his larger context - notably, the changing national political economy and bursts of consumer demand - and by his forcing of responses from this context in order to realize his own vision of material well-being for the Turkish nation. Koc Corporation transformed in the post-1980 period, during Turkey{\textquoteright}s transition from economic protectionism to global market integration, in order to ensure continuity by seeking global competitiveness. The study concludes with projections about Koc Corporation, as it gradually withdraws from manufacturing and seeks corporate power through more abstract means - such as concentrating its activities in the fields of energy, finance, and high-tech research.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Ersan, Gokhan} } @mastersthesis {11430, title = {Canadian Girls in London: Negotiating Home and Away in the British World at the Turn of the Twentieth Century}, year = {2012}, school = {McGill}, abstract = {This dissertation examines the ways in which Canadian women artists who lived as expatriates in Britain managed multiple and often competing ideas about home in their writing and artwork in the late nineteenth and early twentieth centuries. Focusing on a small group of professional, white, English-Canadian painters, including Emily Carr, Elizabeth Armstrong Forbes, Mary Alexandra Bell Eastlake, Helen McNicoll, and Frances Jones, I reveal links between Canada and the greater British Empire that have tended to be lost in nationalist art history narratives. Though well-known and respected during their lifetimes as successful professional artists who pursued international careers, Canadian women of the pre-WWI period have since been almost exclusively studied through the narrow lens of the ideology of separate spheres. Without dismissing the very real restrictions that women did face because of their gender, I maintain that this distinction between public and private neglects the colonial context in which white Canadian women lived and worked. Indeed, the nineteenth-century cult of middle-class domesticity and the era of high imperialism went hand in hand: "home," the personal space of the family, and "home," the social space of a nation, were twinned in the discourse of empire, both signifying a bounded, secure, and racialized space of belonging, safely separate from the outside world. Indeed, the maintenance of this strict division between "home" and "away" was one of the structuring fictions of imperialism. By insisting on the importance of a consideration of the specificity of the experience of artists like Carr, Forbes, Eastlake, McNicoll and Jones as not just women, but as white women, and even more specifically, as white women working within the context of British imperialism, my work pushes at the boundaries of the now well-established framework of white feminist art history, which has overwhelmingly tended to shy away from questions of race and empire. Through an examination of primary sources such as letters, travel diaries, autobiographies, and sketchbooks, and a close analysis of visual representations of motherhood, domestic interiors, and literary and historical subjects, I argue that both senses of home were met with a deep ambivalence, that the boundaries between home and away were permeable, and that the global public and domestic private were, in fact, intertwined and mutually constitutive. By dismantling these boundaries and examining the networks that stretched across the Atlantic and throughout the English-speaking world, I situate Carr, Forbes, Eastlake, McNicoll, and Jones within the context of what has come to be called the "British World."}, keywords = {Twentieth-Century Art}, author = {Burton, Samantha} } @mastersthesis {11237, title = {The Canvas as Stage: The Spectacle of New York City Popular Entertainment, ca. 1895-ca. 1940}, year = {2012}, school = {University of Washington}, abstract = {Much information concerning the trajectory of the New Woman in American society can be gathered by studying paintings of theatrical scenes centered on female performers in New York City from the years of the Victorian era through the decade of the Great Depression. This dissertation concentrates primarily on the work of male artists whose canvases recorded not only the evolution of popular entertainment, but also revelatory transformations in the status of women in society during those years. This study begins with two of the leading proponents of American realism, Thomas Eakins and Robert Henri, and continues with four artists they influenced: Everett Shinn, Walt Kuhn, Reginald Marsh, and Edward Hopper. Their work also reflects their own reactions to America{\textquoteright}s changing cultural environment as gender barriers collapsed and women gained more power and determination over their own lives. These images of actresses, singers, and showgirls provide clues to the continuing momentum of women{\textquoteright}s accomplishments as they overcame the impediments of economic hardship and traditional chauvinistic values concerning women in general, and in particular, against women who seemingly debased themselves by performing onstage.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Enderle, Melanie} } @mastersthesis {11377, title = {Cartographic Communication: Latin American New Media Artists in New York, Juan Downey and Jaime Davidovich (1960s-1980s)}, year = {2012}, school = {IFA/NYU}, abstract = {This dissertation presents a model for interpreting the work of Juan Downey (Chilean, 1940-1993) and Jaime Davidovich (Argentine, b. 1944), two of the foremost Latin American artists working with experimental forms of television and video art during the 1970s and 1980s. They made their most significant contributions while living in downtown New York, a vital nexus point for video art and experimental television. While their approaches differ, this dissertation forwards a joint reading of Davidovich and Downey{\textquoteright}s art as forms of cartographic communications, a term that broadly links the dimensions of travel, inter-personal communication and forms of mass media which continually cycled through and informed their lives and work. Cartographic communications functioned conceptually and literally, through the construction of inter-personal networks as well as the incorporation of maps and geographical elements into their work. I argue that these aspects were featured most prominently in Downey{\textquoteright}s Video Trans Americas, an extended inter-American video travelogue series, and Davidovich{\textquoteright}s cable television initiative, the Artists Television Network. This study investigates the artists{\textquoteright} stages of development prior to and following these seminal projects. Considering their status as emigres, I argue that Downey and Davidovich{\textquoteright}s work was also productively charged by competing issues of community and alienation, intimacy and mediation. The etymology of the word "television" has a mixed Latin and Greek origin, meaning "far sight." In this regard, this dissertation considers specific dimensions of Downey and Davidovich{\textquoteright}s creative practice as forms of "perception at a distance" with regard to their witnessing of and creative reflections on political events and repressive conditions in their countries of origin. This study takes a transnational approach to their work and integrates analysis of relevant socio-political developments in Argentina, Chile and North America, particularly in connection to these countries{\textquoteright} relationships during the Cold War. It is hoped that this dissertation will enrich both the comprehension of the lives and work of Juan Downey and Jaime Davidovich, and increase the international panorama of new media art history, especially the historical developments of video art, cable television and alternative communicative networks.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Montross, Sarah} } @mastersthesis {11403, title = {Carved Elegance: Hans Thoman, German Renaissance Sculptor}, year = {2012}, school = {IFA/NYU}, abstract = {This dissertation explores the demands of tradition and reform in early sixteenth-century German sculpture as demonstrated in the work of Hans Thoman (fl. 1501-1525). Previously known as the Master of Ottobeuren, his distinctive manner of carving attracted many scholars, all intrigued by its individual approach with elegantly sweeping, curvilinear drapery patterns. Like many Renaissance German sculptors of his generation, he struggled to overcome major changes in religion, political strife, and social upheaval that threatened his life and career. I will examine the historiographic transformation of several anonymous masters (Meister mit Notnamen) into a named one, Hans Thoman and also reflect upon the scholarly tendency towards creating a "Master" artistic personality from the Medieval and Renaissance periods. By drawing from archival sources, and focusing on Thoman{\textquoteright}s years as a master sculptor for which I have made pivotal discoveries, I hope to offer greater insight into his public and private life. Thoman{\textquoteright}s social milieu will be discussed, including the artists, clergy, patrician families, and guild members in Memmingen, all among his most prominent patrons. Hans Thoman{\textquoteright}s interest in light and surface texture is reflected in his layered drapery, frequently described as parallel-folds. His trademark style held considerable influence among the limewood sculptors of southern Germany. Possible connections to the arts of the Italian Renaissance and the Danube School style are also explored. Close study of the surfaces of Thoman{\textquoteright}s sculptures, their polychromy, ornamentation, and monochromy (Holzsichtigkeit) reveals new insight onto contemporary trends and artistic impulses adopted by a new generation of German sculptors. Thoman{\textquoteright}s appropriation of a sixteenth-century Swabian print based upon an Italo-Byzantine model of the Hodegetria Madonna will be the focus of another chapter. The final section will be on iconoclasm and the impact of the Reformation and the Peasants{\textquoteright} War on the visual arts of Upper Swabia. With this study, I wish to bring into greater focus the life and oeuvre of Hans Thoman, whose individual approach made an indelible imprint upon the development of much sculpture among German-speaking lands of the early modern period.}, keywords = {Renaissance/Baroque Art}, author = {Hung, Karen} } @mastersthesis {11388, title = {Charles Negre in Pursuit of the Photographic}, year = {2012}, school = {Northwestern}, abstract = {This dissertation examines the problems of instantaneity and reproducibility as they were explored in the practice of photography in Second Empire France. These problems form the two critical, parallel interests explored in the work of Charles Negre (1820-1880). As an artist, photographer, and inventor, Negre approached these potentials by combining traditional creative methods with more modern automatic operations, first in exploring the photograph{\textquoteright}s effects of instantaneity or its virtual ability to represent an event at an imperceptible lapse in time, and second in developing the photomechanical print{\textquoteright}s reproducibility or its effective ability to produce identical multiple images from a single source. Specifically, Negre addressed the photograph{\textquoteright}s instantaneity in his relatively brief exposure photographs of highly orchestrated genre scenes (1850s), and its reproducibility in ink-based photogravures printed from retouched plates with a complex material and technical makeup (1850s-1860s). The pursuit of a photographic instantaneity and reproducibility formed the basis for Negre{\textquoteright}s experiments, successes, and failures, but I argue that nowhere in photography{\textquoteright}s history are the parameters of each problem simply determined by the state of the technology available at a given time. My analysis of Negre{\textquoteright}s posed instantaneous views and interpretive graphic reproductions challenge the prevailing narrative of the discovery of photography{\textquoteright}s essential operations by way of technological revolution and modernist formal experiment. Rather, Negre and other early photographers approached instantaneity and reproducibility as virtual signs of modernity that called for heterogeneous practices culled from the spheres of art, science, and industry. With this, the dissertation historicizes not only the photograph{\textquoteright}s presumed status as the ultimate visual encapsulation of the instant and the copy, but also the process of photography{\textquoteright}s conception as a modern technological medium separate from past modes of representation. I contend that in this first major phase of photography{\textquoteright}s industrialization, the medium resembled less a homogeneous whole than a constellation of diverse intermedial practices, many of which continued and proliferated in the modern and postmodern eras that followed.}, keywords = {Nineteenth-Century Art}, author = {Lewis, Jacob} } @mastersthesis {11414, title = {The Choreographic Imagination in Renaissance Art}, year = {2012}, school = {Columbia}, abstract = {This dissertation studies the complex relationship between Italian Renaissance art and dance. Interdisciplinary scholarship has hitherto focused on Renaissance dance treatises, which often exhibit parallels with contemporary writings on painting and sculpture. My research goes beyond the textual parallels to focus instead on the mechanisms of figuration in the visual arts, and on the corporeal sensibility of the Renaissance image. I examine the ways in which figural patterns, interactions, and gestures can be understood in terms of choreography. At issue is the nature of figural composition and of the figure itself, the characteristics of the dancing body and the role of that body within the corporeal imagination of the artist. The fundamental thesis is that the Renaissance artist can be considered a choreographer in his own right. Chapter One (From Solo to Chorus) provides a framework for thinking about the artist as choreographer by discussing at length Leon Battista Alberti{\textquoteright}s On Painting (1435/36). First, I show that Alberti{\textquoteright}s definition of figural composition is essentially choreographic, in that it concerns the formal organization of bodies that move with expressive purpose. Secondly, I analyze Alberti{\textquoteright}s emphasis upon the Calumny of Apelles and the Three Graces, themes from Antiquity that express an aesthetic held in tension between the poles of fury and grace. These poles ultimately take us one step beyond the alignment of composition and choreography: Alberti also breaches the strict limits imposed on the body by court dance practice. In doing so, he paves the way for artists who expand the world of dance pictorially. These two aspects of Alberti{\textquoteright}s book-the choreographic nature of figural composition and the role of dance in the figural imagination-establish the range of issues discussed in the next four chapters, which treat paintings, sculptures, prints, and drawings made between circa 1430 and 1520. Organized to progress from duo to chorus, they treat both explicit and implicit depictions of dance as well as bodies ranging from the graceful to the frenzied. Chapter Two (Duo) explores Annunciations by Donatello and Botticelli as dancing duos that pivot on the opposition between entry and reception, flourish and calm, male and female. The dance is just about to begin-impending duet signals imminent union. Focusing on Botticelli{\textquoteright}s depiction of the Three Graces in the Primavera, Chapter Three (Trio) considers representations of actual dancing, moments when artists such as Botticelli, Mantegna, and Leonardo da Vinci become choreographers in the most explicit sense of the term. Chapter Four (Chorus I) looks at Antonio Pollaiuolo{\textquoteright}s Dancing Nudes, a fresco that demonstrates the ability of the artistic imagination to choreograph dances far beyond the limits of reality. Chapter Five (Chorus II) extends the dissertation{\textquoteright}s reach into the sixteenth century with a discussion of Raphael{\textquoteright}s design for the Massacre of the Innocents engraved by Marcantonio Raimondi. Its graceful figures and their careful composition lead to an inevitable engagement with dance; the violence of the subject is transcended by a choreographic aesthetic. Raphael{\textquoteright}s art confirms this dissertation{\textquoteright}s argument for the artist as choreographer, a thesis that has the potential to broaden understanding of what lies at the very core of Renaissance art itself: the composition of human bodies in motion.}, keywords = {Renaissance/Baroque Art}, author = {Powell, Olivia} } @mastersthesis {11202, title = {Civic Improvement: Chautauqua and Progressive Era Aesthetic Reform}, year = {2012}, school = {Virginia}, abstract = {Progressive Era Reformers (the 1890s-1920s) shared a common ideology, seeking to foster positive societal change through the aesthetic manipulation of the decorative and built environment. The theme of Civic Improvement united the different aesthetic activities in which they engaged, just as their various projects drew on a wide range of styles. Despite the many facets of Civic Improvement - or perhaps because of them - most scholarship does not address the breadth of its manifestations, preferring to select one or several to explore. Architectural historians separate these efforts into discrete classifications, while classic political or economic historians at best make brief mention of aesthetic reform. An examination of the American League for Civic Improvement and its influence on the built environment of the Chautauqua Institution and the reformers{\textquoteright} year-round communities demonstrates, however, that the reform activities, although complex and sometimes contradictory, belong to a continuum. The turn-of-the-century grounds of Chautauqua, were conceived as a Model Summer City of Improvement and should be read as an example of varied but complementary styles coming together as an integrated whole to improve the quality of life. Chautauqua offers an ideal lens through which to view the aesthetic activities and attitudes of the Progressive Era for two reasons. First, the Chautauqua summer season was an important, highly visible venue for the dissemination of a relatively complete spectrum of reform ideals and issues; these in turn prepared the ground for the commissioning of a master plan to position Chautauqua as a "Model Summer City." The subsequent building campaign, with its array of styles, scales, and functions, was the built representation of these ideals. Second, Chautauqua{\textquoteright}s reformers were typically summer residents who were active during the majority of the year in their home communities throughout the country. The best approach to facilitating an exploration of the multiple aspects that comprise Civic Improvement is to examine their lives using the methodology of collective biography. This ancillary examination of the breadth of the year-round activities of some of these reformers provides a useful gauge of the many pursuits that should be viewed under the rubric of Civic Improvement.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Posner, Avrom} } @mastersthesis {11249, title = {Color Outside the Lines: Liminality and Creole Identity in Louisiana from the Colonial Era to Reconstruction}, year = {2012}, school = {Missouri}, abstract = {This dissertation scrutinizes the various attempts to remake the plantation during the Civil War, and through the Reconstruction period. I argue that while northern reformers saw the southern plantation as distinctively defective territory, and attempted bring it into alignment, white and black southerners, resisted this formulation. In the chapters that follow, I ask how the experience of the plantation in transition found its way into a range of material culture-paintings, photography, prints, architecture, decorative arts and the very landscape that Southerners and Northerners inhabited. Four case studies elucidate this thesis. Chapter One addresses Henry P. Moore{\textquoteright}s photographs of the Sea Islands, which highlight the perceived distinctiveness of the southern landscape, and begin the process of refiguring the plantation as a frontier of opportunity for northern audiences. Chapter Two explores the educational materials Northern reformers deployed to "civilize" the freedmen, and improve the southern plantation landscape. The freedmen{\textquoteright}s enactment of material respectability to define themselves against their enslaved past is the subject of Chapter Three. The planters{\textquoteright} adaptations to their reconfigured plantations are taken up in Chapter Four. Diverse constituencies, newly freed slaves, northern missionaries and elite white planters fashioned a home for themselves on the de-slaved plantation.}, keywords = {Art of the United States}, author = {Castenell, Wendy} } @mastersthesis {11410, title = {Comedy, Science, and the Reform of Description in Lombard Painting of the Late Renaissance: Arcimboldo, Vincenzo Campi, and Bartolomeo Passerotti}, year = {2012}, school = {Columbia}, abstract = {This dissertation investigates the appropriation of natural history and vernacular comedy into the descriptive secular paintings of three Lombard artists: Giuseppe Arcimboldo, Vincenzo Campi, and Bartolomeo Passerotti. Their paintings feature, on the one hand, highly veristic portraits of flora and fauna and, on the other, comic elements such as coarse subject matter, erotic puns, and parody-a combination that demands further consideration. Since "counterfeiting" nature or imitating it "exactly as it appears" was often evaluated as a dubious or ambivalent pictorial practice in the theoretical literature of the Renaissance (especially in the later Cinquecento), the incorporation of descriptive techniques, vocabularies, and values from critically legitimate sources-that is, from natural history, a burgeoning scientific discipline, and from vernacular comedy, an established literary genre-into a descriptive aesthetic was particularly advantageous for these three artists. Their shrewd use of science and comedy as providing the intellectual foundation for descriptive painting is interpreted, therefore, as part of an aesthetic "reform" of description and its critical reputation. Considering that all three artists were from the historic Lombard region-known for its veristic approach to pictorial representation-their rehabilitation of descriptive painting is also considered in relation to cultural debates in sixteenth-century Italy, the most prevalent being the defense of regional dialects and traditions against the hegemony of the Tuscan language and Tuscan-Roman tradition. Here, vernacular comedy provides the clearest inspiration since comic writers like Ruzzante (Angelo Beolco) and Pietro Aretino were explicit in their dismissal of literary Tuscan as the standard language for poetic expression. The reform of descriptive painting in Lombardy, therefore, is considered as polemical in nature. Chapter One establishes the foundation of the dissertation by examining the evaluation of description in Renaissance art theory from Alberti to Zuccaro. Chapter Two examines Arcimboldo{\textquoteright}s deep engagement with natural history during his employment for the Habsburg emperors. It considers how his "composite heads"-the result of a paradoxical combination of empirical "truth" and inventive artifice-manipulate techniques and values from natural history to meet the creative and inventive demands of art. The humor in Arcimboldo{\textquoteright}s composite heads is identified and considered in relation to the learned tradition of burlesque poetry. Chapter Three examines Vincenzo Campi{\textquoteright}s adoption of the descriptive language and themes from vernacular comedy, in particular the rustic farces of Ruzzante, into his secular paintings of peasants selling fruit, fish, and fowl. The second part of the chapter investigates how Campi{\textquoteright}s veristic depictions of "still-life" conform to certain conventions of natural history illustration and display: clarity, variety, and order. In Chapter Four, Passerotti{\textquoteright}s problematic secular paintings are interpreted through the lens of comedy as parodying classical or idealizing literary and pictorial traditions. Following this, the artist{\textquoteright}s descriptive portrayal of aquatic and ornithological specimens in his peasant market paintings is considered in relation to natural history illustration and the prodigious activities of the Bolognese naturalist Ulisse Aldrovandi. Passerotti{\textquoteright}s incorporation of natural history is considered alongside his study of anatomy; both form the scientific or intellectual foundation of his art. The dissertation concludes with a discussion of Caravaggio, the Lombard "realist" from the succeeding generation. The empirical and comic elements discernible in his early secular paintings reveal how deeply Arcimboldo, Campi, and Passerotti-the Cinquecento "reformers" of description-may have influenced his radical cultivation of descriptive painting in the next century.}, keywords = {Renaissance/Baroque Art}, author = {Moynihan, Kim-Ly} } @mastersthesis {11391, title = {The Commercialization of Palauan Storyboards}, year = {2012}, school = {University of Washington}, abstract = {Storyboards from the Republic of Palau emerged during the Japanese administration of the islands in the 1930s and is one of the most recognizable and notable forms of art from the Micronesian region, particularly as a form of commoditized or tourist art. A visual analysis of the storyboards within an historical framework identifies the art objects as conveyors of cultural information and establishes the objects as significant expressions of the historical, political, and economic climates in the Republic of Palau.}, keywords = {Oceanic/Australian Art}, author = {Yamashita, Velma} } @mastersthesis {11231, title = {Conceptualizing African American Art: The Market, Academic Discourse, and Public Reception}, year = {2012}, school = {UNC Chapel Hill}, abstract = {The concept of an {\textquoteright}African-American art market{\textquoteright} presents a new field of scholarly inquiry. However, objects labeled and fashioned as {\textquoteright}African-American art{\textquoteright} allude to a broader visual culture composed of objects, buyers, sellers and critics than previously acknowledged in scholarly literature. This dissertation will provide a nuanced picture of how an {\textquoteright}African-American art market{\textquoteright} has been conceptualized and how this understanding reflects a complex web of tensions and relationships between objects, consumers, sellers and even scholars and critics of the work. Since the current literature on the field of African-American art provides only scant attention to the consumption of African American art and virtually nothing about its place in the art market, this study will demonstrate how art historians could critically interpret African-American art in relation to market dynamics through an investigation of art related publications, oral interviews, public display venues.}, keywords = {Art of the United States, Critical Theory/Gender Studies/Visual Studies}, author = {Harris, Shawnya} } @mastersthesis {11367, title = {Confronting Modernity: Shirakaba and the Japanese Avant-Garde}, year = {2012}, school = {Pennsylvania}, abstract = {This dissertation examines how the avant-garde pursuit of individuality during early twentieth century Japan constituted a confrontation over state-sponsored modernism and how these confrontations played out among emerging technologies like print media. I analyze key moments in modern Japanese art and culture by focusing upon the careers of three Shirakaba Society artists-Takamura Kotaro; (1883-1956), Umehara Ryuzaburo; (1888-1986), and Kishida Ryusei (1891-1929)-and their struggle to form distinct identities not defined through a collective style or national ideology. Throughout the late nineteenth and early twentieth century, the Japanese government was keenly aware of the political, economic, and social potential of yoga or "Western-style oil painting" in creating a modern national identity. Using the medium of the art journal as their tool of intervention, the Japanese artists and writers affiliated with Shirakaba (White Birch, 1910-1923) reframed the debate on modern painting and sculpture by subverting government established styles and exhibition formats that reinforced the cultural and political objectives of Japan{\textquoteright}s nation building efforts. These activities opened a critical space that allowed Japanese artists to explore and complicate the established narratives of the emerging avant-garde: on a personal level, as a member of an artistic collective, and as a citizen of the Japanese nation. By using the art journal as a lens through which to critique scholarly paradigms that frame Japan{\textquoteright}s construction of a new modernity as merely derivative, I argue that Shirakaba{\textquoteright}s dialogue with modern styles in painting and sculpture revolutionized the production and exhibition of art in T okyo during the nineteen-teens and twenties. "Modernism," I propose, became a transnational language, style, and attitude, transformed for early twentieth century Japan.}, keywords = {Japanese/Korean Art}, author = {Kelley, Erin} } @mastersthesis {11212, title = {Constructing Communities: Tamil Merchant Temples in India and China (850-1281)}, year = {2012}, school = {Columbia}, abstract = {This dissertation studies premodern temple architecture, freestanding sculpted stones, and Tamil language inscriptions patronized by south Indian merchants in south India and China. Between the ninth and thirteenth centuries, Indian Ocean trade was at its apex, connecting populations on European and Asian continents through complex interlocking networks. Southern India{\textquoteright}s Tamil region, in particular, has been described as the fulcrum of the Indian Ocean circuit; however, knowledge of intra-Asian contact and exchange from this period has been derived mostly from Arabic and Chinese sources, which are abundant in comparison with the subcontinent{\textquoteright}s dearth of written history. My project redresses this lacuna by investigating the material culture of Tamil merchants, and aims to recover their history through visual evidence, authored by individuals who left few written traces of their voyages across the Indian Ocean. The arguments of my dissertation are based primarily on unpublished and unstudied monuments and inscriptions, weaving together threads from multiple disciplines-art history, literature, epigraphy, and social theory-and from across cultures, the interconnected region of the eastern Indian Ocean and the South China Seas, spanning the Sanskritic, Tamil, Malay, and Sinocentric realms. My dissertation challenges traditional narratives of Indian art history that have long attributed the majority of monumental architecture to royal patrons, focusing instead on the artistic production of cosmopolitan merchants who navigated both elite and non-elite realms of society. I argue that by constructing monuments throughout the Indian Ocean trade circuit, merchants with ties to southern India{\textquoteright}s Tamil region formulated a coherent group identity in the absence of a central authority. Similar impulses also are visible in merchants{\textquoteright} literary production, illustrated through several newly translated panegyric texts, which preface mercantile donations appearing on temple walls in the modern states of Tamil Nadu, Karnataka, and Andhra Pradesh. Moreover, my work analyzes the complex processes of translation visible in literary and material culture commissioned by merchants, resulting from inter-regional and intercultural encounters among artisans, patrons, and local communities. Rather than identifying a monolithic source for merchants{\textquoteright} artistic innovations, in each chapter I demonstrate the multiple ways in which merchants employed visual codes from different social realms (courtly, mercantile, and agrarian) to create their built environments. In Chapter Four, I provide a detailed reconstruction and historical chronology of a late thirteenth century temple in Quanzhou, coastal Fujian Province, southeastern China, which both echoes and transforms architectural forms of contemporaneous temples in India{\textquoteright}s Tamil region. Piecing together over 300 carvings discovered in the region in light of archaeological and art historical evidence, I develop a chronology of the temple{\textquoteright}s history, and propose that Ming forces destroyed the temple scarcely a century after its creation. In Chapter Three, I interpret stone temples patronized by the largest south Indian merchant association, the Ainnurruvar, as being integral to their self-fashioning in India and abroad. While the temples do not project a merchant identity per se, I show that they employ an artistic vocabulary deeply entrenched in the visual language of the Tamil region. Chapter Two looks at other forms through which merchants created a shared mercantile culture, including literary expressions and freestanding sculptural stones. These texts demonstrate that merchants engaged in both elite and non-elite artistic production. Chapter One analyzes the distribution, content, and context of Tamil merchant sponsored inscriptions within the Indian Ocean circuit, focusing on the modern regions of Tamil Nadu, Karnataka, Kerala, and Andhra Pradesh. An appendix offers new translations of important Tamil language mercantile inscriptions discovered throughout south India.}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Lee, Risha} } @mastersthesis {11387, title = {Constructing Greek Genre Painting, Visualizing National Identity, 1850-1900}, year = {2012}, school = {CUNY}, abstract = {No record in ProQuest or CUNY ETDs}, keywords = {Nineteenth-Century Art}, author = {Karras, Olga Zaferatos} } @mastersthesis {11240, title = {Contemporary Manhattan Cartographies: Ephemeral Public Art Projects in New York in the 1990s and 2000s}, year = {2012}, school = {Stony Brook}, abstract = {This dissertation considers the emergence of a cartographic public practice in both contemporary art and contemporary cities, attending to the ways in which ephemeral public projects create map-like objects that diverge from official urban projections. Rather than marking a single location, such projects structure networked connections between several sites, transforming undifferentiated urban spaces into legible urban places. Evaluation of this recent cartographic turn entails the triple consideration of placemaking, placemakers, and placemarkers as constructing spatialized identities for different neighborhoods and setting forth wayfinding strategies within these same neighborhoods. Focusing on Manhattan, the dissertation surveys how the borough has served as a source of raw materials from which artists and art institutions constructed new urban models, both against and alongside recent urban redevelopment policies. Three chapter-length case studies constitute this investigation: the public installation, guided tours, and staged Opening Ceremony of REPOhistory{\textquoteright}s Lower Manhattan Sign Project (1992-1993); the circulating printed image repertoire of the Studio Museum in Harlem{\textquoteright}s Harlem Postcards (2002-present); and the New Museum{\textquoteright}s Counter Culture (2004), GET LOST: Artists Map Downtown New York (2007), and new building (2004-2007). By embracing the dual roles of urban archivists preserving marginalized forms of urban visual culture and public artists creating new site-specific and site-responsive projects, each artist collective or organization adopts the mantel of mapmaker. While generating new guides to the city, these mapmakers assert their own presence on the urban landscape as well. In each case, what results is a "processual" map that is responsive to shifting material forms and social dynamics.}, keywords = {Art of the United States, Performance Studies}, author = {Wasserman, Andrew} } @mastersthesis {11271, title = {Contested Collectivities: Europe Reimagined by Contemporary Artists}, year = {2012}, school = {Pittsburgh}, abstract = {This dissertation studies a particular current of contemporary art, which is devoted to exploring positive models for an intercultural imaginary in Europe. In recent times, there has been much contestation over a European identity following decolonization, mass immigration, globalization, and the breaking down of political boundaries on the continent. Numerous artists are scrutinizing a symbolic-visual realm increasingly shaped by stereotypes, misinformation, and distortions concerning "foreigners" and immigrants. This dissertation examines the work of three artists and art groups-the filmmaker and video installation artist Harun Farocki, the public installation artist Thomas Hirschhorn, and the transnational art collective, "Henry VIII{\textquoteright}s Wives." Each explores various forms, such as film, television, the Internet, radio, and so on, in order to probe how the media shapes public opinion and group identification. Through these three cases, the dissertation charts a changing narrative of "Europeanness" from hopes for a federation after the racial genocide of World War II through critiques of nationalism after decolonization, the "failure" of multiculturalism since the 1990s, and intensified Roma discrimination, Islamophobia, and right-wing extremism in the twenty-first century. At stake is a broader question of how strangers may relate to one another in an increasingly proximate world. Within the field of contemporary art history, scholars have focused recently on issues of collective spectatorship and participation, or how multiple viewers around an artwork may connect with one another and not just an object. Since the 1990{\textquoteright}s, there has emerged a robust line of inquiry directed at socially-oriented art practices, variously studied as "community" art, "relational" art, "dialogical" art, and so on. While this scholarship has opened up a rich discourse about different aspects of socially-engaged practices, there has not been a study of artists who focus on the specific dilemmas of constructing a present-day "European community." The European Union itself, for example, which touts a slogan of being "United in Diversity," is an exemplary model to rethink questions of cross-cultural exchange and hopes for inter-relating a mass body of strangers. This dissertation investigates contemporary artists in Europe who are staking aesthetic questions of collective engagement in vivid socio- and geopolitical terms.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Cohen, Brianne} } @mastersthesis {11326, title = {The Context and Reception History of the Illuminations in Nicholas of Lyra{\textquoteright}s "Postilla litteralis super totam bibliam": Fifteenth-Century Case Studies}, year = {2012}, school = {Pittsburgh}, abstract = {This dissertation traces the reception history of the Latin biblical commentary, the Postilla litteralis super totam bibliam (c.1333), originally written and illustrated by Nicholas of Lyra (1270-1349) in Paris. The Postilla was one of the most frequently copied texts during the later Middle Ages and Renaissance in Western and Central Europe, as evidenced by the approximately seven hundred extant manuscripts. The Postilla{\textquoteright}s astounding popularity is often attributed to its thorough treatment of a fundamental issue in Christian thought: how to validate the authority and utility of Jewish exegetical traditions while asserting the truth of Christianity. Lyra compared Jewish and Christian biblical commentaries more comprehensively than any other previous Christian commentator and was the only scholar who designed diagrams to augment these comparisons. These comparative illustrations depicted Old Testament temple structures and their ritual objects. My study of this manuscript tradition reveals that Lyra{\textquoteright}s original images were dramatically altered in fifteenth-century copies, indicating that the reasons for the Postilla{\textquoteright}s vast transmission had changed. My dissertation begins with an analysis of several early fourteenth-century French Postilla manuscripts to demonstrate how that they were prepared for scholarly audiences. I then present in-depth case studies of three fifteenth-century Postilla manuscripts that display startling ruptures in the Postilla tradition. I have chosen three luxurious copies produced and owned in Italy, Portugal, France and the Burgundian Netherlands. I utilize these particular manuscripts to document that fifteenth-century Postilla manuscript imagery camouflaged, obscured or even erased Nicholas of Lyra{\textquoteright}s study of Jewish exegesis as well as his presentation of the differences between Jewish and Christian exegesis; the appearance of deviations in imagery is complicated by the fact that the text sometimes replicated Lyra{\textquoteright}s original scholarly format whereas the picture diverged from the original. These case studies demonstrate that Postilla manuscripts were valued not only for their intellectual content, but also as status symbols, emblems of political power, luxury items, aesthetic objects and signifiers of piety. I also reveal how the text and imagery of Postilla manuscripts advances our knowledge regarding changes in Christian usage of Jewish biblical scholarship in the late middle ages.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Bromberg, Sarah} } @mastersthesis {11420, title = {Correggio and the Sacred Image}, year = {2012}, school = {Columbia}, abstract = {This study takes as its starting point the artist{\textquoteright}s elusive pictorial surfaces in order to address changing notions of interiority in early sixteenth-century Italy. Correggio{\textquoteright}s innovative treatment of these surfaces-what is referred to in the critical tradition in terms of softness, melting, and erasure-enacts the desire to grasp a divinity at once human and ineffable. As such, it evokes the lyrical self-expression of the language of the Italian reform movements. A varied collection of voices, these currents of religious reform share an emphasis on achieving the ecstatic effects of authentic devotional feeling. The articulation of intense longing characteristic of this discourse coincides with similar modes of expression woven into the criticism around Correggio{\textquoteright}s painting. The language of Italian reform in this way offers a conceptual frame for understanding the resonance of the artist{\textquoteright}s distinct pictorial touch. At the same time, Correggio{\textquoteright}s melting surfaces represent an ideal metaphor for a mode of engagement that can be said to define what might otherwise be characterized only as a loosely connected series of devotional declarations. By tracing the parallels between artistic and spiritual practices, I offer new insights into facets of Italian Renaissance culture that have remained to a large extent unexplored.}, keywords = {Renaissance/Baroque Art}, author = {Switzer, Sara} } @mastersthesis {11334, title = {Cross and Book: Late-Carolingian Breton Gospel Illumination and the Instrumental Cross}, year = {2012}, school = {Harvard}, abstract = {Crosses made in metal, paint, or stone stand at a singular intersection of past, present and future in the early medieval period. The historical cross of Golgotha is the source of such manufactured crosses{\textquoteright} form and power. Most also represent the theology of the Cross, describing the soteriology of the crucifixion and anticipating its consummation at the end of time. As manufactured crosses recount the past and look forward to the eschaton, they concurrently function themselves in the age of the Church, offering specific, contemporary points of access to all the larger cross-sign represents. In its multivalent identity, the cross{\textquoteright} status as the Church{\textquoteright}s central sign reflects the Church{\textquoteright}s own temporal position, simultaneously commemorating sacred history, functioning in the present day, and preparing for the Second Coming. Although rarely recognized, the Church-time form of the cross-which I term the "instrumental" cross-is often a discernable component of early medieval cross-objects and images. I argue that we can recognize the instrumental cross among the commemorative and proleptic aspects of the sign because a formal and conceptual language developed to articulate it. In its instrumental form, the cross becomes the sign of the Church in its role as mediator between Christians, Christ and the eschaton, affirming the indispensable place of man-made artwork in that project. The instrumental cross, in turn, signals the instrumentality of the many artworks into which it is incorporated. It plays a particularly important role in manuscripts. In the first half of the dissertation I define a class of visual strategies that communicate the instrumental identity of the cross. I treat works in many media in Chapter 1 and focus on manuscripts in Chapters 2-3. The second half of the dissertation concentrates upon the case studies presented by four complex, hitherto neglected gospel codices from ninth-tenth century western France. In each, the deep relationship proposed between Church-time cross and gospel book drives a pictorial program that is crafted to define a specific codex as an manufactured instrument, made to integrate its community with the larger project of the Church for which the cross-sign stands.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Kitzinger, Beatrice} } @mastersthesis {11349, title = {The Cults of Syrian-Phoenician Gods in Rome: Archaeology, Topography, and Connections to the Roman East}, year = {2012}, school = {IFA/NYU}, abstract = {This dissertation provides an in-depth analysis of the evidence for the cults of Syrian-Phoenician gods in Rome, and contributes to an understanding of their significance as "alternative" religions within the urban culture of the city during the imperial period. The introduction includes descriptions of the gods and a review of the historical-religious issues and previous scholarship as part of an intellectual history sparked initially by Franz Cumont{\textquoteright}s category "Oriental religions." Jupiter Dolichenus{\textquoteright} role as an "elective" cult that appealed to diverse civilians as well as members of the military contrasts with the "diaspora" cult sites of other gods that reflect the importance of ancestral gods among communities linked to their cities/region of origin. The three main chapters demonstrate that Syrian-Phoenician gods played a substantial role in the religious life of imperial Rome, brings Jupiter Dolichenus to the forefront as well as Jupiter Heliopolitanus and other Phoenician gods, Bel and the Palmyrene gods, Dea Syria, Elagabalus and several others, and offers new analyses and interpretations of their sanctuaries, shrines, dedications and related material evidence. Chapter Two evaluates the evidence for the sanctuary of Jupiter Dolichenus on the Aventine, reinterprets the cult site based on architectural and epigraphic evidence, and highlights the roles of equites Romani and cult members and officials without apparent links to Syria. Chapter Three argues that rather than one or two sanctuaries on the Caelian and Esquiline as typically suggested, the extant evidence indicates that three separate cult sites probably existed, and were used and administered by civilians as well as by soldiers/sailors affiliated respectively with the castra priora equitum singularium, the statio of the second cohort of vigiles on the Esquiline, and most likely also at/near the castra praetoria. Chapter Four evaluates the evidence for the temple of Bel and Palmyrene gods and the sanctuary of Jupiter Heliopolitanus and Phoenician gods, as well as the cult sites of Jupiter Dolichenus in Regio XIV, and concurs with proposals for the locations of Dea Syria{\textquoteright}s sanctuaries in Regio III and at the slave market (venalicium) and the suburban Elagabalum at the Sessorium palace, rather than in Regio XIV.}, keywords = {Greek/Roman Art}, author = {Fowlkes, Isabel Blair} } @mastersthesis {11369, title = {The Cultural Poetics of Inka Architecture}, year = {2012}, school = {CUNY}, abstract = {This dissertation investigates the shaping of highland Andean culture through spatial practice-the phrase that theorist Henri Lefebvre used to describe how a society produces, reproduces, and extends its own idea of space for its own ends. The inquiry focuses on four select paradigms of spatial practice: defining the cultural poetics of spatial practice as a structural and semiotic methodology; analyzing pre-Columbian Inka (Inca; ca. 13th-16th c.) architectonic (sculptural) stone forms; interpreting spatial paradigms in the seventeenth-century manuscript of Peruvian chronicler Felipe Guaman Poma de Ayala; and re-defining the "active surface" of contemporary Cuzco (Cusco), Peru, the ancient capital of the Inka. By centralizing spatial practice in successive temporal thresholds and various material mediums, this project creates an interpretive model for diachronic cultural analysis as a social, historical, and representational concern. After establishing that Inka spatial practice is rooted in a concept of replicating and transforming centers, the dissertation examines aspects of centeredness in Guaman Poma{\textquoteright}s manuscript, El primer nueva coronica y buen gobierno (ca. 1615) (The First New Chronicle and Good Government). The 398 line drawings of this key document codify colonial spatial practice as a socio-cultural mechanism of change, resistance, and imagination for its singular author-artist. Analysis of its thirty-eight city images underscores the role of architecture and urbanism in the flux of contestation, resistance, and subversive transformation. By concluding with a survey of the active surface of today{\textquoteright}s Cuzco, identified by its veneering, performances, processions, and virtually constructed ideas of Inkaness, I argue that the reproduction of contemporary spatial practice is both a formal reflection and a critical aberration of historically established centering principles. As such, Cuzco is a distinct heterotopia, to borrow the language of Michel Foucault, meaning liminal, interstitial, simultaneously mythic and real, a web of relations manipulating manifestations of past, present, and future. The consequence, then, is that there is now no mythology of originality in the Inka heartland, and only the originality of mythology remains. This means that the cultural identity invested in the center-based spatial practice is now re-invested in a surface veneer, relegated there as a contingent, reconstructed, fantastical idea of Inkaness.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {George, Jeremy} } @mastersthesis {11364, title = {Dacians and Romans: Areas of Operation and Influence}, year = {2012}, school = {Virginia}, abstract = {In AD 106, immediately following the Roman success in the Dacian Wars, several strongholds were established in the new province which is roughly the area of modern Transylvania. Most notable of these are Ulpia Traiana (Sarmizegethusa), Apulum, Napoca and Porolissum. While there are certainly others, these four are evenly spaced locations on a major road extending from the center of Roman Dacia to the northwestern limes. Porolissum is the terminus of this road and its structures are integrated with the border defense system. However, although the Roman road may end at Porolissum, the route itself continues well into the Barbaricum. This dissertation extends the study of Roman Dacia beyond its borders. I examine the systems of interconnection in a region that straddles the Roman border in an effort to determine the nature and range of communication and the patterns thereof as well as determining the level of porosity of the limes in northwestern Dacia. By establishing a model of viable connectivity in the region of Porolissum, more specific conclusions can be made concerning the external settlements that interacted with the Romans. In the absence of written accounts and epigraphy, a topographical examination, combined with the material record, is the best way to determine the nature of provincial response to the Roman occupation. The material record tells us what was exchanged between the two entities, but the topographical model provides a more refined idea concerning the origins and quantities of goods and how the Romans and the provincials interacted on a quotidian, rather than general, level. The Roman fort at Porolissum is indicative of a continuing debate in Roman Frontier Studies. In the wider scope of the field, the military functions of the borders cannot be forsaken for the economic, nor vice-versa. Likewise, all aspects of Porolissum{\textquoteright}s interaction with the immediate region as well as the empire as a whole must be examined in tandem. While the site was certainly a terminus of the imperial road at the limits of the empire, those limits were not as concretely defined as previously thought and this dissertation examines the details of that flexibility.}, keywords = {Greek/Roman Art}, author = {Weiss, Daniel Steven} } @mastersthesis {11305, title = {Delight in Sachlichkeit: Richard Riemerschmid and the Thingliness of Things}, year = {2012}, school = {Yale}, abstract = {"Delight in Sachlichkeit: Richard Riemerschmid and the Thingliness of Things" examines the formative contribution of Munich artist Richard Riemerschmid (1868-1957) to the development of modern design in Wilhelmine Germany. The project considers Riemerschmid{\textquoteright}s paintings and graphic designs; his interior architecture; his designs for women{\textquoteright}s dresses; his immensely popular furniture; and his designs for serially producible ceramics. Close material and cultural analyses of these objects and environments reveal that they did not simply reflect, but actively informed landmark debates about the aesthetics and ethics of German design and culture between 1895 and 1915. Cultural reformers understood Riemerschmid{\textquoteright}s household objects as active agents for social change, selecting and employing them as material models on which to craft their arguments. Uniquely evocative responses to Riemerschmid{\textquoteright}s work by colleagues and critics generated what might be called a "material culture of words": an intellectual discourse of everyday things remarkable in its significance for the development of cultural politics and unparalleled in its imaginative, metaphorical implications for the objects themselves. The first major work on Riemerschmid in English, my project eschews the boundaries of specialized debates in prior German scholarship, opening Riemerschmid{\textquoteright}s contribution to the modern period to historians of art, design, and culture, alike. As its title suggests, it argues for an expansive, yet intuitive understanding of Riemerschmid{\textquoteright}s designs. Previous scholarship has classed Riemerschmid{\textquoteright}s objects in two distinct stylistic modes: first as manifestations of Jugendstil, and second as precocious pioneers of a reductive, functionalist aesthetic typically associated with the 1920s Bauhaus. My investigation abandons the limitations of both categories and shows instead how the complexities and contradictions of Riemerschmid{\textquoteright}s practice - employing historicist and vernacular elements in conjunction with canonically modernist design principles - embody the contradictions and complexities of modernism itself. Rather than anticipating the Bauhaus, Riemerschmid{\textquoteright}s designs force its reconception by presenting a modernism of design richer, more inclusive, and more conflicted than heroic narratives of modern things and thoughts have generally been willing to admit. While bringing Riemerschmid{\textquoteright}s seminal, yet under-investigated work to the attention of a more expansive scholarly community, I reveal significant and previously unexamined implications of the pivotal modernist concept of Sachlichkeit. Taking a closer look at the material character of Riemerschmid{\textquoteright}s objects and at their intersection with culturally specific concepts of design and architecture, such as Sachlichkeit, I explore a core current of playful exuberance in Riemerschmid{\textquoteright}s designs that not only animates his objects but inflects visual and material modernisms with fresh meanings, thus infusing them with new life. At the heart of this rejuvenated reading of modern design is my literal interpretation of Sachlichkeit as "thingliness": the vital essence, character - or personality - of specific material things.}, keywords = {Decorative Arts/Textiles/Design History, Twentieth-Century Art}, author = {Hartzell, Freyja} } @mastersthesis {11225, title = {Designing the Urban: Space and Politics in Lindsay{\textquoteright}s New York}, year = {2012}, school = {Harvard}, abstract = {This dissertation investigates the politics of urbanism in New York City during the mayoral administration of John V. Lindsay (1966-1973). Historians see the end of a coherent urban vision with the downfall of urban renewal, and architectural historians have focused on speculative and utopian proposals, yet this period of turmoil was an extremely fertile one for the practice of urban design. In a critical moment of transition, with the acceleration of economic and demographic change and new demands for inclusion in the social and political life of the city by minorities, designers assumed the role of mediators between individuals and the urban environment and attempted to stabilize a shifting public realm, creating new grounds for citizenship. In their attempt to answer the crucial question of "what people really wanted" by recognizing individual subjectivity and responding to demands for civil rights, architects, landscape architects, and city administrators took two new approaches to the politics of urban design. The application of psychological concepts and experimentation in processes of democratic participation critically informed the planning, design, and evaluation of new open spaces intended to promote both inclusive democracy and individual freedom. I examine the expansion of the public realm through five case studies in open space design: a new plaza for a public housing project on the Lower East Side, a series of "vest pocket" parks, a neighborhood renewal plan in the Bronx, a regional park atop a wastewater treatment plant in Harlem, and the pedestrianization of Madison Avenue. Close attention to both design discourse and the processes of implementation in each project reveals these experiments to constitute an important lesson in the contingency of urban design. Ultimately, the dissertation traces a critical period of transition in attitudes towards the public realm, and demonstrates how the attempt to include a heterogeneous public in the production of urban space, however unintentionally, led to the fragmented and private spaces that characterize the city today.}, keywords = {Architectural History/Historic Preservation}, author = {Mogilevich, Mariana} } @mastersthesis {11421, title = {Die Kleine, die Feine, die Reine, die Eine{\textquoteright}: The Small, the Fine, the Pure, the Rare: The Sculpture of Leonhard Kern (1588-1662)}, year = {2012}, school = {Pennsylvania}, abstract = {The German miniaturist Leonhard Kern (1588-1662) provides an exceptional opportunity to bridge several concurrent histories of Baroque sculpture often studied in isolation from one another. Although Kern worked during a period long considered one of artistic decline-the German Baroque-he engaged a number of critical changes in the status and reception of sculpture. By working primarily in miniature and in exotic ivory, Kern participated in the collecting culture of the Wunderkammer, or curiosity cabinet, a relatively new venue for amassing and viewing sculpture. While such a specialization seems modern, Kern also employed a number of archaic stylistic modes, including the late Gothic and Italian Mannerism, a practice that seems to undermine traditional conceptions of style as a marker of artistic selfhood. Roughly half of Kern{\textquoteright}s oeuvre is religious; despite working in a post- Reformation and post-Counter-Reformation Europe torn apart by religious turmoil during the Thirty Years War, Kern found a broad audience for this work among patrons of diverse faiths. The other half of Kern{\textquoteright}s oeuvre is typically regarded as allegorical, and yet agreement on what many of these figures signify has eluded modern scholars. In The Origin of German Tragic Drama, Walter Benjamin suggested that inherent in allegorical representation during the German Baroque was an irreconcilability between signifier and signified. The present discussion of Kern{\textquoteright}s allegory examines whether such a rift is indeed characteristic of Kern{\textquoteright}s secular figures. By approaching Kern thematically, this dissertation locates the artist securely among concurrent trends and contexts of sculpture production and patronage.}, keywords = {Renaissance/Baroque Art}, author = {Tokumitsu, Miya} } @mastersthesis {11267, title = {Dimensions of Place: Map, Itinerary, and Trace in Images of Nanjing}, year = {2012}, school = {Chicago}, abstract = {This dissertation explores the meanings and uses of visual representations of Nanjing by asking of three groups of images how they construe this city as place. In the first instance, this involves rethinking disciplinary assumptions about the organization of the field of image-making in China, and secondly, it requires a critical reassessment of theorizations of place-representation in contemporary discourse. As nine-time imperial capital, Nanjing figures in Chinese history as a site of highly contested identities, and its rich archive of visual and textual sources affords a long-term perspective on changing representations of the city. I analyze woodblock-printed, painted and photographic images to unpack the dynamic appropriation of this city by different agents over time, and parse the various visual strategies they bring into play. By insisting on a cross-historical analysis of such visual strategies in their relation to literary and geohistorical practices, this study invites a reassessment of theoretical models applied to place-representation in pre- and non-modern cultures. Ineluctably grounded in its primary, morally ambiguous identity as capital of the Six Dynasties, the ongoing engagement of image-making of the city with Nanjing{\textquoteright}s paradigmatic identity as city of past traces places the cultural notion of guji, or {\textquoteright}footprint, trace of the past{\textquoteright} front and center in my analysis. Etymologically grounded in indexical reference to past times, this notion has remained elusive as a subject of present-day explication and theorization, though it is widely known to be prevalent in geocultural and literary representation since at least the 8th century. To reflect critically on related conceptualizations of place-representation from the perspective of a past, non-modern sphere of cultural production, I have organized my inquiry in a two-step discussion. In the first part, I trace the contours of {\textquoteright}place{\textquoteright} as subject of visual representation, first broadly within the Chinese cultural context, and then with regard to Nanjing in particular. I do so by inspecting Chinese aesthetic and geotextual records for emic constructions of place as subject and field of representation, and proceed from there to reflect critically on the development of scholarship on literary and visual representations of Nanjing. Two intermittent excursuses introduce theorizations of grounding concepts into the discussion as it unfolds. Anticipating central themes in the case-studies that form the latter part of the dissertation, I examine in the first part both the applicability of contemporary spatial theory{\textquoteright}s conceptualizations of place to the Chinese case, and the influence of Western memory discourse on theorizations of the {\textquoteright}trace of the past{\textquoteright}. The chapters of the second part show how two prototypical modes of visual representations of place that contemporary theorists associate with modern and pre-modern spatial articulation in fact do not retain stable positions of difference or opposition, but instead intersect at different moments to form various {\textquoteright}hybrid{\textquoteright} visual articulations of Nanjing as a temporally and spatially coherent place. These three chapters trace the emergence of new visual forms in response to axial events in the formation of Nanjing{\textquoteright}s identity as place. Together, they allow observing continuities and discontinuities in constructions of the city across varying modes and media of visual representation. The first chapter centers on the emergence of mapped representations of the city that retrospectively construe Nanjing{\textquoteright}s past identity as capital of the Six Dynasties. The second addresses the emergence of serial landscape representations of Nanjing in response to the establishment of Nanjing as capital of the new Ming dynasty. The third chapter looks at representations that emerge following the moment when transmitted practices of image-making, in map and landscape form, are declared epistemologically defunct in the city{\textquoteright}s official history compiled in 1811. While each of these {\textquoteright}moments{\textquoteright} follows a series of responses that are directly or indirectly tied to that initial event, the distinction between them remains artificial. Just as the city{\textquoteright}s Six Dynasties{\textquoteright} identity remains fundamental throughout Nanjing{\textquoteright}s history, the essential retrospective vision inherent to its image-making ensures continued inter-reference between such moments as distinguished here. The question how the grounding of the city{\textquoteright}s memory marked by its traces relates to the essential accumulative nature of the geocultural institution of guji becomes crucial to understanding how these images operate in the articulation of identity in place. The narrative of the second part of the dissertation maps out a historical trajectory by which place-representation of this city is increasingly appropriated in the articulation of personal identity. In the coda to these case-studies, I follow 19th-century representations with a photographic project undertaken a century later during the Republican era, to reflect on my findings by raising the question whether and how the confrontation with colonial and modern contexts repositions the status of such traces of the past as medium of place-representation.}, keywords = {Chinese Art}, author = {Stuer, Catherine} } @mastersthesis {11385, title = {Diplomatic Aesthetics: Globalization and Contemporary Native American Art}, year = {2012}, school = {Columbia}, abstract = {This dissertation examines contemporary Native American art after postmodernism. It argues that this art can best be understood as an agent within the global indigenous rights movement. Employing an object-based methodology, it shows that three particularly important works by the artists Jimmie Durham, James Luna, and Alan Michelson recover histories and strategies of Native cultural diplomacy as a means of challenging cultural erasure and political domination. I suggest this can be understood as a Native rights version of what Hal Foster calls the "archival impulse" in contemporary art after postmodernism. Diplomatic in effect, this Native art engages international viewers in an argument about justice, challenging a largely non-native audience to recognize the ethical legitimacy of Native empowerment and the contemporary relevance of indigenous political and cultural models. These models, which I put in dialogue with the indigenist philosophy of Taiaiake Alfred, the recent writings of art critics like Foster, and interviews with each of the artists, are presented as alternative models for all peoples. Against what Alfred calls the "culture war" of contemporary globalization-which aims to extinguish indigenous cultural frameworks once and for all-this art establishes a "regime of respect" among peoples with different visions for their respective futures. In so doing, it asserts balance and solidarity against the explosion of inequity within both the contemporary art world and the neoimperial lifeworlds of globalization. I organize my research into four chapters. The first chapter unpacks the uncertain place of Native art within postmodern and globalization discourse developed largely without reference to indigenous rights. It proposes an alternative framework of indigenist "diplomatic aesthetics" for understanding the way contemporary Native art globalizes indigenous ideals of international relations. The subsequent chapters examine three twenty-first century artworks, each of which recovers a diplomatic model and cultural framework specific from the history of the artist{\textquoteright}s tribe. These are cases studies of diplomatic aesthetics. My close analysis of specific art works, their multiple historical and cultural imbrications, and their global context and agency is meant to counter the limited engagement with specific art works in existing context-driven scholarship. It also counters the postmodern framing of Native art, which problematically emphasizes "identity" and "representation" over the politics of sovereignty, indigenous intellectual paradigms, or the global agency of Native art and ideas.}, keywords = {Native American}, author = {Watson, Mark} } @mastersthesis {11294, title = {Disordering the Establishment: Art, Display, and Participation in France, 1958-1981}, year = {2012}, school = {Northwestern}, abstract = {This dissertation investigates strategies by which artists adopted participation as a form of institutional contestation through democratic popular engagement. Participation opposed the technocratic efficiency that characterized the early years of the Fifth Republic and the sociological methods that fueled it by appropriating and transforming their techniques so as to undermine apparently straight-forward communication and the authority that it bolsters. Their spatially decentralized displays critiqued art institutions at the same time that they relativized the position of artist and viewer by situating their individual comprehensions within the larger community to which they were shown to belong. The first chapter examines the continuity between the optical and kinetic works of the Groupe de Recherche d{\textquoteright}Art Visuel and the marketing-style questionnaires that they distributed to participants. Both destabilized perception, sensorially and discursively, to make the viewer aware that the work forms in the "space" of experience and interpretation. The second chapter compares the in situ striped canvases of Daniel Buren and the spatial displacements of Andre Cadere{\textquoteright}s round bars of wood, which engaged the viewer through formal abstraction and dialogue-based display practices. I show how they negotiated participation with institutional critique by alternatively favoring anonymity and celebrity, thereby risking redefinition of participation as the consumption of ornamental decoration. Identity and anonymity are the focal points of chapter three, which examines Didier Bay{\textquoteright}s photograph and text-based "sociological" study, Mon quartier vu de ma fenetre. While Bay sought to reveal the private lives of the neighbors that he surveyed through the windows of their private residences, he ultimately insists that one can only know oneself, yet only through contemplation of the other. Finally, chapter four argues that the Collectif d{\textquoteright}Art Sociologique{\textquoteright}s appropriations of mass media and sociological methodologies failed to have a transformational effect on the communities that they animated as they ignored the importance of aesthetic persuasion thereby fulfilling sociological expectation.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Woodruff, Lily} } @mastersthesis {11393, title = {Dramatic Renditions: Battle Murals and the Struggle for Elite Legitimacy in Epiclassic Mesoamerica}, year = {2012}, school = {Columbia}, abstract = {Martial and bellicose imagery, as it commonly occurred in Mesoamerican monumental art, was almost universally reductive and allusive. It can be divided into a few major categories that are notable for their stability over two millennia and across the distinct, yet interrelated cultures of the region: emblematic motifs, solitary or processional warrior figures, individual debased captive figures, and captor-captive pairs. Depictions of actual battles, however, were notably rare. The handful of surviving examples - murals from the sites of Bonampak, Cacaxtla, Chichen Itza, and Mulchic - are among the masterpieces of Precolumbian painting. The unprecedented dramatic complexity and heightened narrativity of these battle scenes - qualities produced by the presence of pictorial elements including action, specificity, variation, integration, and naturalism - contribute to a marked difference in their implicit content compared with other, more iconic artworks referencing warfare and militarism. Although these paintings are found at geographically distant sites and are stylistically unrelated, their approximate contemporaneity suggests that the brief, unprecedented appearance of battle murals in Mesoamerica was directly related to the widespread socio-political upheavals associated with the decline of Teotihuacan and the Classic Maya collapse during the Epiclassic period (c. 650 - 1050 A.D.), the time at which they were created. Their direct showcasing of feats of bravery and military prowess - both those of the rulers themselves and of their numerous allies and supporters - indicates a significant shift in the way legitimized authority was conceived during this period. Additionally, the radically different conception of temporality underlying these images points to an erosion in the unique status claimed by rulers with regard to the marking, and perhaps even the production of time. The fact that such violent tableaus were no longer produced during the documentedly militaristic Postclassic period reaffirms that, rather than directly reflecting social realities, monumental art projects a constructed image of legitimized authority. Nevertheless, an analysis of the functional characteristics of these artworks and the reconstruction of their implicit messages provide evidence with regard to the bases upon which rulership was conceived to be established during the Epiclassic.}, keywords = {Pre-Columbian Art}, author = {Finegold, Andrew} } @mastersthesis {11210, title = {Drawing as a Way of Knowing: Architectural Survey in the Late Renaissance}, year = {2012}, school = {Columbia}, abstract = {"Drawing as a Way of Knowing: Architectural Survey in the Late Renaissance" explores a group of sixteenth- and seventeenth-century architectural manuscripts that are each part of a network of copies. Made by French and Italian draftsmen studying ancient and modern Roman monuments from the 1560s to the 1640s, the drawings contain information about the buildings-which include the Pantheon and Saint Peter{\textquoteright}s-that is not known from any other sources. Yet the information that the drawings preserve is only part of their value: the drawings also show how that information was recorded, transferred, and valued by other draftsmen. With a special focus on chronological complications, "Drawing as a Way of Knowing" examines the singularities that are produced when draftsmen try to repeat pictorial statements exactly. These chronological complications include the representation of elements that no longer exist, that never existed, or that collapse several distinct chronological moments into a single image. All these complications can be found in the network of drawings now found in the Goldschmidt and Scholz Scrapbooks in the Metropolitan Museum of Art, Ms XII. D. 74 in the Biblioteca Nazionale di Napoli, the Cronstedt Collection of the Stockholm Nationalmuseum, the album known as Architectura Civile in the Paper Museum of Cassiano dal Pozzo at Windsor Castle, codex Destailleur D at the Berlin Kunstbibliothek, the Album Francois Derand at the Louvre, and Ms B 2. 3 at the Worcester College Library at Oxford. This dissertation examines this web of manuscripts to consider how drawing was used as a way of knowing after the invention of print.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Yerkes, Carolyn} } @mastersthesis {11405, title = {Dutching at Home and Abroad: Dutch Trade and Manufacture of Foreign Material and Landscapes in the Golden Age}, year = {2012}, school = {Wisconsin}, abstract = {This dissertation demonstrates that a full understanding of the Dutch Golden Age requires consideration of the global reach of the Republic by integrating the trading history of the Dutch East India Company with the domestic history of the Dutch Republic in the seventeenth century and interrogating the processes by which foreign elements were assimilated and domesticated into what has come to be perceived as quintessentially Dutch material and visual culture. I focus on three case studies: the nautilus cup, the city plan of Batavia (Jakarta), and still life painting. The nautilus shell, brought from the Spice Islands to the Republic, and mounted by Dutch goldsmiths, altered foreign-derived material and deliberately juxtaposed Dutch craftsmanship and natural exotica. The city plan of Batavia exported Dutch ideals onto the Javanese landscape in order to shape and divide a diverse population into a social hierarchy. Still life painting in the 1660s celebrated trade goods arriving in the Republic, at the same time as anxieties about the slipping of trade prowess were felt throughout the nation. These case studies foreground the hybrid intermixture of foreign and domestic and show the importance of the global to Dutch culture. These case studies are framed around a model of hybridity that I have termed "Dutching." Dutching refers to the active processes of integrating the foreign into the domestic, through a variety of means, such as trade, appropriation, manufacture, and the built environment. I describe these hybridities as bastaards, a Dutch term meaning an illegitimate child or botanical hybrid, with implications of impropriety, impurity, and degeneration. Using this term with its negative implications foregrounds the disavowal of hybridity in this period that is seen both in seventeenth-century attitudes about racial and cultural mixing and in current scholarship about the Dutch Golden Age. I enlist period concepts such as the bastaard in order to better account for the particular historical and cultural significance of the ways in which cultural encounter and mixture in the Dutch Golden Age were navigated and understood.}, keywords = {Renaissance/Baroque Art}, author = {Kehoe, Marsely} } @mastersthesis {11416, title = {Dynamic Doorways: Overdoor Sculpture in Renaissance Genoa}, year = {2012}, school = {Kansas}, abstract = {Soprapporte-rectangular, overdoor lintels sculpted from marble or slate-were a prominent feature of both private residential and ecclesiastic portals in the Ligurian region in northwest Italy, and in particular its capital city Genoa, during the second half of the fifteenth and early sixteenth centuries. Sculpted site- or city-specific religious narratives occupy the centers of most soprapporte, and are typically framed with the coats of arms or the initials of their patrons. As this study demonstrates, soprapporte were not merely ornamental, for they acted as devotional objects and protective devices while connecting the citizens who commissioned them to the city, neighborhoods, and religious complexes whose portals they decorated. With a few exceptions, the literature on soprapporte is confined to scholarship produced by a limited circle of Ligurian scholars, and it is not part of the wider discourse of Italian Renaissance sculpture. By adopting an interdisciplinary approach to the relationship between these prominent and expensive objects and the history of ritual, patronage, and religious and domestic art in Genoa, this study represents the first comprehensive examination of these objects in English. In doing so, it also aims to reinstate Genoa into the dialogue of students and scholars of Renaissance politics, society, culture, religion, and art. The dissertation is composed of an introduction that examines traditions in ecclesiastic and domestic facade decorations and considers the sculptors, placement, developments, prevalence, preservation, and materials involved in creating soprapporte. This essential background information is followed by four chapters, which serve as case studies for the various functions, imagery, and dissemination of overdoor sculptures throughout Genoa and the rest of the Ligurian region. The over 350 examples of this sculptural type that I have encountered in my field research and consultation of secondary sources are included in an appendix. The result is a study that broadens the understanding of Ligurian, and especially Genoese, Renaissance art as well as provides a more coherent picture of the appearance and function of soprapporte and the ways in which they helped forge familial, communal, and devotional identities.}, keywords = {Renaissance/Baroque Art}, author = {Rislow, Madeline Ann} } @mastersthesis {11204, title = {On Earth as It Is in Heaven?: The Creation of the Bastide Towns of Southwest France}, year = {2012}, school = {Columbia}, abstract = {In southwest France starting in the early thirteenth century, an estimated 500 to 700 new towns were created over the course of about 150 years. These new towns, or "bastides," were most often created on unoccupied lands and took the form of a geometric grid plan that was designed around a central market square ringed with arcades, or couverts. Created for economic trade and settlement purposes, the bastides represent one of the first forays into urban planning on a grid system since late Roman times, especially on such a large scale, and they coincide with new economic and political rights and grants of land laid out in the town charters to attract inhabitants to move to the new communities. Many of the bastides were founded by the kings of France and England, as well as local lords including Count Raymond VII of Toulouse, and were made in cooperation with local landowners who were often Cistercian monasteries or minor nobility. While many studies thus far have focused on the economic and political implications for these charters, which included sales and property taxes that replaced traditional tithing, other scholarship has focused on their geographic placement and their geometric planning. However, few have addressed larger issues of identity formation, the social production of space, visual relationships such as between the market hall and the church, or the impact of the Cathar heresy in the region on the relationship between bastides and ecclesiastic authorities. This dissertation addresses these issues of social context, town design, and architectural form. The Cathar heresy was initially put down by a crusade called by Innocent III and resulted in the wholesale destruction of many cities in southwest France. The bastides were created partly as a consequence of the devastation in order to fulfill the need for new settlements. Because of this history of heresy, many bastides were built on former Cathar lands and utilized a strong stamp of authority through naming practice and the development of over-large church clocher-porches that dominate the town squares. Other bastides reflect identity and ambition through the appropriation of European city names, most of them Spanish or Italian, many of which were developing new economic and political rights of their own that were allowing them to thrive. These included the Fueros de Valencia and the Liber Paradisus of Bologna, which targeted the merchant class at the expense of the nobility, and the latter did so through the rhetoric of biblical metaphor. Many of the names used by the bastides were Italian communes, which had a tradition of written odes that described the ideal city in language that included the visual description of compact, state homes on organized, broad streets. These reflect the wide straight streets of the bastides and not the narrow, overbuilt urban tangle that was more common in medieval cities. Though the underlying geometry of bastides is somewhat tenuous, the massive size of some of their squares stands as a marker of their founders{\textquoteright} ambition. Metrological investigation shows that they were designed in proportion with the market halls, are often oriented with the cardinal directions, and appear to use mainly the Roman or royal foot length in whole numbers that could be subdivided into an even number of house lots. The churches of the bastides display more pronounced geometry and were also proportional to the town lots; however, they seem divided between those that aligned themselves with the new town grid and those that were built against the grid in order to maintain a strict east-west alignment or to maintain a direct sightline into the square. These churches also display a plain Cistercian-like simplicity in form, a reflection not only of that monastic order but the presence of the mendicants and the latent belief system of the Cathars that rejected materiality. They also use hallmarks of military and ecclesiastic architecture in common with the region{\textquoteright}s cathedrals. However, many of these elements were not functional, suggesting they were an aesthetic choice. Some, in fact, were added artificially during the nineteenth century in order to celebrate the medieval heritage of France. I also address how bastides became bearers of meaning, addressing the issue of loose ties to Roman sources and the writings of Vitruvius. I also suggest possible ties to the Heavenly City of Jerusalem through churches that replicate the Holy Sepulchre and the similarity of their form and geometry to Beatus manuscripts depicting the Heavenly Jerusalem in the Book of Revelation. One such manuscript was made for the English monarchy the same decade that the English began founding bastides. However, the bastides also acquired meaning through ceremony, including the ritualistic raising of the pau staff bearing the arms of the founder and another reference to the local bishop riding into the bastide on a white mule. Through this examination of the bastides through their formal, ritualistic, and social context, we get a more holistic understanding of the production of space and meaning, and how such urban spaces were created and used over time.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Love, M. Jordan} } @mastersthesis {11233, title = {Economies of Valuation and Desire: How New Deal Photography Made the Amish Modern}, year = {2012}, school = {UC Berkeley}, abstract = {"Economies of Valuation and Desire: How New Deal Photography Made the Amish Modern" connects two substantial bodies of scholarship: the visual culture of the New Deal, and twentieth-century visual and literary representations of religious sub-cultures in the United States. Its primary objectives are two-fold. First, it provides an alternative model for the Great Depression as a historical narrative and popular concept in the American imagination. The images at the center of my dissertation propose a counter-narrative to those typically offered, which describe great waves of migration across the landscape - narratives of Okies, and other de-territorialized American identities moving through shifting topographies of loss and renewal. In contrast, the earliest group of photographs to depict consenting Amish subjects in Lancaster County, Pennsylvania make visible an American community{\textquoteright}s firm rootedness to a particular place, and moreover, the cost of that endurance to other citizens. Second, the project contributes to the field of Anabaptist Studies a critical assessment of twentieth-century photographs of the photography-averse Amish, a subject that has yet to receive consideration in any field. Since they arose as a distinct group within the Amish Church in 1865, the Old Order have exercised serious proscriptions against photography as both act and object. Yet images of Amish individuals have proliferated in American visual culture since the early twentieth century and contribute to our collective idea of the community as insular, old-fashioned, and curiously benign. A particular set of New Deal photographs act as a pivot point in a history of picturing the Old Order - they are paradoxical images because they present the Anabaptist community as nearly extinct on the periphery of the modern world, yet also a viable threat to central tenets of multiple modernisms. Furthermore, it is precisely the Old Order{\textquoteright}s particular objections to photography that constitute some of the most serious challenges to established ideas of Modernism. "Economies of Valuation and Desire" considers photographs by Irving Rusinow taken for the American Farm Community Study, a sociological research endeavor directed by the Bureau of Agricultural Economics from 1938 to 1942. As the Bureau{\textquoteright}s Head Field Photographer, the little-known Rusinow replaced Dorothea Lange, who left in 1940 to pursue work on a Guggenheim Fellowship. The Study was comprised of six rural communities, including the Lancaster Amish, that the Bureau{\textquoteright}s team of sociologists selected as representative of the nation{\textquoteright}s rural inhabitants. In 1941, Rusinow produced about 1,000 photographs of these communities; however, only 76 of them were published with the Study{\textquoteright}s technical reports between 1942 and 1945. The project investigates a small portion of the photographer{\textquoteright}s (published and unpublished) images within the context of the Study{\textquoteright}s ultimate objective: to structure the six communities into a legible "continuum of stability and instability" and in the process, uncover cultural, environmental, and agricultural variables that led to a community{\textquoteright}s economic success or failure. The Community Study was in the service of the Bureau{\textquoteright}s primary program, Federal-County Land-Use Planning; the second half of the chapter considers the possibilities of Rusinow{\textquoteright}s photographs for this larger program. Land-Use Planning facilitated direct dialogue between all agricultural stakeholders in order to propose and enact policy change. Bureau-organized municipal meetings brought together farmers, university agriculture extension agents, social scientists, Washington bureaucrats, and farm union representatives who collaborated to literally redraw maps of local topographies as the first step towards higher agricultural profits and more economically resilient communities. Land-Use Planning was tasked with inculcating big business methods into agriculture, but doing so with a grassroots democratic approach that required "inside" information about each of the communities in question. To this end, Rusinow{\textquoteright}s camera was the program{\textquoteright}s fundamental research tool, freely oscillating between ethnographic and anthropological looking at (O)ther Americans. His photographs substantially reframe established narratives about the New Deal; they muddy (or unexpectedly illuminate) Roy Stryker{\textquoteright}s assertion that the most famous government photography project, enabled by the Farm Security Administration, was going to "introduce America to Americans." I argue that Land-Use Planning photography was deployed as a mode of surveillance in the countryside, a tool for social gardening with which the vulnerabilities of peripheral populations could be identified, ordered, and "corrected."}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Bennett, Elizabeth} } @mastersthesis {11374, title = {Edgar Negret and Eduard Ramirez-Villamizar: Transnational Encounters and the Rise of Modernism in Colombian Art, 1944-1964}, year = {2012}, school = {IFA/NYU}, abstract = {Since their initial encounter in Bogota in 1946, Colombian artists Edgar Negret (1920) and Eduardo Ramirez-Villamizar (1922-2004) have occupied a special place in the history of Colombian art as the "group of two" who pioneered the development of non-objective, abstract geometric art in the nation. Though they did not belong to or organize any specific artistic movements, during the 1950s and 1960s they worked together in Bogota, Paris, and New York, developing parallel abstract geometric languages. Through a detailed study of the formal development and critical reception of their practices between 1944 and 1964, this dissertation presents the first critical analysis of Negret and Ramirez-Villamizar{\textquoteright}s rise to prominence. Starting with their beginnings in Bogota in the mid-1940s and tracing their sojourns to Paris and New York in the 1950s and early 1960s, I locate and analyze the transnational processes underpinning the rise of modernism in Colombian art. In doing so, I develop a study of modernism in Colombia as the result of an interplay between local and international forces and offer a way of understanding Colombian art as part of the larger history of postwar Latin American and Western art. At the same time, to the extent that Negret and Ramirez-Villamizar{\textquoteright}s early trajectories reveal a significant nexus between the art worlds of New York and Bogota, the dissertation shows how this transnational exchange helped define the pan-American nature of modernism and of post-World War II American art.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Franco, Ana} } @mastersthesis {11331, title = {El Paular: Anatomy of a Charterhouse}, year = {2012}, school = {Michigan}, abstract = {The Cartuja de Santa Maria de El Paular was the first of all Carthusian foundations in Castile, and the sixth of all foundations on the Iberian peninsula. Founded in 1390, the Charterhouse remained a Carthusian establishment until its exclaustration in 1835 during the period of Spanish liberal reform; since 1954 it has been home to a Benedictine community. In the fifteenth century the architectural scheme of the original cloister was refurbished under the direction of Juan Guas, and an exquisite and enormous alabaster altarpiece (8.85 x 12 m), carved and polychromed, was fashioned to fill the east end of the monks{\textquoteright} choir of the main church. It survives in situ, restored in 2004 by the Instituto del Patrimonio Historico Nacional. This dissertation offers an analysis of the retable in its architectural context and examines its unusual iconography in the light of Carthusian devotional currents and liturgical practice. A contemporary literary production by a prior of El Paular, Juan de Padilla{\textquoteright}s Retablo de la vida de Christo, is brought to bear on its interpretation. Documentation is presented on the principal sculptors, painters, and polychromists active in contemporary Castile. The view is taken that this altarpiece, like that at the Spanish Charterhouse of Miraflores, was fashioned in large part by Gil Siloe and Diego de la Cruz, working as a team. Comparison of the retable with northern works, in particular works by the Meester van Koudewater (active in the Brabant), throws new light on the possible origins and training of the artists. In 1476 the Carthusian Chapter General attacked El Paular for architectural and decorative excesses and in 1503 leveled criticism at the alabaster altarpiece, citing an undefined quality of indecorum (indecentia). This dissertation examines fifteenth-century design choices in the context of the ambitions of royal patrons and the spiritual life of the monks and probes the reasons why El Paular was singled out for criticism. The Charterhouse presents exceptional conditions for the study of Carthusian corporate identity in late medieval Spain.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Guilbeau, Philip} } @mastersthesis {11361, title = {The Embodiment of Color in Ancient Mediterranean Art}, year = {2012}, school = {UC Berkeley}, abstract = {The polychromy of ancient Mediterranean art is an issue with which scholars have grappled for centuries. The fugitive nature of many pigments coupled with a classicizing taste for the stripped antique fragment have contributed to a fictional narrative that contradicts the material and textual records, a narrative of art and culture executed in half-tones. In The Embodiment of Color in Ancient Mediterranean Art, I argue that color is a material phenomenon that forms bodies, structures vision and shapes a beholder{\textquoteright}s experience of the built and natural environment. In presenting this argument, I pursue four lines of inquiry: the role of replication in separating color and form, the material significance of color in the formation of sculpture; the relationship of inlaid eyes to ancient Greek theories of vision; the use of color on architectural relief. In each of these chapters I situate Greek artistic practice within the context of the wider Mediterranean world, for which ancient polychromy has always been less controversial. I focus on the abundance of color still present in the material record, as well as recent discoveries in conservation, to demonstrate that color was not, as is often argued, applied in the pursuit of lifelikeness, but served as a vehicle for philosophical and aesthetic investigations about bodily experience. I argue for the active role of material polychromy in structuring ancient Mediterranean conceptions of figural and living bodies. In Chapter One, "Color, Form, and Replication," I examine how something so integral to visual experience as color has come to be so suppressed in the historiography of the ancient Mediterranean. Most historiographies explain the absence of color as primarily the result of natural decay. I show, however, that technologies for replicating images, such as plaques and glyptic arts, as well as Roman emulations of Greek sculpture produced using moulds, and later prints and black and white photographs all replicate an object{\textquoteright}s formal characteristics without replicating its polychromy. Replications select against color and begin the process of wresting color from form, a process that is active from the moment a polychrome image comes into being. Color in the ancient Mediterranean world was thought to inhere in materials so that form remained inseparable from color. In Chapter Two, "Color, Materiality and Corporeality," I argue that sculptures formed from colored materials, such as the Zeus and Ganymede from Olympia, depend on colors for a portion of their affect and legibility. Textual sources, such as Homeric poetry and Sappho, deploy material terms as color words. Accepting the matieriality of color in the ancient Mediterranean exposes the abundance of polychromy in ancient texts and on ancient objects. In Chapter Three, "Inlaid Eyes, Color, and Visuality," I explore the philosophical investigations into color and vision by the early atomists, Plato and Aristotle, who theorize colors and visual apprehension as produced through the recombination of atoms. Artists produced complex inlaid eyes, such as those on bronzes from the Riace Marina, not for verisimilitude, but to work through how visual processes took place. In these eyes the interstices are as important as the pieces between which they lie, acting as pores through which colors (as atoms) of the visible world may enter the body. These sculptural bodies show their beholders how the act of beholding unfolds. I then turn in Chapter Four, "Color, Architecture, and Space," to the beholding body in space. Using the particular examples of the Ishtar Gate complex at Babylon and the Siphnian Treasury at Delphi, I argue that the use of color on relief could be an explicit means of destabilizing distinctions between the natural environment and architecture standing in it. Through this destabilization, artists returned the built and natural environments to greater alignment, emphasizing the earth-born sources of the materials used for man-made structures. I examine the juxtaposition of colored stones in mosaic, an artistic practice which makes manifest the fragmented mechanics of vision. It is perhaps the medium{\textquoteright}s explicitness that has led to its devaluation in later hierarchies of artistic media, for an image laid out in tesserae mirrors the beholder{\textquoteright}s own fragmented nature. In beholding mosaics, one comes to know, not just the particular image, but also an image of the assembled matter of the visible world. In matter, vision and space, colors-as atom, stroke, or colored stone-mark the pieced-togetherness of being.}, keywords = {Greek/Roman Art}, author = {Stager, Jennifer} } @mastersthesis {11380, title = {Enconchados: Political, Cultural, and Social Implications of a New Art in Seventeenth-Century New Spain}, year = {2012}, school = {CUNY}, abstract = {Seventeenth-century New Spain (Mexico) saw the rise of an art form that melded traditions from pre-Hispanic, Asian, and European styles. Enconchado paintings, so called because mother-of-pearl is inlaid mostly on canvas stretched on a panel, were produced in workshops in Mexico City and sent to the metropolis as gifts to the monarch or to noblemen. Around 300 of these unique works exist in museums in Europe and in the Americas today. Not surprisingly, the most common subject matter is religious; however, about one hundred of them depict the historical events that lead to the conquest of Mexico by Hernando Cortes. Most scholarship has centered on the Asian and European influences on these works. This project investigates the three-pronged influences in a more egalitarian way, positing as much weight on the indigenous aspects as on the others. Furthermore, it contextualizes the production of these ideological works with the literature, histories, treatises, and other works of art produced in the viceroyalty of New Spain during this century when the rise of the Creole class (people born in Mexico of Spanish-born parents) was beginning to make its imprint in the economic, social, and cultural spheres. By tracing the different threads that make up these works, their ideological impact, as well as their 300-year old histories, this dissertation aims for a better understanding of these works and the forces that made their production possible.}, keywords = {Latin American/Caribbean Art}, author = {Arisa, Miguel} } @mastersthesis {11327, title = {English Misericords and the Late-Medieval Subject, ca. 1300-1535}, year = {2012}, school = {Virginia}, abstract = {This dissertation argues that, for scholars and enthusiasts of the late-medieval world, {\textquoteright}misericords{\textquoteright}-decorative carvings on a class of liturgical furniture-evince long-forgotten aspects of the social and religious milieu which inspired and produced them. Each chapter seeks to incorporate the circumstances, literary and historical, that gave rise to multiple subjective viewing experiences in the English later Middle Ages. To this end, I focus on the range of interpretive possibilities which would have (or could have) been available to a clerical viewer with a certain degree of cultural and religious literacy, arguing that the cultural memes and ideas which informed any given clerical {\textquoteright}reading{\textquoteright} of a seemingly secular misericord scene were always highly metonymic and based on a range of shifting visual signs and metaphysical signifiers. Medieval clerics were adept at symbolic interpretation, yet they were not formulaic analysts. This study argues that the socio-cultural discourses behind any given medieval artwork were generally formulated long before its creation; by, for instance, venerable Church Fathers, homilists, and anonymous writers remembered only as fountains of folk wisdom. That is, it is heavily invested in shifting the paradigm away from staid analyses of artistic intention in order to open the image to the more myriad possibilities for viewer reception. Ultimately, I use misericords as a case study to suggest that even the humblest creations of men can be read through the lens provided by a range of medieval literary and historical texts-as well as comparative artistic media-to peel back layers of time, thereby recovering points of contact between secular and religious attitudes toward a variety of themes, topics, and ideas.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Chunko, Betsy} } @mastersthesis {11277, title = {The Entire Visual World{\textquoteright}: Art, Design, and 1960s New York}, year = {2012}, school = {Ohio State}, abstract = {My dissertation explores the relationship between graphic design and art by investigating their intersection at a pivotal time in their history: the long decade between the 1959 "creative revolution" in advertising and the release of the Massimo Vignelli-designed New York City subway map of 1972. During the course of my examination, I reveal that, far from remaining mutually exclusive, or from engaging in a one-way connection through which high art drew on mass culture, as is often assumed, art and graphic design regularly informed each other{\textquoteright}s methods of production. Although it is well known that artists such as Andy Warhol appropriated advertising imagery, there are also instances in which artists and designers employed street signage to navigate through city streets and artistic compositions, or moments during which both designers and artists undertook to follow unwitting pedestrians, that signal a deeper understanding of the sympathies between design and art strategies than simple visual borrowing. With these aspects in mind, my dissertation involves the work of artists who have not often been discussed in terms of design, such as Robert Rauschenberg, Vito Acconci, Yoko Ono, Gordon Matta-Clark, and Hans Haacke, as well as designers such as Milton Glaser and Peter Chermayeff who debated the efficacy of designed objects in a city of such overwhelming visual stimulation. My research reveals a city in crisis, but one that provided opportunities for artists and designers to develop new means of improving and disrupting its ways of living. In surveying this time and art and design{\textquoteright}s mutual influence, I hope to pose new questions of designed objects as well as of the art world that developed alongside them.}, keywords = {Contemporary Art, Decorative Arts/Textiles/Design History}, author = {Gluibizzi, Amanda} } @mastersthesis {11228, title = {Examining the German Ledigenheim: Development of a Housing Type, Position in the Urban Fabric, and Impact on Central European Housing Reform}, year = {2012}, school = {Brown}, abstract = {This examination of a little known German building type of the nineteenth and early twentieth centuries, the Ledigenheim, or home for single individuals, is an interdisciplinary undertaking that encompasses the fields of architectural history, social history, political history and aesthetics. Many people are familiar with the German housing revolution of the 1920s that centered in Frankfurt and Berlin under Social Democratic planners such as Martin Wagner in Berlin and architects such as Bruno Taut and Hans Scharoun. Yet, housing, particularly for the working classes, had been an area of concern in Germany beginning with the intensification of industrialization and its attendant ills. However, scholars have largely focused on reform efforts concerning the housing of the German family, and generally have not taken into account the efforts undertaken to support a segment of the population who did not fit into this familial model, the unmarried single individual. }, keywords = {Architectural History/Historic Preservation}, author = {Sassin, Erin Eckhold} } @mastersthesis {11339, title = {Exitus et Reditus{\textquoteright}: The Codex Aureus of Saint Emmeram as Pictorial Exegesis}, year = {2012}, school = {Johns Hopkins}, abstract = {Among the many Gospel books produced for the members of the Carolingian court, the Codex Aureus of Saint Emmeram is undoubtedly the most lavishly decorated. Completed in 870, the manuscript was made for the Carolingian king Charles the Bald and it contains a set of non-narrative illuminations that carefully manipulate images, Latin captions, and geometric schemata to produce complex statements of visual exegesis. Although the manuscript has been the subject of numerous studies and the verses in the illuminations have been attributed to John Scotus or Eriugena, the most influential poet and philosopher in Charles{\textquoteright} court at the time, art historians have often turned their attention to the iconography of the individual illuminations without considering the relationship between Eriugena{\textquoteright}s theology and the illuminations in the book. This dissertation is the first comprehensive study of the Codex Aureus{\textquoteright} miniatures in terms of word and image in light of Eriugena{\textquoteright}s Neoplatonic theories. This new approach allows us to understand the manuscript{\textquoteright}s function and what the images attempted to say to Charles the Bald, who was their first and most important reader. By contemplating the images of Christ in the manuscript and meditating on the text of the Gospels, Charles the Bald was to raise his mind from all his earthly apprehension and to enter into a mystical vision of the Divinity. As the dissertation proposes, this message was particularly appropriate to the moment of 869-870 when the manuscript was made. Charles the Bald was in a difficult political situation; the Normans were attacking the cities beyond the Seine, and the king was struggling with his brother Louis the German for the possession of Lotharingia. In this difficult moment, Eriugena wanted his king to turn his mind away from the burden of terrestrial preoccupations and, by staying on a firm path toward Christ, to rise to a consideration of eternal truths and the end of all things. This spiritual process would have been accomplished through the images of the Codex Aureus.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Pizzinato, Riccardo} } @mastersthesis {11283, title = {Facing Up to Shirin Neshat{\textquoteright}s "Women of Allah"}, year = {2012}, school = {UC Berkeley}, abstract = {This dissertation examines the early artistic production of contemporary Iranian American artist, Shirin Neshat, focusing in particular on her important breakthrough series of photographs, Women of Allah (1993-1997). Although Women of Allah constitutes Neshat{\textquoteright}s most widely recognized and oft-reproduced production, the series{\textquoteright} achievement remains little understood and insufficiently theorized. Opposing the prevailing tendency to read the photographs hermetically and as about the allegedly enduring vicissitudes of Muslim women{\textquoteright}s experience, this dissertation takes a wider, yet more historically specific, approach, contending that the series is insistently particular in its attempts to come to terms with the social and political consequences of Iran{\textquoteright}s Islamic Revolution of 1978-79. Revealing Women of Allah as a project based on visual and textual citations and appropriations resonant particularly within Iranian and American contexts, this dissertation claims that the photographs construct a divided viewership, delimiting viewers according to such polarizing national distinctions - as either "Iranian" or "American." Splitting viewers between those who can and cannot read the untranslated Iranian poems written on the photographs{\textquoteright} surfaces, Women of Allah parallels the unresolved and combative nature of contemporary encounters between Iran and the U.S. This "superficial" split, however, also emphasizes the broader ways in which American and Iranian viewers approach Neshat{\textquoteright}s art with different frames of reference and cultural armatures, calling upon particular histories, senses and forms of knowledge - one primarily visual, the other textual or literary, but also oral/aural and embodied. This dissertation therefore proposes to understand meaning in Women of Allah as multi-dimensional, dynamic and dialogical. As this study explores, Women of Allah repeatedly stages hyper-charged scenarios in which the viewer and the women in the photographs face off, the photographs eliciting distinct encounters depending on the habits and capacities of their varied viewers. Appropriating and revising U.S. media representations of Iranians from the 1980s and early 90s, Women of Allah attends to the continued force that such representations command in American perceptions of, and confrontations with, Iran and Iranians today. At the same time, through its citations of well-known contemporary Iranian poetry, Women of Allah calls upon longstanding, if dynamic and ever-evolving, Iranian customary practices in which the quotation and recitation of poetry comprise a significant means of social exchange. Thus, the photographs also offer an exploratory inquiry into relations among secular and Muslim Iranians in the divided, post-revolutionary context and under the contemporary clerical Islamic regime. Ultimately, sustained reflection upon Women of Allah reveals that it need not remain entirely divisive. Instead, insisting on recuperating historical memory within both Iran and the United States, these photographs provide bridges across national, political, cultural and religious divides, gesturing viewers toward ethical modes of engagement with Others in their world.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Ehya, Shahrzad} } @mastersthesis {11346, title = {Faiseurs de feeries: Mise en scene, machinerie et pratiques cinematographiques emergentes au tournant du XXe siecle}, year = {2012}, school = {Montreal}, abstract = {The goal of this dissertation is to renew our historical view of the exchanges occurring between theatre and early film practices at the turn of the twentieth century, by questioning the ideas of primitive cinema, credulous audiences and precinematic forms . Our research aims to put more specifically Georges Melies{\textquoteright} feeries back into the institutional framework of the parisian theatre, in order to show how these films are part of the history of techniques which were used at the Chatelet, the Gaite and the Folies-Bergere. Previous studies have generally postulated that theatre and cinema were, from the very beginning, two rival art forms. However, our historiographical approach differs from this assumption, seeing the relationship instead as that between an old cultural institution and a brand new technology. We think our understanding of early cinema could be improved if we acknowledge that the kinematographic technology belonged to the broad cultural series of luminous attractions appearing with the emergence of electric lighting. In the first part ({\textlnot}{\textasciiacute} The spectacle of electricity {\textlnot}{\textordfeminine}), we study lighting practices and habits of vision that helped feeries{\textquoteright} spectators to understand and enjoy early cinema. In the second part ("The illusion of technique"), we investigate how the integration and hybridization of technologies in feeries led theatre workmen to use the kinematograph on stage. In the third part ("The art of kinematography"), we prove that early cinema aesthetics has been shaped by rules of creation and assessment criteria belonging to the institution of theatre, such that films could already be seen by spectators and critics as artistic forms. The main challenge of this research is to offer a more accurate vision of the history of theatre in its relation to technologies and, in particular, to this new machine that was, at the time, the kinematograph.}, keywords = {Film/Video, Nineteenth-Century Art}, author = {Tralongo, Stephane} } @mastersthesis {11287, title = {Falling from the Grip of Grace: The Exhibition as a Critical Form in Art since 1968}, year = {2012}, school = {Ohio State}, abstract = {Falling from the Grip of Grace is an analysis of the exhibition as a critical form of art with special consideration to the role of the spectator. It charts a history of exhibitions from 1968 to the present to explore how we arrived at a moment when critical art faces many challenges, not least of which is competing with the art institutions that give it voice. It is the first sustained study to critically analyze connections between late-Modernist artistic strategies engaged with the exhibition form and subsequent dispersal of those strategies into curatorial practices at major institutions and biennials. Artists such as Robert Smithson, Michael Asher and Group Material initially expanded the spectator{\textquoteright}s involvement in art to encompass the spatial and temporal contexts of the exhibition. This change signaled a definitive fall from the modernist aesthetic regime of pure visuality, or state of "grace" to use Michael Fried{\textquoteright}s term, by placing greater emphasis on integrating engagements between art, spectator and institution. This dissertation interweaves the legacy of work by these artists and that of curator Harald Szeemann to examine contemporary art, institutions and biennials that involve the spectator in exhibition-making processes. New Institutionalism, a critically reflexive mode of curatorial activity, emerged in the 1990s out of a combination of these approaches and in conversation with the relational art promoted by curator Nicolas Bourriaud. New Institutionalism and relational aesthetics were originally interested in reconfiguring and expanding the exhibition of art into something more active, democratic, open and egalitarian, something other than standardized exhibition methods of displaying objects. A release from the influence of modernist aesthetic criteria did not, however, alleviate the need to hold art accountable for its fertile position for rethinking how things can be and function differently. My analyses draw on the theoretical project of Jacques Ranciere to define and locate an aesthetics in contemporary art forms that take into account the role of the spectator. Within the context of Ranciere{\textquoteright}s theoretical project, I examine work by Thomas Hirschhorn, Anton Vidokle, Maria Lind, e-flux and Office for Contemporary Art Norway. I demonstrate why their art and exhibitions matter and why they signal steps toward producing an aesthetics of the political. The work studied in this dissertation proposes alternative models for connecting art with its public. By building upon developments of the late 1960s, this work leads us to question the role and function of art and its institutions. Constant questioning is necessary, especially today, because global capitalism assigns a market value to lived bodily experiences in the industry of contemporary art. We are again at a crossroads, with the need to consider the critical efficacy of art in order for it to remain alive, relevant and potent. Through the ideas put forward in this dissertation, I argue that that challenge is carried forward to the present moment by the exhibitions examined here.}, keywords = {Contemporary Art}, author = {Voorhies, James} } @mastersthesis {11269, title = {Favela Effects: Brazilian Art at the Intersections of Community Development and Global Markets}, year = {2012}, school = {Minnesota}, abstract = {{\textquoteright}Favela Effects: Brazilian Art at the Intersection of Community Development and Global Markets{\textquoteright} investigates the representation of informal housing settlements, or favelas, of Rio de Janeiro, as a crucial facet of contemporary art. I investigate a complement of site-specific and socially-oriented practices based in the favelas in order to consider the shifting value of {\textquoteright}marginality{\textquoteright} in the contemporary art world. I trace the global networks of donor agencies, arts biennials, NGOs, curators and art practices through which favela communities are incorporated into the cultural market. I also examine the manner in which artists and community activists re-route these networks to bolster local struggles for rights and resources.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Geppert, Melissa} } @mastersthesis {11370, title = {Fervent Faith: Devotion, Aesthetics, and Society in the Cult of Our Lady of Remedios (Mexico, 1520-1811)}, year = {2012}, school = {Harvard}, abstract = {This study examines the cult of Our Lady of Remedios from an art-historical perspective. Choosing this specific cult statue as a case study is not arbitrary: Remedios is among the oldest Marian images in the New World and was named first patroness of Mexico City in 1574, when the city council became the patron of her shrine and a confraternity was founded to better disseminate the cult. As a result, the statue was carried fifty-seven times through the streets of New Spain{\textquoteright}s capital in three hundred years (an average of one procession every five years), thus outnumbering any other religious event that was not part of the liturgical calendar. The fame of Our Lady of Remedios was closely linked to her role as Socia Belli of the Spanish army, as she was believed to have protected Hernan Cortes and his allies during the conquest of Mexico-Tenochtitlan in 1520-21. Her character as protector in times of war was enhanced in the centuries to come, when she was called to the city on every occasion when the Spanish Crown was involved in military campaigns. Her protection, however, was mainly requested in times of drought and epidemics, a reason for which her fame as protectress of the city grew intensively, and all sectors of society (Spanish, Indians, and Castas) followed her with the same fervent faith. This dissertation is a monographic study of a miraculous image that has hitherto been overlooked in the history of colonial religiosity of New Spain despite its symbolic relevance for the society of its time. It considers the sixteenth-century statue and the ways it was displayed to its devotional audiences as documents that inform us about its social role. By placing this cult image in the ritual context to which it belonged, both spatial and spiritual, this study considers the devotional gaze with which her devotees engaged her showing how devotion, aesthetics and politics were intertwined during colonial Mexico.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {Granados-Salinas, Rosario Ines} } @mastersthesis {11363, title = {Finis Terrae: The Roman Conquest of Northwest Iberia and Its Impact on Castros Culture}, year = {2012}, school = {Brown}, abstract = {This dissertation focuses on the Roman conquest of the remote region of northwest Iberia during the end of the first millennium B.C. and its effects on the native Castros Culture. This Iberian Iron Age culture developed throughout the first millennium B.C., and is mostly designated by a settlement model known as the castro - a fortified, hilltop site consisting of large defensive systems and a network of roundhouses. The cultural apex of the Castros societies occurred from the 2nd century B.C.-1st century A.D., an era which is signified by advances in art, technology, and the rise of complex societies. These centuries also coincided with increased Roman presence and influence in northwest Iberia. This dissertation examines the evolution of the castro settlement system and the modification of traditional Iron Age urban spatial models. In northwest Iberia, the end of the first millennium B.C. was characterized by the growth of proto-urban settlements in which the local communities began adopting more Mediterranean concepts of spatial organization. During the Augustan age the first true urban centers in northwest Iberia were founded. These were a key component to the Roman administration of the region. The Romans established three strategic cities - Asturica Augusta, Lucus Augusti, and Bracara Augusta - which became the centers from which Roman culture gradually spread to the Castros communities. These foundations were the first steps in the process of Roman urbanization that continued throughout the 1st century A.D. in northwest Iberia. This era marks a transition in the built environment of the native landscape, where the traditional spatial concepts of the castro and the roundhouse were eventually replaced by the Roman town and the Mediterranean atrium house. This work takes into account evidence from previous Iberian studies as well as offering new data from recent archaeological investigations to create a better understanding of this pivotal moment in the history of northwest Iberia.}, keywords = {Greek/Roman Art}, author = {Urbanus, Jason} } @mastersthesis {11384, title = {For Future Generations: Transculturation and the Totem Parks of the New Deal, 1938-1942}, year = {2012}, school = {UC Berkeley}, abstract = {From 1938 to 1942, Tlingit and Haida Native men enrolled in a New Deal work relief program known as the Civilian Conservation Corps (CCC) worked with the U.S. Forest Service to restore more than one hundred nineteenth-century totem poles in Southeast Alaska. Reversing decades of assimilation policies that had nearly ended totem pole carving in Alaska at the turn of the century, the CCC restored or replicated nineteenth-century totem poles and re-erected them in "totem parks" designed to attract tourists traveling on the steamship route known as the Inside Passage. This dissertation provides the first extensive analysis of this New Deal program, situating the totem parks as "contact zones" where Natives and non-Natives met to negotiate the complex (and often cross-purposed) catalysts of the restoration program: modernist primitivism, New Deal nationalist heritage, and indigenous rights movements of the Indian New Deal. Attending to the carving styles as well as to tourist and government photography of the parks, the project positions the totem parks as a case study for a transcultural model of American art history.}, keywords = {Native American}, author = {Moore, Emily} } @mastersthesis {11426, title = {Fordings and Frontiers: Architecture and Identity in the Central Himalayas, (ca. Seventh-Twelfth Centuries CE)}, year = {2012}, school = {Pennsylvania}, abstract = {One of the largest concentrations of lithic temples in the Himalayas is to be found around the upper reaches of the Ganga and its important tributaries. By undertaking the first systematic documentation and analysis of the forms, layouts, and functions of these temples, their important sculptures, and inscriptions this dissertation begins to chart how this far-flung borderland transformed into a sacred landscape. Based on extensive fieldwork conducted in India and Nepal, my study argues that the development and maintenance of tirthas ("fordings"; pilgrimage centers) and distinctive traditions of temple architecture in the medieval period were crucial in establishing the region{\textquoteright}s identity. I begin with an investigation of the emergence of an architectural tradition in the seventh century amid the opening up of this frontier by adventurous conquerors, traders, and ascetics who cultivated relationships with craftsmen. Thereafter, I trace this incipient tradition{\textquoteright}s evolution from the seventh to the tenth century, by focusing on Jageshwar, the region{\textquoteright}s largest sacred center. I also plot the roles of masons, ascetics, and redactors of Sanskrit texts in shaping Jageshwar{\textquoteright}s edifices and landscape. This allows for a comparison of Jageshwar{\textquoteright}s formation with the development of other sacred centers in South Asia where competing emperors and their courts often played significant roles. Subsequently, I show how between the tenth and the twelfth centuries old idioms were refined and new forms were habilitated. These processes were connected with the expansion of religious networks and the foundation of principalities. Finally, I report that in the twelfth century, emigre builders erected temples in imported architectural typologies. I recover the design of these monuments and demonstrate how their construction reflected the position gained by the Central Himalayas in the imagination of South Asia{\textquoteright}s many and varied religious communities.}, keywords = {South/Southeast Asian Art}, author = {Chanchani, Nachiket} } @mastersthesis {11257, title = {Forging a New World Nationalism: Ancient Mexico in United States Art and Visual Culture, 1933-1945}, year = {2012}, school = {Maryland}, abstract = {Between 1933 and 1945, Americans redefined their cultural identity within a hemispheric context and turned toward Mexican antiquity to invent a non-European national mythos. This reconfiguration of ancient Mexican history and culture coincided with changes in U.S. foreign policy regarding Latin American nations. In his inaugural address on March 4, 1933, President Franklin Roosevelt launched the Good Neighbor Policy, hoping to build an international alliance with Latin American countries that would safeguard the Western hemisphere from the political and economic crises in Europe. As part of these efforts, the government celebrated Mesoamerican civilization as evidence of a great hemispheric heritage belonging also to United States citizens. These historical circumstances altered earlier American views of ancient Mexico as simultaneously a preindustrial paradise of noble savages and an uncivilized site of idolatry, revolution, and human sacrifice. My dissertation examines this official reinterpretation of American past and present reality under the Good Neighbor Policy. Specifically, I consider the portrayal of ancient Mexico in United States art as a symbol of pan-American identity in order to map the ideological contours of U.S. diplomacy and race relations. The chapters of the dissertation present a series of case studies, each devoted to a different facet of the international discourse of U.S.-led pan-Americanism as it was internally conceived and domestically disseminated. Specifically, I examine the works of four American artists: Lowell Houser, Donal Hord, Charles White, and Jean Charlot. This ethnically and regionally diverse group of artists, whose art production ranged from sculpture to mural art to children{\textquoteright}s book illustrations, reveals the broad scope of the discursive apparatus restructuring North American perceptions of Latin America during this period. My analysis investigates the pictorial strategies of hemispheric identity formation; the domestic limitations of the Good Neighbor Policy as demonstrated in the clash of local and global politics; the agitation for equal recognition and full rights of citizenship among minority groups in the United States; and, finally, the international limitations of U.S.-led pan-Americanism as evidenced by persistent racism and U.S. cultural hegemony in hemispheric affairs.}, keywords = {Art of the United States}, author = {Robertson, Breanne} } @mastersthesis {11273, title = {Framing the Nation: Nation Building, Resistance, and Democratization in Korean Photography, 1945-2008}, year = {2012}, school = {CUNY}, abstract = {This dissertation examines photography in Korea since 1945, focusing on the medium{\textquoteright}s relation to the processes of nation building, civic resistance, and democratization. The dissertation evaluates a number of types of photograph, ranging from war photographs to family portraits to art photography. These assessments are informed by the ways in which photography has articulated, and in turn been shaped by, social, political, and technological shifts in Korean society. Korea{\textquoteright}s history since 1945-a history of liberation, war, nation building, and civic struggle against authoritarian military governments-parallels the culture{\textquoteright}s development of photography and its various practices. The relationship between photography and nation building and photography and democratization is thus crucial to the history of both the nation and the medium: photography does not merely re-present Korean life; it is an integral part of it. The investigation is organized chronologically, following the progression of South Korea{\textquoteright}s social and political development and treating the distinct formative periods in the nation-building process as backdrop and cultivator for the photographic works that emerged from each era. The history of photography in Korea since 1945 is the history of the struggles and trials of a society functioning under ideological conflict, state control, and a culture emerging from normalized militarism. This dissertation argues that the photographic practices that have developed since independence are fundamentally about the relationship between the state and the people. An understanding of this relationship, and how photography articulates it, is dependent on understanding the socio-political progress of the nation and how these photographic practices have become specifically Korean. The dissertation provides an understanding of this progress. With the sharp increase in interest in "national photography" since the turn of the millennium, issues of subjectivity have become even more apparent. Embracing the importance of interdisciplinary methodologies, this dissertation emphasizes issues of subjectivity and power dynamics as part of the produced knowledge and contextualizes Korean photographic practices within the historical significance of nation building, civic resistance, and democratization.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies, Drawings/Prints/Works on Paper}, author = {Lee, Jung Joon} } @mastersthesis {11292, title = {Francis Picabia and the Problem of Nihilism}, year = {2012}, school = {CUNY}, abstract = {"Francis Picabia and the Problem of Nihilism " offers an interpretation of Francis Picabia based on the work of Friedrich Nietzsche. Building on already established art-historical material, and on the tradition of Nietzschian interpretation in continental aesthetics, the dissertation offers a new reading of Picabia{\textquoteright}s hugely variegated, apparently contradictory career. The central claim is that Picabia{\textquoteright}s art was generated by the same problem that Nietzsche wrestled with in philosophy: nihilism, the devaluation of all transcendent values in modernity. The strategies Picabia developed to overcome nihilism often match those developed by Nietzsche. Each of the five chapters defines such a strategy and tracks the way it unfolded in Picabia{\textquoteright}s oeuvre, analyzing specific paintings and texts formally and contextually by way of contemporary criticism and intellectual currents.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Lewis, David} } @mastersthesis {11353, title = {From Indemnity to Integration: Economic Decline in Late Hellenistic Aitolia}, year = {2012}, school = {Princeton}, abstract = {In the last two centuries BC, the mountainous region Aitolia on the north shore of the Corinthian gulf transformed from a densely populated landscape, home to a powerful, influential federation with an internationally integrated economy, to a dispersed, politically inactive backwater that at the time of Augustus{\textquoteright} reorganization of Greece showed few overt signs of socioeconomic complexity or connectivity. Commonly, the Roman indemnity of 189 BC, after which the region disappeared from the historical narrative, is thought to have caused this decline. While the ultimate aim is a reconsideration of Aitolia as disconnected and "empty" in view of the synoicism of Nikopolis, this dissertation investigates the mechanisms and trajectories of the regional decline through a detailed study of relevant economic tendencies. An inclusive exploration of Aitolian literary, epigraphic, numismatic, archaeological and topographic data, which has never before been subjected to comprehensive study, serves to explain the rapid transformation as a complex socioeconomic phenomenon determined by not one but a series of factors. These include, among others, preexisting debt, an agrarian countryside in disrepair, unsatisfactory local coin production, the territorial conditions of the Roman indemnity, and most significantly, the characteristic structures and problem-solving mechanisms of the regional economy. This dissertation contextualizes these factors by placing regional change in a broader historical setting. Aitolian decline was neither immediate nor complete. This study demonstrates that despite radically altered settlement patterns some Aitolian cities retained the connectivity needed for survival well into the imperial period. Thereby, it challenges the overly simplistic traditional reading of the Augustan reorganization of Greece and fills a major gap in modern scholarship on the Late Hellenistic period. The transformative Greco-Roman interaction presented the Greek states with a multitude of problems, many of them socioeconomic in nature. By focusing on a deeply neglected region and its problem-solving mechanisms, this dissertation emphasizes the need for detailed appreciation of their responses, reactions and activity in the last two centuries BC. Simultaneously, it invites consideration of evidence not commonly discussed in terms of economies and as a result, promotes a more inclusive approach to the ancient economy.}, keywords = {Greek/Roman Art}, author = {Ljung, Emma} } @mastersthesis {11437, title = {Futurist Aeropainting: Extended Women and the Kingdom of the Machine}, year = {2012}, school = {Bryn Mawr}, abstract = {A major theme in works by later Italian Futurists of the 1930s was what was called aero-aesthetics in which the artists drew their inspiration from the act and fantasy of aviation. Focusing on the perception of aeropainting, or aeropittura, within both Futurism and Fascism, I am concerned in this dissertation to examine the role of the feminine within the idea of machine aesthetics and especially the ways in which women of the movement attempted to interrupt or realign the gendered understandings of technology and aviation within the culture as a whole. Here it has been helpful to draw on particular notions of the body and the gaze found within post-modernism to argue that certain of its positions are prefigured within this area of production. The first chapter examines Futurism{\textquoteright}s fascination with flight and argues that while many Futurist aeropainters sympathized with Fascism{\textquoteright}s celebration of aviation technology as a means to visual and military domination, some women aeropainters chose to emphasize elements of the non-visual in their work. The second chapter argues that women aeropainters interrupted the cultural discourse of masculinity surrounding aviation by participating in the physical act of aviation and by redeploying ideas about dynamic machines in the service of an art that saw the expansion of creative liberty as the greatest consequence of Futurist aero-aesthetics. The third and fourth chapters will look more closely at two of these women Futurists whose paintings demonstrate opposing political and theoretical views. Chapter three will situate Benedetta Cappa Marinetti{\textquoteright}s art in the context of her relationships to F.T. Marinetti and Giacomo Balla to demonstrate how her abstract painting reveals a pre-essentialist position that reinterprets Futurist ideas in her celebration of the feminine. Chapter four will introduce Marisa Mori to English-language scholarship and examine how her introspective art frequently resists notions of biological determinism.}, keywords = {Twentieth-Century Art}, author = {Griffiths, Jennifer} } @mastersthesis {11218, title = {George Tsutakawa{\textquoteright}s Fountain Sculptures of the 1960s: Fluidity and Balance in Postwar Public Art}, year = {2012}, school = {Victoria}, abstract = {Between 1960 and 1992, American artist George Tsutakawa (1910 - 1997) created more than sixty fountain sculptures for publicly accessible sites in the U.S., Canada, and Japan. The vast majority were made by shaping sheet bronze into geometric and organically inspired abstract forms, often arranged around a vertical axis. Though postwar modernist artistic production and the issues it raises have been widely interrogated since the 1970s, and public art has been a major area of study since about 1980, Tsutakawa{\textquoteright}s fountains present a major intervention in North America{\textquoteright}s urban fabric that is not well-documented and remains almost completely untheorized. In addition to playing a key role in Seattle{\textquoteright}s development as an internationally recognized leader in public art, my dissertation argues that these works provide early evidence of a linked concern with nature and spirituality that has come to be understood as characteristic of the Pacific Northwest. Tsutakawa was born in Seattle, but raised and educated primarily in Japan prior to training as an artist at the University of Washington, then teaching in UW{\textquoteright}s Schools of Art and Architecture. His complicated personal history, which in World War II included being drafted into the U.S. army, while family members were interned and their property confiscated, led art historian Gervais Reed to declare that Tsutakawa was aligned with neither Japan nor America - that he and his art existed somewhere in-between. There is much truth in Reed{\textquoteright}s statement; however, artistically, such dualistic assessments deny the rich interplay of cultural allusions in Tsutakawa{\textquoteright}s fountains. Major inspirations included the Cubist sculpture of Alexander Archipenko, Himalayan stone cairns, Japanese heraldic emblems, First Nations carvings, and Bauhaus theory. Focusing on the early commissions, completed during the 1960s, my study examines the artist{\textquoteright}s debts to intercultural networks of artistic exchange - between North America, Asia, and Europe - operative in the early and mid-twentieth century, and in some cases before. I argue that, with his fountain sculptures, this Japanese American artist sought to integrate and balance such binaries as nature/culture, intuition/reason, and spiritual/material, which have long served to support the construction of East and West as opposed conceptual categories.}, keywords = {Architectural History/Historic Preservation}, author = {Cuthbert, Nancy} } @mastersthesis {11219, title = {The German Garden City Movement: Architecture, Politics and Urban Transformation, 1902-1931}, year = {2012}, school = {Columbia}, abstract = {This dissertation examines the German garden city movement from aesthetic, economic, and political vantage points in an attempt to determine how the leaders of the Deutsche Gartenstadt-Gesellschaft (German Garden City Association) adapted the English movement to indigenous ideas and conditions. In particular, it gives an account of the central role of the Kampffmeyer cousins in shaping the intellectual framework of the movement. The Kampffmeyers synthesized the work of a variety of German architects and political economists into a coherent platform for the transformation of urban form and urban life. They and their cohorts embraced a model of society based upon collective ownership of land and emphasized communal benefits over individual profit. Despite their leftist leanings, the leaders of the organization divorced their activities from party politics and adopted pragmatic statutes that were vague enough to allow for the participation of more conservative members. The garden city movement overlapped with numerous turn-of-the-century reform efforts, most notably land reform, housing reform, women{\textquoteright}s rights and temperance, and proponents of the idea aimed to offer a physical space where those reforms could be enacted. Architects involved in the movement, such as Richard Riemerschmid, Heinrich Tessenow, and Bruno Taut, searched for new forms in urban planning and architecture to adequately express the realities of modern life and to facilitate the desired social reforms. Garden city communities were meant to combine the best of city and country and to incorporate both agricultural and industry; their architecture reflected this mixture, drawing on local vernacular styles and standardized, industrial elements. No prescription for the creation of garden city architecture existed other than the demands for simplicity and functionality common in much of the artistic discourse of the time, combined with a desire to give physical expression to the communal nature of the undertakings. This study investigates the full range of garden cities built in Germany, examining lesser-known examples such as Gartenstadt Marienbrunn outside Leipzig and Gartenstadt Stockfeld near Strasbourg, alongside more famous examples like Hellerau. In doing so, it illuminates the diversity of architectural experimentation that took place before World War I and the ways in which the garden cities laid the groundwork for the modernist housing settlements of the Weimar era.}, keywords = {Architectural History/Historic Preservation}, author = {Harris, Teresa} } @mastersthesis {11229, title = {Gifts in Motion: Ottoman-Safavid Cultural Exchange, 1500-1639}, year = {2012}, school = {Minnesota}, abstract = {Between the sixteenth and mid-seventeenth centuries, the Shiite Safavids of Iran and the Sunni Ottomans of Turkey-two of the greatest Islamic empires in history-developed a complex relationship in which tenuous peace alternated with bloody conflict, often with dizzying speed. This dissertation is the first systematic study of this relationship from the perspective of visual culture, and focuses specifically on the objects exchanged, through gifting, by the royal courts of these two empires. These objects-ranging from lavishly illustrated books and exquisite silk carpets to richly embroidered tents, chandeliers and even live birds of prey-enriched the visual culture of each court, and led to the formulation of two distinctive artistic canons with a lasting legacy in the artistic traditions of each empire. This study aims to deepen our understanding of this cultural exchange and the role it played in the relations between these two rival empires. It argues that the movement of luxurious objects functioned as a primary mechanism for the expression of competitive interaction between the two courts. This thesis focuses primarily on gifts received by Ottoman sultans from Safavid shahs from the early sixteenth century to the early seventeenth century. Specifically, the exchange of gifts between the two courts is explored at certain key moments in the development of their relationship, each of which forms a separate chapter in the dissertation. Through an examination of the elaborate ceremonies that typically accompanied the exchange of objects at these moments, I investigate the ritual use of material culture to project both political power and cultural influence in the early modern world. The four chapters are organized in rough chronological order, with each one focusing on a specific exchange or a set of ceremonial exchanges that provide visual and material clues about how objects functioned in the early modern Muslim world. Each case study takes as its unit of analysis a group of routinely exchanged objects on the one hand, and one-of-a-kind objects on the other. I examine both the actual gifts exchanged, as well as manuscript paintings depicting and describing their ritual presentation and reception. The textual evidence ranges from treasury records and court chronicles to epistolary sources and first-hand ambassadorial accounts in Ottoman Turkish, Persian and Italian. The purpose of each chapter is thus to understand the potential and actual movement of objects in illuminating the convoluted relationship between two rival empires.}, keywords = {Art of the Middle East/North Africa}, author = {Arcak, Sinem} } @mastersthesis {11270, title = {Globalization and the Formation of Asian American Identity in the Art Works of Theresa Hak Kyung Cha, Yong Soon Min, and Nikki S. Lee}, year = {2012}, school = {Maryland}, abstract = {This dissertation offers a comparative study of the work of three Korean American women artists: Theresa Hak Kyung Cha (1951-1982), Yong Soon Min (1953-), and Nikki S. Lee (1970-). While the works by these three artists have garnered some critical attention, they have never been the subject of in-depth art historical research. Embracing the artistic media of photography, film, and video in their work these three artists express a common concern about their identities as simultaneously Koreans, Americans, and women. By looking at these artists{\textquoteright} work together, this dissertation explores how the three artists negotiate their hybrid cultural identities in a globalized contemporary America. This dissertation also examines the role of photography, film, and video as their major artistic media following the art practice of the 1970s{\textquoteright} Conceptualism. Cha{\textquoteright}s subtle and allusive film and video installation, Exilee (1980), for example, features images associated with the colonial history of her home country along with images and text about trans-pacific passage. Min{\textquoteright}s work from the 1990s includes photographs of writing on her own body, and images referring to historical events in both Korea and the United States. In her performative series of photographs entitled Projects (1997-2001), Lee disguises herself as a member of various social and cultural groups, trying to assimilate into them. Together, the three artists offer an intensive comparative case study of the ways in which hybrid cultural identity can be figured in the contemporary world. Focusing on the interpretive analysis of selected art works, the dissertation will show the unique intensity of the visual arts as a tool to communicate concepts of cultural identities, while also bringing needed specificity to the theoretical debates on the issues of cultural and ethnic identities.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies, Japanese/Korean Art}, author = {Choi, Yookyoung} } @mastersthesis {11308, title = {The Goblet of Philip the Good: Precious Vessels at the Court of Burgundy}, year = {2012}, school = {Harvard}, abstract = {Vessels made of precious materials such as gold, silver and hardstone once filled the treasuries of late medieval rulers and were counted among their most valuable and representative possessions. Only a minimal fraction survived until today; the large majority went to the melting pot. The Burgundian Court Goblet (Vienna, Kunsthistorisches Museum), a rock-crystal cup set in gold and adorned with gemstones, is one of the rare surviving examples of a precious vessel from a fifteenth-century secular context. It also happens to be the most elaborate crystal vessel listed in the Inventory of Philip the Good, duke of Burgundy (1419-1467). My dissertation provides the first in-depth study of the object, using the concept of the iconography of materials to elucidate the meaning conferred through the choice of materials and the exquisite level of workmanship. I argue that the Goblet of Philip the Good is a prime example for a group of artworks in the form of vessels, which were made for display and functioned as means of representation and status symbols. By combining evidence from the analysis of objects, written documents and visual sources, it is possible to reconstruct the use of precious vessels in the service of the table and as objects of display arranged on a tiered display buffet, the dressoir . My focus lies on the main types of vessels mentioned in the Inventory of Philip the Good. Based on the terminology used in the inventory, I reconstruct the different categories of precious vessels, their form, use and function. Detailed sources relating to the ceremonial of the Burgundian court during the fifteenth century, such as the Honneurs de la Cour by Eleonore de Poitiers and the Estat de la maison de Bourgogne, written by the steward Olivier de la Marche, allow to trace the practical and symbolic use of vessels. By bringing together a large array of objects, visual sources and texts relating to the use and function of precious vessels in a secular context, my work provides a much needed study of a group of objects which enjoyed a highly privileged status in their time.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Helfenstein, Eva} } @mastersthesis {11436, title = {Gruppe SPUR and Gruppe GEFLECHT: Art and Dissent in West Germany, 1957-1968}, year = {2012}, school = {Michigan}, abstract = {This dissertation investigates the diverse interventionist art practices of Gruppe SPUR and Gruppe GEFLECHT. The artists pushed the boundaries of freedom of expression and explored the role of critical and oppositional art during changes in West German culture, politics and society from the "economic miracle" years through the protest movements of 1968. I demonstrate that Gruppe SPUR was the first collaborative utopian artist group in Cold War West Germany to create a new expanded notion of art to engage diverse audiences, redefine traditional conceptions of art and politics, transform social values, and challenge the authoritarian tendencies within the German state, church and society. Gruppe SPUR{\textquoteright}s unique aesthetic practices enlisted an interplay among multiple mediums such as painting, sculpture, drawing, etching, lithography, collage, site-specific work, and films; the self-production of magazines, manifestos and flyers; and the performance of actions in everyday life. In response to the emergence of pop art and the rapid transformation of European art markets and the West German independent gallery systems, the artists of SPUR and WIR changed their artistic strategies and formed Gruppe GEFLECHT in 1966. The GEFLECHT artists{\textquoteright} adopted collective production and developed a singular group style in the form of their new aesthetic category, called the "anti-object," which was an attempt to actualize their utopian aspirations to bridge the boundaries between art and life. This dissertation argues that the anti-object{\textquoteright}s formal language of interconnecting channeled networks embodied the principles of openness, experimentation, freedom, and anti-hierarchical relations, which were the same values that the GEFLECHT artists advocated for as participants in student protests at the Akademie der Bildenden Kunste and the wider anti-authoritarian extra-parliamentary opposition in Munich from 1967-1970. Through a detailed historical and visual analysis of these two case studies, several broader issues central to artistic production during the 1950s and 1960s are explored: abstraction and figuration; individual, collaborative and collective artistic production; international avant-garde networks; and the role of art and artists in political, cultural and social transformation.}, keywords = {Twentieth-Century Art}, author = {Graber, Lauren} } @mastersthesis {11266, title = {Guangsheng Monastery: The Creation of Local Identities through Art and Architecture}, year = {2012}, school = {Kansas}, abstract = {The Guangsheng Monastery, standing on a hill on the southern side of Mount Huo in Shanxi, has been recognized as a significant site in the history of later Chinese Buddhist art and architecture because of its large assembly of architecture and art dating from the Yuan (1279-1368) and Ming (1368-1644) dynasties. The site is also widely known to Western art historians and museum audiences; some of its murals were removed and are now in the collections of some major western museums, including the Metropolitan Museum of Art in New York City and the Nelson-Atkins Museum of Art in Kansas City, Missouri. Although much has been written on its Yuan dynasty architecture and art, this dissertation is the first effort to examine the sculptures, murals, and other objects inside each major hall as a whole and to interpret them within their original architectural and ritual settings. It is also the first attempt to understand the site within the local context and as a ground for the integration of local values and culture and mainstream religious and cultural traditions. The first part of the dissertation provides a general study of the site, examining the founding date of the monastery, the physical transformation of the site, the current layout, and the reconstruction of the halls. The second part studies the visual programs in the Main Hall of the Lower Monastery, the Hall of King Mingying at the Water God{\textquoteright}s Temple, the Varirocana Hall of the Upper Monastery, as well as the structure and glazed-tile decoration of the Flying Rainbow pagoda. This study demonstrates that the Upper Monastery was built in 769 and that the site underwent a continuous transformation over a period of fourteen centuries beginning in 563, when monk Zhengjue built a pagoda at the top of hill. It also shows that the Hall of King Mingying was dedicated to the Five Dragon Kings headed by King Mingying. This dissertation also reveals that the artworks in the Buddhist halls and the glazed-tile decoration on the pagoda illustrate the Esoteric-Huayan Buddhist tradition.}, keywords = {Chinese Art}, author = {Martin, Hui Wang} } @mastersthesis {11357, title = {The Gynaikonitis: The (UN) Gendered Greek House}, year = {2012}, school = {Princeton}, abstract = {This dissertation investigates the notion of women{\textquoteright}s seclusion in ancient Greece as embodied in the Greek term gynaikonitis, which is loosely defined as the women{\textquoteright}s quarters of a Greek house. The gynaikonitis is understood as an architecturally delineated space in a remote part of the house that confined women in an effort to restrict contact with unrelated men. Interpretation of the meager literary testimony on household space has resulted in a standard picture of the Greek house as a place that imprisoned women in order to monitor and control their activities. In this study, the legitimacy of this view is evaluated by tracing the term gynaikonitis and its usage in various literary contexts, seeking out the iconographic and spatial correlates for specific women{\textquoteright}s quarters in Greek houses, and addressing the more general problem of the use of domestic space from the perspective of the family, but most importantly, from the perspective of women. This study explores how architectural space can affect behavior at the household level in a way that encourages or hinders interaction between inhabitants, visitors and strangers. Within a framework that views architecture as being socially meaningful, houses are examined for their capacity to divide space along gender lines, to control movement and access, to promote or inhibit visual and physical contact between inhabitants and strangers, and to mediate between inside and outside and between private and public space. Cultural notions about space, crowding, privacy, friendship and gender roles are also considered and integrated with the material sources for women{\textquoteright}s lived reality in order to highlight ambiguous or conflicting attitudes within Greek society. The main objective of this dissertation is to address the issue of women{\textquoteright}s seclusion in a holistic manner by considering the history and development of the concept of women{\textquoteright}s seclusion, assessing the literary and iconographic sources for evidence of women{\textquoteright}s space, and locating correlates for women{\textquoteright}s space in the archaeological remains of Greek houses. In order to evaluate the conventional impression of women as being confined and secluded in their houses, this study explores the concept of "male" and "female" space within the context of the Greek house, establishes whether or not the literary construction of the gynaikonitis was translated into built form, and determines how and to what extent this affected the daily lives of women.}, keywords = {Greek/Roman Art}, author = {Papayiannis, Joanna} } @mastersthesis {11293, title = {Hannah Hoch, Til Brugman, Lesbianism, and Weimar Sexual Subculture}, year = {2012}, school = {Case Western Reserve}, abstract = {Hannah Hoch was an avid collector of Weimar print media and her signature medium was the photomontage. Because of this, her work is generally explored within the context of mainstream media and, to a degree, this is adequate. Yet this dissertation questions the completeness of this path of enquiry and newly examines Hoch{\textquoteright}s oeuvre within an expanded context of media generated by sexology, ethnography, medicine, and sexual subculture. Furthermore, while diverse contemporary media were integral to Hoch{\textquoteright}s oeuvre, the close correlation between her artistic themes and her intimate relationships has yet to be fully examined. In her early photomontages, Hoch{\textquoteright}s engagement with gender largely reflected her relationship with Raoul Hausmann and her difficult status as the sole woman among the Berlin Dadaists. Her engagement with gender grew and became more focused after 1926 when Hoch entered into a ten year lesbian partnership with the Dutch writer Mathilda {\textquoteright}Til{\textquoteright} Brugman. While this relationship has received cursory scholarly attention, it was arguably the artist{\textquoteright}s most significant personal bond and influenced her oeuvre considerably. Moreover, during her years with Brugman, Hoch{\textquoteright}s photomontages clearly reflected lesbian subculture, as this dissertation will definitively establish. Hoch and Brugman collaborated on a number of creative projects that satirically and critically addressed social and political issues, particularly those related to concepts of gender identity. Knowledge of Weimar sexual and medical discourse found expression in both women{\textquoteright}s work and indicates that they were familiar with vanguard surgical procedures. Although the two women separated in 1936, Hoch{\textquoteright}s exploration of the social construction of gender remained a key theme in her photomontages and continued to occupy her well into the 1970s.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Nero, Julie} } @mastersthesis {11282, title = {Hedda Stern and the Abstract Expressionist Context}, year = {2012}, school = {UIUC}, abstract = {This dissertation focuses on the development of Hedda Sterne{\textquoteright}s artistic philosophy and practice in the 1940s and 1950s. Over those years Sterne began to develop a concept of her identity as an artist that set her apart from most of her colleagues and fundamentally shaped her unique oeuvre. She defined identity as shifting and relational, influenced by changing contexts and opposed to the aggressively monolithic model of identity that generally prevailed among the abstract expressionists. She also believed in a reciprocal relationship between language and ideas: different communal languages shaped the ideas of their speakers, just as different ideas often required different languages for precise expression. Combining these two strands of her artistic philosophy, Sterne developed a career-long practice of switching styles, and even of using different styles simultaneously, sometimes to express different themes and at other times to articulate the same idea in distinct ways. Even her most abstract styles, however, recorded her changing relationship to the environment around her. This study proposes that her insistence on changing styles paradoxically expresses a coherent artistic philosophy of identity, and constitutes a critical response to the rhetoric, interpretation, and marketing of the abstract expressionism in the late 1940s and 1950s. This project also tells an institutional and cultural history of the mid-century art world that treats the artist, her work, and the institutions that promoted (or failed to promote) it as inextricably linked. By focusing on specific points at which Sterne{\textquoteright}s example proved inassimilable to the dominant narrative of abstract expressionism, this dissertation ultimately suggests the need for a more comprehensive narrative that redefines the essential parameters.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Eckhardt, Sarah Louise} } @mastersthesis {11291, title = {Henri Rousseau, 1908 and After: The Corpus, Criticism, and History of a Painter without a Problem}, year = {2012}, school = {UT Austin}, abstract = {This dissertation considers Henri Rousseau (1844-1910) as a painter and as a figure of discourse. It addresses the longstanding concern of Rousseau{\textquoteright}s resistance to interpretation and proposes that this derives from Rousseau{\textquoteright}s incomplete fulfillment of the professional obligations of the artist, specifically, from his failure to motivate his work through the pursuit of what modern art critics commonly called "a problem." Rousseau did not practice painting as artists of his day did, and because of this difference-first articulated by Guillaume Apollinaire in 1908 as an absence of artistic inquietude-he entered the discourse of art with unprecedented susceptibility to reinvention. The Rousseau we know today, the Rousseau who was a miraculous modernist in the interwar period, and the Rousseau who emerged in the context of the avant-garde in the earliest years of the twentieth century share little besides a name, and this frustrates any effort to write a coherent history of the painter and his pictures. Rather than propose once again Rousseau{\textquoteright}s recuperation into a traditional art-historical narrative, this dissertation tells the history of a maker who produced admirable images but fulfilled few other author-functions, and it tells the history of writers who, compensating for Rousseau{\textquoteright}s authorial deficits, produced a new artist, a new body of work, and widespread puzzlement about the place of each in the history of modern art.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Haskell, Caitlin} } @mastersthesis {11350, title = {Humbaba/Huwawa}, year = {2012}, school = {IFA/NYU}, abstract = {The demon Humbaba or Huwawa, best known to modern scholars for his role in the Gilgamesh epic, was an important figure in the visual and literary culture of the ancient Near East. The earliest known representations of Humbaba may date as early as the Akkadian period, and by the late third-early second millennium BCE his iconography had been codified as a distinctively wrinkle-faced, grimacing anthropomorphic figure or isolated head. Images of Humbaba alone, or attacked by the heroes Gilgamesh and Enkidu, continued to appear in ancient Near Eastern art through the Achaemenid period, and outside of the Near East went on to influence fearsome creatures such as the Gorgon. The literary lifespan of Humbaba in the Gilgamesh texts, and in divination literature in which his distinctive visage was linked to a number of omens, spans a similarly long period of time. The canonical image of Humbaba seems to have originated in southern Mesopotamia, but spread throughout the Near Eastern world and beyond in subsequent centuries. It is argued here that the prevailing interpretation of Humbaba as an apotropaic figure does not adequately describe his function as a guardian of liminal places and states, including temple and palace entrances, and of sexual intercourse and death. This dissertation marks a first attempt to gather all available images of Humbaba and related iconography, to provide a rigorous framework for identifying Humbaba visually and tracing the development of the image, and to analyze the corpus with relation to literary, archaeological, and art historical evidence. Objects discussed include terracotta plaques and figurines, glyptic, stone sculpture, vitreous materials, metalwork, and ivory.}, keywords = {Greek/Roman Art}, author = {Graff, Sarah} } @mastersthesis {11285, title = {I Only Have Eyes for You: Three Case Studies in Rock {\textquoteright}n{\textquoteright} Roll, Fandom, and Pop Art}, year = {2012}, school = {Penn State}, abstract = {Rock and roll was a crucial ingredient of Pop art. From Peter Blake{\textquoteright}s collages of fanzines to Andy Warhol{\textquoteright}s silkscreened Elvises, Pop artists in Europe and the United States exploited the youthful exuberance and provocatively lowbrow aesthetics of popular music. Yet, while the scholarship on Pop art is substantial, there has been no specific study of popular music{\textquoteright}s broad influence on Pop. This omission is surprising, given that, as my dissertation will show, many artists during the Cold War era used rock, pop, and blues to address changing forms of gender, race, and class, as well as changing notions of group identity offered by the category of "fandom." My dissertation focuses on a small group of artists: Peter Blake, Pauline Boty, and James Rosenquist, and their varying approaches to popular music in art. Each chapter will serve as a case study, focusing on a close reading of one work of art. Chapter One, "Jukebox Modernism: Or, How to Hear a Painting" looks and listens to Peter Blake{\textquoteright}s Got a Girl (1960-61), a work that explores the operations of reproduction on the level of the song and image as well as libidinal desire. Chapter Two, "It{\textquoteright}s a Girl{\textquoteright}s World: The Sound and Look of Melodrama in Pauline Boty{\textquoteright}s Pop Art" features a close reading of the artist{\textquoteright}s My Colouring Book (1963), a work which traffics in girl group sounds and the melodrama of a pop song heartbreaks. Chapter Three, "Pink, White, and Black: The Strange Case of James Rosenquist{\textquoteright}s Big Bo" investigates the ways in which race appears (and is suppressed) in Pop art when that movement addresses popular music. My project explores a range of such works, in the hopes that by investigating this unique intersection between visual art and musical work, new insights will be produced about both.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Mednicov, Melissa} } @mastersthesis {11347, title = {The Iconography of Mystery: The Relationship between Orpheus and Bacchus in Late Roman Britain}, year = {2012}, school = {Arizona}, abstract = {Of the eighty-five known Roman mosaics that depict Orpheus charming the animals, or the theatrum, eight of these mosaics are located in Southwest Britain. The Orpheus mosaics were laid at the end of the third through the fourth centuries A.D. in lavish Roman villas at the sites of Barton Farm, Brading, Littlecote Park, Newton St. Loe, Wellow, Whatley, Withington, and Woodchester. Along with the central image of Orpheus, all eight mosaics contain Bacchic iconography. While the Orpheus mosaics in Roman Britain are the topic of several publications, none have addressed the appearance of Bacchic imagery in conjunction with that of Orpheus. This dissertation investigates the relationship between Orpheus and Bacchus in the Classical world in order to explain the frequent appearance of Bacchic iconography on Orpheus mosaics in southwest Britain. In order to understand how the Roman aristocracy viewed the relationship between Orpheus and Bacchus, this dissertation explores three avenues of study. First, the more then seventy-five figures and objects that are part of the Bacchic iconographic repertoire associated with the Orpheus mosaics are identified and their connection with Bacchus established. Second, the connection between Orpheus and Bacchus in the Greek Classical Period is explored to establish a literary and artistic tradition from which the Roman tradition emerged. Third, an examination of Greek and Latin literature from the third century B.C. to the sixth century A.D. is undertaken to describe how Orpheus was perceived by pagan and Christian Roman elite as the founder of the Bacchic mysteries and the author of the sacred texts used in these mysteries. Furthermore, the evidence presented within this dissertation demonstrates that the Orpheus mosaics in southwest Britain were placed in public areas of wealthy Roman villas to reflect the homeowners{\textquoteright} knowledge of both the past and present philosophical and theological beliefs. These mosaics advertise the provincial Roman aristocrat{\textquoteright}s Classical education while maintaining their association with the city of Rome and the imperial court in Constantinople.}, keywords = {Greek/Roman Art}, author = {Burns, Kara Kathleen} } @mastersthesis {11201, title = {Identity through Style: The Transatlantic Dissemination of Anglican and Episcopalian Neo-Gothic Church Architecture}, year = {2012}, school = {Missouri}, abstract = {In the nineteenth century the Episcopalians used Gothic Revival architecture for dogmatic purposes to define their status among Protestant denominations and secure their place in the United States of America. The discussion of neo-Gothic churches in America usually begins after the arrival of the English theological Oxford Movement in the 1830s. I claim the political changes that occurred with the American Revolution along with early nineteenth century American tensions between low and high church Episcopalians fostered a distinct American Episcopalian neo-Gothic church development. Through exchanges of ideas between English and American clergy and architects, American Episcopal High Church architecture developed and spread throughout the United States. By examining specific churches, including those by Frank Wills and Richard Upjohn, in context of Anglican and Episcopalian doctrine, its liturgical practices, and publications by architects and English and American ecclesiological societies, I show how and why neo-Gothic churches became solidified as a signifier of and reinforced the Episcopal faith.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Kocyba, Kate} } @mastersthesis {11427, title = {Image and Insight: The Iconographic Legacy of Pema Lingpa (1450-1521) at Tamzhing Lhundrup Choling}, year = {2012}, school = {Ohio State}, abstract = {One of the most influential Buddhist masters in the Himalayan nation of Bhutan is the illustrious treasure-revealer Pema Lingpa (pad+ma gling pa, 1450-1521), a very charismatic and controversial figure. His corpus of religious teachings became a key locus of Bhutanese Buddhism, and his extensive lineages gave rise to a succession of important masters as well as the modern royal family. Pema Lingpa{\textquoteright}s revealed teachings were expressed and transmitted in part through the complex iconography of Tantric Buddhist art. This dissertation analyzes the art, particularly the mural iconography, that Pema Lingpa personally conceived, commissioned, and supervised in his home temple in eastern Bhutan, the Tamzhing Lhundrup Choling (gtam zhing lhun grub chos gling). This iconological study of the art and architecture of Tamzhing thus examines how Pema Lingpa artistically expressed his revealed religious visions, gained widespread religious legitimacy, and transmitted them both throughout the lands that became Bhutan roughly two centuries later. Specifically, we will demonstrate how Pema Lingpa used the iconographic imagery in Tamzhing to express his own unique religious experiences as well as his close affiliation with prestigious Vajraya-na Buddhist traditions in nearby Tibet. Much of Tantric Buddhist ritual and meditative practice involves sequences of visualizations of Buddhist {\textquoteright}deities{\textquoteright} who represent enlightened qualities or states of mind; but these can differ considerably from tradition to tradition. By infusing Tamzhing with both commonly-known iconographic programs and otherwise unattested forms originating in his treasure revelations, Pema Lingpa could both preserve the long-standing practices and imagery of the Nyingma Buddhist tradition to which he belongs, as well as assert his own place within it. Following Pema Lingpa{\textquoteright}s own, as of yet untranslated, autobiography as our guide, the dissertation analyzes in detail how the specific layout of the dozens of tantric deities within the temple not only serve as a step-by-step guide to awakening, but also strategically incorporate Pema Lingpa{\textquoteright}s own revealed teachings at a very high level within the pre-existing Nyingma system-effectively claiming, and eventually receiving, his place within the tradition. Due to their perceived effectiveness, Pema Lingpa{\textquoteright}s distinctive practices would eventually be incorporated into official state rituals performed throughout the country, transmitting his tradition far beyond the borders the master himself established in the late 15th and early 16th centuries. In sum, this dissertation is an iconological study of Pema Lingpa{\textquoteright}s mural program, analyzing the political and socio-cultural milieu behind the site{\textquoteright}s conception, construction, and ritual use, and examining how Pema Lingpa{\textquoteright}s followers would understand and transmit his teachings and their imagery behind his own time and place. It further explores Tamzhing as a mark of Pema Lingpa{\textquoteright}s progressive development as a Buddhist master, and as a repository for the sources of his authority. This analysis of the iconography of Tamzhing incorporates history, text, art and architecture to provide a fuller picture of a man and his temple, and of the interactions between the dynamics of Pema Lingpa{\textquoteright}s terma treasure tradition, its innovative iconography, and its significance in pre-unification era Bhutan.}, keywords = {South/Southeast Asian Art}, author = {Maki, Ariana} } @mastersthesis {11198, title = {Images for the King: The Bronze Plaques of the Benin Court in Their Architectural Context}, year = {2012}, school = {IFA/NYU}, abstract = {This dissertation examines the Benin bronze plaque corpus in order to determine its dating and to propose its installation in the audience court of the Benin palace in the 16th century. The author proposes that Oba Esigie and his son, Oba Orhogbua, were the two patrons of the 850 plaques and examines their possible motives for the large commission. By examining the flanges found on plaques more than 25 centimeters wide, the author has found a basis for dividing the corpus into periods of production. The wide plaques comprise roughly half of the total corpus, yet they bear only three different decorative patterns. Plaques that bear the same flange pattern have a similar style and depth of relief that further support the author{\textquoteright}s identification of production periods. The author then proposes that the patterns are the signature of the Ineh n{\textquoteright}Igun Eronmwon, or head of the brass-casting guild. This hypothesis would explain the successive periods of production, as holders of the Ineh n{\textquoteright}Igun Eronmwon title serve based on patrilineal succession. The remainder of the dissertation using the pattern-groups as a launching point for considering the how the plaques were installed within the palace. After reviewing the known information about the audience court, which is no longer extant, the author considers installation strategies and proposes that the plaques were hung on all four sides of each pillar supporting the roof of the hall. The author also considers whether there is any discernible evidence in the extant corpus to reconstruct the original installation pattern. The dissertation establishes that plaques in the early group have a high number of pairs, while the latest plaque group includes series of near-identical plaques that the author terms {\textquoteright}multiples.{\textquoteright} Based on the different use of repetition in the early and late corpus, as well as consideration of changes in iconography, the author proposes a hypothetical reinstallation of the plaques hanging on the pillars on either side of the Oba in the audience court.}, keywords = {African Art (sub-Saharan)}, author = {Wysocki Gunsch, Kathryn} } @mastersthesis {11328, title = {Images of the Prophet Muhammad in the Late Medieval West: From Joachim of Fiore to Dante Alighieri}, year = {2012}, school = {Indiana}, abstract = {This dissertation explores European manuscript and frescoed images of the Prophet Muhammad from c. 1140-1440. It first examines a pejorative rendering of the Prophet Muhammad, and of Islam, in a series of picto-diagrams attributed to the abbot Joachim of Fiore and produced in Calabria, c. 1200-20 (Oxford, Corpus Christi College Library, MS 255A, folios 4v-17v), giving specific emphasis to his painted depiction in a diagram of a seven-headed dragon inspired by the Book of Revelation. It shows that the use of the dragon form, and other appropriations of medieval apocalyptic artistic motifs, were common vehicles of slander in the twelfth- and thirteenth-centuries. Apocalyptic content was preferentially employed in the visual defamation of non-Christians due to a perceived monopoly on the veridical nature of the divine. In so doing, it demonstrates the direct intersection between medieval apocalyptic and eschatological artistic vocabulary and defamatory prophetic iconography. This dissertation then reveals how later paintings of Muhammad encompassed diverse iconographic formulae deployed across disparate literary texts. It emphasize that, with the exception of one identifiable sub-category, and of the repetition of compositions illustrating specific passages across multiple manuscript versions of the same text, images of the Prophet Muhammad of Christian European production fail to exteriorize any fixed visual typology governing his depiction. It argues that this variation is related to the fact that the pictorialization of the Prophet was primarily experienced by the uppermost strata of medieval society. Access to written materials, and advanced literacy in Latin and one or more vernacular languages, were the preconditions governing their consumption. Finally, close study of the evisceration of the character Maometto in Canto XXVIII of the Inferno by Dante Alighieri reveals that his depiction further involved malicious manipulations of both the face and the body, challenging normative modes of medieval portraiture. By examining images of the Prophet Muhammad across various media, this study demonstrates the manner in which images of the Prophet of Islam rendered by European artists constituted rhetorical and reactionary responses to the ever-present threat of expanding Muslim empires, ideology, and religious dissimulation, resulting in localized anxieties.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Coffey, Heather} } @mastersthesis {11330, title = {Imaging and Imagining the Black Madonna of Le Puy: Ritual, Sacred Objects, and Race in Late Medieval and Early Modern France}, year = {2012}, school = {Brown}, abstract = {This dissertation investigates the Virgin of Le Puy, a famous Black Madonna sculpture destroyed in 1794. It uses inventories, pilgrim badges, liturgical texts, written description and printed images to investigate the visual and affective aspects of the lost medieval statue and to examine the changing representations and functions of the statue and its reproductions from the thirteenth to the seventeenth centuries. It addresses issues of memory, race and visual representation by challenging the notion that destroyed objects are irrevocably lost and do not merit scholarly concern. Surviving images of this statue depict the Virgin of Le Puy with both black and white skin, indicating that the visual identity of this object was in a state of flux during the early sixteenth century. This dissertation argues that the multiple representations of the Virgin of Le Puy signify the changing functions of ritual objects in the medieval and early modern contexts of urban processions, religious wars, and developing concepts of race.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Foster, Elisa} } @mastersthesis {11337, title = {Imag[in]ing the East: Visualizing the Threat of Islam and the Desire for the Holy Land in Twelfth-Century Aquitaine}, year = {2012}, school = {UT Austin}, abstract = {Epic dichotomies-threat/desire, Islam/Christianity, Orient/Occident, fear/lust, self/other-have fundamentally shaped the conceptualizations, images, and imaginings of the interaction between East and West. The Holy Land was the locus of both sensations in the twelfth-century West. Islam, arisen from the Arabian Peninsula and spreading steadily, embodied the strongest threat to western Christendom that it had yet faced, both militarily and theologically. The vividly imagined "East," particularly Jerusalem, was the locus of spiritual and material desire. These intertwined notions underlie the ideological, theological, and historical perceptions of the Crusades, in their own time as today. This project seeks to explore the dual image of the East in the twelfth-century West through the prime dichotomy that has, both historically and presently, shaped Western perceptions of the dar-al-Islam: the East as at once threat and object or source of desire. Both this dichotomy and the examinations of individual sites and objects in which it is expressed nuance and challenge earlier scholarly assertions regarding visual representations of Crusading, and posit new interpretations of iconographic traditions and their semiotic functions in the twelfth-century Aquitaine. This dissertation is arranged as a series of investigative essays into monuments and objects that express the presentation and development of these divergent ideas in the twelfth-century Aquitaine. The first half of is comprised of three interrelated examinations of material objects that illuminate Western concepts of Islam and Muslims. Various iconographic traditions, I argue, were created and modified to express the mechanisms by which Christendom attempted to define, and respond to, these evident threats to self and territory. The second half of this project focuses on the material manifestations of desire, primarily through the deployment of Orientalized architectural forms and the utilization of relics and objects related to the East. Although these trends, as my conclusion discusses, reached their true apex in the decades after the loss of Jerusalem in 1187, these early examples typify the range of cultural notions centered on the desire to possess and control the sanctity of the Holy Land.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Morris, April} } @mastersthesis {11226, title = {Imagining the Garden: Childhood, Landscape, and Architecture in Early Pedagogy, 1761-1850}, year = {2012}, school = {Harvard}, abstract = {This dissertation examines childhood, education, and designed environments as interrelated concerns. It explores the ways in which, in eighteenth- and early nineteenth century Europe, gardens and architecture were understood as important instruments in pedagogical theory and practice, often being deployed as primary instruments in the education of young children. In order to establish the primacy of these spaces in the pedagogical imagination of this period, the study interrogates texts and images produced in France and Germany between 1761 and 1850. The analysis develops through a series of case studies that are connected historically, beginning with Jean-Jacques Rousseau{\textquoteright}s Julie, ou la nouvelle Heloise (1761) and Emile, ou de l{\textquoteright}education (1762), two works that established some of the issues and concerns that were later adopted by progressive educators in Germany. The study then turns to the work of Johann Bernhard Basedow, Christian Heinrich Wolke, and other German pedagogues associated with the Philanthropinum, an experimental school founded in Dessau in 1774. A discussion of the historical context brings to light their reinvention of the garden as a space for physical training; their use of pictures, architectural models, and scientific instruments in the development of the child{\textquoteright}s powers of observation; and their activation of architecture as a cognitive filter for the perception of the world. The study concludes with a discussion of a paradigmatic garden for early childhood education, Friedrich Froebel{\textquoteright}s Kindergarten, as it was theoretically formulated and visually represented in 1850. Rather than investigating actual gardens or spaces, the research concentrates on the ways in which these settings were imagined, described, and represented in pedagogical texts. The methodology through which these narratives and representations are approached deliberately aims to bring into focus an understudied aspect of the material culture of childhood by expanding the context of analysis of distinct disciplinary histories. By bringing together various field-specific studies-the intellectual history of modern Europe and the histories of landscape, of education, and of childhood-this dissertation uncovers the ways in which educators in this period conceived of the performative power of space.}, keywords = {Architectural History/Historic Preservation}, author = {Ramirez Jasso, Diana} } @mastersthesis {11412, title = {Imitation and Innovation in Materials in Early Modern Northern European Art: Pen Prints, Pen Drawings, and Pen Paintings, ca. 1580-1670}, year = {2012}, school = {IFA/NYU}, abstract = {This dissertation explores the phenomenon of pen imitation traceable from the late sixteenth to the late seventeenth century first in the Southern and subsequently in the Northern Netherlands. Over two dozen artists working in print, drawing, and painting, challenged the boundaries between these media by means of their highly illusionistic manual factures. Chapter 1 examines how, during the latter half of the sixteenth century, specialized engravers began to reproduce virtuosic calligraphic handwriting in print, resulting in works of high similitude in like manner to facsimiles. Conversely, draftsmen working in pen and ink imitated or alluded in varying degrees to different print techniques in meticulously finished stand-alone works. Chapters 2, 3, and 4 address various modes of pen handling that provide a spectrum of referentiality to print. After Jan Wierix began to imitate the delicate linear style of his family{\textquoteright}s print shop in Flanders, this practice was adopted and refined in the Northern Netherlands by the great printmaker Hendrick Golztius and his followers. By the middle of the seventeenth century, draftsmen like Gerrit and Willem de Heer continued working in this tradition of pen imitation but also adopted certain pictorial strategies from contemporary painting. Chapter 5 details how around 1650, imitative pen drawing was translated to panel and canvas, resulting in pen paintings in the marine genre. This dissertation is the first scholarly study to consider calligraphic prints, print-like pen drawings, and pen paintings together and in depth, and to argue that these were part of a related, innovative phenomenon of pen imitation traceable over the course of a century in the North. The thesis adds to the current Goltzius-centered literature on imitative pen drawings by showing that many lesser-known artists engaged in comparable practices, thereby revealing that this phenomenon was more widespread and versatile than previously assessed. More broadly, the study seeks to expand our understanding of artworks from this period as products of a single, identifiable medium. Collectively, the objects considered reveal that the boundaries between media were purposefully kept fluid and that a single artwork could encompass or evoke several material practices.}, keywords = {Renaissance/Baroque Art}, author = {Packer, Lelia} } @mastersthesis {11211, title = {"Imperceptible Transitions": The Anglo-Indianization of British Architecture, 1769-1822}, year = {2012}, school = {Northwestern}, abstract = {This dissertation examines certain "imperceptible" changes that British architecture underwent in the late eighteenth and early nineteenth centuries through cultural encounters with Indian architecture. By studying such diverse media and genres as antiquarian studies, architectural drawings, caricatures, and architecture, and their movement along the cultural, geographical, and political axes between Britain and India, I recover the instances that informed the creation an "Anglo-Indian" order within British architectural practice. In so doing, I challenge previous scholars{\textquoteright} assessment of Anglo-Indian architecture in Britain as either instances of a triumphant imperialism or an unproblematic eclecticism - that is, as peripheral to the canon of neoclassicism itself. Chapter one examines architect Thomas Sandby{\textquoteright}s Royal Academy lectures for their formulation of an architectural aesthetic that facilitated, rather than hindered, Britain{\textquoteright}s self-fashioning into an imperial power. Chapter two studies antiquarian methodological debates, especially those regarding etymology and orthography, between colonial philologist Sir William Jones and mythographer Jacob Bryant (1715-1804). The Jones-Bryant debates provide a useful lens for assessing the changing perceptions and methods of study of the Elephanta Cave, and allow us to trace the pathways for the transmission of Indian architecture to Britain. Chapter three situates architect George Dance the Younger{\textquoteright}s {\textquoteright}Indianized{\textquoteright} Guildhall facade amongst his largely-neglected artistic forays as a caricaturist, and identifies the building as a key example of how eighteenth-century British public architecture struggled to embrace Britain{\textquoteright}s new imperial identity. Chapter four excavates artist Thomas Daniell{\textquoteright}s (1749-1840) efforts to compile a visual library of Indian architectural ornaments. This chapter bridges Daniell{\textquoteright}s attempts to create a modular language of Indian architectural parts with the design and construction of the following buildings: Dance{\textquoteright}s Coleorton House (b. 1802-1807) and Ashburnham Palace (b. 1813-1814), Cockerell{\textquoteright}s Daylesford House (1788-1793) and Sezincote (b. 1805-1812), and Humphrey Repton and John Nash{\textquoteright}s (1752-1835) designs for the Royal Pavilion at Brighton (1808-1822). It examines Daniell{\textquoteright}s drawings, the four country houses, and the palace, as critical nodes at which the ornaments of Indian architecture were contested and those of an imperceptible "Anglo-Indian" architectural order finally formulated.}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Chowdhury, Zirwat} } @mastersthesis {11318, title = {In Flux: Glass, Technology, and the Glassmaking Industry of the Middle Byzantine and Early Islamic Eastern Mediterranean; the Archaeology and Archaeometry of a High-Temperature Craft}, year = {2012}, school = {Brown}, abstract = {My research seeks to clarify the nature of the glassmaking industry in the Eastern Mediterranean region during the 8th-12th centuries CE. Studying glass assemblages from the sites of {\textperiodcentered}∏{\textsection}i{\textperiodcentered}π{\textsterling}n al-Tinat southern Turkey and Ayla in southern Jordan, this project investigates the artistic and technological impact of contemporary sociocultural and political change on Byzantine and Early Islamic material culture. My work combines traditional art historical and archaeological methods (typo-chronological analysis of vessel shapes and styles) with strategies borrowed from the sciences (chemical analysis of the glass fabric itself) in order to build a richer understanding of glass technology and craft production. This study demonstrates that the qualities of glass as a material and artistic medium have a critical effect upon the creation, use, and perception of glass as an object; however, while indeed bounded by certain material parameters, the structural and chemical qualities of glass can in some ways still be shaped by economic networks and technological systems.}, keywords = {Early Christian/Byzantine Art, Egyptian/Ancient Near Eastern Art}, author = {Swan, Carolyn} } @mastersthesis {11335, title = {In Manuscript and Print: The Fifteenth-Century Library of Scheyern Abbey}, year = {2012}, school = {Toronto}, abstract = {This dissertation explores the library of Scheyern Abbey through religious, artistic, bibliographical, and historical paths in order to articulate more clearly the history of book production and library growth during the revolutionary "book age" of the fifteenth century. I have reassembled the now scattered fifteenth-century books from the monastery and examined the entire collection to show how one institution adapted to the increasing bibliographic requirements of the period, first through manuscript and then manuscript and print together. Two sets of library shelfmarks from the fifteenth century, unrecorded until now, physically represent attempts at ordering the Scheyern collection and disregard any differentiation between manuscript and print, proving how the books were utilized by their contemporary audience. In the fifteenth century, Scheyern Abbey subscribed to the so-called Melk Reform, a monastic reform movement that emphasized literacy and the care of books as one of its primary elements. The introduction of the Melk Reform inspired Scheyern{\textquoteright}s local book production, which shows a diverse system of both highly trained scribes and many anonymous scribes who worked on individual books as part of their round of monastic chores. The connections established between member monasteries of the reform brought Scheyern into contact with commercial Augsburg book producers, especially Hainrich Molitor, who produced several large and lavish manuscripts for the monastery. Importantly, he introduced Scheyern to other book producers in Augsburg, including illuminators, printers, and binders, who continued to have an impact on Scheyern production and the growth of the library through the end of the century. Scheyern was also an epicenter of Bavarian dynastic propaganda, because their foundational history as the original house-cloister of the ruling Wittelsbach dukes was visually marked around the monastery and textually deployed to other monasteries in the region through the Scheyern Furstentafel. The unification of book historical and art historical concerns herein allows for a clearer and deeper examination of a fifteenth-century library than heretofore attempted, and this examination reveals important characteristics of fifteenth-century library development necessary to fully understand the multivalent contexts of historical book collections.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {McQuillen, John} } @mastersthesis {11425, title = {In the Name of Krishna: Temple Architecture, Pilgrimage Practices, and the Making of a Cultural Landscape in Vrindavan}, year = {2012}, school = {Minnesota}, abstract = {An archaeology of social space, a sifting through the accumulated debris of modernity, provides me with a frame to make visible the everyday tactics of space-making through which a modern religion emerged in Vrindavan, the primary pilgrimage site in north India where the god Krishna is said to have spent his youth. Displacing post-Enlightenment dichotomies such as faith/ideology and secular/religious, I show how spatio-visual practices were central in the making of subjectivities in 19th and 20th-century India. In my narrative, the space of religion - both real and metaphoric - becomes a key liminal socio-political arena where religious and visual practices coincide in resisting the epistemological duality of (western) modernity and (nationalist) tradition. By reading together purportedly discrete practices such as temple building and anti-colonial political movements, cartography and theological texts, photography and road-making projects, "In The Name of Krishna" offers an understanding of modern religiosity and its spatial strategies. In its localized forms, the new strategies of space-making articulated in this small north Indian pilgrimage town made possible subjectivities, desires, and imperatives that went beyond the tyranny of modernity and its claim to the universal. My dissertation, then, is an attempt to rethink the terrains of these localized practices - insidious, minute, and fragmentary.}, keywords = {South/Southeast Asian Art, Twentieth-Century Art}, author = {Ray, Sugata} } @mastersthesis {11248, title = {Innocence Abroad: The Construction and Marketing of an American Artistic Identity in France, 1880-1910}, year = {2012}, school = {Washington University}, abstract = {Between the end of the Civil War in 1865 and the start of World War I in 1914, thousands of American artists sought training in France. The resulting heightening of transnational contact polarized cultural differences between French and American identities. Many American artists adopted varying ideas of cultural innocence in response to international expectations of American character. This identity performance and reception were mutually reinforcing. As French artists and critics came to imagine an American artistic belatedness and cultural innocence, American artists began to dramatize those characteristics abroad. Within this transnational reciprocal relationship, the American community in France adopted the stereotypes associated with a naive American culture in social interactions, as well as in iconographic and stylistic choices in their art. Concurrently, notions of childlike innocence and the "innocent eye" were appropriated in France and the United States as essential elements of international modernist art. This dissertation argues that innocence, along with the related concepts of naivete and guilelessness, reverberated in interwoven international artistic discourses of nationalism and modernism in the late nineteenth and early twentieth centuries. For American artists and writers in late nineteenth-century France, innocence was a fundamental discourse that allowed them to construct their artistic projects as variously individual, modern, and national.}, keywords = {Art of the United States}, author = {Burns, Emily} } @mastersthesis {11355, title = {Innovation and Identity on Mythological Frieze Sarcophagi from Roman Asia Minor}, year = {2012}, school = {IFA/NYU}, abstract = {This dissertation introduces a number of unusual mythological frieze sarcophagi produced in Roman Asia Minor. Mythological imagery is depicted on less than 1\% of sarcophagi found in this region. This is a marked contrast to elsewhere in the empire, where the vast majority of sarcophagi carry such narrative themes. The mythological sarcophagi produced in Asia Minor are therefore remarkable for their very existence. Yet even more extraordinary is that the depicted iconographic programs are frequently so unusual as to suggest a special commission. The use of mythological imagery as a means to express both collective and individual identity in Asia Minor has been the subject of much recent scholarship. Sarcophagi, however, have featured only marginally in these discussions, if at all. Moreover, mythological sarcophagi from Asia Minor routinely have been dismissed in sarcophagus studies as an insignificant category. It is argued here, however, that the small number of this regional corpus allows for a more comprehensive analysis of each sarcophagus. Furthermore, the preserved examples evince a dynamic array of interpretive possibilities. Beginning with the monuments themselves, potential avenues of inquiry include local social politics and cult, and, from the manufacture standpoint, workshop practices. Broader historical issues include the imitation and adaptation of iconographic motifs and sculptural styles, and artistic interchange between Asia Minor, Attica and Rome. Such interconnectivity affected both artistic production and patronage. This dissertation explores a series of unusual mythological sarcophagi that feature for example, the birth of Dionysos, the arrival of the deceased in the Underworld, and the Anatolian moon-god, Men. The visual programs depicted on these monuments reflect an astonishing array of interpretations that often reflect personal, topographic and broader, cultural allegiances. It appears that the patrons of these monuments selected a personalized funerary iconography, using myth to convey various aspects of their own personal and cultural identity.}, keywords = {Greek/Roman Art}, author = {Madole, Sarah} } @mastersthesis {11390, title = {The Invisible Labor: Nineteenth-Century Art, the Unconscious, and the Origins of Surrealism}, year = {2012}, school = {Iowa}, abstract = {Rebellion against traditional aesthetics to express personal symbols and dreamlike visions connects the nineteenth-century Symbolists with the twentieth-century Surrealists. Yet the techniques of automatic writing and drawing to pursue self-discovery and the unconscious mind{\textquoteright}s inherent creativity remain primarily associated with Surrealism, and the extent to which this later movement{\textquoteright}s irrational content was inspired by Symbolist predecessors such as Gustave Moreau and Paul Gauguin remains uncertain. This dissertation explores the nineteenth-century psychological theories and occult beliefs behind automatism and the unconscious from the late Romantic to the Surrealist movements. The first chapter addresses how Romantic revolutions in art and psychology respond to theories such as mesmerism, spiritism, and the "discovery" of the unconscious, and the later impact of these developments on Symbolism. The second chapter analyzes Victor Hugo{\textquoteright}s seances and "spirit" drawings in the 1850s as early examples of automatism that influenced Symbolism and Surrealism. The following chapter expands this research to include the impact of psychology and spiritism on the Symbolist movement{\textquoteright}s esoteric subjects and increasingly abstract style. Sickened by their materialistic society and with Naturalism{\textquoteright}s attention to the physical world, the Symbolists may have attempted to release conscious control over their designs to pursue a higher reality and express the inner states and emotions that emerge during dreams and hypnosis. Although current art historical scholarship acknowledges basic connections between the Symbolists{\textquoteright} visionary compositions and Surrealist concepts of the unconscious, the psychological and supernatural aspects of how Symbolist art transitions from dreamlike yet representative imagery towards pure abstraction and automatism merit further investigation, which I address in the final chapter. This research offers new perspectives on how the psychology of dreams and the unconscious evolved from an interest of Romantic and Symbolist artists to the ultimate revelation of individual creativity and expression in Surrealist automatism. The primary visual sources include nineteenth-century and early twentieth-century paintings; artistic, "spirit," and some scientific photographs, and artist{\textquoteright}s prints, collages, and drawings. Both consciously-created and allegedly automatic artistic productions, such as Gustave Moreau{\textquoteright}s abstract oil paintings and watercolors, reveal the development of surreal and automatic techniques and allow insight into the artists{\textquoteright} intentions. This study divulges previously overlooked influences of painters, printmakers, photographers, critics, writers, and poets on their own era{\textquoteright}s cultural and intellectual milieu and on the aesthetic movements that followed. The conclusion offers suggestions for further research beyond the project{\textquoteright}s current scope, such as analyzing how automatism and mythology in early modern art culminated in the calligraphic, shamanistic imagery of Abstract Expressionism.}, keywords = {Nineteenth-Century Art}, author = {Phillips, Allison} } @mastersthesis {11348, title = {The Journey to the Underworld: Topography, Landscape, and Divine Inhabitants of the Roman Hades}, year = {2012}, school = {Columbia}, abstract = {The purpose of this dissertation is to analyze the ways the Roman Underworld was visualized, outlining the possible mental maps of the chthonic realm that constituted the main reference for the literary works and funerary monuments that were created in Rome and Ostia between the end of the first century BCE and the end of the third century CE. While we have no preserved ancient map of Hades, the artists decorating Roman monuments with otherworldly images, mainly tombs or sarcophagi, repeatedly employed specific natural or architectural elements that were reminiscent of the written descriptions and inspired by the widespread cultural and religious tradition and that highlighted the relations between the human souls, the chthonic divinities, and the space they share. When visualizing the Underworld, the Romans performed an act of mental spatial construction where all landscapes and topographical elements were drawn from a pool of geographical entities that constituted an integral part of their spatial shared knowledge, and where the memorable features that comprised historical, mythological, or religious associations were transformed into primary landmarks of communal value. These chthonic landmarks constituted the backdrop for mythological scenes, guided the viewer in the unfolding of the narrative of the journey to the Underworld, and reassured him on his postmortem fate.}, keywords = {Greek/Roman Art}, author = {Casagrande-Kim, Roberta} } @mastersthesis {11401, title = {Jusepe de Ribera{\textquoteright}s Artistic Identity and Self-Fashioning in Early Modern Italy and Spain}, year = {2012}, school = {Rutgers}, abstract = {This dissertation considers the ways in which Jusepe de Ribera (1591-1652) fashioned his artistic identity and sought to elevate his social status in Spanish Naples. My dissertation studies alternative ways of understanding the social status of Spanish painters. Organized in five chapters, my dissertation examines the methods Ribera used to shape his artistic identity as a Spanish painter working in viceregal Naples. In chapter one, I consider the outward markers of Ribera{\textquoteright}s success: the practical strategies he took to ensure his economic success and to elevate his social position. The second chapter deals with Ribera{\textquoteright}s intellectual self-fashioning and the cultivation of his "learned naturalism." A systematic study of the artist{\textquoteright}s signatures in his paintings, drawings, and prints forms the core of the third chapter of this dissertation. In this same chapter, I analyze extant early modern portraits of the artist, both accurate and fanciful, in assessing an approximate likeness of the painter. I analyze Ribera{\textquoteright}s critical fortunes and biographies in the fourth chapter to see how early modern art biographers virtually "painted" varying literary portraits of Ribera as portrayed in early modern Italian and Spanish art treatises and biographies. Chapter five focuses on how Ribera{\textquoteright}s image was further cultivated by early modern Spanish and Neapolitan Baroque poets and playwrights.}, keywords = {Renaissance/Baroque Art}, author = {Estevez, Lisandra} } @mastersthesis {11262, title = {Keeping the Past Present: Representations of Ming Dynasty Gardens}, year = {2012}, school = {Minnesota}, abstract = {This study analyzes representations of Ming dynasty (1368-1644) gardens. It argues that rather than documenting the physical gardens as static artifacts, gardens and representations of gardens have been used to reference and comment upon the past as a way of identifying with a larger community of scholars past and present, and as a method of instructing the present. In order to both create and read the layers of allusions embedded in these gardens and their representations, one must be conversant in Chinese history, literature, and art. This dissertation exposes how certain types of images of the garden were moved from the archive to the canon (as defined by Aleida Assman) to motif, and it demonstrates the relationship between memory, identity construction, and this shift. The creation of archetypes (such as Tao Qian{\textquoteright}s "Peach Blossom Spring" or Wang Wei{\textquoteright}s Wangchuan) builds the archive. Some images/gardens have moved from the archive into the canon and back again, like Sima Guang{\textquoteright}s Garden of Solitary Delight. The two Garden of the Humble Administrator albums by Wen Zhengming demonstrate a shift in style and in models; they foreshadow how some elements are foregrounded and others move closer to becoming motif. In an examination of blue-and-white porcelain, I show how these forms were significantly reduced and their visibility then significantly increased: gardens can move from canon to motif. The epilogue examines three new Chinese-style gardens in the US and elucidates the difficulties of creating these re-presentations for viewers who may not grasp the allusions. The visual and written texts examined in this project were invested in keeping the past present in their own time.}, keywords = {Chinese Art}, author = {Brash, Carol} } @mastersthesis {11284, title = {The Lack of Interest in Maria Eichhorn{\textquoteright}s Work}, year = {2012}, school = {UC Berkeley}, abstract = {From 1958 to 1966, the San Francisco artist Jay DeFeo (1929-89) worked on one artwork almost exclusively - a monumental oil-on-canvas painting titled The Rose. The painting{\textquoteright}s protracted production isolated DeFeo from the mainstream art world and encouraged contemporaries to cast her as Romanticism{\textquoteright}s lonely genius. However, during its creation, The Rose also served as an important matrix for collaboration among artists in DeFeo{\textquoteright}s bohemian community. Her neighbors - such as Wallace Berman (1926-76) and Bruce Conner (1933-2008) - appropriated the painting in their works, blurring the boundaries of individual authorship and blending production and reception into a single process of exchange. I argue that these simultaneously creative and social interactions opened up the autonomous artwork, cloistered studio, and the concept of the individualistic artist championed in Cold-War America to negotiate more complex relationships between the individual and the collective.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Ferrell, Elizabeth} } @mastersthesis {11338, title = {Laity, Community, and Architectural Sculpture in Romanesque Aragon: Santa Maria de Uncastillo}, year = {2012}, school = {Pennsylvania}, abstract = {Santa Maria de Uncastillo (1135-55), built during a crucial period of repopulation following the Christian conquest of northern Iberia, reveals the impacts of migration and social change upon the visual arts. Long the site of an impregnable fortress on the frontier between Christian-ruled Aragon and Muslim-ruled al-Andalus, by the early twelfth century Uncastillo suddenly found itself far from the frontlines as Christian armies began to advance rapidly southward. The diminishing threat of invasion allowed Uncastillo to transform from a stronghold to a town, and a series of financial incentives, titles and privileges granted by the kings of Aragon attracted settlers to develop urban space. Repopulation entailed the establishment of roots, the formation of strong religious and civic communities, and the development of the built environment, all crucial to the town{\textquoteright}s success. These factors find expression in Santa Maria{\textquoteright}s architectural sculpture, which responded to the social and spiritual needs of parish and town alike. The ensemble itself was the product of enthusiastic trans-Pyrenean exchange between sculptors, though its content also speaks to the movement of people and their daily collaborations in a new environment. Notable for its unusual profusion of profane imagery, Santa Maria addressed social change using a vernacular visual language. In providing the first comprehensive consideration of Santa Maria{\textquoteright}s sculptural iconography, organization and style, this dissertation examines how monumental imagery constructed notions of community in order to shape belief and behavior, promoting cohesion and stability during an era of transformation. As a parish church, Santa Maria offers an opportunity to reorient scholarly discourses of image theory and reception to focus on the major, but little-known, lay viewership of the medieval town. With this in mind, the present study examines visual strategies of communication between clergy and laity, which emphasized the role of the individual within the community at large.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Perratore, Julia} } @mastersthesis {11372, title = {Land Grant Painted Maps: Native Artists and the Power of Visual Persuasion in Colonial New Spain}, year = {2012}, school = {Harvard}, abstract = {This dissertation analyzes the social function of native art in colonial New Spain through the examination of a genre of maps painted by Indian artists known as Land Grants or Mapas de Mercedes. Land Grant maps constitute the response of the native population to a Spanish land distribution practice implemented in the sixteenth century to allocate the territory among its dwellers in an orderly fashion and prevent the illegal occupation of the land. One remarkable feature this program adopted in New Spain was its strong visual component; the viceroy requested a painted map as part of each lawsuit{\textquoteright}s evidence. This is unique to the viceroyalty of New Spain and did not happen anywhere else in the Americas. It is reflective of the Indigenous deep-rooted tradition of thinking visually and dealing with everyday matters through the use of painted manuscripts. It was also stimulated by the Spaniard{\textquoteright}s belief in the truth-value of native pictorials. The result was a vast production of maps of which approximately 700 have survived. Since they were produced for the specific context of land grants and have their own distinctive characteristics, it is possible to say that this was also the birth of a new artistic genre. The present work examines how Indians in the colonial period created these artworks that enabled them to negotiate with the colonizers, defend their rights, and ultimately attain a more favorable position in society. This project demonstrates that the Indians took up this opportunity to design maps that were an essential component of their defense strategy. My research is based on a thorough examination of the originals at the National Archives in Mexico. I combined visual analysis with the transcription and paleography of the case{\textquoteright}s files, and a review of primary and secondary historical sources. This interdisciplinary approach enabled me to demonstrate that native artists not only described the contested site in their maps but also translated their own ideas about this space into visual form. My research underscores Indian agency and illustrates how they used Spanish laws to their advantage in preserving their possessions, sometimes to the twenty-first century.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {Pulido Rull, Ana} } @mastersthesis {11340, title = {Large Polities and Small Quarries: Local Resources and Imperial Governance in Roman Asia Minor}, year = {2012}, school = {Brown}, abstract = {This dissertation applies notions of governmentality to resource landscapes in the Roman province of Asia Minor. My argument is that Roman techniques of governmentality, in the context of an expanding empire, worked fundamentally through places and landscapes in the creation of a spatial polity. Polities, however, are also inclusive of a variety of spatial practices, many of which are not reflections of state intervention, but demonstrate how local landscapes push back and shape the polity as well. My primary case study juxtaposes small-scale marble quarries in the Marmara Lake Basin of central Lydia, Turkey against other, larger and more structured forms of stone extraction, to demonstrate that the state{\textquoteright}s spatial parameters are inchoate because such attempts are inherently physical. That is, attempts to create the polity as a spatial entity must occur in real landscapes that have different physical properties, histories, contextual geographies, and established links to place. As such, Rome should be considered an incomplete project, or a polity continuously in the making and always heterogeneous, appropriating physical engagements between places and people in order to structure social life through technologies, buildings, sculptural programs, and, most importantly, infrastructure. My emphasis, however, is on the incompleteness of this project during the Roman period and that one can detect these elements through close examinations of quarries. This study combines the results of intensive survey, mapping, and a marble sampling program to demonstrate the significance of local social contexts on how the marble from the Marmara Lake Basin was quarried during this period.}, keywords = {Egyptian/Ancient Near Eastern Art, Greek/Roman Art}, author = {Sekedat, Bradley} } @mastersthesis {11279, title = {Lee Ufan and the Art of Mono-ha in Postwar Japan (1968-1972)}, year = {2012}, school = {UCLA}, abstract = {Lee Ufan and the Art of Mono-ha in Postwar Japan (1968-1972) is the first English-language study on the late 1960s Japanese artistic phenomenon, Mono-ha (School of Things). Appearing at a moment of political crisis during the period of protests against the Vietnam War, Mono-ha stands at a juncture when the utopian energies of Japan{\textquoteright}s postwar avant-garde had reached an endpoint. Trained in continental philosophy, Mono-ha{\textquoteright}s key ideologue, Lee Ufan introduced a theory of perception that was informed by an integration of structuralism and phenomenology. Based on Lee{\textquoteright}s interpretation, Mono-ha strove to radically redefine the relationship between man and nature beyond the foundational dualism in western metaphysics and modern aesthetics. His theory rejected the act of creating as an expression of the subject{\textquoteright}s will and emphasized the structure surrounding the work{\textquoteright}s existence instead. This dissertation charts the Japanese avant-garde prior to Mono-ha and maps the transitional moments when artists began to destabilize visual perception through distortions of dimensional space in order to separate the real and the perceived. Beginning with Lee{\textquoteright}s interpretive analysis of the work that launched the movement, Phase-Mother Earth (1968) by Sekine Nobuo, the dissertation presents Lee{\textquoteright}s notions of gesture, corporeality, and topos, all foundational to an understanding of Mono-ha. The dissertation further analyzes Lee{\textquoteright}s Relatum series through his theorization of "encounter," another key concept in which the very idea of an object shifts from a permanent body to an anticipatory passage. Finally, the dissertation considers Mono-ha{\textquoteright}s other central artist/theoretician, Suga Kishio, whose interest in semantic structures distance his practice from Lee{\textquoteright}s focus on the phenomenology of seeing, offering a different interpretive framework for Mono-ha. In addition to archival and contemporary art historical analysis, the dissertation includes an appendix comprised of brief biographies of relevant artists and new translations of selected texts on Mono-ha from 1969 to 1987.}, keywords = {Contemporary Art, Japanese/Korean Art}, author = {Yoshitake, Mika} } @mastersthesis {11422, title = {Life to Likeness: Painting and Spectacle Au Vif in the Burgundian State}, year = {2012}, school = {UC Santa Barbara}, abstract = {In this dissertation I show how ties between Early Netherlandish painting and pageantry spectacles point to a distinct fifteenth-century conception of pictorial naturalism as figurative animation. In the fifteenth-century, painters were the primary designers of spectacles and the two media also shared patrons and a formal and critical vocabulary. Focusing on key artifacts and spectacles produced in the orbit of the influential Valois Burgundian ducal court between 1420 and 1478, I analyze the joint genesis, conception, and reception of painting and pageantry to argue that the proliferating interest in pictorial naturalism was driven by an ontological, rather than epistemological preoccupation. In Chapter I, "Living Pictures," I focus on the Ghent Altarpiece and a 1420 Passion staging to retrace the Pygmalionesque-Promethean metaphor that governed the production and reception of Early Netherlandish painting. Drawing on period texts, I show that before 1550 the ubiquitous Middle French terms for pictorial naturalism apres le vif and au vif, regularly applied to both paintings and spectacles, denoted a painting brought to, rather than (as hitherto presumed) from, life. I then distinguish fifteenth-century conceptions of contact and verisimilitude from the modern concept of indexicality. Tying the animation metaphor to such discourses as medical alchemy, as well as to paradigmatic texts such as the Roman de la rose, I contextualize this trope within the broader period preoccupation with eschatology and agency. Chapter II, "Painting Spectacle." is concerned with painters{\textquoteright} involvement in pageantry production. Analyzing accounting records-most closely a full set preserved from the 1468 Bruges wedding of Duke Charles the Bold with the English Princess Margaret of York-I establish that painters were the primary designers of stages, and, moreover, that patrons thought of stagecraft as painting. This medium indistinction evinces the somatic viewing experience encoded into imagery of both two- and three-dimensions in the fifteenth century, setting ontological equivalence as the inevitable conceptual horizon for naturalistic painting. In Chapter III, "Making Histories," I trace connections between the 1478 theatricalized ducal baptism of Philip the Handsome in Bruges, contemporized paintings of sacred history, and ekphrastic historiography such as Christine de Pizan{\textquoteright}s 1403 Livre de la mutacion de fortune, to show that the epistemology of fifteenth-century imagery au vif was anchored in virtuous authorial agency rather than objectivity-connoting immediacy. Establishing that a preoccupation with the animation of the image, rather than any budding sensibility for immediacy or objectivity, shaped that crucial moment of resurging interest in pictorial naturalism, I decouple some of the first naturalistic easel paintings from the rise of the modern indexicality paradigm of naturalism. This dissertation thus effects a significant revision to the art-historical account of the transition from medieval to Renaissance painting.}, keywords = {Renaissance/Baroque Art}, author = {Turel, Noa} } @mastersthesis {11435, title = {Like Life: Process, Information, Representation, 1967-1976}, year = {2012}, school = {UT Austin}, abstract = {This dissertation examines the work of artists Vija Celmins, Beryl Korot, and Lee Lozano. I illustrate how these underrepresented artists, working from the mid-1960s to the mid-1970s, used new technologies to develop the relationships between media and what I call the ordinary--elements of daily experience that form more of a chronicle than a narrative. In an effort to move away from the emotionalism of abstract expressionism and the rigidity of formalist painting, these artists experimented with photography, drawing, performance, and video art. New approaches to various media allowed artists to use facts, evidence, and data as an artistic refiguration of the experience of life. In Chapter 1, I study the early work of Vija Celmins to argue that her paintings and drawings engage data, a type of information that is verifiable and understandable in and of itself. Celmins depicts images through a translation of media, from the photograph to the carefully mapped out graphite drawing. Instead of producing meaning through narrative, Celmins engages the facts of our ordinary world by provoking the act of looking. In Chapter 2, I discuss the video installation Dachau 1974 by Beryl Korot. This multichannel video presents a concentration camp as an everyday tourist site, devoid of emotion. By reading Dachau 1974 alongside cybernetic theories by writers such as Norbert Weiner and Marshall McLuhan and by discussing the media of video at its earliest incarnation, I contend that this work approaches information directly as process. It is in the accumulation of imagery through the twenty-two minutes of the video that the viewer is able to discern the structure of the work and experience history in time. In Chapter 3, I examine the journals and art-life pieces of Lee Lozano. I argue that once data (Celmins) and processing (Korot) occur in information systems, so too does change. Lozano harnesses change in the embodiment of her life as work and in the creation of her constantly shifting identity as an artist. In my conclusion, I contend that while information may work within the realm of the everyday, ordinary life, its very existence allows for illumination. That is, the facts of the world rendered through information processing can be another artistic experience.}, keywords = {Twentieth-Century Art}, author = {Geha, Katie} } @mastersthesis {11265, title = {Living Auspiciousness: The Resurgence of Mianzhu{\textquoteright}s New Year Picture (Nianhua) Industry}, year = {2012}, school = {British Columbia}, abstract = {Chinese nianhua, or "New Year Pictures," refers to a broad category of popular prints and paintings displayed during the Lunar New Year but also throughout the year to mark seasonal festivals, life cycle rituals, and popular religious practices. Despite the widespread circulation of nianhua today, the scholarly literature has largely characterized it as a thing of the past, as that which died out with the state circumscription of the woodblock printing industry during the 1950s print reforms and the ban on nianhua during the Cultural Revolution (1966-1976). Although the industry has since rebounded, the scholarship continues to relegate nianhua to the past, as a prescriptive tradition represented by historic works rather those emerging in the marketplace. Drawing on historic archives, interviews, and firsthand observations, I will critique the recent rise of nianhua in Mianzhu, Sichuan. The primary goal is to rethink nianhua as a "living archive," an evolving body of works firmly embedded in its immediate contexts of production and use. Mianzhu is a powerful case study because its historic woodblock printing industry never completely died out during the upheavals of the 20th century. In the early 1980s, the industry was catalyzed by a resurgence of ritual practices and a state-led folk art revival, two competing and often conflicting discourses that have fought for prominence in the marketplace. These developments push for a performative view of nianhua, where meaning is not fixed in representation but continually innovated upon, appropriated, and activated in situ to meet specific ends. Building on the "performative turn" in art history and ritual studies, this study challenges methodological approaches that treat nianhua as discrete visual texts or folk art objects belonging to a shared system of auspicious signs and symbols. Each chapter deploys a different strategy for rethinking nianhua{\textquoteright}s attributed function to "pursue the auspicious, repel the portentous" as an open-ended site of contestation tied to ritual agency, lineage identity, and symbolic capital in the marketplace. Moving away from decoding symbols and towards analyzing practices, this study reveals the high stakes involved in recognizing nianhua as a living entity.}, keywords = {Chinese Art}, author = {Liu, April} } @mastersthesis {11247, title = {Looking Forward Together: Three Studies of Artistic Practice in the South, 1920-1940}, year = {2012}, school = {UT Austin}, abstract = {In this dissertation, I provide three studies of artistic practice in the era of the Great Depression. In each chapter, I write about a different set of artists working in the southeastern United States: I write about Walker Evans and the artistic and literary community located in the French Quarter of New Orleans, Louisiana (1926-1941); Edwin and Elise Harleston and their portrait studio in Charleston, South Carolina (1922-1931); and Bill Traylor and the artists who founded the New South Gallery and Art School in Montgomery, Alabama (1939-1940). Drawing from public and private archival collections, I consider how these artists made works that represented the South while they also made connections with artists and visual communities elsewhere; these connections placed them in dialogue with artists of the Harlem Renaissance, of American Regionalism, and of the Mexican Mural Movement. Although the artists in each chapter were from different Southern cities, they shared similar interests in the importance of developing and participating in artistic community. I situate each study in this dissertation in relation to a type of artistic practice. These types of artistic practice-documentary, portraiture, and exhibition-served as loci for Southern artists{\textquoteright} ideas about time and place. Southern studies have been haunted by the idea that the South always looks backward, to the past. In these three studies, I consider how Southern artists and their contemporaries in other places took different approaches to referencing the past and imagining a future for the South. The works made by these Southern artists-which are linked by their complicated relationships to race, history, and place-are largely absent from histories of American and 20th century art. Their absence tells us much about the stakes behind history writing. By bringing these studies into dialogue with other, existing, art historical contexts and communities, I trace how historical absence is constructed and why such absences are important to consider. The works in this dissertation are also linked by their difference from a kind of Modernism; in their multiple and discrepant modernisms, the artists in this dissertation made work which was both modern and not-modern, which looked backward while pushing forward.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Wellen, Laura Lindenberger} } @mastersthesis {11333, title = {LUX VITA: The Majesty and Humanity of Christ in the Gospels of Sainte-Croix of Poitiers}, year = {2012}, school = {Delaware}, abstract = {The Gospels of Sainte-Croix of Poitiers, a Carolingian manuscript of ca. 800, contains a remarkable image. Well known, but never studied in depth, it is an early and unique version of the important image type known now as the Maiestas Domini, or Christ in Majesty. Due to the traditional focus upon "types" and copying in scholarship treating medieval manuscripts, this singular image has been neglected or even discounted as a provincial peculiarity. However, my research has uncovered close ties between this manuscript and the court of Charlemagne, making possible a new interpretation of the miniature. I argue that the manuscript was created at the Corbie scriptorium under the guidance of Charlemagne{\textquoteright}s first cousin, Adalhard, and that its patron and owner was one of the king{\textquoteright}s most trusted officials, Bishop Jesse of Amiens. Although the manuscript as a whole is addressed, it is the image, and its significance within the Carolingian world, that is the primary focus of this dissertation. The miniature contains a heretofore unrecognized double iconography, for while at first appearing to represent solely Christ as God reigning in heaven, an inscription, as well as visual cues, guide the viewer to recognize the presence also of the cross of the crucifixion superimposed over the enthronement. Therefore through pious contemplation, Christ{\textquoteright}s dual nature is revealed: he is simultaneously on the cross and in heaven, inseparably human and divine. No other image conveys Christ{\textquoteright}s humanity and divinity in this unique and inventive way. Works of textual exegesis from a variety of patristic sources, which sought to explain the complexities of God through words, have been interpreted and represented in the miniature. The result is a bold and ingenious image that conveys key concepts about Christ, in his roles as both man and God, in ever deepening layers. The insistence on the unity of Christ{\textquoteright}s human and divine natures in this image is directly related to theological concepts and controversies that were vigorously debated and refuted by leading scholars at the court of Charlemagne in the late eighth century. This remarkable image is a reflection of, and a contribution to, that debate.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Herbert, Lynley Anne} } @mastersthesis {11404, title = {The Making of Hispano-Flemish Style: Art, Commerce, and Politics in Fifteenth-Century Castile}, year = {2012}, school = {IFA/NYU}, abstract = {This study examines the phenomenon of Hispano-Flemish style in fifteenth-century Castile, providing an account of its most important monuments and describing the ways in which it is embedded in specific social and cultural settings. Trade, diplomacy, and immigration account for the widespread presence of art and artists from northern Europe in Castile during the period and these mechanisms of international contact and exchange are the starting point for this inquiry. Chapter one details commercial relations between Castile and the art-producing centers of northern Europe, stressing the dominant role of merchants from Burgos and documenting the prevalence of imported luxuries like tapestries, paintings, and sculpture. The presence of imported artworks in Castile was paralleled by a similarly robust number of immigrant artists, some itinerant and others attached to permanent workshops. Their influence is discussed in chapter two, with emphasis on the establishment of multi-generational family workshops under the direction of immigrant masters. Such workshops rooted foreign styles on Spanish soil and decisively influenced the ways in which visual conventions were learned, transformed, and transferred. The receptivity of patrons to the visual qualities of the imported style is analyzed in relation to its capacity to assert emerging social, political, and spiritual values. The adoption of northern forms in Castile, first detected in funerary chapels of the mid-1430s, was sustained for the rest of the century, culminating in the completion of the monastery of Miraflores under the patronage of Isabel of Castile. Chapter three outlines the religious, commemorative, and political motives that informed the foundation of the monastery and those that animated Isabel{\textquoteright}s efforts to complete it. It establishes the chronology of works in relation to historical events and details the intervention of Juan and Simon de Colonia, Gil de Siloe, Juan de Flandes, and others. The reelaboration of Siloe{\textquoteright}s Flemish sculptural idiom at Miraflores was a distinctive process, stimulated by the demands of his royal patron, conditioned by the practices of a heterogeneous workshop, and obliging the visualization of a new concept of sovereignty.}, keywords = {Renaissance/Baroque Art}, author = {Kasl, Ronda} } @mastersthesis {11394, title = {Making the "Codex Mendoza", Constructing the Codex Mendoza: A Reconsideration of a Sixteenth-Century Mexican Manuscript}, year = {2012}, school = {Yale}, abstract = {The manuscript that we know as the Codex Mendoza is one of the best-known examples of the convergence of European and Native Mexican artistic traditions. Made in collaboration by Nahua scribe-painters and Spanish interpreters, this manuscript has been at the forefront of Mexican Studies since its arrival in Europe in the mid-16th century. While a traditional history accepts that the manuscript was first painted by native artists and then interpreted by a Spanish commentator, my work shows that the visual and textual narratives of the manuscript are intertwined, revealing a complex process of cross-cultural exchange and collaboration between European and Native scholars and artists that highlights the agency of indigenous individuals in the production of a document with crucial political stakes. I demonstrate how indigenous pictorial traditions, as well as Europeanizing materials and techniques, are deployed as both descriptive and rhetorical devices, carefully used in order to render the object compelling for both its makers and its audience. Drawing on the scientific analysis of pigments and materials, as well as formal, textual, and historiographical analysis, this dissertation re-examines a foundational document for colonial Latin American studies. I build on previous as well as original research to show that this manuscript cannot be the report on the peoples of Mexico that has been conventionally thought to have been sent by Viceroy Antonio de Mendoza to Emperor Charles V, as it is usually characterized. On the contrary, through careful historical and historiographic analyses of the manuscript, I argue that the manuscript is a native elite commission aligned to the ongoing defense of the indigenous population pursued by several notable Spanish clerics such as Bartolome de Las Casas throughout the first half of the sixteenth century. Furthermore, I examine the way in which this manuscript acquired a historiographic existence over three centuries, becoming the Codex Mendoza only in 1781; I also seek to address the reasons that scholars from Francisco del Paso y Troncoso to Nicholson and Harwood have developed in order to challenge the connection between the manuscript and the Viceroy. In the end, this manuscript can be recognized as a powerful object, whose intended audience went beyond one individual, whose narrative priorities open a direct window into the political and social process of the nascent Viceroyalty of New Spain, and which, in the pen of European and American scholars, has accomplished a prime role in the ongoing process of the invention of the Ancient Americas.}, keywords = {Pre-Columbian Art}, author = {Gomez Tejada, Jorge} } @mastersthesis {11434, title = {Malevich{\textquoteright}s Post-Suprematist Paintings and the Construction of History}, year = {2012}, school = {Bryn Mawr}, abstract = {This dissertation discusses Kazimir Malevich{\textquoteright}s post-abstract, post-suprematist figurative work by drawing upon semiotic and post-structuralist theories, addressing questions such as: Why did Malevich return to painting figures after adamantly abandoning them for pure abstraction? How do these figures re-figure or resist abstraction? Why did he paint inexact replicas of his own pre-Suprematist works, and why did he give them dates that were similar, or even prior, to the dates of their prototypes? How did he manage to put on an exhibition of his intellectually challenging, subversive works in 1929, at the first moments of sustained state support for proto-socialist realism, at one of the most important museums of Russian art in the Soviet Union, the Tretiakov Gallery in Moscow? How are contemporaneously contested identities of the artist, the Russian peasant, and the Soviet citizen reflected and refracted in the paintings displayed at this exhibition? The first chapter comprises an introductory survey of pertinent scholarly literature, and discusses methodological grounding within both Russian and Western sources. The second chapter concerns a semiotic reading of the circumstances and documents surrounding the 1929 "retrospective" exhibition, which for the most part displayed paintings composed in the eighteen months prior to the exhibition, but inscribed with dates from the 1900{\textquoteright}s and 1910{\textquoteright}s. This chapter includes a close reading of Alexei Fedorov-Davidov{\textquoteright}s pamphlet-catalogue accompanying the exhibition, particularly within the context of early Stalinist Marxist discourse, and it discusses how the artist{\textquoteright}s images of peasants confounded contemporary systems of representation and disrupted attempts to secure a sense of Soviet identity. Chapter three proposes that postmodern discourses, as opposed to the discourses of modernity within which Malevich{\textquoteright}s works are most often examined, might be fruitfully employed to frame the artist{\textquoteright}s circa-1929 work. The fourth chapter considers the ways in which certain paintings from the 1929 exhibition explicitly duplicate works from earlier in Malevich{\textquoteright}s career, many of which had been destroyed, lost, or otherwise rendered inaccessible. Attention is given to how these paintings participated in contemporaneous and more recent discourses of originality, the copy, and conventionality.}, keywords = {Twentieth-Century Art}, author = {Gasper-Hulvat, Marie} } @mastersthesis {11395, title = {Malinalco: An Expression of Mexica Political and Religious Dominance in a Subject Territory}, year = {2012}, school = {UT Austin}, abstract = {Near the edge of the Aztec empire, about sixty-eight miles from Mexico City-Tenochtitlan, the temple complex Malinalco (built 1501 -- ca. 1519) comprises a tiny portion of an eponymous town and has the only known monolithic temple in Mesoamerica. The Mexica tlatoani Ahuitzotl (r. 1486-1502) commissioned the complex in 1501, and his successor Moctezuma II (r. 1502-1520) renewed the work order at least once. The site remained unfinished after the Spanish conquest of Tenochtitlan in 1521. The remarkable preservation of Structure I offers a unique view of a Mexica temple interior, and the eagle and jaguar seats carved within that temple led to the traditional interpretation of the site as a haven for eagle and jaguar warriors. In contrast, I contend that Malinalco{\textquoteright}s ceremonial center was a Mexica space for politico-religious rituals likely performed by the tlatoani or his proxies. My analysis of Malinalco{\textquoteright}s pre-Mexica history (Chapter 2) examines the mythical history of the Malinalca and their possible dual Mexica-Toltec heritage. Malinalco{\textquoteright}s now-lost mural of Toltec warriors situates the site within the larger corpus of Tula-inspired procession scenes, and links it iconographically to Tenochtitlan monuments that legitimated imperial power. Through a close analysis of early colonial texts and pictographic sources, I show that the eagle and jaguar seats in Structure I were not used by warriors, but rather were the purview of the tlatoque. An analysis of Malinalco{\textquoteright}s sacred landscape features demonstrates that the Mexica did not simply build a temple complex in the sacred space of a subject territory, but rather transformed the shape of a sacred mountain in declaration of a god-like imperial power. Finally, Malinalco{\textquoteright}s famous upright drum, often cited as proof that the site was for warriors, actually shows eagle and jaguar warriors weeping as they sing a war song, perhaps alluding to the martial sacrifices of the empire as it fought to preserve and expand its boundaries. I conclude that the Mexica designed Malinalco as a space for the performance of politico-religious regime-legitimating rituals, permanently declaring their dominance in their empire{\textquoteright}s hinterland.}, keywords = {Pre-Columbian Art}, author = {King, Virginia} } @mastersthesis {11309, title = {Mapping the Urban Database Documentary: Authorial Agency in Utopias of Kaleidoscopic Perception and Sensory Estrangement}, year = {2012}, school = {Harvard}, abstract = {This dissertation theorizes the genre of the urban database documentary, a mode of media art practice that uses structural systems to uncover new perspectives on the lived experience of place. While particularly prominent in recent decades, I argue that the genre of the urban database documentary arises at the turn of the 20th century in response to the rise of the metropolis and the widespread adoption of new media technologies such as photography, cinema, and radio. This was a time when the modern city engendered significant disorientation in its inhabitants, dramatically expanding horizontally and vertically. The rampant pace of technological development at this time also spawned feelings of dehumanization and the loss of connection to embodied experience. The urban database documentary emerges as a symptomatic response to the period{\textquoteright}s new cultural conditions, meeting a collective need to create order from vast quantities of information and re-frame perception of daily experience. The design of structural systems became a creative method for simultaneously addressing these vast new quantities of information, while attending to the particularities of individual experience. For media artists, building a database into the aesthetic design of a work itself offers an avenue for creatively documenting the radical multiplicity of urbanized environments, preserving attention to the sensory experience of details while aspiring to a legible whole. Crucially, I argue that the design of these systems is a vital form of authorial agency. By reading these artists{\textquoteright} work in relation to contemporary practice, I aim to make transparent the underlying, non-technical ambitions that fuel this distinctive mode of media art practice.}, keywords = {Digital Media/Animation}, author = {Shapins, Jesse} } @mastersthesis {11443, title = {Material Dispersions: Sculpture, Photography, and International Interventions in Italy, 1962-72}, year = {2012}, school = {Michigan}, abstract = {The twenty-five years following the end of WWII witnessed an explosion of experimental sculptural projects that embraced new materials and ephemeral installation tactics. These works were often large in scale and displayed in unconventional spaces. While these tendencies emerged internationally in the postwar period, Italy provided an especially active if informal network of progressive patrons, whose support was necessary to facilitate the realization of increasingly ambitious projects. This dissertation focuses on four sculptural works created in Italy by foreign artists, David Smith{\textquoteright}s Voltri series (1962), Yayoi Kusama{\textquoteright}s Narcissus Garden (1966), Robert Smithson{\textquoteright}s Asphalt Rundown (1969), and Joseph Beuys{\textquoteright} Arena - dove sarei arrivato se fossi intelligente! (1972), to examine the emergence of these tendencies. It asserts that as materials and display became more transitory and contingent, photography became a fully integrated element, not a mere document, of the work. While diverse in scope and intent, these four projects presented sculpture as a node, a center of transaction that was consciously dispersed through photographic components. Each fully embraced the possibilities of the photographic image while remaining committed to the making and display of three-dimensional, physical phenomena. The combined presence of sculptural object and photograph created a fragmented but conjoined work of art that offered a new model of what sculpture could be; not a singular, autonomous "thing," but an active, dispersed arena of engagement with the physical world, with photographs operating within the sculptural phenomena they depict.}, keywords = {Twentieth-Century Art}, author = {Sullivan, Marin} } @mastersthesis {11375, title = {Mathias Goeritz and International Modernism in Mexico, 1949-1962}, year = {2012}, school = {Yale}, abstract = {This dissertation is the first English-language scholarly examination of German-born artist Mathias Goeritz (1915-1990), who catalyzed the aesthetic transformations of Mexico{\textquoteright}s midcentury "Ruptura" (Rupture) through his activities within and across the fields of sculpture, architecture, exhibition practice, art publishing, criticism, and pedagogy. The Ruptura, a moment of tremendous cultural activity during the 1950s and {\textquoteright}60s, corresponded to a rapid rise in industrialization and urbanization during Mexico{\textquoteright}s Institutional Revolutionary period (1946-1970). Goeritz immigrated to Mexico via Spain in 1949 and there began producing sculpture. Collaborating with prominent architects, he played an active role in designing several of the most visible testaments to Mexico{\textquoteright}s midcentury building boom while also serving as a crucial link to transnational modernist movements. Each chapter of this study centers on a major work or series by Goeritz that embodies the tensions between local circumstances and traditions and international modernist forms and ideas as Mexico negotiated its entrance into the postwar, industrial "West." Chapters 1 through 3 examine the efforts of Goeritz and his peers-including Luis Barragan, Carlos Merida, Mario Pani, David Alfaro Siqueiros, and Rufino Tamayo-to give form to Mexico{\textquoteright}s shifting political and economic landscape between 1949 and 1957. The last chapter addresses how, between 1958 and 1962, Goeritz transferred the monumental aims of his Arquitectura Emocional (Emotional Architecture) discourse-a synthesis of Mexican integracion plastica (integration of art into architecture) and the CIAM-generated Synthesis of the Arts-to portable, mutable objects. He circulated these in neo-avant-garde networks, while also disseminating in Mexico information about movements such as Zero and Nouveau Realisme. Taking Goeritz{\textquoteright}s extensive oeuvre and archive as its lens, this study locates the rise of contemporary art in Mexico not in a rupture between realist and abstract painters, as has previously been asserted, but at the nexus of sculpture, architecture, muralism, and installations, and in the circulation of new forms, debates, and critical approaches. This reframing offers a model for considering midcentury Mexican art and architecture in relation to parallel events in other parts of the world, and connecting more recent Mexico-based artistic practices to a much longer local history.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Josten, Jennifer} } @mastersthesis {11418, title = {Memorializing the Masters and Celebrating le Tre Arti del Disegno: Late Italian Renaissance Funerary Monuments Honoring Artists and the Arts}, year = {2012}, school = {Temple}, abstract = {In this study, I argue that the cult of the artist centered on memorial making. From the Quattrocento through the Seicento, the growth in the size and number of memorials for artists parallels the changes that took place regarding the social class, professional position, and economic privilege of practitioners of the three main visual arts, painting, sculpture, and architecture. Similar to portraits, self-portraits, personal emblems, and signatures, tomb effigies and epigraphs were a type of construction of identity that articulated similar notions, serving as a form of popular praise and as a way to preserve one{\textquoteright}s memory for posterity. Moreover, tombs for artists existed in the public sphere on a grand scale, reaching larger audiences and thus having a greater cultural impact. Additionally, in tandem with contemporary art theory, tomb making became a tangible outlet for the paragone of the arts and for comparison against each other. The funeral ceremony functioned not only as a communal display of local pride but it also served as a vehicle for constructing artist-patron relationships and a way to promote the profession. The faculty to fashion artistic ties through the public spectacle of the funeral and the permanent medium of the memorial proved to be particularly essential for the newly formed art academies in regard to group identity and professional bonding. Publicizing the unification of the three arts was a key concern for the academies, especially in regard to decorating communal burial sites and devising group insignia. The display of emblematic imagery in addition to the erection of inscriptions that link the artist to his master on the tomb memorial became a palpable way to formulate an artistic pedigree for that particular artist and for that associated community of artists. The early art companies in central Italy-I Virtuosi al Pantheon in the 1540s in Rome, the Accademia del Disegno in the 1560s in Florence, and the Accademia di San Luca in the 1590s in Rome-were founded with the intention to properly bury their members. Moreover, for members, establishing ties to Raphael and Michelangelo, who received unprecedented burials, were hailed as symbolic figureheads for the academies, and were venerated as "artistic saints," lies at the center of sixteenth-century memorial making for artists. For some in the profession, as was the case for the followers of Raphael, being buried near their capomaestro solidified real or desired connections. The display of what was believed to be Raphael{\textquoteright}s skull in the seventeenth-century Roman Academy exhibits the new regard for the artist. The physical being of the artist came to be an object charged with meaning, similar to a holy relic, bringing new meaning to the concept of the "divine artist." For others, viewing the miracle of the unmarred corpse of Michelangelo, their padre delle tre arti, upon the opening of his coffin after it arrived in Florence, left a lasting impression. By exploring the panegyric following of Raphael and Michelangelo with a focus on tomb memorials, this dissertation explores what is meant by the phrase the "cult of the artist," especially in relation to these two masters. In doing so, this study synthesizes and weaves together otherwise disparate sources in order to elucidate a better understanding of the idea of the artist during the Early Modern period in Italy. As it proves, honoring the artist through the creation of memorials was the principal way to publicly pay tribute to those in the trade and provided a new type of artistic camaraderie.}, keywords = {Renaissance/Baroque Art}, author = {Smithers, Tamara} } @mastersthesis {11396, title = {Middle Cypriot White Painted Ware: A Study of Pottery Production and Distribution in Middle Bronze Age Cyprus}, year = {2012}, school = {Toronto}, abstract = {White Painted Ware, the most identifiable of pottery types of the Middle Bronze Age on Cyprus, has been studied by scholars either with the view to creating chronological typologies or to tracing trade routes. Little attention has been paid to the technology and social organization of production of this pottery. This thesis is concerned with the potters as much as with the pottery. The production sequence is examined from clay selection through to decoration of the vessels. An attempt is made to isolate production centres with unique methods of vessel construction as well as preferences for certain shapes and decorative schemes. Using petrographic analysis, different fabrics are isolated within the ware, and these are in turn related to the groups of vessels created based on style. Similar fabrics are used in multiple sites and most sites were found to have used multiple fabrics to create pottery that is considered to be part of the White Painted ware group. Beneath the major differences in styles between sites are several minor variations in construction method and decoration that are more likely to represent choices made by individual potters or small groups of potters working together. Based on vessel shape and decoration, seven distinct production centres appear to have been manufacturing White Painted ware on Cyprus over the course of the Middle Bronze Age. These were not operating simultaneously, but appear to have been active at the time that their regions were most prosperous, linking the production and use of White Painted ware with political and economic power.}, keywords = {Prehistoric Art}, author = {Gagne, Laura} } @mastersthesis {11199, title = {Middle East Technical University and Revolution: Development Planning and Architectural Education during the Cold War, 1950-1962}, year = {2012}, school = {Virginia}, abstract = {Through the analysis of the inception and development of the Middle East Technical University (METU), this dissertation examines the relationship between the diverging ideologies of development that became prevalent within the democratizing and decolonizing contexts of the postwar period. The study shows how the idea of training and education, and more specifically, the idea of a school of architecture and community planning emerged within this context as a new strategy of development and as a common ground among the diverging interests of multiple national and international agents and agencies. The study re-examines the roles played by these national and international agents and agencies, including the role of the expert, and proposes new methodologies for the interpretation of primary documents from this period. Furthermore, the study analyzes how the power dynamic among participating professional groups and state agencies contributed to and shaped the outcome of the project. It reveals how the emerging discipline of urban planning and architect-planners, operating in this context and sponsored by the United Nations Housing and Town and Country Planning (UN-HTCP) agency, played a central role in the configuration of this new strategy as well as in the organization of the administrative and spatial make-up of the resulting institution of higher learning. At the same time, it shows how this configuration was then contested and reconfigured as a result of multiple overlapping rivalries among numerous professional and bureaucratic groups: Between Turkish and foreign architects; between the Turkish architectural community and the State; and, between the two existing schools of architecture. The study presents the rivalries among these national and international agents and agencies as the actual political context of the period revealing how professional groups participated in the Cold War much more directly than previously formulated. Through the course of two successive design competitions and taking advantage of the coup of May 27, the study traces how the graduates of the Istanbul Technical University joined hands with the Ministry of Public Works to take the control of the administration and the planning of METU from foreign consultants.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Erdim, Burak} } @mastersthesis {11381, title = {Miraculous Crucifixes and the Construction of Mexican Colonialism: The Artistic, Devotional, and Political Lies of Mexico City{\textquoteright}s Early-Colonial Cristos}, year = {2012}, school = {Tulane}, abstract = {No record in ProQuest or in Tulane ETDs}, keywords = {Latin American/Caribbean Art}, author = {Burdette, Derk} } @mastersthesis {11280, title = {Mirror Affect: Interpersonal Spectatorship in Installation Art since the 1960s}, year = {2012}, school = {Pittsburgh}, abstract = {This dissertation traces the genealogy of interpersonal spectatorship in contemporary installations that encourage viewers to affectively relate to one another by watching themselves seeing and acting individually or as a group. By incorporating reflective surfaces, live video feedback, or sensors in their works, contemporary artists around the world have been challenging what had come to be a binary relation between the beholder and the art object, thereby, heightening viewers{\textquoteright} awareness of the social and spatial contexts of aesthetic experience. Starting with the 1960s there has been not only an increasingly sharp departure from the autonomy of the art object on the part of artists, but also a rejection of prevailing self-focused and private modes of art spectatorship on the part of viewers of art. Situated between theories of relational aesthetics and new media theories of interactivity, my dissertation examines the social, cultural, and technological factors that have contributed to the production of installations that act as affective interfaces between multiple viewers. I argue that contemporary artworks with mirroring properties have triggered a shift towards increasingly public and interpersonal forms of art spectatorship that are consonant with the emergence of new modes of perception and sociability shaped by enhanced surveillance, unavoidable multitasking, and online networking.}, keywords = {Contemporary Art, Performance Studies}, author = {Albu, Cristina} } @mastersthesis {11239, title = {The Mississippi River in Antebellum Visual Culture}, year = {2012}, school = {Delaware}, abstract = {Between the 1830s and the Civil War, the Mississippi River was embedded in some of the most contested economic, moral, cultural, and political debates of the time. In the same decades, technological advances in printing and transportation enabled images of the river to circulate widely in the form of paintings, maps, illustrated magazines, engravings, and bird{\textquoteright}s-eye views. By bringing to light the multi-faceted ways that the river was represented visually, this dissertation argues that images played a key role in defining the Mississippi as a physical and cultural entity. While previous art historical studies have argued that national identity cohered around nineteenth-century landscape representation, this project highlights the potential for images of the antebellum landscape to facilitate mobile and shifting meanings. Progressing downriver, each chapter addresses the circulation of key works as well as their form and content. Chapter 2 demonstrates that George Catlin{\textquoteright}s landscape paintings of the Missouri and Upper Mississippi River Valleys recreated the sense of mobility that the artist himself experienced during his travels, in contrast to more grounded, localized views created by Seth Eastman. Chapter 3 reckons with the iconic imagery that George Caleb Bingham created of the Middle Mississippi Valley, emphasizing the social malleability of his artistic persona, boatmen figures, and patrons. Chapter 4 looks at how the Mississippi figured into debates about the nature of time and the American past by discussing the complex media interactions and contemporary scientific and historical undercurrents underlying Monumental Grandeur of the Mississippi Valley, a moving panorama concerned with Native American earthworks. Finally, chapter 5 analyzes the way that New-Orleans based publisher Benjamin Norman and artist Marie Adrien Persac harnessed conventions from cartography, the picturesque, and urban viewmaking to create Norman{\textquoteright}s Chart of the Lower Mississippi, an engraved map of cotton and sugar plantations that promoted a vision of the region as stable, harmonious, and productive as the nation inched towards Civil War. Together, these representations figure the Mississippi River as malleable terrain that was shaped by artists, their viewers, and the mobility of people and objects}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Luarca-Shoaf, Nenette} } @mastersthesis {11392, title = {Moche Marks of Distinction: Time and Politics in Painted Pottery Substyles of the Moche Culture, North Coast, Peru, AD 100-900}, year = {2012}, school = {UCLA}, abstract = {This dissertation proposes, on the basis of an iconographic and stylistic analysis of Moche fineline painted decorations on ceramic vessels from the Moche, Jequetepeque, and Chicama Valleys in north coastal Peru, a new chronology for, and an enhanced understanding of, the political landscape of Moche culture during the Late Moche period (AD 600-900). I, like others before me, see Moche ceramic vessel paintings as manifestations of the dominant ideology of the polities that created them and as belonging to distinct regional artistic substyles. This dissertation reevaluates these paintings through the lens of regional variation. A formal and iconographic comparison of two previously identified substyles, one called the "Huacas de Moche substyle" and other the "San Jose de Moro substyle," as well as a new one, which I label the "Late Chicama substyle," reveals evidence that the Huacas de Moche fineline painting tradition preceded that of the Late Chicama tradition and that the Late Chicama substyle came before the San Jose de Moro tradition. Examination of the roles these substyles played in elite power strategies at each polity indicates that certain major changes took place over time in Moche ideology and political organization. The first chapter reviews previous studies of Moche fineline painting and argues for the use in subsequent chapters of certain theories of style, political economy, and agency in establishing temporal connections between fineline pottery and political change. The second chapter outlines previous models of Moche political organization, from the older single-state hypothesis, in which all Moche sites were subject to a capital established at Huacas de Moche, to the current model of multiple polities, each with its own capital. Chapter Three, which compares the Huacas de Moche and San Jose de Moro styles of Moche fineline painting, is followed by Chapter Four, in which the Late Chicama fineline painting substyle is compared to the other two. By tracing the development of fineline boat imagery across the three substyles, Chapter Five reveals a temporal progression from the Huacas de Moche substyle to the Late Chicama substyle, followed by the San Jose de Moro substyle. In Chapter Six, on the basis of these iconographic changes, I argue that the Late Chicama polity grew out of the Huacas de Moche polity and propose that the San Jose de Moro polity was founded by an elite family responsible for impersonating the so-called Priestess-a possibly mythological figure in Moche art whose real-life correlates, high status human ritual impersonators-have been discovered archaeologically at that site.}, keywords = {Pre-Columbian Art}, author = {Cole, Ethan} } @mastersthesis {11289, title = {The Modern Monarch: Empress Elisabeth and the Visual Culture of Femininity, 1850-1900}, year = {2012}, school = {Rutgers}, abstract = {This dissertation examines painted, photographic, and printed portraits of Empress Elisabeth of Austria (1837-1898) as sites for the visualization of modern women. A renowned beauty whose images were collected by individuals of every social class across the continent, Elisabeth was both a producer of culture and an instrument in the expression of larger political, psychological, and artistic forces. Pairing visual analysis with archival research, historical contextualization, and theoretical frameworks drawn from visual culture, photography, and the history of psychiatry, Elisabeth{\textquoteright}s portraits emerge as active participants in the modernist project. Chapter 1 situates Elisabeth{\textquoteright}s portraiture within the historiography of nineteenth-century modernism. Her simultaneously theatrical and self-protective beauty reveals how the phenomenon of celebrity influenced female portraiture. The second chapter examines how Habsburg artists appropriated Elisabeth{\textquoteright}s photographic image to project their own vision of femininity. Inexpensive photolithographs of the imperial family integrate photographs of Elisabeth to create narratives of domestic bliss. I argue that photographic technology was central to the success of these images because the trace of Elisabeth{\textquoteright}s body masked the reality of her difficult relationship with her Habsburg relatives and refusal to perform the public duties of empress. Chapter 3 explores how Elisabeth created her own construction of feminine beauty using carte-de-visite portraits of beautiful women she requested from her foreign ambassadors. Elisabeth{\textquoteright}s beauty albums pair Parisian courtesans with reproduced paintings of the French Empress Eugenie, suggesting an equivalence between empress and entertainer; this sensibility is visualized in Elisabeth{\textquoteright}s 1865 state portrait by Franz Xaver Winterhalter. The fourth chapter links portraits of Elisabeth by Winterhalter and Anton Romako to the visual culture of psychiatry. As a woman who struggled publicly with mental instability, I argue that Elisabeth{\textquoteright}s portraits allowed artists to visualize mental illness as an alluring, modern disease. In identifying portraits of Elisabeth as sites for the development of modernism, this dissertation introduces a sphere of visual and political imagery typically excluded from examinations of avant-garde artwork in the nineteenth century. Additionally, this dissertation undermines the traditional narrative of Vienna 1900 as an abrupt break from the past by revealing mid-century roots for the celebrated art of Viennese modernism.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Gruber, Olivia Florek} } @mastersthesis {11431, title = {Modern Translation: Estonian Art from the National Awakening to the Brezhnev Stagnation}, year = {2012}, school = {Rutgers}, abstract = {During the Estonian National Awakening, the nineteenth-century period of cultural self-awareness, artists in this eastern European country, subsequently a republic of the USSR, creatively adapted stylistic models originating elsewhere in Europe. After World War II, artists turned to the United States for inspiration. This interpretive modernism, which was suppressed under Stalinism, remained integral to Estonian national identity, and resurged in the late-1950s reformist period known as the "thaw." In the ensuing cultural renaissance of the 1960s, artists recovered the pre-war modernist past while reopening lifelines to contemporary art abroad. Until cultural retrenchment in the 1970s, artists used unofficial exhibitions to provoke audiences comprising cultural officials, the scientific and creative intelligentsia, and the general public. This artistic activity must be analyzed in the context of its heritage: a national movement begun in the nineteenth century, and at whose height artists like Paul Raud and Nikolai Triik equated Estonian self-realization with cultural modernity sustained by adaptive processes. Nonetheless, histories of Estonian art appearing after independence in 1991 have scuttled this salient quality in favor of Western modernist paradigms, a cornerstone of which is originality. This dissertation examines pre-war Estonian art, the totalitarian forms that supplanted those aesthetic modes, and the return of Estonian modernism at unofficial exhibitions staged by Leonhard Lapin, Raul Meel, and other artists in the final decades of Soviet rule. Concepts drawn from Juri Lotman{\textquoteright}s semiotic theory of culture support the proposed, alternative history of Estonian art, as well as critical reassessment of Cold-War modernist theory that has obscured that history.}, keywords = {Twentieth-Century Art}, author = {Canwell, Jeremy} } @mastersthesis {11214, title = {Modernizing the American Medical School, 1893-1940: Architecture, Pedagogy, Professionalization, and Philanthropy}, year = {2012}, school = {Boston}, abstract = {At the end of the nineteenth century, a revolution occurred in American medical education as physicians embraced scientific medicine and experiential learning. The new curriculum required the total redesign of the medical school. Drawing on archival sources, this dissertation provides the first comprehensive examination of medical school architecture and considers the transformative years 1893-1940. Heretofore research on medical architecture has focused on spaces for patient care. An analysis of the buildings for medical training reveals a new set of cultural discourses. The dissertation centers on eight case studies representing a diversity of locations, funding, reputations, and student populations, specifically Johns Hopkins Medical School, Harvard Medical School, University of Nebraska College of Medicine, Vanderbilt University School of Medicine, Woman{\textquoteright}s Medical College of Pennsylvania, Columbia University{\textquoteright}s College of Physicians and Surgeons, Syracuse University College of Medicine, and Howard University College of Medicine. At the most basic level, this investigation traces what was built. The dissertation goes on to argue, however, that the varied forms of the buildings promoted alternate conceptions of modern medicine; the buildings themselves helped to define modern science for their occupants. What is more, the medical schools and their dormitories shaped the professional identities of physicians, and the medical schools marketed modern medicine to members of the non-medical community. Finally, the dissertation asserts that funding influenced architectural developments. A number of private and public sources supported medical education construction, but only the General Education Board (GEB) funded by John D. Rockefeller, Sr., had a national impact on medical school design. Under the leadership of Abraham Flexner, the GEB encouraged a particular building type and promoted the rise of Shepley, Rutan, and Coolidge and its successors as the premier architectural firm specializing in medical schools in this period. This dissertation proposes new lenses through which to analyze educational architecture. It makes clear that professional identities can form long before employers and employees enter the workplace, and it underscores the need to investigate philanthropic organizations without codified architectural programs for their impact on the built environment.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Carroll, Katherine} } @mastersthesis {11398, title = {Monstrous Creatures and Diverse Strange Things: The Curious Art of Jan van Kessel the Elder (1626-1679)}, year = {2012}, school = {Michigan}, abstract = {The Antwerp artist Jan van Kessel the Elder (1626-1679) was esteemed throughout Europe for producing finely-wrought, miniature paintings on copper that depict a broad range of flora and fauna, exotic places, and objects of natural and human artistry. Rather than a transparent window onto the natural world, Van Kessel{\textquoteright}s pictures avowedly play and toy with nature, bending it in a variety of ways that bring into focus its artifice and hidden aspects. His compositions contributed to the fashioning of his professional identity and created a visual discourse about early modern strategies and techniques for investigating and representing nature. The {\textquoteright}natural{\textquoteright} world presented in Van Kessel{\textquoteright}s art was ambitiously crafted from the art history of sixteenth- and seventeenth-century Antwerp and informed by the local cross-fertilization of media, materials, and artisanal knowledge. Through a combination of wit, technical virtuosity, self-referentiality, and allusions to art-historical lineage, Van Kessel{\textquoteright}s paintings encourage viewers to simultaneously think about art, in terms of collecting, connoisseurship, citation, and media, and think anew about nature. This study uses Van Kessel{\textquoteright}s art as a distinctive lens through which to examine the relationship between craft, curiosity, and the pursuit of natural knowledge in the early modern period. Each chapter situates Van Kessel within a particular context where art and natural history intersected in late seventeenth-century Antwerp. Taken together, these investigations reveal how his production responded to a unique convergence of circumstances in that city which included the growth of a popular, commercial strand of natural history, a thriving culture of art collecting and connoisseurship focused on local artists, and a burgeoning luxury industry. The dissertation argues that Van Kessel{\textquoteright}s material and conceptual interventions into the representation of the nature, such as his innovative, painted "cabinets without drawers" and witty signatures formed from insects and snakes, enabled him to redefine the scope of natural historical illustration and negotiate the value and status of the small-format cabinet picture.}, keywords = {Renaissance/Baroque Art}, author = {Baadj, Nadia} } @mastersthesis {11378, title = {The Monumental and the Ephemeral: The Sao Paulo Bienal and the Emergence of Abstraction in Brazil, 1946-1954}, year = {2012}, school = {IFA/NYU}, abstract = {From the mid-1940s through the mid-1950s, as Brazil returned to democracy after an eight-year dictatorship and underwent rapid economic growth, Brazilian artists in large numbers adopted geometric abstraction and formed self-consciously avant-garde artistic groups. These artists{\textquoteright} turn to abstraction coincided with a proliferation of new modern art institutions, principal among them the Bienal de Sao Paulo (Sao Paulo Biennial, 1951-present), which quickly became the dominant venue for modern art in Brazil and, arguably, in Latin America. This dissertation examines how the practice and theory of abstraction formed in relation to the early biennials. I examine the interconnected network of artistic production, exhibition practice, and critical reception by which artists and art professionals proffered their visions for the history and future of Brazilian and international art. This study illuminates how the dual character of the Bienal-monumental yet ephemeral-shaped the development of abstraction and the emergence of a postwar avant-garde in Brazil. Chapter one demonstrates that the leadership of the Museu de Arte Moderna de Sao Paulo (Museum of Modern Art of Sao Paulo, MAM-SP) made the strategic decision to abandon the model of a museum for that of a biennial, and argues that the contentious art critical discussion in the late 1940s, centered on MAM-SP and its inaugural exhibition of abstract art, forced artists to choose between representational modes and non-objective abstraction. Chapter two challenges the widely held understanding of the first Bienal (1951) as the seminal event that shaped the course of postwar Brazilian art history by arguing that the emergence of Brazilian abstraction, and the establishment of Grupo Ruptura (Rupture Group, 1952-1960) and Atelier Abstracao (Abstraction Studio, 1953-1956), was also crucially linked to changes in artistic education and art criticism in Brazil following World War II. Chapter three reveals that the second Bienal (1953-1954) created an innovative, cross-cultural, and transhistorical account of the vanguard artistic past and present that would prove transformative for both figurative and abstract art in Brazil, including the formation of Grupo Frente (Front Group, 1954-1956).}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Nelson, Adele} } @mastersthesis {11351, title = {Morgantina, Sicily: The Worked Bone and Ivory Objects, 459 BC to the First Century AD}, year = {2012}, school = {Rutgers}, abstract = {The purpose of this dissertation is to prepare a publishable catalog of more than six hundred unpublished worked bone and ivory artifacts unearthed in successive archeological excavations of the second city of Morgantina, Sicily, beginning in 1955 and continuing until the present time. To accomplish this, it was necessary to examine all these bone and ivory objects, to assess them in terms of relationship to the larger Greek koine of the Mediterranean basin, to categorize and describe them in detail, and to photograph them. Morgantina, an inland Greek colony dating from the second quarter of the sixth century B.C., flowered after destruction by fire in 459 B.C. at the hands of an indigenous leader, Ducetius, and continued to flourish during the Hellenistic era. The city was captured in 211 B.C., during the Roman invasion and conquest of Syracuse. The city survived in diminished form from 211 B.C. to the mid-first century A.D. Most of the bone and ivory objects cannot be dated more closely than the period 459 B.C., the date of the destruction by fire, to the first century A.D., when the city disappeared. The Morgantina artifacts which are the subject to of this dissertation consist largely of items for daily use, such as utensils for personal grooming and jewelry for personal adornment, implements for writing, tools for a variety of purposes, handles, hinges and other structural and decorative components for furniture, game pieces, and miscellaneous pieces of uncertain application. From study of these objects, one can conclude that all conform substantially to similar worked bone and ivory objects found throughout the wide geographical area constituting the Greek world prior to the first century A.D. The Morgantina objects evidence strong connections to that Greek world, even with locales which could be considered far-flung geographically and temporally. They do not, however, demonstrate the cultural flowering which other categories of artifacts from the city reflect.}, keywords = {Greek/Roman Art}, author = {Jacob, Cynthia} } @mastersthesis {11310, title = {The Most Beautiful Punchinelli in the World{\textquoteright}: A Comprehensive Study of the Punchinello Drawings of Giovanni Battista Tiepolo}, year = {2012}, school = {Princeton}, abstract = {Over the course of approximately thirty years, from the late 1720s through the early 1760s, Giovanni Battista Tiepolo, the preeminent Venetian fresco painter of his day, executed at least thirty-six drawings of Punchinello, a character from the commedia dell{\textquoteright}arte. The majority of the drawings are connected to venerd√{\textasciidieresis} gnoccolare, the bacchanalian celebration that takes place on the final Friday of Carnevale in Verona. Accordingly, Tiepolo{\textquoteright}s Punchinelli cook and eat gnocchi, guzzle wine, pass out from intoxication, and suffer the digestive consequences of their excessive consumption. While the execution of many of the drawings is thought to coincide with the periods of time Giambattista spent in Verona, the exact circumstances of their production are unknown. By providing the most comprehensive existing compilation of the drawings, looking at the possible influences on the drawings, and assessing them from multiple thematic perspectives, this dissertation represents the most thorough study of the Punchinello drawings to date. The introduction offers an overview of their subject matter and chronology and provides a review of the extant literature on the drawings. Chapter One discusses the history and symbolism of Punchinello, while Chapter Two surveys artistic representations of the character and details recent theoretical interpretations of Punchinello. Chapter Three looks at the status of and attitudes toward Punchinello in the eighteenth century. Chapters Four and Five examine Giambattista{\textquoteright}s relationships with the two men who are mentioned most often in connection with the Punchinello drawings, Scipione Maffei and Francesco Algarotti, and consider whether they had any impact on the production of the drawings. Chapters Six and Seven establish venerd√{\textasciidieresis} gnoccolare and the carnival theory of Mikhail Bakhtin as points of departure for evaluating the different thematic angles from which the drawings can be viewed, as well as the various artistic traditions in which they might be situated. All of these traditions can be considered part of the carnivalesque tradition, and Chapter Eight illustrates how the Punchinello drawings also fall under the rubric of the carnivalesque. Ultimately, by examining the circumstances of their production, illustrating how many of the concepts inherent in carnival and in venerd√{\textasciidieresis} gnoccolare can also be applied to the drawings, and considering how they fit into a number of carnivalesque artistic traditions, this dissertation aims to provide a comprehensive and revealing study of the Punchinello drawings and to determine what they may have meant for Tiepolo.}, keywords = {Drawings/Prints/Works on Paper, Eighteenth-Century Art}, author = {Goldman, Victoria Sears} } @mastersthesis {11373, title = {Mural Painting and Social Change in the Colonial Andes, 1626-1830}, year = {2012}, school = {CUNY}, abstract = {Mural painting in colonial Peru (1534-1824) grew out of both indigenous Andean and European pictorial traditions that coalesced into a hybrid art form deployed to serve a variety of functions. Unlike paintings on canvas and panel, for which there existed no precedent in the Pre-Columbian Andes, mural painting was practiced in South America for at least 2,000 years before the Spanish invasion in 1532. Murals produced in the post-conquest period retained continuity with pre-Columbian traditions in terms of their technical aspects, while their iconography and style shifted dramatically to suit the needs of the Spanish colonial enterprise. First and foremost, colonial Andean mural painting served as an important visual tool in the religious conversion of indigenous peoples by encasing the interiors of churches with didactic illustrations of Catholic doctrine. In addition to their religious aspect, however, murals also transmitted social and political values to their local communities. This dissertation thus focuses on the intersections of mural painting and social transformation in the highland Cuzco region of Peru. It offers case studies of several Cuzco-area mural programs that span from the mid colonial period to the early years of independence: the churches of Andahuaylillas (ca. 1626), Urcos (mid-17th century), Pitumarca (18th century), Huaro (1802), and the wheat mill murals of Acomayo (1830s). Despite their wide temporal distribution, the murals under discussion are united in their intimate engagement with their local contexts. The present study examines subtle shifts in iconography, style, and the creation of multivalent religious imagery as important strategies undertaken by muralists to obliquely reference the sociopolitical issues with which indigenous communities were engaged. It draws on field research, archival documents, seventeenth- and eighteenth-century religious texts, and secondary source materials from art history, anthropology, and ethnohistory in order to offer new interdisciplinary perspectives for the study of colonial Andean mural painting.}, keywords = {Latin American/Caribbean Art, Renaissance/Baroque Art}, author = {Cohen, Ananda} } @mastersthesis {11215, title = {The Museum of Modern Art{\textquoteright}s "What Is Modern?" Series, 1938-1969}, year = {2012}, school = {CUNY}, abstract = {Between 1938 and 1969, the Museum of Modern Art (MoMA) poses the question of What Is Modern? (WIM) in a series of books, traveling exhibitions, and a symposium. This dissertation argues for the WIM project as a sustained if minimally effective effort to influence popular American perceptions of modern art, architecture, and design, at the same time embodying tensions inherent to the museum and its notions of that modernism. MoMA is an unquestionable influence on modern art history. WIM is a significant component of this influence, yet scholarship on the series is minimal. Hiding in plain sight, the series offers signal insights into the Museum{\textquoteright}s first century of answers to the question of What Is Modern? Each WIM holds a key to the development and dissemination of MoMA{\textquoteright}s ideology. Two versions of What Is Modern Architecture? (WISMA, 1938, 1962) first advocate for and then wrestle with the legacy of International Style architecture. Next, Alfred H. Barr Jr.{\textquoteright}s What Is Modern Painting? (WIMP, 1943) and precursors reflect development of the museum{\textquoteright}s core ideals. At mid-century, Edward Steichen{\textquoteright}s symposium and unrealized book What Is Modern Photography? (WIMPh, 1950, 1951) fail to critically address the medium upon which the series depends to make its case. At the same time, Edgar J. Kaufmann Jr.{\textquoteright}s What Is Modern Design? (WIMD, 1950) and What Is Modern Interior Design? (WISMID, 1953) assert an alternative to the machine aesthetic and International Style ideology. Finally, two versions of What Is Modern Sculpture? (WIMS, 1942, 1969) evince a formalism that, while innovative and provocative in MoMA{\textquoteright}s early years, read as a conservative statement in the face of late-century art movements and post-colonial attitudes towards "primitivism." The dissertation concludes with a review of media for which the museum chose other (or no) forms of popularization, followed by a review of key themes supporting the central argument. This investigation draws two interrelated conclusions. First, the WIM series represents a complex and contradictory internal discourse, both within and between departments, over the course of most of the twentieth century, that is subsumed into a confident public education campaign. Second, engagement with modern communications media is integral to the formulation, promulgation-and dissonance-of those notions.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Tobias, Jennifer} } @mastersthesis {11206, title = {Nature{\textquoteright}s Objects: Geology, Aesthetics, and the Understanding of Materiality in Eighteenth-Century Britain and France}, year = {2012}, school = {MIT}, abstract = {Explorations of aesthetic design and scientific experimentation have traditionally relied upon the natural world as a source of inspiration. Notably absent from previous studies of the eighteenth century is the dynamic connections between contrasting disciplines of this time period. Terrestrial objects such as diamonds, silver, gold, and stone, situated between architecture, the decorative arts, and geology, superseded classical models of Aristotelian emulation, which privileged original visual forms. They evoked newfound tensions between modalities of intuition and empirical observation, providing alternate paradigms of nature based upon firsthand experience. This dissertation takes up an extensive assembly of historical actors who analyzed these objects-architects, artisans, chemists, collectors, engravers, geologists, jewelers, and silversmiths. Late Enlightenment designers Robert Adam, William Chambers, and Batty Langley as well as intellectuals Denis Diderot and Louis Dutens explored some of the same materials that piqued the curiosity of silversmiths Pierre-Simon Augustin Dupre, Francois-Thomas Germain, and Jacques Roettiers. Artisan Pierre de Fontanieu and chemists Antoine Laurent de Lavoisier and Jean-Louis Baptiste Rome de l{\textquoteright}Isle also problematized the aesthetic usages of these objects, arriving at differing conclusions. Pervasive debates throughout Europe attempted to determine the quotient of hardness in minerals, plasticity of metal, or durability of stone. These provocative cross-currents between the domains of the arts, sciences, and politics generated remarkable insight into these objects taken from the earth; in turn, these intersections shaped a unique conception of materiality, which anticipated untapped potential for architectural styles, artistic production, and geological determination. Mining and related images of the subterranean-mineralogical atlases, etchings of rock formations, maps of sedimentary deposits, imagined grottos, and utopian architecture-are framed as part of a geological imaginary, a contributor to modernism{\textquoteright}s early inheritance. The first chapter contemplates how the cutting of diamonds as raw stones cultivated attitudes towards jewelry settings, formulas for false gemstones, and chemical demonstrations. Artisans judged a diamond{\textquoteright}s functional and authentic attributes in order to craft acceptable imitations. In focusing upon silver and gold, the second chapter traces the material transformations of valuable metals from decorative ornament into commemorative coins and medals during the French Revolution. Fiscal currency circulated as economic signifiers that embodied human values superimposed onto natural resources. The third chapter examines several types of stone from limestone, granite, to marble demonstrating how their visual and structural properties became articulated through Gothic revival practices in Georgian England. Antiquarian and genealogical discourses not only influenced conceptions of stone as a building material, but they also focused upon geological explanations as a mutual foundation of comprehension. The conclusion merges the mythological stories behind these objects with their historical narratives, elucidating why cultural misinterpretations are as important as factual evidence. Derived from corporeal perception and abstract theorization, materiality revealed unknown dimensions of these prosaic objects, whose telluric origins became recast as both ancient and modern.}, keywords = {Architectural History/Historic Preservation, Eighteenth-Century Art}, author = {Ferng, Jennifer} } @mastersthesis {11432, title = {New Realisms: Pop Art in France, 1962-1968}, year = {2012}, school = {IFA/NYU}, abstract = {Evidence of the impact of American Pop art pervades the artistic and cultural transformations of 1960s France. The complexities of its influence have nonetheless been overlooked. Often considered an exception to the European Pop phenomenon, Paris was a central venue for the dissemination of Pop art in France and the Continent. Beginning in November 1962, the Sonnabend Gallery presented American Pop art in Paris with a clarity and purpose that was unmatched in the diverse Parisian art world of the time, establishing a center for the new American art. Overshadowing its British counterparts, American Pop grew into a French cultural phenomenon, in which its critical social vision, often downplayed in the American reception, became incorporated into efforts to forge a renewed art engage. The longstanding integration of fine and applied arts in France amplified Pop{\textquoteright}s impact across art, advertising, graphic and interior design, while the destabilization of aesthetic hierarchies perpetuated by Beaux-Arts tradition led to Pop{\textquoteright}s prominent role in the social and political unrest of May 1968. Chapter one analyzes the Pop automobile advertisements of Robert Delpire and their thematic confluence with Andy Warhol{\textquoteright}s first exhibition in Paris; chapter two examines the debate over photographic painting generated by Robert Rauschenberg{\textquoteright}s Grand Prize at the 1964 Venice Biennial and the contemporaneous "Mythologies Quotidiennes" exhibition in Paris; chapter three analyzes the mutual turn to decoration by Warhol and Daniel Buren in 1965 as an expansion of painting and critique of modernism; chapter four analyzes the politicization of comics by the Situationist International as an anti-Pop strategy in the later 1960s; and in chapter five I suggest that Pop techniques were integral to the silkscreened posters made in the Atelier Populaire during the events of May-June 1968. Providing a counter-example to most American and British varieties of Pop art, these chapters show how the French response to Pop brought an engagement to neo-avant-garde practices that have often been considered politically inert.}, keywords = {Twentieth-Century Art}, author = {Considine, Liam} } @mastersthesis {11383, title = {Notions of Universality and Difference: Nineteenth-Century Mexican Costumbrismo}, year = {2012}, school = {Bryn Mawr}, abstract = {Traditionally in the history of Mexican art, the nineteenth century is overlooked and generally categorized as transitional and inconsequential. As a result of political and economic instability, the arts of the nineteenth century have been considered secondary in comparison with the production of prior periods, such as colonial Mexican art, or movements afterwards, such as Mexican modernism. In my dissertation I hope to demonstrate how a little recognized nineteenth-century genre, costumbrismo, played a significant role in the construction of racial and social types and contributed to modern notions of Mexican identity. Costumbrismo, which manifested itself through the visual and literary arts, was a movement in Spain and Latin America that sought to capture the customs, costumes, and traditions of everyday people and everyday life. I argue that costumbrismo played an important role in the creation of popular types and made a vital contribution to how Mexicans saw themselves and how other nations saw them. I believe works by both foreign and local artists must be seen together as interweavings of ideas and stereotypes that informed and clarified one another. Costumbrista artists desired to capture the corporeal physicality and presence of the Mexican people through their emphasis on naturalistic depiction and attention to detail. However, this does not imply that what was produced was an objective, rational representation. On the contrary, costumbrista artists created personal, constructed portrayals of Mexican life that were often romanticized and politicized.}, keywords = {Latin American/Caribbean Art}, author = {Moriuchi, Mey-Yen} } @mastersthesis {11236, title = {Now Exhibiting: Charles Bird King{\textquoteright}s Picture Gallery, Fashioning Taste and Nation, 1824-1861}, year = {2012}, school = {UT Austin}, abstract = {This dissertation is an exploration of Charles Bird King{\textquoteright}s Gallery of Paintings. The Gallery opened in 1824 and, aside from a brief hiatus in the mid-1840s, was open to the public through the end of the antebellum era. King, who trained in London at the Royal Academy and under the supervision of Benjamin West, presented to his visitors a diverse display that encompassed portraits, genre scenes, still lifes, trompe l{\textquoteright}oeils and history paintings. Though the majority of the paintings on display were his original works across these various genres, at least one third of the collection was made up of copies after the works of European masters as well as after the American portraitist Gilbert Stuart. This study is divided into four chapters. In the first, I explore late Colonial and Early Republic public displays of the visual arts. My analysis demonstrates that King{\textquoteright}s Gallery was in step with a tradition of viewing that stretched back to John Smibert{\textquoteright}s Boston studio in the mid-eighteenth century and created a visual continuity into the midnineteenth century. In a second chapter, focused on portraiture, I examine what it meant to King and to his visitors to be "American." The group of men and women King displayed in his Gallery was far more diverse than typical for the time period. King included many prominent politicians, but no American President after John Quincy Adams (whom King had painted before Adams{\textquoteright} election). Instead he featured portraits of many men of commerce as well as prominent women and numerous American Indians. In the third chapter, I look at a group of King{\textquoteright}s original compositions, genre paintings. King{\textquoteright}s style in this category was clearly indebted to seventeenth-century Dutch tradition as filtered through an eighteenth- and early-nineteenth-century British lens, in particular the works of Sir David Wilkie. My final chapter continues the exploration of Dutch influences over King{\textquoteright}s work. These paintings draw together the themes of King{\textquoteright}s sense of humor, his attitudes towards patronage and his methods of circumventing inadequate patronage through the establishment of the Gallery. Finally, they prompt us to reconsider the importance of European precedents in our understanding of how artists and viewers worked together to establish an American visual cultural dialogue.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Dasch, Rowena Houghton} } @mastersthesis {11359, title = {Objects of Devotion: Ancient Greek Religion and Its Iconography}, year = {2012}, school = {Ohio State}, abstract = {This dissertation concerns the uses of iconography, visual culture, and material culture in the study of Greek religion. I draw on methods and theoretical frameworks from outside the discipline in order contextualize the study of images and symbols in larger discourses and to introduce the most recent developments in scholarship. To better understand the religious aspects of Greek experience, this dissertation presents a mixture of intellectual history, historiography, and methodological critique. I provide an interdisciplinary overview of symbol theory and approaches to signs, the deep-seated interweaving of theological and artistic concerns in occultist traditions and 19th century scholarship, and iconographic methodologies employed by Classical studies and archaeology. Several themes repeatedly appear throughout the discussion, including the theoretical relationships between material culture and religion and the perceived dichotomy between phenomenological responses and interpretation. By exploring these topics, it becomes clear that approaches to religion in ancient Greece need to be adapted to better account for visual and material culture. Despite most emphasis on public, ritual-centered aspects, images and objects attest to private encounters with divinities. Based on comparative analysis, I argue that the religious experience of ancient Greeks exhibits many elements of devotionalism, a religious phenomenon developed by Robert Orsi. Two case studies explore Classical Greek iconography in the context of everyday life, personal biography, and emotional response. The first argues that Athenians interacted with the deceased in much the same way as with deities, especially in their use of material culture. Using white-ground lekythoi, I show that tainiai (fabric garlands) are evidence of everyday materials that were used in devotional activity and can be found in women{\textquoteright}s domestic experience, shrine activities, and gravesides. In the second case study, I consider iconographic conservatism in the context of personal biographies. I explore childhood encounters with devotional media and the way that such media continued to exert emotional force throughout an individual{\textquoteright}s life. I also discuss the emotional impact caused by the perceived uniformity of devotional media, as well as manifestations of the aesthetics of accumulation in the massed votives displayed in sanctuaries.}, keywords = {Greek/Roman Art}, author = {Rask, Katherine} } @mastersthesis {11417, title = {Ornamental Paintings of the Venetian Renaissance}, year = {2012}, school = {Princeton}, abstract = {This dissertation examines a group of Venetian Renaissance paintings created for domestic furniture and decorative settings, including chests, friezes, bedsteads, covers, doors, and musical instruments, among other types. While a tradition of painted furniture existed in the city as early as the thirteenth century, surviving examples from the mid-1460s to the later Cinquecento compose an integral genre with an established idiom that holds significance for the broader development of Venetian art. The typical decorative picture was a small panel or canvas illuminating an ancient legend, allegory, poetic reverie, or scene of everyday life; subjects such as landscape, the gods of classical mythology, the nude female figure, and rarely depicted episodes from religious writings recurred in this context. Giovanni Bellini was the first painter known to sign a work belonging to this local tradition, which continued through the time of Jacopo Tintoretto and Paolo Veronese, and involved figures such as Cima da Conegliano, Vittore Carpaccio, Giorgione, Lorenzo Lotto, Bonifacio de{\textquoteright} Pitati, Titian, and Andrea Schiavone. Other examples were produced by associates within their workshops, and by epigones and independent painters working on speculation. Close examination of extant artifacts and documents assists in understanding the original settings of these pictures; the iconographic and stylistic relationships among them; the environments in which they were made and seen; and their later vicissitudes. In addition, this study explores the novel themes and techniques that found their way into canonical works of Venetian painting through the secondary vehicle of ornament, which offered a platform for artistic license and experimentation. The subjects, moods, and manner of decorative images anticipate and complement well-known poetic pictures and mythologies, such as Giorgione{\textquoteright}s Tempesta (ca. 1505-1508) and the bacchanals completed by Bellini and Titian between 1514 and 1529 for Alfonso d{\textquoteright}Este of Ferrara. In turn, many furniture panels themselves were detached and framed as easel paintings during the later sixteenth and seventeenth centuries. Analysis of these overlapping types offers insight into the emergence of particular themes, styles, and formats in Venice and their importance to the history of Italian painting. The first chapter of the manuscript provides an introduction to this genre and explores its characteristic subjects and techniques, with an emphasis on early pictures of Bellini, Carpaccio, and Cima that set the tone for subsequent production in both ornamental and independent fields. The chapter also addresses workshop and guild practices that gave rise to decorative pictures; explains variations in quality through mechanisms of manufacture and the art market; and discusses contemporary accounts of the works{\textquoteright} reputation and value. Such accounts are revealing in their negotiation of shifting aesthetic attitudes, and suggest the emergence of the framed easel picture as a standard for painting. The second chapter establishes a basic typology of Venetian domestic furniture pictures, and explores their relationships with objects for ecclesiastical and devotional use. Reconstructions of original cycles are made on the basis of stylistic and thematic continuities, documentary evidence, and on-site technical examination where possible. The third chapter explores patterns of taste and transformations undergone by these pieces over time, as well as their later provenance. The appended catalogue assembles a corpus of representative examples of Venetian ornamental painting, ca. 1465-1570, and discusses their iconography, composition, technique, and other issues. The primary aims of the catalogue are to reconstitute various ensembles, in some cases involving multiple component pictures that have not been considered together before, and to facilitate future, synthetic study of this under-explored genre of Venetian painting.}, keywords = {Renaissance/Baroque Art}, author = {Rutherglen, Susannah} } @mastersthesis {11428, title = {Painting in the Age of Evidential Scholarship (Kaozheng): Luo Ping{\textquoteright}s Late Years, ca. 1770-1799}, year = {2012}, school = {IFA/NYU}, abstract = {In 1771, Luo Ping (1733-1799) left his native Yangzhou for Beijing, where he spent intermittently the last thirty years of his life. In Beijing, Luo Ping gained a distinct voice in the circles of poets and antiquarians who gravitated around the Xuannan District and its symbolic heart, the Liulichang antique market. The social and cultural profile of Xuannan, its feeble balancing of powers, and interaction with the Manchu nobility and the court frame the reconstruction of Luo Ping{\textquoteright}s network of Beijing patrons and the analysis of the transformations that took place in the artist{\textquoteright}s late practice. Luo Ping{\textquoteright}s Xuannan production, its limited circulation, and extensive colophons sanctioned and publicized new modes of elite sociability, serving a self-fashioning function consistent to other cultural manifestations of the time in poetry and antiquarianism. Generally understood as the last of the {\textquoteright}Eight Eccentrics of Yangzhou,{\textquoteright} this dissertation argues for a synchronic reassessment of Luo Ping and for a new understanding of the seminal yet largely overlooked transition from the late Qianlong to the Jiaqing period. The four chapters focus on four paintings and trace Luo Ping{\textquoteright}s investigations on the painting medium, beginning with the coming to terms with his Yangzhou artistic identity. Symptomatic of the climate of disillusionment pervasive of much cultural production of the time, Luo Ping{\textquoteright}s late paintings put under rigorous scrutiny the validity of transmitted canons, its aesthetic and intellectual foundations, and their applicability in the present. Overall, the paintings registered a progressive shift from a brushwork-centered, process-based aesthetics to new forms of visual immediacy. Analogous to transformations in the realm of calligraphy, my study understands this shift as informed by the calls for authenticity and origins promoted by {\textquoteright}evidential scholarship.{\textquoteright} Reconfiguring painting in terms of {\textquoteright}image{\textquoteright} - deflecting the self-expressive for the self-reflexive- proposed a new mode of conceptualizing the relationship between subject and the world, and an attempt to rethink, or perhaps to reinvent community, through images. Like the contemporaries Huang Yi or Xi Gang, Luo Ping embodied a modernized version of classical scholarly ideals that prefigured the profile of the {\textquoteright}antiquarian artist{\textquoteright} of the nineteenth and early twentieth century.}, keywords = {South/Southeast Asian Art}, author = {Matteini, Michele} } @mastersthesis {11407, title = {Painting Power: Images of Ecclesiastical Authority in Seventeenth-Century New Spain}, year = {2012}, school = {IFA/NYU}, abstract = {This dissertation examines the Catholic church{\textquoteright}s program of image-making in seventeenth-century New Spain as part of a campaign by its bishops to strengthen their hierarchy, claim spiritual hegemony over colonial subjects, and consolidate their power in the contested political terrain of the early colony. Chapter one charts the complicated politics that defined the church in New Spain and gave rise to a protracted conflict between the regular and secular clergies. In particular, the chapter analyzes the emergence of the sixteenth-century archbishop Pedro Moya de Contreras as the enduring model of the New Tridentine bishop and how his reforms led to greater control by the ecclesiastical hierarchy. The second chapter investigates how Moya{\textquoteright}s legacy was championed in the following century by Juan de Palafox y Mendoza, a defender of ecclesiastical privilege and an impressive patron of the arts. This chapter examines Palafox{\textquoteright}s role in the construction and decoration of Puebla{\textquoteright}s cathedral and his commitment to the iconography of ecclesiastical triumph and militancy; Palafox{\textquoteright}s formula would be replicated by subsequent bishops. Chapter three presents new analyses of the images of the Archangel Michael as the most iconic image of ascendant ecclesiastical power. The popularity of St. Michael soared in the seventeenth century thanks to the bishops{\textquoteright} invigoration of his cult and possession of his image as an iconographical proxy for their political aspirations. The study{\textquoteright}s final chapter focuses on the bishop of Puebla, Manuel Fernandez de Santa Cruz, and his commission of Cristobal de Villalpando{\textquoteright}s painting of the Transfiguration, which at once serves as Santa Cruz{\textquoteright}s personal visual manifesto of ecclesiastical supremacy and as a triumphant pictorial culmination of the century{\textquoteright}s bishops and their notions of power, privilege, and rightful rule. The thorny religio-politics of seventeenth-century New Spain generated some of the most iconographically-complex and ambitious paintings of the colonial period. This study frames the analyses of these elaborate pictorial programs within the history of the church in the seventeenth century, an important period overlooked in the literature. The body of ecclesiastical imagery of this period functioned as pictorial catechisms that triumphantly illustrated the primacy of the bishops in New Spain.}, keywords = {Renaissance/Baroque Art}, author = {Leyva-Gutierrez, Niria E.} } @mastersthesis {11409, title = {The Palazzo del Te and the Spaces of Masculinity in Sixteenth-Century Italy}, year = {2012}, school = {Indiana}, abstract = {I argue that the Palazzo del Te (1525-1535) functioned as a space in which courtly masculinity was constructed and performed. Giulio Romano{\textquoteright}s playful approach to architectural proportion and structural integrity, described by contemporaneous sources as disorienting and even frightening, was nevertheless thought to enhance Federico II Gonzaga{\textquoteright}s princely authority. Through court festivities and ceremonial processions the palace served as a stage on which Federico II and his heirs performed before foreigners and locals alike. The architecture and decoration of the palace depict an idealized masculinity, in which Federico II and his heirs are depicted as godlike rulers, loyal subjects, virile lovers, prudent leaders, and good Christians. Moreover, through dynamic interactions with the Palazzo del Te the Gonzaga princes produced gendered and sexual identities that reverberated beyond the building{\textquoteright}s confines. I investigate the ways in which the palace was used to perform gender roles from the Palazzo del Te{\textquoteright}s inauguration in 1530 until the Sack of Mantua in 1630, and examine the role of the palace in constructing an ideally masculine image of the Gonzaga dynasty during the visits of Holy Roman Emperor Charles V (1530 and 1532), King Henry III (1574), and a series of newly-wedded brides (1584-1617). While the way in which the palace was employed changed over time, its role as a space wherein the Gonzaga princes performed an active, virile, and witty masculinity remained constant. This study unites archival evidence concerning the palace{\textquoteright}s ceremonial use with Judith Butler{\textquoteright}s theory of gender performance and Henri Lefebvre{\textquoteright}s conception of social space to reveal the intersections between social discourse on gender and personal agency at the Palazzo del Te. Not only did the palace play an instrumental role in the construction and reception of masculinity at the Gonzaga court, it also allowed individuals to negotiate their gender identities. By investigating the ways in which the Gonzaga family and their guests experienced the palace, my dissertation argues that gender was constituted in dynamic relation to space and that the Palazzo del Te was ideally suited to the performance of Renaissance gender roles.}, keywords = {Renaissance/Baroque Art}, author = {Maurer, Maria} } @mastersthesis {11415, title = {Palpable Politics and Embodied Passions: Terracotta Tableau Sculpture in Italy, 1450-1530}, year = {2012}, school = {Toronto}, abstract = {Polychrome terracotta tableau sculpture is one of the most unique genres of 15thcentury Italian Renaissance sculpture. In particular, Lamentation tableaux by Niccolo dell{\textquoteright}Arca and Guido Mazzoni, with their intense sense of realism and expressive pathos, are among the most potent representatives of the Renaissance fascination with life-like imagery and its use as a powerful means of conveying psychologically and emotionally moving narratives. This dissertation examines the versatility of terracotta within the artistic economy of Italian Renaissance sculpture as well as its distinct mimetic qualities and expressive capacities. It casts new light on the historical conditions surrounding the development of the Lamentation tableau and repositions this particular genre of sculpture as a significant form of figurative sculpture, rather than simply an artifact of popular culture. In terms of historical context, this dissertation explores overlooked links between the theme of the Lamentation, the Holy Sepulcher in Jerusalem, codes of chivalric honor and piety, and resurgent crusade rhetoric spurred by the fall of Constantinople in 1453. Reconnected to its religious and political history rooted in medieval forms of Sepulchre devotion, the terracotta Lamentation tableau emerges as a key monument that both ii reflected and directed the cultural and political tensions surrounding East-West relations in later 15th-century Italy. For the confraternity of Santa Maria della Vita in Bologna, Niccolo dell{\textquoteright}Arca{\textquoteright}s Lamentation represented an opportunity to resurrect the crusade origins of the sodality and establish the group as a major social and political voice within the city. For Guido Mazzoni{\textquoteright}s princely patrons, Lamentation groups spoke of a devotion to the cause of the Holy Sepulchre and were used to craft aspects of a ruler{\textquoteright}s political image that were rooted in traditional chivalric ideals of honor and religious duty. Polychrome terracotta is also discussed as the ideal medium to embody and communicate the immediacy of the piety, the grief, and the political and religious anxieties provoked by events in the East and engage viewers with the call to action at the heart of the Lamentation theme. Lastly, this project considers the relationship between Lamentation tableaux and the sacri monti, with the Sepulchral theme as their conceptual linchpin}, keywords = {Renaissance/Baroque Art}, author = {Purvis, Betsy Bennett} } @mastersthesis {11379, title = {Pan-American Dreams: Art, Politics, and Museum-Making at the OAS, 1948-1976}, year = {2012}, school = {UT Austin}, abstract = {In the 1950s and 1960s, the Organization of American States (OAS), a multinational political organization headquartered in Washington, DC, attempted to mediate U.S.-Latin American political and cultural relations. This dissertation traces how, in the United States, Latin American art emerged as a field of art historical study and exhibition via the activities of the OAS. I center my analysis on Jose Gomez Sicre and Rafael Squirru, two prominent curators who influenced the circulation of Latin American art during the Cold War. Part I focuses on Gomez Sicre, who served as head curator at the OAS from 1946 to 1981 and who founded the Museum of Modern Art of Latin America in 1976. I offer an analysis of Gomez Sicre{\textquoteright}s aesthetic tastes, contextualizing them in relation to his contemporaries Alfred H. Barr, Jr., Marta Traba, and Jorge Romero Brest. I also discuss his efforts to build a network of art centers across the Americas, indicating how his activities fed into a Cold War struggle around notions of the "intellectual." Part II examines the activities of poet and art critic Rafael Squirru, who served as Director of Cultural Affairs of the OAS from 1963 to 1970 and who theorized Latin American art in terms of the "new man." I reconstruct how the phrase "new man" became a point of ideological conflict in the 1960s in a battle between Squirru and his political rival, Ernesto Che Guevara. Throughout this dissertation, I indicate how Gomez Sicre and Squirru framed modern art within different Pan-American dreams of future world prosperity, equality, and cooperation. By examining the socio-political implications behind those dreams, I reveal the structures and limits of power shaping their influence during the Cold War. My study concentrates on the period from the founding of the OAS in 1948 to the establishment of the Museum of Modern Art of Latin America in 1976, and I contend that the legacies of Pan-Americanism continue to affect the field of Latin American art today.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Wellen, Michael} } @mastersthesis {11317, title = {Passive Fascism? The Politics of Austrian Heimat Photography}, year = {2012}, school = {CUNY}, abstract = {This dissertation focuses on Austrian Heimat [homeland] photography during the 1930s. Seemingly apolitical, this regional and popular photography of bucolic landscapes, quaint villages, peasants in traditional dress, skiers, and mountaineers was fundamental in shaping Austrian identity. Both the pre-war fascist and the postwar democratic governments easily appropriated and encouraged its dissemination. It fully fit within the vision of building a new Austrian nation comprised of distinct regional identities. Of central importance to my dissertation is the question of how the preference for the local, which is strongly visible in these photographs, intersects with the desire to be part of a nation. It permeated people{\textquoteright}s lives during the 1930s and again in the 1950s, helping to establish the image of Austria as a peaceful Alpine nation. Examining a little-recognized, yet highly influential movement within Austria not only offers a new perspective on the development of modern Austrian identity, but also stresses the importance of including regional movements in histories of photography. Chapter One provides the political context for Austrian Heimat photography during the 1930s, bringing to light how the Austrian government encouraged Heimat photography and tried to unify Austria through a policy of cultural superiority and an image of an Alpine ideal. Chapter Two examines the beginnings of Heimat photography in the Heimat preservation movement and the development of Heimat photography in Germany and Austria during the 1920s and 1930s. Chapter Three considers Austrian Heimat photography as an integral part of government-supported tourism that promoted the country as an Alpine haven and a winter sports paradise. Chapter Four examines several different Heimat photobooks published during the 1930s as a basis for comparing the political attitudes of Heimat photographers towards the Austrian government and National Socialists. Chapter Five is a reflection on how the National Socialist government was able to appropriate the nationalist sentiment and romanticized viewpoints seen in the Austrian Heimat, transforming them into representation of the German Heimat. Chapter Six concentrates on post-War Austrian Heimat photobooks which featured much of the same traditional subject matter from pre-War Alpine Heimat. Amidst a cultural atmosphere of denial and victimhood the Heimat remained popular. Finally, the conclusion stresses the importance of cultural histories of photography and suggests further areas research.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Cronin, Elizabeth} } @mastersthesis {11300, title = {Penser l{\textquoteright}heterogeneite stylistique}, year = {2012}, school = {Montreal}, abstract = {We define "stylistic heterogeneity " as the synchronic cohabitation of heterogeneous styles within an artist{\textquoteright}s body of work, rendered particularly visible when appearing in a single medium. Such a cohabitation may be observed in the works of artists such as Tintoretto, Sebastien Bourdon, Pablo Picasso, Francis Picabia and Gerhard Richter, which are used here as case studies. Stylistic heterogeneity, being unevenly distributed throughout the field of art production, is generally not correctly identified by art history. Indeed, the difficulties encountered in trying to define and interpret this particular phenomenon may be linked to the methodological foundations of the discipline (and more specifically to the complex history of the notion of style). The history of stylistic heterogeneity{\textquoteright}s critical reception, from the Renaissance to the present, underscores the numerous ideological underpinnings that have conditioned the processes of its definition and interpretation. Now that the issues raised by stylistic heterogeneity can be assessed with greater clarity, a new structural and contextual reading of this aesthetic apparatus may be undertaken, based on a series of historical facts and epistemological models (such as the history of subjectivity, the evolution of techniques for art and information{\textquoteright}s production, management and dissemination, and so on).}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Letourneux, Francois} } @mastersthesis {11366, title = {Pictures of Patriarchs: The Illustrated Life and Acts of Honen}, year = {2012}, school = {Princeton}, abstract = {This dissertation is a study of the Illustrated Life and Acts of Honen, a set of forty-eight handscrolls with over 460 alternating sections of text and illustration. The scrolls document the activities of Honen (Honen-bo Genku, 1133-1212), the monk who founded the Pure Land School of Buddhism in Japan in the late twelfth century. The set holds a unique place in the history of Japanese illustrated handscrolls; from a structural perspective, it is the most complex extant set of handscrolls. Rather than conceived of and executed as a complete composition, the set was pieced together utilizing the fruits of a previous project. The scrolls also represent the culmination of a century of textual and visual development, the stages of which have been traced through surviving examples of earlier versions of the biography. Art historians often extract scenes from the scrolls{\textquoteright} copious paintings to illustrate what might be a faithful representation of a specific architectural structure or religious ritual known to us otherwise through texts alone. Others have engaged deeply with comparisons of the texts and illustrations of the set to those of earlier versions of the narrative. Almost none have taken up the scrolls as an art historical subject in and of themselves. This study advances our present knowledge of the mammoth set through new visual analysis of its paintings and texts, as well as its calligraphy. The study contributes to our understanding by proposing a partial reconstruction of the production narrative of the work. Further, the study promotes the scrolls as an important tool in the study of the image-types central to the establishment of the visual identity of Pure Land Buddhist organizations in Japan, portraiture and illustrated biographical narrative.}, keywords = {Japanese/Korean Art}, author = {Kehoe, Sinead} } @mastersthesis {11250, title = {The Place of the Sublime in American Art from Thomas Cole to Robert Smithson}, year = {2012}, school = {UC Santa Barbara}, abstract = {In the history of American art is there something identifiable as the sublime? If so, is it based solely on received ideas, from Longinus through Edmund Burke and Immanuel Kant, and referential only to landscape representation? The dissertation argues otherwise and looks at work by Thomas Cole, Barnett Newman, Mark Rothko, Clyfford Still and Robert Smithson. It addresses the issue through the thought of Kant, Nietzsche, Heidegger, Edward Casey and Lyotard and on twentieth-century writings in art criticism and art history that bear on these artists and their relation to the sublime. My thesis is that until quite recently the sublime was understood in a conventional way and the related work of these artists was seen through that tradition. Since the late 1970s, however, the sublime has been rethought as a tension between presentation and representation and, as such, it takes place in or at the artwork. In key pieces by these painters and sculptor this post-aesthetic understanding can be seen as an American contribution to the history of art and the sublime.}, keywords = {Art of the United States}, author = {Dodge, Jackson} } @mastersthesis {11296, title = {Playing Dead: Corporeal Confusion and Performance Art}, year = {2012}, school = {Rochester}, abstract = {This dissertation examines how hybrid identities challenge stereotypes that rely on visual markers of racial difference. Specifically, this study analyzes performance art that addresses contradictions inherent in hybrid or multiple identities in order to undermine the social currency of racialist stereotypes. I discuss works by three contemporary performance artists Coco Fusco, Guillermo Gomez-Pena, and James Luna that were created and performed between 2001 and 2010. These artists use performance as a medium of communication and interaction with audience members to demonstrate how stereotypes that rely on visual markers of racial difference are insufficient or incapable of describing an individual{\textquoteright}s multiple identifications. In this study I consider identity as the continuous negotiation of visual, aural, and action-based differences that connect an individual to a group. I focus on the ways physical markers of difference have the power to influence identity formation during exchanges among individuals. I situate my analysis within the context of contemporary debates about citizenship and nationhood in the United States to draw attention to the link between the creation of a sense of national belonging and the formation of individual racial identification.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Dauner, Maia} } @mastersthesis {11221, title = {Political Designs: Architecture and Urban Renewal in the Civil Rights Era, 1954-1973}, year = {2012}, school = {Harvard}, abstract = {This dissertation considers the impact of the U.S. civil rights movement on postwar urban design and urban policy, looking specifically at the case of urban renewal, a federal program of urban reconstruction intended to help central cities modernize and compete with the growing suburbs. Tracing the history of three renewal projects from planning through design and implementation, it argues that these projects were shaped by public debates on civil rights and desegregation and the growing ability of community groups to organize and advocate on their own behalf. This dissertation also revisits the usual critique of urban renewal as a program of social and physical destruction and describes these years as a tumultuous period of construction and community building defined by new expectations for community participation and racial justice. Conceived in the 1950s, as the impact of postwar suburbanization began to be felt in older urban neighborhoods, renewal projects aimed to revitalize declining areas through targeted interventions in the built environment, including the construction of modern housing, shopping centers, and community facilities, as well as the rehabilitation of existing housing. During the turbulent 1960s, these physical design strategies took on political significance, as city officials, planners, and residents considered urban change alongside the social issues of the period, such the racial integration of the housing market, de facto school segregation, and community control over neighborhood resources. Although these projects often began as idealized experiments in racial and economic integration, they quickly became battlegrounds on which communities struggled to balance their desire for federal investment and modernization against the costs of displacement and gentrification. Ultimately, as the civil rights and Black Power movements gathered strength, racial identity and community control were privileged over integration and assimilation, and the buildings and spaces that represented postwar liberalism became targets of anger and protest. While many of these spaces now seem ill-conceived or poorly designed, the collapse of urban renewal is no mere failure of design or planning policy-it is the result of a profound shift in social and political relationships that played out through the negotiation of change in the urban built environment.}, keywords = {Architectural History/Historic Preservation}, author = {Hock, Jennifer} } @mastersthesis {11343, title = {Portraits of Artists and the Social Commerce of Friendship in Eighteenth- Century France}, year = {2012}, school = {Michigan}, abstract = {This dissertation examines the roles that portraits of artists played in the social commerce of friendship in the ancien regime of eighteenth-century France. While scholarship on portraiture of the period tends to emphasize a single artist{\textquoteright}s work or representations of powerful and well-known patrons, this study moves away from a monographic approach and brings a heterogeneous group of works together to show how different forms and types of portraits of artists were generated by ideas and practices of friendships. The study assembles a rich visual corpus, including pastel portraits, small medallion drawings, caricatures, group portraits, and hybrid genre-portraits, which are typically discussed separately in art historical studies. They were created by a range of artists from history painters such as Carle Vanloo and Francois-Andre Vincent, draughtsmen such as Charles-Nicolas Cochin, pastellists such as Maurice Quentin de la Tour to female painters such as Adelaide Labille-Guiard. I argue that portraits served tactical and strategic purposes through their exchange between artists, between artists and patrons, and their display for the viewing public. The study compares this diverse body of portraits to the morceaux de reception portraits commissioned by the Royal Academy of Painting and Sculpture that defined the institution visually and enforced its inner hierarchy. By using the morceaux portraits as a foil, the study highlights the different purposes that portraits of artists served outside official structures of artistic production: as personal gifts, mementos of international travel created by young artists, and assertions of participation in the salons of the Enlightenment. The word "friend" and the concept of "friendship" are analyzed through primary source documents as self-conscious constructions of social interactions in the eighteenth century, no less so than the portraits themselves. Salon criticism, letters, journals, and published discussions of friendship are used to demonstrate that there were different valences of friendship and that these affected the formats, iconographies, and media of portraits and how and where they circulated. By considering portraiture as a social practice, this study provides new insight into the role of friendship in the lives of eighteenth-century artists and the effects those friendships had on artistic production.}, keywords = {Eighteenth-Century Art}, author = {Fripp, Jessica} } @mastersthesis {11223, title = {Producing the Public: Architecture, Urban Planning, and Immigration in a Swedish Town, 1965 to the Present}, year = {2012}, school = {Harvard}, abstract = {European modernist architectural design and urban planning for suburbs have often been theorized as dystopic creation myths. These narratives focus on the unfulfilled promises of activist designers to deliver equality, overscaled and generic neighborhoods, and contemporary social exclusion. Sodertalje offers another view. This dissertation combines history, ethnography, and formal analysis to examine how architects, urban planners, and immigrant residents conflict and collaborate in the production of the city. The Swedish town of Sodertalje serves as a lens through which to view these processes: it is both a nexus of high modernist spatial and social planning and the ostensible capital of the diasporic Syriac Christians, who now comprise approximately 26\% of the local population. Postwar Swedish designers sought to reduce class differences through home standardization and a blurred public-private divide; this happened just as the country received numerous refugees, including Syriacs, who had left difficult conditions in Turkey, Syria, and Lebanon and quickly concentrated in Sodertalje. There, they became active designers of a new urban landscape, first claiming welfare state public spaces but then slightly altering their uses. This suggests that "generic" modernist urbanism was more successful at accommodating difference than has typically been argued. More recently, Syriacs have built a state-of-the-art soccer stadium and colossal churches that - while sited in industrial zones in Sodertalje - function as monuments and pilgrimage sites for the diaspora. In new, Syriac-dominated neighborhoods of custom-designed, single-family houses, Syriac participation has exceeded the "voice" that planners typically allocate to immigrants; their architectural displays of difference and affluent forms of segregation generate anxieties for planners trained in the welfare state{\textquoteright}s traditions, which have long linked spatial uniformity to social equality. In aggregate, the Syriacs{\textquoteright} discrete projects have changed the way that the city functions, both in space and in the practices of the town{\textquoteright}s expert designers, a development that I label "urban design from below." This justifies a call for new orientations toward modernism, segregation, and participation in space making and suggests future trends for other European peripheries, where immigrants are also using and reconstructing postwar housing projects.}, keywords = {Architectural History/Historic Preservation}, author = {Mack, Jennifer} } @mastersthesis {11402, title = {Professional Women Artists of Iberia{\textquoteright}s Golden Age: Careers in Context}, year = {2012}, school = {IFA/NYU}, abstract = {As demonstrated by early modern and more recent biographical anthologies, women were active in the arts of Golden Age Iberia in greater numbers and to a greater extent than is usually recognized. Yet although the names of many women artists from this period have been recovered, our knowledge of their lives and careers remains limited. This dissertation attempts to address the questions surrounding these women{\textquoteright}s positions in the arts of the sixteenth through early eighteenth centuries by investigating aspects of the regional social, economic, legal, and religious traditions that would have structured their lives. Through the combined analysis of two of the best-documented women artists of this period-Luisa Roldan and Josefa de Ayala d{\textquoteright}Obidos-in addition to their less well-known contemporaries, patterns emerge suggesting various societal structures that not only enabled, but may also have promoted women{\textquoteright}s artistic activity. Additional considerations of early modern Iberian female writers, mystics, tradeswomen, and noblewomen, serve to paint a fuller picture of the practical realities of early modern women{\textquoteright}s lives and their prospects for forging successful professional careers in the arts. In addition to providing a more nuanced contextualization of the women artists of early modern Spain and Portugal, these analyses model research methods and questions that are relevant not only to the study of women artist throughout early modern Europe, but also more broadly to the discipline of art history as a whole.}, keywords = {Renaissance/Baroque Art}, author = {Gardonio-Foat, Casey} } @mastersthesis {11209, title = {Prospects of Statecraft: Diplomacy, Territoriality, and the Vision of French Nationhood in Rome, 1660-1700}, year = {2012}, school = {Toronto}, abstract = {In this dissertation I examine spaces of French national interest in Rome, proposing that France made a unique claim to the city with a distinct urban impact. Beginning with the onset of Louis XIV{\textquoteright}s personal rule in 1661 and his death in 1715, I explore the ways in which France shaped the urban, social, and political fabric of Rome through a variety of media including architectural projects, urban claims, ceremonial displays, and city views. These expressions were not simply representations, but were visible and material manifestations of France{\textquoteright}s extraterritorial presence in the city. This history contributes a new and necessary dimension to the predominantly juridical history of early modern diplomacy and reevaluates a historiographical truism that the popes "authored" Rome. This project centers on two key claims in Rome: the urban precinct surrounding the Palazzo Farnese (residence of the French ambassador) and the Pincian Hill, located below the French controlled church and monastery of SS. Trinita dei Monti, the proposed site of what came to be called the Spanish Steps. The legacy of France has been well documented in the scholarship on these sites but their histories have often been considered separately. I argue that the development of the diplomatic precinct and the struggle for control over the Pincio stemmed from a shared objective: the exercise of French authority as an extraterritorial enterprise; a process that "revisioned" Rome itself as an extension of French territory. Chapters 1 and 2 focus on an urban discourse associated with embassy in diplomatic theory and practice. Chapters 3 and 4 explore manifestations of French territoriality on the Pincio, including urban strategies employed by the Minims to claim control over the hillside, and a monumental print by royal engraver Israel Silvestre depicting Rome through French eyes. I conclude by discussing the refectory program at Trinita dei Monti, a work that I argue encapsulates the territorializing efforts of the French in Rome. By addressing the common threads between these distinct historiographies and integrating new findings based on my archival research, this dissertation contributes to the understanding of French strategies of nation-building in early modern Rome.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Napolitano, Elena} } @mastersthesis {11311, title = {Provoke: A Critical Analysis of a Japanese Photography Magazine}, year = {2012}, school = {CUNY}, abstract = {This dissertation evaluates the significance of a series of four critical Japanese photography publications, referred to here as Provoke. First published in 1968, Provoke consisted of a run of three quarterly journal issues, each bearing the same title as the series: Provoke. The series ceased publication in 1970 with the fourth Provoke publication, entitled Mazu tashika rashisa no sekai o sutero: Shashin to gengo no shiso [First, abandon the world of pseudo-certainty: Thought on photography and language]. Actively drawing on Western theory and literature, Provoke members-photographers Nakahira Takuma, Takanashi Yutaka, and Moriyama Daido; critic-photographer, Taki Koji; and poet Okada Takahiko-aimed to create visual images that would reveal a world indescribable by conventional language. The term are-bure-boke, which means grainy, blurred, and out of focus, was coined to describe their radical photographs, many of which look as though they were taken by accident and appear to be of nothing in particular. I argue that Provoke members not only challenged the aesthetics of existing photography genres, but also illuminated the very notion of photography itself. Their deconstructivist attitudes gave rise to photographs that were taken in the midst of unrehearsed settings, as well as developed and edited in rather random operations. Their process-oriented photography went hand in hand with the periodical style of the series, revealing the evolution of members{\textquoteright} photography and ideas as each of the four publications was published. Rather than consider photography an end product of photographers{\textquoteright} visualization, Provoke members demonstrated photography{\textquoteright}s intricate intertwining with the production process, beginning with taking photographs, extending through to developing prints, and ending with publishing the publications. I explore the material aspects of Provoke and First, Abandon the World of Pseudo-certainty as well as examine the publications{\textquoteright} photographs. By doing so, I also argue that the publications are more than journals and a book: they belong to a multi-faceted medium including photobooks and artists{\textquoteright} book. The publications{\textquoteright} strong graphic take on photography and the photographers{\textquoteright} engagement in the relationship between photography and language made the photographic publications unique among other commercial photography magazines and photobooks.}, keywords = {Drawings/Prints/Works on Paper, Japanese/Korean Art}, author = {Fujii, Yuko} } @mastersthesis {11301, title = {The Pursuit of Publicness: A Study of Four Chinese Contemporary Art Projects}, year = {2012}, school = {Rochester}, abstract = {This dissertation examines the meaning of publicness and its relationship to contemporary art through an analysis of four Chinese art projects. The four projects are Moving Rainbow (1998-2001) by Xiong Wenyun, Village Self-Governance Documentary Project (2005) by Wu Wenguang, Karibu Islands (2008) by myself, and Nian (2010) by Ai Weiwei. I demonstrate that these projects share a number of things in common: (1) the artists and participants acted as citizens and demanded citizens{\textquoteright} rights; (2) they organized discursive arenas outside the state; (3) they defined issues of common concern; (4) they mobilized both rational-critical and affective expressions, and utilized a wide range of media; (5) they fostered stranger relations; (6) they strove for visibility; (7) they focused on contemporary common action. These traits together constitute publicness. Publicness not only served as a goal for these projects, but also constituted a form through which these projects came into being. I argue that the pursuit of publicness has been one of the critical forces motivating the development of Chinese contemporary art. In the struggle against totalitarianism, Chinese artists have combined public and counterpublic strategies and contributed to larger social movements striving for freedom and justice..}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Zheng, Bo} } @mastersthesis {11263, title = {Quest for the True Visage: Sacred Images in Medieval Chinese Buddhist Art and the Concept of zhen}, year = {2012}, school = {Chicago}, abstract = {This dissertation examines sacred images revered and created in medieval China with a particular focus on the concept of zhen. Literally meaning "true" or "real," the term zhen frequently appears in diverse textual and visual sources along with variations such as zhenrong (true visage), zhenshen (true body), and zhenxing (true form). The primary goal of this dissertation is to systematically explore the concept of zhen in the image cult in medieval Chinese religion. I argue that, though it has been little studied, this notion was at the center of medieval Chinese conceptions of sacred images. In charting its history from the fifth to the twelfth centuries, I furthermore demonstrate the positive attitudes toward materiality that developed gradually in this period, attitudes that formed in tandem with the elevation of the status of an image from "representations of" to "replacements for" divine beings. Concentrating on four cases of Buddhist images related to the concept, my work traces the historical trajectories in which medieval Chinese employed the concept of zhen in shaping and claiming the ontological status of their sacred images. In the first chapter, entitled "Making the Invisible Visible: The Concept of zhen in Dedicatory Inscriptions of Fifth- and Sixth-century Votive Statuary," I investigate the patterns in which the notion of zhen appears in dedications and related literary sources. This investigation reveals that before the seventh century, the term zhen and its variations mostly refer to the model represented by the image, i.e. divine beings such as the Buddha or Bodhisattvas. However, a shift in the referent of the term from the divine beings to certain Buddhist icons is witnessed from the late seventh century, a phenomenon charted in the second chapter, "From the True Visage to a Miraculous Image: The Medieval Chinese Reception of the Buddha Image at the Mahabodhi Temple of Bodhgaya, India." Through a close reading of Chinese pilgrims{\textquoteright} descriptions of a Buddha statue in Indian from Xuanzang to Yijing, I explore an intriguing shift in the perception of the ontological status of an Indian statue from "as if real" ( ruozhen) to "the real" (zhenrong). The establishment of the term as the designation of "true images" in medieval China is the central theme of the third chapter. Entitled "Materialized Vision: The True Visage of the Bodhisattva Manjusri of Mt. Wutai and Its Tenth-Century Translation in Dunhuang," this chapter traces the courses in which the worship of a bodhisattva image, which was called zhenrong, gradually substituted and finally replaced the focus on the attainment of mystic visions of the bodhisattva that had been central to the cult. An intentional employment of the heavily-charged term zhenshen as a designation of a bodhisattva image is analyzed in the last chapter, "Image over Vision: The True Body of the Bodhisattva Avalokitesvara in the Dali Kingdom." In this chapter, I explore the manner in which a bodhisattva image, previously called Acuoye, obtained the name "true body" within the complex historical, political, and geographic conditions of the independent kingdom of Dali in the mid-twelfth century.}, keywords = {Chinese Art}, author = {Choi, Sun-ah} } @mastersthesis {11329, title = {Quidam lapis preciosus qui vocatur Cammaheu: The Medieval Afterlife of the Gemma Augustea at Saint-Sernin of Toulouse}, year = {2012}, school = {Emory}, abstract = {By the thirteenth century, the Gemma Augustea, a large Roman imperial cameo carved during the reign of Augustus, was venerated as a relic in the basilica of Saint-Sernin of Toulouse. Believed to have been worn as a battle pectoral by the legendary Charlemagne, the gem became the showpiece of Saint-Sernin{\textquoteright}s treasury. Indeed, Saint-Sernin{\textquoteright}s Augustinian canons actively cultivated an institutional connection to the Frankish leader through their promotion of the cameo{\textquoteright}s legend. Although Saint-Sernin remains a well published monument, little scholarship exists on its possession of the Gemma Augustea. This project traces the historical and cultural trajectory of the Augustan glyptic masterpiece from its creation in first century C.E. Rome to its veneration as a Charlemagne object in medieval Toulouse. In so doing, this dissertation demonstrates how the Gemma Augustea{\textquoteright}s medieval afterlife was shaped over the course of several centuries by evolving legends concerning Charlemagne{\textquoteright}s patronage of the church. Chapter 1 introduces the Gemma Augustea as a Roman object and examines the significance of its iconography. This chapter also considers the cameo{\textquoteright}s probable migration to Constantinople and reconstructs its likely setting within the Byzantine court. Chapter 2 investigates the development of the legends associated with Charlemagne{\textquoteright}s adornments and explores the material and symbolic commonalties shared by extant "Charlemagne pectorals" housed in church treasuries. In Chapter 3, I argue that the Gemma Augustea{\textquoteright}s reception was shaped by a merging of Toulouse{\textquoteright}s Carolingian past with contemporary events that were instrumental in bringing the cameo to Toulouse. By examining local legends, chansons de geste, and themes related to crusading activity, it becomes apparent that the cameo not only served to evoke earlier battles between the Franks and the Arabs in the eighth century, it also visually exemplified the rhetoric of the First Crusade and Reconquista. Chapter 4 analyzes the Gemma Augustea{\textquoteright}s prominence in late medieval Saint-Sernin and examines the influence of the Capetian and Valois dynasties in the promotion of the myths related to Charlemagne{\textquoteright}s patronage.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Fernandez, Catherine} } @mastersthesis {11234, title = {Racializing the Ancient World: Ancestry and Identity in the Early United States}, year = {2012}, school = {Brown}, abstract = {Despite being thousands of miles from the Mediterranean Sea, the early United States was littered with the remains of classical antiquity. In creating their new country, Americans turned to the ancient language of Latin to express their sense that they were living in a novus ordo seclorum, a new order of the ages. They compared George Washington to the Roman soldier-farmer Cincinnatus, and they invested powers in a Senate named for the governing body of ancient Roman republic. But how do we understand the choice to build the self-consciously new country upon the ruins of an ancient empire? Could the particular challenges embodied in the aspirational slogan e pluribus unum be resolved through a concurrent and relentless invocation of individuals and events from millennia earlier? }, keywords = {Art of the United States, Eighteenth-Century Art}, author = {Monteiro, Lyra} } @mastersthesis {11232, title = {Reconstructions: The Material Culture of the Plantation, 1861-1877}, year = {2012}, school = {Yale}, abstract = {The very word "plantation" conjures up images of processional landscapes leading to large houses with tall white columns, faithful workers, hoop skirts and outsized hospitality. These images are problematic, not because such elements were absent, but because they shroud the "peculiar institution" at the core of the plantation, slavery. Nowhere was this more evident than on the Sea Islands of South Carolina, one of the wealthiest regions of the United States, organized around a system of cotton plantations dominated by an elite planter class. The arrival of Federal troops in November 1861 marked the end of slavery for nearly 20,000 enslaved people on the Sea Islands of South Carolina. The plantation landscape was immediately transformed. Elite planters fled; in their wake, soldiers, and freedmen forged an uneasy alliance as they lived and worked together in the de-slaved space: the plantation was thus open for re-imaging.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Byrd, Dana E.} } @mastersthesis {11230, title = {Reframing the Lands of Rum: Architecture and Style in Eastern Anatolia, 1240-1320}, year = {2012}, school = {Princeton}, abstract = {This dissertation focuses on the development of Islamic architecture in Asia Minor (today{\textquoteright}s Turkey) throughout the thirteenth and early fourteenth centuries. It proposes a study of the architecture of medieval Anatolia within the parameters of cross-cultural exchange, and of trans-imperial networks fostered by trade and the general mobility of craftsmen, merchants, and scholars. These far-reaching economic and cultural networks were facilitated by the span of the Mongol Empire, into which Anatolia was integrated in the second half of the thirteenth century, under the so-called Pax Mongolica. They fostered the exchange of ideas and the formation of fluid styles - Byzantine, Seljuk, Armenian in the case of Anatolia - and identities among different religious (mostly Christian and Muslim) and ethnic groups. Paying close attention to the fluid identities of medieval Anatolia, this dissertation discusses cultural networks within a geographical, rather than a political framework, that serves as the breeding ground for creativity and innovation in architecture as Anatolia progressively developed from a Christian to a Muslim region. This dissertation questions the exclusive role ascribed to dynastic patronage in the shaping of architectural style, which is especially relevant in a frontier region such as Anatolia, rife with instability and shifting boundaries. Thus, this study argues that in medieval Anatolia, the discrepancy between the levels of politics, patronage, and stylistic developments is particularly acute, even more so with the increasing influence of the Mongol Ilkhanids throughout the second half of the thirteenth century. Political, economic, and cultural factors shaped the ways in which the potential of Eurasian networks was translated into architecture differently in adjacent regions. In Anatolia, these dynamics shifted several times within a matter of years, taking the complexity of architecture beyond the correlation between rule, patronage, and style suggested by historiographical categories such as Seljuk or Ilkhanid. Close analysis of selected monuments, paying attention to the details of structure and decoration, are combined with primary sources in order to render both the visual and textual understanding of architecture in thirteenth-century Anatolia}, keywords = {Art of the Middle East/North Africa}, author = {Blessing, Patricia} } @mastersthesis {11371, title = {Rethinking Frontier Paradigms in Northeastern New Spain: Jesuit Mission Art at Santa Maria de las Parras, 1598-1767}, year = {2012}, school = {Harvard}, abstract = {This dissertation addresses key questions that are yet to be answered related to the involvement of local patrons in the decoration of northern New Spanish churches. The case study of the Jesuits{\textquoteright} church of San Ignacio in Santa Maria de las Parras (located in present-day Coahuila, Mexico) reveals new evidence that prominent Spanish and Tlaxcaltecan Indian benefactors participated in the adornment of private devotional chapels in this religious space. In Parras, the Jesuits and secular landowners cultivated vineyards and participated in the lucrative business of viticulture that transformed this mission settlement by the mid-seventeenth century into a thriving winemaking center. As the Jesuits created their own "spiritual economy" in Parras on the northeastern frontier, they fostered alliances with Spanish and Tlaxcaltecan vineyard owners to serve both their religious and temporal interests (Chapter One). The surviving evidence of artworks and inventories reveals that these benefactors donated funds to decorate their own chapels in San Ignacio. This financial support helped the Jesuits purchase and import paintings by prominent artists working in Mexico City for display in their Parras church. While these patrons selected the iconographies of the artworks they funded, the Jesuits also arranged their chapels in a carefully ordered sequencing of images to promote devotions that were commensurate with Ignatian spirituality (Chapter Two). To shed more light on the process in which the Jesuits coordinated the circulation of devotional images from Mexico City to Parras, this study will examine travel logs to document the mobility of the Jesuits and their frequent movement between metropolitan settings and the northern frontier. By tracking the circulation of individuals as well as artworks, it is possible to uncover how the Society{\textquoteright}s process of fostering relationships with donors operated in Parras just as it did in larger cities such as Mexico City, Lima, Cuzco, and Rome (Chapter Three). Vineyard metaphors that resonated with special symbolic meaning at Parras also took on a new relevance when martyrdom became an omnipresent subject in the wake of Indian revolts. Evangelization on the frontiers of the Christian world became integral to the Jesuits{\textquoteright} formation of their missionary identity in both New Spain and Europe. This study will present evidence of rare martyrdom drawings produced in Mexico and transported to Rome that played an active role in transforming the importance of the New Spanish frontier and catalyzed the creation of new artworks in Mexico City and Rome (Chapter Four). The evidence uncovered in this study has important implications for the field of colonial art history, as it reveals that art production in Parras was not an isolated missionary phenomenon but rather part of a dynamic network of artistic patronage and cultural exchange that moved in both directions between Europe and New Spain. This re-contextualizing of center-periphery paradigms further demonstrates that metropolitan and frontier relationships were not always opposed to each other, but rather interacted within a larger network of artistic dialogue.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {McAllen, Katherine Moore} } @mastersthesis {11429, title = {Rewriting the Narrative of Dada in New York, 1910-1926}, year = {2012}, school = {CUNY}, abstract = {New York Dada has historically been positioned as incompatible or antithetical to American modernism. This dissertation argues that the Dada spirit in New York not only rejected European conventions of high art, but did so with the nationalistic desire to develop a modern and independent American idiom through the influence of anarchism and vernacular culture. This study traces the influence of anarchism in New York on Alfred Stieglitz, his influential gallery, "291," and his publication, Camera Work, as well as larger anarchistic networks during the early 1910s. In this atmosphere of iconoclastic experimentation, vernacular culture emerged as an alternative strategy to critique the definitions and institutions of fine art. Whereas most studies of New York Dada focus on the work of Marcel Duchamp, Francis Picabia, and Man Ray, this study reconstructs the cultural conditions in which they worked. The year 1915 becomes a watershed moment, not simply for the arrival of Duchamp and Picabia, but for the publication of Van Wyck Brooks{\textquoteright}s cultural critique, America{\textquoteright}s Coming-of-Age. This text blamed the dichotomy between the highbrow and lowbrow for the lack of a truly American cultural idiom. I argue that the main character of New York Dada - its enthusiastic adoption of the subjects, styles, and strategies of vernacular culture - attempts to bridge that divide. The vernacular came to represent a new standard of American identity, a flexible definition that could allow an amateurish aesthetic to coexist with industrial imagery. This study broadens the scope of New York Dada production to include the work of artists and critics who collaborated in this Dada spirit, but have historically been separated from the Dada movement. In this larger context, canonical works of Dada, especially periodicals such as The Ridgefield Gazook (1915), The Blind Man (1917), and New York Dada (1921) will be reconsidered.}, keywords = {Twentieth-Century Art}, author = {Archino, Sarah} } @mastersthesis {11253, title = {Risky Business: Chance and Contingency in American Art Around 1900}, year = {2012}, school = {Maryland}, abstract = {My dissertation exposes and interprets unnoticed points of intersection between American visual culture and the rhetoric, logic, and imagery of institutions and disciplines dedicated to rationalizing chance-insurance, census, statistics, probabilism-around 1900, when popular, mathematical, and philosophical conceptions of the accident were undergoing considerable revision. Following the Civil War, experts in a number of disciplines and commercial enterprises counted, measured, and classified individual experiences, bodies, and lives. Statistically minded theorists recognized that, given a large enough sample, phenomena previously considered random or divinely predetermined, such as death, injury, accident, disease, and crime, occurred regularly and were, to a degree, predictable. Anthropometrists also noticed that anatomical and physiognomic traits were distributed according to statistically evident norms. Innovative graphic techniques were developed to visualize, dramatize, and publicize the previously invisible trends, laws, and patterns revealed by such statistical analysis. Insurance underwriters gathered vital statistics and compiled actuarial charts, effectively quantifying lives and configuring individuals in terms of risk. Insurance advertisements portrayed the modern world as a place of hazard and imminent peril manageable only through accident and life coverage. My dissertation demonstrates that this statistical and actuarial calculus manifested in works of art as Americans began to think, speak, and visualize their world in terms of risk, odds, and contingency. Organized as a series of case studies, my work demonstrates that visual culture fully engaged with the abstract concepts-chance, risk-and mathematical disciplines-statistics, probabilism-that informed this emergent worldview. My study builds on recent social histories of chance, enhancing and complicating them by considering understudied imagery-insurance advertising; composite photography; statistical graphics-and period documents overlooked by art historians-census questionnaires; actuarial life tables; Edward Bellamy{\textquoteright}s 1888 novel Looking Backward-to reveal not only how this material informs major artworks, but also how works of art participated in underwriting an emerging conception of the world as an ultimately indeterminate, chance-based system. Individual chapters focus on artworks clustered roughly around the year 1900: Winslow Homer{\textquoteright}s mid-1880s paintings of peril at sea, blurry pictorial photographic portraiture by Edward Steichen, and George Bellows{\textquoteright}s painting Forty-two Kids (1907).}, keywords = {Art of the United States}, author = {Greenhalgh, Adam} } @mastersthesis {11352, title = {Roman Infrastructural Changes to Greek Sanctuaries and Games: Panhellenism in the Roman Empire, Formations of New Identities}, year = {2012}, school = {Michigan}, abstract = {My dissertation examines the changes to the Panhellenic Games in Greece during the Roman period through an examination of the nonmonumental architecture, infrastructural features, and epigraphic evidence of the four original Panhellenic Games: the Olympic, Pythian, Isthmian, and Nemean. I argue that, though each of these Games played an important role in defining Greek responses to Roman rule, they were used in quite disparate ways and were conceptualized differently by their participants. The Olympic Games, for instance, continued to be administered by the city of Elis, which had autonomous control over the sanctuary of Zeus, maintaining its independence and preserving the traditional Greek cultural milieu; in contrast, Augustus, Nero, Hadrian and other emperors manipulated the membership of the Amphiktyonic League at Delphi in order to better serve their political strategies for the province of Achaea. The Nemean Games were transferred to their mother-city of Argos in the Hellenistic period and continued to be celebrated there in an urban context throughout the Roman period. The Isthmian Games were administered by the Roman colony of Corinth, who used their control over that spectacle to legitimate their place in Achaea. They maintained a Greek veneer over the Isthmian festival, through the continued use of Greek as the language of the Games, while making significant changes to the administration of the festival to make it suit the political structure of the new Roman colony. I conclude that there was not one Roman administrative model of control over these Games, but features of them were deliberately chosen and modified by many groups and individuals, from the emperors, to Roman citizens of Greece, to the native elites, to the athletes, to legitimize and highlight their connections to the classical Greek past and to create a broader sense of Panhellenism throughout the province of Achaea and the rest of the Greek world.}, keywords = {Greek/Roman Art}, author = {Laurence, Karen} } @mastersthesis {11411, title = {Ruptures in Painting after the Sack of Rome: Parmigianino, Rosso, Sebastiano}, year = {2012}, school = {Columbia}, abstract = {The Sack of Rome of 1527 was the greatest disruption to the history of sixteenth-century Italian art. Sufficient attention has been paid to its ramifications in terms of the diaspora of artists from Rome that disseminated "Mannerism" throughout Europe and monumental papal projects executed in its wake, including Michelangelo{\textquoteright}s Last Judgment (1534-41), Perino del Vaga{\textquoteright}s decoration of the Sala Paolina in Castel Sant{\textquoteright}Angelo (1545-47), and the propagation of a more disciplined use of classicism in architecture and literature by the papacy of Pope Paul III. Focus on these consequences, of a grand scale, emphasizes the impact of the event for papal history but has obscured to some extent a set of works that was directly and immediately affected by the Sack of Rome: paintings by artists who were dispersed from Rome, produced in cities of exile. These paintings by displaced artists are the subject of my dissertation. Repercussions of the Sack disrupted the practice of painters who were forced to flee the ruined city, including Polidoro da Caravaggio, Perino del Vaga, Giovanni da Udine, Giovanni Antonio Lappoli, Vincenzo Tamagni, Parmigianino, Rosso Fiorentino, and Sebastiano del Piombo. The first post-Sack paintings of three of these artists, executed for private patrons (rather than under papal or imperial direction as in the cases of Giovanni da Udine and Perino), signal the disruption of the Sack through both marked stylistic innovation and iconographic manipulation: Parmigianino{\textquoteright}s St. Roch with a Donor in Bologna, Rosso{\textquoteright}s Lamentation at the Foot of the Cross in Sansepolcro, and Sebastiano del Piombo{\textquoteright}s Nativity of the Virgin in Rome. In these altarpieces, each artist exhibits a distinct change in his creative production and disturbs the iconography of a well-established sacred subject by inserting an aberrant and conspicuous reference to Rome. Together, these examples suggest that, while the artists do not illustrate the event of the Sack itself in their works, they mark their paintings as products of a specifically post-Sack context, in which the identity of the three painters as refugees from Rome was an essential component. This study raises the problem of the roles of historical trauma and of biography in art historical investigation. Chapter One examines contemporary writings about artists and the Sack and explores the extent to which an artist{\textquoteright}s association with the event was both a deeply personal issue as well as a public aspect of identity. The cases of Polidoro, Lappoli, and Tamagni are presented here as complementary cases to the chapter studies of Parmigianino, Rosso, and Sebastiano. Chapter Two investigates Parmigianino{\textquoteright}s production of the St. Roch altarpiece in Bologna, where his new monumentality and dramatic effect combine with an incongruous inclusion of antique costume to assert his artistic lineage to and recent departure from Rome. Chapter Three studies Rosso in Sansepolcro and the ways in which his Lamentation signals his distance from Rome-both physical and artistic-through appropriation of local culture and through his inversion of the figure of the Roman soldier. Chapter Four follows Sebastiano back to Rome after exile where he resumed the project for the Nativity that had been interrupted by the Sack. His emulation of the art of his former rival, Raphael, introduces an aberrant classical component that acknowledges at once the nostalgia for pre-Sack Rome inherent in his commission and the transformation, initiated as a result of the Sack, of the legendary site of the Nativity itself, at Loreto.}, keywords = {Renaissance/Baroque Art}, author = {Ng, Aimee} } @mastersthesis {11439, title = {Salvador Dali and Rene Magritte, 1928-1938}, year = {2012}, school = {IFA/NYU}, abstract = {This dissertation assesses the visual and theoretical interactions of Salvador Dali and Rene Magritte between 1928 and 1938 and their impact on the Surrealist movement. In 1929, a year of crisis in the movement, the leader of the French Surrealists, Andre Breton, purged the group of numerous members. The Surrealists were also drawing closer to the Communist party, which shifted the theoretical foundations of the movement towards a more active engagement of the mind with reality. Within this context the two artists and their work represented the new face of the movement. Scholars have acknowledged Dali in particular as a critical force within Surrealism from 1929 through the late 1930s, while Magritte{\textquoteright}s involvement with these transformations has been less closely examined. Chapter One considers Magritte and Dali{\textquoteright}s initial reception of Surrealism in their native countries of Belgium and Spain in the mid to late 1920s. They each critiqued the movement{\textquoteright}s narrow focus on the world of the unconscious at the expense of the objective world. Chapter Two focuses on the simulacrum, or a copy without an original, and its challenge to the traditional idea of resemblance. Dali and Magritte first engaged with the idea of the simulacrum through their use of collage in the 1920s and remained deeply concerned with it throughout their careers. Chapter Three also explores their overturning of resemblance, this time through the lens of psychoanalysis. Dali{\textquoteright}s paranoiac-critical method, first outlined in 1930, examined the links between objects that are established through an individual{\textquoteright}s obsessions. Magritte{\textquoteright}s lesser known method from the 1930s was based on "elective affinities" between objects. Both artists indicated that reality is based on associations made by the individual mind and is constituted subjectively through language. The final chapter investigates their creation of Surrealist objects meant to intervene in the world and interact with everyday objects, ideally causing a crisis in how we experience reality. By considering Dali and Magritte together, this study contributes to our understanding of them as individuals and also expands our knowledge of Surrealism post-1929, when they both began to question the possibility of an objective interpretation of the world.}, keywords = {Twentieth-Century Art}, author = {Johnson, Danielle} } @mastersthesis {11238, title = {Scribner{\textquoteright}s Monthly, 1870-1881: Illustrating a New American Art World}, year = {2012}, school = {Columbia}, abstract = {This dissertation examines the illustrations and text of Scribner{\textquoteright}s Monthly, arguably the most prominent monthly magazine during the 1870s. Initiating improvements in reproduction technology and art criticism, Scribner{\textquoteright}s played a major role in the development of the nation{\textquoteright}s art world in the Gilded Age, transforming the reception, perception and consumption of images by the American public.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Knox, Page} } @mastersthesis {11440, title = {Sculpture{\textquoteright}s Condition / Conditions of Publicness: Isa Genzken and Thomas Hirschhorn}, year = {2012}, school = {Princeton}, abstract = {In a moment when sculpture{\textquoteright}s generic specificity and political and aesthetic validity seem increasingly in doubt, Isa Genzken (b. 1948) and Thomas Hirschhorn (b. 1957) persist in making works explicitly situated in relation to the history of sculpture. They do so even if, or precisely because, continuing to make sculpture has entailed radically redefining that medium and its potential meanings in the public sphere. My dissertation maps the work of Genzken and Hirschhorn at the intersection of sculpture{\textquoteright}s materialization, mystification, and extension in the hands of Beuys; its dematerialization in the 1970s; and its avant-garde legacy of failed utopian potential. Overlaying that map is a second, in which I consider the particular urgency of sculptural practice in the context of ongoing post-war reconstruction in Germany and of the discourse about offentlichkeit (the public sphere) that began to take shape in the early-1960s, initiated by the German philosopher Jurgen Habermas (b. 1929) with his epochal 1962 book Strukturwandel der offentlichkeit: Untersuchungen zu einer Kategorie der burgerlichen Gesellschaft, and revised and extended by sociologist Oskar Negt (b. 1934) and writer and filmmaker Alexander Kluge (b. 1932) in their co-authored works, namely, offentlichkeit und Erfahrung. Zur Organisations-analyse von burgerlicher und proletarischer offentlichkeit (1972) and Geschichte und Eigensinn: Geschichtliche Organisation der Arbeitsvermogen-Deutschland als Produktionsoffentlichkeit-Gewalt des Zusammenhangs (1981). At the core of both Genzken{\textquoteright}s and Hirschhorn{\textquoteright}s projects are questions about the possibility and conditions of publicness and of the status of human subjects within and formed by publicness-questions that are perhaps best addressed by the three-dimensional quality of sculpture. In distinct ways, Genzken and Hirschhorn exploit the sculptural object{\textquoteright}s proximity to the monument (and architecture more generally), the commodity, and the human figure to explore the potentials for, and hindrances to, collective meaning production. How does one maintain utopian possibilities in the present, they ask, while reckoning with the promises and failures of the historical avant-garde of the early 20th century? Is it possible to enact sculpture{\textquoteright}s full materialization and yet resist reification? What is an adequate artistic response to the historical predicaments of the period-advanced capitalism, mediation, terrorism, imperialism, for example? Does there remain an experiencing and expressive subject in which such a critical response might be rooted? Is a unified or "universal" public sphere imaginable? And, more to the point, would it be desirable? My aim in this dissertation is to understand the difference of Genzken{\textquoteright}s and Hirschhorn{\textquoteright}s approaches to the possibilities of publicness as related to, and expressed in, the possibilities of sculpture.}, keywords = {Twentieth-Century Art}, author = {Lee, Lisa} } @mastersthesis {11242, title = {Sec{\textquoteright}s Appeal: The Secretary in American Popular Culture, 1872-1964}, year = {2012}, school = {Minnesota}, abstract = {This project examines the visual and material culture related to female clerical workers, beginning with the introduction of the typewriter. As an increasing number of women began working outside the home, by the early twentieth century clerical work became the single largest category of employment for women in the United States. Although many social histories (primarily textual) have explored the factors that produced this modern labor group, there has been little attention paid to their experiences as they negotiated and created new media images, environments, and objects in and out of the office. Moreover, I have found that examining images and artifacts as important documents can either elucidate or contest written evidence. This study brings together a vast array of images, objects, and spaces in order to make connections between them and women{\textquoteright}s work experience, thereby revealing histories that would otherwise be lost. Most remarkable are the subtle-and not so subtle-ways that representations of clerical workers have been used to either advance or deter women{\textquoteright}s success in the office. Concerns about women{\textquoteright}s identity in general, and more specifically, about class and sexuality, also rise to the surface. Ultimately these women{\textquoteright}s interactions with visual and material culture would contribute to forming a new identity for women-that of working middle-class women. In the first chapter, I examine the effect that women pouring into downtown business districts had on reshaping and creating new urban spaces, including offices, restaurants, department stores, and living spaces. In the second chapter, I reveal Remington Typewriter{\textquoteright}s efforts to create the image of the respectable female worker through its advertising and promotional materials, as clerical jobs became the most desirable work for middle-class women. In the third chapter, I explore the problems of married working women in Depression-era films and the "backlash" against working women after World War II, signified by the appearance of overtly sexualized secretaries in cartoons, pin-ups, and gag gifts. Chapter four focuses on Charm magazine and the recognition of female office workers as a lucrative marketing niche by magazine publishers, advertisers, and department stores, contributing to these workers{\textquoteright} economic empowerment in the postwar boom.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Green, Midori} } @mastersthesis {11298, title = {Sensing the Museum: Contests of Experience with Contemporary Art}, year = {2012}, school = {Rochester}, abstract = {In the twenty-first century, the art object is shifting from the solidity of the discrete object to expanded notions about its forms. Concurrently, museums are challenged to find pedagogical tools to engage visitors who may not be familiar with these new art forms. I propose to bridge the gap between art theory, practice, and display, and to generate a framework that benefits art{\textquoteright}s practitioners, audiences, and the museums that engender dialogue between these entities. I argue for a sensory museum model-a reevaluation of the museum as a site of, and for, sensorial aesthetic experience. My sensory model situates the museum as body. This concept offers a productive and socially charged metaphor for identifying museum infrastructure and its effect upon sensory engagement. The museum as body invokes the fluid relationships between the different bodies that constitute the museum as a whole, including the artworks, audiences, and artists that move through it. Employing exhibition and museum case studies, I challenge the historical primacy of vision, arguing for a mode of critical analysis founded upon sensorial experience. I explore dynamic exhibitions that elucidate the complex phenomenological relationship between visitor and object-from vision-based work by artists such as Olafur Eliasson and Eric Orr, Viktor \& Rolf{\textquoteright}s fashion exhibitions, tours by Andrea Fraser and Tino Sehgal, Janine Antoni and Vanessa Beecroft{\textquoteright}s body practices, to participatory work by Fallen Fruit and Carsten Holler. These cases point to sensorial possibilities in the museum as well as to those in which a dependency on vision fails to create full sensory moments. I partner my personal experiential analysis with terms such as architexture (the infrastructure of the museum as a flexible canvas made tangible) and ars memorativa (the body acting as the motor of memory) as well as tools such as phenomenology, in building my argument. A sensory model is invested in the varied ways that people reflect upon their experiences in museums and addresses art practices that are concerned with experience as form. Reclaiming the sensorial moment supplements the pedagogical museum imperative-to share knowledge-with the phenomenological aspects of museum experience, thus creating a museum model that anticipates and encourages personal and full-bodied inquiries into works of art. This holistic approach adds to the toolboxes of museums, artists, and scholars, extending the reach of new art practices in the making of new art histories.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Gladstone, Mara} } @mastersthesis {11386, title = {The Seurat Effect}, year = {2012}, school = {UT Austin}, abstract = {Seurat{\textquoteright}s contemporaries regarded his work as cold and mechanical, in the most pejorative way. Viewers in the late nineteenth century were inclined to chastise him and his impersonal touch and mechanical figures. By the early decades of the next century that view had been almost entirely replaced, and a new understanding of Seurat had blossomed: far from representing the threat of a mechanical world, he came to embody its promise. To these critics, Seurat{\textquoteright}s technique was perfectly suited to their own era{\textquoteright}s embrace of technology. Yet, as the modern era has begun to take shape, a third view of the artist has become more common. Although some viewers still regard his work as mechanical or formulaic in respects, an increasing number of scholars and artists reject the idea that his work is cold and mechanical at all. The purpose of this dissertation is to explore why these varying perceptions of Seurat were formed and how each reflects on the time in which it was embraced.}, keywords = {Nineteenth-Century Art}, author = {Hylton, Jennifer} } @mastersthesis {11345, title = {She is All Nature, Yet All Art{\textquoteright}: Portraits of Emma Hamilton}, year = {2012}, school = {Boston}, abstract = {How Emy Lyon became Emma Hamilton (1765-1815) through the creation, display, and circulation of painted portraits, portrait prints, letters, and architectural imagery is the focus of this dissertation. In it, I make four main claims. First, Emma{\textquoteright}s introduction to the rituals and rewards of genteel female behavior began in George Romney{\textquoteright}s studio, and sitting for portraits was an educational process that continued throughout her life. Second, Emma{\textquoteright}s education continued during her residency in Naples under the care and direction of Sir William Hamilton, and the imagery from this period participates in Emma{\textquoteright}s transformation from Sir William{\textquoteright}s mistress to his wife. Portraits and letters after the 1791 marriage advertised traits that Sir William{\textquoteright}s social circle would find desirable and helped to justify her elevated position. Third, Emma{\textquoteright}s relationships with powerful women were as essential to her self-fashioning as her relationships with men. Elisabeth Vigee-Lebrun, Angelica Kauffman, and Queen Maria Carolina of Naples served as important role models for Emma, and opportunities for fame and power resulted from her association with them. Finally, upon her return to England in 1800, Emma sought to manipulate the architecture, decoration, and visual representations of Nelson{\textquoteright}s country home to showcase her virtuous conduct. Throughout the dissertation, I aim to suggest that Emma contributed to the fashioning of her identity and show the ways in which her involvement increased during her lifetime. The other people who contributed to such fashioning of her identity-from artists to lovers to royalty-necessarily play a part in this study. How Emma adapted and responded to the situations that others created is central to my analysis and understanding of self-fashioning. The dissertation ultimately proposes that becoming Emma Hamilton was a complex, life-long process with both constructive and destructive consequences.}, keywords = {Eighteenth-Century Art}, author = {Ludwig, Amber} } @mastersthesis {11423, title = {She Loved More Ardently than the Rest: The Magdalen Cycles of Late Duecento and Trecento Italy}, year = {2012}, school = {Rutgers}, abstract = {In 1279, Charles of Salerno, the future King Charles II of Naples, discovered the body of the repentant prostitute Mary Magdalen, the foremost exemplar of penance in the late medieval period, at the church of Saint-Maximin in Provence. Immediately afterwards the first cycles of paintings depicting her life appeared in Italy. The Angevin dynasty of Naples, along with the Franciscan and Dominican Orders, promoted the Magdalen cult and its spread into Italy, yet there has been little inquiry into their use of visual imagery in this endeavor. My dissertation investigates the iconography and patronage of the earliest central and southern Italian painted cycles depicting her life, providing the first exploration of the use of narrative imagery to aid in the construction and development of the identity of Mary Magdalen. The visual expression of this identity, as created in six critically important cycles in Naples, Assisi, and Florence, played a vital role in her cult{\textquoteright}s expansion. I contend that these pictorial narratives, all connected to the key advocates of her cult, were not merely illustrating the Magdalen{\textquoteright}s life as they were transmitted in textual accounts, but instead were consciously used to craft the identity of the saint. These cycles thus visualize mendicant and Angevin interpretations of the Magdalen. The first chapter provides the historical context for interpreting the Magdalen pictorial vitae, presenting a summary of the biblical and legendary Magdalen literary material, and explaining her appeal for the three groups instrumental in promoting her cult in the period. It concludes with a discussion of the earliest Magdalen cycle, on the Magdalen Master Dossal in Florence. The second chapter explores the three Magdalen cycles in Naples within the context of Angevin promotion of the Magdalen cult. The third and fourth chapters investigate the Magdalen Chapel in the Basilica of St. Francis, Assisi, looking at the Magdalen cycle and the iconic imagery in the chapel as a Franciscan statement on penitence. The final chapter re-examines the Magdalen Chapel in the Palazzo del Podesta, Florence, arguing that it was a palace chapel commissioned by the Angevin Signore of Florence, King Robert.}, keywords = {Renaissance/Baroque Art}, author = {Wilkins, Sarah} } @mastersthesis {11344, title = {On Shifting Ground: Politics and Patronage in the Art of Francois Gerard}, year = {2012}, school = {UIUC}, abstract = {This dissertation examines the career of Francois-Pascal-Simon Gerard (1770- 1837) from its beginnings in the mid-1780s through the end of the French Revolution and provides a more complete understanding of Gerard as a key artist of the Revolutionary decade. A goal of this study is to set aside long-standing assumptions concerning Gerard{\textquoteright}s political convictions and doubts about his artistic originality in order to shed light on Gerard{\textquoteright}s critical contributions to Revolutionary art, and in particular, to the Davidian school. I demonstrate that, in the 1790s, Gerard moved away from the subjects and styles forged in Jacques-Louis David{\textquoteright}s (1748-1825) studio. Most significantly, he reinvented classicism as a vehicle for moderate political themes, he reintroduced apolitical, sexualized imagery into classicism, and he established an artistic practice in which the serious business of the history painter was thoroughly integrated with that of the high-society portraitist. To do this, Gerard developed new modes of classicism, experimented with the emergent subject matter of Romanticism, and explored issues of gender and sexuality in uncommon ways. During the tumultuous decade of the Revolution, when political consensus was at best fleeting and the traditional institutions of the French art world faltered, Gerard{\textquoteright}s political and artistic flexibility allowed him not only to escape many of the consequences suffered by politically committed artists, but also eventually to thrive as a leading painter of the society of the late Directory. His career provides an alternative case for understanding the interplay of art, politics, and patronage in late-eighteenth century France.}, keywords = {Eighteenth-Century Art}, author = {Langworthy, Jennifer} } @mastersthesis {11297, title = {Sinking Maps: A Conceptual Tool for Visual Metaphor}, year = {2012}, school = {George Mason}, abstract = {Sinking maps, created by Northern Virginia Community College professor Joan Marie Giampa, are tools that teach fine art students how to construct visual metaphor by conceptually mapping sensory perceptions. Her dissertation answers the question, "Can visual metaphor be conceptually mapped in the art classroom?" In the Prologue, Giampa explains the origins of developing a methodology for sinking maps. This development derived from her analysis of her 1993 painting "Fish Pot", as well as her coursework and teaching experiences. In the Introduction, she explains that metaphor becomes visual by applying traditional, rhetorical methods for mapping knowledge (known as thinking maps). The Review of Literature summaries and analyses these thinking maps (Circle, Bubble, Double Bubble, Tree, Brace, Flow, Multi-Flow, and Bridge) to show that they can become visual metaphors (by themselves or blended together to form new conceptual maps). The Research Methodology lays out the study she conducted in her Design 131 class during the fall 2011 semester. The study asked students to complete a series of data sheets to develop visual metaphor maps. Then, they were asked to go into groups and combine their maps with other students to develop a group theme for a final group project. The Data and Results show that all eight participants are able to develop visual metaphors from the sinking map tool and successfully combine their maps to generate group connections and themes. The Appendixes list the forms and worksheets used for the study. Keywords: art education, brace map, brainstorming, bridge map, bubble map, circle map, conceptual metaphor, conceptual blending, connectivity, design, double bubble map, flow map, frame of reference, funneling, mapping, metaphor, methodology, multi-flow map, nugget, painting, research, self-portrait, senses, sensation map, sinking maps, synesthesia, tree map, thinking maps, visual metaphor map, visual metaphor.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Giampa, Joan} } @mastersthesis {11286, title = {Size Matters: Imagery of the Fat Female Body in the Art of Lucian Freud, Jenny Saville, Joel-Peter Witkin, Laurie Toby Edison, Leonard Nimoy, and Laura Aguilar}, year = {2012}, school = {Kansas}, abstract = {Since the early 1990s, a number of prominent artists have begun to produce images of the nude fat body. This dissertation looks at the works of several of those artists-Lucian Freud, Jenny Saville, Joel-Peter Witkin, Laurie Toby Edison, Leonard Nimoy, and Laura Aguilar-seeking to discover what meanings each individual artist layers onto the fat body. Asking why these artists might be interested in the fat body may seem an unnecessary question, as anxiety about fatness pervades Western culture. It is impossible to watch television, listen to the radio, or even read a magazine without being inundated by this unease; whether in the form of advertisements for various weight-loss programs and products, stories about the "obesity epidemic" facing the West, or human interest stories about life as an obese American. Therefore, this dissertation situates artistic images within a larger cultural context. In attempting to understand the meanings layered onto the body in the works of Freud, Saville, Witkin, Edison, Nimoy, and Aguilar, the dissertation draws heavily from the newly developing discipline of fat studies. Authors in this field are challenging the unexposed assumptions that underlie contemporary anxieties about the fat body-that the human body is natural, and that thinness is its natural state-on a number of grounds. Although there is no one unified fat theory, just as there is no one unified feminism, those working in the field share an understanding of the human body as socially constructed, and an understanding of the fat body as the site of many converging discourses; the discourse of science and medicine, of religion and morality, and of gender, racial and class difference. Using this understanding of fatness to read images, the dissertation approaches artistic representations of the body from a new perspective. High art traditionally depicts images of the ideal body (there are, of course, exceptions, such as Velazquez{\textquoteright}s paintings of court dwarfs) and there exist many art historical readings of this body. Contemporary art, however, has moved away from the idealized body to images of the grotesque: for example, Kiki Smith{\textquoteright}s images of flayed or dismembered bodies. This dissertation treats the fat body, not as an example of the abnormal or grotesque, but as a marginalized body, and attempts to address the reasons for its growing prevalence in contemporary art as well as locate representations of fatness within contemporary discourse about the body. As such, readings of contemporary artists are supplemented with cultural readings of popular media.}, keywords = {Contemporary Art}, author = {Lockard, Brittany} } @mastersthesis {11197, title = {A Social History of Painting in Bamako, Mali, 1930s-1980s}, year = {2012}, school = {Indiana}, abstract = {Initially as the capital of the French colony Soudan Francais, Bamako has been an epicenter for artistic activity in Mali and an important hub in the global networks for contemporary art from West Africa. Using interviews, photographic documentation, and archival research conducted in Mali, France, and Italy between 2007 and 2009, this sociopolitical history of painting in Bamako surveys the artwork, people, artistic organizations, and institutions that contributed to the history of painting in Bamako. This dissertation presents a predominantly linear art historical narrative divided into five chapters that approximate the changes to the political and artistic landscape in the Soudan Francais and, later, independent Mali. The period selected for this study, the 1930s to the 1980s, allows for the development of historical breadth without forfeiting specific and comprehensive studies of individual artists and their work. Emphasizing the cultural and historical continuities between analytical dichotomies of traditional/modern art forms, colonial/post-colonial periods, and local/global cultural formations, this dissertation demonstrates how artists from Mali participated in and responded to sociopolitical transformations in Mali through painting. To do so, each chapter interjects focused examinations of artistic activities by individuals, organizations, and institutions. Using the expressive capacity of paint on canvas, Malian artists engaged in the practice of painting to articulate the political and cultural transformations in their immediate present and, in the process, infiltrated artistic spaces to which they were denied access to by the restrictive and hegemonic Western discourses of cultural authenticity.}, keywords = {African Art (sub-Saharan)}, author = {Davis, Paul} } @mastersthesis {11324, title = {Social Practices and Romanesque Architectural Sculpture in the Pyrenees}, year = {2012}, school = {Johns Hopkins}, abstract = {Romanesque sculpture displays an exceptional diversity of images - from such official religious subjects as the Christ in Majesty to obscene depictions of explicit and vulgar sexual acts. These different categories of images are joined together and employed alternatively within the same architectural framework. The result is sculptural {\textquoteright}programs{\textquoteright} that seem incoherent and random. Understanding the meaning of these {\textquoteright}programs{\textquoteright} was and still is one of the major problems in the field of Romanesque Art. Confronted with Romanesque sculptural imagery, a traditional iconographical approach finds itself entangled in the dualism of the sacred and the profane and fails to account for deeper meanings that Romanesque sculpture communicated. Adopting a theoretical framework labeled practice theory, that is centered on the concept of social practice, this dissertation examines the portal sculpture of three churches in northern Aragon and Bearn - Santa Maria de Uncastillo, Sainte-Marie-d{\textquoteright}Oloron, and Jaca Cathedral - and explores the role of three social practices - castration, food related practices, and entombment in reused antique sarcophagi - in the production and reception of these sculptural configurations. The inquiry leads to the conclusion that social practices were present and represented in Romanesque sculpture in different modalities. Social practices can be viewed as an experiential and primary form of knowledge. As such, they were often used to illustrate abstract spiritual messages communicated by the sculptural imagery. Consequently, social practices should be considered as one of the primary conditions of Romanesque architectural sculpture.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Bauer, Doron} } @mastersthesis {11256, title = {speaking His mind in my mind{\textquoteright}: Racialized Theology, Divine Inspiration, and African American Art}, year = {2012}, school = {Indiana}, abstract = {Within scholarship on the African American church and the early civil rights movement, few scholars investigate the voices of those who constituted the religious and political activity of the African American church. As a result, there is limited discussion on exactly who defined the meaning of its sermons, programs and missions. The significance of my dissertation project derives from a need to fill this void by examining the voices and artwork of four artists-William Edmondson, Horace Pippin, Elijah Pierce, and Minnie Evans-who lived, worshipped and created art within small evangelical church communities throughout the United States and used their artistry to engage early efforts to fight for the civil rights of African Americans. Such a project challenges most previous studies of these artists that view them as folk artists. My study grounds these artists within politically astute religious communities and utilizes their religious education and faith as sites of significant political awareness and action. In the context of African American cultural history, religion has played a vital role in interpreting everyday experiences, understanding human existence, and enacting social change. The interrelationships between religious faith, social protest and theological discourse are thus central themes in my dissertation. My project expands the discussion of American modern art by drawing from studies of American religion to consider the complex intersections of religion with political, economic, and social arenas of thought, practice, and cultural production. I believe the modern relationship between race and religion within American art is a significant field of study and raises productive questions about how artists like Edmondson, Pippin, Pierce, and Evans express their stances on crucial issues within American society.}, keywords = {Art of the United States}, author = {Puchner, Edward} } @mastersthesis {11272, title = {Spectatorship and the Screen as Interface: French Art Using Television and the Projected Image from the Late 1960s to the Present}, year = {2012}, school = {CUNY}, abstract = {This dissertation reconstructs key moments in the history of video-based art in France from the late 1960s to the present day, focusing on the changing relationship between the viewer and the screen, as tested by artists using television, video and the projected image. This study examines the relationship between art and politics by considering how cultural policy along with socio-economical and techno-political frameworks have affected the concept of an ideal viewer. I argue that in France, from the late 1960s to today, the idea of spectatorship changes from a politicized subject who receives a clear message to an autonomous participant invited to interact with the screen as interface, in increasingly apolitical projects. Little known in France and rarely addressed in Anglophone scholarship, the history of French video-based art, and of its politics of spectatorship, constitutes an alternative narrative that departs from the dominant Anglo-American model, and suggests a different understanding of what constitutes a socio-politically informed art practice. Accordingly, this research reconsiders the little-known beginnings of video in France in the late 1960s and 1970s, examining the work produced by militant feminist collectives such as Video Out and Les Insoumuses, and the development of a sociological approach to video, focusing on Fred Forest. It then explains a shift that occurred in the late 1970s and 1980s, when video lost its socio-political edge and was guided by formal concerns, here represented by Robert Cahen and Thierry Kuntzel. This change accompanies the institutionalization of video as Video Art, which was inspired theoretically by semiology and postmodernism, and formally by the medium-based orientation of early US video. Finally, I turn to recent works from the 1990s to today: Matthieu Laurette and three artists associated with Relational Aesthetics (Dominique Gonzalez-Foerster, Pierre Huyghe and Philippe Parreno). I argue that the criticism of Relational Aesthetics by Anglo-American scholars and critics rightly points out the lack of explicit socio-political engagement in these practices, but overlooks the specificities of the French context and the critical dimension of these works that aimed to make the spectator conscious of his or her position as viewer in relation to spectacle.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Jeanjean, Stephanie} } @mastersthesis {11382, title = {A Spiritual Manifestation of Mexican Muralism: Works by Jean Charlot and Alfredo Ramos Martinez}, year = {2012}, school = {UIC}, abstract = {Alfredo Ramos Martinez and Jean Charlot were central figures in the development of Mexican modernism. Both lived in Mexico at a pivotal time when the violence of the Mexican Revolution waned, and the breadth of the Mexican mural movement expanded. Charlot came to Mexico from France and became involved with an avant-garde circle of artists. He was often consulted on matters of technique. Returning from Paris, Ramos-Martinez founded the first open-air school in Mexico and encouraged students to seek inspiration from the Mexican countryside. His approach to education affected many artists. Though both men demonstrated interest in presenting Mexican culture in their work, they struggled to make a place for themselves in the artistic community of Mexico City during the late 1920s. By 1930, both artists relocated to the United States, with Charlot living in New York and Ramos Martinez in Los Angeles. In the United States, Charlot and Ramos Martinez produced major bodies of works that presented indigenous cultures of Mexico, emphasized their Catholic faith, and affirmed their dedication to Mexican muralism. Through their extensive work, they distinguished themselves from many major muralists by embracing Catholicism. Charlot lived primarily in Hawai{\textquoteright}i after 1949, but traveled to the continental U.S. frequently, while Ramos Martinez lived in Los Angeles. They arrived in the U.S. at a pivotal moment in the modern history of Catholicism. Just as Mexico was censuring the role of the Church, the radical Dorothy Day and her supporters established the Catholic Worker movement in the United States. Charlot and Ramos Martinez created work that revealed their commitment to social justice, an approach tied to their faith. Both artists spent the remainders of their lives in the U.S. and enhanced the visual arts of the United States through their work that was a product of multiple cultural influences, including the Mexican mural movement and a liberal approach to society viewed through the lens of Catholicism.}, keywords = {Latin American/Caribbean Art}, author = {Galpin, Amy} } @mastersthesis {11213, title = {Srirangam{\textquoteright}s New Antiquity: Negotiating the Hindu Temple{\textquoteright}s Divine and Historic Pasts in a Global Present}, year = {2012}, school = {Binghamton}, abstract = {Hindu temples have been predominantly framed in architectural histories within teleological narratives of successive political occupations and stylistic developments ending with the eighteenth century British colonial period in India. As representative examples of Indian {\textquoteright}traditional{\textquoteright} architecture, Hindu temples are understood as relevant and "authentic" mainly in pre-colonial periods. The spatial and temporal circumscription of Indian sacred architecture within essentially indigenous and pre-colonial boundaries is challenged and revised in this dissertation. The Ranganatha temple in Srirangam, marked as a representative example of seventeenth-eighteenth-century architecture in Indian art history, is reframed as a contemporary site. In doing so, I move beyond a rigid interpretation of its age-old tradition replicated in its contemporary moment, with a focus on how present-day practitioners actively revive and reinterpret {\textquoteright}traditional{\textquoteright} modes even while propagating them as being "authentic" and "unchanging". Tradition is thus not seen as a precursor to, or defined only in terms of its opposition to, modernity. Srirangam{\textquoteright}s contemporary significance combines both its religious prominence as a divinely originated site and its historic role given by the colonial authors. It is framed as a site constituting layers of built spaces and discursive practices, which are mediated by present temple groups tracing varied lineages to the past. The temple{\textquoteright}s {\textquoteright}past{\textquoteright} is not presented as a linear and singular trajectory to be retrieved by the historian. Rather, the past is seen as continually mobilized, reconstructed and negotiated in contemporary architectural, ritual, spatial, visual and narrative practices towards multiple self-representations and contestations over authority. This dissertation will subvert the static and all encompassing aerial view of Srirangam, established in early colonial histories, to identify the complexity created by its dynamic uses and significations; this is done by critically inserting recent ethnographic data into its study. Furthermore, the implied rootedness in the category of {\textquoteright}traditional{\textquoteright}, within which Srirangam is identified as essentially indigenous architecture, is overturned by looking at its global presence through the example of the Ranganatha temple in Pomona, North America. The architectural history of Srirangam is thus written from a revised perspective in this dissertation, in which discontinuities, multiplicities and ambiguities are emphasized rather than masked.}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Sridharan, Shriya} } @mastersthesis {11217, title = {Staging the Post-conflict City: Tourism, Urban Change, and Symbolic Contestation in Belfast, Northern Ireland}, year = {2012}, school = {Bryn Mawr}, abstract = {In post-Agreement Northern Ireland, issues of cultural identity have risen to the forefront of regional political and communal discourse. Demands for equality, recognition, and cultural parity of esteem on the part of Protestant and Catholic communities often unfold through disputes over contested cultural expressions such as flags, murals, parades, heritage sites, monuments, and languages. Problematically, intercommunal hostilities increase when groups feel as though their esteemed symbols are being denigrated or threatened. As both state agencies and communal organizations work to resolve these disputes through policymaking and peacebuilding initiatives, local entrepreneurial actors are simultaneously refashioning these cultural symbols to make the area more attractive to tourists and potential investors. This study investigates the role of tourism development, place marketing, and urban staging in cultural identity politics and conflict transformation in post-Agreement Belfast, the center of Northern Ireland{\textquoteright}s tourism industry. The primary argument is that these image-led regeneration strategies physically and discursively refashion the built environment and the contested narratives expressed therein. Furthermore, this process can either exacerbate or inhibit intergroup conflict through the development of more exclusive or inclusive narratives and representations of conflict respectively. Based on interdisciplinary theoretical research, empirical on-site study (2005-2011), and interviews with local actors and stakeholders, this dissertation presents: 1) a conceptual analysis of the convergence of tourism and urban staging in cultural identity politics and conflict transformation, 2) an analysis of tourism development and urban regeneration in Belfast following the Belfast/Good Friday Agreement (1998), and 3) an investigation of the impact of tourism development on two cultural expressions that have long served to reinforce divisions between Catholic and Protestant communities, namely Belfast{\textquoteright}s political murals and the Irish language; the latter is examined by looking at the current attempt to retheme Catholic West Belfast as an urban Gaeltacht Quarter. By examining the ways in which tourism and place marketing act upon monuments, ideology, memory, and social conflict within the urban environment, this dissertation establishes the often-overlooked significance of urban entrepreneurial development on reconstruction, identity politics, and peacebuilding in cities seeking to overcome social and spatial division.}, keywords = {Architectural History/Historic Preservation}, author = {Bereskin, Emily} } @mastersthesis {11336, title = {The Stones of Cumbria}, year = {2012}, school = {Toronto}, abstract = {Gosforth, in the English province of Cumbria, is home to a group of tenth-century sculptures that are among the most intricate and best-preserved examples of Anglo-Scandinavian monumental stone carving. These sculptures are essential for appreciating the complex and rich culture that developed in the late first millennium in northern England. This thesis offers a detailed analysis of the Gosforth sculptural group through multiple facets of its construction, design, and location to gain a broader understanding of the role of public sculpture in the unsettled but dynamic regions of Viking England. The complexity of Anglo-Scandinavian sculpture is examined first through an archaeological and material reassessment that reveals the method of the monuments{\textquoteright} construction and further supports the attribution for most of the sculptures to a single artist, whose craftsmanship, composition, and style match works across northern England, several of which were previously unattributed to him. This corpus expands our understanding of at least one professional early medieval artist and enables us to refine the general timeline of sculptural production in England. This artist sculpted in support of a new Anglo-Scandinavian elite, who adopted the local practice of ornamenting carved crosses but consciously adapted the iconography to reflect and reaffirm their otherness. By referencing one another, the sculptures forged and reflected the complex process of mutual acculturation and competition among communities and served as fixed spatial and mental foci in the Viking Age settlement of northern England. This thesis illuminates the Gosforth sculptures as markers of the distinct tenth-century Anglo-Scandinavian culture through a holistic examination of the sculptural group, their historical community, and their broad cultural context, redefining Cumbria as a bastion of the Danelaw where some of the greatest public works of pre-Norman England still stand, thus allowing us more accurately to understand the forces that shaped the English nation.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Miller, Amy} } @mastersthesis {11441, title = {Strategies of Spatialization in the Contemporary Art Museum: An Exploratory Study of New Museums of Contemporary Art in Japan}, year = {2012}, school = {IFA/NYU}, abstract = {Based on the observation of the global trend in making new institutional spaces for containing contemporary art in the past decades (since the 1990s), this dissertation aims to investigate if the commonly-called museum of contemporary art may already be characterized in general terms. Although the architecture of the museums for contemporary art seems to be overridden by a postmodern pluralism and inclined to invalidate attempts to categorize the museum of contemporary art singularly in either functional or formal terms, this dissertation focuses on the increasingly dominant practice of generating a reciprocal relationship between art and its space in the context of the contemporary art museum, and sets forth to analyze what may be the causes for this phenomenon. A guiding hypothesis is that the contemporary art museums must be seen as a rational response to the demands of contemporary art/artists, which this thesis suggests to have emerged in the 1960s and 70s as a critique of the museum as a neutral context of art, and in particular, of the "white-cube" exhibition model of the museum of modern art. This claim is explored through the interrelation between three phenomena that relate contemporary art to its space, namely the contextualization of art in art history, site-specificity in art production, and the strategy of spatialization in art museums. The strategy of spatialization, taken as one main character of the contemporary art museums, is further analyzed according to three methods: spatial experience, commissioned works, and collaborative system. The analysis shows that the strategy of spatialization in the contemporary art museums is historically grounded in the development of the art museums and the genesis of contemporary art. In the meantime, the strategy of spatialization that is governed by interactions also becomes an expedient methodology to help contextualize the museum of contemporary art with varied localized needs. The dissertation focuses on Japan for as a case study because its art museums have undergone distinct phases and encountered various crises in a relatively short period of time, and thus provide an illuminating context to see how the strategy of spatialization emerged, developed, and was re-invented. In particular, it is possible to observe how the relevant methods of spatial experience, commissioned works, and collaborative system have evolved in time in order to solve the particular problems of the public art museums in Japan, namely, the empty museum, and the box-thing architecture as well as the white-cube gallery, derived mainly from Western experiences.}, keywords = {Twentieth-Century Art}, author = {Lee, Yulin} } @mastersthesis {11400, title = {Studies in the Image of the Madonna Lactans in Late Medieval and Renaissance Italy}, year = {2012}, school = {Louisville}, abstract = {This dissertation is an analysis of Italian late medieval and Renaissance peoples{\textquoteright} response to the Madonna lactans image. Although the images that comprise this type are similar in that Mary holds Christ at her breast, it varies widely in iconography and context. We shall use reception and response theory to determine how the image functioned for spectators. Determining how different groups responded to the motif is facilitated by applying an interpretive community model. Hence a group{\textquoteright}s interpretive principles connect the members of these communities and inform their reception of the image. We argue that although context and communities were diverse, most people believed the image to be a conduit to the divine. Our study is divided into four chapters covering a late medieval through Renaissance history of breastfeeding, devotion, the motif as an altarpiece, and its reception by Renaissance people. Chapter one gives a historical overview of the advice concerning breastfeeding to which medieval people were subjected. In light of sacerdotal advice, we argue that the Church used the image to promote maternal feeding. We also consider wet nurses as a community and audience. Chapter two draws on social and historical inquiries to explore public and private devotion. We highlight the Madonna lactans as an intercessor. While chapters one and two provide a historical and social foundation, the next two chapters consider different interpretive communities{\textquoteright} experiential viewing. Chapter three argues that the late medieval altarpiece image was more than an aesthetic illusion for churchgoers. By applying theories about medieval vision we find that the image was believed to have sacramental value. Chapter four delves into several communities{\textquoteright} interpretive principles. First, despite its increased naturalism, we argue against a prurient reading of the image by applying scientific studies, an iconographic analysis, and period laws. Second, we find that nuns perceived the image to be a means to achieve intimacy with Christ. One nun{\textquoteright}s desire for contemplation before the image was so ardent, she drew it for her private edification at great personal risk. Finally, we argue that when the viewer held the interpretive power, lay people embraced the image{\textquoteright}s intercessory message.}, keywords = {Renaissance/Baroque Art}, author = {Dorger, Cecelia} } @mastersthesis {11312, title = {Sunappu: A Genre of Japanese Photography, 1930-1980}, year = {2012}, school = {CUNY}, abstract = {This dissertation discusses the development of sunappu photography from the 1930s to the end of the 1970s, demonstrating its importance to the history of Japanese photography and art. Sunappu is a Japanese photographic term that began to be used in the mid-1930s, derived from the English word "snapshot." In the broader meaning of the term, it signifies instantaneous photography taken with a hand-held camera. Sunappu, however, often took on narrower connotations, referring specifically to candid photographs of people unaware of the presence of the camera. First and foremost, sunappu describes a photographic technique. However, it also constitutes a genre of Japanese photography with historical roots stretching back to the mid-1930s. Although the term sunappu has been commonly used in the Japanese photo world, there has been little attention paid to the concept of sunappu itself. That is, the significance of sunappu as an idiosyncratic genre of Japanese photography has been neglected. This dissertation argues the following points: firstly, sunappu is an indigenous tradition within Japanese photography that is epistemically different from the Anglophone snapshot. Many Japanese photographers, including established figures such as Ihei Kimura, Ken Domon, Shomei Tomatsu, Daido Moriyama, Shigeo Gocho, and Nobuyoshi Araki, worked in this tradition, inheriting and transforming it simultaneously. Secondly, sunappu is at once a technique, a genre, and a discourse. As such, it has a unique status within photographic history. Thirdly, sunappu photography addressed the issues which were shared by contemporaneous art and literature more significantly than usually believed. This aspect of sunappu made it a cultural phenomenon whose relevance goes beyond the relatively insular world of Japanese photography. More specifically, photographers utilized the technique of sunappu, i.e., candid photography, to grapple with central issues affecting art and literature at that time, such as the controversy over Riarizumu in the early 1950s (Domon), the Americanization of Japanese culture in the 1960s (Tomatsu and Moriyama), and the representation of everydayness in the early 1970s (Gocho and Araki).}, keywords = {Drawings/Prints/Works on Paper, Japanese/Korean Art}, author = {Kai, Yoshiaki} } @mastersthesis {11419, title = {Terrible Crimes and Wicked Pleasures: Witches in the Art of the Sixteenth and Seventeenth Centuries}, year = {2012}, school = {Toronto}, abstract = {Early modern representations of witchcraft have been the subject of considerable recent scholarship; however, three significant aspects of the corpus have not received sufficient attention and are treated independently here for the first time. This dissertation will examine how witchcraft imagery invited discourse concerning the reality of magic and witchcraft and suggested connections to contemporary issues through the themes of the witch{\textquoteright}s violent autonomy, bestial passions, and unnatural interactions with the demonic and the dead. These three themes address specific features of the multifaceted identity of the witch and participate in a larger discussion that questioned the nature of humanity. Analysis of each issue reveals a complex, ambiguous, and often radically open treatment of the subject that necessitates a revision of how witchcraft imagery from this period is understood. Each understudied aspect of witchcraft imagery is explored through a series of case studies that have not appeared together until now. Previously unexamined artworks with inventive content are introduced and canonical pictures are examined from new perspectives. These images were created in the principal artistic centers, the Italian city-states, the German provinces, and the Low Countries, during the sixteenth and seventeenth centuries when the controversy over witchcraft was at its peak. Although they are few in number, these highly innovative images are the most effective and illuminating means by which to access these themes. These works of art provide valuable insights into important issues that troubled early modern society. Chapter 1 reveals how witchcraft imagery produced in the Low Countries is concerned with the witch{\textquoteright}s violent rejection of the social bonds and practices upon which the community depends for survival. Chapter 2 examines how the figure of the witch was used to explore concerns about the delineation and transgression of the human-animal boundary. Chapter 3 exposes an interest in the physical possibility of witchcraft; artists questioned the ability of witches and demons to manipulate the material world. Issues include the witches{\textquoteright} capacity to reanimate dead bodies and create monstrous creatures. Together these images demonstrate active and meaningful engagement with the theories, beliefs, and practices associated with witchcraft.}, keywords = {Renaissance/Baroque Art}, author = {Stone, Linda} } @mastersthesis {11243, title = {Test Subjects: Psychology and the Viewer in American Sculpture, 1955-1975}, year = {2012}, school = {Virginia}, abstract = {This project examines how debates within the field of art psychology were reflected in attitudes toward viewing and sculptural display, and an increasing tendency to address work to a mobile and discovering viewer. In 1967, the critic Michael Fried famously posited a transcendental model of sculptural experience. Many other scholars have described sculpture of the 1960s in phenomenological terms, partly turning away from modernist notions of a transcendent viewing subject. I argue against both readings that sculpture in the 1960s was decisively marked by a new interest in the reproducible effects of the scientific experiment. Amplified by the contemporaneous interest in art and technology collaborations, this scientific treatment was merged variously with contemporary notions of sexual radicalism, consumerist spectacle, technological optimism and social engineering. The initial chapter charts the changing terrain of art psychology as the "arts of communication" replaced the existentialist position in the late 1950s through the 1970s. Though continuing to emphasize formal relationships, Art Psychology read "formalism" as a pejorative term representing a fatal split between form and concrete existence. Alternatively, they offered an analysis of composition as aspects or behaviors of a "hidden clockwork of nature" that emphasized relationship of form to vision and knowledge. The second chapter interprets certain sculptures by Robert Morris{\textquoteright}s, which respond to discussions in art criticism concerning the repression of memory and death. Knowledge had become the primary secular substitute for Michael Fried{\textquoteright}s own notions of subjective survival through the attainment of "grace," and the eternal time of transcendence had been rewritten into the eternal sameness of a hard-wired subject of perception. My third chapter investigates the artist and teacher Gyorgy Kepes{\textquoteright}s endorsement of a structuring vision based on Bauhaus design principles and Gestalt psychology. The fourth chapter explores libidinal psychology and the study of the child (which I argue was a kind of "perfect viewer" in the 1960s). My examples are the playground pieces of Mark di Suvero. In the final chapter, I examine the work of the conceptual artist Hans Haacke and his use of the theme of survival in works that combine the ecological and the technological, and which posit a primitive viewer.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Ragain, Melissa} } @mastersthesis {11252, title = {Through the Looking Glass: Race and Gender in the Reception of Paintings by Helen Frankenthaler, Norman Lewis, Alma Thomas, and Mark Tobey}, year = {2012}, school = {Maryland}, abstract = {Through an examination of the art world reception of four nonfigurative American artists, this dissertation determines that concerns about race and gender are ever-present, and affected how onlookers interpreted the artists{\textquoteright} creations. By focusing on the critical, academic, and market reception of Helen Frankenthaler (1928-2011), Norman Lewis (1909-1979), Alma Thomas (1891-1978), and Mark Tobey (1890-1976), I conclude that the malleable components of race and gender, elements connected by difference and relegation, fluctuate in the reception. As such, at times race and gender manifest overtly, while at other times, they play indirect roles in the reception of the artists. Further, my work illuminates the fact that later critics and scholars recycled the terminology and ideas about race and gender included in the early reception. I form a nuanced picture of the lives, careers, and output of these artists, underscoring the subjective and manipulated aspects of reception. This layer of detail distinguishes this dissertation from other studies of these artists. I adopt key methodologies, which enable this close consideration of the fine distinctions in their reception. Feminist analysis, reception theory, and auction market analysis uniquely intersect to create a complicated yet clarified picture of reception as a confluence of manipulation factors. I unravel the concept of "art world," to show that this entity is composed of a variety of subgroups, with diverse opinions. The recognition of these variations enables this nuanced understanding of reception. This aspect of my work, as well, is distinctive, and even has broad applications within the field of art history. Exploring in detail how critics and scholars interpreted and constructed the artists and their output, I present the mechanics of race and gender in the reception of four diverse artists. I underscore the structures of power inherent in the categories of identity, and how hierarchies are used to integrate and relegate artists to the margins. This dissertation shows that even within the scope of nonfigurative art creations, interpreters infuse race and gender into their readings of the objects. My work demonstrates the extent to which identity was a core value for twentieth-century critics and scholars.}, keywords = {Art of the United States}, author = {Gohari, Sybil E.} } @mastersthesis {11275, title = {Time after Modernism: Postcoloniality and Relational Time-Based Practices in Contemporary Art}, year = {2012}, school = {Wisconsin}, abstract = {This dissertation seeks to provide an in-depth account of time in contemporary art. In four thematic chapters, which analyze works by Lorraine O{\textquoteright}Grady, Isaac Julien, Eija-Liisa Ahtila, Raoul Peck, Zarina Bhimji, Glenn Ligon, Nari Ward, Candice Breitz, Mark Bradford, Siemon Allen, Matthew Buckingham, Zineb Sedira, and Dave McKenzie, I demonstrate the ways that recent artworks and films experiment with time as a means to create new and often unexpected attachments. Time becomes an expansive dimension and medium through which artists and filmmakers propose relational networks based not on fixed identities, nor grounded in specific locations. Instead, I seek to uncover the ways artists affect our perceptions of time in order to interrogate the chronologies that govern how we live, to revisit archives, historical narratives and inherited genealogies, and to propose pathways to possible futures and worlds that are yet to exist. Such ambitious aims are supported by key strands of critical theory from which this dissertation draws, including Gilles Deleuze{\textquoteright}s writing on the cinema; specifically, what his concept of the "time-image" offers for thinking about time, artistic form, and subjectivity; postcolonial theories of the subject; the role of time in modernism{\textquoteright}s expanded field; the relationship of time to artistic medium; ongoing investments in methods of historical narration, such as Walter Benjamin{\textquoteright}s historical materialism; and queer theorizations of time. By providing a more thorough account of time in the study and exhibition of contemporary art, this dissertation opens up for reexamination and contestation the temporal meanings and possibilities of the field{\textquoteright}s most central concepts, including the category of "the contemporary" and postcoloniality as the condition of living in the wake of colonialism.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies, Film/Video}, author = {Powell, Amy L.} } @mastersthesis {11406, title = {Time, Memory, and Ritual: Deciphering Visual Rhetoric in Diego Valades{\textquoteright}s "Rhetorica Christiana"}, year = {2012}, school = {IFA/NYU}, abstract = {Fray Diego Valades, author of the Rhetorica Christiana, has been celebrated by modern scholars as an authority on a range of subjects including mnemotechnics, rhetoric, the history of Franciscan religious activities in the Spanish colonies, and, most important for my purposes, Nahua rites and customs. Academics studying Valades and his work have relied primarily on the text of the Rhetorica as evidence that he was a one of the earliest Mexican intellectual heroes; surprisingly, they have overlooked the Rhetorica{\textquoteright}s engravings as valuable sources of information about the author, his knowledge of the Nahua past and his experiences in both Europe and the New World. By focusing on the didactic relationship between text and image in the Rhetorica, I propose a revision of the traditional reading of Valades and his work. Why does Valades choose to include details about Nahua culture in an explicitly homiletic text? How can we classify Valades{\textquoteright}s book, given the author{\textquoteright}s inclusion of allegorical, mnemonic and narrative illustrations? What did the early modern European reader actually learn about the New World from Valades{\textquoteright}s images and text? The exploration of these questions will show that Valades did not in fact add much original or new information to early modern knowledge of Nahua culture; instead, Valades avoids engagement with specifically Nahua subject matter, embellishing his pictures with exoticizing details, opaque iconography and vague descriptions. Ultimately, I maintain Valades employs his engravings in a symbolic rather than didactic way; his unexpected use of illustrations in a book on rhetoric shows that he understood his audience valued images as effective tools for communicating complex information, and furthermore, that his illustrations would add legitimacy to his purported knowledge of the New World.}, keywords = {Renaissance/Baroque Art}, author = {Leaper, Laura} } @mastersthesis {11362, title = {Times of Day and Times of Year on Athenian Vases}, year = {2012}, school = {IFA/NYU}, abstract = {This dissertation demonstrates a process of interpreting Greek vase iconography, which reorients the way we view the conventional pictorial motifs that comprise Athenian vase-painting. I begin with the premise that time as an abstract governing force was an omnipresent concept in Greek culture, and that evidence for a cultural consciousness of time runs through all genres of ancient literature. I propose that if we expand the analytical framework for vase-imagery that we might find such an awareness of time embedded within the vase-paintings as well. I demonstrate that the indication of time of day or year was integral to the narrative structure of specific themes portrayed on vases. In this study vase imagery is examined in conjunction with the written evidence to reconstruct not only the ancient Greek experience of time, but also the broader cultural context and intellectual background of sixth-fifth century Athens. This two-pronged approach to the images clarifies the significance of certain multivalent pictorial motifs and then reveals the meaning of the vase-paintings in which they appear. The visual formulas of seven subjects act as test cases to explore both the narrative and connotative role of time of day and/or season in Athenian vase-painting, and how the idea of daily and seasonal time was evoked. By methodically examining potential indices of time of day and year within religious, cultural, and purely visual formal contexts this study reveals the semiotic and narrative potential that the concept of time brings to the language of vase-imagery.}, keywords = {Greek/Roman Art}, author = {Udell, Jennifer} } @mastersthesis {11320, title = {The Topography of Money: The Architecture and Urbanism of Renaissance Banks in Italy}, year = {2012}, school = {IFA/NYU}, abstract = {This work is the first comprehensive study of the location and architectural language of buildings used for banking in Italy during the Renaissance. This overlooked topic concentrates unprecedented attention on the broad cultural importance these buildings, with an eye turned towards technological changes in banking. The dissertation traces and interprets shifts in edifices that were used for banking and minting, while underscoring their topological context. This analysis yields a clearer picture of how these buildings both shaped and were informed by contemporary attitudes towards money-a highly polemical issue because it was intertwined deeply with the Christian sin of usury. In examining how the early modern city altered diachronically, my dissertation tracks the gradual reification of money and offers a better understanding capitalism{\textquoteright}s contentious early history. The dissertation{\textquoteright}s chapters are organized through typological case studies that press questions about the history of monetary distribution and flow, and the culturally driven demarcation of space. Chapter one focuses on the Monti di Pieta, an institution established in 1462 to lend money against pawned property at low interest rates. The Monti di Pieta were frequently housed around a town{\textquoteright}s most prominent piazza, marking a deliberate association between commune, charity, and monetary circulation. As Monti di Pieta increasingly materialized and then became deposit banks, a distinctive visual vocabulary emerged to signal buildings that were used for monetary lending and deposit. Chapter two is a systematic study of the visual designation and articulation of local and international banks in Florence, while Chapter three addresses those bank types in Rome. Both stress an analysis of differing patterns of bank clustering and dispersion in each city. These chapters present a reconsideration of the Italian residential palazzo as domestic space, seeing it additionally as a site where business transactions occurred. The final section of the dissertation interprets the general spatial location of the points where capital was collected and distributed through banks in Rome, a topic that is interrelated to the daily and ritual life of the Florentine-dominated Canale di Ponte, where the banks congregated, thereby considering the issue of the national, non-native identity of space in Rome.}, keywords = {Early Medieval/Romanesque/Gothic Art, Renaissance/Baroque Art}, author = {Jacobi, Lauren} } @mastersthesis {11303, title = {Towards a New Reading of Aumonieres: The term "aumoniere sarazinoise" and the role of alms purses in images of late medieval French marriage ceremonies}, year = {2012}, school = {Chicago}, abstract = {In the last thirty years historians have been increasingly interested in aumonieres, since they constitute one of the few groups of surviving medieval luxury objects, and their use and production are frequently mentioned in romance literature and late medieval French civic documents. In the later Middle Ages, the word aumoniere represented a broad category of purses used for alms-giving. Drawing on the work of late nineteenth-century historians, most scholars have interpreted the consumption and display of aumonieres and their embroidered narrative images in relation to the gifting practices of medieval courtly love. The aumoniere{\textquoteright}s relationship to alms and alms-giving, though clearly indicated by its root term aumone, has largely been ignored because of the paucity of medieval sources that refer to objects involved in the ceremonial act of benevolence. My thesis argues against the accepted interpretation that defines the aumoniere as an object designed solely for the practices of courtly love and offers evidence that the surviving objects and their iconography belong to an elite group of medieval ceremonial regalia that marked practices of legitimacy involving licit marriage, social-political alliances, and alms-giving at the French court. Through the consideration of the materials, the means of production of the surviving purses, and consideration of a late medieval Paris document these purses are identified as a type of luxury purses named aumonieres sarazinoises with gold thread as one of their key physical characteristics. My dissertation focuses on one late medieval ceremony of legitimacy: dynastic alliances through marriage. It identifies a historical connection between recurring late medieval French manuscript images of purses worn by brides and grooms at marriage ceremonies and documentation of alms-giving during the marriage ceremony. Based on this evidence an expanded reading emerges of the surviving aumonieres sarazinoises and their use and display as alms purses in late medieval marriage ceremonies in the regions of Paris. In addition, their use on occasions of marriage suggests a new and expanded context in which to read and interpret the embroidered vignettes on the surfaces of these luxury purses.}, keywords = {Decorative Arts/Textiles/Design History, Renaissance/Baroque Art}, author = {Feldman, Nancy} } @mastersthesis {11399, title = {The Trade in Antiquities between Italy and the Eastern Mediterranean (ca. 1400-1600)}, year = {2012}, school = {Princeton}, abstract = {This dissertation focuses on the trade of antique objects imported from the eastern Mediterranean into Italy during the fifteenth and the sixteenth centuries. Through a close examination of archival and visual sources, including drawings, letters, travel accounts, and inventories, this study explores how ancient artifacts, such as coins, marbles, sculptures, gems, vases, and inscriptions, were recovered and transferred from the territories bordering the eastern Mediterranean to the Italian peninsula where they entered the art market and rapidly circulated among collectors. Chapter one considers the revival of Greek learning in fifteenth-century Italy and argues how the search for Greek manuscripts also marked the beginning of the Renaissance importation of classical artifacts from the eastern Mediterranean. The chapter discusses both early travelers such as Cristoforo Buondelmonti (1386-1430c.) and early collectors: Niccolo Niccoli; Poggio Bracciolini; and the Genoese Andreolo Gisutiniani. Chapter two focuses on Ciriaco d{\textquoteright}Ancona (c.1391- 1452) and considers his role as purveyor of antiquities to the west. It aims to reconstruct his personal collection of antique objects and to illustrate how an interest in classical artifacts had also developed among his circle of friends in the eastern Mediterranean. Chapter three takes into account discoveries and importations of antiquities after the fall of Byzantium, and considers the Ottomans{\textquoteright} participation in this trade with the west. Chapter four looks at the archeological activities of Venetian officials in the territories of the Stato da Mar and considers the wealth of antique material shipped back to Venice for public and private use. Chapter 5 investigates the structure and the functioning of the antiquity market in Venice and illustrates the commercial activities of merchants, jewelers and antiquari dealing in antique artifacts. The final chapter considers the developing awareness of stylistic distinctions between Greek and Roman antiquities in the later sixteenth century and the emergence of a new critical sensibility. While providing new important insights into the history of antiquities collecting, this study shows how the revival of interest in classical remains during the early modern period was not exclusively focused on the objects unearthed in Rome nor was it a phenomenon confined to the west.}, keywords = {Renaissance/Baroque Art}, author = {Damen, Giada} } @mastersthesis {11332, title = {Tradition and Renewal in the Thirteenth-Century Franciscan Architecture of Tuscany}, year = {2012}, school = {IFA/NYU}, abstract = {This dissertation project focuses on the thirteenth-century Franciscan architecture of Tuscany. While much attention has been paid the work of artists such as Giotto and his followers in these churches, surprisingly little scholarship has been directed to the buildings themselves. Treating the churches as intentional participants within the historical visual culture of Tuscany, significant formal and functional similarities to traditional monastic reform architecture can be identified. To fully understand this contextual visual culture, an architectural corpus had to be created of the Vallombrosan and Camaldolese Orders, groups whose importance has been recognized by religious historians but largely ignored by architectural historians. The socio-religious models established by these monastic reform Orders provided many precedents for the more extreme innovations championed by the Franciscans. By adopting and adapting the architectural forms of these forebearers, the Franciscans could legitimate themselves within orthodox tradition while also announcing their novel identity by adjusting and renewing those traditions. Franciscan identity was expressed above all in how their churches were used by the laity, the primary constituency of the friars. By providing access for both men and women to personal and congregational spaces of devotion, the Franciscans differentiated themselves from their more conservative contemporaries such as the Dominicans.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Gustafson, Erik} } @mastersthesis {11255, title = {Translations, Appropriations, and Copies of Paintings at the Dawn of Mass Culture in the United States, ca. 1900}, year = {2012}, school = {Delaware}, abstract = {Reproductions of paintings played many roles in the United States from the eighteenth to the mid-nineteenth century: as agents of European culture, as part of the social function and practice of portraiture, as educational tools, and as entertainment. Yet, beginning in the 1870s, as colleges and universities developed art history departments and museums defined their missions, the critical response to copies fluctuated among ambivalence, praise, and condemnation. This study investigates the copy/original polarity around 1900 with case studies addressing displays of painted copies in museums, supposed forgeries of trompe l{\textquoteright}oeil paintings, photographs of works of art in college archives and art departments, and photographs of tableaux vivants. I will offer new perspectives on the status of the copy in relation to economic, social, and legal pressures that emerged in late nineteenth-century America as media overlapped and intersected in ever-expanding ways, leaving the northeastern economic elite in the position of navigating an identity in the wake of advances in imaging technology.}, keywords = {Art of the United States}, author = {Moss, Dorothy} } @mastersthesis {11299, title = {Transmissions: Public Health Information Campaigns and Ambient Media in the Era of Global Health Under U.S. Health Security}, year = {2012}, school = {Rochester}, abstract = {Transmissions: Public Health Information and Ambient Media in the Era of Global Health under U.S. Health Security examines how a new disease concept invented in 1989 by US government scientists - "Emerging Infectious Diseases" (EIDs) - transformed both the visualization of disease and the forms of its mediation. EIDs describes diseases that were hitherto unknown to humankind, or which have re-surfaced after a period of eradication. This dissertation considers how {\textquoteright}EIDs{\textquoteright} have inaugurated an era of health campaigns that utilize images, media forms and communications ecologies to manage global disease flows in an effort to secure U.S. national health. Therefore, this project has three aims: First, to uncover how EIDs have been represented in ways that naturalize global disease as a problem of spatial, inter-species and temporal boundary management, with SARS, swine flu and avian flu taken as central cases; second, to investigate how media and communications technologies are used both to communicate health threats to the public and to mediate spatial, species and temporal boundaries; third, to illuminate how the images in and mediation of public health campaigns transform the psycho-social fabric of everyday life in the US. Analyzing health campaigns according to critical shifts in media forms, visual technologies, life-sciences, epidemiology, and health and technology policy, Transmissions uncovers how these campaigns create "atmospheres of catastrophe"{\textemdash} media ecologies evoking a constant, low-grade state of crisis. Transmissions argues that the project of global health (to which {\textquoteright}EIDs{\textquoteright} claim to give greater purchase) is thus set in tension with U.S. "pathogenic nation-building" {\textemdash} the forging of national solidarity around pandemic fear and avoidance.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Kim, Gloria} } @mastersthesis {11358, title = {The Triumphal Route in Republican and Imperial Rome: Architecture, Experience, and Memory}, year = {2012}, school = {IFA/NYU}, abstract = {The Roman triumph, an elaborate ritual celebrating Rome{\textquoteright}s military victories, traversed the city from the early republican through the imperial periods. The triumph was a quintessentially Roman institution, embodying fundamental aspects of Rome{\textquoteright}s self-image: military might and world dominance. It connected monuments, urban space, ritual, and Roman identities (both individual and collective); the triumph is essential to understanding what was unique about Roman culture. Scholars, however, have not fully explored these interconnections. While the triumph has been the subject of copious modern scholarship, the role of monuments in shaping experiences and memories of triumphs warrants much closer attention. This dissertation fills the need for a critical study of the triumph{\textquoteright}s architectural space and examines the complex relation between Romans{\textquoteright} memories of the triumph and their interactions with its associated monuments. This dissertation focuses on three well-documented periods in Rome{\textquoteright}s history to elucidate different modes of interaction between memory, experience, and architecture in the context of the triumph. The first, the era of the Punic Wars (264-146 B.C., when Rome became a truly pan-Mediterranean empire), emerges as the time when Romans constructed an architectural space to perpetuate memories of triumphal processions. The second, the reign of Trajan (A.D. 98-117, the "apogee" of the Roman Empire), typifies a new emphasis on building monumental spectacle buildings along the triumphal route as a means to intensify the group experience of triumphs. The third, the Severan era (A.D. 193-235, when Rome began to slip from its imperial hegemony), exemplifies a peculiar phenomenon along the triumphal route: the creation through monuments of "false" memories (that is, memories of triumphs that probably never occurred). The monuments examined in these case studies demonstrate the extraordinary power of public architecture to generate sentiments of collective identity and to shape and manipulate how Romans remembered one of their society{\textquoteright}s major rituals. Throughout, the dissertation aims to provide a novel interpretive framework for approaching the intersection of monuments, ritual, memory, and identity in ancient Rome. Although focused on the Roman triumph and its route, it is hoped that this framework will inspire research in further areas of Roman architecture and topography.}, keywords = {Greek/Roman Art}, author = {Popkin, Maggie} } @mastersthesis {11313, title = {True Types of the London Poor{\textquoteright}: Adolphe Smith and John Thomson{\textquoteright}s Street Life in London}, year = {2012}, school = {Arizona}, abstract = {In February 1877, publisher Sampson Low, Marston, Searle and Rivington began release of a monthly serial called Street Life in London, by journalist Adolphe Smith and photographer John Thomson. The work aimed to reveal to readers, through novel use of photographic illustrations combined with essays, the conditions of a life of poverty in London. Appearing also as a book in late 1877, Street Life in London did not achieve commercial success in either format and was cancelled after just one year{\textquoteright}s run. This dissertation aims to demonstrate how Street Life in London was subject to and shaped by a variety of interests and forces, to understand why it failed, and to place it within the overarching contexts of Victorian social exploration and street typology. Historians of photography have justifiably praised Street Life in London as a foundational work of socially-conscious photography, John Thomson{\textquoteright}s images breaking-sometimes radically-with prior models for depiction of the poor. But they have tended to regard it primarily as a book rather than a serial, and primarily as a book of photographs, not a publication in which text and image work in concert. This dissertation examines the vital contributions of both Adolphe Smith and John Thomson, combining close reading of images, text and sequencing throughout the serial publication to treat the work as a photo-text. It reinscribes the work within the contexts of both authors{\textquoteright} overall careers, relates it to prior pictorial and literary models for representation of poverty, and demonstrates the roles of other players such as the publisher and critics in shaping the publication. Ultimately this study places Street Life in London within a matrix of Victorian discourses on poverty, photography, and typology, among others, demonstrating that it was contingent, conflicted, and ultimately incomplete: a flawed but fascinating commentary on the complex and multifarious Victorian era from which it emerged.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Morgan, Emily} } @mastersthesis {11222, title = {The Tyranny of the Straight Line: Mapping and Constructing Paris, 1791-1889}, year = {2012}, school = {Northwestern}, abstract = {This dissertation concerns the relations between cartography and urban planning in Paris among architects, engineers, and administrators over the course of the long-nineteenth century. It delineates a history of the drawing of Paris, and the representational modes of abstraction that were deployed for knowing and building a city that would come to exemplify modern urban space. Addressing this subject entailed fusing architectural histories with histories of science and technology, as well as scholarship in image and media theory in order to relate cartographic rhetorical strategies to social forms of governance. The central question concerns how the material conditions of cartographic representation mediate and generate knowledge, building and construction on the urban scale. The study begins with the plan of Paris surveyed and drawn by Edme Verniquet and then used to draw projections by the Commission des Artistes during the revolutionary years, includes the plans by Theodore Jacoubet under the Prefect de la Seine Chabrol de Volvic, the plans of the Commission Simeon ordered by Napoleon III and the new plans by Eugene Deschamps directed by the Prefect de la Seine Georges-Eugene Haussmann after the annexation of the surrounding suburbs of Paris, and concludes with the Atlas des Anciens Plans and the Atlas des Travaux Publics directed by Jean-Charles Adolphe Alphand during the early years of the Third Republic. By examining the geometrical and quantitative methods employed by surveyors and engineers to construct urban plans, the subsequent techniques architects and administrators used to draw on them, the administrative values that made those drawn lines operational, and the means by which those values were presented cartographically to the public at the 1889 Universal Exposition, this thesis asserts that the building of the French capital city was generated by its flattening into a cartographic site.}, keywords = {Architectural History/Historic Preservation}, author = {Lee, Min Kyung} } @mastersthesis {11433, title = {Un sistema che cambia{\textquoteright}: Art, Social Protest, and the Rise of Italian Feminism}, year = {2012}, school = {Virginia}, abstract = {"Protagonismo e non" chronicles the work of Italian women artists in the 1960s and 1970s and its relationship to a newly formed women{\textquoteright}s liberation movement. The rise of organized feminism throughout the Unites States and Europe represented one of the most significant and lasting civil rights legacies of the 1970s. Its repercussions were felt within the art world as a generation of women artists gained, at least briefly, international exposure. Though Italian women including Carla Accardi, Mirella Bentivoglio, and Carla Lonzi helped engineer this movement, operating simultaneously as organizers, curators, authors, and visual artists, their activities are virtually unknown to art historians. Furthermore, histories of Italian feminism have ignored the crucial role played by women artists and critics who viewed the artistic avant-garde as a model for revolutionary transformation. Integrating a discussion of gender, language, politics, and art, this dissertation offers the first extended scholarly discussion of Italian women artists as a group and situates their visual, textual, and organizational activities within an important cultural history of post-World War II Italian society.}, keywords = {Twentieth-Century Art}, author = {Cozzi, Leslie} } @mastersthesis {11354, title = {Urbanism, Art, and Economy: The Marble Quarrying Industries of Aphrodisias and Roman Asia Minor}, year = {2012}, school = {Michigan}, abstract = {This dissertation examines the quarrying industries of Roman Asia Minor, and highlights the activities of private individuals, institutions, and municipalities and the connections between the exploitation of marble resources, local artisanal traditions, and exchange markets within the region. Case studies focusing on the exporting quarries of Dokimeion and the cities of Aphrodisias, Ephesus, Pisidian Antioch, Sagalassos, and Sardis illuminate quarry output, the networks in which craftsmen circulated, and consumption practices. Drawing together evidence from archaeological excavations and regional surveys, literary and epigraphic sources, theories of landscape and the economy, geology, and scientific analysis, I contextualize quarries into their wider social and economic landscapes. An investigation of the newly discovered marble quarries found during the Aphrodisias Regional Survey and results of geochemical analyses provides important evidence both for the exploitation of marble on a wider scale than previously known, and for the limited role played by Aphrodisian marble - as opposed to Aphrodisian sculptors - in the international art market. At Aphrodisias, as elsewhere, new quarries were opened because cities were not able to extract marble quickly enough to supply demands of urbanization; this demand was so high that it remained profitable to bring in marble from further afield. Local landowners, municipalities, and artisans produced and sold marble in competitive local markets. Written sources suggest that quarries were owned and operated at different times by private individuals, sanctuaries, and the state. My research suggests that only the state could afford to offset the cost of supplying marbles regionally and internationally and that participation in the marble trade was deeply embedded in the urban fabric of Asia Minor. Benefactors of civic monuments tapped into prestigious trade networks mainly associated with imperial architecture in Rome, since their display conveyed notions of access and status most vividly. The greatest asset of the resources located in territories of marble-rich cities was the opportunity for civic beautification on a local level. Yet the cultivation of an exceptional architectural and sculptural carving-tradition fostered conditions for social mobility for select sculptors whose skills allowed them to begin on projects in local quarry or city workshops, and embark on international careers.}, keywords = {Greek/Roman Art}, author = {Long, Leah} } @mastersthesis {11235, title = {U.S. Artists Imagining Mexico, Central America, and Cuba, 1875-1910}, year = {2012}, school = {Rutgers}, abstract = {This dissertation investigates representations of Mexico, Central America and Cuba produced by U.S. artists from 1875 to 1910. As the United States strengthened its political and economic ties with its closest southern neighbors, a desire for visual knowledge of the people and places just south of the border grew. Paintings, photographs, films and illustrations by artists such as Eadweard Muybridge, Winslow Homer and William Henry Jackson introduced an unfamiliar U.S. public to the "Other" America. While some of these artists constructed a vision of Mexico, Central America and Cuba as picturesque places mired in the past and ripe for U.S. expansionist efforts, others portrayed these lands as sites of mounting tension that suggest anxiety surrounding the increasingly intimate relationship between the North and South. A careful analysis of these images, the contemporary responses to them and the socio-historical context in which they were created reveals another veiled subject-the United States and its struggle to define its own identity at a watershed moment in its history. A study of the visual manifestation of the United States{\textquoteright} relationship with Mexico, Central America and Cuba is at the forefront of recent scholarship that seeks to extend the scope of American art beyond geographic borders, embracing a more global, non-Euro-centrist perspective.}, keywords = {Art of the United States, Latin American/Caribbean Art}, author = {Bramham, Diana} } @mastersthesis {11360, title = {The Valley of the Kings? Social Complexity of Inland Thrace during the First Millennium BC}, year = {2012}, school = {Michigan}, abstract = {The Odrysian kingdom of Thrace is claimed to be a well-defined state, a solid and bounded geographic and political unit that exercised a strong influence on political events in the Aegean world during 5th and 4th centuries BC (Archibald 1998). Greek historical sources are used to support this CUM, yet their interpretation is problematic. Ancient authors describe the sociopolitical forms of neighboring peoples indirectly at best. Their statements remain highly ambiguous, infusing personal agendas and Graeco centric perceptions into their observations, thus making the task of translating those observations into modern archaeological parameters and anthropological concepts difficult. Archaeological evidence seems to offer much more robust support for the claim of a powerful Thracian state with its overwhelming number of sumptuous burial assemblages that attest to intense social stratification and wealth inequality among the Thracian population during the Classical and post-Classical periods (Kitov 2008, Fol and Marazov 1977). The interpretations, based principally on the mortuary data, have indeed been compelling and intuitively satisfying, yet they have failed to incorporate other classes of evidence that are inconsistent with the "state" model, such as divergent historical accounts, absence of urban centers, and lack of administrative and ideological manifestations of the alleged state. My study aims to correct this mortuary based bias in the study of the Odrysian kingdom by introducing settlement pattern data based on original research in the Thracian interior, specifically the Tundzha River watershed, an alleged homeland of the Odrysians. The existing regional legacy data will be contextualized and contrasted with the surface survey evidence, and explanation will be sought for divergence among them. My dissertation produces a definition of Thracian socio-political form(s) during the Classical period, drawing on the results of surface survey, its integration with several different classes of the archaeological record and complemented by critical use of anthropological neo-evolutionary theory. On the basis of the data acquired by the Tundzha Regional Archaeological Project, argue that the Thracian polity does not approach the state-level of organization until the 4th century BC, when a major stimulus is delivered to the indigenous communities by the Macedonian conquest. The state institutions take root and only become manifest in the regional archaeological record after further delay - during the Roman period.}, keywords = {Greek/Roman Art}, author = {Sobotkova, Adela} } @mastersthesis {11306, title = {The Visual Language of Soviet Illustrated Magazines in the 1930s: Rabotnitsa, Krestianka, and USSR in Construction}, year = {2012}, school = {CUNY}, abstract = {The Soviet mass media{\textquoteright}s essential role in the mobilization of the masses for the construction of the new Socialist world during the 1920s and 1930s is well known. The regime needed to develop a universal means of communication that could easily reach its poorly literate population spread across an enormous geographic area. The Soviet printed press played a crucial role in shaping of the cultural and political discourse of the nation, and, as such, has attracted serious scholarly scrutiny. Yet, little attention has been paid to the actual distribution and consumption of art during Stalin{\textquoteright}s regime, and, so far, no study has explicitly focused on the printed media as an agent delivering art to the masses. My study deals with an expensive, luxuriously printed monthly USSR in Construction, which was distributed to the Soviet elite and to readers abroad, and inexpensive mass periodicals, such as the illustrated magazines for women, Rabotnitsa (Female worker) and Krestianka (Female peasant), which were more accessible to ordinary individuals. Widely distributed, these two magazines featured a great diversity of visual information and provided representative examples of the media and methods used to present and promote visual language and cultural canons throughout the Soviet Union. This dissertation explores the nature of the cultural information that related to the visual art, the use of graphic/handmade and photographic illustrations in the magazines{\textquoteright} layout, and studies photomontage as a major design method of the 1930s. The nameless designers and highly established artists eagerly contributed to both ends of Soviet design: high-represented by USSR in Construction, and low-appearing in the women{\textquoteright}s magazines. This dissertation aims to show that Soviet visual language was formed as a result of the dynamic exchange between them and traces the nature of this process. Overall, the study of Soviet magazines provides an important insight into the formation of the Soviet mentality as they reflect the changes in socio-political as well as cultural spheres and reveal elements of the discourse{\textquoteright}s communication with the population.}, keywords = {Decorative Arts/Textiles/Design History, Twentieth-Century Art}, author = {Romanenko, Katerina} } @mastersthesis {11246, title = {Visual Verses: Edward Weston{\textquoteright}s Photographs for Walt Whitman{\textquoteright}s Leaves of Grass, 1941-1942}, year = {2012}, school = {Boston}, abstract = {This dissertation examines the photographs created by Edward Weston during his travels through the United States in 1941 and intended for a luxury reprint of Walt Whitman{\textquoteright}s Leaves of Grass published by the Limited Editions Club in 1942. By contrasting the hundreds of photographs Weston made now residing in archives and collections with the forty-nine images ultimately selected and arranged by the Club{\textquoteright}s director, George Macy, I argue that Weston{\textquoteright}s larger, more complex and diverse version of America more closely resembled Whitman{\textquoteright}s text than his publisher{\textquoteright}s limited selection. Moreover, this under-examined body of work promotes a new understanding of Weston{\textquoteright}s late oeuvre; inspired by cross-country travel, Whitman{\textquoteright}s poetry, and other artists, Weston tackled new subject matter, experimented with different styles, and synthesized artistic and documentary modes in his photographs. Chapter 1 introduces the commission, the role of Weston{\textquoteright}s wife Charis Wilson in the project, the timely choice in 1941 of pairing Whitman and Weston, both of whom challenged boundaries of their respective media, and the outcome of the book{\textquoteright}s design. Chapter 2 turns to an analysis of the sequence of the first ten images as representative of Macy{\textquoteright}s caption-driven approach to the book, which generally discouraged the probing of close relationships among images. The chapter concludes with an analysis of the images themselves paired with close readings of select poems in order to establish the parallels in sensibility of the two artists. Chapters 3 through 5 broaden the discussion by including Weston{\textquoteright}s unpublished images from the 1941 trip. Focusing on Weston{\textquoteright}s portraits, Chapter 3 discusses Weston{\textquoteright}s diverse sitters-African and Native Americans and women-sometimes selected while researching ethnography. Chapter 4 focuses on landscapes-industrial, urban, desert, and rural-in which he engaged with popular American imagery and created art and documentary images. Chapter 5 analyzes Weston{\textquoteright}s photographs of plantation ruins and cemeteries in Louisiana, and folk art and customs for which he recorded examples of American ethnography. Through examination of these images, a new picture of Weston emerges as not only a modernist art photographer, but also a photographer with deep interests in American people, landscape, and culture.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Weiss, Francine} } @mastersthesis {11268, title = {Visualizing New Republican China: Pictorial Construction of the Chinese Citizen (1912-49)}, year = {2012}, school = {Northwestern}, abstract = {This dissertation analyzes several ways in which propaganda posters both drew upon and conceptualized a newly emergent "public body" during the Guomingdang Regime of the Republican Period (1912-1949). During 1922-1927, an alliance between the Guomindang and the Soviet Communists advanced a mass media campaign aimed at wresting control from a regime dominated by warlords and unifying the Chinese nation. Propaganda posters emerged at this time as a novel approach towards engaging with the masses and facilitating the state{\textquoteright}s organization. Additionally, I analyze and reconstruct the processes by which the Guomindang government and radical intellectuals utilized urbanizing, propagandistic, and filmic representations to shape and define the ideal of the new Chinese citizen. In effect, this dissertation interrogates and re-interprets Chinese political art produced between 1895-1937, by concentrating on the dynamics between mass media and national body politics. My dissertation investigates how the ideal of a modern citizen was defined and shaped through the changing concepts of time, urban space and print. Each of the chapters centers on a specific theme related to the question of how Chinese national political programs attempted to constitute, control and discipline the body of the modern Chinese citizen. By examining symbolic expressions in political imagery that demonstrate ascending political tendencies in Republican China, especially those produced under a one party-state model, I argue that political periodizations of Chinese history in the 20th century (i.e., Nationalist vs. Communist Period) have tended to obscure the inherent correlation and continuity between the Guomindang and the Chinese Communist Party regimes, both of which relied on propaganda networks and personality cults in order to maintain power. In the aftermath of the Qing Dynasty (1644-1911){\textquoteright}s demise, China endured instability and turmoil as various political groups struggled for primacy. Under these conditions, warlords and factions thrived, and by the time of the Northern Expedition (1926-7), it had become clear that only rigid party organization with military discipline could achieve the goal of national unity. Therefore, a similar pictorial strategy was deployed in GMD-CCP political art during the Republican Period, and through the early stages of the People{\textquoteright}s Republic of China (1949-64).}, keywords = {Chinese Art}, author = {Zhang, Shaoqian} } @mastersthesis {11196, title = {Weaving the National Identity: The Tapestries of Safia Farhat, 1967-1978}, year = {2012}, school = {Emory}, abstract = {This dissertation investigates the artistic production of a prominent female artist, Safia Farhat, in postcolonial Tunisia. I frame the work of Farhat, the first woman and first Tunisian citizen to direct the Ecole des Beaux-Arts de Tunis, in terms of gender reform, nationalist and Bourguibist politics, and the revitalization of Tunisian art forms, particularly women{\textquoteright}s weaving. Through a comparative analysis with state-supported tapestry in postcolonial Senegal, I argue that Farhat{\textquoteright}s artwork exposes the specificity of Tunisian modernity, which hinged on the advent of the modern professional woman. In particular, in its materiality, production process, and content, Farhat{\textquoteright}s series Ulysse et Penelope serves as a potent metaphor for the complications and contradictions interwoven in the Bourguibist project.}, keywords = {African Art (sub-Saharan), Art of the Middle East/North Africa}, author = {Gerschultz, Jessica} } @mastersthesis {11274, title = {Weighing the Body: Female Body Image in Contemporary Art}, year = {2012}, school = {CUNY}, abstract = {Numerous contemporary artists, particularly female artists, have at key moments in their careers chosen to examine the issue of female body image. The preoccupation with weight is preeminently visual, so artistic interventions can be particularly powerful. Yet no comprehensive study exists of artwork concerned with pandemic issues such as obesity, anorexia, bulimia, dieting, or female body image broadly. In this dissertation, I examine significant examples of such projects by locating works by key artists in social and historical context, including that of evolving feminist discourses on the body: Laura Aguilar (b. 1959), Eleanor Antin (b. 1935), Vanessa Beecroft (b. 1969), Maureen Connor (b. 1947), Lauren Greenfield (b. 1966), Ariane Lopez-Huici (b. 1945), Leonard Nimoy (b. 1931), L.A. Raeven (twins Liesbeth and Angelique Raeven, who work as a singular artist, b. 1971), Faith Ringgold (b. 1930), Rachel Rosenthal (b. 1926), Barbara Smith (1931), and Jana Sterbak (b. 1955). Many of the artists in question have incorporated their own bodies into their work, at times leading to certain contradictions that deserve discussion. That is, as they choose to diet or to display their eating disorders through their artworks, they may appear complicit in the very syndromes that they are ostensibly critiquing. In choosing to investigate or document extreme examples of thin and fat women, or in chronicling anorexic and bulimic bodies, these thirteen artists generally raise questions concerning societal pressures on the healthy female body. I argue that each of these artists has somehow questioned female bodily ideals while also complicating the idea of a "normal" female figure. Because the artists in question-though all from the United States and Europe-represent a variety of backgrounds, including Jewish, African-American, Latina, and white, it follows that their work evinces different cultural or sub-cultural understandings of, and approaches to body size. By focusing in a roughly chronological way on projects that date from the 1970s to the early 2000s, I examine how visual approaches to issues surrounding body image have shifted and developed over time as artists move from documenting their own dieting to heralding the fat body to others who justify eating disorders.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Newman, Emily L.} } @mastersthesis {11323, title = {Wooden Devotional Sculpture in Ireland, 1100-1800}, year = {2012}, school = {Penn State}, abstract = {Wooden devotional sculptures have been at the center of ardent popular devotions in Ireland for many centuries. Like their continental counterparts, these wooden figures act as lesser mirrors of the immaterial archetypes of the saints which they depict; however in Ireland, an increased numinosity is imparted to many of the surviving statues, resulting from their turbulent histories, miraculous survival, and the folk traditions which surround them. Although the earliest extant figures appear to date to the thirteenth century, the sculptures are rooted in pre-Christian figurative traditions which stretch back several thousand years. This dissertation consists of a catalogue raisonne of all known wooden devotional sculpture in Ireland, including first-hand visual descriptions and reconstructions of the individual figures{\textquoteright} histories. The opening chapters explore the means by which Christian wooden devotional sculpture may have been introduced to Ireland, the figures{\textquoteright} indigenous and continental contexts, implications for Irish spirituality, a discussion of the function, stylistic developments and geographical distribution of known sculptures as well as the continued use and importation of wooden devotional sculpture throughout the Suppression era and beyond. Twenty-five pre-Dissolution wooden devotional sculptures are currently known to survive in Ireland with a wide geographic distribution across most of the island. When surviving figures from the Suppression era are included, the number of extant wooden devotional sculptures in Ireland rises to forty-three. If one also includes lost wooden devotional sculptures for which we have textual evidence, the total documented wooden devotional figures in Ireland rises to seventy-five. It is likely that there were once many more. Many of the wooden devotional sculptures in Ireland were believed to be miraculous. At the Dissolution, these objects were seen as analogous to pagan idols and were targeted for destruction. This not only speaks of the genre{\textquoteright}s power within Irish society, but may have inadvertently increased that power by making the surviving figures seem more precious and their endurance miraculous. Figures continued to be imported and commissioned though out the entire Suppression era. They illustrate both the internationalism of the medieval and early modern eras, as well as the continuity of localized devotion and folk-practices.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Anderson, Jennifer Cochran} } @mastersthesis {11295, title = {World Art and the Illumination of Virtual Space}, year = {2012}, school = {UC Berkeley}, abstract = {This dissertation explores the relationship between pictures and the lighting conditions in which they were originally viewed. Using advanced rendering technology, I reconstruct the original architectural context in which a work of art was displayed and simulate the effects of variable daylight and artificial illumination on the picture{\textquoteright}s appearance. This research methodology enables me to describe the interaction between real lighting and depicted lighting relative to the picture{\textquoteright}s symbolic content. I provide a typology of these interactions (which I call "pictorialized illumination") using examples from diverse art historical traditions. In the final chapters, I analyze two case studies: Leonardo da Vinci{\textquoteright}s Last Supper at the refectory of Santa Maria delle Grazie in Milan, and Peter Paul Rubens{\textquoteright}s altarpiece for the church of Santa Maria in Vallicella in Rome.}, keywords = {Critical Theory/Gender Studies/Visual Studies, World Art}, author = {Underhill, Justin} } @mastersthesis {11365, title = {World Display, Imperial Time: The Temporal and Visual Articulation of Empire in Japanese Exhibitions, 1890-1945}, year = {2012}, school = {McGill}, abstract = {This dissertation investigates how Japanese expositions held from the 1890s to the 1940s, both abroad and at home, represented Japan itself as a {\textquoteright}guardian of Asian culture{\textquoteright} while promoting the expansion of its empire. Japan{\textquoteright}s governing stance over other Asian nations at expositions during the prewar period appeared to imitate the imperial exhibitions of its Western counterparts, and yet the Japanese engagement of Asia in these exhibitions was portrayed as "almost the same, but not quite" the same empire. This study thus proposes to interpret Japan{\textquoteright}s exhibitionary practices toward other Asian nations as "mimicry," borrowing Homi K. Bhabha{\textquoteright}s conception, in order to challenge the totalizing vision of the West that was commonplace at exposition sites. I argue that the preoccupation with exhibitionary techniques provided Japan with a cultural, aesthetic, and ethnic claim over other Asian nations in terms of time and space. Further to this point, I argue that the importance of the visual technologies used by Japan in their expositions - technologies that were mimicked from Western empires - lies in their spatialization of time and temporal re-organization. This study thus aims to investigate the processes whereby Japanese expositions re-contextualized the aesthetic, cultural, and racial and ethnic identities of other Asian nations in terms of time and space. This dissertation investigates multiple sites of Japan{\textquoteright}s expositions, as well as numerous major figures who were involved in these exhibition practices. Chapter 2 concerns three (pre-)exhibitionary sites where Japanese traditional art and its art history were reorganized by modern art programmers such as Okakura Tenshin and Ernest Fenollosa: national treasure survey sites, the National Pavilion at the 1893 Chicago Exposition and the Official Catalogue for the 1900 Paris Exposition Universelle (Histoire de l{\textquoteright}Art du Japon). More specifically, I argue that these three exhibitionary sites were specific instances where Japanese traditional art and Asian art became "de-territorialized and re-territorialized" through the techniques of preservation, presentation and cataloguing. Chapter 3 examines the Japanese pavilion at the 1910 Japan-British Exhibition in terms of the visual technique of panoramas. The Japanese pavilion in this show self-adjusted to the panorama technique using a Western perspective, wherein Britain emerged as the temporal norm to be emulated in the logic of imperialism while Japan was relatively viewed as a "different" empire. Yet Japan, by mimicking the temporal logic of the Western empire, re-enacted its own temporal operations toward other Asian nations. Chapter 4 explores the ways in which anthropological exhibitions rearticulated the racial and ethnic identities of Asian nations under the name of a multi-ethnic empire. The Tokyo Anthropological Association and its leader, Tsuboi Shogoro, made extensive use of visual technologies, like Western anthropologists, such as composite photography and anthropological expositions, and I thus investigate how they attempted to redefine racial and ethnic identities by way of these modern visual technologies. Chapter 5 considers the climax of Pan-Asianist expansion at the 1940 Choson Great Exposition, held in Seoul, in the middle of Asia-Pacific War. This chapter examines how the visual practice of panoramas incorporated people of different ethnic and cultural backgrounds under the inclusive umbrella of a multi-cultural East Asian empire, to encourage their participation in the war. I further contend that the performance of these panoramic imageries displayed both the inclusiveness and yet the simultaneous contradictions of multi-cultural empires.}, keywords = {Japanese/Korean Art}, author = {Kang, Inhye} } @mastersthesis {11322, title = {World Image after World Empire: The Ptolemaic Cosmos in the Early Middle Ages, ca. 700-900}, year = {2012}, school = {Bryn Mawr}, abstract = {Images of the Ptolemaic cosmos were produced in all three major early medieval successors to the Roman Empire (the Carolingian, the Byzantine, and the Umayyad states). Early medieval cosmological images remained formally and iconographically close to their late antique models. They thus provide a point of comparison allowing examination of the changing functions of images. Two primary functions of ancient cosmological images are identified: the epistemological (images as carriers of information about the Ptolemaic world system) and the symbolic (images as signs of "the cosmos" within broader signifying systems). In early medieval Byzantine art the epistemological function predominated. The Vatican Ptolemy (Vaticanus Graecus 1291), a manuscript produced ca. 750, was a manual intended to ensure imperial access to natural-scientific knowledge. It may thus be compared to contemporary metrological monuments, in particular the Horologion of Hagia Sophia and the Anemodoulion, erected by emperors in Constantinople. Its apparent lack of progeny is related to a jealous "economy of knowledge" that developed from social antagonisms between centralizing emperors and elites determined to maintain independent sources of power. Charlemagne{\textquoteright}s silver table and the Cathedra Petri have traditionally been considered props for staging the Carolingian ruler as a cosmocrator through use of cosmological imagery. However, in the Carolingian world, as in the Byzantine, the epistemological function of cosmological imagery predominated. The proliferation of manuscripts with cosmological imagery, particularly in the period between ca. 800 and 820, provides a contrast to Byzantine scarcity, and evidence for a porous "economy of knowledge." Cosmological images aided in the formation of identities shared between state functionaries and hereditary elites. Cosmographic imagery, both terrestrial (the mosaics of the Umayyad Mosque of Damascus) and celestial (the frescoes of Qusayr {\textquoteright}Amra) played a major role in the staging of Umayyad rule. Thus in the early Islamic state it was the symbolic function that predominated. This is related to the gulf between the Umayyad state and its host society, and the necessity for Umayyad caliphs to develop a flexible visual rhetoric for articulating the nature of their rule to various constituencies.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Benjamin Anderson} } @mastersthesis {11276, title = {Yayoi Kusama: Biography and Cultural Confrontation, 1945-1969}, year = {2012}, school = {CUNY}, abstract = {Yayoi Kusama (b. 1929) was among the first Japanese artists to rise to international prominence after World War II. She emerged when wartime modern nation-state formations and national identity in the former Axis Alliance countries quickly lost ground to U.S.-led Allied control, enforcing a U.S.-centered model of democracy and capitalism. As a result, the art world became increasingly internationalized. This interdisciplinary study is the first attempt to comparatively examine postwar artistic developments in Japan, the United States, and Europe, through a focus on Kusama. I consider Kusama not so much in terms that seek to aggrandize the uniqueness of the individual, but that assess her entry into and position within an historical sequence, namely the radical changes which took place after the war. Mine is a material investigation, which addresses how personal and cultural memories may be embedded in objects. By examining her breakthrough work against the backdrop of her milieu, this feminist study will illuminate particular issues Kusama might have encountered in society and analyze how her experiences uniquely shaped her practice. I will also analyze works by Kusama{\textquoteright}s peers that help to illuminate the scope and nature of the problems that she encountered. Growing up under Japan{\textquoteright}s militaristic totalitarian regime, Kusama embraced art as a non-conformist pursuit. Her defiance of fanatic chauvinism propelled her, after the war, to seek a career overseas. She arrived in 1958 in New York, where a burgeoning cosmopolitanism contributed to her initial success with five nearly identical white Net paintings. Beginning in 1960, the artists affiliated with the German Zero group invited Kusama to exhibit in Europe. By 1962, she had shown with the future Pop and Minimal artists in New York. As New York{\textquoteright}s art market became more firmly established, however, multiculturalism tended to become less embraced there. By 1966, this drove Kusama to drop out of the commercial art world. She began creating politically charged site-specific installations and Happenings where the theme of liberatory sexuality was key. But around 1969, as the gallery-money-power-structure became an unchallengeable fact, she ceased her activity in New York.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Yamamura, Midori} } @mastersthesis {11011, title = {3000 Years in 15 Minutes{\textquoteright}: American Tourists and Historic Monuments in Post-War Europe}, year = {2011}, school = {Virginia}, abstract = {In the immediate aftermath of World War II, much of the physical landscape of Europe lay in ruins. The importance of historic architectural monuments and cities, no longer convincing arguments for the endurance of European culture, now seemed compromised by both the moral and military losses of the war. Remarkably, within just a few years of the war{\textquoteright}s end, average Americans were touring these same sites in unprecedented numbers. This surge of tourism, promoted and subsidized under the Marshall Plan, reinvigorated the post-war economy and institutionalized the veneration of Europe{\textquoteright}s architectural treasures as an entertainment for Americans, yet this history has remained obscured by the dominant narratives of post-war European reconstruction in both architecture and diplomatic history. Beginning with the work of the Roberts Commission, a consortium of art historians and museum professionals charged with advising the Allied military government on protecting European monuments, this project traces the way in which historic monuments became a significant component of the altered post-war relationship between the U.S and Europe. With the advent of the Marshall Plan, the U.S. government increased the stake in Europe{\textquoteright}s architectural resources by funneling capital and expertise into expanding Europe{\textquoteright}s appeal as a tourist destination for middle-class Americans. While this effort was seen in purely economic terms, its influence on the reception of historic architecture had far-reaching implications. American tourists visiting the architectural sites of Europe were now ushered through multi-site itineraries of rapid cultural consumption tailored for the budget-minded, a practice that shaped the way historic architecture was literally seen and understood. This phenomenon also influenced a transformation in American attitudes about the connections between the architecture, leisure and national identity, particularly as they pertained to the development of the nascent American historic preservation movement. The U.S. investment in bringing together Americans and European monuments through the medium of tourism, encouraged Americans to recognize their own history and architectural heritage as a critical component in the ongoing competition with Europe for cultural and political authority.}, keywords = {Architectural History/Historic Preservation}, author = {Reut, Jennifer Cathryn} } @mastersthesis {11053, title = {40 Views of the Yuanming yuan{\textquoteright}: Image and Ideology in a Qianlong Imperial Album of Poetry and Paintings}, year = {2011}, school = {Yale}, abstract = {Completed in 1744, the imperial album "40 Views of the Yuanming yuan" contains 40 poems by the Qianlong emperor (r. 1736-1795) paired with 40 paintings of the garden-palace Yuanming yuan, the "Garden of Perfect Brightness." Ultimately, the synthesis of texts and images is an embodiment of a Qing imperial ideology. The paintings exhibit the extraordinary level of finish of the best examples of court painting in the Qianlong era. They are the collaborative work of Tangdai (1673-after 1751), a Manchu official of the imperial court, and Shen Yuan (act. ca. 1728-1748), a Chinese painter attached to the Qing imperial Painting Academy. Tangdai{\textquoteright}s landscapes are rendered in the style of the scholar-amateur Orthodox School, and Shen Yuan{\textquoteright}s depiction of the architecture displays the influence of European perspective and modeling taught to Academy painters by European Jesuit missionary-artists. The album finds historical precedents in the tradition of sets of painted views associated with poetry, which include the Tang dynasty poet Wang Wei{\textquoteright}s (701-761) poems on his country retreat as well as the Song-dynasty "10 Views of West Lake." The immediate model for the "40 Views," however, was the Kangxi emperor{\textquoteright}s (r. 1662-1722) "36 Views of the Bishu shanzhuang," his summer palace at Shenyang. The Qianlong "40 Views" were literally surrounded by texts. Among them are the Yongzheng emperor{\textquoteright}s (r. 1723-1735) "Record of the Yuanming yuan," which laid out the guiding principles for the construction of the Yuanming yuan, and the Qianlong emperor{\textquoteright}s "Later Record of the Yuanming yuan," which expanded on these themes. The poems and paintings of the "40 Views" were reproduced in 1745 by the imperial printing workshops. Crucial to this publication was the addition of a vast body of citations from the Confucian classics, the standard Histories, the works of famous poets, Buddhist and Daoist texts as well as traditional literary sources. The texts associated with the Yuanming yuan and, specifically, the poems and paintings of the "40 Views" sought to invest the garden-palace with Chinese cultural significance and to project an image of the Qianlong emperor as the just, virtuous and rightful ruler of China.}, keywords = {Chinese Art}, author = {Finlay, John R.} } @mastersthesis {11114, title = {Actors and Agents in Republican Religion in Italy: A View from the Sanctuary at Grasceta dei Cavallari}, year = {2011}, school = {Michigan}, abstract = {This dissertation takes the southern Etrurian sanctuary of Grasceta dei Cavallari in the Tolfa Mountains as a case-study to re-evaluate and challenge prevailing scholarship concerning the actors and agents participating in ritual behavior in fourth- to first-century BCE Italy. Through this period the dedication of anatomical terracotta votives-external body parts, internal organs-and terracotta heads was an extremely pervasive form of worship. Its spread is tied to Rome{\textquoteright}s occupation of the peninsula, and its adoption by indigenous non-Roman peoples is seen as a hallmark of their acculturation under Rome{\textquoteright}s hegemony. The present conventional perspective neglects to differentiate practice from identity: because participation in the essentially Roman ritual was virtually pan-Italic, so too was a Romanized identity, regardless of traditional cultural backgrounds. I argue that traditional local identities not only continued within the foreign rituals but also can be perceived and interpreted through the archaeological signatures of the votive offerings. I take as evidence the different formal styles of the votives at Grasceta dei Cavallari. Most notable are the schematic heads that are attributed to local workshops. Scholars depreciate this indigenous style as anomalous or as a naive imitation of more "classical" Hellenic style products. I see, instead, a formal logic to the style. Informed by an entrenched and long-lived tradition within the Etruscan aesthetic repertoire, the style was ingrained in the habitus of the peoples. Its propagation into the anatomical votive tradition signals the agency of the Etruscans in maintaining visually their identity in the foreign cult. I disagree that the ritual tradition{\textquoteright}s dominance minors the success of Rome to homogenize and Romanize the conquered peoples. There was no overarching imperial strategy guiding Roman expansion. Likewise, the native{\textquoteright}s response to conquest extended beyond outright acceptance or resistance. Autonomy to evaluate imported customs enabled the conquered to adapt and refashion those which seemed advantageous. Thus, I argue that the tradition was taken up not to replace traditional belief systems, but to enhance them and provide novel ways for individuals and communities to manage their relationship with the divinities.}, keywords = {Greek/Roman Art}, author = {Dicus, Kevin} } @mastersthesis {11005, title = {After the Map: Cartography, Navigation, and the Transformation of Territory in the Twentieth Century}, year = {2011}, school = {Harvard}, abstract = {In the decades surrounding World War II, there was a broad and coherent shift in the mapping sciences from a focus on the authoritative representation of terrain to the development of pragmatic, infrastructural tools which would be installed as part of the landscape. By looking at three major international projects - one each in the three principal branches of the mapping sciences: cartography, geodesy, and navigation - I argue that the transformation of geographic space into a new kind of engineering service both inaugurated a new politics of global spatial legibility and constructed a new, geographically embedded subject for whom nationally defined space would become increasingly irrelevant. In cartography I analyze the International Map of the World (IMW), a hugely ambitious scheme to make a uniform atlas of the earth in unprecedented detail. It was first proposed in the 1890s and remained a going concern until the 1980s. In geodesy - which typically refers to the study of the size and shape of the earth but also includes high-precision surveying more generally - I trace the origins of the Universal Transverse Mercator (UTM) system, a grid-based alternative to latitude and longitude created by the US Army in the late 1940s. The mathematics of UTM gave every point on the earth a unique coordinate that facilitated easy calculation and coordination; it was a global expansion of earlier systems that had been invented during World War I. In navigation, I analyze the development of radionavigation systems, from the first efforts in the 1910s to the design of the Global Positioning System (GPS) by the US Department of Defense in the early 1970s. All three projects - the IMW, UTM, and GPS - spanned several decades of development and debate, engaged scores of scientists from dozens of countries, received wide notice in non-specialist circles, and were ambitious even to the point of hubris. Conceptually, all three also constructed a specific vision of global space and global collaboration. They all directly addressed the relationship between a national and an international realm, the distinction between internationalism and globalism, and the relationship between sovereignty and geographic knowledge.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Rankin, William Joseph} } @mastersthesis {11141, title = {Apocalyptic Progress: The Politics of Catastrophe in the Art of John Martin, Francis Danby, and David Roberts}, year = {2011}, school = {Michigan}, abstract = {This dissertation investigates a series of large-scale apocalyptic-themed paintings produced in London during the 1820s by the artists John Martin, Francis Danby and David Roberts. Each of these artists created works that excited and amazed London audiences with their scale, perspective, and visual drama. However, they were not mere spectacles. My central contention is that many people viewed these paintings through a political framework in the 1820s and 1830s, and that the meanings generated by them were aligned with the rhetoric and policies of those in favor of political reform. Rather than interpreting these paintings as bleak predictions of a violent future, I believe they should be viewed as mechanisms of political motivation. Painting the destruction of ancient cities was designed to motivate viewers to want to avoid such destruction in the future. During this era Britain was commonly described as either modern Babylon or modern Israel and these works suggested that the collective salvation of Britain was contingent on political reform. The frequent employment of biblical narratives in political writings and their repeated use by several artists during a concentrated period of time provides a firm basis for positing connections between the visual and the political. In support of my argument I have analyzed the coherence between the discursive implications of these religious subjects in concert with the manner of their representation. Through the examination of an array of primary sources, including popular journals, published sermons, religious pamphlets, art criticism, and newspaper articles, I demonstrate how these paintings could have connoted reformist political policies such the abolition of slavery, land redistribution, and other measures designed to foster economic equality and counter laissez faire ideology. In short, my work attempts to shed light on the connections between Christianity and progressive political ideas in the early nineteenth century and illuminate the ways in which visual media impacted these dynamic processes.}, keywords = {Nineteenth-Century Art}, author = {Coltrin, Christopher} } @mastersthesis {11178, title = {Archaeologies of the Avant-Garde: Moscow Conceptualism and the Legacies of Soviet Modernism}, year = {2011}, school = {Rutgers}, abstract = {This dissertation engages historical accounts of the art of the Moscow conceptualist circle and proposes a different understanding of its purpose and significance for Russian and international art history. It challenges the current critical narratives of Moscow Conceptualism as a Soviet variant of a globalizing conceptual art and argues that the movement cannot be assimilated by the taxonomical categories of Western art history. Rather, I contend that Moscow Conceptualism must be historically and locally situated within the discursive framework of the late Soviet era. Through extended analyses of major Moscow conceptualist works, I demonstrate that the movement is distinguished by its purposive investigation of the organizational structures of Soviet history. These investigations occur at a juncture in which the teleological frameworks of official Soviet discourse had become self-evidently obsolete and incapable of orientating the present within a broader historical manifold. It is the uncanny space that exists between the modernist and Utopian foundations of Soviet socialism and the stagnation and alienation of contemporary Soviet life which this dissertation frames as a primary subject of Moscow conceptualist enquiry.}, keywords = {Twentieth-Century Art}, author = {Barr, Adrian} } @mastersthesis {11013, title = {The Architectural History of Beverley Minster, 721-c. 1370}, year = {2011}, school = {Duke}, abstract = {This dissertation is the first architectural history devoted to Beverley Minster, a large and ambitious Gothic church located in the East Riding of Yorkshire. Beverley is one of the most important medieval buildings in England, but it has been almost entirely ignored in the literature. The church is composed of three parts: choir and transepts (c. 1225-1260), nave (c. 1308-c. 1370), and west facade (c. 1380-1420). The thesis begins with a description of the destroyed buildings that occupied the site during the Saxon and Romanesque periods. The remainder of the dissertation focuses on the work completed at the Minster during the fourteenth century, in the so-called Decorated style. First, the nave is analyzed and its construction is assigned to six campaigns between the years c. 1308-c. 1370. Much discussion is devoted to the "historicism" of the nave{\textquoteright}s conservative design, which is a subtly modernized version of the east end that preceded it. Contemporary documents also permit discussion of the financial contributions of the laity, canons, and municipal leaders who paid for the nave to be built. Finally, a detailed analysis is offered for the furnishings made at Beverley between 1292 and c. 1340: the reredos (high altar screen), sedilia (seating for priests), and the destroyed shrine which once contained the relics of St. John of Beverley. Like the nave, they are all neglected masterpieces of the Decorated style.}, keywords = {Architectural History/Historic Preservation}, author = {Woodworth, Matthew} } @mastersthesis {11028, title = {Arresting Beauty: The Perfectionist Impulse of Peale{\textquoteright}s Butterflies, Heade{\textquoteright}s Hummingbirds, Blaschka{\textquoteright}s Flowers, and Sandow{\textquoteright}s Body}, year = {2011}, school = {Pennsylvania}, abstract = {The pursuit of perfection pervades nineteenth-century art and culture. Whereas prevailing views of the period posit a binary opposition of competing desires-an embrace of progress and new technologies, versus anti-modernist nostalgia-my work identifies and analyzes a previously unstudied phenomenon: the desire to stop time at a "perfect moment," pausing the cycle of growth, degeneration, and rebirth by isolating and arresting a perfect state, forestalling decay or death. Yet ironically, this very perfection and its suspension are incompatible with vitality, suffocating or eliminating organic life. Four case studies in diverse visual media illuminate this concept of arrested perfection and its ultimate impossibility: Titian Ramsay Peale{\textquoteright}s Lepidoptera illustrations and specimen boxes; Martin Johnson Heade{\textquoteright}s "Gems of Brazil" hummingbird paintings and chromolithographs; films, photographs, and sculptures (including life casts) of bodybuilder Eugen Sandow; and Harvard{\textquoteright}s collection of Glass Flowers crafted by Leopold and Rudolf Blaschka. Each of these projects betrays the desire to isolate and preserve a perfect state: butterflies forever suspended in glass cases, hummingbirds artificially arrested on canvas and in jewelry of the period, a bodybuilder transformed into a sculpture that won{\textquoteright}t age, and flowers that will never wilt or decay yet are also incapable of growth. In both conception and reception, these projects pursued notions of perfectibility and engaged wide-ranging contemporary discourses-including evolution, theology and spirituality, bodily decline, eugenics, and theories of the cyclical nature of history and civilizations, from the allegorical trope of the Course of Empire to J.J. Winckelmann{\textquoteright}s articulation of cycles of artistic production. These works are cross-sections of a perfect moment captured in a culture that was made increasingly aware of temporality by the introduction of standardized time, train schedules, alarm clocks, the demands of factory schedules, and the rage for instantaneous photography and the emerging medium of film.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Foutch, Ellery} } @mastersthesis {11155, title = {Art in the Alta California Mission Churches, 1769-1834}, year = {2011}, school = {IFA/NYU}, abstract = {In 1769, Spain commenced the settlement of Alta California. Art and architecture were important components of this endeavor. In the course of the erection of church buildings and the execution of their decoration something new and unique was created. These structures were the material synthesis of imported design and construction techniques, built with native materials and labor. In the same manner, the painted decoration consisted of imported pigments and motifs that were interpreted and executed by indigenous hands. Today, only the church of Mision de San Miguel retains its original painted interior. The on-site decoration of the churches was designed in emulation of the styles current in the major art centers of the world. As the prevailing fashion evolved in these cultural hubs, so it evolved on the mission frontier. The result was a form of neostilo particular to the Alta California missions. In addition, numerous paintings on canvas and polychrome wood statues were imported from Mexico, of which several are extant. In addition to their utilitarian purpose of decorating and adorning the church, these works functioned liturgically and as visual teaching aids, mnemonic devices, exemplary models of behavior and piety, objects of devotion, and representations of interventional advocates. In these capacities, works of art acted as agents of cultural transfer. The imported works of art and the painted decoration conformed to and exemplified Franciscan theological thought, especially that of Saint Francis and John Duns Scotus. In particular, the painted decoration of the church at Mision de San Miguel reflects the physical journey of the mission Indian as he progressed in the Christian religion, well as the spiritual journey of the soul{\textquoteright}s progress toward union with God. Thus, the adornment of the churches of the Alta California missions was not happenstance. Specific imagery, devotions, and motifs were deliberately selected for their timely style, their ability to convey cultural norms, and their usefulness as visual participants in the Franciscan mission endeavor.}, keywords = {Renaissance/Baroque Art}, author = {Huckins, Pamela} } @mastersthesis {11075, title = {Artful Visions: Aesthetic Possibility and Social Transformation in Zizek, Hardt and Negri, Foucault, and the New Relational Art}, year = {2011}, school = {Brown}, abstract = {This dissertation examines the context and emergence of several architectural space time notation systems created during the 1950s and 1960s in the United States to describe the complex visual experience of moving through urban space. These notation systems were designed to record the perceptual, sequential and temporal experience of movement at the larger scale of the urban landscape from ground-level perspective and were intended to supplement traditional architectural plans, drawings and models. These abstract linear mapping devices were loosely modeled on notational systems of music and dance and consisted of symbols that were read against a framework of time and distance. They emerged at a time when American cities were being drastically restructured through urban renewal and interstate highway construction and reflected awareness that change could be effected at a larger scale and increased speeds of movement. This dissertation considers notations created by Lawrence Halprin; Philip Thiel; the MIT Team of Kevin Lynch, Donald Appleyard, and John Myer; Stuart Rose; Raymond Gindroz; and others. These notation systems, largely uninvestigated by scholars, attempted to reach between disciplines to study the concept of "vision in motion," contributing to discourse on the role of movement in urban design that stretched from Camillo Sitte and Laszlo Moholy-Nagy to Gyorgy Kepes, Gordon Cullen, Robert Venturi, and others. Some notations were designed for the experience of walking in an attempt to focus attention on the importance of creating pedestrian-friendly urban spaces. Others emphasized the high speed journey by car and privileged the driver{\textquoteright}s experience on the newly developing urban freeway at the expense of the pedestrian, reflecting an enthusiasm for the potential of highway design that ran counter to the contemporary writings of Jane Jacobs, Lewis Mumford, and William H. Whyte. Although the notations were subjective, difficult to standardize, and ultimately did not succeed as widespread tools in architectural practice, they represent a body of related work that engages many of the pressing postwar urban issues of the time, from large scale urban renewal and highway construction to debates on aesthetics, spatial perception, and choreography in the ordering of the urban landscape.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Oliver, Lisa} } @mastersthesis {11024, title = {Artist as Reporter: The PM News Picture, 1940-1948}, year = {2011}, school = {USC}, abstract = {The present dissertation concerns the visual program of the 1940s New York tabloid PM, employer between 1940 and 1947 of both the sensational street photographer Weegee and the abstract painter Ad Reinhardt, and its systematic assertion of its own formal artifice and artistry to its hundreds of thousands of daily New York and national readers. In the wake of the First World War, John Dewey demanded a journalism, as a key instrument in the formation of public knowledge, that refused as politically calamitous a "spectator theory of knowledge," positing a world "out there" objectively knowable, as through a lens, to a distinct awareness within, otherwise pervasive in American journalism. He argued instead for a journalism motivated by an actor theory of knowledge assuming that knowing can only be transactional, that the knowable world consists as such through the very processes of its representation and cognition. The conduit of that transaction, the newspaper, must then be transparent about its own formal operations, about the conditions of its own representations. PM emerged as the platform for a necessary traffic between the domains of print journalism and the fine arts during the 1940s, at the very juncture of economic depression and global war, which satisfied Dewey{\textquoteright}s demand. The project considers five moments in PM{\textquoteright}s journalism that exemplify its assertion of the transactional nature of visual journalism{\textquoteright}s role as a conduit for public knowledge. The first chapter assesses the logic of the tabloid{\textquoteright}s 1940 exhibition of sketch reporting hosted by the Museum of Modern Art, arguing that the show was a both a declaration of PM{\textquoteright}s unlikely artistic agenda and a trenchant challenge to the primacy of the discursively disembodied documentary photographic news picture. The second chapter considers the role of the handmade sketch report beyond the gallery and within the pages of PM{\textquoteright}s daily reporting. For PM the sketch report was a productively ambivalent document, conveying information both about the world{\textquoteright}s affairs and about the character of the agent responsible for that information{\textquoteright}s transmission. Chapter three focuses in on PM{\textquoteright}s strategy, through heavily retouched "radiophotos" sent from Moscow to New York in February 1941, for deploying news pictures in order to imbue the photographic image with something of the same authorially contingent rhetorical structure as the handmade sketch report. Chapter Four chronicles PM{\textquoteright}s mobilization of the press photographer Weegee in the years prior to the publication of Naked City as the very embodiment of the invested, partial, and intervening photographic reporter, whose news pictures were marked as much by the indexical record of "the news" as by their maker{\textquoteright}s own idiosyncratic sensibility, where his antecedents had always been discursively constructed as anonymous, disembodied machines for the production of objective visual truths. The final chapter, on the abstract painter Ad Reinhardt{\textquoteright}s pedagogical cartooning for PM, considers this artist{\textquoteright}s activation of the newspaper comic as a platform for the dialectical critique of pictorial journalism{\textquoteright}s, and even PM{\textquoteright}s, own representational procedures.}, keywords = {Art of the United States, Critical Theory/Gender Studies/Visual Studies}, author = {Jason Hill} } @mastersthesis {11147, title = {Artistic Identity Set in Stone: Italian Sculptors{\textquoteright} Signatures, ca. 1250-1550}, year = {2011}, school = {Rutgers}, abstract = {This dissertation examines some 300 signatures and inscriptions from sculptors working in the Late Middle Ages and Renaissance in Italy. The project discusses the signatures broadly in order to provide a context with which to study individual cases in detail. To that end, my analysis begins with a short breakdown of the signatures{\textquoteright} basic information: geographic distribution, date, artist, material. In separate chapters I then devote considerable attention to issues of textual content; placement and location; lettering style; audience and reception; and fundamental social factors, such as the status of sculptors and their works. Ultimately I bring together the information on signatures and related sources to describe some of the notable trends in signing practices during the Middle Ages and Renaissance and what the implications and significance of those trends may be. In particular, I discuss how the increasing standardization and simplicity of many sculptors{\textquoteright} signatures-especially in central Italy-illustrates a sense of collective and communal identity that counters some of the usual assumptions about Medieval collectivism versus Renaissance individualism. For sculptors of fifteenth-century Tuscany, for example, the common motif of signing with "opus + name" ("the work of...") gave artists the ability to reference both antiquity-as this form of signature survived on the classical Dioscuri statues in Rome-as well as their fellow craftsmen, creating for them a group identity that complemented their status as individual artists. Later, toward the end of the fifteenth century and into the sixteenth, the popularity of signing with the imperfect verb faciebat ("was making"), as Michelangelo did on his St Peter{\textquoteright}s Pieta, offered similar possibilities for artists wishing to express their links to both classical antiquity and the best artists of their own time. Through my analysis of individual cases situated within a large body of data-presented in the dissertation{\textquoteright}s appendix-I illustrate how Medieval and Renaissance sculptors conveyed identity via a range of signature types. My findings and data thus lay a foundation for future research into artists{\textquoteright} inscriptions.}, keywords = {Renaissance/Baroque Art}, author = {Boffa, David} } @mastersthesis {11014, title = {At the Crossroads of Modernity, Space, and Identity: Istanbul and the Orient Express Train}, year = {2011}, school = {Minnesota}, abstract = {In this project, I employ the lens of railway mobility to examine the ideologies that determine the complex readings and representations of Istanbul{\textquoteright}s cityscape and culture at key moments since the late-nineteenth century. In particular, I explore the evocations of loss, nostalgia, and communitas embedded in the visual and literary intersections of the city and the Orient Express train. Istanbul has always been a place defined in terms of binaries. Its geopolitical position has for centuries dictated its identity as a multivalent "contact zone" between Europe and Asia, between First Rome and Second Rome, between the Christian West and the Islamic East, and between the Occident and the Orient. It is also a provocative palimpsest of civilizations, sumptuously exhibiting a visual interlace of the past and the present, the pre-modern and the modern in its urban and cultural landscapes. Therefore, central to this project is an analysis of the problematic [re]configurations of Istanbul{\textquoteright}s threshold identity in the visuals associated with the Orient Express as they relate to the history of modernity. In addition, I examine Istanbul{\textquoteright}s liminality as a critical and creative space for expressing resistance, empowerment, and solidarity. I have limited the scope of this study to three interconnected bodies of visuals: posters and photographs; films and ludic media; and railway architecture and heritage performances.}, keywords = {Art of the Middle East/North Africa, Nineteenth-Century Art}, author = {Dalal, Radha} } @mastersthesis {11010, title = {The Baroque Effect: Architecture, Art History, and Politics in Austria and Germany}, year = {2011}, school = {Columbia}, abstract = {This dissertation explores the rich interplay between architecture and art historical research that emerged in Germanyin the final decades of the nineteenth century through the rediscovery of the Baroque. The close connection during these years between the establishment of the Baroque as an independent architectural style within the young field of Kunstwissenschaft, the burgeoning interest in Baroque space and the mechanics of perception in psychological aesthetics, and the appearance of the Baroque in many of the most important architectural projects of the late nineteenth century made the style a flashpoint for far-reaching debates concerning the roles of art history and architecture in a period marked by profound transformations. Focusing on the reception of the Baroque in Berlin, this dissertation examines the important role of the style in attempts by architects to reexamine their discipline in the context of historicism, the unprecedented growth of the metropolis, and the complex and often conflicting array of regional and national conceptions of identity that accompanied the political development of the German Empire. Through a series of case studies documenting the remarkable interplay of art history and architectural practice in Berlin from themid-1880{\textquoteright}s to the turn of the twentieth century, the dissertation traces the emergence of the "Neu Barock" ("New Baroque").}, keywords = {Architectural History/Historic Preservation}, author = {Narath, Albert} } @mastersthesis {11138, title = {On the Becoming and Unbecoming of Monuments: Archaeology, Tourism, and Delhi{\textquoteright}s Islamic Architecture (1828-1963)}, year = {2011}, school = {Minnesota}, abstract = {Focusing on the Islamic architecture of Delhi, this dissertation challenges the frameworks through which historic buildings usually called monuments and/or heritage sites have been conceptualized in the Indian context. Concentrating on the 19th-and 20th-century existence of these structures, this project falls within a set of art-historical writings that address the "afterlives of monuments." These studies examine monuments as represented in painting, photography, and exhibitions or as categorized through archaeological surveys, excavations, and conservation. They characterize the monument as a site of knowledge production, that is, as a site that has the power to shape knowledge about a nation{\textquoteright}s past and become a repository of its history and identity. I attempt to think about the reverse. Instead of only considering that monuments produce knowledge, I argue that certain forms of knowledge also produce the monument as a socio-cultural and physical construct operating in public space. I link this concept of "becoming a monument" or being "produced as a monument" to a set of processes through which the usage and function of the site is defined. Going beyond surveys, excavations, and basic architectural conservation, I expand the definition of Archaeological Survey of India{\textquoteright}s (ASI) agenda at historic sites to four interrelated but different perspectives: (1) landscaping at the sites; (2) on-site museum displays and performances; (3) the installation of souvenir stalls resulting in the sale and use of postcards by tourists; (4) and the eviction of those taking shelter at the site. Each of the chapters in this dissertation examines one such process. Such an expanded definition of archaeological works in colonial and early postcolonial Delhi is made possible because I do not consider the ASI as an institution that is working in isolation. Rather, I think of the ASI as an organization that was often in conversation with British Viceroys, the military, the Delhi administration, and even souvenir sellers and tourists, making them more than simply excavators, conservers, and surveyors. This methodology also allows me to also elaborate upon ASI{\textquoteright}s intimate link with the development of leisure travel from the mid-19th century onwards.}, keywords = {Nineteenth-Century Art, South/Southeast Asian Art}, author = {Chandra, Aditi} } @mastersthesis {11177, title = {Between Iran and India: Golconda Painting of the Late 16th Century}, year = {2011}, school = {Columbia}, abstract = {Scholarship on the earliest known illustrated manuscripts produced in the sultanate of Golconda has tended to describe these objects as the products of the extension of a powerful influence from Iran over this small kingdom in the Deccan. While this assessment rightly acknowledges the importance of Persianate visual traditions in early Golconda manuscripts and paintings, it oversimplifies the nature of these remarkable objects and the context of their production. In addition, it misrepresents the role of the artists involved in the manuscripts{\textquoteright} creation. This dissertation provides a more nuanced consideration of these objects and their making. It offers the first in-depth discussion of six manuscripts produced in Golconda between 1570 and 1610, demonstrating a previously unrecognized sophistication and creativity in the process of their creation. It also presents a newly discovered manuscript, one which significantly alters prevailing understandings of early manuscript painting in the Qutb Shahi sultanate. These studies identify several interrelated modes of engagement with Persianate forms, rather than a single stylistic progression towards local artistic "independence." In addition, they reveal how these various modes were calibrated towards different goals, sometimes using Persianate forms as a platform from which to explore various ways of constructing and illustrating narrative and poetic texts, while at other times using these forms to make claims of cultural sophistication or for the legitimating of new and local cultural phenomena.}, keywords = {South/Southeast Asian Art}, author = {Weinstein, Laura} } @mastersthesis {11174, title = {Between Localism and Nationalism: Two Contemporary Examples of Thai Temple Art and Architecture in Northern Thailand}, year = {2011}, school = {Victoria}, abstract = {This dissertation is about the tension and continuum between localism and nationalism in contemporary Thai Buddhist art and architecture. It deals with two contemporary Buddhist temples as works of art and architecture set into particular spatial relations. In this dissertation I compare two contemporary neo-traditionalist Buddhist temples, Wat Rong Khun and Wat Pa{\textquoteright}0 Ram Yen, situated near the city of Chiang Rai in northern Thailand. Neo-traditionalism has been identified as an important and relatively standard artistic style in Thailand since the 1970{\textquoteright}s. It is often presented as a style which follows and promotes a conventional view of Thai national identity formation and nationally defined Thai Buddhist practices. However, the social anxiety experienced during the 1970{\textquoteright}s social uprisings, then following the 1997 Asian financial debacle and more recently during and after the early 21st century yellow and red shirts rallies in Bangkok and Chiang Mai led to a profound reevaluation and reassessment of Thai national identity formation. Many Buddhist, social, ecological and political movements have since either obviously or subtly destabilized the perceived Thai national image. These movements often include, even promote, discourses on localism where Thai nationalism is experienced, questioned and adapted by and for the local community. Yet the art historical discourses on neo-traditionalism still follow a conventional national identity formation and visual propaganda. In this dissertation I analyze how two northern temples promote different national vocabularies, from a centralized and more accepted nationalism, to one where concepts based on localism, such as local knowledge, have the potential to destabilize and reevaluate, national identity, without negating it. Charlermchai Kostipipat is the mastermind behind Wat Rong Khun{\textquoteright}s design and construction. Though this temple seems to differ from other temples in Thailand, I will show how the main emphasis of this neo-traditional monument is to promote and support a more conventional and institutionalized version of national identity. I will show how the visitor{\textquoteright}s aesthetic experience emphasizes aspects of Buddhism also promoted by the centralized Thai national identity formation, such as social hierarchy. Indeed when visiting the temple, social hierarchy is paralleled in the artistic and architectural elements of the temple, such as its spatial division, the mural paintings and the separation between monastic architectural monuments. Most importantly, there is a strong artistic emphasis on the Traiphum Phra Ruang, an important religious text in Thailand. I believe visitors can experience different levels of rebirth described in the Traiphum through the temple{\textquoteright}s artistic and architectural program. Wat Pa{\textquoteright}O is a temple located less than 30 km away from Wat Rong Khun. Like Wat Rong Khun, Wat Pa{\textquoteright}O is also the artistic project of another northern Thai artist, this time Somluk Pantiboon, a ceramicist established in the village of Pa{\textquoteright}O. The temple of Pa{\textquoteright}O is an artistic monument I argue is a neo-traditional work because of its use of traditional media, artistic details and monastic conventions. Yet I will show how this artistic architectural project has the potential to destabilize the more conventional {\textquoteright}neo-traditionalism{\textquoteright} promoted by institutionalized processes of Thai national identity formation. For example it promotes different elements of the Thai discourses on localism, including an engaged form of Buddhism focusing on social interactions and an acknowledgement of one{\textquoteright}s relation to others at the immediate local level rather than an acceptation of being a generic player in the institutionalized Thai national identity formation. It also promotes a connectedness with nature, allowing the participant to experience and realize dependent origination by observing and experimenting with nature. This dissertation shows the complexity of Thai national identity negotiated in two case studies of northern Buddhist art and architecture in a post-1997 financial debacle and current political situation. I hope to have demonstrated this complexity needs to be taken into account in the artistic discourses on Thai neo-traditionalism.}, keywords = {South/Southeast Asian Art}, author = {Gamache, Genevieve} } @mastersthesis {11158, title = {Between Perception and Expression: The Codex Coner and the Genre of Architectural Sketchbooks}, year = {2011}, school = {Princeton}, abstract = {This dissertation examines the function, characteristics, and influence of one of the most beautiful surviving Renaissance architectural sketchbooks called the Codex Coner, now preserved at the Sir John Soane{\textquoteright}s Museum in London, England. The draftsman has been identified as a Florentine carpenter: Bernardo della Volpaia (c.1475-1521). The Codex was complied in Rome in the mid 1510s, a crucial moment in the history of European architecture marked by ambitious new building projects and great efforts in the visual documentation and reconstruction of Rome{\textquoteright}s glorious past. Consequently, the Codex features both ancient and contemporary Roman monuments. The consistency of the Codex Coner in terms of graphic style and subject arrangement is unmatched, and the scope of its contents far exceeds that of other sketchbooks of its kind. The importance of the Codex lies also in its relationships to such renowned Renaissance architects as Bramante (1444-1514), Raphael (1483-1520), and Michelangelo (1475-1564). Since its publication in 1904, the genesis of the Codex Coner has presented a number of perplexing questions. In particular, the professional background of its draftsman, who was not a practicing architect, invites an investigation of the sketchbook{\textquoteright}s intended function and audience. These and other aspects of the Codex offer a special opportunity to broaden our vision of the complexity and variety of Renaissance culture. My dissertation, organized thematically, provides a synthetic analysis of the intrinsic quality of the sketchbook and its many connections with contemporary architectural theory and practice. Comparative discussions of the Codex and other architectural drawings and sketchbooks created between the late Quattrocento and the early Cinquecento help to illuminate the Codex{\textquoteright}s historical meaning. Additional comparisons to illustrated architectural treatises, printed books, and contemporary antiquarian studies serve to provide a broad contextual view of the Codex. By challenging certain prevailing misconceptions, this dissertation also attempts to construct some new perspectives from which a visual object like the Codex Coner may be viewed. Sketchbooks are familiar working tools of artists and architects, in the Renaissance as well as now. My dissertation views the Codex Coner broadly against the history of architectural representation, not as an isolated phenomenon, but rather as part of a historical continuum that remains central to the profession in our own day.}, keywords = {Renaissance/Baroque Art}, author = {Liu, Chen} } @mastersthesis {11145, title = {Between Two Worlds: Northern Maya Mural Painting and the Development of a Regional Identity}, year = {2011}, school = {UCLA}, abstract = {This dissertation explores the ongoing negotiation between two distinct cultural currents during the Terminal Classic period (AD 770-1050), northern and southern Maya. This period marks a time of great political upheaval for the ancient Maya in which the southern lowlands-areas of southern Mexico, Guatemala, and Belize-collapsed and the frontier communities of the Yucatan peninsula, the northern Maya, experienced a cultural renaissance. During this period the northern Maya gradually forged a new cultural identity distinct from their southern neighbors. Unlike the southern lowland scribes who assiduously recorded their dynastic history, northern communities produced short texts that reveal little of the region{\textquoteright}s political history or its relationship to the southern heartland. Northern inscriptions feature numerous grammatical slips that have been recently identified as examples of diglossia or bilingualism. The linguistic variations of northern texts illustrate a practice linguists term {\textquoteright}code-switching{\textquoteright} in which a bilingual speaker shifts between languages. The act of switching, in this case between the southern courtly language, Ch{\textquoteright}olt{\textquoteright}ian Maya and the Yucatec Maya vernacular, signals a deliberate negotiation between competing identities. This study considers the mural paintings preserved in five northern lowland sites: Ichmac, Mulchic, Dzula, CHacmultun, and Chichen ltza. I propose that the artistic innovations present in the paintings function as a visual bilingualism and mirror the phenomenon observed in northern texts. Like the inscriptions, the paintings provide a glimpse into the continuous negotiation between the southern, courtly aesthetic and a burgeoning local one. Through analysis of paintings and texts from these five sites, this study explores the complex relationship between north and south and the gradual emergence of a regional Yucatec Maya identity.}, keywords = {Pre-Columbian Art}, author = {Lyall, Victoria} } @mastersthesis {11091, title = {Bibles en images: Visual Narrative and Translation in New York Public Library Spencer Collection ms. 22 and Related Manuscripts}, year = {2011}, school = {Pittsburgh}, abstract = {This dissertation examines New York Public Library Spencer ms. 22, a fourteenth-century French Bible en images (narrative picture Bible), and its relationship with the picture Bible of King Sancho VII of Navarre (Amiens, Bibliotheque municipale ms. 108), completed in the year 1197. Previous scholarship on these manuscripts has described Spencer 22 as a copy of Sancho{\textquoteright}s Bible, based on the close similarity of visual narrative content and iconography found in Spencer 22 and its predecessor. The range of aesthetic and linguistic differences between the manuscripts, however, signifies a process more akin to translation, a term that better expresses the relationship between Sancho{\textquoteright}s Bible and Spencer 22, as well as the specific needs of its patron, Jeanne II of Navarre. I consider the production of Spencer 22 in three contexts. The first is the patronage of Jeanne II of Navarre prior to and shortly after her coronation as Queen of Navarre in 1329. In preserving the visual narrative content of a known royal manuscript, Spencer 22 is a visual referent to Sancho{\textquoteright}s Bible that aligns Jeanne II{\textquoteright}s political interests with her Navarrese ancestor to solidify her legitimate claim to the throne. The second context is the translation of the visual narrative between Sancho{\textquoteright}s Bible and Spencer 22, with a focus on Spencer 22{\textquoteright}s materiality. The stylistic translation of Spencer 22{\textquoteright}s images into a format more familiar to a fourteenth-century audience, along with the addition of written text in French, is more than a superficial change, it is a sophisticated re-presentation of the visual narrative of Sancho{\textquoteright}s Bible for audiences familiar with the interaction of text and image on the manuscript page in both religious and secular works. Finally, and more broadly, the third context is the reception of biblical visual narrative in fourteenth-century France. As a case study, these manuscripts and the terms visual translation and translatio imaginis (translation of images) can help us to better understand the transfer of text-to-image and image-to-image narrative content and the variations on literacy in fourteenth-century France that supported these conventions for medieval readers.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Finch, Julia A.} } @mastersthesis {11043, title = {Broken Ground: Plowing and America{\textquoteright}s Cultural Landscape in the 1930s}, year = {2011}, school = {Kansas}, abstract = {This dissertation considers the significance of images related to plowing from the 1930s and their connection to humanity{\textquoteright}s relationship with the land. Environmental history, agricultural history, and the cultural geography of the plains are used in the analysis of these images to suggest the pervasiveness of the plow as a cultural symbol of man{\textquoteright}s relationship to the earth. My investigation begins with a chapter devoted to a chronological survey of European and American art depicting agricultural landscape imagery. My second chapter considers Grant Wood{\textquoteright}s 1931 painting "Fall Plowing," a depiction of a steel walking plow, to focus on the function, history, and impact of the implement itself. The next two chapters focus on artistic products of the Dust Bowl that expose problems inherent in American treatment of the land. The third chapter examines Pare Lorentz{\textquoteright}s 1936 documentary film "The Plow that Broke the Plains," which charts a history of soil exploitation. Alexandre Hogue{\textquoteright}s "Mother Earth Laid Bare" from 1938 and "Crucified Land" from 1939, the subjects of my fourth chapter, respond to the Dust Bowl through landscapes that have been ravished and sacrificed as a consequence of man{\textquoteright}s exploitative tendencies. My fifth chapter considers artists who identified and advocated practical solutions to the agricultural crisis. This tendency is best demonstrated by John Steuart Curry{\textquoteright}s work as artist-in-residence for the College of Agriculture at the University of Wisconsin. This investigation of human cultural engagement with the landscape concludes with an epilogue that contemplates the ways in which artists have explored the earth as a subject and medium amidst increasingly intensive systems of agriculture since the 1930s.}, keywords = {Art of the United States}, author = {Meyer, Kate} } @mastersthesis {11095, title = {Broken Outlines and Structural Exhibitionism: The Flying Buttress as Aesthetic Choice in Medieval France}, year = {2011}, school = {IFA/NYU}, abstract = {Flying buttresses have long been the subjects of scholarly investigation, but frequently these studies have largely neglected their aesthetic and cultural significance. When considered within their larger architectural, liturgical, and spatial context the fundamental role of flying buttresses expands beyond that of structural prop, contributing to the total redesign of church envelopes in conversation with larger artistic trends and theological concerns. A detailed analysis of flyer morphology from the early experiments of the mid-twelfth century through the last decades of their dominance as visual nuclei on church exteriors in the seventeenth century demonstrates near constant innovation and high degree of adaptability to changing architectural modalities. In the serious contemplation of aesthetic concerns, changes of inclination, point of abutment, and flyer length are discussed not only in terms of their impact on structural behavior, but also as manipulations of the expression of space. Interrupting and complicating the building edge, from the late twelfth century flying buttresses were integral parts of French basilica-plan churches, an architectural type reserved for liturgical performance and marked as sacred through the ritual of consecration. Encircling the building, flying buttresses assisted in the reinforcement of spatial hierarchies, emphasizing and defending the church threshold.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Hutterer, Maile} } @mastersthesis {11008, title = {Building Assimilation: Architecture, Memory, and British Columbia{\textquoteright}s Indian Residential School System}, year = {2011}, school = {British Columbia}, abstract = {This dissertation investigates an often disregarded aspect of the history of the Indian Residential School (IRS) system in British Columbia (BC): namely, the designs, aims, and uses of its architecture. Central to the dissertation is the contention that the IRS should not be considered a "school" per se, as this label suggests not only kinship with a broad spectrum of institutions, but also intimates a place of salubrity and self-improvement. On the contrary, the study evinces the particular nature of the IRS: to disrupt the formation of genealogies between these structures and other modern institutions. This emphasis on distinctions between the IRS and other modern buildings is explored through a comparative architectural topology, meant to reveal the precise function of the IRS: to target certain colonized Indigenous subjects, to effect particular rationalities of colonial rule, and to produce distinct spaces within which to enforce new behavioural norms. Moreover, I argue that the IRS comprised places without place, non-places where Indigenous children, by design, were meant to no longer feel at home in their own societies, cultures, communities, and families. In addition to rethinking IRS architecture in BC, the study also surveys several conflicting opinions on how or if at all to commemorate the institutional remnants of this complex and, often, painful history. Variously repurposed, neglected, or demolished, the former IRS pose several problems, in terms of determining their historical value and their place among existing national, provincial, and regional sites of memory. I analyse the official processes by which material and intangible traces of the past become bearers of heritage value. Following this, I investigate in depth the cluster of issues that trouble attempts to recognize and preserve the "difficult heritage" of the IRS.}, keywords = {Architectural History/Historic Preservation}, author = {Carr, Geoffrey} } @mastersthesis {11021, title = {Building the Sultanate of Rum: Memory, Urbanism, and Mysticism in the Architectural Patronage of {\textquoteright}Ala al-Din Kayqubad (r. 1220-1237)}, year = {2011}, school = {Harvard}, abstract = {This dissertation is the first comprehensive study of the architectural patronage of Sultan {\textquoteright}Ala al-Din Kayqubad (r. 1220-1237), often considered the greatest ruler of the Seljuq Sultanate of Anatolia for bringing the realm to its apex through conquests, diplomatic alliances, trade, urban development, and the arts. In addition to the fragmented political, linguistic, and religious composition of medieval Anatolia (known at the time as "Rum" meaning "Roman"), methodological and ideological problems have marginalized the study of the Rum Seljuqs. In this dissertation, along with visual evidence, I study a variety of written sources-from epigraphy to advice literature, hagiographies and mystical treatises-bringing text and context together. By examining a range of commissions, analyzing their inscriptional and decorative programs, and placing them in their historical and geographic contexts, I aim to go beyond the local and situate Kayqubad{\textquoteright}s architectural legacy in a broader Mediterranean medieval context. In the aftermath of the Fourth Crusade (1204), I argue that Kayqubad furthered a political agenda of consolidation and expansion, taking advantage of Byzantium in exile and competing for the heritage of Rome as Sultan of Rum. Given the dynastic emphasis on their imperial pedigree as descendants of the Great Seljuqs, Kayqubad brought together the Perso-Islamic and Roman past in his self-fashioning for his legitimation as an Islamic ruler of a predominantly Christian land. Kayqubad promoted urban civilization in the cities of Rum through architectural projects such as city walls, urban and suburban palaces, mosques, agricultural establishments, as well as the network of trade routes comprising caravanserais, ports, and bridges. In his palimpsestous walls of Konya, the capital, we see Kayqubad{\textquoteright}s greatest effort to establish both a civilized and spiritual ideal realm. The ideal state and social stratification described in works of advice manifested themselves in the hierarchical and centralized nature of the Seljuq court and division of labor in architectural patronage. The emphasis on divine kingship through cosmological symbols with mystical celestial symbolism reveals Kayqubad{\textquoteright}s concern for his own legacy. This was one of many factors that helped transform the Seljuq Sultanate of Rum, once a periphery and frontier, into a center of civilization.}, keywords = {Art of the Middle East/North Africa}, author = {Yalman, Suzan} } @mastersthesis {11041, title = {By Popular Demand{\textquoteright}: The Hero in American Art, ca. 1929-45}, year = {2011}, school = {Kansas}, abstract = {During the 1930s and 1940s, as the United States weathered the Great Depression, World War II, and dramatic social changes, heroes were sought out and created as part of an ever-changing national culture. American artists responded to the widespread desire for heroic imagery by creating icons of leadership and fortitude. Heroes took the form of political leaders, unionized workers, farmers, folk icons, historical characters, mothers, and women workers. The ideas they manifest are as varied as the styles and motivations of the artists who developed them. This dissertation contextualizes works by such artists as Florine Stettheimer, Philip Evergood, John Steuart Curry, Palmer Hayden, Dorothea Lange, Norman Rockwell, and Aaron Douglas, delving into the realms of politics, labor, gender, and race. The images considered fulfilled national (and often personal) needs for pride, confidence, and hope during these tumultuous decades, and this project is the first to consider the hero in American art as a sustained modernist visual trope.}, keywords = {Art of the United States}, author = {Kuykendall, Lara} } @mastersthesis {11038, title = {Capturing the Game: The Artist-Sportsman and Early Animal Conservation in American Hunting Imagery, 1830s-1890s}, year = {2011}, school = {Iowa}, abstract = {During the last half of the nineteenth century, American sportsmen-artists painted hunting-related images that were designed to promote the ideals of sporting behavior, conservationist thought, and the interests of elite sportsmen against non-elite hunters. Upper-class American attitudes regarding common hunters and trappers, the politics of land use, and the role of conservation in recreational hunting played a significant part in the construction of visual art forms during this period, art which, in turn, helped shape national dialogue on the protection and acceptable uses of wildlife. This dissertation takes issues critical to mid-century American conservation thought and agendas, and investigates how they were embodied in American hunting art of the time. Beginning with depictions of recreational sportsmen during the era of conservationist club formation (mid-1840s), the discussion moves to representations of the lone trapper at mid-century. These figures were initially represented as a beneficial force in the conquest of the American frontier, but trappers and backwoodsmen became increasingly problematic due to an apparent disregard for game law and order. I explore the ways in which market hunting was depicted, and how it was contrasted with acceptable "sportsmanlike" hunting methods. Subsequent chapters consider the portrayal of the boy hunter, an essential feature to the sportsman{\textquoteright}s culture and its continuance, and the tumultuous relationship between elite sportsmen and their guides, who were known to illegally hunt off-season. The last chapters address the subject of the wild animal as heroic protagonist and dead game still life paintings, a pictorial type that represented the lifestyle of sportsmen and their concern for conservative catches and adherence to game law. Developments in conservation during the period were significantly tied to class and elitist aspirations, and artist-sportsmen merged these social prejudices with their agenda for game conservation. Their representations of hunting art both responded to and promoted the conservationist cause.}, keywords = {Art of the United States}, author = {Buhler, Doyle L.} } @mastersthesis {11004, title = {The Cavaliere Carlo Rainaldi (1611-1691): Architecture and Identity in Seventeenth-Century Rome}, year = {2011}, school = {Emory}, abstract = {This dissertation interprets the work and career of the Roman architect Carlo Rainaldi in light of his social ambitions, education, musical pursuits, and knowledge of art and architectural theory. Over the span of his long and prolific career, Rainaldi contributed to the design or restoration of more than fifteen churches and executed another two dozen chapels, altars, and tombs, along with a host of palaces, gardens, and ephemera. Scholars have long recognized Rainaldi{\textquoteright}s position as one of the leading architects in seventeenth-century Rome; however, previous scholarship has focused primarily on identifying his architectural sources, explicating his style, and reconstructing the building histories of his churches. With essays on Rainaldi{\textquoteright}s biography, education, and artistic milieu, as well as the topics of architectural rhetoric and expression, this dissertation seeks to advance a compelling portrait of the architect that situates him more fully in the historical and artistic context of Seicento Rome. Rainaldi{\textquoteright}s humanist education, musical talent, and interaction with artists and scholars served not only to advance his social and professional position, but became the very foundation of his capacity for architectural invention. The knowledge Rainaldi gained through the study of rhetoric, music, and art theory permeates his architecture. Chapter One surveys the early modern biographies of Rainaldi and examines how they shaped the image of Rainaldi as a gentleman architect. Chapter Two explores Rainaldi{\textquoteright}s architectural apprenticeship with his father and the evidence for his education at the Collegio Romano. Chapter Three examines Rainaldi{\textquoteright}s social, artistic, and musical milieu and how architecture and music advanced his social ambitions. Chapter Four discusses the rhetorical methods of Rainaldi{\textquoteright}s chapels, altars, and tombs, and the final chapter examines how Rainaldi, perhaps encouraged by his passion for music, explored the expressive potential of architecture in his most important work, Santa Maria in Campitelli.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Ciejka, Jason} } @mastersthesis {11108, title = {Charte-Antoinie Coypel: Painting and Performance in Eighteenth-Century France}, year = {2011}, school = {IFA/NYU}, abstract = {This dissertation examines the relationship between painting and theater in eighteenth-century France, specifically in the oeuvre of Charles-Antoine Coypel (1694-1752). Coypel was a history painter working within the Academie{\textquoteright}s hierarchy of genres, and the theater permeated his artistic production. This systematic view of his dramatic painting and unpublished dramatic literature will enhance our understanding of "theatricality" in the arts of the eighteenth century. Chapter One serves as an introduction and considers the relationship between the Academie and the theater in the development of conferences and academic treatises. Chapter Two reviews Coypel{\textquoteright}s previously uncharted involvement in the theatres de societe, and the ways in which these networks of sociability informed his commissions and his administrative decisions at the Academie. This chapter will also introduce a selection of Coypel{\textquoteright}s unpublished letters and plays, which are reproduced, for the first time, in appendices to the dissertation. Chapter Three examines Coypel{\textquoteright}s longest running commission, a set of Gobelin tapestries drawn from Don Quichotte. This project not only celebrated Cervantes{\textquoteright}s novel but also many contemporary stage adaptations, including two by Coypel himself. Chapter Four considers Coypel{\textquoteright}s relationship with Luigi Riccoboni and his troupe of comedic actors at the Nouveau Theatre Italien, who arrived in Paris in 1715, the year Coypel was agree and recu at the Academie. The partnership between Coypel and Riccoboni will serve as a prime example of how the artist used theatrical models for his paintings. Chapter Five then examines Coypel{\textquoteright}s Tenture des Fragments d{\textquoteright}Opera prepared for Queen Marie Leszczynska and his Tenture de Dresde for Queen Marie-Josephe of Austria. Both series were commissioned for private, royal living spaces and used images that glorified the cultural achievements of the French crown. This chapter will also consider how Coypel helped Queen Marie Leszczynska establish herself as a patroness of the theater as well as of painting. Ultimately, Coypel{\textquoteright}s career as a playwright met mixed success, and his plays have been largely forgotten. However, his most successful commissions reveal the ways in which the theater provided him with a rich source of visual subjects.}, keywords = {Eighteenth-Century Art}, author = {Bell, Esther} } @mastersthesis {11006, title = {Chinatowns and Little Saigons: Ethnicity, Memory, and Change in the American Landscape}, year = {2011}, school = {Harvard}, abstract = {This dissertation situates the place-making activities of Vietnamese refugees and immigrants beyond traditional urban centers within a suburban history that takes into account the complexities of how suburban spaces have been created, used, and transformed in the late twentieth century. Vietnamese communities bear closer inspection because of their presence in and near historic Chinatowns as well as postwar suburbs and new exurban developments. Their settlement and development of commercial districts therefore mirrors larger shifts in the American population during the past forty years. The issues that have defined our recent urban history-gentrification, aging suburbs, and unprecedented construction at the suburban fringes-are central to how Vietnamese immigrants have attempted to maintain their cultural identity even while adapting to new conditions. Chapter One examines the legacy of the Vietnam War through the creation of memorials in two Vietnamese American communities-Westminster, California, and Houston, which demonstrates how the American landscape has been altered by recent wars and resulting dislocation and resettlement. Chapter Two focuses on the architectural, urban planning, and commemorative activities of the largest Vietnamese community in diaspora, Little Saigon, Westminster, California. Little Saigon is a staging ground for the anxieties and aspirations of refugees for their community{\textquoteright}s legacy. Chapter Three explains how many Vietnamese enclaves have developed in relation to historic urban Chinatowns for both practical and symbolic reasons. Their interventions in the American built environment are not only physical manifestations of political and cultural beliefs tied to the phenomenon of displacement, but also compelling examples of how immigrants have played an important role in the conceptualization of American culture and citizenship. Chapter Four focuses on two Vietnamese communities in Virginia and Texas that have experienced displacement due to gentrification. A third, New Orleans, was threatened by natural disaster and rebuilding plans but has re-emerged with the help of a strong community organization network. Compared with Westminster{\textquoteright}s Little Saigon, which is atypical in terms of its symbolic role for the Vietnamese diaspora as represented in its building activities, the fragility and impermanence of immigrant landscapes, especially in suburban settings, characterizes most Vietnamese enclaves.}, keywords = {Architectural History/Historic Preservation}, author = {Allen-Kim, Erica} } @mastersthesis {11189, title = {The Chisel and the Lens: Picasso, Brassai, and the Photography of Sculpture, 1933-1948}, year = {2011}, school = {Toronto}, abstract = {While Pablo Picasso internationally exhibited his paintings, he chose to expose his sculptures only through photographs. Picasso{\textquoteright}s commitment to the photographic display of his sculpture comes to light through his fifteen year collaboration with Brassai, the first photographer to collaborate regularly with the artist and the only one to engage thoroughly with Picasso{\textquoteright}s sculptural oeuvre. This collaboration culminated in hundreds of images published largely on two occasions - a photo essay published in the avant-garde Journal Minotaure in 1933 and a catalogue covering almost fifty years of Picasso{\textquoteright}s sculptural production published in French in 1948 and in English in 1949. These photographs, as well as unpublished prints, uncropped versions of the published photographs, and the contact sheets Brassai assembled as he was photographing Picasso{\textquoteright}s oeuvre are contextualized in light of contemporary theories regarding the presentation, representation, and dissemination of art. This case study sheds light on the way in which strategies of display shape art{\textquoteright}s meaning, as well as the artist{\textquoteright}s public image, reputation, and legacy.}, keywords = {Twentieth-Century Art}, author = {Mikulinsky, Alma} } @mastersthesis {11159, title = {The Church of San Giacomo degli Spagnoli and the Formation of Spanish Identity in Sixteenth-Century Rome}, year = {2011}, school = {Temple}, abstract = {Over the past decade scholars have begun to examine in greater depth the pivotal role that foreigners played in the development of the Early Modern European city. In Rome foreign communities had a major part in shaping the urban landscape, more permanently with national churches, hospitals, chapels, neighborhoods, and temporarily through public processions and festivals. This dissertation examines the Spanish National Church, San Giacomo and San Ildefonso degli Spagnoli, founded in 1450 to provide a religious and charitable center for the growing Castilian expatriate community and their many co-nationals visiting on pilgrimage. When San Giacomo opened its doors it was a small, unpretentious space, with a hospital attached, facing the medieval street of Via del Sapienza. Over the next hundred years, the church expanded significantly and a second, statelier entrance was added opening onto the Piazza Navona, which had become a locus for grand secular and religious celebrations in the city. Significantly, these changes at San Giacomo coincide with the growing prestige and influence of the Spanish community on the European stage. This dissertation will provide the first art historical monograph produced since the 1950s of San Giacomo from its origins through the 1560s. In contrast to previous studies, I will set my discussion of the architecture and art within the historical context. In this way I will demonstrate that the Spanish used the most common languages available in Roman culture-the visual and spatial-as a rhetorical device to set forth their political aspirations and religious values and promote their nation in Rome. I also connect this project to other Spanish commissions in Rome, which has not previously been undertaken, and illustrate that they shared characteristics by which the nascent Spanish nation sought to define itself. Reexamining the church within the historical background allows for a thorough iconographic reading, not previously attempted, of the most well known chapel in the church, that of Cardinal Jaime Serra, designed by Antonio da Sangallo and decorated by Pellegrino da Modena and Jacopo Sansovino. I provide an explanation for the patron{\textquoteright}s choice of content, taking into consideration both Spanish ambitions and the pressing political concerns of both the Pope and the curia. My analysis will also take into account recently discovered archival evidence that the Sangallo architectural ornamentation was actually designed and constructed two decades after the chapel was decorated. This is the first lengthy discussion of the architecture based on the new date. Moreover I use it as a base on which to reconsider the patron{\textquoteright}s motivations for refurbishing the architecture of the chapel. Finally, this study proposes that national churches in Rome, as a group, should be recognized for the vital role they played in society. Within their community they provided a safe haven and a space from which foreign nationals could deal with the rest of society. Simultaneously, they were a primary means for the public recognition of a nation within this cosmopolitan city. Consequently, tracking the art and architecture of these churches, and the changes made over time, offers a unique opportunity to gauge the way an Early Modern European country saw itself, and the way they wanted to be perceived.}, keywords = {Renaissance/Baroque Art}, author = {May, Rose Marie} } @mastersthesis {11082, title = {Clare Leighton{\textquoteright}s Wood Engravings of English Country Life in an Age between Wars}, year = {2011}, school = {UNC Chapel Hill}, abstract = {Clare Leighton{\textquoteright}s wood engravings of interwar English country life portray a rural culture barely touched by modernity, a domesticated landscape in which robust farm workers maintain a close relationship with the soil and its associated values of simplicity, stability, and diligence. Void of references to the hardships of rural life during a period of sustained agricultural depression and unprecedented rural commodification, the prints speak to a sense of order, permanence, peace, and purpose. At once imaginative and scrupulously accurate depictions of rural labor and craft, they nourish nostalgia and the preservationist impulse to record dying traditions. This study seeks to contextualize the images in their original purpose as book illustrations. A close reading of the books for which Leighton created the engravings shows that the text serves to idealize country life while also speaking to the disorders and anxieties of the turbulent {\textquoteright}30s. The Farmer{\textquoteright}s Year (1933), Four Hedges (1935), and Country Matters (1937), mediate her various publishers{\textquoteright} senses of the market and differing viewpoints with her personal and wider concerns. All voice a deep sense of loss for traditional modes of living that fulfill a range of criteria for the country life genre, yet each addresses distinct concerns relevant to changing cultural interests and anxieties in a period of uneasy peace between the world wars. The landscape becomes a stage against which can be expressed deep-seated communal and personal reaction to the destructive elements of mechanization as well as for advocating her strong humanitarian beliefs and modernist interests. Moving past debates about national identity, tradition and modernism, she sets out a basic doctrine for a peaceful, communal existence that rises above issues of race, class, and national interest: renewing an organic, symbiotic connection with nature and tending to the land, a creatively singular vision enabled by a sustained engagement with modernist formal means.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Hickman, Caroline Mesrobian} } @mastersthesis {11142, title = {Classicism and Modernity: Frederic Leighton and the English Nude}, year = {2011}, school = {UC Santa Barbara}, abstract = {Frederic Leighton is inextricably linked to the "classical" movement in late Victorian art. However, long before he was a classicist, Leighton{\textquoteright}s oeuvre was dominated by subjects from the late medieval/early Renaissance periods. The roots of Leighton{\textquoteright}s mature classicism are to be found in his so-called "gothic" works of this early period [c. 1846 (the date of his enrollment in the Stadelshes Kunstinstitut in Frankfurt, Germany) to 1864 (the date of his election as an Associate of the Royal Academy of Arts in London)], a period wherein he enjoyed a continued and direct exposure to the art of Italy, Germany, and France. A detailed accounting of Leighton{\textquoteright}s formative years and the profound effect exercised by his experience of the art of continental Europe is lacking. While art historians acknowledge that Leighton{\textquoteright}s work is much more complex than a simple reading might suggest, they invariably focus on his mature classicizing works. Leighton, however, viewed his works-be they from his "gothic" period or his "classical" period-as part of one continuum. Modern commentators routinely overlook this fact and divide his career into distinct periods. It is this compartmentalized view that this dissertation seeks to counter. Leighton{\textquoteright}s art is the product of a unique and highly selective process that would only have been conceivable in the context of his early cosmopolitan artistic experiences. An understanding of the circumstances that led to the formation of his early works elucidates the process whereby he developed a direct, transnational, and ultimately modern formulation of classicism centered on formal concerns. This dissertation examines Leighton{\textquoteright}s early career in the context of (1) his encounter with the art of the early Italian Renaissance and the art and artists of the German Nazarene movement; (2) the reception of his early works in Europe and America; (3) his encounter with French neoclassicism; and (4) its implications for his mature classicism.}, keywords = {Nineteenth-Century Art}, author = {Kendall, Steven} } @mastersthesis {11015, title = {A Collector and His Portrait: Book Arts and Painting for Ibrahim {\textquoteright}Adil Shah II of Bijapur}, year = {2011}, school = {UCLA}, abstract = {In the relatively nascent field of Deccani art history, the Bijapuri ruler Ibrahim {\textquoteright}Adil Shah II (r. 1580-1627) has attracted substantial scholarly attention. Ibrahim ruled for nearly fifty years, and the largest corpus of extant Bijapuri art and architecture dates to his lengthy reign. Several of the ruler{\textquoteright}s portraits have been heralded as masterpieces of Indo-Persian painting, and Ibrahim, in turn, has been lauded as a refined aesthete and the Deccan{\textquoteright}s "greatest" patron of the arts. The ruler{\textquoteright}s religious syncretism has further added to his romantic portrayal, and he is commonly categorized as a "tolerant" and "sensitive" "Akbar of the South." Despite Ibrahim{\textquoteright}s omnipresence and systematic "heroization," fundamental questions concerning his self-representation, strategies of sovereignty, and precise involvement with the visual arts remain unresolved. In addition, much of the current understanding of his "masterpiece" portraits is limited to formal analysis lacking critical context. The central aim of this dissertation is therefore to paint a more objective, detailed, and nuanced portrait of both Ibrahim and the works of art produced during his reign. At stake are the following questions: How can we activate and trace the ruler{\textquoteright}s agency in the visual arts? How did the sovereign visualize his kingship, and in turn, how was his kingship defined? In order to begin to answer these questions, this dissertation casts a holistic net over painting and book arts in Ibrahim{\textquoteright}s Bijapur. It begins with an unprecedented examination of wall painting and collecting, which serves both to balance the emphasis on Ibrahim{\textquoteright}s portraits and to illuminate his intellectual identity. The latter is revealed to have been firmly rooted in the fundamental prerogatives of Perso-Islamic kingship from Safavid Iran to Mughal India. The consideration of Ibrahim{\textquoteright}s cultural fluency-and the intellectual climate of his court in general-provides the necessary background for the subsequent investigation of his portraits, the majority of which were painted by either Farrukh Husayn/Beg or the so-called "Bodleian Painter." In addition to resolving some of the enigmas surrounding the identities and contributions of these two renowned artists, this project elucidates how several of Ibrahim{\textquoteright}s portraits challenge the categorical juxtaposition of Bijapuri and Mughal painting ("dreamlike" and "imaginary" versus "realistic" and "historical"). It also expands the scope of inquiry to consider the role of art-and particularly portraiture-in Islamic diplomacy of the early seventeenth century. Ultimately, this dissertation revises prevailing perceptions of both Ibrahim and Bijapuri painting by introducing alternative sources of evidence, investigating painting through a multi-media lens, contextualizing Ibrahim as an Indo-Islamic monarch (not just an isolated Deccani one), and balancing codicology and connoisseurship with questions concerning the circulation, function, and reception of works of art. In doing so, this project positions Ibrahim-era visual culture as an integral and pertinent chapter in the broader field of early modern Indo-Persian art history.}, keywords = {Art of the Middle East/North Africa, South/Southeast Asian Art}, author = {Overton, Keelan} } @mastersthesis {11073, title = {The Collector as Arbiter of Art: A Phenomenological Investigation of Collectors{\textquoteright} Critical Judgment Development and Their Understanding of Art Toward a Theoretical Model for Appreciation and Criticism in Art Education}, year = {2011}, school = {Central Florida}, abstract = {The purpose of this study was to investigate art collectors{\textquoteright} specific method of developing and making critical judgments in the context of their understanding of art. Phenomenological research methods were employed to obtain data through interviews with collectors of Contemporary African American art, Latin American art, and Minimalist and Conceptual art. Based on the findings, collectors{\textquoteright} approaches to critical judgment can be categorized into three areas. First, critical skills are both intuitive and developed over time, through a holistic and aesthetic process set in the art world. Collectors{\textquoteright} edification requires commitment, and intense looking enabling them to see how works of art communicate. Second, key events that marked collectors{\textquoteright} methodological approaches were connections with artists and art, notable purchases, and exhibitions of their collection. These events resulted from an integration of the collectors{\textquoteright} identification with the art work, manifested over time in various forms. Finally, those objects that best reflected collectors{\textquoteright} specific development of critical judgment and understanding of art were noted either by specific artists in their collection or the collection as a whole, functioning as vital aspects of the collectors{\textquoteright} life and at the same time contributing to culture and society in its capacity to cause conversations. There is an opportunity to apply the information from collectors{\textquoteright} processes as an educational model for teaching and learning about appreciation and criticism in art education by thinking about art collections more broadly, as another way to look at life and the art in life.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Grey, Anne} } @mastersthesis {11097, title = {Cologne Cathedral in the Merovingian Period and Beyond}, year = {2011}, school = {Indiana}, abstract = {This dissertation questions how the cathedral in Cologne, Germany, was renovated in response to the tumultuous climate in that city between the sixth and ninth centuries, and how the Merovingian architecture of the church was transformed by new functions and meanings specific to the emerging Carolingian world. This study investigates three specific changes, key to understanding the church at this time: the installation of an ambo, a liturgical feature more common in the East; the replacement of the ambo with a schola cantorum, a nave chancel intended to foster reforms in chant; and the construction of a massive semicircular atrium at the west end of the church complex. What can be known of the renovations in Cologne{\textquoteright}s cathedral is established first, using both literary sources and the results of archaeological excavation. The study investigates the liturgical and architectural context of the ambo as it appeared in the west. This research also addresses the emergence of the schola cantorum or nave chancel in Rome, and surveys what is known of contemporary schola cantorums in Gaul. Finally this study explores the architectural context for the semicircular form of the church complex{\textquoteright}s western atrium in ecclesiastical and secular settings, first in the Late Antique period and then in the Carolingian construction. The findings reveal that the emergence of Cologne{\textquoteright}s first cathedral at the beginning of the city{\textquoteright}s sixth-century renaissance of Christianity, together with Merovingian and perhaps local interest in Romano-Byzantine culture, may account for the modest scope of the church and its ambo. This dissertation also contends that, with the consolidation of power under the Carolingians, Cologne{\textquoteright}s growing desire for political connections with the new dynasty influenced the bishops{\textquoteright} desire to construct a schola cantorum, and perhaps also the semicircular atrium.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Montgomery, Leanne} } @mastersthesis {11126, title = {Competing Futures: War Narratives in Postwar Japanese Architecture, 1945-1970}, year = {2011}, school = {USC}, abstract = {This dissertation examines the trajectory of postwar Japanese architecture from 1945 to 1970 as a process of overcoming the nation{\textquoteright}s war legacy. The task of overcoming the war was not restricted to the physical recovery from wartime destruction and postwar ruins but also included the psychological and symbolic process of coming to terms with the recurring memories of this troubled past. Drawing on memory and trauma studies which have emerged as a crucial element in narrating postwar history, this study traces the progression of war narratives in Japanese architecture against the backdrop of Japan{\textquoteright}s socio-political complexity and the global Cold War context. This dissertation focuses on the tropes of the future which prevailed in Japanese architecture and urbanism during the 1960s because these products of futuristic imagination serve as a rich text through which to discuss the dialectic between forgetting and remembering the war. The dissertation{\textquoteright}s central argument is that visionary designs for future cities, which accommodated the postwar society{\textquoteright}s progressive aspirations to build a brave new world, were deeply infiltrated by the traumatic memories of wartime past and a persistent anxiety over nuclear war. In contrast to previous accounts which placed Japan{\textquoteright}s futuristic projects in tandem with an international context of utopian urbanism and the megastructure movement, this dissertation situates these visionary designs within Japan{\textquoteright}s changing urban and social landscape and considers them as architects{\textquoteright} belated response to Japan{\textquoteright}s tragic past. One of the objectives of this study is to address the disagreements among key figures in Japanese architecture, including Tange Kenzo, Isozaki Arata, and the Metabolists, in their envisioning of the city of the future. I argue that their diverse and even competing visions of the future, which range from a technocratic utopia (Tange Kenzo) to a ruined future (Isozaki Arata) and the post-apocalyptic world (the Metabolists), resulted from the architects{\textquoteright} disparate relationships with the troubled wartime past and continuing Cold War conflict. This dissertation ends with a discussion of Expo{\textquoteright}70, commonly known as the "grand swansong" of the modern movement and its utopian projects. It posits Expo{\textquoteright}70 as the end of postwar architecture, architecture defined by a physical and psychological overcoming of the war legacy, and the beginning of post-postwar architecture, a new paradigm of architecture in an information and postindustrial society.}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {Cho, Hyunjung} } @mastersthesis {11022, title = {Complicity and Critique: {\textquoteright}Neo-Geo{\textquoteright} Art of the 1980s}, year = {2011}, school = {CUNY}, abstract = {This dissertation examines the deconstructive underpinnings of the so-called Neo-Geo group of the 1980{\textquoteright}s and explores links between Neo-Geo and the Pictures or Appropriation artists of the late 1970{\textquoteright}s. Neo-Geo emerged in the early 1980{\textquoteright}s as one aspect of New York{\textquoteright}s nascent East Village arts scene. The movement--also dubbed Simulationism, Neo-Pop, Neo-Minimalism or Post-Abstraction--primarily encompassed eight independent-minded artists, including painters Ashley Bickerton (b. 1959), Peter Halley (b. 1953), Sherrie Levine (b. 1947), Allan McCollum (b. 1944), Philip Taaffe (b. 1953) and Meyer Vaisman (b.1960). These artists were attributed the Neo-Geo moniker in 1986 based on their use of geometric forms and their appropriation of art historical motifs and styles from well-established artists. Sculptors Jeff Koons (b. 1955) and Haim Steinbach (b. 1944) were initially labeled as Neo-Geo, then also as Commodity Artists beginning in 1986. The varied epithets for this group represent critics{\textquoteright} attempts to understand and classify the broad range of mediums and appropriative methodologies employed by these artists. It has all along been a questionable act to characterize this group under one cohesive name, as if they constituted a singular movement. Many of these artists had been a part of the East Village scene since 1980 or earlier, but they were only discussed and labeled by the art press at a time when their work gained significant popularity among prominent collectors and dealers. While the Neo-Geo artists differ substantially, their work nonetheless explored some common themes and pursued some strategies in common. Neo-Geo artists created paintings and sculptures that functioned, in a sense, in a textual manner. This diverse group collectively shared an interest in examining the terms, limits and structures of art history and various aspects of the society-at-large, including commodity capitalism and digital culture, in a deconstructive manner. Rooted within an amalgamation of art historical sources, Neo-Geo built upon the strategies of Pop, Minimalist, Conceptualist and Pictures artists in the creation of a diverse body of work. As I demonstrate, Neo-Geo used pastiche and strategies of parodying certain art historical paradigms to create new dialogues within contemporary art.}, keywords = {Art of the United States, Contemporary Art, Eighteenth-Century Art}, author = {Brandt, Amy} } @mastersthesis {11023, title = {Constructing Africa: The Visualization of Homeland and Diaspora in African American Art during the 1960s and 1970s}, year = {2011}, school = {UCLA}, abstract = {This dissertation explores the ways in which discourses about Africa influenced African American art, analyzing the way in which artists mediate emerging discursive and political movements throughout the middle part of the twentieth century which supplied new ways of giving form to their diasporic identities. It focuses on the artistic exchanges between African Americans and their African contemporaries made possible by the increasing globalization that characterized these decades. With the spreading African independence movements during the 1960s and the Civil Rights Movement in the United States, political and cultural discourses emerged in which connections between African Americans and Africa were considered and debated. Forums such as the 1966 First World Festival of Negro Arts held in Dakar, Senegal, and the 1977 follow-up exhibition, the Second World Black and African Festival of Arts and Culture (FESTAC {\textquoteright}77) in Lagos, Nigeria, worked in conjunction with an efflorescence of contemporary African art exhibitions in the United States to provide new networks for the exchange of ideas and the creation of communities. Artists such as Hale Woodruff (1900-1980), Jeff Donaldson (1932-2004) and Faith Ringgold (1930-) all participated in these global arts festivals that connected the diaspora to Africa, yet they all made works that reference Africa through very different artistic strategies. The dissertation explores their work, as well as the work of contemporary African artists Alexander "Skunder" Boghossian (1937-2003) and Amir Nour (1939- ) who lived and worked in the United States, in order to better understand the many factors that impacted the visual language of Africa in African American art during the 1960s and 1970s. This study adopts theories of diaspora as posited by writers such as Stuart Hall and Brent Hayes Edwards who understand diaspora as a productive discursive tradition. It explores how the aesthetic variations in which Africa is invoked suggest differing conceptions of a diasporic homeland and thus reflect an unstable quality innate within diaspora. In doing so, this dissertation seeks to contribute to a better understanding of the routes through which a diaspora understands it roots and creates its histories.}, keywords = {Art of the United States, Contemporary Art}, author = {Wofford, Tobias} } @mastersthesis {11062, title = {Contemporary Art: Art Historical and Market Criteria}, year = {2011}, school = {UT Austin}, abstract = {For the most recent contemporary art no art historical or price records exist that can testify of its value. However, the market for contemporary art is enormous and the art historical interest in it is equally important. If we can find out how to evaluate contemporary art, it will further the art historical understanding, the market transparence and the sales of contemporary art thus having an influence also on the creation of art (William Grampp). The art historical verdict and the market verdict are linked. This has been proven by a number of economists (Frey, Galenson, Grampp). The question is how they are linked. Basically, both art history and the market contribute to the creation of value in art. What is it that makes art valuable? What are the criteria used in art history and in the market to evaluate art? The focus is on European and US American art between 1970 and today. Evaluation, be it aesthetic or financial, is a process of decision making. Decisions are based on criteria that must be conscious at least after the decision is made (Clement Greenberg). In the art world, certain decision makers are more influential than others. Therefore the dissertation analyzes the most influential positions in art theory and in the art market and distills the essential criteria used. The dissertation seeks to advance the research on this fundamental question of the evaluation of art through a more comprehensive and interdisciplinary study than those previously undertaken. It presents a model that integrates the most important criteria from both sides and allows a more reliable evaluation of contemporary art. The 3C Model explains the ensemble of Quality-Value-Price through three criteria: Change, Connectivity and Context (Time, Space, People). The 3C Model can be used as a general basis in the discourse on value and quality. It is a structural method that can be applied to almost any art from any period. The model is exercised here using Gerhard Richter, Francois Morellet, Julian Schnabel, Jeff Koons, Sophie Calle and Pipilotti Rist as examples.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Richter, Till} } @mastersthesis {11072, title = {Contested Terrains: Visualizing the Nation within Global Military Conflicts}, year = {2011}, school = {Queen{\textquoteright}s}, abstract = {In this study, I use visual and material culture that addresses the contemporary war in Afghanistan to critically assess the ways in which national conflict history is envisioned. I focus in particular on cultural production related to the involvement of Australia and Canada in the conflict. I do so to question the ways in which Australia{\textquoteright}s and Canada{\textquoteright}s engagements with this particular conflict are visualized in relation to their official narratives, which posit their military activities in Afghanistan as undertaken in the name of security, peacekeeping, and rebuilding. Such a query is important, because it allows me to investigate which visualizations contribute to the history and narrative of national engagements with conflict, and which are ignored. Moreover, it allows me to ask how visual and material culture not only constitutes, but also legitimates national conflict narratives. And finally, it allows me to locate examples within this field of cultural production that renegotiate, contest, subvert, and resist state representations. These lines of inquiry help to situate my study of visual and material culture by suggesting that such objects can act as lenses through which to address what Jon Stratton and Ien Ang describe as the "unstable, provisional and often jeopardous status of the national" (1996, 381). Following Stratton and Ang, I approach the concept of the "nation" as "a contested terrain between historically specific {\textquoteright}cultures{\textquoteright} structured in relations of dominance and subordination to each other" (367). Using exhibitions and cultural objects produced post-9/11 in Australia and Canada (that is, after 11 September 2001), I analyze the visual and material culture of conflict within the "contested terrain" of national/ist narratives. The particular process of culture-making exemplified in exhibitions and cultural objects is crucial when it comes to advancing national/ist narratives, since as I argue throughout this study, it represents part of the larger historical transition from the state enlistment of cultural production in support of nation-building to the neoliberal mobilization of visual culture for the global marketplace.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Cahill, Susan} } @mastersthesis {11162, title = {Contextual Studies of Fra Bartolomeo: Painting, Devotion, and Politics}, year = {2011}, school = {Virginia}, abstract = {This dissertation reexamines the art and life of Fra Bartolomeo (1473-1517), a Florentine artist praised by Giorgio Vasari in his Lives of the Artists, but marginalized by contemporary scholars. Although it is often assumed that a biographical study{\textquoteright}s sole project is to glorify the creativity of the individual, my dissertation, which considers Fra Bartolomeo{\textquoteright}s art in its contexts (artistic, religious, social and political), grounds Fra Bartolomeo{\textquoteright}s innovations in his artistic and theological educations and illustrates the complexity of the world of the early sixteenth-century Florentine artist. This study contributes to a more nuanced understanding of Florence{\textquoteright}s artistic climate, patronage networks, and devotional practices, crucial to future studies about its social fabric. Chapter 1 challenges the scholarly disregard for Cosimo Rosselli{\textquoteright}s workshop in Bartolomeo{\textquoteright}s artistic formation. I argue that the workshop was a dynamic center of learning and a font of future patronage. Chapter 2 is a comprehensive contextual study of the Last Judgment at Santa Maria Nuova. Abandoned as Bartolomeo was spiritually called to the Dominican order, I contend that art and life converged in its making. In addition, I refuse an easy reading of the work as Savonarolan in content as well as in tenor. Chapter 3 considers Fra Bartolomeo as a Dominican artist and demonstrates how the Dominican mode of contemplation surfaced in the Vision of St. Bernard, as he employed the newest art of contrapposto to depict the visionary movements of the mind. Chapter four argues that Fra Bartolomeo{\textquoteright}s -Pala della Signoria- made on behalf of the convent of San Marco and in service of the Florentine Republic, was intimately linked to the re-envisioning of the Republic and the convent{\textquoteright}s place within it. The dissertation concludes with an account of Fra Bartolomeo{\textquoteright}s artistic culmination, as I consider how the -Pala della Signori- was more than just a vehicle of Republican iconography, and how it actually revealed Fra Bartolomeo{\textquoteright}s artistic ambitions.}, keywords = {Renaissance/Baroque Art}, author = {Nabi, Elizabeth Mcmahon} } @mastersthesis {11061, title = {Contextualizing Contemporary Art: Propositions of Critical Artistic Practice in Seni Rupa Kontemporer in Indonesia}, year = {2011}, school = {Cornell}, abstract = {This dissertation contends with the development of seni rupa kontemporer (contemporary art) between 1973 and 1993, with certain case studies extending to the late 1990s. I offer a history and genealogy of concepts of critical artistic practice, examining to what purpose strategies of a contemporary art have been put and from what conditions they emerged. I examine how these have been interpreted to possess criticality in Indonesia. Taking the controversial curatorial essay published for the 9th Jakarta Biennale of Art (1993) as a catalyst rather than as a point of reference, I rethink the possibility and value of a construct of an avant-garde and postmodern in seni rupa kontemporer. I propose a kind of avant-garde without modernism{\textquoteright}s tradition of transgressive poetics. The mode of marginality I have in mind is a critical position possible only on this side of the political sea change and depoliticization of the cultural field in Indonesia after 1965. This entails tracing shifting notions of art{\textquoteright}s and artistic autonomy, which were largely dependent upon the relation art had with politics and the spheres in which artistic practice was seen to reside. My argument for a kind of pascamodernisme (postmodernism) in contemporary art in Indonesia posits its position also as one of a critical marginality, whose experiences with modernity are specific and distinct from those of the Euro-North-American context. I argue that a pascamodernisme in contemporary art articulates critical artistic practice as a postcolonial critique of modernity-as-development, and the mutilating forces of modernization. A key aspect in this discussion is those practices that sought to assume alternative traditions, realities, and futures within modernity. In this regard, an important subtext is notions of collaborative work and the artist as members of artists{\textquoteright} collectives and collaborative type of work as a primary and critical artistic solution. I am interested in those artistic collaborative and collective projects that helped to establish installation and performance art into art-historical categories in Indonesia, and whose activities and projects have had a discernible impact on the development of seni rupa kontemporer and how it would be defined vis-a-vis the terms and concepts generated by them.}, keywords = {Contemporary Art, South/Southeast Asian Art}, author = {Rath, Amanda} } @mastersthesis {11057, title = {Creating the Kangxi Landscape: Bishu Shanzhuang and the Mediation of Qing Imperial Identity}, year = {2011}, school = {Stanford}, abstract = {This dissertation examines how the construction and representation of cultural and geo-political landscapes contributed to imperial legitimacy in the early Qing dynasty (1644-1911). Focusing on the largest of the Qing garden-palaces, Bishu shanzhuang ("Mountain Villa to Escape the Heat"), the project draws on the physical landscape and its depictions in paintings, woodblock prints, maps and personal ac-counts to reveal the importance of space, geography, and memory in the negotiation of dynastic identities. The intersections of geography, landscape and ethnicity were central to the formation of the Qing state and its power. The Qing conquest elite and the empire they ruled were geographically and culturally distinct and mutually unfamiliar. The early state{\textquoteright}s principal challenges lay in establishing the legitimacy of their rule while creating a geographically and culturally cohesive empire out of highly disparate parts. The invention of a new, fundamentally "Qing" landscape, one that reflected both the empire{\textquoteright}s diversity and its ideal unity, was central to the success of all these goals. Through the construction of imperial garden-palaces, and court-produced representations of them in paintings, books and other media, the court created a politically and culturally significant landscape associated solely with the emperor. Bishu shanzhuang was perhaps the most important of these imperial landscapes. Built beyond the Great Wall, it is located in a region, Rehe, or Jehol, that the court simultaneously described as non-Chinese and as wild, natural and undiscovered -- a culturally blank canvas. There, the Kangxi emperor (r. 1662-1723) ordered the construction of an expansive garden-palace that miniaturized the diverse geography of the empire, while at times literally recreating the landscapes of the historic heart of Chinese culture, the South. In their seeming contradictions, together garden and site thus embodied the court{\textquoteright}s complex negotiation of multiethnic identities, a central concern of the state throughout the dynasty. Treating the Mountain Villa as a second capital, the emperor and many of his successors hunted, engaged in diplomacy, and en-joyed the crisp, cool air of the mountains and valleys. Through these activities and imperially-produced representations of the gardens in paintings, albums, gazetteers and other media, the court created a politically and culturally significant landscape associated primarily with the emperor, used to assert legitimacy, demonstrate authority and create bonds of loyalty with those whose support was most crucial to the ongoing stability and power of the Qing dynasty. The dissertation seeks to address a number of methodological concerns, as well. By focusing primarily on the Kangxi period, the project counters conventional treatments of the site that consider only its final state of development under the Qianlong emperor and reestablishes the Kangxi emperor as an independent political actor whose ideologically oriented cultural productions laid the foundation of Qing imperial practice for the remainder of the dynasty. Similarly, departing from earlier narratives that framed Bishu shanzhuang either as a recreation of a literati garden on a massive scale or as a reconstruction of the Buddhist universe intended for a non-Chinese audience, this project recognizes the centrality of both Chinese and non-Chinese vocabularies in the Rehe landscape. Finally, this study presents new approaches to under-standing the importance of landscape as medium for ideological expression throughout the Qing and in the early modern world more broadly.}, keywords = {Chinese Art}, author = {Whiteman, Stephen} } @mastersthesis {10995, title = {Cross River Creoles: Skin-Covered Art from the Era of the Slave Trade to the 21st Century}, year = {2011}, school = {Yale}, abstract = {The scramble for power that characterized the early colonial era in Africa was a competition among not only European nation-states, but also Africa{\textquoteright}s own merchants and rulers who desperately sought to maintain their sovereignty. This dissertation is an inquiry into how a particular group of wealthy Africans-nineteenth-century merchants from the CrossRiver region of Nigeria-utilized skin-covered sculptures representing the decapitated heads of men and women to assert their political authority. It will argue that these skin-covered heads are inextricably linked to the trans-Atlantic slave trade, abolition, and the economic and social change that followed; increased British involvement in the internal affairs of Africans; and finally colonialism itself. This dissertation argues that these works of art, often understood to be pre-modern and "traditional," were influenced by the very ideas of modernity that were circulating elsewhere in the late-eighteenth and nineteenth centuries: questions of freedom, slavery, violence, power, and authority. The first chapter introduces the city of Calabar, the center of skin-covered art in the Cross River region of Nigeria and the home of Ekpe, an organization of law-making merchants that facilitated trans-Atlantic trade and ensured stability in an otherwise stateless region. Chapter two looks at the period immediately following 1767, when the Ekpe legal society became prominent. At this point in history, these skin-covered heads-to the extent we can speculate that they existed, since none from this era are extant-functioned as objects of terror, replications of heads of decapitated slaves that were utilized by Ekpe to evoke fear and reinforce its authority over the region. Chapter three examines the period following British abolition of the trans-Atlantic slave trade, when the abrupt end of the trade in slaves plunged Calabar into a recession in which the wealthy merchants of Ekpe lost the most. In this period these skin-covered heads became objects of wealth, symbols of conspicuous consumption utilized to assert the grandiosity and privilege of Ekpe when that very privilege and wealth was under threat. Chapter four begins in 1846, when British administrators and Christian missionaries first settled in Calabar, and when Ekpe began to sense that colonialism was on the horizon. During this period these works of art became objects of statehood, intended less to represent the power of Ekpe over the enslaved than to symbolize Ekpe{\textquoteright}s monopoly of violence and its authority over Calabar as the British interfered in the city{\textquoteright}s politics. These works of art became, in this era, objects of political authority that declared Ekpe{\textquoteright}s control of the land as well as the independence of Calabar{\textquoteright}s people. Finally, chapter five considers how these objects shifted yet again in meaning when colonialism was established in 1885. In the early years of colonialism these works of art became objects of resistance that contained subtle anti-colonial meaning and served to create an imagined community that established a foundation for nationhood.}, keywords = {African Art (sub-Saharan)}, author = {Smalligan, Laura} } @mastersthesis {11032, title = {The Cult of Personality: Gertrude Stein and the Development of the Object Portrait in the American Visual Arts}, year = {2011}, school = {Florida State}, abstract = {In August 1912, American photographer Alfred Stieglitz published Gertrude Stein{\textquoteright}s word portraits of Pablo Picasso and Henri Matisse in a special issue of Camera Work. Most scholars agree that these word portraits inspired the invention of the object portrait in the American visual arts. Marius de Zayas, Francis Picabia, Marsden Hartley, Man Ray, Elsa Von Freytag- Loringhoven, Arthur Dove, Charles Demuth, and Georgia O{\textquoteright}Keeffe explored the genre as members of American artistic circles from 1912 through the 1930s. As the genre developed, these artists drew simultaneously upon the semantic and syntactic play of cubist collage, photomontage, Dada language experiments, assemblage, and traditional fine art practices. The identification of Stein{\textquoteright}s word portraits of Picasso and Matisse as the source of inspiration for object portraiture is secure in scholarly literature. Yet, the theoretical relationship between the two over time remains unexplored. Moreover, scholars have failed to consider other literary experiments by Stein, such as Tender Buttons: Objects, Food, Rooms (1914) and the word portraits produced after 1911, as contributing factors in the genre{\textquoteright}s development. Steinian scholarship primarily attributes her portrait theory to the application of the American psychologist William James{\textquoteright} system of characterology, which addresses the mental phenomena of simultaneity, stream of consciousness, and a continuous present. As Stein created a linguistic correspondence to Jamesian perception, she employed an alternative language system that made use of repetition, fragmentation, metaphor and metonymy, word play, punning, word heap (or a conscious, volitional emptying of words), nonsense, and sound associations. In so doing, Stein questioned and attacked traditional modes of identity construction in her experimental writing. Her primary objective was to capture modern character and personality as revealed through modern experiences. I argue that the development of the object portrait genre as practiced by the artists listed above must be considered in light of the profound impact of Gertrude Stein{\textquoteright}s portrait theory, embedded in the cultural interest in personality and psychology, as demonstrated progressively over the course of her literary career. Like Stein, the artists believed that traditional visual language systems based on mimesis were incapable of describing modern personality and alternative lifestyles. Instead, they employed an alternative visual language of objects associated with their subjects to replace portraiture{\textquoteright}s traditional reliance on physical resemblance as an indicator of character. Thus, they invented a new means of conveying essential personality traits. I argue further that Stein{\textquoteright}s development of an alternative language system based on Jamesian psychology, to question traditional modes of identity construction in her experimental writing, contributed to the overall structure and meaning of object portraiture. Art historians have addressed aspects of this argument but they have not attributed this to the artists{\textquoteright} interests in Stein{\textquoteright}s writing specifically. Therefore, the primary objective of this dissertation is to bring together the literary scholarship on Stein{\textquoteright}s word portraiture and the related art historical scholarship on object portraiture to reconsider the claims made in each in an attempt to discern parallel themes and stylistic choices evident in the genre{\textquoteright}s development as a visual form of expression within the American avant-garde.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Hensley, Christal} } @mastersthesis {11046, title = {Cultivating Dreamfulness: Fantasy, Longing, and Commodity Culture in the Work of Winsor McCay}, year = {2011}, school = {Delaware}, abstract = {Cartoonist Winsor McCay was celebrated for the skillful draftmanship and inventive design sense he displayed in the comic strips Little Nemo in Slumberland (1905-1914) and Dream of the Rarebit Fiend (1904-1911). McCay created narratives of anticipation, abundance, and unfulfilled longing. This project demonstrates how McCay{\textquoteright}s interest in dream imagery was symptomatic of a cultural preoccupation with fantasy that served to generate consumer desire. McCay{\textquoteright}s role as a pioneer of early comics has been documented; yet no existing study situates him with regard to the larger visual culture of the early twentieth century. This dissertation connects McCay{\textquoteright}s work to relevant children{\textquoteright}s literature, advertising, architecture, and film in order to interrogate the commercial uses of the fantastic.}, keywords = {Art of the United States}, author = {Roeder, Katherine} } @mastersthesis {11190, title = {Cy Twombly{\textquoteright}s Things: Sculptures 1946 to the Present}, year = {2011}, school = {Princeton}, abstract = {Cy Twombly (b. 1928), a Virginian who has lived for the past five decades in Italy, is widely acknowledged as one of the postwar period{\textquoteright}s most influential abstract painters. Over the same span since 1946 he has made hundreds of sculptures, balanced and bristling assemblages of ordinary found objects overlain with glutinous slips of white house paint, gesso, or plaster. Relatively unknown alongside his painting and drawing practice, the three-dimensional work does not fit into standard accounts of postwar sculpture{\textquoteright}s tendencies. Sculpture itself is a beleaguered term in such accounts, less and less informative as a categorical designation, less and less descriptive of means and dispositions. Twombly{\textquoteright}s sculptures insist on certain terms of sculpture proper, thereby testing their contemporary viability. They do so in the interest of sculpture as a medium with a deep history, not in the interest of contravening it: that is, they lay no hollow claim to the word sculpture but instead demonstrate the gaps or inadequacies that always frustrate the relationship between thing and word. Thing operates with significance here, a malleable word in its own right, the name for the otherwise unnamed or unnameable. In the literature Twombly{\textquoteright}s sculptural works are valued less as present, prosaically inclined pieces than as occasions for a transcendent, poetically inclined dematerialization. This dissertation perceives them as crucially material, their dripping or caked coats of paint and their amateur joins held by twists of wire or twine as pointedly conspicuous signals of making. My analysis undertakes distinct concerns within Twombly{\textquoteright}s sculptural oeuvre-the artist{\textquoteright}s white-painted surfaces, the question of subject matter, and his recent turn to plaster and bronze casting processes-each emphasis underpinned by an engagement with actual as well as conceptual limits, edges, and boundaries. That these sculptures are first and foremost made things is precisely their methodological importance, for at the same time their insistent physicality proves no guarantor of determinacy.}, keywords = {Twentieth-Century Art}, author = {Nesin, Kate} } @mastersthesis {11065, title = {The Death and Resurrection of Chicago{\textquoteright}s Public Housing in the American Visual Imagination}, year = {2011}, school = {Rochester}, abstract = {The Death and Resurrection of Chicago{\textquoteright}s Public Housing in the American Visual Imagination is an interdisciplinary response to the Chicago Housing Authority{\textquoteright}s (CHA) current controversial urban renewal initiative, the Plan for Transformation. Announced in 2000, the $1.6 billion initiative calls for the largest, most ambitious rehabilitation and redevelopment of public housing in the nation{\textquoteright}s history. By 2015, all but one of Chicago{\textquoteright}s fifty-two high-rise buildings will be levelled. This project addresses the ways in which the Chicago{\textquoteright}s projects have been mythologized in late twentieth- and early twenty-first century popular visual culture as sites that deserve to be razed. I contend that destructive televisual, filmic, and mainstream media representations of Chicago{\textquoteright}s subsidized housing contributed to its notoriety in the American visual imagination, and, as a consequence, helped to influence, either ideologically or psychically, the socio-spatial restructuring of the urban landscape. Moving chronologically from the early 1970s through to the present day, I begin by considering the foremost visual representations of Chicago{\textquoteright}s public housing, and their effect on the construction of stereotypes or what sociologist Rob Shields refers to as "spatial myths." My second approach investigates the everyday practices, rituals, and social dynamics of urban vision in public housing by asking: How do prevailing visual representations and socio-political designations concur or differ from the semiological experiences of "real" residents of public housing? Supported by field observations and on-site interviews conducted between 2006-2009, I investigate individuals{\textquoteright} and group efforts to tell their own stories through activities including the publication of a resident-run newspaper. Through this re-imaging some residents{\textquoteright} challenge stigmatized identities and negative stereotypes associated with life in Chicago{\textquoteright}s public housing. My final approach works in the space in-between, reconciling the dominant visual image of the city{\textquoteright}s subsidized accommodation with the reality on the ground. Utilizing the conceptual tools enabled by contemporary spatial theory, I explore visual and cultural productions that reflect more accurately the lived spatial practices of Chicago{\textquoteright}s public housing residents. These counter-examples illustrate individuals{\textquoteright} and groups{\textquoteright} creation, possession, enhancement or simply "use" of space in the form of everyday patterns of movement and via grassroots conflicts over the management of their living environments.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Film/Video, Twentieth-Century Art}, author = {Mann, Nicola} } @mastersthesis {11152, title = {Decorating the House of Wisdom: Four Altar Pieces from the Church of Santo Spirito in Florence, 1485-1500}, year = {2011}, school = {Maryland}, abstract = {This dissertation examines four altarpieces by different artists painted between 1485 and 1500 for Santo Spirito, the church of the Augustinian Hermits in Florence, in light of the Hermits{\textquoteright} influence on the paintings{\textquoteright} iconography. I argue that each of the altarpieces expresses a distinct set of Augustinian values and suggests appropriate modes of devotion and praxis. Together, the paintings represent an attempt on the part of the Florentine Hermits to convey their institutional and religious identity as heirs to Augustine{\textquoteright}s spirituality. The first chapter reviews the history and thought of the Augustinian Hermits, the history of the convent of Santo Spirito and the building and decoration of its church. The second concerns Sandro Botticelli{\textquoteright}s 1485 Madonna and Child Enthroned with Saints John the Baptist and John the Evangelist, which displays a nursing Virgin in a garden of scriptural quotations. The altarpiece portrays Holy Wisdom as the garden of Ecclesiasticus 24, as the Virgin immaculate created before all things, and, most importantly, as the Christ Child whose engorged breasts feed mankind. The third chapter addresses Piero di Cosimo{\textquoteright}s 1490-1498 Visitation with Saints Nicholas of Bari and Anthony Abbot. Mary and Elizabeth{\textquoteright}s junctio dextrarum seals, under the impression of the Holy Spirit, the union of the Testaments and the unity and authority of Ecclesia and accomplishes the "kiss of Justice and Peace" of Psalm 84. The third chapter discusses Filippino Lippi{\textquoteright}s 1494 Madonna and Child with Saints Martin of Tours, Catherine of Alexandria, the Young Saint John the Baptist and Donors: Within a multilayered composition based on Augustine{\textquoteright}s City of God, the donors apply to familial relationships the model of Saint Martin{\textquoteright}s charity displayed in the chapel window. Finally, Agnolo del Mazziere{\textquoteright}s 1495-1500 Trinity with Saints Mary Magdalene and Catherine of Alexandria, discusses ways of seeing and imaging the Trinity in light of Augustine{\textquoteright}s De Trinitate. My close reading of these altarpieces and my focus on religious context breaks ground in revealing how, in Renaissance Florence, an order could fashion, through independent altarpieces, a program that promoted its institutional values and stimulated modes of viewing that served its devotional and educational needs.}, keywords = {Renaissance/Baroque Art}, author = {Fondaras, Antonia} } @mastersthesis {11045, title = {Defying and Delineating Race in Antebellum New Orleans: The Life and Art of Jules Lion}, year = {2011}, school = {Indiana}, abstract = {Jules Lion (1806-1866) was one of America{\textquoteright}s earliest photographers and most prolific lithographers. Born in France, he arrived in New Orleans in 1837, where he introduced the daguerreotype, made over two hundred lithographic portraits of white Louisiana residents, and created his most recognizable work, a pastel double-portrait of a white father and his presumably "mulatto" son. Historians have interpreted the artist{\textquoteright}s racial status as African American because the initials "f.m.c." (meaning "free man of color") appear next to Lion{\textquoteright}s name in New Orleans city directories from 1851 to 1856. All other documents from his life-civic, judicial, and religious-omit a racial status, which suggests that he was considered white in some contexts. His transnational identity and ethnic ambiguity was not unusual within the structure of New Orleans{\textquoteright}s cosmopolitan society and tripartite racial hierarchy. Lion{\textquoteright}s ambivalent biography provides a backdrop for an examination of his previously understudied artwork as well as his place in American and African Diaspora art history. His photography and lithography reveals the influence of French more than American visual culture. Yet, his lithographic portraits supported concepts of the state{\textquoteright}s ideal civil society: white, male, and slaveholding. The meaning of Lion{\textquoteright}s infamous interracial double-portrait has changed over time, complicated by expressions of black subordination, white mastery, familial intimacy, and same-sex romantic friendship. This dissertation corrects factual errors that have plagued histories of Lion, reflects on the canon of American art and the historiography of African American art, and analyzes print portraiture{\textquoteright}s role in delineating Louisiana{\textquoteright}s social structures. Lion{\textquoteright}s biography, career, and the reception of his work allow us to reassess the definition of blackness and become increasingly aware of the visual vocabulary of hegemonic whiteness.}, keywords = {Art of the United States}, author = {Picard, Sara Mandel} } @mastersthesis {11195, title = {Degenerate Art Exhibition: Kunststadt Muchen, 1937}, year = {2011}, school = {UC Santa Barbara}, abstract = {In 1933, Hitler declared Munich, Germany{\textquoteright}s celebrated center of art since the early nineteenth century, the "Kunststadt des Deutschen Reiches." Four years later, on July 18th, 1937 Bavaria{\textquoteright}s capital became the stage for the Grosse Deutsche Kunstausstellung at the Haus der Deutschen Kunst, Germany{\textquoteright}s new "Temple of Art." Simultaneously, the regime displayed confiscated avant-garde paintings and sculptures in the "Entartete Kunst" Ausstellung at the Hofgarten galleries, a historic site for royal art collections. The contrast between the two regime sponsored installations, the art within and the purpose of the exhibitions has been the subject of considerable scholarship. Twenty years ago, art historians reconstructed the infamous 1937 installation of {\textquoteright}degenerate art{\textquoteright} based on existing photographs and inventory lists. However, neither the architectural space in which the exhibition was shown nor the public sphere from which the exhibition was accessed has been examined to date. The physical environment helped shape the viewer experience and his/her perception and interpretation of the art installed in the historic cultural heart of Munich and contributed considerably to the notoriety of the exhibition. The "Entartete Kunst" Ausstellung was viewed by more than two million people from around the world. Die Grosse Deutsche Kunstausstellung, which was to be the main feature of Munich{\textquoteright}s 1937 "Festival of the Arts," attracted far fewer visitors. Munich{\textquoteright}s "Entartete Kunst" Ausstellung was a stunning and unexpected attraction. It was strikingly different from other German exhibitions of so-called {\textquoteright}degenerate art{\textquoteright} that were staged throughout Germany between 1933 and 1941. In addition to the remarkable physical setting of the exhibition, Munich{\textquoteright}s reputation as Kunststadt, tradition for artistic development and cultural influence, paradoxically contributed to the infamy of the "Entartete Kunst" Ausstellung, yet undercut Hitler{\textquoteright}s design to promote the cultural transformation the National Socialist party attempted to achieve. The methodology for this contextual analyses involves review of historical texts and surveys, supplemented-and sometimes contrasted-with examination of new archival material, pre- and post-World War II photographs, maps and tourist guides.}, keywords = {World Art}, author = {Ginder, Ursula} } @mastersthesis {11012, title = {Design and the Politics of Knowledge in America, 1937-1967: Walter Gropius and Gyorgy Kepea}, year = {2011}, school = {Columbia}, abstract = {Using the American careers of Walter Gropius and Gyorgy Kepes as case studies, this dissertation addresses the intersection of art and architecture with the reciprocal politics of knowledge production and state formation in the mid-twentieth century United States. Inasmuch as the careers of Gropius and Kepes-wartime emigres from Germany and Hungary, respectively-retrace the narrative of importation and assimilation linking interwar European modernism and its post-World War Two American legacies, this project also implicates that larger narrative and its constructions. Avant-garde practices in the Weimar Republic orbit advanced a model of design as a practice of knowledge, ideation or "expertise," which found fertile ground in the new political conditions of postwar America. The intersection of design practices with practices of knowledge production reconfigured design from material craftsmanship or artistic invention to a fluid set of competences and techniques oriented towards establishing new cultural, political, and economic agency for the designer. The constitution of this agency and its limits is the central historical and conceptual problem of this dissertation. From their strategic positions on architectural faculties at Harvard University and the Massachusetts Institute of Technology (MIT), and in their multiple roles as administrators, educators, writers, and designers, Gropius and Kepes both responded to and shaped several emergent discourses on knowledge that traversed the academy, the federal government, the design professions, and the wider political and intellectual life of the nation: the discourse of economic "stimulus" that posited the intersection of knowledge and legislative practices and their combined agency in the social body; the discourse of planning that charted the intervention of the "managed economy" regime across the nation{\textquoteright}s urban fabric; the discourse of the creative mind that posited knowledge as a key economic and political resource; and finally, the discourse of instrumentality that defined the political agency of knowledge-production within the postwar research university. Among the events leading Gropius and Kepes to confront those discourses, as chronicled in this dissertation, were the wartime administrative reorganization of the Harvard Graduate School of Design, the establishment of the Carpenter Center for the Visual Arts at Harvard and the Center for Advanced Visual Studies at MIT, and postwar curricular reform at MIT at large. In each of those instances, art and architecture emulated the disciplinary practices of knowledge production: research, education, methodology, collaboration. But more importantly, the disciplines of design adopted and elaborated in their own terms the ends of those organized knowledge practices in the promotion of unpredictability and innovation, necessitating in turn the curbing of controls and the circumscription of agency. The pursuit of this mode of practice, characterized by internal delimitation, situated design within an emergent political regime dedicated to the maintenance of socio-economic freedoms, articulated in the United States within a newly consolidated and organized federal government institution, and accompanied by new legislative and ideological articulations of national identity.}, keywords = {Architectural History/Historic Preservation}, author = {Vallye, Anna} } @mastersthesis {11056, title = {The Development of Chinese Calligraphy in Relation to Buddhism and Politics during the Early Tang Era}, year = {2011}, school = {Florida}, abstract = {This dissertation traces Chinese calligraphy{\textquoteright}s relevance to Buddhism and politics, with a focus on its developments in the early Tang dynasty (618.907). Through an examination of historical and artistic evidence, this study reveals a dynamic confluence where the value of calligraphy as an art form, comprised primarily of stele rubbings and sutra copies, was circulated and validated through Buddhist strategies of propagation and the Tang court{\textquoteright}s ideological vision for national unification. In the support of calligraphic practices, the interests of the Tang court and the Buddhist monasteries often converged to the benefit of both. Meanwhile, in the service of religious and political ends, calligraphy, as a practical skill and aesthetic form, was transformed and democratized, that is, its practice transcended class hierarchies. This understanding provides new insight into the relationship between art and society at that time, and Tang achievements in the history of Chinese calligraphy. This study is divided into five main chapters, with the first chapter functioning as the introduction and the last chapter as the conclusion. Chapter 2 explores the development of early writing and how calligraphy emerged from dynamic relations between religion and politics to become a dominant artistic form in early and medieval China. Chapter 3 examines the effects of early Tang imperial patronage on calligraphy, emphasizing the intrinsic role that calligraphy played in court politics. Chapter 4 displays the importance of Tang Buddhist steles. In addition to containing highly valued inscriptions penned by elite masters, these steles also attest to the felicitous confluence of Buddhism{\textquoteright}s adaptation to the Chinese cultural milieu and Tang court political and cultural agendas. Chapter 5 introduces Dunhuang manuscripts, using these Buddhist scriptures written on silk and paper to reconstruct a dynamic relationship between celebrated masters and lesser-known copyists based on stylistic connections. These manuscripts also offer the means to reconcile the value of reproductions relative to originals in the dissemination of calligraphy. Chapter 6 discusses the motivation and high productivity of sutra copyists, whose efforts democratized Chinese calligraphy but have not yet received the full attention they deserve.}, keywords = {Chinese Art}, author = {Sheng, Ruth} } @mastersthesis {11078, title = {Displaying Identity in the Mantuan Court: The Majolica Services of Isabella d{\textquoteright}Este, Federico II Gonzaga, and Margherita Paleologa}, year = {2011}, school = {UCLA}, abstract = {This study brings together for the first time thirty-six istoriato (narrative-painted) maiolica dishes created for members of the Gonzaga family during the sixteenth century. Dishes created for Isabella d{\textquoteright}Este, the most significant female collector of the Italian Renaissance, her son Federico II Gonzaga, Federico{\textquoteright}s wife, Margherita Paleologa, and other Gonzaga family members are recontextualized through the examination of collecting practices, identity-promotion at court, dining rituals, and the imagery featured on the dishes. Istoriato maiolica produced for the Gonzaga incorporated personal imprese (emblems or devices), coats of arms, and complex narrative scenes with subjects from ancient literature, including Ovid, Virgil, and the Bible. Almost certainly used and displayed during meals in the Gonzaga country palaces, the dishes were intended to impress, to entertain, and to spark conversation among guests. While often neglected as producers of "minor" arts, painters of istoriato maiolica incorporated High and Late Renaissance artistic styles through their use of contemporary prints. Furthermore, they offered patrons the opportunity for self-advancement through a tin-glazed ceramic medium that was less costly than works in paint or sculpture. Nicola da Urbino, the most accomplished istoriato maiolica artist of the 1520s, painted thirty-two of the dishes considered in this study. He composed Isabella{\textquoteright}s maiolica service in a High Renaissance style and included imagery that proclaimed her virtues and suited the types of moral paintings and antiquities she sought to include in her collection. Federico and Margherita{\textquoteright}s maiolica featured regal themes in an exaggerated Late Renaissance style. Their dishes promoted their politically-advantageous marriage, their recent elevations to duke and duchess of Mantua, and Federico{\textquoteright}s military interests. The Gonzaga maiolica, among the most complex and aesthetically-pleasing of the early sixteenth century, appears to have initiated greater interest in narrative-painted maiolica among later Gonzaga generations and members of other Italian courts.}, keywords = {Decorative Arts/Textiles/Design History, Renaissance/Baroque Art}, author = {Boutin, Lisa} } @mastersthesis {11123, title = {Dress and Identity in the Arts of Ancient Anatolia: The Seventh through Fourth Centuries BCE}, year = {2011}, school = {Rutgers}, abstract = {This dissertation investigates the variety of clothing options available to the ancient Western Anatolians from the seventh through the fourth centuries BCE as evidenced by archaeological remains, visual representations, and rare written sources. The body of the dissertation includes an analysis of the textile industries, a typological examination of the dress items, and three case studies of the tomb imagery in Western Anatolia. Given the lack of first hand evidence for the social history of the region, especially of its non-Greek populations, this examination reveals the important position articles of dress occupied in conveying social roles and status in Western Anatolia. Through an analysis of the {\textquoteright}language of dress{\textquoteright} this dissertation reaches two conclusions. First, there existed a distinctive {\textquoteright}Anatolian{\textquoteright} dress fashion shared among the various ethnic groups of Anatolia during the time in question. Second, the Western Anatolian elite adjusted borrowed dress fashions from the Persian court in order to show their status claims within the local socio-historical circumstances.}, keywords = {Greek/Roman Art}, author = {Sare, Tuna} } @mastersthesis {11016, title = {The Emperor{\textquoteright}s Eye and the Painter{\textquoteright}s Brush: The Rise of the Mughal Court Artist, ca. 1546-1627}, year = {2011}, school = {Pennsylvania}, abstract = {Even though the biographies and stylistic hands of individual Mughal court painters have been a central focus of scholarship over the last several decades, the idea of the emperor as the source and impetus for creative production has remained largely unquestioned. This dissertation challenges this notion by showing that paintings produced in the Mughal imperial atelier between circa 1546 and 1627, a period defined by the artistic materials themselves rather than by regnal dates, constitute the very means by which artists sought to improve their station and advance their profession at court. The royal patron is not removed entirely from the picture, but painters instead are brought to the fore and their status as imperial servants-whose standings in the imperial administration were seldom secure and often in flux-is integrally woven into the analysis of their artistic practices and works. By viewing a complex array of materials, including portraits, depictions of royal dreams, and the inscriptions that cover and are paired with these works, through this lens, a new conception of Mughal court painting comes into focus. Rather than a locus of the emperors{\textquoteright} desires and psychologies, as this corpus of works has traditionally been viewed, it becomes clear that Mughal imperial painting is the very vehicle through which court painters demonstrated their artistic aptitude, performed and entertained, recorded (or, more accurately, imagined) imperial optical and visionary experiences, and, most importantly, expressed their loyalty and devotion to their royal patrons. In this way, Mughal imperial painting can be said to speak as much (or more so) to the aspirations and ambitions of court artists than to those of the emperors.}, keywords = {Art of the Middle East/North Africa, South/Southeast Asian Art}, author = {Rice, Yael} } @mastersthesis {11034, title = {Esoteric Primitivism: The Transcendental Painting Group and Native American Cultures}, year = {2011}, school = {Maryland}, abstract = {Three core artists of the Transcendental Painting Group, Emil Bisttram (1895-1976), Raymond Jonson (1891-1982), and Agnes Pelton (1881-1961), employed modernist painting styles in an attempt to create spiritually significant art. Although previous scholarship has focused on the artists{\textquoteright} formal innovations, their work was imbricated in contemporary cultural politics, actively participating in discourses surrounding conceptions of race, religion, aesthetics, and the interrelation of each of these realms. Each drew from sources in metaphysical religious literature, especially Theosophy and related traditions. Their theories of ideal aesthetics for religious art, based on the supposition that artists could convey direct emotional experience through abstraction, reflected the Theosophical drive to overcome materialist philosophy by transcending the limits of physicality. Bisttram, Pelton, and Jonson also internalized Theosophy{\textquoteright}s promotion of syncretism as a guiding principle, and followed metaphysical religionists in advocating a combinative appropriation from diverse religious and artistic traditions. In particular, they relied on Theosophical conceptions of the importance of gleaning allegedly ancient wisdom as they addressed American Indian cultures of the Southwest. Their art created a hybrid iconography, combining symbolic elements from metaphysical religious sources with imagery derived from Southwest Indian cultures, asserting an integral relationship between the two, and advancing the perceived agreement between Native American and Theosophical religious systems as evidence of the truth of the latter. In addition to expressing metaphysical interpretations of Native American religions in their work, they promoted a transcultural aesthetic that posited American Indian art as an archaic and therefore "authentic" means of expressing of spiritual wisdom; they modeled their own abstract aesthetics in response to their encounters with Indian art. As they appropriated from Native American sources, they created images that celebrated the indigenous peoples of the Southwest as possessing unique and important religious knowledge. Their intent, however, was to advance Western culture forward by drawing from ancient sources to create a new, synthetic religion. The result was an art that referenced American Indian cultural practices and art traditions, but gave no voice to the original Native American artists, claiming to transcend the sphere of cultural significance and approach the level of "universal" meaning.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Rees, Nathan} } @mastersthesis {11076, title = {European Symbolism Transformed: The Case of Poland}, year = {2011}, school = {CUNY}, abstract = {This dissertation examines the intersection of concepts of nationalism and identity in Polish Symbolist painting in the late nineteenth and early twentieth centuries. It argues that characteristics of the Symbolist mode in painting, such as formal distortion and ambiguity, mysticism and pessimism, were ideally suited for the expression of complex ideas about nationhood and identity in Polish territory. These ideas related to the status of the Polish nation as a politically subjugate entity, as well as the newly contested status of the individual artist as spokesperson for the nation. The dissertation argues that Symbolist painters forged a compromise in their work between the demands of tradition and modernity by investing well-worn themes and motifs with new, more nuanced meanings. In so doing, they perfectly articulated the state of cultural and political suspension particular to the Polish situation. The dissertation makes comparisons between examples of Symbolist painting in Poland and that of selected Western European cities. An examination of similar themes and motifs across cultural borders demonstrates the impact of their transpositions to the Polish context. The dissertation also examines the influence of Symbolism on the Sztuka group, the preeminent modernist artists{\textquoteright} organization of the period. It argues that Symbolism represented a crucial component of Sztuka{\textquoteright}s understanding of itself and its profile in a local and international context. Finally, the dissertation examines in detail the work of two Symbolist painters, Jacek Malczewski and Jan Stanisoawski, against the backdrop of traditional scholarly categorizations of Symbolist painting into synthetism and thought-painting. It asserts that the mix of characteristics and strategies in these artists{\textquoteright} work problematizes this categorization and encourages a reshaping of the scholarly discourse on Symbolism.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Orenduff-Bartos, Lillian} } @mastersthesis {11047, title = {Exposing the {\textquoteright}Natural{\textquoteright} Woman: Female Bodies in American Visual Culture, 1785 to 1830}, year = {2011}, school = {Delaware}, abstract = {This project provides the first extended critical study on how representations of the female body-in various media and iconographies-contributed to the discourse of the "natural" woman in early national America. This influential, sometimes contradictory, discourse defined specific feminine roles and characteristics to women based on the assumption that femininity was constituted bodily. Moving well beyond the limited scope of previous scholarship, I examine pictorial manifestations of the natural woman in three thematic categories: allegorical, maternal, and erotic. Fraught with positive and negative significations, the natural woman performed important cultural work, helping to shape an identity for the new Republic and its citizenry during a formative period in its history. Ultimately, the multivalence of such imagery reveals that femininity was not a "natural" condition in this period, but rather subject to cultural negotiation.}, keywords = {Art of the United States}, author = {Sherry, Karen} } @mastersthesis {11051, title = {Fashioning Identity: Hua Yan (1682-1756) and Art Production in Eighteenth-Century Hangzhou and Yangzhou}, year = {2011}, school = {UCLA}, abstract = {This study examines the works of Hua Yan (1682-1756), an artist and poet who began his career in the sophisticated city of Hangzhou, Zhejiang province, and became a pivotal figure in the flamboyant commercial center of Yangzhou, Jiangsu province, during the mid-eighteenth century. In both Hangzhou and Yangzhou, Hua Yan distinguished himself as an artist by adapting classical styles and themes along with a lyrical approach to subject matter. Hua Yan initially developed this visual approach in his hometown of Hangzhou; there, he associated with a network of Zhejiang poets and artists committed to reviving classical modes and to engaging in scholarly investigation of their local cultural heritage. Upon moving to Yangzhou to market his works, Hua Yan transformed his art in order to appeal to the local audience while maintaining the pictorial and poetic values of his Zhejiang circle. In so doing, Hua Yan encoded his poems and paintings with commentary about artistic production and cultural values in eighteenth-century Hangzhou and Yangzhou. This study demonstrates that Hua Yan{\textquoteright}s works were neither created solely as products intended for recognition in the market, nor purely for circulation among his peers, but rather as the nuanced expression of an artist living between the two cultural landscapes of Hangzhou and Yangzhou. In this context, the lyricism and classical flavor seen throughout Hua Yan{\textquoteright}s works served a dual purpose: first, it associated him with his lifelong circle of eminent Zhejiang poets and painters; second, it lent an air of literary elegance and sophistication sought by his Yangzhou audience. By examining Hua Yan{\textquoteright}s visual mode in light of the major transitions in his life, this study re-contextualizes Hua Yan, previously seen as a marginal artist active in Yangzhou, and reveals the subtle expression of his inner values and creative contributions as an artist from Zhejiang. Therefore, this study charts Hua Yan{\textquoteright}s artistic career through the analysis of his pictorial and poetic approach. Drawing from Hua Yan{\textquoteright}s own writings and from those of his contemporaries, Chapter One details the relevant aspects of Hua Yan{\textquoteright}s biography in order to establish his innermost values as the foundation for his artistic identity. Focusing on Hua Yan{\textquoteright}s figure and landscape paintings in Chapter Two, I examine his early works in Hangzhou as visual representations of his erudite interests and, consequently, position his works within the Zhejiang artistic lineage. Shifting to Hua Yan{\textquoteright}s development of bird-and-flower subjects, in Chapter Three, I explain the transformation of his works after his move to Yangzhou and demonstrate how his symbolic words and images evoke his unique view as an artist from Hangzhou. In Chapter Four, I examine Hua Yan{\textquoteright}s second decade in Yangzhou, when he expanded his garden imagery to appeal to a broader base of patronage. During this period, he also subtly mocked the ideals and spectacle of Yangzhou culture through his extensive vocabulary of symbols and metaphors. In Chapter Five, I discuss the landscapes Hua Yan painted upon his return to Hangzhou as a retrospective endeavor highlighting the biography, cultural ideals, and scholarly learning that together characterized his lifelong artistic practice. One finds that throughout his life and works, Hua Yan continually negotiated his values and transformed his identity in order to bend with the shifting tides of artistic production in eighteenth-century Hangzhou and Yangzhou.}, keywords = {Chinese Art}, author = {Chiem, Kristen Loring} } @mastersthesis {11101, title = {Figural Motifs on Philistine Pottery and Their Connections to the Aegean World, Cyprus, and Coastal Anatolia}, year = {2011}, school = {Pennsylvania}, abstract = {In the beginning of the 12th century B.C.E., elements of a new material culture appear in the southern coastal plain of Canaan. These elements are attributed to the Philistines, who are thought to have migrated to the region from somewhere within the greater Aegean world, or, alternatively, Cyprus, or the Anatolian coast. However, their specific place of origin within the Mediterranean littoral has remained elusive. This study investigates the origin of the Philistines by analyzing the two types of painted figural decorations that appear on Philistine pottery-the bird and fish motifs. The source of inspiration for the Philistine figural motifs might suggest the possible origin of the immigrants and the derivation of their material culture. Additional aspects of the Philistine bird and fish motifs, such as their relationship to the Nilotic landscape and their significance in the Philistine ceramic repertoire, are also examined. The survey sample consists of approximately 150 birds and fish in the Philistine 1 (monochrome) and Philistine 2 (bichrome) pottery styles from the 12th and 11th centuries B.C.E. These examples were stylistically compared to some 650 birds and fish on Late Minoan and Late Helladic pictorial pottery, as well as on Aegean-style pottery from Cyprus and coastal Anatolia from the 14th to the 12th centuries B.C.E. The results of the comparative analysis show that the majority of elements comprising the Philistine birds and fish, such as the birds{\textquoteright} triglyph body-fill and chevron wing as well as idiosyncratic features of the fishes{\textquoteright} gill-lines and head, can be traced back to the Aegean world. Particularly revealing was that a number of features indicated inspiration from Cretan prototypes, while inspiration from Cyprus is not well represented. The findings support the notion that the Philistines migrated from multiple regions within the Aegean world, including Crete, and that Cyprus and Anatolia, though perhaps playing a certain role in the process, were not among the primary places of the origin of the Philistines.}, keywords = {Egyptian/Ancient Near Eastern Art, Greek/Roman Art}, author = {Meiberg, Linda} } @mastersthesis {11154, title = {Filarete at the Papal Court: Sculpture, Ceremony, and the Antique in Early Renaissance Rome}, year = {2011}, school = {Princeton}, abstract = {This dissertation provides a major reexamination of the sculpture of Antonio Averlino, called Filarete (c. 1400-c. 1469), focusing on the approximately twenty years he spent in Rome. During this period, Filarete produced his most important sculptural commission, the bronze doors of St. Peter{\textquoteright}s in the Vatican, as well as a number of innovative small works. In twelve chapters, grouped in four parts, the dissertation discusses these and selected later sculptures from various perspectives. Part one considers the historiography of the doors of St. Peter{\textquoteright}s, tracing several distinct traditions of discourse: the negative response of Vasari and subsequent authors who adopted his teleological account of stylistic development, the positive reception in the writings of Filarete{\textquoteright}s contemporaries and the later guidebook and topographical literature, and the emphasis on iconographic interpretation in the modern scholarship. Part two addresses the question of Filarete{\textquoteright}s undocumented background and training as a sculptor in Florence. Based on archival research and circumstantial evidence, I argue that Filarete left Florence for Rome earlier than has been assumed. Two of Filarete{\textquoteright}s small works are assigned to his early years in Rome, while several Florentine sculptures previously attributed to Filarete are removed from his oeuvre. Part three examines the doors of St. Peter{\textquoteright}s, clarifying the complex history of the project and the contexts in which it was planned and carried out. I identify the ceremonial role played by the doors{\textquoteright} site, the central portal of St. Peter{\textquoteright}s, as Filarete{\textquoteright}s primary concern in designing the work and provide new readings of the principal iconographic program and many other features, including the unusual relief on the reverse of the left door depicting Filarete and his assistants celebrating their achievement. The fourth and final part of the dissertation examines Filarete{\textquoteright}s medals, plaquettes, and statuettes with antique subjects, which are among the earliest examples of their respective genres. I argue that Filarete designed these works to function as all{\textquoteright}antica exempla for contemporary princes and trace how his experimentation with this concept engendered a particularly imaginative use of ancient models and led him to create new types of objects.}, keywords = {Renaissance/Baroque Art}, author = {Glass, Robert} } @mastersthesis {11176, title = {Flowers on Floats: The Production, Circulation, and Reception of Early Modern Indian Carpets}, year = {2011}, school = {IFA/NYU}, abstract = {This is the first monographic study of carpets produced in the Deccan. It explores the idea that trade is an interactive system in which the demands of merchants and consumers help to shape the design and character of the objects produced. Such an interaction provides a better framework for understanding the carpet production, distribution and use than does the traditional focus on design alone. This study also demonstrates that the movement of carpets across political and cultural boundaries can generate a transformation in both their function and significance. India is famous for its textile production but the only Indian carpets that have been studied in depth are those made for the Mughal court in north India. The Deccan has been known as a center for carpet production since the 1908 monograph of Henry Harris but it was the 1986 article by Steven Cohen that stimulated carpet historians to study them. Independently, a group of American and Japanese scholars realized that the well preserved carpets and textiles used to decorate floats in the Kyoto Gion Festival were an important resource for textile history. This research culminated in two important publications. In 1992 Nobuko Kajitani and Kojiro Yoshida published a report on the 297 historic textiles used as float covers. Daniel Walker{\textquoteright}s 1997 exhibition of Indian carpets, Flowers Underfoot drew attention to the presence of Deccani carpets in Kyoto. Based on research in Japan, the United Kingdom, Portugal, Austria and the United States, this dissertation analyzes more than eighty carpets and provides technical information about them. This enables us to establish the characteristics of Deccani carpets. Using historical sources, it also reconstructs the broader history of carpet weaving in the Deccan. In the late 17th century, the English East India Company and the Dutch East India Company (VOC) realized the potential of Deccani carpets as trade goods. The survival of Deccani carpets in Portugal, Austria, and the United Kingdom are testimony to that process. This dissertation also connects the Deccani carpets now in Japan with the trade network established by the VOC and documents their subsequent history in Japanese collections.}, keywords = {South/Southeast Asian Art}, author = {Kamada, Yumiko} } @mastersthesis {11042, title = {Forgotten Memorials: The American Cemeteries in France from World War II}, year = {2011}, school = {Indiana}, abstract = {This dissertation addresses how the memorial art and architecture in the six American cemeteries in France from World War II not only pay homage to the battles and the sacrifice of American lives but also provide the United States government a forum for the advancement of American ideals abroad. It explains why the role of France in the early moments of the Cold War significantly made an impact on the cemetery designs, and it argues that in turn, design of the permanent cemeteries influenced the evolution of the collective French memory of war. The remains of 30,426 American soldiers, those whose next of kin chose to leave their bodies in France, are buried in six cemeteries located on or near the World War II battlefields. There are two cemeteries in Normandy, two in Lorraine, one in Ile-de-France, and one in Provence. Originally, there were twenty-four temporary cemeteries, which were then combined into the six permanent ones. The permanent cemeteries were designed by American artists and architects employed by the American Battle Monuments Commission, an agency of the Executive Branch of the Federal government, which still today maintains the cemeteries. Containing major works of art and architecture, these park-like burial grounds were designed and constructed between 1947 and 1956, after the French government granted use of the land, in perpetuity, to the United States. This dissertation studies the memory of World War II from a transatlantic lens, focusing on the design, art and architecture of the American cemeteries in France within their historical contexts. It addresses the many functions, both original and more recent, that these cemeteries have performed: as war memorials, as diplomatic gestures, as Cold War political statements, as prompts for debate about Franco-American relations and even about the nature of French identity itself. Furthermore, it analyzes how those functions changed and intertwined over time. It demonstrates the importance accorded to visual and material expression as an indispensable part of diplomatic interactions between the United States and France.}, keywords = {Art of the United States}, author = {Lemay, Kate} } @mastersthesis {11113, title = {Forms of Spectrality in Ancient Rome}, year = {2011}, school = {Columbia}, abstract = {This dissertation explores what images of ghosts in Roman art can reveal about the very limits of representation and the act of seeing itself. My approach differs from that of many previous studies on the supernatural, therefore, in that it ultimately has little to do with the question of whether or not the ancients were truly convinced that ghosts exist. While not discounting the importance of belief, I am interested rather in how modalities of belief (or unbelief) developed within a prescribed framework of possibilities-particularly with regard to the historical transformation of ideas about the nature of vision and representation-in which images played a crucial role. While much work has been done on aspects of death that touch upon the supernatural in discrete areas of research on folklore, magic, religion, or theater, for example, the ghost itself has never been the focus of a synthetic study in Roman art. This project is therefore intended to cut across these discussions to arrive at a more rounded picture of how the Romans went on living with the dead.}, keywords = {Greek/Roman Art}, author = {Crowley, Patrick} } @mastersthesis {11166, title = {Francisco de Zurbaran{\textquoteright}s Paintings for the Calced and Discalced Mercedarians in Seville}, year = {2011}, school = {Penn State}, abstract = {In this dissertation, I will show how the Calced and Discalced Mercedarians of Seville developed several iconographic programs, represented most significantly by the paintings commissioned from the great Spanish painter Francisco de Zurbaran (1598-1664). The iconography incorporates three interrelated issues within the context of the period. First, Zurbaran{\textquoteright}s paintings encourage the veneration of saints and martyrs, which represents the efforts of the Calced Mercedarians to reform and confirms the reform of the Discalced Mercedarians. Second, these paintings reveal the Mercedarians claim to have played an important role in the Reconquest and show their support for the expulsion of the Moriscos. Lastly, Zurbaran{\textquoteright}s representation of Mercedarian scholars and bishops recognize that the Order was beginning to achieve a higher standing in society, as well as the support of patrons from prominent families. Following King Philip II{\textquoteright}s and the Council of Trent{\textquoteright}s recommendations to reform monastic orders and venerate saints, the Mercedarians made institutional changes and worked to secure the canonization of their members. The Castilian Mercedarians took part in the implementation of a new constitution in 1588, and the foundation of a Discalced Order in 1602. The Order did not, however, have any of their own saints; therefore, achieving the canonization of one or more members, would further their goal of achieving a more elevated status in relation to both the court and church. Zurbaran{\textquoteright}s paintings of their recently canonized founder, Peter Nolasco (c. 1182/89-c. 1245-56), and Mercedarian doctors, bishops, and martyrs for the Calced Mercedarian monastery of Our Lady of Mercy; and paintings of Peter Nolasco, Raymond Nonnatus, Mercedarian martyrs, and other saints for the Discalced Mercedarian monastery of Saint Joseph of Seville encouraged the veneration of the Order{\textquoteright}s principal saints. Zurbaran incorporates contemporary details into his thirteenth-century life of Peter Nolasco, which allows the Mercedarians to claim an important role in the Reconquest and the expulsion of the Moriscos from Spain. He represents the Mercedarians working alongside the Spanish monarchs to defend the Catholic faith by aiding in the Reconquest, rescuing enslaved Christians who were in danger of losing their faith, and supporting the expulsion of the Moricsos. My comparisons of the paintings to the Mercedarian hagiographies, histories of the Order, and other paintings of the same subjects will support these claims. The paintings will also be compared to other more or less impartial historical accounts. My examination of the later paintings commissioned by other Mercedarian houses will show that Zurbaran{\textquoteright}s paintings for the Mercedarians of Seville established most of the iconography within a seventeenth century framework. Other Spanish painters of the later seventeenth through early eighteenth centuries followed, for the most part, the established iconography of the life of the founder. Some of the historical claims in Zurbaran{\textquoteright}s paintings are not present in these subsequent works of art. I shall also argue that the Mercedarians must have intended these images to encourage contemporary support, in the form of contributions, to their ransoming missions, and achieving a higher status in Spain. The Mercedarians clearly believed that they could advance their Order by visually representing their achievements in academics, their sacrifices on ransoming missions, and their support of the church and monarchy for over four hundred years.}, keywords = {Renaissance/Baroque Art}, author = {Olson-Rudenko, Jennifer} } @mastersthesis {11059, title = {From Television Signal to Magnetic Strip: An Archaeology of Experimental Television and Video Knowledge, 1962-2006}, year = {2011}, school = {Binghamton}, abstract = {This dissertation proposes a more adequate framework for thinking through a range of non-commensurable sites within which we find not a unified phenomenon, "Video Art," but a set of conceptualizations of video and electronic media that are heterogeneous, dispersed and institutionally variable. Taking as a model Michel Foucault{\textquoteright}s notion of an archaeology of knowledge, I have sought to analyze the stratified field of experimental television and video along two axes: along a diachronic axis, I trace debates in five institutional spaces-public broadcast television, experimental television centers, galleries and museums, the published record, and academic institutions-focusing on key disputes or "flash points" that mark significant shifts in the discourse on "video art;" while across the synchronic axis, I seek to map the discussions and theorizations of experimental television and video within these institutional sites that constitute the differential field of discourse on electronic, time-based media. By this means, I attempt to show that the ever expanding, institutionally dispersed field of electronic media practice cannot be grasped in the terms offered by the linear narratives that have until now shaped what has been labeled as the history of "Video Art." I maintain that the "archaeology" of video practice I outline is a prerequisite for any critical engagement with a field of practices that range from experimental performances employing live broadcast television to works using video and videotape. While an influential critical and curatorial discourse has sought to subsume these diverse practices under a single category of "Video Art," such homogenization elides the diversity of institutional sites and the incommensurable discursive frameworks that, in fact, have marked the development of experimental television and video media. A more adequate perspective demands engagement with the differential, discursive field and the various sedimentary strata across which multiple and irreducible conceptions of the video medium have been produced.}, keywords = {Contemporary Art, Film/Video}, author = {Culler, Jeremy} } @mastersthesis {11035, title = {From the Ground Up: Holger Cahill and the Promotion of American Art 1913-1952}, year = {2011}, school = {CUNY}, abstract = {A biography of Holger Cahill, director of the Works Progress Administration Federal Art Project (WPA/FAP) from 1935-1942, my dissertation chronicles his influence on American art as an art critic, curator, and administrator. An Icelandic immigrant, who was born in 1887 in Skogarstrand, Iceland near the Arctic Circle, Cahill grew up in the Midwest. Alienated from his family as a young man, he spent his adolescence as an itinerant worker, an experience that shaped his Populist artistic philosophies and his curatorial approach. Cahill, influenced by the Progressive theories of John Dewey, conceptualized art as an inclusive component of daily life with which everyone should have an opportunity to participate. Settling in Greenwich Village, Cahill formed relationships with artists John Sloan, Stuart Davis, Mark Tobey, Joseph Stella, and Arshile Gorky, as well as with gallery owner Edith Gregor Halpert, collector Abby Rockefeller, and Newark Museum director John Cotton Dana. From 1922-1929, Cahill worked as Dana{\textquoteright}s assistant at the Newark Museum, where he helped build the museum{\textquoteright}s collection of Modern American art and met future Museum of Modern Art curator Dorothy C. Miller, whom Cahill married in 1938. At the Newark Museum, he pioneered the first museum exhibitions on American folk art, "American Primitives" and "American Folk Sculpture." In 1932-1933, Cahill served as temporary director of exhibitions at MoMA, where he collaborated with Alfred H. Barr, Jr. on the exhibition "American Painting and Sculpture 1862-1932" and organized the exhibitions, "American Folk Art: Art of the Common Man in America" and "American Sources of Modern Art." Cahill applied his democratic aesthetic theories most broadly through the structure and programs he implemented as director of the Federal Art Project. In particular, I argue, the New York City FAP and the WPA/FAP Exhibition Division contributed to the development of a pluralistic art scene during the 1930s and early 1940s. Through its program of local and national exhibitions, the Exhibition Division extended the art world into new communities and offered exposure to established and unknown artists. Throughout his leadership of the FAP, Cahill served as a link between artists and the New Deal administration and as a mentor to many members of the avant-garde.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Russo, Jillian} } @mastersthesis {11063, title = {From Translation to Transgression: The Feminism(s) of Shirin Neshat}, year = {2011}, school = {Indiana}, abstract = {Since she first exhibited her photographs in the early 1990s in New York, Shirin Neshat has continued to challenge and engage viewers. These photographs from the Unveiling and Women of Allah series (1993-97) show women, including the artist, in long black chadors (tent, or veil) whose hands, feet, and face are covered in Persian script and who brandish guns similar to those used during the Iran-Iraq War (1980 - 1988). Her photographs and later videos use bodies that are marked culturally, and her imagery is informed concomitantly by the position of gender in the political and social structure of her native Iran and by the American media{\textquoteright}s representative images of that culture. The convergence of the assumed sacredness implied by the calligraphic text written on the surface of Neshat{\textquoteright}s photographs, untranslatable to most American viewers, also underscored the lack of knowledge and communication that forces a barrier between Iran and the U.S. In using her own body and those of other women from the Middle East region, Neshat questions the veracity of images, constructions of knowledge, and gender relations. Further, Neshat addresses Islamism, martyrdom, and social versus private spaces, doing so within the context of Western conceptual strategies such as body art, performance, and feminist art. In order to serve a more nuanced understanding Neshat{\textquoteright}s work, this dissertation explores the history of the veil in Iran, Orientalist imagery, and the misunderstanding and misrepresentation of veiled women, particularly in the U.S. My methodology includes critical writings on gender in Islam, a socio-political history of Iran in the twentieth century, and postcolonial understandings of transnational feminism and the exilic/diasporic subject, which were important in fully articulating my own interpretations of Neshat. Most emphatically, I argue against accusations of exoticization on the part of Neshat, suggesting instead that these works implicate the viewer{\textquoteright}s own complicity in stereotyping the body marked by nationality, race, and gender.}, keywords = {Contemporary Art}, author = {Devine, Erin C.} } @mastersthesis {11168, title = {Fully Integrated Household Objects: Jan Luyken{\textquoteright}s Het Leerzaam Huisraad (1711)}, year = {2011}, school = {Wisconsin}, abstract = {In this study, I examine Het Leerzaam Huisraad (1711), an emblem book by the late seventeenth-century Dutch poet and print maker, Jan Luyken (1649-1712). By scrutinizing his prints and poems dealing with fifty household objects, I show that Luyken, often regarded as an eccentric, isolated, or outdated artist, was actually a modern artist as well as a discerning book illustrator. Luyken{\textquoteright}s choice of pictorial and textual vocabularies demonstrates his affinity with contemporary artists and writers. They also reflect his thorough observation of the contemporary material culture, visual tradition, readers{\textquoteright} interests, and social issues. As a Protestant emblem with visual images, Het Leerzaam Huisraad also demonstrates religious toleration and the inter-sectarian nature of the religious literature of the late seventeenth-century to early eighteenth-century Netherlands.}, keywords = {Renaissance/Baroque Art}, author = {Sohn, Sooyun} } @mastersthesis {11054, title = {The Genesis of Image Worship: Epigraphic Evidence for Early Buddhist Art in China}, year = {2011}, school = {UCLA}, abstract = {Image worship was not an institutionalized ritual practice in early China. Nor was there an unbroken sculptural tradition of representing religious figures as autonomous three-dimensional images. As a result of the Buddhist influx from Kusan India, this began to change. In this dissertation, I offer a new understanding of the process by which the "alien" ethnic practice of image worship became a part of mainstream Chinese culture. Chapter 1 lays out the basic problems, justifies the need for sociological modeling of the koineization process by which images became part of the Chinese cultural repertoire, and highlights pre-Buddhist social disapproval of the cult image. Chapter 2 questions the Buddhist connection of a certain group of artistic motifs that have been customarily associated with Buddhism, such as the lotus, elephants, etc. This iconographic reassessment aims to widen our perspectives of the material culture of early imperial China within an appropriate Eurasian context. In a similar vein, Chapter 3 focuses on the Kus an-derived anthropomorphic motifs found in Han- to Jin-period tombs, highlighting that they were distributed in only a few select regions in contrast to Buddhist devotional images that are almost wholly absent from the contemporary archeological record. After reviewing on the mechanics of artistic diffusion in the period, I offer a critique both of the hypothesis regarding the route of transmission and Buddho-Daoist hybridism. So as to complement the lack of devotional images in the archaeological record, Chapter 4 engages with epigraphic data of the Three Kingdoms and Western Jin periods. Because these documents were collected by antiquarian epigraphers whose worldview differs from our own, I seek to establish a working methodology that will enable us to make use of these traditional materials for the purposes of our analysis, and to reevaluate social conditions in the third century as a prelude to the rise of Buddhist art in the following centuries. As a conclusion, Chapter 5 outlines the innovative results that are brought about by this synthesis of scientific archaeology and traditional epigraphy, and suggests prospective approaches to the Chinese culture of images as a complex social phenomenon.}, keywords = {Chinese Art}, author = {Kim, Minku} } @mastersthesis {11049, title = {Gospel Music in the United States of American 1960s-1980s: A Study of the Themes of {\textquoteright}Survival,{\textquoteright} {\textquoteright}Elevation,{\textquoteright} and {\textquoteright}Liberation{\textquoteright} in a Popular Urban Contemporary Black Folk Sacred Mass Music}, year = {2011}, school = {Graduate Theological Union}, abstract = {The origin and locus of Black academic theology is not found in abstraction, ideology, philosophical debate or political struggle alone. This may have become a part of it. Rather, its origin and locus is in critical reflection upon the lived experiences of African Americans in bondage and freedom. Living experience continues to evolve and is shaped by the forces of history which no one can escape. Gospel music enables us to remember and gives us the language to remember experiences of bondage and to stride in freedom with greater wisdom. Black experience, in bondage and freedom is the crucible of Black gospel music. It reflects the heart and evolving nature of Black experiences of the masses. As long as gospel music continues to emerge from the existential and collective experiences of the masses of African American people, it will be an essential resource for understanding and interpreting African American spirituality, theology and survival strategies. Gospel music thought neglected as a resource for Black theology in the academy in an earlier day, can no longer be neglected. It must be front and center if this discipline is represent God-talk in Black communities.}, keywords = {Art of the United States}, author = {Webster, Dwight} } @mastersthesis {11118, title = {The Hadrianic Tondi on the Arch of Constantine: New Perspectives on the Eastern Paradigms}, year = {2011}, school = {Penn State}, abstract = {This dissertation is a study of the impact of eastern traditions, culture, and individuals on the Hadrianic tondi. The tondi were originally commissioned by the emperor Hadrian in the second century for an unknown monument and then later reused by Constantine for his fourth century arch in Rome. Many scholars have investigated the tondi, which among the eight roundels depict scenes of hunting and sacrifice. However, previous Hadrianic scholarship has been limited to addressing the tondi in a general way without fully considering their patron{\textquoteright}s personal history and deep seated motivations for wanting a monument with form and content akin to the prerogatives of eastern rulers and oriental princes. In this dissertation, I have studied Hadrian as an individual imbued with wisdom about the cultural and ruling traditions of both Rome and the many nations that made up the vast Roman realm of the second century. I have determined that the tondi reflect this knowledge in that for the first time in an imperial public state relief they commemorated the virtues of the emperor in a language derived from Hadrian{\textquoteright}s personal experiences and beliefs. The tondi include the Bithynian youth Antinous. It is with Hadrian{\textquoteright}s fellowship with this Greek youth that a more nuanced understanding of the tondi resides. The tondi were a means to communicate Hadrian{\textquoteright}s and Antinous{\textquoteright} heroic exploits in the hunt-a theme that was utterly new in Roman imperial artistic context yet very much part of the personae of monarchs from eastern Royal Societies. The layers of meaning in the tondi even extended to the educational. They were not only public instruction about a strong, virtuous ruler; they were a manifestation of paideia, Greek education for the cultured elite. Part of this cultural education was to develop one{\textquoteright}s own worth, but it was also to introduce and involve youth in all the noble pursuits that made a man. The hunt gave public face to Antinous while at the same time commemorated Hadrian{\textquoteright}s intellectual, moral, and physical authority to rule. In my study, I also provide numerous examples of Hadrian{\textquoteright}s beneficence to the provinces. His legendary tireless journeys to the farthest reaches of the empire often saw him in some of the provinces on more than one occasion, especially his most beloved Greece-Hadrian{\textquoteright}s devotion to Greek culture was equally renowned. By establishing a record of Hadrian{\textquoteright}s patronage in the most favored provinces this study legitimizes Hadrian{\textquoteright}s willingness to take the unprecedented leap in giving visual expression to ideas rooted in foreign philosophies. The round form of the tondi is also of great significance. I have offered the possibility that clipei virtuti, coins and medallions, and Roman marble oscilla served as prototypes for the tondi. Not only did they serve as sources for the tondi{\textquoteright}s round format, but they also had inherent meanings and traditions, which Hadrian appropriated and applied to the tondi. The Hadrianic tondi were not the result of any one conception. They were the product of the most educated Roman emperor{\textquoteright}s life course. This dissertation is a study of the tondi and their patron, and how they reflected him in an entirely new way. They were at once and the same time, historical reliefs, imperial currency, religious proclamations, and personal testaments.}, keywords = {Greek/Roman Art}, author = {Hess, Gerald} } @mastersthesis {11039, title = {Having Fun with Art: Pranks, Performances, and Parody in American Art Schools, 1890-1915}, year = {2011}, school = {Delaware}, abstract = {Between 1878 and 1918, American artists and illustrators produced drawings, paintings, and assemblages that lampoon specific works of art. The spoofs, generally called "caricatures" or "fakes," often exaggerated some notable feature of the original-the color, the brushwork, the composition-to humorous effect. Caricatures of paintings and sculptures appeared in the popular press, as well as in exhibitions where caricaturists came together to display their assaults on famous works of art at art academies, private clubs, and commercial galleries. Although largely unknown today, art caricature flourished around the turn of the century, reaching the height of its popularity at American art schools in the 1890s, where students made fun of their teachers and other established artists. Art caricature provided a way for American artists to negotiate the changing landscape of artistic modes and institutions around the turn of the century. As the art world pushed toward modernism, a wide range of artists and illustrators produced caricatures of works of art, providing entertaining commentary on pivotal moments in American art, from the first exhibition of the Society of American Artists in 1878 through the Armory Show. For modern artists and their public, the habits of humor and criticism became part of understanding new art. This study seeks to recover this phenomenon and explain its efflorescence in the United States.}, keywords = {Art of the United States}, author = {Coyle, Heather Campbell} } @mastersthesis {11119, title = {The Head as a Decorative Motif in South Italian Vase Painting}, year = {2011}, school = {IFA/NYU}, abstract = {Isolated heads, predominantly female, are a conspicuous decorative element on over 7,000 South Italian vases, roughly one-third of the published corpus. This study is the first comprehensive investigation of the motif that was popular among Greek colonists and their Italic neighbors. The earliest examples date to circa 410-400 B.C., coinciding with the period in which South Italian vase-painting began to diverge in style and content from its Attic models. Between 380 and 370 B.C., heads were painted with increasing frequency in all of the five major South Italian wares, and they began to be paired with various types of figural scenes that make explicit reference to funerary cult practices and mythological stories involving death. This development is appropriate given that South Italian vases decorated with heads are found almost exclusively in tombs. Considerable evidence also indicates that they were made for the tomb. The consistent iconographical use of the motif demonstrates that it was introduced deliberately and consciously, most likely to express contemporary beliefs in a hereafter and the means through which this desired eternal condition was achieved. Past scholarship has focused upon attempting to assign specific identities to the various types of heads, a methodology highly successful for other iconographic motifs, but providing only limited understanding of the proliferation of heads in southern Italy and Sicily. Unlike heads on Athenian vases, which are frequently clear representations of mythological figures, South Italian heads are not part of a narrative, but rather symbolic, embodying funerary concepts and beliefs.}, keywords = {Greek/Roman Art}, author = {Heuer, Keely} } @mastersthesis {11167, title = {History, Preservation, and Reconstruction in Siena: The Fonte Gaia from Renaissance to Modern Times}, year = {2011}, school = {Rutgers}, abstract = {This dissertation concerns the Fonte Gaia, the most significant civic monument in Siena, located in the Piazza del Campo facing the town hall, the Palazzo Pubblico. The complex of reliefs and statues that decorated the fountain is considered one of the major expressions of Italian Quattrocento sculpture. Yet the fountain in its current iteration is not the original, eloquent masterpiece completed in 1419 by hometown sculptor Jacopo della Quercia (c. 1374-1438); rather, it is a nineteenth-century reconstruction commissioned from Tito Sarrocchi (1824-1900) by a committee of leading Sienese citizens. This study begins with a new assessment of the Fonte Gaia in the Renaissance and follows its history into the nineteenth century. I show how an earlier Trecento fountain on the site influenced the form and decoration of Quercia{\textquoteright}s later fountain, and I address the lacunae in the scholarship of the Fonte Gaia that would account for its afterlife. I elucidate Quercia{\textquoteright}s complex iconographic program through my analysis of the drawing attributed to his hand and the relationships between his program for the Fonte Gaia and Taddeo di Bartolo{\textquoteright}s fresco program in the Antechapel of the Palazzo Pubblico of 1414. I demonstrate the importance of Sarrocchi{\textquoteright}s nineteenth-century plaster casts, often overlooked by scholars, in the effort to decipher Quercia{\textquoteright}s original sculptures, and I show how the modern restoration (1989-2010) of the fountain by the Opificio delle Pietre Dure can help us to further understand the nature of his stone material, the previously unsuspected presence of polychromy, and the nature of his Renaissance design. Through an examination of pertinent documents, I explain how the nineteenth-century project to restore the fountain, stimulated by the Risorgimento, was a reflection of the social and political history of Siena and of modern Italy. Visual evidence indicates that Sarrocchi{\textquoteright}s revival sculpture, currently in situ, cannot be considered a copy of Quercia{\textquoteright}s Fonte Gaia, but rather a variant of it. My dissertation demonstrates how Sarrocchi{\textquoteright}s fountain-heavily influenced by the Italian art movement Purism and the prevailing restoration theories that circulated in Siena at the time-reflects the reception of Renaissance art in the nineteenth century.}, keywords = {Renaissance/Baroque Art}, author = {Scappini, Chiara} } @mastersthesis {11179, title = {Hogarth{\textquoteright}s Progress: Modern Moral Subjects in the Art of David Hockney, Lubaina Himid, and Paula Rego}, year = {2011}, school = {Duke}, abstract = {Hogarth{\textquoteright}s Progress: "Modern Moral Subjects" in the Work of David Hockney, Lubaina Himid and Paula Rego, examines three late twentieth-century, British appropriations of William Hogarth{\textquoteright}s narrative series. Hogarth is best known for the paintings and engravings that he termed "modern moral subjects," exemplified by satirical series such as The Harlot{\textquoteright}s Progress (1732) and The Rake{\textquoteright}s Progress (1733-5). These cautionary yet humorous tales evince a period of great social, political, economic and cultural transformation in England, a time of profound change wrought by colonial enterprise, an increasingly powerful middle class, and a heightened public interest in moral questioning. Recent scholarship on Hogarth has increasingly focused on the artist{\textquoteright}s diverse representations of eighteenth-century London life, his numerous images of servants of African descent, French dancing masters and Italian castrati. Unsurprisingly, for many contemporary artists, Hogarth{\textquoteright}s narratives provide a complex visual template for a host of present-day issues regarding race, gender, sexuality and national identity. The dissertation will investigate how Hogarthian re-workings by artists David Hockney in the early 1960s; Lubaina Himid in the mid-1980s; and Paula Rego in 1999-2000, modify and/or expound upon narratives of gender and sexuality that are already present in the eighteenth century artist{\textquoteright}s narrative series. The three contemporary works examined here engage with two works by Hogarth: Marriage-a-la-Mode (1745), which chronicles the doomed union of an Earl{\textquoteright}s son and the daughter of a wealthy merchant, who sells her in marriage to obtain a higher social standing, and The Rake{\textquoteright}s Progress. Rake recounts the tale of Tom Rakewell, a merchant{\textquoteright}s son whose exuberant spending and moral decay, aided by a procession of effeminate French dancing masters, prostitutes and criminals, leads to his final residence, the madhouse "Bedlam." I will first examine David Hockney{\textquoteright}s early 1960s "Rake{\textquoteright}s Progress", a series of 16 etchings loosely based on the artist{\textquoteright}s first visit to the United States, an insertion of his own personal narrative into Hogarth{\textquoteright}s tale of moral decline. I will then investigate the work of Lubaina Himid, who initiated a Black women artists movement in 1980s London. In 1986, Himid produced a large-scale installation entitled A Fashionable Marriage. The work employs Scene 4 of Hogarth{\textquoteright}s Marriage-a-la-Mode series to critique the racist and sexist policies of the London art world during this period. Finally, I will discuss the work of Paula Rego, best known for her large-scale paintings of emotionally-charged domestic scenes. Rego has also re-worked Hogarth{\textquoteright}s Marriage, employing the earlier series to critique arranged marriages in her native Portugal. Rego{\textquoteright}s triptych entitled After Hogarth: Betrothal; Lessons; Wreck (1999-2001), like much of her work, reveals the psychological anxieties and ambiguities of gender relations and, in a broader sense, human interaction. For Hockney, Himid and Rego, Hogarth{\textquoteright}s contradictory evocations of eighteenth century London society provide a complex visual template for a host of contemporary issues such as race, gender, sexuality and national identity. Also critical to this study is the relationship between the three contemporary artists. Hogarth is present as the key driving factor in all three works, yet also to be considered is the role that Hockney, as a critical figure in late twentieth-century art, played in the construction of both Himid and Rego{\textquoteright}s later works. Although Hogarth{\textquoteright}s work has been appropriated by a wealth of artists from the eighteenth through twentieth centuries for a wide variety of uses, this dissertation will examine how three relatively recent quotations employ Hogarth as an "ally in subversion," while simultaneously making use of Hogarth{\textquoteright}s stature within the English art historical canon. I am proposing that these later uses of Hogarth, many of which explored various configurations of race, gender and sexuality, evolved from a key element inherent within the artist{\textquoteright}s work, a form of {\textquoteright}ambiguous narrativity{\textquoteright} that yet somehow appeared to crystallize issues of moral questioning as central ideological theme.}, keywords = {Twentieth-Century Art}, author = {Beauchamp-Byrd, Mora} } @mastersthesis {11088, title = {Home Behind the Wall: The Living Spaces of Late Medieval German Convents}, year = {2011}, school = {Brown}, abstract = {This dissertation examines the physical implications of a medieval woman{\textquoteright}s transition from secular to monastic life through comparative and contextual analysis of the domestic rooms in convents and in secular houses. As case studies I focus on the convents of Ebstorf, Isenhagen, Lune and Wienhausen in Lower Saxony, known as the Luneburg Heidekloster, and on the secular domestic architecture of the same region, concentrating on the period from the fourteenth century to the Protestant Reformation in the mid-sixteenth century. I address these living spaces with attention to appearance and use at particular times, along with aspects of comfort such as the amount of space available per person, decoration, lighting, heating and water supply. I argue that comparison of these rooms illuminates the ways in which young postulants will have experienced the transition from secular to monastic life, the perception of convents in contemporary society, and the reasons a woman or her family may have chosen the monastic profession. In this dissertation I draw direct comparisons between the refectories and dormitories of the Heidekloster and corresponding rooms in the types of secular homes from which the nuns came. This analysis reveals that the Heidekloster, on the whole, offered a comparable standard of living to that which was common in patrician and aristocratic secular homes in the region, and I argue that such practical concerns played a positive role in the choice of the monastic life. Similarities between monastic and secular rooms will also have eased a young postulant{\textquoteright}s transition to her new environment, and informed the ways in which the nuns interpreted their living spaces. At the same time, the differences between the monastic and secular living spaces addressed here clearly reflect the religious focus of convent life, and will have actively reinforced monastic ideals in the daily lives of the nuns. This comparative analysis thus indicates that the Heidekloster were valued in contemporary society both for their social role of providing acceptable homes for upper-class women, and for their sacred role as centers of religious life.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Bass, Caitlin} } @mastersthesis {10994, title = {House of the Crocodile: South Sotho Art and History in Southern Africa}, year = {2011}, school = {Iowa}, abstract = {The inability to attribute art objects to the Basotho culture remains a problem for art historians and anthropologists alike. Current publications on the arts of Africa include few, if any, objects attributed to South Sotho-speakers, and often attribute Basotho objects under the broad label of "southern African," rather than linking them to artists from this particular culture. This is largely due to a lack of research on Basotho arts and culture, as well as the widespread belief that the cultures of the region are simply too enmeshed with one another for the arts to be distinguished. However, it is important that we be able to tell the art of one African people from another if we are ever to understand accurately how art expresses peoples{\textquoteright} ideas and beliefs about themselves and the world in which they live. Through this project I challenge the label of "southern Africa" that is so often used in attributing art objects from the region, and develop a definitive system of identification for Basotho objects. This system differentiates Basotho arts from works produced by other cultures in southern Africa, and produces the first all-inclusive anthology of South Sotho art history. While my work first and foremost demonstrates the existence of a unique and identifiable Basotho visual style, it also investigates the roles that stylistic characteristics have played in the presentation of southern Sotho identity beginning with the formation of the Basotho polity 200 years ago. Furthermore I identify the contextual and cultural significance of an entire range of Basotho forms, generating a better understanding of Basotho art and culture. In order to complete this, I use a Morellian approach to identify and define the unique and specific visual aspects found among Basotho arts. This type of analysis is based solely on the external physical characteristics of a work of art, and focuses on the identification of similarities and differences within a group of objects. The resulting data provides a taxonomy for the classification of cultural, regional, and local styles through the isolation of the visual aspects of individual objects. However, because the Morellian methodology takes a morphological approach, I use historical literature and contemporary interviews to connect the function and social context to the objects in order truly to develop an art history of the Basotho. Through this analysis, I identify visual aspects that are unique to southern Sotho arts, and further locate visual signs that assert one{\textquoteright}s specific clan lineage within the broad "southern Sotho" cultural grouping. This allows me to clearly define the meaning and significance of the "Basotho" cultural moniker, and develop a nuanced understanding of identity amongst southern Sotho peoples.}, keywords = {African Art (sub-Saharan)}, author = {Riep, David M. M.} } @mastersthesis {11001, title = {Housing Diplomacy: The Rise and Fall of US International Housing in Latin America, 1949-1973}, year = {2011}, school = {Columbia}, abstract = {During the Cold War, the State Department sent architects, engineers, and legislation specialists to almost every Latin American and Caribbean nation to develop housing along US lines. These International Housing efforts were part of larger development aid programs in the region and were implemented to secure alliances, suppress radicalism, and promote the American way of life abroad. The dissertation focuses on three case studies-in the Caribbean, Guatemala, and Peru-to examine the influence the United States had on Latin America{\textquoteright}s built environment and show how architecture has functioned as an important component of US foreign policy. The dissertation demonstrates how Cold War housing aid introduced new materials and construction techniques, encouraged homeownership by promoting mortgage financing, and helped supplant local, Latin American urban forms with US architectural types and city plans in order to create the image of a modernizing, capitalist, and western-oriented nation.}, keywords = {Architectural History/Historic Preservation, Latin American/Caribbean Art}, author = {Renner, Andrea} } @mastersthesis {10997, title = {How Fortunate Are Those Whose Walls Already Rise!{\textquoteright}: The Roman Rebuilding of Carthage in Physical City and Constructed Memory}, year = {2011}, note = {Footnote in abstract after first sentence: Despite a failed attempt by Gaius Gracchus to form a colony there in 122 BCE (Colonia Iunonia Karthago).}, school = {UC Santa Barbara}, abstract = {Once Rome{\textquoteright}s greatest rival for the role of capital of the Mediterranean, the North African city of Carthage was razed by the Roman consul Scipio Aemilianus in 146 BCE immediately after the Third Punic War and remained forsaken for almost a century. Claiming to have found the decree to rebuild Carthage amongst Julius Caesar{\textquoteright}s papers after his death in 44 BCE, Octavian, later to become the emperor Augustus, took charge of the project. With a city of such immense prestige, there was more at stake in Augustus{\textquoteright}s decision to re-found Carthage than simply creating another veteran{\textquoteright}s colony. In doing so he aligned himself with an urban landscape tightly linked to Rome historically, and to a more venerable world, allowing him to exploit the power lying dormant in the idea and physicality of Carthage. My dissertation, explores how the Roman recreation of Carthage resembled its Punic predecessor, maintaining the power centers of the original city, such as the Byrsa hill, to deepen the connections and parallels between the two urban manifestations. I also investigate the relationship between Augustan Carthage and the city of Rome, particularly the Augustan manifestation thereof, finding that Carthage was a colonial reflection of Augustus{\textquoteright}s urban aspirations in Rome. Finally, I explore howCarthage was represented to a broad Roman audience throughout the period of contact between the two cities. From Plautus{\textquoteright}s late third century BCE Poenulus to Scipio{\textquoteright}s 146 BCE triumph, Carthage had been present in the collective Roman consciousness in a variety of media for centuries. The existence, nature and fate of Carthage were thus a matter of interest for the Roman people as a whole.}, keywords = {Architectural History/Historic Preservation, Greek/Roman Art}, author = {Ambler, Jessica} } @mastersthesis {11144, title = {Hybrid Zones: Representations of Race in Late Nineteenth-Century French Visual Culture}, year = {2011}, school = {Kansas}, abstract = {In this study, I examine images of the black female and black male body and the female Spanish Gypsy by four artists - Edgar Degas, Edouard Manet, Frederic Bazille, and Henri de Toulouse-Lautrec - that articulate the instability of racial categories and stereotypes assigned to racialized populations by French artists, natural scientists, anthropologists, and writers between 1862 and 1900. Notably, whiteness - made visible and raced - is also implicated in some of the images I analyze. I look closely at the visual stereotype of the seductive, dark-skinned female Spanish Gypsy and the primitive and debased black male, as well as at representations of the abject black female body. I also consider the construction of "whiteness" as an unfixed and complex notion of French identity, particularly as it applies to the bourgeois white female body. I analyze images in which representations of racial identity seem unproblematic, but I show that these images articulate a host of uncertainties. I contextualize each image through analyses of nineteenth-century French representations of the black person and Spanish Gypsy by modernist and academic artists, nineteenth-century racialist science, French fiction and periodicals, and entertainment spectacles such as the circus and human zoos. My methodology draws primarily on formalism, social history, and postcolonial and feminist theory. In my examination of representations of racial difference in late nineteenth-century French visual culture, I investigate images of racialized bodies specifically through the lens of hybridity, a term employed by nineteenth-century biologists and natural scientists to define the intermixing of races and cultures. The fascination with and fear of hybrid races increasingly dominated the discourses on racial hierarchies and classifications. I explore nineteenth-century notions of racial hybridity through the emerging science of anthropology, but I also expand my study to interrogate hybridity as the cross-fertilization of cultures and identity. I consider how these images expand and problematize the meaning of hybridity and its antithetical concept of racial purity. I also demonstrate the paradoxical correspondence and oscillation between the racial stereotype and the culturally dominant power responsible for the stereotype{\textquoteright}s creation and perpetuation. My study seeks to illuminate what I see as the hybridity and heterogeneity of racial identity, for the person of color as well as for the "white" European, discretely and subtly disclosed in these images.}, keywords = {Nineteenth-Century Art}, author = {Stringer, Rozanne} } @mastersthesis {11052, title = {Icons of Rulership: Imperial Portraiture during the Ming Dynasty (1368-1644)}, year = {2011}, school = {Princeton}, abstract = {At the beginning of the Ming dynasty (1368-1644), life portraits of emperors and empresses followed conventions established centuries earlier during the Song and Yuan dynasties, and sovereigns were depicted in naturalistic, three-quarter poses. Continuing in this tradition, the first Ming emperor, Hongwu (r. 1368-98), was portrayed in a pose that emphasized three-dimensionality. In the fifteenth century, however, Hongzhi (r. 1488-1505), the ninth Ming emperor, was depicted frontally and symmetrically, centered within a monumental composition and seated on a richly decorated chair framed by a screen of painted dragons. He stares directly outward, nearly expressionless, with his body dissolved beneath robes decorated with cosmological symbols of rulership. This dissertation will examine the transformation of the imperial image from Hongwu to Hongzhi, arguing that the portrait of Hongzhi can be read as an icon of rulership. Through an analysis of the artistic concerns of imperial portraiture as well as the politico-religious context, I will trace the emergence of the iconic portrait of Hongzhi and attribute it to several factors: a new conception of the public function of imperial portraits, which ceased to be considered simply as objects of private veneration; the visual stimuli of Tibetan Buddhist icons, brought to the court in response to the early Ming emperors{\textquoteright} interest in Tibetan Buddhism; and the invention of a dragon robe that symbolized legitimate rulership. The combination of these three factors over nearly a century contributed to the creation of the new Ming imperial icon. After the establishment of the imperial icon, both imperial portraits from the late Ming and non-imperial ancestor portraits followed this new paradigm. In certain figure paintings, artists even eschewed naturalism to depict the emperor in an iconic pose whereas all the other figures were rendered more realistically. Imperial portraits from the Qing dynasty (1644-1911) similarly used this basic formula, incorporating new elements to suit the tastes of the Manchu emperors. The new Ming imperial portrait icon thus had long lasting effects in Chinese portraiture.}, keywords = {Chinese Art}, author = {Ching, Dora} } @mastersthesis {11163, title = {Il collezionismo poetico: Cardinal Pietro Bembo and the Formation of Collecting Practices in Venice and Rome in the Early Sixteenth Century}, year = {2011}, school = {Temple}, abstract = {Cardinal Pietro Bembo{\textquoteright}s accomplishments as a poet, linguist, philologist, and historian are well known, but his activities as an art collector have been comparatively little studied. In his writing, he directed his attention to the past via texts-Ciceronean Latin and Petrarchan Italian-for their potential to transform present and future ideas. His assembly of antiquities and contemporary art served an intermediary function parallel to his study of texts. In this dissertation I investigate Bembo as an agent of cultural exchange by offering a reconstruction of his art collection and, in so doing, access his thinking in a way not yet accomplished in previous work on this writer. Chapter One offers a historiographic overview of my topic and collecting as a subject of art historical study. Chapter Two maps the competition and overlapping interests of collectors who bought from Bembo{\textquoteright}s heirs. Chapter Three calls upon anthropological methodology for treating the study of material culture and applies it to Bembo{\textquoteright}s mission as a collector. Chapter Four concludes with a statistical analysis of subjects and object types to which Bembo was drawn. In the extensive Catalog individual works are examined in conjunction with one another and considered for what they reveal about Bembo{\textquoteright}s theoretical strategy. Appendix A is a timeline outlining Bembo{\textquoteright}s life. Appendix B is a chronologically ordered selection of accounts describing Bembo as a collector and descriptions of his collection and his properties. Appendix C is a Bembo family tree. Appendix D presents by location known repositories for traced objects that can be connected to Bembo{\textquoteright}s collection. The recovery of Pietro Bembo as a collector illustrates that his wide-ranging ambitions were intertwined. His museum was not a place fixed in geography but, rather, a dynamic mechanism for transmitting the analytic power and poetic potential he located in the visual.}, keywords = {Renaissance/Baroque Art}, author = {Nalezyty, Susan} } @mastersthesis {11083, title = {Image and Community: Representations of Military Saints in the Medieval Eastern Mediterranean}, year = {2011}, school = {Michigan}, abstract = {Devotion to military saints flourished in Egypt and the Levant in the twelfth and thirteenth centuries, the era of the Crusades. During this period of conquest and expansion, icons of warrior saints were made in great number. Image makers responded to local concerns by depicting the saints as fierce soldiers: St. Mercurios could be seen slaying an enemy of the faith, St. George performing a miracle of salvation, or St. Theodore brandishing a sword. The cults flourished in frontier zones, contested areas of shifting boundaries where the warrior saints fought to protect their own against those holding rival beliefs. The focus of this dissertation, which draws on visual and textual material, is the cult of warrior saints in Egypt and the Levant as practiced in eastern Christian communities living under Muslim rule. This study works against traditional disciplinary geographies by considering icons from Egypt, the Levant, and Byzantium in their interrelations. At the heart of the project are images in various media (wall paintings, panel paintings, pilgrimage tokens, manuscript illustrations, and seals), which are examined in relation to an array of textual sources (passions, miracle accounts, homilies, hymns, epigrams, geographies, apocalypses, monastery books, polemical texts, traveler{\textquoteright}s accounts, and chronicles). The first three chapters of the dissertation draw on an array of late antique and medieval sources to provide a background for the study of the militarization of saints the Middle Byzantine period. Chapters four and five treat the phenomenon of militarization as revealed in images and miracle accounts. Chapter six offers an in-depth study of images and religious practice in the Levant, focusing on a set of icons at the Monastery of St. Catherine at Sinai and the wall paintings at Deir Mar Musa in Syria. This chapter reveals the instability of iconographic forms and meanings in area characterized by shifting boundaries and populations. The dissertation ends with a focused analysis of the extensive program at the monastery of St. Antony in Egypt, which positions military martyrs as the predecessors to monks, fighting spiritual battles. This chapter reveals the role of sacred images in bolstering faith and communal cohesion.}, keywords = {Early Christian/Byzantine Art, Early Medieval/Romanesque/Gothic Art}, author = {Badamo, Heather} } @mastersthesis {11044, title = {The Imagery of the Ear{\textquoteright}: Listening, Sound, and Sound Technologies in American Art, 1850-1950}, year = {2011}, school = {Maryland}, abstract = {America{\textquoteright}s soundscape underwent tremendous changes from the mid-nineteenth century on: not only in terms of the telegraph, telephone, and phonograph, but also with the noises heard in the city streets, factories, and countryside nearby. During this period, Winslow Homer, Thomas Eakins, and Thomas Wilmer Dewing explored the intersection of auditory experience and artistic production, creating complex works that gave visual form to the changing nature of sound and listening. All three painters pursued the representation of aurality as career-long endeavors, and developed distinct approaches and pictorial syntaxes. Homer, whose life and artistic outlook were marked by his experience as a traveling Civil War illustrator, painted the everyday sounds of laborers in the American countryside and out at sea in terms of issues related to distance and signaling over space. At a time when a growing number of people were communicating with one another with the aid of such machines as the telegraph and telephone, Homer{\textquoteright}s long-distance aural exchanges probe the human desire for connectivity, and its converse, separation. Eakins piques our aural imagination with the physiognomic and sartorial acuities of his musicians and singers, not to mention the mimeticism of their actions, and attempts to pack the parallel visual and aural experiences of realism tightly into his paintings, despite the limits of the medium. Transferring his photographic experiments of stopping the human body in mid-motion to the painterly stopping of musical sound in mid-song, Eakins{\textquoteright}s works evince his personal form of transcription. Whereas Eakins sought to unify the eye, ear, and hand in one split second of representation, Dewing sought to fragment aural moments to pictorialize the psychic effects of listening, and promote the vaults of the imagination. Most notably through attenuated sonic transmissions and the idea of pause, Dewing{\textquoteright}s representations of women in airless domestic interiors and atmospheric landscapes frequently evince a "pulling apart" of sight and sound that render his depictions of music and speech strangely quiet and unsettling. At the same time, these suspended aural scenarios help to cabin the women he so often portrayed.}, keywords = {Art of the United States}, author = {Naeem, Asma} } @mastersthesis {10996, title = {[In]Secure Space: The Mellah of Fez, Morocco, 1834-1956}, year = {2011}, school = {UCLA}, abstract = {This dissertation investigates the struggle over architecture and urban form in Fez, Morocco from nineteenth century to the present. It examines the mellah, the walled urban quarter that historically segregated the Jewish community from the Muslim majority in this iconic North African city. The quarter has indicated the significant presence of a Jewish minority as well as historic restrictions placed upon the community by the region{\textquoteright}s rulers. This study considers the mellah{\textquoteright}s structure and appearance under the waning imperial power of the Alawite dynasty, the colonial administration of the French Protectorate of Morocco, and the current constitutional monarchy of the Kingdom of Morocco. Moroccan nationalism and the current administration were and are highly invested in the nation{\textquoteright}s Islamic identities. The markers of its Jewish past and foreign intervention by Western States have resulted in the mellah {\textquoteright}s continued marginalization, in effect displacing it from a critical position to an ancillary one. Abandoned by its Jewish population in the mid-twentieth century, Moroccan Muslims would repopulate but not revitalize the quarter. The mellah stands as a repository for the Jewish community{\textquoteright}s past achievements but also serves as a reminder of forced segregation and the status of Jews as second-class citizens. Historically unhinged, economically disadvantaged, overpopulated, only vaguely on the tourist map, and rarely a destination, the mellah is a non-place, but it is not a dead place. Its urban landscape contains altered structures not found in other parts of the historic city. Institutional neglect inadvertently preserved evidence of difficult episodes for the former capital city in its minority quarter. More than any other district in Fez, the mellah recorded failed or arrested modernization attempts generated from within existing models of urban design and inscribed in its hybrid and transcultural forms. This study posits that the vulnerability of former Jewish space enabled the quarter to most adamantly express the upheavals enacted in Fez during the last two centuries. Analysis of the multiple meanings attributed to mellah help to redefine Fez in the twenty-first-century and acknowledge the city{\textquoteright}s past traumas.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Craig, Michelle Huntingford} } @mastersthesis {11103, title = {The Integration of Quantitative and Qualitative Research in a Study of the Regalia of Ramses III}, year = {2011}, school = {IFA/NYU}, abstract = {This dissertation project sought to develop a viable methodology for quantifiable analyses of visual data. The focus of this project is the regalia worn by Ramses III (c. 1184-1153 B.C.E.) at Medinet Habu. Data gathered from select images were analyzed to elucidate hidden patterns of attribute appearance. Ancient Egyptian mortuary temple reliefs were examined, but the same methodology could be applied to any art historical period. Pharaoh{\textquoteright}s appearance was of great significance and his costume elements integrated to construct appropriate images for certain contexts. Specific regalia were chosen for particular rituals, although the number of temple scenes and the vast array of panoply greatly complicate cross-examination. By utilizing a database to record information for each scene, subsequent research on the attributes is immensely facilitated. The data was exported for advanced statistical analyses, which resulted in insights on the attributes and guided the choice of two clusters of significantly correlated elements. All attributes in these two clusters were statistically analyzed, as well as being examined with directed searches within the database. Information from both research methods pointed to several possible attributes for a case study. A group of five interrelated attributes were selected for additional research utilizing the combined methodology. The lappet wig, red looped sash, sandals, transparent garment, and flabellum all primarily appear on pharaoh in contexts where he is among other humans. Statistical analyses indicated that these attributes were highly correlated with some costume elements and strongly repellant to others. However, there were scenes where the king was depicted wearing these elements along with a number of regalia items they typically repelled. Among these are four images of the processing king in the corners of the first courtyard at Medinet Habu. Examination of these representations using the combined methodology indicated that they are constructed icons portraying idealized pharaonic images. These four images combine regalia that generally do not appear together, but these patterns were previously problematic to quantify. This project has resulted in a better understanding of constructed pharaonic images and has provided a method for illuminating the significance behind the variations of the king{\textquoteright}s costume.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Calvert, Amy} } @mastersthesis {13242, title = {The Invisible Prison: Art, Collectivity, and Protest in 1960s France}, year = {2011}, school = {UC Irvine}, abstract = {This dissertation investigates the attempts by artists in France to formulate a political role for art prior to, during, and immediately following the May 1968 student-worker revolutionary movement. In particular, it focuses on those activities in which artists experimented with collective forms of art-making in the hopes of connecting with a broader public. The different ways in which formerly unexamined groups such as the Salon de la Jeune Peinture, the Groupe de Recherche d{\textquoteright}Art Visuel (GRAV), and the Atelier Populaire rejected traditional criteria of artistic value are considered and compared to other, more well-known groups, such as the Situationist International and the Nouveau Realistes. Of central importance is the priority placed by these artists on the public space of the street as the possible site of a collective entity beyond the divisions and determinations of institutions. Rejecting the twin notions that the visual culture of May {\textquoteright}68 was a spontaneous creation of the movement itself and that formal and epistemological radicality was the only appropriate artistic response to the political, social, and economic changes of the 1960s, this dissertation insists on the distinct, though often problematic, connections between forms of popular protest and the work and concerns of certain artists of the period. The dissertation recounts the trajectories of the Salon de la Jeune Peinture and GRAV during the 1960s as they each formulated particular ideas, production methods, and visual styles that critiqued notions of individual expression and aesthetic value. The third chapter assesses the work of the Atelier Populaire, the revolutionary poster workshop organized by artists in the occupied School of Fine Arts in Paris during May-June 1968. An epilogue focuses on the Souffles, a collectively produced sculptural installation organized by Jeune Peinture and Atelier Populaire participant, Gerard Fromanger in October 1968.}, author = {Siegelbaum, Sami} } @mastersthesis {11161, title = {Italian Copies of Holy Land Architecture: The Illustrated Versions of Niccolo da Poggibonsi{\textquoteright}s Libro d{\textquoteright}Oltramare}, year = {2011}, school = {IFA/NYU}, abstract = {From 1346-50, the Franciscan Niccolo da Poggibonsi spent four years traveling in the Christian Holy Land, resulting in the first vernacular, fully illustrated pilgrimage account: the Libro d{\textquoteright}Oltramare. The dissertation examines the historical importance of four previously unstudied manuscript copies of this book, which each include between around 100 and 150 architectural drawings, ranging from elevations of buildings like the Church of the Holy Sepulcher in Jerusalem to portraits of entire cities like Cairo and Damascus. Three of the manuscripts are datable to the fifteenth century, while the oldest is identified as the autograph copy, having been created in the second half of the fourteenth century. The manuscripts and their architectural illustrations inspired an anonymous printed book, published first in Bologna in 1500 as the Viazo da Venesia al Sancto Iherusalem et al Monte Sinai and subsequently in over 60 editions in or around Venice from 1518 to 1800, as the Viaggio da Venetia al Sancto Sepulchro et al Monte Sinai. A discussion of the motivation for the illustration of pilgrimage accounts, especially in relation to the concept of a "mental pilgrimage," serves as the basis for an exploration of how the experience and recreation of the architecture of the Holy Land was mediated by the book culture of pilgrimage accounts. The dissertation traces the parallel developments of the genre of pilgrimage accounts with architectural replicas of the Holy Land created in Italy, beginning with Santo Stefano in Bologna. Special consideration is given to the role of the Franciscans as Custodians of the Holy Land and as promoters of a new form of affective piety, in relation to the Basilica of San Francesco in Assisi, the Sacro Monte di Varallo, and Bernardino Amico{\textquoteright}s Trattato delle Piante \& Immagini de Sacri Edifizi di Terra Santa. The dissertation also reexamines the idea of the architectural model and copy in the context of the evolving relation between hand-made drawings, textual descriptions, and printed architectural images in pilgrimage accounts, using as primary examples the Anastasis Rotunda, the Dome of the Rock, and the Temple of Solomon.}, keywords = {Renaissance/Baroque Art}, author = {Moore, Kathryn} } @mastersthesis {11149, title = {Jan Lievens: Painting, Politics, and Decoration in Dutch Art, 1653-1669}, year = {2011}, school = {IFA/NYU}, abstract = {The well-traveled artist Jan Lievens (1607-1674) settled in Amsterdam in 1644 and used the cosmopolitan city as his base of operations for the last thirty years of his life. During this time, he executed numerous history paintings, the majority of which were large-scale commissions that remain in situ. Because the circumstances surrounding these commissions are well known, these paintings offer great insight into the working processes, professional motivations, and social networks of the artist during this period. This dissertation proposes that these late paintings were far from unoriginal and marginal works of art but were pioneering manifestations of Lievens{\textquoteright} contribution to the range of Dutch identities constructed during the First Stadholderless Period (1650-1672). It explores how Lievens{\textquoteright} earlier itinerancy contributed to his later work and how he used his engagement with other artists to express the values of the Dutch elite in the third quarter of the seventeenth century. By framing these decorative commissions in a larger socio-political context, this study illuminates Lievens{\textquoteright} late paintings as visual expressions of power, ideology, and politics.}, keywords = {Renaissance/Baroque Art}, author = {Coutre, Jacquelyn} } @mastersthesis {11033, title = {John Ferren and the Development of Abstraction}, year = {2011}, school = {CUNY}, abstract = {This dissertation presents the first comprehensive examination of the life and work of John Ferren. Compiled using extensive primary materials, this study argues for a reassessment of Ferren{\textquoteright}s position within the modernist canon. Born on the West Coast in 1905, Ferren was raised in Los Angeles and spent his formative artistic years in San Francisco in the mid- to late-1920s. He first visited Europe in 1929, making his way through France, Italy, and Germany. He returned two years later, intending to remain permanently. During this period Ferren became an integral part of the Parisian avant-garde, one of the few Americans to do so, and helped codify the burgeoning language of geometric abstraction. He quickly gained an impressive international career, exhibiting on both sides of the Atlantic, but coming to the U.S. at the dawn of the War for one of his exhibitions, he was unable to return to Europe. Following the War, Ferren became central to the development of Abstract Expressionism as a charter member of the Artist{\textquoteright}s Club, serving as its president for one year in 1956. He organized exhibitions of Abstract Expressionism and more importantly became a vocal advocate for the movement through a series of articles detailing its genesis and eventual demise. In many ways, Ferren countered the very image of a hard-living painter in the 1950s by cultivating an interest in ideas and the intellect, with a sophistication not often found among his peers. Despite his advocacy for the movement and important exhibitions at the Stable Gallery and elsewhere, he remained outside the canonical figures of Abstract Expressionism. In the early 1960s, as the aesthetic paradigm began to shift quite radically, Ferren returned to a geometric approach to painting that now incorporated his interest in advanced mathematics with visual perception. This late period was one of the artist{\textquoteright}s most creative and certainly most productive. It was, also, as I argue, one of his most significant contributions to the development of painting as he was one of many artists at the time who were truly re-defining the notion of what painting could be.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Price, Marshall} } @mastersthesis {11185, title = {Karl Hubbuch: Drawings and Graphic Works, 1927-1930}, year = {2011}, school = {Wisconsin}, abstract = {Josef Albers{\textquoteright}s most famous painting Homage to the Square is an icon of modernist abstraction: three or four precisely arranged concentric squares in different colors. In twenty-six years he created a series of nearly a thousand variations. The prevailing view of Homage to the Square posits the composition as thoroughly non-objective, and the series as a discrete entity, disconnected from his own oeuvre. I argue that the series ties directly to his careful study of Mesoamerican architecture, and that Homage to the Square may be read as a distilled, deeply synthesized rendering of a stepped, flat-topped pyramid. Albers visited Mexico eleven times, photographing numerous archaeological sites to create an expansive, private archive of photo collages depicting architectural forms, including the pyramid, which he incorporated into numerous paintings and prints. Using an archive-based approach, I explore Albers{\textquoteright}s variant of primitivism, in which the focus is not the body, race, or gender, but a deliberate, de-historicized view of architecture across space and time. This thesis contextualizes his primitivism within a revival of ancient American art during the 1930s in the United States, and examines the ways in which collecting and exploration of Mesoamerican archaeological sites shaped his ideas about abstraction. Homage to the Square originated from earlier prints and paintings based on the Mesoamerican pyramid and Mexican vernacular architecture. Photo collages of archaeological sites, which he never exhibited, offered another means to study aspects of abstraction in a process that was both separate from and related to painting. Finally, fascination for ancient art brought him in contact with the Mexican art world. As an abstract artist, he was also an outsider who navigated controversies of style and politics within the Mexican mural movement. This analysis of Homage to the Square thus examines the series as a continuation and a culmination of Albers{\textquoteright}s appropriation of ancient architectural forms, and illuminates the complex intersections of primitivism and abstraction in his art.}, keywords = {Twentieth-Century Art}, author = {Gilderhus, Kirsten E.} } @mastersthesis {11094, title = {Knowledge, Memory, and Ethnic Commitment in Bohemian Visual Culture, 1198-1458}, year = {2011}, school = {Harvard}, abstract = {This dissertation examines ways in which the visual arts, including architecture, were manufactured, appropriated, and interpreted to produce and sustain perceptions of ethnic difference in the Central European kingdom of Bohemia during the thirteenth, fourteenth, and early fifteenth centuries, an era which saw remarkable art-historical and social changes whose repercussions extend to the present day. It asserts that the visual and spatial experiences of the late medieval urban environment were critical in shaping the enduring perception that some residents of Bohemian towns were "Germans" (Teutonici ) and others were "Czechs" (Bohemi), despite prevalent bilingualism, shared Catholic religious beliefs, and mixed habitation. Through close analysis of four different art-historical phenomena-the design of newly founded towns, free-standing preaching chapels, urban parish church architecture, and illustrations in municipal law books-it demonstrates that common visual and spatial codes were strategically manipulated and socially interpreted to endow objects and built environments with specific historical meanings, embedding them within an imagined collective narrative of transnational migration and ethnic persistence. In broader methodological terms, it is proposed that artworks and monuments were used actively to negotiate ethnic identity in medieval Europe in a complex and locally contingent manner which cannot be reduced simply to modulation of any predetermined set of formal differences or style. This way of framing this issue challenges previous claims that the visual arts might passively "express" ethnic identity through style or other formal features, and proposes instead that they could be actively constitutive of identity through more nuanced visual references. Examples of these references could include imitation or parody of semantically charged formal elements of other artworks and buildings, or the invocation of collective history or language through salient iconographic features. In addition, architecture and urban design could manipulate indoor and outdoor space to encourage or enforce the physical separation of different groups, creating or reinforcing perceptions of difference.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Hindin, S. Adam} } @mastersthesis {11086, title = {Kosmos of Verse: Art and Epigram in Late Byzantium}, year = {2011}, school = {Harvard}, abstract = {In Byzantine usage, the term "epigram" denotes either a verse inscription written on an object or a poem accompanying a piece of literature. Whether preserved in situ, on artifacts and buildings, or transmitted in manuscript anthologies, epigrams constitute a tremendously rich yet largely untapped resource for exploring virtually every aspect of Byzantium{\textquoteright}s artistic culture. Taking as its focus the realm of personal piety and artistic patronage associated with it, this dissertation explores the multifaceted relationship between art and epigrammatic poetry in later Byzantium, the period from around 1100 to around 1450. Grounded in close readings of this period{\textquoteright}s epigrams and other related sources, and a detailed examination of an array of works-icons and icon revetments, reliquaries, ecclesiastical textiles, and others-my inquiry elucidates a set of broader aesthetic attitudes and devotional concerns that informed the patronage, production, and reception of art in later Byzantine society, notably among the elite. The dissertation is structured around several topics: the vogue for epigrams, poetic self-reference, and the formation of a distinctly logos-centered discourse on art; the significance of the concept of kosmos, or adornment, and its place in later Byzantine visual and literary aesthetics; the notion of art as gift and the epigrammatic negotiations of religious donation and spiritual exchange; the erotics of devotion and icon veneration as they are articulated in the epigrammatic figurations of pothos, or desire; and the intersection of personal piety and elite self-representation in the context of patronage. By scrutinizing a vast corpus of neglected and often untranslated and misinterpreted texts, this study aims to refine and deepen our understanding of the aesthetic, social, and religious dimensions of art-making in the last centuries of Byzantium.}, keywords = {Early Christian/Byzantine Art}, author = {Drpic, Ivan} } @mastersthesis {11140, title = {Kunstwissenschaft and the {\textquoteright}Primitive{\textquoteright}: Excursions in the History of Art History, 1879-1914}, year = {2011}, school = {USC}, abstract = {During the late nineteenth and early twentieth centuries, artifacts of material culture from non-European sites, newly excavated European material, and examples of applied arts accumulated in European collections, especially in Germany. The encounter with non-classical objects brought the "primitive" into focus in the recently institutionalized discipline of art history, which simultaneously drew into its orbit paradigms from ethnology and psychology. This dissertation examines the intersection of these developments: the growing importance of ethnology and "primitive" objects, the attempt to make German-speaking art history "scientific" and rigorous, and the focus on the psychology of art making and perception. It examines the dynamics of ensuing debates in the works of an interconnected group of art theorists and historians. During this period, the "primitive" was broadly conceived as encompassing traits and forms typical of "early" or primordial artistic production. Foremost among them was ornament, theorized as one of the earliest products of aesthetic activity. In these "earliest" and "simplest" works, the lawfulness of art and its later development seemed most vivid. It included objects and characteristics from a number of areas: prehistoric artifacts, aspects of the minor arts, so-called Northern ornament, and ornamented implements of contemporary "primitive" peoples. The "primitive" sharpened problems already important to art historians and to a field in the process of defining its boundaries and methods in conversation with adjacent disciplines. By the beginning of the period under consideration, the concept of Wissenschaft, or rigorous scholarship, had been transformed from an earlier nineteenth-century notion into one increasingly influenced by natural scientific methods, specialized research, and the demands of modernization. By the end of this period, there was a further shift as many art historians promoted a Kunstwissenschaft, or scientific study of art, in which empirical facts were deployed in the effort to discover systematic principles. Much research on "primitive" art and ornament was conducted by scholars on the margins of art history in dialogue with formally trained art historians. The former examined the "beginnings" of art and asserted "scientific" personae and techniques. They stressed the material and technical origins of "primitive" art and ornament, the importance of symbolic meanings, and mimetic techniques. Art historians also adopted aspects of such techniques and personae as they derived from "primitive" objects laws of art{\textquoteright}s coming-into-being and inserted these into an uninterrupted history of its development. They stressed, however, the perceptual worlds of makers and beholders and attempted to endow the making and experience of art and ornament with psychological complexity by foregrounding artistic will. Some posited an empathetic relationship between the art historian and work of art. "Primitive" art functioned as a meeting point of methods and values and highlighted the interface between empirical study and attention to the mental lives of makers and viewers.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Basu, Priyanka} } @mastersthesis {11096, title = {Laboratory of Images: Emerging Iconographies in Eighth- and Ninth-Century Rome}, year = {2011}, school = {Yale}, abstract = {Eighth- and ninth-century sacred painting in Rome was characterized by inventiveness, experimentation, and innovation. Iconographies were being tested, used, and in some cases abandoned. Unfortunately traditional scholarship did not promote Rome as a creative center but as a receptacle for what would later become prominent Byzantine iconographies. The approach of these early scholars was limited not because their methodological toolbox was flawed, but because they made an a priori assumption of difference between East and West, an assumption for which they were seeking proof. By combining formal and stylistic analysis with the writings of the patristics and early medieval religious thinkers, and with the consideration of the geopolitical controversies in which the papacy was a major participant, it is possible to see early medieval Rome as it was-a vibrant center of artistic production. The study of four different iconographies with very different evolutionary lives shows the particular "fitness" each had in early medieval Rome. Chapter One focuses on the surviving Roman examples of the Anastasis, discussing the lifespan of the iconography from its first appearance during the papacy of John VII to its last in the nave of Pope Formosus in the mid-ninth century. The Anastasis expressed Christ{\textquoteright}s duality and redemptive power with a disorienting sense of liminality. After being absorbed into the framework of the chronological biblical narrative, the Anastasis was abandoned in favor of other iconographies such as the Crucifixion, the Last Judgment, and the Resurrection showing Christ emerging from his tomb. Chapter Two addresses the Transfiguration scene, which at times follows the "traditional" format originating at St. Catherine{\textquoteright}s in Sinai, but in other cases is seen as variants that do not look like canonical Transfigurations at all. This iconography responded to anxieties regarding to the ability to represent Christ as simultaneously man and god, while emphasizing the capacity of the viewer to perceive and comprehend that mystery. Chapter Three explores the widespread Maria Regina type, the Virgin Mary who appears as Queen of Heaven. By focusing on the intrinsic qualities of the image, rather than its disputed origins or its geopolitical inspiration, it is possible to make sense of the value and meaning of the Maria Regina image in Rome. It was a supreme form of Marian devotion, commanding veneration in both public spaces and intimate personal devotionals. This iconography called forth important practices of medieval veneration which highlighted her multiple roles as queen, intercessor, and mother. Chapter Four discusses the Sickness of Hezekiah scene that appears on the transenna in Santa Maria Antigua. This scene, which shows Hezekiah dramatically covering his face, never reappears in Roman monumental art, and as such represents an evolutionary dead end. However, its message was a timely response to concerns about painting the face of Christ. In conjunction with neighboring episodes which also illustrate strangely obscured heads, the Hezekiah scene alerted the Roman viewer that the focus should not be on the painted faces but on the true face, that of Christ. Eighth- and ninth-century Rome should not be studied as a battleground of East and West. Instead, Rome was a fertile design landscape for Christian iconographies, a landscape that allowed varied and vital evolutionary experimentation.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Labatt, Annie Montgomery} } @mastersthesis {11029, title = {Landscape as Machine: Vision and Imagination in Nineteenth-Century American Painting}, year = {2011}, school = {Delaware}, abstract = {In antebellum America, critics and audiences frequently claimed to hear, smell, feel, and even taste paintings, imagining themselves transported to distant, wild places. This dissertation argues that such sensory rhetoric was an important signifier of imaginative work, and by taking it seriously, charts an alternative history of vision and nineteenth-century American culture. Against the common use of the panorama as the dominant social, political, and visual model of the American nineteenth century, this project posits the diorama, an under-investigated entertainment popular in the second third of the nineteenth century, as a model for "imaginative vision," placing it in dialectical relation to the precise, masterful, and proprietary gaze that is often associated with the panorama. The second chapter examines the reception of two new genres of painting in American art-the theatrically-staged, traveling, single-picture exhibition and "poetic landscape"-that both seemed to deny their two-dimensionality and instead called attention instead to the viewer{\textquoteright}s own multisensory experience, explaining how the mobilization of new multisensory medical techniques like mediate auscultation and phrenology, along with cultural anxieties about the invisibility of the body{\textquoteright}s interior, helped shape this reception. The third chapter examines the phenomenon of the diorama, and other, more common objects such as the translucent window shade, showing how they became identified with a sensual, yet automaton-like female body that became the dominant model of imaginative engagement in the 1830s. It also extends that analysis of material culture to a group of paintings of young women asleep that proliferated during the same period. While the discursive construction of the "sleeping beauty" made claims for originality, uniqueness, and sensuality, it actually harnessed technology to achieve a kind of standardized, enchanted machine. Chapter 4 closely examines three specific paintings of young women asleep or in reverie by Washington Allston, Asher B. Durand, and Samuel F. B. Morse, showing how those works signified their makers{\textquoteright} high artistic ambitions and manifested a troubling anxiety about imagination and the invisible. Chapter 5 shows how anxieties about the imagination, luxury, masculinity, and the changing art market finally came to the fore in a group of self-reflexive works depicting male artists dreaming by Charles Bird King, Durand, and Thomas Cole. The final chapter shows how this trajectory of the artistic imagination-oneiric, inward, agentic, at times abject, and always deeply identified with the body-persisted into the latter half of the nineteenth century, taking Frederic Church{\textquoteright}s magnificent Persian residence along the Hudson River, Olana, as a case study. Against common characterizations of the imaginative, Romantic genius toiling in anonymity, this project suggests that imagination in antebellum America was a social, though vexed, activity, one that paradoxically united transatlantic networks of diversely constituted viewing publics in a common discourse of dreams, nightmares, translucency, and the body. It challenges the dominance of the conceptual connection between nineteenth-century American painting and politics-including ideologies like Manifest Destiny-reexamining the rich and strange ways in which the imagination can transform once-familiar territory.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Holochwost, Catherine Reed} } @mastersthesis {11112, title = {Landscapes of Irrigation in the Ptolemaic and Roman Fayum: Interdisciplinary Archaeological Survey and Excavation Near Kom Aushim (Ancient Karanis), Egypt}, year = {2011}, school = {Michigan}, abstract = {The ancient irrigation of the Fayum region of Egypt is known principally from the documentary evidence preserved on papyrus. This study examines one part of the Graeco-Roman (ca. 332 BCE - 400 CE) irrigation system of the Fayum from diachronic, comparative and interdisciplinary archaeological perspectives. The only previous detailed archaeological fieldwork on an irrigation system in the Fayum was the pioneering study undertaken by G. Caton-Thompson and E. Gardner in the 1920s. Archaeological survey and excavation conducted by the author on the irrigation system near the ancient site of Karanis (modern Kom Aushim) uses innovative methodologies developed by archaeologists around the world and forms the basis for independent reassessment of their important contributions. In addition, newly-discovered segments of the irrigation system are presented and interpreted in the context of the landscape. From an archaeological perspective, the hinterland to the north of Karanis emerges as a dynamic landscape occupied over a long period rather than a marginal and short-lived part of an agricultural expansion scheme undertaken by the Ptolemies. The result of this innovative fieldwork is to move beyond interpretation of the Graeco-Roman irrigation system of the Fayum based upon a single type of evidence.}, keywords = {Greek/Roman Art}, author = {Cook, Ronald James} } @mastersthesis {11036, title = {Language Use in Conceptual Art: Eastern European and North American Strategies}, year = {2011}, school = {UT Austin}, abstract = {This dissertation examines the early works of the Russian artist Ilya Kabakov and traces the beginning of a linguistic trend in the development of Moscow Conceptualism. Analyzing the drawings and paintings that the artist created between 1962 and 1966, I place Kabakov{\textquoteright}s artistic style and ideas in the context of the cultural, theoretical and scientific phenomena that affected Soviet art and society in the early 1960s. Kabakov{\textquoteright}s works are shown as evolving in a process that renders the artist{\textquoteright}s techniques increasingly polysemantic, dialogic and conceptual. The dissertation then demonstrates that Kabakov{\textquoteright}s visual images and linguistic titles participated, indirectly yet actively, in the cultural debates of Moscow{\textquoteright}s artistic underground and the Soviet society. The dynamic correspondence between a fervent cultural context, growing interest in linguistic and scientific ideas, increasing conceptualization of visual means of expression and intellectualization of the artistic approach to the image led to the appropriation of language in the works of Moscow underground artists. The dissertation establishes such a development in the early works of Ilya Kabakov, proposing that his earliest "conversational" work Whose Fly is This? was the first conceptual painting to display text in the form of a written dialogue. The colloquial style and conversational character of the depicted discourse are examined as an ironic gesture that takes its genesis from the polyphonic theory of Mikhail Bakhtin and reverses the official non-dialogical imperatives of Soviet newspeak and ideology. The main figural image of the painting-the fly-is seen as articulating the utopias and anti-utopias of avant-garde figures such as Kharms or Malevich and interpreted as alluding to a key contemporaneous scientific discovery-the chromosomes of the drosophila. In the end, the words and the image of Whose Fly is This? form the two mutually exclusive and mutually complementary aspects of a compound conceptual signifier. That is the signifier of the free artistic spirit, evanescent human existence and mundane, yet resilient human nature that ironically survives- against all odds and despite all absurdities-beyond the boundary of the social utopia and the limits of epistemological systems.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Toteva, Maia Todorova} } @mastersthesis {11160, title = {Law, Commerce, and the Rise of New Imagery in Antwerp, 1500-1600}, year = {2011}, school = {Duke}, abstract = {Marinus Van Reymerswaele{\textquoteright}s painting of 1542, The Lawyer{\textquoteright}s Office, was a completely new type of image in the history of art. It shows a lawyer and his assistant behind a desk strewn with briefs, wax seals and money. A complex set of historical circumstances at the interface of art, economics, and legal history in sixteenth century Antwerp explain this painting{\textquoteright}s appearance and significance. In the beginning of the sixteenth century, Antwerp became a locus of unprecedented artistic production caused by the dramatic growth of its mercantile population, its highly organized commercial infrastructure, and its competitive business atmosphere. These developments stimulated a new sophistication in the art market and an energetic approach to acquiring and collecting, supported by publicly-funded venues to mass-market paintings. Over the course of the sixteenth century, artists invented new subjects to meet public demand. Many of these were radically new. One of these artists, Marinus Van Reymerswaele (1490-1546) made distinctive paintings of lawyers, bankers, and moneychangers which relate to fundamental changes in the legal and commercial infrastructure in the sixteenth century. In just one generation, the Habsburg authority centralized the political and legal landscape in the Netherlands. As the prized economic and cultural center of Habsburg territories, Antwerp was transformed. This dissertation links the development of consumption practices and the rise of new pictorial subjects introduced in Antwerp with the changing business and legal climate of the city during the sixteenth century. Through an investigation of unpublished home inventories recorded between 1528 and 1588, it clarifies the acquisition preferences of the Antwerp public at large, considering both changing preferences for panel and linen paintings as well as for novel and traditional images alike. This reassessment of painting consumption reveals a starkly more conservative approach to buying images than previously assumed, underscoring the rarity of everyday life subjects in Antwerp domestic spaces. As a painter operating within this market, Marinus van Reymerswaele invented a new brand of painting -- the new old master painting -- that not only addressed broad social concerns sparked by Habsburg political, mercantile, and legal reforms, but also built on long-established Netherlandish visual traditions. As the sixteenth century drew to a close, his paintings became more desired by collectors but lost their topicality as memories of Antwerp{\textquoteright}s political anxieties faded into the past.}, keywords = {Renaissance/Baroque Art}, author = {Mayhew, Robert A.} } @mastersthesis {11081, title = {Learning to Draw, Drawing to Learn: Theory and Practice in Italian Printed Drawing Books, 1600-1700}, year = {2011}, school = {Pennsylvania}, abstract = {Italian printed drawing books (libri da disegnare) comprise an important body of evidence for our knowledge of artistic training in Italy during the early modern period. Libri da disegnare are groups of printed images that instruct in drawing the human body through a progression, whether by means of line-by-line instructions, following steps from outline to shaded, or building up the body from its individual features. Intended for both professional and amateur audiences, these printed sources were soon copied throughout Europe where they influenced drawing education for the next 400 years. Tracing the relationship between writing and drawing in the literature of the early modern period, the first chapter explores the origins of the genre within other didactic manuals and within contemporary traditions of elementary education. Next, three case studies explore the ways in which text interacts with images within the genre: Odoardo Fialetti{\textquoteright}s two etched drawing books (c. 1608), an unpublished manuscript by Francesco Cavazzoni from 1611, and Giuseppe Maria Mitelli{\textquoteright}s books from the end of the century. The third chapter considers how these projects included or rejected information found in other types of printed books used by artists, such as treatises of anatomy, perspective, and proportion. Such study makes it clear that printed drawing books represent a new type of art literature. The final chapter problematizes the monolithic notion of the printed drawing book and suggests that they be discussed within separate categories: books, series, fragments, and copies. This dissertation highlights the diverse formats of Italian drawing books and serves to underscore the varied circumstances of their creation as opposed to the previously held belief that they stemmed more or less exclusively from practice in the Carracci academy. Exploring the origins and forms of the genre in Italy, its country of origin, this study provides a better understanding of artistic education in the decades after the formation of the first academies of art.}, keywords = {Drawings/Prints/Works on Paper, Renaissance/Baroque Art}, author = {Greist, Alexandra} } @mastersthesis {11132, title = {The Limits of Memory: Alfonso Caso and Narratives of Tomb Assemblage from Monte Alban, Oaxaca, Mexico, 500-800 and 1931-49 CE}, year = {2011}, school = {Columbia}, abstract = {This dissertation examines the significance and use of the "Zapotec urns"-pre-Columbian ceramic effigy vessels from ancient southern Mexico-over two discrete periods in their history, from 500-800 and 1931-1949 CE. During the earlier episode, the vessels were made and used at the ancient city of Monte Alban in southern Mexico, and during the latter, Monte Alban was excavated and publicized under the direction of Alfonso Caso, the so-called "father of Mexican archaeology." For almost two decades, Caso excavated the site in a scientific manner and simultaneously promoted the Zapotec urns, by shaping Monte Alban for tourist visits, publishing on the vessels, and displaying them in exhibitions that were a cornerstone of diplomacy between the United States and Mexico. Despite the high position he achieved within the Mexican state, Caso as an archaeologist and cultural bureaucrat has not been thoroughly studied. The first part of this work examines the image he disseminated of the urns and the process of his excavations. Caso and collaborators such as Ignacio Bernal, Jose R. Acosta, and Martin Bazan generated careful records of their finds, documents that have gone mostly unexplored by other scholars. These include thousands of catalogue cards that detail the position, size, and condition of objects from Monte Alban. The cards are particularly important because Caso never published a planned volume that would have provided a full explanation of the urns{\textquoteright} archaeological context, so the image in exhibition catalogues and other publications was fragmentary. I located and reunited many previously unpublished and largely unstudied archival materials, brought together for the first time since Caso{\textquoteright}s death 40 years ago. From these, I created a comprehensive, searchable, electronic catalogue of objects excavated in the first eleven seasons of excavations (1931-1944) and made dynamic two-dimensional diagrams of objects{\textquoteright} placement within tombs. I provide a contextual analysis of the effigy vessels within tombs to illustrate the patterns of urn use and deposit within these important ritual spaces. Understanding these contexts helps to clarify what Caso omitted or highlighted in his narrative of the urns, and therefore shapes the questions future scholars most urgently need to address.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {Hoobler, Ellen} } @mastersthesis {11102, title = {Living Fluidly: The Uses and Meanings of Water in Asia Minor (2nd century BCE-2nd century CE)}, year = {2011}, school = {Brown}, abstract = {Roman water management technologies were readily adopted in the Roman provinces, and the profligate use of water in urban space is often cited as a hallmark of Roman cities throughout the empire. To date, however, scholarship on water use in the Roman world has tended not to interrogate the ways in which the adoption of new technologies may (or may not) have had implications in the varying, yet interconnected, dimensions of social life. Using a variety of archaeological, art historical, literary and epigraphic material, in this dissertation I undertake a more holistic study of water in the cities in Asia Minor during the transition from the Hellenistic to the Roman imperial period (approximately second century BCE to second century CE). Examination of the uses and meanings of water in political, economic, and religious contexts, and in relation to the geopolitical shifts and technological developments that accompanied Roman imperial expansion, offers insight into the impact or lack of impact of the formal imperial enterprise on the organization of systems of civic water management. This dissertation addresses a variety of strategies for water use from large-scale hydraulic provision in the civic sphere, to the emphasis on local water sources for craft production and ritual practice indicating that bigger, more elaborate, Roman technological solutions were not always preferred. There is no doubt that the presence of Roman imperial administration and technological developments altered conditions of life in the provinces. However, this dissertation{\textquoteright}s synthetic approach tracing water{\textquoteright}s many uses and meanings, interconnections and divergences, and their impact on social life offers a unique opportunity to investigate more subtle, nuanced, and local negotiations of relationships to Roman technological innovation and political organization.}, keywords = {Egyptian/Ancient Near Eastern Art, Greek/Roman Art}, author = {Weiss, Cecelia Feldman} } @mastersthesis {11120, title = {Lord, Protect the Wearer{\textquoteright}: Late Antique Numismatic Jewelry and the Image of the Emperor as Talismanic Device}, year = {2011}, school = {Yale}, abstract = {The history of late antique coin-set jewelry is the history of the unofficial reception of an official image: the imperial portrait. Nearly four hundred gold coins set in jewelry survive from the third through sixth centuries C.E.; these coins are invariably framed in such a way as to display the imperial portrait. This dissertation examines the use of the imperial portrait throughout the corpus of late-antique numismatic jewelry, in both East and West, from the third through sixth centuries C.E. It argues that, while the use of coins in jewelry could be subject to different motivations in diverse times and places, the imperial portrait was both visually and conceptually central to the construction of coin-set objects. A series of case studies explores the making and use of numismatic jewelry as a phenomenon of the frontier and in relation to the imperial court. It is argued that coin ornaments were worn primarily by women as protective amulets in their roles as wives and mothers. An examination of the use of numismatic jewelry in funerary and cultic contexts gives further evidence for its particular role as feminine talisman. Finally, an analysis of the ways in which coin-decorated objects could be handed down, modified, and reused over long periods of time attests to the continuity and longevity of the tradition.}, keywords = {Greek/Roman Art}, author = {Jones, Ashley Elizabeth} } @mastersthesis {11153, title = {Magdalene imagery and prostitution reform in early modern Venice and Rome, 1500-1700}, year = {2011}, school = {Case Western Reserve}, abstract = {This dissertation focuses on the development of devotional images of Mary Magdalene, in Venice and Rome during the sixteenth and seventeenth centuries, pertaining to the reform of prostitution. Although the Magdalene has a rich history in Christian tradition and art, my examination focuses on images of the Penitent Magdalene, both alone and in a group, related to the campaign against prostitution in early modern Italy. Images discussed in this dissertation include: Religious chapbooks dedicated to the subject of the Conversion of the Magdalene (Figs. 1, 2), analyzed in conjunction to their secular counterparts, prints and moralizing broadsheets dedicated to the Lives and Miserable Ends of Prostitutes (Fig. 3); Carlo Caliari{\textquoteright}s Madonna and Child, Saint Mary Magdalene and Convertite for the Venetian Casa del Soccorso (Fig. 4), examined in opposition to Gaulli{\textquoteright}s frescoes at the Casa Marta in Rome (Fig. 5) and Guliegmo Cortese{\textquoteright}s Christ in the House of Mary and Martha (Fig. 6); and two prominent versions of Titian{\textquoteright}s Penitent Magdalene created for Vittoria Colonna and Cardinal Federico Borromeo (Figs. 7, 8). The cities of Venice and Rome are the focus of my analysis, representing in microcosm the Italian peninsula and efforts to reform prostitution there through the use of Magdalene imagery. The approach of my dissertation emphasizes a range of patronage, including the open market, corporations, and influential individuals. My purpose in this dissertation is to present a comprehensive study of the complex purposing of the Magdalene{\textquoteright}s image as a religious model and a social model for the reformation of prostitution in Venice and Rome from 1500 to 1700. The years 1500 and 1700 are the parameters of this investigation, coinciding with the introduction of syphilis in the early sixteenth century and the incarceration of prostitutes at the end of the seventeenth century. It is my conclusion in this dissertation that Magdalene imagery in the sixteenth and seventeenth centuries can be inextricably linked to prostitution reform, and that the images presented in this study were created in order to persuade, reinforce, and assist the intended viewer to participate in the popular campaign to decrease prostitution in early modern Venice and Rome.}, keywords = {Renaissance/Baroque Art}, author = {Geschwind, Rachel} } @mastersthesis {11125, title = {Making Sense of Sacrifice: The Sensory Experience of Cult in Asia Minor}, year = {2011}, school = {USC}, abstract = {Performing a sacrifice was one of the most sensorially full actions undertaken in the Greco-Roman world. The production and control of the correct movements, scents and sounds were prerequisites for summoning, communicating with and propitiating deities. Sacrifice was also ubiquitous, occurring on an almost continual basis as a range of sacrificial activities were celebrated publicly and privately in a variety of locations in urban areas. Cultivating a multi-sensory understanding of the full range of sensory elements that accompanied ancient cult rites - visual and auditory cues, things smelled, tasted and touched - provides a platform for achieving a more thorough knowledge of the meanings of the rites. This dissertation examines the archaeological, literary and epigraphical evidence for the role of the senses in Greek and Roman sacrifice in order to analyze the social and ritual importance of the senses, the impact of sacrificial rituals within ancient urban spaces, and the sensory experience of the ancient worshiper. Given the ephemeral nature of much of the evidence for sensory elements of worship, as well as the subjectivity inherent in representations of sensory experience in literature and art, this dissertation argues for the necessity of crossing disciplinary boundaries in order to appreciate the sensory impact of ancient sacrifice. Therefore, in addition to utilizing traditional historical and art historical approaches, methodological tools from the field of anthropology and evidence from studies in the animal behavioral sciences and consumer sciences are employed. For example, I suggest that greater understanding of the experience of ancient sacrifice may be acquired through an autoethnographic investigation of modern religious sacrifice. To that end, I analyze my experience of the slaughter of large numbers of bovines during the Islamic Kurban Bayram sacrifices in Istanbul to make suggestions concerning certain elements of the sensory experience of ancient blood sacrifice. I focus not only on the sensory experience of humans participating in (or within range of) sacrifices, but also on that of the animal victims. Given the immense ritual importance of the behavior of sacrificial animals in antiquity, I suggest that it is possible to identify some sensory aspects of the sacrificial process that may have been intentionally manipulated in order to control the reactions of the victims as far as possible. Particular attention is paid to mundane aspects of the process of sacrifice not often addressed in ancient literary sources or represented in art that would have resulted in notable sensory impacts on areas surrounding urban temples, for example the removal of sacrificial refuse. I conclude not only that these elements of sacrifice formed an important part of the sensory experience of Greco-Roman cult, but also that their effects were more far-reaching - in terms both of how great an area they affected and how long they lasted - than has previously been recognized. Using fresh interdisciplinary approaches to well-known examples of texts and images, this dissertation employs a more visceral approach to the study of the sensory experience of ancient sacrifice than is possible when considering textual and archaeological evidence alone.}, keywords = {Greek/Roman Art}, author = {Weddle, Candace} } @mastersthesis {11134, title = {Maria Izquierdo: Religion, Gender, Mexicanidad, and Modern Art, 1940-1948}, year = {2011}, school = {CUNY}, abstract = {This dissertation examines the religious imagery in the art of the Mexican painter Maria Izquierdo (1902-1955). Among the first women in Mexico to earn her living as a professional painter, Izquierdo was an internationally renowned artist in her lifetime and remains one of the most notable artists in twentieth-century Mexican art history. Hers is a legacy that was not easily attained; working within a profession and nationalist discourse that was intensely masculine, she was persistent in her efforts to carve out a legitimate and respected space for women and for herself. Between 1940 and 1948 Izquierdo produced many paintings that incorporated popular and traditional Catholic artifacts and iconography that likewise touched upon feminine cultural experience, such as still-lifes of domestic shrines to the Virgin Mary and portraiture that evoked Madonna and Child motherhood imagery. My study revises the critical commonplace that Izquierdo{\textquoteright}s religious imagery reflects one facet of a collective Mexican cultural identity. Rather, I argue that these paintings expose an intricate web of social constructions involving ethnicity, gender, nationalism, and modernity. Examining public statements by the artist and the unique historical, economic, and sociocultural context of the decade of the 1940s, Izquierdo{\textquoteright}s domestic altars, Madonna imagery, self-portraiture, and related paintings constitute a strategic response to women{\textquoteright}s issues, the Catholic experience, the particular rhetoric of mexicanidad of that decade, and her concerted efforts to advance her professional career and notoriety. By joining her carefully crafted public persona to a strategic use of religious iconography that tapped into values intimately connected to a wide audience, Izquierdo accomplished what no woman before her had done. She reframed the role of women in the cultural narrative of the nation and successfully positioned herself as a great artist synonymous with Mexican culture itself.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Donovan, Celeste} } @mastersthesis {11092, title = {Materializing the Word: Ottonian Treasury Bindings and Viewer Reception}, year = {2011}, school = {Rutgers}, abstract = {Ornately bound gospel books served as the centerpieces of liturgical and imperial ceremonies throughout early eleventh-century Germany. This project is the first examination of Ottonian treasury bindings as a discrete type and explores the ways in which these covers negotiated the complex relationships between viewers and the Word of God. A cross-disciplinary approach that draws on reception theory, aesthetics, history, liturgical studies, cognitive psychology, and neuroscience is used to provide a new model for working with liturgical objects once dismissed as primarily decorative. Chapter 1 introduces the six case studies of the project: the Codex Aureus of Echternach (Nuremberg, Germanisches Nationalmuseum); the Reichenau Gospels (Munich, Clm 4454); the Pericopes of Henry II (Munich, Clm 4452); the Uta Codex (Munich, Clm 13601); the Theophanu Gospels (Essen, Munsterschatz); and the Aachen Covers (Domschatz). The second chapter explores the traditions of early medieval cover design, which Ottonian creators copied and adapted. I propose that the patrons and artists of the treasury bindings utilized visual formulae in order to efficiently communicate with audiences. Chapter 3 begins with a reconstruction of the Easter liturgy of Bamberg Cathedral, and then examines the other ceremonies in which treasury bindings were used to establish the original viewing contexts of the covers. Further situating the covers, the chapter ends with an exploration of the role of luxury bindings in the collections of religious institutions and elite patrons. The final chapter explores the Ottonians{\textquoteright} relationship to the written word, and offers an innovative analysis of how treasury bindings captured viewer attention and functioned in a performative context. To highlight how precious materials shaped viewer reception, the chapter reconciles a variety of medieval statements about the function and meaning of such materials with the findings of modern neuroscientists and cognitive psychologists. I demonstrate that Ottonian artists exploited innate and learned responses to different visual elements, such as reflective materials, centralized compositions, and the human face, in order to attract viewer attention. These visually captivating covers then reflected and amplified the spoken words of the liturgy and provided visual exegesis about the contained scripture.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Fisher, Susannah} } @mastersthesis {11000, title = {Mediating the Third Culture at Tlatelolco, Mexico {\textquoteright}68}, year = {2011}, school = {UC Santa Barbara}, abstract = {This dissertation investigates the spatial dimensions of the Tlatelolco massacre in Mexico City on October 2, 1968, and the representation of this significant moment of state-sponsored violence as mediated by Mexican popular culture. Tlatelolco{\textquoteright}s modernist architecture and the slums it replaced are an uncanny presence in representations of themassacre, including film, literature, and poetry. Tlatelolco, I argue, offers writers and filmmakers an archive and an architectonics for dwelling in and on the massacre as well as an urban space that had been commodified and spectacularized by capitalist urbanization. To date, scholarly analysis has largely overlooked the event{\textquoteright}s site-specificity, narrating it in terms of a historical rupture and the democratization that took place decades later. Focusing on popular culture and its urban milieu, my research identifies a recurrent collapsing of time and space in these objects of memory, which bypass historicist accounts that turn mainly on a romanticized account of the student movement and accept a neoliberal fate.}, keywords = {Architectural History/Historic Preservation, Latin American/Caribbean Art}, author = {George Flaherty} } @mastersthesis {11100, title = {Medieval Churches on the Spanish Frontier: How Elite Emulation in Architecture Contributed to the Transformation of a Territorial Expansion into Reconquista}, year = {2011}, school = {Louisville}, abstract = {This dissertation examines the architectural evidence in the ongoing debate surrounding the demographical and political value of the shifting Iberian frontier of the tenth through twelfth centuries. In particular, it seeks to problematize the current generalization of rural stone churches in the central Duero River basin as "repopulation" churches. Using postcolonial theory and comparative analysis, this project argues that the construction of stone churches on sacred sites at the frontier was a useful strategy employed by those seeking to establish authority over existing indigenous and heterogeneous populations. Convincing arguments were needed to not only justify the usurpation of power but more importantly, to persuade diverse inhabitants to submit their men and resources to the goals of the new order. Crucial to the appearance of legitimacy in a would-be ruler was the "restoration" of significant churches on holy topographies, the focus of chapters two and three. The template for a successful restoration included: the selection of a sacred landscape with a pre-conquest history, architectural forms associated with both the ecclesiastic hierarchy and Christian and Muslim political powers, and painting and sculpture that bolstered the patron{\textquoteright}s claims of legitimate authority. These frontier restorations were deliberately modeled on the strategies employed by kings and abbots seeking to expand their influence over large tracts of land, for example, the holdings of San Millan de la Cogolla (Rioja) and San Juan de la Pena (Huesca). By using elite architectural elements at meaningful sites, non-royal patrons articulated their authority and the favor of God at frontier churches like San Baudelio de Berlanga (Soria) and Santa Maria de Wamba (Valladolid), the case studies for this project. While the specific ways in which patrons constructed churches varied according to place and time, the themes of "restoration" and lordship are pervasive. Over time, the symbolic dissemination of the idea that sacred centers had been "restored" to Iberian Christendom helped to transform a rationalization of territorial expansion into a heroic, Hispanic Reconquista.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Watt, Kelly} } @mastersthesis {11128, title = {Melancholy Sites: The Affective Politics of Marginality in Post-Anpo Japan, 1960-1970}, year = {2011}, school = {Duke}, abstract = {This dissertation examines the intersection of experimental art, literature, performance, photography, and architecture, as Japanese artists and intellectuals grappled with political disillusionment after the end of the protests against the ratification of the U.S.-Japan Security Treaty of 1960. I focus on the work of the sculptors Miki Tomio and Kudo Tetsumi; photographs of late 1960s protests by Tomatsu Shomei and the self-portraits of the novelist Mishima Yukio; the collaboration between photographer Hosoe Eikoh and butoh dance founder Hijikata Tatsumi in the photo album Kamaitachi (The Sickle-Weasel, 1969); and depictions of the urban periphery in Hosoe{\textquoteright}s unfinished Private Landscape series (1970-) and the visionary urban planning of the architect Tange Kenzo. All shared an interest in portraying peripheral spaces, the detritus of the everyday, and the sexually perverse, cultivating a rhetoric of marginality that allowed them to explore their ambivalent feelings towards post-Anpo Japan.}, keywords = {Japanese/Korean Art}, author = {Adriasola Munzo, Ignacio} } @mastersthesis {11109, title = {Memorializing the Past: Jan de Bray and the Construction of Identity in Seventeenth-Century Haarlem}, year = {2011}, school = {IFA/NYU}, abstract = {In the second half of the seventeenth century, Jan de Bray (c.1627-1697) emerged as one of the foremost living painters in Haarlem. His professional success translated into several important civic commissions and a lengthy tenure on the board of the local artists{\textquoteright} guild; further evidenced by the acquisition of one of his paintings for the British royal collection and his contribution of a drawing to the unrivaled album amicorum of Jacob Heyblocq in Amsterdam. He was the product, not only of a talented artistic family, but also of a city heralded for its rich lineage of innovative painters, championed in the writings of Karel van Mander and by town chroniclers like Samuel Ampzing. Haarlem was a self-conscious promoter of its artistic heritage and tradition, unprecedented in its decision to publicly display some of its most famous works of art in the town hall complex, and supported by a strong artists{\textquoteright} guild in which both Salomon de Bray and his son, Jan, played a leading role. Manifest in the art of Jan de Bray and the social context of Haarlem was a concomitant drive toward self-reflection, in which ambition and identity were bound up with a powerful sense of tradition and preservationism. This dissertation examines the art of Jan de Bray through the lens of memorializing practices in seventeenth-century Haarlem. Taking inspiration from Durkheim, Benjamin, Halbwachs and Pierre Nora, it addresses how the construction of memory and the formation of identity functioned both collectively and individually in Haarlem. Local literary, artistic and civic practices - from books of town praise to drawing archives and collecting patterns - are compared to similar preoccupations in the oeuvre of Jan de Bray, notably his frequent depiction of his family after their loss to the plague. Providing a detailed look at several of his most striking works, this study bridges the public and private dimensions of his art from De Bray{\textquoteright}s official contributions to civic institutions to his nuanced depictions of self and family.}, keywords = {Eighteenth-Century Art}, author = {Veith, Jessica} } @mastersthesis {11131, title = {Metamorphosis of Form and Meaning: Ink Bird-and-Flower Screens in Muromachi Japan}, year = {2011}, school = {Princeton}, abstract = {This study conceptualizes the production of ink bird-and-flower screens in Muromachi Japan by examining a group of screen-format works in the Muqi mode by Noami (1396-1471) and painters of the Sesshu and early Kano schools. Inextricably interwoven with this production process was the formulation of meanings, associated with iconography, compositional rhetoric, and social function, inherent in bird-and-flower screens. Muromachi period (1333-1573) ink bird-and-flower screens were produced in the context of the reception of works in the Muqi mode, which constitutes paintings attributed to the Southern Song painter Muqi (?-1272-1294) as well as the subsequent emulation of these works by Chinese and Japanese painters. Noami{\textquoteright}s 1469 Ink Bird-and-flower Screens survives as the earliest example of ink monochrome bird-and-flower screens and embodies his profound understanding of works attributed to Muqi. Although only few Sesshu-school bird-and-flower screens in the Muqi mode survive, it is conceivable that Sesshu (1420-1506?) and his immediate followers would have produced such works in pursuit of stylistic diversity. Kano Motonobu (1476-1559) and Kano Shoei (1519-1592) executed their mature ink monochrome bird-and-flower works at the Reiun{\textquoteright}in and Jukoin respectively. The pictorial vocabulary these painters possessed, their individual understanding of the models, and motivations for painting in their given social circumstances yielded works that share certain stylistic traits that can be categorized as the Muqi mode and yet vary in the use of brushwork styles and compositional schemes. The examination of these works collectively reveals not only the stylistic range of the Muqi mode, but the dynamic interactions between different painting formats and schools. The consumption of ink bird-and-flower screens in the Muromachi period, either viewing or utilizing the screens, realized their iconographical and social significance. A case study in the dissertation explores the evolving iconography of the egret, a frequently depicted motif in bird-and-flower screens, and demonstrates the formation and transformation of iconographies in a cross-cultural milieu. A comparative discussion of linked-verse poetry and screens of miscellaneous birds and flowers helps better elucidate the screens{\textquoteright} compositional rhetoric. The screens{\textquoteright} usages in childbirth, deathbed, and gift exchanges reveal the social conditions of the actualization of their pragmatic significance.}, keywords = {Japanese/Korean Art}, author = {Wu, Xiaojin} } @mastersthesis {11025, title = {The Mining Photographs of Carleton Watkins, 1858-1891, and the Origins of Corporate Photography}, year = {2011}, school = {Boston}, abstract = {This dissertation explores Carleton Watkins{\textquoteright}s mining photographs, their corporate origins, and the key role they played in establishing a visual vocabulary to describe the growing industrialization and modernization of the nineteenth-century American West. Although most remembered for his photographs of Yosemite, Watkins was also the pre-eminent photographer of extractive landscapes for gold, silver, and copper mining. Mining was the engine that drove nineteenth century Western development, yet few studies of mining photography exist. This dissertation is a close study of Watkins{\textquoteright}s seven major mining commissions from late 1858, when California mining began to incorporate, to 1891, the zenith of large-scale corporate mining. Watkins photographed for these early mining corporations, making him the first successful corporate photographer in America. His newly developed industrial visual language contributed to the development of a Western landscape aesthetic. Watkins privileged transformation over stasis, economic development over preservation, and clarity over ambiguity. In this way he not only set a standard for artists, but he simultaneously accommodated the businessmen and mine operators intent on promoting the industry. Drawing on a methodology that combines archival research with close readings of the photographs themselves, the chapters proceed chronologically. Chapter One begins in the courtroom, where Watkins positioned himself as a newly-minted {\textquoteright}expert{\textquoteright} at providing photographic evidence in mining disputes (Guadalupe mine) and learned an invaluable lesson about the rhetorical function of photographs. Chapter Two examines two commissions (Mariposa and New Almaden) from the 1860s, taken for investment and legal purposes. These images focused on the harmony between mines and the land, a visual strategy that appealed to both his patrons and the larger tourist culture. Chapter Three moves into the 1870s, a {\textquoteright}bonanza{\textquoteright} age for hydraulic and silver mining (North Bloomfield and Comstock). These photographs celebrated the growing ascendance of technological and capitalist might. Chapter Four investigates Watkins{\textquoteright}s commissions of the late 1880s and early 1890s (Anaconda, Golden Gate and Golden Feather mines), when the ascendance of technology and capitalism was complete. His photographs actively reinforced and praised industry with almost purely technological mining landscapes that confirmed his role as the pre-eminent mining photographer of the era.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Hult-Lewis, Christine} } @mastersthesis {11110, title = {Ministers of Movies: Sherwood Pictures and the Church Film Movement}, year = {2011}, school = {Graduate Theological Union}, abstract = {From its humble beginnings, film has endured a tumultuous relationship with American religion. At times this relationship has been contentious and at others cooperative, but it has never been boring. In this dissertation, I chronicle the church film movement that has risen in response to the films of Sherwood Pictures, the filmmaking ministry of Sherwood Baptist Church. Through a four-fold analysis of their films, and those from congregations that have followed in their footsteps, I examine production, distribution, marketing, and exhibition to determine the ways in which Sherwood Pictures represents both a replicable model for the future of independent filmmaking (religious or not) and the state of industry practices today. Yet Sherwood Pictures and the resulting church film movement have not appeared ex nihilo. As a result, in this dissertation I also set the historical stage from which it emerges, looking at the history of the relationship between American film and religion through the production of mainstream, Hollywood religious films, Christian involvement in censorship and film production, the evolution of film technology and industry practices, and even the world of evangelical popular culture of which this movement is also a part. As a result, this dissertation links film history and church history together in ways that are mutually beneficial, considering the influence that modes of production, distribution, marketing, and exhibition have on a film{\textquoteright}s religious/theological content and the ways in which knowledge of the religious/theological context of both the producers and consumers of these films influence our viewing of them.}, keywords = {Film/Video}, author = {Parker, J. Ryan} } @mastersthesis {11048, title = {Modern Art and Modern Movement: Images of Dance in American Art, ca. 1900-1950}, year = {2011}, school = {Kansas}, abstract = {"Modern Art and Modern Movement: Images of Dance in American Art, c. 1900-1950," examines works from the period that heralded the birth of modern dance. While modern dancers and choreographers experimented with new ways to move the body, American visual artists explored the new formal and stylistic possibilities of the modern movements, many of which originated in Europe. I consider the intersections and interrelations of these two major artistic developments as I discuss paintings, sculptures, photographs, and drawings that engage with the developing art forms of modern art and modern dance. Dance historians have long recognized the influence of the visual arts on the development of dance. However, scholarship that works in reverse, considering the impact of these dancers on the field of the visual arts, especially American art, is much rarer. Rather than view these images of dance solely as records of the dancers{\textquoteright} costumes or dance steps, this dissertation seeks to broaden the lens through which artistic depictions of dance are generally understood by examining and evaluating both the aesthetic qualities and the historical significance of the works. During the first half of the twentieth century, numerous American artists created images of dancers in a wide array of media and styles. Modern dance appealed to them for a variety of reasons. For some the dancer represented modernity, while for others he or she brought the exotic past to life. Some artists associated dance with European tradition, while others saw in modern dance a declaration of the American spirit. All of these artists felt inspired by the way the modern dancers moved. I propose that the new dance forms of the twentieth century contributed to the aesthetic development of many modern American artists by allowing them to envision, and thus portray, the human body in new ways.}, keywords = {Art of the United States}, author = {Stephens, Jolee} } @mastersthesis {11182, title = {Modernity and Tradition in Catalan Noucentisme: Rafael Maso{\textquoteright}s Regionalist Architecture, 1911-1917}, year = {2011}, school = {Wisconsin}, abstract = {This dissertation examines the work of Catalan architect Rafael Maso (Girona, 1880-1935), in particular the buildings, furniture, and other objects he designed between 1911 and 1917, within the context of Catalan Noucentisme and European regionalist architecture. Noucentisme was a bourgeois cultural movement that dominated Catalan visual arts and literature during the second decade of the century that promoted the country{\textquoteright}s modernization while fostering Classicism and a robust sense of national identity. Like many artists and architects elsewhere in Europe at this time Maso and the noucentistes shared a concern for the vernacular while seeking a modern form of expression. In his buildings and urban plans, and in the rooms and fittings he designed, Maso adopted a series of materials and techniques drawn from vernacular architecture, such as the ceramics, wrought iron, stone, wood, and stucco used in rural areas. He employed them in ways unprecedented in Catalan architecture up to that time, through the introduction of formal and functional elements he found both in Classical Greco-Roman and in modern German and British architecture. While anchored in a conservative vision of society, Maso{\textquoteright}s architecture and Maso as a public figure exemplify modernity in several ways: the design and production of modern craft; the creation of non-academic exhibition and education centers for the arts; the design of housing and furniture for the new urban classes; the introduction of the garden-city model; the conscious expression of certain moral and cultural values through interior design; the recovery and protection of the vernacular architectural heritage; and a new formulation of Classicism as an clement of modern art. Maso{\textquoteright}s development of a modern architectural language embodies Noucentisme{\textquoteright}s attempt to reconcile the tension created by the adoption of international modernism and the simultaneous preservation of local identity and traditions. Within a revised and broader definition of modernism, it is argued here that Noucentisme must be understood as a significant movement even though it has generally been perceived as provincial, chauvinistic, backward-looking, and therefore opposed to what was considered relevant within the canon of the modern movement.}, keywords = {Twentieth-Century Art}, author = {Casanovas, Jordi Falgas} } @mastersthesis {11090, title = {Moral Theology and the Care of Souls: The Last Judgment in Thirteenth-Century French Sculpture}, year = {2011}, school = {Florida State}, abstract = {The Last Judgment, depicted at least twenty times in French sculpture alone, was one of the most frequently represented themes in the architectural sculpture of the thirteenth century, yet no one has explained its vast popularity, nor has anyone addressed multiple sculptural programs through in-depth case studies. This dissertation grounds the widespread interest in depicting the Last Judgment in a contemporary trend in moral theology, which emphasized the need for individual contrition and confession. The new interest in moral theology is traced to the educational reforms that were initiated by the Third Lateran Council (1179), most specifically, the education of priests and laity concerning sin, confession, penance, and absolution. I argue that these played into the creation of dramatic programs of the Last Judgment and provide a context for understanding the development of new types of imagery associated with the Last Judgment, such as Confessor Saints, Virtues and Vices, and the Intercessors. Case studies demonstrate that the iconography of the Last Judgment at the cathedrals of Chartres, Paris, Amiens, and Reims provided the clergy and laity alike with site-specific explanations not only of the coming Judgment, but also with visual examples of how to prepare for it. The appendices provide the first collection of detailed diagrams and descriptions of each sculpted stone in the Last Judgment programs of Chartres, Paris, Amiens, and Reims. They also include a listing of Last Judgment sculptural programs from the twelfth to fifteenth centuries.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Feltman, Jennifer} } @mastersthesis {11137, title = {Naissance de l{\textquoteright}art performatif: etude sur les premisses du moment romantique en Allemagne}, year = {2011}, school = {Montreal}, abstract = {The purpose of this art history dissertation is to shed new light on the relation between the philosophy of Johann Gottlieb Fichte (1762-1814) and the artistic practice of some of early German romanticism{\textquoteright}s leading figures, namely, Friedrich Schlegel (1772-1829), August Wilhelm Schlegel (1767-1845), Friedrich von Hardenberg ("Novalis," 1772-1801), and Caspar David Friedrich (1774-1840). Although this link has previously been established in the historiography on German romanticism, I contend that Fichte{\textquoteright}s importance to the romantic movement does not hinge on the content of his philosophical writings (i.e., the Wissenschaftslehre as a theory of subjectivity or as a theory of freedom), nor on Fichte{\textquoteright}s political beliefs (republicanism, egalitarianism, the universality of Right). Rather, the driving force behind the romantic project resides in the pragmatic dynamics of the Wissenschaftslehre itself, that is, on its communicational and pedagogical framework. In reference to the work of leading Fichte scholars publishing in the field of the history of philosophy, I argue that Fichte{\textquoteright}s Wissenschaftslehre consists in an original, self-referential representational system whose putative user is indexed within the very system he or she drives. In the final analysis, the reception of such a system coincides with its production, and both are a function of its performative character. In keeping with the epistemological framework of art history, I propose a reading of Fichte that makes use of two methodological approaches, namely, the semiology of representational systems (Louis Marin) and narratology (Gerard Genette, Mieke Bal). Based on this approach, I contend that the Schlegel brothers{\textquoteright}, Hardenberg{\textquoteright}s, and Friedrich{\textquoteright}s respective artistic practices make use of the Wissenschaftslehre{\textquoteright}s pragmatic dynamics in order to rethink the way in which pictorial or textual representations shape their beholders (both aesthetically and politically). Ultimately, this dissertation aims to contribute to current debates on the power of images in the modern context, and to understand Fichte{\textquoteright}s and the romantics{\textquoteright} heretofore unacknowledged contribution to the theory of the agency of images.}, keywords = {Nineteenth-Century Art, Performance Studies}, author = {Ralickas, Eduardo} } @mastersthesis {11002, title = {Nancy as a Center of Art Nouveau Architecture, 1895-1914}, year = {2011}, school = {Pennsylvania}, abstract = {The city of Nancy, France, is, paradoxically, the least-well-known European center where Art Nouveau architecturedeveloped, yet arguably the city where the style had the most lasting impact. Nancy{\textquoteright}s Art Nouveau was a divergent form of modernity that was defined by regionalism and a distinct sense of place, which its proponents championed as the key elements of an authentic architecture, allowing the small city to challenge Paris as the dominant center of French artistic production in the two decades before 1914. Nancy{\textquoteright}s architects positioned themselves strategically in the contemporary French discussions about architecture, art, and politics. They were attuned to both the artistic cultures of the capital and their region of Lorraine. Most were graduates of the Ecole des Beaux-Arts in Paris, and imbued by their teachers with a sense of classicism and the professional standards associated with it. As a result, much of Nancy{\textquoteright}s Art Nouveau had a conservative character, using elements of French Renaissance, Rococo, and Baroque, and it won the approval of the national architectural press. Nancy{\textquoteright}s Art Nouveau architects were also disciples of Emile Galle, who, in 1901, founded the regional association of artists, industrialists, and designers called the Ecole de Nancy, dedicated to the promotion of Art Nouveau and the applied arts. Nancy{\textquoteright}s architects collaborated with the other artists of the Ecole, creating architectural Gesamtkunstwerks that showcased exquisite craftsmanship. The artists{\textquoteright} strong regional pride led them to study local flora and landscape as well as historical legends and regional politics, drawing heavily on the iconography of plants and narratives to make architecture legible to a wide public. The rooting of the work of Nancy{\textquoteright}s architects in their region and the alliances they formed with local industry and the public were achievements that Parisian Art Nouveau architects, the design vanguard in the capital, were never able to match. Consequently, in Paris, Art Nouveau was quickly discarded, while in Nancy it was celebrated as an integral piece of regional identity and a nationally important cultural achievement until after the outbreak of World War I.}, keywords = {Architectural History/Historic Preservation, Nineteenth-Century Art}, author = {Clericuzio, Peter} } @mastersthesis {11107, title = {A Neoclassical Conundrum: Painting Greek Mythology in France, 1780-1825}, year = {2011}, school = {CUNY}, abstract = {This dissertation analyzes Greco-Roman mythological subjects as a thematic subset of French Neoclassical painting between 1780 and 1825. This style and time period are better known for moralizing and heroic subjects from Roman history and Napoleonic conquest, while amorous and fantastical mythic subjects have remained marginalized. By highlighting this thematic subset, however, my dissertation emphasizes the complementarities between mythological subjects and the more widely studied themes of virtuous action within French Neoclassical painting in particular, as well as continuities with traditions and new directions in French painting more generally. I contextualize paintings by Jacques-Louis David, Anne-Louis Girodet, Antoine-Jean Gros, Pierre Guerin, and Jean-Baptiste Regnault, as well as the commissioning and purchasing practices of the Director of King{\textquoteright}s Buildings, the comte d{\textquoteright}Angiviller, within contemporaneous art theory, criticism, and mythography to illuminate thematic trends and cultural contexts for the reception of mythic painting. From these sources, I propose new interpretations of paintings depicting the Deucalion flood, Orpheus, Aurora, Morpheus, Ariadne, and Mars, as well as the poet Sappho. My dissertation is divided into thematic chapters analyzing myth as a cultural constant for exhibition, Ovid{\textquoteright}s illustrated Metamorphoses, otherworldly perfection in superhuman narratives and bodies, myth{\textquoteright}s embodiment of creative inspiration, and myth as a forum for legacy formation. French Neoclassical painters{\textquoteright} utilization of fanciful narratives from Greek mythology demonstrates continued interest in Rococo subjects as well as the broadening of thematic considerations that would be paramount among Romantics. My dissertation, by considering Neoclassicizing mythologies as a group constituting a trend, demonstrates that such paintings are not isolated anomalies, but rather integrated threads in the art historical fabric, bound to what came before as well as to what would follow. This consideration of mythological paintings as a poetic subset of Neoclassicism promotes a more organic view of French painting; by presenting them as hybrids, at once Rococo (in their ambiguity and eroticism), Neoclassical (in their style and antique characters), and Romantic (in their focus on passions and creative processes of the human mind), my dissertation identifies continuities within French narrative painting from the eighteenth into the nineteenth centuries.}, keywords = {Eighteenth-Century Art, Nineteenth-Century Art}, author = {Hanson, Katie} } @mastersthesis {11184, title = {Neue Slowenische Kunst: Slovene Neo-Avant-Garde Art and the Socio-Cultural Imagination of the 1980s}, year = {2011}, school = {Stony Brook}, abstract = {The dissertation analyzes what role the notion of the state - both as an actual political structure and a symbolic organizing principle - played in the work of the Neue Slowenische Kunst collective (or NSK). Established in 1984 in Slovenia, NSK originally consisted of the music group Laibach, the visual art collective Irwin, and the Theater of the Sisters of Scipion Nasice. Factions devoted to philosophy, graphic design, film/video, and architecture joined the organization later in the decade. The dissertation concentrates specifically on the activity of the Irwin group whose artistic practices raise uneasy questions about statehood, censorship, national identity, and politicized internationalism by employing the strategy of subversive over-identification with the ideological discourses of the state. As the federal system of Yugoslavia disintegrated and the country was thrown into a prolonged civil war in the early 1990s, the NSK collective established a conceptual state of arts, NSK State in Time, in 1992. The NSK State opens temporary "embassies" in various countries, issues passports, promulgates the idea of non-territorial citizenship, and subversively mimics other functions of the state. In the current neoliberal moment marked by the weakening of the state, intensifying migration, and the growing number of stateless individuals, NSK State in Time defines anew the conceptual parameters and practical possibilities of political art. The dissertation consists of two main parts. Part one analyzes the work by NSK factions before the dissolution of Yugoslavia, with a special focus on the role of the Yugoslav-type socialist ideology and imagery in the appropriationist practices by the Irwin group. Part two addresses the transformation of NSK from a collective of like-minded artists, designers and intellectuals to a conceptual virtual state with its hierarchy, embassies and passports, imaginary armed forces, and insignia. The analysis of this transformation is approached from two complimentary viewpoints: the connection between the participatory NSK projects of the early 1990s and comparable (but very differently motivated) trends in the West which were frequently grouped under the rubric of "relational aesthetics"; and the relationship between the {\textquoteright}etatist{\textquoteright} practices of NSK and the contemporary socio-political climate in Eastern Europe, which was characterized by the appearance (and disappearance) of new states, shifting borders, and dissolution of the existing political and cultural institutions. The dissertation also addresses the idea of "Eastern Modernism" whose history, as Irwin has insisted in their numerous projects after 1990, has been informed by collectivity and willingness to participate in actual political processes. This constitutes a significant difference from the utopian and largely individualistic nature of historical avant-gardes and postwar neo-avant-gardes in the West.}, keywords = {Twentieth-Century Art}, author = {Gasparavicius, Gediminas} } @mastersthesis {11080, title = {Nicolaes de Bruyn and the Art of the Professional Engraver}, year = {2011}, school = {Delaware}, abstract = {Nicolaes de Bruyn (1571-1656) produced nearly three hundred prints in the fifty-eight years between his first dated engraving of 1592 to his final dated work of 1650. He had begun his training in Antwerp, where he was born, and was active in that city until 1617, when he moved from the southern, Catholic Netherlands to the northern, Protestant city of Rotterdam. Early in his career, de Bruyn produced small-scale, mostly serial works after his own designs and after the leading print designer of the day, Marten de Vos. After 1600, de Bruyn spent the next five decades honing his specialty as he produced startlingly large-scale engravings depicting forest landscapes. He initially engraved prints after some of the most famous landscape painters of the day, Gillis van Coninxloo and David Vinckboons. By around 1607, however, he had turned away from copying other artists{\textquoteright} compositions to designing his own engravings. Furthermore, aside from a few early mythological and genre scenes, the vast majority of de Bruyn{\textquoteright}s large engravings after about 1600 depicted religious narratives. De Bruyn has been neglected until this point largely because his life and work often fall between categories established by scholars for studying the history of printmaking. He worked as both a reproductive engraver and an independent designer-engraver at the same time. Because of his work after other artists, de Bruyn has been branded a reproductive engraver, and he appears almost exclusively in scholarship that deals with the work of the painters or print designers of his reproductive engravings. Furthermore, because he made both large-scale, single-leaf landscapes and small-scale, serial prints, reconciling his early and late work presents a challenge. Finally, de Bruyn worked as a professional engraver during a time when our attention has focused on painter-printmakers in general, and on painter-etchers in particular. To his contemporaries and on the market, however, de Bruyn was a printmaker with a distinctive niche, with little competition. Few printmakers after the 1620s regularly made large-scale landscape prints and none did so in such a sustained manner as de Bruyn.}, keywords = {Drawings/Prints/Works on Paper, Renaissance/Baroque Art}, author = {Baines, Lorena} } @mastersthesis {11170, title = {Objects of Desire: Case Studies in the Production and Consumption of Erotic Images in the Dutch Golden Age}, year = {2011}, school = {Rutgers}, abstract = {This dissertation is an investigation into the place and purpose of eroticism in seventeenth-century Dutch art. Sexualized iconography was certainly not uncommon in this period; much of it has become familiar fare to modern scholars and viewers. What is significantly less understood, though no less frequent in occurrence, are images that are erotic in and of themselves. It is my thesis that there exists a larger body of erotic visual material than has been heretofore acknowledged. Drawing attention to the existence of imagery concerned encouraging a direct erotic response facilitates a reconstruction of the place of erotic imagery in seventeenth-century Holland. This study analyzes the material in an effort to create a new context for the reception of these cultural artifacts and works to highlight how canonical prejudices have encouraged scholars and viewers to see these objects as peripheral to the artistic product of the Dutch Golden Age. Questions concerned with audience, market pressures, artistic aspirations, the relationship between a theme and its form and meaning are addressed through close readings of nine primary case studies. The subjects of these examples are drawn from almost every category, ranging from genre subjects to pastoral themes. This diversity is suggestive of a higher threshold of tolerance for suggestive imagery than was previously assumed for this culture. As each chapter demonstrates, these nine examples are but a fraction of images that privilege a visual rather than a thematic or didactic eroticism. The intent of works such as Bartholomeus van der Helst{\textquoteright}s Female Nude with Drapery or Jan Gerritsz van Bronchorst{\textquoteright}s Sleeping Nymph and a Shepherd is remarkably clear. By analyzing these astonishing works and establishing appropriate backdrops against which their eroticism is highlighted, this dissertation foregrounds material that has too often been mischaracterized in the study of seventeenth-century Dutch art. Focusing on how these objects mean as a way to understand what they mean serves to broaden the field of Dutch art historical studies and reinsert these images into a more holistic and international picture of European Baroque art.}, keywords = {Renaissance/Baroque Art}, author = {Streule, Wendy} } @mastersthesis {11071, title = {Oddballs and Eccentrics (les hirsutes et les excentriques): Art and Artists in the Popular Press in Post-War Canada}, year = {2011}, school = {Queen{\textquoteright}s}, abstract = {This dissertation examines the representation of visual arts and artists in two popular Canadian magazines. It is based on case studies of the Montreal-based Le petit journal, a French-language magazine, and the Toronto-based English-language publication Star Weekly, from 1945 to 1968. Both were weekly magazines with large readerships and included content for the entire family. Neither was devoted to visual arts but both carried photographs and articles that engaged with broad issues in the field of visual arts. As such, they represent a cross-section of ideas and perspectives that is very different from those of daily newspapers or of publications explicitly devoted to the arts. In addition, both implicitly claimed a national perspective by including articles and information about different regions of Canada. In this way, although in reality the two publications constitute a central Canadian perspective, inflected in each case by the particularities of their provincial locations, they claimed a national vision. In contrast to existing research concerning art journals and art critics in Canada, my investigation involves the ownership and editorial direction of these two popular magazines. By analyzing the content of the magazines across more than two decades, I am able to identify shifts in outlook as they occurred and consider them in the context of the period. I have found that, although there were substantial differences between the two publications, the way that they participated in the construction of ideas was strikingly similar. In effect, both magazines projected specific notions of the value of artists and visual arts and used this coverage to shape attitudes-to work, gender, immigration, nationalism and a host of other topics. I argue that the presentation of ideas was rooted in both liberalism and anti-communism, and was informed by inherent self-interest on the part of the owners of the magazines. In addition, I argue that this perspective was largely hidden within a language of disinterested public service. Finally, I posit that representations in the popular press shaped opinions and attitudes to visual arts and artists in ways that continue to resonate today, more than forty years later.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Antoncic, Debra} } @mastersthesis {11040, title = {The Old New World: Unearthing Mesoamerican Antiquity in the Art and Culture of the United States, 1839-1893}, year = {2011}, school = {Maryland}, abstract = {Through a series of case studies, this dissertation examines how and why artists in the United States imagined Mesoamerican antiquity between 1839 and 1893. The artists whose work I consider most closely include Frederick Catherwood, Peter F. Rothermel, Emanuel Leutze, George Martin Ottinger, and George de Forest Brush; works by other artists play supporting roles or amplify the observations made in this project. The decades in which I situate my study were key in the development of the United States{\textquoteright} geographic borders and national identity as well as in the foundation of archaeological investigation in Mesoamerica. During the period under question, ancient Mesoamerica provided a "usable past" for many in the United States. Since little was known of the pre-Hispanic cultures of the region, Mesoamerican antiquity served as a palimpsest upon which a number of narratives could be written. As this dissertation reveals, ancient Mesoamerica resonated differently with various individuals and groups in the United States. The Mesoamerica that existed in the U.S. imagination was at once savage, exotic, advanced, and primitive, inhabited by a population assigned a similarly disparate and ultimately contradictory range of traits. Representations of Mesoamerica were not fixed but eminently variable, shaped to serve the exigencies of many historical moments. As such, these images reveal as much about the nineteenth-century United States as they do about the people and places depicted. Ultimately, I demonstrate that these images conveyed multivalent and often ambivalent attitudes about Mesoamerica, views that emphasized the importance of the Mesoamerican past as well as the presumed preeminence of the United States{\textquoteright} future.}, keywords = {Art of the United States}, author = {George, Angela} } @mastersthesis {11031, title = {Open Secrets: Publicity, Privacy, and Histories of American Art, 1958-69}, year = {2011}, school = {USC}, abstract = {Focusing on the years 1959 to 1969, this dissertation frames the public-private binary as a structuring condition of U.S. artistic practice in the sixties. Over the course of this pivotal decade, American art and artists attained unprecedented degrees of public visibility. At the same time, however, artists of this period also faced numerous cultural constraints that prevented or discouraged certain work from circulating in the public sphere. In particular, in the heady atmosphere of the sixties, visual experiments with sexual imagery attained notable currency even as artistic production in this vein remained controversial and potentially detrimental to one{\textquoteright}s artistic career. By tracing the history of various sexually charged artworks by a wide range of American artists, my discussion draws out the ways in which U.S. artistic practice in the sixties frequently straddled public and private spheres, spaces, and levels of discourse. The project centers on three case studies, each of which examine artworks that were private, underground, or otherwise non-public in the moment of their making. In some cases, these materials were maintained as strictly personal artworks that had no audience at all beyond the person who made them; in other cases, they were visible only to select publics or counterpublics. In all cases, these objects were long invisible to art history. In likening these materials to open secrets, I indicate their unresolved relationship to art-historical knowledge and their marginal standing in the discipline: they are no longer clandestine or undocumented, but their significance to the history of art remains a matter of uncertainty, unease, and partial intelligibility. Collectively, the case studies presented here encompass the work of California bohemians Jay DeFeo and Wallace Berman; land artist Robert Smithson; and Warholian superstar Brigid Berlin, known during the sixties as Brigid Polk. Chapter 1, "Concealed Exposures: Jay DeFeo, The Rose, and the Photographic Image," examines public and private photographic representations of DeFeo and her wall-size painting The Rose, including a series of pictures that DeFeo and Berman made for a private exhibition in 1959 and subsequently concealed. By reading these private photographs against contemporaneous, public images of DeFeo and her work, the chapter demonstrates the ways in which DeFeo used photography to navigate a web of interpretative conventions and constraints, particularly those attached to her involuntary reception as a "woman artist." Chapter 2, "Marginal Drawings: Robert Smithson, The Cartouche Series, and the Fragmentary Archive," examines a group of drawings and collages Smithson made between 1963 and 1967 but never exhibited in his lifetime. Focusing on Smithson{\textquoteright}s use of physique erotica in these once-private works, the chapter links the cartouche series to Smithson{\textquoteright}s archive, to other areas of Smithson{\textquoteright}s practice, and to broader matters of sexuality and representation in the sixties. Chapter 3, "Notoriously Underground: Brigid Berlin, The Cock Book, and the New York Art World," considers a legendary yet little-documented anthology of phallic artwork that circulated in New York beginning in 1968. Spearheaded by Berlin, The Cock Book was both collaborative and underground; it involved a surprising range of prominent artists, yet it remained virtually invisible to the larger culture. This chapter supplies a close analysis of the book in conjunction with an overview of Berlin{\textquoteright}s wider artistic practice and her insider-outsider relationship to the New York art world.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Goldman, Jason} } @mastersthesis {11150, title = {Opening the Gates of Paradise: Function and the Iconographical Program of Ghiberti{\textquoteright}s Bronze Door}, year = {2011}, school = {Iowa}, abstract = {Lorenzo Ghiberti{\textquoteright}s east door of the Baptistery of San Giovanni in Florence, long famed as the Gates of Paradise, displays Old Testament stories in sculptural relief on ten gilded bronze panels. Stressing the significance of the Gates of Paradise as a public monument imbedded in the fabric of Florentine society will enhance our understanding of the cultural use of the door within its built environment. Consideration of its context could in turn clarify the motivation behind the choices for the iconographical program. Previous studies of the Gates of Paradise tend to isolate each narrative panel rather than examining the Gates as one door made up of ten unified panels (including decorative framing). As a result, the Gates of Paradise have rarely been looked at in terms of architectural function or context. The approach of the present study focuses on the Gates of Paradise as a significant architectural feature of Florence{\textquoteright}s built environment, as a feature that functioned as a centerpiece for the Baptistery and the Cathedral complex, and as a setting for the many spectacles that took place in that environment. This investigation aims to define the inseparable religious and civic functioning of the Gates of Paradise and to identify connections between specific function and the iconographical program. The research examines in depth the imagery of the Gates of Paradise, scrutinizing the function of the Gates within its physical setting, in the ceremonies of baptism, and in the regular rituals of the Florentine liturgical calendar. This hitherto-unexamined analysis of the Florentine liturgical ritual utilizes Medieval and Renaissance service books such as the Ritus in ecclesia servandi, Mores et consuetudines canonice florentine, Missal Ms. Edili 107 (Biblioteca Medicea Laurenziana), and the Missale romanum Mediolani, 1474. The examination of the Gates{\textquoteright} function offers illumination of the possible meaning(s) conveyed by the choice of biblical narratives that make up the program. Research suggests that the iconographical program for the Gates of Paradise connects predominantly to its major function as the principal ritual entrance for the Baptistery. The program reiterates the liturgy for the season leading up to the Church{\textquoteright}s traditional celebratory period of baptism and the baptismal liturgy. While most days throughout the year the south portal was used for the daily baptismal ceremony, this special baptism-related use of the Gates reinforce the liturgy of the season which teaches and emphasizes the significance of the sacrament of baptism and the role of the Church in salvation.}, keywords = {Renaissance/Baroque Art}, author = {Dilbeck, Gwynne A.} } @mastersthesis {11143, title = {Origins of Modernism in French Romantic Sculpture: David d{\textquoteright}Angers, Dantan-Jeune, Daumier, and Preault}, year = {2011}, school = {Rutgers}, abstract = {This dissertation repositions the place of four Romantic artists within the current discussion of Modern sculpture. Today, Jean-Baptiste Carpeaux has displaced Auguste Rodin{\textquoteright}s paramount place as the first Modern sculptor. The dynamism, suppleness, truthful movements, appropriate gestures, and accuracy of Carpeaux{\textquoteright}s sculptures are considered the epitome of Modernist sculpture. This analysis argues that the portrait-busts and sculpted caricatures of Jean-Pierre Dantan (called Dantan-Jeune), Pierre-Jean David (called David d{\textquoteright}Angers), Auguste Preault, and Honore Daumier exemplified audacious artistic changes made thirty years before Carpeaux. These four artists showed a distinct rejection of formal portraiture and the values of artistic decorum by creating an unprecedented avant-garde style of sculpture. They left purposely their sculpted portraits and caricatures with irregular surfaces, distorted facial features, exaggerated mops of hair, and used colorings, emphasized physiognomic and physiologic characteristics to overthrow Academic traditions of realistic and idealized beautification of sitters. They showed innovation through their use of the two "pseudo sciences", physiognomy and phrenology - the latter considered at the cutting edge of progress - resulting in sculpted portraits, which Salon art critics ridiculed as ugly, caricatural or grotesque. They also exemplified modernism by reversing the traditional making and purpose of sculpture. They subverted artistic expectations by making two-dimensional lithographs and albums based on their three-dimensional portraits and caricatures that were sold to a wide public. The serialization of their works in small-scale further democratized the art of sculpture. These examples show artistic and commercial innovations in the mass-market popularization of sculpted portraiture, which had been shunned by the public because of its repetitive and elitist nature. These four sculptors shattered artistic, political, social, and commercial expectations in the 1830s. Their sculpted portraits and caricatures attest to their modernity, which not only precede Carpeaux{\textquoteright}s but skip over his generation in a manner that points the way to French Expressionist sculpture of the late nineteenth century. In fact, these four sculptors far exceed Carpeaux{\textquoteright}s modernism by showing a rare audacity and creativity that goes well beyond the expressivity of his oeuvre. David d{\textquoteright}Angers, Dantan-Jeune, Daumier, and Preault anticipated many of the innovations of Carpeaux, acting as generators rather than simply "forefathers".}, keywords = {Nineteenth-Century Art}, author = {Quideau, Florence} } @mastersthesis {11019, title = {Ornate Visions of Knowledge and Power: Formation of Marinid Madrasas in Maghrib al-Aqsa}, year = {2011}, school = {Minnesota}, abstract = {Decoding the cultural lives of monuments and the many meanings that accrue to them in time has been vital to art historical inquiry. In this framework, this dissertation explores the composite meanings constructed around the 13th-14th century madrasas (theological seminaries) commissioned by the Marinids (1269-1465), primarily at Fez in Morocco. As independent built-forms, these institutions emerged conspicuously late in the Maghrib (western North Africa), and thus, their emergence under the Marinids raises vital questions about their social, ideological and visual meanings. Fusing these madrasas{\textquoteright} historical incidence with nuances of their visual formation in the social, cultural, and political realm of 14th-century Maghrib as well as the Mediterranean, the dissertation seeks to attend to the wider implications of their presence, and place these structures in the domain of their concurrences with and departures from the visuality of similar educational institutions in other Islamic cultures. At the outset, addressing the relatively unusual presence of a madrasa in the Marinid dynastic necropolis of the Chella near Rabat by suggesting that the Marinids aligned themselves with the consecrated aura of this ancient site, the dissertation subsequently moves to understand the emergence of the Marinid madrasas, not only in light of the cultural and political aspirations of the Marinid sovereignty, but also in relation to issues of the urban topography of Fez, and the economy of waqf (endowment) and water which is inscribed in their formation. In exploring the madrasas{\textquoteright} spatial, decorative and inscriptional schema, the dissertation seeks to understand their architectural embellishments as a visual archive geared for transmission through the art of memory. Also, the correspondences between the functions and the visuality of these madrasas can be understood as a symptom of the power-knowledge nexus involving the Marinid state patronage. Probing the visual formation of the Marinid madrasas on several levels, the dissertation raises pertinent queries about these madrasas{\textquoteright} transformed visual meanings over time, foregrounding the implications of colonial modernity for scholastic engagement with the art and architectural production in the Islamic west.}, keywords = {Art of the Middle East/North Africa}, author = {Latif, Riyaz} } @mastersthesis {11003, title = {Our Mosques Are Us: Rewriting National History of Bosnia-Herzegovina through Religious Architecture}, year = {2011}, school = {MIT}, abstract = {This dissertation examines how Bosnian Muslims construct their identity through the lens of rebuilt or newly built mosques following the systematic destruction of religious architecture during the 1992-1995 War. The stylistic diversity of contemporary mosques in the region, I argue, reflects competing visions of how contemporary Bosnia should deal with its own history of coexistence and war. By examining different identity formation processes on three scales (the building process, the regional, and the global scale), the dissertation argues that, aside from its religious functions, the contemporary mosque has become the primary locus where the emerging Bosniak nation can visually and symbolically shape and express its visions of itself. I begin by outlining how the cultural and political history of Bosnian Muslims has been "written" and "rewritten" through religious architecture since the fifteenth century. I then investigate how during the war of the 1990s the nationalist extremists instrumentalized religious architecture to facilitate the realization of their expansionist projects. While all ethno-national groups in Bosnia experienced significant war losses, Bosnian Muslims suffered the greatest human and architectural casualties. I argue that the extent and the genocidal nature of war violence against them has transformed the meaning of the mosque from that of a place of worship and of a signifier of religious-ethnic identity to that of the ethnic body of the Bosniak nation. The notion that the mosque stands in for the human body was internalized by Bosnian Muslims in the form of two novel and programmatically delineated mosque genres defined here as the Inat Mosque and the Memorial Mosque. The first results from identity construction in response to the national myths and territorial claims of the Serbs and Croats, while the second represents identity creation that is linked to the community{\textquoteright}s own internal processes of commemoration. These regional negotiations of identity are challenged by two competing global imperial ideologies introduced to Bosnia by the Saudi and Turkish donors and manifest in monumental mosques they finance. As local builders compete with these supra-national Islamic networks, contemporary mosque architecture in Bosnia has become a site of negotiation and frictions between global and local interests. Throughout, the analysis highlights the significance of ethnic symbols, long-term cultural factors, and global cultural flows in the creation of contemporary nations. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Architectural History/Historic Preservation, Outsider/Folk Art}, author = {Aksamija, Azra} } @mastersthesis {11122, title = {Painted Decoration in the Apartments of Roman Ostia: Standardization, Social Class, and Visual Experience}, year = {2011}, school = {Michigan}, abstract = {This dissertation investigates the use of domestic decorations and architecture in the construction of social status in apartments at Ostia, the major port of Rome in the imperial period. My research builds upon recent scholarship on Roman domestic space more generally, which has focused on the way that particular types of decorations visually articulate the hierarchical organization of space and the means by which architecture can structure social relations within the house. My study analyzes twenty-four Ostian apartments of varying size and plan, which were occupied from the second through the early third centuries AD and retain substantial traces of their painted decorations. It considers how patterns in the use and distribution of different systems of painted decoration might reflect their appropriateness for spaces of primary or secondary importance and how the architectural features and layout of an apartment also contributed to the social configuration of space. This study raises questions about assumed correlations between the size and splendor of a Roman house and its resident{\textquoteright}s social status. My analysis shows that there is no direct correlation between the size of the apartment, the quality of its decorations and architectural features, and the number of primary spaces. However, it argues that apartments with a ground floor area of at least 190 square meters should be viewed generally as luxury residences. My study also questions the assumption that the apartments functioned as rental units by examining select residences in relation to Roman legal texts on urban tenancy. Textual and material evidence suggests that occupancy was not limited to tenants and that alternate forms of occupation were possible. This dissertation departs from previous studies by studying public inscriptions from Ostia, which attest to the social, legal, ethnic, and occupational backgrounds of the city{\textquoteright}s inhabitants, alongside the evidence drawn from close study of the remains of decorative embellishments in the apartments. It concludes that many well-appointed apartments were likely occupied by members of an identifiable, upwardly mobile population, who, arguably, would have required homes with appropriately adorned reception spaces to accommodate the formal activities associated with their new social status and public responsibilities.}, keywords = {Greek/Roman Art}, author = {Raff, Katharine} } @mastersthesis {11193, title = {Painting after Photography: Laszlo Moholy-Nagy and the Practice of Painting}, year = {2011}, school = {Johns Hopkins}, abstract = {The publication of Painting, Photography, Film by Laszlo Moholy-Nagy in 1925 provoked the painter and Bauhaus professor Oskar Schlemmer to ask in that same year, "Does painting still have a raison d{\textquoteright}etre in the face of such photographic achievements?" As this present study will show, Moholy-Nagy himself grappled with this question throughout his career. In the spring of 1923, Walter Gropius, then director of Bauhaus Dessau, appointed Moholy-Nagy as a professor at the school on the strength of his reputation as a constructivist committed to unifying art with industry. Once a member of the faculty, his reputation as the ultimate artist-turned-engineer and a photographer quickly supplanted his reputation as a painter both within the school and among critics. Coupled with Moholy-Nagy{\textquoteright}s passionate advocacy of photography throughout his career, and especially in the twenties, it is hardly surprising that most accounts of his work have focused on an analysis of his theory of photography and on his photographic activities. Yet what has generally been overlooked is the fact that Moholy-Nagy painted throughout his career with only a two-year interruption in the late twenties, brought on by a self-described crisis of artistic identity. How can we understand both his departure from and his return to painting{\textquoteright}? More broadly, how can we understand the persistence of painting for Moholy-Nagy? To answer these questions, my dissertation insists on the necessity of examining the broad range of Moholy-Nagy{\textquoteright}s activities from the twenties well into his exile during the thirties. I argue that Moholy-Nagy{\textquoteright}s own understanding of the interrelatedness of painting and photography in the twenties-indeed its significance for his artistic undertaking more generally-becomes apparent to him only retrospectively. Specifically, the stakes of his initial turn to photography in the early twenties can only be understood after his abandonment of painting in the late twenties; after his return to painting in the early thirties; and after he embarks on his experiments with color photography in the mid-thirties.}, keywords = {Twentieth-Century Art}, author = {Joyce Chia Chi Tsai} } @mastersthesis {11007, title = {Painting in Stone: The Symbolic Identity of Coloured Marbles from Antiquity until the Age of Enlightenment}, year = {2011}, school = {Columbia}, abstract = {Colored marble has been used throughout the Mediterranean as a building material, architectural veneer, sculptural material, even a support for painting since at least the second century BC. This thesis examines the poetics and symbolism of marbles, as a medium more than a material, over many centuries along three predominant lines: as images of substance according to a pre-modern concept of matter and pre-modern notions of geology; marble{\textquoteright}s apparent ability to bear light due to its polish and occasional translucency; and the longue duree that colored marbles constituted a form of natural (hence divine) painting. The use of marble in architecture and sculpture, as well as its depiction in painting and its description in literature, is examined from the Augustan era up until the close of the seventeenth century. Examples range from Durham to Samarra, from Ottoman folklore to popular piety in Florida, from Etruscan tomb painting to installation art, but key monuments like Hagia Sophia and the Cornaro Chapel offer case studies for in-depth analysis.}, keywords = {Architectural History/Historic Preservation}, author = {Barry, Fabio} } @mastersthesis {11183, title = {Painting Matters: Frank Stella, Anne Truitt, Robert Ryman, and Abstraction in the Sixties}, year = {2011}, school = {Bryn Mawr}, abstract = {This dissertation examines transformations in painting during the 1960s. Countering repeated pronouncements of its "death" and subsequent diagnoses of its persistence in melancholic form, my dissertation argues that painting was by no means moribund, nor was its ongoing practice a situation of studious disavowal. Instead, I assert and explore the vitality and elasticity of abstract painting through detailed case studies of Frank Stella{\textquoteright}s first shaped canvases, Anne Truitt{\textquoteright}s three-dimensional paintings, and Robert Ryman{\textquoteright}s repetitive white paintings. Each of these artists believed they were fundamentally making paintings, that is to say neither hybrids nor pictorial sculptures. They maintained painting, as a medium, still mattered, even if not in terms of an ontology or absolute. In prying the work of Stella, Truitt, and Ryman from the paradigms of opticality and objecthood, my dissertation promises to revise the discourse on abstract painting in the 1960s by focusing not on what painting had been and was no longer, but rather, on what, during the 1960s, it was still becoming.}, keywords = {Twentieth-Century Art}, author = {Dubay, Rebecca} } @mastersthesis {11187, title = {Paradigms of Protest: American Artists against the Vietnam War}, year = {2011}, school = {IFA/NYU}, abstract = {Paradigms of Protest: American Artists Against the Vietnam War is a narrative history of antiwar engagement by American artists during the Vietnam War (1964-1975). Contextualized within the major events of the war and the greater American antiwar movement, this history explains the major engaged artists and artworks, delineates the influence of previous art on these artists and artworks, and discusses deterrents for political involvement in the arts during the era. Among the artists and examples of engagement examined are: Leon Golub, The Artists{\textquoteright} Tower of Protest, The Art Workers{\textquoteright} Coalition, Edward Kienholz, Martha Rosler, Peter Saul, Nancy Spero and Robert Morris. This project also formulates the first typology of antiwar engagement. This typology ranges from extra-aesthetic actions-advertisements, strikes, walk-outs and petitions that lacked a visual aspect and did not relate to an art context-to advance memorials, which were war memorials created before the end of the war that criticized the war as well as the form and content of traditional war memorials. The conclusion of the dissertation explores the influence of Vietnam-era antiwar engagement on American artistic engagement from the 1970s to the present. 1984{\textquoteright}s "Artists Call Against U.S. Intervention in Central America," 2006{\textquoteright}s reinvention of The Artists{\textquoteright} Tower of Protest and Forkscrew Graphics{\textquoteright} iRaq posters are among the examples of engagement discussed.}, keywords = {Twentieth-Century Art}, author = {Israel, Matthew} } @mastersthesis {11133, title = {Paulo Bruscky and Edgardo Antonio Vigo: Pioneers in Alternative Communication Networks, Conceptualism, and Performance (1960s-1980)}, year = {2011}, school = {IFA/NYU}, abstract = {Edgardo Antonio Vigo (1928-1997) of La Plata, Argentina, and Paulo Bruscky (1949-) of Recife, Brazil, exchanged artworks and letters through the mail over the course of fifteen years, beginning in the mid-1970s and continuing throughout the 1980s. Their approaches to mail art differ, but both used the mail and other alternative communication networks (such as self-published magazines and newspaper classifieds) as a means of escaping their marginal status as artists working outside of traditional artistic centers like Buenos Aires, Rio de Janeiro, and Sao Paulo and connecting with the rest of the world. Both artists also created conceptual works and practiced performance art, each in his own idiosyncratic way, and both cultivated audience participation in their multifaceted activities. This dissertation examines Vigo{\textquoteright}s and Bruscky{\textquoteright}s pioneering works as exercises in freedom in the context of repressive military dictatorships. These artists are fundamentally united in their embrace of humor, irony, and the absurd as a potent strategy for engaging audiences and alleviating, if only momentarily, the climate of fear and oppression that pervaded their countries under military rule. In addition, both artists{\textquoteright} emphasis on audience participation provided their compatriots with rare opportunities for creativity and play during the darkest of times. As Dutch theorist Johan Huizinga asserts in his 1938 Homo Ludens, the first principal characteristic of play is "that it is free, is in fact freedom." On the other hand, Huizinga continues, "In play there is something {\textquoteright}at play{\textquoteright} which transcends the immediate needs of life and imparts meaning to the action. All play means something." In Vigo{\textquoteright}s and Bruscky{\textquoteright}s varied endeavors, what is "at play" is the urgent need to overcome repression and marginality and to connect with local and international audiences by means of alternative communication networks, conceptual proposals, and participatory and performance art. Based primarily on archival research, this dissertation brings to light many heretofore unknown artworks and situates them within the framework of contemporaneous international occurrences. It also addresses the similarities and divergences between these artists{\textquoteright} works, thus revealing overlapping strategies for envisioning art as life and life as art. Vigo{\textquoteright}s and Bruscky{\textquoteright}s diverse projects position them at the avant-garde of artistic activities in their respective countries during the 1960s, 1970s, and 1980s, despite their geographic marginality. Ultimately, it is hoped that this dissertation will foster critical reconsiderations of Vigo{\textquoteright}s and Bruscky{\textquoteright}s pioneering works, reevaluations that will ensure these radical innovators a deserved place in the histories of Latin American and global art.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Davidson, Vanessa} } @mastersthesis {11136, title = {Performing Resistance/Negotiating Sovereignty: Indigenous Women Performance Art in Canada}, year = {2011}, school = {Queen{\textquoteright}s}, abstract = {Performing Resistance/ Negotiating Sovereignty: Indigenous Women{\textquoteright}s Performance Art In Canada investigates the contemporary production of Indigenous performance and video art in Canada in terms of cultural continuance, survivance and resistance. Drawing on critical Indigenous methodology, which foregrounds the necessity of privileging multiple Indigenous systems of knowledge, it explores these themes through the lenses of storytelling, decolonization, activism, and agency. With specific reference to performances by Rebecca Belmore, Lori Blondeau, Cheryl L{\textquoteright}Hirondelle, Skeena Reece and Dana Claxton, as well as others, it argues that Indigenous performance art should be understood in terms of i) its enduring relationship to activism and resistance ii) its ongoing use as a tool for interventions in colonially entrenched spaces, and iii) its longstanding role in maintaining self-determination and cultural sovereignty.}, keywords = {Native American}, author = {Taunton, Carla} } @mastersthesis {11129, title = {Pictures of Social Networks: Transforming Visual Representations of the Orchid Pavilion Gathering in the Tokugawa Period (1615-1868)}, year = {2011}, school = {British Columbia}, abstract = {This thesis examines the cultural networks that connected people holding common ideological values in the Tokugawa period by surveying a range of visual representations of the Orchid Pavilion Gathering. It explores the Tokugawa social phenomena that gave rise to the sudden boom in the Orchid Pavilion motif and how painters of different classes, belonging to different schools, such as Kano Sansetsu, Ike Taiga, and Kubo Shunman, came to develop variations of this theme in order to establish cultural identity and to negotiate stronger positions in the relations of social power. Probing the social environment of artists and their patrons, I demonstrate how distinct types of Orchid Pavilion imagery were invented and reinvented to advance different political agendas. The legendary gathering at the Orchid Pavilion in China took place in 353 CE, when Wang Xizhi invited forty-one scholars to participate in the annual Spring Purification Festival. At this event, Wang Xizhi improvised a short text that has come to be known as the Preface to the Orchid Pavilion Gathering. In Japan, while the practice of the ritual gathering and the text describing it were introduced in the Nara period, its pictorial representation in the format of a stone rubbing was not imported until the early seventeenth century. The Orchid Pavilion theme belongs to the genre of "elegant gatherings" depicting an idealized community of Chinese scholars, including the "Elegant Gathering in the Western Garden" and the "Seven Sages of the Bamboo Grove," which had been frequently painted since the preceding Muromachi and Momoyama periods. During the Tokugawa period, however, the "Orchid Pavilion" became one of the most important and popular painting themes. Tokugawa society is commonly thought to have been rigidly stratified, and the Tokugawa period a time of peace. The Pax Tokugawa, however, was a peace brought by military force, and although the lives of people under the Tokugawa regime were at times heavily and unfairly oppressed, people of all classes retained enough power to voice resentment. From the different perspectives voiced through cultural activities like the Orchid Pavilion Gathering, I demonstrate the class permeability and dynamism of Tokugawa society.}, keywords = {Japanese/Korean Art}, author = {Kameda-Madar, Kazuko} } @mastersthesis {11093, title = {Pilgrimage through the Pages: Pilgrims{\textquoteright} Badges in Late Medieval Devotional Manuscripts}, year = {2011}, school = {UIUC}, abstract = {In the late Middle Ages, pilgrims travelling to popular holy shrines often purchased small, inexpensive metal badges to commemorate their visit. While these souvenirs were frequently worn on one{\textquoteright}s clothing, hat, or bag, pilgrims began sewing the badges into the pages of their private prayer books-usually books of hours-by the second half of the fifteenth century. In turn, these led to painted trompe l{\textquoteright}oeil representations of badges in manuscript margins. Through an analysis of surviving examples, this dissertation will examine how a badge{\textquoteright}s original function as a souvenir of a physical pilgrimage shifted within the context of a manuscript. Similarly, the augmentation of a manuscript{\textquoteright}s primary use as a prayer book by the inclusion of actual or painted souvenirs is discussed. Also considered is how the inclusion of pilgrim badges, either real or representational, facilitated a "mental pilgrimage" for the book owner, whether through memory or imagination. The dissertation is divided into two sections, focusing respectively on books containing actual pilgrims{\textquoteright} badges and manuscripts with painted representations of souvenirs. In the first portion, I will investigate how the particular location of pilgrims{\textquoteright} badges within a manuscript affected the reader{\textquoteright}s interaction with the souvenirs and the book{\textquoteright}s contents, whether clustered together on one folio or scattered through the manuscript next to specific-and often relevant-text and illuminations. Particular attention will be placed on manuscripts originally owned by fifteenth- and sixteenth-century Burgundian and Hapsburg families and their associates. The second half addresses the artists and workshops behind the production of Flemish manuscript illumination, specifically the development of the trompe l{\textquoteright}oeil borders and the likely use of models and copying. It also examines the possible ways in which painted pilgrim badge borders could be interpreted by the book{\textquoteright}s owner. This study provides insight as to how two forms of popular devotion-that of public pilgrimage through the ownership of pilgrim badges and private contemplation through prayer books supplemented by these badges-merged in the late medieval period.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Foster, Megan H.} } @mastersthesis {11156, title = {Pisanello{\textquoteright}s Medals for Ludovico Gonzaga of Mantua: Dynasty, the Relic of the Holy Blood, and Crusade}, year = {2011}, school = {Florida State}, abstract = {This study examines the formal and ideological origins of the earliest Renaissance cast portrait medals, created by the artist Pisanello (Antonio di Puccio, c. 1394-1455). It focuses on three courts and objects produced at each that are central to understanding the emergent sculptural form. Chapters are devoted to the Constantine and Heraclius medallions created for the Valois prince Jean, Duc de Berry (r. 1360-1416); Pisanello{\textquoteright}s first medal, dedicated to the Byzantine Emperor John VIII Palaeologus, produced c. 1438 at the Este court in Ferrara; and the series of four medals that Pisanello produced for Ludovico Gonzaga of Mantua (r. 1444-1478). Frequently marginalized in art-historical analyses, studies of the earliest cast medals traditionally approach the objects individually, celebrating their form and iconography as manifesting humanist interest in the individual and the revival of ancient modes of personal commemoration. Through references to the wider historical context and the contemporary visual culture of the courts, this analysis demonstrates that the origins of the new sculptural form lay in synthesizing a series of visual models previously overlooked. These included a class of Byzantine sacred objects, enkolpia, identifiable with successful military endeavors in the East; prophetic literature; French chivalric romances; and genealogical imagery. An equally important contribution of this analysis resides in demonstrating that, from its inception, the cast portrait medal was aligned with one of the most pressing political and religious concerns of the period, the protection of Eastern Christendom from Ottoman incursion. The small, portable, and reproducible objects studied responded to the shared religious and political aspirations of their French and Italian court patrons, each of whom was, to a greater or lesser extent, identified with the call for crusade. Each patron utilized the emergent form of the medal to promote his personal or dynastic rule, employing a form identified with a distinguished tradition of Christian military triumph, traced to ancient Rome, but including as well Byzantine imperial and French royal models. The combination was especially appealing to Pisanello{\textquoteright}s signorial patrons, professional military leaders eager to legitimize their authority. This study redefines understanding of the form and hence the political and religious function of the objects considered and offers a model for expanded analysis of Pisanello{\textquoteright}s wider medallic oeuvre. It also demonstrates that the ideological origins of Pisanello{\textquoteright}s medals and their antecedents resided in the same concerns that motivated production of monumental works of art commissioned by the same patrons, including altarpieces, frescoes, and architecture, thereby situating analysis of the earliest medals centrally within the study of visual culture in the early modern courts.}, keywords = {Renaissance/Baroque Art}, author = {Jones, Tanja} } @mastersthesis {11098, title = {Playing the Game of Art: Constructing Identity in Late Medieval France}, year = {2011}, school = {Florida State}, abstract = {"The Politics of Devotion: Patronage and the Sumptuous Arts at the French Court (1374-1472)" argues for the significance of devotional art in the construction of legitimate political identity in late-fourteenth and fifteenth century French courts, establishing a model for patronage that highlights the role of the nobility in art produced in France during the Hundred Years War and its aftermath. This study focuses on two patrons: first, Jean de Valois, the duke of Berry; and second, the Jouvenel des Ursins, a recently ennobled family who owed their rise to power to their appointment to prestigious political positions. Jean de Berry{\textquoteright}s Petites Heures and Grandes Heures serve as examples of ducal patronage that combine elements of manuscripts associated with the late Capetian dynasty. Among these are the Belleville Breviary and the lost Hours of Jean le Bon, as well as the didactic mirrors for princes, L{\textquoteright}Estimeur du Monde and the Enseignements of Saint Louis, all intended to link the nascent Valois dynasty, whose legitimacy was contested during the Hundred Years{\textquoteright} War, to the previous Capetian dynasty. The manipulation of devotional objects to create a context for the presentation of political propaganda is adopted subsequently by the Jouvenel des Ursins family to promote legitimate noble identity in both text and image. Surviving books of hours belonging to Michel, Jean II, and Guillaume Jouvenel des Ursins provide evidence of the family{\textquoteright}s desires to promote their claims to nobility by emulating princely models of patronage. The chancellor of France under Charles VII and Louis XI, Guillaume was also the patron the Mare historiarum, a universal history that includes visual references to the family{\textquoteright}s connection to the ancient noble Orsini family of Rome, as well as represents Guillaume as following the model of royal patronage. Evidence of the Jouvenel des Ursins family{\textquoteright}s awareness of the material requirements of noble patronage is also represented in two fragments of a heraldic tapestry, and marshaled the developing medium of panel painting to recreate sumptuous objects. Both sets of patrons took advantage of markers of legitimate political identity to adapt sumptuous devotional objects to function not for prayer alone, but also for personal and family promotion. Through the patterns of patronage employed by Jean de Berry and the Jouvenel des Ursins, it is possible to explore the role of the visual arts in constructing nobility in France during the tumultuous period of the Hundred Years{\textquoteright} War and beyond.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Naumann, Jennifer} } @mastersthesis {11175, title = {Political Manipulation of Religious Imagery in Chola and Khmer Interactions: An Integrated Approach to Charting Past and Present Exchanges}, year = {2011}, school = {Cornell}, abstract = {This dissertation examines the significance of the feminine in ancient Cambodian (Khmer) art focusing on three specific sites dated to the Angkor period (9th to 14th century). Despite the plethora of images and epigraphic references that indicate a critical role for the feminine, most narratives based on the primary sources are centered around the masculine aspects of Khmer history and culture. This predisposition that had its beginnings in the colonial period continues to be perpetuated even in more recent scholarship. The images, monuments, inscriptions, myths and performance traditions examined in this dissertation, and the role of the devotee in interacting with them, poses a challenge to the pre-existing biases against the feminine in Khmer art. Rather than looking at source materials as isolable units, this dissertation explores the possibility that sources such as images, monuments, landscape, myth and performance practices have fluid boundaries, informing and connecting with each other, profoundly influencing our understanding about the significance of the feminine. Subsequently, categories such as political, economic and performative need not necessarily be placed in a hierarchical order nor be isolated from each other as they are in some extant literature. Furthermore, this study also examines sources as being more than mere symbols, rather embodying the actual political and cultural processes of the time. For example, visual depictions, inscribing on temple walls and the manipulation of landscape to interact with built forms could be perceived as encapsulating performative moments. Cultural expressions are therefore at the heart of the political and economic machinery of the kingdom. Images like the Mahalakshmi, Siva, Mahishasuramardini, Vishnu, Lakshmi and Ananta at the three sites likely embodied both Hindu and local sacred entities. These particular representations in their specific locations, along with inscriptions, localized Tantric beliefs, autochthonous myths and performance practices conjointly indicate the critical importance of the feminine to kingship, territorial might, economic and spiritual well-being of the kingdom, elucidated also through a haptic experience of religious sites and imagery. Through an alternative approach to the study of Khmer source materials, this dissertation suggests that the feminine was a powerful presence in Khmer art.}, keywords = {South/Southeast Asian Art}, author = {James, Soumya} } @mastersthesis {11115, title = {Politics of Place: Landscape Painting in Imperial Rome and Its Environs}, year = {2011}, school = {Emory}, abstract = {Arguably the inventors of the genre of landscape painting as a distinct artistic subject, the ancient Romans were especially interested in the representation of place. Taking many different forms, Roman landscape frescoes provided fantastical views onto thick forests, serene harbors, quiet gardens, as well as bustling cities. This dissertation investigates the development and meaning of landscape paintings in the capital city of Rome from the first century B.C. to the third century A.D. By analyzing the iconography, style, and context of these landscape paintings, I argue that landscape imagery was used to express the power of imperial and elite patrons.}, keywords = {Greek/Roman Art}, author = {Foulk, Rachel} } @mastersthesis {11067, title = {The Politics of Scholarship: College Art Association and the Uneasy Relationship between Art and Art History, 1911-1945}, year = {2011}, school = {CUNY}, abstract = {This dissertation examines the critical role that the College Art Association (CAA) played in the early development of art history and studio art education as academic disciplines in U.S. colleges and universities. Although CAA initiated a variety of projects after its inception in 1911, this study focuses on the association{\textquoteright}s journals, specifically the Bulletin of the College Art Association, The Art Bulletin, Parnassus, and College Art Journal. Serving as journals of record for art and/or art history, these publications functioned not only to provide an ongoing exchange of ideas related to the visual arts in higher education, but also to validate authorities and scholars, particularly art historians, and their academic institutions. As a result, certain individuals and schools became prominent in the visual arts. My study therefore addresses not only the histories of art history and studio art, but also the relationship between CAA and its supporting institutions. Another issue in my dissertation is the rapport between CAA{\textquoteright}s two main constituents: the art historians and the artist-teachers. While they united to form CAA in 1911 to promote the visual arts in colleges and universities, the relationship between the two disciplines was often uneasy. Although CAA was established primarily by artist-teachers, the organization was taken over in the mid-1920s by art historians who controlled the journals. By the early 1940s the conflict erupted with the art historians trying to sever ties, albeit unsuccessfully, with the artists. CAA was also affected by economics and politics of the 1930s. During the Great Depression the association struggled financially and adopted questionable policies to maintain publication of its primary journal, The Art Bulletin . With the influx of European emigres, many CAA members also wanted the association to assume a more nationalist identity. In many respects my dissertation demonstrates that CAA was a changing social organization whose identity was at times unstable from the 1910s through World War II, as it was affected by internal conflicts and larger sociopolitical issues.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Houser, Craig} } @mastersthesis {11084, title = {The Politics of Translatio: The Visual Representation of the Translation of Relics in the Early Christian and Medieval Period, the Case of St. Stephen}, year = {2011}, school = {Rutgers}, abstract = {Early Christian and medieval representations of the ritual of translatio documented the circulation of relics both within and between medieval cultures. This dissertation elucidates the ways the ritual was used for religious and secular ends from the fourth to the fourteenth century in both the East and the West. Reliquaries transmuted abject human remains into objects of veneration. Neither fully alive nor dead, the saint{\textquoteright}s body was suspended in a state of perpetual nondecay and endowed with super-natural powers of healing and protection for the faithful. I argue that representations of translatio exploited this essentially ambivalent status of the saint{\textquoteright}s body for religious and secular ends. The detailed iconographic program of the Trier ivory provides a provenance for this phenomenon by linking the translation ritual to its Antique prototypes: the triumph and adventus. Accepting the hypothesis that this object represents the translation of the relics of St. Stephen to Constantinople in the fifth century, I identify the ivory as a prototype of the harnessing of the motif of translatio for secular ends. Later examples such as the mural cycles depicting the translatio of the relics of St. Stephen at San Lorenzo fuori le mura In Rome and the chapel of St Stephen in the monastery at Ziea in Serbia, reveal the further development of this pictorial tradition within a public context and its increasingly explicit conscription for secular ideological purposes. I focus on the case of St. Stephen due to his prominent role in Christian society and the broad dissemination of his cult. As the protomartyr, Stephen was the first individual to emulate Christ{\textquoteright}s sacrifice. Christian rulers understood that their power derived directly from Christ and therefore aligned themselves with him. As shown in the Trier ivory and the murals at San Lorenzo and Ziea, by emphasizing their ability to translate and poses his body, they hoped to establish a divine provenance for their earthly powers. Through the representation of the translatio of St. Stephen, the secular and religious leaders depicted in or associated with these objects conscripted a highly sophisticated visual rhetoric to political ends.}, keywords = {Early Christian/Byzantine Art, Early Medieval/Romanesque/Gothic Art}, author = {Milanovic, Ljubomir} } @mastersthesis {11157, title = {Polychromed Quattrocento Sculpture in Florence}, year = {2011}, school = {IFA/NYU}, abstract = {This dissertation begins with a survey of the relevant Florentine guild and confraternity regulations pertaining to polychromy and underscores their uniquely flexible nature in comparison with Venice and Siena. Conservators{\textquoteright} technical reports are consulted extensively throughout the dissertation. All crucial archival documents, such as guild regulations and membership lists, and the complete Ricordanze of Neri di Bicci, were consulted in the original. New transcriptions are provided. Chapter One provides information gleaned from a new transcription of the membership list of the Painters{\textquoteright} Confraternity of San Luca, elucidating the diversity of the organization. Chapter Two offers an overview of artistic collaboration, specifically the interaction and organization of labor between sculptors and painters with regard to Florentine polychromed sculpture. A new transcription of a Duomo document reveals Donatello{\textquoteright}s collaboration with Bernardo Ciuffagni and Paolo Uccello for the model of The Coronation of the Virgin. Chapter Three studies the workshop practices of the painter Neri di Bicci, with a tabulation of all sculpture he pigmented. Chapter Four is devoted to Donatello as a member of the painters{\textquoteright} confraternity, he noted as "pictor" in a Duomo deliberation. His Cavalcanti Annunciation and its original polychromy are seen to be inspired by a passage from Dante. Chapters Five through Seven discuss the application of color to sculpture according to specific media: marble/stone, ingessatura/stucco/wood, and terracotta. Donatello{\textquoteright}s contributions are considered in each of these chapters focusing on technical innovations in his oeuvre.}, keywords = {Renaissance/Baroque Art}, author = {Korte, Cheryl} } @mastersthesis {11060, title = {Portable Borders/Mythical Sites: Performance Art and Politics at the US Frontera, 1968-Present}, year = {2011}, school = {MIT}, abstract = {Artists working on the U.S. side of the U.S.-Mexican border have, since the 1970s Chicano movement, actively explored this charged site in generating socially conscious art projects. This border art, formerly seen as "marginal," is explored in this dissertation as central to an interrogation of site-specificity and globalization - particularly in the medium of performance art. Based on an analysis of artworks from four decades by artists such as David Avalos and the Border Art Workshop/Taller de Arte Fronterizo, Guillermo Gomez-Pena, Coco Fusco, Felipe Ehrenberg, and the collaborative team of Allora and Calzadilla, the dissertation claims that border artists both anticipated and responded to larger economic and social shifts, particularly the trade relations heralded by NAFTA in 1994. Site-specificity and performance became complex and sometimes contradictory tools that these artists used to make statements on the nature of economic and political relations between North and South, rich and poor, American and Mexican, citizen and immigrant. Art, rather than pure political action, is particularly equipped to encourage such exploration, as the indeterminacy of art (rather than the determinacy of political action) allows for the processes of social change. This line of inquiry can be extended to other border and transnational regions. Rethinking art and art history from its "borders" - literal and metaphorical - ultimately destabilizes traditional art historiographic narratives in a productive way. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Contemporary Art, Latin American/Caribbean Art}, author = {Sheren, Ila} } @mastersthesis {11066, title = {Portrait of the Postmodern Artist as Hysteric}, year = {2011}, school = {Rochester}, abstract = {Crossover celebrity artists Cindy Sherman, Matthew Barney, and Kara Walker{\textquoteright}s creation of diegetic alter egos demonstrates how the subjective splitting once attributed to hysteria has become normative within a postmodern cultural context. This mainstreaming of hysteria arose in the wake of the demystification of the modernist notion of the sovereign subject and the supplantation of reality with simulacral images. These two developments led to a cultural shift characterized by the notion that subjectivity is a performance of the self as a series of simulacral images devoid of any original referent. Though hysteria is widely perceived to be a relic of the nineteenth century, I argue that the mimetic condition epitomizes postmodern subjective shifts. Identity, like the "obsolete" malady, is a performance of subjective lack projected upon the surface of the body. This void manifests as dissociative split selves produced by way of hysterical identifications in which the self is (con)fused with an other. As with hysterics, Walker, Barney, and Sherman pose themselves to viewers as a question. They ask audiences to diagnose their protean symptoms and identities. Thus, viewers, like clinicians, are hystericized in the process of attempting to convert performative displays of discordant and ahistorical symptoms into coherent narratives and stable identities. These artists{\textquoteright} alter egos compel us to recognize ourselves as similarly fragmented mimetic subjects. In the wake of the postmodern turn, binaristic conceptions of race, gender, and sexuality have become more fluid. Such mutability is the result of widespread recognition that identities are performative. Presenting oneself as raced and gendered in accordance with established codes reifies the ideologies that motivated the performances in the first place. While postmodernism has seen the efflorescence of posts - post-racial, post-feminist, post-human - we are hardly free of the instinct to categorize others. Thus, we live in an intriguing moment in which identities are seen as fluid and evolving yet we cannot seem to relinquish the notions of racial and sexual difference. However, these artists suggest that we are moving toward the possibility of abolishing such divisive identity categories and are beginning to formulate alternative means of defining ourselves in relation to others.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Holtzman, Dinah} } @mastersthesis {11148, title = {Portraiture in New Spain, 1600-1800: Painters, Patrons, and Politics in Viceregal Mexico}, year = {2011}, school = {IFA/NYU}, abstract = {This dissertation charts some of the most significant events for the development of portrait-painting in New Spain in order to shed light on a problematic genre that is often overlooked or misunderstood, even by scholars in the field. The first chapter examines the corporate portrait in early seventeenth-century Mexico City, specifically the series of canvases depicting archbishops in the cathedral chapter hall, and the role of the painter as an arbiter of taste. The second chapter investigates the persistence of this established model, which was a narrowly constructed and exclusively male tradition, which lasted a century and a half. The third chapter discusses the extraordinary innovations of the early eighteenth century. As a result of many factors, including profound economic and social changes, there began an explosion of portrait commissions after 1700, especially in the previously ignored spheres of women and family. The final chapter deals with the foundation of the Academy in Mexico and its role in the Bourbon effort to retain control over its dominion by re-imposing artistic taste in the colony. One of the strategies employed to this end was the importation of a generation of Spanish artists trained at the Academy in Madrid. Portraiture in the viceroyalties, like the court culture of its government seats in Mexico City and Lima, was inherently conservative, concerned as it was with the shaky balance of power that defined colonial politics and society. Once the formula of state portraiture was established in New Spain, it remained fairly uniform because of the inherent demands of such patrons. The first portrait commissions were for series of statesmen; later depictions needed to comply with and consolidate this corporate template. In this way, portraiture in New Spain developed differently than it had in Europe because its tradition was so firmly rooted in the series of viceroys and prelates. Instead of developing along the art-historical arc that characterizes many parts of Europe, portraiture in New Spain followed a different course.}, keywords = {Renaissance/Baroque Art}, author = {Brown, Michael} } @mastersthesis {11050, title = {Pottery Production, Mortuary Practices, and Social Complexity of the Majiayao Culture in Northwest China (ca. 3300-2000 B.C.)}, year = {2011}, school = {Washington University}, abstract = {The Majiayao Culture (ca. 5300-4000 BP) is famous for its stunning painted pottery vessels. First discovered in the 1920s in northwestern China, these Neolithic painted pottery vessels have become one of the most popular icons used to depict the rich material culture of ancient China. Today, many museums throughout the world hold Majiayao painted pottery vessels in their collections. We know much about the pottery, but research on the associated Majiayao Culture has been limited to cultural histories that emphasize chronology and trait-list classification. These approaches present the Majiayao Culture as static and simplify the social and economic complexity of the people who composed this society. Although scholars commonly assume that Majiayao painted pottery vessels were made by specialized craftspeople, the social and economic processes behind the production of these vessels have long been overlooked. Materials discussed in this dissertation include firsthand attribute and physicochemical analyses of hundreds of ceramic vessels and samples selected from multiple sites in Gansu, Qinghai, and Sichuan provinces. These data are supplemented with settlement pattern and mortuary analyses of thousands of published sites and burials. By synthesizing these data, this study illustrates a positive correlation between regional density of settlement distribution, intensification of pottery production, and degree of social inequality in each phase during the Majiayao Cultural period. Rather than showing a simple linear process of social complexity, however, there are distinct regional variations in each phase and significant regional fluctuations over time. Results of this study demonstrate economic and social patterns related to Majiayao ceramics were far more complex than we have previously thought. Specifically, intensive ceramic production among these Neolithic agricultural communities was primarily driven by the increasing demand to offer large quantities of painted pottery vessels at funerals. These Neolithic communities fulfilled the increasing demand for painted pottery vessels in mortuary practices by sacrificing vessel quality to promote production efficiency. When the demand for vessel quantity reached its peak, no products were made with the skill and care comparable to the most high-quality vessels dated to earlier phases. Further, the great demand also encouraged the development of inter-regional exchange involving painted pottery vessels. Certain production groups in the core area of site distribution in each phase were able to make relatively high quality vessels and successfully increased their output to best meet the needs of both internal and external consumers. Therefore, I argue that the distribution and consumption of these craft goods was not limited by kin organization. I emphasized these vessels were marketable objects-commodities. The way these craft goods moved from the hands of potters to the consumers was associated with complicated social and economic interaction/exchange, about which we still have limited understanding. The development of social hierarchy in this region is indicated by the disparity of painted vessels unearthed from graves. The preference for painted storage jars may relate to the development of agriculture in this region. These vessels seem to be used as a symbol of wealth. However, these craft goods were generally available for most social members of different ranks. Exchange of goods also led to an exchange of cultural and social experiences. Diverse social values might have been delivered and structured through the circulation of Majiayao painted pottery vessels among the living and between the living and the dead. Patterns identified in this study shed new insights into conceptualizing the dynamic social and economic relationships among Neolithic village-scale communities.}, keywords = {Chinese Art, Prehistoric Art}, author = {Hung, Ling-yu} } @mastersthesis {11172, title = {The Promise of the Modern: State, Culture, and Avant-Gardism in India (ca. 1930-1960)}, year = {2011}, school = {Minnesota}, abstract = {At a time when artistic, intellectual, and critical discourses in the South Asian public sphere stand besieged by aggressive nationalist conservative forces, this dissertation returns to the troubling question of the intersections between art, aesthetics, and politics. Focusing on four discrete but deeply interrelated sites-art exhibitions, the museum, the urban public sphere, and the space of domesticity-"The Promise of the Modern: State, Culture, and Avant-gardism in India (ca. 1930-1960)" suggests that aesthetics as a system of sense perception was, and still is, central in formulating the political field. Mapping the interrelations among vision, aesthetics, and the political in early post-Independence India, I suggest that artistic practices fundamentally altered and reframed the experience of seeing and inhabiting a modern India. Locating modern art and its aesthetic discourses within an expansive visual field constituted through museology, art history, and the popular media, I foreground an Indian avant-gardism that was deeply invested in imagining a different life praxis in/for early post-Independence India. This, I suggest, was the promise of the modern.}, keywords = {South/Southeast Asian Art, Twentieth-Century Art}, author = {Gupta, Atreyee} } @mastersthesis {11058, title = {Qiu Ti{\textquoteright}s Contributions to the Storm Society and the Intersection of Modernist Ideology, Public Receptivity, and Personal Identity for a Woman Oil Painter in Early Twentieth-Century China}, year = {2011}, school = {Kansas}, abstract = {Despite her pioneering actions as one of the first female oil painters in China, Qiu Ti (1906-1958) remains on the periphery of China{\textquoteright}s modernist art movement. This dissertation repositions her to the center of a lively early twentieth-century dialogue about new roles for women in China{\textquoteright}s art world. Focusing on her involvement with the influential art group Juelanshe (often translated Storm Society), this study reassess her professional identity and the impact her membership had on the 1930s Shanghai art community. Examining contemporary magazines, essays on modernist art theories, art group manifestos, and the author{\textquoteright}s own interviews with the artist{\textquoteright}s children, this dissertation sheds new light on Qiu Ti{\textquoteright}s contributions. It demonstrates that, though her career ended early, the daring Qiu Ti embraced new styles and genres of modernist art with the same adventurous spirit as her male colleagues.}, keywords = {Chinese Art}, author = {Wright, Amanda} } @mastersthesis {11104, title = {Queenship, Cosmography, and Regeneration: The Decorative Programs and Architecture of Ramesside Royal Women{\textquoteright}s Tombs}, year = {2011}, school = {IFA/NYU}, abstract = {This dissertation examines the dramatic Ramesside period (1292-1075 BC) enhancement of royal women{\textquoteright}s tombs, relates this mortuary phenomenon to changing conceptions of queenship and funerary beliefs regarding royal women, and places it in historical context. The basis of this study was, primarily, an examination and interpretative analysis of the decorative programs and architecture of fifteen Ramesside royal women{\textquoteright}s tombs in the Valley of the Queens and, secondarily, a comparison of these queens{\textquoteright} tombs with those of contemporary kings, princes, and Tawosret, the late 19th Dynasty female pharaoh. This was done in order to identify the defining characteristics of Ramesside royal women{\textquoteright}s tombs and to discern how gender, hierarchical status, royal role, and imagined afterlife needs determined their architectural forms and decorative content. This study demonstrates that Ramesside queens{\textquoteright} tombs represent, for the first time, a separate, parallel "queenly" counterpart to kings{\textquoteright} tombs in terms of both form and function. The cosmography of Ramesside royal women{\textquoteright}s tombs was of such a high order of complexity that, like contemporary kings{\textquoteright} tombs, each served as a microcosmic representation of the deceased{\textquoteright}s personal netherworld and evoked the processes of re-conception, renewal, and rebirth that the deceased was imagined to have experienced in the afterlife. Consequently, each queen{\textquoteright}s tomb reflected the desired-and autonomous-afterlife experience of the royal female tomb owner. Furthermore, enhancements made to Ramesside royal women{\textquoteright}s tombs were part of an overarching Ramesside aggrandizement of all royal tombs. This phenomenon was propelled by an interlocking set of ideological, historical, and religious circumstances specific to the Ramesside period, but with roots in the late 18th Dynasty: a mythologization and elevation of the queenly role, the reinstatement of the "god{\textquoteright}s wife" title for women, the Ramesside dynasty{\textquoteright}s need to establish its own political legitimacy in the wake of a post-Amarna succession crisis, and a complex Ramesside reaction to the religious and ideological changes wrought by Akhenaten during the Amarna period.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {McCarthy, Heather} } @mastersthesis {11194, title = {The Quest for Legitimate Modernity with the People: Minjung Misul in the 1980s}, year = {2011}, school = {Cornell}, abstract = {This study delineates minjung misul{\textquoteright}s ("the people{\textquoteright}s art") sotong ("dialogue") in reenvisioning Koreans{\textquoteright} modernism and nation-state during the 1980s{\textquoteright} democratization movement of South Korea. Aligned with the postcolonial dissident movement and the democratization movement, the minjung artists{\textquoteright} multilayered dialogue with the sociopolitical, economic, cultural-intellectual, and spiritual realms articulated the artists{\textquoteright} underlying operational logic and aspirations-the creation of a legitimate Korean modernism and modernity-in the form of dissident nationalism. In contrast to the state{\textquoteright}s ethnic nationalism, dissident nationalism, which inherited the Korean desire for democracy from the nationalist movement, engaged in political and aesthetic-ethical contemplations of democracy. With democracy as their central principle, the minjung artists radically reexamined and reconceptualized democracy and other "familiar" yet ambiguous and multi-layered notions/discourses in their reworking of Korean modernism and everyday/national community. In exploring the minjung artists{\textquoteright} aesthetic, discursive, and activist endeavors, I demonstrate that the minjung artists attempted to create a competing model of modernism and modernity that would have moral legitimacy over the existing Western and Korean modernisms and modernities. I explore how their structural critique of art ideology and of the art establishment developed into a reenvisioning of everyday community and of the democratization of the Korean nation-state. By interrogating the minjung artists{\textquoteright} principle values, humanism/democracy, the study shows that the artists{\textquoteright} imagining of the people{\textquoteright}s nation-state sows the seeds for a new vision of the transnational.}, keywords = {Twentieth-Century Art}, author = {Yoo, Hyejong} } @mastersthesis {11180, title = {(Re) Constructing Identity: World War II and the Reconstruction of Cologne{\textquoteright}s Destroyed Romanesque Churches, 1945-1985}, year = {2011}, school = {IFA/NYU}, abstract = {Architecture{\textquoteright}s ability to accumulate and carry memory gives it a key role to play in the formation of identity. When works of architecture are destroyed, it can therefore have a profound impact on memory and identity, giving rise to a disturbing sense of uprootedness and disorientation. With this in mind, this study examines the crisis of identity facing Germany after World War II as it struggled to deal with the destruction of its cities by Allied bombing, and simultaneously with the collapse of morals, beliefs and values that the ruins seemed so vividly to represent. Focusing on Cologne, it argues that the effort to reconstruct the city{\textquoteright}s most identifying historic monuments, its twelve Romanesque churches, aimed at reestablishing continuity with the pre-Nazi past and reaffirming traditional identity as the basis for the postwar future. The study begins with World War I, where positions on architectural destruction and reconstruction were first elaborated and ways of handling them tested. It then presents the progressive destruction of Cologne and its Romanesque churches during World War II, describing historic preservationists{\textquoteright} efforts to handle it and evoking its impact on residents{\textquoteright} perceptions of their city{\textquoteright}s identity. Additionally, the thinking behind Allied bombing strategy is examined in terms of the conception of German identity it assumed. The body of the dissertation then explores the various dimensions of the initial postwar discussion about how to rebuild the Romanesque churches: the need for continuity and spiritual comfort at a time of great instability; the desire for Christian renewal in both religion and politics; the wish to assert Cologne{\textquoteright}s difference as a city with age-old traditions running counter to Nazism; and the quest for reacceptance into the international cultural and political community. This is followed by a closer analysis of the reconstruction process at four individual churches, and how it evolved with the changing attitudes and priorities of the postwar decades up to 1985. The study concludes with an assessment of the overall character and significance of the rebuilding effort, as well as some suggestions about its relevance to current debates on the handling of the war{\textquoteright}s architectural legacy.}, keywords = {Twentieth-Century Art}, author = {Blokker, Johanna} } @mastersthesis {11188, title = {Rebuilding Warsaw: Conflicting Visions of a Capital City, 1916-1956}, year = {2011}, school = {IFA/NYU}, abstract = {This dissertation{\textquoteright}s objective was to examine architectural and urban planning theories and practices of post World War II Warsaw within the context of larger twentieth century history, and in so doing, oppose those established interpretations, which have labeled the commencement of the post war, Communist directed rebuilding process as a profound break in Warsaw{\textquoteright}s architectural and urban planning history. Warsaw{\textquoteright}s 1945 devastated condition, and soon to follow radical politicoeconomic system, had leant itself to a reading of the city{\textquoteright}s twentieth century history in terms of discontinuity. In contrast, I broadened the scope of inquiry to encompass the periods between the two world wars, as well as the years of the Second World War, in effort to explore historical continuities within the fields of architecture and urbanism and revisit the post World War II rebuilding campaign{\textquoteright}s efforts at reaffirming Warsaw{\textquoteright}s function as capital, a notion at the core of local architectural and urban planning activities since Poland achieved the status of independent nation-state in 1918. I treated the rebuilding campaign of the late 1940s and early 1950s as an effort to not only combat the devastation caused by the recent war, but also to further undo the perceived damage wrought by the laissez faire development dated to the prolonged era of partition by neighboring states, a preoccupation of the interwar urban planners. By organizing the content into three diachronic chapters, I strove to demonstrate the creative ideas and political pressures brought to bear on the projection and realization of Warsaw as capital city through its master plan proposals, and architectural and urban projects. The historic bookends of 1916 and 1956, correspond to two master plans, both significant milestones in Warsaw{\textquoteright}s growth. For the years between, this project traces various additional master plans proposed for Warsaw, to be considered as units within a single continuous planning process. Architectural production is discussed in terms of preservation, reconstruction, and new construction through which Warsaw-based practitioners addressed local issues while responding to international developments within their respective fields.}, keywords = {Twentieth-Century Art}, author = {Jozefacka, Anna} } @mastersthesis {11127, title = {Reconsidering the Body in Korean Modern Art: Ku Ponung{\textquoteright}s Body, World, and Art}, year = {2011}, school = {UCLA}, abstract = {This dissertation proposes to consider Ku Ponung (1906-1953) as an artist, critic, poet, illustrator, book publisher, antique collector, and art educator, and thereby illuminate important aspects of colonial modernity in Korea. It examines the prominent yet controversial personality of Ku Ponung in the context of various art historical questions and social and political aspects. The discourse of modern individualism became most intensive around 1930 during the period of Japanese colonial rule, simultaneous with attempts to define a collective Korean identity. The pursuit of Korean modernity became further complicated during the Pacific War from the late 1930s through the liberation from the colonial rule in 1945 to the Korean War in the early 1950s. This study attempts to investigate the various questions of Korean modern art by employing perspectives on the biological, social, political, and artistic notions of the body of which the interpretation and representation encountered significant changes under the new paradigm of modernism. Using the conceptual frame of the "body," it interprets several layers of meaning in Ku Ponung{\textquoteright}s life as an artist, from the literal meaning of the human body to its metaphorical notions. Chapter I defines the theoretical foundation of modernism which is inevitably related to westernization and colonization and explains the increasing concern with the body in Korean society and the art world during the early twentieth century. Chapter II on "the deformed body" focuses on Ku{\textquoteright}s early life, his physical problems as a hunchback, his self-image in a modern urban world, and his relationship with his family and friends. Chapter III on "the resisting body" discusses Ku{\textquoteright}s education in Japan and his activities after his return to Korea when, as an outsider, he resisted social norms imposed by the colonial government and the mainstream art world. Chapter IV on "the fused body" explores Ku{\textquoteright}s efforts to reconcile Korean tradition with Western and Japanese modernism and to break the boundaries between different art genres in his pursuit to create a Korean version of modern painting. Chapter V on "the colonial body" reevaluates Ku{\textquoteright}s collaboration with the Japanese government during the period of intense militarism by examining his conception and appropriation of the body in the context of political and social metaphors. By examining Ku Ponung{\textquoteright}s conception and representation of the body in the context of his times and spatial surroundings, this dissertation expects to overcome prevailing systems of linear evolutionary periodization, stylistic division, and political dichotomy and to contribute eventually to a reconsideration of the history of Korean modern art within a new conceptual framework.}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {Lee, Jungsil} } @mastersthesis {11079, title = {Regards d{\textquoteright}Eisenstein sur l{\textquoteright}oeuvre d{\textquoteright}Honore Daumier: une reception meconnue}, year = {2011}, note = {Also listed is Paris Nanterre University}, school = {Montreal}, abstract = {The aim of this PhD thesis is to cast a new light on Eisenstein{\textquoteright}s work and thought, by focusing on his privileged relationship with Daumier{\textquoteright}s art. As we will come across Eisenstein{\textquoteright}s graphic, theatrical, cinematographical and theoretical work, we will unveil Daumier{\textquoteright}s still unknown reception in Russia and in U.S.S.R. By the same token, we will expose and discuss Eisenstein{\textquoteright}s challenging and modern vision of Daumier. The methodology chosen here is necessarily transciplinar.}, keywords = {Drawings/Prints/Works on Paper, Film/Video}, author = {Ackerman, Ada} } @mastersthesis {10999, title = {Reshaping the Neoliberal City: The Politics of Cooperation and the Movimiento de Ocupantes e Inquilinos in Buenos Aires, Argentina}, year = {2011}, school = {Penn State}, abstract = {This dissertation investigates low-cost housing cooperatives produced by the Movimiento de Ocupantes e Inquilinos(MOI, Movement of Squatters and Tenants), a small non-governmental housing organization in Buenos Aires, Argentina. Since its founding in 1991, MOI has constructed its cooperatives in the sociopolitical context of neoliberal political reforms, forces which have been largely disadvantageous to the city{\textquoteright}s poor populations. The hypothesis of this dissertation is that if MOI cooperatives are an example of a creative alternative for low-cost housing that appeals to neoliberal ideology, then it stands to reason that analyzing the forms, styles and spaces of MOI cooperatives can correspondingly elucidate new attitudes towards urban space, housing and the working poor, effectively identifying how this non-governmental organization has contributed to the reshaping the neoliberal city. To test this hypothesis, this dissertation analyzes the architectural forms of MOI cooperatives within the context of neoliberal Buenos Aires. Each chapter takes on one MOI cooperative for case study, and asks the following questions: How were urban space and its uses affected through shifts in politics, economics and public policy? What was the discourse around low-cost housing that emerged in this context? What were the kinds of choices regarding architectural form and style that were made indesigning these new cooperatives? How have existing and new forms of social identity for the working poor been mediated through MOI{\textquoteright}s adaptive reuse of abandoned property? Through archival, field and ethnographic research, this dissertation elucidates the conditions that engendered MOI{\textquoteright}s creative rethinking of low-cost, urban housing. In thecurrent context of housing policy reform, this dissertation serves to define a more inclusive history of housing and a broader definition of the neoliberal city in Buenos Aires, in Latin America and abroad.}, keywords = {Architectural History/Historic Preservation, Latin American/Caribbean Art}, author = {Dean, Kristin} } @mastersthesis {11027, title = {Respecting Hair: The Culture and Representation of Women{\textquoteright}s Hairstyles, 1865-90}, year = {2011}, school = {CUNY}, abstract = {Using a hybrid approach that merges art historical and material culture inquiry, this dissertation recognizes the centrality of hairstyles in figure painting, both portraiture and genre, and photography of the mid- to late nineteenth century in the United States. After establishing the pervasive reach of hair{\textquoteright}s culture and industry (Chapter One), it argues that artists exploited women{\textquoteright}s hairstyles as a way to convey commentaries on such topics as conspicuous consumption and monetary wealth (Chapter Two), social class and the development of the modern woman (Chapter Three), the New Woman (Chapter Four), publicly exposed women a la toilette and en deshabille (Chapter Five), and overt sexuality (Chapter Six). It considers the specific ways in which artists depicted hair and how that treatment helped achieve their goals. It affirms that hair deserves serious attention with regard to its cultural significance, specifically within the American art historical context of the nineteenth century, which has not been addressed in any publication to date. The study begins in the mid- to late 1860s with the considerable rise in new advertising, products, and services related to hair after the Civil War and how these phenomena were treated by artists. It proceeds to discuss the entrenchment of the Cult of True Womanhood of the 1860s and 1870s, which had a patriarchal and conservative effect on hairstyles and their depiction in art. The emergence of the New Woman, which brought about a radical consideration of hairstyles about 1890, provides an end point. By tracing the development of women{\textquoteright}s hairstyles, this dissertation contends that the study of hair should take its place with readings of other visual culture in paintings, such as clothing, furniture, and interior decoration that broaden our view into the motivations behind cultural changes. The study highlights the following artists: Aaron Draper Shattuck (1832-1928); Thomas Pritchard Rossiter (1818-1871); Eastman Johnson (1824-1906); Winslow Homer (1836-1910); Alice Austen (1866-1952); Mary Cassatt (1844-1926); and John Singer Sargent (1856-1925).}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Block, Elizabeth} } @mastersthesis {11121, title = {The Roman Trophy: From Battlefield Marker to Emblem of Power}, year = {2011}, school = {IFA/NYU}, abstract = {The trophy phenomenon, an ancient Mediterranean mode of victory commemoration that encompassed a variety of visual forms, is usually viewed as a wholly Greek convention due to its Greek origins. While the trophy was a relatively limited genre in the Greek artistic repertoire, it was ubiquitous in Roman imperial art. Nonetheless, its use by the Romans, like much else in Roman art, has been rather neglected by scholars because it is often perceived as derivative. This dissertation engages with recent trends in the scholarship of Roman art in general (e.g., Holscher 1987) and the visual culture of Roman warfare in particular (e.g., Dillon and Welch 2006) in order to examine the Roman trophy in contrast to its Greek antecedents. The study reveals that soon after the Romans adopted the trophy from the Greeks they began to make striking innovations by introducing a large and diverse repertoire of new forms, meanings, and uses that are for the most part without Greek precedent. The Roman trophy is thus stark testimony to originality in the Roman visual arts, particularly with respect to expressions of military might. The dissertation focuses on two particularly distinctive Roman innovations that date to the Republican period and reach "maturity" under the Augustan principate. The first of these developments is the depiction of bound captives with mannequin trophies in major, public sculptural monuments and on reliefs decorating everything from coins to private funerary monuments such as the stately Tomb of Caecilia Metella on the Via Appia. The other major innovation discussed here is the construction of towering architectural monuments placed at geographically significant locations in order to declare Roman cultural and military presence. Such monuments reflect a Roman reinvention of the Greek tradition of erecting a mannequin trophy at the turning point of battle. Throughout, the dissertation aims to provide a new interpretive framework for understanding the often misconstrued nature of the ancient trophy. The study concludes by looking forward to the possibilities for applying this framework to later imperial Roman trophies, and to the study of the post-antique afterlife of the trophy as a motif that appears in the visual arts from the Renaissance onward, including spectacular examples in the paintings of Mantegna, Ingres, and Gerome; in the architectural decoration of the palace at Versailles; and even on a temporary stage erected for Hitler{\textquoteright}s visit to Rome in 1938.}, keywords = {Greek/Roman Art}, author = {Kinnee, Lauren} } @mastersthesis {11191, title = {Rothko and Architecture}, year = {2011}, school = {Temple}, abstract = {The overall goal of this dissertation is to identify and examine the neglected aspects of the literature on Mark Rothko{\textquoteright}s 1958-1959 project to make murals for the Four Seasons restaurant (see Figs. 1-12) in the then-newly opened Seagram Building in Manhattan. These include Rothko{\textquoteright}s attempts to merge the mediums of painting and architecture in order to create an antagonistic environment in the restaurant; how his visits to Italy before and during the project reinforced this goal; how a good deal of the figurative paintings from Rothko{\textquoteright}s earliest career anticipated his blend of aggression and architecturally-related themes; the connection between Rothko and Mies van der Rohe, the architect of the building, in regard to the theme of transcendence; and how his experiments with architectural subjects and motifs aligned Rothko with some of the most influential vanguard artists in New York in the late 1950s and early 1960s. Discussions of these topics will suggest that his career-long references to architecture functioned, for him, as something intended to produce discomfort in the viewer. I will show that his acceptance of a lucrative commission to make paintings for a lavish restaurant that might seem at first to suggest pandering to an elite audience had the paradoxical effect of condemning that audience. I intend also to demonstrate that Rothko understood that the project was not merely about making paintings. Instead, for him, it dealt more with the challenge of uniting architecture and painting.}, keywords = {Twentieth-Century Art}, author = {Palczynski, Matthew} } @mastersthesis {11099, title = {Sacred Image, Civic Spectacle, and Ritual Space: Tivoli{\textquoteright}s Inchinata Procession and Icons in Urban Liturgical Theater in Late Medieval Italy}, year = {2011}, school = {Pittsburgh}, abstract = {This dissertation examines the socio-politics of urban performance and ceremonial imagery in the nascent independent communes of late medieval Lazio. It explores the complex manner in which these central Italian cities both emulated and rejected the political and cultural hegemony of Rome through the ideological and performative reinvention of its cult icons. In the twelfth century the powerful urban center of Tivoli adopted Rome{\textquoteright}s grandest annual public event, the nocturnal Assumption procession of August 14-15, and transformed it into a potent civic expression that incorporated all sectors of the social fabric. Tivoli{\textquoteright}s cult of the Trittico del Salvatore and the Inchinata procession in which the icon of the enthroned Christ was carried at the feast of the Assumption and made to perform in symbolic liturgical ceremonies were both modeled on Roman, papal exemplars. The Tiburtine procession, however, became a ritual communal act and its Savior icon an apotropaic palladium that protected the city from spiritual and material dangers. Rather than a mere imitation of Roman practices, the Inchinata was a unique, site-specific rite that preserved communal memory and constructed new religious and social narratives. The sacred geography of the procession drew all of the city{\textquoteright}s most strategic religious, defensive, and historical monuments into a self-referential spatial and ritual matrix that sacralized the city{\textquoteright}s defensive structures, invoked its protector saints, and celebrated its sacred history and local mythology. Through this ritual, Tivoli, a perennial military rival of Rome, "branded" itself as a formidable political and cultural rival as well. I contextualize this tradition by examining a spectrum of analogous cases in Lazio where other late medieval processional "copies" of Rome{\textquoteright}s Acheropita icon were in reality powerful local symbols of communal identity and indices of an evolving civic self-awareness. My treatment of this phenomenon addresses fundamental underlying questions about the origins of religious drama and the evolution of urban culture in a transformative period for the Italian city, a period characterized by fierce political ambition, rapid secularization, and artistic innovation.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Perry, Rebekah} } @mastersthesis {11124, title = {Sarcophagi and Funerary Display in Roman Aphrodisias}, year = {2011}, school = {IFA/NYU}, abstract = {Roman sarcophagi and their sculpted reliefs have long been of interest to scholars, particularly in terms of mythological subject matter, sculptural style, and concepts of death and the afterlife. More recent developments in the study of Roman art history have drawn funerary art into a broader cultural discussion focusing on the social function of objects within their original contexts. Compared to the sarcophagi of Roman Italy, the sarcophagi of Asia Minor have received little scholarly attention. This study attempts to fill part of this lacuna by examining sarcophagus use in a single local context, the city of Aphrodisias in Caria. Aphrodisias preserves an impressive quantity of marble sarcophagi, which until now have been considered mainly in terms of style and iconography, with little attention given to their display context or social function. Though few complete funerary monuments are preserved at Aphrodisias, the original display installations of sarcophagi can be partially re-created through a detailed study of archaeological remains in the necropoleis, sarcophagus findspots, descriptions of tomb structures in inscriptions, and comparanda from other sites in Asia Minor. The evidence suggests primarily above-ground display of sarcophagi, often as the uppermost element in a family tomb monument. The vertical arrangement of burials within the tomb suggests a concern with preserving the hierarchical structure of the Roman family. The imagery and inscriptions decorating sarcophagi were also significant as expressions of identity and social aspiration. The juxtaposition of largely standardized iconography and portrait types with more specific details of names, genealogy, occupation and citizenship, demonstrates a common social ideal shared by people of widely-differing socio-economic classes. Distinctions in class are also visible in the patterns of sarcophagus distribution throughout the necropoleis. Analysis of the varying sarcophagus sizes, types of tomb structures, and names in funerary inscriptions suggests that certain necropoleis were dominated by the wealthy, established elite, and others by middle-class families newly arrived into Roman society. The evidence drawn together from a wide variety of sources reveals the multi-faceted social function of sarcophagi at Aphrodisias, and contributes to a greater understanding of the diverse factors influencing funerary culture in Roman Asia Minor.}, keywords = {Greek/Roman Art}, author = {Turnbow, Heather} } @mastersthesis {11173, title = {Selfsame Spaces: Gandhi, Architecture, and Allusions in Twentieth-Century India}, year = {2011}, school = {Minnesota}, abstract = {In this dissertation, I suggest that the Indian political leader Mohandas Karamchand Gandhi infused deep and enigmatic meanings into everyday physical objects, particularly buildings. Indeed, the manner in which Gandhi named the buildings in his famous Satyagraha Ashram in Ahmedabad in the early part of the twentieth century, makes it somewhat difficult to write, in isolation, about their physical appearance. Quite apart from considering what the buildings at the Ashram denoted physically, that is, architecture as shelter, one must also take into account what their names connoted. Writing a history of Gandhi{\textquoteright}s engagement with architecture must necessarily involve taking into account how he sometimes mythified architectural spaces into metaphors for other spaces. In this dissertation, then, I enquire into how Gandhi mobilized particular aspects of the physical appearances of the buildings that he lived in or considered between 1891 and 1930, as allegories. I also write about how Gandhi systematically infused allegorical meaning into his experiences of places by giving names to those places. Moreover, I consider how, in 1936, Gandhi explicitly emphasized the physical appearance of a hut that had been built in the village of Segaon by Mira Behn, the famous social worker. If Gandhi spoke at length about how Mira Behn had built that hut out of material that contingently became available to her in Segaon, he did so in order to emphasize life as the activity of making do with contingencies. To fully appreciate the purport of Gandhi{\textquoteright}s description of Mira Behn{\textquoteright}s hut, then, one has to read it primarily as an allusion towards a contrast between an inner life of equanimity and an outward life of coping with transience and contingencies. Indeed, on the one occasion Gandhi exclusively spoke about the denotative aspects of architecture, he did so in order to make those very aspects connote a deeper, more enigmatic spatial reality which he was always already familiar with. I derive, then, from Gandhi{\textquoteright}s reading of spaces as allegories for other intensely familiar spaces, or what I call self-same spaces, to write about Gandhian architectural experiments in post-colonial India.}, keywords = {South/Southeast Asian Art, Twentieth-Century Art}, author = {Maddipati, Venugopal} } @mastersthesis {11171, title = {Singular Skill and Beauty: Antonello da Messina Between North and South}, year = {2011}, school = {Princeton}, abstract = {This dissertation proposes a new understanding of the contributions of the Sicilian painter Antonello da Messina (c.1430-1479) through the perspective of historiography and reception. Antonello has emblematized processes of cross-cultural exchange in art history since the sixteenth century, when Giorgio Vasari crafted a biography in which the painter traveled to Flanders to learn oil painting from Jan van Eyck before returning to Italy to disseminate the new method among his countrymen. However, the artist granted such a pivotal role in the history of art came from Messina-a town that lacked a strong native painting tradition-and very little is known of his life, including his birth date, who trained him, his travels (beyond one trip to Venice), and with whom he came in contact during his brief career. Subsequently, scholars have filled the documentary and contextual gaps in the record with hypothetical journey and contacts for Antonello, including everywhere from Bruges to Naples, and everyone from Giovanni Bellini to Enguerrand Quarton. The dissertation considers these accounts as signs of Antonello{\textquoteright}s constitutive role in art history: his idiosyncrasy forces a confrontation with traditional modes of art historical narrative, which often focus on biography or socio-historical context. Antonello is also known for his distinctive and lifelike portraits, devotional paintings and altarpieces, many signed with the highly personal touch of an illusionistic cartellino proclaiming "Antonello da Messina painted me" [Antonellus messaenus me pinxit]. His work thus compels a profound feeling of encounter: not only between Italy and Flanders, but also between viewer and work. The purpose of the dissertation, then, is to carefully consider Antonello{\textquoteright}s many readers and multifaceted interpretations, mapping what little is known of Antonello{\textquoteright}s life against the rich landscape of biographies and imaginative connections made by scholars, poets, and connoisseurs. After contending with the schemata of Antonello{\textquoteright}s life and work gathered from documentary evidence in an introductory chapter, four chapters examine different facets of his reception: Vasari{\textquoteright}s Life and its afterlife; Sicilian response; the reception of a lost painting, Saints Francis and Dominic; and Antonello{\textquoteright}s role, through connoisseurship and collecting, in the formation of the modern "universal survey museum," which aims to portray the history of art through strategic display.}, keywords = {Renaissance/Baroque Art}, author = {Swartwood House, Anna} } @mastersthesis {11169, title = {The Sketch as a Site of Experimentation and Invention in Late-Quattrocento Florence}, year = {2011}, school = {Virginia}, abstract = {In the drawings of the 1470s and 1480s Leonardo da Vinci began working in a mode characterized by the multitude of images on a single sheet, the quickness of their making, and the choice and economy of technique, all of which combined to create a "sketch," born of the efforts of observation, memory, and imagination. Today the sketch is viewed as a prized record of the artist{\textquoteright}s creative process, its birth traced to those early scrawls of Leonardo, but a greater understanding of its origin, and by extension, the complex relationship between the artist{\textquoteright}s eye, mind, and hand, is gained by shifting our gaze to the generation preceding his, to Antonio del Pollaiuolo and Andrea del Verrocchio, in whose drawings the first impulses of the sketch as a site of invention, experimentation, and artistic self-consciousness are manifested. These slightly older artists play a crucial role as models and as teachers for an entire generation of Florentine artists, and the immediate effect of their graphic innovations is revealed in the work of Leonardo and other contemporaries such as Domenico Ghirlandaio and Sandro Botticelli. This dissertation takes the objects of drawing as the primary source of evidence, the carefully selected works interpreted as autonomous sites of invention, rather than purely practical tools in service to other media. The study of the sketch as an object is combined with an original evaluation of the theoretical language inherited and devised by Renaissance artists and writers to discuss drawing, invention, and imagination. Building on this analysis of image and text, a novel approach evolves that illuminates fifteenth-century drawing in a new way and provides a clearer lineage of the driving forces of western art production of the last 500 years. This more synthetic method reveals the full scope and function of late-Quattrocento Florentine sketches, a crucial step in the creation of a revisionist history of drawing that acknowledges a continuous evolution in the conception and reception of drawing, rather than the single moment of revolution attributed to Leonardo and Michelangelo around the year 1500.}, keywords = {Renaissance/Baroque Art}, author = {Stewart, Jessica} } @mastersthesis {11085, title = {The Sound of Silence: Sacred Place in Byzantine and Post-Byzantine Devotional Art}, year = {2011}, school = {Penn State}, abstract = {This study explores the representation of holy places in devotional images from the early Christian era to the post-Byzantine period. I delineate five phases of this development. The first phase (300s-500s) was connected to the rise of Christian sacred sites. Christian ideas about sacredness of locations built upon the Greek and Roman cults, and the Jewish religion but reflected Christianity{\textquoteright}s own practices. Despite the variety of Christian holy places, only biblical sites appeared in religious images. This tendency changed in the post-Iconoclastic period. After the 900s, non-biblical sacred places gradually populated icons. All of these were monastic. The roots of this iconographic development must be sought in the standardization of the representation of saints. The Menologion of Basil II (976-1025) exemplifies the first systematic association of saints with specific locations. In this illuminated church calendar the eremitic desert or a cityscape suggests a saint{\textquoteright}s occupation. The manuscript provided an important source to iconographers of devotional images that showed non-biblical holy places in the twelfth and the thirteenth centuries. These places-the church of the Miracle at Chonae and the eremitic desert of the Koimesis of St. Ephrem-specifically acclaimed ascetic virtues and praxis. The next step towards the representation of non-biblical sacred sites came in the early 1300s with the icon of the Virgin from the Zoodochos Pege monastery in Constantinople. This new image bound devotion to a miracle-working spring in the Byzantine capital, yet it became popular in the neighboring countries. My study examines the reasons for this popularity through the decorative program of Archangel Michael at Lesnovo (1349). I argue that the Virgin Zoodochos Pege effectively evoked Byzantine imperial power, and Christian doctrine and thus served the Serbian ruling class to legitimate its patriarchal church. The advertising potential of icons of places was fully appreciated in the post-Byzantine period. At this time icons expanded the holy sites conferring sacredness to ordinary monasteries. A case study of the Rila monastery paper icons attributes the wide distribution of these icons to the printing medium, and to the economic and political circumstances of Ottoman rule.}, keywords = {Early Christian/Byzantine Art}, author = {Anguelova, Vessela} } @mastersthesis {11192, title = {Specific Objects: Lee Bontecou{\textquoteright}s Steel and Canvas Reliefs, 1959-1964}, year = {2011}, school = {Bryn Mawr}, abstract = {This dissertation focuses on the reception and interpretation of the welded steel and canvas reliefs that the American artist Lee Bontecou created between 1959 and 1964. In Chapter 1, I present an overview of the initial critical reception of Bontecou{\textquoteright}s steel and canvas reliefs, highlighting those exhibitions and texts from the first half of the 1960s that stand out as important records of this work{\textquoteright}s reception. In Chapter 2, I examine the feminist claiming of Bontecou{\textquoteright}s reliefs that occurred between 1965 and 1976. Here, I contextualize the feminist response to Bontecou{\textquoteright}s art within its historical moment, in order to consider how feminism has shaped our understanding of her reliefs, and how these objects pose questions for feminist thinking about art and art history. In Chapter 3, I shift from an analysis of the critical and scholarly reception of Bontecou{\textquoteright}s reliefs, to a consideration of the artist{\textquoteright}s words and how, over the years, critics and scholars have mobilized, and at times overlooked, the artist{\textquoteright}s statements about her work. Finally, in Chapter 4, I propose that Bontecou{\textquoteright}s steel and canvas reliefs may be understood as ambivalent objects that both materialize and memorialize the artist{\textquoteright}s responses to the social and political events that shaped the 1950s and 1960s. I present close visual analyses of three of Bontecou{\textquoteright}s reliefs from the early 1960s, and position this work in relation to sculptures by two postwar American artists, David Smith and Ed Bereal. I suggest that Smith{\textquoteright}s War Spectre (1944) and False Peace Spectre (1945), and Bereal{\textquoteright}s Focke-Wulf FW 109 (1960) reflect a similar concern with war and violence to that of Bontecou{\textquoteright}s reliefs, and I argue that this work expresses an ambivalence with respect to war and the aesthetics of war machines.}, keywords = {Twentieth-Century Art}, author = {Shipley, Lesley} } @mastersthesis {11026, title = {Spectacles of Authenticity: The Emergence of Mass Entertainment in Japan and America, 1890-1910}, year = {2011}, school = {Stanford}, abstract = {In the late-nineteenth and early twentieth centuries, America and Japan were in the process of establishing their positions as powers in a world dominated by Western Europe. The two nations with unconnected histories and cultures found themselves in momentary sympathy as they embarked on their first forays into military imperialism, expanded their trade, and constructed civic institutions intended to compete with those of Europe. It was during this period that mass entertainments developed and began circulating across national borders and, drawing on tourist practices, helped create a "universal" visual culture which coexisted with local particularities. This dissertation undertakes a study of Japanese and American shared visual culture and modern entertainments with the goal of nuancing current scholarship on East/West exchanges and expanding the definition of modernity. Three modern phenomena, panoramas, World{\textquoteright}s Fairs, and film, form the core of my three main chapters and describe a process of appropriation, assimilation, and collaboration through their movements from Europe, across America to Japan, and ending with a return to America. Many scholars have observed that Americans viewed Japan as a confusing cultural other with a baffling skill at appearing modern. This dissertation begins with the premise that Japan was modern and re-examines American and Japanese cultural exchanges from this position with the aim of shifting the paradigms of modernity and modern visuality.}, keywords = {Art of the United States, Film/Video}, author = {Tsen, Hsuan} } @mastersthesis {11077, title = {Speculating on Architecture: Morality, the New Real Estate, and the Bourgeois Apartment Industry in Late Nineteenth-Century France}, year = {2011}, school = {MIT}, abstract = {The topic of architecture as a commodity-something that can be possessed and traded-has been largely ignored within the discipline of architectural history, or even written off altogether as an inevitable consequence of modern capitalism. But the history of the commodification of architecture is by no means as simple as it may seem. It has its roots in Haussmann{\textquoteright}s Paris, and the speculative property market of the 1860s, where we see, for the first time, a complex intermingling of new mortgage structures and residential typologies, the use of standardization, and the proliferation of discourses concerning apartment decoration. The project also treats reactions expressed by architects, aesthetic theorists, and religious and political figures over the course of the Third Republic against speculation practices and their architectural effects. The changes brought by property{\textquoteright}s increased circulation-the very idea of apartments designed for unknown future occupants-were compounded by the perception of a real estate market held in the grips of commodity culture. The possibility that anyone could own property was unsettling for some political and religious authorities; perhaps even more so was the sense of an assault on the way in which property had traditionally stood as a representation of individuality. Speculative architecture brought about a separation of the subject (the particular owner of an apartment) from its object (the apartment unit now rendered ubiquitous). The powerful critique of modern capitalism and the ostensive ill effects on private life that emerged from all of this was bound up in liberal and Catholic ideologies, as I argue in my dissertation. I look at a set of figures from vastly different professions who, perforce, collectively developed and implemented rules governing finances, architecture, decoration, and, ultimately, human conduct. These include developers like the Saint-Simonien Emile Pereire, whose experimental Credit Mobilier sponsored standard models for residential architecture, democratized credit, and underwrote the design and construction of thousands of new apartments. These also include taste-makers like Charles Blanc, director of the Academie des beaux-arts, whose works included decoration manuals. And finally, these include politicians such as Frederic Le Play, the Catholic modernist and proto-sociologist who insisted on the connection between private property and morality, and Jules Simon, the conservative republican who linked the security of the family to that of the nation state. The reactionary moralization of design, to be detected in Catholic dogma, metaphysical philosophy, and the republican politics of the time, stands as one of the great unacknowledged precedents for the proselytizing ideology of architectural modernism at the dawn of the twentieth century. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Decorative Arts/Textiles/Design History, Nineteenth-Century Art}, author = {Kully, Deborah} } @mastersthesis {11106, title = {Staging Canova: Sculpture, Connoisseurship, and Display, 1780-1822}, year = {2011}, school = {Columbia}, abstract = {Hailed in his time as the greatest living artist, Antonio Canova (1757-1822) expressed his genius not only through the masterful conception and carving of his sculptures, but also in the meticulous orchestration of their display. Enshrining his marble figures alongside plaster casts of ancient works, bathing them in candlelight, staining and waxing their surfaces, and even setting them in motion on rotating bases, Canova challenged his audiences to rethink the very nature of sculpture. My dissertation argues, for the first time, that the meanings and impact of Canova{\textquoteright}s sculpture depended in significant part on the ways in which he and his patrons exhibited them. Canova himself began staging his work in Rome in the 1780s. His patrons, following the artist{\textquoteright}s lead, subsequently mounted their own dramatic exhibitions of Canova{\textquoteright}s work. Organized as a series of case studies, the dissertation examines four key exhibitions of Canova{\textquoteright}s work in four major European centers-Rome, Naples, Venice and Paris-from 1780-1843. These exhibitions had multiple functions. On the one hand, they enabled Canova to showcase his artistic talent and allowed his patrons to advertise their wealth and good taste. More importantly, however, these exhibitions required viewers to transform their interaction with Canova{\textquoteright}s sculptures into performative moments in which they displayed their own historical, cultural and artistic knowledge. Viewers of Canova{\textquoteright}s work performed their own position as beholders, and, indeed, my dissertation is as preoccupied with the reception of Canova{\textquoteright}s sculptures as it is with his and his patrons{\textquoteright} display strategies. Not only do viewers{\textquoteright} accounts often reveal the particularities of the exhibitions themselves, but the intensity of beholders{\textquoteright} responses to Canova{\textquoteright}s work also signals the way that his sculptures took on a wide-variety of meanings that he and his patrons could not always control. Equally striking is the way diverse visitors continued to find meaning, validity, and subjects for debate in Canova{\textquoteright}s work despite sixty years of political, historical, and social change. Throughout many transformations, Canova{\textquoteright}s sculptures remained a focal point for discussions of politics, cultural heritage, archaeology, connoisseurship, artistic production and the development of art history itself. I have focused largely on three Italian centers because Italy was the center of origin for many of aspects of Canova{\textquoteright}s stagings. In Rome, for instance, Canova was introduced to serious study of the antique and it was there that he began to compare his works of art with ancient masterpieces. The display of Triumphant Perseus next to a cast of the Apollo Belvedere, for instance, generated conversations regarding the nature of imitation and the importance setting and political circumstances had on the understanding of his work. In Naples, on the other hand, the exhibition of Venus and Adonis in a tempietto in the garden of Francesco Maria Berio, Marchese di Salza, launched a city-wide debate regarding modes of artistic production and the best means of communicating those artistic possibilities to an audience. In Venice, in 1817, Leopoldo Cicognara juxtaposed Canova{\textquoteright}s Polinnia with recently restored Venetian Old Master paintings, including Titian{\textquoteright}s Assumption of the Virgin, in the Accademia di Belle Arti{\textquoteright}s new public painting gallery. This exhibition reaffirmed the Veneto{\textquoteright}s artistic authority at a moment when Venice{\textquoteright}s political fortunes were at their nadir. Given the primacy French art has held in the study of the nineteenth century, I hope serious reevaluation of this period will contribute to a renewed understanding of the importance Italy had for the history of art at the turn of the century. Yet, I conclude the project by focusing on Paris. It was there, in the French capital, where the exhibition of Canova{\textquoteright}s Penitent Magdalene in the townhouse of Giambattista Sommariva launched a discussion about expression and the emotional resonance of art. Penitent Magdalene{\textquoteright}s despair encouraged beholders{\textquoteright} self-reflection, and in so doing reinforced notions of individuality and the self, established the sculpture as a particularly "French" and modern work, and perhaps more importantly, forged a direct link between emotional resonance and aesthetic value. Throughout Europe, the staging of sculptures organized by Canova and his patrons generated discussion about the appropriate ways to look at, talk about, and write about sculpture. Reactions to Canova{\textquoteright}s works inspired wide-spread debates about the nature of artistic production, the writing of art history, the context and significance of exhibitions and personal emotional reactions to works of art. My dissertation reimagines Canova{\textquoteright}s keystone position in the larger art world of the late eighteenth and early nineteenth century by bringing the contexts of exhibition and response into our understanding of the artist and his work.}, keywords = {Eighteenth-Century Art, Nineteenth-Century Art}, author = {Ferando, Christina} } @mastersthesis {11037, title = {A State of Anxious Uncertainty{\textquoteright}: The Critical Reception of Jasper Johns}, year = {2011}, school = {Boston}, abstract = {This dissertation explores the interpretive dynamic-manifest in descriptions of the artworks as cryptic, puzzling, and hermetic-that circulates between Jasper Johns, his work, and his critics. Through a series of case studies based on specific works exhibited from 1957 to the present, I consider the terms of Johns{\textquoteright}s critical reception with regard to the artist{\textquoteright}s vexed status as an "author." While the earliest works were characterized by a negation of authorial status, the discourse established between Johns and his critics over the course of the artist{\textquoteright}s career has generated an increasing assertion of artistic self-expression, albeit one constantly mediated by the artist{\textquoteright}s embrace of epistemological ambiguity. I argue that Johns{\textquoteright}s notoriously contentious relationship with his critics has actually served as a galvanizing force in his artistic production, stimulating cycles of formal and conceptual reinvention. Following the introduction, chapter two positions Johns{\textquoteright}s initial denial of artistic subjectivity as a strategic rebuttal to the dominant critical paradigms of the Abstract Expressionist generation, a rebuttal manifest through the young artist{\textquoteright}s selection of encaustic as a medium, his embrace of surrealist/pictorial tropes, and his incorporation of interactive elements into his work. Tracing Johns{\textquoteright}s shift towards a more defined subjectivity-as the artist becomes his own critic-the third chapter focuses on his reworking of a 1967 painting based on Buckminster Fuller{\textquoteright}s Dymaxion world map. Paradoxically, the establishment of Johns{\textquoteright}s artistic voice was contingent upon his assertion of doubt as an essential characteristic of the artist-viewer relationship. The fourth chapter examines Johns{\textquoteright}s 1976 collaboration with Samuel Beckett, in which Johns used the indexicality of printmaking to imbue his etchings, sheltered within the pages of a deluxe artist{\textquoteright}s book, with an unprecedented expression of self, authorship, and the body, and the belated reception of that project via post-structuralist critics in the 1980s. My conclusion addresses current critical frustration with the artist{\textquoteright}s oscillation between revealing and concealing a biographical subject in works from the 1980s to 2000s-works that "drop the reserve" (in the artist{\textquoteright}s words) and motivate new critical interpretations, but which continue to resist more personal investigations through a hermeneutic of ambiguity.}, keywords = {Art of the United States}, author = {Anderson, Virginia} } @mastersthesis {11151, title = {Storing Sanctity: Sacristy Reliquary Cupboards in Late Medieval and Renaissance Italy}, year = {2011}, school = {Kansas}, abstract = {Sacristy reliquary cupboards played significant roles in the ritual activities of most late medieval and Renaissance Italian churches. Best understood as a type of liturgical furniture, these large, wall-mounted structures stored the most valuable sacred objects possessed by a church and their shelves were filled with expensive metal reliquaries that contained powerful relics. In the fourteenth and fifteenth centuries, they often displayed elaborate painted and, occasionally, sculpted, iconic and narrative images on their moveable doors. This study examines the most complex and visually compelling extant examples of this type of church furnishing from the Tre- and Quattrocento. Consideration of reliquary cupboards from two different Italian regions, Tuscany and the Veneto, provides an indication of the variety of iconography, contents and materials utilized in connection with these ritual objects in distinctive historical contexts. Despite scholars{\textquoteright} sustained interest in relics and reliquaries, they have overlooked a significant aspect of how relics functioned in medieval and Renaissance societies, namely how and where they were stored. This dissertation examines a neglected area of relic studies by considering a type of liturgical furniture used to store, protect and augment relic and reliquary collections. During ritual events that required the use of relics, the cupboard would be opened to reveal the sacred objects inside and, often, another visual program on the inside of the doors. Late medieval and Renaissance sacristy reliquary cupboards thus reveal complex and multifaceted interactions between relics, images and rituals. Analysis of the ways in which reliquary cupboards played significant roles in the successful performance of the cult of relics establishes them as a compelling type of liturgical furniture. Following an introduction that traces the history and meaning of sacred storage and concealment in the Christian tradition, the dissertation is composed of five chapters that each focus on the iconography, contents, ritual use and historical context of a particular reliquary cupboard. These case studies reveal sacristy reliquary cupboards as a type of ritual object that served a variety of liturgical and extra-liturgical purposes, reassured communities of saintly presence and protection and functioned as an integral part of the sacred visual environment.}, keywords = {Renaissance/Baroque Art}, author = {Elston, Ashley} } @mastersthesis {11070, title = {Strange Glamour: Fashion and Surrealism in the Years between the World Wars}, year = {2011}, school = {Rochester}, abstract = {This project examines the complex relationships between Surrealism and fashion between World War I and World War II. Scholarship on art and fashion has typically understood fashion as being passively influenced by art or using art for the sake of profit. I argue that far from being superficial and incidental to Surrealism, fashion played an integral role in this artistic movement. By engaging with art historical responses to Surrealism I have found new ways to understand a new fashion aesthetic in the 193os, which I call "Strange Glamour." I examine the development of this aesthetic and the relationship between fashion and surrealism by focusing on a series of key events. I begin in chapter one with 1921, the year in which Coco Chanel launched her perfume Chanel No. 5 and Marcel Duchamp created his perfume readymade, Belle Haleine. I compare the ways that Chanel and Duchamp questioned conventions of authorship in art and fashion through the molding of their public persona. These figures instigated a new kind of relationship between the artist or designer and the work of art or garment in which both parts are crucial to making sense of the whole. The second chapter focuses on 1927, the year that designer Elsa Schiaparelli created her first design, a trompe l{\textquoteright}oeil sweater that is directly linked with the Surrealists{\textquoteright} engagement with the uncanny. This chapter also considers Man Ray{\textquoteright}s photographs of hats, which illustrated an article by Tristan Tzara on subconscious expressions of sexuality in the everyday world in the Surrealist magazine Minotaure in 1933. Far from being automatic writing, as Tzara describes, I argue that these hats were the self conscious creation of Elsa Schiaparelli. The 1931 Paris Colonial Exhibition and the 1937 exhibition La Mode au Congo at Galerie Charles Ratton frame the third chapter, which considers the role of primitivism in Surrealism and fashion during these years, particularly in relation to sexuality. I examine the designs of French milliner Madame Agnes that were influenced by the 1931 exhibition, and the unique hats made by American milliner Lilly Dache in response to a collection of hats she purchased from the Congo. I also consider a unique group of photographs of the Congolese hats by Man Ray that were shown at the Ratton exhibition. The fourth and final chapter examines the links between Schiaparelli{\textquoteright}s designs of the late 193os, the uncanny, and Andre Breton{\textquoteright}s idea of convulsive beauty, beauty which was meant to shock. I consider Schiaparelli{\textquoteright}s designs in the context of Surrealist objects, and examine the important (and often neglected) links between Surrealist and fashion exhibitions in the 1930s. My dissertation demonstrates that an examination of the relationship between fashion and Surrealism can enrich our understanding of this period in art and fashion and can also illuminate larger theoretical issues positioned at their intersection. Through a rigorous engagement with archival sources, I trace the historical relationships between fashion and Surrealism and point to the continued importance of collaboration, dialogue, and influence between these realms.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Pass, Victoria} } @mastersthesis {11017, title = {Strategies for Visual Narration in the Illustrated Chandayan Manuscripts}, year = {2011}, school = {IFA/NYU}, abstract = {The Chandayan romance, composed by the poet Maulana Da{\textquoteright}ud of Dalmau in 1379 and relating the adventures of princess Chanda and the hero Laurak, is known today in five fragmentary and dispersed illustrated versions and two incomplete unillustrated copies. This dissertation focuses on the illustrated Chandayan manuscripts, each stylistically distinct from the other and rendered in the diverse painting styles associated with sixteenth century north and central India. Each manuscript was originally painted with a full-page picture accompanying each verse, resulting in an unusual book format where each folio contained a painting. Today the manuscripts survive in varying lengths, and the most intact version includes 285 paintings. The art historical significance of the illustrated Chandayan manuscripts has long been recognized, although their role has been limited to a general descriptive and comparative function. None of the manuscripts have yet been adequately examined as independent works. This study analyzes the five Chandayan manuscripts both as a group-against the wider context of sixteenth-century artistic and literary production-and as individual works. It begins by exploring the many literary dimensions of this fascinating late fourteenth-century text by reconstructing its author{\textquoteright}s biography and studying not only its literary precedents, but also its contributions and textual interpretations. It then proceeds to critically examine each manuscript{\textquoteright}s distinctive features and to offer a comparative analysis of them. Understanding the visual strategies used to convey narrative was a key interest of this project and to this end a stylistic and conceptual study of paintings illustrating the same textual episode in different manuscripts was undertaken. A related exploration, of the artistic techniques employed to retain viewer-interest in an extensively-illustrated manuscript, was accomplished through a focus on the painting cycles in the Chandayan manuscript in the Rylands Library, Manchester. The text and image analysis resulting from these two methodological approaches revealed differing attitudes towards visual storytelling among the artists of the five Chandayan manuscripts. It also permitted a reconsideration of some dating and attribution issues and emphasized the limitations of such polarizations as indigenous/foreign, Hindu/Muslim, north/south, and royal/commercial that appear in the historiography and political rhetoric of South Asia.}, keywords = {Art of the Middle East/North Africa}, author = {Adamjee, Qamar} } @mastersthesis {11117, title = {Strategies of Communication in the Shrines of Pompeii}, year = {2011}, school = {Michigan}, abstract = {The Roman city was a landscape of shrines. Located in houses, bars, streets, workshops, and markets, they represented religious practice in every sphere of life. These private shrines were more than just objects of ritual, however. They were part of the web of social interactions among the inhabitants of the city. In a city like Pompeii, where a significant number of the shrines have been preserved, the similarities among the shrines in form, composition, and iconography are particularly evident; however, no two are exactly alike. This simple point is the cornerstone of my assertion that patrons of shrines used their shrines to present themselves and their ideas to the community at large; shrines were tools in the negotiation of social relationships. Indeed, the existence of multiple shrines in one property indicates that individual shrines could have specific meanings and audiences. Patrons communicated through their shrines by employing strategies of intentional visibility and customization. Patrons of shrines purposefully manipulated the locations of their shrines in order to increase the shrines{\textquoteright} visibility to a wide range of viewers. In addition to controlling access to their shrines, patrons customized the shrines{\textquoteright} appearance, imagery, and location within a property in order to communicate messages about themselves and their interests. The strategies employed to increase the visibility of the shrines and shape their communication were in turn shaped by the type of space in which the shrines were located. Different types of space facilitated different types of social interactions: the type of space circumscribed the potential range of persons who came into contact with the shrine. Furthermore, shrines{\textquoteright} connections to the broader community reveal how the intentions of shrine patrons in using their shrines for communication differed throughout the city. Shrines in defined neighborhoods were, in a sense, customized to the specific character of each neighborhood as manifested in part by traffic circulation patterns and amounts of street traffic. Through the statements about personal identity and religious and social values that they communicated, shrines provide a unique window into the mindset of individuals and social groups in a world of conspicuous large-scale, public religious rituals.}, keywords = {Greek/Roman Art}, author = {Herring-Harrington, Lydia} } @mastersthesis {11116, title = {Structure, Sculpture, and Scholarship: Understanding the Sanctuary of Hekate at Lagina}, year = {2011}, school = {UCLA}, abstract = {This dissertation creates a cultural biography for the Hellenistic Sanctuary of Hekate at Lagina that traces its function and meaning from the moment of its construction to the modern period. Built in the second century BC by a hybrid Greek and Karian population, this sanctuary represents the only major complex dedicated to Hekate, the goddess of liminality, magic, and crossroads. In this study, I demonstrate that her choice as a patron reflects distinctly local styles, and specifically addresses the needs of a people in political and cultural transition. The builders of this temple were only recently colonized by Greeks, and my analysis of the resultant architecture and cult show that the period was one of change and assimilation. In addition, using theories of experiential architecture, I demonstrate that individuals{\textquoteright} personal interactions with the sanctuary played a crucial role in defining the space and its meaning in the broader socio-political context of the era. By creating walkthroughs of the sanctuary, I establish how an ancient visitor would have interacted with the buildings and sculpture, and how this would have affected the significance that was assigned to the complex. A comparison of the Temple of Hekate to its contemporary, the Temple of Artemis at Magnesia, highlights the uniquely local nature of the building at Lagina. The Sanctuary of Artemis was also built in the second century BC, and there are a number of commonalities between the two complexes in terms of their layout and their architectural forms. However, in-depth analysis exposes differences in their function, decoration, and the cult. I argue that these variances can be attributed to the sites{\textquoteright} differing cultural identities. Magnesia, which had a long established Greek identity, had different priorities than the new, hybridized site of Lagina. By also examining the modern archaeological histories of both Magnesia and Lagina, I demonstrate the importance of the sites and their remains beyond their original, intended function. Both Lagina and Magnesia played important roles in the history of the Ottoman Empire, as each played host to some of the earliest Ottoman forays into collecting and the field of classical archaeology.}, keywords = {Greek/Roman Art}, author = {Herring, Amanda} } @mastersthesis {10998, title = {Tange Kenzo{\textquoteright}s Architecture in Three Keys: As Building, as Art, and as the City}, year = {2011}, school = {Harvard}, abstract = {The objective of "Architecture in Three Keys" is to examine how Japanese architect Tange Kenzo (1913-2005) negotiated and reconfigured the city in postwar Japan through an architectural methodology that engaged new technologies, art, and socioeconomic policy. In other words, this dissertation is a history of the emergence of urban design as a discipline in Japan during the interwar and early postwar periods. By looking at a series of smaller scale, lesser known works, particularly from the period between 1948 and 1955, we find a highly sophisticated approach to historicization and innovation that defies parochial interpretations of tradition and modernity. Despite modernism{\textquoteright}s longstanding affinity for Japan{\textquoteright}s pre-modern architecture, Tange achieved international notoriety by rejecting the two celebrated themes of Japan{\textquoteright}s architectural tradition-integration with nature and aestheticization of tea culture-and devised an architecture traversed in scale from dwelling units to national planning. Almost uniquely among architects inthe non-Western world, Tange made fundamental contributions to the development of international modernism. Amounting to a prehistory to Tange, the first half of the dissertation attempts to delineate an alternative history to the ideological and methodological formation of modern architecture in Japan. Chapter 1 begins with the two dominant intellectual strains of architectural discourse in modern Japan, rationalism and historicism. Chapter 2 explores the corollary paradigm of classicism as an alternative to the conventional discourse of tradition and cultural identity. Chapter 3 examines how urban planning and design in prewar Japan had its specific roots in the rationalist school that quickly broadened into socially engaged approach to urban life and built form. The second half of the dissertation addresses Tange{\textquoteright}s architectural work proper. Chapters 4 and 5 consider civic architecture and collaborations with the allied arts in the context of postwar Japan{\textquoteright}s pursuit of democracy and civil society. The last chapter is a close study of Tange{\textquoteright}s Tokyo Bay Plan (1960). Usually interpreted as a work of decontextualized utopianism, Tange{\textquoteright}s plan in fact was the result of a two-decade long study of Tokyo{\textquoteright}s urban and regional planning.}, keywords = {Architectural History/Historic Preservation, Japanese/Korean Art}, author = {Kuan, Seng} } @mastersthesis {11069, title = {Throw Out the Books, Get Out in the Streets: Subjectivity and Space in Japanese Underground Art of the 1960s}, year = {2011}, school = {Rochester}, abstract = {This dissertation examines the relationship between subjectivity and spatialization, or the dynamic process of understanding space in terms of social and psychic relations, as it is articulated in the works of Japanese avant-garde and underground artists of the politically turbulent decade of the 1960s. The premise of this work is that analyses of social spaces and subjectivity are necessary to adequately understand the period{\textquoteright}s Japanese avant-garde and underground art practices. It takes up this task by scrutinizing, in addition to the actual works, their documentation, and critical and popular receptions, academic and popular print media of the era in order to situate them in their specific cultural context. I examine a broad range of artists to reflect the dense connection between artists of the 1960s who were working with different media. The artists include Fluxus-affiliated art collective Hi Red Center; Yoko Ono, who was an important figure for not only her own groundbreaking work but also her introduction of happenings and events to Japanese audiences; dramatist, essayist, filmmaker, and poet Shuji Terayama; acclaimed experimental filmmaker and a trenchant critic Toshio Matsumoto; and preeminent "Shochiku Nouvelle Vague" director and left-wing polemicist Nagisa Oshima. While the content and medium of their works vary, they all address the complex relation between subjects and the urban environment and offer critical responses to the larger postwar cultural and political climates, which were shaped significantly by Japan{\textquoteright}s relation to the U.S. The works I consider suggest that this relation also took on cultural, psychic, and sexual dimensions. I conclude that by focusing on the performance of socially inscribed bodies in the urban environment, these artists show, against the myth of Japanese homogeneity, that space and subjectivity are products of social relations, always marked by class, gender, racial and sexual difference.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Nettleton, Taro} } @mastersthesis {11020, title = {To Lift the Veil from the Face of Depiction{\textquoteright}: Visual Culture and Figural Iconography in Early Islamic Central Asia}, year = {2011}, school = {Pennsylvania}, abstract = {No record in ProQuest or Pennsylvania ETDs}, keywords = {Art of the Middle East/North Africa}, author = {Michelsen, Leslee Katrina} } @mastersthesis {11105, title = {Transformation of the Cultural Experience: The Art of Hubert Robert during the French Revolution}, year = {2011}, school = {Harvard}, abstract = {This dissertation focuses on the representation of the French Revolution{\textquoteright}s cultural events in the art of Hubert Robert (1733-1808). It argues that Robert{\textquoteright}s representation of the cultural experience as a private experience unfolding in the new public spaces created by the Revolution, such as the museum, reveals a commitment to the revolutionary ideals of individualism and universalism. In this respect, Robert appears as a revolutionary artist, although not in the sense of the artiste engage exemplified by Jacques-Louis David. Instead, it is through the category of "cultural experience" that Robert established his status as revolutionary artist. To date, Robert has been mostly described as a detached chronicler of the French Revolution, who neutralized the subject matter of his paintings in order to construct visually pleasing motifs. However, when his art is examined in relation to the political- cultural discourse of the time and in relation to the historiography of the French Revolution, it becomes evident that revolutionary meaning pervades it. In fact, the cultural events that Robert painted - including the Federation Festival, the transfer of Jean-Jacques Rousseau to the Pantheon, and the transformation of the Louvre into a public museum - were all the result of governmental decisions taken by the revolutionary leaders. Considering the conflation of a public and private dimension in Robert{\textquoteright}s paintings from the 1790s, Patrice Higonnet{\textquoteright}s recent explanatory model of the French Revolution is a useful historiographic framework for analyzing the paintings. According to Higonnet, the overwhelming paradox that became the crux of the Jacobin ideology - namely, its unattainable aspiration to reconcile universal and individual values, which progressively transformed into the enforcement of ever stronger universalist policies - accounts for the escalation of violence and the failure of the Revolution. In response to this explanation, this dissertation emphasizes the fact that Robert represented the festive, commemorative and museum spaces as spaces capable of being at once public and private, i.e., as spaces where the Revolution{\textquoteright}s political contradictions could be resolved and by extension, as spaces where the Revolution could be fully experienced.}, keywords = {Eighteenth-Century Art, Nineteenth-Century Art}, author = {Baumgartner, Federique} } @mastersthesis {11074, title = {A Transnational Bohemia: Dandyism and the Dance in the Futurist Art of Gino Severini, 1909-1914}, year = {2011}, school = {Duke}, abstract = {My dissertation studies the intersection of popular entertainment and the visual arts in Paris during the first decades of the twentieth century and the dialogue that formed between this subculture and the avant-garde factions of Paris and Italy. While this project focuses on the Italian Futurist Gino Severini (1883-1966), it is not conceived of as a monograph. Instead I will use Severini as a case study to help make sense of a complicated world in which the boundaries between bohemia and the bourgeoisie, masculinity and femininity, and art and popular culture are transgressed and blurred. Severini is particularly well suited to this discussion because nearly all of the 170 paintings, sketches, and pastels that he produced between the time that he arrived in Paris in 1906 and the outbreak of the First World War take as their subject a prime example of Parisian popular culture-Montmartre{\textquoteright}s dance-halls. My study will address how form and content interrelate in these works, analyzing the ongoing evolution of his style and the manner in which he developed his imagery to cater to both commercial and avantgarde audiences. In order to make sense of his artistic career and to divine the importance of his life and work to the greater political and cultural environment of early twentieth-century Europe, I will also explore Severini{\textquoteright}s actual participation in dance-hall culture, his self-fashioning as a dandy and a foreigner, and his attempt to find a niche for himself in Paris while still maintaining a foothold in the Italian avant-garde. Gino Severini{\textquoteright}s unique posturing within the culture of Bohemian Paris and the rich visual record that he left behind provide a perfect platform from which to deepen our understanding of the multitude of factors influencing the Parisian avant-garde and its subsequent impact on avant-gardes throughout the rest of the Western world.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Jones, Zoe Marie} } @mastersthesis {11186, title = {TransStates: Conceptual Art in Eastern Europe and the Limits of Utopia}, year = {2011}, school = {Michigan}, abstract = {This dissertation explores the utopian and metaphysical aspirations found in the pockets of collective creativity that drove Conceptual art in Eastern Europe in the 1960s and 1970s. It does so by focusing on two groups of artists from the places that defined the limits of relative freedom and unfreedom in Cold War Eastern Europe: the former Yugoslavia and the former USSR. Thus, I trace the trajectories of philosophical and stylistic developments in the work of the OHO collective, which worked in Ljubljana (Slovenia) from 1965-1971 and the work of the duo of Vitaly Komar and Alexander Melamid which they did between 1972 and 1980, before and immediately after their emigration from Moscow to the U.S. In narrating the groups{\textquoteright} histories and addressing the existing narratives about them, I pay particular attention to the way the groups{\textquoteright} work was tied to both local forms of protest and desire for self-governed spaces of freedom, as well as to a larger global shift in both the production and display of art taking place in the 1960s and 1970s. Moreover, I argue that within the global Conceptual shift of which these collectives were part, their practices were singularly representative of the preoccupations broadly shared by artists in Eastern Europe. In both cases, the oeuvres encompassed diverse media and spoke to multiple audiences, both actual and imagined, often using similar tropes. Even more importantly, in both cases, the groups{\textquoteright} projects were driven by a desire to respond to utopian aspirations through artistic practice, self-consciously modeling through art the possibilities of personal politics in one{\textquoteright}s particular time and place. It is in these responses to the utopian impulse that one also finds the stark contrast between OHO and Komar and Melamid, who define the far opposite ends of the spectrum of good and bad faith in utopia. In doing so, they offer insight both into the wide array of roles that unofficial art sought to play in Cold War Eastern Europe and into the limits to which utopianism could still be reconciled with artistic practice in the wake of the Conceptual shift.}, keywords = {Twentieth-Century Art}, author = {Gurshtein, Ksenya} } @mastersthesis {11135, title = {Tropical Modernisms: Art and Architecture in Rio de Janeiro in the 1950s}, year = {2011}, school = {USC}, abstract = {In the 1950s, Brazil reinvented itself economically, politically and culturally. New interest in, and more importantly, access to technological innovations in communications and manufacturing transformed Brazilian society in previously unimaginable ways. This dissertation locates Rio de Janeiro{\textquoteright}s Museu de Arte Moderna at the dynamic center of a cultural nexus that includes architecture, urbanism, art criticism, art education and the collecting and display of visual art, revealing how the city{\textquoteright}s visual culture was profoundly made over at mid-century. It was in the midst of this period, in 1952, that Rio de Janeiro{\textquoteright}s first modern art museum was inaugurated under the leadership of Brazil{\textquoteright}s first female museum director, Niomar Moniz Sodre. This study of institutional history documents one of the most effective techniques that Moniz Sodr{\'e} and others deployed in their rapid expansion of the museum; the deliberate absorption, translation, and re-presentation of modernist discourses of foreign derivation, such as Concrete art, International Style architecture, Bauhaus pedagogy, and MoMA{\textquoteright}s institutional framework. This study contends that these forms and strategies, which signified modernity to audiences in Brazil and abroad, took on new and unexpected meanings when they combined with Brazilian tropicality. Yet, this method exposes a seemingly inherent contradiction: the appropriation and implementation of foreign constructs in the creation of a Brazilian institution. I argue that, despite their ostensibly oppositional natures, in 1950s Brazil, nationalism and internationalism were thoroughly intertwined and inseparable. Rather than position these ideologies as antithetical concepts, my dissertation reveals how they were dialectically related and in what ways their synthesis became the source of a newly configured image of modern Brazil. This study asserts that the wide-scale implementation of the economic theory of developmentalism - which merged nationalist and internationalist ambitions - and the specific tactic of import substitution industrialization, mobilized Brazilian ingenuity and initiative and was explicitly marshaled in Rio de Janeiro{\textquoteright}s expanding visual culture. Broadly conceived, this study contends that Brazilian modernisms at mid-century are representative of widespread international trends in which artists, architects and designers were searching for aesthetic forms and strategies that reconciled the vast new social, political and cultural conditions that characterized the postwar experience, with pre-war legacies. This dissertation also sheds light on how and why supposedly universal formal languages, such as geometric abstraction or modernist architecture, have been adopted in different national and historical contexts and how their signification changes according to the particular socio-political circumstances of a given place and time. It argues that the field of modernism is not a homogenous or monolithic phenomenon, but rather a complex web of narratives and responses to the social and political events that shaped the nineteenth and twentieth centuries. The tropical modernisms featured in this study underscore the plurality of the field.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Le Blanc, Aleca} } @mastersthesis {11164, title = {Uniting Faith and Image: The Collective Visual Identity of the Congregation of Secular Canons and Its Expression in the Artistic Commissions at San Giorgio in Braida, Verona (1441-1668)}, year = {2011}, school = {Rutgers}, abstract = {This dissertation examines the art and architecture commissioned for the religious complex of San Giorgio in Braida in Verona between 1441 and 1668 and demonstrates that it embodied the visual corporate identity formulated by the Congregation of Secular Canons at San Giorgio in Alga, their mother church in Venice. The Congregation was a major player in the pre-Tridentine reform movements of northern Italy and its iconographic program was part of its strategy to reform the clergy and monastic life in general. Using new archival findings and San Giorgio in Braida{\textquoteright}s artistic patrimony as primary evidence, I unravel and explain the Secular Canons{\textquoteright} considered identity. I then demonstrate that the Congregation adapted it as it matured and reacted to major religious, political and artistic changes that rippled across the Veneto between the Congregation{\textquoteright}s founding in 1402 and its suppression in 1668. This dissertation also examines the modes of patronage used by the Canons at San Giorgio in Braida, and by extension, the system of patronage used by the Congregation as a whole. Eventually every commission at all eleven of its religious houses was underpinned by this iconographic program, which had the effect of binding the Canons and their surroundings both spiritually and visually. Though some of the Canons{\textquoteright} churches have been the focus of specific research, this is the first to investigate the whole Congregation as a single, thoughtful commissioner of art.}, keywords = {Renaissance/Baroque Art}, author = {Nolin, Heather} } @mastersthesis {11064, title = {Unthinking the National Imaginary: The Singular Cinema of Abbas Kiarostami}, year = {2011}, school = {Rochester}, abstract = {This dissertation is a close examination of the role of Iranian national cinema in the constitution of national identity both within and across geographic national boundaries. By focusing on specific moments of cross-cultural reception as dynamic processes of cultural exchange and transformation, I hope to move beyond conventional studies that approach national cinemas as inert and passive objects. My project offers a comprehensive analysis of the very complex process of the introduction of the cinematic apparatus as Western technology and its encounter and interaction with Iranian culture and local narrative, visual and dramatic traditions. I also consider the some of the most salient characteristics of Iran{\textquoteright}s present-day post-Revolutionary cinema such as self-reflexivity and self-referentiality, austere storytelling, de-dramatization of film events, use of non-actors, non-closure, location shooting, and female-centered/feminist narratives. It is very important to look closely at the reception of this post-Revolutionary cinema in relation the ways that the contemporary (local and global) definitions of {\textquoteright}Iran{\textquoteright} and {\textquoteright}Iranian-ness{\textquoteright} are shaped. In this regard, the films by Abbas Kiarostami play a significant role, because they often resist representations of the myth of a unified nation. Radically anti-allegorical in their representational strategies, Kiarostami{\textquoteright}s films stress the singularity of their events, characters and encounters. It is my contention that by emphasizing the partiality and singularity of representations of subjects, time and location, Kiarostami{\textquoteright}s films effectively deconstruct the myth of a coherent and homogenous national unity.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Film/Video}, author = {Khosrowjah, Hossein} } @mastersthesis {11030, title = {Upheaval and Transformation: The Volcano in American and European Art, 1765-1865}, year = {2011}, school = {Columbia}, abstract = {This dissertation examines the multivalence of the volcano in art and culture from 1765 to 1865 in America and Europe. During a period of profound social and political change, the volcano stood for volatility and mutability. The magnetic appeal of its imagery allowed its audience to confront contentious and frightening ideas about both earth and human history. It functioned as a powerful symbol to disparate groups, to Grand Tourists and inhabitants of volcanic regions, to geologists and the general public, and to colonizers and indigenous peoples. My research is rooted in a detailed examination of a great variety of visual imagery, including illustrations from travel accounts, expedition reports and scientific texts, maps, popular prints, drawings by artists and geologists, and exhibition paintings. I argue that it is essential to view volcanic imagery through diverse disciplines simultaneously, mining tourism, science, history, and politics, just as the educated artist and viewers would have understood the links between them. Chapter 1 traces how the depiction of Vesuvius in the late eighteenth century reshaped the attitude toward the volcano, from considering it destructive to believing it beneficial, in order to introduce new ideas about the earth to an elite audience. Chapter 2 considers the integral role that the volcano and its representation played in the growth of geology and in the acceptance of the concept of the earth{\textquoteright}s vast age and of historical change. The following chapters focus on case studies of works depicting volcanoes by American artists Thomas Cole, James Hamilton, Frederic Church, and Albert Bierstadt within the context of European imagery. Chapter 3 analyzes representations of Etna, as a place of introspection associated with the legend of Empedocles and as a comment on a nation{\textquoteright}s history. In chapter 4, I explore how Vesuvius served as a metaphor for political upheaval, revolution, and emancipation in Europe and Latin America and in the American Civil War Chapter 5 considers images of Cotopaxi and Hood as analogous to the deeply-layered history of regions undergoing conquest and expansion. Throughout the study, I discuss the paradoxical meanings of the volcano, whose imagery was used to support opposing positions and to understand the various ways that change can occur.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Sivard, Susan M.} } @mastersthesis {11111, title = {Utopian Romanticism and the Poetics of Scale: Modernist Explorations of the Cinematic Long Form}, year = {2011}, school = {Yale}, abstract = {Although the length of commercially distributed feature films has remained relatively standardized since the mid-1910s, there is also a small but substantial body of ambitious works that utilize their extraordinarily long durations to give cinema the character of a cultic ritual. While their methods and overall goals vary considerably, these works actively participate in a modernist exploration of the relationship between form and content, often taking their innovations to what seem to be their limits, simultaneously establishing and exhausting their own paradigms. Whether through open affirmation or ironized negation, they are also informed by the ideas and iconography of nineteenth century Romanticism; their makers strove to create cinematic Cathedrals, monuments to the imagination that promise profound transformations of vision, selfhood, and experience. Unique both in their formal adventurousness and their modes of presentation, works like Napoleon (Abel Gance, 1927), Eniaios (Gregory Markopoulos, 1947-1992), Out 1 (Jacques Rivette, 1971), and Histoire(s) du cinema (Jean-Luc Godard, 1988-1998) utilize their temporal scale to create a particularly intense form of spectatorial engagement that is wedded to or related to a larger utopian program. By examining the strategies of these projects in relation to one another and to the larger historical forces that shape them, tracing the shifts and permutations of their forms and aspirations, this dissertation attempts to clarify the stakes of cinema as a twentieth century art form.}, keywords = {Film/Video}, author = {Suchenski, Richard} } @mastersthesis {11146, title = {The Venus of Zeeland: Jan Gossart and the Netherlandish Revival of Antiquity}, year = {2011}, school = {Harvard}, abstract = {Among the more intriguing phenomena in the history of Renaissance art are the journeys that artists from the north undertook to Italy. While the encounter with Roman antiquity often made a lasting impression, present-day scholars too often presume that any Renaissance work of art reminiscent of the classical past is necessarily indebted to Italian precedent. The result has been the continued neglect of a source much closer to home: the indigenous humanist culture of northern Europe. My dissertation corrects this bias by examining the revival of antiquity in the Low Countries and in the oeuvre of the Netherlandish artist Jan Gossart (c. 1478-1532). Gossart{\textquoteright}s paintings of mythological nudes - among the first manifestations of this genre north of the Alps - are generally seen as the product of his visit to Italy in 1508-1509 and his study of Rome{\textquoteright}s ancient monuments. Without denying that the artist{\textquoteright}s experience on Italian soil left a mark on his subsequent works, I argue that Gossart and his patrons were far more compelled by the antiquarian interests and evolving perceptions of historical identity in their native land. Concurrent with Gossart{\textquoteright}s turn to mythological subjects was a flurry of interest in the ancient Batavians, the brave and bellicose inhabitants of the Rhine and Maas-delta who were rediscovered in the writings of Cornelius Tacitus and other Roman authors. Along with the literary recovery of Batavian culture came an even more decisive find: the unearthing of Roman inscriptions which confirmed this ancient population{\textquoteright}s former presence in the region. My dissertation rehabilitates Gossart{\textquoteright}s mythological paintings in the milieu of their original creation through an interdisciplinary approach which reveals how the contemporary archeological and historiographic pursuits in the artist{\textquoteright}s intellectual circle captured the interest of his patrons and spurred them to commission works of art reflecting their newfound ancient lineage. In the context of the elite courts of the Netherlandish nobility, Gossart{\textquoteright}s mythological paintings were understood less as a borrowing from than as a challenge to Italy{\textquoteright}s presumed cultural hegemony.}, keywords = {Renaissance/Baroque Art}, author = {Bass, Marisa} } @mastersthesis {11165, title = {Vibrant Icons: Titian{\textquoteright}s Art and the Tradition of Christian Image-Making}, year = {2011}, school = {Johns Hopkins}, abstract = {This dissertation redresses a shortcoming in the study of one of the most famous artists of the Renaissance and also calls attention to an under-appreciated aspect of Renaissance art tout court. I am concerned with how Titian appropriated, deployed, and reconfigured the heritage of Christian icon painting. Throughout his career Titian continually produced half-length images of Biblical stories; this is the first sustained account of these paintings. I call this formal sub-category of images "vibrant icons." This designation accounts for the elusory nature of these pictures: they pulsate with artistic and theological concerns that destabilize the binary categorizations that have inflected the historiography of Renaissance art. Distinctions between icon and narrative, imitation and novelty, presence and mimesis, as well as the singular image versus the copy, prove inadequate when confronting these images. By contrast, I explore the devotional and theological ramifications of Titian{\textquoteright}s narrative icons, of which he often produced multiple originals. I argue that these images exemplify Titian{\textquoteright}s exploration of the half-length icon{\textquoteright}s referential potential and thus can offer insight into Titian{\textquoteright}s career more broadly; the imperatives that underwrote his vibrant icons were at loggerheads with the artistic directives governing his production of altarpieces, mythological paintings, and portraits. While Titian respected the decorum of religious image-making, the novelty of his artistic production cannot be reduced to the question of decorum. The artist sought to insert his distinctly modern, self-referential painterly style into a long tradition of Christian image-making that understood icons as a vehicle for Revelation. Chapters one and two investigate the history of the San Rocco Christ Carrying the Cross, a miracle-working painting attributed to Titian in numerous sixteenth-century sources. Chapters three and four contend that in the second decade of the sixteenth century Titian pivoted away from the traditional forms and subjects of half-length icons, thus creating a new category of images, what I call "post-devotional icons." This argument unfolds through an analysis of Titian{\textquoteright}s Dresden Tribute Money and the so-called Salome. Chapters five and six examine Titian{\textquoteright}s later icons, in particular a diptych of the Ecce Homo and Mater Dolorosa produced for Charles V.}, keywords = {Renaissance/Baroque Art}, author = {Nygren, Christopher J.} } @mastersthesis {11087, title = {The Virgin of the Passion: Development, Dissemination, and Afterlife of a Byzantine Icon Type}, year = {2011}, school = {Princeton}, abstract = {Mary holds the Christ child in the traditional formula, but unexpectedly, angels appear above bearing not good news, but a cross, spear and sponge-tidings of Christ{\textquoteright}s future torment. This is the Virgin of the Passion icon. Due to its enormous proliferation by papal command, it has been called perhaps the most popular religious icon of the twentieth century. But despite an abundance of recent studies on the Virgin Mary in Byzantium, there has been little investigation into what first spurred this iconographical innovation. This dissertation pursues this question by exploring four themes related to the Virgin of the Passion in Byzantium: Power, painting, priesthood, and predestination. My first two chapters explore what the Virgin of the Passion is not. "Power" has been a pervasive scholarly theme in the humanities in recent decades, and Byzantine art history is no exception. Yet a vague concept of power does little to illuminate the original context of the first known Virgin of the Passion, which dates to 1192 on the island of Cyprus. Instead, the image conveys an iconography of political defeat, which was possible because the cult of the Virgin in Byzantium preceded imperial sponsorship, and could consequently transcend and outlast that sponsorship as well. Another obstacle to understanding the Virgin of the Passion comes from traditional accounts of the history of painting, suggesting Byzantine stasis and Renaissance innovation. Tracing the image to the creative milieu of Komnenian Constantinople, I argue that the history of the Virgin of the Passion type illustrates the reverse-Byzantine dynamism, followed by relatively homogenous mass production in the Renaissance and beyond. My third and fourth chapters offer a new interpretation of the type. By connecting the icon to a twelfth-century Eucharistic controversy, I make the case that the original Virgin of the Passion is Eucharistic, which consequently associates Mary with priesthood. To contextualize this observation, I point to a surprising series of texts and images in the Byzantine world that also refer to Mary as priest. Finally, I offer a new interpretation of the instruments of the Passion borne by the angels above Mary and Christ. I relate them to the "Prepared Throne" imagery, a popular Byzantine motif most often interpreted as a throne "prepared" for Judgment. Instead, I make the case that it is a throne "prepared" from the foundation of the world. The result is that the Virgin of the Passion-a work of visual theology-treads on the verbally contested terrain of predestination.}, keywords = {Early Christian/Byzantine Art}, author = {Milliner, Matthew} } @mastersthesis {11181, title = {The Visible and the Legible: Paul Klee, 1916-1923}, year = {2011}, school = {Princeton}, abstract = {The crossings of the visible and the legible in the work of the Swiss-German artist Paul Klee (1879-1940) have long fascinated commentators, from Wilhelm Hausenstein, the apostate Expressionist who wrote the first important critical treatments of Klee{\textquoteright}s work in the 1910s, to Clement Greenberg to Michel Foucault. These crossings have been described variously: it has been said that Klee{\textquoteright}s art is hieroglyphic; that his images are more akin to pages than to paintings; that he treats pictures as words and words as pictures; that his painting is literary in a sense that includes and exceeds the kind of illustrative, fantastic "literary painting" against which modernist painting defined itself. In my dissertation, I both draw upon and move beyond these descriptions to investigate how and why Klee placed the relations of seeing to reading and pictures to literature at the center of his art. Klee{\textquoteright}s peculiar works, I contend, must be examined in the terms in which these relations were conceived in Germany during and after the First World War. The eccentricity of Klee{\textquoteright}s positions and practices has led many critics and historians to discuss his work in isolation, but, as I demonstrate, his unusual project is best understood as responding to-very often by pushing against-the projects of others. I argue that Klee began working in a new mode in 1916, the year of his conscription, making what he called not paintings but rather Blatter (pages or sheets): scraps of scavenged paper and cloth (often shreds of airplane linen), covered with letters and schematic "hieroglyphs," and inscribed with allusive titles. The first exhibition of these "pages," in Berlin in 1917, was Klee{\textquoteright}s breakthrough, suddenly establishing him as a major artist. My dissertation investigates Klee{\textquoteright}s wartime work as a subtle and unusual response to what was widely perceived as painting{\textquoteright}s highly problematic situation in the 1910s, when many Expressionist and Dadaist artists and critics questioned the adequacy of easel painting to the historical moment. These pages, I demonstrate, were the result of Klee{\textquoteright}s rethinking of abstraction, his recentering of it not on painting but rather on graphic art, seen as in its essence tending towards abstraction. His graphic abstraction responded to and pushed against a range of texts on the relations both of art in general and of graphic art in particular to writing-above all Gotthold Ephraim Lessing{\textquoteright}s Laocoon: An Essay on the Limits of Painting and Poetry (1766), but also texts by E. T. A. Hoffmann, Charles Baudelaire, Max Klinger, Wassily Kandinsky, Julius Meier-Graefe, and Georg Kerschensteiner. My dissertation analyzes the aims of Klee{\textquoteright}s graphic abstraction as an alternative to the painting of achieved tabular unity represented for him by Paul Cezanne and Hans von Marees, and as a self-reflexive medium that includes those aspects of viewing that modernist painting, from Impressionism through Kandinsky and Delaunay, excluded as "literary," extrinsic to the concerns of the visual arts.}, keywords = {Twentieth-Century Art}, author = {Bourneuf, Annie} } @mastersthesis {11009, title = {Vision in Motion: Architectural Space, Time Notation, and the Dynamic Perception of Space}, year = {2011}, school = {Brown}, abstract = {This dissertation examines the context and emergence of several architectural space time notation systems created during the 1950s and 1960s in the United States to describe the complex visual experience of moving through urban space. These notation systems were designed to record the perceptual, sequential and temporal experience of movement at the larger scale of the urban landscape from ground-level perspective and were intended to supplement traditional architectural plans, drawings and models. These abstract linear mapping devices were loosely modeled on notational systems of music and dance and consisted of symbols that were read against a framework of time and distance. They emerged at a time when American cities were being drastically restructured through urban renewal and interstate highway construction and reflected awareness that change could be effected at a larger scale and increased speeds of movement. This dissertation considers notations created by Lawrence Halprin; Philip Thiel; the MIT Team of Kevin Lynch, Donald Appleyard, and John Myer; Stuart Rose; Raymond Gindroz; and others. These notation systems, largely uninvestigated by scholars, attempted to reach between disciplines to study the concept of "vision in motion," contributing to discourse on the role of movement in urban design that stretched from Camillo Sitte and Laszlo Moholy-Nagy to Gyorgy Kepes, Gordon Cullen, Robert Venturi, and others. Some notations were designed for the experience of walking in an attempt to focus attention on the importance of creating pedestrian-friendly urban spaces. Others emphasized the high speed journey by car and privileged the driver{\textquoteright}s experience on the newly developing urban freeway at the expense of the pedestrian, reflecting an enthusiasm for the potential of highway design that ran counter to the contemporary writings of Jane Jacobs, Lewis Mumford, and William H. Whyte. Although the notations were subjective, difficult to standardize, and ultimately did not succeed as widespread tools in architectural practice, they represent a body of related work that engages many of the pressing postwar urban issues of the time, from large scale urban renewal and highway construction to debates on aesthetics, spatial perception, and choreography in the ordering of the urban landscape.}, keywords = {Architectural History/Historic Preservation}, author = {Heffley, Divya} } @mastersthesis {11139, title = {The Visual Culture of Opium in British India}, year = {2011}, school = {UCLA}, abstract = {This study examines artworks which highlight the rapidly changing economic, cultural, and legal status of opium and cannabis in 19th century India. When, in the late 18th century, the British East India Company imposed monopoly control on the cultivation, production and sale in India of opium destined for China, the use of psychoactive substances already had a rich and ancient history in the subcontinent, embedded in medical, spiritual, and social practices. Chapter One reviews drug-related iconography in painting from 17th-century Mughal India to 1800, revealing drug-consumption practices as grounded in contexts of religious sociability, especially for the mendicant ascetic communities of northern India. Chapter Two examines patronage and labor as shown in Company School and British depictions of poppy cultivation and processing at the Patna Opium Factory, emphasizing Britain{\textquoteright}s early economic interests in the subcontinent. Chapter Three scrutinizes the display of scientific and cultural knowledge around psychoactive drugs, and shows how curatorial strategies in diverse exhibitionary contexts-from museums to colonial fairs-enabled not only indigenous participation in the discourse, but also the imposition of a moral frame upon depictions of drug consumption in India. Chapter Four charts the pivotal shift, from the 1850s onwards, in public and governmental attitudes towards native drug use and presumed addictions in India-an increasingly contentious subject that found expression in photography of the period, including a renowned portrait of the Last Mughal Emperor. The study closes, in Chapter Five, with analysis of a range of local media: photographic group portraits of opium smokers that challenged Christian anti-opium campaigns; cartoons in the vernacular press critiquing the Royal Commission on Opium; and didactic bazaar prints showing the new urban face of intoxication. These highlight the charged contours of an emerging indigenous public sphere in India. The study concludes that artworks made a crucial contribution to the public debates on psychoactive drugs, revealing a complex, often contradictory discourse, and that Europeans and Indians alike felt profound ambivalence toward the changes wrought by colonial and global interventions in the economic, legal, and cultural spheres of opium and cannabis in India.}, keywords = {Nineteenth-Century Art, South/Southeast Asian Art}, author = {Childers, Hope} } @mastersthesis {11089, title = {The Visual Language of Vernacular Manuscript Illumination: John Gower{\textquoteright}s "Confessio Amantis" (Pierpont Morgan MS M.126)}, year = {2011}, school = {Columbia}, abstract = {The Confessio Amantis, a poem completed in 1393, opens with its author{\textquoteright}s pledge to: wryte of newe som matiere essampled of these olde wyse [write anew some matter modeled on these old wise books]. Expressing a commonplace among writers of vernacular literature in late medieval England, John Gower describes authorial activity as the process of translating and assimilating pre-existing narratives. This dissertation argues that such conceptualizations of authorship were embraced by illuminators of vernacular literature in their burgeoning notion of invention before the ascendance of print: as translation and compilation provided a model of creativity founded on the alteration of models, illuminators located an ideal congenial to both the restrictions and freedoms of their own profession. The centerpiece of the study is Pierpont Morgan MS M. 126, a manuscript of the Confessio Amantis produced c.1472 and made for Edward IV and his Queen Consort, Elizabeth Woodville. Although it has been acclaimed as one of the most impressive extant manuscripts of Middle English literature, it has never been the subject of a major study. The aim of the dissertation is to recognize and restore to the illustrator the power of his position between the conception of a text and the consumption of a book. Part One focuses on the illustrator{\textquoteright}s interactions with the textual voices of the Confessio Amantis, demonstrating how the images in nineteen manuscripts of the poem, including the Morgan Confessio, address the identity of the author of the poem (Chapter One); and how miniatures in the Morgan Confessio reinterpret its Ovidian narratives (Chapter Two). Part Two shifts attention to the illustrator{\textquoteright}s confrontation with his patrons. Although their impact on the production of this manuscript appears to have been minimal, I observe how, as patrons they furnished a visual context for the Morgan Confessio from within their own library of illustrated historical manuscripts (Chapter Three) and books on science (Chapter Four). Produced just before Caxton printed his first book in Westminster in 1476 and standing at the threshold of standardization, this manuscript offers a complex glimpse into the variance that epitomized creative activity in illustrated vernacular manuscripts.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Drimmer, Sonja} } @mastersthesis {11018, title = {The Walls of the Well-Protected Domains: The Development of Ottoman Fortification, 1400-1600}, year = {2011}, school = {Princeton}, abstract = {Mehmed the Conqueror (r. 1451-1481) built four fortresses ex nihilo in the years leading up to and immediately following the conquest of Constantinople. Two were located in the immediate vicinity of his new capital: Rumeli Hisary (1452), placed opposite an existing Ottoman fortification on the Asian shore and intended to control the narrowest point in the Bosphorus just north of the city, and Yedikule (1457-1458), built against the interior side of the Byzantine land walls of the city itself immediately following the Conquest. The other two fortresses guarded the entrance to the Dardanelles, thereby controlling the southern access to the Sea of Marmara: Kilid-ul Bahr, on the European shore, and Kale-i Sultaniyye (also known as Canakkale) on the Asian bank opposite (both 1461-1462). Although Mehmed II undertook other fortification projects during his reign, none compares in magnitude to these four. Taken as a whole, the group constitutes the pinnacle of early Ottoman military architecture. The four fortresses are extremely challenging buildings in terms of interpretation. Although all were completed within a decade of one another, architecturally speaking the group is extremely diverse. Besides owing very little to each other, the four buildings also seem to draw very little upon existing local traditions. Markedly dissimilar to their predecessors in Western Anatolia and the Balkans, these four buildings are nevertheless in and of themselves puzzlingly accomplished, seeming to have emerged fully-formed from the mind of their architect(s) without, in each case, any sort of identifiable developmental trajectory. However, this mid fifteenth-century flowering of Ottoman military architecture cannot have been entirely sui generis. Military architecture, shaped usually by soldier/engineers with direct experience of siege warfare, is by nature both adaptive and imitative; it is responsive to new threats and likewise heedful of successful precedents. The catalytic influences and heritage-both stylistic and technological-behind these mysteriously "new" monuments have nonetheless never been adequately identified in the limited scholarship on these buildings, and it is precisely this thread of investigation that this dissertation takes up.}, keywords = {Art of the Middle East/North Africa}, author = {Holmes, Denwood} } @mastersthesis {10993, title = {When Muslims Masquerade: Lo Gue Performance in Southwestern Burkina Faso}, year = {2011}, school = {UCLA}, abstract = {For generations, Zaras in and around Bobo-Dioulasso, Burkina Faso have danced lo gue. This dissertation explores what it is to experience the white masks, particularly as an urban, nocturnal, Muslim practice. Lo gue is a visually and publicly interactive field that depends on intimate physical engagement with spectators. Through lo gue practice, participants grapple with competing agendas, social relationships, personal danger, authority figures, and their own history. To that end, this study examines the ways in which participants insert themselves, and their agendas, into lo gue practice. Chapter one analyzes a single mask dance to examine issues of reception, competition, innovation, and subjectivity. It argues that the audience{\textquoteright}s constant interjections did not undermine the larger performance, but actively shaped and even directed the event. Chapter two explores the activities of masks off the dance floor, when they tour their district, and demonstrates that the threat and anticipation of physical violence, in concert with occasional outbursts of real violence, make it enjoyable for participants. Chapter three investigates the role of obscurity in shaping one{\textquoteright}s experience of these nighttime events, contending that lo gue is designed to benefit from the unique visual regime and ambiance of moonlight. Chapter four traces the contentious history of Bobo-Dioulasso{\textquoteright}s urban development and shows how white mask practices provide occasion to enact values impinged upon by urbanization. Although it is a funerary practice, lo gue pertains more to life than death. It celebrates model members of Zara society and encourages community members to emulate their virtues. Through the white masks{\textquoteright} dynamic performance, menacing tour, nocturnal ambiance, and historical relevance, participants performatively strengthen and challenge expectations of appropriate (public) behavior and identify themselves as Muslim Zaras.}, keywords = {African Art (sub-Saharan)}, author = {Homann, Lisa} } @mastersthesis {11068, title = {The White Wall in Postwar Art: The Aesthetics of the Exhibition Space}, year = {2011}, school = {Rochester}, abstract = {This dissertation concerns the logic of the "white cube" exhibitionary paradigm from the perspective of the changing conditions of artistic exhibition in the postwar era. Specifically, its inquiry concentrates on moments in the careers of four artists: Ellsworth Kelly (1949-{\textquoteright}55), Yves Klein (1957-{\textquoteright}62), Blinky Palermo (1969-{\textquoteright}72), and Daniel Buren (1969-{\textquoteright}72). Taken together, the four chapters that make up this dissertation each analyze an aspect of its titular white wall-respectively: pictoriality, value, architecture, and institutionality. The premise of this dissertation is that a formal, pictorial logic that underlies the exhibition of paintings on the conventional white walls of art galleries and museums-one continuous with the conventional terms of the transportable, frontal easel painting-holds within it a set of ideological assumptions about art, the work of art, and culture that govern a specific and highly determined mode of aesthetic experience. I call this mode of experience the "white cube paradigm." This paradigm, as read through the works of artists that consciously engage with and disrupt its premises, relates not just to the literal encounter between viewer and work of art, but furthermore to art{\textquoteright}s implication in the forces of commodity capitalism, urban planning, and advanced media-that is, the forces of spectacle. This dissertation presents an account of postwar art that diverges from the dominant narrative, wherein Minimalist sculpture represents the historical "crux" between Abstract-Expressionism and Institutional Critique. Instead, it analyzes the postwar pursuit of a new kind of aesthetic experience that, contrary to the Minimalist position, follows not from an obliteration of the work of art{\textquoteright}s ideational frame, but an engagement with both the conditions of artistic exhibition and the formal and ideological terms of the autonomous modern easel painting.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Leung, Godfrey} } @mastersthesis {11130, title = {Written Stupa, Painted Sutra: Relationships of Text and Image in the Construction of Meaning in the Japanese Jeweled-Stupa Mandalas}, year = {2011}, school = {Kansas}, abstract = {This dissertation contextualizes the twelfth- and thirteenth-centuries Japanese jeweled-stupa mandalas as some of the most striking examples from the early medieval period of innovative elaborations on sutra transcription. The project proceeds from a methodology grounded in visual analysis and religious studies. I begin with basic questions of semiotic inquiry about the prominence and privileging of sacred text in the form of the central dharma reliquary, a characteristic distinguishing the mandalas from nearly all other paintings made before them. I seek to understand the reasons behind the privileging of scripture on the picture plane and the inventive manipulation of the sutra text into the form of a stupa, both novel choices in the context of their early medieval Japanese production. At their root, the jeweled-stupa mandalas are an elaborate sutra transcription project revealing anxieties about death and power expressed through the belief that devotion to sutra can save souls, cure illnesses, grant tremendous authority, and much more. After investigating the continental origins of the mandalas and the culture of sutra transcription during the eleventh through thirteenth centuries and conducting an analysis into the particular histories and formal qualities, the project approaches the mandalas using a three-part collaborative analysis. The first part examines visual, textual, and archaeological evidence from the eleventh through thirteenth centuries, which testifies to the understandings and capabilities of text as well as the power of sacred word expressed repeatedly and profoundly in early medieval Japan. This exploration of sutra text lays the critical basis for the second part{\textquoteright}s investigation into the notion of body underpinning the innovative construction of the mandalas. The indivisibility of sutra, stupa, dharma, relic, and body in the paintings visually manifests the conflated nature of these seemingly independent concepts in religious practice and doctrine. Combining the first two parts facilitates a reading of the mandalas through what I call a salvific matrix of text and body. The third part concludes the dissertation by returning to an explicit discussion of semiotics, further exploring the construction of meaning in the mandalas through their imbrication of text and image.}, keywords = {Japanese/Korean Art}, author = {O{\textquoteright}Neal, Halle} } @mastersthesis {11055, title = {Yang Weizhen (1296-1370) and the Social Art of Painting Inscriptions}, year = {2011}, school = {Kansas}, abstract = {The dissertation explores the text-image relationship in late Yuan literati painting and the social dimension of painting inscriptions. Each of the first three chapters is devoted to the discussion of one painting and its inscriptions by the poet-calligrapher Yang Weizhen (1296-1370) and his contemporaries. By tracing the distinct assembling process of each work, the dissertation investigates the social conventions of painting inscriptions. The fourth chapter recounts the history of painting inscriptions from the fourth to the fourteenth century, with an emphasis on the social dimension, in order to place the late-Yuan practice in a historical context. Furthermore, the dissertation addresses the fluidity of meaning in Chinese painting and the role the audience (inscribers) played in the process of meaning-making. By bringing to light the social dimensions of painting inscriptions, this dissertation prompts a reevaluation of the use of inscriptions in the studies of Chinese painting.}, keywords = {Chinese Art}, author = {Liu, Ai-Lian} } @mastersthesis {10960, title = {Adopted Papal Kin as Art Patrons in Early Modern Rome (1592-1676)}, year = {2010}, school = {Rutgers}, abstract = {This dissertation examines the art patronage of adopted papal nephews in Baroque Rome (1592-1676), exploring the relationship between adoption and the arts in the context of a political system based on clientage and nepotism. When the nephew was not from the same paternal line as the pope, the onus fell on the pope and his nephew to publically proclaim, thereby reifying, the solidity of their relationship. Adopted nephews used the visual arts to create public displays of the unity of the ruling papal family, to demonstrate allegiance to a new paternal affiliation, and as part of the client system, in which works of art acted as signs of favour. Chapter 1 offers an outline of adoption and its reception based on primary source documents; subsequent chapters are case studies of individual patrons. Cinzio Passeri Aldobrandini{\textquoteright}s (1551-1610) career demonstrates the essential link between paternity and authority. This chapter presents unpublished documentation regarding Cinzio as a collector and reconsiders the significance of his ties to poet Torquato Tasso. Scipione Caffarelli Borghese{\textquoteright}s (1577-1632) commissions reiterate the hierarchical relationship between pope and nephew, preempting potential dissent by reaffirming the source and limitations of his authority and proclaiming the unity of the Borghese papacy. The first detailed reading of Guido Reni{\textquoteright}s 1608 Vatican Palace frescoes anchors this chapter. Contemporary commentary regarding the first true adopted nephew, Camillo Astalli Pamphili (1619-63), illustrates the extent of the resistance to adoption. His few commissions, from Velazquez and Claude Lorrain, present him as a worthy nephew in an attempt to normalize his unprecedented situation. The three adopted nephews of Clement X (1670-76) used their projects to proclaim their crucial role in the Altieri papacy and the illustrious heritage of their Albertoni family roots. From new analyzes of Carlo Maratti{\textquoteright}s Altieri Palace fresco and its development, to the rediscovery of a lost painting by Baciccio, this chapter highlights the issues at the crux of early modern resistance to adoption: loyalty, memory, and legitimacy. As the first study of adoption and its relationship to the visual arts in Seicento Rome, this dissertation reconstitutes a key component of baroque society and culture.}, keywords = {Renaissance/Baroque Art}, author = {Lloyd, Karen J.} } @mastersthesis {10777, title = {Advancing American Art: Survival of an Idea}, year = {2010}, school = {Florida State}, abstract = {The chief objective of this study is to examine the post-1948 life of forty-six paintings, originally a part of the United States Department of State{\textquoteright}s Advancing American Art collection. When given a second life after the collection{\textquoteright}s aborted international tour and subsequent auction, these paintings helped shape the university/museum collections and identities of four regional academic institutions: Auburn University, Auburn, Alabama; the University of Georgia, Athens; the University of Oklahoma, Norman; and the University of Washington, Seattle. No one has yet treated the domestic aftermath of the Advancing American Art exhibition and the fate of the State Department{\textquoteright}s collection. Yet the acquisition of paintings from Advancing American Art by colleges and universities formed the nuclei of their collections of American art. In the process, the acquired works vivified the study of American contemporary art in the 1940s and 1950s, helped develop the modernist canon in the United States, advanced the careers of American artists associated with the exhibition, and contributed to the development of prominent regional cultural facilities, and by extension the universities{\textquoteright} respective identities. In addition, an analysis of the post-exhibition lives of these paintings amplifies the socio-political context of the exhibition beyond what has been written. Traditional study of American art has focused on the artists and stylistic movements emerging from major metropolitan areas, particularly in the northeastern U.S., thus marginalizing other sections of the country. Little has been written about the role played by regional fine art collections and the museums that house them in defining the nation{\textquoteright}s art history. The Advancing American Art exhibition offers an important opportunity to study that role. Instead of making the controversial paintings disappear into the depths of storage vaults, universities displayed them as important examples of avant-garde American art. Furthermore, the dissemination of the paintings to the South, Midwest, and Northwest broadened the audience for vanguard art domestically. Thus, this study of regional collections, using the wealth of virtually untapped archival resources available, aids understanding of the reception of contemporary art outside larger metropolitan areas. A rigorous reconsideration of the subject demonstrates that the dispersal of paintings to four forward-thinking regional public academic institutions contributes to our more nuanced understanding of the regional reception of modernist art. More important, a study of the unanticipated consequences of the cancellation of the touring exhibition also provides insight into the institutional histories of regional American museums. Regional universities had a critical need for original paintings, as they developed new curricula in contemporary visual arts to accommodate increased student enrollment due to returning military personnel from World War II. Thus, the dispersal of the collection contributed to the growth of academic programs, the stimulation of interest in current American art, and the development of the prominent fine art museums now located on these campuses. Based in part upon previously untapped archival resources, this study considers for the first time these four institutional recipients of paintings from the Advancing American Art collection and paves the way for future scholarship on the exhibition{\textquoteright}s regional impact.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Burgess, Lana A.} } @mastersthesis {10819, title = {An Aesthetics of Experience: The Art and/as Life of Vaginal Davis}, year = {2010}, school = {UCLA}, abstract = {This dissertation, which is the first monograph-or more precisely, how it plays out, a "manual-cum-manifesto"-on Vaginal Davis, reckons with the life and/as art of the artist. Thus, it looks at and theoretically explores her embodied life as art as a modality of a "queer aesthetics of existence," which, and partially drawing from Michel Foucault{\textquoteright}s late work, as well as some streams of thought in queer theory, is to say there is no reason to see life as separate from art-only ever their intertwining, which has been theorized in other ways by Giorgio Agamben, David Halperin, Donald Preziosi, and Jacques Ranciere. Thus, I argue throughout, troubles the project of modernist art history and its corollaries. This opens up a series of (troubling) possibilities: making (art) history and ones life otherwise, artful. A queer aesthetics of existence is non-prescriptive: it highlights un-fixed races, sexualities, and genders, and it underlines that there is no singular or proper way to enact said aesthetics-only ever a multiplicity. This stated, a queer aesthetics of existence is a constant (un-)becoming, which I read as part and parcel to the art/life of Davis. Now, with the aforementioned names and ideas raised in relation to Davis, it has been my attempt to fold various thinkers together-make a fold of collaborators-which is performed throughout this dissertation, or manual-cum-manifesto. Indeed, this dissertation, in a crisscrossing manner, traces Davis{\textquoteright}s performances from the age of 13 to 2008, explores the ways she performatively un-/re-does art history by giving counter-histories, presents her an-archives, as well as demonstrates her connections to queer cultures, and it explores her last club, Bricktops, which I read as a "queer sexual space" that highlighted art/life, politics as aesthetics, and queer theory as embodied. Indeed, the primary frame, which I construct, around Davis is a queer aesthetics of existence, even though this frame cannot hold her: always leakage. Overall, this dissertation considers the art(ifice) of art history (if not life), it leaves the possibility of the Possible open, as well as announcing the "death" of a discipline, which is no "end"-rather, an opening: the open.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Summers, Robert} } @mastersthesis {10815, title = {The Aesthetics of Globalization and the Politics of Difference: From Identity Exhibitions to Transnational Artworlds?}, year = {2010}, school = {UCLA}, abstract = {This dissertation examines the current, seemingly endless proliferation of global art biennials. While discourses on biennials tend to generalize "biennialization" or "biennial culture," this project explores two major temporary exhibitions in the city of New Orleans: The World{\textquoteright}s Industrial and Cotton Centennial Exposition, 1884-1885 and Prospect.1 New Orleans: An International Contemporary Art Biennial (November 2008-January 2009). Of particular concern is the relationship between each exhibit and the structural as well as ideological production/re-invention of New Orleans. Following the devastation of Hurricane Katrina{\textquoteright}s landfall on August 29, 2005 and the disaster that ensued, both the largescale human as well as social and economic devastation, what are the ethics of viewing promulgated by Prospect.1? Is it merely another form of disaster tourism? How is Prospect.1 complicit in the ritualized transmutation of "other" bodies into commoditized-"brandable"-symbolic artistic practices or mere "performances of alterity" for the global art market? Rather than establishing a teleological history of festival events in New Orleans, corralling all evidence to fit within the logic of a singular point of view, this dissertation situates these two exhibits as parallel events, whose specificities and continuities help to foreground their similarities as much as their differences. While the cityscape is primarily a site of emplacement and displacement, this dissertation is an attempt to embrace the slippages, like the subtropical ooze, which forms the solid foundations of New Orleans.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Biederman, Legier} } @mastersthesis {10952, title = {Affecting Bodies: Guido Mazzoni{\textquoteright}s Lamentations in Context}, year = {2010}, school = {UCLA}, abstract = {The life-size mourners of Guido Mazzoni{\textquoteright}s Lamentation sculpture groups are singularly devastated by sorrow and achingly real. Six terracotta Lamentation groups, painted in naturalistic polychrome, have been attributed to Mazzoni; all were created within the last quarter of the fifteenth century and were placed within public churches. Each group includes seven biblical mourners gathered about Christ{\textquoteright}s corpse in various states of grief. This dissertation illuminates the enormous affective appeal of these works by reading them in light of fifteenth-century conceptions of the body and of the emotions. By framing the artist{\textquoteright}s rhetorical strategies within their original art-historical context, Guido Mazzoni{\textquoteright}s sculpture groups emerge as the maturation of the fifteenth-century artistic goal of decorous mimesis: through his exceptional artifice, the artist ennobled humble clay with the semblance of life. I elucidate how Mazzoni{\textquoteright}s rendering of affective states presented his audiences with a continuum of emotional experience that reached from the ancient past to the viewers{\textquoteright} contemporary world. His characters{\textquoteright} decorous expression of grief may have helped facilitate Christian life after the model of Christ and his saints. Furthermore, I argue that through his skillful rendering of anatomy and profusion of detail, Mazzoni achieved a simulation of reality that encouraged profound devotion by engaging the viewers{\textquoteright} own flesh. Finally, I demonstrate how Mazzoni{\textquoteright}s donor-portraits of rulers in the guise of biblical characters, included in the tableaux created for Duke Ercole I of Ferrara (early 1480s) and Duke Alfonso of Calabria (c. 1492), functioned as potent symbols of princely piety and political power. Guido used humble earth to construct images of ideal nobility, collapsing sacred and contemporary history and permanently projecting these rulers{\textquoteright} civic identities and political policies in proximity to the divine.}, keywords = {Renaissance/Baroque Art}, author = {Graham, Heather Sexton} } @mastersthesis {10964, title = {African Art at the Portuguese Court, ca. 1450-1521}, year = {2010}, school = {Brown}, abstract = {This study concentrates on the court practices of circulation and exchange of objects between Portugal and sub-Saharan Africa, as well as between Portugal and other European courts from the 1450s through the 1510s. By focusing on the reception and ceremonial use of objects across cultures, this approach permits the incorporation of African luxury objects into the history of art of Renaissance Europe in a coherent and meaningful manner. The Portuguese court used luxury objects, both natural materials and skillfully crafted artifacts, from Africa to represent their claims to imperial power in that region to other European courts and to convey notions of possession by collecting and bestowing these items on others. The shifting perceptions and interpretations of these objects depended on the ceremonies and diplomatic endeavors that accompanied their presentation in Africa and in Europe. Through the associations of the precious material and carved imagery with hunting, military prowess, and exalted notions of rule, these ivory objects from Senegambia, Sierra Leone and the Kongo were seen by the Portuguese as participating in the chivalric culture of the courts of Renaissance Europe. The role of African art in the formation of the Portuguese court{\textquoteright}s identity and imperial ideology necessarily championed the beauty of the objects and the artistic skill of African artists.}, keywords = {Renaissance/Baroque Art}, author = {Pereira, Mario} } @mastersthesis {10744, title = {African Coastal Elite Architecture: Cultural Authentication during the Colonial Period in Anomabo, Ghana}, year = {2010}, school = {Florida}, abstract = {This is a study of African coastal elite residential architecture during the colonial period, specifically between the 1860s and 1930s. Anomabo, a historically-significant port town, serves as a microcosm for a Coastal Elite Style that was popular along the West African coastline in every major port city during the colonial period. The Coastal Elite Style combines elements of the Akan courtyard house, European Palladian architecture and the Afro-Portuguese sobrado. These structures demonstrate how the Fante and other coastal Africans used the creative process of appropriation and transformation, or cultural authentification, to communicate their status and identity visually. African family members who achieve success are expected to extend the family residence or build anew. A home visually reflects the stature of the individual and his family in the community. The family residence communicates their level of connections, wealth, dignity, education and mobility in the global world. More than seventeen stone nog houses survive in Anomabo; all date between the 1860s and 1930s. Although these residences were created during the colonial era, cultural authentification on the coast of modern Ghana is a pre-colonial cultural practice born out of urbanization and multiple cultural interactions. Residential architecture is germane to this study because it provides a point of entry into larger questions dealing with African agency and the impact of globalization, commercialism and colonialization. Family houses built by African coastal elites visually bridge two cultures - African and European -and make powerful statements about the ability of this group to assimilate outside ideas and transform them into a new and dynamic art form. This is a story about people who, under social and political duress, find a way to express their identity.}, keywords = {African Art (sub-Saharan)}, author = {Micots, Courtnay} } @mastersthesis {10890, title = {After Poussin: Painting Theory in the French Academy (1665-1784)}, year = {2010}, school = {Northwestern}, abstract = {This dissertation argues that Academic painters{\textquoteright} emulation of the artistic practice of the seventeenth-century "painter-philosopher," Nicolas Poussin, is a key factor in the transformation of the premises and ambitions of high Academic painting during the ancien regime. An analysis of three such paintings forms the core of this study, namely: Charles Le Brun{\textquoteright}s Entree d{\textquoteright}Alexandre dans Babylone (1665, Musee du Louvre, Paris); Jean-Baptiste Greuze{\textquoteright}s L{\textquoteright}empereur Severe reproche a Caracalla, son fils, d{\textquoteright}avoir voulu l{\textquoteright}assassiner...(1769, Musee du Louvre, Paris); and Jean-Germain Drouais{\textquoteright} Le Christ et la Cananeenne (1784, Musee du Louvre, Paris). In spite of their stylistic differences, each painting advances a novel conception of painting that invokes specific works by Poussin, as well as his orientation to artistic and literary forms of the past more generally. A substantial portion of each chapter is devoted to demonstrating that each artist equates emulation of Poussin{\textquoteright}s representational strategies with innovation. Overall, this study places Academic artists{\textquoteright} innovations center-stage in the story of the development of a classicizing history painting, which has long been understood to have reached its zenith in the second half of the seventeenth century, and to have re-emerged in the second half of the eighteenth century. The role that innovative interpretations of Poussin had in this well-acknowledged phenomenon has thus far been overlooked. Furthermore, scholars have failed to see how the emulation of Poussin{\textquoteright}s representational strategies enabled artists to propose a new theory of painting and to intervene in contemporary aesthetic debates. By redressing these issues, this study shows that paint was viewed as a medium in which one could intervene in intellectual history{\textquoteright}s development. Because Le Brun, Greuze and Drouais were able to propose specific painterly definitions to such institutionally and theoretically contested terms as "classicism" and "history painting," they were uniquely able to stake a definition of painting{\textquoteright}s aims based upon the self-reflexive model furnished by Poussin.}, keywords = {Eighteenth-Century Art}, author = {Reyes, Hector} } @mastersthesis {10820, title = {After Sherrie Levine: Appropriation and the Semiotics of Seriality}, year = {2010}, school = {UCLA}, abstract = {The dissertation is a monograph on the prominent appropriation artist Sherrie Levine, a polarizing figure who, for the last three decades, has been at the center of debates about contemporary art and its challenges to authorship and originality. It evaluates the two most common theoretical approaches to Levine{\textquoteright}s work: the post-structuralist semiotic approach (inspired by Roland Barthes{\textquoteright} "The Death of the Author") and the psychoanalytic method (following Freud{\textquoteright}s theory of fetishism). The discussion demonstrates that these two schemes are subtly incompatible, as the polysemic promise at the center of the critique of authorship is undercut by the interpretive reductivism of the psychoanalytic approach. Aspects of the philosophy of Gilles Deleuze are introduced as a corrective to these models. Deleuze{\textquoteright}s philosophies both resonate with and reconcile the two approaches, and open Levine{\textquoteright}s work up through a new, comprehensive theoretical framework. The dissertation approaches Levine as a purveyor not of individual works, but of highly contingent interrelated series. Over the decades of her career, Levine has varied her appropriative strategies by making shifts in medium and scale; and through the juxtaposition of works in exhibition and print contexts. Two constants have guided her practice: she always appropriates the works of male modernists, and she always serializes these works in ways that impact how they must be read as historically received images and objects. This method amounts to a semiotics of seriality, in which the forms of modernism are reinvested by the repetitions of modernization, the industrial and commercial serialization which Levine{\textquoteright}s practice mimics. Deleuze provides an invaluable theoretical framework, as his version of poststructuralism takes the multiplicitous series (rather than the individual sign) as its starting point. Levine{\textquoteright}s semiotics of seriality demonstrates that seriality was all along a vital component within the practices of even seemingly quite disparate and unrelated modernisms.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Tradowsky, Christopher} } @mastersthesis {10812, title = {After the Copy: Originality, Creativity, and the Skilling of Contemporary Art in China{\textquoteright}s Dafen Village}, year = {2010}, school = {MIT}, abstract = {Since 1989, Dafen village in Shenzhen, China, has supplied millions of hand-painted oil-on-canvas paintings each year to global consumer markets. Accused of copying Western masterpieces, and spurred by the Chinese party-state{\textquoteright}s creative industry policies, Dafen village{\textquoteright}s eight thousand painters have been striving to become original artists. Simultaneously, conceptualist artists from outside Dafen village have engaged with the creative alienation of Dafen painters, by purchasing their labor in works of appropriation art. This study examines the discourses of creativity, originality, and appropriation that frame Dafen{\textquoteright}s painting production, and sets them against an ethnography of flexible work in the South Chinese painting trade. It explores the myriad ways in which Dafen village lends itself to intellectual and aesthetic explorations of the separation of painting labor from conceptual labor, as enacted in both modernist and postmodernist framings of artistic authorship. The study begins by charting the historical categorization of Chinese "export painting" and the emergence of the "painting factory" as a cultural imaginary of Sino-Western trade. It then examines the political stakes of "creativity" as constructed in Dafen television propaganda made by the national and local party-state. Then, turning to a single Vincent van Gogh-specialty workshop and the transnational wholesale and retail of van Gogh trade paintings, it theorizes the relationship of "craft" to modernist authorship and signature style. Finally, it scrutinizes cosmopolitan conceptual artists{\textquoteright} and designers{\textquoteright} collaborations with Dafen painters, exploring the ethical and aesthetic terms of universal creativity raised by the Dafen "readymade." Establishing continuities between Dafen production and the making of "high" art while challenging their putative antinomies, this study shows how the ideology of individual creativity undergirds the cultural industry policies of the local party-state, the consumer demand for authentic craft, and the appropriation of labor in contemporary art.}, keywords = {Chinese Art}, author = {Wong, Winnie} } @mastersthesis {10978, title = {The Afterlife of Kazimir Malevich{\textquoteright}s Black Square}, year = {2010}, school = {USC}, abstract = {This dissertation provides a historical and theoretical framework to the interpretative possibilities generated by Malevich{\textquoteright}s Black Square. Focusing on the transformations of this work from an easel painting to a Unovis revolutionary icon, and to a signature in Malevich{\textquoteright}s late paintings, I have argued that from the moment of its conception as the "first" Suprematist painting, the Black Square resisted being read as producing any single meaning. This resulted in the painting{\textquoteright}s repeated reinterpretation--by the artist himself, by his students, and later by art historians--in an effort to maintain its position of political and aesthetic relevance under shifting historical circumstances. The dissertation also addresses more general questions about the engagement of the Russian avant-garde with politics putting forward a more nuanced reading of Malevich{\textquoteright}s engagement with the tsarist regime, Anarchism, and, finally, Bolshevism, accounting for the artist{\textquoteright}s different strategies of negotiating the meaning of Suprematism vis-a-vis the limitations imposed by each of these political systems. The dissertation sheds light on the way Russian avant-garde art in general, and Malevich{\textquoteright}s art in particular, were included in the Western modernist canon. I have argued that Malevich{\textquoteright}s high status was cemented by the artist{\textquoteright}s own ability constantly to renegotiate the meaning of Suprematism by adapting it to changing political realities. His capacity to inspire a devoted following and organize an art movement motivated Lissitzky and Strzeminski to popularize Suprematism abroad, which contributed greatly to its later inclusion in the modernist canon. And, finally, Malevich{\textquoteright}s decision to leave many of his most important works in Berlin in 1927 resulted in the division of his oeuvre into Western and Russian holdings, which made paintings by him available for research and display during the period when his work was hidden from public view in the Soviet Union. All these factors were constituent components in Malevich{\textquoteright}s reputation-formation process, either in the West or in Russia, or both.}, keywords = {Twentieth-Century Art}, author = {Kudriavtseva, Ekaterina} } @mastersthesis {10985, title = {Aleksei Gan{\textquoteright}s Constructivism, 1917-1928}, year = {2010}, school = {Columbia}, abstract = {"Aleksei Gan{\textquoteright}s Constructivism" is the first monograph about the Russian constructivist Aleksei Gan (1887-1942) and an experiment in the formal analysis of a materialist practice. Best known as cofounder of the First Working Group of Constructivists and author of the group{\textquoteright}s agitational and theoretical texts, Gan{\textquoteright}s own oeuvre was comprised of amateur performances and mass-media objects (texts, books, journals, and films). This dissertation shows that the same qualities of ephemerality and dependency that make Gan{\textquoteright}s work resistant to art-historical analysis were also what made it representative of constructivism{\textquoteright}s ambitions for a materialist approach to art. In exploring these forms, Gan redefined the "work of art" as a labor process through which the material world, human beings, and normative (common or social) frameworks simultaneously produced one another. The result was an alternative modernism, what I call an aesthetics of embeddedness, whose objects were extensive and responsive structures designed to permeate and shape their environment. Through close readings, the dissertation redefines art-historical concepts such as style and medium in ways specific to Gan{\textquoteright}s historical moment, also examining them as manifestations of tensions in the early Soviet imagination. Most crucially these involve the cult of labor, the politics of group formation, and the power of the mass media to mold the normative frameworks governing social reality. Chapter 1 reevaluates the origins of Russian constructivism by examining Gan{\textquoteright}s early career in cultural and political enlightenment organizations, particularly his work in amateur theater and as a "constructor of mass action." Chapter 2 focuses on the crystallization of constructivism as a movement and aesthetic theory in 1921. Chapter 3 looks closely at Gan{\textquoteright}s book Constructivism (1922), developing an understanding of constructivism based on a typographic rather than sculptural model of material making. Chapters 4 and 5 examine Gan{\textquoteright}s journal projects in terms of architecture and cinema, defining a set of constructive paradigms that run throughout Gan{\textquoteright}s work. Finally, chapter 6 treats Gan{\textquoteright}s work as a filmmaker in relation to contemporary efforts to rationalize artistic labor.}, keywords = {Twentieth-Century Art}, author = {Romberg, Kristin} } @mastersthesis {10791, title = {American Autoscapes: The View from the Road, 1920-1949}, year = {2010}, school = {UCLA}, abstract = {With the advent of the automobile the appearance of the American landscape was transformed, and so was the way of viewing it. In terms of perception and its physiology, the automobile put people into new viewing positions and altered the sense of time and space. I argue that "automobilized vision" was a new mode of viewing the landscape from the moving car, and it included optical effects as well as a view of an emerging automobile landscape or "autoscape." The automobile mediated the relationship between a person and the actual landscape, simultaneously providing access and creating distance from the landscape. As a result of automobilized vision, artists represented landscape in new ways. Speed, movement, and the framing of views were responsible for most of the visual implications of automobile travel. Automobility provided easier access to more places, and artists often relied upon it to find subject matter. Often an artist{\textquoteright}s stimuli or conception of the landscape relies on the automobile as an essential part of the creative process, although this may not be immediately apparent. The artist Stuart Davis lived during the transition to automobile travel, and he is my case study for automobilized vision. Davis explained that an artist who has "driven an automobile...doesn{\textquoteright}t feel the same way about form and space as one who has not." He manipulated modernist artistic style to convey not just what was seen, but also how it was seen. I divide his development into three periods between the years 1916 and 1932, culminating with his painting Windshield Mirror (1932), which conveys the essential components of automobilized vision; an altered sense of time and space and the sequential appearance of framed views. A new episode in automobilized vision began with the building of high-speed freeways after World War II, and I conclude with examples from the 1950s through the present day.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Stuart, Carolyn} } @mastersthesis {10771, title = {American Landscapes as Revisionist History: The Frontier Photographs of Mark Klett, John Pfahl, Deborah Bright, and Robert Adams}, year = {2010}, school = {Boston}, abstract = {This dissertation positions contemporary photographs of iconic American frontier sites as visual embodiments of revisionist history. Artists Mark Klett, John Pfahl, Deborah Bright, and Robert Adams use photography to re-image and re-write American landscape history; they investigate conflicting narratives of nationhood and reinterpret the legacies of nineteenth-century photographers. Klett and Pfahlultimately perpetuate the myth of the frontier by suggesting that the nation is as beautiful and rich in resources now as it was in the nineteenth century. By contrast, Bright and Adams depict famous frontier sites as modern ruins, revealing that America{\textquoteright}s ethnic, class, and gender relations and its ecological health are fragile and unstable. In Chapter One, the Rephotographic Survey Project, created by Klett, JoAnn Verburg and Ellen Manchester, uses geological repeat-photography to evaluate present landscapes against the past; this deliberately banal comparison of "then" and "now" situates the western frontier as a changing indicator of national cultural identity. In Chapter Two, Klett{\textquoteright}s panoramic photo-collages of Yosemite and the Grand Canyon position the West as a collage of history, created by generations of layered artistic, documentary, and commercial imagery. In Chapter Three, Pfahl{\textquoteright}s Arcadia Revisited series employs sublime and picturesque aesthetics to depict today{\textquoteright}s Niagara Falls as the alluring tourist destination it was designed to be a century ago, largely ignoring the region{\textquoteright}s current ecological devastation. Chapter Four argues that two of Bright{\textquoteright}s New England-based projects expose biases in conventional American historical narratives: Glacial Erratic reveals Plymouth Rock, a site of imagined patriotic memory, to be heavily inscribed with histories of violence and oppression, and Manifest depicts crumbling stone boundary walls as sites of power and resistance. In Chapter Five, Adams{\textquoteright}s Turning Back re-examines the Lewis and Clark expedition on the occasion of its bicentennial; photographs depicting ghastly scenes of massive deforestation in the Pacific Northwest reveal an American dream gone awry. Klett and Pfahl{\textquoteright}s optimistic photographs depict an iconic frontier that continues to attract tourists, inspire artists, and fuel patriotism. Yet Bright{\textquoteright}s imprisoned Plymouth Rock represents the inconsistencies of American history, and Adams{\textquoteright}s clear-cut forests expose the tragic aftermath of western exploration.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Goldstein, Holly Markovitz} } @mastersthesis {10802, title = {America{\textquoteright}s Portraitist: Ralph E. W. Earl and the Imaging of the Jacksonian Era}, year = {2010}, school = {Iowa}, abstract = {This thesis serves as the first in-depth study of the works of Jacksonian-era portraitist Ralph E.W. Earl (1788-1838). Earl{\textquoteright}s multi-faceted contributions to the development of culture in Nashville, Tennessee complimented his work in formation of the public image of Andrew Jackson. As a young man from New England, Earl painted portraits as an itinerant artist, eventually making enough money to travel to England. He lived and worked in England for five years before spending a year in Paris and returning to the United States in 1816. Determined to paint the heroes of the Battle of New Orleans, Earl traveled to Nashville, Tennessee. He met with great success there and found a clear niche painting, thereafter settling in the up-and-coming city. Earl painted Jackson{\textquoteright}s portrait dozens of times in Tennessee and then in Washington during Jackson{\textquoteright}s presidency. The focus of this thesis is multifaceted. The story of American art is enriched with the telling of Earl{\textquoteright}s endeavors, and Earl{\textquoteright}s career functions as a unique case-study in early American art. Most importantly, Earl{\textquoteright}s portraits of Jackson helped fashion an acceptable image of the nation{\textquoteright}s seventh president. Furthermore, Earl{\textquoteright}s museum and printmaking endeavors helped expand early American culture in unique ways. This thesis contributes to the story of American art, history, and culture, by revealing the multi-faceted career of a forgotten American cultural hero..}, keywords = {Art of the United States}, author = {Stephens, Rachel E.} } @mastersthesis {10859, title = {Antoine Claudet, A Figure of Photography, 1839-1867}, year = {2010}, school = {CUNY}, abstract = {Up to now, the early decades of nineteenth-century photography have been narrated in terms of "great" individual achievements and have tended to characterize the histories of photography in England and France as separate but parallel chronological paths. Equally, scholars have usually split their object of study between two opposite disciplines: that of science and that of art. I propose instead a lateral approach that considers the ways in which both photography and individual photographers interconnected within an expanded network of international cultural forces, primarily commerce, technology, science, and art. I aim to do this through a close study of the career of Antoine-Francois-Jean Claudet (1797-1867), a French-born photographer operating a daguerreotype portrait studio in London from the early 1840s to the late 1860s. As a commercial photographer interested in improving the technical as well as aesthetic possibilities of photography, as a prolific writer on the medium, and as a Frenchman living in England constantly in communication with photographers and scientists on both sides of the English Channel, Claudet intersected with these cultural forces more directly than many of his contemporaries. By examining his pursuits laterally, across the multiple communities that they traversed in his time, this study will argue that a career like Claudet{\textquoteright}s is integral to any substantial understanding of the photographic medium{\textquoteright}s first decades, while also making a vital addition to how the history of photography is usually figured, one which acknowledges connection and collaboration as key to understanding more accurately the period of photography{\textquoteright}s invention and early development. In order to account for Claudet{\textquoteright}s connective role as a photographic figure, I will look at the early decades of photographic history as a network of dialogues in the midst of an expanded web of inseparable cultural forces. Writing Claudet{\textquoteright}s career as dialogue allows for a re-picturing of photography{\textquoteright}s development as a process of successes and failures, knowns and unknowns, that produced a range of cross-disciplinary conversations. If we consider these correspondences as the latent images of photographic history, this approach is itself a photographic one. It exposes and then "develops out" these latent conversations.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Hellman, Karen} } @mastersthesis {10895, title = {Appropriation and Innovation in Archaic Lakonian Art}, year = {2010}, school = {Rutgers}, abstract = {This dissertation argues that the artists of Archaic Lakonia - the region of ancient Greece controlled by Sparta - developed innovative approaches to narrative imagery by appropriating, modifying, and combining Corinthian, Attic, and Near Eastern precedents. It focuses on ways in which foreign compositions were changed and juxtaposed by the Lakonian vase painters who decorated the circular interiors of black figure kylikes, but the scant related remains of Archaic Spartan architectural sculpture are also addressed. This dissertation concludes that Spartan artists adjusted borrowed conventions in order to suit local viewers in specific contexts and contradicts the prevalent view that Lakonian art is derivative and provincial.}, keywords = {Greek/Roman Art}, author = {Coleman, Patrick} } @mastersthesis {10899, title = {Architectural Coin Types: Reflections of Roman Society}, year = {2010}, school = {Missouri}, abstract = {Architectural representations on Roman coins are among the most intensely studied images on ancient coins. Scholars frequently use them as evidence to reconstruct a monument{\textquoteright}s appearance. I seek to move beyond this approach and ask new questions. The first representations of monuments appeared on Republican coins. Although moneyers depicted monuments that related to their ancestry or politics, the depictions also arose at a time when Rome{\textquoteright}s population was growing and adding more large-scale public monuments. Architectural representations on coins became more common at the same time that second style wall painting, also known for architectural representation, developed. I assert that urban identity is partly responsible for the emergence of architectural imagery on coins and art in this period. Under the emperors, coins began to show monuments that were personally financed by the emperor or that celebrated his military victories. By the late Julio-Claudian period, more depictions of buildings were placed on bronze coins, including projects that benefited the lives of common Romans. A case study on the find spots of architectural coin types further indicates that the Roman state was targeting certain segments of society with images relevant to their station. In the late Roman Empire, architectural images became more abstracted and referred less to extant monuments. This was the result of the decentralization of political authority from Rome and the establishment of imperial mints across the Empire to strike a uniform coinage. Architecture on the local coinage of the Greek East was inspired by the imperial coinage, but the provinces were also highly innovative. After the closure of the provincial mints and the establishment of imperial mints across the Empire, local traditions of architectural representation were preserved on the late imperial coinage.}, keywords = {Greek/Roman Art}, author = {Elkins, Nathan} } @mastersthesis {10950, title = {The Architectural Vessels of the Moche of Peru: Architecture for the Afterlife}, year = {2010}, school = {Maryland}, abstract = {This dissertation investigates sculpted representations of ritual architecture produced by the Moche (C.E. 200-850), a complex and socially-stratified society occupying Peru{\textquoteright}s north coast centuries before the formation of the Inca Empire. My study focuses on a single artifact type-the Moche architectural vessel-a portable fine ware ceramic container with a stirrup-shaped handle and straight spout which supports a miniature modeled building. Moche architectural vessels mimic the form of structures and features identified in full-scale Moche architecture. When discovered scientifically, these objects accompany elite burials found within or in close proximity to Moche ritual architecture, or huacas. For art historians and archaeologists, these portable artifacts constitute one of the most important sources of data on Moche ritual architecture and as such, permit us a more nuanced understanding of ancient ceremonial structures which have been compromised by centuries of erosion, treasure hunting, and cataclysmic events. While Moche architectural vessels have been considered simple and somewhat generic representations of temples or temple complexes, my study suggests these objects instead relay explicit information about geographically, temporally, or ideologically specific ritual structures. In this dissertation, I propose a practical method for "decoding" these objects and demonstrate that, once deciphered, Moche architectural vessels can elucidate the original form, function, and ideological significance of Moche ceremonial architecture. My research draws upon several disciplines including art history, anthropology, ethnography, and ethnomusicology. Important contributions include the assembly of the first Moche architectural vessel corpus (169 vessels), the creation of a detailed 10-type Moche architectural vessel typology, a new method for visualizing these objects, and the discovery that several vessels are additionally acoustic artifacts. My study presents a new investigative model, applicable to other areas in the ancient Andes and Mesoamerica, where, for millennia, ceramic representations of architecture formed an important part of burial ritual. Moche architectural vessels also engage in a cross-cultural dialogue with architectural representations made for burial by other ancient cultures around the globe, including Han Dynasty China, Middle Kingdom Egypt, Iron Age Italy, Ancient West Mexico, and Aztec Mexico. They also illuminate the rich potential of ceremonial objects made by advanced societies without text-based histories.}, keywords = {Pre-Columbian Art}, author = {Wiersema, Juliet} } @mastersthesis {10757, title = {Architectures of Everyday Life in 1920s and 1930s Russia}, year = {2010}, school = {MIT}, abstract = {This dissertation is an architectural history of Russian everyday life, or byt, in the first two decades after the October Revolution. In this period, the investigation and reform of byt was a project that vastly crossed the limits of the architectural profession. I survey ways in which the quotidian environment was understood, ordered and envisioned in a variety of practices: bureaucracy, literature, theatre, film, urbanism, and design. The focus of the study is not on how these practices converged in the construction of singular projects. The dissertation explores the architecture of discrete geographies, sets of tactics and rules employed in mapping the material fabric of the everyday and in translating the official rhetoric of labor and productivity into an ethic and aesthetic of existence. The study is ordered chronologically, and according to scale. In the first chapter, I explore the manipulation and invention of the everyday object. The second chapter, is about the performance of the everyday in the biomechanical theatre, its ties with the Central Institute of Labor, and the peculiar mapping of the agitated body in action onto the space of the stage. The third chapter captures a moment in the development of the Soviet bathhouse, or banya around 1930, in which the bath, resembling a factory, was conceived of as an efficient, working building, which processed citizens{\textquoteright} bodies in their entirety, and in some cases, presented replicas of the world at large. In the fourth chapter, I read collective workers{\textquoteright} histories to reconstruct the aesthetic of the Moscow Metro and particular modes of perception needed to capture and behold its magnificence. The final chapter is about the efforts of wife-activists, or obshchestvennitsy, to represent a society of surplus and overproduction through their management of nature{\textquoteright}s bounty.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Vujosevic, Tijana} } @mastersthesis {10926, title = {Arouse the Conscience: The Photography of Alexander Gardner}, year = {2010}, school = {Harvard}, abstract = {Alexander Gardner is a Scottish photographer best known for his work during the Civil War era. In addition to producing hundreds of his own photographs over the course of his nearly twenty-year career, he oversaw the production of the war{\textquoteright}s most talented corps of photographers, and he produced the seminal photographically illustrated history of the war, Gardner{\textquoteright}s Photographic Sketch Book of the War (1866). Although Gardner{\textquoteright}s photographic production is the most well known of this era, he and his work are also the least understood. Through an exploration of Sketch Book, this dissertation engages the key issues relating to Gardner{\textquoteright}s biography, his contribution to American photography, his photographic practice, and his treatment of three interrelated topics: the role of African Americans during the war and in its aftermath; the meaning of slavery to the war and its origins; and the war{\textquoteright}s meaning and its memorialization. Chapter one offers new details of Gardner{\textquoteright}s life in Scotland and his relationship to radical politics, his exposure to photography, and his life in Washington, D.C. In an outline of the kind of photography and discussions about photography Gardner was exposed to in Europe, this chapter establishes the foundation for his artistic vision. In addition, understanding his interest in reform movements provides key insight into the choices he made as a visual artist and the personal and artistic alliances he cultivated throughout his life. The second chapter argues that the form of Gardner{\textquoteright}s Sketch Book was inspired by contemporary discussions within the international reform community about travel as a critical practice and new media as a tool to effect social change, and sought to present a visual argument for photographs as visual histories. In chapter three, an extended discussion of an image in Sketch Book demonstrates that Gardner was more sensitive to the African American experience than scholars have previously acknowledged. Chapter four continues a discussion of African Americans in Sketch Book, and argues that the presence of African Americans in the book serves to question the theme of national reconciliation that many scholars have seen as central to the project.}, keywords = {Nineteenth-Century Art}, author = {Best, Makeda} } @mastersthesis {10961, title = {Art History and the Invention of Botticelli}, year = {2010}, school = {UC Berkeley}, abstract = {This dissertation investigates the construction of the figure of Botticelli in European culture, c. 1860-1915, and its unexpected impact on understandings of art as historical. Botticelli{\textquoteright}s "rediscovery" by John Ruskin, Walter Pater, and the Aesthetes has become a notorious episode in the history of taste. Yet why those engagements occurred; what it was, exactly, that these and other figures saw in his paintings; and how the specific texture of the phenomenon became the crucial testing ground for the emergent discipline of art history-these questions remain unanswered. In addressing them, the dissertation argues for the special importance of the heterogeneous body of writing and art-making that accrued around the figure of Botticelli in the second half of the nineteenth century, in any attempt to come to grips with modernity{\textquoteright}s fraught sense of the historicity of art. "Art History and the Invention of Botticelli" is a study in the emergence of art history from a complex of writings about art, and about the past, that included modes of "criticism," "connoisseurship," philosophical meditation, an "iconography" not yet claiming the name, imaginative recreation, rhapsodic free-association, and, as constant ground-bass, the invention of further "Botticellis" by artists of the time. It is, in the main, about two things. The dissertation tells the story of the rediscovery of Botticelli itself, the work of English painters like Simeon Solomon, Dante Gabriel Rossetti, Edward Burne-Jones, and Walter Crane and, in their wake, of a string of strong writers about art: Walter Pater, John Ruskin, Giovanni Morelli, Bernard Berenson, Herbert Horne, Aby Warburg. Moreover, it reveals that in and through this rediscovery, a great battle was waged about the nature of writing on the visual arts. A mode of writing with an orientation towards description, ethics, and the affective impact of works of art faced off against an ascendant mode that valued the stabilization of the artist{\textquoteright}s oeuvre via "scientific" criticism and the patient, scholarly reconstruction of his life-world. Artwriting increasingly made a claim to the grander status of Kunstwissenschaft. In this paradigmatic contest, the paintings of Botticelli-in particular, the strangeness of their historical position-proved crucial. The result was a set of exaggerated, self-reflexive interactions between the verbal and the visual that gives special insight into the treatment of art as an embodiment of the past. Chapter one concerns the strategies of pictorial reference and reconfiguration by which late Pre-Raphaelite painters first constructed the figure of "Botticelli." Chapter two centers on the peculiar sense of art{\textquoteright}s history as it develops in the writings of Walter Pater and John Ruskin on Botticelli. It argues for the centrality of these accounts: positively or negatively, they would orient all those that followed. Chapter three turns to the so-called "scientific" connoisseurship of Giovanni Morelli and Bernard Berenson, focusing in particular on the impact of their attempts to stabilize Botticelli{\textquoteright}s oeuvre through the figure of the artistic follower. Chapter four discusses the writings of Aby Warburg and Herbert Horne in relation to the tradition out of which they emerged, attempting to situate their phobic refusal of the "cult of Botticelli."}, keywords = {Renaissance/Baroque Art}, author = {Melius, Jeremy Norman} } @mastersthesis {10741, title = {Art in a State of Emergency: Figuring Angolan Nationalism, 1953-2007}, year = {2010}, school = {Emory}, abstract = {This dissertation is a genealogy of a book about the Chokwe wall murals in Angola, Paredes Pintadas da Lunda. Written in 1953 by Portuguese anthropologist Jose Redinha, the book compiles a set of images taken from Chokwe habitations in the Lunda North province of northeastern Angola. The globally disseminated book compiled three years of Redinha{\textquoteright}s research on the murals, just one subject of his extensive research among the Chokwe in his long tenure at the diamond company Companhia de Diamantes de Angola [Diamang]. Redinha copied the wall murals in the Chitato district of the Lunda province in watercolor and then signed each of his prints. Within the book, each image accompanies a description and interpretation of the murals{\textquoteright} forms and composition. Since its publication in 1953, various artists have used this body of images in new artistic formats and under new political regimes. The dissertation begins with the Lunda Tchokwe project of the first Trienal de Luanda (2006-2007), which scanned every plate from Paredes Pintadas da Lunda. In order to contextualize the triennial{\textquoteright}s use of Paredes Pintadas da Lunda, I revisit the moment of the book{\textquoteright}s publication in 1953 by the mammoth diamond interest Diamang. I then discuss the use of Chokwe symbols by post-Independence Angolan artists, particularly Vitor Manuel "Viteix" Teixeira. I situate each of these three iterations within their ideological and material contexts in Angola. Specifically, I argue that an important component of the assertion of biopower in Angola has been the visual reification of the Chokwe murals and their component pictograms. The three projects I discuss all mobilize the Chokwe images for the nation-state, whether Portuguese or Angolan. I ultimately argue that these projects were not mere negotiations over the semantics of the Chokwe images, but more accurately, over their transmission through materialized networks.}, keywords = {African Art (sub-Saharan)}, author = {Collier, Delinda} } @mastersthesis {10931, title = {Art, Medicine, and Propaganda: A Crisis of Meaning in Gros{\textquoteright}s Bonaparte Visiting the Plague-Stricken of Jaffa, 1804}, year = {2010}, school = {UCLA}, abstract = {Antoine-Jean Gros{\textquoteright}s Bonaparte visiting the plague-stricken of Jaffa of 1804 marks a turning point in colonial strategy and French orientalism, and a transition from Consulate to Napoleonic Empire. As a propaganda piece referring to an incident in Syria in 1799, it countered rumors that Bonaparte poisoned and abandoned his plague-stricken troops. It also served to recruit soldiers for the new Emperor Napoleon{\textquoteright}s German campaign of 1804. These historical transitions are evidenced in a deep ambiguity of style and content, which is also rooted in a contradiction specific to the image: the plague was both documented and denied by the military leadership who, to preserve troop morale, described it as a "fever of the buboes" originating in the imaginations of the cowardly. The real plague and the imagined fever are concurrently addressed in the painting by divine and secular healing-the roi thaumaturge Saint-Louis and the clinical physician, who are part of overlapping strategies of religious and secular legitimation. General Bonaparte{\textquoteright}s ambiguous gesture simultaneously recalls the clinical physician, the roi thaumaturge, the Roman imperial adlocutio, and the Apollo Belvedere. Popular traditions of healing saints, and the contemporary Catholic revival-including the work of Chateaubriand-would have familiarized audiences with its imagery of religious legitimation, including the roi thaumaturge. These references are reinforced by lighting effects and architectural symbolism to produce an unstable structure of legitimation in crisis. The painting{\textquoteright}s clinical allusions, ethnographic realism and emotional intensity relate it to developments in Enlightenment science, and thereby back to secular legitimation. I therefore examine the implications of military medicine, {\textquoteright}scientific{\textquoteright} colonial ethnography, and medical psychiatry for the painting of the period. These developments are part of a crisis in traditional history painting, where Gros represents contemporary events not through idealized figures, centralizing single-point perspective or the unities of time and place, but through suffering humans, disaggregated composition, fragmented perspective and a fractured temporal frame. In an Epilogue, Ary Scheffer{\textquoteright}s Death of Saint Louis of 1817 recapitulates the themes of the dissertation under the Bourbon Restoration, when both he and Chateaubriand seek to transfer the myth of Saint-Louis from Napoleon to Louis XVIII.}, keywords = {Nineteenth-Century Art}, author = {Kenrick, Simon} } @mastersthesis {10800, title = {The Art of Thomas Hicks and Celebrity Culture in Mid-Nineteenth-Century New York}, year = {2010}, school = {Kansas}, abstract = {During the antebellum period, American audiences became fascinated, even obsessed, with celebrity. While celebrity was traditionally associated with fame and its classical ideals of virtue and honor, by the mid-nineteenth century these definitions began to shift as American audiences became enchanted by public personalities. The development of the mass media and the growth of the public relations industry fostered this new fascination. The invention of photography, and especially the inexpensive carte-de-visite, encouraged this interest as for the first time it allowed audiences to collect celebrity portraits cheaply. This posed a challenge for traditional portrait painters who wished to remain competitive in the new market of the celebrity image. This dissertation considers how mass media, photography, and celebrity culture affected traditional portraitists as exemplified through the career of Thomas Hicks (1816-90). Primarily active in New York City, Hicks integrated himself into artistic, political, and literary circles to acquire commissions. My exploration of Hicks{\textquoteright}s portraits provides insight into the ways in which Americans understood and fostered changing notions of fame and celebrity at mid-century. I argue that these portraits served as calculated constructions to promote and sell both the artist and his celebrated subjects. Chapter One introduces historical and theoretical concepts of fame and celebrity. Chapter Two examines Hicks{\textquoteright}s early training and how he used the popular press to establish his reputation. Chapter Three explores the dual functions of Hicks{\textquoteright}s political portraits at mid-century, specifically those of New York governor Hamilton Fish and presidential candidate Abraham Lincoln. Chapter Four investigates literary celebrity, nationalism, and gender constructs as represented by Hicks{\textquoteright}s Authors of the United States (1860). Chapter Five examines Hicks{\textquoteright}s multiple portraits of Arctic explorer Elisha Kent Kane within the context of America{\textquoteright}s new fascination with the Arctic regions; the creation of an American hero at a time of national distress; and the ways in which a celebrity image could be manufactured and manipulated in the popular press. Chapter Six discusses Hicks{\textquoteright}s multiple portraits of actor Edwin Booth in the role of Othello{\textquoteright}s Iago; the use of the paintings as advertisements; and the reciprocal nature of the actor-artist relationship. To conclude, I consider Hicks{\textquoteright}s critical reception and how he fell victim to the fickle nature of fame and was forgotten by the end of the century.}, keywords = {Art of the United States}, author = {Robertson, Letha Clair} } @mastersthesis {10980, title = {Art-Critical Invective in Paris: 1844-1876}, year = {2010}, school = {IFA/NYU}, abstract = {Why was Eugene Delacroix abused? Why Gustave Courbet, Edouard Manet, and the Impressionists? Not, as historians assume, simply because genius is always ahead of its time and because insincere hack journalists pandered to the bloodlust of a conservative and philistine art-world public. This happened, but more often critics drew their knives because they perceived an opportunity, an obligation even, to lance the existential uncertainty that had bedeviled France for decades. Art criticism was a good place to fight for the soul of the nation. Art was heavily politicized, as a recognized national treasure with state funding and regulation. It was easy to cast painting{\textquoteright}s story as an allegory of the nation{\textquoteright}s. Its own fate was uncertain in the extreme. I begin my study in 1844, when Journal des Artistes editor Andre-Hippolyte Delaunay thrashed Eugene Delacroix{\textquoteright}s recently completed Lamentation, which had been commissioned by the government to adorn the Eglise du Saint-Denis du Saint-Sacrement. It{\textquoteright}s long been customary to dismiss Delaunay{\textquoteright}s article as simply another in a decades-long series of reflexively conservative attacks on Delacroix. However, close examination reveals that in fact Delaunay found the artist and his administration sponsors insufficiently progressive. Prosper Haussard{\textquoteright}s February 1851 Le National attack on Courbet has also been misinterpreted as reactionary. It was in fact a call for moderation, for juste-milieu, for stasis, for peace. In 1866, in a series of articles for L{\textquoteright}Evenement, the twenty-six-year-old Zola attacked some of the most popular Salonniers and their champions in favor of the upstart Manet. These articles are traditionally interpreted as a pioneering appreciation of Manet{\textquoteright}s "realism." There{\textquoteright}s some value in this interpretation, but it neglects the articles{\textquoteright} most prominent theme, their denunciation of "femininity" in art. The German-born Figaro editor Albert Wolff in 1876 hoped to awaken his readers to the dangerous radicalism of the Impressionists, but unlike Haussard, Wolff doubted his ability to accomplish much. The decline of the official art world, and of the censorship regime that accentuated art criticism{\textquoteright}s societal influence, had doomed invective art criticism by robbing it of its urgency.}, keywords = {Twentieth-Century Art}, author = {Lackman, Jonathan} } @mastersthesis {10942, title = {Arte Povera in Turin: 1967-1978}, year = {2010}, school = {CUNY}, abstract = {This dissertation presents an original analysis of four artists based in Turin, Italy: Giovanni Anselmo (b. 1934), Mario Merz (1925-2003), Giuseppe Penone (b. 1947), and Gilberto Zorio (b. 1944). Although these sculptors are ordinarily considered either individually or within the context of the 1960s-70s movement Arte povera, focusing on the sub-grouping reveals historical, tactical, and thematic connections that are otherwise unapparent. Their specific careers evolved within the social, artistic and intellectual context of Turin during a time of great political upheaval and philosophical foment. This study contributes to a new understanding of engagement by these four artists with Italian aesthetics and politics, and presents a framework through which to study Arte povera more generally. Critic Germano Celant was based in Turin in 1967, when he developed the notion of Arte povera as a national artistic phenomenon that began in 1967 and ended in 1971. From its inception, the label was applied to contemporary Italian artists whose projects explicitly aimed to de-invest the artwork of predetermined meaning, but it is often misunderstood as referring to an interest in "poor" materials. Rather than attempting to recast and debate the term Arte povera however, this dissertation primarily argues that the socio-political history of Turin, combined with a prominent school of phenomenological philosophy, inspired the rise of specific aesthetic strategies and their subsequent identification by figures such as Celant, Tommaso Trini, Mirella Bandini, and others. Anselmo, Merz, Penone, and Zorio, in particular, created objects and installations that used natural and industrial materials alike to engage viewers in modes of active perception, creating empowered viewing subjects. Seen in relief with contemporary philosophical ideas about multi-sensory experience forming the sensible world, such artworks appear as aesthetic analogues to the political mobilizations occurring in Turin{\textquoteright}s factories and streets. Using a periodization based on Italian political history rather than the artistic one considered by Celant, this study examines the projects of these four artists from the student movement{\textquoteright}s beginnings in 1967 to the climax of domestic terrorism in 1978. It situates each artist{\textquoteright}s material practice within the local philosophical and social context to reveal its latent political charge.}, keywords = {Performance Studies, Twentieth-Century Art}, author = {Mangini, Elizabeth} } @mastersthesis {10862, title = {Artistic Training and Print Culture in the Time of Rubens}, year = {2010}, school = {Columbia}, abstract = {This dissertation expands and enhances our current knowledge of artistic training in the early modern period by showing how prints were used for the education of artists in seventeenth-century Flanders and, by extension, seventeenth-century Europe. In addition to the history of artistic training, this dissertation addresses fundamental questions about how visual sources were used by early modern artists and about how individual pictorial style was constructed and transmitted. The narrative arc that I trace begins with Rubens{\textquoteright}s early training under the lingering structure of the guild system and ends with the reception of Rubens{\textquoteright}s pictorial style through printed drawing books, whose popularity ascended as the establishment of the institutionalized art academy was cemented. I begin by examining the role of an apprentice{\textquoteright}s master in the process of learning to draw at the turn of the seventeenth century. Centered on the drawings of Rubens{\textquoteright}s teachers, the first chapter considers the nature of the instruction that Rubens received. I turn in my second chapter to Rubens{\textquoteright}s earliest works, pen-drawn copies after prints and illustrated books. These drawings show how Rubens expanded his visual frame of reference and developed his mastery of drawing in the unforgiving medium of pen and ink. It was his early study of prints and printed books, I argue, that set Rubens on a path of life-long engagement with the art of printmaking and the practice of print collecting. In my third chapter, I propose a reconstruction of Rubens{\textquoteright}s print collection; again, my methodology depends on evidence found in copy drawings in addition to documentary sources. This reconstruction has implications not only for our understanding of Rubens and his workshop, but for the collection, display, and use of prints by seventeenth-century artists and virtuosi. The final chapter examines Rubens{\textquoteright}s collaboration with his printmakers, one of whom, I argue, distilled the study collection of the Rubens workshop for more public distribution in the form of a printed drawing book. Unpublished copy drawings after these prints attest to how printed drawing books were studied in late seventeenth-century Flanders, a practice that is markedly different from Rubens{\textquoteright}s idiosyncratic selection and study of printed models. Taken together, the circulation of printed models, the formation of print collections, and the rise of the new genre of the printed drawing book demonstrate the centrality of prints for artistic training in the seventeenth century.}, keywords = {Drawings/Prints/Works on Paper, Renaissance/Baroque Art}, author = {Lobis, Victoria Sancho} } @mastersthesis {10781, title = {At Home in the Sixties: Images of the Home in American Art, 1960-1975}, year = {2010}, school = {Rutgers}, abstract = {This dissertation investigates the use of the image of the home as image and subject in American art between 1960 and 1975, drawing connections between the social and political issues connected with housing, Civil Rights, the Woman{\textquoteright}s Movement, and the Cold War. Postwar representations of the American home were complex and multivalent, due, in part, to the housing crisis after World War II that was met by the suburbanization of the nation, and the newly energized postwar economy that brought the single-family, suburban home to the center stage of public and private life. As art historians have previously described, Abstract Expressionism created a masculine context for the American art world that excluded women and non-white, nonheterosexual male artists from creative agency. The decline of Abstract Expressionism gave rise to a re-engagement with images of domesticity, the home, and common objects of everyday life. Domesticity, seen as the anti-modern, played a significant role in the iconography of the male dominated field of Pop Art and also in the work of artists outside of the Pop stylistic umbrella. Representations of the American home, and its corollary, domesticity, appear frequently in the work of Roy Lichtenstein, Claes Oldenburg, James Rosenquist, and Tom Wesselmann; and in key works by Nancy and Ed Kienholz, Hans Haacke, Dan Graham, Martha Rosler, and Romare Bearden. Through an interdisciplinary approach to the material, the works of art themselves, I set the image and symbol of the American home within an art historical and contextual history that reveals a preoccupation with issues of domesticity, visibility and invisibility, theatricality, surface and depth, public and private space, and how space is structured and represented. Gender politics and the representation of women is an important subtext throughout this dissertation coming to center stage in the last chapter{\textquoteright}s examination of Judy Chicago and Miriam Schapiro{\textquoteright}s collaboration with the students of the Feminist Art Program at Cal Arts in 1971-72, Womanhouse. I argue that Womanhouse should be understood within the larger context of the 1960s interest in the home as a subject for art. Womanhouse was both a feminist rebuttal to the sequestering of the woman in the home and a reaction against the art world{\textquoteright}s pilfering of the domestic as a neo-dada, anti-art subject. Womanhouse re-colonized the interior of the home as a feminine and feminist space and reclaimed it as an active showcase of female creativity.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Gustafson, Donna} } @mastersthesis {10955, title = {Authority and Innovation in Alberti{\textquoteright}s Theory and Practice}, year = {2010}, school = {IFA/NYU}, abstract = {Throughout this dissertation, which focuses on Leon Battista Alberti{\textquoteright}s (1404-72) De re aedificatoria, the buildings attributed to Alberti in Rimini and Mantua, and the contexts of both, I explore questions of textual and architectural authority and innovation in two competing quattrocento modes of authorship. One, exemplified generally but not exclusively by Leonardo Bruni (1369-1444), relies on a synchronic restoration of perfect "antiquity." The other, exemplified similarly by Alberti, relies on a diachronic, genealogical progression from antiquity to the present. In the synchronic mode, whether in writing or building, novelty is denied and individual, personal authorship concealed behind authoritative, "ancient" origins. In the diachronic mode, novelty and individual authorship are possible, textually and architecturally, through eclecticism. Historicism is the foundation for both, but while the former attempts to "restore" a purified antiquity, the latter fragments, consumes, and transforms the antique eclectically. I contend that these two modes of authorship shape humanist debates about language and ideas about architecture. Whereas Bruni and the {\textquoteright}first Ciceronians{\textquoteright} attempt to restore and reinstate a purified "ancient" Latin based on Cicero{\textquoteright}s orations, Alberti eclectically crafts personal, palimpsest languages (Latin and the volgare) from a wide spectrum of classical authors, post-classical vocabulary, and neologisms. Correspondingly, whereas Bramante{\textquoteright}s Tempietto is an example of synchronic, purified historicism, which fosters the impression of antiquity restored and novelty denied, Alberti{\textquoteright}s San Francesco is an example of historicist eclecticism. Alberti draws clearly on the Rimini Arch of Augustus, but rather than replicating it, he transforms the arch into a historically-contingent and personal design. I suggest that Alberti{\textquoteright}s method of historicist eclecticism is inspired not only by ancient authors and Petrarch, but also by Italian medieval architecture. Moreover, I contend, Brunelleschi{\textquoteright}s eclectic, personal designs exemplify the innovative, historicist eclecticism Alberti champions. Rather than a "Renaissance" recognition of "historical distance" or restoration of ancient arts and letters together, I argue that the drives to instate a purified historicism versus an eclectic historicism compete agonistically and across disciplines throughout the quattrocento. In my reading, the dialectic between authority and innovation defines Alberti{\textquoteright}s linguistic and architectural theories as well as his actual building.}, keywords = {Renaissance/Baroque Art}, author = {Horton, Heather} } @mastersthesis {10832, title = {The Benefit of the Doubt: Regarding the Photographic Conditions of Conceptual Art, 1966-1973}, year = {2010}, school = {Toronto}, abstract = {This dissertation offers a reconsideration of the uses of photography under the aegis of Conceptual Art between 1966 and 1973 by analyzing the ways photography challenged epistemological limits, and, despite the claims regarding the medium{\textquoteright}s inherent indexicality, emphasized experience over exactitude, and doubt in place of certainty. By focusing on four American practitioners, I argue for the "benefit of the doubt;" in other words, for the value of disbelief and hesitation, marking the reorientation of art at this time towards critical methods which oppose all orthodoxies, including but not limited to formalist dogmas, and instead are committed to the denial of autonomy in favor of understanding meaning as infinitely contingent. The dissertation is divided among four key case studies, including Mel Bochner (n. 1940), Bruce Nauman (n. 1941), Douglas Huebler (1924-1997), and John Baldessari (n. 1931). Each chapter argues for the unique contribution of photography in relation to conceptual art practices, while also situating the projects of these individual practitioners within the broader history of the medium of photography. I explore specifically the concepts of seriality, transparency and theory in Bochner; performance, "worklessness," and failure in Nauman; portraiture, mapping and impossibility in Huebler; humor, didacticism, choice and chance in Baldessari. This project looks back continuously to significant precursors, in particular the work of Marcel Duchamp (1887-1968), as a means of engaging the status and function of art after the Readymade, particularly as concerns de-skilling, disinterest, affirmative irony, and nominalism, as well as the dialectic between inclusivity and inconclusivity.}, keywords = {Contemporary Art}, author = {Diack, Heather} } @mastersthesis {10951, title = {Benvenuto Cellini and the Loggia dei Lanzi: Configurations of the Body of State}, year = {2010}, school = {Case Western Reserve}, abstract = {In one respect Benvenuto Cellini{\textquoteright}s Perseus and Medusa (Loggia dei Lanzi, Florence, Italy) legitimized the patriarchal power of Duke Cosimo I de{\textquoteright} Medici{\textquoteright}s Tuscany. The bronze statue symbolizes the body of the male ruler as the state overcoming an adversary personified as female, but the sculpture{\textquoteright}s androgynous appearance (the heads of Perseus and Medusa are remarkably similar) emphasizes the fact that Perseus, Cosimo{\textquoteright}s surrogate, rose to power through a female agency-the Gorgon. Though not a surrogate for the powerful women of the Medici family, Cellini{\textquoteright}s Medusa may have reminded viewers of the fact that Cosimo{\textquoteright}s power stemmed in various ways from maternal influence. The statue suggests that female power was palpable in the Medicean state. Under the Loggia dei Lanzi maternal power assumes, specifically, the form of Medusa as Mother Goddess. In the preceding context it is telling that additional works of art celebrating the duke{\textquoteright}s political greatness align Cosimo{\textquoteright}s image with maternal agency. The Perseus{\textquoteright} androgynous nature problematizes the Greek subject{\textquoteright}s role as an epitome of virtu (virility). Thus, the statue points up the contingent nature of patriarchal power, which in Cellini{\textquoteright}s day was synonymous with virtu . I discuss the Perseus as a reflection of Niccolo Machiavelli{\textquoteright}s theory that virtu depends upon adversary in the form of Fortuna, a version of the Mother Goddess, for its political purposes. The similarity between the heads of Cellini{\textquoteright}s Perseus and Medusa suggests that Cellini (as Perseus) identified with the Gorgon as a hunted figure. Thus, the statue reminds one of social, cultural, and legal restrictions imposed upon men who lived in Cosimo{\textquoteright}s Florence. Here, the cult of honor and virtu bred more divisions in the absolutist state by perpetuating violence. Similarly, Cellini{\textquoteright}s statue implies that violence may turn against itself by appealing to the aggression of its viewers. My study concludes with an analysis of Duchess Eleonora di Toledo{\textquoteright}s image in art as Mother Goddess, a force who rivals the power of Cosimo I. Thus, the duchess{\textquoteright} image ultimately served as Medusa{\textquoteright}s counterpart.}, keywords = {Renaissance/Baroque Art}, author = {Corretti, Christine} } @mastersthesis {10943, title = {Beyond {\textquoteright}Meaningless Work{\textquoteright}: The Art of Walter De Maria, 1960-1977}, year = {2010}, school = {CUNY}, abstract = {This dissertation investigates the work of the American artist Walter De Maria (b. 1935). De Maria is known predominately through photographs of his sculptural land work, The Lightning Field (1977), but the breadth and complexity of De Maria{\textquoteright}s practice has not received sustained critical scrutiny. I consider De Maria{\textquoteright}s writings, including his would-be manifesto "Meaningless Work" (1960), drawings, wood boxes, steel sculptures, installations, land works, music, film, and photography projects, as well as his connection to the development of minimal art, conceptual art, and land art, and his relationship to his collectors and patrons. By examining the many facets of De Maria{\textquoteright}s production and reception and by focusing on work from the 1960s and 1970s, this dissertation deepens the current understanding of his practice during the time of its development and articulation. Additionally, through detailed archival research, this study moves away from the personal and anecdotal treatments De Maria{\textquoteright}s work has received thus far and toward an understanding of his practice contextualized in its time.}, keywords = {Performance Studies, Twentieth-Century Art}, author = {Theodore, Molleen} } @mastersthesis {10778, title = {Beyond the Easel: The Dissolution of Abstract Expressionist Painting into the Realm of Architecture}, year = {2010}, school = {UT Austin}, abstract = {A defining feature of American abstract expressionist painting is its enormous size and scale. Heroic ambition, the vast American landscape, and the sense of "something big" happening in American painting are often cited as determining factors in this phenomenon. This dissertation examines how Jackson Pollock, Barnett Newman, and Mark Rothko not only painted large-scale canvases but, following trends in modern architecture, shifted their painting towards the construction of architectural environments, thus promoting the transformation of painting from a window in the wall to a wall without a window. The artist and architect Tony Smith, a close friend and colleague of these painters, played an active role in encouraging their interest in modern architecture. As a result of their investigations into the physical, as well as conceptual, limits of the canvas, these artists shifted the viewer{\textquoteright}s experience from a perceptual experience of pictorial space to a physical encounter with actual space. In contradiction to the notion of the purely optical, one could describe this as a somatic viewing experience, tactile and active, which anticipated specific concerns of 1960s minimalism. This achievement redefines Pollock{\textquoteright}s, Newman{\textquoteright}s, and Rothko{\textquoteright}s legacy to the subsequent generation of artists and places their production into a broader historical framework.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Costello, Eileen} } @mastersthesis {10835, title = {Beyond the Pale and Back Again: The Case of Mark Wallinger}, year = {2010}, school = {Florida}, abstract = {Mark Wallinger{\textquoteright}s career has sought to critique structures of political authority and popular culture in the United Kingdom. My dissertation elucidates the methods by which he deconstructs these social configurations. In each thematically-organized chapter, I argue that he forms his appraisal through the investigation of modern mythic narratives and a cunning manipulation of literary tropes and devices. Each chapter includes a close reading of four artworks. Wallinger{\textquoteright}s artistic career has progressed both in its scope and its intelligence over the past twenty-five years, and I will outline the progression his art practice has made in its evolution since the mid-1980s. My monograph will display the ways in which Wallinger{\textquoteright}s initial interest in exposing how Britain{\textquoteright}s national character is rife with contradictions has been expanded in recent years to include works that comment on local and universal systems of surveillance and segregation. In his ironic parodies and appropriations of traditional British political, pop, and spiritual configurations, Wallinger is attempting to move away from what he sees as British art{\textquoteright}s parochial burden. As an artist he often returns to the same concepts and subjects which interest him, and I will propose that this repetitive re-visitation of certain thematic inquiries has become an important mode of production that cannot be ignored.}, keywords = {Contemporary Art}, author = {Johnson, Brantley} } @mastersthesis {10773, title = {Black Saturday{\textquoteright}: Eudora Welty{\textquoteright}s Unpublished Photographic Essay of Depression-Era Mississippi}, year = {2010}, school = {Florida State}, abstract = {This dissertation examines the intersecting space between word and image that characterizes the photographic essay as a distinct medium. To illustrate the power negotiations that occur in the interstices of word and image, this dissertation applies art critic Elizabeth McCausland{\textquoteright}s 1943 theory of the genre to four Depression-era photographic essays concerned with African-American life: Eudora Welty{\textquoteright}s "Black Saturday," Julia Peterkin and Doris Ulmann{\textquoteright}s Roll, Jordan, Roll (1933); Erskine Caldwell and Margaret Bourke-White{\textquoteright}s You Have Seen Their Faces (1937); and Richard Wright and Edwin Rosskam{\textquoteright}s 12 Million Black Voices(1941). By examining these photo-texts created and published during the interwar years, I hope to parse the medium-specificity of both the genre{\textquoteright}s constitutive parts (the photograph and the text) while also respecting the hybrid form (one marked by struggle rather than equality) that their combination creates. Investigation of these photographic essays within this theoretical framework and in the context of 1930s publishing practices illustrates the power of the photographic essay to construct racial identities and broadens the critical understanding of the compelling yet confusing genre that is the photographic essay.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Watson, Keri} } @mastersthesis {10847, title = {Bodies Out of Time in Place: Queerly Present in Andy Warhol{\textquoteright}s Factory and Beyond}, year = {2010}, school = {Rochester}, abstract = {This dissertation, Bodies Out of Time in Place: Queerly Present in Warhol{\textquoteright}s Factory and Beyond, places in conversation sites and forms of artistic production in the post-Abstract Expressionist New York avant-garde (1959-1970) that are often treated separately. Bringing a number of cinematic and multi-media experiments of Warhol and his circle into dialogue with contemporaneous works at the Judson Dance Theatre and other sites of artistic experimentation, I explore how complex interrogations of temporality and artistic authorship in these examples operate as proto-queer and/or proto-feminist interventions-immediately preceding the sexual revolution and gay and lesbian liberation. I argue that Warhol and the female and queer male artists working alongside him contested reigning norms of artistic embodiment to create alternative aesthetic possibilities and underground cultural spaces for themselves. Throughout the dissertation, I pursue a methodology that avoids collapsing individualized experiences into marginalized categories of "woman{\textquoteright}s issues," or "gay issues," and I privilege investigations of how queer feminist concerns overlapped with formal and thematic preoccupations of the post-WWII avant-garde. In chapter 1, I investigate Warhol{\textquoteright}s sustained interests with dance throughout the late 1950s and early 1960s and elucidate how his familiarity with this aesthetic form translated into works in popular illustration, traditional painting, and film. I argue these works articulate a queer aesthetic that troubles the simple dichotomy of embodiment/abstraction, and express Warhol{\textquoteright}s intimate affinity for the feminized worlds of dance. The second chapter brings into conversation works produced between 1962-64 at Warhol{\textquoteright}s Factory and Judson Memorial Church, Andy Warhol{\textquoteright}s film series Kiss and Yvonne Rainer{\textquoteright}s and Steve Paxton{\textquoteright}s dance Word Words. I propose that these examples challenge the ways heteronormative desire for bodies on screen and stage are often channeled and delimited through traditional spatial and temporal conventions of cinema and dance. Chapters 3 and 4 consider how Warhol{\textquoteright}s collaborations with two individual women transformed the idea of artistic authorship rooted in a masculinized body that withdraws itself in order to present itself as a persona. In chapter 3, I explore Warhol{\textquoteright}s intense working and social relationships with Edie Sedgwick in 1965. I argue that this couple re-articulates the idea of the artist{\textquoteright}s body as "in pieces," rather than as self-contained and whole. The final chapter addresses Warhol{\textquoteright}s collaborations with Brigid Berlin in his filmmaking beyond (1965-1969). I demonstrate how their work together contributed to transforming prevailing body-centered notions of artistic and sexual identity into queer models that emerged from the mediating factors of social place, artistic practice, and performed embodiment.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Gilbertson, Leanne} } @mastersthesis {10876, title = {The Body Recast and Revived: Figural Tomb Sculpture in the Holy Roman Empire, 1080-1160}, year = {2010}, school = {Harvard}, abstract = {By the end of the twelfth century, the practice of memorializing the dead through funerary sculpture had become widespread across Europe. The tomb effigy, in which the body of the deceased was depicted in a full-figure relief on a rectangular slab laid over the grave, would eventually become the most coveted form of burial for elite members of late medieval and early modern society. Today a rich array of such effigies survives from the thirteenth through sixteenth centuries, forming a focal point for the modern study of Gothic and Renaissance sculpture. Yet despite the importance of these works to both the commemoration of the dead in medieval society and to contemporary scholarship, to date, no sustained research has been conducted on the effigies of the eleventh through early twelfth centuries. While some of these first examples have been presented in catalogue entries and monographic articles, this dissertation is the first project to address effigies from the period 1080-1160 as a coherent genre of monumental sculpture, and to assert that these objects are distinct from their Gothic and Renaissance counterparts not only in form, but also in function. Beyond merely filling a lacuna in our knowledge of European sculpture, this study situates early effigies within the larger discourse that has emerged in contemporary scholarship on the body. Moving systematically through a series of case studies, and centered on the unique proliferation of effigies in the twelfth-century Holy Roman Empire, each chapter asserts that Romanesque effigies were not created for the wealthiest or most powerful members of medieval society, but rather for individuals whose lives and deaths were both problematic and exemplary in the eyes of their local communities. These sculptures compensate for loss, defeat, and untimely death, reassuring audiences that worldly sacrifice would be redeemed through heavenly redemption and eschatological resurrection. These effigies are not personal commissions to ensure individual salvation; they are public monuments with communal goals. Within this framework, this dissertation presents the twelfth-century rise of the medieval tomb effigy as a defining, formative moment in the larger history of representations of the human figure in Western art.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Shirin Fozi} } @mastersthesis {10842, title = {The Body-Worlds of Opicinus de Canistris, Artist and Visionary (1296-ca. 1354)}, year = {2010}, school = {UC Berkeley}, abstract = {This dissertation explores the drawings of a fourteenth-century Italian priest, Opicinus de Canistris, who is emerging as a critical figure for medieval art history. His drawings contradict numerous assumptions of how scientific curiosity, space, allegory, gender and humor operated in medieval visual culture. Opicinus combined maps with human bodies to create complex allegories of the natural and spiritual world. These drawings defy traditional art-historical classification; they relate closely to contemporary maps and sea-charts, religious pictorial imagery, medical drawings, and cosmological diagrams, but belong to none of these categories. This study examines his drawings in relation to medieval epistemology, science, cartography, allegory, and gender, as well as modern theoretical approaches to mapping and the diagrammatic mode. This study also explores Opicinus{\textquoteright}s process of experimentation and making. To gain a greater understanding of what Opicinus was trying to convey through the creation of embodied maps, the maps, themselves, are explored first-their empirical basis, conditions of use, geometric techniques, and visual qualities-seeking what it was in them that so fascinated Opicinus. The next chapter explores vision and allegory in the drawings, probing the interactions between cartographic form and theological content that created his meanings. The third chapter questions the relationship between Opicinus{\textquoteright}s body-world drawings and contemporary conceptions and pictures of cosmic relationships and their relation to the body, and the final section examines how Opicinus used gender binaries and graphic sexuality as structural devices and metaphors.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Early Medieval/Romanesque/Gothic Art}, author = {Whittington, Karl} } @mastersthesis {10848, title = {Bordering on Feminism: Home and Transitional Sites in Recent Visual Culture and Native Women{\textquoteright}s Art}, year = {2010}, school = {Rochester}, abstract = {This dissertation explores the home both as a theme in contemporary art by Native North American women artists and as a means to engage Native women{\textquoteright}s art and visual culture in a critical, intercultural feminist discourse. The home is a rich and complicated site in feminist theory and women{\textquoteright}s history; it holds additional meaning in Native cultures, where it has ties to specific cultural traditions, to homeland, and to the history of colonization. Artists working in performance, video, film, photography, and installation explore aspects of the home; of particular interest here are those works which relate to intercultural encounters between Native and non-native women. Transnationalism is introduced as a conceptual framework for analyzing home, gender, and identity in Native women{\textquoteright}s art and visual culture. Relying heavily on feminist interpretations of transnationalism, borders, migration, diaspora, cosmopolitanism and hybridity, this dissertation addresses the multiple contexts for Native women{\textquoteright}s identities and homes. It explores how artists present an experience of homeland and collective identity that reflects their position as global citizens whose own experiences and identities may find points of commonality with the experiences and identities of artists from other cultural, ethnic, and national positions. Contemporary artists discussed include Sama Alshaibi, Rebecca Belmore, Hannah Claus, Bonnie Devine, Rosalie Favell, Danis Goulet, Maria Hupfield, Marianne Nicolson, Shelley Niro, Alanis Obomsawin, Hulleah Tsinhnahjinnie, and Anna Tsouhlarakis. In order to consider representation and encounter between Native and non-native women more broadly, a close reading of the photographs Gladys Knight Harris took of Inupiat women in Kotzebue, Alaska in 1949 is also presented.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Kalbfleisch, Elizabeth} } @mastersthesis {10764, title = {Building the Ivory Tower: Campus Planning, University Development, and the Politics of Urban Space}, year = {2010}, school = {Michigan}, abstract = {In this dissertation I argue that the physical growth of American universities throughout the twentieth century held significant implications for the larger metropolitan order of their host communities. Indeed, universities were a major and previously unrecognized factor in the process of urbanization around the country. By examining several university-city cases, this work illustrates that institutional growth could catalyze changes in patterns of urban investment, as in Muncie, Indiana; reinforce boundaries of urban segregation, as in Austin, Texas; drain the vitality of near-campus neighborhoods as hotbeds of creative political activity through urban renewal, as in Hyde Park, Chicago; or catalyze political protest, as in Berkeley, California. As universities expanded in size with the aid of federal funding sources and developed increasingly national and global identities at the expense of local affinities, these physical, political, and intellectual changes often brought the institutions into conflict with their communities and created tension between the student body and university administrators. Universities responded by embracing the ideal of objectivity and restricting overtly political considerations and statements by faculty and students-part of a growing consensus in favor of democratic capitalism in broad opposition to communism. This restriction of political possibilities was likewise reflected in the built environment of universities, expressing ambivalence or denial of responsibility about their roles in urban development and American politics. The notion of the "ivory tower" was established as a critique of higher education in this period, an architectural metaphor constructed to chastise individuals and institutions reluctant to administer and support the Cold War struggle for American hegemony.}, keywords = {Architectural History/Historic Preservation}, author = {Winling, Ladale} } @mastersthesis {10772, title = {Camera{\textquoteright}s Lens and Mind{\textquoteright}s Eye: James McNeill Whistler and the Science of Art}, year = {2010}, school = {Columbia}, abstract = {This study contends that James McNeill Whistler was influenced by the advent of photography, and that his art can be interpreted through a "photographic lens" that incorporates knowledge of the imagery, techniques, and perceptions of his time. The artistic use of photographs in the nineteenth century is commonly understood to follow a model of employing source material drawn from a given photograph, yet the relationship between Whistler and photography is far more nuanced than that of copying motifs. Whistler{\textquoteright}s art intersects with a variety of specific photographic practices, but he also had the more inherent characteristics of photographic materiality available for his emulation: how photographic images chemically appeared out of an emulsion. Chapter One positions Whistler within a photographic world, exploring how he interacted with photography, coming in contact with different processes, purposes, and practitioners during his career. Chapter Two examines Whistler{\textquoteright}s Nocturnes, which were the result of a lengthy process of experimentation with painting techniques, in relation to photographic materiality. This study argues that the inherent nature of photography itself can be seen as an important analogue to how Whistler painted his landscapes. Chapter Three explores how the photographic nature of Whistler{\textquoteright}s Nocturnes can be understood as a factor in Whistler{\textquoteright}s dispute with John Ruskin, using their attitudes toward photography as a springboard toward a larger discussion about the making and the interpretation of art. Chapter Four interprets Whistler{\textquoteright}s portraits in relation to spirit photography, encouraged by the knowledge of his Spiritualism, his subtle appropriation of photographic effects, and the critical rhetoric of ghostliness that surrounded his portraits. Chapter Five investigates a group of works that depict movement in light of Eadweard Muybridge{\textquoteright}s Animal Locomotion. These works engage with motion photography as well as societal concerns about gender and movement. The final chapter examines Whistler{\textquoteright}s influence on pictorialist photographers. They drew on his model in a number of ways, choosing processes that allowed for manipulation of the surface in Whistlerian ways. That they were so successful underscores the photographic qualities of Whistler{\textquoteright}s art, and the need to position Whistler at the intersections of art, science, and photography.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Kelly, Sarah E.} } @mastersthesis {10941, title = {Caravaggio{\textquoteright}s Drama: Art, Theater, and Literature during Italy{\textquoteright}s {\textquoteright}Spanish Age{\textquoteright}}, year = {2010}, school = {Pittsburgh}, abstract = {Scholars often describe Caravaggio{\textquoteright}s paintings as inspired by scenes from quotidian life. A few see his work as influenced by popular dramas such as the commedia dell{\textquoteright}arte. While one might think these are conflicting explanations, close examination shows that a wide variety of popular dramatic forms was as much part of daily life as daily life was part of popular drama. Caravaggio{\textquoteright}s "theatricality" is the careful depiction of quotidian life, expressed through the familiar language of popular dramatic forms, a sort of "visual vernacular" known to all classes. Caravaggio appropriated specific elements both found in a wide variety of popular theatrical media and recommended in treatises on oration, preaching, Jesuit spiritual exercises, and memory models, because they were proven to engage the emotions and make imagery memorable. Caravaggio went against painterly tradition and filled his shallow pictorial spaces with sharp side-lighting, deep shadow, and personages based on everyday life to make his paintings distinctive and to bolster his reputation among the general public, who was fascinated with dramatic entertainment. In Spanish Lombardy, Caravaggio saw public spectacles hosted by Spanish officials; the Entierro, a torch-lit procession with live actors and painted statuary; stage-like Sacro Monte chapels filled with polychrome statuary; and action packed and often violent illustrations from epics such as the vastly popular Orlando Furioso, which was frequently represented in street theater. In Rome, he frequently saw secular and religious street dramas and associated with elites, such as Cardinal del Monte and the Colonna family, who used various forms of popular theater to enhance their reputations. In southern Italy, Caravaggio looked to Italian/Spanish hybrids of local drama, travelling commedia dell{\textquoteright}arte troupes, local and Iberian drama and literature, and the Neapolitan presepe for inspiration. In the south, he transformed his polished Roman painting style into one with rough, brushwork, dark palette, somber mood, and deep psychological complexity, reflecting the current writings of the Spanish mystics, local dramatists and memory scholars. Thus, the artist{\textquoteright}s work serves as a lens that focuses, with illuminating intensity, on the wide range of dramatic forms found in Spanish Italy that were common sights in daily life.}, keywords = {Performance Studies, Renaissance/Baroque Art}, author = {Johnston-Keane, Kathy} } @mastersthesis {10787, title = {Carl Andre, Richard Serra, the Problem of Materials, and the Picture of Matter}, year = {2010}, school = {Columbia}, abstract = {Carl Andre and Richard Serra are major figures within the history of twentieth-century art, largely for their contribution to a newly won understanding of sculpture after modernism. This study argues, however, that we must look outside the discourse of modernism, and thus of Minimalism and Postminimalism, in order not only to understand just how deep Andre and Serra{\textquoteright}s contributions run, but also to reconsider just what we believe those contributions to be in the first place. To that end, this study exchanges the categories of "art" in general and "sculpture" in particular for the concepts of "matter" and "material" as a means to look differently at the history of advanced art-making in New York circa 1968, the years of Andre{\textquoteright}s "rugs" and Serra{\textquoteright}s "props." By tracking an underground strain of physicalist thinking in the historical discourse of Minimalism, and by tracing the shifts in the scientific and philosophical understanding of the concept of matter in the wake of particle physics and the new atomic sciences of the middle of the twentieth century, this study seeks to answer how matter could come to be conceived of as a "readymade." At the same time, through parallels to contemporaneous upheavals in the philosophy of science-in both its theories and practices-this study makes a case for understanding Andre and Serra{\textquoteright}s contributions to the history of twentieth-century art according to a dialectic of reduction and emergence, and so offers a different set of concepts with which to tell the narrative of the art that comes after that which we call Modern.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Neil, Jonathan} } @mastersthesis {10959, title = {The "Carrara Herbal" in Context: Imitation, Exemplarity, and Invention in Late Fourteenth-Century Padua}, year = {2010}, school = {Emory}, abstract = {This dissertation examines the relationship between the Carrara Herbal (British Library, Egerton 2020), an illustrated book of plant medicines, and the patterns of the Carrara family{\textquoteright}s patronage during their rule of Padua. The Herbal was one component of patronage system that redefined the collection and production of cultural artifacts as an enterprise in portraiture, involving not only books but portrait medals, fresco cycles, and tomb monuments. Commissioned by the last Carrara lord of Padua, Francesco II "il Novello" (r. 1390-1405), the Herbal and its diverse plant portraits reflect the effort Francesco made to portray himself as a scholar-prince in the tradition of Petrarch{\textquoteright}s illustrious men. Francesco{\textquoteright}s commission of the Herbal was influenced by the vision of self and of Padua expressed in portraits and books commissioned by his father, Francesco I "il Vecchio" (r. 1350-1388). As a material object, the Herbal upheld the status of the codex as an emblem of the learned prince, a status celebrated in his father{\textquoteright}s patronage. The elder Francesco had used his library to cultivate his self-image as a successor to the Roman leaders immortalized by Petrarch. The Herbal specifically engaged and modified the Petrarchan rhetoric of exemplarity established in Francesco il Vecchio{\textquoteright}s patronage, refocusing it onto the rising fame of the University of Padua{\textquoteright}s medical doctors. With the other illustrated books in Francesco Novello{\textquoteright}s collection, the Herbal mediated between the earlier portraits of the noble, physical bodies of Francesco{\textquoteright}s ancestors (and the healthy res publica that they connoted) and his own self-image and rule. Positioning himself as "court physician," Francesco metaphorically orchestrated the moral and physical health of his community. Doing so, he continued the "healthy" history of Padua associated with the bodies of his forebears and recorded in family biographies and local chronicles. Francesco brought his ancestors{\textquoteright} achievements into his present and into his role as heir to the dynasty. Translating their use of portraiture into his book collection, Francesco aligned the visual signs of their good governance with his patronage and role as a physician prince. In Francesco{\textquoteright}s library these family identities were exchanged and appropriated, and the dynasty{\textquoteright}s continuity was expressed.}, keywords = {Renaissance/Baroque Art}, author = {Kyle, Sarah} } @mastersthesis {10928, title = {Carving Knowledge: Printed Images, Accuracy, and the Early Royal Society of London}, year = {2010}, school = {Wisconsin}, abstract = {This dissertation investigates how artisans and experimenters created the visual effect of accuracy in printed images produced by and for the Royal Society of London, 1660-1680. The connections between art and science in mid-seventeenth-century London are examined through the close study of the methods used by artisans and experimenters to create images. By studying artists{\textquoteright} manuals alongside scientific treatises, this project probes what it meant for an image to be accurate and useful for early modem natural historians and natural philosophers. The first two chapters examine 1) the visual source material used to teach young gentlemen to draw (A Book of Drawing, Limning, Washing, or Colouring of Mapps and Prints, 1647) and 2) a manual written and illustrated by a practicing engraver (William Faithorne, The Art of Graveing and Etching, 1660). These chapters move the focus away from an apprenticeship model of learning to draw and engrave toward a self-education model that depended upon print culture. The final three chapters feature case studies that look at the different regimes of accuracy that were mobilized in order to present knowledge to a wide audience. Each case study examines a different type of mediation and the resulting regime of accuracy. Chapter three examines the effects of the mediation of the lens of the microscope and the training of an artist on the illustrations in Robert Hooke{\textquoteright}s Micrographia(1665). Chapter four brings extensive archival research to bear on the production of the plates for The Ornithology of Francis Willughby (Latin, 1676; English, 1678) to excavate the effects of accuracy produced through the mediation of the reading and collecting practices of natural historians. The final chapter shifts the focus from single-author works to the collaborative production of accuracy within the pages of the Philosophical Transactions and explores the importance of circulation of both print and manuscript images in the creation of useful knowledge. Taken together these five chapters create a historically grounded picture of the visual traces of accuracy that allowed images to be understood as authoritative and trustworthy.}, keywords = {Nineteenth-Century Art}, author = {Doherty, Meghan} } @mastersthesis {10767, title = {The Censored Paintings of Paul Cadmus: Contesting the Boundary between Decent and Vulgar, 1934-1940}, year = {2010}, school = {Case Western Reserve}, abstract = {American painter Paul Cadmus was censored five times between 1934 and 1940. His most famous censored painting is The Fleet{\textquoteright}s In! which the Assistant Secretary of the Navy removed from an exhibition in Washington, DC, but four other paintings were censored in some fashion as well: Coney Island, Aspects of Suburban Life, Sailors and Floozies, and The Herrin Massacre. While there is much scholarship written about The Fleet{\textquoteright}s In!, the remaining censored paintings have received only cursory attention. This dissertation examines not only The Fleet{\textquoteright}s In! but also these under-researched paintings to more completely define what angered people at the time. Because Cadmus was a homosexual and he often represented gay characters, in recent decades his work has appealed to queer historians and theorists, who have focused on the homosexual aspect of his work. These historians have argued a causal relationship between Cadmus{\textquoteright}s censorship and his representation of homosexual figures. But this dissertation questions the completeness of such a history. Because homosexuality could not be openly discussed in this period, contemporary viewers may well have missed many of the homosexual references in Cadmus{\textquoteright}s work. Studying The Fleet{\textquoteright}s In! in conjunction with the other paintings in their broader cultural contexts demonstrates that homosexuality was largely invisible at the time. Viewers clearly recognized that something was amiss, but focused on the artist{\textquoteright}s representation of alcohol, promiscuous women, and what seemed to be unsympathetic depictions of the working class. Overall, what seemed to disturb viewers was the unconventional social critique found in Cadmus{\textquoteright}s paintings. As opposed to traditional satire in which unpalatable figures face terrible consequences, Cadmus employed what Mikhail Bakhtin called the "carnivalesque." This controversial form of satire was based on Medieval festivals in which the conventions of society were temporarily halted. Cadmus{\textquoteright}s compositions stand in opposition to traditional morality, without consequence and were therefore scandalous in the 1930s.}, keywords = {Art of the United States, Critical Theory/Gender Studies/Visual Studies}, author = {Morris, Anthony} } @mastersthesis {10760, title = {The Cesate Quarter and the Re-Invention of Modern Architecture in Milan, 1945-1955}, year = {2010}, school = {Pennsylvania}, abstract = {During the middle decades of the twentieth century, modern architecture was significantly re-shaped as it expanded from a relatively small, local phenomenon centered in northern Europe to an international movement. Italy was among those places where modernism was most radically re-invented, reflecting the Italian experience of Fascism and the Second World War. The Cesate quarter, a large, working-class residential project on the northwest periphery of Milan, exemplifies this re-invention. Designed between 1950 and 1954 by a team of architects led by Franco Albini, Ignazio Gardella, and Ernesto Rogers, the quarter comprises approximately 500 single-family homes and a single, four-story apartment building with 98 units. The quarter was commissioned under a national plan to construct public housing that the newly-elected Christian Democrats initiated in 1949 in order to solidify the democratic ideals of the new country and to reinforce traditional Italian culture. Constrained in part by official policy, the architects of the Cesate quarter used elements of the abstract formal vocabulary of prewar modernism to craft a design that evoked the variegated landscapes of historic Italian settlements, with their winding streets and neighborhood piazzas. Because of the social aspirations of the architects, as well as their sensitivity to local conditions, both historical and environmental, the Cesate quarter and postwar Italian architecture in general have been characterized as Neorealist. First popularized to describe Italian cinema and literature in the years immediately following the war, this term was introduced into the architectural discourse in the mid-1950s. Despite the initial claims that Neorealist cinema and literature were the direct outgrowth of the revolutionary impulses of the reconstruction, recent scholarship has demonstrated that they were in fact deeply rooted in prewar practices. This dissertation shows that Neorealist architecture, too, was the culmination of lines of research initiated in the 1930s that gained new currency in the tumultuous political and cultural environment that followed the war.}, keywords = {Architectural History/Historic Preservation}, author = {Mekinda, Jonathan} } @mastersthesis {10811, title = {Chasing the Beyond: Depictions of Hunting in Eastern Han Dynasty Tomb Reliefs (25-220 CE) from Shaanxi and Shanxi}, year = {2010}, school = {Pittsburgh}, abstract = {During the first and second centuries CE colonists living along the Northern Frontier of the Han Empire built tombs with stone doorways that depicted scenes of the hunt. These reliefs depict a fabulous world inhabited by mounted archers, hybrid xian (immortals) and frolicking/fleeing animals. Within these reliefs there is also a limited tendency to draw on the alternate lifestyles of the Xiongnu, a confederation of northern nomadic tribes who served as both neighbor and foe to the Han Chinese who lived in this area. Previous scholarship has seen hunting imagery in these reliefs as passive reflections of the mixed culture and economy of the region. I instead maintain that it was part of an iconographical program that depicted and facilitated the passage of the deceased to paradise across the dangerous borderlands between Heaven and Earth. My dissertation argues that imagery in Shaanxi and Shanxi was actually a refinement of earlier Eastern Zhou (771-221 BCE) and Western Han (206BC-8CE) depictions of the hunt and immortals, but that in this region, the positioning of the hunt at doorways created a liminal space representing the "Great Boundary" between this world and the next. This world is described in an inscription from a tomb excavated in Suide, Shaanxi that warns the deceased of the dangers that confront him if he does not return to the world of the living. On the basis of this inscription and similar "soul-summoning" passages from the Chu ci (Songs of the South) and Eastern Han dynasty tomb-quelling texts (zhenmu wen), I argue that hunting imagery in Shaanxi and Shanxi belongs to the desolate spaces that were believed to exist between this world and the next. Furthermore, I conclude that these images were a local response adopted by the patrons because they lived in a militarized, colonized setting in which fears of foreign neighbors fused with their apprehensions of the {\textquoteright}beyond{\textquoteright}.}, keywords = {Chinese Art}, author = {Wallace, Leslie} } @mastersthesis {10949, title = {Chochola Ceramics and the Polities of Northwestern Yucatan}, year = {2010}, school = {UT Austin}, abstract = {Maya artists working in the northern Yucatan Peninsula c. 700-800 CE began creating a new ceramic style. Deeply carved and exhibiting complex iconography and hieroglyphic inscriptions, Chochola ceramics have long been recognized as among the most beautiful items produced by ancient Maya craftsmen. Indeed, the Chochola style can be associated with a number of firsts in Maya studies: the first published explorations, the first major art historical investigations of ceramics, the first attempts at ceramic seriation and the first translations of the dedicatory formula all include images of Chochola pots. Many examples lack provenience, however, due to extensive looting and the corpus has been relegated to a shadowy corner of the Maya world as a result. With the aid of new archaeological information and advances in iconographic and epigraphic studies, I develop an interdisciplinary rubric for classifying Chochola pieces. Additionally, I analyze vessel imagery and texts, thus deciphering ostensible meanings as well as identifying the kinds of messages elites were trying to project through ownership and exchange. As with other high-status commodities, these ceramics functioned as prestige items and facilitated regional alliances through gifting and feasting. An analysis of temporal setting illuminates the aesthetic innovation and traditionalism Chochola patrons manipulated in order to legitimize their own standing in such contexts. My work results in a more refined picture of extended northern socio-political interaction and interconnection. I show that one extremely powerful site=Oxkintok, in the hilly Puuc region of Yucatan=produced such vessels and disseminated them south, west and northeast. In dialogue with Oxkintok{\textquoteright}s expanding sphere of political influence, stylistic variations also developed in these outlying regions. Ultimately, I use the confluence of data to reconstruct a more concrete system of intra-regional connection and interchange.}, keywords = {Pre-Columbian Art}, author = {Werness, Maline} } @mastersthesis {10762, title = {Civic Architecture in a Liminal City: Shanghai, 1842-1936}, year = {2010}, school = {Harvard}, abstract = {This dissertation examines the history of civic architecture in Shanghai over the course of its nearly 100 year existence as an international treaty port. It explores how China, as well as each of the major foreign powers with a physical presence in the city, including England, France, Japan, and the United States, attempted to address and overcome the inherent temporality of the Shanghai enterprise through architectural and urban projects of particular public significance. These include several large-scale zoning plans, public works schemes, town halls, government offices, and consulates located within each of the city{\textquoteright}s three municipalities; namely, the International Settlement, the French Concession, and Chinese-administered sections of the city. I begin with an analysis of conflicting cultural conceptions of civic space and public architecture existing at the time of the establishment of the British Settlement in 1842. Chapter 2 focuses on the developing role of racially-based architectural categorizations and regulation and its impact upon the field of architecture subsequent as well as architectural design within the city. From here, the equation of Chinese cultural concepts of "face" to architectural and urban facade is considered within the context of several large-scale public works projects. Chapter 4 re-imagines three major municipal buildings proposed for construction between 1927 and 1934 as a kind of architectural dialogism, punctuated by grammars of site, style, and scale, in an attempt to define and convey a sense of political center and periphery within the city. I conclude with analyses of China{\textquoteright}s participation in Chicago{\textquoteright}s 1933 World{\textquoteright}s Fair and Shanghai{\textquoteright}s 1936 architectural exhibition, two critical but unexamined junctures in the complex and occasionally contradictory emergence of modern, uniquely Chinese architectural form. Throughout the dissertation, texts, images, and buildings help to reveal how municipal and diplomatic buildings were imagined, manipulated, and constructed, both as part and in spite of Shanghai{\textquoteright}s fragile, semi-colonial governing system. Reframing the city{\textquoteright}s civic architectural history as a series of competing and collaborative architectural visions of its uncertain future offers a new context within which broader relationships between modern architectural development, public architecture, and conceptions of national identity and sovereignty may be understood.}, keywords = {Architectural History/Historic Preservation}, author = {Roskam, William Cole} } @mastersthesis {10948, title = {Clothing Power: Hierarchies of Gender Difference and Ambiguity in Moche Ceramic Representations of Human Dress, CE 1-850}, year = {2010}, school = {Emory}, abstract = {Using the representation of costume in ceramic art, this study examines how the Moche of northern Peru formulated ideals of gender and status, and how those ideals fit into larger Andean traditions of gender ambiguity. A synthesis of Panofskian iconography and semiotic analysis is used to understand the ways in which clothing and ornament speak to gender in Moche art. The elements of costume have been an essential part of social identity formation in the Andes for millennia, a trait that persists today. Moche ideals of gender are considered within a larger Amerindian tradition of gender ambiguity and its relationship to spirits and the divine. How the Moche upper classes negotiated between the spiritual power of the different-by-birth and the theocratic power of the noble-by-birth is visible in the treatment of sex and gender roles and the place of ambiguous gender in the art. Moche sex and gender exist in a continuum rather than in a dyad; while the poles of male and female are clearly defined, there are a number of individuals who are designated as ambiguous. Gender-ambiguous individuals in Moche art belong to three classes: performative, age-based, and diagnostically physical. All three rely on a combination of garments that erase distinctions of difference to signal this ambiguity. Gender ambiguity in Moche art is for the most part allied with private rituals, much more closely associated with the shamanic tradition than the public rites of the Sacrifice Ceremony, which were the province of the upper classes.}, keywords = {Pre-Columbian Art}, author = {Scher, Sarah} } @mastersthesis {10865, title = {Collecting the Bruecke: Their Prints in American Museums}, year = {2010}, school = {Case Western Reserve}, abstract = {In 1905 four architecture students in Dresden formed an artists{\textquoteright} communal group known as Die Brucke, or the Bridge. These progressive-minded artists were united by a vision of fusing their German artistic heritage with contemporary visual trends. The six members principally associated with the Brucke-Erich Heckel, Ernst Ludwig Kirchner, Karl Schmidt-Rottluff, Hermann Max Pechstein, Otto Mueller, and Emil Nolde-demonstrated a preference for expressive compositions, technical innovations within the mediums of painting, sculpture, and printmaking, and the desire to unify art and life. In time, the Brucke{\textquoteright}s prolific graphic contributions became the hallmark on which their artistic renown was built in Germany. Brucke members actively sought recognition abroad with the help of art dealers, museum professionals, and private collectors. Their American reception, however, was stymied by historical circumstances, including two World Wars, Adolf Hitler{\textquoteright}s denouncement of the artists as "degenerate," American partiality for French art, and strained U.S. socio-political relations with Germany. Despite these challenges, significant institutional collections of the Brucke artists{\textquoteright} graphic work dating from both their time as a cohesive artist group to their subsequent individual careers after the dissolution of the group in 1913, were formed in the United States. This study examines the formation of three of the most important of these at the Museum of Modern Art, New York, the Art Institute of Chicago, and the National Gallery of Art in Washington, D.C. These museums were selected not only for their notable collections of Brucke prints, but also due to their significant locations, interesting demographics, and history of patronage. The Museum of Modern Art amassed most of their Brucke prints through the wealthy patronage of Abby Aldrich Rockefeller, and choices of curator Alfred H. Barr, Jr., both of whom relied on the expertise of a number of Jewish emigre dealers living in New York. The influence of German Jews in New York on the establishment of MoMA{\textquoteright}s collection of graphics by the Brucke members is particularly significant. Although the Art Institute of Chicago{\textquoteright}s collection of such works was largely donated by German immigrants or German Americans living in the Midwest during the early half of the century, the details of this patronage were dissimilar. While New York boasted a higher population of both Germans and Jews than Chicago, those living in the mid-West remained less assimilated, and actively strove to maintain characteristics of their ethnic heritage. These cultural conditions, as well as the alternate personal motivations of non-Jewish German American donors and curators, including Henry Regnery and Carl O. Schniewind, led to the formation of the AIC{\textquoteright}s collection of the Brucke artists{\textquoteright} prints. The National Gallery of Art{\textquoteright}s collection of Brucke graphics stems largely from two pivotal bequests by clothier Lessing J. Rosenwald and artist Jacob Kainen and his wife Ruth Cole Kainen. Rosenwald, a Jewish American of German descent born in Chicago, as well as the Chairman of Sears, Roebuck and Company until 1939, devoted himself to collecting rare books and art, pledging the bulk of his prints by the Brucke artists to the NGA between 1943 and 1954. As the National Gallery did not open until 1941, Rosenwald{\textquoteright}s patronage was essential to the founding of the nation{\textquoteright}s renowned print collection. As a professional print curator and as a printmaker whose WPA-honed social conscience allowed him to identify with the graphic expressiveness of the Brucke artists, Jacob Kainen{\textquoteright}s collecting habits were both ethically and aesthetically-driven, and the contributions he and his wife made reflect this motivation and his own expertise. In the course of this study, the appeal of German Expressionism as an alternative to modern French art, fundamental questions regarding the role of ethnicity and heritage in the acquisition motives of key patrons, and the influence of dealers and museum professionals in this history converge. The most out-spoken advocates for the Brucke artists{\textquoteright} graphic output in this country were Germans intent on maintaining aspects of their heritage in their new homeland, and emigre Jewish dealers and collectors who promoted such art as a means of retaining intellectual ties to the homeland that rejected them. Institutional collecting practices of the Brucke artists{\textquoteright} prints in the United States were linked to these issues of nationality, class, race, and individual preference.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Terjesen, Lori Ann} } @mastersthesis {10918, title = {Colombian Artists in Paris, 1865-1905}, year = {2010}, school = {CUNY}, abstract = {This dissertation brings together a group of artists not previously studied collectively, within the broader context of both Colombian and Latin American artists in Paris. Taking into account their conditions of travel, as well as the precarious political and economic situation of Colombia at the turn of the twentieth century, this investigation exposes the ways in which government, politics and religion influenced the stylistic and thematic choices made by these artists abroad. For those who were pensioned artists and who were restricted by a defined political agenda, their artistic experimentation was limited, while the more radical artists were typically wealthy and independent. Regardless of the circumstances, Colombian artists were burdened by their country{\textquoteright}s minimal and ineffective presence overseas, which resulted in a complete misunderstanding of their culture abroad and in a lack of presence at major universal expositions. In focusing on their role as artists, educators and art critics, this dissertation reveals the important contributions that these travelers made to Colombian art as a result of their overseas travel. As revealed in the art criticism of the period, the work of these artists and their progressive philosophies on art were received with skepticism in Colombia, a country that until then had remained largely hermetic and which traditionally had been very conservative. These artists, who established the tradition of traveling to Paris and who challenged the insularity of Colombian art, ensured the eventual birth of modernism.}, keywords = {Latin American/Caribbean Art, Nineteenth-Century Art}, author = {Jimenez, Maya} } @mastersthesis {10836, title = {Color, Hygiene, and Body Politics: French Neo-Impressionist Theories of Vision and Volition, 1870-1905}, year = {2010}, school = {Duke}, abstract = {Color, Hygiene, and Body Politics: French Neo-Impressionist Theories of Vision and Volition, 1870-1905, explores the little studied "pragmatic" dimension of Neo-Impressionist theory and practice to reveal more fully the social and political import of Divisionist technique. Specifically, it examines how Neo-Impressionist painters such as Georges Seurat (1859-1891), Paul Signac (1863-1935), and Camille Pissarro (1830-1903), as well as their anarchist allies, applied artistic and political tenets to their daily practices, including hygienic habits and medical treatments. Neo-Impressionist Divisionism was based on their belief in a physiological awareness that the balanced use of three optical nerves generated a sense of harmony. By examining the ethical aspects of neuro-psychological color theories in nineteenth-century Europe, my research demonstrates that this awareness was not merely a matter of optics, but was a part of the prevalent socio-ethical discourse of energy efficiency. The first chapter, "Color Perception and Mental Labor: Divisionism and the Ethic of Nineteenth-Century Neuro-psychology," examines the history of nineteenth-century neuro-psychology to address how, in the fields of art and science, color perception was identified as an action. The chapter focuses on widespread neuro-psychological notions of "reflex theory," "nervous fatigue," and "homeostasis," all of which regulated the Neo-Impressionist concept of color harmony. Illuminating the Neo-Impressionist neural ethic, this chapter focuses on the behavioral phase of Neo-Impressionist aesthetics neglected by previous studies. The second chapter, "Neuro-psychological Space in Color and Dynamism," explores how this behavioral discourse was visualized in Neo-Impressionist depiction of painterly space. Contrary to Kantian a priori space, prominent theorists, such as Hippolyte Taine, Herbert Spencer, and Theodule Ribot, who influenced the Neo-Impressionists upheld the idea of dynamic space. As the raison d{\textquoteright}etre for this new space resided in the dynamic interaction between the self and the world, action became fundamental to its formation. Color in such new spaces was the perceptual bedrock, since optical nerves defined external objects chiefly as color. This chapter underscores the connection between dynamism and color in painterly space, through which the viewer could voluntarily engage with the world. The third chapter, "Therapeutic Color and the Neo-Impressionists{\textquoteright} Daily Practices," delves into the Neo-Impressionists{\textquoteright} health-related pursuits including their commitment to hydrotherapy, color therapy, and homeopathy, all associated with an ecological concern for the equilibrium between the self and the environment. This comprehensive examination reveals an overlooked behavioral aspect of Neo-Impressionist theory, which was a critical dimension of their world-view, which sought to merge art and life. The first section examines the artists{\textquoteright} commitment to bathing and hydrotherapy through an analysis of the art and writings of Camille Pissarro and his anarchist allies. The second part examines the theory of color therapy developed by Dr. Paul Ferdinand Gachet, and his impact on the Neo-Impressionists. In the final section, I consider the broader implications of the Neo-Impressionist embrace of homeopathic practices with reference to a theory of ecological equilibrium.}, keywords = {Contemporary Art}, author = {Kato, Yukiko} } @mastersthesis {10907, title = {Columnar Sarcophagi from Aphrodisias: Construction of Elite Identity in the Greek East}, year = {2010}, school = {Harvard}, abstract = {This thesis explores the social and cultural meaning of a specific group of marble sarcophagi from Aphrodisias in Caria. The columnar sarcophagi, a corpus of 212 fully preserved or fragmentary pieces, are decorated on chests with projecting columns forming aediculae for the display of standing human figures in relief. Funerary inscriptions inform us that the majority of the Aphrodisian sarcophagi date to the third century A.D. and did not belong to the traditional city elite known from honorary inscriptions in the first two centuries A.D., but to a class of artisans and tradesmen who were newly granted citizenship by Caracalla{\textquoteright}s Edict in A.D. 212. Part I of the thesis, drawing evidence from epigraphic analysis, situates the columnar sarcophagi within their archaeological context, and clarifies aspects of sarcophagus use in the city of Aphrodisias. Part II classifies and presents the extant corpus in three groups by highlighting the significance of each. Part III interprets the material within both the local cultural context and the widespread burial culture of Asia Minor. The iconography of the columnar sarcophagi, featuring human figures that exhibit paideia, reflects two sets of influences on the local culture: the ideals of the Second Sophistic and the honorific habit that commemorated the good deeds of wealthy elite citizens. The overall appearance of a sarcophagus chest resembles a public building with a columnar facade and honorific statues embedded in it. Therefore, by commissioning columnar sarcophagi, the sub-elite patrons owned a personal model of a public building with their small-scale portrait statues on its facade. Since the ownership of a public statue was a privilege that the people of this status never had the chance to enjoy in life, they adapted conventions of private funerary art to avail themselves of a similar privilege in death. Exploring the social meaning of other local groups of sarcophagi in Asia Minor reveals that new citizens elsewhere developed their own local iconography in the third century that centered on their self-presentation and aspirations to elite status.}, keywords = {Greek/Roman Art}, author = {Uzun, Esen Ogus} } @mastersthesis {10979, title = {Communist Stardom in the Cold War: Josip Broz Tito in Western and Yugoslav Photography, 1943-1980}, year = {2010}, school = {Toronto}, abstract = {This dissertation examines the iconographic and ideological aspects of the public image of Josip Broz Tito, the communist leader of Socialist Yugoslavia and one of the major historical personalities of the twentieth century. By studying the specific historical, political, and cultural contexts of Tito{\textquoteright}s changing iconography between 1943 and 1980, I considers a dynamic relationship between the Western and Eastern perspectives on his leadership style, personality, and role, as communicated in the idiom of Western photojournalism and celebrity photography, as well as the style of official presidential photography in Yugoslavia. I analyze photo-essays on Tito published in Life, Time, and Picture Post, and in the official Yugoslav magazines, Yugoslavia and Yugoslav Review, as well as his portraits by Yousuf Karsh and by Ivo Eterovic in his photo-book Tito{\textquoteright}s Private Life. I engage the issues of image reception by studying fundamental stereotypes within the canon of Tito photography, exploring their relation to the popular and political discourses on war heroism, resistance myth, masculinity, leadership, communism, disease, romance, family, leisure and celebrity in the U.S. during World War Two and the Cold War. Tito{\textquoteright}s photographs are compared with relevant examples in modern portrait photography, photojournalism, and European painting, thereby situating Tito{\textquoteright}s example in the tradition of Western political image making, but also in relation to local traditions. My dissertation shows that the practical role of the cult of Tito in the American press during the Cold War was to render him and Yugoslavia as examples for the satellite countries, and to enlist popular support for U.S. policy. It also helped Tito navigate a political crisis following his 1948 break with Stalin. The iconography created in this context contributed to the genesis and modernizing of Yugoslav presidential photography in the 1950s. Appropriating the rhetoric and formal devices of Western celebrity and glamour photography, Yugoslav photographs created a set of presidential stereotypes and their photographs were bearers of the conventional narrative of Tito{\textquoteright}s presidency in Yugoslav magazines and books addressing Western audiences between 1960 and 1980. My dissertation underscores the role of cross-cultural contacts and contexts for developing, maintaining, and understanding of Tito{\textquoteright}s publicity and celebrity in the West.}, keywords = {Twentieth-Century Art}, author = {Kurtovic, Nina} } @mastersthesis {10846, title = {Concerning the User: The Experiment of Modern Urbanism in Postwar France, 1955-1975}, year = {2010}, school = {Harvard}, abstract = {If there is one master narrative about the postwar European city, it is most likely that of the high hopes and ultimate failures of modern urbanism. This evolution has come to be understood as a logical consequence of its authoritarian denial of user needs. Caught up in rhetoric and critique, the history of this "banal modernism" has meanwhile remained remarkably overlooked. Focusing on French mass housing estates and new towns, this dissertation examines the development of modern urbanism and its mounting criticisms through the lens of what turns out to be a shared concern: the user. Under the influence of an expanding welfare state and a rising consumer culture during France{\textquoteright}s postwar decades of unprecedented economic and urban growth, the user became an increasingly central question in the organization of everyday life. The study reveals how modern urbanism was shaped by and actively shaped this development, in which the user shifted from a standard, passive beneficiary of public services to an active participant and demanding consumer. The dissertation argues that French urbanism evolved as an experimental process in which the realms of production and consumption were in continual interaction. Amongst the cultures of urban expertise, the domain of sociology became a central mediator in this process. Providing architects and planners with a unique entryway into the world of the user, it informed the design of new housing typologies and urban centers meant to entice users in novel ways. Prevailing accounts tend to cast the postwar French city either as shaped by a degenerated version of interwar modernism or driven by the exigencies of a centralized state. This study develops an alternative focus: rather than architectural doctrine or government policy, it is the changing category of the user-fueled by the entanglement of social welfare and consumer culture-that underlies the polities of urban change in postwar France. By showing how expertise of the user traverses what have previously been understood as fundamentally opposing approaches to the city-modernist technocratic planning versus user participation-the study dismantles the notions of "top-down" and "bottom-up" that continue to shape urban debates today.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Cuppers, Kenny} } @mastersthesis {10871, title = {Constantinopolitan Architecture of the Komnenian Era (1080-1180) and Its Impact in the Balkans}, year = {2010}, school = {Princeton}, abstract = {My dissertation focuses on the corpus of buildings created in the capital and in the Balkans during the one hundred year long period (1080-1180) of rule by Emperors of the Komnenian dynasty. In order to develop a broader insight into the beginning of Komnenian style, my study revisits the fragmentary knowledge of the multitude of eleventh-century Imperial monuments preserved in the Byzantine capital, and combines it with the evidence from the monuments from the land of Rus{\textquoteright}, the Holy Land, Asia Minor, and Central Anatolia, that has never been studied together. The sources of the style, my study argues, should not be sought exclusively in the capital of Byzantium but in the interchange between the Constantinopolitan architects engaged in the wider geographic region. In order to establish the relationship between the metropolis and the Balkan provinces my dissertation started from the examination of the major developments in the capital by including the buildings in the Balkans demonstrably constructed by metropolitan workshops. For the question of the appropriation of the stylistic norms, my study turns toward the major participants in the construction process-patrons, builders, and members of individual workshops. Metropolitan workshops invited by high-ranking patrons secured the initial impulse for the appropriation of Komnenian-inspired architecture in the region of the Balkans. Their presence surely resulted in a generation of relatively well-trained local masters. In my first-hand examination of the buildings allowed me to recognize that what appeared as mere {\textquoteright}provincialism{\textquoteright}-the change of building technique, the adjustments of plans and reduction of wall articulation-turned out to be the result of a thoughtful approach to maintain the select signifiers of the metropolitan style. Through numerous case studies, my study creates paradigmatic models illustrating the diversified process of the transfer of architectural style and asserts the role of human agency in the transference of architectural ideas. The impact of builders with no direct experience of Constantinopolitan architecture thus became visible in the symptomatic dissolution and fragmentation of stylistic patterns from a level of syntactic formulas to the strata of individual elements, which inevitably yielded numerous {\textquoteright}provincial{\textquoteright} idiosyncrasies.}, keywords = {Early Christian/Byzantine Art}, author = {Mihaljevic, Marina} } @mastersthesis {10966, title = {Constructing the Artistic Subject in Golden Age Spain}, year = {2010}, school = {UIUC}, abstract = {In this dissertation, I examine the development of artistic identity in Golden Age Spain by elucidating the cultural, social, and economic contexts which framed notions of the artist during this period. More particularly, I focus on the notion of artistic nobility as it relates to contemporary evolving aristocratic ideals. Seventeenth-century Spain was a period marked by the continuous reconfiguration of the traditional model of nobility. Through a close analysis of theoretical artistic discourses, popular portrayals of the artist, and actual artistic practice, I offer a critical re-assessment of the artistic assimilation of aristocratic values. I offer a new approach to studies of Spanish art by regarding artistic identity as an unstable and fluctuating category that is in constant dialogue with broader cultural, social, and economic frameworks, and the discourse of artistic nobility as an arena in which alternative forms of artistic identity could paradoxically be advanced. This entails detailed analyses of some of the issues surrounding noble identity in the Golden Age and how these permeated notions of the artist during this period. I also consider how, conversely, the artist became a particularly visible site where constantly changing aristocratic ideals could be embodied.}, keywords = {Renaissance/Baroque Art}, author = {Ripolles, Carmen} } @mastersthesis {10917, title = {Constructing the Classical Japanese Past: History Paintings of the Meiji Period}, year = {2010}, school = {Wisconsin}, abstract = {This dissertation explores the efforts of Ernest F. Fenollosa (1853-1908), an American hired to teach philosophy and political science at Tokyo University in 1878, and his former student and colleague, Okakura Tenshin (1862-1913), to re-envision and restructure the Japanese art world during the Meiji period (1868-1912). Although both men viewed their activities as a way of preserving and celebrating the authentic native artistic tradition and have been approached in this way by later scholars, the notion of a unified national art only developed in response to Western cultural hegemony. And, while nihonga, literally "Japanese painting," a term coined by Fenollosa by 1882, was understood as the polar opposite of yoga or "Western painting," it was established on the same organizational and conceptual basis as its rival, and it employed a similar terminology. Both Fenollosa and Tenshin employed Western models to restructure Japanese art. Realizing that Japanese art would always be considered inferior when viewed according to Western representational aims, Fenollosa employed a model espoused by members of the Aesthetic movement and praised it for its skillful arrangement of lines, color, and shading. In designating these qualities as "ideal," he was also attempting to synthesize the aesthetic approaches of the German philosophers G. W. F. Hegel (1770-1831) and Immanuel Kant (1724-1804). Unlike his mentor, Tenshin was less interested in the relationship of Japanese art to incipient Western modernism and more in its role in communicating a nationalistic message to the newly enfranchised citizenry. To this end, he promoted the ideologically dense genre of history painting, long considered most prestigious within the traditional Western academic hierarchy. He later attempted to adapt Western Symbolist modes, which attempted to combine the literary and visual arts in the production of what came to be known as "Idealist painting". While the specific innovations promoted by Fenollosa and Tenshin were not particularly successful, they encouraged artists to expand their repertoires and begin to envision themselves in a manner similar to their Western counterparts.}, keywords = {Japanese/Korean Art}, author = {Spurgeon, Janet Lee} } @mastersthesis {10748, title = {Constructing Women for the Republic: The Spatial Politics of Gender in 1930s Ankara}, year = {2010}, school = {Binghamton}, abstract = {Beginning from the 1980s, contemporary Turkish feminist scholars critically re-examined major discursive tools, such as women{\textquoteright}s emancipation and state feminism, used effectively by the official ideology in Turkey in the making of the "republican woman" as a nationally constructed icon during the 1930s. The majority of these works however have focused primarily on elite women{\textquoteright}s experience of "emancipation." The transformation of their material and visual culture became a prime marker of modernization leaving class aspects overlooked. Likewise, the social history of modern architecture in Turkey has predominantly been told as the story of the well-off. These debates have been limited to the single family houses built for higher-income groups, and to the normative models of domesticity that it manufactured. Although Turkish scholars have produced groundbreaking work and made seminal contribution to the studies of gendered nationalism in Turkey, one important question remains largely unexplored: how did women, in their real socio-spatial geography and from within a variety of class positions, consume the project of their "emancipation"? My dissertation explores lower-middle-class residential, entertainment and professional culture in early republican Ankara as a critical reevaluation of the dominant narrative of modernization. My examination of lower-middle-income housing projects, single-sex girls{\textquoteright} schools, and major recreational areas built between 1928 and 1952 shows that the agency of non-elite groups played a significant role in traversing the well-established boundaries carefully demarcated by the newly formed Turkish bourgeoisie. By crisscrossing class divides in education and appropriating localized building traditions, non-elite women and the families at the "periphery" of the state-sanctioned project of women{\textquoteright}s emancipation in Turkey effectively inhabited the so-called public domain hitherto acclaimed by the urban elites alone. Thus, my dissertation not only acknowledges the significant presence of, but also shows the constructive role played by the lower-middle-class in the making of Ankara, which marked the formation of nuanced, varied and alternate routes to the production of modern domesticity.}, keywords = {Architectural History/Historic Preservation, Critical Theory/Gender Studies/Visual Studies}, author = {Kilinc, Kivanc} } @mastersthesis {10873, title = {Convergences of Portrait, Icon, and Tomb in Fourteenth- and Fifteenth-Century Naples}, year = {2010}, school = {Yale}, abstract = {This dissertation studies artworks in fourteenth- and fifteenth-century Naples that lie at the convergence of the portrait, the icon, and the tomb. The objects studied here emerge from real and imagined spatial and temporal networks, and investigate how a picture makes an absent body present in our own space and time. Our histories of art have separated the icon and the portrait as medieval and modern, cult image and work of art. But in the late Middle Ages and Renaissance in Europe the two were formally and theoretically intertwined. In the fourteenth century the portrait emerged from the matrix of the sacred icon; in the fifteenth century the icon, in turn, buttressed its claims to likeness and authenticity by casting itself in forms associated with the portrait. The two were in continual dialogue, often within the enabling frame of the tomb. Moreover, these investigations of new forms and definitions of the icon, the portrait, and of art itself were motivated by the real and imagined circulation of objects throughout Europe and the Mediterranean. Naples was a node in this cultural and political network; artworks mapped the city{\textquoteright}s position in space and time, and acted as points of passage between west and east, present and past. The dissertation{\textquoteright}s point of departure is Simone Martini{\textquoteright}s monumental panel painting of Louis of Toulouse, in which the icon, the portrait, and the tomb converge. Chapter One focuses on a tiny replica of the altarpiece itself embedded in Louis{\textquoteright}s crozier, and interprets it as an imagined prototype for the main image. Simone{\textquoteright}s altarpiece arrests, absorbs, and investigates two kinds of pictures in circulation across space and time: the chain of copies based on an authoritative prototype, and the portrait that claims to be a transcription of the coordinates of a body from life. In asking how a picture makes present an absent body, Simone responds to the painting{\textquoteright}s double function, which is the subject of Chapter Two. In its original context in a chapel built for Louis at Naples{\textquoteright}s cathedral, the altarpiece worked formally and functionally both as an icon of the Angevin dynasty{\textquoteright}s newest saint and as a second tomb that marked the site of fragments of his body. If Simone invented and embedded within the Naples panel a hypothetical prototype on which the altarpiece claimed to be based, the group of objects studied in Chapter Three are themselves inventions, made anew but presented as old originals. Set in the context of Angevin claims in the eastern Mediterranean, these objects-panel paintings, a monumental sculpture, and a mosaic-are revealed as sites where Naples itself is imagined as a seam or point of passage between west and east, present and past. Chapter Four focuses on a panel painting made around 1450 in the orbit of Alfonso of Aragon, king of Naples from 1442. The picture{\textquoteright}s form and iconography locate the origins of the portrait in the tradition of the icon. The panel presents itself both as a copy of a drawn icon of the Virgin in Valencia and as an original portrait made from life. At the same time that the panel plots out the real and imagined spatial network from which it emerged--Naples, Valencia, Rome, the Holy Land--its form works to collapse that network and insist on presence in space and time. Chapter Five studies a medal of Christ, known now through a drawing, that was designed by the north Italian artist Pisanello while he was engaged at Alfonso{\textquoteright}s court in Naples. The planned medal casts a sacred subject in a format and medium associated with the historical portrait made from life long ago. In the context of Alfonso{\textquoteright}s political ambitions in the east, Pisanello{\textquoteright}s medal of Christ positioned the king and Naples on a continuum between past and present, east and west. The sixth chapter focuses on the sculpted frieze at the compositional and conceptual core of Alfonso of Aragon{\textquoteright}s triumphal arch at Castelnuovo. Alfonso{\textquoteright}s arch was a physical and notional point of passage from west to east, mapping an ideal Mediterranean empire that embraced both halves of the Roman empire. At the heart of the frieze, the image of Alfonso appropriates secular and sacred representational conventions in order to present the king as both human and divine. This shuttling between portrait and sacred image was made possible by the formal alignment of the arch with funerary monuments.}, keywords = {Early Medieval/Romanesque/Gothic Art, Renaissance/Baroque Art}, author = {Kozlowski, Sarah Kathryn} } @mastersthesis {10874, title = {Cordes and the Intersections of Identity}, year = {2010}, school = {University of Washington}, abstract = {The thirteenth-century town of Cordes in southwest France offers a vivid example of the importance of the intersection between individual and community initiative to the meaning of urban form. Cordes was founded by Raymond VII Count of Toulouse in 1222 to generate revenue and as a gesture of defiance against the French monarchy. The sophisticated defensive system reflected the count{\textquoteright}s solidarity with his Plantagenet relations, and his unusually liberal charter quickly attracted new inhabitants and encouraged commercial activity. The fortifications also worked to protect populations threatened with persecution during the inquisition that followed the Albigensian Crusade, and Cordes grew quickly under the direction of its town consulate to become one of the most prosperous towns in the region. Its inhabitants built some of the largest civil buildings of Languedoc that may still be seen along the main street. The facades offer a unique example of sculptural programs of secular topics that include political commentary and reflect the legacy of a vital secular artistic culture. They were intended to interact not only with viewers in the street below, but also with the inhabitants of the buildings. Their rhetorical power relied simultaneously on the desire of individuals to immortalize the trials of war and other contemporary topics and on their reception by the community as part of the "theater of the street" that took place in this busy market town. By providing a series of nested contexts within which to study the specific example of Cordes, the author aims to further inquiry into the importance of secular culture and urban development in medieval Languedoc.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Barrett, Catherine} } @mastersthesis {10857, title = {Creativity, Painting, Affect, Ethics: Outlining a Modest (Aesthetic) Ontology}, year = {2010}, school = {Alberta}, abstract = {Are artists autonomous agents? Are they individuals? Engaging with these seemingly commonsensical questions is the objective of this doctoral dissertation. Moreover, my answer to both questions is: no. My objective herein, then, will be to develop the following argument: that because the individual elements of creative, art-producing networks are so profoundly relational, to speak of individual elements or of agents or artists at all is to describe an incomplete picture. After all, how can any individual action occur or individual element exist in the absence of that upon which that action is enacted, or without that action being made possible by another element or "individual"? By engaging with these questions this dissertation challenges conventional notions of creativity, individuality, and agency by suggesting that creative forms of expression - for example: artistic, technological, social, political - are always collective enunciations that issue forth and come into being as products of interdependent relationships. I dismantle and then recast how we think about artistic creativity by arguing that if individuals are so intertwined with their networks that their very capacities are produced by the network{\textquoteright}s relationality itself, they (individuals) might be able to be (categorically) dispensed with entirely. In other words, I begin to ponder the question: How can we think about networks without thinking - or making assumptions about - individuals? I suggest - with the help of theorists like Deleuze, Whitehead, and Spinoza - that emphasizing that relationships are the generative actors that produce actuality compels us to rethink anthropocentric assumptions, and can lead to more open and creative ways of relating to the world around us. I conclude by arguing that since our fate, existence, and identity as creators is inextricably linked to, and determined by, our relations with others, we must predispose ourselves to this co-fatedness by recalling Nietzsche{\textquoteright}s invocation that we embrace and be open to our fate by loving it - that we "amor fati." In other words, in order to attune ourselves to the fullest range of possibilities in a situation - in order to be truly creative and to "become-artist" - we must become open to the creative potential of relationality itself, even if it requires that we assume a more modest view of ourselves.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Tiessen, Matthew} } @mastersthesis {10742, title = {Crossing Borders, Pushing Boundaries: Arts of Power Associations on the Senufo-Mande Cultural {\textquoteright}Frontier}, year = {2010}, school = {UCLA}, abstract = {In this dissertation, I examine contemporary power associations, the great patrons for the arts in rural communities of western Burkina Faso. Across western West Africa, local power association chapters number in the hundreds and span thousands of miles from Guinea to Burkina Faso and from Cote d{\textquoteright}Ivoire to Senegal. The three power associations at the center of this study- komo, kono, and hunters{\textquoteright} associations-earn local and international renown for their dense assemblages, wooden masks, and masquerade performances. They, like other power associations active in the region, are dynamic organizations that have the capacity both to heal and to cause harm. They also combat crime. Power association leaders rely on the arts as a means of accumulating exceptional worldly and otherworldly energy. They wield that energy to effect change in individual{\textquoteright}s lives and in communities. In addition to looking broadly at the arts of these organizations and by situating my study in a Senufo community outside the Bamana and Mande cultural centers where komo, kono, and hunters{\textquoteright} associations have predominantly been studied, I question the tenacious notion that power associations, their arts, and the communities that support them appear the same everywhere and correspond to a single ethnic or cultural identity. Rather, artists, patrons, and masquerade performers involved with power associations and the creation of the organizations{\textquoteright} arts navigate collegial, and at times adversarial, relationships that transcend cultural, linguistic, and religious boundaries. They develop extensive interpersonal networks to acquire transformative knowledge and obtain powerful materials. Power association leaders use such knowledge and materials to address daily concerns, fight crime, and otherwise ensure wellbeing. In the process, they maintain and promote powerful arts that demand audience response and are central to each local chapter{\textquoteright}s identity and activity. Moreover, I argue that power associations and their arts are not only shaped by but also shape civil society, regional politics, and religious movements as well as local, national, transnational, and international landscapes.}, keywords = {African Art (sub-Saharan)}, author = {Gagliardi, Susan Elizabeth} } @mastersthesis {10752, title = {The Cult of Light in Fifteenth-Century Italian Renaissance Architecture}, year = {2010}, school = {Columbia}, abstract = {In the mid-fifteenth century, following schisms that dated from 1378, the Western Church gradually began to re-establish its integrity. The main turning points were the Council of Basel (1431-1439) and the Council of Ferrara-Florence (1438-1445). The establishment of the supremacy of the papacy over the council was each pope{\textquoteright}s major concern, and the fundamental reform of the Church was a most urgent task. Nicholas of Cusa (1401-1464), first a conciliarist but one who later changed sides to support Pope Eugenius IV (1383-1447), was the main proponent of the reform. One of the most influential scholars of his time in Italy, Cusa wrote profound theological theses that were influenced by the nascent artistic and engineering activities of Jubilee Rome. Cusa{\textquoteright}s use of visual images in his theological dialectic speculation, which includes his affirmation of art, afforded the papacy a powerful endorsement of its artistic patronage and helped to establish the Roman Church{\textquoteright}s new identity. Now firmly underpinned by theological affirmation, such as that outlined by Cusa, popes chose to express their authority over secular powers through art and architecture. Cusa{\textquoteright}s metaphysical thoughts provided detailed theological treatment of three major images: light, sun, and oculus. The three images, in fact, were incorporated into the Cappella Niccolina, built by Pope Nicholas V (1397-1455), and they were also a part of the same pope{\textquoteright}s conception of the new Basilica of Saint Peter{\textquoteright}s. Leon Battista Alberti (1404-1472), a leading architectural theorist who was already working for the popes when Cusa{\textquoteright}s first writings were circulated among church principals, certainly understood how much Cusa{\textquoteright}s theology could offer to both the conceptualization and practice of art and architecture. Indeed, in the 1450s, Cusa and Alberti read each other{\textquoteright}s writings and occasionally borrowed each other{\textquoteright}s ideas for their respective treatises. The election of Pope Pius II Piccolomini in 1458 and his decision to transform his native town of Corsignano into Pienza offered an extraordinary opportunity for their thoughts to be expressed through architecture. Cusa{\textquoteright}s theological ideas were translated by the pope into the creation of a light-filled sanctuary, the Cathedral of Pienza, for which Alberti provided a multi-dimensional, ancient-Imperial-Rome-related new architectural vocabulary. Although Alberti was not the official architect for the project, this dissertation presents evidence heretofore largely overlooked of the degree to which Alberti was directly involved with the cathedral{\textquoteright}s design. Thus, Cusa, Alberti, and Pius II together created an unprecedented type of temple all{\textquoteright}antica that reflected the newly emerging amalgamation of ideas in theology and architecture. Several years later, following the deaths of Pius II and Cusa (both in 1464), Alberti was commissioned by Lodovico Gonzaga to design a new church of Sant{\textquoteright}Andrea in Mantua on the site where a medieval church of the same name still stood. The old church building had housed celebrated relics of Christ{\textquoteright}s blood, which attracted countless pilgrims, and the new church was to contain the same relics. (Cusa and Alberti attended the Council of Mantua, summoned by Pius II from May 1459 until January 1460, during which these three figures must have examined the relics.) Alberti died a few months before the construction of the new edifice began, and architectural historians have long speculated on the extent to which his original ideas were incorporated into the building that we see today. While offering a close look at the use of sun imagery in the Cappella Niccolina and at the use of light from the sun in the Cathedral of Pienza, this dissertation seeks to establish the fact that the ideas of both Alberti and Cusa contributed much to the framework of the "new church" of Sant{\textquoteright}Andrea. A detailed examination of Cusa{\textquoteright}s theological writings devoted to, but against, blood relics and about the meaning of the Eucharist, as well as fresh observations of architectural elements associated with the "new church," leads to the conclusion that the three major images (light, sun, and oculus) were principal considerations that would shape the church{\textquoteright}s artistic design and allow for an extraordinary architectural manifestation of God as Light and of God as Omnivoyant.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Kim, Il} } @mastersthesis {10945, title = {Cupisnique Culture: The Development of Ideology in the Ancient Andes}, year = {2010}, school = {UT Austin}, abstract = {Cupisnique culture was first identified by Rafael Larco Hoyle in the 1930s through his encounter with an early ceramic style in the Cupisnique Quebrada on the north coast of Peru. Since that time, the ceramic styles, region and time period to which the term {\textquoteright}Cupisnique{\textquoteright} pertains have remained loosely defined, associated with northern Peru and the Middle Formative Period (1200-900 BCE). The interpretation of Cupisnique culture has further relied on research at the highland site of Chav{\'\i}n de Hu{\'a}ntar and a presumed Chav{\'\i}n style horizon. Cupisnique visual materials, however, provide a rich corpus from which to advance analysis of this cultural tradition. In this dissertation, I group the chapters into two parts - background information and substantive material analyses. In Part I, I begin with a concise history of Cupisnique studies, which review permits to establish the objectives and methodology of the investigation. The latter includes archaeological and visual approaches to Cupisnique culture, as well as the geographic, environmental and ecological conditions pertinent to northern Peru. In Part II, I present the results of archaeological fieldwork at the Cumbemayo Canal, near the city of Cajamarca, Peru. Based on the field research, I examine the impact of coastal Cupisnique culture into this north highland region, and I discuss the symbolic role of monumental water management and the creation of a ritualized landscape. The intricate design of the Cumbemayo Canal segues conceptually to the exploration of a larger visual system. Based on a defined corpus of {\textquoteright}Classic{\textquoteright} Cupisnique stirrup spout bottles, I venture a comprehensive examination of prominent themes, motifs and scenes in Cupisnique iconography. I argue that the latter comprises a reticular visual program that serves to instantiate a complex and developing ideological system. Given the common visual motifs, the tenets of this ideology consist in concepts of capture, sacrifice and fertility, interwoven through a structure of symbolic dualities. In the conclusion, I demonstrate how this proposed Cupisnique ideology conceptually fits with the development of social complexity in northern Peru through and following the Formative Period in the Andes.}, keywords = {Pre-Columbian Art}, author = {Jones, Kimberly} } @mastersthesis {10894, title = {Cutting Out the Middleman: Cypriot Itinerant Sculptors in the Early 6th Century BC}, year = {2010}, school = {Princeton}, abstract = {This dissertation deals with a group of limestone sculptures, of small to miniature size, which have been found in sanctuaries in the Greek East, the Levant and Egypt, and have so far been dated to c. 625 - 550 BC. There is an ongoing debate regarding the origin of the makers, as well as the place of manufacture of these works. While they display a marked affinity to Cypriot sculpture, and the material they are made of is the sculptural material par excellence on the island, at the same time they display a remarkably mixed character in terms of iconography, which combines Cypriot with Greek, Levantine and Egyptian elements. The first goal of this dissertation is to further clarify the character of these statuettes. Unlike previous studies, this is done by treating as many of the statuettes as possible as a unified corpus, and not according to iconographic type, or by site. The degree of Cypriot involvement and the extent of other influences are assessed. This is done through an iconographic analysis. Also, a stylistic analysis further illuminates the character of the group, while new evidence is introduced regarding specific statuettes. The iconographic and stylistic traits are used to achieve a closer dating of the group to 600-575 BC. After establishing the Cypriot authorship of the statuettes, the processes and reasons that led to their dedication in the specific sanctuaries are examined. The previously proposed solutions of workshops in Cyprus, workshops established near the sanctuaries where the statuettes were found, and the theory of the itinerant craftsman creating and selling these works at each site are tested against the iconographic and stylistic findings, the geographical distribution of the sculptures, correspondences between the statuettes and other votive objects in the host sanctuaries, and quantitative information regarding the size and numbers of the statuettes. Through this analysis, it arises that the theory that best explains the mixed character of the statuettes, as well as their mere presence, is that of the itinerant sculptors, thus challenging existing notions regarding the circulation of goods, and Cypriot mercantile and artistic activity outside Cyprus in this period.}, keywords = {Greek/Roman Art}, author = {Andrioti, Maria} } @mastersthesis {10786, title = {Cy Twombly and the Ethics of Painting}, year = {2010}, school = {Columbia}, abstract = {Cy Twombly and the Ethics of Painting investigates the formal and thematic relationships of Twombly{\textquoteright}s painting to Abstract Expressionist painters like Jackson Pollock, Franz Kline, and Willem De Kooning. The scholarship on Twombly focused mainly on his differences from these artists and tends to deny any self-expressive purpose in his work, basing the claim on an underestimation of the complexities of self-expression and a mistaken understanding of the painterly forms which enable it. This dissertation analyzes the historical development of these forms, and compares them to various theories of selfhood from the earlier part of the twentieth century, to gauge the different possibilities of painterly and verbal media for self-reflection. Theorists as diverse as John Dewey, Martin Heidegger, Jean-Paul Sartre, and Alfred North Whitehead, who reacted to the prevailing idealism of the previous century{\textquoteright}s thought, came to the conclusions that the self was only truly knowable when seen in its various social and environmental engagements. The central thesis of the dissertation is that Twombly{\textquoteright}s work, as well as his artistic forebears{\textquoteright}, was predicated on such an idea-that only in the interaction between viewer and work could the individuality of the artistic self be made visible, because only in its products was it truly knowable. My work takes its cues from an observation made by Aristotle in the first chapter of his Nicomachean Ethics. Here he noted that there was an intimate connection between the Greek words "ethos," or moral excellence, and "ithiki," or habit, such that a person{\textquoteright}s habits of behavior demonstrated his or her characteristic virtues. This idea is the basis of what is commonly called "Abstract Expressionist" painting, or what I will call "gestural abstraction," to distinguish it from color field painting. The way Aristotle{\textquoteright}s insight can be used to explain this idiom, and Twombly{\textquoteright}s work in particular, is the subject of my first chapter. Gestural abstractionists sought to compose their paintings so that their characteristic ways of applying paint, the product of a lifetime of artistic education so fully absorbed that it became second nature, would be directly present to the viewer. They removed intermediary forms like pictures or shapes, which would prevent the gesture{\textquoteright}s immediacy by submitting it to a larger compositional function. It was presumed that, in the course of the recipients{\textquoteright} reconstruction of the paintings, they would recognize their own ideas about the relationship between product and agent. The second chapter discusses the problems faced by the second generation of gestural abstractionists. The younger artists had to discover new methods of self-expression within a field that had fewer capacities for formal novelty and seemed progressively academic in aspiration. The initial problem, to discover means for the painterly expression of a personal ethos, was reframed as the problem of revealing a private experience through public forms. Twombly succeeded where other artists failed by abandoning the more valorous gestures of artists like de Kooning and Pollock, instead manipulating established compositional structures to accommodate more public signs like place names, geometrical shapes, and a style of gesture and script that Arthur Danto has aptly called "demotic writing." He would use a modified version of Pollock{\textquoteright}s "allover composition," placing a variety of discrete marks in seemingly haphazard arrangements, thus breaking the syntactical connections that would ordinarily make the explicit reason for the choice and relation among these elements intelligible. This compositional order served to render his personal reasons inexplicable while simultaneously revealing the many connections of his work to its artistic forebears. However, the level of Twombly{\textquoteright}s success is also a main reason why his work is so often dissociated from its artistic forebears. So, in addition to the aforementioned revisions to the project of self-expressive painting, the second chapter explains the peculiar hermeneutic problems this work poses, surveys the variety of models of agency and selfhood developed in the earlier twentieth century, and argues that a misconception of these has often led to gestural abstraction{\textquoteright}s critical dismissal and historiographical misapprehension. The idea of form defended by Clement Greenberg has separated it decisively from content, so the earlier understanding of gestural abstraction has fallen by the wayside, resulting in the failure to see its significance for later artists. Harold Rosenberg saw it as a kind of self-expression, but did not account for the means it used for this purpose, instead ending his influential article by enjoining its critics to develop a new language for its explication. The result of this kind of critical inattention is that the idiom{\textquoteright}s main innovation, the allover composition, is not seen as a device for enabling the project of self-presentation. (Abstract shortened by UMI.)}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Neely, Evan} } @mastersthesis {10826, title = {Cyclones in the Metropole: British Artists, 1968-1989}, year = {2010}, school = {Yale}, abstract = {In the years immediately following 1968, immigrant artists in Britain began to visualize their particular experience of modernity in painting and sculpture, as well as the evolving media of installation art, performance art, photography, and film and video. Predicated on civic disruption, immigration, and new forms of art making, their art was a political response to the nation{\textquoteright}s critical financial and civic situation in the 1970s and 1980s. This dissertation situates the work of artists, Rust-iced Araeen, Sutapa Biswas, Black Audio Film Collective, Frank Bowling, Sonia Boyce, Mona Hatoum, David Medalla, Horace Ove, Keith Piper, Donald Rodney, and Cecilia Vicuna into a discourse of political art by examining what has often been called the black British arts movement in a manner that expands its historical trajectory and its aesthetic intent. These chapters demonstrate how their avant-garde strategies were at the center of political art and activity in Britain. I argue that their activism began by re-claiming the reductive, racial epithet, black which had been used against all non-white Britons, irrespective of race or ethnicity. They elevated the term black from a political stance of shared oppression amongst marked ethnic groups to an aesthetic praxis that directly addressed the British state, post-colonialism, and class and race disparity, in addition to international concerns like South African apartheid and the Chilean revolution. I demonstrate how their work pioneered new mediums, which were rife with confrontation, like grafting graffiti onto drawing and painting or subversively re-editing banned film footage into quasi-documentary videos. There were also performances that re-enacted the violence visited upon black Britons by law enforcement and civilians, and large-scale installations compiled from the debris found in London{\textquoteright}s crumbling streets. In these chapters, I argue that by their design, black was not simply what one was, but rather, how one made art. The oppositional nature of their work necessitated that black British artists found their own exhibition spaces, curate their own exhibitions, and generate art criticism in their own publications. Positioned between national epithet and supra-national appellation for almost a decade, by 1989 the term black lost its radical political efficacy, thereby disrupting the politicized method of object-making.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Courtney J. Martin} } @mastersthesis {10870, title = {Cypriot Donor Portraiture: Constructing the Ideal Family}, year = {2010}, school = {Temple}, abstract = {This study focuses primarily on donor portraits of families found in Cypriot wall paintings and icons created during the Lusignan and Venetian periods. Although donor portraiture is a mode of expression that dates to antiquity, in the medieval period an increasingly prosperous upper middle class used this genre more frequently. My concern is with the addition of children to these portraits and the ways in which this affects the family portrayal on Cyprus. These portraits are intriguing because they provide a rare glimpse into the culture and people of this island as constructed within the medium of portraiture. They provide visual evidence of the donors{\textquoteright} ideals of family in these lasting monuments to their memory. There are noticeable changes in these portraits through time that indicate the shifting foreign rulership faced by the population. Part of the Byzantine Empire until captured by Richard the Lionheart in 1191, Cyprus came under Frankish domain when it was transferred in 1192 to Guy de Lusignan, the dispossessed King of Jerusalem. For years Cyprus had been a stopping place for pilgrims and, later, crusaders on their way to the Holy Land. By the time Cyprus came under Venetian rule, it had grown as a stopping place for merchants as part of their trade route to the East. This exposure to cross cultural trade, migrations, and differing reigning powers makes Cyprus a complex study in social history. These layers of mixed social identities across ethnic, religious and political boundaries are documented in the island{\textquoteright}s donor portraits. Part of this analysis is an attempt to discern in these constructed identities what is indigenous, what is foreign and what is part of the changing times. A close examination of these images uncovers this mingling of identities and certain conventions in the way these donor portraits become expressions of the family. The strategy used to examine these donor portraits is to look at them by employing some of the characteristic functions of portraiture, in this case as outlined by Shearer West in her introduction to portraiture. After an introductory chapter that details some background on donor portraiture and the art of Cyprus, each of the following chapters uses two main images for comparison to explore the ways in which they might reveal aspects of the family. This comparative method is used in the successive chapters with the one constant image of the Zacharia family, painted during the Venetian occupation, as a basis for comparison. Chapter two takes this portrait and compares it to the portrait of Neophytos, a twelfth-century hermit monk who also used the Deesis scene as the setting for his portrait. By looking at these particular scenes as works of art, this chapter introduces ideas to consider throughout the dissertation on the ways these constructions reveal wishes of the donors, such as strategies of hierarchy, of veneration and viewer{\textquoteright}s access. Chapter three explores how the family group portrait serves as a document for the biography of the family. Chapter four deals with the important social practice of the dowry and my idea that some of the later portraits, which include daughters, may be displaying dowry wealth. Chapter five looks at family commemorative portraiture found particularly in icons, beginning the fourteenth century, where deceased family members are portrayed alongside, seemingly, living family members. Finally, in chapter six, I examine the ways in which these family portraits may indicate political changes on the island, especially as Cyprus moves from a feudal society to a commercial one in the Venetian period. In order to facilitate discoveries that might be made by organizing the material in a systematic manner, I have assembled a catalogue of Cypriot family donor portraits and a chart indicating the numbers of men, women and children included in family groups, in the appendices. It is my hope that this dissertation will create more discussion about family groups and will, hopefully, uncover other portraits that may be added to this list, making it a more complete picture of the surviving record.}, keywords = {Early Christian/Byzantine Art}, author = {McNulty, Barbara} } @mastersthesis {10944, title = {Dancing Feet Find Holy Ground: Embodying the {\textquoteright}Feminine{\textquoteright} in the Dances of the World{\textquoteright}s Religions}, year = {2010}, school = {Graduate Theological Union}, abstract = {Dances that embody the "feminine" teach the dancer and the observers inside and outside the faith tradition about women{\textquoteright}s experiences, expressions, and understandings within their respective faith traditions. As such, in this dissertation I step into the shoes of four select dance traditions and learn what their dance teaches about women{\textquoteright}s experiences in their faith tradition. I have chosen four dances that embody the feminine: 1) Bharatanatyam; 2) kabuki onnagata; 3) women in the Mevlevi Order; and 4) Israeli folk dance. Bharatanatyam is a classical Indian dance stemming from the devadasi system; kabuki onnagata are Japanese male enactors of "female-likeness"; the Mevlevi Order of America allows women to train as "whirling dervishes"; and Gurit Kadman created folk dances for Jewish women and men. I begin with a contemporary formal analysis of each dance form. After the formal analysis, each section of my analysis utilizes Gerardus van der Leeuw{\textquoteright}s phenomenological method; my analysis of these four dances is threefold. First, I examine the socio-historical traditions of each dance by asking how the dance teaches the dancer. This question leads me into the second section where I explore when and where the dances are performed and how their performances teach audiences within their faith tradition. Third, I discuss how these four dances teach audiences outside of their respective faith traditions; in this chapter, Paul Knitter{\textquoteright}s method of global responsibility joins with van der Leeuw for a more constructive approach that leads me to propose particular lessons or virtues that each dance form teaches. I conclude that each dance teaches dancers, faithful observers, and outside audiences about the experiences, expressions, and understandings of women within their respective faith traditions.}, keywords = {Performance Studies}, author = {Yarber, Angela} } @mastersthesis {10936, title = {Dante Gabriel Rossetti and the Italian Renaissance: Envisioning the Past and the Modern through Images of Women}, year = {2010}, school = {Virginia Commonwealth}, abstract = {This dissertation examines Dante Gabriel Rossetti{\textquoteright}s knowledge and interpretation of the Italian Renaissance during the1860s. I argue that there is a relationship between Rossetti{\textquoteright}s Aestheticism and his understanding of the Italian Renaissance and that this relationship is visibly manifested in his images of women from the period. In Victorian England, Aestheticism and the philosophy of beauty for its own sake became increasingly popular throughout the 1860s. I challenge the idea that Aestheticism and an interest in Renaissance art are mutually exclusive aspects of the artist{\textquoteright}s work. Rossetti{\textquoteright}s images of women expressed both his understanding of Renaissance art and the central place of beauty in painting. Based upon Rossetti{\textquoteright}s interpretation of Renaissance art and poetry, his criticism, and the criticism of his peers, this dissertation argues that the beauty of women in Rossetti{\textquoteright}s paintings came to stand for the beauty of art. Rossetti{\textquoteright}s paintings promoted sensual Aesthetic experience in their conflation of formal and female beauty. Using the historically idealized conventions of female portraiture, Rossetti created images of women that privileged Aesthetic beauty over narrative or moral meaning. His use of vibrant, rich color, a quality he and his peers inexorably associated with Venetian Renaissance painting, revealed the connection between Renaissance art and his Aestheticism. Color helped to define his paintings of women as examples of beautiful, sensuous painting. For Rossetti, the representation of alluring, beautiful women was the most powerful way to express the experience of Aesthetic beauty as intoxicating, sensual, and even morally ambiguous.}, keywords = {Nineteenth-Century Art}, author = {Porter, Carolyn} } @mastersthesis {10888, title = {David, Architecture, and the Dichotomy of Art}, year = {2010}, school = {Iowa}, abstract = {In recent decades, the art and life of Jacques-Louis David have sparked a renewed surge of interest in the academic community. It is startling, however, that the often prevalent and imposing elements of architecture found in David{\textquoteright}s paintings have received little scholarly attention. This study fills a lacuna in David studies by providing a new perspective on his passionate engagement with architecture and its impact on his art. I begin by demonstrating that, following his trips to Rome early in his career, architecture became central to many of the artist{\textquoteright}s most celebrated compositions. Focusing chronologically on an approximately thirty-year period of the artist{\textquoteright}s career, I explore key paintings by David that serve as principal examples of the emphasis he placed on architecture and its ability to reaffirm, complement, intensify, and contribute layers of meaning to the central themes of his paintings. Throughout the dissertation, I identify principal architectural elements contained within these works and seek to determine their significance. David{\textquoteright}s engagement with architecture began at a young age. He was born into a family of architects and throughout his adolescence was surrounded by some of the most important thinkers, artists, and architects of the eighteenth-century. This unique upbringing and inclusion within Paris{\textquoteright}s elite cultural milieu had a tremendous impact on how David would come to understand architecture as an aesthetic vehicle capable of enhancing his works with added narrative and metaphorical meanings. The dissertation takes as its starting point an investigation into David{\textquoteright}s period as a pensionnaire at the French Academy in Rome where he became profoundly inspired by the Antique. David recorded the impact of the Roman experience on his artistic development within the pages of a dozen albums, which contain a vast number of drawings depicting the Italian landscape, ancient buildings and monuments, and antique sculpture. The Roman albums reveal the importance David placed on architecture during this period and mark the beginning of the transformative effect the medium would have on his subsequent work. David{\textquoteright}s obsession with the art and architecture of ancient Rome revealed in his Roman albums, for example, combined with his fascination for the popular vedute genre exemplified in compositions by Robert, Panini, and Piranesi, inspired him to reconsider how architecture could be used in new and significant ways in representations of historical subjects. This study investigates the multiple sources of architectural inspiration that served David throughout his career and inspired him to create a powerful architectural language. Comparisons between painting and architecture, including representations of architecture in painting, are fully explored for in the art of David, painting and architecture are not dichotomous. Rather, the two mediums are inextricably linked and together can be understood to embody the thoughts, pursuits, and passions of an epoch.}, keywords = {Eighteenth-Century Art}, author = {Kraus, Heidi E.} } @mastersthesis {10824, title = {Debord, Detournement, and the Desire of History: The Films of Guy Debord}, year = {2010}, school = {Stanford}, abstract = {The dissertation addresses the significance of the practice of detournement in the films of Guy Debord, Jean Rouch, and Jean-Luc Godard. The purpose is threefold: to see detournement 1) as part of a re-conceptualization of montage after World War II; 2) as a critique of the reification of political representation during les trentes glorieuses, the so-called Golden Age of capitalism from 1950{\textquoteright}s to the 1970{\textquoteright}s; 3) as a method for the (de)construction of subjectivities. For Debord and the Situtionist International [SI], detournement was a re-conceptualization and radicalization of montage -- a method of appropriating an image, of turning it away and leading it astray from its seemingly natural, normal use. Emphasizing various contemporaneous critiques of the relation between power, knowledge, and subjection/subjectivation (especially, the critiques of Debord, Michel Foucault, Gilles Deleuze), I argue for the practice of cinematic detournement as a deconstruction of the image that not only dissociates it from its source, but also dissociates our habituated modes of perception and experience, action and reaction, of relating to the world and to oneself -- especially those modes through which one constitutes and recognizes oneself as a subject. The dissertation underscores the affective force of such dissociations, especially its implications for the struggles against subjection/subjectivation, that is, the struggles against a form of power in which procedures of subjection become ever more implicated with the processes of subjectivation. Particularly, I point to how detournement is deployed in attempts to respond to the unsettling, disjunctive encounter with the new political subjectivity of the colonized subject in France of the 1950{\textquoteright}s, 60{\textquoteright}s -- not only in relation to the struggles for decolonization (for example, the Algerian War, an especially significant example for France at this moment), but also in relation to the struggles against "the colonization of everyday life" (for example, the SI{\textquoteright}s call to address the problem of the quality of life, of "happiness, " during the period of an aggressive, at times violent, form of state-led modernization). In short, the dissertation aligns the practice of cinematic detournement with a method of analysis that seeks to deconstruct the habituated truths about one{\textquoteright}s relation to oneself and others (particularly, the psychoanalysis of Jacques Lacan and Jean Laplanche). And it addresses the significance of this method in the films of not only Debord but also his contemporaries, Rouch (cinema-verite) and Godard (French new wave, Dziga Vertov group) -- two of the foremost practitioners of a new mode of filmmaking that unsettles the dichotomy between documentary and fiction, objective and subjective, true and false, and poses the question of how truth is articulated, imposed, enacted upon and for whom.}, keywords = {Contemporary Art, Film/Video}, author = {Yoon, Soyoung} } @mastersthesis {10855, title = {The Desire to Fill: Addiction and British Visual Culture, 1751-1919}, year = {2010}, school = {Queen{\textquoteright}s}, abstract = {"The Desire to Fill" I examine British visual culture, including paintings, graphic art, photographs, advertisements and architecture, in relation to the lived experience of addiction. My study begins in 1751, the year that William Hogarth produced his engravings Gin Lane and Beer Street, and it ends in 1919, the year that Alfred Priest exhibited his painting Cocaine at the Royal Academy{\textquoteright}s annual Summer Exhibition. There are four underlying arguments in this text. First, that addiction to drugs and alcohol is a manifestation of a desire to "fill a void." Second, that addiction has long been thought to be legible from the body. Third, that addiction cannot be reliably read from the body, whether in life or an image. Fourth, any project that is concerned with addiction and visual culture is therefore a paradoxical one, and must, by necessity, be a speculative one. My methodological approach in this text is influenced by feminist theory and queer theory, and I explore the history of addiction using a continuist framework. In other words, I suggest that, although the identities of the "addict" and "alcoholic" as we know them today were discursively constructed at the end of the nineteenth century, people experienced addiction before these identities came into being. In that vein, I suggest that the woman in Hogarth{\textquoteright}s Gin Lane is an alcoholic, and I show how anxieties about alcoholic mothers have remained remarkably consistent over the last three hundred years. I also discuss graphic artist George Cruikshank{\textquoteright}s experiences as a temperance advocate after he stopped drinking, gin palaces and women{\textquoteright}s desire for alcohol, the social and legal ramifications of addiction, and, finally, cocaine and tobacco addiction after the First World War. Ultimately, I examine the visual culture of addiction in order to destabilize stereotypes and myths about alcoholics and drug addicts that are still circulating today.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Skelly, Julia} } @mastersthesis {10788, title = {On the Difference between Serialism and Seriality}, year = {2010}, school = {Columbia}, abstract = {On the basis of an examination of Swiss art concret and American Minimalism respectively, this dissertation attempts first to clarify the difference between works based on repetitive structures (succession) on the one hand and permutational or row principles (integration) on the other. I attempt secondly (and with reference to row structures in post-tonal music) to map and to conceptualize the interval (the difference) separating these tendencies as a positive entity, as a chiasmatic figure that delineates the aporetic condition of the work principle after World War II. A series of staged confrontations between American and European artists/architects/designers/critics/theoreticians, etc. is designed to provide not a synthesis, but instead an initial sketch of a problematic.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Pepper, Ian} } @mastersthesis {10747, title = {Digital Decay: The Urban Interface in New Visual Culture, 1968-2008}, year = {2010}, school = {Rochester}, abstract = {Digital Decay: The Urban Interface in New Visual Culture, 1968-2008 considers the sites of convergence between new media subjectivities and new urban subjectivities in interactive digital media produced between 1968 and 2008. This dissertation analyzes why the post-industrial urban landscape functions as an interface-an abstraction, a point of entry, and a proxy-for digital visual culture in the United States at the end of the twentieth and beginning of the twenty-first centuries. It explores a range of interactive media alongside a range of discourses, from film and media theory to urban planning policy and architectural criticism, and thinks through real and virtual urban spaces. Specifically, it addresses how the urban interface is a site within which we create, perform, and negotiate some of the central techno-subjectivities associated with digital culture: the user, the player, and the creative consumer. This topic{\textquoteright}s historical and theoretical background is the confluence of new cinematic visuality with the changes wrought by urbanization and industrialization at the end of the nineteenth century and the emergence of personal computing in the context of urban crisis and neoliberal restructuring in the 1970s and 80s. Digital Decay presents a new perspective on work done across several fields on representations of urban space and theories of new media. Central to its argument is the idea that representations of urban space in digital media may be read not simply as expressions of cultural anxieties about changing economic, racial, and gender geographies, but also as one of the primary ways producers and consumers of visual culture articulate what digital media are, how they are similar to or different from other media, and how subjectivity and agency are framed by them. With this new information about the urban interface and digital interactivity we might rethink the ways that urban space functions as an interface for other once-new media like cinema and television.}, keywords = {Architectural History/Historic Preservation, Critical Theory/Gender Studies/Visual Studies}, author = {Anable, Aubrey} } @mastersthesis {10982, title = {The Discontents of Modernity{\textquoteright}: Race, Politics, and Figuration in the 1960s}, year = {2010}, school = {Delaware}, abstract = {During the 1960s, a hegemonic moment for abstraction, a few artists mobilized a figurative idiom to engage directly such pressing social issues as civil rights, Black Power, and opposition to the war in Viet Nam. In form and content, their art thematized discontent with dominant paradigms of modern art and with social conventions in modern life. Critical reaction at the time was uneven, and their art still awaits full integration into the modernist canon. Through case studies of three prominent practitioners of this mode-Romare Bearden, Philip Guston, and Faith Ringgold-this dissertation examines the dialectical construction and expression of racial subjectivity as manifest in their art and its reception. In addition to providing a thorough account of their projects, this study raises questions about conceptions of subjectivity, ideology, and identity in the 1960s and works to answer them through readings of the artistic production and the published record that trace how social and cultural expectations influenced the construction of identity for blacks and whites. Moreover, close study of the response to Bearden{\textquoteright}s, Guston{\textquoteright}s, and Ringgold{\textquoteright}s projects of the 1960s illuminates the mechanisms at play in the formation of a canon, the social stakes of such operations, and their consequences, especially for accounts of the decade{\textquoteright}s nexus of art and politics. In that way, the case studies function as microcosms through which to explore the means by which cultural history is constructed and perpetuated.}, keywords = {Twentieth-Century Art}, author = {Monahan, Anne} } @mastersthesis {10974, title = {On Display: Transformations of the Avant-Garde in Soviet Public Culture, 1928-1933}, year = {2010}, school = {Columbia}, abstract = {This dissertation examines the still largely misconceived period in the history of Soviet art, when within a matter of a few years, between 1928 and 1933, avant-garde artistic strategies were largely devalorized and its artworks already in Soviet public collections came to be exhibited only as artifacts of the past. At the same time a representational style, later united under the label Socialist Realism, was established as the only viable form of Soviet art. My project demonstrates that the so-called "demise" of the Russian avant-garde was far from an abrupt or simple process of coercion on the part of Soviet authorities, or of retreat and submission on the part of the artists. Instead, historical displacement took place gradually, spurred both by administrative decisions and by initiatives coming from active members of the art world. This paradigmatic shift was accomplished in the public sphere through a series of experimental museum displays that served as a practical testing ground of the new art historical canon, which presented avant-garde artistic practices as remnants of the outdated bourgeois outlook, while positioning various representational styles as pointing to the truly Soviet future. Far from rigid or fixed, the new canon was continuously modified in response to visitors{\textquoteright} reactions, specialists{\textquoteright} feedback and authorities{\textquoteright} often conflicting directives. In order to understand this process, I reconstruct the broader context of the Soviet museum reform, aimed to present Soviet masses with a Marxist dialectical version of historical development, and focus on those experimental exhibitions that played an instrumental role in displacing the avant-garde. Within this framework, I examine the work of two leading proponents of the Russian avant-garde, Kazimir Malevich and Vladimir Tatlin, during this period within the context of its public presentation and reception, as examples of an active stance of avant-garde figures, who sought to inscribe their work within the current artistic debates without compromising the integrity of their projects. The last chapter analyzes a major retrospective of Soviet art, held in 1932-33, that shifted public focus from the assimilation of the past artistic legacy to the formulation of the future of Soviet art in concrete visual terms.}, keywords = {Twentieth-Century Art}, author = {Chlenova, Masha} } @mastersthesis {10793, title = {Dissecting Figural Sculpture, 1960-2007}, year = {2010}, school = {Michigan}, abstract = {This dissertation examines the mimetic realist production of three artists-Duane Hanson (1925-1996), Robert Gober (b. 1954), and Ron Mueck (b. 1958)-whose sculptures exemplify changing attitudes toward figural realism over the past fifty years. This is an historically grounded study that is also informed by a theoretical awareness of the oscillation between representation and actuality, which is central to the viewer{\textquoteright}s experience of mimetic realism. The primary objectives of this study are to dissect the technologies of making, the conceptual practice of display and reception, and the moments of encounter that characterize these projects. Sculptures by Hanson. Gober, and Mueck are handmade. These artists deploy traditional techniques of modeling, casting, and painting to recreate with mimetic accuracy human figures, body parts, and objects that stand-in for bodies. They explore unorthodox materials for sculpture, including wax and plastics, and draw upon methods used in the production of waxworks, special-effects models, and prosthetic limbs in order to simulate the complex look and texture of human flesh. Each artist represents a notably different approach to achieving vividly real figurations. Hanson and Mueck employ extreme verisimilitude, which renders an eerily convincing visual illusion of fine corporeal details: blemishes, wrinkles, fingernails, and follicles that sprout hairs. Gober, on the other hand, never reproduces whole human figures. Instead he remakes everyday objects-light bulbs, sinks, urinals, and drains-that are used by the body during daily rituals such as sleeping, eating, cleaning, and excreting. His project serves to highlight the multidimensionality of mimetic realism that moves beyond the actual representation of a person to mimicking the very palpable presence of another human being. All three sculptors choreograph the meeting between their works and viewers. They borrow strategies for display from places where artificial bodies are exhibited and viewed, such as funeral parlors, natural history and wax museums, cabinets of curiosity, and anatomical collections. This attention to encounter and display foreshadows and echoes changes in the modern art world, from a time of opposition to "the popular" toward the current marketing of exhibitions as public spectacles.}, keywords = {Art of the United States}, author = {Huerta, Monica} } @mastersthesis {10923, title = {Domestic Arts: Amelia Pelaez and the Cuban Vanguard, 1935-1945}, year = {2010}, school = {Chicago}, abstract = {Many scholars today consider Amelia Pelaez de Casal{\textquoteright}s (1896-1968) highly ornamental, domestic colonial interiors of the early forties to be the first Cuban paintings that are both highly individualized in style yet also nationally significant for having created a distinctly Cuban idiom. In these works, Pelaez departed from earlier vanguard strategies for the creation of a national art, strategies that had involved the depiction of Afro-Cuban and guajiro (peasant) subjects and the wholesale adoption of modern European styles. While the changes brought by Pelaez-a highly ornamental line and richly saturated color, both derived from colonial architecture-have been interpreted by scholars as innovations unique to the 1940s, my research demonstrates that these innovations must be understood as stemming from the artistic experiments she began in the wake of her return to Cuba from Paris in 1934. I investigate the significance of the fact that her first major monographic show in Cuba, in 1935, was held at the Lyceum, a women{\textquoteright}s club that provided a crucial venue for the vanguard. My research on the reception of that exhibition and others reveals that critics understood her work to be involved with a surprising matrix of concerns, including the nature of modern femininity, as well as vanguard practices involving the overt expression of the artist{\textquoteright}s subjectivity and the effort to find a new basis for Cuban identity. I argue that the domestic colonial interiors Pelaez developed in the years after her 1935 Lyceum exhibition demonstrate that her aesthetic evolved in response to these debates. In 1935-1936, Pelaez developed a distinct aesthetic, one ostensibly based on the domestic colonial interior and the place of the female subject within it. During these same years, interest in the colonial past developed widely and permeated other sectors, including new architectural histories, building restoration projects, and literary themes, and I explore her work in relation to this "Colonial Renaissance." I also track how Pelaez initiated a modern Cuban aesthetic and found her personal style by experimenting with the incised textures, geometric patterns and odd perspectives of tablecloths and fruit dishes, and how she went on to develop these techniques by integrating domestic objects with architectural decorations. I argue these domestic objects and architectural features invoke the vanguard{\textquoteright}s introspective notion of artistic practice in part because they reference nineteenth-century notions of creole domesticity wherein creole proto-nationalism depended on chaste women{\textquoteright}s isolation at home; yet in place of a female sitter, Pelaez installs still-lifes that draw the viewer{\textquoteright}s attention to modernist modes of artistic creation, and, sometimes, to female sexuality. Consequently I examine not only how Pelaez engaged with the vanguard{\textquoteright}s ideals as articulated in the Lyceum debates, but, more importantly, how she explored tensions within these ideals, particularly in regard to women{\textquoteright}s possible contributions to national culture. Furthermore, in my study of Pelaez{\textquoteright}s relationship to critical debates on the nature of Baroque painting, I build on Robert Altmann{\textquoteright}s 1945 analysis to argue that Pelaez uses Baroque ornamentation to engage and merge multiple histories and assorted styles-past and present-to arrive at a contemporary Cuban idiom. Throughout the dissertation I evaluate the relationship of Pelaez{\textquoteright}s themes and styles to those of her vanguard peers, considering in particular images of courtship, maternities, and family portraits (E. Abela, A. Fernandez, D. Ravenet, C. Enriquez); of windows compared to paintings (V. Manuel, A. Gattorno); and of domestic colonial interiors (M. Carreno, R. Portocarrero, C. Bermudez); these juxtapositions all point to the continuity over two decades of Pelaez{\textquoteright}s relentless pursuit, and display, of style. I also compare her work to contemporary Afrocuban artists (A. Pena, T. Ramos Blanco), which shows that, contrary to scholars{\textquoteright} "white creole" interpretations of Pelaez{\textquoteright}s interiors, multiple readings of her work are possible with respect to race. Finally, by examining how Pelaez engaged and contested notions of vanguard art and femininity in the context of contemporary socio-political tumult, blind-spots within the vanguard{\textquoteright}s ideals are revealed, particularly in regard to questions of race and class. In 1943, when Pelaez had a retrospective exhibition at the Hispano-Cuban Cultural Institute, critics related her work to the vanguard notion that the domestic interior could be a source for establishing an authentic national identity, and to a closely related notion that the artist should draw upon his or her own subjectivity and introspection in the hopes of producing an "interior" vision that would also be genuine. (Abstract shortened by UMI.)}, keywords = {Latin American/Caribbean Art}, author = {Elliott, Ingrid} } @mastersthesis {10967, title = {Doorways to the Demonic and Divine: Visions of Santa Francesca Romana and the Frescoes of Tor de{\textquoteright}Specchi}, year = {2010}, school = {Brown}, abstract = {The noblewomen-turned-oblates who commissioned the impressive body of imagery at Tor de{\textquoteright}Specchi were at once pious servants of God and savvy consumers of art, reflecting their liminal status as residents of a monastic community and also as active participants in Roman society. The expansive cycles of their convent embody many of the ambiguities and paradoxes of late-medieval piety. The oblates{\textquoteright} theatre of Francesca{\textquoteright}s demonic visions helps us to initiate a conversation about how early modern women taught themselves to picture the Devil as a real and ever-present force to be vanquished, expanding our idea of images made at the behest of religious women to include the parochial communities of fifteenth-century Rome.}, keywords = {Renaissance/Baroque Art}, author = {Scanlan, Suzanne} } @mastersthesis {10814, title = {Drama Entertains the Spirit{\textquoteright}: Art, Ritual, and Theatre in Jin and Yuan Dynasty Pingyang, Shanxi, China}, year = {2010}, school = {Brown}, abstract = {Pingyang (modern Linfen, Shanxi) was a major art and theater center in North China during the Jin and Yuan periods. Soon after the Jurchen conquered the Northern Song, zaju (variety plays) drama became an indispensable part of village theaters and temple fairs in Shanxi. Its popularity contributed to thriving graphical and sculptural representations of theater in Pingyang art, including paintings and prints of theatrical illustrations, brick reliefs and stone engravings of performance scenes, ceramic and mural decorations of dramatic stories, as well as inscriptions of lyrics and arias. By studying these rich visual and textual records collectively, this dissertation focuses on how a distinctive Pingyang culture affected the making and use of theatrical imagery in artistic, funerary, and ritual contexts, and in turn, how these illustrations and representations fulfilled their multiple functions in local societies. My aim is to investigate visual dimensions of the deeply rooted theater culture in North China and the significant role of Pingyang in shaping Jin and Yuan visual culture. Chapter One examines the interaction between popular theater and pictorial arts in Pingyang where there arose a secular predilection for printed scripts and narrative pictures. Chapter Two explores the role of drama in the spread of popular religion and historical knowledge among common folk, illustrating the infiltration of theater into local life and culture. Based on evidence from intact Duan family and Dong family cemeteries, the third chapter demonstrates that this region{\textquoteright}s particular funerary culture enabled zaju representations to obtain ceremonial significance in tomb space. Chapter Four discusses the close relationship between performance scenes represented in tombs and those at local temples and analyzes the elevated role of drama in village theater in Pingyang{\textquoteright}s folk ritual context. The last chapter introduces the significance of theater in commoners{\textquoteright} views and the extension of didactic theater through pictures. My study illustrates that Pingyang people used theatrical imagery not only to sustain their deities and ancestors, but also to cultivate their own spirit and instruct descendents during a period full of uncertainty under Jurchen and Mongol rule.}, keywords = {Chinese Art}, author = {Zhang, Fan} } @mastersthesis {10909, title = {Drawn toward India: Okakura Kakuzo{\textquoteright}s Interpretation of Rajendralala Mitra{\textquoteright}s Work in His Construction of Pan-Asianism and the History of Japanese Art}, year = {2010}, school = {UNC Chapel Hill}, abstract = {The contribution of Okakura Kakuzo (also known by the pseudonym Tenshin, 1863-1913) to the development of both Japanese art and the writing of its history has been the subject of prolific scholarly re-evaluation from the mid-twentieth century into the present. This study contributes to the growing literature by examining a specific aspect of Okakura{\textquoteright}s understanding of Indian art and architecture, and its role in his conceptualization of Pan-Asianism and the shaping of Japanese national identity through art. I complicate the scholarly dialogue by introducing Okakura{\textquoteright}s reading of the pioneering Bengali scholar Rajendralala Mitra (1822-1891), who had been hailed by the subsequent generation of Indian nationalist intellectuals as the first Indian art historian. I suggest that Okakura and his Indian compatriots embraced Rajendralala Mitra{\textquoteright}s astute political deployment of his scholarly work as a role model in their effort to define nationalist ideals in their particular political contexts in early twentieth-century Japan and India.}, keywords = {Japanese/Korean Art, South/Southeast Asian Art}, author = {Ninomiya-Igarashi, Masumi} } @mastersthesis {10934, title = {Edgar Degas and the Ottocento}, year = {2010}, school = {Iowa}, abstract = {My study of Edgar Degas provides an arena for the examination of how artistic production can elucidate the complexities of cultural diversity, particularly through the evolution of artistic identity through overlapping cultural influences. Previous scholarship on Degas has been mainly Francophile in orientation, while my work focuses on the parameters of artistic reciprocity between Degas and nineteenth-century Italian art, artists and critics. Degas spent the majority of his formative years (July 1856-April 1860) traveling and studying in Italy, with extended periods in Rome, Naples and Florence. He actively sketched after the Italian Renaissance masters, participated in life drawing sessions at the Villa Medici, and partook in artistic exchange through friendships established in the social atmosphere of cafes. Familial bonds, through blood and marriage, to Naples and Florence provided Degas with additional ties to the peninsula. His camaraderie with Italian artists and critics did not end upon his return to Paris. Rather, these Italian artists became a vital part of Degas{\textquoteright} social circle, with whom he travelled, dined, and participated in a variety of artistic exchanges. These exchanges fundamentally impacted Degas{\textquoteright} oeuvre, as well as those of the Italians. Exploring Degas{\textquoteright} connections with the art community of Italy allows a reevaluation of the traditional understanding of Degas as a French artist. It focuses attention on the impact that Italian aesthetics had on the formation of Degas{\textquoteright} style which has been historically understood as tied to Parisian modernism. Degas provides a unique opportunity to study the impact of multicultural influences arising from his attention to the artistic methodology of the French Academy, his Italian lineage and his role as a French tourist and artist in Italy. Finding the structure of the Ecole too constrictive and instead preferring to forge a parallel route to Academicism, Degas traveled to the peninsula outside of the sphere of the French Academy. He relied on a shared language, culture and familial connections to remain abroad longer and travel more extensively than many of his contemporaries. As a result Degas is much more rooted in the Italian culture than any of his French contemporaries. The many dimensions and experiences of Degas{\textquoteright} Italian sojourn affected the burgeoning career of an artist who intended to join the ranks of the history painters, and instead found himself a critical observer of contemporary life. What I elucidate in this dissertation is how deeply rooted Degas is in the language, cultures and history of Italy. These unbreakable ties, the many aspects of the Italian cultures in which he feels at home are absorbed and brought back to Paris and into his oeuvre. This study seeks to demonstrate that Degas was neither wholly French nor Italian (or for that matter, American), rather his multiple dimensions make for an international, truly cosmopolitan artist in the second half of the nineteenth century. Furthermore, I engage and explore the social and artistic relationships of a group of artists who were acutely aware of the pressures of nationalism and the boundaries of nations, but while conceding to these realities, did not want to be limited by such demarcations. This reading of the evidence allows for a more meaningful investigation of the modalities of the formation of artistic identity and dialogue in the nineteenth century.}, keywords = {Nineteenth-Century Art}, author = {Kovacs, Claire L.} } @mastersthesis {10977, title = {Eduardo Paolozzi and Others, 1947-1958}, year = {2010}, school = {Princeton}, abstract = {This dissertation focuses on the work that Eduardo Paolozzi made between 1947 and 1958, as well as his various collaborations with the photographer Nigel Henderson and the architects Alison and Peter Smithson. The dates of this dissertation mark something of an interstitial period in art history, delimiting a spell between the full flowering of the historical avant-gardes and the emergence of neo-avant-garde practices and Pop Art and in the 1960s. In England, after the destruction of World War II, this temporal span also functioned as a time of evaluating, remaking, and reconstruction. As a member of the Independent Group, a cadre of architects, artists, and critics dedicated to examining changes in media and technology and the challenges they posed to the visual arts, Paolozzi was fully aware of the impact of Americanization and mass culture, and in his work he sought to devise strategies with which to understand and resist its effects. In doing so, his work covered a wide range of media, from collages and sculptures to scrapbooks and textiles, and with the Smithsons and Henderson, he mounted a number of innovative exhibitions as well. Brutalism was a central term for these protagonists, and much of my dissertation attempts to tease out the meanings of this term-the connections with Jean Dubuffet{\textquoteright}s art brut and Le Corbusier{\textquoteright}s beton brut as well as the brutal landscape of postwar London and what might be said to be the brutal effects of the mass media on the human subject. If Paolozzi{\textquoteright}s multi-media approach served to test the boundaries of medium specificity, it also, and more importantly, attempted to grapple with the status of the human subject in a changed environment. Paolozzi understood images in terms of larger systems and ecologies, and ultimately his project was to carve out a space for the postwar subject within an expanded field of culture.}, keywords = {Twentieth-Century Art}, author = {Kitnick, Alex} } @mastersthesis {10916, title = {Ema: Display Practices of Edo Period Votive Paintings}, year = {2010}, school = {Stanford}, abstract = {Large-scale ema (votive paintings) were commonly found at Edo period religious sites, where sacred and secular activities mingled. Ema halls functioned as art galleries, providing almost unrestricted access to paintings for any member of society. While the genre is most frequently defined through the initial act of donation, the role of ema in Edo period society is rooted in their public display. This dissertation examines the diversity of Edo period ema and contexts for their display within late Edo period society. Chapter 1 discusses the development of ema as paintings of horses in early Japanese history, including depictions in medieval handscrolls, and their role as examples of common religious practice in Japan, despite being usually described as Shinto religious objects. Chapter 2 focuses on the display and dissemination of ema during the Edo period. I examine Edo period literature about ema and how ema were understood by writers of the period. I also address the rise of ema halls and the increasing importance of ema displays within the early modern culture of public entertainment. Chapters 3 and 4 use two popular Buddhist temples in the Edo region as case studies for ema donation and display. Chapter 3 surveys ema at Sensoji temple in Asakusa, Tokyo to highlight both the continued importance of horses as subjects of ema and also the expansive diversity of subjects beyond horses. Stories told during the period about the oldest ema at Sensoji (early seventeenth-century) reveal beliefs about the efficacy of ema. Other ema display connections to the public amusements found in the Sensoji district. Chapter 4 explores the associations between ema at Naritasan Shinshoji in Chiba prefecture and the Ichikawa Danj√{\textordfeminine}ro family of Kabuki actors. These actors and their fans used ema both to express religious devotion and to promote themselves in more secular ways. Naritasan was closely tied to Edo, especially through degaicho (public viewings of the temple{\textquoteright}s main statue) in the Fukagawa district of Edo, and many ema donations can be linked to the degaicho. While not denying the importance of ema as religious objects, I seek to show how their importance as objects of display and advertisement complemented their spiritual functions. They were part of a spiritual and social exchange that donors performed for both the gods and the viewing public.}, keywords = {Japanese/Korean Art}, author = {Snow, Hilary K.} } @mastersthesis {10973, title = {The End of Painting}, year = {2010}, school = {Michigan}, abstract = {This project is a reappraisal of the accepted view that radical new forms of art dominating the New York art scene from the late fifties, such as assemblage and installation, represent a rupture with painting. On the contrary, as contemporary criticism and artists{\textquoteright} writings show, these new forms should be understood as extensions of painting. Robert Rauschenberg, as the link between abstract expressionism and the new art, is a key figure in this reconceptualization of painting. This dissertation examines the first decade of Rauschenberg{\textquoteright}s art, when he experimented with using new media such as junk found on city streets to make paintings. A recurrent misperception of these early paintings is that they signaled the end of painting as a viable practice, and prefigured the postmedium condition of later postmodern art. He always stressed that his works were paintings no matter how far they strayed from the conventional easel picture-a fact that has been suppressed in the accepted view of Rauschenberg{\textquoteright}s work, a view heavily biased towards postmodernist discourse, and which figures the main thrust of his project as negation. I challenge this fundamental misunderstanding of his art, showing that his acceptance of nonart objects as painter{\textquoteright}s materials was a consequence of his unique way of thinking about painting-and indeed life-in non-hierarchical terms, rather than oppositional in intent. As such, his artistic project did not reject painting, but rather worked towards an expanded notion of painting. Rauschenberg{\textquoteright}s "hidden" practice of photography played a key role in his artistic experiments. He used photography, I argue, as a way of reconceiving his work in the mind{\textquoteright}s eye and of picturing its interactions with its immediate environment. His work behind the camera shaped a far looser, intermedial conception of "picture" that referred to anything from paintings, photographs, and imagery in an everyday context; to actual objects serving as images (of) themselves. This pictorial awareness, which I term pictoriality, is the basis of painting{\textquoteright}s eventual extension into new media and multiple dimensions, which enabled it to weather the crisis posed by Modernist medium-specificity and the easel picture.}, keywords = {Twentieth-Century Art}, author = {Chang, Christina} } @mastersthesis {10834, title = {Enduring Belief: Performance, Trauma, Religion}, year = {2010}, school = {Duke}, abstract = {The medium of performance art locates both the art-making subject and the art object in the body of the artist. Performance art thus serves as an appropriate medium for integrating the complex, repetitive, and often unconscious somatic knowledges developed by two distinct experiences: the practice of religious ritual and the overwhelming conditions of trauma. In this dissertation, I explore the foundational idea that the artist{\textquoteright}s body can become a site of both theological significance and traumatic memory. I examine the connections among the forms of performance art, bodily worship practices, and traumatic experience in the work of three contemporary U.S. performance artists with devout religious backgrounds. Born between the1940s and the 1960s, Linda Montano, John Duncan, and Ron Athey have all consistently positioned their work in religious contexts. This trans-generational set of artists represents a spectrum of Christian traditions in the United States: Athey{\textquoteright}s improvisational Pentecostalism, the liturgical tradition of Montano{\textquoteright}s Catholicism, and mainstream Protestantism in the form of Duncan{\textquoteright}s Calvinist Presbyterianism. At the same time, all three artists struggle with the persistent affect of traumatic experience, from domestic violence to sexual assault. These artists{\textquoteright} works represent their traumatic experiences as mediated through the bodily, visual, intellectual, and aural forms of their respective Christian traditions. My dissertation identifies religion as a neglected foundation of performance art and as a fundamental motivating factor and force in shaping its forms, content, and significance.}, keywords = {Contemporary Art}, author = {Gonzalez Rice, Karen} } @mastersthesis {10946, title = {The Engraved Head Motif on Cupinisque Style Vessels: Innovation and Appropriation in Early Andean Art}, year = {2010}, school = {Virginia Commonwealth}, abstract = {This dissertation is a formal and iconographic study of a distinctive engraved motif found on Cupisnique style vessels that were excavated in what is now northern Peru. The Cupisnique style was developed approximately between 1200 = 200 B.C.E., and was mainly centered in the Jequetepeque and the Chicama Valleys in the northern coastal region of Peru. This study includes an analysis of two ceramic vessels in the collection of the Virginia Museum of Fine Arts (henceforth VMFA). The purpose of this dissertation is to document and analyze the Cupisnique engraved head motifs and to argue that these motifs reflect the influence of early Formative Ecuador ceramics on the later coastal Cupisnique as well as on the highland Chavin style. In addition to the two VMFA vessels, this study documents and analyzes an additional one hundred seventy seven (177) Cupisnique ceramics vessels that were also engraved with head motifs. These belong to various museums and private collections in South and North America. This study also presents a catalog of all documented head motifs, including those captured on photographs and in original drawings. The Cupisnique head motifs are classified by individual elements, and iconographies of Cupisnique head motifs are presented based on the origin and influence of the motifs.}, keywords = {Pre-Columbian Art}, author = {Park, Yumi} } @mastersthesis {10768, title = {Enigmatic Bachelors: Masculinity, Girlhood, and Vision in the Art of Joseph Cornell and Henry Darger}, year = {2010}, school = {UC Irvine}, abstract = {American artists Joseph Cornell and Henry Darger approached the subject of girlhood in collage and assemblage projects made during the 1930s-1960s, a period when images of girls were abundant in the nation{\textquoteright}s visual culture. While most American modernist artists ignored the subject, Cornell and Darger borrowed from print media to create elaborate worlds filled with references to girls. This dissertation explores how these references allowed the artists to engage dominant cultural representations of gender and social marginality and rework them into alternative visions of modern artistic masculinity. The dissertation makes use of archival research to draw out the significance of these artists{\textquoteright} peculiar interest in girlhood. It considers the artists{\textquoteright} source materials, the late-nineteenth and early-twentieth-century domestic craft of scrapbooking, and accounts of missing and abused children. Additionally, it brings together secondary source perspectives from art history, queer theory and gender studies, film and media studies, the history of children and youth, and disability studies. The first two chapters argue that the girlish craft of scrapbooking provided Cornell and Darger with an artistic method for celebrating the imaginative reworking of mass-media in the home. The second two chapters chart how their art incorporates accounts of missing or abused children that engage modern fears for adult male interest in girls and abnormal psychosexual development. These chapters attempt to tease out cultural assumptions and myths behind Cornell and Darger{\textquoteright}s interest in inhabiting girlish perspectives and, alternatively, in viewers{\textquoteright} perceptions that they may be inhabiting the perspective of a pedophile or a man with an queer or repressed sexuality when they look at Cornell and Darger{\textquoteright}s art. The ultimate argument of the dissertation is that the work of the two artists intensifies and brings out the complexities of these types of gazes after finding them already present in the broader visual culture. The discomforting tensions in their art between approaching girls as innocent and restorative, or as potential victims of abnormal desire do not simply emanate from the artist{\textquoteright}s isolated or peculiar imaginings, but are also deeply rooted in the American visual culture reworked in their art.}, keywords = {Art of the United States, Critical Theory/Gender Studies/Visual Studies}, author = {Trent, Mary} } @mastersthesis {10817, title = {Envisioning Bodily Difference: Refiguring Fat and Lesbian Subjects in Contemporary Art and Visual Culture, 1968-2009}, year = {2010}, school = {USC}, abstract = {Envisioning Bodily Difference: Refiguring Fat and Lesbian Subjects in Contemporary Art and Visual Culture, 1968-2009 focuses on both lesbian and fat subjects in multiple forms of visual representation over the past forty years in the United States. Nearly all of the individuals imaged in the representations discussed here are self-identified as lesbians and/or queer women. Many of them are fat as well. Many of the representations discussed here were produced within lesbian and fat subcultures, made by those who identify with these communities and who planned to circulate the images within the subculture, whether through journals or newsletters, books, or art galleries. Each set of creators and objects or experiences chosen to be discussed in the sub-sections of the three chapters and conclusion of the dissertation in some way help to negotiate the ways in which fat women and lesbians or queer women have been visualized in the past several decades. More broadly, each has contributed to the ways in which mainstream and/or subcultural communities have reconceptualized norms about bodily comportment, gender, and sexual expression through visual representation. Along the historical timeline of this dissertation, beginning in 1968 and lasting through 2009, most of the subjects looked at here have been considered deviant or "non-normative" (i.e., female, non-white, disabled, fat, and lesbian subjects) in large part because of body-based identities. Moreover, many have been seen as monstrous, excessive, and dangerous-to themselves and others-because their physical and discursive identities have violated the boundaries of the cultural taste of their time. Embracing these alleged slurs has been one way of disempowering dominant cultural ideology about fatness as a sign of moral weakness, physical laziness and illness, and aesthetic debasement. The key visual works and texts analyzed here are taken from and contextualized within feminist, lesbian, queer, and fat art making and viewing practices, cultural theories, and activism performed since the late 1960s. Stemming from the Civil Rights movement of the 1950s and 1960s, incipient feminist, lesbian and gay, and fat liberation movements marked a historical shift in which groups previously seen as holding a minority status in United States culture began to define their own objectives for equal rights and desire for recognition as important contributors to American culture. Issues of visual representation and empowerment, as they intersect with multiple marginalized identities are addressed in this dissertation: How do lesbian, bisexual, and heterosexual female sexualities come to be represented in visual media, including fine art and documentary photography, journals, and performance, and how has this changed since the late 1960s? What is the role of feminist art and politics in the visualization of sexuality and sexual subjects? How are "non-normative" bodies used in such representations? What does the inclusion of lesbian and other female subjects in contemporary art and visual culture tell us about the politics of visibility in multiple forms of media? How and to whom do these varied visual media communicate resistance or conformity with heteronormative and/or thin body ideals? What is the importance of the differences in meaning produced by the different media and circulation of such imagery and how does each communicate in medium-specific ways?}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Snider, Stefanie} } @mastersthesis {10930, title = {Episodes in Political Illusion: The Proliferation of War Imagery in France (1804-1856)}, year = {2010}, school = {Michigan}, abstract = {This dissertation investigates a neglected, yet central component of nineteenth-century visual culture in France, namely the proliferation of war imagery across a range of established and emergent visual forms including painting, printmaking, battle panoramas, illustrated newspapers and photography. Far from mere reflections of the propagandistic aims of state power, I contend that representations of war produced between the First Napoleonic Empire and the Crimean War (1804-1856), the first major armed conflict to break out on European soil since the wars of the First Napoleonic Empire, depended on a wide range of belief systems beyond officially-sponsored political agendas. Throughout this dissertation, I situate war imagery as a material and discursive platform which not only informed perceptions about war and peace, but also implicated a larger set of contemporary issues as diverse as the development of liberal political doctrines, imperialism, industrial modes of production and the interaction of early forms of mass culture with more established media such as painting over the course of the nineteenth century. While art historical studies of representations of war have predominately focused on the Revolutionary and Napoleonic periods and on the paintings of Jacques-Louis David and his students, the present study focuses on a corpus of works (and their relevant reproductions) by artists who have fallen outside the purview of the dominant interpretations of nineteenth-century artistic production in France, including the battle painters Louis-Francois Lejeune, Carle Vernet, Horace Vernet, the war artist Henri Durand-Brager and the panoramist Jean-Charles Langlois. In addition to focusing on the interrelations which existed between different media used to picture war, I identify a set of formal strategies used by artists to compose and picture armed combat in order to make it appear legible and engaging. Through an array of archival and primary sources, including Salon criticism, government documents, diaries, letters and newspaper articles, I argue that the visual representations of war produced by these artists invited spectators to consume war at a remove, as a series of affective and appealing images.}, keywords = {Nineteenth-Century Art}, author = {Hornstein, Katie} } @mastersthesis {10807, title = {Eternal Ritual in an Infinite Cosmos: The Chaoyang North Pagoda (1043-44)}, year = {2010}, school = {Harvard}, abstract = {This dissertation examines the relationship among space, ritual, and cosmology in medieval Buddhism by means of a comprehensive analysis of the pagoda, the most representative architectural typology of East Asian Buddhism throughout its two-thousand-year history. The Chaoyang North Pagoda (1043-44), a Liao-dynasty (916-1125) structure in northeast China whose excavation was completed only in the 1990s, provides an excellent focus for such a study. After Buddhism was transmitted from India to East Asia, a cosmological scheme of unprecedented sophistication, which consists of an infinitely expanding multiverse framed by a fractal-like structure, was developed in the seventh century by the Huayan school, a uniquely East Asian Buddhist sect. Examination of the Chaoyang North Pagoda reveals that it was designed to be an architectural epitome of the trichiliocosm described in the literature of the Huayan school. It conceptually transforms physically finite architectural space into an infinitely expanding cosmic space. Thus, examination of this space allows us to see how an Indian architectural prototype-namely, the stupa, which was envisioned to be the center of the cosmos-later developed in China. More importantly, however, it suggests that Buddhist architectural structures should be viewed as embodiments of vision rather than understood only in terms of their physical shape. Further examination of the inner space of the pagoda reveals that its relic crypt simulated a miniaturized version of the altar for chanting the Buddhist incantation known as the Usn isavijaya Dharan i. This suggests that the pagoda was designed not simply as static reliquary on an architectural scale but was intended to be a dynamic space wherein the benefits of ritual could be extended infinitely and eternally. The discovery of this ritual altar inside a permanently sealed space raises further questions regarding our present notions of ritual and ritual space. Lastly, my comparison of the ritual altar configuration from this Liao pagoda with documents concerning a twelfth-century Japanese ritual brings this study into transnational dialogue. It reveals hitherto unknown connections between continental ritual practices and the purportedly indigenous Japanese esoteric ritual known as the Nyoho Sonsho Ritual, practiced by the Shingon school since 1109. This discovery testifies to the importance of the Liao dynasty, which is drawing increasing academic attention due to recent archaeological excavations, in completing our understanding of the landscape of medieval East Asian politics and religion.}, keywords = {Chinese Art}, author = {Kim, Youn-mi} } @mastersthesis {10864, title = {Expressionism Multiplied: Early Twentieth-Century German Posters between Art, Commerce, and Politics}, year = {2010}, school = {USC}, abstract = {Although German Expressionism is a term that circulates widely, German Expressionism is notoriously challenging to define. This dissertation constitutes an attempt to take up this challenge, proposing a new understanding of Expressionism that results from an investigation of the relationship between Expressionist painting and prints, and the most common form of imagery in early twentieth-century German public space-the color lithographic poster. To reveal implications of this dynamic, I examine representative examples of commercial posters and Expressionist art alongside early twentieth-century German art criticism, art historical writings, and discussions of advertising, all of which explore the specificity and inter-relatedness, or unrelatedness, of these types of pictures. Expressionism and posters emerge as occupying similar discursive positions within broader discussions about the status of the image in modernity, serving as flash points around which uneasiness about and hopes for the image and the status of art in modernity were articulated. My investigation spans the "Expressionist era" (1905-1921), beginning with its "birth" the formation of Kunstlergruppe Brucke in Dresden, and concluding with the year following its "death" in 1920, announced by its former advocate Wilhelm Worringer. I trace transformations in "Expressionism" as it shifted from naming early manifestations of German experimental art, to declaring an aesthetically driven socialist stance, to designating a repeatable style that could be used as readily for political posters as it could be for nightclub interiors, advertising, or feature films. Exceeding notions of "style" or "movement," Expressionism registered contemporary shifts in the field of the visual. It has operated, then and now, as a generative concept, producing ways of configuring and understanding the pictures that circulated in the public sphere. To do this, Expressionism required an extensive critical apparatus supported by sophisticated print media in order to stake its claim to specificity. Expressionism is thus a composite form in which diverse concepts of representation, art, kitsch, commercialism, consumerism, national identity, and social and cultural progressiveness and conservatism converged and collided. It is an interconnected web of picture and criticism, an adaptive yet distinct discursive apparatus that served as a resilient strategy for making sense of the visual world of modernity.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Chapman, Kathleen} } @mastersthesis {10823, title = {Exteriors, Interiors, and Positionality: The Photography of Tina Barney}, year = {2010}, school = {Stony Brook}, abstract = {In the late 1970s, a critically celebrated new "art" photography surfaced, characterized by large-scale, directed photographs, or tableaux, and identified in work by Jeff Wall, Thomas Ruff, and Jean-Marc Bustamante. However, for the past 30 years, American photographer Tina Barney has also created large, color tableaux featuring her upper class family and friends using a snapshot aesthetic. While critics and journalists have evaluated Barney{\textquoteright}s work only in terms of her wealthy background and family portraiture, I believe that her photography is an exemplar of the modern-day hybrid tableau form. By identifying and analyzing the various art historical sources in Barney{\textquoteright}s photographs, this dissertation explores the relationship between painting and photography that is particular to the tableau form. Besides comparative analyses with sources such as seventeenth-century Dutch genre painting, feminist Impressionist painting, and European portrait painting as well as other tableau photographers such as Thomas Struth, Jeff Wall, and Rineke Dijkstra, I broaden our perspective of Barney{\textquoteright}s work by introducing original biographical research including her exposure to a world-famous art collection acquired by her relatives, her rephotography training by landscape photographers, and her experience as a female image-maker in a male-dominated genre. As a result, Barney{\textquoteright}s photographs forge a combination of representational, intentional artwork, based on the composition of well-known paintings in the art historical canon, with an inherent indexicality of location and culture that hinges on the audience{\textquoteright}s reaction, creating an intertextual matrix that plots the social relationships, or positionality, of the subject, Barney, and the viewer.}, keywords = {Contemporary Art, Drawings/Prints/Works on Paper}, author = {Van Scoy, Susan} } @mastersthesis {10769, title = {Fashioning Early Cinema: Dress and Representation in American Film, 1900-1930}, year = {2010}, school = {Bard Graduate Center}, abstract = {This thesis explores and analyzes changes in the presentation, and representation, of fashion in American film from 1905 to 1930. The twenty-five year period saw the film industry evolve from a small-scale form of entertainment to a more refined product aimed at a broad audience, including the middle-classes. The study begins with the U.S. film industry only ten years old and ends with the beginning of what is now known as Hollywood{\textquoteright}s "golden age" and the concomitant rise of a distinctive type of Hollywood "glamour." The period between 1905 and 1930 witnessed profound changes in audience, corporate organization, and approaches to design on film, all of which influenced how fashion was displayed to the viewer. This thesis presents a cultural history of fashion in film through five thematically organized chapters: The Fashion and Film Industries in the Progressive Era; World War I and "American" Fashion Design and Film; The Fashion Show on Film; The Rise of the Specialist Film Costume Designer; and A Case Study: Peggy Hamilton, a costume and fashion designer, fashion show impresario, and fashion editor.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Tolini, Michelle} } @mastersthesis {10891, title = {Fashioning the {\textquoteright}Divine{\textquoteright}: Bollywood Stars, {\textquoteright}Religious{\textquoteright} Fandom and Cultural Politics in Contemporary India}, year = {2010}, school = {UC Santa Barbara}, abstract = {My dissertation explores the production and consumption of cultural icons in contemporary India, and focuses on the phenomenon of star worship and the deification of film stars by organized fan clubs. My objective is to study devotional fandom, through the newly constituted identity of the fan-bhakt or the devotee-fan and its implication on contemporary cultural politics of India. Devotee-fan clubs of popular stars use Hindu religion as a mold to recast their idol as a "divine figure." They house them in "temples" which contain a sanctum for the image of the popular star, often accompanied by an adjoining museum that showcases his/her movies, posters, and audio-visual clips. The rituals performed in these spaces supposedly consist of Hindu rites of puja (worship) augmented by the chanting of popular film songs or dialogues in which fans worship their "deity" as modern avatars of Hindu divinities. Fan clubs of these stars continually reinforce the divinization of the star through their activities, primarily through worship rituals in these shrines and makeshift temporary "sacred spaces" outside cinema halls, where huge cutouts and posters of stars are worshipped in accordance with Hindu rites. The divinized star image becomes a mode of empowerment of fans through their ability to commodify and constantly circulate the star image in popular culture. I argue that the deified star image and the devotee-fan paraphernalia becomes a tangible marker of devotional fandom and also a political tool to convey devotee-fans{\textquoteright} socio-political vision. My work examines the devotee-fan clubs{\textquoteright} reinscription of the secular cinematic space within a Hindu-oriented ethos of fan culture, anchored in the aesthetic paraphernalia of star cult and its social and political implications on contemporary India.}, keywords = {Film/Video, South/Southeast Asian Art}, author = {Kakar, Shalini} } @mastersthesis {10987, title = {Felsine Pittrici: The Women Artists of Early Modern Bologna}, year = {2010}, school = {IFA/NYU}, abstract = {This doctoral dissertation provides the first in-depth assessment of Medici Grand Duchess Vittoria della Rovere (1622-1694). My study, largely grounded in heretofore unexamined archival sources, investigates the art patronage of Vittoria della Rovere and reconsiders the 17th-century Florentine court culture that informed this patronage. The Grand Duchess emerges as a ruler who shrewdly manipulated courtly decorum and protocol in order to fulfill her own personal and political ends. In her patronage of state and "allegorical" portraiture (most intriguingly in the guise of religious personages), devotional paintings (especially by Carlo Dolci), and her remarkably active patronage of talented women (in music, literature, and the visual arts), Vittoria della Rovere materializes as a dynamic and important early modern patron. Period documents also testify to the Grand Duchess{\textquoteright}s pivotal role in the complex patronage networks between European courts in this period. Vittoria della Rovere{\textquoteright}s exchange of works of art and other property-as well as the sharing of musicians and singers with both local and foreign noblewomen-is particularly noteworthy in re-evaluating her historical contribution. By situating Vittoria della Rovere{\textquoteright}s collecting habits within the framework of the early modern court, I demonstrate that the social, political, and artistic culture of 17th-century Florence cannot be fully understood without the contributions of this Medici Grand Duchess.}, keywords = {Twentieth-Century Art}, author = {Straussman-Pflanzer, Eve} } @mastersthesis {10844, title = {Female Book Owners in the Valois Courts, 1350-1550: Devotional Manuscripts as Vehicles for Self-Definition}, year = {2010}, school = {CUNY}, abstract = {An examination of the books owned by noblewomen from the Valois courts reveals how significantly they contributed to the cultural and spiritual character of the period. They were responsible for commissioning a vast number of manuscripts, some of which were aesthetically equal to the books made for the dukes and kings. In fact, certain manuscripts now considered the most lavish and important from this period belonged to women. These women often married into noble families from regions far from their native lands. When they arrived at their new homes, they brought their own customs, knowledge of artistic styles, and aesthetic sensibilities, which affected book production in western Europe. Appendices 1-7 show the complexity of relationships between nobles from Burgundy, France, Spain and England for eleven generations, and include all of the individuals discussed in this dissertation. These charts reveal the matrilineal connections between generations and include many women who do not appear on ancestral charts in other studies of the late medieval nobility in northern Europe. As demonstrated in the charts, marriages could result in the solidification of certain regions within a generation, causing genealogical ramifications in subsequent generations. This ancestral web shows the mobility of women in western Europe in the late Middle Ages, resulting in their desire to preserve some of their childhood traditions through commissions of devotional manuscripts. This interactive nature of manuscripts and the multiple ways in which they were used by women of the Valois courts is central to this study. I adhere to the idea that devotional manuscripts used by these women must be studied within the context for which they were made and in which they were used. At first glance, devotional manuscripts appear to be just that, books of prayers. On further examination, it is clear that they were multifunctional and could express issues that applied to many aspects of a noblewoman{\textquoteright}s life. This dissertation considers book collections of late medieval noblewomen and the ways in which they used their private devotional manuscripts as vehicles for self-definition, in order to preserve the devotional and cultural traditions of their families.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Renaissance/Baroque Art}, author = {Hand, Joni} } @mastersthesis {10937, title = {The Female Nude in Nineteenth-Century Russian Art: A Study in Assimilation and Resistance}, year = {2010}, school = {IFA/NYU}, abstract = {This dissertation traces the production and reception of images of nude female figures in Russia during the nineteenth century. It argues that in the Russian art world, the female nude was the subject most emblematic of Western culture. Focusing on paintings, prints, and sculptures, this project traces the change in attitudes toward images of the nude female form as nationalist sentiments began to undermine westernizing impulses over the course of the nineteenth century. It addresses works by Karl Briullov, Aleksei Venetsianov, Fedor Bruni, Timofei Neff, and Konstantin Makovskii as sites for artists and collectors to display their familiarity and identification with western artistic culture. By focusing on the female nude in art as a marker of westernization, this project examines the large issue of Russia{\textquoteright}s position in the geography of European art. It calls into question long-held assumptions about Russia readily assimilating Western artistic traditions, showing instead patterns of both assimilation and resistance. This project also addresses Russia{\textquoteright}s role as both an artistic center for all of Eastern Europe and a cultural outpost on the distant periphery of Europe as a whole. The dissertation opens by tracing the development of a Russian market for images of the nude female figure by examining elite aristocratic art collectors such as the Stroganov and Yusopov families in the eighteenth century, and new classes of collectors, including Pavel Svinin and Pavel Tretiakov in the nineteenth. The second chapter focuses on artists such as Karl Briullov and Fedor Bruni, whose nudes produced in Rome in the 1820s-40s created an incentive to artists who remained in Russia to create similar works. The third chapter uses the work of Aleksei Venetsianov as a springboard to investigate the issue of female models in Russia. The fourth chapter examines the change in critical reception of the nude brought about by the Realist movement that began in the 1860s. The fifth chapter highlights the efforts of artists such as Konstantin Makovskii, who sought to create a distinctly Russian nude by using national folklore as a pretext for their imagery.}, keywords = {Nineteenth-Century Art}, author = {Samu, Margaret} } @mastersthesis {10992, title = {A Few Steps in a Revolution of Everyday Life: Walking with the Surrealists, the Situationist International, and Fluxus}, year = {2010}, school = {IFA/NYU}, abstract = {My dissertation examines key junctures in twentieth-century artistic practice where walking has proved a central device for art making: amid the Surrealist, Situationist International, and Fluxus projects. The ambulatory tactics of these movements provide a paradigm for non-object-based art today, as exemplified by Richard Wentworth, Janet Cardiff, and Francis Alis, among others. Bipedalism has long been represented in painting, and certainly artists of past centuries have walked to scenic vistas and sketched them, but only in the twentieth century, alongside the rapprochement of art and life and the rise of performance art, has walking itself become art: witness the Surrealist itinerary, the Situationist derive, the Fluxus walking tour. When art looks so much like life, it is critical to examine the specificity of the practice in question-walking-and how it can be used to resist dominant orders.}, keywords = {Twentieth-Century Art}, author = {Waxman, Lori Ann} } @mastersthesis {10971, title = {Figurative Constructivism, Pictorial Statistics, and the Group of Progressive Artists, ca. 1920-1939}, year = {2010}, school = {Maryland}, abstract = {This dissertation examines an episode of interdisciplinary collaboration in Vienna during the late 1920s and early 1930s, led by the Austrian social scientist Otto Neurath (1882-1945) and the German printmaker Gerd Arntz (1900-1988). This collaboration, which took place at Vienna{\textquoteright}s Gesellschafts- und Wirtschaftsmuseum [Social and Economic Museum] ultimately created an international graphic sign language that would have wide-ranging applications across a variety of media and disciplines. Known as the Vienna Method of Pictorial Statistics, this graphic language was intended to communicate social and economic facts to a general audience. In making such information broadly accessible, the Vienna Method{\textquoteright}s designers hoped to empower the public at large to take informed positions on a variety of social and political issues. Prior to and during the period of this collaboration, Arntz was a member of the Rhineland-based Gruppe progressiver Kunstler [Group of Progressive Artists]. In 1929 two additional members of this group-the Dutch artist Peter Alma (1886-1969) and the Czech artist Augustin Tschinkel (1905-1983)-joined Arntz at the museum. All three artists produced prints, drawings, and paintings in an expressive mode, later classified under the rubric "figurative constructivism." While these "free" works (as they often described them) were produced independent of the applied work at the museum, the two types of production share several key stylistic and iconographic features. Yet, the relationship between figurative constructivist artworks and pictorial statistic graphics has until now remained obscure. This dissertation analyzes the nature of this creative relationship by describing the different circumstances out of which the two projects originated, and by examining the manner in which certain figurative constructivist features were adapted in the design of pictorial statistics. In considering the ways in which these two types of work were presented and discussed together in a variety of contemporaneous avant-garde publications, the present investigation will provide new insights concerning the interwar connections between the artistic avant-garde and visual communication in the sciences.}, keywords = {Twentieth-Century Art}, author = {Benus, Benjamin} } @mastersthesis {10785, title = {Filthy Pictures or a New Eros? Erotic Art by Women Artists in New York, 1963-1973}, year = {2010}, school = {USC}, abstract = {While the 1970s are known for the rise of feminism and female sexual imagery, my research shows that women were already creating a wide range of sexually themed art in the 1960s. Even before the formation of the first women artists{\textquoteright} group, Women Artists in Revolution, signaled the beginning of a collaborative feminist art movement in 1969, female artists working in a variety of media- including filmmaker Carolee Schneemann, painter Marjorie Strider, sculptor Hannah Wilke, and collagist Anita Steckel-began redefining the boundaries of contemporary art through their sexually explicit works. My dissertation argues that erotic art made by women artists was central to the radical changes that took place in American art and politics during this period-from the crumbling of modernist aesthetics to the expanding field of art practice to the emergence of the feminist art movement. In the midst of a male-dominated contemporary art world, the public display of sexual content by female artists challenged the paradigm of formalism and laid the groundwork for a discussion of gender and sexuality in representation. These artists{\textquoteright} battles with censorship and discrimination attest to the considerable challenge their work posed not only to the rules of art but also to accepted social standards for women.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Middleman, Rachel} } @mastersthesis {10915, title = {The Five Great Space Repository Bodhisattvas: Lineage, Protection, and Celestial Authority in Ninth-Century Japan}, year = {2010}, school = {Kansas}, abstract = {This dissertation explores the protective role of the Five Great Space Repository Bodhisattva (Godai Kokuzo Bosastu) sculptural pentads in Japan during the mid-ninth-century. While existing art historical scholarship regarding these sculptures emphasizes their stylistic features and production methods, the present study seeks to contextualize the images{\textquoteright} specific iconographical aspects and ritual functions within the broader multivalent religious environment of early Heian period (794-900) Japan. Sets of these images, the only three known today, were installed in the Esoteric Buddhist temples of Jingoji, Anjoji, and J oganji, each in relation to a different imperial or Fujiwara regent family member, and each under the auspices of a different member from the lineage of Kukai (744-836), the Shingon Buddhist patriarch. These images were placed in conjunction with other groups of Esoteric Buddhist sculptures at the temples to create larger arrangements that associated their patrons with cosmological rule. In addition, the iconography of the Godai Kokuzo Bosatsu pentad resonates with many features of Chinese-based belief elements, as evidenced in the sculptures{\textquoteright} color, directional associations, and relations to celestial bodies, features that also connect these imperially-commissioned sculptures to celestial rule and to national protection. This dissertation not only investigates the relatively understudied area of the incorporation of celestial bodies and other features of Chinese-based belief into the iconography of ninth-century Japanese Buddhist sculpture, but also reveals the way in which the imperial family and the Fujiwara regent family utilized the iconographically complex sculptural arrangement of the Five Great Space Repository Bodhisattvas in order to strengthen their political prestige and the authority of their lineages in early Heian period Kyoto. This study first traces the iconographical development of single, independent Kokuzo Bosatsu (Skt. Akasagarbha, Ch. Xukongzang Pusa, Kn. Heogongjang Bosal) images to the more uncommon arrangement of five. It then examines the Chinese-based belief elements present in most depictions of the sculptural pentad, as well as the significance of the configuration at each of the three temples in which it was installed. This dissertation is thus an in-depth study that reveals specific instances of the fluidity between belief systems of early Heian period Japan, and also an exploration of the ways in which different belief systems informed patrons and producers of Japanese religious and visual culture.}, keywords = {Japanese/Korean Art}, author = {Pedersen, Hillary} } @mastersthesis {10750, title = {Friars in the City: Mendicant Architecture and Pious Practice in Medieval Verona, ca. 1220-ca. 1375}, year = {2010}, school = {Duke}, abstract = {This dissertation explores how the combination of pious practice, economic activity, and religious poverty shaped the architecture of the mendicants in medieval Verona. It also examines how the presence of the friars affected the city. By the thirteenth century, the populated centers of northern Italy were fertile grounds for heretical movements, religious skepticism, and anti-clerical attitudes. The mendicant orders developed as a response to the crisis of the medieval church in the city and provided a new concept of the religious vocation, one committed to voluntary poverty and the conversion of heretics. The most important representatives of the new orders were the Franciscans and Dominicans, who centered their religious mission in an urban context where the growth of commerce and a literate and numerate middle class required a new approach to pastoral care, one that directly addressed both doctrinal and social issues. The friars revolutionized traditional religious practice: they used exterior sites as extensions of liturgical space and their innovative approach to church architecture emphasized function and utility. Existing studies on mendicant building have traditionally emphasized the formal characteristics of the monuments, examining churches in isolation, with little concern for context, use, and sequence of construction. This dissertation moves beyond this approach to consider the broader circumstances that frame the appearance of mendicant houses. It examines how the Franciscan church of S. Fermo Maggiore, the Dominican church of S. Anastasia, and their respective communities, responded to the dynamics of urban Verona. The study includes revised construction narratives and new dates for S. Fermo and S. Anastasia that emphasize the process of construction-how the friars approached their building projects-and the role of lay patronage in the configuration of architectural space. As research reveals, the friars began to erect their conventual complexes before instigating construction or reconstruction of the churches themselves, and this sequence had significant implications for how the friars used the spaces in and around their convent for preaching and liturgical celebrations. They planned or reconfigured their architectural space to both appeal to and accommodate the lay public and their pious practices, including sermon attendance, burial, and the veneration of local saints. Modifications to the exterior spaces around the convents likewise indicate their liturgical importance. By investigating the specific interactions between the mendicants and the city of Verona, this dissertation explores how the architecture of the friars expressed aspects of the society in which they operated.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Labunski, Meagan Green} } @mastersthesis {10925, title = {The Fringes of Immortality: A Goodly Company and Artistic Collaborations in Visionary Art, 1880-1930}, year = {2010}, school = {Queen{\textquoteright}s}, abstract = {My dissertation, The Fringes of Immortality: A Goodly Company and Artistic Collaborations in Visionary Art 1880-1930 engages with fluctuating and often intermingling concepts of spirituality that took place in late-nineteenth and early-twentieth-century England. My discussion examines mediumistic visual representation inspired by interest in modern Spiritualism and modern Theosophy and takes the form of two case studies that focus on the work of visionary artists, Georgiana Houghton (1814-1884) and Ethel le Rossignol (1874-1970) both of whom believed that they were the recipients of information disclosed by disembodied entities. My study reconstructs possible meanings embedded in mediumistic images to disrupt longstanding artistic hierarchies that label visionary art as marginal.}, keywords = {Nineteenth-Century Art}, author = {Atkinson, Elaine M.} } @mastersthesis {10991, title = {From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930; Budapest-Vienna-Berlin}, year = {2010}, school = {Penn State}, abstract = {From Activism to Kinetism: Modernist Spaces in Hungarian Art, 1918-1930. Budapest - Vienna - Berlin investigates modernist art created in Central Europe of that period, as it responded to the shock effects of modernity. In this endeavor it takes artists directly or indirectly associated with the MA ("Today," 1916-1925) Hungarian artistic and literary circle and periodical as paradigmatic of this response. From the loose association of artists and literary men, connected more by their ideas than by a distinct style, I single out works by Lajos Kassak - writer, poet, artist, editor, and the main mover and guiding star of MA, - the painter Sandor Bortnyik, the polymath Laszlo Moholy- Nagy, and the designer Marcel Breuer. This exclusive selection is based on a particular agenda. First, it considers how the failure of a revolutionary reorganization of society during the Hungarian Soviet Republic (April 23 - August 1, 1919) at the end of World War I prompted the Hungarian Activists to reassess their lofty political ideals in exile and make compromises if they wanted to remain in the vanguard of modernity. Second, it explores how their mission of "revolutionary activation" became transformed by Moholy-Nagy into an educative preoccupation to train and activate the senses and perception in coping with the multifarious phenomena and increasingly accelerating pace of modernity. By the end of the Weimar era, Moholy-Nagy{\textquoteright}s educating- activist agenda nonetheless would prove problematic, as his modernist works became absorbed into the urban consumerist spectacle in a conflicted and ambiguous manner, as both its leading agent and an alternative means of liberation from it.}, keywords = {Twentieth-Century Art}, author = {Toth, Edit} } @mastersthesis {10858, title = {From Commerce to Art: American Women Photographers, 1850-1900}, year = {2010}, school = {UIC}, abstract = {From Commerce to Art: American Women Photographers 1850-1900 is the first thorough investigation of nineteenth-century American women{\textquoteright}s engagement with photography as commercial photographers and as amateur art photographers. Through expanded case studies, the research brings together examples of previously unknown women to illustrate that women were actively engaged with photography from the onset of the medium in America. By examining the popular and professional press, advertisements, diaries and letters, and the photographs themselves, this research also brings to light an extensive body of new primary materials. The study considers how gender informed women{\textquoteright}s experience as photographers, artists, and entrepreneurs in relationship to their roles as women, and the complex intersection of these categories. It argues that although the traditional ideal for women did not fit the public arena of photography, women went beyond the domestic sphere, expanding gender roles and ultimately changed the field of photography through their dedication as studio owners, camera operators, writers, lecturers, and competitors. Finally, through their engagement with the relatively new artistic and commercially viable medium, women broke barriers, displayed agency, gained confidence, independence, and a sense of freedom. Part One, Commerce explores commercial women photographers, typically married women in partnership with their husbands or widows who took over businesses begun by their husbands. Later in the century, the second-generation of commercial women photographers appeared on the urban scene, many of them single women entrepreneurs. Their experiences mirrored the changing demographics of America with its influx of immigrant groups and growth of metropolitan areas. Part Two, Art looks at the growth of amateur art photography in America and women{\textquoteright}s camera club affiliations as a manifestation of the rise of consumer culture, women{\textquoteright}s club movement, increased leisure time, and photography as an artistic pursuit. For these women, the impetus to take up photography grew out of the changing status of the medium By now, photography was evolving into an appropriate leisure-time activity and a fine-art form. The final section traces the experience of other women who ventured farther afield, traveling to the American West to document its sublime scenery and local culture.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Denny, Margaret} } @mastersthesis {10902, title = {From Fornix to Arcus: The Origins, Development, and Imperial Transformation of the Freestanding Roman Arch (196 BCE to 54 CE)}, year = {2010}, school = {IFA/NYU}, abstract = {The freestanding Roman arch is one of the most familiar, and yet least well-studied, building types of the ancient world. Although the arch is often considered a phenomenon of the Roman imperial period, successful generals erected arches to commemorate their military victories as early as the beginning of the second century BCE. These republican monuments had a visible and lasting impact on Rome{\textquoteright}s topography, resulting in the adoption and transformation of the arch under Augustus and successive Roman emperors. This dissertation examines the Roman arch from a new perspective, emphasizing connections between iconography, social and political context, and viewer reception. The unresolved relationships between the Roman triumph, the porta Triumphalis, and the construction of the earliest Roman arches are critically reexamined. It is argued for the first time that there was a significant connection between (1) Roman republican generals who fought in the provinces of Spain, (2) the ad hoc system of government implemented there following the Second Punic War, and (3) the construction of the arch as a victory monument. This study maintains that the associations of military victory that the arch acquired during the Republic were integral to the incorporation of the arch into the architectural program of Augustan Rome. During the reign of Augustus, the ceremony of the triumph was largely replaced with a new and varied system of triumphal honors, in which the freestanding arch played a pivotal role. This study re-evaluates the significant formal and iconographical development of Augustan arches, as well as the institutional mechanisms that promoted the wide-spread dissemination of the arch during the first century CE in Italy. Early imperial arches constructed in Gallia Narbonensis and Asia Minor demonstrate how arches were utilized abroad to forge ideological links between the capital and Roman territories. Finally, this study analyzes a major innovation in arch decoration, namely attic statuary, and its role. Disparate sources of evidence are utilized, including extant arches still in their original contexts, architectural and sculptural fragments, archaeological material and field reports, relevant literary sources (both from ancient authors and scholiasts), as well as epigraphical and numismatic evidence.}, keywords = {Greek/Roman Art}, author = {Hrychuk, Anne} } @mastersthesis {10875, title = {From Mosque to Cathedral: The Social and Political Significations of Mudejar Architecture in Late Medieval Seville}, year = {2010}, school = {Iowa}, abstract = {During the late Middle Ages, Iberian Christian and Jewish patrons commissioned intriguing monuments that incorporate Islamic-derived features. Determining possible reasons for the patronage of this architecture, commonly referred to as Mudejar architecture, has the potential to provide important insights into the complex, multicultural society that produced it, yet studies on its patronage have been limited in number and scope, often applying overarching theories to all Mudejar patronage. However, the reasons for Mudejar patronage cannot be confined to a single broad theory. Instead individual projects and patrons must be studied within their specific contexts and then compared to one another to provide a more accurate understanding of Mudejarismo. This dissertation traces the development of Mudejar architecture in Seville from the time of the city{\textquoteright}s conquest by Christian forces in 1248 to the early sixteenth century, just after the expulsion of Muslims and Jews from the Kingdom of Castile, in order to demonstrate the changing nature of Mudejar patronage in the city and how it relates to the relations among Christian, Jews, and Muslims. In establishing the chronology and the patronage of Seville{\textquoteright}s Mudejar monuments through a close analysis of their formal elements, three distinct phases in their construction become apparent: (1) the approximately fifty years following the city{\textquoteright}s conquest; (2) a period between the earthquake of 1356 and the initial construction of the Gothic cathedral in the 1430{\textquoteright}s; and (3) the remainder of the fifteenth century through the first years of the sixteenth century. Prevalent features of Mudejar architecture during each of these phases are considered within the socio-political climate of the time as evidenced in primary sources. While economic, social, and demographic factors contributed to the construction of Mudejar architecture in Seville, its patronage was largely the result of the changing political agendas of the city{\textquoteright}s ruling elite that included ambitions that reached beyond the Iberian Peninsula and issues of hegemony within Castile. Thus, no general theory can encompass all of the reasons for Mudejar patronage in late medieval Seville, which were varied and continually in flux.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Crites, Danya A.} } @mastersthesis {10755, title = {The Future of History: The Cultural Politics of Soviet Architecture, 1928-1941}, year = {2010}, school = {Columbia}, abstract = {This dissertation describes the development of Soviet architecture between the First Five-Year Plan (1928-32) and the USSR{\textquoteright}s entry into World War II in 1941. During these years a distinctly Soviet form of architectural culture, characterized by a complex relationship between architects and the Communist Party, emerged in the USSR. Although its influence on architectural culture was significant, the Party{\textquoteright}s architectural agenda was neither stable nor predetermined. In this brief period the Party called upon architects to reconcile historical forms and contemporary practice; to participate in the state-sponsored campaign of violence known as the "Great Terror"; and subsequently to make industrialization a primary theme of architectural work. This study traces Soviet architects{\textquoteright} responses to the uncertainty engendered by the Party{\textquoteright}s centralization of cultural policy. It describes the intersection of aesthetics and politics in the making of a new, historically-informed Soviet architecture and offers a significant reappraisal of one of the most enigmatic chapters in the history of twentieth-century architecture.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Anderson, Richard} } @mastersthesis {10981, title = {Gender, Modernism, and Regional Identity: The Promotion and Reception of Kunstlerinnen in Dusseldorf and the Rhineland, 1890-1920}, year = {2010}, school = {Brown}, abstract = {The promoters, collectors, and artists in Dusseldorf and the transformations within Rhenish cultural, economic, and political identity made the turn-of-the-twentieth century a critical period for the advancement of female artists within the region. This dissertation examines how many of the early artistic opportunities for women, however, were still grounded in entrenched gendered notions of culture. The role of women as cultural protectors of Heimat and the hearth would pervade the debates over their artistic education (Chapter 2). Similarly, many of the dichotomies inherent in the image of the Loreley, of guardian and seductress, were still present in the debates over the influence of women on culture--and over their male colleagues--once they had entered the educational institutions of the Dusseldorf Decorative Arts School and later the Academy (Chapter 3). Women would continue to play a central role in the definition of regional and cultural identity, particularly in the Rhineland as a geographic and cultural space between the poles of Berlin and Paris. The promotion of female artists was both a product and a mirror of many tropes of the Rhineland{\textquoteright}s identity. Both the Rhineland and its female artists had to negotiate others{\textquoteright} notions of their supposed artistic limitations and acceptable roles in cultural production. At the same time, both found opportunities in their growing economic importance, as well as their role as ambassadors of international and modern art, while remaining representatives of a "true" sense of German tradition and spirituality (Chapters 4 and 5). This was not just the result of broad cultural and regional shifts, but often the active and intentional product of promoters such as Alfred Flechtheim and Karl Ernst Osthaus, exhibitions such as the Sonderbund and the Frauen gallery exhibitions, and, most importantly, the female artists themselves. The liminal status of Rhenish female artists allowed them to find the points of convergence between the supposed dichotomies of regional versus international, decorative arts versus "high" art, and the traditional versus the modern, and in so doing create opportunities for themselves as well as shape Rhenish cultural identity.}, keywords = {Twentieth-Century Art}, author = {Mitzen, Anne} } @mastersthesis {10822, title = {Gestures of Iconoclasm: East Berlin{\textquoteright}s Political Monuments from the Late German Democratic Republic to Post-unified Berlin}, year = {2010}, school = {Chicago}, abstract = {After the fall of the Berlin Wall in 1989, the offensively triumphant political monuments of the former East German regime became objects of persistent critique. The four monuments causing the most heated debates in Berlin were the monuments to Lenin (1970), the workers{\textquoteright} militia (1983), Marx and Engels (1986), and Thalmann (1986). They managed to raise difficult questions about the proper criteria for judging their value: were they historical documents or artistic objects, thus worthy of preservation as such, or were they symbols of an undemocratic rule, justifying their removal or destruction for the sake of a united Berlin? This dissertation reassesses their value by reversing the criteria and showing how the four monuments became sources of value from which responses were produced. Through an examination of the changing attitudes and violent gestures against the monuments before and after German unification, it brings to view the ironically productive energies released through the critiques practiced in Berlin in the early 1990s. Drawing from published and archival sources, the monuments and photographs, as well as interviews conducted during 2007 and 2008, this dissertation demonstrates how the treatment of the monuments serves as a case study of iconoclasm. The study approaches iconoclasm not as an historical epoch, but as a mode of communication, arguing for the presence of a limited but necessary set of components, such as the simultaneous destruction and production of images and the crucial appearance of an imagined idolater. Defacement, castration, deconstruction, hostile jokes and the condemnation of idolatry serve as critical devices that produce both literal and figurative forms of violence. The strategic or spontaneous gestures are expressive acts driven by the desire to triumph over the other and leave behind an image as a document of the real or symbolic destruction performed. While the actors and the historical and cultural moment determine the kind of iconoclastic gesture employed, the dissertation also argues for a systematic theory of iconoclasm that lends itself to cases of iconoclasm beyond Berlin in the 1990s.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Nielsen, Kristine} } @mastersthesis {10965, title = {Giambologna{\textquoteright}s Bronze Pictures: The Narrative Reliefs for Ferdinando I de{\textquoteright}Medici and the Post-Tridentine Paragone}, year = {2010}, school = {Georgia}, abstract = {This dissertation examines two bronze narrative relief cycles executed by Giambologna for the third Grand Duke of Tuscany, Ferdinando I de{\textquoteright}Medici. The reliefs destined for the Cosimo I Equestrian Monument and the Jerusalem Ornamento formed part of larger monuments, one secular and one sacred, both designed to convey specific messages about Ferdinando and the state of Tuscany under his rule. The two cycles are analyzed in terms of Giambologna as a relief sculptor, cinquecento art theory, in particular the paragone, and the influence of Counter-Reformation mandates on the depiction of religious imagery. As Giambologna{\textquoteright}s reliefs are closely connected to pre-existing two-dimensional precedents, the sculptor{\textquoteright}s knowledge and understanding of the paragone is evident. Ultimately, however, it is argued that Giambologna{\textquoteright}s reliefs re-defined the paragone debate, shifting the focus from the relative merits of painting and sculpture to the symbiotic relationship between the two media. Giambologna{\textquoteright}s reconciliation of the three-dimensionality of sculpture and the two-dimensionality of painting through relief is realized in these two outstanding cycles that are truly pictures in bronze.}, keywords = {Renaissance/Baroque Art}, author = {Pritchard, Shannon} } @mastersthesis {10837, title = {Global Cartographies: Investigating Art in the Age of Biennales and Large-Scale Exhibitions (1990-2006)}, year = {2010}, school = {Cornell}, abstract = {This dissertation Postcolonial Palimpsests: Historicizing Biennales and Large-Scale Exhibitions in a Global Age presents the history of the art world as one that is multilayered, overlapped in order to contradict the grand narrative of Western modernity. It challenges the proposition of a singular notion of modernity contemplating Andreas Huyssen{\textquoteright}s words for an "expanded notion of the geographies of modernism" as a way to "understand [the process of] globalization [taking place] in our time."1 The dissertation undertakes the same by examining how the non-Western "other" has come to be viewed through the examination to two significant exhibitions: Magiciens de la Terre, 1989, and Documenta 11, 2002 in Kassel Germany curated by Jean Martin, and Okwui Enwezor, respectively in order to examine the emergence of the postcolonial discourse in the context of contemporary art practices. Magiciens, as the first global exhibition that included the work of 100 artists from different parts of the world, which was critiqued for the totalizing worldview that lacked a critical distinction between the art/craft, primitive/modern and traditional/contemporary arts. On the other hand, Documenta 11 emphasized the absence of the non-Western canon within the mainstream discourse of the arts through its unique curation of the "postcolonial 1 Andreas Huyssen, "The Geographies of Modernity," New German Critique 2007 34(1 100): 189-207; DOI:10.1215/0094033X-2006-023. constellation," that comprised an exhibition and four education platforms. This dissertation undertakes the 13 year journey using these two exhibitions as pivotal markers to also examine the biennales and large-scale exhibitions that have taken place during this period to understand the globalization of art that has taken place. In defining the Postcolonial as a Palimpsest this dissertation borrows curator Similly Shepard Steiner{\textquoteright}s definition that views modernity as an "uneven palimpsests that textures the world full of very unequal modernities" that overlap or in their leaving gaps make visible the inequalities and silences by virtue of the hegemonic power of cultural dominants.2 Therefore the world viewed as a palimpsest makes noticeable the several layers of complexities and the "multiple modernities" evident in postcolonial history.3 The focus of the dissertation is to present a proposition for a "new modernity," one which extends outside the singular modern domain of the West, allowing for a new understanding to view the world and humanity through the realm of contemporary art. 2 Similly Shepard Steiner, "Biennial Cultures/Perennial Worries," Art, City and Politics in an Expanding World: Writings from the 9th International Istanbul Biennial, Deniz Unsal, Istanbul: Foundation for Culture and Arts, 2005, 152-168. 3 By cultural theorist Stuart suggestion, the notion of " multiple modernity" has always existed in the world. For him the artist no longer needs to view modernism as a secure possession of the West, but rather as an open language that can be transformed to write history as a series of "cultural translations" rather than a single "universal moment" in a given space and time. See Stuart Hall, Sarat Maharaj, Sarah Campbell, and Gilane Tawadros, Modernity and Difference, Annotations, Vol. 6. London: Institute of International Visual Arts, 2001, 18. For detailed discussion please view chapter 3 "Unsettling Constellations? Or the Biennialization of Contemporary Art."}, keywords = {Contemporary Art}, author = {Lokhandwala, Arshiya} } @mastersthesis {10776, title = {God-Gifted Girls{\textquoteright}: Women Illustrators, Gender, Class, and Commerce in American Visual Culture, 1885-1925}, year = {2010}, school = {Indiana}, abstract = {This dissertation examines the careers and cultural significance of Philadelphia women illustrators between 1885-1925, including Bertha Corson Day, Elizabeth Shippen Green, Charlotte Harding, Violet Oakley, Jessie Willcox Smith, Alice Barber Stephens, and others. "God-gifted girls," a moniker coined by writer William Dean Howells, hints at their unusual status in the highly competitive and contested art world of that time. I analyze the artists{\textquoteright} work and professional practices within the complex matrix of mass-market magazines, visual culture, class, and consumerism, and probe the gendered implications of their identities as "women illustrators." Despite achieving professional recognition and national fame, the artists have been written largely out of American art history due to the "feminine" and popular nature of their production. My study aims to rectify this omission in order to illuminate the pivotal roles of women illustrators in the realms of fine and commercial art alike. In chapter 1, I attend to the particular circumstances in Philadelphia that fostered the emergence of women illustrators: the growing demand for magazine illustration, the increased availability of art education, and training in illustration with Howard Pyle at the Drexel Institute. I map out the ways in which the women established themselves as serious artists through their home and studio environments, and professional associations such as the Plastic Club. In chapters 2 and 3, I examine the women{\textquoteright}s careers as commercial and fine artists, their challenges in straddling these two increasingly divergent realms of art, and the gendered reception of the illustrators and their work. In the final two chapters, I scrutinize their scenes of childhood and new womanhood, respectively, to understand the images{\textquoteright} roles in constructions of gender, race, and class. Although dismissed as sentimental kitsch, the artists{\textquoteright} pictures of childhood played an important role in the shaping of middle-class taste and consumerism. Further, their incarnations of the New Woman present a more complex, compelling, and composite portrait of this phenomenon than the binary of the American girl and the mannish woman. This study of popular, "female art" broadens and sharpens our understanding of the cultural landscape in the early twentieth-century United States.}, keywords = {Art of the United States, Renaissance/Baroque Art}, author = {Scanlan, Patricia Smith} } @mastersthesis {10914, title = {The Grafting of a Canon: The Politics of Korea{\textquoteright}s National Treasures and the Formation of an Art History}, year = {2010}, school = {USC}, abstract = {This dissertation examines how Korea{\textquoteright}s National Treasures system, originally established by the Japanese authorities during Korea{\textquoteright}s colonial period (1910-1945), helped to define the traditional Korean art canon of today, and why this canon continues to be hailed as representative of the Korean nation. The manipulation of visual art is a powerful political device, and the Korean National Treasure system is no exception. Seeking to validate their territorial claims, the colonial Japanese excavated and claimed ancient objects from Korean soil, kept those that served their desired interpretation of Korean history, and preserved their selection by legislating a Treasures system whose objects they then displayed in museums, which they built for this purpose, and at international exhibitions. After liberation, the Korean officials not only chose to retain the cultural properties system, but upgraded the "Treasures" to "National Treasures" for their own political needs, using the objects to represent to the populace and the world a visual form of national identity while concealing their colonial origins. The choices made by Koreans at all levels - government officials, art dealers, collectors, smugglers, museum curators, and scholars - in response to the problem of what to do with the colonial-selected treasures determined how Korea{\textquoteright}s art historical canon subsequently formed. Although these objects came to be valued, first by the Japanese and then by the Koreans, as embodying the highest aesthetic ideals found in the country, I argue that the process of canonization of Korean art has been inherently political in its origins and has involved a grafting of both Japanese influences and Korean national choices. The succession from Japanese excavations to a canonization of Korean art history is multi-pronged and will be addressed by delving into some of the key forces at play: the state, collecting and art markets, the museum, and early publications. Thereby, I am able to articulate the factors and assumptions that animated the development of today{\textquoteright}s Korean art canon, a topic which, until this point, has not been critically addressed.}, keywords = {Japanese/Korean Art}, author = {Moon, Virginia} } @mastersthesis {10763, title = {On the Great Falls of Patapsco River: A Case Study of Industry and Urbanism in Late-Colonial and Early-Republican Maryland}, year = {2010}, school = {Virginia}, abstract = {Most architectural historians who have addressed the inception and development of the Industrial Revolution in America trace its beginnings to a cotton-thread mill put into operation in Pawtucket, Rhode Island, by Samuel Slater in 1793. Two presuppositions underlie this narrative: that the late-eighteenth and early-nineteenth-century New England textile industry set the standard for factory buildings and towns in America, and that the New England experience, in the same manner, epitomized the processes of industrialization elsewhere in the country. This dissertation presumes to modify that classic narrative by presenting a case study of the experience of industrialization and town development in the eighteenth- and early-nineteenth-century mid-Atlantic. The architectural and documentary history of Maryland{\textquoteright}s Patapsco River valley communicates that the earliest industrial activity in the colonial Chesapeake, ironworking, introduced no significant modifications to the dispersed, rural culture established by tobacco planting. Instead, wheat cultivation and the large-scale production and international marketing of flour wrought a regional agricultural and architectural transformation, and fostered the change in mentality that produced America{\textquoteright}s first factories and factory towns. The Quaker Ellicott brothers, who established such a flour-milling industrial village on the Patapsco outside of Baltimore, beginning in 1771, brought this regional transformation to maturity, and developed the linkages between producers, support services, and shippers that provided a tremendous impetus for urban development. Furthermore, the urbanizing incentives inherent in their own project led to further industrial development at Ellicotts{\textquoteright} Mills, and ultimately produced a series of linked factory villages that together constituted a viable and expansive industrial town. The Maryland narrative indicates that American industrialization began earlier and with a greater variety of forms and processes than the classic story of New England textiles has heretofore acknowledged, and that scholarly attention to the larger context of development-instead of centering on the factory form in isolation, or on the New England region-offers a more complete understanding of the architecture of American industrialization.}, keywords = {Architectural History/Historic Preservation}, author = {Sharp, Henry Kerr} } @mastersthesis {10782, title = {Grounding the Social Aesthetics of Abstract Expressionism: A New Intellectual History of the Club}, year = {2010}, school = {Stony Brook}, abstract = {This dissertation remaps the intellectual terrain of Abstract Expressionism, uncovering the deeply communal nature of the artists{\textquoteright} aesthetic projects and shifting the narrative away from the usual biographical and psychoanalytic models. Drawing on extensive archival research, I argue that the early years of The Club, from 1949 to 1955, are central to understanding Abstract Expressionism. Not only does the evidence of the artists{\textquoteright} weekly discussions suggest intellectual sources that have never before been associated with Abstract Expressionism (vitalism, Martin Heidegger{\textquoteright}s existentialism, Paul Goodman{\textquoteright}s Gestalt therapy, and Zen), but it also indicates that this social community embodied anarchist mutual aid that avoided the ideological Cold War rhetoric that pitted individualism against totalitarian collectivism. Vitalism{\textquoteright}s connectedness, Heidegger{\textquoteright}s Being-with, Gestalt therapy{\textquoteright}s organism-environment field, and Zen{\textquoteright}s awareness and interrelatedness addressed the fundamental issue of the individual{\textquoteright}s relationship with the collective, striking a new key that was neither Communist nor Capitalist. Using these discursive frames, I reread Harold Rosenberg{\textquoteright}s articulation of Action Painting and offer a new interpretation of the artists{\textquoteright} "signature styles" as a community of difference rather than as emblematic of sovereign individuality. By looking at the artists{\textquoteright} material processes and their compositional strategies, I recover on the surfaces of their canvases the communitarian impulses that also directed their intellectual discussions and their everyday lives. While Abstract Expressionism has come to signify heroic individuality and Cold War patriarchy, I want to suggest that it signifies the very obverse-radical community that recognized separate-togetherness. This rereading puts Abstract Expressionism squarely within the reformulation of Leftist politics that began after World War II and came to fruition in the New Left and the "new sensibility" of the1960s.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Hellstein, Valerie} } @mastersthesis {10833, title = {Her Charming Hand: Essentialism, Artistic Touch, and Feminist Art from the 1960s and 70s}, year = {2010}, school = {Florida}, abstract = {This dissertation offers a critical analysis of how feminist art historians, critics and curators in the 1990s established new ground for reengaging with 1960s and 70s feminist art by challenging the "theory versus essentialism" polemic, a series of debates in the 1980s that excluded earlier feminist work from historical discussion and record by denigrating it as "essentialist." It goes on to recontextualize the problem of essentialism within a broader history of artistic touch that has, since at least the Renaissance, relied on gender to figure artistic skill, identity and value, re-examining the work of several early feminist artists whose work explored, exposed and often critiqued assumptions about relations between touch (artistic, physical and affective), the body, gender, and acts of making as well as viewing. By focusing on touch at a time when dominant aesthetic practices and critical interests were retreating from the hand as a signifier of artistic identity, early feminist work, this study contends, anticipated the deconstructive practices of the 1980s and, more importantly, remains highly relevant to contemporary social and aesthetic projects dedicated to furthering the development of an ethics of difference.}, keywords = {Contemporary Art}, author = {Gamble, Lesley} } @mastersthesis {10947, title = {Identity Politics: Huastec Sculpture and the Postclassic International Style and Symbol Set}, year = {2010}, school = {UCLA}, abstract = {The Huastec are one of the most elusive civilizations of pre-Columbian Mesoamerica because few archaeological excavations and systematic studies of their material culture have been conducted. Although this group is the northern-most branch of the ancient Maya, it is rarely acknowledged in Maya histories, nor is its cultural heritage well preserved or understood. For instance, one of the unresolved mysteries haunting Huastec studies is whether Maya speakers settled in the northern Gulf Coast region as early as 1500 BC or as late as AD 1000. This lack of knowledge about the Huastecs presents a major gap in Maya, as well as Mesoamerican cultural history, and has led to the perception that this culture was peripheral and marginal. The remains of the Huastec civilization include evidence of urban sites with monumental architecture and masterful sculptures that are remarkable for their complex iconography, which can provide insight to how Huastec civilization fit into the cultural network of Postclassic (AD 950-1521) Mesoamerica. I embed Huastec figural sculptures in the larger artistic matrix of Mesoamerica and argue that they represent a regional variation of the Postclassic international style and symbol set that legitimized local rulership. Instead of being a marginal culture that passively adopted foreign styles, the Huastec actively participated in the Postclassic network and negotiated their identity within it through art. With this focused, comparative study, I demonstrate that Huastec sculptures were a product of their historical context and that they visually referenced other artworks in Mesoamerica. This dissertation is a significant contribution to art history and Mesoamerican studies because it investigates a much neglected sculpture tradition of ancient Mexico. It helps to shape a more dynamic vision of how Mesoamerican art traditions interacted by elucidating how multiethnic societies that did not employ an alphabetic writing system transmitted religious beliefs and political ideology by means of visual art. Specifically, I investigate how Huastec sculptures were embedded in the Postclassic Mesoamerican information network, in which the visual arts served as a form of elite communication, religious integration, and political legitimation. This analysis allows for a fruitful exploration of stylistic variation and cultural interchange that defines the northern boundary of the network.}, keywords = {Pre-Columbian Art}, author = {Richter, Kim} } @mastersthesis {10906, title = {Images of Ritual Mockery on Greek Vases}, year = {2010}, school = {Columbia}, abstract = {The artifacts under consideration in this dissertation are a series of painted vases from Boeotia, Attica, and Corinth, produced in the 5th to early 3rd centuries BCE. They are Kabirion Ware kantharoi, Anthesteria choes, and Sam Wide Group cups. These vases have in common two characteristics: first, they bear images that parody, mock, or ridicule gods and heroes; and second, they were found in sanctuaries or are otherwise associable with religious ritual or ceremony. The dissertation examines the physical and ritual contexts the vases were produced for and found in, compares their imagery with other visual humor in Greek art, and surveys religious rituals involving laughing mockery in Greek and other cultures.}, keywords = {Greek/Roman Art}, author = {Thompson, Erin} } @mastersthesis {10797, title = {Images of Tension: City and Country in the Work of Charles Sheeler, Edward Hopper and Thomas Hart Benton}, year = {2010}, school = {Delaware}, abstract = {In the years between World Wars I and II demographic changes in the United States disturbed the traditional political, economic, and cultural balance between metropolis and countryside, leading such definitions to become increasingly unstable. In this dissertation I investigate how the discourses and debates surrounding city and country during the interwar years affected the visual arts. I will explore how cultural issues that arose from this economic, political and demographic shift impacted the situation of American art through case studies based on three American artists: Charles Sheeler, Thomas Hart Benton, and Edward Hopper. In chapter one, I focus on a little known and understudied painting of 1924 by Charles Sheeler entitled Vermont Landscape. This painting presents an interesting new context for Sheeler{\textquoteright}s development of a rural Precisionism, and his own position as a "nostalgic modernist." Through my research into the making of Vermont Landscape, I have found that Sheeler{\textquoteright}s interest in rural subjects extended beyond the modernist formal appropriation of early American artifacts, and was instead engaged in a larger national discourse over the character of rural America. The subject of chapter two is Thomas Hart Benton{\textquoteright}s second major mural project, The Arts of Life in America, which he made in 1932 for the library reading room of the newly opened Whitney Museum of American Art. In particular, I focus on a section of the mural entitled "Political Business and Intellectual Ballyhoo," which, as I will argue, represents Benton{\textquoteright}s declaration of his frustrations with, and ultimate withdrawal from, the forces of the urban-controlled American art world. Through a careful analysis of the imagery contained in this mural, I argue that the "Ballyhoo" panel contains not just a general indictment of urban intellectual elitism (as has been suggested by previous studies), but rather a specific attack on powerful art world personalities in New York. Ultimately, the critique presented in the "Ballyhoo" panel foreshadows the development of Benton{\textquoteright}s Regionalist view, his rejection of the urban art world, and his search for an artistic vocabulary and a popular audience to help him circumvent the city environment he had left behind. In the final chapter, I focus on a small group of works by Edward Hopper from the beginning of his rise from obscurity through the years of his national recognition in the late 1920s and early 1930s. Through the examination of these works, which include Manhattan Bridge Loop, 1928, House by a Railroad, 1925, and the series of Maine watercolors leading up to the painting Lighthouse Hill, 1927, I explore how the act of constant travel between city and country, the two sites of the artist{\textquoteright}s activity, was embedded within Hopper{\textquoteright}s work. Against a backdrop of a modern society that now regarded the boundaries between urban and rural spaces as fluid due to recent advances in transportation and increased mobility, Hopper employed modern symbols of travel - such as roads, bridges, railroad tracks and train stations, gas stations, and hotel rooms - in long, horizontal canvases that evoked a sense of endless movement. In these paintings, depictions of the "pass-through" spaces of an infinite journey contributed to a critical rhetoric that described Hopper{\textquoteright}s work as evocative of the modern American experience.}, keywords = {Art of the United States}, author = {Powers, Sarah} } @mastersthesis {10749, title = {Imaginative Beholding: Physiological Psychology and the Discourse on Representation in Fin-de-Siecle Germany}, year = {2010}, school = {Harvard}, abstract = {From classical antiquity to the late nineteenth century a representation in art was judged successful based on it{\textquoteright}s broadly mimetic fidelity to Nature. The changing sense of reality at the turn of the century brought to the fore a new paradigm of representation seemingly as a clean rupture with the past in that a celebration of abstraction, illusion and distortion of the natural became the norm. The subject of this dissertation is to demonstrate that the modernist understanding of representation was not solely a rupture with the past but emerged from a productive exchange of concepts between the arts and sciences in the late nineteenth century from the discipline of psychology. I will contend that without the new models of mind emerging in German physiological psychology in the thirty year period 1860s-1890s the concept of representation in aesthetics would not have escaped the boundaries of classical mimesis and fostered the necessary conditions for the production and reception of modernity in aesthetics and by extension, art. The exchange between aesthetics and science of new knowledge produced by instruments and empirical methodologies of calibrating psychological responses to visual and sensual stimuli leads to an ontological shift in the concept of representation. This physiological aesthetics not only provided the terms for new formalist languages of art and criticism it also instigated a reconsideration of the limitation of the classical definition of representation in art. The emergence of early modernism depends on the new psychologism not only to explain the effects of a work of art and the new role of the observer, but also suggests that a new mechanics of thought is necessary to rationalize the reality of modernism through representation.}, keywords = {Architectural History/Historic Preservation, Decorative Arts/Textiles/Design History}, author = {Newman, Winfred Elysse} } @mastersthesis {10984, title = {Imagined City: Architecture, Photography, and Interdisciplinary Practice from the 1960s Japan}, year = {2010}, school = {Cornell}, abstract = {This dissertation traces the emergence of the artistic imagination that envisioned an archetype of the city, as visualized in four specific projects created by architects and artists in collaboration between 1953 and 1970 in Japan. Specifically, the selected projects, ranging from a photography book to a manifesto publication, an art and architecture installation, and a temporary expo pavilion, involved photography in varying forms and degrees. This dissertation takes the position that each collaborative project was created to investigate -modernity[DOUBLE VERTICAL LINE] specific to postwar Japan, through the efforts of more than a dozen architects and artists, many of whom were born in the 1930s, often referred to as the yakeato-ha generation. The four projects are analyzed in separate chapters, in the following order: (1) the photographic publication Katsura Nihon ni okeru dento to sozo (Katsura: Tradition and Creation in Japanese Architecture) (1960) by photographer Ishimoto Yasuhiro and architect Tange Kenzo; (2) the manifesto of the architectural and design collective Metabolism, titled Metabolism/1960 Toshi e no teian (Metabolism/1960: Proposal for a New Urbanism) (1960); (3) the multimedia installation Erekutorikku rabirinsu (Electric Labyrinth) created for the occasion of the 1968 Milan Design Triennial by architect Isozaki Arata in collaboration with photographer Tomatsu Shomei, graphic designer Sugiura Kohei, composer Ichiyanagi Toshi, and sound engineer Okumura Yukio; (4) the Symbol Zone of the 1970 Japan Expo that consisted of the Omatsuri hiroba (Festival Plaza), the Taiyo no to (Tower of the Sun) and the space frame, produced by Isozaki Arata, Okamoto Taro, and Kamiya Koji and Tange Kenzo, respectively and jointly. Through the above case studies, the dissertation will examine to various degrees the following three areas against the backdrop of Japan{\textquoteright}s politics between 1953 and 1970: (1) the visions, images and projects created in collaboration; (2) the forms of collectivism and collaboration that facilitated the creation; and (3) the roles of printed and circulated visual materials, in particular photography and prints, often culled from publicly available sources such as newspapers, journals and books.}, keywords = {Twentieth-Century Art}, author = {Nakamori, Yasufumi} } @mastersthesis {10783, title = {Imprints of Their Being{\textquoteright}: The Photographs of Hansel Mieth and Otto Hagel}, year = {2010}, school = {Boston}, abstract = {This dissertation examines the prolific, yet understudied contributions of German-born photographers Hansel Mieth and Otto Hagel. As farm-working immigrants, socially conscious artists, and established photojournalists, the work of this wife and husband pair profoundly broadens our understanding of American photography. I argue that Mieth and Hagel represent a new model for understanding social documentary photography through engaging three themes-the photographers{\textquoteright} status as insiders and outsiders, the role of collaborative and independent work, and their active interchange with modern photographic practices. Arriving in the United States around 1930 as working-class immigrants, the pair embarked on a nearly four-decade career, collaborating on subjects ranging from representations of migrant agricultural camps and labor strikes to recording the experiences of "outsider" communities. Mieth is known primarily as the second woman hired by Life (after Margaret Bourke-White), yet no sustained attention has been paid to her non journalistic work, or to Hagel{\textquoteright}s work. This dissertation critically situates both Mieth and Hagel{\textquoteright}s work within the larger discourses of national belonging, modernist culture, and American photography. Following an introduction, chapter one considers the pair{\textquoteright}s early years in California when Mieth and Hagel worked simultaneously as laborers and photographers. Their paradoxical status as immigrants and as working insiders forced to inhabit the 1930s debilitating social crises informed their unique posture. The pair{\textquoteright}s urban work in San Francisco including Hagel{\textquoteright}s substantial contributions to a landmark labor publication and Mieth{\textquoteright}s record of Chinatown, as examined in the second chapter, highlights their complicated participant/observer perspective with regard to labor issues Chapters three and four analyze Mieth and Hagel{\textquoteright}s contributions to Life magazine, respectively, including Mieth{\textquoteright}s social science and rural lifestyle stories and Hagel{\textquoteright}s portraiture and geographically focused articles. These projects demonstrate how the pair negotiated their leftist leanings against the capitalist print media enterprise. The final chapter examines the pair{\textquoteright}s collaborative Life contributions, including a series documenting Japanese Americans interned during World War II that would never be published in full. Framed within the discourse of internment imagery, this chapter demonstrates how Mieth and Hagel{\textquoteright}s familiarity with displacement and intolerance validates their apparent responsiveness and imparts a new paradigm for examining issues of visual culture and citizenship.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Linssen, Dalia Habib} } @mastersthesis {10766, title = {In the Flesh: The Representation of Burlesque Theatre in American Art and Visual Culture}, year = {2010}, school = {USC}, abstract = {"In the Flesh: The Representation of Burlesque Theatre in American Art and Visual Culture" is a study of representations of American burlesque theatre from 1868 to the mid-twentieth century. Recent interest in burlesque, both scholarly and in the form of the nostalgic neo-burlesque movement, has centered on its transgressive, camp potential. While this potential is apparent in images of burlesque, it is diffused. The display of the female body became the featured draw of American burlesque theatre in 1868, and by the later decades of the nineteenth century, burlesque was considered a low theatrical form for a mostly male audience. Representations of burlesque engage issues of high and low, art and obscenity, as well as spectator and spectacle. Late nineteenth century images of burlesque and its female performers are characterized by exaggerated female display, exotic allusions, humor, and a carefully mediated tension between female performer and her male audience. These elements persisted in burlesque representations even as the theatrical genre evolved and declined. Diverse images including theatrical advertisements, popular media illustrations and photographs, and paintings by canonical artists reflected and helped constitute burlesque performance as sexually suggestive beyond the boundaries of conventional behavior and taste. In visual depictions, the parody and caricature that are part of the literary and theatrical tradition of burlesque are evident in inversions of gender expectations and pointed references to class distinctions. By the beginning of the twentieth century, American artists interested in urban spectacle were looking to popular entertainments as subjects for their work. The interest in burlesque as a subject from artists such as Reginald Marsh, Thomas Hart Benton, Edward Hopper, Mabel Dwight, and Stuyvesant Van Veen coincided with the increasingly salacious display of the female body on stage. As a setting, burlesque afforded an opportunity to reveal the artificiality of glamour, to observe and depict the viewing of a female performance of nudity, and to draw attention to the relationship between spectator and spectacle. The endurance of the burlesque aesthetic that emerged in the later half of the nineteenth century demonstrates its currency as a means of exploring the display of the female body at the borders of high and low culture and art and obscenity.}, keywords = {Art of the United States, Critical Theory/Gender Studies/Visual Studies}, author = {Miller, Jennifer Munro} } @mastersthesis {10877, title = {Interior Motives: The Vierge ouvrante/Triptych Virgin in Medieval and Early Modern Iberia}, year = {2010}, school = {Brown}, abstract = {No record in ProQuest or Brown ETDs}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Katz, Melissa} } @mastersthesis {10779, title = {Intimate Images: The Public and the Private in Twentieth-Century American Photography}, year = {2010}, school = {Boston}, abstract = {This dissertation explores the nexus of the familial and the photographic in the work of three twentieth-century American women photographers: Imogen Cunningham, Nell Don, and Sally Mann. Revealing how they-and their reviewers-mobilized the familial frame within layers of publication, circulation, and narration, this project demonstrates that the familial functioned as a node of power through which controversy could be controlled, moderated, or generated. Mapping the production and reception of familial photographic nudes of men, women, children, and families at various moments throughout the twentieth century, my study argues that although perceptions of nudity and family fluctuated during the century, an essential belief in photographic veracity endured. Chapter 1 reframes Cunningham{\textquoteright}s 1915 nudes of her newlywed husband. Unraveling the historical circumstances surrounding these transgressive familial photographs and their later reinscription into her oeuvre, my research uncovers how these images and events defined the photographer for posterity yet also obscured a career-long engagement with the male body. Chapter 2 examines the nostalgic, fabricated familial imagery by popular mid-century photographer Dorr in two book projects that attest to her faith in photography{\textquoteright}s ability to impart stories rather than document domestic realities. Reconsidering these women{\textquoteright}s careers in relation to the twentieth-century photographic canon and its gendered omissions further scrutinizes that incomplete historical narrative. Chapters 3 and 4 position the familial frame within late-twentieth-century legislative and artistic contexts, in which societal shifts triggered the criminalization of certain photographic practices. Considering the liminal space between art and amateur production, Chapter 3 investigates the legal ramifications of nude photographs of children created ostensibly within the family. Chapter 4 juxtaposes these contrasting claims with Mann{\textquoteright}s photographs of her children, in comparison to those of male photographer Jock Sturges, delineating the collision of ideologies of art and family. Whereas claims to "art" deployed the familial to assure social acceptance of these images, my analysis indicates the post-war collapse of such "family" strategies as rationales for aesthetic practice. Looking specifically through the photographic lens, this study illustrates how the evidentiary and the erotic became entangled in familial and photographic discourses by the end of the century.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Cutshaw, Stacey} } @mastersthesis {10910, title = {Japan Encounters the Avant-Garde: The Art and Thought of Koga Harue (1895-1933)}, year = {2010}, school = {UCLA}, abstract = {This dissertation examines the art and thought of a Japanese avant-garde painter, Koga Harue (1985-1933), within the context of the reception of Western avant-garde art movements in 1920s and 1930s Japan, especially Cubism, German Expressionism and Surrealism. Rather than viewing the Japanese avant-garde as an "incomplete" practice or primarily an imitation of European avant-garde movements, as previous scholarship has often argued, my approach is to recover the initial historical moments when these three avant-garde movements were first introduced into Japan by examining the contending interpretations of and responses to these movements offered by Japanese artists and critics at the time and to situate their arguments within the context of the broader development of western-style paintings in modern Japan. My research demonstrates that these kinds of visual encounters did not consist of one-time acts of passive reception but comprised a continual and active process of translation, transformation, and adaptation to suit local social, political, and cultural contexts. Indeed, Koga{\textquoteright}s art theories did not directly engage with the original Western art movements but rather, primarily developed in response to the ideas and theories of contemporary Japanese critics about the purpose and function of art. His paintings embodied this process of transformation and translation and syncretically amalgamated multiple styles and motifs in order to best suit the contemporary artistic exigencies of the Japanese context, to more directly express his personal fantasies or inner worlds, or to more succinctly convey his expectations and misgivings about Japan{\textquoteright}s rapidly changing modern society.}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {Wu, Ching-hsin} } @mastersthesis {10799, title = {Japanese Art and the American Aesthetic Interior, 1870-1900}, year = {2010}, school = {Boston}, abstract = {This dissertation argues that, between the 1876 Philadelphia Centennial Exposition and the 1893 World{\textquoteright}s Columbian Exposition in Chicago, American interior designers used Japanism to present themselves and their patrons as tastefully modern and artistic without being ostentatious, an issue considered of paramount importance during the aesthetic movement. Yet in this period American Japanists{\textquoteright} relationship with their model evolved from a more superficial appropriation of surface motifs to an emulation of the underlying structure of Japanese prints and architecture, as the four case studies here demonstrate. Chapter 1 addresses James McNeill Whistler{\textquoteright}s house at No. 2 Lindsey Row in London, where he lived between 1867 and 1878. There, Whistler first used an additive Japanism, in which Japanese objects were installed in a dense, typically mid-Victorian manner, and later a more austere version of the style, influenced by the simplicity and close relation to nature he admired in Japanese prints and architecture. Chapter 2 focuses on Louis Comfort Tiffany{\textquoteright}s Bella Apartments in New York, his residence between 1878 and 1884. In that space, Tiffany also experimented with different kinds of Japanism, creating some rooms with a brilliantly ornamented aesthetic indebted to Japanese lacquer and textiles, and others that were plainer and inspired by fundamental Japanese design principles. Chapter 3 discusses Stanford White{\textquoteright}s dining room for David and Ella King{\textquoteright}s house, Kingscote, in Newport of 1880-1881. There, White advanced the emulation of Japanese architectural elements, unifying the room not only through Japanesque simplicity and geometricization, but also through the appropriation of traditional Japanese forms. Chapter 4 treats Frank Lloyd Wright{\textquoteright}s interiors for Adler and Sullivan{\textquoteright}s James and Helen Charnley house in Chicago of 1891-1892. In such early works, Wright brought Japanese elements to the interior architecture of entire houses for the first time, creating the sort of spare, open, modular, close-to-nature spaces that he believed he saw in Japanese buildings. Thus, while the first American visitors to Japan after 1854 judged that the plain, open, wooden, asymmetrical structures they saw there were not architecture, by 1893 those very characteristics were a major influence on American interior design.}, keywords = {Art of the United States}, author = {Roberts, Ellen} } @mastersthesis {10932, title = {John Martin (1789-1854) and the Mechanics of Making Art in a Commercial Nation}, year = {2010}, school = {CUNY}, abstract = {This dissertation reinterprets the career of the English artist, John Martin (1789-1854). Challenging the popular characterization of him as an apocalyptic visionary opposed to modern commercial and industrial society, this study argues that Martin, in fact, was the only major artist of his time to speak out in favor of the modern science of political economy and its core concepts of competitive individualism, self-interest, and technological innovation. While many of Martin{\textquoteright}s artist contemporaries incessantly-and futilely-petitioned the government for financial assistance for "historical painting" on the grounds that state protection was necessary if the highest category of painting (according to the civic humanist theory of art) was ever going to flourish in commercial Britain, Martin argued that "historic painting" was "dead as an art," and continually adapted his style, media, and subject matter to meet the demands of the art market. This dissertation contends that once we consider Martin{\textquoteright}s career from the perspective of someone who believed adamantly in modern political economy, his status in the history of British art as a Romantic visionary who believed that modern commercial society was immoral and corrupt will fall away. My first chapter examines attempts by the Royal Academy between 1800 and 1815 to secure government funding for historical paintings by Academicians. It then goes on to discuss Martin{\textquoteright}s involvement in establishing the rival Society of British Artists in the interest of free competition among private exhibiting societies. The second chapter examines how Martin and others who had founded the SBA testified before a select committee of the House of Commons that the Academy was attempting to restrain free trade and extinguish competition by seeking a monopoly on public funds. The third chapter interprets Martin{\textquoteright}s Thames and metropolis improvement plans as celebrating, not condemning, the spread of capitalism, industrialization, and urbanization. The fourth chapter provides a detailed examination of John Ruskin{\textquoteright}s statements about Martin over a forty-five year period, demonstrating how Ruskin{\textquoteright}s contempt for capitalism-and those who supported it-informed his criticisms of Martin{\textquoteright}s work. The last chapter considers the effect that Martin{\textquoteright}s belief in laissez-faire capitalism had on his work in general and on his painting in particular.}, keywords = {Nineteenth-Century Art}, author = {Kokkonen, Lars} } @mastersthesis {10746, title = {Joseph Everett Chandler, Colonial Revival Architecture, and the Origins of Historic Preservation in New England}, year = {2010}, school = {Boston}, abstract = {Previously noted only for restoring such Massachusetts icons as Boston{\textquoteright}s Paul Revere House and Salem{\textquoteright}s House of the Seven Gables, Joseph Everett Chandler (1863-1945) appears to have been a central figure in the Colonial Revival, the rediscovery of early American architecture, and the formation of the historic preservation movement. Chandler{\textquoteright}s books The Colonial Architecture of Maryland, Pennsylvania, and Virginia (1892) and The Colonial House (1916) helped establish the canon of early American architecture. Chandler{\textquoteright}s office files were destroyed, but his personal diaries became public in 2005, revealing a prolific five-decade career of over five hundred consultations and commissions. Besides establishing direct links from the Aesthetic and Arts and Crafts movements to the Colonial Revival, Chandler was a pioneering designer of queer space. Chapter one examines the ways Chandler{\textquoteright}s Mayflower family origins, middle-class childhood, and Plymouth itself shaped his character, and how New Englanders asserted regional identity symbolically through Plymouth Rock and then Colonial and Colonial Revival architecture. Chapter two traces Chandler{\textquoteright}s training at M.I.T.; his apprenticeships with McKim, Mead and White, C. Howard Walker, William Pretyman, Burnham and Root, and Rotch and Tilden; and the origins of his first book within this culture of draftsmen. Chapter three documents his early original architecture from his productive partnership with New London architect George Warren Cole, through his Colonial Revival designs in Plymouth and Greater Boston, to historicist country houses which are early exemplars of queer space. Chapter four documents Chandler{\textquoteright}s progression from aggressive remodeling to archaeological restorations of historic houses, including townhouses on Boston{\textquoteright}s Beacon Hill, and the trade in architectural salvage-even entire houses-for members of the Walpole Society. Chapter five places Chandler{\textquoteright}s thirty restorations for museums within the larger contexts of historic preservation, the period room, and the outdoor museum; examines the collegial relationships and rivalries among the antiquarians, architects, and preservationists who directed the work; and documents Chandler{\textquoteright}s encounters with Walter Gropius and Modernism. Under Chandler{\textquoteright}s direction, the Colonial House became not a closed system, but a Foucauldian heterotopia that allowed queer men, women, and others to explore new identities.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Orwig, Timothy} } @mastersthesis {10927, title = {La Lorraine Artiste: Negotiating Region and Nation in the Work of Emile Galle and the Ecole de Nancy}, year = {2010}, school = {UC Berkeley}, abstract = {My dissertation explores the intersection of art and politics in the career of 19th-century French designer Emile Galle. It is commonly recognized that in fin-de-siecle France, works such as commemorative statues and large-scale history paintings played a central role in the creation of a national mythology. What has been overlooked, however, is the vital role that 19th-century arts reformers attributed to material culture in the process of forming national subjects. By educating the public{\textquoteright}s taste and promoting Republican values, many believed that the decorative arts could serve as a powerful tool with which to forge the bonds of nationhood. Galle{\textquoteright}s works in glass and wood are the product of the artist{\textquoteright}s lifelong struggle to conceptualize just such a public role for his art. By studying decorative art objects and contemporary art criticism, then, I examine the ways in which Galle{\textquoteright}s works actively participated in contemporary efforts to define a unified national identity and a modern artistic style for France. My study begins with an examination of Galle{\textquoteright}s works produced for the Exposition Universelle of 1889, works that focused on forging consensus among members of the French nation through their appeal to patriotic values. I argue that the divisive events of the Dreyfus Affair, however, led Galle to reevaluate the idea of both artistic and political consent. In response to these challenges, Galle developed a Symbolist style that privileged subjective sensation as an expression of the artist{\textquoteright}s political commitment to the rights of the individual. I contend that Galle{\textquoteright}s encounter with Japanese art, meanwhile, informed his decision to abandon conventional forms of allegory in favor of defining the national through the natural. My dissertation concludes with a discussion of Galle{\textquoteright}s role as the founder of the Ecole de Nancy, a group that brought together artists and industrialists in an attempt to reformulate ideas of artistic community and national identity in the wake of the Affair. In his works, then, I argue that Galle sought to redefine what it meant to be French and, in the process, transformed the way in which his contemporaries viewed the decorative arts and their cultural significance.}, keywords = {Nineteenth-Century Art}, author = {Dandona, Jessica} } @mastersthesis {10828, title = {Land Is Not the Setting: The Lightning Field and Environments, 1960-1980}, year = {2010}, school = {Stanford}, abstract = {"Land is not the setting: the lightning field and environments, 1960-1980" examines land art and ecological thought in the 1960s and 1970s through a sustained and unconventional investigation of Walter De Maria{\textquoteright}s single work The Lightning Field of 1977. A large, site-specific sculpture consisting of four hundred sharpened steel poles arranged in a regular grid, The Lightning Field is a remarkably variable object and site which present a range of experiences from reflective metal palpably shifting in form and orientation with the angle of the sun to a dramatic stage for electrical fireworks. The focus of this study extends the manifold nature of The Lightning Field to examine how this single work enfolds not only various modes of experience, but, more importantly, the most significant strands of De Maria{\textquoteright}s artistic practice beginning around 1960 alongside competing conceptualizations of the environment throughout the 1960s and 1970s. During this period, the idea of an environment was rapidly on the move. Artists and critics employed the term to suggest gallery installations, ecosystems, multimedia projections, and natural sanctuaries. In short, the concepts "environment" and "ecology" experienced two decades of rich investigation in social and intellectual registers, and the emergence of land art provides one unique access to their larger turns within the period.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {James Nisbet} } @mastersthesis {10886, title = {Landscapes of Achaemenid Paphlagonia}, year = {2010}, school = {Pennsylvania}, abstract = {This dissertation presents a critical study of the landscapes of Achaemenid-period Paphlagonia (c. 550-330 BCE), a mountainous region in northern central Turkey that extends from the verdant Black Sea coast to the sparser Anatolian plateau. In the classical literary sources and the imperial narratives of the Achaemenid Empire, the region of Paphlagonia has been characterized as a mountainous frontier, inhabited by migrants and ruled by gluttonous dynasts. Classically-informed historians writing about the Achaemenid period also speak of Paphlagonia as a bounded region, divided into several rival chiefdoms. Recent archaeological surveys and excavations in the region, however, present a different perspective: a complex and contested landscape politically and culturally related to the Black Sea and Anatolia, as well as the wider Aegean and Achaemenid worlds. A series of ubiquitous, columnar rockcut tombs spread across the Paphlagonian landscape function as significant monuments where such hybrid identities and political alignments are negotiated. The dissertation develops a post-colonial critique of the ancient and modern discourses that reimagine Paphlagonia and Paphlagonians as marginal, uncivilized, and tribal. It traces the genealogy of how the region of Paphlagonia within classical geography came about in the work of 19th and 20th century colonial antiquarians, geographers, and archaeologists; and demonstrates the modernist and nationalist underpinnings of their writings. Furthermore, the dissertation brings together data from recent archaeological surveys and excavations in the region to provide a fuller picture of the various landscapes of Paphlagonia, with special emphasis on the relationship of rockcut funerary monuments and settlement to copper mining, karst landscapes, and forest ecologies. Finally, the dissertation demonstrates a critical methodology of an archaeology of landscapes by deconstructing ancient and modern discourses about them and creating a new analytical framework, using a combination of archaeological survey, archival research, and critical perspectives.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Johnson, Peri A.} } @mastersthesis {10939, title = {The Languages of a Bodily Interior: Nineteenth-Century Anatomical Atlases in the Spaces of Art, Science, and the Museum}, year = {2010}, school = {Binghamton}, abstract = {This dissertation reveals the ways that illustrated anatomical atlases were integral to the redefinition of the body and the medical profession during the first half of the nineteenth century in Western Europe. The study traces the emergence, production and growth of the anatomical atlas by examining the institutional and representational contexts in which they were produced and operated. It argues that as physicians began to establish visual genres as dominant modes of knowledge at the beginning of the century, anatomical illustrations were taken up as a tool in the constitution of new fields of power and knowledge. The dissertation begins with an examination of the discursive factors related to the emergence of a new scientific paradigm focused on pathological inquiry within medicine. This first section studies the shifts in governmental policies on health and sanitation in France and Britain that allowed physicians to take a distinct authority over the body as new clinical hospitals emerged. It traces how new techniques of power gave the nineteenth-century physician and scientific clinical medicine a more rigorous and instrumental status as dissection began to function as the basis of medical knowledge. In the second section, the dissertation looks at how newly re-ordered types of anatomical textbooks functioned to support the changing professional status of the physician. It examines the various shifts in nineteenth-century book illustration and printing technologies that emerged between 1800 and 1860, and provides a close analysis of the atlases{\textquoteright} various systematizing formats, appearances, and structures. The last section focuses on the development of visual rhetorics in anatomical atlases over the first half of the nineteenth century. Here, the focus of analysis is on the specific visual codes, narrative sequences, and rhetorical tropes that combined with new medical practices to establish a new system of pathological anatomy. Characteristic of the emergent anatomico-clinico viewing apparatus was the relentless pursuit of normalization and idealization. An analysis of this complex visual language is extended to an examination of both the "healthy" norm and the surgical subject in surgical atlases, as well as the diseased body in pathological atlases.}, keywords = {Nineteenth-Century Art}, author = {Stelmackowich, Cindy} } @mastersthesis {10904, title = {Late Roman Wall Painting at Sardis}, year = {2010}, school = {Wisconsin}, abstract = {This dissertation catalogs and analyzes the Late Roman wall painting found in sepulchral, domestic and public spaces at the city of Sardis, in western Turkey. The majority of paintings date from the fourth to sixth centuries C.E. and present a rare opportunity to compare paintings from functionally different spaces at one archaeological site. The painting styles and motifs have been examined in three ways: in the context of the city of Sardis to understand how sepulchral, domestic and civic painting did or did not relate to one another; in the context of Late Roman painting, in order to understand how Sardis{\textquoteright} traditions are similar to or distinct from painting in other Roman cities and fit into the broader evolution of Roman wall painting; and in the context of the wider development of Late Antique art. The styles of painting in tombs and in houses at Sardis are largely unrelated, with freefield floral painting in fourth-century tombs and mostly incrustation style painting in fifth- and sixth-century houses. At comparable sites, such as Ephesus, stylistic comparanda are found, but at an earlier date and with more overlap between domestic and sepulchral painting. This difference may be a matter of local trends or the happenstance of discovery. The types of painting at Sardis have parallels in the region and in the broader Roman world. However, the very closest parallels come from western Anatolia, which suggests a regional visual language. The disparate styles at Sardis all reflect larger stylistic and iconographic trends in decoration and ornament in the Late Antique period. The approach to the painted wall surface shares the planar, two-dimensional treatment of space and use of repeated patterns also echoed in other media such as mosaic and textiles. Multivalent imagery is typical of Late Antique syncretism that reflects a common Greco-Roman cultural identity with symbols that could be interpreted for religious or secular use. The remains at Sardis thus reflect a broader Late Antique visual language with strong regional parallels.}, keywords = {Greek/Roman Art}, author = {Rousseau, Vanessa} } @mastersthesis {10758, title = {The Life and Work of Arthur Ashel Shurcliff, Landscape Architect, 1870-1957}, year = {2010}, school = {Boston}, abstract = {Bostonian Arthur Asahel Shurcliff (1870-1957; ne Shurtleff) created the supreme example of the American colonial revival landscape, town planning work, and domestic gardens at Colonial Williamsburg beginning in late 1920. Among the first generation of professionally-trained landscape architects in America, Shurcliff became one of the dominant figures of his generation. Based in part upon archives previously unexplored, this dissertation argues for Shurcliff{\textquoteright}s significance as an educator, a craftsman, and an author, as well as an early town planner and landscape preservationist. The first two chapters of the dissertation depict the early influences in his life, followed by descriptions of his education and training. The third chapter describes the progression of the relationship with his future wife, and the manner in which his own unique personality unfolded. Chapter IV traces the 40-year evolution of the hand-crafted summer house in Ipswich, Massachusetts where the Arts and Crafts ideals at the center of the Shurcliffs{\textquoteright} creativity were made manifest. Chapter V focuses on the establishment of his independent practice, and his work in town planning, as well as the design of highways. Shurcliff{\textquoteright}s public works in the Boston area dominate Chapter VI. Chapter VII follows his work as Chief Landscape Architect at Colonial Williamsburg through the major first phase of its development, 1928-1934. The contention of this dissertation is that all of Shurcliff{\textquoteright}s early influences, his training, and his experience coalesced in this, his largest and most significant contribution to American landscape history.}, keywords = {Architectural History/Historic Preservation}, author = {Cushing, Hope} } @mastersthesis {10798, title = {Life in the Art World, 1936-1972}, year = {2010}, school = {Boston}, abstract = {Launched November 23, 1936 by Henry Robinson Luce, Life magazine featured some of the greatest writers, editors, photographers, architects, and artists of its era and quickly became the most popular and widely read periodical in mid-century America, with its circulation numbers in the 1940s and 1950s surpassing its peers and competitors. Although there have been many publications on Luce and his role in both politics and journalism, as well as on Life{\textquoteright}s place in the history of photojournalism, there have been no studies that have looked closely and comprehensively at Life{\textquoteright}s wide-ranging involvement in the art world. This dissertation analyzes in detail Life magazine{\textquoteright}s influential and varied role in the art world, from its inception to its end as a weekly periodical in 1972. Neither before nor since has a single periodical had such a great impact, in so many varied ways, on both the art world and the American public. This dissertation examines the magazine{\textquoteright}s unprecedented role as a tastemaker, educator, patron, curator, and critic. Chapter One will examine Life{\textquoteright}s presentation of art to the general public and its role as an educator and Chapter Two will analyze Life{\textquoteright}s commission of art and architecture from a wide variety of artists and architects. Chapter Three looks at Life{\textquoteright}s unprecedented role as a curator and covers the many and varied exhibitions Life organized between 1936 and 1972. Chapter Four continues to analyze Life{\textquoteright}s cultural work, looking at how the magazine served as both a critic and a forum for debating modern art and architecture, including an in-depth discussion of Life{\textquoteright}s round tables. The dissertation closes with a survey of Life{\textquoteright}s lingering influence and the way it continues to be a powerful source for artists. Life{\textquoteright}s involvement in the art world was not as bystander but as active participant. Life not only positioned America as the inheritor of Western civilization, but through its articles, commissions, exhibitions, and round tables, Life played a major role in placing the United States at the center of the art world.}, keywords = {Art of the United States}, author = {Renn, Melissa} } @mastersthesis {10919, title = {Like Turtles, Islands Float Away: Emergent Distinctions in the Zoomorphic Iconography of Saladoid Ceramics of the Lesser Antilles, 250 BCE to 650 CE}, year = {2010}, school = {CUNY}, abstract = {The late first millennium BCE to early first millennium CE saw the beginning of the Ceramic Age in the Caribbean islands. The ceramic culture that effected this transition was the Saladoid, members of which departed from northeastern Venezuela and the northwestern Guianas and settled the Antilles from Trinidad to Puerto Rico. As the hunting, gathering, fishing, and non-intensive horticulture of the older Caribbean peoples gave way to the intensive agriculture and full-fledged pottery industry of new migrants from South America, Caribbean culture was transformed. This study explores the ceramic indicators of cultural change, not for the obvious differences they trace between older "Archaic" peoples and newer Ceramic ones in the Caribbean, but for the differences they evince between the Ceramic peoples that settled the islands and the ones they departed in South America. This study demonstrates the emergence of a new regional identity. The study presents three kinds of evidence of this regional distinction. First, it presents quantitative surveys of over two thousand ceramic objects in sample collections and compares incidence counts of zoomorphic motifs between the mainland and the Caribbean islands. Zoomorphic iconography adorns much of the pottery of the Saladoid and other early Ceramic cultures of the Caribbean. Ceramic zoomorphs appear as effigy vessels, incised and painted details on vessel walls, and most commonly, as adornos, the modeled handles and lugs of vessels. Secondly, the study tracks qualitative differences between islands and the mainland, chief of these being morphological changes in ceramics, particularly as relate to technique, style and iconography. Finally this study attempts to decipher the cultural meanings assigned to these zoomorphic ceramics, particularly as they relate to known traditional narratives, ritual and daily life. This iconographic and iconological analysis gives insight into the ethos that drove the changes in ceramics and also illuminates some of the motives behind migration to the Antilles. Through an analysis of formal types, an exploration of aesthetics and iconography, and a partial reconstruction of iconology and cultural context, this work approaches the first Ceramic peoples of the Antilles as curious explorers, deliberate pioneers and shrewd architects of a uniquely Caribbean culture.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {Waldron, Lawrence} } @mastersthesis {10827, title = {The Limits of the Defeatured Landscape: Dialectics of a Counter Tradition in Vancouver Art}, year = {2010}, school = {Stony Brook}, abstract = {This dissertation analyses the work of photographer Jeff Wall between the years of 1970 and 1979 in order to argue that the counter tradition he helped develop with other photo-conceptual artists in the Canadian city of Vancouver has included a gendered bifurcation of space since its earliest incarnation in 1970 as the "defeatured landscape." By analyzing the existence of eroticized images of women within the defeatured landscapes of Wall and his peers, the Vancouver counter-tradition of large-scale photography is shown to depend in part on the old modern trope of woman-as-nature. Rather than simply considering space as a particular place, space is considered here an active field that includes the control of art-historical discourse, and the conscious opposition towards the historical position once held in the Vancouver art community by an older generation of landscape artists, most notably Emily Carr. Furthermore, I show that during this time frame (1970-1979) the control of art-historical discourse involved adapting to and negotiating new constraints placed on figurative art by a burgeoning feminist consciousness. This study shows that the negotiation of gender relations appears as an important, but hitherto unexamined factor to be considered in the photo-conceptual artists successful bid for the vanguard in Vancouver during the decade of the 1970s.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Modigliani, Leah} } @mastersthesis {10972, title = {The Lithographs of Robert Rauschenberg}, year = {2010}, school = {Emory}, abstract = {Robert Rauschenberg was one of the foremost artists of the twentieth-century and created hundreds of works in a variety of media. This dissertation posits a unifying principle for the far-reaching work made by the artist. This new cohesive idea is termed "the logic of printmaking." In the logic of printmaking three ideas are combined: the index, the flatbed picture plane, and the paired terms of repetition and seriality. Printmaking forms the basis for the analysis for two reasons. One, it is in printmaking, both Rauschenberg{\textquoteright}s early experimental prints and his lithographs, that this logic is most evident and most flexible; and two, the index, flatbed, repetition, and seriality are each an intrinsic quality of lithography and can be seen together in Rauschenberg{\textquoteright}s work. The three strands of the logic come from specific thinkers. The index is understood through the work of Charles Saunders Pierce, Rosalind Krauss, and the linguist Albert Atkin. Leo Steinberg proposed the flatbed picture plane in 1972 and it is a painting surface that is horizontal in orientation and is therefore inherently flat. Giles Deleuze and his idea of repetition in which difference is inherent best illuminate the type of repeating performed in Rauschenberg{\textquoteright}s work. Artistic practices that use the serial are best understood through the work of Mel Bochner. Chapter One explores Rauschenberg{\textquoteright}s early work to show how the three ideas (index, flatbed, and repetition) work together as coherent logic of printmaking. Chapter Two addresses the first 8 years of Rauschenberg{\textquoteright}s lithographic production and the manifestation of this principle in these works. The final chapter covers the work made between 1970-2008. Although the artist{\textquoteright}s aesthetics changed later in his career, the logic of printmaking can still be seen as a defining element of his art. Appendix I provides a brief history of lithography and its more technical aspects. Appendix II is a catalogue of all 293 limited edition lithographs Rauschenberg produced.}, keywords = {Twentieth-Century Art}, author = {Brown, Siena} } @mastersthesis {10818, title = {Live Form: Gender and the Performance of Craft, 1940-1970}, year = {2010}, school = {Yale}, abstract = {While the 1950s can be characterized by a widespread attention to form in American arts and letters, exemplified by Abstract Expressionism and New Criticism, the handmade has been occluded in discussions of mid-20th century formalism. A thematic, gendered study of post-war studio ceramics, this thesis focuses on three American women ceramists, each of whom utilized form as a conduit for social contact: Marguerite Wildenhain (1896-1985), a Bauhaus-trained potter who taught form as process without product at her summer craft school Pond Farm, Mary Caroline (M.C.) Richards (1916-1999), who renounced formalism in favor of a therapeutic model at Black Mountain College; and Susan Peterson (1925-2009), who popularized form through live throwing demonstrations on public television in 1964, the same year Marshall McLuhan{\textquoteright}s seminal text, Understanding Media: The Extensions of Man was published to wide acclaim. This dissertation takes live form as its title to reconfigure mid-century ceramics as a live pedagogical event, with the throwing demonstration at the center. The vessel is "live" in that making a form is a performance-based process, and the actions of the artist are permanently registered within the very form of the vessel. This project employs the term live form as simultaneously a performance and an object, and as the basis for analyzing the event of the wheel-thrown clay vessel, and its history and cultural meanings in the postwar period. Modernist ceramics provides a different model of form beyond Abstract Expressionism, offering a re-enchantment of labor within the context of industrialization. This study reframes mid-20th century formalism within a discourse of gender, craft pedagogy, and artistic labor between 1940 and 1970, arguing that women potters of the 1950s were the direct forbearers of the post-studio artistic production that characterized the decade of the 1960s. Wildenhain, Richards, and Peterson all introduced participatory models of instruction and collaborative aesthetic practices that resonate as proto-feminist, but allowed them to enter a distinctly modernist discourse that through another medium-painting or sculpture-might not have been possible based on the extreme gender inequities of the era.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Jennifer Sorkin} } @mastersthesis {10989, title = {Living History{\textquoteright} in Canada: Representing Victorian Culture in the Multicultural Present}, year = {2010}, school = {Queen{\textquoteright}s}, abstract = {In this study, I investigate the institutional relationship between heritage, living history, and memory in Canadian living history museums, specifically, historic homes that represent Victorian material culture in the contemporary multicultural context. I consider how historic homes in Canada have been preserved, restored, and constructed as evidentiary - as artefacts for use as civic instruments in the practice and performance of history. My study connects the artefact to the performance of history at three living history museums which, like so many heritage sites in Canada, taken together deploy "founding nations" mythologies: Dundurn Castle in Hamilton and William Lyon Mackenzie House in Toronto, Ontario, and the Sir George-Etienne Cartier National Historic Site of Canada in Montreal, Quebec. To make this connection, I examine the "Victorian Christmas" program offered annually at each site; the Christmas programs are examples of "living history" in action - period rooms are decorated to represent a historical seasonal celebration, interpreters discuss traditions and activities associated with the occasion, and visitors sing carols and eat festive treats. I explore the implications of institutional interpretations of the past that privilege bi-national mythologies, despite the fact that each site I have chosen is located in the midst of a large urban centre{\textquoteright}s ethnically diverse (multicultural) population - and, in the case of the Cartier Houses in Montreal, a constituency informed by contemporary souverainiste issues.}, keywords = {Twentieth-Century Art}, author = {Terry, Andrea} } @mastersthesis {10970, title = {Local Idioms and Global Designs: Architecture of the Nizam Shahs}, year = {2010}, school = {Pennsylvania}, abstract = {The Nizam Shahs of Ahmadnagar are relatively unstudied, particularly with respect to their material remains. While providing convenient comparanda for other regional kingdoms in the Deccan, their material record has been largely overlooked as possessing its own merit and place. This research does not attempt a chauvinistic appraisal of their architecture, suggesting that it necessarily has aesthetic merit or provides an Ur moment in architectural history. Rather, the attempt is to systematize the extant architecture as a key piece in uncovering its development in this region. Archaeological and art historical methods have been used in this endeavor, and allow a better appreciation not only of the stylistic attributes of the buildings, but also of the social systems of which the materials are a product. The study of architecture in the twenty-first century cannot be a precis of appreciation for aesthetic merit, but the buildings and sites are important documents of social and economic history. The built material is prime, not copiously supported by texts as in the case of the Mughal dynasty. The methodology applied is that of material culture, taken as a record not only of the physicality, but also of the local know-how and social systems. Extensive fieldwork and post-structural observations have been used in arriving at the conclusions. An argument can be made for the presence of a {\textquoteright}sub-altern{\textquoteright} history of the architecture, even if it has been largely patronized by the royal court and its nobility. It is possible that similar exercises on other smaller regional kingdoms in this period will reshape our knowledge of the sixteenth century in the Deccan, along with its architectural and planning aspirations.}, keywords = {South/Southeast Asian Art}, author = {Sohoni, Pushkar} } @mastersthesis {10883, title = {Localizing the Holy Land: The Visual Culture of Crusade in England, ca. 1140-1400}, year = {2010}, school = {UIUC}, abstract = {Broadly defining crusading as both a physical act and a spiritual goal, this is a diachronic study of the impact of the crusade movement and devotion to the holy city of Jerusalem on English visual culture, religious imagination and identity. The crusade movement concurrently formed dynamic international networks and disturbed geographic, cultural, religious and social boundaries in both the East and West. Because the most immediate zone for cultural and artistic exchange during the Crusades was the Holy Land, it has been the subject of immense amounts of historical and art historical scholarship examining issues of cultural and visual appropriation, assimilation and even resistance. However, the remapping of Christian territory after the First Crusade (1095-99), the establishment of transnational corporations (i.e., the military orders) and the reinvigoration of travel between East and West had an equally profound, yet surprisingly unexplored, impact on the visual culture and religious imagination of western Europe. Analyzing diverse visual material, from images of the military orders on seals, and monastic maps of Palestine in manuscripts, to royal chambers with paintings of holy warfare and the display of Holy Land relics at court, my project juxtaposes sacred and secular commissions made for crusaders and affiliates of chivalric culture. It also analyzes art for those, like monks, who would never physically experience Jerusalem. My study considers the role of crusade in the construction of personal and institutional identity in England, proposing, for instance, that the English kings were increasingly compelled to fashion themselves in the idealized image of the rex crucesignatus, crusader king. It carefully tracks the evolving vision of the Holy Land in England as destination, image, spectacle, or goal adapted and domesticated for English patrons and audiences over the longue duree. Finally it shows there was a concerted effort in England to localize the crusade movement and make it an explicitly English phenomenon, and to domesticate the Holy Land, especially Jerusalem, through art and architecture, ritual and display.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Whatley, Laura J.} } @mastersthesis {10759, title = {Louis I. Kahn: Towards an Iconography of Memory}, year = {2010}, school = {Virginia}, abstract = {This study explores the relationship between modernism and memory apparent in the work of Louis I. Kahn. This understanding is based on an analytical model that identifies the characteristic elements of Kahn{\textquoteright}s work and, because most relate in some way to past architectural or cultural practices, suggests that he intended his modern architecture to be a vehicle for memory of these and other aspects of culture. This was a poetic or critical practice and should be distinguished from mere historicism. This approach to understanding Kahn departs from that of the existing scholarship because it attempts to explain his significance as a cultural figure, not an architectural one. The study argues that Kahn{\textquoteright}s familiar style-austere, solemn, and monumental-constituted a system of symbol, an "Iconography of Memory," composed of (1) building archetypes rooted in cultural memory; (2) solid, rather than skeletal, construction; (3) hierarchical, rather than open, space planning; and (4) allusions to historic architecture. The concept of iconography is used in the broadest sense to include not only imagery but also archetypal forms, as well as structural and spatial configurations from the architecture of the past. Kahn{\textquoteright}s architecture is interpreted here as an individual, but important, expression of collective memory, a dialectical process in which his society explored ways to restate identity at mid century. Through his unusual artistic synthesis, his work served as a social critique of modernism{\textquoteright}s existential break with tradition, and offered an alternative vision in which modern architecture promoted continuity of culture. The theory of collective memory is applied to Kahn{\textquoteright}s work through a series of case studies from the 1960s and 1970s in which he articulated a language based on the idea of architectural ruins. In earlier projects he relied on symbol to convey this idea but turned to a more literal statement of it at the Indian Institute of Management, the primary case study. Several well-known projects from the late 1960s showed that after India Kahn continued to pursue these themes but in a more pragmatic fashion that again accepted symbolic rather than literal expression.}, keywords = {Architectural History/Historic Preservation}, author = {James, Stephen Bernard} } @mastersthesis {10745, title = {The Love of Liberty Has Brought Us Here{\textquoteright}: The American Colonization Society and the Imaging of African-American Settlers in Liberia}, year = {2010}, school = {Harvard}, abstract = {This dissertation seeks to discern and describe the ways the American Colonization Society (ACS) used visual imagery to present the West African country of Liberia to an American public as the ideal solution to the problem of slavery in the United States. The ACS sought to reconcile Revolutionary era values of freedom and equality for all with the belief that America should remain an all-white polity. Colonizationists presented Liberia as the solution to this moral dilemma by portraying it as an American heterotopia, a "separate but equal" place where blacks could live out parallel lives. Daguerreotypes created by African American daguerreotypist Augustus Washington in Liberia are a focal point of the dissertation, which pays close attention to how the meaning and materiality of the photograph changed as it was produced by African American settlers in Liberia, circulated in a transatlantic context of exchange, appropriated by the American Colonization Society, and disseminated in colonization print culture. What images remained in circulation, or fell from public view, and how they were recontextualized in colonization print culture reveals the ways in which Washington{\textquoteright}s images were used to constitute the American Colonization Society{\textquoteright}s vision of Liberia for an American audience. Moving beyond an isolated study of Washington{\textquoteright}s Liberian photographs, I place his photographic practice within the American Colonization Society{\textquoteright}s larger pictorial propaganda program, drawing attention to the array of colonization imagery, generally, and to the presence of other black image makers in Liberia, specifically. African "curiosities," watercolors by African American settler Robert K. Griffin, paintings by John H. B. Latrobe and John Sartain, and other printed ephemera by named and unnamed artists fill out this study of colonization pictures.}, keywords = {African Art (sub-Saharan)}, author = {Scruggs, Dalila Lenore} } @mastersthesis {10929, title = {Lucas Cranach, Martin Luther, and the Passional Christi und Antichristi: Propaganda and Prayer in an Early Lutheran Flugschrift}, year = {2010}, school = {Graduate Theological Union}, abstract = {The 1521 Lutheran work of Flugschrift (pamphlet) propaganda entitled Passional Christi and Antichristi, with woodcuts by Lucas Cranach the Elder, strategically combines text and image to appeal to a wide spectrum of literacy. Utilizing techniques of both polemic and prayer, as well as sources from both scripture and papal decretals, Passional makes a powerful case for the German laity that the office of the papacy was under the control of the Devil and had effectively become Antichrist. Analysis and interpretation are based on a reading of text and image together. Historical biblical scholarship will be utilized in the discussion of texts which include scriptural quotations; historical scholarship will be used to contextualize quotations from canon law. Chapter One consists of a close but primarily descriptive account of each text and image pairing in Passional, followed by translation of the text into English. Chapter Two explores the roots of Passional, discussing how the image-text pairings of Christ in particular in Passional function as devotional art. Its influences include fifteenth-century German devotional prints, the poem Das Passional, and medieval biblical scholarship. Chapter Three explores Passional in its intended function as a work of propaganda, focusing in particular on the relationship between Passional Christi and Antichristi and Luther{\textquoteright}s two-kingdoms theology. Passional communicates a similar case against the Pope as To the Christian Nobility of the German Nation. It also employs similar arguments and source texts as the Hussite treatise The Old Color and the New . As a work of propaganda. Passional Christi and Antichristi makes its case primarily through a work of propaganda, Passional Christi und Antichristi makes its case primarily through an appeal to emotion rather than intellect by arousing in turn devotion, outrage, and a complex combination of fear and hope associated with the end times. Chapter Four analyzes the pamphlet{\textquoteright}s eschatological message and themes. Late medieval periodizations of history and a recurrent use of Antichrist rhetoric helped to delineate the identities of the true and false Church and give the emerging Lutheran community a strong sense of purpose and cosmic significance.}, keywords = {Nineteenth-Century Art}, author = {Dykema, Roberta} } @mastersthesis {10957, title = {The Machinations of German Court Culture: Early Modern Automata}, year = {2010}, school = {Northwestern}, abstract = {Although rarely studied by art historians today, automata, or self-propelled mimetic objects, were among the most important art forms of the sixteenth century; created by artisans and commissioned and collected by the most prominent patrons in early modern Europe. The majority of these objects were collected by German princes who ruled the Holy Roman Empire. Courts in the Holy Roman Empire were major centers of artistic patronage, particularly associated by their contemporaries with expansive Kunstkammern, or cabinets of curiosity, and the successful integration of art within the political sphere. Early modern automata are today accessible to us through extant objects, verbal descriptions, and payment records. In the course of four chapter-long case studies this dissertation analyzes in detail five automata: The London Nef (a ship) (ca. 1586, The British Museum, London) and The Ecouen Nef (also a ship) (ca. 1587, Musee de la Renaissance, Ecouen); The Christmas Crib Automaton (ca. 1588, Mathematische and Physicalische Salon, Dresden); The Verkehrte Welt Automaton (whose theme is the world upside-down) (ca. 1560, Residenz Schatzkammer, Munich); and The Sultan on Horseback (ca. 1580, Kunsthistoriches Museum, Vienna). These objects and the circumstances of their collection, circulation, and display are used to uncover anxieties about the shifting global, social, and religious landscape in the early modern period. Based on this evidence, a new picture emerges of Renaissance artistic culture. This dissertation makes clear that attention to political, familial, diplomatic, and religious discord was central to fostering artistic and technological developments in the period and that automata were integral to political theater and self-display. Moreover, the collection and circulation of automata challenges modern assumptions about the nature of early modern mimesis, cross-cultural exchange, communication, gift economies, and political ritual as well as the place of time-based and performance media in the history of art. Chapter one considers the London and Ecouen Nefs and argues that Holy Roman Emperor Rudolph II commissioned them to link his reign with his grandfather{\textquoteright}s, Charles V. Chapter two examines The Christmas Crib Automaton, and demonstrates that the object{\textquoteright}s temporal and ocular dynamic helped mediate a tense marriage between a crypto-Calvinist Elector and his dogmatically Lutheran wife. Chapter three focuses on The Verkehrte Welt Automaton and makes clear that it was displayed at the counterreformation court in Munich to mock the Protestant belief that meaningful communication could occur between a Protestant minister and his congregation. Chapter four considers The Sultan on Horseback and several other automata that formed part of tribute payments from Holy Roman Emperors to Ottoman rulers. This chapter argues that these objects were not merely luxury goods that helped maintain the status quo, but agentive objects that redefined the diplomatic encounter between the Ottoman and Holy Roman Empires.}, keywords = {Renaissance/Baroque Art}, author = {Keating, Jessica} } @mastersthesis {10853, title = {Managing Vision, Envisioning Management: Representations of Labor and Technological Systems in Gilded Age America}, year = {2010}, school = {UC Irvine}, abstract = {Between the advent of popular illustrated magazines in the mid-1850s and the "closing" of the frontier at the 1893 World{\textquoteright}s Columbian Exposition in Chicago, the United States transitioned from a nation of primarily agricultural and artisanal laborers to one of wage workers whose everyday lives were increasingly shaped by technology. This dissertation, which studies representations of American technology, laborers, and factories, explores the strategies artists used to acclimate Americans from a range of social classes, races, and education levels to an environment of industrial production, wage capitalism, and international communications. Examining both paintings and magazine illustrations, this study demonstrates how image-viewers actively conceptualized their lives in terms of vast, underlying systems of technology. It also examines a key tension between images making production processes overly clear to viewers and those using visual metaphors to describe the "magic" of modern life. This dissertation consists of five chapters, situated in a roughly chronological progression. Chapter One lays out the theory of technological systems as it relates to visual media, and introduces the methods artists developed to represent key systems such as the telegraph, railroad, and international trade. The second chapter addresses the "alchemical sublime" in representations of Civil War-era metalworking. The artist John Ferguson Weir used representations of metallurgy as metaphors for a process of purification that included economic, national, and personal meanings. Chapter Three argues that labor and industry served as important metaphors in the visual representation of reconciliation following the Civil War, as the South worked to bring its technological infrastructure into harmony with the well-developed North. Chapter Four enters the factory itself, and explores the emergence of a new mode of viewing, the "managerial eye." In representations of proto-assembly line work beginning in the 1860s, the managerial eye allows the viewer a privileged position that takes in, at a glance, all the steps in a commodity{\textquoteright}s production. Chapter Five, which studies the relationship between work and citizenship, examines how artists conceptualized factories, schools, prisons, and other sites of group training or incarceration as places for the molding of potential citizens, who were theorized as potential laborers.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Schulman, Vanessa} } @mastersthesis {10804, title = {Marginalized yet Devoted: Buddhist Paintings Commissioned by Nuns of the Early Joseon Palace Cloisters}, year = {2010}, school = {Kansas}, abstract = {This dissertation studies the three extant Buddhist paintings commissioned by Buddhist nuns in the palace cloisters of the sixteenth-century Joseon dynasty. The examination of the theme, iconography, and composition of each painting is incorporated to interpret their religious significance from the perspective of the social status of their patrons. The nun-patrons are identified either as widowed royal concubines who were removed from their residences and the position of influence in the inner quarters to live with fellow concubines in a common royal-residence-turned-cloister on the outskirts of the palace after their royal husbands died or as officially ordained practitioners from non-royal families. These women certainly experienced a multifaceted marginality at the centrum of the patriarchal Confucian polity in the religion, gender, family, and marriage systems. From this perspective, the paintings are presented as a visualization of the salvational aspirations of Buddhist women of the sixteenth-century Joseon court. By replacing the judgment scene above in the usual Ten Kings paintings with the Ksitigarbha assembly scene and combining it with the depiction of retribution in hell below, Ksitigarbha and the Ten Kings of Hell switches the thematic emphasis from "punishment through judgment" to "salvation from punishment," picturing the hope for salvation of the patrons. The Painting of King Sala adds the image of Lady Wonang at the critical moment of salvation, when the literature of the narrative relates only Prince Allakguk taken to the Land of Ultimate Bliss, exhibiting a greater hope for women{\textquoteright}s "salvation to paradise." The image of a fellow court woman crossing over to paradise in a dragon boat must have reassured nuns in the cloister of their own salvation. The Assembly for Welcoming the Dragon Boat of the Nine Grades of Rebirth in the Western Paradise highlights the scene where Buddha Amitabha ferries in salvific dragon boat the soul of a female devotee, which is the portrayal of the woman to whom the painting was dedicated. It depicts a more personalized prayer for "the salvation of a specific individual." The paintings are visual embodiments of the religious aspirations, patronage, and practice of Buddhist women of the Joseon palace cloisters.}, keywords = {Chinese Art}, author = {Choe, Kyungwon} } @mastersthesis {10863, title = {Maria van Oosterwyck}, year = {2010}, school = {Wisconsin}, abstract = {Maria van Oosterwyck was a successful still life painter during the Netherland{\textquoteright}s Golden Age in the seventeenth century. Although she is little remembered today, Oosterwyck counted royalty and nobility among her elite clientele. Beyond short articles and inclusion in larger compendiums, little has been written about her and the reliability of several early sources has been called into question. This dissertation documents her life and examines her education as an artist. Early scholars claim that Oosterwyck learned to paint in the studio of Jan Davidsz de Heem in Antwerp during the Eighty-Years War. I contend it is far more plausible that she was trained closer to home. By examining the economics of art education in the seventeenth-century Netherlands, I argue that it is by virtue of Oosterwyck{\textquoteright}s social status that she was able to pursue such an education and offer several possible alternatives for with whom she might have studied. I also examine and discuss one rarely seen Oosterwyck painting that reveals the true erudition and complexity of her visual program. It has never before been written about nor been photographed until now, and does not appear in any published inventories, but it is important in terms of Oosterwyck and religious allegory exegesis. Finally, this dissertation assembles and lists the most complete collection of paintings signed by or attributed to Maria van Oosterwyck, nearly doubling the number of works previously thought to exist to forty-three.}, keywords = {Drawings/Prints/Works on Paper, Renaissance/Baroque Art}, author = {McIntosh, Laurentia} } @mastersthesis {10838, title = {Marking the Territory: Performance, Video, and Conceptual Graphics in Chilean Art, 1975-1985}, year = {2010}, school = {Stony Brook}, abstract = {In this dissertation I examine the links between the body and the territory in Chilean Performance Art, video practices, and conceptual graphics between 1975 and 1985. During ten years in the midst of Augusto Pinochet{\textquoteright}s military dictatorship, the body and national space were two notions intimately tied to a range of new art forms in which different concepts of identity were negotiated. In the works of Carlos Leppe, Eugenio Dittborn, Carlos Altamirano, Lotty Rosenfeld, and Gonzalo Mezza the corporeal was understood as a space where the repressive political regime could be contested and the self{\textquoteright}s contradictory relation to the territory and nation be exposed. By analyzing these artists{\textquoteright} works and revising the major theoretical and critical writings of the time, particularly those of Nelly Richard, Ronald Kay, and Justo Pastor Mellado, as well as their appropriation and reinterpretation of Poststructuralist and Psychoanalytic theories, this dissertation proposes that carnality and cardinality were joined in the experimental Chilean art of the seventies and early eighties as a form of contesting borders and identities. This work traces varied maps linking artistic and political vanguards while revising the relationships between nationalism and territory in Chilean art of the time by applying a methodology derived from the social history of art, psychoanalysis, and phenomenology. Different theories of space, nationalism, geography, and embodiment are explored to better understand the context and significance of conceptual art in Chile. As the dictatorship was demarcating its own borders regarding Chilean identity, artists were using conceptual languages to define the boundaries of a new national art and create models of social intervention that countered the images of prosperity, progress, and equality advocated by the regime. Using concepts derived from graphic arts and expanding them into everyday life in order to generate different social inscriptions, these artists attempted to demonstrate the instability of borders in the processes of identity construction.}, keywords = {Contemporary Art}, author = {Macchiavello, Carla} } @mastersthesis {10963, title = {A me toccano masticcare pillole amare{\textquoteright}: Rubens, the Oratorians, and the Crisis over the Beati moderni in Rome, c. 1600; Towards a Revised Geography of the Catholic Reformation}, year = {2010}, school = {Johns Hopkins}, abstract = {My project fundamentally re-presents some topics in early modern history and art that have already received a fair amount of scholarly attention, such as sixteenth- and seventeenth-century image reform, and the Catholic Counterreformation, and that may seem to have their theoretical questions already answered. And yet, the story told by the evidence uncovered and brought together by my research diverges, in many ways, from the line taken in much scholarship, and may call into question some previously-drawn conclusions about the meanings, means, manifestations and geography of early modern Catholic reforms. Through careful consideration of diverse primary sources gathered largely from archival research, I map out the often unexpected means and directions whereby Catholic reform in the contiguous spheres of hagiography, canonization, sacred imagery, and Eucharistic devotion, were and were not worked out. The resultant inverted geographies of orthodoxy that I delineate collectively call for a recalibration of scholarship{\textquoteright}s configuration of the Catholic Reformation, and a reconsideration of what Trent and reform meant in early modern Italy and Catholic Europe. While my entirely new account of Rubens{\textquoteright} Chiesa Nuova high altarpiece commission of 1606-08 remains at the heart of my dissertation, my work to analyze the project in the context of previously unknown or unconsidered evidence situates Rubens{\textquoteright} altarpieces within a continuum of, and in continuity with, certain artistic, religious and social trends that spanned the Cinque- and Seicento and that, when considered together, might constitute the beginning of something like a reassessment of the history of the Catholic Reformation, or so-called "Counterreformation". My work on the figures of the Beati moderni, popular champions of localized Catholic reform and figures not free of controversy such as Filippo Neri, Ignatius and Francis Xavier, Carlo Borromeo, audaciously celebrated as bona fide saints, on certain kinds of hagiographic imagery figuring the Beati moderni, and on the Roman Curia{\textquoteright}s little-known censorship of such imagery, fundamentally belies scholarly assertions that these pictures served the Counterreformation{\textquoteright}s central demands to control authoritatively the meaning of religious images and the cult of the saints. On the contrary, images of the Beati moderni would have carried a distinctly subversive charge. This calls for a reassessment of an entire newly-constituted genre of sacred images and especially altarpieces after Trent that depict the Beati moderni.}, keywords = {Renaissance/Baroque Art}, author = {Noyes, Ruth} } @mastersthesis {10882, title = {Medieval Manuscripts, Architectural Structures, and Their Relationships}, year = {2010}, school = {Pittsburgh}, abstract = {The purpose of this study is to demonstrate some of the ways in which diagrammatic structures may have informed the layout and experience of architectural space in the middle ages. The Cathedral of Chartres is a unique case because the post-1194 building and its decorative program survive relatively complete and because the preceding century saw at Chartres the emergence of a sophisticated school of thought, many of whose precepts may be shown to bear upon the design of the monument. The writings of William of Conches and John of Salisbury in particular I consider central to an intellectual debate between Chartrain Masters and their intellectual rivals the Cornificians. The library at Chartres still preserves several manuscript copies of medieval texts and commentaries pertinent to this debate. In turn, I suggest this is fundamental to reading the decorative program of the cathedral and to experiencing its spaces. Thus the monument represents a fusion of disciplines which in turn may serve as an enlightening means of understanding the middle ages in general, its art, its architecture, and its viewer. Using the Cathedral of Chartres as an object of study, an environmental experience, and as a multi-vantage point visual dialogue, this dissertation examines the idea of medieval diagrams as templates for medieval architectural construction and conceptualization. By examining the layout of the medieval stained glass that retains its original position, I claim that the themes of the windows serve as place markers for diagramming. The windows are also examined individually as separate entities with their own diagrammatic orderings that suggest that the small scale, as well as the large scale, is organized in a diagrammatic way. Ultimately, I suggest that a diagrammatic structure underlies the layout and design of the windows, based on the ideas of Chartrain master William of Conches. I suggest that this diagrammatic structure forms the basis of a discourse between the Chartrains and their intellectual rivals, the Cornificians. Central to the argument is the disposition of the Signs of the Zodiac in the cathedral and a calendrical layout for the hagiographic windows.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Webb, Karen} } @mastersthesis {10924, title = {A Mexican Jerusalem: The Sanctuary and House of Spiritual Exercises of Atotonilco, Guanajuato. Text-Body-Image in Devotional Rituals of the Passion, 1740-1776}, year = {2010}, school = {Binghamton}, abstract = {This study focuses on the sanctuary of Jesus of Nazareth at Atotonilco (1740-1776), Guanajuato, in central Mexico, and its adjacent House for the performance of the Exercises of St. Ignatius. The establishment of this complex, I argue, resulted in a proliferation of Via Crucis devotions without precedent in New Spain. Strategically located on the Camino Real or Royal Road, in one of the most prosperous commercial and mining regions, the Bajio, this rural site received the patronage of the commercial elite of the nearby village of San Miguel el Grande (now San Miguel de Allende). Its founder, the Oratorian creole priest Luis Felipe Neri de Alfaro (1709-1776), conceived of it as a redemptive place for the conversion of "pagans" and for the practice of ascetic piety. He recruited the regional artist Miguel Antonio Martinez de Pocasangre to the site, to decorate the complex{\textquoteright}s walls and ceilings in paint (tempera) and in three-dimensional media in a rich baroque style. Discrete as its parts may be in architecture and iconography, the complex was given coherence by its numerous cycles that focused meditation on the Via Crucis, reminding the faithful, with each artistic component and accompanying text, of the site{\textquoteright}s connection to the topography of the Holy Land and the Passion of Christ. A crucial element of this dissertation is to understand the meeting at Atotonilco of various currents of Christian piety, namely Jesuit, Franciscan and Oratorian, with their associated visual expressions. These currents are recognized in the private and public rituals of thirteen series of the Via Crucis, under three varieties-of the Sacred Heart, of Jesus (including a public procession in San Miguel), and of the Virgin. The textual sources for these cycles and accompanying painted texts are examined, along with the unusual ritual spaces that they constituted. The varied social groups involved in devotional practice here are also the object of analysis. The "textuality" of the Via Crucis cycles, I explain, extended to the spectacular devotions enacted annually in the streets of neighboring San Miguel, confirming Atotonilco{\textquoteright}s unique contribution to the development and diversification of this devotion in New Spain.}, keywords = {Latin American/Caribbean Art}, author = {Perez Gavilan, Ana Isabel} } @mastersthesis {10784, title = {Model Citizens: Mural Painting, Pageantry, and the Art of Civic Life in Progressive America}, year = {2010}, school = {Stanford}, abstract = {This dissertation focuses on the related arts of mural painting and pageantry in Progressive America and considers how civic artists participated on a grand scale in the era{\textquoteright}s campaigns for reform. Examining the ways in which period creatives made reform into something visible, dramatic, and vital, this study asks: What did Progressivism look like? What civic lessons did murals and pageants activate, and for which publics? How did civic art{\textquoteright}s classical forms and consensual narratives resonate with its viewing communities, and how did those communities respond? Artistic Progressives positioned their art forms at the center of the era{\textquoteright}s broader campaign to expand participatory democracy, improve social conditions, and impose a sense of order. Through paint and playacting, they entered into cultural and political debates on Americanization, immigration, citizenship, suffrage, and the new pedagogy of learning by doing. Mural painting and pageantry served as collaborative meeting points for art-minded citizens as well as contested zones of cultural agency. The study{\textquoteright}s five chapters examine the mural programs at the Library of Congress (1895-1897) and the Massachusetts State House (1900-1904), the Pageant of Illinois (1909), the Suffrage Pageant-Procession (1913), and mural painting and pageantry in Madison, Wisconsin (1908-1917).}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Madsen, Annelise} } @mastersthesis {10841, title = {Modern Time: Photography and Temporality}, year = {2010}, school = {CUNY}, abstract = {This dissertation explores the fluid relationship of photography to time. Many theorists have noted that photography has a distinctive manner of representing temporality. Roland Barthes, for example, wrote that the photograph has a peculiar capacity to represent the past in the present, and thus to imply the passing of time in general.1 As a consequence, Barthes argued, all photographs speak of the inevitability of our own death in the future. Moreover, he linked photography{\textquoteright}s peculiar temporality to its capacity for a certain kind of realism: "false on the level of perception, true on the level of time."2 Barthes{\textquoteright}s analysis poses a challenge to all commentators on photography-what exactly is photography{\textquoteright}s relationship to time, and by extension, to reality? This dissertation addresses that two-part question by analyzing in detail a sample of understudied vernacular photographic practices. Rather than provide a comprehensive, and necessarily incomplete, study of every possible way in which photography can relate to time, this study instead focuses on a number of in-depth analyses of specific photographic practices. These practices represent time in at least three distinct ways: as narrative time, device-altered time, and composite time. My study examines the motivations for photography{\textquoteright}s insistent struggle to reorganize time{\textquoteright}s passage, to freeze or slow it for a moment, or to give form to time{\textquoteright}s fluctuating conditions. I suggest that this struggle is both symptomatic of modernity as a general phenomenon and a manifestation of the photographic medium{\textquoteright}s conditional relationship to reality, a relationship which arguably has been complicated by the use of digital technology. This dissertation examines photography{\textquoteright}s unique capacity to represent the passage of time with a degree of elasticity, simultaneity, and abstraction. The medium{\textquoteright}s ability to represent many levels of temporal experience and indexical slippage, I argue, illustrates photography{\textquoteright}s potential to relate to and reflect the complexities of modern consciousness. This dissertation also exemplifies the need for a new kind of history-one that addresses the multiple identities of "the photographic" rather than simply "the photograph." This work is a contribution to that project.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Drawings/Prints/Works on Paper}, author = {Belden-Adams, Kris} } @mastersthesis {10813, title = {Mortuary Art in the Northern Zhou China (557-581 CE): Visualization of Class, Role, and Cultural Identity}, year = {2010}, school = {Pittsburgh}, abstract = {The period of Six Dynasties (221-581CE) has traditionally been thought of as a time when "the Five Barbarians brought disorder to China." During this period, present-day Northern China was ruled by non-Han leaders, including the Xianbei, a pastoral people from China{\textquoteright}s northern frontier who founded the Northern Zhou Dynasty. In addition, Chinese historical texts from the Six Dynasties refer to "merchant barbarians" generally assumed to be Sogdians, who lived in oasis states in Central Asia in present-day Uzbekistan and came to China across the Silk Road. Most scholarship has assumed that the period of Northern Zhou ruled by non-Chinese leaders was "sinicized," and the adoption of Chinese features in burial and artifacts in foreigners{\textquoteright} tombs is evidence of that acculturation process. This dissertation, however, uses newly excavated materials from tombs dated to the Northern Zhou period, including the tombs of Xianbei leaders, Xianbei and Chinese generals, and Sogdian merchants, and proposes that visual arts and mortuary ritual played a role in creating and/or maintaining multiple sociopolitical and cultural identities for these residents of Northern Zhou. The theorization of power, agency, and cultural identity in recent publications has helped me analyze the processes involved in the construction of individual identity, group boundaries, and the interrelationships between socio-cultural groups. Theories of agency have helped me focus on choices made by different social and occupational groups. This dissertation has explored how the patterns of use of mortuary objects documented multiple identities for these three classes listed above with specific ethnic backgrounds: the sovereigns who were Xianbei; the military class of Xianbei and Han-Chinese; and the merchant class of Sogdians. I have discussed how aspects of political, military, and merchant life in the Northern Zhou period created a setting that contributed to multiple roles and identities in each group. My study has demonstrated the construction of multiple identities among elites and how they consistently distinguished themselves from other members of society. This dissertation will be the first contextual analysis focused on the visualization of class, social roles and cultural affiliation by examining mortuary art in the Northern Zhou.}, keywords = {Chinese Art}, author = {Wu, Jui-man} } @mastersthesis {10887, title = {Movement and the Making of Place in the Hittite Landscape}, year = {2010}, school = {Columbia}, abstract = {This work investigates the placement of sites in the Land of Hatti during the Middle to Late Bronze Age. The Hittites transformed the landscape of Anatolia from one that was predominantly concerned with passage through the landscape, as a result of trade and exchange, to a landscape of interconnected places directly associated with the natural terrain. The Hittites conceptually merged the natural landscape with images of their rulers and gods and thus established an imaginary network of lines that linked the settlements with places of ritual that contained monumental images. This study focuses on the natural environment and alterations to this environment. These alterations were brought about through deliberate human processes, such as the construction of architecture and monumental images. Ancient textual and archaeological evidence, together with technology in the form of geographic information systems (GIS) provide an avenue through which to examine these changes in the context of the Hittite perception of space. The manner in which the Hittites created and altered their terrain was central to informing a Hittite aesthetic of landscape.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Ullmann, Lee} } @mastersthesis {10908, title = {Naked and Unashamed: A Study of the Aphrodite Anadyomene in the Greco-Roman World}, year = {2010}, school = {Duke}, abstract = {This dissertation presents a study of the Aphrodite Anadyomene type in its cultural and physical contexts. Like many other naked Aphrodites, the Anadyomene was not posed to conceal the body, but with arms raised, naked and unashamed, exposing the goddess{\textquoteright} body to the gaze. Depictions of the Aphrodite Anadyomene present the female body as an object to be desired. The Anadyomene offers none of the complicated games of peek-a-boo which pudica Venuses play by shielding their bodies from view. Instead, the goddess offers her body to the viewer{\textquoteright}s gaze and there is no doubt that we, as viewers, are meant to look, and that our looking should produce desire. As a type, the Anadyomene glorifies the process of the feminine toilette and adornment and as the goddess stands, naked and unashamed, she presents an achievable ideal for the female viewer. The roots of the iconography of the Anaydyomene can be found in archaic Greek texts such as Hesiod{\textquoteright}s Theogony and Homeric Hymn from the eighth century B.C.E, as well as in paintings of women bathing on red-figure vases from the fifth century B.C.E. The Anadyomene type provides a helpful case study to consider the ways that representations of Aphrodite were utilized. Consulting archaeological reports and detailed studies of display contexts make it possible to reconstruct and imagine the original settings for these kinds of works. The known findspots for representations of the Anadyomene can be grouped into four contexts: Graves, Sanctuaries, Baths and Fountains, and Houses. Small objects might have been seen, handled, and used daily that carried connotations and meanings which these ancient viewers would have brought to other more elite or public works.}, keywords = {Greek/Roman Art}, author = {Wardle, Marianne Eileen} } @mastersthesis {10816, title = {Narrating Shadows: W. G. Sebald{\textquoteright}s Photographic Historiography}, year = {2010}, school = {UCLA}, abstract = {W.G. Sebald{\textquoteright}s photograph-lined books demonstrate a deep-seated interest in the faculty of vision and the historiographic capacities of the photographic image. Topically the contemporary German author{\textquoteright}s works engage with themes of geopolitical displacement, traumatic violence, and the hurdles to recollection in postwar Europe. This dissertation seeks to acknowledge the author{\textquoteright}s oeuvre as a significant contribution to the field of art history by rooting his practice within an existing phenomenon of photographic historiography that includes Surrealism and German-Jewish critic Walter Benjamin{\textquoteright}s Surrealist-influenced Arcades Project. Informed by poststructuralism and psychoanalysis, this study contends that Sebald{\textquoteright}s multifaceted uses of photography and theorization of vision constitute a contemporary reinterpretation of the representational strategies developed by the Surrealists and also reflect the profound influence of Benjamin{\textquoteright}s conception of history. In the aftermath of the Holocaust and the Second World War, Sebald{\textquoteright}s recent books challenge prevailing economies of vision. In doing so, they advance a new model of photographic historiography centrally engaged with the ethics of representation.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Chon, Doris} } @mastersthesis {10868, title = {The Narrative Document: Lewis Hine and {\textquoteright}Social Photography}, year = {2010}, school = {Brown}, abstract = {Lewis Hine employed a variety of narrative strategies to create a persuasive and moving {\textquoteright}social photography{\textquoteright} in the early twentieth century. Despite the longstanding supposition within the history of photography that the categories of documentary and narrative are incompatible, this investigation looks at how Hine cultivated, rather than suppressed narrative in his documentary work. Documentary has often been associated with unmanipulated authenticity and with the unmediated transcription of reality. Unlike the concept of narrative which is virtually inseparable from that of fiction, documentary is tied to a belief in the camera{\textquoteright}s ability to present empirical evidence or facts. The idea of storytelling itself would seem to undermine the documentary goal of an unmediated presentation of fact, and yet, it was Hine who coined the term "photo story" to describe his work. This study examines how Hine constructed pictorial narratives by adopting a number of cinematic devices. In many of the photographs that he produced for the National Child Labor Committee (NCLC), Hine utilized a melodramatic mode of narration. Melodrama offered not only a means through which he could tell the story of child labor, but it was also a means through which he could attempt to {\textquoteright}move{\textquoteright} his viewer emotionally. For Hine, the most effective images were the ones that tugged at the viewer{\textquoteright}s heartstrings and aroused sympathy for his subject. This study looks at how narrative functions in both the internal composition of the image and the viewer{\textquoteright}s apprehension of the image. This study also looks at how Hine moved his viewer visually and conceptually through space in his photographic series by using the editing techniques of early filmmakers. Although photographic and cinematic histories have emphasized photography{\textquoteright}s effect on film, Hine reverses this tendency. This investigation provides a critical and long overdue analysis of the narrative aspects of Hine{\textquoteright}s work and the impact of film on his documentary photography.}, keywords = {Drawings/Prints/Works on Paper}, author = {Quick, Kathy} } @mastersthesis {10830, title = {Negotiating Modernity: Edvard Munch{\textquoteright}s Late Figural Work, 1900-1925}, year = {2010}, school = {Pennsylvania}, abstract = {This dissertation undertakes the first contextual study of Edvard Munch{\textquoteright}s late figural paintings. In 1909, Munch (1863-1944) returned to Norway after spending two decades living abroad in Germany and France, and the previous year at a Copenhagen sanatorium, battling an alcohol addiction. After Munch reestablished himself in his native land, critics noted a change in style and subject matter, as well as a brightening of his palette: evidence of his "cure" in Copenhagen. This perceived shift in the artist{\textquoteright}s work has effectively divided Munch{\textquoteright}s career in two, and the scholarship treats each half as independent of the other. Studies of Munch{\textquoteright}s public commissions have shown that after 1909, Munch was driven by a quest for national acclaim. Yet, the figural works, which have received far less attention, demonstrate that Munch continued to develop ideas and motifs that had been central to his early career, challenging the long-held view of the separation between the two halves of Munch{\textquoteright}s oeuvre. The artist{\textquoteright}s engagement with modalities of space and time, and his interest in sexual relationships and the expression of human emotions, already evident in the 1880s and 1890s, evolved throughout the course of his career. By examining the cultural, social, and scientific contexts that informed the creation of the figural works, as well as the circumstances of their exhibition, this dissertation reveals that Munch gave familiar topoi a new, more contemporary valence, portraying relations between homosexual and interracial couples, rendering distortions of depicted space as bearers of emotional content, and challenging the temporal and affective capacities of modern media. The late figural paintings revisit earlier themes through a twentieth century lens, allowing Munch to negotiate his relationship with modernity while furthering his examination of the fundamental concerns of the human condition.}, keywords = {Contemporary Art}, author = {Chang, Alison} } @mastersthesis {10889, title = {Neopaganism: Henry Fuseli, Theatre, and the Cultural Politics of Antiquity, 1765-1825}, year = {2010}, school = {Harvard}, abstract = {The rediscovery of Pompeii and Herculaneum in 1738 challenged European assumptions about ancient life; just as influential, if subtler in its effect, was the modern translation of Greek tragedy. What has largely puzzled art historians about the opposition to a Roman-centered, civic neoclassicism-its violence, sexuality, occultism, in a word its irrationality-can be seen as attempts to make sense of Attic tragedy. Eighteenth century Dionysian theory saw tragedy as inseparable from the ritual life of the polis. Under the pressure of travelers{\textquoteright} accounts, this theory became an anti-colonial cultural anthropology opposed to myths of European superiority and privileged descent from the Greeks. I call this theory neopagan to stress both its pluralism and its reliance on Greek antiquity. In recognizing tragedy as an alien cultural form, modern Europe recognized its own historically contingent status as one culture among many; naturally, this discovery of pluralism was resisted politically and aesthetically. Tragedy was seldom performed, and never without bowdlerization. In painting, it lived a shadow existence alongside more civic-minded subject matter, emerging most explicitly in a corpus of wash drawings executed by Henry Fuseli (1741-1825), and an international circle of artists active in Rome in the 1770s. I examine Fuseli{\textquoteright}s oeuvre within the context of a pluralist classicism, paying especial attention to experiments with moral and formal conventions in the semiprivate medium of drawing. The three main chapters of the dissertation deal respectively with the revival of tragedy as an ancient culture, with the subjective experience of other minds in a radical cultural pluralism, and with a theory of human nature as essentially adaptable that underscores the politics and subjective experience.}, keywords = {Eighteenth-Century Art}, author = {Pop, Andrei} } @mastersthesis {10983, title = {Nerve Languages: The Critical Response to the Physiological Psychology of Wilhelm Wundt by Dada and Surrealism}, year = {2010}, school = {UT Austin}, abstract = {Scholarship on Dada and Surrealism has established that psychology was a major intellectual source for artists in both groups. However, a burgeoning amount of recent work in both the history of art and of science indicates that types of psychology other than psychoanalysis permeated the historical context of the avant-garde. In the late nineteenth and early twentieth century, physiological psychology, for example, was the dominant science of the body and mind, which grounded psychic phenomena in structures of conduction in the nervous system. Modern artists saw within this discourse a fascinating and new theory of experience. In my selective history of the avant-garde{\textquoteright}s reception and response to physiological psychology, I will argue that artists worked within and partially according to the basic tenets of this discourse, but that they reshaped its superstructural projections away from formations and taxonomies of normalcy in consciousness and action.}, keywords = {Twentieth-Century Art}, author = {Mowris, Peter} } @mastersthesis {10775, title = {A Network of Associations: Aesthetic Painting and Its Patrons, 1870-1914}, year = {2010}, school = {Delaware}, abstract = {This study reframes transatlantic Aesthetic painting as a visual language of interconnection and systematic organization, with an emphasis on its development and dissemination through patronage networks in England and America. It foregrounds the paintings of James McNeill Whistler, Edward Burne-Jones, Lawrence Alma-Tadema, Thomas Wilmer Dewing, and Dwight Tryon, among others, as actively meaningful and mobile objects thoroughly engaged with the "networked" mentality of their historical moment. Although Aesthetic paintings are often regarded as having had a primarily negative value, serving an escapist function by isolating and insulating their owners from the pressures of the modern industrial world, they were often favored by the very politicians, financiers, and corporate leaders who shaped that world. Through a series of case studies, I offer a new account of the movement{\textquoteright}s transatlantic evolution and significance, arguing that in form and in function, Aesthetic paintings articulated, rather than evaded, the essentially incorporated and networked character of the commercial and political arenas in which turn-of-the-century patrons were so intimately involved. I have chosen as my organizing theme the concept of the network, which experienced a remarkable transformation from mid-century, when it was primarily attached to concrete systems (railroad tracks, telegraph wires), to the 1890s, when it was extended to include invisible forces and sensations (such as a network of political machinations). This shift signals the emergence of a new type of integrative conceptual thinking that considered diverse individuals and things to be connected through overt and covert lines of influence and communication-an idea exemplified by the incorporated and vertically integrated business, the behind-the-scenes political maneuverings of the club world, and even the popular spiritualist seance. In the midst of this networked moment emerged the Aesthetic Movement in interior decoration, whose advocates insisted that all aspects of a decorated room must be brought into a harmonious relationship, and that even the curve of a table leg might exert a moral and psychological influence on that room{\textquoteright}s inhabitants. The pictorial arts played an active role in such interiors, and my analysis of Aesthetic paintings is the first to situate them within this networked decorative, social, and psychological context. The overarching goal of "A Network of Associations" is to make British and American Aesthetic paintings legible to contemporary scholarship in new ways, primarily by recuperating the integrative priorities shared by many of their turn-of-the-century makers, owners, and viewers. Following an introductory essay that outlines the systematic aspects of Aestheticism through a reconsideration of Whistler{\textquoteright}s Peacock Room, three case studies explore how Aesthetic networks operated in political, philanthropic, and corporate spheres-from the impact of Burne-Jones{\textquoteright}s Perseus series upon the constitution of Tory politician Arthur James Balfour{\textquoteright}s interpersonal relationships and public reputation, to the surprising points of intersection between Dewing{\textquoteright}s garlanded women and the Detroit railroad car building combines managed by Charles Lang Freer. Poised between these transatlantic poles, a central chapter on the New York mansion and art collections of Henry Gurdon Marquand captures the changing meanings attached to Aesthetic pictures and furnishings as they were transported from England to America and installed within a decorative interior whose points of reference were at once local, national, and global.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Deusner, Melody Barnett} } @mastersthesis {10831, title = {Never Alone, Except for Now: Mediated Collectivity in Networks}, year = {2010}, school = {Chicago}, abstract = {Recent considerations of the relationship between art and technology have assumed that the primary problem art must confront is a world dominated by images, a homogeneous world of spectacle that mediates viewers as mass consumers. This dissertation considers the aesthetics of mediated subjectivity and collectivity in light of the historical emergence of two differently-configured forces, electronic networks and neoliberalism, both of which take homogeneity to be their enemy and variegation to be their goal. In a historical situation where electronic networks function as the medium of neoliberalism, and individuality is a privileged mode of personhood, mediated collectivity is forced to work across two previously distinct group forms, populations and publics. The dissertation{\textquoteright}s four main chapters argue that many of the familiar features and anxieties of networked sociality in the Anglo-American context are effects of the disjointedness of public life as it is forced to assemble itself across publics and populations. Each chapter in turn theorizes tactics that artworks have employed to confront this new theater of operations. Chapter One argues that, in search engines as in Thomson \& Craighead{\textquoteright}s Beacon, processes of self-elaboration are remediated as statements about individuality while being used to aggregate searchers as populations. Chapter Two argues that distributed forms of intimacy in textually-mediated online interactions and in Felix Gonzalez-Torres{\textquoteright} candy spills leave the tone of relationality ambiguous, and so invite acts of curating that galvanize fleeting spaces of insiderness. Chapter Three draws on Sharon Hayes{\textquoteright} recent "love addresses" to describe how networked collectivity operates without reciprocity as the foundation of encounter, and so upsets norms of liberal discourse. Chapter Four describes how both art and technology set in motion a historical cycle of what, in the context of Conceptual Art, was called dematerialization, where value is delaminated from the media that preserve it. Recent digital copyright law and modernist art histories have policed this process, attempting to contain concepts as objects. On Kawara{\textquoteright}s Today series and Lucy Lippard{\textquoteright}s Six Years, in their historical persistence, multiply temporalities toward a more distributed, expansive mediation of history.}, keywords = {Contemporary Art}, author = {Cohen, Kris} } @mastersthesis {10792, title = {The New Face of Modernism: Anti-Mimetic Portraiture and the American Avant-Garde, 1912-1927}, year = {2010}, note = {Another Alternate Title: Abstract Portraiture and The American Avant-garde, 1912-1927}, school = {Maryland}, abstract = {At the Little Galleries of the Photo-Secession in 1912, Alfred Stieglitz received the final proofs for Gertrude Stein{\textquoteright}s experimental text portraits "Henri Matisse" and "Pablo Picasso" and subsequently published these poems in the journal Camera Work. Soon afterward a number of visual artists working in the United States began grappling with the implications of such hermetic depictions. Entering into a trans-Atlantic conversation, this fledgling modernist community created radical images that bear witness to the evolving nature of subjectivity and to an extensive culture of experimentation in portraying the individual in the first quarter of the twentieth century. One of the most salient aspects of the modernist worldview was the desire to break with the past. Earlier styles, exhibition standards, subject matter, and teaching methods all came under attack, but none more basic-and symbolic-than the ancient Greek (via the Renaissance) idea of mimesis. Freed from the expectation to replicate reality "impartially," painters and sculptors began instead to emphasize more and more their own subjective experiences through expressive color choices or formal exaggerations. Portraiture, previously so closely linked to flattering transcription and bourgeois values, became the genre par excellence for testing modernist ideals and practices. This doctoral thesis examines the small group of artists working in the United States who advanced an extreme, anti-mimetic approach to portraiture through the dissociation of the sitter from his or her likeness. Drawing on performance theory, this dissertation re-imagines the portrait as a series of events within a social nexus. It also aims to reaffirm the agency of the United States avant-garde in the 1910s and 1920s as its members sought to establish, and then maintain, their status on the American cultural scene specifically through the employment of unconventional portraiture. Through the contextualization of particular objects, the consideration of period poetry, and the incorporation of newly available archival sources, the research presented here illuminates the complex intersections of modernity, representation, and subjectivity, and charts the changes in a specific mode of visual production during the fifteen-year span of 1912-1927, thereby demonstrating Charles Demuth{\textquoteright}s dictum that "In portraiture...likeness is a means not an end."}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Walz, Jonathan} } @mastersthesis {10879, title = {The Nursing Queen: Sculptures of the Virgo Lactans in Late Medieval France}, year = {2010}, school = {Columbia}, abstract = {This dissertation examines one subset of late medieval Marian imagery, the sculptures of the Virgo Lactans, or Virgin nursing the Christ child. I combine close looking at the sculptures with an inquiry into their artistic, social and devotional context through an examination of a variety of texts and images related to the image of the nursing Virgin to answer the following questions: What connections can be made between the growing popularity of the Virgo Lactans and other general trends in the devotional practices of this time? And in what way might medieval viewers of these sculptures have used or understood these works in light of medieval attitudes towards the breast and breastfeeding? I first present the Virgo Lactans sculptures within the larger context of the cult of the Virgin Mary. I then examine one specific component of her cult, the devotion to relics of her milk, and how the metaphor of milk as symbol of wisdom and mercy might have colored approaches to these sculptures. Next, I juxtapose these images with medieval texts concerning the breast and the act of breastfeeding to suggest a range of responses to the contradictory image of the virginal Queen of Heaven nursing her son. The rise in popularity of the Virgo Lactans as a sculpted devotional image occurred at the same time of the rise of a new, affective piety that focused on the bodily experience of salvation. I suggest, therefore, that the sculpted image of the Virgo Lactans was a new type of image, nourished by the rise of the mendicant orders and the desire of patrons to commission images resonant with earlier Parisian prototypes. The tension between the image of an idealized queen and the reality of motherhood created an image of Mary as a figure who nourishes her infant son, and by extension, the faithful, with her milk, "manna from heaven," in the words of the Franciscan monk Bernardino of Siena. The sculpted image of the Virgo Lactans thus highlights both the human nature of Christ and Mary{\textquoteright}s special status as intercessor and as one born free from Original Sin.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Seasonwein, Johanna} } @mastersthesis {10976, title = {Nurturing Neighborhoods: Buster Simpson{\textquoteright}s Eco-Art}, year = {2010}, school = {Iowa}, abstract = {Buster Simpson is a Seattle-based artist who creates work that revolves around environmental issues in public settings. His ecological messages reach local communities through works that are often funded by percent-for-art programs, non-profit organizations such as schools and museums, and other public institutions. By using recycled materials or by purifying water, Simpson{\textquoteright}s public art draws attention to the local environment, and his works provide examples of ways that people can care for their local surroundings. My thesis sheds light on Simpson{\textquoteright}s public and environmental work, detailing the creative manner in which he incorporates history, education, and artistic complexity into his sculptures. Through their aesthetics and their real-world utility, Simpson{\textquoteright}s works nurture neighborhoods.}, keywords = {Twentieth-Century Art}, author = {Heineman, Anna M.} } @mastersthesis {10881, title = {The Oeuvre of Gislebertus and Sculptural Practice in Saint-Lazare at Autun}, year = {2010}, school = {UC Santa Barbara}, abstract = {Leading scholars have traditionally accepted as fact certain notions about Romanesque architecture and sculpture. Among these, it is believed that the sculptor Gislebertus (twelfth century, France) served as "Headmaster" at Saint-Lazare at Autun and oversaw an atelier of men allowed to carve capitals only at the clerestory level of the building. With this comes the assumption that Gislebertus completed almost the entire sculptural program of the choir, nave, and tympana of the church during a ten-year period. New and extensive research reveals several inconsistencies in these conclusions. This new scholarship defines the specific style of Gislebertus as well as where he worked in the church. Close examination shows Gislebertus worked only on a few capitals in the choir and on sculptures on the northern and western tympana. Identification of these more limited contributions refutes the idea that Gislebertus was "Headmaster." It shows he worked in cooperation with other sculptors during his tenure, and spent much less than a decade at Saint-Lazare. Similarities in decorative motifs throughout the church further suggest he and his colleagues worked in a collaborative atmosphere in which they could absorb each other{\textquoteright}s stylistic tendencies. Ultimately, the research in this dissertation questions the atelier system and moves scholarly understanding of it forward with expanded thinking. In doing so, this dissertation revitalizes inquiry into the works of a well-known sculptor who to this day remains a leading figure in medieval art history.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Tade, Jessica} } @mastersthesis {10866, title = {Off the Clock: Walker Evans and the Crisis of American Capital, 1933-1938}, year = {2010}, school = {UC Berkeley}, abstract = {This dissertation examines the photographs of Walker Evans made during a crucial period of his career-the years 1933-38-and uses a simple question about Walker Evans{\textquoteright}s photographs as a springboard from which to examine his career and the place of documentary photography in Depression and post-Depression American culture: Why did Evans train his camera lens so frequently on people who appear to be working class but are not at work? Throughout the 1930s, Evans regularly and successfully made pictures of poor and working people, but he largely elided the two major tropes of pictures of working people by neither photographing bodies bent over machine or field, nor focusing on unemployment lines and scenes of labor unrest. Evans was also interested in things that were not at work-he pictured forms of industrial infrastructure that were not in use such as railroads and factories, decaying or damaged signage for events that had already happened, and-most famously-a great number of unoccupied buildings. I argue that this interest in the obsolescent and the not-working constitute a sustained meditation on his contemporary history. My interpretation of Evans{\textquoteright}s photographs from this crucial period of history focuses on the formal imperatives that ordered his photographic practice, and make the case that Evans found the crux of photography{\textquoteright}s medium specificity in its relationship to time. Time, under the conditions of industrial capitalism, thus occupied a position of both formal and social importance throughout his career. In the first chapter of this dissertation, I argue that Evans developed a repertoire of street portraiture that differed from previous models of documentary photography in its refusal to create narrative contexts for the subjects he pictured. That initial act of refusal on Evans{\textquoteright}s part can be read as a formal choice and also as a social choice: with it, he abandoned a tradition of picturing the poor associated with Progressive reform politics. In the second chapter I argue that Evans{\textquoteright}s work in 1936 can be read within a larger cultural conversation about the relationship between movement and stillness, and that his approach to the working poor in the Mississippi Delta Region consistently refused to picture them as the subjects of irreducible, unchanging poverty. The third and final chapter addresses Evans{\textquoteright}s 1938 exhibition at the Museum of Modern Art, American Photographs, and argues that the exhibition itself should be read as a proxy for the photographer{\textquoteright}s travels through the country; further, that it should also be read as a claim by the photographer for the importance of a model of artistic freedom that elided the kinds of employment models that characterized much photographic work during the period.}, keywords = {Drawings/Prints/Works on Paper}, author = {May, Jessica} } @mastersthesis {10790, title = {Painterly Representation in New York: 1945-1975}, year = {2010}, school = {CUNY}, abstract = {Although the myth persists that figurative painting in New York did not exist after the age of Abstract Expressionism, many artists in fact worked with a painterly, representational vocabulary during this period and throughout the 1960s and 1970s. This dissertation is the first survey of a group of painters working in this mode, all born around the 1920s and living in New York. Several, though not all, were students of Hans Hofmann; most knew one another; some were close friends or colleagues as art teachers. I highlight nine artists: Rosemarie Beck (1923-2003), Leland Bell (1922-1991), Nell Blaine (1922-1996), Robert De Niro (1922-1993), Paul Georges (1923-2002), Albert Kresch (b. 1922), Mercedes Matter (1913-2001), Louisa Matthiasdottir (1917-2000), and Paul Resika (b. 1928). This group of artists has been marginalized in standard art historical surveys and accounts of the period. In general, this is because figurative painting of this period does not fit into a teleological reading of art history, with abstraction perceived as the ultimate progression and goal of painting. As Pop Art, Minimalism, and Conceptualism gained force, the figurative painters were increasingly marginalized in the art world. The aim of this dissertation is to re-contextualize these artists into the New York art world of their time by discussing their training as abstractionists, their aesthetic theory, their teaching, their critical reception, and their careers. I focus particularly on the ways in which they reconciled the principles of abstraction with representational content. Although abstraction and representation were increasingly polarized in the art world, the painters themselves, and several critics and writers on their work were able to see the possibilities for a more dialectical synthesis of the two.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Samet, Jennifer} } @mastersthesis {10821, title = {Performing Chance: Alison Knowles, Fluxus, and the Enigmatic Work of Art, 1962-75}, year = {2010}, school = {UC Irvine}, abstract = {This dissertation turns a critical lens to the activities of the post-WWII avant-garde, with special attention paid to the international collective of visual artists, poets, musicians, and composers known as Fluxus. More specifically, I provide the first in-depth study of the aesthetic pursuits and influences of its sole founding female member, the American artist Alison Knowles, and develop a set of readings around key works created between 1962-1975. In charting Knowles{\textquoteright}s language-based notational scores and performances, objet trouve experiments within her lived spaces, and computer-generated poems and large-scale installation projects, my approach to her practice is chronological as well as thematic. It considers important debates in the postwar era, including: the diversification of media (including the artist{\textquoteright}s body); the impact of old and new technologies (photo-documentation, film, and video); the influence of experimental music and poetry; and the emergence of performance art, feminism and liberation politics. In this way, I reconsider her production within a wider field of artistic experimentations at time when many artists were shifting toward unconventional materials and sources, and I demonstrate how Knowles{\textquoteright}s unique appropriation of chance operations and indeterminate structures engaged with publics both in and outside the rarefied space of the art world. By insisting on a participatory model of spectatorship that had the potential to change the viewing habits and relational experience enacted between artist and viewer, I argue that Knowles effectively challenged traditional notions of artistic labor and helped to redefine the field of cultural production during a time of tremendous social, political, and historical change. Ultimately, this project is a meditation on the ways in which Knowles{\textquoteright}s work, in and out of Fluxus, constitutes a provocative revaluation of twentieth-century art, one that takes the form of an exploration gender and institutions by mining the artistic possibilities of several tropes: the body, consumption, politics, and space.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Woods, Nicole} } @mastersthesis {10753, title = {Perspective and the Renaissance Landscape}, year = {2010}, school = {Columbia}, abstract = {The reconception of painting effected by the invention of mathematical perspective in the early quattrocento was founded upon the depiction of a commensurable and unbounded pictorial space, and, at the same time, upon a centering of the viewer, with whom the space of perspectival projection was necessarily coordinated. This study treats the complex relationship between mathematical perspective and the depiction of landscape in Renaissance painting, and argues that these perspectival conditions, at once structural and phenomenological, had a decisive importance for the development of landscape painting in Europe, and ultimately for its emergence as an independent genre. For Renaissance artists such as Leonardo da Vinci, Pieter Bruegel the Elder, and others, working within a perspectival tradition, this relationship was both problematic and extremely fruitful, and their landscape pictures create a deep interaction between perspective{\textquoteright}s geometric commensurability, implications of infinity, and coordination with a viewpoint, on the one hand, and the complex irregularity, spatial unboundedness, and atmospheric imprecision of landscape, on the other. This interdependence between perspective and landscape is considered in four chapters, each centered on a different fundamental (structural) aspect of perspective. Chapter one focuses on commensurability, specifically in Leonardo da Vinci{\textquoteright}s exploration of mathematical structure in the forms and dynamic processes of nature. The second chapter treats Giorgione{\textquoteright}s transformation of commensurability into evocative and atmospheric terms, a mode of painting that develops the subjectivity implicit in the perspectival notion of viewpoint. Chapter three discusses the framed landscapes of villa decoration, in light of the Albertian conception of picture as window, as both a representation and a problematizing of the hierarchies constituted by perspective{\textquoteright}s own founding principles. The fourth chapter considers Pieter Bruegel the Elder{\textquoteright}s expansive approach to landscape, in which an orientation toward the horizon relates perspectival view, experience of nature, and interpretive vision in the broadest phenomenological and epistemological terms. It was in relation to issues such as these that Renaissance artists brought landscape and perspective into a highly charged dialogue that would have decisive consequences both for the development of European landscape painting and for the changing understanding and status of perspective itself.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Lehman, Geoff} } @mastersthesis {10849, title = {Photographic Representation and Recall: State Management of Public Recollection and Practices of Counter-Memory in Eastern Europe and Russia, 1930-2000}, year = {2010}, school = {Binghamton}, abstract = {Using press photographs, publications and public monuments, this dissertation examines Czechoslovakia{\textquoteright}s post-war development, the period of the Prague Spring and the 1968 invasion of Czechoslovakia by the Soviet and the Warsaw Pact forces. Additionally, this study traces the way the Prague Spring and the 1968 invasion were recuperated during Czechoslovakia{\textquoteright}s 1989 Velvet Revolution and beyond. The reading of the archival material is rooted in an understanding that each object is a product of complex institutional transactions, social practices and ideological assumptions. While most studies treat archival material from the Communist era as simply the result of repressive propaganda, this dissertation investigates how the enlistment of this material by the apparatus of the state produced its own unique forms of knowledge and subjectivities. Deploying Michel Foucault{\textquoteright}s archaeological approach, this study examines not only the internal consistency of the archive but also how it defines what counts as a meaningful statement in a given historical context and how moments of traumatic rupture exceed the frame of the archive{\textquoteright}s coherence. The introductory chapter outlines theoretical hypotheses that lay the groundwork for the dissertation{\textquoteright}s case studies. A key part of this chapter is to re-consider the notion of collective memory as a theoretical model for understanding a specific historical event. The second chapter examines the various systems of control that shaped the Czechoslovak Communist media, specifically the press. The analysis offers a genealogical study of the Soviet media coupled with a consideration of its historical and legislative evolution. The third chapter examines the way public spaces function as mechanisms for composing memory, spatiality and subjectivity. The fourth chapter deals with memorials, their deployment, social function and their appropriation during the 1968 invasion. The fifth chapter juxtaposes two publications, a pro-Soviet text and a dissident Czechoslovak magazine, analyzing specific rhetorical strategies deployed by the press to produce an interpretation of the 1968 invasion. The sixth chapter deals with the politics of recollection and with the apparatuses that enlist memory in the service of specific historical and ideological narratives.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Friday, Julia} } @mastersthesis {10911, title = {Picturing Rice Agriculture and Silk Production: Appropriation and Ideology in Early Modern Japan}, year = {2010}, school = {Pittsburgh}, abstract = {The canonic Chinese theme Pictures of Agriculture and Sericulture (Chinese: gengzhitu, Japanese: koshokuzu) was transmitted to Japanese painting circles from the fifteenth- through the nineteenth-centuries. Paintings with agrarian motifs decorated the palaces of the Ashikaga shoguns and the abbot{\textquoteright}s quarters in the Daisen{\textquoteright}in temple, and were reproduced many times by masters and disciples of the Kano school throughout the Edo period (1603-1868). From the eighteenth century on, agrarian vignettes also appeared in woodblock prints of various types: from the encyclopedic guidebook to the erotic color print. My dissertation focuses on this theme as a case study of painterly transmission. The first chapter compares the wall-paintings in the Daisen{\textquoteright}in with earlier Chinese paintings, and demonstrates that Japanese painters consciously altered the original figures in order to change their Confucian messages. Thus, I propose that the transmission of koshokuzu exemplifies that painters and patrons consciously appropriated this theme to convey varied messages in changing ideological discourses. In the second chapter I argue that the Japanization of Chinese farming figures and motifs reveals that Kano painters used printed painting manuals imported from China to a much greater extent than has hitherto been suggested. Additionally, I link the rise of proto-nationalistic schools of thought to the Japanization of the portrayed landscape. In the third chapter, I concentrate on the print artist Tachibana Morikuni (1679-1749) and argue that his popular painting manuals cannot be the source through which Kano secret models were leaked to ukiyo-e artists. Rather, his work was part of a growing trend in the Japanese market of using printed books as painting manuals. Later print artists, such as Harunobu (fl. 1765-1770), acknowledged their transmission of Morikuni{\textquoteright}s models by parodying his books. The fourth chapter surveys the history of Pictures of Sericulture. I link the lack of sericultural images and the inattention to their study to their association with a female audience. I also detail how weaving women in ukiyo-e served as parodies of Neo-Confucianism and - in later Meiji-period prints - as propaganda for imperial technology.}, keywords = {Japanese/Korean Art}, author = {Bejarano, Shalmit} } @mastersthesis {10743, title = {Picturing the Modern Self: Politics, Identity, and Self-Fashioning in Lagos, 1861-1934}, year = {2010}, school = {Emory}, abstract = {This dissertation traces the introduction and deployment of photograph in colonial Lagos by its varied and diverse populations, all negotiating "strategies of power" through the medium and its myriad applications and readings. This project is situated within the context of other colonial (political and periodic) practices, such as the British colonial Raj and colonial American slavery that suggest parallels in the local adaptations of and imperial struggles with the interpretational opacities of photographs. These notions of multi-vocality of photography are particularly useful when thinking about the use of the medium in colonial Lagos, where the uber-diverse population (consisting of repatriated slave, Muslims, indigenous peoples, European colonials and merchants, and other Africans) inhabited in a complex and ever shifting socio-political landscape. To this point, this project addresses how photographic portraits allowed these subjects to express their multi-positionalities and social projects through a medium which was prone to similar opacities. These portraits documented and informed the self and group fashioning projects of black Lagosians and provided aestheticized readings into the intra- and extra-local negotiations that these populations undertook in their colonial milieu. Moreover, this project engages with the ways in which British colonial administration and their agents similarly deployed photography in the attempt to consolidate their colonial project in the city, and gather Lagosians into the colonial archive. Troubling the works of Allan Sekula and John Tagg, I examine how Lagosians who acted as policing agents of the British colonial state were subjected to controlling and surveilling photographic practices, perhaps even more so than the majority of the population. I also consider the ways in which the archive may be read to give meaning to these photographs and the album-collections into which they are often incorporated. Finally, this dissertation engages with the work of the black African photographer, Neils Walwin Holm and the Lagosian portrait painter, Aina Onabolu to trace how, in the process of acting as visually arbiters for their Lagosian clients, these image-makers also pursued and attained their own independent social projects.}, keywords = {African Art (sub-Saharan)}, author = {Gbadegesin, Olubukola} } @mastersthesis {10975, title = {Picturing the {\textquoteright}Primitive{\textquoteright}: Photography, Architecture, and the Construction of Italian Modernism, 1911-1936}, year = {2010}, school = {IFA/NYU}, abstract = {During the first decades of the twentieth century, photography contributed to major transformations in architectural culture in Italy. Valued for its objectivity as well as its power to persuade, photography offered members of Italy{\textquoteright}s intellectual elite, including architects, ethnographers, social activists, and amateur enthusiasts, an effective way to research, represent, and interpret "primitive" forms of building -- original structures such as peasant huts and rural abodes -- as potent symbols of Italian tradition. Between 1911, the fiftieth anniversary of Italian unification, and 1936, the year Italy{\textquoteright}s invasion of Ethiopia led to the declaration of the Fascist Empire, four large-scale exhibitions placed photographs of the country{\textquoteright}s "primitive" built domain in the center of critical debate surrounding the development of a civilized, modern architecture suitable for the Italian nation. These episodes form a fundamental framework through which to understand the broader political and cultural issues of Liberal and Fascist Italy. While the organizers of these events had different agendas, they shared a desire to posit Italy{\textquoteright}s indigenous architecture as a source of inspiration for renewing the built environment and forging a national identity based on a common past. In photography, they found an ideal collaborator to make visible the country{\textquoteright}s autochthonous building tradition and assert its relevance to social problems of the period. For those in search of new paradigms of architecture, photography provided an accurate, efficient, and technological means of note-taking to represent the modern qualities of the country{\textquoteright}s traditional structures: aesthetic merits of simplicity, sensitivity to different environments and climates, and use of local materials and construction techniques. For those who sought to frame a vision of Italian nationalism based on native customs and culture, photography offered an objective yet persuasive way to portray the indigenous built realm as a symbol of authentic, Italian tradition, even as ideologies of nationhood changed under Italy{\textquoteright}s Liberal and Fascist governments. In its universality -- its productive contribution to a range of disciplines -- photography enabled Italy{\textquoteright}s "primitive" building to take on a crucial role in the construction of Italian modernism.}, keywords = {Twentieth-Century Art}, author = {Harris, Lindsay} } @mastersthesis {10809, title = {Picturing the Yangzi River: Particular Landscapes in Song and Yuan China}, year = {2010}, school = {Chicago}, abstract = {This dissertation presents a study of Southern Song dynasty (1127-1279) handscroll paintings depicting the Yangzi River. I focus on three long handscrolls that offer detailed, continuous views of scenery along either the river{\textquoteright}s entire course or large stretches of it and that feature inscribed place names. These Yangzi River handscrolls have been recognized as the earliest extant depictions of the river and as among the earliest extant Chinese topographical landscape paintings in a portable format. My study disassociates the paintings from the role of passive documents of physical reality assigned to them in existing scholarship and instead situates them within a larger field of inquiry to show how topographical landscape painting interacts with other cultural practices in the production of geographical knowledge. The Southern Song dynasty (1127-1279) was a time of intense engagements with historical and cultural geography and a time of new articulations of ordering and representing geographical knowledge in a variety of textual and visual media and genres that include encyclopedias, atlases and maps, (illustrated) local and comprehensive gazetteers, travel writing, and poetry. One result of my investigation is to identify different cultural milieus and agendas for the production of the individual Yangzi River handscrolls and the range of significances associated with the river and its depiction within the framework of cultural and historical geography. Chapter One shows, based on textual sources, that the Yangzi River became a popular subject in painting during the 13th century and studies the themes associated with it at the time, which include returning home and farewell, a historical interest in sites and regions, and political sentiments. Chapter Two offers a stylistic and connoisseurly analysis of three early extant Yangzi River handscrolls that I combine with an account of their history of reception. Chapter Three continues with a close visual analysis of the three scrolls{\textquoteright} representational strategies and the role of the inscribed place names. I situate these observations within a larger examination of visual and textual representations of place and region in painting, cartography, printed illustrations, local and comprehensive gazetteers, travelogues, and poetic articulations of personal and political geographies. First of all, I show that the category of topographical painting used in modern scholarship has no equivalent in historical categorizations of Chinese painting. In addition, distinctions between landscape painting, maps, and gazetteer illustrations were not consistently made but rather depended on individual contexts, agendas, and their respective systems of categorizations. Secondly, based on the close visual analysis of the Yangzi River handscrolls in relation to supporting visual and textual sources, I conclude that the three individual handscrolls belong to the three different realms of a) official, imperial geography; b) local historical geography; and c) personal geography of notable sites. These distinctions are crucial in re-examining previous assumptions about the shared function and context of production of the early Yangzi River handscrolls, which are based on their shared subject matter and superficial visual similarities. Chapter Four further broadens the discussion of the Yangzi River{\textquoteright}s significance during the Southern Song dynasty by investigating the four notions of the river as a means to order the country, the river as itinerary, the river as boundary, and the river as an accumulation of pictorial sites.}, keywords = {Chinese Art}, author = {Orell, Julia} } @mastersthesis {10878, title = {Piety and the Merchant Patron: A Case Study of Merchant Patronage in Early Sixteenth-Century Burgos}, year = {2010}, school = {Cornell}, abstract = {Beginning in the late Middle Ages and continuing into the early modern period, merchants throughout western Europe became influential members of the growing middle class, and with this growing wealth and influence also came artistic patronage. Although the patronage of merchants from other areas of the western world, specifically Italy and Northern Europe, has been studied in some detail, the examination of merchant patrons from Iberia, and specifically Castile, has been largely neglected. Accordingly, this study offers unprecedented analysis of the funerary altarpiece commissioned at the turn of the sixteenth century by the Castilian merchant Gonzalo Lopez de Polanco for the high altar of the parish church of San Nicolas de Bari in Burgos, Spain. Through the analysis of this altarpiece, this project examines the devotional life and social aspirations of the merchant patron as well as the function of the altarpiece in its original location, doing so through the consideration of contemporary liturgical and devotional texts as well as the patron{\textquoteright}s testament. Moreover, this study addresses how this altarpiece compares to others commissioned by merchant, noble, ecclesiastical and royal patrons in Burgos around the turn of the sixteenth century, a time when Castilian attitudes toward religious devotion were changing due to increased contact with the rest of Europe and the importation of various religious texts under Ferdinand and Isabel. By centering this project on an object commissioned by a member of the merchant class, analysis of this altarpiece offers an initial study of the religious life and artistic patronage of early sixteenth-century Castilian merchants.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Kelley, Emily} } @mastersthesis {10869, title = {Portraits and Icons: Between Reality and Holiness in Byzantium}, year = {2010}, school = {Princeton}, abstract = {My dissertation, "Portrait and Icon: Between Reality and Holiness in Byzantium," examines the parallel phenomena of portraits and icons, and spans from late antiquity through the end of the Byzantine period. Engaging a wide range of material, I address prevalent and persistent themes in the creation of a distinctly Christianized portraiture while analyzing the cultural and theological perceptions in place that guided its reception. Christian Rome inherited its traditions and beliefs regarding portraiture from antiquity, especially in terms of its ritual and religious functions. Though certainly altered for its new Christian context, these perceptions did not disappear altogether. Various texts and images survive that allow us to imagine a world where sacred and secular art intermingled, and portraits of Christ and the saints, emperors, bishops, and holy men existed side by side in visual messages of power and hierarchal authority. Thus, the purpose of this study is not to draw strict divisions between the terms {\textquoteright}icon{\textquoteright} and {\textquoteright}portrait,{\textquoteright} as has been the tendency of past scholars, but to establish that there existed a range of images in the spectrum between icon and portrait that eludes our attempts to classify them definitively. Indeed, certain individuals of high-ranking status, though not saints, were recognized and portrayed in ways that we associate with holy icons because their spiritual or divine authority ranked them closer to God. At the other end of the spectrum, the body of the Church understood these elevated members of their community to be efficacious intercessors since their positions further up the hierarchy enabled them to help others in their spiritual ascent and needs.}, keywords = {Early Christian/Byzantine Art}, author = {Marsengill, Katherine} } @mastersthesis {10913, title = {Portraits of the Sun: Violence, Gender, and Nation in the Art of Shiraga Kazuo and Tanaka Atsuko}, year = {2010}, school = {UC Berkeley}, abstract = {The Gutai Art Association, or more simply Gutai, meaning "concreteness" or "embodiment," was formed in 1954 in Osaka. Emerging at the close of the American Occupation, this intensely productive group took up an array of practices, including painting, performance, mixed-media installation, and calligraphy. This dissertation attempts to move away from the over-reliance on the Gutai Manifesto and the persistent view that Gutai was a collective of homologous interests. In response to this highly generalized approach, this dissertation focuses specifically on two key Gutai members, Tanaka Atsuko (1932-2005) and Shiraga Kazuo (1924-2008), to explore the larger stakes of the modern Japanese subject in the postwar period. Their works, often filled with crimson reds, radiating circular forms, and aggressive acts of exhibitionism, resonate with issues of nationhood and representation portrayed through a language of visual violence and gendered spectacle. An adequate account of the politically fraught, gendered stakes of Gutai art has yet to be produced, and I hope that my work will begin to uncover the intensely important, yet somewhat ambiguous questions of gender, representation, and nationhood that, as I see it, Tanaka and Shiraga insistently posed and demanded to be witnessed. The frequent, but oblique, appearance of visual motifs that bear an analogous relationship to nationalist symbols (for example, circular red shapes reminiscent of the Hinomaru or sun symbol of the flag) is conspicuous in Shiraga{\textquoteright}s art. Shiraga{\textquoteright}s motifs were entangled in a web of violent and messy abstractions that refused to be pinned to a particular political position, whether harmonious or antagonistic to nationalist agendas. His performative invocations of the soldier and the hunter were overtly male roles that allowed a space for critical encounters: between man and medium, state and subject, and representation and envisioned nation. In Shiraga{\textquoteright}s work, the repetition of violence enacts, facilitates, and empowers the construction of the masculine artist-hero. Tanaka{\textquoteright}s work is an interrogation of surface and selfhood that raises questions about the status of the female artist in 1950s Japan. Tanaka{\textquoteright}s paradoxically diverse yet formally analogous oeuvre consistently reworked forms suggestive of the tension between containment and endlessness. Her repetitious, physical engagement with their completion became a means to examine the relationship between subjectivity and representation. This examination ultimately culminated in a commitment to the potential of surface materiality. From the beginnings in her earliest notebooks to the last of her large-scale paintings, nearly all of Tanaka{\textquoteright}s works share a correspondence of circle and line that is intriguing for their exploration of the capacity of the gendered, mechanized, and naturalized subject. Like the notebooks themselves, they offer no clear answers, only a sense of searching for the spaces between what is known and what is not. For Tanaka and Shiraga, fascination with bodily action was not a simple matter of self-promotion through spectacle, but rather informed a strategy through which to exploit the tension between the state and art, and to discover the possibilities of Japanese avant-garde art in the 1950s and beyond. Each used representation to interrogate the inter-relationship of artistic status, gender, and selfhood. Shiraga{\textquoteright}s violent spectacles, steeped in crimson red, and Tanaka{\textquoteright}s electric mappings of circuits and circles charted new artistic territory, asking how patterns of masculinity and femininity, reiterated and reconfigured, could be manifested within and through the entangled culture of the postwar nation.}, keywords = {Japanese/Korean Art}, author = {Kunimoto, Thalia Namiko} } @mastersthesis {10789, title = {A Positive, Popular Art: Sources, Structure, and Impact of Gyorgy Kepes{\textquoteright}s Language of Vision}, year = {2010}, school = {Florida State}, abstract = {The chief objective of this study is to establish the sources of Gyorgy Kepes{\textquoteright}s visual theory as expounded in his 1944 book Language of Vision, and examine his synthesis of these sources in a form that was so popular that his theoretic metaphors are still alive today. The very longevity, pervasiveness, and adaptability of his ideas have contributed to a recent tendency to make inaccurate assumptions about Kepes{\textquoteright}s sources and misconstrue his goals. Growing scholarly attention to Kepes{\textquoteright}s work and theory is hampered by the lack of focused scholarly work on this book, his most concentrated source of his ideas on art, design, and vision. This dissertation looks at the contributions of Kepes{\textquoteright}s mentors, friends, and colleagues-artists, scientists, philosophers, writers, and teachers-whom he met in the principal places he lived leading up to the publication of his book-Budapest, Berlin, London, and Chicago. In particular, this dissertation examines the theoretical or philosophical sources these colleagues turned to in their own work: advertising psychology based to a large degree on ideas of philosopher Wilhelm Wundt; theoretical approaches to new media; Gestalt psychology; and language concepts of the Unity of Science movement. This dissertation asserts that Kepes found both a common social concern among these colleagues and an underlying unity to their varied approaches that he fused into the potent and flexible metaphor of vision. He applied this metaphor to advertising design, but he and others have broadened it to include art, architecture, other forms of design, and perception. Both anchoring Kepes{\textquoteright}s theories and traversing broad areas of visual theory, art pedagogy, and commercial art, this study intends to contribute to a broader understanding of mid-twentieth-century art theory and practice.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Roach, Leigh Anne} } @mastersthesis {10920, title = {The Practice and Politics of Cuban Abstraction, ca. 1952-1963}, year = {2010}, school = {IFA/NYU}, abstract = {The culmination of Cuban modernism spanned the decade of the 1950s, conceptually bridging and defining cultural politics from the dictatorial coup of Fulgencio Batista in 1952 to the socialist revolution in 1959. Modernist values of abstraction and expressive freedom gained currency in Havana during this period, advanced by a young vanguardia seeking to redefine Cuban culture in contemporary, cosmopolitan terms. Both a visual form and an ideological platform, abstraction signaled a new horizon of possibility for art as a means of social and political transformation. Within an increasingly radicalized cultural field, this vanguardia channeled its energies in two principal directions: first and in concert with the building revolutionary movement, toward the overthrow of Batista; and second and jointly with their pan-American peers, toward the wider promulgation of abstraction as a liberal and socially constructive medium. The polemics of abstraction, within both Cuban and transnational contexts, resonated deeply across cultural and international networks, and the contingencies of these artworks broached vitally urgent questions over the transformative potential of art. This dissertation examines the intercultural and ideological purchase of abstraction in 1950s Havana vis-a-vis the larger avant-garde project to which it belonged and within a broadly conceived American context. Abstraction was instrumentalized as a political medium, deeply invested in the national ideology of cubania and committed to the role of the artist and intellectual in the revolutionary process. Focusing primarily on Cuba{\textquoteright}s third-generation vanguardia, the dissertation analyzes the history of two pioneering artist groups - Los Once and Los Diez - and their respective practices of gestural and geometric abstraction. Their work is considered in light of contemporary debates over the social and aesthetic values of abstraction and also in relation to Cuba{\textquoteright}s past vanguardia tradition and the expectations of the post-1959 regime. Abstraction is further contextualized within the generational "horizon of vanguards" that formed the nucleus of Cuba{\textquoteright}s modern movement during this period and their relationship to international avant-gardes from New York to Buenos Aires. The social history of abstraction is here prioritized and its critical fortunes ultimately assessed as a barometer of the modern and cubanista values to which it was connected.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {McEwen, Abigail} } @mastersthesis {10933, title = {Printing and Painting the News in Victorian London: {\textquoteright}The Graphic{\textquoteright} and Social Realism}, year = {2010}, school = {UC Santa Barbara}, abstract = {The works of Frank Holl, Luke Fildes and Hubert Herkomer offer the opportunity to explore the relationship between Victorian painting and the regularly-illustrated newspaper, a new visual technology in the nineteenth-century. All three artists worked as illustrators for the newspaper The Graphic and produced large-scale paintings based on their illustrations. These paintings have been grouped together under the rubric of Social Realism. In this dissertation, I examine Social Realism in light of London{\textquoteright}s wider visual culture, and propose that Fildes, Holl and Herkomer{\textquoteright}s paintings represented a new possibility for high art, generated by the newspaper{\textquoteright}s incursion into the visual field. The first section of the dissertation, entitled "Printing the News," concentrates on the advent of the illustrated newspaper. In chapter one, I examine the contest at mid-century between the fine arts and the mechanically-produced news image by looking at examples from the Illustrated London News, and describe an emerging discourse that pitted ordinary sight against what Philip Hamerton called "artistic sight." The second chapter considers how The Graphic, launched in 1869, rivaled the Illustrated London News by drawing on the traditions of fine art. In part two, "Painting the News," I consider what happened when Holl, Fildes and Herkomer translated their news illustrations into oil paintings. I argue that their paintings should be understood as efforts to refashion the newspaper{\textquoteright}s strategies for the purposes of art. Each chapter takes up one of the three artists in order to examine their respective approaches. The final section examines "The Afterlife of Social Realism." In chapter six, I look at how Social Realism was collected and exhibited after its initial introduction at the Royal Academy, and show that the paintings functioned in the manner of history painting, though updated to serve the specific needs of late- Victorian patrons and viewers. In chapter seven, I consider the afterlife of the genre of Social Realism. Later works by Herkomer and Fildes diverge considerably from my description of the genre. These paintings suggest that by the close of the nineteenth century, the strategies of Social Realism were no longer a possibility within the fine arts.}, keywords = {Nineteenth-Century Art}, author = {Korda, Andrea} } @mastersthesis {10806, title = {Printmaking in Post-War Sichuan: Regional Art Development in the People{\textquoteright}s Republic of China, 1949-1966}, year = {2010}, school = {Princeton}, abstract = {Government-supported artists working in Sichuan Province in the early years of the People{\textquoteright}s Republic of China (PRC) used the medium of woodblock printmaking to create many of their propaganda images. These printmakers were known for their detailed monochrome prints and colorful water-based prints that took the daily activities of Chinese people, especially rural citizens and ethnic minorities, as a major subject. These artists worked in a Socialist Realist style modified by the influence of traditional Chinese painting, modern Japanese printmaking, and European Expressionism. The professional success of this group of printmakers can be attributed not only to the skill of each individual but also to the group{\textquoteright}s effectiveness in promoting their prints nationally. This dissertation examines the historical conditions and stylistic sources that contributed to the development of printmaking in Sichuan during the period from the founding of the PRC in 1949 until the onset of the Cultural Revolution in 1966. Chapter One, "Historical Background and Artistic Context for Post-War Sichuan Printmaking," provides an overview of the history of printmaking throughout China and in Sichuan in the 1930s and 40s and describes the modern print styles developed in the PRC{\textquoteright}s various printmaking centers during the 1950s and early 60s. It shows both how Sichuan prints were similar to those produced elsewhere in China and also how they were distinctively different. It then examines the domestic and foreign stylistic influences at play in the creation of these post-war Sichuan prints. Chapter Two, "Effective Arts Management: The Development of Post-War Sichuan Printmaking," details the history and organization of Sichuan{\textquoteright}s major art institutions during the period from 1949 to 1966. It also briefly describes the biographies of the province{\textquoteright}s most influential printmakers from this period and investigates their body of work. Finally, it analyzes the organizational and interpersonal factors that led to the success of Sichuan printmakers at the national level. Chapters Three and Four, "Depicting Southwest China: Rural Journeys and Images of the Countryside" and "Constructing a Multiethnic China: Visualizing the Ethnic Minorities," investigate the role Sichuan prints played as propaganda, portraying the nation{\textquoteright}s countryside and the ethnic minorities of China{\textquoteright}s southwest to the rest of the nation. The prints supported government efforts to relocate urban youth to the countryside and promoted unity between Han and non-Han citizens. The conception of ethnic minorities that these prints conveyed became a fundamental part of the idea of the Chinese nation, and the power of this imagery and its value to the central government assured the place of Sichuan printmaking on the national stage. This dissertation examines regionalism in the modern art of China by studying an influential provincial site for printmaking production in the early years of the PRC. It shows how local officials and individual artists could create a space for distinct artistic creativity while remaining within the confines of national policies. This dissertation also provides insight into the role of the visual arts in constructing a modern Chinese multiethnic state. It analyzes how prints were used in Sichuan between 1949 and 1966 as propaganda tools to promote the Communist Party{\textquoteright}s administrative approach to cultivating multiculturalism in China and managing the country{\textquoteright}s urban-rural divide.}, keywords = {Chinese Art}, author = {Kelley, Sonja} } @mastersthesis {10900, title = {Ptolemaic Queens and Roman Empresses as Goddesses with Aspects of Tyche}, year = {2010}, school = {UCLA}, abstract = {My dissertation will shed light on the development and art historical importance of distinct and innovative artistic traditions in Hellenistic Egypt and Imperial Rome and their artistic relationship. In the Hellenistic era, only the Ptolemies fostered the queen{\textquoteright}s image. The first artistic tradition explored honored Ptolemy II{\textquoteright}s noteworthy sister-wife and queen, Arsinoe II Philadelphus. Her representations appeared in novel Ptolemaic Greek portrait and native Egyptianizing styles with a goddess{\textquoteright} attributes and splendid iconography expressly designed for her. She received remarkable titles and cultic honors with powerful connotations. Evidence considered in the project shows that Arsinoe II{\textquoteright}s distinctive and extensively produced artistic archetypes influenced depictions of future Ptolemaic queens, and her example empowered them - including the last Ptolemaic queen and ruler, Cleopatra VII. The primary focus of this study is an examination of the singular artistic legacy of Ptolemaic queens within very specific parameters and its influence on the second artistic tradition investigated - retrospective and novel late Roman Republican and Imperial portraits of Livia, with and without a goddess{\textquoteright} attribute. Livia was the celebrated wife of the triumvir Octavian, who, as Augustus, became Rome{\textquoteright}s first Imperial ruler. The following exploration of Arsinoe II, Cleopatra VII, and Livia{\textquoteright}s lives, contexts, and relevant representations from the third century B.C. to the early A.D. 40s showcases their individual artistic traditions. Formal analysis of their depictions reveals their consistent association with similar goddess types, their gendered nature, and the visual strategies utilized to convey similar political propaganda and their elite status. Despite the assertiveness and intellect of all three women, their placid depictions referred to the power, dynastic ambitions, and political agenda of the ruler. In addition to other factors, the project highlights the singular iconography that affiliated Ptolemaic queens with Tyche and graced many images of Livia. Pertinent ancient literary and archaeological evidence, epigraphy, and historical data elucidate the topic. The broad temporal scope of the dissertation is conducive to a productive comparison within and between these Ptolemaic and Roman artistic traditions to define their pertinent characteristics and artistic relationship, and situate their depictions within the larger framework of Greek, Egyptian, or Greco-Roman art.}, keywords = {Greek/Roman Art}, author = {Goldberg, Patricia} } @mastersthesis {10808, title = {The Qianlong Emperor {\textquoteright}s Perspective: Illusionistic Painting in Eighteenth-Century China}, year = {2010}, school = {Harvard}, abstract = {During the golden reign of the Qianlong emperor (r. 1736-1795), Chinese and European court artists collaborated to create a new painting genre. Combining imported European pictorial techniques with Chinese subjects and materials, these artists created life-size illusionistic paintings called tongjing hua that offered Qianlong opportunities to connect with the painted scenes. Still hidden inside restricted areas of the Forbidden City, these paintings have received little to no study. But the life-size scale and unsurpassed quality of tongjing hua, produced at the height of Sino-European artistic exchange, offer new insights into the private thoughts of the Qianlong emperor. Through exhaustive research in the imperial archives, original translations of imperial poetry, and studies of other eighteenth-century imperial court paintings, tongjing hua are rediscovered in four case studies. Chapter One provides the historical background of European pictorial presence and illusionistic painting in China. Chapter Two examines the omnipresent theme of illusion in Qianlong{\textquoteright}s court painting through four versions of his inscribed double portrait One or Two. Chapter Three establishes the conceptual foundations of tongjing hua with the Forbidden City{\textquoteright}s Juanqin Zhai. Chapter Four examines the Pictures of the European Palaces and Waterworks, an album of twenty engravings that provide a visual record of a now-lost tongjing hua. Chapter Five explores the unstudied Qianlong Watching Peacocks in their Prime, notable for its imperial inscription, and connections to Central Asian tribute relationships and Daoist paradise. Chapter Six presents Portrait of Qianlong{\textquoteright}s Consort with Yongyan as a Child, an unpublished, unstudied tongjing hua with several unique and unprecedented features. Individually, these works express Qianlong{\textquoteright}s private thoughts about his family, identity, and legacy that are absent from his public self-presentation. As a genre, however, tongjing hua not only enable his personal self-expression relative to a lifelong obsession with visual illusion, but also reflect eighteenth-century China{\textquoteright}s widespread fascination with European pictoriality that is found throughout its visual culture. This dissertation rediscovers these little-known paintings and investigates their perspectival illusions as the consummate illustrations of Qianlong{\textquoteright}s perspective and the new visuality of late imperial China.}, keywords = {Chinese Art}, author = {Kleutghen, Kristina Renee} } @mastersthesis {10851, title = {Queer Female Networks in Japan{\textquoteright}s Visual Culture}, year = {2010}, school = {UC Irvine}, abstract = {This dissertation interrogates the formation of queer female networks through film, magazines, and literary fiction. Queer presents a method of connecting the unexpected alliances among these varied texts, at whose nodal points stand Hara Setsuko and her films, the figure of the schoolgirl, and the cultural trope of friendship. I argue that girls{\textquoteright} culture in early twentieth century Japan invented and practiced a new type of relationality, and continues to inform our contemporary queer lives. Chapter one examines the sexual and racial underpinnings of Japanese nationalism figured in the body of the film actress, Hara Setsuko. Through Hara{\textquoteright}s star persona, I examine the ways in which sexual and racial purity were fantasized through her body during the prewar and interwar periods. Chapter two analyzes the visual and narrative trope of "friendship" as a site of erotic alliance among women from the 1920s to the 1950s. The emotional texture and intensity of female friendship will be examined here as a specific historical and cultural experience, central to the lives of adolescent girls. Chapter three explores the textual manifestation of queerness through Hara{\textquoteright}s postwar films. I begin by examining the continuity and discontinuity of queer implications in girls{\textquoteright} culture from prewar to postwar Japan in The Green Mountains (1949), moving on to the Noriko trilogy (1949-53) in which Hara{\textquoteright}s queerness is evoked as a joke. To rethink queer spectatorship as "implicational spectatorship," I engage with a critique of historicism and temporal heterogeneity. Chapter four considers the oral pleasure of eating and gossip, which mediate the formation of intimate space and time among women in Late Spring (1949), Early Summer (1951), Repast (1951) and Lily Festival (2000). The links between pleasure, desire, and subjectivity are explored in these oral acts through which the spectator also comes to bear an affective relationship with the text. Chapter five maps the historical development and the overlapping of queer film culture and queer theory in Japan. Tracing the role of film in the formation of queer culture and theory, the chapter ends with an examination of queer and mainstream films through the girls{\textquoteright} film genre.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Kanno, Yuka} } @mastersthesis {10969, title = {Raffaello fiammingo: The Graphic Work of Frans Floris de Vriendt (1519/20-1570)}, year = {2010}, school = {Harvard}, abstract = {Frans Floris de Vriendt (1519/20-1570) transformed the art of his native Antwerp. He broke with local traditions in favor of an Italianate style with humanistic aspirations. The new visual vocabulary Floris championed cannot be separated from his awareness of contemporary Italian art theory, in which the artist{\textquoteright}s profession was elevated to the status of an intellectual endeavor. Rather than simply bringing an Italianate style to Northern art, Floris re-conceived the entire idea of Netherlandish artistic enterprise along Italian lines. This dissertation straddles two theses: the first is built on a set of images, Floris{\textquoteright}s prints, which were never the subject of a comprehensive study. The second, inextricably related argument, addresses the question of style, here articulated in terms of Floris{\textquoteright}s sustained attraction to Italian art throughout his career. In the two main genres that he cultivated, the multi-figure istoria and the allegorical print cycle, Floris eschewed detail in favor of a classicizing art in which the nude played a prominent role. The first chapter draws upon new visual and archival evidence to analyze Floris{\textquoteright}s Italian experience in the context of Netherlandish humanism and pertinent currents in contemporary Italian art. The second chapter explores how Floris{\textquoteright}s close relationship to the publisher Hieronymus Cock enabled the artist to incorporate the print in his larger artistic concern. Questions of patronage and networks of production are also addressed. The third chapter examines the social and political overtones of Floris{\textquoteright}s Italianate style and considers the artist{\textquoteright}s hands-on experience with etching. The final two chapters deal with the changes in Floris{\textquoteright}s art after 1560, in particular, his decision to devote some of his energies to designing prints independently from his paintings. It was Floris{\textquoteright}s involvement in printmaking that made him an international figure and triggered a controversy about prints between the Bruges-born humanist Domenicus Lampsonius and Giorgio Vasari. Their debate opened a double paragone between Northern and Italian art on the one hand, and between painting and engraving on the other.}, keywords = {Renaissance/Baroque Art}, author = {Wouk, Edward H.} } @mastersthesis {10956, title = {Raphael{\textquoteright}s all{\textquoteright}antica Tapestries for Pope Leo X: Art, Culture, and Politics in Early Sixteenth-Century Rome}, year = {2010}, school = {IFA/NYU}, abstract = {This study focuses on a little-known set of eight tapestries sumptuously woven in gold, silver, and silk threads, depicting figures and scenes from classical mythology with inventive grotesques. Commissioned by Leo X, the first Medici pope (r. 1513-21), designed by Raphael in ca. 1515-16, and produced by the Brussels weaver/merchant Pieter Edingen van Aelst in ca. 1516-25, these spectacular, grand-scale textiles, known as the Grotesques of Leo X, pioneered a new all{\textquoteright}antica style that paralleled contemporary painted and sculpted interior programs and that would impact tapestry design for the next three centuries. The tapestries, now lost, are here reconstructed and set among a series of unprecedented decorative projects that Raphael and his workshop produced for Pope Leo in 1515-20. New light is shed on the importance of tapestries at Leo{\textquoteright}s papal court as spectacular artworks and as political propaganda. In Chapter 1, an overview of the patronage of Pope Leo X establishes common themes that run through his support of the arts. Chapter 2 reconstructs the appearance of the lost tapestries. Chapter 3 looks at the genesis of the designs, particularly Raphael{\textquoteright}s use of classical sculpture and painting as models, following Renaissance theories of "imitation". In Chapter 4, humanist literature provides the key to interpreting the multiple meanings of the iconography and to identifying the ix program{\textquoteright}s author and the tapestries{\textquoteright} intended location. Chapter 5 focuses on the production of the tapestries in Brussels by Pieter van Aelst and considers the subsequent impact and influence of the designs. More broadly, this investigation redefines the relationship between the "decorative art" of tapestry and the "fine arts" of painting and sculpture, erasing boundaries between the two. The Grotesques{\textquoteright} beauty, inventiveness, and programmatic complexity rivaled contemporary painting and their luxurious materials made them more highly prized, as undisputed indicators of wealth and power. With this study, the Grotesques of Leo X take their rightful place as Renaissance masterworks and as documents of the fervent humanist culture of early sixteenth-century Rome that looked to the art and literature of the Ancients to forge the new.}, keywords = {Renaissance/Baroque Art}, author = {Karafel, Lorraine} } @mastersthesis {10921, title = {Rebellious Conformists: Exhibiting Avant-Garde Art in Mexico City and Buenos Aires, 1920-1929}, year = {2010}, school = {Chicago}, abstract = {This dissertation asks how and why works exhibited under the rubric "avant-garde" in the 1920s in Mexico City and Buenos Aires--in exhibitions that encompassed displays of modernist paintings, prints, and sculpture, and artes populares and children{\textquoteright}s art--were once believed to speak so vividly about modern American experience. Comparing displays of avant-garde art and their receptions during this period in Mexico City and Buenos Aires reveals that issues vital to defining the related concepts of national culture and middle-class taste coalesced around exhibitions. Young avant-garde artists, many of whom were returning to Latin America after working in Europe, encountered conditions during the early 1920s that prompted them to seek out urban middle-class audiences for exhibitions of advanced art. In Mexico City, a socialist post-Revolutionary government recruited avant-garde artists to help reform national culture and, in Buenos Aires, a booming capitalist economy supported a robust local art market. Five chapters focus on specific exhibitions and the issues they brought to light, as well as on the Lima-based magazine Amauta. Chapter One examines how avant-gardes refashioned popular culture as modern and cosmopolitan for audiences in Mexico City in exhibitions of Carlos Merida{\textquoteright}s paintings, and of artes populares and children{\textquoteright}s drawings. Chapter Two argues that the appearance of avant-garde painting at the Buenos Aires Salon prompted critical debates about the benefits of viewing abstract paintings for the emerging middle-classes. Chapter Three contends that young artists in Mexico City recoded the avant-garde woodcut as Mexican by displaying cubist woodcuts in cafes and tents. Chapter Four shows that the mainstream visibility of avant-gardism in Buenos Aires--spurred by a series of events, including exhibitions of Emilio Pettoruti{\textquoteright}s cubo-futurist paintings and of works by the Mexican artists Manuel Rodriguez Lozano and Julio Castellanos, and Filippo Tommaso Marinetti{\textquoteright}s visit--caused avant-garde critics to distance themselves from European art. Chapter Five argues that by reproducing works by Argentinean and Mexican avant-gardes in Amauta during the 1920s, Jose Carlos Mariategui assigned these cultural "poles" symbolic roles in defining a remarkably open and cosmopolitan Latin American art capable of both absorbing indigenous culture and resisting U.S. hegemony.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Montgomery, Harper} } @mastersthesis {10912, title = {Registering the Real: Photography and the Emergence of New Historic Sites in Japan, 1868-1882}, year = {2010}, school = {McGill}, abstract = {This dissertation examines the way photography engaged in the emergence of new {\textquoteright}historic sites (shiseki){\textquoteright} during the early Meiji period (1868-1882). My contention is that photography, as a distinctive and integral medium of geographical image making, occasioned a new form of visibility of space imbued with national historicity and materiality. Particular attention is paid to the four distinct sites-as history: the {\textquoteright}national space{\textquoteright} in the geo-encyclopedia, architectural topographies, ancient sites, and imperial famous places. Historic sites may be understood as the Japanese counterparts to what Pierre Nora called "les lieux de memoire," the system of topoi through which the modern nation recognizes itself through historical unity. Takashi Fujitani indicates that historic sites were constructed in Japan as part of the larger imperial culture through the process of the reorganization of public space for political rituals in the Meiji period. What distinguishes my approach from these studies is the emphasis on the agency of photography as a privileged medium in the geo-political investment of the modern nation. Photographic indexicality radically transformed the literary vision of {\textquoteright}famous places (meisho),{\textquoteright} a set of places conceived and represented as names and toponyms, by undermining the inherent power of naming to produce the meanings traditionally associated with a place, while regrounding the conceptual understanding of place in a new order of temporality based on history. Such a photographic understanding separate from {\textquoteright}meishoness,{\textquoteright} ironically, helped to reinforce meisho{\textquoteright}s archaic association, especially with the old imperial practice of viewing and naming places. This is precisely the context where photographic indexicality is to be restaged with its political register, operating within a constellation of discourses, powers and institutions that conspired to construct the modern and imperial nation-state in Japan. It is important to note that photography, albeit its central role in the emergence of historic sites, was penetrated by myriad layers of meaning and discourse, and therefore the universal notion of {\textquoteright}photography{\textquoteright} was often inactive in the early Meiji period. Even in the documentation project initiated by the state agency, photography was conceived as a hybrid and polyvalent idea. It was in particular engulfed in the realistic tradition of shashin, which literally means "registering the real essence of the object" yet covers a variety of representational ideas from visual resemblance to ontological truth. Photography is a hybrid historic formation, crossing and dovetailing the different fields of rationality that emerged together in the earlier moment of the Meiji era. By setting up photography as a locus of multivalency, this dissertation aims to retrace and readdress the prevailing narratives of modernity in Japan as a singular and giant rupture from the West. Geo-historical framework of the nation-state was not formulated in one piece; nor was the conception of Meiji modernization a top-down, unidirectional, teleological process predetermined by the modern West. It instead emerged through complex and open-ended series of interactions among diverse media and ideas, just as the plural forms of {\textquoteright}photographies{\textquoteright} were interlaced together in the discursive and material ground of historic sites. The Meiji national topography could only emerge out of these contingent and multiple encounters between landscape and the camera, either imported or indigenous.}, keywords = {Japanese/Korean Art}, author = {Kim, Gyewon} } @mastersthesis {10893, title = {Regulated Freedoms and Disrupted Rituals: Histories of Media Censorship in English Canada}, year = {2010}, school = {Queen{\textquoteright}s}, abstract = {This thesis revisits the effects of moving image regulation, exploring its histories in Canada with an interest in the intersections between arts practitioners and legal processes in the administration of culture. During the 1980s and 1990s, intensified film and video regulatory activities necessitated a coalition space for cultural activism populated by media artists and exhibitors, legal and academic scholars, and public intellectuals engaged with representational and identity politics, producing discourses about sexuality, pornography, race, AIDS, censorship, fundamental freedoms, and art. Considering the current state of the law, largely ignored by arts exhibitors in between moments of crisis, I ask how is the reception of this history reflected in practice with regard to regulation and self-regulation? Drawing on work that develops out of Michel Foucault{\textquoteright}s theories of governmentality, I argue that actors across Canada were confronted with the task of negotiating not just how contemporary art survives regulatory scrutiny in public policy arenas and the courts, but also the acceptable boundaries of sexual identities and citizenship. This approach prompts a rethinking of contradictory liberal and libertarian notions of censorship to foreground the way ideas are constrained in all aspects of policy, and the way protocols of dissuasion often fail. As such, censoring acts reveal themselves to be less about restricting access than they are about the administration or legitimation of particular cultural values. This thesis historicizes the mandate of the Ontario Film Review Board, explores aspects of movement strategies as they work to crystallize identities, documents specific speech constraints and their justifications in the law, and suggests functions of counter-speech in video productions of the period. This thesis is guided by a concern with the relationship between cultural citizens and the state and asks what role does the state imagine itself playing in regulating the circulation of images? What are the (mis)understandings of censorship within more recent anti-censorship movement efforts, and what are the opportunities for cultural citizens to negotiate change, both in public policy and in popular consciousness?}, keywords = {Film/Video}, author = {Sirove, Taryn} } @mastersthesis {10880, title = {Repulsive Rhetoric: Profanity and the Visual Vernacular of Village Churches in Romanesque Saintonge}, year = {2010}, school = {Indiana}, abstract = {This dissertation focuses on the arrangement and interpretation of secondary sculpture of village churches in the Saintonge region of southwestern France. These churches are notable for the inclusion of corbels or modillons (small, slender stone projections that help support the roof) which are carved in the likenesses of a variety of profane motifs. Since corbels comprise most of the sculptural decoration on most of these village churches, it is unlikely that the corbels were placed there in an arbitrary order or with no preference regarding the motifs used, yet such sculptural objects have been overlooked or ignored by traditional scholarship. The primary purpose of this research is to establish a rubric for reading and interpreting these sculptural elements. My fieldwork required photographing and sketching the corbel tables of fourteen churches, six of which form the core of this dissertation. The results of this fieldwork revealed recognizable patterns of usage among specific corbel motifs. Many of these patterns imitate medieval guidelines and practices for building syntactical and grammatical structures in written text. Furthermore, many of the corbel motifs discussed herein appear in medieval written texts as mnemonic devices or punctuation marks. The identification of syntactical and grammatical components on the corbel table has aided in the construction of a heuristic model by which visual phrases may be identified, thus forming visual groups of images that were meant to be perceived as individual units. Additionally, I have presented hermeneutic assessments of several of the most prominent profane motifs and their variations and have shown them to be relevant to the vitwelfth-century culture of the people who comprised the original congregation of these churches. Much of the imagery contained within these corbel tables reflects misogynistic attitudes and anti-Semitic polemical speech that was popular and has been documented in medieval Aquitaine or is connected to the popular literature that flourished in twelfth century Saintonge, such as folk tales, fabliaux, and troubadour poetry. In combining a model of syntactical construction and hermeneutic interpretation, I have developed a rubric illustrating how such sculpture would likely have been understood and read by medieval villagers of Saintonge.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Silvers, Holly} } @mastersthesis {10805, title = {Reshaping Chinese Material Culture: Antiquities Revival in the Era of Print, 960-1279}, year = {2010}, school = {Yale}, abstract = {This dissertation investigates the transformation in material culture during the Song dynasty (960-1279). It argues that the all-encompassing, metropolitan style of the Tang (618-907) arts was replaced with a retrospective aesthetic that was inspired by bronzes of China{\textquoteright}s high antiquity. The antiquarian trend, first advocated by scholar-officials in the court, was a branch of their cultural enterprise. Its goal was to restore Chinese culture to its prime state of antiquity in response to the foreign, barbarian military challenges that threatened the Song Empire. As factional hostilities mounted in emperor Huizong{\textquoteright}s (r. 1101-1125) court, antiquities became one of the weapons by which Huizong and his high officials fought their opponents. This political conflict gave rise to antiquarianism in the mid eleventh century and fueled its later development, causing dramatic changes in ritual objects and fine porcelains in Huizong{\textquoteright}s court. During the Southern Song (1127-1279), through the mediation of antiquarian catalogues, this cultural ideal spread beyond the court to wider audiences and had an immense impact on material culture. Illustrated with images of ancient bronzes and bronze inscriptions, catalogues by Northern Song antiquarians were epitomes of their scholarly accomplishments. After put into print, they further assumed the role of the mass media, spreading images of antiquities in a variety of forms. In addition, the printed catalogues also served as a kind of pattern book, from which ancient forms could be chosen and reworked to create archaic-looking objects. The direction of influence, however, was not one way. As archaism permeated the material world, features of recreated archaic objects were fused into catalogues during later re-cutting and reprinting. Contextual analysis further suggests that the appropriation of ancient bronze forms in the Southern Song moved beyond a formal borrowing to codify serious intents of their owners and their reactions to the cultural tradition they chose to inherit.}, keywords = {Chinese Art}, author = {Hsu, Ya-hwei} } @mastersthesis {10803, title = {Responding to the World: Contemporary Chinese Art, Exhibitions, and Criticism in the 1990s}, year = {2010}, school = {Chicago}, abstract = {This dissertation examines the production and interpretation of contemporary art inside of China during the 1990s as critical responses to new global contexts. Throughout the decade, the rapid ascent of contemporary Chinese art abroad ushered in domestic debates on the politics of representation and the mediated nature of artistic meaning. The purpose of this study is twofold: first, to investigate how new global conditions shifted and elevated the stakes of contemporary art inside of China; and second, to define the strategies and frameworks that artists, curators, and critics adopted to make sense of and make claims for contemporary art within this period of global urgency. Arranged chronologically from 1989 to 2000, each of my four chapter centers on a specific debate from China{\textquoteright}s domestic art discourse. Informed by globalization studies, my dissertation investigates how artists and critics addressed the following topics: establishing international identity, determining artistic value, defining artistic meaning, and demythologizing international relations. In each chapter, I situate case studies of artistic devices and curatorial tactics as critical responses to these problems. By focusing on artwork and artists alongside of concurrent interpretive and evaluative frameworks, this study sheds light on the conflicts constituting the domestic discourse on contemporary art in China. My findings reveal the 1990s to be a time of disparate understandings of contemporary art. Centered on anxieties about history, nationalism, and cultural authority, case studies of artistic devices and curatorial agendas reveal the following principal strategies: (1) Negotiating temporal simultaneity with geographic specificity in order to articulate a definitive "contemporary Chinese art" and history; (2) Establishing value systems, both monetary and intellectual, to determine standards for evaluating art; (3) Using new mediums and theories to obscure artistic meaning, confound conventional expectations, and negate the legitimacy of an overarching systematic authority; (4) Utilizing the social emphasis on exteriority and superficiality to simultaneously confront and submit oneself to global power dynamics. Each of these strategies communicates a distinct definition of artistic meaning and value. Together, they can be read as a heated dialogue informed by oppositional ideologies, worldviews, and theories and deeply invested with a belief in the possibility for contemporary art to effect intellectual, historical, and epistemological change both at home and abroad.}, keywords = {Chinese Art, Twentieth-Century Art}, author = {Wang, Peggy} } @mastersthesis {10761, title = {Revolt and Reform in Architecture{\textquoteright}s Academy: Columbia and Yale in the 1960s}, year = {2010}, school = {Virginia}, abstract = {A critical reassessment of the scope and mission of architecture and planning education in the United States occurred between 1950 and 1970. In this period, a small but significant number of students and faculty at Columbia University and Yale University perceived design{\textquoteright}s dominant pedagogies to be outmoded and inflexible legacies of the Bauhaus and Beaux-Arts institutions. They identified campus expansion, race, and the "urban crisis" as the principle, if unexplored, concerns facing architectural practice by the late-1960s, which pedagogy and practice were loath to address. Through protests and curricular reform, students and faculty members ultimately founded an advocacy model for design practice, which engaged the contemporary and contextual issues that have become central to its academy today. Among urban universities, Columbia and Yale represented compelling cases of how urban history and architectural education intersected. The theory and practice of urban renewal took a specific form that students analyzed-first to replicate and then to critique. As urban violence peaked and riots transformed neighborhoods across the United States, it did not take long for even the most sheltered student to feel the effects. Ultimately, calls for reform in city planning, matched calls for reform in architectural education against social injustice, university "imperialism," and the irrelevance of outmoded ideas about design.}, keywords = {Architectural History/Historic Preservation}, author = {Richards, William} } @mastersthesis {10905, title = {Ritual Space in Temples of Asklepios: A Case Study of the Asklepieion at Pergamon}, year = {2010}, school = {UT Austin}, abstract = {My dissertation investigates the production, representation and experience of space in Hellenistic urbanism, architecture, artworks. Considering festivals as spatialized practices, I argue that the Hellenistic urban setting was carefully designed as stages or arenas for the celebration and performance of state ceremonials. To this end, architects used symbolically charged design technologies, such as skenographia which was deeply informed by ancient optical science. I demonstrate that the perspectival developments in architecture, painting and sculpture were closely allied through application of skenographia, forming a unified visual discourse that was highly attentive to the eye of the spectator. I reconstruct the spatial practices in three major sites of Hellenistic Pergamon, namely, the sanctuary of Athena Nikephoros (bringer of Victory), the famous Altar of Zeus, and the sanctuary complex of the theater of Dionysus. Through these reconstructions, I demonstrate that the spatial order of the Hellenistic urban sanctuary facilitated Attalid kings{\textquoteright} appropriation of Pergamene urban setting as a constituent of their sovereign power.}, keywords = {Greek/Roman Art}, author = {Soyoz, Ufuk} } @mastersthesis {10765, title = {Robert Adam and Essential Architecture: Minimal, Geometric, and Primitive Modes of Architectural Expression}, year = {2010}, school = {Princeton}, abstract = {Robert Adam (1728-1792) is accorded a special status in the historiography of Neoclassicism. Adam is the only British architect for whom a style is named: the "Adam Style." Perhaps for this reason he is regarded as primarily a stylist, an architect of the eye, a brilliant purveyor of a highly personal manner of elegant decoration. His architecture is thought of as pretty but not meaningful, and he is presumed not to have been interested in the great formal and intellectual ideas that are seen as defining Neoclassicism, especially on the continent. These include a return to sober classical forms in opposition to what was viewed as the excesses of the rococo; an interest in bold, blocky forms and sheer surfaces; the use of elemental geometry to shape plans and give form in three dimensions; and a concern with architecture{\textquoteright}s origins and exploration of primitive forms because they were bold and simple and potentially offered a fertile new beginning. This dissertation presents an alternate, or perhaps complementary, view of the work of Robert Adam by placing him in a broader European context and comes to the conclusion that he shared the great formal and intellectual goals of British and continental Neoclassicism. Though he left few writings, his drawings and built works show that he developed a minimal or abstracted classicism in designs for farms, an approach that fertilized his work in all genres; he used ideal geometry to generate the plans and overall shape of buildings; and he developed a "cottage style" with thatched roofs and tree-trunk columns that drew on contemporary ideas of the primitive hut, vernacular building, and the "natural" architecture of William Kent. In all these regards, Adam is seen as pursuing an "essential" or elemental architecture. At the same time, his development of abstract, geometric, and primitive manners is interpreted as a manifestation of his interest in architectural expression, known at the time as "character," though his great innovation in this field was to cultivate increasingly universal, intuitive, and reductive means of expression, rather than relying on conventional allegory and symbol to carry meaning.}, keywords = {Architectural History/Historic Preservation}, author = {Wolterstorff, Robert} } @mastersthesis {10780, title = {Robert Rauschenberg{\textquoteright}s Queer Modernism: Decoration, Theatricality, and Camp in the Combines, 1954-59}, year = {2010}, school = {UCLA}, abstract = {Robert Rauschenberg{\textquoteright}s painted, sculptural assemblages of found objects, photographic reproductions, print and fabric materials have troubled art history in their refusal to yield any coherency of form or meaning. Monogram, 1955-59, is one of the last of Robert Rauschenberg{\textquoteright}s significant "Combines," and it is no exception: it is an outlandish concoction that features a stuffed angora goat squeezed through a rubber tire and standing on a wood platform of collaged material. It seems to be, in fact, a joke. The paint-smeared snout of the goat is characteristic of the gestural abstraction of the New York school, but rather than flattened out onto an expanse of canvas, the brushwork is the outermost point of a very theatrical and heterogeneous assemblage of found objects. Could it not be argued, however, that this "joke" might in fact be part of a larger challenge to modernism that constituted something far more serious? That challenge is argued in my dissertation to be a queer critique of the culture of modernism in the postwar decade of the 1950s. The larger goal of this dissertation is to re-read mid-century modernism and its narratives that have coalesced around this period. Navigating through the two predominate strands of Rauschenberg scholarship, this dissertation seeks to problematize the largely postmodern reading of Rauschenberg, in which his work{\textquoteright}s seeming illegibility has long been seen as a critique of modernist representation. But it also questions the recent new wave of art history that has sought to locate fixed structures of gay identity in Rauschenberg{\textquoteright}s work through a traditional iconographical approach. Mobilizing both the questions of illegibility and identity, Rauschenberg{\textquoteright}s artistic practice is defined queerly as a form of resistance to dominant modes of subjectivity inaugurated through the painterly discourse of the New York school. Weaving the tropes of decorativeness, theatricality and a camp aesthetic through various and overlapping groupings of Combines produced during the 1950s, Rauschenberg{\textquoteright}s modernism is redefined as a queer one.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Folland, Thomas F.} } @mastersthesis {10897, title = {Roman Landscape Painting, Narrative, and Ancient Cartography}, year = {2010}, school = {Boston}, abstract = {This dissertation is an extended analysis of the origins of Roman landscape painting in an ancient genre of pictorial, non-scientific cartography known as chorographia. Seminal early landscape programs like those from the Villa of the Mysteries at Pompeii and the Yellow Frieze from the Casa di Livia in Rome are analyzed in relation to extant chorographic works such as the Nile Mosaic of Palestrina and the Byzantine Madaba Mosaic. Throughout, special attention is also given to the many landscape programs such as the Odyssey Frieze and the panels from Boscotrecase that incorporate visual narrative, and the relationship of these to lost forms of chorographia similarly featuring narrative content. Other Roman works in the chorographic tradition, such as the helical frieze of the Column of Trajan and the Tabulae Iliacae are also discussed. Art historians have often posited direct formal and other connections between the Roman landscapes and the chorographia, but the extent of the relationship between the landscape paintings and the map-like works has never been systematically examined, both because the chorographia themselves are poorly understood, and because the Roman "landscapes" tend to be viewed anachronistically as little more than ancient precursors to post-Renaissance landscape painting. In contrast to preceding scholarly treatments of the subject, this dissertation features an extended synchronic discussion of the development of the chorographia as cartographic documents in antiquity, revealing for the first time a number of key features of the genre that recur in the landscapes, such as the regular use of a hierarchical principle of scale as well as an "odological" or route-based orientation. In addition to providing basic, new insights into the internal spatiality of the landscapes (which in spite of their outward appearances are fundamentally unlike post-Renaissance landscapes) and their general manner of presentation, this analysis of the specific, formal and functional properties of the chorographia also sheds much needed light on the narrative content of the landscapes. As a group, these landscapes represent the earliest substantial body of visual narrative in Roman art.}, keywords = {Greek/Roman Art}, author = {Doherty, Keith} } @mastersthesis {10825, title = {Room 19, 1966-1969}, year = {2010}, school = {Yale}, abstract = {This dissertation deals with the work of four artists-Imi Giese, Jorg Immendorff, Imi Knoebel, and Blinky Palermo-who studied under Joseph Beuys at the Staatliche Kunstakademie in Dusseldorf, Germany. Beginning in 1966, these four artists shared a studio space known as Room 19, and this study examines the variety of objects that these artists produced in that studio, paying special attention to the formal connections between their work and the work of their mentor. The artworks in this study are then interpreted through a complementary intellectual history that incorporates the work of three postwar (post-1945) German philosophers-Hannah Arendt, Ernst Bloch, and Hans Blumenberg-into the existing literature on German art. This contextually-specific constellation of artworks and ideas (most of which are still relatively unknown to Anglophone art history) posits a counter-history of the 1960s in Germany that will open new horizons for art historical discourse on the period. Thus far, much of the scholarship on the German {\textquoteright}60s has either foreclosed on the possibility for a politically-relevant art in the wake of World War II, or has examined European work solely through the lens of contemporary American movements. Therefore, the goal in charting this counter-history is to propose an alternative and productive model for describing the potential relationship between art and politics in the postwar era.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Lang, Colin} } @mastersthesis {10861, title = {Routine Extremism: Ad Reinhardt and Modern Art}, year = {2010}, school = {Harvard}, abstract = {My dissertation considers American artist Ad Reinhardt{\textquoteright}s multifaceted oeuvre through his unique aesthetic commitment and historical reflection, arguing that routine is both the underlying structure and innovative engine of his art. Reinhardt (1913-1967) stands at a fulcrum of modern art: born as abstraction burgeoned, he died just as minimalism reinvented it. His work demonstrates the complexity of these decades, encompassing collage, cartoons, texts, and photographs as well as his best-known, resolutely abstract paintings. I propose that we might understand Reinhardt{\textquoteright}s complexity, without denaturing it, through a greater and more appropriate focus on praxis. This dissertation argues that at the center of Reinhardt{\textquoteright}s productions lies what the artist called "routine extremism." This unrecognized but critical phrase refers to a code of living that would unite aesthetic ritual and daily discipline, and reveals how Reinhardt{\textquoteright}s art is deeply concerned and engaged with the question of representation, and thus its public and its place in the world. This dissertation frames routine extremism as both a procedural method and ethical stance for Reinhardt; it is implicated in the difficult and un-romanticized process of art-making as much as its end result, the language Reinhardt employs, and what the artist should be doing in his or her work, as much as what we experience while viewing it. My chapters define the substance and effects of Reinhardt{\textquoteright}s practice by exploring and integrating its various sites of viewer interaction: Reinhardt{\textquoteright}s understudied cartoon and essay interventions in the public press first launched during World War II and their relationship to surrealism and drawing, his framing of color and space signification in post-war abstraction debates, the material and critical construction and description of his black paintings in relation to history, his use of the classroom and photography to reconfigure survey narratives through slide lecture "non-happenings," and his surprising legacy in emerging art practices of the polyglot 1960s and 70s. I argue for the sustained role of the viewer, and therefore the body, throughout Reinhardt{\textquoteright}s reciprocal aesthetics.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Peiffer, Prudence Marie} } @mastersthesis {10774, title = {Sacred Lands and Profane Women: Charles Ellis Johnson and the Experience of Mormon Photography}, year = {2010}, school = {Stanford}, abstract = {On September 24, 1890, the then president, prophet, seer, and revelator of the Mormon Church, Wilford Woodruff, made an announcement. "I have arived [sic], " he declared, "at a point in the History of my life as the President of the Church of Jesus Christ of Latter Day Saints whare [sic] I am under the necessity of acting for the Temporal salvation of the Church." Finally succumbing to almost four decades of the larger nation{\textquoteright}s anti-polygamy assault, Woodruff sought to save his religion by relinquishing plural marriage. In so doing, however, he profoundly altered the very nature of Mormonism itself. Because in renouncing the practice of polygamy, the LDS church did not simply disavow an unorthodox family structure. To the contrary, it abandoned perhaps the central doctrine of its founding theology -- a theology rooted in an intoxicating vision of the male body and that body{\textquoteright}s sexualized capacity to do nothing less than make heaven on earth. This dissertation examines both this vision and its loss through the work of the little-known Mormon artist Charles Ellis Johnson (1857-1926). Church photographer, Holy Land traveler, and, perhaps surprisingly, erotic stereographer, Johnson made pictures that both restage Mormonism{\textquoteright}s original, polygamous dreams and reveal the extent to which the country shattered these dreams when they broke the LDS to monogamy. More than this, Johnson{\textquoteright}s images simultaneously disclose how the nation{\textquoteright}s brutal anti-polygamy war rooted itself in not simply terror and revulsion but also a delicious myth of the manly Saint. Focusing on Johnson{\textquoteright}s Holy Land work and his erotic stereographs, I examine the way in which Mormon polygamy spoke to such collective fantasies of manhood, power, and, ultimately, the creative impulse itself; I examine, in other words, the way in which plural marriage never existed as an isolated religious event but rather belonged to an historical, cultural, and social vista that encompassed phenomena as diverse as minstrelsy, the New Woman, dude ranches, and even Emerson.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Campbell, Mary} } @mastersthesis {10954, title = {Salvator Rosa as "Amico vero": The Role of Friendship in the Making of a Free Artist}, year = {2010}, school = {Toronto}, abstract = {The seventeenth-century Neapolitan painter and satirist Salvator Rosa (1615-1673), long regarded as a harbinger of the ideals of professional independence that characterize the artists of the Romantic era, is here returned to the social circumstances of his own time. This dissertation argues that Rosa{\textquoteright}s personal and professional identity of autonomy and his pursuit of an original, distinctive persona were facilitated by male friendship. A key component of the philosophical ideal to which Rosa and his friends subscribed, friendship is defined by a standard of egalitarianism that permits its practitioners to be at once dependent and independent. In his adoption and cultivation of the rituals and discourses of friendship - especially academic friendship - Rosa found a strategy for navigating the obligatorily socially-delineated parameters of self-fashioning in seicento Florence and Rome. Friendship permeated the most vital elements of Rosa{\textquoteright}s career: his early theatrical practice in Rome, his private academy in Florence, and his business tactics as a painter and printmaker in Rome. This dissertation aims to open up an area of insight into Rosa as both unique among and representative of his contemporaries, and to expand upon the existing scholarly knowledge of an artist on the cusp of an important development in the history of the visual artist{\textquoteright}s identity.}, keywords = {Renaissance/Baroque Art}, author = {Hoare, Alexandra} } @mastersthesis {10938, title = {Satire and Sadism: Francois-Rupert Carabin and the Symbolist Treatment of Female Form in Fin-de-Siecle France}, year = {2010}, school = {Minnesota}, abstract = {The furnishings and objets d{\textquoteright}art crafted by the French symbolist sculptor Francois-Rupert Carabin (1862-1932) are relatively visually familiar to those acquainted with the Art Nouveau movement, yet there has remained a paucity of critical analysis of the content of his oeuvre. Although Carabin has been assured a position within the canon of design history as one of the first French artists to challenge the hierarchical divisions ideologically elevating the fine arts over the decorative arts, the fundamentally unsettling nature of his work, which often utilizes the sensuous bodies of subservient female forms as both structural and decorative elements, has deflected further scrutiny. In engaging Carabin{\textquoteright}s oeuvre critically, this dissertation is governed by two chief intellectual aims serving as poles generating a field for interpretation and analysis. The first is an archivally anchored concern for situating Carabin{\textquoteright}s oeuvre within the rich and distinctly interdisciplinary historical context of the fin de siecle, allowing for engagement with a wide array of contextual forces including the literary and visual output of the Symbolists and the Decadents, the coalescence of the Occult Revival, the emergence of the fields of psychology and sexology, the eruption of contemporaneous fears of biological, social, and artistic degeneration, and the prevalence of artistic constructs of "natural" and "perverse" women in the face of an extremely vocal feminist movement. The second driving concern is philosophically grounded, and seeks to critically engage with the dilemmas brought to bear in Carabin{\textquoteright}s work, including aesthetic debates surrounding artistic hierarchies, modernist negotiations of philosophies of ethics, conflicted critical responses to sadism and masochism in the arts, and vacillations between fantasy and censure in the face of sexually fraught works of art.}, keywords = {Nineteenth-Century Art}, author = {Sik, Sarah} } @mastersthesis {10885, title = {Sealing at the Edge of the Third Millennium Middle Asian Interaction Spheres: The View from Gilund, Rajasthan, India}, year = {2010}, school = {IFA/NYU}, abstract = {The analysis of contacts and interactions has always played an important role in archaeological studies. Models developed by archaeologists seek to explain the presence of non-native artifacts in indigenous cultures and reconstruct the processes that brought them there. In January 2003, excavators working at Gilund, an Ahar-Banas culture site located in the Indian province of Rajasthan, uncovered a cache of seal impressions that strongly resemble material known from Southeastern Iran and Central Asia. While the use of seals for administration has a long history in the ancient Near East, the seals and sealings uncovered at Gilund present us with a class of materials and a technology that were heretofore unknown in this part of South Asia. The sites of the Ahar-Banas were located far from the urban centers of Iran and Central Asia and had limited contact with these areas. Nonetheless, the discoveries at Gilund suggest that the people of this region were aware of the technologies and iconographies of lands far to their west, and in fact adapted them to their own needs. The seals and sealings from Gilund provide an important corpus of material that is used to discuss the mechanisms of transfer of administrative technologies and iconographies across great distances. While the materials from Gilund were locally produced, the foreign origin of the sealing technology and the iconography is clear. Additionally, chronological analysis of the material shows that the local production was affected by the constantly shifting patterns of Indo-Iranian contact. This suggests that the towns of the Ahar-Banas were not as isolated from the interconnected world of third and early second millennium Middle Asia as previously believed. This dissertation is a study of the how people at the furthest edges of an interaction sphere are affected by and react to the changes at their borders and has two principal aims: (a) to describe and classify the glyptic system used in the Ahar-Banas, both in terms of iconography and function; and (b) to determine the origins of the technologies and iconographies found at these sites and the mechanisms and routes by which they arrived.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Ameri, Marta} } @mastersthesis {10935, title = {The Search for the Sublime Irish Landscape: The Provinces versus the Metropolis in the Work and Lives of Francis Danby, James Arthur O{\textquoteright}Connor, and George Petrie}, year = {2010}, school = {CUNY}, abstract = {The purpose of this dissertation is to examine the lives and works of three Irish artists within different parameters than has traditionally been done so within Irish art-historical discourse. Most scholars who have focused on Irish artists of the past two hundred years have taken a monographic approach. By contrast I shall consider the developmental trajectory of Francis Danby, James Arthur O{\textquoteright}Connor, and George Petrie from a thematic methodology that will consider specific metropolitan versus provincial influences on their work, travel, and most significantly, their adoption of the Sublime as a means of transcending their regional training and allowing them to be considered within a wider, international context. In the nineteenth century many Irish artists felt compelled to leave their homeland with the hopes of finding financial and professional success abroad. The majority of them chose London for their destination and as such, hoped to transcend the limitations of the provincial training they had received within Dublin artistic circles. In 1813, Francis Danby, James Arthur O{\textquoteright}Connor, and George Petrie left Dublin together with the hopes of finding financial and artistic success in London. Although they arrived together, they did not all remain. Petrie returned to Ireland almost immediately, O{\textquoteright}Connor did so a few weeks later (although he would ultimately move to London in 1822), and Danby made his way to Bristol to hone his skills before making his London debut several years later. Within the parameters of Romanticism, each artist evolved from topographic painters to artists who adopted their own version of the Sublime for their landscape views. My analysis will encompass how each artist chose the different versions of the Sublime to differentiate themselves and to propel their careers forward in a more innovative and international manner. Study of their development enables us to consider them as artists from the provinces who ultimately were able to transcend their limited training and engage with the formal and theoretical metropolitan advances of the Sublime.}, keywords = {Nineteenth-Century Art}, author = {Martin, Elizabeth} } @mastersthesis {10990, title = {The Semblance of Things: Corporeal Gesture in Viennese Expressionism}, year = {2010}, school = {Florida State}, abstract = {The Semblance of Things: Corporeal Gesture in Viennese Expressionism examines the critical discourse surrounding the iconography of expressive gesture in fin-de-siecle Viennese visual culture, including their manifestation in early twentieth-century figural painting, modern cabaret and marionette theater productions, and alongside their theoretical explication in the emerging psychoanalytic discourse on clinical hysteria. Within this study, I consider how-and to what end-Viennese artists, actors, and playwrights experimented with the contorted, unnatural, and theatrical staging of corporeal form at the turn of the century, and the meaning these gestures were accorded in the visual and performing arts, as well as in psychological discourses examining the pathological body. My research demonstrates that a certain vogue for theatrical movements inspired by clinically-hysterical taxonomies-which I conceptualize as hysto-theatrical gestures-existed concomitantly among physicians, thespians, and playwrights in fin-de-siecle Central Europe, the latter of whom adapted these clinically-codified movements to the theatrical stage. Although modern psychological science would attempt to lay claim to these gestures and their meanings in the late nineteenth century, examples of these corporeal forms can nevertheless be identified in concurrent French Symbolist painting and modern German theater. Such hysto-theatrical gestures likewise provided the symbolic body language adopted by Viennese Expressionist painters in the early years of the twentieth century-a language that was further imbricated by the widespread use of marionettes in avant-garde theater, the semiology of which was commonly understood as metaphors for human corporeality within the contemporary critical literature.}, keywords = {Twentieth-Century Art}, author = {Timpano, Nathan J.} } @mastersthesis {10986, title = {Silkscreens and Television Screens: Maoism and the Posters of May 1968 in Paris}, year = {2010}, school = {Binghamton}, abstract = {In May and June 1968 artists, students, workers, and others came together in collectives in art and professional schools all over Paris and produced some 500,000 silk-screen posters with over seven hundred different designs. These posters, which were created to support the general strike that was quickly gathering momentum all over France, were pasted up throughout the Latin Quarter before eventually being painted over, torn down, and finally cleared away by the authorities at the end of June. Until now the posters have been framed as an unprecedented example of spontaneous creative expression, a manifestation of the prise de parole (capture of speech) with which the revolutionary situation is regularly associated. By reconnecting the posters to the growing popularity of Maoism in France and the sweeping transformation of mass communications that took place in Europe and elsewhere in the Sixties, this dissertation demonstrates that the French poster movement was modeled on an earlier poster campaign, which took place in conjunction with the Chinese Cultural Revolution two years earlier in Beijing, and furthermore, that their handmade aesthetic, which notably rejected photography, was ideologically motivated rather than merely expedient.}, keywords = {Twentieth-Century Art}, author = {Scott, Victoria H. F.} } @mastersthesis {10829, title = {On Site-Specificity: A Genealogy}, year = {2010}, school = {Emory}, abstract = {This dissertation provides the first historicized reconstruction of the initial development of site-specific art by focusing on art production, exhibition, and criticism from 1967-1969. Reacting to minimalist art and challenging the modernist paradigm of a timeless and placeless sculpture, artists began to create works that responded to, and remained linked to, their individual locations. Siting an artwork came to entail more than choosing its location; for creators of process art, conceptual art, and land art, site emerged as an essential problem of artistic conception. In structuring my analysis of the extensive and diverse body of works described as site-specific, I locate a set of terms that appears essential to a range of artistic practices and their critical reception, notably scale, context, space, place, and situation. Furthermore, I identify distinct iterations of the relationship between an artwork and its site: physical, conceptual, and social. Devoting a chapter to each year{\textquoteright}s production, I trace the progression from the physical and oftentimes superficial association between a work and its location towards a more complete and complex site-specificity in which an artwork remains tied to its site in physical form, conceptual formulation and social function. Presenting several unconventional shows from 1967, Chapter One focuses on the role of exhibition organizers in encouraging the production of artworks not suited to the gallery space and examines the significance of scale and context for the development of site-specificity. Chapter Two explores the artistic and curatorial turn to alternative sites in 1968 and distinguishes between the general concern for space and the specific revelation of place in artworks created for two related exhibitions on college campuses. Chapter Three defines the term situation and introduces the significance of additional circumstances surrounding an artwork-like time and climate-that factor into its final form. The 1969 museum exhibition to first canonize earth art serves as the discussion{\textquoteright}s focus. This dissertation ultimately provides the first close look at the early years of site-specificity{\textquoteright}s development, offers a framework through which to closely examine it, argues for the involvement of artists, curators, and critics alike, and reveals its unsettled nature.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Webb, Emily Taub} } @mastersthesis {10896, title = {Social Memory and Fifth-Century Coinage}, year = {2010}, school = {Brown}, abstract = {Propaganda was alive and well in Late Antique Rome. In a city struggling to maintain its significance, the use of small portable objects - coins, contorniates, diptychs, and calendars - was essential in the manipulation of social memory. In the fifth century, the Western Empire suffered several setbacks. It is in this period that the emperors refrained from campaigning, the city of Rome was sacked by the Visigoths and the Vandals, and the provinces of Britannia, Gallia, Hispania, and Africa were lost. From the emperor to the lowliest local official, messages of effective governing, military prowess, the changing religious climate, and classical Roman virtues were disseminated throughout the city. These messages, meant to convince the people at Rome of its stability, were unable, in the end, to prevent its demise.}, keywords = {Greek/Roman Art}, author = {Dawson, Sarah} } @mastersthesis {10795, title = {Something to Keep My Hands Occupied: Reviewing Tramp Art in Context, 1860-1940}, year = {2010}, school = {Wisconsin}, abstract = {Tramp art is both easily recognized by type as well as highly variable in execution. Various levels of intricacy are evident among tramp art objects, ranging from the clumsily or minimally whittled to extreme realms of technical skill, composition, and imagination. These items can take the form of the most common utilitarian objects to intricately embellished personal objects, highly charged with meaning. The tramp art oeuvre ranges from the smallest, simply carved frames and boxes, to massive pieces of furniture: chests of drawers, bed-frames, desks, secretaries, chairs, tables, and other complex furniture forms that must have been showpieces of the homes in which they were displayed. Artful objects-those made with the intent to inform or enrich our surroundings and lives-mediate the gap between utility and decoration, and the arts and everyday life. This dissertation seeks to reconstruct the context in which tramp art was produced, understood, and enjoyed in the late nineteenth and early twentieth-century. Tramp art objects contain complex social, cultural, and personal markers. Immigration, ethnicity, and itinerancy affected the composition and use of tramp art objects. Creative skill and masterful practice of the crafts of woodworking and whittling allowed makers of tramp art to enrich their own lives, and extend that richness to the lives of others through gifting and sharing. Tramp art objects are material symbols of affection, belonging, brotherhood, and memorialization. Akin to the crafts of quilting and fancywork for women, tramp art as craft, and as an object restores agency to its makers and users. By reconstructing context, their agency moves to the front of our awareness and highlights attitudes and relationships forged around and bound to this practice.}, keywords = {Art of the United States}, author = {Ortiz, Amy} } @mastersthesis {10903, title = {Speaking through the Womb: Graeco-Egyptian Uterine Amulets}, year = {2010}, school = {Brown}, abstract = {This dissertation concerns itself with Graeco-Egyptian uterine amulets, a type of medico-magical tool used to combat bodily suffering in the Eastern Roman Empire from the 1st-5th centuries AD. The accompanying catalogue has assembled the largest detailed corpus of these amulets to date, allowing for innovative approaches to be deployed on and new interpretations to be drawn from the data. The lack of archaeological context for all but one amulet in the corpus has hindered their study by modern scholars. The current work attempts to insert them back into relevant cultural spheres by connecting them to the medical, philosophical, magical and other amuletic traditions of the societies from which they evolved. By restoring such links larger questions can be broached about what purpose the amulets were intended to serve, how they may have been utilized and what they might be able to say about gender in the culture which created and used them. Major conclusions drawn include the fact that the amulets are not primarily concerned with fertility, that they depict the womb either as an enemy or as simply another bodily organ and that they can be used to comment on gender in the ancient world.}, keywords = {Greek/Roman Art}, author = {Marino, Katherine} } @mastersthesis {10860, title = {Status Viatoris: A New Construction of Death in Paintings by Theodore Gericault and Eugene Delacroix and Prints of Pere Lachaise Cemetery, 1815-1830}, year = {2010}, school = {Penn State}, abstract = {During the Bourbon Restoration (1815-1830), Theodore Gericault and Eugene Delacroix created a number of paintings that depict corpses. On second look, however, many of these bodies are still alive, or exist in an ambiguous state between life and death. Similarly prints of Pere Lachaise in travel guidebooks and vues pittoresques juxtapose living and dead figures in such a way as to suggest that the cemetery is a borderland space where life meets death. This project examines the ways in which these representations of death illustrate what is referred to as a status viatoris-the ambiguous stage separating life from death-that is reflective of contemporary medical studies on the dying body as well as influenced by the presence of death in society, and feelings of uncertainty associated with the defeat of Napoleon, the return of the Bourbon monarchy, and the sense of dismay and disillusionment related to the disease known as the mal du siecle. The philosophical concept of status viatoris is borrowed from its original theo-philosophical meaning which defined the progression of life on its way to death. This study relocates its meaning to a medico-scientific understanding associated with late eighteenth and early nineteenth-century studies on death. These investigations-inspired by numerous cases of people being buried alive, health concerns from the effects of overpopulated graveyards and decomposing corpses, and studies of decapitated heads-encouraged doctors and scientists to pursue a greater understanding of the human body through the practice of dissections and close observation of corpses. They determined that a stage exists after life but before real death, and suggested that a body dies progressively, in stages. It is this ambiguous period, or a status viatoris, that appears in paintings by Gericault and Delacroix and in prints of Pere Lachaise. A fresh examination of these images and this discourse on death in light of the political, social, and intellectual culture of France as well as the medico-scientific literature, will provide a new understanding of art focused on the morbidly fascinating subject of death during the Romantic period.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {McCann, Carmen} } @mastersthesis {10958, title = {Studies in Jesuit Art in Japan}, year = {2010}, school = {Princeton}, abstract = {This dissertation examines Jesuit art production in Japan from the period between the late sixteenth century and the early seventeenth century. The project of such art production was initiated by Italian Jesuit Alessandro Valignano, and supervised by Italian painter Giovanni Niccolo during the Jesuit presence in Japan, which began in the latter half of sixteenth century and lasted until 1614. The center of production of this type of art was the workshop adjunct to the Jesuit seminary, where Niccolo trained about a dozen students with European painting techniques, such as chiaroscuro, foreshortening, modeling and linear perspective. The discussion is centered on Christian paintings and a selection of printed images produced in Japan by Niccolo{\textquoteright}s students. By examining the formal characteristics of these works in comparison with their European sources, this dissertation views Jesuit art in Japan as part of a sequence of artistic products and practices brought to Japan by Jesuit missionaries and European traders. At the same time, the discussion argues that these works deserve to be regarded independently because of their unique origin, system of production, and history. Chapter One provides an overview of scholarship on the field and makes the specific intervention of this dissertation clear. The discussion focuses on the problem of so-called Nanban art, the term with which Jesuit artworks in Japan have been labeled. Chapter Two discusses the founding and operation of the Jesuit seminary and art workshop. A Madonna and Child and a Salvator Mundi along with twelve paintings framed utilizing techniques from traditional Japanese craftsmanship are discussed to illustrate stylistic features characteristic of Japanese students at the seminary. Chapter Three provides a historical outline for the arrival of European visual images, which functioned as sources for the Jesuit art production in Japan. Chapter Four looks closely at two paintings of Our Lady and the Fifteen Mysteries as case studies. Drawing on primary sources, including Jesuit letters and reports, as well as the relationship between the art production in question and European sources, this dissertation challenges conventional views of the Christian art produced in Japan during the period in question in order to provide a new, art-historically based perspective, on the first encounter between Europe and Japan.}, keywords = {Renaissance/Baroque Art}, author = {Kotani, Noriko} } @mastersthesis {10940, title = {Surveying the Field: The Popular Origins of Art History in Nineteenth-Century Britain and France}, year = {2010}, school = {USC}, abstract = {The field of art history has often been criticized for its elitism; its beginnings are most commonly traced to German aesthetic theory that emerged in erudite circles of the nineteenth-century university. Yet, this dissertation contends that art history was a significant part of modern popular culture that was dramatically shaped by the rise of industrialization, mass communication, railroad networks, global travel, and imperial expansion. Focusing on the contexts of Britain and France between 1830 and 1900, I examine inexpensive illustrated books and public exhibitions that provided historical overviews or "surveys" of art history for non-specialist audiences. New printing and illustration technologies in the 1800s enabled the production of affordable published surveys, while such books were widely distributed via steamship and railroad lines across national and linguistic borders. Not only were art histories sold in train stations as travel reading, but public exhibitions also enabled virtual travel to art monuments around the world. My focus on art history{\textquoteright}s popular developments opens onto a constellation of issues. It enables a close analysis of modern reproductive technologies and the wide variety of media in circulation (from wood engraving, to plaster casts, to photography), while also addressing the significance of illustrations for teaching art history and other fields of general education. It provides a means of tracing the development of art canons in the context of global exploration and imperialism. In a period marked by intense national rivalries, popular surveys reveal a parallel rise of internationalism, especially among a growing cosmopolitan public with an interest in world art. Finally, a new consideration of introductory art histories allows for recognition of the crucial contribution of nineteenth-century women as art history educators.}, keywords = {Nineteenth-Century Art}, author = {Von Lintel, Amy} } @mastersthesis {10839, title = {Tactical Response: Art in an Age of Terror}, year = {2010}, school = {Stony Brook}, abstract = {This dissertation takes as its point of departure the crisis of perception that photojournalism cannot adequately take into account the problems of representing atrocity without repeating the violence and considers the position of art in expressing the ineffable. I present the work of three artists - Hans Haacke, Krzysztof Wodiczko, and Alfredo Jaar - each of whom has struggled for decades to resolve the issues of confrontation and presentation, offering a vantage point from which viewers can critically address the causes, consequences, and representation of suffering. What purpose does the aesthetic serve in rendering atrocity visible? Can we visualize suffering without perpetuating abuse? What are the ethics behind the icons? Within the context of the art historical tradition of representing tragedy and the persistent vernacular obsession with visualizing abuse, this dissertation considers Haacke{\textquoteright}s, Wodiczko{\textquoteright}s, and Jaar{\textquoteright}s counter-strategies to the practice of witnessing trauma by confronting the ethics of witness and by creating an aesthetics of response.}, keywords = {Contemporary Art}, author = {MacQueen, Kathleen} } @mastersthesis {10872, title = {Taddeo di Bartolo and the Uses of the Past in Early Quattrocento Painting}, year = {2010}, school = {Yale}, abstract = {This dissertation interprets a small group of early fifteenth-century paintings by the Sienese artist Taddeo di Bartolo, selected for their distinctly retrospective character. Late fourteenth- and fifteenth-century art is often interpreted as dependent on the art of the Sienese "Golden Age", or early fourteenth century. This dissertation, however, seeks to expand the field through its focus on a group of works that do not fit comfortably within this interpretation of later Sienese art. Although the works have been selected for their retrospective character, the ways in which they engage with the past cannot be primarily explained through reference to the earlier fourteenth century. They are instead viewed in the scholarship as anomalous in one way or another. The research conducted for this project yielded an unexpectedly unified result, and the dissertation presents the argument that the retrospective character of each of the four selected paintings creates a link between the present and early Christian antiquity through self-conscious engagement with ancient art. The paintings that serve as the focus of the project were painted by Taddeo di Bartolo in the first two decades of the fifteenth century. The leading artist in Siena at the time, Taddeo was sought out by a wide spectrum of patrons throughout Italy, as evidenced by this group of paintings commissioned for churches in Orte (Lazio), San Gimignano (Tuscany), and Perugia (Umbria). All four of the artworks are altarpieces, and I have devoted one chapter to the study of each. Chapter One discusses a Madonna Avvocata painting produced for a church in Orte. Chapters Two and Three focus on paintings for the pieve of San Gimignano: one, a vita altarpiece, and the other, a half-length pentaptych. Chapter Four is centered on a double-sided standing-saint altarpiece made for the church of San Francesco al Prato, Perugia. The ancient objects discussed in relation to these paintings range from panel paintings perceived to have been painted by the hand of Saint Luke, small pagan ivory diptychs kept in Christian church treasuries, ancient Roman funerary sculpture lining the roads leading out of Rome, and ancient columnar sarcophagi found in ecclesiastic contexts throughout Italy.}, keywords = {Early Medieval/Romanesque/Gothic Art, Renaissance/Baroque Art}, author = {Cree, Sarah} } @mastersthesis {10867, title = {Taking Critical Positions in Contemporary South African Photography, 1967-2007}, year = {2010}, school = {CUNY}, abstract = {This work presents a history of South African photography through an account of critical practices undertaken by individual photographers. Rather than the history of photography in South Africa, this project offers a taxonomy of a variety of strategies and tactics pursued by practitioners of the medium before and after the fall of apartheid. Told through case studies, it probes how these photographers were influenced by their political commitments, their dreams about their country{\textquoteright}s future and their beliefs about the efficacy of art as an agent of social change. To consider both the practice of particular photographers and their personal investment in the making of images, this dissertation blends a theoretical framework with biography and social history. While bodies of theoretical inquiry, like critical white studies and creolization theory, help put South African photographs into an international dialogue with other contemporary art, biographies ground the work in the lives led by photographers who have experienced the vagaries of South African history. Drawing on interviews and on an analysis of the history of photography in South Africa, this dissertation inquires what these photographs tell South Africans about themselves and what they tell the world about South Africa. Chapter One provides a short account of the history of photography in South Africa told through the lens of the work and careers of photographers Santu Mofokeng, Peter McKenzie and Jo Ractliffe. Chapter Two relates the work of David Goldblatt and Hentie van der Merwe to that of scholars pursuing an avenue of inquiry called critical white studies, scholars who posit whiteness as a socially constructed form of privilege. In Chapter Three, the documentary photography of Ernest Cole and the conceptual work of Berni Searle will be situated in relation to creolization theory. Chapter Four examines how photographers Mikhael Subotzky, Zanele Muholi and Nontsikelelo {\textquoteright}Lolo{\textquoteright} Veleko are articulating new concepts about what it is to be a post-apartheid South African photographer. Finally, I will conclude with a reflection on my own subject position: an American, deeply concerned about race, who is looking at South Africa in an attempt to understand his own history.}, keywords = {Drawings/Prints/Works on Paper}, author = {Mulhearn, Kevin} } @mastersthesis {10810, title = {Temples of Trade: Chinese Art in Bangkok, 1824-1851}, year = {2010}, school = {UC Berkeley}, abstract = {n the second quarter of the nineteenth century, Thai Buddhist temples in Bangkok began to be built and decorated in a Chinese style, a school of art called phraratchaniyom, or "the king{\textquoteright}s preference." The principle patron was Rama III, King Nangklao (r.1824-1851), who maintained close trade relationships with China and provided economic opportunities for the rapidly growing number of Chinese immigrants in Siam. This study examines how the interests of several communities, including the royal family, the traders from China who had acquired fortune and title in the Thai court, and the immigrant Chinese artisans who sought employment in Bangkok, converged in the development of phraratchaniyom painting. A number of Third Reign temples, such as Wat Ratcha Orot, Wat Kanlayanamit, Wat Phakhininat, Wat Nak Prok, and Wat Prasert Sutthawat, all contain phraratchaniyom murals. The murals fall into two broad types: narrative scenes from the Chinese historical epic Romance of the Three Kingdoms and symbolic arrangements of auspicious imagery derived from popular domestic art in southern China. Hokkiens (Fujianese) were the dialect group most actively involved with the Siamese court in producing temples decorated with these themes, and stylistic parallels can be traced between temple murals in Bangkok and Fujian. In the process of translation between cultures, forms of art that had been dismissed as vulgar and provincial in the dominant Chinese aesthetic of literati refinement were elevated, in Siam, to the epitome of cultivated taste. Although the phraratchaniyom school did not long outlive Rama III, the paintings survive as important visual documents from the Chinese diaspora. The Third Reign was one of the most bold and experimental periods in the history of Thai art, and phraratchaniyom painting, a kind of Southeast Asian chinoiserie, was the last artistic movement to emerge in Siam before the Fourth Reign{\textquoteright}s engagement with the West inspired a new enthusiasm for mimesis and perspective.}, keywords = {Chinese Art}, author = {Patterson, Jessica} } @mastersthesis {10843, title = {Text and Image in Classical Maya Sculpture: AD 600-900}, year = {2010}, school = {UIC}, abstract = {This study examines the relationships between and intersections of figural imagery and hieroglyphic text in Classic Maya sculpture during approximately AD 600-900 in southern Mexico, Honduras, Belize, and Guatemala. As part of a significant period of cultural shift marked by heightened political tension, monumental sculpture became a primary vehicle for the dispensation of elite ideology to a broad audience. The present work engages a model of the {\textquoteright}Domain of the Image{\textquoteright} borrowed from Visual Studies to analyze intersections of hieroglyphic script and elite portraiture, and demonstrates that these conflations generate meanings that are lost when we examine these graphic modes independently of one another. Captive nametags, nominal headdresses, and hieroglyphs presented in-hand exemplify the complex manifestations of conflated word and image which are frequent in Classic Maya visual discourse. This inquiry also considers the ways that reading practices, performance, and materiality inflected and facilitated audience engagement with ancient Maya art.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Pre-Columbian Art}, author = {Burdick, Catherine} } @mastersthesis {10884, title = {Theophilus{\textquoteright} On Diverse Arts: The Persona of the Artist and the Production of Art in the Twelfth Century}, year = {2010}, school = {Michigan}, abstract = {De diversis artibus (On Diverse Arts) is one of the rare tracts on art and art-making to survive from the Middle Ages. Written by a monk using the pseudonym Theophilus, dated to the early twelfth century, and localized to northern Germany, the treatise comprises three books of instructions on the arts of painting, glass, and metalwork, each introduced by a prologue. Eight nearly complete copies of the text survive, including two from the mid-twelfth century. Seventeen additional manuscripts preserve either incomplete copies or excerpts. Drawing on the evidence of all these manuscripts, the dissertation examines how the text may have been read and understood in its twelfth-century context and later, and what it might reveal about attitudes toward art-making. When prologues and instructions are studied together, On Diverse Arts emerges as an integrated, carefully structured text with a sophisticated agenda. Emphasizing material hierarchies and spiritual ascent, it effectively unifies the theory and practice of art. The first chapter of the dissertation introduces the manuscript copies of On Diverse Arts and follows the remarkable story of its reception over the centuries: manuscripts were avidly collected and read by artisans, humanists, and antiquarians, and their interests still affect our own. The second chapter draws evidence from one early manuscript to uncover the internal structure of the text and to set the stage for a discussion of the parallels between On Diverse Arts and contemporary pedagogical and exegetical literature. The third chapter reexamines the identification of Theophilus as the monastic artisan Roger of Helmarshausen in the oldest copy of the text. I propose that the memory of the artist gave specific meaning to style and ornament in a network of monasteries, and I thereby I redirect questions of identity to issues of memory. The fourth chapter starts with one manuscript{\textquoteright}s marginal notations to demonstrate how Theophilus{\textquoteright} tract moralizes the labor of the artist, transforming art-making into the practice of virtue or vice. Finally, the fifth chapter draws upon a composite manuscript to shed light on the variable generic status of On Diverse Arts and the place of art-making within medieval schemes of knowledge.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Gearhart, Heidi} } @mastersthesis {10796, title = {Thomas Cole{\textquoteright}s Indiana Subjects, Racial Politics, and the National Landscape}, year = {2010}, school = {Indiana}, abstract = {Throughout his career, American landscape painter, Thomas Cole (1801-1848), often included representations of Indians in his landscapes, typically portraying them as marginal figures blending into the wilderness. I argue that this practice carried a deeper meaning that scholars have hitherto assumed, particularly in light of the consistent presence of Indian subjects in Cole{\textquoteright}s sketchbooks and personal writing. My dissertation reexamines this canonized American artist on three levels: his fascination with Indian subjects, the impact of Indian-White relations on the production and reception of his art, and the role his artwork played in perpetuating stereotyped understandings of Native Americans. My methods begin with an examination of Cole{\textquoteright}s personal papers at the New York State Library and the Detroit Institute of Arts, and in my first chapter I catalog the frequent representations of and references to Indians by Cole, most of which have remained unexamined by scholars of American art history. Subsequent chapters serve to contextualize this information in terms of nineteenth-century culture and politics. I observe how Cole{\textquoteright}s representations of Indians functioned for an American audience in the context of other examples of visual art form the period. I then explore the role of Cole{\textquoteright}s art in the construction of American identity, in which the American Indian played a paradoxical role of being symbolically important yet politically marginalized. I also connect Cole to Indian history in the northeastern United States through the economic, scientific, and cultural activities of his patrons, many of whom were deeply involved in Indian politics.}, keywords = {Art of the United States}, author = {Palm, Nancy} } @mastersthesis {10854, title = {Thresholds: Managing Life and Death through the Public Circulation of Scientific Images}, year = {2010}, school = {UC Irvine}, abstract = {This project seeks to locate medical imaging within the broader cultural and political climate of contemporary visual culture. Based on the awareness that medical images in fact are present in many parts of daily life - from narrative television and film, to trips to the hospital, and even as keepsakes kept in the family home - I subject these expert images to a humanities-based critical appraisal. Using historical, feminist, queer, and cultural studies methods coupled to a political and economic analysis, I show how three-dimensional fetal sonograms, electron microscopy, and advanced brain images are each used in laboratory and popular contexts. Specifically, these images circulate in highly charged political debates about what is alive and what is not as various kinds of evidence based on ethical and moral considerations. I look at film and television, medical textbooks, the history of medical imaging from drawing to computer-aided modeling, and argue that these images are in no way easily legible. Instead, they require careful scrutiny of various contexts as well as close examination of the images as cultural artifacts in order to be understood. When viewed closely, the manipulation of the image plane, the use of computer programs, and the contexts within which medical images circulate in popular culture accomplish a broad "education" of the contemporary viewer about how and what to consider alive and dead. I conclude that the role of the scholar within Visual Studies is to make the images strange rather than familiar, so as to provoke questions about what we mean when we address ourselves as the source material for medical imaging industries and moral attitudes about states of aliveness.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Seiber, Tim} } @mastersthesis {10856, title = {Through a Lens Darkly: Absence, Erasure and Invisibility in the Visual Culture of 9/11}, year = {2010}, school = {UC Irvine}, abstract = {The following project considers the formative role of missing and/or elided visual phenomena within what I call the "aftermedia" of the event, those modes of representation (photography, film, painting and sculpture) not involved or only indirectly involved in the "live" presentation of 9/11. Under consideration are not only blatantly censored images such as the Guernica reproduction at the United Nations that was covered on the day that Colin Powell announced plans to invade Iraq, but also active experiences of invisibility. Examples of the latter include the tourist{\textquoteright}s experience of the city while atop the observation deck of the World Trade Center, the camera{\textquoteright}s interruption of vision as amateur photographers documented the collapse of the Towers and the affective charge of Richard Drew{\textquoteright}s Falling Man photograph, which relies upon a powerful, but unconscious memory. Throughout these case studies, the larger claim being made is that absence, defined in terms of censored images and/or images whose content is somehow shadowed by negativity, operates as an active presence in the visual culture of traumatic events such as 9/11. In considering the unique status of analog media in light of the advent of digital formats, this inquiry attempts to expose the limitations of prevailing theories of trauma studies with regard to the 21st century disaster. Of particular importance in this discussion is the way in which the varying temporalities that are brought about by the interaction of these two modes of representation diverge from the traditional understanding of trauma. In order to catalog this convergence, this project utilizes a visual studies approach which places the individual object or visual experience within a web of interconnecting phenomena.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Stubblefield, Thomas} } @mastersthesis {10901, title = {The Topographical Transformation of Archaic Rome: A New Interpretation of Architecture and Geography in the Early City}, year = {2010}, school = {UT Austin}, abstract = {Most studies of Roman architecture cover the third century BCE to the fourth century CE, a period of luxurious building projects like the Colosseum and Pantheon that remain relatively well documented in the archaeological and literary record. Yet Rome did not spring fully formed from the ground in the third century, its architecture relying entirely on precursors and precedents in buildings from far away times and places. In this study I fit remains of architecture from early Rome (ca. 650 to 450 BCE) into the cultural framework of the contemporaneous Mediterranean and try to assess how the changing cityscape effected both archaic Romans and later Roman architecture and topography. Because many studies of archaic Rome have attempted to fit archaeological remains with the literary record, and because this has created much controversy, I put the literary record to one side and focus on material remains in an attempt to see what they can reveal on their own.}, keywords = {Greek/Roman Art}, author = {Hopkins, John} } @mastersthesis {10845, title = {Touching the Divine: Mobility, Devotion, and the Display of Religious Objects in Early Modern Rome}, year = {2010}, school = {USC}, abstract = {The embodied experience of objects was a historically specific mode of reception formed by the transformations of sacred spaces, rededication of sacred objects, and the continuation of customary religious behavior in early modern Rome. At the end of the 16th century, sacred spaces and art were being reformed as new St. Peter{\textquoteright}s Basilica emerged as a devotional space meant to glorify the archaeological evidence of the origins of the Church, providing a model for others to follow. This dissertation focuses on the early modern period, in particular the late 16th- and early 17th-century reception of a selection of ancient, medieval and Renaissance objects, including a bronze sculpture of St. Peter ( Basilica di S. Pietro in Vaticano), a marble sculpture of St. Peter (Grotte Vaticane), the Madonna del Parto by Jacopo Sansovino (S. Agostino), the Bocca della Verita (S. Maria in Cosmedin) and a marble sculpture of Christ by Michelangelo Buonarroti (S. Maria sopra Minerva ). Some of the objects are quite well known both in the history of art and to the casual visitor to the Eternal City. In bringing together these seemingly unrelated objects, it is my goal to underscore how ancient, medieval, and Renaissance material culture intersected in the sacred spaces of early modern Rome. The dramatic material and spiritual changes at St. Peter{\textquoteright}s brought about a moment in which the pagan undercurrents of devotion still lingered on even in the wake of the Counter Reformation.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Renaissance/Baroque Art}, author = {Nolan, Linda} } @mastersthesis {10922, title = {Toward a Counterpublic Sphere: Argentine Conceptual Art, 1966-1976}, year = {2010}, school = {CUNY}, abstract = {This dissertation historicizes and theorizes the emergence and refinement of conceptual art in Argentina between the years 1966 and 1976. The conceptual turn, commonly understood as the shift from painting and sculpture to multimedia event- and language-based artistic practices in the 1960s and 1970s, took on an activist dimension in this context. A group of artists in Argentina collaboratively developed an educational role for art in the face of the dictatorship{\textquoteright}s control over a relatively new and increasingly powerful mass media. Argentine conceptual art as it is understood here can be traced back to one figure in particular, Oscar Masotta, a cultural theorist, pedagogue, and occasional artist who argued that artists such as Andy Warhol were engaged in a semiotic project of stripping away the content, or message, of the popular image to reveal the code, or underlying structure, that allowed the message to be delivered. Masotta and a circle of artists with whom he was working expanded this technique to include other systems that could be similarly analyzed: genres of art such as the happening, exhibition space, the art institution, the mass media, and the state. This process of extricating code and message has a crucial consequence: once analyzed, the system at hand can no longer deliver its message, either because its code has become too conspicuous or because it has been dissembled into parts. In 1968, Masotta{\textquoteright}s techniques were incorporated into a larger collaborative project titled Tucuman Arde, which staged protest exhibitions against the dictatorship{\textquoteright}s economic policies at union halls. For the artists involved in this project, it was not enough to merely analyze codes. A replacement message had to be substituted for the one that had been undermined. This dissertation traces the shared development of these conceptual strategies up to and after 1968, and the abandonment of art by most of the artists involved in Tucuman Arde. With worsening political conditions in Argentina in the 1970s, the conceptual strategies utilized by Masotta and Tucuman Arde were adapted to address political oppression from an increasingly powerless position.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Quiles, Daniel} } @mastersthesis {10898, title = {Towards an Agora: The Spatial and Architectural Development of Greek Commercial and Civic Space in the Peloponnese}, year = {2010}, school = {IFA/NYU}, abstract = {Despite the presence of sufficient archaeological and literary evidence, the Peloponnese is a region of the Ancient Mediterranean that is underrepresented in studies on the Greek agora. Many scholars prefer to draw on the more familiar paradigms, such as the Athenian agora or the impressive Hellenistic agoras of Asia Minor, rather than incorporate other models to gain a more comprehensive perspective. This study changes this circumstance by exploring the structure and mechanics of the Greek agora at Argos, Corinth, Elis, and Megalopolis during the Archaic and Classical periods. Agoras in these Peloponnesian settlements show great diversity in their architectural and spatial development, which is a reflection of their (unique) urban and social realities. Taken together the Peloponnesian experience allows us to adopt a more fluid and idiosyncratic interpretation of the Greek agora, rather than base our assumptions on preconditions or universal models. Through a detailed examination of the archaeological and literary evidence, the physical features and social framework of the agoras at Argos, Corinth, Elis, and Megalopolis come into greater focus and help write a different history of the Greek agora. Despite the disproportionate emphasis placed on the political underpinnings of the agora, this study shows that political activity and civic buildings played a less conspicuous role in the agora{\textquoteright}s early development. There is also no measurable impact of democracy on the agora{\textquoteright}s physical composition at those Peloponnesian cities that adopted democratic constitutions (Argos, Elis, and Megalopolis). Instead, the agoras at these centers were shaped by disparate factors, such as trade and commerce, urban cults and religious festivals, and the means of transportation and communication. It is this mixing of activities that characterizes the Greek agora, and marks its inherently diverse role in the urban fabric of city.}, keywords = {Greek/Roman Art}, author = {Donati, Jamieson} } @mastersthesis {10740, title = {Tu Tumbao-Iconography of the Rumba Complex: AfroCuban Expressive Culture and Embodied Philosophy}, year = {2010}, school = {Yale}, abstract = {This thesis explores the iconography of Cuban rumba-a unique AfroCuban dance and music complex that represents the foundation of contemporary Cuban popular culture-and argues that rumba constitutes an essential part of a greater African-based ontology. I conceptualize rumba dance performance as knowledge embodied, an avatar of nonverbal cultural communication and consciousness, which plays a central role in the organization of daily life and formation of identity. Moreover, Rumba: A Philosophy of Motion demonstrates that concrete continuities exist between the diaspora and mainland Africa through close scrutiny of rumba and parallel performance art traditions in north, west and central Africa. This dissertation also attempts to identify specific African-based stylistic conventions as exemplified by Sahara{\textquoteright}s Imazighen (also known as Berber) peoples, Mali{\textquoteright}s Mande (known as Ganga in Cuba) and related groups, and the Kongo civilization establishing that although ethno-cultural boundaries exist, they tend to be permeable. By contextualizing Cuba{\textquoteright}s complex cultural landscape, an art history of rumba demonstrates the central role of performance in the transmission and preservation of culture, and the drive for self-healing in the face of shattering interruption and forced migration. The heart of man{\textquoteright}s most fundamental questions of life, although AfroCuban culture cannot be separated from anti-colonial consciousness, it is the journey of existential and spiritual self-deliberation that lies at the heart of this inquiry.}, keywords = {African Art (sub-Saharan), Performance Studies}, author = {Richter, Petra} } @mastersthesis {10962, title = {Unconventual Women: Politics, Religion, and Image in the Court Beguinages, ca. 1585-ca.1713}, year = {2010}, school = {Brown}, abstract = {My dissertation combines archival research with visual analysis to interrogate the roles of the Court Beguinages of the Southern Low Countries in the Counter-Reformation confessionalization. The Court Beguinages were large communities of laywomen, called Beguines, whose lifestyle in many ways imitated monasticism but who did not take permanent vows or adopt enclosure. Despite ecclesiastical suspicion of unenclosed religious women, the Beguines were able to negotiate a tense but symbiotic relationship with the Tridentine Church. My analysis turns on the idea of image, broadly conceived as referring to visual images, to the complexes of ideas that constitute individual and corporate identities (i.e. {\textquoteright}public image{\textquoteright}), and to the fluid and mutually informative relationships between the two. By situating printed imagery, architectural arrangements, and painted altarpieces in their broad historical contexts, I demonstrate that the Beguines{\textquoteright} careful management of their identity not only allowed them to defend themselves against criticism but also rendered them important actors in the promotion of Catholic orthodoxy in Flemish cities.}, keywords = {Renaissance/Baroque Art}, author = {Moran, Sarah Joan} } @mastersthesis {10840, title = {Unstable Ground: Photography Books and the Modern Landscape, 1938-1975}, year = {2010}, school = {UC Irvine}, abstract = {Unstable Ground: Photography books and the modern landscape, 1938-1975, pursues research in the following areas: the ways in which photography affects our understanding of landscape, the importance of reproductive media to photography, and the unique institutional history of photography. In Unstable Ground, the author considers publications from Walker Evans, Robert Frank, Ed Ruscha, Bernd and Hilla Becher, Lewis Baltz and Judy Fiskin, and uses them to argue that photography books represent the modernization of photography in a twofold manner. First, in displaying a body of work, these books are a means for the author to cohesively present their stylistic intentions. Secondly, these books each deploy a sequence of photographs as a means to constructing critical perspectives on the dynamic social changes of capitalist industrialization in the mid-20th century. Based in readings of key essays by Walter Benjamin ("Little History of Photography") and Walker Evans ("The Reappearance of Photography"), these claims are further evidenced by considering the presentation of photographs in book form, and by understanding these books as historical records of modern social space. While scholarship on the history of photography books is limited, this dissertation aims to show their importance as both historical documents and aesthetic objects.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Drawings/Prints/Works on Paper}, author = {Balaschak, Chris} } @mastersthesis {10756, title = {Urban Space in Fascist Verona: Contested Grounds for Mass Spectacle, Tourism, and the Architectural Past}, year = {2010}, school = {Pittsburgh}, abstract = {This dissertation focuses on the refashioning of Verona{\textquoteright}s urban space and identity during the Fascist regime. Traditionally, Fascist-sponsored restoration projects were interpreted as top-down undertakings decided and directly controlled by central state authority. Only recently have studies begun to test this thesis and show the involvement of local forces in the reshaping of Fascist Italy{\textquoteright}s urban spaces. My research builds on this recent scholarship by showing the active role played by Verona{\textquoteright}s socio-political elites in the refashioning of the city{\textquoteright}s urban fabric. However, my study also extends the current literature on Fascist-sponsored restoration projects by discussing the contribution of international narratives to the debate surrounding the refashioning of Italy{\textquoteright}s built heritage. In this study I explore the ways in which these narratives-particularly those advanced by tourism and the Hollywood film industry-influenced local and national socio-political groups, forcing them to renegotiate their project of appropriation of the city{\textquoteright}s historic heritage within a broader framework of international assumptions about Verona{\textquoteright}s famous history. Far from being a top-down undertaking, the reshaping of the city{\textquoteright}s urban space emerges as a complex process of mediation between distinct groups, with different interests at stake, each trying to capitalize on Verona{\textquoteright}s world-wide reputation to further its own agenda. While preservation groups insisted on the importance of maintaining and restoring the city{\textquoteright}s multiple historical layers, the local socio-political elite pressed for an ideal-although sometimes fictitious-recreation of Verona{\textquoteright}s built heritage with the intent to foster tourism and support their myth of identity. The central government, on the other hand, fully supported local initiatives in order to build consensus for the regime as long as such projects could be reconciled with Fascism{\textquoteright}s agenda of nation and empire building. The study of the refashioning of Verona{\textquoteright}s architectural fabric shows that Mussolini appropriated the city{\textquoteright}s cultural tradition but left ample freedom of action to local officials and the urban bourgeoisie in their urban renewal efforts. Ultimately, this project contributes to a deeper understanding of Fascism{\textquoteright}s relationship with the past and provides insight into the culturally constructed nature of urban spaces and identities.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {D{\textquoteright}Anniballe, Maria} } @mastersthesis {10770, title = {The A. A. Vantine and Company: Japanese Handcrafts for the American Consumer, 1895-1920}, year = {2010}, school = {Bard Graduate Center}, abstract = {A.A. Vantine \& Company was a well-established Asian art store based in New York. The firm flourished for sixty-five years, adeptly reacting to rapid socioeconomic and cultural changes. After Vantine opened three Japanese offices in the early 1890s to become an influential gaish o (Western trading house), the firm actively distributed Japanese crafts to middle-class Americans through retail, wholesale, and mail-order operations. Yet, outside the field of collectibles, today Vantine has been either overlooked or is only vaguely remembered. Using Vantine as a case study and focusing on trade, advertising, and politics, this dissertation explores the ways in which merchants disseminated a popular taste for Japanese handcrafts in the United States from around 1895 to 1920. I place Vantine in context with two Japanese firms that were highly successful in the American market, establishing their base in Manhattan, at locations not far from Vantine{\textquoteright}s store. One was Yamanaka and Company, a prominent Asian antiques dealer for the high-end market, and the other was Morimura Brothers, a leading porcelain producer and wholesaler of Japanese crafts. Due to the lack of surviving business records, Vantine{\textquoteright}s activities are reconstructed in the dissertation through the examination of various documents located in Japan and the United States. Japanese sources include foreign trade statistics, consular reports, and publications on porcelain manufacture in the Nagoya area. American sources include Vantine{\textquoteright}s catalogues and advertisements as well as articles in mass-circulation journals, newspapers, and trade magazines that mentioned the firm and related matters. By describing the business of Yamanaka side-by-side with Vantine{\textquoteright}s, my study illustrates the breadth of Japanese arts and designs available to Americans in the early twentieth century. The analysis of merchants{\textquoteright} marketing materials elucidates the changing image of Japan in popular culture, focusing on the years between 1914 and 1920. Furthermore, through the examination of Vantine{\textquoteright}s activities in Japan and its competition with Morimura, the significance of the gaisho-neglected purveyors of Japanese crafts-is reaffirmed. Ultimately, the findings of the research demonstrate that the taste for Japanese handcrafts in the United States had a much longer and more complex history than previously acknowledged.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Yamamori, Yumiko} } @mastersthesis {10968, title = {The Visual Narratives of El Greco, Annibale Carracci, and Rubens: Altarpieces of the Assumption of the Virgin Mary in the Early Modern Age}, year = {2010}, school = {Queen{\textquoteright}s}, abstract = {The Assumption of the Virgin Mary has been regarded as a normative subject of post-Tridentine altarpiece production. Yet it is actually a complex pictorial allegory that comments upon an archaic tradition of Christian narratives and its intersection with Marian devotion. The Assumption of the Virgin Mary belongs to a tradition of devotional images in which the Eucharistic meaning is the preferred means for furthering narrative ideas. The deeper meaning of the Assumption altarpiece becomes apparent in the light of the following points, demonstrated repeatedly throughout the study: (1) altarpieces of the Assumption represent a Marian subject informed by narrative liberty, not views of iconography and Tridentine history; (2) their imagery is largely based upon visual narratives associated with the historical imagination of the painter; (3) they disallow the pre-eminence of the classical model and incorporate other models derived from a resemblance to Byzantine icons and Northern prints; (4) they are analogous to icons, essays praising truthfulness and inwardness which operate to convey complex pictorial ideas in narrative adaptations. The first chapter evaluates the narrative source of El Greco{\textquoteright}s altarpieces from Toledo. The medieval past of Toledo fused with the Byzantine tradition in an altarpiece form for which parallels are rare in the modern age. The second chapter examines Annibale Carracci{\textquoteright}s main Assumption altarpieces and a selection of related paintings. For Annibale Carracci, the original setting at the high altar safeguards the Eucharistic meaning of his Assumption narrative and in turn shapes the narrative link with the adjoining altarpieces. The third chapter involves the Northern devotional print as a narrative outset of Federico Zuccari{\textquoteright}s and Rubens{\textquoteright} altarpieces. Their narrative solutions negotiate complex pictorial allegories and further the claim for truthfulness of representation inherent in the print.}, keywords = {Renaissance/Baroque Art}, author = {Stoenescu, Livia} } @mastersthesis {10850, title = {Visuality, Politics, and Histories in the Remaking of Iraq}, year = {2010}, school = {UC Irvine}, abstract = {This dissertation examines the politics of visuality surrounding one of the key events of the Iraq war - the Abu Ghraib tortures. In opposition to the dominant framing of Iraq as a "failed state," the first half of this dissertation argues that the American intervention in Iraq recalls an earlier colonial endeavor, the 1920s and 30s British Mandate for Iraq. The American and British militarized state-building enterprises both attempt to shore up legitimate states out of "failed states." Both belong to a common statist nomos that seeks to defend the state against the imagined threat of the return to a Hobbesean "state of nature." These projects of state securitization have, in historically distinct ways, relied on the proper visualization, segmentation, and disciplining of the future nation-state{\textquoteright}s subjects. In the 1920s and 30s, racial configurations and tribal alliances in Iraq were established with the help of the anthropometric visual typologies of Iraqis gathered by the American anthropologist Henry Field in 1927 and 1935, and the visual tableaux of photographs collected by the British administrator for Iraq Cecil Edmonds. Orientalist photography and visual typologies premised on anthropometric and biometric studies both enabled, and legitimized, American and British disciplinary projects by providing tools for the recognition and thus differentiation of foe and friend within the state. Such processes of distinguishing legitimate states and peoples, however, were not implemented only in Iraq. Media coverage of the 2003 traumatic tortures at Abu Ghraib prompted profound redefinitions of American identity, which are explored in the second half of the dissertation. In an effort to reaffirm the status of the United States as a benevolent nation, the official discourse as well as popular media portrayed the tortures as isolated acts of a group of deviant and unfit citizen-subjects-the so called "Hillbillies" exemplified by Lynndie England. In 2005, the cultural stereotype of the "Hillbilly" was remediated in an Internet-based global phenomenon called "Doing a Lynndie," in which bloggers posted snapshots drawn from everyday life that parodied England{\textquoteright}s iconic gestures in the Abu Ghraib photographs. "Doing a Lynndie" attests to the power of popular media to legitimate and further propagate state-sponsored mechanisms of social exclusion. While Lynndie England became the hypervisible icon of the tortures, the sexually abused and tortured female detainees from Abu Ghraib remained almost completely invisible in the popular media landscape. The media hypovisiblity of these Iraqi women signals the important role popular media plays in legitimating certain imaginaries of the political community by providing a powerful framework for the circulation of ideas and images. In sum, the dissertation analyzes the impact of visuality on remembering and forgetting traumatic historical events and in shaping legitimate political communities and common national imaginaries.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Hristova, Stefka} } @mastersthesis {10953, title = {Visualizing Culinary Culture at the Medici and Farnese Courts}, year = {2010}, school = {USC}, abstract = {Gastronomy has traditionally been viewed as a product of early modern court life, but I argue for a more nuanced relationship in which the representations of culinary culture in print or painting ensured its cultural centrality. The producers and consumers of culinary imagery performed complementary roles that assured the importance of a sophisticated and theatrical cuisine for sixteenth- and seventeenth-century Italian courts. Preparing, presenting, and consuming elaborate meals were not only deeply ritualized activities but also created and affirmed political, diplomatic, and personal hierarchies and allegiances. Early modern Italy experienced a surge in professionalized culinary activity as cooks, stewards, carvers, and other domestic officials refined their craft, published their work in books such as Bartolomeo Scappi{\textquoteright}s Opera (Rome, 1570) and Mattia Giegher{\textquoteright}s Li tre trattati (Padua, 1639), and fashioned a market for their expertise in the courtly milieu. My studies of the "period appetite" at the seventeenth-century Medici and Farnese courts demonstrate how culinary practices in Florence and Parma were informed and shaped by the collecting of kitchen equipment, culinary treatises, and idealized paintings of edible goods by Giovanna Garzoni and Felice Boselli. By putting illustrated books and archival material in conversation with watercolor and oil still life paintings housed in rural villas, this dissertation argues for the necessity of crossing disciplinary boundaries to understand the histories of art, collecting, and food. The producers of these textual and visual records-cooks, stewards, and artists-performed the culinary culture of their elite patrons through detailed cooking treatises, lavish manuscripts, and series of bountiful still life paintings. In so doing, they actively shaped an idealized food culture specific to their courtly and regional environs. Early modern alimentary practices-including the processes of understanding, selecting, organizing, butchering, cooking, and presenting foods-shared ideological links with contemporary medicine, alchemy, and botany as they mediated between nature and man. This historicized study of sixteenth- and seventeenth-century culinary culture demonstrates that illustrated books and paintings of edible goods should be understood as constructed fictions offering reassuring visions of a hierarchical, lavish, and orderly gastronomic culture to their patrons in Florence and Parma. The elevation of food and dining was essential to the structure and functions of the Medici and Farnese courts and the recording of these gastronomic practices in print and painting played a key role in constructing and enacting ducal dominance over politics, culture, and nature.}, keywords = {Renaissance/Baroque Art}, author = {Hanson, Kate Heckmann} } @mastersthesis {10754, title = {Visualizing Merit: An Examination of the Spatial Organization of the Temple of the Emerald Buddha}, year = {2010}, school = {UCLA}, abstract = {"Visualizing Merit: An Art Historical Study of the Emerald Buddha and Wat Phra Kaew" explores the importance and politicization of Thai Buddhist conceptions of merit, merit-making and merit-transference in the patronage, artistic programming and function of Wat Phra Kaew. The goal of this dissertation has been to determine how and why Wat Phra Kaew has come to be considered the most sacred and religiously potent Buddhist temple in Thailand and in what ways this is visually manifest in the art and architecture of the temple. In order to do so, focus has been placed on the sacred geography of the Emerald Buddha image for which the temple is named as well as the artistic programming, architectural planning and patronage of the temple since its construction in 1783 to the present. The dissertation begins with an examination of the literary origins of the Emerald Buddha narrative and the artistic origins of the image itself. In doing so, it becomes apparent that the image was invented in the mid-fifteenth century to serve the needs of the Buddhist san˙gha living in Northern Thailand and their royal patrons, the kings of Lanna. The dissertation follows the Emerald Buddha{\textquoteright}s movements throughout South and Southeast Asia to its eventual enshrinement at Wat Phra Kaew. Once at the temple, focus is placed on the patronage history of the site and its art and architectural program. Careful attention is paid to the architectural layout of the temple complex and the painting program found inside of the most sacred space at Wat Phra Kaew, the uposatha or ordination hall. Ultimately, I argue that the temple is a site where the Chakri kings{\textquoteright} religious merit is exhibited and that it is their combined merit deposited at Wat Phra Kaew coupled with the Emerald Buddha icon, which distinguishes it from all other Theravada Buddhist temples in Thailand.}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Rod-ari, Melody} } @mastersthesis {10751, title = {The Walls of the Confessions: Neo-Romanesque Architecture, Nationalism, and Religious Identity in the Kaiserreich}, year = {2010}, school = {Pittsburgh}, abstract = {Scholars traditionally understand neo-Romanesque architecture as a stylistic manifestation of the homogenizing and nationalizing impulse of the Kaiserreich. Images of fortress-like office buildings and public halls with imposing facades of rusticated stone dominate our view of neo-Romanesque architecture from the Kaiserreich (1871-1918). The three religious buildings at the core of this study-Edwin Oppler{\textquoteright}s New Synagogue in Breslau (1866-1872), Christoph Hehl{\textquoteright}s Catholic Rosary Church in Berlin-Steglitz (1899-1900), and Friedrich Adler{\textquoteright}s Protestant Church of the Redeemer in Jerusalem (1893-1898)-offer compelling counter-examples of the ways in which religious groups, especially those that were local minorities, adapted the dominant neo-Romanesque style to their own particular quest towards distinctive assimilation in an increasingly complex, national, modern society. This synagogue and these churches belong to an important sub-section of German neo-Romanesque architecture that calls into question our standard narrative of the Wilhelmine neo-Romanesque style as a universalizing and secularizing aesthetic. This synagogue, Catholic parish church, and Protestant church forged a new alliance of religion and politics in the service of two often conflicting masters: the religious community and the nation-state. By reinventing neo-Romanesque forms for a modern, yet still religious context, Edwin Oppler, Christoph Hehl, and Friedrich Adler provide the crucial link necessary to incorporate medievalist architecture into the larger narrative of Germany{\textquoteright}s modernization. While these sacred structures are prime exemplars of many social and architectural themes, my aim is to present them neither as isolated case studies nor as highlights in a comprehensive survey of Wilhelmine religious architecture. I treat these three sacred structures as central case studies while considering their architecture, decorative programs, and mediated presentation in photography and print publications. The core themes of this work-the struggle between religion and national secular society, a longing for an imagine past as inspiration to create new styles for a new configuration of community-are not only the essential components of our definition of modernity but also what continues to frame our experiences today. Ultimately, these buildings serve as models to understand the challenges of diversity and multicultural society that continue to define our world.}, keywords = {Architectural History/Historic Preservation, Nineteenth-Century Art}, author = {Krieg, Annah} } @mastersthesis {10801, title = {Wasteland: American Landscapes in/and 1960s Art}, year = {2010}, school = {UCLA}, abstract = {In the 1960s, several vanguard artists in the United States turned from the interior architectures of the studio and gallery toward physical landscapes, engaging outdoor spaces as a critical medium. Most often, they were attracted to "wastelands," those landscapes that were actually or perceived to be ruined, non-scenic, or otherwise outcast. This dissertation focuses on the complex tangle of motivations that led artists to specific places, including desiccated lakebeds at the edge of atomic proving grounds, stunted forests in the hinterlands of New Jersey, and polluted urban rivers, which were increasingly symbolic of environmental degradation during the same era a modern ecology movement took form. Foregrounding the actual sites where artists worked, it pursues the core questions of how and why wastelands served as fertile grounds for artistic experimentation at this historical juncture. This investigation casts aside categories such as "land" and "earth" art, instead exploring new ways that artists worked with the land in relation to contemporaneous land use politics as well as the radical expansion of art{\textquoteright}s limits. Distinct from artists of earlier generations, those examined here enacted critical imperatives in and through precise spatial coordinates. Jean Tinguely{\textquoteright}s pyrotechnic experiment in front of television cameras trespassed into the young mass medium, while commenting upon American militarism and capitalism. Robert Smithson and cadre{\textquoteright}s field trips to exurban reaches, in their (failed) attempt to find real estate on which to make "earthworks," exposed the "cultural confinement" of the art world as well as outmoded conceptions of nature. Patricia Johanson{\textquoteright}s designs for gardens that highlighted ecological processes and afflictions proposed an antidote to the "dead" spaces created by postwar urban designers and the growing rift between humans and the natural environment. In the 1960s, amidst pronounced social and environmental crises, to confront wasted lands was to confront the contemporary. An intersecting history of art and landscape, this dissertation seeks to shed simultaneous light on changing modes of artistic production and the emergent physical and imaginative geography of postwar America. It furthermore suggests that the works under review not only paved the way for but also demand new forms of art history.}, keywords = {Art of the United States}, author = {Scott, Emily Eliza} } @mastersthesis {10892, title = {"With and Against Cinema": The Internationale Situationniste and the Cinematic Image}, year = {2010}, school = {Yale}, abstract = {The Situationist International was a postwar avant-garde in existence from 1957 until 1972 which agitated for a revolutionary social life, free from the tyranny of capitalism{\textquoteright}s mass-produced "spectacle." This new life would be lived in unquantifiable units of atmosphere and emotion termed "situations." Despite their critique of spectacle, the Situationists firmly believed in the contestational power of images: when stolen from the commercial sphere and reused in an alternative context, images could criticize the very values they once enforced. This appropriative strategy was called detournement, and the Situationists singled out cinema as detournement{\textquoteright}s ideal medium. They espoused a contestational cinematic form and a new and non-passive type of filmgoing-one in which the physical structures of cinema would be dismantled and moving images would become a supplement of an ongoing "situation." Situationist writings on the cinema constitute a theory of alternative film form, content and practice. This dissertation examines three historical instances in which the Situationist International worked, according to the key principle of their film theory, "with and against cinema." The first chapter analyzes Surrealism{\textquoteright}s influence on cinematic program which the Situationists developed. Surrealist filmgoing and filmmaking was based on a model of experiential suspension, whereas the Situationists offered a cinematic counter model of movement and drift. The second chapter explains the Situationists{\textquoteright} animosity towards the stylistic film experimentation of French New Wave directors, and contrasts two films made in 1959 and 1961 by director Alain Resnais with two films made in 1959 and 1961 by Situationist Guy Debord. The third and final chapter demonstrates the resonance that the film form and practice of the cinetract collective had with the Situationist International{\textquoteright}s ambitions for subversive cinema after France{\textquoteright}s social revolt of 1968.}, keywords = {Film/Video, Twentieth-Century Art}, author = {Stob, Jennifer} } @mastersthesis {10988, title = {Without Expensive Transport and the Bother of Customs: Piero Manzoni and the Postwar Avant-Garde, 1956-1963}, year = {2010}, school = {Pennsylvania}, abstract = {In the years following his premature death at the age of twenty-nine, the Italian artist Piero Manzoni (1933-1963) emerged as one the most significant figures in the postwar vanguard. Manzoni produced a body of work that anticipated numerous future practices including Conceptual Art and Body Art. For this reason, the artist{\textquoteright}s importance has been explained primarily through selective comparisons of his art with contemporaneous and later works of the international avant-garde. Seeking a more comprehensive and historically informed understanding of Manzoni{\textquoteright}s work, this dissertation analyzes his practice in the contexts of postwar Milan and other European centers to recover a fuller sense of the exchanges and relationships through which the artist developed. Through a series of focused studies that draw on primary and archival materials, the dissertation offers new readings of several areas of Manzoni{\textquoteright}s oeuvre. Chapter one examines the role that Manzoni{\textquoteright}s early figurative works played in the development of his monochromatic series the Achromes. The artist{\textquoteright}s manifestos and other writings are considered in chapter two as an on-going project to put Manzoni{\textquoteright}s increasingly radical art into words. Manzoni{\textquoteright}s conceptual works are investigated in chapter three with regard both to their shared formal qualities and their relationship to the revival of Marcel Duchamp as presented by the Milanese gallerist Arturo Schwarz. Chapter four evaluates the various uses of systems and the infinite by the artist as a personal expression and as a critique of the utopian and programmatic tendencies of the international vanguard. The final chapter returns to the conceptual works and details the role that humor played in Manzoni{\textquoteright}s presentation of these works and how the artist{\textquoteright}s self-fashioning strongly diverged from that of his avant-garde contemporaries, especially Yves Klein and Lucio Fontana.}, keywords = {Twentieth-Century Art}, author = {Tentler, Gregory} } @mastersthesis {10794, title = {Ye Intruders Beware: Fantastical Pirates in the Golden Age of Illustration}, year = {2010}, school = {Indiana}, abstract = {This dissertation examines the cultural significance of the sudden and rapid proliferation of piracy and pirate illustrations that marked the turn of the twentieth century in the United States. During this "Golden Age" (c. 1880-1920) - an era that witnessed an explosion of magazine and book imagery - the illustrators Howard Pyle, N. C. Wyeth, and Frank E. Schoonover turned away from the realities and histories of piracy and shaped instead a new, fantastical icon. Pyle, in particular, created this adventurer, immersing him -and vicariously, his admirers - in exotic, violent fantasy. Wyeth and Schoonover, Pyle{\textquoteright}s students, followed in their teacher{\textquoteright}s iconographical footsteps even as they developed their own individual styles. So powerful was the fantastical pirate{\textquoteright}s appeal that he continued to generate excitement decades after the Golden Age in illustrations as well as in lucrative Hollywood productions. The Pirates of the Caribbean trilogy (2003, 2006, 2007) testifies to the hold the pirate maintains over the popular imagination. In The Goonies - a pirate film from 1985 - a treasure map warns, "Ye intruders beware;" used here, the expression suggests that this dissertation intrudes into the pirate{\textquoteright}s world, looking beneath its frivolity to expose a deeper understanding of the pirate icon, the illustrators that conceived him, and the audiences that embraced him at the turn of the twentieth century and continue to cherish him today. The first chapter introduces the question "Why the pirate?" Chapter two inspects the illustrated pirate in relation to fin-de-siecle issues of masculinity while the third chapter looks at the icon alongside contemporary notions of class. Chapter four pries into turn-of-the-century ideologies of race and imperialism as pirate illustrators promoted both the fear and fascination of the piratical "other." The final chapter looks beyond the Golden Age of illustration by examining the continuation of the pirate fantasy in twenty- and twenty-first-century illustration and film. It also examines the reality of piracy that threatens to overshadow the fantastical icon. With twenty-first century pirates marauding the coast of Africa, the notion of a pirate hero must be questioned even as we continue to enjoy the figure dreamt up by Golden Age illustrators.}, keywords = {Art of the United States}, author = {Loechle, Annie} } @mastersthesis {10852, title = {Zones of Disturbance: Specters of Indigenous Mexico in Modernity}, year = {2010}, school = {UC Irvine}, abstract = {Zones of Disturbance: Specters of Indigenous Mexico in Modernity interrogates representations of the Indigenous in Mexican history and art, specifically those which took the form of messianic and prophetic narrativizations of imagined pasts and futures. This doctoral dissertation is an attempt to assemble, explore and give an account of the genealogy that comprises the multifarious messianic traditions underpinning Mexican history. It offers an interpretation of a number of interrelated and overlapping historical moments, texts, art objects, architectural and monumental projects, as well as a critical reading of the philosophical theories, religious speculations and political doctrines that materialize from, or carry within, the structure of this mythopoesis. Each chapter is concerned with a single author or sets of texts and art objects on a particular moment of the articulation of the messianic progression. When read consecutively they constitute an enquiry into the dialectical movement of this phenomenon: from divine history to secular history, from religious speculation to political doctrine, from transcendence to immanence. Many of the examples discussed focus on the varied ways in which Europeans imagine and interpret the native culture. Conceptual metaphors such as "the Indian Revolution" (Artaud), "the General Economy" (Bataille), "Primitive Communism" (Bandelier) and "the Indian Republic" (Rousseau) are deconstructed and contextualized from within the Mexican genealogy and archive.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Razo-Wardell, Mariana} } @mastersthesis {10700, title = {Abraham Bloemaert (1566-1651), the {\textquoteright}Netherlandish Academy,{\textquoteright} and Artistic Collaboration in Seventeenth-Century Utrecht}, year = {2009}, school = {IFA/NYU}, abstract = {Focusing on Dutch artist Abraham Bloemaert (1566-1651) and his pupils, this dissertation explores works of art that manifest the teacher/student relationship as well as concepts of artistic individuality and cooperation developing in the late sixteenth- and early seventeenth-century Netherlands. To investigate these themes, the text considers students{\textquoteright} experience in Bloemaert{\textquoteright}s workshop and studies projects undertaken jointly by Bloemaert, his pupils, and their peers such as friendship albums, commissions for the Prince of Orange and the King of Denmark, and art for a local clandestine Catholic church. It argues that Bloemaert{\textquoteright}s tutelage fostered among his students an awareness of professional development as consisting of practical workshop experience, displays of camaraderie, and personal artistic consciousness. Related to these practices is the character of Utrecht, whose special status in the Northern Netherlands in this period stemmed from its large Catholic population, despite the dominance of the Reformed faith in local government and the eventual ban on the open practice of Catholicism. As a Catholic, Bloemaert used collaboration regularly to offset professional restrictions, such as being unable to head the artists{\textquoteright} Guild of Saint Luke, placed on him because of his religion. In doing so, he served as a stabilizing force for Utrecht artists during the political, religious, and social tumult that characterized the Dutch fight for independence from Spain.}, keywords = {Renaissance/Baroque Art}, author = {Nogrady, Elizabeth} } @mastersthesis {10606, title = {Achilles and the Roman Aristocrat: The Ambrosian Iliad as a Social Statement in the Late Antique Period}, year = {2009}, school = {Florida State}, abstract = {The Ambrosian Iliad is a Late Antique manuscript that depicts Homer{\textquoteright}s Iliad. Originally written in Greek, much of its text was lost when the pictures were later removed from the original codex and pasted on separate sheets of vellum. Scholars have previously analyzed the Ambrosian Iliad using paleographic and stylistic analysis as a means to determine the work{\textquoteright}s provenance and date with wide ranging results. This study takes a different approach to the Ambrosian Iliad by applying contextual analysis when taking into account historical, social, and religious influences on the making and viewing of the manuscript. Particular attention is paid to the distinctly Late Antique Roman iconography that pervades the Ambrosian Iliad{\textquoteright}s imagery. The fifth-century reception of its imagery and how it contributed to the elite{\textquoteright}s self-definition of its status and place in a time of great change is the focus of this dissertation. Ultimately, this approach will contribute to the discourse by suggesting the use of the alternative methodology of contextuality to ascertain the dates and provenances for Late Antique manuscripts including the Ambrosian Iliad. Focusing on the Ambrosian Iliad{\textquoteright}s depictions of pagan sacrifices, circus games, and military battles, I propose that its mixture of antiquarian and contemporary iconography acted as reflections of the viewers{\textquoteright} world view in the fifth century. These particular activities were connected to the mos maiorum and were a reminder and confirmation of the elite{\textquoteright}s purpose of protecting tradition. Based on primary sources during this period, it is evident that there was no other area of the Roman Empire where the patricians were more driven to preserve the mos maiorum than in Rome or the surrounding areas. Moreover, the Ambrosian Iliad also spoke to the Christian viewer with its subtle reminders of their own religion with its references to communal banqueting and the role of the Church in such popular public activities as the circus. Finally, this study will propose that the Ambrosian Iliad was created sometime during the second through third quarters of the fifth century for a patron in the area of Rome.}, keywords = {Early Medieval/Romanesque/Gothic Art, Greek/Roman Art}, author = {Bare, Ceil} } @mastersthesis {10690, title = {An Alternate Antiquity: The Etruscans in Renaissance Florence and Rome}, year = {2009}, school = {Washington University}, abstract = {The Italian Renaissance has long been characterized as a revival of Roman and Greek arts and learning, but the period{\textquoteright}s fascination with ancient Etruria is underappreciated. The Etruscan legacy was a source of special pride for Renaissance Tuscans, who sought in the ancient civilization a pristine ancestry which rivaled Rome with its great antiquity, piety, and strength. Consequently, to proclaim the Etruscan origins of one{\textquoteright}s city or family became a technique of self-promotion and securing patronage. This dissertation explores how artists and authors manipulated Etruscan history and artifacts to promote their Tuscan patrons, focusing on the Medici courts of Pope Leo X (1513-1521), Pope Clement VII (1523-1534), and Duke Cosimo I (1537-1574). Analyzing printed, manuscript, and documentary sources, I reconstruct the Renaissance knowledge of Etruscan history and artifacts and investigate how political and cultural agendas shaped representations of the Etruscans in artistic and literary works. The interest in ancient Etruria was widespread in Renaissance Florence, where a local tradition connected the city{\textquoteright}s origins to the Etruscan city Fiesole. Florentine authors, from the early chroniclers of the twelfth and thirteenth centuries to the Renaissance scholars Leonardo Bruni, Leon Battista Alberti, and Giorgio Vasari, celebrated Etruscan wealth, warfare, and art. Accounts of the Etruscans were based not on archaeological or humanistic inquiry, however, but were a projection of current political and cultural situations onto the past. Under the Medici popes, the ancient alliance between Rome and Etruria justified Tuscan influence in Rome, while Duke Cosimo I of Florence exploited Tuscany{\textquoteright}s Etruscan history to justify his imperialism. These visions of Etruscan history shaped discussions about Etruscan antiquities in Florentine texts. Florentine authors Giambattista Gelli and Pierfrancesco Giambullari manipulated Etruscan, Roman, and medieval artifacts and monuments as archaeological "proof{\textquoteright} of Florence{\textquoteright}s "Etruscan" origins. A similar authorial agenda led Giorgio Vasari to codify the features of Etruscan artistic style in the mid-sixteenth century, the topic of the last chapter.}, keywords = {Renaissance/Baroque Art}, author = {Hillard, Caroline} } @mastersthesis {10597, title = {America in Ruins: The Image of the Decline and Fall of Cities}, year = {2009}, school = {Stony Brook}, abstract = {The image of contemporary ruin speaks with particular insistence, demanding an answer to the following question: how does a society represent or explicate its ruins? This dissertation uses two sharply differentiated historical moments, the end of the Civil War and the postindustrial era hardship confronting the city of Detroit since the late 1960s in order to examine how image and text work together to shape emerging narratives undergirded by the idea of decline and fall. When juxtaposed, the fall of the Confederacy and the fall and decline of Detroit have much to tell us about the self-justification of contemporary ruin, and the "othering" involved in the master narratives that attempt to account for who and what is responsible for the fall or decline under representation. The trauma of slavery and its legacy informs the conflicts of both eras: how this trauma is engaged or elided plays a crucial part in the explicatory framework for the ruin. Moreover, both historical moments are etched with the pain of socio-economic transition: the cataclysmic shifts from agrarian to industrial, and then from industrial to postindustrial. I have chosen these two eras because of the paradigmatic historical shifts embodied by the imaging and explication of their ruins. Focusing on the emerging narrative, rather than the comfortably detached packaging of the historical past, is a particularly compelling way to engage the transitory nature of the contemporary ruin, and delve into the ambivalence at the heart of its representation. The ruin image as aesthetic object suggests the danger of being swept under the rug of history.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Perry, Weena} } @mastersthesis {10545, title = {The American Civil War and Collective Memory: Reconstructing the National Conflict in Paintings and Prints, 1869-1894}, year = {2009}, school = {Iowa}, abstract = {"The Civil War and Collective Memory: Remembering the Conflict in Paintings and Prints" focuses on American paintings and prints of Civil War battle scenes produced from 1869 through 1894. As early as 1869 enough time had elapsed to allow for reevaluations of the war{\textquoteright}s consequences, and by the mid-1890s first hand information about the battles had become less accessible. The works under consideration were created by artists from a variety of social, political, and geographic backgrounds. Some were vigorous Union supporters, others vehemently defended the South, and still others, it appears, hoped only for national unity. They hailed from locales as varied as Vermont, Virginia, Pennsylvania, and Illinois. Confederate soldier artist John Adams Elder{\textquoteright}s image of The Battle of the Crater and a print series published by the Chicago lithographic firm of Kurz and Allison each purposefully and very differently invoke questions about race relations. Union soldier artist Julian Scott{\textquoteright}s The Battle of Cedar Creek and favored Pennsylvania son Peter Rotheimel{\textquoteright}s The Battle of Gettysburg-Picketts{\textquoteright} Charge were both highly influenced by the states that commissioned them. The series produced by the Boston print film of L. Prang and Company exhibits its founder{\textquoteright}s Unionist leanings and is a prime example of the most modern printing techniques which were both applauded and condemned. And a print such as A Woman in Battle-"Michigan Bridget" Carrying the Flag after a drawing by F.O.C. Darley indicates the artist{\textquoteright}s unusual belief in the equality of the sexes and the little known role of women in combat. The subject of Civil War battles was repeatedly adopted by both painters and printmakers during the late nineteenth century as a means to commemorate past events, but perhaps moreso to demonstrate their personal beliefs regarding the current political and cultural climate during and in the decades following Reconstruction.}, keywords = {Art of the United States}, author = {Liakos, Barbaranne} } @mastersthesis {10531, title = {American Photography and Abstraction, 1940-1960: Minor White, Aaron Siskind, and Harry Callahan}, year = {2009}, school = {Harvard}, abstract = {This dissertation examines the work of the American photographers Minor White (1908-1976), Aaron Siskind (1903-1991), and Harry Callahan (1912-1999), investigating their engagement with theories and strategies of abstraction between 1940 and 1960. Chapter one examines an unpublished book manuscript by Minor White, Fundamentals of Style in Photography and the Elements of Reading Photographs (c.1953), that joins his approach to teaching photographic analysis (based in his studies with Meyer Schapiro) to a selection of his own photographs. I define the project as a pivotal act of retrospection: reorganizing his images to illustrate a didactic text, White aimed to obscure many of the meanings he had previously invested in his work, including the expression of his homosexuality; seeking to systematize the emotional impact of photographic form, he further came to posit {\textquoteright}abstract{\textquoteright} photographs as the model for the experience of all photographs. Chapter two newly identifies Aaron Siskind{\textquoteright}s shift from painting toward architecture as a model for the operations of abstract form during the 1950s, engendered by his departure from New York to join Callahan at the Institute of Design in Chicago. I examine the emergence of this model within Siskind{\textquoteright}s direction of a collaborative student project documenting the remaining work of Chicago architects Adler and Sullivan. I then demonstrate how this shift in scale led Siskind to a broader meditation on photography{\textquoteright}s entanglement of finding and making, and unpack his staging of this tension in his 1955 photographs of a Mexican monastery built from the ruins of former indigenous structures. Chapter three, unlike the preceding case-studies in open-ended engagements with abstraction, instead analyzes the closure of this possibility for Harry Callahan. Through an extensive examination of unpublished photographs, it defines his interest in two potential paths to abstraction in photography: all-over patterning and the embodied nature of camera vision. It then redefines the structure of his oeuvre around the convergence of these modes, a process terminating in a series of photographs of a geometric collage; this 1957 project, which I define as the conclusion of his investigation of abstraction, is analyzed here for the first time.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Fay, Brendan} } @mastersthesis {10643, title = {Ancient Ecuadorian Stone Mortars: Style and Cultural Continuity in Pre-Columbian Art}, year = {2009}, school = {Virginia Commonwealth}, abstract = {This dissertation presents a formal and stylistic analysis of Ecuadorian stone mortars made during the Formative Period (3500-300 BCE). The goals of this project are: (1) to group the mortars into categories based on side panel motifs; (2) utilize connoisseurship to identify the individual artists and/or workshops responsible for the production of various mortars; (3) show how the Ecuadorian mortars were models for subsequent variations produced by later groups in Peru. The basis for this project is the feline mortar in the Chrysler Museum of Art in Norfolk, Virginia. Forty-nine (49) mortars are included in this study and belong to private collections and public institutions in multiple countries. This dissertation suggests the following: (1) these mortars are the first three-dimensional stone carvings in South America to represent zoomorphic imagery; (2) the selection of animals not indigenous to the Guayas Basin was driven by the animal{\textquoteright}s iconographic significance; (3) the form and iconography of the mortars was equally if not more important than their utilitarian function; and (4) these mortars initiated a 3,000-year sculptural tradition in the Andes, lasting from the Formative Period through to the Inka Empire.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {Winn, Paula} } @mastersthesis {10684, title = {Andrea Riccio{\textquoteright}s Della Torre Tomb Monument and Antiquarianism in Padua and Verona}, year = {2009}, school = {Toronto}, abstract = {No record in ProQuest}, keywords = {Renaissance/Baroque Art}, author = {Carson, Rebekah} } @mastersthesis {10644, title = {Angels in the Americas: Paintings of Apocryphal Angels in Spain and Its American Viceroyalties}, year = {2009}, school = {CUNY}, abstract = {Around the mid seventeenth century paintings of individual angels became popular in the Spanish viceroyalty of New Spain (essentially present-day Mexico and Central America) and the viceroyalty of Peru (originally most of South America excluding Brazil). However, the names and representations of individual angels found across the Spanish Empire do not correspond to the few narratives that appear in the Bible, which only mentions the angels Michael, Gabriel, and Raphael by name. Some of these series of paintings include angels labeled as Jehudiel, Barachiel, and Uriel, who are mentioned in Jewish texts such as the Talmud and the Cabala, as well as other texts written around the first century but considered apocryphal or non-canonical by the Catholic Church, such as the Book of Enoch. Although these images were relatively popular in Spain and Mexico, their representation was far more abundant in South America. This project investigates the multiple theological sources of angel veneration in the early modern period in Italy and Spain. Tracing these literary sources illustrates how the Jesuits, supporters of the angelic cult, found inspiration in mystic Jewish tradition for their religious ideas, around the same time that Jews were being exiled or convicted across the Spanish Empire. This investigation also documents and compares the variants of angelic representation in Spain and the Americas. Pointing out their commonalities and differences demonstrates the creativity of the artistic circles of each viceroyalty in developing particular styles and trends based on the exposure to similar European sources but adapting them to different local tastes and necessities. As other scholars have suggested, the existence of many series of paintings of apocryphal angels in the Americas attests to Catholicism{\textquoteright}s use of these images as a cross-cultural tool to evangelize the Indians in the Spanish dominions by making connections between Christianity and indigenous religious belief. I suggest that these symbols, originally belonging to the conquerors, gradually became symbols of hispanicized American societies, and in Peru, of the hispanicized Indian nobility. The angels as protectors of territories also embodied an early form of local pride, which would later evolve into national pride and eventually lead to independence from Spain. Through this dissertation, I add a more complex reading of these paintings that goes beyond the scope of the arts of resistance and the amalgamation of Judaic, Christian, and indigenous religious elements. This study thus reveals a much more complex and layered syncretic product that reflects the adoption and re-adaptation of these symbols by Spanish-American colonial society.}, keywords = {Latin American/Caribbean Art, Renaissance/Baroque Art}, author = {Hernandez-Ying, Orlando} } @mastersthesis {10714, title = {Aoristic Avant-Garde: Experimental Art in 1960s and 1970s Yugoslavia}, year = {2009}, school = {Stony Brook}, abstract = {In the 1960s and 70s, throughout the world artists were questioning traditional methods, structures, meanings and role of art, and at this time artists in Yugoslavia contributed an exceptional conceptual art from their particular political situation that had a formative influence on building civil society in the Western Balkans today. This dissertation proposes that instead of operating as mimicry or time-delay of Western avant-garde, postwar experimental art in Yugoslavia offers from its specific socio-political condition a productive and influential new paradigm. This strategy of relay took place as communication and mobility between different cities of Yugoslavia, exchange with artists from the West, and most significantly through artists{\textquoteright} interactive use of public space and resulting redefinition of public institutions. The dissertation addresses the questions: How did neo avant-garde art in postwar Yugoslavia change notions of public space and communication at the time and what does it add to artistic practice in the Western Balkans today and to the international discourse of conceptual art? How did the artists put to use the special conditions of socialist self-management and non-aligned status to further their concerns? The main hypothesis to be tested is: Their specific strategy of interactive relay through mobility and communication networks made for a conceptual art that emphasized the role of individual subjectivity more so than in the West through activating public space for creative and civic expression. Through a discussion of the key artists of the time, the dissertation claims that individual and collective subjectivity and existential investigations played a much stronger role in conceptual art in the Western Balkans than in the West. Artists in Yugoslavia posed questions about ontology, utilitarianism, imagination, collaboration, and communication through the public realm. Furthermore, because public space was not an accepted venue for art, by simply activating this realm with creative expression, artists opened a new definition of place that was not orchestrated by state socialism. This approach to art provided the tools for today{\textquoteright}s artists and art managers to create their own organizational structures in the wake of the wars of the 1990s to forge constructive cultural and socio-political policy-making today.}, keywords = {Twentieth-Century Art}, author = {Carl, Katherine} } @mastersthesis {10705, title = {Approaches to Fifteenth- and Early Sixteenth-Century Painting in Dalmatia}, year = {2009}, school = {UC San Diego}, abstract = {The dissertation examines paintings made in and for cities on the Dalmatian coast during the fifteenth and sixteenth centuries, focusing upon the various cultural and historiographical circumstances that resulted in their general absence from the narrative of Western European art history. Between 1797 and 1995, the Dalmatian coast was claimed as the territory of nine different political entities. The competing claims lodged by priests, politicians, and scholars all contributed to the fractured historiography of Dalmatian art. An examination of the chronology and substance of these claims demonstrates the negative impact that the drive to claim, or even manufacture, a cultural heritage can have on the history of art. The impact of such an investment in constructing a cultural heritage resulted in studies in the history of Dalmatian art that have overemphasized the life-and-work model at the expense of explorations of iconography or patronage. The second chapter considers the constructed biographies of the artists included in the so-called Dalmatian School of Painting. By laying out the timeline of art historians{\textquoteright} construction of the artists{\textquoteright} biographical narratives, attention is drawn to the issues that plague a disjointed and later isolated field of scholarship: fissures, oversights, misreadings, and even deliberately cultivated ignorance. The third chapter deals with art patronage in the Republic of Ragusa. While Ragusan society was divided into three groups (the nobility, citizens, and commoners) with the nobles holding all government power, there are nonetheless few incidents that indicate any discontent with this social structure prior to the seventeenth century. By examining the types of projects favored by the noble and citizen classes between 1300 and 1531, I question the veracity of Ragusa{\textquoteright}s reputation for inter-class harmony. How do the patronage activities of each group demonstrate conspicuous consumption, conscious imitation, or statements of public authority or financial prowess? Elaborately framed, gold-field polyptychs represent the majority of extant paintings from Dalmatia. In the fourth chapter, I examine the unique historical and religious climate of Dalmatia and I argue that the penchant for the polyptych was not a conservative or retardataire stylistic or artistic preference but rather a conscious decision with practical religious import.}, keywords = {Renaissance/Baroque Art}, author = {Reed, Laurel} } @mastersthesis {10507, title = {Architecture, Anxiety, and the Fluid Topographies of Renaissance Florence}, year = {2009}, school = {Cornell}, abstract = {Shared social identities, a precondition of pre-modern urban communities at the threshold of modernity, necessitated the ceaseless readjustment of the built environment. The discursive practices of such city dwellers, therefore, speak volumes about how urban space and architecture are fundamentally a collaborative project whose form, function, and meaning are ceaselessly recreated, rethought, and reinvented. At the height of their city{\textquoteright}s economic and cultural powers, Florentines developed acute methods to confront, interpret, and shape the built environment. This concerted interaction between bodies and buildings, spaces and desires, allows the historian to articulate how buildings and spaces were understood by contemporaries. Watching, listening, speaking, and then writing, Florentines employed a whole range of political strategies, social rituals, and techniques of representation in order to negotiate their built environment. In doing so, they constructed a web of interlaced and fluid topographies which they overlaid onto the structural grid of the city. Particularly at times of social stress, anxiety, and transformation, interpreting the city-its monuments, its spaces, the events that shook it, and the narratives that reconfigured it-was a matter of social survival. As a result, urban spaces functioned as unstable sites of social memory, receptacles of meaning, and facilitators of identity. Drawing on legislation, urban literature, chronicles, and personal diaries, this project seeks to reconstruct the way in which architectural form and meaning were the products of the continuous interplay of an embodied social experience that was rooted simultaneously in a sensorial and mental continuum. By analyzing how Florentines constructed personal and social itineraries-literally how they moved through, wrote about, and acted upon their physical environment-I seek to demonstrate how even the simplest movements, deeds, or memories were profoundly structured by and, in turn, continually transformed the symbolic contours of the spaces in which they lived. This Civic dialogue was based on an ethics of organizing and interpreting space. It was a set of rhetorical strategies that demand to be interpreted by an architectural history that acknowledges how the built environment is both the subject and product of a whole range of textual and social practices.}, keywords = {Architectural History/Historic Preservation}, author = {Atkinson, Niall} } @mastersthesis {10492, title = {The Architecture of Henry Hornbostel: Progressive and Traditional Design in American Beaux Arts Architecture}, year = {2009}, school = {Virginia}, abstract = {Brooklyn-born Henry Hornbostel studied architecture at the Ecole des Beaux-Arts in Paris from 1893 to 1897 and practiced in the United States between 1897 and 1939. He achieved his greatest professional successes in the first two decades of the twentieth century, when study at the Ecole Beaux-Arts in Paris (or at American schools that emulated its methods) was at peak popularity among American architects and when the Paris school seemed most to influence American architecture. The period is often known as the Beaux Arts era for buildings such as those in the Court of Honor at Chicago{\textquoteright}s Columbian Exposition of 1893. These were monumental, authoritative structures unified by composed axial grouping, a common cornice line height and canonically neoclassical architectural styles. Hornbostel, in comparison, saw Beaux Arts training not as a narrow set of historical forms to be applied to all building, but as a set of principles to be reworked to suit contemporary materials, conditions and building functions. He embraced bridges and skyscrapers-new, technological construction types that his more conservative colleagues sometimes refused even to acknowledge as architecture. His permutation of the Beaux Arts was formally progressive rather than anachronistic. Some of the most influential architectural writers of later eras have predicated their histories on assertions that the central Chicago Exposition characterized the movement as a whole and that Beaux Arts architecture was intrinsically backward looking. In fact, the movement was characterized by a division between those who continued to look to historical models for inspiration and those who also emphasized the innovations of contemporary practice. Hornbostel, through a career that included many victories in design competitions, epitomized the latter group of Beaux Arts architects, but he defies the generalizations by which the movement was often later known.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Rosenblum, Charles} } @mastersthesis {10505, title = {The Architecture of Raja Bir Singh Dev Bundela of Orchha (1605-1627): Continuity, Adaptation, and Invention}, year = {2009}, school = {UCLA}, abstract = {This study focuses on the Govind Mandir palace in Datia (Madhya Pradesh) as a case study in the development of architecture and painted decoration consolidated under one of early seventeenth-century Hindustan{\textquoteright}s greatest patrons of building, Raja Bir Singh Dev Bundela of Orchha (r. 1605-1627). Its premise is that the Orchha kingdom{\textquoteright}s expanded political ken and subsequent wealth during Bir Singh Dev{\textquoteright}s reign fostered an ambitious new style drawing on local and regional traditions blended with elements of Mughal visual culture. Orchha, a Raj put kingdom in central India founded in 1531, attained an especially close relationship with the Mughal Empire under Bir Singh Dev that was unprecedented in the kingdom{\textquoteright}s history. That new political/cultural engagement is reflected in building and decoration during Bir Singh Dev{\textquoteright}s reign, which arguably reached its apex in the Govind Mandir{\textquoteright}s ambitious, innovative design. This dissertation asks the following questions. What was the historic and cultural milieu that provided the background for building in the Orchha ruler{\textquoteright}s reign? On which local, regional and Pan-Hindustani sources did such building and decoration draw? Flow can we {\textquoteright}unpack{\textquoteright} the hybridity of form and decoration, the dialogue between the vernacular and cosmopolitan evinced by this corpus of building? What was appropriated from imperial sources and how was it adapted for Bundela use at the Govind Mandir? What distinguishes this palace from Bundela dynastic architecture prior to the reign of Bir Singh Dev? And finally, what relationships can we discern between building and decoration in Orchha under Bir Singh Dev and that of other contemporary early seventeenth-century Rajput courts similarly engaged with Mughal visual culture?}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Rothfarb, Edward L.} } @mastersthesis {10493, title = {The Archive on the Hill: The Presidential Library and the Architecture of American History}, year = {2009}, school = {MIT}, abstract = {Presidential libraries are not really about presidents. Rather, presidential libraries define publics through the transformation of American history into images and ideas. The presidential library is a uniquely American institution where national history plays out in a mitigated exchange between the representation of memory and the record of political action. On the one hand, the presidential library is a peculiar type of museum and a place of commemoration whose purpose is to perpetuate an often-mythic memory of a singular figure-offering simultaneously the image of an idealized leader and a model for citizenship. On the other hand, its history describes a tenuous accountability between the potentially critical archive and an elusive public. The presidential libraries project a prophecy of historical exceptionalism into the future through the deployment of objects, images, and documents. They reveal how history is used to define American identity, how institutions of stewardship control access and present meaning, and how the contested ownership of history{\textquoteright}s objects over time transforms ideas of democratic judgment. Therefore, this dissertation examines how the place of the museum and the archive as repositories of national identity, the role of records preservation as a necessary facet of public judgment, and the contentious representations of prophetic heroism in American memory are brought together in the presidential library. From Franklin D. Roosevelt to Richard M. Nixon and beyond, the records and artifacts of presidential intent and institutional practice have been forced over time into an unstable relationship between an obligation to public education as an essential feature of democratic idealism and a belief in the benevolent power of history to hold sway over a singular national future.}, keywords = {Architectural History/Historic Preservation, Critical Theory/Gender Studies/Visual Studies}, author = {Haughey, Patrick} } @mastersthesis {10528, title = {Armenian-American Artists: Forging a Diasporic Identity in Los Angeles}, year = {2009}, school = {UCLA}, abstract = {Diaspora is a condition of our contemporary world. To express the tensions inherent in the construction of a diasporic identity, artists of Armenian descent living in the United States (referred to as Armenian-Americans in this dissertation) have produced rich visual material. In seeking to understand how Armenian-Americans stage their identities in Los Angeles at the turn of the 20th century and the start of the 21st, this dissertation examines some of the contemporary visual strategies employed by seven artists. I argue that the art they create attempts to not only project their experiences, but enables them to work through their diasporic identities. In my dissertation, I interrogate key works of the following seven Armenian-American artists working in Los Angeles: Sophia Gasparian (b. 1972), Ani Kupelian (b. 1948), Zareh Meguerditchian (popularly known as "Zareh") (b. 1956), Alina Mnatsakanian (b. 1958), Ara Oshagan (b. 1964), Levon Parian (b. 1955), and Vachig Ter-Sarkissian (known as "Vachag") (b. 1956). The complexity of a diasporic identity begs certain questions that are posed in this dissertation: Where does the diasporic Armenian-American artist consider his/her homeland? How then, if at all, does the diasporan, outside of a "homeland," construct an identity tied to it? And finally, how does the work of these artists relate to the mainstream culture of the host country of the United States? Even though the artists{\textquoteright} styles and mediums vary greatly, key themes are evident in their artistic production. By examining their visual practices from a diasporic perspective, I expose several fundamental themes in their construction of identity. These themes are explored in separate chapters in this dissertation and include the following: a visual reconstruction of testimony in the aftermath of the Armenian Genocide of 1915; intense experiences of loss and nostalgia as they search for "home(s)" and "homeland(s);" and finally, an empowered reclamation of personal and historical fragments to restore their hybrid identities and embrace their transnational selves.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Abbamontian, Ramela} } @mastersthesis {10668, title = {Art and Revolt: The Work of Edward Burne-Jones}, year = {2009}, school = {Yale}, abstract = {This dissertation proposes a new paradigm for approaching the work of painter and decorative artist Edward Burne-Jones(1833-1898) by arguing that the artist was engaged in a fundamentally radical defiance of the artistic, social, and economic hierarchies of the age. Challenging the accepted characterization of Burne-Jones as the "artist-dreamer," this dissertation contends that he was a provocative visionary actively seeking to promote awakening on the part of the viewer through a revelatory, embodied encounter with decorative materiality. By reexamining the nature of Burne-Jones{\textquoteright} profound collaborative partnership with William Morris and questioning the validity of their supposed schism over socialist politics, this dissertation asserts that they remained united in aims, if not methods, throughout their lives. The first chapter explores Burne-Jones{\textquoteright} iconic woodcut frontispiece, When Adam Delved and Eve Span (1892), elucidating the artist{\textquoteright}s personal relationship to socialism and politics and demonstrating how he addressed his art specifically to a working class audience. The second chapter centers upon the unique reception of Burne-Jones{\textquoteright} monumental painting, King Cophetua and the Beggar Maid (1884) at the Parisian Universal Exposition of 1889. Set against the backdrop of this concentrated and frenzied microcosm of urban modernity, industrial consumerism and imperialist propaganda, King Cophetua achieved a striking air of immediacy, proving confrontational and epiphanic. The third chapter takes under consideration Burne-Jones{\textquoteright} mosaic cycle for the American Episcopal Church of St. Paul{\textquoteright}s Within the Walls, Rome, examining how the decorative scheme as a whole presents the viewer with an image of an ecological apocalypse. The dissertation concludes with the great collaborative achievement of Morris \& Co., the San Graal tapestries (designed 1890-1, woven 1891-5), demonstrating how the work functions in subject, symbolism, and mode of production, as a visual exemplar for a captive audience of the British elite. More than just a liberation of Burne-Jones{\textquoteright}s oeuvre from the constrictions of the artist-dreamer characterization, this dissertation presents his work and practice as an alternative approach to the demands of modernity on art, thereby opening up the possibility of new networks of radical response and exchange beyond the teleologically bounded canon of nineteenth-century art.}, keywords = {Nineteenth-Century Art}, author = {Rager, Andrea Wolk} } @mastersthesis {10691, title = {Art, Trade, and Patronage in Seventeenth-Century Lima: Francisco de Zurbaran{\textquoteright}s Commission for the Convent of la Encarnacion}, year = {2009}, school = {Bryn Mawr}, abstract = {Francisco de Zurbaran (1598-1664) was the most famous of the Sevillian painters who participated in the overseas art trade. The artist sent several hundred works to destinations in the viceroyalty of Peru during his career. While his participation in this long-distance endeavor can be documented between 1636 and 1662, a time span which covers the majority of his career, to date this aspect of the artist{\textquoteright}s production has remained a minor focus of scholars. This dissertation uses the lost commission of 1646-47 that Zurbaran produced for the nuns of the convent of La Encarnacion in Lima to help formulate a social history of the overseas art trade. Although the convent and its art treasures were lost, a large amount of documentary evidence remains with which the transaction can be reconstructed. This evidence includes the fortuitously detailed commission documents themselves and a court case that Zurbaran brought against the captain of a ship who damaged an earlier shipment of paintings the artist had sent to Portobelo in 1636. Also considered is Zurbaran{\textquoteright}s technique and the logistics of packing and shipping works for delivery to distant patrons. This dissertation also examines the nature of female monastic patronage in the Post-Tridentine world. This was a world in which Spanish and Latin American nuns were limited by enclosure and other rules that came out of the Council of Trent, but it was a world in which these women thrived as patrons of the arts despite such limitations. Finally, a reconstruction of the lost commission is offered using the structure and language of the commission documents.}, keywords = {Renaissance/Baroque Art}, author = {Kata, Lori} } @mastersthesis {10680, title = {The Artful Hand: Pieter Soutman{\textquoteright}s Life and Oeuvre}, year = {2009}, school = {IFA/NYU}, abstract = {Pieter Claesz. Soutman painted in the circle of Pieter Paul Rubens, for the King of Poland, and for the House of Orange, and he made and published over 150 prints: remarkable achievements for a Netherlandish artist in the seventeenth century. Indeed, Soutman received due attention from the prominent seventeenth- and eighteenth-century chroniclers Samuel Ampzing, Cornelis de Bie, and Arnold Houbraken, only to be subsequently lost to the annals of scholarship. Based on his significant credentials alone, it would be hard to believe that the current disregard of Soutman in art history{\textquoteright}s master narrative is the result of a mediocre oeuvre. In part, the oversight can be attributed to Soutman{\textquoteright}s uneasy fit into demarcated categories established in the wake of ardent patriotism following the Belgian independence of 1830. Soutman{\textquoteright}s activity in both the Northern and Southern Netherlands eludes definitive classification in the study of Dutch or Flemish art. His known works also make it difficult to rank him as a member of one of the artist groupings that so neatly compartmentalize scholarship: Circle of Rubens, Dutch Classicists, Haarlem Portraitists, Court Artists, Reproductive Printmakers, Painter-Etchers. Because of his unique amalgamation of artistic interests Soutman fits all and none of those descriptions. This dissertation will detail how Soutman pursued each of these concerns at different moments during his career. Through a careful analysis of Soutman{\textquoteright}s geographic movements, his artistic production, and his correspondence, it becomes quite evident that Soutman harnessed his protean ability to cater to different themes and audiences, particularly the noble courts of Europe. When placed within a larger historical scope, the ability of Soutman to simultaneously work in the manner of well-known Dutch and Flemish artists, namely Rubens, Anthony van Dyck, and Frans Hals, challenges purist notions of style predicated on national boundaries. Soutman thus becomes a significant example of the artistic exchange that continued after the official political divide of the formerly united Netherlands, which argues for a more expansive understanding of Netherlandish art.}, keywords = {Renaissance/Baroque Art}, author = {Barrett, Kerry} } @mastersthesis {10569, title = {Aspects: The Art of Fred Sandback}, year = {2009}, school = {Stanford}, abstract = {This dissertation, entitled "Aspects: The Art of Fred Sandback," seeks to provide a critical model for conceptualizing the work of the American artist Fred Sandback (1943-2003). Known mostly for abstract constructions of taut yarn spanned through space, his work conveys a powerful presence, dominating large environments with only a few strands of string. Sandback{\textquoteright}s work has been the subject of renewed attention in the last five years, and this dissertation discusses his entire career, from early experiments in steel, to his iconic yarn sculptures, and finally Sandback{\textquoteright}s small series of wooden reliefs. Engaging the polarities of objecthood and immateriality in his sculptures, this work argues for Sandback{\textquoteright}s place as a central figure in postwar artistic production. In articulating Sandback{\textquoteright}s relationship to minimal and conceptual practices, and to theories of perspective, projection, and color perception this dissertation argues that Sandback synthesizes crucial artistic developments since 1960. While current scholarship recognizes both the variety and importance of minimal and conceptual art within the postwar period, their thematics are often discussed separately. Sandback{\textquoteright}s work reformulates the major currents of both practices, developing a materially grounded, conceptually inflected sculpture, which incisively theorizes the stakes of abstraction in the postwar period and further develops the art commonly grouped under the rubric of postminimalism. Grounded in Sandback{\textquoteright}s practice, the larger questions that animate this study center on interrelationships between eye and mind, materiality and idea, and self and world.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Vazquez, Edward} } @mastersthesis {10659, title = {Autobiographical Projects: Women Artists and Identity in the Second Half of Nineteenth-Century France}, year = {2009}, school = {Penn State}, abstract = {My dissertation presents an in-depth analysis of self-portraits produced by women artists in the latter half of nineteenth-century France. While many women artists of the nineteenth century continue to garner critical attention, no sustained analysis of their self-portraiture yet exists. These portraits, whether traditional or innovative, public or private, present to the viewer rare insight into lives of women artists and emphasize their awareness of and interest in their own subjectivity. In addition to providing a physical likeness, these self-portraits underscore the contemporary interest in selfhood and open exciting avenues of research. Nineteenth-century notions of the self were highly influenced by a new understanding that the self was something carried within and that it was the locus of identity. As this budding cult of the self was on the rise, women artists entered into the fascinating dialogue of selfhood through the creation of self-portraits. These images reveal not only how they perceived themselves, but also how society at large defined women{\textquoteright}s positions and forms of expression. Rosa Bonheur, Marie Bashkirtseff, Eva Gonzales, and Louise Breslau are the primary focus of this dissertation. Bonheur, an unconventional artist who wore trousers and painted animals, was the first female to receive a Legion of Honor award. Bashkirtseff was a Ukrainian immigrant who enjoyed high-society life, but secretly wrote letters in support of women{\textquoteright}s rights and produced self-portraits exploring her identity in various guises. Eva Gonzales was the only official pupil of the Edouard Manet. She boldly associated herself with a highly controversial teacher and produced a series of self-portraits that present her serious and introspective personality. Louise Breslau used the genre of self-portraiture to solidify her connections with her female friends and assert her sexual and artistic identity. These images indicate that the central elements of Breslau{\textquoteright}s identity were her status as an artist and her female relationships. This dissertation, the first to focus specifically on women{\textquoteright}s self-portraits in the nineteenth century, sheds new light on the careers of these specific artists as well as clarifies the shifting philosophical and psychological beliefs about the self and how they informed women{\textquoteright}s lives and perceptions.}, keywords = {Nineteenth-Century Art}, author = {Emmer, Janalee} } @mastersthesis {10711, title = {The Bargello: A New History of the First Communal Palace of Florence, 1255-1346}, year = {2009}, school = {IFA/NYU}, abstract = {The Bargello is one of Italy{\textquoteright}s most prominent landmarks and the oldest surviving town hall in Florence. Central to the city{\textquoteright}s political and cultural life for over seven centuries, it was founded in 1255 by the Primo Popolo regime, representing the non-aristocratic classes for the first time. Besides the Capitano del Popolo who occupied the palace initially, other principal residents were the Podesta, 1260-1502, Council of Justice, 1502-1574, and Medici police captain, 1574-1857, whose nickname of "Bargello" has stayed with the building. In the nineteenth century, the palace was restored as the present Museo Nazionale del Bargello, which opened in 1865. This dissertation completely revises the architectural history of the Bargello from 1255 to 1346, when the communal palace developed and attained its current form (apart from nineteenth-century revisions). Previously overlooked nineteenth-century documents clarify the physical condition of the radically restored monument, while a first-time reconstruction of the intricate building site plan of 1255 refutes many widely accepted beliefs. This study demonstrates that the original palace was much smaller than the surviving Via del Proconsolo front wing, which has been dated to the 1250s but was actually built in 1291-1308. Rethinking the early architecture explains the otherwise incomprehensible progression of work mentioned in the documents. Furthermore, since the monumental Via del Proconsolo block was not a mid-dugento work, the Bargello{\textquoteright}s growth can be understood as part of a city-wide program of major civic architecture in Florence in the 1290s. The rear Via dell{\textquoteright}Acqua wing and arcaded courtyard, 1316-1322, were influenced by Florence{\textquoteright}s alliance with the Angevins. The huge, unprecedented cortile was essentially built not for communal needs but to serve as a royal residence. Lastly, a post-1332 fire rebuilding by Neri di Fioravanti (active 1340-1384) and Benci di Cione (d. 1388) shaped the landmark today (although it is shown that the present Michelangelo Hall on the ground floor is entirely a nineteenth-century concoction, along with certain other important spaces). The newly found intermediate building stages also give a more accurate view of the Bargello, elucidating the relationship of architecture, politics, and urbanism in early modern Florence.}, keywords = {Renaissance/Baroque Art}, author = {Yunn, Amee} } @mastersthesis {10699, title = {Between and Across Media: Verrocchio{\textquoteright}s Creation and Meaning in His Workshop}, year = {2009}, school = {Johns Hopkins}, abstract = {This dissertation analyses the ways in which Andrea del Verrocchio used extraordinary technical processes to explore and make claims about the meaning of his art. Verrocchio frequently borrowed tools and techniques from one medium in the practice of another, to an extent that was unprecedented. Using examples of Verrocchio{\textquoteright}s artistic production in all media (sculpture, drawing, and painting), as well as three little-studied manuscripts made in his workshop, on the basis of which it is hoped I provide an appropriate theoretical framework, my dissertation aims to address how Verrocchio thought about his art. Chapter one establishes the unusually wide breadth of media in which Verrocchio was expert, drawing from archival and technical evidence. This chapter also attempts to address when the artist became skilled in different materials and when and why he moved from one to another; and to present a picture of the organization of the workshop, including the participation of various assistants. In chapter two I examine a group of satirical drawings and a silver relief panel in the context of Verrocchio{\textquoteright}s cultural and social milieu. In the case of the drawings, I explore their meaning in the light of satirical performances that took place on the streets on which Verrocchio trained as a goldsmith. And in the case of the relief panel, the Beheading of Saint John the Baptist, I explore the implications of the unusual emphasis on the soldier{\textquoteright}s horror at the event they are witnessing in the context of the rituals of the compagnia del Tempio, a confraternity dedicated to condemned prisoners which rented a room in Verrocchio{\textquoteright}s home. Chapter three centers around the content of three manuscripts made in Verrocchio{\textquoteright}s workshop, in particular, the story of Geta and Birria, a satirical tale of mistaken identity in which Geta is convinced that he has been transformed into nothing. The story is contained in all three manuscripts and its presence establishes the artist{\textquoteright}s cognizance of a contemporary debate concerning artistic practice versus scholarly learning as the means through which to gain access to knowledge. The final chapter explores the metaphoric implications of Verrocchio{\textquoteright}s use of mixed media in the case of three works: a drawing of an ideal head of a woman that resembles a relief sculpture coming to life; a polychrome wood and stucco crucifix, in which the mixed media procedures of making serve as a model and expression of spiritual meditation; and a porphyry, marble and bronze tomb that expresses through its nonfigurative iconography a "language of materials" that served as a visual equivalent of a funerary oration. My study as a whole charts the beginnings of what Pamela H. Smith has termed "artisanal epistemology," a system of knowledge founded in the material procedures of making objects, which it has been assumed began in Italy only after Verrocchio{\textquoteright}s time.}, keywords = {Renaissance/Baroque Art}, author = {Neilson, Christina} } @mastersthesis {10712, title = {Between Music and History: Ragamala Paintings and European Collectors in Late Eighteenth-Century Northern India}, year = {2009}, school = {UCLA}, abstract = {Ragamala paintings, which depict personifications of musical modes, were among the most popular courtly painting genres in northern India, but remain poorly understood. Because of their general conservatism over the course of some four hundred years, they are often studied only in terms of their styles, dates, provenances, classification systems, and relationships to Sanskrit musicological treatises. This dissertation is an attempt to contextualize some part of this vast pictorial tradition. I will suggest that present approaches to ragamala paintings continue to be informed by a nationalist discourse, itself constructed upon many of the same premises as the late eighteenth-century Orientalist scholarship on Indian music and culture. Ragamalas and the music to which they refer were seen largely in Hindu devotional terms and as a result the paintings are treated as a somewhat timeless and ahistorical tradition. All evidence, however, points to a rapidly changing musical culture in northern India, admitting significant Muslim influences and patronage. In order to explore these interrelated issues and to suggest an alternative approach to the ragamala painting genre, one which considers it in relation to different musical environments, this dissertation is framed by the two above-mentioned discourses. Its particular focus is on the late eighteenth-century European encounter with both Indian music and ragamala paintings in the figures of Sir William Jones, Richard Johnson, and Antoine Polier. Through an examination of Orientalist scholarship, European collectors, and the Indian musical culture of the late eighteenth century, I show that ragamala paintings came to refer to very different musical environments over time. Perceptions of these paintings as fundamentally devotional in character and static in their references thus always require qualifications.}, keywords = {South/Southeast Asian Art}, author = {Gude, Tushara Bindu} } @mastersthesis {10496, title = {Beyond Historicism: Jakob von Falke and the Reform of the Viennese Interior}, year = {2009}, school = {Columbia}, abstract = {During the late nineteenth century, domestic interior decoration first emerged as a central concern of architecture and applied arts discourse. Proclaiming the interior{\textquoteright}s capacity to mold middle-class life, the era{\textquoteright}s critics and artists set the stage for the twentieth-century view of the house as a tool for social engineering. Jakob von Falke (1825-1897), a leading, yet little-studied, museum curator, cultural historian, and popular writer on the applied arts, contributed as much as any individual to establishing the terms of this nascent discourse. He wrote one of the era{\textquoteright}s most widely read treatises on decoration, Die Kunst im Hause [Art in the House] (1871), and played a central role in shaping domestic material culture in Vienna during the city{\textquoteright}s epochal transformation of the 1860s and 1870s. This dissertation examines several episodes in Falke{\textquoteright}s long and prolific career. Chapter 1 addresses his research in the 1850s into the history of clothing and fashion. Drawing on the emerging discipline of Kulturgeschichte (cultural history), an early branch of the social sciences, Falke developed a theory of the relationship of material forms to social conditions. Chapter 2 looks at how he used Kulturgeschichte to formulate a program for the interior based on historical analysis, but also how he attempted to find an alternative to a historically based approach to design. Jacob Burckhardt{\textquoteright}s notion of sixteenth-century Italy as the cultural ideal for the present inspired Falke to argue for a Renaissance revival style. However, he simultaneously questioned historicism and called for decoration based purely on color and ornament as tools for shaping emotional experience. Chapter 3 considers Falke{\textquoteright}s activities at the 1873 Vienna World Exhibition, where he promoted Eastern European peasant crafts as models of pure form and color for Austrian industrial artists. This work was part of a wider discourse on Eastern European folk crafts that had implications for Hapsburg nationalist politics. It also played an important role in the next generation{\textquoteright}s fascination with folk art as an antidote to a perceived crisis of modernity. Chapter 4 links Falke{\textquoteright}s theory to the Viennese painter Hans Makart, who developed a style of decoration in the 1870s that exerted a tremendous, yet rarely recognized, influence on European homes over the remainder of the century. Makart{\textquoteright}s style, referred to by contemporaries as malerisch (painterly), was rooted in historicism, but like Falke{\textquoteright}s theory, moved toward eclecticism, fantasy and psychological inwardness, ultimately inspiring the Jugendstil and Secession movements at the turn of the century.}, keywords = {Architectural History/Historic Preservation, Decorative Arts/Textiles/Design History}, author = {Anderson, Eric} } @mastersthesis {10721, title = {Blue Riders of the Apocalypse: Kandinsky and Marc in the German Apocalyptic Tradition}, year = {2009}, school = {Bryn Mawr}, abstract = {Early twentieth-century Munich was a leading intellectual and cultural center, as well as a society in crisis, experiencing growing tension between the materialistic bourgeoisie and the disillusioned intelligentsia, while moving ever closer to war. This pervasive sense of societal malaise became the target of several alternative social critiques, including one, which I address here, calling for a spiritual revolution. Many artists and intellectuals began to see such a revolution as necessary to change their world and create a better life. For the Russian artist, Vasily Kandinsky (1866-1944), and the German artist, Franz Marc (1880-1916), foremost among those extolling a spiritual struggle, eschatological concepts provided a means to challenge the present experience of suffering they perceived within society, offering hope for a spiritual transformation and a new future. This dissertation{\textquoteright}s goal is to locate within the German apocalyptic tradition the thought and practice of these two modern artists working in Munich during the early twentieth century. The focus is from 1896 through World War I to Marc{\textquoteright}s death in 1916, paying close attention to 1911-1912, crucial years for the Blaue Reiter artists{\textquoteright} group founded by Kandinsky and Marc. During this time their ideas and practices took shape, including the development of what I claim to be their apocalyptic perspectives. Of primary concern is how both artists integrated the intellectual and artistic discourse of apocalypse into their experience and the consequences this had for their art and thought. I analyze each artist{\textquoteright}s apocalyptic mindset itself and consider its implications. Guiding this inquiry is the following question: as a product of a distinct historical, cultural, social and political situation, does such a worldview perhaps mask-or unmask-a troubling ideology, and does an element of danger thus reside within its hope and optimism? Moreover, by adopting a traditional frame of reference as a means of confronting the issues of their day, are these pioneering modernists in part anti-modern? This ideological exploration of the apocalyptic mindset, drawing on modern European intellectual history, revises a concept of modernism imposed on Kandinsky and Marc, thereby making a contribution to the larger discourse of modernity.}, keywords = {Twentieth-Century Art}, author = {Leeuwrik, Linda} } @mastersthesis {10732, title = {The Body Beautiful: Feminine Self-Representations, 1970-2007}, year = {2009}, school = {IFA/NYU}, abstract = {This dissertation focuses on the genre of self-portraiture and the concept of female beauty from 1970 to 2007. It offers a critical intervention into the notion of contemporary femininity in representation by tracing the ways in which the genre of self-portraiture became the principal constituent of a specific, feminine artistic identity. I use a critical strategy of performative reading that shows how the representation of the body is constructed as a site of subjectivity for particular women artists, who have not been previously discussed in this context. Chapter one closely examines several of Joan Jonas{\textquoteright}s works that focus on the notion of feminine self-representation: from her early video performances to her later works. It analyzes Jonas{\textquoteright}s articulation of the artistic self in representation, and her purposeful evocation of feminine beauty in performance. Chapter two traces female beauty as a leitmotif to demonstrate Martha Rosler{\textquoteright}s crucial engagement in the critique of the consumerist focus on female beauty in the media since the early 1970s. The interconnectedness of art and life culminates in the performances of Marina Abramovic (chapter three). Abramovic{\textquoteright}s "need for glamour" became a sort of personal manifesto as she employed her own beauty purposely as a part of her newly empowered artistic self in the early 1990s. Through her self-representations, Abramovic took control over her images in both her performances and in the public realm. Following the paradigmatic shift in the attitude of women artists toward issues of female beauty in the 1990s onwards, the final chapter shows how Sam Taylor-Wood{\textquoteright}s photographic depictions of contemporary celebrities influenced the formation of her own public persona - as she became a celebrity herself. This demonstrates the dynamic relationship between Taylor-Wood{\textquoteright}s public image formed in the larger media sphere and her self-representations within the realm of art. This study sheds light on processes through which artists work to create representations in order to show the complex femininity formation - the parafeminist subject. It introduces the notion of subjective female beauty that these artists represent. The self-representations discussed here are places where the subversion of the consumerist notion of glamorized feminine beauty lies.}, keywords = {Twentieth-Century Art}, author = {Stokic, Jovana} } @mastersthesis {10593, title = {Bonnie Cashin: Fashion and Costume Design, c. 1923-1985}, year = {2009}, school = {Bard Graduate Center}, abstract = {This dissertation examines the life and career of American fashion and film costume designer Bonnie Cashin (1907-2000). Although Cashin is best known as a pioneer of American sportswear and for "modern" ready-to-wear fashion designs after 1950, this dissertation considers the totality of her work. It begins with her childhood dressmaking "apprenticeship" and then considers Cashin{\textquoteright}s careers in dance and film costume design as well as fashion design and evaluates her role as an advocate and critic of the fashion industry from the 1950s until her death in 2000. It also establishes her determination to design according to her personal tastes and to create a body of work that was also a form of autobiography. This research is significant not only because it is the only analysis of Cashin and her work but also because it is based on primary source material from Cashin{\textquoteright}s personal archive, including unpublished letters, journals and photographs, as well as extensive interviews with Cashin during the last three years of her life. Cashin{\textquoteright}s professional design career included fashion illustration and dance costume design in the 1920s and 1930s for Fanchon and Marco (a Los Angeles-based company) and the Roxyettes (New York City), as well as costume design for films produced at Twentieth Century-Fox (1942-1949) and, most famously, clothing design for American ready-to-wear (1937-1942 and 1949-1985). In 1952, she established her own company, Bonnie Cashin Designs, Inc., and distinguished herself as an "independent" designer, working for select manufacturers in order to create a complete "Cashin look." Among her many design collaborations, special emphasis is given to her work as first and sole designer for Sills \& Co. (1953-1977) and Coach Leatherware (1962-1974), as well as her work with Ballantyne Cashmere (1963-1969) and the establishment of her own company, The Knittery (1972-1982). She was the only U.S. designer to have a boutique within Liberty of London and carried at Hermes in Paris. Cashin{\textquoteright}s achievements were based not only on her talents as a designer, but also on her ability to craft her public persona and maintain her artistic integrity within mass-manufacture. She attained great commercial success without ever licensing her name or working with design assistants and became one of the most respected and influential designers in her field.}, keywords = {Decorative Arts/Textiles/Design History, Twentieth-Century Art}, author = {Lake, Stephanie} } @mastersthesis {10598, title = {Bound Vision: Reading the Photographic Book in the Weimar Republic}, year = {2009}, school = {Delaware}, abstract = {In the last years of the Weimar Republic, photographers and publishers produced books that consisted almost entirely of sequenced images. These books covered a wide variety of subjects: from plants and nature to the modern metropolis, from exotic cultures to the German Volk, from anonymous workers to historical figures. While scholars have focused on the content of photographic books, my approach addresses how the display and sequencing of photographs relate to contemporary debates on modern visual experiences. Through close analyses of photographic books by Laszlo Moholy-Nagy, Albert Renger-Patzsch, Karl Blossfeldt, Helmar Lerski, and August Sander, this dissertation explores the contemporary issues of perception and the complex relationships between reading and seeing, photography and film, that these books invoke. As part of its analysis of Weimar photographic books, this study recasts the photographic medium as a product of dialogues and relations between disparate formats. It focuses on intersections of diverse and often contradictory aspects of photographic meaning-image and text, stillness and motion-thereby emphasizing the incoherency of the medium. The accumulation of images within books reinforced photography{\textquoteright}s promise to represent the world in an efficient and thorough way that suited the hectic pace of modern life. Photographic books ultimately staged dialectics of unity and fragmentation, coherence and discord that were at the heart of visual experiences in the Weimar Republic. They contributed to debates on the shifting boundaries between image and text, the human capacity for attention and distraction, changing conceptions of knowledge and history, and the revival of physiognomic studies.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Stetler, Pepper} } @mastersthesis {10494, title = {Breeding Grounds: Race, Space, and Species in the New American Zoo}, year = {2009}, school = {Rochester}, abstract = {This study investigates the renewal of American zoos in the mid-twentieth century. Beginning in the late 1950s and continuing for two decades thereafter, zoo makers in the United States grew ever more ashamed of the physical condition of their animals displays and worked to give them a new material form. Bars came down and expansive, multi-species enclosures simulating natural territories and encouraging natural behaviors began to take their place, albeit it with the unevenness and historical repetition of many so-called design revolutions. Simultaneously, zoo makers grew concerned about the international supply and reproductive prospects of captive wildlife and began to breed their charges with renewed dedication, expertise, and publicity. This dissertation focuses on how this two-part revitalization, spatial and biological, constituted the birth of a "new zoo" in the United States and how it also constituted a re-birth of white public culture. Drawing from other critical zoo history, animal studies, studies on the social construction of whiteness, and public sphere theory, I interpret the new zoo{\textquoteright}s multi-mediated display of animals as a process of public culture formation that a range of mid-twentieth-century Americans recognized and responded to as racially white. More specifically, I employ discourse analysis on archival sources to show how the new zoo makers constructed white racial identities for a multiplicity of spectators, enlisting zoo animals as powerful surrogates for racial difference and sameness while also grappling with their semantic instability. A first chapter explores zoo-making in the nineteenth century as a racialized investment in the civilizing potential of public animal exhibition in American cities, which would influence the renewal of zoos a hundred years later. The following chapters concern the Smithsonian Institution{\textquoteright}s National Zoological Park in Washington D.C. and the two campuses of the Zoological Society of San Diego in the 1960s and 1970s, examining regionally specific discourses of slum clearance, white tiger breeding, open space, and white rhino endangerment. The conclusion situates the 2007 public controversy surrounding the "Maasai Journey" program at Seattle{\textquoteright}s Woodland Park Zoo as an historically mature example of the new zoo and its racial politics.}, keywords = {Architectural History/Historic Preservation, Critical Theory/Gender Studies/Visual Studies}, author = {Uddin, Lisa} } @mastersthesis {10625, title = {A Broken Piece of an Absent Whole: Experimental Video and Its Spaces of Production and Reception}, year = {2009}, school = {Rochester}, abstract = {This dissertation, "{\textquoteright}A Broken Piece of an Absent Whole{\textquoteright}: Experimental Video and its Spaces of Production and Reception" presumes that where video is found-as the glass eye and window of broadcast network television, as an integral component of contemporary architecture, as one more medium in the museum, and as the newly primary visual interface of the internet-determines its form. Video also has a formative influence on the spaces into which it is inserted. The recently expanded field of video is divided in two: by "broken piece" the art historian Ann Wagner refers to experimental video and video installation art; by "absent whole," the rest of media culture. Why this break occurs, and how it is both policed and undermined is my dissertation{\textquoteright}s project. In the late 1960s, experimental or avant-garde video{\textquoteright}s space was assumed to be broadcast television, and secondarily the artist{\textquoteright}s studio, the art gallery and the movie theater. Chapter 1 looks at the avant-garde strategies for accessing and altering broadcast television, which consisted of multipronged attacks on its complex of industry programming, audience and technological form. Its failure to maintain a lasting presence on television is used to support the argument that television{\textquoteright}s vigorous and highly militant avant-garde did not produce any lasting cultural assets. I argue otherwise, by looking at some of the unresolved "problems" of avant-garde television that return over the ensuing decades. Following its release from the television set, video has appeared almost everywhere, on screens the size of buildings that form a backdrop for people carrying screens that fit into their hands. Through a consideration of public video art, chapter 2 analyzes how the dismissal of broadcast television audience by the avant-garde is repeated in later responses to the newly expanded spaces of "television." Chapter 3 looks at the changes to video{\textquoteright}s temporal form that take place after its successful introduction into the museum in the 1990s. Chapter 4 historicizes the rhetoric dividing high art from mass culture through an analysis of attempts to split the virtual from the phenomenological in the reception of projected video environments.}, keywords = {Film/Video, Twentieth-Century Art}, author = {Bouman, Margot} } @mastersthesis {10689, title = {Buffoons, Rustics, and Courtesans: Low Painting and Entertainment Culture in Renaissance Venice}, year = {2009}, school = {Chicago}, abstract = {This dissertation maps out a new vision of the relationship between painting and entertainment culture in sixteenth-century Venice, focusing in particular on the performers, subjects, and themes of comic dialect theater and their depiction in visual sources. The taste among Venetian elites for comedy, poetry, and music centered on marginal social groups and the urban and rural underclasses, famously epitomized by Ruzante{\textquoteright}s plays and Aretino{\textquoteright}s satires, has not been adequately examined in relation to the visual arts. While Renaissance scholars study the low genres of "alla bulesca" literature, macaronic poetry, and bawdy song forms like the villotta and barzelletta, this dissertation is the first to offer an in-depth analysis of an analogous "low" genre of painting. One fundamental task of the dissertation is thus to identify and recover low painting as a significant category of Venetian Renaissance art through the fresh interpretation of extant works and the archival recovery of lost examples. In performing this reconstruction I dedicate attention to the patronage and ownership of these works and their display and function within the Venetian home. Another aim of the project is to examine low painting as a mode of counter-figuration that manipulates and subverts the standards of Renaissance idealism: beauty, order, harmony, and control. As might be expected it is primarily non-canonical artists - Bartolomeo Veneto, Bernardino Licinio, Paris Bordon, and in particular Giovanni Cariani - who emerge as the principal painters of this imagery, although Leonardo da Vinci, Giorgione, and Titian all play crucial roles in its development. To these purposes I examine the figures that populate this painting - notably popular performers, peasants, and prostitutes - across four chapters where they are treated as both active participants in the production of Venetian entertainment culture and as its performed and painted subjects. In all cases my readings of the visual and textual sources are conditioned by the social and political climate in which they were produced. My chronological focus on the period between 1500 and 1550 covers the crucial years of gestation and development for the characters and subjects later codified in the Commedia dell{\textquoteright}Arte. This dissertation connects paintings, prints, and drawings from an early period to the better-studied imagery of the Commedia for the first time. The first two chapters focus on imagery of celebrity buffoons, actors, and musicians and the tropes of madness, rusticity, and "natural" performance promulgated through their literary and visual personae. Here I am particularly interested in interpreting visual language in light of performance practices and literary style and in contrasting it to purportedly normative Renaissance ideals of appearance and behavior. Chapters Three and Four turn to paintings that treat a major subject of contemporary comic theater, music, and poetry: the courtesan and her retinue of suitors, pimps, and servants. My interpretation seeks not only to identify and interpret the major themes of this imagery through recourse to its literary equivalents, but also to resolve the paradoxical portrayal of the courtesan as an embodiment of refined luxury and youthful beauty in painting and as a vulgar, even grotesque figure of hyperbolic greed in satiric literature.}, keywords = {Renaissance/Baroque Art}, author = {Henry, Chriscinda} } @mastersthesis {10715, title = {Cameraless Modernisms: Art, Media, Photograms}, year = {2009}, school = {Princeton}, abstract = {In this dissertation, I examine avant-garde cameraless photographs-or photograms-in relation to interwar cinematic experiments and aspirations. I argue that photograms served as an alternate site of cinematic experimentation, one which focused not on cinematic images so much as the cinematic apparatus: spectators, filmstrips, darkness, projection, light, screens, and architecture. I further argue that the photograms, films, and exhibitions of Man Ray and Laszlo Moholy-Nagy-the dominant practitioners of interwar cameraless photography-trace fault lines in the avant-garde cinematic imaginary that run between embodiment and disembodiment, materiality and immateriality, the distillation of extant experiences and the imagination of new ones. Photograms are made through the interposition of objects between a light source and a light-sensitive surface, without recourse to lenses or cameras. Cameraless photography is at least as old as its camera-based counterpart and has been practiced by hobbyists, children, occultists, and amateur scientists since the nineteenth century. In the immediate post-World War I period, cameraless photography was (re)discovered as an artistic technique across the avant-garde. Avant-garde photograms-also known as rayographs and schadographs-diverged from nearly all prior cameraless photographs on three significant counts. First, they tended to be (semi-) abstract and so related to recent avant-garde painting and collage. Second, unlike most prior cameraless photographs, which were made on sunlight printout paper, avant-garde photograms were created in a darkroom with electric light and developing paper. Third, they were linked repeatedly to the most advanced experiments in avant-garde film. I explain this final distinction in relation to their conditions of production: avant-garde photograms are the traces of electric light projected through artificial darkness onto a flat, rectangular surface; their conditions of production paralleled the conditions of reception codified in post-WWI movie theaters. Avant-garde artists turned their makeshift darkrooms into ersatz cinemas whose traces were recorded without a camera. In other words, avant-garde cameraless photography was not camera-less at all. Instead, Man Ray, Moholy-Nagy, and their critics replaced the camera or chamber of the photographic apparatus with a dark chamber analogous to the cinematic apparatus. Their photograms and films reveal aspects of the cinema-filmstrips, darkness, and screens-otherwise hidden by the cinematic apparatus.}, keywords = {Twentieth-Century Art}, author = {Elcott, Noam} } @mastersthesis {10651, title = {Carnival is Woman: Gender, Performance, and Visual Culture in Contemporary Trinidad Carnival}, year = {2009}, school = {Duke}, abstract = {While great strides have been made in the study of Trinidad Carnival, there has yet to be a robust inquiry into how women have contributed to its evolution. One major reason for this shortcoming is that the dominant cultural discourse relies on a reductive dichotomy that recognizes the costumes created prior to the 1970s as creative and those made after the 1970s as uncreative. This arbitrary division of the costume aesthetic reflects a distinct anti-feminist bias that sees women{\textquoteright}s spirited emergence in Carnival territory in the 1970s as apolitical. My dissertation exposes this dilemma, and seeks to undermine this interpretation, by its focus on how women{\textquoteright}s bodies, their presentation, and their acknowledgment of the body{\textquoteright}s potential for non-verbal articulation impacted the evolution of performance practices and the costume aesthetic in Trinidad Carnival. I explore how the predominance of women in Carnival since the 1970s and the bikini-based costume aesthetic that complements this change is suggestive of women{\textquoteright}s urgent need to manipulate the body as an aesthetic medium and site of subversion. Critical to this argument is a close examination of certain female figures who have had a sustainable presence in Trinidad Carnival{\textquoteright}s history. My project acknowledges the jamette, a working class woman who defied Victorian tenets of decorum in pre-independence Trinidad. This figure has been overlooked in the predominant scholarship of Trinidad Carnival history. Another section of my dissertation explores the influence of the Jaycees Carnival Queen competition. Women of mostly European descent participated in this Carnival-themed beauty pageant that remained popular until the 1970s. I also examine the legend of soucouyant (an old woman who turns into a ball of fire at night and sucks the life blood from unsuspecting victims) and how this figure can be deployed to reinterpret Jouvay (the ritual that marks the beginning of Trinidad Carnival).}, keywords = {Latin American/Caribbean Art}, author = {Noel, Samantha} } @mastersthesis {10577, title = {Cartographies of Cloth: Mapping the Veil in Contemporary Art}, year = {2009}, school = {McGill}, abstract = {The veil is a historically constructed site, a fixed sign used in Euro-America to conveniently and clearly dress the borders between east and west. Recent disciplines like visual and cultural studies, Third World feminism, and postcolonialism have challenged this assumption positing instead the veil{\textquoteright}s polysemy and its different sometimes multiple meanings according to the individual, and the historical and geographical context. Representations of the veil in contemporary art have appeared quite frequently in Euro-America in the last couple of decades, and in the thesis I set out to demonstrate that many of these visual texts also propose significant reinscriptions of the sign capable of displacing dominant discourse. However, because of the veil{\textquoteright}s metonymy in Euro-American mainstream culture and {\textquoteright}collective gaze,{\textquoteright} the thesis first charts the topography of the trope in history, discourse and visual culture as its entrenchment obviously complicates any use of the sign by artists of Muslim origin exhibiting within the western art apparatus. It then traces three alternative narratives of the veil evident in contemporary practice underscoring their critical importance with regards to gender, politics, representation and the conception of self. I must however concede that the major impetus behind the analyses of the contextualized veil, the postcolonial veil and the subject-ive veil is a belief in the radical power of visual texts to facilitate transnational literacy and translation. The study therefore focuses on the relationship between the location -territorial or ideological- of the gaze and the image. It demonstrates that this relationship or space is protean, plural and full of promise both individually and collectively.}, keywords = {Contemporary Art}, author = {Pocock, Valerie-Anne} } @mastersthesis {10697, title = {Carving for a Future: Baccio Bandinelli Securing Medici Patronage through His Mutually Fulfilling and Propagandistic Hercules and Cacus}, year = {2009}, school = {Case Western Reserve}, abstract = {Baccio Bandinelli{\textquoteright}s Hercules and Cacus was a tool used by both the patron and artist to fulfill their own personal goals. For the Medici, the colossus was to be a statement (and warning) of their renewed power in Florence, as well as developing the idea that Florence was the "New Rome" due to Medici rule. For Bandinelli, it was proof of his undying loyalty to the Medici, and an acknowledgement that his style would provide the Medici with the proper voice with which to display their new power. My own goals are to provide not the usual Vasari or Cellini based critical analysis (favored by most scholars and writers since the sixteenth century), but a new interpretation of the moment depicted by Bandinelli for this Virgilian narrative. The political significance of my interpretation for the sculpture helps to understand how this marble directly led to further Medici patronage. To substantiate my interpretation, I consider Bandinelli{\textquoteright}s own drastic changes throughout the preparatory process, his sources and influences, and other contemporary Medici projects. The significance of his use and understanding of classical influences over the Michelangelesque to create his own "Bandinellesque" style enforces the need for my re-evaluation since most critiques rely on what I perceive as a false assumption that Bandinelli{\textquoteright}s goal was to mimic Michelangelo.}, keywords = {Renaissance/Baroque Art}, author = {Morford, Michael} } @mastersthesis {10682, title = {Casting a Second Rome: Primaticcio{\textquoteright}s Bronze Copies and the Fontainebleau Project}, year = {2009}, school = {Yale}, abstract = {The dissertation examines a group of bronze copies after ancient marble statues in the Belvedere Cortile. Francesco Primaticcio, Jacopo da Vignola, and assistants produced these copies for the Fontainebleau residence of the French king Francis I between 1540 and 1543. The impressive large statues prompted Giorgio Vasari to describe Fontainebleau as "almost a new Rome." This was the first systematic attempt to copy several celebrated Greek and Roman statues in bronze by means of indexical, full-scale replication, and to re-install them in a new, foreign setting. Chapter one traces the conceptual origins of this endeavor and assesses the particular features of several of the statues. Chapter two reconstructs the bronze project, situates it within its patronage context, and provides a synthetic chronology. Chapter three addresses the display and reception of the completed statues. Chapters four and five discuss the Cleopatra-Ariadne statue as a prototype that would give rise to a new visual topos, the Fontainebleau nymph. As works like Cellini{\textquoteright}s Nymph of Fontainebleau demonstrate, antique models were transformed and acquired new layers of meaning when shifted to a different environment. This development opened a rich set of possibilities for creative appropriation of antique forms in France that went beyond the generation of replicas. This study is not a traditional monograph, but rather a focused analysis of a pivotal episode in European cultural history. The episode influenced subsequent princely displays, but more importantly, helped establish a central role for sculptural copies after the antique in artists{\textquoteright} academic training and in viewers{\textquoteright} cultivation of aesthetic insight. In its broad contours, the dissertation adheres to several notions regarding the sixteenth century: "Rome" was a mental construct as well as a physical place; copies created within an advanced intellectual and artistic climate are worthy of art-historical investigation; and the "Renaissance" was a multi-sited, dynamic phenomenon that can be illuminated through the study of exchanges across geographical boundaries. Other issues explored include the critical discourse surrounding sculptural copies during the Renaissance, Primaticcio{\textquoteright}s archeologically sensitive approach to copying, and the imperial iconography of large bronze as it related to Francis{\textquoteright} ambitions for a universal monarchy.}, keywords = {Renaissance/Baroque Art}, author = {Bensoussan, Nicole} } @mastersthesis {10614, title = {The Cathedral at Nicosia in the Age of Frederick II and Louis IX: Issues of Patronage, Structure and Meaning}, year = {2009}, school = {Case Western Reserve}, abstract = {This dissertation provides a new perspective in understanding the patronage, structure, and meaning of the Cathedral at Nicosia. It undertakes a wider review than has hitherto been undertaken of the cultural and historical context of the Cathedral in the age of Frederick II and Louis IX and approaches the topic from an interdisciplinary perspective. Through a reconsideration of documentary evidence and the reexamination of the Cathedral{\textquoteright}s relationship to the kingdom of Cyprus, this study questions the prevailing scholarly assumption of the importance of ecclesiastical patronage and presents material evidence about the lay patronage of the Cathedral. Until now the Cathedral has been much discussed in the context of French Gothic architecture. This dissertation instead highlights the way in which the kings of Cyprus drew upon or even appropriated local Eastern Mediterranean architectural models. In particular, it suggests that the elaboration of the Cathedral{\textquoteright}s plan was a consistent attempt to revive early Christianity and had an intrinsic capacity to emphasize continuity between early Christian and medieval Cyprus. Furthermore, the research presented here seeks to demonstrate that the Cathedral communicated a message of power and authority and that much of its meaning derives from being a funerary shrine. Finally, the liturgical program of the Cathedral proves that the rituals and relics were intended to solidify the authority of the kings over the island and to promote a peaceful modus vivendi between the Latin and Greek communities.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Sbisa, Tiziana} } @mastersthesis {10540, title = {Chance and Design: Experimental Art at Black Mountain College}, year = {2009}, school = {Princeton}, abstract = {This dissertation focuses on rival methodologies of experimental art as elaborated and practiced by three key Black Mountain College teachers of the late 1940s and early 1950s: Josef Albers, John Cage, and Buckminster Fuller. All laid claim to a practice of experimental production that stressed innovation and simultaneously excluded, to greater or lesser degrees, competing conceptions; all viewed their experimental procedure as interrelating art and life and therefore imbuing art with crucial relevance. For Albers, experiment "embraces all means opposing disorder and accident." It represents a careful procedure of testing socially and historically constructed perceptual understandings in art against deceptive optical registrations. To Cage, experiment ruptures patterns of reasoning that hypothesize testable limits. As he stated, "The word {\textquoteright}experimental{\textquoteright} is apt, providing it is understood not as descriptive of an act to be later judged in terms of success or failure, but simply as an act the outcome of which is unknown." In Fuller{\textquoteright}s model, experimental procedures are those by which the "valid data" of "what is really going on in nature" can be formulated conceptually by artists (also known as comprehensive designers"), thereby exposing the conventionalized knowledge claims or myths" of an over-specialized society. This dissertation analyzes a crucial mid-century modernist idea-experimentation-that has not been explored in depth elsewhere. The legacy of Black Mountain College is bound up with these figures{\textquoteright} contradictory visions of modernism as inextricably bound up with the logic of experimentation. These three models of experiment-the methodical testing of the appearance and construction of form in the interest of designing new visual experiences (Albers), the organization of aleatory processes and the anarchical acceptance of accident (Cage), and "comprehensive, anticipatory design science" that tests traditional artistic and architectural forms in order to teleologically progress toward a utopia of efficiently managed resources (Fuller)-represent incipient and disparate directions of postwar art practice, elements of which would be sampled, and often wholly adopted, by Black Mountain students and subsequent practitioners.}, keywords = {Art of the United States}, author = {Diaz, Eva} } @mastersthesis {10688, title = {Choreography and the City: The Politics of Dance Imagery Included in Ambrogio Lorenzetti{\textquoteright}s Good Government Fresco, Palazzo Publicco, Siena}, year = {2009}, school = {Binghamton}, abstract = {Between 1338 and 1340,Ambrogio Lorenzetti painted the now-famous fresco of Good Government in the executive council chamber (Sala dei Nove) in Siena{\textquoteright}s Palazzo Pubblico. A prominently placed motif about which a significant body of scholarship exists, the group of dancers in the foreground comprises a crucial component of the fresco{\textquoteright}s iconographic program. In publications to date, scholars have focused primarily on analyzing the fresco{\textquoteright}s sociopolitical content as well as determining a likely literary source used as a model for Lorenzetti{\textquoteright}s pictorial program. This dissertation brings a new interpretation to the image of the dance. The focus here investigates the principles of musicality that, I argue, inform the movements of the dancers and reveal much about the intellectual environment within which Lorenzetti was operating as a painter. The dancers certainly take their place within the surrounding urban choreography and are rife with allusions to classical as well as to medieval cosmological concepts of an essentially musical nature. I emphasize the significance of this unique iconographic unit, its repetitive dynamic as a poetic, musical, and political motif with respect to civic governance. In addition to these cosmological and civic attributes, the primacy of the dancer{\textquoteright}s performance within the fresco, as well as indicating a particular style of dance described in musical treatises of the period, also alludes to classical, biblical, and poetic tropes appearing consistently within scholarly commentaries, pedagogy, and performance practices of the late medieval period. This treatise material, when considered in conjunction with Lorenzetti{\textquoteright}s musical image and ones like it, reveals a new intellectual, artistic, and musical fervor apparent in fourteenth-century Tuscany, and within Siena in particular. In this new, expanded assessment, Lorenzetti{\textquoteright}s dance image becomes the locus of entry: a repetitive musical element which emphasizes its own internal dynamics of order as it instantiates the intellectual and artistic concerns of Siena.}, keywords = {Renaissance/Baroque Art}, author = {Havenstein, Kenneth} } @mastersthesis {10616, title = {Christians of the Western Desert in Late Antiquity: The Fourth-Century Church Complex of Ain el-Gedida in the Dakhleh Oasis, Upper Egypt}, year = {2009}, school = {Minnesota}, abstract = {This dissertation examines the fourth-century church complex excavated, between 2006 and 2008, at Ain el-Gedida, in the Dakhla Oasis of Upper Egypt.1 The church and the set of interconnected rooms that form the complex are one of the earliest examples discovered in Egypt thus far. Therefore, they provide valuable information on the development of Christian public architecture, not only in the region of the Western Desert but also throughout Egypt. Furthermore, the uncommon layout of the church itself, its location within a cluster of rooms serving more utilitarian functions, and the evidence of different phases of substantial architectural alterations make the complex a particularly significant case study. One goal of this dissertation is not to discuss the church complex as an isolated building, but to contextualize it within the topographical framework of the settlement. The archaeological evidence from the complex is not presented in the form of a standard report; rather, it is used to approach more general issues, regarding the chronology of the site, its abandonment, and the nature of the settlement, particularly the social structure of its inhabitants. This work first examines the architectural history of the complex and sheds light on its different phases, thanks to the study of the evidence gathered in the field. Furthermore, it discusses the results of comparative analysis between the church of Ain el-Gedida and other examples of Early Christian architecture inside and outside Egypt. In particular, it emphasizes the considerable typological similarities shared with the Small East Church at the nearby site of Ismant el-Kharab (ancient Kellis). The investigation of the typological origins of the church of Ain el-Gedida includes comparisons with the earliest known examples of Christian architecture, even from relatively distant regions, such as Dura Europos and its well-known domus ecclesiae. Furthermore, methods of spatial analysis, in particular access analysis, are applied to the church complex and its immediate surroundings, with the aim of investigating patterns of access control and use of space at the site in Late Antiquity. The results are offered as a valuable ingredient in typological analysis, integrating the available archaeological evidence. In its last section, this dissertation examines issues of chronology, both relative and absolute, in relation to the church complex. It also takes into consideration the highly debated question concerning the nature of the complex and, more in general, of the site of Ain el-Gedida, with the goal of shedding light on its people and their social identity. In addition to the monastery/village readings, originally brought forth by scholars, further interpretations are proposed, analyzing the available evidence in favor or against any of them. 1The project was directed by Professor Roger Bagnall.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Aravecchia, Nicola} } @mastersthesis {10642, title = {The Church and Convento of Santo Domingo Yanhuitlan, Oaxaca: Art, Politics, and Religion in a Mixtec Village, Sixteenth through Eighteenth Centuries}, year = {2009}, school = {CUNY}, abstract = {The mission-building campaign undertaken in the Americas in the years following the Spanish conquest (1521-1546) is the largest and most ambitious evangelical and artistic enterprise in the history of the Catholic Church. In the span of just a few decades, Spanish mendicant friars, at the head of the missionary efforts, established hundreds of conventos (missions) in both colonial cities and provinces. These institutions did not merely accommodate friars. Planned to carry out doctrinal, educational, and liturgical activities, they soon became booming economic and cultural centers. This dissertation focuses on the convento in the Mixtec town of Yanhuitlan in Oaxaca, southwestern Mexico, and is the first to provide a comprehensive study of a mission and its historical development. Previous art historical scholarship has usually granted separate attention to the architecture, painting, and sculpture of the Mexican missions, overrating formal qualities and neglecting the fact that all aspects of the convento were part of the same larger artistic and religious program. The sixteenth-century missionary complex consists of the main church, adjoining cloister, and residential and working areas; it houses several colonial altarpieces and a collection of wooden polychrome sculptures. It was the most important artistic enterprise undertaken in Yanhuitlan in the early decades after the conquest and has remained since then the main focus of artistic and religious activities. First, the alliance of Mixtec leaders with Dominican friars and Spanish authorities made possible the erection of the mission, which became a powerful statement of the new hegemonic status of Yanhuitlan in the region. In the following centuries, activities of the confraternities became the most important impulse of art patronage. Spanish in origin, these institutions became gradually independent from the local parish and colonial authorities, filling the vacuum left by a waning traditional leadership. My dissertation integrates on-site investigation and archival and ethnographic research to address the various strategies of appropriation, manipulation, and display of Spanish, Mixtec, and hybrid art forms in the context of political colonization and religious evangelization.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {Frassani, Alessia} } @mastersthesis {10514, title = {Citizenship by Design: The Creation of Identity through Art, Architecture, and Landscape in the Early Republic}, year = {2009}, school = {UIUC}, abstract = {This dissertation offers a study of the ways in which some artists active in the United States between 1790 and 1850 theorized that their work could participate in the process of creating and shaping the nation{\textquoteright}s citizens. Through the detailed analysis of four artists-Benjamin Henry Latrobe (1764-1820), Charles Willson Peale (1741-1827), Thomas Cole (1801-1848), and Horatio Greenough (1805-1852)-this project explores a process of citizenship by design theorized by these artists, a process which grew out of their belief that the physical environment could directly shape the character of its inhabitants. Buildings, landscapes, paintings, and sculptures were, for these artists, the means by which the moral and social precepts of democracy could be communicated most effectively to the public. Building on a long tradition of European aesthetic theory, these artists believed that through the process of perception such material objects could influence the mind and character of viewers. In short, I argue that by creating paintings, sculptures, landscapes and buildings, these artists believed that they were also crafting citizens.}, keywords = {Architectural History/Historic Preservation}, author = {Sienkewicz, Julia A.} } @mastersthesis {10537, title = {Claes Oldenburg and the Emergence of the {\textquoteright}Happening{\textquoteright}}, year = {2009}, school = {Columbia}, abstract = {This dissertation considers selected multimedia theater performances, commonly referred to as "Happenings" and presented between 1960 and 1965 by the Swedish-born American artist Claes Oldenburg, as works that operate outside established frameworks of style. Through analyses of the artist{\textquoteright}s writings, including the scripts for his performances, this study establishes the significance of experience as a key value within Oldenburg{\textquoteright}s art. In particular, I argue that Oldenburg intended for viewers to take away from the Happening a creatively enhanced, metamorphic kind of visual thinking, applicable to ordinary, perceptual experience. Motivated by what I term an "aesthetic of non-reconciliation," he aimed at undoing the hold of language on experience. The dissertation connects Oldenburg to the work of three very different thinkers, Antonin Artaud, John Cage, and Marshall McLuhan, all of whom strongly impacted the intellectual and artistic climate of the era. Thus, the dissertation proposes a new, historically grounded understanding of Oldenburg that anchors him firmly in the interdisciplinary arts of the 1950s and specifies the nature of his self-defined role as seeking to make the viewer see reality through the eyes of the artist. This study offers a detailed discussion of fourteen previously under-studied or neglected performances, including Snapshots from the City, Blackouts, Fotodeath, The Ray Gun Theater, and Moveyhouse.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Rottner, Nadja} } @mastersthesis {10729, title = {The Cologne Progressives: Political Painting in Weimar Germany}, year = {2009}, school = {Johns Hopkins}, abstract = {During the Weimar Republic (1918-1933), German artists and critics championed different, often opposing, strategies aimed at synthesizing art and left-wing politics. These endeavors ranged from propagandistic expressionist print work in the immediate post-war period to the use of new technologies such as film and photography to serve the aims of the German Communist Party (KPD) in the late 1920s and early 1930s. My dissertation addresses the strategy formulated by the gruppe progressiver kunstler (group of progressive artists), more commonly known as the Cologne Progressives, in the context of these broader debates. Never a member of the KPD and dismissive of party politics in general, the leading theorist of the Cologne Progressives, Franz Wilhelm Seiwert (1894-1933), made an impassioned call to unify artistic form and socialist content. Seiwert and two of his closest associates, Heinrich Hoerle (1895-1936) and Gerd Arntz (1900-1988), placed enormous pressure on the strict compositional structure and tactile surface of the artwork. They considered these formal characteristics inextricable from their desire to participate in the formation of a future socialist society. In his definition of Handwerk (craft) as the visible process of art-making, Seiwert rhetorically situated his project in opposition to what he saw as the formal values of Neue Sachlichkeit (commonly translated as New Objectivity), a popular term for representational painting in the 1920s characterized in large part by smooth surface finish. My analysis of Seiwert{\textquoteright}s critique of painters such as George Grosz and Otto Dix challenges current assumptions of Neue Sachlichkeit as synonymous with socially critical Weimar-period painting. Based on extensive primary research, including detailed analysis of contemporary art criticism and previously unknown artworks, my detailed case study argues for the necessary reevaluation of the role of the relationship between painterly techniques and radical politics. In order to so, my dissertation tracks the evolution of Seiwert{\textquoteright}s thought and the artwork of the Cologne Progressives throughout the Weimar Republic.}, keywords = {Twentieth-Century Art}, author = {Roth, Lynette} } @mastersthesis {10641, title = {Constructing the {\textquoteright}Dharma King{\textquoteright}: New Religio-political Movements in the Soga Era (536-645) and the Sakyamuni Triad, Golden Hall, Horyuji}, year = {2009}, school = {Harvard}, abstract = {This dissertation examines the construction of the bronze sakyamuni triad at a Buddhist temple Hory√{\textordfeminine}ji (Nara Prefecture, Japan). Presently enshrined in the temple{\textquoteright}s golden hall, this statue is datable to 623 through an accompanied inscription. Its elegance and painstaking detail make this work a masterpiece of Buddhist sculpture, and the best example of the early production of Buddhist images in Japan. This study examines the construction of this statue from four different angles, aiming to present a comprehensive picture of its social, religious, and political functions in the context of the early seventh century. It demonstrates the following. The golden hall sakyamuni triad was patronized by the members of the Kashiwade clan not simply to privately pray for and commemorate the death of the three donees, but to serve the political function of strengthening its family ties to the most powerful members of their extended family, the Soga clan and the Imperial family. To serve this function, the statue was designed to appeal specifically to the Buddhist ideology shared and endorsed by Soga no Umako, Empress Suiko, and the newly deceased Prince Umayato. This work is a case study of how a Buddhist statue functions within the social circle that created it. The golden hall sakyamuni triad was not the largest, nor the most progressive, sculpture of its period, but it was constructed at the critical moment when Buddhism was penetrating into the most powerful and educated echelons of the society. Its patron was at the fringe of power-who understood exactly how the new religion was molding the worldview and the self-image of their more powerful kin-at a time embracing these new ideals rooted in Buddhism was becoming the strongest proclamation of allegiance and loyalty. The golden hall sakyamuni triad shows a process of actively seeking to comprehend, and then choosing from among, sophisticated ideas in order to make Buddhism serve domestic goals. This discovery points us toward a radical re-visioning of early Japanese reception of Buddhism, which is often conceived of as an undiscerning adoption of half-understood concepts from a foreign power.}, keywords = {Japanese/Korean Art}, author = {Walley, Akiko} } @mastersthesis {10486, title = {Contact, Commentary, and Kongo Memory: Perspectives on Loango Coast Souvenir Ivories, ca. 1840-1910}, year = {2009}, school = {Wisconsin}, abstract = {Kongo-Vili carvers produced elaborate, uniquely carved ivory tusks and figurines for sale to foreigners along the commercial and cosmopolitan Loango Coast of west-central Africa during the mid-nineteenth to early twentieth century. The carvings{\textquoteright} imagery and the variety of hands that produced them are astonishingly varied, with a spectrum of themes portrayed including scenes of regional life, trading activity involving Westerners and Africans, many of whom are enslaved, illustrations of the Roman pantheon, and more. While Loango ivories have been accurately regarded as tourist art, they have been unfortunately set aside from serious consideration because of this. This dissertation acknowledges the Loango ivories{\textquoteright} function as souvenirs for foreigners and unpacks how the sculptures successfully fulfilled the demands of their clientele. Yet this study also stresses that, beyond their foreign appeal, the sculptures exhibit local significance. Loango ivories are souvenirs-memory objects-which resonate for both their foreign recipients and their Kongo-Vili makers. Chapter One reconstructs the cosmopolitan contexts for the emergence and reception of Loango souvenir ivories. The Loango Coast{\textquoteright}s long history as a "contact zone" fostered the distinctive social identity of "Vili" as well as of other African, Euro-African, and European peoples in the region. Chapter Two analyzes the ivories{\textquoteright} visual hybridity, as its rich and complex formal aspects and imagery draw from, transform, and serve multiple foreign and Kongophone visual influences and perspectives. Chapter Three explores how the sculptures{\textquoteright} reference to indigenous symbolic art forms fosters Loango ivories{\textquoteright} status not only as visual hybrids but also as "colonial hybrids," which actively disturb notions of authenticity in African art and critique their recipients. Chapter Four explores fundamental links between Loango ivories and collective Kongophone memory as the sculptures share in a longstanding heritage of visual-verbal mnemonic arts, manifest in an array of artistic and cultural survivals and continuities across time and space in contemporary central Africa as well as in the diaspora. Converging historical documentation, social critique, and memory-making, Loango ivories are critical primary sources presenting direct Kongo-Vili perspectives on a particular era of contact and flux in the Loango Coast and lower Congo region.}, keywords = {African Art (sub-Saharan)}, author = {Bridges, Nichole N.} } @mastersthesis {10562, title = {Contemporary Art in Bombay: 1965-1995}, year = {2009}, school = {Pennsylvania}, abstract = {This dissertation examines contemporary art in India between circa 1965 and 1995, focusing especially on artistic developments in Bombay, the leading artistic, cultural, commercial, and cosmopolitan center of post-colonial and post-partition India, and the main site from which contemporary Indian art reached international art world networks. This study argues that 1965-1995 is a critical and historically distinct, if under-recognized, period in which urban conditions and experience were focal in the development and articulation of Indian cultural identities. Among the achievements and issues framing this period were the foundation of sustainable art world infrastructure (including private galleries for exhibition and sites for criticism and discourse), negotiations between "local" and "international" currents in cultural production, and struggles to locate a place for the professional artist in Indian society. My dissertation uses case studies of five defining artists to build an historical narrative that is rooted in artistic, urban, intellectual, and discursive conditions in India in this period. The artists are Tyeb Mehta, Akbar Padamsee, Bhupen Khakhar, Sudhir Patwardhan, and Atul Dodiya. Each case study moves between visual analyses of artworks, narrations of specific issues in each artist{\textquoteright}s professional life, and developments in the urban and intellectual contexts and art worlds in which each artist was working. While independently, each study focuses on individual creative expressions and commitments, collectively they suggest that over this period these artists articulated-and then challenged-an identity for urban modernist art practice in India. Using object-based visual analyses, archival resources, and interviews, this study is based mostly on primary sources drawn from extensive research in India. My research demonstrates the need for a new assessment of the discourse and language used to describe contemporary Indian art; this is primarily to prioritize a history for twentieth-century Indian art in which art, artists, and ideas originating in India support the discourse, rather than structures proposed and often superimposed by "Western Modernism" and related theoretical constructs. This dissertation offers a new conceptual framework and a historically contingent, interpretive narrative through which to look at a period of contemporary Indian art in relation to broader post-colonial and art histories.}, keywords = {Contemporary Art, South/Southeast Asian Art}, author = {Citron, Beth} } @mastersthesis {10484, title = {Contested Meanings: Audience Responses to the Wedgwood Slave Medallion, 1787-1839}, year = {2009}, school = {Wisconsin}, abstract = {This dissertation investigates how audiences responded to the Wedgwood slave medallion and some of its subsequent permutations. The project builds upon and challenges the premise that the Wedgwood slave medallion received universal affirmation and approbation from its different audiences across time. Theories about audience reception and the intersections of race, class, gender, and nationality drive this investigation to reveal how commonalities within a given community cannot serve as indicators that homogenous responses will be manifest. In fact, this project uses audience reception studies to demonstrate that personal characteristics and experiences inform unique, individualized understandings of any given object. In the case of the Wedgwood slave medallion, the object{\textquoteright}s inherent ambiguity, both in its design elements and in the multiple meanings its various audiences ascribed to it, gave rise to contested readings by targeted users and unexpected makers alike. As these audiences grew and split into separate distinct interpretive communities, individual responses to the object produced new meanings and new permutations that reflect a complex heterogeneous understanding and negotiation of the object{\textquoteright}s imagery. The dissertation contains four chapters organized by different groups. Starting with the 1787 British production and ending with the 1839 permutation made and used by free African Americans in Philadelphia, each section uses organizational minutes, ledgers, rare books, diaries, speeches, newspaper editorials, articles, narratives, images and objects to explore audience responses as unique case studies. These studies show that even audiences who shared similar characteristics such as race, class, gender, and nationality reacted to these objects differently. These case studies evince that commonalities do not imply homogeneous responses. They also illuminate the relationship between production and consumption to reveal how audience responses to the slave medallion were a direct result of the object{\textquoteright}s inherent visual ambiguities that left it susceptible to contested meanings. This project offers new ways to include and investigate marginalized and excluded audiences in art history. It reveals the rich conclusions that pragmatic methods offer studies based on a hypothesis, and encourages scholars to locate new readings of historical images.}, keywords = {African Art (sub-Saharan), Art of the United States}, author = {Lawton, Saadia Nicoe} } @mastersthesis {10633, title = {Controlling Miasma: The Evidence for the Cults of Greek Craftspeople from the Archaic to the Hellenistic Periods}, year = {2009}, school = {Washington University}, abstract = {This study addresses a previously neglected aspect of ancient Greek popular religion, the specific practices undertaken by craftspeople to enhance their lives and protect their livelihood. By collecting the archaeological and iconographic evidence of workers{\textquoteright} or industrial cult, primarily from the Archaic through the Hellenistic period, I examine beliefs, myths, rituals, and cult figures significant to workers. In chapter one, the gods and goddesses worshipped by craftspeople in civic religion are discussed, in particular Athena Ergane and Hephaistos. Chapter two examines the archaeological remains from workshops for evidence of cult activity, and how this activity differs from civic cult. In chapter three, images of workshops are addressed, particularly those votive objects, plaques, or masks in the background of the action which seem to serve an apotropaic function, an attempt by the workers to protect production processes. Chapter four examines the dedications by craftspeople, which were set up as prayers for future endeavors, or as thank-offerings for past successes. The conclusion discusses the threat of miasma, or pollution, which was a dominating concern for the ancient Greeks. Literary evidence indicates that they believed religious danger was contagious, and thereby always potentially communal, and the consequence of pollution was divine anger. Purification practices were extremely varied, and quite common. Pollution was a particular concern for craftspeople because their jobs brought them into contact with the chthonic deities, demonic spirits who inhabited the underworld and represented for mankind the ultimate form of pollution.}, keywords = {Greek/Roman Art}, author = {Smith, Christine} } @mastersthesis {10487, title = {Critical Lines: The Parodies of Power in Yoruba Art}, year = {2009}, school = {Iowa}, abstract = {This research investigates how visual arts are used to engage dictatorial and ineffectual governments. It examines the traditional and contemporary manifestations of parody of power in Yoruba art from the pre-colonial to the postcolonial period of Nigerian history. It argues that parody and satire in the Yoruba masking traditions and in some of Olowe Ise{\textquoteright}s sculptures provided a necessary foundation for series of visual commentary in the Nigerian popular press in the decades before, during and after the country{\textquoteright}s political independence. Between 1893 and 1960, most Yoruba as part of Nigeria were under British imperial rule. Prior to the arrival of the British, there were manifestations of parody and satire in Yoruba art. By the 1940s, Yoruba artists began to use editorial cartooning and, later, photography as tools of social and political criticism. This dissertation examines visual colonial commentaries by Akinola Lasekan and postcolonial satires on a succession of brutal military dictators and corrupt civilian leaders by Kenny Adamson, Josy Ajiboye, Bisi Ogunbadejo, dele jegede, Boye Gbenro and Tayo Fatunla. In the final segment, this study explores the triad of identity, power and parody in the postmodern photographs and installations of Rotimi Fani-Kayode and Yinka Shonibare, two London-based Yoruba artists. This research addresses the following questions: What are the various visual manifestations of parody and satire in Yoruba art? What are the different visual and textual styles employed by these artists? How do images and/or texts in their commentaries function to produce meaning, humor and political or social criticism? Finally, are the contemporary visual commentaries manifestations of a tendency to satirize power, which is rooted in a visual culture past? To answer these questions, my study proceeds from the basic assumption that a visual commentary-whether in the mold of a satirical mask, an editorial cartoon, a photograph or an installation-is a culturally constructed artwork, which represents a dimension of the human agency.}, keywords = {African Art (sub-Saharan)}, author = {Ola, Abayomi} } @mastersthesis {10686, title = {A Cultural Icon: The Currency of Venus in Sixteenth-Century Florence}, year = {2009}, school = {UC Berkeley}, abstract = {As the goddess of love, beauty, and universal generation, Venus occupies a central, albeit liminal, position in the social contexts of romance, marriage, and sex as well as in the cultural realms of literature and aesthetics. Furthermore, in certain time periods, she acquired political value as an instigator of peace and promoter of civic union. This dissertation examines Venus in sixteenth-century Florence, focusing on the interdisciplinary perspectives and ideologies that structured her representation within the city. While traditional scholarship on Venus addresses her role in fifteenth-century Florence with the paintings of Botticelli or in sixteenth-century Venice with the canvases of Titian, my work analyzes her position in a little studied time period and expands the material traditionally used in art historical studies. The dissertation is divided into four case studies, each of which considers a specific iconography of Venus in relation to a different cultural context, contexts I have broadly designated as love, sexuality, marriage, and politics. The first chapter examines Venus and Cupid within the Tuscan tradition of amorous verse, looking specifically at Michelangelo{\textquoteright}s Venus and Cupid of 1533, which was designed to hang in the center of a studiolo surrounded by portraits of Dante, Petrarch, and Boccaccio. The second chapter explores Venus{\textquoteright}s role within the ludic world of sexuality, focusing on Bronzino{\textquoteright}s Venus, Cupid, and Satyr of 1553-1554 in the context of printed erotica and burlesque poetry. The third chapter deals with Venus and Mars within the realm of marriage, relating objects commissioned for the nuptial bedroom to contemporary concerns with sex and fertility. This chapter also investigates astrology and astral magic, arts employed to encourage amorous attraction, promote harmonious union, or ensure successful reproduction. The final chapter addresses the triumphant position of Venus within the political propaganda of Duke Cosimo I de{\textquoteright} Medici, who appropriated the goddess as a symbol of peace and prosperity in his decorative program for the Villa of Castello. Associated with spring and the return of the Golden Age, Venus symbolized the fertile state of Florence and the renewal of a Medici dynasty under Cosimo I.}, keywords = {Renaissance/Baroque Art}, author = {Compton, Rebekah} } @mastersthesis {10561, title = {Cultural Maps, Networks, and Flows: The History and Impact of the Havana Bienniale, 1984 to the Present}, year = {2009}, school = {Pittsburgh}, abstract = {Since 1984 the Havana Biennale has been known as "the Tri-continental art event," presenting artists from Latin America, Africa, and Asia. It also has intensely debated the nature of recent and contemporary art from a Third World or Global South perspective. The Biennale is a product of Cuba{\textquoteright}s fruition since the Revolution of 1959. The Wifredo Lam Center, created in 1983, has organized the Biennial since its inception. This dissertation proposes that at the heart of the Biennale has been an alternative cosmopolitanism (that became an existential internationalism during the "contemporary" moment) embraced by a group of local cultural agents, critics, philosophers, art historians, and also supported by a network of peers around the world. It examines the role Armando Hart Davalos, Minister of Culture of Cuba (1976-1997), who played a key figure in the development of a solid cultural policy, one which produced the Havana Biennale as a cultural project based on an explicit "Third World" consciousness. It explores the role of critics and curators Gerardo Mosquera and Nelson Herrera Ysla, key members of the founding group of the Biennale. Subsequently, it examines how the work of Llilian Llanes, director of the Lam Center and of the Biennale (1983-1999), shaped the event in structural and conceptual terms. Finally, it examines the most recent developments and projections for the future. Using primary material, interviews, and field work research, the study focuses on the conceptual, contextual, and historical structure that supports the Biennale. It presents from several optics the views and world-view of the agents involved from the inside (curators and collaborators), as well as, from an art-world perspective through an account of the nine editions. Using the Havana Biennale as case study this work goes to disentangle and reveal the socio-political and intellectual debates taking place in the conformation of what is call today global art. In addition, recognizes the potentiality of alternative thinking and cultural subjectivity in the Global South.}, keywords = {Contemporary Art, Latin American/Caribbean Art}, author = {Rojas-Sotelo, Miguel} } @mastersthesis {10533, title = {Cut-and-Paste Abstraction: Politics, Form, and Identity in Abstract Expressionist Collage}, year = {2009}, school = {Penn State}, abstract = {In 1943, Peggy Guggenheim{\textquoteright}s Art of This Century gallery staged the first large-scale exhibition of collage in the United States. This show was notable for acquainting the New York School with the medium as its artists would go on to embrace collage, creating objects that ranged from small compositions of handmade paper to mural-sized works of torn and reassembled canvas. Despite the significance of this development, art historians consistently overlook collage during the era of Abstract Expressionism. This project examines four artists who based significant portions of their oeuvre on papier colle during this period (i.e. the late 1940s and early 1950s): Lee Krasner, Robert Motherwell, Anne Ryan, and Esteban Vicente. Working primarily with fine art materials in an abstract manner, these artists challenged many of the characteristics that supposedly typified collage: its appropriative tactics, disjointed aesthetics, and abandonment of "high" culture. Although many of their contemporaries focused on the formal attributes of the cut and paste, Krasner, Motherwell, Ryan, and Vicente explored the semiotic potential and metaphoric implications of the medium. Their approach to collage overlapped in several ways-for example their nonobjective styles, autobiographical mapping of identity, political resonance, and preference for papier colle-yet a great variety defines their work. Anne Ryan juxtaposed traditional formats with recycled materials, eschewing the conventions of consumerism and femininity available in the postwar years. The hybrid nature of collage appealed to Esteban Vicente, a Spanish-American artist who mined the duality of his cultural inheritance for syncretic constructions. The critical language of the pastoral affords an opportunity to reconsider Lee Krasner{\textquoteright}s work in collage because it features many rhetorical devices of the bucolic tradition, including irony and dialectics, in addition to the contingency, naturalism, and escapist reverie that characterize the genre. And finally, Robert Motherwell executed an abstract tribute to composer John Cage on a large scale, conflating music with collage while testing notions of composition and historicism. Hardly the apolitical or cliched medium that critics deemphasized at mid-century, collage offered unlimited possibilities in the era of Abstract Expressionism, ranging from the formal and the aesthetic to the social and the political.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Haxall, Daniel} } @mastersthesis {10652, title = {Dancing in the Altiplano: K{\textquoteright}iche{\textquoteright} Maya Culture in Motion in Contemporary Highland Guatemala}, year = {2009}, school = {UC San Diego}, abstract = {Nestled deep in the heart of the western highlands, Momostenango, Guatemala, is home to a variety of customary, ritual dance-dramas. These include the Baile de la conquista, the Dance of the Conquest or the Baile de los Mexicanos, the Dance of the Mexicans that are performed during the feria, the public festival dedicated to Santiago Apostol, the patron saint of the community. Recently, however, new dances have gained considerably in popularity. Locals refer to these dances as convites, "invitation" dances or disfraces, "disguises." Unlike the traditional dances that emphasize continuity and tradition, these new dances highlight change and innovation. Rather than relying on a script or practiced institution to guide them, the disfraces derive their inspiration from ever changing North American mass media and popular culture. They feature costumes that draw from film and television, including such characters as Batman, Freddie Kruger, and even Barack Obama. This work explores how the contemporary events in Guatemala, such as the recently ended armed conflict, the consolidation and spread of globalized mass culture, and the rise of transnational migration to the United States have contributed to the development of the disfraces dances. It also questions how foreign images produce local meanings during the feria and which meanings are shared within society. The disfraces articulate a range of perspectives regarding current society. In addition to functioning as comic, festive events that feature foreign elements, these dances also operate as a site for the production of identity by signifying gender, class and ethnic affiliation. The organizational structure of the dance societies, the days on which the dances appear, and the types of costumes the dancers wear symbolize their place within society and how they connect to the outside world. Whether one is Ladino, the dominant class, K{\textquoteright}iche{\textquoteright} Maya, or female, the dances will have different costumes and meanings. The dances reflect tensions that exist in society and function as a means of articulating difference.}, keywords = {Latin American/Caribbean Art}, author = {Taube, Rhonda} } @mastersthesis {10485, title = {Daughters of Seclusion: The Ibibio Aesthetic in the Staging of a Female Icon}, year = {2009}, school = {Yale}, abstract = {My project analyzes the extent to which feminine ideals of beauty, power, and spirituality in southern Nigeria translate into unique demonstrations of corporeality, decadence, transfiguration, and sanguinity. "Daughters of Seclusion: the Ibibio Aesthetic in the Staging of a Female icon" considers a culture of ceremonial seclusion, decoration, and identity construction as it is revealed through a ritual known as mbopo. Mbopo is a women{\textquoteright}s ceremony in Ibibioland, Nigeria whose chief characteristics are the ritual confinement and fattening of girls prior to marriage. The objective of my study is to isolate a visual aesthetic that is specific to Ibibio culture. I argue that mbopo ritual is inextricably connected to regional conceptions of beauty, power, literacy, and spirituality in Ibibio provinces. My study is art historical, dealing specifically with objects that are affiliated with or that reference mbopo. These include ekong society puppets, skin-covered masks, nwomo funerary shrines, atal stone sculptures, and ceremonial textiles found throughout Cross River, Nigeria. However, this work also analyzes mbopo as a conceptual art form that utilizes varying degrees of "theatre" and performance to re-present village maidens as iconic "brides." Specifically, "Daughters of Seclusion" considers the aesthetics of ritual seclusion, the augmentation of the female form, and identity conflation ("brides" appearing in the style of chiefs) to discuss how these reveal an emergent aesthetic philosophy of Ibibio art and nationhood.}, keywords = {African Art (sub-Saharan), Critical Theory/Gender Studies/Visual Studies}, author = {Imeh, Imo} } @mastersthesis {10713, title = {On Defining Buddhist Art in Bengal: The Dhaka Region}, year = {2009}, school = {UT Austin}, abstract = {No record in ProQuest}, keywords = {South/Southeast Asian Art}, author = {Lee, Eun-Su} } @mastersthesis {10605, title = {Defining the Boundaries of Self and Other in the Girona Beatus of 975}, year = {2009}, school = {UNC Chapel Hill}, abstract = {The history of early medieval Spain can be nearly impenetrable to modern scholars. Relatively little textual evidence dated before 1000 C.E. exists and those sources are rarely contemporary to the events they describe. Luckily early medieval Christian Iberia left behind artistic monuments, primarily illustrated manuscripts such as the Commentary on the Book of Revelation, for study. This text, written in the latter half of the eighth century by a monk named Beatus of Liebana, was reproduced in illustrated versions from the ninth to thirteenth centuries in northern Iberia and southern France. This project will focus on a single manuscript from this group, the so-called Girona Beatus [Girona, Museu de la Catedral de Girona, Num. Inv. 7(11)] dated to 975 and probably produced at the monastery of San Salvador de Tabara in Leon. I will ask what the images of the Girona Beatus, specifically those images not directly illustrating the Commentary text itself, reveal about the Christians of the northern Iberian Peninsula. The previous scholars have focused primarily on finding a Late Antique model from which the Girona Beatus and others were merely copies. As a result, the historical context of the Girona Beatus{\textquoteright}s making has been of little concern in the scholarship. Through my examination of images that map, chart, or guide, I will discuss how contemporary events and the recent past shaped the iconography of those illuminations in the Girona Beatus. With my project, I hope to contribute to the study of medieval Iberian art, specifically to the study of the Beatus manuscripts, by presenting an alternative framework of questions with which to approach that art. I also hope to encourage a greater level of interaction between art historians and other scholars of medieval Iberia.}, keywords = {Early Christian/Byzantine Art}, author = {Sponsler, Jessica} } @mastersthesis {10519, title = {Delineations: American Art History and the Discourse of Inheritance}, year = {2009}, school = {Minnesota}, abstract = {This project is devoted to understanding works of art that, in a paraphrase of James Baldwin{\textquoteright}s words, look down the line and wonder. I outlined the significance of art history{\textquoteright}s mobilization of what I called the discourse of inheritance. I argued that this discourse secures art history{\textquoteright}s disciplinary boundaries, and, by way of art historical practice, reinforces normative conceptualizations of beauty, race, gender, sexuality, and national identity. I provided an analysis of inheritance as a theme in works of art, objects of material culture, art criticism, and art history, but I also sought, by way of rigorous formal analysis of a wide range of artworks, to understand the discourse of inheritance that permeates art historical writing and thinking. My research necessarily violated the proper domains art history has drawn, e.g., the division between the fields of American art and contemporary art, in order to gain an understanding of the mechanisms of inheritance and in order better to understand the work of artists, such as Kara Walker, who make use of inherited imagery. I saw my writing engaging in a kind of art historical miscegenation (improper or illegitimate mixing of fields), and for this reason much of this project focused on the iconography of miscegenation that appears in the silhouette work of Walker. It follows that the ultimate significance of the project may pivot on the development of an initial understanding of the relationships between art history{\textquoteright}s mobilization of the discourse of inheritance, historical and contemporary violations of African-Americans{\textquoteright} civil rights, and historical and contemporary race-based violence.}, keywords = {Art of the United States, Contemporary Art}, author = {Johnson Bidler, Tiffany} } @mastersthesis {10571, title = {The Destinies of Representation: Jean-Luc Godard and the Palestine Question in Ici et ailleurs (1970-1974) and Notre musique (2004)}, year = {2009}, school = {Toronto}, abstract = {Jean-Luc Godard and Jean-Pierre Gorin made in 1970 a "political film politically" about the Palestinian Revolution, Jusqu{\textquoteright}a la victoire, which remained unfinished. Under the framework of their audio-visual research project, Sonimage, Godard edited the Palestinian footage with Anne-Marie Mieville. Working through the collapse of the revolutionary project, imaging the Palestinian resistance became a matter of the restitution of speech to the absent and to the dead Palestinians - to whom, as Godard laments self-critically in the film, they had not listened to. Godard{\textquoteright}s and Mieville{\textquoteright}s compass for action was reconfigured as "audiovisual journalism," addressing the changing conditions in political engagement, challenging the mediatization of mediation prompted by the Leftist utopian belief in the emancipatory potential of the media. The hegemonic discourse circulating within Leftist intellectual culture abandoned the iconic referent of "The Revolution," which became the fatal harbinger of totalitarianism. Since then, Third World subjects have been figured as terrorists or victims who are incapable of determining themselves politically, or to "develop" economically. Such a turn has given leeway to new models of engagement and emancipation that account for the real of reality, embedded in the non-discourse of rights or counter-memory, while beckoning for a politics of infinite restitution. Godard returned to the Palestine Question thirty years later in Notre musique, by stopping-over in post-war Sarajevo, a place where it became possible for Godard to host a gathering of the Trojan poets and storytellers of sorts. Reconciliation and rehabilitation are the reverse-shot of a world of violent ethnic strife evidencing the futility of the politization of forgiveness. By way of a montage, Godard vouches for the mobilization of the powers of the false in order to save the real. The beautiful becomes necessary to "cover" memories of catastrophe. The aesthetico-political task is the regulation of the distance between the viewer and the screen. The conditions are the belief in images, faith and the desire to see as our links to the world. Within the pervasiveness of the hyperreal and culture, which Godard equates to ruins, the exiles and vanquished call for the exception, which is art.}, keywords = {Contemporary Art}, author = {Emmelhainz, Imrmgard} } @mastersthesis {10710, title = {Divinus Amor Extasim Facit: Fra Bartolommeo and Mysticism in Renaissance Florence}, year = {2009}, school = {Johns Hopkins}, abstract = {The paintings of Fra Bartolommeo (1472-1517) are often recognized as exemplary of "high" Renaissance compositions. Yet the focus on their balanced geometry obscures what is in fact their complex mystical content. In this study, I argue that after assuming the Dominican habit in 1501, Fra Bartolommeo dedicated his career as a friar-painter to picturing the union of man and God that the order believed could be achieved through contemplative practice. This was no easy task considering that rapture is ineffable. But by cleverly manipulating pictorial devices borrowed from the tradition of devotional imagery-especially inset images and text/image juxtapositions-the paintings did more than simply narrate the experience of ecstasy: they directed the beholder in the meditative process necessary to attain mystical union for himself. This inquiry into the novel ways in which Fra Bartolommeo{\textquoteright}s paintings operate as devotional guides contributes to current scholarship on Renaissance "medievalisms" and the maniera devota. Chapter one examines Fra Bartolommeo{\textquoteright}s first project as a Dominican, The Vision of St. Bernard (1504-1507), as evidence of his burgeoning interest in mysticism. Chapter two focuses on the God the Father with Saints Mary Magdalene and Catherine of Siena (1509), which offers his most complex iteration of mystical theology. Scholarship after Vasari tends to claim Savonarola as the sole source for its iconography; I argue that the philological interests of his contemporaries in San Marco contributed most to shaping his interpretations of visionary{\textquoteright} experience. Chapter three calls attention to the way Fra Bartolommeo restages the standard Sacra Conversazione as a visionary subject in the Carondelet Altarpiece (1512) by featuring a provocatively framed landscape at its center. Chapter four reconciles the devotional aims of the Mystic Marriage of St. Catherine (1511) with its political use as a diplomatic gift by the Soderini Republic by revealing how its project of bringing man closer to God was transformed to bring Florence closer to France. Finally, chapter five corrects misperceptions about the late works; rejecting claims that his piety supplanted his artistic ambitions, I argue that it propelled him to continue tackling the problem of representing rapture in new and interesting ways.}, keywords = {Renaissance/Baroque Art}, author = {Vusich, Jannette} } @mastersthesis {10543, title = {Domestic Modernism in Middle America: Midwestern Women in Their Postwar Homes}, year = {2009}, school = {Wisconsin}, abstract = {This dissertation explores the ways in which American housewives, living in the Upper Midwest states of Illinois, Michigan, Minnesota, and Wisconsin, actively fashioned, through the choice and organization of furnishings for their homes, a domestic modernism based on aspects of the mid-century modernist design aesthetic. As they negotiated the complicated terrain of social expectations and personal desires about the domestic interior that emerged with postwar reassimilation, they made choices meant to foster a new style of easy living. I have developed a model for regionalist study of twentieth-century design and domesticity within America that can be used comparatively to determine whether this research has uncovered a case of Midwestern exceptionalism. My findings reveal a tendency among middle-class women from the Upper Midwest towards a stylistic solution I call Early American Modernism in their homes. In this style, familiar American colonial style elements, such as ladder back and Windsor chairs, streamlined together with modern materials like wrought iron became popular stylistic choices due to their ability to meet the needs of Midwestern homemakers. Early American Modernism was characterized by an evolutionary nature that emphasized practicality, warmth and comfort, and was easily modified to express the personalities of its users. Examination of popular women{\textquoteright}s magazines, local builder{\textquoteright}s plans, newspaper stories, department store advertising, and most importantly, interviews and surveys of the women who remember life during the postwar years uncovered this previously unnamed, common visual aesthetic. The dissertation begins with an examination of information theory and the prescriptive process to understand how knowledge about the domestic environment was transferred between communities, through newspapers (such as the Chicago Tribune and the Milwaukee Sentinel), popular magazines (such as Better Homes and Gardens and House Beautiful) and domestic advice manuals. It then uses family photographs and oral histories to analyze the reception and performance of these ideas, in particular the ways domestic aspects of modernist design were deemed both appropriate and useful by a woman living in a Midwestern community.}, keywords = {Art of the United States}, author = {Hooper-Lane, Elizabeth} } @mastersthesis {10653, title = {Domesticating the Harem: Reconsidering the Zenana and Representations of Elite Women in Colonial Photography of India, 1840-1920}, year = {2009}, school = {UCLA}, abstract = {In India, the domestic female quarters, the practice of purdah, and polygamy, all aspects of the zenana, have served as the locus of Western cultural conjecture and are often conflated with the Orientalist harem. This dissertation examines the effects of Orientalist harem stereotypes upon colonial representations of the zenana and India{\textquoteright}s elite. It analyzes paintings and photographs of the Orientalist harem and the Indian zenana produced from 1830-1920 by European and Indian artists to demonstrates how the legacy of Orientalist harem mythologies, produced in European literature, art, and associated imperial discourses, shaped perceptions of the zenana, its cultural representations and the identities of elite Indian women and men. Within the context of 19th century European colonialism, the zenana in Western minds was not a sequestered feminine space within the family home, but a symbol of Oriental decadence, corruption and tyranny, encapsulated by the term harem and represented in Orientalist harem paintings. The dissertation takes issue with the confusion of the social institution of the harem and the zenana with their representations. It identifies the creation of an "erotic aesthetic" that facilitates this conflation, traces its effects upon gender, class and racial politics of the elite sectors of colonial society. The dissertation introduces a remarkable archive of 130 photographs of the Seventh Nizam of Hyderabad{\textquoteright}s zenana produced by Raja Deen Dayal and Sons in circa 1915, in which erotic harem tropes are co-mingled within domestic zenana scenes typical to traditional family portraiture. These photographs offer a paradoxical re-claiming of the Orientalist model for native agendas. The dissertation argues that the fusion of Orientalist motifs with representations of the domestic zenana creates a pictorial ambiguity employed by elite Indians patrons and native artists to fashion a self Orientalized image of modernity and national autonomy. By re-framing colonial representations of the zenana within the context of the Orientalist harem genre, this study offers insight into the socio-political dynamics of harem and zenana discourse in colonial India to proposes a new genealogy for female portraiture in 19 th century Indian art. It demonstrates that the zenana and Indian womanhood were the ideological ground upon which imperial, national and feminist politics were waged.}, keywords = {Nineteenth-Century Art, South/Southeast Asian Art}, author = {Carotenuto, Gianna} } @mastersthesis {10636, title = {Domoto Insho (1891-1975) and Buddhist Temple Art in Twentieth-Century Japan}, year = {2009}, school = {Columbia}, abstract = {By focusing on the works of a single painter, Domoto Insho (1891-1975), this study provides one of the first attempts to delineate the shift of patronage, production and reception of twentieth-century Buddhist temple art in Japan against the rapidly changing contemporary political, intellectual and cultural climate right before, during and after World War Two. Japan{\textquoteright}s modern practice of decorating historical temples with paintings and decorative art has been a vital creative arena for artists in the twentieth and twenty-first centuries. However, unlike exhibition works, modern art installed in ancient and medieval temple sites has resisted historicization in the context of the period of its creation. The study concentrates on Domoto{\textquoteright}s career as a temple artist extraordinaire: the recipient of more temple commissions from a greater number of the most historically prestigious patrons than any other Japanese artist in the genre. Domoto{\textquoteright}s temple art is distinguished from that of his peers primarily by the versatility of his styles, which range from neo-classical art derived from East Asian pictorial heritages to abstract art that he experimented with through his direct contact with the Paris-centered avant-garde circle of Informel. Domoto{\textquoteright}s temple art reflected the non-religious functions of Japanese temples in modern society, which they played in addition to their conventional roles as centers of worship. Domoto believed in the potential of temple art to serve the public interest in Japan and elsewhere. This study unfolds in a two-part chronology spanning from 1925 to 1971. In the first phase, he and his major patron, the Shingon sect, collaborated on his Toji project (1934) to help the state to propagate imperial ideology to the public under the increasingly intensified ultranationalism right before World War Two. His project at Saihoji (1969) exemplifies the second, postwar, phase of democratic Japan in which he subversively altered the classical appearance of the temple by installing modernistic abstract art in order to exploit the domestic and international cultural symbolism of the old Japanese temple as "tradition" and "Zen."}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {Tsuchikane, Yasuko} } @mastersthesis {10566, title = {Donald Judd{\textquoteright}s Furniture, From Do-it-yourself to the Art of Lifestyle}, year = {2009}, school = {CUNY}, abstract = {This dissertation is an interdisciplinary study of Judd{\textquoteright}s furniture design from the late 1960s to the early 1990s. It sheds light on the artist{\textquoteright}s anarchistic political stance and on the do-it-yourself cultural phenomenon as a model for his intentionally naive-looking furniture generated through his collaboration with local carpenters in Marfa, Texas during the 1970s. Judd{\textquoteright}s furniture production developed to a more sophisticated, skilled mode of fabrication in the 1980s, while his furniture and artwork became increasingly intertwined at many levels including the philosophical, the formal, and the realms of fabrication, installation, and marketing. This dissertation demonstrates how Judd{\textquoteright}s furniture design became integral to the permanent installations he orchestrated in Marfa and how he eventually shaped a certain way of living in his carefully organized environments. The ambiguity in the distinctions between functional objects and art pieces in the Minimalist ambit stimulated a rise of usable sculpture created by a succeeding generation of artists including Scott Burton. With respect to their emphasis on the role of the viewer or user, and on leading art into the everyday, Judd{\textquoteright}s and Burton{\textquoteright}s art-furniture both originated from aspects of individual presence and action in society rather than from a taste for good design.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Murayama, Nina} } @mastersthesis {10702, title = {The Early Career of Carle Vanloo: Training and Practice in the Capitals of Europe}, year = {2009}, school = {IFA/NYU}, abstract = {Boasting a long artistic lineage, Carle Vanloo belonged to a seminal group of painters born around 1700 who artistically defined Louis XV{\textquoteright}s reign. This dissertation presents Carle{\textquoteright}s early career as a case study of dynastic development and generational transformation. It demonstrates that the international trajectory of Jean-Baptiste Vanloo, Carle{\textquoteright}s older brother and teacher, created exceptional training and working opportunities for younger family members. Ultimately, however, these dynastic factors played a limited role in Carle{\textquoteright}s establishment in Paris, which coincided with a major renewal of royal and private patronage, benefiting the entire generation. Carle{\textquoteright}s talent and professionalism, rather than family connections, secured him a prominent place among the rising stars of French history painting. Initially, the Vanloo were not a thriving workshop; after promising beginnings in Paris, they experienced a marked decline and displacement to the provinces, to be reestablished by the gifted and resourceful Jean-Baptiste Vanloo. The latter invested solidly in the professional future of his younger relatives by placing them in the studios of Roman masters, enrolling them in life drawing classes at the Academie Royale in Paris, using them as collaborators on important projects, and securing their further studies at the French Academy in Rome. In the Eternal City, Carle emerged not just as a worthy member of a dynasty of painters, but as an exceptional artist in his own right, winning the Concorso Clementino and obtaining a local fresco commission. His subsequent work for the King of Sardinia in Turin exemplifies the mechanisms of dynastic succession whereby young family members "inherit" their older relatives{\textquoteright} patrons and, with them, enticing professional prospects-Carle{\textquoteright}s case, the decoration of royal residences. Back in Paris in the mid-1730s, Carle was well equipped to take advantage of the booming market and compete with his more established peers, Francois Boucher and Charles-Joseph Natoire. His instantaneous success and the simultaneous professional marginalization of his father and nephew, who were forced to seek employment abroad, propelled the thirty-two-year-old Carle to the position of dynastic leader.}, keywords = {Renaissance/Baroque Art}, author = {Piotrowska, Anna} } @mastersthesis {10567, title = {Ecole de Nice, 1956-1971}, year = {2009}, school = {CUNY}, abstract = {The Ecole de Nice of the 1960s has been broadly defined to include artists associated with three distinct artistic tendencies-Nouveau Realisme, Fluxus, and Supports/Surfaces. The focus of this study is the five most significant artists of the Ecole de Nice-Yves Klein, Arman, Martial Raysse, Ben Vautier, and Claude Viallat. Despite their stylistic diversity and affiliations, the conceptual affinities shared by these artists and their sense of cultural autonomy have not been examined. Consequently, the Ecole de Nice, though given some credibility as the result of museum exhibitions, has largely remained ill-defined and historically neglected. This dissertation will demonstrate that the Ecole de Nice is an important historical phenomenon inseparable from the Riviera, but also a gauge of the broader changes impacting France in the 1960s. Even more so than Paris, the Ecole de Nice called attention to the implications of Americanization (consumerism, mass culture, and tourism), and they epitomized the national emphasis on rejuvenation associated with a younger demographic, and the Mediterranean region. Beyond direct or metaphoric reference to the locale, all five artists created a visual language meant to engage the public with the experience of their new reality by predicating their work on direct perception and sensations, and rejecting intellectualization and introverted subjectivity. All five artists devised theatrical modes of presentation based on the strategy of appropriation and the use of readymade objects and spaces to counter the dominance of painting as a vehicle of formalist innovation, the basis of the Ecole de Paris. The Ecole de Nice promoted artistic pluralism. These artists drew from the array of modernist trends, but this study will emphasize the clear links these artists made to the classical and modern traditions associated with the Riviera, and the new reality of consumerism and tourism, which characterized the region{\textquoteright}s postwar development. I suggest that the emergence of the Ecole de Nice internally eroded the dominance of Parisian culture as the national standard, and provided a new model of French pluralism that remains distinct yet comparable to international trends of the 1960s.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {O{\textquoteright}Neill, Rosemary} } @mastersthesis {10709, title = {Economics, Ethnography, and Empire: The Illustrated Travel Series of Cornelis Claesz, 1598-1603}, year = {2009}, school = {Iowa}, abstract = {The travel series published by Cornelis Claesz in Amsterdam between 1598 and 1603 exemplify early European ethnography of peoples from Asia, Africa, and the Americas. In their textual and especially pictorial formats, Claesz{\textquoteright}s travel series influenced the depiction and reception by Europeans of various peoples in the world. The production and reception of the engravings within shed light on the early modern confluence of past intellectual tradition and the development of modern science. Considering the engraved illustrations within the context of past intellectual tradition, emerging scientific empiricism, and print, book and cartographic production practices, I explore how these systems affected Europeans{\textquoteright} pictorialization and differentiation of non-Europeans. My thesis is a contribution to the study of early modern intellectual history, and with its pre-colonial focus, it is a much-needed addition to post-colonial discourse. These book illustrations demonstrate the significance of visual culture in the formation and communication of ideas in the early modern period.}, keywords = {Renaissance/Baroque Art}, author = {Sutton, Elizabeth A.} } @mastersthesis {10588, title = {Eher eine Rusche am Kleid: Time and Images in Benjamin, Warburg, Kluge}, year = {2009}, school = {Yale}, abstract = {The dissertation investigates Walter Benjamin{\textquoteright}s image-theoretical writings, and the practical and theoretical image-work of Alexander Kluge. The thesis seeks to isolate a number of thematic and conceptual motifs that figure prominently in each of the two bodies of work: architecture; the interval, hiatus, or the cut; time and temporality; media; and feeling, or the senses. The Benjamin-section identifies the specific mode of appearance described by Benjamin as Aufblitzen (flashing up) as the central temporal trait of the image in his theory. In this type of temporalization the image becomes the site for a series of manifestations all of which are categorically marked as disappearances as well. The architecture of the camera-medium reveals itself as pure means through the dissolve of (haptically traceable) forms in a process that Benjamin terms Entstaltung. Reciprocally, Benjamin theorizes architecture along the model of the Parisian arcades (passages) as transient built manifestations (in contrast to Giedion{\textquoteright}s interpretation of modernist architecture as the revelation of a constructive technological unconscious). Benjamin also develops the temporal discontinuities of the cut that mark the filmic image as a correlate to the spatial discontinuities that characterize the drawn renderings of buildings in Linfert{\textquoteright}s doctrine. The perception or sensing of the filmic image and the image of architecture are thus shown to display structural parallels. In Alexander Kluge{\textquoteright}s work, the image of architecture is characterized by the contradicting temporalities of a will to temporal hegemony on one hand, and the escape from a presentist dogma through opening escape routes into the manifold layers of history on the other. Starting out from this contradiction, the dissertation identifies distinction as a basic operation for Kluge{\textquoteright}s (image-)work which it primarily generates through cut and montage. Kluge constructs his works in such a manner that they will restore the faculty of distinction to his audience{\textquoteright}s affectivity. The result is an oeuvre where small units and short forms generate and undermine large contexts, in which the media of book, film and TV are subject to strategic displacements toward each other and where time is no longer defined as chronological succession or saturated moments, but rather as heterochronicity.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Ekardt, Philipp} } @mastersthesis {10727, title = {Ellsworth Kelly: The New York Years, 1954-1969}, year = {2009}, school = {IFA/NYU}, abstract = {After six formative years in France, American artist Ellsworth Kelly returned to the United States in 1954. Settling in New York City, he established himself in a growing art scene that had gained international renown a generation earlier through the emergence of Abstract Expressionism. The following fifteen years encompassed a significant period in Kelly{\textquoteright}s career, during which time he received critical acclaim and matured into a leading artist of postwar abstraction. There in New York Kelly built upon his French experience, forging a new conception of visuality, one that addressed not how we recognize things in the world, but how they appear as pure shape and color. Kelly then transformed such observed appearances into works also possessing their own tangible presence-into "painting-objects," as he defined them. This dissertation is the first study to focus specifically on Kelly{\textquoteright}s New York years. The first chapter explores a pivotal work in Kelly{\textquoteright}s oeuvre, White Plaque: Bridge Arch and Reflection (1951-55), one that best exemplifies how the artist deployed his crucial strategy of the "already-made" to produce an art of unique forms. By analyzing its inspiration and the process by which he reached the final product, I reveal the transformative capacity of his methods and the ways in which he performed specific acts of distancing. Chapter Two investigates Kelly{\textquoteright}s integral practice of postcard collage. In small-scaled works on paper, collaged abstract shapes literally collide with representational postcard views, unveiling the artist{\textquoteright}s strategies of defamiliarization. In the third chapter, I consider Kelly{\textquoteright}s concentration on form, in particular, the curved shape that he advanced in every medium-paintings, reliefs, sculptures, drawings, collages, and prints. An analysis of key works demonstrates how Kelly chose to straddle between opposing modes of a pictorial visuality and a palpable physicality. The final chapter examines Kelly{\textquoteright}s flexible application of the multiple panel with the monochrome, an unrivaled, expansive practice that touched upon key debates during the 1960s. Throughout, this dissertation explores the contradictory and fluctuating tension in Kelly{\textquoteright}s art between visual and physical perception, disembodied and embodied experience, and pictorial and literal space.}, keywords = {Twentieth-Century Art}, author = {Paik, Tricia} } @mastersthesis {10557, title = {The Elusive Crane: Memory, Metaphor, and a Stone Monument from Sixth-Century China}, year = {2009}, school = {Columbia}, abstract = {An inscription carved on a cliff of Jiaoshan Island in the Yangzi River, Yiheming, or "Eulogy on burying a Crane," traditionally has been dated to 514 CE and attributed to the Daoist master Tao Hongjing (456-536). It is one of the most famous works of Chinese calligraphy and has been the focus of extensive epigraphic research since it was discovered in the eleventh century. Despite a long history of scholarship, its mysterious origin and the formation of its canonical status still await a critical examination and contextual interpretation. The analysis in my thesis unfolds in two sections. The first inquires into the origin of this inscription and argues that it was not a real tombstone for a crane, as most scholars have believed, but a symbolic monument erected to convey the discontent of a group of Daoist adherents. Placing its text and visual form into historical context, I demonstrate that the eulogy should be read as a literary concoction rather than a historical document: the burial of the crane was a metaphor rather than an actual event. The ostensible theme of the inscription, a lamentation for a bird, was rooted in the earliest history of Chinese poetry and was a rhetorical device through which writers expressed personal or political views. At the same time, although the inscription adopts the form of a conventional epitaph, its unusual calligraphy and placement in a landscape signified to its original audience that this was not a conventional funerary monument. Based on this new interpretation, I investigate a little studied episode in the history of medieval Chinese Daoism-the persecution of the Highest Clarity Sect-and suggest that members of this sect were the authors and patrons of the inscription. The original meaning of Yiheming had been completely forgotten by the time it was discovered in the eleventh century. Since then, however, it has gained new significance as a canonical model of calligraphy. The second section of my thesis reexamines the aesthetic discourses around the inscription and demonstrate that its exalted status as a masterpiece of calligraphy arose from the interaction of two fundamentally different attitudes toward the physical remains of the past: a desire to venerate ancient objects for their aesthetic value and a tendency, especially in the late imperial period, to treat ancient inscriptions as documentary sources. I also look into a paradox in the perception of the calligraphic style of the inscription: some found it useless owing to the badly damaged state of the monument, whereas others found it a superb model for practicing calligraphy. Through a historical examination of this paradox, I reconstruct the process of the canonization of Yiheming and use it as a lens through which to view the history of Chinese calligraphy as an ongoing process deeply embedded in socio-cultural realities of different periods.}, keywords = {Chinese Art}, author = {Xue, Lei} } @mastersthesis {10677, title = {Envisioning Greater Nicoya: Ceramic Figural Art of Costa Rica and Nicaragua, c. 800 BCE-1522 CE}, year = {2009}, school = {Emory}, abstract = {No record in ProQuest}, keywords = {Pre-Columbian Art}, author = {Wingfield, Laura} } @mastersthesis {10542, title = {Epic Encounters: First Contact Imagery in Nineteenth- and Early Twentieth-Century American Art}, year = {2009}, school = {Iowa}, abstract = {Since the early nineteenth-century when Americans began recording their short history in earnest, European explorers have held a central role in the nation{\textquoteright}s historical narrative, standing alongside the Founding Fathers as symbols of American ingenuity, determination, and fortitude. The nineteenth century also saw an explosion in the number of representations of first contacts between native populations and European and Euro-American explorers. These works range from fine art examples to illustrations in the popular media and were produced by artists across the artistic spectrum. Despite the popularity of the First Contact subject and its longevity within American art history, the importance of these images has, as of yet, been unexplored. This dissertation examines First Contact images created in America during the nineteenth and early twentieth-century by artists Robert Walter Weir, George Catlin, Thomas Moran, Albert Bierstadt, and Charles M. Russell. I argue that the subject{\textquoteright}s popularity can be attributed not just to their importance as depictions of epic moments of transition in national and cultural history, but to the openness, or the mutability, of the subject itself. The first meeting of two people is an event of great possibility and potential, but, as this extended examination of the subject demonstrates, it can also be transformed to communicate vastly different messages at different moments in history. As Americans simultaneously struggled to create a past, understand the present, and visualize the future, the First Contact subject, with its focus on the ambiguous meeting of two cultures, allowed a site in which to grapple with central questions and anxieties of the period, even as it depicted the past. They are thus complicated paintings that speak not to the facts of contact, but to the purposes served by these constructions and corrupted histories. Reading these First Contact paintings can help to illuminate a nineteenth-century understanding of history and also begin to elucidate the troubled legacy of Native/white relations since Columbus first encountered the New World.}, keywords = {Art of the United States}, author = {Elliott, Katherine L.} } @mastersthesis {10630, title = {Etrusco-Italic Hercle: A Study in the Formation of Image, Cult, and Regional Identity}, year = {2009}, school = {UIUC}, abstract = {My dissertation traces the Italic roots for the iconographies and roles of Herakles in central and northern Italy (i.e., Etrusco-Italic Hercle) prior to Roman hegemony (ca. 1000-300 BCE). The thesis begins with the premise that this hero-god, commonly known as Hercle, after his Greek namesake, may have had an indigenous ancestry on the Italic peninsula. I argue that, although one cannot trace a direct teleological evolution for Hercle that goes back to the beginning of anthropomorphization, earlier and more anonymous Italic hero-figures embody indigenous and deeply rooted cultural meanings that are evident in subsequent representations of Hercle. In shaping my theorization of the indigenous, Italic roots of Hercle, I draw especially on the work of Richard White and Mary Helms. White{\textquoteright}s concept of the "middle ground," which refers to both a geographic location (literally a space of interaction) and a cultural stance (the overlap or place between two differing cultures) is a compelling lens through which to understand the interaction between Greeks and Italic populations. Helms outlines a theory of how distance affects the formation of ideology among ruling elites, such that spatial and temporal distances become linked and equivalent on a cosmological scale. In applying these ideas to the study of objects, I used quantitative elements such as iconography and materiality to get at underlying socio-cultural structure and meaning at both local and regional levels.}, keywords = {Greek/Roman Art}, author = {Martinez, Victor} } @mastersthesis {10647, title = {Eugenics in the Garden: Medicine, Architecture, and Landscape from France to Latin America in the Early Twentieth Century}, year = {2009}, school = {MIT}, abstract = {In the late nineteenth and early twentieth centuries-decades that saw the radical transformation of Latin American cities into metropolises-race and environment became social determinants of the modern utopian project of eugenics, the biological and social movement that claimed nothing less than the "improvement" of the human race. My study reveals how eugenics, fueled by an elite{\textquoteright}s fear of social degeneration in France during the Third Republic (1870-1940), moved from the realms of medicine and law to architecture and urban planning, becoming a political subtext in the building of modern Latin American nations that viewed France as a primary cultural and scientific paradigm. By bringing together science and aesthetics, this work offers an interdisciplinary study of a movement that, in its striving to create a new human ideal, found a moral guidepost in medical science, and a critical technology in architecture, urbanism, and landscape design. Analyzing eugenics as a set of practices characterized by motifs of generation/degeneration, species{\textquoteright} survival and productivity, this dissertation is the first in-depth exploration of eugenics{\textquoteright} influence on the construction of the built environment and its crafting of modernity.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Lopez-Duran, Fabiola} } @mastersthesis {10517, title = {Evangelical Imperialism: Holman Hunt and Religious Painting in the Middle East}, year = {2009}, school = {Northwestern}, abstract = {This dissertation examines the paintings of the British artist William Holman Hunt as exponents of evangelical imperialism that fundamentally transformed the practice of religious painting in Britain. Hunt traveled to the Middle East in the nineteenth century, when Europeans gained increased access to foreign lands as a result of Europe{\textquoteright}s expanding political influence. Armed with the authority of a British national in a period of imperial expansion, he appears to have operated within the framework of Orientalism, in which the West constructed the East through textual accounts and images. Hunt obtained models from the local population, described himself as an adventurer in uncharted terrain, and publicly exhibited his pictures in England, where he was a member of the artistic community called the Pre-Raphaelite Brotherhood. Yet the rubric of Orientalism in fact occludes those historical circumstances most salient for understanding Hunt{\textquoteright}s paintings. Through close study of manuscripts, paintings, and drawings, I argue that Hunt{\textquoteright}s biblical representations were informed by Britain{\textquoteright}s imperial incursions into the Middle East and the growing influence of the Evangelical Movement, and therefore exposed the instability of Britain{\textquoteright}s national identity both at home and abroad.}, keywords = {Art of the Middle East/North Africa}, author = {Le Gall, Shalini} } @mastersthesis {10592, title = {Exhibiting Sexualities: Pleasure, Power, and Performance in Museums}, year = {2009}, school = {Northwestern}, abstract = {This study is the first full-length investigation of the new sex museum. It describes how museums adopt and adapt certain themes, contexts, and display technologies to exhibit sexuality for diverse museum audiences. The sex museums in this study include the Leather Archives \& Museum in Chicago, the Museum of Sex in New York, the World Erotic Art Museum in Miami Beach, and El Museo del Sexo (the Museum of Sex) in Mexico City. The analysis of sex museums shifts according to the genre of museum, the ways in which exhibits frame sex, ownership and state-recognized business status, urban location, differences in museum populations and attendance, breadth of artifacts, and technologies of display and spectatorship. This study employs archival research, exhibit analysis, participant observation, and interviews with guards, gift shop staff, ticket takers, maintenance personnel, visitors, curators, collectors, and museum owners to critique the ways in which sex museums impact contemporary sexual display culture. In sum, this study suggests that exhibiting sexualities in the museum restages sexual artifacts, and offers new ways for approaching, engaging, and understanding issues of desire, sexual identity, and sexual practice as they intersect with the history of the modern museum, sexual history in the nineteenth, twentieth and twenty-first centuries, and genealogies of taste and beauty. This study also examines the transnational circulation of sexual commodities, the globalization of sexual discourse, how sexed objects furnish desire, performances of affect that occur in and around sex museums, and how the representation of sexuality in museums communicates gendered, classed, and raced notions of sexual community.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Tyburczy, Jennifer} } @mastersthesis {10738, title = {Expanding Spaces and Porous Borders in the Artworking of Bracha L. Ettinger}, year = {2009}, school = {Bryn Mawr}, abstract = {This dissertation examines the written and artistic production of the Israeli-born artist, psychoanalyst, and feminist theorist Bracha L. Ettinger, whose practice of artworking incorporates her theoretical development of the Matrix and Metramorphosis into the act of painting. Ettinger{\textquoteright}s work offers a feminist re-negotiation of the terms of Freudian and Lacanian psychoanalysis within the realm of aesthetics and ethics, issues that are universal, yet tied to specific experiences between the I and non-I, the known and the unknown. Ettinger{\textquoteright}s theoretical and artistic advancements promote connection rather than separation, expanding borders from the limited social constructions of interaction to the limitless feminine space of the matrixial web. Ettinger, in her series of paintings entitled Eurydice, proposes a matrixial re-working of the mythological figure of Eurydice, moving away from the classical emphasis on separation and loss in favor of connection and retrieval. In Ettinger{\textquoteright}s feminist version of the myth, "looking back" is a positive and ethical gesture of remembrance, an act which weaves together the past and the present into the surface of her paintings, and offers an arena for potential future encounters. The porous spaces of Ettinger{\textquoteright}s work present passageways which allow the viewer and reader to move through and between the various levels of text and image, theory and art, in a constant shift between modes of production. Ettinger{\textquoteright}s ethical aesthetics intends art as a latent space of healing, a borderspace of connections which are positive, active and aware. Ettinger incorporates text, photographs, India ink line drawings, oil paint, and recycled paper into her artwork, a process of artworking digitally manipulated by her hands and by the photocopy machine that reproduces the grains of photographic images and words. The photographs that Ettinger uses are culled from personal and historical archives, documents which both directly and obliquely reference the traumatic and destructive history of the Holocaust, a practice which I relate to the work of French artist Christian Boltanski. The images that Ettinger employs function as mnemonic prompts within her paintings, urging the viewer to engage in an ethical act of remembrance in the role of what she names the wit(h)ness.}, keywords = {Twentieth-Century Art}, author = {Vigneault, Marissa B.} } @mastersthesis {10582, title = {The Experience Machine: Stan VanDerBeek{\textquoteright}s {\textquoteright}Movie-Drome{\textquoteright} and Expanded Cinema Practices of the 1960s}, year = {2009}, school = {UCLA}, abstract = {The Experience Machine presents the first in-depth study of American artist Stan VanDerBeek (1927-1984), who was instrumental in the development of multimedia art during the postwar period. This dissertation analyzes how the perceptual conditions of his conceptual theater called Movie-Drome (1965) engendered an immersive subject by prioritizing multisensory experience over concerns exclusive to visual representation (mimesis or depiction). Movie-Drome was constituent of Expanded Cinema art works that employed several audio and visual projection sources and multiple screens in an intimate live performance environment. By creating an immersive experience that addressed a collective audience, Movie-Drome articulated a particular type of subjectivity for Expanded Cinema that broke from the singular modernist viewing subject of avant-garde film as well as the atomized mass audience associated with broadcast television. Rather than developing out of a genealogy of cinematic devices, Movie-Drome functioned as a communication tool, or in VanDerBeek{\textquoteright}s words, an "experience machine" and was situated in the center of the various radical aesthetic sensibilities that exploded in New York in the late 1950s and early 1960s including Fluxus, Happenings, Judson Church dance performances, and the minimal music of John Cage, who like VanDerBeek was part of the Land, an artist{\textquoteright}s colony in upstate New York. The thirty-one-foot-high metal dome structure VanDerBeek built on the Land was a prototype for a communications system in which several dromes would be positioned throughout the world, each linked to an orbiting satellite that would store and transmit images between the various sites. Movie-Drome{\textquoteright}s emphasis on two-way communication and data transfer introduced a telecommunications model for art production reflecting the larger transformation from a mechanical to information age. Through a close examination of Movie-Drome{\textquoteright}s formal traits and VanDerBeek{\textquoteright}s conceptual slides and drawings, this dissertation suggests that Expanded Cinema attempted to address broader political systems of distribution, social regulation, and the mechanization of information. Ultimately, The Experience Machine establishes a new interpretive framework for understanding multimedia art not as an accretion of film and computer technology, but as a critical means to engage the effects of mass media on the wider social and cultural experience of the late 1960s.}, keywords = {Contemporary Art}, author = {Sutton, Gloria} } @mastersthesis {10584, title = {Expose, Impel, and Sustain Change: The Committed Documentary in Political Life}, year = {2009}, school = {Rochester}, abstract = {In Expose, Impel, and Sustain Change: The Committed Documentary In Political Life the author explores the history and practice of politically "committed{\textquoteright} documentary filmmaking. The author provides a comprehensive history of the committed documentary from the early days of cinema to the present day, including a discussion of some of the major filmmakers, filmmaking groups, and filmmaking practices linked to committed documentary making. The author also provides a detailed exploration of the committed documentary project as it operates today; including an examination of participatory documentary making activities on the part of the Chinese Staff and Workers Association, a New York City based workers{\textquoteright} organization; an examination of the role committed documentary makers play as political entrepreneurs within transnational advocacy networks; and an examination of the political positioning of the work of the influential U.S. documentary filmmaker Robert Greenwald. The author argues that the committed documentary should be viewed not as a representation of reality, but should instead be viewed as a means by which political realities are constructed and contested. To explore this theme, he focuses in particular on the making and distribution of "small{\textquoteright} documentary films and videos; including political organizing and activist films/videos linked to the activities of social movements and distributed through parallel non-traditional distribution networks.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Film/Video}, author = {Davies, Lyell} } @mastersthesis {10620, title = {Facing Boundaries: Representing Identity and Authority in the Late-Colonial Portraiture of South America}, year = {2009}, school = {UC Santa Barbara}, abstract = {Walk into the historical museums of Lima and Buenos Aires today, and some of the first paintings you encounter are viceroy portraits. Commissioned and painted primarily during the eighteenth century, these imposing and innovative works of art launched the genre of political portraiture in South America. Often contrasted as socio-political opposites, Lima and Buenos Aires embraced similar artistic practices, social traditions, and innovative political tactics between 1750 and 1824. The viceroy portrait series were not only embedded in the Spanish colonial governance of the sub-continent, they were commissioned by the urban municipal councils as tools to be activated in local power negotiations. Official portraiture was an integral component of the late-colonial remapping of political and cultural boundaries. Visual and textual evidence, including parallel portrait traditions, public ritual and discourse, personal correspondence, and government records, provide the basis for contextualizing the viceregal portrait sub-genre within a cultural history of late-colonial South American portraiture. This study demonstrates that the viceroys, local elites, and their visually receptive subjects exploited portrait paintings and their display to construct municipal identities and to negotiate intra-continental political relationships. Portraiture became increasingly relevant in the dynamic social context of late eighteenth-century Lima and Buenos Aires. Municipal elites collaborated with artists in adjusting pictorial convention to make portraiture the primary cultural medium for self-identification. Cultural discourse in both cities focused on authority, a tangible and localized form of power, as an essential component of official identities. Political authority was conceptually debated and overtly contested in portrait paintings. As the viceregal portraits reveal, the viceroys, city councils, and their subjects carved out spheres of distinct but overlapping influence in an environment where boundaries were porous and negotiable. This comparative analysis of visual culture in the Viceroyalties of Peru and Rio de la Plata contributes to a broader socio-cultural understanding of the impact of art on imperial dynamics, asymmetrical power relations, and modes of constructing identity. Ultimately, the performance of power in official portrait collections became the foundation for the visual culture of nationhood in both Peru and Argentina.}, keywords = {Eighteenth-Century Art}, author = {Engel, Emily} } @mastersthesis {10518, title = {Fatimid Architectural Patronage and Changing Sectarian Identities (969-1021)}, year = {2009}, school = {Harvard}, abstract = {This dissertation examines architectural patronage under the third Egyptian Fatimid caliph, al-Hakim bi-Amr Allah (r. 386-411/996-1021). The reign of this "psychotic" ruler represents a controversial, yet pivotal moment in the history of sectarian relations in the Islamic world. Art historically, al-Hakim{\textquoteright}s reign is notorious for the destruction of most of the churches in his realm, including the Church of the Holy Sepulcher in Jerusalem. However, as this study shows, these demolitions were part of a larger architectural program, accompanied by the construction, consolidation, and renewal of Islamic monuments. I consider al-Hakim{\textquoteright}s patronage in comparison to that of his predecessors, al-Mu{\textquoteright}izz (r. 341-65/953-75) and al-{\textquoteright}Aziz (r. 365-86/975-96), whose reigns are often lauded for luxurious artistic patronage and tolerance toward Egypt{\textquoteright}s religious minorities. Taking a holistic approach to the study of architecture, I integrate a discussion of the era{\textquoteright}s best-known monuments, such as the Fatimid palaces, the Mosque of al-Azhar, and the Mosque of al-Anwar (known today as the "Mosque of al-Hakim"), with a consideration of buildings that no longer remain, demolition programs under each caliph, and changes to the urban fabric. By comparing the patronage of these three caliphs, I analyze the sophisticated use of architecture in the Fatimid development of Cairo as a new capital city and in expressing Fatimid ambitions toward a universal Islamic caliphate. I illuminate the implications and context of the Fatimid caliphs{\textquoteright} architectural projects by considering them within the framework of shifting relations between Sunnis, Shi{\textquoteright}a, and Christians in the Fatimid realm. My research synthesizes written historical sources from these multiple confessional groups, to arrive at a new, more nuanced understanding of building policies during the reign of al-Hakim, removing patronage from the context of delusional, despotic whimsy and considering it in the larger framework of a changing Ismaili Shi{\textquoteright}i worldview, growing interfaith hostilities, and competing caliphal claims with Baghdad and Cordoba. In this way, the study recontextualizes early Egyptian Fatimid architecture within the broader Islamic world and demonstrates how medieval Islamic architecture acquired meaning within a shifting historical, religious, and intellectual context.}, keywords = {Art of the Middle East/North Africa}, author = {Pruitt, Jennifer} } @mastersthesis {10491, title = {The Federally Funded American Dream: Public Housing as an Engine for Social Improvement, 1933-1937}, year = {2009}, school = {Virginia}, abstract = {From the poorhouse to the settlement house, in America private groups, local and state governments had a long history of attempting to improve living conditions for the poor, but the Great Depression brought about the federal government{\textquoteright}s first foray into low-rent housing. In 1933, as a part of his sweeping New Deal initiatives, Franklin Delano Roosevelt and Congress approved funding for low-rent housing and established the Housing Division within the Federal Emergency Administration of Public Works (or PWA) to expend these funds. The program had three essential goals; to reinvigorate the stalled construction industry; to clear inner-city slums; and to create good-quality, low-rent housing. Organized by Robert Kohn and inspired by the regionalist community-building vision of Clarence Stein and Henry Wright, the Housing Division initially offered discounted loans to community groups for low-rent housing construction, but a lack of qualified applicants forced them to abandon their role as loan-provider and construct low-rent housing directly. This direct build program constructed fifty-three projects across the country and in Puerto Rico and the Virgin Islands. Although located in small towns like Enid, Oklahoma and big cities like New York, housing from fifty to sixteen hundred families, all of these projects followed a core set of principles developed by the regionalists who formed the Regional Planning Association of America and established as policy by Kohn{\textquoteright}s staff. From one-story row houses to four-story apartment buildings, high-quality construction and fully equipped baths and kitchens promised improved conditions for nearly all working class families. In addition, these projects were marked by a careful orchestration of exterior spaces, providing front and rear yards for residents. Designed as unified communities, they tragically failed to recognize that contemporary America, north and south, was largely divided along color lines. This inability to address or accommodate contemporary social conditions proved the central fault of the effort.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Milnarik, Elizabeth Ann} } @mastersthesis {10594, title = {Figurer la societe mourante: Cultures esthetiques et ideologiques de la propagande anarchiste illustree en France, 1880-1914}, year = {2009}, school = {Montreal}, abstract = {This dissertation is concerned with an analysis of artistic creations and photographic documents displayed in French anarchist periodicals as efficient techniques of spreading social and political ideas and news. Such a production is contextualized in relation to the contemporary press with which anarchist periodicals engaged in a number of polemical discussions on art conceptions and on political issues, throughout the Third Republic.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Bouchard, Anne-Marie} } @mastersthesis {10624, title = {First, Abandon the World of Seeming Certainty: Theory and Practice of the {\textquoteright}Camera-generated Image{\textquoteright} in 1960s Japan}, year = {2009}, school = {Stanford}, abstract = {In Japan as in the West, the political and cultural turmoil of the 1960s prompts pressing questions about the relation between individual subjectivity, images, and reality. Following the vague of de-Stalinization among left-wing artists in the 1950s, the notion of realism and the formal means attached to it are under scrutiny. As artists reject a naive faith in the virtues of naturalism and in the veracity of the camera, they interrogate the weight of their own subjective positions and seek new conceptual frameworks for their practices. This dissertation uncovers a particularly fruitful area of reflection on these issues, that of the discourse on eizo ("image" or "camera-generated image"). This Japanese term, which encompasses all images produced by a camera, holds great prominence through the 1960s, and signals the recognition of a new "era of the image," in which filmic and photographic records serve as powerful mediators between self and world. Using the notion of eizo as a springboard, this study focuses more specifically on filmmakers and photographers who both produced films or photographic series and wrote theoretical and critical texts. Chapter I centers on Oshima Nagisa, whose early work is grounded in a desire to revitalize Japanese narrative cinema. Searching for images that serve as prisms in which director, audience and subject confront each other{\textquoteright}s perspectives, Oshima foregrounds the necessity of an Existentialist commitment to the mission of the author (sakka), conceived as the prototype for an accomplished postwar subject. Oshima{\textquoteright}s views are inspired by Sartre{\textquoteright}s "committed intellectual," and bear important similarities with France{\textquoteright}s contemporary politique des auteurs while preserving a strikingly distinct flavor. It is based on this delineation of the author, and in the context of intense political turmoil, that he articulates the modalities of filmmaking as a mode of action: his fast film at Shochiku, Night and Fog in Japan, embodies the quest for meaningful modes of "resistance," both to the logic of the studios and to the trappings of the organized Left. In its turn, Matsumoto Toshio{\textquoteright}s early work, which is the subject of Chapter II, blossoms in the documentary field and is primarily informed by the models of contemporary European cinema. In response to Oshima{\textquoteright}s emphasis on authorial subjectivity, Matsumoto stresses the importance of the phenomenological encounter with the film{\textquoteright}s "object" (mono), and the role of the "stare" (gyoshi) in the communal experience of the image. The filmmaker{\textquoteright}s quest for images apt to transcend the new paradigm of alienation and to defy the "invisibility" of the present materializes in a fusion of documentary and avant-garde practices in what Matsumoto tentatively calls Neo-documentarism, a genre informed notably by his encounter with the work of Alain Resnais. In keeping with eizo{\textquoteright}s broad definition of the medium, the two modes of reflection proposed by Oshima and Matsumoto are also significantly tied to photography. Oshima{\textquoteright}s critique of the contemporary culture scene comes to a rare halt in the presence of Tomatsu Shomei{\textquoteright}s photographs of Nagasaki, in which the director recognizes an authorial approach akin to his own. Matsumoto{\textquoteright}s experimental documentary Song of Stones, too, engages with photographic material, and points to a synergy between photography and cinema, united within the domain of eizo. Still, during the first half of the decade, filmmakers hold the upper hand when it comes to producing thorough conceptual models for eizo. This situation is reversed at the end of the 1960s, and Chapter III focuses on the photography collective Provoke (1968-1970). In the context of renewed political tension prompted by the Vietnam war and the second anti-Anpo movement, the members of Provoke are compelled to reexamine the relation between authorial subjectivity and pursuit of the documentary object within the paradigm of the photographic "record" (kiroku). Distancing themselves from their elders in significant ways, they also seek after them to define the modalities through which eizo reflects the particular challenges of their time and stimulates a new vital bond between individuals and world. In turn, their photographic practices and writings impact the documentary work of revolutionary filmmaker Adachi Masao and film theorist Matsuda Masao. The picture emerging from the exploration of these works and texts -that of a singular moment of cross-cultural curiosity, formal experimentation, and innovative reflections on the film medium-invites scholars of the Japanese cinema to acknowledge the importance of local theoretical writings and presents a healthy challenge to a narrow definition of the boundaries of film studies.}, keywords = {Film/Video, Japanese/Korean Art}, author = {Adler, Fabienne} } @mastersthesis {10669, title = {Frame Works: Paintings-within-Paintings in Nineteenth-Century Britain}, year = {2009}, school = {Columbia}, abstract = {Visual practitioners from every culture and time period make use of pre-existing motifs. Despite this fact, relatively little attention has been paid to the most explicit form of this practice: images-within-images. This dissertation investigates the multiple ways that artists reference other art, through close examination of the phenomenon in a very specific medium, place, and time: the painting-within-a-painting in nineteenth-century Britain. This period saw a rapid increase in the production, reproduction, and display of images. In response, many artists used the most traditional form of reproduction of all-copying another artwork by hand-to comment on these changing conditions. The result was a revealing but often-overlooked body of works in which paintings-within-paintings not only record but also comment on the visual canons and viewing practices of the day. This dissertation considers depictions of a variety of display spaces both real and imagined, from family homes to public exhibitions, by a variety of artists, including John Scarlett Davis, J. M. W. Turner, John Everett Millais, and Emma Brownlow King. These images make explicit key issues for artists of the period, such as emulation and competition, and key issues for their audiences, such as visibility and recognition. For artists, reproducing the work of another within one{\textquoteright}s own canvas could offer homage, express rivalry, or invoke comparison. For audiences, identification of these visual references allowed one to demonstrate membership in an elite, visually literate group. Further, images-within-images mediated as well as reflected the experience of art on display, as evidenced by the fact that each of the very different artworks considered in this project was displayed for a time within the very space it depicts. This dissertation argues for a renewed attention to images of art on display, not as transparent records or convenient illustrations but as revealing fictions. Moreover, it offers a new methodological approach to visual reference and asserts its importance to the study of audience reception, an elusive but central aspect of the history of images.}, keywords = {Nineteenth-Century Art}, author = {Roach, Catherine} } @mastersthesis {10527, title = {Frederic Church and the Culture of Detail}, year = {2009}, school = {Yale}, abstract = {Detail defines the landscapes of Frederic Church. During the artist{\textquoteright}s time, his paintings were both celebrated and criticized for their handling of detail. The relationship between specific detail and general effect was increasingly discussed and debated in mid-nineteenth-century America, yet the implications of this debate are rarely considered. My dissertation begins by taking detail seriously-as a key component of Church{\textquoteright}s visual language and as a defining aspect of nineteenth-century culture. By examining the evolving language of detail first in the artist{\textquoteright}s canvases and then in Olana, his self-designed house and 250 acres of grounds, my project places these two- and three-dimensional landscapes in relation to changing paradigms of representation. I argue for a shift from a system of representation based on comprehensive knowledge to one marked by a diffusion of information. While "knowledge" implied the pursuit of order and unity for nineteenth-century viewers, "information"-a word increasingly used as the century continued-made no such promises. Church{\textquoteright}s works signal a move away from the allegorical impulse of Romantic landscape painting, where details collectively contribute to symbolic meaning, to a mode where details compete for attention and threaten to derail a larger narrative. The implications of this shift are significant. These landscapes can be seen in terms of the construction of history and memory, the instability of traditional aesthetic categories, the meaning of citizenship, the emergence of a Darwinian discourse, and the increasingly strained relationship between religion and science and technology. Each chapter focuses on one or two major paintings by the artist, while the final chapter looks at the dialectic between a painted and a physical landscape. Produced over a span of three decades, all of these landscapes contend differently with the tension between the particular and the whole. By considering the aesthetic, epistemological, and cultural status of detail in Frederic Church{\textquoteright}s works, my project seeks to reclaim and re-imagine the specific and powerful relevance of this visual mode during the nineteenth century.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Jennifer Raab} } @mastersthesis {10623, title = {Frederick the Great{\textquoteright}s Porcelain Diversion: The Chinese Tea House at Sanssouci}, year = {2009}, school = {McGill}, abstract = {This thesis signals a new approach in the study of the Chinese Tea House at Sanssouci. It argues that Frederick the Great{\textquoteright}s exotic pavilion, although made of sandstone and stucco, is porcelain in essence. The garden building reflects the many meanings of this highly valued commodity and art form in the privileged society of the king and his contemporaries. The pavilion is unique in that it was inspired by the type of sculptural ornament designed to decorate the eighteenth-century table of the nobility. The Tea House is a thematically integrated structure that demonstrates the influence of porcelain on interior decor and architecture. The designation of the garden building as a Gesamtkunstwerk acknowledges the blending of architecture, painting, and sculpture; characteristics shared by porcelain centerpieces. They exemplify the intermediality associated with the development of eighteenth-century porcelain and the interpretation of Frederick{\textquoteright}s pavilion.}, keywords = {Eighteenth-Century Art}, author = {Shamy, Tania Solweig} } @mastersthesis {10734, title = {From Fine Art to Fashion: Man Ray{\textquoteright}s Ambivalent Avant-Garde}, year = {2009}, school = {Columbia}, abstract = {This dissertation presents a close reading of Man Ray{\textquoteright}s experimental photography: the rayograph, solarization, and, via its deployment in Violon d{\textquoteright}Ingres, his more limited use of photomontage. It consists of three chapters, each devoted to one of these three modes. In tandem-and in a departure from the traditional literature-I consider Man Ray{\textquoteright}s commercial activities as a society portraitist and fashion photographer alongside his explicitly "artistic" photography, exploring the ways in which his avant-garde and commercial practices were interwoven, both discursively and on formal grounds. An overarching goal of this project is to find a way of reading Man Ray{\textquoteright}s work that can both describe and account for the relationship between its formal attributes and its socio-historical context. This, I argue, can be achieved through a sustained analysis of the crucial role and specific contours of Man Ray{\textquoteright}s ambivalence toward the photographic medium. As Jane Livingston notes, with the exception of a brief period following his "invention" of the rayograph, "Man Ray claimed most to revere [painting] .... It is clear," she further contends, "from the present vantage point that precisely in professing contempt for the photographic medium, he succeeded in making it work fluently for him." Appraising Man Ray{\textquoteright}s early foray into avant-garde photography with Man and Woman (both 1918), Livingston describes his aesthetic as poised mid-way between the opposing sensibilities of his two mentors, Alfred Stieglitz and Marcel Duchamp: the works{\textquoteright} strongly graphic values and elegant austerity an ironic nod to Stieglitz{\textquoteright}s modernist formalism; their elevation of every-day mass-produced objects an embrace of Duchamp{\textquoteright}s Dadaist provocations.1 To this dyad, one must add Rosalind Krauss{\textquoteright} analysis of the way shadows function in Man and Woman as indexical anchors that tie the photographs to specific moments in time, at once distinguishing and protecting them from the ready-made{\textquoteright}s status as an object of pure exchange value.2 The picture of Man Ray that emerges from these observations is of an artist caught in the throes of ambivalence when faced with the challenges that photography as a form of mechanical reproduction and a medium of mass commercial culture posed to traditional conceptions of the artwork and its aesthetic value. Confronted with a set of seemingly irreconcilable options, Man Ray simply refused to choose. But as Livingston suggests, this ambivalent suspension was exceedingly generative. This, I contend, is particularly true for the rayograph and Violon d{\textquoteright}Ingres, works marked by a delicate balance of opposing poles. However-in tandem with historical developments in consumer culture and as witnessed in his use of solarization-the generative potential of Man Ray{\textquoteright}s position begins to collapse in the late 1920s and early 1930s. What instead becomes clear is the way the ambivalences underlying his work enabled it to fulfill the aesthetic demands of a newly emergent spectacle culture, as exemplified by Man Ray{\textquoteright}s highly successful fashion photography for Harper{\textquoteright}s Bazaar. 1 Jane Livingston, "Man Ray and Surrealist Photography," in L{\textquoteright}Amour Fou: Photography and Surrealism (New York and Washington, D.C.: Abbeville Press, Inc. and the Corcoran Gallery of Art, 1985), 120-123. 2 Rosalind Krauss, "The Object Caught by the Heel," in Making Mischief Dada Invades New York, ed. Francis M. Naumann et al. (New York: Whitney Museum of American Art, 1996), 248-251.}, keywords = {Twentieth-Century Art}, author = {Sundell, Margaret} } @mastersthesis {10639, title = {From Middlemen to Center Stage: The Chungin Contribution to 19th-Century Korean Painting}, year = {2009}, school = {UC Berkeley}, abstract = {From Middlemen to Center Stage: The Chungin Contribution to 19th-Century Korean Painting explores the rise of chungin technical officials in the painting world of the late Choson dynasty. In doing so, this dissertation provides a non-traditional perspective on Korean art history, and reveals the overlooked social and commercial aspects of art in the late Choson dynasty. Late Choson society experienced a rise in consumer culture, and artistic activities such as painting, art appreciation, and art collecting were no longer the exclusive realm of the privileged yangban. Instead, there emerged new players, the chungin or "middle people," who were not part of the elite class, but who were affluent, well-educated, and often well connected to foreign intellectuals. The chungin mediated between the yangban and commoners, between Koreans and foreigners, and between the pre-modern and consumer societies. In the art world, they became a major force as professional artists, patrons, collectors, and distributors. The chungin selected the flowering plum as a symbol to identify themselves, and a talented painter, Cho Hu-i-ryong, reinterpreted the flowering plum painting genre. Before Cho, plum painting was staid and monochrome. Cho{\textquoteright}s flowering plums were dynamic, sensual, and surface-oriented, often in large scale. This new style was very appealing to Korea{\textquoteright}s new consumers, flowering plums were in great demand, and Cho{\textquoteright}s lead was followed by other chungin painters. Until recently scholars have failed to recognize the chungin contribution to late Choson painting. During the colonial period, Japanese scholar-officials who came to Korea during the period of Occupation, applied Sino-centric and Japanese aesthetic standards to Korean art and devalued indigenous Korean trends. Blaming Korea{\textquoteright}s downfall on the weakness of the Choson dynasty, Korean nationalists also denigrated the late Choson as a period of artistic decline. Even in the 1970s, scholars took a yangban-centric view of the late Choson, causing them to misidentify Cho and other chungin painters as mere disciples of the illustrious yangban calligrapher, Kim Cho-ng-hu-i and to fail to recognize the rise of professional painting. In the 20th century, only the chungin calligrapher and voice of Korean independence O Se-ch{\textquoteright}ang highlighted the role of the chungin through his compendium of artists, Ku-nyo-k so-hwa ching.}, keywords = {Japanese/Korean Art}, author = {Kim, Sung Lim} } @mastersthesis {10541, title = {From the Edge of Chaos: Charles Seliger{\textquoteright}s Representations of {\textquoteright}The Structure of Becoming{\textquoteright}}, year = {2009}, school = {Boston}, abstract = {Charles Seliger{\textquoteright}s high-density, abstract, metaphysical paintings convey his perceptions that despite eternal change, there is an underlying order or set of eternal laws that shapes all of reality. Since Seliger{\textquoteright}s paintings first came into the public eye during the era of Abstract Expressionism scholars tend to characterize him as an overlooked Abstract Expressionist or as sui generis. This dissertation on Charles Seliger differs from past scholarship on his oeuvre and on mid-century abstract painting in general. The small size, the order conveyed by his work, and his philosophical subject matter, are qualities that clearly relate to the work of artists with whom he exhibited at the Willard Gallery in New York, from 1950 until 1970. By articulating the formal characteristics and philosophical content pursued by Seliger and his Willard Gallery peers, we will have a more nuanced and focused picture of abstract painting at mid-century. Hence, through a study of the work of Charles Seliger, this dissertation seeks to identify and articulate another strand of American abstraction. Chapter One explores how Seliger developed the artistic philosophies and formal approaches of the Surrealists-in-exile in New York into his own unique idiom. Chapter Two presents a contextual analysis of Seliger{\textquoteright}s work-both the common features and the differences-with that of the emerging Abstract Expressionists. Chapter Three examines the philosophy of Marian Willard, a student of Carl Jung and Seliger{\textquoteright}s dealer, who selected artists who she believed referred to a universal collective unconscious in their work. This chapter includes comparative analysis of Seliger{\textquoteright}s paintings with other Willard Gallery artists. Chapter Four considers Seliger{\textquoteright}s late career and his interest in an epistemological approach to knowledge formation called Complexity Theory, a methodology that looks at patterns and the relationships of seemingly random phenomena. Seliger was neither an isolated figure in art history nor was he an overlooked Abstract Expressionist. His paintings belong to a smaller, more meditative counterpoint to Abstract Expressionism, to a category awaiting fuller investigation.}, keywords = {Art of the United States}, author = {Dubois, Michelle} } @mastersthesis {10613, title = {From Thirteenth-Century Toulouse to Fifteenth-Century Serres: A Comparative Study of Dissent, Authority, Architecture, and Space}, year = {2009}, school = {Binghamton}, abstract = {The following dissertation is a contextual comparative study of two distant geographies and time frames, where separate architectural and artistic expressions came into being under similar circumstances: Toulouse in the aftermath of the Albigensian Crusade (1209-1229), and Serres (northern Greece) after the Rebellion of 1416 (also known as the Rebellion of Sheikh Bedreddin). What unifies the two cases is a conflict between centrifugal dissident groups, eager to establish and protect their liberties and centralizing authorities, trying to expand and solidify their political control. Examining a site of inquisition in Toulouse and a site of execution in Serres, the dissertation compares how this conflict determined the reappropriation and reinterpretation of architecture by the authorities, in order to demonstrate their victory over the dissident groups. Then, looking at the architectural imprints that the authorities tried to leave over the two cities, it analyzes how persistent resistance from the dissidents shaped and limited authoritative architectural expressions.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Salgirli, Saygin} } @mastersthesis {10733, title = {Gender Construction and Manifestation in the Art of Elaine de Kooning}, year = {2009}, school = {Temple}, abstract = {As a woman whose career lifted off during the era of Abstract Expressionism, Elaine de Kooning is precariously positioned between her gender and her career. She began painting in the midst of a male-dominated movement and in later years continued to use very masculine themes in her art; however, her gender sets her apart from her mostly male colleagues during the Abstract Expressionist period. The mid-century expectation of machismo and masculinity shaped Elaine de Kooning{\textquoteright}s art and career, and there is a tension within her art as she tried to fit the established (male) persona of the typical Abstract Expressionist artist while also maintaining a female identity. As the wife of Willem de Kooning, Elaine is most often discussed with respect to this relationship. Her name is infrequently mentioned in scholarship without reference to Willem, and her contribution to art history has only recently been studied in any length in Jane Bledsoe{\textquoteright}s Elaine de Kooning (1992) and in a series of smaller gallery publications. Furthermore, Elaine has become recognized and respected, in some cases, more for her critical writings for Art News during the 1950s and 1960s than for her art. She was an artist turned art critic, and this crossover has further complicated the scholarly attention devoted to her. Elaine consistently revisited male-inspired subject matter: in her portraiture she painted predominantly male sitters; in her cave painting-inspired work she reflected a society of primitive male hunters; in her series of sports paintings she depicted male basketball and baseball players in dynamic postures; in her Bacchus series she investigated a male god and the vitality of the statue{\textquoteright}s writhing male musculature; and in her bull and bison series she worked with the clich{\'e}d animalistic symbol of masculine strength and virility. These subjects, combined with the ejaculatory style of Abstract Expressionism{\textquoteright}s loose brushwork and vibrant swirling colors, provide a unique contrast to the artist, herself, as a female personality.}, keywords = {Twentieth-Century Art}, author = {Strahl-Allen, Lisa} } @mastersthesis {10523, title = {The Gendered Language of War: Picturing the Parlor in Civil War America}, year = {2009}, school = {Stanford}, abstract = {This dissertation examines parlor images produced during the American Civil War, and argues that, despite their often reassuring and peaceful appearances, the homes depicted in parlor pictures are cultural battle scenes. The manuscript comprises three chapters that examine the northern white parlor in Eastman Johnson{\textquoteright}s The Blodgett Family, the southern white parlor in Adalbert Volck{\textquoteright}s Entertaining in the Parlor, and the imagined African American parlor in Thomas Nast{\textquoteright}s Emancipation, respectively. Through thorough examination of these war-era parlor images, this study argues that Civil War parlor images express and participate in anxieties about change through a lexicon of gendered visual associations, simultaneously reinforcing and undermining the familiar gendering of parlor and battlefield, and providing an alternative view of the Civil War home front. At the outset of the Civil War, the parlor represented far more than a room in a home. Rather, the parlor had become an idea, bound up in a web of social, cultural, racial and gendered narratives. Images of the parlor from the war era are therefore fraught with the shifting nature of those narratives in wartime. Through subtle moments of tension and chaos, the gendered space of the parlor in Civil War pictures becomes a space of contest-a battlefield of social, familial and cultural values. Exploring the contested role of the home in wartime culture and closely examining its war era depictions reveal both reassurances and anxieties about the social, cultural, and political changes wrought by war.}, keywords = {Art of the United States, Critical Theory/Gender Studies/Visual Studies}, author = {Witt, Susan} } @mastersthesis {10667, title = {Gendering a Generation: Constructions of Childhood in England{\textquoteright}s Nineteenth-Century Juvenile Periodicals}, year = {2009}, school = {Binghamton}, abstract = {In England from 1855-1875 there was a noticeable increase in the publication of children{\textquoteright}s monthly and weekly magazines. Starting with the premise that the increase in visual imagery of and for children represents an acutely invested reassessment of contemporary definitions of English childhood, this dissertation focuses on six significant children{\textquoteright}s magazines of the mid-Victorian era to explain how images of children functioned within the regimes of juvenile periodicals. It offers an in-depth, art historical examination of these images within the context of shifting social institutions and their accompanying discourses, which included changes in: educational toys, books and materials; government legislation related to children{\textquoteright}s labor and education; church and religious publications; and the transformations of printing technologies and audiences and which produced separate, divergent, and contradictory images of children. By focusing on child images in juvenile serials during these formative years of British publishing, this study disrupts traditional art historical views of a homogeneous, mid-century vision of "Victorian childhood" and joins scholars from various interdisciplinary fields such as Victorian studies, Children{\textquoteright}s Literature, and Critical Theory also seeking to demythologize the stereotypical concept of the "Victorian child." Rather, the study shows that Victorian child images should not be understood as one-dimensional and that both the visual and verbal images of children played a crucial role in the nature of children{\textquoteright}s constructed social positions within an adult social structure. And, unlike studies that examine the construction of childhood either from one media, or within a single arena of discourse, to suggest the erotics, or "crisis," of childhood, this dissertation explains what was at stake for multiple social arenas in their differing definitions of "childhood." Ultimately, this project provides a reappraisal of the mid-Victorian child image and its production by examining how children{\textquoteright}s images were constructed across a complex field of multiple discourses (including industry participants, consumer audiences, and cultural institutions) and clarifies the intricate relationship between the visual and verbal texts present in children{\textquoteright}s mid-century magazines to show how England{\textquoteright}s discursive models of socialization sought to construct, in different ways, childhood as a separate experience from that of adults.}, keywords = {Nineteenth-Century Art}, author = {Pugliese, Ginamarie} } @mastersthesis {10560, title = {The Global Aesthetics of Nostalgia: Nation and Longing in Contemporary Art}, year = {2009}, school = {Minnesota}, abstract = {While most of the literature on art and globalization theorizes globalization in terms of its effects on art institutions and markets, I focus on the way in which artists, artworks, and institutions produce the time-space narratives of globalization rather than simply reflect them. I conceptualize globalization as a hegemonic way of articulating the relationships between time, space, and identity in the contemporary moment. As such, it comes into direct conflict with nationalism, which served as the dominant template for creating such narratives during the nineteenth and twentieth centuries. Nostalgia, a longing for a past time or lost place, plays a significant, though largely unnoticed, role in negotiating these shifting discourses of identity. As it is an aestheticization of the relationships between time and space, nostalgia is a powerful cultural tool with which to rework the relationships of the individual to the social, the local to the global, and the past to the present. Each chapter examines a broadly defined site of time-space narrative production, using artworks by artists working in Finland or in nearby Vyborg, Russia or Tallinn, Estonia. I discuss work by the following artists, filmmakers, and photographers: Eija-Liisa Ahtila, Elina Brotherus, Tellervo Kalleinen, Oskar Kochta-Kalleinen, Esko Mannikko, Petri Nuutinen, Anu Pennanen, Minna Rainio, Liisa Roberts, Kari Soinio, and Pekka Turunen. I also address institutional phenomena such as the Helsinki School, the Finnish Fund for Art Exchange, and the international biennial system.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Wilson, Sterling Paul} } @mastersthesis {10581, title = {Going British and Being Modern in the Visual Art Systems of Canada, 1906-1976}, year = {2009}, school = {Toronto}, abstract = {Between 1906 and 1976, Canada looked to Great Britain as a model for modernity in the visual arts. {\textquoteright}Going British{\textquoteright} and {\textquoteright}Being Modern{\textquoteright} - which is an inversion of Paul Nash{\textquoteright}s 1932 investigation of whether an artist could {\textquoteright}Go Modern{\textquoteright} while {\textquoteright}Being British{\textquoteright} - is described in relation to Canada{\textquoteright}s visual art systems, namely the processes of art collecting, dealing, and the self-fashioning of the artist in the 20th century. Evidence for the impulse to modernize via British precedents is primarily sought through an analysis of three collections of British art in Canadian art institutions: the Massey Collection of English Painting at the National Gallery, and the founding collections of the Vancouver Art Gallery and the Beaverbrook Art Gallery. The Art Gallery of Ontario is discussed in relation to its history of foreign art advisement. Anthony Blunt and Alfred Barr, Jr. are explored as representatives of British and American cultural authorities respectively. Finally, artists Jack Bush and Henry Moore are treated as case studies in mapping the shift in Canada from receiving primarily British cultural influences to the dominance of American art as the model to emulate after mid century. Near the end of the period examined, in the 1970s, an international profile in the arts becomes most attractive to all three nations. Social history, historiography and biography are used as methods to approach this topic. The lives that intersect throughout this illustration of the history of AngloModern influence in modern Canada (from British to American) include: Alfred H. Barr, Jr., Lord Beaverbrook, Anthony Blunt, Jack Bush, Wyndham Lewis, Vincent Massey, Marshall McLuhan, Henry Moore, Jerrold Morris, and Henry Stone. An epilogue shows how Simon Starling{\textquoteright}s work manifests the nature of Henry Moore{\textquoteright}s relationship to Toronto and reflects on the import of Britishness to Canadian culture.}, keywords = {Contemporary Art}, author = {Stanners, Sarah} } @mastersthesis {10670, title = {The Golden Age of French Academic Painting in America, 1867-1893}, year = {2009}, school = {CUNY}, abstract = {The aim of this dissertation is to present a more accurate assessment of nineteenth-century French academic art and its place not only in European art history but also in the history of American culture in the early Gilded Age. I focus on the phenomenally successful American careers of its four leading artists: William Bouguereau (1825-1905), Alexandre Cabanel (1823-1889), Jean-Leon Gerome (1824-1904), and Ernest Meissonier (1815-1891). Several exhibitions and monographs have been devoted to these individual artists in the past three decades; however, these artists have been studied individually and largely within a European art framework, rather than collectively as a phenomenon in the context of the American art world of the early Gilded Age. Lacking is a thorough examination and comparative study of these artists{\textquoteright} meteoric rise to prominence, their impact on the art scene in the United States, and their eventual eclipse. My study is the first to take a comprehensive approach to this collecting phenomenon through an analysis of contemporary accounts in journals, periodicals, art histories, and dealers{\textquoteright} stock books. The early Gilded Age in the United States was a golden era for these four artists. Two international expositions-the 1867 Universal Exposition held in Paris and the 1893 World{\textquoteright}s Columbian Exposition held in Chicago-bracketed the golden age of French academic painting. This study explores the trajectory of their careers during this twenty-five year span by means of an analysis of multiple factors that led to their striking success in the United States. Among the most significant factors were the art dealers: Goupil \& cie. and George Lucas in Paris, and Samuel P. Avery and Michael Knoedler in New York. These dealers brought French pictures to the United States following the four French artists{\textquoteright} success at the 1867 Exposition, where American art was broadly perceived to be a failure. Aided by dealers, prominent American collectors quickly amassed collections comprised primarily of French academic art, and paintings by this quartet of French artists were among the most expensive on the market. American critics kept the artists in the spotlight, American writers canonized them in their first histories of French art, and collectors placed their pictures in newly-formed art museums. However, by the time the World{\textquoteright}s Columbian Exposition took place, the four artists{\textquoteright} work had begun to seem outdated. The 1893 Exposition ushered in a new era, as contemporary American and French Impressionist art had quickly begun to replace French academic art in American collections.}, keywords = {Nineteenth-Century Art}, author = {Zalewski, Leanne} } @mastersthesis {10634, title = {Greek Bronze Hydriai}, year = {2009}, school = {Emory}, abstract = {Strategies for collecting, transporting, and storing clean water are essential to successful human societies. The name and form of the Greek water jar, or hydria, seems to have been standardized as early as the Bronze Age and remained essentially the same for millennia. Because the need for hydriai spanned every socioeconomic class, it is no surprise that the shape was made in large quantities and in diverse materials and sizes. Although the vessels made of precious metals have largely vanished, at least 600 bronze examples survive. This dissertation offers an assessment of the form, functions, and value of Greek bronze hydriai made between the Archaic and Hellenistic periods, from the late seventh through the first century BC. The substantially increased corpus, more than double the number of vessels known at the time of the last synthetic publication in 1964, allows for more nuanced considerations of chronology and typology for the series and for more closely identifying products of the same craftsman, workshop, and region. The first part addresses the development of shape, technique, and decoration, as well as problems of manufacture and exchange. Locating centers of production and examining the circulation patterns throughout the Mediterranean affords new examinations of the relationships between the Greeks and their neighbors in Italy, central Europe, Asia Minor, and the northern territories surrounding the Black Sea. Chapters 1-4 offer investigations of form and manufacture for the Archaic, Early Classical, High Classical, and Late Classical and Hellenistic vessels, respectively. The fifth chapter assesses the significance of the iconographic motifs adorning the vessels broadly within the Greek artistic tradition and specifically on jars made for water. Finally, in Chapter 6, I propose that this ubiquitous shape in this specific material was held in high cultural esteem, far outweighing its economic worth. Broader considerations of the diverse functions of bronze hydriai as attested in ancient literature, inscriptions, and art demonstrate that the shape occupied a much more central position in Greek culture than traditionally has been acknowledged, serving men as well as women, the living and the dead, in both domestic and sacred contexts.}, keywords = {Greek/Roman Art}, author = {Sowder, Amy} } @mastersthesis {10720, title = {Gustav Klutsis, El Lissitzky, and the October Group: Montage and the Post-history of the Constructivist Object in Russia{\textquoteright}s {\textquoteright}Reconstruction Period{\textquoteright} (1928-1932)}, year = {2009}, school = {Columbia}, abstract = {The first in-depth study of Oktiabr{\textquoteright}, a group founded as Russia{\textquoteright}s First Five-Year Plan started, this dissertation constructs a model in which the organization of collective perception (Oktiabr{\textquoteright}s ambition) and the reconstruction of production (the Plan{\textquoteright}s goal) are held in critical counterpoise. It engages the question of how the formation of a proletarian subject, which for Oktiabr{\textquoteright} lay in the constructive interpellation of a post-bourgeois viewer, was shaped by the Plan{\textquoteright}s radically transformative, yet law-binding character. As the Plan gave impulse to an administered revolution, members of Oktiabr{\textquoteright}, such as Gustavs Klucis and El Lissitzky, confronted the task of building a visual culture at once open to untried modalities of publicness and repressed under an increasingly centralized administration. These artists sought to solve that contradiction through exhibitions that went beyond their State-mandated propagandistic goals by implementing agitational strategies for perceptual mobilization. Thereby their display sites carved out a space between the State{\textquoteright}s mandates and everyday experience-a space that allowed them to test the conditions of a socialist public sphere. For Oktiabr{\textquoteright}s exhibitions were technical forms of collective inspection, designed for the exercise of a critical social vision. This study{\textquoteright}s first chapter detects a similar model at a much more reduced scale: Kazimir Malevich{\textquoteright}s arkhitektons. From these abstract buildings, meant to dismantle urban experience so as to generate a new objective world, the dissertation{\textquoteright}s second and third chapters track down the modifications of suprematism{\textquoteright}s legacy in Lissitzky{\textquoteright}s and Klucis{\textquoteright}s work. They propose to consider the development of a suprematist object alongside that of the constructivist thing. The suprematist object{\textquoteright}s critical thrust is reevaluated in the fourth and fifth chapters in the light of debates staged by theorists of Oktiabr{\textquoteright}. The last chapter focuses on a work until now displaced out of art history{\textquoteright}s sight. The study argues that Ten Years of Mossovet (Klucis; Moscow, 1927) was the inaugural schema of the display assemblages that followed: its use of montage strategies to construct a precarious, visually dismountable propagandistic compound announces the radical reorganization of vision that Lissitzky staged in Pressa (Cologne; 1928).}, keywords = {Twentieth-Century Art}, author = {Ledezma, Juan} } @mastersthesis {10534, title = {Heightened Perception: Donald Judd, John Chamberlain, Robert Irwin, and Larry Bell, 1960-1975}, year = {2009}, school = {UT Austin}, abstract = {This dissertation explains how and why some American artists investigated visual phenomena and heightened perception during the 1960s and 1970s. As an analytical account grounded in the perceptual experience of artworks and in archival research of the claims artists made for their creations, this study is centered around the themes of re-sensitizing one{\textquoteright}s body and perceptual faculties, the process of empirical discovery, and the ultimate inability of language to satisfactorily describe sensory phenomena. In Chapter 1, I establish a brief intellectual history of research concerning the sensory faculties from fields in the humanities, including psychology, philosophy, and art history. In Chapter 2, I analyze Judd{\textquoteright}s art-critical concept of optical phenomena and consider the art about which he wrote, including his own, on the basis of this tentative classification. In Chapter 3, I evaluate John Chamberlain{\textquoteright}s lacquer paintings in terms of the visual phenomena generated by his innovative paint mixtures and application techniques, then consider his provisional separation of intuition and intellect. In Chapter 4, I examine Robert Irwin{\textquoteright}s efforts to refine his visual attentiveness and, in the course of doing so, I also test the accompanying artworks he made that demand such unusually acute observation. In Chapter 5, I argue that distinguishing physical, pictorial, and reflected visual phenomena in Larry Bell{\textquoteright}s pieces proves to be an exceptional challenge, a problem compounded by the inefficacy of trying to communicate visual discoveries using language. In the Conclusion, I demonstrate that by restoring the role of heightened perception and sensory discovery to the history of art of the 1960s and 1970s, this dissertation helps to preserve the complexity and variety of works made during that time.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Kohn, Adrian Michael} } @mastersthesis {10728, title = {History in the Making: Sigmar Polke and Photography}, year = {2009}, school = {IFA/NYU}, abstract = {History in the Making examines the photo-based work of Sigmar Polke (b. 1941), a key figure among the postwar generation of German artists who investigate and confront the suppressed history of Germany{\textquoteright}s recent past, particularly World War II. In the critical literature, Polke{\textquoteright}s multifaceted and complex works have typically been described as paintings, and their engagement with history defined thematically. This dissertation shifts the discussion of Polke{\textquoteright}s relationship to the recent past by reappraising the artist{\textquoteright}s explorations of time and history in relation to their most significant interlocutor in the age of mechanical reproduction-photography. The first chapter focuses on Polke{\textquoteright}s paintings of photographic subjects-the rasterbilder-and considers the artist{\textquoteright}s investigation of the structure of the photomechanical matrix as it relates to the gaps in postwar German history and memory. The second chapter discusses Polke{\textquoteright}s darkroom experiments as explorations of the dual temporal and material structure of the photographic print. Chapter three explores the translation of these investigations to canvas-bound and fugitive works, principally the Watchtower series, and their appropriation of photographic chemicals to evoke and perform stages in the development of a photographic document. Chapter four investigates the broader implications of Polke{\textquoteright}s deployment of photography in his alchemical paintings and in his 1986 Athanor installation, focusing on questions of duration, time, historical memory and the role of documentation. The final chapter extends this analysis to the artist{\textquoteright}s recent projects, particularly the machine and lens paintings. Rather than positing photography as a medium, these works suggest Polke{\textquoteright}s understanding of photography as a series of technologies defined by a shared visual and temporal perspective. Ultimately, as the conclusion contends, Polke{\textquoteright}s systematic interrogation of photography{\textquoteright}s role as historical document reclaims painting as a viable medium for launching and sustaining a critical inquiry into the processes by which images of the past are created, apprehended and interpreted over time.}, keywords = {Twentieth-Century Art}, author = {Polednik, Marcelle} } @mastersthesis {10524, title = {{\textquoteright}I Will Take You into the Heart of Modern Industry{\textquoteright}: Lewis Hine{\textquoteright}s Photographic Interpretation of the Machine Age}, year = {2009}, school = {Boston}, abstract = {Lewis Hine{\textquoteright}s photographs of industrial laborers produced between 1920 and 1931 are carriers of corporate ideology as well as Hine{\textquoteright}s own humanist philosophy. This dissertation examines his sociological approach to the public relations profession particularly in terms of his Empire State Building photographs. The treatment of Hine{\textquoteright}s oeuvre as publicity is an innovative method that allows for a more unified understanding of his entire career, which until now has been bifurcated into two distinct documentary phases. It argues that Hine{\textquoteright}s Machine-Age photography is not incongruous with his pre-World War I labor imagery, but part of a larger program advertising the agency of the manual laborer to ever-growing audiences in the United States. Chapter One charts the development of Hine{\textquoteright}s public relations ethos, demonstrating that his photographs for New York{\textquoteright}s Ethical Culture School, the National Child Labor Committee, The Survey magazine, and the American Red Cross created before and during World War I informed his later publicity photographs of laborers. Chapter Two examines Hine{\textquoteright}s postwar use of public relations tactics in affirmative work imagery for Survey Graphic and Western Electric News magazines. Chapter Three considers the construction of the Empire State Building as a public display of assembly-line technology and modern labor management. Chapter Four provides the first in-depth study of Hine{\textquoteright}s groundbreaking 1000-photograph series depicting the skyscraper{\textquoteright}s builders as intelligent creators and controllers of modern industry. Chapter Five outlines how Hine{\textquoteright}s skyscraper photographs performed as publicity objects, courting discrete audiences in the press between 1930 and 1931 and effectively transforming the building corporation{\textquoteright}s ideology along the way. Chapter Six considers Hine{\textquoteright}s children{\textquoteright}s book Men at Work: Photographic Studies of Modern Men and Machines as a demonstration of the synthesis of Hine{\textquoteright}s public relations, humanist, educational, and artistic methodologies. Finally, the Epilogue demonstrates that Hine{\textquoteright}s Empire State Building imagery continues to function as publicity material to this day. When we consider Hine as a public relations specialist, Hine{\textquoteright}s postwar pictures finally merge with his larger oeuvre. Through these images Hine advocated for the working class while influencing the tone of corporate publicity during the Machine Age.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Dolan, Julia Kim} } @mastersthesis {10675, title = {Icons of Empire: The Art and History of Aztec Royal Presentation}, year = {2009}, school = {Tulane}, abstract = {To date, only seven known objects both depict and hieroglyphically name the ruler of Tenochtitlan, the huei tlatoani or {\textquoteright}Aztec Emperor.{\textquoteright} All of these objects were commissioned by the last three pre-conquest rulers. Oddly, these seven objects, five of which are at the core of this study, have little direct relation to the early colonial written accounts of Aztec nobility and royal material culture. They do have as a compositional base earlier Central Mexican visual traditions wherein artists depicted generally nameless nobles and elites engaged in timeless ritual activities, yet during the reigns of these last three rulers, an innovative imperial style was developed that proclaimed a new (semi)divine nature for Aztec royalty and posited a central place for Tenochtitlan in Aztec sacred history. The current study not only argues this point, but also demonstrates the causal factors in the development of these visual arguments and illustrates the sophisticated way in which they were put forth. In this work I argue that this late imperial style has at its root three dependent central concerns. The principal causal concern in its early development was the perceived need to proclaim the legitimacy of the heirs of Moteuczoma I. This followed the investiture controversy that gave birth to the 1469-1473 Tenochca-Tlatelolca civil war. Quotations of earlier works and the referencing of crucial dates and events in the reigns of Moteuczoma I and his predecessors were key to this visual strategy and made necessary the referential strategies employed by royal artists in the other two fundamental areas of concern. At the center of the second concern were complex calendrical reckoning and a nascent interest in historical precision, the later required the use of date glyphs as well as individual ruler name-glyphs. The inclusion of auspicious dates allowed for depictions to simultaneously reference multiple past religio-historical milestones, present activities, and even forecast future propitious periods and events. I then argue that it is this polysemy that is at the heart of the third concern of Aztec artists and patrons addressed in this study. Born of the performative nature of Aztec historical {\textquoteright}literature{\textquoteright} this strategy also served, in a tautological way, to illustrate the divine nature and continued relevance of these works, as only divine inspiration could allow for such unrelenting complexity to be expressed with such visual economy.}, keywords = {Pre-Columbian Art}, author = {Barnes, William L.} } @mastersthesis {10657, title = {Ignacio Zuloaga and the Problem of Spain}, year = {2009}, school = {Maryland}, abstract = {This dissertation examines the career of Ignacio Zuloaga (1870-1945), a highly successful and influential artist during his lifetime, in the context of nationalism and the political and cultural conditions that informed his artistic persona. Positioning himself to both Spanish and foreign audiences as the "painter of Spain," his style and subject matter simultaneously exploited foreign preconceptions about Spain while serving as a lightning rod for the critical nationalist discourse preoccupying Spanish political and cultural leaders during the first decades of the twentieth century. In the 1910s and 1920s the vernacular nationalism he practiced was not opposed to modernism. But by the 1930s, nationalism had become associated with rising fascist movements both in Europe and in Spain. Through a series of case studies this dissertation problematizes the issue of modernism in art and fills an important gap in the study of the critical role of nationalism for the struggle between tradition and modernity in the arts in early twentieth-century Spain. Chapter One examines Zuloaga{\textquoteright}s influence in France through his affiliation with a group of French artists known as La Bande Noire and describes his important contribution to the rediscovery of El Greco in the last years of the nineteenth century. Chapter Two explores Zuloaga{\textquoteright}s discovery of the province of Castilla in 1898 as a subject for his work. It charts the significance of Castilla for the nationalist project of the Generation of 98 as well as for the regenerationist Institucion Libre de Ensenanza (Free Institute of Learning). Chapter Three maps the growing links between Zuloaga and traditionalist and fascist ideologies, both in France and in Spain, in the 1910s and 1920s. Chapter Four investigates Zuloaga{\textquoteright}s career both in the context of the foundation and fall of Spain{\textquoteright}s Second Republic (1931-1939) and the Spanish Civil War and its aftermath. Zuloaga{\textquoteright}s career provides a significant case study for the gradual alignment, of what became traditionalism, with right-wing political ideology, an alignment by no means necessarily apparent before the outbreak of the Spanish Civil War in 1936.}, keywords = {Nineteenth-Century Art}, author = {Crosson, Dena} } @mastersthesis {10698, title = {Il fine della pittura{\textquoteright}: Canon Reformulation in the Age of Counter-Reformation; The Lombard-Roman Confluence}, year = {2009}, school = {Temple}, abstract = {Counter-Reformation treatises are typically dismissed as determiners of style. This dissertation challenges the prevailing view that rejects Counter-Reformation theory as key motivators of sacred style, and will prove that one treatise in particular, Cardinal Gabriele Paleotti{\textquoteright}s 1582 Discorso intorno alle imagini sacre e profane, held a considerable amount of authority almost immediately after its publication. Through a close study of the Discorso{\textquoteright}s nature-centered language and its applicability to the Lombard tradition of presenting "tangible presences," it is evident that one artist, in particular, fulfilled Paleotti{\textquoteright}s vision for a "reformed" sacred style, and one who seldom appears in connection with the cardinal: Michelangelo Merisi da Caravaggio. The interconnection of Paleotti{\textquoteright}s theology of nature, Lombard painting style, and the sacred works of Caravaggio is established through this contextual study of Counter-Reformation Rome in the late Cinquecento and early Seicento. Paleotti{\textquoteright}s Discorso is evaluated as a whole and as an expression of Paleotti{\textquoteright}s ideas on sacred art. This examination and analyses of Paleotti{\textquoteright}s major points and emphases shows how they collectively form a cohesive language and theoretical basis ("theology of nature") for the reformulation of sacred images based on naturalism. Careful readings of Cinquecento and Seicento literature on art (from Vasari to Bellori) draw correspondences between the words used to describe Lombard style and Paleotti{\textquoteright}s language in his Discorso. The dissemination of his "theology of nature" is demonstrated through reconstruction of Paleotti{\textquoteright}s Roman circle. Paleotti{\textquoteright}s important ties to the Oratorians, the Jesuits, the Accademia di San Luca, and his friendships with key cardinalpatrons in the circle of Cardinal Francesco Maria Del Monte, provided an ideal network for the dissemination of his ideas that would in fact put him into contact with Caravaggio. Caravaggio{\textquoteright}s plebian religious scenes and figures correlate with Paleotti{\textquoteright}s conviction that naturalism served as a bridge between painted subject and Christian viewer. This dissertation fills not only a critical lacuna in Counter-Reformation studies, but also opens new contextualizing avenues of research and dialogue on the intricate and determining relationship between Counter-Reformation theory and style, at which, at the heart, stand Cardinal Paleotti and Caravaggio.}, keywords = {Renaissance/Baroque Art}, author = {Muraoka, Ann} } @mastersthesis {10708, title = {The Image of Alexandria in Renaissance Venice}, year = {2009}, school = {Virginia}, abstract = {The dissertation examines the way Venetian painters represented Alexandria in the Silk Weavers{\textquoteright} Guild and Scuola Grande di San Marco life of St. Mark painting cycles commissioned from 1496 until 1534. These images such as Gentile Bellini{\textquoteright}s St. Mark Preaching in Alexandria reveal larger patterns and attitudes about Venetian identity during a critical time period of transition. In this shifting political and economic kaleidoscope, the image of Alexandria served as an anchor when the Republic{\textquoteright}s place with respect to the Mediterranean and mainland Italy proved the most fragile. My work examines the related iconography of Mark and Egypt in Venice from the ninth to the sixteenth centuries and therefore places the image of Alexandria in its visual, as well as historical context, to recognize its function as an old, though changing symbol of Venetian identity. The dissertation analyzes the Renaissance images in light of old and new image production, including mosaics and contemporary architecture in Venice.}, keywords = {Renaissance/Baroque Art}, author = {Shenouda, Monica} } @mastersthesis {10706, title = {Images of Charles I of England, 1642-1649}, year = {2009}, school = {Brown}, abstract = {Through the analysis of paintings, coins, prints, broadsides, military banners, and medals, this dissertation analyzes images of Charles produced during the most tumultuous period of his reign, 1642-1649. This imagery illuminates various aspects of seventeenth century social, religious, intellectual, and political history. Prior to the Civil War, especially during the period of the Personal Rule, 1629 to 1640, an overwhelming portion of cultural production represented, reinforced, and advanced the power and authority of Charles I. Anthony Van Dyck, as the official royal portraitist, established the visual paradigm of Charles{\textquoteright}s authority. The war and Van Dyck{\textquoteright}s death in 1641 brought an end to the consistent image of Charles. With the definition of royal authority in crisis during the war, both Parliamentarians and Royalists documented the royal image. Rather than a single paradigm of royal authority, the images studied in this dissertation show an inconsistent, unstable portrayal of the King. At the same time, the King{\textquoteright}s complex and contradictory image was represented in an unprecedented variety of media and venues. This dissertation argues that between 1642 and 1649 images of Charles I were sites for the representation of contested paradigms of royal authority. During the period, Charles{\textquoteright}s image begins to devolve into Ernst Kantorowicz{\textquoteright}s theory of a king{\textquoteright}s two bodies: the divine, eternal body of the kingship and the mortal body of a man. This separation of Charles (the man) from Charles (the king) created through imagery from all sides of the conflict may ultimately have helped to create the context for Charles{\textquoteright}s execution, an action without precedence in Western Europe at the time. By 1649, the mortal Charles was tried and executed, thereby putting an end to the divine King Charles. Only after the destruction of Charles{\textquoteright}s troublesome physical body, could the kingship again become a potent symbol of royal authority. After the execution, the situation once again changed. Ironically, Charles became a more powerful symbol of kingly authority after his execution than he had been during his lifetime.}, keywords = {Renaissance/Baroque Art}, author = {Rodriguez-Farrar, Hanna} } @mastersthesis {10665, title = {Imperial Identity and Representation of Russia{\textquoteright}s Others}, year = {2009}, school = {UCLA}, abstract = {Reflecting today{\textquoteright}s acute need for a critical approach to cultural stereotyping, The Contradictions in Vereshchagin{\textquoteright}s Turkestan Series: Visualizing the Russian Empire and its Others is an examination of the ties between images of Russia{\textquoteright}s {\textquoteright}Oriental{\textquoteright} subjects and the construction of the nation{\textquoteright}s identity as an imperial power. Focusing on the apparent contradictions found in the {\textquoteright}Turkestan Series{\textquoteright} by the Russian realist, Vasily Vereshchagin (1842-1904), it explicates the effects of colonialism on Russian art, and the role that visual imagery played in the imperialist project. I argue that while one of Vereshchagin{\textquoteright}s goals was to portray the {\textquoteright}truth{\textquoteright} of war by representing its horrors, the series as a whole reinforced the orientalist stereotypes of exoticism, despotism, and general depravity of the {\textquoteright}Other.{\textquoteright} The dissertation builds upon recent publications in Russian Studies, draws from theoretical insights from scholarship on other modern European empires, and presents an historically-specific account of Vereshchagin{\textquoteright}s complex and ambiguous imagery. Moreover, I propose a framework of a Janus-faced Russian orientalism-driven to look both east and west-as a new framework for the investigation of Vereshchagin{\textquoteright}s art. Beginning with the artist{\textquoteright}s sojourns in Central Asia as a "participant observer" for his Turkestan Series, Chapter One highlights a seeming incongruity between Vereshchagin{\textquoteright}s personal humanist perspective and the strictly ethnographic project he was hired to develop in pursuit of the State{\textquoteright}s imperialist agenda. Chapter Two provides a close visual and contextual analysis of the battle scenes and genre paintings respectively, and considers the reasons for the particular power of Russian orientalist discourse, exploring the Janus-face of Russian orientalism. While focusing on the end of the Turkestan Series saga-the exhibitions and its final sale-Chapter Three looks at the broader historical and political events occurring at that moment, examining the impact of the Series within the foreign and domestic spheres. Overall, the dissertation contributes a unique case study to the contemporary critical discourse on culture, nationalism and artistic agency by addressing such pertinent issues as imperial propaganda, otherization of the enemy, militarism and identity, and the artist{\textquoteright}s role within these social processes.}, keywords = {Nineteenth-Century Art}, author = {Medvedev, Natasha} } @mastersthesis {10488, title = {Imperial Vogue: Fashioning Modernity through Photography in Twentieth-Century Ethiopia}, year = {2009}, school = {Cornell}, abstract = {During the early to mid-twentieth century, the Ethiopian cityscape changed dramatically, and as the urban space changed, so did its citizens{\textquoteright} experiences of their own bodies within it. This new space affected life in Ethiopia from numerous perspectives: the modern Ethiopian citizen{\textquoteright}s understanding of his place within the nation, his interactions with the buildings, streets, and people around him, the employment opportunities presented to him in the city. One of the most visible changes that occurred during this time was the adoption of new styles of dressing the modern body. This study explores the role of photography and clothing in Ethiopia during the reign of Emperor Haile Selassie I (1930-1974). Through a consideration of the history of photography in Africa, the construction of the fashion system, and the role of the mass media in Ethiopia, this project examines how clothing was a vital aspect of urban Ethiopians{\textquoteright} negotiations with modernity. Emperor Haile Selassie, who played a pivotal role in modernizing the nation, likewise positioned himself and his public appearance as a model for the Ethiopian public. In doing so, the emperor and his immediate family functioned as exemplars of the citizens of a modern nation. Photographs of the royal family, which appeared in newspapers and magazines, not only presented Haile Selassie and his children as fashionable subjects, but these images also functioned as guidelines for "properly" negotiating a relationship with modernity. Through a comprehensive study of photographs, newspapers and magazines housed in the archives at the Institute of Ethiopian Studies in Addis Ababa, Ethiopia, this project brings together important theories from numerous disciplines. It considers the history of photography and the politics of vision as it specifically relates to the African continent and fashion as a system that developed in Ethiopia rather than one that was merely borrowed from the West. In addition to navigating a new way of understanding the role of fashion in a rapidly modernizing non-Western nation, this project simultaneously explores the ways in which photographs, particularly portraits, function as fashionable images within a given social context.}, keywords = {African Art (sub-Saharan)}, author = {Werts, Julia Kim} } @mastersthesis {10499, title = {Improving the Public: Cultural and Typological Change in Nineteenth-Century Libraries}, year = {2009}, school = {CUNY}, abstract = {Concurrent with New York City{\textquoteright}s emergence during the nineteenth century as the leading financial and cultural center in the United States, the city{\textquoteright}s public library architecture underwent a transition from buildings designed in romantic revival styles to monumental, neoclassical edifices that were intended by their architects and patrons to rival municipal libraries in other cities. New York{\textquoteright}s Astor Library, founded in 1848, was the first public library in the United States, and although its Romanesque Revival architecture was not a model for later libraries, its existence spurred the establishment of other public libraries. Before then access to all other libraries in the city required either membership in a particular group, such as a trade union, or a fee. The Neo-Grec design for the Lenox Library, founded in 1870, pushed public library design toward that of other emerging cultural institutions such as art museums in that it used similar forms. These two libraries, along with $2.5 million provided by the Tilden Trust, were consolidated in 1895 to form the New York Public Library. The public hoped that the new library would improve civic life by amassing a great collection and making it available to all, regardless of age, sex, or country of origin. These three institutions are the basis of this study of the library type as the embodiment of larger developments in the nineteenth-century architecture and culture of New York City. In this dissertation, I examine the development of the public library type-which entailed debates about both function and style-against the backdrop of New York{\textquoteright}s emergence as a world-class city. The New York Public Library was one of the last, large public libraries built in the United States during the Gilded Age. Other rival cities such as Boston and Chicago completed libraries prior to the consolidation of the New York Public Library. As a result, its architects had the benefit of studying these other institutions in order to determine what characteristics should be incorporated into the new building, and what should be avoided. New York Public Library represents the culmination of the public library type in New York City.}, keywords = {Architectural History/Historic Preservation, Nineteenth-Century Art}, author = {Lord, Jill} } @mastersthesis {10612, title = {In the Image of Elijah: The Artistic Foundations of Community in a Medieval Italian Monastery}, year = {2009}, school = {Yale}, abstract = {The twelfth-century Basilica at Castel Sant{\textquoteright}Elia (VT), Lazio, is an important example of Romanesque art in the vicinity of Rome, Italy. Built and decorated circa 1126 to meet the needs of a male monastic community living under the Benedictine Rule, the church largely retains its original architecture. It also preserves large segments of the wall paintings that once covered its transept and apse; the earliest extant Cosmati pavement, altar, and ciborium in northern Lazio; and numerous relief carvings and inscriptions, including several from the early medieval era. The richness of the Basilica{\textquoteright}s material remains is paralleled by an almost complete loss of its textual apparatus. Scholarship has focused on the style and dating of its architecture, pavement, and frescoes, and on the iconographic affiliations of a rare narrative cycle of the Apocalypse. This dissertation takes a different approach. Inspired by recent work addressing the role of the arts in the generation and communication of medieval institutional identity, it asks how the monks responsible for the Basilica{\textquoteright}s construction used its fabric to create, preserve, and promote the antiquity, history, and current social position of their monastic community. Liturgy, including chant, is seen as crucial to this process; the intersection of art and liturgy remains a theme throughout this study. Chapter one analyzes medieval and modern documents and examines the standing structure to isolate authentically medieval elements from Counter-Reformation and nineteenth-century modifications, including the work of Virginio Vespignani for Pope Pius IX. Chapter two considers how the monks used painting, epigraphy, architecture, and topography to link their monastery to the local saint Anastasius, discussed in the Dialogues of Gregory the Great. Chapter three looks at the use of early medieval spolia within the church. Chapter four examines the monastery{\textquoteright}s dedication to Elijah the Prophet, identifying Elijah as an exemplar for monastic behavior. Chapter five probes the frescoes{\textquoteright} Roman iconography, especially a rendering of the Madonna della Clemenza, the icon from Santa Maria in Trastevere. Chapter six places the romanitas of the Basilica{\textquoteright}s paintings, architecture, and furnishings within the context of the Gregorian Reform and the papacies of Callixtus II and Anacletus II.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Perchuk, Alison Locke} } @mastersthesis {10719, title = {Infinite Transformation: The Modern Craze over the Rubaiyat of Omar Khayyam, c. 1900-1930}, year = {2009}, school = {Indiana}, abstract = {Edward FitzGerald{\textquoteright}s Rubaiyat of Omar Khayyam (1859), an English translation of the medieval Persian poems of astronomer and mathematician Omar Khayyam, went largely unnoticed until the turn of the twentieth century when it suddenly exploded in popularity. For three decades, the poem became the center of a predominantly middle-class craze that reached into all corners of British and American life and generated staggering material output as people continuously appropriated and transformed the text. Despite the poem{\textquoteright}s ubiquity in the West during this period, the Rubaiyat phenomenon has received little scholarly interest, and the poem itself has been largely forgotten. In the first critical study of the Rubaiyat craze as a whole and as a creative and historical phenomenon, I examine visual and literary responses to the poem in the form of illustrations, parodies, advertisements, and religio-philosophical debates to determine the Rubaiyat{\textquoteright}s overwhelming and enduring resonance in the culture. I argue that people{\textquoteright}s engagement with and their myriad responses to the poem performed a kind of cultural work during a period of great social, economic, technological, scientific, and religious upheaval. I demonstrate how the Rubaiyat became a vehicle through which people processed the rapid changes of modern life and how poem and craze alike provided a tool to define and order an increasingly uncertain and fragmented world. The Rubaiyat{\textquoteright}s rise to fame was due in large part to the poem{\textquoteright}s content, which addressed the deeper questions of human existence; its themes of fate, the brevity of life, and the desire to live in the moment resonated with a culture unhinged by modernization. The audience{\textquoteright}s perception of the poem as a text that embodied oppositions-foreign and familiar, old and new-and whose meaning was never clear-cut but multiplicitous and malleable contributed to their passionate and often conflicted responses to it. The West{\textquoteright}s interaction with the Rubaiyat both reflected in microcosm and facilitated the culture{\textquoteright}s modern metamorphosis. The pervasiveness of the Rubaiyat phenomenon provides a rare glimpse into the processes of cultural adaptation.}, keywords = {Twentieth-Century Art}, author = {Kaiserlian, Michelle} } @mastersthesis {10535, title = {Integrating Modernism: The Migration Paintings of Aaron Douglas, Jacob Lawrence, and Romare Bearden}, year = {2009}, school = {Stanford}, abstract = {For many participating in and observing the migration of African Americans from the South to the North in the middle of the twentieth century, it seemed as if the migrants were moving from the past into the future, or at least into the present. It seemed as if they were entering the modern era, were becoming modern, were becoming modernists, were creating and recreating what modern was and meant, what it looked and sounded like. The migration has been a decision, a journey, a story, a metaphor, a means by which artists and authors of many generations have grappled with what, exactly, modernity and modernism mean for African Americans. Three of the most critically acclaimed works of African-American art, Aaron Douglas{\textquoteright}s Aspects of Negro Life (1934), Jacob Lawrence{\textquoteright}s The Migration of the Negro (1940-41) and Romare Bearden{\textquoteright}s Projections (1964) take shape from their approach to this migration. The first chapter explicates the particular history of African-American life told by Aspects of Negro Life, as well as the kind of future it prophesies. Douglas{\textquoteright}s series tackles some of the same challenges faced by white muralists in the 1930s-how to tell a narrative about the United States{\textquoteright} historical character that both recognizes its flaws and celebrates its virtues-with the additional burdens of narrating a history that was largely oppressive and out of his people{\textquoteright}s control. Douglas adopted a Moderne style and made careful narrative selections in order to minimize the more than two centuries of slavery endured by African Americans while increasing the viewer{\textquoteright}s focus on African Americans{\textquoteright} great mythologized Egyptian past and their potential power in the new urban industrial society of the United States. The Egypt-inspired Moderne of Aspects of Negro Life allows the series to make a strong statement advocating that African Americans embrace modernity and modernism as the route to a future that is worthy of their ancient past, perhaps even a Communist future of equality between black and white workers. In chapter two, I explored how the style and narrative of The Migration of the Negro developed at the intersection of two discourses, one addressing the role of the folk in American arts and one debating the best ways to activate the political power represented by the growing numbers of African Americans living in the North. Interest in folk art spanned the white and black artistic communities, and sprang in part from the belief of critics like Holger Cahill and Alain Locke that folk art could be a vital source of formal inspiration for modern artists. Lawrence may be the artist who most successfully followed through on that theory, in part because it meshed well with his aspirations to speak for the black working class with which he identified. In part through the contrast with Richard Wright{\textquoteright}s migration narrative, Twelve Million Black Voices-which also sought to speak from and to the black working class, but from a sociological and Marxist position that was very critical of that class-I argued for The Migration of the Negro{\textquoteright}s construction of self-directed and politically aware migrants transforming themselves into struggling but rising workers and citizens. Lawrence{\textquoteright}s characterization of both rural Southern black culture and migrant-driven urban black culture are in tune with the early stirrings of mass movements for civil rights represented in 1941 by the first March on Washington Movement. The second, more famous, March on Washington in 1963 was the impetus for Projections, the sertes by Romare Bearden analyzed in the third chapter. The chapter explores Bearden{\textquoteright}s struggle to make art that he felt had both formal and social value, a struggle he shared with many other artists of the period. Projections joined a number of other works in the period that looked back to the Dada movement for strategies and techniques to disrupt the sterile formalism characteristic of much abstract painting in the early 1960s. Bearden, however, also remained deeply invested in certain formalist values, and I argue that his familiarity with New Criticism helped him develop a style which used form to give additional meaning to the narrative content of his photostats. Bearden{\textquoteright}s interest in literary criticism extended well beyond New Criticism, and the chapter also explores Bearden{\textquoteright}s interest in ritual and myth criticism, an interest he shared with other artists who were anxious about the deterioration of the communal in urban industrial societies. Projections strives to demonstrate Bearden{\textquoteright}s conviction that art about black experiences speaks as universally as any art proclaimed able to do so by white artists or critics. (Abstract shortened by UMI.)}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Niedzielski-Eichner, Nora} } @mastersthesis {10508, title = {Intellectualism and Consumerism: Ideologies, Practices, and Criticisms of Common Sense Modernism in Postwar Turkey}, year = {2009}, school = {Cornell}, abstract = {No abstract in ProQuest}, keywords = {Architectural History/Historic Preservation}, author = {Kacel, Aysem Ela} } @mastersthesis {10662, title = {The Intersection between Nationalism and Religion in the Burghers of Calais of August Rodin in the French Third Republic}, year = {2009}, school = {Maryland}, abstract = {As a republican, Auguste Rodin (1840-1917) conveyed political ideology in his public sculpture, but due to his interest inreligion and spirituality, his interpretations differed from contemporary artists. He grafted national myths and symbols onto Catholicism and its rituals to facilitate the sacralization of the Republic. Yet, the tension between Catholicism and republicanism in his work persisted because of his religiosity and his adherence to secularism. Rodin{\textquoteright}s conflict and compromise between the two fields were not only his personal dilemma, but also that of the Third Republic. This dissertation focuses on how Rodin internalized republican ideology in his public sculpture, and how he appropriated Catholic ritual to promote political messages. In spite of the republican government{\textquoteright}s constant struggle to separate from Catholic domination, Catholicism was so deeply imbedded in French culture, Rodin recognized this complex paradigm which he co-opted to construct an ideological matrix for his public work. Aware of the powerful social role of religion, the First Republic tried to create a new religion based on deistic tradition, The Cult of Supreme Being, to unite all French people who were severely divided by factions, languages, and regionalism. This precedent tradition further proved the importance of religion{\textquoteright}s social reach in constructing national sentiment. Based on research in Rodin museums in Paris and Meudon in 2004 and 2007, this study examines how Rodin merged Catholic practices and contemporary social ideologies into the fiber of nationalist identity that served to reconcile political oppositions in France and to heal wounded civic pride after the French defeat in the Franco-Prussian War. Similar to the public sphere proposed by Jurgen Habermas, Rodin{\textquoteright}s public sculpture suggests ideal democratic communicative field. The Burghers of Calais is a prime example of the republican ideal of heroic martyrdom. At the same time, its overall form, figural arrangement, and poignant expressions invoke the Catholic practice of pilgrimage, drawing the audience into the scene{\textquoteright}s emotional landscape. This interpretation of The Burghers of Calais as a religious and psychological catharsis paves the way for public sculpture to function as a healing tool to rebuild personal and national subjectivity.}, keywords = {Nineteenth-Century Art}, author = {Lee, Jung-Sil} } @mastersthesis {10610, title = {The Intersection of Sculpture, Scripture, and Salvation at the Romanesque Cathedral in Sovana, Italy}, year = {2009}, school = {Kansas}, abstract = {The purpose of this dissertation is to shed light on the study of Romanesque art in Italy with a investigation of the cathedral in Sovana, an historically significant but understudied Romanesque church located in southern Tuscany. This dissertation presents the first effort to analyze the iconographic program of the portal and the interior historiated capitals as they relate to the political and religious context of the eleventh and twelfth centuries. Sovana has close ties to one of the most interesting figures in the Middle Ages-Hildebrand, who became Pope Gregory the VII and was likely born there circa 1020. During his pontificate (r. 1073-1083), Gregory excommunicated Henry IV in a dispute commonly known as the Investiture Controversy, which stemmed from earlier reform initiatives. Also embroiled in this conflict was Matilda, Countess of Tuscany (ca. 1046-1115), who supported the papal party, even willing her extensive landholdings to the Roman Church. After Gregory{\textquoteright}s death, Matilda continued to rally papal advocates to her court providing asylum to several religious figures pursued by imperial allies. While under Matilda{\textquoteright}s protection, many of these theologians scripted letters and treatises which not only supported the primacy of the Roman Church in the reform movement, but also became some of the founding literary sources used to garner support for the Crusades. In an examination of the relationship between the textual sources of these polemic writers and the visual imagery of the cathedral, Sovana proves an excellent example of the complex interplay of art, politics and religion that existed in the twelfth century. Imagery at the cathedral resonated on a number of levels: supporting papal power; encouraging the Crusades; and ultimately conveying a message of salvation.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Greenwood, Jill Vessely} } @mastersthesis {10525, title = {Inventing {\textquoteright}Documentary{\textquoteright} in American Photography, 1930-1945}, year = {2009}, school = {Chicago}, abstract = {Multiple, competing concepts of "documentary" emerged in American photography between 1930 and 1945, formulated and circulated through new kinds of photographic projects, publications, criticism, and exhibitions. Contesting prevalent theories which treat documentary as a singular rule-bound genre, cultural imperative, or ideological apparatus, this dissertation seeks to historicize the term and its concatenation of nascent ideas: How did documentary acquire currency, energize innovation, and constitute a vital terrain for debates about photography{\textquoteright}s identity and uses in American culture? Never a settled method, style, or philosophy, the term "documentary" was subject to constant interrogation, revision, and contest in the era of its invention. Documentary becomes a wholly different critical and interpretive tool for historians, this study demonstrates, when treated as indicator of ideas about photography{\textquoteright}s roles and rhetorics under construction-rather than as a "realist" formula determining the expression and reception of a priori social and political agendas. Four chapters focus on inventions of "documentary" by American vanguards of the 1930s-and inseparably, on the self-creation of this heterogeneous vanguard through the conceptual and cultural reinvention of photography. One traces how multiple notions of documentary were produced within the Thirties{\textquoteright} widespread re-imagining of Civil War photography as stylistic and ethical "usable past." Berenice Abbott and Elizabeth McCausland{\textquoteright}s unpublished manuscript of Changing New York is examined in Two for its formulation of a documentary meant to inculcate a technologized perception of cityscape, history, and power which the women termed "dynamic equilibrium"-along with the subsequent transformation of their ideas in publication. Three treats the diverse vanguard literary and curatorial experiments undertaken with Farm Security Administration photographs that converted them from bureaucratic functions into agents of "cultural intelligence" for cultivating debate about the American social contract. Ansel Adams, at the opposite end of the vanguard spectrum from Abbott and McCausland, sought to reinvent photography{\textquoteright}s capacity for a peculiarly American idealism. Four exhumes his role as theorist and didact, examining how he crafted definitions of documentary to adjudicate genuine Americanism in both uses and concepts of the medium, and put them into practice at the Manzanar War Relocation Center.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Miller, Sarah} } @mastersthesis {10497, title = {Inventing {\textquoteright}Gothic{\textquoteright}: Notre-Dame d{\textquoteright}Etampes and the Impact of Design Process on Architectural Change in the Ile-de-France, 1120-1150}, year = {2009}, school = {UC Santa Barbara}, abstract = {The advent of Gothic in the twelfth-century Ile-de-France has long prompted fundamental questions about the definition and origins of the style. Historically, a model based on methods borrowed from the biological sciences described the change from Romanesque to Gothic as a natural phenomenon or an evolutionary process. While criticized, these concepts linger in contemporary scholarship, which underemphasizes the role of human agency in creating these structures. The complex pattern of architectural change within the Paris basin can be better understood through an examination of the active choices of builders. The royal foundation of Notre-Dame d{\textquoteright}Etampes, a church largely rebuilt in a series of differing campaigns during the first half of the twelfth century, serves as a primary example for a process-based examination of architectural change. An exacting study of the fabric of Notre-Dame demonstrates that each distinct campaign documents a series of deliberate decisions about the coordination and articulation of structural form by its creators. My analysis emphasizes the ways in which physical processes of planning and construction produced formal and structural innovations. Set in context through comparative studies of related contemporary buildings, my work on Etampes illustrates the lack of a "Gothic system": the interest in integrating structure and articulation found at Etampes results in multiple solutions, both at Etampes and elsewhere. The changes associated with Gothic were not adopted as a standardized set of components, nor did they evolve in a single direction, but instead relied on the requirements and conditions of each site.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Thompson, Sarah} } @mastersthesis {10640, title = {The Invention of Tradition: The Uses of the Past in Buddhist Paintings from Nara during the Twelfth and Thirteenth Centuries}, year = {2009}, school = {Harvard}, abstract = {Buddhist paintings from Nanto, or the Southern Capital, as Nara came to be known during the Heian period (794-1185), have been characterized as being conservative. They have been seen as bearing a strong indebtedness to earlier icons, frequently to those that date to the eighth century, when Nara was the center of political and religious power in Japan. This thesis provides a reassessment of the Nanto pictorial tradition at the end of the Heian and the beginning of the Kamakura (1185-1333) periods. It focuses on works that were produced for the two most powerful temples in the city, Todai-ji and Kofuku-ji, and demonstrates that the paintings from this time, when Nara once again was at the forefront of religious discourse and artistic production, were not created by temple ateliers which merely perpetuated established iconography and styles. Rather the majority of the works were executed by artists from the Heian capital (modern-day Kyoto), who looked to Nara{\textquoteright}s past to invest their images with authority so that they could become the focus of new rituals required by the religious community in the ancient capital at a time when the Japanese were responding to the onset of the Age of the End of the Buddhist Law.}, keywords = {Japanese/Korean Art}, author = {Morse, Anne Nishimura} } @mastersthesis {10694, title = {Jacques le Moyne de Morgues (ca. 1533-1588) and the Origins of the Early Netherlandish Flower Still Lifes}, year = {2009}, school = {Maryland}, abstract = {This dissertation examines the contribution of the French artist Jacques le Moyne de Morgues to the development of seventeenth-century Netherlandish flower still lifes, a heretofore understudied subject. Le Moyne has mostly been discussed as a cartographer and as the official artist for the French expedition to Florida from 1564 to 1565, and his impact on the origin of seventeenth-century Netherlandish flower still lifes has been largely overlooked because he was from abroad and active in England. Le Moyne was a botanical artist who gained his early training in the French manuscript tradition and continued to develop his career as flower painter in a world fascinated with collecting rare and exotic plants. Le Moyne{\textquoteright}s experiences of collecting and recording plants during the Florida exploration encouraged him to portray botanical specimens as living plants after his return to France. Soon after, his accurately and delicately illustrated floral images were known to seventeenth-century Netherlandish flower artists, including the printmaker Crispijn de Passe the Elder and the painter Jacques de Gheyn. At the core of this study is the conclusion that the collaboration between botanists, artists and publishers was a crucial component in the development of independent flower paintings. Botanists and publishers were at the center of a network of flower collectors, gardeners and artists, focusing on collecting and exchanging rare and exotic plants as well as illustrations of them. In particular, the renowned botanist Carolus Clusius and the publisher Hans Woutneel were important links between Le Moyne and seventeenth-century Netherlandish flower artists, involving a young generation of flower painters with projects that incorporated floral illustrations. In circulating botanical illustrations, Clusius and Woutneel supplied precisely colored drawings by Le Moyne to early Netherlandish flower artists, including Jacques de Gheyn and Crispijn de Passe the Elder, encouraging them to expand on Le Moyne{\textquoteright}s approach in their own floral images. Clusius engaged Jacques de Gheyn to illustrate flowers and small creatures in an album containing twenty-two watercolors (1600-1604, Paris: Institut Neerlandais), and Woutneel encouraged De Passe to base many of the images in his Cognosite Lilia on Le Moyne{\textquoteright}s delicately rendered watercolors.}, keywords = {Renaissance/Baroque Art}, author = {Kim, Sohee} } @mastersthesis {10679, title = {Jean-Etienne Liotard: The Genevan Years (1757-1789)}, year = {2009}, school = {IFA/NYU}, abstract = {This dissertation studies the Genevan portraits of Jean-Etienne Liotard (1702-1789), the pastellist, miniaturist, oil painter, engraver and theorist. It argues that Liotard{\textquoteright}s career in Geneva from 1757 until his death was one of the most brilliant and inventive periods of the artist{\textquoteright}s life. Producing some seventy portraits in pastel during this time, Liotard dealt with a wide range of clients and had recourse to a broad repertoire of portrait types, which blended the artist{\textquoteright}s international experience and his Genevan background. The three first chapters of this dissertation give an overview of Liotard{\textquoteright}s posthumous critical reception, life and artistic style. Chapter four gives a brief survey of portraiture in Geneva from the Reformation to the Revolution. Chapter five discusses Liotard{\textquoteright}s portraits of one of Geneva{\textquoteright}s leading families, the Tronchin. These demonstrate the more conservative side of Liotard{\textquoteright}s portraiture, which was in tune with Geneva{\textquoteright}s puritanical tradition that preached the suppression of all conspicuous forms of wealth. The portraits explored in chapter six, on the other hand, are more outward-looking and signal a great shift away from the local Genevan tradition towards more fashionable trends in eighteenth-century European portraiture. Chapter seven discusses Liotard{\textquoteright}s later work, his self-portraits and the portraits of his family.}, keywords = {Renaissance/Baroque Art}, author = {Bark, Julianna} } @mastersthesis {10580, title = {Just What Was It That Made U.S. Art So Different, So Appealing?{\textquoteright}: Case Studies of the Critical Reception of American Avant-Garde Painting in London, 1950-1964}, year = {2009}, school = {Case Western Reserve}, abstract = {This dissertation investigates and analyzes for the first time in any depth British reception of four paradigmatic American artists. More comprehensive assessment of a wide range of critical responses to exhibitions of Jackson Pollock, Mark Rothko, Robert Rauschenberg and Jasper Johns, held in London from 1950-1964, clarifies the consequential roles these artists played in London{\textquoteright}s exhibition culture during this period. I seek to identify what about American painting was either deemed distinctive and engaging, or was contested by British audiences, and what the cultural and institutional repercussions of this approbation or critique were. Using these four case studies as a model enables new conclusions to be drawn regarding the value of mid 20th century American artistic exports abroad. This study is about artistic reception and, therefore, focuses on the reaction of art critics and the popular press to four American artists rather than their direct impact on British avant-garde practice. From Pollock{\textquoteright}s first London showing at the Institute of Contemporary Arts (ICA) in 1953 to Johns{\textquoteright}s Whitechapel solo show in 1964, the exhibitions examined in this study emerge as nodal points in the flow of discourse around American avant-garde art in Britain. Close attention to the way the artists under consideration were received in London sheds additional light on reasons for the reconfiguration from French to U.S. influence that took place in London after World War II. This study constructs a detailed, chronological narrative of the eruption into popular British consciousness of the avant-garde innovations of Pollock, Rothko, Johns and Rauschenberg. Previous authors have barely "skimmed the surface" of the rich and intriguing reception of American artistic developments as witnessed by the British public during the 1950s and {\textquoteright}60s. For example, scholars have typically overlooked the ongoing impact of Pollock and Rothko in London after 1960, and Robert Rauschenberg and Jasper Johns have largely been omitted altogether from secondary literature relevant to this topic. In order to provide a corrective to these and other disregards, this dissertation aims at answering a variation on Richard Hamilton{\textquoteright}s intriguing question: Just what was it that made U.S. art so different and so appealing in mid-twentieth century Britain?}, keywords = {Contemporary Art}, author = {Spicer, Frank} } @mastersthesis {10654, title = {La Russie souterraine. L{\textquoteright}emergence de l{\textquoteright}iconographie revolutionnaire russe pendant l{\textquoteright}Ancien regime, 1855-1917}, year = {2009}, school = {Montreal}, abstract = {This dissertation studies the production and consumption of images by Russian revolutionaries prior to 1917. The author argues that Russian revolutionary iconography emanates from a long-term process in which revolutionaries appropriated and subverted the images, means of production and visual strategies already available in their surrounding cultural context. This cultural borrowing is analyzed as an attempt of the revolutionaries to give an ideological coherence to an emerging but still disorganized political movement. The author shows how portraits and visual stereotypes have been fundamental in the construction of the revolutionary identity and consciousness, on one hand, and how a certain revolutionary imagination have been crystallized in the contemporary visual culture, on the other hand.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Desgagnes, Alexis} } @mastersthesis {10650, title = {Landscapes of Conversion: Franciscan Politics and Sacred Objects in Late Colonial Mexico}, year = {2009}, school = {Chicago}, abstract = {This dissertation provides a genealogy of Franciscan image theory in the New World. Specifically, the project interrogates the Franciscan propagation of miracle-working objects-from the championing of popular Marian images in the seventeenth century to the crafting of potent sculptures and their dissemination in the eighteenth-and attempts to relate these activities to the socio-political and religious landscape of late colonial New Spain. Thus, the Franciscan advancement of numinous objects, seldom the focus of concentrated study, is here minutely examined and historically contextualized. The Order{\textquoteright}s early investment in images-namely, the didactic image-was central to the sixteenth-century Franciscan missionary project. Yet while this period is traditionally seen as one in which the mendicant order rejected the concept of thaumaturgic objects-reticence towards the Virgin of Guadalupe is traditionally emphasized-the study argues for a more nuanced reading of the historical sources. Rather than define the late colonial Franciscan support of miraculous images as a break from sixteenth-century restraint, the current project chooses instead to understand how the Order{\textquoteright}s earliest strategies concerning images and their use set the stage for the future investment in numinous objects. The dissertation interrogates the first Franciscan written accounts and activities that advanced the reputation of numinous, sacred objects and the Order{\textquoteright}s official attachment to sanctuary sites. Iconophilic praxis is examined in relationship to the onslaught of challenges posed by mendicant rivals-the Jesuits chief among them-and the Spanish Crown{\textquoteright}s own seventeenth-century strategy of transferring economic, religious, and political clout from monastic centers to the secular Church. The Crown{\textquoteright}s sharp and unforgiving policies would greatly intensify in the eighteenth century and culminate in the nineteenth. The same period, however, sees the establishment of the Franciscan missionary colleges of Propaganda Fide. For Franciscan friars working under the banner of Propaganda Fide, spiritual reparation, religious renovation, and moral restitution formed a lexicon aimed at sustaining long-term projects of instauration. The late colonial promotion of sacred images became crucial to a buoyant Franciscan ontology: miraculous images reconverted lapsed communities, spiritually renovated ailing cities, battled Devils in Christian bodies, and announced mendicant piety and sanctity. Missionaries carefully sought to create and control a local cult of images in areas such as Queretaro, Zacatecas, Upper California, and Texas. The symbiotic relationship between the eighteenth-century missionary enterprise and the miraculous icon is most apparent in the history of a Marian icon from el Pueblito (Queretaro). Although the image{\textquoteright}s central iconography originates in a Rubens oil-sketch celebrating the Immaculate Conception, the visual theme receives the most exposure in the Franciscan strongholds of central New Spain where it comes to be strictly identified with the Order{\textquoteright}s conversion efforts. Thus, what began as an illustration of a controversial doctrine and its royal support in the Spanish Netherlands became, in Spanish America, a laudatory statement on the Franciscan missionary project. Yet the microhistory of the Virgin of el Pueblito also demonstrates the friars{\textquoteright} strategy for the transformation of an illustration into a religious presence; in the town of el Pueblito, the Marian sculpture became an instrument capable of conversion, a holy image, and an object of veneration. With the story of el Pueblito, the dissertation enters into a more historical discussion of the status of images in the New World and interrogates the process through which an image came not only to symbolize something new, but to do something different.}, keywords = {Latin American/Caribbean Art}, author = {Gonzalez, Cristina} } @mastersthesis {10646, title = {Latin American Artists in Postwar Paris: Jesus Rafael Soto and Julio Le Parc, 1950-1970}, year = {2009}, school = {IFA/NYU}, abstract = {This dissertation presents an alternative model for interpreting the work of Jesus Rafael Soto (Venezuelan, 1923-2005) and Julio Le Parc (Argentine, b. 1928), the two foremost Latin American proponents of Kinetic art. While Soto and Le Parc are traditionally studied together within the context of their European counterparts, this investigation argues for a new way of evaluating the artists in terms of the "fragmented" aesthetic experience they provided through works produced in 1950-1970, the period during which both artists moved to Paris. This paper demonstrates that their artistic innovations were--like their radical social agendas and ideals--critical responses to Latin America{\textquoteright}s modernity. Characterized by continuous political and social upheaval, a break with traditional values, and an uncertain future, the disruptive environment they experienced in Latin America compelled the artists to pursue in Paris the primary aesthetic strategies of their work: displacement, mutability, and instability. Though they differed in approaches, Soto and Le Parc shared a utopian ideal: that art, distilled to its experiential fundamentals, could communicate directly to the viewer, without the mediation of politics or institutions. Through analyses of specific works, archival documentation, contemporary criticism, and interviews with Soto, Le Parc, and others from their circles, this study explores the lives and work of these two artists, revealing that their summary relegation to specific movements and nationalities discounts the complex reality of their transnational experiences. The model of investigation proposed here reveals the distinct two-way reciprocity of cultural influence between Latin America and Europe, and raises questions about geographical cultural specificity. Also discussed is how the artists{\textquoteright} identification with Paris made them suspect in the eyes of some Latin American critics. Soto and Le Parc{\textquoteright}s formative dialogues with individuals and collectives, in particular Victor Vasarely, Yves Klein, Marcel Duchamp, Los Disidentes, the Madi, Nouveaux Realistes, group Zero, artists of Situationist International and Tucuman arde are closely examined. Ultimately, this study exposes the challenges faced by Soto and Le Parc as principal pioneers of a generation of Latin American artists who achieved success in international movements, while remaining engaged in forming a new Latin American cultural model.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Brodsky, Estrellita} } @mastersthesis {10599, title = {The Law of the Heart: Genealogy, Narrative, and Audience of a Minor Genre: The Argentinean Fotonovela}, year = {2009}, school = {UC Santa Barbara}, abstract = {This is a study of a genre of mass-art called fotonovela, from its birth in 1947 in Italy to its disappearance around 1984, based on a sample of 1,320 stories published in Argentina, Brazil, and Mexico and using the Argentinean fotonovela industry as a case study. As a "technology of the self," the romantic fotonovela addressed questions of inter-subjective relations and social and moral propriety in an iterative and well-delivered message that helped to disseminate personal and social notions and stereotypes on a transnational scale, while creating a language of visual storytelling that is unique, under-studied, and rapidly being forgotten. The composite meaning of the word foto-novela, referring to a medium and a literary genre, however, prefigures the difficulty in positing it as a unified object. The fotonovela{\textquoteright}s emergence and form found its nexus in the need to address a type of illiteracy in the reading of fiction, and the appearance of novel analogue mass-printing technology such as the rotogravure, appearing after World War One. Yet, most of what has been written about the genre deals with the genre{\textquoteright}s ideology and its perceived social effect, leaving out the historical determination of its physical support and audience. The argument merges the two halves of the fotonovela under the single category of a medium-dependent genre with its own particular mise-en-scene and mise-en-page. The former is characterized by the expression of dramatic states and emotions in mass-printed still photographs and the substitution of textual description of settings and states-which are fundamental to the story, yet may take away part of its interest-with photographic illustration. The latter uses conventions adapted from comic books, film, and graphic design to visually codify and ease the cognitive work necessary to read fictional narratives. The hypothesis here developed postulates the fotonovela as part of an epochal ripple in the visual culture of the twentieth century, brought about by new possibilities of remediation afforded by these analogue mass-printed technologies. Photography was then used to illustrate ever more evocative textual content, including fiction, while this medium{\textquoteright}s perceived indexical veracity, acquired in its pre-mass-printing phase, was paradoxically maintained, but also questioned and surpassed.}, keywords = {Drawings/Prints/Works on Paper}, author = {De Souza, Carlos Roberto} } @mastersthesis {10574, title = {The Legacy of Constructivism in Poland: Geometric Abstraction Before and Behind the Iron Curtain}, year = {2009}, school = {CUNY}, abstract = {This dissertation situates the legacy of Constructivism in Polish painting during the 1920s and in the mid-1950s, both before and behind the Iron Curtain. The material and ideological conditions of geometric abstract art are examined within the context of the East and West and across the pre- and postwar divide. I address the troubled reception of Constructivism through the prism of the artist Henryk Sta≈{\textordmasculine}ewski (1894-1988), one of the key contributors to the history of Polish art before and after World War II. If during the prewar years Sta≈{\textordmasculine}ewski attempted to invest painting with collective, universal, and international force, in the postwar period he choreographed the process of reception by exhibiting his works at home. I argue that Sta≈{\textordmasculine}ewski was aware of the ambivalent status and depoliticization of geometric art rooted in Constructivist aesthetic, and wanted to restore its socially constructive and political dimension by - paradoxically - isolating himself in an already isolated state. While geometric abstract art can be defined and interpreted in many different ways, I examine it in Eastern Europe{\textquoteright}s specific historical circumstances and anlayze how it became a symbol of resistance and dissent against totalitarian regime. Since abstract art was perceived as "autonomous," and thus unrelated to contemporary social and political events, geometric abstraction, in contrast to the politically engaged Socialist Realism, signified not only a certain kind of freedom but also political opposition during the years of Stalinism. Despite the official hostility and frequent critical denunciation of geometric abstraction as both outmoded and apolitical, this art was in fact a powerful vehicle for affecting political change.}, keywords = {Contemporary Art}, author = {Kawalko, Karolina} } @mastersthesis {10628, title = {Legions in Mourning: Provincial Roman Communities and Their Trophy Monuments}, year = {2009}, school = {UT Austin}, abstract = {This study considers five Roman trophy monuments in the context of global versus local culture in the provinces: the Sullan trophy at Chaeroneia, Pompey{\textquoteright}s trophy at Panissars, Octavian{\textquoteright}s campsite memorial at Nikopolis, Augustus{\textquoteright}s Alpine trophy at La Turbie, and Trajan{\textquoteright}s Dacian trophy at Adamklissi. Each trophy represents a unique case study of an identifiable Roman form and tradition deemed appropriate for/by a provincial community. These individualized characteristics imply localized negotiation of imperial or global ideas-specifically, a non-Roman{\textquoteright}s ability to manipulate Roman concepts emanating from the capital and/or the desire for Romans to these ideas to appeal to a provincial audience. My study of these trophies uncovers a widespread phenomenon that contradicts the assumption that culture was dictated from the center to the periphery, from the elite to the non-elite and from the urban to the rural in the Roman Empire. This dissertation is a response to Simon Keay{\textquoteright}s and Nicola Terrenato{\textquoteright}s lamentation over the lack of comparative analysis for these recent theories and Andrew Wallace-Hadrill{\textquoteright}s challenge to concretize definitions of Romanization. In fact, I demonstrate how these five Roman trophies featured themes legible to a broad audience in the ancient world and specialized narratives that catered to the local scene. Altogether, these case studies represent compelling examples of a much more dynamic kind of Romanization than current scholarship admits.}, keywords = {Greek/Roman Art}, author = {Ibarra, Alvaro} } @mastersthesis {10553, title = {Legitimacy, Genealogy, and the Icon: A Study of Mogao Cave 9, Dunhuang, of the Guiyijun Period (851-1002)}, year = {2009}, school = {Harvard}, abstract = {This dissertation examines medieval Chinese representations of rulers and their images of gods. It studies visual claims of "Heavenly Mandate (tianming)" vis-a-vis shifting assumptions about material representations of divine presence and their relationship to the sovereign. I focus on a group of caves that were completed during the Guiyijun (Return to Alliance Army) period (851-1002 C.E.), when Dunhuang was governed by local military warlords. A late ninth-century cave, Mogao Cave 9, functions as the centerpiece of the study. Chapter One, "Authorizing Space: Spatialization of "Donor{\textquoteright} Images," compares the configuration of worshipper portraits and title inscriptions in Cave 9 with those of its contemporary programs at Dunhuang. Certain patterns of distribution and revision emerge from the survey, revealing priorities that governed the social relations and hierarchy at Dunhuang. The patterns also help identify the patrons and honorees of Cave 9, as well as the most probable sequence of events that led to the completion of the program. Chapter Two, "Locating Authority: Imaging a Paradigm," considers a genre of painting called "Oxhead image painting" I show that the most important element of the version in Cave 9, which articulates the soteriology of the mytho-historic kingdom of Khotan, is a modestly represented royal worshipper who is shown undergoing a process of enlightenment. The painting highlights the agency of the ideal Buddhist king (the cakravartin) in his people{\textquoteright}s salvation, and argues that the sovereign{\textquoteright}s relationship to the icon is pivotal to the salvation of his people. Chapter Three, "Authorizing Allegoresis: Mandates Foreign and Native," argues that the visual soteriology of Khotan as narrated in the Oxhead painting in Cave 9 is presented as an allegory for the history of the Tang dynasty itself. The painting conflates the story of the Udayana Image with that of another sandalwood image associated with Khotan, and in effect conflates the myth about the Udayana Image{\textquoteright}s arrival in China with the salvific legend of the Khotanese kingdom. The Painting also references Early Chinese visual materials that discourse on the notion of xiangrui, or auspicious omen signifying Heaven{\textquoteright}s endorsement of the sovereign. The painting invites the viewer to see how the Khotanese legend prefigures the fate of the Tang dynasty. Chapter Four, "Localizing Authority: Legitimacy by Association," analyzes a painting in Cave 9 inscribed "the Heavenly King Vaisravana invites the Buddha to Nezha{\textquoteright}s assembly" in relation to a set of "A Thousand Buddhas" paintings. Together, the two components of the program articulate a biography of a legendary prince, whose genealogy restructures the hierarchy of India, China, and Khotan as topoi of religious authority. I analyze Nezha{\textquoteright}s visual biography in view of the patron family{\textquoteright}s insistence on its own imperial lineage. Finally, I consider the late Tang dynasty politics of genealogy in relation to a discernible shift in the medieval Chinese perception of original images and reproductions.}, keywords = {Chinese Art}, author = {Hwang, Karen S.} } @mastersthesis {10506, title = {The Lessons of Rome: Architects at the American Academy, 1947-1966}, year = {2009}, school = {Penn State}, abstract = {In 1947, the American Academy in Rome faced a fundamental decision: to either recommit to the Beaux-Arts artistic mission behind its establishment in 1894, or adapt to a drastically changed postwar environment. Although characterized as "a holdout against Modernism," this does not accurately describe its relationship with American architecture between 1947-1966. During these years, the Academy actively welcomed emerging and established modern architects through fellowships, residencies, and administrative roles. Its altered policies were designed to align it with the discipline{\textquoteright}s mid-century embrace of modernism and redefine the Rome Prize in architecture to serve a new set of professional values. The Academy{\textquoteright}s attempts to transform its institutional culture and maintain relevance to one of its core constituencies would ultimately succeed, despite entrenched internal opposition and lingering doubts. Forty well-credentialed young graduates from the nation{\textquoteright}s top architecture schools would come to Rome during these years to enjoy fellowships of unprecedented flexibility. Some, most notably Robert Venturi and Michael Graves, would later rise to considerable prominence, burnishing the Rome Prize{\textquoteright}s reputation among architects in the late twentieth century. But all the Fellows provided collective, crucial momentum to the modernist Grand Tour. They helped keep Rome on the architect{\textquoteright}s map, and contributed to ongoing redefinitions of Rome{\textquoteright}s relevance to contemporary practice. A new American architectural establishment also tied itself to the Academy. The inaugural postwar residency of George Howe announced its dramatic shift in allegiance from classicist to modernist design ideology, and Louis Kahn{\textquoteright}s career-changing Academy stay would attain mythic status. But a dozen others whose names are seldom associated with Rome-including Max Abramovitz, Edward Larabee Barnes, Pietro Belluschi, Wallace K. Harrison, Eero Saarinen, and Edward Durell Stone-would lend the Academy their time and names in varying capacities, buttressing its claim to professional legitimacy. As architects of the official U.S. presence abroad during the Cold War, their support for an institution struggling to reconcile the rhetoric of cultural power with modernity is utterly appropriate. Ultimately, the Academy{\textquoteright}s architectural survival during the postwar period contributed a distant but engaged perspective on the American discipline, and helped architects continue to learn new lessons from Rome.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Costanzo, Denise} } @mastersthesis {10661, title = {L{\textquoteright}esthetique du rire: Caricature and Art in Nineteenth-Century Paris}, year = {2009}, school = {IFA/NYU}, abstract = {In its heyday French caricature, both as individual prints and in illustrated journals, blanketed Paris and the provinces with sharp, scathing graphic satire, often targeting the highest reaches of power. In periods of censorship, when political criticism was banned, caricaturists trained their sights on social subjects and the art-world became fair game. Of course the political content never disappeared, and it is the project of this dissertation to continue to excavate the sophisticated visual slang that communicated its subversive messages, using the disarming power of laughter. It was during the period in question that art became the "art" we know today, a shared culture with institutional and commercial infrastructures. We also recognize the origins of various resistant forces; artists, movements and critics devoted to fire-walling art against these capitalist interventions, what we call modernism. My work reveals that caricature maps quite incisively the strategies of various avant-gardes, as well as the counter-salvos of the traditionalists, reactionaries and other anti-modernists. The traffic between "high art" and mass culture is elucidated, and it moves in both directions. This project contributes to a deeper understanding of the contributions of popular culture to the shaping of modernism, as art, journalism and humor formed a cozy triumvirate of influence. Chapter one offers a short historiography of theories of humor and their relevance to nineteenth-century concerns. Chapter two takes on the strategies and codes particular to graphic humor. Chapter three elucidates the milieu in which the newly minted job description of professional caricaturist operated. Chapter four analyses Baudelaire{\textquoteright}s writings on humor and his theorizing on modern subjectivity. Chapter five draws on the two previous chapters to offer an interpretation of the rarely studied phenomenon of caricatural self-portraiture. Chapter six discusses the agency of the caricaturist, and issues of gender and celebrity, in the relation to Courbet{\textquoteright}s The Painter{\textquoteright}s Studio . Chapter seven ponders the phenomenon of the gendering of discourses art, by considering the preponderance of saucy female personifications of art concepts. A postscript contextualizes the arguments made herein and a conclusion revisits the question of the value of humor and offers final thoughts.}, keywords = {Nineteenth-Century Art}, author = {Leader, Karen} } @mastersthesis {10602, title = {Lewis Hine at Ellis Island: The Photography of Immigration and Race, 1904-1926}, year = {2009}, school = {Northwestern}, abstract = {Lewis Hine{\textquoteright}s photographs of immigrants taken at the Ellis Island Immigration Station between 1904 and 1926 depict newcomers undergoing the process of immigration. Photography scholars have studied a limited sample of the works as examples of social documentary photography, and hence as sympathetic portrayals of immigrants. Because of Hine{\textquoteright}s pro-immigrant intentions and fame as a social reformer, art historians have ignored the photographs{\textquoteright} racializing potential. The works demand an account, which I provide here, that extracts them from a Hine-focused scholarship and inserts them within the broader histories and theories of photography, race, and immigration. In this first full-length study of Hine{\textquoteright}s Ellis Island project, I consider the photographs{\textquoteright} creation, use, and reuse. I likewise examine how they shaped and were shaped by the Progressive Era{\textquoteright}s (1890-1914) unstable racial discourses. Having started as a pedagogical project, the photographs{\textquoteright} ability to teach race remained constant in all of their uses, making it possible for the same works to appear in both pro- and anti-immigrant publications. To explain how the photographs sustained and countered turn-of-the-century conceptualizations of the immigrant, I divide the works into three categories (the narrative, the typological, and the art-historically based). I analyze the relationship between the images and accompanying text in contemporaneous sources devoted to immigrant populations. Then I discuss how in the late 1930s the photographic community overlooked the racial aspects of the Ellis Island project. Hine, however, continued emphasizing the race-based nature of his work. Throughout this study I argue that Hine{\textquoteright}s photographs produced simultaneously specific and general renderings of immigrants. On the one hand the photographs highlighted difference. On the other, their often-shifting captions continually reinserted immigrants into general categories based on race, as did the government and the general public. Because Hine{\textquoteright}s photographs focused on the immigrant, they necessarily dealt with a racialized subject, regardless of their context. Their initial sympathetic purpose, coupled with their subsequent mixed uses, also show how the photographic medium can be used to differentiate and generalize sitters. Hine{\textquoteright}s photographs were not just compassionate renderings of the immigrant. They were also complex objects steeped in the discourses of race, which depended on the medium{\textquoteright}s ability to racialize, even well beyond the walls of Ellis Island.}, keywords = {Drawings/Prints/Works on Paper}, author = {Urena, Leslie J.} } @mastersthesis {10704, title = {Liminal Messages: The {\textquoteright}Cartellino{\textquoteright} in Italian Renaissance Painting}, year = {2009}, school = {Rutgers}, abstract = {This dissertation traces the use of the cartellino-an illusionistic paper label-in the Venetian Empire from the middle of the fifteenth century to the first quarter of the sixteenth century, when the motif enjoyed its greatest popularity. The small body of existing scholarship on the cartellino generally focuses the motif as a vehicle for signatures. Building on these studies, I contextualize the cartellino as one of the most conspicuous signs of Venetian painters{\textquoteright} assertion of identity during the early Renaissance period. Confusion about the cartellino{\textquoteright}s origins has persisted in published studies, and only in a few brief discussions has its iconographic significance been evaluated. This dissertation addresses this gap in the scholarship and explains the limited popularity of the cartellino by placing it in the context of various cultural and economic factors that were particularly relevant in Venice and its terraferma empire during the early Renaissance period. My dissertation presents the first comprehensive study of a large group of signatures of a particular visual type, addressing the often overlooked importance of the specific form of the signature, its content, and the placement of the artist{\textquoteright}s name in interpretations of the paintings on which they appear.}, keywords = {Renaissance/Baroque Art}, author = {Rawlings, Kandice} } @mastersthesis {10589, title = {On the Limits of the Work of Art: The Fragment in Visual Culture}, year = {2009}, school = {Rochester}, abstract = {The influence the romantic fragment had on literature, poetry, and philosophical criticism has been studied extensively. The current study considers the relationship between the romantic fragment and European visual culture between 1760 and 1850. Rather than comparing a visual inventory of formal examples of fragments with literary, poetic, and philosophical examples, this study asks whether the fragment might be understood as a symptom of a broader cultural condition that informed the origins of western modernity. The romantic fragment made it possible to think of the work of art as productive of its own conditions rather than being evidence of something else. The differences between neo-classicism and romanticism and their impact on representational modernity are examined through analyses of Winckelmann, Diderot, and the ruin aesthetic. While ruins constitute a genre that directs the spectator towards the fullness of aesthetic experience, works of art accumulate within an increasingly far-reaching organizational system. I indicate the essential difference between ruin and fragment. The museum organizes the difference between fragment and whole into a visual demonstration, and I consider how the museum influences our notion of what art is through an analysis of paintings and museum projects from Revolutionary Europe, and how the logic of the museum is questioned in contemporary film. The photographs in Auguste Salzmann{\textquoteright}s 1854 book Jerusalem perform a visual archaeology, and suggest that the archaeological attention to fragments is neither metaphorical nor discursive, but informs the nature of the photographic image as such. If nineteenth century photography contributed to the increasing demand that a theory of the visual be found within the operations of the visual work as such, film introduced this demand as contemporaneous with lived experience. I turn to Victor Erice{\textquoteright}s 1992 film Dream of Light in order to suggest that the theoretical and critical disposition of the romantic fragment has not been entirely overcome by the formal closures of modernism.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Innes, Randy} } @mastersthesis {10526, title = {The Literary Paintings of Thomas Cole: Image and Text}, year = {2009}, school = {UIC}, abstract = {When the American artist Thomas Cole (b. 1801, Lancashire, England) died suddenly in 1848, his colleagues and patrons organized a Memorial Exhibition, framed in such a manner that the public would remember the artist for his literary paintings as much as for his scenes of the American wilderness. Of the ninety-three artworks, listed in the catalogue (Exhibition of the Paintings of the Late Thomas Cole, at the Gallery of the American Art-Union, New York, 1848), nearly one-half carried a literary title or written passage. This study examines a group of literary landscape paintings by Thomas Cole. By investigating the vital interactions between the visual and verbal signs, the study recovers the primacy of the literary arts in this major but understudied group of literary landscape paintings. It demonstrates that even as the artist adapted a literary text, he transformed it into a striking program of iconography that probed crucial issues in American culture in the early decades of the nineteenth century. Each chapter takes up an individual or a set of paintings, viewed through the lens of a series of literary texts. In the pictures from The Last of the Mohicans, 1826-27, based on The Last of the Mohicans; A Narrative of 1757 by James Fenimore Cooper, Cole brought together American art, literature and identity politics to critique the culture he celebrated. The artist turned to a modern interpretation of Protestant theology in the paired paintings, the Garden of Eden and Expulsion from the Garden of Eden, 1828, derived from Paradise Lost. Challenging Milton{\textquoteright}s sorrowful but peaceful conclusion, the painter looked to poetic descriptions of Chaos and Hell to portray a harrowing Fall. In the unconventional painting of Manfred, 1833, influenced by Lord Byron{\textquoteright}s eponymous poem, the artist confronted the difficult subjects of incest and the role of the artist as a genius and wily magician. In the monumental image of Prometheus Bound, Cole recovered Aeschylus{\textquoteright} ancient myth of the same name. As the artist linked the creative spirit of Prometheus to the Romantic age, he asserted his own cultural authority over the classical past. With the production of the literary landscapes. Cole achieved his highest aspirations to reach beyond a literal transcription of nature to a landscape of poetry. Inspired by classical and modern literary genres, and European and American authors, the painter inserted himself into a tradition of poesis and established a modern form of historical landscape painting on American terms. Both as individual works of art and as a group, the literary landscapes offer fresh perspectives on how Cole used the literary arts for different aesthetic, expressive, and conceptual purposes.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Katz, Roberta Gray} } @mastersthesis {10558, title = {Locating the Politics of Contemporary Public Art: Towards a New Historiography}, year = {2009}, school = {UCLA}, abstract = {At time when the term and idea of "public" has lost its currency in art historical discourse, this dissertation sets out to significantly re-historicize U.S. contemporary public art by proposing a radical approach to our readings of "art." This new historiography of public art does not intend to offer an alternate history, nor is it a nostalgic return to salvage the rubric "public art" as an aesthetic or a set of art practices. But rather, a counter-aesthetic paradigm is developed that reconceptualizes the term "art," and in the process, examines public art as thesis. Attending to this idea of art-as-thesis, art historians are challenged to re-think the art object and artistic process in a specific, multi-faceted way-to ask of an artwork what is its argument(s), its proposal(s), its thesis in regards to the discourses it engages. Taken in relation to each other, these artistic theses write a different kind of history of public art. When addressing public art as thesis, not only what constitutes "public" is opened for question, but also public realms are allowed to be reconsidered as always in the process of becoming. Herein lies the politics of public art. To think through these ideas, the dissertation turns to a contemporary mural, The Great Wall of Los Angeles. When approached as thesis, both its painting of an alternative, cross-cultural history of marginalized peoples in the U.S. and the collaborative mural making process propose that The Great Wall is the semeion (or site) where traditional and radical models of democracy meet. Pointing to the potential and limitations of both these models, rather than sustain conflict-the task of radical democracy as deliberated by political theorists Chantal Mouffe and Ernesto Laclau-The Great Wall generates an alternative public sphere that negotiates conflict in a sustainable way. In a society still governed by the principles advocated by neoliberalism and global capital, this dissertation leaves it up to public art projects, to the theses that they argue, to keep questions regarding responsible individualism in relation to a collective at the forefront, as well as, in tandem and in tension with each other.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Davos, Afroditi} } @mastersthesis {10490, title = {Lofty Visions: The Architectural Intentions and Contrary Realities of Elevated Urban Highways in America, 1900-1959}, year = {2009}, school = {Virginia}, abstract = {This dissertation establishes a typology of American urban elevated highways from the first half of the twentieth century that united previous conceptions of urban design and transportation with contemporary definitions of modern architecture and automobility. Designed jointly by engineers, urban planners, architects, and municipal leaders, these skyward roads responded to the particular challenges of adapting existing cities to fit changing patterns of urban growth and transportation. Their constructed nature necessarily defined the terms of their impact and reception. Soaring into the air and marching through and across city streets, elevated highways physically affected more people than just those who drove on them. Rather, they stood as physical proclamations of the importance of automobility in the American city. And because of this, their design features and architectural impacts narrated a complex interweaving of early twentieth-century social, architectural, transportation, and urban design challenges. To demonstrate the boundaries of this pattern, this study profiles three elevated highways in distinctly different urban settings with divergent stylistic approaches: Chicago{\textquoteright}s Wacker Drive (1924--1926), New York{\textquoteright}s West Side Elevated Highway (1929--1937), and Boston{\textquoteright}s Central Artery (1951--1959). In tracing the evolution and implementation of each project, the dissertation shows how elevated roadways synthesized previously disparate narratives about economic vitality, civic beautification, transportation efficiency, and architectural modernity. Municipal leaders, planners, engineers, and architects separately turned to elevated highways as physical evidence of their efforts to respond to each of these conditions. The highways sorted traffic, facilitated ever-faster automotive travel, navigated existing urban fabric, and sported varying interpretations of modern architecture. As such, the highways became physical proclamations of the many facets of urban modernity.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Finstein, Amy} } @mastersthesis {10559, title = {Lucy Lippard and the Provisional Exhibition: Intersections of Conceptual Art and Feminism, 1970-1980}, year = {2009}, school = {UCLA}, abstract = {Based on three exhibitions in which the writer and activist Lucy Lippard took part from 1970 to 1980, this dissertation maintains that the relationship between conceptual art and feminism is more ambivalent than official histories attest. I contend that in negotiating these discourses, both of which were informed by Lippard{\textquoteright}s art criticism, women artists developed important nodes of resistance in the face of institutional indifference. Three interrelated themes underpin this discussion: a questioning of traditions of authorship, the paradoxical avowal and disavowal of categories of identity, and an investigation into the powers and instabilities of language. Chapter One addresses the occlusion of women{\textquoteright}s conceptual art in the context of Information (1970), a landmark exhibition of conceptual art at MoMA, New York. Analyses center on the subjective and objective tensions that inhere in contributions by Lippard and artists Bernd and Hilla Becher, Hanne Darboven, Christine Kozlov, and Adrian Piper. Discussion extends to theories of the exhibition as a discursive site, Lippard{\textquoteright}s influential observation of art{\textquoteright}s dematerialization, and the impact of artist activism and the nascent women{\textquoteright}s movement in art. Chapter Two focuses on c. 7,500 (1973-74), an under-examined traveling exhibition originating at CalArts in Valencia, California that Lippard curated to highlight women{\textquoteright}s conceptual art. Works by artists such as Eleanor Antin, Agnes Denes, Nancy Holt, Athena Tacha, Mierle Laderman Ukeles, and Martha Wilson complicate the category "feminist art" during a time Lippard and others advocated a separate sphere for women{\textquoteright}s art. In dialogue with mid-1970s institutional critique, the innovative format of c. 7,500 dispersed the exhibition site along with conventions of artist, critic, curator, and audience. Chapter Three addresses Lippard{\textquoteright}s Issue: Social Strategies by Women Artists (1980) at the Institute of Contemporary Art, London. Artists include Margaret Harrison, Mary Kelly, Suzanne Lacy, Miriam Sharon, Nancy Spero, and May Stevens. The selection of politicized work informed by feminism, much of which extended conceptualist idioms, sought to bridge increasingly obdurate divisions within feminist art. I conclude that evidence of a productive nexus of conceptual and feminism ultimately advances an alternative framework for understanding art{\textquoteright}s political utility past and present.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Lauritis, Beth Anne} } @mastersthesis {10724, title = {Lwon Tutundjian: Trauma, Identity, and Modern Art in the Aftermath of Genocide}, year = {2009}, school = {UCLA}, abstract = {This dissertation, "Leon Tutundjian: Trauma, Identity, and Modern Art in the Aftermath of Genocide," explores the artistic output of an Armenian Genocide survivor in twentieth-century Paris. Looking through the lens of trauma theory, I argue that the oeuvre of Leon (Levon) Tutundjian (1905-1968) reveals the effects of trauma, most probably from his experience of the 1915 Genocide in Turkey, which caused a splintering in his sense of self and identity. My work begins with an intense investigation of Tutundjian{\textquoteright}s images, and incorporates theoretical applications, comparative case studies, and biographical information I obtained through personal interviews in Paris. My theoretical approach is informed by Freudian theories of trauma and the contemporary work of Judith Herman, Professor of Clinical Psychiatry at Harvard University Medical School. My work contributes to art historical scholarship in three main arenas: the application of trauma theory to visual art, the examination of the Armenian immigrant experience in twentieth-century Paris, and the expansion of our understanding of mainstream modern European art. In Chapter One I utilize Freud{\textquoteright}s theory of repetition to examine Tutundjian{\textquoteright}s repression of an event he cannot face, as evidenced by the recurrence of what I consider to be his self-portraits. I suggest that the composition of his self-portraits-severed, doubled, and otherworldly-convey a self that is fractured and disconnected. Herman{\textquoteright}s work provides insight into the effects of trauma on the psyche, which manifests as a splintering of the self and is readily apparent in the self-portraits. In Chapter Two I investigate how this fracturing in his sense of self resulted in fluctuations in identity, as seen in his life and visual symbolism. I look at contradictions within his sense of ethnic identity and how his association with the Freemason Brotherhood reveals his desire to find a secular community far removed from the pain of his past as a Christian Armenian. In Chapter Three I posit that Tutundjian{\textquoteright}s seeming fascination with the inherent life forms found in biomorphism suggest that while he may have had an inner will to survive, he may have also harbored feelings of guilt, a hardship common among survivors.}, keywords = {Twentieth-Century Art}, author = {Murachanian, Jean} } @mastersthesis {10683, title = {Maestro Ercole Ferrata}, year = {2009}, school = {Pennsylvania}, abstract = {Ercole Ferrata (1610-1686), a gifted sculptor, collaborator, and restorer of antiquities, made his strongest impact on the Italian art scene as the director of Rome{\textquoteright}s preeminent teaching workshop. Ferrata was the only artist of his generation to devote himself to the education of sculptors. His diverse talents in sculpture, which he cultivated during travels throughout the peninsula, gave him the freedom to work on high-profile projects that varied in genre, medium, scale, style, and technique. In his house-workshop, Ferrata saved the models of his own works, acquired molds and studies by modern masters, and collected casts of ancient statuary. This unparalleled collection of sculptural studies, coupled with Ferrata{\textquoteright}s skill and his links to Bernini, Pietro da Cortona, and Rome{\textquoteright}s most powerful patrons, attracted students from the length of the Italian peninsula and abroad. His own emphasis on iconography, narrative, and an archaeological accuracy in rendering ancient subjects informed the manner in which he trained his students in his workshop and in the Florentine Granducal Academy. By combining a thorough course of modeling from art and from life with lessons in restoration and practical experience gained from collaboration, Ferrata taught his students to become workers of stucco, marble, wood, and bronze. This dissertation addresses Ferrata{\textquoteright}s completion of his artistic education in Rome under Algardi, considers his stylistic maturation under Bernini, reconstructs his workshop, investigates the role he played as professore in the academy, reclaims his contributions to collaborations with students and masters, and seeks to dispel the myth of Ferrata{\textquoteright}s lack of creative invention. The project also explores how Ferrata and his students responded artistically to the masterpieces in their immediate environment and in doing so, affected the development of Baroque art. These investigations, which depend on the close reading of the sculptures themselves, should provoke a return to the object that has long been missing in the history of Baroque sculpture by major artists other than Bernini, Algardi, or Duquesnoy.}, keywords = {Renaissance/Baroque Art}, author = {Boehman, Jessica} } @mastersthesis {10656, title = {The Mapping of Modernity: Impressionist Landscapes, Engineering, and Transportation Imagery in Nineteenth-Century France}, year = {2009}, school = {Delaware}, abstract = {Lauded as pioneers of modern art, the French Impressionists portrayed many contemporary subjects, including the rapid growth of transportation networks brought about by the Industrial Revolution. Camille Pissarro, Claude Monet, and Alfred Sisley were among the artists who depicted the impact of industrialization on the natural environment, painting landscapes that featured railroads and iron bridges, products of the nineteenth century{\textquoteright}s new expertise in engineering. In recent Impressionist literature, such canvases have been viewed mainly as depictions of leisure and celebrations of technology. I revise this interpretation, instead proposing that the painters{\textquoteright} approach to transportation engineering was marked by ambivalence and ambiguity. The Impressionists neither praised nor overtly criticized progress; rather, they attempted to map modernity by surveying and recording the effects of constant technological, social, and cultural change. Pissarro, Monet, and Sisley, the three artists discussed here, did not simply reproduce the scenes before them. The painters used a broad range of mass-produced visual imagery as a lens for examining the altered terrain, borrowing subjects, styles, and compositions from landscape prints, journalistic illustrations, engineering drawings and photographs, and even caricatures. I describe this process of synthesis in four chapters that focus on pairs or small groups of canvases from the early 1870s, a key period for the development of Impressionism. I argue that the resulting paintings of trains, railroad bridges, and suspension bridges question the rhetoric of progress embedded in the visual culture of the era. By adapting and altering the picturesque naivete of early train prints, the exactitude and geometrical precision of engineering drawings and diagrams, or the perfectly rendered perspective of documentary photographs, the artists challenged those images{\textquoteright} idealistic renderings of contemporary life. Their paintings are bold experiments in tackling difficult topics for the first time. This interdisciplinary study examines the complex relationships between nature and technology in the Impressionists{\textquoteright} early transportation landscapes and reveals the innovative artistic techniques used to create those canvases. My analysis of the paintings in the context of nineteenth-century visual culture fills a gap in the literature on Impressionism and provides a fresh approach to both familiar and overlooked works of art.}, keywords = {Nineteenth-Century Art}, author = {Boyd, Jane E.} } @mastersthesis {10587, title = {Masks and Puppets: Metamorphosis and Depersonalization in European Avant-Garde Art Criticism, 1915-1939}, year = {2009}, school = {Chicago}, abstract = {This dissertation consists of an effort to address metamorphosis and the experience of depersonalization as the main preoccupations of avant-garde art criticism of the interwar Europe. More specifically, it traces the ways in which theoreticians around Surrealism - Carl Einstein, Georges Bataille, Michel Leiris, Walter Benjamin and Roger Caillois - formulated the link between metamorphosis as a formal, plastic phenomenon and modalities of depersonalization. By looking at Einstein{\textquoteright}s critical writings on African, Melanesian and Japanese art; Bataille{\textquoteright}s and Leiris{\textquoteright}s ethnologically-informed review Documents; Benjamin{\textquoteright}s historical anthropology of children{\textquoteright}s toys and auto-ethnography of childhood; Caillois{\textquoteright}s phantasmagorical entomology; and the multivalent Surrealist review Minotaure, the dissertation demonstrates the degree to which the avant-garde discourse on metamorphosis and depersonalization depends on the intersection of the artistic and anthropological spheres. In particular, it shows the ways in which avant-garde criticism understood masks, puppets and other inhuman figurations in conjunction with depersonalized states, ranging from socialized ritual transformation; mimetic identification in mysticism; playful animism in childhood; temporary self-dissociation in dream; even organic emaciation in (animal) psychasthenia and (human) psychosis.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Cheng, Joyce} } @mastersthesis {10516, title = {Mirrors of Memory: Nineteenth-Century Imagery in Contemporary Iranian Photography}, year = {2009}, school = {UC Santa Barbara}, abstract = {After the success of the 1979 Revolution and Iran{\textquoteright}s transformation into a theocratic democracy in the 1980s, nineteenth-century imagery began to reappear in Iranian visual culture. In this project, I investigate the uses of such images by contemporary Iranian photographers and argue that the nineteenth-century representations in their photographs are metaphorical spaces that contest the constructions of memory and history. The act of remembering becomes one of protest and reintegrates the perspectives of those excluded by society. The settings highlighted in these photographs are the harem and the photography studio. I narrowed my scope to photography, because the photographs of the Qajar dynasty (1786-1925) were suppressed under the Pahlavi dynasty (1925-79). I interviewed three photographers, each of whom has a series that incorporates Qajar photographs. They are Bahman Jalali (b. 1944) who lives in Iran; Yassaman Ameri (b. 1951) who left after the Revolution and lives in Canada; and Shadafarin Ghadirian (b. 1974) who came of age in post-Revolutionary society. These difference experiences nuance the political and social implications of Qajar motifs in their photographs. Prior investigations of the relationships between contemporary Iranian art and the nineteenth century remain sparse. Chelkowski and Dabashi (1999) argue that since Shi{\textquoteright}a Islam had provided the driving force behind the Tobacco Revolt (1890-92) and the Constitutional Revolution (1906-11), thus recycling religious Qajar imagery into contemporary Iranian art signaled that another revolution had arrived. Gumpert and Balaghi (2002) suggest that since European colonialism had threatened Qajar sovereignty, twentieth-century artworks that invoked nineteenth-century forms acted as protests against American imperialism. My research illustrates how artists continue to appropriate as protest, but unlike other examples, these photographers do not reinforce standardized history. They actively question societal reverence for the past, by featuring persons, who have been forgotten, namely harem women and concubines. While I contextualize the photographers{\textquoteright} works in Iranian photohistory, I also use their photographs as tools with which to interrogate prevailing accounts of global modernism. Appropriation and engagement with cultural memory pervade global contemporary art, and the ways in which images construct ideas of national identity and gender have become central themes.}, keywords = {Art of the Middle East/North Africa, Drawings/Prints/Works on Paper}, author = {Scheiwiller, Staci} } @mastersthesis {10692, title = {Mobility, Geography and Style in Sixteenth-Century Art Theory and Practice}, year = {2009}, school = {Harvard}, abstract = {The phenomenon of "mobility" in the period known as the Italian Renaissance is often associated with the voyages of discovery undertaken by such figures as Christopher Columbus or Hernan Cortes to the New World. Their journeys went far beyond the geographic boundaries laid down by ancient texts; their verbal reports in addition to the visual artifacts they brought back to an astonished European audience challenged the largely undisputed authority of classical thinkers. There is, however, another realm of discourse that is just as relevant to the study of mobility during the Renaissance, one located not in the caravels that crossed the Atlantic, but in the footpaths and waterways connecting the mosaic of city-states in the Italian peninsula. Fulfilling commissions at princely courts, travelling with ambassadors, undertaking pilgrimages or trips borne out of curiosity, Italian artists and their journeys were memorialized, celebrated as well as criticized by their contemporaries. While art historical scholarship has traditionally understood these travels as an uncomplicated physical transfer from point A to point B, this dissertation aims to resurrect the surprisingly controversial status artistic mobility occupied in early modern thought. In seeking to restitute the debates that revolved around artistic mobility, my analysis asks the following questions: What language-metaphors, tropes and figures of speech-did art theorists employ to describe the mobility of artists? How did this discourse inscribe itself within Renaissance aesthetic concerns? Finally, what was the relevance of this discourse to the religious, political and cultural battles that erupted between the regions of the Italian peninsula? At the heart of the controversy surrounding mobility, I argue, was Renaissance art theorists{\textquoteright} ambivalent stance towards the impact of the foreign upon an artist{\textquoteright}s style. Sojourns abroad could both spread an artist{\textquoteright}s fame and disseminate his style, while at the same time inducing the harmful effects of contagion, exile and amnesia. I contend that over the course of the sixteenth-century, Renaissance debates on mobility shifted from conceiving style as a shield protecting the artist from exposure to the foreign to a performative device that displayed knowledge of the variety contained in the world at large.}, keywords = {Renaissance/Baroque Art}, author = {Kim, David} } @mastersthesis {10693, title = {Mobility, Geography, and Style in Sixteenth-Century Art Theory and Practice}, year = {2009}, school = {Harvard}, abstract = {The phenomenon of "mobility" in the period known as the Italian Renaissance is often associated with the voyages of discovery undertaken by such figures as Christopher Columbus or Hernan Cortes to the New World. Their journeys went far beyond the geographic boundaries laid down by ancient texts; their verbal reports in addition to the visual artifacts they brought back to an astonished European audience challenged the largely undisputed authority of classical thinkers. There is, however, another realm of discourse that is just as relevant to the study of mobility during the Renaissance, one located not in the caravels that crossed the Atlantic, but in the footpaths and waterways connecting the mosaic of city-states in the Italian peninsula. Fulfilling commissions at princely courts, travelling with ambassadors, undertaking pilgrimages or trips borne out of curiosity, Italian artists and their journeys were memorialized, celebrated as well as criticized by their contemporaries. While art historical scholarship has traditionally understood these travels as an uncomplicated physical transfer from point A to point B, this dissertation aims to resurrect the surprisingly controversial status artistic mobility occupied in early modern thought. In seeking to restitute the debates that revolved around artistic mobility, my analysis asks the following questions: What language-metaphors, tropes and figures of speech-did art theorists employ to describe the mobility of artists? How did this discourse inscribe itself within Renaissance aesthetic concerns? Finally, what was the relevance of this discourse to the religious, political and cultural battles that erupted between the regions of the Italian peninsula? At the heart of the controversy surrounding mobility, I argue, was Renaissance art theorists{\textquoteright} ambivalent stance towards the impact of the foreign upon an artist{\textquoteright}s style. Sojourns abroad could both spread an artist{\textquoteright}s fame and disseminate his style, while at the same time inducing the harmful effects of contagion, exile and amnesia. I contend that over the course of the sixteenth-century, Renaissance debates on mobility shifted from conceiving style as a shield protecting the artist from exposure to the foreign to a performative device that displayed knowledge of the variety contained in the world at large.}, keywords = {Renaissance/Baroque Art}, author = {Kim, David Young} } @mastersthesis {10591, title = {Motherhood, Mourning, Testimonio, and the Representation of Silenced Histories}, year = {2009}, school = {UC Irvine}, abstract = {Starting from Gayatri Spivak{\textquoteright}s seminal essay "Can the Subaltern Speak?" this dissertation examines the way in which Latin American testimonios allow subaltern voices to emerge. By expanding the genre beyond written texts, I explore the ways in which testimonio informs the visual art of women artists from the Americas and the Caribbean, and thus, informs subaltern representation. Fully cognizant of external pressures which impede and affect the construction of subjectivity, I use Winnicott{\textquoteright}s theoretical framework to demonstrate the connection between creativity, subaltern representation, and agency. By applying Winnicott{\textquoteright}s theories on transitional objects and potential spaces to Rigoberta Menchu{\textquoteright}s testimonio, Doris Salcedo{\textquoteright}s installations, Ana Mendieta{\textquoteright}s photographic performance pieces, Maria Magdalena Campos-Pons{\textquoteright} video installations and performances, and Cristina Garcia{\textquoteright}s Dreaming in Cuban, I illustrate the various ways that these artists negotiated their subjectivities, claiming agency over their representation. Additionally, because trauma is a large part of testimonio, my dissertation-by analyzing the reception of I, Rigoberta Menchu: An Indian Woman in Guatemala-problematizes the concept of "Truth." If trauma, by its very nature, eludes articulation through language, how can "Truth" be measured and/or expected? And, importantly, how are memory and knowledge about these traumas constructed? By reading these artists{\textquoteright} work through the framework of Abraham and Torok, this dissertation demonstrates how the body, silence, and absence are integral to understanding the unspeakable histories of subaltern communities.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Napoli-Abella, Cynthia} } @mastersthesis {10619, title = {The Nabataean Coroplastic Arts: A New Approach for Studying Figurines, Plaques, Vessels, and Other Clay Objects}, year = {2009}, school = {Brown}, abstract = {Coroplastic artifacts have been recovered throughout the region of the Nabataean kingdom since scientific investigation of the archaeological sites began in the late 19th century. The extant corpus of materials includes a wide variety of different objects, such as figurines, plaques, zoomorphic vessels, masks, affixes, molded vessels, and other miniature items. Although a significant quantity of ?terracotta? artifacts is known, comprehensive studies of the Nabataean coroplastic arts have been impeded by the lack of a synthetic approach that encompasses the diversity of available object types for specialized and comparative analyses. This dissertation introduces a synthetic methodology that can now be employed to identify, classify, and associate the varied artifacts for different types of analyses. The methodology was developed using the data collected from a corpus of 777 artifacts; 299 of these artifacts are previously unpublished objects from Petra and the Negev desert, which are presented here in a catalog that includes the empirical and provenience specifications, descriptions of the preserved details using formal analysis, as well as photographs and drawings of each object. Two tools are also presented that can aid future systematic studies of both the known artifacts and those recovered from new excavations. The first of these is a flexible typological framework that is designed to incorporate and correlate the full range of object types. The second is an adaptive interpretive analytic model that can be used to identify and assess the probabilities for the different function(s) and meaning(s) that the artifacts could have served during their periods of use. The study concludes with some observations about the frequencies, variations, and functional diversity demonstrated in the corpus, and presents several possibilities for additional analyses based on the research conducted here on the available data.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Tuttle, Christopher} } @mastersthesis {10666, title = {Natural Disorder: The Animal Image in French and British Art before Darwin, c. 1790-1859}, year = {2009}, school = {Washington University}, abstract = {This study of the animal form in French and British art reveals humanity{\textquoteright}s shifting self-image as new theories of species transmutation replaced hierarchical models of nature in the half-century before the publication of Charles Darwin{\textquoteright}s On the Origin of Species in 1859. To assert various qualities of difference, distance, similitude, and proximity between species, visual artists represented animals either in humanized guises or in contexts of encounter with humans. Animal imagery was especially malleable during this period when science and pseudo-science both confronted the possibility that species were susceptible to gradual change over time rather than fixed in form since the biblical moment of creation. In this series of chronologically-ordered case studies, I explore how visual artists investigated the increasingly unsettled question of alleged human (and especially white male) superiority over animals. Each chapter analyzes an artistic response to humanity{\textquoteright}s place in the natural world. In the first chapter, I demonstrate how artists and naturalists jointly sought to maintain animal alterity through image and text in encyclopedic works of illustrated natural history and physiognomy. The second chapter interrogates artists{\textquoteright} engagements with the paradox of physical separation and visible animal-human similarity evident in Paris{\textquoteright}s and London{\textquoteright}s newly established civic zoos. Explicitly transgressive and more carnal aspects of the human-animal relationship are the focus of the third chapter, in which I argue that depictions of sexual contact between animals and women serve to bestialize women literally and figuratively in an era marked by emergent demands for women{\textquoteright}s social and political rights. In the fourth chapter, I assert that hybrid human and animal forms in the oeuvre of the French caricaturist J.-J. Grandville generate a leveling effect among species and human social classes as all creatures in his art wear animal masks that reveal their shared bestial natures. Finally, in the fifth chapter I examine efforts to defend a white, masculine, privileged position as it was perpetuated through imagery equating the anthropoid ape with the black African human. In these case studies, I trace an increasing loss of confidence in human dominion as a divinely ordained natural order and a correlative rise of a seemingly disordered world in which humanity{\textquoteright}s once stable place is now understood to be in flux. I analyze contemporary criticism and the interplay of image and text to demonstrate the flexibility and centrality of the animal form during this historical moment in Europe{\textquoteright}s twin artistic, intellectual, and scientific capitals of Paris and London. The animal body in French and British art created before the so-called Darwinian Revolution allowed artists to confront fears regarding class, gender, race, religion, and, most profoundly, the possibility of the beast that lurks within every human.}, keywords = {Nineteenth-Century Art}, author = {Paulson, Noelle} } @mastersthesis {10565, title = {No Such Thing as Society: Art and the Crisis of the European Welfare State}, year = {2009}, school = {UC San Diego}, abstract = {No Such Thing as Society: Art and the Crisis of the European Welfare State addresses contemporary art in the context of changing European welfare states. Mapping a tripartite turn from Institutional Critique to Relational Aesthetics, from extensive government support of the arts towards reduced arts funding, and from the welfare state towards the neoliberal state, the study more specifically sketches a shift from "society" to "community." The past thirty years have evidenced a substantial restructuring and, in some cases, a partial dismantling of the European welfare states. As a result, society is increasingly characterized, not in terms of a cohesive social body, but rather as a collection of disparate populations and communities. It is a central argument of this investigation that these societal changes are manifest in contemporary artworks, both in the social context they reference and the conception of "audience" they imply. Chapter 1 is devoted to an overview of the welfare state{\textquoteright}s impact on the arts, from its post-war formation to its crisis since the 1980s. I argue that the welfare state{\textquoteright}s founding conception of a unified social body was put to the test, first by intellectual critiques of the 1960s and 1970s and later by neoliberal challenges during the ensuing decades. Chapter 2 outlines a turn from Institutional Critique to Relational Aesthetics. Despite being indebted to theoretical critiques of state, works by Hans Haacke, Marcel Broodthaers, Daniel Buren, Artists Placement Group and Stephen Willats were deeply embedded within this very structure. By contrast, the relational practices championed by the French curator Nicolas Bourriaud, I propose, share several characteristics with "community arts." A catch-all term for arts and cultural policy since the 1990s under New Labour in the U.K., this art-centric outreach, which was thought capable of supplanting social programs, was defined by small-scale encounters with constituencies demarcated precisely by these relational initiatives. Chapters 3, 4 and 5 are devoted to case studies of specific artworks in important local welfare frameworks-France, the Nordic countries and the United Kingdom. All engaged in negotiative relationships with state-funded museums and institutions of art, I suggest that works by Thomas Hirschhorn, Superflex, Mark Wallinger, and Andreas Siekmann, among others, exhibit an operation of "institutional displacement." While still situated within post-war structures of art, these contemporary art practices do not address these immediate enclosures, but rather take on, whether explicitly or implicitly, the category of the welfare state and its social institutions. Taking as their point of departure present social issues, these artworks reference the moment of resistance to the state of the 1960s and 1970s as well as what preceded it, namely the post-war formation of the welfare system. In their references to multiple "states" of welfare, the contemporary artworks discussed in the volume embody the compromise formation that characterizes the current European state model. Given that older social programs today cohabitate with recent policy initiatives in most European countries, it is not the case that one state formation has entirely taken the place of an outmoded structure; the welfare goal of providing for all is contradictorily met with new policies that narrowly focus on individualized self-help. While artists frequently want to defend post-war comprehensive social schemes, their efforts are complicated by the intervening advents of poststructuralism, postmodernism and postcolonialism. Contemporary European artworks thus demonstrate the crisis of conceiving of all, whilst attending to difference, without submitting to the prevailing forces of social fragmentation.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Lookofsky, Sarah} } @mastersthesis {10568, title = {Not the Romantic West{\textquoteright}: Site-specific Art, Globalization, and Contemporary Landscapes}, year = {2009}, school = {Stanford}, abstract = {Thirty years alter Earthworks artists like Robert Smithson, Michael Heizer, and Dennis Oppenheim attempted to escape the New York art world by creating large-scale, site-specific projects in remote landscapes, a number of artists at the turn of the twenty-first century are exhibiting renewed interest in the land. In 1999 Andrea Zittel moved her studio from New York City to an abandoned homesteading cabin in the Mojave desert in order to publicly pursue her desire for a "more experimental life;" Rirkrit Tiravanij a purchased an unproductive rice paddy in a remote region of his native Thailand in 1998 to create a self-sustaining experimental "gathering place" for some of the international art world{\textquoteright}s best known artists; Matthew Coolidge founded The Center for Land Use Interpretation in Oakland, CA in 1994 and regularly takes viewers on extended bus tours of the "unusual and exemplary" land forms on the outskirts of American cities; Francis Alys recruited 500 volunteers to move a sand dune on the periphery of Lima, Peru in 2002; and since 2000 Stefano Boeri{\textquoteright}s Milan-based collective Multiplicity displays the results of its "territorial investigations" in international exhibitions. Coinciding with a moment of unprecedented art world expansion, the renewed interest in land-based projects marks both a coming to terms with the utopian impulses of early Land art and a conspicuous effort to find new methods of critically engaging with both an art world and world system assumed to have lost their "outside" positions. Taking this trend as its object of study, this dissertation argues that the (re)turn to land-based projects today is best understood as both a product of and a response to globalization, a paradoxical phenomenon that has had significant impact on the structure and mechanisms of the art world in recent years. Globalization{\textquoteright}s influence has been particularly dramatic in the case of site-specific art, a category of artistic production exemplified by the ideals of 1970s Earthworks art, whose radical transformation from an anti-commodity, utopian practice in the 1970s to a global institutionalized working method in the 1990s has been discussed as problematically paralleling broader economic shifts associated with post-Fordism and an increasingly service-driven economy. Now requiring travel-ready artists to perform artistic "services" for various institutions around the world, site-specificity today often fends its practitioners repeating only slightly varied projects from one institution or international exhibition to the next, frequently with the interests of local tourism building initiatives in mind. While the retrograde-and often nostalgic-definitions of site, place, and locality that such work encourages is appealing to localities seeking to maximize on the aura of "uniqueness" site-specific art can offer, it has troublesome implications for the on-going relevance of the practice{\textquoteright}s historically avant-garde status. In light of these shifts in site-specific work, this dissertation focuses on contemporary projects that seek to re-conceptualize the role of the site-specific artist by drawing on the seemingly outmoded strategies of 1970s Land art. Curiously, in a reversal of historic assumptions perpetuated in both art historical discourses and deeply entrenched cultural imaginaries (as described most notably by theorists like Raymond Williams) today{\textquoteright}s projects turn to locations coded as peripheral, rural, or otherwise remote not for the romanticized bucolic settings or simpler ways of life they suggest, but rather for their status as chaotic, indeterminate, and uncertain. Land is accordingly called upon for the complex ways it signifies, not only as a utopian symbol of escape and self determination, but also as a variable in on-going reconfigurations of local/global and center/periphery relationships, and as a locus for geopolitical debates over national borders, identity, and social change. For practitioners concerned with the politics of contemporary site-based work, these factors make the peripheral an ideal setting in which to test more complex and multivalent definitions of site appropriate to the spatial confusions and disorientations of an increasingly globalized world. More than an alluring background against which artistic practice is staged, then, land becomes a site from which to question, examine, and take the measure of globalization{\textquoteright}s influence on both the art world and the world beyond its borders.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Rapp, Karen M.} } @mastersthesis {10586, title = {Nothing to Look At: Art as Situation and Its Neuropsychological Implications}, year = {2009}, school = {Chicago}, abstract = {This dissertation posits situational form as a means of analyzing art in terms of its perceptual and emotional properties. I show how Los Angeles-based "light and space" artists understood the material of their work to consist of embodied states in specific contexts. This viewpoint coincides with, and arises from, developments in psychology in the 1960s and early 1970s where behaviorism (excluding subjective states from its studies) was supplanted by neuropsychology (literally incorporating subjectivity). By foregrounding parallels between light and space art and neuropsychology I offer a new epistemology for considering artistic practice and scientific inquiry as functioning in tandem. The phenomenal installations of Robert Irwin, James Turrell, Maria Nordman, and Eric Orr are paradigmatic for proposing a revised view of minimal art. Though subjectivity was integral to light and space art practice, it has only fitfully entered critical discourse on minimal and so-called de-materialized art: my research shows that the current paradigm is inadequate. By offering a re-consideration of minimalism, I reveal how light and space art influenced a growing concern with the phenomenology of aesthetic engagement. Furthermore, the experiments of light and space set a precedent for what has become a contemporary proliferation of situational art. A situational approach is a productive means of assessing the phenomenological frameworks beneath artistic discourse, bringing to bear the wordless aesthetics of engagement. The first chapter concentrates on psychological experiments that constituted Irwin and Turrell{\textquoteright}s contributions to the Los Angeles County Museum of Art{\textquoteright}s Art and Technology program (1968-1971). These experiments established a site for shared inquiry into the nature of perception for artists and psychologists alike. The three ensuing chapters pertain to situational forms that disorient the viewer, suspending her in states of perceptual uncertainty, prolonging attention to perceptual thresholds at the "fringe" of consciousness, and heightening awareness of the biological nature of aesthetic experience. These situational extremes are Cave (experienced in the immersion and emergence of "built voids" by Orr and Nordman); Fog (obfuscation and permeability, emphasizing ganzfeld installations by Irwin and Turrell); and Labyrinth (the directed pathways of Irwin, Richard Serra, and Bruce Nauman; linking action, attention, and awareness).}, keywords = {Critical Theory/Gender Studies/Visual Studies, Performance Studies}, author = {Schuld, Dawna} } @mastersthesis {10548, title = {The Object of Civility and the Art of Politeness in British America (1740-1780)}, year = {2009}, note = {No Proquest record found for Ph.D. Diss. Record found for M.A. thesis.}, school = {Virginia}, abstract = {No record in ProQuest}, keywords = {Art of the United States}, author = {Van Horn, Jennifer} } @mastersthesis {10603, title = {Objects and Identity: An Analysis of Some Material Remains of the Latin and Orthodox Residents of Late Medieval Rhodes, Cyprus, and Crete}, year = {2009}, school = {UCLA}, abstract = {This study focuses on aspects of material life, documenting cross-cultural relationships between the Greek and Latin inhabitants of Venetian Crete, Hospitaller Rhodes, and Frankish Cyprus during the late Middle Ages. I propose that the written evidence from these locations must be corroborated with the visual sources in order to gain a nuanced understanding of the actual character of cohabitation and the relations between indigenous and ruling groups on each island. Decorated ceramics, textiles, dress, and effigy tombstones rest at the border between art and material culture. Visually stimulating, they were also functional and readily available to a large segment of population. They served as signs of their patrons{\textquoteright} status, and commemorated the liminal moments of birth, marriage and death. Layers of social, ethnic, and religious affiliation combined to create complex individual and group identities. I first consider how the histories of these islands were built upon the evidence of written sources from the elite urban environment, with little regard to the material remains surviving throughout the islands. Chapter 3 reveals how ceramics were not markers of cultural identity, but served the multiethnic local culture. Chapter 4 shows that rather than the luxurious imported silks, or the silks produced on these islands as trade goods, the lesser woolens and cottons appear to be the common fabrics for the islanders{\textquoteright} daily clothing. In Chapters 5 and 6 I demonstrate how dress (as recorded in commemorative portraiture) remained a distinguishing feature of urban versus rural communities. Lastly, I reveal that once adopted into the local funerary art and traditions, Latin effigy tombstones and the painted portraits from the Orthodox churches echoed each other in a dialogue of self-expression and identity. This investigation crosses many presumed historical and geographical boundaries between Europe and Byzantium and leads to a better understanding of the active cultural dialogue across the Eastern Mediterranean. Ultimately, I emphasize cultural tension rather than colonial authority, and show how the material culture of these islands was transformed by the establishment of Western settlements, thereby broadening the understanding of cultural communication between colonized and colonizers.}, keywords = {Early Christian/Byzantine Art, Early Medieval/Romanesque/Gothic Art}, author = {Stancioiu, Cristina} } @mastersthesis {10512, title = {The Openwork Dome as Sacred Theater: Illumination and Illusion in the Centrally Planned Churches of Bernardo Antonio Vittone}, year = {2009}, school = {Cornell}, abstract = {Bernardo Antonio Vittone (1704-70), an architect and engineer who practiced in the Italian Piedmont, is best known for his centrally planned churches with openwork domes. Comprised of multiple, superimposed, and perforated shells, concealed windows, and light chambers, these domes display an illusionistic and scenographic quality suggestive of contemporary ephemeral and scenographic decorations. This dissertation examines Vittone{\textquoteright}s openwork domes and interprets them as a type of sacred theater, a theatrum sacrum perpetuum, in which the shells and concealed windows are understood to function like the wings and hidden lamps of a stage set. In conceiving the openwork dome as sacred theater Vittone integrated various strands of Italian Baroque architecture-the conventional and the unorthodox, the academic and the bizarre-to achieve a synthesis of the highest order. Chapter One discusses Vittone{\textquoteright}s taste for illusionism as it was formed during his architectural apprenticeship in Piedmont and his years of study at the Accademia di San Luca in Rome, where he copied drawings of ephemeral decorations and scenographic caprices by Carlo Fontana, Johann Bernhard Fisher von Erlach, Filippo Juvarra, Andrea Pozzo, and other masters. Chapter Two examines the prominence given by Vittone in his architectural theory to considerations of illumination and illusionism in which, above all, the "voluptuous genius" of the eye is to be delighted and satisfied. Chapter Three investigates Vittone{\textquoteright}s designs for ephemeral and scenographic decorations, including catafalques, fireworks machines, and temporary apparati for the sacred theater of the Quarant{\textquoteright}ore Devotion, and their translation into permanent architecture. Chapter Four examines Vittone{\textquoteright}s designs for openwork domes and pendentives, those with interlaced ribs and those with perforated shells, relating them to designs by Guarino Guarini and Guarini{\textquoteright}s followers in Piedmont, including Gian Giacomo Plantery, Filippo Giovanni Battista Nicolis di Robilant, Giuseppe Gerolamo Buniva, and Mario Ludovico Quarini, as well as to designs by Fontana, Fischer von Erlach, Juvarra, and other academicians. Chapter Five relates Vittone{\textquoteright}s openwork domes to quadratura painting, itself a form of sacred theater that relies on perspectival foreshortening and other optical devices. It considers also the Neo-Platonic and hermetic strains of Vittone{\textquoteright}s architectural thought and the debt it owed to the ideas of Emanuele Tesauro, Paolo Segneri, Daniello Bartoli, and other Jesuits, as well as to the hagiographies and writings of various medieval saints, including St. Bernard of Clairvaux and St. Clare of Assisi.}, keywords = {Architectural History/Historic Preservation}, author = {O{\textquoteright}Brien, John Melvin III} } @mastersthesis {10645, title = {Organ of Faith, Organ of Power: 18th-Century Representations of the Sacred Heart in New Spain}, year = {2009}, school = {UCLA}, abstract = {In the eighteenth century, the cult of the Sacred Heart of Jesus became one of the most popular religious cults in the Spanish viceroyalty of New Spain. Numerous texts and images were produced to disseminate and champion the cult as well as to support religious devotion. The cult found supporters in a variety of social roles and places throughout the Spanish colony. Besides functioning as a prominent Catholic religious symbol, the Sacred Heart became the target of political and religious reformers in the later part of the eighteenth century. In particular, the cult{\textquoteright}s associations with the Jesuits, the group who initially promoted the cult with great fervor, placed it in the middle of reformist debates about the cult{\textquoteright}s prominence and use. Despite the religious cult{\textquoteright}s central role in eighteenth-century New Spain, visual representations of the Sacred Heart have remained largely unstudied. This study takes as its central preoccupation the visual culture surrounding the cult and explores the various roles that Sacred Heart images played in eighteenth-century colonial Mexico. Comprising the foundation of my dissertation are formal, iconographic, and semiotic analyses of Sacred Heart images. I thus track how depictions of the heart transformed during the eighteenth century. In addition, I examine the social, religious, and political issues surrounding the images{\textquoteright} creation and display to illustrate how representations of the Sacred Heart reflected and actively shaped the socio-historic framework of eighteenth-century New Spain. Using archival documents and printed texts, I situate the cult and its images within the specific historical framework of late-colonial New Spain. In all, I demonstrate how the Sacred Heart connected to the Eucharist, intersected with other religious cults, related to pre-colonial images and notions of the heart, and supported mystical Catholicism.}, keywords = {Latin American/Caribbean Art, Renaissance/Baroque Art}, author = {Kilroy, Lauren} } @mastersthesis {10631, title = {The Organization of Pompeii{\textquoteright}s System of Traffic: An Analysis of the Evidence and Its Impact on the Infrastructure, Economy, and Urbanism of the Ancient City}, year = {2009}, school = {Virginia}, abstract = {In a decade of archaeological fieldwork in the ancient city of Pompeii I have collected a unique set of data demonstrating the previously unrecognized existence and organization of a system of traffic. The system, moreover, can be shown to intersect-both physically and metaphorically-with other systems of infrastructure within the city, specifically the water supply and removal systems. It is at these points of intersection where the individual decisions of those who managed the operation of the city can be identified and used to describe the existence of rules, of regulators, and an overall design for the urban infrastructure. Furthermore, by defining the traffic system and employing it as an element of the city{\textquoteright}s infrastructure, it becomes possible to test the embedded social and economic characteristics of the built environment and activate them through an artifact that escapes most archaeological research: movement.}, keywords = {Greek/Roman Art}, author = {Poehler, Eric} } @mastersthesis {10618, title = {The Osiris Temple at Abydos: An Archaeological Investigation of the Architecture and Decorative Elements of Two Temples}, year = {2009}, school = {IFA/NYU}, abstract = {This dissertation addresses the importance of the archeological history within the Osiris Temple Enclosure in North Abydos, Egypt prior to and including excavations undertaken by the University of Pennsylvania Museum-Yale University-Institute of Fine Arts, New York University Expedition to Abydos in 2002-2004. Abydos held great religious significance in ancient Egypt. The Old Kingdom god Khentyamentiu was revered here, while in subsequent dynasties he was superceded by the god Osiris, whose cult prospered until the very latest phases of Egyptian history. The central focus of the cult would have been at the temple of Osiris, where daily offerings were made to the god and rituals carried out. Flinders Petrie excavated at Abydos in 1902/03 and found references to the Osiris temple indicating that it was located within enclosure. Some scholars believe that Petrie went on to find phases the actual Osiris temple, despite a high level of architectural informality. Others believe the architecture to be royal ka-chapels, with the remains of (presumably successive) Osiris temples as yet undiscovered, possibly below a mound of debris identified as the remains of a 30th Dynasty temple located to the southwest of Petrie{\textquoteright}s excavations. Prior to the Penn-Yale-IFA, NYU excavation, systematic archaeological investigation of the mound of temple debris within the enclosure, had yet to be undertaken. Excavation from 2002-2004 revealed two phases of architecture: one dating to the pharaohs Nectanebo I and II of the 30th Dynasty and an earlier phase possibly dating to the 18th Dynasty, with extensive evidence of Tuthmosis IV. Analysis of the in situ architecture as well as fragments of decorative and architectural elements from both phases suggests that the architecture represents the remains of two separate phases of the actual Osiris temple. Although not fully excavated, work at the site indicates that perhaps earlier temples might lie below the two phases already discovered.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Marlar, Michelle} } @mastersthesis {10671, title = {Painting between the Lines: Eugene Delacroix, Orientalism, and Other Histories}, year = {2009}, school = {IFA/NYU}, abstract = {In the midst of a time of enormous change in notions of history, identity, narrative and art, Delacroix painted a picture of the East that incorporated and responded to the impact of these changes in the politics, philosophies and culture of his milieu. The question of Eugene Delacroix and Orientalism embraces a host of ambiguities and contradictions raised by these changes. These ambiguities and contradictions in turn embrace issues in Delacroix{\textquoteright}s art and the history of Orientalism. No survey of Orientalist art would disregard Delacroix and in particular, his Women of Algiers, an icon in the field. Yet Delacroix{\textquoteright}s paintings stand apart from those of his contemporaries in their unique mix of quintessential mid-nineteenth-century orientalist ideas and the artist{\textquoteright}s aesthetic discourse. He presents his own "other". Sorting out this puzzle in Delacroix{\textquoteright}s art reveals his disciplined mix of conservative and radical views, of tradition and innovation. Delacroix played with the culture of his time, and of art history, the Renaissance, Baroque and classicism, vying with them and embracing them simultaneously rather than opposing them. In order to discern this network of relationships a number of assumptions need to be uncovered. This dissertation seeks to re-insert Delacroix and his orientalist work in the context of his own time. While this discussion integrates the dominant concerns and beliefs that fed orientalist thought - a turning away from the prevailing notion that classical origins exist in Greece and Rome, chief among them - it will examine what is unique and what is typical about Delacroix{\textquoteright}s orientalist paintings and consequently, his relationship to Romanticism, Classicism and Modernism. This study does not seek to only place him in his time nor does it claim that his orientalist work is simply a response to the conventions of his time but rather to root the work in his cultural milieu in order to discern specific qualities of his orientalist work that further illuminate his larger endeavor to reinvigorate the classical tradition. Both Delacroix and Orientalism elicit questions about nineteenth-century definitions of the hero, the female, a nation, the past and ultimately relationships of power. Delacroix{\textquoteright}s earliest eastern images spring from literature, in particular, that of Lord Byron. Chapter II, "A Pretext: Literary Orientalism" discusses these paintings and the evolution of orientalist literature beginning with "The One Thousand and One Nights." The influence of this literature on the construction of lasting images in art as well as politics and society are addressed. The chapter examines the artist{\textquoteright}s illustrations to Byron{\textquoteright}s work, most famously Death of Sardanapalus. Chapter III, "A Context: Contemporary Orientalism" begins with consideration of Delacroix{\textquoteright}s treatment of current events in the East and their similarity to his literary images. Reviewing briefly the Greek War of Independence, a cause championed by Byron, and its impact on Parisian society. The chapter focuses on the issues of the academic and political debate and the French colonization of Algeria in tandem with analyses of The Sultan of Morocco, Fanatics of Tangiers, and most famously, Women of Algiers. Chapter IV, "A Subtext: The Other in History{\textquoteright}s Symbols and Cycles" addresses the effect of these Orientalist studies on the contemporary reconsideration of history, specifically as illustrated in Delacroix{\textquoteright}s public murals at the Palais Bourbon and the Palais de Luxembourg. Delacroix{\textquoteright}s placement of the East in his Western cultural continuum - as seen in these murals - in some way, presents Delacroix{\textquoteright}s summation, tribute, and critique of the historical as well as literary and contemporary perspectives.}, keywords = {Nineteenth-Century Art}, author = {Zieve, Karen} } @mastersthesis {10539, title = {Painting the American Historical Epic: Thomas Hart Benton and Race, 1919-1936}, year = {2009}, school = {UC Santa Barbara}, abstract = {This dissertation, the first on Thomas Hart Benton{\textquoteright}s American Historical Epic (1919-1928), seeks to recover and to confront, rather than resolve, the fundamental contradictions of a project that tried to reinvent history painting and mural decoration for modern America. In the Epic panels, Benton employed stylized black, white, and Indian bodies to challenge conventional accounts of American history and expectations for mural painting. With their strangely elongated bodies, exaggerated proportions, distorted physical features, and intensely sculptural presence, Benton{\textquoteright}s monumental figures are powerful formal inventions but also startlingly and unmistakably American. Benton sought to interrogate the nation{\textquoteright}s art and body politic visually and thematically at a moment when problems of racial and national identity dominated political and cultural discourse. Politically motivated, the Epic is integrally related to the racially charged citizenship debates of the late 1910s and early 1920s. Yet the specific histories, art histories, and cultural references embedded in the iconography of the murals and associated with its figures and forms have never been analyzed in their entirety, until now. Discovery, Palisades, Aggression, Prayer, Retribution, Clearing the Land, Planting, The Slaves, The Witch, The Pathfinder, Over the Mountain, Jesuits, Struggle for the Wilderness, Lost Hunting Ground: these are the titles of the fourteen publicly exhibited Epic panels. The titles hint at their content, but it is the black, white, and Indian figures that reveal Benton{\textquoteright}s re-thinking of American history and the role of race within it. The nation{\textquoteright}s most familiar historical themes-discovery, religion, westward expansion-are recast to confront the racial inequities and violence embedded in the popular experience of these histories. This dissertation examines the Epic{\textquoteright}s provocative elements, from the unheroic subject matter to Benton{\textquoteright}s treatment of form, space, and design, and their influence on the "failure" of the mural series; after almost a decade of work, Benton had not received a public commission and abandoned the project. Consequently, Benton{\textquoteright}s artistic methods, idiosyncratic stylistic borrowings, and ambiguous use of racial figures are considered in relation to his own ambitions for these works as well as to the Epic {\textquoteright}s anomalous status within the history of American art.}, keywords = {Art of the United States}, author = {Bailly, Austen} } @mastersthesis {10549, title = {Pang Xunqin (1906-1985): A Chinese Avant-Garde, 1925-1945}, year = {2009}, school = {Maryland}, abstract = {This dissertation has three goals. The first is to chart the artistic life of Pang Xunqin (1906-1985) and his art works from 1929 to 1946. Pang{\textquoteright}s metamorphosis from an aspiring young artist in Paris and Shanghai in the 1920s and 30s, into an artist in his own right, a graphic designer, an educator, and a scholar of the history of Chinese art and craft, while ceaselessly trying to renew himself - all this is a record that deserves an art historical recognition. The second goal is to locate Pang Xunqin in the historiography of Chinese modern art in an attempt to problematize issues of inclusion and exclusion in the historiography of the field. The third goal, which is closely tied to the second, is to utilize post-colonial inquiries to explore myriad issues of non-Western modernism embodied in Pang Xunqin{\textquoteright}s case. Such issues include the divisions among the "traditionalists," the "academic realists," and the "modernists," colonial cosmopolitanism in the Shanghai of the 30s, and the appropriation of "primitivism" in the 40s. Attention also focuses on the issues of authenticity and "hybridity," Western orientalization of the East and self-orientalization by the East in cross-cultural encounters, and identity politics and nationalistic agendas in the construct of the guohua (national painting) and xihua (Western painting) divide. The post-colonial methodology employed here helps raise questions regarding the binary construct of tradition vs. modernity, the East vs. the West, the center vs. the periphery, and the global vs. the local. By placing Pang Xunqin{\textquoteright}s case in its semi-colonial historical and transnational context and by engaging in dialogue with the recent rich scholarship on cultural and postcolonial critiques, in conjunction with a formal analysis of his paintings and designs, this dissertation offers not only a monographic study of Pang{\textquoteright}s artistic life but also a critical examination and reassessment of the established art historical narratives of Western-trained artists in the historiography of Chinese modern art.}, keywords = {Chinese Art, Twentieth-Century Art}, author = {Zhu, Xiaoqing} } @mastersthesis {10687, title = {Panorama, Power, and History: Vasari and Stradano{\textquoteright}s City Views in the Palazzo Vecchio, Florence}, year = {2009}, school = {Johns Hopkins}, abstract = {Painted topographical views of cities and their environs appear throughout the mid-sixteenth-century fresco decorations of the Palazzo Vecchio. This project focuses primarily on the most extensive series, those in the Quartiere di Leone X. Giorgio Vasari and his assistant Giovanni Stradano painted the five rooms of this apartment between 1556 and 1561. The city views take one of three forms in each painting: as a setting for a historical scene, as the background of an allegory, or as the subject of the view itself. The Quartiere paintings present a history of the Medici and their rule of Florence as a legitimization of the new ducal rule under Cosimo I. The topographical portraits promote this historical argument in two interdependent ways: they present its geographic extent and they promote its cogency. To argue this thesis, the dissertation examines the position of the city views in relation to contemporary historiographic and cartographic practices. It begins by placing the Palazzo Vecchio city portraits within a new school of topographical views deriving from Antwerp, explaining how this type differs in their on-site sketching methods from other survey-dependant types. Vasari used that difference to help build enargeia for the history he presents in the decorations. The sketching proffered a more verisimilar information that lacked the specifics of measurement while capturing the character of the topography. That character permitted greater engagement through memory, thereby heightening the visualization required by historiography. Following three chapters that ground that argument, two sustained studies explain how the city views specific to a single room work in conjunction with the overall decoration. In the Sala di Clemente VII, the views act as settings that subtly manipulate the viewer{\textquoteright}s judgment of the presented history to present the Medici rule of Florence as just. In the Sala di Cosimo I, the city portraits celebrate the duke{\textquoteright}s fortification program to protect and make cohesive the Tuscan state. In both, and throughout the decorative program, the city paintings work to enhance belief in the dominion of the duke.}, keywords = {Renaissance/Baroque Art}, author = {Gregg, Ryan} } @mastersthesis {10529, title = {Paradigms for Freedom: Hale Woodruff, the New Negro, and Landscape}, year = {2009}, school = {CUNY}, abstract = {From the early 1920s to the late 1940s, the painter Hale Woodruff (1900-1980) demonstrated a consistent interest in creating portraitures of New Negro types and modern landscape painting. This dissertation will be the first sustained treatment of Hale Woodruff{\textquoteright}s important career, examining the artist{\textquoteright}s treatment of these subjects in relation to his class mobility and the cultural and social forces that shaped his art. In an effort to examine the significance of these topics in the artist{\textquoteright}s work, this dissertation will look critically at the artist{\textquoteright}s career beginning in 1900 (the year of his birth) and 1946 (the year he joined the faculty at New York University. I will explore the thematic transitioning of the artist{\textquoteright}s work within four chronologically organized periods: (1) Woodruff{\textquoteright}s childhood in Nashville, Tennessee; (2) Woodruff{\textquoteright}s association with W.E.B. Du Bois and the African-American intellegencia in Indianapolis during the 1920s; (3) Woodruff{\textquoteright}s interest in landscape painting in France late 1920s and 1930s; (4) Woodruff{\textquoteright}s tenure at The Atlanta University Center, beginning in 1931.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Brooks, Leronn} } @mastersthesis {10536, title = {A Passion for Spain: Espanolismo in American Visual Culture}, year = {2009}, school = {Minnesota}, abstract = {This dissertation traces an image of Spain constructed during the nineteenth century into the popular culture and consciousness of early twentieth-century America. French and American artists in concert with writers and scholars of the Romantic era produced an Orientalized picture of Spain that resonated widely during the 1920s. Their version presented Spain as dark, mystical, exotic, and erotic-antitheses to European or Anglo-American American positivism, materialism, and social and sexual conservativism. Modern commercial interests used Romantic "Spanishness" to market art and design and to sell mass-produced goods. I argue that while the dark eroticism of Black Spain was often watered down for mass consumption, performing Spanishness through the acquisition and use of products and fashions nonetheless offered American consumers opportunity to transgress societal conventions while safely couching their contraventions in the fantasy and play encouraged by modern commercial methods.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Roethke, Leigh} } @mastersthesis {10730, title = {Pedagogy, Modernism, and Medium Specificity: The Bauhaus and John Cage}, year = {2009}, school = {Chicago}, abstract = {In this dissertation, I bring the relationship between the Bauhaus and composer John Cage to the fore. The pedagogic examples of Bauhaus masters Laszlo Moholy-Nagy and Josef Albers contributed significantly to Cage{\textquoteright}s work and to the lectures and courses he offered at the School of Design, Black Mountain College, and at the New School for Social Research. In rendering this relationship visible, I establish a new trajectory for understanding the proliferation and evolution of the design school in America and draw attention to correspondences among seemingly disparate creative practices. By mapping the dynamics of the Bauhaus-Cage relationship, I challenge the ways in which the school and composer have been cast as independent historical entities. Modernist assumptions regarding design, the medium, and function serve as counterpoints throughout this dissertation insofar as these critical structures-and responses to them-have precluded scholars from fully understanding affinities between the Bauhaus and Cage. I assert that the Bauhaus-Cage relationship runs counter to perceptions of the design school as representative of an over-determined ideology and overwrought aesthetic of modernist reduction. At the same time, my assessment of this relationship complicates a casting of the composer as prophet for a neo-avant-garde. In this regard, I show how Bauhaus pedagogic methods and practices were flexible enough to be applied to both visual and aural media. When refracted through Cage{\textquoteright}s unique creative lens it becomes evident that the Bauhaus was influential in performance-based and often ephemeral artistic activity well-beyond the temporal bounds of the school{\textquoteright}s original manifestation in Germany, and in a radically new context.}, keywords = {Twentieth-Century Art}, author = {Saletnik, Jeffrey} } @mastersthesis {10495, title = {Perception and Pedagogy: Design, Advertising, and Education in Chicago, ca.1935-1955}, year = {2009}, school = {Columbia}, abstract = {This dissertation charts the institutional absorption of the Bauhaus, and European avant-garde and abstract art and design more generally, in Chicago between roughly 1937 and 1955. The New Bauhaus (subsequently called the School of Design and then the Institute of Design) with Laszlo Moholy-Nagy as director (1937-1946) served as an important influence in Chicago in the field of museum education, display, and corporate design and advertising. In Chicago, Moholy-Nagy, and other figures associated with the School of Design, came into contact with the gallery director and modern art curator, Katharine Kuh, and the founder and president of the packaging company, Container Corporation of America, Walter Paepcke. Kuh and Paepcke enabled the spread of Bauhaus theory, post-cubist abstraction, and the perceptual ideas embedded in the "new vision" into museum display, advertising, packaging, and corporate design. A major focus of the dissertation is on advertising, which Moholy-Nagy, Kuh, and Paepcke situated as a public form in which social and political ideas, perceptual innovations, and avant-garde culture could be articulated. Advertising, by connecting with a mass audience, offered a chance at renewed civic engagement and relationship to progressive culture. Intervening in this notion of "advance guard" advertising, however, was the rise of advertising psychology which implied a completely different notion of the subject-one not based on the potential at renewal of engaged citizenship and liberated perceptual opportunity, but instead on manipulation through design and typographic elements. Each chapter focuses on one key figure in the spread, absorption and institutionalization of avant-garde culture, Bauhaus design, and the "new vision" into advertising, packaging, display, and education. The first chapter focuses on Moholy-Nagy and the School (later Institute) of Design in Chicago. It will broadly consider Moholy-Nagy{\textquoteright}s relationship to avant-garde culture in Europe, his commercial work, and his career as an educator at the Bauhaus, as well as the conditions surrounding his attempts to re-create the Bauhaus in Chicago between 1937 and 1946. This chapter will also analyze Moholy-Nagy{\textquoteright}s efforts to expand the scope of design education against an increasing focus on "professional" skills. Moholy-Nagy{\textquoteright}s efforts in this field led to the School of Design{\textquoteright}s increasing focus on the humanities, transforming the school{\textquoteright}s earlier focus on technology and science, into an engagement with liberal studies as well. The second chapter considers Kuh, her gallery work, and her later work as curator of the Gallery of Art Interpretation at the Art Institute and as the first curator of Modern Painting and Sculpture at the museum. This chapter analyzes an exhibition that Kuh developed with Moholy-Nagy and Gyorgy Kepes in 1941, the "Advance Guard of Advertising Artists," in which avant-garde culture in America was argued to progress though an engagement with commerce. It was Container Corporation{\textquoteright}s advertising campaigns which had already employed photomontage, collage, and "new vision" photography that propelled Kuh into the belief that an American avant-garde culture could only emerge through an engagement with the country{\textquoteright}s "vast industrial and commercial development."1 This chapter will also consider Kuh{\textquoteright}s later exhibition practices and museum education efforts that drew on her personal and professional interactions with Moholy-Nagy, Kepes, and other figures at the School of Design. The third chapter deals with Walter Paepcke and his box manufacturing and packaging organization, Container Corporation of America. Paepcke came into contact with modern European art and design through his exposure to the European publications Graphis and Gebrauchsgraphik, through his company{\textquoteright}s art director, Egbert Jacobson, and later through his close relationships with Moholy-Nagy and Herbert Bayer. Paepcke was actively engaged with the School of Design, supporting it financially and continually defending it against criticisms coming from other members within Chicago{\textquoteright}s business community. The main thrust of the chapter on Paepcke, however, focuses on the ways that modern art and design, avant-garde photography and graphics transformed Container Corporation from a small box manufacturing company into a complex structure in which design played a central role in its operations. This chapter will also consider Container Corporation{\textquoteright}s advertising series-the "Early Series," "United Nations," "United States," and the "Great Ideas of the Western World."}, keywords = {Architectural History/Historic Preservation, Decorative Arts/Textiles/Design History}, author = {Allison, Lara} } @mastersthesis {10583, title = {Performative Autopathographies: Self-representations of Physical Illness in Contemporary Art}, year = {2009}, school = {McGill}, abstract = {Performative Autopathographies examines firsthand representations of physical illness produced by selected professional artists since 1980. Through pointed case study analyses, it shows how contemporary autopathographies function beyond therapeutic expression by articulating political, aesthetic, and metaphysical positions (e.g., autothanatography) in relation to lived experience. Notions of pathography, performativity, acting forms, confession, dialogism, and the ethics of response are presented in the Introduction. Chapter 1 reviews the literature relevant to the emergent field of "cultural illness studies," situated at a disciplinary crossroads between medical humanities and visual/cultural studies. It outlines the research undertaken on pathography thus far, and details the relational, restorative, political and aesthetic stakes that characterize the practice. Chapter 2 examines the "performalist" photography of Hannah Wilke, conducted in response to her mother{\textquoteright}s cancer and her own. Wilke{\textquoteright}s pathographic works are read with the guidance of Aby Warburg{\textquoteright}s Pathosformel, which helps to generate my notion of the "formula of pathos." Chapter 3 considers Jo Spence{\textquoteright}s construction of a living archive through her photographic treatment of illness. Contrasting her production to other circulating images of breast cancer, the chapter details how Spence built a critical visual culture of disease. The performative aspects of Spence{\textquoteright}s "phototherapy" are discussed, while her final works are interpreted along the framework of autothanatography. Chapter 4 considers the semiotics of the body in pathographic choreography. The historical associations between disease and dance are retraced before considering works by Jan Bolwell and Bill T. Jones. Critic Arlene Croce{\textquoteright}s notorious reaction to Jones{\textquoteright} Still/Here furthers the discussion on the ethics of response and responsibility in receiving pathographic works. Findings from these case studies of autopathographic practice are summarized in the Conclusion, which retraces the salient aesthetic characteristics of contemporary performative autopathographies.}, keywords = {Contemporary Art}, author = {Tembeck, Tamar} } @mastersthesis {10570, title = {Performative Monuments: Public Art, Commemoration, and History in Postwar Europe}, year = {2009}, school = {MIT}, abstract = {The performative monument, as I term an emergent genre of interactive public actions, rests on a new notion of agency in public space, in which political responsibility is performed by historically aware individuals in acts of commemoration. This dissertation argues that public performance art starting in the 1960s provided a crucial impulse for new forms of commemoration in 1980s Europe and beyond. I claim that performance, a supposed antipode to the monument in its ephemerality and dematerialization, did not neutralize the monumental but reinvented it as a new practice: one that involved the audience explicitly through conventional transactions, best understood through the speech-act theory of J. L. Austin (who coined the term "performative" in the 1950s). To specify the correlation between performance and monumental public space, I draw attention to the empirical shift from performance to monument production in the work of postwar Central and Eastern European artists, and to the theoretical continuity that makes this shift possible. Monumental architecture played a role in the early performances of Anselm Kiefer, Joseph Beuys, Jochen Gerz (all German), Valie Export, Peter Weibel, and Gunter Brus (Austrians), Marina Abramovic and Braco Dimitrijevic (from former Yugoslavia), among others. These artists brought a performative component to the memorial culture of the 1980s and {\textquoteright}90s, mediating between history and the individual in ways sketched by the ephemeral events of {\textquoteright}60s and {\textquoteright}70s performance. I examine these interconnections in the passage from confrontation to commemoration through a variety of heterogeneous but related documents: photographs and eyewitness accounts of early performance; interviews and press accounts that evolved their own logic and myths over the years separate from the events; plans and drawings of unrealized monuments, and that most complicated and characteristic form of {\textquoteright}performative documentation,{\textquoteright} photographs modified through drawing, painting, or collage techniques to involve their viewers in a collaborative re-imagining of the role of commemoration in public space.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Widrich, Mechtild} } @mastersthesis {10660, title = {The Phantom of Inspiration: Elena Polenova, Maria Lakunchikova, and the Emergence of Modern Art in Russia}, year = {2009}, school = {Pittsburgh}, abstract = {This dissertation provides an examination of the lives and works of two Russian artists: Elena Dmitrievna Polenova (1850-1898) and Mariia Vasil{\textquoteright}evna Iakunchikova (1870-1902). It takes a biographical approach to elucidate how Polenova and Iakunchikova negotiated the constraints imposed by their gender and the rapid changes occurring in Russia{\textquoteright}s social structure in their search for a modern Russian art. The dissertation begins with an investigation of Polenova{\textquoteright}s activities in the spheres of social activism and art in the 1870s and concludes with both women{\textquoteright}s contributions to the Russian handicrafts (kustar) pavilion at the 1900 Paris Exposition Universelle. While Polenova{\textquoteright}s contributions to the Russian kustar revival have been the subject of scholarly research, her activities in the broader art world have not. This dissertation seeks to remedy the skewed vision of Polenova{\textquoteright}s artistic output that has been a result. In addition, her close friendship and artistic synergy with Iakunchikova has been neglected. Iakunchikova is virtually unknown outside a small group of Russian-art specialists. Thus, an investigation of both women{\textquoteright}s work together provides a more rounded history of their contribution to Russian artists{\textquoteright} search for a modern, yet uniquely Russian, art at the end of the nineteenth century.}, keywords = {Nineteenth-Century Art}, author = {Harkness, Kristen} } @mastersthesis {10530, title = {Phenomenological Labyrinths in 1960s and 1970s American Art}, year = {2009}, school = {Virginia Commonwealth}, abstract = {In the 1960s and 1970s when artists unremittingly challenged art{\textquoteright}s definition and conventions in a relentless effort to de-institutionalize it, integrate it with everyday life, increase viewer participation, and revolutionize perception, the labyrinth became once again an important and particularly relevant artistic motif. This dissertation examines the new kind of labyrinth appearing in {\textquoteright}60s and {\textquoteright}70s American art, which will be designated the phenomenological labyrinth, based on French philosopher Maurice Merleau-Ponty{\textquoteright}s notion of embodied perception. The ensuing large-scale constructions created during this time period are comprised of passageways designed to disorient participants in ways that require a perceptual shift away from optical perception and toward embodied awareness. By focusing on the phenomenological labyrinth as a distinct type of artwork positioned between art and life, sculpture and architecture, optical and kinesthetic perception, this project is the first study to identify this new genre, evaluate it according to the growing popularity of Merleau-Ponty{\textquoteright}s theories in the {\textquoteright}60s and {\textquoteright}70s, and ascribe specific terms for distinct types of this new labyrinth that will be named the parenthetical labyrinth, the amusement labyrinth, and the panoramic labyrinth. This dissertation proposes that the labyrinth{\textquoteright}s liminality, its embodiment of in-between spaces, encapsulates some of the period{\textquoteright}s most revolutionary artistic concerns in unique and advantageous ways, thereby presenting cutting-edge artists with a means for releasing art from restrictive definitions and conventional notions of spectatorship. Opening art to new meanings and undermining its customary modes of apprehension, the phenomenological labyrinth is significant not only for the new kind of labyrinth it introduced into the history of art, but also for generating an altogether new kind of art form and dynamic artistic experience.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {De Armendi, Nicole} } @mastersthesis {10718, title = {Philosophers, Artists, and Saints: Ernst L. Kirchner and Paintings of Male Friendship, 1914-1917}, year = {2009}, school = {CUNY}, abstract = {This dissertation examines the profound role of Friedrich Nietzsche{\textquoteright}s early publications on the artist Ernst L. Kirchner{\textquoteright}s theories and artwork in contrast to interpretations that focus on the overriding influence of the philosopher{\textquoteright}s late work Thus Spoke Zarathustra. Although it is well known that the German Expressionist artists{\textquoteright} group Brucke, or "bridge," with Kirchner as a founding member, selected their name from a passage in Thus Spoke Zarathustra to signify their movement away from the conventional social and aesthetic values of Wilhelmine Germany upon their foundation in Dresden in 1905, Kirchner{\textquoteright}s intense, lifelong engagement with Nietzsche necessitates further examination. Of particular importance is Kirchner{\textquoteright}s close friendship with the charismatic Botho Graef, a Classical archaeologist and, like Nietzsche, a trained philologist. Beginning in 1914, the men{\textquoteright}s relationship spanned three turbulent years that were interrupted by the devastating events of the First World War and ended with Graef{\textquoteright}s death in 1917. Graef introduced Kirchner to Nietzsche{\textquoteright}s first publication The Birth of Tragedy, a work centered on creative achievement as realized by the ancient Greeks through their productive reconciliation of dichotomous Apollinian and Dionysian forces. This idea quickly fostered Kirchner{\textquoteright}s emergent interest in double-portraiture featuring Graef and the members of his circle with whom he maintained close pedagogical relationships modeled after the ancient example. In Nietzsche{\textquoteright}s second publication Untimely Meditations, he explains that only a select few possess an understanding of how to successfully reconcile their actions within a framework of historical awareness to become supra-historical individuals, the "philosophers, artists and saints" of his text who are uniquely capable of transcendent cultural contributions. Kirchner navigated this period by relying equally on the example described in Nietzsche{\textquoteright}s publication and on his friendship with Graef to realize his most enduring and expressive artworks, thereby succeeding in realizing Nietzsche{\textquoteright}s ideal while establishing a potent means of artistic reconciliation and personal preservation that remained vital throughout the duration of the war and continued long after his union with Graef ended.}, keywords = {Twentieth-Century Art}, author = {Jordan, Sarah} } @mastersthesis {10601, title = {Photography in Urban Discourse: Berenice Abbott{\textquoteright}s Changing New York and the 1930s}, year = {2009}, school = {Northwestern}, abstract = {Between 1929 and 1939, Berenice Abbott produced an extraordinary portrait of New York City in a series of over one thousand photographs of its buildings, bridges, and streets. Acclaimed by social critics, fellow photographers, and civic boosters alike, her photographs were immediately resonant in the 1930s, when the severe economic depression threatened the social integrity of New York City and compounded existing uncertainties about the nature and future of the modern metropolis. Despite Abbott{\textquoteright}s continued fame throughout the subsequent decades, no study in photo history, art history, or urban studies has dealt with this body of photographs with regard to this extraordinary cultural context. This project examines the remarkably enthusiastic reception of Abbott{\textquoteright}s project in the 1930s in relation to contemporary ideas and anxieties about the city. I show how Abbott{\textquoteright}s photographs were appropriated as evidence and deployed as rhetorical tools within both popular culture and critical discourse in order to bolster, and sometimes challenge, dominant social and economic systems. The reception of Abbott{\textquoteright}s photographs intersected four specific and widespread cultural practices-preservation efforts, boosterism, guidebook production, and what I call the fantasy of ascent-each of which influenced urban consciousness and even altered the cityscape itself in the 1930s. By tracing how the photographs circulated in urban discourse and by examining the photographs anew in relation to this discursive context, I endeavor to demonstrate how images-Abbott{\textquoteright}s and others-participated in shaping perceptions and conceptions of the urban landscape in a period of instability, when the future of the modern metropolis was very much in doubt.}, keywords = {Drawings/Prints/Works on Paper}, author = {Shimizu, Meredith Tegrotenhuis} } @mastersthesis {10648, title = {The Picture of Nature: Alexander von Humboldt and the Tropical American Landscape}, year = {2009}, school = {IFA/NYU}, abstract = {This thesis examines the aesthetic construction of the tropical American landscape by Alexander von Humboldt (1769-1859), the German explorer who viewed the American tropics as both natural environment and painted scene. I analyze Humboldt{\textquoteright}s vision of America{\textquoteright}s natural landscape based on his writings-notably Aspects of Nature (1808), Personal Narrative of a Journey to the Equinoctial Regions of the New Continent (1814-31), and Cosmos: A Sketch of a Physical Description of the Universe (1845-62)-and published illustrations. I consider his ideas concerning nature in relation to the work of landscape artists such as Frederic Edwin Church and Johann Moritz Rugendas, as well as the critic John Ruskin, to convey Humboldt{\textquoteright}s profound impact on landscape art and aesthetic theory. The environmental determinism evident in Humboldt{\textquoteright}s representation of natural and archaeological landscapes narrates a cultural history where human beings are not physically described. His positive aesthetic admiration of a pristine nature, extolled as sublime and picturesque, devalued the inhabited and cultivated landscape. Chapters one and two address tropicality and ecological holism, two major concepts behind Humboldt{\textquoteright}s formulation of America{\textquoteright}s natural and painted landscape. I suggest how his characterization of America as tropical and of nature as an interrelated whole mutually influenced nineteenth-century landscape depictions of Latin America and other locales. In chapter three, I explore the landscape illustrations in Humboldt{\textquoteright}s Views of the Cordilleras and Monuments of the Indigenous Peoples of America (1810-1813) from the perspective of the picturesque journey. The chapter argues that association and not contrast structure the volume and defines the picturesque, the classical heroic landscape style, and the Grand Tour as essential aesthetic categories to understanding the landscape illustrations. Chapters four and five address German colonial ideology, which championed Humboldt in a historical explication of America{\textquoteright}s discovery. I describe how the promotion of tropical American landscape representations and portraits of Humboldt in Latin American settings bolstered a German claim to the real discovery of America through science and travel. Humboldt{\textquoteright}s scientific importance eclipsed his equally monumental influence on visual culture. This dissertation examines the relationship between Humboldt{\textquoteright}s view of the American tropics and the landscape painting genre.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Lubowski, Alicia} } @mastersthesis {10739, title = {Pictures that Satisfy: Modernist Discourses and the Politics of Race, Gender, and Nation in the Art of Irma Stern (1894-1966)}, year = {2009}, school = {Duke}, abstract = {This dissertation examines South African artist Irma Stern{\textquoteright}s contributions to modernism in South Africa and to modernism as a global movement. It analyzes how Stern{\textquoteright}s interactions with South Africans, combined with her early artistic training in Germany and her cultural connections to the South African Jewish community, helped her to bring critical issues of race, gender, and nation into focus through her work. This study goes beyond the work of previous scholars who have suggested that Stern was uninterested in social or political causes, arguing that Stern was acutely aware of how social and political themes contributed to modernism{\textquoteright}s development in Europe. Moreover, this study concludes that Stern employed similar strategies to develop a South African modernism. Although she often spoke pejoratively about nonwhite South Africans, she was cognizant of the fact that the act of painting nonwhites made significant artistic and political statements. Because Stern is virtually unknown in the United States, this study will do the following: (1) Introduce Stern to an American audience by discussing her work from the beginning of her artistic training in Germany in 1913 to her death in 1966; (2) Reconnect Stern to the larger global debates about modernism in the twentieth century; (3) Analyze Stern{\textquoteright}s works that have received little or no attention in previous scholarship; and (4) Discuss the long-term influence that Stern{\textquoteright}s work had in shaping the direction of South African art before, during, and after apartheid. Formal analysis and close readings of Stern{\textquoteright}s oil paintings, drawings, travel narratives, and watercolors are crucial in understanding how she used her artistic talents to record visual interpretations of South African culture history. As one of only a few internationally respected South African artists of the apartheid era, an examination of Stern{\textquoteright}s work and career allows for a more complex understanding of how race, gender, and nation contributed to the development of modernism in South African art history.}, keywords = {Twentieth-Century Art}, author = {Walker, Lanitra} } @mastersthesis {10695, title = {Pietre di paragone: The Production of Spatial Order in the Twelfth-Century Lombard City}, year = {2009}, school = {IFA/NYU}, abstract = {Dismissed by scholars as irrelevant, measurements deeply permeated late medieval culture in northern Italy. Through a comparative analysis of the evidence that has survived for ten urban centers on the Lombard plain, I set out to examine the destiny of medieval measurements from three points of view. First, I reconstruct the physical body of measurements. I argue that medieval standards were originally devised in the tenth century and were handed down without corruption because the Lombard communities developed a revolutionary method of preservation: the pietre di paragone. They carved the ratio of each standard into stone structures located in the public square. I discuss the appearance of these pietre and retrieve the cultural values as well as the political interests that led to this widespread form of display. Second, I interpret why and how measuring became a living element in the mentality of the time. Measuring, in fact, was not only used in trade or to settle property disputes, but was employed in a wide range of activities, from devotional practices (medieval people worshipped Christ{\textquoteright}s height and the dimensions of holy shrines) to literary description of cities (where mention of measurements stood as a rhetorical validation of their orderliness and prestige). Third, and most importantly, I examine how measurement systems affected architectural practices, producing a specific sense of precision and favoring the design of buildings following geometric rules. I note that medieval architects employed recurring proportions and schemata, which, I argue, were actively retrieved from Roman land surveying techniques, thus moving towards a reconsideration of the relationship between Romanesque architecture and classical culture. Measuring, this dissertation concludes, lost its cultural relevance as well as its practical effectiveness in the fifteenth century. Architects started conceiving buildings modularly and not dimensionally (Leon Battista Alberti excluded references to measurements from his treatises) and tradesmen became insecure about the value of their local standards. Arithmetic eventually replaced geometry as the operative mathematical core of science, and it is on the arithmetical, decimal scale that the metric system is based. When Napoleon introduced it to Italy, he easily swept away the last remnants of the obsolete medieval measurements.}, keywords = {Renaissance/Baroque Art}, author = {Lugli, Emanuele} } @mastersthesis {10515, title = {Planned Grandeur: A Comparative Study of Urban Expansion in Early Modern Italy and Mamluk Egypt}, year = {2009}, school = {Binghamton}, abstract = {This dissertation explores similar trajectories in two diverse cultural milieus through an examination of the conscious redefinition of urban space during the late fifteenth century in Florence and Cairo. During this period two (sub)urban districts were developed: Via Laura in Florence and Azbakiyya in Cairo. Analyzing these building projects reveals remarkably similar motivations leading to their conception despite the obvious differences of the ruling groups-religious, social, and political. In these districts, both situated in areas beyond previously established boundaries of urbanized space and neither of which the result of organic urban growth, we find a systematic process in which the ruling elite deliberately sought to transform the urban landscape through the inclusion of distinctive, low-density settlement areas, well-suited to the affluent and expansive life they led. These projects were not, however, the result of one culture{\textquoteright}s influence or dominance over another-one was not dependant on the other-rather, these projects were parallel developments.}, keywords = {Architectural History/Historic Preservation}, author = {Smith, Sharon C.} } @mastersthesis {10520, title = {Plantae, Animalia, Fungi: Transformations of Natural History in Contemporary American Art}, year = {2009}, school = {Penn State}, abstract = {This dissertation examines the ways that five contemporary artists-Mark Dion (b. 1961), Fred Tomaselli (b. 1956), Walton Ford (b. 1960), Roxy Paine (b. 1966) and Cy Twombly (b. 1928)-have adopted the visual traditions and theoretical formulations of historical natural history to explore longstanding relationships between "nature" and "culture" and begin new dialogues about emerging paradigms, wherein plants, animals and fungi engage in ecologically-conscious dialogues. Using motifs such as curiosity cabinets and systems of taxonomy, these artists demonstrate a growing interest in the paradigms of natural history. For these practitioners natural history operates within the realm of history, memory and mythology, inspiring them to make works that examine a scientific paradigm long thought to be obsolete. This study, which itself takes on the form of a curiosity cabinet, identifies three points of consonance among these artists. First, these artists are concerned with acknowledging, adhering to, or subverting the borders of naturalist taxonomy. They have appropriated this scientific system of classification, that applies names to organisms-"species"-to question and undermine the very nature of culturally-constructed categories. Ultimately, their critiques are concerned with the very categorization of knowledge itself. Second, these artists demonstrate a sustained engagement with organismal bodies, attending to plants, non-human animals and fungi and how they have been applied to our wider culture. Delving into ontology, they provide a space where viewers may come to terms with, and simultaneously envision, what it is to be a human being, in a body, in the late twentieth and twenty-first centuries. Third, in an attempt to resolve a historical past in the present, Dion, Tomaselli, Paine, Ford and Twombly use natural history to explore and negotiate memory and mythology in the process of their retreat into eighteenth- and nineteenth-century natural history, its golden age. I take Aby Warburg{\textquoteright}s (1866-1929) Mnemosyne, or Atlas Project (1927-29), as a model for understanding historical natural history as a field of observation and recollection, which attended to memory, or according to Warburg, the past conceptualized in the present. Guided by an associative model, Warburg{\textquoteright}s project continues to challenge traditional patterns of conceptualizing objects and images and their relationship to one another, leaving us to contemplate our own evolutionary pasts and place within the order of things. The artists here rely on a similar associative model to reckon with history, memories and presentness in the process of constructing new ways of seeing. They have discovered in natural history, as Warburg himself attempted to do with his "serpent" and "nymph," a kind of resolution of memory and "trauma." For these artists, trauma is complex and subtle, scattered across a field of colonialism, ecological destruction, and reductive nature-culture bifurcations. It exists in, among other things, the consolidation of living beings into the homogenous category of "life" and the relegation of the field of nature to the laboratory of science, exterior to our own processes of becoming. These artists beckon us with a Visionary Natural History: Through the space of their own serpents and nymphs-historical natural history-they demonstrate an awareness that acknowledges a past both violent and full of promise, rich with possibilities for constructing new ways of seeing and being.}, keywords = {Art of the United States, Contemporary Art}, author = {Mazow, Alissa Walls} } @mastersthesis {10552, title = {Political Advancement and Religious Transcendence: The Yongzheng Emperor{\textquoteright}s (1678-1735) Deployment of Portraiture}, year = {2009}, school = {Stanford}, abstract = {Through an examination of the intertwined themes of political motivation and religious transcendence, this dissertation studies a group of mystifying portraits commissioned by Yinzhen (1678-1735) before and after he became the Yongzheng emperor (r. 1723-1735) of the Qing dynasty (1644-1911) in China. As it was a common practice for the term xingle tu to be used indiscriminately during the early Qing dynasty, I deliberately avoid this term and the confusion it may cause in this dissertation. By articulating the active role painted portraits played in influencing the Kangxi emperor{\textquoteright}s (r. 1661-1722) selection of his successor, this project advances contemporary understanding of a long-debated historical problem surrounding the legitimacy of Prince Yinzhen{\textquoteright}s enthronement. The reconstruction of the Yongzheng emperor{\textquoteright}s painting academy through records from the archives of the Office of Manufacture and Procurement fills a significant gap in the literature on Qing imperial art. The so-called "masquerade portraits" albums portray the Yongzheng emperor performing personages from different cultures, regions, and religions. The role that these portrait albums played in the Yongzheng emperor{\textquoteright}s religious pursuits was twofold. The first aspect was their ability to assist the emperor in imagining his transformation into other human beings. Secondly, these albums provide a visual experience that metaphorically enacted doubts about the nature of human existence. The perceptual experience mirrored important questions for Chan Buddhism; in the end, they must have finally enhanced the Yongzheng emperor{\textquoteright}s understanding of the notion of ultimate emptiness and offered hopes for enlightenment.}, keywords = {Chinese Art}, author = {Hui-Chi, Lo} } @mastersthesis {10649, title = {The Politics of Ethnicity: Re-imagining Indigenous Identities in the Sixteenth-Century Relacion de Michoacan}, year = {2009}, school = {UCLA}, abstract = {Around 1539, in recently conquered Michoacan, Mexico, the Spanish viceroy to Mexico, Antonio de Mendoza, commissioned a Franciscan friar in the City of Michoacan to record the customs of the region so that he could govern it more effectively. The result was the illustrated manuscript known as the Relacion de Michoacan. To accomplish his task, the friar employed both indigenous noble informants, whose oral contributions formed the text, and anonymous native artists, who created the forty-four illustrations of the manuscript. The agendas of the indigenous contributors were not uniform, however. To collect the information, the friar worked with noble members of two competing ethnic factions. For the indigenous collaborators, the project presented a unique opportunity to shape European perceptions of them, while settling conflicting agendas, outshining competing ethnic groups, and carving for themselves a place in the new colonial society. Given the divergent agendas of its contributors, the Relacion presents different strategies and conflicting reports, and its images do not always match the text. The manuscript has many emendations, which reveal what the different contributors sought to highlight in the text, and sometimes the ways in which they disagreed. In spite of their diverging interests, however, both indigenous groups also had to fight the encroachment of Spanish newcomers in the region, requiring that they present, at one level, a united front. Through a comparative analysis of the Relacion{\textquoteright}s illustrations with European and indigenous images and court documents, this study shows how indigenous artists manipulated ethnic difference in the ways they illustrated the life and history of their ethnically stratified state. It asserts that indigenous groups, in the process of addressing their colonial audience, shaped their own identities in relation to their history, each other, and their colonial needs.}, keywords = {Latin American/Caribbean Art}, author = {Afanador-Pujol, Angelica J.} } @mastersthesis {10521, title = {Pop, Place, and Personal Identity in the Art of Roger Shimomura}, year = {2009}, school = {Kansas}, abstract = {This study demonstrates that an understanding of artists who foreground issues of ethnicity in their work need not be reduced to that single dimension. It does so by exploring the work of Japanese American artist Roger Shimomura (b.1939) both chronologically and thematically. In keeping with Shimomura literature to date, this project attends to the topic of ethnic stereotypes prominent in his oeuvre, but also investigates important subtexts. It examines the importance of 1960s pop artists to Shimomura{\textquoteright}s practice and considers how he has used pop strategies to develop pointedly personal and political work. It attends to the importance of Shimomura{\textquoteright}s dual homes in Seattle, Washington and Lawrence, Kansas, considering how ties to these locations have shaped his approach to depicting a third place-the World War II Japanese incarceration camp Minidoka. And, this study examines Shimomura{\textquoteright}s many self portraits, noting how they counter assumptions of singular, fixed identities.}, keywords = {Art of the United States, Contemporary Art}, author = {Stamey, Emily} } @mastersthesis {10547, title = {Portraiture and Feminine Identity in the Stieglitz Circle: Agnes Ernst Meyer, Katharine Rhoades, and Marion Beckett}, year = {2009}, school = {Delaware}, abstract = {This dissertation is the first comprehensive study of Agnes Ernst Meyer (1887-1970), Katharine Nash Rhoades (1885-1965), and Marion H. Beckett (1886-1949), a trio that brought a notable feminine presence to Alfred Stieglitz{\textquoteright}s New York galleries between 1905 and 1925. Nicknamed "the Three Graces," they enacted multiple roles within the Stieglitz Circle: Meyer collected modern art, Rhoades and Beckett were artists themselves, Rhoades and Meyer wrote poetry, and all three modeled for other artists. This study examines the women{\textquoteright}s artistic production, personal alliances, and self-presentation against the background of Stieglitz{\textquoteright}s gallery at 291 Fifth Avenue and a broader cultural context, considering the various ways they shaped their identities as modern women and modern artists. As "New Women" of the early twentieth century, Meyer, Rhoades, and Beckett reached adulthood at a transitional societal moment, when models of Victorian femininity were being replaced by modern ones, and they often responded to shifting opportunities and expectations with a sense of ambivalence. They negotiated their personal and professional selves by performing their individual subjectivities through modes of dress, social behavior, their own art, and their collaborations with other artists. For these women, modern portraiture played a key role in a complex process of feminine identity formation. In photographs by Alfred Stieglitz and Edward Steichen, paintings by Steichen, caricatures by Francis Picabia, drawings by Marius de Zayas, and paintings by Arthur B. Carles, the women presented themselves and were represented in a range of styles. They also depicted each other and their artist friends in return, in styles that combined academic training with recent exposure to Fauvism and abstraction. In their creative processes, including those in which they collaborated and engaged with other artists, they reshaped the longstanding tradition of the muse and blurred the line between subject and artist. This dissertation acts as a corrective to the limited previous scholarship on Meyer, Rhoades, and Beckett by demonstrating their more active, multivalent roles in the Stieglitz Circle and the ways they complied with--and then disrupted--the boundaries of feminine identity and modernism through their two-fold participation in portraiture.}, keywords = {Art of the United States}, author = {Murphy, Jessica} } @mastersthesis {10604, title = {Praesentia et Potentia in the Cubiculum Leonis in the Catacomb of Commodilla, Rome: Late Ancient Martyr Cult in a Late Roman{\textquoteright}s Tomb}, year = {2009}, school = {Missouri}, abstract = {No record in ProQuest}, keywords = {Early Christian/Byzantine Art}, author = {Gannaway, Ethan} } @mastersthesis {10575, title = {Precarious Occupations: The Fragile Figure of Home in Contemporary Art}, year = {2009}, school = {McGill}, abstract = {This dissertation addresses contemporary art{\textquoteright}s capacity to facilitate ethical encounters with the suffering of others. Arguing that any effort to understand how trauma marks the present must also recognize ours as an age in which "home," particularly for those vulnerable to contingency (the exile, the migrant, the asylum seeker, the homeless), can no longer accommodate its presumed status as a stable haven from the troubled world, I identify and analyze a select group of contemporary artists who seek to mediate legacies and conditions of trauma through representations or evocations of the fractured, fragile, or otherwise unsettled home. In the practices of Krzysztof Wodiczko, Santiago Sierra, Doris Salcedo, Alfredo Jaar, Emily Jacir, Ursula Biemann, Yto Barrada, Tony Labat, and Mona Hatoum, I suggest, loss is represented as an "unhomely" experience and home is imagined and remembered as a site of provisionality, a lost territory of belonging, and a tenuously sustained but tenaciously held memory. Drawing on but also challenging the assumptions of psychoanalytically-informed trauma studies, I furthermore suggest that these practices harness the constructive and creative nature of melancholic attachment to loss in order to facilitate recognition of both the material nature of loss and the universality of human vulnerability. I propose that the fragile figuration of home, which I theorize as an "unhomely" aesthetic, has a twofold function: first, to construct (literally or figuratively) a material structure around loss that preempts the cathartic resolution of unresolved situations; and second, to imagine this material structure as a liminal space of unresolved trauma that articulates the fragility of self-other relations and, in the process, transforms home into a potential site for empathetic engagements with the suffering of others. In the process, these artists provide critical insights into how we might bear ethical witness to the suffering of others, and how contemporary art might be uniquely positioned to facilitate such an experience.}, keywords = {Contemporary Art}, author = {Lauzon, Claudette Yvonne} } @mastersthesis {10703, title = {The Proceeds of Prosperity: Images of Domestic Money Management and Exchange in Dutch Genre Painting in the Middle of the Seventeenth Century}, year = {2009}, school = {Kansas}, abstract = {The Proceeds of Prosperity: Images of Domestic Money Management and Exchange in Dutch Genre Painting in the Middle of the Seventeenth Century provides a comprehensive study of genre paintings of household money management and exchange produced in the Netherlands in the middle of the seventeenth century. The manner in which the seventeenth-century Dutch chose to view their peers relating to money serves as a locus for the exploration of the larger early modern economy and society as a whole. Images of money weighing and account keeping, the purchase of comestibles, private charity, and prostitution, responded pictorially to selected social pressures felt by the urban upper class through a visual demarcation of public and private realms marked also by divisions of class and gender. Paintings of money management and exchange reveals a society with complex views of monetary transactions and the individuals involved in such economic activities.}, keywords = {Renaissance/Baroque Art}, author = {Pokphanh, Roberta} } @mastersthesis {10579, title = {A Psycho-social Investigation of Pop Culture Imagery in the Artwork of Paul McCarthy}, year = {2009}, school = {Stony Brook}, abstract = {American artist Paul McCarthy (born 1945) is most well known for his live and video-taped performances in which he plays with mass-produced food products such as ketchup or chocolate syrup. In these scatological works McCarthy parodies characters from popular culture, such as Disney{\textquoteright}s Pinocchio, while simultaneously referencing family figures from his childhood. Attacks on popular culture and on personal family figures are two themes that appear separately in the work of a number of contemporary artists, but McCarthy{\textquoteright}s work is unique because of the connection he draws between the two. In his work he offers his own childhood experiences as proof of his implicit assertion that consumer culture is a totalizing and homogenizing force which pervades the intimacies of family life and identity. In this dissertation I present a selection of McCarthy{\textquoteright}s performances and kinetic sculptures as case studies to argue that the rituals of his work are an attempt to expel those consumerist elements that on the one hand form his identity, and yet on the other feel completely alien to him. I use both contemporary psychoanalytic and Marxist theories in this dissertation in order to analyze McCarthy{\textquoteright}s psychical response to consumer culture. McCarthy{\textquoteright}s work draws these two discourses together in a process that I call commodity abjection. I argue that his relationship to popular culture is analogous to the process of abjection as elaborated by psychoanalyst Julia Kristeva. Kristeva claimed that abjection is an interminable process whereby the subject attempts to establish a hermetic border against those materials which confuse its identity. In establishing one{\textquoteright}s subjectivity against abject materials, the subject must expel things that have become part of himself. Television and entertainment culture are the locus of McCarthy{\textquoteright}s childhood memories and cultural values, and to his consternation they form the core of his identity. I show that McCarthy{\textquoteright}s irreverent and puerile use of food products and imagery from popular culture is an attempt to abject those elements.}, keywords = {Contemporary Art}, author = {Shane, Robert R.} } @mastersthesis {10681, title = {The Pursuit of Truth and the Doubting Thomas in the Art of Early Modern Italy}, year = {2009}, school = {Rutgers}, abstract = {This dissertation is an examination of the development of the imagery and meaning of the Doubting Thomas, which I argue became a visual paradigm of religious doubt and skepticism, empirical truth seeking, and justice during the Renaissance and Baroque periods (c. 1350-1615). Catalyzed first by Renaissance humanism, and later by the Protestant Reformation, skepticism colored the scientific, intellectual, artistic, and spiritual beliefs of this period and in many ways provided the basis for modern reasoning and the Enlightenment. By assessing the contextual circumstances of commissions like that of Andrea del Verrocchio{\textquoteright}s bronze Doubting Thomas, and Caravaggio{\textquoteright}s luminous painting of the same subject, this dissertation explores the connection between imagery and the issue of doubt in early modern Italy.}, keywords = {Renaissance/Baroque Art}, author = {Benay, Erin} } @mastersthesis {10726, title = {Radical Collectivities: North American Artists{\textquoteright} Groups, 1965-1978}, year = {2009}, school = {Michigan}, abstract = {In the late 1960s and {\textquoteright}70s, hundreds of artists across North America banded together into small groupings, sometimes two, sometimes ten, seeking alternatives to the single-artist model prized since the Renaissance. Many of these "collectives" drew support and methodologies from countercultural political movements invested in feminist and queer politics, Chicano and African-American identity, ecological advancements, and new media, to name a few. This study demonstrates that, despite differences in location, media, and political views, they shared goals and strategies. Most importantly, they sought to change the networks in which their art was produced and distributed, and thereby fashion new artistic identities for themselves and interpellate different publics for their work. Taking three such groups-Asco, Ant Farm, and General Idea-as case studies, this dissertation considers several central issues relating to artistic practice in the 1970s: collaboration and artistic identity, conceptual art outside the frame of the art world, intersections of art and consumer society, and political art in the wake of an exhausted politicized subculture. By examining archival material-photographs, manuscripts, video- and audiotapes, grant applications, notebooks, reviews, props, clothing, financial records, and installations-I reconstitute these groups{\textquoteright} often ephemeral practices, discovering the ways in which they seized, interrupted, and re-configured the discursive networks in which contemporary art was embedded. Rather than being merely supplemental or secondary materials, as they are often construed, these forms constitute the core of their intermedial practices, an approach that significantly expanded the conception of artistic medium. Establishing new infrastructures, such as artist-run centers, independently published periodicals, and correspondence networks, they generated alternative arenas of practice and interpretation and experimented with systemic solutions to the problem of institutionalized minoritization. In arguing that collectives{\textquoteright} approaches changed, from the utopian premises of 1960s communal movements to an interest in developing communications networks for an increasingly global and technological society, this study offers a different lens through which to understand the supposedly "in between" decade of the 1970s. I contend that ambivalent, networked, intermedial artistic forms developed during the period, have a distinctive character, and are neither simply extensions of 1960s counterculture nor anticipations of 1980s postmodernism.}, keywords = {Twentieth-Century Art}, author = {Olds, Kirsten} } @mastersthesis {10609, title = {Rayonnant Chantry Chapels in Context}, year = {2009}, school = {IFA/NYU}, abstract = {This dissertation examines how, and to what ends, chantry chapels were grafted to French cathedrals in the thirteenth and fourteenth centuries. Focusing on a neglected phase of Gothic architecture and an understudied phenomenon, it identifies chapels as important, new elements in cathedral typology. Further, it contextualizes the chapels by situating them within their broader architectural settings and by addressing the socio-cultural dynamics propelling their construction. This study elucidates the ways in which chapels benefited clerical communities, both economically and socially. Additionally, it attends to the chapels{\textquoteright} functions in the service of individuals. Approaching chapels as multimedia ensembles, this dissertation concludes by arguing that architecture, objects, and rituals were strategically employed and combined in mutually reinforcing ways to assuage patrons{\textquoteright} fears of receding from memory, simultaneously fulfilling their desires for intercession, commemoration, and social display.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Doquang, Mailan} } @mastersthesis {10676, title = {Read, See, Do: Palenque{\textquoteright}s Palace, Mexico (654-720) and the Materiality of Knowledge}, year = {2009}, school = {Yale}, abstract = {This dissertation is about the history and philosophy of architecture at the Maya city of Palenque, Mexico during the 7th and 8th centuries. It considers how certain structurally-driven innovations in architectural design and construction at this polity expressed a novel architectural ambition. This development may be interpreted both comprehensively in the city{\textquoteright}s Palace and then subsequently through independent buildings beginning in the mid AD 600s that articulate a new philosophy of aesthetic practice and cultural aspiration. This project casts these developments against the wider net of Maya architectural history and tectonic practice and analyses ways in which Palenque subscribed to and departed from the existing architectural paradigm. It then places Palenque{\textquoteright}s experimental corpus of architecture in conversation with contemporaneous Maya practices that dominated the aesthetic landscape centering on language, sculpture, and painting. These keystones of ancient Maya cultural activity organized visual knowledge and constituted core modes of defining the epistemic map of elite Maya culture for at least half a millennium beginning in the AD 400s. I argue that developments in Palenque architecture took up these central protagonists of aesthetic domination and provide an alternate model for the definition and organization of knowledge. The architectural experiment and epistemic redefinition achieved by Palace architecture constitute the basis of my investigations. In addressing these issues I attempt to craft a new understanding of Maya architecture that intersects with preoccupations in the wider philosophy and history of architecture.}, keywords = {Pre-Columbian Art}, author = {Desai, Prajna} } @mastersthesis {10627, title = {Reading the Walls of Pompeii: A Diachronic Analysis of Urban Development in the Vicinity of the Forum and the Negotiation of Public and Private Space}, year = {2009}, school = {Virginia}, abstract = {This dissertation examines the interaction of public and private space in the area of Pompeii{\textquoteright}s forum. By means of a rigorous methodology of masonry analysis to establish a relative chronology for the structures in and around the zone of the forum, the forces of urban change are revealed and placed into their historical, social, political and cultural contexts. Thus, a detailed examination of the changing role of public and private space reveals that the standing remains of architecture provide the evidence necessary to establish the reflexive nature of spatial organization at Pompeii. Chapter I sets out the parameters, methodology and aims of the current study. Chapter II provides the archaeological, historical and legal contexts. Chapters III-VI discuss the buildings around the south, east and west sides of the forum, providing the evidence for their phasing by placing every wall segment into its appropriate sub-phase based on the types of evidence detailed in the methodology section of Chapter I. Chapter VII concludes the study by arranging all sub-phases into appropriate phases and discussing their historical contexts. The final section of Chapter VII isolates the forces that instigated urban change and lays out the repercussions and/or advantages caused by such change in each phase. As a result, not only are phase plans for the vicinity of the forum in Oscan City, the Early Roman Colony, the Augustan Period, and the Post-A.D. 62 Period of Pompeii produced, but also a comprehensive account of the development of Pompeii{\textquoteright}s urban core, which divulges the spatial patterns and processes involved in urban change through time.}, keywords = {Greek/Roman Art}, author = {Cole, Kevin} } @mastersthesis {10513, title = {Reconstructing Italy: The INA-Casa Neighborhoods of the Postwar Era}, year = {2009}, school = {Michigan}, abstract = {At the end of the Second World War, Italy was socially divided and physically shattered, the former by two decades under Fascism, and the latter by the destruction of millions of housing units. At this moment of crisis action had to be taken to rebuild the nation both physically and psychologically. One way was through architecture and urbanism: the Ina-Casa plan for workers{\textquoteright} housing created more than 350,000 units of housing throughout Italy during two seven year phases (1949-56 and 1956-63) and the jobs to build them. Bringing together the efforts of politicians, reformers, architects, and even the workers themselves, the Ina-Casa administration as well as the neighborhoods they built provided an important means by which Italians re-imagined themselves and their national community in the postwar period. Of the many neighborhoods that were built three-the Tiburtino in Rome, Borgo Panigale in Bologna, and Villa Longo in Matera, are cogent as case studies that demonstrate the major results of the plan. Ina-Casa urban design and planning contributed to the prevailing tendency of locating the lower classes on the periphery of cities in part because it was easier to build large scale projects where land was cheap. In the architecture, often characterized as neorealist, the use of regional vernaculars reflected the desire of many designers to break with the recent past, but modernist characteristics, particularly in the projects of those who had practiced under Fascism also indicate continuity. Inside the homes, the domestic lives of millions of families were redefined through the provision of basic amenities such as running water, plumbing, and electricity and through the planning of spaces to reflect developing conceptions of the family. By increasing the basic standard of living of the most needy, Ina-Casa did more to unify the nation than any other earlier entity. From the exterior of Ina-Casa projects, however, the picture that emerges is of a fragmented and divided society, a nation weary of nationalism.}, keywords = {Architectural History/Historic Preservation}, author = {Pilat, Stephanie} } @mastersthesis {10502, title = {Recreation and Retreat: Garden Casini in Late Sixteenth- and Early Seventeenth-Century Rome}, year = {2009}, school = {Rutgers}, abstract = {This dissertation, Recreation and Retreat: Garden Casini in Late Sixteenth- and Early Seventeenth-Century Rome, examines the significance of casini, or garden houses, located on villa properties in sixteenth- and early seventeenth-century Rome and its periphery. It traces the ancient sources of this building type, notably the letters of Pliny the Younger describing his Tuscan and Laurentine villas, as well as precedents found in agricultural estates from antiquity through the Renaissance. It also considers the development of the casino from an outdoor studiolo used for study and the intimate display of collections to a more open garden house intended for entertainment and festivities. Although the architectural forms of casini vary, their construction and decoration were often given priority over the main residence on the property, emphasizing the importance of this building type in villa architecture. The dissertation is composed of case studies of villa properties belonging to specific wealthy and noble families in Rome and its periphery, namely the Medici, Farnese, Borghese, and Ludovisi, and the individual casini on their estates. Prominent structures such as Cardinal Ludovico Ludovisi{\textquoteright}s Casino dell{\textquoteright}Aurora, which houses Guercino{\textquoteright}s Aurora, as well as Scipione Borghese{\textquoteright}s Casino dell{\textquoteright}Aurora, which showcases Guido Reni{\textquoteright}s famous Aurora, are considered, as well as their extensive decorative programs. I provide an analysis of casino decoration in general and the recurrence of pastoral themes, but most importantly, I consider the figure of Aurora, who appears in many garden casini, and her iconographic significance as a symbol of rebirth and renewal. Through an examination of inventories of furniture, paintings, sculpture and other objects, as well as the iconographic programs of the small buildings, the dissertation illustrates the changing functions of casini that corresponded with their patrons{\textquoteright} interests and goals, and also with the evolving nature of the Renaissance villa as it developed from a confined villa property to a garden park. My investigation of the topic is the first to define the casino as an independent building type and to track its prominent role in landscape and villa architecture in Italy.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Tice, Lisa Neal} } @mastersthesis {10696, title = {Refiguring the Palladian Legacy: Architectural Reform in Eighteenth-Century Venice}, year = {2009}, school = {Princeton}, abstract = {My dissertation examines the critical reception and interpretation of the architectural and literary works of the Renaissance architect Andrea Palladio by eighteenth-century architects and theorists of the Veneto. In the mid-eighteenth century philosophical enquiry into the origins of architecture had resulted in an ideologically charged struggle of reform. Theorists began to question the relevance of the architecture of Antiquity as the basis of modern architectural practice; instead they sought a seemingly more solid foundation through an empirical methodology in which the writing and analysis of the history of architecture provided for the elucidation of essential and uncorrupted principles. In response, Venetian theorists sought to provide a fundamental reevaluation of Palladio{\textquoteright}s oeuvre in accordance with these newly established criteria of judgment as a means of reconciling the exigencies of reason and tradition. My dissertation provides a discussion of the construction and defense of this distinctly modern interpretation of the Palladian canon within its discursive context by addressing the texts, manuscripts, designs, buildings, and polemics, which collectively forged and perpetuated the Palladian legacy in theory and practice throughout the Veneto and beyond over the course of the eighteenth century.}, keywords = {Renaissance/Baroque Art}, author = {McReynolds, Dan} } @mastersthesis {10678, title = {Re-Forming Mary in Seventeenth-Century Dutch Prints}, year = {2009}, school = {Kansas}, abstract = {Late sixteenth- and seventeenth-century Dutch artists portrayed the Virgin Mary in an impressively diverse and iconographically complex range of themes-particularly in the easily reproducible medium of prints. Despite the widespread belief that Marian art and devotion disappeared from the Calvinist-dominated Northern Netherlands after the Reformation, prints of Mary demonstrate that the Dutch continued to venerate her, including Roman Catholics and Protestants. While some Marian prints sustained conventional Catholic modes of piety, other images reinterpreted her in a secular context to accommodate the intellectual interests and devotional needs of multiconfessional audiences. The duality between the spiritual and earthly conceptions of Mary in prints echoed not only post-Reformation debates about her devotional role, but also cultural and scientific shifts in Dutch society as the Republic progressed into the modern, secular age. Each chapter of this dissertation focuses on individual prints or print series that represent the themes and theological issues of post-Reformation Dutch Marian art. The first chapter examines Hendrick Goltzius{\textquoteright}s the Life of the Virgin series of 1593-94, and the appeal that Mary may have had for the artist{\textquoteright}s local Catholic and Calvinist audiences. The second chapter considers Magdalena van de Passe{\textquoteright}s print, Winter, from a series of the four seasons after designs by her father, Crispijn, which portrays a secular family that is evocative of the Holy Family. The third chapter analyzes a pilgrimage print depicting the Chapel of Our Lady of Need in Heiloo and the image{\textquoteright}s bearing on the revival of Catholicism in the early seventeenth century. The fourth chapter studies Rembrandt{\textquoteright}s deviations from traditional Marian iconography in his 1639 etching, the Death of the Virgin, and its representation of a doctor that signifies the developments of the Scientific Revolution and Cartesianism in the Dutch Republic.}, keywords = {Renaissance/Baroque Art}, author = {Auerbach, Elissa Anderson} } @mastersthesis {10607, title = {Relief in Perspective: Medieval Italian Sculpture and the Rise of Optical Aesthetics}, year = {2009}, school = {UC Berkeley}, abstract = {My dissertation defines one of the latent origins of Renaissance painterly perspective in relations established between architectonic space, sculpture, and observers in the later Middle Ages. In particular, architectural relief structures both virtual and social space through proportional relations generated observers and relief. I contend that the format of twelfth and thirteenth century relief sculpture played a critical role in shaping the history and practice of late medieval and Renaissance pictorial systems. By building the illusion of three-dimensional forms from a flat, two-dimensional surface, sculptors could materially and spatially draw viewers into an illusion. Because of this, I argue, relief sculpture offered medieval artists a unique set of expressive possibilities and provided a model of pictorial representation that later painters aimed to emulate. My research tracks a history of Italian medieval relief from the revival of monumental sculpture in the late 11th century to 1435, when Alberti coined the term "rilievo" to describe a painterly technique. In a series of case studies involving extant reliefs on pilgrimage churches in Fidenza, Ferrara, Modena, and Verona (Italy), I examine the material and spatial properties of the sculptures and their architectural frame. I have discovered that optical refinements were used in the production of the tympanum reliefs at Ferrara and Verona, and I have shown how sculptors used material tactics-such as the manipulation of the depth of carving and the placement of figures-to secure certain vantage points from the ground. In Chapters One and Two, I reconstruct these points of view based on the archaeological data to show how sculptural objects elicited a specific set of viewing practices from medieval observers. My study elaborates on these findings in Chapter Three by placing them in dialogue with texts concerned with what I am calling "optical aesthetics". In Chapter Four, I demonstrate how my study requires rethinking the discourses of Renaissance perspective; in particular, it offers a reading of Leon Battista Alberti{\textquoteright}s "rilievo" as a response to the material forms of medieval sculptural relief.}, keywords = {Early Medieval/Romanesque/Gothic Art, Renaissance/Baroque Art}, author = {Lakey, Christopher} } @mastersthesis {10501, title = {Religious Orders and Catholic Reform: Parisian Churches during the Reign of Louis XIII}, year = {2009}, school = {Florida State}, abstract = {This study examines early seventeenth-century Parisian churches supported by French monarchs, concentrating on the manner in which the buildings illuminate the political goals of the patrons. Specifically it focuses on the reign of King Louis XIII (1610-1643), a period during which the king{\textquoteright}s mother Queen Maria de{\textquoteright} Medici ruled as regent from 1610 to 1617. During the king{\textquoteright}s reign twenty-one new places of worship were constructed in Paris, making it one of the most active phases of church building in the entire history of the French capital. Of the twenty-one churches built during this period, ten received support from the current monarch. Scholars traditionally attribute the volume of construction to the impact of the Catholic Reformation and the subsequent establishment of numerous reformed religious groups in Paris. While the religious renewal that swept France in the early seventeenth century certainly fueled the construction of churches, the factors prompting Louis XIII and Maria de{\textquoteright} Medici to support such a high number of buildings remains unexplored in the literature. By investigating the architecture, painting, and sculpture of these churches in tandem with the historical and political context of the period, the buildings reveal how they took on additional meaning beyond reflecting the devout Catholic state. Instead of Maria de{\textquoteright} Medici and Louis XIII only using the churches as symbols of their religious beliefs, they supported them as a means of pursuing their political objectives, goals that varied depending upon who was in control of the throne. Specifically, Maria de{\textquoteright} Medici became a patron of ecclesiastical institutions to promote her authority while demonstrating her support of the Catholic faith, its institutions, and its allies. In contrast, Louis XIII advocated the sovereignty of the state, contributing to churches that honored French kingship and the monarch{\textquoteright}s divine right to rule through their architecture, painting, and sculpture.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Sandlin, Julianne Parse} } @mastersthesis {10576, title = {Remix: A Critical Analysis of Allegory, Intertextuality, and Sampling in Art, Music, and Media}, year = {2009}, school = {UC San Diego}, abstract = {In my dissertation I analyze the different forms that the act of remixing has taken across culture. I argue that Remix, as a form of discourse, affects culture in ways that go beyond the basic recombination of material. The dissertation analyzes remixing across a number of areas of culture including art, music, and digital media. Chapter One, "Remix[ing] Sampling," locates the roots of Remix in early forms of mechanical reproduction. I outline seven stages beginning in the nineteenth century with the development of the photo camera and the phonograph that lead up to the current remix culture, and evaluate how recorded material redefines concepts of representation. Chapter Two, "Remix[ing] Music," discusses the rise of Remix in music, and in particular the roles played by various musicians in dub culture, including King Tubby and Massive Attack. Chapter Three "Remix[ing] Theory" further analyzes remixing in music in the 1970s and then looks at how remix, as discourse, moves into art and media. The chapter discusses a number of examples including works by turntablist Grandmaster Flash and artist Sherrie Levine among others. In Chapter Four, "Remix[ing] Art" I show how principles of sampling share strategies of appropriation with conceptual art, minimalism and performance art. I also examine new media works by various artists including MTAA and Antonio Muntadas. Chapter Five, "Remix[ing] Media" defines Remix in relation to the concept of the avant-garde, and shows how media at the beginning of the twenty-first century remixes ideologies and practices that in the past were considered incompatible.}, keywords = {Contemporary Art}, author = {Navas, Eduardo} } @mastersthesis {10556, title = {Reproducing the Sacred Places: The Eight Great Events of the Buddha{\textquoteright}s Life and Their Commemorative Stupas in the Medieval Art of Tibet}, year = {2009}, school = {Virginia}, abstract = {This project examines representations of the Eight Great Events of the Buddha{\textquoteright}s Life and their Commemorative Stupas in the Medieval Art of Tibet as a visual and religious theme. The Eight Great Events{\textquoteright} images were most prominent in India during the Pala period (8th-12th century) and in the medieval art of numerous Buddhist countries. Various forms of these representations feature the scene of the Buddha{\textquoteright}s Enlightenment as central, surrounded by remaining scenes of the events and reflect symbolic and religious connotations of later Buddhist tradition, including esoteric. Textual sources on the Eight Great Events directly associate the main even, the Buddha{\textquoteright}s Enlightenment, with the sacred site of its occurrence Vajrasana and the other events with their respective sites as well. I argue that this theme{\textquoteright}s representations were central to the process of active assimilation of Indian Buddhist culture and formation of Tibetan religious traditions during the period known as the Renaissance of Buddhist culture in Tibet (10th - 13th centuries). Founders of new Tibetan institutions were establishing their own authority and sanctity through affinity with the Indian sacred sites, purposefully utilizing various artistic forms of the Eight Great Events{\textquoteright} representations, reinterpreting their symbolic and religious connotations, and eventually "reproducing" them in the form and image of their stupa-monuments. The representations, especially those that articulate the three-dimensional, or mandala-like layout of the events and emphasize commemorative stupas, suggest that the convention of representing the Eight Great Events came to signify India as the central place where the Eight Great Events occurred and eventually reproduce the sacred sites in their physical form but on a different soil, in Tibet. This project considers these representations in all their media and in relation to related textual traditions as well. Affinities between Indian and Tibetan representations are interpreted as expressions of a common religious and visual convention that found specific applications in Tibet, not merely in terms of Indian artistic influences. The inquiry crosses geographic and disciplinary boundaries and integrates visual and textual material within the specific context of this period, which, despite the importance of this theme, has not been done in the past.}, keywords = {Chinese Art}, author = {Pakhoutova, Elena} } @mastersthesis {10672, title = {The Resilience of Indigenous Australian Art and Its Colonial Representation}, year = {2009}, school = {Harvard}, abstract = {The continuity and resilience of indigenous art is expressed in the long suppressed influence it had on colonial imagery and the understanding of the Australian land, its use and history. Contemporary and historical indigenous practices are interpreted together particularly in light of the current political issues of agency in indigenous communities, and continuity in spatial and artistic practices. The way the taxonomy of animals, representation of country, and the iconography of the Australian nation, were influenced in colonial art by indigenous drawings is analyzed through never before published material. The archival and encyclopedic modes of nineteenth century research are used to access a cross-cultural context in which colonial settlement, scientific exploration, and the Aboriginal art market emerged. Presenting the maps, drawings, engravings, paintings, dances and rituals by indigenous artists between 1829 and 1901, such as Tommy McCrae, the indigenous understanding of space in this thesis proves Australian art and architecture developed before colonization. The fallacy that indigenous people did not have "art" is expressed in their conspicuous absence from art history. Countering the Modernist argument that the Primitive is a thing of the past that has all but died out, the precedents found in nineteenth century indigenous art are seen here to inform contemporary practices. Mimesis and appropriation, non-linear space and time, are posited as a vital contributions to contemporary discourses. This is a historical and epistemological study of how indigenous art in southeast Australia was made, performed, understood, classified and canonized.}, keywords = {Oceanic/Australian Art}, author = {Carroll, Khadija Zinnenburg} } @mastersthesis {10621, title = {Reviewing the Mount of Diana: Henry Hoare{\textquoteright}s Turkish Tent at Stourhead}, year = {2009}, school = {Ohio State}, abstract = {The Turkish tent stood at the entrance to Henry Hoare{\textquoteright}s garden at Stourhead from the 1760s to 1792. While Stourhead remains a masterpiece of Georgian England{\textquoteright}s most innovative art form, the landscape garden, the Turkish tent has received little more than a mention in the histories of Stourhead. There is no doubt that had the Turkish Tent and other exotic features survived the nineteenth century, the accounts of Stourhead would read very differently today. As Henry Hoare situated the Turkish tent (and other oriental features) spatially and conceptually on the eastern slopes the Stourhead circuit garden, this dissertation seeks to restore some of its former prominence. Turkish tents in England have never been defined as a class of garden pavilions. Like other so-called Turkish tents in eighteenth-century Britain, the Stourhead Turkish Tent was a permanent structure designed to look like a portable Ottoman tent. It overlooked the lakeside garden and was the most prominent feature in the panoramic view from both the Grotto and the Pantheon. The genre of Turkish tents as garden pavilions was initiated at Vauxhall Gardens where ambiance and diversions referenced contemporary nighttime entertainments at the Ottoman Porte, the Topkapi Palace and other sites in Tulip Era Constantinople. The Painshill Turkish Tent, commissioned by Richard Hamilton and designed by architect Henry Keene, transitioned the Vauxhall model to a rural pleasure garden setting. Turkish tents in Britain were indebted, formally and conceptually, to popular culture and publications. Turquerie fashions in portraiture (human and equine), fancy dress costumes, livery for servants and grooms, interior decoration and theatre all constitute aspects of the cultural climate of the Stourhead Turkish tent. As Henry Hoare purchased books on Ottoman culture and travel in the Levant by subscription, we know that his orientalist interest began early and were sustained throughout his life. Images from Henry Hoare{\textquoteright}s books suggest source material he used to create his own Turkish tent, closely related to the tent captured by Jan Sobieski, King of Poland, at the Siege of Vienna in 1683. Henry Hoare possessed significant insight into genuine Ottoman architecture. The meanings associated with Turkish tents in Britain are initially straightforward: they evoke notions of Ottoman military prowess and defeat, and they also recall the indulgent lifestyle of the Sultan and his family in the gardens of the Topkapi Palace and wherever they might travel in a palace of tents. In the special interplay of features at Stourhead, eighteenth-century visitors and authors Henry Hoare admired nuanced these themes. The Turkish tent could also suggest notions of cultural authenticity, industry versus idleness, and warnings about British watchfulness. In the end, the Turkish Tent and the exotic features at Stourhead only enhance the emblematic, iconographic and semiotic readings of previous interpreters.}, keywords = {Eighteenth-Century Art}, author = {Magleby, Mark} } @mastersthesis {10509, title = {Revolutions in Parallel: The Rise and Fall of Drawing in Architectural Design}, year = {2009}, school = {Michigan}, abstract = {This dissertation examines how the foundational principles of architectural design are influenced and reflected by the discipline{\textquoteright}s conceptual media. The first section explores the transition to drawing as architecture{\textquoteright}s conceptual medium. Arguing that the use of drawing within the Gothic period was not the same as its use during the early Renaissance, this work maintains that the simultaneous employment of plan, section and elevation (i.e. triadic form) was key to changing how drawing was understood and utilized in design. Examinations of Strasbourg Plan A (c. 1260) and the Milan Cathedral Plan and Section (c. 1390) demonstrate how drawings that appear orthographic may not indicate the use of orthography to prefigure forms in space. The examination of Raphael{\textquoteright}s interior drawing of the Pantheon (c. 1509) further demonstrates that more than just a technical hurdle, the use of triadic form indicates epistemic shifts in both the understanding of design as a human rather than exclusively divine activity, and in the elevation of form as the primary quality of architectural contemplation. The second section of this dissertation examines the transition to computation as the medium of design. Through an exploration of Peter Eisenman{\textquoteright}s House VI (c. 1975), this section demonstrates that the shift towards process-based (as opposed to form-based) thinking isn{\textquoteright}t dependent on computation as a medium, and yet the medium of drawing constrains the ways in which process can contemplated. Further, this section suggests that rather than being a twentieth-century development, a turn to process is evidenced during the nineteenth-century by emerging fields like morphology, biology and genetics. Gehry Technologies{\textquoteright} project for the Yas Island Formula-One Hotel and Evan Douglis{\textquoteright} project for Choice Restaurant (both 2009) demonstrate how the focus on process and the use of computation as a medium impact both the practice and aesthetics of architecture. Tying these sections together, the over-arching argument of this work is that these two shifts in medium are similar in scope and impact for the architectural discipline. Like the transition to drawing centuries before, today{\textquoteright}s shift to computation imbricates both technical and epistemological developments for the representation, design and practice of architecture.}, keywords = {Architectural History/Historic Preservation}, author = {Luce, Kristina} } @mastersthesis {10632, title = {Rhetoric and Innovation in the Art of the Hellenistic Courts}, year = {2009}, school = {UC Berkeley}, abstract = {My dissertation seeks to explain why Greek art looks so different in the Hellenistic period (ca. 323-31 B.C.E.). This period followed the death of Alexander the Great and saw the rise of his successors{\textquoteright} kingdoms in the Mediterranean world. Hellenistic art experienced dramatic changes in narrative, characterization, and description. Explanations for these innovations often look to such external factors as Alexander the Great{\textquoteright}s conquest of the Near East in the 330-320s B.C.E. or the cosmopolitanism of Hellenistic cities. But these traditional explanations are problematic. Changes in Greek art began in the fourth century, before Alexander{\textquoteright}s push East or the advent of the Hellenistic kingdoms. And although Greek elements can be found in Near Eastern art, Hellenistic art rarely - if ever - borrowed elements from other cultures for works done in the Greek style. Recent historical scholarship has stressed the continuity of Greek religion and civic administration during the Hellenistic period. My research similarly focuses on internal developments in Greek cultural production - specifically, advances in rhetoric and rhetorical education that, I argue, transformed both art and literature in the Hellenistic age. I begin with an introductory chapter (Chapter 1) that contextualizes art and rhetoric within the world of the Hellenistic courts explores the educational background of the Greek artist. In Chapters 2-4, I study the impact of rhetorical education on the structure and the appearance of Hellenistic art. I trace the impact of diegema on the narrative techniques of the Telephos Frieze from the second-century Great Altar at Pergamon; of prosopopoiia on the personifications of the Archelaos Relief from late third-century Alexandria; and of ekphrasis on the hyperrealism of Sosos{\textquoteright}s Unwept Room mosaic in a palace in second-century Pergamon. Finally, in the conclusion (Chapter 5), I find that the use of rhetorical techniques provided an underlying uniformity and Hellenism to the seemingly disparate art of the Hellenistic period. I observe that rhetorically-informed artists are apt to challenge their patrons{\textquoteright} views. And I suggest an avenue for future research: the association of rhetoric and the birth of a new Hellenistic literary genre, the history of art and art-criticism.}, keywords = {Greek/Roman Art}, author = {Seaman, Kristen} } @mastersthesis {10532, title = {The Rhythm of Glue, Grease, and Grime: Indexicality in the Works of Romare Bearden, David Hammons, and Renee Stout}, year = {2009}, school = {Delaware}, abstract = {In this dissertation, I compare the methods used by Romare Bearden, usually considered a modern artist, and postmodernist artists David Hammons and Renee Stout. Specifically, I show how, despite their differences, all three artists use indexical references to themselves to refute stereotypes of African Americans. Identifying a strong strain of reference to some literary and musical discourses in the lives and visual works of all three artists, this dissertation will constitute original work on this aspect of their art, where a systematic exploration of these discourses as noteworthy conduits through which their indexical, and sometimes metonymic, resistance to stereotypes has not been done. An analysis of the body-literal and symbolic-in the works of Bearden, Hammons and Stout in regard to its indexicality can potentially expose current constructions of not only black identity, but also of "race" as a category maintained by stereotypes. I argue that Romare Bearden{\textquoteright}s collage structure and the multiethnic mixture of formal qualities evident in his representation of African-American culture was indispensable to the development of a strong visual language. The language, which I will call a "visual Creole," that is, a mix of black, white, and other visual references was done in a way that was more typical of American culture as a whole than any single ethnic visual system. Further, Bearden{\textquoteright}s works becomes a universal tongue-despite antiessentialist disparagement of the idea of "the universal"-when he reproduced rather than produced, actual pasted collage. I will expand the exploration of this "visual Creole" as it appears in works by David Hammons and Renee Stout. Charles Peirce described the index as the trace an event leaves behind. For the viewer, the evidence of Bearden{\textquoteright}s cutting, pasting and arranging of photographs for the Projections photomontage series has become traces of his intellectual and visual travels through intentionally diverse cultures as well as his physical movement within the final image. For Hammons{\textquoteright} viewers, the imprint of his own hair, face, and skin onto canvas or even the stench of his urine read as intentional marks of his presence within the final product. Similarly, a plaster shell of Stout{\textquoteright}s own body replicates for her viewers her very existence in a constructed sculptural trace. These artists have been extremely aware not only of the varied discourses within art history about stereotypes of black identity, but also painfully cognizant of its effect on and within the black community. I provide insight into the current discourses on stereotyping, literary or otherwise, through a socio-historical analysis of the artist as an individual and in reference to key texts on indexical references and their implications. Therefore, I study the cultural associations of the materials each artist used, the music associated with them, and the contemporary literary and art culture within which they worked that assist in the reading of their respective oeuvres. This mixture, added to their personal experiences of American society, equipped them to wrestle directly with problems representing the black body, and finally led them to expose their own presences through indexical means. Romare Bearden, David Hammons and Renee Stout, artists of three consecutive generations, and their various approaches do not always resolve the tension, complexity or damage of stereotypes, but by highlighting here several theoretical and semiotic examples of the construction of identity seen as extensions of their analysis of the structure of this particular sign, I hope to give the reader a way to follow their demolition of the power of stereotypes that demean black identity.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Greene, Nikki} } @mastersthesis {10500, title = {The Roman Drawings of Charles Percier}, year = {2009}, school = {UC Santa Barbara}, abstract = {By the late eighteenth century many French architects were seeking fresh inspiration from Rome and the Italian tradition in their quest to reinvigorate the visual arts. One of the leading theorists and practitioners in this group was Charles Percier (1764-1838), who received the Prix de Rome scholarship for architecture offered by the Academie Francaise in 1786, and who would go on to become one of Napoleon Bonaparte{\textquoteright}s favorite architect-designers, and later one of the most influential teachers of architecture. As the Prix de Rome winner, he received funding from the French crown for five years of intensive study in Rome (1786-1791). Percier was a remarkably prolific student while in Rome, creating some two thousand drawings, an average of more than one image per day, not including official assignments from the academy. The bulk of the drawings, still unpublished, are now in the collection of the Bibliotheque de l{\textquoteright}Institut de France. During his study in Rome, Percier cultivated an aesthetic that would guide his entire career, and his Roman drawings lie at the heart of this vision for correcting French art and architecture by adhering more closely to the ancients. He studied all the visual models Rome had to offer, recording diverse forms and motifs from the Renaissance, Egypt, and the early Christian period, in some cases from a historicist perspective, and in others as a classical essentialist. Percier adopted the full range of visual models from Rome and applied them to his designs which dominated French taste in the Napoleonic period, broadening the types of visual motifs that were acceptable as models for architecture and decoration. Percier{\textquoteright}s early historicism laid the groundwork for later architects at the Ecole des Beaux-Arts who began to consider diverse historical models for the Romantic architecture in the mid-nineteenth century. The drawings document the transformation the city of Rome effected on Charles Percier, fundamentally influencing the direction of his creative process, and by extension, the direction of French architecture.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Davis, Blair Hixson} } @mastersthesis {10626, title = {The Roman Military Community as Expressed in Its Burial Customs during the First-Third Centuries CE}, year = {2009}, school = {Brown}, abstract = {This dissertation reassesses the Roman military community and the burials that have been or could be classified as belonging to members of the military. Hundreds of thousands of men served in the Roman military during the first to third centuries CE, and all of those men left behind some kind of mortuary remains. While burials are frequently, and rather casually, identified as belonging to members of the Roman military (or equally casually declared not to belong to the military), there are no set criteria for classifying a grave as military or not. Part of the problem is that there is a poor understanding of who exactly was a member of the Roman military community. The military community included not only active duty soldiers from a variety of unit types, but also veterans, women, children, slaves, and tradesmen living near and interacting with the soldiers. All of these people may have had a "military burial" in some form. Extant gravestones show that identification with the military was important even in death, but because the gravestones can almost never be connected to a known grave, the situations of the burials themselves are the focus of this dissertation. Graves from around the Empire are assessed by their possible relation to military gravestones, along with their grave goods, burial rites, location, date of burial, and the age and sex of the deceased. Unusual burials that have been attributed to the military are also examined. Recent publications of the Roman cemetery sites of Windisch-D{\"a}gerli, Switzerland, which was at the site of a legionary fortress, and Brougham, United Kingdom, which was at the site of an auxiliary fort, provide in-depth case studies to test the assessment criteria. Although a complex and hard-to-define vision of military burials results, interesting patterns emerge in the burial practices of the greater Roman military, namely the continuing popularity of cremation among the military after it was no longer commonly used in the Roman world as well as a general lack of military items in graves.}, keywords = {Greek/Roman Art}, author = {Anderson, Lisa} } @mastersthesis {10546, title = {Rooms with a View: Landscape Representation in Early National and Late Colonial Domestic Interiors}, year = {2009}, school = {Delaware}, abstract = {This dissertation examines the patronage and function of overmantel and other painted landscape views in the American home during the early national period. I begin by focusing on the overmantel landscape painting commissioning practices of elite Anglo-American patrons from the Carolinas to New England, in the period from the Seven Years War to the American Revolution, which sets the scene for the narrower case studies that form the body of the dissertation. By connecting individual commissions for landscapes across the British American colonies, I argue that rather than being isolated examples these understudied commissions were parts of a broader taste for landscapes installed above fireplaces in the British Atlantic World. Deriving from Atlantic travel, the international exchange of architectural pattern books, and the desire to establish gentlemanly status in the Americas, British Americans were engaging in a transatlantic trade in landscape overmantels as acts of social and political identity formation. Three case studies form the body of the dissertation: landscape overmantels and marine scenes from Salem, Massachusetts; a series of paintings and furnishings from the homes of prominent Baltimorean merchants; and miniature picturesque plantation landscapes of the Carolina Low Country. By focusing on sets of objects from three regions located in and around important centers of economic and cultural exchange in the early republic, I study how Americans in various regions of the country invested the landscape with competing meanings. In doing so my work explores a genre of landscape representation that has all too often been left out of the history of American art, thereby yielding new insights into late-eighteenth and early-nineteenth-century American conceptions of nature, home, land, and empire. In sum, this dissertation examines early American landscapes within the context of European imperial and artistic relations within the Atlantic world. This approach to the American landscape challenges the existing literature of American landscape as an allegory of American nineteenth-century national identity by considering the impact of ideologies of imperialism, colonialism, and capitalism on landscape representations of the early United States. By using a comparative approach to specific case studies from the southern, mid-Atlantic and northeastern regions of the United States, early American landscape paintings are inserted into greater art historical discourses about the display strategies of early modern paintings, debates about construction and illusion in the decorative arts, and the political and social constructions of landscape in the late-eighteenth and early-nineteenth century.}, keywords = {Art of the United States}, author = {Marley, Anna} } @mastersthesis {10503, title = {Royal Umbrellas of Stone: Memory, Authority, and Public Identity in Rajput Funerary Architecture}, year = {2009}, school = {UCLA}, abstract = {In the late-fifteenth century members of the royal and martial Hindu Rajput community of northwest India began constructing chatris (cenotaphs) to memorialize their ancestors, a practice they continue today. Despite the prevalence of chatris throughout the region, scholars of later north Indian art have neglected the subject of Rajput funerary architecture, focusing instead on other Rajput and Mughal architectural and painting traditions. This study therefore represents the first critical investigation of the Rajput chatris. This dissertation examines the chatri traditions of three Rajput dynasties: the Kachhawahas, who ruled the former states of Amber, Jaipur, Alwar, and Shekawati; the Rathores of the former kingdom of Marwar (Jodhpur) and Bikaner; and the Sisodias of the erstwhile kingdom of Mewar (Udaipur). This study investigates Rajput chatris as a religio-political medium through which the rulers of these states visually announced their wealth, authority, and aspects of their communal identities to an audience of their nobles and subjects. By extension, this dissertation is also a study of the visual vocabulary of Rajput public identity, different aspects of which were privileged at different historical moments. Closely associated with my reading of the chatri as a signifier of north Indian Hindu kingship is the critical role of memory and the past, not only that of the memorialized deceased, but of the patron, his dynasty, and community at large. Through their archaized formal and decorative programs, certain chatris may be understood as palimpsests; they retain traces of the past and function to locate the patron{\textquoteright}s ancestry in a particular historical moment. This dissertation therefore pays special attention to chatris that self-consciously refer to the past, considering the history and memories they were intended to index for their patrons. The Rajputs adopted and adapted the practice of commemorating their ancestors through architectural memorials after contact with the Indo-Islamic courts, for which tomb building was a potent expression of political legitimacy and authority. Under Rajput patronage, both the sign (tomb) and signified (Indo-Islamic kingship) were transformed into chatri and Rajput kingship. Accordingly, this dissertation also considers how Hinduism, its mythology, and funerary practices transformed what essentially began as an Islamic memorial tradition into a royal Hindu one.}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Belli, Melia} } @mastersthesis {10498, title = {The Sanctuary of Demeter at Pergamon: Architecture and Dynasty in the Early Attalid Capital}, year = {2009}, school = {Pittsburgh}, abstract = {The Sanctuary of Demeter at Pergamon, capital of the Attalid kingdom in Asia Minor (283-133 BCE), is among the city{\textquoteright}s oldest, largest, and best-preserved monuments, and it affords a unique view into its development. The cult-site was established in the fourth century BCE and renovated twice in the Hellenistic period-by Philetairos (283-263 BCE), founder of the Attalid dynasty, and by Queen Apollonis, wife of Attalos I (241-197 BCE)-and again in Roman times. Despite its well-documented history, the sanctuary still awaits analysis as an architectural, ritual, and dynastic space, along with integration into the scholarship on Pergamon. This dissertation reexamines the precincts of Philetairos and Apollonis with the aim of reconstructing a context for the sanctuary in the Attalid capital. The investigation proceeds from a reassessment of the archaeological remains, formal and comparative analysis of the monuments, and consideration of cultic requirements. It offers a revised picture of the precinct{\textquoteright}s development by proposing new reconstructions for the pre-Attalid temenos and the building phases of Philetairos and Apollonis. It presents new evidence for narrowing the time-frame of Apollonis{\textquoteright} dedication, making it one of the most precisely dated monuments at Pergamon. Although the lack of precise information on the cult prevents ritual identification of all structures on the site, an attempt is made to explain the precinct{\textquoteright}s ceremonial use. A focal point of the dissertation is the contextualization of the sanctuary{\textquoteright}s architectural detail. My analysis shows that the monuments of the Demeter Sanctuary were rooted in an Anatolian building tradition and that the style(s) of Apollonis{\textquoteright} buildings elaborated on the architectural language of Philetairos{\textquoteright} designs, conveying both unity and continuity. My reevaluation of the Demeter Sanctuary as an architectural and ritual space lays the groundwork for my future, broader investigations into the role of this cult-site in the Attalid capital-studies that address the intersection of gender, cult, dynasty, and building style in this space.}, keywords = {Architectural History/Historic Preservation, Greek/Roman Art}, author = {Piok Zanon, Cornelie} } @mastersthesis {10564, title = {Science, Technology, and Utopias in the Work of Contemporary Women Artists}, year = {2009}, school = {Rutgers}, abstract = {This dissertation examines the work of artists Alice Aycock, Agnes Denes, Martha Rolser and Carolee Schneemann, created between the late 1960s and the mid-1980s, which incorporated science and technology as subject and media. It represents the first focused examination of the conceptual use of science and technology by American women artists during the Cold War. I argue that, for these artists, science and technology represented a realm of investigation replete with negative associations in the wake of the Vietnam War, but also ripe with opportunities for change. Motivated by the contemporary American women{\textquoteright}s movement, these artists leveraged theories in physics, cosmology and systems, as well as new technologies such as video, in order to subvert modernist, male-centered, heroic, painterly styles, in addition to the traditional economic structures of the gallery, museum and dealer. This study sheds new light on conceptual art by re-centering the use of technology, generally treated as a conservative trend and excised from avant-garde histories, as a means for critique of Cold War society and as a method for imagining alternative concepts of human community. At stake in this investigation are domains of knowledge and power from which women have been historically excluded. Informed by New Left and counter-culture criticism of nuclear weapons and the Vietnam War arising from influential theorists, such as Herbert Marcuse and Lewis Mumford, these artists associated the industries of science and technology with the military-industrial complex, which was reviled as representative of a closed, mechanistic "technological society." However Marcuse, the media-acknowledged guru of the New Left (a left-wing international movement composed of social activist groups formed in the 1960s), also inspired the counter-culture to imagine an alternative society in which "science and technology are the great vehicles of liberation." Thus, while these artists subjected the patriarchal institutions and industries of science and technology to withering attack, they also redeployed their implicit notion of progress in feminist utopian visions of a different future.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Filippone, Christine} } @mastersthesis {10551, title = {Scientizing Vision in China: Photography, Outdoor Sketching, and the Reinvention of Landscape Perception, 1912-1949}, year = {2009}, school = {Brown}, abstract = {In China{\textquoteright}s Republican era (1912-1937), there arose a number of novel artistic approaches to the depiction of landscape. While some artists responded to the nation{\textquoteright}s new global orientation by adopting Western styles, others found within their own history the basis for a redefinition of landscape. These traditional style painters developed an idiosyncratic understanding of perception, acknowledging the optical rules underlying Western perspectival pictures while not entirely accepting them as universally applicable. This dissertation examines how, by anchoring their landscape painting in outdoor sketching, these artists altered the ways painters depicted nature. My aim is to restore to this group their role as agents of change, and to provide an alternative account of modern Chinese art history and culture. The new priority that traditional style painting granted "perception" is found to resonate with a contemporary emphasis on observation that the New Culture Movement promoted as the basis for modern scientific knowledge. Chapter One traces the development of Chinese designations for photography in the late Qing and early Republican period, and argues that, via conceptualizations of this technology, the credibility of visual representation came to be founded on the notion of a physical encounter between the image-maker and the object of representation. Chapter Two contextualizes the engagement of traditional style painters with outdoor sketching (xiesheng) as part of the prioritization of "perception" in New Culture Movement. Chapter Three discusses the traditional style painters simultaneous appropriation and rejection of formerly alien ideas such as framing and linear perspective, which resulted in a reshaping of optical knowledge as well as the Chinese painting tradition. The final chapter demonstrates the transformation of texture stroke ( cun), a key component of Chinese landscape painting, from self-referential marks of style to a specialized knowledge necessary for an accurate perception of nature. These activities enabled traditional style painters not only to claim epistemological expertise but also to define a new role for themselves in society.}, keywords = {Chinese Art}, author = {Gu, Yi} } @mastersthesis {10725, title = {Scribbling across Continents: Cold War Humanism and Phenomenology in Cy Twombly{\textquoteright}s Early Works}, year = {2009}, school = {Delaware}, abstract = {In the United States, Postmodern skepticism often has relegated Cy Twombly{\textquoteright}s engagement with classical and humanist themes to nostalgia, irrelevance, or an over-indulgence in European tropes. However, during Twombly{\textquoteright}s artistic upbringing, in the 1940s and 50s, America{\textquoteright}s left-leaning artists and intellectuals proposed that the development of a "new humanism" was necessary to redeem human behavior and assure freedom in the face of the Cold War. Central to this cultural project were efforts to understand the true nature of the human subject and to query the past for core human values. Twombly gravitated to the avant-garde for whom this was an urgent cultural imperative. This dissertation will survey Twombly{\textquoteright}s formative years and will read his production through the theoretical models of humanism that arose after World War II. Twombly was exposed to a potent version of the "new humanism" at Black Mountain College where he encountered two of its most active polemicists, Robert Motherwell and Charles Olson, the leader of the Black Mountain poets. Both men recognized Twombly{\textquoteright}s early works as compatible with their own ideologies and artistic strategies. I will argue that Twombly{\textquoteright}s early emulation of Abstract Expressionist practice moved him toward "existential" painting and sculpture. By interpreting Twombly{\textquoteright}s works through the humanist phenomenological ontology that Sartre proposed, it is possible to understand the artist{\textquoteright}s endeavor not only as an assertion of being-in-the-world but as a contribution to a humanist model of "existence." To a great extent, in the American context, Olson{\textquoteright}s humanism, "primitivisms," and poetics elaborated on Sartre{\textquoteright}s existentialism. Moreover, his theories of "open" form, language, and history were executed in a style of "projective verse." This practice allowed one perception to follow another without concern for traditional poetics and has much in common with Twombly{\textquoteright}s artistic solutions. Although Twombly{\textquoteright}s embrace of the culture of experimentation and spontaneity cultivated at Black Mountain College launched him toward his mature work, I also will argue that his artistic breakthroughs occurred in tandem with important, early contacts with and his ultimate immersion in Italian culture. Twombly participation in an American revision of humanism prepared a foundation for the artist{\textquoteright}s life-long commitment to humanist discourse. By analyzing the artistic and intellectual grounding that supported Twombly{\textquoteright}s education and early work, an historically situated humanism emerges as a new interpretive framework for Twombly{\textquoteright}s career.}, keywords = {Twentieth-Century Art}, author = {Nigro, Carol} } @mastersthesis {10522, title = {Seeds of Agribusiness: Grant Wood and the Visual Culture of Grain Farming, 1862-1957}, year = {2009}, school = {Pittsburgh}, abstract = {This dissertation uses selected works of Grant Wood{\textquoteright}s art as a touchstone to investigate a broader visual culture surrounding agriculture in America during the late nineteenth and early twentieth centuries. By doing so I argue that Wood engaged with pressing social questions, including the phenomenon now referred to as agribusiness. Although agribusiness is often associated with the Green Revolution of the 1940s and 1950s, its beginning dates to the nineteenth century. Indeed, Wood{\textquoteright}s lifetime was an era when land was consolidated, production and distribution were vertically integrated, and breeding became scientifically informed. To access the power dynamics of this transition, I begin each chapter with work by Wood, and then analyze it in conjunction with imagery produced by or for individuals with diverse cultural agendas. This wide range of voices includes government officials, members of socialist farm organizations, newspaper publishers, plant breeders, owners of large and small farms, auction house managers, and university educators. To show precedents for and the legacy of Wood{\textquoteright}s work I begin my analysis of visual culture before his birth and end after his death. The dissertation thus begins in 1862-the year that land in the Midwest began to be parceled out for grain farming as small 160-acre homesteads and gargantuan bonanza farms thousands of acres in size. The dissertation ends in 1957-the year that the term agribusiness was coined by the Harvard-based economists John Davis and Ray Goldberg. I take an interdisciplinary approach anchored most fully within the norms of art history, but also engage with strategies from visual, cultural, and agricultural studies. My argument, ultimately, is that agribusiness is a cornerstone of modern thinking, and that Grant Wood was not only aware of the experiences, debates, institutions, and theories of agribusiness emerging in his midst but engaged with them in his fine art. More broadly, by using a wide range of imagery, including photography, advertising, penmanship, film stills, crops, cartoons, architecture, and diagrams I show that the way Americans came to understand and accept agribusiness as the basis of their food system was negotiated, in part, through visual materials.}, keywords = {Art of the United States, Critical Theory/Gender Studies/Visual Studies}, author = {Nygard, Travis} } @mastersthesis {10600, title = {Sentiment and Science: Social Reform Photography in Harvard{\textquoteright}s Social Museum}, year = {2009}, school = {Boston}, abstract = {This dissertation contributes to a redefinition of social reform photography through an analysis of photographs in Harvard University{\textquoteright}s Social Museum. Established in 1903 by Professor Francis Greenwood Peabody, the collection, organized into twenty-two social reform categories, contained over 6,600 photographs and additional illustrative materials documenting institutions and methods devised to alleviate social problems in Europe and America. Positioning reform as a modern agenda, Peabody believed that the key to the social question was the relationship between ethics and economics-what he expressed as sentiment and science. The Social Museum was not intended to be simply a collection of facts, but an archive of ideological and moral persuasion. Chapter 1 analyzes the archival structure of the collection-its sources, physical arrangement, and system of classification-and the role it played in university education at Harvard. The second chapter considers Peabody{\textquoteright}s biography, his role in the history of social reform, and his teaching of social ethics at Harvard long after sociology departments were established at other universities. The third chapter presents models and sources for the Social Museum, including social economy exhibitions at international expositions, especially the 1889 and 1900 Expositions Universelles in Paris and the 1904 Louisiana Purchase Exposition in St. Louis, and competing institutions, such as Paris{\textquoteright}s Musee Social and the American Institute for Social Service in New York. Chapter 4 sets up an analysis of the photographs in the Social Museum by using Jacob Riis{\textquoteright}s images as an example of the use of sentimental strategies and Lawrence Veiller{\textquoteright}s Tenement House Exhibition of 1900 as illustrating the application of science to reform photography. The final chapter comprises an analysis of the Social Museum photographs using the category of social settlements as a case study and microcosm of the entire collection. Through a comparative study of reform projects and collections that incorporated photography, this dissertation demonstrates how Peabody{\textquoteright}s Social Museum is a model for a much broader study of social reform photography. While the museum presented photographs as scientific evidence of successful reform efforts, it was their emotional appeal that engaged viewers, ensuring their effectiveness over other forms of data.}, keywords = {Drawings/Prints/Works on Paper}, author = {Lamuniere, Michelle} } @mastersthesis {10595, title = {Serio Ludere: Baroque Invenzione and the Development of the Capriccio}, year = {2009}, school = {Columbia}, abstract = {Seventeenth-century drawings and prints known as capricci have long challenged critics through their unconventional subjects and form, but their significance within seventeenth-century visual arts has not been thoroughly studied. This dissertation follows the birth and early development of capricci as a graphic mode of invention, and as sketch-like demonstrations of disegno. Considering evidence from the late sixteenth century to the mid eighteenth century, this study demonstrates the importance that capricci held in contemporary art criticism and in art collections. Most importantly, these capricci reveal the artists{\textquoteright} engagement with the viewing act and their efforts to guide the response of the beholder. Following the Introduction, which studies the etymology of capriccio as a term used in literature and music before it was adopted in the visual arts, Chapter One considers the caricatures and genre scenes of Annibale and Agostino Carracci as antecedents of capricci and as an integral element of the Carracci reform of painting. Chapter Two focuses on the etchings of Jacques Callot and Stefano della Bella, examining their innovative techniques and relationships to drawing books, as well as the manner in which they were collected and described by contemporaries. The third chapter presents Guercino as a collector and inventor of capricci . Guercino{\textquoteright}s own collection of genre scenes, caricatures, landscapes, and grotesques (which we know from the Gennari inventory of 1719) is presented as a historical framework for the term capriccio. The collection also attests to the significance Guercino attached to his own drawings unrelated to commissioned works. Chapter Four considers the theme of death, a subject well suited to express the affective potential of capricci. After examining the dream-like figures in Salvator Rosa{\textquoteright}s Figurine and their anticipation of the sublime, the chapter turns to Stefano della Bella{\textquoteright}s etchings of Death. These are works that lead one straight to Giambattista Tiepolo{\textquoteright}s Scherzi, which appropriately enough, show Death as a member of their viewing audience.}, keywords = {Drawings/Prints/Works on Paper, Renaissance/Baroque Art}, author = {White, Veronica} } @mastersthesis {10550, title = {Shaping Sacred Space: Early Buddhist Caves and Their Interaction with Ritual Architecture and Artistic Programs of Tombs in Fifth-Century China}, year = {2009}, school = {Columbia}, abstract = {Han dynasty conceptions of the afterlife continued to be used in the shaping of mortuary culture in post-Han Gansu at Dingjiazha, Foyemiaowan, and Qijiawan and also in Buddhist sacred space in the earliest extant cave-temples at Dunhuang and Jintasi. By following the transmission of these plans we can begin to understand the complexity of the adaptation and assimilation of Buddhism in China.}, keywords = {Chinese Art}, author = {Beningson, Susan} } @mastersthesis {10664, title = {Skagen: Art and National Romanticism in Nineteenth-Century Denmark}, year = {2009}, school = {Indiana}, abstract = {Skagen was the location of an art colony that reached the height of its fame between 1880 and 1910. The question of Skagen{\textquoteright}s cultural significance for nineteenth-century Denmark has received inadequate attention, largely because the colony has been seen as an exclusively artistic phenomenon that was also popular because Skagen made for such a desirable tourist destination. This study interrogates the Skagen colony as a historical and cultural phenomenon, using tourism and travel-writing theory and the sociological idea of the "place-myth" to trace how the popular perception of Skagen was shaped. This study demonstrates that more was at play in the construction and reception of the Skagen place-myth than the escapist appeal of a glamorous summer vacation spot. Fin-de-siecle Skagen was not just a colony for the younger generation of Danish and other Scandinavian artists, it was also a symbol of: (1) Copenhagen{\textquoteright}s inviolate ideological and political control over the Danish realm; (2) success for the National-Liberal culture of unity upon which Denmark{\textquoteright}s nineteenth-century emergence was built; and (3) a place where the broken dream of Denmark{\textquoteright}s international influence could reconstitute itself in a nonmilitary way.}, keywords = {Nineteenth-Century Art}, author = {Mednick, Thor J.} } @mastersthesis {10511, title = {Sociological Imagination and the City: Encounters between Architecture and Planning Education in America, 1933-1957}, year = {2009}, school = {Harvard}, abstract = {This dissertation gives an account of encounters between architecture and planning education in America during the quarter century running from the height of the Great Depression through to the launch of Sputnik, approximately 1933 to 1957. During this period, planning education progressed from its status as a sub-component of landscape architecture and sometime fellow traveler with architectural education to a parallel recognition within the university environment as a legitimate division coordinated with these other two. Yet during the same time, professional architecture education also underwent a significant transformation, emerging as a component of higher education in which valued forms of academic research that interfaced with design were newly in place and increasingly central to the field. The dissertation argues that these parallel transformations, entailing struggles between research and design, depended heavily upon the ongoing emergence of new organizational, funding and administration practices simultaneously within the federal government and the modern research university, transformations linked to the emergence of the social sciences as an interdisciplinary mediating force within the various different locations of research activities within American society. Identifying a "sociological imagination" directed at the American city as a new frontier for designed research projects within both government and academia during the 1930s, the study sequentially catalogues episodes whereby a disparate set of figures networked together the previously distinct domains of government, professions and higher education, generating in turn by the mid-1940s a situation ripe for exploitation during what would unfold as an unprecedented postwar boom. After opening with a synoptic summary of developments in both architecture and planning education prior to the early 1930s, noteworthy events vital to educational developments, occurring over the subsequent two decades, are investigated. In conclusion, a focus on transformations during the 1950s at one particular American architecture school (the School of Fine Arts of the University of Pennsylvania) in the final chapter explicates how the groundwork laid prior to 1950 allowed both planning and architecture educators to promote new value for the particular symbioses between research and design each encompassed within the environment of American higher education. What is revealed is a tactic that simultaneously legitimized and elevated these coordinated divisions within that environment while at the same time introducing new disciplinary and professional understandings of them.}, keywords = {Architectural History/Historic Preservation}, author = {Moran, Brendan D.} } @mastersthesis {10585, title = {The Sources, Rhetoric, and Gender of the Artistic Dress}, year = {2009}, school = {UIUC}, abstract = {This study of clothing designed by artists covers Western Europe between 1890 and 1912. The work argues for the consideration of artists{\textquoteright} attempts to create beautiful clothing outside the fashion industry as a pan-European movement rather than an individual or regional interest. An examination of the written explanations by designers and their visual sources results in the establishment of three camps of Artistic Dress, one allied with the current art nouveau movement, one an extension of the Reform movement, and a third related to the independence of women. In a study of the relationship of Artistic Dress to gender ideals of the period, a clear distinction between the male architects and female artists and designers who participated in the movement emerges. While the men often made clothing that reinforced contemporary ideals, the women used clothing design to both conform to and reject the feminine ideals. Throughout the work, the relationship between Artistic Dress and the fin-de-siecle fashion industry, which eventually absorbed Artistic Dress, is examined.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Barrows, Jennifer Ann} } @mastersthesis {10544, title = {The Space Between: Paired Paintings in Antebellum America}, year = {2009}, school = {Harvard}, abstract = {This dissertation examines antebellum American paired painting, also known as pendant painting. It considers the pair and the interval as the primary components of the pendant and focuses analysis on the role of the interval in cross-canvas dialogue. It proposes, specifically, a process of interstitial representation by which the visual absence mediating between canvases becomes itself a space of signification. Through a series of three case studies, I demonstrate how this process moved meaning beyond the boundaries of the explicitly visual. Chapter one considers John Quidor{\textquoteright}s Rip Van Winkle and His Companions at the Inn Door of Nicholas Vedder (1839) and The Return of Rip Van Winkle (1849). It characterizes the interval between Quidor{\textquoteright}s paintings as one of elision that calls into question the revolutionary nature of the American Revolution. Chapter two examines Thomas Cole{\textquoteright}s Departure and Return (1837). It identifies the space between Cole{\textquoteright}s canvases as one of visual difficulty that challenges superficial viewing practices to promote instead a mode of contemplative looking. Chapter three analyzes two paintings of a Hawaiian volcano by Titian Ramsay Peale titled Kilauea by Day and Kilauea by Night (1842). It understands the blank between Peale{\textquoteright}s landscapes as expressive of the failure of expeditionary imaging in unknown territory. Together, the case studies distinguish the pendant as a representational practice deeply engaged with problems of history, art, and science contemporary to nineteenth-century America. The introduction considers the variety of forces that gave rise to this practice in antebellum America, and the epilogue meditates on format, and the interval in particular, as a category of art historical study. To my knowledge, this project is the first in-depth study of the pendant. Its focus on interstitial representation brings to light a concept new to nineteenth-century American art history and of theoretical importance to diverse periods and disciplines.}, keywords = {Art of the United States}, author = {Ikemoto, Wendy} } @mastersthesis {10722, title = {Space for Recognition: The Late Work and Exile of Kurt Schwitters (1930-1948)}, year = {2009}, school = {Harvard}, abstract = {This dissertation investigates the spatial turn in the aesthetic theory and visual art of Kurt Schwitters (1887-1948). At the height of his collaborative enterprises and involvement with architectural circles, Schwitters revised his thinking on the constitution and perception of space, shifting his practice from the priority of autonomous pictorial composition toward a preoccupation with sculptural form and surface. Schwitters first articulated his reception of spatial formation in recent art in an ambitious slide lecture tour, preferring to broadcast his ideas through performance and photography, rather than publish them in any of the avant-garde periodicals to which he regularly contributed. In this lecture, he charts how he came to understand space less as a mensurable enclosure and more as an active Ausstrahlung [radiation, transmission] contingent upon the sublation of the delimiting frame under the pressure of our perception of formal relationships in time. Shortly after the conclusion of this tour in 1930, Schwitters began to transform his studio from a network of columnar agglomerations of found material into the integrated sculptural environment of the Merzbau. Here he investigated the beholder{\textquoteright}s share in the constitution of the space, which he extended to other rooms of his home in 1935-36, prior to his exile from Nazi Germany. As his work was increasingly subject to official scrutiny and defamation, Schwitters adapted his Merzbau project into an iterable concept that could be erected abroad, first in America and then in Norway, where he first escaped persecution. He revived his work in free-standing sculpture as he explored the reduplicative properties of the Merzbau. Forced to flee to England with the Nazi invasion of Norway, he developed a cache of portable and polychromatic sculptures that place specific demands on the beholding body. These works eschew geometric regularity, engage agitated surfaces of thick plaster and impasto, and exaggerate their miniature size and hypertrophic bases. With these sculptures, Schwitters{\textquoteright} objective was to revolutionize collage once more by way of his experiments in space, to seek a fusion of our experience of spatial and planar arts, and ultimately to "modellize color," infusing that most optical property with a corporeal density.}, keywords = {Twentieth-Century Art}, author = {Megan Luke} } @mastersthesis {10573, title = {Space Invaders? Artists in the East Village, 1977-1983}, year = {2009}, school = {Stanford}, abstract = {The prevailing memory of the East Village in the late 1970s and early 1980s casts the neighborhood{\textquoteright}s artists as hedonistic careerists too preoccupied with their own gallery-fueled ambitions to stand against the accelerating displacement of low-income tenants, for which they are held responsible, at least in part. In the last decade, a number of features, catalogs, and firsthand accounts of the neighborhood have committed a wide array of perspectives to print, but even there, artists almost always appear as their own unit, that is, as outsiders with respect to the East Village{\textquoteright}s community of minorities, countercultures, and other disenfranchised populations. Disputing this vision of the East Village as a multicultural but finite entity, Space Invaders?: Artists in the East Village 1977-83 builds upon Miwon Kwon{\textquoteright}s critique of "community" as an essentializing concept to construct what M. Christine Boyer has termed a "counter-memory," a remembering that strives to recover differences that official memories have erased. Space Invaders? recasts artists in the protracted contests over neighborhood property and identity that have, as sociologist Janet Abu-Lughod has written, defined the East Village from its inception. Focusing primarily on figures who did not catch the media{\textquoteright}s attention in their own time and are therefore less well-remembered in our own, this study represents its subject artists as not just the unwitting shock troops of development, but as politically engaged neighbors and anti-gentrification combatants as well. To do so, it investigates the relationship between artists - their work and their activity - and the neighborhood at three distinct elevations: the buildings, the streets, and the local maps and guides. At each of these nodes, the artists{\textquoteright} political, social, and cultural investment in the neighborhood comes to the fore, be it in the form of establishing institutions to meet the needs of the neighborhood, addressing the local public and encouraging dissent, or documenting the deterioration of the physical and social infrastructure of the neighborhood. This project{\textquoteright}s spatially determined frame, which draws on Edward Soja{\textquoteright}s analysis of lived space as the space of expansive, differential meaning-making and Doreen Massey{\textquoteright}s conception of space as multivocal and articulated through action, pulls together many individuals and groups who may not have overlapped socially but who nonetheless held stakes in the same corner of downtown Manhattan.}, keywords = {Contemporary Art}, author = {Green, Heather} } @mastersthesis {10731, title = {The Space of Production: Brooklyn and Creation of an Urban Industrial Landscape}, year = {2009}, school = {IFA/NYU}, abstract = {Between 1860 and 1939, Brooklyn grew into a major center of industry within the Port of New York. Its rich network of warehouses and factories form a series of intricate streetscapes dictated by the necessities of production. This dissertation uses these buildings as a case study to evaluate the impact of industry on the urban landscape, the forces driving the creation of a distinctive place, and the role played by American industry in forging a new approach to architectural design. In Brooklyn, industrial production yielded several discrete landscapes whose appearances derived from the particular demands of production, technology, and transportation infrastructure. This study begins in Red Hook, whose low-rise blocks of brick storehouses reflected the dominance of the storage industry as well as the building technology available to nineteenth century developers. It continues in the Eastern District, where sustained industrial growth by a variety of companies yielded a complex pattern of land use. Finally, this study ends in Sunset Park, whose blocks of large-scale reinforced concrete factories spoke to methods of scientific management and industrial efficiency prevalent at the dawn of the machine age. Brooklyn{\textquoteright}s factories and warehouses reflected broader developments in design within American architectural discourse at a time when American architects struggled to find formal expression for new industrial building types. The significance of these works extended across the Atlantic, where European architects took them as models in formulating new theories of architecture. But the fetishization of American factories by the early modernists meant that their industrial context was usually left behind. The function and placement of industrial buildings within the urban fabric was ignored, though the urban layout testified to the same modern principles of efficiency and engineering that attracted the early modernists to industrial buildings in the first place. Brooklyn{\textquoteright}s stratified industrial landscape reveals a stylistic progression of industrial architecture, presenting a unique opportunity to analyze the American industrial vernacular landscape and find a place for it in within the narrative of modern architectural history.}, keywords = {Twentieth-Century Art}, author = {Schwartz-Simon, Malka} } @mastersthesis {10563, title = {A Spaniard in New York: Salvador Dali and American Popular Culture, 1940-1948}, year = {2009}, school = {UIUC}, abstract = {This dissertation examines Salvador Dali{\textquoteright}s artistic production during an eight-year period of exile in America from 1940 to 1948. It focuses on Dali{\textquoteright}s use of fragments and ruins in his paintings and collages from this period. Specifically, I investigate the artist{\textquoteright}s creation of a visual language that brings ruins, fragmentation, popular culture, anachronism, and the outmoded into dialogue as a way to articulate a critique of modernism. Although studies of Dali{\textquoteright}s work have looked into his Surrealist period, his incursion into the realm of popular culture, and the artist{\textquoteright}s antics as a pseudo-celebrity, few have considered rigorously the visual works produced during his stay in America, despite the fact that Dali became one of the most recognized Surrealists in the United States. Based mostly on close analyses and observations of a selection of paintings and collages as case studies, the study combines that approach with careful attention to archival materials, unpublished correspondence, period criticism, and the artist{\textquoteright}s own writings. The intention of this dissertation is to situate the work of one of the most influential and complex artists of the twentieth century within an analytical framework shaped in part by recent theorists and art historians while constructing an original and innovative reading of the images and their function in their original context.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Carbonell-Coll, Gisela M.} } @mastersthesis {10717, title = {The Spiral Jetty in the Landscape of Time and Space}, year = {2009}, school = {Iowa}, abstract = {Robert Smithson{\textquoteright}s Spiral Jetty, constructed in 1970 on the north shore of the Great Salt Lake in Utah, is not a typical work of art. Because it is not located in a gallery or museum, but in an uncontrolled outdoor setting, it changes over time. An experience of the Spiral Jetty at one time is fundamentally different from an experience at another time. Thus, in a sense, the Spiral Jetty is still being created, not by the artist, but by forces, both natural and manmade, occurring at its site. The Spiral Jetty is a function of time and space, not merely of the artist{\textquoteright}s will. Proceeding from that premise, this dissertation poses three fundamental questions. First, in what sense are we to understand time as it relates to the Spiral Jetty? Given Smithson{\textquoteright}s interest in time on a scale of millions of years, the story of the Spiral Jetty need not begin in 1970, but could go back to when the boulders that make up the work were formed, or even before, and it need not end when Smithson finished work on it, but could extend up to the present and beyond. Second, if the Spiral Jetty is engaged on both a physical and conceptual level with the space around it, how far out does the space extend? The site of the Spiral Jetty need not be only what is visible from it; events far removed in time and space can sometimes influence one{\textquoteright}s understanding of the work{\textquoteright}s meaning in context. Finally, how can events occurring at the site of the Spiral Jetty since 1970 become part of the work{\textquoteright}s context? A surprising number of issues and events, from the past as well as the future, and from places near and far, parallel the various meanings and messages of the Spiral Jetty, which comes to take on widespread, almost universal significance. Thus, this dissertation is not just about the Spiral Jetty, but about the world as seen from the Spiral Jetty. The story of the Spiral Jetty is also the story of our species, our planet, even our universe.}, keywords = {Twentieth-Century Art}, author = {Fisher, Joshua} } @mastersthesis {10622, title = {Staging the Page: Graphic Satire and Caricature in Eighteenth-Century England}, year = {2009}, school = {Brown}, abstract = {This dissertation explores the relationship between character and caricature in Britain during the second half of the eighteenth century. I examine the boundaries of character and caricature as they are represented in graphic and theatric performance to demonstrate how satires and caricatures are themselves theatric performances that respond to a dialog between producer, actor and audience. The first chapter of this dissertation is framed by the artistic and critical works of William Hogarth. In an attempt to distance himself from the genre of caricature, which he denigrated as a foreign mode, Hogarth described the figures that populated his comic compositions as "actors" and "characters." Hogarth allied his practice of art making with the works of playwright and author Henry Fielding. Together they created space in the hierarchy of genres for a new category, the "modern moral subject," which attached itself to a concept of modern English character rooted in stage traditions of bodily performance. The second chapter considers a series of caricatures of actors published in The Attic Miscellany (1789-1792). These satires lampoon the leading actors of the London stage and offer graphic counter performances that mock the stage performance. By tying the extravagant actions made by the actor on stage to the artist{\textquoteright}s use of exaggeration in graphic representation, I argue that caricaturists and comic actors alike came to think of their productions as performances. The third chapter considers the work of George Alexander Stevens, whose performance, The Lecture on Heads (1764), drew on graphic caricature and the stage practice of personal satire to create a hybrid performance. Using voice, gesture, and perhaps a bit of sleight of hand, Stevens introduced his characters to the audience one by one and provided comedic commentary on types drawn "from nature." Considered together, printed and graphic representations of the Lecture allow me to investigate the question of why the performance was so appealing to the audience. This chapter thus considers the prominence of the "laughing audience" figured in prints of theatrical performances and in prints that featured shop windows that reveal the expectations viewers brought to a variety of performances.}, keywords = {Eighteenth-Century Art}, author = {Saska, Hope} } @mastersthesis {10638, title = {Status and Identity: Gathering Paintings and Self-Representation of Late Choson Chungin}, year = {2009}, school = {UCLA}, abstract = {This dissertation study explores the relationship between status, representation, and social network in the elite society of the late Choson dynasty (1392-1910). The focus of the investigation is on commemorative paintings produced by chungin, a group of socially marginalized professionals, who emerged as the new urban cultural elite in the 18th and 19th century. I use the term chungin to include a rather wide range of people in marginal status, but practically, the study deals mostly with the works produced by chapkwa chungin, the professionals who worked as lower-ranking bureaucrats and kyo-nggajo-n, the clerks in the central government offices. Throughout the study, I discuss how this newly emerging group added new social significance to existing cultural practices such as literary gatherings and production of commemorative paintings. In addition, I explore how the dynamic social network the artists and their supporters created provided the environment and motifs for art production. Through organizing literary gatherings and producing visual records of those events, chungin promoted their self-identity as members of the cultural elite and attempted to confirm their position in society. I particularly pay attention to the way their status and their pattern of socializing affected the type, mode, and style of the commemorative works they produced. Primarily, portraits and gathering paintings of chungin rely more on complex cultural reference and literary allusion than those of the yangban scholars who presented their public facade by following rigidly fixed formats of official portraits or official gathering paintings (kyehoedo). Chungin, whose social position did not allow them an easy access to such public forms of pictorial representation, attached more ideological significance to the representation of their private lives and events. In the process of examining the commemorative paintings produced by the members of the marginal elite of the late Choson period, the current study explores significant but rarely discussed issues of early modern Korean art such as the problem of social status, diversification of the cultural elite, and formation of artistic network.}, keywords = {Japanese/Korean Art}, author = {Kim, Jiyeon} } @mastersthesis {10578, title = {Superstudio and the Staging of Architecture{\textquoteright}s Disappearance}, year = {2009}, school = {UCLA}, abstract = {This dissertation considers the groundbreaking work of the Italian architecture collective Superstudio (active 1968-78) in order to narrate an important shift in architectural practice away from designing buildings and toward the nomination of myriad non-tectonic pursuits as architecture. In an attempt to divorce themselves from what they perceived as a corrupt discipline, the six members of Superstudio replaced construction with a profusion of alternative mediums: including furniture, magazine works, films and temporary museum installations. Architecture, they claimed, had become complicit with late capitalist land development and status production and had relinquished its obligation to provide affordable housing to Italy{\textquoteright}s middle and lower classes. Superstudio, thus, as a political act, consciously withdrew from building while remaining within the discipline of architecture as a virus. By producing objects and engaging in activities once considered merely ancillary to the profession, the group questioned the discipline{\textquoteright}s injunction to build while making a claim for the architectural implications of the new mediums they employed. This dissertation, proceeding in a medium-specific manner, considers what it means to conceive of furniture objects, magazine spreads, museum installations and, ultimately, everyday life itself as new forms of architecture. This study has renewed relevance for the discipline of architecture as it continues to see its influence expand beyond building into every realm of daily existence.}, keywords = {Contemporary Art}, author = {Ross, Elfline Kenneth} } @mastersthesis {10615, title = {The Symbolic Use of Ornament and Calligraphy in the Book of Kells and Insular Art}, year = {2009}, school = {Johns Hopkins}, abstract = {This dissertation investigates the use of ornament and calligraphy in the medieval manuscript known as the Book of Kells, as well as related manuscripts and other works of art. A copy of the four gospels of the Christian New Testament in Latin, the Book of Kells was made around 825, most likely at the monastery on the island of Iona, off the west coast of Scotland. The manuscript has long been famous for the density and complexity of its illumination, and its full-page miniatures and decorated initials have been the subject of numerous studies. My dissertation adds to our understanding of the book by looking at two sections that have not been the focus of previous study: a passage of four pages at the beginning of Matthew, folios 29v-31r, that feature seemingly unfinished borders and the full-page incipit to the Gospel of Luke on folio 188r. I demonstrate that the designers of the manuscript intentionally left the pages in Matthew unfinished as a way of expressing ideas about the nature of Christ and the relationship of the Old Testament to the New. The pages thus call attention to symbolic use of ornament in Insular art, and I subsequently show that several contemporary works use ornamental forms as a metaphor for the incarnate flesh of Christ. In my analysis of the Luke incipit page, I investigate the manipulation of letterforms in the Book of Kells and related works of art and describe the ways in which Insular scribes and painters imbued the abstract shapes of letters with meaning beyond their essential linguistic reference. As a whole, the dissertation demonstrates that ornament and calligraphy, rather than existing simply to beautify works of art, can be important bearers of meaning in of themselves.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Tilghman, Benjamin} } @mastersthesis {10611, title = {Tears of Compunction{\textquoteright}: French Gothic Ivories in Devotional Practice}, year = {2009}, school = {Toronto}, abstract = {This dissertation presents a new perspective on the function of objects in late-medieval devotional practice through a study of the so-called Soissons group of thirteenth-century French Gothic ivories. These ivory diptychs were sophisticated tools constructed to guide the user through various spiritual exercises that led to prayer. The hitherto unexplained increase in the availability of ivory in mid-thirteenth-century France is accounted for by an alteration in the trade routes that brought elephant tusks from the Swahili coast of Africa to northern Europe: a newly-opened passage through the Straits of Gibraltar allowed a small amount of luxury goods to be shipped together with bulk materials necessary to the northern textile industries. The increasing supply required a revision of the structure of the thirteenth-century craft of ivory. The Soissons group, the first ivory diptychs fashioned during this time of growth in ivory markets, is subdivided into two sections. An itinerant master who traveled throughout the Picard region between 1235 and 1270 crafted the first group. Concurrently, three separate Parisian artists produced the second group, based on a Picard model. This dissertation redates all the ivories substantially earlier than previously thought, conclusions which were attained through stylistic analysis. The dense Passion iconography shaped the diptychs{\textquoteright} function in private devotion. The narrative encouraged the viewer to practice a number of spiritual exercises-reading, memorization and compunction-analogous to the three reasons for allowing images in the Christian Church, the triplex ratio. The Passion diptych format introduced with these objects was immensely popular throughout the thirteenth and fourteenth centuries and its conservation over time underscored its effectiveness. The small differences in iconography and composition among the seven Soissons diptychs, however, were subtle modifications to adjust to different audiences and to hone the objects{\textquoteright} efficacy as tools for prayer.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Guerin, Sarah} } @mastersthesis {10736, title = {Theatres of War, Torture, and Disappearance: Leon Golub{\textquoteright}s Mercenaries, Interrogations, and White Squads, 1976-1987}, year = {2009}, school = {Northwestern}, abstract = {Between 1976 and 1987 Leon Golub (1922-2004) painted twenty-two works known as the Mercenary, Interrogation and White Squad Series. Critics drew connections between military intervention in Southern Africa and Latin America and the violence represented in Golub{\textquoteright}s three series of paintings. My dissertation investigates Golub{\textquoteright}s mechanism of engagement: that is, what in the Mercenary, Interrogation and White Squad Series invited viewers to locate Golub{\textquoteright}s representations amongst reports of U.S. sponsored violence. Theories and methods advanced by Bertolt Brecht help to explain how spectators located the works within a geopolitical context. I argue that Golub employed Brechtian devices to invite his viewers to collaborate in the formation of meaning. By politically and visually contextualizing Golub{\textquoteright}s Mercenary, Interrogation and White Squad Series within the history of U.S. imperialism and the genre of representations of war and torture, the viewer can better understand the historical circumstances of the subjects of his representation. This dissertation reviews and assesses the critical currents and historical accounts necessary for an understanding of the reception of Golub{\textquoteright}s work from the late 1970s to the late 1980s. The procedures and methods used include concepts of theatre and performance and the theoretical contributions of Michael Fried to the understanding of spectatorship. The applicability of Bertolt Brecht{\textquoteright}s insights is weighed against the ethical conundrums of representing suffering as posited by Theodor Adorno, The production of the Mercenaries begins amidst the political climate of the Carter Administration in the late 1970s. With the advent of the Reagan Regime, Golub{\textquoteright}s work became darker with his turn to scenes of torture with the Interrogations and White Squads. In the mid 1980s Golub began to incorporate Classical elements. By retracing the historical context of U.S. foreign relations with an understanding of Brechtian theatre, the spectator can more fully understand the complexity of Golub{\textquoteright}s Mercenary, Interrogation, and White Squads.}, keywords = {Twentieth-Century Art}, author = {Travis, Amber} } @mastersthesis {10663, title = {Theory, Practice, and Competition in the Visual Arts: The Fortunes of the Paragone in French and British Nineteenth-Century Art}, year = {2009}, school = {Penn State}, abstract = {My topic springs from many years of studying the paragone, which is the {\textquoteright}comparison{\textquoteright} or rivalry between the arts, such as that between poets and painters, painters and sculptors, or aesthetic theorists and visual artists. Typically artists have been motivated to participate in the paragone during crises, such as changes to the hierarchy of the arts, shifting aesthetic theories, cultural and social changes to the artist{\textquoteright}s status, personal doubt, or political activism and patriotic endeavours. This dissertation addresses the lack of scholarship addressing the paragone{\textquoteright}s survival in the nineteenth century. Rapid changes to the nineteenth-century art world contributed to the paragone{\textquoteright}s significance in this century especially. The shifting aesthetic theories and ideologies of the Royal Academy of Fine Arts, the Academie des beaux-arts, and the Ecole des beaux-arts resulted in the great instability of artistic genres, and waning respect for traditional artistic institutions, such as the Salon, thereby affecting both professional and public opinion regarding art{\textquoteright}s value. Moreover, the intensification and rise of art criticism made visual artists vulnerable to writers in increasingly threatening ways. As well, the writings of aesthetic theorists represented a trend that affected the paragone{\textquoteright}s survival in the nineteenth century; there was an increasing movement in aesthetic theory, beginning in late eighteenth century, to impose either ideological or practical limits on the arts. This movement escalated rebelliousness amongst certain artists, who sought to prove their clever genius and the superiority of their art forms, by breaking their supposed limits. Through my analysis of hegemonic artistic practice, my research has led to the discovery of motifs or subjects that are often evidence of the paragone manifested in a particular piece. My dissertation will begin with an examination of the proliferation of the beau ideal, or mastery of the human figure{\textquoteright}s ideal representation in painting or sculpture, which was, (since the Renaissance), indicative of artistic skill, and remained a signifier of artistic supremacy in early to mid-nineteenth-century art. Since antiquity, the mythological account of Narcissus, (the young man who falls in love with his own image, because of his astounding beauty), has represented the power of masculine beauty to entrance its viewers. This tradition, which paralleled the cult of male beauty propagated in Greek art, was inherited by nineteenth-century artists in the form of the beau ideal. Even though portrayals of the beau ideal recurred throughout the nineteenth century, the early preference for male figures was matched, by the mid-nineteenth century, to greater interest in the female nude. In particular, the Pygmalion myth became emblematic of the ultimate mastery of the nude figure in art; Ovid{\textquoteright}s account of Pygmalion in his Metamorphoses epitomised the crux of the paragone debate at this time. In this myth the sculptor Pygmalion, symbolic of the archetypal artist, creates a figure of a woman that in turn represents the ultimate artistic creation; she is so beautiful that he entreats Venus to bring her to life. This myth speaks to the image{\textquoteright}s power over the viewer, and therefore to the power of the visual arts. The final subject explores the legacy of Gustave Moreau{\textquoteright}s versions of Salome, which engendered a host of competitive responses to his portrayal of this subject, such that Salome became a signifier of artistic rivalry, as much as she was of the femme fatale. I will also explore a new interpretation of Salome that emerged in the nineteenth century that heightened her visual and iconic impact on viewers. The narrative features of the Salome subject made it an ideal source for paragonising artists. As a symbol of sensual and material beauty, she mirrored the material and decorative nature of the Aesthetic and decadent movements in the arts at this time. My research offers an interpretational tool that may be used by other scholars with respect to the examination of individual artists or writers, while providing a basis for further studies in this framework. Demonstrating the topic{\textquoteright}s ultimate potential is one of the most important scholars in the field: W.J.T. Mitchell. In his Iconology: Image, Text, Ideology, Mitchell addresses the paragone{\textquoteright}s importance to scholarship, and shows how its fundamental concerns continue to be played out by successive generations of artists, even in technological media, which is an indication of its relevance to a broad range of study in the humanities, including not only art history but theory and criticism, western literature, film studies, and the fine arts. My dissertation, however, focuses on the actual implementation of a paragonising artistic theory in artworks throughout the nineteenth century. In so doing it strengthens scholarly understanding of the themes, artists, and works addressed, while demonstrating the importance of acknowledging artistic competition.}, keywords = {Nineteenth-Century Art}, author = {Lippert, Sarah} } @mastersthesis {10555, title = {Toiletry Case Sets across Life and Death in Early China (5th c. BCE-3rd c. CE)}, year = {2009}, school = {Pittsburgh}, abstract = {This dissertation is an exploration of the cultural biography of toiletry case sets in early China. It traces the multiple significances that toiletry items accrued as they moved from contexts of everyday life to those of ritualized death, and focuses on the Late Warring States Period (5 th c. BCE) through the Han Dynasty (206 BCE-220 CE), when they first appeared in burials. Toiletry case sets are painted or inlaid lacquered boxes that were filled with a variety of tools for beautification, including combs, mirrors, cosmetic substances, tweezers, hairpins and a selection of personal items. Often overlooked as ordinary, non-ritual items placed in burials to comfort the deceased, these sets have received little scholarly attention beyond what they reveal about innovations in lacquer technologies. This dissertation presents a contextualized and nuanced understanding of toiletry case sets as enmeshed within rituals, both mundane and sacred. Chapter Two begins with their uses in life as items essential to fulfilling fluctuating social ideals of beauty and, as sets found in association with both females and males, tools through which gender identity was enacted rather than simply reflected. Chapters Three and Four focus on the layers of meaning that toiletries accrued when placed on display during the funerary rituals, arranged within organized tomb layouts, or kept aboveground for use in post-burial contexts. These chapters employ approaches to the material culture of death developed by Howard Williams, ideas that are themselves based on the classic sociological model for studying death rituals established by Robert Hertz. Such theories provide a framework for understanding how toiletry items may have affected the corpse, the soul, and the mourners differently. As items used in daily rituals of grooming and adornment, these sets became entangled within the biographies of individuals, ensured the order and beauty of the body into death, and may have acted as potent objects of memory throughout rituals surrounding death. This open inquiry of the toiletry case set demonstrates the potential for objects in early China to be understood as active within social, political and ritual contexts, and contributes to a growing discourse about the multiple meanings of objects.}, keywords = {Chinese Art}, author = {Lullo, Sheri} } @mastersthesis {10635, title = {Tokyo Visions: Contemporary Japanese Photography and the Search for a Subjective Documentary}, year = {2009}, school = {USC}, abstract = {In the 1950s, the ideals of "realism" and "objectivity" dominated the world of photography in Japan. However, by the end of the decade, claims to such an ideal were subject to increasing scrutiny as photographers increasingly found it difficult to ignore their role in the creation of the image. The select group of photographers that make up this study moved steadily away from the idea that the photographer was merely a mechanism through which "reality" could be related to the viewer. That is to say, photographers in the mid-1950s developed what could be called a "subjective documentary." By the 1990s, photographers responded to such claims of subjectivity and objectivity by focusing entirely on their own self-representation. Of central concern is the question of how concepts such as objectivity and subjectivity have been understood in the practice of photography. I begin my study with the innovative photography collective, Vivo, because it was the first significant photo group to begin to question the claims of objectivity made by a previous generation of photographers such as Domon Ken and Natori Yonosuke in an attempt to produce photography that acknowledged the presence of the photographer within its work. I will show that these photographers injected their personal feelings into their images as a way to allow the viewer to read the ideas and concerns of the photographers within the work. I then address the photographers who created the photo-journal, Provoke, in the late-1960s. This group of photographers made use of heavy-handed, graphic techniques to question the role of vision in memory as a means to highlight the subjective aspect of photographic records. They developed a shaky and blurry style of image-making that they believed created photographs that foregrounded their experience with vision. In the early 1970s, however, another shift took place within the field of photography. Araki Nobuyoshi and Fukase Masahisa, working independently of one another, came to be the flag-bearers for a style of photography that focused almost entirely on the photographer. Both men asserted, through their work, that since experience of the world is mediated by the individual, one must first understand that individual before one can understand the world. Finally, I will introduce a parallel history to this male-dominated view of photographic history by illustrating the contributions of several female photographers to this trajectory. Women were, despite the many narratives that might suggest otherwise, a large part of this development and, in fact, have taken solid hold of the latest chapter in its development. Since its development, photographers have used the camera to investigate the nature of "objectivity" and "subjectivity" in visual practice. The photographers of this study are connected by a desire to expand the boundaries of visual representation beyond what would appear to be a simplistic expression of observed "reality." They represent several different styles and trends, but are ultimately joined by what they considered to be a sense of incompleteness regarding the ability of the camera to create unmediated viewing experiences. As photography has become increasingly personal, it has provided a window through which one could view "realities" that don.t necessarily adhere to a standard determined by others.}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {O{\textquoteright}Leary, Thomas} } @mastersthesis {10590, title = {Towards a Genealogy of Visual Culture at the Rhode Island School of Design, 1875-1900}, year = {2009}, school = {Brown}, abstract = {Recent art historical scholarship has reconsidered the discipline{\textquoteright}s "invention" of the idea of the modern artist; the professionalization of the artist; and how the program of the American art museum has been historically constructed. But almost always the scholarship stops short of acknowledging the entwined narrative of design and the designer. Our understanding of modern visual culture will remain impoverished until we complicate or complement narratives inherited from Art History with an equally developed history of the designer, a history of design, and a greater attention to how things are made. This thesis maps the shifting concept of art, design and making at the Rhode Island School of Design (RISD) from its founding as a post-Centennial Exhibition design school until 1900, by which time it had become a unique hybrid institution. As a case study, the early history of RISD provides a critical site revealing how art and design were tacitly understood to be different kinds of cultural practices within the ecology of culture of the city, state, and nation. Fully developed, such a genealogical history will provide a powerful alternative view of what knowledge is formed as the result of privileging art over design, and what this can tell us about accepted ideas of modernity, and art as the practice of the modern self. Chapter One addresses the agency of the Centennial Women who "founded" RISD, and documents the unlikely story of how a design school won out over the competing proposal to fund a drinking fountain. Chapter Two continues this project of archival retrieval. It documents the contentious relationship between local advocates of art and design, and identifies the vision and legacy of founder, Mrs. Helen Adelia Rowe Metcalf. Chapter Three pieces together the material culture of RISD{\textquoteright}s first classroom complex at the Hoppin Homestead Building, from 1878-93. RISD provided an alternative creative world to the bohemian ideal of the painter that has become such a popular cliche in the public imagination. Chapter Four presents my first work on the Jones Bequest lawsuit that led to the founding of the first Art Museum in RI, housed at RISD.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Austin, Nancy} } @mastersthesis {10637, title = {Tracing the Texture of Stone: Unearthing the Origins of Modern Korean Painting from the Archaeological Remains of the Past}, year = {2009}, school = {Chicago}, abstract = {The South Korean art world in 1953 was not unique in facing the onslaught of questions of identity, nation, and art practice raised by conflict and colonization. These issues and artistic approaches mirror similar developments throughout the globe during the middle part of the 20th century. As such, the development of South Korean modern painting can be understood as part of simultaneous processes occurring throughout East Asia, Latin America, and indeed, the United States and Europe in the mid part of the twentieth century. South Korea{\textquoteright}s political and social upheaval was a function not only of the competing interests and perceived rivalries between the South and North, but between Korea and Japan, and more broadly, the East and the West. For this reason, an examination of this formative period in modern Korean art and its intersection with global art movements is particularly instructive. Through a series of case studies that link together a foundational exhibition of Korean artifacts, the 1957 show Masterpieces of Korean Arts, and the work of two important Korean artists of the period, Park Soo Keun and Kim Whanki, I argue this post-war discourse between the past and present was actively shaped by artists and museum curators who sought to define visions of a Korean past untainted by the travails of the twentieth century. This longing manifested itself in the search for origins, traditions, and archetypes of an enduring and unbroken Korean history located in the material remains of everyday life. The present shaped the past, but the past in return shaped the present. This dissertation examines the contingent, selective, and self-conscious use of the past in the development of South Korea{\textquoteright}s national museum and the modern arts in the post-colonial, post-civil war period following 1953.}, keywords = {Japanese/Korean Art}, author = {Hahn, Christine} } @mastersthesis {10716, title = {Transition in Post-Soviet Art: {\textquoteright}Collective Actions{\textquoteright} Before and After 1989}, year = {2009}, school = {Duke}, abstract = {For more than three decades the Moscow-based conceptual artist group "Collective Actions" has been organizing actions. Each action, typically taking place at the outskirts of Moscow, is regarded as a trigger for a series of intellectual activities, such as analysis, interpretation, narration, and description. The artists have systematically recorded and transcribed these activities, collecting and assembling texts, diagrams, and photographs in a ten-volume publication entitled Journeys Outside the City. Five volumes of this publication concern the activities of the group before, and five after, 1989. Over the years the Journeys Outside the City became an idiosyncratic, self-sufficient aesthetic discourse arrayed along a constellation of concepts developed by those engaged in "Collective Actions." In its elusive hermeticism and self-referentiality the aesthetic framework constructed by these artists formed a closed system, gathering bundles of signs that seldom referred to anything concrete outside the horizon of Moscow Conceptualism. It is in this regard that the early volumes of the Journeys Outside the City can be compared to the similarly closed ideological discourse of the Soviet Politburo. After 1989, however, with the transition from socialism to capitalism, the aesthetic and artistic language of this group began to change as its text-based self-sufficient system began to open up under pressure from new socioeconomic conditions introduced by the processes of democratization and liberalization. My dissertation Transition in Post-Soviet Art: {\textquoteright}Collective Actions{\textquoteright} Before and After 1989 is neither a history of nor a monographical work on "Collective Actions," but rather an analytical exploration of aesthetic, artistic and institutional changes that have transpired in the Journeys Outside the City during the transition from socialism to capitalism. As the artists migrated from one art historical category into another (from the status of "unofficial artists" to that of "contemporary artists"), their aesthetics and art revealed a series of stylistic, technical, formal, textual, and aesthetical transformations and metamorphoses that paralleled broader cultural conversions taking place in post-Soviet and Eastern European art during the transition to capitalism.}, keywords = {Twentieth-Century Art}, author = {Esanu, Octavian} } @mastersthesis {10489, title = {Transitions in Domestic Architecture and Home Culture in Twentieth-Century Iran}, year = {2009}, school = {MIT}, abstract = {This dissertation explores the transformation of the Iranian home in twentieth century Iran. While surveying the sociopolitical underpinnings and aesthetic ends of domesticity in Iranian culture from the early twentieth century through the first two decades of the revolution, this study also examines the impact of the Cold War on the daily life of Iranians. A showcase for the West{\textquoteright}s humanitarian efforts in the region, the "reform" of the Iranian home was first brought about by missionaries, architects, and other foreign parties. They engaged in a hybrid dialogue that helped bring about a reconfiguration of houses, home cultures, and behaviors and tastes in domestic life. The Point IV Program of the Truman administration exported American home life by establishing home economics schools for Iranian girls. Subsequently, the Iranian domestic market was flooded with a plethora of new home goods. The influx of new spaces and goods raised questions about the authenticity of Shiite daily life, indigenous taste, consumer culture, and gender relations. Since 1979 the focus on Iran{\textquoteright}s internal politics and its foreign relations has distracted attention from more subtle transformations, which took place prior to and in the aftermath of the Islamic Revolution. By looking at the roles and opinions of religious scholars, the Left, and the revolutionary elites this study can also be seen as one that re-examines the history of Iran{\textquoteright}s revolution through the lens of the everyday and private lives of people. Subsequently, this dissertation details the ways in which new ideas regarding the relationship between public and private spaces were put forward by numerous architects, urban planners, and cultural critics both during the reign of Mohammad Reza Shah Pahlavi (1941-1979) and in the two decades following the revolution. Finally, it shows how, since 1979, Iranians have contested the dichotomies of "public" and "private" as manifested in the Islamic Republic{\textquoteright}s texts, images, and actual physical spaces. Towards this end, this dissertation explores the interplay between foreign influences, religious rhetoric, gender roles, economic factors, and education as they intersect with taste, fashion, and architecture.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Karimi, Z. Pamela} } @mastersthesis {10504, title = {Twilight{\textquoteright} in Delhi? Architecture and Aesthetics in the Late Mughal Empire}, year = {2009}, school = {Harvard}, abstract = {This dissertation concentrates on architecture and its representation in the late seventeenth and eighteenth centuries in Mughal north India. Though this period has been characterized as part of the so-called "twilight" phase of the Mughal empire, I argue that the long eighteenth century was a period of creative transformation in India. Analysis of art historical materials from the period suggests that this was a dynamic time during which architecture was used to refashion Mughal identity in light of changing sociopolitical contexts. Art historical scholarship has tended to interpret the political losses of this period in sweeping terms, failing to examine a series of key moments in eighteenth-century Mughal architectural history. I explore issues such as architectural experimentation; changing conceptions of public space; piety and patronage; art and cultural exchange; and the codification and contestation of the Mughal historical past and its legacy in architectural representations on paper. Focusing primarily on the Mughal capital at Delhi, I investigate these developments through a consideration of large-scale monuments, sites of urban assembly, architectural plans and studies, and Mughal, French, and British textual sources. Monuments from the period evidenced a striking experimentation with visual form, purposefully drawing on an established, symbolically charged Mughal visual vocabulary while also embodying changing aesthetic sensibilities. In addition, Delhi witnessed dramatic transformations in the conception, organization, and use of urban public space during this period. I argue that architectural projects were conceived of in relation to this new urban configuration. After tracing these developments, I demonstrate that they were synthesized in the 1753 funerary complex of Safdar Jang. Finally, I analyze the historicization of Mughal monuments articulated in late eighteenth-century representations of architecture, particularly works commissioned by the members of European trading companies based in India. Throughout, I ground my study historically, considering concurrent changes in the political and social order within the Mughal empire, the increased British and French colonial presence in the Indian subcontinent during this period, and the complex cultural negotiations resulting from these circumstances.}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Dadlani, Chanchal} } @mastersthesis {10596, title = {Unfamiliar Streets: The Photographs of Richard Avedon, Charles Moore, Martha Rosler, and Philip-Lorca Dicorcia}, year = {2009}, school = {CUNY}, abstract = {This dissertation begins from the premise that the streets of street photography matter. Streets are considered here as both sites and subjects for this genre of photography. Such an analysis demonstrates that streets are specific cultural, political, economic, and social environments, and that street photography often anticipates the affective quality of their reception by viewers. A key aim of this dissertation is to articulate a much-needed alternative to the dominant discourse on street photography as codified by Henri Cartier-Bresson, canonized by Garry Winogrand, and uncontested in most existing scholarship on the genre. Without spontaneity, speed, instantaneity, stealth, and mobility guiding the discussion, it becomes possible to redirect the terms of that discourse and to acknowledge that the construction and production of many street photographs corresponds-or fails to correspond-to the ways in which the street both frames and determines urban experience. Case-study chapters on the photographs of Richard Avedon, Charles Moore, Martha Rosler, and Philip-Lorca diCorcia address the historical dynamics that animated and complicated the specific city streets that serve as their sites and subjects. Published during the heyday of postwar consumerism, Avedon{\textquoteright}s late 1940s photographs for Harper{\textquoteright}s Bazaar utilize Parisian streets as deliberate locations of material desire and trade on a nostalgic image of that city. Moore{\textquoteright}s photo essay for Life magazine on the civil rights demonstrations in Birmingham in 1963 capitalizes on widespread awareness of the street as a site of political protest at the outset of a decade that would make the two synonymous. Rosler{\textquoteright}s removal of human subjects from street photography in her seminal work, The Bowery in Two Inadequate Descriptive Systems (1974-75), prompts the viewer{\textquoteright}s negotiation and reevaluation of urban poverty and homelessness. And diCorcia{\textquoteright}s projects in Times Square have yielded street photographs that unite the social and architectural space of urban change in America{\textquoteright}s most iconic public square. Taken together, the work by these four photographers provides not only a generational span across postwar American street photography; it offers a survey of types of street photography that diversify, expand, and complicate the existing discourse, thereby necessarily changing the practice of the genre{\textquoteright}s history.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Bussard, Katherine} } @mastersthesis {10701, title = {Use of Devotional Images in the Seventeenth-Century Northern Netherlands: A Case Study of Prints by Abraham Bloemaert (1566-1651)}, year = {2009}, school = {Wisconsin}, abstract = {Born in Gorinchem and active in Utrecht during the first half of the seventeenth century, Abraham Bloemaert (1566-1651) enjoyed a long and successful career as a prolific print designer. Bloemaert created more than 600 printed images; many of these dealt with religious themes, and a vast majority was distinctively devotional and overtly Catholic in nature. These aspects of Bloemaert{\textquoteright}s works prove to be quite significant, especially considering the culture and context of the seventeenth-century Dutch Republic{\textquoteright}s adoption of Calvinism. This dissertation examines Bloemaert{\textquoteright}s devotional prints created during the first half of his long career (1590s to around 1625), which formed a crux of the artist{\textquoteright}s oeuvre and its characters. Taking Bloemaert{\textquoteright}s these prints as a case study, it addresses crucial issues and concerns of Counter-Reformation Catholics and the ways in which Bloemaert{\textquoteright}s prints would have responded to such issues. The artist{\textquoteright}s close proximity to Jesuits, nuns, and secular clerics, supplied his prints with rich Catholic theological ideas. By exploring the iconographic characteristics of Bloemaert{\textquoteright}s prints and their relationship with the doctrines of the Council of Trent and Jesuit spirituality, as well as their root in the long tradition of Devotio Moderna, the chapters of this dissertation discuss how his devotional prints would have been received by viewers in a new religious environment, where public practice of the Mass was illegal. Deeply rooted in the tradition of devotional practice, but at the same time highly responsive to the needs and demands of his time, Bloemaert{\textquoteright}s devotional prints were orchestrated to evoke desired responses from viewers and to actively engage them-particularly in connection with Ignatius of Loyola{\textquoteright}s Spiritual Exercises. The works of Abraham Bloemaert bear witness to the Catholic spirituality and practices that survived in the seventeenth-century Dutch Republic, in private and beyond a superficial level. They illustrate the basic principles which operated at the very core of the minds of Catholic followers.}, keywords = {Renaissance/Baroque Art}, author = {Park, Soo Yeon} } @mastersthesis {10685, title = {Value and Symbolic Practices: Objects, Exchanges, and Associations in the Italian Courts (1450-1500)}, year = {2009}, school = {McGill}, abstract = {Arguing for a reconsideration of the object{\textquoteright}s function in court life, this thesis investigates how the value of an object is tied to the role it plays in symbolic activities, which formed the basis of court relations at the end of the fifteenth century. This study thus examines the courts of Italy (particularly Ferrara and Naples) through the myriad of objects-statues, paintings, jewelry, furniture, and heraldry-that were valued for their subject matter, material forms, histories, and social functions. Such objects are considered not only as components of court life, but also as agents which activated the symbolic practices that became integral to relations within and between courts. These activities-the exchange of diplomatic gifts, the consumption of precious objects, the displaying of collectibles, and the bestowing of knightly orders-were all ways that objects acted as points of contact between individuals, giving rise to new associations and new interests. The end of the fifteenth century was a pivotal moment in the courts of Italy, fraught with alliances and counter-alliances involving not only the courts on the Italian peninsula but also abroad. The court was an important space where individuals sought to assert and legitimise their power, and this was often done through material and visual means. The court is thus examined from diverse angles, taking the object as a starting point, and tracing relationships and networks through visual, textual, material, and literary sources. Shifting the focus away from artistic intentions and patronage, this study examines how objects constitute relations, often in unpredictable ways, not only forging connections but also revealing instabilities and latent hostilities. The constant circulation of precious objects in the late fifteenth century reveals a system of value which placed importance not only on ownership, but also on the replication, copying, and translation of those objects in an array of media. The quotation of both objects and texts in contemporary works of art, I argue, gave rise to new modes of viewing visual imagery that are most apparent in studiolo culture. This form of viewing requires decipherment; it asks viewers to piece together disparate parts and fragments thereby constructing meanings across space and media. Diverse material forms are thus brought together. A bronze fragmented horse{\textquoteright}s head is examined as a gift that forged connections between two diplomats. Its fragmented equestrian form gives rise to narratives and discussion about its provenance and the object is connected to the lending, gifting, and racing of real horses. The circulation of jewels and gems between courts was facilitated by the practices of merchant-bankers through pawning and credit. Circulation gave these objects histories but also imbricated a wide range of individuals into complex webs of association, obligation, and dependencies. A small devotional diptych belonging to a larger collection is examined in relation to humanist, social, and religious debates at the court of Ferrara, revealing how its particular form is closely tied to how one engages with, and interprets, the object. The diptych referenced other texts and objects and was also the model for numerous copies, encouraging the viewer to piece together the visual and textual quotations to produce meaning. The Neapolitan Order of the Ermine is examined through the mantle, gold collar, representations of the emblem, and statutes of the Order to demonstrate how these material aspects constituted the rites of the Order. These material objects became crucial components of membership by linking members across Italy and Europe into forms of obligation and indebtedness. The court at the end of the fifteenth century in Italy, I argue, can thus be found not only in the body of the prince, but also in the objects that constituted symbolic practices, initiated political dialogues, created memories, and formed associations.}, keywords = {Renaissance/Baroque Art}, author = {Clark, Leah Ruth} } @mastersthesis {10510, title = {Value Space: An Architectural Geography of New Retail Formats on Southern Vancouver Island}, year = {2009}, school = {Victoria}, abstract = {The subject of this dissertation is the architectural history of big-box stores on Southern Vancouver Island since their arrival in 1992. It examines the architecture and cultural significance of stores located in the Regional District of Nanaimo, the Cowichan Valley Regional District, and the Capital Regional District. This study hypothesizes that big-box stores are, in terms of their architecture, retailing formats, and consumption practices, central locations and vehicles for the reproduction of capitalist social relations. In the postmodern or Late Capitalist era, these relations have emphasized consumption over production, and have exerted a deep influence on everyday life and political economy in urban Canada. This study interprets the architectural and social spaces of New Retail Formats (NRFs) through a Marxist perspective, and uses the interdisciplinary methods of vernacular architecture studies and architectural-geography. I have evaluated the big-box store in terms of typology, distribution, and social operation. I have also placed them in the context of North American architectural history, especially in relation to shopping centres. I argue that big-box stores produce, consume, and reproduce distinctive forms of social space, which I have named "value space". Value space is the set of social and spatial relationships found within big-box stores that are shaped by both retailers and consumers, and which are focused on low-priced commodities. Value space is a contemporary and clear example of what Karl Marx and Henri Lefebvre each identified as key to capitalism{\textquoteright}s survival: the reproduction of the relations of production and consumption. In the same way that factory relationships also shape life beyond the factory, the value space of big-box stores is also produced, consumed, and reproduced in other social and professional practices, such as urban planning and municipal politics. The aims of my study were: to document the history of this new architectural type; to explain the place of big-box store development in municipal political economy; and, to examine the role of big-box stores in the reproduction of capitalist urban space on Southern Vancouver Island. In doing so, I argue that big-box stores are engines and symbols of urban development that foster increased consumption, support the socio-economic status quo, and refashion natural and social environments in accordance with the values of capitalism. I believe big-box stores are the architectural subject of greatest contemporary importance on Southern Vancouver Island. Few other buildings types today generate similar feelings-for and against-as do big-box stores. They are at once a building type, a retail format, and a symbol of contemporary urban development. Their importance comes from their size, from the scale of their operations, and from their impacts on municipal politics, urban planning, transportation infrastructure, regional ecosystems, and community life. The retailing and consumption practices they house, facilitate and manage contain the seeds of, or needs for, future consumption. This makes NRFs economic and symbolic centres for the reproduction of the relations of production and consumption.}, keywords = {Architectural History/Historic Preservation}, author = {McGrail, Justin} } @mastersthesis {10707, title = {Velazquez, the Spanish Style, and the Art of Devotion}, year = {2009}, school = {Bryn Mawr}, abstract = {This dissertation offers an account of counter-reformation mystical texts and praxis with art historical applicability to Spanish painting of the Seventeenth Century- particularly the work of Diego Velazquez. The consequences of considering devotional practice and mystical experience in the analysis of Spanish painting in the siglo de oro yields new, more complete, and more intellectually satisfying readings of particular works. Without supplanting the long-established tradition of applying Flemish and Italian models to Diego Velazquez{\textquoteright} work, emphasis is placed on what is authentically Spanish in his accomplishments.}, keywords = {Renaissance/Baroque Art}, author = {Saporta, Lawrence Leo} } @mastersthesis {10735, title = {The Vertigo of the Modern: Surrealism and the Outmoded}, year = {2009}, school = {Columbia}, abstract = {During the 1920s German philosopher and critic Walter Benjamin heralded the emergence of an "extraordinary" aesthetic and critical category called the {\textquoteright}outmoded,{\textquoteright} which, in the hands of the French surrealists, became a distinctive mode of responding to the unique conditions of materiality, temporality and subjectivity in post-World War I Europe. Acknowledging the vital importance of Benjamin{\textquoteright}s under-explored assessment, this dissertation establishes the historical origins, formal characteristics and critical functions of the surrealist paradigm of the outmoded, arguing for the prominence of this theme within the history of the European avant-garde as well as in 20th century aesthetics at large. First, the study analyzes Benjamin{\textquoteright}s reception of surrealism in light of the socio-economic concept of the outmoded, considering the implications of his early meditations on "dream kitsch," and his later understanding of the "revolutionary energies" of this category-maintaining all the while that Benjamin{\textquoteright}s appraisal of surrealism was primarily laudatory. Following this excursus, the analysis breaks away from Benjamin{\textquoteright}s influential interpretation in order to determine the way in which outmoded themes function independently within select surrealist works themselves. Three case studies devoted to Aragon{\textquoteright}s Le Paysan de Paris (1924-26), Andre Breton{\textquoteright}s Nadja (1928), and Max Ernst{\textquoteright}s collages of found materials (1920s-early 1930s) consider the various ways in which the surrealists approached the paradoxical and vertiginous conundrum of the {\textquoteright}recent past{\textquoteright} as they encountered it on a daily basis in their Parisian habitat. From Aragon{\textquoteright}s exploration of outmoded and remoded 19th century locations, to Breton{\textquoteright}s search for entities and subjectivities lying outside of competitive exchange systems, to Ernst{\textquoteright}s post-consumption of popular culture from past generations, the surrealist category of the outmoded emerges as a cohesive and effective response to an increasingly homogenized capitalist society. By uncovering the surrealist preoccupation with the outmoded as the {\textquoteright}unmarked{\textquoteright} or {\textquoteright}third{\textquoteright} term in the face of the hegemonic Modernist binary of old and new, this movement{\textquoteright}s collective critique of several of the idealized narratives embedded within the historical era of modernity, such as progress and productivity, novelty and optimism, is confirmed.}, keywords = {Twentieth-Century Art}, author = {Susik, Abigail} } @mastersthesis {10673, title = {Visions which Succeed: Regional Publics and Public Folk Art in Maritime Canada}, year = {2009}, school = {Queen{\textquoteright}s}, abstract = {This thesis examines the intersections of visual culture with processes of folklorization in Maritime Canada between 1964 and 2007. Throughout this thesis, I explore how visual culture helps make history public in the Maritimes for local and tourist audiences alike. Ultimately, I question which visions succeed when it comes to looking at this "region{\textquoteright}s" past in order to visualize its future. I outline chapters that consider how Nova Scotia{\textquoteright}s first provincial gallery, the Art Gallery of Nova Scotia (AGNS), labelled the cultural production of local self-taught artists "folk" art and, by collecting these objects, became the foremost expert in a category of artistic expression it had itself created; how the provincial state ideologically and economically invested in a certain "folk" aesthetic by gathering objects under the authority of a few prominent collectors; how those institutions and collectors who sought to develop contemporary folk art for the art market also became concerned with the new confrontation of a global mass culture by the last few decades of the twentieth century; how the AGNS transformed self-taught artist Maud Lewis from a local tourist attraction in the 1960s into an internationally recognized cultural icon by the 1990s through the institutionalization of her life story{\textquoteright}s public history; and how those with state and corporate authority came to brand the Maritimes for global tourism at the turn of the twenty-first century, by employing what they understood to be the region{\textquoteright}s strongest cultural resources. Part of my rationale here is to explore what it means to label the cultural production of self-taught artists "folk" art and the implications of state and corporate investment in this cultural form for the public narrative associated with the experience of culture in Maritime Canada. I posit a complex hegemonic relationship here between relatively powerful artworld professionals and relatively powerless self-taught artists that speaks both to the inequities and contradictions of a capitalist liberal order. In doing so, I also tackle the broader implications of writing "the history of region" in an age of "global" analyses.}, keywords = {Outsider/Folk Art}, author = {Morton, Erin} } @mastersthesis {10629, title = {Visual Epic: Roman Images of the Trojan Cycle}, year = {2009}, school = {Harvard}, abstract = {No record in ProQuest}, keywords = {Greek/Roman Art}, author = {Ledig, Jennifer} } @mastersthesis {10617, title = {The Visual Legacy of Akkadian Kingship}, year = {2009}, school = {Harvard}, abstract = {The kings of the Akkadian dynasty transformed the nature of Mesopotamian kingship in the late third millennium BCE. This dissertation evaluates how later rulers used monuments and images to engage with the model of kingship put forth by the Akkadian kings, whether through emulation or critique. This {\textquoteright}visual legacy{\textquoteright} of the Akkadians complements the better-known {\textquoteright}textual legacy{\textquoteright} that appears in royal inscriptions and legendary texts narrating the deeds of the two most famous Akkadian kings, Sargon and Naram-Sin. Chapter I defines the Akkadian model of kingship according to the subjects and forms of Akkadian statues, steles, and related artifacts and inscriptions. It then reviews the ways later rulers could access Akkadian monuments, citing both textual and archaeological evidence. The remaining chapters investigate royal images from the {\textquoteright}Neo-Sumerian{\textquoteright} through Old Babylonian periods for indications of attitudes toward the Akkadian kings. Chapter H compares three contemporaneous reactions to the Akkadian model at Lagag, Ur, and Susa in the period immediately following the collapse of the Akkadian dynasty. Chapter III measures visual evidence to test the alleged revival of Akkadian kingship ideals at Ashur, Esnuna, and the kingdom of ≈{\textdagger}amsi-Adad in the early second millennium BCE. The final section, chapter IV, considers the legacy of one Akkadian motif, the image of a victorious king standing atop his enemy, in reference to a set of rock reliefs in the Zagros Mountains that date to the late third and early second millennia BCE.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Eppihimer, Melissa} } @mastersthesis {10572, title = {Voice and Identity in Contemporary Canadian Art: Perspectives on Vocality and Representation}, year = {2009}, school = {McGill}, abstract = {This dissertation argues that voice is defined through both its material and representational status and is fully integrated within the construction of gendered and raced identities, as well as the process of identification itself. At the centre of each chapter is the notion that voice can be an alternate mode of encountering and experiencing the other. As an examination into the issues of contemporary Canadian art, this discussion is initiated from context of art practices but is not limited to this field. Using the works of Janet Cardiff, Genevieve Cadieux, Ken Lum and Rebecca Belmore, this dissertation connects artistic practices to the distinct themes of narrative, embodiment, representation, and place. All of these artists and themes are integral in explaining the connectivity of voice to identity and how this topic is relevant to and reflective of current issues of race and gender within Canadian society. The use of non-visual artistic practices is also evidence of how constructions of identity, when restricted to the visual field are regimented and informed by the ideological structures of the term {\textquoteright}visibility{\textquoteright}. {\textquoteright}Visibility{\textquoteright} and its metonymic link with overt politicized terminology such as {\textquoteright}visible minority{\textquoteright} is a limiting factor in daily existence for many citizens who face discrimination based on regimes of viewing. This dissertation makes a case not only for expanding the critical terms from which to discuss contemporary Canadian art that falls outside of visual parameters, but it is also an examination of existing critical theories of identity. Aside from critiquing aspects of visuality, the following chapters will consider voice as an aspect of the material body and the represented body that is ever present, but rarely considered critically. Through the use of interdisciplinary feminist and postcolonial texts, this thesis constructs a critical framework from which {\textquoteright}voice{\textquoteright} can be applied not only to art historical topics, but all areas of cultural production.}, keywords = {Contemporary Art}, author = {Gomez, Elizabeth} } @mastersthesis {10737, title = {Weimar Re-visions of Germany{\textquoteright}s Colonial Past: Max Pechstein, Hannah Hoech, Laszlo Moholy-Nagy}, year = {2009}, school = {Iowa}, abstract = {Within the last two decades there has been a growing interest to reevaluate and expand scholarship devoted to Germany{\textquoteright}s colonial history and its aftermath. Within roughly the same time period, the study of visual culture has emerged as an increasingly interdisciplinary field. In conjunction with these two developments this dissertation, Weimar Re-Visions of Germany{\textquoteright}s Colonial Past: Max Pechstein, Hannah Hoch, and Laszlo Moholy-Nagy examines the role that visual culture played in determining, articulating, and communicating the legacy of Germany{\textquoteright}s colonial history during the Weimar Republic. In compliance with Paragraph 119 of the Treaty of Versailles, Germany officially relinquished all control over its colonies in Africa, the South Seas, and China. As a result, the Weimar era functioned as a postcolonial age. While the loss of these properties impacted national and international politics, the more telling arena in which Weimar postcolonial discourses prevailed was in the realm of popular, visual culture, particularly associated with the illustrated press and artistic avant-garde. The three artists featured in this dissertation, affiliated with a diverse selection of art movements including Expressionism, the Novembergruppe, Berlin Dada and the Bauhaus, represent an intriguing cross-section of responses to Germany{\textquoteright}s colonial past. In short, this dissertation charts the complex structure of Weimar postcolonialism.}, keywords = {Twentieth-Century Art}, author = {Van Hoesen, Brett M.} } @mastersthesis {10554, title = {When Paintings Speak for the Owners: Political Expressions in Song Dynasty Fan Paintings}, year = {2009}, school = {Michigan}, abstract = {This dissertation approaches the political dimension of Song dynasty (960-1279) fan paintings focusing on four artistic subjects: Meng Haoran riding a donkey, anonymous donkey riders, the sparrow, and ox-herding. The political dimension of these subjects have either been overlooked by modern art historians, or insufficiently studied. This contextualized study not only repositions these fan paintings within their original socio-historical context, but also examines how traditional imagery was revived and imbued with new meanings by Song scholars in order to push their socio-political agenda. Special attention is paid to the discourse and rhetorical tropes prevalent both in painting and poetry. All five chapters reflect, from different perspectives, how Song scholars responded to various social and political challenges through poetry and painting, and how they positioned themselves in a changing society.}, keywords = {Chinese Art}, author = {Liu, Bo} } @mastersthesis {10608, title = {Where There is no Time{\textquoteright}: The Quadrivium and Images of Eternity in Three Eleventh-Century Anglo-Saxon Manuscripts}, year = {2009}, school = {Delaware}, abstract = {This dissertation deals with an image that is found in three eleventh-century Anglo-Saxon manuscripts: The Royal Bible (London, British Library, Royal I.E.VII, fol. 1), the Tiberius Psalter (London, British Library, Cotton, Tiberius C.VI, fol. 7v), and the Bury Psalter (Rome, Vatican, Biblioteca Apostolica, MS Reg. Lat. 12, fol. 68v). The image depicts a cross-nimbed head, two trumpets or torches issuing from its mouth, atop two or three concentric circles. The hands, which also emerge from the circles, hold scales and dividers. Previous scholars have identified this image as the "Wisdom-type" of creation scene because it seemed to illustrate Wisdom 11:21: "Thou hast ordered all things in measure, and number, and weight," with the dividers referring to measure and the scales to weight. Due to the presence of the measuring dividers, which have often been misidentified as compasses for making circles, the iconography has also been understood as a precursor to the well-known scenes of God forming the world with the aid of a compass that preface thirteenth-century French moralized bibles. There is, however, an alternative way to understand the Anglo-Saxon iconography. What I propose and investigate is that the image does not depict God in the act of doing anything at all. Rather, it portrays God{\textquoteright}s immaterial and eternal nature, as he exists outside of time. Because what is eternal and unlimited cannot be circumscribed, and therefore cannot be portrayed, the artists of the three Anglo-Saxon examples depicted the idea of eternity by referencing the quadrivium, the four liberal arts that deal with number (arithmetic, geometry, astronomy, and music), which was an essential foundation for philosophical and theological studies. Because, as Augustine and other theologians asserted, numbers are eternal and their ratios served as the exemplars for the created world, it was through the logic of number that one could approach an understanding of God. By creating such a visual metaphor, the artists created visualities that are not re-presentations or even images, as such, but independent signs leading toward the contemplation of immaterial truth. Their anagogical aspect makes them forerunners of the quest that in the twelfth century led Abbot Suger of Saint-Denis and Hugh of Saint-Victor and others to create and understand images as anagogical and speculative. This project looks at how the iconography conveys the idea of the quadrivium through its schematic form and its specific iconographical features. However, I also deal with the three examples of the image separately. While they are similar formally and may ultimately derive from a single model or represent a visual recension, each example of the image accompanies a different text and is part of a unique visual program. Furthermore, because the artists of each example tailored the image to its particular context, they depict subtle but significant variations. They thus demand an approach in terms of "new philological" methodology concentrating on individual witnesses rather than seeking hypothetical forerunners. Despite the importance of context for reading the image, up to this point, the three examples have been treated as disiecta membra, apart from their larger visual and textual programs. I, instead, investigate how the three examples operate within networks of illustrations and texts and how, through these associations and through the creative reinvention of the iconography, they each acquire distinctive meanings.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Cochrane, Laura} } @mastersthesis {10538, title = {Winslow Homer and Aestheticism in the United States}, year = {2009}, school = {Rutgers}, abstract = {This dissertation explores the introduction of aestheticism to the United States through a close examination of the work of Winslow Homer from 1865 to 1880. I argue that Homer was consistently engaged with aestheticism from its early introduction to the United States in the years immediately following the Civil War. Throughout Homer{\textquoteright}s career, aestheticism was not antithetical to realism, but an alternative approach to addressing the social and cultural changes of modern life. Homer drew from many cultural precedents and models to create an aestheticism that was not only representative of his individuality, but also uniquely American. In Chapter One, I explore the introduction of aestheticism to the United States through a review of contemporary writings, particularly that of Homer{\textquoteright}s friend Eugene Benson, connecting these theories to the building of American cultural standards and institutions, in which Homer was actively involved during this period. Chapter Two examines Homer{\textquoteright}s early exposure to European aestheticism, including an awareness of aesthetic paintings at the 1867 Exposition Universelle in Paris, particularly the works of James McNeil Whistler. Since many of these early aesthetic works depict female figures, I likewise consider the gender implications of Homer{\textquoteright}s work in this vein. Chapter Three examines Homer{\textquoteright}s work from around the year 1875 when he began exhibiting aestheticist works more public exhibitions. Here, the critical response to his work plays an increased role in defining aestheticism{\textquoteright}s progress in America. I examine the tensions that emerged in Homer{\textquoteright}s work that grew from the critical expectation to ground his paintings with moral and realistic overtones while he simultaneously exploring issues of ideal beauty that developed in the aestheticist debate. Chapter Four studies Homer{\textquoteright}s tile production from the late 1870s, exploring precedents as well as contemporary uses of tiles and other decorative arts in relationship to Homer{\textquoteright}s work from this period. It examines the implications of the subjects that Homer used in these new experimental works, arguing that Homer{\textquoteright}s work in this vein functioned within a complete decorative scheme that reflected the patrons{\textquoteright} morals and social fashioning.}, keywords = {Art of the United States}, author = {Atkins, Ashley} } @mastersthesis {10655, title = {Without a Trace: Early British Photography and the History of Visual Objectivity}, year = {2009}, school = {Columbia}, abstract = {My work explores the task of visual discrimination as both a space of recreation and as a prerequisite for productivity in the modern economy in Britain from the 1850s to the early 1870s. This study excavates the conceptual bases on which a number of photographic practices operated to form a particular kind of visual autonomy: one in which discernment itself was both commodified and infused with the logic of production. The aim of my enterprise is to recover the intense ambiguity of the photograph{\textquoteright}s verisimilitude in this formative period, and to understand what it meant, in the midst of an exemplary modern culture, for "the real" to be, tenuously and paradoxically, in the eye of the beholder. The first photographers to recognize how easily the photograph might be manipulated, and to seize upon the artistic and commercial possibilities of this vulnerability, were not the many innovative digital artists working today, nor the renowned modernists who cultivated photomontage early in the twentieth century. It was, rather, a pair of photographers who appear on the scene in 1850s Britain, and who would go on to make the most controversial photographs of the nineteenth century: Oscar Gustave Rejlander and Henry Peach Robinson. These pioneering photographers wagered their commercial success on the proposition that viewers would be able, and indeed interested, to engage with photography in a way that was predicated, from the start, upon a recognition of its fundamentally mediated status. Rejlander and Robinson made the photograph{\textquoteright}s dubiousness as a document the basis for elaborating an iconography which made the process of discerning the specific modalities of their intervention the centerpiece of their production. They fashioned a body of work that harnessed the kind of visual acuity developed for educational and scientific improvement to the pursuit of commercial pleasure, and in so doing sacrificed the primary feature through which the photograph has traditionally been thought to have secured its influence: its transparency and access to an unmediated referential world. The surrender of photography{\textquoteright}s presumptive objectivity was manifested in three very concrete artistic modes, each of which has been incompatible with the orthodox history of photography and, accordingly, has been marginalized as a curiosity. Yet these practices and debates are not simply marginalia in this history, for they elicited fierce disputes among the Victorians themselves about photography as a medium and, more obliquely, about the nature of representing the real. The first of these is the process of composite photography, an innovative approach through which practitioners of the nascent medium sought to overcome technological limitations by assembling portions from distinct photographic sources into a single coherent tableau, eliciting a contentious discourse about the camera{\textquoteright}s truth-telling capacities and this seemingly hostile hybrid reality. The second practice of interest is the production of series of images necessitated by photography{\textquoteright}s industrialization in the 1850s, which, viewed in their original serial contexts, erode their own sense of the real. It is in these serialities that one can investigate the mechanisms through which belief was ambivalently compelled by these photographs, for the repetitions that occur in such groups-of studio props, backgrounds, and models in varying guises-often betray the constructed nature of their visual universe. Finally, my project traces the complexities of photographic collaboration between two artists, an arrangement which, in the quest to assert aesthetic agency, demanded a fracturing of the photograph{\textquoteright}s neutrality. This template became especially fraught when Rejlander, a professional man, collaborated with Julia Margaret Cameron, an amateur woman. The paradoxical assertion of Cameron{\textquoteright}s hand, at once absent and present, original and derivative, is a crucial locus not only of the troubled, gendered nature of photographic collaboration, but of the very fluid demands of authorial agency in the medium at large. An astonishing number of photographs from the medium{\textquoteright}s second decade made little or no claim to reality but, rather, sought to test the fundamental status of photography{\textquoteright}s relationship to visual truths. The very commitment of the nineteenth century viewer to the unalloyed reality of the camera, upon which so much of our understanding of the visual culture of the period has comfortably rested, is one that these often neglected images compel us to reconsider. (Abstract shortened by UMI.)}, keywords = {Nineteenth-Century Art}, author = {Bear, Jordan} } @mastersthesis {10674, title = {Wolf Vostell{\textquoteright}s Decollage and the Forms of Destruction, 1958-1972}, year = {2009}, school = {Yale}, abstract = {During the 1960s, the German artist Wolf Vostell (1932-1998) pioneered the production of the participatory creative events called Happenings within a European context. The trajectory of his work was driven above all by the need to find an artistic form that would be adequate to confront unwilling viewers with the violent destruction inherent in industrialized society. Thus, against a background of contemporary discourses of liberation, Vostell{\textquoteright}s work came to be defined by placing its viewers under duress. The first chapter follows the multiple paths through which Vostell brought violence into his work as both a theme and a technique, under the umbrella term decollage. Works in different media combined such actions as tearing, burning, and smashing, while framing these not as instruments of artistic volition but as outbursts of a quasi-mechanical, quasi-mythical energy stored up in the ambient industrial environment. The second chapter traces Vostell{\textquoteright}s development of the Happening format. His work emphasized participation, spontaneity and action, as did the original New York Happenings. However, for Vostell{\textquoteright}s works, the phenomenology of perception and creation were of secondary importance. As they evolved from emphasizing chance encounters in the urban environment to staging complex, symbolically charged activities, they focused on escalating coercive pressure on the viewer to its limit. The third chapter addresses the theory and practice of the "environment" in Vostell{\textquoteright}s work. This term refers to the total sensory context that surrounds and immerses a viewer during a given period of time, including elements both under and beyond the artist{\textquoteright}s control. In Vostell{\textquoteright}s view, such a totality was best suited to art{\textquoteright}s preeminent task: alerting viewers to those aspects of social reality that are normally ignored on account of their awful nature. Because of the ephemeral nature of the Happenings, this study is based on reconstructing them via a comprehensive study of archived films, photographs, artist{\textquoteright}s notes, and contemporary journalistic and critical accounts, as well as the surviving associated objects termed "props" or sometimes "fall-out." Comparisons with other artists, as well as with German cultural history of the period, help elucidate the sometimes obscure symbolic material in the work.}, keywords = {Performance Studies, Twentieth-Century Art}, author = {Lima, Benjamin} } @mastersthesis {10658, title = {Women in Black: Fashion, Modernity, and Modernism in Paris, 1860-1890}, year = {2009}, school = {Northwestern}, abstract = {In mid-nineteenth century Paris, following fashion was no longer merely an elite preoccupation and fashionable modern women took on a newfound prominence in the art exhibited at the annual Salon, in the city{\textquoteright}s new public parks and on its broad boulevards. The rise of the department store, the advent of mass-produced clothing and the explosion of the fashion press had made the latest fashions and fashion knowledge more affordable and accessible to stylish Parisians of all classes. At the same time, the black-clad parisienne-whether housewife or harlot, widow or shopgirl-became a favored subject among modernist artists like Edouard Manet and John Singer Sargent and their academic contemporaries like Charles Marchal and Carolus-Duran. Women in black epitomized the ambiguity of life in modernity, when even mourning dress had become fashionable. I argue that artists{\textquoteright} embrace or rejection of fashion in painting was implicated and often actively participating in discourses of the time surrounding women and modernity. Chapter 2 explores the rise of the modern fashion system-from fashion editors to advertising, from department stores to haute couture-and the new consumer culture it engendered. Chapter 3 investigates the new ambiguity of dress and the link, or lack thereof, between dress and morality, debates about which came to a head at the Paris Salon of 1868. Chapter 4 discusses the nineteenth-century depiction of widows and the rejection of fashion in the wake of the Franco-Prussian War and Paris Commune (1870-71). Chapter 5 addresses the archetypal figure of the Parisienne, symbol of French sophistication and chic, before and after the war and the nationalist and commercial forces that drove her appearance. An object-based, social historical study, the dissertation relies upon close visual analysis, contemporary Salon criticism, caricature and fashion writing to contextualize artworks within the society and culture of nineteenth-century Paris. Fundamentally, it aims to explain the prominence of fashion in the discourse of the 1860s and 70s, to situate artists{\textquoteright} representations of modern women within this discourse, and to position the woman in black in her ubiquity and multivalency as a key figure through which to understand the period.}, keywords = {Nineteenth-Century Art}, author = {De Young, Justine} } @mastersthesis {10723, title = {Women in Pop: Difference and Marginality}, year = {2009}, school = {IFA/NYU}, abstract = {The accepted story of Pop Art, as in many modernist tales, is one of male subjects and female objects. Its canon has relied exclusively on male artists whose iconography has often objectified women. Conversely, this dissertation is about the largely overlooked work of four major female participants in Pop Art in two of its centers (London and New York) and one of its peripheries (Brussels): Axell, Pauline Boty, Rosalyn Drexler and Jann Haworth. Redressing the asymmetry that has resulted from women Pop artists{\textquoteright} double neglect by Pop Art{\textquoteright}s discourse and feminist art history, it analyzes their popness and claims their proto-feminism. Reinforcing critical shifts that allow us to see Pop{\textquoteright}s surfaces as metaphors of late-capitalist subjectivity rather than lost selfhood, it re-opens the question of the definition of Pop Art and argues for the constitutive heterogeneity of its international manifestations. As a study of diverse proto-feminist Pop inscriptions of difference, conducted from a third-wave feminist point of view that values the radical pleasures of women artists{\textquoteright} dialogue with popular culture and body politics, this dissertation captures a variety of feminist attitudes toward controversial issues (for feminist art historians of various camps and generations), such as popular culture and the representation of the female body, female sexuality and pleasure through what collectively constitutes a valuable prelude to the plurality of feminist art from the seventies to today. In the first chapter I explore the factors that have contributed to the marginalization of women Pop artists, including gender, the critical construction of Pop Art, and feminist art history{\textquoteright}s blindness to women artists{\textquoteright} Pop. The rest of the dissertation, arranged into semi-monographic chapters, discusses Drexler{\textquoteright}s faux paintings of cinematic cliches of love and violence, the collages and paintings of Boty{\textquoteright}s fanzine celebration of pop culture and female sexuality, Haworth{\textquoteright}s soft, and "auto(bio)graphic," simulacra of the mundane and epic ordinary and the extraordinary, and Axell{\textquoteright}s collages, paintings and plastic painting reliefs of erotic nudes. The last section considers the radical narcissism of Axell and Boty, who often pose in the nude with or in their work, and distinguishes it from that of Marisol.}, keywords = {Twentieth-Century Art}, author = {Minioudaki, Kalliopi} } @mastersthesis {10464, title = {Abstraction and Einfuhlung: Biomorphic Fantasy and Embodied Aesthetics in the Work of Hermann Obrist, August Endell, and Their Followers}, year = {2008}, school = {Chicago}, abstract = {What exactly was Jugendstil{\textquoteright}s contribution to abstract art? This dissertation examines the radical aesthetic strategies of two German Jugendstil artists, Herman Obrist and August Endell, and their pivotal role in creating the possibility of an "abstract art." Jugendstil occupies a unique position in the historiography of modern art at the common origins of functionalist design and abstract art. It sought to reconnect the modern subject with his world, both artificial and natural, by giving mass-produced goods not just the look of nature but the ability to actively stimulate the subject{\textquoteright}s inner-nature. Historiographic accounts of Jugendstil are typically advanced from within the frameworks of craft-reform (sociological) or style (art historical). Instead, my argument places center-stage these artists{\textquoteright} desire to align artistic and scientific aspirations. Both trained as scientists, Obrist and Endell sought to break with historicism and generate new creative strategies through an intense immersion in the latest theories in biology and psychology. These two discursive fields were also brought together in Einfuhlung aesthetics, which grafted the new science of perceptual psychology onto older models of aesthetic experience stemming from Romanticism. Obrist and Endell each navigated a unique path through this rich may of theories about the nature of organic formation, both in mind and matter. But in both cases this quasi-scientific orientation led to a radical sensory agenda-capitalizing upon the new discoveries of perceptual psychology, the Jugendstil object was to stimulate the psyche and the body of the subject directly through the senses. In result, I argue that the problem of articulating Jugendstil{\textquoteright}s contribution to abstract art is also the problem of the disappearance of richer understandings of the aesthetic as synaesthetic, and correspondingly, an understanding of perception as something that plays out across the whole body. As I show, Obrist and Endell{\textquoteright}s pioneering work demonstrates a moment in which multiple {\textquoteright}abstract arts{\textquoteright} were possible, some of which had a pronounced corporeal dimension. The "abstractions" documented here challenge current assumptions about the genesis of a modernist aesthetic of "pure opticality."}, keywords = {Twentieth-Century Art}, author = {Hand, Stacy} } @mastersthesis {10446, title = {The Academia Leonardi Vinci: Visualizing Dialectic in Renaissance Milan, 1480-1499}, year = {2008}, school = {Johns Hopkins}, abstract = {This dissertation investigates a specific group of humanists, artists, and musicians, who formed an informal academy in late Quattrocento Milan. Textual and material sources have helped to variously characterize this academy, which has been known generally as the Academia Leonardi Vinci. Since the beginning of the twentieth century, however, the existence of this group has been vigorously denied by many scholars. In this study, I present a new account of the academy derived largely from information contained in an unpublished Renaissance manuscript, the Isola beata (c. 1513). This text provides details of the academy{\textquoteright}s membership that will illuminate this particular Milanese circle and help to contextualize it in relation to other contemporary Italian Renaissance academies. I argue that the wide range of intellectual and cultural interests of the members of the Academia Leonardi Vinci helped to shape a distinct visual idiom in late Quattrocento Milan. At this time, the princely court of Duke Ludovico Sforza (1452-1508) dominated this city. The academy was loosely associated with this court, and it counted amongst its members some of the most prominent artists then working in Milan, such as Leonardo da Vinci (1452-1519) and Donato Bramante (c.1444-1514). Through the examination of these artists{\textquoteright} work, as well as that of some of their prominent followers, I am able to interpret the artistic vocabulary that distinguished Milan during this period. In Chapter One, I outline the critical fortune of the Academia Leonardi Vinci. In the ensuing chapters I connect the interests of this group to a closely related corpus of paintings and engravings. Chapter Two investigates Bramante{\textquoteright}s commission for the Uomini d{\textquoteright}arme in the Milanese palace of the court poet Gaspare Visconti (c.1461-1499). In Chapter Three I take up a discussion of the series of six plates, based on designs by Leonardo and executed by an anonymous engraver, all bearing the monogram of the Academia Leonardi Vinci. Finally, in Chapter Four my consideration of Giovanni Antonio Boltraffio{\textquoteright}s Portrait of Girolamo Casio functions as a case study for the wider genre of male portraiture in Lombardy around 1500. Through an analysis of these works, I explore the culture of dialectic that characterized not only the Milanese academy, but also the art produced in association with its varied participants.}, keywords = {Renaissance/Baroque Art}, author = {Pederson, Jill} } @mastersthesis {10413, title = {Against Photography: The Idea of Music in Pre-Raphaelite Visual Reform}, year = {2008}, school = {Brown}, abstract = {This study charts the development of the idea of absolute music as a paradigm for the fine arts in England, with a focus on the Pre-Raphaelites. These artists were closely involved with a mid-century Victorian debate over the relative merits of two new mass sensory technologies-the modern orchestral machine and the photograph-as candidates for morally and aesthetically grounded cultural dominance in the new age. Earlier commentators have framed the Pre-Raphaelite response to photography largely in terms of an emulation of (realistic) effects. This thesis uses insider art criticism, and evidence of classical philosophy{\textquoteright}s importance in their debates about modern technology, to argue that the Pre-Raphaelite claim to eye-witness-or index-nature was in fact a critique of early photographic processes. The study{\textquoteright}s first half argues that visual depiction of music or aural effects was a Pre-Raphaelite strategy to remind viewers that more than one sense had contributed to the painter{\textquoteright}s accurate scientific inquiry into natural colored light, as against photography{\textquoteright}s disembodied and incomplete representational formula. But besides signifying embodied vision, pictorial references to music in this period held independent thematic appeal to expanding audiences for reformed operatic and concerted music. The study{\textquoteright}s second half documents Rossetti{\textquoteright}s, Millais{\textquoteright} and their associates{\textquoteright} engagement with London musical-dramatic reform as audience members, as art theorists and art critics, and as painters of a series of explicitly reform-minded operatic canvases. These painters used Protestant operatic reference to uphold or critique visual conventions of beauty or virtue, to engage connoisseurs of Catholic old master painting, or to appeal to the cult of female celebrity that grew up around competing English opera houses. Their painted musical references also developed in dialogue with an emerging criticism (circulated to wide periodical readerships) in which color effects in modern English painting were used to explain abstract music, and contemporary music was used to explain color effects in modern English painting.}, keywords = {Nineteenth-Century Art}, author = {Hendrickson, Laura} } @mastersthesis {10275, title = {The Ahl al-Bayt in Cairo and Damascus: The Dynamics of Making Shrines for the Family of the Prophet}, year = {2008}, school = {UCLA}, abstract = {In Cairo and Damascus, the Ahl al-bayt are commemorated in a variety of shrines and mosques, small and large, old and of recent date. Many of these shrines and mosques are still standing and are being used today; some have been lost and others are neglected or in ruins. My dissertation topic, "The Ahl al-bayt in Cairo and Damascus: The Dynamics of Making Shrines for the Family of the Prophet," examines a selection of shrines built in Cairo and Damascus for members of the Prophet of Islam{\textquoteright}s household who are collectively known as the "Ahl al-Bayt" or "people of the house." The scope of my inquiry ranges in time from the medieval to the contemporary, exploring the dynamics that were involved in the making and remaking of these shrine spaces for the Ahl al-bayt in both cities. Challenging the Shi{\textquoteright}i label usually associated with these buildings; my dissertation proposes an alternative understanding of the continuity of these shrines{\textquoteright} revered status under both Sunni and Shi{\textquoteright}i patronage. It argues that the main impetus for this continuity was linked to the sustained engagement between the set of narratives that came to be attached with the buildings, the shrines{\textquoteright} architectural forms and sustained ritual performance within them. The dynamic relationship between these three aspects of the shrines{\textquoteright} spaces, as this work will propose, was the main factor that contributed to the making and maintaining of active shrines for the Ahl al-bayt. Following an introductory chapter that addresses the theoretical framework of this study; three main chapters comprise a series of essays on the central issues dealing with the shrines during the contemporary, early modern and pre-modern periods. Using insights from recent studies that highlight the importance of analyzing performance and reception in art historical inquiries, the essays in each chapter move beyond the study of architectural form to include an analysis of the function and use of the shrines{\textquoteright} spaces. For centuries, various powerful groups have subjected the Ahl al-bayt shrines to restoration, recreation and contested them with attempts of reclamation and revival. The shrines{\textquoteright} spaces provided a dynamic architectural backdrop for the public ceremonies and ritual performances enacted within them. Moreover, the narrative revolving around these spaces continued to revitalize the shrines and authenticate their revered status among their devotees. This dissertation investigates the complex relationships between narratives and architecture, patronage and popular piety and their materialization at these popular shrine spaces.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {El Sandouby, Aliaa Ezzeldin Ismail} } @mastersthesis {10453, title = {Albrecht Durer, Printmaker and Self-Publisher: His Formative Years up to the Publication of the Apocalypse of 1498}, year = {2008}, school = {IFA/NYU}, abstract = {My dissertation contextualizes Albrecht Durer{\textquoteright}s development as a printmaker and "self-publisher" and his undertaking of the 1498 Apocalypse within early printing culture. Bearing in mind recent studies on the paratext, I examine title pages of Apocalypse{\textquoteright}s German and Latin editions, as well as those of various printed books containing woodcut illustrations attributed to the young artist during his apprenticeship and journeyman years, including the Ship of Fools and The Knight of Turn. I demonstrate that Durer understood the gravity of properly titling a book and designing its title page for promotional purposes and that he developed a particular penchant for the xylographic method in designing book titles, the preference culminating in the title page of the Apocalypse. I maintain that Durer{\textquoteright}s frequent use of xylographic titles in his early career was a reflection of such a trend in Nuremberg incunabula and the influence of his master, Michael Wolgemut. Through thorough visual and verbal analyses of Apocalypse{\textquoteright}s German and Latin titles, as well as the ways in which the Apostle John is represented in this woodcut series, I provide new interpretations about the iconographic program of the woodcut series. I posit that like a new visual exegesis of Revelations, Durer{\textquoteright}s first woodcut series is structured to make humanistic interpretations about this eclectic text and its author. By drawing on economic, social, and cultural histories, I also reexamine the Nuremberg artist{\textquoteright}s business strategies for publishing and marketing the Apocalypse, his relationships with Anton Koberger, other possible collaborators and assistants, and his first Venetian journey within the context of early printing culture. Centering on Durer{\textquoteright}s fashioning himself as a self-publishing artist, an important persona of his that has not yet been fully investigated, I shed light on his entrepreneurialism, singular selfhood, and highly developed sense of inherent authorial right over his work. I posit that the developments of his precocious consciousness about intellectual proprietorship and strategies to procure it, as well as to promote his work and himself, were deeply indebted to the printing culture of his time, particularly that of his native city Nuremberg, which had not only notable precedents that could have served him as role models but also numerous patrician patrons who most enthusiastically promoted and embraced the printing press.}, keywords = {Renaissance/Baroque Art}, author = {Yoon, Rangsook} } @mastersthesis {10366, title = {The Alexis Quire in the St. Albans Psalter and the Monastic Community of St. Albans}, year = {2008}, school = {Johns Hopkins}, abstract = {Examining the Alexis Quire as a discrete object produced at the St Albans monastery leads to a clearer understanding of the manuscript and its position within the St Albans Psalter. This study of a single booklet, or libellus, provides a close look at each of the individual components of the manuscript and questions why the various parts were brought together into such an unusual grouping. It examines the circumstances surrounding the production of the quire and the use of the quire before it was bound into the volume known as the St Albans Psalter and it attempts to uncover how the creators and contemporary viewers of the manuscript would have understood this unusual book. Rather than attempting to argue in favor of a single purpose for this manuscript and a single patron, or a single interpretation of its pictures and texts, I instead consider the book as an object intended for a number of viewers. As is often the case in the sphere of visual and literary arts during the medieval period, a number of ideas and meanings can be found in the Alexis Quire and the makers of this manuscript anticipated several different audiences. Contemporary theological developments, the concerns of lay viewers, and sophisticated comments on the role of performative art were brought together throughout the pages of the gathering, allowing it to reach many viewers, and to be understood on a number of levels.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Gerry, Kathryn} } @mastersthesis {10360, title = {All Consuming: The Tiller-Effect and the Aesthetics of Americanization in Weimar Photography, 1923-1933}, year = {2008}, school = {CUNY}, abstract = {This dissertation will examine the social and political consequences of the intersection of Neue Sachlichkeit photography and Amerikanismus in late Weimar era Germany. The German term Amerikanismus refers to the lifestyle, ideals, and ideology associated with the so-called Americanization of the German economy. In 1923, in response to widespread hyperinflation in Germany, an Allied commission, initiated by Charles G. Dawes and a group of American bankers, was formed which would result in the August 1924 enactment of The Dawes Plan. This plan brought temporary stability to the post-WWI German economy by providing cash, loans, and new industrial techniques to stimulate efficiency and production. The frenzied growth of capitalism stimulated by this new American-German business alliance is responsible for a culture-wide association of capitalist efficiency (and all that it entails) with what was perceived as an American process, or the process of Americanization. This "importation" of Americanization coincided with an unprecedented proliferation of photography in the German illustrated press. Simultaneously, a "machine aesthetic," emphasizing industrialization and its products, referred to as Neue Sachlichkeit photography, was becoming ubiquitous. Amerikanismus is inseparable from this growing photographic, image-based culture of the commodity and is therefore more significant for an understanding of Neue Sachlichkeit than has been previously understood. The reigning notion of this era as one of "machine age romanticism" will be contested and put into the context of advertising and the aesthetics of consumption. This dissertation seeks (1) to define the impact of Americanization upon Weimar photography; (2) to consider Siegfried Kracauer{\textquoteright}s writings about the "mass ornament" and how Taylorization manifested itself visually in the ubiquity of serialization as a photographic compositional device (referred to here as the Tiller-Effect due to the broad influence of the "American" precision dance format born of The Tiller Girls); (3) to contextualize Neue Sachlichkeit photographic projects as seen in the Werkbund{\textquoteright}s industrial design journal, Die Form, concentrating on the serial composition and its political implications; and finally (4) to consider the work of Bauhaus photography student, Elsa Thiemann, whose repetition of objects suggests the popularization of industrial serialization and the aesthetics of Americanization.}, keywords = {Drawings/Prints/Works on Paper}, author = {Young, Lisa} } @mastersthesis {10414, title = {Allegory in the Age of Realism: Monumental Sculpture in France, 1848-1880}, year = {2008}, school = {IFA/NYU}, abstract = {This dissertation examines the condition of allegory in the late nineteenth-century as exemplified by the case of monumental sculpture: state-sponsored works commissioned for public sites mainly in Paris. Manifestly political, it is a field distinguished also by the predominance of allegorical subjects. This study spans three regimes: the Second Republic (1848-52), Second Empire (1852-70), and the first decade of the Third Republic (1870-1940), bracketed by two major state-sponsored competitions, for a new figure of the Republic in 1848, and a monument to the defense of Paris in 1879. Beginning in the 1840s with the romantic critique of allegory, in literature as well as the visual arts, this dissertation concludes under the Third Republic, with the birth of Symbolism around 1880. Unlike the discipline of art history, where the nineteenth century{\textquoteright}s resistance to allegory has remained largely unexamined, in the field of literary theory the Romantic critique of allegory (and accompanying valorization of the symbol) has been the object of sustained historical and philosophical scrutiny, both in terms of its origins and influence. Of special significance in this regard is the figure of Walter Benjamin, whose theory of allegory would mark a turning-point in its modern critical fortunes. It is the underlying purpose of this dissertation-in the footsteps of the generations of literary critics who have followed Benjamin{\textquoteright}s lead in challenging the Romantic, and post-Romantic, definition of allegory-to call attention to this enduring prejudice in the history of art; one that has occluded from the discourse of Modernism the fraught figure of allegory, even as it embodies the very tensions at the heart of this late nineteenth-century crisis of representation.}, keywords = {Nineteenth-Century Art}, author = {Plotek, Ariel} } @mastersthesis {10344, title = {The Ambiguous I: Photography, Gender, Self}, year = {2008}, school = {UC Irvine}, abstract = {Ambiguity is intrinsic to, and constitutive of, the human psyche. The Ambiguous I looks at artists who represent themselves via photography, foreground somatic ambiguity or the crossing of gender boundaries, and create themselves as subjects in the process of making themselves visible. Using a medium that traditionally has been associated with "truth" they focus on shifting signifiers of a sex and gender system that is constructed as "natural." Systems of classification falter and fail, and frames of reference blur with an adjustment in focal length. In not limiting the scope of this research to just intersex or transgender or even to just "queer" or LGBT artists, I unpack dubious and dangerous notions of purity, and challenge assumptions regarding what questions are important to which people and who does what kind of work and why. Discursive inclusion via representation matters because while social categories are largely linguistically constructed, it is actual bodies that bear the burdens and enjoy the privileges of categorical placement.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Drawings/Prints/Works on Paper}, author = {Jones, Jordy} } @mastersthesis {10307, title = {American Acropolis: George Grey Barnard{\textquoteright}s "Monument to Democracy", 1918-38}, year = {2008}, school = {CUNY}, abstract = {Following the Armistice on November 11, 1918, the American sculptor George Grey Barnard (1863-1938) began planning The Monument to Democracy, the largest and most symbolically complex memorial thus far designed in the United States. It was to have graced the highest point in Manhattan, a promontory on Washington Heights overlooking the Hudson River on land currently occupied by Fort Tryon Park and the Cloisters Museum. Barnard{\textquoteright}s vision was to transform the bluff into a marble plaza filled with awe-inspiring architecture, colossal sculpture and symbolic gardens that incorporated sound, light and the visual arts into what he called "an Intellectual Coney Island." Initially promoted as a memorial to the fallen soldiers of World War I, the Monument to Democracy actually was conceived by Barnard as the first work of a new peaceful, creative age; it also would serve as the culmination of Symbolist-inspired ideas he had envisioned since the 1890s. After the initial groundswell of support dissipated in the early 1920s, Barnard, entirely self-funded, continued to promote his monument until his death in 1938. Divided into six chapters, this dissertation explores the saga of this monument and the numerous efforts to see it come to fruition. To understand the foundations of the monument{\textquoteright}s often strange iconography, however, Chapter One and Chapter Two will examine George Grey Barnard{\textquoteright}s earliest works in terms of their connections to, and adaptation of, European Symbolism. Barnard, like Lorado Taft and a number of other American sculptors, attended the Ecole des beaux-arts during the rise of Symbolism in the 1880s. While the curriculum at the Ecole remained tethered to classical ideals and to academic interpretations of the human form, the Symbolist aesthetic-borne from works such as Joris-Karl Huysman{\textquoteright}s A Rebours (Against Nature, 1884)-would permeate the remainder of the nineteenth century. Chapter One considers his early works Brotherly Love and The Two Natures in this context; Chapter Two examines what is perhaps his most important legacy, the Life of Humanity, his two monumental groups for the Pennsylvania State Capitol. Chapters Three through Six directly address the Monument to Democracy. In Chapter Three the possible inspirations for this monument will be discussed, as well as the history of Barnard{\textquoteright}s conception and its promotion from 1918 to 1926. After finding it difficult to secure a firm commitment from the City of New York, and after the sale of the land on which he hoped to place it, Barnard spent the remainder of his life working on a full-size plaster version of two sections of the memorial, the Rainbow Arch and The Tree of Life. Chapter Four examines the Rainbow Arch and its component parts, while Chapter Five looks at two related works for the monument, The Builder and Christ the Carpenter. Finally Chapter Six discusses two exhibitions of the arch that Barnard held in 1933 and 1936 and the subsequent efforts to see the arch realized following Barnard{\textquoteright}s death. In addition this dissertation will address the Monument to Democracy in terms of contemporary interest in eugenics, physical culture and human betterment, and how these Progressive Era ideas help to forge our understanding of Barnard{\textquoteright}s uniquely American interpretation of Symbolism. Using primary sources, original drawings and photographs, and correspondence to contextualize Barnard{\textquoteright}s Monument to Democracy within the framework of late nineteenth- and early twentieth-century American sculpture, this dissertation employs a largely social historical approach; Barnard{\textquoteright}s unique character necessitates, however, occasional emphasis on his biography as it relates in specific ways to elements within his work. His rejection of traditional academic subjects and techniques sharply contrasts the majority of his compatriots, who rarely strayed from the boundaries of their Parisian training. The present work attempts to not only illuminate a forgotten work of one of the nation{\textquoteright}s most original sculptors, but also strives to foster a better understanding of the often-ignored generation of American sculptors who studied in Paris during the 1880s.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Hack, Brian} } @mastersthesis {10301, title = {Ansel Adams{\textquoteright}s {\textquoteright}Practical Modernism{\textquoteright}: The Development of a Commercial Photographer, 1916-1936}, year = {2008}, school = {Boston}, abstract = {Despite his position as a canonical modernist artist, Ansel Adams actively combined art and commerce throughout his life. No one has yet examined his early projects to determine their impact on his art development. By examining four seminal projects from 1927 to 1936, I demonstrate that Adams{\textquoteright}s "practical modernist" working method was developed through his broad-based work in Yosemite Valley and other Western sites. His first portfolio, first Sierra Club album, first bound book, and first commissioned book had a lifelong impact on his manner of working. Chapter One introduces Adams{\textquoteright}s transformation from Yosemite tourist to capable High Sierra mountaineer and analyzes his early Yosemite experiences beginning in 1916. Chapter Two examines his first portfolio, Parmelian Prints of the High Sierras (1927), a fine art portfolio of 18 unbound photographic prints for San Francisco{\textquoteright}s art collectors. These images captured his first attempt to merge his engagement with the Sierra Nevada and a market-based project. Chapter Three looks at Adams{\textquoteright}s first commissioned Sierra Club album, documenting the Canadian Rockies (1928). The large album of 178 hand-labeled photographs was designed to appeal to his fellow club members, who used the album to re-experience the trip and purchase prints. Chapter Four focuses on Adams{\textquoteright}s first bound book, Taos Pueblo (1930), a luxurious limited-edition production with letterpress text and 12 original photographs. Targeting wealthy book collectors, Adams chose quiet, classic compositions to aestheticize his American Indian subjects. As the book{\textquoteright}s publisher, Adams participated in all aspects of its production and sale. Finally Chapter Five analyzes Adams{\textquoteright}s first commissioned book, Four Seasons in the Yosemite Valley (1936). The book, sold widely to Yosemite Park vacationers, includes photomechanical illustrations of landscape views and tourist activities. This project honed Adams{\textquoteright}s skills in assessing his market and creating photographs appropriate to a mass audience. By bringing these case studies together it is possible to gain a new understanding into Adams{\textquoteright}s development as a commercial photographer, particularly the market-based, collaborative, and experimental approach he brought to his career{\textquoteright}s first decades. The strategies he developed informed all his later work, both commissioned and creative.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Senf, Rebecca} } @mastersthesis {10378, title = {Anterior Decorators: Van Gogh, Gauguin, and Avant-Garde Environments at Arles and Le Pouldu}, year = {2008}, school = {Iowa}, abstract = {This study considers a pair of decorative environments created by Vincent van Gogh and Paul Gauguin between 1888 and 1890 to house, inspire, and instruct communities of avant-garde artists in Provence and Brittany. The first chapters of the project examine the development of structuring concepts in Vincent{\textquoteright}s writings and early work and detail the ways in which he came to envision the purpose and ideal shape of his artists{\textquoteright} community. Vincent borrowed from rhetorical traditions relating to monasticism, art education, and imperialism to define his experimental studio space and communal economic cooperative. The middle chapters of the study interpret Vincent{\textquoteright}s environment as it related to the principles developed in the first portion of the discussion. My contention is that the art takes on additional significance when interpreted functionally and in context. In its most developed state, the project incorporated the specific characteristics of the house-its position in the neighborhood and the region, its views, the quality of its light, and its furnishings, as well as prints of works by ideologically important artistic precursors and, of course, the paintings that the artist conceived to hang together in each room. The final chapter, labeled a conclusion but framed as a continuation of the dialogue that Vincent initiated, explores Gauguin{\textquoteright}s environment as both an extension of, and a response to, Vincent{\textquoteright}s plan In addition to Gauguin{\textquoteright}s more numerous paintings, ceramics, and sculptures, the decoration included works by Meyer de Haan, Paul Serusier, and Charles Filiger. As with Vincent{\textquoteright}s arrangement, the Le Pouldu environment interpreted the geography and populace of the region as it related to the aesthetic project of the community. But while Gauguin, like Vincent, conceived of his artists{\textquoteright} colony as an experimental educational context, he nevertheless embraced a more fiercely individual interpretation of the collaborative process than his counterpart. As a result, the Le Pouldu decoration suggests a unique sub-genre within utopian discourse. Considered as a unit, the works present not a failed utopia or a dystopia, but a deliberately impossible utopia.}, keywords = {Eighteenth-Century Art}, author = {Rahmlow, Kurt E.} } @mastersthesis {10429, title = {Archbishop Francisco Jimenez de Cisneros and the Decoration of the Chapter Room and Mozarabic Chapel in Toledo Cathedral}, year = {2008}, school = {IFA/NYU}, abstract = {This dissertation examines the decoration of the Mozarabic Chapel and Chapter Room in Toledo Cathedral commissioned by Archbishop Francisco Jimenez de Cisneros (r. 1495-1517) during the first decade of the sixteenth century. Each room is an ensemble of Mudejar, Gothic, and Renaissance decoration and, unusually for Spain, fresco painting. The frescos in the Chapter Room by Juan de Borgona (d. c. 1438), which represent the life of the Virgin and Christ{\textquoteright}s Passion, and the Last Judgment set within a feigned gallery of columns, have long been understood to be the first introduction of a Renaissance painting style to Castile. They have provided the only evidence for Borgona{\textquoteright}s presumed but undocumented sojourn in Italy, where he is thought to have experienced the great age of quattrocentoo fresco painting that flourished in Florence and in Rome during the pontificate of Sixtus IV. Art historians have been content to examine Borgona{\textquoteright}s frescos solely from a stylistic point of view and relate them to the works of Domenico Ghirlandaio and his contemporaries. Restricting our analyses to the putative effects of the influence of Italian art upon Juan de Borgona, results in the conclusion that this significant period in the history of Spanish art is merely derivative. It negates any active choices made by the patron and artist. It also ignores all other aspects of the decorations, such as the Mudejar artesonados and yeserias, Gothic portals, and the other frescos by Borgona in the Mozarabic chapel, which celebrate Cardinal Cisneros{\textquoteright} victory over the Muslims at Oran (North Africa) in 1509, and constitute a unique example of historical narrative in Spain. This dissertation seeks to redress this previous limited interpretation with one that takes into account the political and aesthetic prerogatives of the patron, Archbishop Cisneros, the dynamics of the Cathedral bureaucracy and Cisneros{\textquoteright} relationship with the Cathedral Chapter, and the aesthetic culture of artists in Toledo Cathedral during these years. The analysis depends upon a reexamination of the documentary evidence, which, while relatively well-published (but not without mistakes) has never been carefully examined, along with other unpublished primary sources.}, keywords = {Renaissance/Baroque Art}, author = {Dolphin, Erika} } @mastersthesis {10329, title = {Archive/Atlas/Album: The Photographic Reconstructions of Christian Boltanski, Gerhard Richter, and Dinh Q. Le}, year = {2008}, school = {Boston}, abstract = {Since its invention, the photographic medium has promised to create a pictorial record to "fix" moments of history. Archives, atlases, and albums have been produced to organize these records. Archives are meant to house history; atlases to instruct; personal albums to offer stories. Yet postwar artists Christian Boltanski, Gerhard Richter, and Dinh Q. Le produce artworks that both clarify and obfuscate such constructs. In their works, photographs are not stable markers of a past time, but points within malleable constellations of historical meaning. This dissertation reveals how these three artists use photography to complicate notions of history, memory, and the organizational structures used to produce photographic meaning. Based on artist interviews, visits to photographed sites, examination of archival material, and analysis of the artists{\textquoteright} photographic constructions, I argue that in their relation to photographic history, these artists demonstrate an aesthetic that is born of doubt. Unlike textbooks that make use of photographs as if they could stabilize the historical record, works produced by these artists insist on a version of history whose chief attributes are difficulty of access and mutability of meaning. Each artist has an experience of wartime trauma that has sharpened his questioning of an image-based history. A young Gerhard Richter (b. Germany, 1932) witnessed the personal and societal toll of World War II in East Germany. Christian Boltanski (b. France, 1944) grew up in the aftermath of the Holocaust in a French Jewish-Catholic family. Dinh Q. Le (b. Vietnam, 1968) escaped war-torn Vietnam and the terrors of the Khmer Rouge and fled to the United States. In five chapters, the terms archive, atlas, and album are analyzed in the work of these artists as marking several intersections-fine art with the vernacular, the institutional document with the personal memento, and the historical function of the photograph with its failure to fix meaning. The dissertation concludes that these artists operate against a normative history, forcing viewers actively to tease out threads of the interpretive process, and producing a nuanced understanding of photographs{\textquoteright} unstable role in the construction of history.}, keywords = {Contemporary Art, Drawings/Prints/Works on Paper}, author = {Albers, Katherine Palmer} } @mastersthesis {10369, title = {Art and Reform in Tenth-Century Rome: The Painting of S. Maria in Pallara}, year = {2008}, school = {Queen{\textquoteright}s}, abstract = {The medieval wall paintings of the church of S. Maria in Pallara, situated on the Palatine Hill, Rome, provide insight into the intellectual use of images in the Middle Ages. The fragmentary apse programme survives, supplemented by antiquarian drawings that include copies of lost nave cycles and a lost donor portrait of their patron, Petrus Medicus. The patron, along with his monastic foundation, is documented in tenth-century charters, on which documents the paintings{\textquoteright} dating currently depends. Questions about this dating have surfaced in the art-historical literature, as have concerns about gender and historical veracity, matters of historiography which are introduced in Chapter 1. Thus, the goals of this study were to verify the paintings{\textquoteright} dating, to examine their use of text and image and to illuminate the context in which they were created. Chapter 2 describes and analyses the S. Maria in Pallara paintings within Roman artistic traditions of the Romanesque period. Since no contemporary parallel can be found for the iconography of the Apostles on the shoulders of Prophets decorating the church{\textquoteright}s apse arch, a composition more common to Gothic art, Chapter 3 examines the iconography{\textquoteright}s diffusion and sources. Textual evidence suggests that a church dedicated to Saint Sebastian preceded the tenth-century foundation of S. Maria in Pallara, which was then rededicated to the Virgin Mary, Saints Sebastian and Zoticus. Thus, Chapter 4 examines the visual profile of the cult of Saint Sebastian and its dependence on the Acta Sebastiani to provide a context for the church{\textquoteright}s depictions of that saint, including portraits and a lost narrative cycle. Messages about chastity encoded in these images are also examined. Chapter 5 examines the lost narrative cycle depicting the life of the little-known Saint Zoticus, to whom the church was also dedicated and who was envisioned in the guise of another saint, Getulius, who was martyred with his wife, Saint Symphorosa, and their seven sons. Messages about chastity were also communicated through that cycle{\textquoteright}s manipulation of S. Maria in Pallara{\textquoteright}s topographic history. Thus, far from being simple reflections of text, the S. Maria in Pallara paintings engage Roman history, reforming that history to project a moral image of the future.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Marchiori, Maria Laura} } @mastersthesis {10354, title = {Art, Commerce, and Scholarship in the Age of Enlightenment: Pierre-Jean Mariette and the Making of Art History}, year = {2008}, school = {Delaware}, abstract = {This dissertation analyzes the emergence of an art historical hermeneutic in Enlightenment Europe through an investigation of a celebrated, but poorly understood, eighteenth-century French print dealer, book publisher, and connoisseur of art and antiquities: Pierre-Jean Mariette (1694-1774). Mariette was active in commerce, in the highest circles of the French Royal Academy of Painting and Sculpture, and in the international Republic of Letters, and his praxis elucidates the historically specific meanings of collecting and connoisseurship as forms of knowledge and social distinction. His ambivalence about the art market he helped usher in also illuminates the emergence of {\textquoteright}art{\textquoteright} and {\textquoteright}aesthetics{\textquoteright} as categories of intellectual inquiry, and the ideological opposition of both to commerce in an era of consumer revolution. Mariette spent over three decades in commerce, working as a book publisher, printer and print dealer. His successes as a businessman made it possible for him to collect and eventually to acquire the trappings of gentility, but it was also the knowledge economy of the marketplace that formed the basis of his scholarly work. His compilation of "ready-made" historical survey collections of prints for illustrious clients, for instance, provided the foundational historical framework for his writing on art. His status as a connoisseur was secured in 1750 when he left trade and was appointed an honorary member of the Royal Academy of Painting and Sculpture. This was an unusual promotion for a former merchant, and it was made possible by eighteenth-century discourses on the empirical "science of the connoisseur" and the special status of drawings within them. Deemed to be purer, less mediated, examples of an artist{\textquoteright}s characteristic manner than paintings, drawings-a field in which Mariette{\textquoteright}s expertise was widely recognized-were the very foundation of a connoisseur{\textquoteright}s claims to knowledge. His ascension to the status of gentleman-connoisseur was, however, also the result of a discourse in which the skills of artists in matters of artistic judgment were demoted in favor of disinterested lay experts like Mariette. Mariette is most familiar today as a collector of drawings but his treatment of the old master drawings in his possession is radically at odds with modern norms. He cut them apart, reassembled them, and occasionally split recto-verso sheets into two separate papers. Far from being idiosyncratic, such interventions can be related to the widespread eighteenth-century preoccupation with ensuring the optimum conditions for the perception of works of art, a preoccupation conditioned by self-consciousness about the act of perception and the role of sensory experience in knowledge formation. Given the importance of sensory data in the acquisition of connoisseurial knowledge, the clarity of initial sense impressions was imperative; it was this clarity, I suggest, that Mariette sought to secure in the presentation of his drawings. Mariette{\textquoteright}s aim was to build an art historical and critical science from the object up. His methods and the historical, moral, and aesthetic goals of his connoisseurship are most completely articulated in his Traite des pierres gravees (Treatise on Engraved Gems), published in 1750. Far from ahistorical formalism, as connoisseurship is sometimes understood today, the Traite indicates that the ultimate ambition of Mariette{\textquoteright}s scholarly work was a developmental history of art grounded in stylistic analysis. Anchored by a belief, shared by many of his contemporaries, that he lived in a period when art had been demeaned by the effects of a too-extensive commercialization of artistic production, Mariette{\textquoteright}s goal was to regenerate contemporary art and taste through the establishment of an empirically-grounded canon of approved masters for artistic education and emulation. This agenda was shared by a pan-European network of scholars, collectors, and connoisseurs; from their efforts emerged the definitions of art ("Art" rather than "arts") and aesthetics that continue to structure art historical study today.}, keywords = {Drawings/Prints/Works on Paper, Eighteenth-Century Art}, author = {Kristel Smentek} } @mastersthesis {10461, title = {Art Economy and Criticism}, year = {2008}, school = {British Columbia}, abstract = {Within current art and architectural circles the term postmodernism has a dated air about it. It has long been shorn of its currency in any meaningful dialogue about the state of art and architectural production. Instead, the name recalls for most a notion that was fashionable in the 1970s and 1980s, suggesting a manifold of concepts like historical quotation, allegory, appropriation, pastiche, the culture of late capitalism, the end of grand narratives, the critique of the authorial subject, the collapse of the Enlightenment project, pluralism. Yet, for all this, it has not been properly historicized. This thesis proposes to historicize the production and circulation of the term postmodernism, paying attention to two of its most important sites: October, a journal of art criticism founded in 1976, and Oppositions, an architectural periodical that was first published in 1973. With this aim, I turn to the dialogue between Rosalind Krauss and Peter Eisenman that took place between 1969 and 1976, as each broke ties with certain aspects of her and his intellectual formation represented by Michael Fried and Colin Rowe. The rejection of the latter critics{\textquoteright} anti-literalism propels the dialogue. But it was founded on a faultline-one that points to a difference much more significant than supposed between art and architecture, and one that could only be diffused by a discourse on institutions. The political critiques of the institutions of art and architecture that emerged alongside alternative spaces and that were enunciated in October and Oppositions are part of a broader discourse on institutions and have their mirror reflection on the right. Neoconservatives set up their own alternative spaces in corporate-funded think tanks and from there launched their attacks on the liberalism they saw as being entrenched in the institutions supported by government and the university. I argue that the fantasy of postmodernism served to make illegible deep contradictions, not between claims about institutions by left and right, but between the different significations called forth by the figure "institution,{\textquoteright}{\textquoteright} showing that fantasies of efficiency have a deeper set of effects and conditions than the political claims based on them.}, keywords = {Twentieth-Century Art}, author = {Epp, Colin Brent} } @mastersthesis {10285, title = {Art, Urbanism, and Public Space: Critical Spatial Responses to Urban Redevelopment in Beijing (1976-2000)}, year = {2008}, school = {CUNY}, abstract = {This dissertation focuses on a particular segment of Chinese public art, works produced between 1976 and 2000 that can be seen as responding critically to the drastic redevelopment of Beijing. "Post-Mao" (post-1976) China has been marked by the rapid reshaping of its major cities, typically involving tabula rasa demolition. The physical, socio-economic, and psychological displacement that accompanied this drastic alteration of the urban form and the social fabric inspired varied critical artistic responses. My study concentrates on artistic projects in streets, parks, and squares, and at demolition sites, including sculpture, graffiti, performance, and temporary installation. In discussing city planners{\textquoteright} critiques of reckless demolition of historic buildings and ruthless eviction of long-time residents, I examine alternative housing schemes addressing architectural, social, and political-economic considerations in historic conservation. My treatment of the notions "public" and "public space" is contextualized by three key markers of recent Chinese history: the 1978 economic reforms initiated by Deng Xiaoping; the 1989 Tiananmen Square demonstrations; and the accelerated urbanization that began in the early 1990s. Profoundly altering urban space in major Chinese cities, these three turning points also led to changing definitions of "public," along with changes in artists{\textquoteright} perception and use of public space. A fundamental premise of this dissertation is that public art and urban processes are characterized by social and political conflict, as held by Harriet F. Senie and Rosalyn Deutsche. A key concept is Henri Lefebvre{\textquoteright}s "production of space," which identifies space as the object of social struggle rather than as merely a neutral container or backdrop-and hence as capable of generating spatial conflicts and politics. Also fundamental to this study is Raymond Williams{\textquoteright}s emphasis on the possibilities for agency in cultural production. I present cultural professionals involved in the spatial production of Beijing-public artists, architects, and city planners-as exercising critical agency as they contribute to shaping or redefining urban public space.}, keywords = {Architectural History/Historic Preservation}, author = {Auyeung, Poyin} } @mastersthesis {10439, title = {Artful Conversions: Renaissance Rhetorics of God and Profit}, year = {2008}, school = {Indiana}, abstract = {This dissertation investigates the influence of the early modern banking in late medieval and Renaissance Florence. Each chapter analyzes a set of imagery-The Adoration of the Magi, The Expulsion of the Moneychangers, The Tribute Money-or a literary text-Dante{\textquoteright}s Commedia (1321), Boccaccio{\textquoteright}s Decameron (1351), Leonardo Bruni{\textquoteright}s Laudatio Florentinae Urbis (1403-6), and Leon Battista Alberti{\textquoteright}s I libri della famiglia (1435)-in order to trace shifts in economic ideology. The problem I address is that scholarship tends to conceive of the effect of commerce on Renaissance society in one of two ways: either as a part of the phenomenon of "religious secularism" or as a catalyst for the reception of classical humanism. This study bridges the divide. The central thesis is that in Florence{\textquoteright}s transformation from a medieval banking capital to a Renaissance cultural marketplace, we can locate a complicated struggle to use humanist "currencies" in order to reconcile religious devotion with mercantile ambition. To this end, I adopt the conceptual frame of "conversions," setting the stage for comparisons between artistic, literary, religious and economic discourses. By taking an interdisciplinary approach, the study maps an important new genealogy of mercantile influence on the Florentine Renaissance.}, keywords = {Renaissance/Baroque Art}, author = {Lichi, Anthony} } @mastersthesis {10457, title = {Artistic Collaboration in Fascist Italy: Ardengo Soffici and Giorgio Morandi}, year = {2008}, school = {Brown}, abstract = {This dissertation explores the careers of the Bolognese painter Giorgio Morandi and the Tuscan painter and art critic Ardengo Soffici in order to highlight how their work represents a common cultural project. Their project sought to renew Italian painting by privileging classical purity as well as regionalism and ruralism over other strains of modern art, such as Futurism and Cubism. I examine Soffici{\textquoteright}s early career (1900-1920) and his influence on Morandi, reconstructing their relationship by analyzing together paintings and primary written sources authored by both figures. Thus, I describe how their landscapes and still lives created an alternative modernism whose ruralism and reliance on tradition caused their exclusion from standard histories of modernism, which tend to characterize modernism in terms of formal innovation and progressive politics. Moreover, I analyze Soffici and Morandi{\textquoteright}s strategies of self-promotion with respect to fascist history and ideology, the cultural institutions created by Fascism, and the rise of formalist art criticism. The dissertation concludes with a consideration of these figures{\textquoteright} later artistic and critical fortunes in the 1950s and 1960s. In particular, I delineate the process through which Morandi gained international recognition as a painter after World War II, comparing his rise to fame with Soffici{\textquoteright}s fading reputation as well as the implications of these opposite trajectories in relation to the history of Italian fascism and modernism writ large.}, keywords = {Twentieth-Century Art}, author = {Aguirre, Mariana} } @mastersthesis {10405, title = {The Arts of the Franciscan Colegio de San Andres in Quito: A Process of Cultural (Re)formation}, year = {2008}, school = {Brown}, abstract = {There is explicit evidence that the Franciscan Colegio de San Andres (founded c. 1555) was conceived as a school for Christian indoctrination of the indigenous population of Quito, Ecuador. Education in painting, sculpting, blacksmithing, and music were a complementary, but secondary, part of the Franciscan mission to reform New World society at its very foundation and thereby create a new social order. Despite this, San Andres is most often identified as an important center of indigenous art production in colonial Latin America. This modern-day categorization ignores the primary purpose of education at San Andres. The Franciscans clearly positioned religion above art. It appears, however, that this balance between religion and art was quickly destabilized when at least eight first-generation students became teachers in the institution. This dissertation seeks to clarify the increased agency of indigenous students in their own educational process by examining the structure and hierarchy of San Andres along with the specific Franciscan teaching methods. This work underlines the important and unique role of indigenous students who were elevated to faculty positions, and closely examines their peer-to-peer religious and artistic education. This dissertation seeks to expand the definition of {\textquoteright}teacher{\textquoteright} to include artists and patrons of the arts. These individuals played an important role in pictorially transmitting Christian messages over great distances. A close examination of several specific commissions indicates that indigenous artists and patrons tailored Christian messages to suit the specific needs of indigenous families and communities. While art production was never truly emancipated from religion, this study illustrates how artistic practices were appropriated by indigenous artisans as tradable, marketable skills that transcended the concerns of Christian belief or disbelief. Therefore, this dissertation illustrates how innovations fostered by Franciscan education lead to the creation of a body of artworks that can no longer be qualified as strictly European or strictly indigenous. Hence, this work seeks to examine and clarify the role of art in the overall process of cultural formation (and reformation) as it occurred between the merging Old World and New World through the unstudied innovations of artists trained at the Colegio de San Andres.}, keywords = {Latin American/Caribbean Art}, author = {Lepage, Andrea} } @mastersthesis {10375, title = {Aspects of the Pyramid Temple of Senwosret III at Dahshur: The Pharaoh and Deities}, year = {2008}, school = {IFA/NYU}, abstract = {The fifth pharaoh of the Egyptian Twelfth Dynasty (Middle Kingdom), Khakaure Senwosret III (reigned ca. 1878-40 B.C.E.) constructed his pyramid complex at Dahshur, a site at the southern end of the Memphite necropolis, a traditional burial place for Egyptian monarchs. At the center of the complex stood the king{\textquoteright}s pyramid, constructed with a mud brick core and a fine limestone casing. A so-called pyramid temple was attached to the east side of the pyramid, the area in which such structures had been erected since the Fourth Dynasty of the Old Kingdom. These temples were the focal points for rituals connected with the king{\textquoteright}s afterlife and deification, though not his actual burial. In the Old Kingdom, pyramid temples were generally large structures with elaborate decorative programs, but by the reign of Senwosret III, they had been dramatically reduced in size with a corresponding decrease in the amount of wall decoration. The area of Senwosret III{\textquoteright}s pyramid temple was first explored by Jacques de Morgan in 1894. The Metropolitan Museum of Art, New York, undertook a comprehensive excavation of the pyramid temple and its surrounding area between 1992 and 2003. The temple was so completely destroyed in ancient times that no standing walls or foundations remain and our only means of understanding the structure is the over 12,000 fragments of wall decoration that were recovered during the excavation. Subjects depicted include processions of deities and fecundity figures who meet the king, rituals enacted by the king and various deities, and offering rites. Presented here are those scenes in which the king and/or deities appear. The meaning of these scenes is discussed in relation to Egyptian beliefs surrounding kingship and reconstructions of the scenes are proposed. In addition, a possible ground plan of the pyramid temple is offered. Finally, consideration is given to changes in Egyptian religious beliefs concerning the role and afterlife of the king that may account for the evolution of the pyramid temple form.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Oppenheim, Adela} } @mastersthesis {10482, title = {Aspiring to la vie galante: Reincarnations to Rococo in Second Empire France}, year = {2008}, school = {IFA/NYU}, abstract = {The image of a refined and aristocratic eighteenth-century held a privileged place in the French cultural imagination under the Second Empire (1852-1870). Addressing issues of historical memory, this dissertation is a broad consideration of the ways in which the elegant rococo style of the ancien regime was appropriated by a wide variety of artists, writers, collectors and others in mid-nineteenth-century France. The rococo style, which was one of the many historical styles popular at this time, had originally been developed during the regency and rule of Louis XV and persisted through Louis XVI{\textquoteright}s reign. The visual principles of the rococo period, stressing sensuality and grace, and epitomized in the genre of the fete galante pioneered by Jean-Antoine Watteau, appealed to a diverse audience, from the imperial elite to avant-garde artistic circles. The first chapter explores the ways that eighteenth-century French art was discussed by writers such as Edmond and Jules de Goncourt, Charles Blanc and Arsene Houssaye. The second chapter analyzes a cross section of artworks that evoke the rococo era in contrasting manners. These include Franz-Xaver Winterhalter{\textquoteright}s imperial portraits, Ernest Meissonier{\textquoteright}s meticulously rendered genre scenes, Adolphe Monticelli{\textquoteright}s vigorous reinterpretations of fete champetres, Charles Chaplin{\textquoteright}s portraits of languid young women in eighteenth-century guise, and Jean-Bapstiste Carpeaux{\textquoteright}s sculpted memorial to Watteau. The third chapter examines ways in which reflections of the previous century could be found in ceremonial and leisure activities under the Second Empire, as well as in fashion and interior design. This chapter also contextualizes early Impressionist works in terms of how the interaction of figure and landscape provides a link to the past, even while capturing the character of modern life. The last chapter investigates four different examples of how eighteenth-century art was assembled in Second Empire exhibitions and collections, including the Goncourts{\textquoteright} homes in Paris and Auteuil, the celebrated 1860 exhibition of the "ecole francaise ancienne " on the Boulevard des Italiens, the Empress Eugenie{\textquoteright}s 1867 exhibition in honor of Marie-Antoinette held at Petit Trianon at Versailles, and the bequeathal of Louis La Caze{\textquoteright}s collection to the Louvre, which was particularly rich in eighteenth-century petit maitres.}, keywords = {Twentieth-Century Art}, author = {Unruh, Allison} } @mastersthesis {10340, title = {Awakening the Spiritual: James Turrell and Quaker Practice}, year = {2008}, school = {CUNY}, abstract = {This dissertation examines the works of James Turrell (b. 1942, Pasadena, California) in relation to his interest in Quakerism. Turrell was born and raised as a Quaker, and has within the past decade renewed his interest and involvement with Quakerism. However, elements of his work throughout his career, can be tied to his Quaker experience, both philosophically and visually. Turrell{\textquoteright}s light installations aim to awaken a perceptual experience of light inside the viewer. While this concept developed through his interest in phenomenology and environmental psychology, it is also tied to Quaker theology and the Quaker founder George Fox{\textquoteright}s suggestions of seeking a spiritual "light within." Additionally, Turrell{\textquoteright}s series of "skyspaces," for example, which include white interior spaces with a row of benches mounted to the walls, respond visually to the aesthetics of traditional Quaker Meeting Houses. Fox{\textquoteright}s suggestion of the church to be thought of as a group of individuals, rather than as an elaborate architectural structure, is directly visible here. Fox recommended "meetings" to take place in the open air or, if necessary, in a pre-existing building, ship, or barn, stripped of any unnecessary adornments. Turrell{\textquoteright}s series of outdoor pieces respond to Fox{\textquoteright}s suggestion of seeking the light as an experience in relation to the light outside. His series of "Spiritual Spaces" most directly reflect his Quaker upbringing, especially the Live Oak Meeting House, Houston, Texas, which he designed according to Quaker tenets and tradition. Turrell{\textquoteright}s experience of imprisonment as an effect of his work as a draft counselor in the Quaker community, influenced him in his series of "Perceptual Spaces." Seeking refuge from violence and rape, Turrell opted for solitary confinement, a dark and uncomfortable space in which one could neither fully stand up, nor lie down. It was in this darkened space that Turrell realized the mind experiences light even in darkness, and is capable of mentally expanding a narrow enclosure. The "Perceptual Cells" reflect this biographical experience, but they can also be seen in the Quaker context of non-violent resistance to violence and powers of authority. Turrell{\textquoteright}s work responds to the Quaker allegory of a soul which inhabits a body. The Quakers believe in the divine light as an omnipresence existing in the entire universe as well as inside any human being. Turrell{\textquoteright}s goals, as he has often stated, are to create opportunities for viewers to experience the light inside as reflected in the light outside, as they form their own "experience of soul." In this context, Turrell{\textquoteright}s works can be considered a contemporary expression of a multi-faceted and open-ended Quaker practice, intended to bring the "cosmos closer."}, keywords = {Contemporary Art}, author = {Kjaer, Lise} } @mastersthesis {10400, title = {Bajo su sombra{\textquoteright}: The Narration and Reception of Colonial Urban Space In Early Nineteenth-Century Havana, Cuba}, year = {2008}, school = {New Mexico}, abstract = {In 1828, a Neo-Classical shrine housing three history paintings was inaugurated for the Plaza de Armas of Havana, Cuba on the site of the legendary ceiba tree under which the city was allegedly founded in the sixteenth century. Through a series of pictorial images framed within an architectural language associated with material progress, the shrine visually narrated the history of the city in Havana{\textquoteright}s main plaza. Although the monument can be situated within a Bourbon monarchical agenda to reorder colonial society through education (i.e., the pedagogical apparatus of the Academy of San Alejandro in Havana, which opened in 1818), a semiotic analysis of the shrine and its paintings reveals a local production of meaning. Through the examination of the colonial press, eighteenth-century Cuban histories, Creole-Peninsular politics, constructs of race, class, and gender, and Afro-Cuban religion, various interpretive frameworks emerge through which the shrine would have been viewed by nineteenth-century audiences. These frameworks of interpretation underscore the polysemic nature of the Ibero-American colonial city, an issue that this study aims to illustrate.}, keywords = {Latin American/Caribbean Art, Nineteenth-Century Art}, author = {Niell, Paul} } @mastersthesis {10356, title = {Barbara Morgan{\textquoteright}s Photographic Interpretation of American Culture, 1935-1980}, year = {2008}, school = {Kansas}, abstract = {In 1935, Barbara Morgan, a recent arrival in Depression-era New York, reinvented her career as an artist when she abandoned painting and adopted the medium of photography. In the four-and-a-half decades that followed, Morgan witnessed the remaining years of the Great Depression, World War II, the Korean Conflict, the Cold War, the Vietnam War, and Three Mile Island. This dissertation will trace the photographic oeuvre of Morgan as she responded to these events both directly and indirectly, while simultaneously tracking the important artistic and cultural trends of each decade. The first chapter discusses Morgan{\textquoteright}s early photomontage work, in which she pushed the boundaries of American photography while exploring diverse metaphors for metropolitan splendor and urban isolation as well as the anxieties of the Great Depression and hope for a better future. Morgan{\textquoteright}s 1941 book Martha Graham: Sixteen Dances in Photographs anchors the second chapter. The influential dance photographs that comprise this publication highlight Morgan{\textquoteright}s modernist interpretations of Martha Graham{\textquoteright}s early dances and allow Morgan to examine beauty, strength, and a complex series of emotions through simple gestures and movement. The third chapter uses the light abstraction Morgan employed as a tailpiece for Sixteen Dances as the starting point to investigate her connections to broader artistic trends in the United States during and after the Second World War. In 1951, Morgan published Summer{\textquoteright}s Children, a photographic account of life in a summer camp that marked a major departure for the artist. Chapter four examines this book in the context of the Cold War and considers such diverse topics as summer camps, progressive education, fear-mongering, and the rise of the photo-spread. In the last two decades of her career, Morgan returned to the medium of photomontage. The fifth chapter examines this period, in which Morgan protested nuclear proliferation, environmental indifference, a perceived lack of scientific morality, and violent entertainment through her montages.}, keywords = {Drawings/Prints/Works on Paper}, author = {Knappe, Brett} } @mastersthesis {10304, title = {The Barnett Aden Gallery: A Home for Diversity in a Segregated City}, year = {2008}, school = {Penn State}, abstract = {In 1943 Professor James V. Herring along with Alonzo J. Aden, his former student and colleague at Howard University, opened the Barnett Aden Gallery within the modest home they shared in Washington, D.C. As founders of one of the first black-owned galleries in the nation, their mission was to provide an exhibition space for talented artists without regard to ethnicity or national origin. During the next twenty-five years, the Barnett Aden Gallery became a unique site for cross-cultural exchange-where artists, writers, musicians, and politicians of all races met freely for social, professional, and aesthetic discourse-one of few such places in severely segregated Washington, D.C. The Barnett Aden performed the traditional gallery function of featuring talented emerging artists, but it provided a critical service for African American artists, who had few opportunities to show their work in parity with white artists or even to see evidence of their existence within established art institutions. By placing their work alongside that of honored black predecessors, such as Henry Ossawa Tanner, Edward Bannister, and Meta Warrick Fuller, the gallery validated their artistic identity and situated them within an art historical tradition. In this dissertation I assert that the Barnett Aden Gallery carried out even broader psychological and ideological tasks for the artists, the patrons, the gallery owners, and the art community of Washington, D.C. By situating exhibitions within their home (rather than using the pristine white rooms favored by many galleries), Herring and Aden literally brought home the idea that artistic creativity was inherently part of the African American experience, and, at the same time, enhanced their own status as members of the black intellectual elite of the city. The domestic environment and the integrated atmosphere altered the viewing experience of the spectators and broadened their outlook toward art and its creators. Through their exhibition policies and their collaboration with established art institutions, the gallery owners created a unique cultural space and set the stage for development of a surprisingly integrated art community in an otherwise racially divided city.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Abbott, Janet} } @mastersthesis {10294, title = {The Berlin Wall and the Urban Space and Experience of East and West Berlin, 1961-1989}, year = {2008}, school = {CUNY}, abstract = {Divided Berlin provides an ideal case study for an investigation into the relationship between political ideology and a city{\textquoteright}s built environment and furthermore, the effect of this relationship on the construction of national identity. Throughout the 1950s, 60s, 70s and 80s, both East and West Germany sought to articulate ideologies and values in built form as part of an effort to establish legitimacy vis-a-vis the "other" Germany. This study considers the processes by which such ideas were communicated through architecture, as well as the degree to which the resulting buildings were accepted and/or acknowledged as symbols of a shared, national culture in either East or West. By looking at specific projects, such as the Berlin State Library ( Staatsbibliothek, Hans Scharoun, 1967-78) in West Berlin and the Palace of the Republic (Palast der Republik, Heinz Graffunder, et al. 1973-76) in East Berlin, this dissertation considers how and to what extent architecture helped to forge a sense of national identity in either country and in doing so examines the other kinds of divides that resulted from the physical and political division of Berlin.}, keywords = {Architectural History/Historic Preservation}, author = {Pugh, Emily} } @mastersthesis {10445, title = {{\textquoteright}Beschildert met een Glans{\textquoteright}: Willem van Aelst and Artistic Self-Consciousness in Seventeenth-Century Dutch Still-Life Painting}, year = {2008}, school = {Virginia}, abstract = {In his 1718 biography of the still life painter Willem van Aelst (1627-1683), Arnold Houbraken describes the artist{\textquoteright}s grand disposition and his great pride. It is this somewhat biased biography which begins to intimate the nature not only of van Aelst{\textquoteright}s personality, but also of his work. The career of van Aelst began with an early and extended stay in France and in Italy, where he worked for the Medici. In 1656 he returned to Amsterdam, where he continued to produce his elegant paintings until his death in 1683. The paintings of van Aelst are executed in a highly refined style, with elegant contents and artful compositions. These works suggest an artist with a keen awareness of his own artistic abilities. Moreover, as he undoubtedly learned from his experience working in France and at the Medici court, the refined style and elegant contents of his paintings were precisely geared to appeal to the tastes of an elite audience. However, van Aelst{\textquoteright}s paintings were not purely well crafted objects to adorn the voorsael, they were complex statements of artistic virtuosity and artistic self-consciousness. Chapter one introduces the subject, situating it in the context of existing scholarship. Chapter two presents a biography of the artist, a significant addition both because it does not exist in any substantial form in any other text, and because it lays the groundwork for van Aelst{\textquoteright}s artistic development. Chapter three considers his production, the different types of still life he painted, how his work conformed to existing standards and how his work was innovative. Chapter four discusses his work in light of the patrons and collectors of his paintings. Finally chapter five draws together the strands present throughout the previous chapters and discusses van Aelst{\textquoteright}s work in light of the concepts of artistic virtuosity and artistic self-consciousness.}, keywords = {Renaissance/Baroque Art}, author = {Paul, Tanya} } @mastersthesis {10334, title = {Between Painting and Photography: Soviet Underground Art, 1970-1980}, year = {2008}, school = {Pennsylvania}, abstract = {This dissertation centers on Soviet nonconformist artists Erik Bulatov and Boris Mikhailov, who in defiance of Socialist Realism, the only sanctioned creative method for the arts in the USSR, engaged simultaneously painterly and photographic means to critique communist ideology and its systems of representation. This study analyzes how through their common strategy of appropriating, manipulating, and hybridizing painting and photography, both dominant propaganda tools from the 1920s through the mid-1980s, the two artists exposed and subverted views of social and political reality imposed by the official discourse, as well as elucidated the Soviet individual{\textquoteright}s implied and actual role within this reality. Bulatov and Mikhailov offer disparate, but complementary, depictions of Soviet existence throughout the 1970s and early 1980s, a time of renewed political propaganda, severe state censorship, a new personality cult, and expanded Soviet imperial ambitions. A documentary impulse underlies their artistic endeavors, which together paint a most telling portrait of Soviet society. Bulatov{\textquoteright}s large-scale photorealistic paintings examine the Soviet person{\textquoteright}s inner conditions resulting from ideology{\textquoteright}s psychological impact on the human consciousness. Mikhailov{\textquoteright}s hand-painted photographs focus, however, comment on the physical deformations of the Soviet collective body, thereby endorsing-in direct opposition to the official iconography of the positive image-the unbeautiful as the sign of the Soviet. Bulatov{\textquoteright}s and Mikhailov{\textquoteright}s oeuvres from this period sought to open alternative, if metaphorical, spaces of existence, and endeavored to foment a democratic ideal that valued individual thought, action, and creative expression. Ultimately, their works functioned within a larger network of resistance, parallel practices, and exchange of officially unavailable information, which had emerged in response to the Soviet attempt at engineering a uniform society.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Milkova, Liliana} } @mastersthesis {10459, title = {Between the Waves: Feminist Positions in American Art, 1949-62}, year = {2008}, school = {IFA/NYU}, abstract = {This dissertation expands knowledge about female artists{\textquoteright} critical attitudes toward gender issues in postwar American painting and sculpture. Unpublished letters, journals, and essays, when mapped against the stylistic developments of women in the New York School, identify works of art with anti-sexist content. Women addressed institutional sexism in private and "under the radar" relationships at a time when the subject of abstract art was supposed to be universal, and not race or gender specific. This study challenges the uniformity of the "isolated" woman artist of the 1940s and 50s as described in histories of Abstract Expressionist art. Section One investigates the friendship of Helen Frankenthaler, Grace Hartigan, and Barbara Guest, leading women in the New York School "second generation." Frankenthaler{\textquoteright}s paintings toyed with sexual imagery and specific art historical references to control the debate over feminine content in abstract art. Hartigan{\textquoteright}s abstract paintings and prints on the subject of Pallas Athene (1961-2), inspired by the poetry of Guest, confronted a mental space of myth and creation, recording the struggles of a female artist who had achieved among the greatest renown and sales of her generation. Section Two analyzes organizations of female artists. Despite their conservative reputations, they attracted modernist sculptors who enjoyed critical success. Louise Nevelson{\textquoteright}s room-sized bricolage environments emerged from her participation with National Association of Women Artists: mythic and sculptural manifestations of the provocative concept of community for women in the 1950s. Section Three reevaluates the influence of Simone de Beauvoir on artists and critics. The Second Sex (1949) unmasked the myths of women and the failings of female artists. Beauvoir{\textquoteright}s penetrating scrutiny of popular imagery, as well as commentary on visual art, provided the germinal theoretical approach to a feminist art history, first detectible in the postwar writing and painting of Elaine de Kooning and Minna Citron. The various feminist positions and networks of the 1940s and 50s, as revealed in the dissertation, staked out the territory of a critical female subjectivity in art, which later developed into an organized, self-conscious feminist art movement.}, keywords = {Twentieth-Century Art}, author = {Belasco, Daniel} } @mastersthesis {10320, title = {Beyond Sweetgrass: The Life and Art of Jaune Quick-to-See Smith}, year = {2008}, school = {Kansas}, abstract = {This dissertation is a brief monographic study of noted American Indian artist-Jaune Quick-to-See Smith. No such study of Smith has been completed to date. This particular study is different because it consists of a Native woman looking at another Native woman{\textquoteright}s art as well as the desires and intents that go into the production of her artwork. The document is comprised of six chapters and a glossary. The first chapter is a brief introduction followed by a literature review. It is a synopsis of a variety of sources-journals, newspaper articles, and texts. Smith{\textquoteright}s popularity has been on the rise since the 1980{\textquoteright}s but little writing exists on her outside of reviews. I attempted to give a chronological examination of writings on Smith on various sub-sets, including Smith{\textquoteright}s predecessors in "Native American Modernism," then on to Smith with "Identity and Influence," Smith{\textquoteright}s "Success as a Native American Artist," "Smith{\textquoteright}s Evolution of Style," "The Debate Over Chief Seattle," and finally a brief segment on "Feminist Art and Smith." I examine the evolution of Smith{\textquoteright}s style and the subtle inter-relationships produced between her works with both a summary and synthesis of these relationships and influences. Chapter two gives insight into Smith{\textquoteright}s biography: her father and his influence, her childhood, teenage years, education. And it also includes a brief look into her adult life. Chapter three discusses Smith{\textquoteright}s activism, her involvement in artistic cooperatives, and her earliest works. Smith formed two cooperatives that were integral to the art communities{\textquoteright} recognition of American Indian work as a viable form contemporary art and not just crafts and tourist trinkets. It considers reviews written about the group exhibitions that Smith formed some of them the first of their kind. Chapter four analyzes Smith{\textquoteright}s works and her style{\textquoteright}s evolution from "nomad art" and landscapes to political art, her appropriation of commercialism and other art styles and how she incorporates her unique form of Native humor to extol how humor has assisted the Native population to survive, flourish and give new insight into the culture, its politics and art. Chapter five examines the historical and cultural influences of American Indian art and culture on Smith{\textquoteright}s work. Included is a discussion of gender and its role in Smith{\textquoteright}s art. Also discussed are traditional art forms and their impact and integration into Smith{\textquoteright}s work. Religion, assimilation and decolonization, and manifest destiny are also parts of the Anglo or White world that affect Smith{\textquoteright}s work. Chapter six is about public works of where Smith was involved in the creation and construction. Smith is one of very few Native artists selected to design and be involved in the actual construction of public art. [There were a number of problems writing this chapter due to a lack of information and some confusion over what are public art and commissioned artwork.] Finally, in the appendix is a glossary of Native terms that some may need to fully interpret and understand Smith{\textquoteright}s work. It proves to be one of the most invaluable parts of the document.}, keywords = {Art of the United States}, author = {Murphy, Joni} } @mastersthesis {10460, title = {Boetti and Pascali, Two Case Studies (1965-70): Revisiting Arte Povera after the Fall of the Berlin Wall}, year = {2008}, school = {Michigan}, abstract = {Alighiero Boetti and Pino Pascali were two particularly important Arte Povera artists, and my study of them is very much about this postwar Italian movement. However, my dissertation is also a non-Arte Povera, Arte Povera project in that I have chosen two artists whose work is in many ways at odds with prevailing understandings of an Arte Povera aesthetic. Germano Celant envisaged Arte Povera in 1967 as an art "stripped of ambiguity." I, on the other hand, offer a history of Boetti{\textquoteright}s and Pascali{\textquoteright}s practices and Arte Povera more generally by way of an engagement with the aporias and apparent contradictions present in such work. My focus on the entanglement of nature and artifice, and unification and splitting, in Boetti{\textquoteright}s and Pascali{\textquoteright}s various projects, for instance, provides a ground upon which I interrogate the socio-political situation that shaped their individual approaches. I also bring together Celant{\textquoteright}s perspective with other intellectual voices that contributed to the theorization of what is now widely known as Arte Povera and, through the revisitation of such criticism, grant readers access to the broader cultural context that informed the practices of the artists on whom I have chosen to focus the dissertation.}, keywords = {Twentieth-Century Art}, author = {Bennett, Chris} } @mastersthesis {10434, title = {Bronzino and the Style(s) of Mannerism}, year = {2008}, school = {Bryn Mawr}, abstract = {This dissertation focuses on the paintings of the Florentine Mannerist Agnolo Bronzino (1503-1572) and what we call the difference in their styles, which we set within the larger framework of Mannerism as a particular moment in art history. It is clear that Bronzino{\textquoteright}s paintings, as Mannerist, often have been considered inferior by comparison to works of the High Renaissance. But in thinking about Bronzino here we explore the norms of artistic evaluation of both moments as well as the idea of a decline which has coloured so much of what has been said about Mannerism and of Bronzino and his work, especially of his later paintings. To look in this way at the oeuvre of Bronzino also raises the question of whether here we can see the possibility of his working not in a unified style, but in a number of styles that Bronzino applied to different types of painting. Thus we address the meaning of the word style because of its significance also for positioning Bronzino{\textquoteright}s stylistically varied work within the larger artistic context of the period. Another cultural concept we addressed is the notion of epigonicity. This term we use here to refer to evaluation based on both the idea of stylistic development and then of its decline. Related to the problem of the artistic value of the work done after a forerunner of a style, such epigonicita is used often in the dispute about the artistic quality of the artists who lived in the time after the peak of art was reached with Michelangelo. In this project we examine how far Bronzino can be spoken of as an epigone of Michelangelo. This dissertation combines several levels of speculation and historiography, taking into account more general descriptions of Mannerism, style(s) and maniera, as well as an analysis of particular paintings by Bronzino. Yet such apparent complexity is in a profound sense a reflection of the Bronzino{\textquoteright}s paintings themselves, produced within the richly layered culture of sixteenth-century Florence.}, keywords = {Renaissance/Baroque Art}, author = {Gruborovic, Zlatan} } @mastersthesis {10406, title = {But It Doesn{\textquoteright}t Look Indian{\textquoteright}: Producing Native American Art; Culture and Identity in the Middle Space}, year = {2008}, school = {UCLA}, abstract = {The dissertation considers how stereotypes have contributed to the perpetuation of certain ideals in the construction and appreciation of Native American art, culture and identity. These stereotypes have been supported and upheld by concepts like "tradition" and "authenticity", which are themselves suspect for what they promote and hide. Over four case studies the author discusses several kinds of "suspect" cultural activities, including the production of tourist art, the reclamation of lost cultural identity, and the social cohesion, dissonance and power structures that emerge from acts of artistic patronage. Cultural construction, and with it artistic activity and the creation of identity, is seldom a one-sided affair. Rather, it is a process by which artist and patron, tourist and "native", museum owner and museum-goer, all co-construct forms of culture. Although a negotiated process is seldom, if ever, admitted by the participants, the author finds mutual construction to be, in fact, the norm. Taken as a whole, the dissertation proposes that we reassess the roles that "tradition" and innovation have played in our perceptions of Native American art and culture, and demonstrates that the act of reinvention itself has been an integral part of Native American art and cultural development.}, keywords = {Native American}, author = {Croteau, Susan A.} } @mastersthesis {10407, title = {Cakewalking into Representation: Gabriele Munter{\textquoteright}s America Travels (1898-1900) and Art of Dailiness}, year = {2008}, school = {MIT}, abstract = {This study explores the fashioning of Gabriele Munter as a German modernist with a focus on the eclipse of her struggles in coming to representation, the rich complexity of her processes, and the importance of dailiness for her work. Drawing on feminist readings of autobiography and on the relationships elaborated by Henri Lefebvre and Georg Simmel between modernity and the everyday, the daily is described here as an expansive site encompassing subjugating repetition and familiarity as well as discourses of worldliness and possibilities for subversion. The discussion centers on Munter{\textquoteright}s travels in the United States as an emblem of the stretch of her dailiness and its instructive vantage on issues of authenticity and documentation governing her output. Munter{\textquoteright}s pocket calendars, sketchbooks, photographs, photograph album, and retrospective writings about America are considered as a project of forging Heimat and visuality. With its associations of effortlessness, the use of "cakewalking" in the title evokes the erasure of Munter{\textquoteright}s daily processes in their messiness. The cakewalk was a form for African Americans to parody their masters in the antebellum period and was taken up by whites at the time of Munter{\textquoteright}s visit; she herself designed a postcard of a young relative performing the dance. Though the daily enabled Munter to come into representation, by its slightness and imbrication in mass culture, it would go underground in service of authenticity. The argument is grounded in the American context through readings of period guidebook literature, discourses of shopping and flanerie, and Kodak advertising; theatrical productions and tourist sites Munter visited; and relationships between her work and contemporary Arkansas photographers such as Harry Miller. The 19th-century German popular literary figuration of America as adventure elaborated by Charles Sealsfield, Karl May, and others shapes the interpretation, as do Wilhelmine discourses of empire lodged in Die Gartenlaube, the Volkerschauen, and the shifting meanings of Kultur. The conclusion develops the relevance of the lens of dailiness for Munter by turning to four of her paintings-Man in an Armchair, Interior, Return from Shopping, and Boating-with an interwoven treatment of her writings, photographs, sketchbooks, and ephemera.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Bible, Ann Vollmann} } @mastersthesis {10361, title = {Canopies: The Framing of Sacred Space in the Byzantine Ecclesiastical Tradition}, year = {2008}, school = {Princeton}, abstract = {Canopies: The Framing of Sacred Space in the Byzantine Ecclesiastical Tradition re-examines the role of the canopy as a basic symbolic and spatial unit in the Byzantine church. The central focus and dominant vertical axis that the canopy provides within liturgical rites is expanded by the directional ambivalence, which offers an innovative understanding of the materialization of the idea of the Byzantine church and its multi-focal spatial iconography. The micro-architecture of canopies reveals modular and additive qualities of the church, from its structural four-columned core with a dome, through actual four- and two-columned furnishings above altar tables, baptismal and holy water fonts, ambos, tombs, and specially venerated (proskynetaria ) icons, to liturgical vestments and vessels in the shape of a canopy, and finally to two-dimensional canopies represented on church floors and walls. Although formulaic in execution, perhaps even because of their generic imagery and decoration, canopies were adaptable to different specific contexts. This study suggests that the canopy-frame was a subtle boundary between the sacred and the worldly, and yet, at the same time, it was totally integrated as a symbolic unit with the presence of God beyond space and time. Part One, The Canopy and the Byzantine Church, deals with the catalogued archaeological evidence for more than 150 canopies, complemented by 400 visual representations of and 100 texts about canopies. The material reveals how by intermingling rhetorical images and visual embodiments of the idea of a canopy, the Byzantines used inconsistent descriptive terminology: ciborium/kiborion, pirgos, oikiskos, orophion, apsida, tetrakionos, tetrapylon, tetravelon, katapetasma, parapetasma, pepla, koubukleion. The problem has deepened owing to the antiquarian origins of Byzantine studies in the sixteenth century, which witnessed a marginalization of terms other than ciborium, resulting in lacunae in current scholarship on canopies. Material evidence further supports the observation that there were many more canopies in Byzantine churches than previously thought. Indeed, the size, material and artistic quality of canopies changed especially after the Iconoclasm and the loss of Imperial control of their production. The formulation of concepts related to the framing of sacred space by canopies, however, is tied to the Iconoclasm and to polemics about the Incarnation in Jerusalem and Constantinople. By the fifteenth century canopies received additional, often anachronistic and conflating explanations, diverging from material evidence. By raising questions about places of individual or collective encounter with the sacred, Part Two, The Canopy and the Human Body, reveals the human body and divine grace to be integrated vehicles of "Byzantine humanism," that went beyond humanist notions of the sixteenth century. Religious, funerary, imperial and civic canopies are juxtaposed with altar and ambo canopies, canopied saints{\textquoteright} tombs and shrines within the church, and are compared to the Tomb of Christ in Jerusalem, the seminal building for the testimony of the New Covenant. Examined within Byzantine Christianity and its historical continuity with the Judeo-Christian and Hellenistic past, special case studies include canopies from Hagia Sophia, St. Polyeuktos and St. Euphemia in Constantinople, Panagia Ekatontapyliani on Paros, the church of the Assumption of the Virgin in Kalabaka, St. Demetrios in Thessaloniki and Blessed Loukas in Boeotia. The role of the human and liturgical body for understanding Byzantine canopies is further exemplified by the study of the tent-like Major Sakkos of Photios, which explains the Byzantine Christological concept of the moving canopy as a "living icon." The Marian concept "Ark-Virgin-Church" is addressed in the Epilogue, which outlines the phenomenon of canopies as essential architectural and ontological constructs in the Byzantine church.}, keywords = {Early Christian/Byzantine Art}, author = {Bogdanovic, Jelena} } @mastersthesis {10472, title = {The Canvas and the Camera in Weimar Germany: A New Objectivity in Painting and Photography of the 1920s}, year = {2008}, school = {IFA/NYU}, abstract = {This dissertation re-evaluates Neue Sachlichkeit painting and New Objectivity photography in relation to visual technologies of observation in 1920s Germany. Specifically, I relate the critical, disciplinary, and taxonomic systems of representation in Weimar artistic practice to the clinical gaze of modern science. I propose that the emergence of this empirical aesthetic of sachlichkeit correlates to cultural and economic values of technological efficiency in German society and anxieties concerning postwar national identity. Chapter One combines careful scrutiny of Neue Sachlichkeit paintings with close readings of the movement{\textquoteright}s criticism. My analysis relates the renewal of realism in interwar German painting practice to broad visual and societal changes wrought by wartime devastation and postwar recovery. My discussion demonstrates that pictorial lucidity, which I define as clarity of figuration, underpins both the ruthless social critiques of "left-wing" Neue Sachlichkeit painters and the idealizing, sentimental depictions of "right-wing" Neue Sachlichkeit painters. Chapter Two revisits Otto Dix{\textquoteright}s paintings of the wounded war veteran and his critical realist portraits. My investigation links his depictions of somatic deformity and individual character to newly cultivated visual and ideological mechanisms of social observation. The pictorial lucidity of Dix{\textquoteright}s work, I argue, ties his scrutiny of the body to both venerated aesthetic conventions and "objective" scientific taxonomies of modern biomedical representation. Chapter Three investigates New Objectivity photographic techniques and theoretical publications that emphasized the medium{\textquoteright}s formal clarity and indexical quality. Sharp focus, high contrast, close-ups, and unexpected perspectives deliberately countered the compositional style and subject matter of Kunstphotographie. My analysis asserts that a renewed interest in facticity and precision anchored the movement{\textquoteright}s conceptual matrix of technological innovation, objectivity, and veracity. Chapter Four addresses photographs by Karl Blossfeldt and Albert Renger-Patzsch: derived from industrial and scientific representational codes, their images sought to interrogate architectonic structures of nature as models for art and technology. By relating their photographic methods to social, cultural, and scientific narratives of rationalization and regeneration, I conclude that Weimar era visuality emerged from a desire to represent truths about individual and collective postwar experience and identity.}, keywords = {Twentieth-Century Art}, author = {Kreinik, Juliana} } @mastersthesis {10347, title = {Careless Rapture: Artifacts and Archives of the Home Movie}, year = {2008}, school = {Rochester}, abstract = {This dissertation examines home movie making practices over the course of the 20th century. This study begins in the period when commercial filmmaking was consolidated into a centralized and vertically integrated industry and ends in the era when the studio system collapsed. As a counter-practice to narrative filmmaking, home movie making resists many of the key traits of mainstream filmmaking including three-point lighting, continuity editing, acting, makeup, sound, music, and narrative construction. As a result, from the 1920s on, an abundant how-to literature characterized the home movie as poorly made and uninteresting. This discourse of amelioration, as I call it, vociferously argued that home movies must be improved. Key to my investigation is a distinction I draw between John Grierson{\textquoteright}s conception of a "fine careless rapture" and the improvement proposed in the ameliorative how-to literature. Grierson describes the early Lumiere films as demonstrating "a fine careless rapture," in which amateur filmmakers and home movie makers are seemingly so enraptured with filming their subjects that their filmmaking techniques display carelessness. While this carelessness in technique provides the home movie its unique characteristics and qualities, the ameliorative discourse refutes these qualities. In my first chapter, I elaborate on what these ameliorative discourses counseled. The distinction between professional and amateur filmmakers, and techniques, is elaborated in my second chapter through an examination of advertisements for non-professional filmmaking equipment from the 1920s. In chapter three, an ameliorative solution to the carelessness of home movie production is illustrated in my account of Polavision, an instant movie technology that was to revolutionize home moviemaking in the late 1970s but failed miserably. Chapter four examines the persistence of the home movie{\textquoteright}s silence as home movie makers refuse attempts to remedy their films through the addition of music, adopting alternate sound production practices, such as live narration. My final chapter explores small screen acting to argue home movie subjects adopt a unique mode of performance based on familiarity between subject and filmmaker. This dissertation challenges dominant accounts of film history that have marginalized the home movie.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Film/Video}, author = {Czach, Liz} } @mastersthesis {10371, title = {Carolingian Innovation and Observation in the Paintings and Star Catalogs of Madrid, Biblioteca Nacional, MS 3307}, year = {2008}, school = {IFA/NYU}, abstract = {The Astronomical-Computistical-Pedagogical Handbook in Madrid (Biblioteca Nacional de Espana, Ms. 3307) is the most reliable record of the lost Handbook of 809. The Handbook of 809 arose at the intersection of Carolingian needs for a teaching book facilitating calendrical and astronomical study, an orthodox Christian assessment of late antique science and its pagan roots, and scientific interest in the classical forms of the star pictures. This dissertation identified three discrete recensions of manuscripts derived from the lost original Handbook of 809, which was created after Charlemagne convened a synod on astronomical and calendrical reform under the direction of Adalhard of Corbie. The copy of the Handbook of 809 in Madrid includes the truest copies after the original miniatures, but each handbook displays artistic differences. This dissertation shows that this is at least in part because the early, finely illustrated copies of the Handbook of 809 are linked to members of the royal Carolingian family. The copy in Madrid was made for Drogo, who was Bishop of Metz (beginning in 823), at the moment of the book{\textquoteright}s manufacture in Metz ca. 830. In this dissertation, it is argued that three noteworthy projects intertwined and influenced the creation of the text and images in the Handbook of 809 and its copy in Madrid. First, the miniatures in Madrid hark back to classical pictorial prototypes. Second, Hrabanus Maurus in his De clericorum institutione Book III.25 underscored the need for young clerics to study the technical skills associated with astrology in order to reckon feasts and perform medical treatments accurately. The Madrid book is designed to make this possible. Third, the philosophical and theological texts of Isidore of Seville encouraged students of the liberal arts to recognize their place within the ordered cosmos. The great innovation of the Handbook of 809 as revealed by this analysis of the copy in Madrid was to recombine this Christian outlook with the classical scientific learning available in the ninth century.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Ramirez-Weaver, Eric} } @mastersthesis {10417, title = {The Caxaztla Painting Tradition: Art and Identity in Epiclassic Mexico}, year = {2008}, school = {Yale}, abstract = {During the tumultuous period between A.D. 650 and 950, artists at the Central Mexican city of Cacaxtla produced a series of murals that bear striking stylistic and technical similarities to the paintings of Maya city-states over 400 miles to the south. Life-sized images of gods, historical figures, and supernatural creatures lined the walls of the city{\textquoteright}s most important sacred and public spaces, structuring civic experience and articulating a vision of the Cacaxtla polity. Although these works have often been attributed to imported Maya artists, this dissertation argues that the Cacaxtla murals constitute a sustained and distinctive painting tradition, which departed from Maya origins in response to profoundly local concerns. The Cacaxtla paintings commemorate a transitional moment in Central Mexican art and history. Following the collapse of the Teotihuacan empire, patrons and painters at Cacaxtla mobilized a discourse of style and ethnicity to distance themselves from their former imperial allies, actively associating themselves with the alternative political model of the exotic and wealthy Maya city-states to the south. Artists at Cacaxtla combined themes familiar from Teotihuacan and forms from the Maya area to create an innovative synthesis which in many elements anticipates Aztec art of the fourteenth and fifteenth centuries. While the Cacaxtla paintings appear strikingly Maya at first glance, both their style and their content diverge in significant ways from the Maya paintings that they so closely resemble. A substantial number of artists worked in this distinctive style over the course of generations of dramatic architectural change at the city. The surviving Cacaxtla paintings were carefully buried when covered by new construction, a testament to their centrality to Cacaxtla civic and ritual life. The Cacaxtla painting tradition may have begun as something foreign and exotic, but it became the dominant form of monumental art at the city and was transformed into a symbol of local identity through the agency of its citizens. Thus, the art of Cacaxtla challenges the elision of style and ethnicity that has frequently characterized Mesoamerican studies, demonstrating how choices about style can be active and political.}, keywords = {Pre-Columbian Art}, author = {Brittenham, Claudia} } @mastersthesis {10324, title = {China{\textquoteright}s china: Jingdezhen Porcelain and the Production of Art in the Nineteenth Century}, year = {2008}, school = {UC San Diego}, abstract = {My dissertation examines the interaction between global political-economic transformations and changing concepts of Chinese art in the nineteenth century. Its focus is on the porcelain from the renowned "porcelain city," Jingdezhen in Jiangxi Province of southeast China. Jingdezhen has been the center of world porcelain production since the thirteenth century. Although Jingdezhen{\textquoteright}s porcelain industries experienced tremendous changes and upheaval during the nineteenth century- including expanding overseas trade, decimation by the Taiping rebels in 1853, reinstatement of imperial patronage by the Qing Court during the Tongzhi Restoration - scholars of science, art, and Jingdezhen history alike rarely investigate this period. Contrary to scholarly consensus, the nineteenth century witnessed a surge in the production of texts and visual images detailing the aesthetics, technology, and manufacturing of Jingdezhen porcelain. This study focuses on the systemic production of knowledge about a material object - Jingdezhen chinaware - by tracing the global trajectories of key documents and visual images on porcelain that circulated within and across boundaries of such places as China, France, and Japan. I will highlight the circulation of such texts and visual images at crucial historical junctures of the nineteenth century, concentrating on periods of industrialization, inter-state conflict, and changing trade patterns. Thus this project will attempt to articulate the global and political processes that negotiate and re-position an object{\textquoteright}s materiality-specifically the materiality of Jingdezhen porcelain-in relation to its visual and textual aspects. By historicizing the discourse and practices of a specific object of trade and art, especially one that was and remains closely associated with a particular place and culture, I examine how concepts of self and other find material embodiment through representative objects of culture and exchange.}, keywords = {Chinese Art}, author = {Huang, Ellen} } @mastersthesis {10362, title = {Christine de Pizan{\textquoteright}s Livre d{\textquoteright}Epitre d{\textquoteright}Othea a Hector at the Intersection of Image and Text}, year = {2008}, school = {Kansas}, abstract = {Christine de Pizan, the first professional author in Western Europe, wrote the Book of the Epistle of Othea to Hector in 1399. Of Italian origins, Christine had moved with her family to the Valois court of Charles V in approximately 1368. The French king had invited her father, a professor at the University of Bologna, to Paris as his personal physician and court astrologer. Surrounded by the nascent humanism encouraged by the French monarch, Christine gained the rudiments of a classical education, including the notarial script with which she would early support herself and her family upon the deaths of her husband and father. Having begun by writing lyric poetry for her personal use, the author created the Epistle of Othea mixing poetry and prose, using the format of earlier Latin works. Scholars generally concur that Christine participated in the facture of her numerous manuscripts. Although the extent and nature of her participation remain unclear, this paper assumes that she played some role in directing the contents and style of the illustrations with which her artists embellished the work. Comparisons among eight manuscript copies and one printed edition of the Epistle of Othea, the most popular of Christine{\textquoteright}s literary creations, constitute the basis of the present study. A collection of one hundred vignettes loosely related to the Trojans (from whom the French believed they were descended), the Epistle of Othea contains an illustration accompanying each of its allegorical stories. Although its purported subject falls in the "miroir des princes" genre, the work{\textquoteright}s disjunctive nature leads to the conclusion that its author{\textquoteright}s actual motivations in writing it lay elsewhere. Specifically, this paper contends that Christine created her first serious prose work as a vehicle to establish herself within the royal and aristocratic community as an author to be respected, a voice to be heard. She designed it as a demonstration of the proper form of allegorical writing, in which the author clearly guides readers{\textquoteright} interpretations. Furthermore, she herein embarked upon a lifelong battle against misogyny. Finally, Christine began with this work her efforts to rehabilitate her astrologer/father{\textquoteright}s tarnished reputation. Comparison of the verbal and visual imagery in the earliest three copies, created under the author{\textquoteright}s control between 1399 and ca 1410, discloses the close association between text and image. No textual comparisons among the later copies were included in the study, but the research shows that later illuminations diverge increasingly from the originals. The changes result both from new media (grisaille, watercolor and woodcut print) and from the social milieux of the owners. That is, the art work in the Bodmer mixed-grisaille copy for Antoine, Great Bastard of Burgundy, demonstrates elements suggesting a highly enlightened court, while increased violence and sensationalistic qualities characterize the watercolor copy at Lille, created for bourgeois buyers. The reductive nature of the woodcut images, like that of the watercolors, relates to their medium. The most significant changes occur in the Lille watercolor on paper, whose artists sought innovation to please their clientele, according to the Lille Mediatheque Jean-Levy in whose collection it is found. Similarities among the three later generations suggest possible ancestry in the ca 1400-50 Beauvais copy for the Bodmer and Lille manuscripts (both of approximately 1460) and the Paris incunable of 1499 created by Philippe Pigouchet. Although no clearcut family relationships can be identified at this time, it appears that the latter three copies and the Beauvais manuscript may all descend from an earlier copy, now lost.}, keywords = {Early Christian/Byzantine Art}, author = {Breckenridge, Martha} } @mastersthesis {10300, title = {Collecting Agency: Reversing the Camera{\textquoteright}s Gaze in Early Twentieth-Century Lowell, Massachusetts}, year = {2008}, school = {Boston}, abstract = {This project combines social and photographic histories in order to recast and expand our visual assumptions about industrial life at the turn-of-the-twentieth century. Through careful examination of five unique photographic case studies taken in Lowell, Massachusetts in the early 1900s, we change our contemporary perception of what industrial life looked like one-hundred years ago. Previously published imagery of Lowell, specifically, and of turn-of-the-century American mill workers, in general, has primarily taken the form of social reform survey photography, focusing on the urban industrial environment of textile mills and its detrimental effects on mill workers. These images that comprise our contemporary vision of turn-of-the-century industrial life were created in order to induce change in labor practices. They constructed a much-needed argument. Two of the photographic case studies that constitute this dissertation, created by Lewis Hine and the Reverend George Kenngott in 1911 and 1909, respectively, approach the residents of Lowell through the social reform lens. The three other case studies examined in this project-the Camara, John Coggeshall, and George Russell Collections-were created by amateur photographers and commercial practitioners based in Lowell during the early twentieth century. These collections deepen our perception of Lowell{\textquoteright}s industrial life as previously seen through the prism of social reform. Through these three disparate collections we are able to reverse or return the gaze of Lowell{\textquoteright}s turn-of-the-century industrial worker and city resident. Instead of being reported on, they are documenting themselves. These industrial, commercial, and amateur images allow the workers a clearer sense of agency and empowerment; a picture of their destiny crafted by themselves. A secondary level of this dissertation concentrates on matters of archival practice. How does an image, unanchored from its original intended context, reintegrate into the larger collective historical narrative? The matter of preserving and creating history through the archive itself runs throughout this project. Whereas archives are often perceived as a place of order or static, this project approaches these repositories as evolving entities with the constant promise of the chaos of new evidence.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Burgess, Rebekah} } @mastersthesis {10289, title = {Colonial Exchange and Visions of Empire in Britain and Its Colonies}, year = {2008}, school = {Delaware}, abstract = {This dissertation argues for the power of place, location, objects, and the senses in the eighteenth-century British Empire. Beginning with a deceptively simple question, it asks how eighteenth-century Britons (including early Americans) imagined their burgeoning empire and explores the role of artifacts in giving shape to the desire driving Britain{\textquoteright}s global trade. This interpretation of the visual and material culture of the British Empire reveals the international networks of exchange embodied in punch bowls, mercantilist architecture, and the artifacts of natural history. Each raises new possibilities for understanding how goods and images gave shape to ideas of political economy, taste, and national identity. By examining practices of consumption, anatomy, and collecting, I articulate how Britons imagined empire in the period preceding the American Revolution (1740-1775). Three sets of extraordinary objects provide a framework for assessing the actual and imaginary construction of Britain{\textquoteright}s empire. In chapter two, the building of the Exchange at Bristol by John Wood the Elder (1740-43) provides an entry point for exploring architectural setting in the merchant city. The third chapter turns to the punchbowl as a setting for the literal consumption of empire, examining Hogarth{\textquoteright}s prints, paintings, and ceramics as visual texts for recovering the experiences of sociability and drinking around the Atlantic rim. Chapter four dissects George Stubbs{\textquoteright}s Cheetah with two Indian Attendants and a Stag (1765) as a vital example of the collective biography of empire, asking how discourses of painting and natural history responded to self-fashioning through consumption and exchange. The conclusion assesses the symbolic inversion of the visual culture of empire at the outbreak of the American Revolution, asking how punch bowls and tea participated in a critique of empire.}, keywords = {Architectural History/Historic Preservation}, author = {Gollannek, Eric} } @mastersthesis {10293, title = {Colonialism at the Center: German Colonial Architecture and the Design Reform Movement, 1828-1914}, year = {2008}, school = {Michigan}, abstract = {Scholars have paid little attention to the architecture of German colonialism. This lacuna coincides with a general lack of interest in German colonialism that is in part due to the brevity of the German colonial encounter, but is also a result of the overdetermined nature of the Nazi era in German historiography. This dissertation explores the architecture of German colonialism as a discourse produced primarily between a largely constructed "Africa" and Germany. I investigate this history across a broad temporal frame from early nineteenth-century villages founded by German missionaries before the onset of formal colonization, to buildings imagined and/or built during the colonial period. I argue that German colonial architecture cannot be fully understood in the narrowly defined timeframe of official colonialism or in terms of the geographic limits of a particular colony. The dissertation therefore locates German colonial architecture in relation to vernacular architecture in the colonies, to the architectural practices of German missionaries before the onset of official colonialism, and to the development of architectural modernism in the metropole. The dissertation is framed around the most significant event in the history of German colonial architecture-the German Colonial Society{\textquoteright}s architectural competition-which took place in collaboration with the construction of a colonial pavilion at the 1914 Deutscher Werkbund exhibition in Cologne. Using the Colonial Society{\textquoteright}s competition as a guide, I narrate and analyze the events and themes that characterized German colonial architecture. Close readings of the competition and colonial pavilion then offer insight on the state of colonial architecture in relation to ongoing debates about German culture and industry, and on the relationship between colonial and metropolitan discourse. I conclude that German settlers, colonial administrators, missionaries, as well as colonized subjects were deeply invested in the idea that architectural design was a constitutive, supportive, and at times even a subversive component of colonial ideology. By revealing connections between colonial architecture and various reformist ideas and activities in early twentieth-century Germany that have come to be seen as representative of the period, this dissertation contributes to rethinking the architectural historical canon and expanding existing knowledge about the cultural contexts of German colonialism.}, keywords = {Architectural History/Historic Preservation}, author = {Osayimwese, Itohan} } @mastersthesis {10410, title = {Competing Representations: The "Volk" in German Visual Culture, 1890-1900}, year = {2008}, school = {Columbia}, abstract = {In 1890, anti-Socialist legislation was rescinded in Germany, enabling the working class to establish media outlets and to achieve a degree of self-representation. My dissertation takes the date 1890 as a starting point from which to examine the manner in which "the people" represented their fraught sense of national identity through visual culture twenty years after German unification in 1871.}, keywords = {Nineteenth-Century Art}, author = {Becker, Colleen} } @mastersthesis {10332, title = {Conceptual Encounters: Art and Information in Brazil (1968-1978)}, year = {2008}, school = {UCLA}, abstract = {This dissertation documents the ways in which communication theory and mass media influenced artists{\textquoteright} turn away from object-oriented art to more experience- and idea-based art practices in Brazil during the 1970s. Spanning the most repressive decade of the Brazilian military dictatorship, this investigation chronicles the artists{\textquoteright} turn to conceptual strategies that included poetry, their bodies and new media, within the unique historical specificities of the Brazilian context. Focusing on artworks produced in Rio de Janeiro and Sao Paulo, this study includes works by Sonia Andrade, Arthur Barrio, Paulo Bruscky, Analivia Cordeiro, Fernando Novaes Correia, Anna Bella Geiger, Nelson Leirner, Anna Maria Maiolino, Antonio Manuel, Cildo Meireles, Geraldo Anhaia Mello, Leticia Parente, Julio Plaza, and Regina Silveira. Influenced by information and media theories, particularly as expounded by Marshall McLuhan and Decio Pignatari, Brazilian artists sought to encourage an awareness of the structures shaping knowledge as well as those maintaining political power and class inequality. Within a repressive system marked by censorship, the visual arts provided a platform to voice defiance to existent aesthetic, political and social boundaries and fomented unexpected pockets of freedom. This study eschews the biographical model of narrating art history and privileges the artwork and its attendant social, aesthetic and political context. The narrative unfolds by establishing the circumstances around which the selected artworks emerge and in which they interact and circulate. Chapter one serves as an introduction to the historical and artistic concerns of the 1960s and, in particular, describes the conditions in which the Brazilian avant-garde emerged. Chapters two to four clarify how the encounter between art and information can intervene in established media circuits. Brazilian artists{\textquoteright} invocation of bodily, electronic and graphic interventions not only challenged restrictions put in place by censorship sanctions but also inaugurated new aesthetic possibilities for Brazilian art.}, keywords = {Contemporary Art, Latin American/Caribbean Art}, author = {Shtromberg, Elena} } @mastersthesis {10480, title = {Conflicted Nationalism and World War I in Belgium: Memory and Museum Design}, year = {2008}, school = {CUNY}, abstract = {My dissertation addresses Belgian memorialization against the backdrop of the contentious division of Belgium into two language groups, French and Dutch. Although the cultural diversity of Belgium makes it an ideal case study on cultural differentiation within a defined political boundary, Belgium has been largely neglected in the literature dedicated to analyses of nations and nationalism by scholars outside of the country. And although Belgium remained the sole occupied country for the duration of WWI, little research by non-Belgian scholars has been dedicated to Belgian{\textquoteright}s history of the war. My research explicitly addresses the complexity of Flemish nationalism in Belgium as articulated in two museums dedicated to WWI, The IJzertoren Museum in Diksmuide and The In Flanders Fields Museum in Ieper. I ground my study in the modern movement for autonomy, which lies in the Front Movement, an organization dedicated to the recognition of Flemish culture and the primacy of the Dutch language born in the trenches of the Belgian Front during WWI. The IJzertoren and the In Flanders Fields Museum must not only address this organization, but also contend with the multi-faceted development of Flemish Nationalism from the 19th century to the present. I compare and contrast each museum{\textquoteright}s claim to tell an inclusive history of the local as well as international scope of the war and the attempt to address Belgium{\textquoteright}s changing national values in the post-war years from 1918-1930 and into the present. My dissertation analyzes issues such as the use of art, interactive displays, secondary educational materials such as magazines and websites, marketing strategies and visitor responses. I examine the commonalities and dissimilarities between the two museums as well as assess the success of each museum in reaching their prescribed goals. I will evaluate what kind of experience the narrative provides for the public. This study encompasses not only the fate of these two memorial museums over time and the evolution of their meaning, but also changes in war memorial tourism. My dissertation will provide the first institutional histories of these two museums.}, keywords = {Twentieth-Century Art}, author = {Shelby, Karen} } @mastersthesis {10343, title = {The Contemporary Art of Travel: Siting Public Sculpture within the Culture of Flight}, year = {2008}, school = {Rutgers}, abstract = {The Contemporary Art of Travel: Siting Public Sculpture within the Culture of Flight, situates the notable yet little known airport installations of Vito Acconci, Diller + Scofidio, Alice Aycock, and Keith Sonnier in their appropriate artistic, theoretical and social contexts. Provocative and cutting edge, these recent commissions are exemplary for the ways in which they explore the collisions and cross influences of fine art, architecture, technology, flight and travel with particular sensitivity to the qualities that make the airport a singular contemporary space. More than mere decoration or distraction, these site-responsive artworks are visual representations of exactly how this unique place (or non-place) and this unique culture might coincide in sculptural form. Teeming with turbulent paradoxes, airports are uncanny, impersonal, in-between spaces; spaces in which travelers are forced to relinquish control of their autonomy, privacy, safety, sense of time, connections to the ground and links to the world outside. Unafraid of such air travel truths, the artists profiled in this dissertation use them as a source of inspiration. Acconci, Diller + Scofidio, Aycock and Sonnier blend these qualities with their own signature, career long conceptual preoccupations; deliberately, ingeniously enmeshing their installations within the physical and psychological schema of this extraordinary site. Their works are an unflinching, if not disquieting, testament to all that is possible in this bizarrely charged space and unfortunately, what is all too often untapped and/or underappreciated. As a result, their collective study allows for an up-dated examination of the power of (non-)place and the emblematic journeys which begin and end at the airport, but it is also a means through which to penetrate the polemics of contemporary public art, to begin to redefine expectations for the genre, and to focus critical consideration where it is long overdue. After all, contemporary public art plays a vital role in shaping, defining and/or revitalizing our urban spaces, and art for the airport is no different. Jointly a non-place and a simulacrum of the traditional urban gathering place, the airport represents a unique, timely, important and heretofore unexplored category of art commissions for the public sector.}, keywords = {Contemporary Art}, author = {Tinti, Mary M.} } @mastersthesis {10270, title = {Contemporary Zulu Ceramics, 1960s-Present: An Aesthetic of Respect}, year = {2008}, school = {Indiana}, abstract = {The purpose of this study is to investigate the artistic production and careers of rural and urban Zulu-speaking ceramists engaged in urban sales in KwaZulu-Natal, South Africa. Each of this dissertation{\textquoteright}s five chapters is focused around case studies that highlight historical changes in the KwaZulu-Natal art world. Artists{\textquoteright} aesthetic decision-making, perspectives on increased urban sales, and reactions to a broad range of ceramic consumers are considered in each chapter. This study utilizes life history interviews, ethnographic network data, museum collections cataloguing, and fine-grained aesthetic description as analytic tools to describe individual artists{\textquoteright} positions in and reactions to the KwaZulu-Natal and international art worlds. Over one hundred interviews with seventy interviewees were conducted with artists, gallery owners, art center employees, museum staff, scholars, and consumers. Intensive field-research in KwaZulu-Natal, South Africa took place between September 2005 and December 2006, as well as April to June of 2007. The overall findings of this dissertation reveal how various networks-economic, educational, social, and even transportation-are involved in artists{\textquoteright} maintenance or transformation of normative Zulu ceramic aesthetics.}, keywords = {African Art (sub-Saharan), Contemporary Art}, author = {Perrill, Elizabeth} } @mastersthesis {10393, title = {Corinth and the Birth of Figural Representation in Greek Monumental Architecture}, year = {2008}, school = {Columbia}, abstract = {This thesis investigates the origins of Greek temple decoration, in an attempt to clarify the roles played by Aetolia and Corinth in this phenomenon. Many literary sources connect Corinth with the early development of figurative architectural terracottas, but those are first documented at three sites of northwestern Greece: Thermon and Calydon, in Aetolia, and Corcyra. Scholars have tried to explain this contradiction between literary and archaeological evidence by stating that northwestern Greece was then part of the Corinthian {\textquoteright}sphere of influence{\textquoteright} and therefore the progress observed there should actually he credited to Corinthian architects. This {\textquoteright}Corinthian connection{\textquoteright}, however, has always been explained in rather vague terms. As it stands today, it does not account for the fact that when in the Northwest, sanctuaries were systematically monumentalized by the building of new types of temples, Corinth shows absolutely no evidence for similar structures. My dissertation shows that this discrepancy between archaeological and historical sources is only apparent and can be explained by an analysis of the sociopolitical context in Corinth and northwestern Greece at the time when the new structures were constructed. I argue that while the practice of putting images on top of temples was first invented at Thermon, its transmission was accomplished by Corinthians, who were then traveling among the colonies newly founded by Corinth along the trade road to the West. Unlike Thermon and Calydon, two small cities rather insignificant politically, Corcyra was a major metropolis, extremely prosperous and a strategic turning point between Mainland Greece and the Western Mediterranean. Once adopted and adapted by Corcyreans, the practice of using images on temples internationalized and became the standard way of decorating sacred buildings in the Greek Mainland and in the West. Here lies the true nature of the Corinthian connection: a major invention made locally in Aetolia, then propagated by Corinthians who turned it into an international practice.}, keywords = {Greek/Roman Art}, author = {Roland, Sarah} } @mastersthesis {10469, title = {Corot and the Figure in the Social Environment}, year = {2008}, school = {Princeton}, abstract = {This dissertation offers an interpretation of the work of the nineteenth-century realist painter Jean-Baptiste Camille Corot that challenges the traditional appraisal of his work, which consistently suppresses the political and cultural discourses that underlie it. My argument is that the motifs and composition of Corot{\textquoteright}s landscapes are grounded as much in the social forms and practices of capitalist society as they are in the tradition of French landscape painting. To situate Corot{\textquoteright}s oeuvre within his social environment, I explore how his primitivism was consistent with certain cultural practices that emerged with industrialization. My analysis of the relationship between Corot{\textquoteright}s landscapes and capitalist modes of production entails an examination of the material conditions of industrial society as they were articulated through specific social forms, such as the workshop, country retreat, boulevard, theater and artist{\textquoteright}s atelier. By exploring Corot{\textquoteright}s involvement with these sites, I demonstrate how the structure of nineteenth-century landscape painting, often considered anti-commercial and remote from the concerns of capitalist society, was, in fact, a product of that society, and thus comfortably lent itself to certain modes of representation, through which nature was transformed into a site of exchange. My argument stems methodologically from Roland Barthes{\textquoteright} Marxist-structuralist analysis of the culturally-determined nature of knowledge within capitalist society through which the conventions and values of the ruling classes are naturalized, which is a process he terms "myth." Building upon Barthes{\textquoteright} examination of the role of myth in the organization of bourgeois society, I demonstrate how in his landscapes, Corot neutralized the political significance of anti-bourgeois cultural norms, by draining them of their historical meaning, and hence transforming them into mere objects to be consumed. I conclude that by situating himself as a figure within the French social environment, somewhere between the aristocratic past and the proletarian future, Corot forever changed the relationship between the artist and society.}, keywords = {Twentieth-Century Art}, author = {Johnson, Lori} } @mastersthesis {10476, title = {Cowboys and Indians: The American West in German Art of the Twentieth Century}, year = {2008}, school = {Georgia}, abstract = {No record in ProQuest}, keywords = {Twentieth-Century Art}, author = {Reeves, Teresa Bramlete} } @mastersthesis {10287, title = {Creating the {\textquoteright}New Man{\textquoteright}: The Modern Architecture and Life Reform Creating the {\textquoteright}New Man{\textquoteright}: The Modern Architecture and Life Reform Movement in Hellerau Garden City}, year = {2008}, school = {Michigan}, abstract = {The founders of the first German garden city, Hellerau, begun in 1908, aimed to realize their vision of mass society through a holistic vision of the garden city. The initial years of the garden city movement and Hellerau, from 1900 until 1914, are particularly important for demonstrating the complex intertwining of the reformist discourses on the mass subject, organic society, and a new architecture that incorporated industrial production. Reformers, artists, and architects involved in the garden city movement and Hellerau wanted to reconcile the capitalist industrial society with the perceived social cohesion of an ordered past. They attributed design a key role in achieving this goal. Their ideas were based on the assumed relationship between form and physiognomy: types in applied arts and architecture was intricately connected to ideas about the healthy body in Korperkultur. The concept of type profiled not only commodities and buildings, but also the mass subject with its promise of "unity within diversity." Both types and Korperkultur would restore harmony to mass society by reversing the increasing anonymity of the individual, and yet creating uniformity in bodies as well as the built environment, domestic spaces, and clothing that enveloped those bodies.}, keywords = {Architectural History/Historic Preservation}, author = {Ekici, Didem} } @mastersthesis {10330, title = {David Smith in Two Dimensions: Sculpture, Photography, and Space}, year = {2008}, school = {UC Berkeley}, abstract = {Until recently, David Smith{\textquoteright}s photographs of his sculptures have been read as transparent documents of his works, influencing prominent accounts of his objects, by Clement Greenberg, Rosalind Krauss, and others. As this study explores, however, Smith{\textquoteright}s photographs stage and frame his objects in precise ways, through their low vantage points and landscape backdrops. For Smith, photography posed a contradiction that my dissertation explores in depth: why would a sculptor committed to spatial instability devote himself to photography, a medium that contained his sculpture{\textquoteright}s openness? Investigations of Smith{\textquoteright}s writings and photographic practices underscore an investment in the frame as a mechanism to order a visual encounter. Positioned against a human-scaled landscape, Smith{\textquoteright}s photographs sponsored notions of sculpture{\textquoteright}s belonging and non-belonging, imagining the sculptural object as dislodged or abstracted from its surroundings. My account also analyzes Smith{\textquoteright}s 1964 series of nude photographs, which explore conventions of femininity and desire by spatializing the body, analogizing his volumetric Cubi series. I also examine Smith{\textquoteright}s 1960s color slides, which stage his painted sculptures as phenomenal and contingent, against Greenberg{\textquoteright}s definitions of color{\textquoteright}s opticality. In these wide-ranging photographs, Smith not only provides a public display for his sculptures, but also pictorializes and animates them, imagining them in alternate spaces. Drawing on studies of Smith{\textquoteright}s photographs, as well as those by other modernists - by Pablo Picasso, Constantin Brancusi, and Henry Moore - this dissertation makes wider claims for photography as vital to the self-presentation of modern sculpture. Photography, I contend, was historically at odds with sculpture, as close examinations of writings by William Henry Fox Talbot, Walter Benjamin, and others reveal. Yet the medium was also increasingly vital to sculpture{\textquoteright}s public life, and my project accounts for how, in the early 20th century, sculptors jettisoned the sculptural base in favor of the photographic frame, thus construing sculpture in an unstable position, between open-ended thing and fixed image; between private and public encounter; between originality and reproduction. A consideration of photography for modern sculpture asks us to rethink grounding ideas about modernism, calling attention to sculptural autonomy and medium purity as shot through with two-dimensional, provisional, bodily, and discursive modes of representation.}, keywords = {Contemporary Art, Drawings/Prints/Works on Paper}, author = {Hamill, Sarah} } @mastersthesis {10431, title = {Design in Raphael{\textquoteright}s Roman Workshop}, year = {2008}, school = {Rutgers}, abstract = {This dissertation examines the frescoes of the Vatican Stanze and the altarpiece of the Transfiguration and all the drawings associated with them in an effort to understand the design process in Raphael{\textquoteright}s Roman workshop. During the last six years of his life Raphael developed a new way of deploying the talented artists in his shop. He employed specialists to perform specific tasks called for by certain commissions. He also trained assistants to perform specific tasks related to the design of major paintings. By the end of Raphael{\textquoteright}s life, Giulio Romano had emerged as a major artistic force. Once the drawings for the Vatican frescoes are examined in the context of all the available documentary evidence, it becomes clear that Giulio designed important parts of the Vatican fresco cycles, sometimes with no apparent intervention by the master and that Giovanni Francesco Penni created modelli of complex compositions that had been worked up by the master or by Giulio. I draw a different conclusion from all previous scholars who always reserved the ideation of the works of art to Raphael{\textquoteright}s creative genius alone. Unlike earlier scholars I see the mind, not just the hand, of Giulio Romano and Giovanni Francesco Penni engaged in the design process. This new way of working may have been suggested to Raphael by his experience working with Pinturicchio on the designs for the frescoes of the Piccolomini Library in Siena. Raphael created original design drawings for this project despite the fact that he was employed by an artist thirty years his senior who had been commissioned to carry out the work. Just as in this case, when Raphael became too busy to attend to every detail of his production himself he did not reserve the design process to himself. In fact, in most cases he seems to have allowed assistants to design and carry through major paintings. He and his shop managed to create innovative and sophisticated works of art while at the same time inviting new ways of working that challenged traditional notions of artistic genius and creativity.}, keywords = {Renaissance/Baroque Art}, author = {Giuffre, Joseph Randall} } @mastersthesis {10441, title = {The Development of Orange-Nassau Princely Artistic Activity, 1618-1632}, year = {2008}, school = {CUNY}, abstract = {This dissertation examines the development of artistic activity under Maurits (1567-1625) and Frederik Hendrik (1584-1647) of Orange-Nassau in The Hague during the period 1618-1632. These half brothers were successive Princes of Orange and Stadholders of the United Provinces of the Northern Netherlands in the turbulent Eighty Years War (1568-1648) against Spain; they were vital to the early history of the nation and contributed immeasurably to its success. In 1618, Maurits inherited the title Prince of Orange, and its attendant wealth and privilege, which was subsequently inherited by Frederik Hendrik in 1625. The rise to the sovereign position of Prince brought a fundamental change to each man{\textquoteright}s personal and public life and served as the impetus to expanded artistic activity and courtly splendor. At the same time, the Orange-Nassau half brothers possessed supreme political and military control. The consolidation of Orange-Nassau ancestral titles and wealth with military and political power under Maurits established the practical foundation for the later environment of princely magnificence under Frederik Hendrik. The years 1618-1632, the final years of Maurits{\textquoteright}s reign and the first years of Frederik Hendrik{\textquoteright}s, were crucial for the development of Orange-Nassau princely artistic activity. This study focuses on these changes to the lives of Maurits and Frederik Hendrik, offers a re-evaluation of the Orange-Nassau half-brothers{\textquoteright} relationship to the visual arts, and provides a chronological account of the expansion of their artistic activity, 1618-1632. In doing so, it demonstrates the continuity between the two half brothers, who successively held all the same positions, titles, and responsibilities, and who were each new to their status as Prince of Orange between 1618 and 1632. This study also offers new interpretations of specific paintings appearing at the court in The Hague, by looking critically at the known information on individual works and situating them specifically within the historical environment in which they appeared. Through the steady growth in architectural and artistic patronage during the years 1618-1632, Maurits and Frederik Hendrik of Orange-Nassau developed a courtly environment that would become truly princely in its image of splendor and magnificence.}, keywords = {Renaissance/Baroque Art}, author = {Magreta, Todd} } @mastersthesis {10456, title = {Discourse and Practice of Radicalism in Contemporary Indian Art, 1960-90}, year = {2008}, school = {British Columbia}, abstract = {No record in ProQuest}, keywords = {South/Southeast Asian Art}, author = {Wyma, Kathleen} } @mastersthesis {10279, title = {Domes of Heaven: The Domed Basilicas of Cyprus}, year = {2008}, school = {Indiana}, abstract = {The Church of Cyprus became an independent exarchy in the fifth century. This cultural autonomy provided Cypriots with a sense of pride and freedom that was not shared by other Byzantine provinces. Since the late fourth century, the Church built many wooden roofed basilicas on the island. Then in 649 AD Arabs invaded and destroyed many of its Early Christian buildings. From that time until 965, the Byzantine Empire and the Arab Caliphate of Damascus divided tribute from the population. During these centuries five churches were rebuilt, but with a radically different design than the previous structures-they were vaulted with a series of multiple domes. This dissertation is a comprehensive study of these monuments with three objectives: (1) to provide a complete architectural analysis; (2) to place these monuments in their cultural and historical context by assessing primary and secondary literature, and archaeological reports; and (3) to explain the symbolic importance that this new design conveyed. It proposes that the three-domed basilica was peculiar to Cyprus. The architecture was a manifestation of the Cypriots{\textquoteright} unique political situation and their ideological concerns. By adopting three domes along the nave, church officials combined the Dome of Heaven motif with mystification of the liturgy promoted by Maximus the Confessor.}, keywords = {Architectural History/Historic Preservation, Early Christian/Byzantine Art}, author = {Stewart, Charles A.} } @mastersthesis {10389, title = {Dreaming the Divine: Architecture and Ritual in Ancient Healing Sanctuaries}, year = {2008}, school = {Toronto}, abstract = {This study examines the relationship between architecture and the ritual of incubation at the ancient Greek healing sanctuaries, especially those dedicated to Asklepios. By highlighting key features of specific sanctuaries, including those at Pergamon, Epidauros, Corinth, and Athens, the study traces the role of architecture in enhancing experience from the macro-level (location of the sanctuary in the environment) to the micro-level (location for incubation). It concludes with the construction of the epiphany of the deity in the patient{\textquoteright}s atopic dream. Unlike most ancient cults, epiphanic healing requires the patient to make contact with the divinity, an unfamiliar and mythically hazardous undertaking. The architectural and ritual elements of the cult function collectively to facilitate the experience and influence the incubants{\textquoteright} thought processes. By creating a network of associations using symbols and architecture, the cult is able to address incubants who have different levels of comprehension and experiences, as well as channel negative cultural perceptions about epiphany into functional ones. The study takes a holistic approach, using both material and textual remains, as both are essential in recreating the complex environment.}, keywords = {Greek/Roman Art}, author = {Levine, Rachel} } @mastersthesis {10359, title = {Dressed Up and Pasted Down: Staged Photography in the Victorian Album}, year = {2008}, school = {Princeton}, abstract = {This dissertation investigates the intersection of two mid-Victorian photographic practices that combined the seemingly truthful medium of photography with imaginary subject matter. The first was the staging in front of the camera of costumed, tableau-like scenes drawn from history and literature. The second was the compilation of photographs into albums, often accompanied by captions or literary quotations, and sometimes incorporated into fanciful watercolor surroundings. The staged photograph and the album both indicate a view of photography that embraces artifice and handwork, rather than insisting on its capacity to mechanically record fact. Four case studies of albums containing staged photographs form the core of this dissertation: Victor Albert Prout{\textquoteright}s (c.1836-1877) Mar Lodge album (1864) of high-society tableaux vivants alongside portraits and views; a photocollage album (c.1875) by Frances Bree (c.1823-1906); an album of costumed photographs accompanied by literary quotations that Charles Lutwidge Dodgson (aka Lewis Carroll, 1832-1898) presented to artist Henry Holiday in 1875; and a group of albums (1858-1875) of dramatic self-portraits by the sculptor Richard Cockle Lucas (1800-1883). With the exception of Dodgson, these photographers and album-makers have received very little scholarly attention. Until recently, photographic historians dismissed tableau photography as a misguided use of an inherently realistic medium, and the album as a private, domestic, feminine, or "low" form unworthy of scholarly investigation. This dissertation demonstrates that staged photography was more varied and prevalent than previously acknowledged, and that Victorian albums were not simply predecessors to the family album as we now know it, but had broader audiences and served more diverse purposes than most scholars have assumed. Albums preserve the context in which many staged photographs were originally presented and contain details about the social settings in which such pictures were made and viewed. Primarily the pursuits of upper-class amateurs, both the staged photograph and the photograph album offered makers and participants alike the opportunity to imagine and enact alternate roles for themselves, whether by posing in the costume of a different social class, historical period or gender, or by ordering and embellishing photographs on the pages of an album. Each pursuit has its roots in pre-photographic social activities such as charades, tableaux vivants, fancy dress and amateur theatricals, as well as the compilation of commonplace books and scrapbooks. When viewed in tandem they contribute to our understanding of how Victorians interpreted the new medium of photography not just as a documentary tool, but also as a means of telling stories and engaging with the imaginary.}, keywords = {Drawings/Prints/Works on Paper}, author = {Weiss, Marta} } @mastersthesis {10420, title = {Early and Middle Minoan Pottery from a Secondary Burial}, year = {2008}, school = {Temple}, abstract = {The study of finds from the cave at Hagios Charalambos in the Lasithi plain provides an illustration of the practice of secondary burial in Early and Middle Bronze Age Crete adding to our understanding of Pre-Palatial and Proto-Palatial Lasithi and illuminating more clearly the function of the cave at Trapeza, which has close parallels for most classes of objects found. The majority of the pottery from the site is made locally, and there is a selection of imports ranging in date from EM I to MM IIB. Imports are from the Mirabello Bay area, the Mesara, Malia, the Pediada, and Knossos. The pottery shows a shift in the use of imports during the site{\textquoteright}s history. Objects from the Mesara decline after MM I and objects from Malia increase in MM IIB. This change may reflect a shift in political dominance and influence in Lasithi. Typical of pottery associated with burials, the types of vessels here were mostly used for the pouring and drinking of liquids. In addition, the assemblage has miniature vessels that most likely contained precious oils or liquids. Also, the assemblage has offering stands made from the local clay fabric of the Lasithi-Pediada region. The stands were designed to rest on a short stem and could have held a liquid or solid offering. The local clay sources, used to make the distinctive fabric of the pottery, are represented in the majority of the pottery found at the cave. Petrographic analysis provides a thorough description, and the fabric is referred to as the Lasithi-Pediada Red Fabric Group. Petrographic analysis of samples of imported wares confirms origin of manufacture and allows for conclusions regarding the implications of certain imports. Overall, the pottery here shows that the people who deposited their dead in the secondary burial cave at Hagios Charalambos were in contact with ceramic production centers in East Crete, the Mesara, Knossos, the Pediada, and Proto-Palatial Malia. This range of influence speaks not only of trade relations and political spheres of influence but also of tastes in pottery production and consumption.}, keywords = {Prehistoric Art}, author = {Landford Verstegen, Louise} } @mastersthesis {10315, title = {The Early Career of Allan Rohan Crite (1930-1950)}, year = {2008}, school = {UT Austin}, abstract = {This dissertation considers the early career of Boston-based, African American artist Allan Rohan Crite (1910-2007) and situates his central artistic goal-to present uplifting images of middle class black Bostonians-within the ideological framework of the New Negro Movement of the 1920s-1940s. In each of the chapters, I consider one of the four bodies of work Crite produced simultaneously during his early career-painted portraits, neighborhood street scenes and church interiors and brush and ink illustrations of African American spirituals. I focus on these subjects in order to explore Crite{\textquoteright}s desire to portray the middle class status of his family and community and to redefine the spirituals in terms of his own middle-class sensibility. I describe Crite{\textquoteright}s visualization of his black middle class Episcopal and Bostonian identity in these works as performances or enactments created through a series of repeated gestures of "respectable" appearance and behavior. My analysis also considers the artist{\textquoteright}s motivations to preserve, in the physical form of his artworks, the black middle class values and way of life in Boston that he feared was in danger of being lost and forgotten. Rooted in the Community is also a revisionist account, for it seeks to revise the notion of an African American artistic "rootedness" to mean an artist rooted in his own immediate community rather than in a search for his cultural roots in the African past or within the rural folk culture of the American south. This study challenges a bias within the discourse on racial identity in art that privileges a notion of racial authenticity, or an essentialized conception of black identity centered upon the "folk," or working and lower class African Americans. I also challenge the negative assessment of the black middle class as a group devoid of interest in the black community and propose that early twentieth century definitions of black middle class identity embodied in the notions of the "talented tenth" and the "race" man or woman best define Crite{\textquoteright}s sense of himself as a black artist, for he felt a responsibility towards the black community and was not alienated from it.}, keywords = {Art of the United States}, author = {Caro, Julie Levin} } @mastersthesis {10412, title = {Egypts{\textquoteright} in England: The Representation of Ancient Egypt at the Sydenham Crystal Palace}, year = {2008}, school = {Brown}, abstract = {In 1854, a radical interpretation of ancient Egypt was unveiled at the Sydenham Crystal Palace. Designed by Owen Jones (1809-74) and Joseph Bonomi (1796-1878), the Egyptian Court at Sydenham was a bold synthesis of Egyptian architecture, sculpture, and sacred writing in brick, plaster and paint. This study explores the significance of this somatic interpretation of Egypt for Victorians. The aesthetic of this display and its meanings are examined against other representations of ancient Egypt exhibited at Sydenham and elsewhere in England, revealing the striking fluidity in interpretation of this subject. A pastiche of architectural and sculptural styles executed with pristine finish, the Egyptian Court eschewed the aesthetic of the ruin. In chapter one, Jones{\textquoteright}s and Bonomi{\textquoteright}s Egypt is contrasted with the ancient Egypt on offer at the British Museum, an institution whose collection they utilized, in part, to form the Sydenham display. The study of the mandates of these institutions, their collections, and their audiences reveals vastly different Egypts constructed for different publics. The second chapter examines the photographic representation of Egypt at Sydenham. Images by Maxime Du Camp and Francis Frith were exhibited in several contexts at Sydenham. Photographs challenged the authority of the Egyptian Court and generated new interests and anxieties in Egypt itself. How the Directors and their publics reconciled photographs of geographical Egypt with the Egyptian Court is explored. The third chapter of this dissertation addresses the problems of authenticity and authority of Sydenham{\textquoteright}s Egypts. The significance of the ruin, which appeared at Sydenham in an exhibition of antiquities as well as in the drastic and gradual wear of the Sydenham plaster displays, is considered. Egypt as ruin presented another way for Sydenham publics to engage with ancient Egypt. Ultimately, the diverse aesthetics of Sydenham{\textquoteright}s displays invited Victorians to look, with new eyes, on both ancient and modern Egypt, and pointed to the complexity of this geography and its people.}, keywords = {Nineteenth-Century Art}, author = {Goodin, Alexis} } @mastersthesis {10426, title = {El Cristo Yacente: Polychrome Sculptures of the Supine Christ in Baroque Spain}, year = {2008}, school = {Penn State}, abstract = {The Cristo yacente, or supine Christ, is a sculptural type whose origins date back to the Middle Ages. In seventeenth-century Spain these images became immensely popular as devotional aids and vehicles for spiritual contemplation. As a form of sacred drama these sculptures encouraged the faithful to reflect upon the suffering, death, and Resurrection of Christ as well as His promise of salvation. Perhaps the most well-known example of this type is by the Valladolidian sculptor, Gregorio Fernandez (1576-1636). Located in the Capuchin Convent of El Pardo near Madrid, this work was created in accordance with Counter-Reformation mandates that required religious images inspire both piety and empathy. As a "semi-narrative", the Cristo yacente encompasses different moments in the Passion of Christ, including the Lamentation, Anointment, and Entombment. As an andachtsbild, it is a devotional image that allows contemplation on various stages of the Passion. Images of the supine Christ played a key role in liturgical reenactments in both the Eastern and Western church; epitaphioi and medieval wooden sculptures of the dead Christ served as iconographical precedents for the Cristo yacente by establishing a relationship between the Eucharist and the physical body of Christ. These Cristos yacentes are meant to be understood not only as metaphors for the Eucharist but also as embodiments of the promise of resurrection. The symbolism of the Cristo yacente as the bread of life was furthered by the construction of structures that recreated the Holy Sepulchre in Jerusalem and by ceremonial reenactments held during Holy Week in which these figures were processed through cities in Spain. It was through imagery that both the Holy Sepulchre and the Resurrection of Christ were recreated as part of a sacred drama. The sculpture of the Cristo yacente then functioned as a surrogate for the physical body of Christ and played a key role in the liturgical ceremony. Fernandez{\textquoteright}s formulation of the Spanish Cristo yacente type was aided by sixteenth-century carved and printed precedents. Together with contemporary mystical writings by San Juan de la Cruz, St. Teresa of Avila, and Fray Juan de Avila, these provided the artist with the necessary visual and verbal imagery that was to be crystallized in three-dimensional form. Through a detailed study and cataloguing of the most significant examples of the type, most of them produced by Fernandez and his workshop, I present, for the first time in English, a thorough material, critical, and socio-historical evaluation of the Cristo yacente as a sculptural and devotional image.}, keywords = {Renaissance/Baroque Art}, author = {Colon Mendoza, Ilenia} } @mastersthesis {10409, title = {Embodiments of Empire: Figuring Race in Late Victorian Painting}, year = {2008}, school = {Brown}, abstract = {This dissertation analyzes representations of racial identity in late-nineteenth-century British painting, during an era of heightened imperialism. I examine colonial battle subjects and allegorical figures in academic art, as well as the dialogue between classical subject painting and Victorian racial theory as manifest in the study of anatomy. Contemporary military subjects offered an opportunity for artists to display the heroic male body in a modern context. British battle painters frequently depicted white soldiers in combat with non-western "savages" shown in a range of types, from noble to bestial. Chapter One examines the aesthetic construction of race and masculinity in images of the 1879 Anglo-Zulu War. For many Victorians, Zulu men epitomized the idea of the noble, if savage, warrior. Paintings of the war, such as Charles Fripp{\textquoteright}s The Battle of Isandhlwana (1885), contrasted these figures with another type of idealized warrior, the British soldier, whose characterization in such images also signaled his elevated status. Chapter Two centers around Edwin Long{\textquoteright}s series The Daughters of Our Empire, painted for Queen Victoria{\textquoteright}s Golden Jubilee in 1887. This group of twenty canvases represents Great Britain and several of its colonies as female figures with symbolic attributes, and I consider these personifications within the genre of "types of beauty" images popular during the 1880s. Long constructed a vision of the British Empire as a realm of beautiful women, symbolic daughters of the Queen, thereby inviting Victorian viewers to imagine the colonies as feminine children, dependent on male protection. Chapter Three analyzes the ramifications of an imperial mindset that associated Victorian Britain to ancient Rome in terms of empire building, but also linked the Victorians themselves to ancient Greeks in terms of racial descent through the doctrine of Aryanism. Many contemporaries believed British women, in particular, embodied distinct physical traits of classical Greeks, thus supporting the theory that saw Great Britain as the most recent manifestation of an Aryan civilization. I interrogate the idealized white bodies seen in classical subject paintings by Frederic Leighton and others, setting such images against the discourse of feminine beauty and racial fitness.}, keywords = {Nineteenth-Century Art}, author = {Anderson, Catherine} } @mastersthesis {10394, title = {The Emergence of Ceramic Roofing Technology in Archaic Greek Architecture}, year = {2008}, school = {Cornell}, abstract = {This dissertation considers the origins of roof tiles in Greece. After dismissing evidence for predecessors in the Bronze Age, I describe the first archaeologically dated roof from the Old Temple at Corinth, built by the mid-seventh century B.C. Because its exquisitely crafted tiles appear too sophisticated to have been the first invented, I analyze the manufacturing techniques of this so-called "Protocorinthian" tile system. As the basis for a preliminary hypothesis of the forming and finishing sequence, I present new evidence for reconstructing manufacturing techniques. I conducted extensive fieldwork to examine each of the several hundred examples stored in museums at Corinth, Isthmia, and Delphi. I describe each type of Protocorinthian tile, including new photographs and accurate illustrations rendered from three-dimensional computer models. I infer specific production steps from a typology of surface markings and determine the logical sequence. Each tile must have been formed right-side-up on a clay base mold, its upper surfaces profiled to templates. In order to test the hypothesis, I created replica tiles at Corinth by working through the full process of mining clay, shaping bricks and tiles, and firing them in an experimental kiln. The experiments confirmed the general validity of the hypothesis and indicated several refinements. I extend these interpretations with ethnographic research. I describe the typical organization of Mediterranean tile makers and reconstruct the scale of pottery production in ancient Corinth when the Old Temple was built. Combining ethnographic and experimental data, I estimate the labor investment to fabricate its complete roof. To conclude, I argue that Protocorinthian tiles, though ostensibly complex, are produced with simple techniques that indicate no special expertise designing interlocking roof tiles. However, the fact that these tiles are molded in combination indicates that the designers were imitating an earlier ceramic system with separate covers and pans. An early roof from Olympia has tiles close to the expected prototype for the Old Temple and all other Mediterranean tiled roofs. From the current archaeological evidence, however, it is uncertain whether ceramic tiles were first invented in Etruria, the northern Peloponnese, or central Anatolia.}, keywords = {Greek/Roman Art}, author = {Sapirstein, Philip} } @mastersthesis {10468, title = {Envisioning Fascist Space, Time, and Body: Japanese Painting During the Fifteen-Year War (1931-1945)}, year = {2008}, school = {British Columbia}, abstract = {This thesis examines Japanese propaganda war paintings of the Second World War, known as senso-ga in Japanese. It will examine the display of senso-ga in museum spaces in light of Japan{\textquoteright}s war responsibility (senso sekinin); that is, post-war leftist intellectual discourses of critically confronting wartime wrongdoings. As a case study, my thesis will examine how 153 senso-ga, which were confiscated by the United States and repatriated to the National Museum of Modern Art, Tokyo on indefinite loan, are displayed in the museum. By analyzing how senso-ga are displayed in the permanent exhibition and how they were exhibited in the 2006 Fujita Tsuguharu retrospective, I will consider the ways in which Japan remembers the war vis-a-vis senso-ga. In doing so, my study not only considers issues and problems with the production and display of politically charged war art, but also reconsiders the role of museums in society, in the particular case of Japan.}, keywords = {Twentieth-Century Art}, author = {Ikeda, Asato} } @mastersthesis {10349, title = {Eroticism, Identity, and Cultural Context: Toyen and the Prague Avant-Garde}, year = {2008}, school = {Pittsburgh}, abstract = {This dissertation situates the life and work of the artist Toyen (Marie Cerminova, 1902-80), a founding member of the Prague surrealist group, within the larger discourses of modernism and feminism/gender studies. In particular, it explicates Toyen{\textquoteright}s construction of gender and eroticism within the contexts of early twentieth-century Czech feminism and sex reformism, the interwar Prague avant-garde, and Prague and Paris surrealism. Toyen{\textquoteright}s interest in sexuality and eroticism, while unusual in its extent and expression, is intimately related to her historical and geographic position as an urban Czech forming her artistic personality during first a period of economic boom, avant-garde optimism, increased opportunities for women, and sex reformism, and then a period of economic crisis, restriction of women{\textquoteright}s employment, social conservatism, and tension between the subconscious and the socialist realist. Toyen{\textquoteright}s ambiguously gendered self-presentation, while again unusual, needs to be considered in light of her enthusiastic reception within three predominantly male avant-garde groups (Devetsil, Prague surrealism, and Paris surrealism). I stress that the social and cultural environment of her childhood and youth created an atmosphere that enabled her to pursue lifelong personal interests and obsessions in a manner that was unusually public for a female artist of her generation. As a case study of one artist working within a specific avant-garde movement, this project contributes to critical re-evaluation of surrealism, the Central European contribution to modernism, and the role of female artists in the avant-garde. This intervention in the history of surrealism makes its intellectual contribution by changing our perception of the movement, giving vivid evidence of the Prague group{\textquoteright}s difference from and influence on the Paris group, and presenting a more complex and nuanced view of women{\textquoteright}s role in and treatment by surrealism. This dissertation employs a mixed methodology that combines investigation of historical context with aspects of feminist, psychoanalytic, iconographic, and semiotic approaches. No previous study of Toyen or the Czech interwar avant-garde has been done in this manner.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Huebner, Karla} } @mastersthesis {10295, title = {The Estates of Nature: On the Theological Origins of Anglo-American Suburbia}, year = {2008}, school = {Graduate Theological Union}, abstract = {The Estates of Nature analyzes the interlocking histories of two theological symbols-the heavenly city and the paradise garden-and the ways in which they developed from their Middle Eastern cultural and scriptural roots, interacted in the late antique and medieval Christian religious imaginations, and finally reached a tacit and embodied balance in the Anglo-American utopian ideal of the suburban detached dwelling. Accordingly, this paper covers a broad time period and a wide geographical territory, finally focusing on England of the seventeenth and eighteenth centuries, a place and time of extraordinarily rapid theological, economic, and geographical transformation, as well as the architectural birthplace of the compact villa housing type, the immediate ancestor of today{\textquoteright}s suburban houses and yards. Drawing on the interpretive work of John Stilgoe, Raymond Williams, Michael Walzer, and others as well as classical perspectives ranging from Vitruvius and Augustine to Thomas More, William Perkins, Marc-Antoine Laugier and John Locke, this paper brings together strands of theology, geography, art history, and sociology to argue that the spiritual and psychological roots of suburbia lie in longstanding theological conflicts over the perfectibility of humanity as individuals and in community. Mediating their differences through their deployment of imagery both of the heavenly Jerusalem and of the paradise garden of Eden, Christians have symbolically and inextricably interwoven the theological language of salvation and the political language of land use.}, keywords = {Architectural History/Historic Preservation}, author = {Sutton, Susan} } @mastersthesis {10380, title = {The Evolution of the petit sujet in the Ancien Regime}, year = {2008}, school = {Toronto}, abstract = {This dissertation analyzes the petit sujet, a type of painting and printmaking whose subjects were popular and non-literary in origin, low in social status, contemporary, French, and anonymous, and that developed through and in response to the eighteenth-century Paris Salon du Louvre, the public exhibition of the more or less contemporary works of the Academie royale de peinture et de sculpture. The dissertation contextualizes the petit sujet by analyzing the structures of the social and artistic world of the Salon, focusing on the circulation of reproductive prints and of interpretive texts, to argue that the petit sujet was a public art form in both structural and interpretive terms: just as its artists adapted their practice to a newly public artworld, critics crafted a new means of interpreting their works. The dissertation conceptualizes the petit sujet, and the new interpretive model it generated, through comparative, hermeneutic readings of artworld documentation: criticism, print Annonces, print letters, etc., and treats reproductive prints, or rather their non-letter component, as both pictorial and conceptual interpretations of the paintings or drawings they reproduced. This dissertation conceives of the petit sujet as a vehicle of transmission of social and aesthetic ideals, and relies on a semiotic model of the art object while understanding the art object as circulating and in contact with a heterogeneous audience. This dissertation argues that, although the elite controlled the textual interpretation of the petit sujet, the mode of engagement they crafted for it was public in that it treated the petit sujet as a catalyst for the refinement of a vision of society. Through comparative, hermeneutic, semiotic, stylistic, social-contextual and iconographic readings of the work of J.-F. de Troy, J.-B.-S. Chardin, J.-B. Greuze, E. Jeaurat, P.-A. Baudouin, their reproductive printmakers, and dozens of other academic and non-academic artists, the dissertation argues that the productive freedom and interpretive ease of the petit sujet ran counter to academic principles that aimed to stabilize both iconography and interpretation.}, keywords = {Eighteenth-Century Art}, author = {Whyte, Ryan} } @mastersthesis {10443, title = {An Eye for the Feast in Late Medieval Burgundy}, year = {2008}, school = {Chicago}, abstract = {Although rarely studied by art historians today, court banquets were among the most important art forms of the fourteenth and fifteenth centuries; created by the leading artists and commissioned and appreciated by the most prominent and influential patrons. Many of the most famous of these events were held under the auspices of the Valois Burgundian dukes and duchesses, who ruled the Lowlands and portions of France from 1363-1482. The Burgundian Valois court was a major center of artistic patronage, particularly associated by its contemporaries with lavish entertainments and the successful integration of art and political ritual. Late medieval banquets are today only accessible to us through the mediation of contemporary verbal and visual descriptions, payment records, and scattered physical evidence in the form of tapestry, metalwork and other items once used in the feast hall. Rather than attempting to reconstruct any single event, this dissertation identifies recurring elements of feast descriptions and material culture connected to the Burgundian court. This material is used to uncover the underlying expectations brought to and fostered by such events, expectations that also influenced artistic practice and patronage outside of the feast hall. Based on this evidence, a new picture emerges of late medieval and Renaissance artistic culture. Attention to the processes of perception and an accompanying interest in ambiguity were central to the experience of pleasure and ethical thought in the fourteenth and fifteenth centuries and that banquets were key sites for both self-display and identity formation during this period. Moreover, these banquets challenge modern assumptions about the place of time-based and performance media in the history of art, as well as the nature of magnificence, wonder, the foreign, and spectacle.}, keywords = {Renaissance/Baroque Art}, author = {Christina Normore} } @mastersthesis {10284, title = {The Face of the German House: Cultural Fantasy in 20th-Century Architectural Photography}, year = {2008}, school = {MIT}, abstract = {This dissertation proposes that architectural photography-which became an independent genre in twentieth century Germany-was a primary route along which the cultural and political conflicts of modernization were addressed within the contested space of public discussion, and that these photographs helped produce the political and cultural changes driving major developments in German architecture and urbanism since the 1920s. My study explores the history of the representational and disciplinary ambiguity between the house photograph and the portrait, with particular attention to political and social connotations in the work of four German practitioners whose photographic oeuvres are more closely related than is commonly understood: Paul Schultze-Naumburg (1896-1949), Albert Renger-Patzsch (1897-1966), August Sander (1876-1964), and Bernd Becher (1931-2007). My study of these figures{\textquoteright} architectural photographs highlights their participation in broader debates on architecture and public space, specifically through the overarching metaphor of the "face" of the German building. I argue that the work of these photographers, as well as their circumstances of production, epitomize the concurrent and colliding forces of modernity and industrialization. The understanding of the historical precedents and construction of the genre of German architectural photographs demonstrates the contentious issues surfacing in these four figures{\textquoteright} work: Paul Schultze-Naumburg{\textquoteright}s obsession with facial and racial characteristics in portrait as well as architecture photography, Albert Renger-Patzsch{\textquoteright}s modernist attempt to purge these unsavory ideas by professionalizing architecture photography into an "objective" practice, the analogies to caricature and taxonomy seen in the ubiquitous systems of identification by August Sander, and, finally, the practice of Bernd Becher whose use of the rhetoric of standardization in his photographs of houses appears as a postmodern acknowledgment of the hegemonic achievement of modernization-of both Germany and architectural photography. Spanning the 20th century, the work of these four figures is anchored in a deep anxiety regarding the pace and culture of modernization in Germany; this dissertation challenges the boundaries set up between their respective bodies of work and charts a new history of architectural photography in Germany as a driving force of the volatile history of modernity.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Weiss, Kirsten} } @mastersthesis {10427, title = {Fashioning Femininity: Beauty, Royalty, and the Rhetoric of Gender at Fontainebleau}, year = {2008}, school = {IFA/NYU}, abstract = {The number of women present at the French court significantly grew during Francois Ier{\textquoteright}s reign (1515-1547), and in many ways, those closest to the king wielded considerable power. However, as attested to by the contemporary literary quarrel known as the "Querelle des Amyes," the issue of Woman{\textquoteright}s moral, physical and intellectual constitution remained a matter of intense debate. This dissertation offers a critical examination of how beauty, femininity and sexuality were interpreted by Rosso Fiorentino, Francesco Primaticcio, Benvenuto Cellini and other artists employed at Francois{\textquoteright}s favorite chateau, Fontainebleau. Drawing heavily on Italian and French literary and scientific discourses on feminine beauty, I consider what these visual interpretations suggest about early sixteenth-century notions of gender difference. In addition to exploring how the idealized feminine bodies devised by these artists relate to the concepts and metaphoric language of popular poetry and associated texts, I examine how Francois Ier relied on feminine beauty-both real and artistically fashioned-to enhance his royal image. This study also considers allegorical representations of the king as a lover, offering an analysis of how Fontainebleau{\textquoteright}s portrayal of amorous relations functioned as a means of instructing male and female courtiers on how to behave properly toward their ruler, while making a visually arresting statement about Francois{\textquoteright}s all-encompassing-and thus extraordinary-nature.}, keywords = {Renaissance/Baroque Art}, author = {Croizat-Glazer, Yassana} } @mastersthesis {10463, title = {Figural Presence in the Work of Bruce Nauman, 1969-1990}, year = {2008}, school = {Yale}, abstract = {In this dissertation I chart the artistic trajectory of the American artist Bruce Nauman from the late 1960s through the early 1990s. I introduce the theory that each of the several phases of his career was closely related to a vestigial form of figuration that resonated with contemporary cultural forms. In the first two chapters I chart the evolution of Nauman{\textquoteright}s sculptural practice: from environmental installations interrogating viewers{\textquoteright} physiological response through systematic sensory deprivation, through a series of small-scale works contending with themes of astral projection and subject/object reversal. In the third chapter I consider the large-scale sculptures that Nauman began to make in the early 1980s, which represented victims of torture metonymically via representation of empty chairs, and which engaged with contemporary social concerns in unprecedented ways. In the fourth chapter I consider the videos and sculptures of the late 1980s and early 1990s. In some of these works, the figures of animals stand in for those of humans and seem to suffer in their stead. In others, the figure of the artist per se is subsumed or camouflaged by the larger-than-life allegorical identity which he assumes in these works. Across these several chapters I have presented the view that Nauman{\textquoteright}s art has been consistently animated by spectral forms of figuration which persisted despite being subjected to forms of disavowal or erasure. Much of his early work addressed issues of psychosomatic presence and absence; over the passage of time these concerns began to manifest themselves in the form of obliquely represented protagonists who engaged with contemporary social and historical concerns in unprecedented ways. Although these ghostly figures were denied full material presence, their absence defined the works and organized their psychological purchase. Over time they came closer and closer to full embodiment. As part of this process, the allegorical import that had been nascent in Nauman{\textquoteright}s artworks came to the fore. This emphasis on allegorical representation came to constitute a radical departure from the modernist trajectory that had typified American art at midcentury.}, keywords = {Twentieth-Century Art}, author = {Gopinath, Gabielle} } @mastersthesis {10475, title = {The Figure Reemerging: Jackson Pollock{\textquoteright}s Cut-Outs, 1948-1956}, year = {2008}, school = {CUNY}, abstract = {This dissertation is a monographic study of a series of cut-outs that Jackson Pollock (1912-56) started in 1948. My study takes its point of departure from Cut Out, the principal work in the Cut-Out series. Cut Out is generally thought to be a work from around 1948-50. However, in 1999, T. J. Clark pointed out that Cut Out is shown in a different form from the present one in a photograph of Pollock{\textquoteright}s studio taken soon after the artist{\textquoteright}s death in 1956. According to my research, Pollock{\textquoteright}s widow, Lee Krasner, completed the work in its present form two years after the artist{\textquoteright}s death. I reinterpret Cut Out by going back to the state in which Pollock himself ultimately left it. This reinterpretation leads to the restructuring of the entire Cut-Out series because Cut Out is the pivotal work in the series. Pollock{\textquoteright}s cut-outs were strongly influenced by Henri Matisse{\textquoteright}s Jazz (1947), as well as his paper cut-outs. Thus they represent a significant aspect of Pollock{\textquoteright}s engagement, staring in 1942 and continuing until his final year, with the French modern master{\textquoteright}s art. Pollock{\textquoteright}s cut-outs are also remarkable within the context of American Abstract Expressionism. They forge deep relationships with Lee Krasner{\textquoteright}s collages of 1953-55, with Willem de Kooning{\textquoteright}s black-and-white abstractions of 1946-49 and Woman series of 1950-55, and with Alfonso Ossorio{\textquoteright}s Victorias paintings of 1950. At the same time, Pollock{\textquoteright}s cut-outs present an interesting parallel to Jean-Paul Sartre{\textquoteright}s existentialism, an intellectual current that was internationally in vogue at mid-century. Furthermore, Pollock{\textquoteright}s cut-outs closely relate to important concerns within his own work from its earliest period on, such as the masking technique, the images of the moon-woman, and the subject of "male and female." This dissertation thus opens/reframes various significant aspects of Pollock{\textquoteright}s art through the examination of his cut-outs.}, keywords = {Twentieth-Century Art}, author = {Oshima, Tetsuya} } @mastersthesis {10474, title = {Figures de la tautologie dans l{\textquoteright}art et le discours critique des annees 1960}, year = {2008}, school = {Montreal}, abstract = {Numerous tautologies are found throughout the artistic and critical discourse of the 1960{\textquoteright}s, as exemplified by Frank Stella{\textquoteright}s famous expression, "What you see is what you see." And the rhetorical device seems, during that decade, to give rise to an original form in certain works-such as Joseph Kosuth{\textquoteright}s Five Words in Green Neon (1965), which appears to describe itself. The transition from tautology as trope to tautology as form is arguably a key phenomenon in late modernism. As we learn in Chapter I, the use of tautology, already evident in the writings of early abstract artists, is related to the search of modern painting{\textquoteright}s specificity: the rhetorical figure affirms the visual autonomy of this painting while disqualifying any ekphrasis that claims to provide a verbal equivalent. But during the 1960{\textquoteright}s this discourse on the work of art-viewed as a necessary, but external, mediation-became, in some conceptual works, interiorized as a discourse from the work of art itself, since these very works integrate their own description. To support this hypothesis, Chapter I introduces the methodological framework of the research. The linguistic and philosophic definitions of tautology are explained, the various texts shedding light about tautology in minimal and conceptual art are surveyed, and the tautological form of some conceptual works-in distinction to self-referentiality-is explained. Chapter II shows how tautology, as it was employed in the discourse of Ad Reinhardt and Frank Stella-as well as used as the inspiration for commentaries on Stella{\textquoteright}s work-exposes the aporia faced by modernist painting. The formula aimed at affirming the specificity of their painting exposes by its very eloquence the crucial role that verbal mediation plays in it. The idea of a strict segregation between the visual and the textual, on which their work is based, is thus challenged, and three responses to the paradox appear in subsequent artistic production. Chapter III identifies the first two of these responses. Either the impasse is denied by reaffirming the segregation between image and discourse, as a number of commentators on minimalist art do by analyzing it from the perspective of literality, or the inevitable impurity is acknowledged by integrating discourse and painting, a practice observed in the works of On Kawara, Art \& Language, and John Baldessari. The last chapter examines a third alternative, the denial of the need for specificity, which certain works by Robert Morris, Kosuth and Dan Graham manage to do in their trying to coincide with the text that describes them. These conceptual works of art appear to respond to the unresolved aporia of modernist painting, by integrating in their very form the tautology that had been used to affirm the visual sovereignty of painting. By interiorizing their ekphrasis, they discover an original way to negotiate the inevitable coexistence of the visual and the textual. Tautology is thus shown as creating a passageway between modernism{\textquoteright}s autoreferentiality and the context-based dimension of institutional critique of the 1970{\textquoteright}s.}, keywords = {Twentieth-Century Art}, author = {Loubier, Patrice} } @mastersthesis {10477, title = {From Abstraction to Model: In the Event of George Brecht and the Conceptual Turn in the Art of the 1960s}, year = {2008}, school = {Princeton}, abstract = {No record in ProQuest}, keywords = {Twentieth-Century Art}, author = {Robinson, Julia} } @mastersthesis {10327, title = {From Dharani to Mandala: A Study of Mogao Cave 14 and Esoteric Buddhist Art of the Tang Dynasty (618-907)}, year = {2008}, school = {Harvard}, abstract = {This dissertation is an examination of esoteric Buddhist art in China, and in particular, a study of the dialogue between the verbal, the visual, and the spatial within esoteric Buddhist practice. From the beginning, esoteric Buddhism in China was characterized by the use of verbal incantations called variously, dharani or mantra. Although the efficacy of dharan i was in theory predicated merely upon their recitation by devotees, during the Tang Dynasty (618-907 CE), their materialization in painted, printed, and sculptural forms grew in number. This dissertation thus takes as a starting point the implications of pictorializing the verbal in devotional art. Moreover, the relationship between these pictorialized dharan i and the more complex visual forms known as mandalas, spatialized representations of Buddhist deities and cosmology, is explored. A key issue is the relationship between Buddhist ritual, which was enacted through the use of verbal incantations and ritual altars, and the process of visual representation. My dissertation contends that although mandalas were introduced into dharani rituals in China during the 7th century, it was not until the following century that monks of Indian and Central Asian origin introduced esoteric Buddhist rituals which incorporated the practice of the visualization of Buddhist deities, thus setting the stage for visual representation, and in particular, painted images. Prior to this, dharan is had taken material form primarily as dharan i pillars, stone pillars upon whose surfaces the text of dh arani su tras were carved. At the same time, mandalas had previously been commonly understood as altars rather than as images. It was the introduction of visualization practices to Buddhist rituals that set the stage for the production of mandalas as painted images. My dissertation focuses on the late 9th-early 10th century paintings of Mogao Cave 14 as well as portable paintings and diagrams from the Dunhuang and Xi{\textquoteright}an areas, examined in conjunction with Buddhist manuscripts from Dunhuang and Buddhist texts in the received Sino-Japanese canon. Rather than studying images merely for their functional aspect during rituals, my dissertation considers the dialogue between the orality and visuality of ritual, visual representation, and space.}, keywords = {Chinese Art}, author = {Wang, Michelle} } @mastersthesis {10432, title = {From Dossale to Macchina: The Silver Altar of Saint John the Baptist and Its Symbolic Function in Florence}, year = {2008}, school = {IFA/NYU}, abstract = {This dissertation considers the history, form, function and meaning of Florence{\textquoteright}s Silver Altar of Saint John the Baptist. Arguably the most important work in precious metal ever produced in Tuscany, the sculptural ensemble was a key civic symbol and a source of tremendous pride for the Florentines. Although the entire project seems to be of one all-encompassing master plan, the present form is the result of several design changes over an extended period of time (1367-1483). Chapter One explores the origins of the cult of John the Baptist in Florence and seeks to account for the Precursor{\textquoteright}s emergence as the city{\textquoteright}s principal patron saint in the thirteenth century. In Chapter Two, the documents relating to the commissioning and fabrication of the fourteenth-century silver altar frontal are reviewed and the form of its earliest display on the baptistery{\textquoteright}s high alter is clarified by close visual analysis of the object itself. Biographies of Leonardo di Ser Giovanni, Betto di Geri, Cristofano di Paolo and Michele di Monte are provided. Chapter Three focuses on the second design phase: the central tabernacle and Michelozzo{\textquoteright}s statue of the Baptist. Chapter Four considers the changes that were made at the end of the quattrocento after the object began to be displayed above the baptismal font, including the panels added by Verrocchio, Pollaiuolo, Bernardo Cennini, Antonio di Salvi and Francesco di Giovanni. Biographical information for the lesser known goldsmiths is provided. Chapter Five reviews the terms dossale and altare, while simultaneously reconstructing the fourteenth-century altar complex with which the altar frontal was associated. A brief discussion of temporary monstrance platforms called macchine is also included. Chapter Six seeks to establish a typology of Silver Altars, and links the Florentine sculpture to a noble tradition of objects that ultimately refer to Saint Peter{\textquoteright}s tomb in Rome. In the final chapter, contemporary accounts as well as modern scholarship are employed to paint a clearer picture of how the Silver Altar was used and perceived by the public during the Feast of the Nativity of John the Baptist and other important occasions.}, keywords = {Renaissance/Baroque Art}, author = {Glazer, Joshua} } @mastersthesis {10478, title = {From Hiroshima to the Hydrogen Bomb: American Artists Witness the Birth of the Atomic Age}, year = {2008}, school = {Rutgers}, abstract = {This dissertation investigates the visual legacy of the atomic bomb as viewed through the eyes of a distinct set of witnesses, American artists who came into contact with the physical and psychological after-effects of the bomb from the atomic attacks on Hiroshima and Nagasaki in 1945, through the years leading up to the implementation of the partial test-ban treaty in 1963. While technical jargon, metaphorical language, and jingoistic sentiment all helped to shape public attitudes about the bombings, the visual condensation of the atomic experience into a single image, that of the mushroom cloud, offered a limited perspective of the bomb{\textquoteright}s unique capacity for destruction. Censorship of photographs of Hiroshima and Nagasaki shielded the public from troubling images of victims on the ground. Unseen dangers, such as lingering radiation at the bomb sites, as well as the creeping global menace of nuclear fallout from atmospheric testing, were difficult to communicate through visual media. The escalation of the arms race between the United States and Russia gave birth to existential dread over the unimaginable consequences of a large-scale nuclear war. Living in the shadow of the bomb, a handful of American artists turned to an interpretative visual language to give form to a terror of dimensions impossible to assimilate. Acknowledging that the scope and brutality of destruction of World War II had reshaped their vision of the world, these artists rejected conventional imagery as simply inadequate to represent the uncertain realities of the postwar era. But rather than adopt a language of abstraction that could be loosely interpreted as a reverberation of the anxiety of those years, instead, these artists applied expressive visual styles to highly-charged subject matter that sought to address, head-on, the human fallout of America{\textquoteright}s experimentations with the bomb. In a broader sense, this dissertation is an investigation into what it means to be a witness to the first atomic age, both in the historical sense, of being present at critical events in the timeline of nuclear development; and in the ethical sense, of being compelled to bear witness to the use, testing, and proliferation of nuclear weapons.}, keywords = {Twentieth-Century Art}, author = {Rompilla, Denise} } @mastersthesis {10290, title = {Furnishing the Republican Court: Building and Decorating Philadelphia Homes, 1790-1800}, year = {2008}, school = {Delaware}, abstract = {This dissertation explores the multiple ways in which late-eighteenth-century elite Americans employed the material culture of their homes as a performative system of visual communication about personal identity, social standing, reputation, and political affiliation. I focus on Philadelphia between 1790 and 1800 when the city served as the temporary seat of the new Federal government and housed what has become known as the "Republican Court"-the society revolving around the first two presidents, Congress, their families, and associates. Through an investigation of the material culture of this Republican Court, I demonstrate the competing values that shaped the founding generation and explore the many challenges these elite Americans faced in finding unity and consensus in their nascent republic. The four middle chapters in this dissertation engage different contexts or spaces of the Philadelphia town house and progress from a discussion of the architectural landscape itself and the market place in which architectural ornaments and household furnishings were acquired to the central entertaining spaces within those town houses-drawing and dining rooms-and their collections of furnishings. Through these various locales and materials, I address the role of objects and the built environment in elite identity formation, the rituals of gentility and civility, the performance of politeness and political sociability, and as visual modes of communication. The houses of elite families in the early republic emerge as material referents to people, places, and relationships beyond their physical walls as well as a visual language Americans manipulated to express not just their own sense of self but also their vision of their country{\textquoteright}s future. By furnishing the Republican Court, leading American families put on display both aristocratic and democratic leanings while simultaneously attempting to define republican virtue and simplicity for their generation. This study expands the discourse on eighteenth-century domestic architecture to encompass issues of gender and performance and to consider how men and women-together-built and inhabited their homes. In conceiving the house broadly both as a structure and as a container of artifacts, I return women to discussions of creativity and architectural design that are traditionally dominated by male craftsmen, master builders, and mostly male patrons. Moreover, in narrating how individuals gossiped about, as well as designed and decorated, their built environment, I show architecture{\textquoteright}s performative aspects and how houses in the Republican Court served simultaneously as a backdrop for nation building and as evidence of this negotiated process itself. These houses and their furnishings make visible the rhetoric of gentility, character, and republican virtue that underpinned the competing and often contradictory ideologies that informed America{\textquoteright}s earliest national political culture.}, keywords = {Architectural History/Historic Preservation}, author = {Henderson, Amy} } @mastersthesis {10339, title = {The Gendered Nation: The Work of Joyce Wieland, 1964-1976}, year = {2008}, school = {Queen{\textquoteright}s}, abstract = {This thesis investigates the work of the Canadian artist and filmmaker Joyce Wieland (1930-1998) from the late 1960s to the mid-1970s in relation to its historical conditions of production and considers both her film and non-film work, including quilts, embroidery and prints. To examine these artistic media together not only provides a means to re-contextualize Wieland{\textquoteright}s work, but rethinks disciplinary boundaries and contributes to a renovation of both art historical and filmic methods of critical inquiry. Wieland{\textquoteright}s work from this period serves as an exemplary case study of the ways in which female artists have consistently had to negotiate contemporaneous constructions of femininity/feminism, modernity, and representation in relation to their art practice. I argue that Wieland consistently explored, through aesthetic means, the terms by which contemporary re-conceptualizations of gendered, classed, and raced identities were being defined as new national subjects within the Canadian nation-state. I begin by outlining the ways in which Wieland{\textquoteright}s work as been constructed within the dominant narratives of Canadian art and film, and argue that the disciplines that generated them, with their formalist and textual foci, inhibit larger discussions of the historical, political and cultural contexts of Wieland{\textquoteright}s art production. Each chapter subsequently examines an identity that emerged as a collective during the late 1960s in Canada-women, the working classes, French Canadians, and aboriginal peoples-that Wieland aesthetically explores. Through her engagement with second-wave feminism, the development of the New Left in English and French Canada, Quebecois nationalism, and shifting notions of aboriginal identity, Wieland{\textquoteright}s art production visually materializes the intersection of feminism and nationalism-discourses that were actively circulating in Canada during this period.}, keywords = {Contemporary Art}, author = {Holmes, Kristy Arlene} } @mastersthesis {10353, title = {George Ohr: His Life, Work, and Influence on Contemporary Ceramics}, year = {2008}, school = {Case Western Reserve}, abstract = {George Ohr (1856-1917) was regarded as an eccentric in his lifetime but has emerged as a major figure in American art since the discovery, in 1965, of thousands of examples of his work. Since that date research on Ohr has increased exponentially as has his cult figure status. Scholars and collectors alike are attracted to his manipulated and deformed pots as much as to his eccentric personality and legendary rediscovery. As a result Ohr has come to be canonized as a prophetic and mythical figure untouched by late nineteenth century societal and cultural concerns of both Biloxi, Mississippi and the United States. Ohr{\textquoteright}s career (1880-1908) was coincident with the last quarter of the nineteenth century, which was a time of cultural, social and spiritual upheaval. This dissertation examines specific issues of this time period with which Ohr was most likely involved. In response to the development of new forms of advertising and visual display some artists created personas with which to attract attention to their work. James McNeill Whistler and Elbert Hubbard are apt examples. Ohr also adopted this strategy and portrayed himself as an eccentric, uneducated, and uncultivated potter. Ohr{\textquoteright}s persona was specifically fashioned to establish himself as a Southern character in order to appeal to his dominant Northern client base. Also in response to a changing economy which had enabled citizens to claim vast accumulations of wealth over a short period of time, evidence suggests that Ohr embraced the notion of socialism and the importance of the individual. Ohr was particularly attracted to this humanitarian side of socialism. Related to this idea is the somewhat subversive empowerment of the grotesque popularized by the Symbolists and such writers as J. K. Huysmans and Oscar Wilde. Ohr{\textquoteright}s highly individualized pots, I argue, are abstractions of abject nature-his forms, of which he proclaimed there were "no two alike," appear to ooze and melt with glazes that suggest bodily fluids, disease and decay. After studying the ways in which Ohr related to specific issues of his nineteenth-century milieu, this dissertation uses these conclusions to provide a new interpretation of Ohr{\textquoteright}s art. Rather than viewing his works as purely formalist, his pots become expressions of his sensitivity to underlying tensions of late nineteenth- and early twentieth-century culture. His art explored very similar, essentially parallel themes to those of his life: the divide between crude craft and "real art," between the salable commercial commodity and the priceless work of art, between the common or low-class and the refined, between the ugly and deformed (or even the obscene) and the beautiful.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Lippert, Ellen} } @mastersthesis {10462, title = {Georges Seurat: Picturing Perception}, year = {2008}, school = {Princeton}, abstract = {This dissertation analyzes the work of the French Neo-Impressionist artist Georges Seurat as a sustained exploration of the conditions, limitations, and processes of visual perception and cognition. Seurat{\textquoteright}s interest in the perception of color has long been noted, first by contemporary critics and then by later art historians, as the foundation of his pointillist technique of paint application. But my dissertation is the first book-length study to elaborate the multiple aspects of perception that interested Seurat, beyond color perception, and the myriad ways in which Seurat{\textquoteright}s interest in perception permeates his body of work, beyond pointillism. More specifically, I argue that Seurat was devoted to elaborating a complex model of perception and cognition in his images that emphasized the relationship between the eye, body, and mind of the viewer. Seurat{\textquoteright}s work constitutes a sustained inquiry into the possibilities and limits both of vision for comprehending and navigating the external world, and of painting and drawing as a means of representing the world around us. Each chapter in the dissertation focuses on a different part of Seurat{\textquoteright}s oeuvre. Chapter One analyzes Seurat{\textquoteright}s little studied series of seascape paintings, which I discuss, in part, as an acknowledgement of and an attempt to supersede the perceptual limits of any single viewing position and the representational limits of the single easel painting. Chapter Two analyzes the development of Seurat{\textquoteright}s figural paintings, which manifest his increasing skepticism regarding the ability of painting to adequately represent the external world. Chapter Three explores Seurat{\textquoteright}s body of drawings, which I discuss as a complementary underside to the perceptual and representational terms articulated in Seurat{\textquoteright}s paintings, focusing in particular on the relationship between the sight and touch of the artist, the viewer, and the depicted subjects of the drawings. Throughout the dissertation, I situate Seurat{\textquoteright}s exploration of various aspects of perception and cognition as a meditation on different modes of being in the world, ranging from productive sensory, corporeal, and cognitive engagement to a more passive, spectatorial relationship to the world around us.}, keywords = {Twentieth-Century Art}, author = {Foa, Michelle} } @mastersthesis {10466, title = {Going Postal: Surrealism and the Discourses of Mail Art}, year = {2008}, school = {Florida State}, abstract = {The chief objective of this study is to examine how the French surrealists responded to the discourses of the post and to position the surrealists as early practitioners of mail art. References to the mail, its system and ephemera pervade early modernist art movements, such as futurism, dadaism, and surrealism. However, the term "mail art" is most commonly associated with the movement portrayed as having been pioneered in the 1950s by U.S. artist Ray Johnson. As a result, the critical literature on mail art generally overlooks the complexities and sophistication with which early modern artists viewed the conventions of postal practice. The broader goal of this study is to reconsider mail art as a new genre that cuts across early modernism as well as postwar art movements. The development of this modern communication, and its innovations, provided artists with a radical new aesthetic, resulting in news ways of thinking about art and new forms of creative expression. The modern post created new relays of communication and established new systems of exchange and material ephemera. As postal materials engaged early modernist interests in collage and word-and-image play, the system itself introduced conceptual art processes. In this regard, the development of modern postal communication, and its innovations, allowed artists to subvert conventional relationships between artist and viewer, thus sidestepping the gallery system. Further, the post established a space for social dissent and revolution that appealed to the artistic avant-garde. This dissertation addresses early modernist dialogues with the post by considering the production of specific postal works in the surrealist oeuvre, such as Max Ernst{\textquoteright}s The Facteur Cheval (1932), Georges Hugnet{\textquoteright}s Guaranteed Surrealist Postcard Series (1937), and Mimi Parent{\textquoteright}s Boite Alerte (1959). I demonstrate how the surrealists utilized the post, its space and materials for their own aesthetic and ideological concerns. Providing the first critical investigation into the relationship between fine art and the post, this study also intends to serve as an impetus for further inquiry within the field.}, keywords = {Twentieth-Century Art}, author = {Heuer, Elizabeth} } @mastersthesis {10372, title = {The Gradual and Sacramentary of Hainricus Sacrista (Pierpont Morgan Library, MS 711): Liturgy, Devotion, and Patronage at Weingarten Abbey}, year = {2008}, school = {Columbia}, abstract = {Founded by the powerful Guelph rulers in the eleventh century as the burial place for their family members, Weingarten Abbey became one of the wealthiest monasteries in Germany in the High Middle Ages, and its fame spread quickly due to the precious relic of Christ{\textquoteright}s blood that it possessed. A dramatic turn of events took place in 1215 when a fire ravaged the monastery, prompting massive rebuilding and increased book production. In this climate of intense structural and spiritual renewal, the Weingarten sacristan, named Hainricus, commissioned a luxury mass book that he had marked an unprecedented six times with his portrait. As the first comprehensive study of this remarkable manuscript, this dissertation examines what information this liturgical book and its decoration conveys about Weingarten, and about its donor and his personal concerns. Chapter 1 surveys the complex history of Weingarten Abbey, focusing on the Holy Blood and local monastic illuminators{\textquoteright} response to its presence. Chapter 2 examines the extraordinary physical aspects of Morgan 711, including its jeweled, metalwork binding, the silk curtains that cover its illumination, and the colorful embroidered parchment repairs that accent its pages. This chapter also surveys the book{\textquoteright}s textual contents, discovering nuances that reflect the liturgical concerns of Weingarten and Hainricus Sacrista. Chapter 3 addresses the two cycles of full-page miniatures in the manuscript with their focus on the Apocalypse and on the Virgin Mary as a model for achieving salvation. Chapter 4 explores the illumination imbedded within the text, namely the numerous decorative initials, which create visual narratives for certain feasts when viewed throughout the course of the mass. Chapter 5 investigates the identity of Hainricus Sacrista, examining images of the monk prostrate at the feet of the Virgin Mary and John the Evangelist, and inserted into Apocalypse scenes. This thesis argues for the manuscript{\textquoteright}s potential as a private devotional book designed to insure the salvation of its donor when he used it during the performance of the mass.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Sciacca, Christine} } @mastersthesis {10383, title = {Group Identities and Participant Action: Towards a Re-interpretation of the Minoan Extra-Urban Ritual Space}, year = {2008}, school = {Michigan}, abstract = {My dissertation seeks to re-examine the role of extra-urban ritual spaces in the ritual and socio-political landscapes of Bronze Age Crete during the second millennium BC. Within the context of the transformation between the heterarchical relationships that appear to have characterized the earlier Protopalatial period and the more distinctly hierarchical structures of Neopalatial times, I consider the role played by ritual spaces including peak sanctuaries, caves, and sacred enclosures-in these shifting power dynamics. By looking at the performance of ritual activity, as expressed through archaeological assemblages, my work investigates how regional interactions influenced ritual activities and their material signature in the landscape. Two opposing but complementary forces appear to have shaped the character of the material deposited at each of these site-types. Each site constituted an integral part of the ritual landscape of Minoan Crete that influenced the performance of ritual and votive dedication. At the same time, its specific context in local and regional scale socio-political landscapes shaped permutations of activity and material culture. The tension between these forces accounts for the distinctiveness and variability in the assemblages. Each of the sites and categories of sacred site is explored to assess specifically the effects of this tension on site-based activities and the assemblages that resulted. Sacred caves are considered with respect to the sensory experience of ritual activity and the presumed links to an emergent elite Peak sanctuaries are examined with particular regard to their assemblages and the subtle but distinct variations that highlight local and regional influences. The huge, unpublished pottery assemblage from Vrysinas is closely examined as a detailed case-study that provides new perspectives on the nature of ritual activity. Sacred enclosures are shown each to have a distinct character and landscape setting, which, more than peak sanctuaries or caves, directly influenced the sites{\textquoteright} appearance, material culture, and performed ritual. I argue that each site must be understood as part of a whole, but simultaneously as having a precise and distinctive trajectory that reflected and was informed by its specific role in a complex network of dynamic relationships and associations.}, keywords = {Greek/Roman Art}, author = {Faro, Elissa} } @mastersthesis {10454, title = {Handle with Care: The Making of an Art History and a Nation in Pakistan}, year = {2008}, school = {UT Austin}, abstract = {Today, a growing number of Pakistani artists have embraced the nation{\textquoteright}s perceived visual languages and political, social, and cultural history to interrogate and unpack Pakistan{\textquoteright}s contemporary society and identity. The fruits of this shifting and mixing are works of art that turn artistic and societal traditions, from miniature painting to matrimonial rites, on their sides even as they uphold their significance. In these works, artists present their views on life in the country and their experiences as Pakistanis. Their paintings, videos, sculptures, installations, mixed media works, prints, and drawings are not soapboxes from which they shout out their messages. Instead they present issues and concerns in a manner that means to define them uniquely as Pakistani. Unpredictable social developments and current events that require in-depth investigation appear in imagery without any direct answers to these debates. Rather, Pakistani artists offer them to incite further investigation. Through their works, artists express and examine the complicated nature of Pakistani national and cultural identities by looking at the society{\textquoteright}s most volatile concerns. Yet they address these issues in an unexpected fashion. They examine serious concerns like the India/Pakistan divide in a humorous fashion; they explore bloody, murderous acts like "honor killings" in pristine paintings. In this multifaceted treatment, the intense issues affecting Pakistan are interrogated with ambiguity. These artists do not simply present critical issues related to society in Pakistan; they play with them. And in this way raise questions about their meanings. And they do not only look to Pakistani society for subject matter. They also turn to it for methods of approaching art by exhibiting sensitivity to traditional materials, techniques, and styles. I analyze this artwork within a context of art practices in Pakistan, pedagogical methods at art schools in the nation, and the impact of larger historical events and social processes: colonialism, the partition of India and Pakistan, and globalization.}, keywords = {South/Southeast Asian Art, Twentieth-Century Art}, author = {Ali, Atteqa} } @mastersthesis {10440, title = {"The Hands of Aurora": Artemisia Gentileschi and Her Contemporaries}, year = {2008}, school = {Johns Hopkins}, abstract = {This dissertation reconsiders the career and critical fortunes of the baroque painter Artemisia Gentileschi. Although Gentileschi has received a great deal of scholarly attention in the past 20 years, most scholarship to date has focused on the earliest phase of the artist{\textquoteright}s career, particularly on questions of connoisseurship and iconography. Moreover, previous work has tended to assume that Artemisia was illiterate and consequently isolated from the intellectual and artistic currents surrounding her and, furthermore, that she was quickly forgotten by virtually everyone even before her death. Taking a number of previously unknown or underutilized contemporary and posthumous writings about Artemisia as a point of departure-written by prominent members of literary academies in Naples, Florence, and Venice-this dissertation proposes a different view of the artist{\textquoteright}s career. Namely, I argue that Gentileschi was well known, widely admired, and in active dialogue with a distinguished circle of poets, artists, and other men and women of letters across Europe. Such writings provide, on one hand, a more precise reconstruction of the artist{\textquoteright}s social and patronage network and, on the other, fresh insight into the criteria according to which contemporaries judged Artemisia and her work. Additionally, her own paintings seem to mirror the literary subjects and poetic themes found in the writings of these same authors, suggesting that Artemisia responded to, and even anticipated, the tastes and intellectual proclivities of her patrons. Taken cumulatively, the evidence presented here warrants a substantial reevaluation of the career, contemporary impact, and social status of the artist, as well as calling for a new interpretive mode for her pictures. Chapter one examines Artemisia{\textquoteright}s numerous commissions for Spanish patrons, beginning in Rome in the 1620s, arguing that she deliberately cultivated a "devout" and "feminine" manner based on the perceived Spanish preference for such characteristics. Chapter two turns to Artemisia{\textquoteright}s little-studied Venetian period (c. 1626-c. 1630), demonstrating that the artist was closely connected to a small circle of prominent writers and artists in Venice and that these writers appear to have had a discernable impact on the subject-matter and disposition of her own art. Chapter three considers the artist{\textquoteright}s Neapolitan period, introducing and analyzing nearly a dozen previously overlooked poems devoted to Artemisia by contemporary Neapolitan poets. These poems provide insight not only into the artist{\textquoteright}s fame and social circumstances in the 1630s and {\textquoteright}40s, but also the specific criteria by which her contemporaries judged her works. Chapter four examines the question of how poetry and poetic themes are reflected in Artemisia{\textquoteright}s own work, specifically her self-portraiture. Finally, chapter five reconsiders the question of Artemisia{\textquoteright}s posthumous fame by examining a number of understudied or unknown biographical and literary texts, some of them previously unknown, all of which suggest that Artemisia{\textquoteright}s fame reached its (pre-twentieth-century) peak in eighteenth-century Tuscany.}, keywords = {Renaissance/Baroque Art}, author = {Locker, Jesse} } @mastersthesis {10381, title = {Hard Stone Seals from Late Bronze Age Burials of the Greek Mainland: A Contextual and Historical Approach to the Study of Their Ownership}, year = {2008}, school = {IFA/NYU}, abstract = {This dissertation undertakes a historical and contextual approach to the examination of the ownership of hard stone seals from the Late Bronze Age Greek Mainland. It also investigates the Mycenaean reception of this great artistic tradition, since, after a long break during the Middle Bronze Age (2000-1700 B.C.), seal engraving was re-introduced to the Greek mainland through contacts with Crete. For the first time, the contextual associations of one hundred and forty-one hard stone seals from sixty-two burials and burial assemblages of the Late Bronze Age Greek mainland are systematically and diachronically examined. The wealth of these funerary contexts is used to define the economic and-accordingly-possible social status of the individuals who owned the seals and it is carefully evaluated on the basis of five different sets of criteria (five different patterns of artifact combination), which may correspond to five different levels of wealth (Wealth Groups 1, 2, 3, 4, 5: very poor, poor, average, rich, very rich). The seals are also carefully examined and analyzed in respect to their morphology (shape, material), iconography, and engraving style. Elite (rich or very rich), average, and poor or very poor burials and burial assemblages or male and female burials and burial assemblages are studied comparatively in respect to their typical finds, associated hard stone seals (number, shapes, materials, iconography, engraving styles) and possible diachronic and/or regional differences. Evidence for Cretan seals or heirlooms and for seals that might have been special commissions is looked for; since they might have operated as status-enhancing objects, particular attention is paid to the examination of their associated burials or burial assemblages. Although the great influence of Cretan glyptic can be seen throughout the different phases of the Late Bronze Age, seals that could be identified as works of native, Mycenaean engravers are treated separately and their differences are highlighted, in search for possible Mycenaean innovations and features of Mainland character. Especially the study of collections of seals from intact burials is particularly enlightening for our understanding of Mycenaean taste and aesthetic standards.}, keywords = {Greek/Roman Art}, author = {Drakaki, Eleni} } @mastersthesis {10282, title = {Hector Guimard, Political Movements, and the Paris Metro: Natural Sympathies, Governing Harmony, and Social Change}, year = {2008}, school = {Pennsylvania}, abstract = {Hector Guimard (1867-1944) looked to the forms of nature in hopes of reforming society. His architecture tells a political story, but this has been virtually absent from all previous discussions of his work. Guimard was passionately active in Paris as a social reformer, laboring alongside legislative leaders and progressive journalists. The same nexus of beliefs shaped his ideals of both government and design. In this respect he followed his English inspirations, William Morris and John Ruskin, more than his French contemporaries such as Emile Galle and Auguste Rodin. Guimard{\textquoteright}s political vision carried his work beyond the psychological interiority of the fin de siecle and into the arenas of urban class relations and pan-European peace. Guimard sought to find a universal means of connecting people. His architecture used biological metaphors because humans react viscerally to forms that seem to undergo physical tensions and strivings. A human body undergoes such forces, and so too does a community or society. Guimard{\textquoteright}s designs strove to make possible a sympathetic understanding, a concept that had some of its roots in Ruskin{\textquoteright}s writings and differed subtly from the Einfuhlung of German writers of this period. (Both the English and the German strains of thought were known in France, for example through the teaching of Guimard{\textquoteright}s co-reformer in Paris, Professor Victor Basch of the Sorbonne.) Guimard{\textquoteright}s un-anthropomorphic approach to form-creation differed from the anthropocentrism of Geoffrey Scott and reflected Guimard{\textquoteright}s desire that people sympathize with, rather than project themselves upon, other people and things. His philosophy resisted ego mirroring, instead maintaining respect for the essential difference of other things - their mystery. They would not be obscured behind a projection of the subject{\textquoteright}s own self. A sympathetic understanding was central to Guimard{\textquoteright}s thinking about government. More than 120 million individuals of every ethnic, economic, and religious background used his structures for the Paris Metropolitain each year. Mingled with laborers commuting to their jobs - who were the intended beneficiaries of the subway - were visitors from many nations and believers in many creeds. The transit infrastructure united them in a continuously metamorphosing population. Guimard{\textquoteright}s other projects in these years crossed similar cultural barriers. In the years when Guimard and Victor Horta were creating their most inventive buildings, the tenets of Symbolist artists and writers in Paris and Brussels encouraged experimentation with multivalence and abstraction. At the same time, Guimard carried forward the rationalism of his teacher, Emile Vaudremer, and of Eugene-Emmanuel Viollet-le-Duc along with their interest in Gothic interpreted in a broad sense. Guimard went beyond them in embracing mass production, which made his projects large enough to touch people of all economic strata. Architecture, Guimard believed, ought to address each individual{\textquoteright}s needs within society in a moral and spiritual sense as well as a practical sense. This required not just logic but also harmony and feeling, which spurs the imagination to understanding. These values played a role in the reception and appropriation of Guimard{\textquoteright}s work at a time of ever-increasing mixing and transformation on a municipal, national, and international level. His architecture sought to connect across political lines that were moving rapidly in the buildup to two world wars.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Clendenin, Malcolm} } @mastersthesis {10428, title = {Heemskerck{\textquoteright}s Rome: Antiquity, Memory, and the Berlin Sketchbook}, year = {2008}, school = {Delaware}, abstract = {This dissertation offers the first critical study and complete catalogue of Maerten van Heemskerck{\textquoteright}s (1498-1574) unprecedented corpus of drawings of Roman topography. No scholar has studied this landmark group of images as a single body of work since the second decade of the twentieth century, when Christian Hulsen and Hermann Egger annotated and published the two bound albums in Berlin that contain drawings by Heemskerck and others. Hulsen and Egger were primarily interested in identifying the monuments that Heemskerck drew and the hands responsible for the drawings. Questions about the importance of Roman topography for Heemskerck{\textquoteright}s artistry and his contribution ot the Netherlandish vision of Rome have remained unexplored ever since. In three chapters, I locate the origins of Heemskerck{\textquoteright}s drawings, the means he deployed to make them, and his later use of them, in a heretofore neglected continuity in the memory of antiquity. My first chapter situates Heemskerck{\textquoteright}s drawings within the context of the assimilative practices he encountered in his early Netherlandish training. Integral to our understanding of Heemsekrck{\textquoteright}s impulse to draw Rome is a reconsideration of his tenure in the Haarlem atelier of Jan van Scorel (1495-1560), the Utrecht painter who preceded Heemskerck to Rome and served as Adrian VI{\textquoteright}s (r. 1522-1523) keeper of Vatican antiquities. In a historiographic section, I argue that biographer Karel van Mander{\textquoteright}s suggestion that Heemskerck drew Rome in emulation of Scorel has obscured the perceived need for clarifying the origins of Heemskerck{\textquoteright}s Roman drawings. Subsequent sections describe the pre-Roman Heemskerck as a product of the early Netherlandish interest in antiquity-so-called Netherlandish Romanism. I portray the young Heemskerck as eager to develop a pictorial memory of motifs from the work of his contemporaries, including his artistic predecessors to Rome, Jan Gossaert (also called Mabuse, 1478?-1532) and Scorel. I argue that it was Scorel{\textquoteright}s assimilation of the motifs he drew in Italian paintings and his wanderjahr landscape drawings to post-Roman paintings that engendered Heemskerck{\textquoteright}s proclivities for antiquity and landscape, thus priming him to conceive a sketchbook filled with Roman ruin motifs. The second chapter describes how Heemskerck{\textquoteright}s capacity for assimilation and his aptitudes for antiquity and landscape flourished in Rome{\textquoteright}s post-Sack culture of the early 1530s. During Heemskerck{\textquoteright}s Roman stay, fears of a second Sack peaked. I cast his fascination with ruin landscapes as a response to contemporary cultural memories of the Eternal City{\textquoteright}s past glory and its palpable vulnerability, both embodied in her ruins. Heemskerck traveled in Roman artistic and patronal circles where impulses to collect, preserve, and create the memory of antiquity had coalesced. My contextualization of the formal aspect of Heemskerck{\textquoteright}s ruin landscape drawings illustrates their kinship with these mnemonic imperatives. I demonstrate that his use of multiple compositional schemes, media, and techniques evinces his acquisition of the Roman landscape and the devices and methods of his artistic contemporaries. More than a mere pictorial record of Rome, his drawings are a collection of the tendencies he assimilated in the motifs he saw in Rome{\textquoteright}s landscape and the art he encountered. Thus, in his sketchbook, Heemskerck collected antiquity according to his own vision and experiences. My third chapter describes how Heemskerck{\textquoteright}s ruin landscape motifs functioned as mnemonic triggers in his post-Roman work. In paintings like Landscape with the Abduction of Helen (Baltimore, Walters Art Museum, 1535-36) and numerous prints, the profusion of ruin fantasie, new buildings all{\textquoteright}antica, even entire cityscapes, spring from a commingling of Heemskerck{\textquoteright}s drawings with his pictorial memory of Rome. After outlining Heemskerck{\textquoteright}s mnemonic modes of landscape invention all{\textquoteright}antica-memories of built examples, partial quotations from his drawings, and pure fantasie-I contextualize his self-portraiture, which commemorates his time spent drawing the Eternal City{\textquoteright}s architectural ruins. Analyses of Self-Portrait Before the Colosseum (Fitzwilliam Museum, 1553) have never noted that Heemskerck conceived it at the very point in his career when his proliferation of ruin fantasie was peaking. As a recollective device, Self-Portrait Before the Colosseum celebrates the mnemonic function of Heemskerck{\textquoteright}s drawings of Rome, their key role in bringing the ancient Roman past into the present. I conclude with my catalogue, where Heemskerck{\textquoteright}s drawn collection of pictorial knowledge about the architectural vestiges of ancient Rome emerges in its myriad forms. The catalog contains entries for each drawing of secure or questionable attribution to Heemskerck, copies, and those thought to be copies of lost originals.}, keywords = {Renaissance/Baroque Art}, author = {Difuria, Arthur} } @mastersthesis {10481, title = {Helio Oiticica and the Morphology of Things}, year = {2008}, school = {Yale}, abstract = {In the early 1960s a number of Brazilian artists pushed the phenomenological demands of painting and sculpture, developing an unprecedented form of participatory art consisting of objects and environments that solicited their viewer{\textquoteright}s bodily action. The resulting works, often symbolized by Helio Oiticica{\textquoteright}s (b. 1937 d. 1980) Parangoles of 1964, are commonly understood to have abandoned the category of art in favor of the praxis of life, thereby fulfilling a central aspiration of the pre-war European avant-garde. This dissertation shifts the terms of analysis from this ontological model of rupture to an epistemological model of the production of knowledge, demonstrating not how such works rejected the museum, but how they functioned to critically engage utterances both within and beyond the museum{\textquoteright}s walls, Focusing specifically on the work of Oiticica, the dissertation develops a morphological method of comparative structural analysis to identify a series of critical strategies Oiticica{\textquoteright}s works either perform or invite their viewer to enact. These strategies-folding, building, making, wearing-together suggest a basic shift in the modality of form: how we know it; what we can know from it; and how it can be critically deployed in the world. Morphology, the study of organic form and its change over time, functions here as a technique of defamiliarization, revealing instances of emergence and potentiality at the level of history and form, Existing genealogies of Brazilian participatory art tend to treat the work prior to the so-called rupture of the mid-1960s as a purely formal response to the legacy of constructivism in Brazil. I argue by contrast that it was the mutual imbrication of this legacy and the country{\textquoteright}s developmentalist imperatives of industrialization and modernization that not only generated such formal articulations, but established the conditions for the explicitly social articulations of the later period, The critical strategies identified in these chapters are therefore emergent in two senses: they arise from the complex interaction of multiple social, economic, political, and aesthetic forces, and they perform the epistemological relation between these forces and the work of art as itself a process of becoming. In that Oiticica{\textquoteright}s works are interactive objects revealed in dialogue with their viewer{\textquoteright}s use, this epistemological relation is inseparable from the embodied knowledge of the viewer him or herself.}, keywords = {Twentieth-Century Art}, author = {Irene Small} } @mastersthesis {10386, title = {Hellenistic Royal Iconography in Glyptics}, year = {2008}, school = {Rutgers}, abstract = {The present thesis essays to ascertain and research problems that concern the social requirements and the iconography of Hellenistic royal portraiture in glyptics. Throughout I employ a methodology established by H. Kyrieleis and R. Fleischer that defined anew the study of the numismatic evidence, recognizing in the obverse typology programs of a dynastic iconography. The analysis of the royal iconography is pursued in the second through the fourth chapters, which in their organization take account of the distribution of the material evidence. Leaving aside the late Ptolemaic dynasty, for which the numismatic evidence remains silent, over two-thirds of the portraits surveyed represent the types of the regnal emissions or are associated with them in iconography. For the complement of anonymous portraits the I attempt to establish a relative chronology based on correlations educed in the stylistic properties of the obverse types. Whereas some new attributions are proposed, the arguments are equally directed to an assessment of the stylistic idioms in which the iconography is couched. I submit that if judiciously applied against the numismatic criteria, this approach can at least suggest the probable dynastic affiliation or regional origin of a given portrait. The first chapter addresses the social requirements of the glyptic portraiture in the courts. Principally, it introduces arguments that stand counter to the scholarly consensus. I mount a case to refute the judgement that portrait cameos may have functioned as the ornamental devices of crowns awarded to the priests attending the eponymous dynastic cults. The weight of the evidence presumes that medallions fulfilled this purpose. Further, I would contend that the extended relationship of the glyptic iconography to the obverse types contradicts the theory that the royal house or its commissioners imposed in the aulic environment an iconography of divinized kingship, ideologically separate from that sanctioned for the official, public representation of the dynasty.}, keywords = {Greek/Roman Art}, author = {Gross, Robert} } @mastersthesis {10314, title = {An Heroics of Empire: Benjamin West and Anglophone History Painting, 1764-1774}, year = {2008}, school = {UT Austin}, abstract = {This dissertation interrogates correlations between imperial expansion and the history paintings produced for London audiences by the American-born artist Benjamin West (1738-1820) during his first decade in England (1764-1774). Within that ten-year span, Grand Manner academic history painting shaped and reflected the imperial anxieties that elite Britons experienced as a result of dramatic territorial gains, consolidations and losses in North America and South Asia. To follow the trajectory of history painting{\textquoteright}s rise, relevance and obsolescence is to track Britons{\textquoteright} negotiation of their global status as a "free though conquering people." As England{\textquoteright}s pre-eminent history painter, West secured for himself a place within the discourses of the imperial self-imaginary by developing two types of iconographic program. First, the selective appropriation of narratives from classical antiquity allowed West and his patrons to inculcate their audiences with visual models for British imperial virtue. Advancing the cause of imperial self-ratification through classical narrative, West cast the English as the natural heirs to the Roman empire. The resulting images paralleled and buoyed contemporary textual discourses of empire and intersected with antiquarian collecting practices, both of which were based on the notion of modern British proprietorship of classical antiquity. Second, developing and refining a model introduced by Francis Hayman (1708-1776) at Vauxhall Pleasure Gardens in 1761, West contrived a pictorial format which introduced persons living and recently dead into a realm of visual expression formally reserved for characters from biblical and classical textual sources. Invoking some of history painting{\textquoteright}s most familiar compositional and figural conventions, West recombined history painting, portraiture, landscape and genre to formulate the iconographically hybrid heroics of empire, complete with its own set of pictorial motifs through which West and his followers styled their subjects exemplars of classical imperial virtue. Imperial anxiety afforded history painting its short-lived relevance among English-speaking audiences during the second half of the eighteenth and first quarter of the nineteenth centuries, and imperial self-acceptance rendered that most highly-esteemed of artistic genres obsolete. Through the visual heroics of empire, Benjamin West established history painting as a viable form of Anglophone cultural production during his first decade in London.}, keywords = {Art of the United States}, author = {Caffey, Stephen Mark} } @mastersthesis {10280, title = {The Hour of Mexico: State-Sponsored Modern Architecture in Mexico City, 1925-1934}, year = {2008}, school = {Pennsylvania}, abstract = {Between 1925 and 1934 five of twentieth-century Mexico{\textquoteright}s most important architects designed the modern buildings and urban parks which helped define Mexican modernism and reshape Mexico City in the wake of the Mexican Revolution (1910-1917). The Ministry of Health (Carlos Obregon Santacilia, 1925-29), the Tuberculosis Sanatorium at Huipulco (Jose Villagran Garcia, 1929-36), the Hipodromo neighborhood with the Parque Mexico at its center (Jose Luis Cuevas, Leonardo Noriega, 1923-27), the Venustiano Carranza Social and Sports Center for Workers (Juan Segura, 1929), and the Central School of the Revolution (Antonio Munoz Garcia, 1933-34) show the distinctive development of Mexican modern architecture and urban planning. Built for the government, or with considerable governmental oversight, these buildings reflected new policies and beliefs about race, public health, and civic participation and their architects{\textquoteright} complex engagements with national architectural traditions, International Style modernism, classicism, and Art Deco. Modern architecture in Mexico City in the twenties and thirties was characterized by its variety and by its architects{\textquoteright} fundamentally flexible approach to form and meaning. By incorporating and transforming modern idioms from abroad these buildings promoted the development and image of a citizenry that was both physically and politically healthy. In their ambition to shape the individual and collective modern Mexican body in opposition to long-standing beliefs about racial fitness, modern architects and their clients re-examined national history and architecture. Modern painting, sculpture, and photography also played important roles in defining the new buildings. Considering the buildings in the context of the vibrant artistic and intellectual culture of 1920s and 1930s Mexico City, and with respect to the political and social transformations of the period, as well as diverse currents of international architectural modernism, deepens scholarly understanding of modern Mexico and contributes to the growing body of research which shows the reach and diversity of modern architecture around the world.}, keywords = {Architectural History/Historic Preservation, Latin American/Caribbean Art}, author = {O{\textquoteright}Rourke, Kathryn} } @mastersthesis {10298, title = {How Land Came into the Picture: Rendering History in Fourteenth-Century Iran}, year = {2008}, school = {Michigan}, abstract = {The manuscripts from the Ilkhanate (1258-1370), the Iranian part of the Mongol Empire, contain paintings that evoke an illusion of three-dimensional space and passage of time for the first time in the Islamic world. They also show signs of modeling, wash, and calligraphic strokes and include scrolling clouds, rolling hills, and sinuous tree trunks, techniques and motifs that were absent in pre-Ilkhanid Islamic arts and that seem to originate in Chinese landscape paintings. This new way of rendering land was one of the most significant stylistic changes that occurred in the Ilkhanid paintings. The dissertation focuses on the representations of nature in the Jami al-Tawarikh ("Compendium of Chronicles" 1306-7), the world history written by vizier Rashid al-Din. It considers an epistemological analogy between the additive pictorial space in the Jami al-Tawarikh paintings and the layered and interpolated historical spaces in the text of the Jami al-Tawarikh. Rashid al-Din centers the Islamic world on the Ilkhanid land space, which is contrastingly called "a far distant corner" in the Yuan Shi. The political dialectic between center and periphery may have been visualized in some of the Jami al-Tawarikh paintings, in which the representations of nature dominate the center while the protagonists are relegated to the sides. In the Jami al-Tawarikh paintings, the visual elements seem to move at various velocities; while some clouds curl tightly, hills may move up and down at a lower frequency, and the figures may seem rooted firmly on the ground. These movements evoke a sense of differently-paced times, not unlike the scientist Nasir al-Din al-Tusi{\textquoteright}s (1201-1274) theorization of motion and time in the treatise, Tadhkira fi {\textquoteright}ilm al-hay{\textquoteright}a ("A Memoir on the Science of Astronomy"), that they are perceived quantities that depend on the reference point of the observer. The stylistic changes in the Ilkhanid paintings were so drastic that it is considered that the tradition of Persian painting began in the Ilkhanid period. The renditions of land in the Jami al-Tawarikh paintings may have newly provided a visual language parallel and correlative to the verbal one as a means of conceptualizing space, time, and memory.}, keywords = {Art of the Middle East/North Africa}, author = {Cho, Min Yong} } @mastersthesis {10312, title = {The Hubert H. Humphrey Metrodome, Minneapolis, Minnesota}, year = {2008}, school = {Minnesota}, abstract = {The Hubert H. Humphrey Metrodome has been in use for a quarter century. Although designed by a well-known modernist firm, Skidmore, Owings \& Merrill of Chicago, the Metrodome has received little architectural recognition. Yet the structure is remarkable in its service to the community as home to two major league teams and a Big Ten college football team; in hosting significant professional sporting events like the World Series, the Super Bowl, and the NCAA Men{\textquoteright}s basketball Final Four; and in providing space for community activities, concerts, and religious gatherings. It is used throughout the year, with events scheduled in the building nearly every day. In an era when stadium funding has become a financial burden in many cities, the Metrodome has been an economic success. Even with its diverse use and financial success, however, the Metrodome has failed to gain much affection from its community or its tenants. This dissertation considers the background of sports venues in the Twin Cities area, from the first professional facilities in the late nineteenth century through the decade-long struggle in the 1970s to replace Bloomington{\textquoteright}s Metropolitan Stadium with a domed stadium in downtown Minneapolis. It examines the Metrodome{\textquoteright}s place in the context of national trends in stadium design, and it considers the process of the facility{\textquoteright}s design and construction. The study concludes with an investigation of the Metrodome{\textquoteright}s tenants and their varied uses of this multipurpose space. The facility{\textquoteright}s operations are largely funded by the principal tenants, but as the Minnesota Twins and the University of Minnesota build new facilities, and with the end of the Minnesota Vikings{\textquoteright} lease in 2011, the fate of the Metrodome and its role as "Minnesota{\textquoteright}s Rec Room" remain uncertain.}, keywords = {Art of the United States}, author = {Anderson, Kristin} } @mastersthesis {10384, title = {Hunter, Heroes, Kings: The Hunting Frieze of Tomb II at Vergina}, year = {2008}, school = {Harvard}, abstract = {The painted frieze on the facade of Tomb II from the ancient Macedonian capital of Aegae, the modern site of Vergina, is one of very few examples of ancient painting to survive from the Hellenic world. In the scene, ten men, along with their dogs, hunt a variety of dangerous and challenging prey-lion, boar, bear, and deer-in an extensive landscape, the detailed depiction of which is unparalleled in the Greek tradition. Previous interpretations of the painting have focused on the potential for the image to reflect a specific historical moment, in which members of the Macedonian royal house took part. My approach, in contrast to these interpretations, focuses on the traditions, literary and visual, out of which the theme of the group hunt emerges. I seek to remove the image from the politics of a specific historical moment, and resituate the hunt as an iconographic theme that has deeply-rooted meaning in the culture and long-standing traditions of the Macedonian court. I offer a new interpretation of the Vergina hunting scene, in which I locate models for certain prominent aspects of the painting in Hellenic, northern Aegean, and Near Eastern traditions. I identify the group hunt as a certain kind of activity performed by the young heroes in Greek epic, and I connect the position of some hunters on horseback to a Macedonian iconographic tradition of the ideal king. The image, I argue, is a representation of a heroic hunt, which elevates its participants to the status of heroes. Even the landscape of the Vergina painting contributes to the heroic aura of the scene, and I propose that the sacred elements present in the landscape refer not to a specific locale, but, instead, to the exceptional nature of the heroic space in which this hunt takes place.}, keywords = {Greek/Roman Art}, author = {Franks, Hallie Malcolm} } @mastersthesis {10306, title = {I Like America \& America Likes Me{\textquoteright}: Artistic Exchanges between France, Germany, and the United States, 1945-1989}, year = {2008}, school = {UT Austin}, abstract = {As we all know, there are multiple stories of art. But even in the West, each country has its own story, especially when it comes to the visual arts in the second part of the twentieth century. The stories told by the French, the German, the Italian, and the American textbooks and museums differ greatly. Yet, the American story is usually regarded as the standard account: the common Western story against which we mentally contrast the Non-Western stories. Without aiming at writing the true story of contemporary Western art, this dissertation tries to uncover alternative stories, interpret the differences, and explain how one particular view came to prevail as the story. Concretely, it examines four contentious issues on which the standard account is particularly challenged by other stories, namely the fracture of the Second World War, the shift of the artworld{\textquoteright}s center from Paris to New York, the domination of American art in the 1970s, and finally the European comeback of the 1980s. Analyzing the different national interpretations of these events and confronting them with empirical data (place, date, participant, etc.), the dissertation uncloaks enduring myths and reductive explanations. It highlights above all the role of dealers, collectors, curators, critics, and government officials in the way art is produced, received, and remembered. It also demonstrates how the shifting historical, economic, and institutional contexts continuously reshaped the story, the canon, and the viewers, so that what art historians have traditionally seen as stylistic shifts and artistic leadership appears rather as the result of forces that extend beyond the artistic creation. Stories with less international recognition should not be dismissed in favor of an official story that would erode all differences and present us with a single-and thus deficient-perspective. Only through the consideration and analysis of multiple cultural and national perspectives can we understand the complexity of the artworld{\textquoteright}s dynamics. Ultimately, I propose a comprehensive yet critical art historical approach rooted in cultural history that would offer a solution to writing art history in an age of globalization that purports to eschew previous assumptions of nationalism and creative genius.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Dossin, Catherine Julie Marie} } @mastersthesis {10425, title = {Il bello dal deforme: Caricature and Comic Drawings in Seventeenth-Century Italy}, year = {2008}, school = {Delaware}, abstract = {Filippo Baldinucci described caricature as a play between the beautiful and the ugly. This dialectic underlies my dissertation{\textquoteright}s approach to seventeenth-century Italian caricature and comic drawings. Early modern sources consistently point to Baroque Italy as the period when such drawings flourished, yet there exists no comprehensive art historical study of caricature. This dissertation explores the notion of play in the visual arts and the manipulation of cultural constructions of ugliness. The spirit of lusus gave rise to caricature--its sense of play, its graphic form, and the act of ugly drawing. Caricature emerged from the innovative curriculum of arts instruction in the Carracci Academy and was transformed into a visual form of social satire practiced by clever draftsmen, such as Gianlorenzo Bernini, Guercino, and Pier Francesco Mola. Whether in the convivial atmosphere of the Carracci studio or Bernini{\textquoteright}s encounters with arrogant courtiers, "playfulness" determined the appearance, performance, and reception of these drawings. As a display of intellectual wit, Seicento draftsmen appropriated ideas of the ugly that were manifest in academic and popular culture. Prints and publications on physiognomy and medical pathology, as well the more ephemeral broadsheet tradition fostered a fascination with monsters and monstrosity. Renaissance satirical writing produced verbal caricatures long before the emergence of a visual counterpart on the stage or on paper. The graphic economy of a seventeenth-century caricature belied the complexity of the drawing{\textquoteright}s cultural references, which demanded a sophisticated viewer to be fully appreciated. Play underlies the paradoxical nature of caricature, a paradox with strong ties to the poetics of concettismo, which ultimately provides a means to explore the discourse between beauty and ugliness in the seventeenth century.}, keywords = {Renaissance/Baroque Art}, author = {Cheng, Sandra} } @mastersthesis {10373, title = {Illuminating the Memphite Sarapieion}, year = {2008}, school = {UCLA}, abstract = {The Memphite Sarapieion, the sacred precinct in the royal necropolis of Saqqara that was dedicated to the burial and mortuary cult of the Apis bull from at least as early as the Dynasty 18 reign of Amenhotep III (circa 1390-1353 B.C.E.), was significantly altered, probably during the early Ptolemaic period, by the installation of an elaborate sculptural program and a single architectural feature, all rendered in the Hellenistic style. The Greek elements introduced to the site included a semicircle of eleven portraits of Greek poets and philosophers, three Attic lions, a modest chapel of the Corinthian order, and ten colossal statues depicting fantastical beings. An evaluation of the enhancement in accordance with the conventions of the Greek visual vernacular current during the Hellenistic Age suggests that the intended purpose of the installation was two-fold. First, the sculptural program provided an iconic translation of the religious ideology associated with the deceased bull as Osiris-Apis which encouraged the Greek population of post-Alexandrian Egypt to participate in the indigenous rites practiced at the Sarapieion. Second, the installation functioned to perpetually proclaim Ptolemaic royal identity and hegemony at the Sarapieion, a place with long-standing regal connotations, and within the context of Memphis, the capital city of Egypt throughout most of its history. An attempt to reconstruct the probable reception of the program by the indigenous Egyptian audience uncovers what appears to he a similarly pro-Ptolemaic message. I propose that the remarkable coincidence of Greek and Egyptian comprehension of the program, along with the symbolic and material benefits that might be generated if the program communicated successfully to the two primary demographics of its audience, suggests the collusion of the local priesthood of Ptah, the order which supervised the ritual activities of the Sarapieion, in its conception and execution. A survey of the historic relations between the Ptolemaic crown and the Memphite leadership would seem to support such an assertion. Thus, a site of esoteric theriomorphic worship was transformed to more accurately reflect the cultural diversity of Ptolemaic Egypt and to serve the respective ambitions of the indigenous religious authority and the state.}, keywords = {Egyptian/Ancient Near Eastern Art, Greek/Roman Art}, author = {Kennedy-Quigley, Shanna} } @mastersthesis {10363, title = {Imaging the Cosmos: The Christian Topography by Cosmas Indicopleustes}, year = {2008}, school = {Temple}, abstract = {The Christian Topography by Kosmas Indikopleustes was both one of the most perplexing and one of the most elaborately illustrated manuscripts of the Byzantine era. Written in the sixth-century, the manuscript survives in three copies: Vatican Greek 699, a ninth-century codex in the Vatican collections, and two eleven-century copies, Sinai Greek 1186 in the library of Monastery of St. Katherine in Sinai, and Pluteus IX.28, in the possession of the Laurentian Library in Florence. The work attempted nothing less that the replacement of the Aristotelian-Ptolemaic system of the universe with a cosmological model the author thought was more in harmony with Christian scripture. The text was illustrated with many unique diagrams of the cosmos, as well as several narrative biblical images. Long disparaged as an obscure work by an ignorant author, scholarship focused instead on the ornate miniatures. Kurt Weitzmann and other scholars advanced the theory that the illustrators appropriated many images, particularly the narrative images from book five, from an earlier source, possibly a lost Octateuch tradition. The cosmological diagrams were seen as a novelty and largely ignored. This avenue of research resulted in a bifurcation of the text and image in scholarship of the manuscript, in which the illustrative program was seen as ad hoc or derivative and unrelated to the text or Kosmas{\textquoteright} theories. After having thoroughly examined all three surviving manuscripts in person, I have come to a different conclusion. By exploring the author{\textquoteright}s use of language and typology, I believe I have demonstrated that all the images, even the problematic narrative ones, relate directly to Kosmas{\textquoteright} theories and were probably original. Kosmas was not a fundamentalist or a "know-nothing" as previously described but a cosmopolitan and flexible thinker deeply immersed in the Christological debates of his era. Viewed in that context, The Christian Topography used a holistic approach where images and visual imagery were indispensable to the author{\textquoteright}s arguments.}, keywords = {Early Christian/Byzantine Art}, author = {Clark, Travis L.} } @mastersthesis {10387, title = {The Influence of Urban Planning on Temple Design in West Greece}, year = {2008}, school = {Rutgers}, abstract = {This dissertation addresses the questions of whether, and to what extent, West Greek urban planning influenced the design of Archaic and Classical Greek temples. The dissertation examines non-peripteral temples and sacred edifices as well as peripteral temples in both extra-urban and urban sanctuaries at nine of the most well excavated sites, and makes reference to additional buildings and sites. The dissertation is divided into two parts. Part 1, including Chapters 1 and 2, examines the locations and layouts of sanctuaries with respect to urban layouts. Chapter 1 concludes that temples and sanctuaries were strategically positioned to fulfill the needs of urban planning. Chapter 2 concludes that urban grids encouraged the regularization of sanctuary layouts and influenced the orientations and typologies of temples. The chapter additionally finds that the horizontal and vertical lines of the peristyle and Doric frieze echoed the lines of the urban grid and reinforced the visual association between temples and grids. Part 2, including Chapters 3 and 4, examines correlations between specific design elements of temple ground plans and urban grids. Chapter 3 examines the dimensional and proportional correlations between ground plans and grids, and concludes that temple widths and/or lengths were generally coordinated with a grid{\textquoteright}s lot width, block width, or overall module (block width plus street width). In the case of peripteral temples, the result was that the ground plan components of peristyle, stylobate, and stereobate were proportionate to each other as well as to the grid. Chapter 4 examines the method of division of grids and of peripteral temple ground plan lengths. The chapter concludes that urban grids were modularly divided according to a general rule (1: {\textlnot}Ω: {\textlnot}{\textordmasculine}: 1/8) or variation of this rule, and proposes that West Greek peripteral temples were similarly divided. The chapter finds that the same rule was adopted in the Temple of Zeus at Olympia, considered the canon of Classical temple architecture. The dissertation concludes that West Greek temples were coordinated with urban grids for aesthetic and theoretical as well as pragmatic reasons, and that West Greek urban planning fostered the Greek ideal of symmetria, {\textquoteright}commensurability of parts.{\textquoteright}}, keywords = {Greek/Roman Art}, author = {Grupico, Theresa} } @mastersthesis {10424, title = {Intimacy and Anticipation in the Devotional Portrait Diptych}, year = {2008}, school = {UC Berkeley}, abstract = {This study addresses the devotional portrait diptych form, which consists of a panel depicting the Virgin and Child hinged to one showing the ensemble{\textquoteright}s patron in prayer. Devotional portrait diptychs were primarily produced from the late fourteenth century through the early sixteenth century in the Burgundian Netherlands, precisely the era and area in which the origins of modern panel portraiture are located. I argue that the form{\textquoteright}s union of portrait and icon provides evidence of an alternate function of portraiture before the codification of its current conventions of representation. I approach the devotional portrait diptych as a hybrid of pictorial types, employing an art historical model of the Andachtsbild (private devotional image) and cultural-historical analysis of contemporary social practices to investigate the role played by devotional portraits in the lives of their owners. In three case studies, I analyze three formally and historically distinct variations on the form-the Wilton Diptych, the devotional portrait diptychs of Rogier van der Weyden, and Hans Memling{\textquoteright}s interpretations of the form. In all three instances, historical and material evidence indicates that the men depicted in them were their primary viewers. My study demonstrates that the devotional portrait engaged its viewer/owner in an imaginative dialogue by visualizing his particular spiritual and social aspirations. I conclude that the purpose of the devotional portrait was not to represent its sitter as he was, or as he wanted to be perceived, but to present him with an image of the ideal self to which he was asked to conform.}, keywords = {Renaissance/Baroque Art}, author = {Buskirk, Jessica} } @mastersthesis {10403, title = {Isolated Iconoclasts and Ambitious Institutions: Early Colombian Conceptualism and Its Antecedents, 1962-1975}, year = {2008}, school = {UT Austin}, abstract = {While ambitious art museums, biennials, galleries, curators, and critics promoted early Colombian conceptual art and its antecedents as being part of the latest international art trends, the intrepid iconoclasts who created it were not at all interested in being au courant or international. Far from it, their primary focus was on addressing local issues and audiences. They had an ambivalent relationship to institutions, taking advantage of internationalization, which was part of a strategy for cultural and economic development. But these artists did so in order to insert their own tactics emerging from, and dealing with, the realities of underdevelopment. Artists such as Antonio Caro, Jorge Posada, and Efrain Arrieta-developing approaches first introduced by antecedents like Bernardo Salcedo, Feliza Bursztyn, and Beatriz Gonzalez-sought to open the viewers{\textquoteright} eyes to the concrete experience of the here-and-now through the use of usually banal and often ephemeral materials and techniques. They focused critically on social issues-nationalism, education, imperialism, agrarian inequity, governmental policy, and political organization. In taking on specific, timely, and usually local matters dealing with culture, politics, the economy, and social organization, they sought to upset the prevailing conditions outside as well as inside the realm of art. Even the introduction of new forms and ways of producing art should be seen as an ideological rather than a formal exercise since it constituted a cultural assault against the Colombian ruling class. This art, then, was political: it was motivated by beliefs regarding the public affairs of a country. I argue that early Colombian conceptual art was a visual means of exposing institutional strategies of control. I show how this art partook of the spirit of participation which marked the late 1960s and early 1970s in Colombia and in the world. In the process, I add to the understanding of this tumultuous period in world history, since my study is an example of the complex processes of cultural production in an age of globalization.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Tarver, Gina Maria Mcdaniel} } @mastersthesis {10313, title = {James Ormsbee Chapin and the Marvin Paintings: An Epic of the American Farm}, year = {2008}, school = {Kansas}, abstract = {This dissertation re-examines the early career of James Ormsbee Chapin (1887-1975), and his most celebrated group of works known collectively as the Marvin Paintings. A pioneer in unconventional depictions of the American scene, Chapin made a significant contribution to the iconography of American art in the 1920s with a series of portraits depicting members of the Marvin family and images of them tending their New Jersey farm. Later critics praised these works as anticipating the works of the Regionalists triumvirate Thomas Hart Benton, John Steuart Curry, and Grant Wood. The methodology employed in this study consists of primarily of oral history and archival information culled from a variety of sources that lends support to the biographical analysis of Chapin{\textquoteright}s life up to 1930, as well as a critical analysis of the Marvin paintings and their reception.}, keywords = {Art of the United States}, author = {Anderson, Sherman Reed} } @mastersthesis {10335, title = {Jean-Michel Basquiat and the Language of Creativity}, year = {2008}, school = {UIUC}, abstract = {Previous analyses of the work of Jean-Michel Basquiat (1960-88) tend to focus on decoding these drawings and paintings, while almost completely ignoring those elements that cannot be tied to a specific (and static) iconography or historical lineage of influence. Yet, the iconographic isolation of specific symbols and icons considers neither how the visual and verbal signs within these works constitute meaning nor what they may reveal about Basquiat{\textquoteright}s own artistic concerns. For this body of work, it is not enough to decode signs and symbols; we must also try to discern meaning in their interactions and in the artist{\textquoteright}s protocols of construction. Following the title of this dissertation, I approach Basquiat{\textquoteright}s work as a complete (and partially unknown) language that must be considered on its own terms. My methods rely on similar examples in the studies of music and literature, specifically those of bebop improvisation and Beat writing, which have already moved beyond simple description to consider the formulation of meaning. As Basquiat was also a musician and a writer, the connections of these disciplines to his own visual practice are significant. In theories of musical improvisation the emphasis lies not in locating the origin of particular musical notes; instead, scholars focus on the combinations of those notes in different performative contexts and find meaning in the organization of appropriated material. In Beat literature the methods of text-collage highlight the flexibility of language, and create entirely new narratives through a blend of borrowed ones. Most importantly, the focus of these studies in music and literature is not necessarily analyzing every note or letter in isolation; instead, the dominant theories of bebop improvisation and Beat literature look into the patterns created by the combinations of these singular elements. In a similar vein, I do not focus exclusively on iconography or on decoding every element of Basquiat{\textquoteright}s paintings and drawings throughout this dissertation. Rather, I attempt to find meaningful patterns within specific works that speak to the artist{\textquoteright}s processes of composition. In the second chapter I consider the implications of reading race into Jean-Michel Basquiat{\textquoteright}s production; Basquiat{\textquoteright}s blackness is an issue not only in the scholarship surrounding these works, but is in the works themselves. The third chapter seeks to describe parallels between the working protocols in Basquiat{\textquoteright}s compositional methods in painting and drawing to those of jazz. The final chapter examines Basquiat{\textquoteright}s connections to the literary strategies of the "Beat" writers, principally Jack Kerouac and William S. Burroughs, who provided models of spontaneity and collage, and who negotiated identity in ways that Basquiat could not have found exclusively in his visual sources. Throughout this dissertation I argue that Basquiat{\textquoteright}s works are "multivocal" and operate on multiple levels of reference and perception; therefore, the words or images on the surfaces do not represent only one specific concept. They generate a multiplicity of ideas.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Saggese, Jordana Moore} } @mastersthesis {10415, title = {Judging by Appearances: How Physiognomy Influenced Nineteenth-Century French Portraiture}, year = {2008}, school = {Columbia}, abstract = {This dissertation explores the influence of physiognomy-a scientific discipline associated with Johan Caspar Lavater that posited an inherent correspondence between the physical reality of a person and his or her essential nature-on the production and reception of French portraiture during the first two-thirds of the nineteenth century. By considering portraiture within the context of diverse efforts within the sciences and popular culture to classify different groups of people according to physiognomic indices, the dissertation argues that portraits likewise exploited a sitter{\textquoteright}s physical appearance as a basis of typology. While examining the role of inherited iconography and the relevance of a realist aesthetic, the dissertation focuses on four schematic types to demonstrate the pervasiveness of physiognomy and typological thinking and their influence on the way portraits were made and received. It explores how, even after the Revolution, the concept of class influenced both artists and viewers; portraits of the aristocracy are physiognomically distinguished from those of the bourgeoisie. This dissertation also considers physiognomy{\textquoteright}s role in imaging gender, which in portraits of women superseded the significance of class. It lastly examines poets and men of letters as constituting a specific type, to illustrate how inherited iconographic tropes take on heightened significance within nineteenth-century physiognomic culture. Thus, the dissertation views portraiture as an integral voice within a symbolic discourse that visually classified individuals within the social spectrum.}, keywords = {Nineteenth-Century Art}, author = {Stewart, Lee} } @mastersthesis {10398, title = {Kano Hogai (1828-88) and the Making of Modern Japanese Painting}, year = {2008}, school = {Columbia}, abstract = {In the 1870s and 1880s, what is commonly known as "modern Japanese painting" came to differ in a number of ways from earlier Japanese painting. While these differences have been surveyed from institutional and terminological standpoints, the present study, focused on the painter Kano Hogai and his contemporaries, accounts for changes at the level of the artwork that were hitherto interpreted in biographical terms. The sudden, urgent need to produce paintings for public exhibition transformed painting, giving it a new social function and visual characteristics. This process involved Hogai from an early stage. In the mid-1880s, he was engaged by an American patron, Ernest Fenollosa (1853-1908), who cherished a vision of Japanese art that was at once "carefully preserved from all taint...of foreign sources" and suited to modern European audiences and criteria. Introduced by the Meiji government in the 1870s as a means of preparing for the world{\textquoteright}s fairs, the Western-style institution of the public exhibition called for new artforms that addressed audiences both within Japan and in the West. This situation, mirrored by Hogai{\textquoteright}s relationship with an American patron in Japan, came to define what is known as Nihonga, or Japanese[-style] painting, a modern art form that encompasses all Japanese painting "in traditional materials" but which had already developed distinctive visual characteristics and rhetorical functions in the late nineteenth century, in the first decades of its existence. Many of these same visual and ideological features continued to define Nihonga in the postwar period, even to the present day. Separate chapters devoted to the analysis of exhibition paintings and their audiences demonstrate that the most successful Nihonga compositions, especially Merciful Mother Kannon (1888), use symbolic devices that anticipate the backgrounds and requirements of different viewers, thus inviting multiple interpretations. While such strategies initially reflected the need to negotiate between domestic and foreign buyers, they ultimately spoke to demands that arose within Japanese society: as Nihonga became progressively less concerned with audiences outside Japan and more involved in domestically negotiating the "Japaneseness" of Japanese art, paintings that united viewers of different political and cultural backgrounds formed a politically valuable commodity.}, keywords = {Japanese/Korean Art}, author = {Chelsea Foxwell} } @mastersthesis {10399, title = {Kumano Mandara: Portraits, Power, and Lineage in Medieval Japan}, year = {2008}, school = {Pittsburgh}, abstract = {This dissertation focuses on two miya mandara depicting the sacred geography of the Kumano region of Japan (late-thirteenth/early-fourteenth centuries). It demonstrates that the paintings were produced at Onjoji, a Tendai Buddhist temple in the eastern foothills of Mount Hiei, and owned by Shogoin, its sub-temple in Kyoto. These temples were affiliated with the Jimon branch of Tendai associated with the esoteric cleric Enchin (814-891)), and were, by the time of the production of the mandara, in heated doctrinal, institutional, and political dispute over independence from the Tendai headquarters at Enryakuji. Three primary issues related to the mandara are addressed. First is the purpose of their production. The dissertation questions earlier claims that miya mandara primarily functioned as visual tools allowing mental visits to depicted sacred sites in place of expensive and arduous pilgrimages. Rather, it argues that the Kumano mandara were part of a larger contemporaneous discourse that included other forms of written and visual materials-such as the Ippen hijiri-e and Tengu zoshi handscrolls, Shugen shinansho, and petitions to court-and represented an orchestrated attempt to promote the spiritual superiority and legitimate the institutional autonomy of Onjoji over Enryakuji. Viewed within this context, two atypical features of miya mandara found in the Kumano mandara can be understood: the inclusion of a portrait of Enchin and of the esoteric Diamond and Womb World mandala. Lineage and power being inseparable in the religious and political culture of medieval Japan, the dissertation argues that the purpose of their placement in the Kumano mandara was to claim that the superiority of Onjoji was rooted in both Enchin{\textquoteright}s Jimon lineage and his form of esoteric Tendai centered at the temple, and that each, in turn, valorized and legitimized Onjoji{\textquoteright}s claim for superiority over all other temples, especially Enryakuji. Finally, the dissertation takes up the problem of another portrait found in the mandara, which has been identified (without substantiation) as the Shingon esoteric priest Kukai (774-835). The dissertation contests this attribution, which is inconsistent with its other findings, and offers possible avenues of pursuit for identifying this damaged and controversial portrait.}, keywords = {Japanese/Korean Art}, author = {Zitterbart, Susan} } @mastersthesis {10444, title = {La Nouvelle Artemise: Catherine de{\textquoteright} Medici, Queen of France and Patron of the Arts}, year = {2008}, school = {CUNY}, abstract = {This dissertation examines Catherine de{\textquoteright} Medici{\textquoteright}s multifaceted patronage in the context of French and European social history during the thirty years following the death of Henri II in 1559. It considers the wide range of media she patronized and investigates the importance of the roles played by the intersecting Medici and Valois traditions in the expression of Catherine{\textquoteright}s personal taste and agenda. The first chapter is dedicated to Catherine{\textquoteright}s passion for architecture, focusing on the numerous buildings she commissioned or modified and extended. Also discussed is the transition from dependence on Italian models to the blossoming of a true French Renaissance architectural style under her patronage. The second chapter is dedicated to Catherine{\textquoteright}s interest in gardens, the exceptional role they were assigned as outdoor extensions to the buildings they surrounded, and how they became backdrops for entertainments and political meetings. Chapter three considers different manifestations of Catherine{\textquoteright}s munificence through the presentation of festivals, ceremonies, and royal entries organized in honor of the Valois dynasty. A detailed examination of the iconography of the sculptural projects she commissioned is the basis of the fourth chapter; sculpture, like architecture, is shown to play a key role in conveying Catherine{\textquoteright}s political and religious convictions, as it became the quintessential expression of her understanding of the propagandistic qualities intrinsic to the arts. The fifth chapter addresses the collections of painting and objets d{\textquoteright}arts that Catherine amassed over the years as expressions of her public and private personae. In conclusion, Catherine{\textquoteright}s patronage of the arts is presented as a deliberate attempt to consolidate her position as de facto ruler of France. It is shown to be at the origin of numerous innovations that prefigure seventeenth-century endeavors, because it celebrates the omnipotent monarch and establishes a government whose triumphs would be intimately linked to that of the arts.}, keywords = {Renaissance/Baroque Art}, author = {Odde, Laurent} } @mastersthesis {10411, title = {The Landscape-as-Body in Modernist Painting}, year = {2008}, school = {Columbia}, abstract = {This is a close study of the enigmatic series of landscapes that Courbet produced in the 1860s. Unconvinced by readings of this work as a simple retreat from modernity-or, on the contrary, as a full blown embrace of kitsch-I interpret it as an aggressive, dialectical response to the Baudelairian "painting of modern life" then emerging most notably in the art of Edouard Manet. Courbet{\textquoteright}s landscapes propose an alternative to both the flaneur{\textquoteright}s fleeting impressions of crowd and street and the celebration of rural life made popular by over a decade of realist art and literature. Instead, Courbet seeks to awaken consciousness by transforming the romantic landscape of voyage into a direct, visceral confrontation with the material world, thus challenging the tendency within the Western aesthetic tradition to privilege form over matter. In my view, Courbet is the century{\textquoteright}s first truly materialist painter, thus aligning him with contemporaneous developments in geology, history, and comparative linguistics, while providing a foil to his own simultaneous investigations of the female nude. In his search for a pictorial tactility independent of the image of the human body, he set an extraordinary precedent for generations of artists well into the next century, from Paul Cezanne and Camille Pissarro to Richard Serra and Brice Marden.}, keywords = {Nineteenth-Century Art}, author = {Galvez, Paul} } @mastersthesis {10367, title = {The Landscapes of Saint-Pierre d{\textquoteright}Orbais: An Anthropology of Monastic Architecture}, year = {2008}, school = {Columbia}, abstract = {Monastic building projects in and around Orbais at the end of the twelfth century represent a particular iteration of Gothic style and technological achievement. That architecture also speaks to the aspirations of the brothers who built and lived in the monastery as well as their relationship to the world around them. Integrated art historical, anthropological, and archaeological approaches offer avenues of investigation that help elucidate the close connection between architectural forms and the expressive content generated through their use by human actors. Substantial evidence survives at Orbais from the monastery, its church, core complex, and surrounding monastic village as well as patterns of property holding patronage and other negotiations in the wider regional landscape. Conceptual and physical landscapes are frameworks for understanding the parameters within which the monks of Orbais made decisions about how to build, modify, and use their architectural spaces. The monks of Orbais, whose institutional life stretched back to the end of the seventh century, were seeking to clarify their position in the changing social landscapes of the twelfth century. In my dissertation, I explore the ways in which a modest community used an ambitious and monumental building campaign to reinforce these efforts. Furthermore, by comparison with the other monastic houses in the region. I suggest elements of a distinctively monastic architecture that combines Gothic design and reform aesthetics into an expression of the particular community that built and worshiped at Orbais. The chapters of my dissertation divide the discussion up into units of increasing geographical size, starting with the church as the focal point of both the monastery and the spiritual life of the monks. From there, the following chapter widens perspective to include the cloistral buildings with were physically, visually and conceptual integral with the church. That chapter goes on to include a discussion to the entire monastic precinct and its place within the monastic village. Systems of water exploitation and management tied the monastery directly to regional economic and environmental landscapes and are the topic of the fourth chapter. The fifth chapter treats the regional landscapes themselves, both as geological and ecological systems and as overlapping zones of human control and social interaction.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Killian, Kyle} } @mastersthesis {10271, title = {A Language for Change: Creativity and Power in Mozambican Makonde Masked Performance, circa 1900-2004}, year = {2008}, school = {Columbia}, abstract = {Anthropomorphic, naturalistic, carved from wood and embellished with paint and human hair, mapiko masks are the centerpieces of spectacles produced by groups of Makonde men in Mozambique. While Makondes consider mapiko to be a vehicle for imparting elemental truths about gender, authority, and the past, placing mapiko in historical perspective reveals that the art form, from its masks to the members of the groups who collectively perform it, has been highly variable over time. A Language for Change: Creativity and Power in Mozambican Makonde Masked Performance circa 1900-2004 argues that this mutability is rooted in changing Makonde historical experience over the course of the twentieth century. Far from being passive reflections of evolving circumstances, however, mapiko creation and performance practices have constituted a central, structuring schema through which Makonde individuals have pursued and articulated fluid social identities. This dissertation argues that, above all, mapiko constitutes both a domain for the enactment of social, political and economic power and an aesthetic and conceptual language through which this power is articulated. In Makonde thought, the masked dancer is simultaneously an incarnated ancestral spirit, a dramatic representation of a character, and a recognizable individual performing within a competitive context. Built upon these contradictory concepts, mapiko discourse constitutes an especially subtle and responsive language for the negotiation and expression of social power thin Makonde society. This dissertation focuses on mapiko practice in the eras of Portuguese colonialism and postcolonial Mozambican socialism. Theorizing practices of mask creation, masked performance, and the status of the mask in Makonde society, A Language for Change traces the emergence of new kinds of artists, new sculptural and performance genres, and new mask subjects and styles. It shows the relationships between these developments and shifts in authority in Makonde society and beyond, and demonstrates that as various individuals have attained social authority they have acted out their empowerment within the medium of mapiko, strategically innovating and selectively engaging its conventions to challenge those whom they seek to supplant in the social order.}, keywords = {African Art (sub-Saharan), Twentieth-Century Art}, author = {Bortolot, Alexander} } @mastersthesis {10419, title = {Lasithi before the New Palaces: A Study of Selected Elite Artifacts from the Hagios Charalambos Cave}, year = {2008}, school = {Temple}, abstract = {The Hagios Charalambos Cave is located in the Lasithi Plain on the island of Crete. This upland plain is situated at approximately 850 m above sea level and is surrounded by a ring of mountains reaching over 2,100 m high. The cave was originally investigated during three seasons of rescue excavations beginning in 1976. A new excavation was undertaken in 2002 and 2003. For the small size of the cave and the remote setting of the plain, the burial yielded surprisingly diverse artifacts created in a variety of materials and styles. The cave contained mixed bones and burial offerings without any stratigraphy. Most of the pottery can be dated stylistically between Final Neolithic and Middle Minoan IIB. The objects included: six sistra; clay and stone vessels; female figurines of bone, stone, and hippopotamus ivory; and other objects of gold, silver, bronze, lead, quartz and carnelian. Objects of elite character have elucidated the cultural and political developments in Lasithi during the Pre- and Protopalatial periods. Elite burial items such as jewelry, figurines and seals fit into a specific group of burial accoutrements that has a tradition in Crete during the Early and Middle Bronze Age. Some of the objects from Hagios Charalambos have parallels from the Trapeza Cave in Lasithi, the tholoi of south central Crete and Archanes, the caves and rock shelters along the north coast near Malia, and the house tombs of Mochlos in East Crete. The presence of elite goods in Lasithi strongly suggests the emergence of the importance of the individual over the community in EM III-MM IA, a time well before the foundation of the first palaces. Additionally, by examining these elite objects and how they change over time in terms of trade in raw materials and engaging in political associations, one can determine the cultural development of the society. A vivid picture of shifting relationships between different regions in Crete becomes much clearer than previously understood. Lastly, the population of Lasithi and the other settlements associated with Prepalatial tholoi and house tombs were differentiated into a ranked society long before the Minoan palatial system was founded.}, keywords = {Prehistoric Art}, author = {Ferrence, Susan C.} } @mastersthesis {10364, title = {Late Antique Floor Mosaics of Constantinople prior to the Great Palace}, year = {2008}, school = {IFA/NYU}, abstract = {This dissertation brings together for the first time the complete corpus of floor mosaics from Istanbul, from thirteen sites, dating from the second to the sixth century C.E. This is also the first systematic and contextual study of this mostly unpublished material. The corpus is here divided in four groups: (1) the Belediye Sarayi (City Hall) mosaics at Sarachane; (2) the Kocamustafapa!a mosaic; and (3) the rest of the mosaics from Istanbul, geometric and ornamental. The first chapter focuses on an individual site, the Belediye, discovered in 1953 in a salvage excavation. It brings together unpublished site photographs and sketch plans from various archives and the literary references to the topography of Constantinople in the period. It suggests a new attribution for the mosaics: the paving for the peristyle of the gymnasium of the Thermae Constantianae, one of Constantinople{\textquoteright}s most prominent but long-lost public monuments. Chapter two is a thorough analysis of a single mosaic from a suburban villa in the Kocamustafapasa district of Istanbul, also now in the storerooms. The extant mosaic is of immense size (c. 2.5x10 m., 8 x10 m. when reconstructed), and presents a single-canonical subject, "the Triumph of Dionysus." It was conceived in a totally new compositional manner with an extraordinarily vibrant figure style. Based on an analysis of the archaeological data in the excavation records and the figural and the ornamental style of the mosaic I suggest the mosaic decorated a dining hall of a fifth century villa, in a neighborhood inhabited by the highest rank aristocratic estates, as we learn from primary sources. Chapter three considers the rest of the mosaics, in two parts, Roman (pre-Constantinian) mosaics, and the mosaics of Constantinople, which are principally geometric in repertoire and some of them very fragmentary. Their value is that they document the long lines of mosaic tradition in a continuity starting before the Constantinian rededication of the city in 330.}, keywords = {Early Christian/Byzantine Art}, author = {Dalgic, Orgu} } @mastersthesis {10376, title = {Les jardins d{\textquoteright}agrement en Nouvelle-France aux XVIIe et XVIIIe siecles}, year = {2008}, school = {Montreal}, abstract = {This research originates from the hypothesis that pleasure gardens have existed since the beginning of the French Colony in North America. Influenced by practices in use in the capital, the first inhabitants add rapidly to the nutritious gardens, an ornamental and enjoyable dimension which creates a convenient place suitable for relaxation, meditation and social activities. In our study context, the notion of pleasure garden in New-France refers to a setting which includes wittingly, either humble or refined, by its design and decoration, material components, arrangements, a relation to the environment that confers it artistic and aesthetic values or a significance beyond the basic function of sustenance. This research relies first of all on the identification, inventory and analysis of the gardens featured in formal cartography. At once drawn by the explorers, the plans became by 1630 a tool essential to the French state, which entrusts their realisation to royal engineers appointed in the colony. Driven from a rich collection of manuscripts, we have constituted a corpus of 178 iconographic documents mainly composed of plans of Canadian cities and of private properties. We have completed this research material with written primary sources-travel accounts, administrative and private correspondence, legal documents-which have permitted to add precisions and confirmations inferred from our main primary source. This work has been dictated and guided by a pragmatic approach derived from landscape architecture. The setting and development of the North American garden of French influence is submitted to the physical conditions, to the obstacles related to the adjustment of the young colony and to its prevalent social and political context. Taking into consideration these influences and the developments occurring in the French garden during this interval, we have retained four chronological periods. The approach used indicates a progression in the nature and spread of the gardens which follows the settling of the colony and the permanent rooting of civil and religious institutions. Over the French colony, the gardens appear to be a lasting phenomenon while they reveal specific characteristics. The period before 1635 corresponds to discoveries and first occupation in which we denote expressions of interest for indigenous vegetation and the culture of ornamental plants. Repeatedly, Champlain represents gardens in his drawings related to new establishments, and in his accounts gives precisions about their uses. The interest for natural sciences among men of the Renaissance can also be depicted on the banks of the St-Lawrence River; it can be appreciated in the discovery and experimentation of local flora. Between 1635 and 1675, we witness the gradual establishment of permanent facilities. At this time, the institutional and private buildings begin to structure the space and create the first urban landscapes. In 1670, we observe that many gardens, in varied settings, fill the upper city of Quebec; their existence is corroborated by contemporary documents. The third period, which takes place from 1675 to 1715, favours consolidation of the experience and territorial expansion. This stability is reflected in the occurrence of gardens in other parts of the territory, such as in Montreal, but also by the setting up of public urban spaces-terraces, walks-which all playa significant social role in addition to the private and institutional gardens. During the last period, between 1715 and 1760, marked for a while by prosperity, the most spectacular gardens are realised, namely the Superintendent{\textquoteright}s garden, the Marquis de Vaudreuil{\textquoteright}s garden and Louisbourg and New Orleans{\textquoteright} gardens. After 1760, urban gardens stay in place but will eventually disappear, due to the pressure of development in the cities. In that context, they will be replaced, but in areas out of towns, by the then prevalent model of the English Garden layout.}, keywords = {Eighteenth-Century Art, Renaissance/Baroque Art}, author = {Fortier, Marie-Jose} } @mastersthesis {10355, title = {L{\textquoteright}essor du livre illustre au Quebec en relation avec les milieux artistiques et editoriaux francais, 1880-1940}, year = {2008}, school = {Montreal}, abstract = {The amount of illustrated books published in Quebec between 1880 and 1940 is the result of a transfer and of an awareness of issues concerning research, practices and cultural movements-of simultaneously artistic, literary and editorial nature-borrowed by European trends and more specifically French ones. Such signs of cultural transfer, encouraged by numerous and diverse exchanges, leave but a few clues on the relationships established between Quebec and French publishing agents or on the manner in which each contributed to the phenomenon. Compiled from the study of two hundred two illustrated literary books, mainly novels and poetry collections destined to adults, the purpose of this thesis is to identify the presence of the artistic and editorial French influence and the mechanisms of this contribution. This research process was built around three research axis in order to present the various aspects. The first axis presents the possibilities of artistic formation, whether academic or not, of illustrators in Quebec and in France, being seen as cultural vectors. The second axis examines the emergence of the Quebec editorial scope. The modern professional editor, excluding the author and the illustrator, generates an important influence on the illustrated book{\textquoteright}s layout. Finally, the third axis of analysis studies the progressive opening towards artistic modernity, through the elaboration of the page{\textquoteright}s layout, the techniques used, the iconographic and stylistic content of the illustrations and the evolution of the interaction between a document and its images.}, keywords = {Drawings/Prints/Works on Paper}, author = {Danaux, Stephanie} } @mastersthesis {10338, title = {L{\textquoteright}image cubiste et la question de l{\textquoteright}autoreference}, year = {2008}, school = {McGill}, abstract = {This thesis addresses the problems of the autoreferentiality of artworks and of meaning-making. It focuses on Cubism, particularly on artworks by Pablo Picasso and Georges Braque. The aim of this research is to demonstrate how meaning is constructed in these ambiguous artworks through the interplay of the concepts of referentiality and autoreferentiality. It contends that we cannot abstract or neglect any of these principles without distorting the aesthetic quality of these artworks. This research outlines, in this sense, a current problem in the historiography of Cubism, that is, the ambivalence between a process of internal meaning versus of external meaning, which are currently considered as antithetic phenomena. It also contends that only when we consider the conceptual structure of these artworks, can we fully understand their polysemical character or multi-level significance. The main theoretical framework for this analysis is Roman Jakobson{\textquoteright}s model of communication which provides a definition of the concept of autoreferentiality as a self-addressing process, through its notions of "message" and "poetic function". Four aspects of the problem of autoreferentiality are thus examined, through the notions of "context", "destinator", "code", and "receptor" as well as their interrelationships in the artworks. It is also in referring to the modern definitions of sign that the problems of autoreferentiality and meaning-making are addressed.}, keywords = {Contemporary Art}, author = {Beauchemin, Anne} } @mastersthesis {10465, title = {Looking for Bruce Connor, 1957-1967}, year = {2008}, school = {Princeton}, abstract = {Bruce Conner first gained the attention of the art world in the early 1960s for works created from castoff materials bound together with stretches of nylon. His career has since encompassed a wide range of production, from intricate, manically worked drawings, to groundbreaking found-footage films, to a number of quasi-performance pieces in which he has played with his own identity as an artist-often asking a variant of the question, "Who is Bruce Conner?" Despite the impact his iconoclastic gestures have had on artists of his own and subsequent generations, Conner has remained difficult to comprehend or classify. Sly and secretive, he is to this day an influential but ghostly presence, possessing a curious inclination to disappear from view precisely at the moment of potential critical illumination or commercial celebrity. The elusiveness of Conner{\textquoteright}s artistic persona-particularly in his early, formative years-along with his commitment to working in a diversity of media help account for why his work is not as well known as it otherwise might be, given its consistently high level of interest. In my dissertation, I focus on Conner{\textquoteright}s work of the late 1950s and 1960s in order to reveal the deep connections, hitherto unacknowledged, linking together the artist{\textquoteright}s various aesthetic activities-most significantly in assemblage, film, and drawing, his major artistic preoccupations in the period. Through a series of close readings of individual artworks, I demonstrate that Conner{\textquoteright}s broad range discloses a consistent, if anxious, artistic vision. To do so, I have framed the project as a series of medium-specific meditations on the question of what looking might have meant for Conner-in his assemblages, which attract and repel the eye in equal measure; in his films, which find personal pathos in widely recognizable cinematic cliches; and in his intricate, obsessively worked pen-and-ink drawings, which disrupt normal viewing patterns. At the same time, I have found that looking for Conner-an artist based in northern California, far from the presumed center of the American art world in New York, who has proven elusive for historians of the postwar period-has allowed me to complicate standard critical histories of the avant-garde in the 1950s, by all accounts a pivotal moment in the history of American art. As a maker of works that confound and discomfit the viewer, Conner emerges in retrospect as a trickster figure, unsettling the established narratives of the avant-garde in twentieth-century American art. For if the New York-centered art world of the 1950s and {\textquoteright}60s was, at least in part, a fantastic projection, it was a projection that a San Francisco-based artist like Conner was able to expose-sometimes knowingly, sometimes in ways that can only come to light with the benefit of historical hindsight.}, keywords = {Twentieth-Century Art}, author = {Hatch, Kevin} } @mastersthesis {10483, title = {The Los Angeles Look: Light, Space, and Phenomenology, 1962-1974}, year = {2008}, school = {Delaware}, abstract = {In the 1960s, New York artists were paring objects down to the minimum in order to maximize viewer experience. Such objects, as Robert Morris and others argued, necessarily possessed a "gestalt clarity"-a sense of wholeness and totality that could not be broken down into individual parts. Nearly all of the traditional formal elements of sculpture (i.e. shape, texture, a distinction between positive/negative space, color, etc.) were reduced or rejected in favor of this gestalt. In short, Minimalists claimed: "simplicity of shape does not necessarily equate with simplicity of experience." Meanwhile, Los Angeles artists were also making forms that were minimal, but not as an end goal in and of itself. Instead, they often employed materials like glass or fiberglass, which tended to yield glossy, reflective, and even colorful surfaces. These not-so-simple objects offered a more particular, almost transcendental experience for the viewer. Larry Bell{\textquoteright}s smoky glass cubes of the mid to late 1960s, for example, were variously described as "atmospheric" and as resembling "halations of breath." Craig Kauffman{\textquoteright}s plastic bubbles of the mid-1960s were seemingly inspired by the "brilliantly sunny, palm-studded, DayGlo-spangled Los Angeles landscape." John McCracken{\textquoteright}s colorful, fiberglass-coated planks of the same time were compared to custom cars and surfboards. Why was the perceptual experience of art objects from New York explained with words like "gestalt" and "objecthood," while Los Angeles art was consistently described in terms of LA-ness? If the Southern California landscape has truly inspired the works made there, then how different is the experience of these objects? Is it the implicitly placeless phenomenological one as described by Robert Morris, or, do these objects require an LA-infused theoretical lens through which to view them? This dissertation investigates precisely that. It analyzes the LA Look as a separate and unique art movement, consisting of some characteristics shared with New York Minimalism and many that are not. It offers an historical understanding of what it means to talk of LA-ness; such that, when the Los Angeles Look is inevitably compared to plastic, Disneyland, or car culture, it means something more than falsity, fantasy, or fetishism. This dissertation constructs an ideational framework out of these stereotypes that both elucidates and supports the art of the LA Look as being something much more substantial and historically grounded than its present status as second-rate Minimalism.}, keywords = {Twentieth-Century Art}, author = {Weller, Rebecca} } @mastersthesis {10433, title = {Ludovico Gonzaga Barbara of Brandenburg, Andrea Mantegna, and the Audience Room in the Castle in Mantua: Imagery of Virtue, Rulership, and Destiny}, year = {2008}, school = {IFA/NYU}, abstract = {In 1474 Andrea Mantegna, court artist to the condottiere Ludovico II Gonzaga, marchese of Mantua, finished the decoration of the Camera Picta in the Castello di San Giorgio. There is a vast modern critical literature on the Camera, yet basic questions are still debated. This study is a radical revision in approach to the subject; it challenges usual assumptions about dating and content. It offers a new interpretation of the paintings, arguing an astrological reading of the ceiling decoration as the key to meaning. Starting point is contemporary description of the Camera as an audience chamber. It is made evident that function determined the decoration{\textquoteright}s design and content. Chapter one discusses dating and historical context, focusing on Barbara of Brandenburg{\textquoteright}s role at court. Chapter two creates a picture of the Camera as it was experienced during court ceremonies; discussed are castle layout, room design, furnishings, lighting, the paintings{\textquoteright} formal elements, and reception etiquette. Chapter three considers the wall decoration{\textquoteright}s imagery and meaning. Themes and symbolisms overlooked in earlier studies are identified, including astrological allusions. It is shown that the decoration served to convey a specific message to dignitaries given audience in the room: one that promoted and advertised Ludovico{\textquoteright}s virtues, character as a ruler, and the services he had to offer. Patron-artist relationship is also discussed. Chapter four considers the tradition of astrological decorations in audience chambers, and the role astrology-horoscopy played at the Gonzaga court. Ceiling design and figural decorations are shown to incorporate imagery of time, rulership, fame, and fortune. Ludovico{\textquoteright}s natal horoscope is reconstructed and interpreted following guidelines in antique astrological manuals. Correspondences are drawn between ceiling imagery and the horoscope{\textquoteright}s planetary configurations that governed predictions of public fame, fortune, and marriage. Decoration and horoscope proclaim the same message, exactly suited to the Camera{\textquoteright}s function as an audience chamber: Ludovico Gonzaga, with Barbara of Brandenburg at his side, was destined to a glorious rule of Mantua based on eloquence, wisdom, and intellect.}, keywords = {Renaissance/Baroque Art}, author = {Granato, Lois} } @mastersthesis {10350, title = {Luxury and Modern Architecture in Germany, 1900-1933}, year = {2008}, school = {Harvard}, abstract = {This dissertation examines the tension between the modern movement{\textquoteright}s theories and self-conceptions and its artistic output by studying the discourses of intellectuals and architects who framed the period debates and the architectural and domestic objects the movement produced. The lens through which it examines them is the period notion of luxury, rarely thought central to modernism given its interest in mass housing and mass production. The dissertation argues instead that modernism was conceived and sold through a combination of conformity to bourgeois expectations of luxury and redefinition of them-responding to and seeking to satisfy, but also reshape, the norms and desires of elites. It considers the foremost artists and architects of the period, who discussed the object{\textquoteright}s role in society while designing products, looking specifically at the design and marketing of electrical appliances by Peter Behrens at the AEG and in its Berlin stores, the relationship between consumption of Bauhaus objects and efforts at their mass production, and notions of interiority in the domestic commissions of Ludwig Mies van der Rohe. In this study of how modern objects were designed, produced, and sold, the city becomes an agent-either through the assimilation of its forms and materials into the modern interior, or via new techniques and modes of display aimed at the urban dweller-as do objects themselves-through their potential reproducibility and their capacity to cultivate habits (as revealed by a reading of Walter Benjamin). The dissertation also reconstructs modernism{\textquoteright}s consumers, considering what objects and interiors indicate about social relations in the period, looking to both industrialists{\textquoteright} and intellectuals{\textquoteright} theories of production (for example Werner Sombart{\textquoteright}s Luxury and Capitalism). The discourse of modernism called for a new focus on standard types and mass production, but this call revealed an important disconnect with existing design and production structures and the social practices supporting them. By examining how modern architecture and domestic objects were designed, manufactured, and sold, and to whom, this dissertation brings to light their status as luxury objects championing democratic and utopian implications but remaining stubbornly out of the reach of the people they purported to serve.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Schuldenfrei, Robin Schaefer} } @mastersthesis {10319, title = {Made in the U.S.A.: Americanizing Aesthetics at Carlisle}, year = {2008}, school = {CUNY}, abstract = {This dissertation is the first in-depth art historical study of the visual imagery produced at the Carlisle Indian Industrial School (1879-1918). The Carlisle School, named after the town in which it was established in Central Pennsylvania, was a paramilitary residential boarding school for Native American youths. The school{\textquoteright}s founder, army officer Richard Henry Pratt (1840-1924), conceived of the school as an institution which would solve the then-pressing "Indian Question" by forcibly assimilating and Americanizing its young charges. Pratt and others believed that while the Native American existed in a state of savagery, such re-education could in fact "improve" their level of civilization, thereby integrating them into the perceived mainstream of American life during the Gilded Age. Pratt quickly recognized the potential of visual imagery in this project. He and his collaborators deployed life mask sculpture, photographs, and printed and mass distributed illustration in a wide-reaching propaganda campaign in an effort to "prove" the school{\textquoteright}s efficacy in relation to its stated aims. This dissertation will critically examine this imagery in depth, and assess its implications for American cultural history and identity. Chapter One examines ways in which Native Americans were perceived by and subsequently represented by Euro-American artists and scientists during the ante-bellum period, a period during which public discourse on race was dominated by pseudoscientific thought. Chapter Two examines how the school was founded, and the role played by pseudoscientific visual imagery in its founding. Chapter Three examines several case studies at the school, and how Pratt sought to metaphorically "uplift" his savage charges via deft photographic strategies. Chapter Four examines how Pratt publicized the school and its assimilationist agenda by forwarding an aesthetics of docile labor, leisure, and play which supposedly mirrored life at Carlisle. Finally, the Conclusion offers an update on the status of the Native American within contemporary American visual culture, while also suggesting new areas for investigation. Throughout this dissertation, it will be maintained that the imagery produced at the school deployed time-honored aesthetic tropes, and that such imagery was ideological in nature. The image of the school as a place of progressive and smooth advancement was in reality contrasted by the often grim material conditions in which the students lived.}, keywords = {Art of the United States}, author = {Mauro, Hayes Pete} } @mastersthesis {10422, title = {Manifesting Masculinities in Central Italian Renaissance Art: Artistic Theory and Representations of the Male Body}, year = {2008}, school = {CUNY}, abstract = {This dissertation examines the intersection of Central Italian Renaissance art works and texts to understand shifts in representations of the male body from the dawn of the Renaissance to the Counter-Reformation. I identify three paradigms of masculinity that appeared as a result of changes in the sexual, political, artistic, and religious climates of the Cinquecento: the Machiavellian Hero, the Hermaphroditic Deviant, and the Emasculated Prophet. Analyzing the relationship of images and texts such as Nicolo Machiavalli{\textquoteright}s The Prince (written c. 1512, printed 1532), Baldassare Castiglione{\textquoteright}s Book of the Courtier (1528), Giorgio Vasari{\textquoteright}s Lives of the Painters, Sculptors and Architects (1550), among others, demonstrates how each of these paradigms corresponded to art-theoretical precepts - disegno, grazia, and decoro. The multiple values and expectations implied in the word "masculinity" and transitions in the meanings embodied by the male form necessitated the development of these three ideals.}, keywords = {Renaissance/Baroque Art}, author = {Bautista, Preston} } @mastersthesis {10421, title = {Master Carpenters in Renaissance and Baroque Rome: The Collaboration of Artists, Architects, and Artisans on Monumental Commissions in the Cinquecento and Seicento}, year = {2008}, school = {UC Santa Barbara}, abstract = {This dissertation treats the roles and social status of carpenters and woodworkers employed on significant projects in Rome during the sixteenth and seventeenth centuries. Up to now these falegnami have received little critical attention in the literature because their contributions were little understood or considered insignificant in comparison with those of contemporary architects, painters and sculptors. I have been able to demonstrate instead that many master carpenters were highly respected and widely sought out, although their names have since been forgotten, and were closely involved in the design and execution of the most important building projects and sculptural and decorative programs of the period. Based on an exhaustive analysis of primary and secondary sources, my research has enabled me to reconstruct a group of carpenter-architects (falegnami-architetti), including Flaminio Boulangier, Giovanni Battista Montano, Jan Van Santen (Vasanzio), Gian Antonio De Pomis, and Giovanni Battista Soria, who worked closely with architects on monumental projects in Rome, if not practicing outright as architects. The text is organized under four main rubrics: the position and status of carpenter-architects and woodworkers; Flaminio Boulangier and the wooden ceiling of the nave in S. Giovanni in Laterano; Francesco Nicolini and the wooden ceilings of the churches of S. Maria dell{\textquoteright}Orazione e Morte and S. Eligio de{\textquoteright} Ferrari; and biographies of Renaissance and Baroque master carpenters and woodworkers in Rome. In the last rubric, I present a biographical dictionary based on previously unpublished archival documents, with entries for 26 international carpenters and woodworkers active from the mid 16th to the late 17th century in Rome, elucidating their national origins, the locations and components of their workshops, collaborators, and the projects in which they participated. The appendices comprise transcriptions of documents, including three registries of carpenters and woodworkers who were matriculated, licensed, and certified to work in Rome between 1540 and 1661. These sources provide invaluable demographic information which allow for the reconstruction of workshops of artisan families and actual schools that were active in the Eternal City during this period.}, keywords = {Renaissance/Baroque Art}, author = {Anderson, Paul} } @mastersthesis {10342, title = {The Meaning of Sensation: Young British Art in the Nineties}, year = {2008}, school = {Duke}, abstract = {This dissertation explores the exhibition Sensation: Young British Artists from the Saatchi Collection (1997-99), which opened in London before traveling to Berlin and New York. It considers the reception of Sensation in all three cities, with particular attention to the controversies the show ignited in the United States and Britain. I explore how culture battles in Britain tend to reflect questions of public funding and contested notions of what counts as art, whereas in the United States, art controversies are most often initiated by religious debates tied to conservative politics. The dissertation also traces the development of the young British artist (YBA) phenomenon which began in the late 1980s, and its Faustian relationship with the media, as well as with advertising mogul, collector, patron and art dealer Charles Saatchi (who co-curated the Sensation exhibition from his collection). I also analyze Charles Saatchi{\textquoteright}s art activities and impact on contemporary British art. Finally the dissertation contextualizes Sensation in relation to selected art controversies in Britain and the United States. I conclude with a consideration of the role, function, and possibility for the production of avant-garde art at the turn of the millennium.}, keywords = {Contemporary Art}, author = {Rosenberg, Capri} } @mastersthesis {10458, title = {The Media of Memory: History, Technology, and Collectivity in the Work of the German Zero Group, 1957-1966}, year = {2008}, school = {Yale}, abstract = {In the late 1950s and early 1960s the German Zero group, founded in 1957 by Otto Piene and Heinz Mack with the later addition of Gunther Uecker, was one of the first artists{\textquoteright} groups to emerge from West Germany after the Second World War. United by an interest in kineticism and light, Zero quickly formed a wide artistic network, publishing the Zero journal and presenting Zero performances and events. Zero proclaimed itself a aesthetic {\textquoteright}year zero,{\textquoteright} and shifted its artistic emphasis from expressions of subjectivity associated with the Informel painting which dominated 1959s German art, to an exploration of collective production, performative art actions, and the use of new media and materials. While Zero is often discussed as an idealistic avant-garde movement of the postwar years, this dissertation proposes an alternate frame through which to understand the group: the context of Germany{\textquoteright}s recent history of war. Although the Zero artists declared their work to be a break with the past, I suggest that it in fact repeats, repositions, and responds to themes of the Second World War. While invoking new technologies, Zero{\textquoteright}s objects and performances use materials with specific connections to the airwar, recall the physical paraphernalia of fascism, and engage with media such as television that had been previously defined by their fascist applications. Zero artworks reprisal of history within the context of West Germany{\textquoteright}s economic miracle-their mimicry of advertising strategies and the language of consumer commodities-thereby reveals such structures to be inflected by the history that the Adenauer Era hoped to repress. In so engaging material histories of war and fascism, the Zero group constituted an initial {\textquoteright}working through{\textquoteright} of the past within the field of aesthetics itself. Although this {\textquoteright}working through{\textquoteright} was largely unacknowledged by the artists themselves, it laid the groundwork for the future artistic efforts of subsequent artists who would confront Germany{\textquoteright}s past more directly.}, keywords = {Twentieth-Century Art}, author = {Atwood Gibson, Eleanor Jess} } @mastersthesis {10336, title = {Melodrama as Modernity in Early Chinese Cinema: A Case Study in the Works of Zheng Zhengqiu and His Shanghai Contemporaries, 1922-1937}, year = {2008}, school = {UIUC}, abstract = {Zheng Zhengqiu (1889-1935) was the most influential Chinese filmmaker in early Chinese cinema; his historical position parallels D.W. Griffith{\textquoteright}s in American film history. My dissertation examines the evolution of Zheng{\textquoteright}s cinematic art, tracing its origins from a cross-media perspective and through his personal relationships with his Shanghai contemporaries during the years 1910-1935. My project characterizes his cinematic art as one in which ideas originated in graphic arts and theater were incorporated into the new technology of cinema in novel and unexpected ways. Zheng{\textquoteright}s film art draws upon the power of representational images, using affective pictures to encourage his audiences{\textquoteright} identification with drama. His conceptualization of cinema is quite different from that of montage masters who primarily used fast editing and cutting to create tension and drama. Grounding my work in the methodology of art history, I argue that Zheng approached film as an alternative cinematic strategy to supersede montage aesthetics. "Pictures in motion" is a cinematic art that reflects the sensitivities of his people and his time.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Tseng, Li-Lin} } @mastersthesis {10278, title = {The Misuse Value of Space: Spatial Practices and the Production of Space in Istanbul}, year = {2008}, school = {Rochester}, abstract = {This dissertation is an interdisciplinary investigation of the indeterminate political role played by the inhabitants{\textquoteright} spatial practices of misuse in the social production of urban space in contemporary Istanbul. My argument is that both established and emerging hegemonic representations of the city of Istanbul presume a normative definition of the capitalist production of urban space based only on the use and exchange values of space; and they fail to consider what I propose to call "the misuse value of space." I define the misuse value of space as a potential value that is activated by the spatial practices of misusers. Considering the ways in which the normative definition of the production of space in Istanbul is complicated by the inhabitants of the city through their spatial practices of misuse, I find that the inhabitants are not merely passive consumers of the spaces of the metropolis but they have an active and constitutive role in molding the shape of urban social space. This entails a discussion on spatial authorship, which is normatively supposed to belong to the authorities including urban designers, real estate developers and the state. To show how the spatial practices of misusers are also implicated in the production of space in Istanbul, I turn to a set of vignettes, which I call ethnographies of spatial authorship. Finally, I focus on the art collective Oda Projesi and their public artworks which take inspiration from actual misuses in Istanbul. I explore the ways in which the public art of Oda Projesi rely on an activation of the misuse value of space. My dissertation closes with a demonstration of how Oda Projesi demonstrates the political possibilities that generate from this activation.}, keywords = {Architectural History/Historic Preservation, Critical Theory/Gender Studies/Visual Studies}, author = {Ozkan, Derya} } @mastersthesis {10436, title = {Modalities of the Idea: L{\textquoteright}Idea della Bellezza and Stylistic Change in Early Modern Italy}, year = {2008}, school = {Maryland}, abstract = {In the careers of many prominent seventeenth-century painters such as Annibale Carracci, Guercino, Domenichino and even Caravaggio there is a familiar stylistic progression: each began their careers with a chiaroscuro manner rooted in Venetian and Emilian naturalism and then later shift to a markedly classicizing manner characterized by a brightening or lightening of the palette, a tendency to idealize the human form, and an insistence on composing in a series of parallel planes. The art-theoretical concept known as L{\textquoteright}Idea della bellezza was the touchstone in cases where this stylistic phenomenon manifested itself. Developed and modified in antiquity to maintain its relevance to art theory, the Platonic Idea went through many variations and interpretative models until it was reintroduced to art theory in the Renaissance. At the same time, expectations of artists increased as the arti di disegno sought to be included among the liberal arts. Artists{\textquoteright} primary and secondary phases of education ensured a reading knowledge of Latin and equipped them with the ability to engage with the theoretical material of their day. This intellectual interest was reinforced by the foundations of the Florentine Accademia del Disegno, and later the Bolognese Accademia degl{\textquoteright}Incamminati. As the number of publications by artists seemingly dwindled in the period following Mannerism, it was assumed that artists were increasingly disinterested with the complex theoretical discourse taken up by a growing number of critics and theorists. However, artists of the early modern period did participate in the debates of their day, which in turn reveals their sensibilities. A number of treatises and writings on art have survived from Pietro Testa, Orfeo Boselli and Nicholas Poussin that demonstrate a sustained interest in theory. Within these writings we find that art-theoretical concepts such as L{\textquoteright}Idea elucidate each artist{\textquoteright}s conceptual process and metaphysical understanding of art. In the Seicento the dominant position taken by artists and theorists alike was the reemerging Nominalist formulation for art production, which explains the move from a carefully observed naturalism in an artist{\textquoteright}s early career to a more abstracted later style.}, keywords = {Renaissance/Baroque Art}, author = {Hutson, James} } @mastersthesis {10447, title = {Modes of Representation: Genre, Theater, Music, and Voice in the Work of Guercino}, year = {2008}, school = {Johns Hopkins}, abstract = {This study restores historical depth to one of the most critical commonplaces of the seventeenth century, the "theatrical Baroque," through a new reading of the art of one of its most prolific exponents, Il Guercino (Giovanni Francesco Barbieri, 1591-1666). While the imprecision and ahistoricity of "Baroque" have long been noted, the term "theatricality" remains thorny. In seventeenth-century studies, it has been used almost exclusively in either of two ways: as a negative epithet for what has been regarded as the stagey or excessively opulent artifice of seventeenth-century art; or as a recuperative term designating the sublimity of spiritualized "Baroque spectacle." In neither case has theatricality been allowed to assume its historical meaning, when the affinities between theater and painting were theorized under the rubric of "representation," and when new genres of painting emerged to accommodate the position of a new kind of spectator. These genres, which we would now call theatrical, are better understood in their seventeenth-century terms, when artists, writers, composers and musicians consciously chose to present their subject matter in what was called the modo rappresentativo (dramatic mode) as opposed to the modo narrativo (narrative mode). Although Guercino has received much attention in recent years, the theatrical qualities displayed in his works have, for the most part, eluded historical analysis. A revised view of Guercino{\textquoteright}s art indicates that he consistently adopted the modo rappresentativo-or the tropes and modes of address of pastoral plays, tragedy and opera-all of which were in the process of being codified as vernacular theatrical genres. Moreover, Guercino tended to reject canonical epic sources in favor of their renegade dramatic counterparts, where female characters who were "othered" in the conventional texts are instead presented as sympathetic protagonists whose unrequited love is exploited for its expressive emotional content. This study argues that the relationship between painting and viewer in Guercino{\textquoteright}s oeuvre is best understood in the context of an historical debate that excavated the epistemological foundations of representation itself. It is only by subjecting to critical scrutiny seventeenth-century modes of representation that we can recover the "theatricality" of the "Baroque" in its historical complexity.}, keywords = {Renaissance/Baroque Art}, author = {Prasad, Shilpa} } @mastersthesis {10292, title = {Montclair, New Jersey: The Development of a Suburban Town and Its Architecture}, year = {2008}, school = {CUNY}, abstract = {After the Civil War suburbs increased in the United States as a result of expanding populations, immigration and overcrowded cities. Americans longed for more space and communities free of foreigners. This has been the reigning understanding of the nation{\textquoteright}s modern suburban development but it does not relate the story in its entirety. Through an in depth study of the growth of late nineteenth-century Montclair, New Jersey, this dissertation will argue the postbellum suburb thrived not as an urban escape route but as an opportunity for the exploration of different housing possibilities. At the height of industrialization and in the aftermath of war, Americans longed to create communities reminiscent of the nation{\textquoteright}s past, i.e., its villages of eighteenth-century New England. With a firm grasp on Protestant principles and Puritan ideology, and situated on land adjacent to Llewellyn Park, the country{\textquoteright}s first private suburb, transplanted New Yorkers looked to build in Montclair a community that was well-versed in architectural design but socially conservative. Through an analysis of Montclair{\textquoteright}s history, archived locally and throughout the state of New Jersey, the suburb{\textquoteright}s existence as a picturesque enclave with multiple influences become clear. As the home of architects, artists, photographers and suffragists like Frank Edwin Wallis, George Inness, Harry Fenn, Washington Irving Lincoln Adams and Lucy Stone, the suburb attracted a diverse citizenry, yet with a Congregational church led by Amory Howe Bradford, descendant of Puritan William Bradford, Montclair appeared ripe for a "New Puritanism" movement. Examination of Montclair{\textquoteright}s history is important because it sheds greater light on the varied interests and impulses of its first suburbanites. Since the postwar era the suburbs have been denounced as the domestic vacuum of the bourgeoisie. The modern American suburb must be viewed alternately, as Roger Silverstone has described, as an emerging architectural space-a space with different concerns than that of the city and worthy of unique consideration. Examination of suburban Montclair reopens the discourse on the history of housing in America and underscores that a more thorough insight into its suburban roots will allow for a better understanding of the housing trends of tomorrow.}, keywords = {Architectural History/Historic Preservation}, author = {Nowicki, Susan} } @mastersthesis {10416, title = {New Avant-Gardes in East-Central Europe and Russia, 1987-1999}, year = {2008}, school = {Rutgers}, abstract = {This dissertation examines the resurgence of avant-garde art in the work of three performance artists from different post-communist countries under the Soviet sphere of influence: Russia, Latvia and Poland. I examine the work of Latvian artist Miervaldis Polis, Russian artist Sergei Bugaev (Afrika) and Katarzyna Kozyra from Poland as a means of evaluating the changing circumstances in which new art was produced in the late-Soviet and Post-Soviet era. Through a case-study analysis of artistic performances by three artists in these contiguous but contrasting countries of the former communist region of Europe, I demonstrate how the divergent experiences of late and post-socialism were uniquely presented in the visual arts and also uniquely received by audiences. Because performance is ephemeral and foregrounds artist-audience interaction, by focusing on performance art in these countries, I am able to specifically orient my study around the exchange between artist and viewer. The artists represent neither their nation nor their generation, but their performances address both the shared and specific conditions of cultural practice the wake of socio-political change.}, keywords = {Performance Studies, Twentieth-Century Art}, author = {Bryzgel, Amy} } @mastersthesis {10308, title = {New Races, New Media: The Struggle for a Modern American Art, 1890-1925}, year = {2008}, school = {MIT}, abstract = {American modernism was formulated at the turn of the twentieth century, when artists and intellectuals became newly self-conscious of their aesthetic strategies in a rapidly urbanizing United States. During that same period, new immigrants from Southern and Eastern Europe poured into the U.S., native-born black and white Americans undertook internal migrations to northern cities, and advances in the technology of image making-photography, film, and even improvements in the graphic reproduction of caricature in newspapers-provoked uncertainty in the art world. This dissertation explores the intersections of these two trajectories in period artworks and debates about artistic medium, examining how notions of America as a diverse nation operated at an aesthetic and a cultural level. The immigrant critics and practitioners at the center of my study-Japanese-German critic Sadakichi Hartmann, Mexican-born artist Marius De Zayas, and English-Sri Lankan curator Ananda K. Coomaraswamy-each formed conflicted partnerships with the American photographer Alfred Stieglitz. These allies attacked America{\textquoteright}s homogeneous arts, positioning themselves as critical hybrid outsiders, and identifying marginal media as means by which to devise and theorize a new art in the U.S. This dissertation examines three episodes in their formulation of American modernism, arguing that each aesthetic breakthrough informed and was informed by a double debate: one occurring in the political and cultural sphere, and a parallel discourse about artistic media themselves. Part one traces the origins of "straight" photography in relation to the nascent philosophy of cultural pluralism (1895-1907); part two explores caricature{\textquoteright}s role as a hybrid medium for negotiating between African and modern European art (1907-1917); and part three examines how the motion picture served to engage both popular white nativism and avant-garde celebration of ethnic spiritualism (1917-1925). With independent expressive properties, each art form could restructure the artistic canon and enable the formulation of what I term a "composite" American modernism. Formalist criticism has used medium specificity to isolate the study of art from other modes of history-writing, but this dissertation restores a crucial historical context for modernist media theory to reveal that the ongoing American dilemma of integrating difference lies at the heart of American modernism.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Kroiz, Lauren} } @mastersthesis {10303, title = {Nurturing Change: Lilly Martin Spencer{\textquoteright}s Images of Children}, year = {2008}, school = {Maryland}, abstract = {This dissertation is the first full-length study to concentrate on American genre painter Lilly Martin Spencer{\textquoteright}s images of children, which constituted nearly one half of her saleable production during the height of her artistic career from 1848 to 1869. At this time, many young parents received advice regarding child rearing through books and other publications, having moved away from their families of origin in search of employment. These literatures, which gained in popularity from the 1830s onward, focused on spiritual, emotional, and disciplinary matters. My study considers four major themes from the period{\textquoteright}s writing on child nurture that changed over time, including depravity and innocence, parent/child bonding, standards of behavior and moral rectitude, and children{\textquoteright}s influence on adults. It demonstrates how Spencer{\textquoteright}s paintings, prints, and drawings featuring children supported and challenged these evolving ideologies, helping to shed light not only on the artist{\textquoteright}s reception of child-rearing advice, but also on its possible impact on her middle-class audience, to whom she closely catered. In four chapters, I investigate Spencer{\textquoteright}s images of sleeping children as visual equivalents of contemporary consolation literature during a time of high infant and child mortality rates; her paintings of parent/child interaction as promoting separation from mothers and emotional bonding with fathers; her prints of mischievous children as both considering changing ideals about children{\textquoteright}s behavior and comforting Anglo-American citizens afraid of what they saw as threatening minority groups; and her pictures with Civil War and Reconstruction subject matter as contending with the popular concept of the moral utility of children. By framing my interpretations of Spencer{\textquoteright}s output around key issues in the period{\textquoteright}s dynamic child-nurture literature, I advance new comprehensive readings of many of her most well-known paintings, including Domestic Happiness, Fi, Fo, Fum!, and The Pic Nic or the Fourth of July. I also consider work often overlooked by other art historians, but which received acclaim in Spencer{\textquoteright}s own time, including the lithographs of children made after her designs, and the allegorical painting Truth Unveiling Falsehood. Significantly, I provide the first in-depth analysis of a newly rediscovered Reconstruction-era painting, The Home of the Red, White, and Blue.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Napolitano, Laura Groves} } @mastersthesis {10310, title = {Object Pornography, Objective Expressionism: Claes Oldenburg, Eros, and the 1960s}, year = {2008}, school = {Stony Brook}, abstract = {This dissertation represents a study of the 1960s work of Claes Oldenburg in relation to the contemporaneous discourse of Eros in the writings of such figures as Norman O. Brown and Herbert Marcuse and to the growing significance of consumer society. This correlation shapes his work most decisively in a practice he referred to as "objective expressionism" in which he attempted to imbue his sculptures with an erotic intensity and psycho-sexual power. This power, he claimed, would disallow conventional forms of disinterested aesthetic reception and challenge the neutralization of avant-garde art in what he referred to as "museum-civilization." In this respect, his work was a manifestation 1960s neo-avant-garde practices that attempted to blur the boundaries that separated art from life, but his art was distinctively preoccupied with the psychoanalytic problematics of desublimation that this attempt entailed. Although Oldenburg became familiar with Sigmund Freud{\textquoteright}s key writings in the early 1950s, this account takes as its historical parameters, on one hand, Oldenburg{\textquoteright}s encounter with Norman O. Brown{\textquoteright}s Life Against Death in 1961 when he was making works that would appear in his famous storefront exhibition in New York City{\textquoteright}s Lower East Side and, on the other, the installation of his first large-scale monument Lipstick (Ascending) on Caterpillar Tracks at Yale University in 1969. The latter was a commission by student followers of Herbert Marcuse, and it was dedicated to challenging the norms of comportment and decor that characterized university life at the moment. From a broader perspective, however, Brown and Marcuse became crucial thinkers for many of those attempting to formulate challenges to both psychic and social repression during the years that separated The Store and Lipstick (Ascending) . With this in mind, these works form the bookends of an account that situates his practice in relation to a shift in the organization of life under capitalism from one dominated by the protestant ethic of self-sacrifice and social repression to one based on consumer hedonism. This shift opened up a number of possibilities for social, political, and aesthetic practices that were at once both critical of and complicit with the new formations of consumer society. During the course of the decade, Oldenburg{\textquoteright}s work developed in relation to these possibilities and accrued broader significance in the context of political trends that were dedicated to overcoming the enduring repressions of postwar social life.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Williams, Thomas} } @mastersthesis {10302, title = {Obscuring the Distinctions, Revealing the Divergent Visions: Modernity and Indians in the Early Works of Kiowa Photographer Horace Poolaw, 1925-1945}, year = {2008}, school = {Indiana}, abstract = {This study provides a much needed in-depth reassessment of Kiowa photographer Horace Poolaw{\textquoteright}s (1906-1984) contribution to a critical turning point in Native American history and art history. It further extends the scholarship that is critically engaged with problematizing modernity as it relates to Indian identity and art. Many art critics and historians have perpetuated a dichotomy between Indians and the modern throughout the twentieth century including several recent reviewers of Poolaw{\textquoteright}s work. They have relied on a longstanding interpretative framework based on the Indian{\textquoteright}s inevitable extinction. On an evolutionary spectrum, most nineteenth-century liberal white reformers believed that indigenous individuals and artists demonstrated their modernity and/or progress by killing their Indianness and adopting European or white American styles, beliefs, and modes of living. This study replaces singular and linear notions of modernity with the recognition of multiple, simultaneously existing modernities. It also draws from scholarship that has argued for more fluid and fluctuating understandings of the modern and the traditional/Indian. By problematizing the perpetuation of entrenched distinctions between modernity and Indians, this project contributes to the de-centering of American art histories that have until recently been construed as the exclusive domain of white European and Anglo-American men. Horace Poolaw was one of the first Native American professional photographers in the early twentieth century. He was witness to many social and political changes instituted by the indigenous peoples of Oklahoma, after a century of dispossession, war, disease, and oppression. My research delineates the significance of the first twenty years of Poolaw{\textquoteright}s career 1925 and 1945, the height of the period of indigenous artistic and political resurgence in Oklahoma. It was also during this period that Poolaw developed and refined his mode of engagement with Native identity and modernity.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Smith, Laura} } @mastersthesis {10352, title = {Of Merit and Ancestors: Buddhist Banners in Northern Thailand and Laos}, year = {2008}, school = {UCLA}, abstract = {This dissertation examines Tai Buddhist banners of Northern Thailand and Laos and highlights the diversity of banner types that abound throughout the region. An understanding of this art form is essential for developing a broad context for the connection between the Theravada laity{\textquoteright}s conceptualization of merit and heaven and the visual arts. This is particularly the case of the cloth banners because they are made and donated by women, who are frequently underrepresented in studies of Buddhism and art in Theravada Southeast Asia. Because women are integral to the survival of the monastery (wat) and because their attention to the stories told there are reflected in the banners, the study presented here is helpful to other researchers whose interests may include learning about how popular Buddhist stories such as the last ten lives of the Buddha and the story of Phra Malai are interpreted by female laity. This research was accomplished through field research, in which eleven months were spent traveling and documenting banners in Thailand, Laos, and Sipsongpanna. This fieldwork also involved formal and informal interviews with Buddhist laity and monks to understand the meaning and context of the banners, their use in the wat, and their specific connection to the earning of merit. In addition to the fieldwork portion of this research, I also examined a variety of sources to gain further contextual and historical understanding of the banners, where possible. These sources include: other regional art, such as textiles and murals; Thai language materials such as publications and religious texts; published works on Buddhism and Buddhist art; and historical accounts written by Europeans in the nineteenth and early twentieth centuries. My examination makes it clear that these art objects have a complexity to them that is reflected in their widely varied appearances and multifaceted and complex iconography. The diversity of types and appearance comes from two major factors: the Theravada Buddhist context and the creativity of the women who make them. Local styles and interpretations add to the complexity of the Tai Buddhist banners. The banners{\textquoteright} specific function is integral to not only understanding their role at the wat and for women, but also provides important connection to other Buddhist banners that differ in appearance and construction but have the same basic meaning.}, keywords = {Decorative Arts/Textiles/Design History, South/Southeast Asian Art}, author = {Hall, Rebecca} } @mastersthesis {10286, title = {Otto Koenigsberger: Tropical Architect from Princely Mysore to Post-colonial London}, year = {2008}, school = {Michigan}, abstract = {In this dissertation, I investigate how trans-colonial histories of architecture intersect with transnational environmental histories of architecture. I locate Tropical Architecture, which I define as climate-responsive and energy-conservative design, in the pre-history of environmentalism. I argue that the corpus of knowledge that developed through Tropical Architecture in the 1950{\textquoteright}s constitutes the pre-cursor to Green Architecture. I locate Tropical Architecture as a trans-colonial set of architectural practices that originated in the colonial experiences of European modernist architects. As a crucial part of this hypothesis, I trace the career trajectory of emigre architect Otto Koenigsberger (1909-99), who escaped Nazi Berlin in 1933 to go to Egypt and subsequently immigrated to India in 1939. In India, Koenigsberger served as the chief architect for the Maharajah of Princely Mysore from 1939 to 1948 and as the Federal Director of Housing for Nehru{\textquoteright}s government from 1948 to 1951. In 1951, he immigrated to London to become one of the founders of the Department of Tropical Architecture (1954-1971) at the Architectural Association (AA) School of Architecture. I argue that working in exile in Princely Mysore fundamentally transformed Koenigsberger{\textquoteright}s architectural thinking and practice. The most significant change in his thinking was his cognizance of the limits of resources and energy. Through his experience in Mysore, Koenigsberger theorized Tropical Architecture as a discourse that was climate responsive, energy conscious, and built with local resources. Existing histories locate Tropical Architecture as a neo-colonial project that emerged in the 1950s along the networks of the diminishing British Empire, propose that Tropical Architecture embodied a vision of environmentalism. Green Architecture, which is considered a recent discourse, cannot therefore be fully grasped unless it is historicized in relationship to Tropical Architecture. The careers of tropical architects are the missing link between histories of architecture in the colonies and histories of Green Architecture. I make my argument by establishing continuities between Tropical and Green architectural practices and by demonstrating how people trained in Tropical Architecture made their careers in the field of Green Architecture.}, keywords = {Architectural History/Historic Preservation}, author = {Baweja, Vandana} } @mastersthesis {10479, title = {Paintings of Pueblo Indians and the Politics of Preservation in the American Southwest}, year = {2008}, school = {Rutgers}, abstract = {This dissertation investigates paintings of Pueblo Indians produced in the 1920s. Painted at a time when the federal policy of assimilation was being vigorously contested, many of these images are imbued with a preservationist perspective. Artists, such as Marsden Hartley, John Sloan, and Ernest L. Blumenschein, struggled to find a new visual language for representing the Pueblo people, one that would correspond to their protests against assimilationist policy. Through the efforts of artists in favor of the preservation of American Indian culture, a new concept of "Indianness" was popularized. An anthropological perspective, or one that recorded the customs of "vanishing" Indians, was displaced by a subjective vision, which attempted to evoke the abstract qualities of contemporary Indian rituals, such as their rhythms, communalism, and connection to nature. This new visual language, with its ideological complexities and paradoxes, permeates Georgia O{\textquoteright}Keeffe{\textquoteright}s paintings of Indian ceremonials. A study of the extent to which artists{\textquoteright} preservationist stance framed their view of Pueblo Indians, and the visual manifestation of this view in their art, enriches the discourse concerning the art of the Southwest by adding a critical interpretive layer.}, keywords = {Twentieth-Century Art}, author = {Scott, Sascha} } @mastersthesis {10291, title = {Pattern books and the suburbanization of Germantown, Pennsylvania, in the mid -nineteenth century}, year = {2008}, school = {Delaware}, abstract = {This dissertation examines the relationship between prescriptive ideals and the actual suburban development of the Germantown section of Philadelphia from the 1830s through the early 1860s. Exemplifying many small towns on the outskirts of larger cities, Germantown{\textquoteright}s growth in this period was characterized by unplanned development, a speculative real estate market, and the involvement of numerous small-scale entrepreneurs. Germantown{\textquoteright}s suburban neighborhoods were not the product of a simple evolution but of a complex and conflicted process of community building and cultural change. Local privatism and ruralism gave way to a kind of progress that gradually overcame a strong disinclination to abandon the city for year-round residency in the suburb. Germantown{\textquoteright}s evolving grid of streets, rectilinear lots, and new suburban houses differed significantly from the picturesque landscape ideals and house designs promoted by pattern-book authors. Pattern-book authors exploited cultural anxiety over tasteful expression and inappropriate displays of social ambition as a way to promote the services of professional architects. They encouraged custom-built, individualized homes with picturesque plans that would carefully express the character of their owners and be a source of long-term sentimental attachment. These ideals largely ignored the means, motives, and mobility of most middle-class, suburban residents. Moreover, Germantown{\textquoteright}s truly customized, architect-designed houses not only were exceptional examples but they also varied significantly in their reception of pattern-book ideals. Pattern-book authors sought to separate the real estate market from the sentimental idea of the home, but the two spheres were inseparable and effectively reconciled in Germantown{\textquoteright}s grid development and popular suburban house types. Developers and proprietors may have embraced the moderate level of sentimental individuation available in the new styles popularized by pattern-book authors, but they thwarted prescriptive rhetoric by employing a limited number of conventional house forms. They modernized the side-passage plan, center-passage plan, and twin dwelling, modifying these types for a suburban context in a way that combined urban symbolism and rural sensibility. Germantown{\textquoteright}s middle-class builders and buyers thus avoided the social uncertainties and market liabilities entailed by new-fangled, picturesque plans. They favored fashionable but standardized homes that were easily marketed, acquired, and sold again.}, keywords = {Architectural History/Historic Preservation}, author = {Holst, Nancy} } @mastersthesis {10377, title = {Pedro Alexandrino de Carvalho (1729-1810) et la peinture d{\textquoteright}histoire a Lisbonne: cycles religieux et cycles profanes}, year = {2008}, school = {Montreal}, abstract = {The main object of this study is Pedro Alexandrino de Carvalho (1729-1810), the most important Portuguese painter of the second half of the 18th century. He greatly contributed to the decoration of churches reconstructed after the 1755 earthquake and can be considered as the last great baroque painter in Portugal. This study is a monograph of Alexandrino, who has, to date, never received the critical and academic recognition requisite to an artist of his rank. In the first chapter, we will examine the literature review regarding his oeuvre. We will then focus on our methodology and discuss the difficulties encountered during our research. A brief description of the 18th century Portuguese context will also permit us to understand better Pedro Alexandrino{\textquoteright}s work. Chapter 2 will concentrate on the man and the painter: after our literature review, we will focus on Alexandrino{\textquoteright}s biography and his artistic output. Once we have covered this ground, we will discuss his works with specific attention paid to the different genres that he practiced as well as his various patrons. This way, we will be able to cover Alexandrino{\textquoteright}s career and consider his existing works as well as those that were destroyed. Six monuments, all located in Lisbon, and decorated with cycles and series of religious paintings will be discussed in Chapter 3. They are representative of both Alexandrino{\textquoteright}s different types of paintings and his artistic methods. Then, we will analyze three cycles of mythological paintings located in palaces of the Portuguese capital. This chapter will allow us to have a good overview of late 18th century profane works by the most important painter of the period. By the end of our study, we will be able to demonstrate Alexandrino{\textquoteright}s central place in the 18th century Portuguese artistic context. We will show that his artistic production is perfectly in keeping with European artistic and stylistic standards of the time.}, keywords = {Eighteenth-Century Art}, author = {Fonseca, Anne-Louise} } @mastersthesis {10274, title = {Performing Patronage: The {\textquoteright}Traditional{\textquoteright} Ceremonies of Zambia{\textquoteright}s Afropolian Chiefs}, year = {2008}, school = {Harvard}, abstract = {Since Zambia{\textquoteright}s return to multi-party politics in 1991 there has been a drastic increase in annual cultural festivals. These events, which amount to over sixty, are patronized by chiefs in conjunction with cultural associations and are gazetted by the Department of Cultural Services. While many scholars view these ceremonies as folklorized pseudo-culture, I frame them as socio-aesthetic, cosmopolitan performances that grow out of Zambia{\textquoteright}s history of cross-regional engagements. Considering theories of performance and the promiscuity of tradition, I develop a performative ontology of tradition that involves communal accountability and the escorting of culture rather than a top-down invention of tradition. In Chapter One I study Mwata Kazembe{\textquoteright}s beaded crowns that are performed at three Mutomboko ceremonies, demonstrating how objects and their meanings are also escorted, or "carried-along" by communities. I argue that cultural objects and styles are profoundly linked to corporeal movement, making them susceptible to the contingency of performance, creating situational readings. Similarly, in Chapter Two, I examine Soli song and dance, arguing that a visual interpretation of the ceremonial dress of girl initiates cannot exist without a consideration of the full repertoire of dress in relation to bodily movement and sound. In Chapter Three I examine the concept of Afropolitanism by considering the travels and socio-cultural engagements of a powerful "national" chief, Chieftainess Nkomeshya, who is not only politically active, but also deeply connected to Soli ritual and spirituality. In a study of place, I explore her geo-spatial dialectical movements between rural and urban spaces, arguing against the concept of "authentic ritual" that relies on outmoded, dichotomous notions of tradition. In Chapter Four I expand on Afropolitanism by examining cultural production at Victoria Falls in relation to the historical cosmopolitanism of the area. Presenting Chief Mukuni as an Afropolitan chief, I reformulate "the public" in relation to tourism, and question how local is "local enough" in the performance of heritagization. I conclude by expanding the concept of escorting tradition and submit that, rather than being spectacles, festivals are year-round lived experiences that are punctuated with lacunae that enable them to exceed officialization and the accompanying fixity of ethnicity.}, keywords = {African Art (sub-Saharan)}, author = {Simbao, Ruth Kerkham} } @mastersthesis {10321, title = {The Pictorial Mapping and Imperialization of Epigraphic Landscapes in Eighteenth-Century China}, year = {2008}, school = {Stanford}, abstract = {Compiled in 1771 to document Manchu emperors{\textquoteright} southern processions, Magnificent Ceremonies of the Southern Inspection Tours can be considered an imperialistic campaign that aimed at placing Qing imperial patrimonies and monuments, such as temporary palaces and stele pavilions, on the tourist map and promoting them as cultic objects for the masses to worship. Probably inspired by this mapping project, the literati artist Huang Yi (1744-1802) created a series of topographic paintings to record ancient steles during his archaeological expeditions in northern China. These mapping projects were, in fact, visual representations of two competing movements in the eighteenth century. One was Han-Chinese literati{\textquoteright}s collective effort to museumize long forgotten ancient steles and advocate them as alternative models to challenge the calligraphic orthodoxy, known as tiexue (model-book calligraphy). The other was the Qing court{\textquoteright}s mass construction of new steles to monumentalize the tiexue tradition and imperialize China{\textquoteright}s physical and cultural landscape. Driven by such ambitions, the court produced an array of war memorials to celebrate successful military campaigns along borderlands and deliberately misplaced them in the empire-wide institution for civil education, or the system of government schools and Confucian temples. By installing these military monuments in civil institutions, the court transgressed the long-standing boundary between the civil and military realm and subverted the traditional Han-Chinese values that privileged civil merits over military ones. Concurrently, numerous steles were erected to commemorate imperial tours. Inscribed with lyrical poems by Manchu emperors, these steles spread from one popular scenic site to another and intruded into a leisure landscape that had long been monopolized by literati-travelers to immortalize their on-site travel literature. The Qing monuments not only physically and symbolically reshaped the landscape, but also altered the original image of imperial steles as rare and mysterious monoliths. Their omnipresence and their availability to the public transformed them into a new form of mass communication and propaganda. Chinese literati{\textquoteright}s efforts to restore the legacy of ancient monuments might have been a countermeasure against such excessive use of steles by the court to regain their dominance over the physical and cultural space of China{\textquoteright}s historic sites.}, keywords = {Chinese Art, Eighteenth-Century Art}, author = {Mei, Yun-Chiu} } @mastersthesis {10451, title = {Pictorial Reflections of the Imperial Presence in Renaissance Italy, 1520-1540}, year = {2008}, school = {UCLA}, abstract = {This dissertation considers classically disguised Renaissance princely portraits and all{\textquoteright}antica palace decorations in Italy in the first half of sixteenth century. Through an examination of artistic patronage at the courts of Florence, Mantua, Genoa and Trent, I argue that such depiction in the classical style flourished at this time because of the presence of an ancient Roman emperor incarnate: the new Holy Roman Emperor Charles V, who ruled over the formerly independent rulers of those cities after the sack of Rome in 1527. I propose that in response to this dramatic shift in the hierarchical structures in the Italian peninsula, the princes of Italy created a new socio-political visual narrative with which to rationalize their domination by a foreign power. By commissioning works that heralded Charles V as a new Augustus or Jupiter and themselves as classical figures like Hercules or Neptune, the princes both honored their overlord and emphasized their own power. Through visual assimilation to the archetypal figures of ancient Rome, they rationalized foreign rule by suggesting pictorially that Charles was the continuation of their great Roman past-their, and also his, ultimate source of power and legitimacy.}, keywords = {Renaissance/Baroque Art}, author = {Wehmeier, Jennifer} } @mastersthesis {10357, title = {Picture-Loving: Photomechanical Reproduction and Celebrity in America{\textquoteright}s Gilded Age}, year = {2008}, school = {Chicago}, abstract = {This dissertation traces how the publication of photography in national magazines altered our definitions of what was considered public and private by redefining who the public figure was and how s/he could be portrayed. It analyzes the types of portraiture published and the image-text relations that developed as photographs became a major method of illustration first in national general-interest magazines and then in major newspapers. Photography, via halftone technology, played a key role in the commodification of amusement that took place during this time period; it facilitated the growth of specialty magazines, expanded the role of publicity in modern culture, and changed the look of advertising forever. This study begins in the 1880s because that is when experiments with halftone technology made it possible to print photographic images and text simultaneously and inexpensively. The research looks first at trade manuals and contemporary accounts of the halftone{\textquoteright}s emergence and argues that in the first decades of this technology{\textquoteright}s existence, it was not nearly as mechanical a form of reproduction as has been supposed. Nor was the lag between its invention and commercial adoption as lengthy as has been traditionally argued. After looking at the technology{\textquoteright}s emergence, this study then examines, in turn, the adoption of halftone photography by general-interest magazines, New York{\textquoteright}s leading newspapers, and the developing film industry. When periodicals adopted halftone technology, they increasingly used it to showcase contemporary individuals in mid-career. The expanding definition of public personality extended representation to many who had been previously excluded, but in limited ways. By displaying public figures{\textquoteright} dress, homes, and participation in leisure-time activities, halftone photography also defined the accoutrements of success and, in a period marked by immigration and economic crises, it visually depicted nationality. The use of this new technology also exacerbated fears of invasions of privacy. Within a decade, however, many who had once eschewed publicity began to actively seek it.}, keywords = {Drawings/Prints/Works on Paper}, author = {Michal, Eileen} } @mastersthesis {10305, title = {Picturing American Women in the Postwar Period}, year = {2008}, school = {Minnesota}, abstract = {Picturing American Women looks at visual and literary representations of womanhood in the United States after World War II. During the Cold War years which have been characterized by unprecedented prosperity, demonstrated by the suburban development and rising of car culture, a new cultural ideal for women was constituted: the model mother or "Mrs. America." By exploring specimens of popular culture-advertisements for dental care products, cosmetics, automobiles, and female underwear, Al Parker{\textquoteright}s cover illustrations for the Ladies{\textquoteright} Home Journal, beauty contests like the Mrs. America Pageant, and film and literary images in such works as Grace Metalious{\textquoteright}s Peyton Place, this dissertation demonstrates that the media imagery of ideal womanhood or motherhood signified a longed-for stability and the suburban nesting of families. The fact that these images deliberately excluded racial "others" and the working class confirms that they constituted a normative cultural ideal, defining the "model" in terms of white, middle-class, feminine beauty, and domesticity. By examining how American women actually reacted to this narrowly defined ideal, the dissertation also shows that the prescriptive maternal role stressed in popular culture images was not simply imposed on women but it was performed, perpetuated, and contested by women in the postwar period.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Chung, Nogin} } @mastersthesis {10346, title = {Picturing the Colonial Enlightenment: Race, Identity, and Difference in French Visual Culture, 1682-1804}, year = {2008}, school = {Harvard}, abstract = {This dissertation is a study of the visual discourse of race in seventeenth and eighteenth century France. A primary goal of this project is to uncover the early meanings of the word "race", a term that circulated in the French language for well over two hundred years before it became indelibly linked to skin color. "Race" existed as one concept among many to measure and describe civility, pedigree, and genealogy. I therefore begin my study of "race" in the ancien regime by considering engraved depictions of French nobles produced during the so-called "crisis of identity" (ca. 1560-1640), a period in which definitions of nobility were disputed, adapted, and redefined according to changing "racial" concerns. While this crisis of identity unfolded in metropolitan France, an entirely different project of "racial" differentiation was occurring in France{\textquoteright}s burgeoning empire. Looking at mid-seventeenth century engravings of sugar, indigo, and tobacco plantations in the French Antilles, I explore the way in which slavery became naturalized as a racially determined institution, one that correlated the "blackness" of African men and women with their alleged enslavability. I consider the way in which printmaking-a black and white medium-generated a dichotomous ideology, whereby skin color became the supreme measure of racial difference. I then turn to the complicated matter of slavery within France, and I examine the way in which portraits of elite women (dames de qualites) and their slave domestics (petits negres) visualized a more nuanced, variegated understanding of race. I investigate constructions of whiteness and blackness from an artistic perspective, uncovering moments where skin color functions as a malleable visual trope, rather than as an exacting tool of scientific categorization as it would become in the nineteenth century. I propose that the physiognomy and skin color of the black servant is often the subject of curious painterly attention, providing a vivid, exotic and polychromatic foil to the relative austerity of the named female subject. Finally, I address the manner in which the figure of the slave domestics is adapted to confront various societal concerns and demands regarding female subjectivity and colonial desire. In the work of the eighteenth century portraitist Nicolas de Largillierre in particular, the slave domestic is used to denote luxury, vanity, acquisitiveness, and various other "feminine" ills of imperialist accumulation. To this end, my dissertation addresses a wide range of imagery produced during a period of colonial expansion and disempowerment of the nobility, when categories of race, gender, and social status were consistently being constructed, blurred, and renegotiated.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Eighteenth-Century Art}, author = {De La Rosa, Gabriella} } @mastersthesis {10430, title = {Pilgrimage and Italian Renaissance Art: The Artistic Influence of the Cult of the Holy Girdle in Prato}, year = {2008}, school = {Washington University}, abstract = {The artistic and cultural importance of pilgrimage has been treated peripherally in Italian Renaissance scholarship. The perception of pilgrimage as a fervent and backward religious practice does not generally concur with the understanding of the Italian Renaissance as a period of intellectual progress. My study attempts to readjust this scholarly predilection by investigating, as a case study, the decoration at Santo Stefano in Prato and related images. The church of Santo Stefano boasted the Virgin Mary{\textquoteright}s holy girdle (belt) and attracted many pilgrims from across Europe, ornamented by some of the most prominent Renaissance artists, including Agnolo Gaddi, Donatello, and Filippo Lippi. This study focuses on the aspect of pilgrimage regarding the cult of the holy girdle in Prato and seeks to contribute to the recent scholarly trend that investigates the importance of relics and cult images within Italian Renaissance art. This study employs a broad, interdisciplinary approach and forms arguments based on extensive archival research. I identify the Opera del Sacro Cingolo as the main promoter of the cult and analyze this civic organization{\textquoteright}s finances and administrative activities, which have escaped singular attention in scholarship. Delineating the Opera{\textquoteright}s promotional function helps us situate the artistic programs that the organization administered at Santo Stefano within the larger context of propaganda. The practice of pilgrimage also influenced the actual art-making at Santo Stefano. It is proposed that Agnolo Gaddi developed a clear narrative style at the church in order to make his fresco cycle readily understandable for pilgrims and visitors. Luxurious materials and the repeated images of the Virgin{\textquoteright}s Assumption in the church are examined as effective means to persuade viewers of the relic{\textquoteright}s importance. The political role of the relic is further addressed from the perspective of international diplomacy. I maintain that special displays of the relic to foreign dignitaries were often important state affairs, which justified the lavish and sophisticated decorations that would elevate the status of the Pratese Commune and, by implication, its overlord state, Florence. Finally, I argue that pilgrimage not only intensified Prato{\textquoteright}s direct importation of the latest trends in Florentine art but also enabled this somewhat marginal locale in turn to influence the art-making of Florence and other places.}, keywords = {Renaissance/Baroque Art}, author = {Fujikawa, Mayu} } @mastersthesis {10470, title = {Points, Lines, Encounters, Worlds: Tansaekhwa and the Formation of Contemporary Korean Art}, year = {2008}, school = {IFA/NYU}, abstract = {Initially shown during the early 1970s, tansaekhwa, or Korean monochrome painting, is widely acknowledged as a key movement in the history of 20th century art in Korea. Tansaekhwa literally means "monochrome painting," yet the works grouped under its purview were joined together by a sustained commitment to the workings of the mark. In bodies of work such as Yun Hyongkeun{\textquoteright}s Umber Blue, Park Seobo{\textquoteright}s Myobop, Lee Ufan{\textquoteright}s From Line and From Point, as well as Ha Chonghyun{\textquoteright}s Conjunction, this commitment took the form of an interplay whereby the painting simultaneously appeared to invite-and deflect-the gaze of the viewer. This interplay strongly resonated against two currents that underscored the formation of the Korean art world in the 1960s and 70s. One was a relentless quest to participate in the international art world, a quest whose intensity was greatly amplified by the introduction of cultural exchange with Japan after relations between Korea and Japan were normalized in 1965. Equally significant was the culture of surveillance fostered by the authoritarian regime of South Korean president Park Chung-hee. The interplay between invitation and deflection found in tansaekhwa appeared to take exception with this culture. Tansaekhwa thus possessed a political urgency which has otherwise been ignored in most accounts of this movement. By tracking the production, exhibition, and critical reception of tansaekhwa, particularly of Umber Blue, Myobop, From Line, From Point, and Conjunction, this dissertation traces the formation of a distinct contemporary Korean art field. Structurally, I take my cue from the paintings and the artists{\textquoteright} writings. The practices of tansaekhwa artists encompassed numerous meetings, or points, and lineages, or lines. All of these were bound together by virtue of encounters, or exemplary points, that both catalyzed the production of other happenings and occurrences and possessed a centripetal capacity to pull together other lineages, overt and otherwise. Together these points, lines, and encounters, reveal the formation of new worlds, including, but not limited to, contemporary Korean art, contemporary Asian art, and the possibility of a truly global art world.}, keywords = {Twentieth-Century Art}, author = {Joan Kee} } @mastersthesis {10370, title = {Portraits of the Visconti and the Sforza Image and Propaganda in Milan, ca. 1300-1500}, year = {2008}, school = {IFA/NYU}, abstract = {This dissertation examines the portraiture of the Visconti, the rulers of Milan from 1277 to 1447, and their successors, the Sforza, from 1450 to 1499, when the city was invaded by Louis XII. It is the first comprehensive analysis to encompass the effigies of the entire Visconti dynasty and those of the Sforza up to the end of the fifteenth century. This study demonstrates that the Visconti provided significant models of portraiture and propaganda for the Sforza and traces the changing function of ducal imagery within the political context of the reigns of the individual rulers. I argue that the Visconti and the Sforza adopted innovative and influential portrait forms and modes of circulating their images to the widest spectrum of people, citizens and rulers, in Milan and throughout Italy. Filippo Maria Visconti, who was probably the earliest patron of Pisanello{\textquoteright}s portrait medals, and Francesco Sforza, who was the first ruler since antiquity to issue a coin bearing a realistic effigy, both revived ancient forms of portraiture that were reproducible, portable, and easy to disseminate. The patronage of both dukes immediately initiated trends among other Italian rulers. Influenced by the prolific portraiture in the manuscripts of the French courts, to which they were closely tied through marriage, the Milanese rulers employed manuscript illumination as a primary vehicle of official portraiture to a degree not found elsewhere in Italy. Beginning in the 1460s, these images served to legitimize Francesco Sforza{\textquoteright}s unfounded claims to the Milanese duchy and to respond to specific political crises. Francesco, his successors, and their consorts commissioned numerous family effigies to decorate literary works written by court humanists. These manuscripts were preserved in the ducal library where they were exhibited to dignitaries and rulers. The flourishing of Sforza illuminated portraits in the early 1460s predates the period, beginning in the late 1460s to early 1470s, when rulers of other Italian courts began commissioning more images of themselves to adorn their manuscripts. Just as Francesco{\textquoteright}s coinage prompted other rulers to commission their own numismatic effigies within a year, his illuminated portraits may have influenced the flourishing of this genre elsewhere in Italy. Furthermore, certain forms of portraiture in the Visconti and Sforza manuscripts seem to have provided models for those at the other courts. Because few monumental painted images of the Visconti and the Sforza survive, an examination of this corpus of illuminated images is essential to understanding stylistic developments in Milanese portraiture as a whole. This analysis integrates illuminated manuscripts, painting, coins, medals and sculpture, and demonstrates the multi-media activities of several Milanese court portraitists, whose oeuvres are reconstructed. By examining these portrait types and humanist literary works in relation to the political circumstances of the rulers who commissioned them, this study explores the role and function of various forms of propaganda at the Milanese court.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Nogueira, Alison Manges} } @mastersthesis {10297, title = {Postwar Art and the Historical Roots of Beirut{\textquoteright}s Cosmopolitanism}, year = {2008}, school = {MIT}, abstract = {This dissertation charts the production of Lebanese cosmopolitanism from the nineteenth century to the present, examining how this putatively national trait is established through the visual arts. It contends that in order to understand the strategies of a group of artists who have come to represent artistic production in the aftermath of the Lebanese civil war (1975-1990), we must consider the historical formation and failures of Lebanese cosmopolitanism as a national myth. The end of the civil war coincided with a period of celebratory globalism in the art market, and in the following decade postwar artists from Beirut garnered the attention of the western art world. Exhibition catalogues and critical reviews alike characterized this body of work as emerging out a tabula rasa for the visual arts: no audience, no institutions, and no markets. This dissertation argues instead that the postwar generation did not develop out of a historical eclipse created by the civil war, but is part of the much longer history of Lebanese cosmopolitanism. By resituating the postwar generation within this history, we can understand the mechanisms by which the western art world fabricates a mythology of a local art. Tracking Beirut{\textquoteright}s transition from under the Ottoman Empire and French Mandate to an independent capital besieged by civil war through to the postwar period, I identify those moments when the project of defining Lebanese art comes to the forefront. Integrating an analysis of art works, archival material, institutional histories, and art historical narratives this dissertation suggests that the relationships between the terms cosmopolitan, national, and art are socially constituted and discursively produced. Rather than the innate outgrowth of the independent nation state of Lebanon, cosmopolitanism in this context is revealed as an ideological tools used to entrench internal ethnic boundaries, referencing a particular correlation between Lebanon and Europe, and constructing a national vision historically tied to the Maronite Church of Mount Lebanon. Contextualizing the postwar generation within this longer history allows for an understanding of the broader processes by which history is either made present or obscured in the intersecting imaginative geographies mapped into Lebanon.}, keywords = {Art of the Middle East/North Africa, Contemporary Art}, author = {Rogers, Sarah} } @mastersthesis {10348, title = {Queenship and the Construction of National Identity in Nineteenth-Century British Visual Culture}, year = {2008}, school = {Virginia}, abstract = {This dissertation examines the representation of queenship in nineteenth-century Britain. Operating from an interdisciplinary perspective that incorporates art, social and literary history, I consider how the production and exhibition of an under-explored collection of ceremonial group portraits commissioned by Queen Victoria impacted public perception of the British monarchy and its relationship to feminine power in the Victorian period. My project revolves around Queen Victoria{\textquoteright}s unprecedented desire to document both the ceremonial and quotidian events of her life from the earliest moments of her reign and argues that the manner in which this was accomplished encouraged her subjects to regard their sovereign with exceptional intimacy. I trace the tremendous popularity of stories of historical queens, particularly Elizabeth I in oil paintings, popular prints, children{\textquoteright}s periodicals and illustrated collective female biographies, now invigorated by an obvious contemporary corollary. This rich artistic production reveals unexpected social and political anxieties and it contests conventional notions of distinctly feminine spheres of influence. It also challenges many of our current assumptions about royal patronage and Victorian historical conservation.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Korkow, Cory} } @mastersthesis {10345, title = {Reading and Living Yaoi: Male-Male Fantasy Narratives as Women{\textquoteright}s Sexual Subculture in Japan}, year = {2008}, school = {Rochester}, abstract = {This dissertation studies how fantasy, reality and representation work interrelatedly in the identity formation of a subject. It focuses specifically on yaoi fictions-male-male comics ( manga) and illustrated novels created by women for women-that have widely been in existence in Japan for several decades. Since the mid-1950s, the readership of yaoi is over a million. I write from the position of a fan and a researcher who "became" a lesbian via perception, in my adolescence, of the 1970s "beautiful boy" comics, the precursors to yaoi. Defining the larger yaoi phenomenon as the one in which women create quasi-male homoerotic/homosexual narratives as their own since the 1960s, this study relates its history and identifies different subgenres within the larger phenomenon. The sub-genres include "girls{\textquoteright} comics (shojo manga)," the fanzine world (dojinshi), and "boys{\textquoteright} love (boizu rabu)." I also show how romance narratives with two male protagonists serve women{\textquoteright}s sexual fantasies even though women{\textquoteright}s "real" position is not represented in them. What is examined includes heteronormative values that are reflected in typical yaoi texts especially since the 1990s. At the same time, I argue that yaoi is significant because it provides the only discursive space in modern Japan that serves women desires, including sexual ones, in a sustainable manner. Also, hundreds of professional yaoi women have gained economic independence. Yaoi women fans are struggling to "rise" to the position of the subjects of representation, albeit through pleasure. Responding to a critical tendency to treat male characters in yaoi as either the inaccurate and strange representation of gay men or the agents for heterosexual women to simulate male-female romance, this study starts with a premise that yaoi does not represent any person{\textquoteright}s "reality," but rather is a battlefield where straight, lesbian, and other women{\textquoteright}s desires and political stakes clash and representations are born. This study uses an interdisciplinary approach that draws from feminism, queer theory, cultural studies, and feminist studies. It finally argues that yaoi has an unprecedented potential to function as a lesbian and feminist one.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Drawings/Prints/Works on Paper}, author = {Mizoguchi, Akiko} } @mastersthesis {10283, title = {Reading Expressionist Architecture: German Modernism and {\textquoteright}Paper Architecture,{\textquoteright} 1914-1920}, year = {2008}, school = {USC}, abstract = {This dissertation examines German Expressionist architecture specifically as a paper movement, and it does so by considering paper materially, culturally, and aesthetically. It moves beyond previous studies of the foundational elements of Expressionist architecture, including its utopianism and politics, to focus instead on ideas, dilemmas, and contradictions inherent to the movement that can be related directly to its medium. The term "paper architecture" is applied broadly to refer to Expressionist architectural drawings, essays, letters, manifestos, film scenarios, and books. In each of these formats, paper was used as a means to visually and/or verbally articulate an aesthetic and ideological agenda unattainable in practice, primarily due to the collapse of Germany{\textquoteright}s building industry during and immediately following World War I. The dissertation{\textquoteright}s central argument is that the German Expressionists were deeply conflicted about the constitution of their paper architectural projects and their perception as architecture, and that ambivalence toward their work shaped the direction of the movement from1914 to 1920. Many architects appreciated the way paper allowed them to continue to disseminate their ideas during these years. Nonetheless, they resented the way their dependence on paper seemed to transform them from architects into "artists," "illustrators," and "writers." Through a series of case studies, the dissertation contends that the Expressionists{\textquoteright} reliance on the exhibition and publishing spheres to display and circulate paper architectural works generated tension and self-doubt, as they found themselves exposed to the opinions and practices of individuals-namely, art critics, gallery patrons, and publishers-who did not perceive their drawings and portfolios as viable architectural forms. The public{\textquoteright}s confusion over the purpose and content of Expressionist paper architecture led certain architects to cultivate mystical and prophetic personas in order to justify the increasingly artistic and literary nature of their work. By 1920, Expressionist architects began to question paper{\textquoteright}s ability to convey effectively tectonic concepts. These architects turned instead to theater and film to realize a more tangible form of architecture.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Olgren-Leblond, Kelli} } @mastersthesis {10331, title = {The Reception and Legibility of Brazilian Contemporary Art in the United States (1995-2005)}, year = {2008}, school = {Binghamton}, abstract = {The aim of this dissertation is to investigate the reception and legibility of Brazilian contemporary art in the United States, during the period between 1995 and 2005. In order to do this, a close reading of institutions and their agendas is performed through an analysis of the frameworks of legibility such institutions developed in their exhibitions and the discourses engendered by them. Key moments in the reception of Brazilian art are considered, as well as the legibility of specific bodies of works, in order to draw out the specificities of such reception by focusing on major events hosted by American institutions during the years in question. Such projects are discussed in order to analyze the contextualization of the Brazilian avant-garde in the U.S. and the constitution of subjectivities that have allowed for the visibility of these works, as well as for the implications of reframing them based on specific artistic traditions. The politicization of the discourse of Oswald de Andrade{\textquoteright}s Anthropophagy is also discussed as a curatorial strategy that allowed for the reading of Brazilian artworks from different genealogies in relation to world art history under the rubric of an indigenous framework of legibility. Survey exhibitions and their conceptualization are discussed with regard to their role in providing legibility for Brazilian art in the U.S., and the role of state-sponsored events versus private organizations dedicated to promoting Brazilian art abroad is examined. Therefore, this dissertation investigates issues of reception and legibility by mechanisms put in place in the United States by the various constituencies that create meaning and bodies of discourse, which interpret these works for an international audience outside of their local context of production. This dissertation shows that the works that have gained greater legibility in the international context are the ones that have been encompassed by one or more of these frameworks.}, keywords = {Contemporary Art, Latin American/Caribbean Art}, author = {Fidelis, Gaudencio} } @mastersthesis {10277, title = {Regulation in the Architecture of American Modernism, 1890-1920}, year = {2008}, school = {MIT}, abstract = {This dissertation examines the modernization of the United States through a group of regulatory techniques and institutions that emerged in the early twentieth century. In this period, conceptions of power based on laissez-faire capitalism were giving way to systems of governance that aimed to control the economies of the home, market, nature and labor. Methods of avoiding, delaying, and constraining the uncertainties resulting from the massive economic development of the nation established a new approach to securing its future through the regulation of risk. While predictability and efficiency are often invoked as core principles of modernism, these were in fact ideologies that gained their force through these earlier attempts to manage and forestall risk. The dissertation identifies four cases in which technology and architecture served as critical instruments for the implementation of regulation in the modern interior. The application of thermostatic control of heat for domestic architecture established a norm for room temperature that, through the home economics movement, became a hygienic standard for the modern American home. In cold storage facilities, mechanical refrigeration technologies were employed to regulate the longevity of perishable food. By extending the life of produce, these warehouses served as control centers for distributing the nation{\textquoteright}s food supply and regulating the futures market that determined their prices. Even more dramatic manipulations of the environment were enacted in ecological laboratories. Packed with control systems, these structures played a crucial role in the development of research that explored the governing dynamics of the economy of nature; they sought to connect the life of organisms to fluctuations in their surrounding environment. In factories, plant owners hired engineers to install production control systems to regulate the relations between machines, men and the market. The techniques devised by these mangers sought to make industry both responsive and resistant to unstable and often unpredictable fluctuations in demand.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Osman, Michael} } @mastersthesis {10365, title = {Reinterpretation of the {\textquoteright}Palace of Bryas{\textquoteright}: A Study in Byzantine Architecture, History, and Historiography}, year = {2008}, school = {Princeton}, abstract = {The present work proposes a reinterpretation of the middle Byzantine site at Kucukyali (modern Istanbul). Located on the Asian shores of the sea of Marmara, once part of the more distant suburbs of ancient Constantinople, the monumental remains at Kucukyali have been believed to represent the palace of Bryas built by the emperor Theophilos before 843. The palace{\textquoteright}s architecture and decor were inspired by Umayyad- and Abbasid-period residential complexes. Relying on the results of fieldwork and architectural interpretation as well as textual and historical analysis, my dissertation concludes that the complex should instead be identified with the monastery of Satyros built by the patriarch Ignatios between 867 and 877. The dissertation is organized in four chapters devoted to the following: analysis and interpretation of on-site evidence; review of earlier interpretations of the complex; textual and historical examination of patriarch Ignatios{\textquoteright}s monastic patronage in the suburbs of Constantinople; and assessment of the monastic complex{\textquoteright}s newly discovered katholikon and its place in early middle Byzantine architecture. Fieldwork at Kucukyali revealed numerous previously unknown architectural features, the most relevant of which is represented by the remains of a large-sized katholikon that was carefully designed and prominently placed on a panoramic platform. Review of textual evidence in general and, of the Vita Ignatii in particular, has helped identification of the architectural remains, provided valuable information about the deposition of the patriarch Ignatios at the monastery of Satyros in 877 and added details about cult practices at the site. The monastery of Satyros was Ignatios{\textquoteright}s most lavish architectural undertaking, with a katholikon that displayed innovative features. The church stood as a remarkable landmark in the outskirts of the capital city, and as a representative of visual exchanges that echoed patriarchal polemics in ninth-century Constantinople.}, keywords = {Early Christian/Byzantine Art}, author = {Ricci, Alessandra} } @mastersthesis {10435, title = {Rembrandt{\textquoteright}s Artful Use of Statues: New Insights into His Studio Practices and Working Methods}, year = {2008}, school = {Temple}, abstract = {Although Rembrandt van Rijn owned over eighty pieces of sculpture, studies regarding his use of the collection are in short supply and tend to be either formal, tracing the few images of sculpture in Rembrandt{\textquoteright}s oeuvre to those listed in his 1656 bankruptcy inventory, or else they refer to his use of classical sculpture in general terms as an inspiration for his history paintings. This study shifts emphasis from formal and iconographic issues to Rembrandt{\textquoteright}s studio practices and working methods. It examines his manipulation of the border between reality and illusion (what Ovid termed "the art that conceals art"): his effort to "incarnate" his sculptural sources by wrapping them in textiles and giving them the appearance of flesh. Seventeenth-century theory provides the foundation for this hypothesis: artists/theorists such as Karl van Mander, Peter Paul Rubens, and Philips Angel promoted the judicious use of sculpture and encouraged artists to transform its marmoreal surface into pliant flesh; Van Mander advised painters to make the thin garments of classical statues more appropriate for Northern paintings by wrapping them in woolen cloth; he also encouraged artists to "steal arms, legs, hands, and feet" from works of art and synthesize them into new creations. Esteemed precedents also support the hypothesis: recent studies of Cornelis Cornelius van Haarlem, Hendrick Goltzius, and Bartholomeus Spranger examined their use of Renaissance bronzes, an inexpensive and plentiful source that Rembrandt also seems to have tapped. Paragone, a popular debate in both Amsterdam and Leiden, is another facet of this study. Empirical observations reveal patterns in Rembrandt{\textquoteright}s use of sculpture: several etchings of his studio show busts adorned with hats or wrapped in fabric (a practice also described in a seventeenth-century poem about Rembrandt); a number of his head studies, genre, and history paintings suggest that he used busts of Roman emperors for models. The less subtle artistry of his students and his colleague Jan Lievens also exposes their use of clothed statues and thereby corroborates the hypothesis that Rembrandt{\textquoteright}s reliance on sculpture for models was more prevalent and artful (in the sense of covert) than has previously been noted.}, keywords = {Renaissance/Baroque Art}, author = {Gyllenhaal, Martha} } @mastersthesis {10322, title = {Representing the Daoist God Zhenwu, the Perfected Warrior, in Late Imperial China}, year = {2008}, school = {Kansas}, abstract = {Zhenwu, the Perfected Warrior, emerged as an anthropomorphic deity in the early Northern Song (960-1126) and reached the peak of his popularity in the Ming (1368-1644). Prior to this time he was known as Xuanwu, the Dark Warrior, and appeared as a tortoise entwined with a snake. Widely varying representations of this Daoist god, one of the most prominent in the Daoist pantheon, coexisted throughout the Song and later history of his cult. Different images fashioned to serve different audiences reveal the wide social range of Zhenwu believers and shifting beliefs about the god{\textquoteright}s powers. Literary evidence combines with the ubiquitous pictorial and three-dimensional images to demonstrate Zhenwu{\textquoteright}s pervasive presence in the religious and cultural landscape. A scripture, sets of ritual scrolls, pictorial stele, cave temple, and an album depicting a corps of thunder marshals affiliate Zhenwu with the Daoist Thunder Department and with certain of its members, notably the Four Saints (si sheng). Zhenwu also appears in Daoist and Buddhist assembly paintings, murals and scroll sets, linked to performances of the huanglu zhai [purgation rite of the yellow register] and the shuilu fahui [rite for deliverance of creatures of water and land]. Fervent Yuan and Ming imperial patronage of the god{\textquoteright}s home, Mt. Wudang, gives evidence of Zhenwu{\textquoteright}s emergence as an independent deity with a cadre of assistant martial divinities. Many Ming statues represent his role as a tutelary god and his participation in the pantheon of Chinese popular religion. Ming illustrations of his hagiography in a woodblock-printed collection of stories, a canonical Daoist scripture, a painted album, a complex piece of sculpture, and an edition of the vernacular novel Beiyou ji [Journey to the North] indicate the appeal of specific episodes of his life story and show how they were adapted for different audiences. Through interdisciplinary analysis of the literary, historical, social, and religious contexts of key Zhenwu images, this case study demonstrates the extent to which Daoist imagery permeated the visual culture of late imperial China.}, keywords = {Chinese Art}, author = {Giuffrida, Noelle} } @mastersthesis {10368, title = {Re-Presenting the Past: The London Histoire ancienne jusqu{\textquoteright}a Cesar in the Holy Land}, year = {2008}, school = {Johns Hopkins}, abstract = {This dissertation focuses on a Histoire ancienne jusqu{\textquoteright}a Cesar (London, British Library, MS. Add. 15268) made in the second half of the thirteenth century during the Latin occupation of the Levant. This codex has never been the subject of a comprehensive interpretive study, but has been addressed only within broader stylistic surveys of manuscripts made in the Frankish East. I offer instead a close analysis of the illuminations, uncovering the contextually specific and strategic reading they bring to this text and, at the same time, what they reveal about the appeal of the Histoire ancienne in the Holy Land. The text of this history, recounting both biblical and pagan events, was popular in both the West and the East during the thirteenth century. The London version, however, distinguishes itself from its medieval counterparts: whereas the illumination in the western codices treat the text as an epic or romance, that of the London codex presents the history as a specifically Christian record of events. This is clearly announced by the frontispiece, wherein a theologically sophisticated miniature dedicated to Creation gestures from the birth to the Second Coming of Christ and thereby establishes the parameters within which the historical events are to be understood. Indeed, this emphasis is then extended into the pictorial program through borrowings from Byzantine religious artistic traditions, employed to impart a certain sanctity to the events depicted. Moreover, heroic pagan rulers receive Byzantine attributes of power, and thus too are claimed by Christianity, as exemplary rulers with an historical link to the eastern Mediterranean. The frontispiece, which employs a border of Islamic imagery to picture the environment of its manufacture (i.e. Muslims surrounding Christians), indicates that the impetus for these and other aspects of the pictorial design is to be found only through a proper appreciation of the manuscript{\textquoteright}s Levantine context. That is, this explicitly Christianized history was a product of the particular exigencies of the Holy Land during the crusades, a place and time of religious confrontation, wherein faith increasingly determined identity. The processes and demands related to its commission are considered in this light as well.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Mahoney, Lisa J.} } @mastersthesis {10299, title = {The Revenge of Ahriman: Images of divs in the Shahnameh, ca. 1300-1600}, year = {2008}, school = {Princeton}, abstract = {"The Revenge of Ahriman: Images of Divs in the Shahnama, ca. 1300-1600" is a study devoted to the subject of divs ("demons"), folkloric, literary, and pictorial inventions that played a significant, but hitherto ignored role in the Persian epic of the Shahnama completed by Abu{\textquoteright}l-Qasim Firdawsi in 1010 A.D. By examining the spiritual, psychological, and socio-cultural implications surrounding the notion of the d iv, this dissertation establishes a link between these creatures{\textquoteright} wickedness and their ugliness, proposing an ethical interpretation of their pictorial hybridism and metamorphosis in the "classical age" of manuscript painting, ca. 1300-1600. Moreover, by considering a plethora of sources-ranging from the Qur{\textquoteright}an and prophetic traditions, to treatises of ethics and physiognomy, and poetic sources-it identifies the origin of the ideas and preconceptions that informed the elaboration and naturalization of demonic imageries. While being conceived by its author as a work of history, the Shahnama owes its continuous success to its didactic subtext and to the exemplary value of its kings and heroes, all aspects that illustrations greatly enhanced. This dissertation shows that it is in the verbal and visual clash between men and divs that such ethical nuances are more efficaciously expressed, and not, as generally assumed, in the contrast between humans. Indeed, the negative example embodied by divs is maximized in their images through the subversion of the aesthetic canon associated with virtuous men, thereby providing the viewers with a persuasive and thought-provoking example of immorality. The contributions of this dissertation are numerous. First, it shares the contextual approach of recent art historical studies by showing how the visual appearance of divs reflected specific cultural ideas and associations. Second, it offers the chance to redefine the interaction of words and images in the context of the Persianate arts of the books, by suggesting what elements, in addition to the text, affected visual production and artistic creativity, and indicates how meanings could be produced through paths other than the purely verbal one. In doing so this work paves the way to a new approach in the field of Islamic art history, and offers conclusions that are of interest to literary, social, and cultural historians alike.}, keywords = {Art of the Middle East/North Africa}, author = {Leoni, Francesca} } @mastersthesis {10471, title = {Revolution and Utopia: Estridentisimo and the Visual Arts, 1921-27}, year = {2008}, school = {IFA/NYU}, abstract = {Estridentismo, founded by the poet and law student Manuel Maples Arce, was the first Mexican cultural movement to align itself consciously with the strategies of the historical avant-gardes. An examination of estridentismo reveals conflicting political and social agendas among the post-Revolutionary intelligentsia and the diversity of artistic production in Mexico during the 1920s. Through a close reading of high art, contemporary cultural criticism, and popular culture, this dissertation locates estridentismo in relation to both the international artistic and literary avant-gardes and a broader program of national modernity. Chapter One focuses on estridentismo{\textquoteright}s origins and initial debt to Italian Futurism and Spanish Ultraismo . By co-opting foreign avant-garde models, Maples Arce aimed to transform the parochialism of Mexican art and literature and to update the model of the socially-engaged intellectual. The estridentistas{\textquoteright} construction of a vanguard identity through portraiture is the central theme of Chapter Two. Here I demonstrate that Maples Arce{\textquoteright}s strategic solicitation of portraits from supporters heightened and expanded the movement{\textquoteright}s profile, creating visual ties to Mexico{\textquoteright}s vanguard artists. Chapter Three explores estridentismo {\textquoteright}s fundamental aim to forge a progressive, post-Revolutionary consciousness through its journal Irradiador and its varied imagery, including woodcuts, watercolors, photographs, and masks. I suggest that by embracing technology and advanced art, the estridentistas countered the state-promoted fiction of an authentic and timeless indigenous rural culture. Chapter Four addresses official commissions for murals received by estridentista artists and their contemporaries. Their varied approaches reflect competing nationalist and cultural ideologies circulating in Mexico during the early-to mid-1920s. My analysis reveals that doubts concerning the suitability of modernist visual styles to depict a stable national body prompted a crisis within estridentismo. Chapter Five scrutinizes the movement{\textquoteright}s final phase in Jalapa, contending that its production there should be considered apart from the earlier period. In contrast with its initial aggressively anti-establishment position, estridentismo now benefited from state sponsorship. This paradoxical institutional support allowed the estridentistas to further their belief in the redemptive power of culture for post-Revolutionary Mexico while recasting the movement as a vanguard utopian project.}, keywords = {Twentieth-Century Art}, author = {Klich, Lynda} } @mastersthesis {10404, title = {Re-Worlding a World: Caribbean Art in the Global Imaginary}, year = {2008}, school = {Duke}, abstract = {This dissertation explores the de-historicizing effects of modernism and mass tourism on Caribbean art historical discourse. It argues that as a result of this process, the Caribbean has been envisioned externally as a place without Art: A view reflected and reinforced in the region{\textquoteright}s absence in increasingly global discourses of art history. Through an engagement of continental theory this dissertation charts the process of Caribbean de-historicization through conquest, slavery, colonialism and neo-colonial structures of mass tourism. It posits that post-colonial theory as currently imagined is unable to effectively challenge and transform this condition. Drawing on the work of regional theorists, I map a counter narrative arising from the museum and monuments movement that has taken root within a post-revolutionary, post independence Caribbean. This movement presents auto-historiography as a key element for a generative post-colonial movement in the region and provides a model through which the work of artists from the region can be reengaged. The body of the dissertation utilizes this approach to reread the work of Cuban Artist Belkis Ayon, Haitian Artist Edouard Duval Carrie, Bahamian artist Janine Antoni, British Artist Joy Gregory and Scottish artist Graham Fagen from a point of authorship that embodies the discursive nature of the Caribbean across history, boundaries and culture. Caribbean Art does exist, but unlike traditional modern discourses of art, its form is not limited by geo-political boundaries or aesthetics, but exhibits a living, non-didactic consciousness that interpolates the region{\textquoteright}s history and culture with the global imaginary.}, keywords = {Latin American/Caribbean Art}, author = {James, Erica} } @mastersthesis {10385, title = {Ritual, Cult, and Sacred Space: Transcending Death in the Painted Tomb of Roman Libya}, year = {2008}, school = {University of Washington}, abstract = {The principal focus of the dissertation is ritual and the understanding of the human proclivity for control in a chaotic world. This proclivity resonates not only in the cults and sacred places of the Hellenistic-Roman world but distinguishes the very essence of humanity in terms of life, death and the soul. The painted tomb in Roman Libya offers a strong challenge to accepted tenets from this period in its unconventional historical evidence that arguably speaks for itself. At the same time, the site provides insight into what happens when massive empires embrace and displace hundreds of thousands of peoples who hold differing cultural values and belief systems; a phenomenon that endures to this day. In the ancient world, the result was a new fusion in order to secure some kind of identity. Countless cults were allowed and encouraged by the ruling entities, not least to ensure political stability. Buried and forgotten for two thousand years, the chamber remains mostly intact and extraordinarily well preserved. A mixture of both easily identifiable and enigmatic paintings, in vibrant color, remains in situ, revealing the original compositional scheme almost entirely. Significantly distinct, not only from other tombs at the site, but from funerary decoration surviving elsewhere in the ancient world, the paintings reflect a site which has not been tainted by successive generations or the values of a later time. Part of a hypogeum in the Tripolitania region near Sabratha, the nekia scenes are unique and represent a very different view of the afterlife than the rare examples we have from this period. The paintings in the Libyan chamber are not decoration for the afterlife of the dead, rather, they represent a long forgotten ritual for returning the spirit or {\textquoteright}shade{\textquoteright} of dead young one to the living - if only for a little while, who have petitioned and paid intermediaries to carry-out a sequence of ritualistic practices illustrated in continuous narrative and strictly within the confines of the chamber.}, keywords = {Greek/Roman Art}, author = {Griffith, Kyle} } @mastersthesis {10296, title = {Rural Landscape and Built Environment at the End of Antiquity: Limestone Villages of Southeastern Isauria}, year = {2008}, school = {Pennsylvania}, abstract = {The well-preserved remains of settlements in the rural countryside of southeastern Isauria provide evidence for the prosperity and intensive exploitation of marginal lands during late antiquity. The territory studied in this thesis lies in the hinterland of Seleucia ad Calycadnum, the capital of Isauria in southern Asia Minor. The limestone hills rising above narrow coastal plains were semi-arid, devoid of water sources, and suitable only for dry farming and animal husbandry. However, epigraphic, textual, and archaeological evidence indicate a process of economic growth and building activity between the fourth and seventh centuries, with a peak in the fifth and sixth. In this period, rural landscapes acquired a tightly interconnected network of farmsteads, hamlets, inhabited caves, and villages. These remains display a sophisticated tradition of limestone masonry and constructional technology. The skills of Isaurian builders were also well known beyond the borders of the province in the fifth and sixth centuries. The construction of durable expensive structures attests to the creation of a substantial economic surplus by combining agricultural and pastoral strategies. These are investigated by the study of the remains of presses, mills, threshing floors, surface pottery, and the rich epigraphic evidence from coastal settlements about crafts and trades. The rural countryside and its settlements do not appear in the textual record. Therefore, the documentation and study of the material remains are essential for the understanding of the character and transformation of this rural landscape. This thesis uses the archaeological evidence gathered during five seasons of reconnaissance survey. It focuses on two large villages, Isikkale and Karakabakli, distinguished by the density of the habitat, urban features, and their proximity to harbors and urban centers. Through the exploration of the economic, religious, social, and artistic practices and traditions, this thesis reconstructs the economic, architectural, and settlement geography of a rural territory at the end of antiquity. The results of this research contribute to our understanding of the material culture of a very little known region and period of Asia Minor.}, keywords = {Architectural History/Historic Preservation}, author = {Varinlioglu, Gunder} } @mastersthesis {10326, title = {The Rustic Image and Cult of Su Shi: {\textquoteright}Su Shi Wearing Bamboo Hat and Clogs}, year = {2008}, school = {Wisconsin}, abstract = {This dissertation examines the history of a series of images of the renowned Northern Song literatus-statesman Su Shi, generically named Dongpo in a Bamboo Hat and Clogs. My reconstructed history of the image shows the process through which the Chinese literati who emulated Su came to accept, modify and propagate this image of Su as the emblem of his lofty spirit; as his "true" persona. Initially a minor portrait apparently confined to southern China, the image experienced periods of popularity and neglect, beginning in the twelfth century and continuing up to the present time. Although originally a humorous caricature of Su in a narrative mode representing an anecdote about Su{\textquoteright}s exile to the remote Hainan Island, its iconography was diversified through several centuries of transmission and development. Ultimately, in the seventeenth century, a more dignified iconic portrayal emerged. From the seventeenth century on, the image came to serve as a cult object for expressing devotion to Su, meaningful to literati who gathered to hold commemorative ceremonies honoring him. My study offers insight on how images may be adapted for specific purposes and provides a model for analyzing the portrayal of other Chinese historical figures. It also offers an example to shows how a picture with narrative elements that originally embodied popular taste gradually evolved into a formal portrait that intellectuals used to worship the subject.}, keywords = {Chinese Art}, author = {Park, Jae-suk} } @mastersthesis {10392, title = {Sacred Gates: Propyla and Propylaia in Greek Sanctuaries}, year = {2008}, school = {Emory}, abstract = {The sanctuaries of Demeter and Kore at Eleusis and the City Eleusinion at Athens were joined by the sacred way and by the processions performed along this route during the festival of the Mysteries, when the sacred objects, cult personnel, and pilgrims moved between the two sacred spaces. The gateways to the sanctuaries, which directed prospective initiates in and out of the sanctuaries and on and off the sacred way, were volatile places both marking the connection between the sacred centers and signaling transitions, as pilgrims moved from one ritual context into another. Their form and decoration shaped the experience of prospective initiates and other participants. These entrances did not work in isolation, but were intimately connected with wall circuits, as well as other monuments and topographical features that shaped the actions of entrance. Between the 8th and 7th century B.C. and the 2nd century A.D., the design of the entrances and the pattern of the processional routes took several different forms, with each affecting the experience of the prospective initiate in particular ways. Re-evaluation of the archaeological and architectural evidence results in certain revised reconstructions for the entrances and processional routes through nine chronological phases, tracks the changes and continuities in the experience of the prospective initiates over time, and explores the interconnection of the sanctuaries through the experience of their entrances.}, keywords = {Greek/Roman Art}, author = {Palinkas, Jennifer} } @mastersthesis {10437, title = {The Sacred Public Sculptures in Antwerp: From Their Medieval Origins to the French Revolution}, year = {2008}, school = {Brown}, abstract = {This dissertation is an investigation of the hundreds of sacred sculptures that were installed in the most public places in Antwerp from their medieval origins to the end of the eighteenth century. The chronology, which is established in the accompanying catalog, makes clear that this process of ornamenting the city was a nearly continuous one. At the same time, it was always evolving in ways that paralleled the development of the city itself. This chronology brings to light many patterns that were based on longstanding traditions as well as many shifts and discontinuations that corresponded to both local and international events. These include Antwerp{\textquoteright}s sudden rise to the status of a world market, its subsequent fall, and its gradual recovery as a bastion of Counter Reformation Catholicism. This investigation was guided by the following questions that have been raised by current scholarship. What are the particular characteristics of local religion in Antwerp and how did it change from the Middle Ages to the late Counter Reformation period? Where was the sacred located within the city limits and how are they distinguished with sacred sculpture? And finally given the early modern emphasis on public spectacle and the fact that these sculptures and civic rituals manifested in the same places, what is the exact relationship between these two coexisting phenomena? Ritual and architectural theory are used to frame the most important discoveries because their emphasis on the specificity of its site and the larger cultural context greatly enrich our understanding of their importance. Rituals such as consecration ceremonies, pilgrimages, processions and Joyous Entries highlight the relationship between civic monuments and their users. From the sixteenth century on, the ancient and renaissance architectural treatises that became very popular in Antwerp also address the relevant issues of city planning and ornamentation. Over time, the patrons of individual sculptures represented every different type of organization in the city and each one contributed to the ever-evolving expression of civic identity.}, keywords = {Renaissance/Baroque Art}, author = {Kay, Nancy Chute} } @mastersthesis {10325, title = {The Sanxingdui Site: Art and Archaeology}, year = {2008}, school = {Princeton}, abstract = {The Sanxingdui site is a Neolithic and early Bronze Age site in the Chengdu Plain of western Sichuan in southwest China. In 1986, two pits were found at the site containing an astonishing amount of wealth in the form of hundreds of bronzes alongside stone and jade implements, gold objects, and elephant tusks. The most shocking revelation was the bronze sculptures, which account for the majority of the bronzes. Ranging from miniature to monumental in size, they include human-like figures, fantastic creatures, dragons, birds, and trees the likes of which had never been seen before in Sichuan or anywhere else. This sculptural tradition and iconography contrast sharply with other ancient traditions in China. Around the same time, traces of an ancient wall were recognized, leading eventually to the discovery of a large walled settlement. These finds at Sanxingdui prove beyond doubt that the site was home to a major civilization previously unknown. The present dissertation is a comprehensive survey of art and archaeology of the Sanxingdui site. It attempts to sort out the basics of the site: its archaeological history, the components of its archaeological record, the spatial and temporal dimensions of the site, and the elite material culture evidenced in the contents of the two pits as well as other related finds. Focusing particularly on the two pits, the dissertation addresses the nature of the pits; the typology of artifacts and their origins, functions, and cultural associations; the iconography and original appearances of the bronze sculptures; and the bronze fabrication technology and its cultural implications.}, keywords = {Chinese Art}, author = {Jay Jie, Xu} } @mastersthesis {10309, title = {Sculpture Parks, Sculpture Gardens, and Site Specific Practices in the U.S., 1965-1991}, year = {2008}, school = {Chicago}, abstract = {By looking at key moments from the mid-1960s to the mid-1980s when sculpture parks both explicitly and implicitly took on site-specific projects, my dissertation argues that a range of practices in American sculpture parks and gardens contributed to the development of site-specific art. I argue that site-specificity developed in response to the practice of outdoor display, first as a mode of viewing and then as an artistic practice that integrated the landscape and architectural techniques and ideas at work in the form of sculpture parks. Beginning with temporary displays staged in parks and other landscaped spaces by Minimalist artists (Robert Morris, Tony Smith, and Carl Andre), I trace the tension between artists, looking to outdoor space to support new modes of viewing and art production, and administrators and architects. If artists were reacting against the {\textquoteright}white cube,{\textquoteright} then sculpture parks should have offered an alternative; instead, they functioned as the outdoor equivalent: a {\textquoteright}green cube.{\textquoteright} In comparative analysis of Storm King Art Center (Mountainville NY) and the Hirshhorn Museum Sculpture Garden (Washington DC), I show how the administrators and designers behind the institutionalization of sculpture parks sidestepped its experimental potential in working to define sculpture parks as outdoor museums. Nevertheless, site-specific practices continued to exert their own pressure, which I analyze in discussing work by David Von Schlegell and Robert Grosvenor at Storm King, and the critical response to Gordon Bunshaft{\textquoteright}s architectural design for the Hirshhorn Museum Sculpture Garden. Site-specific methods both empowered and contested the {\textquoteright}green cube,{\textquoteright} a fact mirrored by the social function of these display sites as sites of both refuge and struggle, a claim I advance in relation to debates over natural resources in the case of Storm King and over the symbolic function of the National Mall{\textquoteright}s landscape in the case of the Hirshhorn. In the site-specific projects at the Laumeier Sculpture Park (St. Louis MO) by Jackie Ferrara, Mary Miss, and Beverly Pepper, this double paradox matures as one endemic to site-specific work in sculpture parks.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Reynolds, Rebecca} } @mastersthesis {10379, title = {Sensing Watteau: The Artist{\textquoteright}s Musical Images as Preludes to the Age of Sensibility}, year = {2008}, school = {UNC Chapel Hill}, abstract = {This dissertation examines images of music in the work of Antoine Watteau and argues for his position as an early painter in the French age of sensibility. Watteau lived and worked at a time in which scientific theories of sensibility aligned sensations with the neural mechanisms of the body. The layered and overlapping notions of physical and emotional sensibility prevailed in contemporary writings, which linked the body with the soul, causing emotions to tremble and pulsate as reactions to tactual stimulation. As such, music was the metaphor used by medecins philosophes for depicting vibrations that connected the senses with emotion. The history of the meaning of music as a transmitter of sensations unites earlier traditions of musical expression with the melodic allusions contained in the paintings of Watteau. His work addresses music{\textquoteright}s relation to the body, and its power over it while it incorporates contemporary perceptions of music that combine the measured simplicity of the French musical style with the colorful music of the Italians. Watteau{\textquoteright}s musical images are accompaniments for shared human sentiment as well as conduits for the vibrations of erotic love. French ideas of honnetete offer insight into the artist{\textquoteright}s own participation in privileged social and music circles. The musical style and treatment of musical line by the artist{\textquoteright}s contemporary, French composer Francois Couperin, combine Italian and French sensibilities and contain melodic intonations that echo the visual cadences of Watteau.}, keywords = {Eighteenth-Century Art}, author = {Whedon, Pamela} } @mastersthesis {10452, title = {Sharing Space: Double Portraiture in Sixteenth-Century Italy}, year = {2008}, school = {Case Western Reserve}, abstract = {My dissertation is a comprehensive study of a neglected aspect of Italian Renaissance art, the double portrait, as a document of Italian Renaissance life. I define the "double portrait" as a work in which two adults are represented for a secular purpose within the same frame. This is the first systematic study of the double portrait in scholarship on fifteenth- and sixteenth-century Italian art. The previous lack of attention to this topic is due in part to the comparative rarity of this portrait type. However, my research indicates that this type exists in sufficient number to offer an understanding of broader societal trends. The interactive dialogue between the two sitters in a double portrait is not only a visual representation of individuals but re-presents a type of cultural exchange within the picture plane. In other words, double portraits embody issues related to sixteenth-century society and artistic production. The minimal literature on Italian double portraiture focuses either on a single double portrait or on one particular artist{\textquoteright}s oeuvre. This close study of double portraiture in Italy questions what the genre can tell us about the general nature of Italian portraiture and the societal constructs of Renaissance Italy. I bring a thematic approach to the subject. By focusing on adult relationships of individuals with similar social status, I analyze themes of marriage, love and allegory, friendship, and commemoration. Because double portraits present a nexus of two individuals at a specific time for different situations, my study encompasses nuanced examinations of the genre in light of gender roles, same sex interpersonal relationships, economic status, and societal rank, among other cultural issues. In my study, the double portrait is shown to be a singularly revealing document of Renaissance courtly life.}, keywords = {Renaissance/Baroque Art}, author = {Woodall, Dena} } @mastersthesis {10358, title = {Shifting Identities: Contemporary Photography in Mali}, year = {2008}, school = {CUNY}, abstract = {Western audiences tend to be familiar with {\textquoteright}African photography{\textquoteright} through the work of Mali{\textquoteright}s two most famous studio practitioners, Seydou Keita and Malick Sidibe. Yet Keita{\textquoteright}s and Sidibe{\textquoteright}s striking black and white commercial portraits, taken in the 1950s, {\textquoteright}60s and {\textquoteright}70s in Bamako, no longer reflect current practices in the city. However, the surge of international interest in Keita and Sidibe has ignited a new fascination with photography beyond the studio within Bamako itself. My dissertation examines this new {\textquoteright}art photography{\textquoteright} movement, a term I use loosely to refer to various types of photography that have developed since the inauguration of the pan-African Bamako Photography Biennale ( Les rencontres africaines de la photographie), in 1994. Since its inauguration, the Biennale has inspired virtually all aspects of the growing art photography movement in Bamako. Its presence has stimulated the creation of new photographic institutions and aroused the ambitions of individual photographers. The Biennale provides previously unheard of opportunities for Malian photographers to exhibit, publish, and interact with other African photographers, and as such functions as a nexus for pan-African dialogues, and as a stepping stone to the global art market. Yet, as the Biennale is funded and largely run by the French Ministry of Culture, it is emblematic of the cultural exchange between Mali and its former colonizer. I argue that it is necessary to understand the contradictions of the Biennale as constitutive of the insoluble problematic of postcolonialism, and I view the Biennale as a site of struggle for the assertion of Malian agency and identities in the realm of global culture. Examined against the backdrop of the Biennale, the art photography movement in Bamako operates as a forum where local debates on culture, history, politics, and identity are taken up in visual form. Such debates also animate the circumstances surrounding photographers{\textquoteright} production, most remarkably in the entrance of women photographers into the professional arena. I argue that the art photography movement constitutes an important cultural phenomenon of contemporary Mali, where the intersection of Malian and Western values and influences are highly visible.}, keywords = {Drawings/Prints/Works on Paper}, author = {Moore, Allison} } @mastersthesis {10318, title = {{\textquoteright}Signature Drawings{\textquoteright}: Social Networks and Collecting Practices in Antebellum Albums}, year = {2008}, school = {Maryland}, abstract = {Characterized in their own time as "miniature and easily-attainable works of art," drawings by American artists of the antebellum period were prized by fellow artists as mementi of friendship and by collectors as marks of the artist{\textquoteright}s hand. This dissertation presents a broad examination of the social meanings and contemporary contexts of these quietly communicative works of art. Using archival and documentary evidence, it investigates rich spheres of activity in the "social lives" of drawings. Special qualities of the medium and particularities of drawings exchange informed their reception. In the public sphere of business and social transaction between artists and patrons, drawings functioned as "social currency," building a community connected through gift-giving and competitive collecting. Albums of drawings reflected social networks and communicated the owner{\textquoteright}s privileged access to artists who practiced that particularly intimate form of expression. Drawings were also displayed in the antebellum parlor, a private setting encoded with aspiration to personal refinement and social position. In that sphere, drawings served a didactic, regulatory function, presenting sentimental and moral themes that provided a visual buffer to the turbulent public history of the time. My study reveals that many of the drawings collected in antebellum albums were originals for images subsequently reproduced as giftbook illustrations or prints. This dissertation demonstrates that antebellum viewers perceived drawing and writing as aligned, complimentary modes of expression; similar motivations thus informed the collecting of drawings and autographs. As the pantheon of eminent Americans shifted to include artists, their drawings were prized as signature works reflecting "temperament and quality of mind." American art history has directed little attention to antebellum-period drawings. When it has done so, it has situated them primarily as studio tools or as preparatory works for paintings. I argue that album drawings occupied a different register of value altogether, connected to literature, illustration, parlor entertainment, and the collecting of celebrity autographs during a period of explosive growth in the production of visual imagery and in media coverage of American artists. I propose a social and cultural history of the period centered on drawing collecting as a reflection of individual aspirations and social values.}, keywords = {Art of the United States}, author = {Heyrman, Joy Peterson} } @mastersthesis {10450, title = {So moeti den schilt draghen; Dien God veruwede met roder greine: Jan van Eyck{\textquoteright}s Critical Principles of Oil Painting and Their Middle Dutch Antecedents}, year = {2008}, school = {Johns Hopkins}, abstract = {Jan van Eyck inscribed his works with "Als ich can," a motto adapted from prologs by Middle Dutch poet Jacob van Maerlant. The device invoked truthfulness, clarity and brevity, principles which he implemented in clear descriptions of carefully observed textures, colors and forms. He distinguished oil painting from French painting and introduced critical discourse in picturing. His vernacular innovations shaped cultural identity and his self-representation engendered artistic identity. In The Madonna with Canon Van der Paele he identified Christ as his artistic model by painting himself reflected on a shield with Passion symbols, evoking Maerlant{\textquoteright}s construal of the crucifixion as a shield colored with blood. In Saint Francis Receiving the Stigmata he presented the imprinting of Christ{\textquoteright}s wounds as a type for image replication. Detailed description of the wounds in successive stages of "dead-color" underpainting and oil coloring paralleled descriptive characterizations of Christ{\textquoteright}s physical death and the release of his spirit with his blood in Passion poetry. Francis{\textquoteright}s pose, which corresponds to Flemish missal illustrations, alludes to Christ{\textquoteright}s sacral presence and evokes celebrants{\textquoteright} recapitulation of the Passion. Signaling Christ as the exemplar for reproductive picturing, the artist endorsed the Philadelphia copy, perhaps the first replica in oils. The Turin panel, which may contain a donative portrait of chaplain Jan Beert, may have decorated the Jeruzalemkapel built by the Adornes, who owned both paintings. The Arnolfini Double Portrait may also be donative. Its inscription and imagery convey a prayer for a child. Van Eyck may have created this picture and The Lucca Madonna as a votive complex, promoting oil as a consumptive substance. In the Ghent Altarpiece imagery of the Annunciation, the Eucharist and the Last Judgment corresponds to preparations for meeting the Bridegroom, a theme elaborated by symbols of Christ preparing his Bride with pigments and oil. Hell depicted in water-colors on the predella figured alienation. Signifying oil{\textquoteright}s agency in making the foreign familiar, van Eyck advanced painting as a vernacular art. Modeling Self-Portrait (Man in a Red Turban) after the Bridegroom at the Window, he metaphorically construed his consummate painting in oils as Christ{\textquoteright}s union with the soul.}, keywords = {Renaissance/Baroque Art}, author = {Smith, Jamie} } @mastersthesis {10395, title = {Soaring Votives: Anathemata in Archaic Greek Sanctuaries}, year = {2008}, school = {Columbia}, abstract = {This dissertation analyzes the use of columns and pillars as pedestals for votive statues in archaic Greek sanctuaries. Familiar to modern viewers through imperial Roman and nineteenth-century European victory columns, this mode of display finds its western origins in the ancient Greek ritual of anatithenai ("to raise up"). Previous studies have concentrated on the style and production of votive columns and have consequently neglected their ritual significance and visual effects. I seek to rectify this situation by considering a mode of display, rather than a category of objects. The material basis for this study is comprised of the architectural and sculptural remnants of original soaring votives and the black- and red-figure Athenian vases that depict them, the latter category serving as evidence of contemporary Greek responses to soaring votives. The Greeks deemed a wide range of figures appropriate for these dedications, which often featured representations of fantastical beings, human figures and divinities. The popularity of columns and pillars as votive pedestals in the sixth century B.C.E., where they were employed in sanctuaries from Poseidonia in the Greek West to Didyma in the Greek East and from Thasos in the northern Aegean to Cyrene in North Africa, demonstrates the capacity of this mode of display both to shape sacred space, and to convey deeply held socio-religious values. As dedications, the effectiveness of soaring votives lies not only in their ability to please the gods whose favor they solicit in return, but also in their power to convey their donors{\textquoteright} wealth and piety to their peers. Furthermore, the display of three-dimensional statues in this way has the effect of both dramatizing the removal of these votives from the human sphere and maximizing the monumentality of these dedications. Set above eye level, these votives expand the human horizons of Greek sanctuaries, and diminish the status of their human spectators in the process.}, keywords = {Greek/Roman Art}, author = {Segal, Phoebe C.} } @mastersthesis {10276, title = {The Society of Beaux-Arts Architects and Academic Ideals in Early Twentieth-Century American Architecture (1894-1941)}, year = {2008}, school = {University of Washington}, abstract = {No record in ProQuest}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Anderson, Marvin} } @mastersthesis {10341, title = {Sophie Calle: Her(e) but not Her(e)}, year = {2008}, school = {Bryn Mawr}, abstract = {This monographic dissertation on the work of Sophie Calle begins by charting her very literal alliance with philosopher, Michel Foucault, and their shared work with the Prison Information Group in France in the early 1970{\textquoteright}s. Having established this common connection between the artist and theorist, I will trace Calle{\textquoteright}s work and its continued alignment with the prolific theorizations of Foucault. Making particular use of Foucault{\textquoteright}s Discipline and Punish and The History of Sexuality, as well as a number of his other works, I aim to show the ways in which Calle{\textquoteright}s art embraces a politic, albeit an aesthetic one, that challenges the "society of surveillance" as elaborated by Foucault, and disrupts the very power and authority presumably associated with it.}, keywords = {Contemporary Art}, author = {Mangawang, Mya} } @mastersthesis {10467, title = {The Space of Painting: Kurt Schwitters and El Lissitzky}, year = {2008}, school = {Columbia}, abstract = {This thesis analyzes the emergence of a new kind of artistic project, three-dimensional spatial works, in the careers of Kurt Schwitters and El Lissitzky during the 1920s. It proposes that two works of these artists, the Merzbau and the Abstract Cabinet, created oppositional models of modern space: one of a chaos that drew on unconscious desires and drives and another that sought to drain the vestiges of ritual out of the display of artworks. By investigating these works in their historical context linking Weimar Germany and Soviet Russia and in the social context of the friendship between the artists and the proximity of their works in the city of Hannover, this dissertation seeks to show the centrality of spatial concerns in modernism. For Lissitzky, his spatial works of the 1920s were to form a basis for a proletarian culture. Conversely, Schwitters offered a critique of the interiority of bourgeois experience from within.}, keywords = {Twentieth-Century Art}, author = {Hinderliter, Beth} } @mastersthesis {10391, title = {On Stepping Stones: The Historical Experience of Roman Mosaics}, year = {2008}, school = {Columbia}, abstract = {This dissertation explores the medium-specific talents of the Roman floor mosaic. Using North African mosaics from houses and baths of the second to the fourth centuries C.E., this dissertation begins with an exploration of pavements that exploit the incredible tension between denotative image and particulate medium. Another chapter is devoted to pavements representing the floor qua floor, where Roman artisans consciously construct an illusion and make it transparent at the same time. Each of these "meta-mosaics" reflects on its own double status as image and image-bearing object. Floor mosaics inflect narratives for specific contexts, and transform the very reality of spaces that they simultaneously define. A chapter on labyrinth mosaics investigates their specific resonance in the realm of the Roman baths. As part of architecture, floor mosaics were placed to interact with moving, standing, or seated viewers, who would be (literally) figures on this ground. Working as often as possible from my own photographs, I explore how relationships between spectator and image can generate narrative meaning, and even push a walk across the floor into the realm of re-enactment. It is only when we place mosaics again underfoot (at least imaginatively) and back into their intended environments that we can truly begin to assess their impact on Roman viewers. Given the general nature of these theses, it is possible that conclusions reached here will have wider implications for the study of Roman mosaics, and also provide a contribution to studies of Roman interior design.}, keywords = {Greek/Roman Art}, author = {Molholt, Rebecca} } @mastersthesis {10418, title = {Stone Trees Transplanted? Central Mexican Stelae of the Epiclassic and Early Postclassic and the Question of Maya {\textquoteright}Influence{\textquoteright}}, year = {2008}, school = {CUNY}, abstract = {Stelae dating to the Epiclassic (650-900 CE) and Early Postclassic (950-1150 CE) from Tula and Xochicalco in Central Mexico have been posited as evidence of Classic Maya "influence" on Central Mexican art during these eras. Formal and iconographic comparisons between the Central Mexican examples and Maya monuments at Piedras Negras, Dos Pilas, Aguateca, Ceibal, and Copan were briefly presented by Cohodas (1974, 1989), Mary Miller (2006), and others in support of such connections. This dissertation attempts to reevaluate these claims via detailed comparative analysis of the Central Mexican stelae and their claimed Maya counterparts. In addition, it will, for the first time, situate the Central Mexican stelae in the context of often overlooked local artistic traditions as well as other distant connections. It begins with a comprehensive survey of Central Mexican examples, including stelae from the sites of Xico, Tlalpizahuac, El Cerrito, Cerro El Elefante, Cholula, Teotenango, and Nevado de Toluca in addition to Tula and Xochicalco. A critical review of theories regarding mechanisms of artistic contact between the Maya area and Epiclassic Central Mexico follows. I then survey stelae in Central Mexico predating the Epiclassic, at the sites of Cuicuilco, Chalcatzingo, Tlalancaleca, Xochitecatl and Teotihuacan, demonstrating that the practice of stela carving has a long history in this area. Continuities between these earlier local sculptures and the Epiclassic/Postclassic stelae suggest that the Maya area was not the sole source of inspiration for them. Comparison of Tula and Xochicalco stelae with earlier and contemporary stelae from Oaxaca and Guerrero demonstrates connections equally as plausible as those posited with the Maya region, and bolstered by archaeological evidence. I also demonstrate that those Classic Maya monuments used for comparison to the Tula and Xochicalco stelae are characterized by an atypical predominance of Central Mexican formal and iconographic elements, raising the problem of circularity. While it is clear that some Central Mexican stelae, especially Stela 4 from Tula, may reflect Maya contacts, I contend that this contribution has to be balanced by consideration of local and other regional developments and connections, and plausible mechanisms of contact with all outside regions.}, keywords = {Pre-Columbian Art}, author = {Jordan, Keith} } @mastersthesis {10397, title = {Taki Katei (1830-1901) and the Transformation of Literati Painting in Late Nineteenth-Century Japan}, year = {2008}, school = {IFA/NYU}, abstract = {Scholarship has tended to assume that Chinese-inflected culture in Japan - painting styles, calligraphy-and-painting parties, informal collaborative scrolls, prose and poetry in Chinese, and tea practice - was obliterated in the late nineteenth century by official policies of Westernisation. On the contrary, far from dying out after the Meiji Restoration of 1868, it experienced a final flourishing until the late 1880s, when deteriorating relations with China began to complicate for the Japanese what had long been an idealized view of continental culture. My dissertation focuses on the career and works of Taki Katei (1830-1901), one of the last generation to practice as an itinerant literati artist, trained in the styles of Ming- and Qing-dynasty painting, who had sought out Chinese contact in Nagasaki in his youth. During the 1870s and early 1880s, Katei participated in the active world of the literati arts in Tokyo, producing paintings, attending salons, and providing illustrations for publications. However, as the social and professional situations around him began to change, from the mid-1880s onward Katei transformed himself into a modern painter engaged in the system of domestic and international exhibitions and art organizations, and employed by the imperial court. The pinnacle of his career came with appointment as an Imperial Household Artist. As well as the professional adaptation, Katei{\textquoteright}s work was transformed stylistically. The painters of the Japan Art Association (Nihon Bijutsu Ky okai), of which Katei was a leading member, moved away from landscapes and figures, consciously focusing instead on bird-and-flower imagery, seemingly unencumbered by concepts and ideas and thus possessed of universal appeal. Isolated from the larger cultural consciousness of China, elements of Chinese painting styles were deployed strategically in the service of an {\textquoteright}invented tradition{\textquoteright} of bird-and-flower paintings in order to represent Japan both at home and abroad. Katei was the foremost exponent of this popular genre. Yet, despite his success, he was among those painters whose achievements were eclipsed, and ultimately forgotten, due to factional rivalries and the subsequent direction of government-sponsored art, as well as the biases within art history itself.}, keywords = {Japanese/Korean Art}, author = {Buckland, Rosina} } @mastersthesis {10408, title = {A Taste for Paris: The Modernist Dialogue between France and {\textquoteright}Young Poland,{\textquoteright} 1890-1914}, year = {2008}, school = {Case Western Reserve}, abstract = {Little magazines, literary and/or artistic periodicals that were self-consciously branded as avant-garde, proliferated in late-nineteenth-century Europe and were crucial in circulating concepts of modernism. This dissertation focuses on two little magazines, Krakow{\textquoteright}s Life (1897-1900) and Warsaw{\textquoteright}s Chimera (1901-1907), and their editors{\textquoteright} promotion of Polish artists as integral participants of an international artworld. Both periodicals were published during a period in which Poland, having been partitioned among Russia, Prussia, and Austria in the late eighteenth century, did not exist. These partitions fueled a nationalist discourse in which art functioned as a tool for patriotic expression. However, the members of the artistic and literary movement of Young Poland challenged the notion of an instructive art. They strove instead to redefine national art by arguing that patriotism should be internalized rather than didactically conveyed and, furthermore, insisted that Polish art had to become modern to thrive internationally. Life and Chimera reinforced these goals through a deliberate visual and rhetorical program that underscored the supremacy of modernism. This dissertation examines the chief polemical essays and visual programs of both journals to demonstrate their editors{\textquoteright} efforts to frame modernism in Poland and legitimize Polish art within the international artworld. Ludwik Szczepanski and Artur Gorski, Life{\textquoteright}s first two editors, maintained that art could be both modern and national and configured the journal{\textquoteright}s visual program around various national, and simultaneously universalist, tropes. Life{\textquoteright}s last editor, Stanisoaw Przybyszewski, however, argued that national identity did not belong in conversations about art since only pure, subjective expression should occupy artists. He structured Life around various artistic and literary "personalities," whose inclusion in the journal reflected his elevation of artistic identity. Like Przybyszewski, Chimera{\textquoteright}s Zenon Przesmycki insisted that artists express their "inner states" but also argued for the artistic conveyance of metaphysical "truths" and beauty, which pointed not to some agreeable appearance but signified an attuned aesthetic sensibility. Both Przesmycki{\textquoteright}s polemical essays and visual program emphasized these ideas while epitomizing the artist as a priest-seer, a distinctly modernist program. This dissertation emphasizes that modernism{\textquoteright}s international character cannot be fully grasped without considering Polish art and periodicals within the modernist discourse.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Drozdek, Justyna} } @mastersthesis {10323, title = {Theatricalizing Death in Performance Images of Mid-Imperial China}, year = {2008}, school = {Chicago}, abstract = {This dissertation explores the meanings and functions of images that represent theatrical performances formulated within mortuary contexts in mid-imperial China. Focusing on the relationship between these representations and theatrical experiences of the contemporary living, I examine the ways in which a specific self-reflexivity generated through the images of performances in theatrical terms reveal contemporary views and attitudes towards death and the netherworld. This period of time, ranging roughly from the eleventh to the thirteenth centuries, witnesses a vibrant emergence and development of representations of theatrical performance situated in tomb space. In media as diverse as brick reliefs, clay figurines, engraving on the surfaces of sarcophagi and paintings, such images came increasingly to occupy tomb space over these three centuries. Although the emergence of these dynamic expressions of theatrical performance does correspond to the development of drama during this time, I argue that the meanings of these representations go considerably beyond simple reflections of actual performance culture. Each chapter showcases one or two images of theatrical performances in various media, and discusses how their particular materiality and visual effects are in dialogue with the space which contained them. The diversity in media and visual effects revealed in each example speaks not only to increasingly deeper connotations of theatrical images in mortuary contexts, which signals their divorce from traditional depictions of entertaining performances, but further helps us locate a particular visual logic shared by the images. By grasping the complex nature of actual theatrical performances in the realm of the living and contemporaries{\textquoteright} theatrical experience as the prototypical imageries of their representations, I extract a particular self-reflexivity conveyed by the performance images. Rather than simply illustrating a performance tableau, these images function as a site in which the notions of life and death are contested through the theatrical vision. I argue that the theatrical vision, by staging worlds for both the living and the dead, served for the contemporaries to configure themselves as audience members of the symbolic performance of death and life, as well as to socialize death as an enactment of their various and varied lives.}, keywords = {Chinese Art}, author = {Hong, Jeehee} } @mastersthesis {10337, title = {Thought by Painting: The Early Work of Simon Hantai}, year = {2008}, school = {Johns Hopkins}, abstract = {My dissertation, "Thought by Painting: The Early Work of Simon Hantai," examines the development of Hantai{\textquoteright}s painting during the years 1950-59 and offers a new, historically specific account of the genesis of his autograph medium of pliage, or "folding." Until now, commentary on Hantai{\textquoteright}s art has tended to receive pliage within the framework of the "non-compositional" strategies of a younger generation of artists in France that includes Daniel Buren, as well as other painters associated with the group Supports-Surfaces. Without directly contesting that reception, "Thought by Painting" redirects attention to two other, formative aspects of Hantai{\textquoteright}s pre- pliage work and thought: his intense dealings with postwar Surrealism and his sustained engagement with religious tradition. The driving impulse that manifests itself in Hantai{\textquoteright}s paintings and writings throughout the period leading up to the adoption of pliage techniques is that of the necessity to "de-psychologize" desire, or to "free" painting from authorial control. During his early years, Hantai pursues this objective through the continual reinvention of painterly techniques, as well as through a searching excavation of what he eventually calls the "religious essence" of art. Drawing upon a range of objects long marginalized within or excluded from the literature on the painter-unpublished and unexhibited paintings, as well as his mid-fifties manifestos and elaborate exhibition brochures-I track the continually shifting relations among painting, writing, and folding in Hantai{\textquoteright}s early practice and theory, and suggest that all three operations participate in a sustained interrogation of the place or non-place left to painting under late modern regimes of secular "rationalism."}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Warnock, Molly} } @mastersthesis {10455, title = {Tracing the Mark of Circumcision in Modern Malay/sian Art}, year = {2008}, school = {Victoria}, abstract = {No record in ProQuest}, keywords = {South/Southeast Asian Art}, author = {Ahmed, Izmer} } @mastersthesis {10382, title = {Trade and Culture in the Cycladic Islands during the Late Bronze Age}, year = {2008}, school = {IFA/NYU}, abstract = {The Cycladic islands, or Cyclades, are a group of islands in the southern Aegean Sea that form an archipelago stretching southeastwards from peninsular Greece towards the island of Crete and Asia Minor. Cycladic islanders and their distinctive culture thrived throughout the Early and Middle Bronze Ages. During the later Middle and early Late Bronze Age, many aspects of the sophisticated Minoan culture of Crete were adopted and adapted by Cycladic islanders, yielding vibrant local artistic styles and prosperous societies. Following the volcanic eruption of the Cycladic island of Thera, however, exchanges between Crete and the Cyclades were interrupted, and Mycenaean culture from the Greek mainland began to spread across the Aegean. At the same time, native Cycladic artistic and cultural vitality declined. This correlation suggests that Mycenaean palatial trade and culture were fundamentally different than that of Crete. The Mycenaean palaces were passive in their foreign relations, conservative in their symbolic and prestige systems, and tight-fisted in their rule. These attitudes and actions suppressed Cycladic creativity and prosperity. Only with the decline and demise of the Mycenaean palaces are there signs of revived economic success and cultural innovation in the Cycladic islands.}, keywords = {Greek/Roman Art}, author = {Earle, Jason} } @mastersthesis {10288, title = {Tradition{\textquoteright} as Modernism in German Architecture and Urban Design, 1888-1918}, year = {2008}, school = {Harvard}, abstract = {A kind of modernism explicitly based on "tradition" rose to preeminence in Germany before the First World War. This modernism represented an idea that all design disciplines were defined by a long evolutionary adaptation of form to the social practices of the user, and stood against the idea of design as expressive art. This modern traditionalism had its origins in the German design reforms of around 1890, saw itself as a branch of the British Arts and Crafts movement, and was tempered by a reaction against the related but opposed "new style" movements of around 1900 such as the Jugendstil and the art nouveau. The movement flowered in the hands of architects like Hermann Muthesius, Fritz Schumacher, and Theodor Fischer in the early 1900s, expanding its interests to taste, social class, and housing reform, and during the same time it grew to include a parallel movement that had been going on in city planning. After around 1905 it also underwent a switch from an early rural-vernacular focus to an imitation of urban and bourgeois precedents from around 1800, the historical point at which the tradition of evolutionary design was presumed to have been interrupted. Finally, in the years around 1910, this modernism reached its peak in the attempt to solve the problems of the modern metropolis, but was then pushed out of power by the resurgence of the idea of the artist in design, and by changes resulting from the war. Though the cohesiveness of traditional modernism as a movement has been obscured since its decline, it remains interesting for the skill with which its practitioners learned to handle precedent, and for its dedication to designing for daily life.}, keywords = {Architectural History/Historic Preservation}, author = {Ghenoiu, Erik Martin} } @mastersthesis {10273, title = {Traditional Rhythms and Global Remixes: Translating Form in Contemporary Mali Dance Collectives}, year = {2008}, school = {Harvard}, abstract = {Nuances of Malian performance, with emphasis on complexities inherent to performers{\textquoteright} movements and self-presentation strategies as individuals aware of their roles in a larger dance collective are probed here. I call these performers (the individual and collective) dance ensembles. Ethnographic methodologies synthesized into my approach, are complemented by modes of interrogation, analysis, and theory, from various disciplines including art history, phenomenology, black cultural studies, African ethnomusicology, African studies, folklore, gender studies, and popular culture. Importantly, Malian (particularly the Bamana culture) aesthetic, spiritual, and cultural systems provide a foundational theoretical ground. This research is complemented by my fieldwork in Mali where I studied and documented dance in both urban and village contexts during trips conducted between December 2001 and January, 2007 and my training as a dancer and drummer of djembe and djun-djun drum music both in Mali and with Malian master teachers in the Boston area. The four key Malian dance collectives presented illustrate the primacy of collective action in Malian performance: Sounou, a dance of Malian womanhood, underscores feminine gender formation through the individual action of dancers and their interactions among themselves, accompanying musicians, and active audience members. Chi Wara, a traditional agricultural masked dance, reflects socio-spiritual relationships between the land and the collective that both farms and dances upon it. The "political dances" performed by the subjects of photographer Malick Sidibe{\textquoteright}s teen portraits offer insights into the position of Malian youth during the second phase of the country{\textquoteright}s independence. The global designs and choreographies of the models fashioned by Malian designer, Xuly Bet, explore the performance of Malian fashioned bodies-styled and choreographed-as contributors to a high-fashion global aesthetic. These dynamic Malian dance forms evoking music and dance, all have complicated ensemble structures with roots in Mande call and response musical formats. Moreover, each example exists within everyday life, be it a dance performed in a village square celebrating the spirit of a beautiful girl, on a field for better harvests, in a local photographer{\textquoteright}s studio located in the heart of Bamako, or within the pages of a popular fashion magazine.}, keywords = {African Art (sub-Saharan)}, author = {Hyacinthe, Genevieve} } @mastersthesis {10316, title = {Transcendentalism and the Crisis of Self in American Art and Culture, 1830-1930}, year = {2008}, school = {CUNY}, abstract = {This dissertation explores the manner in which Transcendentalism impacted American artists and their productions from 1830-1930 through a series of four case studies. The central theme that unites these studies is the crisis of self, the feeling that the once stable, integrated entity-what Ralph Waldo Emerson referred to as "this idea called {\textquoteright}I{\textquoteright}"-was being pulled apart in the modern age. I investigate the manner in which Emerson, Henry D. Thoreau and Walt Whitman managed this feeling of dislocation and how their texts influenced cultural productions. Beginning with Martin Johnson Heade{\textquoteright}s salt marsh paintings, the first case examines how the critical language of Transcendentalism created landscapes that audiences read on numerous levels. I trace Heade{\textquoteright}s contact with Transcendentalism to his previously unknown residence in Cincinnati, during which time Emerson gave a series of influential lectures. I also explore the manner in which Emerson{\textquoteright}s ideas influenced his compositional strategies, focusing on the three distinct levels of relating to natural forms that Emerson posited in Nature. In the second study, I explore how the continued promotion of Transcendentalism influenced Albert Pinkham Ryder{\textquoteright}s moonlit marine paintings and how influential critics constructed an image consonant with Transcendentalism{\textquoteright}s legacy for his life. I examine the manner in which the environment of New Bedford, his childhood home, and his circle of friends in New York strengthened the philosophy{\textquoteright}s influence on him. The last two studies deal with the promotion of Transcendentalism into the public realm, rather than as a private remedy. In the third study, using Elbert Hubbard{\textquoteright}s Roycroft Community as an example, I trace the influence of Transcendentalism on the Arts and Crafts in the United States. In addition to positing an alternative for the movement{\textquoteright}s exclusively British model, I also look at how Transcendentalism{\textquoteright}s navigation of modernity created the conditions for the American practitioners to accept mechanization with less reservation than their British counterparts. In the final study, I explore how the philosophy remained a viable force well into the twentieth century and examine how the mass-produced housing of Sears, Roebuck and Company continued to speak to the Transcendentalists{\textquoteright} legacy.}, keywords = {Art of the United States}, author = {Clancy, Jonathan} } @mastersthesis {10438, title = {Typology and Syncretism in the Art of the Italian Renaissance}, year = {2008}, school = {Temple}, abstract = {My dissertation studies the typological juxtaposition and syncretic incorporation of classical and Christian elements-subjects, motifs, and forms-in the art of the Italian Renaissance and the significant meaning of classical subjects and figures in such contexts. In this study, I analyze the interpretative modes applied to extra-Biblical and secular literature in the Italian Tre- and Quattrocento and the syncretic philosophies of the later Quattro- and early Cinquecento and reevaluate selected works of art from the Italian Renaissance in light of the period claims and beliefs that are evident from such a study. In summary, my dissertation considers the use of classical subjects, motifs, and forms in the art of the Italian Renaissance as a means to gloss or reveal aspects of Christian doctrine. In chapter 1, I respond to the paradigm proposed by Erwin Panofsky (Renaissance and Renascences) and establish a new criteria for understanding the difference between medieval and Renaissance perceptions of classical antiquity. Chapter 2 includes a study of the mythological scenes painted in the Cappella Nova of Orvieto Cathedral, which are here shown to gloss and reveal aspects of the developing Christian doctrine of Purgatory. In chapter 3, I study the Renaissance use of representational ambiguity as a means of signifying the propriety of pursuing an allegorical interpretation of a work and specifically address the typological significance of figures in Botticelli{\textquoteright}s Primavera. In chapter 4, I examine the philosophical concepts of prisci theologii and theologicae poetae and their significance in relation to the representation of classical figures in medieval and Renaissance works of art. This study provides the necessary background for a reevaluation of syncretic themes in Raphael{\textquoteright}s Stanza della Segnatura, which is the subject of the final chapter. In chapter 5, I identify classical figures in the frescoes of the Stanza della Segnatura-among them, Orpheus in the Parnassus and Plato and Aristotle in the Disputa-and offer a new interpretation of the iconographic program of the Stanza della Segnatura frescoes as a representation of the means by which participants in the Christian tradition, broadly conceived, approach God through the parallel paths of dialectic and moral philosophy.}, keywords = {Renaissance/Baroque Art}, author = {Kline, Jonathan} } @mastersthesis {10272, title = {Under the Sign of the Cross in the Kingdom of Kongo: Shaping Images and Molding Faith in Early Modern Central Africa}, year = {2008}, school = {Harvard}, abstract = {This dissertation brings together African and European historical documents and art objects to examine the correlated role of artistic form and religious thought in the cross-cultural encounter between Catholicism and Kongo worldview in early modern Central Africa. Focusing on the period of Italian Capuchin activity in the Kongo along the seventeenth and eighteenth centuries, this study analyses how the heterogeneous European and African systems of beliefs and visual syntaxes shaped each other and the entire visual and ritual environment of the powerful kingdom of Kongo. The Capuchins arrived in Central Africa in the mid-seventeenth century, sent by the Pope at the demand of the Kongo crown. There, they deployed primarily visual catechization methods to "infuse devotion into the people" which they exposed in richly illustrated manuscripts for the edification of future missionaries. (Chapter 1) The friars found in the Kongo a highly organized polity which kings had strategically adopted Christianity at the turn of the sixteenth century as a tool to reinforce their legitimacy. The rulers had at the outset located the new faith in continuity with local religious and political practices through a strategic reformulation of the kingdom{\textquoteright}s fundamental mythological narrative and visual syntax. (Chapter 2) Working in what they perceived as a Christian land, the Capuchins inscribed their apostolate within the pre-existing social and political, and to some extent religious, structures of the region. To develop the Church in the already converted kingdom, they used European devotional objects, theatrical staging of rituals, and linguistic translation to operate a point to point replacement of the persisting idolatrous practices by devotions directed to the true God. (Chapter 3) The methods and objects used by the Capuchins in their apostolate had a profound impact on the development of Christianity and Christian art forms in the region, where Franciscan imagery and devotions took on a prominent role. (Chapter 4) Eventually, Kongo art of Christian form bore witness in its iconography and style to the creation of a new and consistent system of beliefs and artistic expressions that stood at the crossroads between Central African and Italian Baroque visual syntax and religious discourses. (Chapter 5)}, keywords = {African Art (sub-Saharan)}, author = {Fromont, Cecile} } @mastersthesis {10448, title = {The Unifying Power of Moving Pictures in Late Medieval and Renaissance Umbria}, year = {2008}, school = {Brown}, abstract = {Most banners, flags, and other types of portable images, once prestigious signs of identity for the groups that carried them in processions, have disappeared through wear and tear, vandalism, or disinterest in their devotional, aesthetic, or thaumaturgic qualities. Nowadays, extant "moving pictures" can be found in private and public collections, museum storage, or churches, alienated from their past functions. My study reconstructs their original settings within a ritual framework in Central Italy (Umbria). My background is the ritual motion of public processions as they were enacted by single groups or the entire civic population, for feast days, funerals, and princely entries during the fourteen-sixteenth centuries. Although anthropologists and sociologists have investigated how ritual works to produce group identity for participants and observers, my contribution lies in stressing the visual components of codified events and the significance of symbolic representations. I concentrate on banners (paintings on cloth of a vertical format) but also include wooden panels, relics, sculptures, or canopies as well as choreographed gesture. What unites all these symbolic representations is their ceremonial functions and their role in building social cohesion and reinforcing collective ties. I demonstrate how rituals and symbolic representations contributed to the self-conception of groups, but also to the entire notion of civic identity, i.e., the awareness of belonging to a specific city such as Perugia. Since many banners also served as altarpieces, I investigate both ritual mobility and ritual immobility. Rituals and their symbolic representations raise issues about collective consciousness and the power of artistic or devotional artifacts to transcend human sins, to purify, and to spur the expression and experience of cleansing emotions. Without "moving pictures" and their cognitive effects on all of the observers and participants, orderly public gatherings and the impression of unity would not be possible. However, since conflict and exclusion are part of the liminal experience of rituals, I revisit the ideal representation of harmony that literary and pictorial representations of collective motion tend to offer.}, keywords = {Renaissance/Baroque Art}, author = {Rihouet, Pascale} } @mastersthesis {10351, title = {Unraveling Christ{\textquoteright}s Passion: Archbishop Dalmau de Mur, Patron and Collector, and Franco-Flemish Tapestries in Fifteenth-Century Spain}, year = {2008}, school = {Pittsburgh}, abstract = {This dissertation considers the artistic patronage of Dalmau de Mur i de Cervello (1376-1456), a high-ranking Catalan prelate little known outside Spain. As Bishop of Girona (1416-1419), Archbishop of Tarragona (1419-1431) and Archbishop of Zaragoza (1431-1456), Dalmau de Mur commissioned and acquired of works of art, including illuminated manuscripts, panel paintings, sculpted altarpieces, metalwork and tapestries. Many of these objects survive, including two remarkable tapestries depicting the Passion of Christ that he bequeathed to Zaragoza Cathedral upon his death in 1456. Surviving primary documents, particularly Dalmau de Mur{\textquoteright}s testament and the Cathedral inventory of 1521, show that his collection was still more significant. A major part of the dissertation is a study of the style and iconography of the Passion of Christ tapestries at Zaragoza Cathedral. They were woven in the French northern counties of Flanders or Artois in the early fifteenth century. Technically, they are among the earliest surviving examples of tapestry that comprise silk, silver and gold threads. Furthermore, they are the only surviving Franco-Flemish tapestries to have been imported into an ecclesiastical collection in Spain. Dalmau de Mur{\textquoteright}s acquisition marks the beginning of an important phase of the artistic exchange between northern and southern Europe that would culminate in the patronage of the "Catholic Kings" later in the fifteenth century. The Zaragoza tapestries are also the oldest extant tapestries that represent the Passion of Christ. Consequently, they provide a rare insight into the treatment of Passion iconography in the rich and expensive medium of luxury tapestry during the early fifteenth century. An extensive iconographic survey reveals that the designers of the Zaragoza Passion tapestries were influenced by a select group of objects owned by the leading patrons of art in France-King Charles V and his brothers, the Dukes of Berry, Burgundy and Anjou. Stylistic criteria confirm that the designers of the Zaragoza tapestries were French or Flemish artists who either worked for the French royal court or knew the objects produced by French court artists.}, keywords = {Decorative Arts/Textiles/Design History, Early Medieval/Romanesque/Gothic Art}, author = {Dimitroff, Katherine} } @mastersthesis {10401, title = {Urban Interventions: 3Nos3 and the City of Sao Paulo, 1979-1982}, year = {2008}, school = {UT Austin}, abstract = {My dissertation analyzes the work of the artist group 3Nos3 (the name is a pun in Portuguese meaning "three knots/we three"), who performed artistic actions in public space that they referred to as "urban interventions" on the streets of Sao Paulo from 1979 to 1982. These ranged from placing garbage bags over the heads of monumental sculptures to taping Xs across the doorways of art galleries along with signs reading "What is inside remains the same; what is outside expands." Within the context of the military regime that had ruled Brazil since 1964, the urban interventions targeted symbols of authority ranging from public sculpture to the art world establishment. My research focuses on one of the most noteworthy traits of the group{\textquoteright}s activities: their almost complete absence from the history of Brazilian art. In spite of the recent popularity on the international artistic circuit of contemporary Brazilian art with a performative edge (the artists Helio Oiticica and Lygia Clark being the best examples of this type of work) the work of 3Nos3 has remained obscure, even within Brazil. The explanations for this lack of attention to 3Nos3 include the transitional political nature of the abertura period during which the interventions took place, the artists{\textquoteright} own denial of traditional artistic circuits and involvement in youth subcultures, the ephemeral nature of the interventions themselves, and a lack of understanding of the reasons why the artists chose to work in public space, particularly in regard to the interventions{\textquoteright} relationship with their audience. The goal of my dissertation is to argue for the inclusion of the interventions into the history of art without relying on arguments related to their quality, i.e. whether or not they constitute "good art." Rather, it is only through a detailed consideration of the specific cultural and political contexts in which the works occurred that they start to make sense. I conclude by examining the present-day conditions that could make the inclusion of 3Nos3 into larger international artistic movements such as street art and "the interventionists" (including Eduardo Srur and the Grupo Contra File, among others) possible.}, keywords = {Latin American/Caribbean Art, Performance Studies}, author = {Aldana, Erin Denise} } @mastersthesis {10333, title = {The Uses of Sidewalks: Women, Art, and Urban Space, 1966-1980}, year = {2008}, school = {Stanford}, abstract = {This dissertation examines women artists{\textquoteright} interventions into urban space during the international rise of feminist and new social movements in the 1960s and 70s. I focus on the artistic practices of Yayoi Kusama, Valie Export, and Martha Rosler as three representative case studies that I take to be crucial examples of a larger development within feminist art of that period. Specifically, this development concerns the emergence of an explicitly spatialized form of feminist art production: sculptural, photographic, conceptual and performance practices that pointedly engaged the spatial parameters of the city. In a field of artistic practice that was itself preoccupied with questions of the spatial (from minimalism and installation to earth art and so on) many women artists began to imagine their own feminist responses to space-to imagine the production of new kinds of spaces. These responses would stem from their own positioning as "different," to advocate for a broad embrace of difference as the necessary condition of a working public (or counterpublic) sphere.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Dawsey, Jill} } @mastersthesis {10328, title = {Veiling the Subject: Ellsworth Kelly and the Discourses of Modernism}, year = {2008}, school = {Boston}, abstract = {During the past two decades Ellsworth Kelly has become an increasingly prominent figure within the art world, and his reputation as the avatar of high modernism has earned him both scholarly recognition and critical success. Today, Kelly{\textquoteright}s austere brand of abstraction is widely regarded as the paradigmatic expression of formal purity, artistic autonomy, and aesthetic transcendence. As this dissertation demonstrates, however, Kelly{\textquoteright}s critical reception is predicated upon the belief that his art operates within an autonomous realm of experience, and thus transcends the contingencies of history and culture. Within the corpus of Kelly scholarship, for example, there is a clear tendency to shift the focus of meaning to purely formal issues, as if the artist{\textquoteright}s work was conceived within a historical vacuum. My dissertation challenges the ahistorical nature of Kelly scholarship, and examines the ways in which his artistic practice was mediated by the socio-political conditions of postwar society. More specifically, I argue that Kelly{\textquoteright}s method of picture-making-which was based upon the notion of anonymous craftsmanship-served to conceal his identity as an authorial subject, thereby shielding him from the ideological pressures of Cold War culture. Like other artists of his generation who were eager to sidestep the threat of censorship, Kelly developed a vocabulary of "impersonal" forms that would eliminate the visible signs of artistic subjectivity and creative ego from his work. In Chapter One, I discuss Kelly{\textquoteright}s artistic practice in relation to the broader framework of modernism, analyzing how his "painting/objects" deviated from prevailing modes of modernist abstraction. Chapter Two situates Kelly within the highly repressive context of Cold War culture. Taking into consideration the social and political repercussions of McCarthyism, I reconsider Kelly{\textquoteright}s stated desire to become "anonymous" and "invisible." Chapter Three addresses Kelly{\textquoteright}s training as a camouflage specialist during World War II, when the artist first learned to enact a process of self-concealment. In my final chapter, I trace Kelly{\textquoteright}s experiences as an art student in Boston. As I conclude, these experiences laid the groundwork for his decision to employ the visual codes of modernism as a means of veiling the subject.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Steck, Stuart Y.} } @mastersthesis {10311, title = {A Vernacular Vanguard: Surrealism and the Making of American Art History, 1936-1986}, year = {2008}, school = {USC}, abstract = {This dissertation contends that Surrealism in the United States came to represent a meeting point of art and society that persistently affected developing theories of modernism and attitudes toward common culture. As such, it represents a major underlying force of American art history, a localized site where ongoing debates-about abstraction and representation, consumerism, the place of politics in art, the role of the museum, the aesthetics of photography and visual culture-are all tested and contested. Approaching Surrealism from the perspective of the audience-the networks of critics, collectors, and the public, who all come together not only in the context of an exhibition, but also in the market-this dissertation re-evaluates the impact of Surrealism in the making of an American artistic culture, as it was used both to define and dismantle dominant critical theories in American art history, from Alfred Barr and Clement Greenberg in the 1930s, to William Rubin, Max Kozloff and Harold Rosenberg in the 1960s and Rosalind Krauss, Douglas Crimp and Hal Foster in the 1980s. Because Surrealism represents an important site of debate for contemporary artistic practice, especially as a crossroads of high and low culture, this dissertation explicitly takes on the question of Surrealism{\textquoteright}s value not as much as an art movement in and of itself, but for art criticism, mass culture, and the art market in the United States. Broadly conceived, this study asserts that the landscape of American art history would look fundamentally different without Surrealism{\textquoteright}s persistent presence, buttressing, and coming up against, the arguments that make art modern.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Zalman, Sandra} } @mastersthesis {10442, title = {A Vicarious Conquest of Art and Nature at the Medici Court}, year = {2008}, school = {Chicago}, abstract = {This dissertation traces the Medici engagement with the New World and its effects on collecting and art production at their court and within their circle in the sixteenth and early seventeenth century. Although the Italian peninsula did not assume a direct role in the political and religious conquest of the Americas, and Italians were not even allowed to travel there without permission from Spain or Portugal, Italians did actively explore the Americas in a vicarious way. The Medici Grand Dukes of Florence in particular were vigorously involved in illustrating its land and people and in collecting New World objects. Through a close examination of archival sources, such as inventories and Medici letters to and from their ambassadors, agents, and friends, this study uncovers the provenance, history and meaning of works from the Americas in Medici collections and shows how a system of gift giving and exchange facilitated collecting and the acquisition of knowledge surrounding the New World. The dissertation demonstrates that this process of integrating New World novelties at the Medici court impacted their cultural production and epistemology. The phases of this process include the categorization of the New World in Duke Cosimo{\textquoteright}s Guardaroba Nuova, Duke Francesco{\textquoteright}s documentation of the Americas in the works of Jacopo Ligozzi and Duke Ferdinando{\textquoteright}s political display of the New World in the Ludovico Buti{\textquoteright}s frescoes in the Armeria of the Uffizi. Finally and paradoxically, as more knowledge of the New World was gained, representations of the Americas became less ethnographically accurate and were based instead on imagination. The last part of the dissertation is therefore devoted to the role of allegory and invention in Medici court artist Giovanni Stradano{\textquoteright}s prints of the New World in the Americae Retectio and Nova Reperta series.}, keywords = {Renaissance/Baroque Art}, author = {Markey, Lia} } @mastersthesis {10390, title = {The virgin sacrificed: Images of Iphigeneia and Polyxena in Greek and Roman art}, year = {2008}, school = {Emory}, abstract = {Although the Greeks and Romans did not practice human sacrifice, the myth of the sacrificial virgin resonates powerfully as a subject in the visual arts of ancient Greece, Etruria, and Rome for over a millennium, from the early seventh-century BC to the fourth-century AD. While there are several sacrificial virgins in ancient myth, only two find visual expression: Iphigeneia, daughter of Agamemnon, sacrificed to begin the Trojan War, and Polyxena, daughter of Priam, sacrificed at its end. This dissertation explores how the representations of Iphigeneia and Polyxena in ancient art offer new interpretations on the meanings of the sacrificial virgin as a cultural and ideological construction in ancient Greece and the Roman Empire. The result is a cultural history focusing on the iconography and iconology of Iphigeneia and Polyxena in ancient art. Through an analysis of the imagery of Iphigeneia and Polyxena sacrificed, this dissertation examines how and why the mythical sacrificial virgins occupied an important place in the thinking and imagination of historical women and men in ancient Greece. The overarching conclusion is that the figure of the sacrificial virgin in art conveyed a spectrum of meanings informed by the work of art{\textquoteright}s iconography, medium, context, and intended and unintended viewers. Two further conclusions follow. First, the figure of the sacrificial virgin illuminates a mode of aristocratic fashioning of identity, both of women and men. Secondly, the subject of virgin sacrifice in art presents a more complex view of female agency in the ancient world than has been previously thought, which in turn offers a more nuanced understanding of the role and status of women in ancient Greece, Etruria, and the Roman Empire.}, keywords = {Greek/Roman Art}, author = {Mangieri, Anthony F.} } @mastersthesis {10473, title = {The Visual Culture of Modern War: Photography, Posters, and Soldiers{\textquoteright} Art in World War I France}, year = {2008}, school = {Pennsylvania}, abstract = {This dissertation analyzes the transformation of French visual culture during the First World War. The outbreak of conflict upended traditional artistic hierarchies and entrenched new, popular media as war, mass culture, and modern propaganda merged for the first time. This study investigates the complex, dynamic mechanisms through which French society constructed a system of "real" and mythical representations that addressed and compensated for the overwhelming absences-personal, informational, and aesthetic, among others-occasioned by this first mass, industrialized conflict. The dissertation focuses on three types of images or objects that were new, or played newly salient roles, during the war: official and unofficial photographs; war posters; and art made by soldiers. It traces the emergence of these media, seeking to explain their ubiquity and their specific characteristics; how they functioned for their makers; and how they resonated at the home front. I argue that different objects and images resonated with the public based primarily upon their perceived authenticity; that propaganda was generated from below as much as from above; that privileging amateur and untrained artists contributed to a construction of the nation as inherently "artful"; and that while photography first established itself during the war as the medium par excellence for covering current events, hand-drawn images continued to offer a vital and psychologically necessary shelter from the conflict{\textquoteright}s honors.}, keywords = {Twentieth-Century Art}, author = {Levitch, Mark} } @mastersthesis {10423, title = {The Visual Culture of the Central Italian Foundling Hospital, 1400-1600}, year = {2008}, school = {Michigan}, abstract = {Over the course of the fifteenth century, most of the Italian peninsula{\textquoteright}s larger cities established some sort of institutional remedy to the problem of abandoned infants, part of a wider movement toward greater organization and specialization of institutional charity. These hospitals for foundlings and their patrons deployed multiple strategies to frame and promote their charitable ministrations. This dissertation argues that visual representation played a pivotal role in the articulation of these positions. While early modern charity has been the subject of considerable scholarly interest in recent years, visual culture has not been accorded its due importance. I demonstrate that there was an extensive visual imagery associated with foundling care that evolved out of established pictorial traditions, including the Acts of Mercy, the Holy Innocents, and the Madonna della Misericordia. The institutional identities of hospitals that cared for abandoned children were articulated by means of a wide variety of visual forms, including coat-of-arms (stemme), logge, altarpieces, processional standards (and urban processions), begging licenses, confraternal statutes, and fresco cycles. These visual forms frequently placed the foundling hospital in the role of protective guardian, with the prototypical abandoned child constructed a swaddled newborn infant. Foundling hospitals were also presented visually as successfully guiding children along the path to becoming contributing members of communal life: newborns are swaddled and nursed, older foundlings are educated, pubescent girls are married. I call attention to the "constructedness" of these representations by contrasting these idealized or ideologically inflected images with the very different picture of the circumstances of early modern foundling care established by social historians. Following the survival of visual and archival material, this dissertation centers upon institutions in the central Italian cities of Bologna, Florence, Rome, and Siena and takes into consideration changes that occurred between the fifteenth and sixteenth centuries. This wide geographical and chronological scope allows me to address diachronic shifts, as well as continuities, and to make comparative arguments about different Italian regions while maintaining an interest in local particularities. Despite important local variations, this dissertation demonstrates that widespread commonalities existed in the visual rhetoric of foundling care throughout the early modern period.}, keywords = {Renaissance/Baroque Art}, author = {Bullen, Diana} } @mastersthesis {10268, title = {Visual Griots: A Social, Political, and Cultural History of Individuals in Mali through the Photographer{\textquoteright}s Lens}, year = {2008}, school = {Indiana}, abstract = {"Visual Griots," is a socio-historical study of the meaning, function and aesthetic significance of photographs in Mali, West Africa from the 1930s to the present. Spanning the dynamic periods of colonialism, national independence, socialism and democracy, its analyses focuses on the studio and documentary work of professional urban photographers, particularly in the capital-city of Bamako and in smaller cities such as Mopti and Segu. Although the study incorporates more than one hundred photographers, it concentrates on those who have been particularly influential in the local development and practice of the medium, as well as its international popularization and active participation in the contemporary art market. For example, forming the core of its analysis is internationally renowned artist Malick Sidibe, who is the first African photographer to have received the prestigious Hasselblad Foundation International Award in Photography in 2003 as well as the Golden Lion Lifetime Achievement Award at the 2007 Venice biennale. To appreciate the technical and artistic innovations of photographers, such as Sidibe, and the local significance of their work, local theoretical models and their related aesthetic concepts are applied within its analyses. This approach enables the author to address the agency of photographers and clients who use the medium to explore and claim individual and social identities, to perpetuate or challenge cultural trends and values, and to effect social change. Furthermore, indigenous theory allows the analyses to illustrate particular ways in which photographers employ local aesthetic ideas and invent compositional strategies to visually communicate their patrons{\textquoteright} underlying moral values and desires in portraiture. Moreover, this dissertation argues that though these aesthetic arrangements have specific relevance for local consumers, they transcend geographical and cultural boundaries to have value for global audiences as well.}, keywords = {African Art (sub-Saharan), Contemporary Art}, author = {Keller, Candace} } @mastersthesis {10402, title = {Visual Rhetoric in Transcultural Communication in Sixteenth-Century New Spain: The Engravings of Fray Diego Valades}, year = {2008}, school = {New Mexico}, abstract = {This dissertation examines how Fray Diego Valades{\textquoteright} engravings have memorialized his mission among several Native language groups in New Spain. His book on sacred oratory, Rheorica Christiana contains 27 engravings of his own execution. These images constitute their own narrative independent of the text, which promotes a strategy for conversion that respects the equality of leaning capability of Indians. Such equality leads to a preference for instruction and persuasion rather than force. The engravings depict an innovative method of instruction devised by Pedro de Gante, Valades{\textquoteright} mentor, who first employed Native modes of communication, especially song and images, for catechetical instruction. Native traditional pictographic writing, combined with Western art, resulted in a hybrid form of large paintings on cloth called lienzos. These lienzos, explained by teachers, were regularly used for catechesis and sermons. Other forms of indoctrination using pictographs are: {\textquoteright}confessional aids{\textquoteright} drawn by individuals for depicting their sincs in confession, and pictographic catechisms, of which several survive. The efficacy of visual presentation of doctrine was greatly enhanced because of the Indian tradition of pictographic and because the resulting religious imagery possessed the power to evoke a divine presence, as it had done in traditional native religions. By his own admission, many of Valades engravings are derived from and exemplify the hybrid form of instructional art known as lienzos. It is noteworthy that Valades viewed the Native tradition of pictographic writing and the European method of {\textquoteright}artificial memory{\textquoteright} as identical for purposes of memorization. The latter form requires assigning visual signs to texts and ideas for their retention in memory, a practice of visualization at which Indians were expert. Valades aligned his engravings into a sequence presenting a rhetorical argument for using visual means of instruction, that had proved its efficacy in New Spain, be used elsewhere. His proposal acquired the backing of Pope Gregory XIII, under whose patronage Rhetorica Christiana, together with its engravings, was published in Italy in 1579.}, keywords = {Latin American/Caribbean Art, Renaissance/Baroque Art}, author = {Branley, Brendan} } @mastersthesis {10449, title = {Water Myth in Early Modern Venice}, year = {2008}, school = {IFA/NYU}, abstract = {Studies of urban space in early modern Venice have mainly focused on areas that correspond to pan-European spatial typologies, such as squares, streets, and markets. Although this method has thrown considerable light on the Piazza and Piazzetta San Marco, the campi, and other land-based centers of Venetian civic activity, this dissertation submits that the urban environment of Venice also included the waterways of the city and its lagoon. Through an interdisciplinary analysis supported by independent research conducted on a boat in Venice, it proposes that between 1200 and 1600 the Venetians approached their aqueous geography as a space whose referential, visual, and experiential properties could be conditioned to enhance the myth of their miraculous origin. Chapter One examines the social and symbolic geography of the water as a public space of daily activities as well as a theatrical arena where aquatic ceremonies communicated water-related themes to international audiences. In Chapter Two the Venetians{\textquoteright} receptions for incoming foreign dignitaries are interpreted as structured events in which the visual revelation of the city from the water was choreographed through a highly sophisticated practice of aquatic urban scenography. A reading of the travel literature of aquatic spectators in relation to the phenomenology of aquatic perception in Chapter Three suggests that the architects of palace facades on the Grand Canal formulated an aquatic aesthetic that manipulated the aquatic observer{\textquoteright}s visual attention, hydrokinetic movement, and sense of mass and gravity to heighten the perceived buoyancy of their buildings. The final chapter focuses on an exceptional example of aquatic urban scenography that may open a new window onto the Venetian career of Andrea Palladio as well as the planning, symbolism, and patronage of his churches of San Giorgio Maggiore and Il Redentore. Mathematical and literary evidence suggests that the architect and his patrons may have aligned the churches in the perspectival and cosmographical field of the Bacino (or bay of) San Marco. Ultimately, these practices may form the urbanistic modality of a widespread yet cohesive cultural promotion of Venice as a divine creation, born from the sea.}, keywords = {Renaissance/Baroque Art}, author = {Savoy, Daniel} } @mastersthesis {10396, title = {Wild Women on Wares: An Examination of the Changes in the Image of the Attic Maenad}, year = {2008}, school = {Penn State}, abstract = {This dissertation is the only work to date that examines the evidence for maenadism from evidence on vases, on inscriptions and within tragedy and from historical writers in one dissertation. This dissertation deals with the assertion that the alteration of maenadism in its various forms occurs over time and can be perceived in literary and material form. In addition, the change of attitude toward maenadism (as demonstrated on vases and in literature) in antiquity (especially from the Classical age into the Hellenistic age) demonstrates a heightened sense of ancient "urgency" in acknowledging the "over-domestication" of women and subsequently a heightened danger of "maddened" women to the polis in general. In observing current concerns regarding, (1) mythological connections with "evidence" of maenad ritual as interpreted from ancient literature (both epic and tragedy as well as from ancient historians), as they relate thereto, and (2) the historical validity of maenadism (and interpretations thereof) from inscription evidence, one is confronted with yet a third element: the continuity and/or change of these elements as they relate to each other over time and sometimes space. In so approaching maenadism, it is asserted that a more comprehensive yet broader understanding of maenadism can be reached. The above issues will be approached with the ultimate notion in mind that mythical maenadism, a historical mechanism of Greek intellects and artists, perpetuated, or echoed a sense of "warning" to the polis to guard one{\textquoteright}s precious instincts (the balance between the wild self and the civilized self) and to "adhere" specifically to the dangerous condition of the over-domestication (as an effect of an overly patriarchal legal system) of women within the polis. In "mythical ritual," as for example, in the Bacchae by Euripides, the urgency of the warning seems to have reached its highest point during the fifth and fourth centuries BCE. The "maenadic metaphor" is also to be found in the dramatic works of Aeschylus, Sophocles and Euripides. Evidence from inscriptions supports the existence of "real maenad" activity in the third and second centuries BCE. This dissertation highlights the high status of the maenads as tragic figures, as time honored, and as important to the Athenians. There is an increase seen in "real" (material) evidence of maenadism that coincides with the decrease in the marginality of women{\textquoteright}s appearance in public spheres into the Hellenistic age. From inscriptions describing the penalties to be paid for not attending meetings, and for not joining the dance on the hill, more than social status is indicated. It seems that a particular economic status of the well-born and presumably citizen women who participated in maenadism in ancient Greece was required. This is contrary to the images we have of wild women, free and unrestricted, that is seen on vases, but is truer to the image of the ancient Greek historians who implied that maenads were well-respected citizen women who were socially sanctioned to perform the important rites of Dionysos. In so far as this dissertation represents a serious attempt to compile the extant scholarship surrounding the concept of maenadism (as well as to assert my theory on the ancient message of the dangers of over-domestication), it should be noted that my theoretical hypothesis is based on evidence that is only available materially. To summarize my findings: there are more amphorae (wine shapes) of the older black figure period which have maenads accompanied by Dionysus, featured on "heroic vases" (vases with heroic scenes), and show Dionysus as a zoanon figure (plank-like and made of wood). I perceive this effort to transmit the message of the maenad as something that was socially sanctioned in the role as servants to the god until around 490-470 BCE. Possibly this phenomenon made maenads more "mythological" as opposed to "real". With time, however, more images of maenads appear on hydria and "other" (non-wine or specifically water shapes) shapes more frequently and the images of the maenads increasingly seem to resemble regular women. This is observed as they have fewer and fewer maenad "features" such as the thyrsus, snakes, deer, cubs, torches, etc. than the older vase images and happens more frequently after 460 BCE. (Abstract shortened by UMI.)}, keywords = {Greek/Roman Art}, author = {Ubbels, Krista} } @mastersthesis {10281, title = {Will to War, Will to Art: Cultural Internationalism and the Modernist Aesthetics of Monuments, 1932-1964}, year = {2008}, school = {MIT}, abstract = {This dissertation examines a period around World War II when the prospect of widespread destruction provoked a profound re-evaluation of Europe{\textquoteright}s landmarks, their material value, and their ethical significance. Between 1932 and 1964, works once known as artistic and historic monuments-from buildings to bridges, paintings to shrines, ruins to colossi-acquired a "cultural" value as belonging to the "universal heritage of mankind." Promoted as didactic objects of international understanding, they became subjects of a new brand of international law. I trace the origins of this international valuation to a political movement, identified as Cultural Internationalism, whose main tenet was that the transnational circulation of knowledge constitutes an antidote to war. This ideal fueled the birth of organizations that brandished the autonomy of intellectual work as a weapon against nationalisms: most visibly, the League of Nations{\textquoteright} Institut International de Cooperation Intellectuelle (IICI, 1924-1941), its successor the United Nations Educational, Cultural, and Scientific Organization (UNESCO, 1946-), and the American Commission for the Protection and Salvage of Artistic Monuments in War Area (Roberts Commission, 1943-46). Despite the continued role of this institutional lineage in cultural production worldwide, there has not been a study of its contribution to 20th-Century aesthetics. The dissertation explores the modernist aesthetics of monuments that arose from this milieu and unfolded in three related fields: the bombed cities of the Allies{\textquoteright} war, the architecture of the European reconstruction, and the heritage missions of the decolonization. A broad network of intellectuals, art historians, architects, and archaeologists was enlisted to show that monuments gave iconic weight to cultural autonomy in a new world order. I follow these experts{\textquoteright} attempts to effect this autonomy: working in conferences and as field experts, spawning an intricate network of civilian and military committees, caring for a growing collection of monuments, and encountering the shifting winds of a massive geo-political realignment.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Lucia Allais} } @mastersthesis {10269, title = {William Kentridge: Process as Metaphor and Other Doubtful Enterprises}, year = {2008}, school = {Harvard}, abstract = {This dissertation excavates the meanings of "process" in the work of South African artist William Kentridge, defining the artist{\textquoteright}s process as both an idiosyncratic operation of animated drawing, as well as a more abstract concept tied to a metaphysics of change and temporality. Kentridge links these dual aspects of process, I argue, by activating his artistic processes as a series of suggestive metaphors. It is precisely in this metaphorical transport-in relating the hermetic processes of the studio to those of the world beyond-that Kentridge mobilizes process as a foundational epistemological framework. Thus the erasure of charcoal comes to evoke for Kentridge both the amnesiac processes of human memory, and the tendency of the dynamic South African landscape "to hide" its past; the meditative process of drawing becomes a "a way of thinking aloud;" shadows metaphorize doubt; and "animation," he states, "is...a good metaphor for history." My first chapter probes how the rhetorical trope of metaphor operated upon the confined discursive space of late apartheid South African culture. Next I root Kentridge{\textquoteright}s artistic process in the dynamic tradition of history as process that runs from Hegel through Brecht, suggesting that this historical model underpins Kentridge{\textquoteright}s performative studio practice. Revolving around the year 1989-a year of seismic political change-my third chapter grounds Kentridge{\textquoteright}s ambulatory and sequentialized process in his early experiments with animation and film, and in timely imagery of processions that deploy the visual syntax of striding figures as allegories of political change. In my fourth chapter I examine Kentridge{\textquoteright}s cardinal metaphor of drawing as thinking, relating it to his larger epistemology of doubt, and to the visual models of consciousness articulated in films such as Stereoscope. Last, I address the structural affinities between the artist{\textquoteright}s process and the psychoanalytic dialogue. Suggesting that with Kentridge the concept of drawing reverts to its semantic origins as a "drawing up" and a "drawing out," I argue that the artist harnesses the therapeutic metaphor of the dialogue as "talking cure" to inscribe drawing, writing and speaking as parallel processes of externalizing-or drawing up-subconscious thought.}, keywords = {African Art (sub-Saharan), Contemporary Art}, author = {Maltz, Leora Ruth} } @mastersthesis {10374, title = {Women of Ivory as Embodiments of Ideal Feminine Beauty in the Ancient Near East during the First Millennium BCE}, year = {2008}, school = {Harvard}, abstract = {This thesis identifies and explores aspects of ideal feminine beauty embodied in first millennium BCE Levantine ivory sculptures of women. A corpus of two hundred ten works, which were examined firsthand, is the subject of interdisciplinary analysis. In Part I, the ivory sculptures are studied through traditional visual and art historical methods. Also, in order to add precision to visual observations and to reveal information not evident through visual analysis alone, a collaborative quantitative analysis of the figures{\textquoteright} characteristics, attributes, and proportions is pursued. In Part II, with the aim of interpreting the meaning and cultural significance of the ivory sculptures and the ideal feminine beauty that they represented, comparative materials are introduced. Archaeological, textual, and ethnoarchaeological evidence are presented as in-roads to the ancient visual record. Comparative study illuminates cultural conceptions of beauty during the first millennium BCE and stimulates new ways of looking at and thinking about the ivories. Overall, this thesis hopes to demonstrate the significance of representations of women (and living women themselves) in the ancient Near Eastern experience. Most excavated Levantine ivory objects derive from northern Mesopotamian, Neo-Assyrian royal contexts, where they (and the women they depicted) were appreciated as attractive, if not exotic. The idealized women represented in ivory would have played a unique and essential role in the visual experience of the court and are likely to have been compared to living queens. Comparative records indicate that the beauty of the ivory women may have referred to human fertility, among other positively coded traits. Mirroring the significance of the living queens, this thesis proposes that Levantine ivory sculptures of women displayed in Neo-Assyrian palaces may have contributed to an ideology of dynastic vitality and regeneration through the representation of ideal feminine beauty.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Gansell, Amy} } @mastersthesis {10317, title = {Workbench of American Taste: Richard F. Bach, Industrial Art, and Consumerism at the Metropolitan Museum of Art, 1917-1940}, year = {2008}, school = {UC Santa Barbara}, abstract = {This dissertation focuses on Richard Franz Bach (1887-1968) and his contributions to the field of American art museums between 1917 to 1940 when he served as Director of the Department of Industrial Relations at the Metropolitan Museum of Art. Bach organized a series of fifteen exhibitions, known as the Annuals, with an aggressive consumerist agenda. They displayed contemporary American industrial art as commodities. Both his rhetoric and role encouraged the manufacture and consumption of industrial art of "good design" to raise public taste and boost the United States economy. The case study of these exhibitions reveal a paradigm of commercialism at the Metropolitan and the emergence of the museum visitor as a consumer of goods on display within the Museum{\textquoteright}s galleries, which created a new {\textquoteright}citizen-consumer{\textquoteright} identity. The fusion of art and commerce evident in American art museums today is traced back to the museums of P. T. Barnum and Charles Willson Peale, the rise of department stores, and European prototypes including the Great Exhibition of 1851, the South Kensington Museum, and the Louvre. A Progressive like his contemporaries Henry Watson Kent and John Cotton Dana, Bach{\textquoteright}s vision called for the Metropolitan to serve as an "adjunct of factory" and the "workbench of American taste," reinforcing its original charter to offer a practical value to society. Various factors changed the direction of his work around 1940, including the rise of popular international design exhibitions at the Museum of Modern Art, New York, the appointment of Francis Henry Taylor to Director of the Metropolitan, and the impact of World War II. This study explores historical, theoretical, and cultural contexts addressing the questions of how and why the line between art and commodity disappeared in the Annuals. How does Bach{\textquoteright}s rhetoric and practice in the Progressive Era contribute a new chapter to museum history? To what extent was the pursuit of commercial concerns an exercise in defining the Metropolitan{\textquoteright}s "Americanism?" The study concludes with consideration of the ways in which the legacy of commercialism has continued to the present day.}, keywords = {Art of the United States}, author = {Guglielmo, Antoniette} } @mastersthesis {10388, title = {Worshipping in Community: Jupiter and Roman Religion in the Early Imperial Period}, year = {2008}, school = {Princeton}, abstract = {In this dissertation, an examination of the role of Jupiter, the highest god of the Romans, in the worship by Italian communities serves as a case study that helps to elucidate the most significant ways public power structures exerted influence on Roman religion and to reintegrate the worship of non-elites into a fuller conception of Roman religion. This is accomplished through an exploration of how communities in Italy during the early imperial period (Augustus to Domitian) constructed the ideology and resulting worship of the Roman god Jupiter. As a framework within which to conduct the investigation, a new model for religion practiced in the Roman Empire is proposed. This model aids in conceptualizing how individual communities in Italy, composed of members from various status groups in both the public and private spheres, cultivated Jupiter. This approach contrasts with the currently dominant polis-religion model, which tends to focus narrowly on public modes of worship espoused by the elite classes. In recognition of the importance of communal worship to the Romans, the alternative model entails a study of an interconnecting web of communities involved in cultivating a proper relationship with the gods. Within this framework, this examination treats a community as the location of religious action and the conceptions of the god that frequently determined the former{\textquoteright}s nature and shape; primary interest lies with the conceptions of Jupiter that were part of the system of ideas that led to religious action in a given community. In order to reconstruct the prevalent ideas/conceptions about Jupiter in a particular group, this dissertation investigates three important elements in the construction of the god. More specifically, this study compares and contrasts the functions, visual manifestations, and the cultic honors accorded to Jupiter among the citizens composing the civic community of Rome with those characterizing the following types of associations found in Italy during the early imperial period: civic communities of municipalities, urban communities, families and households.}, keywords = {Greek/Roman Art}, author = {Husser, Zehavi} } @mastersthesis {10080, title = {1964: Robert Rauschenberg and the Beginnings of Globalization in Modern Art}, year = {2007}, school = {Yale}, abstract = {This dissertation is the first scholarly investigation of Robert Rauschenberg{\textquoteright}s international activity during the 1960s as a founding element in the Americanization of the global art scene. Looking at Rauschenberg{\textquoteright}s role as costume and set designer for Merce Cunningham Dance Company{\textquoteright}s 1964 world tour, this study conducts a close formal analysis of Rauschenberg{\textquoteright}s works-including those he made during the trip-as well as a comparative study of their overseas and domestic receptions. It will address the duality of Rauschenberg{\textquoteright}s involvement with the Americanization of modern art: while he advocated utopian universalism by acting as a nexus for a transnational avant-garde network, he was also an agent of American cultural imperialism, being the first American winner of the Venice Biennale Grand Prix. This dissertation analyzes the global impact of the rise of American art by presenting four case studies: Paris, Venice, Stockholm, and Tokyo, all cities that Rauschenberg visited in 1964. While the reception of Rauschenberg{\textquoteright}s art-and American art in general-was unique in each case, this study connects specific effects of Rauschenberg{\textquoteright}s world trip to present an integrated picture of the emergence of the Americanization in modern art. The art communities of each city were engaged with the same essential question: how to take part in the international art scene as an active and unique force, without becoming a slave to or self-destructively opposing the most powerful agent, American art. Through an examination of these dynamics, this dissertation demonstrates that the Americanization of modern art in the sixties was a precursor to the globalization so evident in current art practice.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Ikegami, Hiroko} } @mastersthesis {10244, title = {The 19th-Century Jain Pilgrimage Site of Satrunjaya, Gujarat}, year = {2007}, school = {Minnesota}, abstract = {Shatrunjaya, located in Gujarat, India, is one of the most significant pilgrimage sites for Shvetambara Murtipujak Jains, who comprise the majority of Jains in western India. However, the histories, temples, and painted maps of the site suggest that Shatrunjaya acquired its current form only during the 19th century. First, among writings depicting the site, scientific and concrete descriptions based on 19th-century colonial surveys and writings became to prevail over the traditional depictions of a sacred and abstract site. Second, during the 19th century, a new form of patronage arose. This patronage, organized by the Sheth Anandji Kalyanji Pedhi, a religious trust that managed the site, emphasized the sacredness of the site and replaced the traditional form of patronage in which the harvest of merit was the most important cause. The architectural plans and styles of the temples built during this period also display much change. In place of the eclectic architecture found in the early 19th-century temples, a more rigid style based on traditional manuals and 13th-century Jain temple architecture became the norm in temple building. The final change can be found in patas, or painted maps, which depict Shatrunjaya. 19th-century patas display several changes, including the sole depiction of the site, topographically accurate depiction, and isolation of the site from surrounding areas. These changes can be linked to a series of legal cases related to the ownership of Shatrunjaya, which continued from 1820 to 1926. During this period, the local Hindu rulers of Palitana, the area surrounding Shatrunjaya, claimed ownership and their rights to tax the site, and the Jains fought back. The legal cases were taken up to British colonial authorities, and while preparing for the series of legal cases, the Jains underwent a process of re-defining their identity according to the modern notions of religion and history. By looking at the various changes and legal cases related to Shatrunjaya during the 19th century, this dissertation argues that the modern identity of Shvetambara Murtipujak Jains was a socially constructed notion, based on the needs of the hegemonic forces of a particular religious community.}, keywords = {South/Southeast Asian Art}, author = {Kim, Hawon} } @mastersthesis {10050, title = {Adapting the City to Meet Rural Desires: The English Urban Landscape as Surrogate Country House}, year = {2007}, school = {Delaware}, abstract = {This dissertation examines ways in which during the long eighteenth century the English urban landscape functioned in a manner similar to that of English country estates. The primary focus is on London, but Bath and Bristol are examined to see if the phenomenon was shared by provincial cities and towns, as well. During the late seventeenth century and throughout the period studied, England{\textquoteright}s elite spent increasingly longer periods in cities and away from their rural estates. Despite the often written about attractions of the city, most of the gentry and nobility missed traditional polite rural pastimes while in town. Over the course of the long eighteenth century these elite used their significant influence to change the course of development and entertainment in cities. The study begins by examining the differences between life in the Stuart city and enduring traditional aspects of life on the country estate. Eighteenth-century London is then investigated as the location of increasingly common elite rural pastimes. These include, among others, walking, fishing, hunting, riding, and cricket. Attention is then turned to the venues for these activities, such as the Royal Parks, open land surrounding the city, pleasure and tea gardens, and residential squares. In order to use and enjoy the urban landscape as a surrogate country house most effectively, the elite employed numerous strategies, such as the appropriation of the landscape in distant views and physical, social, economic, and psychological exclusion of unwanted persons and other aspects of the urban environment. Also important was the building of many unified and uniform terraces and crescents, with crescents, in particular, often fronting a broad and deep unbuilt landscape, making the form of the building, as well as its siting, resemble a large country house. The landed classes saw themselves as having a relationship to the landscape that was very different from that of the commercial and less wealthy segments of society. Based upon architectural writings, letters, diaries, and journals, it is clear that, through shared interests and values, by the early nineteenth century England{\textquoteright}s landowning elite had successfully transformed parts of some of the country{\textquoteright}s towns and cities, particularly London and Bath, into fragmented, shared, and more familiar settings for enjoying the lifestyle that had traditionally set them apart from the masses.}, keywords = {Architectural History/Historic Preservation}, author = {Hamilton, Jeffrey} } @mastersthesis {10227, title = {Aesthetic Hybrids: Interpreting Carlo Crivelli{\textquoteright}s Ornamental Style}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation fills a significant gap in the study of Italian Renaissance painting by reassessing the work of the fifteenth-century painter, Carlo Crivelli, whose art has wrongly been interpreted as Gothic or retardataire because he systematically used ornamental elements, which critics have historically considered as implicitly marginal and secondary to the central pictorial subject. In contrast, my thesis rests on the view that ornament is an element that both completes and signifies that what it depicts. In this view, ornament is also the mark of a distinctive Renaissance response to classical ruins: instead of trying to imitate them, this style grafted onto its own medieval substratum only select elements of the classical visual language. The economic and social reality of the Marche, where Crivelli spent the last twenty-seven years of his life, persisted as medieval to the extent that all Marchigian society, including its artists, construed ornament as necessary to fulfill powerful religious needs. Crivelli{\textquoteright}s response to Antiquity, in his eclectic, highly knowledgeable, and skilled recombination of ornamental elements, suited the demands of his Marchigian patrons, primarily the Dominicans and the Franciscans. My thesis argues against the long-held belief that Crivelli was ignorant of classical Renaissance models by showing that he was, instead, responding to the beliefs of his patrons that ornament was necessary to create sacred images deserving of the veneration of the faithful.}, keywords = {Renaissance/Baroque Art}, author = {Leopardi, Liliana} } @mastersthesis {10242, title = {After the Rain: Surrealism and the Post-World War II Avant-Garde, 1940-1950}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation focuses on the shifting position of French Surrealism during World War II and its immediate aftermath. My historical and contextual analysis examines what was at stake for the Surrealists faced with exile, clandestine activities conducted by Main a Plume during the German Occupation, and a radically changed postwar cultural milieu. I scrutinize Surrealist practice as visual strategy, intellectual history, political engagement, and cultural critique. Postwar Surrealism established its position in relation to the strategies of Jean-Paul Sartre{\textquoteright}s Existentialism, the cultural policies of the French Communist Party (P.C.F.) articulated by Louis Aragon, and the re-emerging Parisian avant-garde. I analyze how artists, writers, and group exhibitions made concrete the expanded wartime boundaries of the movement and how physical sites of exile informed Surrealist activities. War-era journals-View, VVV, and Dyn-provided intellectual spaces for the promotion of both Surrealist ideas and dissent among members of the group. I also consider Andre Breton{\textquoteright}s search for a new Surrealist myth, an inquest that paralleled the contemporary preoccupation with mythical subjects among Abstract Expressionists such as Adolph Gottlieb, Barnett Newman, and Jackson Pollock. To address the Surrealists{\textquoteright} return to France, I utilize the sociological theory of boundary disputes to assess how postwar ideological clashes established parameters of debates. Significantly, I argue that the Communist and Existentialist intelligentsia defined themselves in relation to the Surrealists, and kept the group in public view until its first exhibition of the postwar period, Surrealism in 1947. The poetic origins, international roster, and critical reception of the exhibition, which promoted esotericism and mythical initiation, are examined as well. Shifting postwar definitions of {\textquoteright}real{\textquoteright} and {\textquoteright}realism{\textquoteright} are also analyzed, and the approach of Surrealist artists and writers-Georges Bataille, Victor Brauner, Charles Duits, Jindrich Heisler, and Toyen, among others-is compared with that of Socialist Realism (adopted as official P.C.F. policy in 1947) and the brute materialism of Jean Dubuffet. In the broadest terms, this dissertation explores to what extent artistic practice can be bound to social practice, and how the Surrealists modified yet maintained their carefully crafted revolutionary mantle.}, keywords = {South/Southeast Asian Art}, author = {Adams, Ellen} } @mastersthesis {10049, title = {Airport Age: Architecture and Modernity in America}, year = {2007}, school = {CUNY}, abstract = {This study is a chronological and thematic examination of the architecture and design of the American airport over a seventy-year period, from their invention in the 1920s to the latest design developments of the 1990s. The airport is a new and quintessentially twentieth-century building type. Composed principally of airfield, control tower, hangars, terminal(s), administration and service buildings, as well as runways and access roads, it is a totally designed and extraordinarily complex architectural space. It is also a special social environment, and the airport functions as a modern heterotopia of both freedom and control. Flight and its land-based expression of the airport, particularly the passenger terminal, are integral to modern life, and, as this dissertation discusses, played an important role in the constitution of modernity.}, keywords = {Architectural History/Historic Preservation}, author = {Eggebeen, Janna} } @mastersthesis {10087, title = {An American Art: Edward S. Curtis and The North American Indian, 1907-1930}, year = {2007}, school = {Johns Hopkins}, abstract = {This dissertation offers a new analysis of The North American Indian, a forty-volume set of photographs and writings published in the United States between 1907 and 1930 by Edward S. Curtis (1868-1952). In considering the significance of Curtis{\textquoteright}s project both as a work of photographic art and as a politically-minded reaction to the contemporary "Indian problem," I claim that The North American Indian must be understood in relation to governmental policies affecting Native Americans and the development of American art in the first three decades of the twentieth century. I argue that the socio-political movements of progressivism in the early 1900s and of nativism in the 1920s affected not only the reception of Curtis{\textquoteright}s project, but also prompted his shift in photographic style. In the first decade of production of The North American Indian (1900-1910), Curtis{\textquoteright}s espousal of progressivism, specifically the attempts to assimilate Native Americans during Theodore Roosevelt{\textquoteright}s presidency, coincided with his adherence to the style of pictorialist photography. Many of Curtis{\textquoteright}s photographs from the second decade of his project (1910-1920), however, do not conform to the formal ideals of pictorialism, but rather were made in response to the introduction of modern European art and so-called "modernist primitivism" to New York in the 1910s. By the 1920s Curtis{\textquoteright}s political activism and artistic direction indicated an awareness of nativist artists and writers in the Southwest, who privileged Native American art and culture as part of a larger effort to define a "native" American identity. The North American Indian is characterized not by stylistic and thematic unity, but by the ambiguity of Curtis{\textquoteright}s politics and his varied associations with progressive leaders, modern artists, and nativist activists. The present examination of Curtis{\textquoteright}s photographs and their relevant aesthetic, theoretical, and political contexts provides an account of The North American Indian and its place in the development of early twentieth-century American modernism.}, keywords = {Art of the United States}, author = {Egan, Shannon} } @mastersthesis {10090, title = {American Artists{\textquoteright} Frames: Paintings, Environments, and Viewers 1860-1920}, year = {2007}, school = {UC Santa Barbara}, abstract = {A frame that surrounds a painting has two practical functions, which are to physically protect and aesthetically enhance a work of art. On a more conceptual level, frames perform three theoretical functions based on their positions relative to the painting, environment, and viewer. This dissertation addresses the question of how a frame{\textquoteright}s mediatory function among the spaces belonging to the painting, environment, and viewer determines the manner in which a painting is experienced. Between 1860 and 1920, a contingency of American artists influenced by their European colleagues and instructors, developed an interest in frame design. As most did not write about their frames to the same degree that they wrote about their paintings, this dissertation focuses on those American artists with the largest and most accessible archives, such as William Merritt Chase (1849-1916), Thomas Wilmer Dewing (1851-1938), Thomas Eakins (1844-1916), Childe Hassam (1859-1935), Robert Henri (1865-1929), Willard Metcalf (1858-1925), Charles Prendergast (1863-1948), Maurice Prendergast (1858-1924), John Singer Sargent (1856-1925), Abbott Handerson Thayer (1849-1921), James McNeill Whistler (1834-1903), and Stanford White (1853-1906). Research about these artists{\textquoteright} frames was derived from their archives, period photographs from exhibitions and memorial exhibitions, period articles about current frame styles and framing practices, the Peter A. Juley and Son Collection of photography, and, most importantly, original frames. The data about American artists{\textquoteright} frames assembled through research helps to locate a frame{\textquoteright}s position with regard to the painting, environment, and viewer. When a frame merges with a painting, it calls attention to the painting{\textquoteright}s materiality as a two-dimensional crafted object. When a frame merges with a painting{\textquoteright}s environment it instead calls attention to the painted illusion. Finally, a frame can conceptually define and give meaning to a painting{\textquoteright}s subject matter when it interacts with the viewer. If an artist chooses or designs a frame for his painting, pinpointing frame function is critical to understanding how he intends for the viewer to approach the painting. By focusing analysis on the frame and its relationship to the painting, environment, and viewer, it is possible to access visual signals that are as relevant today as they were in the late nineteenth and early twentieth centuries.}, keywords = {Art of the United States}, author = {Older, Caroline} } @mastersthesis {10261, title = {The American Civic Center: Urban Ideals and Compromise on the Ground}, year = {2007}, school = {IFA/NYU}, abstract = {Reformers introduced the term {\textquoteright}civic center{\textquoteright} into American architectural and urban discourse in the years around 1900. This study examines civic centers as key elements of idealistic municipal programs, focusing on attitudes toward public life and democracy during this period. For many contemporaries and historians, the generous open spaces and coordinated architecture of these projects signaled a shift from private, individualist development of American cities to a new focus on collective concerns. Examination of the process through which cities developed civic centers reveals continuing conflicts between these attitudes, as well as new insights into key political, social, and art historical issues. Research is organized around case studies, with an introduction and conclusion treating underlying themes and issues. Chapters one and two introduce the history and theory of civic centers, identifying architectural and spatial issues in debates about municipal planning at the turn of the century. Chapter two further outlines methodological and historiographic issues, examining themes such as the City Beautiful; the American Renaissance; patterns of urban spatial organization; Progressive political reform strategies; and professional architectural programs. Chapters three, four and five present case studies of Cleveland, San Francisco, and New York, respectively. Historical investigation reveals different approaches and results in each case, yet all three examples contribute to general conclusions about the process and meaning of civic center development. Examination of Cleveland focuses on the history of its Group Plan in the context of national architectural programs, local Progressive political reform, urban design, and the spatial organization of the city. Analysis of the San Francisco civic center emphasizes architectural reform, real estate pressure to rebuild after the earthquake and fire of 1906, and comparison with competing cities in the region. Investigation of New York concentrates on the development of municipal Progressivism, urban redevelopment, the democratic rhetoric of urban reform, and the concept of centralization inherent in civic center programs. The study concludes by balancing the contextual approach of each case study with broader interpretive models, to suggest theses about public life in cities, urban form, and the municipal character shaping public projects.}, keywords = {Twentieth-Century Art}, author = {Ritter, Jonathan} } @mastersthesis {10076, title = {The American Salon: The Art Gallery at the Chicago Interstate Industrial Exposition, 1873-90}, year = {2007}, school = {CUNY}, abstract = {The annual exhibitions in the Art Gallery of the Chicago Interstate Industrial Exposition, 1873-1890, were considered by many contemporary critics and artists to be the most exciting and liberal annual exhibition of American art in the country. Although the Art Gallery managers were initially dependent upon the National Academy of Design for direction, by the mid-1870s they had begun to demonstrate independence from New York, much as younger artists returning from study abroad began to chafe under the authority of the National Academy. Beginning in 1877, the Art Gallery began to demonstrate its independence by exhibiting increasing numbers of works by artists associated with the Society of American Artists, as well as by expatriate artists. In 1883, the Art Gallery began to import works by Americans that had exhibited in the Paris Salon, where audiences saw them before those in other major metropolitan areas in the United States. The relationship of American art to its European influences, as discussed in the Chicago press and seen on the walls of the Exposition Art Gallery, offers new prospects for understanding how the increasing cosmopolitanism of American art was received by audiences outside New York. It also places Chicago squarely in the center of the debate about the character of a national art in the face of the return of American artists trained in Europe or influenced by newer European techniques, styles, and changing palettes. Because the Art Gallery did not take sides in the struggles between the "old guard" and "new men" that characterized the art scene in New York, visitors to the Exposition were presented with a more comprehensive view of the developments in American art during the last quarter of the 19th century than could be seen nearly anywhere else-thus earning the title given to it by artists of the day: "the American Salon." A New York-centric perspective dominates our understanding of the development of American art at the end of the 19th century. This study intends to change that paradigm by demonstrating that not only was Chicago a leader in the exhibition of American art, but that in many cases it anticipated New York, Boston, and Philadelphia in exhibiting and embracing its more progressive elements.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Jensen, Kirsten M.} } @mastersthesis {10169, title = {Amidaji: Mortuary Art, Architecture, and Rites of Emperor Antoku{\textquoteright}s Temple}, year = {2007}, school = {Pittsburgh}, abstract = {My dissertation analyzes the art, architecture, and rites related to mortuary ceremonies for Emperor Antoku and the Taira at the Buddhist temple Amidaji in Shimonoseki City in Yamaguchi Prefecture. Amidaji served as a mortuary temple for the eight-year-old emperor Antoku and the Taira clansmen, who, defeated in the final battle of the Genpei War, jumped to their deaths in the cold seas off the coast of Akama in 1185. Because the child emperor and the Taira drowned themselves, their spirits, unable to access the next world, were believed to become malicious ghosts who threatened the living and the nation. Amidaji, constructed in front of the battle site and where Antoku{\textquoteright}s body was believed to be interred, assumed major responsibility for the rituals to appease these ghosts and to assist them in attaining rebirth in the Western Paradise of Amida Buddha. Despite its importance, Amidaji was abolished and was then replaced by a Shinto shrine during the persecution of Buddhism in the late nineteenth century. The buildings of the temple were demolished and the majority of Buddhist icons and implements were destroyed. Several key artworks, including the portraits of Antoku and the Taira as well as the sliding-door paintings depicting the life of the emperor, survived; however, the removal of artworks from the architectural settings where rituals took place stripped their primary functions. In order to recover the lost meanings of the art and architecture of Amidaji, this dissertation positions the art and architecture as integral ritual components and attempts to reconnect them with the various contexts in which they actually functioned. My study is based on a visual analysis of surviving works of art and architecture at Amidaji, a close study of textual and pictorial evidence, and a survey of the actual site. I explore the roles of the art and architecture where a variety of elements-artifacts, rites, patrons, and specific circumstances of politics, society, history, culture, economy, and religion-intersected. This study enhances our understanding of the art and architecture of Amidaji and illuminates the broader context where their specific meanings and actual functions were created.}, keywords = {Japanese/Korean Art}, author = {Gunji, Naoko} } @mastersthesis {10105, title = {Ancient Society and Metallurgy: A Comparative Study of Bronze Age Societies in Central Eurasia and North China}, year = {2007}, school = {UCLA}, abstract = {This dissertation advances a new trajectory of early social evolution and a new understanding of the role of metallurgy in this evolution. Essentially it raises the following three propositions. (1) The community as a kin group and a residential group is the basic social unit and an autonomous agent in political, economic, and cultural spheres; (2) The path of early social evolution is that the inter-community differentiation at the tribal stage transform into the inter-community stratification at the chiefdom and state stages; (3) Metal production as a form of economy is a major force driving the rise of the inter-community differentiation. To test the three propositions, archaeological data pertaining to Bronze Age societies in Central Eurasia and the Late Shang kingdom in North China are subjected to a detailed analysis. The similarities and differences between the two regions are taken to enlighten the two primary issues. The first and second propositions are proved to be valid. Individual communities are highly visible in archaeological data from both Central Eurasia and the Late Shang kingdom. They express their cultural characteristics in various ways, in settlement plan, cemetery layout, burial rites, and artifact styles. In both Central Eurasia and the Late Shang kingdom, social differentiation exists among communities and within communities and the inter-community differentiation is the primary one. But while social differentiation is spontaneous and rudimentary in Central Eurasia, it is institutionalized in the Late Shang kingdom. Thus the Central Eurasian societies are ascribed to the tribal stage and the Late Shang kingdom to the state stage. The common community-based social organization yet contrasting developmental stages in the two regions ascertain that early social evolution occurs when the inter-community differentiation at the tribal stage transforms into the inter-community stratification at the chiefdom and state stages. The third proposition is not entirely valid. In both Central Eurasia and the Late Shang kingdom, metallurgy does not explain social differentiation at all levels, but it does explain it in a general sense. In Central Eurasia it accounts for the inter-community differentiation at the cross-regional scale. Communities in the ore-rich sub-regions generally rank higher than those in the ore-deficient ones. Communities in the Eastern Urals sub-region, a sub-region blessed with the highly demanded polymetallic ores, accrue greater wealth than their counterparts in the other sub-regions by engaging in metal production and trade of copper ingots, and metal artifacts. In the Late Shang kingdom, the royal house maintains its supreme status by controlling bronze foundries and metalworking communities.}, keywords = {Chinese Art}, author = {Zhang, Liangren} } @mastersthesis {10163, title = {Androgyny in Etruscan Art and Culture}, year = {2007}, school = {Iowa}, abstract = {n recent years, gender has become a significant construct in the interpretation of the visual culture of ancient Mediterranean civilizations. As part of the discourse, androgyny has comprised an important thread in the scholarship. However, the geographical scope has been largely confined to the Greeks and Romans, leaving a significant group out of the investigation: the Etruscans. Despite the prominence of androgyny in Etruria, little research has been conducted on the topic. Therefore, the aim of this dissertation is to redress this imbalance by analyzing and interpreting several examples of androgyny in Etruscan art. While engraved bronze mirrors and Praenestine cistae comprise the largest corpus with androgynous imagery, sexually ambivalent characters also permeate small scale bronze sculptures. All the works display a great variety of ambiguity ranging from slightly disruptive figures to extreme interruptions of sex/gender. Most common is an athletic female form, which flouts conventional gendered notions of the female body. This aspect of Etruscan androgyny sets their society apart in that both sexes are represented. Thus, Etruscan women play a pivotal role in the analysis. Three theories have been formulated to explain the use of androgyny in Etruria. The apotropaic suit hypothesis maintains the prophylactic strength of androgyny. The ambiguous imagery may have served as a protective costume for the owner, defending her during critical moments such as marriage, childbirth, and death. The symbolic representation follows a similar line of inquiry. Since boundaries were pivotal in Etruscan ideology, noteworthy stages in life, again, become the focal point of this hypothesis. Here, androgyny acts as a palpable indicator of transition. The final theory examines an androgynous appearance as a fashion/ideal of beauty. While Greece seems to be the impetus for male androgyny in Etruria, the same cannot be said for female androgyny. Images of ambisexual females may be the result of Etruscan women exercising or participating in "sport." Another possibility is influence from the Spartans, whose focus on eugenics and aesthetics corresponded well with Etruscan ideals. My general conclusion is that the androgynous imagery is more than likely the result of contemporary aesthetic notions, probably linked to Spartan models.}, keywords = {Greek/Roman Art}, author = {Sandhoff, Bridget K.} } @mastersthesis {10100, title = {Antiquity to Antiquarianism: Chinese Discourses on Antiquity from the Tenth to Thirteenth Century}, year = {2007}, school = {Chicago}, abstract = {This dissertation examines the antiquarian movement of the Song dynasty (960-1279), one of the most influential intellectual movements and cultural phenomena in China{\textquoteright}s pre-modern history. Traditionally referred to as "studies of metal and stone" for its emphases on ritual bronzes and stone carvings, the Song antiquarian movement revolutionized the study of antiquity in China through its incorporation of ancient objects. This dissertation adopts a new methodological approach that integrates archival and archaeological data under three themes: collecting antiquity, writing antiquity, and appropriating antiquity. The aim is to produce a conceptual framework for understanding the Song antiquarian movement while piecing together historical details that recapture its original spirit and dynamics. Under the theme collecting antiquity, I examine the legendary rubbing collection Jigulu assembled by Ouyang Xiu as an example of "conceptual collecting," in which ancient objects were collected through the mediation of ink rubbings. Such rubbings were considered authentic surrogates because they preserved not only the text inscribed on an object but also its authenticity by virtue of the rubbing{\textquoteright}s capacity to capture the nexus between text and object. Under the theme writing antiquity, I examine two catalogues of ancient bronzes, Kaogutu and Bogutu, arguing that fundamentally different notions of antiquity underlie the two works. While Kaogutu emphasizes the historical value of ancient objects, Bogutu demonstrates the concern for establishing correct state ritual based on canonical ritual texts. Under the theme appropriating antiquity, I recognize three modes of appropriating antiquity: direct imitation, semiotic borrowing, and aesthetic transformation. The first mode employed a wholesale type of antique revival. The second mode involved the use of ancient forms for establishing cultural identity. The third mode aestheticized ancient images and incorporated them into popular culture through commercialized mass-production. Although this complex picture of the Song antiquarian movement suggests a distinction between the secular-historical view of the literati and the sacred-ritual view of the imperial court, this distinction was blurred by the multiple roles played by Song antiquarians. Additionally, commercial production of archaistic goods obscured the separation between elite and popular culture, resulting in the omnipresence of ancient imagery in Song society.}, keywords = {Chinese Art}, author = {Sena, Yun-chiahn} } @mastersthesis {10136, title = {The Apostolic Mission of the Monks at the Monastery of Saint John in M√{\textordmasculine}stair, Switzerland}, year = {2007}, school = {Harvard}, abstract = {"The Apostolic Commissioning of the Monks of St. John in Mustair, Switzerland" embeds a program of wall painting created around the year 800 in its local, historical context. The frescoes emerge as the primary historical evidence for a convergence of monastic vocation and pastoral obligation in the early medieval entity labeled by scholars as Churraetia. They also provide primary evidence for the didactic potential of images in the Carolingian period. The introduction recounts the modern history of the frescoes and the interest in them on the part of art historians before it turns to an assessment of the state of research on early medieval wall painting. It then establishes the background for discerning the apostolic program of the frescoes through a survey of other early medieval apostolic programs. Chapter one then identifies the audience. It first locates the viewers according to historical context. Beginning with dendrochronological dating of the church and frescoes and the analysis of contemporary local documents, the chapter establishes discrete historical contexts for the founding of the monastery and the decoration of its church. The chapter then addresses the issue of whether the people from the surrounding countryside would have received any of the monks{\textquoteright} care on-site and whether they were an intended audience of the frescoes. The second chapter demonstrates the prominence of the Apostles and their preaching in the program and explains its relevance in a monastic setting. The third chapter plots the extension of an apostolic tradition in the program from the Apostles to the monks at Mustair through Paul, the first successor to the Apostles, Vigilius the local apostle, and John the Baptist, the proto-apostle, by virtue of his preaching and baptizing. Chapter four turns to the experience of the lay worshipper and posits the frescoes at Mustair as the primary exemplar of visual preaching in the early Middle Ages. It analyzes the frescoes to discern a pedagogical intent behind the heightened visibility and clarity of the panels. The dissertation also includes a catalogue of the frescoes.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Ataoguz, Jenny Kirste} } @mastersthesis {10053, title = {An Architectural Constitution: Law, Planning, and Architecture in Cuba, 1937-1959}, year = {2007}, school = {Harvard}, abstract = {This dissertation examines the entanglement of three discourses-law, planning, and architecture-in the civic sphere of Cuba between 1937 and 1959. During this historical period, preceded and superseded by revolutions, these discourses sought to define and represent concepts of Cuba and cubanidad in both democratic and dictatorial political environments. Their entanglement arose from the actions of individuals, but also from the overlap of institutional intentions and techniques. By analyzing the events, texts, and buildings that reciprocally linked these discourses, the dissertation describes the operations through which their practices were mutually regulated. It argues that these historical and discursive confines produced a context-which the dissertation identifies as constitutionalism-that supplied the principles necessary for the construction of the civic. The dissertation aims to supplement disciplinary accounts of architectural modernism in Cuba with this rendering of a broad discursive environment. It reveals how the trajectory of architectural modernism paralleled, on the one hand, legislative events that unfolded beginning with the drafting of a new Constitution in 1940, and on the other, the emergence of planning from initial calls for national planning in the late 1930s to the creation of a National Planning Board in 1955. The dissertation analyzes as representations several critical moments in these three trajectories: The 1940 Constitution of Cuba, which supplied the framework of the civic realm; the Junta Nacional de Planificacion, a legal entity responsible for producing a National Plan for development; Pilot Plans for the city of Havana; an unbuilt project for a new Presidential Palace; and the Monumento de Marti, a memorial to the "Apostle" of Cuban independence. The composite of these three trajectories reveals the possibility of an architecture that attempted to exceed the limits of any singular instance of architecture by representing and projecting the future fulfillment of the civic.}, keywords = {Architectural History/Historic Preservation}, author = {Timothy Worrall Hyde} } @mastersthesis {10189, title = {Art as Lived Religion: Edward Burne-Jones as Painter, Priest, Pilgrim, and Monk}, year = {2007}, school = {Maryland}, abstract = {This dissertation presents the first analysis of religion in the life and work of the artist Edward Burne-Jones (1833-98) and establishes its centrality to his creative practice, identity, and reception. As a young man, he dreamed of taking holy orders and founding a monastic brotherhood. After forgoing the priesthood, he ornamented countless churches as an ecclesiastical designer and maintained a proclivity for painting Christian iconography, leading contemporaries to proclaim him one of the world{\textquoteright}s great religious artists. Today, however, using an outmoded lens that characterizes the nineteenth century as a period of precipitous religious decline, most art historians assume Burne-Jones reflects the conventional narrative of lost faith and doubt. Confusing institutional affiliation with personal belief, they have overlooked his unorthodox views, which defy the customary parameters of denomination or broad, theological movement, yet signal an ongoing, complex spiritual commitment. Moreover, misperceiving the secular as a necessary condition of modernity, some have expunged the religious from his art in an anxiety to legitimize his place in the modernist canon. Methodologies of lived religion and practice, however, offer a new means of understanding Burne-Jones. Reconsidering belief as something often expressed beyond the confines of corporate worship and creed, as behaviors and discursive patterns occupying spaces of vocation, creativity, identity, and the everyday, demonstrates that art served as a vehicle for enacting his spiritual convictions. In the overlapping, and at times conflicting, guises of a priest mediating the divine, an artist-monk for whom labor is a devotional act, and a pilgrim seeking salvation, Burne-Jones cast his artistic practice as a religious vocation meant to improve the world through the redemptive power of beauty and, in the process, secure divine favor. In addition to explicating the religious role art-making served for Burne-Jones, this project seeks to reclaim his altarpieces{\textquoteright} liturgical functions and reconstruct how Christian audiences adapted and consumed his art for various didactic and devotional purposes. Such analysis underscores his objects{\textquoteright} multivalency and the subjectivity of sacredness. Consequently, Burne-Jones{\textquoteright}s example provides evidence that religion was not necessarily disappearing in the Victorian age, but was being transformed and exercised in increasingly personalized ways.}, keywords = {Nineteenth-Century Art}, author = {Crossman, Colette} } @mastersthesis {10125, title = {Art, Craft, Commodity: Peasant Craft Revival in Russia and England, 1880-1914}, year = {2007}, school = {Queen{\textquoteright}s}, abstract = {The primary focus of this research is how collecting practices of those involved in the handicraft revival evolved and influenced the museological practices of the period. Since the production of handicraft became the focus of artists and craftspeople with the advancement of the Arts and Crafts Movement in Britain, it is not surprising that many craft revival workshops and colonies across Europe took the British movement as a model. This research looks at how the ideas of craft revival developed in Haslemere, a small town near London, and at the two places in the Russian Empire-Talashkino, near Smolensk and Kiev, in Ukraine. The Haslemere collection resulted from the efforts of very small number of individuals who traveled in northern Europe to purchase what they considered authentic peasant handicrafts. By discussing the Peasant Art Collection at Haslemere within the context of museological development in Europe and in Britain as well as within the growing trend of establishing ethnological and anthropological museum, one can better understand the reasons for amassment of such a unique assortment. Princess Tenisheva{\textquoteright}s collection of Russian Antiques demonstrates the early growth of ethnomuseology in Russia. The artefacts from the museum were used as examples for Talashkino workshops production. Tenisheva{\textquoteright}s collection was presented at the Louvre in 1905 as a collection of Russian Art, received critical acclaim and was one of the most popular events of the season. The organization and the representation of the artifacts, the presences and absences of particular media and periods then helped to construct the image of Russian history. Finally, the last example is the earlier years of the Kiev Industrial and Applied Arts Museum. The two handicraft exhibits presented in the museum in collaboration with Kiev Kustar Society brought to the audience those artifacts that were considered worthy of attention and revival. Later, in the early 1910s a group of Ukrainian avant-garde artists designed motifs for embroideries that embodied the most recent trends in fine arts such as non-figurative arts and Suprematism.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Myzelev, Alla} } @mastersthesis {10186, title = {Art, Protest, and Failure in Fin-de-Siecle Europe}, year = {2007}, school = {Yale}, abstract = {This dissertation aims to expand the remit of studies of imperial culture. Rather than examining the visual culture of pro-imperial propaganda, it is concerned with images that protested against imperial expansion: in this case that of the British in southern Africa. The Boer War (1899-1902) fought between the British and the two independent Boer Republics of the Transvaal and Orange Free State caused international outcry. Largely since it was fought between two white nations, and especially after news broke of the humanitarian disaster unfolding in the concentration camps set up by the British to house displaced Boer women and children. A significant minority within Britain also denounced the war. This investigation takes as its focus three protest periodicals, published in London, Munich and Paris between 1899 and 1901. Therefore this project expands the definition of imperial culture by examining images produced in countries not directly involved in this particular imperial episode, as well as by examining the anomaly of an imperial war fought between white nations. Each chapter treats one publication, using it as a case study for exploring the linkages between local visual culture and global events, and probing the precise nature of the connections which artists made in their contributed art works. Taking a comparative approach to this material reveals how in order to comment on the war artists in all three cities drew analogies between the local and the global utilizing preexisting visual culture. Such analogies were enabled by the anomalous nature of the conflict, and the increasingly immediate and blanket media coverage which heightened public awareness of distant events. Using analogical means to connect the local and the global had consequences which this dissertation also seeks to explore: surprising juxtapositions resulted, traditional figures were seen in a new light, and, although their form remained the same, their meanings were radically altered. The results were felt on a communal and a personal level and were to resonate through the years to come. In conclusion, I will argue that when considering the shifting terrain of European visual culture in the fin-de-siecle the global perspective must be accounted for.}, keywords = {Nineteenth-Century Art}, author = {Briggs, Jo} } @mastersthesis {10249, title = {The Art That Came in from the Cold: Andy Warhol and Gerhard Richter, 1950-1968}, year = {2007}, school = {Yale}, abstract = {During the cold war, photography was both a trusted evidentiary source and a hidden form of abstraction. The slippery relationship between the irrational and the rational, between ideological rhetoric and lived experience, was only a blur away. This dissertation identifies the photographic appropriation in global forms of pop art as a product of the conflict{\textquoteright}s visual and ideological contradictions. I focus on two artists trained in opposing cold war camps during the 1950s: Andy Warhol was a commercial artist and Gerhard Richter was a socialist realist wall painter. Throughout their respective work, each came to understand the deep, structural similarities between the visual cultures of capitalism and socialism, especially how both sides needed and yet feared the mutability of the photograph. When cold war visual culture is considered as a continuous field, Warhol{\textquoteright}s and Richter{\textquoteright}s appropriated paintings intervene between the conflict{\textquoteright}s political and artistic poles, demonstrating the ambiguity inherent in any act of interpretation, whether visual, historical, or ideological. These painted explorations into the visual culture of the cold war expose its allegorical impulse: the attempt and subsequent failure to give coherent form and meaning to a conflict dependent on images. Not only is this dissertation the first to consider either Warhol or Richter in terms of the cold war-it also offers a new interpretative model for art during the conflict, one that dismantles traditional debates about figuration and abstraction through a consideration of photography.}, keywords = {Twentieth-Century Art}, author = {Curley, John J.} } @mastersthesis {10062, title = {Artificial Constructions{\textquoteright} and Object Lessons in a Sacred Landscape: The Art and Architecture of Central Park, 1858-1880}, year = {2007}, note = {CAA additional advisor: F. Kowsky}, school = {Virginia}, abstract = {This dissertation examines the role of architecture and art in Central Park during its formative years, 1858-1880. Central Park, as the nation{\textquoteright}s first large urban park, was an important experiment which merged English picturesque landscape tradition with American ideals. The park, as first conceived by Frederick Law Olmsted and Calvert Vaux, was to offer a respite from city living and an opportunity to commune privately with nature while absorbing its restorative qualities. This vision held that the park should be antithetical to the city itself, focusing not on the achievements of man, but rather showcasing nature and nature alone. Accordingly, the park{\textquoteright}s "artificial constructions" (a nineteenth-century terns used to describe architecture and art) were carefully designed drawing on materials, forms, and iconography deemed sympathetic to the naturalistic aesthetic. This dissertation will show, however, that the park became a victim of its own success and this vision was fiercely contested. The belief that the park visitor needed more than what nature could offer resulted in buildings and sculptures becoming increasingly more visible and assertive forces in the landscape. Important to this shift were changing ideas about public education which led to the insertion of museum buildings and other didactic exhibits into the park. All of these "artificial constructions" indelibly changed the park{\textquoteright}s character but as importantly, changed the way in which the public experienced this space. What had been a private and spiritual encounter with nature evolved into one directed by the institutions and individuals who staked claim to the park with buildings and statuary. Nature as a spiritual force became supplanted by the belief that man had intellectual and physical control over his universe. By examining this philosophical debate surrounding landscape design, architecture, and art within the framework of American intellectual history, this dissertation expands our understanding of landscape design and the ideology of mid-nineteenth-century aesthetics and science. Since Central Park is the acknowledged model for urban parks in the United States in the nineteenth century, this study will set the stage for a broader understanding of architecture and art in other parks, a topic which remains understudied.}, keywords = {Architectural History/Historic Preservation}, author = {Mohr, Paula Ann} } @mastersthesis {10180, title = {Assimilation or Resistance? The Production and Consumption of Tlingit Beadwork}, year = {2007}, school = {British Columbia}, abstract = {The extensive art historical and anthropological literature addressing indigenous Northwest Coast artistic production has, at its center, a "significant silence." Though produced, consumed and valued, in a wide range of cultural contexts, for more than one hundred years, Tlingit beadwork has never been comprehensively analyzed. I engage with, and begin to fill, this significant lacuna in scholarship through the compilation into a catalogue of nearly eleven hundred beaded objects in widely dispersed museum collections, including regalia and other items made for Tlingit use, and souvenirs; the use of theoretical frameworks not previously applied to the Northwest Coast; the critical examination of historic texts and images; and, most importantly, conversations with Tlingit beaders and elders. Euro-American constructions of authenticity, tradition, the hierarchy between fine and applied art, as well as notions of hybridity and commoditization created the circumstances for beadwork{\textquoteright}s marginalization. Drawing on the work of Ruth Phillips, Nicholas Thomas and James Clifford, I argue that beadwork should be considered both as the material embodiment of the complicated and uneven relationships among and between Tlingit communities and others, and also as a means for disrupting and altering the contexts within which it operates. In order to comprehend the complex ways in which beadwork has circulated, I utilize a case study approach. I investigate the transcultural meanings of beaded regalia and photographs at the 1904 Sitka potlatch; I examine beaded souvenirs made for late Victorian era tourists; I analyze the mid-twentieth century history of the Alaska Native Arts and Crafts Cooperative (ANAC) and the experiences of the nearly 500 Tlingit women who sold beadwork through ANAC; and, I illustrate the multiple roles played by beadwork in terms of Alaskan politics, museum display, and issues of identity at Celebration, an increasingly important gathering of indigenous people. These four case studies, the extensive catalogue, and the stories told by contemporary Tlingit people, indicate the continuing significance of Tlingit beadwork, as well as the innovation and creativity of those who have made and used it. This thesis contributes to the crucial repositioning of Tlingit visual and material culture at the intersection of art historical and anthropological literatures.}, keywords = {Native American}, author = {Smetzer, Megan} } @mastersthesis {10262, title = {Becoming Modern: The Prague Eight and Modern Art, 1900-1910}, year = {2007}, school = {Pennsylvania}, abstract = {This dissertation investigates the process by which artists in Prague in the first decade of the twentieth century transformed themselves and their art as modern, and the varied artistic and critical practices that underpinned this transformation. It focuses on the group of young Prague painters Osma, or Die Acht: "The Eight." Formed in 1905 and existing as an entity through 1910, the Eight definitively altered the artistic landscape of Prague. They transformed an art that was perceived to be tradition-bound and academic into one that critics would immediately hail for its modernism: the city{\textquoteright}s first "modern" art. Born in the early- and mid-1880s to Czech, Jewish, and Bohemian-German parentage, the Eight met and trained at the imperial Academy of Fine Arts in Prague. They came together on the basis of their collective resistance to the school{\textquoteright}s doctrinaire curriculum and their shared ambition to expand and diversify the scope of their artistic practice, and soon developed in their paintings new techniques, forms, and subjects of their own. In 1907 they first made this art public with an independent Prague exhibition. Other exhibitions followed from 1908 to 1910, as did continued artistic innovation and an ambitious artist-driven program of travel, study, and reading that brought the Eight into contact with the practices and ideas of other artists from Prague and abroad, some contemporary and some no longer living, particularly in France and Germany. My study follows the formation of the Eight from their earliest training in art, through their relations with the Academy of Fine Arts and other established Prague institutions, to their exhibitory work and rapprochement with the public and artists in Prague and in other parts of Europe. It investigates also how critics and audiences, both positively and negatively inclined, sought to come to terms with the emerging modernist ideals that the Eight advanced: their high degree of artistic independence and experimentation, openness to the art of other cultures and eras, and the group{\textquoteright}s heterogeneous ethnic makeup, which did not mesh easily with Austro-Hungarian late imperial national politics.}, keywords = {Twentieth-Century Art}, author = {Sawicki, Nicholas} } @mastersthesis {10208, title = {Bernardo Strozzi: Defining an Artistic Identity in Early Seventeenth-Century Genoa}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation examines the Genoese career of the painter Bernardo Strozzi (1581/2-1644). After spending a decade as a Capuchin friar, Strozzi became one of the most successful native artists in early seventeenth-century Genoa, working for noble and ecclesiastic patrons as well as heading a prodigious workshop. Strozzi{\textquoteright}s lucrative professional achievements, however, soon called attention to the incompatibility of his dual role as practicing priest and celebrated painter, ultimately resulting in his appearance before the archbishop{\textquoteright}s tribunal to answer charges of practicing art in a manner inappropriate to his humble religious vocation. After several years of harassment from the Capuchins, who demanded his return to the monastic life, Strozzi transferred to Venice where he continued his prolific production for another decade. In this exploration of Strozzi{\textquoteright}s multivalent career as a monk, secular priest, and artist, four case studies focus on the intersection of significant issues throughout his Genoese period, such as his monastic experience; his relationship with various patrons; his interactions with foreign and native artists in Genoa; and the commercial aspects of his profession. These studies are predicated upon an integrated analysis of Strozzi{\textquoteright}s surviving painted and graphic works, archival documents, and contemporary sources. This dissertation contends that the stylistic variations evident in Strozzi{\textquoteright}s paintings are not simply the product of an eclectic painter attempting to integrate multiple styles and schools, as past scholars have implied. Rather, it demonstrates that the changing circumstances of Strozzi{\textquoteright}s personal life and the diversity of the Genoese artistic environment during the early 1600s encouraged him to develop a shifting manner of painting that served as a conscious, inventive means of self-promotion within a highly competitive atmosphere.}, keywords = {Renaissance/Baroque Art}, author = {Banta, Andaleeb Badiee} } @mastersthesis {10108, title = {Bernhard Heisig and the Cultural Politics of East German Art}, year = {2007}, school = {Pittsburgh}, abstract = {This dissertation focuses on the (East) German artist Bernhard Heisig (b. 1925), one of the most important German artists of the twentieth century. In English-language scholarship, however, he is virtually unknown, the result of lingering Cold War-era stereotypes that presume East Germany had no art, merely political propaganda or kitsch. This study focuses, in particular, on a crucial but little understood moment in Heisig{\textquoteright}s life and work, the decade between 1961 and 1971, a time when the style and subject matter for which he is best known today first emerged in his oeuvre. The introduction provides an overview of Heisig{\textquoteright}s reception in East, West, and unified Germany that will show how Cold War-era thinking affected-and continues to affect-his reception. The second chapter focuses on his past as a teenage soldier in the Second World War and the emergence of explicit references to this past in his art in the early 1960s. A comparison of his work to that by other artists suggests that there was more to its emergence at this point in time than simply personal reflection. It also reveals how his own experiences affected his portrayal of the subject. The third, fourth, and fifth chapters focus on a number of controversies that centered on Heisig and his work in the mid and late 1960s. It was during these years that the very definition of art in East Germany was under discussion: What is Socialist Realism? Heisig was a key figure in these debates, especially as they played out in Leipzig. A close investigation of the four main controversies in which he was involved reveals an artist deeply engaged with the society in which he lived and worked. Rather than a uniformly repressive system, the East German cultural scene was one of negotiation, sometimes heated, between artists and cultural functionaries. By engaging in these debates, Heisig helped to change what art was in East Germany and developed the commitment to figuration, tradition, and allegory for which he is praised today. In the end, this dissertation will offer a deeper understanding of both the artist and art under Socialism}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Eisman, April} } @mastersthesis {10252, title = {Between Form and Subject: Max Beckmann{\textquoteright}s Critical Reception and Development, ca. 1906-1924}, year = {2007}, school = {IFA/NYU}, abstract = {The familiar characterization of Max Beckmann (1884-1950) as a painter of modern allegories is one of modernism{\textquoteright}s most enduring myths, albeit not an entirely unfounded one. It is the aim of this dissertation to qualify and contextualize this myth by examining Beckmann{\textquoteright}s early development as a painter through the lens of his critical reception from 1906 to 1924. The dialectical relationship between form and subject, one that conditions the nature of allegory and its conceptual opposite, the symbol, was central to contemporary reviews of Beckmann{\textquoteright}s pictures. Also relevant is how critics measured his art against the artistic conventions of the Berlin Secession as well as the formal innovations of the German avant-garde. Chapter I provides a background to the critical discourse in early twentieth-century Berlin by examining the hegemony of symbolic form in the aesthetic beliefs of Arthur Schopenhauer, Julius Meier-Graefe, and Max Liebermann. Beckmann{\textquoteright}s early career as a young and controversial member of the Berlin Secession is the focus of Chapter II, which analyzes salient passages from numerous exhibition reviews with respect to the artist{\textquoteright}s penchant for the moribund genre of history painting. Chapter III explores the caesura that was WWI and its impact on Beckmann{\textquoteright}s art by way of his large-scale and unfinished painting of the Resurrection, which he began in Frankfurt in 1916. It was in this ill-fated grand machine that Beckmann effected a significant stylistic transformation in tandem with a pictorial language and semiotic strategy that would mark much of his mature work. Chapter IV demonstrates his attempt to codify these developments through a concentrated treatment of biblical subjects between 1916 and 1918. In their reviews of Night (1918-19), a grisly depiction of domestic violence and arguably Beckmann{\textquoteright}s first masterpiece, his critics applauded his successful subordination of subject to form. But was this putative success absolute? Chapter V considers this assessment by scrutinizing the reviews in relation to the demise of expressionism as a critical construct and to Wilhelm Fraenger{\textquoteright}s groundbreaking analysis of Beckmann{\textquoteright}s painting of The Dream (1921), a hermetic image that shuttles anxiously between form and subject, symbol and allegory.}, keywords = {Twentieth-Century Art}, author = {Hamlin, Amy} } @mastersthesis {10204, title = {Between the River and the Pampa: A Contextual Approach to the Rock Art of the Nasca Valley (Grande River System, Department of Ica, Peru)}, year = {2007}, school = {UT Austin}, abstract = {This dissertation applies the contextual approach, as outlined by Patrick Carmichael, to the rock art of the Nasca Valley (Grande River System, Department of Ica, Peru). This approach uses different sources of information so as to construct a basic, indigenous framework within which to view and interpret the subject matter of an art object for which there is no written information due to its age. In this dissertation, I used information about the local environment and archaeology, as well as the art historical methods of formal and iconographic analyses. Comparative information was provided through ethnographic analogy to Andean myths and practices. Data for this study was gathered in a rock art survey that was carried out during the spring of 2000. This survey covered the lower part of the Nasca valley, downriver from the site of Cahuachi and southwest from the Nasca Pampa, site of the greatest concentration of geoglyphs in the south coast. Information about the location, orientation, and the relationship to archaeological and natural features, gathered in the survey, are examined in order to provide informed hypotheses about Nasca Valley rock art{\textquoteright}s function and use. The study reveals that rock art sites may have marked points of transition in the natural and cultural landscape. A concern for water is also suggested by the location and orientation of the rock art, and petroglyphs that display evidence of liquid pouring may also relate to local water sources. Using a study of form and iconography, rock art motifs in the Grande River System are separated into types and groups according to similarities to datable, portable art and to geoglyphs, providing a tentative time frame for their making. In the Nasca Valley, one period of petroglyph making activity is contemporary to Paracas Cavernas and another dates to the Early Intermediate Period (Nasca). On the upper valleys such as Palpa, Aja, and Santa Cruz, petroglyph-making activity seems to be largely associated to Paracas Necropolis and there does not seem to be Nasca rock art at those locations. With this contextual information at hand, I provide a re-evaluation of the Nasca Mythical Killer Whale motif, which is depicted in two Nasca Valley rock art sites. I propose using a new name for this motif: The Aquatic Composite Being. The location and iconography of this motif{\textquoteright}s petroglyphs provide additional information that contributes to our understanding of the meaning of this motif in Nasca art.}, keywords = {Pre-Columbian Art}, author = {Nieves, Ana Cecilia} } @mastersthesis {10110, title = {Beyond Perception: The Ethics of Contemporary Earth Art}, year = {2007}, school = {McGill}, abstract = {This dissertation considers the aesthetic strategies and ethical implications of contemporary earth art. Drawing from feminist and ecological critiques of phenomenology, it posits that an ethical preoccupation with the earth is identifiable in works that stage the artist{\textquoteright}s inability to condense natural phenomena into an intelligible art object thereby evidencing the earth{\textquoteright}s excess beyond the field of perception. Contemporary earth art has the paradoxical goal of evoking the sensorial plenitude of the earth without representing it as such. The first chapter analyzes Robert Smithson{\textquoteright}s monumental sculpture, the Spiral Jetty (1970), and suggests that the artist deploys the emblem of the whirlpool to express the artwork{\textquoteright}s constitutive rupture from the earth, a loss that the artwork subsequently discloses in its textual modes, including an essay and a film that document the construction of the sculpture. Chapter two examines the recurrence of the whirlpool motif and other anagrammatic shapes such as black holes, tornadoes, shells and nests, in earth art from the last three decades. In contemporary practices the whirlpool allegorizes an ethical attentiveness to the earth{\textquoteright}s alterity; not only does it thematize the artwork{\textquoteright}s separation from perpetual natural regeneration, it signals the artist{\textquoteright}s withdrawal from the attempt to construct a totalizing perspective of the site. Chapter three addresses performance and installation works that feature the contact between the artist{\textquoteright}s body and the earth, and in particular, the body{\textquoteright}s role in delineating the point of friction between the earth{\textquoteright}s sensorial plenitude and its resistance to representation. Earth artists thereby assert the body as a surface that separates itself out from the earth and receives sensation of it as other. The conclusion summarizes the main arguments of the previous chapters through a discussion of a three-part installation by Chris Drury entitled Whorls (2005).}, keywords = {Contemporary Art}, author = {Boetzkes, Amanda} } @mastersthesis {10145, title = {The Bishop and the Book: Art, Ideology and Collecting in Medieval Germany}, year = {2007}, school = {Johns Hopkins}, abstract = {The medieval Gospel book was the site of lavish illustration, particularly among Ottonian patrons, who developed extensive pictorial cycles of the Life of Christ. At the beginning of the eleventh-century, Bishop Bernward of Hildesheim commissioned a luxurious exemplar as a gift to the new church of St. Michael{\textquoteright}s monastery; it operated at the center of an extensive artistic campaign centered on the institution. Although Bernward{\textquoteright}s episcopacy has been interpreted within the political ideology of the Ottonian emperors, scholarship that has revised our understanding of the role bishops played in the Reichskirchensystem underscores the need for a reconsideration. By examining Bernward{\textquoteright}s artistic patronage through the lens of the Bernward Gospels, this dissertation argues that Bernward{\textquoteright}s codex constructed a complicated memoria that intersected with courtly aesthetics, local grievances, and ideals of contemporary reform. Since the 1980s, historians and anthropologists have paid increased attention to the practices of medieval remembering, exploring in particular its important connection to ritual. Mary Carruther{\textquoteright}s work has elucidated the function of mental images in this process, and raised critical questions about the rhetorical structures of actual pictures to produce memoria. Building upon this research, my project focuses on the pictorial devices adopted in the Bernward Gospels, which, informed by the bishop{\textquoteright}s intense preoccupation with his own salvation, actualized his memory not only among St. Michael{\textquoteright}s monks, but also in the community of angels. The first chapter establishes the Gospels{\textquoteright} historical context, and delves into evidence of planning changes in the manuscript{\textquoteright}s decorative program. Two succeeding chapters investigate how the Gospels employ collecting as a visual device to evoke memoria. Bernward{\textquoteright}s use of Byzantine art locates him among the ecclesiastical elite, and adds to the Gospels{\textquoteright} efficacy in promoting his remembrance and redemption. References to Bernward{\textquoteright}s artistic commissions in his dedication portrait establish the bishop{\textquoteright}s memory as the founder of St. Michael{\textquoteright}s monastery. The final two chapters focus first on schematic pictures of Christ and second on narrative scenes illustrating apostolic service. The paintings show how, by imitating hagiographic models like John the Baptist, Bernward sees and touches the divine, both in the present performance of the liturgy, and in his future resurrection "in the flesh."}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Kingsley, Jennifer} } @mastersthesis {10246, title = {Bodies of the Avant-Garde: Modern Dance and the Plastic Arts, 1890-1930}, year = {2007}, school = {Chicago}, abstract = {This dissertation situates early modern dance pioneers, Loie Fuller, Valentine de Saint-Point and Akarova, alongside art history{\textquoteright}s historical avant-garde, and argues that dance paradoxically used the body to participate in the development of abstract art. By taking account of the visual patterns, self-presentation, and reception of the dancers and artists of their time, my research calls for a rethinking of the impulses behind abstraction. I am challenging not only the traditional art historical assessment of dance as an ephemeral muse at the outskirts of modernism, but also the Greenbergian paradigm that modernist abstraction is the result of a century of autonomous, self-reflexive and formalist progression within the medium of painting. In a first case study, I align the serpentine dance of Fuller in the 1890s with the Symbolist Nabis painters. Rather than seeing the early Nabis gestures toward abstraction as stemming from the formal concerns of the picture plane, the dance demonstrates that the urge to abstraction may be rooted in a shared Symbolist goal of suspending or prolonging vision. In a second case, amid the earliest examples of so-called "pure" abstraction in 1913, Saint-Point created a multi-sensory dance that required viewers to recognize a shared durational consciousness outside the work of art, in the interstices between the viewing body and the stage. My third case study examines Akarova in the 1920s. This classically-trained dancer transformed the sensible body into an aesthetic form integrated with its environment, and provided her Belgian Constructivist circle with a palpable display of objectivity, lived and felt. Through reconstructions, I find that the kind of viewing required by each dance activates an abstract kinesthetic feeling in the viewer-alternately through self-prolongation, self-estrangement, self-recognition-or, as proposed in my epilogue on avant-garde cinema, self-projection. I argue that this embodied response is in line with the viewing experience of abstract works of painting created in the dancers{\textquoteright} midst. I hope to add to the field of art historical phenomenology a new landscape in which to understand the experience of abstraction in art-an abstraction that can be described outside the medium, through the viewing body.}, keywords = {Twentieth-Century Art}, author = {Andrew, Nell} } @mastersthesis {10266, title = {Borderlines of Poetry and Art: Vancouver, American Modernism, and the Formation of the West Coast Avant-Garde, 1961-69}, year = {2007}, school = {British Columbia}, abstract = {In 1967, San Francisco poet Robin Blaser titled his Vancouver-based journal The Pacific Nation because the imaginary nation that he envisaged was the "west coast." Blaser was articulating the mythic space that he and his colleagues imagined they inhabited at Simon Fraser University and the University of British Columbia: a nation without borders, without nationality, and bound by the culture of poetry. The poetic practices of the San Francisco Renaissance, including beat, projective, and Black Mountain poetics, had taken hold in Vancouver in 1961 with poet Robert Duncan{\textquoteright}s visit to the city which had catalyzed the Tish poetry movement. In 1963, Charles Olson, Allen Ginsberg, and Robert Creeley participated in the Vancouver Poetry Conference, an event that marked the seriousness and vitality of the poetic avant-garde in Vancouver. The dominant narrative of avant-garde visual art in Vancouver dates its origins to the late 1960s, with the arrival of conceptualism, especially the ideas and work of Dan Graham and Robert Smithson. By contrast, this thesis argues for an earlier formation of the avant-garde, starting with the Tish poetry movement and continuing with a series of significant local events such as the annual Festival of the Contemporary Arts (1961-71), organized by B.C. Binning and Alvin Balkind, who was the curator of the Fine Arts Gallery at the University of British Columbia. The diverse artistic and intellectual practices of Robert Duncan, John Cage, Merce Cunningham, Stan Brakhage, and Marshall McLuhan presented at the Festivals were absorbed and adapted not only by poets and writers but also by artists, including Ian Wallace, Roy Kiyooka, Ian Baxter, Gary Lee-Nova, and Michael Morris. The cross-fertilization of avant-garde poetry and art was an international phenomenon. In New York, "anti-formal" art also embraced Cage and Cunningham as aesthetic models. Its effect in Vancouver was to de-stabilize European traditions of art that had been dominant. In the 1960s, Vancouver avant-garde artists constructed the west coast as an alternative space-alternative to American militarism and anti-communism, to Euro-Canadian cultural traditions and to the artistic dominance of New York. They helped to create a vital, transnational Pacific region.}, keywords = {Twentieth-Century Art}, author = {Tomaszewska, Lara} } @mastersthesis {10063, title = {Byzantium in Bavaria: Art, Architecture, and History between Empiricism and Invention in the Post-Napoleonic Era}, year = {2007}, school = {Bryn Mawr}, abstract = {This dissertation explores interpretations of Byzantium as expressed in historicizing art and architecture and historical renovations commissioned by King Ludwig I of Bavaria (ruled 1825-48). The Allerheiligenhofkapelle and the Ludwigskirche in Munich, and the renovations of Bamberg and Speyer Cathedrals are the primary works taken into consideration; artists and architects include Heinrich Maria von Hess, Friedrich Karl Rupprecht, Johann Schraudolf, Josef Schwarzmann, Leo von Klenze, Friedrich von Gartner and Heinrich Hubsch. These men went to varying lengths to establish empirical evidence for how the buildings in question expressed, or would express, a Byzantine style in their polychromy (including frescoes and stained glass), as well as in their ground plans and architectural sculpture. Such evidence was integrated with, and at times overwhelmed by, concurrent efforts to recreate, or invent, a Byzantium that linked German culture with Classical Greece and the East. Friedrich Schlegel{\textquoteright}s responses to Napoleonic rule over Central Europe at the start of the nineteenth century had inspired this understanding of Byzantium as a cultural conduit. In emphasizing German cultural connections with the East and ancient Greece over connections with France and its Roman heritage, he had described Rhenish buildings that are today termed "Romanesque" in style as "Hellenizing." Subsequent intellectuals elaborated the category of German Byzantine art and architecture and how it documented the transmission of Eastern and Greek culture into German lands. Inspired by the Greek War of Independence, Ludwig I extended this approach in using his Byzantine commissions to articulate his Philhellenic, German nationalist, and Catholic loyalties. At the same time, since Ludwig gave his artists and architects wide latitude to investigate and create the Byzantine style as they saw fit, each project emphasized different empirical evidence and cultural links. The Byzantine revival embodied in Ludwig{\textquoteright}s commissions boldly combined elements drawn from Greek, Islamic, and medieval German art and architecture. The result proved attractive enough that from the late 1830s a number of buildings - particularly Catholic and Jewish houses of worship - were built in this style in other German lands. At the same time, with the appointment of Ludwig{\textquoteright}s younger son Otto to the new Greek throne, Germans were encountering Byzantine monuments that challenged their expectations, while Russian scholars and architects were developing their own Byzantine revival style to express their claims to Byzantium{\textquoteright}s cultural inheritance. Around mid-century, the relative strength of Russian claims, profound shifts in German geopolitical orientation, and developing scholarship brought an end to the utility of the early nineteenth-century Bavarian interpretation of the style. By the end of the century, the interpretation of Byzantine monuments had advanced to the point that the Bavarian Byzantine style was no longer discernable as such. Since then its existence has largely been overlooked or denied. This dissertation argues that the significance of the Bavarian Byzantine revival buildings and renovations cannot be fully understood without re-examining the ways in which they reflected and informed ideas about Byzantium{\textquoteright}s role in defining Germany. The Bavarian projects demonstrate how compelling historical and historicizing art and architecture could be for the investigation and invention of geopolitical identities. The evident potential of such projects for these purposes arguably contributed to, and inspired, the establishment of art history as an academic discipline in German universities during the second half of the nineteenth century. What is more, these projects provide an underappreciated context for the revival of the idea of a German Byzantine heritage that would gain a lively range of new adherents at the end of the century.}, keywords = {Architectural History/Historic Preservation}, author = {Musto, Jeanne} } @mastersthesis {10220, title = {Castiglione, Portraiture, and Performance at the Court of Philip II of Spain}, year = {2007}, school = {Temple}, abstract = {This study explores autonomous portraits produced in the court of Philip II of Spain, with particular attention to this patron{\textquoteright}s use of international notions of ideal courtship at the service of a program of kingly and dynastic self-presentation. Recently, portraits produced at Philip{\textquoteright}s court have been described as reflecting the notions of comportment set forth in Baldassare Castiglione{\textquoteright}s Book of the Courtier (1528). This study gauges the process of such cultural affiliation, tracing the translation and appropriation of the ideals proposed in the Italian text, as well as their transformation in accordance to local values reflected in the writings of the Spanish nobility. In doing so, the study reevaluates the agency of the Book of the Courtier in the formulation of a courtly cultural habitus and mentalites, which provided the structure for royal identity and image-management, and thus underlies the encoded meanings of the painted portraits. The study first evaluates the conditions and processes of appropriation of such concepts as sprezzatura and dissimulation as they aid the dissemination of Philip{\textquoteright}s reputation as a capable prince. This is followed by the analyses of works that represent both the affirmation of, and challenges to, the ideologies set forth at the beginning of Philip{\textquoteright}s reign that dictated, through carefully regulated performance, the social transactions of his court.}, keywords = {Renaissance/Baroque Art}, author = {Gimenez-Berger, Alejandra} } @mastersthesis {10238, title = {Charles of Bourbon{\textquoteright}s Naples: Architecture and Urbanism}, year = {2007}, school = {Columbia}, abstract = {This study examines King Charles of Bourbon{\textquoteright}s architectural and urban program in Naples from 1734-59. Due to the social, cultural, and infrastructural needs of Naples upon Charles{\textquoteright}s arrival, his urban program would be one of the largest and most expensive of the eighteenth century. Yet because a detailed study of these buildings does not exist, Charles{\textquoteright}s contribution to the development of new building types and innovative modes of architectural patronage has been largely ignored by art historians. My study illuminates the buildings that Charles commissioned and how they function together. It argues that Naples was a dynamic testing ground for Enlightenment ideas of social improvement of the city through the built environment. The dissertation focuses on the four major architectural monuments in the city: the Theater of San Carlo, the Albergo dei Poveri (poor house), the Cavalry Barracks at the Ponte della Maddalena, and the large piazza known as the Foro Carolino. Three of these buildings were designed by the most accomplished architects of the eighteenth century: Luigi Vanvitelli (1700-1773) and Ferdinando Fuga (1699-1782). They introduced innovative building types and initiated a shift to austere classicism. The research is informed by the history of opera, the military, urban mendicancy, and eighteenth-century commerce. A final chapter is devoted to the history and propagandistic goals of the Duca di Noja Map of Naples. This study also suggests how the king took models of architectural patronage tested in Naples to Madrid and used them in remaking the Spanish capital.}, keywords = {Renaissance/Baroque Art}, author = {Robin Lemuel Thomas II} } @mastersthesis {10097, title = {Chinese Modern: Sun Yat-Sen{\textquoteright}s Mausoleum as a Crucible for Defining Modern Chinese Architecture}, year = {2007}, school = {Chicago}, abstract = {No building is more significant for Republican China{\textquoteright}s architectural history than the Mausoleum of Sun Yat-sen, the First Provisional President of the Republic of China and leader of the Chinese Nationalist Party. Built in Nanjing (1925-29), the design was selected in the first truly international architectural competition held in China. A state-sponsored monument in "classical Chinese Style with distinctive and monumental features" (as stipulated in the competition guidelines), it demonstrates the relationship between new socio-political conditions and visual culture. This dissertation, through a study of the Mausoleum in the context of modern Chinese nation state building and visual culture, attempts to answer two fundamental questions in Chinese architectural history, namely, what is Chinese "modern" architecture and what is a "Chinese style" of architecture? Modern architecture, as it is commonly understood, refers to an architecture that originated from the industrialized West; accordingly, modern architecture in a developing country such as China is one that follows the Western paradigm both technologically and aesthetically. In the case of the Sun Yat-sen Mausoleum, I argue that modern architecture must be understood as a material embodiment of the struggle to define a modern state. As such, its references to historical models and its construction of a history to draw inspiration from will be shown as a means of direct participation in nation building. The design of a mausoleum for the man who had most influentially defined the ideal of a modern China, provides us with a case study through which we can examine the conflicted and disputed symbolic discourse that has characterized Chinese modernity. In terms of style, the Mausoleum{\textquoteright}s form is widely characterized as "classical Chinese revival," meaning a Chinese classical form incarnated in modern Western materials and technologies. This assessment begs the question of what "classical Chinese architecture" means and whether there was any consensus in the 1920s about an existing "classical Chinese architecture" for architects to adopt. It also ignores the design{\textquoteright}s cosmopolitan scope and associations. My research demonstrates that the "Chinese Style," far from an inherited, ready-made system, was the outcome of reexamining Chinese architecture in the context of a new interest in international architecture. Thus the Mausoleum requires discussion as a discursive field in which different ideals for modernizing Chinese architecture, functionally, technologically, and stylistically, were conceived as part of the effort to make China into a modern nation-state. As a catalyst for defining "modern Chinese" architecture, Sun{\textquoteright}s Mausoleum provides a unique opportunity to demonstrate how China, in the initial stages of nation-state building, sought simultaneous architectural expression of the new Republican ideal, the pursuit of modernization, and nationalist identity. This study demonstrates the complexity of China{\textquoteright}s self-definition within an international frame of reference. Overall, it will contribute a missing Chinese chapter to knowledge of the hybrid process of modernization throughout the non-Western world.}, keywords = {Chinese Art}, author = {Lai, Delin} } @mastersthesis {10157, title = {The City Wall of Aphrodisias and Civic Identity in Late Antique Asia Minor}, year = {2007}, school = {IFA/NYU}, abstract = {Aphrodisias, located in western Asia Minor, was founded in the second century BC and developed as a free city through the Roman period. In the third century AD, the city, which had not previously been fortified, became the capital of a Roman province. The City Wall, built in the later 350s to 360s AD, was the first large-scale project sponsored by the imperial governors and is emblematic of the city{\textquoteright}s change in status. The construction of the Wall---3.50 km long, 2.45-3.60 m thick, and 10 m high, with 11 gates and 23 towers---was the result of a single major campaign. The interior face is built of newly quarried smaller stones, while the exterior is composed of large recycled blocks, which are carefully arranged in a pattern reminiscent of "pseudo-isodomic" ashlar masonry of the late Classical period. Close examination of the Wall has shown that, to acquire the large blocks, the extramural cemeteries were almost completely dismantled, an order that probably came from the governor. Extraneous material from other building projects and damaged minor monuments of the city center also went into the Wall, including many of the honorific portrait statues that the Aphrodisians had erected over the previous centuries. The Wall is intimately linked to the city and countryside; it relates to the existing street system, and many gates are located at points that had long marked the border between polis and chora. The construction of the Wall around the city and the erasure of the cemeteries and portraits permanently changed the face of Aphrodisias. The governors of late Roman Caria, in building the Wall out of existing material and following a historical pattern, were able to combine practical military necessity with a traditional visual language to create a civic ornament that projected an image of security and strength. The City Wall serves as an index of the relative prosperity of this period, as a sign of increased stability, not of threat and crisis. The study of this fourth-century wall provides a context within which to discuss numerous other less well-documented late Roman fortifications.}, keywords = {Greek/Roman Art}, author = {De Staebler, Peter} } @mastersthesis {10164, title = {The Civil Basilica at Aphrodisias in Its Local and Wider Settings}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation presents research on a large and important building, conventionally known as the Civil Basilica, which was constructed in the heart of the ancient Graeco-Roman town of Aphrodisias (in modern Turkey) in the late first century A.D. It survives today as one of the three best-preserved basilicas in the Roman Empire, including those at Pompeii in Italy and Lepcis Magna in Libya. The combination of the Basilica{\textquoteright}s well-preserved and historically significant architecture, sculpture and inscriptions is unparalleled in the archaeological record of Roman basilicas, and this is why it warrants a comprehensive study and publication. The Basilica of Aphrodisias and other basilical halls like it in western Asia Minor interestingly combined Greek and Roman elements, which seems to have been a conscious effort on the part of their builders and patrons. As hybrid structures, these basilicas respected Greek traditions, while at the same time introducing a prestigious building type from the Roman West. The dissertation begins with discussion of the Basilica{\textquoteright}s urban setting, construction date, and history of study and excavation. The second chapter describes the archaeological remains and reconstructs the building in drawings, while the third chapter interprets its architectural planning, structure, and decoration. The fourth chapter presents the state of research on the Basilica{\textquoteright}s function and building history. The concluding chapter considers the Asiatic basilicas as a regional form of the Roman basilica, which fills in a missing chapter in the architectural history of the building type.}, keywords = {Greek/Roman Art}, author = {Stinson, Philip} } @mastersthesis {10138, title = {The "Collectio Antiquitatum" of Giovanni Marcanova (Modena Biblioteca Estense Universitaria Ms. alfa. L.5.15 = Lat. 992) and the Quattrocento Antiquarian Sylloge}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation is a study of Modena, Biblioteca Estense Universitaria, ms. alfa.L.5.15. = Lat. 992, a luxury antiquarian manuscript made in 1465, commonly known as the Collectio Antiquitatum. The Modena Collectio is the final version of the epigraphic sylloge (collection of ancient inscriptions) assembled by the Paduan humanist Giovanni Marcanova (1410/1418-1467). Previous studies have found the manuscript{\textquoteright}s imagery to be lacking historical distance, labeling the full-page reconstruction drawings of ancient Rome anachronistic and the sylloge drawings of antiquities indifferent to accurate recording. My study, which traces this unfavorable attitude back to nineteenth-century epigraphy and archaeology, critically reconsiders the terms by which the manuscript has been judged and reinterprets the Collectio imagery as valid and important evidence of the reception of ancient art in the Quattrocento. Chapter One surveys the Quattrocento sylloge genre and its role in antiquarian epigraphic study, offering the first extended art historical consideration of imagery in these manuscripts. Chapter Two is the first systematic examination, including codicological and palaeographical evidence, of all six surviving manuscripts containing Marcanova{\textquoteright}s Collectio. Chapter Three considers the cycle of eighteen full-page drawings of Rome in relation to the accompanying topographical guide to the city known as the Tractatus de rebus antiquis et situ urbis Romae (a.k.a. the Anonimo Magliabechiano) (probably composed ca. 1411) and presents evidence of Marcanova{\textquoteright}s appreciation for and reworking of this text. Chapter Four analyzes the style of the full-page drawings, confirming the attribution to Marco Zoppo of the first drawing but assigning the remaining seventeen in the cycle to an artist close to the Ferrarese school of manuscript illumination. Chapter Five examines the drawings by Felice Feliciano in the sylloge portion of the manuscript and exposes the sophisticated interaction of text and image as a conscious strategy for depicting antiquity. The dissertation ends with an Appendix containing brief biographical entries on three contemporary antiquarians whose work is directly related to the Collectio: Ciriaco d{\textquoteright}Ancona, Giovanni Marcanova, and Felice Feliciano.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Cartwright, Sarah} } @mastersthesis {10044, title = {Colonial Contradictions in the Casa de Montejo and Merida, Yucatan: Space, Society, and Self-Representation at the Edge of Viceregal Mexico}, year = {2007}, school = {Binghamton}, abstract = {This dissertation focuses on the Casa de Montejo (c. 1542-1549), its residents, those who came in contact with the building on the local level of Merida, Yucatan, and those who confronted what it represented in the larger colonial context in which it existed. The casa, commissioned by the first Spanish adelantado or governor/captain general of the Yucatan, Francisco de Montejo, remains one of the most famous Spanish colonial palaces because it retains its original facade, the most ornate residential facade extant in Mexico and perhaps all of Latin America. To date, scholars studying the building have shared one opinion: the facade emphatically claims the Spanish conquest of the Yucatan and its Mayan peoples. Although this reading has merit, analyses of the casa have not examined the structure in terms of the complexity of the colonial situation. As I argue, the facade{\textquoteright}s intention was not only to represent conquest of the Mayan peoples, but also to promote at least three other agendas. The first, informed by the Montejo family{\textquoteright}s European roots and drawing on conventions of Spanish palace decoration, asserted an elevated status for the patrons through various forms of self-representation. The second affirmed local governing privileges that challenged the emerging powers of the new administrations overseeing Spanish America, which were rendering the position of adelantado obsolete and, thus, represented a threat to Montejo{\textquoteright}s political standing. The third objective concerned the assertion of the patrons{\textquoteright} authority over the multi-ethnic Yucatecan audience that came into daily contact with the building, an audience largely unfamiliar with European architectural conventions and habits of reception. Finally, moving beyond intentionality, I emphasize the importance of considering that the Montejo facade was not only conceived but also carved in a multi-faceted socio-political environment, executed in large part by skilled laborers drawn from the local populations whose understanding of the decorative forms they were to reproduce were informed by local traditions. Therefore, the meaning of the facade cannot be assessed from one view point. This dissertation, then, focuses on the production of meaning in the reception of the facade, in the complex context of mid-sixteenth century Viceregal Mexico.}, keywords = {Architectural History/Historic Preservation, Latin American/Caribbean Art}, author = {Barteet, C. Cody} } @mastersthesis {10217, title = {Con risolutione di mano formate: Francesco Villamena and the Art of Engraving in Counter-Reformation Rome}, year = {2007}, school = {Harvard}, abstract = {My dissertation studies the work of Francesco Villamena (1560s?-1624). An engraver and publisher, he was active from the mid-1580s. A catalogue raisonne of his work provides the foundation for a broader study of the practice of printmaking in Rome. This is understood as encompassing questions of the printmaker{\textquoteright}s identity and self-fashioning, the mechanisms of trade and marketplace, as well as patronage. Its context is suggested by my title: the intersection of printmaking with a body of acts and discourses commonly associated with the term "CounterReformation." Chapters address different aspects of this meeting of the print medium with the machinery of control and registration, and with belief. The censorship of printed imagery, and the hermeneutic of censorship are examined. The role of the print in the campaigns promoting the cults of the new saints of the CounterReformation is explored, as is the patronage of the religious Orders. Canonization records are studied to determine the roles accorded prints by witnesses in these trials, and so the use of the print as a sign of belief and the expression of relationships. A case study examines the reception of Villamena{\textquoteright}s so-called Cries of Rome, a set of images which came to be understood as confusing secular and sacred. What links did contemporaries draw between the individual impression-the individual encounter of print and viewer-and the print as multiple? How did they understand the singularity and multiplicity of printed images? My dissertation attempts to bridge the micro- and macro-histories of the print: exploring the links between the printmaker{\textquoteright}s workshop, market, the image, and its reception. I map out the economic and social relationships tied to the print, asking how the accidents of production, distribution, and consumption of printed imagery impacted reception. The print is understood as a material object, as a product of social and economic forces, and as a medium. The result is a more sophistication model for both the print medium and the reception of imagery in circa 1600 Rome.}, keywords = {Renaissance/Baroque Art}, author = {Etheridge, Christopher Blair} } @mastersthesis {10094, title = {Confrontation and Complicity: Rethinking Official Art in Contemporary China}, year = {2007}, school = {Binghamton}, abstract = {Since the beginning of the twenty-first century, the Chinese state has evidently changed its stance towards contemporary art within a society that is marked by rapid marketization and the resulting extensive social transformations. The government has put considerable effort, both human and financial resources, into supporting and promoting Chinese contemporary art, which historically was unofficial and underground. At the same time it has invested greatly into presenting contemporary Chinese official art by introducing new art institutions, widely practiced in the international art world, including the international biennial and individual curatorship. This dissertation endeavors to articulate the above mentioned changes in relation to changing unofficial art, changing Chinese society, and changing Chinese politics. I argue that the new direction that Chinese official art has taken since the beginning of the twenty-first century has, to a great extent, epitomized the Chinese government{\textquoteright}s newly conceived cultural policies and multiple administrative approaches towards art and its modified vision of the function of art in Chinese society as it actively responds to the ongoing transnational and external processes in the age of globalization. In this study, I utilize a few important official art exhibitions as a framing mechanism through which I examine the shifting institutional context and representation of Chinese official art since the late 1990s. In particular, I investigate two important exhibitions in 2003: the first Chinese Pavilion of the Venice Biennale (Chinese Pavilion) and the First Beijing International Art Biennale (Beijing Biennale) respectively authorized by the Ministry of Culture and the Chinese Artists Association. Both exhibitions endeavored to present "authentic" contemporary Chinese art and Chinese values, but did so in almost opposite ways, in terms of the curatorial methods, the theme, content, and the types of works exhibited. Through highlighting different roles played by governmental, institutional, and individual agencies in the staging of these exhibitions, the dissertation explores the recently emerged internal divisions within the scope of Chinese official art and the intricate collaborative relations between official and unofficial art.}, keywords = {Chinese Art, Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Wang, Meiqin} } @mastersthesis {10073, title = {Constructing a Beloved Community: The Methodological Development of Tim Rollins and K.O.S.}, year = {2007}, school = {CUNY}, abstract = {This dissertation examines and historically contextualizes the development of a methodology that has guided the collaboration of Tim Rollins and Kids of Survival (K.O.S.), a group of young artists, originally comprised of Rollins{\textquoteright}s special education students from Intermediate School $\#$52 in the South Bronx. Since 1981, Rollins and K.O.S. have collaboratively produced works of art based on literary texts and musical scores. This dissertation is the first in-depth and systematic study of the influences and motivations that shaped one of the most celebrated and controversial art projects of the past quarter century. The structure of this dissertation systematically moves through five specific dimensions of Rollins{\textquoteright}s motivations and methodology: his personal history in Pittsfield Maine, his artistic background in Conceptual art, his involvement with politically oriented artist collectives from the mid 1970s to early 1980s, his formal and informal studies in progressive pedagogies, and his spiritual solidarity with the civil rights movement. This study explores Rollins{\textquoteright}s youth and examines his adaptation of specific principles of King{\textquoteright}s into a personal philosophy of survival and Rollins{\textquoteright}s use of these to transform the experiences of his dysfunctional family and alcoholic father into strategies that he continues to employ with K.O.S. Rollins translated King{\textquoteright}s strategy of nonviolent direct action into a philosophy of politically active art and employs this ethos as a prism through which to critically receive Joseph Kosuth{\textquoteright}s theories of Conceptual art. Rollins{\textquoteright}s formative relationship with the British artist Conrad Atkinson and participation in the artist collective Group Material were a "dress rehearsal" for his work with K.O.S. I examine the pedagogy and operating structure of Rollins{\textquoteright}s collaboration with K.O.S. as it was influenced by the Pragmatism of John Dewey{\textquoteright}s concepts of "Learning by Doing" and "Art as Experience." I conclude by suggesting some possible implications of this method as criteria for evaluating and historically situating Rollins{\textquoteright}s project with K.O.S. within the larger matrix of artists working to extend the experience of art to a public that is often ignored by the art world.}, keywords = {Art of the United States, Contemporary Art}, author = {Romaine, James G.} } @mastersthesis {10205, title = {The Construction of Civic Identity at Teotihuacan, Mexico}, year = {2007}, school = {Yale}, abstract = {The apartment compounds of Teotihuacan, Mexico, represent the first large-scale urban housing in the Western Hemisphere. Teotihuacan{\textquoteright}s urban grid reflects the desires of its leaders to impose order on the natural environment through the creation of a rigid geometry with a deep axis-the Street of the Dead-at its ceremonial core. The ideology of the Teotihuacan grid and its axis informed the ideology of the apartment compound. As it provided the principal living and working places of the city, the compound was the primary space where people were shaped into citizens of Teotihuacan. A quantitative analysis of Teotihuacan{\textquoteright}s grid-the degree of connectivity between small roads and larger axes-provides a basis for this interpretation. The methodology of space syntax reveals that the Street of the Dead turns the city into an inverted shrine, where access to seemingly public spaces was highly restricted. Space syntax similarly suggests how the apartment compounds reflect and reinforce this structure, creating a large number of comparatively isolated units. The dissertation analyzes three apartment compounds in an attempt to understand how the city integrated these units into a coherent civic identity. Zacuala, with its apparent lack of burials and abundant extant paintings, is understood as a space of ritual performance and observance as much as it acted as a primary residential space. An iconographic and architectural analysis of the Palace of Quetzalpapalotl and its precursor buildings provides evidence for the longevity and development of Teotihuacan military iconography. Tlamimilolpa, with its apparently labyrinthine layout and poor construction, contained few traces of the mural paintings seen elsewhere in the city. Yet its burials and offerings provide rich data with which to understand the compound{\textquoteright}s development. Finally, an analysis of the "Old God" sculptures found throughout the city assesses how this sculptural image helped bind the city across all social levels, and how its impact reverberated throughout Mesoamerica.}, keywords = {Pre-Columbian Art}, author = {Robb, Matthew} } @mastersthesis {10259, title = {Contre-Histoire: The Postwar Art and Writings of Jean Dubuffet}, year = {2007}, school = {Columbia}, abstract = {This dissertation is an interdisciplinary examination of Jean Dubuffet as a writer as well as an artist in the context of the postwar l{\textquoteright}epuration (or purge) of writers and intellectuals in France. In it I argue that Dubuffet{\textquoteright}s overall enterprise is best described as "contre-histoire " in both senses of the French term-"against history" and "against narrative." I begin by re-introducing Dubuffet the writer through an analysis of Biographie au Pas de Course [Biography at the Last Minute], the autobiography he completed shortly before his death in May 1985. As his final project, I contend, this work is indicative of Dubuffet{\textquoteright}s lifelong desire to have "the last word" on his life and career, and to circumscribe his entire visual oeuvre with the written word. In Chapter 2, I examine Dubuffet{\textquoteright}s postwar portraits of members of the French literary elite, which he exhibited under the sardonic title, Les gens sont plus beaux qu{\textquoteright}ils croient [People Are More Beautiful Than They Think] (October 1947-November 1947) at the Gallery Rene Drouin, Paris. In painting and exhibiting these portraits, I argue, Dubuffet sought to alleviate some of the pressure being put on French writers accused of collaborating with the Germans during the Occupation. Dubuffet{\textquoteright}s portraits challenged the putative transparency of the genre, and in so doing, made a case for the importance of separating the writer from his writings, his physical "corps" from his "corpus" of work. The following two chapters deal with Dubuffet{\textquoteright}s postwar conceptualization of art brut, or art created by isolated, illiterate and untrained individuals. First, I show how Dubuffet{\textquoteright}s trips to North Africa (1947-1949) reveal certain structuralist notions about history shared by his acquaintance, Claude Levi-Strauss. Then, I investigate art brut as a literary project while taking into consideration Dubuffet{\textquoteright}s parallel interest in the concept of l{\textquoteright}ecriture brute as an alternative to Sartrean "committed literature." Chapter 5 looks at Dubuffet{\textquoteright}s Corps de Dames [Ladies{\textquoteright} Bodies] (1950-1951) paintings and the ways in which he tried to divorce these images from their immediate historical context. At precisely the same time, Dubuffet was similarly arguing that the writings of his pro-Fascist literary idol, Louis-Ferdinand Celine, had nothing to do with history either. Finally, I consider the possibility, as American literary critic Wylie Sypher first suggested in his Loss of the Self in Modern Art and Literature (1962), that there is a connection between the anti-narratival nature of Dubuffet{\textquoteright}s written and visual oeuvres and the rise of the "New Novel" and the emergence of the "New Art History" in France. I conclude by suggesting that Dubuffet{\textquoteright}s true legacy, which is both graphic and conceptual, can be found in the work of three second-generation postwar American artists: Claes Oldenburg, Cy Twombly, and Ray Johnson.}, keywords = {Twentieth-Century Art}, author = {Minturn, Kent} } @mastersthesis {10128, title = {Conventional Pictures: Charles Marville in the Bois de Boulogne}, year = {2007}, school = {Princeton}, abstract = {This dissertation examines a group of sixty photographs made by the French photographer Charles Marville (1816-c. 1879), in the Bois de Boulogne in Paris, in 1858, when it was transformed into the first and one of the grandest public parks of the nineteenth century. My aim is to use a single documentary project to frame my critical study of Marville{\textquoteright}s work, and to establish one model for looking at his broader documentary practice, which includes numerous series for the city of Paris, beginning with the Bois de Boulogne views. Taking up Roland Barthes{\textquoteright} assertion that every photograph is dominated by its referents, and at the same time considering the contrary, biographical basis for many histories of nineteenth-century art, my chapters test the biographical mode of art historical writing---particularly writing about landscape as the expression of an artist{\textquoteright}s sensibility---over and against close attention to Marville{\textquoteright}s photographic subjects. I begin with an account of Marville{\textquoteright}s career rooted in archival research, and continue with an account of the Bois de Boulogne as a key project in the first phase of Haussmannization, one that resulted in a naturalistic landscape in modern Paris. I then shift to a reading of Marville{\textquoteright}s different arrangements of the Bois de Boulogne photographs in two surviving albums, and his use of existing landscape devices, drawn from various sources, when composing the views. Marville tested many landscape conventions in the Bois de Boulogne photographs, forecasting his later practice of fashioning pictorial compositions suited to given series and used repeatedly throughout them. Finally, I consider the Bois de Boulogne photographs against the field of nineteenth-century landscape imagery in France, from Barbizon painting to topographical prints to photographic illustrations, arguing that the Bois de Boulogne photographs are critical, thorough documents of a Haussmannian project, rather than Marville{\textquoteright}s response to a naturalistic landscape. While the dissertation offers a close reading of a particular group of photographs, its larger purpose is to establish a mode of looking at documentary photography rooted in art history, yet independent of existing art historical categories.}, keywords = {Drawings/Prints/Works on Paper}, author = {Barberie, Peter} } @mastersthesis {10067, title = {Cosmopolitan Design in the Upper Midwest: The Nineteenth Century Architecture of Edward Townsend Mix}, year = {2007}, note = {CAA additional advisor: P. Barolsky}, school = {Virginia}, abstract = {Architect Edward Townsend Mix{\textquoteright}s (1831-1890) contributions to American design in the nineteenth century were significant as he played a critical role in the aesthetic development of the Upper Midwest. Mix utilized a versatile approach with his ability to design in a variety of styles and types depending upon the needs of the building, the desires of the patron, and his personal inclination. Through his East Coast background, his expansive architectural library, his connection with the local Yankee population, his association with other prominent architects and organizations, and his interest in contemporary architectural trends, Mix revolutionized the area with cosmopolitan architecture, creating a reputation as one of its foremost professional architects. It was during the middle of the nineteenth century that a young architect arrived in Milwaukee; his arrival altered the city{\textquoteright}s course of architectural design. It is through an examination of Mix{\textquoteright}s designs that one will be able to see the Upper Midwest{\textquoteright}s transformation from its frontier status of the 1850s to its sophisticated position in the 1870s and 1880s preparing the region for its prominence in the twentieth century. Mix designed more than 270 known buildings many of which still exist today, he served as the State Architect of Wisconsin from 1864-1867, and held a long-time membership in the American Institute of Architects, in addition to being a founding member of the Western Association of Architects. Throughout his career E. Townsend Mix continued to expand his architectural and engineering repertoire to create buildings that were aesthetically and technologically innovative, providing the Upper Midwest with an evolving style based on European and East Coast sophistication through the cosmopolitan design ideals articulated in his buildings.}, keywords = {Architectural History/Historic Preservation}, author = {Szczesny-Adams, Christy M.} } @mastersthesis {10117, title = {The Courtly Erotics of the Photograph: Photography and the 19th-Century Theorization of Courtly Love}, year = {2007}, school = {UNC Chapel Hill}, abstract = {The medieval poetic genre and performance practice of courtly love elaborates the delirious enjoyment and exquisite pain of unquenched desire and celebrates its textual performance; photography visualizes this highly fraught system of desire. Photography is imbued with courtly love because of its relation to desire, distance, and idealization. The photograph{\textquoteright}s referent appears to be present but is always lost, a paradox which keeps the viewer{\textquoteright}s desire inflamed; I read the unavailability of the referent, and the desires it arouses, in terms of the desires aroused by the beautiful and idealized but unavailable courtly lady. What photography gives, what it denies, and the desires it arouses are courtly. I adopt courtly love{\textquoteright}s nineteenth- and twentieth-century theorizations, particularly the work of psychoanalyst Jacques Lacan and semiotician Roland Barthes, as a strategy for reading photography. Both Barthes and Lacan write of a desire that is idealizing, unrequited, and related to the primordial experience of the mother. Lacan specifically addresses courtly love as the epitome of the non-rapport between the sexes and the ultimate example of sublimation. Lacanian psychoanalysis revolves around the issue of the subject{\textquoteright}s desire; he sees courtly love as the embodiment of desire in the life of the subject. Lacan{\textquoteright}s discussion of the sublimation of the courtly lady provides a way to theorize the sublimation operative in photography, and the resulting impact on photographic ethics. If subjectivity is based on lack/desire, the photograph is the perfect object to operate on both: it always represents lack and absence, but simultaneously offers possession, images of wholeness, and illusions of closeness. A close comparative reading of Barthes{\textquoteright}s Camera Lucida (1980) with his A Lover{\textquoteright}s Discourse (1977) demonstrates significant affinities between the two and links Barthes{\textquoteright}s work on photography and desire. The photographs I address include Hiroshi Sugimoto{\textquoteright}s Interior Theaters, photographs commissioned by painter and poet Dante Gabriel Rossetti of Pre-Raphaelite icon Jane Burden Morris, and the recently-identified genre of nineteenth-century portraiture of men commemorating their loving friendships.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Howie, Elizabeth} } @mastersthesis {10161, title = {Courtly Places and Sacred Spaces: The Social and Political Significance of Monumental Wall Paintings in Late Antiquity}, year = {2007}, school = {Pennsylvania}, abstract = {This dissertation examines three different architectural complexes, each of which contained monumental painted figural programs. The first case study centers around a series of fragmentary frescoes from the Tetrarchic period of Roman Egypt (late third century CE) decorating an Imperial Cult chapel placed in the heart of the great Pharaonic Temple of Luxor. Part II focuses on an early fourth century CE imperial domicile in Rome (dubbed the Domus Faustae) and the painted procession of over-life-sized figures depicting the family of Constantine the Great which were discovered there. The last case study, Part III looks at an Islamic monument of the Umayyad period (c. 724-743) called Qusayr {\textquoteright}Amra, where paintings decorate nearly the entire interior surface of a bath house cum audience hall in the middle of the Jordanian Desert. These sites are examined in order to bring out of obscurity an artistic practice that is often overlooked in art histories of the period, namely the use of wall paintings in nonreligious spaces as a means of expressing contemporary social and political issues. This project is built upon the premise that all three of these monuments were important congregational interiors related to the late antique courts, what I call "aulic" spaces, in which the elites of late antiquity enacted highly ceremonial, hierarchical and programmed social rituals which were reflected in their respective decorative programs. In each case study, I illustrate how the pictorial programs in these sites were designed to convey particular social and political messages. I describes the ways in which viewers{\textquoteright} were introduced, and guided visually through the program of images so as to add to the overall ceremoniousness of their respective spaces. I argue that the process of viewing had the effect of sanctifying these painted environments, due to the ritualized encounter between the ruler image and viewer that was created.}, keywords = {Greek/Roman Art}, author = {McFadden, Susanna} } @mastersthesis {10195, title = {Creative Pathologies: French Experimental Psychology and Symbolist Avant-Gardes, 1889-1900}, year = {2007}, school = {Chicago}, abstract = {This dissertation demonstrates the significance of a historically specific mode of reasoning-experimentalism and in particular the paradigmatic pathological method of French experimental psychology-for Symbolist visual aesthetics. In doing so, it examines how experimentalism and the avant-garde came to be yoked together, explores how Symbolism reoriented Naturalism, and provides an intellectual basis for the expanded canon of alterity that emerged in the late nineteenth century. The belief that the human mind could be known and understood through experimentation on pathologies, rather than through introspective exploration attracted the attention of a number of avant-gardes as they sought to transform Symbolist theory into practice. To illustrate and analyze this important connection, I examine the art and theories produced within two intersecting communities of Symbolist artists, writers and thinkers active in the 1890s: the Nabis, in particular Maurice Denis and Edouard Vuillard, and the Schwarze Ferkel group including August Strindberg and Edvard Munch. The writing, criticism and art of these individuals, rarely considered together, provide well-documented and substantial instances of the range of formal responses to alterity and experimental psychology in France among Symbolist artists on the threshold of the twentieth century.}, keywords = {Nineteenth-Century Art}, author = {Morehead, Allison} } @mastersthesis {10263, title = {The Crime of Cuba: Urbanism, Photography, and the Geopolitics of Americanization}, year = {2007}, school = {Columbia}, abstract = {This dissertation examines the geopolitics of Cuba{\textquoteright}s Americanization in the 1920s and 1930s. Focusing on a set of photographic practices and urban technologies, it argues that Americanization needs to be understood not as the disjuncture between the exportation of North American goods or values and the development of democracy, but as a much more violent displacement of another nation{\textquoteright}s sovereign status. Part I develops this thesis through an examination of Walker Evans{\textquoteright}s 1933 "Cuba Portfolio," a photographic archive of Havana{\textquoteright}s citizens and their public spaces produced in conjunction with the publication of Carleton Beals{\textquoteright}s history of the devastating effects of capitalism on the development of Cuban culture, The Crime of Cuba. Evans{\textquoteright}s photographs, it argues, did not supply evidence of what Beals named as Cuba{\textquoteright}s "crime," but an alternative model of U.S. hegemony-one mediated through photography{\textquoteright}s capacity to standardize and type. In turn, Part I considers Americanization from a vantage point outside the ethics of capitalism, analyzing it, instead, as a practice in and of representation. Part II develops this model of Americanization through an examination of President Gerardo Machado{\textquoteright}s Public Works Bill of July 1925. It argues that Machado{\textquoteright}s urban program sought to finally secure Cuba{\textquoteright}s independence by paradoxically representing the island as North America{\textquoteright}s final frontier. Chapter One traces the origins of this contradiction by offering an historical account of the centrality of Cuba{\textquoteright}s geography to the formation of North America{\textquoteright}s republic. Represented as both inside the U.S. and as its limit, Cuba, this chapter argues, defined North America{\textquoteright}s republic. This dissertation thus privileges the spatial politics of Cuba{\textquoteright}s postcolonial formation in order to argue that the island{\textquoteright}s status as a republic was bound up in its representation as America. Chapters Two and Three examine the production of the island{\textquoteright}s contradictory spaces: plans for the expansion of La Habana Vieja and the construction of the island{\textquoteright}s first central highway, La Carretera Central, respectively. The conclusion offers a brief analysis of how my model of Americanization reconfigures debates about Cuba{\textquoteright}s other "crime": anti-Americanism.}, keywords = {Twentieth-Century Art}, author = {Schwartz, Stephanie} } @mastersthesis {10084, title = {Critical Distinctions: Attitudes towards American Abstraction, 1936-1952}, year = {2007}, school = {UT Austin}, abstract = {This following is a study on abstract painting: the critical reception and analysis of painterly practice-performative, experimental, dissenting-in New York from 1936 to 1951. By metonymy, this study also looks at the figure in the political realm via the critiques offered by socially-oriented critics at this time (some of whom were also art critics). As the boundless secondary literature on this period has noted, the painting of the New York School would "triumph" with "stunning success" by the late 1950s. In other regards, the subject of this dissertation is that of failure. The revolution (or, "the idea of Revolution") that had been hoped for by so many left-wing radicals in the 1930s never quite came to pass or, later, went horribly wrong: first in Spain and then elsewhere. "Modern art, like modern literature and modern life," Clement Greenberg concluded in a 1948 essay on the Old Masters "has lost much." Greenberg{\textquoteright}s essay on the Old Masters appeared in the same number of Partisan Review as Hannah Arendt{\textquoteright}s essay, "The Concentration Camps." This is the generation of critics, intellectuals and artists who bore the brunt of articulating the unspeakable horrors of the Camps and the Bomb-manmade places and events that were "beyond human comprehension." This study is also about belief, of kinds: a Modernist belief in the agency of the artist, in the discernment of the critic, and of a "superstitious regard for print," to which Greenberg referred with irony in a 1957 essay (artists didn{\textquoteright}t always believe what they read, he would conclude). Irving Howe, the founder of Dissent in 1954, supposedly once quipped that, "when intellectuals can do nothing else, they start a magazine." The dissertation at hand contains a number of kinds of critical statements: ones of ambiguity and of skepticism, and others of crisis and disinterest, directed towards art objects and elsewhere, and expressed by writers at mid-century, some especially subtle and acute. Modernist belief, even if betrayed too often, allowed these critics often to escape velleities, or other empty gestures, in their writing.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Price, Justine Dana} } @mastersthesis {10251, title = {The Cube in the Kaleidoscope: The American Reception of French Cubism, 1918-1938}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation examines the advent of American Cubism during the interwar period. According to this study, American Cubism is no unified stylistic or aesthetic object; rather, it constitutes a variable, ever-shifting complex of cultural concepts acted out among a social system. Borrowing loosely from the French social historian, Pierre Bourdieu, this dissertation challenges the common interpretation of Cubism{\textquoteright}s entry into the United States as a story of one-way influence and appropriation, substituting for that causative narrative several disjunct, yet mutually informing case studies. In making its way from Paris to New York, French Cubism is thus understood as leading to various conceptual and stylistic consequences, entering a new "field of cultural production" comprising variously competing, yet conjoining histories-from nineteenth-century aestheticism to international Constructivism. Departing from standard monographic or sociological approaches to its subject, this dissertation begins with the 1934-35 lecture tour of the United States by the expatriate poet, Gertrude Stein, offering a new interpretation of her signature lecture, Pictures (1934), while reviewing Stein{\textquoteright}s historic, yet largely forgotten aesthetic collision with Duncan Phillips, of the Phillips Memorial Collection, where she spoke on her way to the White House. Subsequent chapters revisit the "empathic" theories of modernist perception informing the American Cubism of Albert E. Gallatin and the so-called "Park Avenue Cubists," whose reception of modernist currents from Paris was highly informed by recent developments in a new transatlantic science of "physiological aesthetics." This history is further discussed in relation to the ultimate rejection of Cubism by Thomas Hart Benton and its antithetical embrace by Stuart Davis, the latter case complemented by a new reading of Davis{\textquoteright}s watershed, "proto-Cubist" artist{\textquoteright}s journal of 1920-1922. The rise of an American Cubist "culture of camouflage" is then examined for the ways in which American artists, critics, and a larger public ultimately justified Cubism{\textquoteright}s apparent excesses according to a long naturalist and empirical tradition. It is finally suggested that Gertrude Stein{\textquoteright}s own early relationship with Picasso harbors a little appreciated story of French Cubism{\textquoteright}s "invention" that ultimately informs its subsequent, American flourishing.}, keywords = {Twentieth-Century Art}, author = {Galligan, Gregory} } @mastersthesis {10209, title = {Curiosity and the Ideal: Anatomical Investigation and the Gendered Imagination in Sixteenth-Century Italian Art}, year = {2007}, school = {Bryn Mawr}, abstract = {My dissertation has as its subject the intersection of medical and artistic visions of the human body in early to mid sixteenth-century Florence. Prominent Florentine artists in the first half of the sixteenth century, such as Michelangelo, Rosso Fiorentino, Baccio Bandinelli, and Francesco Salviati, pursued the study of anatomy quite rigorously; they are even reported to have performed dissections themselves. Several artists became involved with projects to illustrate medical texts, but many produced drawings of anatomy independent of such projects, which suggests how important this was as a form of intellectual and visual inquiry. The practices of dissection, surgery, and the representation of the body might suggest a range of possible moral and ethical associations. The focus of my dissertation is an analysis of certain different categories of Renaissance drawings that may be described as anatomical studies and a set of drawings produced by Francesco Salviati and his assistants for a pair of surgical manuscripts prepared by the physician Vidus Vidius. My approach has been much influenced by the ideas of feminist historians of science who have analyzed the visual and linguistic metaphors of mastery over nature often cultivated within scientific communities. The terms of this historical critique that I am especially concerned with cover the questions of what it meant to be a member of a scientific community, to be an artist, to express curiosity and to produce knowledge in the sixteenth century.}, keywords = {Renaissance/Baroque Art}, author = {Bird, Jennifer} } @mastersthesis {10154, title = {Dangerous Beauty: Painted Canvases and Painted Faces in Eighteenth-Century Britain}, year = {2007}, school = {Case Western Reserve}, abstract = {In eighteenth-century Britain, "paint" referred not only to artists{\textquoteright} materials, but also derogatively to make-up worn by fashionable society. The acts of applying paint to canvas and skin formed part of the contemporaneous understanding of "painting," defined as "to represent in colours. To lay colours on the face." The lexical links between paint, color and representation suggest that the act of painting portraits could easily be conflated with the act of applying make-up. The overlap in terminology extended to an overlap in materials. Although the lexical and material overlap of artists and consumers materials was not unique to the eighteenth-century, their use as artificial embellishments was increasing in the 1750s because of their growing affordability, a result of England{\textquoteright}s burgeoning economy. According to discourses of the day, a thriving commerce was necessary to achieve a civilized society; conversely, it could be dangerous if it only served to propel more spending. Thus, England formulated a campaign for social and cultural refinement in an attempt to reconcile commerce with virtue. The cultivation of the arts and one{\textquoteright}s appearance fell under this rubric. The materials and the methods utilized in the cultivation of the arts and beauty were strikingly similar; a connection no scholar has made in the context of British art. Establishing the social and cultural history of "paint" and identifying the shared materials between artists and consumers forms the focus of part one of this dissertation. As the century progressed, the similarities between painted canvases and painted faces became more visually apparent as portraits by fashionable painters grew more vivid in color keeping pace with the sitters own artificially enhanced exteriors. Part two of the dissertation chronologically tracks increasing colors on canvases and faces through case studies from the 1750s through the 1780s, and links these visual shifts to the highly mobile dialogue on beauty as well as the theoretical discourses on portraiture. Through this process, I reveal how the period{\textquoteright}s preoccupation with beauty facilitated social mobility, a subject intimately entangled with the ways in which discourses on beauty affected the practices of painting canvases and painting faces in eighteenth-century Britain.}, keywords = {Eighteenth-Century Art}, author = {Marcereau Degalan, Aimee} } @mastersthesis {10152, title = {The Development of Royal Funerary Cult at Abydos: Two New Funerary Enclosures from the Reign of Aha}, year = {2007}, school = {IFA/NYU}, abstract = {The site of Abydos in Middle Egypt was the location of the burials of the kings of the Early Dynastic period. At that time, the tradition of rulers{\textquoteright} burials at Abydos was already ancient. In addition to tombs, the rulers of the First and Second Dynasties built large, open-air, monuments of a type currently known as funerary enclosures. These are also located at Abydos, although more than a kilometer from the royal tombs. Both the royal tombs and the enclosures of the First Dynasty were accompanied by small graves, probably for sacrificial burials; these are termed subsidiary graves. While the royal tombs and enclosures are clearly related to one another, the enclosures are more obscure in terms of their precise function and their early development. If, as seems probable, every king who built a tomb at Abydos also built an enclosure, there are several enclosures that have not yet been found. In the hopes of finding new enclosures and clarifying the use and development of this type of monument, an excavation season in the Abydos North Cemetery was planned and undertaken during 2004 and 2005. It was expected that the finds from this season would provide the basis of the author{\textquoteright}s dissertation. The excavations of the 2004-5 season located and cleared two previously unknown funerary enclosures and five subsidiary graves associated with them. In the interior of one of these enclosures were remains of a cult structure. Inscribed artifacts from the subsidiary graves dated both enclosures to the reign of Aha in the beginning of the First Dynasty. The recently discovered enclosures are amongst the earliest known of this type of monument. In indicating that a single king could build multiple enclosures, materially change our understanding of the reasons enclosures were built and for whom they were built. This dissertation gives background relating to First Dynasty royal tombs and enclosures, presents the data from the 2004-5 season, and discusses the implications of these finds.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Bestock, Laurel} } @mastersthesis {10083, title = {Dirty Art: Reconsidering the Work of Robert Rauschenberg, Bruce Conner, Jay DeFeo, and Edward Kienholz}, year = {2007}, school = {CUNY}, abstract = {During the 1950s and into the early 1960s, a number of artists in the United States began to construct works that were preoccupied with dirt. Beyond incorporating various forms of dirt into their works, these artists also addressed {\textquoteright}dirty{\textquoteright} subjects-taboo or morally fraught issues of the day such as abortion, pornography, presumably deviant sexual behavior, or capital punishment. This dissertation focuses on the works of four artists, Robert Rauschenberg, Bruce Conner, Jay DeFeo, and Edward Kienholz, who all created works that dealt with comparable themes and that were aesthetically similar in certain respects, including in their, at once metaphorical and literal, dirtiness. Works by each of these artists are examined in relation to the 1950s{\textquoteright} fascination with dirt and cleanliness; a time during which Americans were bombarded with images and advice that encouraged them to clean up their homes, bodies, and behavior (whether social or political). Rauschenberg, Conner, DeFeo, and Kienholz created works that specifically dealt with issues concerning domesticity and the body, two areas where social preoccupations with cleanliness converged. Through this project{\textquoteright}s examination of dirt-related theories, economics, popular culture, and sociological and gender studies, specific commonalities emerge in the works of these artists, particularly when contextualized in relation to the political and social environment of the 1950s. By creating aesthetically dirty works with subject matter that deeply challenged cultural attitudes concerning cleanliness and containment, Rauschenberg, Conner, DeFeo, and Conner, in their own ways, drew attention to the existence of dirt and disorder beneath the surface of an ostensibly orderly and clean society.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Poor, Natasha} } @mastersthesis {10046, title = {Doge Cristoforo Moro and Patronage in Renaissance Venice}, year = {2007}, school = {MIT}, abstract = {This dissertation explores the art and architectural patronage of Doge Cristoforo Moro (1462-71) in Renaissance Venice. Given that Moro ruled over a Venice that was dealing with new threat to its territory, its religion, and its public health, I seek to understand what the ideological charges were that informed Moro{\textquoteright}s acts of patronage throughout Venice and how they diverged from understood modes of ducal representation. Moro{\textquoteright}s sponsorship of San Giobbe, a charitable institution in one of the poorer neighborhoods of fifteenth-century Venice, serves as the point of departure for this study. Drawing on a wide range of sources including testamentary bequests, building and confraternity histories, and landholding policies, I examine how Moro transformed a site that was associated with social and spiritual abjection into a showcase of ducal power. In formulating a set of questions for Moro{\textquoteright}s work at San Giobbe, I try to move beyond questions of attribution and chronology that have typically dominated studies of Doge Moro{\textquoteright}s work. I examine in particular Moro{\textquoteright}s tomb, a burial slab placed in the ground in the high altar chapel of San Giobbe; his funerary slab represents a temporary break from ducal burial tradition in Venice. I root my study of the tomb in the evolving nature of Renaissance commemoration practice by devising an approach for the study of a commemorative object that can not be read as an iconographic text like many other contemporaneous ducal tombs. After establishing the nature of Moro{\textquoteright}s work at San Giobbe, I reconsider Giovanni Bellini{\textquoteright}s San Giobbe Altarpiece both in the history of fifteenth-century Venetian painting and as a reflection of the ducal legacy of the church for which it was painted. My study of the San Giobbe Altarpiece draws on the iconographical and symbolic analyses of previous scholars, but shifts the emphasis of the inquiry from iconography to issues of representation and gesture in the Altarpiece. I argue that the full-figured representation of Job is essential to understanding the role of salvation not only of the worshippers at the altar of San Giobbe, but of the entire Venetian Republic}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Israel, Janna} } @mastersthesis {10149, title = {Donor Portraits in Late Medieval Venice, c. 1280-1413}, year = {2007}, school = {Queen{\textquoteright}s}, abstract = {Although the donor portrait was extremely popular throughout Europe and mainland Italy during the late Middle Ages, the few art historians who have addressed the subject have concluded that the motif was not popular in fourteenth-century Venice. The political structures of Venice and its citizens{\textquoteright} supposedly innate abhorrence of public expressions of individuality in the Republic are often cited as reasons for the absence of individual donor portraits; the examples that have survived are commonly interpreted as direct reflections of state or communal values. This dissertation challenges these previous conclusions and poses the following questions: Was donor portraiture popular in Venice, and in what forms? And how did the appearance and function of donor portraits in Venice compare with those from Europe and Byzantium? The evidence examined here includes a catalogue of 83 examples dated approximately between 1280 and 1413. I have attempted to reconstruct the social, political, and physical environments for these examples, and for those images that have been lost through centuries of changing trends and political upheaval. Through case studies of donor portrait subjects from a cross-section of Venetian society, including doges, nobles, cittadini, confraternity groups, and patrician women, it becomes clear that such images were, in fact, popular in late medieval Venice and that they were mostly intended for public viewing. Furthermore, the fact that donor portraits are rarely mentioned in the extant documents suggests that such imagery was considered conventional and that it posed no significant threat to the ideology of the Venetian state. Further examination of these visual documents, and analyses of socio-historical developments in the period indicate that donor portraits in Venice, like similar portraits in Byzantium and mainland Italy, mainly reflect personal concerns about family, status, wealth, and salvation. Their physical appearance likewise suggests that these images were intended for display within the confines of city parishes and that ultimately, in this context, donor portraiture in late medieval Venice was no more likely to reflect state ideologies than donor portraiture in other parts of Europe.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Roberts, Angela} } @mastersthesis {10231, title = {Dutch Flower Still-Life Painting in Middleburg, ca. 1600-1620}, year = {2007}, school = {Northwestern}, abstract = {This dissertation analyzes the role of the Dutch city of Middelburg around 1600 in stimulating the flower still-life production of Ambrosius Bosschaert. Much attention has been paid to the shift in power from Antwerp to Amsterdam as the center of the northern European art market around 1600, without recognition of the important role played by Middelburg. The city was a crucial destination for Protestant artists and collectors, fleeing religious persecution in Antwerp during the war with Spain, as they moved into the northern Netherlands. Bosschaert is one of the primary practitioners of the independent genre of flower painting, which came into existence around 1600, and the bulk of his painting occurred in Middelburg, where he lived after fleeing Antwerp. The influence of this city on Bosschaert{\textquoteright}s market, however, has been overlooked. The first half of this dissertation provides a cultural history of Middelburg, focused on establishing the importance of the city{\textquoteright}s artistic and literary production, overseas trade, luxury market, and garden culture. The painting shop owned by the artist Adriaen van de Venne and his publisher-dealer brother Jan played a vital role in the city{\textquoteright}s cultural and intellectual life and will be used in chapter 2 to introduce Middelburg around 1620. Chapter 3 will concentrate on the garden culture in and around Middelburg, where poets and merchants demonstrated their love of collecting flowers. The second half of the dissertation examines the career of Ambrosius Bosschaert in an effort to determine how his painting production responded to the Middelburg art market. Chapter 4 explores the overlapping networks of amateur collectors, botanists, merchants, and art dealers and how Bosschaert fit into these social and professional circles. Finally, chapter 5 analyzes Bosschaert{\textquoteright}s flower painting production. It examines how he engaged traditional painting style and techniques alongside process and product innovations to create highly marketable flower paintings, which commanded high prices and influenced generations of still-life painters. This dissertation concludes that Bosschaert was a transitional artist, borrowing from the Flemish tradition prevalent in Middelburg around 1600 while making market-savvy decisions to appeal to the collecting interests of his new audience in the north.}, keywords = {Renaissance/Baroque Art}, author = {Pennisi, Meghan} } @mastersthesis {10068, title = {Early Dutch Neo-Gothic Architecture, 1772-1840}, year = {2007}, school = {Delaware}, abstract = {Utilizing surviving seventeenth-century building contracts from both the Netherlands and the Dutch colony of New Netherland in North America, "Imagining New Netherland" takes a critical look at what has been deemed Dutch colonial architecture. Previously the definition of Dutch colonial architecture relied upon an early twentieth-century construct based on the research of surviving late-seventeenth-century and eighteenth-century architecture, because no buildings survive from the initial period of European settlement, ca. 1624-1664. However, a close study of the surviving building contracts from both countries serves as a starting point for reconstructing the built environment of New Netherland. A comparison of the surviving building contracts from New Netherland with seventeenth-century building contracts from the Netherlands reveals that they are very similar in their tripartite format, formal language, and the nomenclature used to describe the technical aspects of the buildings. This indicates a mirroring of Dutch traditions by the settlers of New Netherland. However the cultural heterogeneous make-up of the initial European settlers of the colony, the availability of different building materials, and the smaller number and skill level of the available craftsmen covering a much larger geographic area shaped this architecture from the beginning. Nevertheless the settlers of New Netherland created an architecture based on Netherlandic prototypes, relying on a structural bent system for framing with high ceilings and distinctive Netherlandic window types, perhaps more appropriately labeled New Netherlandic than Dutch colonial. At some point, we are dealing with a population of builders and clients for whom the existing New Netherlandic architecture in the colony was their cultural heritage, for they had never seen Europe. In isolated areas in upstate New York, these New Netherlandic traditions may have lasted longer, whereas in settlements closer to New York City clients may have opted to follow more popular English trends leading to a more rapid change, or decline, in traditional framing methods. By the third quarter of the eighteenth century, facing an increasing decline in their {\textquoteright}Dutchness,{\textquoteright} they gradually submitted to new external influences and blended into a more Anglo-American landscape.}, keywords = {Architectural History/Historic Preservation}, author = {Van Den Hurk, Jeroen} } @mastersthesis {10148, title = {Ears and eyes and mouth and heart...his soul and his senses{\textquoteright}: The Visual St. Stephen Narrative as the Essence of Ecclesiastical Authority}, year = {2007}, school = {Florida State}, abstract = {Narrative cycles of St. Stephen, proto-martyr, are common, frequently found on ecclesiastical monuments of thirteenth-century France. The cathedrals of Bourges, Chartres, and Paris, to name only a few, support visual imagery inspired by the legend of Stephen. Ordained by the apostles, ostensibly to aid the widows and orphans of the congregation, Stephen quickly shows himself "full of grace and fortitude" (Acts 6: 8). His inspired, vitriolic sermon incurs the wrath of the Jews who lead him from the city of Jerusalem and stone him. The prevalence of Stephen{\textquoteright}s cult in the Gothic cathedrals of medieval France has been recognized by scholars; however, little attention has been devoted to the bishops{\textquoteright} development and use of the cult, or the churches{\textquoteright} production or interpretation of visual imagery. Explanations of the extant images have been driven by text based, iconographic models, which have often obfuscated the relevance of intricate compositional elements and relationships that are key to a more artistically and historically relevant understanding of the compositions. The intricately sculpted Stephen cycles in thirteenth-century France and the historic circumstances that informed their conceptions and receptions are the subjects of this dissertation. Drawing from a survey of the extant, architectural, sculptural narratives and relevant historical resources, this dissertation begins with a discussion of the establishment and dissemination of Stephen{\textquoteright}s cult in France. The following chapters focus specifically on the thirteenth-century images at the cathedrals of Rouen, Paris and Bourges chosen for their intricacy and unique compositional formulations. Ultimately, I propose the retelling of the Jewish/Christian debate at the root of Stephen{\textquoteright}s story was subtly reconstructed by ecclesiastical officials and articulated by artists to reference and comment on contemporary anti-Jewish conflict and ideologies in the mind of the medieval, Christian viewer. I continue to argue that St. Stephen was an exemplar of ecclesiastical succession and an idealized manifestation of the extension of the bishop{\textquoteright}s power within the ecclesiastical hierarchy. In addition to situating the proto-martyr{\textquoteright}s imagery in social and political context, this endeavor also contributes to the broader understanding of the construction and function of pictorial, hagiographic narrative.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Morrow, Kara} } @mastersthesis {10193, title = {Edouard Manet{\textquoteright}s Portraits of Women}, year = {2007}, school = {IFA/NYU}, abstract = {Over the course of Edouard Manet{\textquoteright}s (1832-1883) career, the artist completed more than one hundred portraits. Nearly three-quarters of them are portraits of women. His continued return to the genre is at first confounding given its traditional limitations, but an examination of his portraits of women with regard to his engagement with Realism makes clear this choice. Manet{\textquoteright}s shift from Gustave Courbet{\textquoteright}s public-oriented Realism towards a Realism of a more private type has gone little explored to date. Yet it is this move, from objectivity to subjectivity, from depicting contemporary life to exploring painting as a construct-from out to in-that has distinct consequences within Manet{\textquoteright}s portraiture. It is these profound connections that I will explore in this dissertation. I begin the discussion with Manet{\textquoteright}s portraits of performers and establish the meaning of construction in Manet{\textquoteright}s work. Here I also introduce the fundamental transactional nature of portrait painting, which is of critical importance to the artist. In chapters two and three I focus on Manet{\textquoteright}s society portraits, portraits of women with whom he engaged in a public setting. In these works Manet continues to position painting{\textquoteright}s constructedness against the realities of contemporary life. Moving from the most public figures in Manet{\textquoteright}s life to the most private, in the final chapter I address the portraits of his wife Suzanne Leenhoff and his colleague Berthe Morisot. In these portraits Leenhoff comes to stand for Manet{\textquoteright}s paintings created outside of the studio and Morisot those within. It is in these pictures that we find the ultimate connection between female portraiture and Manet{\textquoteright}s artistic goals. Manet{\textquoteright}s Realism and portraiture become more interrelated as we move inward to the women closest to him, suggesting that the biographies of these women are critical to his artistic expression. I have therefore included an appendix with a biographical dictionary of his female sitters. By examining Manet{\textquoteright}s portraits of women in light of his Realist agenda, I address both why Manet repeatedly returned to the genre and how these portraits of women, constantly overlooked in his scholarship, extend the critical dialogue already established around the artist.}, keywords = {Nineteenth-Century Art}, author = {Lehmbeck, Leah} } @mastersthesis {10052, title = {Edward Durell Stone: Perception and Criticism}, year = {2007}, school = {CUNY}, abstract = {The work of the New York City-based architect Edward Durell Stone (1902-1978) has been subject to ongoing critical controversy. Stone achieved phenomenal success, beginning in the 1950s as an architect in the period of the Cold War, with buildings on four continents, in thirteen foreign countries, and in thirty-two states. But an examination of his stylistic progression reveals that Stone increasingly fell out of critical favor as he shifted modernism from the International Style to a more "romantic" modern aesthetic that incorporated decoration along with aspects of monumentality, regionalism, historicism, and fantasy---a progression that can be traced in six of his high profile projects: the Richard H. Mandel house in Bedford Hills, New York (1933-1935); a model house for Collier{\textquoteright}s magazine (1936); the Museum of Modern Art in New York City (1935-1939); the United States Pavilion at the Exposition Universelle et Internationale Bruxelles (1956-1958); the American Embassy complex in New Delhi, India (1953-1965); and the Gallery of Modern Art in New York City (1956-1964). And yet, middle-class consumers responded positively to Stone{\textquoteright}s architecture, reflecting the larger problematic of a crisis of taste in America, exemplified by the extended arguments between the popular writer Tom Wolfe, who praised Stone as an apostate for daring to break free from the constraints of doctrinaire modernism, and Stone{\textquoteright}s most outspoken adversary, Ada Louise Huxtable of the New York Times, who panned his work as "kitsch," a criticism that still endures but not necessarily with a full understanding of its connotations. Through kitsch, it can be argued, Stone was able to democratize taste by cracking the barrier between the high art of the avant-garde and the emerging middle-class culture. Much of Stone{\textquoteright}s legacy as a celebrity architect is due to the influence of his second wife, Maria, who helped to shape his public image as she managed his publicity at the apex of his career in the late 1950s and early 1960s. During this period---when mass communication systems were growing at an unprecedented rate---Stone especially used to his advantage print and television to achieve worldwide fame, which lasted as long as his aesthetic was contemporary with the mass culture it represented.}, keywords = {Architectural History/Historic Preservation}, author = {Hunting, Mary Anne} } @mastersthesis {10099, title = {Ensnaring the Public Eye: Painting Manuals of Late Ming China (1550-1644) and the Negotiation of Taste}, year = {2007}, school = {Michigan}, abstract = {Sometime before 1579, Zhou Lujing (1542-1633), a professional writer living in a bustling commercial town in southeastern China, published a series of lavishly illustrated books entitled Huilin and Huasou, which constituted the first multi-genre painting manuals in Chinese history. Their popularity was immediate and their contents and format were widely reprinted and disseminated in a number of contemporary painting manuals. As a special commodity of early modern China, when people{\textquoteright}s cultural standing was measured by their command of literati taste and lore, Huilin and other painting manuals provided a growing reading public with a device (or simply the illusion of such) for enhancing social capital. Focusing on Zhou{\textquoteright}s painting manuals, this dissertation will describe how such publications accommodated the cultural taste and demands of the general public; in other words, I will point to how painting manuals functioned as a form in which everything from icons of popular culture to graphic or literary cliche was presented to both gratify and shape the sensibilities of a growing reading public. The manuals accomplish this in three ways: through the selection of visual motifs, the manipulation of pictorial styles, and through written guides to artistic choice. As a result, many features of Huilin and other painting manuals do not correspond to late Ming artistic practice and knowledge as described by contemporary critics and accounts of the lives of major artists. Staking out the cultural high ground, leading critics and master painters of the time criticized these manuals as suitable only to philistine tastes. They even claimed that the program registered in these manuals was harmful to true artists who aspired to innovation and authenticity in their painting. They promoted instead a new cultural paradigm emphasizing "originality" in art and literature, which, I argue, was triggered by the very popularity of painting manuals among late Ming public. Such disjunctures in artistic taste underscore how the production and consumption of painting manuals intertwined with the taste-making mechanisms that affected both low- and high-brow consumers in early modern China.}, keywords = {Chinese Art}, author = {Park, Jong Phil} } @mastersthesis {10267, title = {Ephemeral Installations: Contemporary Canadian Art in the Public Arena}, year = {2007}, school = {Toronto}, abstract = {This dissertation maps the development of experimental public art in Canada since the 1960{\textquoteright}s. Through an evaluation of relevant local and international discourses, an examination of the uniquely Canadian conditions that inform the practice, and the analysis of several case studies, this study characterizes and contextualizes the shifting roles of both the {\textquoteright}public{\textquoteright} and {\textquoteright}art{\textquoteright} in contemporary conceptions of public art in Canada. I argue that the most significant development in the field has been the installation of ephemeral and temporary art in public spaces. These transitory artistic interventions are best equipped to respond to contemporary social and political issues and the ever-changing urban conditions that characterize public life. By adapting to the shifting and fragmentary nature of the contemporary city, these challenging ephemeral artworks are able to by-pass the bureaucratic restrictions that plague permanent public art, make a permanent impact on the individual and collective memory of its viewers and stir the discourse and debate required for a healthy and progressive cultural arena in Canada. I examine four case studies that each uniquely addresses the issue of ephemerality in Canadian public art: the sculptural program at Expo 67, public artistic interventions by artist{\textquoteright}s collectives on the West Coast in the early 1970{\textquoteright}s, architectural explorations of Melvin Charney and Krzysztof Wodiczko, and the incorporation of new technologies in public art. I conclude that, though not a substitute for monument making, establishing ephemeral art as a prominent part of the urban fabric familiarizes the public with the everyday experience of progressive art, allowing for a more malleable and discursive public art practice that is able to shift and expand into the next millennium.}, keywords = {Twentieth-Century Art}, author = {Yates Atkins, Gillian} } @mastersthesis {10072, title = {Estrangement and Politicizations: Bertold Brecht and Postwar American Art, 1967-1979}, year = {2007}, school = {CUNY}, abstract = {This dissertation examines the "Brecht-effect" in postwar American art: the reception of the work of German playwright and poet Bertolt Brecht in the U.S. visual arts from the mid-1960s until the late 1970s. Depoliticized during the McCarthy era and rediscovered during the {\textquoteright}60s, Brechtian aesthetics were submitted to a wide range of appropriations and applications in postwar American art. Notions such as Epic Theater and "estrangement," initially integral parts of an artistic imagination that sought political and cultural revolution, found new actuality in the visual arts and art criticism of the 1960s and {\textquoteright}70s, from the politically committed works of Dan Graham and Martha Rosler to the more formalist writings of Michael Fried and Roland Barthes. The history of the reception of Brecht{\textquoteright}s work, the choices between and combinations of Brechtian performative didacticism and perceptive pleasure, formal dissociation and political materialism, reflects a trajectory of evolving sensibilities and goals in American artistic production and criticism. Rather than providing a comprehensive survey of the reception of Brecht{\textquoteright}s work in the American art world, this dissertation discusses the influence of Brechtian aesthetics on the work of Martha Rosler, Hans Haacke, and Yvonne Rainer. In Rosler{\textquoteright}s case, a consideration of Brecht{\textquoteright}s work produces a rearticulation of documentary practice and visual resistance in collage, photomontage, and photography. Haacke{\textquoteright}s sculpture develops into an investigation of the politics of science and a commitment to {\textquoteright}truth-telling{\textquoteright} in art. Rainer{\textquoteright}s use of film transcends conventional definitions of private and public experience to provide a critical dialogue on political violence. Through an assessment of their work, this project addresses the quality of the changing relation between art and politics, providing a case study in the history of what could be considered the perennial problem of political engagement in art. The ultimate goal of this dissertation is to establish a basis for the much-needed articulation of a model of political art now.}, keywords = {Art of the United States, Contemporary Art}, author = {Glahn, Philip} } @mastersthesis {10096, title = {Ethnicity and Esoteric Power: Negotiating Sino-Tibetan Synthesis in Ming Painting}, year = {2007}, school = {Chicago}, abstract = {The term "Sino-Tibetan" is often employed in art historical discourse without a historical definition, as a self-explanatory concept; however, the term is nothing more than a marker of hybridity: it does not indicate how these Chinese and Tibetan traditions come together. This dissertation examines five case studies in order to both reach a renewed understanding of Sino-Tibetan synthesis and illuminate different aspects of the process through which these traditions coalesced during the Ming dynasty (1368-1644). Approaching these temples as both sites of political propagation and cultural negotiation, I argue that in order to explore the formation of this distinct synthetic visual vocabulary one must focus on contextual factors such as the significance of sponsorship and geographical location, rather than on exclusively formal issues of style and iconography, which have traditionally dominated the field. Documentary evidence suggests that these temples, while found primarily along the Sino-Tibetan border, are the products of both imperial and local patronage. Thus I argue that the primary distinction to be made in the development of Sino-Tibetan wall painting in the temples I am considering is not between metropolitan or provincial locations and visual idioms, but rather between imperial and local programs of sponsorship. I also consider the corresponding rise of Tibetan interest in Chinese visual modes within these same local contexts, focusing on the development of the Tenth Karma-pa{\textquoteright}s "Chinese style thang-ka painting."}, keywords = {Chinese Art}, author = {Debreczeny, Karl} } @mastersthesis {10150, title = {Experiments in Early Gothic Structure: The Flying Buttress}, year = {2007}, school = {Columbia}, abstract = {This work explores the invention of the flying buttress and its structural and symbolic importance for the emerging Gothic style in the twelfth century. A series of case studies-the abbey church of Saint-Denis and the cathedrals of Sens and Paris-is undertaken in order to examine received notions of the origin, function, and medieval reception of this quintessential Gothic device. In concert with a careful reinterpretation of building fabric and restoration documents, new approaches to structural analysis and representation are employed in an attempt to move the discussion beyond the vagaries of structural intuition. When the evidence is examined carefully, the traditional narrative-in which the flying buttress was first deployed in the nave of Notre-Dame of Paris-gives way to a model that is far more aleatory: a series of near-simultaneous experiments in early Gothic structure driven as much by "look" as by structural need, whether perceived or real.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Tallon, Andrew J.} } @mastersthesis {10115, title = {Fabrics in Modern and Contemporary America Art: Unraveling Threads of Discourse}, year = {2007}, school = {Cornell}, abstract = {Modern American artists realized the potential of fabric as a medium of interpretation early in the Twentieth century, arguably with the artist Robert Rauschenberg and his innovative use of fabric in the 1950s or perhaps earlier with the stain paintings of the Abstract Expressionists. The incorporation of fabric in collage can be traced to Picasso in 1912, and maybe it would be best to start here, but then Feminists located collage farther back to early forms of scrapbooking and fabric diaries. Art historians of the twentieth century witnessed a shifting perspective of textiles in art, from being considered a purely decorative craft, to a symbol of globalization, a representation of mass culture, or the inheritance of women{\textquoteright}s arts, the only constant in the history of textiles in modern art is its ability to transgress boundaries. Today, artists are rediscovering the diversity that fabrics can afford to both technique and concept. The discourse on fabrics in modern art introduces theoretical issues such as feminism and psychoanalysis that surface in a multitude of disciplines. The dissertation is organized by technique, yet even the boundaries of medium become fluid where textiles are concerned because although they appear two-dimensional, their woven structure and tactility make them three-dimensional. Along with the transgression of technical boundaries, several discourses reappear throughout the chapters, including the gendered division of labor, the art/craft dichotomy, and the hierarchy of the senses.}, keywords = {Contemporary Art}, author = {Richards, Elizabeth} } @mastersthesis {10187, title = {Fashion and the Representation of Modernity: Studies in the Late Work of Edouard Manet, 1832-1883}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation examines a selection of Edouard Manet{\textquoteright}s (1832-1883) paintings and pastels of women in fashionable dress, dating to the last five years of his life, a time in which such imagery became paramount in his practice. Although fashion has been recognized for some time as an important component of Manet{\textquoteright}s modernism, little attention has been paid to the works under discussion. They are, however, among the most fashion-oriented in his oeuvre, sharing subject matter and certain formal conventions with genres, such as the society portrait and the fashion plate, that were deeply imbedded in the culture of clothing in late-nineteenth century France. By studying these works in relation to the artifacts of that culture, I provide a richer view of this period in the artist{\textquoteright}s career, and enhance our understanding of fashion{\textquoteright}s relevance to his project. My argument is that Manet, even when intimately engaged with the materials of fashion and femininity, maintains a critical distance from his subject, representing fashion in a manner revelatory of how that quintessentially modern phenomenon operated in his time. While my approach is inter-disciplinary, combining the traditional tools of art history with the resources of costume history, it is also object-oriented. My research has been directed by careful attention to the paintings and pastels themselves. The dissertation, therefore, is arranged into chapters by work or group of related works. Chapter One considers In the Conservatory (1878), a painting of Manet{\textquoteright}s friends, the Guillemets, who owned a clothing boutique on the rue St. Honore. Chapter Two focuses on Spring (1881) and Autumn (1882), seasonal portraits of two actress-courtesans, Jeanne Demarsy and Mery Laurent. Chapter Three explores Manet{\textquoteright}s pastels of women in the context of fashion{\textquoteright}s relevance to the lively social circle surrounding Manet in his last studio. Chapter Four is devoted to one of Manet{\textquoteright}s last paintings, Amazone (1882), a mysterious and little-discussed image of a woman rider.}, keywords = {Nineteenth-Century Art}, author = {Burnham, Helen} } @mastersthesis {10174, title = {Feathered Identities and Plumed Performances: Tupinamba Interculture in Early Modern Brazil and Europe}, year = {2007}, school = {UC Santa Barbara}, abstract = {The material and ritual culture of the Tupinamba peoples of early modern Brazil centered upon elaborate featherwork capes, of which only eleven survive today. Within Tupi villages, colonial missions and European courts, these ritual vestments played a key role in the creation of a pan-Atlantic colonial interculture. Produced from feathers of the scarlet ibis, these capes played an important role in Tupi corporeality and community. My dissertation attends to the physical qualities of the extant capes and examines the discourses that early modern chroniclers and modern anthropologists constructed around them. Letters by Jesuit missionaries in Brazil surprisingly reveal the continued manufacture and use of Tupi feathered capes within the aldeia (mission) system in both indigenous and Christian rituals. Jesuit missionaries also shipped the capes to Europe, where with other artifacts they extended the conceptual space of colonialism to the Old World. They traveled along social, mercantile and political networks, and entered scholarly and princely collections, where they were studied for their technical mastery and redeployed within court pageantry. "Brazil" and the "Tupinamba" were concepts mediated by missionaries, merchants, slaves and indigenes in the spatial realms of ports, plantations, missions, marketplaces and courts. The financial incentives of the brazilwood and sugar industries drove European involvement with Brazilian peoples and coastal forests. The Tupi and their plumed artifacts traveled alongside these exported commodities, tangible indices of European economic interests in the New World. By constructing a socio-cultural "biography" of the Tupi feathered capes, I trace their changing functions and value as they move from place to place. As ritual vestments, they contributed to the social coding within and among Tupi kinship groups and colonial intermediaries, including early modern merchants, scholars and princes. A reification of the process of social construction, the capes were instrumental in the performance of identity and agency in the colonial nexus. By examining the intersection of these objects with a series of early modern places, people, and institutions I contribute to our knowledge of colonial indigenous traditions within Brazil and of the institutional and economic basis of European engagement with the New World.}, keywords = {Latin American/Caribbean Art}, author = {Buono, Amy} } @mastersthesis {10103, title = {Figures en buste in Medieval China: Three Studies}, year = {2007}, school = {Chicago}, abstract = {In this dissertation, I intend to introduce a more balanced paradigm for prevalent approaches to conceptualizations of medieval Chinese figure art. I posit that in the medieval Chinese tradition of figure making, there were some indigenous categories for art criticism which, if properly interrogated, will allow us to understand Chinese figure art better than those categories borrowed from Western art history. One persistent medieval Chinese category is the visual interest in the bust figures (banshen xiang in Chinese). I demonstrate that images of one type of bust figures allow us to trace otherwise hidden epistemological models in grasping interpersonal and divine-human relationships in medieval China. Specifically, the formal qualities of, and the discursive responses to, this medieval bust imagery reflect contemporary attempts to either alleviate social and personal crises or maintain the status quo. I develop these observations by delineating the polemical space of three major sites, all of which include bust images. First, I trace the history of one particular bust image of a war god in war-stricken China, from the mid-8th through the 10th centuries. I analyze an ever intensifying cognitive change around this military image by observing its stylistic transformations over two and half centuries. I show how, on the one hand, a sustained period of social disorder in late medieval China caused a mental shift in the public concerning the nature of religious imagery, and on the other, how religious imagery simultaneously stimulated and shaped the imaginary world of its audience. I then analyze a 10th-century Taoist way of negotiating death. I discuss the possible role that bust figures might have played in realizing the Taoist ideal of postmortem ascent from the tomb. The half-bodied statues I investigate were originally buried in tomb chambers and given the same formal features as the war god mentioned above. I believe that it was due to the saturated symbolism of an ultimately unconceivable celestial ascension projected onto the special formal features of the aforementioned type of bust that made possible the involvement of these statues in 10th century Chinese funerary space. Finally, I trace the use of the bust representation in a remote rural sectarian society in late 12th century Sichuan. I discuss how, at an intellectual level, bust images in this special social formation may have been subject to a discourse of aesthetics regarding 12th century Chinese imagination of the afterworld that was constructed with reference to Buddhist notions of paradise. Furthermore, I demonstrate the gradual translation of this once-specific formal feature into a late medieval Chinese modality of "visual anomaly" in general, and the bust form{\textquoteright}s extraordinary magnetism in assisting conversion to nonconventional religious confraternities in particular.}, keywords = {Chinese Art}, author = {Wang, Yudong} } @mastersthesis {10074, title = {Figures in the Grain: The Stakes of Furniture in Anglo-America, 1660- 1800}, year = {2007}, school = {Yale}, abstract = {This dissertation revisits a set of old questions: why does the furniture of eighteenth-century Anglo-America look the way it does? What determines the design of this furniture-its shapes, proportions, ornament, materials and construction? Past scholars have answered these questions by focusing on issues of style and technology. My dissertation, however, argues that the answer to these questions rests in the conception of furniture, and more specifically, in the conception of what furniture constituted relative to its owner. Under the pressure of the Enlightenment, and the profound shifts in the understanding of non-human things that it brought about, Anglo-Americans gradually moved away from the long-standing animistic sense that chests, tables and chairs were equivalent, human-like subjects-non-human things with human qualities-and began to think of them as objects-as inanimate, material entities that shared nothing in common with the human at all. I argue that this conceptual shift guided and to a large extent determined the design of eighteenth century Anglo-American furniture.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Lasser, Ethan} } @mastersthesis {10218, title = {Filarete in Word and Image: Persuasion and Invention in the "Architettonico Libro"}, year = {2007}, school = {IFA/NYU}, abstract = {In word and image, Filarete{\textquoteright}s Architettonico libro is a heterogeneous work that is both recognizably part of the architectural treatise tradition and unmistakably unusual. This project demonstrates that the Libro can only be understood when the entire verbal-visual program is considered in relation to its audience: the original Milanese audience, primarily Sforza, and the later Florentine Medici audience. I examine both the differing identities of the Sforza and Medici codices as well as their shared identity as a work meant to communicate Filarete{\textquoteright}s architectural and social ideas. Evidence provided by the codices and Filarete{\textquoteright}s sculptural oeuvre shows that the consistencies and interrelationship between Filarete{\textquoteright}s words and images indicate that the illustrations in Magliabechiano are rendered according to Filarete{\textquoteright}s design, even if they are not by his hand. The verbal-visual program is in itself its own strongest argument: the words and images of the Libro are inseparable; the alliance between seeing and understanding (vedere and intendere) inseverable. Filarete{\textquoteright}s Libro is a vehicle for persuasion, a verbal-visual argument for his classicizing practice and against lingering medieval (specifically Lombardic) traditions. Its formal and discursive elements (narrative, dialogue, speculum principum, locally oriented vernaculars, illustrations) function in tandem with its rhetorical and verbal-visual devices (image as textual unconscious, persuasive loci, utopia of construction, hybrid illustrations). The endophoric, deictic text and illustrations allow the reader/listener to experience and understand Filarete{\textquoteright}s interconnected ideas about architecture, art, and society (qualita, disegno, virtu), ideas that are his unique formulations, but which originate from quattrocento Italian theories and practices. An etymological analysis of "architettonico" reveals it to be the most evocative descriptor, referencing both the separate Sforza and Medici variants and their shared identity. Once the Libro is understood to be work that argues for its author{\textquoteright}s specific theories in relation to the needs of its audience, its purpose and Filarete{\textquoteright}s purposefulness emerge, as does his invenzione. Located in a matrix of quattrocento theories, practices, and ideal and real constructs, the Libro can be understood as both architettonic and ideapraxic. Such a comprehension of the Libro can both inform an architectural treatisal canon and be placed in relation to it.}, keywords = {Renaissance/Baroque Art}, author = {Genoni, Mia Reinoso} } @mastersthesis {10120, title = {The Fine Arts in Healthcare: Development of an Arts-Based Curriculum for the Texas Tech University Health Sciences Center School of Nursing}, year = {2007}, school = {Texas Tech}, abstract = {No record in ProQuest}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Billings, Lynda} } @mastersthesis {10085, title = {Firestorms and Conflagrations: The Inflamed Cosmology of Henry Darger}, year = {2007}, school = {UNC Chapel Hill}, abstract = {Art making for Henry Darger is a recovery of childhood vision with eyes wide open. At the heart of this vision lie the language of fire and the language of childhood, both possessing primal natures too unpredictable and protean to control completely. Fire and childhood reign in Darger{\textquoteright}s imagination as icons of instability-mutable and bewitching catalysts pressing and exceeding the boundaries of description and possibility. Previous scholarship interprets Darger{\textquoteright}s visual work in three frames: one, purely narrative, reflecting only the written text of the Realms of the Unreal; two, a Freudian analysis disclosing the artist{\textquoteright}s childhood; and three, a paradigm of outsider art. The chapters that shape Pyre acknowledge the value of these interpretive frames, finding their analyses both useful and problematic in revealing meaning in Darger{\textquoteright}s art. Pyre broadens current scholarship through inclusive and interdisciplinary modes-reading Darger{\textquoteright}s artistic production as a personal mythology filtering and re-interpreting culture. Accordingly, this reading forges new perspectives antithetical to the dominant conceptual model of the solipsistic "outsider artist." As a visual artist, Darger conveys moments beyond description through vacillating knowns and unknowns. He wields fiery tropes and narratives bringing forth flame{\textquoteright}s vast ability to stimulate reveries of generation, animation, sexuality, desire, spiritual passion, and destruction. Pyre locates these potent manifestations in couplings of fire and little girls, asserting that, within this striking duo, Darger relays the wealth of his art{\textquoteright}s emotional investment, spiritual aspirations, and erotic tensions. Pyre considers the range of fiery metaphor and visible flame within the allure of panoramic spectacle, within combinations and re-combinations of girl-bodies, within the invocations of childhood innocence and Catholic religiosity, and within the undercurrents of heated desire that unfurl into excesses of poetics and meaning. Returning time and again to flame{\textquoteright}s mercurial manifestations, Pyre reveals the elusive transmissions and irresolvable tensions that drive Darger{\textquoteright}s Realms of the Unreal and locates circuits through which his project, created in a space of privation, openly converses with visual culture and the historical milieu of Darger{\textquoteright}s time.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Rundquist, Leisa} } @mastersthesis {10123, title = {Flemish Tapestry and Natural History, 1550-1600}, year = {2007}, school = {Northwestern}, abstract = {Chambers of Flemish tapestry served as prestigious, portable decoration for early modern courts across Europe. In the second half of the sixteenth century, a number of noble patrons commissioned tapestries that prominently featured highly naturalistic zoological and botanical imagery. Drawing upon zoological treatises, medical and physiognomic literature, fables, printed emblemata, accounts of staged animal combats, and a variety of other sources, this dissertation offers a new interpretation of three cycles of animal tapestries that survive relatively intact. The study explores how the production, export, and display of animal tapestries, a largely overlooked genre, coincides with the beginning of a fundamental transformation of European natural knowledge, and with a burgeoning interest among sixteenth-century rulers in practices of natural history (defined as the acquisition, study, and display of natural objects and representations of them). The first chapter analyzes a set of ten grotesque spalliere commissioned by Cosimo de{\textquoteright}Medici (1519-1574) from his own newly-founded workshops in Florence. The chapter reinterprets a puzzling band of naturalistic marine specimens found within the grotesques in light of an early modern discourse that cast nature as an artisan, and demonstrates that chambers of tapestry, like cabinets of rarities and illuminated albums of natural minutiae, could function as courtly theaters of nature. The second chapter examines the purchase by Polish king Sigismund II Augustus (1520-1572) of a massive unified series of Flemish tapestries, 138 of which survive at Wawel Castle in Cracow. As a large but seamless indoor garden, the series illustrates the most important account of the progress of natural knowledge in the early modern period: the biblical narrative of Creation. The third chapter takes up a set of seven tapestries now displayed at the Borromean palace of Isola Bella, which depict violent combats between feral predators and prey. The tapestries, which belonged to several prominent ecclesiastics before 1700, employ zoological imagery to illustrate the unruly presence of the humoral passions both in nature and within the postlapsarian human body. Early modern natural history illustration is often equated with paper images of flora and fauna: species represented individually in woodcuts in printed catalogues, or in watercolors collected into albums. This dissertation demonstrates that chambers of fine Flemish tapestry-splendid moveable environments for courts-likewise served as a medium for aristocratic patronage of natural history in the period. The study is a re-examination of three cycles of sixteenth-century tapestry renowned for their zoological iconography, through the lens of recent scholarship on natural history patronage at European courts, scholarship which has clarified the uses and appeal of natural history in courtly settings yet ignored the medium of tapestry almost entirely.}, keywords = {Decorative Arts/Textiles/Design History, Renaissance/Baroque Art}, author = {Niekrasz, Carmen C.} } @mastersthesis {10184, title = {Founding and Finding Modern Hungary in fin de siecle Budapest}, year = {2007}, school = {British Columbia}, abstract = {Conflicts and concerns around representing ethnic, class, and national identities within the context of modern national ideologies have come to the fore in recent years. Yet these same problems were current and actively being negotiated in the nineteenth century in Central and Eastern Europe{\textquoteright}s Austro-Hungarian Empire. This dissertation takes as its focus the role of visuality, new technologies, and social space in the articulation of competing identities in fin de siecle Budapest, Hungary. In 1896 the city hosted a Millennial Exhibition designed to simultaneously celebrate the history of the Hungarian people and the entry of Hungary into the larger European world economy. But, preparations within the city of Budapest itself-urban modernization, a state of the art transportation system, new architectural projects, and the design of mass entertainments-argued in different ways for Hungary{\textquoteright}s legitimacy as a progressive and modern state within the broader jurisdiction represented by the ruling Austrian Hapsburgs, and the imperial capital of Vienna. My thesis explores how different forms of mobility and circulation within both the shifting urban fabric of the city of Budapest, and the officially sanctioned spaces of its World{\textquoteright}s Fair, played a key role in re-defining Hungary{\textquoteright}s status under imperial rule. The four chapters of the dissertation which focus at their broadest level on the re-ordering of the spaces of the city, panorama spectacles, photography, and early cinema, thus consider the ways in which new modes of subjectivity, embodied vision and media forms, in dialogue with nationhood, gave form to a complex set of social and political tensions and debates at the time of the international exhibition.}, keywords = {Nineteenth-Century Art}, author = {Barenscott, Dorothy} } @mastersthesis {10250, title = {French Visual Culture and {\textquoteright}Indochina{\textquoteright}: Modernism, Primitivism, and Colonialism, 1889-1931}, year = {2007}, school = {Duke}, abstract = {This dissertation documents how artists, writers, and critics used sites of official colonial promotion, such as the series of universal and colonial expositions (or world{\textquoteright}s fairs), to appropriate ancient Cambodian and Vietnamese culture for their own modernist aims. The analysis documents how modernist artists and writers drew on concepts of "primitive" Indochina that became politicized due to the tensions between modernists and government officials who promulgated an interpretation of Indochina supportive of French colonialism. It challenges the standard model of primitivism as an intellectual strategy allied to colonial discourse by demonstrating that both advocates of oppositional modernism and proponents of colonialism each appropriated and reinterpreted the discourse of the other in a series of strategic responses. The study is based on the analysis of such historical documents as works of art, artists{\textquoteright} statements, personal correspondence, published essays, contemporary journals, photographs, and government documents. Chapter 1 examines how mystical notions of the East informed the French Symbolists{\textquoteright} interpretation of Indochina (1889-1900). Adherents of mystical spiritualism and Theosophists called for the utopian fusion of European and Asian religious traditions. Symbolist artists like Paul Gauguin, Maurice Denis, and Paul Ranson, were steeped in both esotericism and anarchist anti colonialism. For them the expositions were a key catalyst for their engagement with Cambodian and Vietnamese art and religion, despite the expositions{\textquoteright} function of promoting a colonial ideology to which they were opposed. Chapter 2 examines how later modernists embraced and extended Symbolist primitivism apart from the esoteric context (1900-1920). In this period, governmental organizations tried to assimilate modernist art and use it to support colonial policy. Some artists aided this project, like the sculptor Theodore Riviere whose monumental statue A la France (1902) visually articulated colonial ideology. This mutual exploitation is exemplified by the publicity created for Rodin{\textquoteright}s drawings of the Royal Cambodian ballet, both by the artist himself and by the organizers of the 1906 Marseille colonial exposition. The organizers of the exposition tried to use Rodin{\textquoteright}s drawings to simultaneously promote Southeast Asian culture and French colonialism. Rodin, in turn, was happy to request an introduction to the visiting Cambodian King Sisowath and his dancers and develop his longstanding interest in "Antique" dance, a concept he formulated in essentially Symbolist terms. The third chapter reveals how government agencies within the arts formalized the conception of Indochina as "primitive" and imposed it onto Khmer art as they attempted to control French discourse on the colony (1913-1937). Spectacular, life-sized replicas of Angkor Wat functioned as synecdoches for the entirety of Indochina in both the 1922 and 1931 colonial expositions. Georges Groslier, the founder of the Ecole des Beaux-Arts de Cambodge (1925), and other colonial officials asserted that only the French possessed deep knowledge of ancient Khmer culture, and should teach it to Cambodians as the basis for cultural modernization. State agencies such as the Ecole assimilated concepts of "primitive" Indochina, thereby undermining the counter-cultural politics of the modernist discourse of primitivism.}, keywords = {Twentieth-Century Art}, author = {Deyasi, Marco} } @mastersthesis {10239, title = {Gabriel Metsu (1629-1667): Life and Work}, year = {2007}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, keywords = {Renaissance/Baroque Art}, author = {Waiboer, Adriaan} } @mastersthesis {10176, title = {Garcia Lorca as Theologian: The Method and Practice of Interlacing the Arts and Theology}, year = {2007}, school = {Graduate Theological Union}, abstract = {Federico Garcia Lorca{\textquoteright}s works offer a richly stimulating theological reflection of consequence to the Christian church. His poetry and theater may be better appreciated in the fullness of their art if one takes into account their theological density. To facilitate such a study of his works this dissertation presents a two-step approach. The first step deals in some detail with the construction of a method of inquiry for engaging art and theology in a mutually respectful encounter. Following upon this as the second step, four of Garcia Lorca{\textquoteright}s works are engaged as sources of theology. In the first part, the research considers the wider "art and religion" matrix at the beginning of the twenty-first century through a major an exhibition of Christian religious art and the critical response, both scholarly and popular, to it. Following this contextualizing step, the proposed method of interlacing is systematically assembled. The contours of the method are gleaned from the work of scholars Frank Burch Brown and Alejandro Garcia-Rivera, along with other formative influences in aesthetics, such as Plato and Aristotle. The resulting method of interlacing is explicated in some detail, as well as outlined in the appendices for the purposes of teaching and replicating. The second part of the dissertation is an application of the interlacing method to four works by Federico Garcia Lorca. This section begins with a biographical sketch narrowly focused on Lorca{\textquoteright}s Catholic identity and the very difficult religious/political historical milieu of early twentieth-century Spain. It is followed by an exemplar of the practice of the interlacing method that is applied to four of Lorca{\textquoteright}s works: the poem "Cry Toward Rome (From the Tower of the Chrysler Building)," the "Ode to the Blessed Sacrament on the Altar," the short poem "Cross," and the early unfinished play "Christ, Religious Tragedy." This section also includes new translations into English of all four of these works. The dissertation concludes with a brief assessment of Lorca{\textquoteright}s religious insights into a theology of Redemption as exemplified in these works.}, keywords = {Latin American/Caribbean Art}, author = {Gonzalez-Andrieu, Cecilia} } @mastersthesis {10167, title = {Garo Manga, 1964-1972}, year = {2007}, school = {Yale}, abstract = {This dissertation treats the manga of the monthly Garo from 1964 to 1971. It describes how the speech balloon, the sequential panel frame, and mass print publication defined creative practice within the pages of Garo beginning with its first issue, published in September 1964, and ending in July 1971 with the conclusion of its pillar serial, The Legend of Kamuy, authored by Shirato Sanpei, co-founder and (for a time) co-editor of the magazine. Garo is renowned for its dual commitment to aesthetic and political progressivism, theretofore unseen in the history of the medium, and thereafter unmatched. I focus on the work of four authors who published in Garo during this seven year span-Shirato Sanpei (b. 1932), Tsuge Yoshiharu (b. 1937), Hayashi Seiichi (b. 1945), and Sasaki Maki (b. 1946)-who each in his own way rethought the medium of manga, particularly with regards to the significance and formal possibilities of the speech balloon and panel frame.}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {Holmberg, Ryan} } @mastersthesis {10147, title = {Generating Identity through Plan and Architecture: Barcelona Cathedral, Gothic Drawing, and the Crown of Aragon}, year = {2007}, school = {Columbia}, abstract = {The early fifteenth century saw many changes in the Kingdom of Aragon, and particularly in Catalonia and its central city, Barcelona. Architectural production was framed by difficult circumstances: wars of expansionism, earthquakes, economic volatility, the end of the royal line of Aragon, violent religious reform and the European conflict over the Papa Luna, Benedict XIII. Yet the years were rich with daring creative achievements. Master mason-sculptors circulated in Europe spreading ideas and generating an atmosphere of invention. Barcelona was at the threshold, a nexus where traditional methods and techniques met novel approaches. This dissertation begins with the concept of "Catalan Gothic" in its contexts and the conditions of artistic production in fifteenth-century Barcelona. Next, a study of Master Carli, a Norman-trained master mason who spent the majority of his professional life working in the realms of Aragon, and the project he visualized for his Barcelona Cathedral patrons frames a discussion of architectural ideas-embodied in physical and mental images, or more specifically mnemonic tools, two-dimensional representational media like drawings, and geometric formulations-and architectural acts, or ordered communication for the realization three-dimensional forms and spaces. The processes of ideas-become-material (production) are understood along two lines. The first follows a set of cognitive questions about two-to-three-dimensional translation and individual and Gothic creativity, and through the case of Carli and his mostra (a drawing and design materials) reveals the optimistic identity of the Barcelona patrons at odds with the technological secrecy and the translational abilities of creative individuals. The second line amplifies the interface of new ideas and traditional knowledge in order to discuss the confluence of mental concepts and certain materials and techniques particular to the regions of the Crown of Aragon. Both strands link to Carli{\textquoteright}s creative career and together focus on the structural and material qualities of Catalan Gothic. Barcelona Cathedral{\textquoteright}s spatial and visual elements are analyzed as material identity markers generated through compromise and bounded by the dynamic limits of human communication in tandem with material and technological possibility.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Law, Amity} } @mastersthesis {10106, title = {The Gesture of Collecting: Walter Benjamin and Contemporary Aesthetics}, year = {2007}, school = {UCLA}, abstract = {This dissertation explicates the German-Jewish philosopher Walter Benjamin{\textquoteright}s theory of collecting. I argue that one of the primary aesthetic figures of Benjamin{\textquoteright}s philosophy is the "genuine collector," a debased figure who is nevertheless charged with the redemptive task of a critical historian and an allegorist. Through this "genuine collector" Benjamin posits a theory of memory premised on the very language of things. From the kitsch and cast-off detritus of nineteenth-century capitalist modernity he desires "to read what was never written" in what he calls the "scorned and apocryphal." This is the wager of Benjamin{\textquoteright}s work: through a critical philology of the material world, there appears potentiality, another narration of experience, another re-collection of redemption or happiness: the "as-yet unlived" that remains immanent in the present.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Emerling, Jae} } @mastersthesis {10071, title = {Golconda through Time: A Mirror of the Evolving Deccan}, year = {2007}, school = {IFA/NYU}, abstract = {The fort of Golconda is located in the Deccan region of India, and was the capital of the Qutb Shahi dynasty between 1495 and 1687, when the kingdom fell to the Mughals of Delhi (1526-1858). Despite its major role in the events of the sixteenth and seventeenth centuries, and its set of well-preserved monuments, there is no extended study of Golconda that examines the fort during the Qutb Shahi period or deals with its earlier history. In this dissertation I propose an outline of the fort{\textquoteright}s development, starting with new evidence for its foundation in the late thirteenth or early fourteenth centuries and continuing until its capture by the Mughal armies in 1687. This was accomplished by closely examining the fortifications and structures of the citadel and palace area of the fort. Then, by using securely dated monuments at Golconda and at other sites in the Deccan, I defined patterns in structure and ornament that were prevalent in each period of time, and used these patterns to analyze those buildings at Golconda without inscriptions. Having grouped the buildings into discrete phases, I tried to understand how the addition of these buildings advanced and/or affected the development of the fortified town of Golconda as a whole. I attempted to answer the questions of how the fort was used at each particular moment in time, where its main entrances and egresses were, and how its buildings were designed for visibility and access from other parts of the fort. I also strived to place the development of Golconda into a historical and regional context, for unique though the site is, analogues for its development can be found at the contemporary Deccan capitals of Bijapur, Ahmadnagar, Bidar and Vijayanagara.}, keywords = {Art of the Middle East/North Africa}, author = {Sardar, Marika} } @mastersthesis {10140, title = {The Gold Altar of Sant{\textquoteright}Ambrogio in Milan}, year = {2007}, school = {Indiana}, abstract = {The altar of the church of Sant{\textquoteright}Ambrogio in Milan, Italy, is the single surviving example of many luxurious, figurative altars commissioned by popes, bishops, and lay rulers throughout Europe beginning in the late eighth century. The altar was commissioned by Angilbertus II, the archbishop of Milan between 824 and 859. It originally housed the relics of three Milanese saints-the fourth-century bishop and church father St. Ambrose and those of the late-antique martyrs Gervasius and Protasius. Visually, the altar is spectacular, made entirely of gold and silver repousse, semi-precious stones, and small enamel plaques. Its front side includes gold panels depicting scenes from the life of Christ surrounding a figure of Christ in Majesty. The rear of the altar is made of gilded, silver panels portraying episodes from the life of Saint Ambrose. In the center roundels of this side, St. Ambrose is depicted presenting a crown to the altar{\textquoteright}s patron, Angilbertus II, and in another panel, presenting a crown to a figure identified as Wolvinus. This individual is conventionally understood to be the artist of the work. As a dissertation topic, the altar of the church of Sant{\textquoteright}Ambrogio offers rich possibilities for new investigation in light of recent studies of early medieval history and culture. By integrating medieval hagiography, biblical commentaries, and material culture, I steer away from the formal analyses used in many earlier studies to address the broader intersections between artistic identity, patronage, episcopal authority, and early medieval art. My assessment of formal elements and the figure of Wolvinus stress recognition for the roles of pluralism in Carolingian art and the status of the Carolingian goldsmith. The selection of images from the life of Christ includes unusual subjects and my interpretation addresses them with respect to ninth-century social and religious contexts to define the relationship between the Christian and Jewish communities. My discussion of the cycle depicting St. Ambrose is examined in light of the patron Angilbertus II and the setting of the altar to consider the images with respect to hagiographic "vocational models" and episcopal gift-giving practices.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Danielson, Sigrid} } @mastersthesis {10118, title = {Graphic Art in Weimar Berlin: The Case of Jeanne Mammen}, year = {2007}, school = {USC}, abstract = {Cigarette smoking, fashionable, working, and sexually active---these are just a few of the words that come to mind when describing the neue Frau of Weimar Germany. While these attributes were in many ways accurate, what else did it mean to be a woman in Germany after World War I, living in a world with a variety of new technical advances? My dissertation examines the myths and realities of the New Woman in Weimar Germany (1918-1933) using the artwork of Jeanne Mammen (1890-1976) as a case study. Mammen{\textquoteright}s work, like that of other, numerous female Weimar era artists, has been all but forgotten. While neue Sachlichkeit artists Otto Dix and George Grosz are familiar names within the art historical canon, Mammen and most of her female colleagues, who did work in the neue Sachlichkeit style, are not. Women in general and female artists in particular are frequently marginalized for not being modern enough, to paraphrase the title of a recent study by Marsha Meskimmon. Their art making has come to be regarded either as a hobby or as mere illustration, a category which falls under the rubric of craft rather than the fine arts. However, by examining the artistic production of the period more closely, one finds that women artists worked in a myriad of ways as successful, producing artists. My dissertation historically situates the neue Frau by examining her against such popular Weimar subjects as rationalization, the new visibility of women, the women{\textquoteright}s movement, as well as the figure of the prostitute. Within these contexts, I examine Mammen{\textquoteright}s fine art production, her work for the popular press, and her book commissions. Mammen{\textquoteright}s work offers a view of the counter-culture of 1920s Berlin as seen through the eyes of a young artist observing and recording the changing city around her. In addition to her work for popular women{\textquoteright}s magazines, by 1927 Mammen had made a name for herself in Berlin, working alongside George Grosz, Karl Arnold, Rudolf Schlichter and Ludwig Kainer on illustrations for liberal, upper middle class intellectual journals such as Ulk, Uhu, and Simplicissimus. I pay particular attention to the cultural critic Curt Moreck{\textquoteright}s book of 1931, The Guide to Immoral Berlin, (Fuhrer durch das {\textquoteright}lasterhafte{\textquoteright} Berlin). Moreck{\textquoteright}s Guide presents a virtual roadmap through the underbelly of the metropole. My interest in Moreck{\textquoteright}s Guide lies not only in the subject matter it explores---the celebrated if seedy nightlife of Weimar Berlin---but also in the color illustrations that accompany the text, particularly those by Mammen, the only female artist to be included. Mammen{\textquoteright}s artwork often highlights aspects of mass culture, while her illustrations for Moreck{\textquoteright}s guidebook represent a cultural object in itself, focusing on "low-brow" entertainments such as nightclubs, bars and cafes. The dissertation examines the ways her commercial and noncommercial art may have informed one another. In doing so, my study aims to understand the relation between mass culture and the visual arts during the Weimar Period.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Royal, Suzanne} } @mastersthesis {10181, title = {Gustav Stickley and American {\textquoteright}Home-making{\textquoteright} in The Craftsman: Gender and Design Issues 1890-1915}, year = {2007}, school = {Minnesota}, abstract = {At the turn of the nineteenth into the twentieth century, Gustav Stickley conceived of and promoted an empire based on simple, sturdily-built homes and furniture that reflected his personal philosophy about what was essential to the "good life" in the American democracy. His work was a reaction to what he perceived as the material excesses of the Victorian age; Stickley proclaimed: "The age of leisure and daintiness, with its slight and delicate belongings, has passed; this is a generation of straightforward utilitarianism, which is well represented by the strong-fibered and sturdy oak." Stickley spoke in gendered language, calling Victorian houses and interiors "feminine," while his Craftsman homes and furnishings were "masculine" in nature. Through his Craftsman magazine and catalogs, which served as influential marketing vehicles for his domestic philosophy and business enterprises, Stickley disseminated a discourse about appropriate male and female roles for almost every aspect of American homemaking, as well as the role of the home within the larger sphere of the community. Stickley was also reacting to what he perceived as essentially Old World, feminine characteristics in the "degenerate" curvilinear aesthetic of Art Nouveau. His goal was to differentiate American Arts and Crafts from Art Nouveau by steering the consumer in a more "moral" rectilinear direction. Within the home, spatial arrangements, furnishings, and decorative accessories all played a role in carefully shaping the domestic environment to reinforce a shift to the promulgation of masculine values. Stickley, like others of his time, was reacting to the perceived feminization of American life as a threat to a robust democracy. Under his direction, the modern woman became an agent of consumption whose task was but to embellish an already well-formulated household plan, while the modern man{\textquoteright}s new interest in domestic affairs would help ensure the proper visual environment for their children. Through his carefully iterated and often scathing criticism of the threat of the feminine to home and society, and his persuasive discourse about the importance of masculine control, Gustav Stickley effectively shaped and promoted a domestic model that, in its physical and psychological manifestations, we can still recognize today.}, keywords = {Nineteenth-Century Art}, author = {Hegstrom, Debra} } @mastersthesis {10183, title = {Gustave Moreau (1826-1898) and the Afterlife of French History Painting}, year = {2007}, school = {Princeton}, abstract = {Challenging the dominant image of French painter Gustave Moreau (1826-1898) as an isolated precursor of Symbolist art, this dissertation situates him in his generational context as an aspiring history painter still deeply attached to academic and romantic precedents. It argues foremost that Moreau{\textquoteright}s work was informed by his conviction in the artistic decadence of the present-an attitude he shared with innumerable critics during the Second Empire (1851-1870). His central problem, I contend, lay in reconciling his desire to uphold the spiritualist ideals associated with the French tradition of grande peinture with his acute historical sense of the diminished possibilities afforded his chosen genre in an era commonly denigrated as materialist. The argument proceeds by establishing an intellectual context for Moreau{\textquoteright}s seemingly retrograde embrace of allegory and mythology and by considering how certain canonical subjects functioned to symbolize his imagined predicament and struggles as a spiritualist artist in a materialist milieu-this insistent self-reflexivity the most telling sign of his romantic modernity. I then describe how the agon between Spirit and Matter that structured Moreau{\textquoteright}s allegorical imagination registers on a pictorial level as a breakdown of the hierarchical relations which the Academy had legislated in order to guarantee the intellectual clarity and legibility of painting as a narrative form over and against its potentially unruly visual, material elements. The traditional rhetoric of bodily pose and facial expression; the paradigm of the unified tableau; the priority of line over color: all these come dramatically under pressure in Moreau{\textquoteright}s work. Convinced that the conventions of history painting had been hopelessly degraded, Moreau sought to shift the locus of pictorial expression onto traditionally underprivileged areas which he associated with painting{\textquoteright}s inviolably "plastic" identity, namely impassively statuesque, "silent" bodies, ornamental detail, and painterly facture. In the course of this rhetorical "silencing," Moreau effectively privatized a genre whose hallmark was supposed to be its public discursivity. If he thus anticipated Symbolism in his painting{\textquoteright}s vague suggestivity and formal experimentation, he did so by working through the mid-century crisis in history painting in a fraught attempt to secure its lofty ideals on new pictorial grounds.}, keywords = {Nineteenth-Century Art}, author = {Allan, Scott} } @mastersthesis {10095, title = {He Tianjian (1891-1977) and Defense of Guohua}, year = {2007}, school = {UC Santa Barbara}, abstract = {He Tianjian (1891-1977) was one of the leading figures in the traditional-style Chinese painting (guohua) innovation movement in Shanghai during the early twentieth century. It was a thriving period that saw artists taking action in the advocacy of their artistic beliefs. Facing the accusation that traditional painting was neither scientific nor progressive, guohua painters endeavored to defend and revive traditional art. He Tianjian{\textquoteright}s multi-faceted career is key in the understanding of such efforts. He was not only a professional painter, but also an art teacher, theorist, editor, and founding member of several art societies. His work and writing provide a rich source for investigating the formation of his art. He Tianjian{\textquoteright}s bizarre painting style makes him particularly unique, and a significant part of his aesthetics was devoted to the valuing of the essential spirit of a painting over its visual resemblance to the subject depicted. Derived from Shitao (1642-ca. 1707), the idea of representing "unlike likeness" influenced the artist. He Tianjian emphasized that an excellent painting should achieve the "transcendental state," and the method was to care not the external appearance but to capture the essence of a subject. He valued "hiding ingenuity in clumsiness" and "coming from unexpectedness." His purpose being to amaze the viewers rather than appeal to their eyes, vigorous expression rather than a thoughtful invitation, it is hard for spectators to relate most of He Tianjian{\textquoteright}s artworks to beauty. He Tianjian was successful in advocating and in enhancing the value of traditional painting and in adding new compositional elements, as well as in giving fresh variations to old painting language such as texture strokes. He had not shown an intention to entirely changing guohua, and his bold artistic style was basically constructed for exploring the possibility of expanding the vocabulary of guohua. He had accomplished the self-assigned task of defending guohua by his own diversified unique painting manners, but the many styles of He Tianjian{\textquoteright}s works to this day make his art difficult to define in the context of later painting history in China.}, keywords = {Chinese Art}, author = {Chang, Han-Yun} } @mastersthesis {10153, title = {The Hellenistic and Roman Pottery from the Village (Field I) at {\textquoteright}Iraq al-Amir, Jordan: A Typological Study}, year = {2007}, school = {Brown}, abstract = {The 1960{\textquoteright}s witnessed a great deal of activity in the excavation of classical period sites in the Levant, as well as some of the best work ever done in the area of ceramic chronology in these periods, with the publication of Paul W. Lapp{\textquoteright}s Palestinian Ceramic Chronology (1960). With the ceramic material from Lapp{\textquoteright}s own excavations at {\textquoteright}Iraq al-Amir (1961-62) now available, a thorough analysis of the pottery can be made, including typological and physical studies. This dissertation attempts to provide this analysis, by addressing multiple aspects of the ceramic material and its context. This analysis begins with the study of Lapp{\textquoteright}s 1961-62 excavations at Fields I-IV at {\textquoteright}Iraq al-Amir, as well as subsequent excavations, restorations, and area surveys. This dissertation also includes a thorough analysis of the architecture and stratigraphy of Field I, a typological analysis of both local and imported ceramics, instrumental neutron activation analysis of a random sampling of these ceramics, and a comparative and historical analysis of the cultural identity of {\textquoteright}Iraq al-Amir{\textquoteright}s inhabitants, in light of the pottery excavated at other sites in Syro-Palestine, on both sides of the Jordan River. The general conclusions reached through this study support the possible presence of a transplanted community from central Judaea, as indicated by the published pottery from sites such as Jerusalem and Jericho, living at {\textquoteright}Iraq al-Amir from the beginning of the 2nd century BCE to the end of the 1st century CE, and becoming integrated into the cultural fabric of central Transjordan and Arabia at the beginning of the 2nd century CE, and into the Byzantine period. The importance of this material to our general understanding of the Hellenistic and Roman period in Transjordan cannot be underestimated. {\textquoteright}Iraq al-Amir is often described amongst archaeologists as one of only a few excavated settlements in Transjordan known to have been occupied in the Hellenistic period. The analysis and publication of this pottery provides the opportunity to study the ceramic material culture of such a site, and the multi-faceted analysis employed in this dissertation also allows the archaeologist to approach the material from multiple angles, and to address specific and important questions about its implications.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Zimmerman, Michael} } @mastersthesis {10160, title = {"Hellenization" and Southern Phoenicia: The Impact of Greece before Alexander}, year = {2007}, school = {UC Berkeley}, abstract = {The term "Hellenization" signals the existence of a phenomenon or process in which a culture that is not Greek might become more Greek. A "Hellenized" culture, by implication, is one that is as close to a Greek one as possible but is still, at its core, somehow not identical. This study shows how a reconsideration of the idea of Hellenization does not concern only the (allegedly) Hellenized-in this case, the region of southern Phoenicia and, particularly, the site of Tel Dor (Israel)-but also our perceptions of the constituents of the "source": Greece, the Greeks and Greek (material) culture. The term "Hellenization" is shown to be an insufficient descriptor of the outcome of Greek-Phoenician contact, allowing for the consideration of other possible outcomes and scenarios. The spread of the Greek language and the conquest of the East by Alexander are two of the most frequently cited indicia of Hellenization; material culture is another critical but secondary indicium of cultural and behavioral change. In the period under consideration-the Classical or Persian period (the fifth and fourth centuries B.C.E.)-language and political conquest are not yet major factors. Furthermore, the notion that political conquest goes hand-in-hand with cultural change cannot explain how the Persian period yields much of the same so-called evidence of Hellenization as the Hellenistic and later eras. By concentrating on areas of the material record most often summoned in support of Hellenization-relating to civic life (town planning), social life (ceramics and related social practices) and religious life (cult and ritual practice)-this study reveals that contact with Greece is a clear but rarely decisive force for change in Phoenician behaviors. Despite frequent contacts, and despite traditional approaches to the material record, Greece{\textquoteright}s impact on southern Phoenicia was limited. Indeed Phoenician behavioral changes, when they can be attributed to contact with Greece, are not of the sort anticipated by the notion of "Hellenization".}, keywords = {Greek/Roman Art}, author = {Martin, Susan Rebecca} } @mastersthesis {10211, title = {Hoe schilder hoe wilder: Dissolute Self-Portraits in Seventeenth-Century Dutch and Flemish Art}, year = {2007}, school = {Maryland}, abstract = {In the seventeenth century, Dutch and Flemish artists presented a strange new face to the public in their self-portraits. Rather than assuming the traditional guise of the learned gentleman artist that was fostered by Renaissance topoi, many painters presented themselves in a more unseemly light. Dropping the noble robes of the pictor doctus, they smoked, drank, and chased women. Dutch and Flemish artists explored a new mode of self-expression in dissolute self-portraits, embracing the many behaviors that art theorists and the culture at large disparaged. Dissolute self-portraits stand apart from what was expected of a conventional self-portrait, yet they were nonetheless appreciated and valued in Dutch culture and in the art market. This dissertation explores the ways in which these untraditional self-portraits functioned in art and culture in the seventeenth century. Specifically, this study focuses on how these unruly expressions were ultimately positive statements concerning theories of artistic talent and natural inclination. Dissolute self-portraits also reflect and respond to a larger trend regarding artistic identity in the seventeenth century, notably, the stereotype "hoe schilder hoe wilder" that posited Dutch and Flemish artists as intrinsically unruly characters prone to prodigality and dissolution. Artists embraced this special identity, which in turn granted them certain freedoms from social norms and a license to misbehave. In self-portraits, artists emphasized their dissolute nature in self-portraits by associating themselves with themes like the Five Senses and the Prodigal Son in the tavern. These playful, inventive and sometimes challenging self-expressions present a unique vision that broadens our perception of what it meant to be an artist in the Dutch Golden Age.}, keywords = {Renaissance/Baroque Art}, author = {Cartwright, Ingrid} } @mastersthesis {10043, title = {Ideas as Interiors: Interior Design in the United States, 1930-1965}, year = {2007}, school = {Virginia Commonwealth}, abstract = {During the first decades of the twentieth century, Americans grappled with the idea of what it meant to be a modem society. As in other periods and places, arts, architecture and design played a significant role in expressing and exploring the issues and concerns of the day. In the period 1930 to 1965, an emerging practice called "interior design," in particular, became a potent medium for this purpose. Like modern art and modern architecture, the key to the practice of interior design was its basis in ideas. As curator Edgar Kaufmann, Jr., pointed out in his 1950 explanatory booklet "What is Modern Interior Design?" published by the Museum of Modern Art, interior design{\textquoteright}s foundation, in contrast to interior decorating, was in "principles rather than effects." To use the word "design" instead of "decoration," in relation to the creation of interiors implied the use of a systematic and rational approach based in ideas not personal preference. By the late 1930s both the discourse and practice of interior design as an alternative to interior decoration had begun to emerge in the United States. This study will explore how the emerging practice of interior design between 1930 and 1965, developed through the efforts of designers from various fields who all embraced this systematic and rational approach to creating interiors based in "principles and not effects." It will discuss how designers such as Ray and Charles Eames, George Nelson, Richard Neutra, Florence Knoll, and Russel and Mary Wright, whose work is highlighted in this study, used interior design as a way to explore and express theoretical considerations that could be learned, understood and disseminated by the designed interior. By doing so it exposes the ideas at work behind the interior designs of this period, which for the most part have not been fully considered by current histories, and presents a richer, more complete and more accurate account of this moment in design history and interior design{\textquoteright}s contribution to it.}, keywords = {Architectural History/Historic Preservation, Decorative Arts/Textiles/Design History}, author = {Kaukas Havenhand, Lucinda} } @mastersthesis {10219, title = {Identity and Physical Deformity in Italian Court Portraits, 1550-1650: Dwarves, Hirsutes, and Castrati}, year = {2007}, school = {Northwestern}, abstract = {This project is an inquiry into the nature of monstrousness and its translation to portraiture in Italian courts of the late Renaissance. During the sixteenth and seventeenth centuries, many images of dwarves, hirsutes, and castrati depict them in the guise of the monstrous, either as jokes of nature or indices of courtly wit. However, there are some Renaissance portraits of physically deformed individuals that transcend these categories. These portraits point to the intricate cultural, religious, ethical, and scientific perception of monstrous individuals who were fixtures in various Italian courts. Combining a topos of courtly self-fashioning with visual observations akin to dissections, these portraits humanize monsters while simultaneously scrutinizing them to stress their anatomical difference. This study demonstrates that monsters in courts altered Renaissance ethics vis-a-vis human otherness and social virtues, evolving from objects of curiosity to intellectually and legally independent beings. In addition, this project pushes the boundaries that have been established by much of the literature on Renaissance portraiture. Portraits of monsters challenge the prevalence of idealization---as a means to convey the sitter{\textquoteright}s character---and include mimesis as an essential part of their composition, stressing the accurate details of the sitter{\textquoteright}s physical deformities. By examining theoretical writings on portraiture, early-modern scientific treatises, and theological postulations about monsters, it becomes evident that portraits of the physically deformed were not merely visual expressions of the world turned upside down. They were the result of multivalent vectors that drove courtly and scientific life in the Renaissance and they negotiated a new terrain in which the emerging sciences of the body transformed human perceptions of abnormalities.}, keywords = {Renaissance/Baroque Art}, author = {Ghadessi, Touba} } @mastersthesis {10111, title = {Il s{\textquoteright}agit de voir: The Early Work of Daniel Buren}, year = {2007}, school = {CUNY}, abstract = {This dissertation examines the early work of Daniel Buren in relation to the social, political, and cultural context from which it emerged. In the mid-1960s, French art institutions and artistic production were in crisis. Major exhibitions showcased artists of the Ecole de Paris, an action that indicated a desire to retreat into past glories and that further marginalized young artists. It was in 1964, in this moment of stagnation and dissatisfaction that Buren, a recent student at the Ecole des Beaux-Arts, began exhibiting in official competitions. One year later, he adopted the fabric with vertical stripes measuring 8.7-centimeters wide, alternating white with color. This material, along with striped paper, became what he called his "visual tool"---the instrument with which he made his work. Buren is best known for using the striped material to create in situ works that operate as a form of institutional critique. Such a reading limits the discourse on his work and allows his earlier pieces to be viewed as distinct from his later production. I argue that his desire to investigate the relationship between art and its context emerged as a reaction to the profound social, political, and economic changes that affected France in the 1960s and that the institutions that most informed him were not the museum and gallery as broadly defined, but rather those he encountered as a young man and the conservative art that they supported. This establishes the beginning of his engagement with institutions as earlier and more expansive in scope. An examination of diverse and often ignored influences, such as Mexican muralists, the Soviet avant-garde, and progressive French cinema of the 1960s also reveals connections between early pieces and later projects, as do links with contemporary French literary and cultural theorists, such as Roland Barthes and Pierre Bourdieu, who, like Buren, investigated the construction and influence of cultural institutions. Ultimately, Buren{\textquoteright}s project was not simply a negation---the end of painting---but rather an attempt to create a new form of art through paintings, demonstrations, and writings that would be critical, self-reflexive and revealing of its own institutions}, keywords = {Contemporary Art}, author = {Farrell, Jennifer} } @mastersthesis {10196, title = {The (Il)legibility of Character: Gesture, Costume, and Identity in Goya}, year = {2007}, school = {Bryn Mawr}, abstract = {While recent scholarship has focused attention on the body, the complicated relationship between clothing or costume and identity merits a sustained analysis in Francisco Goya{\textquoteright}s art. This thesis explores the various meanings of fashion current in eighteenth-century Spain, a time period in which fashionability was a source of instability, both in terms of the contemporary debate on luxury and adornment and in terms of Goya{\textquoteright}s work and life. Clothing is considered as one of the key performative aspects of identity. Central to this thesis is a discussion of the uncertain gendered status and legibility of the petimetre, a fashionable fop often ridiculed for his foreign and effeminate trappings, as viewed through the intersection of popular culture and costume. In particular, Goya{\textquoteright}s Magic Mirror drawings become a means to understand some of Goya{\textquoteright}s self-portraits, as well as Goya{\textquoteright}s choice to underscore ambiguity in his sexually charged depiction of hermaphrodites. Drawings are examined as examples of visual thinking that expose an artistic process that can be thought of as performative, a concept that is explored in relation to gesture, costume, and identity. Many of Goya{\textquoteright}s drawings and prints engage with notions of performance both in terms of ritualized behaviors of seeing and being seen in Spanish society and also in terms of Goya{\textquoteright}s artistic "performance," his response to Spanish artistic tradition.}, keywords = {Nineteenth-Century Art}, author = {O{\textquoteright}Halloran, Deirdre} } @mastersthesis {10143, title = {The Illumination of Confraternity and Guild Statues in Venice, ca. 1260-1500: Mariegola Production, Iconography, and Use}, year = {2007}, school = {IFA/NYU}, abstract = {It is well known that the confraternities and guilds of Venice--the scuole and arti-played a fundamental role in the religious, social, and civic life of the Serenissima, and were major patrons of art. This dissertation examines the cultural and artistic significance of the handwritten, illuminated statute books, or mariegole, created by and for the scuole and arti from ca. 1260 to 1500. Mariegole texts and decoration tell us about the spiritual, moral, aesthetic, and professional concerns of a large, diverse segment of the Venetian populace. Written in the local vernacular, copied in Italian Gothic script, and illuminated with brightly colored and gilded frontispieces, the mariegole were treasured by their patrons and remain esteemed objects even today. To confraternity and guild members the mariegola statute served as a record of the history and customs of their particular organization, and its illuminations as devotional aids. More importantly, the bound codex was turned into a para-liturgical object during solemn confraternity rituals. The dissertation begins by investigating the social and religious role of the scuole and arti and the dispersal of their archives after Napoleon{\textquoteright}s conquest of Venice. After surveying the scholarship on and collecting of mariegole since the early nineteenth century, it articulates a methodology for dating them. Chapter 2 focuses on the confraternities{\textquoteright} painstaking manufacture of the codices. Chapters 3 and 4 examine the textual inspiration for the distinctive iconography of mariegola paintings. The discussion is organized in terms of the two general types of imagery, iconic and narrative. While the iconic miniatures promote broad theological ideals expressed verbally in the manuscripts{\textquoteright} preambles, the narrative ones clarify specific mariegola laws and serve as exempla for confraternity behavior. Finally, a catalog of mariegole illuminated for all types of Venetian confraternities in the period between ca. 1260-1500 (Appendix B) analyzes the material and artistic aspects of the codices. It reunites many excised leaves and fragments to their parent manuscripts and/or original owners, and sheds light on the stylistic development of manuscript illumination in Venice from the late thirteenth through the end of the fifteenth century.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Humphrey, Lyle} } @mastersthesis {10107, title = {Illusion and Disillusionment in the Works of Jeff Wall and Gerhard Richter: Picturing (Post)Modern Life}, year = {2007}, school = {Maryland}, abstract = {This study is a meta-critique of the discourse surrounding the emergence of large-scale, color photography around 1980 and the concurrent "return to painting" through an examination of the art praxes of Jeff Wall and Gerhard Richter. As Western avant-garde art shifted from conceptual practices toward large-scale, figurative painting and photography during the late 1970s and early 1980s there developed a vociferous discourse that, to a large degree, was highly critical of the changes that were taking place. The most strident aspect of the discourse emanated from fundamentally Marxist critics and academicians who viewed the turn to more aesthetically-based art forms as an undesirable capitulation to the political hegemony of the conservative administration in the United States, and to a burgeoning and increasingly international art market fueled by improving economic conditions. This criticism looked less than carefully at the art and the stated positions of the artists. This study mines the critical writings about both Wall and Richter in order to illuminate the discourse and elucidate the limits of art-historical writing that arises from rigid theoretical positions. It focuses particularly on the writings of Benjamin Buchloh, Douglas Crimp, Rosalind Krauss and Jean-Francois Chevrier. The writings of Wall and Richter are also given considerable weight and their voices are invoked as full participants. The works of Wall and Richter involve inextricable combinations of photography and painting in very different ways, and the role of medium within the discourse is examined. In addition, the artists{\textquoteright} references in their works to art forms of earlier periods in the history of Modernism are also considered. Although this study focuses on the period 1976 to 1990, it pays considerable attention to connections between early twentieth century German and Russian theories of montage and the art of Jeff Wall, and Wall{\textquoteright}s illuminated transparencies are emphasized. The geographic scope of the study includes North America and West Germany, where much of the controversy about the "return to painting" was generated, and where exhibitions of the work of both Wall and Richter occurred frequently during the study period.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Adams, Virginia} } @mastersthesis {10207, title = {Illustrating the Book of Nature in the Renaissance: Drawing, Painting, and Printing Geometric Diagrams and Scientific Figures}, year = {2007}, school = {Columbia}, abstract = {This dissertation investigates the role of illustrations and diagrams in scientific books of the fifteenth century. It illuminates the crucial role of diagrammatic representation within Renaissance approaches to the study of nature. In doing so, it elucidates the incunabular origins of Galileo{\textquoteright}s dictum that the Book of Nature is written in the language of mathematics. It demonstrates the importance of scientific illustration in the development of printed visual culture during the early stages of the Scientific Revolution. Classical texts were canonized, but their figures were not. In medieval manuscripts, illustrations were consigned to the margins, if and when they were present. Image-filled codices brought to Italy by Byzantine emigres inspired humanists to recreate the diagrams of ancient scientific texts. Assisted by mathematically-minded artists and printers, humanists issued editions that stabilized scientific illustrations. By integrating these images into the reasoning skills they taught, humanists instituted visual and geometric thinking as an essential tool in natural philosophy. The opening chapter presents a historiographic analysis of the role of images in early modern science. Chapter 2 reinterprets Jacopo de{\textquoteright} Barbari{\textquoteright}s painting of Luca Pacioli and Disciple (1495). Its iconography displays the achievements of mathematical humanists while demonstrating the power of geometric diagrams as analytic tools. Chapter 3 describes the significance of the figures in scientific incunables in the development of book illustration. Chapter 4 considers the woodcuts of Valturio{\textquoteright}s De re militari (1472) to outline the differences between the visuality of the printed page and that of manuscripts. Chapters 5 and 6 examine two kinds of early printed scientific images: the engravings of the maps of Ptolemy{\textquoteright}s Cosmographia (1477 and 1478 editions), and the metal imprints of the first astronomy works, published by Regiomontanus. The novelty of their printing methods underscored both the achievements of the editors of these texts and the importance of graphic precision in scientific illustration. Finally, Chapter 7 analyzes the geometric diagrams of the first edition of Euclid{\textquoteright}s Elements (1482), its printer{\textquoteright}s claims about them, and their innovative printing techniques. The Conclusion places these typographic artifacts within the intellectual culture of late fifteenth-century Venice which produced them.}, keywords = {Renaissance/Baroque Art}, author = {Baldasso, Renzo} } @mastersthesis {10137, title = {Imaging and Imagining the Jew in Medieval England}, year = {2007}, school = {UIUC}, abstract = {This dissertation investigates how images of Jews operated as sources of visual information in three visual communities in medieval England. Examining case studies that date both before and after Edward I expelled all Jews from England in 1290 demonstrates the power of the visualized Jew as an imaginary construct who was always distinct from the actual Jew. The examples I have chosen are formally and contextually diverse: a selection of late 12th and 13th century rolls from the Exchequer in London, the de Brailes Hours made in Oxford c. 1240, and the Hours of Mary de Bohun made at Pleshey Castle in Essex c. 1380. Despite their inherent differences, a key similarity binds these exceptional works. In each, artists deployed Jews as oppositional foils against whose actions Christian viewers could define themselves. My focus on the relationship between representations of Jews and the people who made and used these representations fills a significant gap in existing scholarship. My definition of the visual community, as constructed by the complex and nuanced relationship between the choices of an artist, the experience of the viewer, and the structure of an image, draws on work by Stanley Fish and Gabrielle Spiegel that is complemented by recent studies of the Jew as a necessary construct by Gavin Langmuir and Jeremy Cohen. Situating visualized Jews within each community{\textquoteright}s unique visual culture provides the opportunity to merge traditional art historical methods with pioneering interdisciplinary work, in order to allow for a more complete reading of the Jew in medieval England.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Bradbury, Carlee A.} } @mastersthesis {10190, title = {The Impressionist Brush: Perceptions of Seventeenth-Century Dutch Art in France}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation identifies a major transformation in the French perception of Dutch art in criticism and painting from 1848 to 1890. The introductory chapter outlines the prevailing view of Dutch art and its associations before the mid-nineteenth century. Chapter one identifies the radical transformation in the idea of Dutch art, which found its most fervent expression in the work of Theophile Thore. The following chapters examine the manner in which Thore{\textquoteright}s redefinition of Dutch art informed three artists working in France: chapter two outlines a shift from the decorative to the monumental in the use of Dutch sources, spearheaded by Gustave Courbet and articulated in the writings of Arsene Houssaye, J-P. Proudhon and Theophile Thore; chapter three examines Millet{\textquoteright}s covert use of seventeenth-century Dutch imagery; chapter four explores Van Gogh{\textquoteright}s reception of the heightened virility of seventeenth-century Dutch art and his use of Thore{\textquoteright}s texts in particular to carve himself a niche in the vanguard of late nineteenth-century French painting.}, keywords = {Nineteenth-Century Art}, author = {Epstein, Johanna} } @mastersthesis {10243, title = {Indefinite Boundaries: Reconsidering the Relationship between Borobudur and Loro Jonggrong in Central Java}, year = {2007}, school = {UCLA}, abstract = {The Central Javanese period, from the sixth to the tenth centuries, has been thought of as one of two competing dynasties, the Buddhist sailendra and the Hindu Sanjaya. Within this paradigm, the two most impressive monuments in ancient Java, Borobudur and Loro Jonggrong (also known as Candi Prambanan), have accordingly been regarded as the symbols that represent the hostile relationship of these two dynasties and their two religions. Although this viewpoint remains dominant in the literature and in discussions of the Central Javanese period, recent archaeological research and epigraphic sources are beginning to offer a distinctly different picture. In this regard, my dissertation attempts to establish this new theory of the relationship between Borobudur and Loro Jonggrong, on the one hand, and between the sailendra and the Sanjaya dynasties, on the other hand, based on a thorough analysis of the artistic and architectural elements of the two monuments. Chapter one examines the earlier perspective of the Central Javanese period and points out several problems on reading the period as one of two rival dynasties. This is followed by a comparative analysis on the different modes of narrating stories in ancient Java (chapter two), succeeded by a stylistic analysis on the narrative reliefs and three-dimensional sculptures from Borobudur and Loro Jonggrong (chapter three). I finally focus on the architectural decorations on the stupa motif and the kala-makara motif (chapter four) in ancient Java. Based on my research, I maintain that the construction of Loro Jonggrong was earlier than has traditionally been acknowledged, and was in fact contemporaneous to that of Borobudur. In addition, based on artistic similarities between these two monuments, the distribution of Buddhist and Hindu temples in Central Java, and the consistency of artistic and architectural developments during the Central Javanese period, I argue that this period should be read as a period of one dynasty, not of two competing dynasties. Accordingly, Borobudur and Loro Jonggrong should be recognized as being symbolic of the peaceful relationship between Buddhism and Hinduism in ancient Java; the connection between the two dynasties and the two religions cannot be viewed as antagonistic.}, keywords = {South/Southeast Asian Art}, author = {Kim, Bokyung} } @mastersthesis {10200, title = {The Institutional History of Maori Art in the United States from the Early Nineteenth Century to the Present}, year = {2007}, school = {CUNY}, abstract = {This dissertation provides the first comprehensive study of the collection, exhibition, installation, and reception of Maori art in the United States. It begins with the first accession in the early nineteenth-century and ends with twenty-first century permanent installations. While focusing on Maori art exclusively, this study more broadly reveals how the art of non-Western cultures has been collected and presented within American institutions, be it an ethnographic, natural history, university, or art museum. Methodologically, the approach to this study is both historiographic and comparative, relying heavily on primary source material including archival documents, museum guidebooks and annual reports, and object and installation photographs.}, keywords = {Oceanic/Australian Art}, author = {Wagelie, Jennifer} } @mastersthesis {10104, title = {The Intersection of Past and Present: The Qianlong Emperor and His Ancient Bronzes}, year = {2007}, school = {Princeton}, abstract = {The main concern of this dissertation is the triangular relationship among the Qianlong emperor, his ever-growing collection of ancient bronzes, and his audience, a range of individuals whose cultural and linguistic backgrounds expanded with the Qing empire. I will explain how Qianlong translated bronzes into collectables depicted in catalogues, ornaments decorating interior spaces, sacrificial offerings presented on the altars to Confucius, and exhibits displayed in galleries. I will not present a history of Chinese bronzes. Nor will I examine their style and craftsmanship. Instead, I will focus on the emperor{\textquoteright}s cultural performances---his presentation of bronzes as symbols of dynastic legitimacy and as magical talismans from the utopian past. At the same time, I will examine Qianlong{\textquoteright}s ever-changing interactions with those he selected as witnesses of his performances. More than a leisure pursuit, Qianlong{\textquoteright}s practices of collecting belonged to a set of political dramas that the emperor used to strengthen his power; I will show that his expanding collections functioned as a model of the empire over which he reigned. All Qianlong{\textquoteright}s projects relating to imperial collections were essentially ritualistic and magical. He viewed Heaven as the ultimate owner of every masterpiece that his bureaucracy legitimized. Accordingly, I divided this dissertation into five chapters. Chapter One, "Cultural Relics," examines Qianlong{\textquoteright}s bronze catalogues, which were of two sorts: books and boxes with objects inside. Chapter Two, "Elegant Decor," explores how Qianlong engaged his art collections by using them as interior furnishings. Chapter Three, "Pure Offerings," presents a detailed description of one important episode in Qianlong{\textquoteright}s career as a collector. He selected thirty Zhou bronzes from his collection and donated them to three Confucian temples. Chapter Four, "Divine Treasures," describes the collecting activities surrounding the set of Zhou bells unearthed in 1759 and then displayed in the Hall of Rhyming the Old. The fifth chapter, "Imperial Glories," examines the thirty-eight frontier bronzes recorded in the appendix of Xiqing xujian to commemorate Qianlong{\textquoteright}s "ten victorious campaigns." These bronzes kindled Qianlong imagination of foreign lands and his great achievement in further creating a multicultural and multiethnic empire beyond the Manchu and the Han.}, keywords = {Chinese Art}, author = {Yu, Hui-Chun} } @mastersthesis {10240, title = {Intersections of Art and Literature of the Silesian Baroque: Studies on the Works of Matthias Rauchmiller, Daniel Casper von Lohenstein, Michael Willmann, and Johannes Scheffler (Angelus Silesius)}, year = {2007}, school = {Princeton}, abstract = {This dissertation deals with connections between art and literature in Silesia in the second half of the seventeenth century. It is organized around the works of four figures: the sculptor and painter Matthias Rauchmiller (1645-86), the author Daniel Casper von Lohenstein (1635-83), the painter Michael Willmann (1630-1706), and the author Johannes Scheffler, also known as Angelus Silesius (1624-77). Past scholarship on baroque art in Silesia has not adequately explored the interpretive potential of Lohenstein{\textquoteright}s and Scheffler{\textquoteright}s writings for the art of Rauchmiller and Willmann. This dissertation uses the authors{\textquoteright} texts to uncover previously unrecognized meaning in important works of art by Rauchmiller and Willmann. The introduction offers an overview of Silesia{\textquoteright}s history, with special attention to political and religious developments of the sixteenth and seventeenth centuries, a discussion of Silesia{\textquoteright}s seventeenth-century literary and artistic cultures, and a situation of the present topic in relation to previous scholarship. The four chapters are guided by the themes of Habsburg dynastic perseverance, Silesian Piast dynastic extinction, the growth of Catholic influence, and Protestant efforts to hold ground. Chapter 1 deals with Lohenstein{\textquoteright}s poem about Rauchmiller{\textquoteright}s ivory tankard of 1676 with the Rape of the Sabine Women. It offers a new interpretation of the tankard which reveals the work{\textquoteright}s significance in a Habsburg dynastic context. Chapter 2 is devoted to the Piast Mausoleum (1677-79) in Legnica and the influence of Lohenstein{\textquoteright}s 1676 eulogy for the last Piast duke on the planning and content of that monument. Chapter 3 deals with Scheffler{\textquoteright}s discussions of art in his anti-Protestant polemical tracts published between 1665 and 1677. These writings aid in recovering the polemical intent of devotional art by Willmann, particularly his paintings of St. Joseph kissing the Christ Child. Chapter 4 is about the sculptural program of the Piast Mausoleum and the reliance of its subject matter on models available in commemorative poems about the death of the last Piast duke. A conclusion assesses the contributions of the dissertation.}, keywords = {Renaissance/Baroque Art}, author = {Waterman, Joshua} } @mastersthesis {10168, title = {The "Ishiyamadera engi" and the Representation of Dreams in Pre-Modern Japanese Art}, year = {2007}, school = {Yale}, abstract = {This dissertation considers the representation of dreams and visions in illustrated scrolls (emaki) of the Kamakura period, as well as the broader relationship between dreaming and image-making in pre-modern Japan. Dreaming occupied an important place in both monastic and lay religious practice in the Heian and Kamakura periods, as demonstrated by Buddhist texts, literary works, courtiers{\textquoteright} diaries, setsuwa, and documentary records of the time. These sources also attest to the intimate relationship between dreams and material images, whether through dream incubation practiced in front of an icon, through the appearance of icons in dream imagery itself, or through the actual production of material images based upon dreams. The first half of this dissertation examines the practice of commissioning and creating images based on dreams by monks and courtiers, through an examination of extant works with attributed dream-origins, as well as legends and documents attesting to the creation of such images. Furthermore, illustrated scrolls produced in the Kamakura period frequently depict scenes of dreams and visions, and these are especially numerous in scrolls illustrating the biographies of eminent monks and the legends of temples and shrines. A temple particularly known for its deity{\textquoteright}s propensity for dream revelations is Ishiyamadera, located in Shiga province just outside of Kyoto. The Ishiyamadera engi, a scroll composed in the early fourteenth century and illustrated over the course of many centuries, depicts the many dreams experienced by pilgrims to the temple. The second half of this dissertation focuses on the Ishiyamadera engi and its dream scenes, looking at the role these play in the visual and textual narrative of the scroll as a whole, as well as how the artists of the scroll cope with the problem of representing the interior experience of dreaming. The final chapter also extends this analysis to dream scenes in other illustrated scrolls of the thirteenth and fourteenth centuries, arguing that the way in which the artists of such scrolls pictorially construct a "dream space" reveals a great deal about conceptions of the boundary between waking, dreaming, and envisioning in pre-modern Japan.}, keywords = {Japanese/Korean Art}, author = {Covaci, Ive Aaslid} } @mastersthesis {10258, title = {Jasper Johns, 1954-1958: Persecution and the Art of Painting}, year = {2007}, school = {Columbia}, abstract = {In the years after World War II, the theoretical and technical treatment of totalitarianism as a political praxis was systematically repressed and supplanted in the United States by analyses that recast totalitarianism as a psychological and sociological phenomenon. This repression can also be traced in the history of Jasper Johns{\textquoteright}s early artistic production and its reception between 1954, when he received his first commission from his friend Rachel Rosenthal, and 1958, the year of his first solo exhibition at Leo Castelli Gallery. Johns produced four paintings that played key roles in securing or denying him crucial opportunities to publish, exhibit, and sell his work in these years: Star, 1954; Flag, 1954-1955; Target with Plaster Casts, 1955; and Green Target, 1955. In their recourse to aesthetic strategies of exposure and concealment, expression and mechanization, attention and distraction, these works negotiated juridical, psychiatric, and perceptual techniques of identification and administration which recoded totalitarian subject positions as deviations from biopolitical norms of social and psychological health. My dissertation explores the ways in which Johns{\textquoteright}s implication within these biopolitical techniques as a painter, a homosexual, and a citizen of the United States both hindered and promoted his subsequent canonization as an artist. Chapter One of my dissertation, focusing on Star, describes how Johns, Rosenthal, and Robert Rauschenberg recovered the legacy of the Dadaist Kurt Schwitters under circumstances that demonstrated the continuity of a totalitarian logic of political exclusion with the McCarthyist politics of homosexual persecution. Chapter Two addresses the problematic specificity of Johns{\textquoteright}s relationship to expressionistic painting, showing how post-war artists{\textquoteright} preoccupation with the problem of expression related to the newly dominant role of aesthetic disciplines and techniques in translating problems of political autonomy into factors of social and psychiatric administration. Chapter Three examines how the Westernization and modernization of Japanese Zen framed the early reception of Johns{\textquoteright}s Green Target in terms that appealed equally to an established taste for Abstract Expressionist painting and to an art market thirsting for novelty and exoticism, while suppressing works, like Target with Plaster Casts, which could not be accommodated within a Zen-inspired aesthetic of "pure experience."}, keywords = {Twentieth-Century Art}, author = {McCormick, Seth} } @mastersthesis {10070, title = {Jesus, Mary, and All the Saints: Indo-Portuguese Ivory Statuettes and Their Role as Mission Art in 17th- to 18th-Century Goa}, year = {2007}, school = {Minnesota}, abstract = {This study examines Indo-Portuguese ivory statuettes created in Goa, India, during the seventeenth to eighteenth centuries. Figural types and stylistic characteristics are introduced. However, much of the emphasis in this dissertation is on the ivories{\textquoteright} role as mission art, especially under the direction of the Jesuits. One particular subject type provides a thread, which links the entire discussion, the Good Shepherd Rockery, also known as Bom Pastor and Good Shepherd Mount. This image provides a key to Goan ivories and illustrates well the intentions of the Jesuits as well as the aspirations of the Indian artisans. In relation to this, this study examines how these works illustrate the coming together of different cultures. It also examines the phrase "the image is the message." More generally, this study explores the fascination with Indo-Portuguese ivories in the Portuguese market and the renewed interest in these works in the last fifteen years. The aim of this study is two-fold. For one, I hope to add to the overall understanding of these works by digging deeper into their imagery, illustrating the significance of the iconography as well as exploring their Catholic and South Asian characteristics. Secondly, I want to bring these works into the realm of South Asian art history.}, keywords = {Art of the Middle East/North Africa}, author = {Olson, Marsha} } @mastersthesis {10265, title = {Jewish Expressionism: The Making of Modern Jewish Art in Berlin}, year = {2007}, school = {Chicago}, abstract = {This study analyzes the preoccupation with questions of Jewish art-of its existence, characteristics and forms of classification-in early twentieth-century Germany. It further poses its own set of questions: Why did Jewish art become a concern, for whom and for what purposes? What were advocated as important criteria? What meanings were attributed to Jewish art? How did ideas develop and disseminate? How did notions of Jewish art speak to questions of religion, race, nationalism and their intersection with art history? Considering Jewish art as a discourse, as a dynamic process rather than a static definition, this dissertation grounds the making of Jewish art within broader fields of cultural production. Primarily through the context of art exhibitions, chapters situate notions of Jewish art within specific social and institutional networks, including the cultural Zionists, B{\textquoteright}nai Brith fraternal lodges, Jewish art and cultural organizations, artists{\textquoteright} studios and artists groups. This project provides an understanding of how different individuals and organizations used notions of Jewish art to define modern meanings of "Jewish" without limiting it to singular confessional, racial or national categories. Specifically, this dissertation demonstrates the connections and parallels between the discourses of Jewish art and expressionism. An avant-garde art form and concept that emerged in the years just prior to World War 1, expressionism during the Weimar Republic (1919-1933) represented the characteristic modern German art form. Analyzing the particularities of this discursive association, this dissertation contends that artists, writers and intellectuals employed expressionism as a bridge that connected a Jewish art to a modern German art and European cosmopolitanism. It further connected a Jewish art to a distinctive art marked by an integrated form and content, and to a notion of art based on the spiritual, rather than on race or the nation.}, keywords = {Twentieth-Century Art}, author = {Straughn, Marycelka} } @mastersthesis {10075, title = {John Cotton Dana and the Business of Enlightening Newark: Applied Art at the Newark Public Library and Museum, 1902-29}, year = {2007}, school = {Bard Graduate Center}, abstract = {The dissertation is a case study of how exhibitions of applied art were used as ideological tools to prescribe civic behavior in one of the twenty most important industrial cities in the United States during the Progressive Era. Its focus is on John Cotton Dana (1856-1929), librarian and museum founder, and the exhibitions he coordinated in Newark, New Jersey, at the Free Public Library and the Newark Museum between 1902 and 1929. Dana promised Newark that culture had "cash-value" and that a museum would promote economic and moral benefits. He focused on applied art as a political and educational instrument to foster "good taste" in Newark{\textquoteright}s largely immigrant population. I contextualize Dana{\textquoteright}s mission of taste-making in relation to other political-aesthetic agencies of the Progressive Era that sought to improve civic life, from Hull-House to the Metropolitan Museum of Art. Responding to the broader historical discourse, I complicate prior characterizations of the director, his museum, and the era as "Progressive" by exploring whether Dana{\textquoteright}s mission of enlightenment was dedicated to the welfare of its citizens or to the economic prosperity of Newark{\textquoteright}s retailers and manufacturers. My focus on exhibitions which displayed New Jersey products such as vases and toilets has three aims: to apply material culture analysis to installation methods and exhibitions (and avoid the bias inherent to segregating "fine art" and "library" artifacts); to examine the ways Dana positioned applied art, including handicrafts, industrially manufactured goods, and historicist ornament, as "progressive reform"; and to argue that his attempt to make a museum "intimate with commerce" was driven by his location in Newark. Dana{\textquoteright}s method of framing goods such as comic books and department-store teacups is reconsidered in relation to European as well as American influences, as are his many other innovations, from opening the first business library to holding the first exhibitions of Cubist painting and Deutscher Werkbund commercial art in America. I challenge traditional interpretations of the histories of the library and museum as distinct narratives, and restore the connections between exhibitions of Japanese prints, new Pictorialist photography, traditional plaster casts, and local ceramic factory and studio production.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Shales, Ezra} } @mastersthesis {10089, title = {John Graham and the Quest for an American Art in the 1920s and 1930s}, year = {2007}, school = {CUNY}, abstract = {Few accounts of twentieth-century art omit mention of the name John D. Graham (born Ivan Gratianovitch Dombrowski in Kiev, 1886; died in London, 1961), yet he remains an enigmatic figure. This dissertation examines for the first time his role in American Art the 1920s and 1930s, as both artist and theoretician, played out against the backdrop of European modernism. Graham was emblematic of the artists, many of them recent immigrants to the United States, who countered the inward-looking trend of Regionalism in the 1920s and 1930s and strove to create an American art untethered to the past. Chapter One examines his early years in Russia and his exposure to European modernism as it was received there in the years preceding World War I. Chapter Two looks at his life in New York and in Paris in the 1920s and what strategies he used during this decade to transform himself into a thoroughly American artist. Chapter Three considers the creative intersection of Graham and fellow artists Stuart Davis and Arshile Gorky in the late 1920s and the 1930s, as well as Graham{\textquoteright}s fluid interchange with leading collectors and patrons, including Duncan Phillips, Frank Crowninshield, and Katherine Dreier. His involvement with African Art, both as connoisseur and dealer, will also be examined. Chapter Four provides an analysis of Graham{\textquoteright}s influential text System and Dialectics of Art (1937), its critical reception, and its influence on other artists. A Coda offers an assessment of Graham{\textquoteright}s contribution to American art and his role as catalyst in the 1920s and 1930s and as artistic progenitor for a generation of younger artists-all examined through the lens of the exhibition he organized for McMillen, Inc., in 1942. Hanging the work of young American artists, unknown until he discovered them, alongside titans of the international art world ultimately said more about Graham{\textquoteright}s fervor, vigor and resolve than all the words he had written.}, keywords = {Art of the United States}, author = {Longwell, Alicia G.} } @mastersthesis {10112, title = {Kate Millett and Jean-Jacques Lebel: Sexual Outlaws in the Intermedia Borderlands of Art and Politics}, year = {2007}, school = {Duke}, abstract = {This dissertation argues for the historical importance of two understudied artists of the 1960s, and beyond: Kate Millett, an American radical feminist, and Jean-Jacques Lebel, a French anti-Algerian War activist who went on to lead in the student/worker movement of Paris 1968. Both are artists, writers, and theorists who critiqued prevailing mores and celebrated a morality of libertine sexuality. This study explores their multiple activities and the ways in which each linked cultural and political avant-gardes. In doing so it sheds light on the contributions of experimental artists and their international and interdisciplinary circles to broader social developments. This dissertation has a tripartite structure. Firstly, it is grounded on close examination of the art and writings of Millett and Lebel. Secondly, it presents a theoretical argument for the convergence of three tendencies that shaped politicized art in the 1960s: an insubordination inspired by Dada, an ethics of committed action reflecting philosophical Existentialism, and a utopic belief in the revolutionary potential of liberated sexuality. Thirdly, it gives a historical reading of the transnational cultural circles in which Lebel and Millett worked in order to consider the evolution of avant-garde intermedia, art that operates between traditional media. This dissertation concludes that, despite differences in perspective regarding gender, sexuality, and the means that these artists use to radicalize their audiences, Millett and Lebel had certain critical similarities that made them icons of the 1960s: artistic backgrounds, shared morality of dissent, and individual lives of committed acts. This theoretical and historical work contributes to the history of experimental art, especially of Fluxus and happenings, and enriches understanding of the foundational practices of much contemporary art as well as scholarship on the interrelationship of culture and politics.}, keywords = {Contemporary Art}, author = {Fredrickson, Laurel} } @mastersthesis {10069, title = {Khita{\textquoteright}i{\textquoteright}: Cultural Memory and the Creation of a Mongol Visual Idiom in Iran and Central Asia (1256-1353)}, year = {2007}, school = {Harvard}, abstract = {The Mongol invasions of Greater Iran and Central Asia in the mid-thirteenth century marked a watershed in the history of Islamic art and architecture. The eastern Islamic world, in particular, witnessed a proliferation of elaborately illustrated and illuminated manuscripts, luxury objects, and monumental architecture displaying intricate architectural decoration. Present in much of this pre-modern visual culture was an unprecedented idiom, khita{\textquoteright}i, an apparently Chinese or far eastern-inspired aesthetic revealed in the form of motifs such as lotuses, peonies, scrolling cloud bands, fantastical creatures like dragons and simurghs, and emphasized in eastern artistic techniques and materials. This dissertation seeks to analyze the moment the khita{\textquoteright}i idiom was first introduced to the Islamic world, during the Ilkhanid Mongol period (1256-1353) in Iran and Central Asia, and to show how the desire to preserve their cultural memory drove the Ilkhanids to create a visual idiom that would connect them to their Mongol heritage. By the fifteenth and sixteenth centuries in Greater Iran, khita{\textquoteright}i had become woven into the standard artistic fabric of the Persianate visual repertoire. The close relationship to its neighbors-in times of both peace and war-allowed this phenomenon to spread particularly to Seljuq Anatolia and, later, to the Ottoman world, as well as to the Ilkhanids{\textquoteright} principal rivals, the Mamluks of Egypt and Syria. Yet, when first introduced, khita{\textquoteright}i was not an accepted or assumed part of the visual language of the eastern Islamic world. It began as an element in a systemic socio-political relationship between Greater Iran and China, which grew into part of an Ilkhanid agenda to create a dynastic ideology that would be understood by its subjects in the entire realm of its territory. Its visual manifestations permeated a vast array of courtly objects and architectural commissions not only at the various centers of the empire, but also at the furthest reaches of its domain. As this new foreign dynasty sought to find its place in Iranian society through its adoption and appropriation of indigenous culture, the khita{\textquoteright}i idiom reminded Ilkhanids of their greater Mongol past. Through its analysis of the khita{\textquoteright}i phenomenon, this study concentrates on the cross-cultural transmission between China, Central Asia, and Iran, with emphasis on the effects of acculturation on Ilkhanid art and architectural decoration. It contributes to a recently growing scholarly interest in the ramifications of the relationship between China and Greater Iran during the Mongol period, but one that has not entirely addressed the issue of khita{\textquoteright}i and its role in Islamic art as a larger, intercultural phenomenon. Through its investigation of the idiom as a phenomenon generated by the Mongol connections between China and Greater Iran, this dissertation aims to show that khita{\textquoteright}i became part and parcel of the Ilkhanid desire to create and disseminate a dynastic visual idiom that would preserve Mongol cultural memory.}, keywords = {Art of the Middle East/North Africa}, author = {Akbarnia, Ladan} } @mastersthesis {10042, title = {Kinaesthetic Impulses: Aesthetic Experience, Bodily Knowledge, and Pedagogical Practices in Germany, 1871-1918}, year = {2007}, school = {MIT}, abstract = {This dissertation studies a moment of transition in German aesthetics in the late nineteenth century. Starting in the 1870s, groups of artists, architects, historians, critics, connoisseurs, and museum officials in Germany declared that traditional aesthetics, which had operated "from above" with metaphysical concepts such as the beautiful and the sublime, was obsolete. According to these intellectuals, the old aesthetics needed to be replaced by a scientific and empirical "aesthetics from below." The emergence of the new aesthetics was closely related to the rise of mass politics and mass culture in the newly unified Germany. Concerned that an attentive and contemplative perception could not be afforded by the masses, these liberal-minded members of the educated middle classes theorized a new kind of aesthetic experience that was based on corporeal pleasure rather than intellectual judgment. According to this model, an aesthetic encounter with an artwork was primarily kinaesthetic: an artwork elicited an unconscious and immediate effect on the musculature of its beholder. I examine three episodes, in which this idea was employed to pedagogical ends at the turn of the twentieth century. In the work of the artist Hermann Obrist (1862-1927), the kinaesthetic model of experience became the basis of a new pedagogy for the arts, which utilized the unconscious movements of the body to choreograph the production and reception of aesthetic effects. The architect August Endell (1871-1925) theorized these effects further and attempted to invent an exact science of design, which correlated architectural forms to the reaction that they would produce in the human body. The same idea of kinaesthetic response appeared within art historical circles under the rubric of the Baroque at the turn of the twentieth century, particularly in the debates between Heinrich W61fflin (1864-1945) and August Schmarsow (1853-1936) on the nature of the painterly (malerisch). The double slide lecture was an ingenious solution devised by the incipient discipline of modern art history simultaneously to utilize the pedagogical effectiveness of kinaesthetic experience and to control its sensual excess.}, keywords = {Architectural History/Historic Preservation, Critical Theory/Gender Studies/Visual Studies}, author = {Zeynep Celik} } @mastersthesis {10040, title = {Landmarks of the Persian Renaissance: Monumental Funerary Architecture in Iran and Central Asia in the Tenth and Eleventh Centuries}, year = {2007}, school = {MIT}, abstract = {This dissertation investigates the sudden proliferation of mausolea in Iran and Central Asia in the tenth and eleventh centuries and how their patrons, who were secular rulers of Iranian descent, drew on the pre-Islamic past in new ways specific to each region. Mausolea constructed in the tenth and eleventh centuries have a wide geographical spread across modern Iran and the ex-Soviet Central Asian republics. However, the monuments take two different forms: the tomb tower and the domed square. There are formal and functional differences and a different geographical distribution, with the earliest tomb towers concentrated in the inaccessible Alborz Mountains in northern Iran. This remote region had a very different historical trajectory from that of Central Asia, where the earliest extant domed square mausolea are located. Historians of architecture have often noted that certain features seen in these mausolea have some vague connection with the pre-Islamic past, but this connection has never been precisely defined or explained; I argue that the cultural dynamics which resulted in particular architectural forms were very different in these two regions, so that pre-Islamic Iranian traditions were selectively continued in the Caspian region of northern Iran, whereas other elements of the Iranian past were consciously revived in Central Asia. Two of the mausolea that I analyze, the Samanid mausoleum and the Gunbad-i Qabus, are well-known monuments which appear in virtually every survey of Islamic art, whereas most of the others are almost completely unknown. This dissertation situates these buildings in their historical context for the first time and examines them in a new way as an expression of the Persian Renaissance, a term borrowed from literary historians which describes the florescence of Iranian high culture which occurred at this time. Since this group of mausolea was influential not only in the development of funerary architecture, but also in the development of Islamic architecture as a whole, understanding their origins and formation is important for the history of Islamic architecture}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Michailidis, Melanie} } @mastersthesis {10130, title = {The Life of the Basilica of San Paolo fuori le Mura in Rome: Architectural Renovations from the Ninth to the Nineteenth Centuries}, year = {2007}, school = {Princeton}, abstract = {The Old Basilica of San Paolo fuori le mura in Rome was built at the end of the fourth century to enshrine, protect, and exalt the relics of St. Paul. As a bastion of Rome{\textquoteright}s apostolic legacy, an embodiment of papal authority, and an important monastic presence, Old San Paolo was one of Christianity{\textquoteright}s most venerable churches and-along with Old St. Peter{\textquoteright}s-the principal pilgrimage destination in Rome. In this dissertation, I trace a substantial and understudied portion of the life of the Old Basilica of San Paolo by examining architectural renovations in and around the basilica between the ninth and nineteenth centuries. The dissertation{\textquoteright}s principal chapters present case studies of significant renovations. My first chapter examines the impact of Iohannipolis, an enclave built in the ninth century to protect the basilica, its adjacent monastery, and more generally the city of Rome. In the second chapter, I study the massive dividing wall built during the twelfth century across the transept in such a way that effectively split the core of the basilica and significantly altered its interior. In the third chapter, I concentrate on three distinct eighteenth-century renovations (the narthex, the Chapel of the Crucifix, and the baptistery) that gave the basilica its final guise. Because the Old Basilica and most of its renovations were destroyed by fire in 1823, my sources are restricted to written evidence and images. Although the collection and cataloging of these sources is an important contribution of the dissertation, more significantly, the overture to under-studied historical periods and neglected topics of investigation as well as a rigorous approach toward the extant sources allow me to delineate a richer and more complete history of the basilica. In broad terms, the emphasis on renovations offers a valuable approach to the longue duree that is applicable to any object-a building, an icon, or a reliquary-that is layered in renovations. In the specific case of San Paolo, the new-found breadth of historical knowledge situates the basilica in its rightful, central place in the history of Roman ecclesiastical architecture.}, keywords = {Early Christian/Byzantine Art}, author = {Camerlenghi, Nicola} } @mastersthesis {10177, title = {On the Lips of Others: Fame and the Transformation of Moctezuma{\textquoteright}s Image}, year = {2007}, school = {Chicago}, abstract = {This study compares the portraits and portrayals of the fame of the Aztec king Montezuma. European discourse about Montezuma distinguished Montezuma{\textquoteright}s historical and political persona from his religious one, even though these were inseparable aspects of Aztec divine kingship. European portraits of him revolved around the political desire to portray an individual personality and situate that personality in a historical context, especially in contexts meant to justify Spain{\textquoteright}s right to rule in the New World. In so doing, early colonial-period histories written about Montezuma from either side of the Atlantic efface how the divine king was portrayed in a series of Aztec stone sculptures during the eighteen years of his role (1502-20). Montezuma{\textquoteright}s name hieroglyph appears on no less than eight Aztec stone sculptures. This hieroglyph and the king{\textquoteright}s portrait identified his body at the center of ritual transformations of his fame on a calendrical basis. Montezuma was depicted at the center of all fame, and he occupied the central role to mete out fame to others. Montezuma{\textquoteright}s name hieroglyph innovated on traditional Aztec representations of power as invested in the Great Speaker (the Aztec term analogous to king). It also employed ancient symbols of Toltec nobility to center the legitimacy of that power. Montezuma controlled the speech and appearance of nobility in Tenochtitlan, the Aztec capital, and he orchestrated performances that highlighted the fame of socially mobile individuals-warriors and merchants-as part of divine service to the king and the sun. The study concludes with a comparative analysis of a portrait of Montezuma that remains in situ (although badly damaged) in Chapultepec Park in Mexico City. I compare the remains of the portrait with other Aztec portraits that were produced by indigenous kings and described in sixteenth century histories, and conclude that although these colonial-period sources are essential to our understanding of the Aztec past through the figures of famous men like Montezuma, the fame they cast is of a different order than that which existed in Montezuma{\textquoteright}s time.}, keywords = {Latin American/Caribbean Art}, author = {Hajovsky, Patrick} } @mastersthesis {10039, title = {Local Cityscapes and Transcultural Imaginaries: Competing Architectures of Nineteenth- and Twentieth-Century Mombasa and Zanzibar}, year = {2007}, school = {Harvard}, abstract = {This study examines the struggle over architectural space and meaning in the city of Mombasa (Kenya) on the east African coast during the colonial period and the continuities between this colonial past and the production of social imaginaries in the present. Mombasa is an ancient Swahili city, yet the materiality of its contemporary landscape was shaped by colonial transformation and upheaval. This work therefore focuses on the experiential significance of architectural space, ornament and setting and the ways individuals and communities re-imagined the seeming permanence of their urbanscape to counteract the unpredictable upheavals of colonial intervention. The broader aim of this project is to unpack and historicize the cultural crosscurrents between Mombasa, the African inland and other globally connected and rapidly changing sites in order to reconsider the processes by which meaning in produced for African architecture. Rather than focusing on the unidirectional impact Arab and European empires had on Mombasa, this study foregrounds the local dialectics taking place in the city{\textquoteright}s architectural cultures and their many densely tangled post-histories. As this work argues, the creation of an Afro-Indian Ocean modernity was enacted through the re-ordering of new forms within coastal frames of cultural reference. Architectural styles and forms reproduce, enact or even contest peoples{\textquoteright} understandings of such seemingly abstract concepts as imperialism, commodification, communal belonging and religiosity in very different ways, depending on the historical moment of people{\textquoteright}s engagement with these concepts. By emphasizing the complex politics of colonial interventions, the expansion of economic territories, and the efficacy of Islam as a force for social protest, this dissertation does not posit material culture as a stable ground upon which a particular culture is inscribed. Rather, as the primary research presented in this work demonstrates, material culture, even in its monumental form of architecture, is unstable and mutable in meaning. In the case at hand, its forms are accessed during particular moments to strategically demarcate and claim rights over places specifically because culturally, socially and economically such African sites as Mombasa are transcultural and interdependent spaces.}, keywords = {African Art (sub-Saharan)}, author = {Meier, Sandy} } @mastersthesis {10260, title = {Looking for Berlin: Imaginary Cities behind the Unified Capital}, year = {2007}, school = {British Columbia}, abstract = {Behind the mask of new architecture rapidly transforming Berlin{\textquoteright}s visage in the years following Germany{\textquoteright}s reunification in 1990 lie profound anxieties over the nature and implications of the city{\textquoteright}s reconstruction in the face of an irresolvable past and an unclear future. A disenchanted and destabilized eastern population, resurfacing questions over the definition of "Germanness" and the German nation, and the sudden collision of two very different official narratives of the National Socialist and communist pasts frustrate the city{\textquoteright}s desire to present a unified identity in the first years after the fall of the Berlin Wall. To access this difficult terrain, my dissertation departs markedly from the focus of much of the published literature on the post-unification city and looks not to Berlin{\textquoteright}s new building projects themselves but rather to the more unstable spaces between architecture: those more marginal or unresolved sites and surfaces which, in states of flux, paralysis, or neglect, are more vulnerable to (and revealing of) the possibilities of appropriation and disturbance. This study considers three temporary, site-specific installations that for brief moments haunted such sites in Berlin during the first volatile years after 1990: Shimon Attie{\textquoteright}s 1991-1992 photographic projections entitled The Writing on the Wall, the 1993 simulation in canvas of Berlin{\textquoteright}s demolished Stadtschloss, and Christo and Jeanne-Claude{\textquoteright}s famed wrapping of the Reichstag in 1995. Visible only fleetingly amidst the solidity of the city{\textquoteright}s built landscape (and the heaviness of it{\textquoteright}s history), it is the very impermanence of such representations, I contend, that afford them their critical power. Drawing upon theories of memory, trauma, and desire, I argue that these installations can be brought to bear directly on the contentious politics of memory and identity that permeate Berlin{\textquoteright}s social and spatial practice in the years following the fall of the Wall, exposing anxious edges of "Germanness," desires to recuperate (and repress) certain historical narratives, and ambivalent sites of fixation in a city negotiating its new role as once again capital of a unified German nation-state. In this way, such interventions provide narrow windows through which we might glimpse the uncertain, unquiet space that operates behind a redefining city{\textquoteright}s scripted surface, and the pasts that lie in wait there. The task of this dissertation is to explore this space.}, keywords = {Twentieth-Century Art}, author = {Phillips, Kimberly} } @mastersthesis {10237, title = {Lorenzo Lippi-Poet and Painter of the Florentine Seicento}, year = {2007}, school = {Johns Hopkins}, abstract = {This dissertation traces the interplay of painting and poetry in Lorenzo Lippi{\textquoteright}s oeuvre. It uses Lippi{\textquoteright}s barely-studied mock epic Il Malmantile Riacquistato as an indispensable source for reconstructing the painter{\textquoteright}s art-theoretical ideas and his aesthetic choices. In reassessing the painter{\textquoteright}s cultural outlook as an intentional and polemical revival of a concept of naturalezza, which informed Florentine art and literature during the fifteenth and sixteenth centuries, it also offers a new key to our understanding of Florentine Seicento culture. The discussion of Lippi{\textquoteright}s activity as a poet, his membership in the literary academy, Accademia degli Apatisti, and his close friendship with the Florentine poet Antonio Malatesti, also shed light on the little-studied literary culture of seventeenth-century Florence. The first chapter offers an in-depth discussion of Lippi{\textquoteright}s Malmantile by tracing the large number of intertextual references resulting from Lippi{\textquoteright}s wide reading included therein. It emends recent research, which has hastily reduced the Malmantile to being only a playful copy of Alessandro Tassoni{\textquoteright}s La Secchia Rapita. Instead, Lippi creates a distinctly Florentine version of the mock epic, harking back to earlier works, such as Luigi Pulci{\textquoteright}s Morgante or Francesco Berni{\textquoteright}s Rifacimento. Chapter 2 analyzes the Accademia degli Apatisti, of which Lippi was a member and which informed his literary ideas. Chapter 3 revises the artistic image of Lorenzo Lippi created by Filippo Baldinucci, the author of the artist{\textquoteright}s most influential life in the Notizie de{\textquoteright} Professori del Disegno. Chapter 4 is devoted to a reconstruction of the paradigms informing Lippi{\textquoteright}s naturalism. It argues that the stylistic change in Lippi{\textquoteright}s art documents a Florentine preference for an aesthetic of simplicity and naturalness. Chapter 5 is a reconstruction of the art-theoretical foundation of Lippi{\textquoteright}s art, for which the most authentic source is the Malmantile. This chapter also includes a discussion of Lippi{\textquoteright}s friendship with Malatesti and the Neapolitan painter and satirist Salvator Rosa. Chapter 6 traces the reciprocal influence between painting and poetry in Lippi{\textquoteright}s oeuvre, especially in what is Lippi{\textquoteright}s Self-Portrait (Florence, Uffizi) and his Erminia and the Shepherds (Pistoia, Collezione Rospigliosi). Moreover, Lippi conceives his Malmantile as a {\textquoteright}written painting.{\textquoteright}}, keywords = {Renaissance/Baroque Art}, author = {Struhal, Eva} } @mastersthesis {10256, title = {Making Histories: The Exhibition of Postwar Art and the Interpretation of the Past in Divided Germany, 1950-59}, year = {2007}, school = {UT Austin}, abstract = {The exhibition of painting and the public discourse around it were vital tools in the postwar ideological differentiation of liberal-democratic West Germany and socialist East Germany. This dissertation examines six major German art exhibitions of the 1950s: the West German shows Iron and Steel, sponsored by West German industrialists in 1952, the first postwar exhibition of the Federation of German Artists in 1951, the first and second documentas in 1955 and 1958, and East Germany{\textquoteright}s Third and Fourth German Art Exhibitions, held in 1953 and 1959. I consider the organization and contents of these exhibitions as well as their reception in the press, and I examine the wider discussion of contemporary art that these shows engendered. In each case, lingering National Socialist styles and sentiments required Germans to create selective histories for their postwar states. I reveal the intense competition between East and West Germans to define postwar German culture in different arenas: in corporate public relations within West German industry, among the surviving members of the prewar German avant-garde in West Germany, in West Germany{\textquoteright}s major forays into the international contemporary artworld, within the East German state bureaucracy and among East Germany{\textquoteright}s elite, progressive artists. At these exhibitions, East and West German artists, critics, and politicians defined their respective states as distinct from the National Socialist state, but also as radically different from one another.}, keywords = {Twentieth-Century Art}, author = {Mathews, Heather Elizabeth} } @mastersthesis {10162, title = {Manipulation of Memory: Public Buildings and Decorative Programs in Roman Cities of Asia Minor}, year = {2007}, school = {Michigan}, abstract = {This dissertation investigates sculptural programs that ornamented public buildings in four cities in Asia Minor in the second and third centuries AD. Departing from the Second Sophistic as an interpretive framework, I argue that these programs are expressions of civic identity and demonstrate that because they formed the backdrop for performance and rituals, they actively participated in the formation of civic identity. My study focuses on programmatic sculpture from Perge, Hierapolis, Nysa, and Ephesos. My research demonstrates that in Perge the sculptural decoration of monuments heavily promoted the city{\textquoteright}s Hellenic foundation in the second century AD, but in the third century the emphases shift away from Greek founders to the renowned local cult of Artemis Pergaia. This shift mirrors Perge{\textquoteright}s efforts to use its major cult to gain a competitive advantage over Side, the city{\textquoteright}s regional rival for imperial titles and privileges. Focusing on the theaters at Hierapolis and Nysa, I then explore the theater as a site at which civic history and hierarchies were promoted to audiences. I argue that while the sculptural programs at these two theaters employ locally significant mythology, their primary objective was to advertise the continued vitality of the locally dominant cult. Images of myths of local deities, mixed with scenes from contemporary cultic practice at both sites, take precedence even over representations of the imperial family. Rituals performed in Roman period theaters and recorded in inscriptions attest to the charged atmosphere in which such sculptures were viewed. At Ephesos as at Perge, Hellenic foundation legends were marshaled to highlight the role of civic benefactors in the city{\textquoteright}s history for a local audience-rather than addressing themselves to the empire at large. In diplomacy with Rome, Ephesos relied on its connection to the famous cult of Artemis Ephesia. I also demonstrate that civic processions at Ephesos took advantage of the city{\textquoteright}s historical topography to link and activate the depictions of the mythical founder, Androklos. This dissertation concludes that not only did the themes of sculptural programs express civic and elite priorities, but they also played a vital part in the dynamic enactment of civic identity.}, keywords = {Greek/Roman Art}, author = {Ng, Diana} } @mastersthesis {10064, title = {Manufacturing Gemeinschaft: Architecture, Tradition, and the Sociology of Community in Germany, 1890-1920}, year = {2007}, school = {CUNY}, abstract = {This dissertation examines the relationship between social scientific propositions and architecture and planning in Germany during the late Wilhelmine empire, with attention to the use of historical forms as models for modern community. Chapter One, Sociology Finds Its Subject, surveys the processes of urbanization in Germany in the late nineteenth and early twentieth centuries, and examines the coeval formation of the social sciences in the period. Chapter Two, Past and Present, looks more closely at spatial conceptions of community articulated in the sociological theories of Ferdinand Tonnies, Werner Sombart, Max Weber, and Peter Kropotkin. Chapter Three, Discovering the Vernacular, investigates the use of traditional building forms in historical discourse and architecture of the Wilhelmine era. The chapter considers philological and ethnographic studies by Rudolf Henning, August Meitzen, Otto Lauffer, and Willi Pessler. It also explores use of the traditional German farmhouse as model by reformers and architects Karl Ernst Osthaus, Hermann Muthesius, Richard Riemerschmid, Paul Schultze-Naumburg, Karl Henrici, Heinrich Tessenow, Georg Metzendorf, Fritz Schumacher, and Paul Schmitthenner. Chapter Four, Cellular Form and Collective Life, looks at the melding of social science and biology in the application of cellular structures and metaphors in modern planning. The chapter examines sociologist Albert Schaffle{\textquoteright}s evolutionary schema of human society as organism, Ernst Haeckel{\textquoteright}s Monist philosophy, biologist Oscar Hertwig{\textquoteright}s extension of the Zellenstaat (cell-state) idea into the social sphere. The chapter discusses biologistic models in modern city planning, including garden city proposals of Theodor Fritsch and Ebenezer Howard, utopian and built projects of Bruno Taut, Walter Gropius, Theodor Overhoff, and Richard Kauffmann, the Central Place Theory of Walter Christaller, and community planning theories of Gottfried Feder and others in the Third Reich. The conclusion offers a brief exploration of architecture and planning projects of the Wilhelmine era and beyond, which sought to reconcile the spatial and temporal dislocations of modernity by creating environments that promised to foster close community relations within the urban milieu. This analysis of the village-in-in-the-city idea includes Berlin project by Alfred Messel, Bruno Taut, Martin Wagner, Heinrich Lassen, Paul Jatzow, and others.}, keywords = {Architectural History/Historic Preservation}, author = {Redensek, Jeannette} } @mastersthesis {10109, title = {Marshall Plan Monochrome: The Matrix of Fifties Abstraction}, year = {2007}, school = {Columbia}, abstract = {This dissertation is an examination of the striking proliferation of monochrome painting in Europe in the 1950s through three case studies of artists preoccupied with monochromy and, however covertly, with one another{\textquoteright}s painterly practice: Lucio Fontana, Yves Klein, and Piero Manzoni. As I will argue, the postwar monochrome practiced by Fontana, Manzoni, and Klein did not cite and repeat modernist projects in a passive, naive or unmediated way, but rather exchanged the totalizing, and ultimately transcendental, mission first suggested in the prewar monochrome painting for an economy of immanence, wherein painting is explored and permuted to a point where it is opened onto other practices, from performance to Minimalism and pop, as well as to an involvement with the very term modernist painting most repressed: the body. In the process, the medium is brought to an end point through a last euphoric flourishing in the 1950s. Yet, as I will argue, artists in the 1950s are not working on isolated projects, answering only to the parental prewar avant-garde. By contrast, although without a resultant "ism," painters at this pivotal moment were engaging one another through emergent dialogues played out formally in the practice of painting. In other words, each artist{\textquoteright}s work does not appear to constitute a fully independent oeuvre. The monochrome unified; it provided a paradigm that a sequence of artists, Fontana, Manzoni, and Klein, addressed in order to come to terms with one another, with their own historical context, and with their awareness of the historical gravity of the monochrome.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Jaleh Mansoor} } @mastersthesis {10079, title = {Mass Media Is the Message: Yoko Ono and John Lennon{\textquoteright}s 1969 Year of Peace}, year = {2007}, school = {Maryland}, abstract = {In 1969, against the backdrop of the Vietnam War, multimedia artist Yoko Ono and rock star John Lennon instigated a series of idiosyncratic artistic events designed to spread a universal message of peace. What all these events had in common was the couple{\textquoteright}s keen desire to act as catalysts for change and their willingness to exploit their own celebrity to do so. They had just survived a scandalous year in London in a fishbowl of publicity where the popular press savaged Ono and Lennon{\textquoteright}s love affair and resulting separate divorces. Dealing with the insatiable media had become part of their everyday lives. Why not use this pervasive attention to publicize their own cause and carry their message of peace throughout the world? This simple premise launched a private peace campaign whose artistic message has achieved cult status in our popular culture. This dissertation examines how Yoko Ono and John Lennon{\textquoteright}s 1969 Year of Peace unfolded, how the media covered it at the time, and how people remember it today. By considering the couple{\textquoteright}s art events within the context of the 1960s and then following the path of certain images as they wend their way to the present, Ono and Lennon{\textquoteright}s art acts as a core sample of sixties culture and its legacy. My study situates this artwork against the backdrop of Lennon{\textquoteright}s megawatt rock star celebrity, within the spirit of Fluxus (of which Ono was a founding member), and in the context of the anti-war movement of the time. In a larger cultural sense, I use Ono and Lennon{\textquoteright}s art as a touchstone to explore ideas about gender and ethnicity, the sixties counterculture, the language of everyday life, the nature of celebrity, the psychology of marketing, the role of mass media in society, and the control and manipulation of imagery.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Bari, Martha} } @mastersthesis {10255, title = {Mass-Produced Aura: Thonet and the Market for Modern Design, 1930-1953}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation analyzes the exchange between multinational mass-producer Thonet and architects affiliated with the modern movement including Le Corbusier, Mies van der Rohe, Gropius, Breuer and Lurcat during the interwar decades. Aura is here considered the equivalent of an intangible asset for Thonet, an asset akin to the "good will," that, like most assets, require maintenance in order to not degrade in value. Thonet{\textquoteright}s brand name held an auratic appeal for progressive architects seeking to ally themselves with the productive capacities and the alluring image of industry during the first two decades of the twentieth century. Thonet, in turn, recognized in these progressive architects a source for new furniture designs and a lever by which to pry open markets such as that of the domestic interior that had previously been closed to the firm. In artfully constructing the auratic appeal of its products in relationship to the new aesthetic championed by modern architects, Thonet functioned as an active agent in shaping a new market for modernist design. Thonet{\textquoteright}s corporate strategies and its interaction with European modernist architects in the interwar period prefigure that which emerges in postwar America as the overt integration of modernist design within corporate design culture. Chapters proceed in a roughly chronological fashion, with a focus on Thonet{\textquoteright}s activities during the 1930s. Thonet{\textquoteright}s repeated encounters with the modern movement involve a cycle that mines the auratic potential of brand, signature, lifestyle and institution in order to cultivate new markets for modernism and making for several fruitful decades of mutual instrumentalization.}, keywords = {Twentieth-Century Art}, author = {Lourie, Ariane} } @mastersthesis {10159, title = {Materializing Childhood: An Historical Archaeology of Children in Roman Egypt}, year = {2007}, school = {Michigan}, abstract = {This dissertation investigates the material culture of childhood and the social category of "child" through an examination of artifacts from nonmortuary contexts. These data come from the Egyptian town of Karanis during its Roman occupation, from the first through fifth centuries CE. The research design is built around theory and methods from archaeology, anthropology, psychology, philology, and history. There are physical, biological, behavioral, and cognitive features of the period known as childhood---here, children from roughly 3--12 years of age. The social construction of childhood is also recognized, particularly in studies on the history of the family. In addition to addressing the seminal work of Philippe Aries, there is a survey of Roman literary and documentary sources focusing on such topics as childhood as a distinct stage of life, children at play, and children at work. To explore the integration of historical and archaeological sources, the topic of literacy and education in Roman Egypt are both addressed. This is critical for designing an historical archaeological approach: to appreciate the value and power of writing and words in the past, not just to appreciate what they offer us as sources today. These discussions are then brought to bear on the archaeological and historical context for Karanis. After reviewing key concepts from previous chapters and problems inherent to the site data, this dissertation turns to constructing a typology of children{\textquoteright}s material culture, which revolves around the notion of play or pretense, a concept that also happens to include adult activities. This highlights the fact that agency is a crucial notion when considering artifacts. In order to reconstruct a sense of children{\textquoteright}s experiences at Karanis, the discussion moves to incorporate elements from research on the Roman census in Egypt as a means for highlighting population dynamics at large and the demographic realities of childhood in a high mortality regime. Additionally, the developmental and sociological characteristics of the playthings from Karanis are explored. Overall, an interdisciplinary approach to the subject of children and childhood is offered in the hope of stimulating further work on the topic.}, keywords = {Greek/Roman Art}, author = {Johnson, Karen} } @mastersthesis {10158, title = {The Mausoleum of Augustus: Expanding Meaning from Its Inception to the Present Day}, year = {2007}, school = {Louisville}, abstract = {In this dissertation I examine the meaning of the Mausoleum of Augustus and how this meaning has evolved and expanded over its two thousand years of existence. The discussion of the meaning of the tomb has often been neglected in previous scholarship due to the continuing debates over possible reconstructions of its appearance, probable antecedents for its design and questions concerning its date of construction. I propose the Mausoleum was constructed primarily as a victory monument. This message is conveyed through the use of architectural elements typical of victory monuments that can be found in and around the city of Rome. The construction of the Ara Pacis and Horologium, creating an Augustan complex in the northern Campus Martius, emphasized this message of victory but also expanded it to include the concept of peace. I continue my evaluation of the meaning of the Mausoleum of Augustus by tracing its history from the fall of Rome to the twenty-first century. I present the monument as if the main subject of a biography. I examine its role in the life of the city of Rome as it changed from being a tomb to being used as a fortress, vineyard, statue garden, bull ring, and, finally, a concert hall. These various uses over the centuries affected both the physical appearance of the Mausoleum as well as its meaning to the citizens of Rome. I then examine the role of the Mausoleum in the first half of the twentieth century when it became a centerpiece of Fascist propaganda. In the 1930s Mussolini initiated the excavation and isolation of the monument. It was during this time, that the Piazza Imperatore Augusto was constructed in an attempt to highlight the monument. I suggest that instead of spotlighting the Mausoleum, this work actually ended its vibrant role within the life of Rome. It is only now, at the beginning of the twenty-first century, that Mausoleum is beginning to reemerge as an important part of Rome{\textquoteright}s past and future. This change started with the construction of Richard Meier{\textquoteright}s Ara Pacis Museum and is continuing with the proposed revitalization of the monument and the Piazza Imperatore Augusto.}, keywords = {Greek/Roman Art}, author = {Fugate Brangers, Susan} } @mastersthesis {10091, title = {Meaningful Places: Nineteenth-Century Photography and the Local Landscapes of the American West}, year = {2007}, school = {Iowa}, abstract = {As the early history of photography in America coincided with the Euro-American settlement of the West, the frontier, as Euro-Americans perceived it, offered photographers what seemed like an endless source of subject matter; photographs of Native Americans and landscapes became choice consumer items-for entertainment, for documentation, and for booster material that helped spur western immigration and tourism. However, most photographers in the West were going to great lengths to produce images for their local communities. For settlers, these images were not mere entertainment, but an important means through which they came to understand their new home. Images of their surroundings helped them shape and reshape the meaning of the landscape according to their own cultural imaginings. Photographs could teach residents about where they lived, by revealing nearby sites of natural wonder and local ecological, geological, and ethnographic history. Images could also help them to adjust to their new circumstances by visibly recording the development of a place-revealing domestication, alteration, and improvement, according to Euro-American sensibilities. Western photography was more than simply a documentary tool, however. The medium was also an interpretive vehicle, both for us today as we look back with the benefit of hindsight, and for the photographers themselves and their immediate clients and audiences as they sought to come to terms with their surroundings. This dissertation explores the cultural complexity, not only of photography, but also of western places, and regional socio-political concerns. It also elucidates the inherent tension between the immigrant and Native American views of the land.}, keywords = {Art of the United States}, author = {Sailor, Rachel M.} } @mastersthesis {10233, title = {The Medici Grand Dukes and the Art of Conquest: Ruling, Identity, and the Formation of a Tuscan Empire, 1537-1609}, year = {2007}, school = {Rutgers}, abstract = {Even though the visual assertion of power, prestige, and dynastic identity through art patronage was a long-standing tradition for the Medici in Florence, Cosimo I (r. 1537-1564) and his son Ferdinando 1 (r. 1587-1609) were extraordinarily successful at the manipulation of art as political propaganda. The years 1537-1609 marked a crucial period of territorial expansion and military conquest for the ruling family, resulting in the formation of a unified, absolutist state, the grand duchy of Tuscany. Scholars have overlooked the importance placed by Cosimo and Ferdinando on commissions in the subject cities of their dominio, and as a result, how the formation of a unified Tuscan state affected the visual assertion of dynastic power and ruling identity. My study addresses this lacuna by focusing on two significant sites of Medici patronage during their reigns, one in the center and one in the periphery: the Palazzo Vecchio and the surrounding Piazza della Signoria in Florence, and the Piazza dei Cavalieri, specifically the Palazzo dei Cavalieri and the church of Santo Stefano, in Pisa. Pisa was unique among the cities of the dominio because it was the headquarters of the order of Santo Stefano, an aristocratic knightly brotherhood founded by Cosimo in 1562 to defend the church and the one true faith against the infidel. Under the guidance of Cosimo and Ferdinando, Pisa became a crucial arena for the articulation of Medici power. The popularity of imagery related to the Cavalieri, not only in Pisa but throughout Tuscany, and the sheer number of highly visible monuments connected to the order that were commissioned by the grand dukes clearly illustrates the potency of this iconography. Despite scholars{\textquoteright} long-held belief that Cosimo was the true dynast, previously neglected visual evidence suggests that Ferdinando was even more devoted to the production of artistic propaganda in the family{\textquoteright}s service. Employing the imagery of the Cavalieri, Ferdinando fashioned a truly imperial identity for the grand dukes. He established an art of conquest so potent that it affected the imagery of the following generations of Medici rulers as well as of ruling dynasties throughout seventeenth- and eighteenth-century Europe.}, keywords = {Renaissance/Baroque Art}, author = {Poole, Katherine} } @mastersthesis {10175, title = {Memory, Presence, and Power: The Social Life of Portraits in Peru}, year = {2007}, school = {Harvard}, abstract = {This work covers a wide range of portraits from the pre-Hispanic period to the mid-twentieth century, many of which have not been studied together or at all. Although broad in scope, this study does not pretend to be an exhaustive survey of Peruvian portraiture. Rather, it concentrates mostly on examples from Lima and Cuzco, and is organized thematically into three sections. The first section (Chapter 1) argues that Western European definitions of portraiture are not necessarily applicable to pre-Hispanic material culture; in searching for Inca portraiture, for example, one should discard common expectations of mimesis and focus on the function of Inca mummies, dismembered body parts, and sculpted body doubles, which, despite being non-mimetic, fulfilled Alberti{\textquoteright}s belief in the power of painted portraiture "to make the absent present" and "represent the dead to the living." The next section (Chapters 2-4) explores the relationship between sitters{\textquoteright} bodies and colonial portraiture. The social, political, and religious emphasis the Inca placed on mummified ancestors was culturally abhorrent to the Spanish, but not actually dissimilar to Spanish beliefs in the power of the human body, particularly the bodies of kings, viceroys, and saints, whose presence and power could be transferred to portraits. When Inca descendants were banned from maintaining their mummies and non-mimetic sculptures, they adopted European-style portraiture to portray their ancestors and themselves, creating pictorial lineages that were not only socially acceptable to the Spanish, but also helped to secure political and economic benefices for themselves. The final section (Chapters 5-6) argues that the portrait galleries of viceroys, archbishops, university rectors, and noble families adhered to formal conventions established in sixteenth-century Spain and that through these visual lineages sitters asserted, not their individuality, but their political legitimacy and power through corporate association. Independence and the introduction of cheap photography in the mid-nineteenth century gave more people access to portraiture. Many of the formal conventions of colonial painted portraiture remained popular in portrait photography until well into the mid-twentieth century because modern sitters, like colonial sitters, wanted to construct, convey, and even inflate their social status.}, keywords = {Latin American/Caribbean Art}, author = {Elphick, Nenita Ponce De Leon} } @mastersthesis {10134, title = {Micromosaic Icons of the Late Byzantine Period}, year = {2007}, school = {IFA/NYU}, abstract = {This study examines the creation and proliferation of micromosaic icons during the Late Byzantine Period (1261-1453). The thirty surviving examples are considered as a corpus, which I set within the broader scope of contemporary artistic, theological, literary and political trends. Analysis of the construction of the various types of mosaic icons reveals that larger panels were used in public contexts, whereas micromosaics served as personal devotional images. I next consider the subjects represented and their iconography: the repetition of Christ Chalkites, military saints and sainted bishops offers significant evidence that the original audience for micromosaics consisted of elite males in the military or hierarchy. By comparing micromosaics to well-documented, dated monuments, a chronological and stylistic framework is firmly established. Moreover, close analysis of the construction, style and decorative patterns of micromosaics reveals the evidence of individual workshops. An important aspect of the presentation of icons was the precious frames and texts that embellished them. Two previously un-translated epigrams by the poet Manuel Philes (ca. 1270-1350) include the names of Ioannes Kanabes and the Protostrator Michael Glabas. This is the only known evidence for the identities of specific Byzantine patrons of micromosaics from this period. The arrival of micromosaic icons in Florence and Venice provides a unique lens for comprehending how the phenomenon of "Byzantium" was understood after its disappearance as a political entity. While initially treated as devotional objects, Lorenzo de{\textquoteright} Medici displayed Byzantine micromosaics with contemporary Florentine mosaic panels as an example of the paragone: a dialogue between the art of "antiquity" and the contemporary art that attempted to surpass it. In Venice, contemporary mosaic panels were created by local artists for elite devotional spaces, functioning in a manner identical with the use of mosaic icons in Byzantium. Finally I note the transfer of micromosaic icons from the monasteries of Mount Athos as diplomatic gifts to the Russian Court, where they remained within the context of Orthodox Church practices. This transfer continued until the nineteenth century, and underscores a variety of religious and political subtexts regarding the relationship between the Russian and Greek Churches.}, keywords = {Early Christian/Byzantine Art}, author = {Ryder, Edmund} } @mastersthesis {10254, title = {Mission Impossible? Zacheta National Gallery of Art at the End of the 20th Century}, year = {2007}, school = {Chicago}, abstract = {This dissertation is devoted to reflection about the politics of national identity as expressed in Poland in the 1990s by the exhibition program of the Zacheta National Gallery of Art. The intention is to see how the concept of national identity associated with traditional culture was dealt with in the exhibition practice of Gallery Director Anda Rottenberg, who gave Zacheta in the 1990s a preeminently contemporary profile. The goal was to see whether at the end of the 20th century, in times of intense globalization and of the unification of Europe, the notion of national identity can still be operative, in particular for an institution dedicated to the promotion and presentation of contemporary art associated more with negation than affirmation of the notion of national identity. The analyses trace changes that the concept of national identity underwent and describe how its new understanding is reflected in museum practice. The analyses take into account various aspects of curatorial work, such as the mode of installation of works in the space and the narrative developed by the visual compositions of the presentations. In several cases the shows organized at Zacheta are compared with other exhibitions in order to put into relief features of Zacheta{\textquoteright}s role and functioning that are socially and culturally specific. In order to situate the reflection deeper in the Polish context, the dissertation proposes also a view on the use of national ideology in the organization of shows at Zacheta during the Communist era. Besides analyses of exhibitions{\textquoteright} structures, the ways the audience of the national gallery was imagined and addressed in both periods of Polish history are compared. The study devotes also attention to the audience{\textquoteright}s responses to Zacheta{\textquoteright}s program, while interpreting these reactions as a way of defining the national art gallery by the Polish society. Apart from the articulation of new ways of dealing with the issue of national identity, the reflection attempts to point to those moments in the particular examples of curatorial practice that may become a constructive force for community-building in today{\textquoteright}s world.}, keywords = {Twentieth-Century Art}, author = {Lisiewicz, Malgorzata} } @mastersthesis {10235, title = {Models of Virtue: Images and Saint-Making in Colonial Puebla (1640-1800)}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation examines the visual iconography of local candidates for sainthood in the art of colonial Puebla from the middle of the seventeenth century to the end of the eighteenth. The cult of the saints was central to the religious culture of this devout Catholic society and one hundred years after the Conquest of Mexico, the citizens of the newly Christianized land of New Spain still had no recognized saints of their own. To elevate their candidates to the altars in Rome, local patrons had to successfully navigate the new more rigorous juridical procedure for beatification and canonization established by Urban VIII (1623-1644). These requirements resulted in a prolonged process of negotiation between local proponents of these causes and the Congregation of Sacred Rites. Generations of local patrons continued to remodel their venerables to better comply with Roman standards and inspire local devotion. Taking as a point of departure the sociological concept that the constructed image of a saint is a reflection of a society{\textquoteright}s ideals, this study traces the development of the iconography of Puebla{\textquoteright}s three most promising colonial candidates: Sebastian de Aparicio (1502-1600), Maria de Jesus Tomelin (1579-1637), and Juan de Palafox y Mendoza (1600-1659) over the course of their long campaigns. Ultimately, none of colonial Puebla{\textquoteright}s candidates for sainthood was ever canonized, but the hagiographic process transformed each individual into an idealized representative of the social group promoting the cause. This study first explores Puebla{\textquoteright}s own collective self-representation in historical chronicles, the role of the cult of the saints in Puebla{\textquoteright}s society, and the development of local hagiography. The three case studies that follow outline the history of each individual{\textquoteright}s cause for sainthood and the development of his or her hagiographic legend and demonstrate how their iconography in prints and paintings continued to respond to both the requirements of the Roman canonization process and the changing needs of local patrons.}, keywords = {Renaissance/Baroque Art}, author = {Shean, Julie} } @mastersthesis {10048, title = {Modernity, Sanitation, and the Public Bath: Berlin, 1896-1933, as Archetype}, year = {2007}, school = {Duke}, abstract = {This dissertation documents and analyzes the architecture of the working-class bathhouse-its emergence in the nineteenth-century and revision and continued elaboration in the twentieth. It is a case study that examines how social ideas about modernity, health, and the body were translated into the built environment at a formative moment in Western urbanization. The first two chapters take a transnational perspective, with a survey of several urban centers (London, New York, Montreal). Chapter Three and Four focus in on Berlin as the central case study. The hygiene movement was deeply concerned with the built environment from its inception. Concepts of circulation and order were imbued with powerful health values, producing designs for the bathhouse that emphasized separation, regulation and a radically simplified space. Changing concepts of public life and the civic body shaped architectures of hygiene and inflected their decorative programs. A historical, spatial narrative of architecture and the body politic is opened up by a history of the bathhouse, which crosses Old World-New World, Historicist-Modernist, and Wilhelmine-Weimar boundaries. The substance of this research is drawn from previously unexamined archival and archaeological evidence from city bathhouses constructed in Berlin during the Wilhelmine period (Turmstrasse, Schillingsbrucke, Baerwaldstrasse, Dennowitzstrasse, Oderbergerstrasse and Gerichtstrasse Volksbadeanstalten), as well as the Weimar period (Mitte and Lichtenberg). The discussion of Weimar bathhouses includes a reading of Strandbad Wannsee (Martin Wagner, Richard Ermisch), Stoedieck and Poelzig{\textquoteright}s plans for the Thermenpalast (1929), and the graphic record of Heinrich Zille{\textquoteright}s Rund um{\textquoteright}s Freibad (1926). Critical perspectives rooted in the spatial politics of Lefebvre, Bourdieu, Benjamin, and Althusser help evaluate bathhouse architecture as a representational medium, a productive gadget, and a medical technology. The resulting history argues not only that social hygiene played different kinds of roles in the development of modern architecture, but also that changing concepts of the hygienic body generated diverse modes of interaction between the individual and the public sphere.}, keywords = {Architectural History/Historic Preservation}, author = {Dillon, Jennifer} } @mastersthesis {10081, title = {The Most Radical Act: Working toward a Materialist Aesthetic in Theodor Adorno, Harold Rosenberg, Barnett Newman and Ad Reinhardt}, year = {2007}, school = {UT Austin}, abstract = {The problematic of art and politics, of cultural form and ideological motive, the political dimension of the aesthetic and vice versa, is at the root of many of studies of post-war American art. Depending on the author, this is the moment of the avant-garde{\textquoteright}s complete depoliticization, or its politicization in the wrong direction; it is the moment when emancipatory politics is lost from art, or when it simply merges, along with art, into the rest of everyday life. This dissertation addresses this problem as well, but it suggests a vantage point and an example in which the energies of progressive Leftism at this moment are neither lost to conservative reaction nor hidden in increasingly exotic counter-cultural forms or in dense academic theorizing but staged, almost transparently, in the classic forms and traditional terms of socialist debate: anarchism vs. communism, the division of labor, self-alienation vs. self-realization, etc. The vantage point is located by the culture critic Harold Rosenberg. In the first half of this dissertation I focus on Rosenberg, particularly his concept of Action Painting. Against its common reading as referring to unbounded painterly spontaneity, I take Action Painting, informed by Marx{\textquoteright}s philosophy of action, as outlining a materialist aesthetic grappling with the outstanding conundrums of revolutionary dialectics. It is with this re-vamped conception of Rosenberg{\textquoteright}s criticism that I frame and enter the second part of the dissertation, a sustained comparison of Barnett Newman{\textquoteright}s and Ad Reinhardt{\textquoteright}s paintings and writings. Action Painting provides the theoretical arena in which to examine these two painters{\textquoteright} negotiations of artist and worker, art and labor, artwork and commodity, process and thing, theory and practice, freedom and necessity. It is within such a framework that I am able to indicate how political commitments and painting practices cohere in Newman{\textquoteright}s and Reinhardt{\textquoteright}s work. The socialist struggle over true revolutionary identity is here, both figured and grounded in the very act of painting, in Action Painting.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Marie, Annika} } @mastersthesis {10232, title = {The Munich Kunstkammer: Art, Nature, and the Representation of Knowledge in Courtly Contexts}, year = {2007}, school = {UC Santa Barbara}, abstract = {The Kunstkammer that Albrecht V, Duke of Bavaria (reg. 1550-1579), founded in Munich in the 1560s was one of the largest in Central Europe and among the first princely collections explicitly conceived as a site for the storage and production of universal knowledge. It was distinguished by its particular emphasis on the representation of the territory and dynasty of its founder and the ubiquitous use of documentary imagery. My dissertation focuses on these aspects of the collection, and inquires into the functions the Kunstkammer served in the context of this Counter-Reformation court. I argue that it was conceived to play a role in the larger program of the centralization of Albrecht{\textquoteright}s power and the territory{\textquoteright}s confessionalization in the wake of the Council of Trent. Throughout this dissertation, I analyze the collection{\textquoteright}s connection to the museological treatise published by Samuel Quiccheberg at the Munich court in 1565. The Kunstkammer was a product of the topical tradition, and it can be understood as a translation of printed encyclopedic projects into the realm of objects. This means that the collection was meant to serve fundamentally pragmatic functions; it was perceived as a site for the representation and production of knowledge considered useful for the governance of the territory. On the basis of my research in the archives and rare book collections in Munich, I anchor my analysis of the Kunstkammer{\textquoteright}s epistemology in the context of the intellectual milieu of the Bavarian court. Looking at how the collection was structured by its confessional context, I analyze the function of objects documenting wondrous natural events throughout the territory, and elucidate the particularly Catholic approach to natural prodigies and their role in confessional argument. Finally, I inquire into period perceptions of the epistemological status of documentary imagery, relating the reproductions of natural objects in the Kunstkammer to the use of reproductions of body parts and the function of images within votive practice, and to the natural-philosophical discourse about the powers of art to reproduce nature.}, keywords = {Renaissance/Baroque Art}, author = {Pilaski, Katharina} } @mastersthesis {10214, title = {Murillo{\textquoteright}s Devotional Paintings and the Late Baroque Culture of Prayer in Seville}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation examines Murillo{\textquoteright}s production of devotional paintings within the wider context of the religious culture in Seville at the end of the Golden Age. The diversity of Murillo{\textquoteright}s devotional output, from small intimate canvases to large-scale altar paintings, challenges traditional definitions of the devotional image as small, non-narrative and essentially private works of art. This study proposes a new definition of the devotional image in the Golden Age that corresponds to the emphatic spirituality that flourished in Seville during the seventeenth century, in which pious displays were performed publicly with self-conscious display. Within this baroque climate of obligatory religious compliance, Murillo{\textquoteright}s religious paintings became desirable symbols of social and economic status as well as personal piety to a diverse assembly of ecclesiastical and secular patrons. These collectors used Murillo{\textquoteright}s devotional images to publicly proclaim their financial success, civic loyalty to the city{\textquoteright}s cults, and conformity to the dominant religious culture. Following the catastrophic plague of 1649, Seville{\textquoteright}s artistic patrons sought reassuringly beautiful images of spiritual communion. Murillo{\textquoteright}s characteristically aesthetic religious paintings facilitated the spiritual encounter and supported the theological justifications for the efficacy of images as aids to devotion. Eschewing the narrative images of suffering and persecution, Murillo{\textquoteright}s paintings of the Holy Family and ecstatic saints demonstrate the reward that comes from faith and prayer in the spiritual union with the divine. This thesis presents an overview of Murillo{\textquoteright}s religious output, and seeks to understand how Murillo{\textquoteright}s depictions of conventional devotional themes surpassed those of his contemporaries in serving the unique spiritual needs of Sevillan society at the end of the Golden Age.}, keywords = {Renaissance/Baroque Art}, author = {Duffy-Zeballos, Lisa} } @mastersthesis {10131, title = {Narrating Sanctity: The Narrative Icon in Byzantium and Italy}, year = {2007}, school = {Chicago}, abstract = {Novelty in Byzantium seems a paradox. Yet, in the late twelfth and early thirteenth centuries a visual format emerged that was indeed novel to the Byzantine visual tradition. Displaying the portrait of a saint surrounded by episodes of his/her life in the medium of panel painting, this format, known as the "narrative icon", soon became a formula. It is also evident in Italy for depictions of that charismatic figure of the duecento - St. Francis. What was the significance of the narrative icon for Byzantium and Italy? How did it relate to the other decisive and lasting visual innovations introduced in the same period in both the Byzantine and Italian contexts? Why did this format continue to flourish well into the post-Byzantine world? This dissertation attempts to answer these questions. In doing so, it emphasises the need to examine the concepts of {\textquoteright}sanctity{\textquoteright}, {\textquoteright}representation{\textquoteright}, and {\textquoteright}image{\textquoteright} as each was being reconfigured in the twelfth and thirteenth centuries.}, keywords = {Early Christian/Byzantine Art}, author = {Chatterjee, Paroma} } @mastersthesis {10038, title = {New Center, Old Periphery: Race, Identity, and Regional Thematic Influences in Afro-Brazilian Art}, year = {2007}, school = {Iowa}, abstract = {This dissertation examines modern (1922-1984) and contemporary (1985-2006) Afro-Brazilian art from the perspectives of both Latin American and African art history. The growth in interest in Afro-Brazilian art is related to the Brazilian social, historical, and art historical contexts, as well as to the development of the American study of artwork from the African Diaspora. The text provides an overview of the way Afro-Brazilian art has been approached by individuals in the United States and Brazil, and outlines the predominant trends, and limitations of the discourse to date. Specifically, the roles that race, identity, and regional thematic influences play in relation to Afro-Brazilian art are examined. Historically, Europe was considered the cultural center in the center/periphery model and Brazil was part of the periphery. I argue that during the post-colonial period, scholars in the United States have identified Africa as the cultural center in their examinations of the Diaspora. As a result, Afro-Brazilian art that most closely follows African cultural and artistic models is given a central role in the academic studies and exhibitions. This dissertation also explores how some of the theoretical concerns put forth in contemporary African art criticism apply to Afro-Brazilian art. The works of four artists are used as a lens through which to view some of the trends in Afro-Brazilian art from 1970 to 2006. These individuals were chosen to represent different media, geographical locations, and artistic ideologies. Painter Abdias do Nascimento (b. 1914), and multi-media artist Ronaldo Rego (b. 1935) are both modern artists located in Rio de Janeiro. Photographer Eustaquio Neves (b. 1955) from Diamantina, Minas Gerais, and multi-media artist Rosana Paulino (b. 1967) from Sao Paulo, are the two contemporary artists discussed in-depth. The examination of modern and contemporary Afro-Brazilian artwork reveals shifts in collective versus individual identity, and changes in the way that African-descendent artists use their work to fight race-related challenges in Brazil. This dissertation is largely based on primary research conducted in Brazil, including interviews with artists, curators, and scholars.}, keywords = {African Art (sub-Saharan)}, author = {Cleveland, Kimberly L.} } @mastersthesis {10114, title = {New Media Anxiety: Art History and the Problem of Modern Technology}, year = {2007}, school = {Cornell}, abstract = {New media forms intensify the effects of modern technology on both artistic production and its canonical scholarly reception. Indeed, advancements in computational technologies may have transcended the perspective of a mechanical era, ushering in new questions of aura and agency as regards new media versus high art. Both compelling and problematic for their largely military-industrial origins, electronics and the digital stretch the limits of art theory, criticism, and practice. This investigation considers the influence of modern technology upon contemporary artistic production, and how scholars assimilate that art into a cogent intellectual history. Chapter One introduces a historical context for the canonical reception of advanced technological media. Beginning with the problem of photography and its split nature as both a mechanical tool for {\textquoteright}scientific{\textquoteright} observation and an expressive medium for an artist{\textquoteright}s unique vision, I identify the reverberations of this dualism on subsequent artistic movements and advanced technological forms. Surveying the reception of art and technology in the American academy, this chapter chiefly considers the significance of high art/low culture debates to prevailing canonical responses. Chapter Two brings the dimension of commercialism to this discussion, through an examination of its role in defining the artistic avant-garde. By analyzing the so-called collapse between aesthetic and commercial objects under the duress of capitalism, this writing elucidates the western canon{\textquoteright}s theoretical apprehensions around electronics and the digital. Chapter Two also considers the impact of postmodern identity politics and social reality of globalization, relative to the foregoing discussions. Chapter Three analyzes what ideological discord is stirred in the coming together of the socially-defined minority artist and media art, especially as it relates to global movements in contemporary production. Finally, it offers a model of embodied engagement with electronics and the digital that brings the intellectual vitality of new media studies to the rich legacy of art history. This exploration offers a language for art that is deeply engaged with media technologies, and a theoretical bridge that links the resources of recent new media scholarship with dominant western art historical discourses. In analyzing the anxious interface of art and technology, this work acknowledges their symbiotic relationship.}, keywords = {Contemporary Art}, author = {Soraya Murray} } @mastersthesis {10041, title = {New Rationales for Neues Glas: Architectonic Considerations in Postwar German Glass Installations}, year = {2007}, note = {CAA additional advisor: V. Raguin}, school = {Virginia}, abstract = {This dissertation addresses a critical lacuna in current perspectives on large-scale glass window installations since 1945, generically but inaccurately identified as "stained glass." The most influential postwar glass artists disseminated manifestos defining their design strategy as an applied art with intentional semiotic or compositional links to architecture and spatiality. They viewed traditional stained glass approaches as painterly, figurative, or didactic illustrations that merely filled apertures in the building fabric, otherwise lacking direct connections to architecture. In contrast, their program concepts effectively commemorate historical and archaeological narratives by emblematizing architectural elements, color hierarchies, and motifs excerpted directly from the host site, or known to exist in the past. In the process, Neues Glas designers often considered the same regional architectural distinctions and complicated restoration narratives as preservationists. As this dissertation asserts, Germany{\textquoteright}s postwar reconstruction stimulated the unique conditions that gave rise to this significant conceptual departure in glass design, unparalleled in France, England, or other countries damaged during the war. Decimated by Allied bomb raids, innumerable landmarks required provisional and eventually permanent glazing replacements. A pervasively shattered sense of national identity demanded aesthetic responses that reinforced Germany{\textquoteright}s positive contributions to world culture without glossing over its complicity in the Holocaust. Additionally, traditional religious imagery in historic cathedrals or hastily constructed modern churches seemed irrelevant or impotent in a cynical, guilt-ridden, post-Holocaust society, necessitating new symbols and iconographies on altered platforms of meaning, leading to the use of quotidian symbols (i.e., stock market reports, fingerprints, EKG strips) to encapsulate theological meaning. Designers also experimented with light effects as metaphorical spaces, allowing {\textquoteright}room{\textquoteright} ( Raum) for the cultivation of moral regeneration. Clear or opaque glass screens subsequently activated the use of glass as a metaphor for moral transparency, foreshadowing Sir Norman Foster{\textquoteright}s symbolically transparent dome on Berlin{\textquoteright}s Reichstag by three decades. This unique conceptual innovation in glass has yet to be satisfactorily defined by a specific term in historical surveys. Formerly pinioned by its subsidiary status as a decorative art, glass as an architecturally linked design development, within the expanded context of postwar culture, receives its first critical analysis in this dissertation.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Mulder, Karen L.} } @mastersthesis {10230, title = {Nicodemus Tessin the Elder and German Artists in Sweden in the Age of the Thirty Years{\textquoteright} War}, year = {2007}, school = {Princeton}, abstract = {This dissertation examines the work of artists---nearly all of German origin---who migrated to Sweden during and after the turbulent years of the Thirty Years{\textquoteright} War (1618-1648), where they established a vibrant new artistic center. Stockholm thus gained an artistic standing commensurate with its tremendous international stature attained during the reigns of King Gustaf II Adolf and Queen Christina. The underlying thesis is that early modern German art as it is understood today is a fragment defined by later political boundaries. Since the nineteenth century the Scandinavian courts have been considered independently, largely because the beginnings of academic art-historical writing coincided with a tremendous rise in national sentiment in northern Europe in the later nineteenth century. The arts produced there were cast as reflections of a national character, even though they were the work of painters and sculptors from outside of the kingdom. They have thus been left out of a broader historiography concerned with German culture as a whole---an absence that has left the Scandinavian courts adrift and the perception of German art in the seventeenth century poorer. In cultural terms, then, Stockholm and Copenhagen are here considered the northernmost of a fundamentally related group of courts also including Vienna, Munich, Prague, Dresden and Berlin. The core of the work is an extended study of the career of the architect Nicodemus Tessin (1615-1681), demonstrating how an ambitious talent from Germany could have an important career in this period. Tessin began his career as a fortifications engineer, but soon turned primarily to civil architecture, and built a number of important buildings around the kingdom of Sweden. Joachim von Sandrart includes a short biography of him in the Teutsche Academie, and discusses several of his palaces. The influential architectural theorist Leonhard Christoph Sturm promoted some of Tessin{\textquoteright}s work as a model for princely architecture, and the topographical survey Suecia antiqua et hodierna ensured a broad circulation of his ideas. Through these means, Tessin{\textquoteright}s work and the general cultural legacy of the Stockholm court found an audience outside of the kingdom, but almost exclusively within the Holy Roman Empire.}, keywords = {Renaissance/Baroque Art}, author = {Neville, Kristoffer} } @mastersthesis {10055, title = {No Lawn to Mow: Co-ops, Condominiums, and the Revolution in Collective Homeownership in Metropolitan America, 1881-1973}, year = {2007}, school = {Harvard}, abstract = {This dissertation is a history of collectively owned multifamily housing in America. It explores a century of homebuilders{\textquoteright}, architects{\textquoteright}, lenders{\textquoteright}, and policymakers{\textquoteright} experiments with cooperative, condominium, and own-your-own apartments, garden apartments, and attached houses as a solution to a variety of housing problems. It focuses on the metropolitan areas where this kind of housing was initially most common-New York, Chicago, and Washington, D.C. before World War II and greater New York, Southern California and Southeast Florida after-from first introduction of the co-op in the late 1870s through the early l970s, when the physical typologies and ownership arrangements that prevail today became popular. Most urban, social, and architectural historians focus on building and community typology-the detached suburban house and the modern high-rise-rather than questions of buildings{\textquoteright} social and economic functions in narratives of American urban change. As a result, they have overlooked phenomena like the condominium, which is a shape-shifting container rather than a physical form. While initially an experimental type of housing for the rich and avant-garde in Manhattan, by the 1960s collective homeownership had become popular in every U.S. city. Today, more than one in eight U.S. homeowners purchases a co-op, condo, or suburban-style townhouse rather than a house. Their ubiquity demands reconsideration of conventional explanations for urban form in the U.S., which typically posit that culture, business interests, and government have privileged the production of suburban detached houses at the expense of other kinds of dwelling. The history of collective homeownership in America unfolds in three periods: chapter one explores its first introduction from 1881 to 1915, chapter two considers its popularization in several cities from 1920 to 1929, and chapters three, four, and five examine its rise to national prominence from 1946 to 1973 through the examples of New York, Southern California, and Southeast Florida. Throughout these years, co-ops, own-your-owns, condominiums, and suburban-style townhouses appealed to homeowners because they collectivize home and yard maintenance, allow broader ownership of popular locations than detached houses, meet the design needs of a greater variety of families and individuals than detached houses, and offer unique combinations of privacy and community.}, keywords = {Architectural History/Historic Preservation}, author = {Lasner, Matthew Gordon} } @mastersthesis {10173, title = {Nou La, We Here: Remembrance and Power in the Arts of Haitian Vodou}, year = {2007}, school = {Maryland}, abstract = {Haitian Vodou is vast, accumulative, and constantly in flux, drawing from many sources and traditions as it adapts to changes in the world, as well as to the needs and imaginations of its adherents. With its origins in west and central Africa, along with the strategies for transformation that are at the heart of many religions there, Vodou developed into its current form as a response to forced transatlantic migration, enslavement, encounters with Amerindian traditions, Catholicism, Freemasonry, the complications that emerged in the quest for liberty, the consequences of a successful slave revolt, and the establishment of an independent state. It is largely the last three points that contribute to Vodou{\textquoteright}s strong military ethos, and with that, Vodou{\textquoteright}s focus on liberation. Based on field research between 2000 and 2004, in Washington, D.C. and in Haiti, this dissertation examines Vodou visual arts in relation to Haiti{\textquoteright}s revolutionary history, and how the arts articulate related themes of militarism, liberation, and resistance. Central to this study is remembrance, or the active and purposeful remembering of diverse lived experiences that practitioners evoke, express, and promote through visual and performing arts. Remembrance includes the historical, socioeconomic, political, and sacred realities that shape Vodou practice today and thereby provides a larger context for interpreting visual expressions. Equally important to this interpretation is the sacred world, which includes the spirits, the ancestors, and Vodou cosmological principles. Along the lines of remembrance and the sacred world, this dissertation examines the sacred spaces, altars, and power objects that practitioners create with their own aesthetic sensibilities and cosmological interpretations. It considers how practitioners actively remember and engage the past to empower themselves and their communities in the present. By weaving together the historical, social, the political, and the cosmological, along with an emphasis on practitioner agency, this dissertation underscores the transatlantic scope of Vodou visual creations. In doing so, it brings into focus just how pragmatic this religion and its objects are, and suggests how visuality offers people a sense of self-determinism in their lives.}, keywords = {Latin American/Caribbean Art}, author = {Brice, Leslie} } @mastersthesis {10061, title = {The Optimum Aesthetic: Environment, Lifestyle, and Utopia in the Postwar Czech Architectural Discourse}, year = {2007}, school = {Harvard}, abstract = {The pas de deux of ideology with a capital "I" produced by party and state officials and ideology as the constellation of narratives that the Czech architectural profession relied on to propel its daily activities was a peculiar Second World dance, unlike anything that the postwar First World architects experienced. Proposing that the Second World specificity of postwar Czech architecture is located in its continual disciplinary struggle to describe and approximate its own ideological role within the larger logic of the building of socialism in Czechoslovakia, this dissertation reconstructs the postwar Czech project of optimizing architecture. The project of constructing utopia through optimizing its architecture was completely prefigured by the Second World{\textquoteright}s central myth-class struggle coming to an end in socialism-and was anticipated in the mid 1940s and reformulated in the 1950s and 1960s within the same underlying ideological framework. This dissertation examines three different instances of the Czech postwar discourse that correspond to each of these decades and were directly involved in articulating what was at stake in architecture under socialism. The work begins with the last pre-war years of the Czech functionalist discourse and the wartime expansion of functionalism that introduced the issue of poly-functionality as the appropriate architectural analytic. At the threshold of the socialist era in Czechoslovakia, in the immediate postwar theoretical work of Karel Honzik, Bohuslav Brouk and Ladislav Zak, poly-functionality tended towards the conception of lifestyle both as an analytic and as its specifically socialist manifestation. The post 1948 work of Karel Honzik continued the thread of lifestyle into the 1950s and 1960s. This dissertation follows Honzik{\textquoteright}s work in detail setting up the larger disciplinary context around it, eventually examining the discussion around the most important architectural project of the late 1950s: the Czech pavilion for the 1958 Brussels Expo, which solidified the program for a total, synthesized work of architecture, whose purported "synthetic totality" was its ultimate message. The only way to figure utopian aspirations at the moment of the loss of utopia{\textquoteright}s image from within it-both spatially and temporally-was still through a spatial concept, a synthetic environment. The hopeful and reformist 1960s were in large part still determined by the ideological tentacles from the previous era, as all of the aspects of the 1960s reform were imagined from within the system. From an increasingly differentiated architectural field, this dissertation singles out the practice of a particularly progressive group of architects from Liberec in the 1960s. Their work and practice are seen as one of the few plausible alternatives to a neo-avant-garde that the Second World could offer. What is at stake in this work is, on one level, a basic introduction of some of the trends of the architectural discourse of socialist Czechoslovakia. On another level, even though we know the class-less society of the Second World to have been a myth, its products and practices were determined by its utopian aspirations, both sincere and ideological. The only way to release those aspirations is by smashing open the products and practices in question against the ideology that allowed and requested their existence, while accepting the "naive sincerity" released in the process as a manifestation of the indispensable ghost of our own utopias.}, keywords = {Architectural History/Historic Preservation}, author = {Miljacki, Ana} } @mastersthesis {10216, title = {Papal villeggiatura in Early Modern Rome: Poetry, Spoils, and Stucco at Raphael{\textquoteright}s Villa Madama}, year = {2007}, school = {IFA/NYU}, abstract = {Villa Madama is famous as the first Roman Renaissance villa to recreate the heroic scale and grandeur of ancient architecture, and for its striking setting overlooking Rome. For its patrons, Pope Leo X Medici and Cardinal Giulio de{\textquoteright}Medici (later Clement VII,) the villa served dual functions as a Medici villa suburbana and as a papal hospitium to welcome foreign dignitaries-a pastoral outpost of the Vatican. Here, Raphael had a rare opportunity to design architecture and decoration together from the start. The result was the grandest early ensemble integrating many media, which he achieved through the newly revived material of stucco. This is the first art-historical study of Villa Madama{\textquoteright}s decorative complex. It considers as an ensemble the villa{\textquoteright}s architecture, ornament, painted and stucco decoration, ancient and Renaissance sculpture, landscape, and waterworks. This study is based on an extensive photographic campaign at the villa, archival research, and analysis of little-known neo-Latin poems celebrating the villa. These panegyrics, together with Raphael{\textquoteright}s epistolary description and visual materials, offer a new view of the villa and the processes of its design. Curial humanists functioned as propagandists, but their role in transforming ideology into visual imagery is little understood. I argue that their contribution was not simply a "program," but rather, basic conceptual structures, encompassing spatial, functional, and ideological constructs. These ideas are embodied throughout the villa complex: in the disposition of antiquities, decorative imagery, garden elements, and in the architecture itself. I trace patterns of collaboration, addressing issues of architectural authorship and reconfiguring the image of the "humanist advisor". Antiquities played a fundamental role in the design process. I explore how a haphazard assemblage of Medici sculpture and spoils was recontextualized into a coherent decorative and conceptual ensemble. Stucco emerges as the unifying signifier of Raphael{\textquoteright}s novel architecture at Villa Madama. Not just the material of marginal, grotesque decoration, stucco was used in a stunning variety of new ways: it enveloped the entire structure inside and out, articulating architecture, ornament, decoration, and narrative elements. For Raphael and his associates, stucco became a protean substance, which in turn, transformed attitudes toward art and artifice.}, keywords = {Renaissance/Baroque Art}, author = {Elet, Yvonne} } @mastersthesis {10119, title = {The Periphery Within: Modern Architecture and the Making of the Third World}, year = {2007}, school = {MIT}, abstract = {This dissertation examines the critical role played by modern architecture and planning in shaping the discourse on Third World development after the Second World War. At stake here is an ignored dimension of the history of modern architecture and planning as well as that of the development discourse that sheds important light on the relationship of both these discourses to the trajectories of global domination and control. Critiques of development have largely focused on how the economic approaches proposed by international institutions such as the World Bank and the UN have favored the financial and political agendas of global industrial powers. This dissertation argues that design practices like architecture and planning-usually thought to be concerned only with shaping the physical environment-have also played a significant role in shaping the key assumptions of the development discourse, from the existence of urbanizing masses caught between demands of tradition and modernization to the exploding Third World city that is unable to manage its emergence into modernity. After the Second World War, as modern architecture began to lose its disciplinary footings as a medium of social reform in the industrialized world, modern architects and planners found tremendous opportunities as "experts" in programs of Third World development. The United Nations Housing Town and Country Planning section (HTCP), headed by Ernest Weissmann, a member of Congres International d{\textquoteright}Architecture Moderne (CIAM), sent out hundreds of missions, featuring famous housing and planning names such as Charles Abrams, Otto Koenigsberger, Catherine Bauer, and Jacob Crane, among others. These missions produced master plans for cities from Singapore (recounted most famously by Rem Koolhaas in SMLXL) to Kabul to Beirut to Lima to Lagos, organized numerous conferences, and set up planning and public administration bodies, building research centers, and schools of architecture all over the decolonizing world. This dissertation examines this wide range of activity to identify particular modes of social and economic intervention, such as self-help architecture, "core" housing, and regional planning, that were able to negotiate the demands of postcolonial nation-states, the Cold War geo-political context, and the agendas of institutions of international finance emerging after the war.}, keywords = {Critical Theory/Gender Studies/Visual Studies, World Art}, author = {Muzaffar, M. Ijlal} } @mastersthesis {10172, title = {Peronism and Abstract Art in Argentina, 1943-1945}, year = {2007}, school = {UT Austin}, abstract = {This dissertation analyzes the production of the Concrete and Madi artists, who were active in Argentina in the 1940s and 50s. Concrete and Madi artists proposed, for the first time in this country, the need for an art that was completely different from representational and expressionist art, and they believed that their "inventions," both visual and linguistic, could foster social change. Many aspects of the journal Arturo, published in 1944, and of Concrete and Madi art continue to be a puzzle, such as their relation with past and contemporary artistic and intellectual productions, their relation with the volatile Argentine political climate of the 1940s and 50s, and their ultimate artistic significance. This study interprets the propositions of these artists as responsive to phenomena they experienced in an immediate manner in the time and place in which they lived. The dissertation thus contextualizes Concrete and Madi art in five scenarios: publications by Spanish emigres and Argentine writers which explored the concepts of "automatism" and "invention;" discourses about "Nazism" and "democracy," and about "civilization" and "barbarism" that emerged through literary periodicals of the mid-1940s; political propaganda displayed under the rule of Juan Domingo Peron (1946-1955); the development of modern-looking and functional architecture fostered by Peronist architectural policies; and the artists{\textquoteright} dialogues with the ideas of musicians then living in Argentina and Brazil. Ultimately, the dissertation constructs dialogues between specific instances of Argentine cultural and political history of the 1940s and 50s, and a selection of Concrete and Madi works and writings.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Pozzi-Harris, Ana Jorgelina} } @mastersthesis {10086, title = {Philip Guston{\textquoteright}s {\textquoteright}Return to Figuration{\textquoteright} and the Crisis in the Humanities}, year = {2007}, school = {Yale}, abstract = {If there is one thing that the thirty-three paintings Philip Guston exhibited in 1970 at the Marlborough Gallery in New York City are known for, it is their audacious and unfashionable "return to figuration." This dissertation examines these contentious paintings{\textquoteright} engagement with figuration-evident both in their willfully crude imagery and their resurrection of the artist{\textquoteright}s past motifs-as part of Guston{\textquoteright}s response to a {\textquoteright}crisis in the humanities.{\textquoteright} This crisis, arising amidst the grisly revelations of inhumanity following the Second World War and the emergence of radically new forms of information technology, found its most cogent articulation in the second half of the 1960s when a growing number of intellectuals and artists denounced traditional aesthetic forms such as narrative and metaphor (i.e. figuration) for what was seen as their intrinsic duplicity and obsolescence in a thoroughly mediated world and in turn questioned the possibility of authentic subjective expression. As someone who was not wholly willing to abandon the humanistic legacy yet recognized its failings Guston attempted to {\textquoteright}figure{\textquoteright} this dilemma and like many other artists working in the 1960s, turned to the discourse of history as a means to represent a present that appeared increasingly resistant to representation. Recognizing the non-mimetic and specifically temporal aspects of figuration-understanding the trope as a mode of substitution, as in metaphor of metonymy-reveals how Guston and many of his contemporaries engaged in what could be called alternative forms of figuration. These non-morphological modes of figuration, which posit {\textquoteright}the literal{\textquoteright} rather than {\textquoteright}the abstract{\textquoteright} as their antithesis, have been typically overlooked in previous accounts of the period. By reconsidering this foundational opposition within the discourse of modernism this dissertation, besides providing the most comprehensive account of Guston{\textquoteright}s art to date, strives to fundamentally reassess the history of postwar American art.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Robert Slifkin} } @mastersthesis {10171, title = {Pictured Words and Codified Seasons: Visualizations of Waka Poetry in Late-Sixteenth- and Early-Seventeenth-Century Japan}, year = {2007}, school = {Columbia}, abstract = {This study examines the ways in which visualizations of waka, the thirty-one-syllable Japanese court poetry, played a critical role in the propagation of the courtly aesthetic and the poetic worldview during the late sixteenth to early seventeenth centuries. Three case studies address distinct yet interrelated functions served by visualizations of poetry: promotion of a cultural legacy, transmission of knowledge, and display of cultivation and status. The pictorial lexicon Book of the Fan (ogi no soshi) communicates important concepts of waka poetry through its unique juxtaposition of poem and image. The illustrated late medieval narrative Forty-two Debates (Shijuni no monoarasoi) directly associates poetic knowledge and its courtly origins with the notion of a learned individual. Screens with poetry sheets (shikishi) utilize "old verse" (koka) as a trope, equating the ownership of material objects with the possession of cultivation. Each based on pictorial precedents rooted in the Heian imperial court---namely poem-picture (uta-e), immortal poet pictures (kasen-e), and folding screens adorned with poem squares (shikishigata)---the works discussed in this study powerfully infuse early pictorial traditions with new life, reinventing and redefining the significance of waka in the cultural context of the late sixteenth and early seventeenth centuries.}, keywords = {Japanese/Korean Art}, author = {Sakomura, Tomoko} } @mastersthesis {10155, title = {Pierre-Paul Prud{\textquoteright}hon (1758-1823) and the Problem of Allegory}, year = {2007}, school = {Harvard}, abstract = {This dissertation critically examines the allegorical imagery of Pierre-Paul Prud{\textquoteright}hon. The artist displayed a studied interest in the limits and possibilities of allegory, creating allegories in disparate media, and inserting allegorical significance into projects where it was not expressly necessary. In order to understand his allegorical oeuvre and the problematic of allegorical representation at the turn of the 19th century more deeply, this dissertation studies Prud{\textquoteright}hon{\textquoteright}s work in the context of the discussions about allegory that were taking place at the time. The chapters are organized thematically, addressing four of the central points explored in contemporary analyses of allegory. They are described as "problems" in this dissertation because they are portrayed by 18th - and 19th-century texts as posing complications or obstacles to the legibility of visual art: the problem of text (the literary origins of allegory and their conversion into visual terms in art); the problem of meaning (the stakes and consequences of the viewer misreading visual allegory); the problem of ekphrasis (the difficulties inherent to the process of explaining the elements of an allegorical scene and construing them as an interpretative whole); and the problem of the modes of signification (the distinctions between personification, symbolism and metaphor). While all of these problems coexist simultaneously in every commission executed by Prud{\textquoteright}hon, they are separated in each chapter so that the challenges posed by the production and reception of allegorical representation may be examined on their own. This dissertation does not dismiss Prud{\textquoteright}hon{\textquoteright}s status as a decidedly exceptional artist-his background, training and stylistic choices set him apart from other artists of his generation in significant ways. But it argues that ultimately Prud{\textquoteright}hon{\textquoteright}s relentless exploration of allegory, and his redefinition of how and where "allegory" could be located visually within the picture plane, was compatible with the issues and questions his contemporaries were pursuing in their imagery. It concludes that the allegorical problem around 1800 was central to the broader problem of conceptualization that was endemic to visual representation at the time.}, keywords = {Eighteenth-Century Art}, author = {Rudy, Elizabeth} } @mastersthesis {10257, title = {The Pimp and the Primitive: Eros and Africa in the Sculpture of Henri Matisse (1906-1909)}, year = {2007}, school = {IFA/NYU}, abstract = {In late 1906, soon after Henri Matisse acquired his first African sculpture, he began the first of several nudes based on erotic and ethnographic photographs. My dissertation examines the confluence of photography and African art in Matisse{\textquoteright}s sculpture between 1906 and 1909, but I focus as much on lessons appropriated from these two sources, as on ideological discontinuities with them. I demonstrate how commercial photography-the lesser known Other at the heart of Matisse{\textquoteright}s primitivist project-shaped the artist{\textquoteright}s reformulation of the tradition of the nude, and the categories of coherent race and gender it was meant to support. While scholars have long known that Matisse made occasional use of nude photographs "reserved for artists," my dissertation uncovers previously unknown sources. It attempts to answer fundamental questions raised by Matisse{\textquoteright}s counter-intuitive combination of the pinup and the primitive: Why, for example, would an artist undertaking a self-proclaimed attack on many of the Ecole des Beaux-Arts ideals of the nude turn to reproductions paying such banal lip service to them? And why would Matisse combine these two-dimensional traces of "real" flesh with the very different three-dimensional language of African sculpture? Matisse developed a primitive nude promptly after halftone technology had profoundly altered the economics of reproducing images of the human body. The inexpensive revues he consulted-Mes Modeles, L{\textquoteright}Etude academique and the pseudo-scientific L{\textquoteright}Humanite feminine (one of the first photo revues to transform ethnography into popular entertainment)-opened new avenues for selling sex and racial difference in early 20th-century Europe. A primary appeal of African sculpture was that it appeared to be the productive antithesis to this, that it represented an entirely different economy of the visual object. Through a series of readings of Matisse{\textquoteright}s sculpture I suggest their photo-based primitivism was fueled by a fantasy of hybrid origins and of an incorruptible sexuality at odds with the commodified vision of the body in the revues. These readings are part of a larger re-evaluation of Matisse{\textquoteright}s critical engagement with the dominant narratives of European identity, an aspect of his pre-war work subsequently lost in his remaking as the most French of French modernists.}, keywords = {Twentieth-Century Art}, author = {McBreen, Ellen} } @mastersthesis {10088, title = {The Plague of Jocularity: Contesting Humor in American Art and Culture, 1863-93}, year = {2007}, school = {Yale}, abstract = {This study examines the high stakes of comic expression during the second half of the nineteenth century, a period both saturated by humor and desperate to outgrow it. If humor had always been a pronounced feature of the country{\textquoteright}s character, during the cultural reinvention that followed the Civil War, levity began to seem dangerous, indulgent, and contradictory to the national call for seriousness. In his 1864 essay, "The Humorous in Art," New York art critic Clarence Cook condemned the comic painting of his day, calling the worst of it "a grave sin against society."1 Conservative literary and cultural critics similarly damned the new breed of dialect humorists who made the transition from newspaper column to stage as the nation{\textquoteright}s first stand-up comedians in these years. If a "vulgar" and "coarse" brand of humor seemed to be spreading over the next two decades, by 1895, American culture at large was seen to be suffering from a "plague of jocularity."2 In the realm of fine art, especially, a primary means through which the country sought to advertise its maturity both to the contemporary world and for posterity, humor had to be reigned in, controlled, or concealed. I examine this contest between a swelling jocularity and the call for seriousness to argue that {\textquoteright}fine{\textquoteright} art of the period was in part constructed according to this ostensible opposition. Although many artists in this climate either gave up humor or produced a kind of populist comic imagery bent on drawing the easy laugh, a few responded by insisting that ambitious art could be produced through a serious engagement with humor and the problems it posed. Works in this vein can be opaque and inscrutable-seeming, innocuous yet cutting, silly on the surface yet ultimately dark and deep, or resolutely humorless. By pondering how a Civil War medical scene or the monumental figure of a Puritan negotiated humor discourse in this period, my project asks us to expand the canon of comic expression, revise our methods for assessing visual humor, and rethink how nineteenth-century American humor has been understood.}, keywords = {Art of the United States}, author = {Jennifer A. Greenhill} } @mastersthesis {10065, title = {Planning Anew: The English Country House and Social Identity in the 1650s}, year = {2007}, school = {Yale}, abstract = {The 1650s is a decade unique in England{\textquoteright}s history-the only decade without a monarchy-yet it prompted far-reaching social and architectural changes. For the first time, public and individual interest were opposed. Noble and gentle landowners newly used the country house to entertain exclusive elite social circles of leisure. Inside the country house, patron and architect opened vistas out to the land across ranges of entertaining spaces. These changes would last into the early twentieth century; the houses of the 1650s architect John Webb and the twentieth-century architect Sir Edwin Lutyens each offer spaces of leisure with a vista out to the land. Shifting country house hospitality and design were together sparked by unprecedented social and architectural conditions in the 1650s. After the 1640s Civil War, nobility and gentry lost their close ties to local community and national government; they pursued instead exclusive leisure. The Puritan Parliament introduced individual religious contemplation, rather than parish community feasts. The monarchy was abolished, and political sympathies, rather than high social rank, determined national or local office. In architectural practice, patrons rethought commissions because of heavy financial burdens and could newly employ the court architect, who was no longer engaged on royal projects. Architects were also newly reading Italian treatises with nearly exclusive focus on patron expectations. John Webb, the potential court architect, reworked all aspects of country house design within this new focus on changing patrons{\textquoteright} priorities across both elite social circles and architectural practice. This dissertation studies Webb{\textquoteright}s country houses in an interdisciplinary context; it argues that changing social expectations sparked shifts in seventeenth-century English country house design to a degree little noted. I pair Webb{\textquoteright}s buildings, book annotations, and manuscript notes with multiple sources beyond architectural history-from agricultural tracts to etiquette manuals. My methodological models also encompass outside disciplines: architectural theory, cultural geography, sociology, and literary criticism. These sources and methods call for a more integrated study of domestic architecture-integrated across architectural fields and other disciplines as well as across the pre-industrial and industrialized worlds.}, keywords = {Architectural History/Historic Preservation}, author = {Skelton, Kimberley} } @mastersthesis {10185, title = {Political Vision: Art and Revolution in the Salons of Les XX (1884-1893)}, year = {2007}, school = {Northwestern}, abstract = {This study examines the intersection between art and politics in the salons of Les XX, a group of some twenty, mostly Belgian, artists organizing international exhibitions of art in Brussels, Belgium between 1884 and 1893. The fact that Les XX derived a significant base of support from some of the most prominent members of the Belgian Socialist Party, the Parti Ouvrier belge (POB) is well established in the literature. The implications of this relationship with respect to how it shaped the artistic program of these salons is less precisely understood. A seeming paradox complicates an easy understanding of the radical political dimension to these salons: as the POB attempted to consolidate and collectivize the working classes through the 1880s in Belgium, Les XX gradually turned away from a style of social realism---a style of art focused on the real life conditions of the working classes---to embrace what it considered "modern" art, a style focused instead on the novel form and expressive autonomy of its creator. The goal of this study is to understand how this turn among Les XX related to the radical politics of the period. It is important to acknowledge that the Belgian socialist movement embraced a very specific notion of revolution, one in which the abolition of a capitalist system might be achieved through the electoral process and the subsequent establishment of a socialist state. Through an examination of the art of these salons, sociological and physiological texts of the period, as well as evidence assembled from the writings of the various socialist supporters of Les XX, and L{\textquoteright}Art moderne, the latter the primary literary organ for the group, this study suggests that justifying such a shift in style as radical, and informing the debates over this shift that would ensue, was a body of ideas focused on the affective experience of art. The break with social realism occurred because it was believed too directly derived from real, social conditions to change the perceptions of its viewer.}, keywords = {Nineteenth-Century Art}, author = {Boston, Leah} } @mastersthesis {10058, title = {Politics and Persuasion: The Architectural and Urban Transformation of Milan under Fascism, 1922-1943}, year = {2007}, school = {Columbia}, abstract = {This dissertation addresses the relationship between fascist politics and architecture by focusing on the architectural and urban transformation of Milan between 1922 and 1943, the period of fascist rule in Italy. Milan is the focus of this study because of its unique status as a leading center of trade, industry and cultural debate. Among the projects discussed in detail are several neighborhood and regional Fascist Party centers (case del fascio), the Exchange by Paolo Mezzanotte, the Palace of Justice by Marcello Piacentini, and the headquarters for Mussolini{\textquoteright}s paper Il Popolo d{\textquoteright}Italia by Giovanni Muzio. These case studies were chosen to register and study the changing social, economic, and political needs of fascism as it advanced from a revolutionary movement in the early 1920s to an established state power in the 1930s. They also provide a basis for considering how and to what extent architecture conveyed political meanings and objectives. This thesis argues that the political content of fascist era architecture is best understood not as a series of formal choices but rather as a product of the regime{\textquoteright}s multifaceted effort to translate its imagery, rituals, and ambitions into the built environment with the aim of gaining broad support for its polices. The example of Milan shows how this process was conditioned by individual personalities and parochial concerns.}, keywords = {Architectural History/Historic Preservation}, author = {Maulsby, Lucy} } @mastersthesis {10121, title = {The Politics of Style: Meyer Schapiro and the Crisis of Meaning in Art History}, year = {2007}, school = {Pittsburgh}, abstract = {This dissertation focuses on the art historical praxis of one of the most significant Euro-American art historians of the 20th century, Meyer Schapiro (1904-1996). While Schapiro has most often been celebrated for his Marxist art history of the 1930s, his art historical explorations over the course of his career were part of an extended dialogue with his German-speaking colleagues regarding the crisis of meaning in art history. In chapter one, I propose that Schapiro is concerned with what I have called the politics of style, the ways in which the definition of style has been implicated in racial and national politics since the discipline{\textquoteright}s institutionalization in the 19th century. In chapter two, I consider Schapiro{\textquoteright}s earliest publications and establish his indebtedness to the German art historical tradition, particularly the work of Emanuel Lowy, Wilhelm Voge and Heinrich Wolfflin. With the rise of fascism in the 1920s and 30s, racial and national characterizations of style became increasingly pernicious. In chapters three and four, I explore Schapiro{\textquoteright}s concern with fascism as it affects his art history and arises in his publications and personal correspondence including his discussions with Erwin Panofsky regarding iconology and with Otto Pacht of the New Vienna School regarding structural analysis (Strukturanalyse) and the belief in "national constants." In chapter five I establish how Schapiro{\textquoteright}s theorization of style as heterogeneous in his 1953 essay "Style" corresponds with reactions to racial and national essentialism by social scientists like cultural anthropologist Ruth Benedict and modern artists. In chapter six, I consider Schapiro{\textquoteright}s semiotics in relation to linguist Roman Jakobson{\textquoteright}s poetics and Panofsky{\textquoteright}s iconology. My reading emphasizes both the social historical situation from which Schapiro interprets art and how his personal background as a Jewish immigrant who grew up in the working-class neighborhood of Brownsville, Brooklyn affects his interpretation. I contend that Schapiro{\textquoteright}s experimentation was motivated by his desire to maintain a definition of style that recognized the unity of form and content without resorting to racial or national determinism. I conclude that Schapiro{\textquoteright}s art historical struggle provides an important lesson for the contemporary interpreter of images.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Persinger, Cynthia} } @mastersthesis {10129, title = {Portrait of a Medieval Patron: The Inventory and Gift Giving of Clemence of Hungary}, year = {2007}, school = {Brown}, abstract = {This dissertation examines the inventory and gift giving of Queen Clemence of Hungary (1293-1328), the widow of Louis X of France. Her final testament and the hundred-page inventory of her belongings made at her death describe the works of art she owned in detail. She had reliquaries, sculptures, tapestries, paintings, jewelry, gowns, tableware, and a library that included the Peterborough Psalter and forty-two other manuscripts. Although most of these objects have not survived, I compare their descriptions with surviving works of art from the period to suggest general characteristics of many of her pieces. The inventory records unusually thorough information about the provenance, the recipients, the weights, and the appraised values of her objects. I have analyzed this data in spreadsheets, which reveal that works of art passed through codified economic and social systems of exchange in late-medieval France. The inventory offers evidence of international gift giving as well. Long-distance gifts were one way that medieval people separated by strategic marriages maintained their relationships. The gifts she gave in Paris proclaimed her own royal identity. Her status was in jeopardy when her husband died less than a year after their marriage, and the new king, Philippe V, refused Clemence the income that her husband had promised her. Even when she could least afford to be generous, the dowager queen offered elaborate textiles and a jewel at the height of a procession. I use medieval and modern theories of gift giving to interpret the queen{\textquoteright}s generosity. This dissertation contends that a painting of Clemence, her husband, and her son in the Chapel of Saint-Louis at Saint-Denis, as well as her son{\textquoteright}s tomb effigy were also the queen{\textquoteright}s donations, and that they glorified her family. I argue that through her possessions, gifts, and commissions, Clemence performed the role of generous queen, and asserted her right to the status and income that were due her as a royal widow. The inventory of the belongings of Queen Clemence of Hungary left an indelible portrait of this medieval patron.}, keywords = {Early Christian/Byzantine Art, Early Medieval/Romanesque/Gothic Art}, author = {Proctor-Tiffany, Mariah} } @mastersthesis {10192, title = {Portraitistes a la plume: Women Art Critics in Revolutionary and Napoleonic France}, year = {2007}, school = {Kansas}, abstract = {This dissertation considers women writing art criticism in France, c. 1785-1815. It was at this historical juncture, wherein art criticism as an institution was in its infancy and women{\textquoteright}s place within the social order was particularly unsettled, that women began to write about art in earnest. Analysis of the literature of the period reveals that women{\textquoteright}s engagement with art was not limited to the pamphlets and periodical literature spawned by the Salon, but was also registered in myriad literary genres, including the novel, the travelogue, the memoir, and correspondence. While this dissertation focuses primarily on woman-authored criticism that appeared in the periodical literature and fictional works and was distinctly public, it argues for the necessity of a more expansive definition of nineteenth-century French art criticism. Furthermore, this dissertation demonstrates that women found in art criticism an efficacious means to participate in the framing of post-Revolutionary culture. Analysis of the art writings by individuals such as Caroline Wuiet, Angelique Vandeul, Victoire Babois, Juliane de Krudener, Stephanie-Felicite Genlis, Germaine de Stael, and others, shows the various ways women used art-critical discourse and activity to assert their place within the cultural order. The dissertation not only seeks to raise consciousness regarding the specific women writing about art at this time, but also seeks to examine how woman-authored art criticism, which ranged from the aesthetic to the political, and from the personal to the social, registered shifts within the terrain of late eighteenth- and early nineteenth-century French society. Also, an important component of this work is its consideration of issues surrounding the female spectator{\textquoteright}s vision and visibility, and consequently, it queries how women saw art and in what contexts; how their aesthetic discourse intimated underlying sexual politics; and how the private and public spheres collapsed in the act of viewing and criticizing art. Occupying the liminal space between the ancien regime and modernity, the Revolutionary and Napoleonic periods stand as critical moments in the emergence of both new economies of female spectatorship, as well as new technologies of art criticism, and this dissertation seeks to illuminate these developments.}, keywords = {Nineteenth-Century Art}, author = {Jensen, Heather} } @mastersthesis {10116, title = {Possibilities for Architectural Production under Capitalism}, year = {2007}, school = {MIT}, abstract = {This dissertation explores the question: What effects do architecture and the economic realm have upon one another? I begin with an analysis of a specific trajectory in twentieth-century work on architectural theory and capitalism by Manfredo Tafuri and Fredric Jameson. I then review the historical use, and the contemporary meanings, of the term "vernacular" in architectural discourse. This is done to rehabilitate the term, which has become so laden with historical meaning as to impair its usefulness. My work to properly decouple the architectural historical specificity from the term, to reanimate it, enables me to develop a general framework for thinking about the relationship between innovative production and general production (both historical and contemporary). My development of this framework in the contemporary context positions innovative architectural production as a cultural/aesthetic act that does not have to be bracketed out of the realm of capital, commoditization, or the market. It does not insist aesthetic production take a position against its co-option. Rather I indicate where I and other theorists have seen that position to be historically problematic (particularly for the avant-gardes). Co-option, defined here as the popular reproduction of unique acts, is treated nonpejoratively as the structural link between the political economy and innovative cultural, aesthetic, or political production. I then apply this general framework to the question of maximizing power as an architect within capitalist relations. Here I discuss psychological and sociological models for the creative individual{\textquoteright}s behavior in professional relationships. In my analysis I prioritize those tactics and strategies that may enable an architect to have a sustainable career of prolonged creative influence. I then outline major criteria in the development of the latest technologies for architects. These criteria are principles for the development of digital tools that would enable sustained creative design within the capitalist political economy, where building activity is structured as a project-based environment of distributed, collaborative expertise, and by mandatory compliance with social norms expressed as the legal rights of others through building ordinances, codes, and a consensus of self-interested professionals, clients, landowners, builders, and municipalities. Lastly the preceding parts of this dissertation are used as grounds for my consideration, in the conclusion, of possible political effects from architectural production under capitalism. Here I make the determination that, through architecture alone, there are none.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Digital Media/Animation}, author = {O{\textquoteright}Brien, James P.} } @mastersthesis {10179, title = {Precious Metals: Silver and Gold Bracelets from the Northwest Coast}, year = {2007}, school = {University of Washington}, abstract = {The central thesis of this dissertation is that Northwest Coast jewelry has always served multiple functions and values in Native cultures, only some of which are discernible from the object itself. Jewelry-specifically silver and gold engraved bracelets-can be a valued marker of crest display and clan identity. Bracelets are used in various ceremonial contexts, are part of a large market for Native commercial goods, and perhaps most importantly can symbolize idiosyncratic familial and interpersonal connections. One of the goals of this dissertation is to advance the understanding of Northwest Coast jewelry beyond the museum catalog card-beyond just the facts of when, where, and, if lucky, by whom-to explore how objects function in multiple contexts and how meaning is mutable, dependent always on specific contextual circumstances. I find that by tracking artworks, ceremonial, commercial, and personal contexts can be investigated in ways that illuminate both the details and the broad strokes of cultural and social exchanges. The fundamental history of Northwest Coast jewelry has been doubly marginalized by the biases of art history and anthropology, a scholarship that only lately has acknowledged the importance of art for sale (tourist art) and that still codifies work in precious metals as "craft" rather than "fine art." But it is in keeping with the Northwest Coast art aesthetic that the body would be adorned and decorated with the same attention and grace as houses, canoes, dance regalia and other personal and community possessions. The marginal, almost non-existent, treatment of jewelry in the vast scholarly tomes on Northwest Coast art is contrasted by contemporaneous factual materials documenting the ubiquitous presence of silver bracelets at gatherings along the coast throughout the last two centuries. As Jim Hart summed up, "For our people, what we wear is who we are. Our jewelry and our clothing represent where we come from. We wear our history." This dissertation intends to honor that tradition by exploring how jewelry can communicate personal and cultural histories, as well as refining the broader history of Northwest Coast silver and gold jewelry.}, keywords = {Native American}, author = {Bunn-Marcuse, Kathryn Burgess} } @mastersthesis {10078, title = {"Pre-Columbian Revival": Defining and Exploring a U.S. Architectural Style, 1910-1940}, year = {2007}, school = {CUNY}, abstract = {During the first decades of the twentieth century, a number of U.S. architects, designers and patrons looked to the art and architecture of the pre-Columbian Americas for inspiration. Beginning with the Pan-American Union complex of 1910 (now Organization of American States, Paul P. Cret and Albert Kelsey, Washington, D.C.), the first significant instance of pre-Columbian appropriation in a U.S. building, my dissertation tracks the development of the style that peaked in the 1920s in Southern California before spreading, in the 1930s, throughout much of the United States. My dissertation{\textquoteright}s terminus date, 1940, reflects waning interest in pre-Columbian aesthetics as Modernism and abstract expressionism took hold and as U.S. focus turned to the events of World War II. Expanding on previous scholarship, my study provides the first thorough analysis of pre-Columbian appropriation in U.S. architecture-including the description and sourcing of its previously unrecognized Andean components. Through an analysis of data derived from a newly compiled list of pre-Columbian appropriations, the dissertation elucidates chronological, geographical and typological factors that underpin the style. It examines not just the pre-Columbian elements in the more "high brow" works of its foremost practitioners-Robert B. Stacy-Judd, Alfred C. Bossom, Francisco Mujica and Frank Lloyd Wright-but recognizes a sliding scale in the style{\textquoteright}s application with over-the-top exploitations of the exotic, such as in "themed" theaters and hotels, occupying the opposite end. This sliding scale concept considers intertwined notions of types of use, design motivations, intended audience, building typology and regional attitudes. Pan-American sentiments that began in the early decades of the nineteenth century and laid claim in the United States to a pre-Hispanic past, as well as increasing visibility of pre-Columbian aesthetics, helped promote the appropriation of pre-Hispanic forms for an innovative American aesthetic. At the same time, the art forms of "exotic" American indigenes excited a U.S. public, especially when applied in escapist and commercial venues. U.S. buildings that allude-directly or more subtly-to pre-Columbian aesthetics are compared, in this dissertation, to other manifestations of "exoticism" in U.S. architecture, such as Egyptian Revival buildings, since all reflect a particular strain of innovation that challenged traditionalism by embracing and promoting non-European alterity.}, keywords = {Art of the United States, Pre-Columbian Art}, author = {Phillips, Ruth Anne} } @mastersthesis {10060, title = {Preserving the Future: Historic Districts in New York City and Chicago in the Late Twentieth Century}, year = {2007}, school = {UIC}, abstract = {The creation of historic districts in New York City and Chicago during the last half of the 20th century illustrates how the community planning movement has intersected with the historic preservation movement and changed the practice of both urban planning and historic preservation. Historic districts are distinct from other types of historic preservation in scale, motivation, and conception and history. Historic district activists were the progenitors of a new postwar community planning movement that challenged the idea of the urban expert. Communities like Greenwich Village in New York City and Old Town in Chicago developed a community narrative centered on artistic practice and pioneered alternatives to postwar urban renewal, yet their architectural "integrity" challenged traditional notions of historic preservation. Other neighborhoods "lost" the urban renewal battle and were devastated by mid-20th century inner-city decline, disinvestment and demolition. Neighborhoods like North Kenwood-Oakland in Chicago and Harlem in New York used historic districts in the late 20th century as a community revitalization strategy. Historic districts confound traditional architectural preservationists, urban historians and even planners in their discretionary application of local motivations in the disposition of the built environment. Historic preservation literature has portrayed the creation of historic districts as a kind of triumph for the historic preservation movement, while planning literature has ignored this expression of community desire for control of the built environment. Historic districts host a more ambiguous and nuanced set of motivations, ranging from a sort of democracy of the built environment to a desire to control new development and exclude new residents. The historic district as a proactive planning tool is a legacy of the influx of community planning into the historic preservation movement.}, keywords = {Architectural History/Historic Preservation}, author = {Michael, Vincent} } @mastersthesis {10191, title = {Promising Pictures: Utopian Aspirations and Pictorial Realities in 1890s France}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation examines the heterogeneity of the artistic field at the close of the nineteenth century in France in relation to the utopian aspirations for art and its concomitant material form. It proceeds first from the vocalization of ideas for art{\textquoteright}s role in society, through the projects of impresarios who orchestrated transformative aesthetic experiences to realize such ideals, to the artists{\textquoteright} own concerns with how visual languages create sensation and evoke response. Chapter One explores how aesthetics was taken up by the burgeoning fields of psychology and sociology as well as by religious activism and the political left that in various ways ascribed to the work of art socially ameliorative responsibilities. Their call for a transformative role for art was articulated as a response to the historical moment with its broad characterizations as decadent, in decline, disengaged. While their demands were high and persistent, the form that the work of art was to take to achieve these ends remained vague and general. Chapter Two considers three concurrent artistic projects that sought to orchestrate such transformative experiences by way of the work of art: The Rose + Croix exhibitions organized by Josephin Peladan, Les Temps nouveaux published by Jean Grave, and the Theatre de l{\textquoteright}oeuvre productions directed Aurelien Lugne-Poe. With the belief that art had an ameliorative role to play in the public domain, these impresarios put art and artist in service of their specific philosophies. Chapter Three examines the concomitant concerns of artists themselves. The 1899 exhibition held at the Galleries Durand-Ruel organized by Paul Signac, Maurice Denis and others in honor of Odilon Redon provides the point of entry for this inquiry. The planning of the exhibition, its installation, and critical response reveal how artists of apparently different stylistic idioms-Nabi, Rosecrucian, Neo-Impressionist-viewed the state of contemporary art at the very close of the nineteenth century and their concern with how their work would maintain its efficacy in the modern world.}, keywords = {Nineteenth-Century Art}, author = {Ganz, Sarah} } @mastersthesis {10234, title = {Proverbs, Fables, and Folklore: The Genre Painting of Jacob Jordaens}, year = {2007}, school = {Brown}, abstract = {For modern scholars, Jordaens{\textquoteright} genre paintings-his Flemish proverbs, traditional folk celebrations and the occasional fable of Aesop-have always been considered the pinnacle of his achievement. For 17th-century contemporaries, however, Jordaens was a history painter of the first rank, known for his large-scale figures and princely patrons. Forced to establish his reputation in a highly competitive market dominated by Rubens, Jordaens sought to distinguish himself according to the principles of ut pictura poesis-in which the painter{\textquoteright}s task was considered on par with the epic poet{\textquoteright}s. Within this framework, he profiled himself as a history painter whose imitation of nature took precedence over his imitation of the antique. Jordaens{\textquoteright} genre paintings are essentially a magnification of this strategy, exploiting the rhetorical notion that scenes from everyday life are by definition closer to nature. They also provided the artist with a platform for social critique: the mirror of everyday life could also serve as an instrument of correction. Crucial in both respects is the notion of genre as genus-as type or kind. While {\textquoteright}genre{\textquoteright} may have been a notion formulated in the 18th century to encompass everything outside the bounds of history painting, genus offers a link to the rich fund of sources-rhetoric, poetics, architectural theory-that informed the artistic theory and practice of the 16th and 17th centuries. Moreover, in reviewing the course of his long and highly successful career, it is evident that Jordaens{\textquoteright} manipulation of generic categories was more than just a matter of aesthetics. Rather, it formed an integral part of a well-considered commercial strategy launched in several media at once. It is here-at the intersection of artistic theory and commercial practice-that Jordaens{\textquoteright} originality emerges with utmost clarity.}, keywords = {Renaissance/Baroque Art}, author = {Schaudies, Irene} } @mastersthesis {10247, title = {Public (dis)order: Yves Klein, 1945-1962}, year = {2007}, school = {Columbia}, abstract = {This dissertation uses the case of Yves Klein to analyze the construction of a new public in France during the years 1945-1962. It argues that Klein{\textquoteright}s singularity is his transformation of the monochrome into a spatial paradigm that engaged directly with the public sphere. More specifically, through the marshalling of social space, Klein imagined new models of the public that would be specific to the post-war moment and formative to the emergence of our contemporary context. These {\textquoteright}counterpublics,{\textquoteright} which emerge from a basic condition of difference, heterogeneity, and paradox offer an alternative to the consensual model of the bourgeois public sphere. Chapter One analyzes Klein{\textquoteright}s revelation of the void in the public sphere in the months surrounding the establishment of Charles de Gaulle{\textquoteright}s Fifth Republic through his transformation of the monochrome into a spatial visual paradigm known as The Void (1958). In the move from painting to space, Klein made visible the absence of a tangible public, one that could not cohere around either national or international models or via democratic participation. Chapter Two discusses Klein{\textquoteright}s reformulation of the two elements necessary for the construction of a new public, namely the space for its emergence and the individual who will inhabit it. Through the deployment of the monochrome, Klein initiated a space of sensibility, while through the performance of the Anthropometries (1961), he replaced the order of representation with that of sensation. While this double reconfiguration would serve as the basis for Klein{\textquoteright}s work in Gelsenkirchen, he did not turn away from the immediate problem posed by advanced industrial capitalism. Chapter Three examines his proposal for a kitschmenschen, a commercial public of kitsch that would be both intertwined with and resistant to the logic of capital. Even as Klein exploited the intensification of consumer culture, he also searched for an alternative public that could evade object relations. Chapter 4 studies Klein and Ruhnau{\textquoteright}s collaboration at the Gelsenkirchen Music Theater and suggests that it offered a way of creating a public of sensation through the model of a new European community. Chapter 5 concludes the dissertation with a discussion about the implications of Klein{\textquoteright}s formation of new models of the public and proposes that new methodology for post-war and contemporary art can be constructed on this basis.}, keywords = {Twentieth-Century Art}, author = {Banai, Noit} } @mastersthesis {10226, title = {Putti, Pleasure, and Pedagogy in Sixteenth-Century Italian Prints and Decorative Arts}, year = {2007}, school = {Chicago}, abstract = {The classical figure of the putto was revived in the Quattrocento but became central subject matter only in Italian prints of the first three decades of the sixteenth century. The medium of print allowed this previously marginal motif to become a primary iconographic player. I question the function and meaning of putti in these images that were to strongly influence visual arts in subsequent centuries. The Horatian theme of pleasure and pedagogy unites the three case studies of putti in prints and related decorative arts. While putti attracted viewers by looking pleasant, these prints often carried moral, edifying, or political messages that required the viewer{\textquoteright}s active interpretation. Audience reception varied depending on educational and social experiences. Chapter One surveys the putto in other media, in which they play a decorative or marginal role, in order to demonstrate the uniqueness of prints for the cross-medium diffusion of the putto motif. Chapter Two examines Nicoletto da Modena{\textquoteright}s proverb print, The Fate of the Evil Tongue (circa 1507), in relation to contemporary moral education, reading, and rhetoric. The engraving illustrates the emerging communicative role of putti in prints and provides a case study of the function of graphic arts in teaching and reinforcing morals. Chapter Three analyses copies and derivations of Marcantonio Raimondi{\textquoteright}s Dance of Putti (circa 1517) in various media in order to demonstrate the impact of this composition on a variety of audiences. The social experiences of these publics generated a range of meaningful associations that viewers received from this polyvalent putto print. Ideas about childhood, antiquity, and the arts informed these diverse interpretations. Chapter Four reconstructs a lost Raphaelesque tapestry series known through copies and preparatory drawings, Pope Leo X{\textquoteright}s Giochi di Putti (1521). These tapestries were intended for viewers familiar with the literary genres of ekphrasis and emblematics, which encouraged active intellectual engagement with the image. The putto emerges as a flexible figure that was appropriate in a range of contexts and appealed to a wide viewership. Not only putti but the process of viewing caused pleasure.}, keywords = {Renaissance/Baroque Art}, author = {Korey, Alexandra} } @mastersthesis {10047, title = {The Ramifications of Ramparts: The Mughal Forts of Lahore, Pakistan, and Delhi, India}, year = {2007}, school = {UCLA}, abstract = {This project highlights the shifting and politically charged associations that accompany the category "Islamic" in the study of Indo-Islamic art and architecture. Focusing on two residential and administrative centers built by Mughal emperors in the 16th and 17th centuries-now known as the Lahore Fort and the Red Fort of Delhi-I seek to understand the ways in which the category "Islamic" has been applied to structures that do not serve a religious function. While the forts of Lahore and Delhi are generally studied during the height of the Mughal era, I focus on the historical period from 1800 to the present to understand the ways in which imperial and national regimes attempt to represent themselves and how the subjects of these regimes use the same sites to inspire resistance and debate. Opening at the start of the 19th century, Chapter One explores how the British endeavored to possess the symbolic power of the Mughal king and his imperial residence while native resistance to British rule simultaneously drew upon the Red Fort of Delhi as the focal point for a competing agenda. Chapter Two moves ahead to the turn of the 20th century when the British begin to fashion themselves in the image of their Mughal predecessors, a process that involved major restoration projects at Mughal sites, including the Delhi and Lahore forts. However, as the struggle for Independence escalated, the imprisonment of many freedom fighters in these forts stimulated critiques that not only challenged the nature of British rule in India but also demanded its salvation. After Independence from British rule in 1947, the Mughal forts of Delhi and Lahore were divided by the Indian-Pakistan border. The second half of the dissertation compares the symbolic significance of the two forts in their respective countries. Chapter Three considers the place of the Mughals-which has become synonymous with Muslim rule and a longer presence of {\textquoteright}foreign{\textquoteright} rule-in India today. The final chapter examines how Pakistan{\textquoteright}s ongoing need to justify its existence as separate from India as well as several decades of political instability is reflected in shared narratives constructed around the Lahore Fort.}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Waraich, Saleema} } @mastersthesis {10082, title = {Reading Montage: The Photography Books of Laszlo Moholy-Nagy and Walker Evans}, year = {2007}, school = {Minnesota}, abstract = {This dissertation argues that mass-produced photobooks are a perceptual technique whose role in constructing modern visual culture has been under-examined. Popular across the political spectrum and produced as both documentary record and fine art object, photobooks are publications characterized by the careful sequencing and editing of photographic images in order to convey visual arguments. Because there has not been a rigorous examination of the process by which the public read photobooks and the underlying social, political, and aesthetic ramifications of this new construction of visual knowledge, my analysis involves an examination of the efforts to teach people how to read their ideological environment, as well as how texts and photographs took on ideological functions, working both to expand perception and constrain the boundaries of what we can know. In order to accomplish this, my project provides a new model for investigating the rise of modern photographic media by arguing that narrative montage, the analogical organization of photographic images and text, was not simply the underlying structure of photobooks, but was rather, a complex pedagogical device that instructed mass audiences to be visually literate. As an analogical process, narrative montage instructs readers to think about the myriad possibilities of meaning by spurring them to see similarity in dissimilarity. Beginning with the pedagogical practices and models of visual communication Hungarian polymath Laszlo Moholy-Nagy developed in Germany during the 1920s, I construct a careful analysis of his 1925 photobook Painting Photography Film. I then follow Moholy-Nagy as he moved from Germany to the United States and examine the translation of his writings and pedagogical practices from the Bauhaus to the New Bauhaus/Institute of Design in Chicago. By comparing Moholy-Nagy{\textquoteright}s significant role on the instruction of photography in the United States to the Museum of Modern Art{\textquoteright}s writing of the standard history of photography, I examine how photobooks were instrumental in constructing histories of photography. Working from this context, I then question how a wide variety of photobooks witnessed and produced "history," a process that often included the construction of national narratives.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Nelson, Andrea} } @mastersthesis {10051, title = {Realized Day-Dreams: Excursions to Authors{\textquoteright} Homes}, year = {2007}, school = {Chicago}, abstract = {This dissertation examines nineteenth-century authors{\textquoteright} houses in Britain and America as tourist attractions. Architectural historians have traditionally criticized nineteenth-century architecture for its "literary" quality. According to this view, literary influence threatened architecture{\textquoteright}s integrity and rendered it subordinate to other arts. I take issue with this idea by looking at how nineteenth-century literary tourists sought out authors{\textquoteright} houses to supplement the limitations of literature. For these tourists, architecture and its furnishings authenticated literary texts. I identify a group of authors{\textquoteright} houses formed in the first half of the nineteenth century through British-American interactions. Between 1811 and 1825, Scott transformed a Scottish Borders farmhouse into a pseudo-medieval mansion, Abbotsford. Irving visited Scott during his renovations, and nearly two decades later, built his house, Sunnyside. Both authors participated in their residences{\textquoteright} designs, built houses into landscapes already depicted in their writings, and used their houses as showplaces. Writers other than Scott and Irving, including Lord Byron and William Wordsworth, laid necessary groundwork for the development of this type. These houses contribute to our understanding of the house as both a museum and a museum object. I trace the history of this type from its formulation in the first half of the nineteenth century through its informal curation by family members in the second half of the nineteenth century and finally to its formal museumification in the early twentieth century. Because the mechanisms of exhibition were instituted by authors during their lifetimes, survivors{\textquoteright} treatments of these houses in the period immediately following their celebrated residents{\textquoteright} deaths and before their institutionalization as museums are accessible for analysis. The informal display of these houses prefigured exhibition strategies common in historic house museums of all types. Furthermore, the continued currency of this type in the late nineteenth and early twentieth centuries allowed for houses not yet deemed properly historical to be restored. In the early twentieth century, however, with the rise of both modernism and the professionalized museum, authors{\textquoteright} houses were not only museumified, but also presented as objects themselves.}, keywords = {Architectural History/Historic Preservation}, author = {Hazard, Erin} } @mastersthesis {10066, title = {Rebuilding Bungalows: Home Improvement and the Historic Chicago Bungalow Initiative}, year = {2007}, school = {Chicago}, abstract = {This dissertation is a study of the Historic Chicago Bungalow Initiative (HCBI), a current program run by the city of Chicago to stabilize a type of city housing. The HCBI advocates and guides home repair projects for Chicago Bungalow owners. Most Chicago Bungalows are located in a belt between the inner city and suburbs; over 80,000 bungalows were built in this semi-circular band between 1910 and 1940. The HCBI was launched in response to the physical decline of bungalow neighborhoods but this project argues that its architectural codes respond more directly to the deterioration of the Bungalow Belt as a conceptual landscape. More specifically, the Initiative{\textquoteright}s architectural guidelines attempt to revive the Bungalow Belt{\textquoteright}s mythic status as a place of strong, family-oriented communities of similar inhabitants. It is this association with uniformity and collectivity that accounts for the Initiative{\textquoteright}s choice of home improvement as a mechanism for architectural and social change. The Initiative does not fund or approve all home improvements, and the Initiative{\textquoteright}s guidelines closely follow historic preservation guidelines. Thus, the dissertation asks whether home improvement corresponds better with the Initiative{\textquoteright}s social, rather than aesthetic, goals. It also closely examines the way in which the Initiative{\textquoteright}s aesthetic goals correspond with traditional historic preservation programs, and why the Initiative chose home improvement funding over preservation planning. This study of a program that promotes home improvement contributes to a small but growing scholarship on the history of home improvement. Contemporary case studies like this one are important because they permit a study of how domestic advice is used and rejected by homeowners, and not just of the advice itself. This study relies heavily on interviews with current bungalow owners and home improvers and is above all interested in the advice users. However, it also closely examines the rhetoric of the HCBI{\textquoteright}s domestic advice. It argues that in focusing on the desired goals of the program - a socially energized and architecturally cohesive Bungalow Belt - the Initiative missed a number of opportunities to include bungalow owners in the process.}, keywords = {Architectural History/Historic Preservation}, author = {Stephenson, Anne} } @mastersthesis {10045, title = {The Reception and Study of Renaissance Architecture in Great Britain, 1890-1914}, year = {2007}, school = {MIT}, abstract = {The writing of Renaissance architectural history in the period 1890-1914 in Great Britain changed dramatically. Despite modernism{\textquoteright}s tenet of rejecting history from design, Renaissance architectural history in Great Britain functioned as both an alternative to and a source of inspiration for modernism. At first Renaissance architecture supplied a stylistic alternative to the Gothic Revival; then it acted as a bastion against modernist influences from the Continent. Finally, it provided a foundation of aesthetic principles applicable to modern design. With the advent of university programs in architecture, the writing of architectural history became more formalized, marking the beginning of architectural history{\textquoteright}s autonomy as a discipline and foreshadowing modernism{\textquoteright}s rejection of history from the design process. In my dissertation I analyze the perceptions and presentations of Renaissance architecture in order to investigate the relationship between history and design in architectural education, literature, and practice at the turn of the century in Great Britain. An analysis of architectural curricula, designs, and publications from this period reveals the development of an autonomous architectural history and the foundations of a modern architecture.}, keywords = {Architectural History/Historic Preservation, Nineteenth-Century Art}, author = {Wheeler, Katherine Jean} } @mastersthesis {10210, title = {The Reception of Albrecht Durer, 1528-1700: The Practices of Art, Science, and Collecting}, year = {2007}, school = {Queen{\textquoteright}s}, abstract = {This dissertation examines the afterlife of Albrecht Durer (1471-1528) focusing on the perspectives of the artists, scientists and collectors who used, valued and criticized his works. In the period 1528-1700, Durer{\textquoteright}s pictures and theoretical ideas traveled widely and were incorporated into new contexts. Numerous references to Durer in seventeenth-century literature, coupled with the proliferation of portraits after his likeness, are richly suggestive of an intensive and international interest in his art and personality. Using this biographical material as background, the approach of this dissertation is threefold. First, using the inventories and correspondences of the period, an examination of collecting practices establishes precisely who owned works by Durer, and the locations where interest in Durer peaked. Second, the numerous and varied artistic copies, imitations and emulations of Durer{\textquoteright}s works and style are treated in conjunction with seventeenth-century sources on art theory, to the end of understanding the significant functions that {\textquoteright}imitative works{\textquoteright} were charged with, as well as burgeoning artistic attitudes such as retrospection, competition, and homage. Third, through an investigation into the influence of Durer{\textquoteright}s scientific works, especially his animal and plant studies, it is stressed that Durer was highly relevant as a visual scientist, and that his impact in this genre is greater than has previously been acknowledged. Not only does a thorough characterization of the sixteenth- and seventeenth-century reception of the most important German Renaissance artist emerge, but also an acknowledgment that one of the most noteworthy aspects of pictures is their potential to retain meaning long after creation and in diverse locations. In travel, pictures can gain potency, or become buried in obscurity; inevitably, they evolve. As observers of the travels and evolutions of pictures, an important task of the art historian is to become attuned to a range of later contexts and the fresh evaluations that can emerge there.}, keywords = {Renaissance/Baroque Art}, author = {Bubenik, Andrea} } @mastersthesis {10253, title = {Red Aesop? The Visual Culture of Late Russian Avant-Garde}, year = {2007}, school = {Harvard}, abstract = {The focus of this dissertation is to further complicate the conventional binary codification of Russian avant-garde and socialist realism, and to argue against the oft-posited occurrence of a decisive break between the two. Seeking to offer a comprehensive analysis of Stalinist visual culture, this dissertation is structured around close readings of two test cases, culled from a different visual media. Each test case takes as its subject an iconic figure of each aesthetic episteme: the painter Kazimir Malevich is the focus of the first, while the filmmaker Grigorii Aleksandrov is featured in the second. Their work of the nineteen thirties forms the basis for an examination of the status of the artist under authoritarianism and the overt systemic ratification of the socialist realist apparatus while uncovering the incongruent formalism that persists underneath. Malevich{\textquoteright}s and Aleksandrov{\textquoteright}s production of the nineteen thirties is considered as encapsulating the liminal space wedged between polar constructions, a space that is termed the late Russian avant-garde. The main thesis presented here is that an Aesopian property characterized artifacts produced by the culture of the nineteen thirties. Subsumed under this umbrella term are the various strategies and artistic devices employed to convey ambiguity and alterity, to produce a sense of hesitation in interpretation. All are engaged in navigating between ostensible surrender to socialist realism and the retention of formalist concerns. By arguing for the existence of Aesopian language as a dominant cultural code of the nineteen thirties, this dissertation offers a humanistic continuation paradigm that traces history through concatenation, revealing pockets of alterity that ripple throughout.}, keywords = {Twentieth-Century Art}, author = {Katsnelson, Anna Wexler} } @mastersthesis {10139, title = {Redeemer, Mother, and Ruler: Images of the Virgin in Ottonian Germany}, year = {2007}, school = {UT Austin}, abstract = {This study explores several of the key factors that led to the visual amplification of Mary in western Europe during the early Middle Ages, with the art of the Ottonian Empire as its focus. Although the twelfth century has long been recognized as a high point for Marian imagery, the brief but rich period of artistic production during the Ottonian Empire (919-1024) yielded a range of images crucial for understanding the growing role of the Virgin in art and devotion. The approach for this work is necessarily thematic; the seeming randomness of Ottonian images of the Virgin has resulted in their exclusion from broad surveys organized by iconographic type or medium. While images of the Virgin in the Ottonian Empire do not form large groups of visually cohesive images, Ottonian manuscript illumination offers an intriguing view into the process by which Marian devotion coalesced in the west. The period has been thought to represent a lacuna for Marian exegesis-between the Carolingian period and the twelfth century there were no new theological texts written on the Virgin in this region. There was, however, an intensification of interest in Mary in the liturgy, and as I demonstrate, an attempt to formulate exegesis through images. In studying the odd occurrences-the lone tenth-century image of a Virgin in a Pentecost scene, or the earliest crowned Virgin outside of Italy-this study locates these works within their liturgical and political environment through considerations of patronage and use.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Collins, Kristen Mary} } @mastersthesis {10124, title = {ReDesigning the Decorative Arts: The Production and Promotion of Postmodern Objects}, year = {2007}, school = {Yale}, abstract = {This dissertation explores the conception, production and promotion of postmodern decorative arts in the United States between 1978 and 1990. The American architects Michael Graves, Charles Gwathmey, Richard Meier, Robert Siegel, Robert A.M. Stern, Stanley Tigerman, Robert Venturi and Denise Scott Brown are of primary importance. The American companies Swid Powell, Knoll and Formica Corporation are also investigated in relation to their production and promotion of objects designed by architects. The study has two objectives. The first is to analyze the artistic, theoretical, professional and commercial mechanisms which both stimulated and enabled the production and consumption of postmodern decorative arts. The goal here is to situate this design within a broader social and economic context-the United States of America of the late 1970s and 1980s. The second objective involves describing the distinctive nature of American postmodern decorative arts, considering its promotion and reception, and ultimately pinpointing its significance within the extensive history of American decorative arts. The study begins with an exploration of the development of the discourse of postmodern design and establishes the relationship between text and image or object. It subsequently progresses to consider designing architects in the context of their profession and contemporary social and economic trends; and to investigate the particularities of bringing together culture and commerce under a single corporate entity. The dissertation ultimately reflects on the lasting effects of linking theory, design and context in the late 1970s and 1980s. It is my assertion that the American architects engaged in the discourse of postmodern design re-conceptualized the decorative arts-expanding that historically bound category of cultural products-and popularized the consumption of architectural design and its theoretical constructs. The conception, production and promotion of American postmodern decorative arts in the 1980s blurred boundaries between architecture and fashion, commercializing academic architecture and developing a New York-centric designed subject for commodification and consumption.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Fleming, Elizabeth} } @mastersthesis {10056, title = {Remaining Modern: The Architecture of James Stirling, 1955-77}, year = {2007}, school = {Harvard}, abstract = {This dissertation studies the work of celebrated British architect James Frazer Stirling (1924-92), focusing particularly on the years 1955-77-a critical phase of his career in which Stirling attempted to rethink modernism in the post-war period. To date, despite his status as one of the most significant and influential architects of his era, there exists no comprehensive study of his work. Insofar as it has been considered, his architecture during this period has often been misread by architectural critics and historians as either a watered-down version of pre-war modernism or as a precursor to post-modernism. The central argument of my dissertation is that during this period the problem of remaining modern was Stirling{\textquoteright}s overriding preoccupation, but that his reinvented modernism was fundamentally dependent upon history. My study focuses on four projects: the Flats at Langham House, Ham Common (1955-58); the Churchill College Competition (1959); The Florey Building, Queens College, Oxford (1966-71); and the Competition for the Museum of North Rhine Westphalia, Dusseldorf (1975). Through analysis of Stirling{\textquoteright}s writings and projects, combined with archival research and theoretical inquiry, I demonstrate how each of these projects {\textquoteright}remained{\textquoteright} modern. More specifically, I show how Stirling located modern principles in a range of historical precedents as a means to incorporate history into a post-war architectural language and extend the formal and ideological boundaries of pre-war modernism. Employing an analytical framework developed by Harold Bloom, I show how Stirling "misread" his predecessors-both pre-modern and modern. My analysis demonstrates that Stirling{\textquoteright}s architecture engaged in many of the most important dilemmas of this period-rationalism vs. expressionism, subjectivity vs. universalism, abstraction vs. representation, and art vs. technology-to generate an historically embedded, but resolutely novel and unprecedented architectural language.}, keywords = {Architectural History/Historic Preservation}, author = {Lawrence, Amanda Reeser} } @mastersthesis {10221, title = {Rembrandt{\textquoteright}s Spaces}, year = {2007}, school = {Bryn Mawr}, abstract = {In recent years there has been a noticeable increase in scholarship devoted to the study of pictorial spaces in seventeenth-century Netherlands. While much light has been shed on the spaces of such artists as Nicholaes Maes and Pieter de Hooch, those of Rembrandt have not been the objects of a scholarly gaze. Sparsely illuminated with few features of architectural spaces, Rembrandt{\textquoteright}s spaces appear to be suggested rather than clearly articulated and thus challenge the conventional approach to pictorial spaces. In this dissertation, I engage with the spaces of Rembrandt{\textquoteright}s history paintings by providing a different conceptual framework for approaching the spatial indeterminacy that marks his paintings. Drawing on phenomenological interpretations of space and theories of aesthetic reception, I approach Rembrandt from a primarily methodological point of view. I argue that space should not be perceived as a three-dimensional realm governed and bound by laws of perspective. Rather it is a fluid, constantly evolving entity that necessitates the active participation of a subjective beholder. Eschewing the notion of a prior-existing absolute space, I posit that a painting consists of multiple spaces created by the interaction, or the lack thereof, of human figures to one another and their environment. My dissertation has an introduction and four chapters. Each chapter is centered on a spatial property that addresses in some respect man{\textquoteright}s relationship to space. I look at interiority and its relationship to interior spaces; liminality as expressed in transitional structures such as windows and doors; drapery{\textquoteright}s bond with the body and theatricality; and finally, the role of light and shadows in the creation of spaces. I aim to contribute to the discussion of pictorial space in general as well as add to the understanding of Rembrandt and his oeuvre.}, keywords = {Renaissance/Baroque Art}, author = {Girnius, Rima} } @mastersthesis {10245, title = {Remembering the Past, Constructing the Future: The Memorial to the Deportation in Paris and Experimental Commemoration after the Second World War}, year = {2007}, school = {IFA/NYU}, abstract = {This study investigates mid-20th-century non-figurative commemorative strategies, schemes that did not merely employ traditional, non-figurative commemorative designs, such as plaques, pyramids and obelisks, but that invented new forms or recombined or reconceptualized older forms in a way that provided what I call experimental solutions with a focus on viewer interaction. George-Henri Pingusson{\textquoteright}s Memorial to the Deportation in Paris is the dissertation{\textquoteright}s main case study through which I reach other examples, primarily the Fosse Ardeatine in Rome, BBPR{\textquoteright}s Monument to the Victims of the Concentration Camps in Milan and Max Bill{\textquoteright}s unbuilt contribution to the Institute of Contemporary Arts{\textquoteright} international competition for a Monument to the Unknown Political Prisoner. All four projects were designed within ten years of the end of World War II and together, in all likelihood, represent the most radical memorialization efforts in the immediate postwar period. Viewing memorials as cultural products determined by political, social and economic circumstances, my questions concerned the particular status of memorial construction at the crossroads of aesthetic debates and political and cultural realities in the immediate postwar era, an interdisciplinary approach through which the memorials could be inserted into the intricate web of postwar debates on New Monumentality, the synthesis of the arts, and related themes of abstraction and figuration. I argue that experimental memorials in many instances constituted an opportunity for monumental expression in this period, a category that successfully combined the quest for a new type of monumentality with collaborative synthetic ventures. A memorial such as the Memorial to the Deportation crosses the boundaries between art and architecture in ways that predate many other memorial efforts. The complex treatment of materials, the contrasting use of light and darkness, and the manipulation of space through carefully choreographed circulation seek to evoke a visceral response in the visitor. As it defies traditional definitions of sculpture and architecture, the memorial stands as an early example of a case where viewer interaction is essential to render the work meaningful. The anti-monumental merging of landscape, experiential architecture, and curatorial content further connects the memorial to sequential topographies in more recent architecture.}, keywords = {Twentieth-Century Art}, author = {Amsellem, Patrick} } @mastersthesis {10170, title = {Re-presenting the Imperial Capital: Kyoto Cityscapes, 1755-1787}, year = {2007}, school = {Stanford}, abstract = {This dissertation examines Kyoto cityscapes produced between 1755 and 1788, covering a revolutionary period in Japanese visual culture. Recently imported viewing devices and compositional strategies entered the artistic arena; interactions between the high art of painting and the low art of printed illustrations increased; and politically disenfranchised Kyoto embraced a new identity (from the nation{\textquoteright}s economic center to a cultural metropolis and tourist mecca). 1788 was the year of the devastating Tenmei fire in which most of the city burned to the ground and thus marks the closing date of this study. These decades also witnessed the decline of a number of the Kyoto{\textquoteright}s long-established industries as well as the rise of new commercial ventures. This situation in turn led to the "nouveau riche" commoner{\textquoteright}s increased sponsorship and consumption of the pictorial arts, once the exclusive domain of the elite. These new art patrons introduced a different way of seeing Kyoto into the city{\textquoteright}s visual vocabulary. This study therefore concentrates on a period in civic history in which visualizations of the city remained tied to the traditional aristocratic viewpoint (anchored by the presence of the imperial court), yet also indicated the acceptance of foreign and plebian influences. Through an analysis of selected Kyoto cityscapes produced by the imperial capital{\textquoteright}s most sought-after artist Maruyama Okyo (1733-1795), as well as those city views illustrating the most commercially successful Kyoto guidebooks, I deconstruct the narrative of Kyoto{\textquoteright}s identity as expressed in pictorial form. The dissertation is organized into five chapters with each focusing on one facet of the Kyoto cityscape experience. Chapter one considers the visual culture of the city circa 1750 and the role of the Kyoto cityscape within that culture. Chapter two centers on imported viewing devices and their accompanying (often perspectival) prints. How Okyo balanced such newly introduced compositional strategies with existing conventions to create his successful eyeglass pictures of Kyoto is the underlying question addressed by the chapter. Chapter three discusses aristocratic patronage practices, concentrating on the relationship between the social elite{\textquoteright}s curiosity about the commoner{\textquoteright}s world and Okyo{\textquoteright}s artistic style as informed by the voyeuristic capacity of the telescopic lens. Chapter four examines panoramic views of Kyoto, emphasizing the role of commercial maps in their production, as well as in their appreciation by viewers. Chapter five explores the popular consumption of Kyoto imagery as expressed in the illustrated guidebooks to the city. The analysis considers the impact of viewing implements in constructing city views for the tourist{\textquoteright}s gaze, as well as of the competitive presence of the detailed commercial map. The cross-influence between Okyo{\textquoteright}s painted cityscapes and guidebook illustrations also is discussed. With this study of the function, commission, design, and consumption of the Kyoto cityscape, my project demonstrates the shift in attitude that drove the production of these images. Artists strove to suggest representations based on active observation; patrons and consumers demanded a "true-to-life" quality that also captured the imperial capital{\textquoteright}s re-worked identity as a singular, cultural metropolis. For most people, the words "Kyoto cityscape" immediately equates to the "scenes in and out of the capital" screens genre (rakuch u rakugaizu) that arose in the sixteenth century. The quality and variety of Kyoto city views produced in the eighteenth century, long after the popularity of the "scenes in and out of the capital" screens had begun to wane, receives very little attention in the scholarly literature. My dissertation addresses this lack, placing the spotlight on the paintings and prints that reinforced venerable Kyoto{\textquoteright}s standing on the national stage.}, keywords = {Japanese/Korean Art}, author = {Ota, Pauline} } @mastersthesis {10222, title = {Rethinking Repetition: Constructing Value in Dutch Genre Painting, 1650s to 1670s}, year = {2007}, school = {Michigan}, abstract = {In the third quarter of the seventeenth century, a number of Dutch painters specialized in producing finely crafted genre paintings. A prevalent feature of their work that has not been satisfactorily accounted for is the recurrence of motifs distinctive to individual painters. With Gerrit Dou, Gerard ter Borch, and Frans van Mieris as the primary case studies, this dissertation challenges the current view that repetition was a cost-saving strategy in the mass market for cheap paintings. Instead, it argues that repetition was a means of constructing value in paintings. This dissertation integrates previously separate areas of research in the history of Dutch art, including the economics of the art market, the history of collecting, the vernacular discourse of painting, and the material aspects of art making. The works of Dou and Ter Borch serve as focal points for examining the intersections between the artists{\textquoteright} inventive processes and the conditions of consumption. A recurring signature motif-Dou{\textquoteright}s window embrasure or Ter Borch{\textquoteright}s woman in satin-helped an artist project a distinctive artistic identity, drawing attention to subtle variations in his virtuosic execution. It also offered an occasion for the viewers to display their knowledge about fashionable or canonical painters, thus adding social and cultural value to the painting. This specific role played by paintings in social negotiations was exploited by artists in the 1660s and 1670s, such as Van Mieris. By citing as well as reinterpreting the imagery of Dou and Ter Borch, Van Mieris encouraged viewers to compare his creation with his models and accentuated his own skill and inventiveness. Through an examination of the phenomenon of repetitive imagery in high-value genre paintings, this dissertation concludes that judicious use of repetition could underscore the singular achievements of an artist. The project of rethinking repetition thus provokes the reconsideration of the notions of authorship, originality, imitation, and their connections to value in early modern artistic practice.}, keywords = {Renaissance/Baroque Art}, author = {Ho, Angela} } @mastersthesis {10215, title = {Rethinking the Reinstallation of the Studiolo of Francesco l de{\textquoteright} Medici in the Palazzo Vecchio}, year = {2007}, school = {Case Western Reserve}, abstract = {The Studiolo of Francesco I in the Palazzo Vecchio is a testament to the changing styles at the end of the Cinquecento, and has been called a perfect example of Mannerist art. This dissertation considers the original invenzione of the Studiolo as intended by Don Vincenzo Borghini and Giorgio Vasari, and provides compelling new evidence to challenge the current re-installation of the room. Dismantled prior to Francesco{\textquoteright}s death in 1587, the Studiolo was rediscovered and renovated more than three hundred years later by Giovanni Poggi and Alfredo Lensi. In 1976, Scott Schaefer became the first scholar to question Poggi{\textquoteright}s and Lensi{\textquoteright}s installation. Critical thinking regarding the Studiolo changed five years later with Michael Rinehart{\textquoteright}s discovery of additional notes written by Borghini, who devised the room{\textquoteright}s visual program in 1570. The recent exhibition, Magnificenza! The Medici, Michelangelo, and the Art of Late Renaissance Florence, has once again renewed interest in the small room. One of the exhibition{\textquoteright}s curators, Larry Feinberg, has offered an alternative rearrangement of the Studiolo {\textquoteright}s works, based on Rinehart{\textquoteright}s findings. Despite these attempts, aspects of the original invenzione have been overlooked, including the importance of thematic relationships, the influence of Ovid{\textquoteright}s Metamorphoses, and Copernicus{\textquoteright} De Revolutionibus Orbium Coelestium. This dissertation concentrates on the correlation between the Studiolo{\textquoteright}s iconography and the theme of the four elements. The analysis offers a new arrangement of the room based on reinterpretations of its small end walls. Moreover, these findings provide insight into the diverse array of artists working on the commission, as well as Borghini{\textquoteright}s and Vasari{\textquoteright}s collective vision for Francesco{\textquoteright}s Studiolo.}, keywords = {Renaissance/Baroque Art}, author = {Edwards, Karen} } @mastersthesis {10092, title = {Rethinking Vision in the American Renaissance Murals of Edwin Howland Blashfield}, year = {2007}, school = {Delaware}, abstract = {This dissertation treats Edwin Howland Blashfield (1848-1936) as a case study in how American Renaissance muralists conceptualized vision, viewers, and the mural{\textquoteright}s relationship to architectural space. Period mural literature and the visual evolution of American Renaissance murals reveal artists{\textquoteright} growing awareness that murals require sophisticated coordination with architectural space. Close examination of Blashfield{\textquoteright}s murals, his correspondence and published writings, and contemporary criticism, suggests subtle consideration of viewers{\textquoteright} relationships to the illusionistic space of murals, conditioned by specific architectural contexts. The notion that Blashfield envisioned a corporeal viewer in a complex architectural environment is supported by analysis of the murals as well as scholarship in late-nineteenth-century visuality and architectural history that addresses the subjectivity and variability of vision. I contend that Blashfield{\textquoteright}s murals reflect scrupulous attention to architectural context and recognition that viewers experience murals dynamically and variably, as elements within the built environment. Guided by the practical problems of mural painting and the complexities of vision, four chapters focus on murals designed for particular architectural contexts: domes, pendentives, stair halls, and legislative chambers. For each architectural setting, two mural commissions are examined, with attention to their creation, reception, and the range of possible viewing positions. An introductory chapter explores aspects of Blashfield{\textquoteright}s background as an easel painter and illustrator that would influence his mural painting practice.}, keywords = {Art of the United States}, author = {Samuel, Anne} } @mastersthesis {10223, title = {Robert Hooke Fecit: Making and Knowing in Restoration London}, year = {2007}, school = {Chicago}, abstract = {This dissertation proposes a synthetic interpretation of the visual work of English polymath Robert Hooke (1635-1703). From the evidence of representational practice in the Royal Society of London (the scientific institution for which Hooke worked), I offer a new model for understanding the relations of art and science in early modern England. To modern interpreters, the marvelous, optically-aided pictures in Hooke{\textquoteright}s Micrographia (1665) have suggested a crucial union. Milestones in scientific visualization, Hooke{\textquoteright}s images have equally appeared paradigmatic of an important empirical tradition in Northern European painting. Yet, nothing else in Hooke{\textquoteright}s work comes close to Micrographia{\textquoteright}s pictorial form and focus. Hooke{\textquoteright}s writings are peppered with reservations about pictures, while his career manifests a sequence of turns away from depiction. Most critically, pictures cut only a modest profile in the bewildering field of representations produced and exchanged in London{\textquoteright}s influential scientific communities. To account for these phenomena, this dissertation proposes that looking beyond pictorial relations best discloses not only what is most crucial in the representational activities of early science, but how evidence of experimental philosophy most compellingly illuminates contemporaneous artistic practice. I pursue this argument in two opposing ways. The dissertation{\textquoteright}s first three chapters press Hooke{\textquoteright}s relations to pictorial tradition, elucidating: (1) his artistic education with Charles II{\textquoteright}s Principal Painter, Peter Lely; (2) the enmeshments of Hooke{\textquoteright}s draftsmanship with his experimental work; and (3) how Hooke{\textquoteright}s enterprise responds to key problems of early modern pictorial art, vision and visuality. By contrast, the last two chapters offer an expanded consideration of Hooke{\textquoteright}s work. Following the trajectory of his career, I show how collecting (broadly conceived) came to figure at the core of his philosophical enterprise. Drawing from his theoretical writings and emergent architectural practice, I argue that Hooke{\textquoteright}s concept of "architectonica" best illuminates the collaborative, creative activity and diverse representational forms privileged in the early Royal Society. In conclusion, I suggest how Hooke{\textquoteright}s concept of "architectonica" provides new ways for understanding art in Baroque England-for interpreting the work of Royal Society Fellows like Hooke, Christopher Wren, and James Thornhill-while enabling broader reconsideration of early scientific representation and visualization.}, keywords = {Renaissance/Baroque Art}, author = {Hunter, Matthew} } @mastersthesis {10201, title = {Robert Rauschenberg, Robert Whitman, and Billy Kluver: From {\textquoteright}9 Evenings{\textquoteright} to "Experiments in Art and Technology"}, year = {2007}, school = {Rutgers}, abstract = {In the 1960{\textquoteright}s new advances in science and technology inspired several artists to use the newest technology in their art. 9 Evenings: Theatre and Engineering was a series of performances in New York in 1966 by ten artists, Steve Paxton, Alex Hay, Deborah Hay, Robert Rauschenberg, David Tudor, Yvonne Rainer, John Cage, Lucinda Childs, Robert Whitman and oyvind Fahlstrom in collaboration with thirty engineers. These performances were a catalyst to the founding of Experiments in Art and Technology (E.A.T.) by artists Robert Rauschenberg and Robert Whitman and engineers Billy Kluver and Fred Waldhauer to mediate between artists and the new technology. This dissertation examines the different ways that the collaboration between artists and engineers occurred. It also emphasizes the theoretical background of E.A.T, which lead to many socially engaged projects. Not much has been written about E.A.T., and when it has, it is described as a large organization with at one time over two thousand members, where no member was more important than the next. My research reveals that there were a few key personages in the organization, which were decisive in shaping it{\textquoteright}s goals and projects. Robert Rauschenberg was the first major figure, and I discuss his technological collaborations during the years 1965-1971, such as Oracle, Soundings, Solstice and Mud Muse. A brief discussion about the importance of music in Rauschenberg{\textquoteright}s works is also included. Robert Whitman is the second major figure to emerge in the history of E.A.T., and his telecommunications projects of the early 1970{\textquoteright}s, such as Utopia: Q \& A, Children and Communication, and the Anand Project are discussed. He became a core figure in the organization from around 1969 until the present. Billy Kluver, who worked at Bell Telephone Laboratories in New Jersey, the most advanced center for telecommunications technology at the time, is the third leading figure of E.A.T.. He was it{\textquoteright}s most active member through all phases of E.A.T., and his connection to the museum director Pontus Hulten had a deciding influence in the kinds of projects E.A.T. became engaged with.}, keywords = {Performance Studies}, author = {Hillman, Susanne Naima} } @mastersthesis {10141, title = {The Role of Illustrated Aratea Manuscripts in the Transmission of Astronomical Knowledge in the Middle Ages}, year = {2007}, school = {Pittsburgh}, abstract = {The Aratea manuscripts contain Latin translations of the astronomical poem originally written in Greek by Aratus of Soli around 270 BCE. The Greek poem was translated into Latin by three Roman authors: Cicero, Germanicus and Avienus. These three Latin versions became quite popular in the Middle Ages and were usually decorated with pictures of the full cycle of constellations, a celestial map, and personifications of the Sun, Moon and planets. In undertaking this study, essential questions needed to be answered, such as: how many manuscripts survive and from what time periods? How are the three different authors illustrated? What were their models? Are there patterns to be discovered in the illustrations of each author? Are the illuminators reading the poem and creating images in accordance with their readings or simply following ancient models? Who was the intended audience? This body of Latin manuscripts, correctly called Aratea, had not been studied in its entirety, nor was there a catalog or listing of pertinent information. Were Aratea manuscripts produced, collected and read for their poetic content, mythological content, astronomical content, or for their classical or historical connections? Or perhaps it was the pictorial cycle of classical gods, semi-gods, and celebrated semi-nude heroes of antiquity that should be credited for keeping Aratea manuscripts alive through the thousand years of the medieval period? This inquiry addresses these issues and attempts to clarify the content, function and circulation patterns of the three Latin poems. In order to understand Aratea manuscripts more fully, it was necessary to pursue the sources of astronomical art and to examine the cultural and historical circumstances that influenced Aratea manuscript production. This dissertation has attempted to pull together the numerous threads of this complex but highly-valued body of manuscripts to provide a more complete understanding of its role, especially in the transmission of astronomical knowledge.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Dolan, Marion} } @mastersthesis {10166, title = {Roman Egypt: Change amid Continuity in the Art and Architecture of an Eastern Imperial Province}, year = {2007}, school = {Missouri}, abstract = {No record in ProQuest}, keywords = {Greek/Roman Art}, author = {Williams, Christopher} } @mastersthesis {10126, title = {Romancing the Stone: Printmaking and the Body in the 1960s and 1970s}, year = {2007}, school = {Penn State}, abstract = {This thesis examines the way in which printmaking proved to be a powerfully appropriate venue for artists to work through issues of identity in 1960s and 1970s. By shifting the discourse away from traditional materials and objects that manifest intuition, many artists working during this period turned to conceptual art, body art, and performance art as a way to synthesize data and ideas. Art historians have argued that artists exploited photography, video, and other time-based media to negotiate these concepts, but they often overlook the importance of printmaking during this period. In this thesis, I argue that printmaking operated in the same way as other reproductive media, and artists found the process to be receptive to similar explorations. This dissertation, specifically, analyzes the manner in which pressed indices and the subsequent reproduced signs describe, or trouble, conventions of gendered, nationalist, ethnic, and artistic identity, which came under increasing scrutiny during the 1960s and 1970s. This thesis explains, even more specifically, the way that the print document participated in that dialogue.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Noonan, Jennifer} } @mastersthesis {10182, title = {Royal Academicians and the Crisis of Masculinity in Modern England}, year = {2007}, school = {IFA/NYU}, abstract = {Divided into four chapters, this dissertation focuses on six Royal Academicians from the late Victorian to the Georgian era. The first chapter examines the impact of the Orient on Frederic Leighton. An analysis of Leighton{\textquoteright}s eastern travelogue traces critical connections between the forms of ambiguous masculinity he found in Egypt and his transgressive portrayal of English patriarchy. Social Realists{\textquoteright} commitment to depicting the poor was motivated by their anxiety of being upwardly mobile middle-class men. The second chapter investigates these anxious bourgeois painters and their unstable masculinity manifest in their portrayals of laborers, gentlemen, and the queen. In this time of gender crises, radical poets advocated that homosexual men were the superior members of the male sex, and they eagerly recognized Henry Scott Tuke as a hero of their subversion. The third chapter studies Tuke{\textquoteright}s paintings of bathers and sailors---the constituents of an imaginary utopia for sexual inverts. The dissertation concludes with John Singer Sargent{\textquoteright}s paintings of authors, dandies, and soldiers, which attest to the destabilizing manhood of modern England.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Kim, Jongwoo} } @mastersthesis {10203, title = {The Sacred as Everyday: Food and Ritual in Aztec Art}, year = {2007}, school = {CUNY}, abstract = {The examination of food and its consumption in a society can lead to a wealth of information about a culture{\textquoteright}s worldview. In addition to being a source of sustenance, food also reflects a society{\textquoteright}s system of beliefs and ideals. This dissertation focuses on food, its depiction in Aztec art, and its ritual use in Aztec culture. While admittedly an odd choice for an art historian, the representation of food and its consumption is prevalent in the surviving art works created in various media by the Aztecs of Central Mexico in the fifteenth and sixteenth centuries. The symbolic use of food and consumption is also evident in Aztec ritual, another subject recorded in several sixteenth-century sources of both native and European origin. Food and its consumption have been explored by archaeologists, anthropologists, and religion specialists, among others. This dissertation, however, is the first integrated study by an art historian. The examination of sculptural and pictorial works of art is central to the ongoing discourse on Aztec culture and ritual. Crucial to that discussion is the way in which everyday staples gave meaning to the rituals performed, and in the process became sacred themselves. The Aztec chose specific foods as symbols and metaphors to be significant in their worldview because these foods in themselves were important to daily life. The art works created helped to communicate this intertwined relationship between the sacred and the everyday. Through an analysis of images of food and eating, and their role in ritual, this dissertation hopes to facilitate and expand the continuity of dialogue on Aztec art, culture, and worldview.}, keywords = {Pre-Columbian Art}, author = {Moran, Elizabeth} } @mastersthesis {10224, title = {Sacred Kingship and Royal Patronage in the "La Vie de la Magdalene": Pilgrimage, Politics, Passion Plays, and the Life of Louise of Savoy}, year = {2007}, school = {Florida State}, abstract = {In 1516 Louise of Savoy, mother of the French king Francis I, undertook a pilgrimage to Provence to visit La Sainte-Baume, the grotto shrine of Saint Mary Magdalene, to whom she was particularly devoted. Accompanied by her son, daughter, and daughter-in-law, Louise made the pilgrimage to fulfill her vow to visit the shrine in exchange for the saint{\textquoteright}s protection of Francis during the Battle of Marignano the previous year. After visiting the holy grotto and the nearby Church of Saint-Maximin, which houses the Magdalene{\textquoteright}s relics, Louise and Francis made sizeable financial donations for the support and renovation of the shrine and abbey, as well as commissioning works of art for placement in the grotto as outward signs of their veneration of Mary Magdalene and gratitude for her protection. Upon returning home Louise commissioned the Franciscan priest Francois Demoulins de Rochefort to create a manuscript depicting the life of Mary Magdalene as a personal book of devotion and a commemoration of the royal pilgrimage. Demoulins collaborated with the illuminator Godefroy le Batave to create the Vie de la Magdalene (Paris, B.N., ms. fr. 24.955). The diminutive manuscript is composed of four parts-the text, which includes both narrative and commentary; the illuminations, which include miniatures of the saint{\textquoteright}s life as well as depictions of the shrine and relics; multi-lingual mottoes inscribed in the gold frames around the illuminations; and the colored frames with decorative motifs that surround the text. While ostensibly a saintly vita, the Vie de la Magdalene is, in fact, a complex work that functions on a number of levels. Although much of the manuscript{\textquoteright}s imagery and content aligns with major aspects of the medieval Magdalene legend, the Vie also has intriguing anomalies that do not have their source in traditional representations of Magdalenian hagiography. This dissertation examines the complexities of the Vie de la Magdalene to demonstrate how and why this vita differs from other accounts of the Magdalene{\textquoteright}s story. It argues that Demoulins and Godefroy manipulated the narrative, illuminations, mottoes, and decorative motifs of the manuscript to reflect the personal and political concerns of Louise of Savoy and her children. For example, the author establishes thematic parallels between events in Louise{\textquoteright}s life and the lives of both Mary Magdalene and the Virgin Mary, just as he makes correlations between Francis and Jesus Christ as Christian kings who are the sons of devoted and courageous mothers. Another example is the mottoes, which are written in French, Spanish, Italian, German, Latin, and two forms of Greek. The inclusion of these specific languages reflects not only an interest in humanism at the French court but also Francis{\textquoteright}s bid to become Holy Roman Emperor. Equally important are the aspects of the Vie that stress Louise and Francis{\textquoteright}s royal lineage as well as their perpetuation of the traditions, established by their regal ancestors, of devotion to Mary Magdalene and patronage to the Provencal shrine. A corresponding theme emphasizes the Magdalene{\textquoteright}s role as unctrice in the anointing of Jesus as the first Christian "king," and the significance of her actions to the sacre, the ceremonial anointing of French kings during their coronation. Using this theme of sacral anointing, Demoulins establishes a direct connection between Francis I, the newly crowned "Most Christian King" of France, and Jesus Christ, the "King of Kings." This study also demonstrates the manner in which the Vie de la Magdalene reflects the influence of three fifteenth-century French Passion plays. Demoulins incorporates into the Vie specific scenes, characters, text, and themes found in the plays, thereby increasing the dramatic and spiritual impact of the story for the manuscript{\textquoteright}s reader. In addition, Godefroy{\textquoteright}s design of certain miniatures mimics the traditional staging of these plays, and in particular, recreates the experience of viewing the scenes from a royal box, again emphasizing the regal station of the Vie{\textquoteright}s owner, Louise of Savoy. The last portion of the dissertation is an iconographic analysis of the decorative motifs on the narrative frames and a catalogue of the Vie, including translations of the text and mottoes, and detailed descriptions of the roundel images. This dissertation adds to the scholarship on the Vie de la Magdalene by examining the components of the manuscript as individual and interactive devices designed to stimulate the reader visually, intellectually, emotionally, and spiritually. Equally important, this dissertation reveals that the Vie de la Magdalene is replete with regal references intended to align Louise of Savoy and Francis I with their illustrious royal ancestors through their mutual devotion to Mary Magdalene and patronage to her shrine at La Sainte-Baume.}, keywords = {Renaissance/Baroque Art}, author = {Johnston, Barbara} } @mastersthesis {10098, title = {Sagas, Deities, and Hell: Ming Dynasty Wall Paintings in the Temple of the Three Lords}, year = {2007}, school = {Kansas}, abstract = {This dissertation presents the wall paintings of the Temple of the Three Lords (Dongyue Ji Yi miao) as a case study to illuminate the images of popular religion and highlight the role of workshop practice in the making of these images during the Ming dynasty. In 1507, the Chang and Chen family workshops completed the wall paintings at this temple, located in Yangwang, Xinjiang in southwest Shanxi, formerly called Pingyang during that period. Temple steles record dozens of donors, who were local officials and commoners. Along with its paintings and clay sculptures, the temple was built to honor the three lords: Dongyue, God of the Eastern Peak; and Hou Ji and Bo Yi, two figures from early classics. Chapter I gives a survey of the region and the temple. Chapter II examines the worship and patronage of the three lords, who were important in the religious life in Pingyang. Chapter III explores the workshop practices and situates the paintings of this temple in the artistic tradition of the Pingyang region. I look into the derivation of meanings of selective images and their revitalization within a new context of popular religion. Chapter IV examines the four narrative stories, Jiang Yuan Giving Birth to Hou Ji, Official Careers of Hou Ji and Bo Yi, Sacrifice to the Jade Emperor and Hou Ji, and Paying Homage to Mount Tai. I discuss how the lords{\textquoteright} saga handed down from the remote classic age were renewed and re-interpreted in the service of worship in this local temple. Chapter V looks at the two largest scenes on both gable walls, the Assembly of the Three Lords and the Assembly of the Three Saints. Through the examination of individual images, I argue that the pantheon and paradise in both scenes bring to light the diverse concerns of the local patrons. Chapter VI is devoted to the Procession of the Great Emperor Zhang of Cishan and the Abyss of Fengdu on the south walls. These two paintings, which were derived from folk beliefs and popular culture, are viewed as subsidiary themes complementing the cult of Dongyue.}, keywords = {Chinese Art}, author = {Lu, Ling-En} } @mastersthesis {10225, title = {Seeing in Sequence: Rubens and the Jesuit Christ in Antwerp}, year = {2007}, school = {IFA/NYU}, abstract = {This dissertation explores the form, meaning and function of the architecture and decoration of the Jesuit church in Antwerp (1615-1621), a monument that fulfilled a key role in the Church{\textquoteright}s campaign to consolidate the city{\textquoteright}s Catholic identity in the face of Protestant opposition. Consisting of two large-scale altarpieces, a cycle of 39 ceiling paintings, and sculptural ornaments, Peter Paul Rubens{\textquoteright}s ambitious scheme emulated the greatest decorative cycles of the Italian Renaissance, including Michelangelo{\textquoteright}s Sistine Ceiling, Titian{\textquoteright}s ceilings for the Santa Spirito in Isola and Paolo Veronese{\textquoteright}s San Sebastiano ceiling cycle. My study offers the first comprehensive treatment of Rubens{\textquoteright}s ensemble in the context of the architecture of the church and the broader mission of the Jesuits. Early Latin texts and letters describing the church are translated and examined. Relying on this textual evidence and a close reading of the paintings themselves, I argue that Rubens{\textquoteright}s decorations constituted a unified concetto that the viewer was to experience progressively. In my discussion of the ceilings, featuring biblical and hagiographic narratives, I highlight previously unnoticed visual and thematic relationships that invited the viewer to connect paintings across the space of the church. I further show that the ceilings were meant to be read in conjunction with the iconographic program of the facade and that of the choir. I argue that this multilayered reading of the cycle found a parallel in Jesuit exegesis and devotional literature, which likewise encouraged the reader to find deeper levels of meaning behind the ordinary fabric of the created world. Jesuit hagiographic texts and rhetorical treatises are examined for my analysis of the altarpieces and ceiling paintings depicting Jesuit saints and the Church Fathers. Rubens displayed his knowledge of these studies by inventing entirely new iconographic formulae that propagated ideals and doctrines championed by the Jesuits, including the power of the Eucharist, the doctrine of the Trinity, and the intermediary role of the Virgin and saints. I also connect the visual energy and emphasis on contrasting emotions in Rubens{\textquoteright}s hagiographic paintings to the Jesuit rhetorical tradition, which was rooted in the oratory of the Fathers themselves.}, keywords = {Renaissance/Baroque Art}, author = {Knaap, Anna} } @mastersthesis {10212, title = {Seventeenth-Century Dutch and Flemish Genre-Portraiture}, year = {2007}, school = {Kansas}, abstract = {Seventeenth-century Dutch and Flemish so-called "genre-portraits" significantly deviate from the formulaic qualities of established portrait conventions. Sitters in genre-portraits are sometimes vividly expressive or emotive, and are often portrayed as actively engaged with figures or events around them within a quotidian setting. This dissertation identifies and explores the presence, meaning, and function of genre-portraiture in the southern, and particularly the northern Netherlands, within the economic, social and historical contexts of seventeenth-century Dutch and Flemish culture. Indigenous to Holland and Flanders, genre-portraiture appeared within Netherlandish visual culture in the 1630s and experienced a decline by the 1680s. The scope of my research includes five chapters, which act as case studies of exemplary seventeenth-century genre-portraits, selected from an appendix of genre-portraiture compiled for this study. Genre-portraiture encompasses a broad variety of genre scenes, such as images of festivity, sitters at work, economic transactions and medical procedures, among others. This type of imagery also spans the breadth of traditional portrait formats, including self-portraiture, single-figure portraits, double portraits, group portraits, and family portraits. Chapter one introduces Brouwer{\textquoteright}s The Smokers, c. 1635 (New York, Metropolitan Museum of Art), as an early example of genre-self-portraits of artists cast as merry-makers in tavern settings. Chapter two examines the c. 1631 etching Naked Woman Seated on a Mound as a provocative image within the development of early genre-portraiture by Rembrandt. Chapter three focuses on Jan Steen{\textquoteright}s Portrait of the Baker Oostwaard and His Wife, 1658 (Amsterdam, Rijksmuseum), a theme that relates to civic pride and economic prosperity in mid-century Holland. Chapter four investigates Emanuel de Witte{\textquoteright}s Portrait of Adriana van Heusden and Her Daughter at the Amsterdam New Fishmarket, 1661-63 (London, National Gallery), which depicts a housewife shopping in a public market. Chapter five showcases a late example of genre-portraiture, which depicts a medical procedure in Egbert van Heemskerck{\textquoteright}s The Surgeon Jacob Fransz Hercules and His Family, 1669 (Amsterdams Historisch Museum). The complexity of overlapping genre categories heralds the end of genre-portraiture as a brief but distinct trend in seventeenth-century Dutch and Flemish painting.}, keywords = {Renaissance/Baroque Art}, author = {Christian, Michelle Moseley} } @mastersthesis {10059, title = {Signifying Practices: The Pre-Texts of Post-Modern Architecture}, year = {2007}, school = {Harvard}, abstract = {In recent views, architectural postmodernism is rejected as a facile historicism, archaic both in its image and its concern with the image-but such a dismissive conception obscures the multiple trajectories of its formation. This dissertation reexamines the early manifestations of postmodern architecture, in a series of publications, polemics and practices in the late 1970s that are both constitutive of, and alternatives to, the eventual definition of the movement. These signifying practices-the bricolage design strategies (as architectural expediency) of Colin Rowe, the billboards (as emblems of a Pop architecture) of Robert Venturi, et al., the Supergraphics (as hands-on approach to building renovation) of C. Ray Smith, and Post-Modernism itself (as the naming of the movement) in Charles Jencks{\textquoteright} development of the term-each addressed the status of architecture in the midst of a reevaluation of modernism. Common to each is an engagement with the performative (as opposed to the representational) use of the sign. Taken as a set, the relations within and among these practices have formal, conceptual and discursive resonance, and together represent a historical field seemingly obscure in its obviousness. Their study illuminates continuing problematics regarding the relationships of representation to performance in both architectural design and criticism, and provides a vocabulary to re-imagine the possibilities of these relationships}, keywords = {Architectural History/Historic Preservation}, author = {McMorrough, John Doyle} } @mastersthesis {10127, title = {Sowing the Seeds of a New Fine Art: Stieglitz, O{\textquoteright}Keeffe, and Photography in American Museums}, year = {2007}, school = {Case Western Reserve}, abstract = {This dissertation examines the seminal efforts of Alfred Stieglitz and Georgia O{\textquoteright}Keeffe to secure for the medium of photography, and specifically Stieglitz{\textquoteright}s own work, a place of lasting distinction in American art museums. Stieglitz{\textquoteright}s inaugural gifts to museums during his lifetime and O{\textquoteright}Keeffe{\textquoteright}s wider distribution of her husband{\textquoteright}s photographs after his death are documented facts in the literature on these two central figures in American art of the twentieth century. However, to date there has been no fully detailed analysis of the independent and collaborative steps both Stieglitz and O{\textquoteright}Keeffe took to realize Stieglitz{\textquoteright}s dream for museum recognition of photography as a fine art. To support my thesis, I analyze Stieglitz{\textquoteright}s deliberate efforts to define his photographs as unique works of art. Invoking the influential theories of Walter Benjamin regarding the effects of technological reproducibility on the reception of art, I investigate the means by which Stieglitz countered common assumptions about photography as a mindless mechanical process, successfully imbuing his photographs with a unique quality equivalent to other arts such as painting and sculpture. This "aura" led to the inclusion of Stieglitz{\textquoteright}s signature images-a first for photographs-in the collections of American museums. In addition, this dissertation demonstrates that Georgia O{\textquoteright}Keeffe{\textquoteright}s efforts to further Stieglitz{\textquoteright}s dream are central to a fuller understanding of the institutional history of photography in America. While scholars readily attribute O{\textquoteright}Keeffe{\textquoteright}s success as an artist to the promotional efforts Stieglitz waged on her behalf, few acknowledge the extent of O{\textquoteright}Keeffe{\textquoteright}s equally determinant role in securing her husband{\textquoteright}s lasting fame. A thorough analysis of O{\textquoteright}Keeffe{\textquoteright}s deliberate management of Stieglitz{\textquoteright}s oeuvre during his lifetime, subsequently as executor of his estate, and finally, as self-appointed steward of his artistic legacy for the remainder of her long life, reveals that O{\textquoteright}Keeffe is, to a significant degree, responsible not only for our understanding of Stieglitz as a photographer, but also for the subsequent success of the medium he championed in the United States.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Weil, Michael Robert} } @mastersthesis {10213, title = {Spain in Naples: Building, Sculpting, and Painting for the Viceroys (1585-1621)}, year = {2007}, school = {Columbia}, abstract = {This thesis offers the first comprehensive interpretation of Spanish architectural patronage in Naples in the kingdoms of Philip II (r. 1556-98) and Philip III (r. 1598-1621) of Habsburg. While focusing on secular architecture, I also take into account the commissioning of major public sculptures and painted cycles, as well as the restoration and recycling of existing monuments and spaces. I analyze the architectural and engineering activity of Domenico Fontana (1543-1607) and his son Giulio Cesare (1580-1627) in Italy and Spain, contextualizing their realized and unrealized projects within a discourse on the cultural politics of the Monarquia Hispanica. In relation to Habsburg imperialism, I contend that the entire city of Naples ("La Fedelissima"), participated, at different levels, in the imperial program of the Habsburg monarchy. I discuss the evolution of architectural proficiency and style in Naples in relation to major trends shaping the aspect of other primary capitals of early modern Europe at the turn of the sixteenth century, such as Rome, Palermo, and Madrid. My objective is to cast light on the local functioning of public commissions in order to offer a tentative explanation of the deferred flowering of Baroque architecture in the kingdom of Naples.}, keywords = {Renaissance/Baroque Art}, author = {De Cavi, Sabina} } @mastersthesis {10197, title = {Spiritualism and the Visual Imagination in Victorian Britain}, year = {2007}, school = {Yale}, abstract = {"Spiritualism and the Visual Imagination in Victorian Britain" examines the intersection of Spiritualism and visual art in London from the 1850s through the 1880s. Spiritualists believed in a heterodox version of Christianity, claiming that the spirit survives after the death of the body and can communicate with the living. This study addresses the largely overlooked subject of automatic or "spirit" drawings created by artists who acted as mediums, supposedly channeling ideas from the dead and expressing them in visual forms. Produced through involuntary motions of the hand while in a trance, these drawings appear to be among the most spontaneous of all artistic genres. Yet, focusing on the art of two Victorian "drawing mediums," Anna Mary Howitt-Watts and Georgiana Houghton, I argue that spirit drawings were in fact highly mediated works of art that emerged from complex processes of revision, translation, and exegesis. I interpret spirit drawings as an alternative and largely female artistic practice that developed outside the male-dominated art academies. As original forms of artistic expression, spirit drawings are compelling because they defy many expectations about art. They challenge the idea that drawings are the products of one distinct artist: whether automatic drawing is interpreted as a partnership between a spirit and a medium, the conscious and the unconscious, or two mediums, it is always a collaborative enterprise. Spirit drawings were often shocking in appearance-some of them abstract before the age of abstraction-and bold in their content-even advocating the idea of a female messiah. Spirit drawings occupy a liminal space between Victorian and avant-garde art, between legibility and indeterminacy. While striving for absolute theological "truth," Spiritualist artists often produced ambiguous works. Whether through amorphous forms, multivalent symbols, or tensions between text and image, spirit drawings anticipated some of the innovations of Symbolism. Reverberations of spirit drawing lasted into the twentieth century, when abstract artists continued to explore the problem of visualizing the invisible in non-mimetic forms and Surrealists appropriated the technique of automatic drawing.}, keywords = {Nineteenth-Century Art}, author = {Oberter, Rachel} } @mastersthesis {10264, title = {Sporting Modernity: German Artists and the Athletic Body, 1918-1945}, year = {2007}, school = {Wisconsin}, abstract = {Following World War I, sports became a popular phenomenon in Germany that critics often derided as a faddish "cult." But sports and art institutions and avant-garde artists looked more closely, and critically, at sports{\textquoteright} potential to rejuvenate and cultivate a harmonious, democratic society. This dissertation examines images of sports in the visual arts in Weimar Germany to explore how its institutions and artists forged a link between sports and art and gave new visual form to ideas about the athletic body. It focuses on the 1930 sports-art exhibition Sports as Cultural Factor, sports at the Bauhaus school of design, and the sports pictures of Laszlo Moholy-Nagy, Anton Raderscheidt, and Willi Baumeister as exemplary case studies. Sports as Cultural Factor linked sports, culture, and national identity as it enlisted art to define German sports culture as aesthetic and ethical. A key part of the German Olympic Committee{\textquoteright}s pitch to host the 1936 Olympics in Berlin, its humanist view of sports art offers an insightful contrast to that of the 1936 "Nazi" Olympics themselves. The Bauhaus used sports to make art and artist training responsive to postwar social conditions. Its reform pedagogy inspired new ways of depicting the body, stressing its inherent form and function rather than conventions of ideal beauty. Based on this approach, the sports photomontages of Moholy-Nagy alternately define the athlete as a self-determined individual; a utopian "whole man" based on his Bauhaus writings; and a figure compromised by shifting gender relations, militarism, colonialism, or industrialism. Raderscheidt{\textquoteright}s sports paintings explore the challenge the "emancipated," athletic new woman posed to the modern "companionate" marriage. They first stress how her autonomous, nude athletics threaten her male counterpart, and then reduce her to a mere object of the gaze. Drawing on life-reform and technocratic concepts of the body as natural or mechanical, Baumeister{\textquoteright}s 1920s sports pictures present the athletic body motif as a rational technology of embodied expression. His 1930s works expand the view of embodied athletic experience to include the nonrational.}, keywords = {Twentieth-Century Art}, author = {Skrypzak, Joann Maria} } @mastersthesis {10198, title = {Starving for Recognition: The Representation of the Struggling Artist in America, 1810-1865}, year = {2007}, school = {Temple}, abstract = {This dissertation analyzes how American painters, sculptors, and writers active between 1810 and 1865 depicted their response to a democratic society that failed to adequately support them financially and intellectually. Without the traditional European forms of patronage from the church or the crown, American artists faced unsympathetic countrymen who were unaccustomed to playing the role of patron and less than generous in rewarding creativity. It was in this unrewarding landscape that American artists in the first half of the nineteenth century employed the "struggling" or "starving artist" image to criticize the country{\textquoteright}s lack of patronage and immortalize their own struggles. Although the concept of the struggling artist is well known, only a select few artists choose to represent themselves in this negative manner. Using works from five decades, I demonstrate how the artists, such as Washington Allston, Charles Bird King, David Gilmour Blythe, represented a larger phenomenon of artistic struggle in America. The artists{\textquoteright} journals, letters, and biographies reveal how native artists{\textquoteright} desire to create imaginative works came in conflict with American patrons{\textquoteright} more practical interests in portraiture and later in the century, genre work. If artists wanted to avoid financial struggle, they had to learn to capitulate to patrons{\textquoteright} demands. This intellectual struggle would prove the most difficult. In addition to the fine arts, the struggling artist type appears in essays, poems, short stories, and novels. I use literary sources, including William Ellery Channing, James Fenimore Cooper, Nathaniel Hawthorne, and Herman Melville, to demonstrate the widespread concern for the future of the arts in America. Their tales mirror the frustrations facing fine artists. Through an examination of the development of art academies and exhibition venues, this study traces the evolution of a young nation which went from considering artists as mere craftsmen to recognizing them as important members of a civilized society. I argue that this transformation owes much to the image of the starving artist.}, keywords = {Nineteenth-Century Art}, author = {Schneider, Erica} } @mastersthesis {10188, title = {The Still-Life Paintings of Vincent van Gogh and Their Context}, year = {2007}, school = {Princeton}, abstract = {Of the 870 or so paintings Vincent van Gogh (1853-1890) completed, about two hundred are still-life paintings. For an artist who did not intend to specialize in still life, van Gogh devoted an exceptionally high percentage of his oeuvre to this genre. Why he painted so many still lifes and how these paintings relate to the artistic, economic, and social context of his time is the focus of this dissertation. A chronological presentation of van Gogh{\textquoteright}s still lifes places them in context and allows an examination of them in relation to van Gogh{\textquoteright}s other work. Analysis of Charles Blanc{\textquoteright}s (1813-1882) writings about still life and still-life painting at the French Salon 1867-1886 as well as a new theory of genres provide a framework for assessing van Gogh{\textquoteright}s familiarity with still-life conventions. By creating original still-life compositions, Van Gogh taught himself to paint. This was an unusual practice that became increasingly common by 1900. Investigation into the pedagogy of painting suggests that changes in the way painters learned their craft are linked to earlier paradigmatic shifts in general education pedagogical theory and practice. Still life attracted van Gogh because this genre is different from all the others in one very significant way: the artist has complete control over the form and the subject of the picture. For van Gogh, form served subject to facilitate communication with his audience. He insisted on working "from nature," meaning from actual models and motifs. With still life, he could abide by this stricture while experimenting with shape, color, and subject more easily than he could with any other genre. Taking advantage of still life{\textquoteright}s attributes, he employed still life in five major ways: as a pedagogical tool, as a means of self-representation, as a marketable product, as decoration, and as a way to demonstrate ideas. Van Gogh drew heavily on still-life conventions in France, but as the most innovative still-life painter of the nineteenth century, he also significantly altered the genre forever.}, keywords = {Nineteenth-Century Art}, author = {Coyle, Laura} } @mastersthesis {10241, title = {Subject to Diana: Myth, Identity, and Artistic Origins in French Court Imagery}, year = {2007}, school = {Rutgers}, abstract = {My dissertation examines the visual representations of Diana, the chaste goddess of the hunt, in sixteenth-century French court imagery as a major example of how the intertwining of classical myth and allegory played a central role in shaping a new aesthetic and cultural identity at the French Renaissance court. Beginning with the reign of Francis I [r.1515-47], but in particular during the reign of his son and successor Henri II [r.1547-59], images of Diana pervaded the French Renaissance court, and were produced in a variety of media. Whereas earlier studies have emphasized Diana as a role model exemplifying chastity and ideal courtly behavior, my study reassesses Diana{\textquoteright}s significance for the French court in terms of intrinsically artistic concerns, such as patron identity, transference of motifs, shared imagery, and the emergence of a new style that defined French Renaissance art. At once a forbidden image and an object of desire, Diana embodies a series of questions about the representation of ideal beauty, and the tensions between chastity, desire, and the depiction of nudity. This dissertation considers two major aspects that place the Diana iconography within a new context, while pointing to a set of underlying themes: namely, the symbolic association of Diana with the figure of the French king, a tradition that harks back to late-medieval manuscripts and royal hunting practices, and the connection between Diana and questions about artistic and intellectual production that emerged along with the new French aesthetics of the sixteenth century. Part I examines the allegorical hermeneutics of late-medieval manuscript traditions and their continuity into the Renaissance, in their association between chastity, hunting, knowledge, and the representation of nudity. Part II traces the development of sixteenth-century print culture and the recasting of mythological themes in sensual terms, by mapping the conflation between Diana and the Nymph of Fontainebleau. Based on a close reading of a painting by Francois Clouet, Part III probes the issues of representation underlying the numerous depictions of Diana and her nymphs while bathing, where nudity is simultaneously eroticized and moralized, thus returning to some of the interpretive problems discussed in Part I.}, keywords = {Renaissance/Baroque Art}, author = {Zalamea, Patricia} } @mastersthesis {10194, title = {Symbolism and the Third Republic: Tradition as Avant-Garde, 1871-1915}, year = {2007}, school = {Princeton}, abstract = {No record in ProQuest}, keywords = {Nineteenth-Century Art}, author = {Linford, Sarah} } @mastersthesis {10156, title = {The Temple Terracottas of Etruscan Orvieto: A Vision of the Underworld in the Art and Cult of Ancient Volsinii}, year = {2007}, school = {UIUC}, abstract = {This study examines the terracotta sculptural programs of the temples of Etruscan Orvieto, probably the famed capital of the Etruscan federation, Etruscan Velzna or Roman Volsinii. To date, architectural terracottas have been recovered from the extramural sanctuary in the Cannicella necropolis, the Belvedere temple, a temple located in the vicinity of the Via San Leonardo, and the extra-urban sanctuary at Campo della Fiera, conjectured to be the location of the federal sanctuary of the Etruscans, the fanum Vohumnae, as well as sporadically. A methodological approach which examines this material stylistically, comparatively, iconographically, and contextually may shed light on the cultic practices of ancient Volsinii and illuminate the relationship between the monumental art of the city{\textquoteright}s sanctuaries and the small-scale works of local production, with which, it often displays close affinities. It is argued that the programmatic compositions of the Belvedere and the Via San Leonardo temples possess specifically local relevance linked to the socio-political identity of the town as the location of the fanum Voltumnae, the significant role of the practice of divination to this identity and a cultic vision which placed the town in close proximity to the chthonic sphere. Based on the composition of the back pediment of the Belvedere temple which has been interpreted as a scene of divination, nuptial augury in particular may have been a specialty of this locality. It is probable due to such divinatory expertise among the Velznans that they were positioned in close contact with deities, particularly those of the underworld. Moreover, the pediment from a temple located in the vicinity of the Via San Leonardo which featured representations of the rulers of the upper and lower worlds, Tinia and his chthonic counterpart, Tinia Calu, as well as a possible representation of the patron deity of the Etruscans, Vel\&thetas;umna, may have invoked a religious vision which placed Velzna as the terrestrial location where the balance of power between the celestial and infernal realms was thought to exist. Further, the posited appearance of Vel\&thetas;umna in this same pediment would also have served to underscore the socio-political identity of Etruscan Velzna as the host of the fanum Voltumnae and reinforced visually the right to the Velznans claim as host. Incorporating both Etruscan as well as Greek myth, the themes selected for their cultic structures may also have been reflected in numerous locally produced small-scale works, many with ritual connotations which highlights the consistency in the visual language employed by local artists in the service of cult. In this way, the temple terracottas of Etruscan Orvieto provide a case study for visual imagery and cult, with an emphasis on its chthonic aspect, in one of the most preeminent of Etruscan cities.}, keywords = {Greek/Roman Art}, author = {Busby, Kimberly} } @mastersthesis {10165, title = {Terracotta Sculpture in Early Iron Age Greece}, year = {2007}, school = {Missouri}, abstract = {This dissertation explores early Greek religion and society through a contextual analysis of the ritual use of terracotta votive figurines in the Early Iron Age, c. 1100-700 BCE. I have compiled the major deposits of terracotta figurines (both zoomorphic and anthropomorphic) from sanctuaries in the Peloponnesos and East Greece, creating a broad typology and chronology applicable to all Geometric terracotta figurines that allows for an in-depth analysis of the use, distribution, and symbolism of this category of votive offering. Terracotta figurines are among the earliest and most abundant figural symbols used in early Greece and offer insight into the evolving religious beliefs and social changes of the period. My diachronic approach to the Early Iron Age highlights the relationship of Geometric ritual to Mycenaean and Archaic traditions and contributes to the ongoing research in Greek religion, sculpture, figurine studies, and gender studies. I conclude my dissertation with a consideration of the relationship between votive, deity, and worshipper, exploring how gender construction and evolving social hierarchies in the Geometric period are reflected in the rituals practiced. This study highlights the elite concerns of figurines and their growing use throughout the Geometric period for encoding social roles in a changing society.}, keywords = {Greek/Roman Art}, author = {Walcek Averett, Erin} } @mastersthesis {10133, title = {The Third-Century Mausoleum ({\textquoteright}Hypogaeum{\textquoteright}) of the Aurelii in Pagan or Mixed-Religion Collegium Tomb}, year = {2007}, school = {Rutgers}, abstract = {This dissertation reconsiders one of the most extensively decorated but poorly understood private funerary monuments to survive from the third century in Rome: the Mausoleum of the Aurelii (usually, but incorrectly, called the Hypogaeum of the Aurelii). For more than half a century after its discovery near the Viale Manzoni in 1919, most scholars believed this tomb to be Gnostic; more recently, studies have assigned the monument either to a pagan household or to a newly converted Christian family. In all cases, the literature has concentrated on the highly idiosyncratic iconography of the paintings. The present study relies on not only the frescoes but also two largely neglected pieces of evidence: the single original inscription in the sepulcher, in which one Aurelius Felicissimus commemorates three fratres et colliberti with the same nomen as his, and the design of the mausoleum itself, particularly the number and disposition of the burials. Based on this evidence, the author argues that the patrons of the tomb may have been members of a small club, or collegium, formed among the freedmen of a non-imperial master named Aurelius. The dissertation makes use of the textual and archaeological record to suggest that Christians could occasionally belong to collegia. To elucidate the religion or religions of the patrons, the study turns to the paintings, proposing a new reading of the imagery. The author submits that the frescoes are most readily explained in terms of pagan belief, with the exception of one possible sign of Christian influence, the depiction of the afterlife in urban terms. According to the interpretation proposed here, the paintings celebrate the closeness of the fratres Aurelii, possibly as fellow club members, both in this life and beyond the grave.}, keywords = {Early Christian/Byzantine Art}, author = {Poe, Alison Crystal} } @mastersthesis {10077, title = {Tilting at History: Gothic Revival Tournaments in Early Victorian Great Britain and the Antebellum American South}, year = {2007}, school = {Indiana}, abstract = {No record in ProQuest}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Thrush, Nanette} } @mastersthesis {10144, title = {A Timely History: Images and Texts in the "Hortus Deliciarum"}, year = {2007}, school = {Harvard}, abstract = {The Hortus Deliciarum, or "Garden of Delights," was made in the twelfth century for the Augustinian convent at Hohenbourg, just west of Strasbourg. Through an unusually elaborate cycle of images combined with excerpts from numerous texts, this manuscript of over 320 folios presented the history of the Catholic church as an exemplary model for individual salvation. This dissertation is a three-part interpretative analysis of the content and function of the Hortus Deliciarum in the context of twelfth-century monastic art. Focusing on the interplay of narrative and diagrammatic imagery, in the first section of my study I argue that this innovative program of illustration provides the structural framework and narrative content for a coherent history of salvation that addressed the needs of the Hohenbourg community. The illustrations also familiarized its female audience with the analytical tools and devotional methods necessary for them to comprehend their participatory role in this theologically-inspired history. Medieval conceptions of time-cosmological, soteriological, historical, calendrical and liturgical-are central to my interpretation of the structure and purpose of this manuscript. The second section of my dissertation argues that a multifaceted conception of time unifies the program in the Hortus and provides an immediate point of access for the Hohenbourg women into this expansive history. In the final section, I trace two complimentary themes through the manuscript: the presence of evil in the world, and Abraham as a model for historical and personal salvation. Special attention is paid to the perfidious evils lurking beneath beautiful and alluring facades in a sequence of images that prepare the Hohenbourg women for ongoing combat against sin and temptation. In contrast to the wiles of Lucifer, the portraits of Abraham transcend visual modes and historical confines to define an exemplary path towards salvation.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Joyner, Danielle} } @mastersthesis {10132, title = {The Topography and Iconography of Death in Christian North Africa}, year = {2007}, school = {Michigan}, abstract = {The small coastal town of Tabarka near Tunisia{\textquoteright}s western border has produced more mosaic tomb covers than any other site in Roman North Africa. These fifth and early sixth century monuments show great diversity in both their iconography and epigraphy. They come from several cemeteries and churches in the town and illustrate the commemorative priorities of the population at a time of major transition. This period in Roman Africa is characterized by significant cultural movements and events; the population interred represents the first to have been born into a predominately Christian culture and the area experienced the disruptions of the Vandal invasion and occupation. Within this atmosphere of change, distinct new commemorative priorities are illustrated which seek to distinguishing the individual, and when possible, exalting them for either their service to the church and/or their exemplary Christian virtue. In addition, the small number of clerics{\textquoteright} tombs from Tabarka and the relatively large number of ascetic, non-standard ecclesial and secular personalities represented in the town{\textquoteright}s cemeteries suggest that the community was marked by a vital and unusual population of charismatic leaders rather than by the normal magisterial hierarchy. This is in marked opposition to most other large contemporary Christian cemeteries in the region, whose tombs exhibit greater conformity in their decoration and epitaphs and display few indications of personal identity. Close study of the late nineteenth and early twentieth century excavations at Tabarka shows the town to have been relatively small, but strongly interested in the power of the martyrs although no specific martyr cult can be identified. Particularly among the religiously virtuous, the conjuring of the previous heroic age of persecution by imagery, inscription and the prominent placement of tombs forms an authoritative paradigm for status and legitimacy while the monuments of other graves make pointed attempts through portraiture or unique iconographic compositions to commemorate the dead within acceptable models of modesty. Careful reading of Tabarka{\textquoteright}s tombs with knowledge of their specific material and cultural context suggests that the monastic institutions and economic engines of the region known from literary sources played a critical role in shaping the commemorative vocabulary.}, keywords = {Early Christian/Byzantine Art}, author = {Downs, Joan} } @mastersthesis {10248, title = {Toward a Performative Realism: Art in France, 1957-1963}, year = {2007}, school = {Princeton}, abstract = {This dissertation provides a historical and theoretical account of the group of artists commonly known as the Nouveaux Realistes (New Realists), including Arman, Raymond Hains, Yves Klein, and Daniel Spoerri, among others. At the time of France{\textquoteright}s postwar reconstruction, the critic Pierre Restany promoted these artists{\textquoteright} appropriation of mass media forms as demonstrating their affirmative embrace of technology, one he overlaid with mystical ambitions (Chapter 1). Consequently, their contemporaries in the Situationist International critiqued them on precisely such grounds. In order to displace these perspectives that have largely determined the Nouveaux Realistes{\textquoteright} reception, my reading of their realism is informed by theories of linguistic performativity also developed at this time such as that of J.L. Austin. Elaborated by means of test cases, performative realism describes how the Nouveaux Realistes{\textquoteright} reformulations of avant-garde strategies (i.e., monochrome, collage, readymade) were developed in relation to the conventions of language and institutions as well as contemporary structures of meaning and reception. Thus the problematic the artists{\textquoteright} work engages is one of social meanings not referential truths: Klein{\textquoteright}s immaterial works mobilize how discursive acts are made to appear referential and thereby produce real effects (Chapter 2); Hains{\textquoteright}s torn posters in La France dechiree reveal what is excluded from the realm of represented speech (Chapter 3); Spoerri{\textquoteright}s book Topographie anecdotee du hasard abandons its material referent but nevertheless provokes "reference" to how meaning is produced (Chapter 4). In this context, the artists take as their material the discursive acts that name, interpolate, and describe but in so doing question the authority by which such acts proceed. While this dissertation offers a historical account of the Nouveaux Realistes by relating their work to cultural and political debates that are specific to France at this historical moment (from the status of literary realism to Algerian Independence), its larger stake has to do with how to rethink their realism. These artists{\textquoteright} work develops a new mode of realist signification that I describe as a performative one. In this way, I account for their complicated engagement with the meaning of culture and modern art in 1950s and 60s France.}, keywords = {Twentieth-Century Art}, author = {Kaira Caba{\~n}as} } @mastersthesis {10206, title = {Toward an Understanding of Elite Late Classic Maya Representations at Palenque, Mexico}, year = {2007}, school = {UT Austin}, abstract = {This dissertation examines portraiture at Palenque during the Classic period. I propose that portraits communicated information about the identity of the sitter through the representation of the face and head. I argue that when picturing the same person, sculptors rendered particular facial features with remarkable consistency. Artists also represented modifications to the face. Some superficial treatments that play roles in the ascription of identity include cosmetic devices appended to the face, tattoos or scarification, and facial hair. These changeable features operated alongside the face{\textquoteright}s form to communicate individual identity. The representation of facial features allowed the designers of visual programs at Palenque to make specific claims about the identity of sitters. For example, in some cases portraits quote physical characteristics observable in earlier portraits to mark biological connections of the individuals represented. Additionally, posthumous portraits furnished opportunities to situate some ancestors into divine lineages. Artists represented the faces, heads, and costumes of certain sitters in a manner that overtly referenced images of Maize Gods. In contrast, contemporary portraiture typically exhibits variations in the face{\textquoteright}s details, differences in the age of the sitter, and a diverse array of costumes. Despite this instability, portraits created during the sitter{\textquoteright}s lifetime still exhibit enough consistency to facilitate the identification of particular individuals. I suggest that emphasis placed on either divine lineage or temporal concerns shifted depending on political circumstances. This complex negotiation took place as the roles and responsibilities of kings changed during the Late Classic period. I advocate that portraits reflect the fragile and tenuous political environment during this time period, but more importantly, I propose that portraits actively participated in shaping environments and attitudes of Palenque{\textquoteright}s inhabitants.}, keywords = {Pre-Columbian Art}, author = {Spencer, Kaylee Rae} } @mastersthesis {10054, title = {Urban Architecture for Community and Spectacle: The Roofed Arena in the United States, 1890-1969}, year = {2007}, school = {Delaware}, abstract = {This dissertation provides the first treatment of the origins and development of the roofed arena in the United States and Canada. Supported by archival resources of graphics and text, and informed by direct contact with arena architects, design and operations staff, this study examines the arena as a place for spectacle within the larger environments of city and campus. The arena{\textquoteright}s site, massing, and design revealed the expectations of its sponsorship. The arena{\textquoteright}s internal configuration of roofed seating bowl, floor, portals, and passages was a purposeful arrangement intended to accommodate attendees and manage their movement through architectural space. The first chapter focuses on the transmission to the nineteenth century, via the architecture of theater, circus, and other spaces of public assembly, of the Greek and Roman hippodrome oval for accommodation of multiple kinds of revenue-generating activities situated within a circular, elliptical, or rectilinear seating bowl. The significance of the Royal Albert Hall, London, as the conceptual model for the presentation of modern indoor spectacle is recognized. But within the context of the growth or urban centers and the expansion of commercial leisure, Stanford White{\textquoteright}s Madison Square Garden, New York, is documented as the principal formal model. White{\textquoteright}s facility, a hippodrome within a rectangular industrial shed, whose impact was amplified by the communications media that disseminated its image and the reports of its spectacle, generated successors on a continental scale. The research method identified buildings, sought to find relevant information, and fixed the buildings along a time line. Populated with enough examples, the time sequence yields affinities and clarifies differences, making possible useful generalizations about site and design in context. Across the time period considered, enclosure evolved from arched and pitched forms, and thin-shell experiments, toward the anti-industrial dome and drum. The emergence of tensile solutions allowed roof support to act as a design element as well as engineering. But by the end of the 1960s, circular and ovoid buildings receded in favor of the operationally more efficient rectilinear footprint covered by a flat truss or space frame. Exteriors of brick and stone became complex fields of concrete, glass, and multiple forms of metal. Over the long term, internal treatment of attendee space emphasized presentation of finished surface. This dissertation identifies those formal architectural attributes that carried the arena{\textquoteright}s programmatic objectives. It examines the emergence of the commercial, mercantile arena; higher education{\textquoteright}s recognition of the capacity of the architectural fabric of arenas to support institutional growth; and municipalities{\textquoteright} use of the form to project government-defined civic values. The chronological narrative recognizes the intensity of concurrent strands of development between the World Wars and concludes by noting arena managements{\textquoteright} increasing interest in building commercial destinations for attendees outside the seating bowl. Finally, the work establishes the role of the arena in large-scale repurposing of urban land in the 1960s. The Appendix is an extensive census of the large roofed arenas built in North America between 1853 and 1968. It provides the name of the facility, dates of design and opening, architect, type of siting, and configuration of building envelope. The Appendix introduces distinctions useful for analysis. Component siting, in contrast to independent siting, indicates placement of the arena within a system of buildings of associated purpose. Centroidal positioning indicates a building{\textquoteright}s occupation at the functional center of mass. Building envelope-with pitched or arched roof or other kind of enclosure-operates with siting as another indicator of sponsors{\textquoteright} Intent. By assembling and reading the evidence of site, design, and operation, this paper ventures an approach to understanding the place of the roofed arena in the North American urban landscape. It is hoped that this work will invite and assist investigation into related issues, e.g., the architectural profession{\textquoteright}s approach to arena projects and, particularly, the commercial archaeology and human geography of the arena{\textquoteright}s interior zones.}, keywords = {Architectural History/Historic Preservation}, author = {Keller, William} } @mastersthesis {10236, title = {Venetian Art and the War of the League of Cambrai (1509-1517)}, year = {2007}, school = {Queen{\textquoteright}s}, abstract = {This dissertation explores how Venetians used the figurative arts as a means of responding to and shaping their experience of the War of the League of Cambrai (1509-17). The war was the most politically and spiritually tumultuous conflict in Venice{\textquoteright}s history and almost resulted in the loss of its mainland empire. To provide a sense of the complexity of the relationship between art and contemporary military events, the study gathers and analyses a wide range of works, from painting and sculpture to woodcuts for books and prints. Chapters two, three, and four investigate how Venetians used visual art to represent and interpret their struggle to reclaim the former terraferma empire. Chapter two begins the discussion by examining the modest woodcuts accompanying printed propagandistic texts that were inspired by the battle for the mainland and that constitute the first visual response to the war. Chapter three explores the interpretation afforded military events by subsequent and more enduring works of art, particularly sculpted altarpieces and tombs for mercenaries. Chapter four discusses the assertive revival of more traditional visual themes, particularly the lion of St. Mark. Chapters five, six, and seven, in contrast, address how Venetian art reflects the atmosphere of spiritual crisis generated by the popular interpretation of the war as a form of divine punishment. The first of these demonstrates how devotional books responded to the unsettled mood through text and image. Chapter six proposes that the wartime popularity of multi-block woodcuts, particularly of religious subjects, similarly reflects a market for certain kinds of devotional imagery. To conclude, chapter seven argues that the same atmosphere sparked a sudden interest during the war and shortly thereafter in paintings of Christ and the adulteress. Considered as a group, the studies presented by the various chapters demonstrate that Venetians produced a wide variety of art during the Cambrai War as a means of interpreting the conflict{\textquoteright}s significance and influencing its course.}, keywords = {Renaissance/Baroque Art}, author = {Stermole, Krystina Karen} } @mastersthesis {10093, title = {Views of Philadelphia and the Culture of Geography, 1780-1800: Maps, Magazine Engravings, and William Birch}, year = {2007}, school = {Rutgers}, abstract = {This dissertation examines print images and maps that illustrate scenes of Philadelphia from about 1780-1800. Images are considered here in regard to the contemporary culture of geography at the end of the eighteenth century and with an eye toward the nation-making possibilities of these very local views. The three main chapters of this dissertation each focus on a specific type of print illustrating the city of Philadelphia: maps, magazine views, and a volume of engravings by artist William Birch (1755-1835). Each of the types of images considered here in some way reflect the concurrent interest in and production of geographic artifacts. Maps are blatant works of geography, but as visual items they also allow viewers to locate themselves within the framework of the city. Maps of the late-eighteenth century utilize symbolism established in the Renaissance and colonial era to communicate national sovereignty. Urban views in magazines often illustrate buildings originally published on maps; their accompanying verbal descriptions are geographically specific. In these ways, and many more, they are linked to geographic endeavors. Artist William Birch{\textquoteright}s Views of Philadelphia is a work akin to geography texts. In many ways it can be read as a pictorial atlas which presents an idealized version of the city in which patrons can find themselves and their contributions within the infrastructures of the new nation. This dissertation demonstrates how a group of images of one city are a part of a larger cultural framework.}, keywords = {Art of the United States}, author = {Zarro, Jennifer} } @mastersthesis {10135, title = {Visual Constructions of Corporate Identity and Exempla for the University of Paris, 1200-1500}, year = {2007}, school = {UIUC}, abstract = {Visual images representing the medieval University of Paris and its sub-groups (i.e., colleges, faculties, and {\textquoteright}nations{\textquoteright}) survive in a range of media, including painted miniatures, seals, and sculpture. The majority of these works have not been previously studied from an art historical perspective and are commonly interpreted as mere scenes of everyday university life when, in fact, they are highly constructed images that reflect varying notions of group identity for the institution. This dissertation treats the surviving material as a single corpus in order to examine broadly the modes of visual display and particularized iconography used to represent the University and its members, and more specifically how visual iconography helped shape the University{\textquoteright}s flexible corporate identity.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Bauer, Charlotte} } @mastersthesis {10122, title = {Visual Culture and the Crisis of History: American Documentary Practice in the Postmodern Era}, year = {2007}, school = {UC Santa Barbara}, abstract = {Visual Culture and the Crisis of History: American Documentary Practice in the Postmodern Era is an interdisciplinary attempt to bridge the distinct fields of Art History, Film Studies, Postcolonialism, Postmodernism, and Archival theory in the analysis of documentary films{\textquoteright} use of the photographic archive in the era of digitalization. Taking Ken Burns{\textquoteright}s The Civil War (1990), Michael Moore{\textquoteright}s Bowling for Columbine (2002) and Fahrenheit 9/11 (2004), and Errol Morris{\textquoteright}s The Fog of War (2003) as paradigmatic examples of American documentary films pitched to a mass audience, my research examines the contemporary Western "crisis" in historical narrative. The goals of this study are threefold: (1) It aims to analyze the manner in which this crisis is produced by a larger epistemological shift in visual culture. During the twentieth century the invention of new technologies of audio-visual representation such as cinema, television, video and digital media, have transformed the modes of art historical narration and with it forced historians to assess the impact of new visual technologies on the modes of historical writing. Has late-twentieth century Western culture{\textquoteright}s saturation with images changed the way in which history is first constructed and then delivered? (2) It intends to assess whether Brechtian critiques of the traditional documentary mode, the postmodern collapse of meta-narratives, the postcolonial critique of historicism, and the advent of digitalization have operated to subvert, or otherwise affect the ways in which documentary form is now conceived. What is the impact of digital technology, and postmodern and postcolonial critiques of historicism on the documentary power of photography and film? (3) By addressing the ways in which the disciplines of Art History, Film Studies, and Archival Theory have engaged with the notions of "reality," photographic evidence, and historical narrative, it addresses the central question: What type of knowledge validates evidential uses of the photographic archive in the electronic age? How does this differ in the case of the three filmmakers? Visual Culture and the Crisis of History is thus relevant for its rethinking of the concept of documentary "truth" against a background of diminished public confidence in the "objectivity" of the camera.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Ricciardelli, Lucia} } @mastersthesis {10146, title = {Visual Translation, Visible Theology: Illuminated Devotional Compendia in Late Medieval France and England}, year = {2007}, school = {Harvard}, abstract = {The emergence of the vernacular languages alongside Latin, the traditional language of sacred revelation, learning, and ecclesiastical administration, is one of the defining developments of the high and later Middle Ages. Following the Fourth Lateran Council (1215), which legislated a broad pastoral mission to the laity, vernacular literature of spiritual instruction played a decisive role in the spiritual and moral formation of Christians throughout Europe. Images also played an important, if sometimes controversial, role in this ambitious attempt to refashion Ecclesia after the idealizing vision of the pastoral reform movement. The late medieval pastoral project and the spiritual ambitions of its participants-both clerical and lay-made tremendous demands on the resources of the visual and literary arts. Examining a series of exemplary thirteenth- and fourteenth-century French and English illuminated manuscripts containing Anglo-Norman, Old French, and Middle French treatises of spiritual instruction, this dissertation examines how vernacular text and visual representation met these challenges. Drawing upon medieval theorizations of translation, I explore how images in these thirteenth- and fourteenth-century manuscripts accomplish a translation of their own through which sacred and saving truths are transferred from a textual to a visual register. The importance of the manuscripts I examine lies in the varied ways in which they advance images as indispensable means in the pursuit of salvation. Taking as its point of departure an exemplary manuscript or group of manuscripts, each of the dissertation{\textquoteright}s four chapters addresses an important domain of Christian spiritual experience as it is refashioned through the work of visual translation. Throughout the dissertation, I examine the role of images in soliciting the reader-viewer{\textquoteright}s hermeneutic engagement, and the spiritual transformation that they promise the viewer in return. The visual programs found in the vernacular manuscripts of spiritual instruction examined in this dissertation do not simply supplement their textual counterparts; rather, they serve in their own right as authoritative statements of sacred truths, formulated in visual terms. This dissertation explores how late medieval images ultimately transform the {\textquoteright}truth{\textquoteright} to which images are believed to lend access through a process of visual translation that elaborates a visible form of theology.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Aden Kumler} } @mastersthesis {10101, title = {Visualizing Social Spaces: Site and Situation in Xiang Shengmo{\textquoteright}s (1597-1658) Art}, year = {2007}, school = {Stanford}, abstract = {Focusing on the interplay between visual production and social formation, this dissertation looks into the ways in which Xiang Shengmo{\textquoteright}s art responded to an ensemble of dynamic social relations. Acknowledging that social situations are decidedly both plural and transient, this study intends to closely examine these social interactions as case studies. The four chapters interrogate varied sites and situations with which the artist was grappling, through social networking and artistic representation. The fabric of Xiang Shengmo{\textquoteright}s social space was woven with wildly diverse threads, including, but not limited to, obligations and opportunities, alienation and atonement, contestation and compromise, and aspiration and anxiety. The central concern of my dissertation does not sit squarely on Xiang the artist per se, but goes deep into the various social arenas within which he found himself, and his engagement with these particular situations. The diverse arenas of Xiang{\textquoteright}s social negotiation discussed include interregional cultural networks, local elite societies, family heritage, and self-positioning through self-portraiture. The study begins by examining Xiang{\textquoteright}s strategic associations with Dong Qichang and Li Rihua. Through contextualizing Xiang{\textquoteright}s affiliations within the bigger picture of regionalist contestation in the late Ming, I explore how and why his interregional network transformed over time. The same consciousness of locality loomed large in local Jiaxing elites{\textquoteright} efforts to promote distinctive regional art and culture. Xiang contributed his painting and poetry to this enterprise and advanced his own career in the meantime. The enterprise of place-making, the combined creation of site-cum-sight, was prominent in contemporary garden culture. Around Freeing Crane Islet, apocryphal narrative was concocted and, through Xiang{\textquoteright}s painting, immortalized. Self-portraiture was a socially conscious art form as evidenced in Xiang{\textquoteright}s self-portrayals. Rather than a personal space secluded from social contingency, Xiang{\textquoteright}s self-portrayals were as responsive and instrumental to the evolving social space as his works in other genres. Although not always triumphant, Xiang{\textquoteright}s engagement with social spaces, lodged in particular sites and situations, proved to be proactive, interactive, and at times, retroactive.}, keywords = {Chinese Art}, author = {Shang, Kela} } @mastersthesis {10057, title = {Waging Total Peace: Architecture and Aesthetics, circa 1958-1963}, year = {2007}, school = {Michigan}, abstract = {This dissertation examines the relationship between modern architecture and mass democracy in the 1950s and 1960s. It situates mid-century architecture in socio-political, philosophical, and cultural contexts by exploring the late 1950s discourse on antiquity and democracy, nuclear technology, peace and security, corporate and domestic lifestyles, and America{\textquoteright}s newly perceived civilizing mission in the world at odds with the ruin-satiated European worldview. The dissertation engages current debates about the restoration of mid-century modern buildings, while also making a larger argument about the relationship between politics and aesthetics. I examine buildings by the major mid-century American architects---Gordon Bunshaft, Marcel Breuer, Eero Saarinen, Edward Durell Stone, Philip Johnson, and Louis Kahn---and in creating a context for them revisit writings by Hannah Arendt, Vincent Scully, Henry Luce, C. Wright Mills, William Pfaff and Edmund Stillman. A number of major themes and concepts emerge to form the basis for a dynamic and synthetic social history of modern architecture at mid-century. In the first part of the dissertation, through an analysis of the images and metaphors associated with Luce{\textquoteright}s concept of "pervasive beauty" and the culture of mass democracy, I delineate a "common sense" for mid-century architecture and specifically for the glass curtain wall. Coined by Luce in 1957 to express the new aim of architecture in the postwar world under American hegemony, "pervasive beauty" encompassed ideas of material richness, an abundance of goods, and a notion of democracy as cheerful, welcoming, and transparent. In the second part of the dissertation, the concept of "total peace," coined by Eisenhower in 1958 to express the aim of American democracy as the Cold War heated up, emerges as the political counterpart to pervasive beauty. If pervasive beauty corresponded to a landscape of glass walled buildings, total peace corresponded to buildings of and for an American Acropolis, buildings that would be emblematic not merely of a nation, but of an enduring, imperial civilization. In the third and final section, I present a short political history of the postwar period, from roughly 1950-1963, told through close readings of works by Arendt, Mills, and Pfaff and Stillman.}, keywords = {Architectural History/Historic Preservation}, author = {Lieber, Jeffrey} } @mastersthesis {10151, title = {Whispering Demons on the Irish High Crosses: Rethinking the Temptation of Saint Anthony}, year = {2007}, school = {UNC Chapel Hill}, abstract = {Five crosses erected at ninth- and tenth-centuries monasteries in Ireland are decorated with carvings of biblical and saints{\textquoteright} narratives, but these also include one in which two zoomorphic-headed figures in contemporary clothing confront a centrally placed man. Arthur Kingsley Porter identified the subject as temptation by demons, suggesting Saint Anthony as the probable protagonist, but the iconography bears no apparent relationship to the facts of Anthony{\textquoteright}s story, as related by his biographer, Athanasius. The asceticism practiced by some early medieval Irish monks has long fascinated scholars, bleeding into assumptions about motivations behind the entire body of Irish monastic art work. During the era in question, the monasteries erecting these crosses were not retreats for solitary living, nor were they necessarily peopled by ascetic men in orders, leaving open the contextual basis supporting the "temptation" interpretation. This essay considers alternate explanations for scenes, beginning with the animals pictured, seeking precedents in pre-Christian art forms. In addition to a visual survey, I explore Irish vernacular literature to explain some of the beliefs surrounding the creatures pictured. I explore the history of, and other uses for, the heraldic compositional type used for the images, beginning with ancient Near Eastern art and applications in Irish art as drawn from the Merovingian culture. From there, I investigate the topics of demons and animal-related magic, seeking information about the culture of druids and their poet-successors in Ireland. I look for related visual images of demons and devils within contemporary Western European art and elsewhere on the Irish crosses, comparing these with the zoomorphic-headed figures. In the next chapter I illustrate and highlight details of the figures{\textquoteright} costume, connecting visual evidence to scholarship on medieval dress and references in early medieval Irish Christian and non-Christian literature, to identify the social station and professional standing of the various figures, as suggested by their clothes and accoutrements. Finally, I define the circumscribed geographic area in which the five crosses stand, providing an overview of its history and the contemporary political situation, to provide context for the creation of these unusual images on public monuments.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Tomlinson, Sally} } @mastersthesis {10199, title = {Whistler and France}, year = {2007}, school = {Temple}, abstract = {James Mc Neill Whistler left America in 1855 to live la vie de boheme in Paris and never returned. During the 1860s and 70s he was enmeshed in the Parisian avant-garde, numbering among the devotees of the Cafe Guerbois who orbited Manet. Although Whistler continually shuttled between London and Paris and his artistic life straddled both cultures, the influences during his early Parisian years lay the groundwork for his entire career. Indispensable were the writings of poet-critic Charles Baudelaire. Moreover, during the 1880s and 1890s, a younger generation touted Whistler{\textquoteright}s works as the embodiment of the virtues that these poets, painters, and critics espoused. Nevertheless, Whistler{\textquoteright}s pivotal role in linking the legacy of Baudelaire and other mid-century innovators, such as Eugene Delacroix, Theophile Gautier and Richard Wagner, to the aspirations of the later French Symbolists has been largely ignored. This study positions Whistler squarely within the context of French aesthetic, theoretical and literary discourses that so profoundly informed his oeuvre. In addition to investigation into his far-reaching responses to Baudelaire, this study examines in depth the dialogue between Whistler and three canonical French artists, namely, Edouard Manet, Edgar Degas, and Georges Seurat. Placing Whistler side-by-side with each of these painters promotes a reassessment of familiar images that assume fresh resonances when scrutinized through the prism of the rich, artistic interchange that existed among friends and colleagues. In each of these artists, synesthesia, correspondences, and the Gesamtkunstwerk---a synthesis forcefully formulated by Baudelaire with roots in Romanticism and fruits in Symbolism---were the linchpins in developing a paradigm of modernity that melded observation and idealism, naturalism and abstraction. Moreover, the theoretical questions that absorbed writers and artists during the second-half of the nineteenth century not only formed the backdrop for artistic production, but also informed the reception of these works by their contemporaries. Inserting Whistler into the dynamics of the French avant-garde reveals the depth and pervasiveness of his presence and the revolutionary nature of his role in shaping modernity.}, keywords = {Nineteenth-Century Art}, author = {Singletary, Suzanne} } @mastersthesis {10178, title = {"With Our Hearts in Our Hands and Our Hands in the Soil": Aztlan as Utopic Space in Chicana/o Art and Visual Culture}, year = {2007}, school = {New Mexico}, abstract = {This project traces the multiple strains of Aztlan, the legendary homeland of the Aztecs, in hopes of maintaining the global anti-colonial trajectory of the late-1960s. By understanding the nuances of Aztlan, this dissertation will facilitate a more complex awareness of the movimiento chicano, as well as other self-determining social movements. Initially, indigenous elites conceptualized Aztlan as the homeland from whence the Mexica, one of the tribal units collectively known as the Aztecs, departed on their way to found their imperial home at Tenochtitlan (present-day Mexico City). According to many historians, Aztlan functioned in an ideological manner that legitimized the Mexica subjugation of other Nahuatl-speaking peoples in central Mexico. Following the foundation of the Aztec confederacy, Aztlan remained an important ideological construct for Mexica elites, but lost its meaning with the arrival of Spanish conquistadores in 1519, at which time it morphed into a dissimilar concept. Centuries thereafter during the late-1960s, in conjunction with the global movements of anti-colonialism and anti-capitalism, Chicana/o activists recuperated and reconfigured this ancient indigenous notion as a way to sanction and decriminalize their presence in the United States. For these young activists, the US Southwest was (and continues to be) Aztlan. But Aztlan is concurrently something more profound and abstract than a purely geographical place. As such, this dissertation investigates Aztlan as a hybrid site that combines both Indigenous Mesoamerican and European (both Hispanic and Anglophone) worldviews and perspectives. By exploring the artwork and visual culture produced by artists such as Gilbert "Magu" Lujan, Malaquias Montoya, Nora Chapa Mendoza, Santa Barraza, the Xicano Development Center, and Carlos Cortez Koyokuikatl, I demonstrate the multiplicity of functions that Aztlan performs. This project intends to recuperate Aztlan as a site of liberation, even for non-Latinas/os, while inserting Midwest Chicana/o cultural practices into the discussion. Secondary to these primary concerns are the critique of the false binary between Chicano nationalism and Chicana feminism, as well as the reciprocity between radical Chicana/o politics and anarchist direct action. Additionally, this dissertation issues a critique on double consciousness, mestiza consciousness, and biological discussions of cultural practices.}, keywords = {Latin American/Caribbean Art}, author = {Miner, Dylan} } @mastersthesis {10202, title = {Witty and Lascivious Amusements: The Drawings of Cornelis Dusart and the Dawn of the Eighteenth Century}, year = {2007}, school = {IFA/NYU}, abstract = {Cornelis Dusart (1660- Haarlem - 1704) created a corpus of drawings that represents both the end of the peasant genre tradition in The Netherlands and the beginning of a reinterpretation of the Golden Age and its pictorial subjects. Working at this critical but historically misunderstood period, Dusart and his artistic production have never been treated in a comprehensive, scholarly, and monographic study. The primary component of this dissertation, a catalogue raisonne of Dusart{\textquoteright}s drawings, serves to establish accepted works and their chronology. The chapters enforce his standing as a prominent figure both during his active years in Haarlem and as an early participant in trends that would become hallmarks of 18th century Dutch art, including drawing production and collecting, creating copies as an independent and salable genre, and amalgamating and transforming specific 17th century peasant genre themes into symbols of pride and nostalgia for a typically "Dutch" school. Dusart{\textquoteright}s biography appears in Chapter One with related documents, including his genealogy and extensive probate inventory, listed and transcribed in Appendices A-C. Chapter Two details the historic ups and downs of his reputation via an examination of both scholarly writings and his collectors{\textquoteright} tastes. Chapter Three focuses on the function of copying within Dusart{\textquoteright}s corpus, from his early use of compositional sketches in the manner of his master, Adriaen van Ostade, to his mature, finished drawn copies after his own works. The final chapter details Dusart{\textquoteright}s stylistic evolution from a close follower Van Ostade, to a master of finished watercolor, into his mature style marked by heavy dark brown wash. This process is couched within a discussion of his transformations of traditional subjects, such as studio material including tronies and figure studies, into independent works, as well as standard iconography of peasant genre from the earlier 17th century{\textquoteright}s gruff representations into a rosier view of the lower classes. Dusart{\textquoteright}s sanitized version of these themes served as a lens through which later generations viewed this aspect of Golden Age imagery.}, keywords = {Pre-Columbian Art}, author = {Anderson, Susan} } @mastersthesis {10228, title = {The Word Made Flesh: Word and Image in Francesco da Barberino{\textquoteright}s Documenti d{\textquoteright}Amore}, year = {2007}, school = {Emory}, abstract = {The Tuscan lawyer and poet Francesco da Barberino (1264-1348) designed novel personifications. His designs appeared on palace walls, in his book of hours, in manuscripts of his didactic poetry, and on a tomb. In his conduct book the Documenti d{\textquoteright}Amore, Francesco drew attention to his invention of the images, and emphasized their utility for his reader/viewer. Products of Francesco{\textquoteright}s imagination, the images were to prompt meditation, understanding and memory. Francesco{\textquoteright}s design and use of images provides important evidence of late medieval visuality. The first chapter examines Francesco{\textquoteright}s stake in his designs. His invention of personifications was closely allied with his activity as a writer. Both activities involved giving specific material form to abstract ideas. Personifications were evident fictions that could be claimed by their inventor. Positioning himself carefully in relation to authority, Francesco laid claim to the forms he invented, and to the role of mediator. The chapter also discusses the function and reception of monumental personifications. The second chapter examines the images in Francesco{\textquoteright}s book of hours, or officiolum. The design and placement of the images represent Francesco{\textquoteright}s response to the devotional contents of books of hours. Once executed, his designs prompted meditation and a particular experience of the manuscript. Francesco{\textquoteright}s self-consciousness about his activity as an inventor is evident in the manuscript{\textquoteright}s images. The third chapter turns to the Documenti d{\textquoteright}Amore. Drawing on the material presence of the images, and on the commensurability of pictorial personifications to real bodies, Francesco taught his reader to see and interpret images and the world, and to shape his behaviour accordingly. Francesco{\textquoteright}s forcible reinterpretation of the governing figure of Amor, turning carnal love into divine, demonstrates responsible poetic and pictorial invention and thematizes the reader{\textquoteright}s responsibility for appropriate interpretation. The chapter concludes with a consideration of the images of the Reggimento e costumi di donna. The concluding chapter addresses the tomb of Bishop Antonio degli Orsi, sculpted by Tino di Camaino. Francesco adapted his preexisting allegory of Death to commemorate the bishop. Comparison of the different versions highlights Francesco{\textquoteright}s representation of his claim to the mediating role of poet and designer.}, keywords = {Renaissance/Baroque Art}, author = {MacLaren, Shelley} } @mastersthesis {10113, title = {Wounded Masterpieces: Restoring Works of Art when Damage Carries Meaning}, year = {2007}, school = {Queen{\textquoteright}s}, abstract = {Through the critical analysis of a series of case studies, this dissertation examines approaches to the restoration of damaged paintings when the damage itself carries some kind of cultural or historical significance. The case studies focus on works of art that have been purposely mutilated in political and social conflicts, or in individually-motivated attacks, as well as paintings that were accidentally damaged in traumatic events such as war or natural disaster. Often, in such cases, not only the results of the damage, but the cause, are important factors in how the work has been subsequently treated. Focusing primarily on restorations carried out in Western Europe and North America since the mid-twentieth century, the dissertation examines the multiplicity of values and meaning that works of art can comprise and the motivations that underlie decisions about which aspects and values are privileged during conservation treatment. In exploring these values, the philosophical underpinnings of conservation, as well as the social, cultural, and political factors that influence treatment approaches are considered. The subject is approached from four interconnected lines of inquiry. Initially, the dissertation considers the more technical and philosophical issues involved in dealing with paint loss and the emergence of principles for retouching. It then examines the concept of the aesthetic-historical duality that artworks are often seen to possess. This involves an analysis of Cesare Brandi{\textquoteright}s concepts of istanza estetica and istanza storica, and the challenges that these notions pose for the conservator. Discussion then turns to the notion of alteration in the work of art and how changes in the original appearance are perceived and evaluated by the viewer. Finally, the relationship between collective memory and the treatment of works of art is considered, in order to explore the impact that the damage or destruction of valued artworks has on society and the role that conservation can play in redefining their significance.}, keywords = {Contemporary Art}, author = {Muir, Kimberley Hamilton Scotland} } @mastersthesis {10102, title = {Writing and the State in Early China in Comparative Perspective}, year = {2007}, school = {Princeton}, abstract = {This dissertation is a comparative study of the uses of writing in the early state. To obtain a fresh perspective on the evidence for early writing from China, it looks at how the ideological and administrative needs of the early state were met in five other regions of the world-Mesopotamia, Egypt, the Maya lowlands, Central Mexico, and the Andes. What role did writing play in royal legitimation? in the state administration? in the rise and development of the state as an imagined community? States in Central Mexico and the Andes, which did not employ writing, help us to grasp the power of writing by showing what was involved in doing without it. Although the cross-cultural comparisons made here discover differences, on balance it is the similarities that seem most striking. Differences of culture do not seem to entail major differences in the state{\textquoteright}s uses for writing. Text types and practices that specialists think of as typically Chinese prove to be local forms of widespread phenomena, not peculiarities of early China but characteristics of early state societies.}, keywords = {Chinese Art}, author = {Wang, Haicheng} } @mastersthesis {10142, title = {The Yale Missal, Beinecke Library, Ms. 425}, year = {2007}, school = {Yale}, abstract = {The Yale Missal is the most lavishly illustrated example among surviving French translations of the medieval mass book. One of Jean Fouquet{\textquoteright}s closest followers, now called the Master of the Yale Missal, executed the overwhelming majority of the manuscript{\textquoteright}s illumination in the 1460s. This comprehensive study of the Yale Missal Master{\textquoteright}s work, which contains more secular than sacred manuscripts, enables a new characterization of the artist, demonstrating his ability to invent and refashion models intelligently. The Yale Missal Master{\textquoteright}s style and commissions reveal that he probably trained with Fouquet and worked in Tours. The Yale Missal{\textquoteright}s high quality and atypical contents merit monographic treatment and this dissertation aims to rectify the manuscript{\textquoteright}s current marginal place within in the scholarship. A number of fundamental paradoxes have obscured past discussions of the Yale Missal-clerical/lay, Latin/vernacular, Dominican/Franciscan-and dialectical methods are applied to address these issues. Codicological analysis shows that the Yale Missal reuses a common pictorial format for laymen{\textquoteright}s Books of Hours, resisting the impulse to simulate a priest{\textquoteright}s missal. The presence of heraldry belonging to more than one person necessitates a complex hypothesis regarding the patron{\textquoteright}s identity. An analogy between homiletic sermons and art explains the manuscript{\textquoteright}s text/image relationship and recognizes its visual rhetoric, which was designed to educate the laity. Six other French-language missals written before 1500, which have never been discussed together before, represent the immediate liturgical context for the Yale Missal. Comparison of these manuscripts{\textquoteright} texts and decoration has enabled a level of detailed analysis that highlights the exceptional qualities of each copy and recognizes similarities between a subgroup of vernacular missals in the Dominican use. The Yale Missal contained an archaic form of the Dominican rite that would have been unacceptable to the Order of Preachers in the Fifteenth Century; nonetheless, this fact underscores its connection to Dominican spirituality. Close observation shows that the Yale Missal{\textquoteright}s illustration promoted veneration of Franciscan saints and marginalized the importance of Dominican saints. Resolution of this paradox requires a new approach to the definition of Mendicant spirituality in art that recognizes the common goals and methods of Dominicans and Franciscans.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Hadley, Margaret} } @mastersthesis {10229, title = {The Young Guido Reni: The Artist in Bologna and Rome, 1575-1605}, year = {2007}, school = {IFA/NYU}, abstract = {Guido Reni (1575-1642) was one of the most successful artists of seventeenth-century Italy, with such illustrious patrons as Philip IV, Marie de{\textquoteright} Medici, and Urban VIII vying for his works. Despite his historical significance and the tremendous attention he has received from writers and scholars over the past four centuries, his early career remains surprisingly little examined and largely misunderstood. Reni{\textquoteright}s eventual fame has obscured the ordinary struggles of his youth and the distinctive character of his early work completed before his dramatic artistic transformation in Rome. This dissertation will investigate the period before his celebrated success. It presents the most comprehensive account of his early career, as a painter, draftsman and printmaker, from his musical beginnings in Bologna to his efforts to establish himself as a prominent painter in Rome. Part I examines Reni{\textquoteright}s education and artistic training in Bologna. Part II investigates his early independence and activities in both Bologna and Rome, between which the artist restlessly traveled in these years. A fresh portrait of Guido emerges through a critical examination of his works from this period; the specific details of commissions-formal qualities, physical contexts, patronage, documentation, and reception-are carefully reviewed. In addition, his relationships with members of the Bolognese and Roman artistic milieus are thoroughly explored, with special attention given to his complex, sustained relationship with the Carracci. The Epilogue considers Reni{\textquoteright}s activities after settling in Rome but before entering the service of the papal family-the Borghese-in 1608. The appendix presents a documented chronology of Reni{\textquoteright}s early career and includes newly discovered documents and a critical examination of old archival material, both of which considerably alter heretofore chronologies. This study dismantles the tidy, carefree version of Guido{\textquoteright}s early career that we have inherited, demonstrating that his pursuit of wealth and glory was far messier and less certain than previously thought. Yet this reappraisal only elevates his standing, for his humble start and the deliberate pace of his artistic development underline, rather than undermine, his extraordinary success.}, keywords = {Renaissance/Baroque Art}, author = {McGarry, Rachel} } @mastersthesis {9862, title = {Abdication in an Artistic Democracy: Meaning in the Work of Barnett Newman and Donald Judd, 1950-1970 (and thereafter)}, year = {2006}, school = {UT Austin}, abstract = {This dissertation considers what reticent works of art demand of us, and what purpose their reticence serves. Selected episodes in the careers of Barnett Newman and Donald Judd support a broader discussion of interpretive crises in postwar American art. The aim is to examine the nature of the gap between habits of conventional thinking, such as linear development and categorical definition, and artistic practices which try to break those habits. The discussion focuses on the period between 1950, the year of Newman{\textquoteright}s first solo exhibition, and 1970, the year he died. To set this twenty-year span into its proper context, the first chapter considers the gestation of Newman{\textquoteright}s formal project in relation to its time. The final chapter discusses the implications of historical assessment for the project which Newman helped to initiate and Judd helped to expand. Newman{\textquoteright}s paintings seem to approach the limits of abstraction, and Judd{\textquoteright}s objects seem to approach the conventional limits of art. Initial critical responses often concluded that there is little to discuss. Against this, the artists talked in terms which suggested that discussion is superfluous. This study pursues the hypothesis that reductive abstraction invokes two distinct modes of engagement: a pre-verbal, pre-rational, experiential mode; and a critical, interpretive, evaluating mode. The main question arising from this hypothesis is how these two modes are connected, separated, or intertwined. The secondary question, which is perhaps more important from a historical point of view, is why it was important for art to raise these problems in postwar America. This study examines the period when American art developed its own intellectual tradition as a heuristic field of open meaning, distinct from the programmatic doctrines of earlier avant-garde movements. This occurred during a period of realigned expectations as the United States adapted to its postwar role as a superpower, and to the conditions of geopolitical instability during the Cold War. This dissertation argues that postwar American art is best defined as a movement in terms of its effects on critical procedures rather than according to conventions of resemblance, social proximity, or initial efforts to construct categories for discussion.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Lawrence, James Alexander} } @mastersthesis {10026, title = {Abstract Expressionism and Women Artists: A Gendered Reading of the 1950{\textquoteright}s}, year = {2006}, school = {Rutgers}, abstract = {This dissertation investigates the dominant ways that three women artists---Ethel Schwabacher, Elaine de Kooning, and Grace Hartigan---struggled to define their social and artistic identity in relation to (and sometimes in contradistinction from) Abstract Expressionism and the contemporary Modern Woman ideals of the 1950s. The postwar Modern Woman embodied various roles by assuming new professional and financial responsibilities, identifying with broader sexual behaviors, and either managing or completely rejecting marriage and motherhood. Chapter One presents the subject of the Modern Woman and the tensions of "feminine ascendancy" through women{\textquoteright}s identification with multiple roles during and after World War II, and through the appearance of women{\textquoteright}s adoption of masculine behavior. I argue that the contemporary fears of feminine ascendancy and masculine attributions parallel the criticism and challenges for women artists in the patriarchal arena of Abstract Expressionism. My discussion examines a range of gender attributions for the Modern Woman that were represented through the personal and artistic concerns of these three women artists: for Schwabacher, I offer a psychological reading of motherhood: for de Kooning. I address her emulation and control of masculinity; and for Hartigan, I explore her masquerade and masking rituals. Chapter Two examines Schwabacher{\textquoteright}s writing and sexualized landscapes, birthing imagery, and mythic images to find the production of a gendered subject through language and symbolism. Chapter Three explores de Kooning{\textquoteright}s male portraits to show how she critically responded to her husband Willem de Kooning{\textquoteright}s paintings of women and how her male subjects performed as cultural signifiers related to issues of sexuality and corporeality. Chapter Four defines how masquerade allowed Hartigan to challenge the social rituals and feminine expectations of postwar womanhood. Artistically, all three artists showed a consistent tension between the figurative and the abstract, which became an important element of their identity construction. They are further related through their complex gendered responses to Willem de Kooning{\textquoteright}s Women of the 1950s. As case studies, Schwabacher, de Kooning, and Hartigan offer a multiplicity of historical responses both within and against the historical framework of the postwar Modern Woman. Their artwork from the 1950s metaphorically embraced, resisted or even violently reacted to this period{\textquoteright}s ambiguous conceptions of femininity and masculinity.}, keywords = {Twentieth-Century Art}, author = {Edelman, Aliza} } @mastersthesis {10036, title = {After Adorno: The Essayistic Impulse in Holocaust-Related Art}, year = {2006}, school = {IFA/NYU}, abstract = {This dissertation argues that Holocaust-related art is best understood not as a product of limits arising from ethical concerns about Holocaust representation, but instead within a contemporary art context. It explores the epistemological approach common to much Holocaust-related and "mainstream" contemporary art, and it investigates how neither Holocaust scholars nor art world professionals generally acknowledge the commonality. To demonstrate commonality, this dissertation engages Theodor W. Adorno{\textquoteright}s philosophy{\textquoteright}s primary concern, the subversion of positivist identity thinking. (Indeed, such subversion can be understood as a central concern of recent Holocaust-related and mainstream art.) Identity thinking defines the other with reductive terms (i.e. valuable/valueless), and Adorno recognizes its pervasive presence in society, most notoriously in Nazi death camps. Through the conceptual approach and literary style of his philosophy as exemplified by "The Essay as Form," Adorno presents an alternative model of thinking which combines the exactitude of research with the freedom of imagination. This dissertation argues that many Holocaust-related and mainstream artworks since the mid-1970s may be regarded as Adornian essays. Chapter 1 examines the marginalization of Holocaust-related art by Holocaust scholars because of beliefs about ethical exclusivity. Chapter 2 tentatively accepts this exclusivity by introducing Adorno{\textquoteright}s largely Holocaust-inspired model. Chapter 3 analyzes two pioneering Adornian essayistic artworks, Claude Lanzmann{\textquoteright}s Shoah and Art Spiegelman{\textquoteright}s Maus, while Chapter 4 considers later Holocaust-related works by Judy Chicago, Melissa Gould and Aharon Gluska from Adornian and feminist perspectives. With models from art world theorists Hal Foster, Fredric Jameson and others, Chapter 5 offers a survey of contemporary art that accommodates Holocaust representation. Then, toward explaining the marginalization of Holocaust-related art by art world professionals, Chapter 6 examines an apparent art world discomfort with public displays of Jewish ethnicity. Representing the attitudes of two mutually exclusive communities, Chapters 1 and 6 bracket the study, while material between them aims to demonstrate how each community conceptually approaches the other. The Conclusion regards a danger of the essayistic approach, the tendency to sacralize its material, and considers how, since the early 1990s, a new strategy of abjection in both Holocaust-related and "mainstream" art avoids that risk.}, keywords = {Twentieth-Century Art}, author = {Weinstein, Andrew} } @mastersthesis {9943, title = {Alessandro Magnasco and the Painterly Picaresque}, year = {2006}, school = {Florida State}, abstract = {The paintings of Alessandro Magnasco constitute an innovation in the visual representation of picaresque themes, characters, and environments. Over an active career of more than fifty years, Magnasco developed a highly original painterly manner which, when combined with picaresque subject matter adapted from Spanish literature, presented viewers with images of literary picaros in many guises (beggars, gypsies, soldiers, and monks), social and religious deviants cast in fictitious landscapes and interiors. I am not the first to propose that Magnasco{\textquoteright}s paintings share thematic and iconographic affinities with the picaresque literary genre, but this study is the first to confront the conceptual and methodological consequences of proposing such intertextual relationships. From the beginning, this study has sought to expand upon other scholars{\textquoteright} limited interpretations of Magnasco{\textquoteright}s {\textquoteright}{\textquoteright}picaresque{\textquoteright}{\textquoteright} oeuvre. To date, these interpretations have lacked the textual endorsement of primary source materials (the original content of the novels and novellas), and none has made use of the conceptual resources available through contemporary literary scholarship, in which genre typologies, reception theories, and notions of fictitiousness have all been gainfully applied to picaresque texts. This study mitigates these deficits, expanding the operative definition of a picaresque text to include pictorial representations of comparable content, to the end of justifying other scholars{\textquoteright} habits of calling Magnasco{\textquoteright}s paintings "picaresque." I have tested the relationship of a number of works---by Magnasco and his forebears---to the most paradigmatic picaresque novels: including the anonymous texts Lazarillo de Tormes and Estebanillo Gonzalez, Aleman{\textquoteright}s Guzman de Alfarache, Quevedo{\textquoteright}s La vida del buscon, Cervantes{\textquoteright}s Novelas ejemplares, and Lesage{\textquoteright}s Gil Blas de Santillane. This study explores the painter{\textquoteright}s use of genre conventions like stock characters (the beggar boy, lazy soldier, inquisitor, galley slave, disenfranchised nobleman), typological settings (the roadside tavern, bandits{\textquoteright} lair, inquisitorial prison, gypsy encampment), and thematic schemas (hunger, servitude, imprisonment, self-aggrandizement through costume and deportment), such that viewers may consider the paintings as dialogically related to the novels. I conclude that audiences might thus perceive the images as representing pictorial fictions analogous to the literary fictions created and conventionalized by the picaresque author.}, keywords = {Eighteenth-Century Art, Renaissance/Baroque Art}, author = {McLane, Preston} } @mastersthesis {9830, title = {Alienation, Consciousness, and Reclaiming: The Trajectory of the Visual Arts in Namibia Nation Building}, year = {2006}, school = {Indiana}, abstract = {This dissertation examines the trajectory of Namibian art during the country{\textquoteright}s multiple phases of nationalism from 1946 to 2003. Nationalism, an ideological construct that posits unified national identity and a concomitant right to political autonomy, is manifested in the visual arts through specific subject mater and styles, which often combine indigenous symbols with modern vernacular. I argue that Namibian art developed along two distinct paths, each with its own symbols, subject matter, and styles. Black and white artist drew on their separate African and European heritages in order to assert the superiority of their own culture to reinforce or combat apartheid ideology. Chapter one of the dissertation contains an overview of Namibia{\textquoteright}s apartheid history and outlines three phases of Namibian nation building. In chapter two, the use of landscape painting by European colonists in a way that erased indigenous history and culture is considered. Chapter three explores the work of John Muafangejo, whose linocuts mark the emergence of a subject matter focusing on the history and culture of black Namibians. Chapter four discusses the development of Afrocentric subject matter by Joseph Madisia and others and examines the arts policies of the resistance movement (SWAPO), which were directed at the development of black consciousness as an aid to nation building. Part fives examines post-independence Namibian art and confirms the continuation of racially separate, culturally driven subject matter without recognizable nation symbols, even after the formation of the modern nation}, keywords = {African Art (sub-Saharan)}, author = {Palumbo, Meredith} } @mastersthesis {9867, title = {Americaines in Paris: The Role of Women Artists in the Formation of America{\textquoteright}s Cultural Identity, 1865-1880}, year = {2006}, school = {Brown}, abstract = {This dissertation disentangles the complicated state of American art in the post-Civil War era, examining the rise of French academic tendencies in American painting and the active participation of American women in the art world. During the period of national recovery following the Civil War, the fine arts of the United States came under sharp criticism at the 1867 Exposition Universelle. Prompted by this wake-up call and the lack of adequate educational opportunities in the United States, American artists, both male and female, migrated to the ateliers of Paris. American students rapidly absorbed the lessons of academic art, adeptly imitating their masters, developing technique, and cultivating connoisseurship. Most returned home to an inhospitable environment, one that peculiarly encouraged women to train in the fine arts, but not to practice professionally. Despite the assimilation of French academic pedagogy into American art schools, the techniques learned abroad contrasted markedly with the work of students who remained in the United States. Early histories of American art disregarded these developments and focused on forming a canon independent of foreign influences. Consequently, the high concentration of women working in the French academic mode virtually disappeared in the critical discourse. To counter this misrepresentation, five case studies of American women artists reveal the various ways American women negotiated the gender biases of the art world. Their roles as teachers, writers, clubwomen, art leaders and professional artists shaped a new cultural identity for the United States, one that satisfied the desire for a national expression and elevated the country{\textquoteright}s international reputation in the arts.}, keywords = {Art of the United States}, author = {Burdan, Amanda C.} } @mastersthesis {10009, title = {Archaism and the Critique of Caravaggio in the Religious Paintings of Hendrick ter Brugghen (1588-1629)}, year = {2006}, school = {Boston}, abstract = {During his brief career, the Utrecht painter Hendrick ter Brugghen (1588-1629) embedded Northern archaic content into works otherwise remarkable for their aspirations of contemporaneity and cosmopolitanism. Although ter Brugghen{\textquoteright}s archaism has been long noted, this dissertation considers these elements for the first time as having an interpretive as well as a formal significance. Archaism in ter Brugghen{\textquoteright}s painting occurs uniquely in his religious works, despite his sizable secular oeuvre. This specificity not only connects these major works to the complex religious situation in Utrecht, well known for its confessional diversity after 1581, but also sheds light on broad questions of the function and form of devotional art after the Reformation. Ter Brugghen{\textquoteright}s archaism is unusual among his peers for appearing in works in which he appropriates the style and compositions of Caravaggio. Scholarship on Caravaggism has typically casts its practitioners as derivative epigones, but here I argue that archaism in ter Brugghen{\textquoteright}s work amounts to a critique of Caravaggio. Ter Brugghen{\textquoteright}s archaizing paintings emphasize the materiality of paintings in contrast to the illusionistic effect of Caravaggio{\textquoteright}s Roman work. In Caravaggio{\textquoteright}s paintings, the picture plane dissolves as the subjects of the paintings seem to enter into our space. To the extent that the figures are present, the painting disappears. By contrast, ter Brugghen{\textquoteright}s archaizing works, in their enhancement of materiality, seem to express a theory of religious art different from that which was current in the mainstream religions: Calvinism rejected the confusion of signifier and signified inherent in ter Brugghen{\textquoteright}s archaizing paintings; Catholicism sought to control it. My analysis of ter Brugghen{\textquoteright}s work offers insight into the art theories of these mainstream religions and provides an example of how an artist---and an individual---could negotiate a unique response to these theories within the religious pluralism of Utrecht.}, keywords = {Renaissance/Baroque Art}, author = {Seaman, Natasha} } @mastersthesis {9868, title = {Archibald and Alexander Robertson and The Colombian Academy of Painting, New York, 1791-41}, year = {2006}, school = {CUNY}, abstract = {This dissertation is the first extensive study of Scottish-born painters Archibald Robertson (1763-1835), and Alexander Robertson (1771-1841), and the schools they founded, the Columbian Academy of Painting and the Academy of Painting and Drawing. In operation from 1791 until 1823, the Columbian Academy was the first art school in New York City and the earliest sustained effort to provide art instruction in the United States. In 1802 Alexander left the Columbian Academy and established the Academy of Painting and Drawing, which functioned until 1835. Significantly, Archibald was invited to New York by a group of influential figures---including Robert R. Livingston, Samuel Bard, and John Kemp---who endeavored to improve cultural life in their city. Chief among their undertakings was to bring about a drawing academy at which aspiring professional artists, as well as cultivated amateurs, could receive basic training in the rudiments of the fine arts. The five chapters of this dissertation chart the histories of the Robertsons and their schools, while also considering larger issues in the progress of the fine arts in New York. Chapters 1 and 2, respectively, examine Archibald and Alexander{\textquoteright}s lives and works. Chapter 3 considers the circumstances behind the Columbian Academy{\textquoteright}s founding. Chapter 4 is devoted to a detailed chronology of the Columbian Academy and the Academy of Painting and Drawing, and an examination of the teaching practices implemented there. Chapter 5 considers aspects of the legacy of the Robertsons and their teachings by examining the careers of three of their students---John Vanderlyn, John Henri Isaac Browere, and Anne Hall---and the Robertsons{\textquoteright} involvement with the American Academy of the Fine Arts. (Abstract shortened by UMI.)}, keywords = {Art of the United States}, author = {Fort, Megan Holloway} } @mastersthesis {9953, title = {The Architecture of the Roman Theater: Origins, Canonization and Dissemination}, year = {2006}, school = {IFA/NYU}, abstract = {Although the bibliography on the Roman theater is vast, key questions about the building{\textquoteright}s form and decoration remain unexplored. While clearly derived from Greek models, the canonical Roman theater nonetheless represents a distinctly Roman building type, characterized by a semi-circular cavea (seating area) supported on radial substructures and a tall, columnar scaenae frons (stage-front) with rich sculptural ornamentation. Following the construction of the Theater of Pompey at Rome in 55 BC, the building type was rapidly disseminated across, the Roman empire, with hundreds of examples built ex novo and numerous existing theaters renovated in response to the new model. Like the forum and the amphitheater, the Roman theater quickly came to represent a powerful visual indicator of Roman social and cultural identity. Until recently, however, scholars have chiefly approached this seminal Roman building type in terms of direct derivation from Greek models. In contrast, this dissertation aims to explore those features of the Roman theater that differ from Greek prototypes, analyzing them as a product of active decision-making at the highest level of Roman patronage. Questions are asked such as: Why was a particular set of architectural components selected from the range of extant options? What were the cultural, political, and functional factors that governed this process of selection? What meanings would the architectural iconography and sculptural decoration of the building type have carried for ancient viewers? The goal of the study is not to produce a comprehensive catalogue of Roman theater architecture, but rather to analyze in detail a series of carefully selected case studies---individual theaters that are representative of the building type at various stages of its development, from its origins and canonization in the city of Rome to its diffusion and adaptation throughout the provinces.}, keywords = {Greek/Roman Art}, author = {Klar Phillips, Laura} } @mastersthesis {9847, title = {Architecture, Poetic Texts and Textiles in the Alhambra}, year = {2006}, school = {IFA/NYU}, abstract = {The dissertation studies the Alhambra from the perspective of the interrelationship of poetic texts, textiles and architecture to suggest the ways in which social space was constructed as a harmonious ensemble of aesthetic elements. The poetic epigraphy of the Nasrid period is considered in the context of the medieval Muslim tradition of inscriptions on architecture and luxury objects. Discussion focuses on the use of prosopopeia, a poetic figure characteristic of the inscriptions in the Alhambra, and leads to the analysis, informed by the medieval aesthetics of badi poetry, of specific architectural spaces within the palatial complex. The poetic inscriptions make widespread use of metaphors in which texts and architecture are represented through an analogy to textiles. This interrelationship is more than metaphorical. Scientific discussion in medieval Muslim optics illuminates the aesthetic principles that unify the design and perception of both architectural decoration and textiles. Architecture could take on textile forms, and textile furnishings could take on architectural functions. The concluding analysis of the one documented Nasrid court ceremonial within the Alhambra, the mawlid of 764/1362, brings all of the elements under study together: poetry, textile architecture, and the social construction of interrelated architectural spaces. My interdisciplinary approach is intended to achieve several goals. First, I hope to establish new contexts for the study of the Alhambra in the history of poetic inscriptions, textile production and court ceremonial. Second, and on that basis, I offer analyses that recapture the integrated experience of the Alhambra in Nasrid times, when medieval poetics would have been part of the cultural formation of the elite beholder, who, moreover, would have found the palaces richly furnished with textiles. The theoretical issues that I engage open areas of research that have been obstructed by the lack of documentary and archeological evidence from the Nasrid period. Finally, the methodological and theoretical considerations that I bring to the discussion of the Alhambra will be relevant, I believe, to the study of other medieval Muslim architectural sites.}, keywords = {Art of the Middle East/North Africa}, author = {Bush, Olga} } @mastersthesis {10012, title = {Art and Evangelization at the Sixteenth-Century Convento of Santiago Apostol at Cuilapan, Mexico}, year = {2006}, school = {Bryn Mawr}, abstract = {Dominican friars founded numerous churches and monasteries to evangelize the indigenous populations of Mexico. Although they presumably conceived the architectural plans and decorative schemes of these establishments, the resultant structures were constructed and adorned primarily by native painters, sculptors and masons. Their collaboration produced dramatic monuments defined by an ingenious arrangement of meaningful elements from Mesoamerica and the Iberian Peninsula. This dissertation examines the subtle integration of prehispanic and peninsular elements at the convento of Santiago Apostol in Cuilapan, a Mixtec community in southern Mexico. Construction on the monument commenced in 1555, and although it is one of the earliest and most elaborate colonial structures of the region, it has not been systematically investigated by art historians. Given the need to permanently record its physical characteristics, this dissertation describes the monument in written accounts, photographs and architectural drawings. What are its principal architectural and decorative features? When (and by whom) were they created? Who was their intended audience, and did they understand their stylistic, technical and iconographic elements? After considering the creation and reception of the convento of Santiago Apostol, this dissertation will attempt to situate its architectural and decorative features within their historical context. Specifically, it will consider the role of these elements in the evangelization and acculturation efforts of the Dominican Order. What artistic and architectural devices were used by the friars to convert the native populations? How successfully did these elements promote the desired cultural and religious transformations of the Mixtecs? By subjecting the monument and its adornments to these questions, this dissertation will not only consider how elements from the prehispanic and peninsular traditions were integrated, but what these juxtapositions reveal about the spiritual convictions of the Mixtecs. It will propose that prehispanic and peninsular elements were deliberately integrated to appeal to the religious sensibilities of the indigenous inhabitants of Cuilapan. The presence of indigenous features would have ideally encouraged the native audiences to recognize a compatibility between the spiritual monuments and institutions of Mesoamerica and the Iberian Peninsula. These compatibilities would have prompted an enhanced local appreciation for the convento and the new religion.}, keywords = {Renaissance/Baroque Art}, author = {Taylor, Sara Morasch} } @mastersthesis {9871, title = {Art as History, History as Art: John La Farge and the Problem of Representation, 1859-1910}, year = {2006}, school = {Harvard}, abstract = {In his Collected Papers, the American philosopher Charles Sanders Peirce wrote, "the real is that which is not whatever we happen to think of it, but is unaffected by what we may think of it."1 Peirce was born in 1839, four years after the American artist John La Farge. And Peirce{\textquoteright}s simple formula of the Real echoed the convictions of many artists of his generation, who famously challenged the recipes of the Academy in the interest of reclaiming raw experience. In this dissertation I aim to show how John La Farge, one of the most prominent artists of his time and a painter-theorist of unrecognized subtlety, strove to enact and articulate an art of the Real. La Farge did not mean, thereby, to pioneer a new way of seeing and representing; rather he hoped to explain and justify age-old artistic practices that were being questioned in the years immediately preceding the rise of abstraction. La Farge{\textquoteright}s work sheds important light on early "modernist" art. For if his oeuvre is any indication, stylistic developments that have been perceived as "progressive" (consider La Farge{\textquoteright}s own proto-Impressionist landscapes of the 1860s) may actually have emerged in response to perennial philosophical issues. And La Farge{\textquoteright}s project is also of living value to twenty-first-century historians. For when he articulated how to represent the "Real" in the post-Academic West, La Farge also addressed the phenomenon of historiography as purportedly "true" representation. In so doing, he anticipated the dilemmas of many avowedly "postmodern" historians and scholars. 1 This is Peirce{\textquoteright}s own early summary of the "Realist" position, cited in The Collected Papers of Charles Sanders Peirce, ed. Charles Hartshorne and Paul Weiss (Cambridge: Belknap Press of Harvard University Press, 1868): 5.311. Peirce called himself a Realist in 1903. See Collected Papers, 5.77 n1.}, keywords = {Art of the United States}, author = {Kresser, Katie} } @mastersthesis {9967, title = {Art as Indexical Presence in Times of Violence: The Work of Three Colombian Artists-Beatriz Gonzalez, Oscar Munoz and Doris Salcedo-in the 1990s}, year = {2006}, school = {UT Austin}, abstract = {This dissertation analyzes the work of Beatriz Gonzalez, Oscar Munoz and Doris Salcedo as case studies of how these artists responded to violence during the 1990s, a condition endemic in Colombia since the 1940s. I addressed the following questions: What explains the coexistence of seemingly contradictory elements, such as attitudes of acknowledgement and disengagement in the figures in Gonzalez{\textquoteright}s works; life and death, and appearance and disappearance in Munoz{\textquoteright}s art; and, presence of personal and household objects in the absence of their owners in Salcedo{\textquoteright}s pieces? Why do these artists use a vocabulary consisting of gestures, traces and imprints, and why do they stress the expressive qualities of visual means, industrial and organic materials, physical processes and personal objects rather than literal or symbolic narratives? The thesis guiding this dissertation argues that these artists create works that act as indexical presences in order to emphasize the complex character of subjects they are dealing with such as human pain, disappearance and loss. "Indexical presence" means an object or image that recreates a reality (i.e. a social scene, a physical process, a human environment) in such a way that it is not represented but rather present. Because these artists make their works using expressive and evocative pictorial elements, materials, processes and objects as signs that imply a referential human action, the spectator is compelled to search for their meaning, cause, and ethical implications beyond the work. Gonzalez, Munoz and Salcedo respond to challenges posed by an on-going armed conflict that evolved into a generalized and banalized phenomenon. They also respond to challenges posed by the inadequacies of traditional narrative and documentary images by devising alternatives. The first chapter outlines the diverse and contrasting reactions of artists to political violence between the 1950s and the 1980s in Colombia. The second chapter analyzes the work of Gonzalez from her emphasis on human attitudes and the sociological reality they imply. The third chapter studies the use of processes, traces and reflections by Munoz and the existential considerations that can be inferred from his work. The fourth chapter focuses on the graven surfaces and altered spaces created by Salcedo and her emphasis on physical imprints as it reveals her anthropological reflections on humanness. The final chapter provides a synthesis and interpretation of major findings that support the initial thesis.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Malagon, Maria Margarita} } @mastersthesis {10007, title = {The Art of Laughter: Society, Civility, and Viewing Practices in the Netherlands 1600-1640}, year = {2006}, school = {Michigan}, abstract = {Artists, poets and their publics during the early modern period took seriously the Horatian dictum that, like poetry, art should both instruct and delight its viewer. This study examines the capacity of images to entertain their audiences by investigating how artists employed depicted laughter to engage their viewers. By the turn of the seventeenth century, a laughing face had long been recognized to have a persuasive power to produce a like response in the beholder. Laughing figures were employed to an unprecedented degree by artists in the circles of Karel van Mander, Frans Hals, and Gerard van Honthorst---painters who created innovative new pictorial subjects and experimented with depicting facial expressions and strong emotions during the years 1600-1640. The laughing painting or print is treated here as a social agent, and the act of viewing understood as a particular kind of ludic exchange. Whatever their moral implications, images, it is argued, preserve traces of the ways in which the viewing of art resembled other cultural interactions, such as jesting practices, and thereby can help us understand the comic function of art in the Golden Age. This investigation begins with a consideration of interpretive problems and historical contexts for understanding early modern laughter. Four case studies follow which explore the ethical, philosophical, and socio-historical implications of laughter on viewing practices. The second chapter utilizes paintings of Democritus and Heraclitus by Cornelis Cornelisz. van Haarlem to situate the challenge of depicting laughter within contemporary art theoretical discourses of the passions of the soul and in contemporary Neostoic thought. Chapter Three considers derision in representations of {\textquoteright}tooth-pulling,{\textquoteright} arguing that mocking laughter visually articulates (failed) judgment. The fourth chapter examines the relationship between pictorial laughter and love, focusing on both Karel van Mander{\textquoteright}s writings and on images of laughing courtesans in the oeuvre of Gerard van Honthorst. Finally, Chapter Five reconsiders images of Bacchus, jolly topers and merry musicians in relation to satirical literature on drinking. Rather than focusing on moralizing warnings, these analyses explore the ways in which paintings might be understood as both inspiring and reflecting the ludic pleasures of their viewers.}, keywords = {Renaissance/Baroque Art}, author = {Schiller, Noel} } @mastersthesis {9925, title = {Art-A User{\textquoteright}s Guide: Interactive and Sculptural Printmaking in the Renaissance}, year = {2006}, school = {Yale}, abstract = {Art always requires a beholder, but some artworks also need to be handled. Interactive and sculptural prints pervaded the European reading market of the sixteenth century, but remain little known today. These single sheets and book illustrations featured movable flaps and dials, or functioned as separate kits for building three-dimensional scientific instruments. The hybrid nature of these constructions---part text, part image, and part sculpture---engaged readers as much as did their content. By using dials and flaps, or building instruments themselves, viewers learned to read images as interactively as text. Unlike manuscripts copied indiscriminately with or without their movable parts, mass-produced prints could be sold as complete kits. The viewer could decide not to use them, but the choice was theirs. Thus, interactive prints insisted on an actively personal, tactile and auto-didactic viewership. The implications of this interdisciplinary medium expand beyond art history and the history of the book---to the ephemeral tools of early modern propaganda, science and medicine. Interactive and sculptural prints assumed many roles: as surrogates for devotional objects; as dissectable models of anatomies both normal and deformed by religion; as scientific instruments for personal experimentation; as lavish, yet functional book illustrations and artworks for noble and humanistic patrons; and finally as moralizing emblems in Stammbucher. The latter led to the trivialization of the genre and its ultimate use as pop-ups in children{\textquoteright}s literature. Four chapters explore these phenomena. Revelatory Playthings establishes the interactive print{\textquoteright}s origins in the artworks and rituals of the Catholic Church, especially in the restriction of the Eucharist. Anatomy of Reformation compares the technical and political interconnections of the flap anatomy and the Protestant propaganda broadsheet. Instrumentle auff Papier introduces the printed scientific instrument{\textquoteright}s most prolific inventor, the Nurnberg mathematician and engraver, Georg Hartmann. Consumption and Exploitation explores the production and plagiarism of lavish interactive books and prints for science and divination, with concluding sections on erotic flap engravings of women---and the logical results of such promiscuity, the memento mori. Appendices catalogue early modern interactive prints, books, Georg Hartmann{\textquoteright}s sculptural print oeuvre, and extant anatomy flap prints.}, keywords = {Drawings/Prints/Works on Paper, Renaissance/Baroque Art}, author = {Karr Schmidt, Suzanne} } @mastersthesis {10028, title = {Arte Povera{\textquoteright}s Theater: Artifice and Anti-Modernism in Italian Art of the 1960s}, year = {2006}, school = {Columbia}, abstract = {This dissertation considers the works of three artists associated with Arte Povera: Michelangelo Pistoletto, Jannis Kounellis and Pino Pascali. It places their work in the context of the cultural and political dialogue that shaped 1960s Italy at large and challenges the critical monopoly on the movement held by Germano Celant, the critic who coined the term Arte Povera in 1967, and who continues to dominate scholarly interpretations of the group today. Disputing Celant{\textquoteright}s definition of Arte Povera as an art of poor materials, and exposing the contradictions inherent in his effort to align the group with wider international (and specifically modernist trends), this dissertation examines the Italian artists{\textquoteright} pointed critique of standard modernist paradigms. Against the tradition within which Celant found a place for the Arte Povera artists, these three artists developed a position specific to their country{\textquoteright}s situation as a postfascist, newly consumerized culture. For them, such typically taboo concepts as art{\textquoteright}s fictional status and its memorial and narrative impulse were essential to maintaining a dialogue between subject and object in the face of what Italian postwar intellectuals perceived to be the sustained predominance of absolutist modes of thought. This dissertation will examine these artists{\textquoteright} effort to confront autonomy, material immediacy and the quest for objectively verifiable truths with an acceptance of artifice, openness and insufficiency that is less nostalgic than corrective of all determinate positions both past and present. After a detailed introduction, which examines Celant{\textquoteright}s writings, the discussion begins with the role of vision and theatricality in Pistoletto{\textquoteright}s mirror paintings and performative work. The second chapter investigates Kounellis{\textquoteright} turn to outmoded artistic forms as a specific alternative to modernism{\textquoteright}s prohibition on narrative communication and historical memory. The third and final chapter analyzes Pascali{\textquoteright}s mobilization of artifice and disguise in response to the growing consumer hegemony. The dissertation concludes by considering these three artists in relationship to Arte Povera as a whole.}, keywords = {Twentieth-Century Art}, author = {Gilman, Claire} } @mastersthesis {9909, title = {Artists, Art Historians, and the Value of Contemporary Inuit Art}, year = {2006}, school = {Queen{\textquoteright}s}, abstract = {Economics are a defining feature of contemporary Inuit art. Nonetheless, financial considerations receive little, if any, serious attention by art historians who study the artform. On whose terms have the value and meaning of contemporary Inuit art taken shape? This thesis explores the tension between how Inuit artists define themselves as artists and their work as art, and how contemporary Inuit art and its makers are represented in the South. The purpose of this study is not only to determine how the concept of art in the North differs from that in the South, but to identify the actual process by which contemporary Inuit art "moves" from one context to the other, gaining and losing meaning along the way. This process, although not entirely mediated by southern agents, reproduces existing power relations that obscure the actual social---and cultural---conditions of production in favour of Western notions of creativity and innovation. By juxtaposing the perspectives of prominent Cape Dorset artists with a critical examination of the treatment of contemporary Inuit art at the National Gallery of Canada and the Canadian Museum of Civilization, this thesis demonstrates how the artistic and cultural values of Inuit are eclipsed by Western art philosophies and museological practices in the southern art field.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Native American}, author = {Bagg, Shannon K.} } @mastersthesis {10001, title = {The Arts of Domestic Devotion in Renaissance Italy: The Case of Venice}, year = {2006}, school = {Maryland}, abstract = {This dissertation examines the rich visual culture that developed around the pervasive practice of religion in the Renaissance household, with a specific focus on the city of Venice in the late fifteenth and sixteenth centuries. It is a subject that has received little attention in the recent art historical scholarship that has focused on the domestic arts in early modern Italy. Documentary evidence confirms, however, that over ninety percent of Venetian homes contained articles of spiritual import and function, consisting of a wide range of goods, from paintings by the period{\textquoteright}s most renowned artists to mass-produced items, such as prints, amulets, and prayer beads. These visible expressions of religion within the household context were essential for the formation and preservation of a devout familial dwelling. Sacred imagery fostered devotion and spiritual activity within the everyday lives of Venetians and ritual environments were fashioned throughout the household, from a picture hung on a wall to an altar furnished with the appropriate vessels and linens for mass. Images of prophylactic saints, like Christopher, Roch, and Sebastian, along with thaumaturgic objects, such as amulets and prayer beads, provided bodily and spiritual protection to family members in this sea-faring city that continually faced disease and a host of other misfortunes. The religious visual culture of the casa also shaped the sacred and ethical character of the family, which included the moral formation of children, the role of women in the home as spiritual educators, and the preservation of the household for future generations. Additionally, while located within a "private" setting, religious objects from domestic spaces were intimately tied to Venice{\textquoteright}s mercantile economy, and connected individuals and families to the city{\textquoteright}s wider community of Christian devotion. In a period in which the laity assumed greater control over their spiritual lives, the home served as one of the most salient settings for religious activity and expression, made possible by the acquisition and display of a variety of devotional goods.}, keywords = {Renaissance/Baroque Art}, author = {Morse, Margaret} } @mastersthesis {9977, title = {As Much as the Light: The Importance of Shadows in the Art of Camille Pissarro}, year = {2006}, school = {IFA/NYU}, abstract = {This dissertation considers the representation, function and meaning of shadows in the art of Camille Pissarro, tracing the motif as it evolved throughout his career. Pissarro used shadows deliberately, consciously, and strategically, and their appearance and meaning shifted in accordance with his changing styles and subjects. Although the topic of this dissertation is conceptually simple, founded as it is on visual analysis of the works themselves, its also engages a rich array of interpretive strategies including formal analysis, semiotics, and social art history. The subject of Pissarro{\textquoteright}s shadows is approached chronologically, and chapters are organized according to four major phases in the artist{\textquoteright}s career. Chapter One considers Pissarro{\textquoteright}s earliest engagement with shadows, from his sketches made in St. Thomas and Venezuela in the 1850s through his series of Louveciennes canvases in the early 1870s. Chapter Two addresses Pissarro{\textquoteright}s Impressionist shadows, beginning with his debut at the first Impressionist group exhibition in 1874. The rejection of traditional Academic shading practice by the Impressionists manifested itself in their depictions of shadows, which employed cropping, vivid colors, the flattened aesthetic of Japanese prints, and loose, broken brushwork. Chapter Three explores the dramatic changes that Pissarro{\textquoteright}s shadows manifested during his brief experiment with Neo-Impressionism in the late 1880s. Compared to his sketchy Impressionist shadows, these pointillist silhouettes gained a new solidity and precision, owing to the application of new techniques and color theories borrowed from Seurat, Chevreul, and Rood. Chapter Four is devoted to Pissarro{\textquoteright}s late career. Pissarro{\textquoteright}s work during this time was divided between Eragny landscapes and city scenes painted in Paris, Rouen, and Dieppe. Shadows were vital to Pissarro{\textquoteright}s urban and landscape series alike, registering the passage of time, subtle shifts in weather or atmosphere, and variations in light and color effects. Throughout my dissertation I argue that, while light has always been known to be a crucial part of Impressionism and Neo-Impressionism movements, very little attention has been paid to its inverse, shadow. Yet shadows, as much as the light, embodied Pissarro{\textquoteright}s unique sensation in all of its spontaneity, modernity, and solidity.}, keywords = {Nineteenth-Century Art}, author = {Michael, Cora} } @mastersthesis {9950, title = {The Aurelian Wall and the Refashioning of Imperial Rome, A.D. 271-855}, year = {2006}, school = {Michigan}, abstract = {This thesis explores the relationship between the city of Rome and its enceinte during the centuries between the construction of the circuit in the 270s and the major restoration undertaken under Leo IV (847-55), after whose pontificate it would largely disappear from the written record for almost three centuries. The Aurelian Wall is a chronically underappreciated element of the Roman landscape which was fundamentally implicated inter alia in shifting sacred topographies, pagan and Christian; in changes in urban infrastructure, and the evolving mechanisms of trade, communications, and settlement reflected therein; and in the political, military and ideological agendas of the city{\textquoteright}s ruling elite. The work is divided into two thematically distinct sections, which however overlap considerably in practice. The first deals with what might be called the {\textquoteright}Intentional Wall{\textquoteright}; with what people did to it, in short: how it was built and rebuilt, why, by whom, with what. The second part of this work is concerned with the history of the Wall as agent, an imposing presence that came to mould both its physical surroundings and the cognitive landscapes of the Romans themselves in increasingly pronounced ways. I conclude that with the passage of time, the {\textquoteright}Intentional Wall{\textquoteright} increasingly gave way to the Wall as agent. The circuit grew in prominence---physical and conceptual---in inverse proportion to Rome{\textquoteright}s contracting political, social, economic and topographical horizons; and it increasingly embodied the city as a whole, as the enduring and physically most ubiquitous symbol of Rome{\textquoteright}s past greatness, and its greatest remaining claim to fame. Thus, the entirety of the circuit was preserved, long after the reduced size of the population within ceased to make its upkeep strictly practical, for the face it presented to the world, and its representation of the continuing vitality of Romans and their institutions, among which the Church was paramount. The Wall encapsulated for a later age all that had once made Rome special, and into the ninth century, it was the city{\textquoteright}s most fundamental guarantor of community in ways both practical and intangible, representing {\textquoteright}Rome{\textquoteright} as much as protecting it.}, keywords = {Greek/Roman Art}, author = {Dey, Hendrik} } @mastersthesis {9989, title = {Bartolomeo Montagna and the Production of the Sacra Conversazione Altarpiece: An Examination of Civic and Artistic Identity in Early Sixteenth-Century Vicenza}, year = {2006}, school = {Indiana}, abstract = {One art historian referred to Vicenza as "a picture of relative artistic deprivation in the sixteenth century...the first two decades were still dominated by the gloomily impressive figure of the caposcuola of the late Quattrocento, Bartolomeo Montagna...." Another scholar viewed terraferma painters of the late Quattrocento to early Cinquecento as "ill at ease about their art...they saw greater painting than their own in Venice and Verona and not unfrequently [sic] their own works show an uncouth attempt to adopt that greatness." In the minds of early twentieth-century art historians Venetian Renaissance painters eclipsed their terraferma contemporaries. Scholars have since embraced the idea that regional metropolitan centers were the hubs of artistic "genius." Therefore, the genesis of "great" artistic talent originated from the respective capital city. Systematically, artistic influence was believed to have fanned out from the capitals into the provinces. Against this standard of criticism, my dissertation reconsiders the import of Bartolomeo Montagna{\textquoteright}s artistic production and contribution to Renaissance Painting of Venice and the Veneto. Through a reappraisal of Montagna{\textquoteright}s mixed artistic influences, advanced by recent technical studies and an exploration of social context, this study repositions Montagna and his creative output for Venice{\textquoteright}s "first born" territory, Vicenza. To speak to these issues most effectively, I have selected the sacra conversazione altarpiece (Madonna and Child with local saints, donors, and angels); the critical core of Montagna{\textquoteright}s work. By examining patronage and altarpiece iconography in a variety of religious contexts such as Vicentine family chapels in parish and conventual churches, a fresco cycle in Verona, and his single fresco for the Scuola del Santo in Padua, Vicenza{\textquoteright}s atmosphere of patronage under Venetian State dominion, and the War of the League of Cambrai from 1508 to 1517, inform the context of Montagna{\textquoteright}s altarpieces. I propose that in the early sixteenth century, just around the time Vicenza was searching for its autonomy, even civic identity, Montagna initiated a new pictorial language for Vicenza that foreshadows the city{\textquoteright}s eventual political fortune. Thus, my dissertation shows Bartolomeo Montagna to be a major contributor rather than a gloomy peripheral figure.}, keywords = {Renaissance/Baroque Art}, author = {Carroll, Elizabeth} } @mastersthesis {9994, title = {Beating the Devil: Images of the Madonna del Soccorso in Italian Renaissance Art}, year = {2006}, school = {Indiana}, abstract = {An unusually empowered devotional image of the Virgin Mary, the so-called Madonna del Soccorso, appeared for a brief period in the history of central Italian Renaissance art (1480s-1520s). Here the otherwise graceful Queen of Heaven is presented wielding a club against a devil who threatens to abduct a helpless child. This study investigates the Augustinian order{\textquoteright}s promotion of this strikingly spectacular image in banners, frescos and altarpieces throughout the regions of Umbria, the Marches and Tuscany, arguing that it served to define and promote specific Augustinian ideologies such as the power of speech and the necessity of early Baptism. But as part of the larger tradition of child miracle imagery, the Madonna del Soccorso was also intended to give comfort in societal disasters of the period, especially in instances of the inexplicable death of children, parental negligence and infanticide. In the various late-medieval textual sources of the Soccorso miracle, notably the Speculum Historiale of Vincent de Beauvais and the Miracles of the Virgin Mary of Gautier de Coincy, a malediction placed on the child by his own mother (che il diavoli ti porti via---"may the devil take you") can be seen to suggest the involuntary or deliberate act on the part of the mother that brought about the death of her child. The independent agency granted to the Virgin in this imagery is seen to have unbalanced accepted doctrinal understandings of the limited power of Mary and indeed that of women during the time in question, particularly with reference to a possible overturning of the recognized sexual hierarchy. This undoubtedly contributed to the subsequent banning of the Madonna del Soccorso typology by the Council of Trent. This study therefore presents a comprehensive examination of this unique and intriguing typology by bringing together issues of gender, power, social and religious history and popular superstition and devotion that have not previously been considered holistically within this context. I am hoping that this research may contribute to a revisionist feminist reading of Madonna iconography within the contemporary scholarship of Renaissance imagery.}, keywords = {Renaissance/Baroque Art}, author = {El-Hanany, Efrat} } @mastersthesis {9902, title = {Becoming American? Asian Identity Negotiated through the Art of Yasuo Kuniyoshi}, year = {2006}, school = {UC Santa Barbara}, abstract = {Becoming American? Asian Identity Negotiated in the Art of Yasuo Kuniyoshi investigates the critical issues concerning racial and national identity in the pivotal work of Kuniyoshi, a preeminent emigre American artist now neglected by the canon, produced during WWII and its aftermath. The dissertation examines how the historical crises of this period forced Kuniyoshi to rethink his pictorial strategies in response to the challenges of being emigre Japanese in America at a time of war against Japan, and of "becoming American" through his participation in the U.S. war efforts. The government{\textquoteright}s enlistment of Kuniyoshi in its anti-Japan propaganda program became a double-edged sword, for it simultaneously recognized Kuniyoshi{\textquoteright}s American artist status as the basis of enlistment and reinforced his "Japanese-ness" that rendered him the "enemy." His wartime work, both pictorial and textual, served as critical loci where Kuniyoshi negotiated through vexing issues of allegiance, loyalty and self-preservation. By exploring representational strategies different from those that demonized everything Japanese, Kuniyoshi offered an alternative approach, through the modernist rhetoric of universality and humanism, to confront the vexed historical crisis in the aftermath of Pearl Harbor. This project aims to further our understanding of a vital period in American history, when a world war intensified the debate of whether a national identity could be inscribed in artistic and cultural production, and what that "American identity" ought to be. This project expands and complicates existing scholarship on the race history in the U.S. during World War II, which has focused predominantly on the narrative of the Internment. While historically based, this dissertation engages contemporary concerns and critical questions of race, nationalism, and identity politics as they emerge in our present cultural and political institutions.}, keywords = {Contemporary Art}, author = {Wang, Shipu} } @mastersthesis {9993, title = {Bernini and Before: Modeled Sculpture in Rome, ca. 1600-25}, year = {2006}, school = {IFA/NYU}, abstract = {This dissertation takes its departure from the distinction between carving (as with ivory, stone, or wood) and modeling (as with pliable substances such as clay, stucco, or wax). It focuses on those sculptors in Rome active during the first quarter of the seventeenth century who recognized that modeling held unique advantages over carving and that these advantages could be beneficial for their art. These twenty-five years encompass one of the most innovative periods in Italian art, the Early Baroque as it is traditionally called. In sculpture, the pivotal figure was Gianlorenzo Bernini, whose first masterpieces---his series of sculptures, all in marble, for Cardinal Scipione Borghese---represent the chronological terminus of this study. While it is often commented that these works appear more modeled than carved, no one has investigated how the young Bernini actually viewed the art of modeling or learned how to model. This dissertation, by analyzing the key developments in modeling that occurred in Rome during the first quarter of the seventeenth century, aims to provide a contextual platform for re-constructing Bernini{\textquoteright}s education as a modeler. As Chapter 1 explores, the average sculptor working in Rome on the eve of Bernini held little appreciation for modeling. The chapter accounts for this indifference by highlighting factors such as the minimal role played by the Accademia di S. Luca in the training of young sculptors. Chapter 2 moves to an analysis of the leading modelers of the period with a consideration of the talented stuccoist from the Veneto, Camillo Mariani. Mariani illustrates that many of the great modelers who worked in Rome came from cities other than Rome, from cities where modeling was seen as a noble activity. Chapter 3 looks at the profession of the goldsmith, a craft tradition where modeling was integral, and how goldsmiths, by virtue of the fact that many were expert modelers, stood to influence mainstream sculpture. Chapter 4, on Stefano Maderno, considers his terracotta figurines and explores their function. Finally, in Chapter 5, the question of how Bernini learned to model is pursued.}, keywords = {Renaissance/Baroque Art}, author = {Dickerson, Claude Douglas} } @mastersthesis {9987, title = {Bernini at the Piazza Barberini: Politics and Patronage in the Rome of Urban VIII}, year = {2006}, school = {Missouri}, abstract = {The Barberini architectural patronage around the Piazza Barberini is the subject of this dissertation. The piazza is home to Gianlorenzo Bernini{\textquoteright}s famed Triton Fountain, which although it is extensively discussed in art historical literature, has yet to be given a complete treatment. Moreover, Bernini{\textquoteright}s work as a cityscape architect is under-explored and so the Piazza Barberini provides a fuller appreciation of Bernini{\textquoteright}s career as well as his impact on the appearance of the Eternal City. Finally, the Piazza Barberini played an important but overlooked role in the urban development of Baroque Rome. The present study identifies several key political and social statements that recur throughout Barberini patronage with such frequency and regularity that they comprise a systematic program designed to convey ideological statements to Rome and the world. Bernini gave this unified artistic program visual expression at the Piazza Barberini. The results of this research contribute to an understanding of seventeenth-century papal politics, artist-patron relationships in early-modern Rome, the use of art to expound ideologies, and Bernini{\textquoteright}s career as a cityscape architect. This dissertation presents the Piazza Barberini as a public space artistically rendered by Bernini to express the political agenda of Pope Urban VIII Barberini. The entire piazza ultimately evoked the scene from Ovid{\textquoteright}s Metamorphoses in which the sea-god Triton appears as a herald of a new world, and participant in the squelching of rebellion. This served as an allegory for Urban{\textquoteright}s Counter-Reformation political agenda: the re-ordering of the Italian peninsula and Europe, compelling the whole to obey the Church of Rome.}, keywords = {Renaissance/Baroque Art}, author = {Averett, Matthew} } @mastersthesis {10027, title = {Between Change and Continuity: Documenta 1955-2005}, year = {2006}, school = {Iowa}, abstract = {This project traces the history of Documenta, a periodic exhibition of contemporary art produced every five years in Kassel, Germany since 1955. Growing out of the reconstruction of a bombed-out city, this international exhibition of contemporary art has encompassed in its fifty-year history the modernism of the postwar era, the radical art of the 1960s and 1970s, the pluralism of the 1980s, and the global and interdisciplinary trends of the past two decades. This dissertation examines the ways that the specific concerns of eleven different editions of Documenta interrelate with the structures of the periodic exhibition format and the concept of history it embodies. The project begins with an overview of the treatment of exhibitions in the history of art and poses the question of whether object-based methodologies best serve the investigation of historical exhibitions. The format of the periodic exhibition is proposed as a starting point for a re-evaluation of traditional approaches to historical exhibitions, especially those that treat exhibitions as discrete "objects." The project continues with a look at the history of the periodic exhibition from its eighteenth-century origins to today. Following an overview of the history of Documenta, from its founding in 1955 to its most recent manifestation in 2002, four chapters focus on the overarching structures of the periodic format found in all eleven editions of the show. These structures include the concept of the curator as author, the boundaries created by architectural venues, the notion of art objects as exhibition "content," and the creation of "corporate identity" and institutional history by logos and catalogues. These aspects not only provide a new lens through which to examine the history of Documenta. This approach also serves to foreground the changes from edition to edition over the show{\textquoteright}s fifty-year history and makes clear the functions of the various permanent structures and the assumptions inherent to the periodic exhibition format. The conclusion of the study looks at the 2005 anniversary exhibition of the Documenta organization as a way of suggesting the mechanisms by which this series continues to maintain its identity, authority, and relevance through continuous reinvention and change.}, keywords = {Twentieth-Century Art}, author = {Floyd, Kathryn M.} } @mastersthesis {9959, title = {Between Seeing and Knowing: Shifting Standards of Accuracy and the Concept of Shashin in Japan, 1830-1872}, year = {2006}, school = {Chicago}, abstract = {My dissertation explores Foucault{\textquoteright}s notion of an episteme in relation to practices of pictorial representation in late Tokugawa, Japan. I focus on a private circle of scholars that took the name Shohyaku sha, founded by the physician Mizutani Hobun in 1810 in the Owari domain. Remaining active throughout Japan{\textquoteright}s transformation into a modern society, Shohyaku sha pursued hakubutsu-gaku, a conglomeration that joined traditional Chinese and Japanese medicinal concepts and practices with theories of natural history imported from Europe. Confronted by the infusion of new techniques of knowledge, namely the Linnaean system of nomenclature and its conflicting relationship with traditional canonical texts, the Shohyaku sha aimed to dismantle and reconstruct the evaluative standards in the name of epistemological accuracy. Their extensive involvement in practices of pictorial representation included public exhibitions of illustrations, the employment of "nature printing," publications about the use of the Linnaean system, the circulation and replication of imported publications, and experiments with photographic technology. These efforts attest to the methodological significance pictorial illustration came to have in their process of verifying and upholding epistemological acuity over and beyond the recitation of classical texts. The Shohyaku sha repeatedly employed the concept of shashin, a Chinese pictorial term that came to designate photographic technology in early 1870s, to characterize their pictorial representations. Contrary to the previous studies of Shohyaku sha which undervalue pictorial illustrations by interpreting them as attempts to adapt "Western realism," I posit pictorial representations used in their inquiry as the mediating site for both the contestation and affirmation of the veracity of epistemological standards, and ask what kind of relationship is questioned or assumed between the illustrations characterized as shashin and hakubutsu-gaku epistemology. I argue that their use and production of pictorial representations played a central role in communicating and validating the ontology of particular plants, and thus the process of vetting and reshaping their hakubutsu-gaku discourse. The goal of my dissertation is to provide a new historical perspective on the formulation of hakubutsu-gaku as a pivotal element that rightfully places it within history of picture-making and picture-viewing in Japan.}, keywords = {Japanese/Korean Art}, author = {Fukuoka, Maki} } @mastersthesis {10018, title = {Beyond Buddhist and Brahmanical Activity: The Place of the Jaina Rock-Cut Excavations at Ellora}, year = {2006}, school = {UT Austin}, abstract = {The practice of carving interior spaces into a mountainside to be used for devotional activities is an important and long-enduring tradition in India. This is particularly true in western India, and out of the many rock-cut sites in this region, the most spectacular is Ellora. Ellora is noteworthy not only for its large number of cave-temples, but it is also the only site on the subcontinent to contain monuments for three of India{\textquoteright}s indigenous religions: Hinduism, Buddhism, and Jainism. The cave-temples at Ellora, which date from the late sixth through tenth centuries CE, therefore provide us with the opportunity to view the development of rock-cut excavation across time and across religious affiliations. While past scholarship has looked at limited aspects of the Hindu and Buddhist caves, less attention has been paid to Ellora{\textquoteright}s Jain excavations. My dissertation examines the Jain caves which are among India{\textquoteright}s richest examples of Jain rock-cut architecture, sculpture, and painting. Excavated in the early ninth through tenth centuries CE, these monuments are an important visual record of Jain artistic and devotional activities in early medieval India. In this project, I not only explicate the distinctive nature of Jain art and practice at Ellora but I also consider the Jain caves within the context of the Hindu and Buddhist excavations at the site. This approach not only highlights the understudied Jain caves, but it also allows us to formulate questions about the artistic and devotional activities associated with all three religious traditions at Ellora. By considering the site{\textquoteright}s multi-religious nature, we can then begin to understand the dynamics of Ellora in terms of religious interaction, devotional practice, and patterns of patronage. In addition, Ellora{\textquoteright}s Jain monuments can serve as a foundation for understanding the transition towards structural temple building and the development of Jain imagery in the tenth through thirteenth centuries.}, keywords = {South/Southeast Asian Art}, author = {Owen, Lisa Nadine} } @mastersthesis {10034, title = {Beyond Self-Portraiture: The Fabrication of Andy Warhol, 1960-68}, year = {2006}, school = {IFA/NYU}, abstract = {Andy Warhol achieved recognition as a fine artist when he exhibited his early Pop paintings in 1962. This dissertation considers Warhol{\textquoteright}s professional and personal transformations from 1960 to 1968 as he abandoned his commercial work in order to become a painter. It also analyzes the ways in which Warhol cultivated his celebrity to expand his career beyond the visual arts. His subsequent fame contributed to his work as a filmmaker, author, music producer, and magazine publisher. The first chapter discusses how Warhol altered his physical appearance and demeanor in order to fashion his Pop image. It emphasizes his attempts to exhibit in galleries during the 1950s, as well as Warhol{\textquoteright}s production of commercial work well into the 1960s. It dispels the misconception that Warhol worked solely as a commercial artist in the 1950s and only as a fine artist in the 1960s. The second chapter looks at Warhol{\textquoteright}s photobooth self-portraits made from early 1963 until mid-1965. Warhol used the Photomaton as a tool to document the changes he orchestrated in his appearance and as a method to generate source material for his silkscreened self-portrait canvases. This chapter considers all the known self-portrait photobooth images, orders them chronologically, and explains how many were used for publicity purposes. The third chapter focuses on Warhol{\textquoteright}s three major series of painted self-portraits from the 1960s. This trio of images captures Warhol{\textquoteright}s evolving sense of how he wanted to be perceived by the art world and the general public. The chapter traces the motivations for each series and discusses how the paintings were produced, exhibited, and sold. Chapter four examines Warhol{\textquoteright}s methods of promoting himself in the media. Through interviews, television appearances, and publicity in mass circulation magazines and newspapers, Warhol achieved notoriety well beyond the fine arts community. Gene Swenson{\textquoteright}s 1963 interview and Gretchen Berg{\textquoteright}s 1966 interview are analyzed for how they captured Warhol{\textquoteright}s voice, as well as how these texts have been further edited and cited. The artist{\textquoteright}s continuing appeal is shown to be not just the product of his artwork, but is also a function of his manufactured persona.}, keywords = {Twentieth-Century Art}, author = {Sidley, Kelly} } @mastersthesis {9888, title = {The Body and the Family: Filial Piety and Buddhist Art in Late Medieval China (ca. 8th to 10th c. CE)}, year = {2006}, school = {Chicago}, abstract = {This dissertation addresses the problem of cultural translation by investigating the coexistence of filial piety and Buddhist art in representations of the Sutra on Repaying Kindness at Dunhuang. These include the problems of translating religious images from their textual sources, foreign Buddhist images into native Chinese idioms and complex artistic changes into neat academic arguments. Accordingly, Chapter One rethinks the opposition of filial piety and Buddhism in both historical and modern sources through a critique of sinicization as an interpretive model. By demonstrating that filial piety is neither unique to China nor opposed to Buddhism, I reframe the question of how to interpret cultural interaction with the fundamental question of why use cultural interaction at all to interpret artistic change. Chapter Two charts the development of Sujati narratives as an important component of Sutra on Repaying Kindness paintings at Dunhuang. Depicting a young prince offering his flesh to his starving parents, this image integrates Confucian and Buddhist attitudes toward the body thought to be contradictory, a discrepancy that I explain through the contemporary practice of "cutting the thigh." Chapter Three investigates the early history of cutting the thigh, a filial practice in which children offer their flesh to ailing parents. By examining Buddhist scriptures, Confucian histories, rhetorical essays and archeological evidence, I show that the medieval Chinese discourse on cutting the thigh complicates conventional understandings of filial piety and bodily values even within monolithic categories such as Confucian and Buddhist. Chapter Four analyzes the four other narratives in Sutra on Repaying Kindness paintings. By arguing that the notion of repaying kindness emphasizes the mother and the moral authority of the child, I question standard assumptions of Chinese filial piety as centered on the father and parental prerogatives. Chapter Five situates Sutra on Repaying Kindness paintings into the Dunhuang family caves that contain them. By examining decorative, figural and epigraphic references to the family in these caves, I argue for the construction of a distinctive "family space" that idealizes private life, ancestral history and contemporary viewing practices.}, keywords = {Chinese Art}, author = {Kyan, Winston} } @mastersthesis {9980, title = {Bonnard, Vuillard, and Vallotton: Masculinity in Question}, year = {2006}, school = {IFA/NYU}, abstract = {The artists of the Nabi group were active as a group from 1889 to 1900 but the careers of these artists and their subsequent influence spanned well into the twentieth century. In 1889, the young artists proclaimed themselves "prophets"; however, even in the decade of the 1890{\textquoteright}s the Secular Nabis (Pierre Bonnard, Edouard Vuillard and Felix Vallotton) revealed profound differences in their choice of subject matter and their view of the role of art in relation to modern life. Chapter one discusses the formative years of the Nabi artists with a focus on defining the differences between the secular and devout Nabis. The Nabis can be divided by religious belief, attitude toward women and the role of art in society. Chapter two investigates self-portraiture in relation to contemporary sociological theory regarding the precarious masculinity of the male intellectual and the multifaceted nature of identity. Chapter three discusses the modern muse who differs significantly from her Classical progenitor and reflects the fearsome instability of the modern woman in European society. This chapter focuses on four women: Misia Natanson, Gabrielle Vallotton, Lucy Hessel and Marthe Bonnard. Chapter four is also concerned with the feminine in the form of the largely anonymous nude model. Balzac{\textquoteright}s Le chef-d{\textquoteright}oeuvre inconnu and Zola{\textquoteright}s L{\textquoteright}Oeuvre provide a literary context for the artist{\textquoteright}s struggle to depict the ideal Woman. Chapter five brings the two primary threads of the discussion together in a discussion of the relation between genders and investigates various types of marriage within the contextual metaphor of the battle between the sexes.}, keywords = {Nineteenth-Century Art}, author = {Stock, Karen} } @mastersthesis {9930, title = {The Boucicaut Workshop and the Commercial Production of Books of Hours in Early Fifteenth-Century Paris}, year = {2006}, school = {Northwestern}, abstract = {This dissertation is a study of the full range of Books of Hours produced by one of the most prolific workshops of illuminators active in Paris in the first decades of the fifteenth century, known today only as the "Boucicaut Master" and his workshop. There are more than fifty-seven Books of Hours with miniatures in the highly characteristic Boucicaut style. My study, based on the first-hand observation of more than thirty of these manuscripts as well as other documentary evidence related to the Parisian book trade, proposes a paradigm for the model of production of illuminated Books of Hours. The Boucicaut artists were integral members of the long-standing and well-established Parisian manuscript industry, and they operated as an independent workshop with no sustained connections to any one court. The workshop was comprised of several individuals who worked in a closely collaborative method of production that limits the extent to which we can distinguish individual members. The Boucicaut illuminators built a successful commercial enterprise on the development of a highly consistent and recognizable version of the illuminated Book of Hours that could be adapted to meet the needs of a diverse clientele. Each manuscript was commissioned and designed for a specific individual, and the manuscripts were personalized to the extent that the status and personalities of some of the unnamed patrons can be determined, a group including Parisian and foreign, lay and clerical, male and female patrons who commissioned a range of texts, simplified or sophisticated, sparsely or lavishly illuminated. The commercial production of illuminated Books of Hours provided unique artistic opportunities for Parisian illuminators. For Boucicaut illuminators, the large-scale production of Books of Hours resulted not in mediocrity or rote copying, but in sophisticated artistic experimentation and novel interpretations of familiar narratives. Collaboration with other Parisian illuminators was common as well, and Boucicaut illuminators developed long-term partnerships with several other major workshops.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Andrews, Christine Geisler} } @mastersthesis {9892, title = {Building a Sacred Mountain: Buddhist Monastic Architecture in Mount Wutai during the Tang Dynasty, 618-907 C.E.}, year = {2006}, school = {Chicago}, abstract = {Located in present-day Shanxi Province in northeast China, Mt. Wutai (Wutaishan) is the home of the oldest surviving timber-frame structures, built during the Tang Dynasty. The first Buddhist sacred mountain established in China since the fifth and sixth centuries, Mt. Wutai is also the destination to which pilgrims travel far to observe the divinity of the mountain lord, known as Manjusri bodhisattva. In our modern inquiry of traditional Chinese architecture, however, the physical structures surviving from the period are gradually neutralized (naturalized) of the particularities tied more to their religious function and history associated with the sacred site than the building history. This dissertation investigates the signification of the monastic architecture built at Mt. Wutai when the sacred mountain cult climaxed, which in turn informs us of layers of history and memories embedded in the site, place, and space inextricably interwoven with the material aspect of the architecture. The dissertation posits in the establishment of Mt. Wutai as the first Buddhist sacred mountain in China a complex historical process, in which the monastic architecture played a crucial role. Chapter One examines how the monastery could have taken on such a religious function in developing the monastic practice that aspired to a higher realm of transcendence and called for a more imminent sacred presence. Chapter Two argues that it is in the locating of the divine presence that the monastery became a locus where the presence could be localized and reenacted within its physical structure, which in process became part of the mountain{\textquoteright}s sacrality. Chapter Three demonstrates that the monastery was the means by which the outside interests entered the mountain that concurrently reconfigured and institutionalized the sacred mountain into an abstract entity, comprehensible and meaningful only in such a broadened context. As the natural mountain was totalized in these terms, Chapter Four argues that the conceptualized Mt. Wutai was conducive to narrative and representation, and the visualized narrative of the sacred mountain produced toward the end of our period illustrates Mt. Wutai as the site of not only its monastic architecture but its monastic history and ideals, or a meta-monastery.}, keywords = {Chinese Art}, author = {Lin, Wei-Cheng} } @mastersthesis {9921, title = {The {\textquoteright}Camera{\textquoteright} as Camera: New Subjectivities in 3D Virtual Worlds}, year = {2006}, school = {UC Irvine}, abstract = {I propose the camera as camera, a conceptual opening in which we can observe that computer graphics imagery (CGI) grants every calculable point in space both voice and agency. Thus, by definition, digital interactive spaces fundamentally engender new virtual subjectivities which operate in interconnection with one another, and not as autonomous, privileged subjects. This necessarily suggests that in interactive conditions we require a re-writing of power relations; the camera as camera argument provides a foundation for a technical and aesthetic reconsideration of these matters. Tracing a connection between the early development of shutter technology by Muybridge, and the "bullet-time" of the Matrix films, I examine special effects in such films as Moulin Rouge, Lord of the Rings, Batman Begins and King Kong. I demonstrate that the "camera" of the past is now digitally re-framed as a locus of many elements, all occupying one tiny point in space simultaneously. The tropes which are characteristic of the camera as camera include: (1) techniques such as 3D visualizations, motion control, motion capture, and multi-layered compositing, (2) physics-defying fly-throughs and a daring, dynamic camera, (3) roller coaster effects and a theme park aesthetic, (4) the treatment of actors as avatars and avatars as actors, (5) subjective status conferred to objects and/or amorphous multiplicities such that they take on a narrative aspect equivalent to being a character, (6) the development of an intensely detailed alternate universe which mimics the notion of a {\textquoteright}virtual reality{\textquoteright} and (7) a playful re-mix of elements and perspectives. Through these and other digitally enabled devices, the new camera as camera subject is an agent which authors a new reality for us. That reality may exist on a computer monitor, a movie screen, or in the living room of the viewer, and it may even exist off screen as the interpenetration of the virtual and the real becomes increasingly difficult to separate. I suggest that an aesthetics of play and empathy helps us to understand new directions in virtual productions. References include Donna Haraway{\textquoteright}s "situated knowledges", Andre Bazin, Lev Manovich, and Varela, Thompson and Rosch{\textquoteright}s book, The Embodied Mind.}, keywords = {Digital Media/Animation}, author = {Crockett, Tobey} } @mastersthesis {10005, title = {Cartography between Cultures: Francesco Berlinghieri{\textquoteright}s Geographia of 1482}, year = {2006}, school = {Michigan}, abstract = {Francesco Berlinghieri{\textquoteright}s Geographia, an Italian verse paraphrase of Ptolemy{\textquoteright}s Geography accompanied by thirty-one engraved maps, was printed in Florence in 1482. Through the donation of hand-illuminated copies of the book to the sons of Ottoman Sultan Mehmed II, Bayezid and Cem, it served as an object of cross-cultural interchange between Florence and the Ottoman imperial court in Istanbul. My dissertation provides the first comprehensive treatment of the Geographia and argues that the work{\textquoteright}s function as an object of international exchange cannot be separated from consideration of concerns often dismissed as parochial by previous scholarship. Print-shop practices, vernacular literary conventions, and Florence{\textquoteright}s rich tradition of cartographic manuscript production all have broad implications for our understanding of the work{\textquoteright}s cross-cultural function. Its selection as diplomatic gift is best understood in the context of its utility and meanings for those who routinely produced, read, commissioned and conceived such works. Further, in considering this important printed cartographic work within the larger context of early modern Italian visual culture this project evaluates and problematizes commonplace notions of early printing{\textquoteright}s claims to accuracy, authority, and standardization. Printed copies of the Geographia exhibit hand-colored maps, illuminated frontispieces, family coats of arms, and other unique modifications. The analysis of such objects is crucial to our understanding of the still contested relationship between manuscript and print cultures in the history of the early modern book. Ultimately, this project contends that technologically and artistically experimental books like the Geographia served, through their modification for eminent buyers and dedicatees, to construct networks of learned, powerful, and wealthy individuals that spanned the early modern Mediterranean.}, keywords = {Renaissance/Baroque Art}, author = {Sean Roberts} } @mastersthesis {9939, title = {The Choir of Notre-Dame of Paris: An Inquiry into Twelfth-Century Mathematics and Early-Gothic Architecture}, year = {2006}, school = {Columbia}, abstract = {The cathedral of Notre-Dame of Paris has been studied from the perspective of Art History, but never from the point of view of the changes in mathematics during the twelfth century. When the builders undertook the construction of the choir of Notre-Dame, Paris was a burgeoning center of intellectual activity. The city was known as a place for the study of theology and the arts. Some prominent figures such as Hugh of Saint-Victor and Thierry of Chartres taught in Paris during the first half of the twelfth century. These scholars composed treatises that inform us about mathematics contemporary to the construction of the cathedral of Notre-Dame. In this dissertation I analyze these writings and compare their mathematical content to the calculations that the builders made to design the plan of the choir of Notre-Dame. Central to these calculations are mensuration and computations with right-angled triangles. These are the same mathematics as those that a twelfth-century pupil learned during his curriculum in the arts. As I show, by the middle of the twelfth century, there is no separation between the science of the builder and the mathematical knowledge of the Parisian elite. I begin by presenting the intellectual context in which the choir of Notre-Dame was built. In chapter one, I explain how the twelfth century is a period in which arts and sciences flourished and how it is also a time of intense building activity in Paris. In the same section, I introduce the type of mathematics known to twelfth-century Western scholars. Chapter two first deals with writings which inform us about the concept that medieval intellectuals had of the link between geometry and building practice. In the second section of this chapter I detail the mathematics present in medieval scientific treatises. In the third chapter, I explain how with these mathematics the choir of Notre-Dame was designed. I show how besides Biblical numbers, a careful choice of values minimizing calculation errors dictated the dimensions of this early-Gothic choir.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Van Liefferinge, Stefaan} } @mastersthesis {9835, title = {The Church of St. John Aleitourgetos in Mesembria: A Study of Its Constantinopolitan Origins}, year = {2006}, school = {Indiana}, abstract = {This study focuses on the Late Medieval church of St. John Aleitourgetos in the city of Nesebar (ancient Mesembria), Bulgaria. In English-language publications on Late Byzantine architecture the church is often referred to as an example of a provincial metropolitan style, even cited as a direct product of a workshop from the Byzantine capital. However, its placement in the development of Mesembria{\textquoteright}s architecture and that of the Second Bulgarian Kingdom is generally ignored. In addition, due to its fragmentary preservation and large areas of reconstructed masonry surface the description and evaluation of the church{\textquoteright}s constructional and stylistic elements are often incomplete. Therefore, the aim of this study is to provide a detailed examination of the history, architectural form, and decorative program of the church based on the available archival, archaeological, and stylistic evidence. One chapter discusses the conceptualization of the original structure and proposes a new interpretation of the available data. The problem of the typological and chronological relationship between the church of St. John Aleitourgetos and the other surviving Late Medieval churches in Mesembria is also addressed. The evidence suggests that the monument in question was a product of a local workshop with extensive knowledge of building practices and stylistic trends not only on a regional but also on an international level. The possible construction-date of St. John Aleitourgetos was established through typological and stylistic comparisons with dated monuments from Constantinople, Thessaloniki, Tarnovo, and other Balkan urban centers of the Late Medieval period. Additionally, the study offers fresh insights into the church{\textquoteright}s urban context, facade program, and possible patron.}, keywords = {Architectural History/Historic Preservation, Early Christian/Byzantine Art}, author = {Tarandjieva, Teodora} } @mastersthesis {9910, title = {City of Mirrors: Spectacle and Surveillance in 19th Century Paris}, year = {2006}, school = {Minnesota}, abstract = {"City of Mirrors: Reflection and Visual Construction in Nineteenth Century Paris" reconstructs and critically examines the popularity of mirrored public interiors in 19th century Paris and how they staged and constructed modern vision. I argue that mirrors were strategically placed in commercial settings such as cafes and department stores to enhance the spectacle of leisure and consumerism and blur the division between public and private space. Expansive plate glass panes (approximately 8 by 5 feet) were mass-produced by the Saint-Gobain glass factory and installed throughout Paris during the mid to late 19 th century. Strips of mirrors that often bordered storefronts exaggerated the spectacle of commerce, leisure, the crowd and the public street. Angled mirrors on storefronts could multiply one person four-fold, revealing multiple profiles and creating the illusion of an even larger crowd on the boulevard. Reflections produce odd, often contradictory spaces. They offer additional views of one{\textquoteright}s surroundings but also expose him to the public{\textquoteright}s view. Rather than providing whole pictures, they reflect ephemeral glimpses, bits and pieces of one{\textquoteright}s surroundings. They seem to double the space, creating theatrical environments that exaggerate and multiply the display of public social relations, urban consumers and commodities. Additionally, mirrored spaces confuse distinctions between public and private realms or even the boundaries between exterior and interior space. I argue that the experience of the mirror seems to be ubiquitous, in all visual experiences in the 19th century, training the public to see differently. I analyze three interiors as case studies of how vision was constructed in these reflective environments: the Folies-Bergere cafe-concert hall, the Au Bon Marche department store, and the "Palace of Illusions," a mirrored pavilion at the 1900 Paris Exposition. All of these mirrored spaces, located in the center of Paris, became theatrical stages for the display of capital and consumption, through both the gigantic mirrors that decorated theatrical performances and cafes and the portable mirrors that enhanced the display of commodities in the new department stores}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Carlson, Elizabeth} } @mastersthesis {9934, title = {The Cloister in the Landscape: Monastic Architecture in England to 1174}, year = {2006}, school = {Yale}, abstract = {The Cloister in the Landscape is a typological study which examines the establishment of the foursquare Carolingian cloister in England, the interaction of this pattern with indigenous traditions of monastic organization, and the role played by the cloister in the process of cultural assimilation during both the late Saxon and post-conquest eras. I suggest ways in which the cloister{\textquoteright}s resonance with earlier models would have reinforced the Benedictine project during the reforms of the tenth century. Further, I offer a new way of interpreting the dramatic Norman rebuilding programs of the monasteries of England in the late eleventh and early twelfth centuries. While old, venerated structures were demolished to make way for new, high-style buildings, I argue that the placement of the new buildings often emphasized or commemorated previously sacred ground, the cloister acting as a commemorative frame and a container for the potential power which lay in soil formerly associated with relics. I assert that the desire to honor previous buildings and, most especially, the former resting places of indigenous saints, may further explain the phenomenon of the north cloister, especially at male monasteries where such an arrangement was unusual. In addition to consolidating a wide range of functions into a practical and aesthetic whole, during its first two centuries in England the cloister also integrated a number of different traditions, fostering cultural transition and assimilation.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Evalds, Valija} } @mastersthesis {9911, title = {Colonial Shadows: Indian Nationalism and the Negotiation of Enlightenment Vision}, year = {2006}, school = {Stony Brook}, abstract = {This dissertation examines the visual emergence of India in the nineteenth-century Western world. Drawing on Orientalist images and evaluating Indian responses, it argues that "veiling" and "unveiling" became prominent motifs in making India visible. I suggest the drama of revealing and concealing was figured upon a feminized body of the nation and my project explores the implications of its exposure into visibility and its consequences for female sexuality. My first chapter is an examination of Enlightenment images that seek to unveil the Orient. I point to the emergence of an ideal of complete visibility within which such images are justified, as the Orient is cast as shrouded in a darkness that serves as a sign of a hermeneutic distance that is sought to be overcome. In the second chapter, I examine how such ideas on light and darkness were adapted by an emerging Indian nationalism, looking specifically towards images from the oeuvre of Raja Ravi Varma that discuss Bharat Mata (Mother India) as dishonored by such exposure. In the third chapter, I examine how this dialectic between unveiling and veiling the body participates in what some feminists have called an {\textquoteright}erotics of the body politic.{\textquoteright} Finally, I look at the radical transformations in Indian painting coinciding with Bengali nationalism where such a dramatic erotics is renounced for a spiritualized female figure that seeks to illuminate the darkness of the exterior world through an inner light. My project accordingly examines the contours of the Indian nation that emerges in its encounter with Enlightenment vision. I examine the ways in which European visual technologies were introduced within Indian visual culture and interacted with indigenous forms. I suggest that the Indian response both adapted and elaborated the colonial technologies, as complex affiliations between colonial perceptions and indigenous interests reformulated the terms of the colonial discourse.}, keywords = {Critical Theory/Gender Studies/Visual Studies, South/Southeast Asian Art}, author = {Dinkar, Niharika} } @mastersthesis {9983, title = {The Concept of Divinity in Maya Art: Defining God L}, year = {2006}, school = {UT Austin}, abstract = {This dissertation aims at advancing our understanding of Ancient Maya cosmology through the in-depth analysis of a singular, broadly-extant, and sacred entity called God L. Focus is placed upon portrayals created in the Central Area of settlement (lowland Guatemala and Mexico) and the timeframe of the Classic era. While seeking to uncover knowledge derived from the Classic Maya epoch, data extends beyond this temporal boundary in order to fix visual forms within the continuum of cultural development. My research is the first comprehensive study of the innovation, characterization, function, and meaning of God L. Collected together within the pages of this dissertation are numerous examples drawn from the corpus of Maya art. The examination of this deity, whose qualities and narrative exemplify a sacrosanct existence, sheds light on the concept of k{\textquoteright}uh, an indigenous Maya word used to describe holy beings and things. Various depictions of God L are analyzed from the perspective of an art historical methodology that is augmented by information drawn from other academic disciplines.}, keywords = {Pre-Columbian Art}, author = {Bernatz, Michele Mae} } @mastersthesis {9838, title = {Confraternal Piety and Corporate Patronage: A Reconstruction of the Art and Oratory of the Compagnia di San Giovanni Battista dello Scalzo, Florence}, year = {2006}, school = {Penn State}, abstract = {This study presents detailed reconstructions of the devotional, administrative, architectural, and decorative contexts of the Florentine flagellant confraternity of San Giovanni Battista dello Scalzo. The suppression of the confraternity in 1785 led to the partial destruction of its oratory and the dispersal of its works of art. Archival documents presented in this dissertation allowed for a reconstruction of the lost portions of the oratory and its missing decoration. At the end of the Cinquecento the Scalzo had at their disposal a large and well decorated suite of rooms-including the cloister, two chapels, a sacristy, a changing room and several auxiliary service areas. These rooms were lined with choir stalls and decorated with works of art that ranged from an altarpiece by Lorenzo di Credi to a sculptural program of terracotta apostles installed in niches in the company{\textquoteright}s main chapel. Many of the Scalzo{\textquoteright}s members came from Florence{\textquoteright}s artisanal class and included shoemakers, blacksmiths, painters, wallers, sculptors, goldbeaters, bakers, and others. The confraternity frequently hired these men to perform necessary jobs, from painting the company{\textquoteright}s emblem on robes and processional candles to monitoring the state of repair of the oratory{\textquoteright}s roof. Often the confraternity and one of its members agreed to exchange these services for an exemption from the organization{\textquoteright}s customary fees and fines. The Scalzo{\textquoteright}s voting records reveal that the confraternity procured several of the statues in its main chapel in exactly this manner. In other cases, a group of brothers acting as an anonymous collective underwrote the cost of the sculpture. The Scalzo used collaborative strategies-familiar to the organization from its charitable missions-in order to decorate its oratory. By acting as a collective, the shopkeepers and craftsmen who constituted the Scalzo{\textquoteright}s membership were able to cast themselves in the role of art patrons. Moreover, by relying on their own members to outfit the oratory, the brothers strengthened the ritual bonds that knit the confraternity together. The apostles thus served not only as collegial exemplars for the confratelli to emulate, but also provided members and guests with concrete evidence of what the men of the Scalzo could achieve when they acted together as one corporate body.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Dow, Douglas} } @mastersthesis {9833, title = {Conservation and Building Practice in a World Heritage City: The Case of Sana{\textquoteright}a, Yemen}, year = {2006}, school = {MIT}, abstract = {The unique architecture of Sana{\textquoteright}a, Yemen has been the focus of international conservation efforts, which have stimulated local interest and contributed to the formation of a local discourse. Because conservation followed so quickly on the heels of modernization, Sana{\textquoteright}a provides an opportunity to study the interplay of these two global ideologies in the context of a strong local tradition of building. The ""international"" theory and practice of conservation developed in a specific cultural and intellectual context, that of modern Europe: it is based on the idea of an historic past that is radically different from the modern present. The artifacts of this past are frozen in time, relics of a past that has now been superseded. But the increasing museification of the built environment is untenable, and also incompatible with current notions of sustainability. Conservation in Sana{\textquoteright}a and other cities in Yemen is unusual because the ""historic past"" is not so far in the past; in many cases, it is still part of the present. This provides not only an interesting case study, but an opportunity to reassess certain assumptions of international practice that are based on the idea of rupture between past and present, for example, the notions of historical value and authenticity. In contrast to other studies of conservation, this dissertation does not focus on heritage as a project imposed by international agencies or by the state bureaucracy. Rather, it treats heritage as a discourse that is shaped on the ground by various actors, many of whom see themselves as representing the historic past. A unique approach has developed in Sana{\textquoteright}a at the intersection of international and local practice, and it is this intersection that is the subject of the present work. The first chapter establishes the wider context of the project ""site"": it discusses the development of conservation theory and practice in Europe, with special attention to the idea of the historic city. Chapters two and three provide historical background on the development of the city of Sana{\textquoteright}a and the UNESCO international safeguarding campaign of the 1980{\textquoteright}s. Chapters four and five take an ethnographic approach: they look at ways in which international practice has been understood and applied in the local context, by architects, builders, and residents. Chapter six traces the evolution of local discourse and practice through a series of projects, conducted with foreign assistance and by local organizations. The concluding chapter discusses the synthesis of international and local ideas and practices in Sana{\textquoteright}a, and proposes policy directions based on this synthesis.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Lamprakos, Michele} } @mastersthesis {9897, title = {Constituting the Elusive City: Documentation and Fantasy in the Work of Archibald Motley, Jr. and Reginald Marsh}, year = {2006}, school = {UIUC}, abstract = {This thesis addresses historical and current conceptions of "realism" in American art by examining the 1930s artistic production of Chicago painter Archibald Motley, Jr. and New York artist Reginald Marsh. I locate their realisms within the social and cultural conditions of urban life during the Great Depression, focusing specifically on how these two artists structured gendered, class, and racial identity within the distinct settings of Chicago{\textquoteright}s south side and New York{\textquoteright}s Union Square, Harlem, and Coney Island. "Realism" as a stylistic category has often been read within modernist narratives as a call-to-order, one that arises during a time of political and social instability in order to offer a vision of composure and orderliness. I contend, however, that Motley and Marsh used realism to comment on its own inherent instability; these two artists employed fantasy, distortion, and self-reference in their work in order to expose realism as decidedly non-mimetic and in need of close scrutiny. In doing so, they also pointed to the precarious social, political, and economic situation facing the United States in the 1930s. I suggest that the stylistically and conceptually complex realisms of these two artists reflect the disorder and upheaval not only of the social environments they depicted, but also of the pictorial space itself. While Motley and Marsh were not alone in these pursuits, I present them as ideal models for assessing the complexity of figurative work and the relevance of representational concerns beyond illustration and propagandistic motivations during the 1930s. By evaluating their paintings, prints, photographs, sketchbooks, letters, and essays alongside the artistic works and essays of Depression-era artists, critics, and scholars and more recent scholarship on the period, I create a broader and more pictorially-oriented study of Depression-era realism.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Wolfskill, Phoebe} } @mastersthesis {10032, title = {The Cult of Rodin: The Spread of Auguste Rodin{\textquoteright}s Reputation in Northeast Asia}, year = {2006}, school = {Missouri}, abstract = {This dissertation explores the growth of Auguste Rodin{\textquoteright}s phenomenal acclaim in Northeast Asia, where he was introduced in the early 20th century, when China, Japan, and Korea were undergoing social, political, and cultural turmoil caused by colonial intrusions of the West, and became established, in largely through pictures and textual accounts before actual works by the sculptor were exhibited. By carefully examining printed materials circulated in the three countries from the early 1900s to the first Rodin exhibition in Japan, Korea, and China held in 1966, 1985, and 1993, respectively, this study argues that wide dissemination of images and written accounts of the sculptor{\textquoteright}s works, fueled by each country{\textquoteright}s urge to emulate the culture of the West, created a powerful version of the Rodin myth in the Far East.}, keywords = {Twentieth-Century Art}, author = {Lee, Hyewon} } @mastersthesis {9944, title = {Cultural Identity in Bourbon Naples, 1734-99: Academies, Antiquities, and Rivalries with Rome}, year = {2006}, school = {Virginia}, abstract = {This dissertation examines how political tensions between Bourbon Naples and Papal Rome affected visual culture in the former between 1734 and 1799. A parallel study of these two cities is particularly compelling for not only were they geographically linked, they had been locked into a relationship of feudal suzerainty since the twelfth century. Don Carlos di Borbon, son of King Philip V, infante of Spain, and, after 1734, King of the Two Sicilies, could not brook these ancients bonds of servitude, which interfered with his goal of establishing an independent state. The political trouncing of Rome was therefore politically imperative. Cultural propaganda played a critical role in helping him to meet his objective, for by besting the Eternal City in the visual arts Carlo knew he would be affirming Naples{\textquoteright}s cultural and, by extension, political superiority. To achieve these ends, the Sovereign very consciously emulated his rivals, the popes, by promoting Naples{\textquoteright}s antique patrimony, engaging artists and architects affiliated with the papal Rome and eventually embracing a neoclassicism al romano . The result was a curious dichotomy, in which the Eternal City, though treated as politically irrelevant, was at the same time regarded as a cultural touchstone. This strange dance of dismissal and emulation was continued under Carlo{\textquoteright}s son and successor Ferdinando IV, whose wife, the Austrian princess Maria Carolina, encouraged him to bait the papacy at every turn. The choreography of this complex ballet is dismantled and studied in the following six chapters.}, keywords = {Eighteenth-Century Art}, author = {Deupi, Jill J.} } @mastersthesis {9907, title = {Dairy Queens: Sexuality, Space, and Subjectivity in Pleasure Dairies from Catherine de{\textquoteright} Medici to Marie-Antoinette}, year = {2006}, school = {Harvard}, abstract = {This dissertation examines the architectural phenomenon of the laiterie d{\textquoteright}agrement, or "pleasure dairy," in ancien regime France, focusing on the second half of the eighteenth century. Although pleasure dairies constituted a significant eighteenth-century building trend that was commissioned by the era{\textquoteright}s most notable figures (Madame de Pompadour; Marie-Antoinette; the duc de Chartres) and designed by its most celebrated artists and architects (Francois Boucher; Hubert Robert; Jean-Francois Chalgrin; Claude-Nicolas Ledoux), they are almost entirely absent from existing scholarship on the period. By telling the story of this little-known aspect of French history through archival research, object analysis, and theoretical inquiry, I demonstrate how these sites contribute to a new understanding of cultural life in the ancien regime. I consider pleasure dairies in relation to Michel Foucault{\textquoteright}s definition of heterotopias: sites that "simultaneously represent, contest, and invert" their sociopolitical and cultural contexts. Pleasure dairies paradoxically combine such eighteenth-century binaries as the natural and the artificial, the physical and the moral, and the pleasurable and the productive, and thereby complicate our understanding of the relationship between gender, space, and embodiment in the period. Although pleasure dairies have been regarded as regulatory spaces where women conformed to cultural ideals of domesticity and femininity---articulated by Rousseau in his description of Julie{\textquoteright}s dairy in La Nouvelle Heloise (1761)---my dissertation offers a richer and more nuanced portrait of this architectural phenomenon, and the way that women used it for self-fashioning purposes. Women patrons who commissioned dairies were both influenced by, and subversive of, cultural and scientific attitudes toward their biological makeup and presumed "natural" role in society. In tracing the development of the pleasure dairy, I provide a novel account of historically situated female subjectivity from the sixteenth to eighteenth centuries.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Eighteenth-Century Art}, author = {Martin, Meredith} } @mastersthesis {9941, title = {The Decorated Elite Mastaba and Rock-Cut Tomb in the Eastern and GIS Cemeteries at Giza and Their Relationship to the Development of Art during the Fourth Dynasty}, year = {2006}, school = {IFA/NYU}, abstract = {A study of the decorated elite mastabas and rock-cut tomb in the Eastern and GIS cemeteries at Giza reveals that numerous factors influenced the development of art during the Fourth Dynasty. These two cemeteries are located adjacent to King Khufu{\textquoteright}s pyramid but differ in the status of the individual. The Eastern Cemetery (east of the pyramid) contains the burials of members of the royal family; while, the GIS Cemetery (south of the pyramid) consists of the burials of officials. Through an analysis of the architectural expansion of each cemetery, patterns of similarity and difference are created in the decorative programs that show how the art is developing over time. The Eastern Cemetery can be divided into five phases of architectural expansion from Khufu{\textquoteright}s reign through the early Fifth Dynasty based on the archaeology, architecture, materials, graffiti, and inscriptions. The establishment of these phases can also be related to the family structure, which is revealed through the titles of the tomb owner and his family. The GIS Cemetery also developed over time from late Khufu/Menkaura into the Fifth Dynasty. The mastabas in this cemetery were originally "generic" with interior chambers and cult buildings added on later by the tomb owners. The patterns of similarity and difference in the decorative programs in the Eastern and GIS cemeteries are based on iconography, style, and techniques. A study of the iconography illustrates that there were standardized images; while, changes over time suggest developments in representation and ideology. A study of style and technique also shows that specific features persisted throughout the Fourth Dynasty. Yet, the appearance of new features indicates a change in style, a different group of artisans, or an individual artisan. Through the identification of these different styles, it is possible to trace the various groups of artisans and their influence on the development of art in the Eastern and GIS cemeteries during the Fourth Dynasty.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Flentye, Laurel} } @mastersthesis {9870, title = {The Decorative Fire of Susan S. Frackelton: China Painting, Art Pottery, and Book Illumination}, year = {2006}, school = {UC Santa Barbara}, abstract = {Susan Stuart Goodrich Frackelton (1848-1932) was an influential leader in American ceramic art in the late nineteenth and early twentieth centuries. She personified the emergence of the professional woman artist and entrepreneur. Her work spanned both the Aesthetic and the Arts and Crafts Movements. Although she was a regional artist, based in the emerging and largely immigrant city of Milwaukee, Wisconsin, she received many awards for her china painting and art pottery at national and international exhibitions. Her experiments in native clays, salt-glaze stoneware, and porcelain garnered her much acclaim for originality. That originality extended to her collaborations with George E. Ohr. Her ceramic oeuvre expressed an interest in nature as inspiration for art and the many debates between naturalism and conventionalism surrounding the depiction of design. Her sketches and watercolors reflect the art training she received from landscape painter Heinrich Vianden. As a successful businesswoman, author, inventor, teacher, and lecturer, she shaped a career that went beyond the decorating and making of ceramic objects. Her many accomplishments, including her manual, Tried by Fire: A Work on China-Painting, invention of a portable gas kiln for firing china, and the manufacture of mineral colors, directly supported the engagement of women in ceramic arts. With a goal to elevate American ceramic art, she co-founded the National League of Mineral Painters in 1892, which enabled thousands of amateur artists, most of whom were women, to have a visible profile on the exhibition scene. Her contributions to the art of book illumination, some of which were collaborations with her daughter and the Monastery Hill Bindery, and done for the Chicago Woman{\textquoteright}s Club as well as for private individuals such as Elizabeth A. Plankinton and Henry N. Torrey, crowned her achievements in the decorative arts. Frackelton{\textquoteright}s work and career provides a multi-faceted understanding of the social, educational, and artistic framework that supported the development of American ceramic art and decorative arts in general, and sheds light on the struggle of women to gain recognition as artists.}, keywords = {Art of the United States}, author = {Korenic, Lynette} } @mastersthesis {10004, title = {Defining Artistic Identity in the Florentine Renaissance: Vasari, Embedded Self-Portraits and the Patron{\textquoteright}s Role}, year = {2006}, school = {Pittsburgh}, abstract = {Readers of Vasari{\textquoteright}s Vite will be aware of the lively Renaissance tradition of the artist{\textquoteright}s embedded portrait within commissioned works. We are told of numerous embedded self-portraits, a notion that earlier authors including Alberti, Filippo Villani, and Ghiberti, corroborate. This dissertation argues that the Vite, our most extensive source on the subject, set up ideas and expectations that continue to pervade our understanding of their purposes and functions. A primary aim here is to move beyond Vasari{\textquoteright}s assumptions and examine self-images from the standpoint of their audience rather than their creators. Chapter One examines aspects of our current knowledge concerning Vasari{\textquoteright}s historical context and his motivations as an artist, courtier, and writer in order to understand how his views informed his interpretation of the genre. Chapter Two examines a manuscript self-portrait by Pietro da Pavia and a sculpted self-portrait of Andrea Orcagna. It investigates issues of artistic identity and authority and how these notions were displayed and commemorated to discern how self-portraits may have served the aims of the commissioner(s). The third and fourth chapters delve into the history of Quattrocento Florentine embedded self-portraits. First with Masaccio{\textquoteright}s self-portrait in the Brancacci Chapel, and then with self-images of Benozzo Gozzoli, Botticelli, Filippino Lippi and Domenico Ghirlandaio, these chapters examine aspects of the Renaissance culture of art commissioning to establish the patron{\textquoteright}s role with regard to embedded self-portraiture. Discussion here suggests ways in which a patron might have understood the artist{\textquoteright}s embedded self-portrait during the early Quattrocento. It further explores the notion that while professional, intellectual, and social-status driven concerns may have dominated the creation of embedded self-images, not all of these were the concerns of the artists. The final chapter investigates transitional images between the embedded and autonomous self-portrait traditions by examining two fictively autonomous self-images---one by Perugino in Perugia{\textquoteright}s Collegio del Cambio and the other by Pintoricchio in Santa Maria Maggiore, Spello. The case-studies presented here illuminate neglected aspects regarding Renaissance embedded self-images, and cast light on both sides of the transaction between artist and patron that resulted in the inclusion of the artist{\textquoteright}s embedded self-portrait in narrative paintings.}, keywords = {Renaissance/Baroque Art}, author = {Rejaie, Azar} } @mastersthesis {9883, title = {The Depictions of "Lohans{\textquoteright} Journey across the Water": The Complex Water-Crossing Symbolism and the Popular Culture in the Ming Dynasty (1368-1644)}, year = {2006}, school = {Kansas}, abstract = {Harmonizing the Three Teachings and religious hybridity reached their predominant complexity in Ming China (1368-1644). This dissertation examines the works of Lohans{\textquoteright} Journey across the Water in the Ming society to reveal the complex salvationist theme and the water-crossing symbolism in the art works{\textquoteright} larger religious culture context. The introduction describes the complex meaning of du or spiritual deliverance by crossing over the ocean of samsara, the world of rebirth and redeath. Though popular in arts, the theme of du has received only limited and unilateral understanding. This dissertation proposes that the works of Lohans{\textquoteright} watery journey provide excellent material to explore the plural religious meaning of the deliverance theme and the water-crossing symbolism. Chapter One analyzes the design and iconography of the extant Ming works of Lohans{\textquoteright} water crossing. Chapter Two identifies the genre that the works of Lohans{\textquoteright} water crossing belong to, first by examining an artistic precedent of deliverance genre, and then by culling through records of Lohans{\textquoteright} Journey across the Water in the Ming and pre-Ming dynasties. They exhibit different religious perspectives while revolving around a central deliverance theme. Focusing on the unique role of the Dragon King or water god in the works of this Lohans{\textquoteright} tradition, Chapter Three examining the King{\textquoteright}s relationship in a local Buddhist community and demonstrates the King as go-between, bonding Buddhist, indigenous, and hybrid religious teachings. Moreover, by assessing the King{\textquoteright}s significance in popular folklores, this chapter considers the King{\textquoteright}s versatile role, a lord, at times of one or all three realms, underwater, underworld, and otherworld, as another key to the multifaceted and fluid interpretation of the water-crossing theme. Chapter Four looks into the practice of iconographical borrowing and plural religious meaning and function with this Lohans{\textquoteright} tradition in Ming popular culture. Relevant are the imagery of the Unity of Three Teachings, the religious vehicles, the Ocean Mansion, the joint presence of water deities, the ritual expression of Qixi festival, and the inner alchemical landscape. These images reflect the common hopes for longevity, immortality and spiritual salvation.}, keywords = {Chinese Art}, author = {Chiu, Li-li} } @mastersthesis {9865, title = {Der Superman, Wie in der Welt Kam Er: Supermen and Modernism in Mid-Century America}, year = {2006}, school = {UCLA}, abstract = {My dissertation, "Wie er in die Welt kam: Supermen and Modernism in Mid-Century America," comprises a doubled investigation of canonical American modernism and superhero comics from 1938 to 1955. My project traces the formal, aesthetic, political and social correspondences between modern art and superhero comic books at their outset and during the immediate post-war period. While these two fields have been deemed opposite within the discourse of art history, they were shaped by similar social and political forces and served related cultural functions. My text analyzes the insistence on a {\textquoteright}great divide{\textquoteright} between high and low art in American culture, and discusses the aesthetic and conceptual correspondences between the two, including shared Jewish diasporic origins, similar mythological formations, a common commitment to the aesthetic model of medium specificity, and a similar interest in the question of national identity. The influence of modernism and the comics on constructions of American identity on individual, collective, national and international levels has developed from their concrete manifestation during the Cold War to the fluctuating articulation of nationalist formations under globalization in the present day. Stemming from a desire for imagined communities, the cultural constructions central to my project served to address individual angst and trauma, but also incorporated social and historical anxieties; they mapped individuals into and onto a cultural system. Taking its title from Paul Wegener{\textquoteright}s 1921 Expressionist film Der Golem: Wie er in die Welt kam, my project uses the golem, a specifically Jewish manifestation of the uncanny double, as its primary model of analysis. Historically dedicated to the rescue and repair of the culture that produced it, the golem motif has emerged, like wartime American modernism and superhero comics, at moments of political and social strife. But the golem and its related messianic and redemptive cultural manifestations can ultimately be seen as imaginary, and finally ineffective, solutions to trauma. Golems are projections of both physical power and powerlessness; they address the limits of creation, and perhaps also the limits of identity.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Pederson, Amy} } @mastersthesis {9890, title = {Ding Jing (1695-1765): Art, Hangzhou, and the Foundation of the Xiling Identity}, year = {2006}, school = {UC Santa Barbara}, abstract = {This dissertation undertakes an in-depth examination of the works of calligraphy, seal engraving, and paintings by a major cultural figure---Ding Jing and his associates and followers. More specifically, it scrutinizes the production and pattern of exchange of such artworks against the backdrop of the literati culture in Hangzhou, one of the major cities that dominated the cultural scene of mid-Qing China. Chapter One examines the cultural environment of eighteenth-century Hangzhou and the biography of Ding Jing, utilizing both textual accounts and such artworks as The Life Portrait of Ding Jing that elucidate how the practice of artwork exchange signified friendships and the boundaries of Ding Jing{\textquoteright}s circle. Chapter Two reveals how Ding Jing{\textquoteright}s circle constructed their collective identity as cultural elites through participation in the Nanping Poetry Society in Hangzhou. The mapping of cultural and social spaces within Ding Jing{\textquoteright}s circle provides a clear context for the interpretation of various forms of social and artistic discourses. Chapter Three is an investigation of the interaction between the intellectual trends of evidential scholarship (kaozhengxue) and metal-and-stone epigraphy (jinshixue ) on the one hand and the calligraphic practices of Ding Jing{\textquoteright}s circle on the other. It examines how Ding Jing{\textquoteright}s circle actively cultivated in their calligraphy a strong sense of archaism in terms of style, aesthetics and literary content, and such archaism alludes to their erudition, their evidential scholarship and epigraphical studies. Chapter Four analyzes the parameters of styles, aesthetics and theories of Ding Jing{\textquoteright}s seal engraving, and the way the styles and verbal content of his seals constructed unique social and cultural discourses. Chapter Five traces the development of Ding{\textquoteright}s seal-engraving lineage in Hangzhou throughout a period of three generations by a systematic study of the works of his seven followers. To conclude, the selected artworks by Ding Jing, his associates and followers are analyzed as refined products shaped by an extremely special collective social and cultural experience that eventually constituted a regional identity.}, keywords = {Chinese Art}, author = {Lau Chak, Kwong} } @mastersthesis {9928, title = {Documentary Photography and Communicative Action: The Realisms of Berenice Abbott}, year = {2006}, school = {Columbia}, abstract = {This dissertation tells a story of early twentieth century America and the institutionalization of modern photography; it is told within a story, that of Berenice Abbott{\textquoteright}s historical experience, with the goal of bringing to life the meaning and politics of Abbott{\textquoteright}s realist visions. Berenice Abbott (1898-1991), best remembered for her documentary photographs of New York in the thirties, believed that photography should provide the general public with realistic images of a changing world. Her insistence on a "straight" approach that minimizes individualistic expression, has led historians to position her primarily as a proponent of what is now considered a naive understanding of photography{\textquoteright}s ability to graphically inscribe an objective world. Challenging this interpretation, I examine Abbott{\textquoteright}s idea of realism through a model of communicative action, and consider how her commitment to a realist and communicatively oriented aesthetic-in which "reality effects" are employed not for their own sake but in order to engage arguments about social relations-led to her alienation from institutionalized photographic modernism. She was out of step with the system oriented goals of established (or emerging) institutions of official art. As I explore Abbott{\textquoteright}s realist choices, I also seek to repudiate a history of the avant-garde that positions realism as an a priori "conservative" artistic approach. The project{\textquoteright}s larger theoretical goal, then, is to show how the fetishization of certain forms of avant-garde aesthetics led to the depoliticization of modern art and art criticism in the latter half of the twentieth century. Though structured as a monograph, much of this dissertation relies on projects that Abbott planned, and in some instances began, but for a variety of reasons (i.e. patronage problems, institutional limitations, censorship) never completed. Consequently, this project might be thought of as a monograph in the negative: the reference, metaphorically, is to a photographic negative; theoretically, to negative dialectics. It contends that Abbott{\textquoteright}s frustrations reveal not only a compelling biographical story, but also much about the politics of photography and art production in the mid twentieth century.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Terri Weissman} } @mastersthesis {9866, title = {Domestic Violence: Familial and Political Conflict in the Work of Emanuel Leutze}, year = {2006}, school = {Yale}, abstract = {Since its founding, familial metaphors have been used by writers and artists to describe the American republic. The United States has been viewed as a family, with George Washington, Father of His Country, as its patriarch. During the antebellum period, authors of popular domestic handbooks and child rearing manuals described the family in political terms, discussing its "governance" and "constitution," and using Washington as an exemplar for America{\textquoteright}s children to emulate. This dissertation examines the interplay of visual tropes of family and nation at a time when the debate over child rearing methods (corporal punishment versus moral suasion) was seen as an issue of national importance and "domestic violence" denoted both political and familial conflict. By examining the work of Emanuel Leutze, Horatio Greenough, Hiram Powers, and Lilly Martin Spencer, among others, this dissertation explores the interaction of these metaphors in history painting and monumental sculpture, and how domesticity provided a paradigm through which to express important issues of the day, such as slavery, Manifest Destiny and Indian removal, the Mexican-American War, and the sectional conflict that gave way to the Civil War.}, keywords = {Art of the United States}, author = {Boettcher, Graham} } @mastersthesis {9995, title = {Donne Attempate: Women of a Certain Age in Sixteenth-Century Venetian Art}, year = {2006}, school = {Princeton}, abstract = {This dissertation looks at representations of old women, donne attempate, in sixteenth century Venetian art. The first chapter places old women in Venetian society and introduces a concept called the iconography of age. Its fundamental tenet is that in a gerontocracy like Venice, where men of advanced age wielded the most power, the image of an old man had strong positive connotations. However, old age might also be a time of hardship, and when a Venetian artist wanted to remind his viewer of its dual nature, he turned to representations of old women. This idea is further developed in Chapter Two, which explores just how age-sensitive a society Venice was. The balance of the dissertation consists of case studies of a variety of images of old women. The first study shows how mirrors measured age, and then considers the implications of growing old for a woman at the apex of her beauty. The next chapter turns to Agnesina Badoer Giustinian, a wealthy noble woman who is portrayed in one of the first known portrait busts in the Venetian milieu. The unflinching realism of her portrait, made at the end of her life, suggests that age combined with wealth brought her the same kind of incremental power that it did to men. We move next to the world of servants, where loyalty was often rewarded and commemorated by their being made a part of their master{\textquoteright}s families, including incorporation in family portraits. Other old servant women provide paradigms for both the benefits of the wisdom of age and the shortcomings of its narrow-mindedness. The next study takes us into the Ospedale dei Crociferi, a painted world filled with the elderly, where old women in the care of old men established a symbiotic relationship of generosity and gratitude. Giorgione{\textquoteright}s haunting old woman, La Vecchia, who has long perplexed scholars and laymen alike is the subject of the final study, which suggests that the scroll bearing the words Col Tempo is a later addition, because for a sixteenth century viewer it would have been redundant: the old woman{\textquoteright}s face would have conveyed the same message to a sixteenth century viewer. Like all of the donne attempate, she reflects the passage of human time, that most ephemeral event, which fascinated Venetian artists, and which they found a way to make visible in its many dimensions in the faces studied here.}, keywords = {Renaissance/Baroque Art}, author = {Frank, Mary Engel} } @mastersthesis {9957, title = {An Eclectic Lotus Artis: The Casa di Octavius Quartio at Pompeii}, year = {2006}, school = {Boston}, abstract = {This dissertation re-examines the Casa di Octavius Quartio in terms of its decoration, its ownership, and its place not only in Pompeii, but also in the wider sphere of Roman domestic architecture. The dissertation seeks to accomplish four main goals: to describe more fully the sculpture and surviving fresco decoration from the house; to delineate the decorative function of the painting and sculpture; to attempt a reconstruction of the meaning of this house{\textquoteright}s art collection; and to correct some of the errors made by previous scholars. The dissertation details the decoration of the Casa di Octavius Quartio, comprised of seven frescoed rooms and more than twenty statuettes in marble and glazed terracotta. The significance of this decoration lies in its status as a compendium of the major subjects present in most decorative schemes of the homes of well-to-do Romans of the early Empire in Italy. The frescoes and sculpture represent the catholic taste of Roman elite patrons and demonstrate the artistic syncretism that combined Egyptian and Greek prototypes. References to exotic lands, Greek epic, Latin literature, the theater, Isiac religion, hunting, and the Dionysiac thiasos are among the allusions in this house{\textquoteright}s painting and sculpture. The wide variety of themes is significant for it underscores the inherent eclecticism in all of Roman art and demonstrates the desire of Roman patrons to decorate their homes with diverse subjects. Through comparative analysis of archaeological remains and literary sources, this dissertation reveals that making a multiplicity of references in domestic decorative ensembles was preferred by Pompeian homeowners. The Casa di Octavius Quartio can serve as a primer for the catholic iconographical tastes of the time. This dissertation includes an appendix detailing all the finds from the Casa di Octavius Quartio---information that has not been published before. More than 140 photographs, plans, and diagrams illustrate the dissertation; more than half the photographs are new ones taken by the author.}, keywords = {Greek/Roman Art}, author = {Tronchin, Francesca} } @mastersthesis {10023, title = {Elaine de Kooning: Negotiating the Masculinity of Abstract Expressionism}, year = {2006}, school = {Kansas}, abstract = {In this dissertation I argue that Elaine de Kooning{\textquoteright}s (1918-1989) oeuvre is best understood by examining her work in terms of the ideas about gender in art and culture that were prevalent in her lifetime. Women had become more financially and socially independent in the 1930s and early 1940s, due to the New Deal and World War II. After the war, however, a conservative backlash urged women to return to their traditional gender roles. Yet brewing in this conservative atmosphere was a distinctly different cultural movement. The Beat Poets rejected mainstream values, as did the artists known today as the abstract expressionists. These artists, including Elaine (Fried) de Kooning, converged in Manhattan in the late 1930s. By the 1940s, she had married Willem de Kooning and become firmly entrenched in the downtown art scene. Elaine de Kooning, when questioned directly, would always deny the possibility that her gender had any effect on her life as an artist. In this dissertation, I suggest otherwise. Gender, in fact, does inform her work and our understanding of her work. Hence, de Kooning{\textquoteright}s work is approached thematically, with the exception of Chapter One. The first chapter serves as a brief biography, outlining Elaine de Kooning{\textquoteright}s life and career. Chapter Two examines her abstractions in terms of the abstract vs. representational debate so important to de Kooning and her contemporaries. The chapter examines both the New York art world and larger cultural notions of gender in post-war America and examines how these inform de Kooning{\textquoteright}s abstract work. Chapter Three examines three groups of portraits: those of John F. Kennedy (1962-63), Willem de Kooning (the 1950s), and Caryl Chessman (early 1960s). Caryl Chessman and President Kennedy are the only subjects that reflected her political involvement. Those of Willem de Kooning demonstrate her working process, in which the image of the sitter is stripped down to its essential elements. Chapter Four examines the subjects of masculinity: athletes, bullfights, and Bacchus. This chapter explores how her choice of subject matter reflects her role in the male-dominated milieus of the nation, the art world, and the abstract expressionists.}, keywords = {Twentieth-Century Art}, author = {Chancey, Jill} } @mastersthesis {9970, title = {Empowering Spaces: Candomble Art in Sacred and Secular Contexts in Salvador da Bahia, Brazil}, year = {2006}, school = {Indiana}, abstract = {This dissertation focuses on the material culture associated with the African-Brazilian religion Candomble, both within the sacred spaces used for religious practice and in the secularized realm of public art. Through an exploration of art works, this research examines the ways in which people of differing world-views and backgrounds create meaning about the world around them. After providing an overview of the materials and objects used in religious practice, the significance of beads is explored in a case study. Of particular importance is the process of empowerment, by which inert materials are transformed into things that have the power to act, and are thereby accorded special treatment. Emerging as a religion among enslaved people, Candomble was oppressed by the dominant class until the last century. Although it is now legal to practice Candomble, the religion remains marginalized in many sectors of society. At the same time, the symbols of Candomble are frequently extracted from the sacred context and appropriated for use in public art projects, under the sponsorship of private corporations and governmental organizations. A fundamental transformation in aesthetics, function, and meaning occurs when representations and symbols of the Candomble orixas (deities) are taken out of their sacred context, adopted for public art projects, and interpreted for consumption by a wide audience in a secular space. This process requires a shift in aesthetic principles and allows for the incorporation of Candomble imagery into newly constructed forms of regional and national identity. Based on field research in Salvador da Bahia, Brazil, this dissertation examines the creation and use of sacred objects in the context of various Candomble terreiros, as well as a major government and corporate sponsored sculptural cycle depicting secularized Candomble images. This work includes an analysis of the process of the construction of folklore as Candomble symbols are moved from a sanctified context to the public realm. Special focus is placed on the ways in which people read these works, sacred and secular, empowered and inert, religious and folkloric.}, keywords = {Latin American/Caribbean Art}, author = {Shirey, Heather} } @mastersthesis {9877, title = {Envisioning Female Adolescence: Rites of Passage in Late Nineteenth- and Early Twentieth-Century American Painting}, year = {2006}, school = {Pennsylvania}, abstract = {The modern concept of adolescence as a distinct and pivotal stage of life developed in the United States and Europe between 1880 and 1910. During this same period, young female figures were a dominant subject in American art. This dissertation explores how American artists characterized female adolescence between 1880 and 1910, providing insight into how this newly important life stage was perceived and portrayed in the years in which it coalesced into its modern form and illuminating visual culture{\textquoteright}s contribution to that process. I combine formal and iconographical analysis with cultural contextualization, drawing on nineteenth-century medical and psychological tracts, prescriptive literature, fiction, diaries, and memoirs. Recent scholarship on nineteenth-century girls{\textquoteright} culture and family life, as well as theoretical models of human development from psychiatry, anthropology, costume theory, and women{\textquoteright}s studies further inform my visual analyses. In my first chapter, I explore conflicting visual representations of female adolescence as a period of iconic grace or troubling upheaval in the context of developing views about childhood and adolescence. My second chapter examines how artists represented, or conversely sought to suppress, the adolescent{\textquoteright}s blossoming sexuality during a period when the purity of teenage girls was a topic of significant concern and social agitation. In my third chapter, I focus on visual representations of formal rites of passage that fostered girls{\textquoteright} transition to maturity, concluding that many of these images symbolized the psychic costs and practical difficulties of learning to be a woman. My final chapter analyzes turn-of-the-century portraits of mothers and their adolescent daughters in light of shifting ideals of the pair{\textquoteright}s relationship. This dissertation concludes that visual imagery conveyed messages, sometimes quite pointedly, about how adolescent girls should look, behave, and feel. Numerous social and artistic factors influenced the content of these messages, resulting in competing claims about the nature of female adolescence---sometimes within a single work. Paintings and other visual representations created between 1880 and 1910 reveal the modern vision of female adolescence coming into focus as well as the tensions that result when preexisting cultural ideals collide with new realities.}, keywords = {Art of the United States}, author = {Sinnett, Gretchen} } @mastersthesis {9891, title = {Ephemeral Households, Splintered City: Mapping Leisure in the Sojourners{\textquoteright} Shanghai, 1870-1900}, year = {2006}, school = {Binghamton}, abstract = {This dissertation critiques the assumption that Chinese modernity was merely or mainly an import from the West. Modernity as such often consisted of superficial, progressive images imposed on a social framework that had shown remarkable resilience and historical continuity. This framework, exemplified by the neo-Confucian continuum of various social structures and spaces that unified the public and private spaces, the sacred and secular realms, and the rural and urban areas, was disrupted by the artificial order of modern cosmopolitan culture, which was emerging in late nineteenth-century Shanghai. Based on this theoretical model outlined in the introductory chapter, the next four chapters seek to reinterpret the meanings of modernity by portraying and analyzing an imaginary social landscape in late nineteenth-century Shanghai as it was represented in the contemporary urban literature including periodicals, travel notes, guidebooks and fiction. Chapter 2 first discusses the historical tradition from which this literature was developed and its transformation in the foreign settlements after Western-style publishing mechanisms were introduced. The courtesan house became the sojourners{\textquoteright} surrogate "home," one which inherited and parodied the communal function of the traditional household lost to the sojourners. In Chapter 3, the dynamics of this "home" are understood primarily through a reading of Han Bangqing{\textquoteright}s novel Flowers of Shanghai (1894), and secondarily through nineteenth-century guidebooks and travel notes. The rise of the courtesan house signified a changing notion of "home," as both a physical and social space, in metropolitan culture. Chapter 4 discusses the architectural and urban setting of this new "home." Chapter 5 continues to explore similar spatial features on a larger scale by examining the dialectics of the artificial and the natural, the foreign and the indigenous, the public and the private as they were played out in the poetic and journalistic representations of the sojourners{\textquoteright} experiences in public spaces such as the city{\textquoteright}s broad avenues, teahouses, shops, theaters and public gardens. In sum, through a critical and intertextual reading of late ninetieth-century periodicals, travel notes, guidebooks, and fiction, this dissertation analyzes the sojourners{\textquoteright} experiences in private and public space, diagnoses a modern development that was at once a reinvention of the lost ideals and an adjustment to the new industrial culture, and charts a new configuration of time, space and materiality that constitutes a modernity that stands in contrast to the positivist conception of the modern marked by linear progress}, keywords = {Chinese Art}, author = {Liang, Samuel Y.} } @mastersthesis {9914, title = {Eva Hesse: From Woman as Machine to Mechanical Reproduction}, year = {2006}, school = {Stony Brook}, abstract = {This dissertation establishes a social historical context for minimalist and "anti-form" art that reflects the pervasive (though largely unexamined) "pre-feminist" gender politics of the 1960s art world. I examine how Eva Hesse, as the preeminent female sculptor of this period, participated in the art world{\textquoteright}s symbolically masculine discourses of industry and technology. The title of my project reflects Hesse{\textquoteright}s command of divergent formal and conceptual attitudes that generated contradictory, even irreconcilable, accounts of the artist. She employed craft techniques, factory production, and used polymers for hand-formed sculptures. I argue that her use of these symbolically dissonant practices was a self-conscious artistic strategy to create objects that could sustain diverse interpretations: while Hesse had a "fascination with chemistry and advanced materials" (Lucy Lippard, 1968), she also was concerned with "creating personal forms" that required her to "only use materials that she can make herself{\textquoteright} (Marcia Tucker, 1969). Hesse elicited these contrasting associations by employing advanced materials alongside domestic routine, as in latex serial pieces made in the kitchen, set to dry "in a muffin tin in the oven." In prelude to considering Hesse{\textquoteright}s involvement with minimalism and anti-form, I excavate her "pre-sculptural" career, focusing on her artistic exchange with her husband, the sculptor Tom Doyle. I consider Hesse{\textquoteright}s assimilation and rejection of Abstract Expressionist precedents throughout her early career, and her appropriation of Doyle{\textquoteright}s sculptural forms for her first three-dimensional series known as the "German reliefs." Starting in 1966, her sculptural production unfolded in dialogue with themes of artistic labor prevalent during the second half of the1960s. Both the conceptual approach of Sol LeWitt, for whom "the idea is the machine that makes the art," and working class "sweat labor," as Richard Serra referred to his process, convey modes of masculine identity. I explore narratives of gender and labor embedded in artistic strategies curatorial concepts, and critical response, focusing on Hesse{\textquoteright}s dialogic engagement with the art of LeWitt and Serra.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Swenson, Kirsten} } @mastersthesis {10024, title = {Every Picture Should Be a Prayer: A Critical Study of Ivan Albright}, year = {2006}, school = {Wisconsin}, abstract = {In this study I argue that the American artist Ivan Albright (1897-1983) was a modern artist who chose a realist path to examine content and phenomena that others explored through formal abstraction. Albright consistently explored philosophical ideas and formal experiments through the human body. He provoked his audience{\textquoteright}s emotional and intellectual responses by meticulously restructuring space, magnifying textures, and expanding forms in pictures that show clearly defined, recognizable objects. These methods aimed to make viewers more aware of bodily experience by subverting traditional western canons of perspective and beauty. Viewers expect a realist experience, but upon scrutiny find an uncanny and disconcerting world. Albright{\textquoteright}s philosophy and practice was shaped by the new cultural attitudes, approaches to representation, and historical events that he witnessed during the first half of the twentieth century. After serving in World War I as a medical orderly, he embraced a wide range of spiritual beliefs that included spiritualism, transcendentalism, and theosophy. He combined perceptual research, his experience of wounded bodies, and spiritual ideas in his depiction of figures and objects to probe the limits of reality and suggest the intangible. Albright{\textquoteright}s spiritual and corporeal concerns reveal how realism could be transformed into a radical formal and philosophical practice. My study shows that modernism was a more inclusive and varied project than critics and historians claimed during the 1950s and 1960s.}, keywords = {Twentieth-Century Art}, author = {Cozzolino, Robert} } @mastersthesis {9992, title = {Evolution and Ambition in the Career of Jan Lievens (1607-1674)}, year = {2006}, school = {Maryland}, abstract = {The Dutch artist Jan Lievens (1607-1674) was viewed by his contemporaries as one of the most important artists of his age. Ambitious and self-confident, Lievens assimilated leading trends from Haarlem, Utrecht and Antwerp into a bold and monumental style that he refined during the late 1620s through close artistic interaction with Rembrandt van Rijn in Leiden, climaxing in a competition for a court commission. Lievens{\textquoteright}s early Job on the Dung Heap and Raising of Lazarus demonstrate his careful adaptation of style and iconography to both theological and political conditions of his time. This much-discussed phase of Lievens{\textquoteright}s life came to an end in 1631 when Rembrandt left Leiden. Around 1631-1632 Lievens was transformed by his encounter with Anthony van Dyck, and his ambition to be a court artist led him to follow Van Dyck to London in the spring of 1632. His output of independent works in London was modest and entirely connected to Van Dyck and the English court, thus Lievens almost certainly worked in Van Dyck{\textquoteright}s studio. In 1635, Lievens moved to Antwerp and returned to history painting, executing commissions for the Jesuits, and he also broadened his artistic vocabulary by mastering woodcut prints and landscape paintings. After a short and successful stay in Leiden in 1639, Lievens moved to Amsterdam permanently in 1644, and from 1648 until the end of his career was engaged in a string of important and prestigious civic and princely commissions in which he continued to demonstrate his aptitude for adapting to and assimilating the most current style of his day to his own somber monumentality. Lievens{\textquoteright}s roving and acquisitive character expressed itself in his dynamic Flemish-style landscape drawings after 1660. These much-vaunted works have drawn attention away from how Lievens systematically fulfilled his ambitions as a history painter. This dissertation seeks to address the imbalanced view of Lievens{\textquoteright}s later career by examining his character and ambitions and success in light of the language his early patrons and biographers used to discuss his talent and self-confidence.}, keywords = {Renaissance/Baroque Art}, author = {Dewitt, Lloyd} } @mastersthesis {9850, title = {Explaining Early Mughal Painting: The Anvar-i-Suhayli Manuscripts}, year = {2006}, school = {IFA/NYU}, abstract = {"Explaining Early Mughal Painting" offers a new historical approach and artistic interpretation of Mughal painting, often celebrated as the culmination of court patronage. My thesis reexamines the broader narrative of Mughal painting between 1570 and 1611 by exploring a group of illustrated manuscripts, known as the Anvar-i Suhayli. The manuscripts in question belong to the genre of animal fables, a genre that has been known as one of the most powerful allegorical tools in the Islamic world. By exploring the complex relationship between text and image and pursuing a comparative study of illustrated manuscripts created by royal ateliers, I refute the idea that illustrated manuscripts of the same text in Mughal India were connected to a single pictorial tradition and were therefore related to one another. My thesis demonstrates that, Mughal illustrated manuscripts belonged to clusters of manuscripts produced at the same locale and time. Identifying these manuscript clusters allows me to reconstruct the broader narrative of Mughal painting, one that accords more significance to the impact of regional tastes, rather than the disproportionate weight that previously has been accorded to Imperial preference. By situating the Anvar-i Suhayli manuscripts in their artistic, cultural, and historical contexts I propose a redefinition of Mughal painting, one that embodies more fully its depth and diverse audiences. My thesis begins with a theoretical and methodological discussion as well as a textual analysis of the manuscripts. I then focus on the physical aspects of each of the Anvar-i Suhayli copies. This portion is followed by a comparative study of the illustrations with other contemporary paintings in order to establish the position of a given manuscript in the hierarchic world of Mughal painting, explore their place of production, and evaluate the scale of patronage involved in their creation. This methodology can be applied to manuscripts beyond the scope of my thesis, where relations to a pictorial model cannot be established, as well as in cases where illustrations of the same text differ from one manuscript to another.}, keywords = {Art of the Middle East/North Africa}, author = {Natif, Mika} } @mastersthesis {10033, title = {Expressing Cubism: Ernst Ludwig Kirchner{\textquoteright}s {\textquoteright}Berlin Style{\textquoteright} and Its Affinities with the Painting of Bohumil Kubista}, year = {2006}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {Twentieth-Century Art}, author = {Moseman, Eleanor Frances} } @mastersthesis {9979, title = {Fashioning the Decorative Body in Late Nineteenth-Century English and French Painting: Artifice, Color and Style}, year = {2006}, school = {IFA/NYU}, abstract = {This dissertation examines the significance of costume as it intersects with decorative art in English and French painting in the later nineteenth and early twentieth centuries. It demonstrates the malleability of the decorative concept during this period and the way in which artists seized the nebulousness of this {\textquoteright}movement{\textquoteright} to accomplish different aesthetic goals. The first part of my project, Morris, Rossetti, Burden and the Nabis: The Decorative {\textquoteright}Force{\textquoteright} of Artistic Dress, focuses on "artistic dress" as articulated by the Aesthetic Movement. Despite the English insistence that their version of female costume was based upon the idea of a {\textquoteright}naturalized{\textquoteright} body, "artistic dress" was embedded within the trap of artifice. Their construction of the {\textquoteright}natural{\textquoteright} body was based upon horticultural science, especially the domestication of exotic flora through acclimatization. This aesthetic ideal of costume is then examined as a precedent for the loose costumes depicted in Nabi pictures and within this same context of acclimatisation. Here the trellis and greenhouse operate as potent symbols of fin-de-siecle French femininity. Part two, Bodies of Color: Costume in the Painting of Gauguin and Van Gogh, examines the role that missionaries played in Gauguin{\textquoteright}s juxtaposition of the Polynesian pareu and the English missionary dress. Gauguin{\textquoteright}s emphasis on color and decorative patterns reflects the native Polynesian penchant for decoration prohibited by the English through their missionary efforts to convert Tahitians to Christian propriety. Gauguin resurrected this Polynesian aesthetic to {\textquoteright}preserve the native culture.{\textquoteright} The next chapter examines Van Gogh{\textquoteright}s preoccupation with various forms of energy that he translated through the careful juxtaposition of colors. He produced {\textquoteright}electric{\textquoteright} effects that maximized color{\textquoteright}s decorative possibilities referred to as {\textquoteright}brilliant coats of color.{\textquoteright} Finally, Style and Paint in the Early Twentieth Century, examines the {\textquoteright}accessory{\textquoteright} as represented in Matisse{\textquoteright}s Woman in Hat in relation to a group of Picasso{\textquoteright}s paintings of the 1930s. These chapters focus on the phenomenon of an ever-changing artistic style within the context of fashion{\textquoteright}s reliance upon its own obsolescence: fashion is predicated on the recycling of its own history. Picasso{\textquoteright}s representations of hats during this period also echoes Matisse{\textquoteright}s masterpiece, Woman in Hat.}, keywords = {Nineteenth-Century Art}, author = {Srivastava, Seema} } @mastersthesis {9982, title = {The Female Body in Conflict: U.S. and European Feminist Performance Art, 1963-79, Carolee Schneemann, Valie Export, and Ulrike Rosenbach}, year = {2006}, school = {CUNY}, abstract = {This dissertation examines the work of Carolee Schneemann, Valie Export, and Ulrike Rosenbach as case studies in a cross-cultural examination of feminist performance art of the late 1960s and 1970s. It explores the second wave women{\textquoteright}s movements in the United States, Austria, and Germany to contextualize the development of each artist{\textquoteright}s work. To facilitate such an examination, selected works are analyzed in four thematic areas: personal experiences, beauty and the (nude) female body, female sexuality, and myth and ritual. These topics emerged as dominant concerns in feminist performance art in the late 1960s and 1970s. The aim of this study, then, is to understand the development of these topics in early feminist performance art, to undertake the first international study on feminist performance art, and to provide detailed analyses of selected work by three significant practitioners in this medium. Each of these artists chose the medium of performance art in which to use their own bodies to challenge patriarchal definitions of women in their respective societies. Schneemann, Export, and Rosenbach developed new visual territory in which women could address their lives, question their identities, and look to the female body for inspiration. The artists presented images of women that conflicted with social norms for women{\textquoteright}s bodies and with accepted standards of female behavior. The female body was, and continues to be, contested ground and these artists challenged traditional social, cultural, and historical assumptions about women through their work. Due to the conflicts surrounding the use of the female body in cultural production, much of the work by Schneemann, Export, and Rosenbach has been insufficiently analyzed. In the dominant discourses of post-World War Two art, this important body of work has been neglected. Moreover, essentialist labeling has minimized the scholarly attention received by feminist performance art of the 1960s and 1970s. Therefore, it is the aim of this dissertation, through the chosen examples of work by Schneemann, Export, and Rosenbach to increase the knowledge of their work, of feminist performance art, of significant themes in feminist performance, and of feminism in the United States, Austria, and Germany.}, keywords = {Outsider/Folk Art, Twentieth-Century Art}, author = {Wentrack, Kathleen} } @mastersthesis {9952, title = {Foundation Rituals and the Culture of Building in Ancient Greece}, year = {2006}, school = {UNC Chapel Hill}, abstract = {This dissertation examines the evidence for foundation rituals in post-Bronze Age Greece while investigating their function and meaning in ancient Greek culture. Foundation rituals are prescribed rites known throughout the ancient Mediterranean that marked the initiation of a buildings{\textquoteright} construction, usually with a combination of prayer, sacrifice, and the burial of foundation deposits containing offerings of various types and/or sacrificial material. These distinctive deposits were ritually interred during the beginning stages of construction, usually within the fabric of the structure itself. The discovery of foundation deposits in association with cult architecture from all over the ancient Greek world and from every historical period attests that foundation rituals were regular features of sacred building. This dissertation presents all published foundation deposits in their archaeological contexts and identifies patterns in placement, method of deposition, type of material deposited, and geographic distribution. Reconstructed from the archaeological evidence, ancient Greek foundation rituals are related to the broader history of foundation rituals in the ancient Mediterranean, especially to the traditions of Egypt and Mesopotamia. Of particular importance are the formal similarities Greek foundation deposits share with those of Near Eastern cultures, an affinity which appears especially intense in East Greece and other areas where contact with the Near East was strongest. This dissertation argues that Greek foundation rituals are Near Eastern in origin and were likely developed through contact with these cultures, further illustrating the impact of eastern traditions on Greek sacred architecture. The archaeological and historical context of Greek foundation deposits provides a foundation for the investigation of the meaning and function of foundation rituals in ancient Greek culture. One of the principal functions of Mediterranean foundation rituals was to forge the public perception of a socially advantageous link between patrons of buildings and the gods they honor. This dissertation maintains that Greek foundation rituals similarly underscored a close relationship between human patrons and divinities through the topos of building, in which the sanction and assistance of the gods were perceived to play major roles. This view is substantiated by the portrayal of building and builders in Greek myth, where the procurement and elaboration of sacred space frequently result from divine guidance or miracle, and not human industry. This study argues that foundation rituals describe a "culture of building" in ancient Greece, that is, they reveal ancient perceptions about building and builders by reflecting the cultic responses these perceptions elicited. In investigating these important rites, this dissertation offers new insight into the process of constructing sacred architecture and the role it played in Greek society.}, keywords = {Greek/Roman Art}, author = {Hunt, Gloria R.} } @mastersthesis {9966, title = {Franciscan Art and Architecture in Colonial Brazil (1650-1800)}, year = {2006}, school = {IFA/NYU}, abstract = {During the second half of the seventeenth century, a political and theological debate polarized the friars of the Franciscan province of Saint Anthony of Brazil into two contending parties. This dissertation explores the ways in which the art and architecture commissioned by each was used as an instrument in the quarrel. Furthermore, it shows that some aspects of the dispute can only be understood today through the analysis of the artistic patronage of the factions. In the eighteenth-century, following the triumph of one party over the other, a series of construction and decorative campaigns sought to homogenize the artistic and architectural programs in all thirteen convents of the province, according to the model of the victorious faction. In order to develop the argument, this dissertation explores questions of transmission and adaptation of artistic vocabularies in a cross-cultural context. It identifies a Franciscan architectural model simultaneously developed in Portugal and Brazil, and another one independently created in the colony. Finally, it discusses the relevance of the term "baroque" for the analysis of the art and architecture under discussion.}, keywords = {Latin American/Caribbean Art, Renaissance/Baroque Art}, author = {Senos, Nuno} } @mastersthesis {10003, title = {Fray Juan Andres Rizi and the Commissions at San Millan de la Cogolla and the Cathedral of Burgos}, year = {2006}, school = {IFA/NYU}, abstract = {Fray Juan Ricci (1600-1681), a Benedictine, artist and scholar, is unjustly omitted from general studies of early modern European culture despite the fact that his career offers valuable insight into seventeenth-century art and religious practice. This interdisciplinary analysis of Ricci{\textquoteright}s career will introduce his extraordinary achievement to a wider audience, tracing the range of his devotional subjects and his treatises on the arts and natural sciences. It will also survey a neglected period in Benedictine history and provide a reevaluation of Hispanic art theory and scientific inquiry, topics rarely considered apart from their Italian sources and within the context of monastic culture. The literature concerning Ricci frequently limits the discussion of his work and influence to the examination of his most famous treatise, La pintura sabia (Fundacion Lazaro-Galdiano, inv. 15649). Ismael Gutierrez Pastor is one of the few scholars to focus upon Ricci{\textquoteright}s artistic production. However, Gutierrez Pastor{\textquoteright}s research uniformly positions Ricci{\textquoteright}s painting within the perceived stylistic developments of seventeenth-century Spanish art. This dissertation expands the discourse of Ricci{\textquoteright}s career, combining a revised biography with case studies of two of his most extensive commissions, those at the monastery of San Millan de la Cogolla (La Rioja) and the cathedral of Burgos, both of which remain in situ. These commissions are interpreted in light of the devotional and pedagogical ideals of the artist and the political concerns of his patrons. My investigation employs Michel de Certeau{\textquoteright}s location of the individual at the nexus of a plurality of relations, and explores the relations implicating Ricci and his work. I argue that these commissions may be viewed as sites of the intersection of private devotion and civic experience, offering an historical interpretation of the artist{\textquoteright}s production with attention to varied aspects of seventeenth-century religious experience, secular and monastic, communal and private.}, keywords = {Renaissance/Baroque Art}, author = {Prokop, Ellen} } @mastersthesis {9849, title = {From a Word of God to Archaeological Monuments: A Historical-Archaeological Study of the Umayyad Ribats of Palestine}, year = {2006}, school = {Princeton}, abstract = {The subject of {\textquoteright}ribats{\textquoteright} in the field of Early Islamic Archaeology has long been connected to North Africa (modern-day Tunisia), partially because of the archaeological remains of the two {\textquoteright}Abbasid ribats ("coastal fortresses") at Munastir and Susa. Recently, however, two fortresses on the Mediterranean coast of Palestine were excavated and dated back to the Umayyad period (41-132 A.H./661-750 A.D.); the first one is at Azdud (Ashdod-Yam), and the second fortress is that of Kafr Lab/Lam/ha-Bonim. The archaeologists working at these sites were faced with two fundamental questions: "what was the function of these fortresses" and "what term should we use to identify them?" This dissertation was born out of the desire to answer these questions. Divided into an introduction, three chapters and conclusion, the dissertation studies the Umayyad coastal ribats of Palestine. It juxtaposes archaeological remains with primary sources in order to further our understanding of the phenomenon of the ribat in general and of the Palestinian ribat{\textquoteright}s in particular. The Introduction provides an overview of the scholarly studies on the subject to date, and outlines the aims of the dissertation. In Chapter I, the physical remains of six sites along the Palestinian coast, including the ones mentioned above, are examined. Primary Arabic geographical sources mentioning these specific sites are cited. Towards the end of the chapter, I revert to the issue of identifying these edifices, I put forth the suggestion of naming them ribat{\textquoteright}s and raise the question of what the term ribat{\textquoteright} means. I answer this question in Chapter II through the study of the history, development and definition of the term ribat{\textquoteright} within the Arabic primary sources (starting with the Qur{\textquoteright}anic text and ending with the late Arabic dictionaries of the 12th A.H./18th A.D.). Chapter III focuses on the historical circumstances that led to the rise of the ribats and on the reasons why the Muslims developed these fortresses. In the Conclusion, the dissertation challenges the long-standing connection between ribats and North Africa, and shows that both literary information and archaeological evidence make it clear that Palestine was the actual birthplace of the ribat defense system}, keywords = {Art of the Middle East/North Africa}, author = {Masarwa, Yumna} } @mastersthesis {9955, title = {From Hieron and Oikos: The Religious and Secular Use of Hellenistic and Greek Imperial Bronze Statuettes}, year = {2006}, school = {Indiana}, abstract = {In contrast to abundant scholarly literature dedicated to the study of Archaic and Classical Greek bronze statuettes, there has been relatively little interest in the bronze figurines found in Greece from the Hellenistic and Imperial periods. In this study, recent archaeological examples of Hellenistic and Greek Imperial bronze statuettes are examined in combination with notable finds from the late 19th and early 20th centuries to further understand unresolved questions regarding their function, manufacture and appearance. This dissertation focuses on the bronze statuettes found in domestic and religious contexts dating from the fourth century BC to approximately the third century AC. During this period, it is possible to trace the changing purpose and setting of bronze statuettes from a purely religious, i.e. votive, function to their subsequent utilization for domestic religious and decorative needs. With this change there is a corresponding shift in the iconography and general appearance of bronze statuettes to better suit the needs of Hellenistic and Imperial Greek patrons. Not surprisingly, deities that offered personal comfort and salvation were especially popular as were figures from the realms of Aphrodite and Dionysos, two gods whose spheres of influence naturally touched upon domestic activities. During Roman rule, the inhabitants of Greece may have adopted some aspects of Roman domestic religious practices, yet clear indicators of Roman domestic religion, e.g. genius and lares, are surprising rare among the bronze figurines of the period. Apparently, Greek religious traditions remained strong. During the same period, there was a marked decrease in their traditional use as votives at public sanctuaries and shrines. Overall it has been noted that there was a decline in activity at many sanctuaries during the Late Hellenistic and Greek Imperial periods, but this may not be the only reason why so few post-Classical bronzes have been found at public religious sites. The bronze-making industry in Greece was certainly still very active, producing works to suit new demands both domestic and abroad. It is probable that the production of bronze statuettes was directed towards this burgeoning market.}, keywords = {Greek/Roman Art}, author = {Sharpe, Heather} } @mastersthesis {9915, title = {From Material to Meaning: A Multidisciplinary Exploration of Creative Practice and Hermeneutic Theories}, year = {2006}, school = {New Mexico}, abstract = {This multidisciplinary dissertation draws on philosophy, art history and my own creative practice as an artist to explore the question of how we make meaning. I argue that making and interpreting are two sides of the same basic process. My thesis exploits the parallels between how representations are constructed and how a work{\textquoteright}s formal properties operate within a signifying context as a common ground of experience as well as knowledge. Consequently, I decided to use the creative process as the primary model for understanding how material objects become meaningful. Because I am a visual artist, I have chosen to use works of art as the paradigm for how we represent knowledge or experience. This approach allowed me to ground my arguments in my own creative practice as a visual artist and critical thinker. My method of inquiry combines hands-on exercises with various theoretical discourses including formal analysis, historical analysis, phenomenological analysis, critical analysis, stylistic analysis, and semiotic analysis. I examine each of these hermeneutic strategies in order to determine what they have to offer the interpreter. In the process of my investigation, I developed a conceptual model based on the hermeneutic circle, which I call the Hermeneutic Field. This model is constructed from the two essential relationships that govern the process of making meaning: the relationship between subject and object and the relationship between knowledge and experience. I use this model to develop a new approach, engagement theory, which I apply to the concept of style as well as to understand how to bridge the differences between individual experiences and knowledge of historical or cultural contexts. The relationship between knowledge and experience is particularly important because both creation and interpretation take place within the life experience of a particular individual. My use of phenomenological analysis as a primary critical tool opens up the historical dimension of experience to investigation. This is particularly important because I conclude that meaning is not fixed, but instead derives from multiple contexts, including the history of the art work, the interpreter{\textquoteright}s own life experiences and the location where the art work is encountered.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Meredith, Ruth} } @mastersthesis {9901, title = {From Minimalism to Magazines: Toward a Meta-Medium Practice in Mel Bochner and Robert Smithson{\textquoteright}s {\textquoteright}The Domain of the Great Bear{\textquoteright}}, year = {2006}, school = {Emory}, abstract = {During the summer of 1966, Mel Bochner and Robert Smithson produced a work titled "The Domain of the Great Bear" that was published in Art voices magazine in the fall issue. Seamlessly placed between other articles on the pages of Art Voices, "The Domain of the Great Bear" masquerades as an expose of the Hayden Planetarium at the American Museum of Natural History. Yet, the pages of "The Domain of the Great Bear" present an opaque, circuitous combination of texts and images that do not describe the planetarium but, instead, thwart expectations and raise questions about the nature of the institution. Bochner and Smithson{\textquoteright}s choice of Art Voices magazine as a delivery system for their work circumvents the need to produce objects for the gallery-based art market in New York. What is more, the mass-produced magazine highlights reproduction over (object-centered) originality. The text produced by Bochner and Smithson for "The Domain of the Great Bear" also reveals the profound influence of the Argentine writer Jorge Luis Borges. "The Domain of the Great Bear" is, therefore, best understood as a para-literary, discursive field where Bochner and Smithson first address a number of issues that will later impact meta-medium strategies found in their distinctly separate art practices. It is the goal of this dissertation to explain how these issues surfaced in the midst of a dominant, object-centered Minimalism and a nascent Conceptual art. The introduction offers a definition of a meta-medium practice and also explores the specific historical conditions from which Bochner and Smithson{\textquoteright}s collaboration emerged. The first chapter examines the art criticism produced by both artists as motivating their turn toward the magazine. "The Domain of the Great Bear" is analyzed in detail as is the fall 1966 issue of Art Voices. I also consider the influence of Borges{\textquoteright}s fiction on the style and content of the work. The second and third chapters examine the implications of strategies employed in "The Domain of the Great Bear" for the work of Mel Bochner and Robert Smithson respectively. In the end, "The Domain of the Great Bear" inaugurates a meta-medium impulse in the work of both artists, a fundamental move toward the materiality of ideas that questioned the function and role of an object-based art practice.}, keywords = {Contemporary Art}, author = {Thompson, Jeffrey} } @mastersthesis {9961, title = {The Function and Context of Fud Imagery from the Ninth to the Fourteenth Century in Japan}, year = {2006}, school = {Kansas}, abstract = {In order to address the cultural context and religious practices related Fudo imagery from the ninth to fourteenth century in Japan, this dissertation is organized by context and function. The basics of the iconography and style of Fudo imagery in general is surveyed in the first chapter for a better understanding of the images appearing in the following chapters. The second chapter addresses the sculptural program of the Toji Kodo (that has sculptures of the Five Great Myoo, one of whom is Fudo), which was supported by the state, and the function of these images to protect the nation. The third chapter addresses the Latter Seven Days Imperial Ritual (Mishuho), which was held at the imperial palace and supported by the emperor, and the function of this ritual (involving the Five Great Myoo) to consecrate the emperor as a Cakravartin King and protect his realm. The fourth chapter addresses the patronage of Fudo and the Five Great Myoo imagery by the powerful members of the court aristocracy and the warrior class, and the function of these images in assuring material benefits such as propitious birth, restoration of health, extending the life of a beloved, and subjugation of adversaries. The fifth chapter addresses images of Fudo generated by the priests Enchin (814-891) and Soo (831-918), and the functions of these images such as serving as a representation of the tutelary deity protecting the ascetic. This dissertation serves to readdress the importance of Fudo in Japanese visual culture and explain the early development of his popularity. It is intended to contribute to a greater understanding of Fudo imagery and its development in a broader context, and the recovery of the history of a plethora of esoteric imagery no longer extant.}, keywords = {Japanese/Korean Art}, author = {Mack, Karen} } @mastersthesis {9861, title = {Games, Systems, and Structuralist Politics in European and American Art, 1960-75}, year = {2006}, school = {UT Austin}, abstract = {During the 1960s and early 1970s, a considerable number of American artists explored the subversive and liberating potential of the use of systems. This dissertation examines the political connotations of systemic practices in the early work of Carl Andre, Sol LeWitt, and Vito Acconci, each of whom represents a different dimension of the investigation of systems in art. To determine what the versatile notion of system might have meant for American artists during this period, this study considers similar concerns in the parallel arts of music, literature, and film, and places the adoption by artists of systemic procedures in the context of a widespread contemporary discourse on technological, natural, and political systems. The word "system" recurred with frequency in publications of theorists associated with structuralism, as well as in writings on recent developments in science and technology (quantum mechanics, game theory, systems theory), but it was also prominent in the vocabularies of political dissidents, who called for alternatives to the configuration of the existing societal system. This dissertation proposes that the appearance in art of seemingly non-political systems was closely linked not only to modern science and cultural studies, but also to the politics of the turbulent events occurring at that moment in history. As overt utopian and socialist agendas had become obsolete in postwar American society, artists expressed their rejection of the established orders of both art and society through covert strategies such as the employment of systemic operations. The three artists featured in this dissertation exposed the arbitrariness of conventional orders by examining alternative and overtly arbitrary systems. Chapter one relates the systemic nature of Andre{\textquoteright}s work to the artist{\textquoteright}s socialist views, demonstrating that Andre explored analogies between the provisional arrangements of his own works and physical, mathematical, and socio-political organizations. Chapter two discusses LeWitt{\textquoteright}s deployment of music-like predetermined systems as a means to remove from the artist the responsibility of making culturally-contingent decisions and to prevent regression into a conventional usage of the medium. Chapter three focuses on those works of Vito Acconci that exhibit a tension between individual agency and determinism of external and internalized systems.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Gieskes, Mette} } @mastersthesis {9837, title = {Gothic Revival Architecture in Atlantic Canada}, year = {2006}, school = {Queen{\textquoteright}s}, abstract = {Gothic Revival architecture first appeared in Newfoundland around the second decade of the nineteenth century. Used almost exclusively by the Anglican Church, it was heavily influenced by the insubstantial and historically inaccurate style of Gothic then favoured by the Ecclesiastical Commission in England. Fueled by what it perceived as a spiritual "crisis" in the colonies---particularly the threat of Roman Catholicism---the Church of England created the diocese of Newfoundland in 1839 and the diocese of New Brunswick in 1845. With this initiative came a new wave of Gothic church-building in these colonies, but these churches were built in a new, sophisticated and archaeologically accurate style of Gothic that had by then become valued in England for its moral superiority and intrinsic Englishness. The first major monuments in what is now Atlantic Canada were built under the patronage of Bishop John Medley in New Brunswick. The movement spread to Newfoundland under Bishop Edward Feild, who began construction of a meticulously accurate English Gothic cathedral in St. John{\textquoteright}s in 1847, designed by George Gilbert Scott. There followed a systematic effort to spread Anglican clergymen and Gothic Revival churches to some of the most harsh and remote locations in British North America, enthusiastically supported in England by funds from the Society for the Propagation of the Gospel in Foreign Parts and architectural theories from the Cambridge Camden (later Ecclesiological) Society. By the end of the century, the Anglican presence had been affirmed throughout Newfoundland and Labrador by the proliferation of Gothic Revival churches of increasing scale and sophistication}, keywords = {Architectural History/Historic Preservation, Nineteenth-Century Art}, author = {Coffman, Peter} } @mastersthesis {9929, title = {Hagios Ioannis Prodromos Monastery on Mount Menoikeion: Byzantine Monastic Practice, Sacred Topography, and Architecture}, year = {2006}, school = {Princeton}, abstract = {This dissertation discusses aspects of monastic practice at Hagios Ioannis Prodromos monastery on Mt. Menoikeion in northern Greece. Continuously inhabited since its foundation by Ioannikios in the 1270s, Hagios Ioannis Prodromos presents an important paradigm of Byzantine monastic tradition that demonstrates the diverse, strategic role of monastic establishments. Relying both on the results of fieldwork and on the extant Byzantine textual sources, this dissertation explores the topography of monastic life as well as the physical and symbolic construction of a monastery during the late Byzantine period. The five chapters of my thesis address different aspects of the monastery{\textquoteright}s rich tradition: the history of its foundation in the Byzantine period, the creation of a sacred topography in its rural surroundings, the development of the monastic complex, and finally the architecture and building history of the Byzantine katholikon and the tower. In brief, my work suggests an earlier date for the monastery of Hagios Ioannis Prodromos and the close involvement of Emperor Michael VIII Palaiologos in its refoundation by Ioannikios. The monastery{\textquoteright}s first founder adopted an existing complex and a katholikon to revive monasticism and Byzantine control in a highly contested region. Prodromos monastery{\textquoteright}s building growth and organization reflects the history of its community. This history expresses the daily chores and the repetitive rituals of monastic life. This continuous cycle of monastic practice on Mt. Menoikeion is followed today by a community of nuns under Abbess Fevronia. Since 1986, the presence of nuns in the monastery is an invaluable source of information. The nuns are the present-day bearers of the monastery{\textquoteright}s long tradition, and thus, their experience demonstrates the repetitive patterns of monastic life. On the whole, the study of Hagios Ioannis Prodromos{\textquoteright} sacred topography and architecture exposed a monastic community in a balanced symbiosis with its natural environment and the society of Serres. This relationship is reaffirmed daily through the continuous cycle of monastic chores and the persistence of tradition. Today, approximately seven hundred thirty years after the monastery{\textquoteright}s foundation, it is safe to assume that Ioannikios succeeded in his mission.}, keywords = {Early Christian/Byzantine Art}, author = {Bakirtzis, Nikolas} } @mastersthesis {10014, title = {Hans Burgkmair the Elder (1473-1531) and the Visualization of Knowledge}, year = {2006}, school = {Pennsylvania}, abstract = {This dissertation examines a selection of prints and paintings by Hans Burgkmair to explore how his images engage with current humanist discourses on knowledge, particularly as they relate to antiquity in the spheres of poetry, history, and documentation. Such an approach to Burgkmair makes it possible to find coherence in a range of his works and styles that otherwise tend to be divided into categories, such as medieval/Renaissance, German/Italian, religious/secular, old/new, urban/imperial. I offer an expansive refraining of Burgkmair{\textquoteright}s art as contributions to the visualization of knowledge in the Holy Roman Empire in a way that not only addresses content and context, but also speaks across media and styles. Running parallel to the idea of a translation of empire from Rome across the Alps was that of a translation of wisdom. The pursuit of knowledge, therefore, was framed as a political and cultural imperative. It was necessary not only to acquire knowledge, but also to demonstrate through eloquence and the transmission of that knowledge that one was in possession of it. Burgkmair{\textquoteright}s stylistic versatility, humanist collaborations, and close involvement in printing innovations were crucial responses to this challenge of producing knowledge and displaying cultural prestige. Taken as a whole, however, my dissertation demonstrates that more was at stake than simply the use of images for political propaganda or as an early expression of {\textquoteright}Germanic cultural ism{\textquoteright} involved in the notion of a translation of empire. I argue that Burgkmair{\textquoteright}s images accommodate different concepts of knowledge: an encyclopedic, syncretic knowledge that reveals the universal truths of the poet or philosopher and privileges virtue and fame as the ultimate goals; and a particularizing, empirical knowledge that instead judges truth and falsehood according to standards relating to material and ocular evidence. Furthermore, I consider Burgkmair{\textquoteright}s choice of styles---whether ornamental Italianate or a reduced {\textquoteright}simple style{\textquoteright}---as enabling the distinction between these different paradigms and bearing specific ideological associations in the context of sixteenth-century Augsburg and the Holy Roman Empire.}, keywords = {Renaissance/Baroque Art}, author = {Ashley West} } @mastersthesis {9832, title = {History, Memory, Identity: Contemporary Art by Khoisan Artists in Southern Africa}, year = {2006}, school = {Emory}, abstract = {This dissertation examines the history of art created at three workshops for informally trained San or Bushmen artists from 1990 to 2003. They are the Kuru Art Project in D{\textquoteright}Kar, Botswana, the !Xun and Khwe Art Project at Schmidtsdrift and Platfontein, South Africa, and the informal project at Witdraai, also in South Africa. I examine the relationship between contexts of mediation, brokerage, and patronage related to tourism and First Nation politics and their effects on the production of art. Two distinct phases of art production were noted at D{\textquoteright}Kar and Schmidtsdrift. A period of intense experimentation generated works with no ties to First Nation and tourism discourse. Subsequently, heterogeneous styles and content were synthesized into a shared repertoire of folkloric subject matter and a naive picturesque style. At D{\textquoteright}Kar this process relates to the politically driven heritage-making Cultural Project, where global First Nation discourse was localized. However, the shift to a folkloric group style within the !Xun and Khwe Art Project reflects a very different set of influencing factors. Here the art and tourist market shaped art production, rather than First Nation politics. But at Witdraai artists bypassed the period of experimentation because they could transform a pre-existing pictorial style generated for tourists to represent First Nation identity. Each of these case studies illustrates that the same types of images and styles are produced for tourism and politics, but communicate different values depending upon the context in which they are placed. The dissertation then examines brokerage in contexts of mediation: exhibitions, commercial sales catalogues and "tourist theater." I examine how the display of artworks generated during the initial period of experimentation disrupted the mediating narratives generated in several international and regional art exhibitions where the interests of multiculturalism and First Nation discourse intersected to produce otherwise stereotypical representations of San or Bushmen culture. I also contrast the primitivist frameworks generated in commercial sales catalogues designed to move these novel art forms onto the art market with those created by San tourist workers who mediate art in the context of "tourist theater" to reflect hybrid self-representations.}, keywords = {African Art (sub-Saharan)}, author = {Taplan, Jessica Stephenson} } @mastersthesis {9969, title = {Honey at the Crossroads: Four Women and Afro-Cuban Ritual Arts, 1899-1969}, year = {2006}, note = {ProQuest advisor: Strother, Zoe S. (N. Kampen not listed)}, school = {Columbia}, abstract = {This dissertation examines the emergence of a modern and innovative Afro-Cuban religious arts movement, 1899-1969, known for dramatic household installations of sculpture, photographs and painted portraits. Case studies analyze the artworks of women, drawn from a single religious family over four consecutive generations. Although scholarship usually describes each Afro-Caribbean religion as an exclusive organization, this dissertation emphasizes that these women all held dual roles and worked as mediums in Espiritismo and also as santeras, or priests, of Santeria. I argue that, through the creation of art for more than one religion, these leaders promoted critical dialogue essential for the explosion of the Afro-Cuban ritual arts movement internationally. In the 1900s, the converging interests of international scholars, rising revolutionary politicians and Black Cubans motivated a search for African cultural origins that caused disregard for women{\textquoteright}s roles in Afro-Cuban ritual arts. However, by-laws belonging to one prominent religious society in Havana from 1899 demonstrate that women were responsible for public altars. Close examination of one woman{\textquoteright}s household-temple provides a perspective on the {\textquoteright}nested spaces{\textquoteright} that connect and separate different practices. One altar cannot be wholly isolated from another especially if one is to understand the relationship of Espiritismo to Santeria. Spectacular Espiritismo altars have had a lasting influence on Afro-Caribbean religious arts. Photographic documentation from the 1940s and 1950s permits insight into the dramatic increase in scale and sumptuous effects of altar display in both Cuba and the U.S. Furthermore, Spanish Harlem installations, from 1950-1970, address Caribbean women{\textquoteright}s history. By depicting women past and present as spiritual leaders they provide evidence that counters popular history and sets important examples for the multi-ethnic communities struggling for survival in New York. Although most Afro-Caribbean ritual arts are intended to decay or be destroyed, the next generation may inherit works from Espiritismo practices that honor the dead. This visual celebration of diverse ancestors acknowledges the influence of the past while allowing for a focus on the present in Santeria ritual arts.}, keywords = {Latin American/Caribbean Art}, author = {Juncker, Kristine} } @mastersthesis {9920, title = {Hotel Design in Zionist Palestine: Modernism, Tourism, and Nationalism, 1917-1948}, year = {2006}, school = {Bard Graduate Center}, abstract = {The Zionist Hotel, built in British Mandate Palestine, was born in an age of burgeoning nationalism, blooming tourism, expansion, and ideological immigration. While mitigated modernism was utilized in interwar Palestine as an agent of cultural and national representation of Jewish identity and as the main tool in creating the Jewish national home, the Zionist hotel was the outcome of this ideology. With modern, up-to-date program, nationalistic aspirations, and progressive design, Zionist hotels, built by the pioneers of Israel{\textquoteright}s hotel industry, and designed by European-trained architects, conversant with the ideology of the modern movement, link modernist design, modern tourism, and the image of Jewish national identity. Established for Jewish tourists, the Zionist hotel was manifested in a variety of eclectic modes of modernism, representing the most ambitious body of progressive architecture built in the country. It played a central role in the uprising national tourism movement that flourished in Palestine during the age of the formation of the Zionist project. Zionist tourism proposed a new and modern experience that shifted the notion of travel from the traditional pilgrimage to national modernized tourism. As tourism was considered one of Palestine{\textquoteright}s most important industries, it was taken over by Zionist organizations as means of upbuilding of the Jewish Homeland, but also as a sophisticated device of national propaganda. Zionist hotels were an expression of identity, offering comfort and hygiene that were otherwise unavailable to tourists traveling to this part of the world. The concepts employed in their interior decor originated in the domestic sphere of Central Europe, which originated in an affirmation of comfort and freedom, adopted as a repudiation of the notion that modernism excluded any overt reference from the past. They showcased the national project, affecting the built fabric, and shaping the perception of tourists by ensuring that Jewish tourists carried a favorable impression of the secular culture that the Zionist enterprise proposed. This significant, yet neglected material culture of twentieth-century design, including both architecture and interiors, is the subject of this dissertation. Based on historical and structural analysis, ephemeral material, archival documentation, and oral history, as well as insights of literature on tourism, nationalism, and historical studies of the Zionist project, this dissertation offers the first study account of hotel design in British Mandate Palestine.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Ohad Smith, Daniella} } @mastersthesis {9836, title = {Housing and Urban Transformation of Carthage, 400-700 CE}, year = {2006}, school = {UIUC}, abstract = {Prior to the second quarter of the fifth century CE, Carthage was one of the most prosperous and populous cities in the Mediterranean. The demise of Roman rule, the Vandal conquest (c. 439 CE) and the Byzantine conquest (c. 533 CE) fueled social, political and economic change that reshaped not only the city{\textquoteright}s public institutions but also its urban topography, particularly in the realm of housing. Despite continuous archaeological investigations for more than a century, the domestic sphere in Carthage remains only superficially understood. In this dissertation, therefore, I examine all extant sources of evidence for post-Roman housing in Carthage, in order to understand more clearly not only the later history of Carthage but also its place among other cities in the rapidly changing post-Roman Mediterranean. Through the creation and analysis of new distributions maps based on nineteenth century excavations of houses as well as more recently excavated houses, a more nuanced reading of the domestic sphere in Carthage is presented, revealing shifting domestic and social paradigms in Carthage as it is transformed from major urban, Roman metropolis to early medieval town on the periphery of the Byzantine empire.}, keywords = {Architectural History/Historic Preservation, Early Christian/Byzantine Art}, author = {Zitrides, Christine} } @mastersthesis {9964, title = {The Huacas of Machu Pichu: Inca Stations for the Communion of Humanity and Nature}, year = {2006}, school = {Virginia Commonwealth}, abstract = {Sacred stones, or huacas, at the ancient Inca city of Machu Picchu integrated human ritual with the surrounding landscape. I argue that huacas defined the relationship between nature and ritual practice by forcing an esoteric choreography which involved specific postures of the participant in order to visually orient humans to significant natural features of the surrounding environment. Inca stonemasons refined the natural form of the huacas so that they mimic the contours of prominent landscape features such as mountain peaks. This dissertation documents 122 huacas at Machu Picchu using maps of the site to record the exact location of each stone. Every huaca is described in detail, including notation of the specific cardinal orientation; lines of sight established by reference points to prominent landscape features; and the specific posture required to view these lines of sight. The extensive number of huacas at Machu Picchu suggests a highly ritualistic city in which stones and caves were almost certainly considered metaphysical conduits between humans and the divine.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {Hurt, Lee Anne} } @mastersthesis {9895, title = {I Won{\textquoteright}t Play Primitive to Your Modern: The Art of David Neel (Kwagiutl), 1985-2000}, year = {2006}, school = {Pittsburgh}, abstract = {I Won{\textquoteright}t Play Primitive to Your Modern: The Art of David Neel (Kwagiutl), 1985-2000 examines the production and reception of one artist{\textquoteright}s work as it crosses discursive arenas. This dissertation theorizes that, at times, Neel draws upon his schooling in photojournalism and his training as a carver to challenge Eurocentric assumptions tied to two ideals: that looking is disinterested, and that justice is blind. At other times, Neel uses the same skills to provoke an experience of viewing that yields political or spiritual transcendence. I Won{\textquoteright}t Play Primitive to Your Modern, then, investigates overlaps and gaps between different conventions and experiences of looking in a study connected to questions of epistemology, metaphysics, and phenomenology. My research examines Neel{\textquoteright}s art in conjunction with his own mobility through Mexican, African-American, Asian and Euro-American communities, as well as indigenous North America. My interpretation is predicated on evidence derived from oral histories, fieldwork, and archival research. I also apply strategies of visual analysis informed by an interdisciplinary array of theories about looking forwarded by scholars such as Barbara Stafford, Susan Sontag, Christopher Pinney, James Clifford, Roland Barthes, W.J.T. Mitchell, Robert Davidson (Haida), Nancy Mithlo (Chiricahua Apache), and Charlotte Townsend-Gault. My analysis of Neel{\textquoteright}s artistic production and reception also draws upon theories of embodiment that include Transformation, the Kinship I, and The Four Sacred Directions as well as ideals of objectivity embedded in the disciplines of art history and law. This study concludes that Neel{\textquoteright}s use of photography{\textquoteright}s reproductive capabilities, his references to the importance of copying in the aesthetic of carving, his knowledge of media outlets, and his life of migration have enabled him to slip himself and his images into multiple discursive communities that espouse distinct aesthetic sensibilities and political agendas. The import of Neel{\textquoteright}s project lies in his capacity to engage his viewers with, and thus reveal, political and aesthetic differences that provoke debate about group identity, about his own identity and about the meaning of his art.}, keywords = {Contemporary Art, Native American}, author = {Butler-Palmer, Carolyn} } @mastersthesis {9828, title = {Identity and Community Solidarity: Counter-Spectacle, Power and Resistance in the Mass Funeral of the {\textquoteright}Guguleteu Seven{\textquoteright}, March 15, 1986}, year = {2006}, school = {Binghamton}, abstract = {This dissertation is concerned with the funeral of the "Guguletu Seven," staged by members of the South African resistance on March 15, 1986 in the township of Guguletu. An example of counter-spectacle, the funeral will be treated as a discursive event, a process in and through which a temporary shift in power-relations was effected, contributing to the consolidation of a resistance community that eventually led to the overthrow of the apartheid regime in South Africa in 1994. The funeral, ephemeral in nature, is represented in discourse through texts and images from the South African and the American press. The entire funeral cannot be reconstituted, so that certain semiotic themes will be emphasized: the Guguletu seven as martyrs and Mandela as leader in exile. Key to this study is a discussion of the component parts of the spectacular event, with its heterogeneous mass of subjects (children, women, and men of different ages and races---"white," "black," "Coloured," and "Indian") with different affiliations (from the armed branch of the African National Congress to workers{\textquoteright} unions and student organizations) provisionally cohering as a crowd around the bodies of the newest martyrs to the anti-apartheid cause. A detailed analysis of the mourners{\textquoteright} forms of dress, including para-military attire, will be followed by discussion of the banners that were displayed, with signs, symbols, and text appropriated from various forms of state spectacle. Key to my analysis is the concept of performativity; the dissertation, then, will also take up the coded acts of the participating subjects, including acts of speech and gesture that are similar to ritual in their conventionality and iterability. I will argue that these signs, symbols and forms of dress, gesture and speech have associations with the modern state in its various and often incommensurable manifestations (from capitalist to state socialist), as well as with other resistance-movements in the second half of the twentieth century. Their operation in the meaning-event of this funeral, I shall argue, reveals that meaning does not inhere in the signs themselves, but is consolidated relationally and performatively, at the level of production as well as reception.}, keywords = {African Art (sub-Saharan)}, author = {Ciola, Ann M.} } @mastersthesis {10025, title = {Il Fronte Nuovo Delle Arti: Realism and Abstraction in Italian Painting at the Dawn of the Cold War, 1944-50}, year = {2006}, school = {Delaware}, abstract = {This dissertation examines Il Fronte Nuovo delle Arti, the first artists{\textquoteright} group to arise in Italy after the second World War, as a means by which to study Italian painting during the transition out of two decades of Fascism into the global tensions of the Cold War. Its fundamental contention is that the oppositional and binary structures of the Cold War---realism vs. abstraction, East vs. West, Communism vs. democracy, conformism vs. freedom---have dominated the discourse surrounding the Fronte Nuovo delle Arti and, more generally, the total historiography of Italian painting during this period, 1944-50. The result is a misrepresentation of the actual complexity and diversity of the art produced by the members of the Fronte Nuovo and a reductive generalization of the political ideals and motivations informing their production. Beginning with the dialogues that framed the formation and undoing of the Fronte Nuovo, this dissertation revisits artists{\textquoteright} works, correspondence, critical writings, and manifestoes. These documents are married to examinations of specific exhibitions, the most important of which are the 1947 inaugural exhibition of the Fronte Nuovo and the 1948 and 1950 Venice Biennali, and the critical responses to these exhibitions are reconsidered in light of their groundings in the heated political debates of the period. In total, these diverse sources reveal the vast and fertile interstitial spaces of a discourse heretofore dominated by polarized antitheses and unwavering dogmas. What this dissertation offers is a new reading of Italy{\textquoteright}s postwar avant-garde, disentangled from the critical and discursive biases of the Cold War, both political and artistic. By extension, this dissertation questions the terms of inquiry that have long dominated the framing of High Modernism and adds the circumstance of Il Fronte Nuovo delle Arti in order to nuance our comprehension of both painting and politics at the dawn of the Cold War.}, keywords = {Twentieth-Century Art}, author = {Duran, Adrian} } @mastersthesis {9893, title = {Illustrations of Taiping Prefecture (1648): A Printed Album of Landscapes by the Seventeenth-Century Literati Artist, Xiao Yuncong (1596-1673)}, year = {2006}, school = {Maryland}, abstract = {This dissertation analyzes a printed landscape album, Illustrations of Taiping Prefecture (Taiping shanshui tuhua) by Xiao Yuncong (1596--1673), one of a few scholar-artists who designed prints in the late sixteenth- and early seventeenth-century China. This study attempts to explore Xiao{\textquoteright}s printed landscape album in the context of his landscape paintings, mostly grouped into topographical landscapes and fanggu [follow ancient masters{\textquoteright} styles] paintings. Xiao{\textquoteright}s landscape album, commissioned by Zhang Wanxuan as a memento of the beautiful scenery of the Taiping area in 1648, contains forty-three landscape paintings: one panoramic view of the Taiping area and forty-two paintings depicting Dangtu, Wuhu, and Fanchang. Through a visual analysis of the album, I argue that Illustrations of Taiping Prefecture exemplify the increasing accessibility of literati culture in the late Ming and early Qing periods. I point out five distinctive characteristics of the Taiping album that make it more easily understood and appreciated by a broad audience: first, it is a collection of topographical landscapes which depict the local scenery and include the specific topographical elements; second, it is the faithful, narrative visualization of poetry inscribed in the album with vivid pictorial images; third, it uses the fanggu method, a simplified and objectified interpretation of the old masters{\textquoteright} styles, for depicting real scenic views; fourth, it has descriptive and intriguing details that can easily draw the viewer{\textquoteright}s attention and provide a visual amusement; fifth, it is in the form of a printed album that can be widely circulated. Xiao{\textquoteright}s Taiping album not only contributed to the formation of Japanese literati painting, the Nanga tradition, but also provided many landscape motifs and compositions for the Mustard Seed Garden Manual of Painting. Unlike the literary art that contained metaphoric references understood mainly by the elite, Xiao{\textquoteright}s Taiping album presented familiar local sites in a manner that essentially decoded the abstract, symbolic meanings of the "classical" forms into more formulaic pictorial languages. The Taiping album played a significant role in helping to expand the breadth of scholarly culture during the seventeenth century.}, keywords = {Chinese Art}, author = {Shin, Seojeong} } @mastersthesis {9938, title = {Imaging the Miraculous: "Les Miracles de Notre Dame", Paris, BnF, n.acq.fr 24541}, year = {2006}, school = {IFA/NYU}, abstract = {The deluxe 14th-century Miracles of the Virgin manuscript, Paris, BnF, n. acq. fr. 24541, containing poetry, songs, and prayers by the Benedictine monk Gautier de Coinci (c. 1177-1236), is justifiably the most famous copy of this text. This dissertation examines its 78 images---attributed to the Parisian illuminator Jean Pucelle (d. 1334)---as a complete pictorial cycle. I analyze the relationship between the whole sequence of images and the text in comparison to the other illustrated Gautier de Coinci manuscripts, which are rarely discussed or reproduced in art-historical literature. Other sources for BnF, n.acq.fr. 24541{\textquoteright}s miniatures include devotional and secular manuscripts, Italian panel paintings, and contemporary Parisian metalwork and ivories. BnF, n.acq.fr. 24541 contains an exceptional number and variety of representations of Marian sculptures and icons. The dissertation evaluates the important role of miraculous images of the Virgin across the illustrated Gautier de Coinci manuscripts. There is often a blurring of boundaries between visions of Mary and images of the Virgin as physical objects. I examine the strategies the illuminators employed to indicate that the panel paintings and polychromed sculptures displayed "signs of life." An analysis of the effective collaboration of image and text in three micro-narratives, the Conversion of a Saracen, the Marian Image Insulted, and the Siege of Orleans, demonstrates the variety of the artists{\textquoteright} approaches. To understand its reception, I also examine BnF, n. acq. fr. 24541 in relation to its royal patrons. The first full description of the manuscript is recorded in the inventories of the famous bibliophile Jean, duc de Berry (1340-1416). Although Queen Jeanne de Bourgogne (1293-1348) most likely commissioned the book primarily for the education of her son Jean le Bon (1319-64), its first documented owner, I argue that its intended audience probably included the entire royal family, if not the court. The nine unidentified portraits of figures in prayer at the end of the manuscript emphasize royal status, a display of piety, and the continued devotional efficacy of Marian images in the 14th century.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Russakoff, Anna} } @mastersthesis {9999, title = {Imago Romae: Renaissance Visions of the Eternal City}, year = {2006}, school = {Columbia}, abstract = {This study provides an examination of the imaging of Rome in the sixteenth century, with a particular focus on a singular map, the Bufalini Plan of 1551. Measuring roughly 190 x 200 cm, the Bufalini Plan was the largest and most magnificent representation of Rome that had ever appeared in print, as well as the first orthographic map of the city since ancient times: a horizontal ground plan with all elements shown to scale. Contrary to measured appearances, the map presents a specifically (and subjectively) antiquarian vision of Rome, and was destined for prominent display as a work of art as opposed to any utilitarian purpose. As such, the Bufalini Plan contradicts the entrenched notion that maps are objective records of an external reality while also providing a window onto the unique challenges of depicting Rome, the Eternal City. By the same token, a number of the problems in representing Rome were paradigmatic of those for all cities, and maps were just one of many graphic modes that were deployed in this context. The entire spectrum of Renaissance urban representation therefore forms the broader context for this investigation, particularly the ubiquitous bird{\textquoteright}s-eye views that eclipsed maps on a popular level. As a visual encomium to a city, the Bufalini Plan shared the function of these pictorial views. As a map, however, it could not have been more different from them in its mode of expression, for it did not simulate a visual experience. Primarily for this reason, it was a commercial failure. Like pictorial views, the Bufalini Plan showed the city in an idealized form, but observers might have failed to recognize this familiar rhetoric beneath its revolutionary graphic language. As such, the very failure of the Bufalini Plan gives valuable insight into the psychology of Renaissance viewers, and turns a new lens on the history of city mapping.}, keywords = {Renaissance/Baroque Art}, author = {Maier, Jessica} } @mastersthesis {10031, title = {The Immediate: Video Art and the Aesthetics of Liveness, from Andy Warhol to Postminimalism}, year = {2006}, school = {Columbia}, abstract = {My dissertation is an account of the early use of portable videotape recording technologies by artists in the United States. Throughout I discuss the ways in which artists from Andy Warhol to the postminimalists worked with the immediacy of television as a means of information transmission, both as a medium for artistic production and as a larger social phenomenon. The mid 1960s was a time when television was becoming one of the most prominent means of distributing information in the United States. In the general turn away from traditional media in avant-garde practices during this time, artists took up television through the use of the portable videotape systems that were just beginning to be marketed to the general public. These artists explored video as a "teletechnology"---a means of real-time representation at a distance---that captures sound and movement, both live and on tape. I investigate the paradox of what these artists described as video{\textquoteright}s immediacy: that it can show events live and record them on tape, but that even when recorded, these events still retain a live-like quality. The first section is on Andy Warhol and Nam June Paik, two of the artists who initially gained access to video equipment outside of a television studio. I recover Warhol{\textquoteright}s video work, contrasting it with Paik{\textquoteright}s claim to be the founding father of video art, in order to argue for both its inherent importance and as it establishes problems further pursued in the work of the postminimalists. Warhol{\textquoteright}s video work opens onto the themes of televisual presence as linked to issues of time and self representation, which are all more fully elaborated in postminimal video. The second section describes how these themes were engaged in the work of the postminimalists, including discussions of video works by Bruce Nauman, Vito Acconci, Lynda Benglis, Joan Jonas, Richard Serra and Dan Graham. I discuss each artist{\textquoteright}s work as it touches on the immediacy of television and how these artists used video to make sensible the ways in which television allows for particular types of affective response as it permits the real-time monitoring of events at a distance, and as its continual flow acts to ward off memory.}, keywords = {Twentieth-Century Art}, author = {Kaizen, William} } @mastersthesis {9884, title = {Imperial Northern Song Architecture: Treatises, Buildings, Literature and Art}, year = {2006}, school = {Brown}, abstract = {As the most important primary text for the study of ancient Chinese architecture, the imperial Northern Song (A.D. 960-1127) architectural treatise Yingzao fashi (Building Standards, 1103) is not a pure, typical technical manual at all. Underlying its comprehensive building methods, elaborate structural and decorative details, and strict regulations of building materials and manpower are a plenty of distinctive cultural connotations. These cultural implications have been underestimated by the 20th-century scholarship. This dissertation investigates the full range of architectural literature of imperial China prior to this treatise and treats how historical tradition was incorporated into imperial building standards in medieval China. Analyzing each type of historical texts in the development of architectural writing, I identify the Yingzao fashi as a unique literary work. Li Jie, the author of this treatise, strenuously sought orthodox roots from classical texts and earlier legitimized documents for the Song official standards on building practice. The building methods and architectural terminology that he recorded from oral accounts of craftsmen also reflect a large amount of intriguing cultural phenomena during the Northern Song period. I consider the architectural terminology of the YZFS as an important carrier of popular architectural cultures and distinctive architectural concepts during the 10th to 12th centuries. My research has indicated that not only the naming of architectural components in this treatise was affected by the Song literature, but the arts of painting, sculpture, and architecture during the Northern Song period also were aesthetically in harmony. In addition, this dissertation reconstructs a systematic Chinese architectural metaphor that underlies the nomenclature for bracketing in the Yingzao fashi treatise. Here, bracketing elements are likened to flowers, sprays, branches, and leaves. With the aid of other contemporary texts, my research indicates that in the 10th to 12th-century China, both craftsmen and literati perceived bracketing as flowering trees. The rich cultural connotations that are reflected in the technical terminology of the Yingzao fashi demonstrate that this imperial building standard was far beyond just a technical text.}, keywords = {Chinese Art}, author = {Feng, Jiren} } @mastersthesis {10006, title = {In Pursuit of a Civil Order: The Civitates Orbis Terrarum, the Microcosmic Collection, and the Circle of Abraham Ortelius and Joris Hoefnagel}, year = {2006}, school = {UC Santa Barbara}, abstract = {The Civitates orbis terrarum, a six-volume atlas of cities edited and published by Frans Hogenberg and Georg Braun between 1572 and 1618, stands as a rich portrait of not only the cities it describes, but also of the process by which a particular type of engagement with the world came into being. When we examine a project like the Civitates not as a modern work struggling to emerge from its Renaissance chrysalis, but as a site for the negotiation of the epistemological concerns and social identities of its producers, we see that the empirical engagement with the world in the late sixteenth century was in fact firmly embedded in the cultural values of its champions, and emotionally charged by the personal bonds between men like Joris Hoefnagel---the primary artist for the Civitates---and Abraham Ortelius---the renowned geographer whose Theatrum orbis terrarum, published in 1572, provided the inspiration and model for the Civitates. In this dissertation, I seek to situate the production of the Civitates in its sociopolitical context to understand how it spoke to the concerns and ambitions of its makers and audience. In particular, I investigate the cultural function of Hoefnagel{\textquoteright}s hybrid fusions of elaborate ornament and extreme naturalism that framed the Civitates as a site of both poetic self-fashioning and empirical scrutiny of place. Against the backdrop of political violence and religious unrest, the Civitates emerges as an arena in which the urban professional classes struggled to define themselves in a time of exceptional opportunities and treacherous political circumstances. I examine the atlas through the lens of artistic self-fashioning, the development of empiricism, the culture of collecting and cosmopolitan humanism in order to understand how the Civitates functioned strategically for the international intellectual community given voice by the project.}, keywords = {Renaissance/Baroque Art}, author = {Robey, Jessica} } @mastersthesis {9845, title = {Incarnate Politics: National Identity, History, and Architectural Heritage in Postwar Berlin}, year = {2006}, school = {Rochester}, abstract = {This dissertation proposes the idea of counterpreservation to understand architectural and cultural projects in Berlin since 1989. Counterpreservation is the attempt to express a dynamic view of history that incorporates multiple readings and time periods. Instead of restoring buildings to their original state, counterpreservation incorporates changes and dilapidation. This multilayered, open-ended approach to history is related to Germany{\textquoteright}s complex and fraught relationship to memory. It is also a reaction to gentrification in central Berlin, where decayed facades make a stand against the commercial beautification of urban space. This dissertation first explains counterpreservation with relation to James Young{\textquoteright}s discussion of countermonuments, and John Ruskin{\textquoteright}s writings on architectural history and preservation. After discussing theories of gentrification and the reconstruction of Berlin since 1989, the dissertation presents two case studies. The Haus Schwarzenberg is a cultural center managed by an artists{\textquoteright} cooperative in the central district of Mitte. The center is housed in a run-down building with a crumbling facade that the coop refuses to clean or restore. The second case study is Daniel Libeskind{\textquoteright}s reurbanization plan for an area formerly used as barracks for Nazi officers who manned the adjacent Sachsenhausen concentration camp in Oramenburg, a town north of Berlin. Libeskind{\textquoteright}s design proposes new facilities for cultural and social development and a memorial that would submerge the remains of the barracks under water. The water would transform the site into an active ruin, underscoring the dynamic nature of memory, the mediation between past and present, and the possibility of growth and remembrance.}, keywords = {Architectural History/Historic PreservationCritical Theory/Gender Studies/Visual Studies}, author = {Sandler, Daniela} } @mastersthesis {9927, title = {Incidental Tourists: Vernacular Photo-Travel Books, 1920-1940}, year = {2006}, school = {CUNY}, abstract = {Between 1900 and 1940 a new genre of travel books emerged. These books were comprised of first-person narratives written by middle-class tourists and illustrated with their own snapshot photographs. This dissertation offers a history of American vernacular photo-travel books in view of the democratic potential of the photographic medium and the uses to which it was put in the early twentieth century. By critically analyzing a body of photographic production that usually falls outside of the scope of art historical study, in this case, tourist photography, I aim to challenge traditional assumptions and biases within the discipline of art history concerning the historical value of amateur photography, as well as show the relevance of conceptual concerns from the disciplines of anthropology, cultural studies, and tourism studies to art history. I define, and make a case for, the genre of vernacular photo-travel books in the preface, and then go on to describe, in the introduction, the social and historical context from which these books emerged and also situate this dissertation in relation to previous scholarship. Chapter One analyzes the relationship between mass-produced vernacular-photo travel books and photographically-illustrated travel books that were published on a small scale as well as private travel albums illustrated by commercial prints and snapshots. I claim that tourists used snapshot photography as a means to individualize the collective, and often standardized, experience of mass tourism. Chapter Two examines how amateur photography, and travel photography in particular, was marketed to the American public and how vernacular photo-travel books participated in American consumer culture and helped to perpetuate a cycle of touristic consumption. Chapter Three claims that some of these books were influenced by attitudes and visual conventions borrowed from ethnography. Chapter Four examines how women writers attempted to push social boundaries or gain some measure of social independence in their travels to foreign countries, while consistently demonstrating the difficulty of over-stepping the boundaries of their own cultural training. Finally, I conclude by considering the problems and possibilities for further studies of this kind.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Snow, Rachel} } @mastersthesis {9859, title = {Innovation through Appropriation as an Alternative to Separatism: The Use of Commercial Imagery by Chicano Artists, 1960-1990}, year = {2006}, school = {UT Austin}, abstract = {Can artists produce socially relevant and politically controversial artwork, which gains strength through subversion and condemnation of mainstream society, while at the same time benefiting from involvement within the traditional art establishment? While this question is not a new one, within the field of Chicano Art, it has had a lengthy yet unexamined history, punctuated by specific events and philosophies linked to the nationalistic political movement of the 1960s and early 1970s. Leaders of this era, such as Rodolfo "Corky" Gonzales, promulgated an isolationist approach to all aspects of Chicano life, including art production. Self-determination became a hallmark of Chicano Art of this early phase, and Chicano artists, regardless of their personal ideologies, often found themselves placed into a collective categorization of the political Chicano artist. However, the problem that arose from this generalization was that it overlooked the complexities of the individual Chicano artist who may not have subscribed to a uniform separatist agenda. Particularly once the Chicano Art Movement of the early phase lost its collective zeal, Chicano artists diverged from the communal portrayal of a unified Chicano identity, one culturally nationalistic in tenor. While some Chicano artists, such as Rupert Garcia, willingly endorsed a participatory approach to the mainstream, others like Malaquias Montoya bemoaned an in-system method, claiming that the dominant culture promoted the cooptation of any artist who participated within its arenas. In the early 1980s, Montoya published his views on this topic in an article he coauthored with his wife. This dissertation examines the Montoyas{\textquoteright} philosophies indepth, as well as explores the counter-debates by scholars Shifra Goldman and Luis J. Rodriguez that the Montoyas{\textquoteright} article instigated. Linked to this exploration are economic and political analyses of the late 1970s through the 1990s, which reveal not only a development in the mainstreaming and commercialization of Chicano art, but also a trend among Chicanos away from isolationism towards assimilationism. A case study of Malaquias Montoya, Rupert Garcia, and Mel Ramos in the final chapter further illustrates the broad heterogeneity in viewpoints on the subject.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Berkowitz, Ellie Patricia} } @mastersthesis {10021, title = {Installing{\textquoteright} the Museum: When Artists/Curators Re-Create the Museum and Its Discourses}, year = {2006}, school = {Boston}, abstract = {Although the artist/curator has been recognized as an important development often associated with postmodernism in the late 1980s and 1990s, scholars have yet to discuss the origins of this phenomenon in which the artist{\textquoteright}s role is hybridized with that of the curator. This dissertation examines the artist/curator role as a contemporary artistic strategy, while anchoring it in a history of artists{\textquoteright} relations with museum institutions. The social conditions and artistic developments that announced the emergence of the artist/curator in the late twentieth century are theorized as a relational phenomenon. The artist/curator strategy allows artists to assume a fraction of the power of museum curators, also testifying to the willingness of museum professionals to let artists enter their field of actions. Through an examination of early modern curatorship and the use of sociological models, chapter one addresses the conditions that led to the progressive exclusion of the artist from the curatorial field of actions. In an art system orchestrated as autonomous since the nineteenth century and based on the figure of the artist but excluding actual artists from acting within it, the curator was consecrated as the exclusive mediator of art in high culture. Chapter two relates how the hegemonic power of curators stimulated artists to protest. The hybridization of the role of the artist with that of the curator emerged as a critical strategy in the twentieth century, elaborated by the historical avant-garde (Kurt Schwitters and Marcel Duchamp, excluded from the museum) and neo-avant-garde (Claes Oldenburg and Marcel Broodthaers, who succeeded in partially engaging with the curatorial field). As chapters three and four make clear, however, the artist/curator could not fully emerge until professionals had themselves allowed artists to take on some aspects of curatorship within the museum. This dissertation ultimately argues that the artist/curator strategy allows artists to maneuver within the economy of a relationship between artists and museum professionals - a relationship that had its roots at the origin of the modern museum, but had become rigid since the nineteenth century. The last two chapters closely analyze the curatorial vision of French artist Christian Boltanski and Canadian artist Irene F. Whittome, investigating two different approaches to this profoundly relational phenomenon.}, keywords = {Twentieth-Century Art}, author = {Blais, Catherine} } @mastersthesis {9948, title = {The intra muros Road System of Ancient Athens}, year = {2006}, school = {Toronto}, abstract = {This is a comprehensive study of the road system of Athens within the circuit of the classical city wall, from the geometric through the Roman periods, based both on the excavated remains and the literary sources. In the first chapter, the scope of the study, the spatial and temporal limits, the ancient and modern sources, as well as the methodology in mapping the excavated remains of streets are defined. The archaeological evidence is the focus of the second chapter, where the technical characteristics of excavated streets are discussed, especially road surfaces, retaining walls, drains and the dimensions of streets. By looking closely at the finds from road surfaces we can learn a lot about the history of the city itself. Chapter three provides a reconstruction of the street layout of Athens through a synthesis of the excavated material and a re-evaluation of previous theories. Especially significant in this regard is the relationship of city streets to the city wall. The fourth chapter deals with issues of urbanism, including means of articulating space such as terracing, crossroads and the function of streets as boundaries. The development of the street pattern is examined in relation to changes in the city plan caused mostly by encroachment and the constant conflict between public and private space. Literary and epigraphical sources on urban regulations attest to the importance of a well maintained road system and they also provide evidence for the social life of streets. In general, the road system constitutes an integral part of the city fabric, interwoven with the inhabitants{\textquoteright} daily life and state interest for urban management and public welfare. Streets as containers of social and religious activity carry significant symbolic value, which is further reflected in the few surviving names of streets. I have singled out three Athenian streets, the Peripatos, the Street of the Tripods and the Graberstrasse, for exploring issues of public display, collective memory and civic identity. The catalogue of excavated streets accompanies the main text and twenty-two plans illustrate the remains of streets in their topographical context.}, keywords = {Greek/Roman Art}, author = {Costaki, Leda} } @mastersthesis {9842, title = {The Invention of the Historic City: Building the Past in East Berlin 1970-1990}, year = {2006}, school = {MIT}, abstract = {The idea of a "historic city" is a rather recent phenomenon. As a conceptual framework, it evolved over the course of the 1970s and 1980s from the intellectual foundations of modernist urban design. This is especially well illustrated in East Berlin, where a heterogeneous group of politicians, architects, and scholars called for an urban environment that provides the individual experience of historicity. Their ideas were most prominently infused in a series of showcase projects built during the 1980s. For the celebration of Berlin{\textquoteright}s 750th anniversary in 1987, some of the long-despised late-19 th-century tenement neighborhoods were remodeled and fitted out with the insignia of historic every-day life. In addition, a number of representative architectural ensembles were built that made use of different historic styles. The invention of the historic city collapsed the memories of different historic periods into a generic notion of "the past." This process relied on a specific elasticity of the language employed by designers and theorists. Over the course of the 1970s and 1980s, terms such as preservation or reconstruction retained a positive connotation while simultaneously time undergoing a radical change in meaning. In the same way, the quasi-biological conception of the city as a body with a life cycle, where "obsolete" neighborhoods had to be regularly demolished, was gradually suspended. Through both remodeling and new construction, the East German leaders and their collaborators initiated a renaissance of once neglected neighborhoods, which after the German reunification became prime locations for upscale housing and retail. Construction policy before and after the German reunification therefore has to be seen as a continuous development rather than a break. Despite the different political and economic system in the German Democratic Republic, East Berlin design politics during the 1970s and 1980s paralleled the approaches in Western countries, where real and imagined urban history was increasingly commodified and marketed to local elites and tourists. The historic city also became the conceptual background for a widely practiced exegesis of historic residues, through which Berlin{\textquoteright}s middle classes claimed social and political legitimacy.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Urban, Florian} } @mastersthesis {9827, title = {In-Visible Colonies: Modern Architecture and Its Representation in Colonial Eritrea, 1890-1941}, year = {2006}, note = {ProQuest lists advisor as S. Nelson and publisher as UCLA only; CAA lists two advisors from different institutions: UCLA, S. Nelson; UC Berkeley, M. Fuller}, school = {UCLA}, abstract = {This dissertation observes the interface of the colonial and the modern in architecture, space, and culture in Eritrea during the period of Italian colonization from 1890 until 1941. Presenting an interrelated set of questions that beckon from registers of absence in colonial Africa, the project asks how modern architecture functioned as a representational device in the establishment of an Italian colonial identity in Asmara, the capital of Eritrea. The "empty places" of the African continent imagined by the Italians presented an opportunity to imbue the landscape, the indigenous body, with the permissive gaze of the colonial mission so too did the first instances of a colonial city{\textquoteright}s construction. A dynamic matrix of conflicting ideological and aesthetic considerations established during the formation of colonial Asmara serves as the foundation for this dissertation. While expanding vital historiographies of Italian colonialism and fascism, my dissertation illustrates how the elaboration of aesthetic codes in Asmara reinforced the creation of a modern empire. For the Italian colonies, these provisos overlap and diverge, providing a matrix of narratives that result in this project{\textquoteright}s new reading of the socio-political construction of space. Asmara embodies the twinned courses of modernity and memory, both of which frame heretofore unseen spaces in the colonial sphere. This project seeks to delineate those spaces marking the city{\textquoteright}s departure from the norms of Italian colonial engagement. Such narratives include, in the first chapter, early travelogues written by various authors in the colonies. In Chapter Two, I illustrate the evolution of public and private spaces in Asmara. Chapter Three, in turn, witnesses the modes by which the colonies were represented at colonial expositions in Italy. As a concluding chapter, I speculate on the notion of a colonial interieur as both a metaphor for colonialism and as a gendered site in the making of a colonial modernity. The project thus interrogates the interior of Asmara that is at once fascist and colonial and falls under the banner of a heterogeneous Italian modernism.}, keywords = {African Art (sub-Saharan), Architectural History/Historic Preservation}, author = {Anderson, Sean} } @mastersthesis {10008, title = {Jan Gossaert{\textquoteright}s Art of Imitation: Fashioning Identity at the Burgundian Court}, year = {2006}, school = {UC Santa Barbara}, abstract = {The paintings and drawings Philip of Burgundy (1465--1524) commissioned from Jan Gossaert (ca. 1478--1532) to depict for himself and his associates at court demonstrate the crucial complimentary roles the patron and artist played in weaving classical artistic style and ancient themes into Netherlandish culture. My dissertation, "Jan Gossaert{\textquoteright}s Art of Imitation: Fashioning Identity at the Burgundian Court," examines the artist{\textquoteright}s work and its reception in relation to humanist patronage, placing his imitative responses to Netherlandish and Italianate art within its original cultural matrix. To study how Gossaert appropriated and reworked his sources, I focus on a representative group of paintings and drawings he executed between 1508 and 1524. By analyzing rhetorical theories of imitation, historical texts, inventory records, diplomatic instructions, humanist letters, and court literature and poetry, I reconstruct the environment in which Gossaert{\textquoteright}s works originally functioned. Each chapter of my dissertation studies how Burgundian court patrons utilized Gossaert{\textquoteright}s imitative style to shape various aspects of their identities. In the first chapter, I demonstrate how Gossaert{\textquoteright}s painted and drawn portraits, following the stylistic conventions of the previous Burgundian court artist, Jan van Eyck, were central to the display, construction, and exercise of power. My second chapter is a study of Gossaert{\textquoteright}s drawings made after ancient sculpture and monuments during Philip of Burgundy{\textquoteright}s diplomatic mission to the papal court. Gossaert{\textquoteright}s drawings executed in Rome convey a hybridization of classical and Netherlandish styles that relate to Philip{\textquoteright}s appeals for Burgundian independence from papal authority. In my final chapter I discuss the paintings of mythological nudes Philip commissioned from Gossaert to depict while he served as admiral of the Burgundian fleet and bishop of Utrecht. As a comparative analysis with Philip{\textquoteright}s biography reveals, these paintings function as visual expressions of Philip{\textquoteright}s eroticized sense of self, demonstrating his military prowess and vehement opposition to clerical celibacy. By examining Gossaert{\textquoteright}s imitative style in conjunction with the social, political, and religious pursuits of his patrons, my dissertation better characterizes the multiple balances Gossaert struck between the Netherlandish and Italianate styles.}, keywords = {Renaissance/Baroque Art}, author = {Schrader, Stephanie} } @mastersthesis {10022, title = {Jean Fautrier{\textquoteright}s Resistance: Painting, Politics and the French Avant-Garde, 1930-55}, year = {2006}, school = {Columbia}, abstract = {This dissertation investigates the interplay between art and politics in the work of the artist Jean Fautrier. Between 1942 and 1945, Fautrier painted a series of works called Les Otages (The Hostages ), a group of approximately fifty works evoking anonymous French citizens who were rounded up and executed by the Nazis in retaliation for suspected resistance activity. The series was exhibited in Paris immediately after the war during the heyday of the epuration, a time when culture was closely examined for signs of either culpability or "appropriate" political engagement. A series of experimental essays written by three prominent literary figures, Jean Paulhan, Andre Malraux and Francis Ponge accompanied the exhibition. Responding to the political correctness of the epuration, these essays challenged the accepted standards of committed aesthetic practice and made Fautrier{\textquoteright}s work central to debates about the nature of art and politics in postwar France. The first chapter examines the nature of Fautrier{\textquoteright}s engagement with cubism, a relationship that radically changed the nature of Fautrier{\textquoteright}s pictorial production and lead to his comprehension of representation as a separate semiotic practice. The second chapter addresses his reception of surrealist strategies that challenge the production of stable identity, bringing him to reject a nineteenth-century model of unified subjectivity and artistic authenticity. The third chapter examines the Otage series, arguing that Fautrier{\textquoteright}s play with the materials of painting produces a radical strategy of subjective destabilization. Reading the Otage series through the work of the contemporary writer Georges Bataille indicates that Fautrier{\textquoteright}s aesthetic technique came to be seen by an important group of postwar writers as an alternative form of committed painting. The fourth chapter focuses on a group of essays on the Otage series written by Fautrier{\textquoteright}s avant-garde literary supporters, Malraux, Paulhan and Ponge, arguing that their discussions of the work of the artist cannot be separated from contemporary interests in the phenomenological nature of language. The fifth chapter examines Fautrier{\textquoteright}s postwar production, works made between 1945 and 1955, contending that it addresses the altered economic and social conditions of postwar France.}, keywords = {Twentieth-Century Art}, author = {Butler, Karen K.} } @mastersthesis {9852, title = {Landscape and Nature in American Prints: Transformations in Form and Meaning in the Work of Contemporary Women Artists}, year = {2006}, note = {Additional Subject: Drawings/Prints/Works on Paper}, school = {Indiana}, abstract = {This dissertation focuses on three issues that have been recently demanding the attention of artists and scholars around the world: the renovation of meanings in the use of landscapes and natural elements as subject matter for artworks, the increasing number of contemporary women artists that are becoming involved with the production of prints, and the expanding field of the medium with the incorporation of new technologies alongside the traditional means. Other graphic and more primitive means of making an imprint are also being explored in this medium. My aim is to point out the transformative approach developed by a number of contemporary women artists, both regarding the subject matter of nature and the visible world, as well as their use of the printmaking medium as essential sources for aesthetic discoveries. It is my belief that the anti-visual stance that has been flourishing since Post modernism is being challenged by the new figurative work produced by American women artists. They are bringing to the medium of printmaking the novel strategies employed in their works in different media, such as painting, drawing or large installations. I believe that time has come for a reappraisal of the printmaking medium as a vital source to register, document as well as to comment on the issues of the hands-on approach, the use of advanced photographic and digital technologies and their role in the creative imagination of practitioners. With their use of nature and landscape as tools for the disclosure of their personal aesthetic concerns in various media, these artists are reclaiming the power of vision to become a cognitive conduit between what we see, what we make and what we think. With their embrace of printmaking as a means to achieve their goals, American contemporary artists are presenting us with new aesthetic advances in this field.}, keywords = {Art of the United States, Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Haertel, Nilza} } @mastersthesis {9855, title = {Larry Rivers and Frank O{\textquoteright}Hara: Reframing Male Sexualities}, year = {2006}, school = {CUNY}, abstract = {In 1970, Sam Hunter complained that the distinctive persona of proto-Pop artist Larry Rivers had overshadowed his artistic achievement. "Too often he has been taken as an engaging public performer", wrote Hunter, claiming that some critics "make the mistake of confusing his irrepressible exhibitionism with an imagined artistic flaw of fitful or unsteady inspiration". 1 This dissertation presents an alternative proposition regarding the relationship between Rivers{\textquoteright} artistic persona and art: that an examination of Rivers{\textquoteright} numerous activities inside and outside the artistic arena, such as poetry, jazz, and media, is indeed useful for understanding his work. Particularly, Rivers{\textquoteright} involvement with young homosexual poets in the New York School, including Frank O{\textquoteright}Hara, proves crucial to Rivers{\textquoteright} artistic production during the 1950s and early 1960s. Rivers{\textquoteright} intimate and artistic partnership with O{\textquoteright}Hara set him in close contact with camp, the gay subculture, and historical references to homoeroticism in art and literature. Concentrating on Rivers{\textquoteright} and O{\textquoteright}Hara{\textquoteright}s collaborative years, this dissertation explores selected individual and collaborative works by Rivers and O{\textquoteright}Hara from the 1950s and early 1960s. These include Rivers{\textquoteright} early drawings from the late 1940s and his Washington Crossing the Delaware in 1954, which are discussed in conjunction with O{\textquoteright}Hara{\textquoteright}s writing The 4th of July in 1951 and "On Seeing Larry Rivers{\textquoteright} Washington Crossing the Delaware" in 1955; Rivers{\textquoteright} portrait O{\textquoteright}Hara in 1954, which is addressed with O{\textquoteright}Hara{\textquoteright}s "Homosexuality" in 1954 and "In Memory of My Feelings" in 1956; and, finally, Rivers{\textquoteright} and O{\textquoteright}Hara{\textquoteright}s collaborative projects, from Try! Try! in 1953 to Stones, a ten-part lithograph series created between 1957 and 1960. The purpose of this examination is to locate parallels, influences, and interactions between Rivers{\textquoteright} and O{\textquoteright}Hara{\textquoteright}s works and then to consider their treatment of the self and male sexuality from various angles---theories of camp, theoretical discussions in gay/lesbian studies or queer theory, and the historical context of the 1950s. The particular emphasis is placed upon how Rivers{\textquoteright} and O{\textquoteright}Hara{\textquoteright}s depictions of the male nude and the image of male intimacy were forged against the distinction between high art/literature and the gay subculture or between "normality" and "abnormality" in male sexualities. 1 Sam Hunter, Rivers (New York: Harry N. Abrams/Meridian Books, 1971), 11.}, keywords = {Art of the United States, Critical Theory/Gender Studies/Visual Studies}, author = {Koh, Dong-Yeon} } @mastersthesis {9916, title = {Late Gothic Architectural Monstrances in the Rhineland, c. 1380-1480: Objects in Context}, year = {2006}, school = {Penn State}, abstract = {Between c. 1380 and 1480, nearly every church in Middle Europe (an area encompassing modern-day Germany and large areas of its neighbors) acquired an elaborate, expensive architectural Host monstrance. In the Rhineland, most of these monstrances remain in the churches for which they were made, and most of them originated in the city of Cologne. The display of a monstrance indicated that the Host wafer inside was consecrated, and individuals who gazed upon the Body of Christ found that the rock crystal vessel (which visually magnified the Host) and the complex architectural framework, improved their devotional experience. Far from being a simple accessory used in the Corpus Christi liturgy, the monstrance was the focal point of processions and liturgical celebrations. Unlike chalices and other liturgical vessels that were used every day, the monstrance was used only at certain times of year, and then with great pomp. I present the late gothic monstrances produced in the Rhineland between c. 1380 and 1480 as they might have been seen and understood in their own time. To this end, I examine the identity and motivations of their patrons, their monetary and symbolic value, the circumstances of their commissioning and production, their liturgical and processional use and their reception.}, keywords = {Decorative Arts/Textiles/Design History, Early Medieval/Romanesque/Gothic Art}, author = {Bruhn, Heather Mccune} } @mastersthesis {9896, title = {Laughter and Cultural Pessimism: The Joke in West German Art, 1974-1989}, year = {2006}, school = {CUNY}, abstract = {This dissertation examines the work of a generation of West German artists who launched their careers in the late 1970s. Georg Herold, Martin Kippenberger, Albert Oehlen and Rosemarie Trockel first gained public notice in the art scenes of Berlin, Cologne and Hamburg. Their earliest projects were carried out in the wake of the so-called Tendenzwende, a term used in the mid-1970s to describe a shift in the West German socio-political climate. Scholars and journalists alike took note at the time of the widespread perception that the protest movements of the 1960s had failed to enact lasting social transformation. The resulting conservative political retrenchment and escalating anxieties associated with domestic terrorism of the 1970s had repercussions across the breadth of cultural production. Artists who came of age after the onset of post-sixties pessimism no longer heeded the earlier calls for a brighter future, instead prioritizing jokes, semantic obscurity and linguistic play over clear political messages. The comedic and ironic visual language dominant in much of the art produced from the mid-1970s through the 1980s is closely linked to the contemporaneous discourse around postmodernism. It is thus subject to the same sense of doubt and ambiguity that marks this period. The works of art under consideration have occupied the space between vincisive criticality and what the critic Diedrich Diederichsen has called the "Coming Of Cynicism." In the process, the artists have experienced both the advantages and pitfalls of jokes: they can function as highly valuable tools, affording a degree of conceptual flexibility that allows conflicting meanings to be communicated with great subtlety. However, they can also lead to complicity with the object of critique, serving merely to reinforce the status quo. Divided into six chapters, the dissertation examines jokes and humor from several standpoints: the historical situation of West German culture in the 1970s; the generational move toward humor in the 1980s; the importance of social context in the formation of jokes; the ways in which the art object prompts different types of laughter; the unstable relationship between the artist and the audience; and the divisive critical reception that the work inspired.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Williams, Gregory H.} } @mastersthesis {9882, title = {Layers of Being: Bodies, Objects, and Spaces in Warring States Burials}, year = {2006}, school = {Chicago}, abstract = {The art of ancient China is largely constituted by artifacts retrieved from the grave, but this does not meant that these objects should be construed as merely {\textquoteright}grave furnishings{\textquoteright}---artifacts that were made specifically and exclusively for burial. The burial merely marked the end of the object{\textquoteright}s social life. Regardless, whether the object was a personal item with a lengthy and varied past life, or a piece of funeral paraphernalia with a brief and rigidly prescribed life, or even a surrogate burial artifact, one of its most significant moment came during the funeral. Focusing on a group of fourth century burials from the Changjiang River valley, lying in the lands near the ancient capital of Chu (ca. 450--278 BCE), the present study identifies this moment for burial furnishings, whose meanings appear to be generated out of the funeral by the participants and not exclusively within the grave. The graves from Chu are preserved in near pristine condition, containing tangible traces of their packaging retained in the cloth shrouding, bamboo-plait boxes, hemp and silk bindings, and wooden coffins. Equally important, these tombs are organized through the layers of shrouding and multiple nesting coffins as strata of objects and spaces, encircling the body of the deceased, where each stratus marks another stage in the funeral, allowing us to literally unpack the ritual sequence of these burials. The spectacle of the funeral subjected these objects to a process of revealing and concealing, through the rites of shrouding, coffining, funeral procession, and the final rites at the side of the grave. In this sense, the objects should not be viewed not as bearers of transcendent meanings, permanently encoded into styles and forms, but rather as objects encrusted with meanings, which attached themselves through the funeral and burial rites. By studying the funeral and gifting practices associated with the funeral, this thesis describes layers of signification found in these objects that bind the living with the dead.}, keywords = {Chinese Art}, author = {Beckman, Joy} } @mastersthesis {9889, title = {Learning New Painting from Japan and Maintaining National Pride in Early-Twentieth-Century China, with Focus on Chen Shizeng (1876-1923)}, year = {2006}, school = {Maryland}, abstract = {In the early twentieth century, many Chinese painters went to Japan to study. This dissertation argues that, despite learning from Japan, these artists sought to create a better future for Chinese painting. They did not desire to create a single kind of "Eastern painting" with their Japanese counterparts. The Chinese had long claimed a kind of cultural superiority, called Sino-centrism, which did not diminish in the early twentieth century. The Japanese, however, developed a kind of thinking termed pan-Asianism, in which Asia was considered a unity, and Japan, its leader. Because of this difference, the similarities between Chinese art and Japanese art in the early twentieth century cannot be interpreted as the emergence of an "Asian art" because the Chinese did not endorse Japanese pan-Asianism. Li Shutong was one of the first Chinese painters to visit Japan to learn Western-style painting. Gao Jianfu, founder of the Lingnan School, went to Japan to learn painting and returned with the style known as Nihonga a synthesis of traditional Japanese painting and Western-style painting. Chen Shizeng was a traditional painter of the scholar class. He also went to Japan to study. But he studied natural history, not painting. Chen Shizeng was most active during the May Fourth Movement of the late 1910s and early 1920s, when radicals wanted to abandon traditional Chinese culture. They called for a total adoption of Western culture. Although Chen Shizeng was open-minded to Western culture, he chose to defend traditional Chinese literati painting. His translation of Japanese scholar Omura Seigai{\textquoteright}s essay The Revival of Literati Painting was part of this defense. Chen Shizeng was strongly influenced by his teacher Wu Changshuo (1844--1927). He was inspired also by other great Chinese painters of the past, and he adapted some Western methods that he learned in Japan. However, the Japanese influence in his painting should not be interpreted as his attempt to create an "Eastern art" in collaboration with Japanese painters.}, keywords = {Chinese Art}, author = {Lai, Kuo-Sheng} } @mastersthesis {9960, title = {Learning New Painting from Japan and Maintaining National Pride in Early Twentieth-Century China, with Focus on Chen Shizeng (1876-1923)}, year = {2006}, school = {Maryland}, abstract = {In the early twentieth century, many Chinese painters went to Japan to study. This dissertation argues that, despite learning from Japan, these artists sought to create a better future for Chinese painting. They did not desire to create a single kind of "Eastern painting" with their Japanese counterparts. The Chinese had long claimed a kind of cultural superiority, called Sino-centrism, which did not diminish in the early twentieth century. The Japanese, however, developed a kind of thinking termed pan-Asianism, in which Asia was considered a unity, and Japan, its leader. Because of this difference, the similarities between Chinese art and Japanese art in the early twentieth century cannot be interpreted as the emergence of an "Asian art" because the Chinese did not endorse Japanese pan-Asianism. Li Shutong was one of the first Chinese painters to visit Japan to learn Western-style painting. Gao Jianfu, founder of the Lingnan School, went to Japan to learn painting and returned with the style known as Nihonga a synthesis of traditional Japanese painting and Western-style painting. Chen Shizeng was a traditional painter of the scholar class. He also went to Japan to study. But he studied natural history, not painting. Chen Shizeng was most active during the May Fourth Movement of the late 1910s and early 1920s, when radicals wanted to abandon traditional Chinese culture. They called for a total adoption of Western culture. Although Chen Shizeng was open-minded to Western culture, he chose to defend traditional Chinese literati painting. His translation of Japanese scholar Omura Seigai{\textquoteright}s essay The Revival of Literati Painting was part of this defense. Chen Shizeng was strongly influenced by his teacher Wu Changshuo (1844--1927). He was inspired also by other great Chinese painters of the past, and he adapted some Western methods that he learned in Japan. However, the Japanese influence in his painting should not be interpreted as his attempt to create an "Eastern art" in collaboration with Japanese painters.}, keywords = {Japanese/Korean Art}, author = {Kuo-Sheng, Lai} } @mastersthesis {9853, title = {The Legacies of Marcel Duchamp and Vladimir Tatlin in Dan Flavin{\textquoteright}s Fluorescent Light Installation in the 1960s}, year = {2006}, school = {UIUC}, abstract = {My dissertation is a critical investigation of the historical legacies of the two important historical avant-gardes, Marcel Duchamp and Vladimir Tatlin, in Dan Flavin{\textquoteright}s fluorescent light installations of the 1960s. In the early decades of the twentieth century, Duchamp{\textquoteright}s ironic, industrial readymades and Tatlin{\textquoteright}s utopian, socialist project constituted two extreme reflections on the dialectics of industrial mass production and subjective aesthetic creation. Flavin himself made recourse to these two predecessors. Flavin{\textquoteright}s "monuments" to V. Tatlin directly referred to Tatlin{\textquoteright}s The Monument to the Third International (1919-1920), and his artistic practice, in which the readymade destabilized the notion of the autonomous work of art, was an indirect response to Duchamp{\textquoteright}s nominalist strategy. In my dissertation I contend that Flavin{\textquoteright}s art is a unique assimilation of and ironic comment on the legacies of Tatlin{\textquoteright}s socialist enterprise of expanding sculpture into architecture and Duchamp{\textquoteright}s epistemological inquiry about the definition of art. The historical reception of the two predecessors{\textquoteright} art and its critical ramifications for the New York art world in the late 1950s and early 1960s constitute a more specific framework of my investigation. I shed critical light on the New York art scenes in which young artists revisited Duchamp{\textquoteright}s conceptualist practice and Tatlin{\textquoteright}s materialist dictum during this period, particularly focusing on how the cultural knowledge about them was mediated to Flavin. Along with the larger socio-cultural context, I also address Flavin{\textquoteright}s personal motivations and his idiosyncratic personality that shaped his unique literalist materialism and lurking transcendental impulse. By investigating Flavin{\textquoteright}s complex response to the legacies of Duchamp and Tatlin, I critically examine the ways in which Flavin{\textquoteright}s art contributed to a recovery of Russian Constructivist art in 1960s American art and expanded the horizon of cultural practice employing the Duchampian readymade. In exploring the contingent light-field or what Flavin called "situations," I critically analyze a unique sense of historical consciousness embodied in the phenomenological field of ambient light.}, keywords = {Art of the United States, Contemporary Art, Twentieth-Century Art}, author = {Jung, Eun Young} } @mastersthesis {9947, title = {Lights, Camera, Art: John Baldessari, Ed Ruscha, and Hollywood Film}, year = {2006}, school = {CUNY}, abstract = {In the past decade there has been an interest in contextualizing the loose group of practices and practitioners that comprise American Conceptual art both within a sociopolitical context and within strictly visual traditions, especially photography. Prior to this, Conceptual art was broadly defined as an inward-looking, self-contained semiotic circuit, in which ideas or concepts behind a work of art are more important than the resultant art object. Scholarship also gave more weight to East Coast art and to works with theoretical tendencies. My project is an extension of this revisionist trend regarding Conceptual art. It investigates the affinities between the work of California Conceptual artists John Baldessari{\textquoteright}s (b. 1931) and Ed Ruscha{\textquoteright}s (b. 1937) art and another---commercial---art form: Hollywood films made from 1930 to 1960. I use film theory to expose the works{\textquoteright} structural and sociological links to film. Narrative theory is used to discuss the artists{\textquoteright} films and videos; semiotic theory is used to discuss Baldessari{\textquoteright}s photocollages; and apparatus theory is used to discuss Ruscha{\textquoteright}s paintings. A brief comparison of Hollywood and the art world in the 1960s reveal that both were transforming as a result of similar pressures. As Hollywood shifted away from studio-system dominance, the art world began to function more like the world of commerce. Baldessari and Ruscha successfully avoided the label of regionalists that was applied to previous generations of California artists and produced works tied to the Hollywood cinema. This analysis demonstrates the value of film as a commercial enterprise for elucidating major themes in both artists{\textquoteright} works. It prompts a reassessment of the work as commentary on the visual culture and commercial mechanisms of Hollywood. A by-product of this recontextualization is the identification of West Coast Conceptualism as more closely aligned with the increasingly commercial impulses of its East Coast counterpart.}, keywords = {Film/Video, Twentieth-Century Art}, author = {Riccio Henry, Bettina} } @mastersthesis {9887, title = {Literati Iconoclasm: Violence and Estrangement in the Art of Su Renshan (1814-ca. 1850)}, year = {2006}, school = {IFA/NYU}, abstract = {Su Renshan (1814-c.1850), a Cantonese painter active during the pre-Taiping Opium War interlude (1835-1860), represents a new type of artist emerging in the late eighteenth and early nineteenth century: highly original, ambitious and socially disenfranchised. Also distinctive is the site of his practice---the province of Guangdong, far from the traditional centers of power, where first the Opium War (1839-1842) and later the Taiping Rebellion (1850-1864) took place, catapulting the country into its modern era. The violence of his time provoked strong reactions from Su Renshan who used his paintings to criticize the government and the intellectual and moral foundations that it claimed for itself. His belligerent candour is believed to have been the reason for his exile and then later his imprisonment, during which is believed to have died at the age of thirty-six. This dissertation examines four different ways in which Su presents his visual arguments: his pictorial craft, themes of heroes and utopias, his painting{\textquoteright}s relationship to local Guangdong culture, and his thematization of female sociality. These four different areas not only touch on some of the pressing issues of Su{\textquoteright}s period, but also demonstrate the range of his creativity and achievement. Throughout, I emphasize the importance of religion, subjectivity and regional identity. Overall, this thematically organized monographic study of Su Renshan is intended to contribute to more focused and fertile discussions of the role of the artist in a rapidly changing Chinese world at the beginning of the difficult encounter with Western imperialism and modernization.}, keywords = {Chinese Art}, author = {Koon, Yeewan} } @mastersthesis {9844, title = {Live the Dream: The Rhetoric of the Furnished Model Home in Late 20th- and Early 21st-Century America}, year = {2006}, school = {Delaware}, abstract = {The professionally furnished model home is a primary marketing tool of the contemporary housing industry in America. These on-site, walk-through displays offer narratives of potential lifestyle and as such, stand as key promoters of idealized middle-class values. This study is a consideration of the rhetoric of furnished model homes and how these spaces assist in establishing culturally perceived norms while denying social, cultural, and economic realities. It explores how model homes are used as symbols that market social identity and the ways in which artifacts shape, and are shaped by, communally driven perceptions of middle-class values. This dissertation explores the methods and meanings of the constructed narratives of the model home at the turn of the twenty-first century to articulate how specific values are communicated and received in presentations of domestic space and the process by which the symbolic nature of material goods is enlisted to market a particular style of family life and social interaction. The paper pursues two goals: first, an increased understanding of the methods utilized by the building industry to market idealized values, and second, an interpretation of the model home within this context. This study begins by locating the origin of the ideals promoted in the furnished model home in order to establish the historical context of the model home in the United States. Drawing on theories of status and symbolism embodied in objects of everyday life, it then looks to specific examples of presentation in order to illuminate the participatory and coercive elements in the design, presentation, and reception of middle-class single family, speculative housing in America. It also examines the hierarchical division of domestic space and considers the gendering of spaces within these constructed domestic environments as presentations of the ideal American family at the turn of the twenty-first century. Most significantly, this study queries the ideological nature of artifacts (buildings, furnishings and decorative details) as agents of social value.}, keywords = {Architectural History/Historic Preservation}, author = {Avitts, Ellen} } @mastersthesis {10002, title = {Local Terrains: The Small Landscape Prints and the Depiction of the Countryside in Early Modern Antwerp}, year = {2006}, school = {Columbia}, abstract = {This dissertation reexamines the Small Landscape prints, two series of views of the local landscape around Antwerp published by Hieronymus Cock in the middle of the sixteenth century. Previously, art historical scholarship has focused on the anonymous designer of the compositions. In this study, greater attention is paid to the publisher Hieronymus Cock, who played a determining role in the production of the prints. Cock{\textquoteright}s emphasis on landscape prints indicates how radical and prescient his commercial aspirations for printmaking were. A close examination of Cock{\textquoteright}s potential audience for the Small Landscapes reveals that the prints had cultural as well as aesthetic value for their purchasers. As Antwerp{\textquoteright}s urban citizens increasingly turned to the countryside as a place for both economic investment and spiritual refreshment, the prints helped to define urban understandings of and attitudes toward the local landscape. By situating the prints within this cultural context, the significance of the local landscape---imagined, represented, and real---comes into focus. The Small Landscapes resurfaced in the seventeenth century as new publishers eagerly reissued them. An assessment of the later edition of the Small Landscapes reveals not only the complex publication history of the prints, but also their changing cultural meaning in the seventeenth century. The Eighty Years{\textquoteright} War between Spain and the rebel Northern Provinces devastated the Brabantine countryside. In the aftermath of this destruction and wastage, the Small Landscapes developed new visual and cultural resonances. Indeed, in the fourth and final edition of the prints, published in Antwerp in the 1630s or 40s, the plates were substantially altered to reflect contemporary artistic tastes and larger socio-cultural trends. In the seventeenth century the Small Landscapes also exerted a powerful influence on other artists. An examination of their artistic afterlife clarifies the importance of the prints for the development of a distinctly vernacular landscape idiom both in the Southern and Northern Netherlands, shedding light on the continuing centrality of the local, both as an historical concern and as a category of artistic representation.}, keywords = {Renaissance/Baroque Art}, author = {Onuf, Alexandra} } @mastersthesis {9942, title = {Locality and Community in Old Kingdom Provincial Tombs: The Cemetery at Gubbet el Hawa}, year = {2006}, school = {IFA/NYU}, abstract = {This dissertation examines a group of rock-cut tombs in an Old Kingdom (c. 2680-2190 BCE) provincial cemetery called Qubbet et Hawa, associated with the ancient town of Elephantine (modern Aswan). These elite tombs share a unique system of image and text programs; this system has three distinct characteristics: (1) the layout of the programs in small areas of carved relief, (2) the stylistic diversity among the images, and (3) the thematic focus of the scene content on identified offering figures. Using an agency-based method, this dissertation argues that this program system is the intentional and meaningful product of the tomb owners, artisans, and local community at Elephantine. The introduction outlines the methodological approach to the material, including sections on data and context, agency and structure, and locality and community. Chapter 1 describes the social and historical context in which the tombs were built, and Chapter 2 presents the relevant data including the composition of the cemetery and its setting in the local landscape, a definition of the program system, and a scene-by-scene description of each tomb program. Chapter 3 examines the stylistic diversity among the images and explores the meaning of stylistic variation within Egyptian visual culture. Chapter 4 investigates the relationship between the programs{\textquoteright} thematic focus on identified offering figures and the theme of identity, both of individuals and of the community. In conclusion, the dissertation argues that this community of people, existing far from the capital of their country and in proximity to the competing Nubian culture, intentionally developed visually unique monuments in an effort to satisfy their need to define and express a local community structure that brought order to their particular section of the chaotic universe.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Vischak, Deborah} } @mastersthesis {9905, title = {Longing for Nothing: On Kawara and Yoko Ono}, year = {2006}, school = {UCLA}, abstract = {On Kawara and Yoko Ono, two Japanese-born artists, came to terms with their traumatic memories of the Second World War and its aftershock through alternative artistic means, which are explored in this dissertation from a two-fold perspective. The first has to do with the war and postwar Japanese society as the troubled reality the two artists strove to overcome in their work and life. The second context deals with the reception of their work within the canonized narrative of Conceptual art, which ignored the extent to which these artists were caught up with the postwar history of their homeland. Concomitant to this are the philosophical and ethical concerns raised in the discourse on the Holocaust, an increasingly universal symbol of historical trauma. Chapter I focuses on Kawara{\textquoteright}s Bathroom series in terms of Freudian psychoanalysis of the uncanny. In Chapter II, Kawara{\textquoteright}s decades-long projects of Date Paintings are explored within the context of traumatic realism. Chapter III turns to Yoko Ono, and accounts for Ono{\textquoteright}s multiple manifestations of her poetic texts in terms of the fundamental loss of communal unity and the structural impossibility of representation. In Chapter IV, her sound and vocal experiments are theorized in relation to the abject and poetic language as conceived by Julia Kristeva. Despite the drastic disparity in aesthetics as well as in the public persona of these two artists, traces of horror and anxiety surrounding the political atrocities of the late twentieth century persistently emerged from their practices in distinct but inherently connected forms of fragmented text, inconsistent narrative, and perceptive disruption. The analyses of the artworks in this dissertation are thus concerned not so much with iconic representation or referential subject as with the formal structure of the work. The core connection of the apparently unrelated projects of Kawara and Ono lies in the ultimate shattering of ontological belonging, and the ways in which the trauma of the lost community is reenacted to assume psychophysical effects against the very social circumstances that produced them. The objective of this dissertation is to reinstate the political potential of conceptual aesthetics in its current predicament.}, keywords = {Contemporary Art}, author = {Woo, Jung-ah} } @mastersthesis {9931, title = {Looking At the Smithfield Decretals (London, British Museum, Royal Ms. 10e. Iv) through the Lens of Medieval English Law}, year = {2006}, school = {Stanford}, abstract = {The Smithfield Decretals (London, BL Ms. Royal 10E.iv, C 1340) is a well known book traditionally appreciated for the vividly painted trail of images that run along the bottom of almost every page depicting narratives from the Old Testament, saints{\textquoteright} lives, fabliaux, and "everyday life." Although the book has been mentioned in art historical stylistic and iconographic studies, it has not, until recently, received sustained attention that treats it as a complex and integrated object pertaining to law. The present study attempts just that. After a history of the literature and statement of approach, Chapter One explores the state of the book when it arrived in London, before work was begun on its larger illustrative campaign. This is the space the London designer and artists worked in, and it distinctly invoked matters jurisprudential. The next two chapters cover medieval English legal culture, especially in its {\textquoteright}lived{\textquoteright} aspect. Chapter Two examines the legal culture of the late eleventh century, when both the canon law and the common law of England were taking on their distinctive shapes. Although legal habits formed then would be much altered by the fourteenth century, they were by no means forgotten; they would, in fact, be an object of nostalgia. Chapter Three entertains the legal culture of the fourteenth century, again concentrating on its lived aspects. It measures the quick and profound legal change of late thirteenth-century England and notices the manifestations of an active recollection of earlier and nearly vanished forms of justice. The final chapter of the study returns to the Smithfield Decretals and to the London illustrative campaign. As the designer and artists made their way through this enormously long legal codex, putting down five different registers of imagery on nearly every page, their perception of their work changed. This later chapter calls out patterns, measuring them against the legal culture in which the designer and artists lived and worked. The study ends with a brief conclusion.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Barnes, Denise} } @mastersthesis {10000, title = {Lucas Moser{\textquoteright}s St. Magdalene Altarpiece: Solving the Riddle of the Sphinx}, year = {2006}, school = {Indiana}, abstract = {Once described as a "sphinx that beckons with a thousand riddles" this dissertation presents a new understanding of some of the controversial topics surrounding Lucas Moser{\textquoteright}s St. Magdalene Altarpiece (1432), one of the most important paintings from the late Gothic period in Germany. While interest in this altarpiece has declined in recent decades because of a lack of historical documentation, this study proposes new interpretations for many of its puzzling features by critically examining earlier research in light of more recent findings. This study contributes to the literature on the St. Magdalene Altarpiece and its artist by expanding the formal focus of earlier research to a largely contextual consideration of the work, emphasizing the importance of local and regional influences as well as broader historical factors in shaping its function, iconography and later renovation. One feature of the altarpiece considered in this study is the function of the St. Magdalene Altarpiece{\textquoteright}s indulgence inscription. Challenging its relationship to an established Mary Magdalene cult, this identifies the St. Magdalene Altarpiece as an "indulgenced media" whose purpose was to advertise indulgence privileges held by the church at Tiefenbronn. Concerning the subject matter of the altarpiece, this dismisses the suggestion that French influence motivated the selection of Mary Magdalene, emphasizing instead her popularity in Germany and the distinctively German character of the work{\textquoteright}s iconography. Also considered in this study are the contextual factors surrounding the sixteenth-century renovation of the St. Magdalene Altarpiece. Motivated by a larger program of redecoration in the church at Tiefenbronn this demonstrates that the heirs of the altarpiece renovated it to stay abreast of new stylistic trends. Reflecting the growing taste for large scale altarpieces, the shrine was enlarged and its former contents replaced with a larger sculpture. Turning to the artist, rather than emphasizing foreign influences on Moser{\textquoteright}s style this study offers new evidence for his stylistic ties to the art of his native southwest Germany. Also relevant for understanding the artist, another topic addressed is Moser{\textquoteright}s inscription. Rather than viewing his so-called lament as an acknowledgment of his artistic weakness, how it reflects his artistic ability and intellectual aspirations is considered.}, keywords = {Renaissance/Baroque Art}, author = {Morris, Amy} } @mastersthesis {9904, title = {Making God{\textquoteright}: Incarnation and Somatic Piety in the Art of Kiki Smith}, year = {2006}, school = {Maryland}, abstract = {This dissertation examines the ways in which the art of Kiki Smith (b. 1954) implements traditional Catholic material culture and ritual through its propensity, in both subject and materiality, to incarnate spiritual ideas and encourage somatic responses to it. It also considers the ways in which Smith{\textquoteright}s ambivalent attitudes towards Catholicism inform her work. Born and raised a Catholic, but no longer practicing, Smith values the material imaging of spiritual conditions, and her myriad assessments of the human form affirm her commitment to expressing sacred experience through physical means. However, while embracing Catholicism{\textquoteright}s incarnational imagination, as particularly manifest in medieval art, Smith also disputes the present-day Church{\textquoteright}s marked opposition to art that mingles the sacred and profane. The majority of scholarship has positioned Smith{\textquoteright}s body-based art within the context of the heightening politicization of the American art scene during the late twentieth-century, when arguments over the body and its ideological boundaries dominated political, social, and cultural discourses. While critical to understanding Smith{\textquoteright}s work and its influences, viewing it from a vantage of body politics and/or feminism alone drastically limits the scope of her work, obscuring the nuanced findings that can be realized when viewing such issues and their dynamic intersections within a framework of spiritual inquiry. Furthermore, this examination of the spiritual significance of Smith{\textquoteright}s art addresses a significant lacuna in American art scholarship, as scholars recognize the need for further study in the field of the visual culture of American religions. While Smith{\textquoteright}s work has caught the attention of a wide and far-reaching audience of art critics and scholars, few have thoroughly examined its spiritual dimensions, nor does the literature seriously consider how Smith{\textquoteright}s work constitutes American religious practice and experience. In articulating the interrelations between a selection of works from Smith{\textquoteright}s oeuvre and a series of historical and ideological frames, all of which negotiate the recent burgeoning of interest in contemporary art and religion in America and the ensuing debate over art{\textquoteright}s ownership and public funding, this study develops a fuller, more critical, and more theoretically-driven account of Smith{\textquoteright}s art production than has previously been assessed.}, keywords = {Contemporary Art}, author = {Wilkerson, Margaret} } @mastersthesis {10013, title = {The Making of Montefeltro: Patronage of the Arts and Architecture during the Reign of Federico da Montefeltro and Battista Sforza}, year = {2006}, school = {Bryn Mawr}, abstract = {"The Making of the Montefeltro" explores the way in which Federico da Montefeltro (1422-1482) and his second wife, Battista Sforza (1446-1472) adopted a program of patronage for all the arts and architecture to convey the magnificence of their court and celebrate the nature of their reign. The scope of my project requires that the court be studied as a whole; thus the dissertation combines a consideration of urban, architectural, and regional design (part I), with an examination of painting and sculpture, marquetry, furniture design, and even costume (part II), all of which, in the Renaissance, were central to rituals of life at the court and contributed to the notion of its magnificence. Federico, a highly paid mercenary, was often on campaign and thus away from the Montefeltro region and the palaces in Urbino and Gubbio that housed the court. During such absences, Battista ruled in his stead and this, together with the social legitimacy Battista brought to the marriage and her level of education, provided her with unusual power and influence for a woman in the Renaissance. While Battista focused on fashioning a framework of magnificence at the court, Federico designed a military perimeter-created from a network of rocche and castelli-that protected the region from their enemies. Part I explores the architectural framework of the court by first summarizing the history of the Palazzo Ducale in Urbino and then considers those courts throughout Italy-including those in Ferrara, Mantua, Milan, Naples, Rome, and Pienza-that influenced the design of the Montefeltro. Chapter 4 uses itineraries likely taken by the court to introduce particular settlements-including Gubbio, Fossombrone, San Leo, Pietrarubbia, Sassocorvaro, and Urbania and others-and the role they played in the defense of the Montefeltro. Part II looks more closely at the life of Battista Sforza, the role she played at the Montefeltro court and examines the arts and daily rituals at the court that, together with the architecture, conveyed the magnificence of the court, celebrated dynastic continuity, and commemorated the religious devotion and intelligence of the pair.}, keywords = {Renaissance/Baroque Art}, author = {Webb, Jennifer D.} } @mastersthesis {9875, title = {Mapping the Surface: Art and Modernism in Los Angeles, 1962-72}, year = {2006}, school = {Yale}, abstract = {This dissertation examines the work of three artists---Robert Irwin, Ed Ruscha, and Peter Voulkos---active in Los Angeles during the 1950s, 1960s, and 1970s. In the majority of accounts of postwar modernism, artists working in Los Angeles receive scant attention. This is because the traditional interpretive categories such as Pop art, Minimalism, or Conceptualism have been developed almost entirely in terms of the work of New York artists. Therefore, to position artists like Ruscha and Irwin within frameworks established for artists such as Andy Warhol or Frank Stella will always make the California artists{\textquoteright} work seem minor or regional. This thesis seeks to counter that double bind by developing interpretive approaches that grow out of the specifics of the work of Voulkos, Irwin, and Ruscha. These three artists were chosen in part because they were actively engaged in an ongoing dialogue with artists in New York and Europe, and if a commonality can be defined among them, it is a shared sensibility that, while certainly inflected by their residence in Los Angeles, is in no way limited to any particular region. This sensibility coalesced around several common concerns, the most important being craft, perception, and information. While on the surface, each of the artists would seem to represent one concern, I argue that all three were invested in these issues in sometimes surprising or counterintuitive ways. For Irwin, Ruscha, and Voulkos, the emphasis on craft, perception, and information was not abstract or strictly formal, but was instead connected to a range of contemporary theoretical, ethical, and social issues, which have been largely overlooked in previous criticism on these artists{\textquoteright} work. This thesis contends that through their work these artists were able to intervene in such crucial debates as the relevance of Zen philosophy to American art, the possibilities of producing objects that were not "art," the perceptual and ethical implications of certain models of depth or behaviorist psychologies, and the social consequences of specific information and urban theories.}, keywords = {Art of the United States}, author = {Perchuk, Andrew} } @mastersthesis {9951, title = {Masters, Pupils, and Multiple Images in Greek Red-Figure Vase Painting}, year = {2006}, school = {Ohio State}, abstract = {Little is known about Athenian vase-painting workshops of the 6 th through 4th centuries BC. Almost no references exist in ancient literature, and there are few archaeological remains besides the vases themselves. I examined the technical details of vase-painting "copies"---images of uncommon scenes on vases by painted different painters---and compared the steps in the painting process, (especially the preliminary sketches), to see if these could supply any information about workshop practices. The research revealed that there are differences in sketches executed by different painters, and that there were often obvious differences in the care exercised in the different steps of the painting process. When the different steps consistently exhibit different levels of skill in execution, this suggests that workshops were organized so that workers with few skills performed the tasks that demanded the least; more-skilled workers painted the less-important borders etc., and the most-advanced painted the figures. On a few vases the sketch lines were more skillfully executed than the paintings that overlay them. Further, in the case of the Marsyas Painter and the Painter of Athens 1472, more than one pair of vases with replicated rare scenes exists. This suggests that there may have been a "Master" in the workshop who not only painted vases himself, but drew sketches for other less-skilled workers, perhaps apprentices or pupils, to paint. If the sketches on different vases were all drawn by one draftsman but the paintings were executed by different painters, certainly they must have worked together. This system would explain the relationship between the many pairs of shared images in the work of the Marsyas Painter and the Painter of Athens 1472, and others who also produced duplicated pictures. The study concludes with a short list of duplicated images as suggestions for further research.}, keywords = {Greek/Roman Art}, author = {Hoyt, Sue Allen} } @mastersthesis {9986, title = {The Master{\textquoteright}s Touch: Frans Hals{\textquoteright}s Rough Manner}, year = {2006}, school = {Rutgers}, abstract = {Frans Hals{\textquoteright}s (1580/85-1666) rough manner has always been considered the defining feature of the artist{\textquoteright}s works. In 1648, for example, Theodorus Schrevelius wrote of Hals, "Nor can I let this pass in mute silence, Frans and Dirck Hals, brothers, of whom one excels almost everyone with the superb and uncommon manner of painting which is uniquely his. His paintings are imbued with such force and vitality that they seem to breathe and live."1 Squarely focusing on the way that Hals painted, Schrevelius{\textquoteright}s brief characterization succinctly captures the three-fold impact of the artist{\textquoteright}s painting---it was lively, unique, and masterful. Despite the recognition that Hals{\textquoteright}s distinctive handling was the defining feature of the artist{\textquoteright}s paintings in his lifetime, mine is the first study of the manifold functions and meanings of the painter{\textquoteright}s signature style. Hals{\textquoteright}s motivations for developing and implementing his signature rough manner as well as the reception of it are complex and multifaceted. My project interprets the uniqueness of Hals{\textquoteright}s approach to painting, the relationship of the rough manner to seventeenth-century aesthetics, the economic motivations and advantages of applying such a method, the operation of the style as a personal and workshop brand, and the apparent modernity of the artist{\textquoteright}s style. In sum, my dissertation seeks to understand the multiple levels on which Hals{\textquoteright}s consciously cultivated manner of painting operated for himself, his pupils and assistants, his clients, and succeeding generations of viewers. 1Theodorus Schrevelius, Harlemias ofte, om beter to segggen, de eerste stichtinghe der stadt Haerlem (Haarlem: Thomas Fonteyn, 1648), 383.}, keywords = {Renaissance/Baroque Art}, author = {Atkins, Christopher} } @mastersthesis {9898, title = {Matter, Presence, Image: The Work of Ritual in Contemporary Feminist Art}, year = {2006}, school = {UC Santa Barbara}, abstract = {Working across the fields of Art History, Religious Studies, and Women{\textquoteright}s Studies, this dissertation addresses the politics of representation, drawing on definitions and theories of ritual (from Anthropology and Sociology as well as Religious Studies) to articulate a framework for investigating performative and bodily representational practices in contemporary visual art. In particular, this dissertation examines practice-based approaches to the study of ritual that emphasize its political elements and effects, combining these approaches with theories of representation, and specifically mimesis, to propose that ritual is itself a political, and politicizing, representational practice. Then, working additionally with art historical understandings of body art from the 1960s and 1970s, the central elements of ritual as a representational practice---its performative engagements, its active use of the human body, and its reconfiguration of the contexts in which it takes shape---are traced in the work of three recent feminist artists, Ana Mendieta (1948-1985), Doris Salcedo (b. 1958), and Francesca Woodman (1958-1981). In particular, ritual conceived as a political and politicizing representational practice serves as a lens through which to consider the ways in which each of these artists herself explores a political issue in her artwork: the experience of dislocation and exile in the case of Mendieta, political violence in the case of Salcedo, and representation itself in the case of Woodman.}, keywords = {Contemporary Art}, author = {Adan, Elizabeth} } @mastersthesis {9945, title = {Maurice-Quentin de la Tour and the Triumph of Pastel Painting in Eighteenth-Century France}, year = {2006}, school = {IFA/NYU}, abstract = {Maurice-Quentin de La Tour (1704-1788) was one of the most successful and accomplished portrait artists in eighteenth-century France. He specialized in peinture au pastel, pastels that imitated the appearance of oil paintings, and his work in this medium helped it to achieve an unprecedented level of popularity in Europe (and one that the pastel medium has never regained, except perhaps in the late nineteenth century). As a member of the Academie Royale de Peinture et de Sculpture, La Tour displayed more than one hundred portraits in the Salons of the Academie Royale from 1737 to 1773---more pastels and more portraits than any other artist during the ancien regime. His bravado displays of talent and versatility were excellent forms of advertisement to attract potential patrons, as were his conspicuous displays of access to fashionable and important people. The range of his sitters of political and cultural significance---including Louis XV, Madame de Pompadour, Jean-Jacques Rousseau, and Voltaire---encompasses figures from the highest echelons of court power and the intellectual titans of his epoch. And yet he brings such figures down to earth, as it were: the proximity of his sitters to the viewer is emphasized through direct eye contact, gentle smiles, and, because the velvety texture of pastel evokes the feel of soft skin and luxurious fabrics more than any other medium, the tactile quality of the image. La Tour{\textquoteright}s ascendancy was made possible primarily through exhibiting at the Salon, but the artist was also a brilliant self-promoter outside this institution, and by mid-century had succeeded in styling himself as an urbane eccentric known for his intriguing, and sometimes audacious, behavior. A 1928 catalogue raisonne notwithstanding, there has as yet been no comprehensive monograph devoted to La Tour; this study addresses this need through a treatment of the biography and various art-historical contexts within which La Tour{\textquoteright}s career was established and flourished.}, keywords = {Eighteenth-Century Art}, author = {Hoisington, Rena} } @mastersthesis {9946, title = {Mechanical Reproduction and the Mechanical Philosophy: The Idea of Originality in Eighteenth-Century British Printmaking}, year = {2006}, school = {UC Santa Barbara}, abstract = {William Hogarth (1697-1764) extensively explores feminine, masculine, and asexual modes of generation and birth as metaphors for art making in his images and writings. The trope of reproduction references original creation and mechanical reproduction, two concepts at the center of debate in London{\textquoteright}s art world. The modern conceptualization of the body put forth by the mechanical philosophy, a scientific methodology that uses the machine{\textquoteright}s rational workings as a hypothetical model for explaining principles of structure and motion in organic things, is critical to his articulation of ideas about original printmaking. The mechanical philosophy imagines the body as a logical system of fixed parts with predictable functions, and it has ideological roots in the empirical practices of mechanical artisans. The overlay of the mechanical philosophy and engraving promises professional prestige to Hogarth, but to William Blake (1757-1827) it represents a rejection of God and restriction on man{\textquoteright}s creativity. Chapter One introduces engraving as a mechanical art based in handiwork and the imitation of nature as a means to create something original, and analyzes Hogarth{\textquoteright}s reproductive ballad seller characters in this context. In conjunction, Chapter Two considers Hogarth{\textquoteright}s criticism of the connoisseurs as merely being imitative of each other and intellectually unoriginal. Chapter Three briefly elaborates the importance of print originality to the professional image of print artisans and their participation in public discourse. Chapter Four focuses on images of pregnant women paired with pocket watches as indicative of Hogarth{\textquoteright}s rational approach to printmaking, and Chapter Five surveys his images that satire the connoisseurs{\textquoteright} faulty empirical skills. Chapter Six proposes that Hogarth{\textquoteright}s treatise The Analysis of Beauty is a mechanical explanation of his distinctly empirical rococo style. Chapter Seven examines Hogarth{\textquoteright}s {\textquoteright}brain children{\textquoteright} and other pregnancy metaphors in which the masculine artist{\textquoteright}s mind functions as a womb. The eighth and final chapter follows the concept of print originality through to the early nineteenth century by looking at Blake{\textquoteright}s rejection of the mechanistic methodology as a stifling impediment on the artistic imagination.}, keywords = {Eighteenth-Century Art}, author = {Mitchell, Elizabeth} } @mastersthesis {9899, title = {Medium{\textquoteright}s Collapse: Andy Warhol, Robert Gober, Matthew Barney and the Contemporary Object of Art}, year = {2006}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {Contemporary Art}, author = {McClure, Michael Jay} } @mastersthesis {9968, title = {Mexico{\textquoteright}s Crowned Virgins: Visual Strategies and Colonial Discourse in New Spain{\textquoteright}s Portraits of Crowned Nuns}, year = {2006}, school = {Tulane}, abstract = {Girls and women who entered the convent in New Spain and professed religious vows were said to become "dead to the world." This metaphorical death effectively made them the brides of Christ, and it was in this capacity that they were pictured in late colonial portraits painted at the time of their metamorphosis. Donning a religious habit, floral crown, and other accoutrements, these nuns were portrayed in the same manner that they appeared in death portraits. An inscription containing their biographical data usually appears within the composition. The portraits, therefore, are effectively divided into two parts: pictorial and textual. Nun{\textquoteright}s images engaged in the colonial discourse regarding the nature of Spanish America and its Creole inhabitants. Specifically, they visually expressed the popular belief that Spanish America was the site of the new earthly paradise whose most precious flowers were its virgin nuns. In addition to being regarded as naturally predisposed to mystical contact with God by means of their sex, nuns generally came from the same classes that were most affected by anti-Creole sentiments and policies exacerbated by the Bourbon Reforms of the late eighteenth century. Furthermore, their steadfastness in the face of religious reforms instituted by Spanish church officials identified them as a bastion of Creole corporate identity and cause for Creole patriotism. While the iconic quality of crowned nun portraits fulfilled Creole desires for Mexican religious images that expressed Creole excellence, the division of the portraits{\textquoteright} signifying field into pictorial and textual components effectively created a tension between the timeless and historical qualities of the nuns portrayed. Namely, while the pictorial component denotes the sacredness of the sitter the textual component localizes her by interjecting her historical data. This tension fulfilled Creole aspirations to simultaneously equate themselves to, and distinguish themselves from, Iberian Spaniards. This was achieved graphically by infusing the Spanish tradition of picturing deceased crowned nun with Creole themes. Textually, the portraits{\textquoteright} inscriptions bound their subjects to their homeland, claiming their excellence for Mexico. In sum, this dissertation examines the visual currency that these portraits had within the larger issues of identity formation and colonial discourse.}, keywords = {Latin American/Caribbean Art}, author = {Cordova, James} } @mastersthesis {10037, title = {Modernism into Memory: The Drawings of Eva Hesse}, year = {2006}, school = {Columbia}, abstract = {In order to discuss the drawings of Eva Hesse one must inevitably confront the issue of her biography. At the age of three, in 1939, the Jewish child Hesse, her sister and her two parents narrowly escaped Germany and were spared the Final Solution. Her life was tragic from the outset and her troubles lasted until her death. Hesse died of a brain tumor in 1970 at the age of 34. One cannot doubt that the subject of human mortality lingered in the artist{\textquoteright}s mind her entire life. Her career was short but immensely prolific. In her journals and speaking to others, Hesse always confessed a relationship between her art and her life. At the same time, in many ways her work stands entirely on its own. Hesse{\textquoteright}s career began and ended during late modernism in the United States. Hesse{\textquoteright}s beginning as an artist began in the traditional methods of studio art. She was trained as a modernist, and practiced modernist art throughout her career. Hesse was a humanist and she never relinquished her faith in the power of human expression. In every period of her drawings, as she shifted from one stylistic trope to another, this relationship remains evident. Because of the historical moment in which Hesse found herself during this late moment of modernism and the historical conditions of her life---having been spared the death camps but still living with the permanent trauma of cultural uprooting---there is much of Hesse{\textquoteright}s individual sensibility as it was conditioned by these factors that affected her relationship to modernist art. This dissertation examines the nature of abstraction in Hesse{\textquoteright}s art from the four major periods of her career in drawing: from 1960-1962, 1964-1965, 1966-1967, and 1968-1970. Hesse{\textquoteright}s sensibility is retrospective and deeply meditative. Trauma and loss are themes present in each period of these works. Hesse{\textquoteright}s foundation began in the expressionist mode; her first drawings as an independent artist turn to major themes in Abstract Expressionist art, although they reveal little, or nothing at all, of the movement{\textquoteright}s grandiose heroicism. Gesture and the control of line also are evident in the "Germany drawings" from 1964-1965; they appear as a unique conflation between abstract formal values and the odd biomechanical imagery of Marcel Duchamp. During 1966-1967, Hesse{\textquoteright}s drawings distantly, but also critically, relate to the grand moment of high modernism in Germany as it had evolved in the Bauhaus. In the very same way Hesse relates to earlier stylistic practices in the history of art here too her drawings seek to transcend, or redeem, the historical trauma that affected their development. The final drawings, the last one of which was made just before her death, suggest ending as a consequence of the gradual obsolescence of pictorialism in art. The drawings also bring to mind another sort of liminality as the subjective import of each represents a waning from self to selflessness, which, in the end, from 1968-1970, also comes across as a condition of loss, even death}, keywords = {Twentieth-Century Art}, author = {Werschkul, Hilda} } @mastersthesis {9885, title = {Monumental and Intimate Landscape by Guo Xi}, year = {2006}, school = {Princeton}, abstract = {The focus of this dissertation is Guo Xi (b. after 1000 A.D., d. before 1100), a painter considered to be one of the greatest in the history of China. At the heart of the thesis is my confirmation of a handscroll named Old Trees, Level Distance in The Metropolitan Museum of Art to be a work by Guo. Its historical context is elucidated with textual documentation, a group of poems written by Guo{\textquoteright}s contemporaries as colophons to his level-distance landscape handscrolls painted in the last decade of his life. The authors of the poems were pivotal statesmen of the Northern Song period (960-1127), Su Shi (1037-1101) and his circle of friends. As leading imperial painter at Emperor Shenzong{\textquoteright}s (r. 1068-1085) court, Guo Xi fulfilled commissions with large-scale ink landscapes for an architectural and public context. The spectacular Early Spring in the collection of the National Palace Museum, Taipei, is our best surviving example of his monumental work. My research has ascertained that Guo also made intimate paintings for his personal patrons after the death of the Emperor. These were shared between friends, and therefore had a social and private function. The Metropolitan handscroll, a small, autumnal scene, is likely such a work. The discovery of an intimate facet to Guo Xi{\textquoteright}s production changes our expectations of his artistic life. The issue of art historical transition in the late eleventh century is addressed here with further knowledge about Guo Xi{\textquoteright}s oeuvre. The organizing principles of monumentality and intimacy define Guo{\textquoteright}s two modes of work, as well as offer a framework for understanding Northern Song landscape as an increasingly important site of political authority and as a social medium of self-expression. This diversification of function is attributable to the rising status of painters and painting in public and private spheres during an era of institutional reform and political change. Avenues established for artisan-officers in the Academy system to achieve closer physical and rank proximity to the civil service, and the court{\textquoteright}s cultivation and preservation of cultural traditions like that embodied by the Li Cheng landscape lineage, in turn enhanced imperial prestige. The intimate scene (xiaojing) emerged in this context as a new category of landscape alongside the mainstream of court art, explored as the medium of artists across the class board---professional, aristocratic, and literati alike. Landscape was soon entrusted with personal and profound confidences.}, keywords = {Chinese Art}, author = {Foong, Ping} } @mastersthesis {9973, title = {The Moor{\textquoteright}s Last Sigh: Boabdil and the Black Image in American Orientalism, 1816-1893}, year = {2006}, school = {Chicago}, abstract = {This study analyzes the black image as it was portrayed in print and visual culture within the framework of "American Orientalism" in the nineteenth-century. By American Orientalism (a phrase obviously inspired by Edward Said{\textquoteright}s classic study), I mean the larger framework of racial and ethnic stereotyping that includes Hispanic-Moorish and Arab-Islamic elements, a framework that allows for a more nuanced and differentiated account of the "black image." Far from a simple or singular image, blackness in nineteenth-century North America is internally divided by strains of literary narrative and visual-verbal iconography drawn from European sources (especially the Moorish Conquest of Spain) and the presence of Hispanic-Moorish residues in the regional cultures of American territories, especially in the American South, and sites of intense creolization such as New Orleans. Washington Irving on the Alhambra, Charles Willson Peale and other antebellum artists on the figure of the Moor, Thomas Eakins and other post-bellum Gilded Age artists on the Moorish figure of the "New Negro" and, finally, Charles Briton and other artists on the figure of Moor in "carnival culture" proclaim the mystery and, above all, the demand for an imagined Orient. More than simply tracking the Islamic Other in American Orientalism, I suggest how artists and their contemporaries used these works to reconfigure the black image for new cultural circumstances and changing political projects. Given the Islamic Other{\textquoteright}s malleability and its conspicuous role in American culture, I postulate that this image-repertoire was embraced for its allegorical potential to contain, to mediate, or to break the spell cast over the slumbering black body---Moorish enchantment resonated with those concerned with the possibility of blacks awakening to marshal their collective strength against oppression. From Irving{\textquoteright}s hobgoblin Moors to Joseph Pennell{\textquoteright}s carnival devils, the black image of the Islamic Other invoked an apocalyptic spectacle of hell on earth. My study shows how the Afro-Islamic Other became established as an American cultural icon in the nineteenth-century, and the effect it had on racial attitudes, and national and foreign policy.}, keywords = {Nineteenth-Century Art}, author = {Brunson, James} } @mastersthesis {9972, title = {Morceaux d{\textquoteright}Amphitheatre: Science and the Sculpture of Auguste Rodin}, year = {2006}, school = {Pennsylvania}, abstract = {This dissertation undertakes the first examination of French sculptor Auguste Rodin{\textquoteright}s participation in the lively dialogue between the artistic and scientific communities of fin-de-siecle Paris. It demonstrates that science was an inspiration and a provocation for Rodin (1840-1917)---both a fresh and compelling source of ideas to exploit in his sculpture and a challenge to the primacy of artistic sensibility in interpreting nature. By exploring the impact of scientific discourses and technology on Rodin{\textquoteright}s oeuvre, this study arrives at radical new readings of his most important works and reveals that many of his innovations arose from a desire to prove that art held a greater claim to truth than science. Rodin used physiognomy and the related study of regional type to motivate sculptures---from intimate studies of hands to major commissions, such as the Burghers of Calais (1895) and the Monument to Balzac (1898)---but also subverted both discourses by forcing multivalent readings of the human form. Taking up the debate over the relative merits of scientific and artistic "accuracy" brought to the fore by the invention of chronophotography, he delivered the anatomically impossible pose of the Walking Man (1899) as art{\textquoteright}s bold riposte to the photograph{\textquoteright}s stilted depiction of movement and the passage of time. For his most important sculpture, Rodin appropriated the striking postures that characterized hysteria, to which he had exceptional exposure through his ties to the family and intellectual circle of Doctor Jean-Martin Charcot of the Hopital de la Salpetriere; divorced from its literal affliction and transposed into the seething space of the Gates of Hell (1880-1917), the contorted form of the body stricken with the "malady of the age" becomes an expression of eternal suffering. By manipulating and subverting scientific discourses and technology, the artist created a new and potent sculptural idiom that we recognize today as idiosyncratic of Rodin---and distinctly modern.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Ruiz-Gomez, Natasha} } @mastersthesis {9848, title = {Museum and Mosque: The Shifting Identities of Modern Iran}, year = {2006}, school = {Minnesota}, abstract = {This dissertation investigates identity, art, and architecture in twentieth-century Iran. Through case studies of two museums and a mosque in the capital city, Tehran, the project aims to elucidate the interdisciplinarity of identity formation and its relationship to nation building at three moments in Iran{\textquoteright}s modern history: the 1930s, during which the modern nation was designed; circa 1980, the years of revolution and the rising power of Islamism in Iran; and 2000 through 2004, part of the Khatami-era of reform. In particular, the research delves into the role of museums, their participation in the codification of various identities (and art categories), and the ways in which western epistemologies are negotiated in their design, collections, and exhibitions. What has ensued in Iran, and in many other nonwestern places, is a dichotomous understanding of modernity, placing "the modern" in opposition to "tradition." This binary has accrued increasing relevance over the course of the last century throughout the nonwestern and postcolonial world. This research begins to explicate the fallacy of this opposition, which has been garnering increasing ideological and political relevance in Iran. Through analyses of Iranian arts institutions, visual arts, and related discourse, this project demonstrates the polemical nature of artwork, exhibition, and dialog, indicating the ways in which the discourse continues to respond to and reify political rhetoric-however unwittingly. By dissecting varying strategies from mimicry to subversion, this research charts modern and contemporary artistic developments in Iran, not in relation to themselves or the west, but in tandem with national identity politics. Ultimately this dissertation shows that despite positioning by artist, curator, and politician, a century of dichotomous rhetoric has obscured the very real negotiations that highlight an Iranian modernity that is decidedly dynamic.}, keywords = {Art of the Middle East/North Africa}, author = {Eimen, Alisa} } @mastersthesis {10019, title = {A Museum for the Nation: Publics and Politics at the National Museum of India}, year = {2006}, school = {Minnesota}, abstract = {In the first three decades following Indian Independence, the National Museum of India was shaped as an institution which projected an image of the nation state, a surrogate for a national identity, and evidence of the country{\textquoteright}s modern status. This dissertation looks at the failures and successes of the museum as its directors and staff attempted to define these roles under the auspices of the national government. This work is an exploration of the museum{\textquoteright}s inception, the subsequent dynamics of its directors and their interpretations of its publics and politics, and the impact of international pressures on its meaning during this understudied period in India{\textquoteright}s museum history. It unpacks how multifarious definitions of "national" have been understood, negotiated and packaged within its galleries and within its rhetoric at this unstable time of national imagining.}, keywords = {South/Southeast Asian Art}, author = {Phillips, Kristina} } @mastersthesis {9984, title = {Mythologically Significant Structures in the Aztec, Maya and Mixtec: The Manifestation of Sacred Time and Space}, year = {2006}, school = {UT Austin}, abstract = {The construction of buildings to replicate specific places within the mythic landscape was a long-standing and widespread tradition in ancient Mesoamerica. This study moves beyond the identification of motifs that marked buildings as mythic, as it examines the messages communicated by these structures and evaluates the meaning and impact of mythic architecture within its historic and cultural contexts. An essential aspect of this study is the investigation of ritual dramas which reenacted episodes from creation narratives. By physically re-creating mythic locations and by re-actualizing mythic events, Mesoamerican communities manifested cosmogonic space and time so that the mythic was made present. Moreover, each building was constructed during a specific moment in time and at a particular location, and therefore it reflected and responded to particular historical realities. Because of this, Mesoamerican mythic architecture had a dual significance: both mythic and historic. Mythic architecture was an active force within the community: it communicated views concerning the origins of the world and the foundations of rulership and culture. It also made these concepts tangible within the historical world. Its very presence confirmed the reality of the mythic realm, thereby reinforcing and validating the culture{\textquoteright}s core constructs. Because these structures manifested the mythical landscape, they were particularly potent locations for the reenactment of mythological events. These mythic dramas took place in real time which placed the structure within a specific historical context. When it was the ruler who took on the identity of the creation deities during mythic performances, the blending of myth and history was most significant. In addition, mythic dramas were the means by which the populace could be directly integrated into the mythological narrative. By examining evidence of mythic architecture and mythic drama from different Mesoamerican cultures-with a particular focus upon Classic period Copan and the Postclassic Aztec Templo Mayor-this dissertation demonstrates how they reflected their specific cultural contexts and how different communities interacted with these structures in distinct ways. This study also provides new insight into the significance of these structures at specific places and times and suggests how mythic architecture reflected changing historical circumstances.}, keywords = {Pre-Columbian Art}, author = {Pope, Elizabeth Irene} } @mastersthesis {9843, title = {Mythologies of an Everyday American Landscape: Henry Ford at the Wayside Inn}, year = {2006}, school = {MIT}, abstract = {Ford purchased property in 1923 in Sudbury, Massachusetts in order to preserve an historic inn associated with the poet Henry Wadsworth Longfellow. Over the next twenty years, his mission expanded to create an idealized New England landscape and a way of living on the land representative of an American identity. This study will demonstrate that this change of intention is one which elevates a notion of collective memory over that of heroic history. It will also show that Ford{\textquoteright}s endeavor at the Wayside Inn represented not only his own private dialogue with a cultural landscape, but also was emblematic of a broader public engagement with the crafting of what it meant to be American in the early twentieth century. Finally, this investigation will illuminate Ford{\textquoteright}s collection of the American experience as an attempt to grapple with how to make an American community (both physical and social) that embraced American traditions and technological innovations without the latter obliterating the former.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Wortham, B. D.} } @mastersthesis {9840, title = {The New, the Old, the Modern. Architecture and Its Representation in Socialist Romania, 1955-70}, year = {2006}, school = {MIT}, abstract = {This dissertation examines how the architectural culture of postwar Romania participated in the socialist regime{\textquoteright}s attempt to construct a new and collectivist environment. The dissertation works from a close reading of examples drawn from three different domains of architectural practice: the architectural and urban design of the Floreasca housing district in Bucharest; the writings of the architectural historian Grigore Ionescu; and the photography of architecture in the magazine Arhitectura. A consistent set of aesthetic and discursive practices emerged from the interrelation between words, images, and actual buildings in each of these examples: the city as new unit of production, standardization, an attack on subjectivity and individualism, technological essentialism, and abstraction were all attributes of the architecture enlisted by the socialist regime in order to establish and consolidate its ideological identity. The dissertation challenges the received descriptions of the postwar artistic context of the Soviet Bloc as one dominated by anti-modernist tendencies, as well as the complementary assumption that, in Romania, the thriving modernism of the interwar years was brought to an end by the postwar socialist regime. On the contrary, this dissertation shows that many practices characteristic of the Modern Movement and Soviet Constructivism not only persisted, but also reached an unprecedented scale and intensity in the architecture of socialism in the late 1950s and 1960s. By considering the processes through which specific modernist tenets of the 1920s and 1930s migrated or persisted inside socialist Romania, the dissertation highlights the paradoxical condition of socialism{\textquoteright}s architectural culture: on one hand, socialism required its culture to be revolutionary, and therefore unprecedented; on the other hand, it heavily relied on undesirable capitalist precedents. The dissertation investigates how the tension between old and new was negotiated, thus exposing the ways in which aesthetic meaning was produced and controlled under totalitarian socialism.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Maxim, Juliana} } @mastersthesis {9971, title = {Northern Northwest Coast Spruce Root Hats}, year = {2006}, school = {University of Washington}, abstract = {The first objective of this dissertation was to rediscover and illuminate late eighteenth and nineteenth spruce root hat-weaving techniques that have perhaps been lost or neglected. The second was to conduct a broad survey of Sugpiaq (Pacific Yup{\textquoteright}ik), Tlingit, Haida, Tsimshian, Heiltsuk and Kwakwaka{\textquoteright}wakw spruce root hats with a goal of codifying features for use in regional basketry attribution. This was done while contextualizing explorers and ethnographers of the past, weavers of today, and the researcher. The hats discussed in detail in this paper reveal a wealth of weaving techniques which is valuable not only as an example for today{\textquoteright}s weavers (as was my original intent), but also in that it adds much to the record kept by early explorers and ethnographers. The voices of weavers have been intertwined with those earlier records, also amplifying what was said in the past, and providing other perspectives from which to view materials gathering, hat making, and the roles that hats have played in the lives of Native peoples of the northern Northwest Coast. While new terms have been introduced for use in identifying specific techniques, this paper has differentiated and provided detailed illustrations of many distinct techniques used to finish hats. It has also described in detail the features to examine when attempting regional or personal attribution. Several features unique to eighteenth century hats have been identified, and a chronology for hat making on the Northwest Coast has been established.}, keywords = {Native American}, author = {Glinsmann, Dawn} } @mastersthesis {9981, title = {Nouveau Realisme: Performative Exhibition Strategies and the Everyday in Post-WWII France}, year = {2006}, school = {Pennsylvania}, abstract = {This dissertation examines the exhibition strategies practiced by members of the Parisian-based group Nouveau Realisme in the context of French cultural debates concerning commodity spectacle, consumer consumption, and the transformation of everyday life. Working in a period of economic prosperity in France, the Nouveaux Realistes appropriated mass produced objects from their urban surroundings, following Duchamp{\textquoteright}s precedent in the readymade, and created an art directly linked to their specific social and cultural context. While Nouveau Realiste art objects physically evoked aspects of urban life, it was the artists{\textquoteright} interactive exhibition strategies that critically revealed the tensions between artistic production and its relationship to the everyday. I concentrate on a range of live-action events, environmental exhibitions, and visionary architectural projects that utilized transformative actions, the body, and the objects omnipresent in postwar daily life in order to question art world systems of valuation, while proposing new standards for what might constitute a significant event or aesthetic experience. Throughout this study the Nouveaux Realistes are placed in dialogue with other cultural producers, such as the Situationist International, who were simultaneously engaged in the struggle over the possible meanings for aesthetic production and the legacy of the pre-war avant-gardes. This critical contextualization brings to light shared themes and strategies that have been given insufficient attention in both historical overviews and monographic examinations of individual Nouveaux Realistes. I also challenge the ill-defined category of the "neo-avant-garde" under which Nouveau Realisme has continuously been grouped. By stepping outside the limited parameters of this category I draw attention to the more nuanced position taken up by the members; one that was never overtly critical of, nor simply complicit with the rise of consumer society. My study of Nouveau Realiste exhibition strategies offers a new interpretation of postwar European art that shifts focus away from analyses of overdetermined oppositions and repetitions (revolutionary avant-garde versus complicit neo-avant-garde, for example) and towards the examination of relative values, intellectual exchange, and experimentation that existed among artists in France and abroad during this crucial period of postwar artistic production.}, keywords = {Outsider/Folk Art, Twentieth-Century Art}, author = {Malone, Meredith} } @mastersthesis {9831, title = {The Origin, Development and Significance of the Female-Ancestor Masks among the Punu of Gabon}, year = {2006}, school = {Yale}, abstract = {The purpose of this essay is to trace back exhaustively three themes to explain mukudj, a masking tradition celebrated among several Kongo-related lineal groups in southwestern Gabon, to their elementary basis in the fifteenth-century Kingdom of Kongo and its history and cultural archetypes. Its themes are ethnography and history, religion and witchcraft and art and iconography. The retracements are repeated, or varied, for each of the several, Kongo-related lineal groups that celebrate mukudj. This is done-for two reasons: one, for the sake of completeness to examine mukudj among all the lineal groups who celebrate it; and, two, to increase the depth of our understanding of mukudj with discussions of the different ways a panoply of lineal groups came to celebrate the same masking tradition. At bottom two questions are asked throughout the essay: one, how can different lineal groups celebrate the same masking tradition unless, in fact, the groups are not really unique or the mask is not really the same mask; and, two, how can a men{\textquoteright}s society sincerely sponsor a core feminine icon of a matrilineal society? The answers to these questions, again, can be found in the history of the Kongo-related lineal groups of southwestern Gabon and in the explanations of their social structure and religious beliefs. The essay devotes many lines to iconography, for example, the dramatic use of the red-white-black color triad and the lozenge-shaped cicatrisations on the surface of the mask. It ties the red-white-black theme of mukudj back to the seminal expert in its use and meaning in Atlantic Central Africa, Anita Jacobsen-Widding, and to her explanations of Kongo spirituality and ideas about sorcery. It connects the lozenges to the jural meaning of mukudj and to the role of the mask to signify membership in the mythical clan structure of the Punu and other groups who celebrate it. Both of these arguments, too, relate to the ethnography of southwestern Gabon and the appearance of Kongo-related lineal groups there.}, keywords = {African Art (sub-Saharan)}, author = {Stringfellow, Gregory} } @mastersthesis {9926, title = {Originality as Repetition/Repetition as Originality: Daniel Hopfer (ca. 1470-1536) and the Reinvention of the Medium of Etching}, year = {2006}, school = {Pennsylvania}, abstract = {Daniel Hopfer developed and refined a new means of mechanical reproduction, making the medium of etching available for public consumption. Within the scholarship, he is credited with the reinvention of etching in Germany for the purposes of printmaking and is praised as an innovator, yet he is also maligned as derivative and labeled a mere craftsman. As a result, Hopfer{\textquoteright}s artistic personality has eluded clear explanation. This dissertation reconsiders Hopfer{\textquoteright}s artistic productions across media, looking at his armor decoration as well as his prints, and explores the contemporary implications of his works and their reflection of and participation in the cultural, political, socio-economic, and religious happenings in Augsburg during the first three decades of the sixteenth century. This dissertation is organized thematically so that the works Hopfer executed in specific subject areas throughout his career can be examined together as cohesive groups. Before delving into the various themes, the Introduction redefines Hopfer{\textquoteright}s artistic enterprise by revealing the functions of and necessity for printed imitations in both artists{\textquoteright} workshops and the art market. This obviates the need to characterize his work as imitation and presents the opportunity to ask more analytical questions. Chapter Two initiates the discussion of prevalent themes in Hopfer{\textquoteright}s oeuvre and examines his extensive interest in the topos of the Power of Women. Chapter Three explores the varied religious imagery that the artist created during the tumultuous period between ca. 1500 and the mid-1530s. Chapter Four considers how Hopfer{\textquoteright}s endeavors in portraiture were affected by his association with Augsburg humanists, who collected and studied ancient coins and medals. In the context of ornament, the final chapter revisits the question of whether Hopfer is more a craftsman than an artist; Hopfer conforms to definitions of both, but rather than mocking his identity or achievement, such a joint designation provides the true parameters for understanding his artistic enterprise.}, keywords = {Drawings/Prints/Works on Paper, Renaissance/Baroque Art}, author = {Spira, Freyda} } @mastersthesis {9834, title = {The Origins of the American School Building: Boston Public School Architecture, 1800-60}, year = {2006}, school = {Chicago}, abstract = {Boston{\textquoteright}s 1847 Quincy Grammar School was the first American purpose-built graded school building, and most subsequent urban American schools adopted its combination of an assembly hall and multiple, small, single-teacher classrooms serving students divided by age and ability. The graded school replaced diverse spatial models like one-room schools, schools with recitation rooms, and monitorial schools. I examine the local history of these school types to explain the failure of most and the success of the graded school, which built on existing educational traditions, values, and trends in Boston that proved nationally compelling. The graded school succeeded because it housed an expanding school population by increasing the capacity of individual schools; reduced costs by utilizing inexpensive female labor in classrooms; maintained a supervisory male authority figure in the assembly hall; promised solutions to the noise, discipline, and pedagogical shortcomings of the city{\textquoteright}s existing open classrooms; and worked within frameworks made familiar by the city{\textquoteright}s primary and grammar schools. Despite offering similar cost and capacity advantages, the monitorial system succumbed to poor popular opinion, inappropriate existing school buildings, the problems of open classrooms, and splintered governmental power structures. Antebellum demographic, political, and economic changes fed Bostonians{\textquoteright} continuing anxiety about the durability of republicanism and traditional socializing institutions like families and churches. Bostonians increasingly turned to schools to ensure that all children were taught the republican values that would sustain the social structure. They designed an education system to guide the proper development of children{\textquoteright}s innate characteristics through environmental influences, including school architecture. School buildings projected civic virtues like economy and gentility that Bostonians believed would influence students and neighborhoods. To compensate for perceived inadequacies of homes and religious observance, Bostonians incorporated aspects of domestic and religious architecture in their schools. Early primary schools resembled the modest domestic structures of their neighborhoods, while later primary schools adopted architectural elements from wealthier genteel houses, including similarities of size, site use, impressive facades, interior decor, quality materials, and attention to aesthetic proportions and ornament. Grammar schools also invoked the moral and religious traditions of the city{\textquoteright}s Puritan heritage by adopting architectural elements from early meetinghouses.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Remmel, Rachel} } @mastersthesis {9974, title = {Painting History Ex Patria: Empire, Exile and Memory in the Late Narrative Paintings of Jacques-Louis David}, year = {2006}, school = {Harvard}, abstract = {This dissertation is the first book-length, contextual study of the last narrative paintings of J.-L. David, produced by the artist in exile between 1816 and 1824. Art historians know David as the artist-activist of the French Revolution who treated art and politics as two aspects of a singular effort at social transformation. The Revolution{\textquoteright}s famous chronicler---who went on to become Napoleon{\textquoteright}s "First Painter"---found himself gravely compromised by his political past when a Bourbon heir was restored to the throne of France. Banished for treason and the crime of regicide, David was obliged to pass the final decade of his life in Brussels. The artist{\textquoteright}s forced expatriation from Paris in 1816 upended his artistic practice and prevented him from participating in the public life of Paris, long the focal point of his work. This study interprets David{\textquoteright}s oeuvre of exile against the grain of received art historical wisdom. Long dismissed as evidence of the declining faculties of a septuagenarian, the paintings have been defended recently (notably by Dorothy Johnson in her 1993 Art of Metamorphosis ) on the basis of their formal innovation. But David{\textquoteright}s critics and apologists alike share the premise that the canvases in question ( Love Leaving Psyche, The Farewell of Telemachus and Eucharis, The Anger of Achilles at the Sacrifice of Iphigeneia, mars Disarmed by Venus and the Graces ) represent David{\textquoteright}s withdrawal from public concerns in favor of private subjects and aesthetic experimentation. The critical consensus about David{\textquoteright}s last history paintings is that they are devoid of meaningful engagement with his socio-political context. This study begins with an historical narrative about the events that led to David{\textquoteright}s banishment and a critical review of art historical myths about the artist{\textquoteright}s experiences in exile. It is framed by a review of David{\textquoteright}s early work in the "civic humanist" genre of history painting and an exploration of the specific challenges that exile posed for the practitioner of a public art form. Chapters devoted to each of the four history paintings show David to have been thoroughly involved in his late work with the subject of patria, with qualifying his historical moment, with representing his exiled condition and with commemorating the passage of republican and Empire France.}, keywords = {Nineteenth-Century Art}, author = {Lampe, Issa} } @mastersthesis {9900, title = {Painting the Irish Conflict: The Belfast Murals of Gerard Mo Kelly}, year = {2006}, school = {CUNY}, abstract = {This dissertation investigates the life and work of the Northern Irish muralist Gerard Mo chara Kelly. It chronicles the artist{\textquoteright}s development from his earliest drawings created in the late 1960s while he attended primary school to his well-known large-scale public murals of the late 1990s. Kelly was born in West Belfast in 1957 into a family with close ties to the Irish Republican movement. Throughout his career Kelly{\textquoteright}s work has been informed by his staunch Irish Nationalist ideology. I will examine his work from a contextual perspective, and will consider its relationship to the sociopolitical events associated with the conflict in Northern Ireland. As a way of introduction it will briefly discuss the history of mural painting in Northern Ireland. It will situate the political messages of Irish Republican murals in the discourse of cultural nationalism by exploring their function as objects of resistance against British Imperialism. In 1972 Kelly joined the Irish Republican Army and physically fought to defend his community from the British security presence in Northern Ireland. In 1981 he was arrested and served over four years in Long Kesh Prison. During his incarceration, Kelly began to produce politically subversive artwork which asserted his Irish Nationalist ideology. After his release from prison in 1985 Kelly turned away from physical force and began to fight the British establishment in Northern Ireland by creating provocative wall paintings throughout his native Belfast. These works depicted a wide range of imagery including memorial portraiture, Celtic mythology, and Irish history. They were used to educate his community and to express his Republican beliefs. This study concentrates on Gerard Mo chara Kelly{\textquoteright}s artistic production between the years 1980-1998. I will place special emphasis on Kelly{\textquoteright}s view of the conflict in Northern Ireland as expressed through his public mural paintings. Gerard Mo chara Kelly{\textquoteright}s role in creating a distinct Republican mural tradition in Northern Ireland has been greatly overlooked. I have undertaken this research in order to emphasize his significance in the history of Irish political art.}, keywords = {Contemporary Art}, author = {Saleeby-Mulligan, Deborah} } @mastersthesis {9976, title = {Panoramic Literature: Marketing Illustrated Journalism in July Monarchy Paris}, year = {2006}, note = {ProQuest advisor: Crary, Jonathan (A. Higonnet not listed)}, school = {Columbia}, abstract = {This dissertation studies the production and consumption of illustrated literature in July Monarchy Paris. The monumental projects of Leon Curmer{\textquoteright}s Les Francais peints par eux-memes (8 volumes, 1839-42) and Pierre-Jules Hetzel{\textquoteright}s Le Diable a Paris (2 volumes, 1844-46) are my central case studies. Yet I examine these two collectively authored illustrated anthologies in relation to a contextual field of competing pictorial, literary, and journalistic representations, including caricatures, serial novels, fashion illustrations, and mass daily newspapers. All of these novel commercial publications share a focus on the quotidian, in the sense that they take everyday modern life as their subject matter, and strive to be produced, promoted, and consumed as an integral part of everyday routines and experiences. My thesis investigates the emergent cultural economy in which these quotidian genres circulate and exercise considerable discursive power. One of my goals is to explore the artistic and commercial relations between the graphic artists, writers, and editors who collaborate in creating and promoting these publications. I trace the efforts of these cultural producers to define new forms of cultural expertise and artistic celebrity. Furthermore, I research the industrial techniques, business models, and publicity mechanisms pioneered by Parisian publishers in the eighteen-forties, including their innovative use of the shop window vitrine and the illustrated advertising poster. Another node is the analysis of the multi-layered gradations of belonging and social initiation that structure the imaginary communities of Parisian modernity that are constituted both within the representational fabric of quotidian genres and amongst their historical producers and consumers. Ultimately, I consider representations of typical social constituents as part of modernizing processes that generate manageable subjects and of marketing strategies that cultivate differentiated and targetable modes of consumer behavior.}, keywords = {Nineteenth-Century Art}, author = {Lerner, Jillian Taylor} } @mastersthesis {9936, title = {The Parma Baptistery and Its Pictorial Program}, year = {2006}, school = {Princeton}, abstract = {In The Parma Baptistery and Its Pictorial Program, I examine how in 1233 the painter responsible for the extensive decoration of the Baptistery at Parma, Italy, adopted and redeployed Byzantine sources to promote the religious and political agenda of the Franciscan preacher in control of the city government. I read the sixteen-sided, domed interior of the Baptistery, built largely between 1196 and 1216, as a synthesis of late antique and early Gothic architecture. The iconographic program laid out in this idiosyncratic space depicts Heavenly Jerusalem in the dome, the Baptism of Christ in the apse, and an array of figures and scenes in the other niches. Through an analysis of the functions of the building and the connections between the iconographic program and the city{\textquoteright}s political context, I identify the preacher Gerard Boccabadati, an early disciple of St. Francis, as the patron of the pictorial decoration. The painting of the Baptistery is thus dated to 1233, at the height of the religious movement known as the Alleluia, or Great Devotion, which spread from Parma throughout the cities of northern Italy in that year.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Geymonat, Ludovico} } @mastersthesis {9954, title = {Patrons, Houses and Viewers in Pompeii: Reconsidering the House of the Gilded Cupids}, year = {2006}, school = {Michigan}, abstract = {This dissertation explores the creation and reception of the decorative assemblages displayed in Roman houses. My research contributes both to the ongoing re-analysis of material from early excavations at Pompeii and to an improved understanding of how Roman domestic space was shaped and experienced. The dissertation centers on a case study of the House of the Gilded Cupids, a large house in Pompeii that was occupied from the late third century BC to the destruction of the city in AD 79. A thorough examination of the original excavation documents and the finds from this house underlies my recontextualization of its wall paintings, floor pavements, sculpture collection and household objects within their architectural setting. I examine a range of factors---financial, spatial, legal and aesthetic---that affected owners{\textquoteright} decisions in shaping the layout and decoration of their homes. I also consider the variations in background and education that informed ancient visitors{\textquoteright} experiences in the House of the Gilded Cupids in order to show the potential for multiple coexisting and conflicting interpretations of its decorative ensemble. In addition, I discuss patrons{\textquoteright} conscious use of exotic and imported materials and of multiple artistic styles to decorate their houses. One major theme of this dissertation is that upper-class houses in Pompeii do not follow any single model in their layout and decoration: examining variations from recognized patterns reveals the concerns of individual households. Comparisons between the House of the Gilded Cupids and other residences in Campania reveal the range of architectural and decorative possibilities employed by homeowners in this region. I also emphasize the long occupation period of houses in Pompeii and the impact of the gradual accumulation of features over several centuries on their final appearance. The city{\textquoteright}s homeowners{\textquoteright} practice of incorporating some elements planned by their predecessors into their houses, but removing others, sheds light on their own priorities and goals. While contemporary textual sources indicate the values associated with houses and their decor by a narrow group of elite Romans, my research shows that Pompeii{\textquoteright}s homeowners and their guests likely had other priorities and responses beyond those recorded in surviving literature.}, keywords = {Greek/Roman Art}, author = {Powers, Jessica Davis} } @mastersthesis {9975, title = {Paul Gauguin{\textquoteright}s Volpini Suite}, year = {2006}, school = {CUNY}, abstract = {With the Volpini Suite, a portfolio of ten zincographs and a signed frontispiece printed on large sheets of canary yellow paper, Gauguin created a visual resume of his career as an artist, an advertisement of his subject matter and style. The prints were first shown in an exhibition of the "Groupe Impressioniste et Synthetiste" held at Monsieur Volpini{\textquoteright}s Cafe des arts on the grounds of the Exposition Universelle in 1889. Although the body of literature on Gauguin{\textquoteright}s art is vast, the Volpini Suite, the artist{\textquoteright}s first series of prints, has been neglected, particularly when compared to his series of woodcuts chronicling his first Tahitian sojourn, Noa Noa, made in 1893-4. In this study, I argue that making the Volpini Suite marked a critical moment in Gauguin{\textquoteright}s artistic evolution. Working in a graphic format for the first time, Gauguin simplified his style, flattened his forms, shifted from an art that was largely influenced by Impressionism to the style that has become associated with his mature art of the South Seas. In short, the Volpini Suite was crucial to Gauguin{\textquoteright}s artistic development. I begin the dissertation with an examination of the lithographic the print portfolio in late nineteenth-century Paris, and focus on Gauguin{\textquoteright}s decision to embark upon the project of printmaking, which was prompted by Theo van Gogh. Chapter Two is devoted to a discussion of the eleven zincographs, examining their iconography, connections to related paintings, drawings, ceramics, and wood-carvings, and their descriptions of the exotic locales of Pont-Aven, Le Pouldu, Martinique, and Arles that were essential to the artist{\textquoteright}s early career. Chapter Three investigates the artist{\textquoteright}s bold choice of printing the Volpini Suite on canary yellow sheets, each measuring approximately 50 x 65 cm. Chapter Four explores Emile Bernard{\textquoteright}s portfolio of zincographs, Les Bretonneries, on view alongside the Volpini Suite at the exhibition at the Cafe des arts. Finally, I examine the legacy of the Volpini Suite and its influence on the prints of the Pont-Aven School and the Nabis, the early paintings and prints of Aristide Maillol, and the lithographs of Ernst Ludwig Kirchner.}, keywords = {Nineteenth-Century Art}, author = {Lemonedes, Heather} } @mastersthesis {9854, title = {Pay for Your Pleasures: Mike Kelley, Raymond Pettibon, Paul McCarthy}, year = {2006}, school = {CUNY}, abstract = {This dissertation is an interdisciplinary study of three artists working in Southern California since the 1970s. Using numerous mediums and employing strategies of the grotesque, caricature and perversion, Mike Kelley, Paul McCarthy and Raymond Pettibon each force the viewer into confrontation with his or her own expectations and assumptions, destabilizing some of Western culture{\textquoteright}s most entrenched ideals and social norms. Though they are hardly the first artists to attack such conventions, these artists offer a new, disenchanted form of critique---an acerbic cultural politics that operates against ideological dogmatism, essentialism and idealism, on both the Right and the Left. Their work embodies a profound shift in attitude, a disillusioned outlook characteristic of the post-sixties generation to which they belong. Examining this work through the lenses of popular culture, sociology, gender studies, cultural anthropology and psychology, this study distinguishes their tactics from those of their predecessors and contemporaries, while contextualizing this shift within the social and political history of the 1970s, 1980s and beyond.}, keywords = {Art of the United States, Contemporary Art}, author = {Levine, Cary} } @mastersthesis {9997, title = {The Phenomenal Lives of Movable Christ Sculptures: A History in Three Parts}, year = {2006}, school = {Maryland}, abstract = {This dissertation deals with a fascinating and understudied group of free-standing Christ sculptures that were moved in imitation of Christ during the dramatic observances of late medieval Holy Week. They adhere to general iconographic formulas, but stand apart from other depictions of Christ in one important respect---they were elaborately kinetic. Congregations animated these images in a variety of ways, from basic manual operation in processions and elevations to the manipulation of fitted joints, wheels, hand cranks, and elevation apparatuses. Scholars who study movable Christ sculptures use them as evidence for liturgical and para-liturgical observances recorded in written texts, they approach them as aesthetic objects or as objects of folk tradition, and they discuss their place in the development of medieval sculpture and architectural space. I argue, however, that these images have more meanings to offer. Accordingly, these meanings are available when we consider not only their material and symbolic forms and their performative functions, but also their shifting cultural locations in medieval and modern Europe. Movable Christ sculptures were edifying and sacred images, disconcerting idols, homely folk objects, and works of art. My aim in this dissertation is to write a cultural biography of the lives of these images---in other words, a history that can account for the varied connotations of movable Christ sculptures in different instances of practice, reception, and response. It is my contention that these images, because of their performative function, experiential qualities, mimetic form, relatively anonymity, and "thingness," present an ideal opportunity to exercise cultural biography from an art historical perspective. Such an exercise elucidates the history of movable Christ sculptures after the moment of production and artistic intent has passed. It describes how these images have remained fixed in human imagination and in life regardless of changing cultural, social and political circumstances, yet it also accounts for the ways in their meanings have changed over time. In short, it provides a more complete account of the lives of these unique and understudied objects and reveals the ways in which movable Christ sculptures create transcendental moments and social realities.}, keywords = {Renaissance/Baroque Art}, author = {Jung, Tanya} } @mastersthesis {10035, title = {The Photo League: Views of Urban Experience in the 1930{\textquoteright}s and 1940{\textquoteright}s}, year = {2006}, school = {Iowa}, abstract = {This is a study of the Photo League, an association of amateur and professional photographers active in New York City between 1936 and 1951. The members of the Photo League were as convinced of the significance of photography as a mode of visual expression as they were committed to making a contribution to the pressing issue of their day. They claimed among their membership and advisors many of the leading photographers of the period: Berenice Abbott, Ansel Adams, Lewis Hine, Dorothea Lange, and Paul Strand, among many others. The Photo League offered photography classes. It also held exhibitions of photography and organized lectures by well-known figures in the world of photography. It published a newsletter, Photo Notes, that contained articles, reviews, and announcements related to significant issues and events in art, politics, and photography. A close reading of Photo League images reveals consistently an underlying concern for urban living conditions. The reflections on American urban experience found in the images provide a multifaceted view of life in the city, based on issues of housing, employment, race, and gender. A study of the images indicates that through photography, the League explored and attempted to define American urban life as they perceived it in the 1930s and 1940s. As they made these observations, members were also clearly aware of the social position of the photographer. This thesis focuses on the work of four members, Walter Rosenblum, Sid Grossman, Aaron Siskind, and Weegee, each of whom provides an example of a different solution to the problem of how to balance form and social content in the documentary mode. It becomes clear in looking at these photographers{\textquoteright} work that the Photo League struggled to resolve whether documentary could incorporate expression and subjectivity while communicating political ideas. This study concludes that there was no single solution to this problem but that the resulting images provided the basis for emerging trends in the photography of the 1950s and 1960s.}, keywords = {Twentieth-Century Art}, author = {Vanarragon, Elizabeth J.} } @mastersthesis {9940, title = {Picturing Heaven: The Trecento Pictorial Program of the Sala del Maggior Consiglio in Venice}, year = {2006}, school = {Columbia}, abstract = {The fragmentary remains of Guariento{\textquoteright}s Coronation of the Virgin offer an exceptional glimpse into the otherwise lost fourteenth-century pictorial program that once covered the walls of the Sala del Maggior Consiglio, the primary assembly hall of the Venetian Republic. This dissertation presents a comprehensive investigation of the trecento paintings as a unified program. It uncovers a pictorially and conceptually complex structure that established an explicit relation between the heavenly setting of the Coronation and Venice itself, between the depicted sacred events and the governing of the Republic, and between the salvation story and Venetian history. In addition to the Coronation, the program included a narrative cycle illustrating the Events of 1177, a series of ducal portraits, and a star-covered ceiling. An examination of the Coronation theme in text and image brings to light the strong influences of Bernard of Clairvaux upon Guariento{\textquoteright}s narrative rendition of the heavenly scene and reveals an image with multiple iconographic layers. Along the other three walls the ducal portraits and the narrative scenes recorded Venetian history in two distinct manners. Each part of the program subscribed to a specific temporal order evoking eschatological time, historical past, and civic continuity. Consideration of these sacred and secular paintings within their physical and pictorial context reveals a complex temporal resonance, which completes the physical continuity that Guariento{\textquoteright}s fresco initiates between the Coronation{\textquoteright}s heavenly setting and the Sala. The visually and theoretically sophisticated program casts Venice as an extension of heaven on earth and marks a significant shift within Venetian pictorial tradition and within Venetian civic iconography. The study poses that stylistic considerations were central to communicating the program{\textquoteright}s content. The historical circumstances, specifically the tensions surrounding the figure of the Doge following the Falier conspiracy, offer a context for the shift in content and form. Through systematic pictorial and contextual analysis this investigation makes evident that the paintings reflect not only the intellectual climate of the late fourteenth century, and specifically the influences of Francesco Petrarch, but that they are the product of a very specific moment in Venetian history.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Wamsler, Caroline A.} } @mastersthesis {9872, title = {Picturing Power: Portraiture and Its Uses in the New York Chamber of Commerce}, year = {2006}, school = {Yale}, abstract = {Picturing Power is about how the genre of portraiture was used, differently over time, to constitute, promote, and otherwise serve the changing institutional and ideological ends of a single American organization, the New York Chamber of Commerce, and the businessmen comprising it. The group{\textquoteright}s three hundred portraits of members and those with whom they wished to identify, amassed over two centuries beginning in 1772 and still in use today under vastly different conditions, are considered individually and together as vital instruments in the establishment, definition, growth, and eventually the decline of the institution, advancing as well as reflecting its changing profile as the nation{\textquoteright}s first and most powerful business organization---and for a time as among the most influential of all American institutions. In examining businessmen{\textquoteright}s fluctuating circumstances and the portraits{\textquoteright} relationship to them, Picturing Power approaches the collection from two contrasting but complementary perspectives, one synthetic and diachronic, the other unitary and synchronic. Following a contextualizing historical and methodological introduction, "Portraiture{\textquoteright}s Use, and Disuse, at the Chamber of Commerce and Beyond" evaluates the institution{\textquoteright}s evolving collection over time, assessing it throughout the course of its unusually long history by analyzing its role within and beyond the Chamber in distinct epochs, each revealing the portraits{\textquoteright} changing use and meaning as an aggregate. "Memory, Metaphor, and Meaning in Daniel Huntington{\textquoteright}s Atlantic Cable Projectors," by contrast, explores how the institution{\textquoteright}s single most important image, produced by the Chamber{\textquoteright}s house artist at the moment of its greatest power and influence, overtly and covertly addressed issues of central concern to the organization, its members, and the wider interests they represented. In considering the collection from these divergent points of view, "Picturing Power" demonstrates in macrocosm and microcosm the ways in which portraiture served and embodied the organization of which it formed a crucial part, offering a paradigm of the genre{\textquoteright}s use in the production and regulation of institutional identity while indicating more broadly how portraits portrait collections give and receive meanings through a complex matrix of social, political, and economic relations.}, keywords = {Art of the United States}, author = {Kusserow, Karl} } @mastersthesis {9886, title = {The Pilgrimage Paintings of Huang Xiangjian (1609-73) in the Ming-Qing Transition}, year = {2006}, school = {Kansas}, abstract = {This dissertation argues that Huang Xiangjian (1609-73) produced a small group of personal yet politically charged paintings as one means of providing for his impoverished family after their return to Suzhou from Yunnan in the Ming-Qing transition. His topographical paintings of southwest China represent the {\textquoteright}social commodities{\textquoteright} through which the Huang family could have garnered the support, be it monetary help or social influence, of a gentry network that aided the loyal and filial. Chapter One discusses the pictorial conventions of topographical painting of the famous scenery, ancient sites and monasteries of Ming-Qing Suzhou from which Huang Xiangjian drew. Here I introduce three categories of late-Ming paintings of specific Suzhou sites, their characteristics and their primary social functions. Chapters Two and Three present my translations of Huang Xiangjian{\textquoteright}s story of his journey to the southwest to rescue his parents, A Record of the Journey in Search of My Parents (Xunqin jicheng), and the Huang family{\textquoteright}s voyage home to Suzhou, Diary of the Return from Yunnan (Dianhuan riji). Chapter Four introduces the reputation as a Filial Son and the body of painting Huang developed upon his return home. The writings accompanying the published version of Huang{\textquoteright}s travel diaries correlated with the paintings Huang produced soon after to present a filial piety tale, a heroic adventure tale and a journey into the foreign wilds. The major characteristics of his extant and recorded oeuvre suggest Huang{\textquoteright}s work functioned as {\textquoteright}social commodities.{\textquoteright} Chapter Five focuses on a 1656 handscroll by Huang that illustrates a journey to Mount Jizu in Yunnan. Its unusual compositional structure and the artist{\textquoteright}s inscription suggest it was meant to depict a {\textquoteright}religious pilgrimage{\textquoteright} to the top of this Buddhist mountain for Huang{\textquoteright}s father to re-experience and perhaps share with a sympathetic audience. Chapter Six deals with Huang{\textquoteright}s masterpiece of 1658. The unique subject matter, brushwork, compositional structure and {\textquoteright}grand views{\textquoteright} of the Diannan album present the {\textquoteright}personal pilgrimage{\textquoteright} of the recipient, in this case Huang{\textquoteright}s father, with a painting symbolic of his enlightened understanding at his life journey{\textquoteright}s end.}, keywords = {Chinese Art}, author = {Kindall, Elizabeth} } @mastersthesis {9935, title = {The Place of the "Speculum Humanae Salvationis" in the Rise of Affective Piety in the Later Middle Ages}, year = {2006}, school = {Michigan}, abstract = {The Speculum Humanae Salvationis (SHS)---composed, it is thought, by an anonymous Italian Dominican in the late thirteenth century---has long been recognized as a key witness to the world of late medieval piety. A work in Latin rhymed prose, each of its forty-five chapters is typically illustrated with a sequence of four scenes, the first representing an episode from the life of Christ or the Virgin and the others depicting prefigurations drawn primarily from the Old Testament. Although rarely noted, the SHS commonly closes with three meditational chapters presenting the Hours of the Passion, the Seven Sorrows of the Virgin, and the Seven Joys of the Virgin, in which especially dramatic and poignant moments described in the typological chapters are recast as the focus of devotional exercises. This dissertation, treating the structure, organizing systems, and implied functions of the SHS, examines the earliest of the 394 surviving manuscripts---a corpus of thirty-eight illustrated codexes datable to the fourteenth century; it focuses on Vienna, oNB 2612, a manuscript shown to be representative in terms of content, layout, structure, iconography and style. An analysis of the structure of the book reveals how the author weaves together two organizational systems---salvation history and typology---to help readers grasp the meaning of God{\textquoteright}s plan for salvation at each step in its unfolding and to guide them toward personal salvation. The text transcribed in columns beneath the typological images is shown to be more than a commentary on the images and to extend far beyond typology: in the course of the book the author proceeds from catechetical, to moralizing, to anagogical forms of Christian instruction. An examination of Passion imagery elaborated on in the SHS reveals links with the Christological focus of late medieval devotion. Similarly, the SHS is shown to occupy an important place in the development of late medieval Marian imagery, including representations of the Madonna of Mercy, the Madonna lactans and the Madonna of Seven Sorrows. The SHS emerges as an important work for understanding a range of devotional protocols that enjoyed widespread popularity in the late middle ages.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Flaherty, Heather} } @mastersthesis {9880, title = {Portraiture and Politics in New York, 1790-1825: Stuart, Vanderlyn, Trumbull, and Jarvis}, year = {2006}, school = {Maryland}, abstract = {Four prominent portraitists were active in New York City between 1790 and 1825: Gilbert Stuart, John Vanderlyn, John Trumbull, and John Wesley Jarvis. Despite working in the same geographic location, these four artists received different artistic training, developed distinct aesthetics, and often worked for distinct groups of patrons. Upon returning to the United States in 1793 Stuart quickly established himself as the preeminent portraitist in New York City. This coincided with a moment of particular political harmony in the United States, a harmony that was broken by the vitriolic debates over the ratification of the Jay Treaty in 1795. Although Vanderlyn briefly studied with Stuart, Vanderlyn received most of his training in Paris in the studio of Vincent, a prominent French neoclassicist. When Vanderlyn returned to New York City, Democratic-Republicans---politicians who wished to tie the diplomatic future of the United States to France---quickly embraced Vanderlyn{\textquoteright}s decidedly French aesthetic. This artistic style is characterized by an emphasis on linearity, a muted use of color, and compositions in which the artist places compositional focus on the sitter rather than objects around him. Conversely, Federalists who wished to further tie America to Great Britain preferred Trumbull and his English style: the energetic brushstrokes, colorful palette, and compositions that often contained ancillary elements that allude to the sitter{\textquoteright}s occupation, education, and wealth. In contrast to both Vanderlyn and Trumbull, Jarvis did not received European training. As a result, he developed an aesthetic that was quickly embraced by individuals who did not wish their portrait express political alignment. Indeed, this political neutrality---both social and stylistic---was one of the reasons members of the military preferred Jarvis over his politically inclined competitors.}, keywords = {Art of the United States}, author = {Zygmont, Bryan} } @mastersthesis {9873, title = {Portraiture of James Monroe, 1758-1831}, year = {2006}, school = {Delaware}, abstract = {The portraits of James Monroe (1758-1831), fifth president of the United States, offer an iconographic survey of the man and his role in late eighteenth and early nineteenth century American life, and documents his continuing presence in the visual landscape of the twentieth and twenty-first centuries. In our present age of instant photography, it is difficult to imagine how rare it was to have one{\textquoteright}s visage preserved for posterity. Before the invention of photography, portraits were painted to mark a milestone, such as a marriage, or the establishment of a home. They were commissioned to celebrate a major event, like the birth of a child, or the loss of a wife who did not survive childbirth. They were also rendered to enhance a public place, usually as commemorations of historic occasions or of persons of prominence. Such paintings ranged in size from miniatures---intimate forms of portrayal intended for family members, to bust-length, half-length, and full-length portraits, executed in a variety of media, including pencil, charcoal, and oil. Original portraits were sometimes replicated, or they were copied by other artists, as oils, lithographs, engravings, medals, sculpture, frescos, or decorative art objects. This study records nearly every known portrait of James Monroe (both life and posthumous), and demonstrates how the milestones and events of his life are well woven into these likenesses. These images span the spectrum of artistic interpretation, and of Monroe{\textquoteright}s life, from his teens, through his death, and then posthumously. This approach, weaving the life with artistic recordings of Monroe{\textquoteright}s appearance and the emblems of his position and accomplishments, offers insights into the types of portraiture in vogue during the Monroe era; explains the iconography of grand manner and intimate portrayal; and illustrates how likenesses, in the early nineteenth century, were disseminated through such popular sources as prints, newspapers, biographical dictionaries, and decorative objects. This straightforward and detailed taxonomic account of the portraits of the fifth president of the United States fills a gap in the iconographic landscape of images of American presidents. Monroe sat to the artistic luminaries of his day---John Vanderlyn, Gilbert Stuart, Charles Willson Peale, and Samuel F. B. Morse. He also gave sittings to a number of lesser known artists---Felix Sharples, James Westhall Ford, Bass Otis, and Chester Harding. He was depicted in history paintings and narrative studies by such artists as John Trumbull, George Catlin, and Pietro Bonnani. Miniatures of Monroe and his wife were painted in Paris, by Louis Sene, when he was the Minister to France in the 1790s. In the 1810s and 1820s, engravings and lithographs by Thomas Gimbrede, Goodman and Piggott, Nicholas-Eustache Maurin, and Asher B. Durand helped familiarize the American public with the features of their fifth president. At his death, John Henri Issac Browere, took a death mask. Monroe{\textquoteright}s role in the Louisiana Purchase, and the birth of the Monroe Doctrine, were recorded at their centennials, in a fresco, in magazine illustrations, and in sculptures, by Constantino Brumidi, Andre Castaigne, Clyde Osmer DeLand, and Karl Bitter. Finally, to commemorate the centennial of Monroe{\textquoteright}s death, bronze and marble busts were created by sculptors, Attilio Piccirilli, and Hermon Atkins MacNeil.}, keywords = {Art of the United States}, author = {Meschutt, David} } @mastersthesis {9978, title = {The Precondition of Landscape: Tropes and Meaning in the Rustic Landscapes of J. M. W. Turner and John Constable}, year = {2006}, school = {Kansas}, abstract = {Landscape painting continues to provide a model for understanding history, religion, literature, social relationships, and other cultural discourses. Its elevation in prestige occurred in England during the early nineteenth century and coincided with the rise of an English school of painting. The interpretation of landscape{\textquoteright}s social and political functions have been undertaken recently in terms of psychological theory, cultural theory, literary theory, and gender theory. Landscape painting has also served to structure definitions of modernism. The art of J.M.W. Turner and John Constable represents not only the most ambitious achievement of early nineteenth-century landscape painting but also presents an arena for debate about dependence upon the use of literary tropes as proof of progressive or retrogressive approaches to representation. My research helps to redefine the ways in which art historians can view these two British landscape painters. I demonstrate that the strategies that both employed, the ideological re-construction of the countryside that they accomplished, and the representational devices that they used, particularly those found in eighteenth-century pastoral poetry, were much more similar than current scholarship proposes. I propose that both artists were firmly rooted in both contemporary and historical subject matter, shared a framework of inherited landscape practice from seventeenth-century landscapists, and that both repeatedly used literary language, particularly the tropes of metaphor, metonymy and allegory, to paint rural England in the early nineteenth century. This dissertation came about because of my interest in an intersection between two disciplines: linguistics, specifically semiotics, and art history, more specifically social art history. I looked for subjects in rural landscape (the genre with the greatest amount of comparison) that both treated, e.g. Stonehenge and rural labor, during a period in which their careers overlapped, roughly 1810-1837. I discovered that both artists: (1) historicized the rural landscape; (2) depended upon eighteenth-century pastoral poetry for visual imagery that amplified or added to meaning; (3) created allegories; and (4) invested their figures with meaning using tropic language. Both artists stated the need to become "poetical" in their representations. This project reveals some ways in which this was accomplished.}, keywords = {Nineteenth-Century Art}, author = {Robinson, Michelle} } @mastersthesis {10020, title = {Prefabricated Desire: Surrealism, Mannequins, and the Fashioning of Modernity}, year = {2006}, school = {UCLA}, abstract = {As visitors to the 1938 International Exhibition of Surrealism, they walked along the rue Surrealiste, a passageway lined with mannequins, each decorated by a member of the group. The addition of these figures to the Exhibition speaks of the artists{\textquoteright} engagement with the city of Paris, the spectacle of its shop windows and the shifting signification of the mannequin. These figures, considered to be modern manifestations of the marvelous, were also objects of identification for the female viewers of the exhibition who were trained as consumers to see themselves in the dress or environment displayed, instead of the mannequin, and it is this identification that the surrealists exploited. The history of the surrealist mannequin has been a movement from the specific (as effigies) to the general (mass produced figures and wax anatomical models), and the figures carry this signification with them. They are the objects of fantasy, akin to automatons of literature, Hadaly of Villier{\textquoteright}s The Future Eve or Olympia from Hoffmann{\textquoteright}s The Sandman, and are the victims of sexual violence in the photographs of Hans Bellmer{\textquoteright}s doll. Bellmer{\textquoteright}s works lay bare the perversion inherent in Surrealist practice and his photographs bracket the display of the mannequins of the rue Surrealiste, his violent perverse images forming a summa of Surrealism.}, keywords = {Twentieth-Century Art}, author = {Warwick, Acacia} } @mastersthesis {9858, title = {Presiding Divinities: American Ideal Sculpture in Nineteenth-Century Domestic Interiors}, year = {2006}, school = {Indiana}, abstract = {This dissertation deals with sentimental, marble, ideal figures by Antonio Canova, Hiram Powers, Randolph Rogers, Chauncey Ives, Joseph Mozier, William Rinehart, and others. In the middle decades of the nineteenth century, such statues were displayed, often to large audiences, at exhibitions and in sculptors{\textquoteright} studios, and published sources generally describe them in these settings. Nevertheless, the vast majority of ideal sculptures produced at this time were destined for the domestic sphere---a fact that has been overlooked by scholars. Similarly, whereas earlier studies of American ideal sculpture have focused on the wealthy, educated patrons who supported sculptors{\textquoteright} careers, this dissertation explores the role of buyers---men and women who purchased one or more ideal sculptures for their houses, usually during a single trip to Italy, and who were motivated more by private concerns than by a desire to advance the cause of art in the United States. In many ways, these buyers resembled middle-class consumers of sculptural reproductions in mediums such as plaster or parian, making it possible for me to draw connections between ideal sculpture and a broad nineteenth-century culture of sentimental domesticity. Using seven in-depth case studies of American domestic interiors ranging from the 1840s to the 1880s, I argue that ideal sculptures in private homes were more than just decorative props. They were active players in domestic rituals and "presiding divinities" over domestic life. Installed in private homes, these artworks idealized western concepts of gender and domesticity, modeled genteel behavior, evoked reverence, allayed anxiety and, at the same time, confirmed their owners{\textquoteright} taste and wealth. Drawing on the methodologies of cultural studies---in particular studies of consumption, cultural biography, and material culture---I explore the role ideal sculpture played in sacralizing and sentimentalizing the nineteenth-century American home, and in constructing concepts of family, nationality, gender, race and class that were fundamental to individuals{\textquoteright} understandings, and public presentations, of themselves.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Lessing, Lauren K.} } @mastersthesis {9906, title = {Private Images, Public Contexts: Snapshot Photography in the Public Sphere}, year = {2006}, school = {Rochester}, abstract = {This dissertation, Intimate Exposures: The Private and Public Lives of Snapshot Photography, explores the development of snapshot photography as a public, political, and aesthetic form of visual expression in American culture from the mid-twentieth century to the present. Within the private sphere, the snapshot embodies both familial intimacy and allegiance to culturally pervasive ideals of "family values" and the American Dream. Yet once this genre enters a public sphere of consumption, the same familiar and banal images take on a host of new and often contradictory meanings. Examining instances where snapshot photography is made public through the rhetoric of mass culture and art, I explore the tensions between the conventions of the genre and the conditions of its publicness. Ultimately, I argue that the snapshot constitutes both a form of cultural hegemony and a force for change by making the private, public and the personal, political. Part I of the dissertation addresses the technology and traditions of the snapshot photography in contemporary America and the way its conventions have entered the rhetoric of the mass media. Taking examples from popular film, television, and print media, I argue that mass culture constructs a regulatory vision of snapshot photography that is normative, ubiquitous, and above all, naturalized. In Part II, I explore the public exhibition of the snapshot as a form of found art in the museum setting. While certain collectors use vintage snapshots to create and affirm alternative histories, it is the aesthetic rhetoric of the modernist formalism that, for the most part frames the image in the most prominent of public settings: the museum. In Part III, I conclude by exploring the work of two artists, Andy Warhol and Nan Goldin, who attempt to circumvent the public/private divide by creating a hybrid art form, a photographic "snapshot aesthetic" that fuses the artists{\textquoteright} private, notably countercultural experience with the public spheres of art and mass culture. Through the intermingling of affect and aesthetics, high art and vernacular tradition, these artists point to the progressive and political possibilities of the everyday visual form of the snapshot.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Drawings/Prints/Works on Paper}, author = {Zuromskis, Catherine} } @mastersthesis {9839, title = {Pro Honore Comunis Senensis et Pulchritudine Civitatis: Civic Architecture and Political Ideology in the Republic of Siena, 1270-1420}, year = {2006}, school = {Columbia}, abstract = {This dissertation is a study of Sienese civic architecture, from its inception at the beginning of the fourteenth century, during the regime of the Nine Governors, through the second decade of the fifteenth century, when the Republic reached its maximum geographical extent. It is argued that the principal facade of the Palazzo Pubblico, begun in 1307, served as the basic template for subsequent public edifices as well as many private residences, in both the city and subject territory. In effect, the government invented and strategically disseminated a standardized architectural language that functioned as an easily recognizable sign of Sienese sovereignty and prestige. It was engineered to convey the unity and cohesion of the state while projecting the antiquity of Siena and, by extension, the legitimacy of its territorial and jurisdictional claims in the contado . Chapter One reviews the historiography of medieval Sienese architecture and urbanism from the city{\textquoteright}s origins through the communal era. Chapter Two analyzes the unique historical circumstances of the foundation of Siena, which was the only major city in Tuscany that did not exist in antiquity. The fact that it was founded in the "Dark Ages," and not during the glorious Etruscan or Roman civilizations, greatly influenced the designers of the civic style, who, inspired by republican philosophers like Tolomeo da Lucca, sought to instrumentalize their creation in order to revise the history of the city and proclaim its ancient origins. Chapter Three treats the buildings of the pre-Guelf era, which were characterized by a multiplicity of styles and types, with special emphasis on the progressive development of domestic residences, culminating in the Palazzo Tolomei, and the introduction of the brick medium. Chapter Four presents a detailed construction chronology for the Piazza del Campo and Palazzo Pubblico, erected between 1297 and 1348, with an extensive discussion of the iconographical and symbolic content of the main facade. Chapter Five documents the spread of Sienese civic architecture in the first half of the Trecento from the Palazzo Pubblico and adjacent Campo to the palaces, fountains and fortifications of the greater city and, eventually, to the communities of the contado.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Grossman, Max Elijah} } @mastersthesis {9857, title = {Profile in Commercialism: Social Mobility in the Art of Benjamin West}, year = {2006}, school = {Stanford}, abstract = {This dissertation examines issues of social identity in the artistic production of Benjamin West during his career in London in the late eighteenth and early nineteenth-century. Not intended as a comprehensive survey of West{\textquoteright}s work, this study instead focuses upon three of West{\textquoteright}s images that encode his concerns about social mobility, commercial culture, and the identity of the fine artist. Chapter one reassess West{\textquoteright}s early career in London, focusing on his breakthrough success in London, The Death of General Wolfe (1770). While the painting is conventionally described as an image that promotes a sentimental form of British nationalism, I instead interpret the image as an allegory for the class mobility of West, himself a painter from the colonies who is able to gain patronage from George III and move among other British elites. Chapters two and three examine two key images, The Resurrection (1782--1819) and The Ascension (1782) respectively, that West had designed for The Chapel of the History of Revealed Religion, a project that he and George III had devised in order to decorate the King{\textquoteright}s private chapel at Windsor Castle and to encourage the production of religious painting in the Church of England. While General Wolfe allegorized a stable and controllable form of upward mobility, these later paintings embody a model of social mobility more fully integrated with the new pitfalls and opportunities of the burgeoning commercial market.}, keywords = {Art of the United States, Eighteenth-Century Art}, author = {Savoie, Robert} } @mastersthesis {9860, title = {Raising and Lowering Brows: Jackson Pollock in the Cultural Context of 1940s America}, year = {2006}, school = {UT Austin}, abstract = {A close examination of the popular and art world reception of Jackson Pollock{\textquoteright}s paintings from 1943 to 1956 indicates how troubling they were to average Americans. Much of the vast body of critical literature on Pollock over the past five decades focuses on his formal innovations, his position within advanced art or how his art relates to Clement Greenberg{\textquoteright}s modernism. By evaluating primary source material, I argue that the contemporary reactions to Pollock{\textquoteright}s work were motivated more by class issues and cultural battles than "art" per se. Pollock{\textquoteright}s paintings and persona both ran strongly against consensus-era values associated with prestige and status. I develop the conceit of Pollock{\textquoteright}s "messiness" to explore the contemporary response, which in the mass-market press ranges from ambivalence to outright hostility. Popular publications (e.g. Time, Life, Newsweek) were generally intolerant of the praise given Pollock by the cultural elite---the so-called "highbrows." Studying the response to Pollock{\textquoteright}s art reveals how vitriolic the battle over cultural capital was, especially when the country{\textquoteright}s economic landscape after World War II offered hope that more Americans could be educated to improve their taste. Beyond spurring potent cultural arguments, Pollock{\textquoteright}s "mess" also had deep political implications in the late 1940s. I draw parallels between the language used in Pollock criticism and containment-era rhetoric that began to develop within the United States government around 1947. Despite the fact that Pollock{\textquoteright}s paintings are overtly non-political, his "mess" fueled communist fears in popular publications. Historians who deal with the matter tend to generalize a potential link to left-wing politics and move on. Yet Pollock was the ultimate mid-century uncontained artist. I locate specific avenues through which his art was covertly attacked and allied to communism by the mass-market press. This dissertation restores vigor to a frequently overlooked cultural debate, making Pollock{\textquoteright}s eventual "triumph" seem all the more divisive and surprising.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Edwards, Katie Robinson} } @mastersthesis {9829, title = {A Ready-Made Diaspora}, year = {2006}, school = {Iowa}, abstract = {Throughout the postcolonial artistic world a ready-made Diaspora exists that includes the ways in which postmodern ready-made culture has dispersed throughout the Americas and its specific utilization by artists who find themselves investigating fundamental issues of identity. The western postmodern readymade (any found or already existing object or work of art) was originally intended to question the concept of value concerning art objects and art institutions. Contemporary postmodern artists to question issues of value concerning gender, culture, identity, and race often use the readymade. Readymades, therefore, with their fundamentally rebellious character, are a perfect media for certain artists in the Caribbean who consider, through their art production, issues of postcoloniality; displacement, global and local considerations of capitalist enterprise and commodities (slavery can be included here), and the objectification and fetishization of the postcolonial body. The Caribbean artists discussed in this dissertation reconsider ubiquitous cultural icons and their ritual significance as power objects. They use as readymades the icons and artworks that have come to define their postcolonial identity and rectify or assist these objects through the artistic process. Faced with a myriad of identities, these Caribbean artists choose their context and their positionality through their artistic endeavors. The artists in this dissertation provide important examples of the reception of a type of Duchampian readymade in the Caribbean. Their work showcases the postmodern readymade as a continuously evolving concept in the exploration of the political and psychological issues concerning contemporary international artists. As a whole this dissertation is about Caribbean identity formations that are based on a history and iconography that has been scripted by and because of Diaspora. It is also about an actual Diaspora of a set of concepts, initiated by the advent of the readymade, and how this Diaspora of ideas has informed particular works of contemporary art outside of the Western canon.}, keywords = {African Art (sub-Saharan)}, author = {Clunis, Sarah A.} } @mastersthesis {9864, title = {Re/Citing: Radical Activism in Late-1960s America}, year = {2006}, school = {Stony Brook}, abstract = {This dissertation deals with the performance of stereotypes as a means of resistance in American grassroots political activism of the late-1960s, drawing out the aesthetic and theoretical parallels between the "direct action" of radical social movements like the Youth International Party (Yippie) and the work of contemporary artists like Andy Warhol. Situating the work of these activists within an analysis of the writings of contemporary art and social theorists and philosophers, my project advances a theory of what one might call the aesthetic politics of the radical left. Through a series of case studies, I demonstrate that the actions of individuals like Eldridge Cleaver and Abbie Hoffman, and organizations like the Gay Activists Alliance suggest that at a time when, for authors like Herbert Marcuse, the very possibility of resistance appeared to have been historically foreclosed, the self-conscious citation of negative stereotypes-a practice referred to by social critic Jacob Brackman as the "put-on"-may have offered a curiously viable alternative for the work of art and grassroots activism. Thus, I argue that in threatening to levitate the Pentagon, and to develop a pernicious new "sex drug" that could be administered to unsuspecting victims via water pistol, Hoffman offered an image of the American youth culture that, through its appropriation of mass media stereotypes, sought to open a critical dialogue about the historical forms of political opposition. I argue that the visual and verbal media games of political firebrands like Hoffman should be read not as examples of identity politics carried to foolish extremes, but as instances of a pervasive, ironically performative mode of self-presentation. Brushing art and politics against one another in this fashion allows one to see the ways in which what have so often been dismissed as ridiculous examples of the politics of authenticity may in fact mark the emergence of a radically different form of activism, one based not on a belief in the adequacy of rational argumentation, but on seeding the recognition of the viewer as the active constructor of meaning.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Peariso, Craig} } @mastersthesis {9991, title = {Refashioning Female Identity: Women{\textquoteright}s Roles in Seventeenth-Century Dutch Historiated Portraits}, year = {2006}, school = {Kansas}, abstract = {In the Northern Netherlands during the seventeenth-century women were pictured in historiated portraits (portrait histories) more frequently than men. This dissertation attempts to explain the appeal of historiated portraiture to Dutch women. By appropriating historical guises within portraits, Dutch women demonstrated their knowledge of history and therefore argued in support of women{\textquoteright}s capacity to comprehend and participate in public affairs. The portrait roles of Diana, Dido, Minerva, Pharaoh{\textquoteright}s Daughter (Thermuthis), Judith, and Esther pictured Dutch women free of the domestic realm and displaying virtues more typically associated with men during the early modern period, such as the ability to bear arms and to act decisively. These portrait guises promoted women{\textquoteright}s physical strength, constancy, wisdom, and independence, while also underscoring women{\textquoteright}s ability to alter the course of history. By functioning as a means for women to transgress patriarchal norms of ideal female behavior, Dutch historiated portraits contributed to the "querelle des femmes" and the debate concerning educational opportunities for women, as articulated by Anna Maria van Schurman and other writers of the period. This dissertation examines portraits of Amalia and Elizabeth van Solms, Louise Hollandine, Charlotte de la Tremouille, Princess Louise Henrietta of Orange, as well as other unknown female sitters. Artists of these portraits include Gerard van Honthorst, Thomas Willeboirts Bosschaert, Jan de Braij, and Eglon Henrick van der Neer.}, keywords = {Renaissance/Baroque Art}, author = {Crawford-Parker, Sarah} } @mastersthesis {9933, title = {Regnum Et Sacerdotium in Alsatian Romanesque Sculpture: Hohenstaufen Politics in the Aftermath of the Investiture Controversy (1130-1235)}, year = {2006}, school = {UT Austin}, abstract = {During the eleventh and twelfth centuries, two major schisms between the papacy and the empire erupted. The first struggle, the Investiture Controversy, lasting from 1077-1122, set the Church against the Holy Roman Emperor on the issue of the right to choose and install bishops. The second papal/imperial conflict concerned the question of papal supremacy over Emperor Frederick Barbarossa (1159-1179). Because these two conflicts impacted both imperial and papal territories, the churches on imperial soil had to choose to support either the papacy, the spiritual head of the church, or the emperor, the secular lord of these imperial territories. As part of a territorial campaign to win and maintain the loyalty of Alsace, the homeland of the Hohenstaufen family, Barbarossa directly concerned himself with the affairs of several churches in the region. At the same time that Barbarossa exerted his influence on these churches, artistic programs emerged attesting to the success of the emperor{\textquoteright}s territorial politics. The church of St. Peter and Paul at Andlau (1160) in Lower Alsace is of key importance for understanding later sculptural programs designed to please Frederick Barbarossa in the area. Three sculpted motifs at Andlau can be specifically linked to imperial ideology: the Christus Triumphans, the Traditio Legis, and Dietrich{\textquoteright}s Rescue of Rentwin. Each of these themes had traditional associations with both the pope and the emperor and had been employed by popes during the Investiture Controversy to advocate papal supremacy over the emperor. Barbarossa and his supporters readapted these three motifs in Alsatian sculptural programs to reiterate the emperor{\textquoteright}s traditional God-given right to authority in the sacred and secular realms.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Elliott, Gillian Born} } @mastersthesis {9988, title = {The Religious Patronage of the Duke of Lerma}, year = {2006}, school = {IFA/NYU}, abstract = {Shortly after Philip III came to the throne, he transferred his court to Valladolid, the ancient capital of Charles V. The king allowed Francisco Gomez de Sandoval y Rojas, I Duke of Lerma, to renovate the ancient royal city. Appointed by Philip III as Comendador Mayor of Castile in 1599, Lerma was responsible for making a survey of the main buildings during that first year. In several cases, Philip III arranged for the Duke of Lerma to use royal architects and for the court to bear the cost for improvements or renovations to religious foundations under his patronage. It remains unclear whether Philip III interpreted Lerma{\textquoteright}s activity as work on his own behalf but his activity in Valladolid was extensive. When the court arrived in June of 1601, Lerma was renovating the city with the king{\textquoteright}s tacit approval and financial support. By 1606, Lerma had left his mark on the court center, with distinctive buildings clustered around an enlarged plaza and church. The Duke of Lerma then began the simultaneous renovation and development of his seignorial town, raising the parish church to collegiate church status with a dispensation from the pope, and creating a connected and unified series of religious foundations in a ring around the town. Thereafter, Lerma began to build in Madrid, when the court moved there in 1606 from Valladolid. In each of these places, Lerma created a distinctive complex of religious buildings to serve the religious groups favored by the Order of Santiago, of which he was the Comendador Mayor. The royal architectural style developed under Philip II, a blend of Flemish and Italianate influences, persisted in the buildings patronized by Lerma. The unintended consequence of his architectural patronage and involvement was that a recognizable type of religious building proliferated, one that connected the foundations of Lerma indelibly with the Escorial and the reign of Philip II. Using fresh archival evidence the author demonstrates how Lerma served as a link in Habsburg architectural patronage.}, keywords = {Renaissance/Baroque Art}, author = {Banner, Lisa} } @mastersthesis {10010, title = {Rembrandt{\textquoteright}s Humor: Satire, Burlesque, and Irony in Six Etchings}, year = {2006}, school = {Kansas}, abstract = {A Man Making Water reprises the comic Hellenistic motif Hercules (mingens: making water). Rembrandt{\textquoteright}s man strikes the arm-akimbo pose of Dutch burghers leveling an oblique scatological attack on them. Through the combination of genital exposure, urination, and defecation in A Woman Making Water, Rembrandt elicits the Bakhtinian humor of grotesque realism. Rembrandt{\textquoteright}s humor in The Monk in the Cornfield is akin to Boccaccio{\textquoteright}s and Chaucer{\textquoteright}s good-natured satire of naughty friars. Rembrandt{\textquoteright}s hasty rotund monk is distinct from its sober Heinrich Aldegrever source. Rembrandt is likewise less satiric than the ludicrous rebuke, prurient ridicule, serious censure, and harsh attack conveyed in other images of carnal clergy. The Sleeping Herdsman is a burlesque of medieval religious satires of the cuckolded St. Joseph. Rembrandt etched the old herdsman in the sleeping pose of St. Joseph, an iconic type derived from the Matthew account of Joseph{\textquoteright}s dream in which an angel relieves his doubt about Mary{\textquoteright}s virginity. The herdsman peeps through his fingers, a proverbial expression for pretending not to see, and a motif associated with fools and adultery, as the ox, a Nativity signifier, looks on. In The Pancake Woman Rembrandt etched a probable white witch in the mode of a black witch. Pancake bakers could peddle outlawed folk magic with their medicinal pancake concoctions. The Dutch decided that since the supernatural power claimed by white witches did not come from God, it must come from the devil. So they turned their prosecution on them. Among artists who depicted pancake bakers as black witches, only Rembrandt indicates that he is ironic. Around his Pancake Woman, he etched a bright circle of happy children, complicit mother and humorously misbehaving dog. In The Quacksalver, Rembrandt etched an itinerant empiric as a high burlesque of a doctor. Quacksalvers imitated doctors{\textquoteright} therapeutics and adopted their rich garb. But doctors{\textquoteright} quiet private manner, emanating from highly literate and theoretical knowledge, was the opposite of the loud hawking of nostrums that quacks were obliged to do. The quacksalver{\textquoteright}s staggered pose, his too-big, second-hand clothes of fine cut and stuffs underline his demanding, but remunerative, occupation based on second-hand knowledge.}, keywords = {Renaissance/Baroque Art}, author = {Spellman, Mary} } @mastersthesis {9965, title = {The Replication of Ritual in the Colonial Andes: Images of the Virgin of Pomata and Christ of the Earthquakes}, year = {2006}, school = {UCLA}, abstract = {During the seventeenth and eighteenth centuries in the Spanish Viceroyalty of Peru, artists created hundreds of images representing specific miraculous statues of the Virgin Mary and Christ. Secondary statues, prints, medallions, and especially "statue paintings" were produced that represented miracle-working images enshrined in Andean churches. Statue paintings, which represent particular statues on their altars surrounded by the accoutrements of church ritual, are today some of the finest and most well-known examples of colonial Andean art. However, until now they have been largely passed over by scholars, understood as nonnarrative "still lifes" interesting simply for their specialized Andean iconography. This study focuses on two Peruvian statues and the image complexes that surrounded them: the Virgin of Pomata, from the town of the same name on the shores of Lake Titicaca, and Christ of the Earthquakes from Cusco. It considers the genesis of each original image and the miraculous cult surrounding it, then examines the ritual activities that took place around each original in light of its social functions. Secondly, it analyzes each statue{\textquoteright}s body of secondary images, especially the statue paintings that were disseminated throughout the viceroyalty. It argues that as the original statues were an integral part of Andean rituals, so the secondary images were closely linked to ritual. They documented and promoted specific features of ceremonies carried out around the original statues. They also served on their own as focal points for domestic rituals, both intimate rites carried out by family members and those staged by hosts for their guests. Their ultimate function was to crystallize the theophany that was staged each time an original statue was dressed, adorned, unveiled, and illuminated in its church. Once this theophany was accomplished, both in the church and for the domestic viewer of the secondary image, the way was paved for the deity to perform thaumaturgy, that is, take miraculous action. In all, this study presents a much-needed analysis of the early cult to each original statue as well as the first in-depth consideration of the uniquely Andean genre of secondary statue images. It shows that both the original images and their replicas were dynamic elements of a rich ritual life whose purpose was the ongoing formulation of colonial Andean society.}, keywords = {Latin American/Caribbean Art, Pre-Columbian Art}, author = {Maya Stanfield-Mazzi} } @mastersthesis {9851, title = {Returning the Zion: The Narrative of the Dura-Europos Synagogue Frescoes}, year = {2006}, school = {Johns Hopkins}, abstract = {This dissertation focuses on the fresco cycle of the Dura-Europos synagogue (244-245 CE). The frescoes were buried with the city of Dura (in eastern Syria) later in the third century CE and rediscovered in the 1930{\textquoteright}s. Although floor mosaics from ancient synagogues have also been unearthed, the Dura synagogue represents the only extant example of a late antique synagogue with monumental narratives in fresco. Over seventy years after its discovery, questions remain concerning the arrangement and meaning of the biblical narratives depicted there. This study takes up two central and interrelated questions. First, what significance would the image of the Temple from the early phase of decoration have had for the synagogue community in the period after the Jerusalem Temple{\textquoteright}s destruction in 70 CE? Second, how should we understand the choice, placement and presentation of the biblical narratives on the surrounding walls? In Part I, I consider the early Temple image at Dura in comparison to both the earliest known depiction of the Temple on the coins of the Bar Kokhba Revolt (132-135 CE) and to later synagogue floor mosaics with Tabernacle- or Temple-related imagery. I conclude that whereas the early image on the coins represented the revolt{\textquoteright}s focus on the restoration of the Temple in Jerusalem, the imagery in the synagogues served as means to orient the worshiper in the liturgical context of the synagogue, the institution that rose to prominence after the Temple{\textquoteright}s destruction. As indicated by Aramaic dedication inscription referring to a "house for the ark," the Dura Temple image functioned as a sign that linked the shrine holding the Torah scroll cabinet (the synagogue "ark") with the Temple that once housed the Ark of the Covenant. As a focus of prayer, the Torah shrine was also aligned with Jerusalem itself, site of the past (and future) Temple. In Part II, I offer an analysis of the biblical narratives that surrounded the early Temple image at Dura. Contrary to the conclusions reached by previous scholars, I argue that the Temple image created in the first phase of decoration can be understood as the narrative conclusion of the narrative sequences added in a second phase of decoration. It represented the placement of the Ark of the Covenant in Solomon{\textquoteright}s Temple as the high point of Israel{\textquoteright}s historical narrative. Moreover, it could also function as a typological reference to the eschatological or messianic conclusion of Israel{\textquoteright}s historical narrative in the restoration of this kingdom. Rather than describing the overall arrangement of the narratives as part of a carefully determined "program" held together by a specific theme or themes, I attempt to recapitulate the additive process whereby the Dura community recontextualized the symbol of the Temple as part of a larger narrative structure. I also suggest ways in which the liturgical context would have encouraged members of the synagogue community to see themselves in connection to the people of Israel, whose history was recounted on the surrounding walls. Such a context elided the distinction between past and present to reinforce the identity of the congregation as a people of the Covenant: descendants of the patriarchs, redeemed from Egypt and anticipating their arrival in the land. The establishment of the Temple on Zion represented the ultimate conclusion of their story.}, keywords = {Art of the Middle East/North Africa}, author = {Schenk, Kara} } @mastersthesis {10030, title = {Robert Ryman: Painting Pragmatism}, year = {2006}, school = {Princeton}, abstract = {This dissertation addresses the work of the American painter Robert Ryman (b. 1930), arguing that his radical reduction of means (white paint and support structures) paradoxically has expanded painting{\textquoteright}s potentialities. Here I read Ryman{\textquoteright}s painting in relation to pragmatist philosophy. William James{\textquoteright}s insistence on the conditions of acceptability, rather than the truth of philosophy, find their analogue in Ryman{\textquoteright}s painting, as does the notion that philosophy (or isomorphically, painting) depends on a leap of faith in the face of doubt. Results in practice---in painting---are of primary import. As recapitulated by the chapter titles, I stress Ryman{\textquoteright}s inextricably material and conceptual investigations of paint, support structures, their edges, and the walls on which they hang. Ryman is an autodidact who learned to paint while employed as a guard at the Museum of Modern Art (from 1953-1960), following John Dewey{\textquoteright}s model of learning by doing. I begin by charting an application of Dewey{\textquoteright}s ideas on creative education within the Museum. I then propose that this intellectual tradition as mediated by the institution proved generative for Ryman, conditioning his non-ontological conception of painting. I thereafter address the reception of Ryman{\textquoteright}s paintings as they were first exhibited in the sixties, discussing the ways their a-rhetorical operation frustrates absolutist readings and categorical or stylistic affiliations (with movements including Abstract Expressionism, Minimalism, and Conceptualism), and thus embarrasses over-determined structures of art historical meaning. Finally, I attend to how Ryman{\textquoteright}s works function in their installations, annexing the walls, ambient light, and space of the galleries. While this dissertation offers a considered study of Ryman{\textquoteright}s work over the last fifty years, its larger stakes involve a reconsideration of end-game aesthetics. Ryman{\textquoteright}s paintings do not guarantee painting{\textquoteright}s viability, but neither do they suggest otherwise. They are experiments in keeping the experiment of painting going, the efficacy of which resides in their remaking of painting as a site of material and aesthetic conventions beholden to and productive of positive philosophical and social effects.}, keywords = {Twentieth-Century Art}, author = {Suzanne Hudson} } @mastersthesis {9949, title = {Rome Restored: The Themes of Pax and Restitutio under Vespasian and Titus}, year = {2006}, school = {Columbia}, abstract = {This thesis examines the role of ideology and propaganda in Vespasian and Titus{\textquoteright}s claims to legitimacy, focusing on their exploitation of the themes of pax and restitutio to signify a return to stability and constitutional rule after the Civil Wars. The use of these themes in their propaganda goes beyond an evocation of Augustan precedents and recalls, in addition, Tiberius, Claudius, Galba, and even Caesar and the Republic. The theme of pax, which was both a condition restored by Vespasian and the condition that facilitated his other restorations, was heavily emphasized on Vespasian{\textquoteright}s coins and in the construction of the Templum Pacis. In fact, the minting of the coins correlates with the erection of the building. Vespasian{\textquoteright}s Templum Pacis was not only a triumphal display of power akin to the Republican porticoes it emulated, but was also a physical representation of the blessings of peace, visibly demonstrating otium as well as the absence of war. Furthermore, the construction of the monument opposite the business district of the Forum Romanum and the Fora of Caesar and Augustus created an architectural embodiment of the familiar dichotomy of otium and negotium. As Vespasian consolidated his power the theme of restitutio increasingly served to establish continuity with the principates of Augustus, Claudius and, to a lesser extent, Galba, as well as with the Republic and the figure of Caesar. At the same time, the theme never entirely lost its specifically anti-Neronian aspect. This is reflected particularly well in his urban renewal program, where, for example, Vespasian deliberately advertised his shutting of the doors of Janus Geminus as the next after Augustus, omitting Nero{\textquoteright}s well-documented closure entirely, and in his portraits, which often appeared in the Republican veristic style in contrast to Nero{\textquoteright}s more Hellenized image. Vespasian{\textquoteright}s coins emphasized restitutio by reissuing types originally struck during the Republic and by Caesar, Augustus, Tiberius, and Galba. Titus expanded on this theme by minting an innovative series of bronze coins that restored obverse and reverse types from selected earlier issues. In this way he stressed a parallel with Tiberius, who had also been a model for his father.}, keywords = {Greek/Roman Art}, author = {Cox, Sarah E.} } @mastersthesis {9996, title = {Romeyn de Hooghe and the Birth of Political Satire}, year = {2006}, note = {ProQuest advisor: Schama, Simon (D. Freedberg not listed)}, school = {Columbia}, abstract = {This dissertation is a study of the political satires of Romeyn de Hooghe (1645-1708), complex and politically engaged works that transformed the political print in the Netherlands. Printed political images had existed for over one hundred and fifty years before the appearance of de Hooghe{\textquoteright}s satires and a range of visual and ideological strategies had evolved since their inception, among them the format of the fable, animal symbolism, and the devices of formal portraiture. While de Hooghe built upon the foundation of these earlier traditions, little prepares the viewer (both seventeenth-century and modern) for his radical departures that revolve largely around the deconstruction of the royal body. This study consists of an intensive examination of his satires on both domestic and foreign subjects, their cultural and visual references and the impact of their emergence both on the role of the printmaker and in the wider context of political imagery at the turn of the eighteenth century.}, keywords = {Renaissance/Baroque Art}, author = {Hale, Meredith} } @mastersthesis {9990, title = {The Sala delle Asse in the Sforza Castle in Milan}, year = {2006}, school = {Pittsburgh}, abstract = {This dissertation deals with two periods in the history of a room in the Sforza Castle known as the Sala delle Asse: the fifteenth-century, when Ludovico Sforza (1452-1508) commissioned Leonardo da Vinci (1452-1519) to paint it and the late-nineteenth to-early-twentieth century when the Sala was re-discovered and subjected to a major restoration by the Italian architectural historian Luca Beltrami (1854-1933). Beltrami{\textquoteright}s participation in the Sala{\textquoteright}s re-discovery in 1893, the architectural and pictorial alterations he ordered in preparing the room for public view, and his monographic presentation of the Sala{\textquoteright}s fifteenth-century history will be discussed here using new archival evidence. The author will argue that Beltrami{\textquoteright}s interventions ultimately shifted attention away from the Sala{\textquoteright}s fifteenth-century circumstances and transformed it into a key component of the ambitious restoration scheme that Beltrami had formulated for the Sforza Castle as whole. This was a scheme that supported certain political and cultural ideologies about Milan at the turn of the twentieth-century. In an effort to provide an alternative voice for the Sala to that of Beltrami, the author will use new archival documentation to discuss the participation of Paul Muller-Walde, a German art historian who is credited with the actual re-discovery of the Sala but whose contributions remained curiously absent from all modern art-historical literature dealing with the Sala. Acting on the premise that a more plausible and much needed interpretation for the Sala{\textquoteright}s fifteenth-century history is needed, the author will offer a reconsideration of some of the Sala{\textquoteright}s most basic problems such as dating, location and possible uses. The author will also deal with Leonardo{\textquoteright}s contributions and the perils of characterizing the Sala as yet another work that sprang fully from Leonardo{\textquoteright}s imagination, with little interference or direction from outside sources. Finally, the author will deal with Ludovico Sforza{\textquoteright}s reasons for commissioning the Sala and lay the groundwork for an expanded and alternative interpretative discourse intended to broaden the avenue of investigation of this important and unique commission in Renaissance art. This dissertation concludes with an extensive Register of Documents containing reproductions or transcriptions of important fifteenth-, nineteenth- and twentieth-century documents for the Sala delle Asse.}, keywords = {Renaissance/Baroque Art}, author = {Costa, Patrizia} } @mastersthesis {9856, title = {Samuel F. B. Morse and the Daguerreotype: Art and Science in American Culture, 1835-1855}, year = {2006}, school = {CUNY}, abstract = {This dissertation is the first extensive examination of Samuel F. B. Morse{\textquoteright}s (1791-1872) daguerreotype activity. Morse, well known as an important nineteenth-century painter and inventor of the electro-magnetic telegraph, was among the first in the country to experiment with Louis-Jacques-Mande Daguerre{\textquoteright}s 1839 invention. Indeed, he was the most important, critical voice regarding photography in the medium{\textquoteright}s very early years. My study argues that Morse{\textquoteright}s work with the daguerreotype, particularly his partnership with chemist John William Draper (1811-1882) needs to be read as a vital link between his careers as a painter and an inventor. Through my analysis of Morse{\textquoteright}s photographic practices and products, I show that the artistic, photographic, and telegraphic work of Morse are linked through his life-long ambitions of personal greatness and national service, and that he repeatedly attempted to realize these goals through mechanical reproduction, be it the use of a camera obscura to create his most important paintings, the recording of a photographic subject, or the transformation of an electric current into a telegraphic message. While Morse had long been involved with both the fine arts and invention, his very conscious turn to privileging scientific technology over the arts in the 1830s is indicative of Morse{\textquoteright}s awareness of the emphasis American culture placed on native technology over the visual. I contend that Morse chose to yoke his desires for American fine arts onto this decided direction of American progress, and that the daguerreotype offered Morse the opportunity to bridge these two fields within his own work, an attempt that ultimately proved unsuccessful. Having unearthed new and important primary source information regarding Morse and the daguerreotype, I examine his role in the early photographic community in New York, and show his importance in the positive reception of the new technology within the United States, particularly as it relates to the fine arts. I also provide the first extensive discussion of Draper as a photographer.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Gillespie, Sarah Kate} } @mastersthesis {9922, title = {Sanctioning the Nude: Production and Reception of Edward Muybridge{\textquoteright}s Animal Locomotion, 1887}, year = {2006}, school = {Northwestern}, abstract = {Eadweard Muybridge{\textquoteright}s Animal Locomotion, An electro-photographic investigation of consecutive phases of animal movements, 1872-1885, appeared in Philadelphia in 1887. In eleven volumes, the lavish photographic publication pictured men, women, children and animals performing actions before gridded backdrops. Notably, the pictures were taken by a battery of cameras at an unprecedented shutter speed that revealed positions undetectable by the human eye, and their serial arrangement on the page allowed viewers to reanimate motion. The Animal Locomotion photographs have long received praise for their technological innovation. Equally as striking but largely ignored by critics and scholars is the fact that Muybridge{\textquoteright}s Animal Locomotion publication contained 340 series featuring fully nude adults, pictures that would presumably have been censored in Victorian Philadelphia. Here, in the first full-length study of the Animal Locomotion photographs, I ask why the nudes in the Animal Locomotion series, produced on the grounds and under the auspices of the University of Pennsylvania, were so widely accepted in conservative, Victorian America despite their provocative presentation of unclad men and women. Crucial to this examination is the consideration of Eadweard Muybridge{\textquoteright}s Animal Locomotion project as a collaborative enterprise. The project was overseen by a group of prominent Philadelphians dubbed "The Muybridge Commission," which included University of Pennsylvania professors of Anatomy, Physics, Veterinary Anatomy and Engineering as well as Edward Coates, Chairman of the Instruction Committee at the Pennsylvania Academy of Fine Arts, and artist and Pennsylvania Academy instructor Thomas Eakins. I argue in this study that the social and professional standing of many of Muybridge{\textquoteright}s colleagues on the Muybridge Commission and the increasing prestige of the University itself largely shielded the photographs from condemnation on a public and institutional level, and in turn the lavish Animal Locomotion publication served to enhance the status of the University and its faculty. Additionally, the appearance and arrangement of the photographs reinforced social stratification based on profession, gender and physical ability. However, on the level of personal viewing the Animal Locomotion nudes, with their revealed bodies, unusual scenarios and often creative formal arrangement, nonetheless offered numerous possibilities for visual pleasure, desire and fantasy.}, keywords = {Digital Media/Animation}, author = {Gordon, Sarah} } @mastersthesis {9937, title = {Sardinian Medieval Churches and Their Bacini: Architecture Embedded with Archaeology}, year = {2006}, school = {IFA/NYU}, abstract = {Sardinia in the middle ages was a strategic center of the Mediterranean world. Between the wane of Byzantine control in the 11 th century to the arrival of the Spanish in the 14th century, the activity of merchants, landlords and Latin monks transformed the island. Along with town and road development, some two-hundred churches were built and many were decorated with medieval pottery, called bacini. This glazed pottery was imported from production centers in North Africa, Spain and Italy. Using what is known about the dates of pottery production, and given that the pottery was installed during building construction and not after, more accurate dates for the architecture can be established. The new dates deriving from the bacini supplement data provided by documents and stylistic comparisons with continental architecture. More than fifteen churches, of a total of sixty-two with this form of decoration, can now be dated more precisely. Sardinian architecture and material culture from the Gregorian reform period also suggests the predominance of Pisa over its rival, Genoa. Pisan Romanesque architecture used bacini much more than any other continental town and Pisan merchants seem to have been among the largest importers of glazed pottery to the west and certainly in Sardinia. Sardinian architecture demonstrates a variety of contacts within the Mediterranean, where French and Tuscan Romanesque styles are fused with classicizing spolia and bacini, creating familiar, yet, idiosyncratic results.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Hobart, Michelle} } @mastersthesis {9962, title = {Senbutsu: Figured Clay Tiles, Buddhism, and Political Developments on the Japanese Islands, ca. 650-794 CE}, year = {2006}, school = {UCLA}, abstract = {This study of senbutsu, figured clay tiles with Buddhist subject matter, offers new means to expand our perception of the emerging Japanese state, as initial production of the figured tiles began during the second half of the seventh century, a time of massive reorganization in governing structure and practice on the Japanese islands. Largely excavated by archaeological institutions during the last fifty years, senbutsu are an important body of material evidence which has not yet been fully examined. Most senbutsu were recovered from the ruins of Buddhist temples, predominantly built between the second half of the seventh century and the eighth century, with a heavy concentration of consumption sites located in and near the successive capitals. Since molds were used to manufacture the figured tiles, through formal analysis of each tile, I identified related senbutsu and proposed the boundaries of common cultural spheres, as well as the geography of transportation routes. In all, the spreading influence of the central government throughout the Japanese islands, as described in the limited written sources, was both corroborated and put into new perspective by this alternative form of material evidence, the figured tiles. Yet since the tiles do not have inscribed dates, production periods are relatively uncertain. Thus the foremost aim of this study was to establish a chronological sequence for the senbutsu, primarily by focusing on tiles with a depiction of a Buddha triad, likely the earliest type of senbutsu developed and produced on the Japanese islands, and clearly the most abundant. I also explored other critical issues, such as the manner of use, which appears to have ranged from ornamental decoration inside temples, as small devotional icons, as acts of merit-making, to possibly serving as protection against angry ghosts resulting from the politics of succession. Essentially, this thesis examined the transmission of a new kind of object to the Japanese islands from across the seas, how it was interpreted and transformed, and the processes involved in the dissemination of this new practice from workshops serving the Buddhist temples in the capital to the workshops operating in the distant provinces.}, keywords = {Japanese/Korean Art}, author = {Shirai, Yoko} } @mastersthesis {10016, title = {Sighting the Temple, Mapping the Sites, Citing the Classics: Art History as the Mission Civilisatrice in Cambodia, 1863-2003}, year = {2006}, school = {Cornell}, abstract = {This dissertation is an examination of descriptions, writings, and photographic and architectural reproductions of Angkor in Europe and the United States during Cambodia{\textquoteright}s colonial period, which began in 1863 and lasted until 1953. Using the work of Mary Louise Pratt on colonial era narratives and Mieke Bal on the construction of narratives in museum exhibitions, this examination focuses on the narrative that came to represent Cambodia in Europe and the United States, and is conducted with an eye on what these works expose about their Western, and predominately French, producers. Angkor captured the imagination of readers in France even before the colonial period in Cambodia had officially begun. The posthumously published journals of the naturalist Henri Mouhot brought to the minds of many visions of lost civilizations disintegrating in the jungle. This initial view of Angkor proved to be surprisingly resilient, surviving not only throughout the colonial period, but even to the present day. This dissertation seeks to follow the evolution of the conflation of Cambodia and Angkor in the French "narrative" of Cambodia, from the initial exposures, such as Mouhot{\textquoteright}s writing, through the close of colonial period. In addition, this dissertation will examine the resilience of this vision of Cambodia in the continued production of this measures that were taken by the French colonial administration in order to take greater control over the area that constituted the Angkor Historical Park, and to implement preventative measures and physical alterations designed to keep the view of Angkor aligned with this narrative.}, keywords = {South/Southeast Asian Art}, author = {Foley, Jennifer} } @mastersthesis {9956, title = {A Social History of Late Roman Villas in Spain and Portugal}, year = {2006}, school = {Emory}, abstract = {This study examines the architecture and decor of selected late Roman villas in the province of Hispania, covering the region of modern Spain and Portugal, with reference to the wider social world of late antiquity. As the most fundamental point of interface between the individual and the wider society, the Roman house is treated as both a product and a source of transformation in this critical period in European history. The material evidence from the domestic settings is placed in the context of late Imperial cultural phenomena including shifting notions of privacy and the body, a hierarchical social organization, the rise of Christianity, and a predominance of theatricality and spectacle. Methodologically, this study differs from previous considerations of late Roman domestic architecture in Spain in its analysis of the structures in conjunction with ensembles of decoration. Observations on mosaics, sculpture and other decor in the villas provide new insights on the communicative power of these art forms when combined with carefully orchestrated interior environments. While focusing on Spain, this study also takes a comparative approach, in order to locate areas of continuity and innovation in relation other regions in the Empire. In confirming a general picture of a shared architectural and decorative language, the analysis leads to the discovery of unique contributions on the part of Spanish designers. In the widest sense, this dissertation adds to the sum of knowledge concerning the period of late antiquity, an era which has only relatively recently been the subject of intensive research, and about which many questions remain unanswered.}, keywords = {Greek/Roman Art}, author = {Stephenson, John W.} } @mastersthesis {9881, title = {Socialism, Globalism, and Playful Sabotage: Their Representation and Purposes in the Works of Four Contemporary Chinese Artists: Xu Bing, Zhang Peili, Yang Zhenzhong, and Xu Zhen}, year = {2006}, school = {Cornell}, abstract = {This dissertation examines four contemporary Chinese artists{\textquoteright} selected installations, performances, and video works created from 1993 to 2003. The artists who are the subjects of this dissertation are Xu Bing, Zhang Peili, Yang Zhenzhong, and Xu Zhen. Particular attention is given to several political and cultural phenomena of the time that dramatically show the tension between socialist forces and the emerging capitalist and globalist forces in China. At this moment of great change and socialist appropriation of capitalist and globalist vehicles, a great energy was provided, which inspired a creative dynamism in art. It also shaped the artists{\textquoteright} visions in the media used. A common strategy used by these artists was one of playful sabotage, a strategy by which these artists tried to deal with the opposing forces of socialism and consumerism and then attempted to affirm the self in their new world in art}, keywords = {Chinese Art, Contemporary Art}, author = {Yang, Shin-Yi} } @mastersthesis {9912, title = {States of Self: Carolee Schneemann{\textquoteright}s Works, 1962-1974}, year = {2006}, school = {Stony Brook}, abstract = {The dissertation comprises reconstructive narratives of Carolee Schneemann{\textquoteright}s seminal performative works of the 1960s and 1970s (primarily Eye/Body, 1962-63; Meat Joy, 1964; and Interior Scroll, 1974) situated in their specific art historical contexts, and analyses of these works from the psychoanalytic perspectives, including D.W.Winnicott{\textquoteright}s object relations theory, Paul Schilder{\textquoteright}s physio-psychological formation of the body image, and the behavioral and psychoanalytic theories that see art as a necessary disruption of order. Investigations of the alternative history of Performance Art lead to the early 20th century avant-gardes, Futurism and Dada, transplanted via the Black Mountain College to the US, and renewed by the experimental artists{\textquoteright} associations influenced by John Cage, primarily Happenings, Fluxus, and the Judson Dance Theater. The female erotic body as the origin of the self and as a social space-the premise of Schneemann{\textquoteright}s multivalent practice-aligns this study with historical, political and theoretical feminisms that inflect psychoanalytic methodologies in continuing discursive permutations. The aim of this dissertation is a comprehensive monographic study of the artist{\textquoteright}s works of the period in their historical and theoretical complexity.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Skurvidaite, Sandra} } @mastersthesis {9863, title = {A Strategic Cut: Kara Walker{\textquoteright}s Art and Imagined Race in American Visual Culture}, year = {2006}, school = {Yale}, abstract = {Contemporary American artist Kara Walker uses a variety of media---most famously, black paper silhouettes---to create raced and gendered characters who demonstrate power and desire in unexpected and provocative ways. Other scholars have located Walker{\textquoteright}s work in the context of African American art history, 19th century silhouettes or early 20th century minstrelsy, and have theorized her art as addressing a racist and incomplete history. This leaves unexplored, however, one of the most interesting, challenging and ultimately useful aspects of Walker{\textquoteright}s project---her sustained engagement with late 20th century historical fiction. I take this engagement as my point of departure, and conduct an interdisciplinary visual analysis of Walker{\textquoteright}s art as it makes reference to certain storytelling practices in the United States that construct, and represent, race. As Walker{\textquoteright}s images provide visual navigation through "Roots," Beloved, Uncle Tom{\textquoteright}s Cabin, historical romance novels, Greek mythology and children{\textquoteright}s fairy tales, several questions arise: when and why is it appropriate to use fantasy to fill in historical blanks? What happens when historical fiction becomes "truer" than historical fact? How is "whiteness" constructed to be invisible in historical fiction? My investigation reveals both anxiety and continuity in the ways that race is constructed, consumed, reproduced, and celebrated in the visual culture of contemporary historical fiction. Further, I illuminate the strategic power of Walker{\textquoteright}s silhouettes to interrupt cultural suspension of disbelief as it currently operates in America{\textquoteright}s racialized imagination. Ultimately, I believe that Walker{\textquoteright}s visual intervention provides a valuable opportunity for reflection---not only on the dynamics of the story-telling industry, but on the role and responsibility of the individual viewer. At stake are our imaginative limits; as Walker demonstrates, the images of race and history that we choose to consume influence not only our memories of the past, but also the ways that we will see, imagine and produce race in the future.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Peabody, Rebecca} } @mastersthesis {10029, title = {Strategies of Excess: The Postwar Assemblages of Alberto Burri, Robert Rauschenberg, and Arman}, year = {2006}, school = {Boston}, abstract = {This dissertation examines the postwar assemblage art movement as it developed within international capitalism from 1950 to 1965. Although postwar assemblage was celebrated in museum surveys as early as 1961, scholars have yet to situate this found-object art in relation to its international socio-economic context. An analysis of artworks by Alberto Burri in Rome in the early 1950s, Robert Rauschenberg in New York in the mid-1950s, and Arman (Armand Fernandez) in Paris in the early 1960s reveals the historically specific development of the practice in relation to the postwar economy{\textquoteright}s international markets and attendant consumer culture. This dissertation proposes that these artists used assemblage strategically to engage with a culture of abundance and excess-its consumer goods, trash, and surplus, as well as its new distribution and mass-marketing systems. Through Allan Kaprow{\textquoteright}s early thinking about assemblage as an open and changeable form extending into its environment and Gilles Deleuze and Felix Guattari{\textquoteright}s later theorization of capitalism as an analogous open form, the introduction argues that assemblage art intervened directly and materially with the flows of capitalist excess. The next chapter looks specifically at the way Burri "sutured" the trash of burlap sacks into modernist grids, both exposing and containing U.S. Marshall Plan food aid packaging in the early 1950s. Continuing with an investigation of Rauschenberg in a burgeoning mass-market culture centered in New York, the dissertation shows how his Combines produced the late fifties spectator as a consumer, "assembled" as an amalgamation of everyday objects. The last chapter argues that Arman{\textquoteright}s Accumulations (glass vitrines filled with commercial items) performed a systematic sociology by repetitively enacting consumption and its "spectacularization" of the 1960s subject. These three strategies: suturing (Burri), assembling (Rauschenberg), and systematizing (Arman) represent an arc in the development of postwar assemblage art. A burgeoning international consumer economy was first denied by Burri, assembled and articulated by Rauschenberg, and then fully integrated into a system by Arman. This trajectory elaborates how artists and viewers became subjects of capitalist abundance and how assemblages strategically reversed and deferred the mechanisms of postwar capitalism, but always operated within its structure.}, keywords = {Twentieth-Century Art}, author = {Hamilton, Jaimey} } @mastersthesis {9908, title = {Subjective Others/Foreign Selves: Queer American Spectatorship and Swedish {\textquoteright}Art Cinema{\textquoteright}}, year = {2006}, school = {Rochester}, abstract = {This dissertation examines the phenomenon of European art cinema from the end of World War II through the late 1960s from the perspective of queer American spectatorship. It asserts that as foreign films, a number of texts released in the United States in the Cold War period spoke in a unique and illuminating way to a generation of American queer filmgoers. The preface explains my personal investment in and understanding of this process and is followed by an introduction that contextualizes the more specific focus of this project: filmmaker Ingmar Bergman and the nation of Sweden that his cinema represented to U.S. filmgoers throughout the post World War II era. The first chapter looks at two early films associated with Bergman to illustrate an interpretive strategy of film spectatorship that involves a close connotative reading of foreign art cinema in order to appropriate it to the realm of a queer cinema. As such it represents a widespread practice of minority audiences, which would often read texts "between the lines" in order to find a particular meaning within the films for themselves. The second chapter offers an examination of an equally close, if more straightforward, reading of a text that I posit to be queer in its direct impact. The film in question, Hasthandlarens Flickor, offers a strong example of a text that, while marketed to a mainstream foreign film audience in the United States, could be thought of specifically as queer film to a queer audience, something all too rare during the period addressed in this study. Chapters three and four address queer affects, as opposed to queer interpretations, as they are engendered by a number of Ingmar Bergman mid-period films. With them, this study argues for an understanding of "foreignness" as a functional metonym both for the psychic category of "otherness" and for Sigmund Freud{\textquoteright}s concept of the unconscious. A conclusion brings the issues threaded through this dissertation as a whole to the end of a history of films bearing Bergman{\textquoteright}s name.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Film/Video}, author = {Humphrey, Dan} } @mastersthesis {9903, title = {Suite Substitute{\textquoteright}: The Nature of Representation in the Art of Bruce Nauman}, year = {2006}, school = {Bryn Mawr}, abstract = {This dissertation, "{\textquoteright}Suite Substitute{\textquoteright}: The Nature of Representation in the Art of Bruce Nauman" examines the work of American artist Bruce Nauman (1941- ). In it, I argue that Nauman{\textquoteright}s art can best be understood as a sustained critique of linguistic and visual representation. To this end, my first chapter, "Language and Its Limits: Representation{\textquoteright}s Rem(a)inders," focuses on Nauman{\textquoteright}s interrogation of the efficacy of linguistic and visual signs in his art from the mid-1960s and the early 1970s. Offering an interpretation of Nauman{\textquoteright}s text-based art by way of the artist{\textquoteright}s own expressed interest in the work of Roland Barthes, Kurt Godel and the teachings of William T. Wiley, I propose that Nauman effectively strips words of their signifying capacity and produces art that proves resistant to language{\textquoteright}s figurative economy. My second chapter, "Social Selves, Animal Realities," proposes that Nauman{\textquoteright}s work from the late 1970s to mid 1980s thematizes the instinctive realities of our animal selves that are suppressed in the course of our development as social individuals. Drawing on Sigmund Freud{\textquoteright}s meditation on the forced distinction between our social and biological imperatives put forth in his Civilization and Its Discontents, I argue that Nauman{\textquoteright}s work foregrounds unrepressed behavior that allude to this symbolic distinction between our biological bodies and our social selves. In my third chapter, "Towards {\textquoteright}Something Else Altogether,{\textquoteright}" I draw on two of Nauman{\textquoteright}s own intellectual sources, Rene Dubos and Frederick Perls, and argue that Nauman{\textquoteright}s installations from the late 1960s and early 1970s provoke decidedly physiological reactions that are grounded in a biological reality unconditioned by any symbolic processes of socio-cultural conditioning. My final chapter, "{\textquoteright}Lack, Alas{\textquoteright}: Representing Representation," examines Nauman{\textquoteright}s more recent work. Drawing on a post-structural understanding of the insufficiency of the linguistic sign as set forth by Jacques Derrida, I propose that Nauman{\textquoteright}s art functions as a demonstration of the absence inherent to the differential and relational economy of representation.}, keywords = {Contemporary Art}, author = {Weintraub, Max} } @mastersthesis {9963, title = {Takuma Eiga: A Revisionist Analysis of a Fourteenth-Century Buddhist Painter}, year = {2006}, school = {Columbia}, abstract = {This dissertation repositions the fourteenth-century artist Takuma Eiga, often cited as the last figure in the lineage of the Takuma school of Buddhist painters, in the history of Japanese painting as the head of an atelier whose benchmarks are limited to two extant works: a set of Sixteen Rakan paintings in the Fujita Museum, Osaka, and a Nehan painting in Daijuji, Mie Prefecture. Given their striking stylistic affinities, it is argued that these paintings are standard works that can be used to judge other attributions to Eiga. Individual chapters discuss the Fujita and Daijuji paintings in the context of their respective pictorial traditions and present formal analyses of their iconographic and stylistic characteristics. It is also noted that the idiosyncratic representation revealed by both works is a hallmark of the Eiga atelier. Thus, this study asserts that it is possible to envision a painting workshop in which Eiga, as the head, supervised the production of Buddhist images, made stylistic choices for their execution, and presumably painted important pictorial details. Since there are conflicting records that suggest an improbable lifetime for Eiga, the Fujita and Daijuji paintings, which are datable to around the mid-fourteenth century, provide the only viable evidence of the artist{\textquoteright}s likely period of activity. Heretofore, eight traditional Eiga attributions have been recognized as the sum of the artist{\textquoteright}s extant oeuvre. However, besides the identification of the benchmarks of the Eiga atelier, this study proposes the idea that some traditional Eiga attributions may be potentially related to non-Eiga Takuma workshops, while others have no apparent connection to Eiga or his atelier. Moreover, given that two extant ink monochrome paintings bear potentially spurious impressions of Eiga seals, the notion that this artist was a forerunner in the early development of Japanese ink painting is called into question. Through the examination of the traditional Eiga attributions, as well as those which are lesser known, this dissertation also explores a phenomenon that apparently developed among authenticators who indiscriminately ascribed pictures in disparate styles to Eiga.}, keywords = {Japanese/Korean Art}, author = {Williams, Gratia Cassandra} } @mastersthesis {9924, title = {Talbot and Herschel: Photography as a Site of Knowledge in Early Nineteenth-Century England}, year = {2006}, school = {Columbia}, abstract = {This dissertation historicizes the conception of photography as part of an epistemological shift in which new objects and methods of knowledge were constituted after the collapse of natural philosophy as a viable framework for the study of nature. Through an analysis of the philosophical, scientific, and photographic works of Henri Fox Talbot and John Herschel, I show how their conception of photography was discursively inseparable from the efforts to secure the scientific validity of the inductive method and of empiricism, in reaction to the challenges of skepticism in Hume{\textquoteright}s work, and the introduction of Kant{\textquoteright}s transcendental philosophy to England. My project thus conceptualizes the conception of photography in relation to a broad and intellectually significant set of concerns unlike canonical accounts that conceptualize photography as the end product, medium or system of representation of an inevitable technological progress toward visual verisimilitude, Accordingly, I argue for the historical specificity of early photography in the 1840s, and contend that it was discursively different from the concept of photography emerging in the 1850s with its accelerated industrialization, as well as from the modern conception of it. Chapter one analyzes the evocation of the inductive method in Talbot{\textquoteright}s discovery accounts. I show how his conception of photography was discursively inseparable from the philosophical premises of the empiricist legacy England and from the Romantic reaction to it. Chapter two analyzes Herschel{\textquoteright}s conception of photography as a function of new analytical and mathematical methods for the study of light, and of the professionalization of scientific practice in England. Chapter three shows how in the 1840s the photographic image was not conceived to be an emblem of either mechanical copying or of visual verisimilitude as the camera obscura image was believed to be. Chapter four examines the early failed attempts to apply photography to science either in the form of botanic illustration or as part of observation. It analyzes Talbot{\textquoteright}s comments in The Pencil of Nature on the evidentiary status of the photographic image as grounded within nineteenth-century Romantic historicism.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Maimon, Vered} } @mastersthesis {10015, title = {The Telephone Shapes Los Angeles: Communications and Built Space (1880-1950)}, year = {2006}, school = {IFA/NYU}, abstract = {This dissertation seeks to establish the telephone as a critical but unrecognized component in the development of Los Angeles into a major metropolis. It begins in 1880, when telephone lines bound the greater Los Angeles area into a comprehensible whole, and concludes in the early 1950s, when telephony became closely aligned with domestic activity in the home. It takes as starting point the view that it are the social conditions of production under capitalism that largely determine the physical configuration of settlement patterns and telephone infrastructure can be understood as a valuable component of that process. For example, the dissertation considers how the establishment of an extensive telephone "network" was the first significant step toward drawing Los Angeles together as a unified region, both physically and psychologically. In so doing, it also refutes generalized interpretations of Los Angeles as a "fragmented" city by detailing how patterns of telephone installation reveal a vast, but coordinated metropolis comprised of a strong central city linked to other "hubs" of production and settlement.}, keywords = {South/Southeast Asian Art}, author = {Bills, Emily} } @mastersthesis {9919, title = {Textiles in Seventeenth-Century Colonial Portraiture}, year = {2006}, school = {Queen{\textquoteright}s}, abstract = {The primary question to be addressed through this thesis was what type of clothing was worn during the 17th-century occupation of an English colony in Ferryland, Newfoundland. A privy, or outhouse, found at Ferryland, built in 1621, contained 344 textile fragments representing some of the types of cloth available to the English consumer at this time. In addition a large collection of the non-fabric costume components such as buckles and buttons were excavated and will be examined. The notion that one is judged by outward appearances was a driving force for the 17th-century consumer. This would affect not only the domestic production of such goods, but also the import and export of related materials. Understanding the role that England{\textquoteright}s colonies played in this industry could provide information as to the role of the colony within the greater empire. In 1621 George Calvert (the First Lord Baltimore) sent Captain Edward Wynne and a group of West Country and Welsh settlers to Ferryland in order to establish a permanent settlement. The rich inshore cod fishery would serve as the economic backbone of what would become a sustainable colonial lifestyle. Lord Baltimore visited his colony in the summer of 1627 and returned with his family and entourage of some 40 people in 1628.1 Baltimore and his family left Ferryland within a year of their arrival. Sir David Kirke was granted the Island of Newfoundland in 1637 and took control of the colony in 1638.2 Kirke was charged with cheating the government and was called back to London where he died in prison in 1654.3 The Kirke family, however, continued to oversee the running of the colony in Sir David{\textquoteright}s absence. The Dutch attacked the area in 1673 damaging several plantations, especially Ferryland. The colony recovered from this attack, but after the French captured and burned the settlement in 1696, activity at the site ceased until the 1700s. That this colony was supported, operated and organized by English families of wealth and position for most of the 1600s would imply a certain high status of living. Over the past 14 years of excavation, fine ceramic and glass have been excavated, along with gold and silver coinage and fancy components of elegant costume. Fabric remains from the privy represent the largest collection of 17th-century archaeological textiles in North America to date. These include fragments of silk and wool with much of the latter representing the "New Draperies" of this period.4 Dyestuffs identified were madder, cochineal, weld and logwood. From this glimpse of English colonial life, we see that costume-related goods were transported across the Atlantic on a regular basis. This is supported by the fact that many ships and important visitors came to the colony at Ferryland during the 1600s. These ships most likely carried broadsheets with news from home about politics, fashion and social etiquette. An examination of printed images representing most decades of the 17th-century provides a contemporaneous visual comparison of English fashion with that found in the archaeological record at Ferryland. 1James A. Tuck, "Archaeology at Ferryland, Newfoundland 1936-1995", Avalon Chronicles 1 (1996): 21-43. 2Peter E. Pope, "Baltimore vs. Kirke: Newfoundland Evidence in an Interregnum Lawsuit" Avalon Chronicles 3 (1998): 63-99. 3Peter E. Pope, "Baltimore vs. Kirke, 1651: Newfoundland Evidence in an Interregnum Lawsuit", Avalon Chronicles, 3 (1998): 65. 4The term "New Draperies" refers to a different width and weave of cloth which appeared in the late 16th- and early 17th-centuries. Better loom technology allowed for wider cloth to be woven and stronger thinner yarns allowed for a higher thread count per centimetre.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Mathias, Catherine A.} } @mastersthesis {9894, title = {This Is What Democracy Looks Like: Visual Culture and Protest in Canada, 1988-2003}, year = {2006}, school = {Queen{\textquoteright}s}, abstract = {This dissertation examines the intersections of post-Fordist economics with visual culture and global justice protest in Canada between 1994 and 2006. Analyzing the absorption of culture into international market economies through the growth of "intangible" goods and services such as intellectual property, entertainment, tourism, and knowledge production, I examine how "cultural capitalism" changes and envelops the ground formerly available for protest in Canada. I suggest that even as the spread of control and power across the social sphere absorbs culture into the economy, nationalist rhetoric posits an inviolate anti-capitalism of Canadian culture. Even so, I argue that the spread of capitalism creates new spaces of resistance within the complicated, intertwining, and overlapping relationships between systems of power and systems of dissent. Returning constantly to the embodied and viewing subject within the current situation of globalization, I identify a number of creative and collective spaces that, through their very fluidity, cannot be fully incorporated into systems of control. In chapters addressing the absorption of Canadian culture into economic rhetoric through international trade agreements; protest and embodiment at the Summit of the Americas in Quebec City in 2001; discourses of international tourism as they are folded into the use of photography at the protests in Quebec City; radical knitting and internet communications; and the cultural renewal of Canada{\textquoteright}s cities manifested through the construction of "starchitect" designed spaces, I offer a series of case studies that indicate the porous nature of control. By examining and unraveling the complicated relationships among new economies, protest, vision and culture, I argue for an affective and liminal understanding of the spread of protest, and an embodied resistance set against the conditions of contemporary globalization as it is experienced in Canada.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Robertson, Kirsty} } @mastersthesis {9876, title = {Through the Eyes of an Expressionist: Southern Culture, Places, and Memories in the Art of David Bates}, year = {2006}, school = {Kansas}, abstract = {Dallas-based artist David Bates (b.1952) emerged in the 1980s as a significant painter, creating lush landscapes, portraits and narrative works that earned him national recognition. He received both his Bachelor{\textquoteright}s and Masters of Fine Arts degrees from Southern Methodist University, and in 1976 was selected to participate in the Whitney Museum of Art{\textquoteright}s Independent Study Program. Working prolifically for the past thirty years, Bates has created an extensive body of paintings, reliefs and sculpture that reveal his ability to perceive the remarkable within the quotidian and creatively transform everyday themes into extraordinary art. Yet studies of his work have been confined primarily to short essays in seasonal gallery and group exhibition catalogues. This dissertation provides the first in-depth interpretation of Bates{\textquoteright}s art, exploring the impact of southern culture on his aesthetic, his emotional and psychological connection to places, and the role of memory in his work. It assesses his career, and critical responses to it, up to 2005, providing an overview of cultural development in Texas, and examines the misconceptions and myths surrounding Texas to uncover the state{\textquoteright}s distinctive, largely forgotten, southern heritage. Specific aspects of southern culture, including oral traditions, blues music, and self-taught art, as this dissertation reveals, have played a prominent role in Bates{\textquoteright}s aesthetic. His subjects often derive from his deep attachment to the regions of northeast and southeast Texas, southwestern Arkansas, the Gulf Coast, and Walla Walla, Washington where specific scenes, birds, and plant life supply the majority of his subject matter, and reveal his spiritual bond with these environments. As Bates works, memory, both autobiographical and art historical, informs his process. Culled from extensive interviews with Bates, his wife, friends and private collectors, along with texts about the artist, southern culture, and treatises by cultural geographers and memory theorists, this dissertation reveals the reciprocal relationships inherent in Bates{\textquoteright}s use of oral traditions, blues, self-taught art, place and memory. Ultimately, Bates{\textquoteright}s desire to create an authentic vision, sought through regional sources and places, has allowed him to convert local implications into universal meaning.}, keywords = {Art of the United States}, author = {Reece-Hughes, Shirley} } @mastersthesis {9985, title = {Through the Looking Glass: Applications of Ground Penetrating Radar in Archaeology}, year = {2006}, school = {Temple}, abstract = {The focus of this dissertation is to present the results of four years{\textquoteright} worth of geophysical surveying at four major archaeological sites in Greece and the benefits to the archaeological community. The ground penetrating radar offers an inexpensive, non-destructive solution to the problem of deciding how much of a site is worth excavating and which areas would yield the most promising results. An introduction to the ground penetrating radar, or GPR, the equipment necessary to conduct a geophysical survey in the field, and the methods of data collection and subsequent data processing are all addressed. The benefits to the archeological community are many, and future excavations will incorporate such an important tool for a greater understanding of the site. The history of GPR work in the archaeological field has grown at an astounding rate from its beginnings as a simple tool for petroleum and mining services in the beginning of the twentieth century. By mid-century, the GPR was first applied to archaeological sites rather than its common use by utility companies in locating pipes, cables, tunnels, and shafts. Although the preliminary surveys were little more than a search to locate buried walls, the success of these initial surveys paved the ground for future surveys at other archaeological sites, many testing the radar{\textquoteright}s efficacy with a myriad of soil conditions and properties. The four sites in which geophysical surveys with a ground penetrating radar were conducted are Azorias on the island of Crete, Kolonna on the island of Aegina, Mochlos Island and Coastal Mochlos on the island of Crete, and Mycenae in the Peloponnese on mainland Greece. These case studies are first presented in terms of their geographical location, their mythology and etymology, where applicable, along with a brief history of excavation and occupation of the site. Additional survey methods were used at Mycenae, including aerial photography and ERDAS Imagine, a silo locating program now applied for "surface surveying." Each survey site is introduced via geographical location and proximity to known features, as well as with a comprehensive breakdown of the data into real-time depth, or depth-slices, for better identification of features.}, keywords = {Prehistoric Art}, author = {Stamos, Antonia} } @mastersthesis {9846, title = {To Achieve the Unachievable: Beijing{\textquoteright}s Chang{\textquoteright}an Avenue and Chinese Modernization during the PRC Era}, year = {2006}, school = {University of Washington}, abstract = {This dissertation explores the modernization project in Chinese architecture during the PRC Era (1949-present) through the changes of Chang{\textquoteright}an Avenue in Beijing. I will first trace the development of Chang{\textquoteright}an Avenue in the changing urban context from the late Qing dynasty to the end of twentieth century. Then, by analyzing changes in architectural styles, shifts of art ideology, approaches in organized artistic creation, interaction between theoretical discussion and design practice, mechanism of political interference, and impact of globalization, I explore the modernization process of Chinese architecture during the second half the twentieth century. My argument is that the modernization project in Chinese architecture was framed in a way that it could never be fully achieved. In the discourse of modern Chinese architecture, the very definition of "modernity" was constantly changing, following the most updated version in contemporary world architecture. Each period claimed to "roughly complete" Chang{\textquoteright}an Avenue according to its own modernization ideal. Each "completion" from a specific period had been creating new "gaps," physically as well as symbolically, for future "completions" to fill. Chang{\textquoteright}an Avenue, as the most significant urban thoroughfare of 20th-century China and the new east-west axis of the Chinese capital, became a symbol of this unachievable modernization project. Though mainly focusing on the second half of the twentieth century, this dissertation also provides detailed analysis of Chang{\textquoteright}an Avenue during the Imperial Time (before 1912) and the ROC Era (1912-1949), emphasizes the interaction between past and present, and highlights the critical role history and tradition played in the discourse of modern Chinese architecture.}, keywords = {Architectural History/Historic Preservation}, author = {Yu, Shuishan} } @mastersthesis {9923, title = {The Tomishige Studio and the Development of Domestic Commercial Photography in Meiji Japan (1868-1912)}, year = {2006}, school = {Stanford}, abstract = {This dissertation aims to counter the overwhelming impression of early Japanese photography presented in the large body of literature on images produced for the Western market (Yokohama photographs) by examining photographs made for a very different audience---the Japanese themselves. Using the Tomishige Photography Studio as a case study, my project examines the origin and development of domestic commercial photography in the Meiji period (1868-1912), an era of momentous cultural change marked by the rapid modernization of Japan. Founded in Kumamoto in 1870 and still in operation today, the Tomishige Studio archive provides insight into photography production and consumption within Japan, a topic that has been barely examined. The first half of my project focuses on the history of the studio. Chapter One describes the cultural context of the period, highlighting in particular the symbolic role photography played as an instrument of modernization. Chapters Two and Three use primary documents and existing Japanese language studies to examine the establishment of the Tomishige Studio, to position the studio{\textquoteright}s history within the larger sphere of nineteenth-century Japanese commercial photography, and to illustrate typical studio practices and procedures. The second half of my study analyzes the images, concentrating on portraits in Chapter Four and views in Chapter Five. Here I summarize the wide variety of photographs produced by the Tomishige Studio, identify trends in appearance and subject matter, and offer an analysis of some of the theoretical meanings and deeper implications of the images. Rather than interpreting Tomishige Studio images as merely documenting history, I seek instead to examine them as part of the historical process. I argue that photography performed a mediating function, serving to construct notions of identity for people and places during this period of dramatic change. Portraits reflected officially sanctioned roles for individuals, revealing the dominant social rhetoric, particularly regarding gender stereotypes. Views likewise displayed an official vision of Kumamoto{\textquoteright}s geographic identity as it negotiated the complex process of modernization.}, keywords = {Drawings/Prints/Works on Paper, Japanese/Korean Art}, author = {Fraser, Karen} } @mastersthesis {10017, title = {Traces of the Prophet: A Study of Eighteenth-Century Qadam Rasul Shrines in the Indian Subcontinent}, year = {2006}, school = {Virginia}, abstract = {This study seeks to analyze the function of Islamic athar (lit. traces, vestiges) in an eighteenth-century northern Indian context, and how their use in Indo-Muslim society had far-reaching significance for shaping socio-political identities. From an art historical methodology, the study demonstrates how an indexical trace, the qadam rasul ("footprint of the Prophet"), became a source-material of ideology during the waning period of Mughal rule. Newly reigning rulers sought possession of traces, which signify the animating and barakat-imbued (God-given blessings) presence of the Prophet, through inheritance and diplomatic gift exchange in order to establish rightful successorship. The particular proliferation of reliquaries under nawabi state patronage suggests that the traces served to legitimize the nawabi rulers and to mark royal centers (i.e., Murshidabad, Lucknow) in Bengal and Awadh. They were part of the nawabs{\textquoteright} efforts to establish independent polities, conceived in terms of a Sufi-Shi{\textquoteright}i piety with links to Safawi Iran, and distinct from the Delhi-based Sunni Mughals and rising British powers. An examination of the spatial distribution, typology, form, and enshrinement of the Prophet{\textquoteright}s relics (i.e., footprints, hair, sandal, mantle), as well as inscriptions, foundation narratives, and ziyara (visitation) rites, reveals that the value of the relics are contact and proximity with the distant geographies and events in the Prophet{\textquoteright}s life, such as Mecca, Medina, and the Prophet{\textquoteright}s mi{\textquoteright}raj (ascension). Introducing mobile devotional objects into a frontier society of dar al-Islam, such as Mughal India, served the expansion of the political and cultural boundaries of dar al-Islam. The relics{\textquoteright} miracle-producing powers and designated carriers---pirs (saints), sayyids (descendants of the Prophet), and returning hajis from pilgrimage---provided authenticity, while ownership established proof of direct ancestry to the Prophet, a concept integral to the status and identity of Sayyids, Sufis, and Shi{\textquoteright}is. The qadam rasul tradition also interplays with the Indic visnupada (the footprint of Visnu) as manifested at the Visnupada temple (Gaya), and informs the reliquaries of Krsna-Caitanya, who is conceived as a prophet-avatara of Visnu. Further, the high level of female and eunuch court patronage of reliquaries bears on spatial and gendered ideas of sanctitude. Eunuchs served as guardians of the haramayn (the two sacred cities of Mecca and Medina), the zenana, and by extension the Prophet{\textquoteright}s relics. In summary, the evidence suggests that the eighteenth-century Indo-Muslim reliquary tradition embodied ideas of cultural geography, genealogy, and class, religious, and gender identities-ideas that have relevancy for how relics served as constructions of hierarchical social relations and how their patrons envisioned their world.}, keywords = {South/Southeast Asian Art}, author = {Ganem, Jacqueline L.} } @mastersthesis {9958, title = {Trade, Demography and Daily Life: Domestic Assemblages from Fifth-Century BCE Morgantina (Sicily)}, year = {2006}, school = {Virginia}, abstract = {According to the first century BCE historian Diodoros Siculus, the Sicilian town of Morgantina was captured by the Sikel leader Douketios in 459 BCE (XI.78.5). This is the earliest dated event in Morgantina{\textquoteright}s history. Archaeological work on the site of Morgantina, near the modern town of Aidone, has revealed that the Cittadella hill was inhabited in the period described by Diodoros, but that town was soon abandoned. A new settlement, also called Morgantina, according to historical sources, was founded on the neighboring ridge of Serra Orlando some time before the end of the fifth century. This dissertation examines the earliest evidence from the Serra Orlando settlement in order to understand better how, when, and by whom the new foundation was made. The early material from Serra Orlando is almost exclusively domestic in nature, and it includes a large quantity of imported pottery. It therefore raises questions about the ways in which people conducted their daily lives---especially how they dined and drank, since pottery forms the bulk of the available evidence as---well as about the contacts the inhabitants of Morgantina had with coastal Sicily and the wider Mediterranean world. The Athenian black gloss pottery, in particular, is a good point of comparison between Morgantina, other sites in the Sicilian interior, Greek colonies on the coast, and Athens itself. The evidence from early deposits at Serra Orlando reveals a wealth of new information about the second Morgantina. This information includes signs that the town may have been settled by a mixed population of Greeks and Sikels, and that those who lived in the town did so on a relatively equal basis (both as groups and as individuals). Finally, it indicates that the new settlers were willing to select objects, and perhaps even behaviors, from different cultures, integrating them to create their own hybrid culture.}, keywords = {Greek/Roman Art}, author = {Walsh, Justin B.} } @mastersthesis {9879, title = {Troubling Island: The Imagining and Imaging of Haiti by African-American Artists}, year = {2006}, school = {UNC Chapel Hill}, abstract = {Images of Haiti have circulated in the social imagination of the United States through painting, sculpture, illustration, performance and film since the late eighteenth century. Although much scholarship addresses the intertwined and often problematic relationship between the United States and Haiti, sparse art historical research addresses the complexities of U.S. visualizations of Haiti. The period of the U.S. occupation of Haiti (1915-1934) and its immediate aftermath resulted in the opening up of Haiti to unprecedented numbers of writers, ethnographers, and artists who focused both on Haiti as a contemporary nation, and retold and reinterpreted its revolutionary history to express new social and political needs. This dissertation contributes to a greater understanding of how representations of Haiti overwhelmingly articulate issues of race, while also touching on cultural anxieties of class, religion, patriotism and national identity. This dissertation specifically examines how African-American artists have worked against mainstream representations of Haiti to create alternate visions, combating and complicating many stereotypes, while also furthering an understanding of the transnational influences and outlook of several prominent twentieth-century African-American artists. Aaron Douglas, Jacob Lawrence, and William E. Scott are just a few of the African-American artists who drew on Haiti as a source of racial pride and heritage, personal transformation, or as a signifier for revolutionary change. While rooted in art historical analysis, privileging the visual over the text, this is an interdisciplinary dissertation that focuses on the broader context of cultural studies. I draw on both popular media and the performing and fine arts, and match art historical traditions with histories of anthropology and its evolving ethnographic practices, and the politics of U.S. international relations in the Caribbean. Through this lens, I expose how creative representations by African-American artists attempted to open new spaces in interpretations of Haiti, escaping the litany of tired and derogatory tropes so frequently applied to the "Black Republic."}, keywords = {Art of the United States}, author = {Twa, Lindsay} } @mastersthesis {9869, title = {A Tug from the Jug: Drinking and Temperance in American Genre Painting, 1830-1860}, year = {2006}, school = {Ohio State}, abstract = {In the United States, in 1830, per capita alcohol consumption peaked at record levels and then began to decline as the temperance movement worked to curtail American drinking. Although the goal of a sober nation was laudable, the movement{\textquoteright}s fundamental bias toward a white, middle-class audience exacerbated growing tensions with the lower class and called attention to the issues of slavery and racial inequality, ultimately generating social conflicts on par with those it was working to alleviate. This dissertation examines a group of genre paintings created in America, 1830-1860, that depict alcohol, alcohol consumption or intoxication in order to identify how the controversies surrounding drinking and temperance directly, but also indirectly, influenced their formal and thematic construction. Combining the methodologies of social history, formal analysis and material culture, this study explores how painters struggled, with varying degrees of success, to incorporate a temperance message in their work while visually managing the issues temperance brought to the fore---class conflicts, racial tensions, even debates over freedom and liberty. In particular, this dissertation focuses on images of rural and frontier laborers in which the presence of alcohol is significant, yet difficult to detect without an understanding of antebellum temperance propaganda and the visual vocabulary it established. One common feature of temperance{\textquoteright}s visual language was conflation of alcohol with the drinking vessel that contained it in such a way that a bottle or jug literally became alcohol. The temperance propaganda circulating contemporaneously with these canvases would have activated the meaning of the jugs and bottles in the paintings and moved the role of these objects beyond merely a compositional function. A jug{\textquoteright}s opacity meant it could hold anything, while explicitly revealing nothing---leaving the final word on meaning up to the viewer. This dissertation suggests, that by presenting alcohol in the form of the jug, these canvases helped to bolster the hope of middle class reformers that this substance, and by association the citizens who used it, could effectively be contained and controlled.}, keywords = {Art of the United States}, author = {Kilbane, Nora C} } @mastersthesis {9932, title = {Unstable Women: Transgression and Corporeal Experience in Twelfth-Century Visual Culture}, year = {2006}, school = {Stanford}, abstract = {Across twelfth-century Europe, an abundance of representations depicted women{\textquoteright}s bodies as abject, fragmented, or violated. This imagery includes illuminations in a book of visions created by Hildegard of Bingen, manuscripts depicting the martyrdoms of female saints, sculptures of monstrous women (also known as Sheela-na-gigs), and illustrated gynecological treatises. Although these images emerged simultaneously, they have never been brought together in a single study. In this period of intense power struggle and cultural upheaval, conflicts over the convergence of corporeality and spirituality often focused on the purportedly polluted and yet miraculous bodies of women. Anxieties about the phenomenon of inevitable change, characterized by a horror of bodily discontinuity and the potential glory of spiritual transformation, materialized as a struggle to represent the ideal of integritas, a state of corporeal wholeness equating spiritual and physical purity. Women found themselves in an ironic position: they were central to the sustenance of life and continuation of humanity, but they were nevertheless often pushed into the margins because of their perceived inability to achieve integritas. My study not only considers for the first time how these images are linked within their common culture but also explores their immediate contexts to uncover how each image might have engaged with its audiences. Medieval understandings of vision and perception, which involved the entire body of the viewer and all of the senses at once, were conceptualized as an active exchange between the seer and seen. My investigation looks at how these imaged bodies relate to space and to one other, in order to better understand their reception. The spatial implications of these bodies---their stasis or motility---communicate in terms that align with medieval notions of seeing and experiencing images. Furthermore, they allude to how viewers themselves may have experienced their own bodies in space. When women{\textquoteright}s bodies are presented as thresholds between different spaces, modes of experience, and social or cultural positions, important characteristics of medieval viewing practices and perceptions also come to light.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Borland, Jennifer} } @mastersthesis {9998, title = {Vision and the Visionary in Raphael}, year = {2006}, school = {Columbia}, abstract = {This dissertation treats the innovative ways in which Raphael represented the invisible, spiritual world in visible terms. In reconciling the depiction of invisible phenomena with the physicalist ideals of Renaissance naturalism, Raphael became one of the most important devotional painters of his age, shaping his work through themes of seeing, blindness, and spiritual vision. Indeed, Raphael effected a systematic realignment of the visible and the invisible in his works with the aim of enhancing their devotional efficacy and meaning. Attempting to embody visually and physically the visionary in his earliest pictures, Raphael later radically separated the visible from the invisible, showing the visionary as unavailable in visual form, only presentable as the work of fantasia or through the explicit renunciation of bodily sight. Put in the widest possible historical context, Raphael{\textquoteright}s evolution as a painter of visual themes signals a key historical development in the visuality of early modern painting, constituting the very tipping point in a gradual process when the simultaneous coincidence of different modes of vision in earlier images was resolutely ended while establishing new forms of subjectivist experience in painting.}, keywords = {Renaissance/Baroque Art}, author = {Christian Kleinbub} } @mastersthesis {9917, title = {Wearing Propaganda: Civilian Textiles on the Japanese Home Front, 1931-1945, with Reference to Britain and the United States}, year = {2006}, school = {Bard Graduate Center}, abstract = {Textiles are not normally thought of as vehicles for propaganda, yet they can provide both public and personal canvases on which to express patriotic sentiments and serve as visible markers of national unity and tangible testimony to national goals. The textiles under study in this dissertation played such a role during the period of the Asia-Pacific War (1931-1945), first in Japan and later in Britain and the United States. Made for civilian use but patterned with motifs related to the war effort, these fabrics serve as provocative records of patriotic fervor, yet they have been largely unexamined as tools for reading wartime propaganda before the research undertaken for this work. Some of the designs are overtly patriotic and militaristic, others subtler in their presentation, but all were intended to reflect support of their country{\textquoteright}s commitment to the military goals of the time as well as to boost morale on the Home Front. Four objectives have been set for this dissertation: (1) To study the Japanese propaganda textiles produced during the Asia-Pacific War (1931-1945) and contextualize them within a wider framework of wartime propaganda and Home Front morale through comparison to comparable textiles from World War II (1939-1945) produced in Britain and the United States; (2) to place the designs on the propaganda textiles within established design traditions in Japan and to trace their development, evolution, and adaptation as propaganda icons within the extraordinary circumstances of war; (3) to show how the study of these textiles can expand our understanding of the pervasiveness of propaganda, how propaganda finds its way into even the most intimate facets of material life---such as dressing the human body---when a nation and culture are engaged in total war; and (4) to show that these textiles formed one part of a broader propaganda continuum and, by reference to Britain and the United States, to indicate that the Japanese propaganda textiles of 1931-1945 were not an isolated phenomenon limited to time, country, culture, or political creed.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Atkins, Jacqueline} } @mastersthesis {9913, title = {Weaving Work at the Bauhaus: The Gender and Engendering of a Medium}, year = {2006}, school = {Rochester}, abstract = {The Bauhaus weaving workshop tends to be an afterthought in historical studies of the institution. By bringing the textile workshop to the fore, this dissertation argues that its innovative industrial prototypes, pictorial weavings, and the weavers{\textquoteright} textual theorizations of their practice illuminate the complexity of the concept of the medium during the Weimar Republic. The director Walter Gropius and the school{\textquoteright}s form masters---such as Johannes Itten, Wassily Kandinsky, and Laszlo Moholy-Nagy---outlined the parameters of artistic media and the workshop crafts according to specific materials, processes, and functions. The workshop weavers Gunta Stolzl, Anni Albers, Helene Nonne-Schmidt, and Otti Berger, however, harnessed to their theories a heterogeneous mix of the rhetoric of Expressionist painting, Neues Bauen functionalism, and Neue Sachlichkeit photography, thereby pointing to inconsistencies in the way those discourses defined their objects. The weaving workshop{\textquoteright}s products and theories thus compel a new investigation of that moment{\textquoteright}s key binaries: artistic practice and manual labor, experimentation and function, tactile and optical perception, and anonymous industrial design and patent authorship. This dissertation also examines the different ways that gender characterized the textile medium in early twentieth-century Germany. Weaving{\textquoteright}s so-called femininity forces us to ask questions about a general (neutral) notion of the medium within modernism. This dissertation further shows how debates about "woman{\textquoteright}s place at the Bauhaus" drew on larger discussions concerning "woman{\textquoteright}s place" in modern society. The gendered division of labor that characterized the textile industry helped to shape anxieties about the role of art and authorship within modernity. Each chapter examines a key moment in the workshop{\textquoteright}s evolving theory of its medium alongside the school{\textquoteright}s shifting political ambitions and the cultural and sociological debates of the time. The weavers{\textquoteright} work and theories are set against the writings of other Bauhaus figures, as well as this period{\textquoteright}s influential critics, such as Max Weber, Siegfried Kracauer, Alois Riegl, Georg Simmel, Bruno Taut, Adolf Behne, Walter Benjamin, and the women{\textquoteright}s movement writers associated with Die Frau magazine.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Smith, T{\textquoteright}ai} } @mastersthesis {9874, title = {White Collared: Fashioning Masculinity in American Visual Culture}, year = {2006}, school = {Washington University}, abstract = {This study investigates the historical role of white linen undergarments in the organization, social reproduction, and visual articulation of normative---white, middle-class, heterosexual---manliness in American history. The project contributes to the history of clothing and appearances, as well as critical masculinity studies, by tracing across the long nineteenth century the workings of a key mechanism in the embodiment of male social privilege and cultural authority: detachable shirt collars. Chapters explore detachable collars as a form of resistance to the performative disciplinary regime of white linen undergarments that normatively stylized the genteel male body as part of the early-modern emergence of a masculinized civil society. Subsequent chapters apply these theoretical findings to an examination of the proliferation of detachable collars in antebellum America as a means by which the male gaze was naturalized to the male body, and by which men negotiated the conflicting demands of the ideology of the self-made man and the cult of sincerity. Other chapters examine how mid-century critiques of paper collars as unmanly and artificial simultaneously legitimated cloth collars while perpetuating the fiction of natural male privilege; how the collar was invoked at the turn-of-the-century to fortify the corporeal and political white male body during the {\textquoteright}crisis of masculinity{\textquoteright}; and, how early-twentieth century advertisements for Arrow Collars circulated a new model of masculine embodiment which accommodated American men to the social identity of heterosexual masculinity.}, keywords = {Art of the United States}, author = {Murphy, Michael} } @mastersthesis {9841, title = {Wholesome Architecture and the Rise of the Tourist State in Early-Twentieth Century Canada}, year = {2006}, school = {Queen{\textquoteright}s}, abstract = {This dissertation explores how some North Americans in the early decades of the twentieth century sought to respond to or to cope with the perceived stresses of contemporary urban-industrial society by retreating to a therapeutic sanctuary: a zone physically and, at times more importantly, psychologically removed from the seemingly troubling aspects of a rapidly changing world. The therapeutic sanctuary, which is presented in this study as a distinct architectural type, is set apart not stylistically, as a standard architectural typology in terms of form, but most centrally by its functional potential to provide psychological retreat. To this day, the notion of an interlude, a "time out" from the routine of everyday life, remains as beguiling as the conviction remains firm that an interlude "out of time" will have a therapeutic effect not only on the body, but also on the mind. Through a detailed study of three particular Canadian buildings-the Champagne Bath in Ottawa, the Preston Springs health resort at Preston, Ontario, and the Chateau Montebello in Quebec-this dissertation demonstrates how buildings, as manifestations of the therapeutic sanctuary, gave expression to a system of beliefs and practices that enabled early twentieth-century urbanites from various socioeconomic backgrounds to both temporarily retreat from, and to confront and deal with the perceived crisis facing them with some expectation of success. In turn, an understanding of this process sheds light on the ability of architecture to capture and convey the attitudes and concerns of a segment of society at a moment in time.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Surdu, Robert C. A.} } @mastersthesis {9918, title = {The Wiener Werkstaette and Its Critics}, year = {2006}, school = {Rutgers}, abstract = {The Wiener Werkstatte was the foremost producer of decorative art in the years before World War I. The Wiener Werkstatte{\textquoteright}s designs were stylistically innovative; I argue, however, that a concentration on the style of these objects masks the significance these objects had for contemporaries. My aim in this dissertation is to engage the Wiener Werkstatte on the level of its reception within the critical debates of the era in order to understand how these objects functioned within Habsburg society. Placed within the context how they were presented, who used them, and how these objects functioned for these consumers, I show that the modernity of the Wiener Werkstatte was yoked to cultural values that bolstered, rather than undermined, the Habsburg state. I explore key incidents from the firm{\textquoteright}s fifteen years history, selected from events that captured the public and journalistic imagination at the time. Chapter One lays the groundwork for analyzing the Wiener Werkstatte{\textquoteright}s reception by introducing the major venues for publicizing art and design at the turn of the twentieth century and by distinguishing between the reception at home, which was mostly based on the texts written about the social issues prompted by the group{\textquoteright}s designs, and the international exposure of the firm{\textquoteright}s work, which was limited to photographs and emphasized innovative formal characteristics. Chapter Two examines how modern design was used to present the Austro-Hungarian monarchy abroad as a vital cultural power by focusing on a hitherto unstudied event: the Imperial-Royal Austria Exhibition (London, 1906). In Chapter Three, my focus is on the silverware and table-settings on display at the Wiener Werkstatte{\textquoteright}s 1906 "Set Table" (Gedeckter Tisch) exhibition. Chapter Four gives the first sustained analysis significance of the couture workshop in English by focusing on its productions between 1911, when it was created, and the upheavals of World War I. In Chapter Five, I investigate why fashion mattered so much to theorists during World War I and untangle the nationalist rhetoric from the stylistic reality.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Hess, Heather J.} } @mastersthesis {10011, title = {Witches on Top: Magic, Power and Imagination in the Art of Early Modern Italy}, year = {2006}, school = {Indiana}, abstract = {This dissertation probes the dark side in the Italian Renaissance and Baroque art by examining images of witchcraft. While these images may seem to deviate from the humanist and rationalist aura ascribed to early modern Italy, they represent a unique interpretive vector for enriching our understanding of the surprisingly interconnected worlds of humanism and witchcraft. Artists perceived witchcraft as an intellectual topos rather than a frivolous wonder and thus conveyed in their images allegories, metaphors, social concerns, and cultural experiences. The images constitute an original commentary on early modern thought about witchcraft, including the multifaceted stereotype of the witch, and debates emerging from witchcraft discourses. At the same time, this study delves into the reciprocity between art and witchcraft. Art reinforces the act of seeing in witchcraft, while witchcraft enacts metaphors of artistic creation. The images reflect witchcraft not only as a theme but also as a mode of representation characterized by inconstancy, deception, and hybridity. Chapter 1 establishes the stereotypes of the magic practitioners---the old witch, the young sorceress, and the male necromancer---through Salvator Rosa{\textquoteright}s series of four tondi. By employing visual sources, artistic concepts, and pictorial language, Rosa composed these stereotypes upon parameters of authority, expertise, and appearance. The two subsequent chapters add a male victim to the domain of witches and place the witch on top of him. Chapter 2 focuses upon a provocatively sexual etching designed by Parmigianino of a witch riding on an enormous phallus. By linking the image to witchcraft discourses, I will explore its cultural and social implications and its ambiguous tone. The engraving Lo stregozzo by Marcantonio Raimondi or Agostino Veneziano examined in Chapter 3 also displays a witch dominating a subservient man, yet her power is questionable. Through a grid of metaphors, I will reconstruct in this image an analogy between the artistic creation and the witch{\textquoteright}s magic. At last, the power of the witch built in the three chapters evaporates. Chapter 4 shows how artists like Alessandro Allori, Angelo Caroselli, and Giovanni Benedetto Castiglione express their refutation of the belief in witchcraft by portraying the sorceress Circe in melancholy.}, keywords = {Renaissance/Baroque Art}, author = {Tal, Guy} } @mastersthesis {9878, title = {Wondrous Creatures: The Hummingbird and Orchid Paintings of Martin Johnson Heade}, year = {2006}, school = {UNC Chapel Hill}, abstract = {Art Historians describe Heade{\textquoteright}s paintings of hummingbirds in two very different ways: first, as highly realistic, even scientific, representations of the natural world, and second, as spiritual, sensual, phantasmagorical explorations suggestive of something more---in short, of revelations of the artist himself. Foregrounding Heade{\textquoteright}s paintings of hummingbirds, Wondrous Creatures investigates each of these ways of understanding and what they reveal about Heade and his works. Beginning in 1862, Heade painted at least 120 pictures of hummingbirds, glittering birds painted large and close before alluring tropical landscapes. En route, Heade had painted children in flight, landscapes populated with haystacks and light, flowers snipped and arranged in decorative vases, and sober portraits. He left a country rent by civil war, traveling to a land of promise to document the hummingbird, then on to England where he showed portraits of fairylike birds alongside British paintings of {\textquoteright}real{\textquoteright} fairies. Each stop along this path shaped the outcome; Wondrous Creatures looks beneath the glaze of documentary realism to consider their contributions at depth. Wondrous Creatures triangulates art history, the history of natural science, and cultural studies to expose the suggestions in Heade{\textquoteright}s paintings. The process depends on identifying the substitutions and transformations evident in Heade{\textquoteright}s oeuvre, wherein spiritual ornithology becomes naturalistic fantasy, hummingbirds becomes fairies, orchids becomes animistic giants, children becomes hummingbirds, and landscape becomes a stage {\textquoteright}peopled{\textquoteright} with haystacks, humans, or hummingbirds. The dissertation asserts that, in depicting the hummingbird, Heade rapidly exceeded the boundaries of natural history painter, becoming also a storyteller, portraitist, Pre-Raphaelite painter, at times even a fairy painter, his gleaming images describing the ways that his tiny special pets love deeply, battle furiously, and hum with sexuality even while varnished with the innocence of the child. Asserting that birds, like all animals, were emptied of any innate meaning by the end of the eighteenth century to make room for nostalgia, narrative, and symbolic usage, and considering the works and their subjects within their historical and cultural context, Wondrous Creatures asserts that Heade stuffed depictions of natural elements densely with legible, if poetically concealed, human meanings.}, keywords = {Art of the United States}, author = {Towns, Elizabeth} } @mastersthesis {9780, title = {According to the Polish Sky and Customs{\textquoteright}: Theories of Architecture and Art in Early Modern Poland}, year = {2005}, school = {Princeton}, abstract = {In seventeenth and eighteenth-century Poland, amateur and professional architects articulated concerns about social and political impermanence and instability facing Poland, giving shape to a Polish tradition of art and architectural writing. Writers of surviving texts adapted Vitruvian theory to local conditions, shedding light on the way in which they considered and absorbed foreign ideas, and revealing the ways in which they sought to either contest or preserve Polish traditions in architecture. In turn, the texts indicate the durability and even the liability of Polish noble tradition. Divided into a prologue, five chapters, and an excursus, this dissertation discusses the implications art and architectural writing for definitions of early modern Polish culture (1659-1807). It places special emphasis on the reform era of the last king, Stanisoaw August Poniatowski (reg. 1764-1795), and examines the ways in which authors of art and architectural theory responded to, adhered to, and challenged aspects of social tradition practiced by the noble estate. The dissertation provides both a general background to relevant issues in early modern Polish history that affect the interpretation of art and architectural theory. The prologue and first chapter provide a social and political context for the analysis of architectural form and theory found in chapters two, three, four, and five. Chapter two analyzes the Polish domestic architecture, referring to mid-seventeenth century treatise on the subject as well as eighteenth-century writings on rural architecture. Chapter three addresses the subject of the perceptions of Poland by foreigners; an excursus analyzes a Polish treatise on garden design that addresses the perceived shortcomings of the Polish landscape. Chapters four and five consider texts written in the last two decades of the eighteenth century and the first decade of the nineteenth century that use art and architectural theory toward patriotic ends. Drawing on primary source material, readings in Polish political, social and economic history, the history of architectural theory, and secondary Polish art historiography, the study aims to describe and analyze the relationship between writing about art and architecture and Polish cultural consciousness among personalities who were active in both politics and architecture.}, keywords = {Renaissance/Baroque Art}, author = {Guile, Carolyn} } @mastersthesis {9600, title = {Adolf Loos in Central European Culture}, year = {2005}, school = {UCLA}, abstract = {Adolf Loos, a Viennese architect and cultural critic of the Modern period, eliminated ornament and separated art from architecture. Redefining architecture in terms of social function, his techne was a language of mute, smooth exteriors that gave primacy to interior space. An early challenger to the centralized architectural culture of Austria-Hungary, he inspired a whole generation and left behind a legacy of brilliance; however, little has been published that considers his work within the regional context. Themes explored in the first part of the dissertation provide background on the local cultural landscape, including the contributions of vernacular literature to the rise of Czech urban culture, problems concerning cultural identity in nineteenth-century architecture, and an in-depth investigation of Prague as an urban form. Part II develops themes in the critical history of Viennese modernism, such as the question of "cladding," Otto Wagner{\textquoteright}s program for modern architecture, and the theory of Spielraum, or spatial form. Part III moves to Loos{\textquoteright}s writings and architecture. The question of "minor language" is treated in an extended reading of the theoretical relations between Loos and Kafka. The legacy of Neoclassicism in Loos{\textquoteright}s architecture is investigated and then related to the minor language theme in a discussion of his urban classicism. The relations between nature, culture and the propriety of ornament are studied, and Loos{\textquoteright}s antipathy to the idea of "style" as well as his responses to the questions of function, beauty and the discourse on cladding are seen as stimuli for his understanding of architecture. The idea of discursive space provides a means of understanding Loos{\textquoteright}s notion of cultural space, which was influenced by the theory of Spielraum from German art history and aesthetics, and is crucial for his Raumplan theory. Spielraum is explored in architecture and music, particularly in the friendship between Loos and Arnold Schonberg. The dissertation concludes with an analysis of four Loos houses, showing how his engagement with culture provided a vehicle for identifying the space that exists in the duality between subject and object, which he recognized as a consequence of limits of art in Central European culture.}, keywords = {Architectural History/Historic Preservation}, author = {Wuellner, Margarita Jerabek} } @mastersthesis {9761, title = {After Courbet: Realism and the Specter of History, 1871-1889}, year = {2005}, school = {UC Berkeley}, abstract = {Nineteenth-century Realism contained within its own aesthetic conception a paradox. It sought to capture the historical nature of its world-a contingent world, filled with spectacular changes and radical shifts in social structure-but in terms that limited its representations to the "tangible and visible." If, however, painting restricted itself strictly to the empirical world, the past and the future-the very condition of historical consciousness-moved out of the frame of representation. This was the internal contradiction Realist painters like Gustave Courbet increasingly faced when confronted with historical events such as the Paris Commune. In response, Impressionism, with its reduction of pictorial content to momentary, passing sensations, and academic Naturalism, with its simplified anecdotal narrativity, emerged to split the aesthetic difference. Certain painters in the 1870s and the 1880s, however, refused to give up the ghost on a materialist conception of the historical nature of modernity. This dissertation is about their agonized and largely forgotten attempts to wrestle with the representational specter of history. Later Realist painters sought to overcome the earlier contradictions in Realism{\textquoteright}s representation of historical time by replacing the narrative conceits of traditional painting with an intensified, phenomenological experience of time. Far from constituting a mere precursor to the Impressionist "moment," mid-nineteenth-century Realism consistently produced effects of temporal duration, which were related, though not identical, to the extended time of historical painting-the implication of the retention of the past and protension of the future in unified pictorial narrative. In the 1870s, at precisely the moment when the historical claims of earlier Realist paintings became occluded by critics and artists alike, forms of temporal duration blossomed in later Realist painting. Depictions of striking miners, rag-pickers drunk on absinthe, and bored housewives, subjects with slowness, stasis, and immobility built into them, permeate the canvases of late Realist painters like Alfred-Philippe Roll, Jean-Francois Raffaelli, and James Ensor. This dissertation argues that time itself is sustained and intensified in these works, as if the decisive moment of history painting, and thus History itself, were endlessly deferred, but never denied.}, keywords = {Nineteenth-Century Art}, author = {Young, Marnin} } @mastersthesis {9662, title = {Against the Archive: Toward Indeterminacy and the Internationalization of Contemporary Art}, year = {2005}, school = {Harvard}, abstract = {This dissertation examines the work of international contemporary artists, addressing its commodification and embeddedness in the terrain of institutional categorization. With consideration for matters of geography, the market, and artistic influence, as well as for the cultural positions of the artists, their viewers, curators, and consumers, this study identifies alternative models of representation that reside outside of the hermetic and taxonomic spaces of the canonical non-Western/Western dichotomy of art historical discourse, in the service of the academy, the museum, and the market. The contemporary artists taken up in this dissertation propose spaces that fuse and/or refuse the established cultural spheres to which they are commonly relegated, accounting for the migratory status of the artists and artworks, as well as for the mobility and multiplicity of positions, languages and levels of identification and representation. The artists examined are engaged with complicating models of cultural subjectivity and are discursively aligned with diasporal and transnational stratagem. The dissertation is anchored by two parallel positions-the archive as a catalogue of images and the archive as paradigm, both interrogated by international artists in their efforts to counter hermetic taxonomies of identity and politics of place. The first chapter "Autonomizing the Archive in America: Re-examining the Intersection of Photography and the Stereotype" traces a tendency on the part of artists, primarily working in the United States, including Carrie Mae Weems, Lorna Simpson and Glenn Ligon, and organized through the framework of the 2003 exhibition Only Skin Deep: Changing Visions of the American Self, who interrogate the construction of difference in the visual field using the archive as vehicle for literal appropriation and theoretical deconstruction. The text traces a shift from an early nineties articulation of difference to a late nineties abstraction of identity, corresponding to a transformation in discourse-from multiculturalism to internationalism. Chapter 2, "Representing the Body Archivally in Contemporary South Africa," considers similar tendencies and transformations in contemporary art practice in South Africa, featuring artists Santu Mofokeng and Zwelethu Mthethwa and focusing on the archive{\textquoteright}s double function-as a material mechanism for re-signification and recovery of memory and trauma and as a colonialist structuring device for constructing subjectivity. Chapter Three "Negotiating the Taxonomy Contemporary African Art-Production, Exhibition, Commodification," addresses the field of Contemporary African Art in the terrain of Western categorization. The individual artistic practices examined, including Rotimi Fani-Kayode, Ike Ude, Touhami Ennadre are invested in re-animating subjectivity by prioritizing indeterminacy over legibility. This investigation promotes a critical dialogue amongst contemporary practitioners living and working in the metropoles of Africa, Europe, and America, and thus, puts forth a complex network of formal and conceptual encounters. In turn, this framework marks an immobilization of taxonomies based on ethnic or national artistic identities inherent to the archive, and moves beyond what curator Okwui Enwezor has termed an outmoded and asphyxiating citizenship of aesthetic objects.}, keywords = {Contemporary Art}, author = {Firstenberg, Lauri} } @mastersthesis {9813, title = {Against Utopia: Osip Brik and the Genesis of Productivism}, year = {2005}, school = {CUNY}, abstract = {This dissertation explores the life and career of Osip Brik, a prominent member of the artistic left in Russia during the revolutionary period. It traces his life from his youth in Moscow to his acquaintance with the poet Vladimir Maiakovskii; his involvement with pre-revolutionary scholarly and political organizations; his joining of the Bolshevik government after the revolution; his active participation in the establishment and management of institutions of artistic education; his leading role in supporting emerging Constructivist artists, the formulation of the Productivist theory, and the foundation of the journal LEF, a mouthpiece for the expression of ideas by the Russian artists and writers of the avant-garde. The last chapter explores Brik{\textquoteright}s pioneering efforts to establish photography as a legitimate form of artistic expression in Soviet Russia and examines his role as a film critic and a scriptwriter for a Moscow film studio. Apart from Brik{\textquoteright}s contribution to the development of Constructivism and Productivism, this dissertation also looks at his not-so-glorious involvement with authoritarian politics of Bolshevik Russia and his attempt to position himself and the artists he protected in such a way as to become immune to inhumane acts committed by the repressive political regime. For example, Brik{\textquoteright}s service in the Cheka, the Bolshevik Secret Police, marked him in the eyes of many as an evil figure, willing to go to extremes to prove his allegiance to those in power. A close look at Brik{\textquoteright}s writings and his career does not show him as a monster, however, but as an extreme pragmatic and a skeptic who did not believe in abstract ideals that were not buttressed by a solid political foundation. In its focus on a controversial figure within the Russian revolutionary art, this dissertation contests the tendency of recent investigations of the Russian avant-garde to ascribe its motivation to either a "utopian" or a "dystopian" extreme and argues that in its day-to-day operations much of its activity was directed by immediate pragmatic concerns, which, in the absence of belief in a greater good, sometimes led to its affiliation with repressive politics.}, keywords = {Twentieth-Century Art}, author = {Kurchanova, Natasha} } @mastersthesis {9823, title = {Albert Mayer, Architect and City Planner: The Case for One Total Professional}, year = {2005}, school = {IFA/NYU}, abstract = {In presenting the career of American architect and town planner, Albert Mayer, this dissertation brings to light a previously unstudied phase of New York City apartment house building and its relationship to the idea of community design. From his early years in the family real estate business, the J. H. Taylor Company, Mayer studied and implemented the concept of "neighborhood unit." Mayer{\textquoteright}s activities in commercial real estate and architectural practice before the Second World War consisted of collaborations with other prominent architects, whose work was shaped according to Mayer{\textquoteright}s recommendations in terms of optimal air and light, generous courtyards, communal facilities for the residents{\textquoteright} recreational needs, and commercial spaces. Striving to create conditions of humane living within the city rather than to increase his profits, Mayer dedicated large part of his career as an architect and writer improving public housing and strengthening the position of the urban poor. Along with Lewis Mumford, Clarence Stein, and Henry Wright, Mayer founded the Housing Study Guild, whose mission was to improve housing by educating professionals and the public. Mayer{\textquoteright}s experience in commercial building and his theoretical work on "neighborhood unit" housing types culminated in the communities he built for the United States military during the Second Word War with the assistance of his partner Julian H. Whittlesey. As an Army Engineer stationed in Asia, Mayer implemented the first rural development project in Etawah, Uttar Pradesh in India where his role was seminal. In spite of demands stemming from his firm{\textquoteright}s engagements with several residential projects in the United States after the Second World War, Mayer, with his partners{\textquoteright} assistance, completed a few of the most interesting buildings in New York City and at the same time provided the Indian government with master plans for several cities. They all attest to Mayer{\textquoteright}s dedication to creating humane environments in a variety of scales (from the apartment to the new city) and they provide the context to understanding Mayer{\textquoteright}s post-War North American full-scale neighborhood unit community, Kitimat, British Columbia, which he designed with his colleagues Clarence Stein and Julian H. Whittlesey.}, keywords = {Twentieth-Century Art}, author = {Serdari, Thomai} } @mastersthesis {9692, title = {Alberto {\textquoteright}Sotio,{\textquoteright} 1187, and Spoleto: The Umbrian Painted Cross in Italian Medieval Art}, year = {2005}, school = {UNC Chapel Hill}, abstract = {The Cross of Alberto stands as a fixed point in the history of Italian medieval art; its inscription gives the name of Alberto "Sotio"-probably the artist-and the date of 1187, making it the earliest signed and dated work in Umbria. It is the product of a major workshop in Spoleto, with Alberto as its head, that produced a number of works in both fresco and panel painting. The Cross gains significance because it added new facets of form and function, as well as new elements of iconography and style, to the croce dipinta . Behind the nimbus a compartment made possible the storage of a relic-a first for a painted cross-and the nimbus itself provided a new and significant function. The placement of the face of Christ against the nimbus, shaped like a paten and also slanting forward in the direction of the worshiper, associated Christ with the Eucharist in an explicit way and increased the intimacy between the figure on the Cross and the worshiper. The painter has chosen his style, a combination of abstraction and naturalism, to give visual reality to the theological concept of the Incarnation. The flesh-revealing transparent loincloth, its earliest representation on a painted cross, visualizes the Incarnation of Christ, the doctrine that he is both fully human and fully divine. On the Cross the artist reveals an exquisite sensitivity to materials and iconography that will convey devotional content. This painted cross is a touchstone that redefines the place of the Umbrian painted crosses within the greater field of Italian medieval art.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Driscoll, Alice Ann} } @mastersthesis {9782, title = {Alessandro Vittoria{\textquoteright}s Sculpture, His Private Art Collection, and Social and Cultural Myths of Late Cinquecento Venice}, year = {2005}, school = {UNC Chapel Hill}, abstract = {This dissertation provides an integrated study of Alessandro Vittoria{\textquoteright}s (1525-1608) career from c. 1560-1605 through a consideration of sculpted altarpieces and chapels that he created for patrons from various stations of Venetian society. These patrons employed him to erect avant-garde monuments that promoted their social ambitions; at the same time, Vittoria capitalized on the possibilities these commissions held to promote himself both socially and artistically. Vittoria{\textquoteright}s virtu as an artist and his expert ability to incorporate needs for a range of different patrons resulted in significant formulations of new visual language in Venice, innovations that anticipated paradigmatic examples of seventeenth-century art, such as Bernini{\textquoteright}s Cornaro Chapel in Rome. Chapter Two argues that Marc{\textquoteright}Antonio Grimani{\textquoteright}s Chapel in San Sebastiano promoted Grimani in a public arena despite implicitly restrictive aesthetic standards for Venice{\textquoteright}s patriciate and shows how Vittoria subtly celebrated his own innovations and bravura through the directed gaze of Grimani{\textquoteright}s bust over to Jacopo Sansovino{\textquoteright}s Monument of Livio Podocataro. Chapter Three considers Vittoria{\textquoteright}s work on the altarpieces for the trade guilds (arti) of the marzeri, the luganegheri, and the casaroli. The artistic forms and the commensurate expense of these complexes projected an image of the arti as fundamental organizations within Venetian society and concomitantly expressed the social ambitions and competitive spirit of leading guild members. For each of these commissions, Vittoria modified the traditional Venetian altarpiece, breaking new ground in the visual interaction of imaginary and real worlds and transforming aesthetic sensibilities of religious art in Venice. Moreover, while he conveyed specific messages for his patron(s), Vittoria also made claims about his own status in Venice as the city{\textquoteright}s premier artist. The above study of sculptor as producer shifts to consider sculptor as patron in Chapter Four. Vittoria{\textquoteright}s house, garden, and art collection demonstrate how the sculptor moved in elite intellectual circles. His funerary monument, the summa of his profession accomplishments, promotes his unique talents as a master of ideal animated figures and portraiture, both of which appealed to a wide spectrum of Venetian society.}, keywords = {Renaissance/Baroque Art}, author = {Huffman, Kristin} } @mastersthesis {9633, title = {"America as Landscape": Marsden Hartley and New Mexico, 1918-1924}, year = {2005}, school = {Princeton}, abstract = {Immediately after World War I, Marsden Hartley, like many artists and writers associated with Alfred Stieglitz, wanted to create an authentic American modernist art based on the direct observation of America itself. Hartley went to New Mexico in 1918 with this goal in mind. Hartley{\textquoteright}s New Mexico period is compelling not only because he was one of the first to try to realize this objective, but also because his attempt soon became fraught with ambivalence and uncertainty, ultimately leading him to create a very different version of American art than the one he expected to realize. By examining the complex intersection of aesthetic philosophy, landscape theory and national identity in Hartley{\textquoteright}s New Mexico work, this dissertation uncovers an overlooked, darker and more anxious side of post-war American modernism. "America as Landscape": Marsden Hartley and New Mexico, 1918-1924 closely examines the trajectory of Hartley{\textquoteright}s art and writings about New Mexico subjects and places them in their post-war cultural context. His New Mexico work developed in three distinct stages, each linked to a different physical location. Hartley initially attempted to record his direct sensation of the landscape in pastels created in New Mexico in 1918 and 1919. Yet, these works show the difficulty he had in putting the theories he expressed in essays such as his 1918 "America as Landscape" into practice. After leaving New Mexico itself, he painted increasingly ambivalent landscapes of New Mexico from memory while in New York in 1919 and 1920. Hartley{\textquoteright}s final response to the New Mexico landscape was the unique and challenging Recollections series, painted in Europe in 1923 and 1924. Dark and turbulent, these landscapes work and rework the neglected underside of the post-war attempt to construct an authentic American art. The complexity of Hartley{\textquoteright}s theoretical and aesthetic evolution over the years in which he painted the New Mexico landscape resulted in an exceptionally rich body of work, distinct from any other version of American modernism visible after World War I.}, keywords = {Art of the United States}, author = {Hole, Heather} } @mastersthesis {9760, title = {American Portrait Cameo Cutting: an Alternate Apprenticeship in Relief Sculpture, 1830-1870}, year = {2005}, school = {Indiana}, abstract = {This dissertation argues that portrait cameo carving, a specialized skill learned by a large and geographically diverse group of neophyte American sculptors before their European training in three-dimensional or monumental sculpture, must be investigated as a distinct movement in pre-sculptural apprenticeship training. Previous scholarship overlooked portrait cameo carving or assigned it to a category of minor arts of little importance. I argue that cameo carving served American sculptors-in-training as an apprenticeship in relief carving, an important branch of neoclassical sculpture. By tracing the import of cameo portraiture to America and the way it was taught as a beginning exercise in sculpture studios, I show its impact on the careers of such American sculptors as Henry Kirke Brown, John C. King, Margaret Foley, Erastus Dow Palmer, Launt Thompson, and Charles Calverley. I trace the practice from the first Cincinnati studio to teach cameo portraiture in the 1830s to the popularity of cameo portraiture in Boston from 1840 to 1860, identifying studios teaching cameo portraiture and students who, learning the art, practiced it. Those students then earned the funds necessary for sculpture study in Italy by working as cameo portraitists, a practice that continued through the 1860s in both Boston and New York, and was in some cases, the only way students could earn enough to complete their professional training. I demonstrate how the format of cameo portraiture influenced not only the relief portraits of the sculptors who practiced it, but eventually also affected the style of American relief portraiture throughout the nineteenth century and into the twentieth century.}, keywords = {Nineteenth-Century Art}, author = {York, Karen S.} } @mastersthesis {9800, title = {Andy Warhol 1962-1965: The Crisis of Modernist Subjectivity in Abstraction}, year = {2005}, school = {Harvard}, abstract = {This thesis examines Andy Warhol{\textquoteright}s paintings of the early 1960s in relation to models of abstraction formulated by the historical avant-gardes, models including the grid, the monochrome, the color field, the dot field and the readymade. The methodology combines historical materialism and psychoanalysis, and demonstrates the structural congruity between Warhol{\textquoteright}s processing of modernist avant-garde pictorial strategies and the social construction of homosexual subjectivity as explained through psychoanalytic theory. The thesis argues that both Warhol{\textquoteright}s mode of artistic appropriation and the role of psychic law in constituting the homosexual subject operate through a dynamic of mimicry and reversal. The thesis further proposes that the sexual subject can be read in pictorial contexts other than figuration and iconography of the body. The most fundamental disruptions of the received strategies of the modernist avant-gardes performed by Warhol occur at the level of format: in his use of the tropes of non-composition. His own historical context is the most important lens through which to understand this process. The thesis argues that the reception of Warhol as a figure of art historical rupture is misleading and is based in European critical theory, a mode of interpretation that is insufficient for explaining the American postwar cultural situation. Warhol{\textquoteright}s work is better understood as an extension of the projects of Pollock, Johns and Rauschenberg. It is through his processing of these artists{\textquoteright} work together with his reception of the models of social and creative identity posited by American and European avant-garde abstraction that Warhol comes to the major themes of his practice: conceptualizing the photographic process within painting, replacing touch with automation, using a critical semiotics of mimicry, and locating subjectivity in the found and readymade conditions of culture.}, keywords = {Twentieth-Century Art}, author = {Baum, Rachel Leah} } @mastersthesis {9663, title = {Approaching the Dying and the Dead: An Analysis of Contemporary Lens-Based Artworks and the Potential for Ethical Intersubjectivity}, year = {2005}, school = {McGill}, abstract = {Photographic, film and video representations of dying and dead subjects bring to light delicate balancing acts of agency involving representational perspective. In this thesis, I examine contemporary, lens-based artworks by Sarah Charlesworth, Eric Fischl (whose sculptural medium is an exception), Alejandro Gonzalez Innaritu, Gillian Wearing, Andres Serrano, Nan Goldin, AA Bronson and Jorge Zontal, as well as works by photojournalists Richard Drew and Theresa Frare, to show how they effectively convey facets of identity to dying and dead subjects. The voice, visuality, touch and embodiment (in particular, the body{\textquoteright}s weight and its materiality) are considered dimensions of intersubjectivity in order to explore how they foster access to the dying or the dead. My hypothesis is that, despite the avenues of intersubjective agency that appear to be foreclosed to the dying and the dead, the artists negotiate the following, significant challenges: how to bear witness to suffering without enacting visual mastery; how to grant a voice to or engage in dialogue with a silenced subject; how to touch the other without inflicting injury. Through the artists{\textquoteright} divergent representational paradigms, the terms of intersubjectivity will be shown to equally involve the potential for reverence as well as for representational violence and it is upon this duality that the ethical concern hinges. The degrees of photographic transparency invoked by the artists alter the emergence of identity and the extent to which it reflects the perspective of the dying and the dead or, alternatively, becomes a framework of distortion. In terms of subject matter, the causes of death to the subjects represented, all of which are non-fictional, are AIDS-related illness, falling from buildings and violence (sometimes self-inflicted). Conceptually, I will be relying upon the phenomenological models of Maurice Merleau-Ponty, the photographic theories of Roland Barthes, the feminist metaphors of Luce Irigaray, the subjectivity studies of Judith Butler and Drucilla Cornell, the ethical proposals of Simon Wiesenthal and Emmanuel Levinas, and will turn to a variety of thinkers in feminist art history, film theory and cultural studies.}, keywords = {Contemporary Art}, author = {Fitzpatrick, Andrea} } @mastersthesis {9595, title = {An Architectural History of Grand Opera Houses: Constructing Cultural Identity in Urban America From 1850 to the Depression}, year = {2005}, school = {Rutgers}, abstract = {This study investigates the conception, design, and reception of major opera houses in the United States from the mid-nineteenth century to the Depression. Musicologists have thoroughly documented the American history of opera, celebrating it as a vigorous, often controversial enterprise in the country{\textquoteright}s social history. Yet the buildings in which opera{\textquoteright}s history has unfolded have largely escaped the scrutiny of architectural historians. This dissertation thus contributes to the history of both architecture and music, enriching our understanding of an urban institution that holds considerable cultural significance. The project approaches opera houses along three thematic lines-their reinforcement or rejection of social privilege, their expression of civic ambition, and their mediation between private and public interests. It emphasizes the influence of patronage, audience strategy, class relationships, and urban growth patterns on site choice and design. As an architectural analysis, this study discerns both general and exceptional characteristics of American opera houses. As an interpretation of social history, it illuminates the building type{\textquoteright}s participation in larger cultural developments of the nineteenth and early twentieth centuries. The dissertation examines six projects, interrelated thematically and linked by urban circumstances and operatic history. The competing Academies of Music in New York (1853-54) and Philadelphia (1855-57) introduce opera{\textquoteright}s accessibility and subscription patronage as social and architectural issues. The elite stockholders of the Metropolitan Opera House (1881-84) insisted that their private boxes dominate its design, neglecting general audience accommodations and civic image. The Chicago Auditorium (1886-90), opposed the Met in its egalitarian design and reformist politics, responding to an imminent threat of class war and reformulating the building type with a sophisticated, mixed-use program. This formula reappeared in Chicago{\textquoteright}s Civic Opera Building (1928-29), which united opera and big business in a stunning, forty-five-story skyscraper. San Francisco{\textquoteright}s more conventional War Memorial Opera House (1931-32), the only project in this study to receive municipal funds, placed the building type within an idealized but flawed urban vision. Thus the dissertation surveys the American opera house from its mid-nineteenth-century origins until the 1930s, when new entertainment technologies and the Depression transformed the operatic landscape.}, keywords = {Architectural History/Historic Preservation}, author = {Clancy, Brian} } @mastersthesis {9766, title = {The Architecture of Kuelap}, year = {2005}, school = {Columbia}, abstract = {This dissertation is a detailed study of the enormous pre-Columbian ruin Kuelap in the Department of Amazonas, Peru. The text provides a description of this area of northeastern Peru and a narrative historiography of the ruin. The geographical diversity of the pre-Columbian Chachapoya realm is imagined in the text and compared to the Inca record. From the time of Kuelap{\textquoteright}s introduction to the modern world in 1843, the Kuelap has always been considered a fortress. This dissertation is a reconsideration of this militaristic framing. The following chapters also critique the belligerent stereotype assigned to the northern Andean highlands for the Late Intermediate Period (1,000 to 1,400 AD). The text also explores the historical digression, concerning Chachapoya studies, caused by this mindset. Theories are then presented which will offer a plausible scenario for the construction and occupation of Kuelap. Were the enormous walls erected to imitate the ubiquitous form in the region, the cliff face? A new iconography for the Chachapoya architectural frieze work is also considered. This system positions these geometric friezes as aspects of the human head: eyes, ears and nose. Closing remarks provide suggestions for continued investigations regarding the ruin.}, keywords = {Pre-Columbian Art}, author = {Bradley, Robert} } @mastersthesis {9714, title = {The Architecture of Maxentius: A Study in Architectural Design and Urban Planning in Early Fourth-Century Rome}, year = {2005}, school = {Pennsylvania}, abstract = {Maxentius erected an impressive trio of monuments along Rome{\textquoteright}s Sacra Via-the Basilica Nova, the templum Romae, and the Rotunda Complex ("so-called Temple of Romulus")-within his brief, six-year reign. Despite their prominent locale and obvious architectural value, these three buildings remain poorly understood in their Maxentian phase. In what comprises the first extended appraisal of Maxentius{\textquoteright} architecture and patronage, I present new restorations of these monuments with especial attention to their architectural design. Further, the concentrated architectural effort seen on the Maxentian Sacra Via-focused in time and place and under the guidance of a single patron-offers an ideal venue to explore questions of urban planning in early fourth-century Rome. This dissertation is organized into six chapters: an introduction, a chapter devoted to methodological issues, three building studies, and a final chapter evaluating the structures as a group. Chapter One serves as an introduction to Maxentius{\textquoteright} architectural canon and the scholarly landscape of Maxentian studies. In Chapter Two, each class of evidence used to date or name the patron of a tetrarchal structure is analyzed to determine how narrow a date it can offer, whether it testifies as to patronage, and what factors might effect its reliability. Chapters Three, Four and Five focus upon the Basilica Nova, the Rotunda Complex, and the templum Romae, respectively. Each case study addresses a core set of questions: how is the structure associated with Maxentius? What was its name at the beginning of the fourth century? How should its Maxentian physical form be reconstructed? What evidence is there for its original function? What design issues did Maxentius{\textquoteright} architects confront and conquer? What was the lifespan of the Maxentian design? Chapter Six concentrates on understanding the three structures as a cohesive unit. What evidence is there for urban planning on the Velia? What stylistic affinities do the buildings share? How do the commissions serve Maxentius{\textquoteright} political agenda? And lastly, what roles and responsibilities would Maxentius have fulfilled as an architectural patron?}, keywords = {Greek/Roman Art}, author = {Dumser, Elisha Ann} } @mastersthesis {9806, title = {The Architecture of Reception: Sculpture and Gender in the 1950s and 1960s}, year = {2005}, school = {Brown}, abstract = {This dissertation examines the sculptural reception and production of Lee Bontecou, Louise Bourgeois, and Louise Nevelson during the 1950s and 1960s in order to suggest the terms that precipitated their reputations in the New York art world prior to the feminist movement. I claim that the uprooted, shifting conventions of sculpture-the changes that sculpture underwent as a critical category in terms of scale, materials, and use-produced a climate in which women sculptors were able to make objects that resonated with the work of their peers but which remained critically unresolved and unavailable for classification. The consequent plurality of meanings attached to these objects entailed a critical discourse centered on the key concepts of mystery, unclassifiability, and hidden identities-terms that became positive critical values with which to approach sculpture. The structure of the dissertation proceeds sequentially, the first episode dating to 1950, then 1958, 1963 and 1964. Within the individual chapters, overlapping themes give way to particular analyses of the cultural resonances that informed each artist and her reception, so that, for example, the first chapter examines the use of primitive art; the second explores the relationship between sculpture and modern dance; the third focuses on the terms of art criticism that dominated the discourse of the sixties; and the final chapter focuses more on theoretical conceptions of domestic spaces from the 1950s and 1960s.}, keywords = {Twentieth-Century Art}, author = {Deeb, Elyse} } @mastersthesis {9695, title = {Architecture, Ritual, and Identity in the Cathedral Saint-Etienne and the Abbey of Saint-Germain in Auxerre, France}, year = {2005}, school = {Brown}, abstract = {This study, under the direction of Sheila Bonde, explores the history of the cathedral of Saint-Etienne and the church of Saint-Germain. By looking at the social contexts in which the cathedral and abbey were built, I consider how these monuments functioned as expressions of identity for the communities who inhabited them. I contend that the buildings functioned as manifestations of the individual identity of the bishop of Auxerre, as well as the communal identities of the cathedral chapter and monastic community of Saint-Germain. As such, the cathedral and the abbey played prominent roles in the rituals that took place in Auxerre. The goal of this study is to reveal the dynamic role medieval architecture played in shaping people{\textquoteright}s perceptions of their environment. The first part focuses on the development of the identity of the bishop, cathedral chapter and monastic community in terms of how these identities are manifested in the buildings. In chapters one through three, I look at the vitae that were written about the local saints, and I show that such legends contributed to the development of the sites on which the cathedral and abbey are located. In chapters four through six, I explore how the buildings shaped people{\textquoteright}s social relationships during ritual performance. I analyze the procession of Palm Sunday, and I show that the performance of this liturgy in Auxerre in 1537 was imbued with a local significance at a time when episcopal authority was being challenged. I also examine the local celebration of the feast days of saint Germain. All three groups-the bishop, chapter, and monastic community-linked themselves to Germain, but each appropriated different aspects of his legend that addressed the social and political needs of each community. The final case study considers the liturgy of the installation of the bishop. I explain how the abbey and the cathedral were used in this ritual to solidify the authority of the bishop over the count of Auxerre and community of Saint-Germain.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Heath, Anne} } @mastersthesis {9789, title = {Art and the Conventional Life in Renaissance Venice: The Monastery Church of Santa Caterina De{\textquoteright} Sacchi}, year = {2005}, school = {Princeton}, abstract = {The aim of this dissertation is the resurrection of an important and long forgotten Venetian monument and of the female institution that stood behind its creation. Santa Caterina de{\textquoteright} Sacchi is a little known church in the northern fringes of Venice closed to the public, stripped of its decoration, and neglected by scholars. Little suggests that it was once part of an old and prestigious Augustinian convent or that it featured an interior lavishly decorated by some of the most prominent artists of the day, including Jacopo Pahna il Giovane, Jacopo Tintoretto and Paolo Veronese who, for its high altar, created what was to become one of the most celebrated masterpieces of Venetian painting: the Mystical Marriage of St. Catherine of Alexandria. When the church was closed to the public at the beginning of the 20th century, and Veronese{\textquoteright}s altarpiece was transferred to the Accademia Galleries, the church of Santa Caterina and the rest of its remarkable decoration fell virtually into oblivion while Veronese{\textquoteright}s work came to be considered in isolation, entirely detached from its original context. The disregard for the decorative ensemble, the absolute focus on a single painting and, above all, the utter neglect for the institution behind them, has long delayed an accurate evaluation of the social, cultural and artistic importance of the church of Santa Caterina within the context of Renaissance Venice and Venetian art. Its treasures-including Veronese{\textquoteright}s masterpiece-can not be understood in isolation from the monastic culture that produced them. This dissertation thus aims at reconstructing both the visual and social reality of the church and its treasures during the Renaissance, while investigating the nuns{\textquoteright} impact on the visual arts as a group with a distinct identity.}, keywords = {Renaissance/Baroque Art}, author = {Toffolo, Francesca} } @mastersthesis {9664, title = {Art and Trauma since 1950, A Holographic Model}, year = {2005}, school = {Duke}, abstract = {This dissertation introduces the holographic model as a critical tool for the identification and analysis of visual representations of trauma. I develop this model based on parallels between the etiology of trauma and the science of holographs. Traumatic experience is principally characterized by dissociation---a condition whose symptoms include physical and psychic numbing, heightened perception, and the sense that time is altered, slowed down, or sometimes dream-like. The detachment of dissociation is often simultaneously physical, perceptual, and emotional, as is demonstrated by the fact that "out-of-body" experiences are common to traumatic events ranging from war and rape to experimental medical treatment. Holographs provide an analog to the dissociative state often produced in traumatic situations by virtue of their unique physical properties. For example, each piece of a hologram contains the entire image (even if fragmented from the whole), and holograms produce multiple images simultaneously. In effect, holographs demonstrate the possibility both of producing multiple simultaneous perspectives and of containing multiple images within the same physical space---characteristics that are fundamentally analogous to and powerfully evocative of traumatic subjectivity. The term holographic thus encapsulates a visual and phenomenological model for the critical study of art informed by trauma grounded in the visualization of seemingly impossible juxtapositions of space and time. The theoretical claims of this dissertation are explored through a series of case studies which examine some of the most exceptional artist of the 20th and 21st centuries: Andy Warhol, Hermann Nitsch, and Raphael Ortiz. From Ortiz{\textquoteright}s Computer-Laser-Videos and Warhol{\textquoteright}s Death and Disaster series to Nitsch{\textquoteright}s Orgies Mysteries Theater, these works span a range of cultural contexts and artistic media---European and American artists working in painting, sculpture, performance, film, and video from the 1950S to the present---yet share distinctive visual strategies that are identified as formal markers for the representation of traumatic subjectivity. My holographic model thus considers the experiential impact of art informed by trauma on the viewer, and compares that impact explicitly to the essence of traumatic subjectivity, thereby directing the discussion of such art toward a more empathic inquiry into the shared response to trauma.}, keywords = {Contemporary Art}, author = {Jarosi, Susan} } @mastersthesis {9795, title = {Art, Architecture, and Politics in Mewar (Rajasthan, India), 1628-1710}, year = {2005}, school = {Minnesota}, abstract = {Today the 17th- and early 18th-century palaces and temples of Mewar (in present-day Rajasthan, India) are visited by hundreds of tourists each year, yet ironically no serious study has been done on the meaning of these structures or the contemporaneous paintings and copiously illustrated manuscripts produced by the Sisodia Rajput dynasty who ruled this region. In 1615, the Sisodia dynasty of Mewar was forced to recognize the sovereignty of the expanding Mughal empire, and a profusion of arts patronage followed shortly thereafter. It is my contention that many of the works of art produced during this period were consciously intended (1) to create and disseminate a particular collective memory and feeling of nostalgia for the pre-Mughal Sisodia past, which would serve to bolster the image of the Sisodia rulers in the eyes of their constituency, the Mughal empire, and other Rajput houses who had long been flourishing under Mughal rule, and (2) to assert that the Sisodias were the rightful, legitimate rulers of Mewar. This was achieved visually by linking the Sisodias to the celebrated, pre-Mughal 15th-century Sisodia ruler Rana Kumbha and the previously invincible Sisodia capital of Chittor; by associating the Sisodias with India{\textquoteright}s ancient past; by emphasizing the Sisodias{\textquoteright} self-proclaimed divine ancestry in painting and architecture, and by rivaling contemporary Mughal art patronage. Previous art-historical scholarship on Mewar art and architecture of this period has largely focused on the degree to which Sisodia art assimilated and/or adopted Mughal visual aesthetics. While I, too, have taken visual and stylistic similarities into consideration, I treat this as only one factor among many when exploring the ways in which Sisodia painting and architecture represented and expressed the dynasty{\textquoteright}s position within the political sphere. Drawing on the works of literary theorists, social scientists, and anthropologists, I take an interdisciplinary approach that considers not only visual material, but also contemporary imperially sponsored poetic works, literary manuscripts, and inscriptions on monuments and paintings; thus, I have endeavored to fully utilize all available sources, in an attempt to more fully understand Sisodia royal art patronage of the period.}, keywords = {South/Southeast Asian Art}, author = {Joffee, Jennifer} } @mastersthesis {9805, title = {Art, Enterprise, and Collaboration: Richard Serra, Robert Irwin, James Turrell, and Claes Oldenburg at the Art and Technology Program of the Los Angeles County Museum of Art, 1967-1971}, year = {2005}, school = {Michigan}, abstract = {This dissertation examines three artistic collaborations pursued in the context of an institutional program, Art and Technology (A\&T), that was developed in order to introduce artists to the new technologies of modern industry. Active from 1967 through 1971, this program was sponsored by the Los Angeles County Museum of Art and hosted as many as seventy-eight established and emerging artists. The three projects examined here serve as exceptional examples of productive collaboration and depart substantially from more mainstream artistic appropriations of technology during the period, some of which were found in the A\&T Program. The four artists who were involved in these projects are: Richard Serra, Robert Irwin and James Turrell, and Claes Oldenburg. This study illustrates how these artists used the context of an unusually structured collaboration with industry to arrive at solutions to problems within each of their respective artistic practices. Serra first recognized steel as a potential medium during his residency at Kaiser Steel. Irwin, who was still working with painted objects, dramatically shifted his artistic practice toward new non-objective and environmental forms by the end of his collaboration. Turrell used his partnership with Irwin and the Garrett Corporation to definitively break with the practice of painting and to further clarify his inquiries into an art based on projected-light. Finally, Oldenburg used collaboration with Disney and Gemini G.E.L. as an opportunity to refine his developing interest in large-scale public sculptures. In this study, the author draws evidence from archival sources, participant interviews, formal interrogation of works, and broader contextual sources to demonstrate how artists used collaboration for productive ends. In contrast to the mainstream art and technology movement-in which technology was closely aligned with the issue of appealing to a mass audience-these artists considered multidisciplinary collaboration in terms of specific avant-garde concerns inherent in their individual practices. This reconfiguration generally enabled the artists to approach discursive structures of their own field self-reflexively and in ways that not only generated new works of art but also experimental modes of artistic inquiry that continued to impact their working methods long after the conclusion of the temporary collaborations}, keywords = {Twentieth-Century Art}, author = {De Fay, Christopher} } @mastersthesis {9632, title = {Art in an Arid Climate: The Museum of New Mexico and the Cultivation of the Arts in Santa Fe}, year = {2005}, school = {UC Santa Barbara}, abstract = {Santa Fe, New Mexico, enjoys an international reputation as an artistic, cultured city, despite its relative remoteness and small population. Geographically, economically, and socially, however, early twentieth-century Santa Fe was as unlikely a spot as anywhere in the United States for an artistic community to emerge. Santa Fe exemplified the booster mentality of the period, which Sinclair Lewis so succinctly satirized in his 1922 novel, Babbitt. Like almost every other town in America, Santa Fe{\textquoteright}s leading citizens had nearly-delusional visions of civic grandeur. They eagerly formed clubs and created new cultural institutions as evidence of civilization and a panacea for social ills. What is compelling about Santa Fe{\textquoteright}s cultural development is that the community achieved such atypical success using such typical techniques. While many cities attempted this formula, few managed to leverage culture as successfully as Santa Fe. How was national and international fame achieved by this small art colony? The single most influential institution in producing this reputation was the Museum of New Mexico (MNM). This is a study of this museum and its role in the cultivation of Santa Fe{\textquoteright}s artistic and civic culture. From the moment of its opening in 1909, the MNM was at the center of every major cultural development in Santa Fe, evolving and adapting along the way. This is an art historical dissertation that goes beyond the traditional focus on particular artists or artworks. Primary evidence comes from period correspondence, administrative archives, and a full-text database of the Museum{\textquoteright}s official publication, El Palacio. I use the concepts of social and cultural capital to track the accumulation and deployment of the resources necessary to create institutions and actively forge an international reputation. My methodology borrows from sociology, economics, public policy studies, and "New Western" history. I use an interdisciplinary approach that understands museums as critical institutional frames that serve multiple roles for both artists and the larger community. Though a historical study, the Museum of New Mexico{\textquoteright}s past is relevant to contemporary questions facing museums and communities nationwide regarding the power of museums to define artistic discourse, the social responsibilities of traditionally elitist institutions towards minority populations, and the role of culture in fostering economic development.}, keywords = {Art of the United States}, author = {Hartley, Cody} } @mastersthesis {9596, title = {Art Patronage in St. Louis, 1840-1920: From Private Homes to a Public Museum}, year = {2005}, school = {Delaware}, abstract = {From its beginnings, art patronage in St. Louis, Missouri, was closely tied to the growth and development of the city{\textquoteright}s merchant class. By the mid nineteenth century, leading citizens managed the city{\textquoteright}s banks, breweries and railroad yards, sponsored schools and universities and actively patronized the fine arts. Although initially stressing art{\textquoteright}s refining and civilizing influence as an educational tool necessary for civic growth, the city{\textquoteright}s businessmen-patrons soon recognized art{\textquoteright}s promotional power as a tool for civic advancement. This change in focus occurred at a key moment in the city{\textquoteright}s economic development and, not surprisingly, in its rivalry with Chicago, and resulted in the formation of the first city-tax-supported art museum in America. Early evidence of art patronage in St. Louis is found in the art collection of the Mercantile Library Association in the 1840s. Soon educational art exhibitions were featured at the annual Agricultural and Mechanical Fairs and Washington University{\textquoteright}s School of Fine Arts, while art was used to both educate the public and promote the city by the Exposition and Music Hall Association. These scattered efforts reached a cultural culmination in the City Art Museum formed in 1909. Throughout this process, a complex framework of interrelated individuals supported the establishment of cultural institutions in a manner reminiscent of aristocratic noblesse oblige, often equating the city{\textquoteright}s cultural accomplishments with its economic achievements. Through an investigation of the key players in this cultural promotion and the organizations they chose to support, it is possible to identify the influences-both educational and pragmatic-that inspired the museum movement in St. Louis. These businessmen-patrons strove to establish a criterion for art in St. Louis that would simultaneously enrich its citizens{\textquoteright} lives and promote the city on an international level. By correlating information about art patronage and exhibitions from each of the city{\textquoteright}s major art venues during the period and presenting a cohesive picture of the city{\textquoteright}s art scene, this investigation fills a significant gap which previously in the base of knowledge about St. Louis{\textquoteright} role in American art patronage.}, keywords = {Architectural History/Historic Preservation}, author = {Dunn-Morton, Julie} } @mastersthesis {9660, title = {Arts, AIDS, and Collective Identity: Configuring General Idea{\textquoteright}s Collective Body, 1969-2000}, year = {2005}, school = {Bryn Mawr}, abstract = {This dissertation theorizes the effects of collaboration on identity formation and authorship by arguing that the art collective General Idea{\textquoteright}s twenty-five year partnership constituted a "collaborative body," a meta-artist to which members AA Bronson, Jorge Zontal, and Felix Partz subsumed their individual identities. By analyzing General Idea{\textquoteright}s conceptual, ephemeral, and object-oriented works, and chronicling the group{\textquoteright}s evolution, I demonstrate that, in its first decade, the group constructed an intricate artistic identity by conceiving and adopting a succession of alternative personas. I show that this early identity-play resulted in the collective{\textquoteright}s emergence as a mature meta-artist. Following Zontal{\textquoteright}s and Partz{\textquoteright}s HIV diagnoses, this fully realized collaborative body functioned as a fortification against AIDS. General Idea invoked this symbolic body to deflect, albeit temporarily, the effects of illness and death that threatened the group{\textquoteright}s artistic activity, thereby enabling ongoing artistic practice. I chart General Idea{\textquoteright}s AIDS series, an appropriation of Robert Indiana{\textquoteright}s LOVE icon, to demonstrate that the embrace of a symbolic body stimulated a turn to symbolic forms of representation, even when confronting the highly embodied subject matter of AIDS. After Zontal{\textquoteright}s and Partz{\textquoteright}s deaths, General Idea{\textquoteright}s collaborative body simultaneously sustained and estranged surviving member Bronson. I show that Bronson{\textquoteright}s series of parting self-portraits of General Idea use photography as a form of mechanical vision and the camera as a prosthetic eye in a futile attempt to perpetuate General Idea{\textquoteright}s collaboration beyond its mortal boundaries. The resulting images engage the mortal body and its finitude in ways both visceral and symbolic. I assert that the process of producing, naming, and exhibiting this series documents Bronson{\textquoteright}s psychological mourning process from disavowal to acceptance of loss. By theorizing authorship in and as collaborative practice, I conclude that the collaborative body mitigates physical and psychological challenges but can never completely disassociate from its corporeal materiality and is thus ultimately subject to forces of time and nature.}, keywords = {Contemporary Art}, author = {Barkun, Deborah} } @mastersthesis {9718, title = {Attic Votive Plaques: A Study on Their Iconography and Function}, year = {2005}, school = {Princeton}, abstract = {This dissertation investigates votive painted terracotta plaques ( pinakes) dedicated in Attic sanctuaries during the Archaic and early Classical period. It takes into account literary and epigraphical sources, representations on Attic and South Italian red-figure vases, and the archaeological contexts in which plaques appear. The surviving evidence shows that Attic plaques were dedicated in all kinds of sanctuaries-especially ones of female deities, including major state sanctuaries like the Acropolis and Eleusis-and were not limited to hero and nymph shrines as the prevailing view claims. An iconographic analysis of Attic plaques shows that their imagery adopts new themes established in Attic vase-painting of the period and conforms to characteristics of the gods who received them as dedications, notably Athena. Themes on the Acropolis plaques themselves (Promachos, Gigantomachy, Weaving, Chariot Races) and depictions of votaries carrying plaques on amphorae of Panathenaic shape support an association with the Panathenaia festival. Inscriptions on the plaques and issues of attribution, circulation, and chronology are also treated. This thesis fills a gap in modern scholarship by bringing together the study of iconographic themes known from vase painting and other media and the analysis of objects dedicated in sanctuaries. Making a plaque dedication is a concrete ritual act through which dedicators acknowledge themselves as members of the community of dedicators past and future. By correlating plaques with other classes of offerings dedicated in Attic sanctuaries an attempt is made to decipher the messages they communicate through imagery and relate them to the prevalent civic and cultural ideologies of the time.}, keywords = {Greek/Roman Art}, author = {Karoglou, Kyriaki} } @mastersthesis {9781, title = {AUREA CONDET SAECULE Imperial Habsburg Medals from the Coronation of Frederick III (1452) until the Succession of Maximillian I (1494): Art and Legitimacy between Feudalism and Absolutism}, year = {2005}, school = {Princeton}, abstract = {Some of the most important early Renaissance medals were made in the fifteenth century for the Habsburg Emperors Frederick III and Maximilian I. Nevertheless, the origins of these medals are obscure and the scholar must search for information on them in a variety of disjunct sources. The diverse nationalities of the artists who made them have hindered the representation of the Imperial Habsburg Medals as a group and a monographic study is needed. This dissertation seeks to remedy the situation by providing a detailed formal and iconographic analysis of the portrait and commemorative medals made in the fifteenth century for Habsburg Emperors, from the imperial coronation of Frederick III in 1452 to the succession of Maximilian I in 1494. An international group of artists made medals for the Habsburgs under very diverse conditions throughout the second half of the fifteenth century. Each medal, however, served a similar purpose: to function as a durable, portable gift that memorializes a person{\textquoteright}s passing identity, a relationship between people, a moment in time, or all of these-"to continue...friendship after death and sustain it in lasting human memory," as Robert Briconnet portrayed the medal given him by Giovanni Candida. The main text of this dissertation combines aesthetic considerations with close readings of the documentation and the results of studies in a range of historical sciences to establish a more precise iconography, chronology, geography, and stylistic morphology of the Imperial Habsburg Medals . It provides the historian with a number of useful case studies in which medals play a role in the reconstitution of the Holy Roman Empire as a confederation of unions. A catalogue raisonne presents every known specimen of each medal in order to get a clearer picture of the manufacture, dissemination, and reception of each medal type, with complete bibliographies and a systematic representation of the technical data available for each specimen. The catalogue and text combine to provide the connoisseur and scholar a useful tool with which to study the Imperial Habsburg Medals of the fifteenth century and the reception of the classical Renaissance style in Northern Europe.}, keywords = {Renaissance/Baroque Art}, author = {Harwell, Gregory} } @mastersthesis {9698, title = {Authorial Presence in the Illuminated Machaut Manuscripts}, year = {2005}, school = {IFA/NYU}, abstract = {Guillaume de Machaut made history when he created ordered anthologies of his poetry and music, but direct indications of his role in manuscript production are scant. My goal in this dissertation is to show authorial presence by using the miniatures in illuminated Machaut manuscripts. Re-assessing filiations between the sixteen extant illuminated manuscripts from an art historian{\textquoteright}s viewpoint reveals a group of five related manuscripts created during, and shortly after Machaut{\textquoteright}s lifetime. This group constitutes a central source where Machaut{\textquoteright}s input could overlap with artistic production. For analysis of miniatures I recreate the viewpoints of patrons, artists and poet. I focus on the long narrative poems, which have the most miniatures. In them, the iconographic identity of Machaut{\textquoteright}s textual "I{\textquoteright} changes over a period of twenty-five years, paralleling his evolving career-from court adjunct to canon to famous poet. Image-text readings determine reception of the earliest illuminated manuscript. I argue that through the miniatures in this manuscript, Machaut personally entertained and educated Bonne of Luxembourg, duchess of Normandy and her son, the future Charles V. Reading the miniatures with an emphasis on gender heightens awareness of Machaut{\textquoteright}s projection of himself into the poems. In the later manuscripts, illuminated programs depicting same-sex physical contact and conflicting portrayals of women reveal Machaut{\textquoteright}s role strain: he effaced his sexuality to act as go-between for his patrons. In doing so, he attained and sustained a position as court poet and well-known canon. Through his illuminated manuscripts, he casts himself as poet, composer and, seemingly, painter. The "author portrait{\textquoteright} miniatures in Machaut{\textquoteright}s final work, the Prologue, sum up his lifetime achievements. They mark him as an identifiable, coveted, reified possession of church and throne, and as a self-conscious iconographer.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Leo, Domenic} } @mastersthesis {9606, title = {Bektashi Architecture and the Turcoman Forces in Classical Ottoman Society}, year = {2005}, school = {Harvard}, abstract = {The two shrine complexes examined were established as independent institutions in the thirteenth century but became part of the Bektashi network in the classical Ottoman period (ca. 1453-1600). The focus of this dissertation is on the remodeling of the two shrines and an associated hagiographic endeavor that started in the late fifteenth century. These are examined in the framework of the emergence of the classical Ottoman empire, which caused certain social groups threatened by imperial policies to gather under the umbrella of the Bektashi network in the sixteenth century. The two shrines examined here were the chief centers of that network. As associated legends and hagiographies were textualized, the shrines were remodeled under the patronage of marginalized segments of Ottoman society such as raider-commanders. The cultural output of the Bektashi network, which is examined here with a focus on architecture and hagiography, reveals a complicated process of negotiation with the imperial social order. Legends and architecture are interrelated facets of the cult of the saints, and are meaningful in the socio-political context of their creation. This study bridges a methodological gap between traditionally separated fields of study such as literature and architecture, and approaches both from the viewpoint of cultural history, in order to illuminate the contextual meanings of architecture that are otherwise unapparent.}, keywords = {Art of the Middle East/North Africa}, author = {Yurekli, Zeynep} } @mastersthesis {9784, title = {"Better than the Prodigies": The Prints of Hans Burgkmair, Joerg Breu, and the Marvels of the New World}, year = {2005}, school = {Chicago}, abstract = {This dissertation tracks an ethnographic turn in sixteenth-century German encounters with the New World. In contrast to the conventional images of exotics accompanying printed reports of the discoveries, the illustrations of two Augsburg printmakers, Hans Burgkmair and Jorg Breu, were unprecedented for their accurate depictions of natives from South Asia and the Americas. My project locates a moment of visual rupture-a fusion of close observation and novel representative strategies-in a climate shaped by German humanism, the art of the Italian Renaissance, and strongly inflected by mercantile interests in new worlds. The confluence of international trade and artistic energy galvanized by humanism produced new ways of looking at the world and of organizing visual thinking about humanity. In the sixteenth century, Augsburg was the gateway for the diffusion of both ethnographic information from Spain and Portugal and artistic styles from Italy. The local patrician families, the Welser and Fugger, oversaw a web of commercial networks, positioning trading posts in Venice and agents in Lisbon. These merchant-bankers turned over to their humanist associates and artists in their circle reports and artifacts from the newly discovered territories, as well as live human specimens. Burgkmair{\textquoteright}s and Breu{\textquoteright}s work echoes, and in many cases, amplifies the concerns of Italian artistic experimentalism of the period: a new naturalism that was established by close observation and the search for artistic particularity. My research shows how a new view of humanity evolved from visual practices that tried to capture the particularity of the "world around." Burgkmair and Breu borrowed empirical warrants from other media in order to claim scientific scrutiny: the surveying that characterized mapmaking, formulae for proportions, the precision of portraiture and physiognomy. By introducing vocabulary never before used in rendering racial difference, they suggested systematic comparisons of the sort that would later underwrite ethnographic studies. Through their proto-scientific pursuits, Burgkmair and Breu recuperated the nearly bankrupt claim of eyewitness and applied it to the consideration of non-European cultures.}, keywords = {Renaissance/Baroque Art}, author = {Stephanie Leitch} } @mastersthesis {9645, title = {Between High and Low: Modernism, Continuity, and Moral Mission in Chinese Printmaking Practices, 1930-1945}, year = {2005}, school = {IFA/NYU}, abstract = {Focusing on the role of print media, this dissertation discusses the ways in which political art in China functioned as a filter for the transmission of modernist practices from the 1920s and 1930s to the post-49 period. This continuity was possible because a commitment to social engagement was a constitutive part of the efforts of Chinese intellectuals to modernize culture, starting during the last decades of the 19th century and intensifying in the wake of the May 4th Movement. Such politicized modernization was initially channeled by the exposure to Marxist art and literary theory in the 1930s, but the reception of these ideas was characterized by the necessity of adapting Soviet ideological models to the reality of Chinese culture and society. Through the engagement with these ideals of social activism the New Woodcut Movement was lunched in the mid-1930s in Shanghai and Canton under the promotion and supervision of writer Lu Xun. Yet its production, created in an urban environment, was still determined by the artistic training and modernist experimentations of this particular group and proved inadequate to appeal to a peasant audience after the artists moved to the rural areas of Northern China at the outbreak of the anti-Japanese War. Through the implementation of a pro-rural political discourse and the appropriation of folk visual practices, these modernist origins were therefore altered into a new political visual idiom, which adopted formal elements derived from folk heritage, but was regulated by the aesthetic and conceptual habituses associated with modernist art practices. The dissertation argues that political art created in Yan{\textquoteright}an by artists previously trained in and familiar with modernism, is then something different from the forms of high Socialist Realism later adopted on a large scale in the post-1949 period, and that the visual language and the stylistic traits of its urban and rural roots have continued to influence the interpretation of {\textquoteright}Realism{\textquoteright} in the People{\textquoteright}s Republic of China}, keywords = {Chinese Art}, author = {Dal Lago, Francesca} } @mastersthesis {9677, title = {Beyond Death: Perversity, Relationality, Virtuality}, year = {2005}, school = {Rochester}, abstract = {This project intervenes in the critical dialogue on the death of the subject. The announcement of the death of the subject (variously pronounced by Heidegger, Barthes, Lacan, Foucault, and Derrida, among others) is not the final word on the future of subjectivity. The critical dialogue on the death of the subject---we may say the full-scale assault on traditional notions of the self---requires supplementation: who comes after the death of the subject?--or, indeed: why must we ask the question of the subject? What are we to do with the remains of this dead subject? What kind(s) of subjectivity are possible after humanism, after individualism, after the reign of the Enlightenment, after the epoch of modernity? This dissertation traces both the burial and the rebirth of the subject---of both the theoretical deconstruction of the Oedipal humanist individualist subject and the practical reinvention of the subject in decidedly anti-humanist and anti-individualist terms. In this text I deconstruct the subject from the perspective of psychoanalysis. I conclude that the fantasy of Oedipal humanist individualist subjectivity is both theoretically suspect and practically unwise. From a psychoanalytic perspective the death of this fantasmatic subject frees humanity from the narcissism and the aggression that plague community life. From the death of the subject I turn to a theorization of novel modes of being in the world, innovative forms of engagement with and participation in social life, new ethical ways of relating to others, fresh models of political practice, and original metaphors for conceptualizing the self, the other, and social life. In this dissertation I invent an anti-humanist and anti-individualist model of subjectivity---a mode of being anchored in perversity, relationality, and virtuality. In critical dialogue with several cultural texts and many academic treatises I theorize perversity, relationality, and virtuality as forms of subjectivity that avoid the pitfalls of Oedipal humanist individualism.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Williams, Michael} } @mastersthesis {9814, title = {Beyond Expressionism: Asger Jorn and the European Avant-Garde, 1941-1961}, year = {2005}, school = {IFA/NYU}, abstract = {This dissertation examines the artistic and theoretical work of Danish artist Asger Jorn (1913--1973). Avoiding the pitfalls of a standard monographic study, with its emphasis on organic development and formal unity---standards which Jorn{\textquoteright}s work systematically challenges---it considers Jorn{\textquoteright}s project through three thematic focuses: the avant-garde, myth, and expressionism. Each section explores the cultural background, elaboration, and transformation of these issues over a twenty-year period. This approach contrasts Jorn{\textquoteright}s work in the groups Helhesten (1941--44) and COBRA (1948--51) with developments in Informel and Abstract Expressionism. Section I elaborates Jorn{\textquoteright}s conception of the "Avant-garde" during and after WWII. While American artists turned away from politics and the collective approach to artmaking, both concerns remained central to Jorn. Jorn{\textquoteright}s interpretation of the avant-garde also challenged that of Guy Debord, his colleague and cofounder of the Situationist International (1957--72). While Debord rejected painting, Jorn{\textquoteright}s artworks created sensory experiences which embody or make possible a political critique. His work challenges the separation of art and politics, as well as avant-garde and kitsch. Section II, "Myth," develops Jorn{\textquoteright}s approach to mythmaking in contrast to parallel developments in New York. Jorn conceived mythmaking as a creative defense against political mythologies. In innovative artist{\textquoteright}s books, he wrote about myth and collected mythic symbols, interpreting them as fundamental indices of human creativity and collective social structures. Section III, "Expressionism," argues that for Jorn paintings do not simply "express" inner emotions, as Munch or Kandinsky believed. Jorn rejected the German Expressionists{\textquoteright} conception of internal subjectivity and authentic expression. He helped develop a newly experiential or contextual approach to gestural painting. At the same time, Jorn criticized artists like Mathieu and Pollock for their interpretations of the gesture as the mark of genius. Through decomposition and pastiche, irony and humor, his painting practices debunk the elitist assumptions and transcendental rhetoric of the postwar abstract painting with which he has often been associated. Jorn{\textquoteright}s work emphasizes the inherent link between singular identities and collectivity, expression as a human need both fundamental and necessarily mediated, and artmaking as a challenge to the increasingly impersonal spectacular media.}, keywords = {Twentieth-Century Art}, author = {Kurczynski, Karen} } @mastersthesis {9716, title = {Beyond Mimesis in Greek Religious Art: Aniconism in the Archaic and Classical Periods}, year = {2005}, school = {Princeton}, abstract = {This dissertation explores the underacknowledged problem of aniconism at the heart of religious imagery of Archaic and Classical Greek art. The modern viewer of Greco-Roman works of art is accustomed to encounter gods rendered in human form; in Classical antiquity gods were perceived mostly as anthropomorphic and the images of the divine were made accordingly. However, as discussed in the introduction of this work, Classical art deployed a variety of forms including the fully figural, the semi-figural (e.g. herms), and the non-figural. Aniconic monuments, such as pillars and stones, were revered and addressed as gods. Modern scholarship views this phenomenon as an anomaly, either as a remnant from the remote past or an import from other cultures. This thesis examines the role of the aniconic in Greek religious art and challenges the current views of the nature of Greek aniconism. In this study I adopt a contextual approach to literary sources and material evidence, and treat each set of data separately. The first part, on literary testimonia, opens with a chapter on modern perceptions of Greek aniconism, historiography and methodology. The next two chapters, on Pausanias and one on the Presocratic to early Christian writers, include an examination of the ancient attitudes towards the aniconic. The second part of the thesis, dedicated to material evidence, opens with a chapter on approaches to material evidence, both from a theoretical perspective and in practice. The chapter on empty space aniconism and the chapter on material aniconism include an examination of a variety of aniconic monuments of cult, their cultic functions and the ways in which such objects served to characterize and define a specific god and cult. The chapter on pictorial images on vases explores the visual role of the stele inscribed with a name of a god in a scene. The main conclusion of this study is that aniconism in its variety of forms may have been much more prevalent than is usually assumed. Furthermore, the iconic and aniconic were not in binary opposition to one another, but are found side by side at the heart of Classical Greek art.}, keywords = {Greek/Roman Art}, author = {Milette Gaifman} } @mastersthesis {9736, title = {The Biombo or Folding Screen: Examining the Impact of Japan on Artistic Production and the Globalization of Taste in Seventeenth-Century New Spain}, year = {2005}, school = {IFA/NYU}, abstract = {The relationship between Japan and New Spain during the late sixteenth and early seventeenth century is a subject rarely mentioned in colonial Latin American art historical literature. A familiar subject to scholars of religion and economics, however, there still remain many avenues to explore regarding Japanese-Spanish American relations and the impact this encounter exerted upon artistic production during the colonial period. This dissertation will illustrate how the cultural, commercial and diplomatic exchanges that first brought the Viceroyalty of New Spain and Japan into direct contact impacted and enriched artistic production. Using as a case study the introduction of the Japanese folding screen into the artistic milieu of the viceregal period---via the Manila Galleon trade and diplomatic means---this dissertation will illustrate how the interest, admiration and curiosity about Japan engendered an appreciation of Asian aesthetics and material culture in seventeenth-century Mexico. This dissertation will illustrate how the Manila Galleon trade and the exchange of foreign embassies not only promoted, but also facilitated the "globalization of taste" during the seventeenth century. The subjects selected in this dissertation reflect the extent to which contact between Asia, Spain and Spanish America engendered an appreciation of Japanese folding screen. Thus, they include the establishment of the Manila Galleon trade; Jesuit commentary during the Christian Century in Japan; the Tensho Mission of 1585 to Europe; the Japanese Embassy to New Spain of 1614; and the engendering of taste for Asian commodities in Mexico City in the seventeenth century. This dissertation examines how the Japanese folding screen was adopted and reinterpreted within the artistic milieu of New Spain. The folding screen itself represented something greater than a commodity; it became a tangible manifestation of globalization and of the encounter between East and West. The interest, admiration and curiosity beheld by New Spanish society for Japan, its people and most important, its material culture and how that impacted the integration of the New Spanish folding screen with Spanish American culture is precisely what I attempt to explore in this dissertation.}, keywords = {Latin American/Caribbean Art, Renaissance/Baroque Art}, author = {Sanabrais, Sofia} } @mastersthesis {9592, title = {Bishops, Abbots, Kings, and Crosses: Twelfth-Century Irish High Crosses in Munster as Monuments of Ecclesiastical Reform}, year = {2005}, school = {Delaware}, abstract = {A series of free-standing stone high crosses erected in southern Ireland during the twelfth century display large-scale high-relief figures of Christ Crucified and a crozier-bearing ecclesiastic. Three crosses, including those at Cashel, at Roscrea, and the Doorty Cross at Kilfenora were erected in sites made episcopal and archiepiscopal centers following a series of reform synods held between 1101 and 1152. A fourth cross, at Dysert O{\textquoteright}Dea, occupies a monastic center founded by a bishop. This dissertation addresses the connection between the iconography on these crosses and their ecclesiastical setting, their dating, and their place in local and international twelfth-century history. The twelfth-century Munster crosses were impressive cross-shaped monuments marking newly-recognized ecclesiastical centers. They evoke through their form the high crosses erected in proximity to Irish churches and monasteries during the eighth through tenth centuries. However, their iconography is fundamentally different and novel, featuring two figures of Christian authority, the Crucified Christ and a crozier-bearing ecclesiastic resembling a bishop. The choice to represent bishops on monuments made for new episcopal centers and a monastery founded by a bishop visually asserts the ecclesiastical and episcopal authority of each site. The bishop likely represents an early Christian founder and may evoke twelfth-century episcopal patrons as well. Previous scholars often treated Ireland as an isolated Christian outpost in Western Europe and the twelfth-century Irish crosses were little studied because their iconography, derived from types widely circulated throughout Western Christendom, appeared less distinctively "Irish". Christ Crucified resembles the robed and belted Volto Santo, a sculpted crucifix alleged to have been made by Nicodemus and venerated in late eleventh century Italy and England. The ecclesiastics bear continental-styled volute-headed croziers and miters similar to English, Scandinavian, and Italian depictions of bishops. The hierarchical arrangement of crozier-bearing clergy trampling their enemy underfoot resembles illustrations of Psalms 90 and 109 in twelfth-century papal triumph imagery. This iconography, once considered by twentieth-century scholars as medieval decadence, should rather be seen as visual evidence that Munster{\textquoteright}s kings, bishops, and abbots acted on a national and a world stage.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Scanlan-Teller, Audrey} } @mastersthesis {9796, title = {The Buddha and the Shape of Belief: Indic Visual Jatakamalas}, year = {2005}, school = {Michigan}, abstract = {This dissertation identifies and examines four visual Indic jatakamalas. Jatakas are the stories of the Buddha{\textquoteright}s previous births. The genre of jataka cycles is well established in Indic Buddhist literature. Jatakamalas---literally, garlands of jatakas---comprise a distinct category in this genre. Two of the visual jatakamalas considered are performative: these are a Sri Lankan festival evidenced in the record of Faxian{\textquoteright}s pilgrimage to South Asia (399--412 CE) and a pilgrimage route in Northwest India evidenced in Faxian and Xuanzang (629--645 CE). The dissertation also examines the monumental jatakamala on the coping of the Bharhut railing (circa 150--75 BCE) and in Ajanta{\textquoteright}s Cave 17, a Buddhist monastic residence or vihara (circa 470--500 CE). I argue that in all of these examples, mobile viewers cum pilgrims encounter the Bodhisattva and the Buddha after his nirvana as relic, stupa or image. The kinaesthetic, three-dimensional experience of the Bodhisattva as he performs one or more of his marvelous deeds is unique to visual jatakamalas. Visual jatakas are argued to be "jatakas of encounter." This conclusion is based on an examination of passages from contemporaneous Buddhist texts that narrate these encounters and in which the Buddha authorizes images and other sacred relics as his living presence. In these encounters the viewer experiences a powerful religious emotion that takes him outside of himself and impels him into an act of devotion. The dissertation is concerned with the differences between performative and monumental jataka cycles and their literary counterparts. It compares narratives of the same story, with special attention to the jatakamalas of Aryasura and the main hall of Ajanta{\textquoteright}s Cave 17. One difference between these is the critical role that architecture plays in the vihara as text. Also, the vihara{\textquoteright}s "decorative elements" are part of the visual text, though Indic art historical scholarship has viewed them separately. Identifying a religious performance or monument as a jatakamala implies that it coheres as a text and the coherence of each of the four visual jatakamalas is considered in the context of Indic modes and patterns of coherence.}, keywords = {South/Southeast Asian Art}, author = {Wood, Leela Aditi} } @mastersthesis {9665, title = {Canon as Constellation: Identity and Canon Formation in American Art Historical Discourses}, year = {2005}, school = {Cornell}, abstract = {Since the 1990s, a contentious and divisive debate has stirred the placid waters of institutional art history. Particularly, the emergence of visual studies departments around the United States and abroad, with their insistence upon a greater diversity in terms of both subjectivities studied and objects contemplated, has been a divisive force to say the least. Art history has been criticized as too stringently Eurocentric in its emphasis, elitist, ethnically/racially essentialist, politically conservative, and naive of the non-West. Conversely, some consider visual studies too hybrid, rudimentary, global, and too theoretically scatterbrained to be intellectually effective. Because visual culture studies draws from an array of disciplines ranging from art history and postcolonial theory to queer theory and cultural criticism, it is often characterized as methodologically rudderless. Nevertheless, visual studies has been instrumental in re-asserting the imperative of pedagogical inclusiveness and intellectual rigorousness many feel is lacking within orthodox art history. Despite visual culture studies{\textquoteright} presence in the humanities, activist forms of historical revisionism and institutional critique have become requisite within art history, forcing its practitioners to employ a broader range of objects and methodologies. If art history is indeed disconnected from contemporary life, and ambivalent in regard to social-political realities, how will such disciplinary changes impact canon formation? What objects, cultures, subjects, and methods will be contemplated? How will the influence of academic identity politics, shifting demographics, multinational capitalism, and globalization alter a discipline such as art history? While I do not believe that art history is as stringent and intolerant as the criticisms levied against it may suggest, I do assert that the study of identity (sexual, gender, ethnic, racial, class) is crucial for the discipline to progress. This study is an attempt to address these questions, while simultaneously making sense of the many challenges facing the study of visual culture in the 21st century.}, keywords = {Contemporary Art}, author = {Derek Murray} } @mastersthesis {9702, title = {Capetian Women and Their Books: Art, Ideology, and Dynastic Continuity in Medieval France}, year = {2005}, school = {Johns Hopkins}, abstract = {My dissertation identifies a functional interrelationship between art, religion, and politics in the thirteenth-century French court through detailed case studies of luxurious illuminated manuscripts produced for royal women. Although codices de grande luxe, the three books at the center of this dissertation, the Ingeborg Psalter (Chantilly, Musee Conde MS 1695), the Psalter of Blanche of Castile (Paris, Bibliotheque de l{\textquoteright}Arsenal MS 1186), and the Isabella Psalter-Hours (Cambridge, Fitzwilliam Museum, MS 300), are first and foremost prayerbooks, made for the personal and private devotions of three successive queens of France, Ingeborg of Denmark, Blanche of Castile, and Margaret of Provence. The centrality of this devotional element has never before been explored in conjunction with a central tenet of Capetian dynastic ideology-the importance of a proper spiritual status for the continuity of the dynasty. I argue that the queen{\textquoteright}s role, within Capetian ideology, was not passive or mechanical but rather active and central. Her performance of her spirituality was necessary for her fertility, the education of the heir, and her counsel of the heir and king. By articulating the centrality of the queen{\textquoteright}s spirituality within Capetian ideology, I posit that although "symbolic{\textquoteright}, the queen{\textquoteright}s role was deeply necessary for the continuity and identity of the dynasty. Through the manipulation and inflection of biblical narratives, iconography, and contemporary symbols and/or rituals, each book teaches each royal woman something about what she should know, do, or be. Each of these prayerbooks responds visually to critical moments in French history. Moreover, through the relationship between religious and political imagery in the books, the books{\textquoteright} makers grounded statements about the salvation of the individual and the dynasty in the particularly authorizing language of the Bible. Thus these books served to not only teach each queen what she needed to know, but also motivated her behavior, and provided the means by which she could fulfill her roles.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Schowalter, Kathleen S.} } @mastersthesis {9602, title = {Central Asia in the Context of the Achaemenid Persian Empire (ca. 6th to 4th Centuries BC)}, year = {2005}, school = {Pennsylvania}, abstract = {This dissertation investigates the imperial relationship between the heartland and provinces of the Achaemenid Persian Empire (c. 559-330 B.C.). It discusses various historical and social aspects of the Empire{\textquoteright}s northeastern provinces (Bactria, Sogdiana and Chorasmia), located in modern-day Central Asia, and the Persian presence in and impact on the region{\textquoteright}s social and political situations, religious ideologies, and artistic practices, through examinations of the surviving material culture, including primarily artifacts and their decorations, retrieved from archaeological excavations. The thesis approaches the northeastern provinces from three different perspectives: that of the Persians in the imperial heartland in western Iran, that of the peoples in the northeastern provinces in Central Asia, and that of the (semi)nomadic groups to the north and east beyond the imperial boundaries on the eastern part of the Eurasian steppe. The official inscriptions, monumental and glyptic art, and administrative texts from the imperial heartland (Persian, Elam and Media) suggest that Central Asia was largely integrated into the imperial ideological and administrative system. Meanwhile, conflicts between the Empire{\textquoteright}s northeastern frontier and its central government were frequent. The social landscape of the northeastern provinces, reconstructed from material found in Central Asia, primarily architecture and artifacts, demonstrates links between the material culture of Central Asia and that of the imperial heartland, suggesting that the Persian visual language, in which the imperial ideology was embedded, was enthusiastically accepted by the social elite in Central Asia; whereas the daily life of ordinary people remained largely unchanged, as the forms and techniques of the architecture and ceramics continued the old Central Asian traditions. The Achaemenid Persian Empire also had a strong impact on the ethno-cultural societies of the (semi) nomadic groups living beyond the imperial boundaries on the steppe to the north and east in modern-day Kazakhstan, Kyrgyzstan, Xinjiang and in the Altai Mountains in Southern Siberia, as suggested by the active adoption of the Persian style in artistic representations. This Persian influence on the art of the steppe, filtered through the northeastern provinces, indicates, in turn, a reflection of a strong Persian presence in and impact on Central Asia.}, keywords = {Art of the Middle East/North Africa, Egyptian/Ancient Near Eastern Art}, author = {Wu, Xin} } @mastersthesis {9642, title = {The Centrality of Culture in Art: The Contemporary Challenge to Chinese Artists, Particularly Wenda Gu}, year = {2005}, school = {Ohio State}, abstract = {Launched in the 1980s, the Chinese avant-garde movement was an artistic incarnation of the concepts and thoughts embodied by these theoretical schools, especially the School of Hermeneutics. Rational Painting, Current of Life and Anti-Art were the main schools comprising this new art movement. They were radical in their attitude towards Chinese culture, as they believed that the visual art revolution was an integral part of critique of culture because it tended to subvert the cultural tradition at discursive level. This made those vanguard artists the natural ally of School of Hermeneutics. Wenda Gu was a representative of Chinese avant-garde of the 1980s. His career at home and abroad concentrated on the issue of culture. His artistic adventure is composed of three stages-a critique of culture, an analysis of culture and a synthesis of culture. In the 1980s, Wenda Gu was a warrior who radically attacked traditional culture. Starting from a reflection on history and civilizations in general, Gu shifted his focus to the Chinese written language, a strategy of discursive critique. By deconstructing and reconstructing Chinese characters, Gu echoed the call of the School of Hermeneutics for a discursive revolution. When he moved abroad and settled in New York in 1988, Gu was confronted with an entirely different art scenario and he made the necessary adjustments, though he kept the issue of culture in his thoughts. He explored materials as artistic means and as the object of cultural analysis. By focusing on the human body materials, this initiated a new stage of analysis of culture. Starting from this analysis, Gu expanded his viewpoint of the process of cultural confrontation to include the reconciliation on a global level. This led to another stage of synthesizing culture. In this stage, Gu has utilized human hair to accomplish his ambitious on-going project, titled "United Nations," which crosses over all five continents. The challenge Gu faces may be the one, the most of contemporary Chinese artists face today. The role of culture in art has been and will continue to be central for them, though their focus, methodology, and strategy may change.}, keywords = {Chinese Art, Contemporary Art}, author = {Zhou, Yan} } @mastersthesis {9617, title = {The Character of the Home: The Domestic Interior in American Painting, 1862-1893}, year = {2005}, school = {Penn State}, abstract = {For a number of years following the Civil War, the artists who painted domestic scenes chose at times to give visual form to very pervasive cultural stereotypes, which sought to describe the proper concerns of middle-class wives and mothers in charge of middle-class homes. This dissertation focuses on paintings of the home executed by Thomas Waterman Wood, Worthington Whittredge, Edward Lamson Henry, Will Hicok Low, Louis Moeller, Eastman Johnson, Thomas Hovenden and Seymour Guy between the years 1862 and 1893. It consists of extended interpretations of a limited number of infrequently studied domestic paintings. These interpretations are joined by a study of an imagined domestic interior vividly described by a Minneapolis businessman in a letter to the painter E. L. Henry. Of particular concern here are the ways in which American painters represented the relationship between figure and domestic possession. How does a painter depict a home filled with a myriad of commodities while maintaining the suggestion of an appropriate dwelling for figures that are virtuous and not overly materialistic? The meanings of possessions; the manner in which one owned things; the way in which one used things; the amount that one owned; the care and attention that possessions received; even the point at which old things were given up for technologically advanced things are all issues that appear in a variety of printed contexts between the Civil War and the end of the century. These issues play a role in domestic genre paintings and in conversation pieces from the same period and are addressed in this dissertation. The artists considered here at times created conservative images of idealized American homes where morally-minded people routinely care for and use things in ways that suggest that their worth extends beyond their economic value. Mindful of the sentimental language of domestic novelists and perpetuating an ideal for the modest home developed in the 1830s, 1840s and 1850s by ministers, architects, landscape designers and other writers, these painters dipped their brushes into a well of ideas that was firmly established. The results were visual manifestations of middle class ideals.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Marshall, Darlene} } @mastersthesis {9591, title = {Checkerboard Grids: Principles and Practices of Spatial Order in the Americas and the Making of Place in New Mexico}, year = {2005}, school = {Binghamton}, abstract = {The checkerboard grid has played a significant role in the making of place in the Americas. Both the Spanish Crown and the United States Congress chose the grid to impose principles, practices and polices of spatial order on the physical and human landscapes of the continent. These grids, while based on the same abstract diagram, were conceived to work in different ways at different scales, and to shape different structures of physical and social space. This paper compares the two grid systems, first as they were generated by their respective bodies of legislation-the Spanish Laws of the Indies and the United States{\textquoteright} Land Ordinances-and then through their implementation, juxtaposition and transformation within the framework of the American Southwest, where they converged on terrain already marked by the settlement patterns of Native Americans. It also explores the complex landscapes that resulted from this process, and the role of the grids in the making of place in the region.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Rogers, Karen L.} } @mastersthesis {9640, title = {Childhood{\textquoteright}s End: Representing American Youth, Circa 1940-1970}, year = {2005}, school = {Kansas}, abstract = {In a series of four case studies, this dissertation examines paintings of children that were created between 1940 and 1970. This era corresponds to the period called "the baby boom" and is a rich period of investigation for the very reason that an unprecedented number of Americans were experiencing directly the disquieting impact that children could have on their lives. Quotidian engagements with children often made it difficult to maintain the fiction of childhood innocence that had been a romantic legacy from an earlier age. Instead, a host of discourses contributed to a new understanding of childhood as a realm marked by significant struggles rather than one of contented bliss. Although the artists in this study took children as their subject, this dissertation is not really about children who lived through the era, but about adults who experienced the collision between real and ideal. Childhood is unique among markers of identity in that all adults regardless of race, class, gender or sexual identity were once children. This study therefore looks at how these child images are products of both psychological and social forces. In that regard, each chapter will examine issues that are related to the personal lives of the artists in tandem with social issues that shaped the understanding of childhood during the period between 1940 and 1970. At stake is an understanding of how childhood is an investigation of both the self and the other, as well as the real and the ideal. This study illustrates how these contradictions between the ideal and the real were expressed in the realm of the visual arts by examining representations of children that either reflected or contributed to the development of new constructs of the American child, or to the maintenance of older ones. Each chapter of this dissertation focuses on a different type of child that deviated in some way from the norm. Chapters on the sexualized child, the delinquent child, the victimized child, and the consuming child will build off one another, but in essence can stand alone as individual investigations into the all-encompassing, central topic of mid-century childhood.}, keywords = {Art of the United States}, author = {Watson, Samuel} } @mastersthesis {9701, title = {Churches at the Edge: A Comparative Study of Christianization Processes along the Baltic Sea in the Middle Ages: Gdansk and Novgorod}, year = {2005}, school = {Binghamton}, abstract = {My dissertation is a comparative study of the Christianization processes in two culturally diverse medieval trading centers, and of the implications of these processes for the shaping of urban space and material culture. The focus on Gdansk and Novgorod in contrasting historical eras-the first half of the thirteenth and the second half of the fourteenth centuries-allows me to deconstruct implicit or explicit presentations of either city as representative of a coherent cultural domain defined by "religion." Such claims are deeply marked, if not motivated, by ideological adherence to a conception of distinct domains or "blocs"-Catholic contrasted with Orthodox, etc. In contrast, I study each city as important in its own right with a particular focus on the operations of ecclesiastical institutions, analyzed with regard to social and economic processes and outcomes, in which the "religious" character or affiliation appears secondary. I examine how in the competition for economic profit and political position, each institution appropriated ecclesiastical architecture and complex artistic and symbolic language to justify its social exclusiveness and assure its continuity. Created according to artistic canons controlled by the clergy, however, artworks served to promote an idea of cultural cohesiveness, which has had a significant, as well as unfortunate, effect on modern conceptions of medieval society. Not least through their emphasis on style, modern art historians assert, whether consciously or not, the "Christian" identity of medieval communities. The implicit assumption is still prevalent that artworks provide a privileged key to the interpretation of the society that produced them. In contrast, I emphasize the range of functions and meanings that artworks may have had, which cannot be deduced from the artworks, but only reconstructed through a holistic study of the society in which they were assigned value and significance}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Pac, Teresa} } @mastersthesis {9765, title = {Clothing the Corps: How the Avant-Garde and the Ballets Russes Fashioned the Modern Body}, year = {2005}, school = {Pennsylvania}, abstract = {"A dictatorship weighed upon Montmartre and Montparnasse," the Parisian centers of avant-garde activity, during the 1910s, according to Jean Cocteau{\textquoteright}s Picasso (published 1923). In this "austere" climate, certain artistic practices and liaisons were proscribed: "To paint a decor, above all for the Ballets Russes...was a crime," he wrote. Despite this purported schism between "dictators" of high art and "decorators" of the theater, artists of all stripes collaborated with the Ballets Russes after the troupe{\textquoteright}s first Parisian premiere in 1909. Clothing the Corps furthers our understanding of this "alliance of dancing with the other arts," as the troupe{\textquoteright}s choreographer Michel Fokine termed it, by delineating how and why visual artists turned the human body into an aesthetic object for Ballets Russes productions. Reflecting the ancillary status often assigned to these "decorative" works, previous scholarship focused almost exclusively on set designs, treating these works like large-scale paintings. Moving beyond this approach, I analyze interactions among sets, costumes, choreography and musical accompaniment in order to reconstruct the way these productions appeared to their original viewers. Piecing together fragmentary evidence from extant sets and costumes, photographs and recent reconstructions, letters, memoirs and critical reviews, I establish not only what these ballets looked like, but also how audiences understood them at the time. This perspective restores what was lost in earlier interpretations: a vital sense of how performers{\textquoteright} bodies activated artists{\textquoteright} designs as they traversed the Ballets Russes{\textquoteright} stage. Taking shape only in response to the dancers{\textquoteright} movements, these designs shifted constantly, refusing any fixed form. Composite and contingent, these works challenged boundaries between artist and medium, artwork and viewer. Fusing various media, these projects lay "between the arts"-in the space where the work of art confronts its opposite, its negation. Reveling in productive confusions of live bodies and designs environments, these productions exhibited classic symptoms of the "postmodern": a synthetic heterogeneity and engagement with the real world, in contrast to the purity and autonomy conventionally associated with modernism. Clothing the Corps thus participates in a larger historiographic project of recovering the anti-modernist strain running through much art of the early twentieth century.}, keywords = {Performance Studies, Twentieth-Century Art}, author = {Bellow, Juliet} } @mastersthesis {9634, title = {Collecting Objects/Excluding People: Chinese Subjects and the American Art Discourse, 1870-1900}, year = {2005}, school = {Chicago}, abstract = {In the late 1800s, America began appreciating Chinese objects as fine art, placing them in newly created art museums in Boston and New York. Concurrently, anti-Chinese sentiment in America led to 1882 legislation excluding Chinese people from immigrating or becoming naturalized. By connecting the history of museum collections of Chinese art with that of Chinese exclusion, this dissertation creates a dialogue revealing the idea of "Chinese" as a pivotal site for conflicts in American aesthetic theory, as well as conflicts over American national identity. Two chapters look at relationships between politics, museums and material culture, and two examine print media{\textquoteright}s role in constructing cultural images. Chapter One explores how, circa 1870, America{\textquoteright}s expressed admiration for Chinese things abruptly transformed and Chinese art virtually disappeared from American aesthetic discourse. Against the backdrop of anti-Chinese agitation, the "Japanese mania" arising at that time discloses its political component: it effectively subsumed the Chinese origin of many objects. The Eastern states historically disavow responsibility for the Chinese Exclusion Laws, protesting it as the desire of Western states alone. Analyzing the New York Times from 1870 until 1882, Chapter Two documents the transformation of its image of Chinese people, finding complicity within the capitulation. Chapter Three returns to the investigation of art, exploring Chinese objects{\textquoteright} uneasy fit within the dominant Ruskinian rubric informing art museum collecting. I propose that their "outsider" presence ultimately helped define the new rubric of Modernism. Chapter Four examines objectification of Chinese people in relation to mass culture and modernization, focusing on Chinese images on American advertising tradecards. I analyze these images as tools familiarizing Americans with fluid systems of valuation and encouraging the facility with visual culture necessary for modernization. Investigating Chinese subjects, material culture and aesthetic theory, my dissertation establishes the occurrence of a circumstance in which accumulation of objects initiated new theoretical considerations. And it questions the assumption, accepted since the perception of an avant-garde, that art leads or anticipates politics, proposing instead that politics equally inform what is understood as art.}, keywords = {Art of the United States}, author = {Metrick, Lenore} } @mastersthesis {9803, title = {Color and Alienation: Matisse{\textquoteright}s Theory of Art}, year = {2005}, school = {Bryn Mawr}, abstract = {Through a close examination of the artist{\textquoteright}s texts and statements, "Color and Alienation" asserts that Matisse{\textquoteright}s ideas form a complex theory of art. The application of Julia Kristeva{\textquoteright}s (1941-- ) theory of signification is used as the primary method of interpretation. Kristeva{\textquoteright}s conceptual model addresses the particular subjective conditions that Matisse encounters in practice and incorporates into his ideas on art. The study focuses on two principal aspects of Matisse{\textquoteright}s art theory: Matisse{\textquoteright}s definition of artistic meaning, and his conception of the artist in relation to the materials of practice and the work of art. Matisse conceives his practice in terms of an undifferentiated continuum of subject and object linked on the basis of materiality---the corporeality of the subject, the physical dimension of the drives, and the substance of pigment. Matisse defines artistic meaning through his concept of expression. He describes expression as an essential, mutually dependent relation between the incommensurable categories of thought and material. The mechanics of expression pivot on a fluid and reciprocal traversal of conscious and unconscious registers of existence. Artistic expression, therefore, is the culmination of a dynamic process that unfolds through the contradiction of the heterogeneity of thought and material within the singularity of the artist as subject, a process that is articulated in the work of art. Although Matisse{\textquoteright}s concept of materiality posits the instinctual drives as the origin of artistic expression, thought, as a symbolic activity, is the decisive factor in its realization. Matisse{\textquoteright}s ideas constitute a modern formulation of the status of the artist as subject. His view of the role of instinct and symbol in artistic production demands a redefinition of some of the traditional ideas of art, such as mimesis and artistic harmony, and points to a reformulation of an aesthetics of form within a post-modern context.}, keywords = {Twentieth-Century Art}, author = {Casey, Kathryn} } @mastersthesis {9703, title = {Constructing Nabataea: Identity, Ideology, and Connectivity}, year = {2005}, school = {Michigan}, abstract = {This dissertation explores cultural identity in the kingdom of Nabataea through an interdisciplinary approach to textual, art historical, and archaeological evidence. Nabataea, centered at Petra in the south of the modern kingdom of Jordan, operated as an independent polity from at least 323 B.C.E. until the Roman annexation of Arabia in 106 C.E. It extended into northwestern Saudi Arabia, Israel{\textquoteright}s Negev desert, and southern Syria. Nabataea was by no means a homogeneous entity. Numerous sub-groups can be distinguished, and there seems not to have been any single factor used to determine one{\textquoteright}s status as a Nabataean. Differences in ethnicity, religion, descent, social standing, and lifestyle (nomadic or sedentary) can be observed among those who claimed membership in Nabataea. Some emphasized their identity as Nabataeans by kinship, others by their geographic position within the kingdom, and others by their association with the royal house. None of these were definite qualifications, however. There are many cases in which individuals, who to all appearances would be expected to define themselves as Nabataeans, expressly designate themselves in different terms altogether. In this project, I examine aspects of Nabataea in order to approach the problem of how Nabataea and Nabataean-ness were variously engaged, appropriated, and recast in different contexts. Chapter 1 assesses the character of the landscapes from which the Nabataeans emerged, using an approach that combines history, culture, and environment. Chapter 2 considers how these landscapes and their inhabitants responded to the establishment of the kingdom, and what developments took place in its different sub-regions. Following these discussions, there is a shift from general observations to specific case studies of particular groups. Chapter 3 examines how gender and family relations inform our understanding of social interaction, especially in terms of how women{\textquoteright}s roles were defined and understood. Chapter 4 looks at the kings and their crafting of royal personae, paying attention to how the audiences of their propaganda received it. Chapter 5 documents the choices made by elites in regard to the decoration of their monumental tombs, and then asks how they may have resonated both within and without Nabataea. Taken together, these analyses illustrate that Nabataean cultural identity was the result of complex dialogues conducted simultaneously on a variety of levels.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Bjorn Anderson} } @mastersthesis {9605, title = {The Construction of Ottoman Aleppo: Modes and Meanings of Urban (Re-)Organization}, year = {2005}, school = {Harvard}, abstract = {Following the Ottoman consolidation of trade routes to the Persian Gulf in the 1530{\textquoteright}s, the city of Aleppo emerged as the principle emporium of East-West trade in the Levant. In subsequent decades, primarily through several waqf endowments set up by Ottoman officials, the urban center of Aleppo was radically rebuilt, the most concentrated and extensive transformation of an urban center in the Ottoman era. The urban fabric that resulted from these multi-functional endowments, though commissioned independently, is remarkable not only for its scale but for three unifying formal aspects. These include a reinvigoration of the Hellenistic grid, a shift from a principally north-south directionality to one aligned with the east-west Bab Antakiyya axis, and a "zoning-like" alignment of retail suqs, warehousing khans, and religious functions. This dissertation explicates these three aspects of Aleppo{\textquoteright}s city center, so strikingly at odds with common notions regarding the "Islamic" and pre-modern city. Utilizing the endowment documents and other textual accounts from the period, the preceding urban fabric is roughly reconstructed, patrons{\textquoteright} intents are illuminated, and a processual account of the development of the Ottoman city is made possible. This reveals a variety of critical factors, the most important of which are the aims of the Grand Vizier Sokullu Mehmed Pasha to develop a network of communications through the empire, and patterns of formal and functional composition inherent in Ottoman architectural practice. These latter are contrasted with Mamluk practices, and both are found to embody distinct notions of city form and functionality, which, while different, are consistent, coherent and "rational". These conclusions have significant implications for urbanism "before urban theory"; they also attest to a degree of relative autonomy for the field of architecture. Secondary themes include the development of regional systems of architecture, and the inchoate development of a new Ottoman architectural type, a built "suq-street", with evident communicative and urban-integrative functions.}, keywords = {Art of the Middle East/North Africa}, author = {Wolf, Steven Charles} } @mastersthesis {9751, title = {The Consumption of History Painting in Restoration France}, year = {2005}, school = {Brown}, abstract = {In this dissertation, I explore relationships between viewing practices, social space, and the politics of identity in early-nineteenth-century Paris. Focusing on exhibitions of paintings by Francois Gerard, Horace Vernet, and Jacques-Louis David, I examine the ways in which various groups-royalists, liberals, young men, and elite women-used displays of art to compete for cultural power in the 1820s. I begin by considering connections between art exhibitions, gender, and power in the Restoration, through two case studies. The first concerns Francois Gerard{\textquoteright}s painting Corinne at Cape Miseno (1819-20), which was displayed in some form in each of the Salon exhibitions held in the 1820s as well as in Juliette Recamier{\textquoteright}s literary salon. Addressing differences in the way the image was viewed in these spaces, I argue that Corinne{\textquoteright}s reception crystallized a conflict between the reemerging, female-led literary salon and masculine models of high cultural production and reception. I develop my analysis of this conflict in my second case study, which looks at how a private exhibition of works by Horace Vernet appropriated the form of the literary salon while contesting its associations with femininity. Looming over attempts to define social identities in Restoration Paris was the memory of the Revolution. In the second half of my dissertation I explore how spectators confronted the Revolution in two exhibitions of works by Jacques-Louis David. In 1824 David exhibited his last major painting, Mars Disarmed by Venus and the Graces (1824), in Paris; two years later, following the artist{\textquoteright}s death in 1825, a further exhibition of his works was held in conjunction with a posthumous auction of his possessions. In my discussion of these exhibitions, I examine the ways in which spectators negotiated David{\textquoteright}s dual status as leader of the French school and exiled regicide, and consider how spectators used their experiences to reinforce or contest political identities. In each of these case studies, I situate viewing conditions and experiences within the broader context of urban space. In doing so, I demonstrate that displays of painting played an important role in contemporary symbolic struggles to control the city of Paris.}, keywords = {Nineteenth-Century Art}, author = {Harkett, Daniel E.} } @mastersthesis {9762, title = {Conversations with the Other: Episodes and Intersections in the Careers of Mary Cassatt and Edgar Degas}, year = {2005}, school = {Bryn Mawr}, abstract = {The forty-year long artistic relationship between Hilaire-Germain Edgar Degas (1834-1917) and Mary Stevenson Cassatt (1844-1926) was founded on a sense of connection with each other{\textquoteright}s work. The duo has intrigued writers since the beginning of their association in the 1870s and the Impressionist era through to the present day. My dissertation, in an introduction, four chapters and an epilogue, investigates ways that the artists{\textquoteright} interaction can be articulated using dialogic models, emphasizing mutual exchange, while recognizing that their relationship was enveloped in the challenges of nineteenth-century gender politics. I challenge the frequently re-articulated characterization, found in a range scholarship, which positions Cassatt as Degas{\textquoteright}s pupil. Instead, I analyze works by each artist from across the span of their friendship in equally weighted terms and frame my discussions using the idea of conversation. Methodologies that stress reciprocal communication, such as the literary theory of Mikhail Bakhtin, social art history and feminist scholarship form structuring platforms for my research. My dissertation{\textquoteright}s four chapters focus on Degas{\textquoteright}s representations of Cassatt, the artists{\textquoteright} printmaking endeavors, their images of theater spectatorship, and their depictions of intimate motifs such as female nudes and familial relationships. There is no surviving correspondence between Cassatt and Degas. Our understanding of their interaction is mediated through second-hand observation or through the artists{\textquoteright} language but expressed to third-parties. The utterances of their conversation that do survive are in the form of visual works of art. Complicating factors of social, national and gender differences between the two key actors increase the ambiguity in interpreting this relationship. The reconstituted conversation through their art is expanded by the ambiguous factor of the anonymous spectator of any given work. Further, any work by either Cassatt or Degas is embedded into a wider environment of meaning, including works by other artists, art historical writing, and theoretical and social-political discourses. I intend for my recontextualization of the artists{\textquoteright} careers to add a new layer of understanding to the existing dialogue. All of this is undertaken to question ideologies of gender in Impressionist scholarship and to complicate the understanding of the nuanced careers of these two artists.}, keywords = {Nineteenth-Century Art}, author = {Zehnder, Amanda} } @mastersthesis {9594, title = {Cultivat(ing) Modernities: the Society for National Heritage, Political Propaganda, and Public Architecture in Twentieth-Century Iran}, year = {2005}, school = {MIT}, abstract = {Beginning in 1922, under the auspices of the Pahlavi dynasty of Iran, the tombs of selected historical figures were systematically destroyed to make way for modern mausoleums erected as metaphors for an "Aryan" nation in its process of modern revival. Initiated during the reign of Reza Shah who ruled the country with an iron fist between 1921 and 1941, most of the projects were implemented under his son, Mohammad Reza Shah, between 1941 and the Iranian Revolution of 1979. Since the monuments were ideologically inscribed commemorations of the leading modernists and reformists of the 1920s, their impact permeated the definition and function of high culture in Iran{\textquoteright}s 20th-century sociopolitical history. The dissertation offers a critical analysis of the political underpinnings, pedagogical aims, racial schemas, and aesthetic ends of propaganda architecture as they were conceived and constructed under the aegis of the Society for National Heritage. An in-depth study of the institutional history of the SNH, which included the construction of numerous mausoleums-particularly those belonging to Ferdawsi, Hafez, Ibn Sina, Omar Khayyam, and Arthur Pope, the supervision of over sixty preservation projects, and the creation of an archeological museum as well as a national library, the dissertation demonstrates that in the 20th century, the project of Iran{\textquoteright}s "cultural heritage" was not just about a series of public monuments, well-choreographed museums, (in)accurate indexes of historical landmarks, or art exhibitions and congresses. Modern Iran{\textquoteright}s relationship to its cultural heritage was equated to Iran{\textquoteright}s equal and rightful place in the network of modern nations; its safest and fastest corridor to a progressive, and at times utopian, modernity; and its essential ideological justification for the political, and often despotic, reforms aimed at territorial integrity and national homogeneity. Iran{\textquoteright}s cultural heritage, it is argued, was modern Iran{\textquoteright}s political raison d{\textquoteright}etre .}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Grigor, Talinn} } @mastersthesis {9597, title = {The Culture of Criticism: Adolf Behne and the Development of Modern Architecture in Germany, 1910-1914}, year = {2005}, school = {Columbia}, abstract = {This dissertation investigates the early career of the German architectural critic Adolf Behne (1885-1948) and the crucial role he played in defining and promoting an early vision of modern architecture. During the particularly vibrant cultural moment in Germany before World War 1, Behne became intent on finding artistic and architectural alternatives to what he perceived as the elitism, materialism, and decadence of Wilhelmine society. Influenced by the cultural program of the Socialist party, Behne believed that modern art had to be made accessible to all, and that modern architecture must be grounded in a "social conscience." The theories of Expressionist artists he encountered in Berlin{\textquoteright}s Sturm Gallery led Behne to the very different conviction that art must primarily express the inner experience and creative urges of modern man. Combining ideas from Expressionism and Socialism, Behne embraced one of the fundamental paradoxes of modern culture: that art could be simultaneously an ideal, autonomous object of the avant-garde, and also politically and socially engaged to benefit the masses. Behne found a resolution to this paradox in architecture. His interpretations of Bruno Taut{\textquoteright}s early apartment houses and experimental exhibition pavilions as syntheses of fantasy and functional form-making--an "artistic Sachlichkeit"--inspired the critic to invent the concept of an Expressionist architecture. At the same time, the heated debates promoted by the German Werkbund about the relative merits of art and industry in leading architectural reform, provoked Behne to write trenchant criticism about the nature of contemporary architecture and its place in the social fabric of modern society. Far more than an objective reporter or passive filter of the moment, Behne worked in conjunction with artists, architects, publishers, and a nascent media culture to help bridge the gap between the producers of the new architecture and the ever-expanding consuming public. In this early criticism Behne established the themes that would propel him to become one of the most perspicacious critics of the twentieth century architecture and culture.}, keywords = {Architectural History/Historic Preservation}, author = {Gutschow, Kai} } @mastersthesis {9648, title = {Decline of the Law, Death of the Monk: Buddhist Text and Images in the Anyang Caves of Late Sixth Century China}, year = {2005}, school = {Duke}, abstract = {This dissertation explores how cave sanctuaries in sixth century China became the center stage for the public assertion of spiritual legitimacy in the age of mofa, the period of the Buddhist temporal scheme known as the "Decline of the Law." Constructed during one of the most tumultuous periods in Chinese history, the Anyang Caves operated as a visual memento of the mofa ideology and an embodiment of the monastic ideals of both life and death for such celebrated monastic elites as Daoping (d. 559), Sengchou (480-560) and Lingyu (518-605). As a retreat to return to after declining imperial invitations and as a burial site, the Anyang Caves and their mountainous setting incarnated an idealized notion of monastics, a collective concept recapitulated in the biography of eminent monks. Through the activity of carving not only sutra passages but also the most innovative imagery of the time, the Anyang Caves challenge the prevailing canon of knowledge regarding Chinese Buddhist caves in the field of art history. By analyzing contemporaneous textual documents, visual materials and their interrelationship, this study has shown how these caves stand as a surprisingly complex and layered site of meaning, most specifically as an exemplary case showing how a conventional changuanku or a "meditation-visualization cave" incorporated a variety of visual experiences, repentance rituals, and mortuary practices while also serving as an efficient device for asserting a rhetorical claim of spiritual and doctrinal orthodoxy.}, keywords = {Chinese Art}, author = {Kim, Sunkyung} } @mastersthesis {9756, title = {Defending Russia: Russian History and Pictorial Narratives of the {\textquoteright}Patriotic War,{\textquoteright} 1812-1912}, year = {2005}, school = {USC}, abstract = {The subject of my project is the intersection of national identity and culture in Russian artistic representations of the "Patriotic War" of 1812. No pre revolutionary military event was more celebrated by Russian writers and artists than the epic of 1812. The defeat and expulsion of Napoleon was a turning point in Russian history that, in many ways, helped define modern Russian identity. Not only did 1812 put Russia on the map as a European military and imperial power, particularly in the eyes of England and France, but the memory of this campaign in Russia also served as a source of national pride that was celebrated by artists and writers for more than a century. In my dissertation I argue that the visual narrative of the events of 1812 was inextricably linked to Russia{\textquoteright}s search for national identity and helped to form competing definitions of "Russianness." The poems, novels, popular prints and paintings that retold the story of 1812 extolled values that were perceived as inherently Russian: courage, resourcefulness, and spirit of community. My analysis of these cultural productions, and the criticisms that were written in response to them, considers the social, political and aesthetic contexts that were important for the popular representation of the nation. My analysis also examines the contradictory and contested nature of Russian national identity. While my emphasis is on "high" art, or academic painting, I also will explore how Russianness was constructed and celebrated in popular media. I will seek answers to the following questions: Why did artists repeatedly revisit the events of 1812? In what ways did they change this narrative over the ensuing century? What were the continuities and ruptures between official and popular representations of the war? In the late-imperial period, especially after the humiliating defeat at the hands of Japan and the social ferment of 1905, the memory of 1812 was revived with particular urgency. National identity was in great flux in late-imperial Russia-rapid industrialization and urbanization resulted in the fragmentation Russian national consciousness. My inquiry into the evolution of the pictorial narrative of 1812 explores the competing definitions of Russianness that emerged as a result of these social transformations.}, keywords = {Nineteenth-Century Art}, author = {Nedd, Andrew} } @mastersthesis {9675, title = {Defense of the Real: Carl Einstein{\textquoteright}s History and Theory of Art}, year = {2005}, school = {Columbia}, abstract = {This study is designed as a focused intellectual biography of the German art critic and historian Carl Einstein (1885-1940). Its ambition is to retrieve what it argues is the profound coherence of Einstein{\textquoteright}s most important critical writings on the visual arts: the coherency of a political ontology that sought to think the aesthetic, its experience, and their history, as part of more fundamental yet thoroughly historical and agonistic struggles over the nature of the human subject, of its objects, and of the grounds on which they interact in time. That in Einstein{\textquoteright}s case this time should have been modernity has shaped the three main ambitions of this study: to retrace the intellectual coordinates of his ontology; to examine it in action in his art criticism; and to observe him extrude it backward in an effort to rewrite the history of art as a genealogy of the modern. Hence this study examines, first, how Einstein mined the work of thinkers like Nietzsche, Bergson, Mach, and Freud, in order to imagine how in a newly postmetaphysical world-the "real" of our title-a modern subject emerged out from under the ruins of older orders of being: a subject now embodied, decentered, and ever self-differentiating over time. Second, it will show how in Einstein{\textquoteright}s view that subject found company in a set of seemingly disparate objects: how the incommensurable totality of an African object was seen to rupture the contemporary sculptural paradigms of Hildebrand and Rodin; how his postwar art criticism argued that Analytic Cubism rendered sensible the positivity of a differential vision in the wake of a "sensori-motor world picture"; and how select works from Picasso{\textquoteright}s Surrealist period, inducing in their viewers an experience of "unconscionization," seemed to enmesh them in what by the 1930s had become Einstein{\textquoteright}s chiasmic ontology of becoming toward death. Indeed "Life against Death" will be the rubrum under which, third, this study explores his art history, a project in communication with yet distinct from the thought of his Documents colleague Georges Bataille: one in which works of art were stakes in a struggle between forces of action and reaction underway since the birth of representation, a struggle between subjects headed towards their own death, and those who, denying death in art and life, promote its cause in both.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Sebastian Zeidler} } @mastersthesis {9758, title = {"Den gheheelen loop des weerelts" (The Whole Course of the World): Printed Processions and the Theater of Identity in Antwerp during the Dutch Revolt}, year = {2005}, school = {UC Santa Barbara}, abstract = {Between 1559 and 1585, processions-both actual and imagined-became popular as subjects and vehicles for allegory in the Antwerp print workshops of Hieronymus Cock, Philips Galle, Peeter Baltens, and others. Examples range from the allegorical processions by Maerten van Heemskerck, Cycle of the Vicissitudes of Human Affairs (Cock, 1564), and Ambrosius Francken, The Four Times of Day (Baltens, c1577), to Hans Vredeman de Vries{\textquoteright} designs for the Duke d{\textquoteright}Anjou{\textquoteright}s joyous entry into Antwerp (Plantin, 1582). The emergence of processional prints coincided with the increased politicization and subsequent suppression of actual processions during the Dutch Revolt. Allegorical "wagon plays" produced by civic rhetoricians in the midst of traditional ommegangen (devotional processions) focused upon the moral and practical means by which the community could maintain its peace and prosperity. Comparisons between such processions and the corpus of Antwerp processional images, which were the products of the overlapping professional circles of civic rhetoricians and printers, indicate that the images functioned in unison with wagon plays by exploring human behavior not simply as it pertained to the individual soul, but also as it attended to the maintenance and delineation of the healthy community. An investigation of contemporaneous political polemic reveals that the two participated in a common discourse, best described as political didacticism, which qualified and universalized human events according to a pan-European conception of the body politic. Close study of the imbrication of the professional circles of rhetoricians and printers explains the regularity with which processional images, particularly those referencing actual processions, found their way into print. Such series provided a new forum within which the printer/rhetoricians could enact their contribution to social order. In this capacity, processional series could also act as agents of communal memory at the moment when civic spectacle itself was suppressed. The visual language that the processional-format created was so effective a banner of local identity that its form was imitated in the 1582 publication for the joyous entry of the Duke d{\textquoteright}Anjou into Antwerp. In that manifestation, the processional-format had the real political intention of formulating a new, albeit far from ideal, Netherlandish state.}, keywords = {Nineteenth-Century Art}, author = {Peters, Emily J.} } @mastersthesis {9820, title = {Desiring Women: Constructing the Lesbian and Female Homoeroticism in German Art and Visual Culture, 1900-1933}, year = {2005}, school = {Brown}, abstract = {This dissertation examines the construction of female homoeroticism and the lesbian in German and Austrian art and visual culture from ca. 1900 to 1933, tracing a shift from invisibility to visual cliche. At the same time as sexologists and homosexual rights organizations introduced German readers to new theories of sexual identity, German audiences were introduced to homoerotic female subjects in the widely circulating sculptures and drawings of Auguste Rodin and the erotic prints of Felicien Rops. In Austria, Gustav Klimt and Egon Schiele depicted double female nudes within the genre of the figure study, in which genius was predicated on the transformation of male desire for the model into the ideal (female) nude. In Germany, Max Klinger called on orientalism to distance lesbian desire in his final print portfolio, Pavilion, 1915. The obscenity trial in 1911 of Franz von Bayros and his publisher, Alfred Semerau, for the publication of Der Toilettentisch, demonstrates the intersections between discourses on pornography and national health. During the Weimar Republic, Otto Dix and Rudolf Schlichter represented grotesque fantasies of female-female violence. Jeanne Mammen made a career as a popular illustrator of Berlin types including lesbian women for journals such as Simplicissimus. Furthermore, Mammen was commissioned to illustrate the pseudo-Sapphic poems of Pierre Louys, Songs of Bilitis. Christian Schad was fascinated by all divergentes from the norm, and depicted fantasies of lesbian sex. From the mid 1920s until the early 1930s, two political and social groups advocating homosexual rights, Der Bund fur Menschenrechte and Deutsche Freundschaftsverband, published journals for their female readers. For these journals-Die Freundin, Frauenliebe, and Garconne-Junggesellin-the female editors selected cover photographs of female nudes. In a process of bricolage, the editors chose photographs originally produced for other, mostly male viewers, and presented them for lesbian readers}, keywords = {Twentieth-Century Art}, author = {Rogan, Clare} } @mastersthesis {9694, title = {Developing an Iconography of the Episcopacy: Liturgical Portraiture and Episcopal Politics in Late Tenth and Early Eleventh-Century Manuscripts}, year = {2005}, school = {UNC Chapel Hill}, abstract = {In the Early Medieval era, bishops served their congregations and their kings in an exclusive capacity. As successors to the apostolic tradition, these men were responsible for continuing Christ{\textquoteright}s mission on Earth as well as tending to the secular concerns of their Sovereigns and their See. Images of the episcopacy, particularly episcopal portraits such as the bishop enthroned or the donor portrait, reference this position by adapting iconographies of power that highlight the complexities of the episcopal office. Around the turn of the millennium, an enigmatic episcopal portrait type develops alongside these more traditional iconographies that depicts the bishop in a liturgical posture. These "liturgical{\textquoteright} portraits appear in manuscripts that may also be defined as liturgical, such as the sacramentary, the benedictional or the ordo missae. As the text of these liturgical manuscripts defined the evolving role of the bishop as a celebrant, likewise, the liturgical portrait highlights the social and spiritual legitimacy of the episcopacy by picturing those actions that make the bishop unique among and indispensable to the communities he served, both royal and common. This project will develop an iconography of the episcopacy using specific examples of liturgical portraiture from three Ottonian bishops; Warmund of Ivrea (c. 966-1005), Sigebert of Minden (c. 1022-1036) and Engilmar of Parenzo (c. 1028-1045). I will suggest that these miniatures derive from a tradition of liturgical imagery that begins with Old Testament typologies in the apse decoration of Early Christian churches and evolves through the politically and spiritually charged pictorial programs from Carolingian and Ottonian sacramentaries and hagiographies. In recognizing the liturgy and its representation as a powerful social and political tool, these miniatures construct an iconography of sacerdotal privilege that secures a place for their bishop-patron within spiritual and political hierarchies.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Gatti, Evan} } @mastersthesis {9676, title = {Dislocations and Relocations: The Built Environments of Japanese American Internment}, year = {2005}, school = {UC Santa Barbara}, abstract = {On February 19, 1942, President Franklin D. Roosevelt signed Presidential Executive Order 9066 that constituted the legal authorization for the Japanese American Internment of World War II. By May 1942, over 113,000 Japanese and Japanese Americans were housed in fifteen "assembly centers{\textquoteright} near urban centers, and by October 1942, most had been moved to ten "relocation{\textquoteright} or internment camps in isolated locations in the Western United States and Arkansas. Dislocations and Relocations: The Built Environments of Japanese American Internment, is framed around two different types of knowledge produced about the built environments of these internment camps of World War II: (1) An historical analysis of the built environments (all man-made structures) of the internment camps using methods specific to architectural history, and (2) the representation of the internees{\textquoteright} experiences moving through the internment process using multiple voices or narratives. In exploring the built environments of this internment, I am interested in personal journeys-how we negotiate, create, and use architectural and urban spaces. How are these spaces structured for us and by us? How is architectural and urban space related to ethnic and racial violence through exclusion, containment, ownership, citizenship, and jurisdiction? To address these questions, I discuss the epistemological and methodological issues important to this interdisciplinary study in the first chapter. In the second chapter, I examine the use of spatial jurisdictions used to forcibly move Japanese and Japanese Americans into internment camps. The third chapter, I describe the design and construction of the new cities of Japanese American internment that the U.S. government built in 1942. In the fourth chapter, I examine the internees{\textquoteright} creation of built environments to address the inadequacies of those cities during their incarceration. In general, the canon of great architects and beautiful objects in architectural and urban planning history has relegated the study of racial minority communities and punitive environments to the margins of these fields. As an inter-disciplinary study utilizing internment scholarship generated out of Asian American studies and critical theory, this dissertation{\textquoteright}s contribution is to demonstrate clear linkages between race, ethnicity, and the practice of architecture and urban planning in America.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Horiuchi, Lynne} } @mastersthesis {9637, title = {Doctor Photo: The Cultural Authority of Portrait Photography as Medicine in Nineteenth-Century America}, year = {2005}, school = {Brown}, abstract = {This dissertation investigates the cultural roots of an analogical relationship between commercial portrait photography and medicine in nineteenth-century America. Using the methodological tools of visual, cultural, and science studies, I examine professional photographers{\textquoteright} reliance upon medical models to describe their operations in the portrait studio. Through a series of historical case studies, I show that photographers appropriated medical discourse in an effort to strengthen their professional legitimacy. What was at stake in this effort, however, far exceeded the establishment of commercial photography as one respected profession among many. Representations of photography as medicine, I argue, shaped the institutional and epistemological character of portrait photography by defining photographers{\textquoteright} field of operations as the physical and social health of the middle class. In a period when the social body appeared particularly vulnerable, commercial photographers attempted to construct a cultural belief in photography{\textquoteright}s rehabilitative powers and authority over the body. My study of photography as medicine focuses on the cultural context of Philadelphia, a city which witnessed the professional advancement of both technologies in the nineteenth century. I begin by discussing the kind of social status and institutional structures which the photographic profession sought to borrow from medical models. Chapter 2 examines representations of portrait photography as a diagnostic way of seeing and a normalization of the body analogous to operative medicine. I go on to consider in chapter 3 how photographic literature ironically transformed the serious health risks associated with photographic chemistry into an occasion for praising the unparalleled healing powers of photographers, their materials, and the chemical environment of the photographic laboratory. In chapter 4 I show that portrait photography{\textquoteright}s reliance on light lent the medium further potential as a panacea. Like popular phototherapies, photography promised to rehabilitate the social identities of studio patrons by removing bodily deviations from an ideal of whiteness and bourgeois respectability. I conclude with a brief discussion of how my historical project intersects with debates concerning body-imaging techniques in contemporary American medicine and popular digital culture.}, keywords = {Art of the United States}, author = {Tanya Sheehan} } @mastersthesis {9798, title = {Donald Judd and the Marfa Objective}, year = {2005}, school = {Iowa}, abstract = {My dissertation examines Donald Judd in Marfa, Texas. In Marfa, Judd spent over twenty years perfecting this vision of Marfa as the ultimate Specific Object, or what I am calling the Marfa Objective. Judd first stayed in Marfa in 1971; he moved there permanently a few years later and began work on the initially-named "Marfa Project." With funding from the Dia Art Foundation, he constructed 100 mill aluminum boxes and 15 concrete groups at an abandoned military post, Fort D. A. Russell. In the mid-1980s, after a series of legal battles, Judd brake away from the Dia and founded the Chinati Foundation. In Marfa, at the Chinati Foundation and at other locations in and around town, Judd developed a plan for art that was sequential and participatory in nature. He invited other artists, such as Dan Flavin, Roni Horn, Richard Long, David Rabinowitch, Ilya Kabakov, John Chamberlain, Claes Oldenburg and Coosje van Bruggen, to install or create artworks for his site with the assurance that they would be permanently cared for in perpetuity. These other artists shared with Judd, in varying degrees, similarities in artistic principles, formal elements, and historical situation. Judd{\textquoteright}s ideology surrounding the function of architecture, that it not be an imposition upon the environment or the artworks contained within its confines, also adds to the overall nature of Marfa as an object. Judd carefully considered the role of any structure within his holdings at Marfa, and sought to redesign the existing buildings to fit his vision for Marfa. With great consistency Judd combined all of these elements-artistic, architectural, environmental, ideological-and created his greatest Specific Objects out of the town of Marfa, Texas.}, keywords = {Twentieth-Century Art}, author = {Allen, Melissa Susan Gaido} } @mastersthesis {9778, title = {Drawing as Gift: Jacopo Bellini{\textquoteright}s Drawing Album in Ottoman Istanbul}, year = {2005}, school = {UNC Chapel Hill}, abstract = {In 1479, the Venetian painter, Gentile Bellini, traveled to Istanbul to serve as a court portraitist of Sultan Mehmed II. Gentile Bellini evidently brought with him a volume of drawings, which he gave to the sultan as a gift. The book contained scores of drawings made by Gentile{\textquoteright}s father, Jacopo Bellini, throughout his professional career. Among the pages of Bellini{\textquoteright}s album were sacred and profane subjects, architectural perspectives, and expansive landscapes. The album is now preserved in the Louvre Museum in Paris. Using Bellini{\textquoteright}s drawing book as a point of departure, this dissertation examines gift-exchange between the Republic of Venice and the Ottoman Empire in the late fifteenth and early sixteenth centuries. Through an examination of Ottoman archival records, this dissertation reconstructs the social context in which artists rendered pictures, calligraphy samples, and specifically drawings to the sultans. Gentile{\textquoteright}s donation of his father{\textquoteright}s drawing book to Sultan Mehmed II was a relevant and appropriate gift, occurring at a time when Ottomans began collecting and preserving drawings in codices. Gentile{\textquoteright}s gesture was consistent with similar activities occurring in neighboring Persian and Turkmen courts. The study of drawings has enjoyed a long and venerable tradition in Renaissance art history. Scholars of Central Asian art have likewise moved beyond questions of attribution, dating, and function to explore critical and interpretive issues related to drawing. This project explicates the nature of Ottoman drawing in the late fifteenth and sixteenth centuries. It then considers Jacopo Bellini{\textquoteright}s album as an invitation for a cross-cultural dialogue between the Italian and Ottoman graphic arts traditions. This dissertation studies how Ottoman artists and connoisseurs valued drawing, and it speculates how an Ottoman viewer might approach Bellini{\textquoteright}s volume. A comparison of Ottoman and Italian presumptions about the artistic imagination and its role in the creative process reveals how each culture ascribed value to graphic representation. A series of case studies demonstrates that drawing had affective resonance for Ottoman viewers, Sultan Mehmed II especially.}, keywords = {Renaissance/Baroque Art}, author = {Fournier, Mary C.} } @mastersthesis {9755, title = {The Economics of Style: The Business Practices of American Artists and the Structure of the Market, 1850-1910}, year = {2005}, school = {UC Santa Barbara}, abstract = {American artists faced increasing competition from foreign and domestic sources from 1850-1910. Many Americans chose art as a viable career option, and after the Civil War paintings from abroad streamed into the United States in great numbers. To be financially successful, artists needed to adapt the way they did business. Previous to 1850, artists had mostly sold work on commission, through the National Academy of Design, and at auction. After 1850, artists turned to art dealers; formed secessionist groups to hold small scale, tightly focused exhibitions; and showed work through nationwide circuit of exhibition spaces in an attempt to gain or maintain prosperous careers. In the process, many adapted their styles to appeal to specific constituencies of art consumers. For the most part American artists were successful. They saw prices for their work rise throughout the period, even though the nineteenth century saw deflationary trends for most consumer goods. In addition to surveying the art market as a whole, this dissertation tracks the careers of three artists: Winslow Homer, Albert Bierstadt, and Worthington Whittredge to understand how their business strategies affected their careers and subsequent reputations. Homer constantly adapted his style to suit the needs of his audience. Bierstadt eschewed his peers, and instead worked to become part of his patrons{\textquoteright} social and economic lives, which helped him remain financially successful throughout his career. Worthington Whittredge worked to make the National Academy a strong professional organization that would protect the interests of American artists, but ultimately failed in this endeavor.}, keywords = {Nineteenth-Century Art}, author = {Murphy, Kevin M.} } @mastersthesis {9584, title = {Ekpu Oro: Spirits of the Living Dead as an Expression of Oron World View, 1894-1940}, year = {2005}, school = {Binghamton}, abstract = {Ekpu Oro ancestral figures existed as summaries of the personal and social experiences of the Oron people of Southeastern Nigeria---they embodied Oron spiritual beliefs and cultural history; hence, were vessels for the spirits of the dead that instilled great influence over the daily, religious, and social lives of the living. As an art form, Ekpu held the key to understanding Oron past tradition that was largely destroyed by colonial and Christian presence in Oron society. This dissertation will attempt to reconstruct the histories of Ekpu Oro figures and the Oron people through art historical analysis and ethno-historical reconstruction based, in part, on oral narratives and archival records of colonial and missionary activities. It will also be an experiment in methodology, relying substantially on collected oral testimony and interviews with Oron elders, diviners, and titled chiefs. Art history has been a discipline of textual research, but this is impossible when investigating the arts of a culture without an indigenous written history. To rely on the textual history of the Oron is to take on the perspective of often hostile and ignorant outsiders such as European colonial agents and missionaries. My methodology seeks to recover the indigenous historical voice of Oron and that is found in the oral narratives passed from generation to generation within the community itself. I am fortunate to be a member of the Oron culture by birth with personal experience of many ceremonial practices and a mastery of the language. This has made the model of incorporating extensive oral testimony into my account of the Ekpu Oro particularly successful. Ultimately, my goal with this study is to interpret Ekpu ancestral figures within the historical context of the Oron themselves and---only after this explanation---to trace the changes wrought by European subjection.}, keywords = {African Art (sub-Saharan)}, author = {Onyile, Onyile Bassey} } @mastersthesis {9658, title = {En-Acting {\textquoteright}others{\textquoteright}: Ethnic, Gender, and Racial Performance in Works By Eleanor Antin, Adrian Piper, and Anna Deavere Smith}, year = {2005}, school = {Stanford}, abstract = {En-Acting "Others" examines how identity is negotiated by closely reading three different performances, one each by Adrian Piper, Eleanor Antin, and Anna Deavere Smith, in which the artist takes-on the characteristics and manners of a racial, ethnic, and gender "other." Chapter one centers on Adrian Piper{\textquoteright}s Mythic Being performances (1973-1975) in which the artist dressed as a man she termed "third world" and "working class." Chapter two focuses on Eleanor Antin{\textquoteright}s three-week long performance of the fictional black ballerina Eleanora Antinova in 1980 and her book Being Antinova (1983). In chapter three, I study Anna Deavere Smith{\textquoteright}s staged-for-video performance of Twilight: Los Angeles, 1992 (2001) in which she enacts twenty-eight characters from different racial, gender, cultural, and professional backgrounds. In addition to interpreting the visual remains of their performances in the public environments of the street and theatre, this dissertation explores how the works functioned for the artists in the private space of their writings. In analyzing Piper{\textquoteright}s, Antin{\textquoteright}s, and Smith{\textquoteright}s performances across racial, ethnic, and gender boundaries, I consider their critical engagement with feminist theories and their desires to blur the line between the private and public spheres. Indeed, the decision of each artist to assume another identity is both a public action against social conventions and a private act of self-fashioning. In their street, theatre, and rhetorical performances, the artists took-up visual signs and acted out stereotypical behaviors and narratives associated with the specific groups they were mimicking, thereby challenging prevailing popular and academic discourses of identity. Piper, Antin, and Smith undermined the representation of racial identity as composed of a set of polar opposites with "real and authentic" at one end and "fictional and constructed" at the other. Rather, the artists located the liminal space between the poles where racial identity is lived and experienced. I explore the ways that the artists reinforced divisions between identities at the same time that they modeled for audiences an alternate mode of being wherein one can be self and "other" simultaneously.}, keywords = {Contemporary Art, Performance Studies}, author = {Cherise Smith} } @mastersthesis {9629, title = {Excavating New York: George Bellows{\textquoteright}s Landscapes of Modernity}, year = {2005}, school = {UC Berkeley}, abstract = {This dissertation centers on George Bellows{\textquoteright}s paintings of New York City and its environs during the early years of the twentieth century. It is structured around the question of what it meant to be a painter in the ascendant age of mechanical reproductions. I argue that Bellows reworked the conventions of new media such as film, photojournalism, and popular illustration, as well as the traditions of American landscape painting, to reckon with the upheavals of the modern city. Each chapter focuses on a group of paintings, a geographic location, and a different aspect of the contemporary visual culture. Chapter One examines two depictions of the center of the city, New York, 1911, and Blue Morning, 1909, and considers them in relation to the culture of early film. In these works, Bellows adopted and transformed cinema{\textquoteright}s strategies of display and heightened, spectacular representation of reality. Chapter Two looks at Bellows{\textquoteright}s scenes of the edge of the city as a reworking of the American landscape tradition at the moment when the metropolis was supplanting the countryside as the locus of national and artistic identity. Chapter Three focuses on the artist{\textquoteright}s paintings of the Penn Station excavation in the context of popular photojournalism. These works served as Bellows{\textquoteright}s attempt to preserve historical memory and subjective interpretation in a city that was understood to value progress above all else. Finally, Chapter Four examines the artist{\textquoteright}s late Woodstock landscapes and boxing pictures. It argues that he developed structures of distanced viewership and employed motifs derived from popular children{\textquoteright}s illustrations to withdraw from the concerns of the modern city. This dissertation is an examination of a group of paintings commonly seen as ancillary to the modernist canon, but which in fact engages with modernity in ways that challenge the traditional narrative of the period. Bellows stands at the intersection of two critical moments: the rise of New York as an international modern city, and the seeming decline of realism as a vital form of artistic production. This study shows how these stories are intertwined, and not simply inverse reflections of one another.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Newman, Sarah} } @mastersthesis {9786, title = {Experiment in Seventeenth-Century Dutch Painting: The Art of Carel Fabritius}, year = {2005}, school = {Chicago}, abstract = {The work of Carel Fabritius (1622-1654), one of the most talented mid-seventeenth-century Dutch painters, has never received critical analysis despite its inclusion in virtually all surveys of Dutch, and particularly Delft, painting and its being the subject of two recent exhibitions. The nature of the work has long been considered intractable: in a small ambit-the entire oeuvre numbers between eleven and sixteen-Fabritius engages the issues central to Dutch art history by blurring genres, distorting perspective, and creating incoherent spaces and enigmatic themes, all resistant to traditional art historical methods. In this dissertation I examine the works as pictorial experiments and investigations of visual perception, thus embracing their radical and productive ambiguity. Several themes wind through the project: the works engage the status of subject and object as defined by the gaze; defamiliarize architecture and the usual division between public and private; and explore the relation of description to blank expanses, anticipating its elaboration in the painting of Vermeer. A resolutely non-narrative art, Fabritius{\textquoteright}s paintings concern the material basis of painting and representation and the optical nature of perception, realized through self-conscious experiences of viewing.}, keywords = {Renaissance/Baroque Art}, author = {Pincus, Lisa} } @mastersthesis {9686, title = {Fairy Tales for Grown-Ups: Diane Arbus{\textquoteright}s Social Panorama}, year = {2005}, school = {CUNY}, abstract = {Disenchanted with the universalist vision of humanity proposed by Edward Steichen{\textquoteright}s widely popular The Family of Man exhibition held at the Museum of Modern Art in New York in 1955, photographers like Robert Frank and Diane Arbus immediately sought a more jarring, ironic, critical portrayal of Americans. Working within, yet against, the genres of photojournalism and portraiture, Frank and Arbus sought to disrupt the photograph{\textquoteright}s use as an illustration of a specific ideological discourse which they felt was uncritically aligned to American Cold-War propaganda widely disseminated in popular periodicals such as Life and Look. This study of the photographs of Diane Arbus argues that, viewed retrospectively, her work may be seen as a panorama of portraits in dialogue with, yet ultimately subverting, the normative typological readings of individuals characteristic of historical portrait collections by well-known photographers beginning with Mathew Brady and running through August Sander. Through her emphasis on "the flaw we all possess," what was at stake for Arbus was no less than the humanist repositioning of the individual as representation in photographic portraiture, challenging the viewer{\textquoteright}s comfortable, familiar positivist readings of human physiognomy according to culturally-coded typologies. Arbus clearly problematized the social division between the American white middle-class and the Other in the sixties. Her social critique played itself out in a most familiar terrain, magazines, alongside advertisements for luxury items, haute couture, short literary works by writers such as Jorge Luis Borges, and Civil Rights-themed essays by writers like Bynum Shaw and James Baldwin. Arbus{\textquoteright}s panorama is mapped here in relation to the social climate in which it was produced. The modalities of pastiche, the body, identity, and madness are each examined and considered in a relation to particular photographic images and texts of the 1960s. Her work is historicized as an artistic practice with parallels to similar thematic concerns in Pop art, Performance art, and contemporary literature.}, keywords = {Drawings/Prints/Works on Paper}, author = {Gross, Frederick} } @mastersthesis {9819, title = {Family Album and Shadow Archive: Gerhard Richter{\textquoteright}s East, West, and All German Painting, 1949-1966}, year = {2005}, school = {Pennsylvania}, abstract = {This dissertation investigates the early career of Gerhard Richter. Born in 1932 in Dresden, the artist grew up under the two dictatorial regimes of National Socialism and Soviet Communism. He was associated with the Dresden Academy of Fine Arts from 1951 to 1960, first as a student in the mural painting division, and later as a master student who taught in the evening school from 1957 to 1960. Socialist realism dominated the discourse during his tenure. In 1961, six months before the erection of the Berlin Wall, Richter illegally emigrated to West Germany and settled in Dusseldorf. There he enrolled in the Dusseldorf Academy from 1961 to 1965 and underwent a second training that introduced him to the neo-avant-garde trends of Op art, Pop art, neo-Dada and nouveau realisme. I argue that Richter{\textquoteright}s negotiation of socialist realism in East Germany significantly shaped his contribution to the "western" neo-avant-garde, epitomized by his unique invention of photo-painting in 1962 and later by his simultaneous deployment of different artistic modes, including monochrome painting, gestural abstraction, minimalism and installation art. I show that Richter practiced multiple styles of figurative realism, used photography as an aid to painting, and surreptitiously experimented with abstract painting well before he resettled in the West. Questions of style were problematic for the artist from the outset of his career in East Germany. I also demonstrate that he retained positive aspects of his "eastern" training, a factor that challenges the presumed superiority of "western" artistic approaches. Because the photo-paintings collectively evoke an "all-German family album," as one reviewer put it in 1966, I use this context to articulate the problem of historical memory for an entire generation of Germans on both sides of "the great divide."}, keywords = {Twentieth-Century Art}, author = {Nugent, Jeanne Anne} } @mastersthesis {9618, title = {Famous and Forgotten: Rodin and Three American Contemporaries}, year = {2005}, school = {Case Western Reserve}, abstract = {This dissertation examines sculptures created by George Grey Barnard, Lorado Taft and Malvina Hoffman, prominent American sculptors in the late nineteenth and early twentieth centuries, in relation to the critical, public and artistic reception of the French sculptor Auguste Rodin in the United States during his lifetime. Each of these artists created a group of sculptures that resemble Rodin{\textquoteright}s, but scholars have not analyzed this aspect of their oeuvres. In the 1890s, Rodin{\textquoteright}s sculpture was controversial in the United States. By the 1900s, artists as diverse as the conservative painter Kenyon Cox and the avant-garde photographer Alfred Stieglitz found much to admire in Rodin{\textquoteright}s work. In contrast to Rodin, similar sculptures created by American artists were received with more immediate favor. Like Rodin, these sculptors explored the aesthetic qualities of finished and unfinished surfaces, partially formed figures, and themes based on personal expression and physical and spiritual sensations, rather than narrative sources. Barnard began working in a style similar to Rodin{\textquoteright}s in the 1880s, which makes establishing opportunities for artistic exchange between Barnard and Rodin complex. Taft waited until much later in his career, about 1900, marking a transformation of his work that occurred at the same time he began to study and write about Rodin{\textquoteright}s sculpture. Malvina Hoffman was the only one of these artists who directly studied with Rodin, but the nature of their relationship and the lessons she learned from him have not been closely analyzed heretofore. These accomplished artists and their sculptures that resemble Rodin{\textquoteright}s were pivotal in the development of modern sculpture in the United States. These works of art exhibit surface contrasts that made viewers aware of the formal qualities of the medium. These sculptures frequently portray the nude figure, presenting it as a subject of beauty and sincere emotions to replace perceptions of its profanity. They represent contemporaneous interests and expressions rather than historical ones. Despite these technical and thematic advancements, Barnard, Tart and Hoffman were forgotten in favor of avant-garde sculptors, such as Constantin Brancusi, who significantly expanded upon Rodin{\textquoteright}s innovative ideas, rather than merely utilizing similar artistic techniques.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Martis, Susan} } @mastersthesis {9644, title = {Feilaifeng and the Flowering of Chinese Buddhist Art from the Tenth to Fourteenth Centuries}, year = {2005}, school = {Kansas}, abstract = {Among the most important visual archives of the late 19th-century American West is the photographic archive created by Solomon Devoe Butcher (1856-1927), who began photographing settlers in Custer County, Nebraska, in 1886. Due to the depth of material-nearly 900 portraits from a single county over just six years-and to Butcher{\textquoteright}s process of working on-site, the archive can reliably be approached as a very close and thick history, a "micro-history," of the experience of Plains settlement. This dissertation suggests that Butcher{\textquoteright}s archive offers a mode to understand the ways in which power fills space, quite literally, on a specific western landscape by approaching it as a visual nexus, as a point within which various competing beliefs and activities converge. I conceptualize the relationship of the cultural agents that vie for voice, for power, in these portraits as that of a network, a web of paths through which each agent juggles for a dominant voice in the definition of the settlers{\textquoteright} lives. The paths of this network are fluid, multi-leveled, multi-directional, and frequently unstable, and thus their agents cannot all be defined or categorized by the same approach. Through a series of contextual essays I work to analyze each of the agents-such as agrarian and progressive ideologies, the identity of the pioneer and the westerner, the power of the Plains landscape, the presence of failure, and the awareness of history-and the nature of their visual presence in the archive. The archive and this approach reveals the specific experience of the Plains in the 1880s as a moment and location of profound transition when the colonializing agendas and structures of industrialism, the long-term nature of the Plains, and a fledgling regional identity all increasingly put pressure on the received beliefs and identities of the county{\textquoteright}s settlers. This transition was experienced self-conscious of an audience. Created to record the county{\textquoteright}s participation in national history, the archive itself acted as a venue for settlers to both conceal the agendas of their received identities to their perceived audience, and yet also to reveal the nature of the systematic failings operative in their experience.}, keywords = {Chinese Art}, author = {Chang, Qing} } @mastersthesis {9643, title = {Feng Xiaogang and Chinese Cinema after 1989}, year = {2005}, school = {Ohio State}, abstract = {This dissertation first began as a case study of one of the most popular, prolific, versatile and successful film directors of contemporary China, Feng Xiaogang; it explores Chinese film history since the early 1990s in terms of changes of party film policy, industry reforms, party{\textquoteright}s promotion of Main Melody films and emergence and growth of popular cinema. The image of Feng that will emerge in this dissertation is that of a filmmaker working under political and economic pressures in a post-socialist state while still striving to create works with a personal socio-political agenda. In keeping with this reality, this dissertation approaches Feng as a special kind of film auteur whose works must be interpreted with attention to the specific social and political context of contemporary China. Chapter 1 provides a review of scholarship of contemporary Chinese cinema, a brief biographical sketch of Feng, and an introduction to the situation of Chinese cinema on the eve of the Tian{\textquoteright}anmen Incident in 1989. Chapter 2 begins with a review of Chinese cinema after 1989 through 1996, shortly before Feng began to make New Year films. This chapter then deals with the formative stage of Feng{\textquoteright}s career from 1991, when Feng began to be noticed by the film world as a scriptwriter and a director. Chapter 3 introduces the emergence of Feng{\textquoteright}s New Year films against the background of increased control over film ideology in the middle of the 1990s, and a deepening industry reform oriented towards market demand. In addition, the chapter presents detailed analyses of recurring themes in Feng{\textquoteright}s New Year films, which reveals the distinctive ambivalence in his attitude towards the predominant film ideology. Chapter 4 explores transformations that took place in Feng{\textquoteright}s filmmaking as he gradually abandoned the mode of comedy and returned to his early socially conscious works. The concluding chapter focuses on the important cultural and historical significance of Feng{\textquoteright}s cinema, and stresses how the dual trends of resistance and cooperation co-existing in his cinema also gradually became a significant and distinctive feature of Chinese cinema in the new millennium.}, keywords = {Chinese Art, Film/Video}, author = {Zhang, Rui} } @mastersthesis {9652, title = {The Figure Paintings of Tang Yin (1470-1524)}, year = {2005}, school = {IFA/NYU}, abstract = {The Chinese artist Tang Yin (1470-1524), canonized as one of the "Four Masters of the Ming" (Ming si jia ), was a premier practitioner of figure painting (renwu hua ). Both within and beyond the walls of his native Suzhou, he was also a celebrated belle-lettrist and personality who appealed to a broad segment of urban society. Tang produced a diverse pictorial repertoire that was to profoundly influence the history of Chinese painting. His images of historical and legendary figures, courtesans, and contemporary scholars reveal the vibrancy, refinement, attitudes, and values of mid-Ming society. Although Tang{\textquoteright}s figure painting constitutes a critical component of his work, past scholarship has primarily focused on his landscape paintings thus rendering our understanding of his artistic aims and practices incomplete. Recent research posits a connection between Tang{\textquoteright}s famously bohemian life and choice of pictorial subjects, but insufficiently probes the dynamic interplay between his painting and Suzhou{\textquoteright}s flourishing urban culture. Using a diverse body of visual and textual evidence, I identify important themes in Tang{\textquoteright}s figure painting. Chapter one examines Tang{\textquoteright}s copies of the canonical Night Banquet of Han Xizai theme. I assess the significance of his insertion of costly furnishings, screen paintings, textiles and other collectible objects in the depicted scenes. I situate these compositional elements in terms of Suzhou{\textquoteright}s status as the Ming center for silk weaving and handicraft production, and its local market for luxury goods. Chapter two explores Tang{\textquoteright}s representations of scholar-beggars, libertines and other figures drawn from popular dramas and fiction. These subjects, like his better-known "beauties" (meiren) paintings discussed in chapter three, indicate the broader impact of the entertainment world on the artist{\textquoteright}s picture-making practices. My reading of the inscriptions on these paintings indicates that Tang strategically used his subjects to define a public persona based upon established cultural icons and urban social archetypes. I argue that his figural production constitutes a critical and a highly self-reflexive response to the contingencies of Suzhou{\textquoteright}s political, socio-economic, and cultural conditions. These arguments are extended in the final chapter{\textquoteright}s discussion of Tang{\textquoteright}s portraits of historical worthies and contemporary "lofty scholars" (gaoshi).}, keywords = {Chinese Art}, author = {Nemroff, Lauren} } @mastersthesis {9706, title = {Figure, Symbol, and Sign: Semiotics and Function of Early Dynastic I Cylinder Seal Imagery from Ur}, year = {2005}, school = {Pennsylvania}, abstract = {This dissertation examines the structure and function of a unique corpus of cylinder seal imagery used by temple administrators at the site of Ur in the Early Dynastic I period in southern Mesopotamia. Cylinder seals during this time were used in conjunction with the Archaic Sumerian writing system to record information related to the storage and distribution of commodities. The seal-impressed and written systems were based on similar symbolic technologies that developed in the pre- and proto-literate periods. The investigation of the evolution of these earlier symbol-making systems, serves as the backdrop for the understanding of the specific image system used at Ur during the Early Dynastic I period. Chapter two examines the archaeological context of the Seal Impression Strata at Ur, reviewing and offering new insights to the chronology of the site and the overall archaeological schema for southern Mesopotamia during the Early Dynastic periods. It also investigates the broader socio-political context of southern Mesopotamia highlighting the role played by the "household{\textquoteright} phenomenon at Ur, and reviews the functional uses of sealings as artifacts of that context. Chapter three outlines the semiotics of image-making and how symbols were used in the Early Dynastic I period, and suggests how we might begin to understand them today. Chapters four and five provide a detailed analysis and discussion of the various components of the cylinder seal image system at Ur. It is argued that the cylinder seal image system used during this time at Ur was composed of various categories of elements; figural elements and abstract elements (including proto-cuneiform sign elements) played various roles. The image system and the proto-cuneiform system were both direct descendants of earlier glyptic imagery. But also, by this period (Early Dynastic I) at Ur, the glyptic imagery seems to also be adhering to newer rules of the writing system. The structure of the image system and its use suggest there was a complicated system of record keeping unique to the site of Ur, containing components of both glyptic imagery and written signs, and adhering to rules of both systems.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Scott, Sarah Jarmer} } @mastersthesis {9674, title = {The Filmic Mode: Feminist Art Practices and the Avant-Garde in North America and Britain during the 1970s}, year = {2005}, school = {Columbia}, abstract = {This dissertation charts the emergence of a feminist avant garde in North America and Britain in the 1970s. The artists involved turned to film to develop new aesthetic forms for the social and political challenges of the Women{\textquoteright}s Movement. Filmic concerns such as narrative, duration, and point of view enabled the emergence of feminist practices. Film was widely perceived as a more radical art form; it promised a more actively involved, that is, "productive" viewing experience. The engagement with the trope of production is a revival of debates central to political modernism, and I connect the 1970s feminist interventions to earlier, better known traditions in the European avant-garde. The first two chapters deal with the relationship between European avant-garde documentary and US formalist experimental film. In a close analysis of the Berwick Street Film Collective{\textquoteright}s experimental documentary film Night Cleaners (1975), the first chapter situates the dissertation in relation to film theoretical debates in post-May {\textquoteright}68 Britain and France. Yvonne Rainer connects sexual difference to new kinds of narrative organization to overcome the opposition between politically orientated avant-garde film in Europe and formalist (structural) avant-garde film in New York and London (chapter two). In chapter three I trace the transformation of the trope of production in relation to female-specific labor and reproductive labor in works of photography and film by the American artist Mary Kelly. The photographic works of Jo Spence and Terry Dennett (chapter four) reconnect to film and photographic practices of the inter-war avant gardes, this work is driven by the feminist intersection with working class history, radical pedagogy, and new film theory. In chapter five I chart a shift in the work of American artist Martha Rosler from the idea of the image of female sexuality as fetishistic consumption in performance, photomontage and video to other ways of figuring sexual difference and consumption through the recorded maternal voice. This study shows for the first time the effects of a feminist political transformation on avant-garde practice in the 1970s and demonstrates that an engagement with feminism and film enabled the reassertion of a political understanding of the modernist project.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Siona Wilson} } @mastersthesis {9613, title = {Fool{\textquoteright}s Gold: American Trompe l{\textquoteright}Oeil and the Gilded Age}, year = {2005}, school = {Columbia}, abstract = {This dissertation focuses on the many tabletop still lifes and trompe l{\textquoteright}oeil paintings which were produced in the U.S. in the final three decades of the nineteenth century, as part of a broad cultural interest in verisimilitude. The dissertation argues that trompe l{\textquoteright}oeil provoke a uniquely temporalized viewing process, whereby one way of perceiving the picture is always about to be exchanged for the other, making clearly evident and unavoidable the dual claims of realism to being both artful representation and objective truth. This argument about the structure of trompe l{\textquoteright}oeil is set forth in the Introduction, where it is also argued that trompe l{\textquoteright}oeil should be understood as a genre which both indexes and resists historical change. Chapter one looks closely at the tabletop still lifes made by William Harnett in the mid-1870s, exploring what has been called the "formulaic" aspects of these works and their meaning as "realist" paintings. Chapters two and three focus on the trompe l{\textquoteright}oeil paintings of money produced by over a dozen artists. In these chapters the focus moves from a consideration of revealing anecdotes---such as Harnett{\textquoteright}s arrest for counterfeiting or the role of counterfeiting in the Revolutionary War, to the close consideration of the structural and historical dimensions of the trompe l{\textquoteright}oeil representation of money. Here it is argued that both the strictly iconographic approach nor the formalist approach, which have together dominated the interpretation of these works, fail to take the duality of trompe l{\textquoteright}oeil into account, thus neglecting to fully explore the relationship between the duality of trompe l{\textquoteright}oeil and that of money itself. Chapter Four looks at a sampling of the many letter rack paintings made at this time argues that these "surrogate portraits" construct subjectivity as a collection of circulating effects collected up provisionally and determined socially. A central argument of the study is that the trompe l{\textquoteright}oeil paintings produced at this time constitute an important expression of modernity, that trompe l{\textquoteright}oeil and realism more generally need to be reconsidered within the history of modernism, and that their relevance for understanding twentieth-century art is yet to be fully grasped.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Davis, Meredith} } @mastersthesis {9723, title = {Four Praenistine Cistas and the Society and Workshops of Praeneste}, year = {2005}, school = {IFA/NYU}, abstract = {In this study I will show the wealth and independence of Praenestine production in the 4th century BC. The style and iconography of the Praenestine cistas and other objects recovered from the 4th century necropolis of Praeneste are the material expression of the powerful influence of the Classical Greek style. This Hellenic influence, along with the local responses, created the artistic panorama of Italic production during this period. I hope to show in my thesis that Praenestine cistas are a means to observe the phenomenon of Hellenization at Praeneste and in the cities of central Italy in the 4th century BC. The variety of workshops, the existence of itinerant craftsmen and models, and the taste and aspirations of those who commissioned these objects, characterized the production of Praeneste and help to explain its diversity. Because the total production of cistas is so large and so diverse, I have chosen a group of four cistas which could have been made in the same workshop. The study of their iconography will show how Greek myths were appropriated and transformed to fit within the Praenestine culture. The examination of their cast attachments will place cistas within a wider cultural region, stylistically influenced by both Etruria and Latium. The town of Praeneste was, since its origin, one of the most important cult places in Italy, long before the construction of the Sanctuary of Fortuna in the 2nd century BC. The sanctuary{\textquoteright}s importance and its fortunate geographic location, controlling two important commercial routes, between Etruria and Magna Graecia, made Praeneste an extraordinarily wealthy and sophisticated town. Whether Rome was also a significant production center in the 4 th century BC, according to one interpretation of the inscription on the Ficoroni cista, is still an open question that cannot be answered by the 4th century Praenestine material.}, keywords = {Greek/Roman Art}, author = {Paggi, Maddalena} } @mastersthesis {9647, title = {From Chu to Western Han: Re-reading Mawangdui}, year = {2005}, school = {Yale}, abstract = {Mawangdui (dated to ca. 168 BCE) is an excellent example of the recontextualization of the Chu classical past that took place in the Changsha region during the early Western Han period. Unlike the stereotypical image of Changsha as a leading center of Chu culture, it was the Western Han that saw the kingdom rising as the capital for the restoration of Chu art forms, including music, literature and visual arts. Nevertheless, the creators of the Mawangdui tombs did not intend a smooth transition from the Chu past. They asserted a strategic reorganization over the decorative, visual and conceptual remnants from the Chu antiquity, and exercised a vigilant re-creation that was utterly driven by their own imagination. It was their sensitive mediation between a faithful adoption of Chu convention and a passion for innovation that inspired the original production evidenced by the Li family tombs. My research establishes three types of cultural heritage that were kept alive in the Changsha kingdom during the second century BCE. The first is a strong Jiangling tradition which had been consistently influential in the Changsha area from the mid-fifth to the fourth centuries BCE. In addition, a large portion of the creative force from Jiangling migrated to the south around the beginning of the third centuries BCE due to the pressure of the Qin invasion in 278 BCE. The second was a Hunan local tradition that had developed in parallel to the Jiangling style during the fourth and the third centuries BCE. The last was a cultural shift conditioned by Qin preferences. My dissertation concludes with a critical analysis of the T-banner and casket designs from Tomb No. 1 in Mawangdui and reveals how the Changsha artists orchestrated various elements from these traditions into a pictorial program that was artistically cohesive and conceptually complex.}, keywords = {Chinese Art}, author = {Huang, Bingyi} } @mastersthesis {9801, title = {From Futurism to Neoclassicism: Temporality in Italian Modernism, 1916-1925}, year = {2005}, school = {UC Berkeley}, abstract = {This dissertation is an examination of modernist painting in Italy during the years 1916--1925. Focusing on two competing artistic groups, the Futurists and the neoclassicists, the dissertation examines the interwar debate over what role artistic tradition should play in modern art. In this period, the conflicting yet paradoxically intertwined views of these art movements gave rise to a heated disagreement over the nature of modernist painting{\textquoteright}s relation to its antecedents. The dissertation presents Italian interwar artistic practice as an intense laboratory, in which painters were conducting ambitious and often wild experiments in how the past would manifest itself in modern painting. The relation between the avant-garde and the classical was an issue throughout interwar Europe. But the Italian debate over these questions, for reasons this dissertation explores, was especially acute. In part inflected by the radical instability of Italian society in this period, Italian painters and critics saw temporal issues in art as particularly pressing. The dissertation explores this debate through selected case studies. Chapter one examines Futurism in the interwar period, as the movement entered a period of crisis. Focusing on the painters Enrico Prampolini and Fortunato Depero, it discusses Futurist temporality before and after World War I, and explicates postwar changes in Futurist painting and rhetoric. The focus of chapter two is the painter Carlo Carra. It discusses Carra{\textquoteright}s break from the Futurist movement, and his subsequent turn to an idiosyncratic, nationalist primitivism. The chapter revolves around a key interwar work of Carra{\textquoteright}s, Le figlie di Loth ( Lot{\textquoteright}s Daughters). Chapter three examines two figures, the art critic Margherita Sarfatti, and the neoclassical painter Achille Funi. It explicates Sarfatti{\textquoteright}s temporal concept of {\textquoteright}synthesis{\textquoteright}, and explains the fascist ideological underpinnings of her criticism. It then examines how Funi{\textquoteright}s works both enact and resist the ideal of synthesis, concentrating on Funi{\textquoteright}s important painting Maternita (Maternity). The conclusion of the dissertation turns to concretely address the question of art and politics in interwar Italy, focusing on the period after 1925 when the fascist dictatorship was declared.}, keywords = {Twentieth-Century Art}, author = {Bethke, Jennifer} } @mastersthesis {9722, title = {From the Mediterranean to the Bosporos: Terracotta Figurines with Articulated Limbs}, year = {2005}, school = {IFA/NYU}, abstract = {Terracotta figurines with articulated or movable body parts represent a class of objects common to most parts of the Greek and Roman world during all periods. Such figurines existed in Greece from at least the 10th century BC, became popular in Cyprus from the 8th century BC onwards, and continued to be manufactured through Roman times over a vast territory from Spain to Mesopotamia. All of these figurines have suspension holes on top of their heads. The dangling arms and legs moved when figurines were shaken or hung, giving them vitality and immediacy. Most scholarly literature describes the terracotta figurines with articulated limbs as "dolls" and often dismisses them as children{\textquoteright}s toys. This study attempts to demonstrate that these objects served a more serious purpose than merely to amuse and that their interpretation as playthings presents significant problems. This dissertation consists of two parts. The first provides a critical overview of groups of figurines with articulated limbs that appear in Greek, Hellenistic, and Roman art. What is offered here is a re-evaluation of the existing scholarship and a focus on available evidence that has been neglected. Preference is given to the pieces with a recorded archaeological context. Also, possible reasons for articulation, particular to each group, are suggested. Thus, the first part puts our knowledge of the articulated figurines in perspective and provides a framework for the material in Part II. The second part deals with a unique group of figurines excavated in the Greek colonies on the Northern Black Sea coast that were part of the Bosporan Kingdom. These locally made figurines first appeared in the late Hellenistic period and their production continued well into the 3rd century AD. They represent entirely new, previously unknown types that clearly constitute a local phenomenon. This study attempts to explain the figurines{\textquoteright} possible meaning, use, and function. Their archaeological contexts are examined and an effort is made to establish their place against the backdrop of the complex multi-ethnic and multi-cultural society of the Bosporan Kingdom, a state with a mixed population of Greeks and barbarians.}, keywords = {Greek/Roman Art}, author = {Muratov, Maya} } @mastersthesis {9609, title = {The Future of the American Race: Reproducing the Racialized Nation in Print Media, 1925-1940}, year = {2005}, school = {Stanford}, abstract = {Between the two World Wars, four artists created works in print media that represented women in sexualized situations: James VanDerZee{\textquoteright}s photomontage of a newlywed Harlem couple, Future Expectations (1926); Gerald Brockhurst{\textquoteright}s etched depiction of a nude young woman, Adolescence (1932); Frank Van Sloun{\textquoteright}s series of etchings depicting lesbian couples (1930-1932); and Ernest Crichlow{\textquoteright}s lithograph of an interracial couple, Lovers (1938). In four close readings, I demonstrate that these artists{\textquoteright} interpretations of their subjects, and the reception of their works, participated in contemporary discourses of racial and national identity that posited women{\textquoteright}s reproductive choices as critical to the future of American society. Cultural decline was thought to be visible in individual bodies. The belief that society{\textquoteright}s decline could be reversed by an attention to the physical well-being of its citizens resulted in the development of eugenics, a "science" of controlled breeding that was symptomatic of a racialized notion of identity. The term "race" was used freely to signify not just the color of one{\textquoteright}s skin but also nationality, linguistic group, and even gender. In all cases, the concept of "race" denoted biological determinism, so that racial difference was understood as insurmountable biological difference. Eugenics operated in positive and negative modes, encouraging some to reproduce while actively discouraging others. Representations of women{\textquoteright}s bodies implicitly questioned whether, how, and with whom they chose to procreate, because their reproductive choices had direct implications for American society. In my chapters, I develop an historicized analysis of how each artist manipulated the formal qualities of their media alongside iconographic and compositional choices to create works of art that responded to, embraced, and challenged the relationship between race, nation, and reproduction. Including artists from a variety of racial and national backgrounds, I suggest that the diverse works they produced can only be fully understood when interpreted through the lens of racial-national identity, revealing the hegemonic nature of these discourses during the interwar years.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Siddons, Louise} } @mastersthesis {9615, title = {Galahad in the Gilded Age: Edwin Austin Abbey{\textquoteright}s {\textquoteright}the Quest of the Holy Grail{\textquoteright} and the Campaign for Civic Virtue}, year = {2005}, school = {Yale}, abstract = {Between 1890 and 1902, the popular illustrator Edwin Austin Abbey completed The Quest of the Holy Grail, a fifteen-section mural painting for the book delivery room in the Boston Public Library. Following the installation of the first half of the mural in 1895, Abbey{\textquoteright}s Arthurian cycle quickly became a visual touchstone within American culture. This dissertation contextualizes the mural within social and political movements in the United States during the Gilded Age and Progressive Era. It pays particular attention to the common yearning among the American public for a revival of civic virtue that led to the widespread perception of Abbey{\textquoteright}s Galahad figure as a recognizable symbol of the potential for culture and religion to redeem and stabilize a nation facing myriad social changes as it rapidly grew more industrialized and urbanized. Various chapters examine Abbey{\textquoteright}s development as an illustrator prior to his Boston commission, his shift to working in oil paint, and his decade-long execution of the Boston mural, including his careful creation of a unique grail narrative that combines numerous medieval versions of the legend. This dissertation also investigates the context of Abbey{\textquoteright}s unveiling of one section of the mural, The Round Table of King Arthur, at the World{\textquoteright}s Columbian Exposition in Chicago in 1893. A coda explores ideological common ground between Abbey{\textquoteright}s mural and the other best-known Gilded-Age American contribution to the Arthurian Revival, Mark Twain{\textquoteright}s popular 1889 novel A Connecticut Yankee in King Arthur{\textquoteright}s Court.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Jarman, Baird Eustis} } @mastersthesis {9687, title = {Gender and Imperial Authority in Rome and Early Byzantium, First to Sixth Centuries}, year = {2005}, school = {Harvard}, abstract = {This dissertation examines the conceptualization of gender and imperial authority in the Roman Empire between the first and the sixth centuries. This time frame has helped me identify a general framework for the integration of the imperial women into the ideology of sacred rule, and also to reach important new conclusions about the iconography and the cult of the Virgin Mary. By comparing the honors bestowed on the Roman empress to those given the emperor I have argued that these distinctions articulated the empress{\textquoteright} position as that of mater patriae (mother of the fatherland). Since Livia these roles linked the empress with childbearing, fecundity, founding of cities, protection, and benefaction, all of which were expressed through assimilation or association with goddesses. Despite the agency attributed the empress through these distinctions, the empress{\textquoteright} public role before the fourth century remained largely symbolic. The honors, nevertheless, helped propagate a gendered understanding of sacred imperial power. The introduction of Christianity shook the ideological foundations for female imperial power, because goddesses could no longer be used to convey the various beneficent qualities attributed the empress. At the same time, the Christian state retained the notion that imperial power was a divine gift. The tension caused by the demise of female deities, and the fundamental continuity in the divine sanctioning of imperial rule gave rise to a new understanding of female imperial power. Following the example of Helena, the Christian empresses expanded their authority through distributing largesse and the sponsoring of religious and secular buildings, thereby shaping the urban development of Constantinople. The buildings and the largesse were presented as acts of gratitude to God for the Augusta{\textquoteright}s privileged position. The empress thus justifiably appeared as a God-crowned partner of the emperor in the care of the Christian empire and imperial victory. Simultaneously with the change in the prerogatives of the Augusta, imperial support for the theological view defending the dignity Theotokos for Mary affected the outlook of the celestial domain. The gendered understanding of imperial authority elicited a gendered understanding of the Christian Heaven. In the process the Virgin acquired qualities and attributes previously associated with pagan goddesses and the empress.}, keywords = {Early Christian/Byzantine Art}, author = {Angelova, Diliana} } @mastersthesis {9759, title = {Genius Has No Sex{\textquoteright}: The Sculpture of Adele d{\textquoteright}Affry, the Duchess Castiglione Colonna, a.k.a. Marcello (1836-1879)}, year = {2005}, school = {CUNY}, abstract = {This dissertation investigates the life and sculptural oeuvre of the nineteenth-century artist Marcello (Adele d{\textquoteright}Affry, Duchess Castiglione Colonna, 1836-1879), one of the most prominent sculptors active in Second Empire Paris. Born to a historically important Swiss family, she married an Italian Duke and gained the aristocratic title that afforded her many social opportunities. Despite her high social class, she faced many obstacles common to women artists of the period. She managed, however, to eventually establish herself with success within the difficult, gender-biased, and often misunderstood medium of contemporary sculpture. By refusing to align herself with a specific style or master, she was able to explore a multitude of non-traditional subjects and themes. Her professional use of a masculine pseudonym was a major factor in shaping her artistic persona and signified her desire to be treated as an equal among male artists. The dissertation is divided into six chapters. The first chapter includes an overview of the literature on the history of sculpture. Additionally, special focus is given in the chapter to various themes with regard to women{\textquoteright}s role in the medium and to education, mechanical techniques, and a discussion of the reputation and position of sculpture during the long nineteenth century. This is followed by a brief biographical chapter (Two), which includes a discussion of Marcello{\textquoteright}s Swiss origins and the details surrounding her choice of the pseudonym and how it affected her public and critical reception. The next three chapters (Three, Four and Five) deal with Marcello{\textquoteright}s sculpture from a thematic angle, dealing with her portraits of her family, friends, and contemporaries; her representations of women from history and mythology as heroic (and by extension "masculine") figures; and her artworks that were influenced by or connected to music and operatic characters. The final chapter (Six) is a historiography of the original Musee Marcello, a collection of works by the artist and from her personal collection, given by bequest to the canton of Fribourg. This museum, which no longer exists in its original location or arrangement, is reconstructed in this chapter. Finally the text includes four appendices. Appendix A outlines the foundries and assistants that Marcello employed during her career. Capsule biographies of the artists whose work was included in the Musee Marcello are provided in Appendix B. A checklist of the contents of the original Musee Marcello is furnished in Appendix C. Lastly, Appendix D is a chronology of the major events affecting the Musee Marcello from 1877 to the present. Apart from the sculptures themselves, this study is organized around two important types of primary source documents. The first type is Marcello{\textquoteright}s personal writings, which survive in the form of diaries, letters, her unfinished memoirs and her last will and testament; most of this material has never been published. The second type consists of the critical reviews of Marcello{\textquoteright}s sculptures as written and published by some of the foremost critics of the age. The bringing together of these historical documents with the subjects and themes of her sculptures creates a social and historical context around the works that has not before been presented in a study of the artist{\textquoteright}s oeuvre. By presenting the sculptures in a thematic, rather than a strictly chronological, manner, scholars can better understand Marcello{\textquoteright}s own perception and comprehension of her contemporary world through her works of art.}, keywords = {Nineteenth-Century Art}, author = {Pierre, Caterina} } @mastersthesis {9744, title = {George Inness: Painting Philosophy}, year = {2005}, school = {Columbia}, abstract = {In this study, I offer a new perspective on the enigmatic landscape paintings of the American artist George Inness (1825-1894). I take as my point of departure Inness{\textquoteright}s lifelong attraction to pictorial suggestiveness and to creating works of art that actively and assertively engage the cognitive powers of his viewers. I affiliate this artistic phenomenon with his equally long engagement in ideas, especially in metaphysical examinations of reality, the self, and the spiritual realm. I argue that Inness viewed painting as a form of philosophical investigation with roots in the eighteenth-century study of science, theology, and philosophy, and that these historical sources nourished his efforts to enrich the semiotics of art. A strong believer in the authority of the divine, Inness reacted aggressively to the pervasive and influential forces of secularism in mid-to-late-nineteenth century America. Forging a path between secular empiricism and spiritual idealism, he saw landscape painting as a pragmatic vehicle to communicate a holistic interpretation of unity between nature and spirit. I show how the roots of Inness{\textquoteright}s pictorial suggestiveness reside in the history of the paysage intime and the Barbizon view of art as a reflection of emotional reactions to nature; how he associated pictorial and spiritual suggestiveness at a time of increasing skepticism toward religion; how, by viewing painting in philosophical terms, he aspired to develop a "scientific form" of landscape painting for his theology; and how his late paintings function as a pictorial counterpart to late nineteenth-century efforts to incorporate marginal, mystical states into a richer, more accurate definition of consciousness. By offering a prismatic analysis of Inness{\textquoteright}s dual exploration of pictorial forms and philosophical principles, I show how painting, in late nineteenth-century American culture, was one of several hermeneutic devices that challenged scientific secularism. For this reason, the present study reflects my larger interest in the ways in which late nineteenth- and early-twentieth-century American and European artists strove to reinstate a sense of belief into their respective cultures by interpreting the material components of their art through philosophical inquiry---that is, by painting their philosophy.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Baxter Bell, Adrienne} } @mastersthesis {9655, title = {Gong Xian (1619-1689): A Seventeenth-Century Nanjing Intellectual and His Aesthetic World}, year = {2005}, school = {Yale}, abstract = {This dissertation is a comprehensive study of Gong Xian{\textquoteright}s art. Its focus is dual: on his endeavors as an intellectual and on his artistic creation. The purpose of the study is to achieve a better understanding of Gong Xian and his works, and especially of his representative paintings, most typically a series of compelling images of mountains and rivers. Growing up amid the height of elite culture in Nanjing during the late Ming, Gong Xian{\textquoteright}s encounters with cultural and social elite had a profound impact on his intellectual growth. He regarded himself as an "intellectual painter," and put forward the notion that this was the highest level of all artists. His artistic ideas and aesthetic values were deeply affected by this intellectual development. In this light, Gong Xian{\textquoteright}s poetry and his painting manuals for students are carefully examined as a way of illuminating his art. Gong Xian{\textquoteright}s ambition in art is reflected in his conscious efforts, early in his career, to work through a series of diverse styles in order to improve his painting. His seriousness is manifested both in his decision to take Dong Yuan as his artistic model, and in his unswerving dedication to the orthodox painting tradition as it had been propounded by Dong Qichang. His greatest achievement was, however, to create a highly personal painting that was, though ultimately independent of the past, nonetheless rooted in a profound understanding of the traditions. Landscape painting, to Gong Xian, was not just a tool for cleansing or comfort; for him, landscape painting served to fulfill his creative ambition, his desire to secure a place in art history, and his sense of the very meaning of life. Gong Xian{\textquoteright}s art not only stands for the achievement of a seventeenth-century Nanjing intellectual; his aestheticism testifies to a timeless value in the human world.}, keywords = {Chinese Art}, author = {Wang, Chung-lan} } @mastersthesis {9679, title = {Graphic Design in Canada since 1945}, year = {2005}, school = {Queen{\textquoteright}s}, abstract = {Graphic design is often referred to as visual problem solving, a language that gives power and precision to visual communication. By setting meaning to typographic form and abstract shape, it is a process that pictures words and writes images. However, when design is analyzed in any detail, its reliability as a transmitter of accurate information dissolves into complexity and variety. This thesis examines different ways in which words-as-images and images-as-words-or wordimages-disrupt and escape many of the categories and assumptions common to the study of visual culture. The marks we make do have meaning; however, the abstract, visual aspect of things does so only contingently, never necessarily. This argument is traced through the discipline of art history, philosophies of structuralist interpretation and of aesthetics, cultural theory, and design practices themselves, which are all challenged by the persistent, rhizomic (dense, root-like, invisible) interweaving of word and image. The idea of the "discipline{\textquoteright} is reimagined as a changeable and limited pattern traced on a flow of meaning and desire, which is never more than partially or temporarily ordered. Works examined include those by Mieke Bal, Norman Bryson, W. J. T. Mitchell, Gunther Kress, Nelson Goodman, Johanna Drucker, Theodor Adorno, Jean Baudrillard, and Sut Jhally. The contingency of visual practice is studied through several key terms, in particular Pierre Bourdieu{\textquoteright}s habitus, and Jacques Derrida{\textquoteright}s economimesis . However, the final chapter reverses the general direction of this argument. It discusses one kind of enclosure, the economic, which contains meanings and desires in the regime of exchange-value. It critiques the work of a number of writers who attempt to show that the play of signs and meanings has displaced the central importance of economic relations. In a reworking of the Marxist metaphor of base and superstructure, this thesis argues that economic enclosure is an irreducible and determining order. It works not as a hard, controlling structure that directly shapes everything built upon it (in the common mechanical interpretation of "base{\textquoteright}), but precisely because it is utterly flexible, abstract, and universal. Like the visual itself, exchange-value casts its unavoidable light across the entire flow of materials and signs.}, keywords = {Decorative Arts/Textiles/Design History, Twentieth-Century Art}, author = {Donnelly, Brian Towlson} } @mastersthesis {9638, title = {Hedgewhores, Wagtails, Cockatrices, Whipsters: John Singer Sargent and His Coterie of Nature{\textquoteright}s Artful Dodgers}, year = {2005}, school = {Harvard}, abstract = {This dissertation considers the work of John Singer Sargent in the context of contemporary botany, gynaecology, literature and art to show that he and friends of his were, in their respective disciplines, mobilising the ideas of cross-fertilisation and the hermaphroditic sexuality of flowers to "naturalise" sexual inversion-an argument most famously invoked by Proust in the orchid and bee scene of A la recherche du temps perdu. In the nineteenth century human and floral sexualities were widely seen as intertwined, and the gynaecological treatise of Dr. Samuel-Jean Pozzi (one of Sargent{\textquoteright}s portrait subjects and friends), attests that this was the case in the world of his medical specialty as well as the broader cultural imaginary. New conceptions of the artist as a pollinator and/or a plant, moreover, were easily conflated with this general understanding of interspecies sexuality to engender a new understanding of artistic procreativity: works in diverse media came to be seen as the vegetable offspring of cross-fertilising encounters. By imagining the act of painting as a hand-pollination accomplished with his brush, then, Sargent was simultaneously declaring the naturalness and fruitfulness of his creative productions, visually elaborating a period poetics of homosexuality, and formulating a new sense of artistic subjectivity for himself. This project has broader implications for the study of modernism. Its examination of the ways in which a particular facet of artistic modernism (an understanding of the act and materials of painting) intersected with the underside of a widely celebrated cultural erotics of pollinator-flower conjunctions opens up an alternative cultural trajectory to be charted, one whereby other, non-heterosexual, non-formalist narratives of production and reproduction came to be authorised.}, keywords = {Art of the United States}, author = {Syme, Alison} } @mastersthesis {9673, title = {Helen Frankenthaler{\textquoteright}s Modernism: Embodiment and Pictorial Ambiguity, 1950-1965}, year = {2005}, school = {Johns Hopkins}, abstract = {This dissertation argues that in the 1950s and early 1960s, the American painter Helen Frankenthaler (b. 1928) structured her paintings according to a bodily pictorial system that she developed in response to her studies at Bennington College and in relation to her subsequent encounter with the art of the so-called New York School. This corporeal system, I claim, depends above all upon effects of pictorial ambiguity that were central to the production and reception of Frankenthaler{\textquoteright}s art. Frankenthaler achieved effects of ambiguity through her signature "soak-stain" technique. Soaked into an absorbent ground, Frankenthaler{\textquoteright}s forms, neither entirely abstract nor definitively figurative, shift between recognizability as figure and ground. The soak-stain technique ensures the literal flatness of the painted surface, but Frankenthaler{\textquoteright}s method of layering stains often produces illusions of ambiguous depth in pictorial space. Contemporary critics recognized, and praised, all of these effects. In the context of Frankenthaler{\textquoteright}s studies at Bennington (1946-1949), artist Paul Feeley and literary critic Kenneth Burke presented ambiguity as a particular achievement of modern art and literature. Similarly, psychologist Erich Fromm characterized the relationship between human beings and the modern world as inherently ambiguous, and argued that to live productively, one must negotiate this ambiguity. Thus Frankenthaler left Bennington having been schooled in the significance of ambiguity for art, and also in the necessity of its worldly negotiation. Frankenthaler{\textquoteright}s ensuing investigation of pictorial ambiguity explored the relation between subject and world by meditating on that of beholder to painting. In their ambiguity, Frankenthaler{\textquoteright}s paintings pose special challenges to visual perception, memory, and the circumscription of subject-object relations and gender identities. As her earliest critics intuited, Frankenthaler{\textquoteright}s paintings open up to perception only after a beholder has relinquished vision, objectivity, and memory as primary modes of reception, and has adopted instead the bodily, subjective, and experiential approach her works solicit. Frankenthaler seeks to imbue her art with a phenomenological structure, conceived along the lines of the philosophy of Maurice Merleau-Ponty, that would encourage a bodily connection between beholder and painting. In this way, she posits her painting as a model for deeply-felt, responsive, and ethically-informed "being-in-the-world."}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Schumacher, Bett} } @mastersthesis {9616, title = {Henry Kirke Brown and the Development of American Public Sculpture in New York City, 1846-1876}, year = {2005}, school = {CUNY}, abstract = {This dissertation is the fast extensive study of Henry Kirke Brown (1814-1886), an artist who revolutionized civic sculpture in the United States. Among the fast professionally trained American sculptors, Brown studied sculpture in Italy yet questioned the relevance of European monuments as models for civic art in a democratic society. He set the standard for future decades by sculpting historically conscious, realist portraits in bronze in response to the neoclassical marble statues that dominated civic art from the American Revolution through the mid-nineteenth century. Brown{\textquoteright}s work methods and philosophy were of lasting influence on future generations of sculptors. The five chapters of my dissertation chart the factors that led to both Brown{\textquoteright}s success as a professional sculptor and to increasing national interest in erecting public monuments in nineteenth-century America. Chapter I discusses Brown{\textquoteright}s training in Italy and his motives for returning to the United States and establishing a studio in New York City. Chapters II and III, respectively, look at Brown{\textquoteright}s commissions for De Witt Clinton (1853) in Green-Wood Cemetery, Brooklyn and George Washington (1856) in Union Square, Manhattan. Chapter IV considers Brown{\textquoteright}s time in Washington, D.C., where he served on the short-lived National Art Commission of 1859-1860 and helped to found National Statuary Hall. The last chapter examines Brown{\textquoteright}s monument Abraham Lincoln (1869) in Prospect Park, Brooklyn, and Abraham Lincoln (1870) in Union Square. All of these monuments commemorate a statesman of national repute; the four commissions were mile markers in the history of American sculpture. Designed to serve simultaneously as secular shrines, didactic tools, and tourist attractions, these four commissions also exemplify how Brown keenly designed his monuments to play multiple roles in American society. This study also considers the shift in choice of medium in American monuments from marble to bronze, the role of private patrons in commissioning public monuments, and the general changes in the sculpture industry during Brown{\textquoteright}s lifetime}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Lemmey, Karen} } @mastersthesis {9754, title = {History and Human Experience in the Art of David Wilkie, 1806-1835}, year = {2005}, school = {UC Santa Barbara}, abstract = {This dissertation explores the relationship between written and painted history in early nineteenth-century Britain as it was carefully negotiated in the work of Scottish-born artist David Wilkie. In eighteenth-century Britain, historical writing was closely allied with the discipline of rhetoric, designed to persuade its young aristocratic audience to model themselves on the great heroes it described. By the 1824s, however, history had come to be more concerned with social aspects of everyday life that contribute to a broader understanding of a culture and its institutions than with the deeds of heroes and statesmen. This period{\textquoteright}s re-evaluation of the relationship between individuals and the past also forced a change in written history{\textquoteright}s visual counterpart, whose sophisticated references to past art geared toward an elite audience had now become obsolete. The major thesis of this dissertation is that the visual language required by new forms of written history evolved out of the work of genre painters, and that it was Wilkie, mainly known as a genre painter, who first successfully used it to express the elevated themes of history painting. I suggest that genre painters, with their focus on everyday life, were better equipped to express the new history than artists working within the stylistic confines of traditional history painting. Through an analysis of three of Wilkie{\textquoteright}s paintings, contemporary accounts of their reception, and comparisons between his works and those of two of his contemporaries, Benjamin Robert Haydon and Richard Parkes Bonington, I consider how artists struggled to adapt to changing views of history in this period. This study also places Wilkie{\textquoteright}s art within the contemporary political context in which it was made, when war with France, economic depression, widespread agitation for political reform, and the rise to power of the middle class, challenged Britons{\textquoteright} notions of what history meant, and to whom it spoke. A conservative artist with elite patrons, Wilkie found his hybrid works particularly vulnerable to shifting interpretations centered on the struggle between individual enfranchisement and the rights of the established order.}, keywords = {Nineteenth-Century Art}, author = {McCurdy, Melinda} } @mastersthesis {9712, title = {Hollywood alla Turca: A History of the Popular Cinema in Turkey}, year = {2005}, school = {Ohio State}, abstract = {This study deals with the history of popular cinema in Turkey, called Yesilcam. Yesilcam{\textquoteright}s dawn, rise, and fall extended over four decades, from 1950 to 1990. Yesilcam is discussed through four notions: Turkification, hayal, melodramatic modality, and ozenti. While cinema started in Turkey by interweaving two screens, the traditional and the modern, Yesilcam had a dream (hayal) of making films similar to Western cinemas, especially Hollywood. But the presence, combined with the technologically belated arrival, of this Western medium in a non-Western land brought about its own particularities and peculiarities, reflected by Turkification (practices of translation, transformation, and restitution). Yesilcam represents a transitory state enmeshed with the drama of nation building and characterized by an aggressive attempt to unify multiplicities. The dubbing of films, both foreign and domestic, led to Turkification, a process of making films ideologically "proper" to Turkey. Yesilcam also "Turkified" the Western cinematic language through remakes and adaptations, producing not only a non-realistic, postsynchronized filmmaking, but also an active (mis)translation and transformation, thus inventing a popular cultural synthesis, a cinematic amalgamation of the West and the East. In the meeting of a two-dimensional Eastern scopic regime with a three-dimensional Western one, ozenti (imitation or pretension) indicates a perpetual movement from Eastern self to Western other in Yesilcam{\textquoteright}s desire to be like the other, i.e., Western popular cinemas. But a return to original self is impossible in this movement, and through ozenti, Yesilcam continuously transformed itself. Thus ozenti suggests a rhizomatic existence, not being one nor being the other but being in a continual movement, in between two cultures. Yesilcam{\textquoteright}s "melodramatic modality" deals with a particular history of filmmaking that combined realistic film language with non-realistic and anti-illusionistic traditions in its various genre films. Specific analyses of these films address the changes in both the socioeconomic and the cultural milieu, and the cinematic practices and their consumption. Through the introduction of these four notions, this study not only attempts to revise the Turkish histories on popular cinema in Turkey, but also aims to introduce the English-speaking audience to this under-explored field}, keywords = {Film/Video}, author = {Arslan, Savas} } @mastersthesis {9623, title = {How Images Became Texts in Contemporary American Art}, year = {2005}, school = {UT Austin}, abstract = {This dissertation examines how and why written information in a visual context as well as various theories of language (namely poststructuralism) became so influential in contemporary American art. It argues that many artists and writers from the mid 1960s until the late 1980s believed that the use of language would dramatically alter the nature of art. But the converse, in fact, is true. Indeed, the reliance on language facilitated the rapid assimilation of these works (artistic and critical) into the broader fold of the contemporary American art world. What was radical became conventional in no time. How Images Became Texts in Contemporary American Art begins in the early 1960s by describing why a number of Conceptual artists (John Baldessari, Robert Barry, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner) gave up painting in order to work with written information. Part of this explanation derives from their reaction to the work of Donald Judd and Frank Stella. From here this investigation shows how in the late 1970s and early 1980s a select group of progressive art critics (primarily Hal Foster and Craig Owens) began to react against some of the aesthetic consequences generated, in part, from the linguistic endeavors initiated by the Conceptualists mentioned above. There was a concern shared by Foster and Owens that the situation known pejoratively as Pluralism was out of control. In order to redress this development they imbued their writing with numerous references and allusions to such poststructuralist philosophers as Roland Barthes, Jacques Derrida, and Michel Foucault. This had the effect of producing a body of literature that emphasized linguistic analysis of visual objects. It also neatly coincided with the continued use of written information by such artists as Barbara Kruger and Jenny Holzer, which made it possible to see that by the spring of 1988, images, at least rhetorically, had become texts.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Dumbadze, Alexander Blair} } @mastersthesis {9746, title = {I Cannot Paint You but I Love You: Portraiture and the Pre-Raphaelite Search for the Ideal; Elizabeth Siddall, Dante Gabriel Rossetti, Jane Burden, and William Morris}, year = {2005}, school = {Chicago}, abstract = {By way of a case-study analysis of Pre-Raphaelite portraiture and poetry, and by taking a critical engagement with biography as its point of departure, this dissertation proposes a revised model for participation in the scholarly debate over defining male and female subjectivities in artistic production during the Victorian era. The social construction of British bourgeois womanhood has been a much-visited theme in nineteenth-century feminist art histories. By focusing on selected works by Dante Gabriel Rossetti, Elizabeth Siddall Rossetti, and William Morris, of and about Siddall and Jane Burden Morris, this project{\textquoteright}s purpose is to take this field of study beyond examining the many ways in which these works demonstrate that the women were objects of desire (and subjugated as a result) to exploring the reasons why they became such potent subjects for these male artists. From one perspective, the women and the images cemented relationships between men. From another, they functioned as unique sites of identification. Previous scholarship has focused great attention on male desire, but rarely accounted for the fact that women have desire as well. Much criticism occludes female subjectivity by focusing exclusively on the finished works of art in which women are (non-speaking) subjects. This project seeks not only to account for the desire(s) of the women, but also to explore the ways in which their subjectivities are a prominent component of the content of the works under discussion. When viewed in the pictorial, narrative, and biographical contexts of one another, the works on which I focus construct intricate webs of human interactions and perform complex elisions of portrait and imaginary ideal. Thus, I argue that Pre-Raphaelite gender constructions of both femininity and masculinity were frequently defined through a process of interrelationship, mediated by art, in which both men and women participated. Each individual discussed is revealed to be involved in a thoroughgoing struggle with form and content in the context of modernism and modern identity formation. In the end, each component of this project relates questions of gendered, classed, and racialized selves in the ever-shifting taxonomies of Victorian society to enable a new understanding of Pre-Raphaelite social history.}, keywords = {Nineteenth-Century Art}, author = {Bingaman, Amy} } @mastersthesis {9624, title = {Icons on the American Landscape in the 1960s: Mapping the Culture of Car and Road}, year = {2005}, school = {Indiana}, abstract = {Icons on the American Landscape in the 1960s: Mapping the Culture of Car and Road asserts that images of automotive culture play critical roles in ground-breaking artistic developments in American art during the 1960s. In the 1960s, artists{\textquoteright} depictions of automobiles and roads foster radical shifts among notions of "high" and "low" art forms that characterize art of the decade. Artists transform America{\textquoteright}s automotive landscape into art that highlights the complex role of the grand icons of American experience in contemporary life. Images of automotive culture from the period reveal conflicts concerning among others, notions of freedom, abundance, individual identity, and automation in American society. Among the subjects examined in the dissertation are depictions of automotive culture in the 1950s in advertising and the Beat photography of Robert Frank; artists{\textquoteright} images of the automotive lifestyle of Southern California in the early 1960s; the automobile in Pop Art; and treatment of automobile and road in art movements of the late 1960s and early 1970s including Photorealism, Feminism, and Environmental art. Artists discussed include Billy Al Bengston, Edward Kienholz, Edward Ruscha, Judy Chicago, James Rosenquist, Robert Indiana, Roy Lichtenstein, Andy Warhol, Allan D{\textquoteright}Arcangelo, and Richard Estes.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Ellsworth, Kirstin Lynne} } @mastersthesis {9610, title = {Identity, Power, and History in the Solomon D. Butcher Photographic Archive (1886-1892)}, year = {2005}, school = {Ohio State}, abstract = {Among the most important visual archives of the late 19th-century American West is the photographic archive created by Solomon Devoe Butcher (1856-1927), who began photographing settlers in Custer County, Nebraska, in 1886. Due to the depth of material-nearly 900 portraits from a single county over just six years-and to Butcher{\textquoteright}s process of working on-site, the archive can reliably be approached as a very close and thick history, a "micro-history," of the experience of Plains settlement. This dissertation suggests that Butcher{\textquoteright}s archive offers a mode to understand the ways in which power fills space, quite literally, on a specific western landscape by approaching it as a visual nexus, as a point within which various competing beliefs and activities converge. I conceptualize the relationship of the cultural agents that vie for voice, for power, in these portraits as that of a network, a web of paths through which each agent juggles for a dominant voice in the definition of the settlers{\textquoteright} lives. The paths of this network are fluid, multi-leveled, multi-directional, and frequently unstable, and thus their agents cannot all be defined or categorized by the same approach. Through a series of contextual essays I work to analyze each of the agents-such as agrarian and progressive ideologies, the identity of the pioneer and the westerner, the power of the Plains landscape, the presence of failure, and the awareness of history-and the nature of their visual presence in the archive. The archive and this approach reveals the specific experience of the Plains in the 1880s as a moment and location of profound transition when the colonializing agendas and structures of industrialism, the long-term nature of the Plains, and a fledgling regional identity all increasingly put pressure on the received beliefs and identities of the county{\textquoteright}s settlers. This transition was experienced self-conscious of an audience. Created to record the county{\textquoteright}s participation in national history, the archive itself acted as a venue for settlers to both conceal the agendas of their received identities to their perceived audience, and yet also to reveal the nature of the systematic failings operative in their experience.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Wolfe, Melissa} } @mastersthesis {9779, title = {The Illustration of Virgil{\textquoteright}s "Bucolics" and Its Influence in Italian Renaissance Art}, year = {2005}, school = {Rutgers}, abstract = {The Illustration of Virgil{\textquoteright}s Bucolics and its Influence in Italian Renaissance Art demonstrates that a specific Virgilian iconography developed in the Late Classical period and the Middle Ages for Virgil{\textquoteright}s Bucolics. This iconography continued in manuscript and printed book illumination in the Renaissance, and played a major role in the development of pastoral subjects in independent paintings. While scholars of pastoral themes in art have often cited Virgil as a literary influence, the role of the illustration of Virgil{\textquoteright}s bucolic poetry as a visual resource has not been examined. I first examine Virgil{\textquoteright}s literary role in the Italian Renaissance, starting with his biography and his status in the Middle Ages, to then turn to his influence as literary model on Trecento Italian writers, followed by a survey of his place in the studia humanitatis and Renaissance education. The body of my dissertation is an examination of a representative selection of major illustrated Virgilian texts (approximately sixty manuscripts and printed books), dating from the Late Classical period, through the Middle Ages and into the Renaissance, to follow trends and developments in the iconography of specific Virgilian themes. I then address the rise of pastoral motifs in Venetian drawings, prints and paintings in the late Quattrocento and the early Cinquecento to demonstrate close visual ties between traditional motifs for the illustration of Virgil and new pastoral themes in the visual arts. My dissertation analyses in detail Virgil{\textquoteright}s impact on visual culture in the Renaissance, and I demonstrate a new source for the rise of pastoral themes in Renaissance poetry and monumental painting.}, keywords = {Renaissance/Baroque Art}, author = {Guest, Emma T. K.} } @mastersthesis {9739, title = {Images and Memory: The Construction of Collective Identities in Seventeenth-Century Quito}, year = {2005}, school = {Chicago}, abstract = {Civic pride in the Spanish world of the early modern period was associated with individual cities or regions. In the Iberian colonies of the New World, the importance of urban centers in the shaping of corporate identities was consolidated in the seventeenth century, in connection to the rise of a Creole consciousness. Here, too, the sense of a local pride was built around the themes of religion and history. Cities defined themselves as Christian communities, while searching for a glorious past that secured their historic significance in the minds of their inhabitants. Through their connection to ritual, I contend, images in seventeenth-century Quito were instrumental in shaping and sustaining different identities for the city, both as a holy community and as the center of spiritual and political authority in the region. Through their connection to liturgical commemorations and other forms of corporate rites, paintings and statues also permitted the continuous reenactment and relocation in the colonial city of distant times and places. (Implicit) references made by images to current events, such as the liturgical commemoration itself, and to local histories and concerns, enabled the re-inscription of the "here" and "now" as continuous with a teleological narrative and with a holy landscape. Images did not only serve to sustain an inward identity of the urban population as a corporate, Christian body, but also as a center of authority in relation to its hinterland. A number of texts from the period portray the city not just as a New Jerusalem but also as a New Rome, a center for the dissemination of Christian polity in the Americas. Commemorative ceremonies reinforced this image of Quito as a Christian conqueror and colonizer, the center of spiritual and civic authority. Through its relationship with its own periphery, the city engages in a dialogue with centers of political and cultural influence. Empowered to redefine its own marginality, Quito challenges fixed notions of center and periphery that only perpetuated its subordinate position in a global context.}, keywords = {Latin American/Caribbean Art}, author = {Fernandez, Carmen} } @mastersthesis {9725, title = {Images of Vesta and the Vestal Virgins in Roman State Religion and Imperial Policy of the First and Second Centuries AD}, year = {2005}, school = {Yale}, abstract = {Among surviving representations of religious ceremony in Roman relief sculpture, those depicting the hearth goddess Vesta and her priestesses, the Vestal Virgins, are notable for their imperial iconography. This study examines in detail the imagery of the cult of Vesta, one of the oldest and most venerable cults of the Roman state religion, as it was preserved in a corpus of eleven sculpted reliefs dating to the first two centuries of the Roman Empire. Although limited in number and often fragmentary, these reliefs, which adorned altars and perhaps shrines, yield essential information regarding imperial appropriation of the cult of Vesta, the role of the Vestal Virgins as guardians and moral exempla in Rome, and more broadly, the ways in which religion and politics were inextricably bound together in the Roman world. Under Augustus, the first Roman leader to consolidate the office of the princeps with that of the pontifex maximus, chief priest of the Roman state religion, the Vestals, the only female members of the collegium pontificium, were ultimately accorded an imperial status. This status was further defined through the priestesses{\textquoteright} relationship with the empresses, with whom they shared legal and social privileges. The inclusion of the Vestals alongside imperial personages on such major state monuments as the Ara Pacis Augustae, the Sorrento Base, and the Cancelleria Reliefs clearly attests to the significance of their position. Likewise, Vesta herself was frequently portrayed in the company of her priestesses, as well as members of the imperial family. Through her long-standing association with the city of Rome-its identity and very existence-and her presence at the hearth of every Roman household, she was readily co-opted in support of the dynastic ambitions of the emperors. While the artistic record, in conjunction with archaeological, literary, and numismatic evidence, indicates that Vesta was recognized primarily as an imperial goddess in public, two monuments presented in this study also speak to her veneration in private as the patron deity of Roman bakers.}, keywords = {Greek/Roman Art}, author = {Thompson, Joanne Elizabeth} } @mastersthesis {9693, title = {Imaging Gender, Poverty, and Spirituality in the Trecento: The "Meditationes Vitae Christi"}, year = {2005}, school = {IFA/NYU}, abstract = {This dissertation is an investigation of a single work of art illustrating the Life of Christ, a manuscript, Paris Bibliotheque Nationale ital. 115, likely made in or near Pisa circa 1350. With 193 images on its 206 surviving folios, ital. 115 is the most extensively illustrated copy of the famous Franciscan devotional text, the Meditationes Vitae Christi or the Meditations on the Life of Christ (henceforth MVC) known. Although references to a female audience and to saints Francis and Clare in the text make it clear that the MVC was originally intended for an audience of Poor Clares, neither this text nor its illustrated manuscripts has been studied in relation to female spirituality. The preponderance of images concerning women, in addition to the gendered Italian vernacular of the text, make it likely that ital. 115 was owned and used by a female Franciscan audience. This study thus presents this manuscript for the first time in terms of the broader cultural context of Franciscan female piety in late medieval Italy.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Flora, Holly} } @mastersthesis {9772, title = {The Impact of Manuscript Illumination on the Evolution of Artistic Style from the Franco-Gothic to the Italo-Gothic in Castile during the XIVth Century}, year = {2005}, school = {Brown}, abstract = {Castile accepted French tastes in architecture, sculpture, and painted art from the XIth century through much of the XIVth century. The close relationship between Castile, emerging as the dominant Iberian power, and France occurred during the period of conquest and repopulation of Andalusi territories, a time when Castile enjoyed a massive immigration of skilled French clerics and artisans. Castilian trade then was out of its northern ports, going to France, Flanders, and England. Castile{\textquoteright}s dependence on French tastes changed with its growing involvement in the Mediterranean world. This growing involvement came with the conquest of Andalusi ports and, by about 1350, with the start of significant export earnings from wool going to Tuscany. Export earnings enabled Castile to import Italian luxury goods: textiles, manuscripts, paintings, cassoni, and other objects likely to reflect Italian style. One of the major imported objects which carried the latest Italian styles was illuminated manuscripts. This dissertation explores how Castile, as an enlarged, increasingly self-confident, and emerging Mediterranean power, began to see its artistic tastes shift toward the Italian taste in painting during the second half of the XIVth century. An important factor in this shift towards the Italian taste was the relocation of the papacy to a very Italian-oriented Avignon in the XIVth century. The establishment of the papacy in Avignon attracted many Castilians there. The emergence of a systematic study of law, starting in the late XIIth century and centered around the university at Bologna, brought in Castilian clerics and crown bureaucrats to Italy as students. Italian clerics filled some Sees in Castile during this time and, by the XIVth century, Castilians clerics were working in Italy. Each of these factors had its impact on Castilian stylistic tastes. Of the imports which carried the latest Italian style, what has survived are mainly illuminated manuscripts, usually the property of ecclesiastics and often bequeathed to capitular libraries. Books given to capitular libraries were often widely used in each of these libraries. During the XIVth century, manuscript illuminations or monumental paintings were commissioned almost exclusively by clerics. As a consequence, illumination painting began to influence Castilian tastes at the start of the XIVth century, and, by the mid-XIVth century, created a demand initially for the Italo-Gothic style in illuminations and subsequently for monumental works. This demand resulted in the Castilian imitation of Italian miniature style and finally, at the end of XIVth century, two eminent Florentine painters were commissioned to decorate the cathedral of Toledo. Toledo was then both the political and religious capital of Castile. This dissertation demonstrates that, by 1400, local illumination and monumental painting was totally Italo-Gothic, and this development was, in large part, driven by earlier Castilian exposure to Italo-Gothic style illuminated manuscripts.}, keywords = {Renaissance/Baroque Art}, author = {Brooker, Robert E., Jr.} } @mastersthesis {9719, title = {Imperial Patronage and Urban Display of Roman Monumental Fountains and Nymphaea}, year = {2005}, school = {Michigan}, abstract = {This dissertation considers the monumental urban fountains and nymphaea dedicated by or to ancient Roman emperors in Italy, Greece, and Turkey. Spanning the first through third centuries, this study situates each monument within its urban environment and investigates it as a product of its patron and particular historical and geographic context. These edifices---with their vast expanses of sparkling marble, intriguing sculptural displays, and kinetic integration of the natural world into the urban environment---monumentalized civic spaces that were important to their respective patrons. In Rome, the Meta Sudans and the Fountain in the Terrace of Domitian marked two regions where the Flavians drastically altered the cityscape. Both introduced innovative forms of display into the urban environment, especially the latter, which featured architectural elements previously restricted to the domestic sphere. The imperial edifices in Rome were almost immediately emulated in the provinces. Cities eager to demonstrate their own Romanitas incorporated the Meta Sudans and the later Septizoidum on civic coinage. Local patrons dedicated fountains to emperors in Ephesus, Keramus, Perge, and Sagalassos. These edifices drew inspiration from those in Rome yet addressed local concerns. The emperor Hadrian introduced Roman nymphaea to Greece and commissioned edifices in Asia Minor that complemented those dedicated by local patrons in the region. Under the Severans, the imperial nymphaeum form, transformed under Hadrian and provincial elites, returned to Rome. The Septizodium, which stood below the Palatine and faced the southern access road into Rome, visually and topographically linked Rome and the provinces while shifting the imperial emphasis from the urban center of Rome to its periphery. The Nymphaeum of Alexander Severus, which turned to face the city from outside the Servian wall, emphasized the primacy of Rome in the policies of its patron. The reuse of sculptural elements in this edifice added a new dimension to urban display in Rome that had repercussions far beyond the realm of monumental fountains. By tracing the historical development of monumental fountains and nymphaea and situating each edifice within its urban context, this study illuminates the motivations and ideologies of imperial and local patrons in Rome and the provinces.}, keywords = {Greek/Roman Art}, author = {Brenda Longfellow} } @mastersthesis {9792, title = {Import/Exports: Antwerp Carved Altarpieces in the Rhineland c. 1500-30}, year = {2005}, school = {Michigan}, abstract = {The Brabantine altarpiece, combining sculpted shrines and painted wings, was among the most important forms of devotional art made in the South Netherlands between 1400 and 1550. Available on open market outlets and on commission, they attracted buyers at home and abroad. This study considers the popularity and prestige of these complex ensembles of painting, sculpture, and architectural design by examining the evidence offered by a significant group of over fifty retables preserved in the Rhineland. It aims to reveal the multiple ways in which Brabantine altarpieces were consumed---purchased, marketed, modified, copied, quoted, and translated---and the various ways in which the making and consumption of these works revise prevailing views of the distinction between art made to order and art for the market. The majority of the altarpieces in the Rhenish cluster combine ready-made parts and made-to-order components in countless mixtures. As such, these partially customized works provide an opportunity to reconsider the degree of interaction between producers and consumers, and to assess the role that demand and consumption played in determining a product{\textquoteright}s final appearance. Looking at altarpieces not only as exported products, but also as imported ones that generated changes in comparable local products, this study seeks to enrich current perceptions of the Antwerp art market, while revising questionable assumptions about the relationship of producers and consumers, and the character of art made for export. The first chapter addresses the altarpieces{\textquoteright} modular design, and examines the degree to which this flexibility of design allowed clients to determine the object{\textquoteright}s final appearance. The second chapter considers Brabantine altarpieces as imported goods and explores the dynamics of their circulation among local Rhenish products. Turning to documentary sources, the third chapter examines the importance of polychromy, a process that introduced another platform for client participation in the making and consumption of these works. The fourth chapter offers a close reading of local variants along with selected sources that shed light on the vivid narrative properties that characterize Brabantine retables. These documents---visual and textual---underscore the value that makers and viewers of these works attached to their capacity for visual storytelling. The final chapter considers the prestige of the Brabantine altarpiece through an analysis of its visual translation into contemporary media such as enamelwork, tapestry, and manuscript illumination that simulated its distinctive form. An illustrated catalog accompanies the text.}, keywords = {Renaissance/Baroque Art}, author = {You, Yao-Fen} } @mastersthesis {9681, title = {Impressions in Light: Photographs of Sculptures By Medardo Rosso (1858-1928)}, year = {2005}, school = {Rutgers}, abstract = {My dissertation explores the photographic work of Italian sculptor Medardo Rosso (1858-1928), largely unpublished. Firstly, after establishing the state of research, I dealt with the thus unresolved problem of the attribution and chronology of the photographs, by firmly proving Rosso{\textquoteright}s authorship through new evidence found among the artist{\textquoteright}s possessions. The photographs were analyzed from both a technical and a theoretical perspective. Having presented in exhaustive detail all of the artist{\textquoteright}s interventions on the photographs and their relevance to the sculptural production, I described Rosso{\textquoteright}s aesthetic theories and showed how he incorporated in his work the recent discoveries on the physiology of the eye. Secondly, three main issues were explored through the lens of the photographs: the regular inclusion of photographs in the artist{\textquoteright}s public exhibitions of sculptures (Rosso would often use photographs of works by others in order to show the value of his art by means of comparison), his use of the comparative practice as a weapon to deploy in his competition with Rodin and the astounding lack of monumental sculpture in Rosso{\textquoteright}s production. By analyzing the sculptor{\textquoteright}s interventions on the prints of the relevant sculptures, I concluded that Rosso created the impression of greatness of scale in the eye of the observer by manipulating the apparent dimensions of his work in the photographs via suppression of scale indicators. Thirdly, I considered the documentary value of the studio and personal photographs. Through the careful identification of all the tools and instruments that appear in the atelier pictures, new information on how Rosso worked on waxes and plasters emerged. Rosso{\textquoteright}s personal photographs provided new insight on Rosso{\textquoteright}s personality and on the re-established relationship with his son Francesco. In these self-portraits, the artist represented himself as one of his sculptures, thus making the ontological claim that the fleeting appearance of any image has the same degree of reality, and dignity, as the frail nature of human life. Lastly, a complete catalogue of Rosso{\textquoteright}s photographic negatives and a selection of his writings on photography are gathered in the appendix.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Bacci, Francesca} } @mastersthesis {9654, title = {The Ink-Bamboos of Wen Yu-k{\textquoteright}o: The Creative Moment and the Chinese Cultural Tradition}, year = {2005}, school = {Minnesota}, abstract = {In eleventh century China a new aesthetic emerged, most fully articulated by the poet Su Tung-p{\textquoteright}o (Su Shih) (1037-1101) and most fully exemplified in his writings on the ink-bamboo paintings of Wen T{\textquoteright}ung (1018-1079), known best as Yu-k{\textquoteright}o or Wen Yu-k{\textquoteright}o. This dissertation is an inquiry into the core of Su{\textquoteright}s aesthetic theory, locating it in the context of both the cultural tradition and the broader foundations of Chinese philosophical thought. It traces the process by which Su describes the humanizing quality of creative engagement. It is based upon my translations of the poems, prose and inscriptions upon paintings, scattered throughout his oeuvre, that comprise that core. I use supporting materials drawn from his writings on calligraphy, poetry and music, as well as classical texts from Chinese aesthetics and philosophy. The central issue is the moment of creativity, which Su sees as beginning in a fusion of the objective and the subjective, executed in a swift moment of entrusting or forgetting, and resulting in a significance that lies beyond the image. As seen through the eyes of Su, the ink-bamboos of Wen Yu-k{\textquoteright}o represent an integrated vision of life that relates the spontaneous moment of creativity to deep and underlying values of the Chinese cultural tradition.}, keywords = {Chinese Art}, author = {Podulke, Georgiana} } @mastersthesis {9697, title = {Inside and Outside the Frame: an Integrated Reading of the Bayeux Tapestry and Its Borders}, year = {2005}, school = {Victoria}, abstract = {For the past three centuries, historians have speculated and argued over the dating, patronage and provenance of the Bayeux Tapestry. Researchers have pondered the Latin inscriptions; reflected on the techniques of production and the use of narrative devices; mined the Tapestry for information on a number of subjects, including architectural styles, costumes, modes of navigation, nascent heraldry, and weaponry; and focused on areas of special interest, especially on scenes such as the so-called "Aelfgyva episode." Additionally, the Tapestry has been described as an epic and/or a panegyric; it has even been compared to a chanson de geste, a Shakespearian play, a film, and a cartoon; it has been "deconstructed," and finally turned into a "hypertext" accessible via the Internet. Yet, in spite of many promises, the borders of the Bayeux Tapestry remain largely unexplored to date. This apparent neglect may be due to the difficulty one encounters when attempting to retrieve the symbolism and the meanings of the pictographs, which, even at the time of production, may have been multiple and may have depended on the cultural level, social awareness and political leanings of the beholders. The purpose of this dissertation is to acquaint the reader with a novel approach to the reading of the Bayeux Tapestry, based on the premise that the border pictographs are charged with symbolic meaning; that their meaning(s) inflect(s), reflect(s) and even alter(s) the images in the center field; and that this synergic interplay helps in the discovery, and stimulates the generation of a new understanding and integrated interpretation of the Bayeux Tapestry. For my research to be comprehensive and in order to uncover and decode some of the latent symbolic meanings, it was fundamental to take into account the social, cultural and political history of eleventh-century Northwestern Europe, and to acquire an appreciable knowledge of the lives of the important individuals illustrated in the Bayeux Tapestry. It was also necessary to be aware that, since the shaping of minds and the rewriting of history was already practiced in the eleventh century, the possibility existed that the Bayeux Tapestry was more than objective history recorded on cloth, but was someone{\textquoteright}s-perhaps the patron{\textquoteright}s-interpretation of historical events. Thus, this dissertation takes the reader on a journey inside and outside the frame to achieve an integrated reading of the Bayeux Tapestry and its borders.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Kleinsmith, Nicole M.} } @mastersthesis {9749, title = {Italian Divisionism in the 1890s: The Forging of a Modern Identity}, year = {2005}, school = {CUNY}, abstract = {The Divisionists created vibrant paintings distinguished by divided brushstrokes of individual pigment and curvilinear forms. Inspired by color and optical theories and, in many cases, socialist philosophy, these artists consciously aligned themselves with progress and modernity. I consider Divisionism within the larger context of the period in which it was produced and underscore how the Divisionists sought to create a new, distinctively Italian idiom in the wake of the country{\textquoteright}s recent 1870 unification. The first generation of Divisionists, all from Northern Italy, were a loosely associated group of artists. They subscribed to a painting technique then becoming popular in Europe (especially among the Neo-Impressionists), and juxtaposed dashes of often complementary colors to fashion the illusion of single, more intense hues. By approaching their art from a background of positivist thought, they correlated the scientific basis of their technique to an expansive notion of progress. Those who were politically committed championed social reform in their paintings. Others pursued a Symbolist vein in their evocative alpine landscapes and metaphorical religious images and used art as an escape from contemporary life. Despite their adoption of a new painting method, the Divisionists{\textquoteright} preference for large-scale compositions, their interest in modeled form and three-dimensional space, and their desire to articulate movement reflects their grounding in the traditions of their own artistic legacy and evidences the paradoxical nature of the movement. At the time of Divisionism{\textquoteright}s inception, many Italians, divided by sharp regional differences, struggled to identify what constituted "Italy" as a nation. However, these divisions also prompted the desire for unifying structures. By the 1890s, as Italy began to have an industrial presence in Europe, conceptions of advancement and modernity intertwined with those of nationalism. Yet, this period was rife with contradictions regarding the possible negative effects of progress, the incursion of foreign influences upon Italy{\textquoteright}s cultural production, and the rupture with historically entrenched visual traditions. These phenomena were manifest within the Divisionist project. My interdisciplinary analysis of Divisionist painting explores these much-debated problematics and seeks to parse how Divisionism was linked to the polyvalenced questions of modernity, cultural definition, and national identity.}, keywords = {Nineteenth-Century Art}, author = {Greene, Vivien} } @mastersthesis {9599, title = {Italian Modern Architecture and the Vernacular Tradition: The Aesthetics of Morality}, year = {2005}, school = {Toronto}, abstract = {The first half of the twentieth century witnessed a new interest in Italian rural architecture, medieval hill towns, and artisanal arts and crafts. The dissertation contends that the appropriation of vernacular sources by Italian designers and intellectuals during this period points to an alternative genealogy for Italian modernism, one that challenges interpretations emphasizing classicism{\textquoteright}s predominant influence. The aim is not to characterize this new interest in regional vernacular traditions as opposition to the classical heritage, but rather to cast them as complementary "other" traditions within which it is possible to observe the full spectrum of ethical, political, and cultural agendas represented by Liberal, Fascist, and Republican movements. This striking process of appropriation was characterized by two very different approaches early on, which developed in parallel though not without mutual interference and influence. A nostalgia-driven, revival of "picturesque" rustic models competed with a disciplined study of the vernacular as a source for rational tectonic and design ideas. Protagonists of the former tendency simultaneously endorsed "architettura minore (minor architecture)," focusing on regional building types and emphasizing the quaint and picturesque. Protagonists of the latter identified with so-called "Razionalismo (Rationalism)" and looked to " architettura rurale (rural architecture)" for a deeper understanding of its "timeless" tectonic systems and building elements in order to promote an anti-rhetorical and rational approach to contemporary design. By translating anonymous architectural sources into signature styles, Italian architects transgressed the fundamental nature of the traditions they sought to appropriate, which had traditionally been propelled by the people for the "popolo" or common people. However, the turn toward rustic, rural, and hill-town vernacular forms whose dramatic expressivity and quotidian vitality challenged developments within a European modernism heavily influenced by classicism-but also in thrall to machine-age aesthetics and abstraction-allowed a uniquely Italian domestic design culture to emerge. In their search for sources that evoked the uncorrupted values embodied by the Italian peasantry, Italian modernist architects set the stage for the modernization of rural life and the ruralization of modern life, and in this process, a modern reformist project emerged that was at once nostalgic and utopian, anachronistic and subversive.}, keywords = {Architectural History/Historic Preservation}, author = {Sabatino, Michelangelo} } @mastersthesis {9733, title = {The Japanese Expressionist: Yorozu Tetsugoro (1885{\textendash}1927) and the Language of Modern Art}, year = {2005}, school = {Yale}, abstract = {Yorozu Tetsugoro is almost universally hailed as the pioneer of the Japanese avant-garde. An oil painter in the "Western style" (yoga), he was one of the group of "revolutionary artists" who leveled the first serious challenge to the national academy and salon in 1912. The dissatisfaction that Yorozu and his colleagues felt toward the academy manner-and, indeed, toward the modern institution of "art" (bijutsu) itself-coincided with their discovery of Expressionism, the term then used for European Post-Impressionism and the art made under its influence. At the same time that Expressionism offered a model for an art grounded in the individual self, its Japoniste tendencies opened the eyes of Japanese oil painters like Yorozu to their own "forgotten" native artistic tradition. As Japanese artists looked to contemporary developments in Europe they found the means to inhabit, at one and the same time, both "Japan" and the "modern." Chapter One of the dissertation focuses on Yorozu{\textquoteright}s early work Nude Beauty, a painting that employs newly imported styles to effect a conceptual critique of Japan{\textquoteright}s own local tradition of oil painting. It outlines the development of Japanese modern art in the Meiji period and examines the structural relationship between modes of painting understood as native and foreign. Chapter Two contextualizes Yorozu{\textquoteright}s turn toward self-expression between 1912, when he embarked on the challenge of creating a modern art modeled on European modernism, and 1918, when a crisis of representation led him to explore nanga ink painting. The chapter addresses Yorozu{\textquoteright}s evolving conception of the self in relation to the "new woman" and the "new theater," to the "primitive," and to Buddhist philosophy, and provides critical accounts of the development of Taisho modernism, the Japanese reception of Post-Impressionism, and the local understanding of Expressionism. Chapter Three examines Yorozu{\textquoteright}s commitment, between 1919 and 1927, to challenging the boundaries of Eastern and Western painting idioms, and addresses Yorozu{\textquoteright}s mature theories of art in the context of the "return to the East" movement. It also traces the theory of rhythm, which was central to the Japanese understanding of Expressionism, to its sources in Laurence Binyon and Okakura Kakuzo.}, keywords = {Japanese/Korean Art}, author = {Volk, Alicia} } @mastersthesis {9745, title = {Jean Byraud and the Politics of the Parisian Boulevard in the Early Third Republic}, year = {2005}, school = {Kansas}, abstract = {My dissertation explores the ways in which the Parisian boulevard paintings of Jean Beraud (1849-1935) challenge conventional definitions of modernity that posit an exclusive relationship between middle- and upper-class masculinity and public space. Beraud{\textquoteright}s oeuvre is dominated by images of the boulevards and other public spaces of the city, precisely those spaces that have been used by scholars of the late nineteenth and early twentieth centuries to define modernity. Until recently, theorizations of modernity posited the public spaces of Paris as uniquely masculine-places that encouraged the specularity and pleasure of men where the ubiquitous and dominating flaneur was representative of middle- and upper-class masculinity. As I will show, Beraud{\textquoteright}s representations of the boulevard and his interpretations of the variety of activities and peoples found there encourage scholars to rethink further this hallowed space of modernity in terms of how such definitions apply to visual culture. The artist shows Baron Haussmann{\textquoteright}s (1809-1891) renovated thoroughfares, parks, and other public spaces of Paris filled less with bourgeois men than with two figures rarely encountered in other boulevard paintings of the period: unaccompanied women of indeterminate class and destitute beggars. By focusing on Beraud{\textquoteright}s representations of these figures, my dissertation shows how his works can be used by scholars to reconsider how modernity has been too narrowly defined in scholarship on the period. His paintings suggest that modernity and, more specifically, the modernity of Paris are more complex than the focus on bourgeois men and their presumed dominance of public spaces would imply.}, keywords = {Nineteenth-Century Art}, author = {Balducci, Temma} } @mastersthesis {9727, title = {Jikken Kobo (Experimental Workshop): Avant-Garde Experiments in Japanese Art of the 1950s}, year = {2005}, school = {Columbia}, abstract = {This dissertation examines the group Jikken Kobo(Experimental Workshop; active 1951--ca. 1957) that signaled the rebirth of avant-garde art in post-1945 Japan. Its fourteen members created a series of ephemeral works, including plays and dance performances, for non-museum spaces. Each chapter of this dissertation highlights select works and sets them within particular socio-historical and cultural contexts in order to illuminate the Kobo{\textquoteright}s key concept, experimentation (jikken). The first chapter introduces Jikken Kobo and its inaugural project entitled The Joy of Life. This ballet was created in collaboration with modern dancers and functioned as the Kobo{\textquoteright}s performative manifesto. The members{\textquoteright} formative years are traced within the artistic and political contexts of the immediate postwar period to outline their ideological characteristics. The second chapter offers a historiography of the field of Japanese modern art. A comparison between Jikken Kobo and Gutai Art Association (Gutai Bijutsu Kyokai) reveals the field{\textquoteright}s preference for Gutai over the Kobo, and the cause of this preference is scrutinized to expose a unique nature of art in Japan. The third chapter investigates Jikken Kobo{\textquoteright}s expansion of the concept of an in Japan. It focuses on the works that incorporated new mechanical devices and extracts from them the influence of the Bauhaus philosophy that was part of the legacy of the Occupation. In addition, the Kobo{\textquoteright}s enthusiasm for enlightening the audience via art is interpreted from the perspective of Japan{\textquoteright}s national rebuilding, prescribed by the New Deal-styled idealism during the Occupation period. The fourth chapter investigates Jikken Kobo{\textquoteright}s interest in the traditional performing arts of Japan. A conceptual split between tradition and innovation, paralleling the binary opposition of East and West, was challenged by the collaboration between the theater director Taketchi Tetsuji and Jikken Kobo in their creation of modern no theater. Their project is analyzed within the larger cultural phenomenon of "returning to the East," pervasive during mid-1950s Japan.}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {Tezuka, Miwako} } @mastersthesis {9826, title = {Jiri Kolar in Exile: Ubeity and Identity in Two Views of Prague}, year = {2005}, school = {Ohio State}, abstract = {This dissertation explores the exile period work (1979-1999) of the Czech-born writer and artist Jiri Kolar, with particular focus on his two series Kafkova Praha (Kafka{\textquoteright}s Prague) and Haskova Praha (Hasek{\textquoteright}s Prague). These two series are examined in the context of Kolar{\textquoteright}s role in the development of Czech modernism in the twentieth century, his dual status as a poet and visual artist, the series{\textquoteright} connections to the writers for which they are named (Franz Kafka and Jaroslav Hasek), and the artist{\textquoteright}s complex relationship with his homeland during his absence from it. Both series illustrate aspects of Kolar{\textquoteright}s struggle with his cultural and national identity, as well as his pursuit of a means of expression that could combine characteristics of poetry and visual art. The motifs of concealment, revelation, displacement, ubiety, language, and identity emerge with powerful clarity in Kolar{\textquoteright}s work during the two decades around which this dissertation revolves. Although Kolar created Kafka{\textquoteright}s Prague just after his forced separation from Czechoslovakia and Hasek{\textquoteright}s Prague just after his return home twenty years later, I argue that these two sets of manipulated photographs are not clear brackets around the artist{\textquoteright}s exile period. When studied together and with the historical circumstances and events that surround them in mind, they provide important insight into the experience of the displaced east European during and after the Communist period.}, keywords = {Twentieth-Century Art}, author = {Zullo, Douglas} } @mastersthesis {9825, title = {Johannes Baader and the Demise of Wilhelmine Culture: Architecture, Dada, and Social Critique, 1875-1920}, year = {2005}, school = {IFA/NYU}, abstract = {This dissertation examines the life and work of Johannes Baader (1875-1920), focusing on the years leading up to and including his involvement with the Berlin Dada group. A practicing architect in Germany before the First World War, Baader abandoned architecture to become a writer and, in 1918, became a founding member of Berlin Dada. Although known for his public provocations and his now-lost three-dimensional assemblage, the Great Plasto-Dio-Dada-Drama, exhibited at the First International Dada-Fair in 1920, Baader remains the most understudied member of the group. The reasons for Baader{\textquoteright}s neglect are manifold. The small number of surviving works from the Dada period is one reason, his reputation for being insane, another. Perhaps the most serious obstacle to Baader{\textquoteright}s recognition, however, was Richard Huelsenbeck{\textquoteright}s claim in the movement{\textquoteright}s first chronicle, the Dada Almanach (1920), that Baader "had nothing to do with Dada, neither in establishing it nor in representing the Dadaist idea." Baader{\textquoteright}s collages and assemblages of the Dada period do differ from those of his colleagues. While the works of all of the Berlin Dadaists may be seen to register the aftershocks of the war in the fragmentation of their form, iconographically they tend to concentrate upon the present. Baader{\textquoteright}s works stand out by way of their retrospective orientation. Comprising materials often drawn from his own past, Baader{\textquoteright}s Dada works are all essentially self-portraits. Baader recognized that his lifetime chronologically paralleled the "rise" and "fall" of the Prussian-led German state between its founding in 1871 and its military defeat in 1918, and proposed that his biography be considered a mirror of this period. Just as the era had been brought to a violent end, in his Dada self-portraits Baader represents a life exploded by the First World War. Adopting the biographical model, chronological parameters, and retrospective orientation found in these works, this thesis reconstructs Baader{\textquoteright}s biography until 1920, and recontextualizes the fragments found in his collages and assemblages. This effects a reconsideration of Berlin Dada in general: a movement commonly understood to have reacted to its tumultuous times but rarely considered in terms of its historical consciousness.}, keywords = {Twentieth-Century Art}, author = {Sudhalter, Adrian} } @mastersthesis {9630, title = {John Cage: Prints, Drawings and Watercolors, 1978-1992}, year = {2005}, school = {Virginia Commonwealth}, abstract = {John Cage is esteemed as an experimental composer, and as an inspiration to the neo-avant-garde. He also produced a scantly examined, but substantial body of visual work before his death in 1992. It included over 670 prints, 150 drawings and 114 watercolor paintings. This study will demonstrate that far from being inconsequential addenda to Cage{\textquoteright}s oeuvre, these works represent the culmination of his thinking. Through allusions to Duchamp, Zen and Thoreau, Cages attempts to point out shared ideas within the traditions of Europe, Asia and America that he sees as forerunners to the view of nature he espouses, later to be corroborated in modern chaos theory. Using the same system of chance based on the I Ching for creating his visual art that he used for his composition-one which he sees as allied with science, Cage begins to use stones as matrices to draw and paint around, and smoked paper and watercolor washes as indexes of a phenomenal world to which his art is a response. This study demonstrates that in Cage{\textquoteright}s visual art, the immediacy and physicality of his experience led Cage to an understanding of his role as an artist that differs from his more removed role of a composer. In keeping with the Zen adage that "an enlightened mind includes even itself," Cage steps back from his disavowal of self-expression and begins to see "mindful" aesthetic choice within the possibilities provided by his use of the I Ching as an acceptable part of nature{\textquoteright}s manner of operation. Comfortable that his own practices are guided by his attunement to nature, he acknowledges his role as a secular avatar, returning himself and others to a renewed experience of the world through his art.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Rau, Paula} } @mastersthesis {9731, title = {The Kokuga Sosaku Kyokai and Kyoto Nihonga Reform in the Meiji, Taisho and Early Showa Years (1900{\textendash}1928)}, year = {2005}, school = {University of Washington}, abstract = {This dissertation examines the activities of a nihonga painting collective known as the Kokuga Sosaku Kyokai (Kokuga Society), established in 1918. The founders of the group were Tsuchida Bakusen (1887-1936), Ono Chikkyo (1889-1979), Sakakibara Shiho (1887-1971), Murakami Kagaku (1888-1939) and Nonagase Banka (1889-1964). The group{\textquoteright}s goal was to foster reform of traditional painting by showcasing art that celebrated creativity, individuality, and self-expression, in order to encourage an alternative aesthetic to that associated with the Bunten, the dominant, government-organized exhibition series. The members held a total of seven national juried exhibitions until the group dissolved in 1928. The study begins by examining the founders{\textquoteright} early backgrounds and training in Kyoto from around 1900 to 1918. Their experiences at the Kyoto School of Arts and Crafts and the Kyoto Specialized School for Painting are given special attention. Their activities at local exhibitions and at the Bunten are then discussed, and precedent exhibition collectives such as the Nihon Bijutsuin and the Nikakai are considered as influential factors in the founding of the Kokuga Society. The remainder of the study is dedicated to the seven exhibitions sponsored by the Kokuga Society from 1918 to 1928, with special focus on contemporaneous critical reviews. The dissertation ends with the reasons for the dissolution of the group, and a consideration of the scope of their impact and influence on the world of Japanese neotraditional painting.}, keywords = {Japanese/Korean Art}, author = {Szostak, John} } @mastersthesis {9685, title = {Languages of Vision: Gyorgy Kepes and the {\textquoteright}New Landscape{\textquoteright} of Art and Science}, year = {2005}, school = {CUNY}, abstract = {Relying on archival and published sources, this study of the Hungarian-American artist Gyorgy Kepes (1906-2001) analyzes how his belief in the social role of the artist-a belief he came to embrace prior to his arrival in the United States-figured in his post-World War II practice as an artist, teacher, and cultural theorist. In particular, it demonstrates that, like other modernists, Kepes responded to the challenges of his epoch by conceiving of various paths to "wholeness" and "order." Principal among these paths was the desire to enact an interdisciplinary "ethic" that would lead to the "union of the arts and sciences." It shows how Kepes pursued these stated ideals-which resonated with emerging postwar concepts of universal structures evident in the Unity of Science movement and linguistics-by advocating for collaborations between artists and scientists at the Massachusetts Institute of Technology, where he taught from 1946 to 1974, and by integrating scientific photographs into his books and exhibitions. While I acknowledge Kepes{\textquoteright}s indebtedness to the Hungarian artist Laszlo Moholy-Nagy, with whom he has traditionally been associated, I have sought to focus on the social and intellectual currents that induced Kepes to expand Moholy-Nagy{\textquoteright}s general interest in technology and science into an all-encompassing aesthetic credo. Kepes took the modernist ideal of a social and technological utopia into the late twentieth century, where its biases toward "modern man" eventually came under attack. The dissertation is divided into an Introduction and four chapters. The Introduction outlines the topic in relation to the extant literature on Kepes. Chapter One demonstrates the significance of Kepes{\textquoteright}s early career in Budapest, Berlin, and London to his postwar activities in the United States. Chapter Two discusses his experiences in Chicago, where he taught photography, graphic design, and advertising at the New Bauhaus. Chapter Three analyzes Kepes{\textquoteright}s teaching, exhibition, and publication initiatives at MIT. Chapter Four documents the founding of the Center for Advanced Visual Studies at MIT in 1967, where Kepes pursued art projects on a "civic scale" in an effort to encourage a sense of community during a period of tumultuous social unrest.}, keywords = {Drawings/Prints/Works on Paper}, author = {Finch, Elizabeth} } @mastersthesis {9656, title = {L{\textquoteright}art feministe et la traversee de la pornographie: Erotisme et intersubjectivity chez Carolee Schneemann, Pipilotti Rist, Annie Sprinkle et Marlene Dumas}, year = {2005}, school = {McGill}, abstract = {The increasing importance of pornography since its commercialization at the end of the seventies modified the artistic landscape of sexual representation. What has occurred is a transformation of the horizon of expectations of pornographic images, the definition of eroticism and the relationship between the two notions. In this perspective, the thesis concentrates on the analysis of the appropriation of certain distinct traits of hard core pornography in feminist art. Specifically, it is a qualitative analysis of the interrelations between eroticism and pornography in feminist art during the 1980s. The thesis proceeds to an in-depth analysis of several works by Pipilotti Rist, Annie Sprinkle, and Marlene Dumas as well as adding three earlier works of sexually explicit representation by Carolee Schneemann. The analysis of these works aims to redefine notions of pornography and eroticism, drawing on the work of Linda Williams for the first definition and Georges Bataille for the second. The theoretical context of the thesis, which also turns out to be the historical context of the works, is made up of disciplinary approaches that have most contributed to the debate around eroticism and pornography: art history, philosophy, feminist studies, queer theory, semiology and psychoanalysis. The thesis makes several conclusions. First, the dynamic between eroticism and pornography does not have to be considered oppositional; the two methods of expression are frequently both represented in the same work. Also, women are no longer uniquely victims of pornography (they are increasingly in the role of pornographic auteure) and the analysis of these works confirms that feminists have appropriated the genre to explore a diversity of female eroticisms and propose a form of feminist, intersubjective pornography. Finally, the use by female artists of syntaxes and features typical of pornography helps to bring about a demand for a more complete and complex female subjectivity which is no longer only political, but also sexual.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Lavigne, Julie} } @mastersthesis {9688, title = {Last Judgments and Last Emperors: Illustrating Apocalyptic History in Late- and Post-Byzantine Art}, year = {2005}, school = {Chicago}, abstract = {What would happen when human history and the terrestrial world came to their end? According to Byzantine apocalyptic authors, the fate of the world was inevitably wrapped up with that of the Byzantine Empire as well as the Orthodox Church, and this theme unites the rich body of apocalyptic literature throughout the Byzantine era. Yet, it is not until the late-fifteenth century and well into the post-Byzantine period that we find any illustrated versions of these apocalyptic texts. Though the direct, pictorial representation of apocalyptic narratives was a late-appearing phenomenon, this dissertation shows that Byzantine apocalyptic beliefs also found other forms of expression in the visual arts of the prior centuries. The ideological subtext of the Byzantine apocalypse, over and above its narrative content, provided the exegetical foundation for visual forms that expand the definition of what is "eschatological" in Byzantine art. Beginning with an analysis of Byzantine apocalyptic literature as a sub-genre of historical chronicling, chapters I and 2 consider ways in which established visual forms in Byzantine religious art were re-used in innovative compositions in order to capture the essential apocalyptic theme of the triumphal, universal history of the Byzantine empire. Such examples are found predominantly in the monumental painting of Byzantine Orthodox churches from the thirteenth through fifteenth centuries, located in regions colonized by Venice. My dissertation considers these iconographic programs within the social and historical context of late-medieval colonization in the Mediterranean, analyzing how the visualization of Byzantine apocalyptic ideals promoted political agendas specific to the Byzantine-Latin encounter of this time. Chapters 3 and 4 consider the phenomenon of an illustrated, post-Byzantine manuscript of Byzantine apocalyptic texts, Venice, Marciana Library, gr. VII, 22. Chapter 3 presents an analysis of the text and imagery that demonstrates how the manu script should be read as a traditional Byzantine apocalyptic history, but also how this history has been updated for the sixteenth-century viewer. Chapter 4 explores the illumination of the Marciana manuscript as the product of a sixteenth-century revival in Byzantine apocalyptic literature that was determined in part by the tastes and interests of Italian humanist historians.}, keywords = {Early Christian/Byzantine Art}, author = {Volan, Angela} } @mastersthesis {9791, title = {Le Donne, I Cavalier, L{\textquoteright}Arme, Gli Amori{\textquoteright}: Artistic Patronage at the Court of Alfonso I d{\textquoteright}Este, Duke of Ferrara}, year = {2005}, school = {UCLA}, abstract = {This dissertation addresses artistic patronage at the court of Alfonso I d{\textquoteright}Este, duke of Ferrara from 1505-1534, in order to broaden our understanding of him as a patron, and of the myriad ways in which art was used to enrich and support a courtly lifestyle in Ferrara. After setting the duke{\textquoteright}s reign in its historical context, Alfonso{\textquoteright}s medallic, relief, and painted portraits are analyzed in order to show how various visual forms of ducal identity were created, depending upon need. In Chapters Two and Three I address Renaissance concepts of femininity and how these were expressed in the portraits of Alfonso{\textquoteright}s duchess Lucrezia Borgia, and of his later mistress Laura Dianti, and the ways in which such female imagery often supported male identity. Both women had questionable pasts, and their portraits also functioned to create courtly female selves appropriate to each woman{\textquoteright}s rank and position. In Chapters Four and Five I analyze Alfonso{\textquoteright}s innovative Studio di Marmo, decorated with reliefs carved by Antonio Lombardo, and a Camerino of paintings by Giovanni Bellini, Titian, and Dosso Dossi. A galleria, possibly for the display of antiquities, was also part of the sequence, making a sumptuous zone of retreat for a war-weary condottiere prince. The rooms are situated within the infrequently discussed context of the development of spaces for collecting and display. Allusions to both antique and contemporary literature, sculpture and painting within the decorations allowed the duke present himself as an erudite collector familiar with early Cinquecento artistic discourses. Issues such as the paragone, or comparison between painting and sculpture, ekphrasis, narrative in painting, and the use of pastoral themes to create evocative images might have engaged Alfonso and his guests. The discussion of the duke{\textquoteright}s private rooms is carried over into the Appendix, in which recently discovered documents are examined and the traditionally accepted room locations are rethought. In the conclusion I summarize Alfonso{\textquoteright}s artistic interests by addressing a lost painting by Michelangelo of Leda and the Swan, a work that the artist created for the duke but ultimately chose not to send to him.}, keywords = {Renaissance/Baroque Art}, author = {Williams, Allyson Burgess} } @mastersthesis {9682, title = {Lee Miller: Photographer of War}, year = {2005}, school = {Rutgers}, abstract = {This dissertation examines and places in a new context the photographic output of Lee Miller during World War II (1939-1945). Miller{\textquoteright}s wartime photographs, analyzed in-depth for the first time within this study, formulate an integral statement by an artist who viewed the canvas of war through Surrealist eyes and documented the event with photographs and essays. Miller created an entirely new genre of photograph that combined the documentary aspects of photojournalism with the artistic aspects of Surrealism. The melange formed by Miller{\textquoteright}s temperament, artistic background and training, personal relationships, as well as the fact that she photographed for elite Vogue magazine, rather than an arm of the "hard news" media, influenced the nature of her documents of the Second World War. These photographs exist simultaneously as photoreportage and Surrealist art; accurate representations of the reality of war, yet also carefully selected vignettes providing ambiguous and evocative statements. Miller{\textquoteright}s ideas were coded within the images and essays she sent from embattled Europe to be published within the pages of Vogue for upper-class women to read along with fashion advice and advertisements for beauty products. This specific placement appended an additional level of Surrealism to Miller{\textquoteright}s work, transforming the whole of Vogue magazine into a Surrealist piece for the duration of the war. Miller{\textquoteright}s documentation of the war began in the besieged city of London, continued over the battlefields of Europe, and ended in the concentration camps in Germany. The originality of her photographs is placed in relief when compared to those of noted photojournalists Robert Capa and Margaret-Bourke-White. Lee Miller can be viewed as existing at the forefront of a zeitgeist, in which the inspiration for art came not from lofty ideals but from the everyday world. Although trained within the milieu of Surrealism, Miller attained the height of her artistic abilities when, spurred by the cataclysm of war, she conflated her Surrealist aesthetic with the genre of documentary photography and succeeded in creating a category all her own. Lee Miller{\textquoteright}s records of the Second World War reveal a revolutionary method of documenting a horrifying reality.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Davis, Caitlin S.} } @mastersthesis {9608, title = {Legacies: Family Memories, and Identity in the Work of Roger Shimomura, Tomie Arai, and Lynne Yamamoto}, year = {2005}, school = {USC}, abstract = {The dissertation examines the work of three sansei (third generation) Japanese American artists, Roger Shimomura, Tomie Arai, and Lynne Yamamoto in order to interrogate the complex relationship between memory, history, and Japanese American identity. These artists utilize various forms of memory communication in their art such as diaries, photographs, and oral history. By delving into their families{\textquoteright} history and memory, these artists contribute to a broader understanding of their ethnic identity and particularized history in the United States. Their recovery of family memories has translated into bodies of work that highlight aspects of Japanese American experience influenced by each artist{\textquoteright}s distinct regional upbringing or residence, gender, age and sexuality. Much existing literature in Japanese American studies is dominated by a discourse that engenders a narrow definition of Japanese American identity as inextricably linked with the internment camp experience. The discourse tends to privilege this particular historical event and the stories surrounding internment, while simultaneously marginalizing those narratives that fall outside the purview of incarceration. My study recognizes internment as integral to the formulation of Japanese American subjectivity, particularly through a discussion of Shimomura{\textquoteright}s work that draws upon his grandmother{\textquoteright}s memories of internment, yet argues that there are other avenues by which to depict Japanese American experience. The dissertation also asserts that due to the force of internment in Japanese American culture, Japanese American artists, such as Shimomura, struggle with how to acknowledge and explore the history of internment and at the same time prevent it from solely defining their representation of Japanese American identity. Through the chapters on the art of Yamamoto and Arai, we can begin to see more clearly how Japanese American artists are steering away from the singular depiction of internment and instead portraying Japanese American experience in more nuanced ways. Their art creates amore comprehensive conceptualization of Japanese American subjectivity through work that examines subjects such as immigrant women{\textquoteright}s labor and history, and the racial and social stratification in Hawaii during the nineteenth and early twentieth centuries.}, keywords = {Art of the United States, Contemporary Art}, author = {Uradomo, Stacey} } @mastersthesis {9734, title = {The Life and Afterlives of Hanabusa Itcho (1652{\textendash}1724)}, year = {2005}, school = {IFA/NYU}, abstract = {Although not very well known today, when the first histories of early modern authors and artists were written in the late eighteenth century, the name of the painter Hanabusa Itcho was often cited. His works were well circulated in his lifetime, he and his studio repeated his original designs, and he made designs for other artists to use. Head of his own studio, he later became known as the founder the Hanabusa School. Followers perpetuated his motifs, sometimes spuriously adding Itcho{\textquoteright}s name to their own works. Artists of the nineteenth century, especially those in the Utagawa School of ukiyo-e, not only complimented him by imitation, but also lauded him for having created the genre of giga (a playfully humorous kind of painting). In fact, in the mid-eighteenth century, a printed collection of his designs, Itcho gafu---one of the first monographic art books published in Japan---helped define the genre of giga. Exiled during his lifetime for indeterminable reasons, moreover, the cause his exile became the source of speculation and the cause for his posthumous notoriety as social-rebel. A deeper understanding of Itcho---of both his life and his work---depends on our ability to see him in his multiple personas during his lifetime, and to view his life and work in terms of afterlives. Historically, I place Itcho{\textquoteright}s life and afterlives within the context of the development of the idea of the artist in early modern Japan, seeing the rise of the artist and writers as a corollary to the growth in the means of cultural reproduction. I move from Itcho{\textquoteright}s work as he formulated it within the aesthetic framework of haikai to the ways it was valorized as giga in the nineteenth century. Additionally, I examine the nineteenth century bifurcation of Itcho into, on the one hand, the trajectory of the formation of artist "biography," a form concerned with the true facts about the artist found increasingly in biographical compendia, and, on the other hand, "legend" as this was realized in the fictional worlds of theatre, novels, and prints.}, keywords = {Japanese/Korean Art}, author = {Wattles, Miriam} } @mastersthesis {9627, title = {A Life in the Newspapers: The American Press and George Grosz}, year = {2005}, school = {Virginia Commonwealth}, abstract = {The response of the American press to George Grosz, as seen in the clippings in the Grosz archive stored at the Houghton Library and Reading Room, Harvard University, is used to construct an account of the artist{\textquoteright}s American period. This material is critically compared to published biographies of the artist. The record of Grosz{\textquoteright}s American period, as recounted in the popular press, reveals a more successful career than has been constructed in the biographies examined. These materials are examined as representative of the response to Grosz and his work in terms of reception theory and analysis. The response to George Grosz is presented as an extension of the biographic descriptions of the artist and as a corrective to the prevailing opinion that his American period was a failure, personally and artistically. An edited transcription of the 668 American press clippings published during Grosz{\textquoteright}s life and held in the artist{\textquoteright}s archive is included as an appendix.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Hubenthal, John} } @mastersthesis {9603, title = {The Life Story of the Cemberlitas Hamam: From Bath to Tourist Attraction}, year = {2005}, school = {Minnesota}, abstract = {This dissertation traces the life story of the Cemberlitas Hamam, Istanbul. The hamam{\textquoteright}s genealogy considers the development of baths, from Ancient Greece and Rome over Late Antiquity to the Early Islamic Period in Arabia and Iran, to Medieval Anatolia and, finally, to Ottoman Istanbul. The following chapter outlines some of the hamams{\textquoteright} multifarious meanings: religious, social, political, and medical. The economic significance of the Cemberlitas Hamam is examined in the context of the bath{\textquoteright}s family network: Nurbanu Sultan{\textquoteright}s endowed mosque complex in Uskudar. Together with its siblings, three other hamams in Istanbul, it had to provide income for this family. The circumstances of the hamam{\textquoteright}s birth in 1583/84 are the subject of Chapter Four. The chapter "Making Money" examines the business aspects of the hamam, such as employees, guilds, regulations, and entrance fees. The eighteenth century was a period of renovations and repairs, as four hundred years of wear and tear, fires and earthquakes had started to take its toll; Chapter Five investigates these renovation activities. Between 1800 and 1923, the hamam entered a new economic context, as it was administratively severed from its family network. Concurrently, it took on new values in an Ottoman Empire attempting to define itself as European and modern. While hamams were featured among the Ottoman pavilions at nineteenth-century World Fairs, the Cemberlitas Hamam suffered mutilation at the hands of the Commission for Road Improvement. In the Early Republic, attitudes towards the Ottoman built heritage were laden with similarly ambiguous sentiments. However, in the second half of the twentieth century the hamam took on a new identity: that of a tourist attraction. Now the bath has become a space contested/shared by its employees and managers, by Turkish and foreign visitors. A discussion of the hamam as a node in a network of global flows underscores how this institution has exchanged its place in the endowment{\textquoteright}s network for the network of global tourism. In that sense, the Cemberlitas Hamam has never been a strictly local institution, but has always extended beyond its physical location.}, keywords = {Art of the Middle East/North Africa}, author = {Cichocki, Nina} } @mastersthesis {9729, title = {The Lives of Shotoku: Narrative Art and Ritual in Medieval Japan}, year = {2005}, school = {Princeton}, abstract = {This dissertation examines a group of large hanging scroll sets that depict the life of the Japanese Prince Shotoku (574-622). The study analyzes visual narratives as sites for negotiating conflicts of lineage, legitimacy, and national and sectarian identity. The first chapter examines the early history of Shotoku belief, focusing on the 1069 wall painting program from Hory√{\textordfeminine}-ji Temple. It demonstrates how, throughout much of the Heian Period, Shotoku art was primarily the purview of aristocratic devotees and was limited to sites historically and geographically linked to the prince. In such locations, it functioned as a type of performative relic and sacred map of Shotoku{\textquoteright}s life. The second chapter analyzes the explosion of Shotoku art around the seven hundredth anniversary of the prince{\textquoteright}s death in 1322. The first half examines the historical and institutional factors that formed a basis for popular medieval cults of the prince. Careful consideration of the three main stylistic lineages of images depicting Shotoku{\textquoteright}s life lead to the hypotheses that the large hanging scrolls sets were produced and distributed under the auspices of Shitenno-ji and the Takada faction of the Shin Sect. Chapter Three posits the Shotoku narrative scrolls as ritual objects. After a brief examination of the history and historiography of pictorial exegesis in Japan, this section shows how a thorough understanding of the physical qualities of the scrolls, coupled with a textured analysis of existing textual evidence, challenges received understandings of what it meant to experience hagiographic art in medieval Japan. In order understand the presence that animates the visual culture of the Shotoku cult, the fourth and final chapter considers the many aspects of the prince as a deity. Through detailed analysis of various visual and textual hagiographies from medieval Japan, it shows how the story of Shotoku came to be closely associated with a panoply of religious figures, ultimately even usurping the status of the Buddha sakyamuni in many circles. The conclusion ties the previous chapters together, demonstrating how the image of Shotoku was central to Japanese senses of national history and identity, from medieval times to the present.}, keywords = {Japanese/Korean Art}, author = {Kevin Carr} } @mastersthesis {9639, title = {Living on Paper{\textquoteright}: Georgia O{\textquoteright}Keeffe and the Culture of Drawing and Watercolor in the Stieglitz Circle}, year = {2005}, school = {Maryland}, abstract = {Drawing and watercolor were important in shaping the modernism of artist Georgia O{\textquoteright}Keeffe and photographer Alfred Stieglitz. In his gallery 291 and journal Camera Work, Stieglitz introduced European avant-garde art to early twentieth-century America and promoted American modernists including O{\textquoteright}Keeffe. Stieglitz as a child collected drawings and watercolors and learned traditional drawing connoisseurship that valued revelation of the artist{\textquoteright}s character through the marks he made on paper. Stieglitz{\textquoteright}s journals Camera Notes and Camera Work asserted connections between photography and other graphic media. Stieglitz and Edward Steichen founded 291 as a pictorial photography gallery but later exhibited modern paintings and many drawings and watercolors. O{\textquoteright}Keeffe studied academic art at the Art Institute of Chicago and the Art Students League in New York, but she wanted more creative freedom. Art educator Arthur Wesley Dow introduced O{\textquoteright}Keeffe to abstract design principles and prepared her to appreciate modern art. While O{\textquoteright}Keeffe was training as an art teacher at Columbia University Teachers College in New York in 1914 and 1915, she visited 291 and became interested in modern art. O{\textquoteright}Keeffe{\textquoteright}s original conception of modernism was graphic because the modern arts she had seen was mainly in the form of drawings and watercolor and printed reproductions of paintings. Her first modern art works, made in South Carolina in 1915, were abstract charcoal drawings that combined academic drawing techniques with modernist approaches from charcoal drawings by Pablo Picasso and Marius de Zayas. Stieglitz interpreted O{\textquoteright}Keeffe{\textquoteright}s drawings as naive expressions of female sexuality and showed them at 291 in 1916. O{\textquoteright}Keeffe taught art in Texas and made modernist watercolors of the Texas sky and landscape. Stieglitz showed her new works at 291 in 1917. In 1918 O{\textquoteright}Keeffe returned to New York and moved in with Stieglitz. She concentrated on painting in oils for the rest of her career. Stieglitz photographed O{\textquoteright}Keeffe with her drawings and watercolors, connecting the marks on paper with the artist{\textquoteright}s body, hands, and sexuality. While exhibiting O{\textquoteright}Keeffe{\textquoteright}s oil paintings, Stieglitz continued for decades to show O{\textquoteright}Keeffe{\textquoteright}s early drawings to critics and to stress her origins as a simple graphic artist.}, keywords = {Art of the United States}, author = {Wagner, Ann Prentice} } @mastersthesis {9794, title = {Locating Abanindranath Tagore: Local, National, and Transnational Concern in a Turn-of-the-Century Indian Artist}, year = {2005}, school = {UCLA}, abstract = {Abanindranath Tagore was an Indian artist known as the founder of a {\textquoteright}national{\textquoteright} school of art in the early 20thc., now called the Bengal School. The {\textquoteright}national{\textquoteright} basis of this art, in its turn, has been seen as derived from the Orientalist constructions of an Indian art history by figures such as E. B. Havell and Ananda Coomaraswamy. My contention in this thesis is that while this is to some extent true, the central concern in the art of Abanindranath Tagore is not the normalization of national or oriental principles, but rather an engagement with post-Enlightenment modernity as the underlying paradigm behind colonialism and nationalism, anticipating the objectification and fragmentation implicit in its order and countering these with a seeking, on the one hand, for transcendence or individual autonomy and on the other, the use of the freedom gained by this seeking as the basis of the creative practice of a communitarian intersubjectivity. In this, I see the fragmented subject of modernity as constituted by a variety of distinct discourses corresponding to imagined and lived communities. Modern capital{\textquoteright}s teleology, progressing towards globalism, establishes its regime institutionally through nation-states and symbolically through the modern metropolis. Late 19thc./early 20thc. Calcutta was the site of a number of such coexisting discourses with their specific trajectories and within this contested territory, Abanindranath Tagore made his art practice into a variety of hybrid negotiations between modernity and community or subjective autonomy and intersubjectivity. These hierarchical yet distinct discourses, brought into engagement by Abanindranath in this person and his art work, included the intersubjective realms of his Jorasanko family community, Bengal regionalism as exemplified through the movement of cultural politics known as the Bengal Renaissance, Indian nationalism, pan-Asianism and international Orientalism. Within this hermeneutic practice lay the potential of producing an ongoing limited transformative action that can be thought of as an alternate nationalism.}, keywords = {South/Southeast Asian Art}, author = {Banerji, Debashish} } @mastersthesis {9768, title = {Locating the Place and Meaning of the Talud-Tablero Architectural Style in the Early Classic Maya Built Environment}, year = {2005}, school = {UT Austin}, abstract = {This dissertation defines the place and meaning of the talud-tablero architectural style within the context of the Early Classic built environment. In doing so, this study explores the relationship between architectural style and changing perceptions of key spaces within the sacred landscape, particularly those places associated with primordial origins. Theoretically, the dissertation presents a model for "reading" architectural style in order to understand the unique role of style as a carver of collective memory. I argue that Maya rulers were keenly aware of the power of architectural style to evoke specific spatial and experiential associations in the viewer that reinforced their claims to power.}, keywords = {Pre-Columbian Art}, author = {Cash, Cristin Loren} } @mastersthesis {9650, title = {The Longmen Guyang Cave: Sculpture and Calligraphy of the Northern Wei (386-534)}, year = {2005}, school = {Pennsylvania}, abstract = {The Northern Wei moved the capital from Pingcheng to Luoyang in 493. At the new capital, the non-Chinese emperor Xiaowen (r. 471-499) executed more aggressive cultural reforms than those implemented at the old capital. The aim of the so-called "Taihe Reforms" was to sinicize the state. The Guyang Cave, known as the first cave temple of the state among the Longmen group that was excavated after the move of the capital, is the embodiment of the emperor{\textquoteright}s desire for sinicization. This study explores how the emperor{\textquoteright}s cultural reforms affected the stylistic changes in sculpture, inscriptions, and calligraphy of the cave during the last decade of the fifth and the first decades of the sixth centuries. Clearly, the sculpture shows us the modification of dress code in both religious and secular figures; they were portrayed in a traditional Chinese manner. The inscriptions demonstrate the execution of a name code and convey traditional Chinese ideology. The calligraphy displays the change from the stele style to the Southern "model calligraphy" style. Each and every element in the cave thus represents a decision to follow the past and contemporary Chinese dynasties. In this respect, this cave is a political expression of the ruling class of the time. It is of importance because it shows how the art is profoundly tied with the social atmosphere and political situation of the time.}, keywords = {Chinese Art}, author = {Lee, Hyun-Sook} } @mastersthesis {9653, title = {Love Lost: Qian Xuan (ca. 1235-ca. 1307) and Images of Emperor Ming Huang and Yang Guifei}, year = {2005}, school = {Yale}, abstract = {During the early Yuan dynasty, Qian Xuan returned to an old theme by painting an episode from what may be the most famous tragic love story in Chinese history. In Yang Guifei Mounting a Horse, Qian Xuan portrayed a rather commonplace event of palace daily life---preparation for an imperial expedition. This tableau, however, recalled well-known historical events of circa 745. At that time, Emperor Ming Huang fell in love with Yang Guifei, the most famous femme fatale of the Tang dynasty. Their archetypal story of love and loss inspired poets, playwrights, and painters throughout Chinese history. Qian Xuan significantly changed the way the story was portrayed in his figure paintings and bird and flower compositions. This dissertation considers how and why Qian Xuan reconceived the story visually and reinterpreted the narrative in creative and innovative ways. This study examines Qian Xuan{\textquoteright}s art in terms of his historical, artistic, and cultural context. Qian Xuan both acknowledged painted precedents, including "Emperor Ming Huang{\textquoteright}s Journey to Shu" and "Emperor Ming Huang and Yang Guifei{\textquoteright}s Amusements," and rejected the imagery, style, and decorative nuances of his own time. Qian Xuan favored a classical, purified pictorial language inspired by antique modes of picture-making, and dense, highly-allusive poetic inscriptions. This study also considers literary traditions, including poetry, prose, and drama, that bear on Qian Xuan{\textquoteright}s art. Qian Xuan transformed a popular, romantic story into powerful, iconic images of tragedy and enduring beauty. In exploring how it was portrayed by Qian Xuan and the artists who preceded him, this dissertation hopes to offer a new look at an old Chinese love story.}, keywords = {Chinese Art}, author = {Owen, Elizabeth Marie} } @mastersthesis {9738, title = {Loza Poblana: The Emergence of a Mexican Ceramic Tradition}, year = {2005}, school = {CUNY}, abstract = {For over four centuries, the Mexican city of Puebla de los Angeles has been recognized as the most important producer of maiolica (tin-glazed earthenware) in Latin America. Referred to in colonial documents as loza, this ware enjoyed the widest distribution of any ceramic made in the Americas. The study of Puebla colonial ceramics provides an avenue for exploring the emergence of an artistic tradition born of converging cultures, for it reflects the cultural encounters of Spain, Italy, China, and the Islamic world. The origin of loza poblana (Puebla maiolica) dates to Spain{\textquoteright}s conquest of Mexico in 1521, when Spaniards introduced techniques for producing the ceramic ware they had known in Europe-most notably tin- and lead-based glaze, the potter{\textquoteright}s wheel, and an updraft kiln-contributions that may be counted among the most important artistic innovations introduced to New Spain in the sixteenth century. This dissertation explores developments in the Puebla ceramic tradition from the sixteenth century through the early twentieth century, with a focus on its emergence. Analyses and conclusions rely on archival documents, historic literature, archaeological findings, as well as close object studies and recent scholarship. The introduction presents the subject and gives a historical overview of ceramic practices, especially in regard to maiolica. Next follows the historical background for the tradition in Spain and Puebla, and the important trade networks that developed across the Atlantic and the Pacific coasts as well as within the American colonies. Chapter 3 is dedicated to the potters and their workshops, with an attempt to restore their names and those of their workshops to ceramic history. The next chapter deals with tilework, focusing on Puebla{\textquoteright}s tradition of decorating churches and conventos with tiles, while the chapter on vessels focuses on the development of their forms and designs. The final chapter is devoted to the history of the largest and most important collections of Puebla pottery in Mexico and the United States. This dissertation fills gaps in extant scholarship by bringing to the fore the development of a tradition over centuries, and by outlining the social and cultural conditions and ramifications of its production.}, keywords = {Latin American/Caribbean Art}, author = {Connors McQuade, Margaret} } @mastersthesis {9797, title = {Making the Scene: Assemblage, Pop Art, and Locality in 1960s Los Angeles}, year = {2005}, school = {Chicago}, abstract = {This dissertation is about the relationship between artistic practice and social space. I ask how advanced artists working in Southern California during a period of increasing suburbanization, city boosterism and economic expansion responded in their work to the changing relationship between art and place in the fragmented metropolis of Los Angeles. Drawing upon the fields of urban studies, geography and spatial theory, I argue that the work of four key artists-Wallace Berman, Edward Kienholz, Billy Al Bengston and Ed Ruscha-helped to construct and transform the social spaces and particular locales in which a new Los Angeles art community emerged in the 1960s. While previous scholarship on these artists has situated their stylistic development in isolation or in terms of the New York art world, my study performs a much needed contextualization of their work, their techniques and their artistic identities. In particular, I focus on how the change in the nature of the spaces and publics of art in Los Angeles was enabled by the stylistic shift from assemblage sculpture to pop painting. The dialogue between these styles, I argue, allowed artists to both resist and participate in the increasing institutionalization of the Los Angeles art world. Ultimately, I demonstrate how these four major Los Angeles artists negotiated shifting meanings of the national and the local, the public and the private, and the sites of commerce and community. In the four chapters of my dissertation, each focusing on a single artist, I show how their work and artistic practices help them negotiate the spatial features of their environment. By analyzing these four artists and their work, I conclude that as the 1960s progresses in Los Angeles, a shift can be seen from an art that is intimately engaged with the localized spaces of the artist{\textquoteright}s coterie to work that is in dialogue with the public spaces of the city{\textquoteright}s galleries, museums and the sites of consumption and entertainment.}, keywords = {Twentieth-Century Art}, author = {Allan, Kenneth D.} } @mastersthesis {9769, title = {Making Visible History: Engaging Ancient Maya Sculpture}, year = {2005}, school = {Yale}, abstract = {This dissertation is an exploration of the historical dimensions of ancient Maya monumental stone sculpture from the fifth through the eighth centuries AD in present-day Chiapas, Mexico and the Peten, Guatemala. To this end, it is an investigation of how the Maya manipulated images and objects about and from their pasts as a means of envisioning and re-envisioning those pasts in relation to their own present. This took place in various ways, including the representation of persons and events from the past, the imitation or emulation of images and objects from the past, and the resetting of old objects in new contexts. The Maya thereby revived or reactivated pieces of the past in order to give new contexts to the present and past, forging connections with specific personages and events and creating webs of precedent and tradition. Using information, methodology, and theory from art history, epigraphy, archaeology, and history, the author explores image, text, and context in the analysis of ancient Maya sculptures. The examinations concern not only the moment of creation but also changes over time that transpire with new creations, new contexts, and new juxtapositions. Therefore, this dissertation explores individual sculptures in detail and their physical and architectural contexts, in addition to the concept of Maya cities as palimpsests in which visible histories were written, augmented, erased, and rewritten. Moreover, the author suggests that ancient Maya viewers experienced and created history in a variety of ways through vision and movement in and among these sculptures. These continuing and dynamic creations of history align with concepts of the cyclicality and linearity of Maya time and history and practices of remapping the past in order to lead to the present.}, keywords = {Pre-Columbian Art}, author = {O{\textquoteright}Neil, Megan} } @mastersthesis {9667, title = {Marsyas Contended: The Figure of Marsyas in Roman Art, Politics, and Religion}, year = {2005}, school = {USC}, abstract = {This is the first comprehensive study the mythological figure of Marsyas in Roman culture from ca. 300 BCE through the Augustan Principate. I explore the interaction of two traditions of Marsyas which have hitherto only been studied separately: A Graeco-Phrygian tradition which culminates in a musical competition with Apollo and Marsyas{\textquoteright} subsequent punishment and an Italic tradition in which Marsyas is the founder of the Marsi, an Italic tribe, and a teacher of augury. In Chapter One, I discuss the iconography of the earliest known representation of Marsyas in Rome, a statue which stood in the Forum Romanum (the Forum Marsyas), which became known as an indicium libertatis (symbol of liberty). On the basis of its iconography, I associate the statue with the Italic tradition. In Chapter Two, I discuss the statue in relation to other iconographic traditions for depicting Marsyas and relate the dedication of this statue to the third century plebeian leader, Gaius Marcius Rutilus, the first plebeian enrolled in both the augural and pontifical colleges. The third chapter concerns images of the statue on coins and gems associated with the Marians during the Sullan civil war and the use of such objects for disseminating propaganda in the late Republic. In this chapter, I also examine the contexts in which these images may have had meaning (i.e., debates concerning the integration of Italians into Rome{\textquoteright}s political system, the role of augury in Roman politics, and the limits of plebeian libertas). The final chapter discusses the spread of other images of Marsyas in the late Republic as a response to the Marian politicization of the Forum Marsyas. I argue that changes in the iconography and conception of Marsyas in this period are due to changes in Roman society; the result was that Marsyas was no longer conceived as an indicium libertatis but as an indicium concordiae. This is most clearly seen in the works of Ovid, who uses the existence of the two traditions of Marsyas to explore the limits of libertas under the Principate.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Greek/Roman Art}, author = {Schertz, Peter} } @mastersthesis {9767, title = {The Mask Flange Iconographic Complex: The Art, Ritual, and History of a Maya Sacred Image}, year = {2005}, school = {UT Austin}, abstract = {This dissertation examines the symbolism, ritual use, and formal development of the Mask Flange Iconographic Complex (MFIC), one of the most important and ubiquitous iconic forms for the presentation of Maya deities from the Late Preclassic to post-Classic periods. The MFIC is characterized by a central mask, face, or figure surmounted by an ornate headdress that rests on a personification of the earth. Ornamented symmetrical side flanges flank this central composition. This dissertation argues that the cosmological narrative, preserved in Classic period inscriptions and imagery, informed the imagery of the MFIC and that this motif, as part of sculptural programs, mapped creation mythology to the built environment. It is demonstrated that the MFIC was central to the manifestation of the Maya{\textquoteright}s conception of world order. Specifically, it is suggested that more than depicting a layered conception of the cosmos common to many cultures of the Americas, the patterns presented by the MFIC are best understood vis-a-vis the life cycle of maize which was and still is a major structuring metaphor in Maya thought. With a greater insight into the development and ritual use of the MFIC, a more subtle understanding is gained, not just of the symbol system of the ancient Maya, but also of the nature of the interaction between art and ritual. This dissertation, therefore, engages such larger theoretical questions as representation{\textquoteright}s role in ritual, the material embodiment of the divine, and the nature of Classic period Maya religious thought.}, keywords = {Pre-Columbian Art}, author = {Carrasco, Michael David} } @mastersthesis {9707, title = {Materia Magica: The Archaeology of Magic in Egypt, Cyprus and Spain}, year = {2005}, school = {Michigan}, abstract = {During the ancient Roman period, individuals across the Empire practiced magic and employed magicians for numerous reasons, including cursing a litigator and attracting a lover. Ancient practitioners intoned spells and manipulated objects in the enactment of their craft. My dissertation unites the study of magical texts with the study of the material record to pinpoint the social, cultural and depositional environments of magical artifacts. In order to consider local variations in magical practices and assess the spread of magical knowledge, I compare archaeological and textual evidence for magical activity at three disparate sites: Karanis in the Egyptian Fayum, Amathous on Cyprus, and Empuries on the eastern coast of Spain. I argue that the archaeological context of magical artifacts enhances our understanding of ancient magical practices (Chapter 1). In Egypt, long rolls and fragmentary pieces of papyrus preserve a written record of ancient magical instructions and spells. Analysis of the findspots of such papyri indicates that magical formulae were distributed throughout Egypt, although these same formulae probably were not disseminated to other areas of the Mediterranean (Chapter 2). The rich archaeological record at Karanis suggests that both protective and aggressive forms of magic were practiced in domestic settings throughout the town (Chapter 3). A different picture emerges at Amathous, where a cache of over 200 curse tablets was deposited on the outskirts of town. This cache implies the presence of multiple magicians working at the margins of the settlement area. Because a number of tablets curse provincial officials, this cache provides evidence that magic may have served as a forum of resistance against the governing elite (Chapter 4). At Empuries, the archaeological investigation of three nearly identical curse tablets reveals that each was deposited among the ashes of the deceased as an act of resistance against Roman intervention in a territorial dispute (Chapter 5). This interdisciplinary study of magic in Egypt, Cyprus, and Spain demonstrates local variations in magical practice and conclusively illustrates the value of combining archaeological, literary, epigraphic, and papyrological evidence for recovering magical practices in disparate communities.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Wilburn, Andrew} } @mastersthesis {9730, title = {The Medicine Master: Yakushi Buddha Icons and Devotional Practices in Heian Japan}, year = {2005}, school = {UCLA}, abstract = {In this dissertation I investigate the religious and cultural role of Buddhist images during the Heian period (794--1184CE) in Japan. Buddhist images in the discipline of Japanese art history have typically been analyzed as aesthetic objects. Unfortunately, such a perspective fails to explain why the images were made, how they were venerated, and what functions they served in religious practice. Moreover, it reveals little about the people who worshipped them. In this study, I analyze Buddhist sculpture as icons: principal objects of worship that are enshrined and thus contextualized within ritual space. I utilize methodology outside of traditional art history, borrowing from anthropology, cultural history and religious studies, to contend that Buddhist icons are not merely representations of the sacred, but are regarded as the actual deities themselves; their powers heightened during ritual performances. Through contextual analysis I demonstrate that icons are the primary site of ongoing exchange between the human and the divine. I reexamine Heian period wooden Yakushi sculptures, also known in the West as Medicine Master Buddha, or the Healing Buddha (Skt. Bhaisajya-guru). The large number of Heian period (794--1185) Yakushi statuary found all across Japan even today attests to the fact that worship of this deity was widely disseminated. My research attempts to understand why a significantly high number of Yakushi images were created during this period, a time of remarkable cultural, religious, artistic and political developments. By exploring these Medicine Buddhas in relation to how their iconographic forms were developed and promoted by certain religious and elite circles, and by studying their iconic functions in relation to their ritual programs, my thesis will render intelligible the complex phenomenon of image veneration: a central theme of Japanese religiosity. I also contend that the standing Yakushi icon type can be traced to the iconographical and ritual lineage of the Tendai sect, one of the most influential Buddhist institutions in premodern Japan.}, keywords = {Japanese/Korean Art}, author = {Suzuki, Yui} } @mastersthesis {9737, title = {Melancholy Encounter: Lasar Segall and Brazilian Modernism, 1927-1933}, year = {2005}, school = {UT Austin}, abstract = {Focusing on racialized representations of Brazil, this dissertation examines the work of Lithuanian-born, German-educated, Jewish artist Lasar Segall (1891-1957) in Brazil between his immigration in 1924 and the end of World War II. Segall{\textquoteright}s arrival in Brazil coincided with the emergence of a local avant-garde, forging a modern, national aesthetic that satisfied the dual imperatives of cosmopolitanism and nativism. Symbols of Blackness resolved this dilemma: consummate symbols of Brazilian authenticity, yet defined and valorized by the European cult of the "primitive." Thus, when Afro-Brazilian themes came to dominate Segall{\textquoteright}s production in Brazil---including numerous self-portraits as a mulatto---he was applauded for expressing the "spirit of the nation." I argue, however, that Segall{\textquoteright}s work did not conform to the Brazilian modernist agenda, nor did his treatment necessarily reinforce an affirmative identity discourse. On the contrary, I propose that his deeply empathetic depictions of Afro-Brazilians, as well as of European immigrants, Jews and Jewry, prostitutes and indigent women and children, disrupted any coherence of modernist brasilidade (Brazilian-ness). This dissertation, therefore, explores the gap between artistic production and reception, observing that despite the frequent misconception of Segall as a primitivist, he did not imagine Brazil as an escape from "civilization," but rather as refuge from the nationalist politics that increasingly adulterated European art and hindered his spiritual humanist artistic mission. While Segall{\textquoteright}s Brazilian contemporaries celebrated his "Brazilianization," interpreting his assimilation of Blackness in terms of their own nationalist agenda, his identification with Afro-Brazil posed a trenchant critique of the nation, invoking a shared diasporic condition and universalizing alterity that Segall positioned as the heart of the modern condition.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Wolfe, Edith Angelica Gibson} } @mastersthesis {9812, title = {Memory and the Installation Art of Mar{\'\i}a Magdalena Campos-Pons}, year = {2005}, school = {UNC Chapel Hill}, abstract = {Maria Magdalena Campos-Pons, an Afro-Cuban artist born and educated in Cuba who has lived in the United States since 1990, created during the 1990s complex multimedia installations that explore issues of personal identity, nationality, and geographic displacement. Her installations use personal memories to address the exclusion of poor, black Cubans currently and in the past from historical narratives. Based on interviews and correspondence with the artist, as well as reviews and catalogue essays, this dissertation examines the three installations of the series The History of People Who Were Not Heroes, conceived in 1990 and executed between 1994 and 1999. This analysis uncovers how Campos-Pons{\textquoteright} installations engage and problematize certain theoretical notions of memory and history through the artist{\textquoteright}s employment of forms, materials, performances and concepts she drew from a range of sources and practices including personal experiences, Cuban national history, popular culture, contemporary Western art practices and Santeria. Memory and history were central themes in a range of discourses on contemporary art, history, critical theory and culture during the 1990s as artists, historians and critics grappled with historical narratives and their exclusions. Discussions in interviews with Campos-Pons and written accounts of her installation art by curators, art historians and critics created during the 1990s likewise addressed the artist{\textquoteright}s engagement of the past as one among several themes that are interwoven into these works. These themes include the artist{\textquoteright}s exile from Cuba, the creolized nature of Cuban culture, female identity, the cultural legacy of Africa, the slave trade, and the significance of family bonds. Examining these important installations more closely and foregrounding how the artist engages the past by focusing on memory and history allows us to understand these compelling installations in new ways.}, keywords = {Twentieth-Century Art}, author = {Hart, David} } @mastersthesis {9776, title = {Michelangelo at San Lorenzo: The "Tragedy" of the Facade}, year = {2005}, school = {Case Western Reserve}, abstract = {This dissertation considers Michelangelo{\textquoteright}s intended sculptural program for the never-realized facade of the Medici parish church of San Lorenzo in Florence, and how its iconography related to the Medici, the Papacy, and the city of Florence. In 1516, Pope Leo X de{\textquoteright} Medici commissioned Michelangelo to complete both the sculpture and the architecture of the facade. This project, which Michelangelo claimed would be the "mirror of architecture and sculpture of all Italy," was to be the most prestigious commission of the sixteenth century and Michelangelo{\textquoteright}s most ambitious creation. But, for the Medici patrons, the sculptural program for the facade would have been the ultimate expression of Medici propaganda. Chapter one is a study of the history of San Lorenzo and generations of Medici patronage at their parish church. The sculptural program for the facade would have visually communicated the Medici dynasty and their destiny, and thus, the account of the San Lorenzo facade project starts here. Chapter two provides an overview of the facade commission and Michelangelo{\textquoteright}s involvement on the project from 1516 to 1520. Chapter three is dedicated to Michelangelo{\textquoteright}s architectural facade drawings for San Lorenzo, and his figural drawings for statuary that have been previously unassigned to a known project or connected to his other sculptural projects. These drawings are considered afresh in conjunction with the vast extant correspondence from this period, with the primary focus on Michelangelo{\textquoteright}s concern for the sculptural decoration of the facade. Chapters four and five use the methodologies of iconography and iconology to reconstruct the intended plan for the sculptures on the facade. Michelangelo greatly enlarged the original sculptural program from ten over-life-sized marble statues, to eighteen freestanding over-life-sized marble and bronze statues, and nineteen relief panels. This expanded sculptural program relied on a calculated arrangement of the saints and their placement on the facade, which had specific meanings and connotations for the Medici, for Florence, and for the Medici in the papal court in Rome. Appendix A of the dissertation is a detailed chronological account of the facade project as extrapolated and compiled from more than three-hundred extant letters.}, keywords = {Renaissance/Baroque Art}, author = {Finkel, Jennifer} } @mastersthesis {9790, title = {Michelangelo{\textquoteright}s Self-Fashioning in Text and Image}, year = {2005}, school = {Rutgers}, abstract = {Michelangelo Buonarroti (1475-1564) was one of the earliest artists to realize the power of self-promotion and to embark on a systematic campaign to shape and control his image for posterity. Before Michelangelo, some artists had also asserted their professional identities and their privileged status, but Michelangelo{\textquoteright}s self-awareness drove him to orchestrate a more comprehensive and aggressive endeavor that employed not only the visual medium but also the literary. In the process, he initiated radical ways of inserting self-references into his public works and conceived a new perspective on his mission as an artist. Chapter One traces the beginning of Michelangelo{\textquoteright}s self-conception to the Vatican Pieta, for which he invented an innovative and controversial signature. It introduces the core idea of Michelangelo{\textquoteright}s self-image, which he would develop in his subsequent self-portraits and authorized biography. Chapter Two argues that two elements in the Sistine Chapel Last Judgment are double self-portraits representing the artist{\textquoteright}s offering to Christ of his own suffering in God{\textquoteright}s service. They also visualize his view of redemption as a violent transformation. Chapter Three proposes that the self-portraits found in the next works, the frescoes of the Cappella Paolina, assert Michelangelo{\textquoteright}s divine mandate as God{\textquoteright}s artist-apostle and his power to behold sacred visions and translate them into art. Chapter Four considers the concurrent Florence Pieta intended for his tomb, but later abandoned, as a vehicle asserting Michelangelo{\textquoteright}s identity as both pious Christian and godlike artist. Here he represents himself as Nicodemus, the legendary sculptor of a miraculous crucifix. Chapter Five analyzes Michelangelo{\textquoteright}s biography written under his direction by his follower Ascanio Condivi and argues that the book{\textquoteright}s primary purpose was to cement Michelangelo{\textquoteright}s identity as an angel-like messenger of God. Michelangelo{\textquoteright}s self-portraits and writings show him to be someone who sincerely believed in the divine ordination of his life mission as an interpreter of God{\textquoteright}s ideas. He intended his peers to recognize and acknowledge this. In doing so, he broke away from the previously held view of the artist as a mere channel for the divine.}, keywords = {Renaissance/Baroque Art}, author = {Wang, Aileen} } @mastersthesis {9724, title = {Miletus in the Middle Bronze Age and Minoan Presence in the Eastern Aegean}, year = {2005}, school = {Toronto}, abstract = {Less than a decade ago, there was no indication that the Milesian peninsula had been settled in the Early or the Middle Bronze Ages. Because the prehistoric deposits previously excavated were Late Chalcolithic and Late Bronze Age in date, a hiatus of occupation was assumed. In 1997, our understanding of the site changed dramatically when a new excavation campaign uncovered a MBA Anatolian habitation level that was replete with imported Middle Minoan goods. This dissertation is the analysis of the MBA Period III level at Miletus, and it establishes certain fundamentals concerning the site: (1) the site was inhabited during the early MBA period, (2) the material culture reflects southwestern Anatolian traditions and therefore the inhabitants should be considered indigenous, (3) the settlement was located directly on the coast in an ideal harbor area, (4) this location afforded access to a north-south and east-west crossroad, (5) there is no evidence of hiatus, however this is the earliest period when Cretan influence is discernable in local pottery production and the first Minoan (MM IB-MM IIB) imports appear, and (6) although the quantity of these imports is high in comparison with MM IB-MM IIB imports elsewhere east of Crete, they account for less than 2\% of the ceramic assemblage. These numbers are reversed in Period IV, when Minoan or Minoanizing pottery account for over 95\% of the excavated material. The first chapter of this dissertation reviews the century-old excavation at Miletus as it pertains to its prehistoric settlements and provides a primer on the history and present state of excavation and research of MBA culture in southwestern Anatolia. The second, third and fourth chapters present the MBA level at Miletus, its general stratigraphy, architectural features, ceramics and small finds. Chapter 3 concerns the local ceramics, and the imported protopalatial ceramics are catalogued in Chapter 4. I examine the Milesian material within its larger geographic context in Chapter 5, isolating the Anatolian and Aegean parallels. Chapter 6 contains a discussion of the Middle Minoan influence in the eastern Aegean and its consequent impact on the nature of the Miletus settlement.}, keywords = {Greek/Roman Art}, author = {Raymond, Amy} } @mastersthesis {9715, title = {The Military Vici of Noricum}, year = {2005}, school = {Missouri}, abstract = {This dissertation examines the civilian settlements that developed next to the auxiliary forts on the Danube frontier of the Roman province of Noricum. Chapter one of this study provides a brief consideration of the history of Roman frontier studies, a field in which the vici generally have been overlooked. Chapter two gives a short history of the Norican limes in particular. Chapter three includes descriptions of the fourteen Norican auxiliary forts and their vici, relying on archaeological material as the main basis for information about the sites. Chapter four provides an analysis of the character and development of the vici during the Roman occupation of Noricum (1st through the 5th centuries CE), including their location, layout, physical structures and the role that they played on the frontier. Chapter five considers the later history of the vici and the possibility of their survival into the early Middle Ages.}, keywords = {Greek/Roman Art}, author = {Flynt, Shannon} } @mastersthesis {9818, title = {Modern Artists{\textquoteright} Pursuits of State Support in France between the Wars}, year = {2005}, school = {Northwestern}, abstract = {At the outbreak of World War I, modern art was an institutionally marginal form; since the end of World War II, it has achieved a position of near-global institutional dominance. This dissertation examines French cultural policy between the wars in order to extend our understanding of the process by which modern art moved from a marginal to a dominant position. I argue that the 1930s, the decade of the Great Depression, was crucial in this respect. During the 1920s the French State took only isolated measures to extend its support to modern artists. Those measures were met with limited enthusiasm by modern artists, long accustomed to define themselves as independent from state institutions. During the 1930s four main factors combined to erode this mutual suspicion between modern artists and the State. The collapse of the market for modern art, sparked by the Depression, undermined artists{\textquoteright} faith in the market, which they had previously seen as the mechanism that liberated them from dependence on state support. Low prices on the market increased the relative value of the funds the State had to spend on art acquisitions, allowing it to become a significant purchaser of modern art for the first time. Left-wing coalitions governed twice during the decade (1932-34 and 1936-38). Though both were short-lived, they improved relations between the State and modern artists, since the majority of these had leftist sympathies, and were disposed to expect more respectful treatment from a left-wing than a right-wing government. Finally, the international dimension of cultural policy grew in importance as the arts were politicized to a previously unseen extent in the totalitarian states. Most significantly, the connection between totalitarian government and traditional artistic form that became apparent in the second half of the 1930s served to break down the long-standing assumption that modern art was inherently at odds with democratic government. By 1939, modern art was beginning to be equated with democracy; the strengthening of this link during World War II and the Cold War was the necessary precondition for the institutional triumph of modern art in the West from the 1950s onwards.}, keywords = {Twentieth-Century Art}, author = {Norris, Toby} } @mastersthesis {9666, title = {Modern Primitive Body Art: The Cutting Edge of Queer Performance}, year = {2005}, school = {Bryn Mawr}, abstract = {This book examines extreme body art performances associated with the Modern Primitive movement in California during the 1980s and 1990s. Modern Primitivism, which developed in the sexually-radical sadomasochistic (SM) communities on the West Coast during the 1970s, became progressively queer in the late 1980s and early 1990s in relation to queer cultural politics in the United States and Great Britain. During this latter time period, as body modification practices became commercialized and popularized within mainstream society, Modern Primitive body artists enacted diverse, ritualized spectacles involving blood-letting activities such as body piercing, scarification, flesh hook suspension and ball dancing. As a form of autobiographical or live art, their extreme performances represented the explicit convergence of art and ritual as the human body became a vehicle for transformation and transgression, on individual as well as social levels. This investigation is positioned within an art historical discourse that considers body artists Ron Athey and Bob Flanagan as examples of "extreme" or "masochistic" performance art. However, it is also situated within the interdisciplinary context of performance studies, and involves approaches from the social sciences, cultural studies and queer theory. This study explores Modern Primitive body art from a variety of angles, and interprets these performances as expressions of a cultural search for difference as well as "tribal" belonging during the late 1980s and early 1990s, reflecting the cutting edge of queer performance at that time.}, keywords = {Contemporary Art}, author = {Scarborough, K. Neil} } @mastersthesis {9601, title = {Modernism, Media, Abstraction: Mies van der Rohe{\textquoteright}s Photographic Architecture in Barcelona and Brno (1927-31)}, year = {2005}, school = {CUNY}, abstract = {This dissertation examines mechanical reproduction, photography, and architecture in the Weimar Republic, through the work of German architect Ludwig Mies van der Rohe (1886-1969). Modernism, Media, Abstraction begins with two Weimar buildings for which photography played a particularly important role, surveying the professional photographs of the Barcelona Pavilion (1928-29) and the Tugendhat House (Brno, 1928-30), the historiographical uses of these images over the last seventy-five years, and their relationship to the buildings they depict. The dissertation next considers the impact of photography and film, as new media of the Weimar avant-garde, on Mies{\textquoteright}s design process. These two buildings were publicized through photography, but photography and film also provided conceptual devices that can be analyzed with particular clarity in the two projects under discussion. The importance of photographs in the reception of architecture occupies a subsequent chapter on propaganda and ideology, suggesting that photography played a critical role in transforming architecture in ways that resonated well with contemporary political needs. Photographs created a flexible space in which architecture could be preemptively directed towards certain ideological goals, through the partiality and camouflage enabled by photographic technique. The last chapters turn to a close discussion of the images themselves, concluding that architectural photography, borrowing from contemporary developments in other fields, helped create a newly conceptualized (and paradoxically non-physical) mode of architectural abstraction. The photographs of Mies{\textquoteright}s buildings absorb conventions of architectural photography in the successful creation of new spatial constructs---called here a {\textquoteright}photographic architecture.{\textquoteright} In doing so, they offer a counter-model to the experiential or synaesthetic fullness of constructed modern architecture. Architectural photographs offered a more portable form of abstraction, one taking its cues from the physical formats of painting, photography, and film much more directly than architecture itself ever could. The dissertation ends by comparing Mies{\textquoteright}s buildings, reflecting the importance of new media transformed through their spatialization, and the architecture described by their highly influential photographs---noting their significantly different attributes, as well as the prominence of the latter in historical accounts.}, keywords = {Architectural History/Historic Preservation}, author = {Zimmerman, Claire} } @mastersthesis {9636, title = {Modernism Meets the Farm: Precisionist Paintings and Photographs of Vernacular Architecture, 1915-1940}, year = {2005}, school = {CUNY}, abstract = {In the period between the two world wars, the everyday elements and artifacts of American life were rediscovered and celebrated for their utilitarian qualities. The group of modernist artists identified as Precisionists-in particular Charles Sheeler and Georgia O{\textquoteright}Keeffe-contributed to this widespread cultural reevaluation through their images of rural vernacular architecture. The term "Precisionist" refers to artists who worked in a similar hard-edged style; critics identified objectivity, simplification, and architectonic structure in this art and used the term "precision" as a common denominator. Precisionist artists were never an official group or school. They did, however, exhibit with many of the same dealers, including Alfred Stieglitz, Charles Daniel, and Edith Halpert. Intriguingly, these artists, who were not formally aligned, all gravitated toward modernist treatment of the same types of buildings, including barns and historic homes. While O{\textquoteright}Keeffe and Sheeler are the focus of this study, others artists are also included: George Ault, Peter Blume, Ralston Crawford, Stefan Hirsch, Edmund Lewandowski, Niles Spencer, Paul Strand, and Edward Weston. The first chapter identifies the buildings that the artists drew, painted, and photographed and describes the agricultural needs the buildings themselves served. The second chapter considers these images in the context of European and American modernism, as well as how the mythology of the American land as a site of renewal and redemption was part of modernist thought. The third and fourth chapters discuss the era{\textquoteright}s fascination with American history, especially its quotidian elements, including folk art and historic buildings, on both national and local levels. These trends provided the context in which O{\textquoteright}Keeffe and Sheeler worked. Chapter Five looks at work by other artists who also considered agricultural themes in the period, including the Regionalists, Edward Hopper, and Walker Evans. The examination of the past through a modern lens is at the heart of this project. The ways that O{\textquoteright}Keeffe, Sheeler, and the other Precisionist artists portrayed historic buildings as icons for the modern age reveals many of the complexities of the interwar period.}, keywords = {Art of the United States}, author = {Richardson, R. Sarah} } @mastersthesis {9726, title = {Modernization and Nationalism: The Rise of Social Realism in South Korea (1980-1988)}, year = {2005}, school = {CUNY}, abstract = {This dissertation is the first monograph on social realist art in South Korea. Defying mainstream Modernism such as Impressionism combined with Academic conventions during the Japanese occupation (1910-1945) and abstraction in post-Korean War (1950-1953) South Korea, socially critical art, commonly called minjok (national) or minjung (ordinary people) art, emerged in 1980. Modernist art idealized a permanent, essential and metaphysical idea of nation and its harmonious relationship with the trajectory of modernization, or Westernization, of Korean society. On the other hand, social realist artists represented the contradiction between the state-sponsored idealistic nationalism and the minjung{\textquoteright}s uprooted life in the pursuit of Western values and materialism. They sought to re/locate historical positions of their personal identities with regard to minjung-oriented nationalism, and anticipated, reflected, and participated in the nationwide democratization movement centered on the creation of historical subjectivity during the 1980s. Specifically this study examines the work of first two social realist groups, Reality and Utterance (Hyo{\textquoteright}nsilgwa balo{\textquoteright}n, 1980-1988) and Imsullyo{\textquoteright}n (1982-1987), and a prominent social realist artist Shin Hak-chul (b.1943). From a methodological point of view, this study uses Fredric Jameson{\textquoteright}s concept of "national allegories" implicit in third-world cultural productions as the equivalent to his own definition of "postmodernism"-the fragmented and isolated cultural expression of the current stage of capitalism in the US-led first world. Third-world "national allegories" reveal a blind spot of first-world postmodernism, a totalizing vision of the global system. In this way, South Korean social realism embodied an expression of resistance against the standardizing ideology of multinational capitalism. After the Kwangju Biennale was founded in 1995, social realism again offered, within and outside the Biennale, an alternative to an attempt to substitute the supposedly centerless multiculturalism and globalization for the old notion of modernization. In an increasingly ambiguous boundary between the global system and South Korea as its subsystem, the future of South Korean social realism, particularly in relation to the nation{\textquoteright}s most urgent agenda-the reunification of South and North Korea-remains to be seen.}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {Han, Jin} } @mastersthesis {9700, title = {Monastery and Monarchy: The Foundation and Patronage of Santa Maria La Real De Las Huelgas and Santa Maria La Real De Sigena}, year = {2005}, school = {UT Austin}, abstract = {Power, piety, and remembrance came together in the artistic patronage of two Iberian queens at the end of the twelfth century. In their endeavors to create lasting institutions that would preserve the memory of their respective dynasties, Leonor Plantagenet, Queen of Castilla, and Sancha of Leon-Castilla, Queen of Aragon, intentionally supported unique architectural developments in their kingdoms. The monastic foundations of Las Huelgas in Castilla and Sigena in Aragon signal the distinct architectural style to be followed by contemporary architects in each kingdom: Castilla became the flagship of the Gothic style on the peninsula; Aragon, the last bastion of the Romanesque. The queens{\textquoteright} choices as patrons reveal not only their desire to make associations with their natal lands, but also an acute understanding of their realms{\textquoteright} particular political and religious situations. The distinct path each took in affiliating their monastery with foreign orders-the Cistercian and Hospitaller respectively-the location of the monastery, the legal constructions, and the choice of architectural style of the institutions reveal a keen awareness of where power lay in their lands. The queens{\textquoteright} establishment of dynastic necropolises at women{\textquoteright}s foundations affirmed the role of women in the economy of prayer associated with the dead and claimed a greater role for women of the royal house in remembrance. Through their manipulation of these institutions, the monasteries survived, thrived, and maintained a strong royal association into the twentieth century.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {McKiernan Gonzalez, Eileen Patricia} } @mastersthesis {9696, title = {Monuments of a Syncretic Society: Wall Painting in the Latin Lordship of Athens, Greece (1204-1311)}, year = {2005}, school = {Maryland}, abstract = {This dissertation focuses on wall painting in the thirteenth-century lordship of Athens, an area roughly corresponding to modern-day Attica, Boeotia and the Argolid in southern Greece. The lordship was established as part of the Latin Principality of Morea in 1205 when, in the aftermath of the Fourth Crusade. Frankish forces moved outward from the fallen city of Constantinople to conquer former Byzantine lands. More than twenty monuments painted in the region during the thirteenth- and the first decade of the fourteenth century still preserve all or part of their original decoration. Notwithstanding the informative potential of such an extensive body of evidence, there has been no systematic investigation of the decorative programs in light of the particular socio-cultural conditions of Latin Greece. The present study is intended to fill this gap and begins by outlining the scope of artistic production in the lordship in the years between 1204 and 1311. Addressing Greek- and Latin-sponsored religious and secular programs, the murals are examined in the context of their multicultural setting. Particular attention is given to social, religious and political ideas as well as to artistic practices that found their way into the art of the period as a result of the socio-cultural environment created by the historical circumstances. Highlighting issues such as Church union, liturgical practice and cultural identity as they are reflected in the paintings, the study attempts to add clarity to the modes of cultural interaction in Frankish Greece. Thus evaluated, the murals disclose a striking range of opinions and responses. They bring to light religious boundaries and reveal attempts at cultural and political re-definition, but they also display points of convergence and mutual recognition. Combined, the painted programs in the Latin lordship of Athens are physical testimonies of a syncretic society whose multicultural factions lived, if not in a state of completely peaceful agreement, at least in a state of pragmatic tolerance.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Hirschbichler, Monika} } @mastersthesis {9659, title = {Narcissistic Moments in German Art}, year = {2005}, school = {Stony Brook}, abstract = {This dissertation investigates the relationship between the history of self-portraiture in German art and the historical identity problem within German society. I propose that the turn inward reflected in German art demonstrates a melancholic position in which the subject narcissistically attempts a transformation of its selfobjects, or figures which mediate a sense of identity. The dissertation begins with the birth of self-portraiture with the German Renaissance artist Albrecht Durer and shows an early relation between Durer{\textquoteright}s identity, melancholy and a German sense of German self. It then looks at the German Romantic artist Caspar David Friedrich and his use of melancholy as both a sense of his own self and German identity at the moment when German identity was being posited in terms of a nation state. I examine the problems specific to the formation of German identity in the nineteenth century and relate them to the space of melancholy as a spiritual one which was taken up as self-concept and is depicted in the paintings of Friedrich. This problem of integrating a sense of self in German society is then examined in terms of Germany{\textquoteright}s identity problem following World War II. I present various contemporary artists working with the self, including Joseph Beuys, Georg Baselitz, Anselm Kiefer, Katharina Sieverding and Jorg Immendorff, and argue that the Romantic problem of integration of the self is seen in their works. Baselitz and Sieverding demonstrate two divergent but related position in their self-representations in which a German sense of self is posited (Baselitz) and negated (Sieverding). I conclude that their representations of the self visually depict the poles of melancholy as it exists in the dialogue of the self in contemporary Germany.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Budzynski, Scott} } @mastersthesis {9783, title = {Narrative Performance and Devotional Experience in the Art of Hans Memling}, year = {2005}, school = {UC Santa Barbara}, abstract = {A set of narrative paintings by Hans Memling-the Passion in Turin, the Advent and Triumph of Christ in Munich, and the Greverade Altarpiece in Lubeck-depict highly complex continuous narratives that unfold as processions through landscapes. This dissertation explores these works by situating them within a matrix of contemporary devotional and narrative practices. This body of practices stood in a symbiotic relationship with the paintings: it informed the viewer{\textquoteright}s interaction with the paintings, which in turn affected that viewer{\textquoteright}s understanding of these other practices. In other words, these works of Memling must be understood as part of a broader experiential field of ritual and symbolic life. The various parts of this field can all be characterized as sequential narratives, either actually or imaginatively somatic (bodily in nature). By recognizing this common structural pattern, the participant who entered an engagement with any of these practices came supplied with a set of skills and expectations regarding their function and meaning. Among the practices this dissertation explores is the Jerusalem pilgrimage, during which the pilgrim{\textquoteright}s devotions centered on a physical re-tracing of Christ{\textquoteright}s movement through the city. The visiting pilgrim could feel that he was literally following in the very footsteps of Christ himself. The dissertation then addresses the corpus of dramatic and processional practices in the Low Countries-a tradition of spectacle that played an important role in the visual culture of the period. The discussion includes both civic events, like the "Joyous Entries" of the nobility, and para-liturgical events. Lastly, this work considers analogous devotional practices, such as the fifteenth-century appearance of devotions involving the Stations of the Cross and Calvary imagery, and architectural constructions as the Jeruzalemkerk in Bruges. By investigating the wider body of cultural traditions that informed the viewer{\textquoteright}s experience of the paintings, the character and function of these and similar works can be better understood.}, keywords = {Renaissance/Baroque Art}, author = {Kirkland-Ives, Mitzi} } @mastersthesis {9717, title = {The Nature of Hellenistic Domestic Sculpture in Its Cultural and Spatial Contexts}, year = {2005}, school = {Ohio State}, abstract = {This dissertation marks the first synthetic and contextual analysis of domestic sculpture for the whole of the Hellenistic period (323 BCE-31 BCE). Prior to this study, Hellenistic domestic sculpture had been examined from a broadly literary perspective or had been the focus of smaller regional or site-specific studies. Rather than taking any one approach, this dissertation examines both the literary testimonia and the material record in order to develop as full a picture as possible for the location, function and meanings) of these pieces. The study begins with a reconsideration of the literary evidence. The testimonia deal chiefly with the residences of the Hellenistic kings and their conspicuous displays of wealth in the most public rooms in the home, namely courtyards and dining rooms. Following this, the material evidence from the Greek mainland and Asia Minor is considered. The general evidence supports the literary testimonia{\textquoteright}s location for these sculptures. In addition, several individual examples offer insights into the sophistication of domestic decorative programs among the Greeks, something usually associated with the Romans. Next, several distinctly Italian elements are identified, such as the prevalence of garden sculpture and domestic sculpture used in religious context. This material has tended to be studied as separate from the Greek, in spite of the view that it was largely inspired by earlier Greek examples. The multicultural island of Delos is then analyzed. It has produced the largest corpus of domestic statues and is illustrative of both Greek and Roman architectural and decorative traditions. Following this, the final chapter tackles the thorny issue of these statues{\textquoteright} "meaning" in light of domestic religion, suggesting that their primary purpose was as display, announcing the wealth, taste and prestige of the homeowner. This dissertation will fill an important gap in the scholarship on Hellenistic domestic decoration. This study will offer useful insights into how private sculpture was used for and viewed by the whole of the Hellenistic landscape and how, contrary to popular belief, the material functioned in much the same manner as public sculpture.}, keywords = {Greek/Roman Art}, author = {Hardiman, Craig} } @mastersthesis {9588, title = {Negotiating the City: Conserving Fez, Morocco, during the French Protectorate (1912-1956)}, year = {2005}, school = {UCLA}, abstract = {Historians of French Protectorate urbanism in Morocco conclude the restoration and, especially, protection of Moroccan cities, or madinas, resulted in their museumification. Museumification is loosely defined as the successful disallowance of modernization and, thus, the imposition of realist or social constructivist conceptions of madina morphology upon the built environment. However, historians{\textquoteright} arguments gloss over a number of significant issues, including classification and flexibilities in the legal conceptions of the conservation task and subject cities, such as Fez, one of the largest and oldest madinas in Morocco. Previous studies also give short shrift to who was directly involved in conservation, their stated agendas, how they interacted and how official identities, relations and city morphology shifted during interaction. The following dissertation uses actor-network theory(ies) to revisit the particular ways in which French colonial conservation has been represented and investigated. Published codes and archive documents, among other sources, show how colonial Fez in both its legal and practiced incarnations was multiple and hybrid cites relationally formed by a wide range of governmental and nongovernmental actors simultaneously defining and employing culturalist and progressivist ideals. The conservation of Fez, therefore, did not simply lead to the imposition of static and singular conceptions of Moroccan madinas, and, thus, museumification as previous authors have defined this concept.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Apelian, Collette} } @mastersthesis {9771, title = {The Neopalatial-Final Palatial Transition at Kommos in South Central Crete: Evidence For Connections With Knossos and For the Extent of Mycenaean Influence in the Lm Ii-Iiia1 Ceramic Record}, year = {2005}, school = {Toronto}, abstract = {According to the prevailing view today, local ceramic production on Crete at sites outside the Knossos area came under considerable Knossian influence by LM II-IIIA1. This supposed Knossian influence has often been adduced as the archaeological correlate of the textual evidence of the Knossos Linear B archives, which document the close administrative control exercized by Knossos over much of the island. The present study presents a qualitatively-based analysis of pottery development at Kommos in Southcentral Crete from LM IB to LM IIIA1 with the aim of assessing the extent to which local production was subject to Knossian influence in this period. At the same time, special attention is given to the closely-related issue of the nature and extent of Mycenaean influence on the LM II pottery traditions under study. It is argued that, contrary to the prevailing view, the picture provided by the ceramic record in the immediate aftermath of the LM IB destructions is one of regionalism in pottery production. Local production at Kommos remained clearly distinct from contemporary Knossian production and retained an essentially local character. Differences between the two traditions are documented throughout the entire production process, from vessel forming to decorating and surface finishing. It is shown that the extent to which each tradition was subject to Mycenaean influence in LM II also differed. The close administrative ties with the Mesara region recorded in the Knossos Linear B archives are argued to accord better with the ceramic evidence of LM IIIA1, when production at Kommos and other Mesara sites came under considerable Knossian influence. Attention is also drawn to the existence of clear distinctions between goblet and alabastron production on the Mainland and on Crete. It is suggested that the introduction of these two shapes into the Knossian repertoire may not have been as sudden and {\textlnot}{\textasciiacute}intrusive{\textlnot}{\textordfeminine} a development as is usually conceived, concomitant with a Mycenaean takeover of Knossos. Instead, the tradition of alabastron and goblet production may have been transmitted to Crete from the island of Kythera, where Minoan potters had assimilated both of these shapes from the Mainland repertoire already in a late stage of LM IB.}, keywords = {Prehistoric Art}, author = {Arvanitakis, Jan} } @mastersthesis {9785, title = {Networks of Power: The Art Patronage of Pier Maria Rossi of Parma}, year = {2005}, school = {Michigan}, abstract = {This study investigates the ways in which Count Pier Maria Rossi of Parma (1413--1482) was able to proclaim, promote, and negotiate his autonomy and authority through patronage of art. Rossi articulated his dynasty{\textquoteright}s power through pointed visual imagery advertising chivalric and courtly ideologies, political alliances, territorial aggrandizement, and participation in networks of civic and regional powers and institutions. By supporting ecclesiastical cults, by building churches, convents, and castles, and by commissioning fresco cycles, medals, and illuminated manuscripts, Rossi extended his dynasty{\textquoteright}s image of authority well beyond Parma. This imagery was not addressed to an insulated court but to intersecting audiences ranging from his peasant subjects to Italy{\textquoteright}s most powerful families. I examine closely the frescoed camera d{\textquoteright}oro in Rossi{\textquoteright}s castle of Torrechiara and the camera di Griselda in Roccabianca and move beyond an exclusively biographical reading of imagery associated with Rossi{\textquoteright}s mistress Bianca Pellegrini to trace and to excavate the multivalent, poetic image of Bianca as mistress within regional political networks, as devout pilgrim, and as chivalric damsel. The camera di Griselda emerges not as a private bedroom, as has been assumed, but chamber where legal disputes were heard and where Rossi utilized the Griselda narrative to construct an image of just rule. Through the imagery of the camera d{\textquoteright}oro, Rossi figured his authority and made reference to his dynasty{\textquoteright}s chivalric, patriarchal, crusading, and signorial traditions and histories. This amorous and peregrine imagery, I argue, was not secretly shared by two lovers but was intended for a wider audience and was employed by generations of Rossi as a symbolic and intimate register to bolster their dynasty{\textquoteright}s authority. I discuss the topography of the camera d{\textquoteright}oro, moreover, as a polemical visualization of Rossi{\textquoteright}s networks of power and economic resources and the frescoes{\textquoteright} castles as changing, idealized, and even fictitious claims on territorial control. By examining an ostensibly second-tier ruler who challenged regional powers through artistic patronage in a wide variety of media, this study challenges the model of Italian courts as closed entities connected by a putative "court culture" shared only by a small number of dominant centers.}, keywords = {Renaissance/Baroque Art}, author = {McCall, Timothy} } @mastersthesis {9669, title = {"the New Chivalry": Representation of Male Bodies, Labour, Sexuality and Domestic Ideology in British Aestheticism}, year = {2005}, school = {Queen{\textquoteright}s}, abstract = {"Looking Beyond Male Bonding: "The New Chivalry{\textquoteright} and the Boundaries of Same-Sex Corporeal Intimacy in Turn-of-the-Century Britain" investigates the representation, culture, and spaces of same-sex male intimacy. By attempting to define the contours and boundaries of the male body in representation, my project traces the visual culture of a spatial and corporeal intersubjectivity which, through elaborate and sophisticated codes of distance and proximity enlivened the "ideal divide" of the proverbial closet. The trick, therefore, for the Victorian bourgeois male was to ascertain the limits of representational strategies that at once supported and subverted dominant and normative codes of same-sex intimacy. The seemingly disparate archival remnants of Walter Crane{\textquoteright}s decorative theories on the figure, male same-sex double portraits (painted and photographic), Charles Robert Ashbee{\textquoteright}s arts and crafts social reform program for his School and Guild of the Handicraft which overlapped with concepts of his ideal beloved, and finally the interior spaces of Turkish baths in London emerge as significant parallel and imbricated moments in the interpellation of a sexualised bourgeois male subject. These examples of intimacy beyond traditional, normative parameters of male bonding and aggregation serve as eloquent displays that at once enliven male bourgeois fears and desires. Given that I believe we are the inheritors of Victoria{\textquoteright}s reign and that our contemporary sexual ethos forms the psychosomatic remnants of capitalism{\textquoteright}s early stages, these judiciously selected examples have been chosen in the hopes to illustrate, even if obliquely, our own moment in modernism{\textquoteright}s genealogy and demonstrate its impact on the classificatory systems of the archives.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Potvin, John} } @mastersthesis {9811, title = {New York and European Dada Art Journals, 1916-1926: International Venues of Exchange}, year = {2005}, school = {Pennsylvania}, abstract = {Dada art journals constitute a central but neglected part of the Dadaists{\textquoteright} creative expression. Artists have recognized the journal medium as a means of promoting their ideas since the middle of the nineteenth century, but the Dadaists were the first to engage it as a performative venue. They did so first by manipulating the conventions of their chosen medium, making their journals primary sites of activity and interaction, and second by using the journals to enact an international, multi-centered network of exchange, thus engendering the Dada movement{\textquoteright}s unique diversity. Examining journals produced in New York in dialogue with those from European cities, this dissertation describes their significant contributions to American art and to the Dada movement as a whole. The Dadaists recognized the promise of the journal medium as an alternative site for exchanging inventive and subversive ideas and as an artistic medium challenging fundamental assumptions of originality, media, and the framing of the history of art. They manipulated the conventions of display in their journals, and this experimentation directly influenced their exhibitions. Detailing each particular derivation of the Dada movement and describing its simultaneous development in many cities, the journals reflect the international network of exchange among its disparate centers and offer a way to examine the movement as a whole. These provocative publications offer a revised understanding of Dada collages, paintings, and drawings by calling attention to the venues in which they were first displayed. This dissertation expands the scope of Dada beyond Zurich, New York, Paris, and Berlin by integrating cities not usually associated with Dada, including Zagreb, Rome, and Bucharest. It highlights writers such as Tristan Tzara and Richard Huelsenbeck, and American artists, including Clara Tice, Louis Eilshemius, and Agnes Ernst Meyer, who are typically overlooked in accounts focusing on Dada paintings and sculptures. Anchored in extensive archival research and close visual analysis, it contributes to the lively discourse currently surrounding Dada and calls attention to the importance of the journal medium throughout the history of art.}, keywords = {Twentieth-Century Art}, author = {Hage, Emily} } @mastersthesis {9612, title = {The New York City Hall Portrait Collection: 1790-1830}, year = {2005}, school = {CUNY}, abstract = {Since 1790, New York City has commissioned portraits to commemorate the lives and deeds of "those great and good men who have done honor and service to our Country." Generals, presidents, military and naval heroes, foreign dignitaries, New York State Governors, and New York City Mayors make up this diverse collection, housed in the same three-story federal-style building for almost two centuries. The collection contains portraits by some of America{\textquoteright}s most renowned painters, including John Trumbull, John Vanderlyn, Thomas Sully, John Wesley Jarvis, George Catlin, Charles Wesley Jarvis and Samuel F. B. Morse. Unlike many other collections that have been dispersed over time, the City Hall portrait collection remains largely intact. Moreover, the collection is still on view in the building for which many of the commissions were originally intended. The New York City Hall portrait collection thus provides us with a series of portraits that require study not just individually, but also as a group, for they were commissioned as a series of works by and for municipal government. As New York City, along with the rest of the nation, moved from the monarchical to democratic forms of government, traditional forms of visual representation, particularly portraiture, came into question. The goal of this study is to provide a detailed analysis of the changes in the meaning of portraiture, through a close examination of the first forty years of the City Hall collection, from 1790 to 1830-covering the post-Revolutionary period, federalism, and the initial growth of the mercantile city. This study will explore the diverse motivations behind the portrait commissions, particularly in relationship to notions of nationalism, patriotic pride, and the role of the arts in the development of a sense of civic identity. In order to clarify these motivations, the discussion focuses on the commissioning process, including who proposed the commission, the political circumstances surrounding the sitter, the process used for the selection of the artist, relationships among the artists and those involved in the selection process, the artists{\textquoteright} responses to the commissions, and the reception of the portrait by the press and by the public.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Addeo, Deborah} } @mastersthesis {9822, title = {North Beach to Haight-Ashbury: Underground Artists and Community in 1950s San Francisco}, year = {2005}, school = {Virginia}, abstract = {The dissertation is a sociological study investigating the effects of lifestyle-habitat, proximity, companionship-on the production and reception of art made by "underground" artists between 1950-1965 in San Francisco. It contends that the aesthetics associated with post-war non-conformist values were both constitutive of and shaped by the specific geographic and temporal moment. The perceived cultural provincialism of San Francisco was the ideal setting in which the definition of art could be challenged and expanded, outside of the purview of the institutions of the art world centered in New York City. During the 1950s these artists used "art" as the name of a certain countercultural ideal that served as a vehicle for self-discovery and identity formation. The dissertation explains how and why art was able to take on this role by examining in full and in detail the specific historical moment. The first chapter describes the dissolution of the academic community at the California School of Fine Arts in North Beach after the abstract expressionist peak and the subsequent emergence of an underground dynamic unaffiliated with the arts institutions of San Francisco, such as they were. Chapters two, three and four and five trace the emigration of these artists to the Fillmore neighborhood where inexpensive communal living spaces and experimental artist-run galleries were critical to the development of an underground aesthetic that was decidedly progressive. These chapters look closely at the work of five artists whom I consider to be at the crux of this issue: Jess, Bruce Conner, Wally Hedrick, Jay DeFeo and Wallace Berman. In the conclusion, I investigate the dispersal of the Fillmore underground after local urban renewal projects changed the shape of that neighborhood, forcing yet another intra-city migration. The rise of the Haight-Ashbury neighborhood as the new space for non-conformist practices within the city also registered the divorce of underground visual arts production from avant-garde art production in the form of conceptual art as it was reabsorbed into the university system during the 1970s.}, keywords = {Twentieth-Century Art}, author = {Schoenthal, Rebecca Young} } @mastersthesis {9824, title = {Nothing{\textquoteright}s Shocking: On the Persistence of Avant-Gardism in Alternative Music}, year = {2005}, school = {Rochester}, abstract = {This dissertation demonstrates the similarities between the discourse and aesthetic practices of avant-garde movements in twentieth-century art and alternative music. The term "alternative music" has been variously used in the music industry for the last two decades, as a generic label and as a marketing category, to indicate a variety of musical forms sharing certain stylistic similarities and usually an independent mode of production. Like the term "historical avant-garde," the category "alternative music" refers to a plurality of styles and practices, and although it is vehemently disavowed by musicians and fans alike, the range of music it refers to can nevertheless be recognized as music that either directly influenced, or owes its existence to the influence of, 1970s punk and new wave. Perhaps more than any other, however, the one characteristic that consistently defines alternative is less musical than ideological. Articulated in terms of an aesthetic manifesto, alternative is an attitude, an identity, a statement of difference. It is unified as a taste formation in terms of what it is not: mainstream pop and rock. The ideology that alternative music shares with the avant-garde is characterized by two defining features among producers and audience: (1) the perennial pursuit of experimentalism, in formal and/or conceptual terms; and (2) a fundamental self-perception as oppositional, both to art/rock as an institution, and to the mainstream of popular culture. Avant-gardism can be situated in the theoretical terms of both Romanticism, as it is for Renato Poggioli, and Marxism, as for Peter Burger. My project demonstrates that avant-gardism can be understood as a synthesis of Poggioli{\textquoteright}s theory of the avant-garde as an essentially antagonistic structure of feeling continuous with romantic and modernist ideologies, with Burger{\textquoteright}s theory of the avant-garde defined functionally by its attack on art as an institution and its rejection of aesthetic autonomy and attempt to reintegrate art into daily life.}, keywords = {Twentieth-Century Art}, author = {Soccio, Lisa} } @mastersthesis {9611, title = {Nuyorican Vanguards, Political Actions, Poetic Visions: A History of Puerto Rican Artists in New York, 1964-1984}, year = {2005}, school = {CUNY}, abstract = {Nuyorican Vanguards, Political Actions, Poetic Visions. A History of Puerto Rican Artists in New York, 1964 to 1984 is a twenty-year overview of social activism and institution building by Puerto Rican artists living in New York (hereinafter designated as "Nuyoricans"). A primary aim of this dissertation is to analyze the dynamics of Nuyorican arts activism during a momentous era in New York City{\textquoteright}s history, one that was marked by sustained collective organizing among artists from diverse ethnic and racial backgrounds to establish "alternative" galleries that catered to needs of artists that faced discrimination in mainstream institutions. The following questions guided my research: what movements and organizations did Nuyorican artists create and/or join? How did race, class, and gender affect the abilities of Nuyoricans to form coalitions among themselves and with artists of different ethnic backgrounds? Artists of Puerto Rican descent, either born or bred in New York, were at the forefront of social movements to reform civil society in the 1960s and 1970s. In addition to participating in anti-war protests and civil rights demonstrations, Nuyorican artist activists were also highly invested in local grass-roots initiatives to rehabilitate the inner city. From 1969 to 1981 interlinked circles of Nuyorican artists created community-based alternative galleries in El Barrio (East Harlem), Loisaida (The Lower East Side), the South Bronx and SoHo. They transformed areas once stigmatized as "ghettos" "slums" and "war zones" into neighborhoods where (sub) cultural happenings, performances, art exhibitions, mural making, and poetry readings became daily occurrences. This unprecedented show of organized force among Nuyorican artists during the 1970s and early 1980s establishes that they formed a vanguard movement that broadened New York{\textquoteright}s visual culture. While Nuyorican artists collectively founded institutions and supported causes on behalf of the Puerto Rican and Latino community, the visual art they produced was not limited to a single style. Instead, Nuyorican art created between 1964 and 1984 manifests similarities in terms of the themes the artists addressed and the literary sources they consulted. In this dissertation I highlight motifs in works by Nuyorican visual artists that echo themes addressed in Nuyorican poetry concerning migration, life in New York City{\textquoteright}s Latino barrios and the affirmation of Puerto Rican identity in the United States.}, keywords = {Art of the United States, Latin American/Caribbean Art, Twentieth-Century Art}, author = {Ramirez, Yasmin} } @mastersthesis {9743, title = {Of Body and Blood: A Cross-Cultural Comparison of Texts and Images of Mexica and Lakota Ceremonies}, year = {2005}, school = {CUNY}, abstract = {This dissertation examines sacrifice imagery in the Americas through a comparative analysis of the Tlacaxipehualiztli (Flaying of Men) ceremony of the Mexica of Mesoamerica and the Sun Dance ceremony of the Lakota people of the Great Plains of the United States. By examining the narrative and visual records, this study explores: how ceremonial participants constructed and interacted with sacred space; why sacrifice was vital to their religious practices; and the ways in which ritual histories reveal values, ideologies, and social structures. Comparing the records of Tlacaxipehualiztli (sixteenth century manuscripts, colonial accounts, pre-Hispanic sculpture, and archeological sites) and the Sun Dance (drawings, paintings, photographic material, Native and ethnographic accounts) reveals striking structural and ideological similarities. This thesis lends particular attention to the circulation of spiritual energies resulting from ceremonial activities, the importance of specially consecrated ceremonial objects, the energetic effect of individuals moving through (and beyond) sacred space, and transformations made possible by ritual performance. In both Tlacaxipehualiztli and the Sun Dance a carefully delineated and consecrated space provided the setting for elaborate ceremonies in which shedding blood re-enacted aspects of their respective origin myths. Central to these ritual spaces was an axis mundi that occupied the place at the center of their universe: the temple for the Mexica and the Sun Dance tree for the Lakota. In both cultures the interconnectedness of warfare and ceremony was prominent, with ritual spaces serving as locations for ceremonial battle enactments. The surface of the body served as the focal point for core ceremonial activities, human sacrifice for the Mexica and piercing of the body for the Lakota.}, keywords = {Native American, Pre-Columbian Art}, author = {Vallilee, David} } @mastersthesis {9586, title = {The Oral-Visual Nexus: Rethinking Visuality in Mali}, year = {2005}, school = {Harvard}, abstract = {My dissertation explores the changing status of objects and architecture in Mali through an examination of three case studies: the traditional sculpture of the Bamana Jo society, the Musee National du Mali, and the historic site of Hamdallaye, the 19th century capital of the Islamic theocracy called the Dina. I suggest that material form has been over-privileged by art historians working in Africa as the result of a reliance on representational paradigms. I argue that a consideration of the role of vision in Malian epistemology forces a rethinking of visuality there in terms of orality. The oral-visual nexus produces definitions of objects and architecture that are considerably more performative, dynamic, and ephemeral and requires a reconsideration of notions of time and history. Whereas Western concepts of objects and architecture suggest that history can be embedded in material form, in the Malian context, I show that history is made present through engagement with nodes in a larger network of spiritual and temporal flows and intensities. The material form of objects and architecture serves as a site of projection or framing device for enacted history, but is not intrinsic to it.}, keywords = {African Art (sub-Saharan)}, author = {Van Dyke, Kristina} } @mastersthesis {9585, title = {Ordinarily Extraordinary: Yakurr Priest-Chiefs{\textquoteright} Ritual Performances and the Leboku Festival}, year = {2005}, school = {Iowa}, abstract = {This dissertation centers on the visual culture of Yakurr people of Cross River State, southeastern Nigeria. It provides detailed ethnographic information about the culture and evokes a sense of Yakurr aesthetics as emergent out of a history steeped in warfare associated with the defense of sparse resources. The text focuses on the ritual performances and associated paraphernalia of twenty-three priest-chiefs, who constitute the traditional government of the township of Ugep, and on the annual Leboku new yam festival. As the traditional priest-chiefs are able to continue to command unswerving respect from the population, which exceeds 250,000 people, it is argued that their performances of time-honored practices continue to be viable today (despite changes to the religious belief system and to the social order out of which these practices once emerged), because the population has charged the priest-chiefs with the mission to perform a constructed Yakurr identity. The latter is designed to defy involuntary membership in the nation state of Nigeria and in an economically integrated global world. The priest-chiefs are successful in their endeavor, because they are able to hide evidence of acculturation, demonstrated by an emerging class structure, beneath cultural practices that have always celebrated individual{\textquoteright}s success. The dissertation examines the impact of an integrated global economy on the artistic production of a remote village in West Africa. It demonstrates that the contemporary political affairs of the people-local, national, and international-are and always have been a constituent part of "traditional" Yakurr culture. The priest-chiefs{\textquoteright} performance of ethnic identity in the modern age is rendered as a conceptual work of art. Methodologically the author relied primarily on participant observation, extensive interviewing, and review of archival material. The text fills an important gap in the scholarship, because previous art historical investigations into the larger cultural complex of Cross River State have exclusively made reference to the culture particular to Ejagham people, which differs substantially from that of Yakurr people and their immediate neighbors. The new yam festival, of which there is barely any mention in the scholarly literature, receives scrutiny here.}, keywords = {African Art (sub-Saharan)}, author = {Salami, Gitti} } @mastersthesis {9809, title = {Organizing Art: Information Theory and Conceptual Art. A Case Study of the "Xeroxbook" Exhibition}, year = {2005}, school = {Case Western Reserve}, abstract = {This dissertation proposes a re-evaluation of Conceptual Art of the late 1960s by closely examining the movement{\textquoteright}s connections to the myriad of social, political, and technological changes that occurred during that tumultuous decade. Specifically, I have utilized, as a case study, a book-as-exhibition, Xeroxbook (1968), in order to illuminate broader issues present in Conceptual Art. Xeroxbook was instigated by art dealer Seth Siegelaub, who asked seven artists to create works of twenty-five pages in length that could then be copied on a Xerox machine. These artists---Carl Andre, Robert Barry, Douglas Huebler, Joseph Kosuth, Sol LeWitt, Robert Morris, and Lawrence Weiner---each submitted contributions that both conform to Siegelaub{\textquoteright}s dictate and are intimately related to their own oeuvres at this time. In spite of the inclusion of artists who have become emblematic of late sixties conceptualism, Xeroxbook has not been the subject of specific study. This is likely due, at least in part, to its sterile formal qualities that project a facade seemingly resistant to interpretation---a quality it shares with much conceptually based artwork produced in this period. Through detailed formal analysis, this dissertation demonstrates that far from being without meaning, Xeroxbook is actually replete with important connections to computer technology, linguistics, and media, visual, and reading comprehension studies---all disciplines undergoing fundamental changes at this time. These factors---along with the cultural and political upheaval that made 1968 a benchmark year in both the history of the United States and the then-nascent Conceptual Art movement in the art world---intertwine into what I have termed the communications paradigm. This new cultural idiom had its basis in emerging theories of the definition of information and its communication that had been developing since the late 1930s, particularly in the work of Claude Shannon, a scientist at Bell Laboratories who developed Information Theory in 1939. Xeroxbook embodies a contested space in the world of exhibitions, problematizes the genre of artists{\textquoteright} books, and questions the history of Conceptual Art itself. Examining this project in detail brings to the fore fractures in our art historical understanding of all three categories that had been previously hidden or obscured}, keywords = {Twentieth-Century Art}, author = {Gilman, Amy} } @mastersthesis {9589, title = {Out of Antiquity: Umayyad Baths in Context}, year = {2005}, school = {MIT}, abstract = {This dissertation explores the relationship between the art and architecture of the early Islamic period to those of pre-Islamic Bilad al-Sham (the region encompassing the modern-day countries of Syria, Jordan, Lebanon, Palestine and Israel), and focuses on the Umayyad bathhouse as a paradigm through which this relationship is articulated. The visual culture of the Umayyad dynasty (661-750CE) is of extreme importance, not only because it constitutes the foundation of Islamic art and architecture, but more importantly because it serves as the main link in the chain of cultural transmission from the Greco-Roman and Byzantine worlds to the Medieval Islamic world. The first section of this dissertation explores the ways in which this relationship has been studied as well as the nature of the primary sources, and suggests a new method of how best to study and understand Umayyad art and architecture and their relationship to precedent and contemporaneous cultures. The second section examines the cultural, architectural and political changes in Bilad al-Sham between the fourth and eighth centuries CE, and how the events of these four centuries shaped the art, architecture and culture of the Umayyads. The third and fourth sections concentrate on transformation of the shape and function of the bathhouse in late antiquity, and how the bathhouse was adapted to fit the needs of both pre-Islamic and Islamic late antique cultures in this region. This study concludes by suggesting that Umayyad architecture and culture can best be understood only when interpreted as part of the rich regional and cultural milieu of late antique Bilad al-Sham.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Tohme, Lara} } @mastersthesis {9764, title = {Painting Paradise for a Post-Colonial Pacific: The Fijian Frescoes of Jean Charlot}, year = {2005}, school = {Florida State}, abstract = {This dissertation examines the altar murals created by Jean Chariot at St. Francis Xavier{\textquoteright}s Catholic Mission, Naiserelagi village, Ra District, Fiji Islands. The church houses three of Chariot{\textquoteright}s frescoes, a triptych over the main altar and single panels over each of the two transept altars. Painted between October 1962 through January 1963, the central triptych, The Black Christ and Worshipers, measures ten by thirty feet and features a crucified Black Christ, while the side panels depict full body portraits of indigenous Fijians and Indo-Fijians presenting culturally appropriate offerings to Christ. The two side altar panels, St. Joseph{\textquoteright}s Workshop and The Annunciation, each measure ten by twelve feet. During his lifetime, 1898-1979, Chariot refined his knowledge of the fresco technique and painted murals at forty-five different sites in Mexico, the United States, and the Pacific Islands of Hawaii and Fiji. This study is the first to document the history, social contexts, and commission of any of Chariot{\textquoteright}s frescoes in the Pacific Islands. Through my investigation, I demonstrate how his Fiji murals expressed relationships with local cultures and drew from his earlier experiences in France, Mexico, and Hawaii. In my visual analysis, I draw from semiotics to explore the relationship that developed among artist, artwork, and audience. I argue that Chariot conceptualized his artistic works as "signs" that operated within both aesthetic and communication systems cross-culturally, based on the three cultural groups who compose the major audience, Fijian, Indo-Fijian, and European. I also address the history of liturgical art in the twentieth century by documenting thoroughly a major art form, Chariot{\textquoteright}s "Black Christ," in the syncretistic traditions of the Catholic Church as experienced in the Pacific Islands/Fiji. Charlot{\textquoteright}s murals are unique public artworks in the Pacific Islands and in the artist{\textquoteright}s portfolio. While not overtly political, Charlot{\textquoteright}s Fijian Black Christ, with its native savior as the head of the Church, symbolized Fijian leadership and, by extension, sovereignty.}, keywords = {Oceanic/Australian Art}, author = {Klarr, Caroline} } @mastersthesis {9711, title = {Pedagogical Innovation and Reform at the Acadymie de France a Rome during the Directorate of Charles-Joseph Natoire (1752-1775)}, year = {2005}, school = {Iowa}, abstract = {This dissertation examines the pedagogical innovations and reforms instituted at the Academie de France a Rome during the directorate of the painter Charles-Joseph Natoire, which lasted from 1752 until 1775. Natoire{\textquoteright}s directorate coincided with the appointment in 1751 of Abel-Francois Poisson de Vandieres, later the marquis de Marigny, to the position of Directeur General des Batiments du Roi, which oversaw the Academie in Rome and which Marigny held until 1773. Both men were unusually well-qualified for the roles they were to perform: Natoire had himself studied at the Academie in Rome as a pensionnaire in the 1720s, while Marigny traveled throughout Italy from 1748 until 1751 in a tour intended to educate him for the post he was to fill. In response to growing public criticism and concern in the 1740s regarding the perceived decline of French art, these two talented and educated administrators worked to strengthen the program at the Academie de France a Rome, which was seen as a key element in the reformation of French art. Together, they ushered in a golden age of attention and organization for an institution that had been sadly neglected for the first half of the eighteenth century. Using the correspondence between these two administrators, as well as artists{\textquoteright} letters, travel diaries, extant drawings and sculptures, and the unpublished quarterly accounts for the Academie de France a Rome at the Archives Nationales in Paris, the dissertation attempts to reconstruct the elements of instruction offered at the Academie de France a Rome during Natoire{\textquoteright}s directorate. These included the reinvigoration of the pensionnaires{\textquoteright} studies after the model, a new emphasis on making copies after the antique and Old Masters for purely pedagogical purposes, the use of extant artists{\textquoteright} drawings as teaching aids, and the encouragement of landscape painting as an alternate genre to history painting. The dissertation also examines the administrative changes that strengthened the Academie de France a Rome at this time, specifically the establishment of the Ecole des Eleves Proteges in Paris, the regularization of the prix de Rome contests and the enforcement of pension term limits.}, keywords = {Eighteenth-Century Art}, author = {Gilbert, Kristin King} } @mastersthesis {9802, title = {Perceptions of Native American Art: American Sculpture and Earthworks}, year = {2005}, school = {Rutgers}, abstract = {This dissertation will analyze the response of contemporary American sculptors to the culture, art, myth and ritual of Native Americans. No comprehensive study of the influence of Native American art on American sculpture after 1940 exists to date. The American sculptors examined in this thesis responded to Native American sources in a unique and independent manner. Native American art will be established as a new source for American sculptors, by contrast to the traditional link with European Modernism. Recent literature has considered the myths and rituals of Native American people and their influence on Abstract Expressionist painting during the 1940s and 50s. Art historical literature has concentrated on painting to the detriment of sculpture. This dissertation will be the first comprehensive analysis bring together the work of four sculptors, Isamu Noguchi, James Pierce, Michael Heizer, and Michelle Stuart and demonstrate that they share a common bond. Publications dealing with American avant-garde sculptors as well as the extensive literature on the anthropological, historical, cultural, and religious aspects of Native American people will be examined. The function of Native American art and how it relates to the fundamental structure of the culture that produced it will be considered. The American sculptor{\textquoteright}s assimilation of Native American concepts will determine whether the original function or meaning of the Native American example is lost in the creative process. When possible, this dissertation will cite specific sources of influence and inspiration for the artists. Earthworks will be investigated with regard to the connection between the ancient mound builders of North America and the four artists discussed. By the late 1960s Earthworks were an established medium of expression for American artists. Many historians have failed to correlate these land projects with those created by prehistoric Native American cultures, or they treat the subject in a rudimentary manner. This study demonstrates that American artists were influenced by traditions in ancient North America. It addresses the old question of American artists seeking an American style, and adds new insight to the old question: "What{\textquoteright}s American about American Art?"}, keywords = {Twentieth-Century Art}, author = {Carlino, Justin} } @mastersthesis {9742, title = {Performing the Sacred: The Concept of Journey in "Codex Delilah"}, year = {2005}, school = {UT Austin}, abstract = {The concept of journey as a means of transformation appears throughout the visual representations of all periods and cultures. This dissertation examines how Chicana artist Delilah Montoya and poet and playwright Cecilio Garcia-Camarillo use the concept of journey in Codex Delilah, Six Deer: Journey from Mexicatl to Chicana, to create a recuperation of the roles women have played in the history of the Americas. The study establishes the similarities between subject matter, worldview, and formal structures of ancient Mesoamerican codices and Montoya{\textquoteright}s contemporary artwork. Tracing how contemporary Chicana/o artists have adopted the ancient codex form, the dissertation asserts the importance of the phenomenon of Chicana/o codices and argues for a recognition of their place as a separate genre parallel but uniquely different from contemporary artists books. The work uses the trope of curanderismo (Mexican folk medicine) to show how the bodies Montoya depicts contain the sacred, demonstrate the continuity of ancient healing practices, and create a genealogy of female healers. The study calls for more research on Codex Delilah, the phenomenon of Chicana/o codices, and encourages art historians to apply a more kinesthetic or body conscious approach to their work.}, keywords = {Latin American/Caribbean Art}, author = {Leimer, Ann Marie} } @mastersthesis {9668, title = {Philip John Bainbrigge (1817-1881) and the {\textquoteright}Group of 1838{\textquoteright}}, year = {2005}, school = {Queen{\textquoteright}s}, abstract = {This thesis is, broadly speaking, about the artwork of British military artist Philip John Bainbrigge (1817-1881), who was posted to Canada and produced watercolour landscape paintings here from 1836 to 1842. Two major themes shape this dissertation. The first of these is a discussion of landscape painting in England in the nineteenth-century that covers the development of the picturesque landscape, Bainbrigge{\textquoteright}s artistic training and practice, and the relationship between professional and amateur artists. An important component of this analysis is the nationalistic and imperial meanings that came to be attached to landscape in England, first in regard to picturesque composition and then with later developments in landscape painting by professional artists. In my analysis I posit that, while Bainbrigge was part of the picturesque tradition and therefore engaged with picturesque imperialism while in Canada, his non-picturesque views are equally as engaged due to changes in professional art practice. The predominance of the picturesque in British colonies means that the possibility of non-picturesque landscapes also serving as tools of imperialism has been hitherto unexplored. The second major theme of the thesis deals with Bainbrigge and the group of amateur artists that has come to be known as the Group of 1838. In this discussion I place Bainbrigge and the Group of 1838 in the Canadian colonial context and address issues relating to their artwork as well as to the political and social scene. Specifically, I discuss the relations between the group members and their practice of copying one another{\textquoteright}s watercolours. Bainbrigge figures large in this association, many of his compositions being copied by other members of the group, and I examine why his art appears to have been sought after by other members of the Group of 1838, and not the other way around. While the Group of 1838 has been acknowledged in studies on these British artists in Canada, little has been done to untangle the relationships between these individuals and look closely at their practice of copying one another{\textquoteright}s compositions}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Parkinson, Kamille T. H.} } @mastersthesis {9621, title = {The Photographer{\textquoteright}s Wife: Emmet Gowin{\textquoteright}s Photographs of Edith}, year = {2005}, school = {Virginia Commonwealth}, abstract = {Exemplified in the oeuvres of photographers Alfred Stieglitz, Harry Callahan, Lee Friedlander, and Emmet Gowin, the photographer{\textquoteright}s wife is a distinctive subject in twentieth-century American fine-art photography that fuses the domains of public and private life through the conflation of art and marriage. The transgressive nature of this juncture can be located in a confluence of gazes-the artist{\textquoteright}s, the subject{\textquoteright}s, and the viewer{\textquoteright}s-that are embroiled in constructing subjectivities. The phrase "photographer{\textquoteright}s wife" underscores an assumed imbalance of power reflecting a binary of active/passive, artist/model, and husband/wife. It is this study{\textquoteright}s contention that the complexity of the wife{\textquoteright}s role in the inspiration and production of her husband{\textquoteright}s creative output and the fluid nature of this interdependency are significant factors in images of her made by him and that they undermine the efficacy of this binary. A discursive examination of the subject, with an emphasis on Gowin{\textquoteright}s Edith series, will determine how perceptions of marriage affect the viewing of those images. Since the early 1970s, Gowin has guided the critical reception of his photographs with a distinctly anagogical reading of the works. This study contrasts Gowin{\textquoteright}s narrative with a discursive reading, allowing the works to be examined suprapersonally as a means of determining the larger dynamic traditions from which they derive. The subject implicates numerous discourses that are examined within the areas of gender and power, portraiture and self-portraiture, representation and identity, and viewer reception. Additionally, images in the Edith series often traverse the genre formations of photography. By defamiliarizing family, snapshot, documentary, and art photography, Gowin{\textquoteright}s images create intervals between genres allowing them to be viewed intertexturally as contained by the boundaries of genre formation and outside of it. This aspect of the work illustrates how images of the photographer{\textquoteright}s wife can be viewed at the interstices of the public and private worlds of art and marriage, as well as across photographic genres. Viewed discursively, the photographer{\textquoteright}s wife can be examined as a dynamic production of knowledge that is shaped and reshaped over time.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Brown, Mikell} } @mastersthesis {9684, title = {Photography and the Imperceptible: Bertillon, Galton, Marey}, year = {2005}, school = {Chicago}, abstract = {This dissertation argues that, in the years around 1880, photography underwent one of the most momentous transformations in its history, a renegotiation in the basic standards of photographic adequacy. Prior to this date, it had been generally understood that photography had a privileged relation to what the human eye sees, and that fidelity to visual appearance comprised the bedrock standard of what it meant to make a useful or valid photograph. The three scientific investigators this dissertation examines, Alphonse Bertillon, Francis Galton, and Etienne-Jules Marey, derive their importance from the fact that they rendered such a standard increasingly meaningless to understanding the utility and authority of the photographic image. Marey, for example, sought to make visualizations of objects and events that, owing to their speed or inaccessibility, were simply immune to perception by eye. Because the events he tried to picture had no visual existence outside the photographic documents he produced, it made no sense to suggest Marey{\textquoteright}s scientific images derived their force from a capacity to look like their objects-there was nothing for them to look like. Although Galton and Bertillon had different, specific orientations to the question, this dissertation argues that their projects are united with Marey{\textquoteright}s in that they also contributed to modifying standards of photographic adequacy, either treating discrepancy with visual data as the source of validity for photographs (Bertillon), or producing photographs of ideas, not photographs of perceptual originals (Galton). Given that the three projects disrupted standard accounts of what it meant to make a worthwhile photograph, this dissertation attempts to address some of the questions such a situation begs. What does it mean to make a useful picture of an invisible event? In the absence of the standard of resemblance, to what standards can images such as Marey{\textquoteright}s, Bertillon{\textquoteright}s, or Galton{\textquoteright}s answer? In order to address such questions about these projects in scientific imaging, this dissertation makes use of an intellectual and explanatory apparatus that is grounded in the philosophy of science that was contemporary with the projects, above all the fin-de-siecle work of Pierre Duhem.}, keywords = {Drawings/Prints/Works on Paper}, author = {Ellenbogen, Josh} } @mastersthesis {9680, title = {Pleasant Fictions: Henry Peach Robinson{\textquoteright}s Composition Photography}, year = {2005}, school = {UT Austin}, abstract = {Henry Peach Robinson (1830-1901) was one of the most prolific and vocal advocates of photography{\textquoteright}s possible status as a fine art in nineteenth-century Great Britain. While previous scholarship has asserted that Robinson applied painting theory to photographic practice and fostered a pictorial idealism, this dissertation looks at the strategies photographic techniques Robinson used to fulfill this artistic potential. It then examines the implications and limitations his theory of photographic imitation imposed upon his imagery. Robinson{\textquoteright}s manual for artistic photography, Pictorial Effect in Photography (1869), blended elements from Sir Joshua Reynolds{\textquoteright} Discourses (1769-1790), picturesque theory and John Burnet{\textquoteright}s Treatise on Painting (1837) to encourage photographers to create more aesthetic imagery by conforming to academic pictorial standards. Robinson advocated a hybrid of fact and artifice to achieve this goal, and he produced a variety of photographic compositions by combining multiple negatives and by using painted backgrounds, dressed models and artificial props. Robinson{\textquoteright}s deliberate manipulations were significantly controversial for those within the photographic and artistic communities who viewed photography as an unmediated record of the visible world. Robinson{\textquoteright}s strategies of pairing his images with poetry and employing genre subjects encouraged his audience to judge his photographs by their conformity to pictorial standards rather than by their fidelity to nature. Painters had used poetry to elevate the estimation of their works, and Robinson imitated this practice to promote photography as an expressive medium. Rustic genre subjects turned his photographs away from their temporal specificity and toward typologies of industry, frugality and piety. In examining these seemingly simple images of pretty maids and content cottagers, we find deeply imbedded social values regarding differences between levels of franchisement, wealth and property rights. Although poetic associations and genre subjects were common in British painting, this dissertation demonstrates that Robinson nonetheless had difficulty negotiating the balance between painting{\textquoteright}s conventionality and photography{\textquoteright}s link to external reality---evidence that he was unable to counteract completely photography{\textquoteright}s intractable documentation of its time and place.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Coleman, David Lawrence} } @mastersthesis {9773, title = {The Politics of Architecture: Suor Domenica da Paradiso and Her Convent of la Crocetta in Post-Savonarolan Florence}, year = {2005}, school = {Rutgers}, abstract = {This dissertation focuses on the architectural patronage of Suor Domenica da Paradiso (1473-1553), a Dominican tertiary influenced by Savonarola who founded and built the convent of la Crocetta in Florence in 1511. A mystic, stigmatic, and prophet, Suor Domenica has been the subject of studies that treated her role as a religious leader and prophet in the post-Savonarolan period. However, her status as an architectural patron has never been examined. Suor Domenica{\textquoteright}s posthumous fame was aided by the legends that claimed her convent was funded by the Virgin Mary and designed by Jesus Christ. Suor Domenica{\textquoteright}s confessor, Francesco Onesti da Castiglione (1466-1542), was the first to set down the claims of divine financial aid from the Virgin Mary in his biographies of the mystic. These legends became the standard explanation in the seventeenth century for how this lower class woman was able to build a convent. Though her convent no longer exists in its original location, examination of the documents held in the archives of la Crocetta, the State Archives of Florence, and the Ospedale degli Innocenti in Florence has allowed for a reconstruction of the process by which Suor Domenica was able to build her convent. These documents, many previously unpublished, reveal that Suor Domenica was in large part funded by a network of members of the Florentine ruling class including Girolamo Gondi, Marco del Nero and Federigo de{\textquoteright} Ricci. The political allegiances of the men, divided between the Savonarolan and Medicean parties, caused them to hide their financial support of the charismatic visionary because of the dangers it posed in the fraught political climate of post-Savonarolan Florence. This secrecy protected the men from political repercussions and aided Suor Domenica when she claimed that her convent was "the work of Jesus." This dissertation reveals Suor Domenica{\textquoteright}s role as the only lower-class female patron of conventual architecture in post-Savonarolan Florence.}, keywords = {Renaissance/Baroque Art}, author = {Callahan, Meghan} } @mastersthesis {9671, title = {The Politics of Pleasure: Gender, Desire, and Detournement in the Art of the Situationist International, 1957-1972}, year = {2005}, school = {Delaware}, abstract = {My dissertation examines the artistic production of the Situationist International (SI), a group of European artists active from 1957 to 1972, in relationship to the movement{\textquoteright}s sophisticated critique of what Situationist Guy Debord termed "the society of the spectacle." According to Debord, the spectacle corresponded to a specific moment in the history of capitalism when images began to proliferate alongside commodities, generating new, ever more debilitating forms of alienation. I focus on one aspect of the Situationist critique, what I consider to be the crux of their complaint with capitalism as with spectacle: desire. I argue that the Situationists, in their efforts to counteract the adulteration of desire by the twin forces of capitalism and spectacle and, more generally, to counteract the power that images exercised over human subjectivity, did not dispense with images but rather instrumentalized them via the technique of detournement. The organizing principle of almost all Situationist art, detournement involved the reclamation and defamiliarization of pre-existing visual images. Chapter 1 considers a written text, Debord{\textquoteright}s 1967 The Society of the Spectacle. I locate the book in its immediate historical context and explore its intellectual and structural debt to detournement . The remaining chapters discuss visual artifacts. Chapter 2 addresses the found images of eroticized, objectified women that appear in Situationist films and essays. As I argue, the Situationists recruited images of women to critique the commodification and derealization of desire in capitalist society. Chapter 3 examines Memoires (1959), an artist book composed entirely of found words and images, including a large number of architectural plans, facades, and interiors. It is my contention that Memoires constituted a sustained polemic against functionalist architecture, which the SI also believed posed a substantial threat to human desire. Chapter 4 considers a wide range of Situationist self-portraits. The Situationists not only inserted found material into their self-portraits, they also adopted readymade identities (alter-egos), each one an exemplar of masculine virility. As I argue, Situationist alter-egos were intended to mitigate what the SI described as a grave crisis of masculinity precipitated by the accelerated growth of capitalism after World War II.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Baum, Kelly} } @mastersthesis {9788, title = {Politics on the Cloister Wall: Fra Angelico and His Humanist Observers at San Marco}, year = {2005}, school = {Chicago}, abstract = {This dissertation reevaluates the Medici patronage of Fra Angelico at the convent of San Marco in order to examine the emergence of an innovative lay viewing practice in the Quattrocento. By considering the site{\textquoteright}s elite lay-humanist audience, virtually overlooked in art-historical scholarship, the project traces how the burgeoning interest in Greek and Latin studies in fifteenth-century Florence ultimately accounts for the Medici decision to finance the rebuilding and decoration of San Marco in the late 1430s and 1440s. Further, it contends that entire sections of Fra Angelico{\textquoteright}s decorative program at the convent were created with this secular audience in mind. Thus challenging the dominant notion that San Marco was a strictly cloistered Observant Dominican institution, it takes into account the coexistence of religious and secular viewers at the site and provides a new conceptual model for the social use of religious environments by the laity during the early Renaissance in Florence. The confluence of Greek and Latin thought in the intellectual and social arenas of Florence in the first half of the fifteenth century provides the most cogent context for reevaluating the San Marco complex. The first part of the dissertation argues that Cosimo de{\textquoteright} Medici{\textquoteright}s efforts to foster humanistic studies and to support the presence of Byzantine thinkers in Florence had a decisive impact on his decision to finance the restoration and decoration of San Marco-a decision that scholars until now have largely attributed to reasons of devotion as opposed to reasons of scholarship. The second part of the manuscript analyzes the humanist reception of Angelico{\textquoteright}s imagery at the convent within an interdisciplinary framework and promotes a performative reading of the decorative program. It draws on the contemporary fifteenth-century philosophical discourses produced by the lay-humanists and their Byzantine counterparts, and on the political and ritual contexts with which they were concerned, to advocate a new approach to Renaissance imagery based on an acculturated vision of the laity.}, keywords = {Renaissance/Baroque Art}, author = {Terry, Allie} } @mastersthesis {9777, title = {The Ponte Vecchio: Building an Urbanized Bridge in Early Modern Florence}, year = {2005}, school = {IFA/NYU}, abstract = {On November 4, 1333, severe flooding caused the collapse of Florence{\textquoteright}s first and oldest bridge, the Ponte Vecchio. Using early Florentine chronicles and numerous previously unpublished archival documents, this dissertation traces the history of this bridge, focusing on its reconstruction after the flood of 1333. Famous today for the jewelry shops that line its sloping street, the current Ponte Vecchio is the last fourteenth-century bridge to exist along the entire course of the Arno River and one of the few remaining examples of the once prevalent urbanized bridge typology. Much of the bridge{\textquoteright}s original mid-fourteenth-century appearance is now obscured beneath layers of later accretions that contribute to its current "picturesque" appearance, often mistakenly interpreted as its original character. To the contrary, as illustrated by new reconstruction drawings presented in this dissertation, an analysis of documentary, visual, and physical evidence reveals that the mid-trecento Ponte Vecchio{\textquoteright}s vaulted substructure was structurally advanced, and its urban superstructure, consisting of a main street flanked by four blocks of shops and a central piazza, was arranged according to a highly regularized plan based on rational geometric principles. Documentary evidence reveals that its design was approved by the consensus of an elected government committee (the bridge officials) and maintained by a second administrative body (the tower officials), who were responsible for enforcing strict government regulations imposed upon the completed bridge{\textquoteright}s orderly appearance. The Ponte Vecchio{\textquoteright}s innovative character indicates that its still unknown designer(s) must have had a high level of technical expertise and knowledge of the latest contemporary trends in Florentine rational urban design. Therefore, as this dissertation argues, the mid-fourteenth-century Ponte Vecchio was not "ad hoc" or "empirical," but rather it was a rare example of conscious urban design built ex novo in the densely packed heart of medieval Florence.}, keywords = {Renaissance/Baroque Art}, author = {Flanigan, Theresa} } @mastersthesis {9807, title = {Pop Art at the 1964-1965 New York World{\textquoteright}s Fair}, year = {2005}, school = {Pennsylvania}, abstract = {The 1964/65 New York World{\textquoteright}s Fair was the site of the first major public presentation of Pop art. These appeared on the exterior of the New York State Pavilion designed by Philip Johnson, who commissioned ten works from contemporary artists, including four from Pop artists Andy Warhol, Roy Lichtenstein, James Rosenquist, and Robert Indiana. With the exception of the censorship of Warhol{\textquoteright}s Thirteen Most Wanted Men, little attention has been paid to Johnson{\textquoteright}s enterprise within the historical context of the Fair. This dissertation addresses the issue of context by examining how Fair officials, the art world, and fairgoers responded to Johnson{\textquoteright}s architecture and exhibition. Examining the world{\textquoteright}s fair as a venue for the exhibition of art for the mainstream public, this project pays careful attention to Fair President Robert Moses, whose free-market attitude enabled exhibitors to present a broad spectrum of art. This dissertation also examines Philip Johnson{\textquoteright}s role as architect of a highly popular building, as well as curator of an extramural exhibition of contemporary art that fairgoers largely overlooked. Moses and Johnson represent the split between elite and mainstream culture that had informed critical debates about art since the late nineteenth century. Moses advocated art for the masses, while Johnson proposed a heroic role for avant-garde art within the public sphere at a time when the art world{\textquoteright}s activities seemed increasingly irrelevant to the mainstream public. The Fair immersed Pop art in an environment focused on technology, entertainment, and consumption, rather than on art-world politics. At a time when many feared that automation, the bomb, computers, and other newly developed mechanical entities on display at the Fair challenged human intellectual and creative primacy, Pop failed to affirm human capabilities because it embraced mechanization---particularly the use of commercial art techniques---and established new relationships among the artist, the audience, and the art that owed more to the factory than the studio. Despite this inauspicious introduction, mainstream culture rapidly assimilated Pop, making it the defining art movement of the 1960s}, keywords = {Twentieth-Century Art}, author = {Fedders, Kristin} } @mastersthesis {9741, title = {Portraying the Mexican Past: A Comparison of Sixteenth-Century Pictorial Accounts of Origin in Codex Azcatitlan, Codex Boturini, and Codex Aubin}, year = {2005}, school = {CUNY}, abstract = {In the decades following the Spanish conquest of Mexico (1519-1521), indigenous artists painted the codices Azcatitlan, Boturini, and Aubin. Produced in the colonial period but focusing on prehispanic events, they provide lengthy narrative accounts-in pictorial form-of the two-hundred-year Mexica ("Aztec") peregrination from their ancestral homeland of Aztlan in the twelfth century to their new capital of Tenochtitlan in the fourteenth century. My dissertation provides a comparative study of these manuscripts. Three of the longest and most detailed of extant pictorial migrations, they exhibit strikingly similar narrative frameworks. Previous studies have concentrated on their historical content to extract information about prehispanic Mexica history. In contrast, my dissertation (Chapter 1) examines them as transcultural colonial art objects, whose shared and unique features can be revealed by scrutinizing their construction, materials, and stylistic features, as well as their content. While their exact origins are unknown, each manuscript possesses its own history and trajectory, circulating over centuries through private hands and government institutions (Chapter 2) after being made by its own artists-scribes (tlaquiloque), whose roles dramatically changed after the conquest (Chapter 3). The following chapters view these migration histories as case studies of changes in the native pictorial tradition that occurred during the sixteenth century. Slight narrative variation as well as differences in materials, construction, composition, and stylistic choices highlight the availability of new materials, means, and patronage (Chapter 4), changes in the representation of time, space, and place (Chapter 5), and shifting modes of communication (Chapter 6). Appendices 1 and 2 provide, respectively, English translations of the Nahuatl glosses of Codex Aubin and Codex Azcatitlan.}, keywords = {Latin American/Caribbean Art}, author = {Herren, Angela} } @mastersthesis {9787, title = {The Printmaker{\textquoteright}s Perspectives: Abraham Bosse and the Pedagogic Debates at the Acadymie de Peinture et de Sculpture, 1648-1661}, year = {2005}, school = {Michigan}, abstract = {The founding of the Academie Royale de peinture et de sculpture in Paris in 1648 legitimized the struggle of a group of artists against the economic stronghold the Maitrise, the old guild of painters, and established an important new public venue for restructuring art education on the basis of a liberal art curriculum. The present study is not a history of the Academie but rather an inquiry into the contested formation of its pedagogical mission during the first two decades of its existence. The agent of this inquiry is Abraham Bosse, the prolific printmaker and illustrator who was invited by the Academie to teach courses on perspective soon after its founding. The dissertation investigates Bosse{\textquoteright}s contribution to the formation of the early Academie{\textquoteright}s pedagogical agenda, expressed both in his position as intermediary between artists and scientists and public intellectuals, and in his ability to introduce the modalities of print culture into the pedagogical process. Questioning the standard narrative, which places Bosse at the margins of the Academie{\textquoteright}s history as an envoy of artisanal culture, the present study reassesses Bosse{\textquoteright}s place in that history by uncovering his active but previously unnoticed role in introducing the Academie to the modern practice of publishing illustrated texts, in stimulating its engagement with the public arena of collecting and discussing art, and in opening the pedagogical goals of art-making to the most progressive and vital discoveries in projective geometry and philosophy.}, keywords = {Renaissance/Baroque Art}, author = {Senkevitch, Tatiana} } @mastersthesis {9750, title = {Reading as Revelation: Odilon Redon{\textquoteright}s Three Lithographic Albums on Gustave Flaubert{\textquoteright}s Novel "The Temptation of St. Antony"}, year = {2005}, school = {Rutgers}, abstract = {This dissertation addresses the critical neglect of the religiosity expressed in Odilon Redon{\textquoteright}s three lithographic albums (1888, 1889, and 1896) on Gustave Flaubert{\textquoteright}s novel The Temptation of St. Antony (1874) and argues, additionally, for the albums{\textquoteright} significance as markers of emergent visual Symbolism and eight years later, the dissolution of artistic community. By appropriating a book of enormous popularity among Symbolist writers, Redon sought to insert himself in the early theorization of Symbolism as articulated by Stephane Mallarme in his literary texts on the role of the poet/artist and the ideal book and by Paul Gauguin{\textquoteright}s art works and commentary. Redon{\textquoteright}s three readings of the saint{\textquoteright}s varying states of mental disturbance propose a number of themes essential to the Symbolist aesthetic, including the necessity of solitude, the primacy of imagination and dreams to the artistic process, the importance of suggestion for viewer response, and the ritualization of events of creation and reception. In fact, the albums suffered a tepid response from the very audience that Redon had sought to engage, possibly because their iconography and structure expressed a Christian orientation too orthodox for Symbolists in the decade before the numerous re-conversions of the Catholic Revival. His imagery of revelation and transcendence, couched as a allegories of Christ{\textquoteright}s passion and transfiguration, reveal an imagination as preoccupied with the legacy of Catholic formation and practices of visual piety as with the discoveries of contemporary psychologists about states of mind. This typically 19 th century opposition between Christian belief and faith in science was resolved for Redon by the application of Hippolyte Bernheim{\textquoteright}s theories of suggestibility (1891) to the seemingly miraculous transformation possible through aesthetic experience. The third album is contextualized within a culture of increasing ideological polarization, as not only Symbolist circles, but also society at large were divided by the conflicts between the Third Republic and Catholic institutions, and after 1894, between Dreyfusards and anti-Dreyfusards. The bitter anti-Semitism of the Dreyfus Affair endured as scholarly avoidance of Catholic orthodoxy and the decline of Symbolism, a passivity that nourished itself on literary theory according to Jeffrey Mehlman (1995) and preserved a silence around Redon{\textquoteright}s albums.}, keywords = {Nineteenth-Century Art}, author = {Gwinn, Mary S.} } @mastersthesis {9709, title = {Reception and Membership at the Academie Royale de Peinture et de Sculpture, 1648-1793}, year = {2005}, school = {Cornell}, abstract = {This dissertation presents a study of the reception practices and membership trends of the Academie Royale de Peinture et de Sculpture, from its founding in 1648 to its abolition in 1793. Scholars have often oversimplified this institution and its practices; studies on it have appeared only rarely and typically have focused on specific topics, historical periods, or categories of membership, especially painters. This study examines the Academie{\textquoteright}s reception process as it evolved throughout its history, focusing on both regulations and customary procedures that governed the acceptance of members in all categories. A new chronology of candidacies and receptions has been compiled from the Academie{\textquoteright}s records and provides the basis for a statistical study of reception trends. The Academie{\textquoteright}s reception pieces, the morceaux de reception, are examined with special attention to subject matter and representational strategies that unified the collection and that proclaimed the Academie{\textquoteright}s mission to elevate the practice of painting and sculpture to that of an intellectual and noble pursuit. The dissertation concludes with a study of the problematic case of Jean-Honore Fragonard, who famously failed to complete the necessary steps for full membership and broke definitively from the Academie after the Salon of 1767.}, keywords = {Eighteenth-Century Art}, author = {Boedo, Sharon Lindahl} } @mastersthesis {9683, title = {Reconsidering the Object of Photography: German Artists, Curators and Critics in Light of {\textquoteright}Documenta 5{\textquoteright}}, year = {2005}, school = {CUNY}, abstract = {In the 1960s and early 1970s, the reception of Pop art and Nouveau Realisme, proved vital for a number of German artists who began to probe questions of representation through a deadpan use of photography. Artists such as Sigmar Polke, Gerhard Richter, Hans-Peter Feldmann, and Reiner Ruthenbeck staged material objects and drew attention to the rhetorical inflection of photographic images, while others like Peter Roehr and Bernd and Hilla Becher emphasized formal relationships between single image and serial grid. It was in reaction to Pop that curators and critics also began to reconsider the role of contemporary art. Leftist critiques of commodity culture gradually led to negative interpretations of Pop art in the late 1960s and set the tone for the reception of new art forms such as Minimalism and Conceptual art. Such critical views of commodity culture and the depiction of material objects formed the theoretical starting point for the organizers of the 1972 Documenta who dedicated the exhibition to an investigation of representational questions. Photography emerged as an important new artistic force at this exhibition. Yet despite the ubiquity of photographic projects at "Documenta 5," a candid assessment of the medium and its new artistic uses proved difficult at the time. The current study analyses key photographic works by Polke, Richter, Ruthenbeck, Feldmann, Roehr, and the Bechers in the context of the Documenta organizers{\textquoteright} writings on photography and provides new insights into some of the leading artistic and theoretical questions that defined this period.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Manchanda, Catharina} } @mastersthesis {9774, title = {Reconstructing the Counter Reformation: Women Architectural Patrons in Rome and the Case of Camilla Peretti}, year = {2005}, school = {UNC Chapel Hill}, abstract = {This dissertation examines the art, architectural, and urban patronage of Camilla Peretti (1519-1605), sister of Pope Sixtus V (r. 1585-1590). By investigating Peretti{\textquoteright}s patronage at the Villa Montalto, her family{\textquoteright}s homestead on the Esquiline Hill, and at the church of S. Susanna on the Quirinal Hill, this case study seeks to contribute to the growing body of scholarship on women patrons in early modern Rome. Whereas the majority of that literature addresses women{\textquoteright}s patronage of art, this project focuses on Camilla Peretti{\textquoteright}s architectural patronage and her contributions to the urban development of the city. It also explores how Peretti participated in the contemporary Catholic reform movement through her patronage projects in Rome. Chapter One provides an overview of the dissertation. Chapter Two traces Camilla Peretti{\textquoteright}s biography and the urban history of Rome during the Renaissance. Chapter Three turns to Peretti{\textquoteright}s patronage at the Villa Montalto, recovering her agency in the evolution of the Villa from 1576 to 1588. This chapter addresses art historians{\textquoteright} traditional tendency to associate early modern noble-family villas with the male members of Rome{\textquoteright}s noble families, arguing that the example of Camilla Peretti demonstrates that women also played significant roles in the development of the residences commonly understood as markers of those families{\textquoteright} identities. Chapter Four turns to Peretti{\textquoteright}s involvement with the Confraternity of S. Bernardo, a group of reformed nuns called the Fogliante, and the church of S. Susanna. This chapter reveals that Camilla Peretti collaborated with her brother to bring the Confraternity of S. Bernardo and Folgiante to S. Susanna as part of their shared effort to foster transformation of the area around S. Susanna into a new neighborhood called the "Borgo Felice di S. Bernardo." Chapter Five examines the iconography of Peretti{\textquoteright}s chapel inside S. Susanna, which she dedicated to St. Lawrence and had decorated by Cesare Nebbia (1536-1614) and Giovanni Battista Pozzo (1563-1591). Chapter Six provides an overview of the patronage projects Peretti pursued outside of Rome in the last two decades of her life, including the church of S. Lucia, which she built in her hometown of Grottammare in the Marche.}, keywords = {Renaissance/Baroque Art}, author = {Dennis, Kimberly} } @mastersthesis {9793, title = {Re-Constructing Tradition and Modernity: The Theories and Art Projects of K. G. Subramanyan}, year = {2005}, school = {Virginia Commonwealth}, abstract = {K. G. Subramanyan (born 1924) is an influential Indian artist, teacher, and theorist. This dissertation examines his philosophical development, tracing the formulation and significance of his "polymorphic vision" in the historical and cultural context of twentieth-century India. Analyzing his writings and artworks, this study explores Subramanyan{\textquoteright}s ideas in relation to the individuals who influenced his understanding of art and culture-Mahatma Gandhi, Ananda Coomaraswamy, E. B. Havell, Jawaharlal Nehru, Rabindranath and Abanindranath Tagore, Nandalal Bose, Benodebehari Mukherjee, Ramkinkar Baij, and E. H. Gombrich. Their ideas about tradition, modernism, and nationalist and cultural identity had a profound impact on Subramanyan. Under their influence, Subramanyan developed his own distinct vision to negotiate the impact of cultural interaction in India as a result of colonialism and its interaction with the outside world. Synthesizing these ideas, Subramanyan has communicated the lessons of these influential individuals to multiple generations of Indian artists. Inspired by his mentors, Subramanyan developed two significant concepts fundamental to his polymorphic vision which this study explores in depth. Eclecticism describes the many contradictory forms of art and culture that compose Subramanyan{\textquoteright}s specific cultural environment. In order to deal with this eclecticism, Subramanyan proposes a conceptual structure of art as language. With this model, Subramanyan believes these diverse materials, methods, and images can be utilized in a manner that is meaningful to the environment in which they are made as well as to the world at large. Subramanyan{\textquoteright}s ideas provide a compelling model to examine the complicated artistic and cultural situation in twentieth-century India. In turn, India{\textquoteright}s particular situation can be related to other countries{\textquoteright} struggles with post-colonialism and Western influence. By examining Subramanyan{\textquoteright}s experience in India, this study raises the difficult political, cultural, and aesthetic issues many artists continue to negotiate throughout the world as a result of colonialism and internationalism. Subramanyan{\textquoteright}s polymorphic vision provides one distinct and practical artistic method for addressing the complexities of contemporary art and existence. By exploring Subramanyan{\textquoteright}s ideas and the context in which they were formed, a clearer understanding of Subramanyan{\textquoteright}s and India{\textquoteright}s position in contemporary art is revealed.}, keywords = {South/Southeast Asian Art, Twentieth-Century Art}, author = {Richardson, Margaret Ann} } @mastersthesis {9704, title = {Redefining the Sculpture of Early Dynastic Mesopotamia}, year = {2005}, school = {IFA/NYU}, abstract = {During the 1930s, hundreds of Early Dynastic dedicatory statues were excavated in the Diyala region of central Mesopotamia at the sites of Khafajah, Tell Asmar, and Tell Agrab. In these early excavations, two broad styles of sculpture were recognized and considered chronologically significant. An earlier style had abstract or geometric forms; a later style was realistic. The division of the Early Dynastic period into ED I, II, and III was formulated on the basis of the Diyala excavations, and the tripartite periodization depended to some extent on the interpretation of sculpture styles. The abstract style was dated to ED II, and the realistic style was dated to ED III. The assumed chronological significance of a large sculpture corpus was thus utilized. However, the styles were used to date temple levels before they were fully understood. On the basis of archaeological context and stylistic analysis, this dissertation is a redefinition of Early Dynastic sculpture styles. It is therefore also an assessment of the Early Dynastic periodization in reference to ED I and II. Through a reassessment of Diyala contexts, it is proposed that dedicatory traditions began in ED I and that among the earliest sculpture, it is possible to define distinct styles particular to certain temples. Rather than one abstract style, the earliest dedicatory sculpture therefore displays veins of abstraction and realism utilized to varying degrees. During ED III, large corpuses of Early Dynastic sculpture appear at Ashur, in northern Mesopotamia; at Mari and Tell Chuera, in Syria; and at Nippur, in southern Mesopotamia. The sculpture of the northern sites is carved in a distinct style particular to each site. In contrast, the sculpture of the Diyala and southern Mesopotamia adheres closely to traditions first established in ED I. Therefore, rather than portray the varying styles of dedicatory sculpture as a single, coherent sequence spanning the Early Dynastic period, this dissertation instead highlights distinct differences. Just as no single sculpture style can be considered contemporary for all of Mesopotamia, no single sculpture style can be considered exclusive of any one ED subdivision.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Evans, Jean M.} } @mastersthesis {9735, title = {Reframing Viceregal Painting in Nineteenth-Century Mexico: Politics, the Academy of San Carlos, and Colonial Art History}, year = {2005}, school = {Chicago}, abstract = {The most significant impact on the initial definition of the Colonial was made by the cultural politics characterizing early Mexican nationalism in the nineteenth-century. The conflicted reception of the Colonial stemmed from the ideological disjuncture separating opposing political factions who were striving to dominate and direct their nation{\textquoteright}s development. These political viewpoints and the debates they occasioned set the stage onto which viceregal works of art were eventually placed as historical and cultural signifiers of the modern Mexican state. The continuation of Colonial ideas, expressions, and practices into the nineteenth-century and beyond questions the nature of Mexican elite responses to that historical-cultural period and its material expressions, given a concerted interest by the privileged classes in distancing the modern nation from the viceregal context preceding it. Since New Spain was the first of the Spanish viceregal territories to successfully acquire its independence from Spain, Mexico serves as the ideal locus for an investigation of the early development of Colonial art historical studies. This investigation concentrates on Mexico{\textquoteright}s late Colonial period and its first five decades as an independent nation, in order to locate and identify the motives and processes that guided the production of the Colonial, as a field of cultural production. Of especial importance was the impact of politics on cultural perceptions and practices, specifically manifested through the influence of the Academy of San Carlos on art production. The earliest attempt at generating a Colonial art history in the academic context was comprised of two general stages: the formation and display of a Colonial painting collection in the institutional space and the subsequent qualification of the installation in narrative format as part of a project to historically contextualize this material as national patrimony.}, keywords = {Latin American/Caribbean Art, Nineteenth-Century Art}, author = {Raymond Hernandez-Duran} } @mastersthesis {9672, title = {Replacing Modernism: Visual Culture and National Identity in Britain 1930-1960}, year = {2005}, note = {ProQuest advisors: Saab, A. Joan; Wolff, Janet (P. Duro is not listed)}, school = {Rochester}, abstract = {Re-placing Modernism: Visual Culture and National Identity in Britain, 1930 to 1960 examines different forms of visual culture produced in Britain during the inter- and postwar periods. Against those arguments that declare modernism in Britain a failed project after the demise, for example, of the Bloomsbury avant-garde or the Futurist-inspired aesthetics of Wydham Lewis and his Vorticist movement, I argue instead that pioneering efforts in fact continued through the twenties, and thirties, and indeed after the Second World War. Yet British artists of this period, for the most part, did not adopt a style conventionally associated with modernism. The photographs of Humphrey Spender, the paintings of William Coldstream and the Kitchen Sink School, and lastly, the multiple-media works of the Independent Group, differentiate themselves through their unique method of engagement with modern culture. The nature of their approach has much to do with the state of national identity at the time. Having emerged from the First World War victorious, but nearly bankrupt, only to face the Great Depression of the thirties and then a second, more crippling and devastating war, seriously deflated Britons{\textquoteright} sense of self. The once pervasive image of their country as an omnipotent power in Western Europe and throughout its empire, faded very quickly over the course of thirty years. This decline, particularly during the interwar period and immediately after 1945, manifested culturally as an art that was much more concerned to visibly articulate and comment upon the bewildering, sometimes dire state of the human condition at the time. Formal innovation, in this context, although important, was not as crucial to their understanding of modern aesthetics as was their discovery of new ways to represent the self and society. It is this particular facet of their work upon which I focus to explain the modernism of visual culture in Britain during this period.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Curzon, Lucy} } @mastersthesis {9641, title = {The Representation of Immigrants in American Art and Architecture in New York City, ca. 1850-1920}, year = {2005}, school = {Kansas}, abstract = {In mid-nineteenth and early-twentieth century visual and textual investigations of immigration in New York City, architecture was repeatedly invoked to structure, narrate, or otherwise inform the discourse of immigration. The space of immigration as well as the representation of that space was instrumental in creating a manner of looking at both the immigrant and at the nation. Responding to the swelling population and the changing ethnic make-up of the nation, the popular press sought ways of picturing nation, authority, and institutional control. The press frequently relied on architecture to articulate these issues. The architecture of Castle Garden and Ellis Island, together with the portrayal of that architecture, played important roles in holding cultural memory and framing cultural observations. Architecture acted as a site, a place holder, of cultural values and hierarchies. The first half of this dissertation examines the representation of immigration processing and architecture at Castle Garden, the immigration depot in operation from 1855 to 1890, located in the southwest corner of Manhattan. The second portion of the study concerns immigration at Ellis Island, which operated from 1892 until 1924. Chapter One explores the repeated invocation in the popular press of an event from Castle Garden{\textquoteright}s earlier incarnation as an upper-class theater: the Swedish soprano Jenny Lind{\textquoteright}s American debut in 1850. The second chapter considers a painting by Charles Ulrich of an immigrant woman nursing her baby at Castle Garden and situates the painting within contemporary discourses on motherhood and eugenics. Turning to Ellis Island, Chapter Three investigates the changes between the first immigration station of Romanesque design, built between 1890 and 1892, and its French Renaissance-style replacement, built between 1897 and 1900. The final chapter considers Gertrude Vanderbilt Whitney{\textquoteright}s exhibition Immigrants in America, of 1915-1916. Portions of the exhibition, a collaboration between Whitney and the Americanization movement, were originally shown at the Whitney Studio and were later exhibited at and donated to Ellis Island}, keywords = {Art of the United States}, author = {Wilk, Deborah} } @mastersthesis {9752, title = {Re-presenting Sappho: The Classical Tradition in Nineteenth-Century French Painting}, year = {2005}, school = {Chicago}, abstract = {This dissertation focuses on the long overlooked history of the classical tradition in French nineteenth-century painting by examining the intersection of classicism and the female body, gender and artistic achievement. It builds upon recent reconsiderations of Davidian classicism that examine the centrality of the male nude and conceptions of masculinity underpinning the Revolutionary ideal of fraternity. I extend this reassessment of classicism into the nineteenth century. Through its emphasis on the figure of the Eurasian poet Sappho, employed time and again by artists from Gros to Moreau, my thesis introduces the problematic of the female body, gender, and Orientalism into an investigation of classicism{\textquoteright}s reconfiguration by artists who believed themselves to be the true heirs of the epic tradition in French painting. I argue that these painters reworked the classical idiom from within. Close readings of visual, literary, and scholarly representations of Sappho reveal how this mythic figure provided painters with the alluring possibility of reappropriating a classical past. It is my contention that Gros, Chasseriau, and Moreau deliberately placed the female figure at the heart of their artistic enterprise in order engage with and revise the vocabulary of the nude. The female body became the battleground on which they attempted to reconfigure existing definitions of high art. I argue that the nineteenth-century painters in my study recuperated David{\textquoteright}s eighteenth-century understanding of classicism in which ideal form and antique subject matter were used to express Revolutionary ideals. By treating classicism as a modern project and dissociating it from academicism, my study demonstrates that the optic through which we currently examine the past provides inadequate paradigms for analyzing nineteenth-century painting. I treat the fundamental opposition between the classical and the modern, the putative difference between retrograde and innovative artistic practices accepted by art historiography, as a distinction of our own making that we need to transcend.}, keywords = {Nineteenth-Century Art}, author = {Lindheim, Rachel} } @mastersthesis {9619, title = {Revising History{\textquoteright}: Creating a Canon of American Art at the Centennial Exhibition}, year = {2005}, school = {CUNY}, abstract = {Nineteenth century international expositions were mainly commercial in nature; their function was to bring together an array of objects to create a comprehensive view of the world, then to select those that were most praiseworthy. The 1876 Centennial Exhibition, however, was also commemorative, as it memorialized the signing of the Declaration of Independence. It represented an opportunity to show American goods-a manifestation of the country{\textquoteright}s present-along with a call to reflect upon its past and to "revise history," as it was put in a newspaper article of the period. This was no less true for American art. The United States art exhibition provided not just an opportunity, but a mandate to create a canon of the country{\textquoteright}s art from the past century, along with a historical narrative that would join the past to the present and enshrine a national "American School." This challenge came at a time that one critic called "an era of revolution," as the nativists of the Hudson River School of landscape painting were challenged by expatriates who studied abroad and favored figural subjects. Artists from these two camps competed fiercely to determine who would represent the "American School" and inherit the mantle of history at the Centennial Exhibition. However, the display that they presented was impossibly large and confusing, and riddled with absences. Their attempted canon was overtaken by the written accounts of critics, who were claiming new authority over the nation{\textquoteright}s cultural life. The shortcomings that they discerned in the exhibition led them to create their own interpretations that reached far beyond the display itself to present rudimentary narratives of American art, and to debate questions of national identity in the face of foreign influences. Their discussions resonated through the rest of the century in new histories of art that departed from earlier biographical models and followed the Centennial ideal of progress, weaving narratives of continual advancement that addressed the inescapable reality of European influences. At the same time, world{\textquoteright}s fairs emerged as occasions to define the American school. Both written and exhibited accounts show that the discourses inspired by the Centennial Exhibition shaped the perception of American art through the rest of the century.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Orcutt, Kimberly} } @mastersthesis {9708, title = {Revolutionary Likenesses: Portraiture and Politics in France, 1789-1804}, year = {2005}, school = {UC Berkeley}, abstract = {My dissertation investigates the artistic and cultural evolution of portraiture in Revolutionary France. During this crucial period of French history, portraiture both shaped and responded to debates about the nature of subjectivity and citizenship, the possible roles of men, women, and children in a new society, and the meaning of class in an unstable social hierarchy. In order to explain how portraits became so central to Revolutionary culture, I investigate both the material and ideological conditions that shaped their production. My study begins with a chapter exploring the physical, economic, and social geographies of the Parisian portrait market. My second chapter explores the problem of political portraiture through the lens of a series of print portraits of the deputies to the National Assembly. My third chapter addresses the peculiar visibility of professional actresses and their portraits. The fourth chapter, which considers the genre of portraiture in the landscape, centers on an 1798 portrait of the political leader Louis-Marie Revelliere-Lepeaux by Francois Gerard. The fifth chapter concerns the image of the family during the Revolution, and is constructed around a series of portraits and allegorical compositions by Francois Vincent. I have chosen my case study images to be representative of a wide range of art production, including not only oil paintings by Jacques-Louis David and his most famous students, but also the work of less familiar artists, both male and female, who produced portraits in other media, such as miniatures, prints, and mechanically-generated physionotraces. By addressing portraiture in all its modes, I have not only brought previously unstudied images to light, but have also reconstructed the social and economic exchanges inherent in the commission of a portrait, from the cheapest print to the most monumental family portrait. Moreover, my investigation extends beyond the portraits themselves to evolving definitions of selfhood during the Enlightenment, the political discourses of the Old Regime and the Revolution, and the emergence of a consumer society. My study thus not only contributes to art historical knowledge about portraiture in eighteenth-century France, but also offers a historical assessment of the political and cultural role of images during the Revolution.}, keywords = {Eighteenth-Century Art, Nineteenth-Century Art}, author = {Freund, Amy} } @mastersthesis {9625, title = {Robert Rauschenberg{\textquoteright}s "Oracle", "Soundings", and "Carnal Clocks": A socio-historical critique}, year = {2005}, school = {Penn State}, abstract = {In 1965, viewers walking into the Leo Castelli Gallery in New York City expected to see Andy Warhol{\textquoteright}s Pop repetition on the walls; instead, they found themselves in a room with black rubber matting on the floor on which junked metal contraptions emitted electronic, indecipherable sounds. Onlookers were viewing Oracle, an electronic piece created by Robert Rauschenberg in the 1960s. Oracle consisted of five metal assemblages, each housing a hidden radio creating an unusual sound environment. Experimenting with technology with collaborative engineers was just one of many interests for this eclectic artist. Surprisingly, after its showing, Oracle, as well as other electronic works created by Rauschenberg, received very little scholarly attention, and unfortunately the situation has not improved much today. Scholars{\textquoteright} oversight of Rauschenberg{\textquoteright}s electronic works is even more unsettling when considering the artist{\textquoteright}s current popularity and reputation. This dissertation offers the first thorough investigation of three electronic pieces produced by Robert Rauschenberg in the 1960s: Oracle, Soundings, and Carnal Clocks. Due to the works{\textquoteright} largely technological aspects, Rauschenberg{\textquoteright}s electronic pieces have been overlooked by scholars. This dissertation suggests possible readings for Rauschenberg{\textquoteright}s electronic assemblages based on an examination of the artist{\textquoteright}s immediate cultural context. This project takes an interdisciplinary approach to the analysis of Rauschenberg{\textquoteright}s work involving concepts from art history, contemporary theater, and social history. The sociohistorical interpretation will be useful not only to Rauschenberg scholars, but also to those who deal with the art of the 1960s, as well as scholars who focus on art and technology of any time period}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Geiger, Melissa} } @mastersthesis {9622, title = {Robert Ryman, Painting as Actuality: 1953-1969}, year = {2005}, school = {Virginia Commonwealth}, abstract = {Robert Ryman{\textquoteright}s predominately white paintings have been widely acknowledged to provide an aesthetic experience based on the tactile qualities of their materials. However, neither Ryman{\textquoteright}s course of development from his earliest works nor the factors that led to his approach have been closely examined. Ryman came to New York in 1952 to study jazz, whereupon he took a job as a guard at the museum of Modern Art and gave up music in favor of painting. His work retains the temporal quality of jazz improvisation because each paint stroke is applied only once, without subsequent blending or scraping, so that these strokes chart the passing time of the painting process. The factors of reserve and attention to physical nuance in Ryman{\textquoteright}s work are also apparent in the pedagogical techniques of his music teacher, Lennie Tristano. The temporality of his stroke was reinforced by the technique of Henri Matisse, as well as by Abstract Expressionism{\textquoteright}s emphasis on procedure, although Ryman dispensed with the latter{\textquoteright}s implications of personal struggle. The non-pictorial interaction of paint and ground that Ryman discerned in Matisse was also visible in the work of Mark Rothko, which moreover suggested to him that painting could exist as a concrete object in real space. Ryman achieves this real space existence both through his stroke and his use of various grounds, which emphasize the supporting wall and implicate the viewer in a perambulatory experience that is unusual in painting. Ryman utilizes the painterly stroke apart from the emotional expressionism it connoted in the late 1950s and early {\textquoteright}60s, thus differing from both the smooth color surfaces upon which former painter Donald Judd based his Minimalist three-dimensional work and the qualities of painting that Judd wished to repudiate. However, the durational experience that Ryman{\textquoteright}s works provide causes them to enter the phenomenological realm that another Minimalist, Robert Morris, believed was inaccessible to painting.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Colaizzi, Vittorio} } @mastersthesis {9691, title = {The Romanesque Cathedral of St. Mary at Lincoln and the Image of Reform}, year = {2005}, school = {Columbia}, abstract = {Construction of the cathedral at Lincoln began during the tenure of Bishop Remigius in 1072. From the ducal abbey-palace compound at Fecamp, Remigius participated in the Conquest of England, and became King William{\textquoteright}s first episcopal appointment. With Canterbury Cathedral, Lincoln represents the beginning of an era of construction which in the number and scale of its buildings has few parallels in European history. Despite the importance of the subject, no full monograph exists. I offer a description of archaeological evidence and a reconstruction, supported by measured drawings and other visual documentation. My primary subject is the church of the eleventh century, though I include also description of twelfth-century alterations. To assist an understanding of Lincoln Cathedral, I discuss city topography, and the symbiotic relationship of cathedral to castle. Further, I sketch an architectural context, including the church of Saint-Etienne in Caen, with consideration also of Lincoln{\textquoteright}s relationship to Cluny II and Bernay. Lincoln{\textquoteright}s western entrance structure merits special attention. I describe it in relation to the Carolingian westwerk, Charlemagne{\textquoteright}s palace chapel at Aachen, and the notion of romanitas as transmitted through Carolingian sources to the eleventh century. With reference to studies by Jean Bony, Robert Branner, and Pierre Heliot on the relationship of the English Romanesque to the emerging Gothic style in France, I argue that the Lincoln facade was a royal portal decades before the development of the portail royal at Saint-Denis and Chartres. This leads to an investigation into the iconography of medieval architecture. I begin with an examination of the methods of Richard Krautheimer and Otto von Simson. I describe next the Christian idea of reform, with reference to research of Gerhart Ladner and Giles Constable, as a culturally pervasive force. Regarding the symbolism of architecture, the idea allows insight, as it weaves together various significations, change and time, the obvious as well as the obscure references that a building might make. Thus architecture gave shape to the idea of reform.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Dewsnap, Terence Francis, Jr.} } @mastersthesis {9678, title = {The Rookwood Sage: Kataro Shirayamadani and American Japonism, 1883-1913}, year = {2005}, school = {Minnesota}, abstract = {This dissertation examines Kitaro Shirayamadani, an artist who worked at Rookwood Pottery in Cincinnati, Ohio between 1887 and 1948. His art is essential to Japanism in America, a movement that represented America{\textquoteright}s fascination and emulation of Japanese art and culture, and his work is also paramount for Art Nouveau in the United States. This study illuminates the contributions of this artist and illustrates how his accomplishments reflected and enriched the art world. In addition, a catalogue of over four hundred examples of Shirayamadani{\textquoteright}s works is included, allowing for a more thorough understanding of his oeuvre and phases of artistic development. It will serve as a fundamental source book for Shirayamadani studies. Shirayamadani{\textquoteright}s Rookwood pieces demonstrate a fusion of Japanese aesthetics and decorative motifs with Rookwood{\textquoteright}s innovative glazing technology. His presence provided Rookwood with an "authentic" Japanese artist and his knowledge and skills exerted a strong influence on other artists at the pottery. During Shirayamadani{\textquoteright}s tenure, Rookwood achieved international fame and created an enduring reputation. Many of Shirayamadani{\textquoteright}s pieces were exhibited at the International Expositions, collected by museums and decorative art schools across the United States and throughout Europe, and widely reproduced in art periodicals at the turn of the century and beyond. In addition to looking at his career at Rookwood, this dissertation examines Shirayamadani{\textquoteright}s activities prior to joining the firm in 1887: his role in the Deakin Brothers{\textquoteright} "Traveling Japanese Village" and his work for Louis Wertheimber, a dealer of Japanese curios, in Boston. While at Rookwood, Shirayamadani continued to inform and educate the American public about Japanese art and culture through exhibitions of his extensive print and photograph collection and as a silent partner in a Japanese import shop located in Cincinnati, Ohio. In this way, Shirayamadani bridged two areas: the making of works of art and an ability to popularize the taste for all things Japanese in the commercial world. He is a "Rookwood sage" not only because of his influence on fellow artists and designers, but because he increased the appreciation and understanding of Japanese art in the United States in the most practical ways}, keywords = {Decorative Arts/Textiles/Design History, Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Fowler, Elizabeth} } @mastersthesis {9799, title = {Roy Lichtenstein, Pop, and the Face of Painting in the 1960s}, year = {2005}, school = {Harvard}, abstract = {This dissertation examines the work produced by the American artist Roy Lichtenstein (1923-1997) between 1956 and 1972. Tracing Lichtenstein{\textquoteright}s development into and through his "classic" pop oeuvre of the early sixties, the thesis argues that his production of these years is motivated by a sustained investigation of the place of the body-encompassing that of represented figure, practicing artist, and active spectator-in late modernist art. The dissertation{\textquoteright}s four chapters proceed chronologically. The first studies the specific moves that led Lichtenstein to his pop idiom, focusing in particular on the importance of his early lessons at Ohio State University with Hoyt Sherman. Sherman{\textquoteright}s teaching stressed both the integrative potential and fundamental corporeality of the painterly act; Lichtenstein{\textquoteright}s path to pop at the close of the 1950s, the chapter contends, was fueled by his conflicted desire both to realize and negate his mentor{\textquoteright}s aesthetic principles. The second chapter explores the terms of this project as they emerged in Lichtenstein{\textquoteright}s 1960s oeuvre by focusing on a single image, 1961{\textquoteright}s Look Mickey. Repeatedly cited by the artist as his first pop work, Look Mickey, the chapter argues, can be read as both a self-portrait and re-telling of the story of Narcissus. Concentrating on the tension between sensation and numbness driving the painting{\textquoteright}s pictorial narrative, the chapter situates it in relation to a broad set of discourses about the body and aesthetic possibility at the onset of the 1960s. The dissertation{\textquoteright}s third chapter builds on this analysis by reexamining Lichtenstein{\textquoteright}s paintings of 1961-64 through the lens of Look Mickey{\textquoteright}s corporeal dialectic. The artist{\textquoteright}s work of these years, the chapter argues, is structured around a similar tension, evident in both form and iconography, between sensory fullness and depletion. The final chapter traces Lichtenstein{\textquoteright}s shift of focus after 1964 to the bodies of his own viewers. The chapter closes by looking at Lichtenstein{\textquoteright}s mirror series of 1969-1972, arguing that these works figure a dissolution of painter and spectator alike-and in doing so, effectively conclude the sustained bodily investigations of the artist{\textquoteright}s 1960s oeuvre as a whole.}, keywords = {Twentieth-Century Art}, author = {Graham Bader} } @mastersthesis {9810, title = {Rubbernecking and the Business of Disaster}, year = {2005}, school = {Chicago}, abstract = {This study examines how accidents and catastrophes occupied a significant position in American popular visual culture and entertainment in the late 19th and early 20th centuries, roughly 1880 to 1913. Modernity brought mass-produced articles, department stores, and cheap printed materials, to name but a few. When the rapid changes accompanying modernity gave rise to new imaging technologies, a modern collection of commodities was born: disaster tourism, images, and entertainment that were available to a large spectrum of American society. Both natural and technological disasters proved to have an almost irresistible appeal, and images and representations of disaster were sold in vast quantities as photographs, reproductions in periodicals and newspapers, and cinematic actualities. In addition to the images of actual catastrophes, disaster was a powerful illusionistic draw in paintings, panoramas, magic lantern shows, and melodramas. Showmen crashed real trains and re-created experiences at the amusement park. The experience or sight of disaster was transformed into a commodity: the original catastrophe (always free) became something to buy, something consumable. Analysis of modernity{\textquoteright}s visual cultures has benefited greatly from Walter Benjamin{\textquoteright}s work on the idea of the "flaneur," the mobile spectator haunting Paris{\textquoteright} arcades. This study adopts the term "rubbernecker" over the more familiar flaneur and defines the practices of rubbernecking. Seeing and mobility-particularly in the context of the crowd-are crucial in the definition of the rubbernecker. Although what rubberneckers see may be frightening, the thrilling experience is terrible and amazing at the same moment. Woven throughout this study is a contemplation of the shifting surfaces of the sublime and the sensational. Both involve a simultaneous emotional push and pull along with the threat (feigned or real) of bodily peril, and audiences described their experiences in similar ways. Travel and tourism are two of the cultural unifiers of modernity, and, in many ways, the rubbernecker is a sub-species of homo touristicus. Tourism thrives on the selling of experiences and on the marketing of authenticity. The quest for authenticity was part of the culture of romantic painting, the growth of photography, the practices of tourism, and the sights of the amusement park.}, keywords = {Twentieth-Century Art}, author = {Godbey, Emily} } @mastersthesis {9620, title = {Ruby C. Williams and Howard Finster: Creating a Unique Touching Experience through Visionary Art}, year = {2005}, school = {Stony Brook}, abstract = {Ruby C. Williams, born in 1928 in Bealsville, Florida, is a farmer, missionary, and artist who creates art that is didactic while sometimes remaining ambiguous. There is a palpable conflict present in her artwork and identity. This dissertation analyzes Williams{\textquoteright}s artwork as an element of her identity as an African-American, Southerner, and tenant of her homeland. Her art is unique yet has aesthetic similarities and cultural congruities to other Outsider and Visionary artists thus defining her within that group. To understand the conflicts and context of Williams with respect to her artwork, a review of her life and family is presented as an introduction to her unique art space, farm stand and homeland. An overview of contextual information such as African-American stereotypes, influences of women and religion, and ideas of double identity aid in more fully revealing the conflicts present in Williams{\textquoteright}s art. Current and past scholarship is reviewed and a new term, Visionary Art Minister, is introduced as a means to define Williams. A Visionary Art Minster is an artist whose artwork stems from, aids in, and is essential to her ministry. Her aesthetic and subject choices are analyzed with respect to relative cultural contexts such as that of African and Christian symbolism. Williams{\textquoteright}s Bonnie Bon Bonnie doll is analyzed using D. W. Winnicott{\textquoteright}s theories on play, reality, creativity, and transitional objects. A review of Williams{\textquoteright}s annual "Folk Art Gallery" celebration is presented and analyzed coupled with an evaluation of Williams as a brand and commodity. This dissertation concludes that Ruby C. Williams is a Visionary Art Minister who resolves her many identity conflicts through her art and uses her art to preach her beliefs. The aesthetic and stylistic consistencies in her work reveal a symbolic currency. She also uses her marketability to spread her messages and continue her ministry.}, keywords = {Art of the United States, Outsider/Folk Art}, author = {Moody, Meredith} } @mastersthesis {9757, title = {Sacred and Secular Images of Monasticism, Sainthood and Martyrdom in the Art of Edouard Manet}, year = {2005}, school = {Pittsburgh}, abstract = {No record in ProQuest}, keywords = {Nineteenth-Century Art}, author = {Paradis, Holly} } @mastersthesis {9763, title = {The Sacred Revealed: An Iconographic Study of the Berndt Collection of Arnhem Land Bark Paintings at the American Museum of Natural History}, year = {2005}, school = {CUNY}, abstract = {Bark painting, the act of applying natural pigments to flattened, dried and smoothed sheets of eucalyptus bark, is an indigenous art form of Australia. Although it was once widespread throughout the entire continent, the tradition of bark painting (which continues to the present day) is most often associated with Arnhem Land, a region that is primarily an Aboriginal reserve located in the northeastern section of the Northern Territory. Early Arnhem Land bark paintings served both secular and sacred functions, depending upon the context and audience for whom they were made. This dissertation is the first comprehensive art historical study of Western and Northeastern Arnhem Land bark painting to focus on critical analyses of style and iconography. No scholar to date has done a diachronic analysis of bark paintings utilizing multiple collections from two distinct regions of Arnhem Land. The primary focus of this dissertation is on the AMNH Berndt Collection, a series of ninety bark paintings, collected by the social anthropologists Ronald and Catherine Berndt in 1958 for the American Museum of Natural History (AMNH), New York. The AMNH Berndt Collection of bark paintings reflects traditional styles and subject matter, since it was acquired prior to the establishment of a commercial art market. Significantly, it is one of the earliest bark painting collections to be thoroughly documented with the artists{\textquoteright} names, social groups, and detailed explanations of the painted imagery. Moreover, it encompasses, within a single collection, artwork from both Western Arnhem Land and Northeastern Arnhem Land, and includes works by twenty-nine artists from fourteen clans or language groups. Using the AMNH Berndt Collection as a baseline, this dissertation explores how Arnhem Land bark paintings have changed (both stylistically and iconographically) over time. Works from both earlier and later collections of Arnhem Land bark paintings have been analyzed, specifically eight important and related collections created over the fifty-eight year period between 1912 and 1971. Although the majority of the works included in this study remain unpublished, they are significant in terms of establishing regional artistic styles, as well as charting the introduction of innovative trends in Arnhem Land bark painting.}, keywords = {Oceanic/Australian Art}, author = {Caglayan, Emily} } @mastersthesis {9713, title = {Sacred Sites and Religion in Early Rome, Eight to Third Centuries BC}, year = {2005}, school = {Michigan}, abstract = {Modern studies of early Roman religion have generally been based upon the works of ancient authors such as Livy, Dionysius of Halicarnassus, and Varro---authors who wrote about early Rome some five hundred years or more after Rome{\textquoteright}s earliest centuries. In this dissertation, I focus instead on contemporary archaeological data from the eighth to sixth centuries BC as a source of information about early Roman religion. I discuss the role that archaeological data can play in informing us about ancient religious beliefs and rituals, and I examine archaeological evidence for sacred sites, ancestor worship, and animal sacrifice in early Rome. In addition, I compare the religious practices and beliefs represented by the early Roman archaeological remains with the religious concepts discussed by the later ancient authors in order to determine the extent to which the later texts are relevant to discussions of early Roman religion. I demonstrate that significant changes took place in the Roman sacred landscape in the sixth century BC, and I argue that the later Roman religious terminology can be applied to the time period before the sixth century BC only with extreme caution. Indeed, despite many continuities between Roman religious practices and beliefs of the earlier period and those of the later period, Roman religion was ultimately a reflection of the needs and concerns of the inhabitants of Rome, whose interests changed significantly as Rome grew from a small farming hamlet in the eighth and seventh centuries BC to a cosmopolitan urban center in subsequent centuries.}, keywords = {Greek/Roman Art}, author = {De Grummond, Elizabeth Chambless} } @mastersthesis {9753, title = {The Sacred Spring of Nature: Gustav Klimt{\textquoteright}s Landscape Paintings and Nietzschean Tragic Vision}, year = {2005}, school = {Yale}, abstract = {The dissertation examines the landscape paintings of the Viennese artist Gustav Klimt (1862-1918). Although best known for his figurative work, Klimt turned to landscape at an advanced stage in his career. He embraced it emphatically, painting close to sixty landscapes from 1898 until his death, almost half of his total production during this time, the most important years of his artistic life. His turn to landscape is examined in the context of a crisis in meaning with his figurative art during the 1890s, and the founding of the Secession in 1897 to embrace international modernism. Themes of life, death, and rebirth are traced in allegories and portraits of the 1890s that suggest Klimt{\textquoteright}s adoption of a Nietzschean tragic vision, articulated in the philosopher{\textquoteright}s Birth of Tragedy (1872; rev. ed. 1886); Nietzsche{\textquoteright}s world view questioned the assumptions and "false optimism" of a rationalistic-scientific culture and celebrated nature and instinct as opposed to culture as a source of solace and creativity. Klimt{\textquoteright}s landscapes are shown to reflect this viewpoint in their presentation of nature as a "Sacred Spring"---a rejuvenating source of infinite replenishment---through the identification and analysis of formal factors that remain consistent---the square format, the exclusion of people, the suppression of cultural symbols, and the emphatic display of nature{\textquoteright}s sensuous fecundity in an iconicizing Stil of color and pattern.}, keywords = {Nineteenth-Century Art}, author = {McColgan, Denise Sarah} } @mastersthesis {9626, title = {Saturday Night at the Savoy: Blackness and the Urban Spectacle in the Art of Reginald Marsh}, year = {2005}, school = {Michigan}, abstract = {This dissertation investigates representations of African Americans in the work of urban realist artist Reginald Marsh from 1928 through 1938, a period when popular conceptions of urban culture were being reshaped by an increasingly perceptible black presence in prominent American cities like New York. Through critical readings, I establish the ways in which Marsh{\textquoteright}s complex, contradictory representations of blacks acted as substantive cultural and visual markers---manifestations of concerns about the urban presence of African Americans. As Marsh negotiated public perception, popular imagery, and his own experience of observing those who comprised the city of New York he created a pictorial vocabulary engaged with mainstream culture{\textquoteright}s attempts to determine America{\textquoteright}s new urban and ethnic landscape. The central focus of this project is its historically specific investigation of how and to what extent "blackness" signified in social science journals, popular sources, and publications by African-American writers during this period. It also reveals how the artist adopted various strategies that functioned within contemporary discourse about blackness. I demonstrate that Marsh{\textquoteright}s imagery constructs a means for deciphering New York{\textquoteright}s shifting urban culture through the presentation of public, racialized space. The black figures that appear on the subway, at Coney Island, Harlem or the Bowery in Marsh{\textquoteright}s paintings correlate to the period{\textquoteright}s discourses on urban space, social order and ways to negotiate the presence of African Americans in the city. Marsh employed pictorial methods of representing blackness in order to express the vibrant city as a transgressive site, a place that provides the opportunity to subvert established norms, while concurrently acknowledging the boundaries of the country{\textquoteright}s greater racial order. In addition I argue that Marsh{\textquoteright}s reputation as an urban realist who was both participant in and observer of the city{\textquoteright}s working-class amusements granted him the authority to exploit a range of representational techniques, from caricature to old master drawing styles to politically charged visual tropes, to interpret the black urban presence. Aesthetic decisions such as the arrangement of figures and the use of unnaturalistic physical characteristics operate both to distinguish black racial identity and contain its cultural residue.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Higginbotham, Carmenita D.} } @mastersthesis {9748, title = {Sawrey Gilpin, R.A. (1733-1807): British Animal Painting in the Age of Sentiment}, year = {2005}, school = {IFA/NYU}, abstract = {Like his greater rival George Stubbs, the eighteenth-century animal painter Sawrey Gilpin attempted to raise his art to the level of history painting. In subjects chosen from British literature and antiquity, he made the horse his protagonist, and in Sublime representations of equine terror expressed through violent flight, he produced protoromantic works influencing later painters such as James Ward, Gericault, and Delacroix. His subjects from Gulliver{\textquoteright}s Travels connected to the fable tradition, in which the innocent and ethical natures of animals served as foils to less worthy aspects of man{\textquoteright}s. His earliest classical subject---the election of the Persian king Darius by the action of his horse---would resonate with later animal activists. His art intersected with several trends in late eighteenth-century thought: natural history and new typologies; the Picturesque aesthetic, led by his brother William Gilpin; and humanitarian response to both man and animals. His greatest innovation was an early concern with adverse conditions in the lives of the horses who serve man. Through his pupil Thomas Gooch, his depictions of various {\textquoteright}characters{\textquoteright} of horses from all walks of life would be transformed into sentimental prints of equine {\textquoteright}life and death,{\textquoteright} one of the most popular early nineteenth-century themes in print series and in {\textquoteright}hippodrama.{\textquoteright} His career was underpinned by three influential patrons: the Duke of Cumberland, Col. Thomas Thornton, and Samuel Whitbread II. For these and other important customers he produced sensitive animal portraits of great psychological understanding. His portraits and history paintings won wide respect, and in the 1790s he became the only eighteenth-century animal painter to gain full membership in the Royal Academy. He also collaborated frequently with artists such as George Barret, William Marlow, John Zoffany, and Richard Cosway, and provided assistance with animals to a diverse range of colleagues including Francis Wheatley, George Romney, Wright of Derby, and Turner. The dissertation provides an in-depth study of the artist{\textquoteright}s life and work, and in a final chapter steps outside the bounds of the monograph to examine briefly other artistic responses to late eighteenth- and nineteenth-century humane concerns.}, keywords = {Nineteenth-Century Art}, author = {Ferguson, Sharon} } @mastersthesis {9770, title = {A Semiotic Analysis of Aztec Picture-Writing Based On the Place-Name Signs in the Codex Mendoza}, year = {2005}, school = {Columbia}, abstract = {The Spaniards who first disembarked on the shores of Veracruz were mistaken for gods, in part because they seemed to come out of nowhere. After two days of looking, a shaman began to see the massive galleons rising out of the ocean waves. They were real enough, but the material did not fit any preconceived pattern; they became visible to the community at large only after the language to communicate about them had been put in place. Modern investigators, intent on isolating objects and defining each in its own right, have arrived at mutually exclusive concepts of art and writing, when in fact each has contributed to the historical shaping of the other. Profound investigations of each entity become possible, but it{\textquoteright}s virtually impossible to acknowledge the give and take between them. Aztec picture-writing falls between the disciplinary cracks of most present-day investigations, for it doesn{\textquoteright}t fit well within either category. This dissertation begins with that problem and proceeds to loosen the knots of the print-oriented, text-based logic that anchors our categorical notions. This paves the way for not only a renewed understanding and investigation of Aztec picture-writing, but a history heretofore unforeseen. In a book review recently published in Art Bulletin (December 2001), Jeffrey Quilter, Director of Pre-Columbian Studies at Dumbarton Oaks, points to some present-day boundaries and challenges his colleagues to surmount them: "If Pre-Columbian art history is to take its rightful place in the halls of art history departments, it has to find ways to contribute something to the discipline that cannot be provided through the study of Renaissance art, the Impressionists, and the like." This dissertation uses {\textquoteright}New World{\textquoteright} material to reveal {\textquoteright}Old World{\textquoteright} conceptual constructs and begins to make good on that challenge.}, keywords = {Pre-Columbian Art}, author = {Robertson, Janice Lynn} } @mastersthesis {9710, title = {Sentimental Affliction: Jean-Baptiste Greuze and the Waning of Sensibility, 1761-1769}, year = {2005}, school = {UC Berkeley}, abstract = {My dissertation addresses the shift in the painting of the French artist Jean-Baptiste Greuze (1725-1805) in the 1760s, from a deep engagement with sensibility to a skepticism of such effusive sentiment by the end of the decade. I argue that his 1760s painting drew from and manifested sensibility as an embodied phenomenon---"sensibility" referring to a mode of social feeling that cut across realms such as ethics, economics, and medicine. By attending to, and refusing to collapse, the contradictory nature of his painting, I examine the implications of Greuze{\textquoteright}s aesthetic turn in relation to the wider social investment in sensibility specific to mid-18th century French society. Each chapter takes on a single painting by Greuze produced in the 1760s. Chapter one examines his Village Bride (1761) in relation to the physiocratic movement towards agricultural reform in the 1750s and early 60s. I argue that the painting{\textquoteright}s pastoral vision of a family united in a marriage ceremony offered a solution to the demographic crisis endemic in French cities and in the countryside. Chapter two examines Filial Piety (1763) in relation to the social problem of health and medicine in mid-18th century France, as figured in the depiction of the paralyzed, dying father in the painting. By examining the medical discourse on paralysis around 1763, I delve into the significance of the mind-body split, and the anxieties provoked by the paralyzed body, suspended between this world and the next. Chapter three situates Girl Crying over her Dead Bird (1765)---conventionally seen as a hymn to lost love and virginity---in relation to debates on sexuality and population in mid-18th century France. I argue that the painting both held out the promise and deferred the possibility of the girl{\textquoteright}s passage into marriage---as part of a shift to a more "optimal" basis of population being put forward by reformers in the 1750s and 60s. Chapter five analyzes the Septimius Severus episode of 1769. I reexamine Greuze{\textquoteright}s failure to attain the title of "history painter" in light of his pictorial experiments between 1765-69, in particular his grappling with the theme of the Prodigal Son, and the question of monstrosity and generation}, keywords = {Eighteenth-Century Art}, author = {Chua, Kevin} } @mastersthesis {9607, title = {Sight/Nonsite: Robert Smithson{\textquoteright}s Dialectics of Vision}, year = {2005}, school = {Stanford}, abstract = {This dissertation traces a preoccupation with contemporary models of visual perception in the work of American earthworks, installation, and conceptual artist Robert Smithson, beginning with his earliest paintings of the late 1950s to the earthworks and films that he completed in the years immediately before his accidental death in 1973. It demonstrates that Smithson{\textquoteright}s work adopts, mobilizes, and criticizes a range of related visual models emanating from disciplines as varied as art history and criticism, perceptual psychology, optics, psychoanalysis, architecture, media studies, and film theory. This project attempts to uncover these models and the polemics that attend them at the historical moment in which they arose culturally and in Smithson{\textquoteright}s oeuvre. As it does so, it describes a central shift in Smithson{\textquoteright}s work as his artistic practice begins to reveal an ambivalence toward the burgeoning information society, and examines the status of visuality within this vast historical transformation. While resisting the temptation to either blindly celebrate or denounce the transformation of the world into an array of information, Smithson seems to struggle to come to terms with this situation. The impact of single works simultaneously appears to hinge upon their dissemination in and as popular media, and as objects of a resolute phenomenology, to be experienced in the here and now.}, keywords = {Art of the United States, Contemporary Art}, author = {Evans, Carlton} } @mastersthesis {9635, title = {Sites of Lost Dwelling: The Figure of the Archaic City in the Discourses of Urban Design, 1938-1970}, year = {2005}, school = {Chicago}, abstract = {In the period between the late 1930s and the late 1960s, architects and planners often employed examples of cities, either from preindustrial periods or from parts of the world not touched by industrialization. Cited either as formal models or as metaphorical images, these archaic examples pointed to methods for remedying any number of urban ills, from visual chaos to social alienation. Through photographic images and, to a lesser extent, drawings, such archaic and preindustrial cities circulated through a complex series of urbanistic discourses, the same images often serving very different rhetorical purposes in different contexts. The dissertation is divided into four chapters, each of which investigates a distinct theme and episode in this history of urban design theory. Each is bounded by a somewhat different temporal, intellectual, and social context, yet each also has points of overlap and interaction with the others. Each chapter traces a different, interdisciplinary line of sources, both visual and discursive, through which urban designers and theorists critiqued post-war cities and imagined ideal alternatives. This dissertation makes a contribution to the scholarship on post-war urbanism and urban design theory. By examining images of the archaic city as part of the history of architectural modernism, this dissertation problematizes the historiographic divide between modern and post-modern urbanism, tracing instead a more complex sequence of ruptures and continuities that span the turbulent decades between 1938 and 1970. It contends that the figure of the archaic city, conceived both metaphorically and visually, structured the content of modernist discourses across a wide range of ideological positions, while also organizing urbanistic responses to modernity. It elucidates the aesthetic and intellectual genealogy of urban design, in both theory and practice, as its authors produced contemporary meanings from ancient urban forms. By examining representations of archaic cities as they had come to be interpreted through an array of sources, this project charts a powerful network of imagery and rhetoric that continues to inform contemporary city building.}, keywords = {Art of the United States}, author = {Raynsford, Anthony} } @mastersthesis {9593, title = {Spatial Narratives, Commemorative Practices and the Building Project: New Urban Foundations in Upper Syro-Mesopotamia during the Early Iron Age}, year = {2005}, school = {Pennsylvania}, abstract = {This dissertation investigates the practice of founding new cities in the ancient Near East as a socio-cultural phenomenon. Among Upper Syro-Mesopotamian polities of the Early Iron Age (EIA, ca. 1200-850 BC), notably the regional states of the Syro-Hittite world and Assyria, the idea of establishing new urban settlements was a cross-culturally shared landscape strategy. In their commemorative monuments, EIA elites developed an eloquent rhetoric that prioritized the cultivation of landscapes and construction of cities. The phenomenon is, therefore, understood as a cross-cultural historical problem and explored on an interregional scale. Archaeological and epigraphic evidence suggests that these building projects were socially significant undertakings that transformed the urban sphere as well as their rural hinterlands. Through the analysis of material evidence from several case studies, new foundations are interpreted on three spatio-temporal scales: long-term processes of landscape change and settlement history, production of urban space through large-scale building activities, and the development of symbolically charged architectural technologies. The dissertation incorporates contemporary critical approaches to landscape history, urbanization, social practices, architectural space and material culture, and attempts to develop a discourse on how social memories are constructed through space-producing activities. In terms of long-term settlement history, new foundations were not confined to elite-initiated urban centers, but rather marked a hallmark of settlement trends across Upper Mesopotamia in the EIA, because they were attested in various scales including villages, farmsteads, frontier fortresses and regional centers. Foundations were festive events where performative spectacles of commemoration took place and where the society{\textquoteright}s relationship with history was redefined. The construction projects involved the narrativization of urban spaces through the making of a constellation of commemorative monuments. This was partly accomplished through the technique of raising stone orthostats with narrative relief programs in public contexts, a technique that became an interregional practice among EIA cities. As a technological style and architectonic aesthetics in the urban landscapes, orthostat programs acted as material manifestations of elite ideology, cultural representation and spatial practice. The three scales of analysis contribute to the interpretation of new urban foundations as a material as well as a representational practice of spatial production and signification.}, keywords = {Architectural History/Historic Preservation, Egyptian/Ancient Near Eastern Art}, author = {Harmansah, Omur} } @mastersthesis {9817, title = {Spectacular Spectacles: The Disabled Body on Display in Contemporary Art}, year = {2005}, school = {UNC Chapel Hill}, abstract = {Spectacular Spectacles: The Disabled Body in Contemporary Art traverses disciplines of contemporary art history and disability studies, merging theories regarding visual representation to analyze critically artistic displays of disability. I engage theories on the role of the disabled body in cultural representation and everyday life to contextualize and critique contemporary art (c. 1960s to present) images{\textquoteright} discursive representations of so-called "abnormal" bodies. This time period provides fertile ground for themes of objectification and self-exhibition in art practices and significantly, the intrinsic emergence of photography and performance art as mediums for bodily representation. Disability studies as a discipline appears contemporaneously on the scene. This project further juxtaposes the work of disabled and non-disabled artists to create dialogues, and often arguments, between representational frames for the disabled body. My analyses predominantly surround the work of contemporary photographers Joel-Peter Witkin and Diane Arbus, sculptor Marc Quinn, and performance artists Mary Duffy and Cheryl Marie Wade. I guide theoretical analyses of contemporary art through the lens of the grotesque, an artistic tradition, as well as a modern critical framework, which stars abnormal, anti-conventional, and culturally liminal, marginalized bodies. This method places contemporary art in longer art historical traditions, particular ones that subvert artistic and social conventions for bodies. I contextualize and compare contemporary examples with images drawn from art history, medical visual culture, and the nineteenth and early twentieth-century American freak show, all of which are forms of grotesque bodily displays. Framing contemporary images of disability as grotesque bodies, I argue that these bodies are revolutionary and socially transgressive, for they confound restrictive conventional discourses and defy oppressive norms for bodily appearance and behavior. I invoke the grotesque legacy as a means to imagine liberating languages and transgressive potentials operating in contemporary art images of abnormal or disabled bodies. Because of its multifaceted, indeed convoluted connections to the body as spectacle, the grotesque becomes a method for theorizing the abnormal or disabled body in performance and for interrogating the dynamics of self-exhibition. Finally, I conceive of multi-directional gazes and stares that produce socially progressive visions of disability.}, keywords = {Twentieth-Century Art}, author = {Millett, Ann} } @mastersthesis {9646, title = {Strings, Winds, and Drums in China during Eastern Zhou and Han (770 BCE-220 AD): An Archaeological Perspective}, year = {2005}, school = {Princeton}, abstract = {This dissertation is an archaeological study of tombs with wooden musical instruments dating to Eastern Zhou (770-221 BCE) and Han (206 BCE-220 AD). The study looks at the distribution of these instruments in small and large aristocratic tombs, and it considers their role in the social and musical life of aristocrats in early China. Chapter One contains two sections. Section 1 surveys the various source materials that are available for the study of wooden instruments. Section 2 traces the early history and development of Chinese instruments and the tradition of burying them in tombs. Chapters Two and Three look at the distribution and arrangement of wooden musical instruments in Eastern Zhou tombs of southeastern China, the only place where they survive. Chapter Two surveys tombs that do not also contain bells and chime stones. These tombs range from the small and modest to the large and wealthy, suggesting that poorer and wealthier elites could own wooden instruments. Chapter Three concentrates on tombs in which wooden instruments accompany bells and chime stones. These tombs are typically large and very wealthy, suggesting that only those with wealth could own musical ensembles with bells and chime stones. Chapters Two and Three also explore the possible instrumentation of real musical ensembles and the role of instruments in ritual and non-ritual activities. Chapter Four discusses the continuing usage of wooden instruments during Han. By the end of Warring States, real instruments were seldom placed in tombs, indicating a shift in burial practice. However, Han visual representations of them abound in southeastern and northeastern tombs, suggesting that they were distributed in a broad geographic region and that they perhaps even increased in popularity. The conclusion summarizes the previous chapters by sketching the rise and decline of the burial of instruments and ensembles, and how it might relate to the history of the instruments and ensembles above ground.}, keywords = {Chinese Art}, author = {Furniss, Ingrid} } @mastersthesis {9775, title = {The Structure of Memory in Italian Renaissance Art}, year = {2005}, school = {Rutgers}, abstract = {This dissertation explores the ways in which the survival of the ancient ars memoria had a direct and significant impact on the appearance of art in the period of the Renaissance. The influence of this complex system of visualization can be divined in the format of a popular type of urban perspective view best represented by the well-known "Ideal City" panels in Urbino, Baltimore, and Berlin. The presence of mnemonic structure in these images belies the continued use and cultivation of this ancient intellectual exercise on a wide scale in both a secular and religious milieu. An underlying mnemonic framework is also apparent in some narrative images produced during the Renaissance, hinting at a long-standing reciprocal relationship between the formation of mnemonic imagery and the production of pictorial art. Mnemonic structure is evident as well in certain decorative motifs commonly found in ecclesiastical settings like sacristies and choirs, and secular ones like the intarsiated studies of Federico da Montefeltro, the Duke of Urbino. The presence of mnemonic motifs in Renaissance studies is an indicator of the extent of some scholars{\textquoteright} continued reliance on the Art of Memory. Moreover, the development of these decorative motifs in both real studies and painted ones follows an evolution in the perceived role of the memory arts from their primary employment as a practical tool in the fifteenth century to their elevation in the sixteenth century to a mystical level as a powerful key to cosmic understanding.}, keywords = {Renaissance/Baroque Art}, author = {Diebel, Sarah E.} } @mastersthesis {9816, title = {The Stuff of Modern Life: Materiality and Thingness in the Museum of Modern Art{\textquoteright}s Machine Art Show, 1934}, year = {2005}, school = {UCLA}, abstract = {This dissertation focuses on the landmark Machine Art exhibit held at the Museum of Modern Art in New York during the spring of 1934. The exhibit displayed over 400 objects of mechanized mass-production: including airplane propellers, ball bearings, pots, pans, and Petri dishes. Beginning with the seemingly simple observation that Machine Art consisted entirely of three-dimensional objects, I maintain that materiality and thingness-the objects{\textquoteright} brute, physical presence-was fundamental to MoMA{\textquoteright}s formalist aesthetics both in this show and for modernism more generally. Four chapters address different aspects of thingness and materiality as they pertain to Machine Art and a series of supporting case studies: temporality, value, production, and experience. In Chapter 1, "The More Things Change," I consider how Machine Art{\textquoteright}s things provided museumgoers with a tangible way to adjust to the rapid pace of Machine Age modernization. In Chapter 2, "In Form We Trust," I examine how MoMA{\textquoteright}s absolute principles of form, beauty, and value circulated in Machine Art as a sort of aesthetic gold standard: a reliable measure of artistic worth for all things, and a conservative hedge against the era{\textquoteright}s rampant change and volatile unpredictability. In Chapter 3, "Some Assembly Required," I argue that Machine Art ironically co-opted the contemporary discourse of direct carving in sculpture (itself motivated by anxieties over mechanization), only in order to celebrate the simple forms of mass-production. In Chapter 4, "The Eye of the Beholder," I focus my attention on the popular ballot MoMA conducted in conjunction with the Manhattan installation of Machine Art: a story which serves to illustrate the complexities and contingencies involved in the practice of evaluation, in spite of all MoMA{\textquoteright}s efforts to the contrary. Machine Art{\textquoteright}s aesthetic proposition demonstrates a more ambivalent-and ultimately more conservative-attitude toward both modernism and early twentieth-century consumer capitalism than has heretofore been understood. Using objects to appropriate the discourse of sculpture and to turn abstract aesthetic ideals into concrete forms, with Machine Art MoMA offered an ideology of modernism premised on the conservative values of authenticity, transcendence, and timelessness.}, keywords = {Twentieth-Century Art}, author = {Marshall, Jennifer Jane} } @mastersthesis {9587, title = {The Suburban Villa (munya) and Court Culture in Umayyad Cordoba (756-976 CE)}, year = {2005}, school = {MIT}, abstract = {As the capital of the Umayyad dynasty (r. 756 CE-1031 CE), the city of Cordoba developed into one of the most renowned urban centers of the western Mediterranean. The Great Mosque of Cordoba is the outstanding testament to the architectural activities of the dynasty, yet textual and material evidence indicates that the Great Mosque was but one facet of a broader program of Umayyad patronage. The dissertation focuses on the dynasty{\textquoteright}s secular monuments---the suburban villas (Arabic munya, pl. munan) constructed around the city by the Umayyad rulers and their courtiers. It analyzes the munya as a medieval architectural, landscape, and social phenomenon. By addressing issues of function, patronage, and meaning, the dissertation utilizes Cordoban villas as a vehicle for the investigation of Umayyad court society. The dissertation is divided into two parts. Part One (Chapters I-IV) defines the architectural characteristics and agricultural functions of the munya. Part Two analyzes the social functions of the Cordoban estates as settings for Umayyad court activities, and the meanings associated with estate patronage and the Umayyad construction of a villa landscape. The dissertation contextualizes the munya within a broader constellation of Mediterranean villas and villa culture, and argues that the munya tradition informed subsequent developments in palace architecture on the Iberian Peninsula. Cordoban villas provided significant revenue for the state and patrons, supplied the court with the luxury crops considered necessary to refined life, served as settings for court activities, and demonstrated status and power among the Umayyad ruling class. The Cordoban rulers therefore attached a strong ideological importance to the estates. With the establishment of the caliphate in the tenth century, Cordoba{\textquoteright}s fertile villa landscape became entwined with Umayyad notions of sovereignty and good governance, in which a fertile landscape was conflated with political legitimacy, a theme that is also apparent in Umayyad court literature. Thus, the dissertation demonstrates that an appreciation of the many links between the villas and the Cordoban ruling class is central to comprehending Umayyad court society.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Anderson, Glaire} } @mastersthesis {9649, title = {Surreptitious Appropriation: Ren Bonian (1840-1895) and Japanese Culture in Shanghai, 1842-1895}, year = {2005}, school = {Yale}, abstract = {This dissertation investigates a crucial but previously unexplored facet of visual culture in Shanghai: the increasing presence of Japanese goods, prints, and entertainment in Shanghai in the late nineteenth century. By constructing the daily circulation and consumption of Japanese material culture in Shanghai, this dissertation will argue that Ren Bonian, arguably the most creative and representative painter of Shanghai at the time, adopted and appropriated many designs and conventions from Japanese Ukiyo-e woodblock prints and lacquer designs, but without giving explicit credit. In contrast to the supposed mainstream of Chinese-centered mentality in the Shanghai art scene at this time, ironically, it is indeed this unrecognized and somewhat surreptitious appropriation of artistic idioms from Japanese popular culture by painters like Ren Bonian that shaped what we now identify as the most inventive element of Shanghai paintings. In terms of the structure, this dissertation begins with a methodological discussion of the various issues regarding the significance of the period from 1842 to 1895, and of the artist, Ren Bonian, in the study of not only Chinese art history, but also cultural exchange and Sino-Japanese history. Due to the deeply rooted misconception that has always asserted a unilateral Chinese influence over Japan, Chapter One first "rewrites" a history of how Japanese luxury goods, including art objects, were indeed circulated, consumed, and appreciated in China throughout history. Coming back to Ren Bonian and Shanghai, in Chapter Two and Chapter Three, I reconstruct the Japanese things and Japanese people that Ren might have encountered and associated with, respectively, in his day in Shanghai. Then, Chapter Four is devoted to a formal investigation of Japanese idioms in the art of Ren Bonian. This visual analysis will finally come together with pieces of cultural fragments gathered in the previous chapters to form a picture of the emerging trans-national popular culture in Shanghai in the nascent modern world of the late nineteenth century.}, keywords = {Chinese Art}, author = {Lai, Yu-chih} } @mastersthesis {9598, title = {Systems Aesthetics: Architectural Theory at the University of Cambridge, 1960-75}, year = {2005}, school = {Harvard}, abstract = {Following World War II, many architects became fascinated by computers, by mathematical analysis, and by the idea of grounding design in logic. This dissertation examines the influence of such interests on architectural thinking in the 1960s and early 1970s. It focuses on influential research at the University of Cambridge that grew out of the university{\textquoteright}s wartime work in computing. I argue that a new understanding of architecture-what I term the "systems aesthetic"-emerged from Cambridge during this period. Whether enacted in the formalism of Peter Eisenman or the methodology of Lionel March, the systems aesthetic is thoroughly syntactic, anti-semantic, and iconoclastic. Ideally, for the systems aesthetic, there are no architectural figures, objects, meanings-only relationships and forms. Both as an electronic tool and as a conceptual model computing exerted a profound effect on architectural theory and forms in the 1960s. I show how the computer contributed to the collapse of functionalism and to the development of a new approach to architectural design that was based on the sequential use of transformational operations such as duplication, rotation, scaling, and skewing. Taken up by the architectural avant-garde in the 1970s and 1980s, this approach is widespread in architecture today. The dissertation has three main sections. Chapter 1, "The Scientific Sixties," lays out the context of postwar English architecture, its fraught relationship to science, the professional anxieties produced by the war, and the growth of the Cambridge architecture school under Leslie Martin. Chapter 2, "Lone Scholars," examines the influence of the new scientific inclination at Cambridge on the early work of Peter Eisenman and Christopher Alexander. Chapter 3, "Systems Laboratories," gives a history of the Centre for Land Use and Built Form Study at Cambridge, its research, and the work of its director, Lionel March. In a conclusion I consider the implications of the systems aesthetic as a general trend and its connection to later developments such as the "topological" architecture of recent years.}, keywords = {Architectural History/Historic Preservation}, author = {Keller, Sean Blair} } @mastersthesis {9821, title = {Technik und Kultur: The German Architectural Discourse on Iron, 1890-1918}, year = {2005}, school = {IFA/NYU}, abstract = {By exposing the social, cultural, and ideological motives underpinning Wilhelmine architectural thought and practice, recent scholarship has revealed the complexity and paradox that often characterize this period (1890-1918). One area of investigation that has received little critical attention, however, is the meaning of iron for the architectural profession. Iron, as portrayed in existing historical scholarship, is still redolent of a mythic modernism, one in which architects readily replaced traditional modalities with those of modern science, technology, and industry. By examining the Wilhelmine architectural discourse on iron, however, one encounters an important moment in which the German architectural profession was forced to negotiate a position between modernization and the humanist values and traditional cultural ideals of their practice. Although iron was critical to the architectural renewal that many architects and critics supported, they found that iron{\textquoteright}s connections to industry and modern scientific thought made it, according to contemporary cultural criticism, an unwelcome symbol of Germany{\textquoteright}s loss of indigenous romantic values to the forces of modernity. Confronting this cultural dilemma, many promoters of iron adopted a "neoromantic" rhetoric in their writings that accommodated both avant-garde transformation and romantic cultural ideals. Contributors to this published discourse-Albert Hofmann, Hermann Muthesius, Friedrich Naumann, Alfred Gotthold Meyer, Joseph August Lux, Paul Schultze-Naumburg, Peter Behrens, and Walter Gropius among others-praised iron{\textquoteright}s sachlich character while encoding their architectural discussions with such romantic, Volk ideals as subjectivity and intuition. Architectural theory was not, however, the only body of literature to engage in this project. The profession of engineering, whose cultural standing was also compromised by critical assessments of modernization, similarly faced the predicament that iron may signify qualities wholly out of character with Germany{\textquoteright}s cultural values. Sharing strategies for depicting the practice of their professions as culturally apposite, members of the fields of engineering and architecture engaged in a fluid discourse on iron as a medium of modern progress and romantic identity.}, keywords = {Twentieth-Century Art}, author = {Romba, Katherine} } @mastersthesis {9657, title = {Thinking through the Screen: Media Installation, Its Spectator and the Screen}, year = {2005}, school = {UCLA}, abstract = {Situated at the intersection of art history and film/media studies, Thinking Through the Screen is an examination of the particularities of screen-reliant media installations as pertaining to art spectatorship. Focusing on selected case studies in European and North American art from 1968 to 1998---including works by Peter Campus, Valie Export, Dan Graham, Lynn Hershman, Bruce Nauman, Paul Sharits, Michael Snow, and others--- Thinking Through the Screen interrogates the status and operative mechanisms of the media screen within an installation context. The first chapter assesses various categorizations of media installation art to demonstrate how efforts toward a theory and definition of this art form have thus far relied upon a series of hierarchical dualisms. I propose that the spectatorship produced by what I call screen-reliant media installation art is both material and immaterial, both virtual and actual, and is, as such, characterized by an inherent "doubleness." In the second chapter I theorize the doubleness structural to the screen, an ambivalent object that simultaneously exists as a material entity and an immaterial interface. The third chapter addresses the qualitative dimensions of the spectator{\textquoteright}s experience of media installations and the tensions associated with its exploratory duration. Chapters Four and Five focus on the spatial dynamics of media installation spectatorship. Chapter Four considers artists{\textquoteright} reinterpretations of the ways that screen space has been traditionally described and experienced, while Chapter Five considers the digital screen and the continuities and breaks in the spatial conditions engendered by computer screen-reliant installations. Thinking Through the Screen aspires to offer a theoretical model for considering screen-reliant art spectatorship in an era in which we literally learn, work, play, and think through media screens.}, keywords = {Contemporary Art, Film/Video}, author = {Mondloch, Kate} } @mastersthesis {9614, title = {Thomas Eakins{\textquoteright}s Home Scenes of the 1870s}, year = {2005}, school = {Virginia Commonwealth}, abstract = {This dissertation examines the public and private significance of three of Thomas Eakins{\textquoteright} lesser known paintings of the 1870s, Home Scene (1870-71), Elizabeth at the Piano (1875), and Baby at Play (1876). It establishes the importance of these images to his artistic development in the 1870s and later, discusses their participation in prominent social, cultural, and educational discourses of the post Civil War era, analyzes their representation of gender, genre, and domesticity, and discovers new levels of meaning within these works. In these and other ways, this study serves to extend the scope of critical dialogue on the subject of Eakins{\textquoteright} art and life. There are three chapters, and each is titled according to the painting that is its focus. The chapters are arranged chronologically by the paintings{\textquoteright} dates of execution, and are divided into two broad categories that denote their specific social/historical contexts. Home Scene is analyzed within the general framework of "Reconstruction," while Elizabeth at the Piano and Baby at Play are considered in relation to the 1876 Centennial Exposition, also known as "The Philadelphia Initiative." These chronological divisions serve to clarify the relationship of these portraits of the artist{\textquoteright}s female relatives to major events, ideas, and issues of their historical period. Chapter One, Home Scene, is concerned with the artist{\textquoteright}s depiction of the personal and cultural meanings of home, while Chapter Two, Elizabeth at the Piano, addresses the subject of women and music in Eakins{\textquoteright} early career. Chapter Three, Baby at Play, focuses on contemporary and historical constructions of childhood, Eakins{\textquoteright} representation of play as a pedagogical tool, and the image{\textquoteright}s connection to the 1876 Centennial Exposition held in Philadelphia. Viewed together, these three paintings confirm the artist{\textquoteright}s sustained interest in themes pertaining to gender, genre, and domesticity, and the expansive nature of his realist agenda.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Hanson, Debra} } @mastersthesis {9808, title = {The Threshold Art of Alexei Remizov}, year = {2005}, school = {Brown}, abstract = {This dissertation examines Alexei Remizov{\textquoteright}s illustrated albums of the 1930s. In it I argue that without surrendering any of the significance that words had for him, the Russian modernist writer Remizov added a visual dimension to his work. A look at the overall chronological progression of his albums shows a gradual diminishment of text in favor of image. It is my original claim that from the early thirties onward, as an artist, Remizov existed on the boundary between word and image. This view represents a revision of his role within Russian modernism. Remizov now emerges not merely as an eccentric wordsmith who passed on the intricacies of colloquial narrative ( skaz) from Leskov to a generation of young Soviet writers, but as a successful heir of a synthesizing aesthetic that in Russia spanned from the medieval period to Futurism. I begin with a biographical introduction where I relate the liminal character of Remizov{\textquoteright}s illustrated albums to the circumstances of his life. I also explain how liminality extends into the content of the albums, creating different frames of reference within them. Next, I take up the subject of Remizov{\textquoteright}s formation as an author of illustrated albums. The first chapter is a study of Remizov{\textquoteright}s response to turn-of-the-twentieth-century book art. In chapter two I examine the evolution of meaning in Remizov{\textquoteright}s tale Solomoniia through three different illustrated albums that he created starting in the mid thirties. To create the desired focus for each album, Remizov transformed this mesmerizing narrative of phallic possession through variations in the albums{\textquoteright} format. The metonymical relationship between the arts is the subject of the third chapter. There I show how Remizov carries the synaesthetic principle from content to form in his 1937 album Maroun. The last chapter is a study of Remizov{\textquoteright}s 1940 album Sibirskii skaz (The Siberian Tale). My intention here is to account for the complete absence of text in this late album. I conclude with a description of the text-to-image dynamic revealed by the chronological overview of the extant albums. This dynamic, I argue, elucidates the position of the illustrated albums in Remizov{\textquoteright}s oeuvre as a threshold over which the writer eventually stepped to become a remarkable graphic artist.}, keywords = {Twentieth-Century Art}, author = {Friedman, Julia P.} } @mastersthesis {9661, title = {Towards a History of Feminist Conceptual Art: The Work of Martha Rosler, Eleanor Antin, and Adrian Piper, 1968-1977}, year = {2005}, school = {Emory}, abstract = {This dissertation explores the appeal of conceptual art for women artists during the women{\textquoteright}s liberation era in the United States, mapping the development of what I term feminist conceptualism. In 1973 art critic Lucy Lippard claimed that women conceptualists had been underestimated or ignored. I argue that subsequent art historical work has not yet rectified that oversight. I focus on two artists, Eleanor Antin and Martha Rosler, who, between 1968 and 1980, dedicated their work to the eradication of sexism while acknowledging their own place within a conceptualist tradition. Feminist conceptualists eschew traditional media, preferring to work with such mass-reproducible techniques as photography, video, text-based media, and Xerography. Much like other conceptual practice, their artworks often analyze information systems. Specifically, Antin and Rosler question the ways in which women{\textquoteright}s identities have been categorized by institutions and regimes of knowledge, including medicine, psychology, and the media. The emphasis on text in this work becomes a productive means for examining the role of language in the construction of sexual identities while giving women artists a voice within this linguistic analysis. Scholars{\textquoteright} failure to appreciate feminist conceptual art as an important artistic endeavor stems from its failure to conform to many contemporaneous categories of feminine creativity. For example, although a mantra of the women{\textquoteright}s liberation movement, "the personal is political," recurred in the writings of Rosler and Lippard, both they and Antin opposed the way that many women artists attempted to politicize their personal lives. All three rejected the assumption that a fight for personal freedom automatically served as a political act. Similarly, they were all opposed to the social apathy that resulted from the suppression of subjective experience in some contemporary conceptual art. Striving to transform their personal stories into a collective struggle, Antin and Rosler adopted personae in their work, performing masquerades or composing fictional stories. They shifted the emphasis of their work from personal therapy to bettering the lives of many women while questioning notions of fixed identity.}, keywords = {Contemporary Art}, author = {Caesar, Catherine} } @mastersthesis {9631, title = {Towards Pragmatic Painting: Jackson Pollock{\textquoteright}s Reflexive Potential}, year = {2005}, school = {UC Berkeley}, abstract = {This dissertation investigates the pragmatic meaning of Jackson Pollock{\textquoteright}s drip paintings, produced between 1947 and 1950. By "pragmatic meaning," I designate meaning grounded in the observation that those paintings, to different degrees and in different ways, instantiate modes of perceptual experience for viewers which are unavoidably associated with the reciprocity of an organism in an environment. Reciprocity, a key feature of the pragmatic philosophy of John Dewey and George Herbert Mead, provides a platform for generating an account that avoids stressing the work{\textquoteright}s transparent expression of discursive categories (such as the unconscious, the primitive, the archetypal, and the personal). One method for substantiating these claims is comparative. I show how Pollock{\textquoteright}s early training under Thomas Hart Benton laid the groundwork for his later rejection of the theory and practice of Hans Hofmann, whose technique of "pictorial creation" (Gestaltung) provided the most influential explanation of modern pictorial structures to the Abstract Expressionist generation. Hofmann codified his knowledge in Form and Farbe in der Gestaltung [1915-30], translated as Creation in Form and Color: A Textbook for Instruction in Art [1931]. Both the German version and the English version remain unpublished. My research reveals the discursive formations within which Hofmann tried to constitute his practice. Early in his career, Pollock sought a means to activate a viewer{\textquoteright}s apprehension of three-dimensional spatiality in ways that were similar to Hofmann{\textquoteright}s tactile and Cubist approach. However, Pollock{\textquoteright}s drip technique allowed him to produce an effect that suspended these pictorial structures. I conclude that Pollock{\textquoteright}s drip paintings address the particular relation of individuated "subject" to "object" (viewer and painting) by activating an experience of the general relation of "organism" to "environment." In using these latter terms, I propose a new way to address the radical proposal about the body in painting that Pollock{\textquoteright}s drip works make. The large-scale drip works stripped the body of its specificity and tried to convey some fundamental condition or modality of bodily experience. I use the term "reflexive potential" to describe the primal, minimum condition of this complex transaction. Reflexive potential is the condition of possibility which an organism and an environment initially emerge as distinct from one another, leading to the distinctions of inside and outside, or subject and object, which characterize all later interactions. I contend that Pollock{\textquoteright}s pragmatic paintings exemplify the original conditions of an organism on the verge of purposive behavior in an environment.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Schreyach, Michael} } @mastersthesis {9815, title = {Tower Typewriter and Trademark: Architects, Designers, and the Corporate Utopia}, year = {2005}, school = {IFA/NYU}, abstract = {Tower typewriter and trademark. These three items stand for three design fields-architecture, product design, and graphic design-in which American corporations invested heavily after World War II. To explore this phenomenon, which reached its aesthetic and economic peak between 1956 and 1964, this dissertation studies four corporations-CBS, Connecticut General, Deere \& Company, and IBM-that hired constellations of designers to remake their image at multiple scales. Gordon Bunshaft, Henry Dreyfuss, Florence Knoll, Eliot Noyes and Eero Saarinen were nodes in a relatively closed network that dominated the design of academic, cultural and corporate institutions. Linking these case studies is not only a cast of characters, but a series of preoccupations. The theme of the first chapter, on Connecticut General, is utopia. It replays the planning process of CG as a realization of the Taylorist aesthetic fetishized by interwar architects: an architecture based on the route of the insurance policies assembled, desk by desk, across the building. The exurban utopia continues at Deere \& Company, but with a harder edge. Rather than the Easter-egg hues of CG, Deere{\textquoteright}s Saarinen-designed headquarters translates the company{\textquoteright}s identity into a masculine, woodsy, and monochromatic corporate villa, both as "thoroughly modern" and as "down to earth" as Deere chairman William A. Hewitt intended. In the close quarters of Manhattan, identity became competitive, and the CBS Building reflects the jostling that occurred along the avenues. Critic Lewis Mumford wrote of Lever House, "in its very avoidance of vulgar forms of publicity, it has become one of the most valuable pieces of advertising a big commercial enterprise could conceive." Saarinen studied such rivals, and developed a skyscraper statement for CBS that, in its strictness, one-upped even Mies van der Rohe. While the first three chapters focus on single headquarters, IBM built 150 structures across the globe during the postwar period. Their search for modernity became a model of design organization, headed by Noyes, the first "curator of corporate character." There remains a lesson in the way the best of these projects transformed business necessity into philanthropic enterprise. Good design became good business and good will.}, keywords = {Twentieth-Century Art}, author = {Lange, Alexandra} } @mastersthesis {9721, title = {Tragic Imagery in a Domestic Context: Fifth-Century Relief Plaques from Melos}, year = {2005}, school = {Toronto}, abstract = {The small provincial Cycladic Island of Melos is the site for the manufacture of a series of unprecedented images in the 5th century B.C. These innovative images include subjects that appear to be modeled on Attic tragedies contemporary with the production of the reliefs. The reliefs provide insight into the ephemeral theatrical narrative as conveyed through performance and into how narrative takes permanent form in a material object. The domestic function of these inexpensive, mass-produced objects is analyzed in relation to their iconography. Prior research fails to consider the Melian reliefs as a whole, concealing their importance for understanding the relationship between subject matter and context. Nor has the question of context and function received any serious analysis. My research indicates that the primary use for the reliefs was domestic, as decorative appliques to common household furnishings. Accordingly, my analysis of ornament and decorative subject matter involves the social and cultural attitudes reflected in the choice of a specific mythic subject. If particular reliefs represent tragedy, then why? I focus my investigation on the particular dramatic moment selected for illustration. That moment is then evaluated against Aristotle{\textquoteright}s analysis of tragedy as it is established in the Poetics. By connecting the pivotal moments of tragedy with those represented visually in the reliefs, I argue that the images have a significance similar to that of the drama, and that they function in Aristotelian terms, revealing such aspects as anagnorisis, peripeteia and ethos. The appearance of contemporary tragic imagery in a domestic context proves that the ethical issues explored by the tragedians were unequivocally central to the domestic sphere. The reliefs are a crucial link in our understanding of classical culture. Not only is the subject matter of Attic tragedy revealed to be socially significant on the most fundamental level, but it is exploited by what had always appeared to be a peripheral workshop.}, keywords = {Greek/Roman Art}, author = {Meyer, Martina} } @mastersthesis {9690, title = {Transforming Early Gothic Form: The Cistercian Abbey of Pontigny and Northern Burgundian Architecture}, year = {2005}, school = {UC Santa Barbara}, abstract = {Through a close investigation of the late twelfth-century architectural design and construction in northern Burgundy, this dissertation investigates the role of Cistercian and non-Cistercian builders in the evolution of Early Gothic form. In focusing on a key Cistercian monastery of Pontigny (second daughter-abbey of Citeaux, the mother-church of the Cistercian Order), the ex-collegial Saint-Martin at Chablis, and regional monuments, this study reveals the consistency in construction of a group of Early Gothic churches in a microregion of the Yonne Valley. Employing new and traditional methods of analysis, this hands-on examination isolates distinct architectural elements and connects them directly to a northern Burgundian builder and his workers. In continuing to work with these forms, the workers traveled to northern France where they designed and began construction on the Cistercian church of Chaalis, daughter of Pontigny. Because these masons and sculptors combined Cistercian tendencies with techniques of local construction, the Cistercian elements have been difficult to isolate. Approaching the question through a detailed investigation of a group of related churches, this study reveals subtle distinctions between Cistercian and non-Cistercian form. This study demonstrates that smaller churches have a great deal in common with larger churches. The correspondence of the architectural elements within the central group of churches could not have been made without the small churches. A wealth of information-such as layouts, building techniques, and profiles-has been culled from the smaller parish churches. This evidence points to an experienced and creative builder designing both smaller and larger churches in the Yonne Valley. Scholars have suggested that builders of rural churches in northern Burgundy disseminated outmoded styles. My research has revealed that the Yonne Valley has a substantial number of Early Gothic churches with elements consistent with current trends in Ile-de-France construction. These churches underscore the sophistication of Early Gothic construction south of Paris.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Canejo, Cynthia} } @mastersthesis {9705, title = {Traveling the Desert Edge: The Ptolemaic Roadways and Regional Economy of Egypt{\textquoteright}s Eastern Desert in the Fourth through First Centuries BCE}, year = {2005}, school = {Michigan}, abstract = {The present study is the first archaeologically based examination of the economic and cultural dynamics of Egypt{\textquoteright}s Eastern desert in the Hellenistic period (332-31 BCE). Using unpublished archaeological material in an investigation of this understudied region, it offers a more diverse conceptualization of ancient economic practice at the regional level and the intersection of the Ptolemaic economy with other cultural factors. This investigation emerged in response to long-standing notions about the conquest and subsequent colonization of Egypt by Greeks in the Hellenistic Period. Drawing on extensive archaeological survey undertaken since 1992 and independent ceramic analysis, this project brings together the material evidence for a road network in the southern half of Egypt{\textquoteright}s Eastern Desert, which was part of a developing system of long-distance trade and transport implemented during the Hellenistic period. This study provides a chronology of settlement, site use and abandonment that for the first time illuminates the intensity and scale of developments in the Eastern Desert under the Ptolemies. These conclusions are the result of a re-dating of the ceramic sequence from the Eastern Desert and a reconsideration of settlement and travel patterns along these trade routes. Taken with the limited historical and papyrological material from this region, these new insights suggest a highly variable chronology of usage along the desert roads and considerable flexibility in the economic and administrative arrangements in the region. Although foregrounding the economic implications of this material, this study also takes the Eastern Desert under consideration from an innovative cultural history perspective. The model resulting from the archaeological investigations is weighed in conjunction with an analysis of the real and "imagined{\textquoteright} landscape of southern Egypt, as articulated by Greek geographers and travel-writers during the sixth through first centuries BCE. Taken with the patterns revealed by the archaeological study, an analysis of these sources suggests that although resource acquisition and economic gain were undoubtedly important reasons for desert settlement, the exploration of the Eastern Desert during the Hellenistic period was likely influenced by an interest in documenting exotic and liminal portions of the Ptolemaic countryside during the third and second centuries BCE.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Gates, Jennifer} } @mastersthesis {9720, title = {Travels and Traversals in Hellenistic Architecture}, year = {2005}, school = {Columbia}, abstract = {This thesis explores the interaction of ritual and architecture in the oracular temples of Apollo at Klaros and at Didyma and how that effected the transmission of divine knowledge to humans. Predicated on the assumption that concentrating on what transpired in the sanctuary temenos does not yield a satisfying understanding of Greek oracular architecture in relation to ritual, this study investigates the various elements that conditioned the pilgrims{\textquoteright} experience of consulting Apollo Didymaios or Klarios from the moment they set out from home to seek the god{\textquoteright}s advice, to their return. The pilgrimage to an oracle, framed by the journey and by ancient perceptions of landscape, was infused with the desire to attain divine knowledge, and it was this combination of experience and desire that shaped the setting and performance of oracular consultation. Thus, the environment of the sanctuary and the architectural design of the principal temples met the pilgrims{\textquoteright} expectations by offering various types of access, visual and physical, to the place where Apollo made his epiphany. The architecture of the Klaros and Didyma temples effected separations between the participants in the consultation of the divine: between deity and human, between cult officials and clients, and between the mantis (the person who received Apollo{\textquoteright}s answer directly) and the head cult official. Altogether, they facilitated the interactions essential for the successful completion of the ritual, which sought as its goal enlightenment and divine guidance.}, keywords = {Greek/Roman Art}, author = {Lovette Guichard, Celeste} } @mastersthesis {9747, title = {Ultra-Sauvage, Ultra-Moderne: Paul Gauguin{\textquoteright}s Ceramics and Sculpture}, year = {2005}, school = {IFA/NYU}, abstract = {To study Gauguin{\textquoteright}s ceramics and sculpture is to rediscover the artist{\textquoteright}s use of the decorative, the exotic, and the grotesque within a general framework of his other work. These three terms are integrated into the discussion of each chapter when denoting Gauguin{\textquoteright}s originality in the creation of ceramics and wooden sculpture. In Chapter One, the discussion centers on the matiere of the matte surface of his work and its cultural significance. The crude surface of Gauguin{\textquoteright}s ceramic work is closely related to the surface of mural-like decorative painting. An analysis of Gauguin{\textquoteright}s working process, his concept of materials, and his close attention to surfaces also provide historical background for the succeeding chapter on the subject of his "Grotesque Mask." Chapter Two establishes theoretical issues and problems as well as a new method for approaching Gauguin{\textquoteright}s ceramics and sculpture. I also put forth my own critical response to Gauguin{\textquoteright}s visual language of the grotesque, the decorative, and the exotic. The purpose here is not to examine the historical development of the term "grotesque." Rather, the focus is on how Gauguin{\textquoteright}s grotesque images as depicted in his ceramics and wooden sculptures as well as in his portraits produced a new type of representation in a cultural context in which Darwinism and racial theories emerged. The sensuous use of color, the creation of a faun as a symbolic self, and a group of wooden ultra-sauvage sculptures executed during Gauguin{\textquoteright}s first Tahitian sojourn are the focus of Chapter Three. It is demonstrated that Gauguin{\textquoteright}s primitivism in addition to his combination of idealist and anti-idealist attitudes played a major role in his use of color, texture, and form. The final chapter looks at the bond between ceramics and wooden sculpture, and decorative paintings in relation to the decorative surface. Although the term "the decorative" in and of itself did not necessarily imply a particular significance, Gauguin strove to assign subjective meaning to the decorative. I also elaborate on Gauguin{\textquoteright}s formal and thematic indebtedness to adopted Western objects, and native curios, which were intended for European tourists at the end of the nineteenth century.}, keywords = {Nineteenth-Century Art}, author = {Chung, Yeon Shim} } @mastersthesis {9590, title = {Unnamed Modernisms: National Ideologies and Historical Imaginaries in Beirut{\textquoteright}s Urban Architecture}, year = {2005}, school = {MIT}, abstract = {Since the commencement of post-war reconstruction in 1991, Beirut has been radically transformed through a series of large development projects that seek to reconcile the war induced fragmentation of both city and national identity whilst reclaiming its "historic" position as one of a global network of cities. These changes are grounded in a series of historiographic approaches to memory, architecture, and urbanism. This dissertation argues that a critical approach to the city in this context has to come to terms with the omissions that constitute its history and the ambiguities of its multiple political locations. It contends that these ambiguities are grounded in two specific events unleashed by the historic transition of Beirut from a thriving cosmopolitan port city and capital of an Ottoman province carrying its own name and spanning over a vast territory into the capital of a smaller new nation state under French mandate (1888--1943). The first is the ambivalence that characterized the projection and formation of national identity under mandate (as opposed to colonial) rule and the second is the superimposition of a capital city on the site of a cosmopolitan port city during this same period. This overlap between the messy cosmopolitanism of the port city, with its own antithesis, the universalism associated with modernism in the capital city generated a condition of architectural and urban impossibility that continues to haunt its making. Based on a diverse body of primary imperial, colonial and local archival research, 19th and 20th century literature and memoirs, travelogues and visual material such as photographs, post cards and maps, as well as the insights of recent work on orientalism, colonialism, nationalism this study offers the first critical examination of the connections between political change and modern architectural-urban production in Beirut.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Yahya, Maha} } @mastersthesis {9804, title = {Untitled (A Dissertation for Felix Gonzalez-Torres)}, year = {2005}, school = {Iowa}, abstract = {Untitled (A Dissertation for Felix Gonzalez-Torres) examines the work of Felix Gonzalez-Torres (1957-1996), especially his portraits. Gonzalez-Torres used candy, paper, photography, offset lithography, jigsaw puzzles, billboards, word portraits, and strings of light bulbs, among other items, to construct his art. Nearly every piece is accompanied by a certificate of authenticity and ownership written by the artist, outlining the description of the work and the owner{\textquoteright}s obligations to it. It is one of the first dissertations devoted to the artist. The dissertation includes chapters on the certificates of authenticity and ownership, the theme of portraiture in his oeuvre, the portraits of Ross Laycock (Gonzalez-Torres{\textquoteright} partner), and his self-portrait. One theme of the discussion is the Foucauldian return to originatory practices in order to infuse and ameliorate, and the issue of authorship is a primary focus. The artist{\textquoteright}s works provide insights about the balance of theoretical, political, personal, and aesthetic choices in artistic production. For Gonzalez-Torres, it was imperative that his work reach as wide a public as possible, since their interventions in the work{\textquoteright}s life history are key components to its success. Gonzalez-Torres{\textquoteright} work was informed as much by theories and writings as it was by formal precedents. A central paint of the dissertation is an extended analysis of the certificates of authenticity and ownership and their implications. These documents allowed Gonzalez-Torres to exert control over his work after it left his hands by simultaneously giving freedom and responsibility to the owner. In exercising this power, Gonzalez-Torres established his importance as author of text and work, while at the same time emphasizing the owner{\textquoteright}s role as both author and curator. In the case of Gonzalez-Torres{\textquoteright} portraits, the certificates correspond to individuals or institutions. Through the use of non-traditional media, Gonzalez-Torres invited the audience{\textquoteright}s autonomy in interpretation and provided an opportunity to question representation itself. His portraits allow the complexities of individuals to emerge through their contributing and continuing authorship. Gonzalez-Torres{\textquoteright} portraits embody the intricacies of personalities through the multi-faceted associations of the objects and/or words employed in their creation.}, keywords = {Twentieth-Century Art}, author = {Cushwa, Anne} } @mastersthesis {9699, title = {The Veneration of St. Benedict in Medieval Rome: Parish Architecture, Monumental Imagery, and Local Devotion}, year = {2005}, school = {Michigan}, abstract = {This dissertation examines the phenomenon of monumental expression of local devotion to the cult of St. Benedict in medieval Rome between the late tenth and early fourteenth century. Church dedication and figurative imagery are the most inescapably public forms of expression of the veneration of a saint. The monuments of this study were selected not because they allowed the tracing of stylistic filiations from a "mother monument," but because of their relation to a single and singular cult figure. Traditionally, the churches and images associated with St. Benedict are assumed to have been constructed by monastic patrons for a monastic audience. These sites in Rome prove to have been parish structures and monumental images to have been directed especially to local, non-monastic audiences. Study of S. Benedetto in Piscinula-preserving the "cella of St. Benedict"-demonstrates how seventeenth-century historical narratives first situated these churches within a monastic purview. Examination of its fabric sheds light on the character of parish architecture in Rome, including use of spolia. The study of liturgical sources traces the development of local celebration of Benedict{\textquoteright}s cult and highlights the role of church dedication in this process. Study of the form and context of the figurative imagery found in the churches of Sta. Maria Antiqua, S. Crisogono, Sta. Maria in Pallara, and S. Ermete suggests that images of Benedict celebrate the "Roman moment" in his vita, a commemoration of his embrace of religious life while a student in Rome. Analysis of S. Benedetto in Thermis in the Roman complex of the abbey of Farfa, S. Benedetto in Clausura, and S. Benedetto de Arenula-medieval parish churches dedicated to Benedict that are no longer extant-establishes these churches as manifestations of the urban expansion experienced in Rome in the eleventh and twelfth centuries. Finally, comparative consideration of the presentation of Benedict in Pietro Cavallini{\textquoteright}s Last Judgment in Sta. Cecilia in Trastevere and in the cycle from S. Agnese fuori le mura suggests a shift in the saint{\textquoteright}s persona from local intercessor to universal abbot, a shift that nevertheless perpetuates a veneration grounded in the city{\textquoteright}s local hagiographic tradition.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {McCurrach, Catherine} } @mastersthesis {9732, title = {The Visual Salon: Ito Jakuchu and the Rokuonji Temple Ensemble of 1759}, year = {2005}, school = {Princeton}, abstract = {No record in ProQuest}, keywords = {Japanese/Korean Art}, author = {Thomsen, Hans} } @mastersthesis {9689, title = {The Visualization of the Content of the Psalms in the Early Middle Ages}, year = {2005}, school = {Michigan}, abstract = {This dissertation presents a re-evaluation of the imagery of three ninth-century Psalters---the Corbie Psalter (Amiens, Bibl. Mun., Ms. 18), the Utrecht Psalter (Utrecht, Bibliotheek der Rijksuniversiteit, Ms. 32), and the Stuttgart Psalter (Stuttgart, Wurttembergische Landesbibliothek, Ms. Bibl. Fol. 23). This imagery visualizes the contents of the psalms, a biblical text unique for its extensive use of unspecified first and second person forms. The open referents of the "I" and "you" of the psalms made identifying with their voices an area of intense exegetical speculation. Yet the abundant imagery in the much-studied Utrecht and Stuttgart Psalters is often seen as "literal illustration," that is, a direct translation of the words of the text into visual form, and left at that. This dissertation posits that in visualizing both the speakers and the contents of the psalms, the illustrators of these manuscripts provided an interpretation of the act of prayer in which the reader participated in complicated ways. In a series of close analyses of select illustrations an effort is made to map the reading process whereby images were brought together within and across pages to provide opportunities for and encourage extended meditations on the nature of God, the self, and the soul. By focusing on the strategies and themes of biblical exegesis, this dissertation calls attention to the interpretive capacities of the images and suggests that their creation be seen as providing a stimulus for the reader{\textquoteright}s devotional engagement with the text. Chapter 1 presents background on psalms illustration and a review of the scholarly literature. Chapter 2 focuses on the Corbie Psalter, the illustrations of which reveal a deep concern with figuring the ideal reader{\textquoteright}s encounter with the text of the psalms in the act of prayer. In Chapter 3 attention centers on the visualization of the figurative language of the psalms in the Utrecht Psalter and re-evaluates the role played by these images in the reader{\textquoteright}s attempt to discover their spiritual meaning. Chapter 4, focused on the Stuttgart Psalter, presents a thematic study of the representation of the act of prayer and examines its relationship to the reader before the text. The illustrations in all three manuscripts are understood to be fundamentally exegetical and to have offered to the reader of the psalms interpretive glosses not just on the text but on the spiritual life itself.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Bessette, Lisa} } @mastersthesis {9740, title = {Visualizing Race: The Mulata and Cuban Identity in Popular Culture}, year = {2005}, school = {UC Santa Barbara}, abstract = {This project seeks to link the representation of race and gender in Cuban visual culture, including advertising, fine arts, film to broader social and political movements and beliefs. Through an analysis of images of the mulata, (the woman of mixed European and African heritage) produced in different moments of Cuban cultural production, I track shifting ideological positions in the representation of national identity. These moments are drawn from several periods in Cuban history: late colonial (1860s-1890s), Republican (1900 to 1960), and the Revolution (1960 to 1990) and the " Periodo Especial" (Special Period, from 1992-1997) and the more recent uneasy engagement with global capitalism. In the dissertation, I discuss key instances of visual culture from these eras; tobacco advertising from the colonial period, painting and illustration from the Republican era, film from the Revolution, and advertising from the Special Period. Each of these examples does several tasks, combining perceptions of gender with sexuality and national identity. The different venues are directed to national as well as international audiences; that is, while some media (tobacco advertising, painting) have remained within the national cultural discourse, others, such as film and advertising geared toward tourism, disseminate images of the nation across an international field. Thus, the project shows how these images work to construct identity both within the nation as well as project it beyond the national boundary. In this era of increasing pressure to participate in the global economy, how Cuba is represented and how it represents itself has significant implications for the future of the nation. The dissertation is organized around the figure of the mulata, a primary signifier in Cuban cultural production. Analyzing the construction of national identity through cultural production, in the dissertation I show how the representation of race and gender in helps shape identity. My dissertation will contextualize visual culture as other authors have done music, literature and fine art. Additionally, it demands that we rethink visual relations of knowledge, putting pressure on boundaries between forms of media, boundaries between ideological systems and boundaries between high and low, or avant-garde and popular arts.}, keywords = {Latin American/Caribbean Art}, author = {Fraunhar, Alison} } @mastersthesis {9604, title = {Viziers to Eunuchs: Transitions in Ottoman Manuscript Patronage, 1566-1617}, year = {2005}, school = {Harvard}, abstract = {This dissertation examines illustrated manuscript patronage in the late sixteenth and early seventeenth-century Ottoman court and calls for a more nuanced understanding of the ideological, cultural, and social functions of its artistic projects. Although non-royal courtiers played a vital role in the production of illustrated manuscripts at the Ottoman court, scholarship has continued to promote a paradigm of imperial ideology as the motivation behind the production of these books. This study proposes an innovative perspective by assessing verbal and visual evidence from the manuscripts to bring to light the dynamic community that fueled one of the most prolific periods in the history of Islamic art. Whether created for the sultan or courtiers, the manuscripts demonstrate varying degrees of involvement by multiple individuals. Both those involved in artistic production and those that perused the finished products appear as a larger group than heretofore acknowledged, calling for broader definitions of the terms author, patron and audience. Drawing on the unusual wealth of available primary sources, the dissertation examines the social and artistic transition of the sixteenth-century Ottoman court at a biographical level, connecting patronage choices to courtly practices of self-fashioning and political maneuvering. An unprecedented analysis of the circulation of books in the Ottoman court that focuses on their use and audience and based on archival material and contemporary chronicles in Ottoman and Persian, provides the background for the studies of individual patrons and manuscripts. Case studies juxtaposing the biographies of two grand viziers and two servants of the imperial household with their books demonstrate how the social changes of the period affected artistic production. The increased number of illustrated short stories and quasi-religious works supplanting dynastic histories, and the shift in language from Persian to Ottoman Turkish after the middle of the 1580{\textquoteright}s reflect the preferences of new patrons. On a larger scale, these new themes also mirror the transitions in courtly culture from the "classical" Ottoman institutions to the new world order of the seventeenth century. The visual record of the reign of Ahmed I (r. 1601-17), examined in the conclusion, illustrates the outcome of these transitions.}, keywords = {Art of the Middle East/North Africa}, author = {Fetvaci, Emine} } @mastersthesis {9728, title = {War Campaign Record Painting: Japan{\textquoteright}s National Imagery of the {\textquoteright}Holy War{\textquoteright} (1937-1945)}, year = {2005}, school = {Pittsburgh}, abstract = {This dissertation is the first monographic study in any language of Japan{\textquoteright}s official war painting produced during the second Sino-Japanese War in 1937 through the Pacific War in 1945. This genre is known as senso sakusen kirokuga (war campaign documentary painting). Japan{\textquoteright}s army and navy commissioned noted Japanese painters to record war campaigns on a monumental scale. Military officials favored yoga (Western-style painting) for its strength in depicting scenes in realistic detail over nihonga (Japanese-style painting). The military gave unprecedented commissions to yoga painters despite the fact that Japan was fighting the "materialist" West. Large military exhibitions exposed these paintings to civilians. Officials attached national importance to war documentary paintings by publicizing that the emperor had inspected them in the Imperial Palace. This study attempts to analyze postwar Japanese reluctance to tackle war documentary painting by examining its controversial and unsettling nature. The art community has been hesitant to reflect on its alliance with the regime by relegating responsibility for wartime collaboration to individual artists. That hesitance has resulted in a critical gap in the history of modern Japanese art. This study attempts to fill the void by examining artistic and political circumstances surrounding war documentary painting from three perspectives as follows. (1) Art historical significance: Yoga war documentary paintings offer a record of yoga{\textquoteright}s development since the Meiji period. Critics say that yoga{\textquoteright}s expression during the war was exceptional, but I show it was consistent with yoga{\textquoteright}s history. (2) Nationalistic pragmatism toward art: Modern Japanese leaders were often motivated by nationalism. This study illustrates that the alliance forged between the wartime regime and the art community was a continuation of Meiji governing tradition. (3) Ideological and propaganda aspects: By analyzing documentary paintings of what officials called the "Holy War" (Seisen) of 1937-1945, this study demonstrates central propaganda mechanisms in the images. Without a single portrayal of the Emperor, Japanese war documentary painting expressed the absolute importance of the imperial order over the individual.}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {Tsuruya, Mayu} } @mastersthesis {9651, title = {Women, Men and Morality: Paintings and Prints by Fei Xiaolou (1801/2-50)}, year = {2005}, school = {Stanford}, abstract = {Focusing on pictorial art including prints, which were done by Fei Xiaolou (1801/2-50) in Hangzhou, this dissertation provides a broad horizon for interdisciplinary study in early nineteenth-century China. The governing assumption is that the tumultuous period, associated through historiographical convention with the beginnings of modern China, was characterized by multifaceted changes. They included the accelerated blurring of social distinctions among populations in urban centers, heightened commercial activities in a market economy, as well as the increasing visibility of women in the literary and artistic arenas. These changes, which took place amidst established traditional values and practices, led to conflicts, contradictions, and collective anxiety. Three main integrating themes have structured my dissertation. The first theme is on identity-the biographical construction of identity and changing artistic reputations. I explore the theme in the analysis of different biographical/critical accounts of Fei Xiaolou and of an unusual edition of a popular morality book with illustrations by the artist. The second theme, which is centered on male portraits painted by Fei Xiaolou, is about the erosion of socioeconomic differences as societal factors that shaped practices among artists as well as editors and compilers. Most of the subjects, as mentors, friends and associates of the artist, were engaged with the tasks of research in philology and etymology, collecting and publishing books. Male portraits are interpreted as a gesture of self-fashioning and as illustrative of the importance of commemoration in pervasive encounter with death and mortality. Discussed also is the presence, in different ways, of historical women in the lives of male subjects portrayed in or involved in other ways with these portraits. The third integrating theme is about desire as a complex creative force in the early nineteenth century. I explore the theme in the discussion of the established convention of masquerade of feminine persona and voice by male subjects, representation of couples with tragically short unions, the manipulation of literary allusions in paintings of women by Fei Xiaolou and the ascription of femininity as the enchanting identity of the West Lake. The consideration of these aspects points to the quotidian visualization of desire as the index of collective anxiety among subjects of all genders in early nineteenth-century Hangzhou.}, keywords = {Chinese Art}, author = {Lee, Marion} } @mastersthesis {9670, title = {Word and Image in the Art Criticism of the Goncourt Brothers}, year = {2005}, school = {Delaware}, abstract = {The art criticism of Edmond and Jules de Goncourt has not been previously investigated by art historians. My dissertation therefore presents an analysis of some of their major art critical texts-the Salon de 1852, La Peinture a l{\textquoteright}Exposition Universelle de 1855, L{\textquoteright}Art du dix-huitieme siecle, and La Maison d{\textquoteright}un artiste-in relation to key problems of nineteenth-century aesthetic theory and history. Realist subject matter and its place in modern art, art historiography, the truth-telling authority of the image raised by photography, and the aesthetic interior all found expression in the Goncourts{\textquoteright} texts. Predicated on the recognition that word and image are categories that resist stabilization and constantly shift their meanings, my dissertation argues that the Goncourts freely allowed the two terms to dance around each other in a complex oeuvre that continually shifted between the word and image paradigms of ut pictura poesis and the paragone. I attempt to understand the ways in which the brothers negotiated the shifting relationships between words and images as a means to mask deeper anxieties about contemporary society and its relationship to the past. The Goncourts{\textquoteright} role in art history has until now been misunderstood, largely due to their claims to have single-handedly "discovered" the modern Realist subject, the arts of eighteenth-century, and the appeal of Japanese art, unleashing Realism, the Rococo revival, and japonisme. Far more important than the Goncourts{\textquoteright} biographical idiosyncrasies are the ways in which their methods and publications contributed to the emerging field of art history. This dissertation hopes not so much to "rescue" the Goncourts from obscurity, although a better historical understanding of these ubiquitous nineteenth-century characters will undoubtedly result, as to examine the complex relationship between two competing aesthetic theories as they moved through the Goncourts{\textquoteright} writing.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Warner, Pamela} } @mastersthesis {9628, title = {Zen and Artists of the Eighth Street Club: Ibram Lassaw and Hasegawa Saburo}, year = {2005}, school = {CUNY}, abstract = {My dissertation centers on two postwar artists working in New York: US based sculptor Ibram Lassaw and Japanese painter Hasegawa Saburo and their involvement with Zen Buddhism. My work binds together the correspondence, writing, and talks of Lassaw and Hasegawa with analysis of their artwork in an effort to clarify their particular interpretations of Zen within the larger milieu of interest in "Asian thought{\textquoteright} found in Abstract Expressionism. I pay special attention to their lectures on Zen Buddhism at the Eighth Street Artist{\textquoteright}s Club, an integral site for mid 20th century artists{\textquoteright} discourse and practice. My overall methodology focuses on issues of identity and nationalism.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Johnson, Sarah} } @mastersthesis {9539, title = {Acts of Violence: Rubens and the Hunt}, year = {2004}, school = {UC Berkeley}, abstract = {This dissertation examines the representation of the hunt in baroque Flemish painting, and investigates the reasons why violent images of the chase became compelling for artists and viewers in seventeenth-century Europe. The fashion for such works was begun by Peter Paul Rubens, who departed from the tradition of representing the chase as a courtly pastime and instead portrayed the hunt as an agonizingly bloody combat between men and beasts. By subjecting the body to extremes of physical danger and psychological stress, Rubens{\textquoteright} hunting scenes continue his exploration of human potential, more commonly associated with his celebrations of buoyantly corporeal heroes and heroines from history and mythology. Moving from Rubens{\textquoteright} own artistic trajectory to the densely layered culture of the sport, Flemish hunting scenes deployed a potent metaphor of power through the representation of the killing of a bestial prey by a heroic hunter. This project situates Flemish hunting scenes in three distinct arenas where the sport figured the exercise of authority through acts of violence. At the most literal level, first of all, the noble chase endowed the hunter with the right to kill certain animals. Both visual and verbal representations portray the moment of the animal{\textquoteright}s death as the manifestation of the hunter{\textquoteright}s supreme authority. Second, in the realm of humanist rhetoric, hunting was celebrated both in texts and pictures as ideal training for war. In Flemish hunting scenes, the nostalgic ideal of noble self-sacrifice in battle compensated for the undermining of that ideal in contemporary military discourse. Finally, at the baroque court, hunting was a carefully stage-managed performance of royal authority. A case study of images of the chase in Philip IV{\textquoteright}s Madrid analyzes the role hunting played in fashioning the bureaucratic king as the nation{\textquoteright}s chief warrior. Working from the assumption that Flemish hunting scenes were embedded in a complex cultural discourse of authority and agency, this dissertation demonstrates the different ways in which these strikingly violent works provided a visual model for seventeenth-century viewers to conceptualize their roles as independent actors in situations of conflict.}, keywords = {Renaissance/Baroque Art}, author = {Jablonski, Suzanne} } @mastersthesis {9483, title = {Aesthetics and Symbolism of Late Byzantine Church Facades, 1204-1453}, year = {2004}, school = {Princeton}, abstract = {This dissertation addresses the subject of architectural aesthetics and challenges traditional views about Late Byzantine era as one of artistic decline. The period under consideration spans the last two and a half centuries of Byzantium and the countries within its cultural sphere before their demise by the Ottoman conquest. Through examination of church exteriors, the dissertation explores an important aspect of the aesthetics and symbolism of Byzantine architecture. Ultimately concerned with the broader subjects of architectural aesthetics and semiotics of ornaments, my dissertation is firmly based on a first-hand study of a large number of monuments and the statistical information that such a study entails. The core of my research includes over two hundred churches in Greece, Turkey, Serbia and Montenegro, F. Y. R. of Macedonia, Bulgaria and Albania. Furthermore, I redress what is now recognized to be a modernist bias against buildings whose primary expressive language is aniconic decoration of exterior surfaces. The lavish decoration of Late Byzantine-also known as Palaeologan-churches has long been considered to be a way of compensating for the deficiencies of these structurally unimpressive buildings whose masons, allegedly unable to create innovative constructional solutions that marked earlier Byzantine architecture, channeled their skills into designing visually appealing facades. My engagement with architectural decoration is driven by a quest for the possible symbolic meaning of ornaments, lost over the centuries. The search for the semiotics of architectural ornament is justified by the highly codified nature of medieval art. Apart from having potential meanings, I argue, decorative motifs play a role in the context of the total facade design, complementing and even substituting elements of wall articulation. External decoration carries profound religious messages that transform church facades into "screens{\textquoteright} separating, not just physically but symbolically, the sacred space of the interior from the secular surroundings.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Trkulja, Jelena} } @mastersthesis {9499, title = {The Aesthetics of Mass Persuasion: War and Architecture Sites in Tokyo, 1868-1945}, year = {2004}, school = {Yale}, abstract = {This interdisciplinary study re-evaluates the ideological use of architecture and urban space in the promotion of nationalism and militarism in modern Japan through an historical examination of the cultural practices and politics surrounding three architectural sites in Tokyo: Yasukuni Shrine, the Imperial Palace Plaza (kokyo mae hiroba), and the chureito memorial project. At Yasukuni Shrine, glorification of war was cleverly incorporated into the kinds of popular amusement that Tokyoites had already been accustomed to since the Edo period, as well as new types of attractions such as a military museum and a panorama building. At the Imperial Palace Plaza, an urban space was transformed over time into a space Japanese people came to regard as the most prominent site to communicate with the emperor. Images symbolizing the shrine and the Plaza, along with their underlying ideologies, were mass-produced and distributed throughout Japan in the mass-media and school textbooks. In the chureito competition, a public media event functioned as a force for mass mobilization by engaging ordinary Japanese-from school children to soldiers at the front-to submit design entries or fund the construction of memorials dedicated to the concept of sacrifice for the nation. In each of the sites, architecture and the media-influenced by the socio-political climate of the country-collaborated to promote nationalism by aestheticizing death and sacrifice, mass-producing images associated with the sites, and publishing tales of commendable actions that the public was encouraged to emulate. Together the three examples demonstrate a type of powerful cultural propaganda that developed over the course of several decades, and culminated with the intense nationalism of the Asia-Pacific War. Drawing from studies on the use of culture in fascist propaganda, as well as the growing research on the use of mass-media in Japanese wartime propaganda, I also identify characteristics that are commonly used in cultural propaganda not only in Japan, but also in other countries with varying political structures.}, keywords = {Japanese/Korean Art}, author = {Takenaka-O{\textquoteright}Brien, Akiko} } @mastersthesis {9558, title = {The Altarpiece in Antwerp, 1554-1612: Painting and the Militia Guilds}, year = {2004}, school = {Columbia}, abstract = {This dissertation considers the relationship of style to Catholic orthodoxy in the altarpieces commissioned by the six schuttersgilden or militia guilds of Antwerp in the late sixteenth and early seventeenth centuries. The innovative, modern visual modes endorsed by these elite lay groups established a tradition of engagement with antique and Roman influences that distinguished the schutter altars within Antwerp Cathedral and ultimately shaped Rubens{\textquoteright}s triptych for the Kolveniers, The Descent from the Cross. Six triptychs and several replacement panels are examined in the context of the challenging political and religious circumstances in Antwerp and in relation to repairs and renovation of the guild chapels. The study begins with the history of the Antwerp schuttersgilden and describes their organization, imperial allegiance, competitive behavior, and commitment to public display. The altarpieces are considered chronologically, beginning with the implementation by Frans Floris of a vigorous corporeal style associated with Charles V for the Schermers. The effect of the iconoclasm on altar commissions is reconsidered by examining the influential academic classicism of Michiel Coxcie as manifested in two monumental altars of the mid-1570s. Following Antwerp{\textquoteright}s surrender to Alessandro Farnese in 1585, the militia guilds and their public religious statements assumed even more prominent roles. The alliance between the two senior guilds, the Oude Voetboog and the Oude Handboog, resulted in coordinated transept chapels, while the intersection of corporate and dogmatic iconographies in Marten de Vos{\textquoteright}s Triumphant Christ for the Oude Voetboog exemplified the emphatic Counter-Reformation climate in the city. Only a short time later, the ambitious Jonge Handboog sought to demonstrate its superior orthodoxy by commissioning an altarpiece from Rome in the prevailing doctrinal style, with disastrous consequences. In 1611, at the direction of the Kolveniers, Rubens responded to the legacy of the schutter altars, and his seminal treatment of the Decent from the Cross became the ultimate expression of schutter altarpiece conventions.}, keywords = {Renaissance/Baroque Art}, author = {Woollett, Anne} } @mastersthesis {9549, title = {The Ambiguity of Touch: Saint Mary Magdalene and the {\textquoteright}Noli Me Tangere{\textquoteright} in Early Modern Italy}, year = {2004}, school = {IFA/NYU}, abstract = {Christ{\textquoteright}s appearance to Saint Mary Magdalene after the Resurrection (John 20:11-18) has posed problems for theologians since at least the fourth century. How could widely-held beliefs about women{\textquoteright}s untrustworthiness, and intellectual and legal incapacity be reconciled with the Saint{\textquoteright}s status as the first and solitary witness to Christ{\textquoteright}s Resurrection? The Gospel passage also raises questions about the relative efficacy of the senses in the acquisition of knowledge and faith. Christ first appears to the Magdalene dressed as a gardener-but she cannot see through his disguise. When she hears him call her name, however, she identifies him as Rabboni. Christ responds, "noli me tangere," although it is not clear whether his desire not to be touched is meant literally or as a metaphor. How did images of the Noli Me Tangere deal with the unresolved ambiguities of the text? This interdisciplinary study attempts to answer this question by focusing on the Noli Me Tangere in fifteenth and sixteenth century Italy, when the motif emerges as the subject of independent large-scale works of art for private and institutional patrons. Profound and rapid changes in theology, society, and the visual arts during this time shaped the representational strategies employed in the Noli Me Tangere, and altered the contexts-narrative, functional, patronal-in which the subject was found. The vicissitudes of the Noli Me Tangere in Early Modern Italy reveal that it became a field of discourse for an unexpectedly broad range of concerns, including how the soteriological promise of Christ{\textquoteright}s Incarnation and Resurrection was interpreted, how the issue of the probative value of the senses-especially sight, hearing, and touch-was understood, and how sensory experience came to be gendered. Because the subject is one of female privilege and empowerment, depictions of the Noli Me Tangere also reveal attitudes toward gender-highlighting a surprisingly broad counter-current of philogyny-while also raising questions about the patterns of female patronage. Finally, because it addresses the issue of sense engagement, the Noli Me Tangere was used by certain artists to thematize vision, and to celebrate the power of the image to instill belief.}, keywords = {Renaissance/Baroque Art}, author = {Rafanelli, Lisa} } @mastersthesis {9405, title = {American Genre Painters in Venice: 1877-1893}, year = {2004}, school = {CUNY}, abstract = {Throughout the nineteenth century, American and European artists captured Venice{\textquoteright}s contradictory characteristics, juxtaposing the romantic with the macabre, the brilliant with the subdued and the superficial with the sentimental. In the case of the American artists, who had embarked on their sojourns in Venice between 1877 and 1893, the primary appeal was the city{\textquoteright}s picturesqueness and timeless quality. As the home of hundreds of lace makers, bead stringers and glass blowers, Venice seemingly was untouched by the onset of industrialization, which was affecting the rest of the world, and was a tangible link to the past. This dissertation concentrates on the American artists who romanticized the Venetians and provided superficial images of the women and men at work, in relation to the works created by their European counterparts. I propose that the American artists were advancing an Italian stereotype with which American viewers would feel comfortable. The artists produced images that changed the viewer{\textquoteright}s perception of Venice and its inhabitants, who were associated with the decrepitude of the Italian city. This romanticized impression is also conveyed in pictures of the Venetians at prayer and at leisure. The American artists in Venice portray quintessential Italian traits, crafts and pastimes, which address contemporary Venetian life and simultaneously honor ancient traditions. This nostalgia for a simpler life, as rendered in these art works, suggests the American genre painter{\textquoteright}s antebellum tradition of depicting communal contentment and peaceful living. By reviewing the cultural and social circumstances in Venice during the late nineteenth century, this thesis reveals the impact the Italian experience exerted on American thought and the artists who painted these scenes. This interest in the Venetians and their customs, superficial as it may have been, resulted in some of the best works produced by the American artists. Their quaint pictures of figures at work, in prayer and at play were appealing because they filled an emotional void as Americans attempted to uphold an ideal way of living that was no longer possible in a technologically progressive America.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Fiorino-Iannace, Giovanna} } @mastersthesis {9435, title = {Ancient Chinese Marriage and Statecraft in a Zhou Vassal State: Elite Female Burials of the Jin State}, year = {2004}, school = {Pittsburgh}, abstract = {In the Zhou period of China covered in this dissertation (11th to 5th c. BCE), marriage and statecraft were intimately connected, and men and women were treated differently in burial. This reflected a ranked system within the nobility across the Zhou confederacy that changed in relation to opportunities embedded in the political system. This study examines the changes in burial treatment from the beginning of the Zhou dynasty in all known cemeteries of nobles with secure gendered distinctions in the state of Jin. They all show temporary and regional distinctions. Systematic analysis of burial data has benefited from careful reporting of these cemeteries by Chinese archaeologists so that patterns of distinctions in burial across time are apparent. As a result, eight periods that differentiate burial practices could be discerned. That periodization has been charted into an eight phase system in the dissertation. Analysis of the burial data and the patterns revealed are correlated with inscriptional evidence and discussions in historical texts in an effort to explain why such changes occurred. The principal results of this analysis are that during the formative period of the state of Jin, when Jin nobles were marrying non-Jin women, the status of women in burial was equivalent to that of their husbands. This seems to have been advantageous politically. In the middle period, a fuller acceptance of the Zhou ritual system and zongfa system can be noted and was expressed through a decreased elaboration of the wives{\textquoteright} tombs. Compliance with the central Zhou sumptuary regulations was probably desirable for economic and political reasons. During the final stage in this development, the power of the central Zhou court diminished. The independence of the vassal states, including the Jin, rose to a peak. During this time, a less rigid application of the Zhou ritual system was observed by the Jin, and women{\textquoteright}s positions seem to have varied depending on affiliations with their natal states and foreign affairs in general. Marriage and statecraft were intimately connected throughout the period and were reflected in burial practice. This study shows that the Zhou ritual and zongfa systems were treated as guidelines and not applied strictly as laws. This may well have been the case in other vassal states as well.}, keywords = {Chinese Art}, author = {Yong, Ying} } @mastersthesis {9556, title = {Andrea del Sarto "Pittore senza Errori": Between Biography, Florentine Society, and Literature}, year = {2004}, school = {Johns Hopkins}, abstract = {The life and character of the Florentine painter Andrea del Sarto (1486-1530) have appealed throughout the centuries. This interest was largely spurred by Giorgio Vasari{\textquoteright}s posthumous, biased and in several respects erroneous biography of the artist in the Vite de{\textquoteright} piu eccellenti pittori, scultori ed architettori of 1550 and 1568. This dissertation scrutinizes and corrects this image, and del Sarto{\textquoteright}s Life is reexamined within the historically specific context of the artist{\textquoteright}s artistic, cultural, social and intellectual milieus. The core of this study reflects the cultural ideas and jocular activities of two social clubs, the Compagnia del Paiuolo and the Compagnia della Cazzuola, which hitherto have hardly generated scholarly interest, but in which del Sarto is documented to have had vital cultural exchange with various prominent Florentines. Combined with a study of contemporary discourses and debates on the arts and the relative merits of the Florentine tradition and the new Roman school of painting, debates in which the artist likely participated, a clearer assessment of Andrea del Sarto{\textquoteright}s critical artistic position is offered. The premise that the artist was profoundly linked, both artistically and personally, to Florence and its cultural traditions is also supported by the reports of contemporary critics, both Vasari and others. Indeed, it is argued that the appraisal of del Sarto{\textquoteright}s paintings by those critics expressly emphasizes his Florentine artistic heritage, above all the monumental naturalism and clear compositions that his works exemplify and propagate. The critical reassessment of del Sarto within his cultural milieu also permits reevaluation of the attribution to the artist of an adaptation in the Florentine vernacular of the pseudo-Homeric mock-epic Batrachomyomachia, which remains unaddressed in modern scholarship. The circumstances of the discovery and publication of the Guerra de{\textquoteright} topi e de{\textquoteright} ranocchi in the late eighteenth century are discussed, as well as the subsequent debates over the problematic attribution. The work, the authorship of which cannot be proven with certainty, will be situated in the context of the activities of the sixteenth-century compagnie di piacere from which it allegedly arose. The manner in which the style and contents of the text could provide a key for the attribution to the artist and his circle of a deliberately Florentine linguistic/artistic stance is also explored.}, keywords = {Renaissance/Baroque Art}, author = {Wellen, Sanne Rusalka} } @mastersthesis {9462, title = {The Animated and the Actual: Towards a Theory of Animation, Live-Action, and Everyday Life}, year = {2004}, school = {UC Irvine}, abstract = {Taking into account the many ways in which animation and the animated body intersect with our everyday lives-from cartoons, to video games, to medical imaging technology-this dissertation explores the relationship between animation, live-action film, and "the real" or "the actual." Although animation is commonly relegated to the realm of childish fantasy, reinforcing a false separation between the "imaginary" world of the animated, and the more "serious" realms of live-action film and "real-life," I argue that the animated and the actual cannot be so easily separated. Considering specific technologies that blur the boundaries between these media and modes of experience (specifically, the early animation technology of the rotoscope, as well as contemporary computer-animation practices) and exploring a wide range of examples from throughout the history of animation (from the racialized body in Betty Boop cartoons of the 1930s, to the use of computer-animated maps for the U.S. Invasion of Iraq in 2003), I demonstrate that animation engages in a powerful discursive project that challenges the imposition of artificial boundaries between "reality" and "fantasy." This project finds its theoretical foundation in the phenomenological film theory of Vivian Sobchack and Steven Shaviro, in theories of indexicality and mimesis discussed by Andre Bazin, Roland Barthes, and Michael Taussig, and in social constructionist and psychoanalytic discussions of the body, found in the work of Michel Foucault, Judith Butler, Elizabeth Grosz, Julia Kristeva, and Mary Douglas. Despite the fact that animation has been trivialized within academic circles, the stakes of this project are actually quite high. This dissertation does not simply take up the task of correcting the disciplinary, commercial, and artistic marginalization animation has suffered, but rather it explores the ways in which animation engages with, questions, and shapes our legal, political, aesthetic, and corporeal realities. As the following pages will illustrate, the realm of "the animated" extends well beyond Saturday morning television and Hollywood special-effects films, into the world of bodies, sex, abuse, racism, work, and warfare.}, keywords = {Digital Media/Animation}, author = {Bouldin, Joanna} } @mastersthesis {9386, title = {Antinomies of Realism in Postwar Italian Architecture}, year = {2004}, school = {Harvard}, abstract = {Realism was an aesthetic tendency in Italian literature, figurative arts and architecture during the postwar years. In architecture the turn to realism was galvanized by the immediate political and social circumstances of postwar Italy and influenced by parallel events in film, philosophy and literature. By the late 1950s the definition of realism had transvalued to reflect the changed conditions of reality: economic growth, urban expansion, developments in Italian Communist-Marxism and critical thinking that gave architects new means to interpret the relation between architecture and reality. Questions about reality, representation and realism were fundamental to the reformulation of modernism during this period. Realism was considered a critical stance from which modernist imperatives, such as its conflation of reformist ideology with the standardization of architectural form, could be interrogated. The present study casts doubt on both the monolithic category of modernism and the historical concept of realism. It prepares the ground for a more complex articulation of modernism and anticipates the theoretical impetus that motivated architectural theory after 1968. This dissertation examines six intersections between realism and Italian architecture from the early 1950s to the mid-1970s. Between the "realist techniques" employed at the Tiburtino Housing District and the hybridized modernism of Aldo Rossi{\textquoteright}s Monte Amiata Gallaratese Housing, an architectural problematic of historical and theoretical consequence is defined. These two projects anchor very different interpretations of realism and modernism. They set the polar coordinates between which architectural discourse traveled as architects attempted to confront the theoretical and formal dilemmas posed by the phrase the representation of reality . Each chapter of this study presents an episode in architectural realism as it was comprised by a broader constellation of cultural forces that were influential but not determinant of the reality under inspection. The study draws upon new archival evidence, on cultural and social conditions to argue for an interpretation of realism that tracks the shift from a culture of reconstruction to the advent of a mass consumer society. The thesis asks the reader to entertain definitions of reality that support resolutely incompatible architectural forms, politics and theoretical interpretations of realism.}, keywords = {Architectural History/Historic Preservation}, author = {Lobsinger, Mary Louise} } @mastersthesis {9567, title = {Anxious Embodiments: Revenants of American Jewish Masculinities in Barnett Newman{\textquoteright}s "Stations of the Cross"}, year = {2004}, school = {Chicago}, abstract = {This dissertation will examine the way in which Barnett Newman{\textquoteright}s fourteen painting series Stations of the Cross: Lema Sabachthani (1958-1966) assembles visual metaphors for the (in)visibility and vulnerability, the anxious embodiment of Jewish masculinity in post WWII, post Shoah American society, specifically among New York{\textquoteright}s Jewish intellectual community. More specifically, this thesis will problematize the ways in which the putatively ahistorical pictorial conventions of Abstract Expressionism attributed to Stations of the Cross instead both revealed and concealed a belated American Jewish mourning of the Holocaust, or a syntax of "postmemories" of the Shoah. The series{\textquoteright} emphasis on connoting visual rhythm, repetition, and instability undermines the viewer{\textquoteright}s efforts to maintain a modernist, purely optical gaze in contrast to a provisional and corporeally mediated glance. Newman{\textquoteright}s series struggles to represent Jewish masculinity as a stain in the visual field, a stuttering or elision within Abstract Expressionist production, which triggers an always-already belated moment of recognition of the effaced ethnicity of both painter and beholder. The titles of the work are not merely paratextual, but illuminate Stations{\textquoteright} mobilization of metaphors for Jewish vocality. More specifically, the series{\textquoteright} subtitle "lema sabachthani" or "why have You forsaken me?," a question posed to a non-specific addressee, gestures broadly to the sense of abandonment experienced by Jews during the Shoah. The question also introduces a discursive and linguistic instability which echoes the shifting and indeterminacy of the compositional elements of the series. The emphasis which Newman places on what he terms "the outcry" unfurls into a wider consideration of the way in which the series nests particular articulations within a more elastic dialogic format; the fragmentary and unstable quality heralded by the subtitle{\textquoteright}s "cry" underscores the subversion of expected binary oppositions, both thematic and compositional, within the series: object and subject, line and color, foreground and background, particular and general, Jew and Gentile promiscuously intermingle. Perhaps most importantly, the positions of viewer and artwork shift the paintings of Stations of the Cross function as interlocutor of a listener/beholder addressed as a particular body mapped with the geographies, imagined or real, of trauma and (post)memories after Auschwitz}, keywords = {Twentieth-Century Art}, author = {Buchwald, Nancy} } @mastersthesis {9459, title = {The Architect{\textquoteright}s Eye: R. M. Schindler and His Photography}, year = {2004}, school = {UC Santa Barbara}, abstract = {Shortly after emigrating to the United States from Vienna in 1914, the modernist architect Rudolph Michael Schindler (1887-1953) purchased a portable camera and began ambitiously surveying the built landscape of the Midwest and West. Working with an intensity matched by few photographers of the period, he produced, over the course of a decade, more the twelve hundred images, now housed in the Architecture and Design Collection at the University Art Museum, University of California, Santa Barbara. Inventive and spatially active in composition, and far-reaching in its exploration of the landscape, these images provide the basis for my dissertation-the first comprehensive investigation of Schindler{\textquoteright}s photographic oeuvre. I argue that his photographic undertaking was critically situated in the complex development and expression of his modernist aesthetic. He pioneered the use of the portable camera in the architectural field, generating a new visual mode for interpreting the metropolis while pursuing an expansion of the role that photography could play in the creative life of the architect. My study considers Schindler{\textquoteright}s photography from five general perspectives: as an exploration of the documentary and aesthetic possibilities specific to the medium of photography; as a product of cultural encounter and exchange; as an approach to the visual arts which involves an interplay with other media; as an attitude toward urbanism, technology, vernacularism, and nature; and as a campaign with a strong educative and promotional component. I consider Schindler{\textquoteright}s unique positioning-chronologically, geographically, artistically, and conceptually-within contemporary photographic movements, and more broadly within the currents of modernism as they developed. In addressing the interplay between architecture and photography, I generate a substantive new interdisciplinary framework for reexamining Schindler and his contributions to modernism.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Lutz, Eric} } @mastersthesis {9466, title = {Aristocratizing the Community: Roger Fenton and British Photography in the 1850s}, year = {2004}, school = {Princeton}, abstract = {This dissertation examines the complex aesthetic and social dictates of Victorian culture which influence the photography of Roger Fenton during the 1850s in Britain. Roger Fenton practiced photography at a moment in British history when the medium{\textquoteright}s control was transitioning from an insular group of gentleman-amateurs to the larger world of professional or commercial photographers. This study examines why the pictorial criteria for photographs among amateurs is rooted in the cultural experience of the landed class in Britain, and how Fenton is identified with gentleman-amateurs in his picture-making over his ten year career (1852-1862). Roger Fenton{\textquoteright}s biography and personal means are explored in relation to the long standing paradigm of amateur versus professional photographers. Select groups of his photographs representing major benchmarks in his career are examined to identify how they reflect the artist{\textquoteright}s intent in relation to cultural debates in the society generally, and in photography specifically during the 1850s. Ultimately, insight and answers are brought to questions such as: Could Fenton afford to practice photography as a gentleman-amateur? What cohesive element is apparent throughout Fenton{\textquoteright}s photographic career which might reflect a consistent aesthetic approach to making pictures? How does Fenton{\textquoteright}s personal biography support his adoption of the aesthetic and cultural dictates of Britain{\textquoteright}s paternals in the mid-Victorian era?}, keywords = {Drawings/Prints/Works on Paper}, author = {Welch, John} } @mastersthesis {9481, title = {Ars Nova in Poland: Artistic and Cultural Relations Between Poland and Belgium in the Late Middle Ages}, year = {2004}, school = {Iowa}, abstract = {This dissertation examines the history of fifteenth-century religious painting in Poland, with particular emphasis on its connections with Flemish fifteenth-century painting and the ars nova. It discusses the historical, cultural, and artistic connections between Poland and Flanders that facilitated direct and indirect influence of Flemish painting. Instead of focusing on a particular issue or work of art in relation to this influence, as has been done in the past, this dissertation takes into account the complex situation of artistic reception in the various parts of Poland. Through a geographical study of the influences and patterns of patronage across Poland, we can begin to associate geographical and historical differences with artistic differences, and as a result see the whole set of relationships more vividly. Furthermore the dissertation demonstrates that Flemish art had served as a model for distinguished political and religious leaders already prior to the accidental arrival of Hans Memling{\textquoteright}s Last Judgment Altarpiece in Gdansk-an event that has often been overly emphasized in discussions of Flemish influence. Thus cities such as Wroclaw and Krakow, for example, emerge as significant centers for the reception of the new style. The study, finally, should help to earn Polish fifteenth-century art a new place in the historiography, which has too often been distorted by nationalistic and local biases. Lastly, the examination of Poland{\textquoteright}s art and culture shows the emergence of this country as a significant participant in the European Late Middle Ages.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Niedzialkowska, Beata} } @mastersthesis {9420, title = {The Art and Life of Eddie Arning}, year = {2004}, school = {Delaware}, abstract = {Chapter One analyzes Sargent{\textquoteright}s portraits of the dandy, a man whose primary concern was with the fashioning of his self into an artistic object, considering works such as Carolus-Duran, Dr. Pozzi at Home, W. Graham Robertson, and Lord Ribblesdale. This type{\textquoteright}s central presence in Sargent{\textquoteright}s oeuvre suggests that the artist was sensitive to the fluidity of contemporary masculine identity embodied in the dandy{\textquoteright}s disposition. Chapter Two shows that Sargent{\textquoteright}s portrait of the Civil War veteran and Boston Brahmin Henry Lee Higginson was intended to function as a model of admiral manhood for the young students of Harvard. By highlighting the sabre scar incised across Higginson{\textquoteright}s right cheek, Sargent underscored a sign of patriotic bravery and sacrifice as well as evoked the sitter{\textquoteright}s Anglo heritage. Chapter Three explores the product of Sargent{\textquoteright}s own masculine experience through a group of intimate works he painted during an extended vacation in the Canadian Rockies. These campsite subjects allow for a glimpse of Sargent{\textquoteright}s own subjectivity, for they are consistent with S. Weir Mitchell{\textquoteright}s West Cure prescription that directed a neurasthenic patient to sketch his immediate surroundings as a form of therapy while out West. Chapter Four examines Gassed, a monumental work that records the artist{\textquoteright}s recognition that the call for war as an antidote to a troubled masculinity was no longer tenable. Sargent did not depict a battlefield but presented instead a medical clearing station dominated by the bodies of wounded men suffering from exposure to mustard gas. Sargent{\textquoteright}s conceptions of men not only reveal his perception of the complexities of modern masculinity, affected by the interaction of social issues including feminism, race, class and sexuality, but they also embody aspects of the artist{\textquoteright}s own masculine identity.}, keywords = {Art of the United States}, author = {Sachant, Pamela} } @mastersthesis {9445, title = {Art Appropriation and Identity since 1980}, year = {2004}, school = {Rutgers}, abstract = {This dissertation investigates the intersection between two dominant practices in art of the 1980s and 1990s-the appropriation of works of art and the representation of identity within the constructs of race, gender and culture. While "appropriation" became a postmodern buzzword in the early 1980s, distinctions amongst those usually labeled under this heading are now more clearly recognizable with increasing historical distance. Since the different strains evident within this complex practice reveal valuable information about the relationship between contemporary art, its context, and its history, each deserves separate treatment. While artists in the early 1980s reproduced existing art objects to undermine the tenets of modernism and question notions of originality, others quickly began to quote artistic sources to explore how racial and gender stereotypes have been visually codified in art from the past and how those works have subsequently shaped perceptions of personal and cultural identity. This dissertation is the first study to examine the critical juncture between appropriation and identity explorations and to analyze artists{\textquoteright} implementation of art appropriation as an attempt to dismantle cultural and ideological systems. This project focuses on three cases studies-Robert Colescott, Yasumasa Morimura, and Cindy Sherman-all of whom investigated the past by critically examining and revising representational systems embedded within the long tradition of figurative painting. Building upon their earlier work and responding from their own distinct perspectives, namely that of an African-American male, a Japanese male, and a white American female respectively, Colescott, Morimura, and Sherman each mounted a visual critique of the history of Western art by revising recognizable images according to their individual backgrounds. Since works of art form the foundation of historical visual culture, these artists targeted figurative paintings by their revered predecessors from the Renaissance and Baroque eras to highlight the role that art history played in constructing visual stereotypes and making them palpably acceptable through institutional support. Moreover, by frequently injecting their own self-portraits into their appropriated sources, Colescott, Morimura, and Sherman explored not only broad issues of identity, but also their own cultural, racial, gendered, and professional identities.}, keywords = {Contemporary Art}, author = {Atkins, Sharon Matt} } @mastersthesis {9500, title = {Art in Place: The Display of Japan at the Imperial Museums, 1872-1909}, year = {2004}, school = {Harvard}, abstract = {The association of art with Japanese national identity originated with the creation of the museum in the modern era. The formation of the Imperial Museums in the second half of the nineteenth century was in direct response to the burgeoning museum and exhibition activities in the Western world, and the Japanese museums grew alongside the nation{\textquoteright}s stature in the Eurocentric world arena, serving as an index of the emergent nation-state{\textquoteright}s rapid ascension in the global power structure. The years covered by this dissertation, 1872-1909, mark the formative period of the Imperial Museums (renamed the Imperial Household Museums in 1900). I examine the representation of Japan through the museums during this time as a process of self definition heavily informed by a dominant foreign (that is, Western) lens. Central to the examination are the visual modes of presentation-with an emphasis on the architecture-that were crucial to the construction of a Japanese national image as equal to, yet unique from, Western civilization. While the temporal scope of this study roughly spans the length of the reign of Emperor Meiji (1868-1912), the specific dates mark a period that begins with the coining of the neologism "art" ( bijutsu) in 1872, and ends with the opening of the nation{\textquoteright}s first permanent "art museum" (bijutsukan) in 1909. During the approximate four decades under consideration, the Meiji government erected four structures in three major cities-Tokyo, Nara, and Kyoto-to form the network of the Imperial Museums. An examination of the four main buildings of the Imperial Museums provides both a chronological overview and ideological register of this institution. Both at the fair and the museum, European and American (pre)conceptions of non-Western nations in general, and of Japan in particular, fundamentally affected the method and structure of Japan{\textquoteright}s definition of its artistic heritage. The creation of the category of art in the late nineteenth century can therefore be placed in the broader context of Meiji Japan{\textquoteright}s difficult and paradoxical search for a new yet historically-grounded identity. By analyzing the original circumstances and terms of the Japanese engagement of contemporary Western exhibition practices, this study locates the historical roots of a cross-cultural dialogue between Japan and the West that extends to the present day.}, keywords = {Japanese/Korean Art}, author = {Alice Tseng} } @mastersthesis {9396, title = {Art in the Name of Science: Illustrated Manuscripts of the Kitab Al-Diryag}, year = {2004}, school = {IFA/NYU}, abstract = {This dissertation seeks to contribute to the understanding of two manuscript copies of the Kitab al-diryaq [Paris, Bibliotheque Nationale, arabe 2964, dated 1199 CE, and Vienna, Nationalbibliothek, A.F. 10, thirteenth century CE] as illustrated books. This interdisciplinary study departs from traditional art-historical methodology, and approaches the impetus for the illustration of the Kitab al-diryaq as a function of the intersection of literary and artistic trends. The first section of the study "situates{\textquoteright} the text within the history of Arabic literature. While the treatise has traditionally been regarded as a scientific, or "pseudo-scientific{\textquoteright} work, a close reading of the text reveals its true identity. In form, the Kitab al-diryaq is an Arabic biographical dictionary, a characteristic form of Arabic biographical literature. In content, the treatise concerns the theriac, the famed "universal antidote{\textquoteright} of Antiquity. The book{\textquoteright}s unifying feature as a collective biography is the physicians{\textquoteright} contribution to the development of the theriac; each physician{\textquoteright}s recipe follows his biography. The Kitab al-diryaq manuscripts date to a period that saw the flowering of book illustration and an overall expansion of figural imagery in Islamic art. In Arabic literature, the period saw the peak in popularity of the literary genre of biography. Building upon this new understanding of the Kitab al-diryaq{\textquoteright}s text, this dissertation presents a new interpretation of the artistic significance of the manuscripts now in Paris and Vienna. The construction of an analytical typology for the manuscripts{\textquoteright} illustrations leads to the conclusion that they form a text-specific pictorial program comprising an open cycle of portraiture. In contrast to previous scholarship, this study proposes that the manuscripts{\textquoteright} biographical form provided a strong impulse to figural illustration. The problematic issue of the manuscripts{\textquoteright} provenance is addressed in the concluding section of the study. Based on stylistic and iconographic affinities with other artistic media, the Kitab al-diryaq manuscripts are usually attributed to Northern Mesopotamia. This dissertation considers the relationship of the illustrated Kitab al-diryaq with unillustrated, but carefully illuminated, manuscripts that are probably Syrian in origin, and suggests a new center of patronage and/or production for manuscripts historically attributed to Northern Mesopotamia.}, keywords = {Art of the Middle East/North Africa}, author = {Kerner, Jaclynne} } @mastersthesis {9557, title = {The Art of Love and Marriage in Fifteenth- and Sixteenth-Century Rome: Ritual, Objects, and Epithalamic images}, year = {2004}, school = {University of Washington}, abstract = {This study examines the arts associated with marriage in Italy during the Renaissance, particularly domestic frescoes painted in Rome from approximately 1480 to 1600. The inquiry commences with a broad view of the types of objects used and given during the nuptial process in order to establish a fully contextualized basis for examining the iconography of the frescoes. It is argued that the revival of classical epithalamia influenced both the tone and the content of nuptial imagery, shifting from prescriptive and moralizing marital commissions of the fifteenth century, to those that celebrated the union, the possibility of love within the union, and the creation of healthy offspring. Frescoes in the Palazzo Altemps, the Villa Farnesina, the Castello Orsini at Bracciano, the Palazzetto of Sixtus V, and the Palazzo Farnese are examined as marital commissions, focusing on the traditions of nuptial iconography, and the inclusion of objects used in the celebration of marriage. All of the frescoes have previously been connected to marriage, but it is argued in this thesis that the imagery was informed by the ritual process of marriage, elements of which developed into a shorthand language with metaphorical associations regarding the bride, groom, and progeny. The study of iconography in this thesis is therefore a means to understanding a visual code of marriage, rather than an end in itself. The mythological language of classical epithalamia provided the means of expressing patron{\textquoteright}s ambitions and desires for the matrimonial union in large-scale domestic frescoes. Rome{\textquoteright}s unique social conditions and historical circumstances created a city where this type of celebratory commemoration was used as a means of establishing a cultural and social presence within the social milieu. Frescoes commissioned for marriage provide a rich means of studying patronage, the role of women, and the resurgence of classical art and literature that defined the Renaissance.}, keywords = {Renaissance/Baroque Art}, author = {Williams, Linda K.} } @mastersthesis {9515, title = {Art Reborn: Painting, Politics, and Decoration in the Work of Walter Crane, 1870-1900}, year = {2004}, school = {Yale}, abstract = {This dissertation is the first scholarly consideration of Walter Crane{\textquoteright}s long and prolific career as a painter, locating his work in this medium within a consideration of his practice as a decorative artist and his socialist politics. Crane{\textquoteright}s paintings, executed throughout his lifetime in concert with his decorative work and political agitation, emerge as radical statements that destabilize the codification of "fine art" and "decorative art" to politicize the detached aesthetic object in both form and content. By restoring Walter Crane as a key figure in late nineteenth century art, this dissertation challenges accepted definitions of Aestheticism and the Arts and Crafts, and opens debates about the location of political awareness in these movements. Each chapter takes an important painting or a group of paintings as its central motif, explicating these works and then resituating them within Crane{\textquoteright}s decorative design and his role as "the artist of socialism." The first half of the dissertation examines Crane{\textquoteright}s paintings before his public avowal of socialism in 1884 to understand the ways in which the complementary spheres of political and artistic radicalism intersected in his work. The final three chapters consider Crane{\textquoteright}s art as a direct engagement with socialist politics to understand the way in which painting emerges as the nexus of decoration and socialism in the creation of a public, political art. This examination of Crane{\textquoteright}s work and the emergent discourse of decorative painting repositions the relationship between art and politics as it posits a "decorative" alternative to social realist painting.}, keywords = {Nineteenth-Century Art}, author = {O{\textquoteright}Neill, Morna Elizabeth} } @mastersthesis {9531, title = {The Art works Honoring Giovanna degli Albizzi: Lorenzo Tornabuoni, the Humanism of Poliziano, and the Art of Niccolo Fiorentino and Domenico Ghirlandai}, year = {2004}, school = {UCLA}, abstract = {This study explores the art works honoring Giovanna degli Albizzi, the wife of Lorenzo Tornabuoni, and daughter-in-law of the art patron and Medici banker Giovanni Tornabuoni. These works include two portrait medals by Niccolo Fiorentino, two paintings by Domenico Ghirlandaio, and a memorial chapel in Cestello (today Santa Maria Maddalena de{\textquoteright} Pazzi). I demonstrate that, in commissioning these works Lorenzo Tornabuoni, the probable patron, employed prestigious artists and media, associated the works with female life passages, and employed advanced humanist learning to publicly pronounce Giovanna{\textquoteright}s virtues and memory. Assumed to be conventional, perhaps because of Giovanni Tornabuoni{\textquoteright}s reputation as an uninspired patron, these works have never been conjointly examined. However, his son Lorenzo Tornabuoni was a poet, a humanist scholar, and a disciple of Angelo Poliziano. I postulate that Lorenzo commissioned these works for his wife Giovanna with Poliziano{\textquoteright}s intimate involvement in their conception. The exploration of Giovanna{\textquoteright}s medals reevaluates Edgar Wind{\textquoteright}s Neoplatonic interpretation, and demonstrates instead that both medals employ ancient Greek and Roman poetry and imagery to pronounce Giovanna{\textquoteright}s bridal virtues. The study of her profile portrait reconsiders John Shearman{\textquoteright}s reading of her inscription, connecting it instead to ancient funerary poetry. The attributes surrounding Giovanna are shown in the context of other Quattrocento female portraits to be unique. The altarpiece for her memorial chapel juxtaposes the Visitation with two of the Three Maries from the Tomb communicating the Salvation of humanity intrinsic in Christ{\textquoteright}s Incarnation, an idea from Incarnational Theology current at that time in the Papal court in Rome, a new interpretation of this painting.}, keywords = {Renaissance/Baroque Art}, author = {Deprano, Maria Kathleen} } @mastersthesis {9473, title = {Artistic Patronage and Women of the Royal House of France}, year = {2004}, school = {UT Austin}, abstract = {This dissertation examines the patronage of Marie de Brabant, queen of France (1260-1322), and how her commissions transformed the atmosphere of the late Capetian court. Bringing with her from her native duchy of Brabant an established set of cultural preferences strikingly different from those that the saintly Louis IX had promoted in Paris for the previous half century, she introduced a love of secular material and elaborate ceremony upon her arrival in 1274. Taking the form of manuscript illumination, sculpture, stained glass, and architecture, as well as literature, music, science, history, genealogy, ritual, and finery, Marie{\textquoteright}s patronage set a trend for courtly consumption for the remainder of the medieval period. Nearly always political in nature, her commissions were nonetheless sumptuous to behold, whether secular or sacred in content and they announced her status as Carolingian princess and French queen. Analysis of the frontispiece of Bibliotheque de l{\textquoteright}Arsenal Ms. 3142, a richly illuminated miscellany of fictional, historical, and didactic poetry is crucial for understanding Marie{\textquoteright}s taste and priorities, and is complemented by study of her other commissions in Brabant and France. These commissions varied from large scale-such as the addition of chapels to the east end of the church of Notre-Dame in Mantes or window programs for the chapel of St. Nicholas at the church of St.-Nicaise in Reims and her parent{\textquoteright}s necropolis at the church of the Dominicans in Louvain-to smaller format-the chasse of Ste. Gertrude at Nivelles or the donor statues of the chapelle de Navarre at Mantes. Most numerous, however, are the manuscripts that made up her diverse library which included the secular romances of Adenet le Roi and the scientific treatises of Guillaume de Nangis as well as historical and religious texts all of which were illuminated by the most renowned and creative artists of the day. After an analysis of her patronage as queen and widow, I look to how her activities as patron and collector influenced other late Capetian royal women, many of whom Marie had raised and whose activities, in turn, complemented and complicated their mentor{\textquoteright}s vision of queenship.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Chapman, Tracy} } @mastersthesis {9408, title = {Artist-Proposed Museums: Polemical Projects By Claes Oldenburg, Robert Smithson, and Gordon Matta-Clark, 1965-1978}, year = {2004}, school = {CUNY}, abstract = {During the 1960s and 70s, a number of young, New York-based artists engaged the physical and metaphorical structure of the art museum in a rough embrace. This thesis focuses on the work of three artists-Claes Oldenburg, Robert Smithson, and Gordon Matta-Clark-each of whom staked a unique claim within the genre of the artist-proposed museum. Distinguished from the practice of artists who imagined (and sometimes realized) museums that were idealized spaces for the display of their own work, this dissertation examines projects that take the modern art museum itself as a point of departure, assimilating and transforming its conventions in order to create new work. It is not a movement or an ism that is being described here; rather, the conceptual and material structure of the museum is being identified as a catalyst for new work that developed in the context of Pop Art, Minimalism, and Conceptual Art in New York during the 1960s and 70s. This thesis examines the ways in which artist-proposed museums paradoxically depended upon the institutions they endeavored to critique, and considers the present status of works that have, with the passage of time, returned home to the very museums they set out to deconstruct}, keywords = {Art of the United States, Performance Studies}, author = {Clark, Robin} } @mastersthesis {9566, title = {Art/Work: Minimalism, Conceptualism, and Artistic Labor in the Vietnam War Era, 1965-1975}, year = {2004}, school = {UC Berkeley}, abstract = {This dissertation focuses on artistic labor in the period from 1965-1975, a time when artists became increasingly preoccupied with issues of work, effort, and the industrial nature of the art institution. I interrogate how artists rallied around the identity art worker, and how this identity had an impact on the forms and means of minimal sculpture, process art, feminist criticism, and institutional critique. I examine how the specific formations of artistic labor activated by minimalism and conceptualism played out against larger workplace and managerial changes in the U.S., changes that have come to be viewed as the pivotal transition into the post-industrial economy. Through my explorations of Carl Andre, Robert Morris, Lucy Lippard, Hans Haacke, and the Guerrilla Art Action Group, I attend to the diverse ways that artists in this decade understood themselves as "workers"-not least through their participation in the Art Workers{\textquoteright} Coalition, a brief but important organization that came together in New York in the late 1960s and early 1970s to agitate for artists{\textquoteright} rights and to protest the Vietnam war. I contend that these artists were steeped not only in contemporary debates about the impacts of Taylorization, alienation, feminist re-evaluations of domestic work, and the rise of the information economy, but also deeply engaged in Marxist questions about the meaning of cultural labor. Within the New Left, the definition of work underwent a radical shift, as many ceased to view blue-collar laborers as potential agents of revolution, and instead championed "intellectual workers" such as students and artists. This shift was largely influenced by the writings of Herbert Marcuse, and I argue that his ideas of refusal and negation were central to the art strikes and aesthetic withdrawals prevalent in this decade. By emphasizing the labored aspects of art making, Andre, Morris, Lippard, Haacke, and GAAG insisted upon their own necessity and functionality; that is, they declared that art itself works. Their embrace of the term "art worker" thus enacted the artistic left{\textquoteright}s desire to find art forms that could be politically meaningful during a time of profound social turmoil.}, keywords = {Twentieth-Century Art}, author = {Bryan-Wilson, Julia} } @mastersthesis {9541, title = {Barbarians Within and Without}, year = {2004}, school = {UCLA}, abstract = {The dissertation studies the visual construction of outsider and socially marginalized groups in early modern European art, with an emphasis on prints and book illustrations. It shows that a similar iconography and strategy of representation were used for groups of Others as diverse as Native Americans, Jews, and suspected witches, as well as copiously in religious and political propaganda. This iconography sometimes simply represented Otherness in general, rather than being strictly related to a particular group. Typical themes and motifs (including cannibalism, scatology, impiety, lechery, and gender inversion) used for marginalized groups are studied in terms of their ability to signify Otherness. Various artists{\textquoteright} strategies for conveying outsider status are considered, and the image of the Native Americans and its rapid evolution after contact is used as a case study in the use of alterity to construct a negative identity. Sections are also devoted to the hostile portrayals of suspected witches, Jews, religious Others, the peasantry, and Ottoman Turks. The dissertation also considers potentially positive constructions of outsider groups; dubbed the "other" Other, these served as a means of escapist fantasy and social critique. The image of the American Indians in Dutch art especially from the 1590s through 1620s is reconsidered in this context, and sympathetic portrayals of the natives as victims of Spanish oppression are studied. The image of native suffering was appropriated as a form of anti-Spanish propaganda, paralleling and reinforcing the Black Legend of Spanish atrocities in the Low Countries. The image of Spain disseminated by rivals especially in the Netherlands and England is reveals that the same tactics, themes, and motifs were used to visually construct a negative identity for the Spanish}, keywords = {Renaissance/Baroque Art}, author = {Koudounaris, Paul} } @mastersthesis {9471, title = {The Barberini Gospels}, year = {2004}, school = {Iowa}, abstract = {This dissertation is a monograph on the illuminated Anglo-Saxon manuscript known as the Barberini Gospels (Biblioteca Apostolica Vaticana, Barberini Lat. 570), dated to the late 8th century. Its 153 folia contain one illuminated canon table, portraits of the four evangelists, and fifteen decorated initials. The text pages, written by at least four scribes, are sprinkled with smaller decorative line fillers, carry-overs, and marginal scrolls. The illuminations of the Barberini Gospels reflect both insular and classicizing traditions, and show great skill and precision. It also contains several motifs uncommon in contemporary gospel books. Until now a comprehensive treatment of the Barberini Gospels has not been attempted. What little has been written about the book includes some brief comparisons of its iconography with that of its contemporaries, and widely differing opinions regarding the site of its production. There have also been speculations about one colophon, an entreaty for the reader to pray for someone named Wigbaldo, and its role in providing a connection to a specific historical context. These issues are revisited here in greater detail. Because the Barberini Gospels is generally thought to predate the Ada group of Carolingian manuscripts, the questions of influence on Continental art are also addressed. My dissertation examines each element of the manuscript in an attempt to understand the significance of the illuminations, and to determine not only the book{\textquoteright}s origin but also its influence on Continental art. The primary method employed was detailed observation of the manuscript itself. Other primary sources, such as contemporary artwork and texts, were also used. Secondary sources used include scholarship on other manuscripts and some comprehensive studies of medieval gospel texts. Due to iconographical and historical evidence I forward a hypothesis of a Northumbrian origin. I also forward a tentative interpretation of one image as anti-Semitic and propose a Byzantine exemplar for the portraits. Lastly I recreate the book{\textquoteright}s theoretical movement across Europe by writing a plausible narrative for its arrival in Rome. The Barberini Gospels is an outstanding example of an early medieval manuscript, deserving a secure place in the history of medieval art.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Bishop, Nancy} } @mastersthesis {9540, title = {Bartolommeo Di Tommaso, Da Foligno}, year = {2004}, school = {CUNY}, abstract = {Once famous and influential, the fifteenth century Umbrian painter, Bartolomeo di Tommaso (1408/11-1454) has only begun to receive serious scholarly attention within the past few decades. His long obscurity was in part attributable to the fact that he was not born in Tuscany, and did not work in the great art centers of Florence and Siena, facts that by themselves would relegate him to the status of a lesser artist. Further, his paintings have never been easily reconciled with those that art history has classified as Early Renaissance in style and, indeed even when Bartolomeo was influenced by Tuscan painters, his art retains a distinctly violent, expressionistic character. Though the recent literature has taken a more positive view of Bartolomeo{\textquoteright}s achievements, for many years his work was classified as "regional" or "archaic," the usual categorization of non-Tuscan artists of the period. However, such evaluations did not take into account the power and quality of his paintings. Nor did they fully recognize the religious and historical significance of his art, the extent to which he influenced other Umbrian artists, or the fact that at the height of the painter{\textquoteright}s career Pope Nicholas V would summon him, along with Fra Angelico and Piero Della Francesca, to Rome to fulfill several important commissions. Despite the sudden renewed interest in the painter, a comprehensive study of the painter that takes into account and combines the recent research, existing archival studies, and the painter{\textquoteright}s expanded oeuvre has yet to be produced. It is the goal of this dissertation to bring these elements together into a first monographic study of the painter that can serve as a basis for more specific future endeavors. When carefully considered, compiled and chronologically juxtaposed, these resources can provide us with a more comprehensive look at the painter and, when examined against the scenario of his rich and well-documented historical context, a greater understanding of his creative and stylistic origins and artistic legacy.}, keywords = {Renaissance/Baroque Art}, author = {Johnson, Michael} } @mastersthesis {9477, title = {The Basilicas of Paschal I (817-824): Tradition and Transformation in Early Medieval Rome}, year = {2004}, school = {Columbia}, abstract = {The churches of S. Prassede, S. Maria in Domnica, and S. Cecilia are among the best preserved examples of early medieval ecclesiastical architecture in Rome. The study of these churches, all built by Pope Paschal I (817-24), thus provides a rich case study of medieval papal interest in the glorification of the Church and its participation thereby in the city{\textquoteright}s architectural activity. Paschal{\textquoteright}s buildings marshaled both spiritual and secular systems of display towards the expression of his authority as leader of the Roman church. His ostentatious interest in the spiritual and physical care of Romans and pilgrims, demonstrated in these churches through architectural arrangements for the cult of saints and the Virgin, while characteristic of early medieval popes, is unusual in two ways. Some of Paschal{\textquoteright}s churches hold saints{\textquoteright} bodies translated by him from extraurban cemeteries. His translations were unprecedented in quantity and nature and mark a shift in papal practice. All of Paschal{\textquoteright}s constructions are set apart from those of his predecessors in the completeness of his rebuilding and the sumptuousness of the finished churches: large, wide, filled with light, marble, mosaics, and precious metal liturgical furnishings. These churches have been characterized as the apex of a movement known as the "Carolingian Renaissance,{\textquoteright} a rebirth of classical art brought about by the union between Franks and Romans. The explanation of the buildings{\textquoteright} forms as deliberate revivals, however, ignores the relationship between function and form in early medieval churches and the range of activities housed in them. Through the traditional forms and novel functions of the churches, Paschal asserted his authority in the city against that of rival powers, including the Carolingian emperor, Louis the Pious, and set himself apart from earlier popes as well. Reexamination these buildings and their relationships to the city of Rome and entities further afield thus produces a richer portrait of Paschal{\textquoteright}s patronage and the architecture of early medieval Rome than before known. This study also posits a new lens by which we may understand classicism in early medieval architecture, as an expression of continuity.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Goodson, Caroline} } @mastersthesis {9424, title = {Being Queer, Seeing Queer: A Gay Body of Work}, year = {2004}, school = {UC Santa Barbara}, abstract = {The issue of the body and its image is central in this study of the development of queer theory in the late 20th century. Starting with a look at so-called queer phenomena, like camp, aestheticism (of the Gay 90s{\textquoteright} dandies), physique photography and identity vs. sensibility politics, the scope broadens to apply queer thinking to American art history in general. The use of queer theory, along with contemporary theoretical models such as psychoanalysis, feminism, and semiotics, as interpretive strategies towards a better understanding of American art are featured in discussions of the work of Thomas Eakins. Eakins{\textquoteright}s body (his own, his students{\textquoteright}, and his body of work) provides examples of how these cross-disciplinary theories can inform the work of art history. Freud{\textquoteright}s understanding of technology as a manifestation of the refusal to mourn, for example, presents a powerful tool with which to understand the peculiar reception Eakins achieved in post-Civil War America. Feminist and semiotic approaches to Eakins help explain not only why he was fired from his position at the Academy but why the issues he raised continue to confront American artists today.}, keywords = {Art of the United States}, author = {Stern, William} } @mastersthesis {9412, title = {Bertram Hartman (1882-1960), an Early Modernist From Kansas}, year = {2004}, school = {Kansas}, abstract = {This dissertation is a biographical study of the American artist Bertram Hartman (1882-1960). Hartman was born in Junction City, Kansas, to a German-American family. After graduating from high school in 1900, he studied at the School of the Art Institute of Chicago, where he completed a traditional course of study in both fine and commercial arts. In 1911 he traveled to Munich, Germany, where he enrolled at the Royal Academy. There, he was influenced by the Jugendstil movement, and he developed an imaginative, decorative style of painting, as well as an interest in the integration of arts and crafts. In 1913 Hartman married Gusta Frank, whom he met in Munich. The couple then moved to New York, where they spent most of the rest of their lives. Hartman met other early modernist artists in Greenwich Village where the artistic ferment in the 1910s and 1920s encouraged experimentation in the arts. He had a gift for cultivating friendships with luminaries such as John Marin, William and Marguerite Zorach, Ernest Hemingway, Louis Untermeyer and others. Hartman was not only an easel painter, but also created batik designs and commercial art, including magazine illustrations, as well as mosaics and glass windows for New York architecture. Shortly after returning from a sojourn in France and Austria in 1925, Hartman focused his career on easel painting. He struggled financially due to the economic downturn in the 1930s and gradually his career sank into an eclipse. This study attempts to shed light on, and call renewed attention to, Bertram Hartman{\textquoteright}s career and work.}, keywords = {Art of the United States}, author = {Elton, Martha} } @mastersthesis {9523, title = {Between Humanism and the Counter-Reformation: Villa and Villeggiatura in Renaissance Ragusa}, year = {2004}, school = {Princeton}, abstract = {The proliferation of villa building in fifteenth- and sixteenth-century Ragusa (Dubrovnik) was one of the most visible manifestations of the city{\textquoteright}s golden age, a time when it accumulated immense wealth through trade, enjoyed peace secured by its skilled diplomacy, and boasted a rich artistic and intellectual life. By the end of the sixteenth century, over three hundred villas stood in Ragusa{\textquoteright}s countryside and on its Adriatic shore and islands. This was an extraordinary revival of an ancient ideal that resulted in part from the city{\textquoteright}s desire to recreate its classical past as the Roman city of Epidaurum, and in part from a constant influx of ideas from Italy regarding the meaning and benefits of villeggiatura. This dissertation analyzes ways in which these humanist notions shaped Ragusa{\textquoteright}s villa culture in the fifteenth and early sixteenth century, but also argues that its villa ideology changed once the Counter-Reformation became the predominant social force in the second half of the Cinquecento. Catering to the new spiritual needs of villa patrons at the end of the Renaissance, Ragusan villas took on additional functions, often becoming sites for commemoration and spiritual purification. The thesis positions Ragusan Renaissance villas within the context of social, intellectual, and religious currents of the sixteenth century, arguing that their shifting ideology reflected and embodied the complexities of Ragusan society. Based on extensive archival and field research, the dissertation develops around three primary areas of focus: it examines the humanist notions that contributed to the villa revival, shows how villa architecture became a signifier of patrician identity, and argues that villa ideology functioned as a flexible construct that was continuously shaped by the changing religious and cultural forces. In its treatment of important, yet traditionally neglected architectural monuments, this dissertation contributes to a much more geographically inclusive notion of the Renaissance. It is a case study of how artistic and intellectual ideas were transmitted during the Renaissance, demonstrating once again that the modern geopolitical borders between the East and the West were not always relevant in the early modern period.}, keywords = {Renaissance/Baroque Art}, author = {Aksamija, Nadja} } @mastersthesis {9470, title = {Beyond the Classical: Islamic Elements in Middle-Byzantine Secular Art}, year = {2004}, school = {Harvard}, abstract = {Secular objects and monuments produced at the middle Byzantine court at Constantinople have long been noted for their inclusion of Greco-Roman and late antique stylistic and iconographic types. During the early and mid twentieth century, this material was commonly interpreted according to a rubric of Hellenistic or classical "renaissance." Although scholars in the mid and later twentieth century expressed dissatisfaction with the renaissance paradigm, no alternate interpretive model has been broadly accepted. Andre Grabar acknowledged that the renaissance rubric obscured the role played by a small but important group of middle Byzantine works of art that indicate a different source of inspiration, that of the Islamic and Sasanian worlds. Grabar introduced the notion of artistic "eclecticism" to characterize Byzantium{\textquoteright}s simultaneous deployment of classical and foreign motifs, particularly in secular art produced for the court elite. He judged the predilection for "orientalizing" art to be localized in "ornament." Foreign styles and motifs were considered devoid of meaning; at most they expressed a topos of luxury associated with the rare and exotic. This dissertation further substantiates Grabar{\textquoteright}s claims for the popularity of foreign artistic sources at the middle Byzantine court and expands his notion of eclecticism by demonstrating how exotic motifs play a semantic role in the programs of specific works of art, thereby revealing the impact of foreign sources beyond the merely decorative. By more fully incorporating exoticizing objects into the canon of middle Byzantine secular art, a more complex dynamic of artistic appropriation emerges, one which demonstrates an active reworking of diverse stylistic, thematic, and semantic sources. The objects and monuments considered range in date from the ninth to the early thirteenth century and represent a diversity of media, including ivory, metalwork, textiles, lead seals, enamel, manuscripts, and architectural decoration. Although interpretation emphasizes the diversity and flexibility of Byzantine engagement with foreign artistic elements, some chronological patterns in the use of non-Byzantine sources are suggested. Attitudes toward foreign art and the cultures it represents are paralleled to shifting relationships between Byzantium and various Islamic polities during the middle Byzantine period.}, keywords = {Early Christian/Byzantine Art}, author = {Alicia Wilcox Walker} } @mastersthesis {9400, title = {Binding Frankenstein: Reclaiming the Self in the Visual Culture of the Machine Age}, year = {2004}, school = {Washington University}, abstract = {This project builds on histories of the art of the Machine Age by putting the work of well-known artists such as Diego Rivera, Charles Sheeler, and Stuart Davis in the context of a larger visual culture dominated by metaphors of the body and the machine. I treat these artists as prominent examples of a more general consciousness in American culture of the 1930s of a crisis in human experience. Physical and psychic wholeness, rewarding labor, and a life of the imagination appeared to be foreclosed by the mechanisms of technological modernity. In the first chapter, a critique of culture offered by Lewis Mumford, Waldo Frank, Stuart Chase, John Dewey and others provides a context for the case studies that follow. These writers imagined the body and the machine as adversaries and as symbiotic partners, and argued that the human community must find ways to adapt successfully to technological modernity. The second chapter discusses the photographic essays, articles, and advertising in mainstream American magazines, chiefly Henry Luce{\textquoteright}s Fortune Magazine and Life Magazine. These examples show that much Machine Age imagery functioned as a compensatory visual culture offering a false sense of physical strength and psychic health to a body politic under attack by the effects of the Depression. The third and fourth chapters of this project analyze the efforts of artists to address the "anaesthetic" human experience of modern Americans. The third chapter places Diego Rivera{\textquoteright}s Detroit Industry mural cycle in a larger cultural context than has previously been offered. I show that Rivera{\textquoteright}s imagery in the Detroit murals expressed his faith in the power of art to restore the psychic health of the worker, and that the mural{\textquoteright}s affective power was supported by a contemporaneous fascination in the United States with Mexican culture. Rivera synthesized modern technology and pre-Columbian imagery, asking his audiences to imagine the machine and the laboring body in a productive symbiotic relation that would lead to a future society in which art, beauty, and myth were ingrained in daily experience. The final chapter addresses a program among American artists to bring the experience of art into the daily lives of citizens. In the general context of leftist art and activism, artists of varying political convictions consistently argued for the right of American workers to enjoy an aesthetic dimension to their lives. With the work of Stuart Davis as a central example, I show the malleability of certain ideas that had a Marxist ring to them, but that in fact expressed a more general belief that art and being were inseparable. The dissertation concludes by asserting that the crisis in American culture of the 1930s centered on the sundered unity between body and spirit and that the remedy for this was to be found in the sensory and imaginative impact of art on human consciousness.}, keywords = {Art of the United States, Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Speer, George} } @mastersthesis {9518, title = {The Birth of Angels: Posthumous Portraits of Infants and Children in Mexican Art}, year = {2004}, school = {UCLA}, abstract = {In turn of the century Mexico, making a photographic portrait of the corpse of an infant or young child was an important element in funerary rituals for those children who died a premature death. Many of the Mexican portraits reveal the custom of dressing a young child as an angel, saint, priest, the Virgin Mary, or Jesus. Such children were called angelitos, "little angels," because it was believed that a baptized child who had died young would, due to its purity, go directly to heaven upon its death: a spiritual rebirth. The custom of making a portrait of a deceased child dressed in a religious costume often accompanied other funerary rituals that are specific to celebrations surrounding the death of a child, and which have been documented throughout Latin America. These funerary portraits raise several questions. First, and foremost, was this tradition, as some have suggested, uniquely Mexican? Where did this practice originate and when? There are striking similarities between Pre-Columbian and European attitudes towards child death, but proving continuity of preconquest traditions is difficult. On the other hand, I document the existence of similar portrait types from Spain and other Latin American countries. Thus, while it is highly problematic to assume unilateral influence, the angelito funerary rites and portraits from Spain and Latin America are loaded with references to Catholic ritual, suggesting European origins. This dissertation examines similar artistic traditions that may have influenced the creation of the angelito genre, including those belonging to Pre-Columbian civilizations, colonial Mexico, and Spain. Although it is often argued or implied that Mexico-a pluralistic nation-and her people are unified by a common closeness to or embrace of death, I demonstrate that at least one example of this "embrace"-the angelito genre-has its roots in a foreign source. This shows that Mexican angelito images are not as exceptional as previously believed. If it can be shown that the angelito genre, which is thought to illustrate a Mexican affinity to death, has European roots, and, moreover, that the same genre is dispersed throughout Latin America, then one defining quality of mexicanidad must be re-examined.}, keywords = {Pre-Columbian Art, Twentieth-Century Art}, author = {Mandell, Elisa} } @mastersthesis {9431, title = {Bodies and Signs in Medieval China}, year = {2004}, school = {Chicago}, abstract = {Underlying the proverbial authority of the script in China is an entrenched indistinction between the texture of the world and the texts of culture. I call this interlacing of script and world the graphic regime. In this regime, social, cultural, and cosmological orders were constituted not only through writing but also as writing, as graphic textures to be composed and commented upon much like canonical scriptures were composed and commented upon. The dissertation addresses an early moment in the historical permutations of this regime in China: the rise of an autonomous gentry society in the wake of the Han dynasty{\textquoteright}s collapse. Traditionally, this transition has been accounted for in terms of an essentially modernizing scenario, one that centrally revolves around the emancipation of the self, society, and (spoken) language from an archaic imperial state and its scriptural order. I argue instead that the early medieval imagination of community was largely modeled upon the imperial graphic regime that it also superseded. Through a process that may be called mimetic autonomy, the medieval gentry shaped their sociable universe in the image of a scriptural order, a canonical texture composed of personalities, names, reputations, locutions, gestures, and styles. Analyzing medieval poetics, calligraphy, exegesis, as well as the arts of sociability, conversation, and character appraisal, I show how these together contributed to the formation of a new canonical order that cuts across the boundaries of the written and the spoken or the linguistic and the choreographic.}, keywords = {Chinese Art}, author = {Hajime Nakatani} } @mastersthesis {9416, title = {Bodies of Work: New York School Abstract Expressionists{\textquoteright} Images of Men and Women, 1940-1960}, year = {2004}, school = {UC Santa Barbara}, abstract = {The human figure had a continuous presence as significant subject matter in the oeuvres of artists associated with New York School Abstract Expressionism during the zenith of the style, 1940-1960. Most historical assessment of the New York School has emphasized the absence of the figure and treated its appearance as an anomaly, or labeled such works immature or regressive. This dissertation shows the prevalence of the figure, documents the marginalization of the figure as a subject matter in this period, and proposes an iconography of the figure grounded in American post World War II popular culture. The 1947 Kootz Gallery exhibition Women, featuring images of women by European modern and Abstract Expressionist artists, is used as a centerpiece to highlight the production and reception of figurative work during the late 1940{\textquoteright}s. It is also used to map out themes and meanings invested in these figurative works. Promotion of figurative works by New York City gallery dealers is documented using archival research. In a review of critical literature it is shown that many figurative images were marginalized because they did not fit emerging paradigms of modern art that focused on a completely non-objective aesthetic. Reviews of artists{\textquoteright} educations break down the notion that artists rejected their early study of the figure. In proposing an iconography of the figure, parallels are developed between Abstract Expressionist figures of men and women and masculine and feminine types in post World War II American cultural mediums of Hollywood film, popular literature and magazine articles. Deconstructionist and feminist theory are applied to show idealized feminine and masculine stereotypes, as well as the anxiety around reconfiguring gender roles that inform the figurative images made by the New York School artists.}, keywords = {Art of the United States}, author = {Kunz, Joy} } @mastersthesis {9448, title = {The Body Politics of Decoration and Handicraft: Re-Visioning 1970s Feminist Art}, year = {2004}, school = {CUNY}, abstract = {In the 1970s, the burgeoning of feminist art presented a challenge to mainstream Modernism that transformed the art world radically. One of the most interesting phenomena of this early generation of feminist art was the exploration of "decoration" and "handicraft," such as quilting, embroidery, crocheting, patterned tile painting, and china painting, which were formerly considered by modernists to be "low" art with derogatory connotations. Through a discussion of this issue, I hope to clarify how the use of decoration and handicraft constituted formal and political strategies. Through these strategies, women artists developed what Judy Chicago and Miriam Schapiro have characterized as the "female" style. I argue that decoration and handicraft, though varying in form, technique, and material, reflected a particular phase of the body politics of early feminist art. The fantasy, desire, eroticism, and sensual pleasure associated with decoration and the tactile experience of the hands-on process involved in handicraft constitute a corporeal dimension in feminist art. In my dissertation, I focus on three artists whose works consciously address decoration and handicraft. While stressing female experience and sensibility, Judy Chicago applied female traditional crafts, such as embroidery and china painting, in her collaborative political project The Dinner Party . Miriam Schapiro turned decoration and handicraft into collage works emphasizing a "female style" that she called "femmage." Joyce Kozloff reinstated decoration into architectural spaces through installations and public murals. These diverse approaches reflect different levels of conceptualization of decoration and handicraft, and serve to describe various aspects of feminist art{\textquoteright}s revolt against the modernist establishment. The study of the artistic development of Chicago, Schapiro, and Kozloff reveals their interest in and concern with body images and female identification, which corresponds to the body politics of decoration and handicraft expressed in their full-fledged feminist works. Chicago uses bodily images to directly express female sexuality with women{\textquoteright}s traditional practices of handicraft. Schapiro has a more intimate and personal take on decoration, presented in bodily-related images of eggs, shrines, houses, fans, hearts, and costumes. Imbued by the fantasy and desire evoked by decoration, Kozloff attempts to humanize the pictorial (and later, public) space with a feminized bodily experience and sensibility in her various works.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Decorative Arts/Textiles/Design History}, author = {Lien, Fu-Chia Wen} } @mastersthesis {9439, title = {Brazilian Art Between 1968 and 1974: Art Under Dictatorship}, year = {2004}, school = {CUNY}, abstract = {The purpose of this dissertation is to explore Brazilian visual arts during the critical period between 1968 and 1974, a time considered to be the darkest years of the military dictatorship that ruled Brazil for two decades. It will show how the visual arts were affected by censorship in Brazil, through the closure of art exhibitions, the confiscation of works considered to be subversive, and the persecution of artists and intellectuals, culminating in 1969 with the major international boycott against the X Sao Paulo Biennial. In the face of the politically repressive situation, Brazilian artists had to find ways to maneuver around the regime by employing new forms of artistic expression. They turned to their bodies, their land, and their thoughts, both literally and metaphorically, to produce an innovative art that solidified and advanced Brazil{\textquoteright}s position in the international artistic arena. The generation composed of very young artists at the time became known as the "Geracao AI-5" (AI-5 Generation), in reference to the AI-5 decree, which abolished civil rights in the country, in 1968. The AI-5 Generation addressed the political situation of the time as well as opened up the visual arts in Brazil to new artistic international trends. My objective is to explore works of art that emphasize what is the underlying thesis of this dissertation: a drive to use artistic innovations to express simultaneous concern for local politics. This dissertation will provide case studies of the three major artists from this generation who, each in their own way, challenged the powerful repression of the darkest years of the Brazilian dictatorship. Artur Barrio (b. 1945), Antonio Manuel (b. 1947), and Cildo Meireles (b. 1948) are paradigmatic of the period covered by this study; they successfully adapted international aesthetic trends to address a very specific and local political situation. How effective were these artists in their critiques? How did censorship affect their works? Were they able to have an impact on the arts as well as in politics? These are the decisive and important questions that this study will answer.}, keywords = {Contemporary Art, Latin American/Caribbean Art}, author = {Calirman, Claudia} } @mastersthesis {9505, title = {Brilliant Phantasy: The Art of Margaret Macdonald Mackintosh}, year = {2004}, school = {UNC Chapel Hill}, abstract = {This study explores constructions of gender and identity within the work of Anglo-Scottish artist-designer Margaret Macdonald (1864-1933). In paint, metal, and embroidery, Margaret created images of bodiless women at a time when male artists considered the female form the ideal object for the display of their genius. Her images place emphasis on the decorative itself, rather than on the female body as decorative form, complicating our understanding of the gendering of the decorative as feminine and of the feminine as decorative. The opening chapter examines Margaret{\textquoteright}s use of fairy tale themes. Margaret had good reason to depict scenes from fairy tales, as they represented a cultural tradition persistently connected with women as their narrators, creators, subjects, and audiences. Since fairy tales have been institutionalized as part of a discourse of gender and power in a specific historical instance, Margaret{\textquoteright}s images constitute analyzable markers to the construction and operation of that discourse in visual terms. The second chapter investigates another set of themes based upon symbolist dramas. In these images Margaret{\textquoteright}s depiction of faces achieves a mask-like quality not inappropriate for subjects in which women actors represented abstract concepts. Here I explore links between the theatricality of these images and broader concepts of the decorative, artificiality, and the feminine. Considered on a formal level in the third chapter, Margaret{\textquoteright}s compositions incorporate a sense of texture which extends reception of the works beyond the purely visual categories of analysis. This insistent tangibility stimulates a fetishistic response seconded by the compartmentalizing of figures into individual body parts that has implications for understanding these objects as themselves only parts of larger architectural projects. In the last chapter, I consider Margaret{\textquoteright}s works as elements of interior designs created in collaboration with her husband Charles Rennie Mackintosh. In the same way that Margaret{\textquoteright}s images collapse the boundaries between dreams and reality, subject and viewer, the Mackintoshes{\textquoteright} interiors collapse the distinction between public and domestic space. These interiors extend the fantasy realm of the images out into the actual spaces themselves, creating a structure for the playing out of contingent social roles and complex private-public desires.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Bauer, Jennifer} } @mastersthesis {9433, title = {Bronze Industry, Stylistic Tradition, and Cultural Identity in Ancient China: Bronze Artifacts of the Zhongshan State, Warring States Period (476-221 BCE)}, year = {2004}, school = {Pittsburgh}, abstract = {Ancient Chinese writings suggest that the state of Zhongshan of the Warring States Period (476-221 BCE) was founded by a group of northern pastoralists called the White Di during the fifth century BCE. Artifacts of Zhongshan manufacture and use were identified with the excavation of the tomb of King Cuo (d.c. 313 BCE) in Hebei Province in the 1970{\textquoteright}s. My dissertation concentrates on the bronzes from Cuo{\textquoteright}s tomb and rethinks the Zhongshan bronze industry and its relation to ethnic and cultural identity, gender, and statecraft. These are new issues in the study of Chinese archaeological material, and involve the analysis of style, iconography, technique, bronze inscriptions, burial practice, and historical texts. In my view, temporal-spatial distributions of stylistic similarities in material culture do not passively reflect ethnic entities, because ethnicity is not monolithic. Ethnicity has overlapping boundaries; ethnic identities are transient and they are subject to change under different socio-political and economic circumstances. Instead of trying to identify ethno-specific artifacts, therefore, I analyzed how the Zhongshan kings used bronzes creatively as social signifiers under specific historical conditions, and how trade impacted bronze styles. Through their variations in style, inscriptions, and placement in burial, Zhongshan bronzes reflect specific historical events of the time and the political concerns of their patron. For instance, the sudden style change during the fourteenth year of King Cuo{\textquoteright}s reign (314 BCE) was probably triggered by Zhongshan{\textquoteright}s military success in the same year against the state of Yan. The long inscriptions on three bronze ritual vessels and an architectural plan on a bronze panel, all from Cuo{\textquoteright}s tomb, suggest that these bronze artifacts were designed and produced in order to maintain the political order in Zhongshan. In conclusion, the cultural identity constructed by Zhongshan kings was a unique one which synthesized the traditions upon which it was collectively built. The Zhongshan kings negotiated their cultural identities, asserted their power, and communicated political messages through the design and display of bronze artifacts.}, keywords = {Chinese Art}, author = {Wu, Xiaolong} } @mastersthesis {9387, title = {Building Values: Buckminster Fuller{\textquoteright}s Dymaxion House in Context}, year = {2004}, school = {CUNY}, abstract = {Building Values: Buckminster Fuller{\textquoteright}s Dymaxion House in Context is the first revisionist study of Buckminster Fuller{\textquoteright}s work in the 1920s and early 1930s. One goal is to trace Fuller{\textquoteright}s activities during this time to reveal how he decided to design and promote a manufactured house, the Dymaxion House. The other is to establish the Dymaxion House project as a serious proposal to use existing technology to manufacture houses instead of a futuristic project, as it is now considered. In order to achieve these objectives, it was necessary to approach the material from a new angle. Therefore, most of the information in Building Values is taken from documents in Fuller{\textquoteright}s papers, especially his multi-volume scrapbook and diary, Chronofile, at Stanford University. These materials have been closely read and carefully analyzed to produce a new understanding of the background, development, and intentions of the Dymaxion House project. Access to the Fuller{\textquoteright}s papers led to a new interpretation and in-depth treatment of the project which means new knowledge will be acquired through Building Values by readers familiar and unfamiliar with it. Included in Building Values is the first detailed study of the Stockade Building System, a company Fuller co-founded with his father-in-law, and his dismissal from the company. Stockade is argued as a precursor to the project and following its treatment is a thorough discussion of the Dymaxion House. This project is considered from its beginnings in late 1927 until Fuller no longer actively pursued its realization in the early 1930s. Discussed are Fuller{\textquoteright}s intentions to organize a corporation to manufacture houses, his desire to convince the American Institute of Architects to help him finance the project, and careful analysis of 4D Timelock, Fuller{\textquoteright}s combined business prospectus and architectural manifesto. In addition, the relationship of the project to existing types of manufactured houses, contemporary architecture, and architectural theory are examined. Finally, Fuller{\textquoteright}s biography and his manipulation of his life{\textquoteright}s story are analyzed to provide a better understanding of the person and his intentions. Thus, Building Values gives new insight into Fuller, the Stockade Building System, and the Dymaxion House project.}, keywords = {Architectural History/Historic Preservation}, author = {Lorance, Loretta} } @mastersthesis {9423, title = {Built For Health{\textquoteright}: American Architecture and the Healthy House, 1850-1930}, year = {2004}, school = {Yale}, abstract = {During the late nineteenth and early twentieth century, public understanding of disease changed dramatically. Before the development of scientific ideas about germ transmission, disease was associated with spaces, character and habits. In this period, domestic architecture functioned as a spatial version of preventive medicine by protecting its inhabitants from dangerous "miasma" and other forms of illness. Gradually, as the American public discarded spatial theories of disease, bacteriology was generally accepted as the medical authority of modernity. Yet, as this dissertation demonstrates, professional medicine never gained a hegemonic role over the concept of individual wellness, and the issue of health never entirely left home. Health concerns continued to shape the design of the single-family house as the pursuit of physical perfection became an increasingly important part of American identity. The tension between medical advancements and traditional domestic practices sparked innovation in architecture as new ideas about health and older ideas about the significance of the home collided in living rooms, kitchens and gardens. "Built for Health" is structured as a series of case studies, using houses selected to reflect the diversity of American thinking about both health and home. The first chapter, "Pattern Book Plans for Healthy Homes" probes the construction of an ideal body behind Orson Squire Fowler{\textquoteright}s Home for All (1848) and Catharine Beecher{\textquoteright}s American Woman{\textquoteright}s Home (1869), arguing that both authors presented architectural solutions to the Solan, p. 2 reproductive health crisis that they perceived among the native-born middle class. Chapter Two, "Testing a Spatial Cure at Saranac Lake," examines the early buildings of the Adirondack Cottage Sanitarium (1884-1954), the first American medical facility dedicated to the treatment of tuberculosis. At the Adirondack Sanitarium, Dr. Edward Trudeau employed home-like cottages as a form of spatial therapy while simultaneously pursuing chemotherapeutic research in his adjacent laboratory. The third chapter of the dissertation proposes that ideas about the therapeutic value of handcraft infused the spread of arts and crafts architecture in San Francisco, focusing on Bernard Maybeck{\textquoteright}s Keeler House (1895). The final case study, Richard Neutra{\textquoteright}s Lovell Health House (1929), brings an architectural icon into the debate about health and houses, by suggesting that modern architecture does not always translate into the kind of "modern medicine" that one might predict. The Lovell Health House was built as an advertisement for naturopathic healing, a drugless health regime which Dr. Philip Lovell, the client of the house, considered to be the acme of modernity. The Lovell Health House, like all of the case studies in this dissertation, demonstrates the previously-overlooked significance of the American house as a site of debate about the influence of architecture upon the human body.}, keywords = {Art of the United States}, author = {Solan, Victoria Jane} } @mastersthesis {9511, title = {Camille Pissarro: Modernism, Anarchism, and the Representation of the {\textquoteright}The People,{\textquoteright} 1888-1903}, year = {2004}, school = {Michigan}, abstract = {This study examines a body of paintings, drawings, and prints created by Camille Pissarro (1830-1903) during the last fifteen years of his life. In these oil paintings, prints, drawings, gouaches, and watercolors, Pissarro represented "the people"-peasants, bathers, urban workers and the homeless. I explore why this imagery was such an important part of Pissarro{\textquoteright}s oeuvre. By examining Pissarro{\textquoteright}s preparatory drawings, I trace the genesis of some of his major figure compositions. Through analyzing Pissarro{\textquoteright}s correspondence and reading critical writings, I consider what his images of "the people" signified to him and to his audience. I look at his images in relation to his Anarchist beliefs, and in relation to ideas about "the people" in nineteenth-century France. Information from social history helps to illuminate the localities, people, and activities he portrayed. The chapter entitled "Pissarro{\textquoteright}s Images of Peasants, 1888-1903," focuses on five oil paintings depicting gleaning, planting potatoes, carrying water, gathering hay, and resting in the fields. I examine these in relation to the changing agriculture in northern France in Pissarro{\textquoteright}s day, and in relation to the concept of "the people," looking at how the meaning of this term evolved from the French Revolution to the late nineteenth century. I also consider how Pissarro himself and his critics employed terms like " rustique," "caracteristique," "paysanne," and "decorative." The chapter on "Pissarro{\textquoteright}s Bathers" investigates depictions of peasant bathers in bucolic landscapes. I consider how Pissarro referenced images by earlier artists, including Boucher, Millet, and Rembrandt. I look at nineteenth-century bathing practices and imagery from the popular and Anarchist press. My analysis also considers the operation of the male gaze, and how peasant women were characterized as "natural." "Pissarro{\textquoteright}s Anarchism" examines his involvement with the Anarchist movement, focusing on his portfolio of polemical drawings, Turpitudes socials, 1889. I examine two drawings in detail, investigating their family and topical references. The chapter also examines Pissarro{\textquoteright}s prints and drawings made for the Anarchist press. I conclude that Pissarro{\textquoteright}s Anarchism was expressed not only in his didactic prints and drawings, but also, importantly, in his oil paintings.}, keywords = {Nineteenth-Century Art}, author = {MacDuffee, Allison} } @mastersthesis {9514, title = {Capturing the Urphanomen: Odilon Redon, Goethe, and the Morphology of the Symbol}, year = {2004}, school = {UNC Chapel Hill}, abstract = {This dissertation explores the impact on Odilon Redon of Goethe{\textquoteright}s Romanticist aesthetic, the tenets of which emerge, surprisingly, in his pre-Darwinian scientific writings. My investigation concentrates on three of these. Their biological and philosophical principles, made available to Redon through the scholarly influence of his botanist mentor Armand Clavaud, are filtered through the Entretiens de Goethe et d{\textquoteright}Eckermann, a nine-year series of conversations recorded by Goethe{\textquoteright}s protege, and a volume contained in Redon{\textquoteright}s library. A central concern of this paper is to examine Redon{\textquoteright}s deployment of plastic elements in order to capture, or to artistically re-enact, the Goethean Urphanomen, an archetypal and epiphanic natural event, one that "lifts the veil" on Nature{\textquoteright}s mysterious order. Chapter One considers the formative influence of Redon{\textquoteright}s early teachers, among whom Clavaud comes to the fore as having guided the artist toward an appreciation of global religious, poetic and scientific literature, particularly that of Goethe. As the pre-eminent commentator on the celebrated 1830 debate between the French biologists Georges Cuvier and Etienne Geoffroy Saint Hilaire, Goethe endorsed the latter, favoring his "Philosophie anatomique" privileging epigenetic morphological transformism over preformation theory. Geoffroy{\textquoteright}s teratological studies of transitional "anomocephalic" monsters surely fueled Redon{\textquoteright}s invention of his infamous tetes coupees. Chapter Two traces Redon{\textquoteright}s cosmology to Goethe{\textquoteright}s Naturphilosophie and his conception of Gottnatur. Neoplatonism and related concepts of the Great Chain of Being, Leibnizian monadology and Spinozan metaphysics are fundamental to the world views of both artists. Goethe{\textquoteright}s The Metamorphosis of Plants and the Theory of Colours provide the theoretical armature for Chapters Three and Four, respectively. They also supply potent metaphors and compositional principles for Redon{\textquoteright}s enigmatic works. Analogous to Goethe{\textquoteright}s botanical archetype, the leaf (Blatt), is Redon{\textquoteright}s synechdochal grundform, the orb; both are incipient to morphological transmutation. Goethe{\textquoteright}s "driving forces" of biological organization, polaritat and steigerung, govern Redon{\textquoteright}s plastic compositions. The German{\textquoteright}s radical inversion of the Symbol/Allegory dichotomy especially informs the artistic practice of Redon. The Urphanomen is captured by the artist through the condensed and laconic, yet multivalent and aletheic symbol, itself conducive to the viewer{\textquoteright}s dynamic engagement and creative thought.}, keywords = {Nineteenth-Century Art}, author = {Mooney, Jane Roberts} } @mastersthesis {9388, title = {Changes in the Design and Construction of Centrally Planned Timber Frames during the English Middle Ages, AD 1250-1350}, year = {2004}, school = {Virginia}, abstract = {During the Decorated period in England carpenters were hired to design and construct roofs for a challenging new building type-large, centrally-planned, usually polygonal, chapter houses and crossing towers. In their designs, carpenters strove to provide rich patterning of curved roofs and ceilings. At the same time, carpenters balanced shortages of the extremely long, straight timbers needed for large-scale timber framing and a corresponding abundance of medieval labor. Between 1259 and 1340 carpenters developed several new solutions to this particular design problem and simultaneously changed the craft of carpentry as a whole. A close examination of the six remaining timber frames of this type clearly shows that by 1300 carpenters: (1) employed a much wider variety of rectangular cross-sections, (2) incorporated more curved members in structurally important locations, (3) phased out an older method of framing, referred to in this dissertation as "overlap framing" in favor of a new style of framing called "independent assembly framing," and (4) revealed an appreciation of the forces inherent in their structures through increased use of labor-intensive housed joints. Structurally, simplification appears to have been the order of the day, as carpenters eliminated long passing braces, shortened timbers, cut tie beams, and abandoned redundancy. Instead of spreading out wind and gravity loads through an array of overlapping timbers, carpenters chose to concentrate loads on fewer timbers connected by better joints. These tactics had many weaknesses, including larger stresses on joints and members, and also heavier loads transmitted downward into the masonry substructures. However, between 1250 and 1350 carpenters also increased the geometrical and spatial complexity of their designs, shifting from thinking primarily in two dimensions to planning in three. Earlier frames were clearly conceived as flat, linear frames rotated around a central axis. Later frames were designed with multiple axes and concentric rings of support. William Hurley{\textquoteright}s design for the lantern over the octagon at Ely, for example, is based on at least three platforms, four vertical rotated axes, two concentric rings (rotated 22.5{\textlnot}$\infty$ from each other), and the splayed main braces that carry the bulk of the lantern{\textquoteright}s weight.}, keywords = {Architectural History/Historic Preservation}, author = {MacKay, Allan Gordon, III} } @mastersthesis {9576, title = {The Child Lost in the Garden of Time{\textquoteright}: Childhood and the Fourth Dimension in the Works of Joseph Cornell}, year = {2004}, school = {UC Irvine}, abstract = {My dissertation on the American artist Joseph Cornell (1903-1972) explores the relationship between his work on childhood to his search for a transfigured concept of time. Cornell directed his work both to children, as evidenced by his exhibitions specifically for children, but also to adults as a call to recapture this alternate realm of childhood. Not only are there frequent references to children{\textquoteright}s stories, but also works which focus on children as their subject, as well as numerous "games" that appeal to the curiosity and playfulness of children. The primary works that I examine are his film and theater scenarios Theatre of Hans Christian Andersen and Monsieur Phot, his "exploration" and dossier Crystal Cage [Portrait of Berenice], and his unique book-object Journal d{\textquoteright}Agriculture. Children offered a distinct articulation of a model for time that was both "other" and opposed to that of "adult-time." Rather than "adult-time" of regulation, production, and quantification, "child-time" is fluid and unsegmented, operating along its own logic, using elliptical, rather than linear, patterns. Cornell{\textquoteright}s interests derived in part from the Surrealists, who regarded childhood as a liminal space outside of static, bourgeois conventions and values. He also looked to Romantic and Victorian philosophy to provide the foundation for his idealized concept of childhood as an ephemeral, transcendent state of grace. My dissertation examines the ways in which Cornell, through collage, assemblage, and film, explored the nature of "child-time" in his encounters with Dada, Surrealist, and other artists and writers whom he met in New York during the 1930s and 1940s. I devote individual chapters to a constellation of works by Cornell in tandem with other avant-garde artists and writers, including Max Ernst, Andre Breton, Salvador Dali, Marcel Duchamp, Dorothea Tanning, and Arthur Rimbaud. The organizing theme for each chapter is a particular children{\textquoteright}s story: ABC books and primers, Hans Christian Andersen{\textquoteright}s "The Little Mermaid," Antoine de Saint-Exupery{\textquoteright}s The Little Prince, and Lewis Carroll{\textquoteright}s Alice{\textquoteright}s Adventures in Wonderland and Through the Looking-Glass.}, keywords = {Twentieth-Century Art}, author = {Leppanen-Guerra, Analisa} } @mastersthesis {9377, title = {A Citadel Behind Walls? The House of the Amateur in Late Nineteenth-Century France}, year = {2004}, school = {CUNY}, abstract = {Of the various types of people found in the nineteenth-century city of Paris, critical attention has yet to be focused on the amateur as lover of art. The word did not then connote dilettante in the way it now does, but rather was closer to its derivation from the Latin Amor . The amateur was a passionate collector of art, who often also made art as well. His collections were gathered according to his personal taste and were arranged in harmonious ensembles in the long-standing tradition of the private collector rather than in the newly chronologically-ordered installation of the museum. In the Third Republic, when collecting art was becoming more and more popular, the amateur stood out as a self-consciously traditional figure. Rather than participating in the cult of the bibelot or the scholarly study of art, he maintained a very personal attachment to art. This love of art was couched in gender-specific language such that the amateur was always considered to be male, even in a time in which collecting by women was becoming more common. The amateurs installed their collections such that the prevailing logic was one of dialogue in which the artwork was seen as changeable and interactive. The amateur was very close to the flaneur as a type and can understood as a kind of indoor flaneur, strolling amongst his artworks as amongst so many acquaintances, interacting with them as friends, or indeed as lovers. This study will examine both the typology of the amateur and the display of art within the house of the amateur by means of a close examination of texts and images from the period, including sales catalogues and a photographic collection of portraits by the photographer known only as Dornac. Among the themes discussed are the social standing of the amateur, the discourse of taste and love with regard to the identity of the amateur, the practice of book collection as it relates to the divide between amateur and connoisseur and two case studies of spaces of collection: the cabinet de travail and the billiards room.}, keywords = {Architectural History/Historic Preservation, Nineteenth-Century Art}, author = {Mendelson, Valerie} } @mastersthesis {9497, title = {Collecting and Patronage of Art in Seventeenth Century Japan: The Maeda Daimyo}, year = {2004}, school = {Princeton}, abstract = {The seventeenth century in Japan began as an age of patrons and became an age of collectors. In my study, I focus on the third Maeda daimyo, Toshitsune (1593-1658), and his grandson Tsunanori (1643-1724), the fifth Maeda daimyo, rulers of Kaga domain (present-day Ishikawa and Toyama prefectures). Over the course of two generations, Toshitsune{\textquoteright}s force as a patron of painting and lacquer gave way to Tsunanori{\textquoteright}s obsessive book and handicraft collecting. In this thesis, I discuss the daimyo{\textquoteright}s cultural activities and explore the artists active in the Kaga domain during their tenures. In chapter one I present as a background a history of how the Maeda collections came into being, and where they are housed today along with resources for their study. Chapter two focuses on the first of the two main figures of this study, Toshitsune, and details the shogunal visit of 1629 as well as the building of Zuiry√{\textordfeminine}ji, the most significant cultural projects of his career. The next chapter discusses artists at work in Kaga domain during Toshitsune{\textquoteright}s time who were brought out from Kyoto on his orders, specifically the Rimpa, Kano, and Igarashi schools. The fourth and fifth chapters focus on the figure of Tsunanori. Chapter four chronicles his book collecting activities and the Hyakko hisho collection of kogei samples, while chapter five continues the story of second-generation artists active in Kaga.}, keywords = {Japanese/Korean Art}, author = {Katz, Janice} } @mastersthesis {9565, title = {Commonist Painting: Andy Warhol, the Technocracy, and the Counter Culture}, year = {2004}, school = {Rutgers}, abstract = {Initially, Andy Warhol wanted to call his art "Commonist Painting," a pun intended to compare the totalitarian nature of communist and capitalist cultures. However, scholars have generally agreed that Warhol was apolitical. This dissertation challenges the consensus and attempts to restore the meanings of "Commonism" by placing his oeuvre in the context of writers who analyzed the technocracy and shaped the counter culture. Chapter One argues that the crisis in humanism, which is today associated with post-modernism, was in fact a widespread phenomenon, precipitated by the Cold War and the technocracy. Warhol demonstrated a sophisticated awareness of this crisis by mimicking its effects and questioning his own authority as an artist. Chapter Two focuses on Warhol{\textquoteright}s relationship to the Abstract Expressionists and shows how he debunked their notion of the artist as heroic genius. Members of the older generation emphasized their heterosexuality and implicitly associated it with nature. Warhol, in turn, subverted their aims by denying the idea of expression and showing how genius was a cultural construct. In Chapter Three, our attention turns to his homosexuality and how he related to early stages of gay liberation. His "Commonist Paintings" are interpreted as coded messages with homoerotic content which subverted the humanist idea of an essence by positing multiple meanings of common objects like Campbell{\textquoteright}s soup cans and Coke bottles. Warhol participated in the anti-psychiatry movement, the main issue for radical homosexuals, and the topic of Chapter Four. Psychiatrists controlled "deviant" sexual behavior by classifying it as mental illness. Warhol disliked psychiatrists, resisted their interpretative methods in his art and feigned schizophrenia as a commentary on society. In Chapter Five, we explore Warhol{\textquoteright}s responses to the political turmoil that surrounded the sexual revolution, especially his images of race riots and other current events. Warhol wanted to raise the consciousness and shift power to the people; he hoped they would participate more in the democratic process and develop a new sense of humanity that valued individual differences.}, keywords = {Twentieth-Century Art}, author = {Brookins, Scott} } @mastersthesis {9442, title = {Conceptual Art Magazine Projects and Their Precedents}, year = {2004}, school = {Toronto}, abstract = {Conceptual art magazine projects (like their earlier twentieth-century predecessors and later related tendencies) are designed to function as art or art-like occurrences in printed magazines. Magazine projects are not reproductions of artworks that were constructed for other purposes but are, rather, artworks in reproduction. The projects that I deal with involve deliberate employment and/or disruptions of the conventions of magazine publications; they were designed to alter and reconfigure the readers{\textquoteright} experience of the magazine as a form of communication as well as challenge their expectations of art and its possible manifestations. The publications studied include small-run, self-produced journals designed as complete clustered or interrelated artworks through to mass-market art magazines for which the artists were invited to contribute one or more pages, and where the pages were understood to function as either alternative exhibition spaces or as discussion forums for ideas about art. I examine the origins of magazine projects during the early years of the century in European Expressionist, Futurist, Dadaist, International Constructivist, and Surrealist periodicals of the teens to the late 1940s. I also discuss later precedents for Conceptual art in Fluxus and experimental writing of the 1960s. Subsequent chapters are studies of one of several distinguishable means that were employed for using the magazine format to produce and distribute artwork. Examples of the use of each generalized approach are then analysed in detail to support this typology. To conclude the dissertation, I examine the relation between Conceptual art and aesthetics because it is frequently proposed that it somehow managed to avoid aesthetics altogether. I consider the aesthetic role of obstacles to sensibility in Conceptual art and the encounter with art being a kind of learning-like activity that expands both understanding and general awareness. With Conceptual art, the pre-given knowledge and circumstantial evidence surrounding an artwork become part of the work in extension. Context, history, and interpretation are externally embedded as fluctuating components of the work. I reach this conclusion by the theorizing of a lateral extension of artwork and artist functions.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Allan, Ken} } @mastersthesis {9456, title = {Conceptualizing Kienholz: Reconsidering Ed Kienholz in Contemporary Art History}, year = {2004}, school = {UCLA}, abstract = {In this dissertation, I utilize an interdisciplinary approach to examine the work and career of American contemporary artist Ed Kienholz (1926-1994). By examining a large body of the artist{\textquoteright}s work and career often ignored in histories of art, I expand upon the dominant, but limited, categorization of Kienholz as the quintessential California Assemblage artist. Instead, I reconsider the artist in relation to the foundations of 1960s-1970s Conceptual, Performance, and Feminist art in order to not only expand our understanding of Kienholz but also of contemporary art history. As such, the broader goal of the dissertation is to expose how Kienholz figures in the historiography of art history, and to use these case-studies to shed light on how and why the discipline of art history constructs the particular narratives it does.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Willick, Damon} } @mastersthesis {9488, title = {Constructions of Patrimony: The Interpretive Prints after Claude-Joseph Vernet{\textquoteright}s Ports of France}, year = {2004}, school = {Brown}, abstract = {Abstract As the largest commission of Louis XV{\textquoteright}s reign, Joseph Vernet{\textquoteright}s Ports of France (1754-65) marked a turning point in the Crown{\textquoteright}s attempt to refashion itself as a progressive monarchy to address the new modern public for art. Vernet{\textquoteright}s Ports were in turn the basis for another official project of equally monumental proportions conceived to reach this new public: the series of interpretive engravings executed after Vernet{\textquoteright}s Ports by Charles-Nicolas Cochin and Jacques-Philipe Le Bas (1760-1767). At the intersection of the emergence of a modern commercial society, the advent of a critical, art-consuming public, and the rising agency of public opinion, the Ports paintings and prints were integral in the renegotiation of the relationship of official art to these new conditions. My thesis examines the formal and discursive strategies through which this negotiation was effected. I have organized the dissertation into two primary sections, the first dealing with the Ports of France paintings, the second with the engravings executed after Vernet{\textquoteright}s paintings. In Chapter One, I first elucidate the reputation of Joseph Vernet, and excavate the genesis of the Ports of France commission. I then examine how specific aspects of the paintings exploited notions of the "scientific" to heighten the paintings{\textquoteright} claim to truth, before briefly addressing the Ports {\textquoteright} exhibition history outside of the Salon. In Chapter Two, I first track commerce as a problematic subject in the visual arts, and go on to examine the political implications of marine commerce. Chapter Three establishes how the prints were conceived to work in concert with the paintings to fulfill the Ports didactic purpose. Further, I attempt to reconstitute the community of buyers, and conclude by attending to the various critical responses to the prints. In Chapter Four, I argue for the important public role played by the Ports engravings in the reform of grand manner art in the context of Cochin{\textquoteright}s theoretical writings on printmaking. In close, sustained analysis of the line work, I argue that the Ports engravings were meant to redress prevailing taste for overly regular, burin-dominated handling through a method (mixed-intaglio) that valorized the free, drawing-like effects of etching.}, keywords = {Eighteenth-Century Art}, author = {Leca, Benedict} } @mastersthesis {9492, title = {Contemporary Italian Cinema: Films of Persistence}, year = {2004}, school = {Yale}, abstract = {This thesis studies the films made in Italy between 1978 and 2004 by a generation of filmmakers that started their careers during the 1980s. By this time, most of the structures and characteristics of the postwar Italian film industry had entirely collapsed. This thesis examines the different strategies (aesthetic, ideological, economic) employed by the new filmmakers to revive a national film culture, with particular attention to the socio-historical context of contemporary Italy. Giving the scant work conducted in English on the subject, the bulk of my bibliography comes from Italian sources, and it is augmented by several interviews that I conducted in the course of my research, included as an appendix. The first chapter argues that the most widely seen film from the period, Giuseppe Tornatore{\textquoteright}s Cinema Paradiso, represents in fact the polar opposite of what Contemporary Italian Cinema is largely about. Cinema Paradiso is then compared to Gabriele Salvatores{\textquoteright}s Mediterraneo, a film that answers this problem of misrepresentation by camouflaging all of the main characteristics of the new cinema under a Paradiso{\textquoteright}s disguise. The second chapter analyses what these characteristics are: the repositioning of scriptwriting at the center of the production process, a renewed civic interest in the subject matter, and the influence of the commedia all{\textquoteright}italiana, as well as significant changes in the physiognomy and languages of the Italian cinema, through a complete renovation of its acting ranks and a newfound interest in local dialects and landscapes. The third chapter expands on those issues through a discussion of three exemplary films from the period, each dwelling on a key tendency or theme: Daniele Luchetti{\textquoteright}s Il portaborse and the dash between civic and consumer ideology; Francesca Archibugi{\textquoteright}s L{\textquoteright}albero delle pere and the new family; Peter Del Monte{\textquoteright}s Compagna di viaggio and the contemporary landscape. Finally, in the fourth chapter, I turn my attention to the exceptional case of Nanni Moretti, the single most important, idiosyncratic, and influential personality of the period.}, keywords = {Film/Video}, author = {Prunes, Mariano} } @mastersthesis {9573, title = {Contested Cubisms: Transformations of the Czech Avant-Garde, 1910-1914}, year = {2004}, school = {Chicago}, abstract = {Through a case-study of the involvement of Czech painters with cubism on the eve of the First World War, my dissertation presents alternative criteria for the emergence of vanguard artists within Central Europe. Formulating a workable definition of the avant-garde for this region is problematic because of the predominance of French models as standards to which Central European developments do not conform. The particular characteristics of Paris as an urban space, which have been understood as paradigmatic for the self-conscious development of avant-garde formations before the First World War, do not manifest themselves with the same force in Central Europe. The original gesture is deemphasized in favor of the deliberate re-use of a foreign style with political and cultural consequences in a new context. While always in dialogue with the West, avant-garde practice in Prague includes a continual re-negotiation of identity that must take questions of national, social and political consciousness into account. Focusing on four aspects of Czech cubism-theory, criticism, publications and exhibitions-I emphasize the cultural-political forces that led to Czech painters{\textquoteright} interest in French art and reveal the impact of the style in Prague. The art historical work of collector Vincenc Kramar provides background to Prague{\textquoteright}s intellectual interest in cubism. The popular reaction to cubist exhibitions indicates the political associations the style carried. The cubists{\textquoteright} journal, Umelecky mesicnik [Art Monthly] confirms the import of journals for the creation of avant-garde identity. Two 1914 Prague exhibitions focus the polemical debate between rival cubist groups over the definition and consequences of the style. I excavate the particular characteristics of Czech cubism and concretely examine the exchange networks that brought it to Prague. Czech artists{\textquoteright} very decision to make use of cubism, one among many avant-garde styles that spread across Europe at this time, provides an opportunity to address this larger, pan-European phenomenon. An understanding of the impulse to internationalism is essential to an understanding of Modernism itself. I access the political and cultural valences of a modern visual vocabulary, and structure my account to enable a comparative discussion of Modernism in Central Europe as a whole.}, keywords = {Twentieth-Century Art}, author = {Hume, Naomi} } @mastersthesis {9551, title = {The Cosmos in the Palace: The Palazzo Vecchio Guardaroba and the Culture of Cartography in Early Modern Florence, 1563-1589}, year = {2004}, school = {UC Berkeley}, abstract = {Painted by Egnazio Danti and Stefano Buonsignori between 1563 and 1586, the 53 maps of the regions of the world in the Palazzo Vecchio in Florence represent the state of geographical knowledge at the Medici court as well as one of the earliest integrations of cartography into a decorative project housing a collection of rare and precious objects-an early type of Wunderkammer. Although only partly completed, the original cosmographical program for the small room known as the Guardaroba defined one of the most ambitious and forward-looking of all Early Modern decorative ensembles, involving many different artists and media. Writing in 1568, supervising artist Giorgio Vasari described the in-progress Guardaroba as containing globes, painted astrological constellations, intarsia panels of plant and animal life, and antique marble imperial busts; most importantly, painted maps of the known geographical divisions of the world would be placed on the doors of a series of cabinets containing rarities and scientific instruments gathered by the patron, Cosimo I de{\textquoteright} Medici. The fabrication of the Guardaroba progressed slowly, however, as other decorative projects better suited to the taste of Cosimo{\textquoteright}s heirs took precedence at the Florentine court, and apart from its maps the room{\textquoteright}s decoration was never completed. Owing to the imbalance between its purported aims and its present state, the Guardaroba has until now received little attention, yet no other contemporary project attempted to bridge such a wide range of disciplines and involve such an eclectic array of artists, craftsmen, scientists, and geographical specialists in its realization. This study argues that in its far-reaching program, the Guardaroba acted as both collecting space and performative theater for ducal power, explicating a grand vision of the court{\textquoteright}s cosmology in a single gallery while simultaneously containing, categorizing, and classifying the rarest and finest objects of the Medici collection in one room. This study further concerns the genesis of the project, the personalities involved, its roots in both cartographic and decorative culture, its aims as a frame for a preexisting collection, and the printed and unpublished sources (engravings, atlases, portolan charts) used by the two cartographers to make the surviving maps.}, keywords = {Renaissance/Baroque Art}, author = {Rosen, Mark} } @mastersthesis {9550, title = {Creating the Court Lady: Isabella d{\textquoteright}Este as Patron and Subject}, year = {2004}, school = {UC Berkeley}, abstract = {Isabella d{\textquoteright}Este, marchesa of Mantua from 1490 until 1539, is among the Renaissance{\textquoteright}s most famous figures; her renown results in part from the variety of areas of Renaissance life she occupied. She was at times the regent of her state, always a voracious collector of art both ancient and contemporary, a patron of painting and sculpture, the subject of poetry both lyric and epic, and the friend or acquaintance or relation to almost all of Italy{\textquoteright}s important political and cultural figures of her era. In this dissertation, I describe the construction of Isabella d{\textquoteright}Este{\textquoteright}s public identity through visual and written representation and the actions of courtiers, artists and poets in her circle. Isabella d{\textquoteright}Este was, like all noble women, limited to an iconography of chastity and moral virtue. Yet the court{\textquoteright}s cultural producers-its artists, poets and courtiers-themselves existed in a similarly marginal realm, and were, like Isabella d{\textquoteright}Este, tightly constrained in their iconography and social roles. Because the terms woman, courtier, artist, poet all were expressive of a marginalization that was intensely experienced by those they described, any such figure could use the iconography of the others to refer his or her own situation. In particular, the courtier, poet or artist often identified himself with women, who were more obviously excluded from power than were any of the others. In my dissertation I describe Isabella d{\textquoteright}Este{\textquoteright}s efforts to construct a public identity in a courtly milieu by analyzing her relationship to artists (including Andrea Mantegna, Leonardo da Vinci, Titian, Gian Cristoforo Romano, Giulio Romano, Correggio and Lorenzo Leonbruno), authors (primarily Ludovico Ariosto and Giangiorgio Trissino) and courtiers (Mario Equicola, among others). In each case, Isabella d{\textquoteright}Este appears as the agent of representation, using the court{\textquoteright}s patronage mechanisms to invite images of herself while attempting to control their content As I demonstrate, she thus often became instead the screen onto which her representers projected their own anxieties and ambitions, whether personal, political or cultural.}, keywords = {Renaissance/Baroque Art}, author = {Regan, Lisa} } @mastersthesis {9457, title = {Cultural Intervention, Activist Art, and Discourses of Oppositionality in the U.S., 1980-2000}, year = {2004}, school = {Maryland}, abstract = {This dissertation examines the intersection of definitions of activist art with major discourses related to art production operational during the decades of the 1980s and 1990s in the US. The four parts of the dissertation consider how definitions of activism in art during this period shifted when considered in conjunction with notions of transgression, postmodernism, the avant-garde, and the monstrous/grotesque/abject. The emphasis in each part of the dissertation will be on the aspects of discourse that have been generated in publications of various kinds that relate to cultural production. In Part 1, key discursive elements of the 1980s treated include (1) the relationship of market forces to "successful" transgressivity as well as "successful" activism in art; (2) when certain forms of art put forward as "activist" were seen as "transgressive;" and (3) debates over controversial content related to social and political issues of the day. In Part 2, activism in US art of the eighties and nineties is considered in relation to the fortunes of the artistic category "avant-garde." In this part of the dissertation, the discussion tracks the development of interest in "progressive" postmodernism in contradistinction to a postmodernism of "regression;" and the generally negative valence "avant-garde" assumed in discourse over this twenty-year period. Part 3 explores the discursive relationship of activist art to the pronounced turn toward the body during the period: a particular kind of body portrayed as aggressively sexual, wounded, fragmented and imbricated with specificities of racial and gender identity. Part 4 proposes two works of art-Judy Chicago{\textquoteright}s Dinner Party and Guillermo Gomez Pena{\textquoteright}s Temple of Confessions-as exemplary of how the discursive element of the monstrous/grotesque/abject can assertively mobilize and foreground the eclipsed and distorted presentation of the feminine and the "other" of color in dominant culture. The discussion seeks to demonstrate how, in two extremely complex works of art, the monstrous/abject/grotesque raises to high profile key issues of activism, postmodernism and the avant-garde. The discussion also addresses how ultimately conflicted and ambivalent it is to seek an unproblematically "progressive" outcome when attempting to mobilize monstrous/grotesque/abject thematics as apotropaic.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Aagerstoun, Mary Jo} } @mastersthesis {9394, title = {Damascus Eighteenth- and Nineteenth-Century Houses in the Ablag-Ajami Style of Decoration: Local and International Significance}, year = {2004}, school = {IFA/NYU}, abstract = {The traditional houses of Damascus date from the 18th and 19th centuries but fragments and written accounts reveal that such interiors existed in the 17th century as well. What distinguishes these houses from other Islamic examples are not their spaces, courtyards and materials, but their interior decorative schemes of inlaid stonework (ablaq) and painted and worked wood paneling and ceilings ({\textquoteright}ajami). Scholarship has addressed various aspects of the Damascene house, except what makes them distinctive, their decoration. Several travelers{\textquoteright} accounts, which are cited throughout the study, paint vivid images of Damascene houses and especially the contrast between their plain street exteriors and the striking decor of their interior spaces for which great sums and efforts were expended. All the aspects of this decoration are examined in the present study: evaluation of its sources, appraisal of its position versus other contemporary schemes of decoration, interpretation of the whole decorative phenomenon, its iconography and implications. The phenomenon that developed in Damascus may be called a "style" for it successfully expresses the concerns and tastes of the city{\textquoteright}s residents and has a distinctive set of characteristics that make it easily identifiable, standardized, repeated and multiplied. For these reasons it enjoyed a very long life-span, longer than many others. This study is the first to define this style and to coin a name by which to designate it: ablaq-{\textquoteright}ajami . After presenting the history and physical characteristics of Damascus that bear upon domestic architecture, the focus moves to the city{\textquoteright}s residents, their houses and lifestyle, then the decorative elements are discussed in detail. Finally, various connections are explored (with Antiquity, the Umayyad, Mamluk and Ottoman Empires, and Europe) in order to arrive at an understanding of the wider context, origins and significance of the style.}, keywords = {Art of the Middle East/North Africa}, author = {Daskalakis, Annie-Christine} } @mastersthesis {9455, title = {Danger Box: Fluxphotography and Martin Heidegger{\textquoteright}s Phenomenology}, year = {2004}, school = {Rochester}, abstract = {This project concerns artists who, working under the banner of Fluxus in the 1960s and 1970s, generated a performative and interdisciplinary approach to photography-what I call "fluxphotography." Fluxphotography discloses the material, perceptual, and durational aspects of photography while suggesting a query which this project takes up: can artists alter photography, as well as the subject produced by and for the camera, by changing the way viewers and makers engage with it? While Fluxus refigured photography by conceiving of it as an event rather than an object, I find the medium to be historically determinate; it carries its history with it, authorizing what can be imaged, as well as the very experience the image elicits in its viewer. My project examines the ways in which Fluxus struggled with this contradiction and, in doing so, produced a body of work that aids in the theorization of photography. This dissertation{\textquoteright}s ambition is two-fold. First, it seeks to fashion a rich genealogy for contemporary artists who engage with the technologically produced image as a perceptual and experiential activity. A second and related goal is to deflate the predominant understanding of technology as an "engine" that determines the socius. Instead, I argue that technology is a social activity. I find that Fluxus offers a means to engage with photography in a manner that reveals this, often at the cost of the photograph{\textquoteright}s beauty and permanence. Methodologically, I utilize Martin Heidegger{\textquoteright}s thought in order to explore the implications of the work discussed. In his 1927 opus, Being and Time, Heidegger describes an inter-dependent relationship between human beings and equipmental objects. Yet, in his later essays, Heidegger conceives of technology as a dangerously limited form of revealing that holds sway, enfolding human beings within its logic. Ultimately, I argue that Heidegger{\textquoteright}s early articulation of equipmentality challenges his more global theory of technology and, by extension, certain overarching notions of visual technology that prevail today. At the same time, I find that Heidegger{\textquoteright}s seemingly oppositional theories, when thought jointly, act as a heuristic device for delineating the theoretical boundaries of fluxphotography without evacuating its subtlety. Throughout this dissertation, Heideggerian thought is placed in dialogue with fluxphotography such that each responds to and helps to define the other.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Bowen, Dore} } @mastersthesis {9476, title = {Debeo Saltare: Theology, Reception, and Performativity in the Medieval Dance of Death}, year = {2004}, school = {Boston}, abstract = {My dissertation explores the origins, intellectual history, performativity, and reception of the medieval Dance of Death imagery and text. In this work, I consider not only issues of patronage and cultural exchange, but also roles of written and oral discourses in the practice of viewing the Dance of Death imagery. In the first two chapters I explore the versatility of the medieval notion of dancing and the poetic structure of the Dance of Death verses. Specifically, I consider the way this structure works to convey the theme at the level of content and to underscore the tension between the poetics of mortality and dancing movement. The third chapter explores the question of movement even further by discussing the performative cues encoded into the Dance of Death images that point to the fact that these paintings were conceived to provide an active experience of viewing for the beholder. The fourth chapter suggests two models of reception of the Dance of Death imagery, both predicated on an active mode of viewing on the part of the beholder. By exploring the imagery of the Reval Dance of Death, the first part of the chapter reveals the complexity of the viewing process informed by a written text immediately available to literate viewers and by oral discourses available to all. The second part constructs an alternative mode of viewing for the Dance of Death images adapted to and transformed by the spaces within which they were placed. Finally, the fifth chapter traces the development of the Dance of Death imagery into the twenty-first century, paying special attention to the changing role of the audience for whom these images were intended. Conceived from the start as inherently public images that drew on outside resources (pastoral theology and dramatic enactments among them), the Dance of Death paintings were made simultaneously personal and accessible. Therefore, by using the Dance of Death as a lens, this work addresses different ways artistic and literary production, theology and social history inform our understanding of medieval visual culture and its reception.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Elina Gertsman} } @mastersthesis {9447, title = {Decoration and Desire: Women of the Home Arts Movement in Britain and Ireland, 1884-1915}, year = {2004}, school = {Queen{\textquoteright}s}, abstract = {This dissertation furthers a discussion of the home arts movement in late nineteenth-century and early twentieth-century Britain and Ireland by presenting case studies of two craft guilds established at the turn of the century as part of the home arts movement: the Dun Emer Guild (Ireland) founded by Evelyn Gleeson, Lily Yeats and Elizabeth Yeats, and the Compton Potters{\textquoteright} Arts Guild (England) established by Mary Seton Watts. Both the Dun Emer Guild and Potters{\textquoteright} Arts Guild focused on the home arts movement{\textquoteright}s {\textquoteright}social mission{\textquoteright} of national cultural improvement-where art production and display were meant to bring the social classes together. This shared culture was imagined and performed in the handcrafting and design of art objects in these guilds. As such, it was inflected by imperialism and cultural nationalism, and shaped by a middle-class perspective. Still, the energy, ingenuity, organisational abilities and creative expression of Evelyn Gleeson, Lily Yeats, Elizabeth Yeats, and Mary Seton Watts made the Dun Emer Guild and Potters{\textquoteright} Arts Guild internationally known and commercially successful home art industries. The international acclaim of the two guilds allowed these women to advance an unwritten agenda of social and political activism focused on fostering the economic self-sufficiency of women through active creative labour. This discussion also expands knowledge of women working in the nineteenth century while exploring the imprint of the historical moment on their cultural production. Using craft revival as a means of economic development in rural areas, the women of both guilds balanced remunerative creative labour with a public profile of middle-class femininity. Indeed, participation in this movement was a tool developed by these Victorian middle-class women to expand their fields of action and transgress the ideological boundaries of the private and public spheres, and to blur the hierarchical distinctions between the fine arts and the feminised decorative arts. The history of the home arts movement in late nineteenth-century and early twentieth-century Britain and Ireland presented in this dissertation illustrates the variety of ways middle-class Victorian women deployed art to effect social and political change.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Decorative Arts/Textiles/Design History}, author = {Elaine Cheasley Paterson} } @mastersthesis {9490, title = {Decoration as Knowledge: The Early Eighteenth-Century French Genre Scene, Rococo Ornament, and France{\textquoteright}s Emerging Public Sphere}, year = {2004}, school = {Stanford}, abstract = {This dissertation proposes that French art of the 1720s and 1730s, specifically genre scenes of elite pastimes and rococo decorative patterns, were understood in the early eighteenth century as ironic commentary on contemporary life, not illustrations of it. By reconceiving such works as ironic, I challenge their enduring reputation as embodiments of the moral failings of the Old Regime. The non-narrative, decorative quality of this art critiqued and provided the means for supplanting the passive conception of the viewer that academic norms encoded. The fashionable rococo style and genre{\textquoteright}s descriptions of familiar settings and daily ritual evoked lived experience, which enabled knowledgeable eighteenth-century beholders to participate critically-to employ their discernment, interpret the imagery, and refine their sense of self. This dissertation builds on the art historical reassessments of scholars such as Bryson, Hobson, Crow, Vidal, Scott, and Lichtenstein and is informed by theories of an enlightened public advanced by Kant, Habermas, and Foucault. The notion of a self-constituting public, discursively constructed and emerging within an absolute monarchy, made it possible to re-imagine scenes of private life and rococo ornament as politically and philosophically charged. Cultural histories of sociability and the salon pointed me to conversation as a model for the dialogic mechanisms at work in this imagery; literary theories of irony, the novel, and description, and seventeenth- and early eighteenth-century aesthetic theory aided my analysis of the dialectic between the works{\textquoteright} undisguised artifice and the beholder{\textquoteright}s critical involvement. I offer close readings of scenes by Jean-Francois de Troy, Watteau, Lajoue, Boucher, and Mondon to demonstrate how their art, which both acknowledges and subverts academic practice, forges a new representational paradigm to elicit the beholder{\textquoteright}s discernment. I conclude that genre scenes of social interaction and the rococo style are Enlightenment works. Their ornate, decorative quality makes them neither art historically nor intellectually negligible; rather, their invocation of the beholder{\textquoteright}s empirical observation and experiential knowledge aligns them with the epistemic shift also taking place in eighteenth-century science, philosophy, and literature.}, keywords = {Eighteenth-Century Art}, author = {Salzman, Mary} } @mastersthesis {9543, title = {Decoration, Document Or Symbol? the Role of Art in Early Netherlandish Paintings of Domestic Interiors}, year = {2004}, school = {UT Austin}, abstract = {The significance and meaning of the works of art and domestic objects depicted in fifteenth and early sixteenth century Netherlandish paintings with home settings are analyzed in light of painters{\textquoteright} motivations to construct a visual identity through their compositions. My argument suggests that artists{\textquoteright} depictions of domestic interiors were carefully composed and constructed to document the provenance of the image in the workshop of a specific master. This documentation served not only to identify a particular artist but also often communicated his artistic heritage and location in a particular city. I argue that this documentation was created through the manipulation of decorative schemes and traditional modes of symbolism.}, keywords = {Renaissance/Baroque Art}, author = {Lezotte, Annette} } @mastersthesis {9461, title = {Design, Empire, and Aesthetics in Britain, 1745-1851}, year = {2004}, school = {USC}, abstract = {Decadent, feminine, exotic, and marginal-these are a few of the qualities that have come to be associated with chinoiserie, a decorative style that proliferated throughout the visual culture of eighteenth and nineteenth-century Europe. With its images of pagodas, musicians and mandarins, chinoiserie has existed as an exotic diversion within the history of the decorative arts, while the decorative arts themselves have traditionally remained a footnote to the discipline of art history. This is a sorry fate for an artistic style that, in fact, fundamentally shaped contemporary ideas about aesthetic imitation, alterity, and national identity in Britain. In order to redress the place and estimation of chinoiserie, and more broadly, British decorative arts in the history of art, my dissertation examines the social, political, and aesthetic implications of chinoiserie from the founding of the Chelsea Porcelain Factory in 1745 to the Great Exhibition of 1851. I aim to show that the study of decorative arts is not only central to an understanding of Britain{\textquoteright}s artistic history, but also that it is central to the cultural formation of Britain as an imperial nation. To this end, I argue that chinoiserie{\textquoteright}s meanings exceeded the limits of mute decoration and spoke directly to Britain{\textquoteright}s emerging imperial identity. The dissertation is organized as a series of close readings of chinoiserie design-including porcelain, interior decoration, and design treatises-that created a British visual language of "China," which is to say of what China was imagined to be by British audiences. Since I argue that making "China" in the visual sense was bound up with contemporary ideas of imperial nationhood, I study chinoiserie as a visual language in relation to the cultural forces which were concerned with making "Britain." Whereas chinoiserie could signify foreign and deviant social statuses and taste in the eighteenth century, by the nineteenth century it had become a fundamental part of British aesthetics and domestic material culture. My dissertation therefore investigates the intersections of artistic, cultural, economic, and political histories within the sphere of the decorative arts.}, keywords = {Decorative Arts/Textiles/Design History, Eighteenth-Century Art, Nineteenth-Century Art}, author = {Loughrey, Stacey} } @mastersthesis {9583, title = {Designing Ed Ruscha: The Invention of the Los Angeles Artist, 1960-1980}, year = {2004}, school = {Michigan}, abstract = {This dissertation examines how Ed Ruscha{\textquoteright}s distinctive model of artistic subjectivity guided his career and shaped his production. Soon after his arrival on the art scene in the early 1960s, Ruscha became known as the quintessential "Los Angeles" artist. Working in an unusually broad range of media, he focused on Southern California culture as the primary subject of his work. In so doing, he introduced a new, Hollywood-based sensibility into the landscape of contemporary art-and helped to establish a new image of the artist as a Hollywood-style celebrity. Ruscha utilized the popular and art media to construct and "market" his artistic persona. As art director of Artforum from 1965 to 1970, he was closely connected to the art press, and some of his most significant works from this era employed forms borrowed from mass culture. He adeptly promoted his work, publishing skillfully engineered advertisements, interviews, and statements in various art magazines to promulgate his identity as an L.A. artist. The image Ruscha projected through these outlets was complex. At times, he presented himself as a cool, intellectual maverick-a typically avant-garde stance. But in other instances, he appeared as a kind of "good old boy"-an image akin to that of his Los Angeles neighbor, the Hollywood actor. Ruscha{\textquoteright}s frequent oscillation between these postures reflected his ambiguous position within the art world; while his "Hollywood" persona acquiesced to the middlebrow yet ostentatious culture of the L.A. insiders who collected his work, his "avant-garde" alter-ego held that world in contempt. To a degree, this double-bind plagues all vanguard artists who, while longing to epater la bourgeoisie, also rely on it to support their work. But Ruscha{\textquoteright}s personal and professional involvement with Hollywood-the great manufacturer of middle-American myth-complicated his situation, for even as his work deconstructed or satirized L.A. culture (his books notably commented on L.A. architecture and urbanism, attracting the interest of theorist Reyner Banham, and architects Denise Scott Brown and Robert Venturi), it depended on the city for inspiration and its elite for patronage. As such, Ruscha embodied a unique model of artistic subjectivity at mid-century.}, keywords = {Twentieth-Century Art}, author = {Schwartz, Alexandra} } @mastersthesis {9506, title = {Designing the Mensch Als Kunstwerk: Kant, Hygiene, and the Aesthetics of Health in Wilhelmine Germany}, year = {2004}, school = {UCLA}, abstract = {Western hygiene was first defined in Johann Peter Frank{\textquoteright}s Complete System of Medical Policy (1766-1788) as a comprehensive set of legislated technologies for preserving and promoting all aspects of civic health. It is now a designatory characteristic of all "First World" countries, yet "[n]o problem in the history of late Imperial German scholarship has been more thoroughly examined in recent years than [hygiene{\textquoteright}s] criminal perversion during the Third Reich." The majority of these accounts collapse the entirety of the German "hygiene movement{\textquoteright} into a singular, irrational ideology of Rassenhygiene [race-hygiene] that makes National Socialist racial policies, and ultimately the Holocaust itself, inevitable. Their teleological narratives provide seeming explanations of the Holocaust and occlude fuller consideration of pre-appropriation hygiene. The Wilhelmine aestheticization of health is chief among the obviated histories. In Prussia, hygiene was transformed from unrealizable legal mandates over the body into a collective set of internalized social virtues. Kant was a primary mechanism of change. He construed of hygiene as a fundamental obligation to oneself and integrated it into his works on ethics, aesthetics, medicine, and anthropology. The result was the healthy German body, created through ethical dedication to a broad constellation of social values and hailed as the "visible expression of moral ideas that govern man ideally." Kant enshrined it in the judgment of taste, for the benchmark that secures a priori knowledge is the perfected figure of " man, alone among all objects in the world, who admits of an ideal of beauty." It supplanted the Classical ideal and prepared for an aesthetic of hygiene. By the early twentieth century Rudolf Virchow, Hermann Muthesius, Peter Behrens, Emile Jaques-Dalcroze, and Karl August Lingner counted among those whose theories, design, architecture, art, museums, and manufactures had been inducted into the new realm of the Beautiful. They translated public health code, interrelated systems of ethics, reason and taste, the "aesthetic education,{\textquoteright} and factors such as labor and consumerism into a distinctly German, distinctly modern style of hygiene. Investigating German hygiene in context restores its original cultural function, clarifies its availability for National Socialist cooption, and illuminates the social operation of aesthetics.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Grindstaff, Beverly} } @mastersthesis {9517, title = {Designing the Nation: Neo-Northern Renaissance Interiors and the Politics of Identity in Late Nineteenth-Century Germany, 1876-1888}, year = {2004}, school = {Chicago}, abstract = {In 1876, Munich hosted the new German Empire{\textquoteright}s first national art and design exhibition, the Erste Allgemeine Kunst- and Kunstindustrie Ausstellung alter and neuer deutscher Meister Bowie der Kunstschulen. Occasioned by the Bavarian Applied Arts Association{\textquoteright}s twenty-fifth anniversary, the exhibition featured a broad selection of contemporary decorative arts as well as historical artifacts. The historical works were displayed in a separate exhibit entitled Unserer Vater Werke, which showcased primarily Northern Renaissance objects, while the contemporary sections promoted a revived Neo-Northern Renaissance aesthetic. Together, they introduced an innovative and powerful presentation opportunity-unified architectural environments filled with furniture, flatware, fabrics, paintings, prints, and sculpture arranged according to stylistic criteria. Long before the Bauhaus or the Wiener Werkstatte, the 1876 Exhibition{\textquoteright}s new exhibition concept of so-called Gesamtarrangements underscored the reciprocal relationship between art and design practices. This unprecedented coexistence of historical and contemporary objects in an exhibition was recognized by critics as a defining moment in the development of Germany{\textquoteright}s decorative arts and celebrated as an important physical manifestation of Vorbilderwesen, a way of learning by visual example advocated since the late 1850s by leading decorative arts reformers. While rooted in earlier pedagogy, the exhibition{\textquoteright}s unique displays also posed a particularly contemporary problem of authenticity and historicity, complicated by issues of German patriotism at this time. The display of contemporary Neo-Northern Renaissance art and artifacts as stylistically unified, historically situated interiors also carried powerful ideological and nationalistic claims regarding the formation of German identity. The spatio-temporal interplay between historical and contemporary interiors at the Munich exhibition was designed to construct a genealogy that linked contemporary cultural, social, and political concerns to a now-celebrated historical period, namely, Germany{\textquoteright}s last experience as a relatively united European power in the under the auspices of the Holy Roman Empire. This ideological relationship based on historical precedent could only be activated, however, by the audiences{\textquoteright} engagement with the material world at display in the 1876 Exhibition{\textquoteright}s Gesamtarrangements.}, keywords = {Nineteenth-Century Art}, author = {Wieber, Sabine} } @mastersthesis {9520, title = {Divination by Image: The Borgia Group of Pre-Hispanic Mexican Ritual Calendars}, year = {2004}, school = {Columbia}, abstract = {The five pre-Hispanic ritual calendars that survived the European invasion of Mesoamerica and now reside in European collections have been the object of a continuous stream of scholarly interpretive efforts beginning with Father Jose Lino Fabrega{\textquoteright}s late 18th century study. Following Fabrega, scholars have mastered a sprawling body of pre-Hispanic and colonial evidence to perform comparative iconographic analysis in order to identify deities, motifs, and calendar counts. This comparative procedure has led scholars away from a recognition of what is unique about the Borgia Group calendars. Although the group{\textquoteright}s members bear many superficial resemblances to other surviving pre-Hispanic manuscripts and works of art from Late Postclassic Mesoamerica, they were produced by and productive of a distinctive practice that must be understood in order to evaluate the Borgia Group manuscripts. The aim of this study is twofold. First, to describe the context in which the Borgia Group manuscripts originated. It is argued here that they were painted by 260-day count specialists who worked in small, independent workshops that were unconnected with the major temples. Against the prevailing scholarly view, it is argued that the Borgia Group manuscripts were not owned and used by priests, but by 260-day count specialists who formed a group different from the priestly class. The second part of this argument builds upon the first, and maintains that the Borgia Group manuscripts use imagery in a qualitatively different way from the way that other extant pre-Hispanic manuscripts use imagery. The term "picture writing", famously applied by Eduard Seler to the images in the Borgia Group calendars, is appropriately applied to the surviving central Mexican pre-Hispanic histories, but not to the calendars. The calendars are designed to present a destabilized meaning. That is, they are designed to be viewed repeatedly with a different outcome at each viewing. This system is analogous to the Western tradition of high art, in which works are designed, in the words of Lessing, "not merely to be given a glance but to be contemplated-contemplated repeatedly and at length."}, keywords = {Pre-Columbian Art}, author = {Cassidy, Anne} } @mastersthesis {9508, title = {Domesticity and Anxiety: Artists{\textquoteright} Portraits of Their Parents in France, c. 1840-1885}, year = {2004}, school = {CUNY}, abstract = {The exploration of identity formed through early family experiences resonates with twenty-first century viewers. This dissertation examines the nature of artists{\textquoteright} portraits of their parents by studying the images of them made by six major French artists working in the middle to the latter part of the nineteenth century. Using a methodology grounded in social history and psychoanalytic theory, the individual nature of the relationship between each artist and his or her family is discussed. The author argues that a significant number of artists made portraits of their parents that are emotionally significant, and, in some cases, artistically pivotal. Much of the research was derived from letters between the artists and their family-members and friends. Some of the observations resulting from the study include the importance of money issues for the young artist that produced a prolonged state of dependency on the father; the frequent conflict between the parent and adult child over the desirability of an artistic career; the common ages of execution of the works-clustering in the late twenties-during a time of self-examination; and the importance of this kind of personal and contemporary subject as a sign of avant-garde modernity. In addition, because the works were not commissioned, the artists were free to experiment without the constraints of pleasing a patron. A chapter is devoted to each of the following six artists: Gustave Courbet, Edouard Manet, Berthe Morisot, Paul Cezanne, Frederic Bazille and Gustave Caillebotte while portraits by James Abbott McNeill Whistler, Edgar Degas and Mary Cassatt are also discussed. The author argues that in five of the six examples, anxiety connected to the artist{\textquoteright}s relationship with one or both of the parents affected the likenesses. In the case of Morisot, the anxiety is evident in her written description of an incident that occurred during the completion of the portrait of her mother and sister when her mentor, Edouard Manet, violated the boundaries of her work and thus produced a traumatic episode.}, keywords = {Nineteenth-Century Art}, author = {Coller, Barbara} } @mastersthesis {9402, title = {Doubling the Vision: Women and Narrative Stereography, the United States, 1870-1910}, year = {2004}, school = {CUNY}, abstract = {Stereography, the quantitatively dominant form of photography in the nineteenth century, has received scant attention from twentieth century scholars. Redirecting scrutiny to an historically critical medium, this study examines the narrative stereograph and its relation with women{\textquoteright}s culture in the United States from 1870-1910. The narrative stereograph, also known as the "genre" or "comic and sentimental" scene, was a hybrid of linguistic conception, photographic naturalism, and theatrical presentation. It presented a play-act in a composed setting with actors, which was photographed with two separate negatives that, when printed, mounted adjacently upon a card, and seen through a stereoviewer, would produce the replication of an environment in three dimensions. These tremendously popular scenes were owned by nearly every American in the 1890s and were sold most frequently to women and their families. From advertising, marketing, collector{\textquoteright}s inscriptions, and the social history of topics and media directed at women, I show that the field of the narrative stereograph in the United States was one where women{\textquoteright}s tastes, prerogatives, and values were foremost, determining the topics, style, and meanings of this photographic history. The Introduction discusses the exclusion of stereography from the canon of photography history, where the dominant trend in the United States has been toward the monocular photograph, replicating the values of modernist painting, museum wall and the deluxe book. The environments presented by narrative stereography were commercial products appealing to a wide market and catering to women{\textquoteright}s perceptions. The second chapter discusses stereoscopes and theories of stereoscopic vision, observing that they forced an awareness of the natural as constructed, becoming, for narratives, an analogue of gender. The third chapter presents the social history of the stereograph, the fourth its marketing to women. The remaining chapters discuss the various topics of the narrative stereograph---childhood, courtship, brides, wives, the erotic, the New Woman, and other gendered roles. The Conclusion contrasts the narrative stereograph{\textquoteright}s exclusions with its middle-class inclusiveness, and its dual dynamic of naturalizing and de-naturalizing.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Davis, Melody} } @mastersthesis {9504, title = {Drawing Past, Present, and Future: The Legacy of the Plains Indian Graphic Tradition in the Works of Arthur Amiotte}, year = {2004}, school = {Iowa}, abstract = {Lakota artist Arthur Amiotte uses collage to address the period of greatest transition for Lakota people-1880-1930. He has looked to his artistic predecessors and drawn inspiration from their work, the most influential of which is his great-grandfather, Standing Bear. Although most of his artistic influences from the 1800s are Lakota, such as Amos Bad Heart Bull, he frequently references the Kiowa artist Koba. For Amiotte collage has become the most effective vehicle for him to address the period of greatest change for Lakota people-1880 to 1930. The strength in Amiotte{\textquoteright}s collages lies in their ability to offer multiple interpretations. In developing his lexicon, Amiotte understands that each viewer will bring their own knowledge to the work. Those who have a greater historical, cultural, political and religious literacy will be able to engage his works and his lexicon more completely. This does not mean to imply that his work is intended for a particular audience. Amiotte acknowledges that his collages have layers of meaning that not everyone will be able to access. But what is most important is the conflict he creates for the viewer: What is this? Why has he juxtaposed these images? These questions engage viewers, drawing them into Amiotte{\textquoteright}s world, forcing them to look at this period of time from different perspectives.}, keywords = {Native American}, author = {Vigil, Jennifer C.} } @mastersthesis {9449, title = {Dreams of Differences and Songs of the Same: The Image of Time in Musical Film}, year = {2004}, school = {Rochester}, abstract = {While music traditionally serves as a subordinate element in narrative film, this dissertation examines films in which music is the dominant force. Musical films are rife with contradiction, marked by structural and cultural repetition as well as a tendency toward transformation, differentiation, and excess. These contradictions provide the foundation for my inquiry. Film and music, as media composed of time and movement, demand a mode of analysis focused on those qualities. The peculiarity of the musical film further complicates the theoretical frameworks typically drawn upon when studying cinema. Emerging from the traditions of vaudeville and the stage, these films are driven by a logic that is primarily music-based. Unfettered by the demands of causality, irrational spectacles in the musical often subsume the narrative framework, creating configurations of time and space completely unlike those found in other filmic works. Drawing on the work of Gilles Deleuze and Henri Bergson, my study focuses on the cycles of repetition and transformation that drive musicals, positioning film and music not as static texts, but as dynamic events. What one gains through this understanding is a means of conceptualizing the expressive and experiential qualities of music and cinema without resorting to modes of analysis that immobilize their dynamism and fluidity. In such a formulation, the musical film becomes a site of encounter, an exchange between film, audience, and place that cannot be understood outside of the historical situations in which it is created and experienced. Rather than approaching the musical as a fixed genre, this project is comprised of a series of case studies. Chapters address 16mm "film jukeboxes" from the 1940s and 1960s (Soundies and Scopitones); the shifting refrains of various cinematic versions of Bizet{\textquoteright}s Carmen; the role of history and memory in the musicals of Jacques Demy, and configurations of corporeality and gender presented by two vastly different sets of water-based musicals-the synchronized swimming spectacles of Esther Williams and The Hole by Tsai Ming-liang. While the topics of these studies are eclectic, their divergences offer an opportunity to explore multiple facets of the theoretical framework that underpins the project as a whole.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Film/Video}, author = {Herzog, Amy} } @mastersthesis {9563, title = {Duchamp{\textquoteright}s Chess Identity: 1916-1923}, year = {2004}, school = {Case Western Reserve}, abstract = {This dissertation reevaluates the art and identity of Marcel Duchamp by focusing on the artist{\textquoteright}s preoccupation with chess, which took an unflagging hold on the artist shortly after his arrival in New York in 1915. Duchamp{\textquoteright}s intense study of chess and his achievements in professional chess circles have long been treated by art historians as a mere diversion from his career as an artist or as a separate field of study best left to chess experts. Conversely, I maintain the proposition that chess played an unavoidable role in his artistic career, both as a theme in his art and as a critical component of his prismatic character. To support my thesis, I will conduct close readings of Duchamp{\textquoteright}s works that were inspired by his interest in chess, particularly those in which he incorporated chess iconography or vocabulary. The evidence revealed in his own work of his steadily increasing interest in chess is upheld by numerous images of Duchamp playing or associated with chess by his friends and colleagues in the New York avant-garde art community, who anticipated his impending and convincing "abdication" of the role of artist for that of a competitive chess player. I will perform iconographic and psychoanalytic readings of these images to confirm that they demonstrate Duchamp{\textquoteright}s gradual and irrevocable association with the game, and how this persona counterbalanced his identification as an artist. I then apply this knowledge to the defining work of Duchamp{\textquoteright}s early career, The Bride Stripped Bare by Her Bachelors, Even of 1915-1923, which Duchamp left incomplete to embark on a spree of chess tournaments in Europe. This seminal work, part of which constitutes a disguised self-portrait, is replete with evocations of chess. I contend that the self-portrait is conflated with the theme of chess in one of the work{\textquoteright}s primary elements, the Nine Malic Molds, and thus substantiate the critical importance of chess for Duchamp, his art, and his identity.}, keywords = {Twentieth-Century Art}, author = {Bailey, Bradley} } @mastersthesis {9401, title = {Eclectic Symbolism: The Interplay of Japonisme and Classicism in the Folding Screens By Thomas Wilmer Dewing, 1896-1900}, year = {2004}, school = {CUNY}, abstract = {This study is a multicultural and multimedia reexamination of the aesthetics of folding screens created by the American painter Thomas Wilmer Dewing (1851-1938) between 1896 and 1900. These screens were executed exclusively for the Detroit houses of his patron Charles Lang Freer and Freer{\textquoteright}s business partner, Frank J. Hecker. During the 1890s, Freer was recognized as a major japonophile for whom Dewing not only created paintings but also purchased Japanese objets d{\textquoteright}art. In Dewing{\textquoteright}s screens, the impact of Japanese art is revealed by such visual devices as pairing of screens, continuous scenes across the paired screens, right-to-left orientation of iconography, and non-illusionistic style. These japonisme elements were combined by Dewing with classical elements: the Arcadian landscapes with mythological female figures in Grecian garments. Moreover, the frames of the screens designed by Stanford White were derived directly from ancient Greek temples. Interestingly, this cultural synthesis is also reflected in the ways in which these screens can be folded for display: in the byobu way (z-shape) and in the manner of a Christian folding altarpiece in which the central panel is framed by side panels. Inspired by British Aestheticism and French Symbolism as well as the idealist tradition and eclecticism in Victorian America, Dewing alluded to the eclectic styles of patrons{\textquoteright} houses in his folding screens. What Dewing created with the eclectic juxtaposition of (and further conflation of) japonisme and classicism in those folding structures and painted images was a synaesthetic evocation of music, poetry, and theater, suggesting his reference to Baudelairian correspondences as well as Wagnerian Gesamtkunstwerk. The double dimensionality and double folding-system of Dewing{\textquoteright}s screens not only efface the boundaries of art objects but also help to bring out a new visual expression of sensory correspondences as well as a new understanding of theater in the age of Symbolism. This point is further articulated in this study through investigations of Dewing{\textquoteright}s cultural milieu as well as his artistic activities including a multicultural masque play of 1894 directed by Dewing to celebrate Freer{\textquoteright}s first Asian tour.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Oba, Mitsutoshi} } @mastersthesis {9419, title = {Education America: Murals in Chicago Public Schools, 1905-1943}, year = {2004}, school = {Pittsburgh}, abstract = {Between 1900 and 1946, murals were consistently commissioned for and placed in public schools throughout Chicago. Given the early 21st century resistance to art in public education, it is difficult to comprehend the centrality of these same programs in the past century. What was the relationship between art and public education? How did murals function within and shape the physical and ideological spaces of public schools in the early twentieth century? This dissertation concerns itself with these questions. Working chronologically, I trace the production of murals in Chicago schools from the first grand-scale mural commission in 1905 to the censorship of Edward Millman{\textquoteright}s Outstanding American Women in 1941. In the first part of this thesis, I focus on the genesis of the mural movement for Chicago schools under the auspices of reformist women{\textquoteright}s clubs in the early 20th century. Through the commissioning and placement of murals in city schools, these who established themselves as patrons and shapers of public education in the years before suffrage. In the second part, I trace the shift in patronage, placement and iconography of public school murals between 1919 and 1934, a pivotal moment in their history. Scholars have long argued that mural painting languished between the waning of American Renaissance commissions of the late 19th and early 20th century and the creation of New Deal arts programs in the 1930s. In fact, however, this was precisely when school murals became institutionalized and codified as a necessary part of the educational system in Chicago. In the third part of this thesis, I address the production of murals for public schools under the Illinois Division of the Federal Art Project between 1935 and 1943. I focus on Edward Millman{\textquoteright}s Outstanding American Women at Lucy Flower High School, which best represents both the culmination and the ultimate failure of what radical artists hoped to achieve in their quest for a "truly public art related to architecture." From reformist clubwomen to Board of Education sponsorship during the 1920s and the intervention of radical painters under federal patronage in the 1930s, mural painting for Chicago schools had provided a vital method of intervening in and defining public education and articulating variously defined visions of democracy.}, keywords = {Art of the United States}, author = {Rhor, Sylvia} } @mastersthesis {9512, title = {England{\textquoteright}s Giorgione{\textquoteright}: Charles H. Shannon and Venetianism in Late Victorian England}, year = {2004}, school = {Florida State}, abstract = {This dissertation studies the paintings and lithographs of Charles Hazelwood Shannon within the context of British Venetianism. Shannon clearly derived many stylistic elements and figurative motifs from Venetian Renaissance art. By doing so, he was at once following a British tradition of Venetianism, and reformulating it for a modern era. The history of British Venetianism has not been a smooth or consistent one. The Venetian style of painting was closely associated with royalist concepts and aristocratic privileges in seventeenth-century Britain. By contrast, much of the Venetianist discourse of the eighteenth century can be characterized as anti-Venetianist. In eighteenth-century Britain, Venetian art is repeatedly conflated with Venetian society, and both are condemned for a perceived licentiousness. Victorian Venetianism encompasses many contradictory points of view inherited from earlier periods. These contradictions are well-represented by the critics John Ruskin and Walter Pater. While the former critic emphasized the moral role of honest labor in the creation of art, the latter stressed the distinction between the prosaic realm of morality and the purposeless beauty of the aesthetic world. However, both critics would use Venetian art to advance their arguments. In his artwork, Shannon would engage with all of these previous forms of Venetianism. He patterned many of his portraits after the example of Van Dyck and Titian; he countered the vestiges of anti-Venetianism with sensual depictions of nudes based on Venetian and Hellenistic prototypes; he infused his technique with a Ruskinian sense of craftsmanship, as is particularly evident in his lithographs; and he evoked Paterian aesthetics by painting beautiful figures removed from any obvious narrative. Contemporary Victorian art historians and critics emphasized the continuity between Venetian Renaissance painting and modern European art, and Shannon{\textquoteright}s work was understood as part of this continuum. Nevertheless, his work was ultimately seen as incompatible with the rising scene of modernist art. Modernist art in Britain, and the formalist theories which supported it, was largely born out of Paterian Venetianism. However, the modernist disavowal of European traditions of painting would spell the end for the Venetianist tradition as represented in Shannon{\textquoteright}s work.}, keywords = {Nineteenth-Century Art}, author = {McKeown, William} } @mastersthesis {9446, title = {Epic Landscape: Richard Misrach{\textquoteright}s {\textquoteright}Desert Cantos{\textquoteright}}, year = {2004}, school = {Cornell}, abstract = {"Epic Landscape: Richard Misrach{\textquoteright}s "Desert Cantos{\textquoteright}" examines the implications of the canto structure for the representation of the arid landscape of the American West. Richard Misrach{\textquoteright}s use of this apparently outmoded epic device to organize his photographs is the basis for considering how his ongoing project facilitates a changed understanding of this landscape, and of the notion itself of landscape. The first chapter investigates how Misrach{\textquoteright}s Desert Cantos constitutes an epic. To this end, it explores the characteristics of the epic canto structure and the reasons for its use to organize his project. As an epic narrates through a variety of episodes or stories, the second chapter focuses on a specific canto, Bravo-20, which tells the tale of a militarily ravaged site through its proposed transformation into a new type of national park. It argues that the extreme devastation of this site epitomizes the epic conflict of culture and the environment at play in Misrach{\textquoteright}s project and in his allegorical proposal for Bravo-20 as a memorial of nature in ruins. The third chapter explores how the epic structure of the Desert Cantos challenges the narrative function of traditional and recent American landscape representations. It specifically considers narrative strategies in the work of select late nineteenth-century American landscape painters and Western photographers, and in the recent desert photography of groups like The New Topographics, Rephotographic Survey Project, and The Center For Land Use Interpretation. By considering the narrative character of the landscape documents of Robert Smithson and Edward Ruscha, the fourth chapter argues that their conception of landscape as a temporal rather than a pictorial construct is elaborated by the epic structure of Misrach{\textquoteright}s project. The conclusion explores the notion of landscape proposed by the Desert Cantos and the question raised by the use of the epic form for its construction: Is landscape representation possible in the aftermath of the holocaust of nature?}, keywords = {Contemporary Art}, author = {Kumar, Navjotika} } @mastersthesis {9376, title = {Euclid{\textquoteright}s Bacolo and Tholos{\textquoteright} Compasso: Architectural Survey in the Scholz and Goldschmidt Scrapbooks}, year = {2004}, school = {Harvard}, abstract = {The training of architects and draftsmen during the mid-sixteenth century in Rome and Florence remains undetermined. While the master and his workshop occupy a central place in the scholarship, the education of draftsmen and their workshops continue unseen at the edges of Cinquecento architectural practices. Architectural drawings provide the tangible evidence of the practices of these, often, unknown draftsmen. Typically, architectural history studies address the subject matter of a drawing as the primary source of information. My catalogue of Scholz and Goldschmidt scrapbooks (The Metropolitan Museum of Art, New York) builds from this tradition with the identification of the Antique and Renaissance buildings and artifacts documented in the scrapbooks. I add to this traditional methodology an archaeological reading of the sheets, which lifts the final ink work from the surface and reveals the traces of construction within the drawings. A series of case studies identify the patterns of construction on the sheets to compare directly with treatises and manuals. My emphasis on these underdrawings and layout marks establishes relationships to specific published images and manuals. These patterns identify the source and indicate the training and reading of the draftsmen. My study brings to light previously unseen drawing habits in order to reconstruct the source materials, training, and the development of traditions within the practice of architecture. My critical appraisal of the margins, including undocumented index marks, unifies separated sheets, restoring the Cinquecento format, and constructs relationships to other collections. My research argues for the probative value in the methods of making drawings. Construction lines and unseen marks at the periphery clarify drawing techniques and exhibit codified habits of the sixteenth-century workshop. While authorship and audience remain undetermined for the drawings, the notations at the edges and unseen traces within the sheet uncovers common drawing practices for a group of anonymous French draftsmen. These similar methods, subject matters, and collecting marks for the sheets secure the drawings as the product of an architectural workshop. The evidence of the making of drawings reveals a history of the discipline of architectural practice.}, keywords = {Architectural History/Historic Preservation, Drawings/Prints/Works on Paper}, author = {Taylor, Geoffrey} } @mastersthesis {9510, title = {The Evolutionary Body: Refiguring the Nude in Post-Darwinian French Art}, year = {2004}, school = {IFA/NYU}, abstract = {This dissertation examines the influence of evolutionary theory on representations of the body in late nineteenth-century French painting. Rather than focusing on evolutionism in its physiognomic capacity-in other words, the potential for "animality" to codify certain social types-this study considers the theory{\textquoteright}s more disruptive aspects for conceptions of body and self, and how these conceptions are borne out in the representation of human form. In effect, it brings a new critical paradigm to interpreting the often-discussed transformations in the imaged body at the fin-de-siecle. The first chapter examines the anxiety evolutionism presented for French audiences and describes how Darwinism was absorbed into the visual culture of fin-de-siecle Paris, especially through anthropology exhibits at the Expositions Universelles. Then, through a close reading of the work of four artists whose representations of the body are notoriously modern, the dissertation explores how in each case the artist{\textquoteright}s modernism derives, in part, from a critical engagement with both the themes and structural principles of evolutionary theory. Chapter 2 situates Fernand Cormon{\textquoteright}s Cain, the scandal of the 1880 Salon, within the discourses of evolution and prehistory in France, revealing the prehistoric body to be an ideologically loaded, contested site. It looks closely at the critical reaction to the painting and identifies the image{\textquoteright}s "evolutionary signs." Chapter 3 focuses on Edgar Degas{\textquoteright}s reworking of an early painting, Young Spartans, in which classical figures are given distinctly atavistic physiognomies. It interprets this revision as Degas{\textquoteright}s attempt to dismantle the securely-bounded classical body under the evolutionary sign; the reworked canvas articulates an abject, intermediary condition that dislodges fantasies of wholeness in body and self. The fourth chapter examines Odilon Redon{\textquoteright}s album of lithographs, Les Origines, which presents man at his origins and which, through its structural logic, articulates the perpetual state of lack that defines the evolutionary body. The final chapter on Paul Gauguin{\textquoteright}s Tahitian Eve discusses the artist{\textquoteright}s primitivist project as bound up in, and ultimately confounded by, the evolutionary discourse. Considering these four artists together reveals Darwinism{\textquoteright}s broad absorption into nineteenth-century artistic practices and illuminates evolutionism as an important tool in the modernist project.}, keywords = {Nineteenth-Century Art}, author = {Lucy, Martha} } @mastersthesis {9496, title = {Exhibiting Japan: Gender and National Identity at the World{\textquoteright}s Columbian Exposition of 1893}, year = {2004}, school = {Michigan}, abstract = {Participation in international expositions served the Meiji-state by rhetorically constructing its identity as a "modern" nation with ancient "traditions." Japanese commissioners in Chicago wished to counter foreign criticism by demonstrating that in modernization Meiji Japan had not lost its cultural authenticity. This was achieved in part by promoting historical sources for architectural exhibits, promoting the vitality of contemporary "traditional" crafts and "fine arts," and by representing Japanese women as simultaneously bearers of tradition and rivals of their Victorian contemporaries in education, philanthropy and industry. Following Kumari Jayawardena, I suggest that this dual-time nature of femininity was an effective strategy in Japan{\textquoteright}s anti-colonial efforts seen at the fair. My study focuses on how the built environment and supporting materials argued for benevolent rule by the Emperor, "progress" toward liberal goals such as universal education and multi-party elections under a constitutional monarchy, and thus removal of extraterritoriality and other "unequal" clauses in trade treaties. Initially declining to participate in the Woman{\textquoteright}s Building, Meiji officials later agreed to display three rooms: a boudoir, library and gallery for women{\textquoteright}s artworks, collectively known as A Japanese Lady{\textquoteright}s Boudoir. The exhibit, its accoutrements, accompanying pamphlet, and book, Japanese Women, were financed by the Empress. Nevertheless, the exhibits drew upon state resources and complemented the ideological content of the Hooden (Phoenix Hall) and its didactic text by Okakura Kakuzo. This dissertation argues that although the Boudoir has received less scholarly attention than the Hooden, both served to legitimize the sovereignty of Japan{\textquoteright}s new constitutional monarchy and to galvanize support for its re-negotiation of "unequal treaties." Analysis of the period literature in English and Japanese language suggests that Japan{\textquoteright}s exhibits at the World{\textquoteright}s Columbian Exposition operated within the context of racism and the discourse of progress. This dissertation offers an interpretive analysis of the art and architecture of Japan as introduced to the world in the Chicago fair of 1893.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Japanese/Korean Art}, author = {Langlois, Lisa} } @mastersthesis {9578, title = {Exquisite Corpse: The Surrealist Practice of Collective Drawing, 1925-1941}, year = {2004}, school = {Emory}, abstract = {This study addresses the collective method used by the Surrealists for producing drawings and collages known as the cadavre exquis or exquisite corpse. The game is a collective activity practiced by over sixty participants from 1925-1941. This research follows four lines of inquiry. The introduction provides an historical account of the game. Appendices to the introduction list a year by year record of more than sixty artists who participated in the game. Another appendix catalogues the women who participated. The first chapter analyzes the influence of nineteenth century French psychological theory and methodology on the Surrealists. This explains Andre Breton{\textquoteright}s extensive footnote on the exquisite corpse in the Second Manifesto of Surrealism in which he calls for the "true occultation of Surrealism." The references to the occult are based on early experiments in hypnosis that relied on women who claimed to be mediums. The second chapter illustrates how the Surrealists{\textquoteright} preoccupation with death and suicide following World War I was an answer to ennui, which they called a "death by not dying." They also refer to ennui as the "delicate monster" borrowing a phrase from Charles Baudelaire. Embracing ennui, developed from nineteenth century conceptions of modernity, was a means for the Surrealists to circumvent the postwar social imperatives of production, labor, and careerism through gaming. The function of games, outlined by Roger Caillois, reveals an imbedded social critique in the theory of the exquisite corpse. The final chapter addresses the participation of women in the exquisite corpse drawings. One third of the participants were women. French society{\textquoteright}s attitudes about women following World War I had regressed, while Surrealism professed revolutionary and progressive ideas towards women{\textquoteright}s emancipation. Women contributed to Surrealism{\textquoteright}s collectivity identity and activities in unprecedented numbers. Individual exquisite corpses, such as those done by Valentine Hugo, hold references to a complex interplay of objects, texts, words, and images that integrate Surrealist creative production. The relationship between the collective identity and the gender identity of Surrealism further explains the important phenomenon of the exquisite corpse.}, keywords = {Twentieth-Century Art}, author = {McShane, Megan} } @mastersthesis {9538, title = {Facing the Fifteenth Century: The Portraits of Jan Van Eyck}, year = {2004}, school = {IFA/NYU}, abstract = {Beginning with a discussion of van Eyck{\textquoteright}s court appointment, the role of portraiture at court is discussed, including his documented work, offering a description of lost works that may have been his. I then investigate how van Eyck{\textquoteright}s likenesses were traditionally related to concepts of realism and representation, and present an alternative model for approaching them, including the larger question of the nature of portraiture itself. Next I trace the relationship of Eyckian portraits to its preceding tradition. Only a handful of surviving likenesses on panel precede Jan{\textquoteright}s, who appeared on the scene after the demand for portraits was already well-established in all media. I then study the independent portraits, arguing that collaboratively, van Eyck and his sitters forged a new approach to the genre. His likenesses display an increased concern for depiction conveying physiognomy and occasionally attribute with a sense of decorum proper to the subject{\textquoteright}s social station. The panels also evidence the sitters{\textquoteright} need to convey the way they wished to be seen at court and in Netherlandish society. In examining van Eyck{\textquoteright}s devotional paintings, I concentrate upon the concept of piety, investigating its presentation in these images, and exploring what role observance, and in turn, these paintings, played in fifteenth-century identity construction. Van Eyck{\textquoteright}s Portrait of a Man, signed and dated 1433, is generally believed to be the artist{\textquoteright}s self-portrait. I support this view with an argument for identifying it as such, showing how van Eyck uses his motto, signature, composition and style to transform the conventional understanding of what being an artist meant in his time. Finally, I discuss the implications of infra-red reflectography analysis conducted on Eyckian portraits, suggesting what this research can tell us about the artist{\textquoteright}s working method.}, keywords = {Renaissance/Baroque Art}, author = {Hughes, Meghan} } @mastersthesis {9491, title = {Fashioning an Ideal of Intimacy: British Family Portraits, 1730-1790}, year = {2004}, school = {Boston}, abstract = {This dissertation examines British group family portraits in the eighteenth-century, an age when changing social mores redefined the family itself. With the birth of the modern industrial state in Britain, a new concept of the family evolved from the impermanence and formality of earlier times toward an ideal of intimate unity. Whereas public acceptance of this new family model occurred fairly early in the century, the reality of family life changed at a slower pace. In an age when arranged marriages, premature deaths, and "fictive kin" were still quite common, the abundant British family portraits painted between 1730 and 1790 consistently attest to the harmonious unity of family life. Families from across the social spectrum realized that fashioning themselves in accord with this ideal was highly desirable for a variety of reasons. Clothed in deceptively casual visual language, eighteenth-century British family portraits argued for dynastic continuity, increased status, or maintaining high social rank, the same concerns that preoccupied families long before the age of domestic sensibility. Yet many of these concerns took on a new urgency in this period of increasingly fluid social structures when class distinctions became blurred and long-accepted claims of privilege were challenged-a situation that presented both dangers as well as unprecedented opportunities. The royal family, aristocrats, self-made men, and artists, I argue, all used family portraiture as a means of publicly affirming domestic unity in the pursuit of cultural credentials that would ultimately further their more traditional goals. Major artists, such as Reynolds, Gainsborough, and West, as well as minor masters, including Zoffany, Stubbs, and Devis, endeavored to satisfy these ambitions by producing highly contrived portraits designed to present the family in the most advantageous manner. A flourishing popular culture provided the context for the remaking of reputations that these affectionate family images represent. Thus, this dissertation presents a re-reading of eighteenth-century British family portraits as powerful documents of identity construction infused with the anxieties and hopes of a people of the cusp of the modern era.}, keywords = {Eighteenth-Century Art}, author = {Shafer, Deborah} } @mastersthesis {9418, title = {Fashioning Manhood: John Singer Sargent and the Construction of Masculinity at the Turn of the Century}, year = {2004}, school = {Rutgers}, abstract = {This dissertation examines a range of masculinities John Singer Sargent represented throughout his career. I consider Sargent{\textquoteright}s depictions of the dandy, the veteran, the neurasthenic and the soldier. Each was a type of manhood that was actuated in response to the social changes of the time. This study illustrates not only Sargent{\textquoteright}s awareness of different strategies for dealing with conflicts affecting masculinity, but also the artist{\textquoteright}s own complexity as a gendered being.}, keywords = {Art of the United States}, author = {O{\textquoteright}Hare, Mary-Kate} } @mastersthesis {9452, title = {Fashioning the Female Artistic Self: Aesthetic Dress in Nineteenth-Century British Visual Culture}, year = {2004}, school = {Queen{\textquoteright}s}, abstract = {This dissertation investigates the cultural meaning of Aesthetic Dress in the activities and art production of individuals associated with the Aesthetic movement in Britain during the last four decades of the nineteenth century. During the 1870s and 1880s Aesthetic Dress was widely discussed in the fashion literature. At the same time, it was closely allied with the concurrent Aesthetic movement in the fine arts. This connection is evident through a survey of the fashion journals then circulating the term in connection with the visual arts and in the everyday usage of artistically-minded women, who wore Aesthetic Dress, attended and/or exhibited at the Grosvenor Gallery, and followed the work of the Pre-Raphaelites and J. M. Whistler. This project traces the convergence between artistic practice, acts of self-fashioning, and gender-based manifestations of power, pleasure, and social change within a broader Victorian milieu. Aesthetic Dress played a crucial role in the self-definition of artistic elites. Reshaping the dominant stylistic traits of clothing in favour of looser more romantic forms of dress, Aesthetic Dress was not only designed and worn by members of the Aesthetic movement, but also utilized as a form of artistic inscription in the art produced at that time. It was expressive through a language of bodily gestures, historical referents and effects of drapery, form, and colour. Aesthetic Dress was also inflected by competing discourses of health and morality which characterize the dress reform movement during the second half of the nineteenth century. I also address the absorption of alternative modes of artistic dressing into mainstream fashion in the context of popular culture. My research, by focussing on the social significance of alternative forms of dress in relation to both art and culture, redefines and historically situates Aesthetic Dress as a meaningful category in the history of visual culture, rather than examining it solely as a function of artistic elitism, or as a by-product of material culture.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Wahl, Kim} } @mastersthesis {9458, title = {The Female Body in Performance: Themes of Beauty, Body Image, Identity, and Violence}, year = {2004}, school = {Rutgers}, abstract = {This dissertation considers the historical significance of performative works from 1963 to present through beauty, body image, identity, and violence. As the majority of the works, including performance art, photography, film, and video, date from the 1970s, the contributions of radical feminists are of particular significance. As radical feminism sought to raise awareness of the media{\textquoteright}s exploitation of the image of woman, the themes of beauty and body image are especially relevant. The impact of the civil rights movement as an influential precursor to the second wave of the feminist movement would help to define the goals of Latin, African, and Asian American women artists in the coming decades. The issue of domestic abuse and rape also occupied the attention of the radical feminists. Consciousness-raising efforts encompassed this social concern as well. By examining performative work within the context of the feminist movement and in light of consciousness-raising as both an informative and artistic strategy has not been previously explored in art history or performance studies. My contribution seeks to expand the current discourse and present socio-historical activism as key to interpreting and understanding these works. Each chapter of this dissertation focuses on an individual theme. Because current attitudes toward women{\textquoteright}s beauty and body image date from the Victorian era, a historical investigation is both timely and necessary in understanding why the radical feminists attacked the media{\textquoteright}s portrayal of women. The rise of both cosmetic surgery and eating disorders is also significant within the context of this examination. Because the civil rights movement has not been ultimately successful in fully integrating Latin, African, and Asian Americans into mainstream society, the role of the artists as cultural interpreter is especially relevant. By calling attention to culturally specific traditions within these communities, artists of diverse backgrounds can emphasize their ethnic individuality and call into question the dominance and prejudice of the majority white, Anglo-Saxon population. This dissertation concludes with domestic violence, which became a central focus of feminism in the early 1970s, as a cultural and historical phenomenon.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Burger, Stacy Schultz} } @mastersthesis {9403, title = {The Female Collegian in Black and White: Institutional Photography of Women Students 1895-1915}, year = {2004}, school = {Boston}, abstract = {This dissertation examines how photography promoted the idea of higher education for women at the turn of the twentieth century. Advocates employed photography not only to advance their cause but also to define and categorize female students. Three very different case studies from Smith College, the Fitchburg Normal School, and the Hampton Institute demonstrate how photographs relayed visual and societal messages which imply that although women were capable of intellectual endeavor, they would not transgress traditional gender, class, or racial lines. The collections were chosen for their depth, and they demonstrate how school administrators and photographers conceived three differing cultural constructions of women students. Smith College, Northampton, Massachusetts, represents a private, single-sex institution, where middle-class white women received a liberal arts education. Smith owns the archive of Katherine Elizabeth McClellan, an alumna and commercial photographer. McClellan{\textquoteright}s photographs emphasize both the scholarly achievements and the lady-like behavior of students, connoting the idea that middle-class women would willingly return to home and hearth after graduation. The second case studies the State Normal School at Fitchburg, Massachusetts, a state-sponsored institution that trained teachers for elementary schools. The Fitchburg Normal School engaged local amateur photographers for its Catalogue and Circular. The administration maintained strict control over representations, publishing only those photographs that stressed the docility of young women learning modern pedagogical methods. Photographs from Fitchburg demonstrate how women from working-class families were socialized to accept their lot as junior teachers under constant male supervision. The Hampton Normal and Agricultural Institute comprises the final case. A private, coeducational school in Virginia, Hampton trained African- and native-American women to teach vocational skills. In addition to serving as head of the art department, the photographer Leigh Richmond Miner made images for the Hampton Institute{\textquoteright}s promotional literature. Miner represented minority women students as domestics-in-training rather than as teachers of vocational skills. While his images advance the idea that minority women were capable of adapting to middle-class standards, Miner{\textquoteright}s portrayals also suggest that they would not challenge white, male power structures.}, keywords = {Art of the United States, Drawings/Prints/Works on Paper}, author = {Hoss, Mary Louise} } @mastersthesis {9454, title = {Female Patronage and the Language of Arts in the Circle of Isabella d{\textquoteright}Este in Mantua (c. 1470-1560)}, year = {2004}, school = {Queen{\textquoteright}s}, abstract = {This dissertation is concerned with female artistic patronage at the northern courts in Italy among women in the circle of Isabella d{\textquoteright}Este, Marchioness of Mantua (1474-1539). Accordingly, in my Introduction I examine the growing body of literature devoted to studying Isabella{\textquoteright}s own patronage, and that of other Italian women of the fifteenth and sixteenth centuries, in order to demonstrate how women interacted within female patronage networks. I propose that such a network existed around Isabella herself. In Chapter One I demonstrate that all of the individual women presented here are united through the literature of the donne illustri, which flourished most strongly in the late fifteenth and early sixteenth centuries in Italy at the courts of Ferrara and Mantua. I examine how the canon of illustrious ladies of antiquity first introduced by Boccaccio in the fourteenth century in his Donne Illustri was expanded in this period to specifically acknowledge the important contemporary contributions of many of the women I take up as individual patrons throughout the rest of my study. Also in Chapter One, as a counter-point to the literary tradition of the donne illustri, I examine the setting for the donne illustri at court by looking generally at the use that women themselves made of the donne illustri theme in the decoration of their personal spaces. Chapter Two is a specific case study in which I examine the contributions made to Isabella{\textquoteright}s patronage in Mantua by her life-long friend, Margherita Cantelma, Duchess of Sora. In Chapter Three I further examine the ways that women contributed to the formulation of Isabella{\textquoteright}s image as an {\textquoteright}illustrious woman{\textquoteright} by looking at the contributions that some women made to the creation of portraits of Isabella d{\textquoteright}Este. In Chapter Four I return to a specific case study and examine Isabella{\textquoteright}s legacy as a patron by looking at the art patronage of her daughter-in-law, Margherita Paleologa, the first Duchess of Mantua and an important patron in her own right. My main objective in this dissertation is to offer new strategies for the examination of female patronage in the Renaissance by proposing that women be placed in the context of other women.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Renaissance/Baroque Art}, author = {Hickson, Sally} } @mastersthesis {9437, title = {Feminine Identities and the Structuring of Postmodern Portraiture}, year = {2004}, school = {Missouri}, abstract = {Modern portraiture is founded on the belief that a naturalistic representation of the exterior appearance best expresses the inner nature of the sitter. Typically framed as a singular image, the modernist standard is based on the ideal of the white, male, heterosexual, classicized body and stems from a patriarchal vision of authority, stability, and truth. Postmodern portraiture, in contrast, tends to signal identity by emphasizing roles of the sitter, which may include references to fantasies, community relationships, sexual and racial differences, and even disembodiment. Accordingly, postmodern portraits frequently involve series of views that are open to multiple and dynamic interpretations. This study examines the influence of a feminine aesthetic on the dramatic shift from modern to postmodern practices. Women artists entered the official art world circles through the genre of portraiture in the eighteenth century. Yet, they faced a dilemma in representing their own claims to a public identity and those of their female patrons because of their subordinate position in the dominant order. As opposed to the male model of sovereign body, the patriarchal script for female identity ranged from Madonna to whore, sorceress to slave. Artists negotiated these traditional norms by creating new feminine identities that encompassed strategies of masquerade, projections of fluidity, multiple personae, and symbolic allusions. They brought something "Other" into the picture through the figure of Woman. By analyzing case studies from the eighteenth century to the present, this study demonstrates that feminine identities, which were formed on the margins of modernism, have played a significant role in the structuring of mainstream postmodern portraits. It is an important assessment, for our understanding of issues of gender in portraiture from the past serves to shape how we identify, create, and represent ourselves in the present and in the future.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Byrne, Debra} } @mastersthesis {9542, title = {Ferdinand Bol and Rembrandt: Authorship and Iconography in Drawings of Biblical Subjects, c. 1636-c. 1650}, year = {2004}, school = {IFA/NYU}, abstract = {This study examines the achievements of Ferdinand Bol (1616-1680), one of Rembrandt{\textquoteright}s most talented and prolific pupils of the late 1630s, in the field of drawing from c. 1636, when he entered Rembrandt{\textquoteright}s workshop, to c. 1650, when his style clearly diverged from Rembrandt{\textquoteright}s. In each of five chapters, two principal issues are investigated: the stylistic characteristics of Bol{\textquoteright}s style(s) and how they differed from Rembrandt{\textquoteright}s; and the specific sources from which Bol derived or developed the iconographic solutions found in his drawings of biblical subjects. The unique characteristics of Bol{\textquoteright}s style(s) are distilled from distinct groups of drawings-those he created in the workshop (Chapter One), those he produced as preparatory studies for painting and prints (Chapter Two), and those he executed as independent works of art (Chapter Four)-and compared with Rembrandt{\textquoteright}s to isolate similarities and differences. The extent to which Bol was dependent on Rembrandt{\textquoteright}s work as a source for iconographic formulae is explored (Chapter Three), and his use of non-Rembrandt sources is also investigated (Chapter Five). Bol emerges from this study as an artist whose primary styles can be clearly recognized and whose dependence on Rembrandt can be precisely identified.}, keywords = {Renaissance/Baroque Art}, author = {Leja, Jan} } @mastersthesis {9568, title = {Fractured Identities: Photomontage Production by Women in the Weimar Republic}, year = {2004}, school = {Kansas}, abstract = {Hannah Hoch, Marianne Brandt, and Alice Lex each employed various methods of photomontage in their artistic investigations of the Weimar Republic. They exhibited together only once, along with other artists, and while they were acquainted with each other and with each other{\textquoteright}s work, they never assembled as a group. Each artist also based her work in a differing aesthetic: Hoch was intimately involved with the Berlin Dada circle, Brandt explored photomontage throughout her student days at the Bauhaus, and Lex turned to the medium through her connections to Constructivism and to revolutionary artist groups such as the Assoziation revolutionarer bildender Kunstler Deutschlands (ARBKD, also known as ASSO ). Despite the inherent differences, however, it is appropriate to study their work together for a number of reasons. Each artist at times employed the fragmentation and recontextualization of images in photomontage to achieve critical, allegorical, and subversively political ends. Each, in various ways, also attempted to implicate and politicize her viewer, an early postmodern tactic seen in much photomontage of the period. The methods of each artist display marked parallels to contemporaneous literary theory, evoking the allegorical and montage-inspired writings of Walter Benjamin as well as the political aims of viewer alienation and activation espoused by Bertolt Brecht. Implicitly or explicitly aligning their work with these approaches, each artist posited her use of photomontage as a weapon of social critique, setting forth politically charged image combinations but also actively engaging the viewer{\textquoteright}s participation in the (de)construction of meaning.}, keywords = {Twentieth-Century Art}, author = {Buller, Rachel Epp} } @mastersthesis {9404, title = {Francis David Millet (1846-1912): Life and Works}, year = {2004}, school = {CUNY}, abstract = {In the post Civil War era when American artists looked to European training, art, and culture to create an art of international stature, Francis Davis Millet was one of the most tenacious advocates of cosmopolitanism. After studying at the Antwerp Royal Academy of Fine Arts, Millet readily assimilated European subjects, styles, and cultural attitudes, and sought to redefine American art and American institutions based on European precedents. This dissertation investigates the early years of Millet{\textquoteright}s life and work, analyzing the complex interweave of American and international crosscurrents, influences, and experiences that shaped his art and his contributions to American cultural life. Rich in experimentation, Millet{\textquoteright}s early work reveals his devotion to a wide range of subjects, to traditional and modern international styles, and to an idealistic and subjective aesthetic philosophy that sought a symbiotic unity between significant content and form, concerns that preoccupied him throughout his life. Also apparent in a survey of Millet{\textquoteright}s early years is his experimentation in various media, especially mural painting, and his administrative efforts to enhance American art appreciation and training. His early work as a muralist and art administrator were accomplishments that would culminate in his supervision of the mural program at the 1893 World{\textquoteright}s Columbian Exposition-long recognized as having contributed to the revival of monumental mural painting in America-in Millet{\textquoteright}s subsequent career as a muralist, and in his assuming the directorship of the American Academy in Rome in 1912. More than a prologue to his later accomplishments, Millet{\textquoteright}s early years are rich with achievement, during which he created distinctive works of art that entered major American public and private collections. A close look at Millet{\textquoteright}s early work and career also reveals the complexities of the American art world during an important transitional period, as artists moved away from predominantly nativist themes to an embrace of the full range of Western art. The study is framed within the international climate of the late nineteenth century, concentrating on the aesthetic, cultural, historical and critical context in which Millet{\textquoteright}s work was produced and discussed.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {D{\textquoteright}Angelo, Gina} } @mastersthesis {9486, title = {The French Academy in Rome, 1666-1737: Art, Society, Politics, and Relations With the Accademia Di San Luca}, year = {2004}, school = {IFA/NYU}, abstract = {The French Academy in Rome, founded in 1666 by Louis XIV and Jean-Baptiste Colbert, was created largely so that its pensionnaires would copy works in Rome for the burgeoning palace of Versailles. The dissertation{\textquoteright}s first chapter concerns the Academy{\textquoteright}s working environment under the directors Charles Errard, Noel Coypel, Matthieu de La Teuliere, Rene-Antoine Houasse, Charles-Francois Poerson and Nicolas Vleughels. The evolving nature of the pensionnaires{\textquoteright} activities, their classes, works they produced, and their relationships with Gian Lorenzo Bernini, Gian Paolo Panini, Cardinal Polignac and the Duke de Saint-Aignan are analyzed. The second chapter concerns the daily life of the Academy{\textquoteright}s pensionnaires, including health, recreation, and diplomatic difficulties that required the intervention of Louis XIV and Pope Clement XI. The outfitting of the Academy in Palazzo Mancini by Vleughels and the Surintendant des Batiments the Duke d{\textquoteright}Antin with sumptuous interior decorations promoting France{\textquoteright}s industries abroad, including tapestries, carpets, tables and mirrors, is also discussed. The third chapter concerns the relationship of the Academy with the Accademia di San Luca. French presence at the Accademia, participation in its concorsi, and its aborted aggregation with the Paris Academie Royale under Errard and Charles Le Brun are fully investigated, as is Poerson{\textquoteright}s position as the Accademia{\textquoteright}s head following the death of Carlo Maratti, and his creation of new statutes, following an earlier attempt under Errard. These were officially approved by Pope Clement XI in 1715 but were later significantly weakened after a decade-long controversy with the city{\textquoteright}s non-academic artists. The final chapter concerns the Academy within the greater Roman ambient, including involvement with the purchase of the collection of Queen Christina of Sweden by the Duke d{\textquoteright}Orleans and a failed project for statues for the Spanish Steps. Despite the Academy{\textquoteright}s increasing importance on the Roman scene during the early 18th century, there was little collaboration between the Academy and contemporary Rome; before the intervention of Vleughels, Polignac and d{\textquoteright}Antin its primary importance was as an outpost of French diplomatic affairs.}, keywords = {Eighteenth-Century Art, Renaissance/Baroque Art}, author = {Derstine, Andria} } @mastersthesis {9392, title = {French State Vernacular: Les grands ensembles and Non-Conformist Modernism, 1930-1973}, year = {2004}, school = {Harvard}, abstract = {This dissertation traces the genealogy of the French architectural and urban housing typology le grand ensemble, a term that translates into English as "large publicly funded housing estate." Through a careful investigation of the historical context of le grand ensemble, this study reveals the particular circumstances and qualities of State-led urbanism and architectural modernism in France in the second half of the twentieth century. The towers, bars and open green spaces that make up the experimental form of le grand ensemble are often associated with postwar Reconstruction and the rebuilding of cities in France and the architectural tenets of modernism that were set forth by the Congres lnternationaux d{\textquoteright}Architecture Moderne [C.I.A.M.]. Yet, the ideological roots of the housing type are located in a singularly French strain of pragmatic thinking located in the ideas of the early nineteenth-century industrialist and reformer Henri Saint-Simon, in the late nineteenth-century social movement embodied by the establishment in Paris in 1895 of the Musee Social and in the political discourse of French civil society in the 1930s that is referred to as a politics of "non-conformity." Common to all three of these groups is the manner in which they were ni gauche, ni droite, or neither leftist nor rightist politically speaking. This alternative third-party politics advocated leadership in the form of the "expert" and careful planning from above in the form of a strong State. In order to truly understand the aesthetics at work in the atypical form of le grand ensemble, one must look beyond the European avant-garde to the local pedagogy and formation of experts in France. Les grands ensembles would continue to be built en masse throughout the 1960s. The structural transformations in 1968 of the Ecole des Beaux-Arts would sound an early moment in the decline of the life of le grand ensemble, as this shift in pedagogy would equally signal the end of certain traditions that had been consitutive of the modern form and urbanism of le grand ensemble. The final death knell of the urban housing type would be la Circulaire Guichard in 1973, an official decree forbidding any further development of les grands ensembles.}, keywords = {Architectural History/Historic Preservation}, author = {Terranova, Charissa N.} } @mastersthesis {9385, title = {The German {\textquoteright}Mittelweg:{\textquoteright} Garden Theory and Philosophy in the Time of Kant}, year = {2004}, school = {Harvard}, abstract = {The central contribution of German garden theory in the late eighteenth century was the idea of a Mittelweg garden, or "middle path" garden. First proposed by C. C. L. Hirschfeld in 1779, then elaborated in its three principal versions by K. H. Heydenreich, F. Schiller, and J. C. A. Grohmann, the Mittelweg was on the surface a merely stylistic, even nationalist, attempt to reconcile two dominant forms of garden composition, the "English" and the "French," by proposing a mediating term that would be uniquely "German." But at a deeper level, it was a strategy for coming to terms with an entire range of dualisms that had vexed German philosophy throughout the eighteenth century-and, ultimately, for overcoming the problem of dualism itself. The thinker who made this enterprise possible was Kant, and the various forms of the Mittelweg developed in the 1790s were all carried out within the conceptual and institutional framework of his Critical Philosophy. These garden theories developed under the pervasive influence not only of Kant{\textquoteright}s system as a whole, but of the Critique of Judgment in particular, which, significantly, was Kant{\textquoteright}s own attempt to bridge the various dualisms engendered by his system. In addition to investigating the question of dualism within the specific realm of the garden, these Mittelweg theories also pointed unexpectedly toward a significant feature within Critical Philosophy itself: the need for Kant{\textquoteright}s conception of philosophical system as architectonics to include a complementary conception of its topographical arrangement and grounding.}, keywords = {Architectural History/Historic Preservation}, author = {Lee, Michael George Jr.} } @mastersthesis {9482, title = {Giotto{\textquoteright}s "Cleansing of the Temple" and "Pact of Judas": Iconography and Meaning in the Scrovegni Chapel}, year = {2004}, school = {Maryland}, abstract = {This dissertation examines the iconography of two paintings by Giotto in the Scrovegni Chapel, Padua-the Cleansing of the Temple and the Pact of Judas. Scholarly opinion remains divided regarding possible symbolism contained in the paintings. Many scholars believe that the panels reflect concern by the patron, Enrico Scrovegni, regarding his association with the sin of usury. They find symbolic evidence in the paintings of Scrovegni{\textquoteright}s contrition and desire to atone. Other scholars disagree. This study examines the question anew using a methodology not applied to the question in the past. The dissertation studies the iconographic tradition for the Cleansing of the Temple and the Pact of Judas in all media in works prior to and contemporary with Giotto{\textquoteright}s work in Padua to determine where and when these themes appear in medieval art and how they have been presented through history. Narrative programs in medieval church decor are also surveyed to determine the frequency with which the two themes occur in such cycles in monumental art. Giotto{\textquoteright}s two paintings are then compared to the iconographic tradition for the themes. Background information regarding the patron and the social, political and economic environment in which he lived, often omitted from shorter studies of the question, is summarized to provide context for further discussion. When Giotto{\textquoteright}s Cleansing of the Temple and Pact of Judas are compared to earlier presentations of the themes, it becomes apparent that he departed from iconographic tradition in a number of subtle but definite ways. Such departures appear to have meaning on both narrative and symbolic levels. It is determined that there is little reason to believe that either painting should be interpreted as an expression of guilt or desire to atone by the patron. Rather, the two panels should be studied in conjunction with adjoining scenes in the context of medieval devotion.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Sails, Lauree} } @mastersthesis {9581, title = {Good Reading{\textquoteright}: The Work of Ed Ruscha, 1958-1970}, year = {2004}, school = {Stanford}, abstract = {This dissertation considers the early work of American artist Ed Ruscha (1937- ), best known for his language-centered practice, depictions of Los Angeles iconography, and artist{\textquoteright}s books. While Ruscha is recognized as an important figure in pop and conceptual art, and has recently attracted substantial institutional attention, his work has not been subject to sustained critical scrutiny. One might attribute this omission to various factors: an L.A. residence; a fluency in several media; a long career; and a recondite humor in the art that seemingly resists exegesis. I argue instead that Ruscha{\textquoteright}s work is inassimilable to conventional histories of postwar American art because it concretizes the specific formal terms of artistic production at the very moment the dominance of formalist standards for practice and criticism began to wane. Chapter one surveys Ruscha{\textquoteright}s early paintings as a demonstration that the pictorial preoccupations of his abstract expressionist training (illusionism, flatness, improvisation) were not overhauled in pop art, as received accounts maintain, but a legacy with which pop had to reckon, however much it seemed to elicit extra-formal criteria. Chapter two attends to the types of words Ruscha depicts to complicate the idea that pop{\textquoteright}s texts and images were transparent commodity references, meaningful chiefly for their reflection of and on mass-media consumer society. Ruscha{\textquoteright}s representations of brand names, indexes, sound, and particular textual devices (onomatopoeia, rhymes, puns) instead picture linguistic matter and meaning as conjoint; apprehending this semiotic motivation is precluded by both much criticism on pop and most poststructuralist theory. Chapter three interprets Ruscha{\textquoteright}s artist{\textquoteright}s books as exemplary of conceptual art{\textquoteright}s many paradoxes. These volumes, thought to augur several of the terms that would define conceptualism-the primacy of "the idea," dematerialization, seriality, informational language, "deskilled" photography-instead confound the oppositions on which those categories depend; their insistent physicality undercuts the notion that the conceptual work{\textquoteright}s primary significance resided in its ontological and institutional status. The dissertation concludes with a brief on the relevance of Ruscha{\textquoteright}s work to discussions of medium-specificity in artistic practice from the 1960s to the present.}, keywords = {Twentieth-Century Art}, author = {Pasquariello, Lisa} } @mastersthesis {9382, title = {The Gravity of Memory: Recollection and Forgetting at the Bibliotheque Imperiale of Napoleon III}, year = {2004}, school = {UC Irvine}, abstract = {The gravity of memory is the impulse to remember, or to be remembered in particular ways. Like actual gravitation, this force becomes visible through the movements of physical materials, particularly when they collect to form monuments, museums, and archives. I focus on the Bibliotheque Imperiale, known today as the Bibliotheque Nationale, during the second half of the nineteenth century when it underwent substantial changes in its architecture and institutional policies. My first chapter considers the work of Henri Labrouste, and the ways in which his new constructions for the Bibliotheque are architectural metaphors for memory. In these spaces, structures and decorations from the distant past coincide with innovative designs and materials of the nineteenth-century. I also explore how Labrouste created, dismantled, and redistributed great masses of mnemonic material as he renovated, demolished, and constructed anew. In the second chapter, I analyze the workings of the Bibliotheque as a memory machine in motion, examining the ways in which mnemonic materials such as books and prints massed at the library. I follow the progress of collected objects from their matriculation into the library, to their storage and circulation within the buildings. One avenue of inquiry pursues the moments of failure or forgetfulness in the mechanics of memory, as volumes are lost in the stacks, industrially-produced paper begins its process of self-destruction, and certain visitors are denied admission to the library{\textquoteright}s main reading room. Finally, in the third chapter, I narrow the focus to one portion of the library{\textquoteright}s holdings in which there is the most intense contraction of spatial and temporal information into compact representational fields: celestial maps. This case study provides a means to see how gravity itself was visualized and remembered during the nineteenth century, and how commemorations of religious, political, and scientific figures wove through portrayals of the night sky.}, keywords = {Architectural History/Historic Preservation}, author = {Bavuso, Francesca} } @mastersthesis {9378, title = {Great Expectations: Provisional Modernism and the Reception of J. J. P. Oud}, year = {2004}, school = {MIT}, abstract = {My dissertation analyzes the reception of the work of J. J. P. Oud (1890-1963), the modern Dutch architect, by examining the systems of dissemination and reception of modern European architecture from 1910 to 1953. Reception played an important role in Oud{\textquoteright}s career since he was internationally famous before World War II and practiced only as a provincial Dutch architect following the war. My study investigates three factors affecting his legacy: Oud{\textquoteright}s theoretical approach to architecture in his writings and projects-what I term his provisional modernism, its reception in the German and American modern movements before World War II, and its reception in the internationalized American modern movement and in the Dutch modern movement immediately following the war. My study argues that to understand Oud{\textquoteright}s legacy, one must examine not only his work but also the prevailing expectations of those who received his work. Using the reception theory of the literary theorist Hans Jauss and his concept of a "horizon of expectation," my study contends that Oud was celebrated where the nexus of his work met prevailing expectations, but was maligned when it did not. Seen through this lens of projection and reception, seeming incongruities such as those between his national versus international reception and his pre versus postwar celebrity are the result of exchanges among those who receive his work, and their expectations of Oud{\textquoteright}s architecture, and his response within these different contexts.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Beischer, Thomas G.} } @mastersthesis {9415, title = {The Happy Family and the Politics of Domesticity, 1840-1870}, year = {2004}, school = {Delaware}, abstract = {The image of the happy family saturated mid nineteenth-century American culture. Paintings and prints, illustrated periodicals and novels, religious tracts and educational primers presented and promoted visions of domestic happiness with new and notable frequency. Although such scenes provided models for individuals to emulate, domestic imagery was not solely about domestic behavior. Rather, pictures of family harmony constructed and reinforced contemporary political narratives. This dissertation examines the social implications of the happy family image. To this end, each chapter explores how visual representations of domestic life interacted with an issue of particular political prominence during the years 1840 to 1870. The works of Francis William Edmonds, a genre painter who was also a New York banker, first suggest the alignment of domesticity with the market revolution. The paintings of George Caleb Bingham, a Whig politician and resident of Missouri, next reveal the entanglement of westward expansion and domestic values. The following chapter studies the dependence of the rising woman{\textquoteright}s rights movement on domestic ideology through the artwork of Lily Martin Spencer, the most prominent female genre painter of the period. And finally, the stereotypical image of the African American family that emerged during Reconstruction years exposes the racial dimensions of domestic culture. These four case studies convey the diverse social agendas embodied by the image of the happy family and establish that this pictorial ideal partook in national political debate. By uncovering the political subtexts submerged in sentimental pictures of families, this dissertation further demonstrates that the influence of domestic culture extends beyond the space of home. The mid nineteenth-century domestic realm was not an isolated, private, feminine sphere or a haven from the world, as some scholars contend, but a site where the most pressing concerns of the day were articulated and negotiated. Debates about consumerism, imperialism, feminism, and race did not stand apart from or in opposition to the family, indicate the images that structure this study. Rather the distinction between the domestic and the political was an artificial one, employed to reinforce contemporary social hierarchies.}, keywords = {Art of the United States}, author = {Klee, Cristina} } @mastersthesis {9530, title = {Henrietta Louisa Jeffreys, Oxford University and the Pomfret Benefaction of 1755: Vertu Made Visible}, year = {2004}, school = {Victoria}, abstract = {In 1755 Henrietta Louisa Jeffreys, Countess of Pomfret, donated a substantial collection of Greco-Roman statuary to the University of Oxford. Once part of a larger collection assembled under Thomas Howard, 14th Earl of Arundel, the statues had descended to Jeffreys through the family of her husband, Thomas Fermor, having been purchased in 1691 for their country seat at Easton Neston in Northamptonshire. Oxford gratefully received this benefaction and it was publicly (and variously) commemorated. Emphasis on "quality{\textquoteright} and reliance on "authority{\textquoteright} have previously obscured the importance of the Pomfret statuary, subsuming it within Arundel{\textquoteright}s iconic connoisseurship. Interdisciplinary in approach, this dissertation employs new archival evidence to resituate the Pomfret marbles within larger historical and art-historical contexts and (citing contemporary images and texts) re-evaluates the collection{\textquoteright}s cultural significance. Adopting the approach of Dr. Carol Gibson-Wood, my work augments new scholarship concerned with reassessing the character of the early modern art market and its associated collecting practices. The primary concern in the dissertation is restoring the voice of Henrietta Louisa Jeffreys, whose motives for the benefaction have previously been misrepresented. Her personal response to social and cultural conditions actuated both her obtaining the statues and her dispensing of them. A second concern is to contextualize Oxford{\textquoteright}s status within the socio-political discourse of early Georgian England in order to demonstrate that the Pomfret collection was genuinely valuable to the University. The collection provided a collective symbol of vertu (which implied commitment to correct moral behaviour and taste) for that embattled academic institution and identified Oxford as a location of national importance. The dissertation{\textquoteright}s structure is provided with a third consideration which ultimately incorporates the other two-the provenance of the statuary. While proceeding chronologically from Arundel{\textquoteright}s acquisition through Oxford{\textquoteright}s reception, the historical details are augmented with analyses of how the collection was promoted and perceived. By revealing how ideals and ideologies of vertu informed the collection, its donation, its publicists, and its audience, this dissertation addresses the wider significance of the Pomfret benefaction in early modern England.}, keywords = {Renaissance/Baroque Art}, author = {Dennine, Dudley} } @mastersthesis {9460, title = {Her Apparent Admiration and the Intensity of Her Gaze{\textquoteright}: Race, Class, and Gender and the Stereoscopic Viewing Experience}, year = {2004}, school = {UC Irvine}, abstract = {In this dissertation, I investigate the lives of unremarkable women, the stories of which are crucial to understanding the historical struggles of all women, but also aid in our present attempts to make meaningful and socially relevant interventions in studies of the visual. It is from here that I will look closely at the stereoscope and the relationship of this object-its images, its literature, its industry, its circulation and its consumption-to the formation of raced, classed, and sexualized female identities as they emerged under nineteenth-century North American modernity. To this end, I explore the use of the stereoscope within the nineteenth-century middle-class Victorian parlor in America. I argue that the stereoscope is a highly gendered medium, both in its use and its imagery, but one with uniquely liberating potential for its middle-class female consumers. I also speculate as to the use of the stereograph by the other women that occupied the middle-class home, the female domestic servants. I propose that women of this class also had access to stereographic images and that these images, while frequently reinforcing traditional narratives of class and racial superiority, also made available moments of resistance, moments that intersected with the broader attempts of the working-class woman to be self-determined. Finally, I explore the use of the stereoscope within the public school system, where I examine its use by the feminized workforce of K-12 educators. I argue that the presence of the stereograph in the curriculum works to create new kinds of observers, as well as to create a new form of visual pleasure within the arena of traditional education. In each of these chapters, I look at the labor of women, and the intersection between the various kinds of work that women perform-in the home, outside the home, as well as emotional labor-to propose that the stereoscope is a key object that appears in the multiple forms of labor that women of all classes of the nineteenth century were called upon to provide.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Rayfield, Beth} } @mastersthesis {9503, title = {Hopewell Stone Carvers: Reinterpreting the Roles of Artist and Patron}, year = {2004}, school = {Virginia Commonwealth}, abstract = {This dissertation presents a stylistic analysis of effigy pipes carved by aboriginal sculptors working in what is now Ohio and Illinois during the Middle Woodland period (100 B.C.-A.D. 600). The goals of this project are: (1) to identify specific sub-styles and handiwork of individual artists or artists{\textquoteright} studios based on a close formal analysis of each piece; (2) to reconstruct the chronological and geographical distribution of the different styles or sub-styles; and (3) based on the first two goals, to assess the original number and social significance of Scioto- and Havana-Hopewell carvers within their communities. My research includes analysis of one-hundred twenty-one (121) total effigy pipes, consisting of complete examples, fragments, and unfinished works, from collections in the Gilcrease Museum in Tulsa, Oklahoma; the Ohio Historical Society in Columbus, Ohio; the Illinois State Museum in Springfield, Illinois; and the British Museum in London, England. My study of these pipes asserts the following: (1) The chosen subject matter for the small sculptures is significant, as is the context in which they have been recovered. (2) Formal analysis of the effigies reveals that there was also a well-organized division of labor in their creation. Visual evidence suggests that not only were there particular "workshops" creating works of a recognizable style, but also that the talented stone crafters were small in number and highly regarded by their peers. (3) The creation of individual works likely involved as much ceremonialism as the use of the finished product. (4) There were certain procurement and production centers in which individuals or small groups worked. (5) There is a definite progression of artistic innovation that occurs within the short period of time in which these pipe sculptures were carved.}, keywords = {Native American, Pre-Columbian Art}, author = {Minich, Frances Johanna} } @mastersthesis {9561, title = {Housing Asceticism: Tracing the Development of Mattamayra Aiva Monastic Architecture in Early Medieval Central India (c. 8th-12th centuries A.D.)}, year = {2004}, school = {Pennsylvania}, abstract = {The early medieval period in Central India was one that witnessed increasing sectarianism as new religious groups emerged through the patronage of local and regional rulers. Among these were Hindu ascetics who accumulated power through intensive ritual practice and the ability to attain divine status. Previously existing on the fringe of society, such groups quickly entered the mainstream, forming alliances with rulers, transmitting religious knowledge, and contributing to the transformation of the religious climate. This dissertation traces the institutionalization of the Mattamayuras, a Saiva Siddhanta group of ascetic practitioners, whose monumental stone monasteries remain some of the earliest and only surviving examples of Hindu monastic architecture in the region. Through archaeological survey and formal analysis of standing buildings, I map the development of Mattamayura monastic communities locally and regionally. By correlating the architectural evidence with readings of Sanskrit inscriptions, I further lay out the processes through which the sect transformed itself from a single sage with a localized following into a major religious institution with branches throughout the Indian subcontinent. The chapters of my dissertation are case studies organized in roughly chronological order. The first chapter provides necessary background for understanding the development of Mattamayura monasteries and situates the sect{\textquoteright}s development within larger political, religious and social contexts. Chapter Two establishes the historical context for the Mattamayuras{\textquoteright} initial foundation and growth within the region of Gopaksetra by examining local patronage of monasteries at the sites of Kadwaha (i.e. Mattamayura) and Ranod. Chapter Three analyzes the repercussions that this development had for nearby monasteries, focusing on the satellite retreats of Terahi and Surwaya, self-sustaining communities that grew much more slowly over time. Chapter Four addresses the regional expansion of the sect through the patronage of the Kalacuris of Tripuri, under whom the Mattamayuras took on increasingly important roles within the Kalacuri state, serving as Rajagurus, officiating over royal decrees and acting as administrators. Together, these chapters explore the relationship between architectural production and religious institutionalization, charting the local and regional processes through which the Mattamayuras{\textquoteright} rise to prominence was articulated through the forms of their buildings.}, keywords = {South/Southeast Asian Art}, author = {Tamara Sears} } @mastersthesis {9390, title = {"Housing On Trial": The Museum of Modern Art and the Campaign For Modern Housing in the United States, 1932-1952}, year = {2004}, school = {Emory}, abstract = {In the historical literature on the modern movement, the Museum of Modern Art in New York (MoMA) has often been credited for its leading role in the early 1930s as a promoter of architectural modernism in the United States. At the same time, MoMA has often been castigated by historians and critics for staging exhibitions-like the famous "Modern Architecture: International Exhibition" organized by Philip Johnson and Henry-Russell Hitchcock in 1932-that cast modern architecture as a purely aesthetic art devoid of a social or political agenda. By examining a series of heretofore neglected housing and planning exhibitions held at MoMA in the 1930s and early 1940s, I question the idea that MoMA undermined the social aims of European modernism in the U.S. by promoting an exclusively formalist understanding of the modern style. Calling attention to the significant influence at MoMA of housing reformers like Catherine Bauer, and of curators like John McAndrew and Elizabeth Mock, I underscore the strong social purpose that informed exhibitions such as the 1934 "American Can{\textquoteright}t Have Housing," the 1939 "Houses and Housing," and the 1942 "Wartime Housing," all of which drew attention to the housing crises that plagued the nation during the Great Depression and World War II and called for the adoption in the U.S. of a comprehensive public housing program based upon the aesthetic and social ideals of the European modernists. By analyzing these exhibitions in relation to national debates over public housing policy, my aim is to present a new perspective not only of the early history of architectural programming at the Museum, but also of the significant social and political issues that shaped architectural discourse in the U.S. during the Depression and wartime years.}, keywords = {Architectural History/Historic Preservation}, author = {Spencer, Suzanne} } @mastersthesis {9554, title = {The Hypnerotomachia Poliphili and the Image of Italian Humanism}, year = {2004}, school = {Johns Hopkins}, abstract = {This dissertation examines the woodcuts and text of Francesco Colonna{\textquoteright}s Hypnerotomachia Poliphili (Venice: Aldus Manutius for Leonardo Grassi, 1499), in light of two interrelated aspects of the grammatically and rhetorically-oriented Italian humanism of the period, textual interpretation and literary imitation. Traditionally the book{\textquoteright}s complex, invented language has been considered primarily in terms of its style and judged to be a humanist attempt to combine Latin and vernacular. Here it is argued that the Hypnerotomachia was offered to readers as a difficult problem in interpretation, and their successful decipherment of it served to define them as humanists. In this process, the book{\textquoteright}s illustrations, rather than clarifying the language or providing the reader visual enjoyment and mental rest (as other studies have proposed), were, like the language, also to be interpreted. The significance of both is manifested through the reader{\textquoteright}s recognition of the distinction between literal and figurative meanings, that reveals visualized tropes in the images. This critical reading also reveals the dream of Poliphilo, the protagonist, as false, and thus ironically presents him as an example of bad humanist practice. Rather than being a didactic work, or a moral or philosophical allegory, as others have proposed, the Hypnerotomachia is a critical reflection on humanism{\textquoteright}s practices. The first chapter establishes a historical basis for its audience{\textquoteright}s interpretations, through an examination of humanist reading practice and language theory, in particular that of Lorenzo Valla, and presents interpretations of specific sections of text and their related images. The second chapter examines the Hypnerotomachia{\textquoteright}s imitative adaptation of the rhetorical conventions of two forms of vernacular literature: Petrarchan lyric poetry and Boccaccio{\textquoteright}s novelle. In the third chapter, the book{\textquoteright}s account of an imaginary antiquity of intact and ruined sculpture and architecture is studied in relation to the humanist textual study as alternatively a recovery or a renovation. The fourth chapter considers how Colonna adapts a traditional device of dream vision literature, personification allegory, and also how he deploys the rhetorical figure of exemplum in the ironic presentation of his protagonists and examines the book{\textquoteright}s relation to the satire of Lucian and its contemporary imitations.}, keywords = {Renaissance/Baroque Art}, author = {Trippe, Rosemary} } @mastersthesis {9474, title = {Illuminating Liturgy and Legend: The Missal of Saint-Denis (London, Victoria and Albert Museum Ms. L1346-1891) and the Royal Abbey in the Fourteenth Century}, year = {2004}, school = {IFA/NYU}, abstract = {The dissertation demonstrates that the Missal of Saint-Denis (London, Victoria and Albert Museum Ms. L. 1346-1891; dated 1350) resulted from the abbey{\textquoteright}s enterprise to commemorate and reiterate the historical, religious, and spiritual significance of the royal abbey and its patron saint. Reviewing the scholarship on the V\&A Missal and accepting Avril{\textquoteright}s identification of the "Master of the Remede de Fortune" as the Missal{\textquoteright}s chief artist, I propose that two illuminators were invited to collaborate each other. In Chapter II discussing the correlation between the pictorial program of the V\&A Missal and the liturgical tradition at the royal abbey of Saint-Denis, the analysis of the decorative program reveals the influence of the abbey{\textquoteright}s liturgical tradition in choosing the iconography for the illuminations of major feasts. Comparison with various types of illuminated missals elucidates the function of the V\&A Missal as a public liturgical book used in the Low Mass with a small group of prayers. This intimate environment for the Mass could have inspired the abbey to include in the V\&A Missal an extensive cycle of illuminations depicting two famous foundation legends of Christ{\textquoteright}s consecration of the abbey church and King Dagobert{\textquoteright}s promise to Saint Denis on fol. 256v and 261r. Chapter III shows that these foundation legends were based on the abbey{\textquoteright}s liturgical readings derived from the Gesta Dagoberti and the Sanctilogium of Abbot Guy de Chatres (1327-43; d. 1350). Analysis of several illuminated manuscripts of the Life and Miracles of Saint Denis confirms that the Vita et actus sancti Dyonisii (Paris, B.n.F. Ms. Lat. 5286) was a critical source of the legend illuminations in the V\&A Missal. As for the patronage, I propose that two abbots, Guy de Chatres and Gilles II Rigaud (1343-51), were initiators of the project and that Abbot Gilles was the intended owner. Analysis of the portrait of a monk shows that a crucial purpose of its illuminations was to maintain the abbey{\textquoteright}s constructed identity as the community of Saint Denis and to remember and reinvigorate historical, religious and spiritual significance of the abbey and its patron saint.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Choi, Kyung-Hee} } @mastersthesis {9478, title = {Illuminating the Borders of Northern French and Flemish Manuscripts, c. 1270-1310}, year = {2004}, school = {Missouri}, abstract = {During the last decades of the thirteenth century, illuminators in Northern France and Flanders were working with an established repertory of images to decorate the margins of manuscripts. This development is best known in the luxury devotional manuals, but a number of the images idiosyncratic to the repertory are also found in the margins of Bibles, romances, and reference works illuminated by the same workshops. This dissertation examines the dissemination of motifs, both among the different texts and within the structure of the individual manuscripts. Based on the codicology, iconography, and historical context of a selected group of manuscripts, this study investigates the working methods of the illuminators and explores the regional developments in book production. Particular attention is given to one of the workshops contributing to the repertory, the Dampierre Group, named for the psalter made for Guy of Dampierre, the Count of Flanders (1280-1305). Analysis of this psalter{\textquoteright}s physical structure reveals that marginal motifs occur in clusters, so the method proves useful in analyzing other luxury manuscripts. Although marginalia in manuscripts such as the Vulgate Arthur, the Speculum majus by Vincent of Beauvais, and the Tresor by Brunetto Latini, are spread farther apart over the folios, iconographic relationships among these sometimes fanciful additions, the principal miniatures, and the text can be suggested in individual cases. Because illuminators in this region, unlike their contemporaries in Paris and England, applied marginalia to all types of texts, this study enables a broader understanding of the environment in which these manuscripts were produced and read.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Hunt, Elizabeth Moore} } @mastersthesis {9484, title = {The Illustrated Giant Bible of Perugia (Biblioteca Augusta, Ms. L. 59): A Manuscript and Its Creators in Eleventh-Century Central Italy}, year = {2004}, school = {UNC Chapel Hill}, abstract = {Lauded by Edward Garrison as "the most impressive, the most monumental illustrations of all the Italian twelfth century now known," the miniatures of the Giant Bible of Perugia{\textquoteright}s Biblioteca Comunale Augusta (Ms. L. 59) and the codex that contains them have always defied compelling classification. Though generally considered a twelfth-century Roman work, the manuscript transgresses standards of the Umbro-Roman Giant Bible "edition{\textquoteright} in the lavishness of its initials, in the monumental style of its miniatures, and in its episodic illustrations of the Six Days of Creation, a narrative otherwise unattested in central Italian art before the late twelfth century. This comparative codicological study of the manuscript in its principal aspects-textual, paleographic, structural, and pictorial-results in a model of its origins rather different from previous hypotheses based on pictorial considerations alone. Attributed to scribes and painters at work in northern Umbria or southeastern Tuscany in the years between circa 1060 and 1080, the Latin Old Testament of the Biblioteca Augusta seems to have been made for donation, probably to the Cathedral of Perugia, under the sponsorship of a married couple who commemorated their union through the unusual iconography of its miniatures. Its closest textual-paleographic kin within the larger family of the Italian Giant Bibles turn out, in some cases, to be codices formerly assigned to entirely different regions. Most notable are the magnificently illustrated Edili Bible (Florence, Bibl Medicea Laurenziana, Edili 125-126), the first volume of the First Casanatense Bible (Rome, Bibl. Casanatense, Ms. 720), and the little-known Giant Bible of the Abbey of S. Pietro in Perugia (Archivio Storico di S. Pietro, Cod. I). The differing decorations of these Bibles, combined with their intimately related texts and, in the first two cases, similar or identical scribal hands, urge a rethinking of the style-based methods normally used to date and localize Italian Giant Bibles. They also suggest a complex division of labor, a surprisingly early chronology, and a possible association of some early Italian Giant Bible production with southern Tuscan centers, including S. Salvatore of Monte Amiata.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Yawn-Bonghi, Lila Elizabeth} } @mastersthesis {9522, title = {Images of the Beginning: The Painted Story of the Conquest of Mexico in Book Xll of the Florentine Codex}, year = {2004}, school = {Yale}, abstract = {This work reads and interprets the painted story of the Conquest of Mexico made by the Nahua painters for Fray Bernardino de Sahagun{\textquoteright}s Book XII of the Florentine Codex. Between 1555 and 1579 Sahagun and his Indigenous collaborators transcribed into Nahuatl and translated into Spanish a historical account of the Conquest of Mexico. However, they also created an equally important painted history of the war that has received no attention. Understanding the Indigenous vision of the Conquest as expressed in these paintings is the principal challenge of this work. The 161 images were placed within the original Nahuatl account. The paintings have been considered of little interest because their seemingly European style contrasts with the original quality of the text. Contrary to this assumption, I read the images a meaningful visual texts springing from a millenary praxis of painting-writing in ancient Mexico, and relate their significance to the eight famous omens predicting the Spanish invasion in the beginning of the text. By linking the meaning of each omen to the images in the text, the reader discovers that Book XII is a mythic saga of the destruction and creation of solar ages. The omens and the images combine the ancient Nahua myths of creation with the Book of Revelation in the Bible to convey in visual, symbolic terms the end of the Aztec time and the initiation of the Christian Era in Mesoamerica, conceived as a Indigenous New Jerusalem. Of particular interest is the use of European woodcuts as models to depict the story of the Conquest. By representing history through paintings echoing the Bible and the eschatological images in the Nuremberg Chronicle, the painters transformed the meaning of the original images and created their own painted story of Conquest. I read the images as expressions of a heroic, creative effort on the part of the indigenous painters to comprehend their historic process and purpose in the context of an apocalyptic reality. Through the images they could express more freely and more accurately their interpretation of this hugely important event. For them images were the means to see and reproduce the intricate relation between human actions and the patterns of the cosmos. For us today, the images of the Conquest are windows into the silent and silenced world of the Indigenous people of the Americas.}, keywords = {Pre-Columbian Art}, author = {Magaloni-Kerpel, Diana} } @mastersthesis {9406, title = {Imaging Memory: Re-Presentations of the Civil War at the 1876 Centennial Exhibition}, year = {2004}, school = {Pennsylvania}, abstract = {This project traces specific patterns of representation in the American art contributions to the 1876 Centennial Exhibition to expose a persisting preoccupation with the recent Civil War and its effects on the structure of American society. By analyzing the content of particular objects, their placement within the art galleries, and their roles in the greater exhibition context, this study disentangles the complexities of the War{\textquoteright}s impact on Americans and clarifies the implications that memories of the War held for restructuring a national identity. The central problem this project addresses is the disjunction between the rhetoric of forgotten grief and dispelled animosity associated with the War that consistently guided official efforts to rouse public enthusiasm for the Centennial, and the American art exhibition, which offered evidence of much more complex perceptions of the War among the nation{\textquoteright}s communities. This study approaches the problem through the conceptual framework of memory, which functioned as an organizing principal not only for the greater event, but also for the ways in which the American art exhibition addressed the Civil War. By virtue of their presence at an event celebrating one hundred years of nationhood, the objects in the American art exhibition purported to represent the collective memory of the national community. Yet because the country was comprised of diverse social and political groups, the particular memories evoked by these objects depended on the unique experiences, perspectives, and needs of each group. Although all Americans shared in some manner the psychological trauma of a devastated nation, former Federals, Confederates, and newly established African American citizens held competing memories of the War, and the attending cultural tensions which were otherwise unutterable were negotiated through visual articulation. I argue that as sites of debate over American national memory, the images addressing fundamental issues of the Civil War which peppered the spaces of the Centennial art galleries offered critical insight onto the nation{\textquoteright}s elusive conception of itself, its history, and its cultural ambitions at a defining moment in its development.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Gold, Susanna} } @mastersthesis {9379, title = {In Pursuit of Cultural Continuity: The Architectural Review, 1947-1971}, year = {2004}, school = {MIT}, abstract = {This study explores the editorial policies of the British periodical, The Architectural Review, in the quarter century between 1947 and 1971. In January 1947, its fiftieth anniversary, The Architectural Review published an editorial manifesto, entitled "The Second Half Century," declaring a program that aimed to influence the postwar reconstruction effort in Britain. In 1971, H. de C. Hastings, the co-owner of the Architectural Review disbanded the editorial board, composed of J. M. Richards (1907-1992), Nikolaus Pevsner (1902-1983), Hugh Casson (1910-1999, who joined in 1951) and himself, which reigned continuously since 1947. In this period, AR ran campaigns in accordance with the program declared in "The Second Half Century." Articulating a trajectory for the future of the periodical, the editors not only aimed to shape post-war modern architecture in Britain, but also around the world. They reinterpreted British romanticism in order to conceptualize a model of environmental intervention, known under the rubric of "Townscape." The scope of this program, however, was far larger than the mere urban design methodology that "Townscape" stands for today. It was linked to a project of cultural continuity and renewal. The reinterpretation of British romanticism provided a field of negotiation with the tendencies of modernism-e.g. the ascendance of bureaucratic and technocratic expertise, rationalization of industrial production and increasing specialization-that the editors held responsible for creating an unacceptable uniformity and a sense of alienation. By analyzing the dialogue between the written works of the editors and the specific selection of material included in the periodical, this study aims to clarify the nature of AR{\textquoteright}s postwar effort by questioning the conflicting models of progress it harbored. It aims to reveal its complex position with respect to cultural continuity, modernity and avant-gardism. Pointing toward the cultural ideals that underlined this position, it covers an interdisciplinary territory that existed in the background where the editors drew the argumentative core of their polemics; a territory that covers the history of political science, cultural anthropology and art history in order to provide a depth of understanding and to reveal the larger constituency and hybridity of architectural discourse.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Erten, Erdem} } @mastersthesis {9417, title = {The Influence of Japonisme On the American Impressionists and Their Circle, 1893-1915}, year = {2004}, school = {CUNY}, abstract = {This dissertation explores the phenomenon of japonisme in American painting in the late-nineteenth and early-twentieth centuries. Focusing on the American Impressionists and their circle as the group most directly affected by japonisme, it analyzes the wide variety of responses to japonisme by American painters of the period. As the title indicates, often it was japonisme rather than Japanese art that influenced these artists. This study is organized into five chapters. Chapter One is an overview of what will be covered in the dissertation. Chapter Two provides context for the phenomenon of japonisme in America up to 1915. Chapter Three explores the roles that the French art colonies, Claude Monet, and James Abbott McNeill Whistler played in the positive reception of japonisme and its employment by American artists who studied in Europe. Chapter Three is devoted to The Ten American Painters, the group most associated with Impressionism in the period, and the character of japonisme present in each of their oeuvres. Chapter Four discusses the types of responses to Japanese art evident in the work of American artists who traveled to Japan in the period. Chapter Five discusses how knowledge about Japan, Japanese art and japonisme was acquired and disseminated within the United States. The Conclusion is a summary of the previous sections. There are extensive Appendixes, including eight chronological timelines that are organized by date and by country. They provide historical context, list Western visitors to Japan (especially those related to japonisme ), show what was known about Japan and its art in the West through the print medium, list collections and exhibitions of Japanese art and japonisme, and provide information on the dissemination of knowledge of Japanese art and japonisme. It is hoped that these Appendixes will facilitate further work in the field, not only by art historians but anyone dealing with Japan{\textquoteright}s impact on the West, from the earliest contacts between Japan and the West to the end date of this study, 1915.}, keywords = {Art of the United States}, author = {Lyman, Laurel} } @mastersthesis {9559, title = {Institutions and Icons of Patronage: Arts and Culture in the Philippines During the Marcos Years, 1965-1986}, year = {2004}, school = {UCLA}, abstract = {In an effort to braid the politics and aesthetics of the Marcos rule, this dissertation examines how Ferdinand and Imelda Marcos approximated the concept, existing modes, and dynamics of reciprocity by founding and/or reorganizing the Cultural Center of the Philippines, the Philippine High School for the Arts, and the National Museum. Through these highly centralized institutions, which had the ability to cultivate, strengthen, and disseminate the value systems, traditions, and beliefs of the Filipinos as a people, as well as cross the lines of political constituency, kinship ties, and special interest groups, the Marcos rule engendered a condition of cultural rebirth in a magnitude and scale never to be seen again in the Philippines. As opportunities for national self-representation and self-congratulatory displays of Philippine progress at home and abroad, these institutions served to articulate the power and enhance the image of the state. Rather than interpret the Marcoses{\textquoteright} support of the arts and culture only as political propaganda, this dissertation also construes their monopoly of the law and images and attendant gestures and rhetoric-from the legendary to the romantic, from the inspirational to the fabulous-as an exhibition of the self, a spectacular performance. Since patronage has the capacity to transform patrons, as sources of largesse, into icons of devotion in subtle and vulgar ways, Ferdinand and Imelda Marcos recast themselves as the origin and apotheosis of the Philippines, its people, and its history. Institutions of patronage, therefore, were not only integral to the epic of nation building; they also formed the iconography of the Marcos rule. By framing the Cultural Center of the Philippines, the Philippine High School of the Arts, and the National Museum as institutional elaborations of reciprocity, one can reconcile the politics and aesthetics of the Marcos rule and, more importantly, appreciate its contributions through and beyond the commodified illusions, blockbuster exhibitions, and seemingly immortal spectacles. As the episodes of Philippine history dramatically unfold, these institutions of patronage continue to operate in the service of politics, the nation, and the self to this day. Indeed, they constitute a forgotten legacy of the Marcos rule.}, keywords = {South/Southeast Asian Art, Twentieth-Century Art}, author = {Baluyut, Pearlie Rose Salaveria} } @mastersthesis {9553, title = {Interpreting Velazquez: Artistic Innovation and Painted Devotion in Seventeenth-Century Seville}, year = {2004}, school = {Johns Hopkins}, abstract = {In this dissertation, I examine Diego Velazquez{\textquoteright}s Sevillian works (c. 1617-23), investigating the young painter{\textquoteright}s critical engagement with the city{\textquoteright}s artistic and religious traditions. I offer a new approach to studies of Spanish art by placing the painter within Seville{\textquoteright}s intellectual milieu while elucidating his challenge to local conventions of pictorial decorum. This dissertation provides the first sustained analysis of the complex nexus between Velazquez{\textquoteright}s paintings and writings by his teacher, Francisco Pacheco, and members of Pacheco{\textquoteright}s erudite circle. Velazquez variously embraced and rejected aspects of local theory and practice, contributing in original ways to diverse areas of Seville{\textquoteright}s intellectual life. Through a close analysis of several carefully chosen paintings by Velazquez in concert with writings by Pacheco{\textquoteright}s associates, I assess the young painter{\textquoteright}s participation in contemporary debates surrounding artistic theory, visual perception, and religious devotion. In particular, I concentrate on Velazquez{\textquoteright}s bodegones (genre scenes) and several religious works, two categories of painting that stimulated intense discussion in early seventeenth-century Seville. An analysis of Velazquez{\textquoteright}s bodegones provides a touchstone for considering the critical context of his experimentation with novel subject matter just beginning to gain acceptance in Spain. Proposing a new interpretive model for analyzing the bodegones, I use early accounts of Velazquez{\textquoteright}s competition with other artists to demonstrate that his Caravaggesque style and lowly subject matter represented a deliberate departure from Seville{\textquoteright}s conventions. An investigation of Velazquez{\textquoteright}s religious paintings entails a close consideration of his almost wholly unexplored interpretation of the traditions of Sevillian sacred art and rhetoric. Challenging art-historical distinctions between form and content, I argue that Velazquez manipulated stylistic and compositional elements in order to structure new forms of religious devotion. Through an examination of Velazquez{\textquoteright}s employment of light and shade, pictorial ambiguity, and mirror-reversals, I show that his little-studied engagement with optics informed both his early devotional works and his bodegones. By analyzing Velazquez{\textquoteright}s paintings through the prism of contemporary artistic discourse, this dissertation also sheds light on the broader relationship between practice and theory in seventeenth-century Spanish art.}, keywords = {Renaissance/Baroque Art}, author = {Tiffany, Tanya} } @mastersthesis {9414, title = {Invitation to the Other: the Reframing of {\textquoteright}American{\textquoteright} Art and National Identity and the 1993 Whitney Biennial in New York and Seoul}, year = {2004}, school = {Binghamton}, abstract = {A major objective of this dissertation is to examine the treatment of questions concerning difference and identity in contemporary American art and criticism as presented in several art exhibitions from the 1960s to the Whitney Biennial in 1993. I trace the exclusion and marginalization of artists as Others in the earlier period in order to understand the way in which "American" in American art had been conceived and practiced. Then, I examine the historical circumstances surrounding the sudden rise of the issue of identity in art exhibitions and art works between 1989 and 1993. In examining specific exhibitions, topics include: the erasure of Asian, Native Indian, and African-American contexts in Abstract Expressionism as defined by Clement Greenberg and MoMA; the attack on modernist discourse by black artists and feminists and their token inclusion in major art museums during the Civil Rights movement; women artists{\textquoteright} entrance into major museum shows in the 1980s that provided the theoretical bases for the concept of "difference"; a few art exhibitions that brought charges of essentialism for representing cultures as "Other"; and the issue of culture wars at the end of the 1980s. My major case study concerns the 1993 Whitney Biennial exhibition where I explore the historical turn towards "multiculturalism" in American art in the early 1990s. I define the 1993 Whitney Biennial as a "cultural moment," in which I argue that artists, curators, and critics aimed to engage the issue of "cultural diversity" and embrace questions of identity and difference. My primary aim is to analyze the ways in which the identity of American art has been produced, controlled, and disseminated, and the process by which national identities have been defined through art exhibitions, criticism, and cultural exchange. I argue that the question of cultural and national identities in art cannot be separated from the broader context of major political, economic, and cultural changes. In examining the 1993 Whitney Biennial, I therefore focus primarily on politics surrounding the exhibition. However, I will also examine the emergence of new dominant modes in art forms-the autobiographical images and the new media-as means to record or question artist{\textquoteright}s personal or group identity. My analysis of the meaning of art work in the exhibition and the ways in which the meanings were constructed and circulated reveals the framing effect of the exhibition, that is, the means of controlling and constructing new subjectivities. Despite several critiques to deconstruct the notion of "identity" and "diversity," the actual acceptance of the art works and the exhibition was, however, contingent on the new discourse of "multiculturalism" whose practices often resulted in the new categorization of American people into hyphenated American names. The issue of "American" cultural identity comes to the fore when the exportation of the Whitney Biennial to Korea is examined. What can be analyzed in this international cultural exchange are the ways "nationality" is defined through art by a process of differentiation from the Other. National identity is not given, but is always a representation structured through the contingency of difference. I analyze the attempt to fix nationality, translation, and mistranslation of the 1993 Whitney Biennial. Furthermore, I contextualize this exportation and importation within the process of so-called globalization that now cannot be separated from the commodification of cultural identities in the economy of art.}, keywords = {Art of the United States}, author = {Kim, Jina} } @mastersthesis {9369, title = {Iron Staffs in the Crossroads: Divination Arts in Toussiana, a Southwest Burkina Faso Community}, year = {2004}, school = {Iowa}, abstract = {This study focuses on divination arts of Toussiana, a community of southwestern Burkina Faso. Using both formal analysis, and documentation from scholars and local informants, it examines and interprets the implements and practices associated with a variety of divination systems that exist in Toussiana, and their ethnic, cultural, historical, and social contexts. Among the types of divination systems included in the study are hierarchical diviners of the Win people; blacksmith diviners of the Kwen people; Muslim diviners; an immigrant Lobi diviner; and an idiosyncratic diviner whose practices reflect both local and Senegalese influences. The two major divination processes examined that involve interaction of diviners and clients, are the consultation in which a client asks a diviner to solve a problem for her, and the act of sacrifice that the diviner prescribes for the client. In consultation and sacrifice, both plastic and performative arts are essential means of mediation with the spirit world. The changes in the uses and meanings of divination arts are also discussed in the context of the life of the diviner from initiation to death. A last section includes historical accounts of two objects associated with Win hierarchical divination, in particular, spirit intermediary figures and brass amulets. Both histories illuminate the metonymic association of these objects with divination. They also elucidate the powerful role of the diviner politically and socially throughout history.}, keywords = {African Art (sub-Saharan)}, author = {Cooksey, Susan E.} } @mastersthesis {9494, title = {The Italian Geometric Pottery: Workshops and Interactions}, year = {2004}, school = {Brown}, abstract = {The earliest Geometric pottery of Etruria was the result of intensive Greek trade and interest in this wealthy, metal-rich region. The Geometric style was developed in Greece, where fine pottery had been known for centuries. The introduction of these wares to Etruria, where fine painted pottery was virtually unknown, resulted in a demand for the product among the increasingly powerful elite class. Therefore, Greek immigrant artisans founded workshops for Geometric pottery in the Etruscan center of Vulci. Painted fine wares require a different mode of production from that of the handmade ceramics of Iron Age Etruria. Production of handmade ceramics differs from that of fine wares in level of specialization of the potters and technology used to make the vessels. The introduction of Geometric pottery and Workshop Production, along with social developments taking place in Iron Age Etruria, such as heightening social stratification and increasing nucleation of the settlements, resulted in the adoption of a Workshop Production for the whole of the ceramic industry in Etruria. The evidence from the first Geometric pottery workshops at Vulci, and the other major Etruscan sites to which it was introduced, tells the story of how the wares went from being luxury products, available to a few, to being mass produced to supply increasing demand and finally becoming widely available. Individual workshop groups are identified and analyzed. The blending of Greek and Etruscan influences, in both vessel shapes and decorative motifs, created a unique product. The individual sources for these forms and motifs are discussed. The case of Etruria is then compared with related situations to shed light on various aspects of the production and acculturation. Finally, the presence of Geometric pottery in Italy can provide valuable new information about the chronology of Greek activity in the area, which is indispensable for the chronology of the Iron Age Mediterranean.}, keywords = {Greek/Roman Art}, author = {Leatherman, Angela} } @mastersthesis {9548, title = {Jan Brueghel and the Landscape of Devotion: Spiritual Reform and Landscape Subjects in Antwerp Painting between 1595 and 1625}, year = {2004}, school = {Johns Hopkins}, abstract = {Focusing on the landscape art of Jan Brueghel the Elder, I show how the younger son of Pieter Bruegel the Elder adapted the Antwerp repertory of landscape subjects to the new fashion for cabinet-size painting on copper. Taking control of the diminutive mode of painting he carefully inflected the familiar material of his father{\textquoteright}s designs to the tastes of different segments of patronage. First, as a protege of his lifelong patron Cardinal Federico Borromeo, he transformed the landscape subjects of the school of Antwerp into polished images suitable for the discerning tastes of the ecclesiastical establishments in Rome and Milan. Subsequently, as an independent entrepreneur in Antwerp he created panoramic harbor views that were designed to secure the custom of local, neo-Stoic elites. Last, as painter for his sovereigns in Brussels, he focused on forest views that weave into their fabric the entwined mystiques of Brabant and the Habsburg dynasty. For all their distinctions these cultural spheres are but differing stages for the pursuit of a humanist piety and I will show how Jan{\textquoteright}s numerous landscape subjects operate within a web of themes, visual tropes, and leading metaphors that constitute the cultural system of otium; its poetics demand that we discover within its fabric the procedures of repose. Indeed, the larger subject of this dissertation is the relationship between landscape subjects in Antwerp painting and the learned piety of the Church Fathers. This docta pietas, which bends the achievement of pagan letters towards the goal of shaping complete Christians, inspired humanists to propagate literary otium as the path towards the philosophia Christi or the meditative art of gaining the Kingdom of Heaven. The dissertation, by taking as its subject the landscape art of Jan Brueghel, reveals the Antwerp landscape tradition as a resource for the inward operations of a widespread humanist piety. It shows that easel paintings with landscape subjects, culminating in the art of Jan Brueghel, commit the viewer to improving his spirits by overcoming the human condition and liberating his soul. As such they deserve to be called Landscapes of Devotion.}, keywords = {Renaissance/Baroque Art}, author = {Prosperetti, Leopoldine} } @mastersthesis {9410, title = {John B. Flannagan (1895-1942): A Reexamination of His Life and Work}, year = {2004}, school = {CUNY}, abstract = {The sculptor John B. Flannagan was one of the most prominent artists of the nineteen twenties and thirties in the United States, principally as a proponent of direct carving. In the intervening years since the publication of his artist{\textquoteright}s statement, "The Image in the Rock" (1941), and the present, his articulation of this technique has come to stand almost as a manifesto of direct carving. However, Flannagan{\textquoteright}s name and oeuvre-which consists not only of works of sculpture but also of works on paper-are now very little known, despite two dissertations completed on the artist in the nineteen sixties. This dissertation examines the reasons for the decline in his name recognition and attempts to reconnect his life and work to the events and writings of his time. Enlarging the range of inquiry beyond Flannagan{\textquoteright}s involvement with "primitivism," this dissertation also explores the complex nature of Flannagan{\textquoteright}s spirituality and its connection to his psychology and upbringing. Flannagan{\textquoteright}s feelings about himself and his world were inseparable from his artistic expression. His depictions of religious figures, family groups, and animals reflect not only a sensitivity toward nature and the interconnectedness of life but also an intense subjectivity and anxiety. In addition to African art and traditional Christian symbolism, Flannagan also drew on writings about mysticism by Evelyn Underhill, as well as Eastern individualist thinkers such as Ananda Coomaraswamy and Kahlil Gibran. Guided by his principle dealer, Carl Zigrosser of the Weyhe Gallery, as well as artist-acquaintances such as John Mowbray-Clarke and Adolf Dehn, Flannagan worked to meld a variety of influences, some personal, some cultural, into a highly individual form of artistic expression.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Doyle, Katherine Rangoon} } @mastersthesis {9513, title = {John Ruskin: The Medieval Mission}, year = {2004}, school = {UCLA}, abstract = {The unique vigor with which John Ruskin (1819-1900) approached and appropriated the intricate aspects of medieval symbolism, historiography, monasticism, aesthetics, scientific discourse, and social organization is the basis of this study. It examines in particular his dedicated enthrallment with the positive features of the epoch as the crucial and traversable bridge between the analysis and applicable transference of the ideological preservation of ancient English heritage and the future of industrialized Victorian England. It seeks to validate his concern for the perpetuation of the Gothic Revival as a socially influential and methodical quest for the re-introduction of practicing conceptions of medieval ideals of charity, communalism, inventive craftsmanship, and civic responsibility to the opposing perspectives of nineteenth-century ethical developments. Chapter One summarizes Ruskin{\textquoteright}s definition and establishment of the "universal Gothic{\textquoteright} as the foundation of his unique reformist zeal, agenda, and active theoretics. Chapter Two investigates in great detail the manner and inspiration participating in Ruskin{\textquoteright}s struggle to persistently craft and graft Victorian Neo-Gothic principles of attentive traditionalism. These principles culminated in the demonstrable achievement of Venetian Gothic aesthetic and scientific inquiry in the Oxford Natural History Museum and in the creation of the functioning neo-feudal commune at the center of industrial Sheffield, heroically christened The Guild of St. George. Acknowledging that Ruskin never attempted such quests alone, Chapter Three contextualizes and explicates his eager reception of similar ideological insights from "ancestors{\textquoteright} of the previous centuries, as well as from the collaborative exchanges of contemporaries enlightened by the legacy of his generously distributed "Gothic opinions.{\textquoteright}}, keywords = {Nineteenth-Century Art}, author = {Mladenovic, Ivana} } @mastersthesis {9370, title = {The King and His Palace: Architecture, Movement and Secrecy in Northern Cameroon}, year = {2004}, school = {Harvard}, abstract = {This dissertation examines the palace architecture of Adamaoua and North provinces of northern Cameroon. It is concerned largely with the palaces of the sub-emirates of the Sokoto Empire, founded immediately before and after the commencement of the jihad of Usumanu dan Fodio which brought it into existence. While these sub-emirates were ruled by Muslim Fulbe, the constituency of each political entity was multi-ethnic and multi-cultural. On the one hand, I am interested in defining the architecture and investigating its origins. On the other hand, I am interested in understanding the role this architecture plays in representing and empowering the ruler of a multi-ethnic, multi-cultural state. This dissertation is organized into four major chapters, each representing a very different view into the palace architecture of northern Cameroon. The first chapter is an inquiry into architectural form and nomenclature. The second chapter considers the placement of the palace within the urban fabric and its orientation as understood by a variety of the constituent cultures of Adamaoua. The third chapter delves into ritual movement within and in relation to the palace of Ngaoundere. The fourth chapter builds upon the three previous chapters in its probing of the manner in which secrecy becomes one of the most important characteristics and functions of the palace.}, keywords = {African Art (sub-Saharan)}, author = {Delancey, Mark} } @mastersthesis {9371, title = {Kongo Machinery: Graphic Writing and Other Narratives of the Sign}, year = {2004}, school = {Yale}, abstract = {This dissertation addresses multiple modes of visual expression used among the Bakongo people in central Africa and their descendants in Cuba and argues that together these constitute identifiable graphic writing systems. The author demonstrates that two dimensional drawings and written symbols (Bidimbu and Bisinsu in central Africa, Firmas in Cuba), three dimensional religious objects (Minkisi and Prendas), oral traditions such as Mambu or Mambo, and body language including gesture and pose, are combined in a structured and consistent manner to form these systems. This dissertation further argues that traceable continuity exists between contemporary graphic writing systems used in central Africa and in Cuba, and between these systems and ancient rupestrian art found in Angola and the Democratic Republic of the Congo. In examining the systematic use of graphic expression, the dissertation explores in detail the cosmology, cosmogony, and moral philosophy that have informed the use and meaning of graphic writing among the Bakongo over time. Finally, it studies the powerful and central role that graphic communication has played in transmitting values and beliefs from generation to generation, thus preserving cultural, social, and spiritual identity throughout periods of extreme disruption.}, keywords = {African Art (sub-Saharan)}, author = {Martinez-Ruiz, Barbaro} } @mastersthesis {9489, title = {Landscapes of Ambition: Painting and Political Culture in Joseph Vernet{\textquoteright}s "Ports de France"}, year = {2004}, school = {UC Berkeley}, abstract = {This dissertation addresses one of the most important artistic commissions of Louis XV{\textquoteright}s reign, Joseph Vernet{\textquoteright}s series of monumental views of France{\textquoteright}s naval and commercial ports, known as the Ports de France (1753-1765). The crown{\textquoteright}s decision to design such an important commission around the lowly genre of landscape was a divergence from its professed commitment to history painting, and yet also a direct response to the new cultural opportunities presented by the renewal of the Salon and the emergence of art criticism. The Ports de France paintings eschew historical narrative in favor of anecdote, verisimilitude, and exhaustive description. They demand a different kind of visual engagement, and in return offer a different set of visual pleasures. I argue that those painterly qualities spoke eloquently on behalf of the Bourbon monarchy at a moment of social upheaval, political crisis, and cultural transformation. The Ports de France commission occupied a central place in the aesthetic and political culture of the 1750s and 1760s, and the paintings were shaped by their relationship to the internal and external political concerns of the mid-century period. During these years, the monarchy was facing escalating challenges in the new arena of public opinion and was pressed to explore new modes of political discourse. Paradoxically, Vernet{\textquoteright}s series offered a way to sustain a faltering image of Louis XV as le Roi Bien-Aime by shifting representation away from the figure of the king to the French landscape. The Ports de France relies for its conception of the nation both on the local and specific within individual paintings, and on the aggregate and collective in the series as a whole. While the series recognizes the new dependence of royal authority on an illusion of national consensus and unity, the paintings also register the local concerns that inevitably shaped Vernet{\textquoteright}s work. The premature end of the Ports de France project coincided with the disastrous conclusion to the Seven Years{\textquoteright} War (1756-1765), which devastated France{\textquoteright}s ambitions of becoming a modern maritime power to rival England. The expression of those ambitions in Vemet{\textquoteright}s canvases, however, had already achieved the convincing presence of reality.}, keywords = {Eighteenth-Century Art}, author = {MacDonald, Heather} } @mastersthesis {9469, title = {Later Roman and Early Byzantine Floor Mosaics in Cilicia}, year = {2004}, school = {UIUC}, abstract = {Cilicia, a province along the east Mediterranean in Asia Minor, produced numerous late Roman and early Byzantine floor mosaics. These mosaics are either discovered at excavation campaigns in the ancient sites, during rescue excavations, unearthed naturally, and or at illicit excavations. The find spots of these floor mosaics are dispersed from the narrow coast line to the Taurus Mountain range. Considerable amount of these mosaics were published. The time span of the mosaics range from the earliest dated to the second century to the latest dated to the sixth century. Compositions of the floor mosaics range from austere black-and-white geometric designs to colorful illustrations of diverse mythological themes which mostly coincide to the late Roman Period, and are mostly of secular structures. Compositions of polychrome aniconic mosaic floors belonging to ecclesiastical structures date to the end of the fourth and mostly to the early fifth centuries, while floral and inhabited isotropic compositions date to the fifth and sixth centuries are all of church floors. The present study aims a synthetic formal and stylistic analysis of the, so far, unearthed mosaics of the region by putting them together, and to enquire existence of Cilician mosaic workshops. Cilicia mosaics deemed as examples of provincial art which are productions of a region considered a backwater of both Constantinople and Antioch. However, the collected mosaics at present corpus contain a wide range of artistic productions presenting representations in high aesthetic quality, as well as crudely rendered primitive examples. The variegated productions dispersed to numerous locations in the region denote existence of several mosaic workshops. The synthetic analysis of the mosaic corpus demonstrate that the aniconic phase of the church decoration dating to the end of fourth beginning of the fifth century complies with the church decorations found at the same time period in neighboring regions. The analysis also yield that the earliest church floor of the region contained an aniconic version of a figural mosaic found in a civic structure in Antioch. One of the numerous outcomes of the present study is the unanticipated clustering of floor mosaics, mostly figural, dating to the fourth century.}, keywords = {Early Christian/Byzantine Art}, author = {Tulek, Fusun} } @mastersthesis {9421, title = {Legends of Bohemia: The Monterey Peninsula and Its Early Art Colony, 1875-1907}, year = {2004}, school = {Kansas}, abstract = {Between 1875 and 1907, the Monterey Peninsula epitomized California art. The towns of Monterey, Pacific Grove, and eventually Carmel, each interconnected yet distinct, boasted populations of artists who shared their lives, ideals, and respective arts in a free spirit of association and collegiality. Beginning with Jules Tavernier{\textquoteright}s arrival in 1875, art produced on the peninsula broke from the tightly rendered style of the Hudson River school to become increasingly subjective, meditative, and simple. By 1900, the majority of the artists in the region had arrived at a tonal style featuring close-value colors and moody atmospheric effects. Some went one step farther, producing canvases reductive not only in color but also in form. For others, the progression culminated in impressionism. Most accounts of the Monterey Peninsula{\textquoteright}s artistic legacy have cited the 1906 San Francisco earthquake and fire as the primary impetus for coastal settlement. These histories have also focused primarily on Carmel{\textquoteright}s literati, marginalizing the role that Monterey{\textquoteright}s visual artists played from 1875 on. By 1907, many of Monterey{\textquoteright}s first- and second-generation painters had in fact reached artistic maturity, moved on to other locales, or died. In that year, artists of Monterey, Pacific Grove, and now Carmel-by-the-Sea, which by 1905 could boast its own colony, achieved a new level of professionalism and organization, most significantly through the opening of Monterey{\textquoteright}s Del Monte Hotel gallery. Among those who lived or worked frequently in Monterey, Jules Tavernier, William Keith, and Arthur Mathews now rank as major figures in California art. Some, such as Charles Rollo Peters and Francis McComas, claimed international reputations in their day, making them worthy of renewed recognition. Others are today little known outside biographical dictionaries. To be sure, many California artists visited the peninsula during this period and remain outside the scope of this survey. Only those who lived on the peninsula, spent much time there, or devoted significant work to peninsula subjects are featured. These artists define the late nineteenth- and early twentieth-century chapter of California{\textquoteright}s art history, which is here told through eight principal protagonists exemplifying the period{\textquoteright}s major trends, and a host of ancillary players.}, keywords = {Art of the United States}, author = {Shields, Scott} } @mastersthesis {9407, title = {The Life and Work of Alson Skinner Clark}, year = {2004}, school = {CUNY}, abstract = {Alson Skinner Clark (1876-1949) was born in Chicago, and attended The Art Institute of Chicago. In 1896 he moved to New York City to study with William Merritt Chase at the Art Students League and subsequently enrolled in Chase{\textquoteright}s new school, The Chase School of Art. Chase{\textquoteright}s instruction-his love of painting en plein air, and his freedom in the handling of paint-had a profound influence on the young artist. In the fall of 1898, Clark attended James Abbott McNeill Whistler{\textquoteright}s school in Paris, the Academie Carmen. Although he remained for only a brief period, Clark{\textquoteright}s admiration and emulation of Whistler{\textquoteright}s aesthetic was enduring. Ill health forced Clark{\textquoteright}s return to America in 1901. While recuperating he met and married Atta Medora McMullin, and by 1902 the couple settled in Paris. The Clarks traveled within Europe during the first decade of the century-through France, Italy, Spain, and Dalmatia, and they spent a portion of 1906 in Quebec. In 1913 the couple visited the Panama Canal Zone-the first of two trips-where he painted the construction of the Panama Canal: eighteen paintings were exhibited at the 1915 Panama-Pacific International Exposition. When the United States entered World War I, Clark, who had returned to America in 1914, enlisted in the Navy and was assigned to France as an aerial photographer. His stint in the military resulted in an ear ailment, forcing him to seek out a mild climate. In 1919 the couple visited California, and subsequently relocated to Pasadena the following year. He became an instructor, and eventually director, of the newly formed Stickney Memorial School of Art. The landscape of California and Mexico offered constant inspiration, and Clark maintained a prodigious travel schedule. By the mid-1920s Clark was commissioned to paint several major public mural projects in Southern California, yet he continued, when possible, to paint the state{\textquoteright}s deserts, mountains, beaches, and historic missions. Although Clark{\textquoteright}s primary association has, until now, been to California, an investigation of his life and career confirms his position as a significant proponent of American Impressionism throughout this country and abroad.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Solon, Deborah} } @mastersthesis {9389, title = {The Light of Progress: Electric Light at Chicago{\textquoteright}s 1933-34 Century of Progress International Exposition: A Symbol of American Modernity}, year = {2004}, school = {Wisconsin}, abstract = {Designed as an emblem of up-to-the-minute progress by some of America{\textquoteright}s most highly regarded architects, Chicago{\textquoteright}s 1933-34 exposition has nevertheless been widely derided as misbegotten modernism, greatly inferior to concurrent European work. Most contemporaneous and post-World War 11 architectural historians perceived Chicago{\textquoteright}s fair architecture inadequately representative of modernity{\textquoteright}s technological foundations. It had no "ostentatiously" revealed construction, large glass areas evoking interpenetrating space, nor breathtakingly-scaled structures comparable to Eiffel{\textquoteright}s 1889 tower. Even worse, the 1933-34 fair pavilions were defined by theatrical, kinetic, polychromatic, electric light, and entire environments painted with saturated colors, integrating large-scale, heraldic figural sculpture. For many historians those attributes simply constituted packaging-too evocative of impure, vulgar, and ephemeral advertising art or now-irrelevant traditional architectural ornament. One prime intention of my dissertation is to discuss how electric light was perceived as a vivifying incarnation of electricity-a primal force basic to civilization{\textquoteright}s progress-and emblematic of an incessantly changing modern world. My work reveals that ephemeral qualities of polychromatic electric light and environmental color were also acutely emblematic of the changes wrought by a burgeoning democracy resulting from America{\textquoteright}s worldwide industrial pre-eminence and unprecedentedly expanding-and increasingly syncretic-consumer culture. For certain influential social commentators that situation was demonstrative of America as the most salient locus of progress-the foundation concept of modernity-yet their message remained unheeded by most architectural historians. As the most industrialized, commercialized, and electrically lighted country in the world, a characteristically American space was evoked at the fair. Light, color, and sculpture created an exotic and emotionally potent aura that involved fair-goers in a mythopeic environment. There, "new pioneers"-workers, scientists, industrialists, and businessmen-explored new boundaries, like frontiersmen of the past, advancing American life. A Century of Progress architects exemplified an American modernism distinct from European avant-garde architecture and distinct from European existence. Inasmuch as that aspect has not been studied in detail, my dissertation demonstrates that the so-called vulgar, commercial, and ornamented architecture of the 1933 fair, defined by kinetic colored light and vividly painted surfaces were essential elements of a new American modernism, more important than construction itself and well beyond dogmatic constraints of contemporaneous modernist architectural historians.}, keywords = {Architectural History/Historic Preservation}, author = {Mason, Paul Warren} } @mastersthesis {9579, title = {Like a Fire That Consumes: Cy Twombly{\textquoteright}s "Fifty Days at Iliam"}, year = {2004}, school = {Bryn Mawr}, abstract = {Fifty Days at Iliam by Cy Twombly is a visually dramatic and disturbing work housed at the Philadelphia Museum of Art in the only installation of its kind, one conceived and created by an American Abstract Expressionist. It is remarkable that it has never been the subject of a sustained monographic study. This dissertation makes such a study of Fifty Days at Iliam, the work Twombly himself calls "a painting in ten parts," by establishing and analyzing the formal, stylistic, social, and theoretical contexts of its production, interpretation, and, perhaps most important, its persistent relevance to art audiences of the twentieth and twenty-first centuries. The first chapters of this dissertation analyze the important historical and theoretical considerations relevant to the art of Twombly in general and the large-scale installation Fifty Days at Iliam in particular. They examine the design, production, and installation of Fifty Days at Iliam as well as the reception of the work in New York (1978) and Philadelphia (1989). They explore certain theoretical interpretations of Twombly{\textquoteright}s art, particularly his use of graffiti, by Kirk Varnedoe, Roland Barthes, and Rosalind Krauss, and they provide a detailed formal analysis of all ten canvases. The concluding chapter brings this material together in an interpretation of Twombly{\textquoteright}s painting in ten parts, drawing on the example of Barthes, that accounts for the experiential aspects of the installation and demonstrates how Fifty Days at Iliam continues to generate viable meanings for a contemporary audience.}, keywords = {Twentieth-Century Art}, author = {Nastick, Kim F.} } @mastersthesis {9464, title = {Looking In/Looking Out: The Intersection of Race, Subjectivity, and Feelings in 1950s and 1960s United States Photography}, year = {2004}, school = {UT Austin}, abstract = {In this dissertation, I consider an intricate network of photographic images of African Americans produced by a racially diverse yet historically and geographically specific group of photographers that circulated in such physical spaces as the print media, sociological studies, and New York art exhibitions as well as less tangible ones, including systems of beliefs and points of view. In selecting this group of photographers and discursive spaces, however, I do not try to be comprehensive about any of the photographers or the circumstances in which their images were exhibited or reproduced. Rather I use this network of representations to address the specific set of social and material conditions surrounding the production and reception of images of African Americans as well as those more elusive attitudes, feelings, and values that influenced the manner in which these representations came to acquire meaning during the 1950s and 1960s. Exploring the discursive formations of these representations of race has been an especially useful approach for my study. In considering how a photograph{\textquoteright}s meaning is dependent upon the contingencies of its public and private uses, I have been able to call attention to an issue neglected in most studies on post-war African American and U.S. photography in general, subjectivity. In reinstating the importance of subjectivity to this period, however, I use the subject not as the sole or unique source of meaning of a photograph but as a set of relational associations. This approach represents an implicit challenge to conventional readings of 1950s and 1960s African American photography, which evaluate these images, in contrast to their post 1980s counterparts, in terms of the binary structure of positive/negative images. Rather than define the relationship between these two periods as oppositional, in my dissertation, I consider them as a continuum. This historical rearticulation has in turn provided me with the conceptual framework to investigate how 1950s and 1960s African American photographers used their works not as "counter images" but as a means of participating in the self-reflexive questioning of the photographic medium that currently characterizes scholarship on post 1980s African American and black photography in general.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Duganne, Erina Deirdre} } @mastersthesis {9569, title = {Manufacturing National Park Nature: Photography, Ecology and the Wilderness Industry of Jasper National Park}, year = {2004}, school = {Queen{\textquoteright}s}, abstract = {This thesis introduces the concept of National Park Nature through a discussion of tourist photography in Jasper National Park, one of Canada{\textquoteright}s best-known vacation destinations. National Park Nature can be understood as a particular way of visually ordering the nonhuman world and underscores the primacy of visual culture in the construction of environmental knowledge. The following discussion considers some of the ecological implications resulting from the dominant ways in which photographic images have shaped National Park Nature in Jasper since 1907, the year this landscape was first set aside as a Federal forest reserve. In particular, I am concerned with how imagery perpetuates certain discourses of the nonhuman world at the expense of others, as well as how the production and consumption of these images have necessarily shaped the physical environment of this region. My analysis takes into consideration both "images of ecology" and the "ecology of images," and in doing so aims to further an environmentally informed art historical methodology. Through this case study I demonstrate that a direct link exists between the way a landscape is pictured and the way a society chooses to treat it. Fundamental to this position is the assertion that visual imagery has played a key role in sustaining a power relationship between human and nonhuman realms of existence.}, keywords = {Twentieth-Century Art}, author = {Cronin, J. Keri} } @mastersthesis {9555, title = {The Marian Miracle Paintings of Alessandro Varotari (Il Padovanino, 1588-1649): Popular Piety and Painted Proselytizing in Seventeenth-Century Venice}, year = {2004}, school = {Princeton}, abstract = {The Franciscan Observant convent of Santa Maria Maggiore in Venice was the recipient of a unique cycle of six paintings depicting medieval miracles of the Virgin, created between 1618 and 1628 by the Paduan artist Alessandro Varotari. These paintings have never been examined as an artistic or a cultural phenomenon, though contemporary sources lauded them as one of the most important cycles in 17th-century Venice. Similar paintings were created by Leandro Bassano, Giulio Carpioni, Andrea Celesti, and Bernardino Prudenti for the churches of Santa Chiara, Santa Maria Gloriosa dei Frari, and the Cappella della Pace in Venice during the subsequent fifty years, which have not survived. These works appear to be the only representatives of their iconography in early modern Italy. The first half of the dissertation examines the literary and visual tradition of these medieval Marian miracles, the church and monastery of Santa Maria Maggiore and its images, and the other sites where similar paintings could be found. The period during which the paintings were created can be characterized as the last phase of Venice{\textquoteright}s battle to maintain the semi-autonomous nature of its "national" church in the face of Post-Tridentine reforms. The second half of the thesis addresses whether these images reflect a specifically Venetian form of spirituality, placing these paintings within the context of contemporary Venetian religious life, and explaining their emergence in a geographically circumscribed area during a period when medieval legends of the Virgin were proscribed by the Catholic Church. A key to their existence lies in the pastoral writings and sacred art patronage of the Venetian patriarch, Giovanni Tiepolo (1570-1631). Profoundly influenced by his close association with the circle of Paolo Sarpi, Tiepolo embarked on a broad program to re-invigorate Marian veneration in the city. An examination of his pastoral writings in conjunction with his patronage indicates that Tiepolo attempted to fabricate a specifically Venetian form of religiosity grounded in both the exterior and interior cult. Interpreting these passages helps to situate Venice{\textquoteright}s particular attitudes towards sacred art and Marian veneration within the larger resurgence of religious art and piety in Baroque Italy.}, keywords = {Renaissance/Baroque Art}, author = {Walberg, Deborah} } @mastersthesis {9580, title = {Matisse and His Books: Transcending Limits}, year = {2004}, school = {Columbia}, abstract = {No record in ProQuest}, keywords = {Twentieth-Century Art}, author = {Necol, Jane} } @mastersthesis {9480, title = {Medieval Visions of the Godhead: Peter Lombard{\textquoteright}s Commentary on Psalm 109}, year = {2004}, school = {USC}, abstract = {This dissertation explores the relationship between image and text as it was affected by Western theological discourse during the later Middle Ages. The case study chosen for examination is the "Commentary on Psalm 109" composed in Paris by the theologian Peter Lombard circa 1138. A number of manuscripts of this work survive in France that include unique illustrations of the Christian Godhead accompanying the text of the psalm and its commentary. The aim of this project is to acknowledge the theological issues identified by the author in his explanation of Psalm 109, and to explain subsequently how those issues affected the composition of the accompanying illustrations. The dissertation examines initially the tradition of written commentary on the Psalms, beginning in the New Testament and following through to the early Middle Ages. The Christian perspective of Psalm 109 had identified key theological issues in the text, particularly the relationship between God the Father and His Son, Jesus Christ. A brief survey of Christian imagery relative to the Godhead follows, in order to reveal the solutions achieved by artists in their practice of visualizing the divine Persons. The context for the composition of Peter Lombard{\textquoteright}s "Commentary on Psalm 109" is then explored through an examination of the development of theology in Paris during the twelfth century. This allows for the explanation of contentious issues such as the nature of Christ and the Trinity as well as Peter Lombard{\textquoteright}s personal theological viewpoint, all of which affected the composition of the imagery included in the manuscripts. Finally, developments in theological education in Paris during the thirteenth century and the situation of Peter Lombard{\textquoteright}s works in that context are examined, along with the "standardization" of biblical illustration which ultimately situated an image of the Christian Trinity in accompaniment to Psalm 109.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Madsen, Gamble} } @mastersthesis {9411, title = {Minna Citron: A Socio-Historical Study of an Artist{\textquoteright}s Feminist Social Realism in the 1930s}, year = {2004}, school = {Penn State}, abstract = {Minna Citron (1896-1991) was a lifelong self-proclaimed feminist, a divorced mother and an artist who believed in individual expression. One of her main artistic interests, particularly early in her career, was the way feminist concerns related to her dual roles as wife/mother and professional artist. She struggled to make a name for herself in the male-dominated art world between the 1930s and 1950s, beginning during a decade in which social roles for women increasingly tended towards domesticity. By the late 1960s, however, Citron{\textquoteright}s interest in feminism was renewed by a new generation of women. The course upon which she set herself, in many ways, was uncharted and her concern with women{\textquoteright}s issues and the challenges faced by women perhaps resonate more clearly with us today than while she was alive. My dissertation brings to the fore the Depression-era work of this American, whose career has been largely undervalued and overlooked by the traditional art historical canon. Through an interdisciplinary approach involving concepts from art history, visual culture, social history, film studies and women{\textquoteright}s studies, I demonstrate how Citron wove her personal experiences in the 1930s into the larger social context and created unique social realist works that at times reflect her feminist interests as well. Works from her three major series of the decade, "Feminanities," the "Gambling Series," and "Judges and Juries," will be discussed in relation to Depression-era advertising images found in popular magazines such as The Ladies{\textquoteright} Home Journal, popular Hollywood films, and novels and plays focusing on women subjects, as well as contemporary feminist issues. The distinctive works of this witty American artist are sarcastic, even boldly ironic, and they are unmatched by anything produced by her peers. Citron{\textquoteright}s paintings and prints from the 1930s, as will be demonstrated in this thesis, are representative of several socio-historical trends including issues regarding feminism and women{\textquoteright}s changing social roles, their continued fight for equality, and increasing interest in gambling, the law and court proceedings.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Streb, Jennifer} } @mastersthesis {9524, title = {A Mirror of a Christian Prince: Frederick the Wise and Art Patronage at the Electoral Saxon Court, 1486-1525}, year = {2004}, school = {Wisconsin}, abstract = {Elector Frederick III ("the Wise") of Saxony is recognized today, along with Emperor Maximilian I and Albrecht of Brandenburg, as one of the foremost princely patrons of art in Germany in the first half of the sixteenth century. During his thirty-nine-year reign, he commissioned works in a wide variety of media from some of the most renowned German artists and artisans of his era: namely, Hans Burgkmair, Lucas Cranach the Elder, Albrecht Durer, Conrad Meit, Tilmann Riemenschneider, and Peter Vischer the Elder. This dissertation takes as its overarching theme Elector Frederick{\textquoteright}s use of the visual arts to promote himself as a Christian prince on the eve of the Protestant Reformation, approaching this subject from two distinct yet complementary perspectives. Early chapters delve into Frederick the Wise{\textquoteright}s significant contribution to the history of All Saints in Wittenberg-better known as the Castle Church-and the elector{\textquoteright}s carefully cultivated relationships with Albrecht Durer and his fellow Nurembergers. In Chapter Two, the specific contributions of Durer and the Nuremberg contingent of artists and artisans are examined within the broader context of Frederick{\textquoteright}s art patronage while also relating them more specifically to the decorative program and liturgical outfitting of All Saints in Wittenberg. The primary focus of this dissertation is on Frederick the Wise{\textquoteright}s role in the construction, decoration, and promotion of All Saints in Wittenberg as a reliquary shrine, housing the largest collection of sacred relics in Germany prior to 1520, and as a dynastic memorial chapel, in which more than thirty votive and other endowed masses were celebrated on a daily basis. Individual chapters reconstruct the liturgical space of Wittenberg Castle Church as it most likely would have appeared in the years 1510 to 1525 and examine the various altarpieces and devotional sculpture thought to have been commissioned by Elector Frederick for display within the church as they relate to this unique liturgical and devotional context. Throughout, it is argued that the elector{\textquoteright}s fear of dying an untimely death and a fervent desire to establish an enduring legacy, through the pious promotion of the Catholic penitential system, provided the primary motivation for his patronage of art and architecture.}, keywords = {Renaissance/Baroque Art}, author = {Bacon, Paul} } @mastersthesis {9425, title = {Missionaries and Images: Jesuit Visual Culture in Sixteenth- to Seventeenth-Century China}, year = {2004}, school = {Brown}, abstract = {No record in ProQuest}, keywords = {Chinese Art, Renaissance/Baroque Art}, author = {Chen, Hui-hung} } @mastersthesis {9582, title = {Model Citizens and Perfect Strangers: American Painting and Its Different Modes of Address, 1958-1965}, year = {2004}, school = {UT Austin}, abstract = {Artworks made in New York between 1958 and 1965, the heyday of color-field painting, minimalism and pop art, comprise different responses to the perceived crisis embroiling advanced art at the time-namely, the threat of misinterpretation posed by a rapidly expanding consumer audience. It is possible to see the general concern over art{\textquoteright}s relation to its audience in terms of a crisis of metaphor; pivotal innovations during this period, especially in painting, mark a move beyond metaphor in search of alternative modes of address. These different modes can be characterized using the categories provided by rhetorical analysis, in particular the schema of the four master tropes as proposed by Kenneth Burke and Hayden White. For example, color-field painting can be thought of as synecdochic, minimalism as metonymic, and pop as ironic. All three offer strategies to ward off misappropriation: the first by disallowing any interpretive leeway, by shoring up all space between viewer and painting so that the encounter seems to happen within "eyesight alone," in the intimate proximity and instant of looking; the second involves giving the artworks over to viewing while also steeling them against it, so that only obdurate surface and irrefutable fact is presented; and the third involves artworks that advance more than one meaning, thus undercutting the authority of any one over another. By 1965 interchange between these modes comes to a halt, as arguments emerge that make differences between artistic viewpoints into stark polarities. Naming abusive acts of viewing each required an interpretative act of its own, which proved the self-same poetic essence of art to be a construction, one needing the advocacy and arguments of rhetoric.}, keywords = {Twentieth-Century Art}, author = {Relyea, Lane} } @mastersthesis {9384, title = {Model Housing For the Poor: Turn-Of-The-Century Tenement House Reform and the Boston Cooperative Building Company}, year = {2004}, school = {Delaware}, abstract = {The Boston Cooperative Building Company (BCBC), one of America{\textquoteright}s earliest tenement house reform agencies, organized as a model company in 1871 with the express intent of providing rental housing for working families that was not only affordable but also "sanitary and nice to look at." 1 Families were to be "isolated, so far as may be possible under one roof."2 The company upon incorporation mandated fifty percent of their board of directors be women.3 This project considers how these various elements together influenced the Boston Cooperative{\textquoteright}s management and design of model tenement houses. I examine how these Boston philanthropists applied the elements of hygiene, privacy, and appearance, concepts central to single-family housing design, to working-class multi-family housing. My methodology relies on an understanding that the development of the built environment is a social process incorporating more than just physical forms. As discussed by Henri Lefebvre, Beatriz Colomina, and Leslie Weisman, the construction of space is a multilayered product of social relationships. In turn architecture as a social mechanism is capable of shaping defining relationships of class, race, and gender. Integral to this study is the recognition of the interaction between the housing reformers{\textquoteright} abstract conception of the ideal urban multi-family house and actual function of that multi-family house as part of the subjective space of everyday life. This project considers the tensions created as reformers tried to enforce the institution of an abstracted ideal home on an environment that was innately separate from that ideal. Relying on the understanding of the built environment as a result of and actor upon social process contributes to the comprehension of the complexity of issues shaping working-class multi-family housing reform.}, keywords = {Architectural History/Historic Preservation}, author = {Johnson, Amy} } @mastersthesis {9397, title = {The Mosque: Community and Identity in Late 20th Century Morocco and Spain}, year = {2004}, school = {Minnesota}, abstract = {As early as the first Muslim dynasties, rulers commissioned mosques to establish their authority and create a visual manifestation of Islam. The mosque also became an integral aspect of the community{\textquoteright}s identity, serving as its physical and spiritual center. During the late 20th century, with the demise of colonial empires and the subsequent movement of Muslims to countries outside the traditional Islamic world, the mosque became an important emblem of Muslim identity. Through mosque architecture, patrons addressed notions of tradition and modernity, and sought to create Muslim spaces relevant on local, national, and international levels. This dissertation investigates contemporary mosque architecture in Morocco and Spain, examining how the Islamic communities articulated identities through mosques. Historically, Spain and Morocco were united by ruling dynasties and shared many monuments. In both countries, these buildings served as sources of inspiration for new mosques. However, the way history was interpreted and the identities that were emphasized differed greatly due to the particular situation of the various Muslim communities. The chapters develop the specific concerns for mosque patrons in each country. In Morocco, King Hassan II (r. 1961-99) established an architectural program that emphasized traditional Moroccan decoration. His program, which was widely adopted throughout Morocco, emphasized Morocco{\textquoteright}s independence and Muslim past. Although his goal was to establish a visual identity for independent Morocco, his program was deeply rooted in notions of authenticity established during the Protectorate era (1912-56). The Muslim community in Spain, made up of Spanish converts, diplomats, students, and professionals, approached mosque architecture in various ways. Even though the community was diverse, Spain{\textquoteright}s Islamic past still served as an important element in mosque design. Because of the resistance that many Muslims experienced in Spain, they tended to emphasize a history focused on the religious tolerance of Spain{\textquoteright}s Islamic period and chose forms that illustrated that Islam was not foreign but an integral element of Spanish identity. By examining contemporary mosques in each country, this dissertation shows how recent history shaped the way Muslim communities viewed the past and to what extent it was relevant to Muslim identity in the late 20th century.}, keywords = {Art of the Middle East/North Africa}, author = {Roberson, Jennifer} } @mastersthesis {9427, title = {Mountains and Rivers, Pure and Splendid: Wang Hui (1632-1717) and the Making of Landscape Panoramas in Early Qing China}, year = {2004}, school = {Yale}, abstract = {This dissertation argues for the importance of Wang Hui (1632-1717) in the formation of early Qing painting and specifically in the creation of a landscape panorama that matched the political ambitions of the emperor Kangxi (r. 1662-1722). Wang Hui created a large number of landscape panoramas throughout his career: complex landscapes in the long handscroll format that encompassed a wide range of past styles and classical themes. At the center of Wang Hui{\textquoteright}s enterprise of landscape panoramas is his rediscovery of the Northern Song painter Yan Wengui (active 980-1010) and the classical landscape genre of "mountains and rivers without end." Wang Hui{\textquoteright}s ambitious panoramic landscape, Layered Rivers and Tiered Peaks, dating to about 1687, more than eighteen meters in length, was the result of his pursuit to reinvigorate the tradition of "mountains and rivers without end" paintings with his "Great Synthesis." The potential political association of Wang Hui{\textquoteright}s landscape panoramas with images of the Great Unity (Da yitong) was appealing to the Qing imperial court. Wang Hui{\textquoteright}s landscape panoramas, made for high officials during the 1680s, led to his appointment as the master painter of the Nanxun tu, a set of twelve scrolls commemorating the emperor Kangxi{\textquoteright}s Southern Tour of 1689. The imperial commendation, "mountains and rivers, pure and splendid (shanshui qinghui)," in celebration of the completion of the Nanxun tu, epitomizes Wang Hui{\textquoteright}s artistic ambition and political success.}, keywords = {Chinese Art}, author = {Chang, Chin-Sung} } @mastersthesis {9398, title = {The Muradiye Tomb Complex in Bursa and the Development of the Ottoman Funerary Tradition}, year = {2004}, school = {IFA/NYU}, abstract = {Along with Edirne in Thrace (Turkish Trakya), the city of Bursa was one of two focal points of Ottoman architectural patronage prior to the conquest of Constantinople in 1453. The last Ottoman sultan to build a kulliye or piously endowed complex of buildings meant for public use in Bursa was Murad II (r.1421-44, 1446-51), whose complex included the requisite mosque, madrasa, hamam (bath), imaret (soup kitchen) and tomb for its founder. Sponsoring a pious architectural complex was not unusual in the Ottoman world, but the funerary garden that contained Murad{\textquoteright}s tomb became a popular and important dynastic burial site until well into the sixteenth century. There are a dozen tombs in the Muradiye complex erected over a span of 150 years. No other dynastic cemetery in the early Ottoman period played a similar role over such a long duration. Unlike most earlier (and later) dynastic tombs, many of the Muradiye tombs retain at least some of their original decoration, particularly the kalem isi or wall painting that adorned eight of the twelve tombs in the complex. The complex thus provides a repository of early Ottoman architectural decoration and a number of clues to what might be called the early Ottoman decorative aesthetic. In addition, the tombs and the narrative histories of those buried within present a unique opportunity to examine early Ottoman dynastic burial practices and understand how these differed from the funerary practices of regular Ottoman subjects. Ottoman dynastic family members-especially the sehzadeler or princes who vied for the throne after the death of a sultan-were usually buried in tombs constructed posthumously, and the documentary history of these tombs (which is often fragmentary at best) provides insight into how the Ottomans viewed the architectural hierarchy of death and memorialization.}, keywords = {Art of the Middle East/North Africa}, author = {Turnbull, Richard} } @mastersthesis {9562, title = {"The Mutable Perspectives of Flight": Futurist Aeropittura and the {\textquoteright}Golden Age{\textquoteright} of Aviation}, year = {2004}, school = {Wisconsin}, abstract = {Most scholarship on Italian Futurism has focused on the movement{\textquoteright}s formative years from 1909-1918. This was based on the false assumption that after 1918 Futurism became absorbed into Fascism within an artistic climate similar to that of Germany in the 1930s. Italian Fascist cultural policy allowed various artistic groups to work in diverse styles. Within Second Futurism, the period from 1918-1944, artists practiced several different styles including aeropittura (air-painting). Aeropittura developed during the "Golden Age" of aviation, the period from 1927-1939 characterized by rapid development in aeronautical technology and a widespread popular enthusiasm for powered flight. Still, no study has provided a full analysis of the movement that situates it in the context of Italian aeronautical history and alongside various forms of aero-cultural production. In a discussion of the fascination with aviators and airplanes that pervaded popular culture and politics during this period, I argue that Italy{\textquoteright}s enthusiasm for flight fueled aeropittura and, consequently, sustained the Futurist movement. I provide a fuller view of Futurism by arguing that flight provides thematic continuity from 1909-1944, culminating in aeropittura. To support this contention, I examine early Futurist writing and artwork that reveal an enthusiasm for aeronautics. At the same time, I argue that aeropittura represented a new aesthetic identity for Futurism, not a mere derivation of its "heroic" early phase. This study brings to light a number of artists neglected in most scholarship on this period. Though stylistically diverse, the aeropittori depict the speeds and perspectives afforded by powered flight. They viewed aviation as the means through which Italy could break with the past and gain equal footing with other industrialized Western powers. Mussolini{\textquoteright}s regime shared this view of aviation. The Fascist regime initiated an aviation agenda that resulted in a rejuvenated air force and state-sponsored flights. In their pursuit of aeronautical subjects, the aeropittori tapped into the Fascist construction of Mussolini as aviator and commemorated Italian aeronautical achievement. Examining aeropittura within the context of aviation{\textquoteright}s "Golden Age" provides a new perspective on the complex relationship between art, technology and politics in Italy during the 1920s and 1930s.}, keywords = {Twentieth-Century Art}, author = {Paluch-Mishur, Michelle} } @mastersthesis {9444, title = {Nancy Holt and the Sculptural Lens}, year = {2004}, school = {Rutgers}, abstract = {Though the general awareness of Nancy Holt{\textquoteright}s Sun Tunnels has brought the artist a measure of renown within the realm of land art projects, her larger body of work has not received such serious critical attention. A thorough examination of Holt{\textquoteright}s oeuvre reveals widely varying explorations of the most advanced artistic styles, media and ideas in American art from the late 1960s through the 1980s. Holt{\textquoteright}s interests in land art, installation work, film and video, book art, public projects, the dematerialized art object, and phenomenology in sculpture are manifestations of the pluralist era in which she was producing her art. This dissertation presents an in-depth study of Holt{\textquoteright}s work, organized thematically around her central concerns with perception. Through this presentation, I illustrate the myriad and increasingly complex perceptual layers Holt has explored throughout her artistic career, as well as the manner in which her work provides an illuminating lens through which to examine American art at the end of the twentieth century.}, keywords = {Contemporary Art}, author = {Alderson, Julia Louise} } @mastersthesis {9441, title = {Nancy Spero{\textquoteright}s Installations and Institutional Incursions, 1987-2001: Dialogues Within the Museum, and Elsewhere}, year = {2004}, school = {CUNY}, abstract = {This dissertation is an art historical analysis of Nancy Spero{\textquoteright}s (b. 1926) wall painting installations in museums and alternative spaces. The text takes the form of a monograph, examining the genesis of Spero{\textquoteright}s wall paintings (1987-2001) in relation to her earlier paintings and scroll works (1948-1987). The aim of the dissertation is to document and analyze Spero{\textquoteright}s installations by employing a variety of methodological models for an examination of her site-specific strategies, themes, iconography, formats, and techniques. I interweave a range of methodologies as frameworks for interpretation, including the following: formal, visual analysis and examination of technical processes and materials; biographical elements informing specific projects and themes; critical reception and studio practices; cultural contexts, such as the "performative" aspects of installation; feminist psychoanalytical theory; poetic and epic structuring of the work. I posit that Spero{\textquoteright}s wall paintings, as orchestrated and dialogic, are contingent for their meanings on the architectural elements and functions of the site, a condition which implies open-ended viewer participation. Further, I emphasize Spero{\textquoteright}s consistent formal enlivening of socially engaged art, her valuing of subtext and layering, and of political meanings manifest in an aesthetic commitment to re-presenting, remembering, and recounting within public spaces. I show that Spero enters into an affective, phenomenological, and formal dialogic relationships with architectural space and its meanings, anchored in corporeal experience as an aspect of intellectual cognition. By these means, Spero transcribes solitary questioning within broader communities of judgment, embodying a humanist, critical, and self-reflexive stance. Chapter One, "Biographical Elements as Narrative, 1926-1987," employs biographical and art historical analyses of Spero{\textquoteright}s early works as a student, a young artist, and a mature artist. Chapter Two, "The First Wall Painting Installations, 1988-1989," focuses on the crucial years of Spero{\textquoteright}s development of wall painting strategies, themes, and iconography. Chapter Three, "Fragmentation and Recreation, 1990-1994," analyzes Spero{\textquoteright}s formal and technical means, her expansion of thematic and iconographic materials within the museum framework, and her oscillation between political, historical, and mythic idioms within the practice of installation. Chapter Four, "Wall Paintings in Museums and Elsewhere, 1995-2001," employs multiple methodologies to examine Spero{\textquoteright}s conceptual, formal, and technical extensions of installation.}, keywords = {Contemporary Art, Performance Studies}, author = {Frizzell, Deborah} } @mastersthesis {9381, title = {The {\textquoteright}New Era{\textquoteright} in Church Building: Progressive Strategies For Ecclesiastical Architecture in Early Twentieth-Century America}, year = {2004}, school = {Brown}, abstract = {This dissertation presents a study of the practice of church design by American evangelical Protestant denominations in the nineteenth and early-twentieth centuries. It examines how centralized denominational bureaucracies exerted increasing control over their Churches{\textquoteright} national building programs and attempted to reform methods of architectural design and production. Beginning in the mid-nineteenth century, church-extension agencies sought to effect widespread architectural improvement to enhance competitiveness in home-missionary work. In the absence of ecclesiastical control over architecture, these agencies articulated general principles, searched for appropriate "denominational" models, and produced books of plans. By the late-nineteenth century, they perfected a system of mail-order stock-plan designs that enabled them to help erect churches quickly and efficiently throughout the country. In the early-twentieth century, changes in the conception of the church building as a religious and community center and advances in religious-education practice prompted the emergence of a new type of church and Sunday-school building. To ensure adoption of this type and to modernize churches nationally, denominations created professionally-staffed, in-house bureaus of architecture. The bureaus defined strict building standards, developed suggestive plans, devised standard procedures to follow when planning a new building, advised congregations on their building projects, and offered a range of architectural services. By instituting a rational design process that made a careful study of the needs of the modern church, the bureaus greatly impacted the contemporary practice and understanding of church design and effected substantial improvement within their denominations. The bureaus{\textquoteright} efforts towards instituting a rational design process for church building was bolstered by the Interchurch World Movement{\textquoteright}s 1920 introduction of interdenominational church-building standards and a survey system with which to "scientifically" assess the efficiency of every component of a church and Sunday school. This dissertation traces the transformation of a vernacular building tradition to a modern and highly standardized system of church-building practice and design.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Zugay, Brian C. R.} } @mastersthesis {9372, title = {Nigerian Art in the Independence Decade, 1957-1967}, year = {2004}, school = {Emory}, abstract = {This dissertation examines the emergence of Nigerian artistic modernism during the decade of political independence, between 1957 and 1967. By focusing on the work of a generation of artists, particularly a group of young artists whose careers began while students at the Nigerian College of Arts, Science and Technology, Zaria, I argue that in proposing the idea of Natural Synthesis, these artists inaugurated a uniquely Nigerian modernism. In doing this, they were inspired by the rhetoric and ideologies of decolonization and nationalism initiated by early black nationalists, and later by apostles of Negritude and Pan-Africanism. I show that although these artists built on the achievements of their modern predecessors in Nigeria, their work was radically different. Working under the premise of Natural Synthesis, they developed work that rigorously explored the formal potentialities of specific indigenous art forms and design principles. The results, I argue, are works of art that show both a deep connection with local artistic traditions and the stylistic sophistication we have come to associate with twentieth-century modernist practices. In mapping the emergence of this new work during the period of national independence, I demonstrate how political sovereignty, in the hands of young Nigerian artists, translated into an artistic modernism freed from the thralldom of western stylistic modes. Finally, I argue that although this new work is unprecedented in Nigeria, it is a local manifestation of an international phenomenon, described variously as alternative or parallel modernism, associated with formerly colonized nations.}, keywords = {African Art (sub-Saharan)}, author = {Okeke, Chika O.} } @mastersthesis {9429, title = {Nirvana Imagery in Medieval Chinese Art}, year = {2004}, school = {Chicago}, abstract = {One of the most important themes in Pan-Asian Buddhist art, a nirvana image entails a reclining buddha figure surrounded by a group of mourners. The configuration purportedly represents the moment when the Buddha Sakyamuni entered nirvana, or a state of ultimate release from the world of transmigration. This image of transition embodies the highest spiritual ideal in Buddhism, as well as an inherent ambiguity in representation which sets it apart from all other Buddha images. The theme of the Buddha{\textquoteright}s equivocation between presence and absence, not seeing and being seen, found a ready audience in medieval China of the fifth to ninth centuries. In refashioning the nirvana image into a pictorial sign commensurate with localized needs, Chinese image-makers and patrons initiated a pivotal transformation in the motif{\textquoteright}s iconography, function, and intention. The results in turn registered profound changes in contemporary artistic practices, religious devotionalism and political authority. The dissertation is the first comprehensive study of nirvana imagery in this crucial period of development. Nirvana images from medieval China entailed various material manifestations-as a decorative motif, as a pictorial narrative, as a sculpted statue, as an architectural design-and underwent two crucial phases of development respectively in the sixth and eighth centuries. To excavate the motives and concerns which gave rise to the becoming of these new visual forms, the dissertation engages in methods and materials pertaining to art history, history of religions, and sinology in particular. Part One concerns the process of adaptation that the nirvana image continuously underwent, first from a concept articulated in written format to a pictorial motif; and second, from its original forms rooted in Indian and Central Asian visualities to new ones that were more suited to medieval Chinese visual sensibilities. Part Two historicizes the visual encounter of the nirvana image at cave shrine complexes by focusing on two cases of spectatorship, the nirvana caves at Dunhuang and the site of Wofoyuan in Sichuan. The ensuing analyses emphasize the dynamic interaction between person and place, in particular how material images and structures were deployed to mold viewers{\textquoteright} experience and opinions with great efficacy.}, keywords = {Chinese Art}, author = {Sonya Lee} } @mastersthesis {9535, title = {Otto Marseus Van Schrieck (1619/20-1678) and the Nature Piece: Art, Science, Religion, and the Seventeenth-Century Pursuit of Natural Knowledge}, year = {2004}, school = {Michigan}, abstract = {This dissertation examines the art and career of the Dutch painter and naturalist Otto Marseus van Schrieck (1619/20-1678) and his invention of a strange pictorial genre known variously today as the "nature piece," "bosstilleven," "sottobosco," or "woodland still life." Marseus{\textquoteright} nature pieces were based upon living collections of creatures and plants gathered by the artist and housed in his own vivaria and gardens, both in Rome and Amsterdam. Favored specimens include visually striking poisonous snakes, toads, lizards, insects, fungi, and thistles. These complex pictures display a number of novel concerns and techniques that together form the foundation of this study. Marseus{\textquoteright} paintings engage with two critical mid-century scientific debates: the well-documented polemic between proponents of the older humanist and newer experimental forms of producing natural knowledge, and the arguments surrounding the Book of Genesis as a history of the natural world. The novelty of these paintings also lies in the techniques used to construct them and in their preoccupation with some of nature{\textquoteright}s more horrific and monstrous creations. Marseus was perhaps the first artist to bring natural history materially into the sphere of painting by pasting insect body parts into paintings, and routinely pressing paint-coated plant material onto the surface of his canvasses to render natural imprints. Drawing upon a wide range of materials, including unpublished archival documents, published natural histories and accounts of experimental practice, correspondence between naturalists, accounts of contemporary snakehandlers, biblical commentaries, and pictures and poems about the fall of man, this dissertation seeks to reveal the complex historical significance of an artist and of a kind of painting that brought natural science and material practice into a distinctive marriage in the mid-seventeenth century. This study investigates Marseus{\textquoteright} participation in a significant pan-European artistic and scientific milieu, his lifelong Medici patronage, and contemporary scientific interests in the specimens he depicted. It develops two related lines of argument. The first seeks to show how his pictures function as innovative technologies of vision that, like the microscope, mediate between nature and the beholder in an effort to bring knowledge to the senses. The second makes a case for understanding his nature pieces as an attempt to create a new kind of history painting focused on the subjects of natural history rather than canonical narratives.}, keywords = {Renaissance/Baroque Art}, author = {Hildebrecht, Douglas} } @mastersthesis {9528, title = {Painted Science: Convention and Change in Seventeenth-Century Netherlandish Paintings of Alchemists, Physicians, and Astronomers}, year = {2004}, school = {Queen{\textquoteright}s}, abstract = {This thesis is directed towards a study of depictions of "scientists" in Netherlandish paintings of the seventeenth century with a view to understanding them in terms of their intellectual, cultural and social context. I focus on three types of subject matter: alchemists at work in their laboratory, physicians and astronomers. Pictorial convention governed most of the artistic production of the seventeenth-century Netherlands and, as will be shown, the themes of the alchemist, physician and astronomer are no exception. I identify the origins of each of these subjects in the pictorial arts and trace changes in the way in which they were presented, particularly with regard to their iconography. To the modern viewer, when considered outside of their intellectual, social and artistic context, these images can be quite bewildering, thus, it is important not only to have a knowledge of the conventions that govern them, but also a familiarity with the pertinent histories of science. Consequently, I provide an account of the practices of alchemy, medicine and astronomy with special reference to the seventeenth-century Netherlands with an aim to draw some conclusions regarding the relationship of the paintings to contemporary scientific activity. I conclude that although many seventeenth-century Netherlandish paintings of alchemists, physicians and astronomers continued to conform to the conventions established by their original sources, others manifest change, particularly with regard to the suppression of symbolic elements which advance a moralizing message. Furthermore, it is argued that the paintings provide only limited information regarding contemporary scientific practice and that the reason for this lies largely in the conventional nature of much seventeenth-century Netherlandish art.}, keywords = {Renaissance/Baroque Art}, author = {Corbett, Jane Paisley Russell} } @mastersthesis {9409, title = {Painting a Theoretical World: Stuart Davis and the Politics of Common Experience in the 1930s}, year = {2004}, school = {MIT}, abstract = {This dissertation examines Stuart Davis{\textquoteright}s paintings of the 1930s in relation to his conviction that art could transform reality by extending and reordering the spatial dimensions of common experience. While Davis{\textquoteright}s enthusiastic involvement with Marxism had a significant impact upon the development of his ideas during the thirties, his reception of liberal aesthetic theory, as exemplified in the writings of the philosopher John Dewey, played a more fundamental role in his understanding of the social function of art. By situating Davis{\textquoteright}s activities within the context of other artists and intellectuals who sought to rebuild public life through the aesthetic organization of common experience, Davis{\textquoteright}s strong political convictions are brought together with his abstract art within an integrated interpretive framework. He described cubism as an extension of the realist tradition that could express his reactions to the modern environment and in so doing offer a conceptual model to guide future action. Through a complex and not always consistent theoretical rationale, he related the formal structure of his paintings to their ability to communicate his vision of common experience to a broad audience without violating the logic of two-dimensional design. The social and political value of aesthetically reordering common experience was understood by many between the World Wars to reside in art{\textquoteright}s capacity to facilitate the formation of a shared national identity and cultural discourse. The profound geographic and spatial transformations associated with modernity played a crucial role in this conception of identity. Davis{\textquoteright}s contributions to these issues is examined in relation to his understanding of the internationalism of his modernist art and his complex relationship with American Scene painting. His engagement with these themes suggests that the pictorial reorganization of spatial experience that anchored his practice as a socially engaged artist is inextricably bound to the politics of place.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Christ, John X.} } @mastersthesis {9501, title = {Painting the Indian Nation: Pictorial Indigenism as a Modernist Strategy in Ecuadorian Art, 1920-1960}, year = {2004}, school = {IFA/NYU}, abstract = {This study traces changes in Ecuadorian artists{\textquoteright} approaches to the Indian as well as shifts in the critical discourse surrounding their work between 1920 and 1960. In so doing, it questions established views of pictorial Indigenism. By focusing on moments of transition, I present Indigenism as a constantly shifting symbolic category rather than a fixed style or movement. While, in the 1920s, Indigenism played an important role in the formation of an avant-garde sensibility in the Andes, in the 1930s Indigenists replaced their notion of the avant-garde with the conviction that art must be socially engaged. In the 1940s, Indigenism{\textquoteright}s radical political agenda came under attack and it metamorphosed once again into a symbol of national culture and Pan American unity. By the 1950s, abstraction displaced Indigenism as a progressive artistic phenomenon, creating tension among artists and generating heated critical debate. To counter the pejorative vision of the trend that emerged after World War II, I present a detailed analysis of the work of three Ecuadorian artists whose different aesthetic strategies exemplify the changes that affected Indigenism over time. Self-consciously rejecting some foreign developments while appropriating others, Camilo Egas (1889-1962), Eduardo Kingman Riofrio (1913-1998), and Oswaldo Guayasamin Calero (1919-1999) attempted to create art that originated from local culture yet was internationally relevant. By establishing alternative spaces such as journals, galleries, and exhibition forums these artists questioned the relationship between form and content, addressed issues of national and international identity, and negotiated political pressures and negative criticism, thereby developing imagery that challenged conventional attitudes. While this study focuses primarily on Ecuador, the artists under consideration traveled throughout Europe, Latin America, and the United States. The global interchange resulting from their travels and contacts introduced Indigenism to an international audience and contributed to the development of twentieth-century art. By challenging the notion of Indigenism as a direct expression of national identity, I demonstrate the complexity of the Indigenists{\textquoteright} critical engagement with European and Pan-American cultural traditions.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Greet, Michele} } @mastersthesis {9575, title = {Paris as Gameboard: Ludic strategies in surrealism}, year = {2004}, school = {Columbia}, abstract = {This thesis analyzes surrealism{\textquoteright}s ludic practices of the 1920s, grasping them as avant-garde strategies meant to contravene against institutionally directed conventions in artistic practices, social relations and theoretical concepts. The project traces the coupling of art with play from the inception of Kantian aesthetics and through the modern period to the 1920s, when the surrealist movement wrested play from beauty and disinterest to explore the ludic-artistic in its full implications, as a dynamic, fugitive, contingent and potentially violent form set against the leveling effects of a functionalist cultural economy. The early automatist-driven practice of errance is traced through an examination of Man Ray{\textquoteright}s collection of Atget photographs, and the movement{\textquoteright}s appropriation of regulated games is addressed primarily through the game of cadavre exquis. Recovering the full implications of surrealist play throws new light on the centrality of play in postwar cultural discourse and practices, with ongoing importance for today{\textquoteright}s increasingly virtual and homogeneous culture of exchange.}, keywords = {Twentieth-Century Art}, author = {Laxton, Susan} } @mastersthesis {9507, title = {Peeresses in Paint: Portraits of Aristocratic Women and the Question of Representation 1837-1901}, year = {2004}, school = {Yale}, abstract = {Begun in the artist{\textquoteright}s studio or the domestic interior, the portraits considered in this dissertation were intended to be public statements of power and class dominance. Consequently, they must be examined in light of the relationship between political and visual representation during the period 1837 to 1901. In the newly democratized visual culture of the Victorian era, female aristocrats were more visible as public icons than their male counterparts, and served as displaced symbols of familial authority. The grand manner portraits of these "peeresses in paint" functioned simultaneously as vehicles of modernity and tradition, in order to assert both timeless prerogatives and contemporary legitimacy. The introduction of the dissertation examines the historical debates surrounding aristocratic and parliamentary reform in the Victorian period, and explores contemporary critical reactions to aristocratic portraits. Chapter one establishes the historical and visual genealogy for the dissertation, as well as providing a working definition and history of the grand manner portrait. The issues addressed include contemporary debates about the portrait as visual biography, and the conditions of the practice of portraiture. The next three chapters are case-studies of portraits by Franz-Xaver Winterhalter, Henry Tanworth Wells, and Frederic Leighton. The creation of each portrait is linked to a discreet moment of political crisis in the life of the sitter. The dissertation explicates the ways that this challenge was registered both iconographically and formally within the portrait at hand. The concluding chapter examines a John Singer Sargent portrait as an example of the retreat from the unique Victorian model of political aristocratic portraiture at the end of the century. Applying theoretical methodologies to these aristocratic portraits, this dissertation brings together wide-ranging areas of art-historical inquiry, including the examination of hitherto neglected paintings and archival sources. This approach proves my two interlocking theses: that the aristocratic portraits in question were technically and aesthetically significant paintings, and that these artworks were vital participants in the class struggles of Victorian Britain.}, keywords = {Nineteenth-Century Art}, author = {Albinson, A. Cassandra} } @mastersthesis {9536, title = {Peter Paul Rubens and the Dedicated Print: Strategies in the Marketing of an Early Modern Master}, year = {2004}, school = {Temple}, abstract = {This study addresses the important role of dedicated prints in the oeuvre of Peter Paul Rubens (1577-1640), demonstrating that the artist turned to reproductive engraving as a way to spread his fame and secure his future just at the time when the demand for paintings in the Southern Netherlands was declining. Rubens{\textquoteright} introduction of a full-time engraver into his workshop, his petition for copyright privileges, and his dedication of prints to noteworthy figures who might advance his career are all indications of a calculated plan, the character and significance of which has been neither recognized nor investigated until now. This study shows that Rubens was, in fact, engaged in vigorous self-promotion through a unique printmaking enterprise. In the period of the Twelve Years{\textquoteright} Truce (1609-21), the market for Rubens{\textquoteright} paintings was primarily in the Southern Netherlands; when the expiration of the armistice approached, he initiated a printmaking venture which set the stage for the promotion of his work on an international level. The critical timing of this endeavor has not been considered in light of the impending termination of the Twelve Years{\textquoteright} Truce, nor has any attention been given to the timeliness and the character of the laudatory dedications found on these prints. A close examination of the dedicatees reveals that by coupling reproductions of some of his greatest art with references to prominent individuals in the Southern Netherlands, the United Provinces, England, Spain, and Germany, Rubens invented a more elevated status for himself, one which might enhance his international fame while maintaining his reputation as the premiere painter in the Spanish Netherlands. Rubens cleverly marketed himself utilizing personal connections. Once he had secured a distinguished reputation in international circles, which resulted in his widespread fame of the 1620s, he abandoned the dedicated print.}, keywords = {Renaissance/Baroque Art}, author = {Hottle, Andrew} } @mastersthesis {9465, title = {Photography and Everyday Life: The Case of Louis Faurer 1937-1955}, year = {2004}, school = {Princeton}, abstract = {Louis Faurer (1916-2001) was one of the most talented and incisive photographers working in America between 1937 and 1955. His impact may be seen clearly in the work of Robert Frank, Diane Arbus, Lee Friedlander, and a host of other contemporary photographers. Nevertheless, he has been overlooked in most histories of photography. This dissertation seeks to restore his importance through a detailed investigation of his most significant photographs and also of how and why his work came to be omitted from the historical record. In the process, it uncovers a complex network of cultural idiosyncrasies at the heart of postwar American society that not only shaped Louis Faurer{\textquoteright}s photographs but formed the foundation of American cultural history after World War II. The first chapter describes Faurer{\textquoteright}s background and early photographic experiences in Philadelphia and Atlantic City. Particularly important to his work at this time were the documentary photographs published by the Farm Security Administration in the 1930s and images by Walker Evans, Lisette Model, and Helen Levitt. Faurer{\textquoteright}s fashion photography is the subject of Chapter 2, which observes a close relationship between his independent street photographs and his images produced on assignment for commercial fashion periodicals between 1947 and 1951. Chapter 3 identifies a strong stylistic and conceptual affiliation between Faurer{\textquoteright}s photography and contemporaneous film noir, and Chapter 4 focuses on the relationship between Faurer{\textquoteright}s photography and Abstract Expressionism. All three-Faurer{\textquoteright}s photographs, film noir, and Abstract Expressionism-shared an emphatic insistence on subjective experience, personal identity, and the limits of representation, as these chapters make clear. Chapter 4 also investigates the context in which the Museum of Modern Art (the most important exhibitor of photographs in America at the time) displayed Faurer{\textquoteright}s work and Abstract Expressionism, reflecting upon the consequences for Faurer in the history of photography. A final section is devoted to the relationship between Faurer and his close friend and younger colleague, Robert Frank-a discussion which reveals not only the contrast between two different generations of photographers but between two different stages in the institutionalization of the photographic medium.}, keywords = {Drawings/Prints/Works on Paper}, author = {Hostetler, Lisa} } @mastersthesis {9428, title = {Pictorial Eulogies in Three Eastern Han Tombs}, year = {2004}, school = {Pennsylvania}, abstract = {In light of the more recently excavated evidence and advancements in archaeological research, it is necessary to look again at the three Eastern Han tombs at Wangdu and Anping that were discovered more than thirty years ago in central Hebei province. While these tombs are geographically close and share some similarities, there are significant differences in pictorial program, grave goods, and tomb structures. Reexamination of previous scholarship on the excavated material offers new information that challenges preexisting views of aspects of Eastern Han society, such as art, literature, religion, and material culture of the elite in first- and second-century C.E. China. This project also seeks to interpret funerary wall paintings from an emic perspective and to study the development and innovations of this art form in Eastern Han using the three tombs as primary case studies. The biographical nature of the subjects of the wall paintings indicates that they are intended as pictorial eulogies and expressions of individualism in an age of conformity. As pictorial eulogies, they give us a rare view into the private life of the Eastern Han elite. Similarly, the selection of grave goods shows an emphasis on representations of personal achievements and predilections. Identification of the incumbents of the three tombs becomes possible at the conclusion of a closer examination of the material, pictorial, and historical evidence.}, keywords = {Chinese Art}, author = {Hsu, Hsin-Mei Agnes} } @mastersthesis {9463, title = {Pictorialism to Film and Foto: German Photography Exhibitions From 1909-1929}, year = {2004}, school = {CUNY}, abstract = {Exhibitions are the primary vehicle through which the public is exposed to art and its history. This dissertation offers a historiographic case study from early twentieth-century German modernism to illustrate the dynamics of exhibition and curatorial practice during a time of dramatic artistic and social shifts. Between 1909-29, Germany developed into an important center of photographic advances, and German photography exhibitions became vehicles for establishing a dominant mode within modernist photography. By the end of the 1920s, a movement known as the "New Vision" had emerged, and was on its way to becoming an international style. The New Vision rejected the prewar mode of Pictorialist photography with its reliance on static subjects and methods borrowed from nineteenth-century painting. It encompassed the innovative angles and contemporary subject matter which artist Laszlo Moholy-Nagy and others considered necessary to express realities of modern social existence. Rather than a sudden development of the late 1920s, the new ways of exhibiting photography which fed into the New Vision{\textquoteright}s expansive and non-hierarchical approach can be traced through large photographic exhibitions taking place from 1909 on: the International Photographic Exhibition in Dresden, 1909, the German Photographic Exhibition in Frankfurt, 1926, and the Contemporary Photography exhibition in Essen, 1929. The organization and content of these exhibitions laid the groundwork for the watershed exhibition of New Vision photography, Film and Foto (Fifo), in Stuttgart in 1929. The shift from Pictorialism to the New Vision involved a long process of cohabitation, debate, and jockeying for influence, as demonstrated through reconstructions of these exhibitions using original brochures, catalogues, installation shots, and published critical reception. In doing so, I confront the developmental roots of many elements of the New Vision and its display before it gained international prominence at Fifo, including the gradual acceptance of its practitioners, the mixing of scientific and artistic photography in exhibitions, and the first discussions of documentary photography. The purpose is to show how complex and socially engaged art historical shifts are, and how exhibitions, including those previously under the radar, can often hold a key to understanding these changes}, keywords = {Drawings/Prints/Works on Paper, Performance Studies}, author = {Rocco, Vanessa} } @mastersthesis {9552, title = {Picturing Knowledge and Experience in the Early Printed Book: Reuwich{\textquoteright}s Illustrations For Breydenbach{\textquoteright}s "Peregrinatio in Terram Sanctam" (1486)}, year = {2004}, school = {Harvard}, abstract = {My dissertation analyzes an early printed book, known as the Peregrinatio in terrain sanctam (Journey to the Holy Land), from a variety of interdisciplinary perspectives to explain its exemplary value for the cultural history of the period. The painter Erhard Reuwich of Utrecht joined the nascent printing industry at its source in Mainz, where he was recruited by Bernhard von Breydenbach, a high-ranking local cleric, for an artistic adventure-a pilgrimage to research the peoples, places, plants, and animals of the Holy Land. After their return, Breydenbach wrote and Reuwich illustrated and printed three editions of an account of their journey. The painter set a new benchmark for technical achievement with his woodcuts, notably a panorama of Venice that folds out to 1.62m in length and a fold-out map that stretches from Damascus to the Sudan around the first topographically accurate view of Jerusalem. Although the Peregrinatio was one of the most ambitious endeavors of the early printing industry, scholars have only addressed limited aspects of its text and images. The painter{\textquoteright}s engagement with the creation of a printed book called forth a new type of artistic exercise that recasts our understanding of what it means to be a painter in this period and our model of the relationship among visual media. Reuwich developed hybrid genres that drew from painted religious panels, manuscript illumination, topographical views, several types of cartography, and texts, as well as his personal experiences. His illustrations did not just combine the formal characteristics of works in other media; they also integrated those media{\textquoteright}s means of structuring information. The conception and execution of the Peregrinatio shows how and why early printed books collated new means of visual representation out of existing ones and how the form of a book emerged out of the interaction of empiricism and medieval scholarship, cross cultural exploration and Christian identity, real travel and spiritual pilgrimage, curiosity and fixed belief, texts and images.}, keywords = {Renaissance/Baroque Art}, author = {Elizabeth Ross} } @mastersthesis {9545, title = {The Plague, Turks, and Divine Wrath: Tintoretto{\textquoteright}s Representation of the Apocalyptic Woman}, year = {2004}, school = {Harvard}, abstract = {The last third of the sixteenth century was a period of great insecurity in Venice. In addition to its political and economic decline, the Republic suffered numerous natural disasters such as floods, fires, and famines. Between 1575-77 the plague swept through the city and between 1569-73 the Venetians were engaged in a war with the Ottoman empire. This accumulation of events led many Venetians to believe that they were being punished by God, causing apocalyptic fears among the population. Consequently, these years were marked by a blossoming of prophecies and a wave of moralizing texts; for, it was widely believed that only a comprehensive spiritual reform and a return to the allegedly purer spirituality of the past could avert divine wrath. At the same time, an open eschatological interpretation of the events was not tolerated by the Serenissima, accounting for the lack of explicit references to the Apocalypse in Venetian writing. For the same reason representations of the Apocalyptic Woman in Venetian art of the sixteenth century are almost entirely lacking. Although a popular subject in Venetian art of the fourteenth and late fifteenth centuries, it virtually disappeared in the sixteenth century. Beginning in the late 1560s, however, Jacopo Tintoretto recuperated the apocalyptical Virgin Mary in at least sixteen paintings for various contexts. Tintoretto{\textquoteright}s occupation with the Woman of the Apocalypse is not merely an early expression of the cult of Mary{\textquoteright}s Immaculate Conception, but, rather, it relates to the eschatological implications of the subject. Tintoretto{\textquoteright}s representations of the Apocalyptic Woman combine his and his patrons{\textquoteright} fear of divine punishment with a desire for spiritual reform. But while the written texts were hesitant to refer openly to the Apocalypse, Tintoretto was reluctant to refer unambiguously to the eschatological events. Instead he laid out a complex network of allusions which this dissertation sets out to untangle in three case studies: a public commission in the Ducal Palace; an altarpiece for a Benedictine nunnery; and an altarpiece for a parochial church. In all three paintings Tintoretto cooperated with his patrons who shared his apocalyptic anxieties and desire for spiritual reform. Furthermore, an extensive appendix investigates similar ideas in the architecture and decoration of the Benedictine nunnery of SS. Cosma e Damiano on the Giudecca.}, keywords = {Renaissance/Baroque Art}, author = {Paul, Benjamin} } @mastersthesis {9537, title = {Politics, Religion, and the Lost Michelangelo}, year = {2004}, school = {UNC Chapel Hill}, abstract = {Along with the David and the Vatican Pieta, Michelangelo{\textquoteright}s full-scale cartoon for the Battle of Cascina was one of those early works on which the young artist{\textquoteright}s reputation was built. Looking at a copy of its central scene, the Bathers, one prominent art historian has remarked that it seems "nearer to the Last Judgment or a circle of Dante{\textquoteright}s Inferno." Reflecting the needs of its governmental patron as well as Michelangelo{\textquoteright}s own preoccupation with themes of spiritual captivity and transcendence, the colossal fresco design drew on imagery of Apocalypse and Resurrection and the political symbolism of the body, so that the battle scene came to symbolize the crisis and rebirth of the Florentine Republic. This dissertation discusses Cascina as part of the traditional convergence of religious and military symbolism at the fresco{\textquoteright}s intended site, the Palazzo Vecchio, as well as speculating on its relation to Michelangelo{\textquoteright}s own sense of inner struggle, expressed in his early art and writings. In the extant studies and sketches for the Cascina design, it is possible to trace this symbolic, metaphorical aspect as it developed in tandem with, and sometimes in conflict with, the narrative demands of the subject. Turning to Michelangelo{\textquoteright}s final designs for the Bathers, the dissertation ends by pointing to a web of classical and Dantean allusions which its imagery evokes, revealing the Battle of Cascina as an intellectually as well as formally ambitious work.}, keywords = {Renaissance/Baroque Art}, author = {Hughes, James Carlton} } @mastersthesis {9472, title = {Portal, Sculpture, and Audience of the Romanesque Cathedral Sainte-Marie d{\textquoteright}Oloron}, year = {2004}, school = {Yale}, abstract = {This dissertation reexamines the Romanesque sculptures of the cathedral Ste.-Marie d{\textquoteright}Oloron, located in Bearn in the southwestern French Pyrenees. The west portal of Ste.-Marie, virtually the sole remnant of the Romanesque cathedral, is of under-appreciated significance to an understanding of the origins and development of Romanesque sculpture, especially portal sculpture. The clues that the portal offers remain virtually uninterpreted, however-in large part because of the restoration of the portal during the 19th -century. Uncertainty about the authenticity of the portal sculptures has both impeded their study and devalued much of the previous literature on the subject. Reconsideration of the physical and documentary evidence of restoration permits new conclusions about the state of the portal{\textquoteright}s preservation. A core group of remarkable sculptures survives the restoration virtually untouched. Recovery of the cathedral{\textquoteright}s authentic Romanesque sculptures necessitates a new reckoning of Ste.-Marie{\textquoteright}s place in Romanesque art. The sculptures{\textquoteright} form and style indicate a new date, as well as new models for the organization and development of Oloron{\textquoteright}s sculpture workshop. The workshop{\textquoteright}s close relationships to sculptors working in the orbit of Jaca and to early ateliers at St.-Sernin de Toulouse can now be affirmed. New perspectives also emerge on Ste.-Marie{\textquoteright}s direct contributions to sculpture workshops at Lacommande and Uncastillo, among other sites. Finally, recovery of the authentic portal sculptures and the fortuitous recent rediscovery of a "lost" work make possible new interpretations of the motives and meanings that underlie the cathedral{\textquoteright}s ambitious decorative program. It appears that the portal, the threshold between sacred and profane community spaces, mediated this fundamental opposition through its decoration. A new formal reading of the profane subjects depicted in the cathedral{\textquoteright}s decoration generates insight into the portal{\textquoteright}s social and ontological strategy, and the sacred themes represented in Ste.-Marie{\textquoteright}s sculpture can now be seen to embody the liturgical milieu of the portal, especially its consecratory locus in the liturgy of dedication. These functional reinterpretations of Ste.-Marie{\textquoteright}s portal decorations suggest new avenues for reinterpretation of other early Romanesque sites and their meaning.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Brown, Peter Scott} } @mastersthesis {9395, title = {Power and Patronage in Mamluk Syria: The Architecture and Urban Works of Tankiz Al-Nasiri, 1312-1340}, year = {2004}, school = {IFA/NYU}, abstract = {Sayf al-Din Tankiz al-Nasiri governed the province of Syria during the reign of sultan al-Nasir Muhammad Ibn Qalawun, one of the best documented and most productive periods for architecture in the Mamluk era. His unusually long tenure, from 1312-1340, allowed him to give sustained attention to the built environment of the region at a time when the vicissitudes of political careers often interrupted patronage efforts. During his term, he undertook an ambitious program of construction throughout the Syrian province that involved monuments, urban works and renewal projects. The goal of this dissertation is two-fold: first, to ascertain the extent of Tankiz{\textquoteright}s patronage, by identifying the structures erected with his sponsorship and the nature of his participation with them; and second, to situate these works within the broader contexts of architectural and historical developments in the region and patterns of patronage during the Mamluk period. The works are discussed in a chronological format divided along geographical lines. Commissions that have not been previously published are analyzed in considerable detail. Those which are no longer extant are reconstructed with the aid of remaining archeological evidence, literary descriptions and documentary source material. The final chapter deals with issues that span the geo-chronological divisions set out in the preceding chapters, analyzing the role of the patron in reshaping urban landscapes, the dissemination of architectural and decorative forms and the relationship between political and architectural patronage. This study reveals Tankiz to have been exceptionally involved in both his duties as regional governor and in his architectural commissions. Through these works Tankiz displays a keen sense of existing urban dynamics and a remarkable ability to exploit them for the success of his new works. His strategic siting policy shows an appreciation for the historical geography of Syria and its capital and for its commemorative and propagandistic potential. His cultivation of an atelier of talented artisans gives a sense of unity to his architectural patronage. This atelier, its peregrinations between Cairo and the Syrian provinces, and its relationship to the sultan and his commissions is also examined.}, keywords = {Art of the Middle East/North Africa}, author = {Kenney, Ellen} } @mastersthesis {9577, title = {Practices of Site: Walter De Maria and Robert Morris, 1960-1977}, year = {2004}, school = {UT Austin}, abstract = {This dissertation is a history of site-related practice in the work of Robert Morris and Walter de Maria. Grounded in a close analysis of the spatio-temporal conditions of their work from the early 1960s forward, this study investigates site as an important epistemological condition of this time. In pairing these two artists, who have associations with the art historical categories of Fluxus, Minimalism, Land Art, Conceptual Art, and Installation, this study also reconsiders the limitations of these categories. This study is arranged in roughly chronological form and considers a variety of experiential models in relationship to site. Chapter One addresses the early interdisciplinary and performative practices of the two artists in association with the emergence of Fluxus, new dance, and minimal music. Chapter Two considers how the diverse intermedia conditions of the early 1960s affect an understanding of minimalism in the work of De Maria and Morris. Chapter Three investigates the two well-known extensive site-related works of Morris and De Maria-De Maria{\textquoteright}s The Lightning Field (1971-1977), and Morris{\textquoteright} Observatory (1971/1977). Chapter Four explores the print media as a site of practice for these artists during this period.}, keywords = {Twentieth-Century Art}, author = {McFadden, Jane Porter} } @mastersthesis {9527, title = {Problems in the Art of Giovanni da Modena}, year = {2004}, school = {Columbia}, abstract = {Until the 1950s the fifteenth-century Emilian painter, Giovanni da Modena, was a little-known artistic figure. Highly touted in the writings of Roberto Longhi, a career was created for this painter primarily based on numerous questionable attributions. This dissertation presents the meager factual information that is known from existing documentation. It then organizes the works attributed to Giovanni to indicate which paintings are unquestionably by him, which reasonably can be assumed to be by him, and which are more likely to be the work of others. This is a difficult task as few of the paintings mentioned in the existing documents are extant. Compounding this problem is the fact that some of the works, especially those that are documented as being by Giovanni, have been heavily restored, at times repainted, and in the worst cases, partially destroyed. Special attention is paid to the frescoes in two of the chapels in the Basilica of San Petronio in Bologna. The paintings in the Sant{\textquoteright}Abbondio Chapel are noteworthy in that they are without doubt the work of Giovanni. They are also of interest in that they depict iconographic motifs that were developing on both sides of the Alps in the early Quattrocento. The rich pictorial cycles in the Bolognini Chapel, although of uncertain authorship, are significant in that they reflect religious and political Bolognese concerns of the time. The issues presented here have implications beyond the study of this local Emilian painter. The careers of several other Renaissance artists have been formulated based on widely accepted attributions for which there may be no real basis, and on works, which though originally produced in the fifteenth century, ultimately, through restorations, reflect the tastes and additions of subsequent centuries. The approach used here may serve as a model for future studies of such artists.}, keywords = {Renaissance/Baroque Art}, author = {Cohen, Evelyn} } @mastersthesis {9574, title = {Promoting Culture Through Photography in the National Gallery of Canada and the Still Photography Division of the National Film Board of Canada}, year = {2004}, school = {Queen{\textquoteright}s}, abstract = {This thesis examines the relationship between cultural policies, and the collection and exhibition of photography in two federal Canadian cultural institutions, the National Gallery of Canada and the Still Photography Division of the National Film Board of Canada. An extended study of these two entities reveals that their employment and understanding of the medium shift over time. I argue that, on one level, these changes relate to institutional processes, and the various means by which the Gallery and the Still Photography Division attempted to validate their mandates. Given different historic circumstances, perceptions of the mandate changed, thus affecting ideas of photography, and its perceived value, both to the institution and society at large. On another level, I demonstrate that, as the Gallery and the Still Photography Division used photography to communicate ideas of culture to Canadian society, changing views of the medium signify shifts in cultural values. The different ways these institutions used photography, therefore, can be related to perceptions of their own internal functions, and, ultimately, how they understood the utility and worth of these activities to society. This thesis, therefore, combines an analysis of the institutional history of photography with the cultural contexts that affect the meaning of imagery. These ideas are extended to a study of how institutional policies both effect and are affected by changing perceptions of photography, and the larger social and cultural consequences of such processes. Through a comparative and extended study of two institutions, I indicate how conflicting, ambiguous and contradictory ideas of photography can be accommodated within the same historic period and field of study. In addition, because photography is multifaceted in its history and application, I demonstrate how the medium challenges the very means by which institutional practices and disciplines gain authenticity. Through an exploration of the variety of ways that photography has been used by these institutions, and the numerous values that have been assigned to it, I show that cultural organizations embody numerous values and beliefs, a condition that also allows them to be responsive and open to larger social processes.}, keywords = {Twentieth-Century Art}, author = {Kunard, Andrea L.} } @mastersthesis {9571, title = {Public Negotiations: Art, Historical Experience, and the Nation in Post-World War II Paris}, year = {2004}, school = {Columbia}, abstract = {This dissertation is concerned with visual and spatial articulations of historical experience and public memory in France during the years coincident with the end of WWII and the disintegration of the French colonial empire. In particular, it looks to both the dominant and oppositional ways in which the public was differently conceived by such artists, theorists, politicians, and activists as Andre Malraux, Isidore Isou, Raymond Hains, Jacques de la Villegle, and the 30,000 anonymous Algerians who took to the streets of Paris on October 17, 1961. These figures, amongst others, attempted to restructure Enlightenment claims about universality and nationality, institutionalized in French social and political thought since the Revolution but radically and perceptibly challenged by the experiences of the Holocaust and decolonization. In response to these challenges, a dominant historicism based on the repression of public memory was built into new conceptualizations of urban culture and the nation. As a consequence, artists and activists turned to literal and metaphoric public spaces to combat the silencing of past and current events and create opportunities to configure counter and alternative publics. Chapter One reads the ordering of French culture, and in particular urban space, enacted under Malraux as Minister of Culture through insights garnered into the dehistoricized roots of Malraux{\textquoteright}s aesthetics as developed in Les voix du silence (1951), while simultaneously considering the implications of both for the collapse of the French Empire. The varied programs developed by the two innovative aesthetic practices of Lettrisme and decollage, discussed in chapters two and three, respond by attempting to rehabilitate historical memory through contesting the limitations of the public sphere as manifest in linguistic and visual culture. In the process, both practices force radical reconsiderations of the public in relationship to the nation. These become paramount in my concluding remarks which analyze the October 17, 1961 Algerian manifestation against a Muslim-only curfew in Paris as a brief, inherently cultural apparition of the colonialist models that de Gaulle{\textquoteright}s administration and French society sought to obliterate from memory and public view.}, keywords = {Twentieth-Century Art}, author = {Feldman, Hannah} } @mastersthesis {9438, title = {Reading Barthes/Writing Twombly}, year = {2004}, school = {CUNY}, abstract = {In 1979 French theorist Roland Barthes wrote two essays about the work of American artist Cy Twombly, "The Wisdom of Art" and "Works on Paper." This specific encounter held the opportunity to undertake a sustained analysis of art practice/theory relations. "Part I. Introduction" begins by historically situating the two principal characters of the dissertation by plotting their careers along parallel timelines. "Part II. Reading Barthes: "The Wisdom of Art{\textquoteright}" begins by considering three paintings from 1962 in which Twombly provides a code of interpretation. A detailed analysis of "The Wisdom of Art," Barthes{\textquoteright}s essay for the 1979 Twombly Whitney Museum retrospective, comprises the remaining portion of "Part II." The major debate in the Twombly literature, characterized by a form/content polarity, is set forth and challenged. Bearing strongly on the discussion are Barthes{\textquoteright}s theory of the intertext and its implications for reception, his approach to mechanisms of meaning in Twombly{\textquoteright}s work, and his emphasis on the amateur. "Part III. Writing Twombly," disrupting in the flow of the readings of Barthes{\textquoteright}s essays, addresses the topic of color. "Questions of Color: The Green Paintings," focuses on a group of Twombly{\textquoteright}s paintings from the 1980s, insistent investigations of color set in relation to Rilke{\textquoteright}s poems and Monet{\textquoteright}s paintings. "Part IV. Reading Barthes: "Works on Paper{\textquoteright}" offers a thorough explication of Barthes{\textquoteright}s second essay on Twombly along a different angle of view-through Barthes{\textquoteright}s "biographemes" (thematic figures). Among the issues of greatest importance are Barthes{\textquoteright}s utopic definition of Writing as graphic activity, his plea for reading from the body, his emphasis on the gauche, the trope of graffiti, and his interest in Eastern thought. "Part V. Conclusion" takes up the phrase at the heart of Barthes{\textquoteright}s endeavor, "the responsibility of form," considering its different implications for theorist, painter, and art historian. Twombly{\textquoteright}s abiding interests in mythology and poetry re-surface in an elaboration of his works on the Orpheus and Euridice myth. Classical mythology serves as the vehicle for differentiating Barthes{\textquoteright}s and Twombly{\textquoteright}s approaches to meaning, and for arguing the ultimate inseparability of activity and object, of form and content in Twombly{\textquoteright}s work.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Daigle, Claire} } @mastersthesis {9516, title = {The {\textquoteright}Reality Effect{\textquoteright}: The Orientalist Paintings of John Frederick Lewis (1805-1876)}, year = {2004}, school = {Yale}, abstract = {In this dissertation, I examine the life and later Orientalist painting of John Frederick Lewis (1805-1876). Though certain aspects of this artist{\textquoteright}s biography have become the stuff of legend-notably his adoption of Middle Eastern clothing and cultural habits during a ten-year period of residency in Egypt in the 1840s-and his jewel-like canvases have long been admired as decorative objects, neither Lewis nor his art have yet received the sort of sustained, scholarly attention they deserve. I will redress this point by suggesting that Lewis-one of the most sophisticated and challenging artists of the Victorian era-orchestrated a series of "reality effects" after 1841, which were meant to challenge viewers{\textquoteright} modes of visual apprehension, to shift their understanding of truth and fiction, and, ultimately, to problematize systems of patriarchal power, both in England and abroad. As I move from Lewis{\textquoteright}s artful efforts at self-fashioning to the measured surfaces of his canvases, and from the Victorian drawing room to the harem and, finally, to the broader global political stage, Lewis emerges as a complicated, conflicted and highly attentive figure in nineteenth-century society. His pictures, moreover, are revealed not merely as technical wonders, but as the grounds on which topical and problematic issues are acknowledged by the artist in extraordinary, unique and unexpected ways. Chapters 1 and 2 focus on the figure of Lewis, both as a mythic presence in Victorian society and as the center of a distinguished group of Anglo-Egyptian intellectuals in Cairo in the 1840s. Chapter 3 examines the surfaces of Lewis{\textquoteright}s paintings, suggesting a correspondence between their conflicted, intertextual compositions, and the nature of the artist{\textquoteright}s biography itself. In chapters 4 through 6, I turn my attention to the ambivalent subtexts of Lewis{\textquoteright}s pictures, in order to suggest the astuteness of their politics and their tendency to transpose geographies. I then conclude the dissertation with the examination of a singular picture in Lewis{\textquoteright}s oeuvre that, I argue, acts as a precis for Lewis{\textquoteright}s artistic project.}, keywords = {Nineteenth-Century Art}, author = {Weeks, Emily} } @mastersthesis {9519, title = {On Reconstructing and Performing Ancient Maya Architecture: Structure 22, Copan, Honduras (AD 715)}, year = {2004}, school = {Columbia}, abstract = {This dissertation offers a reconstruction and reinterpretation of an eighth-century Maya monument, Structure 22, at the UNESCO World Heritage Site of Copan. The reconstruction presented here is preliminary, the first stage of a project to catalogue, conserve, restore, analyze and reconstruct the full corpus of stone facade sculpture recovered from excavations of this building over the last century. The reinterpretation assembles recent archaeological, architectural, epigraphic, and ethnohistoric data for Copan and the Maya area to reframe the building within its eighth-century socio-economic, political, and architectural contexts and to determine its functions and meanings within the building campaign of its patron, Waxaklajun U{\textquoteright}bah K{\textquoteright}awil, the thirteenth ruler of Copan. The study then approaches Structure 22 as a significant event in the history of Maya architectural design and employs performance theory, semiotics, and phenomenological analysis to consider the contexts of its production and reception, as well as its various communicative modes. Research results indicate that Structure 22 should be considered within the dual contexts of the construction of monarchy and the experiential aesthetics of eighth-century Maya religion. Erected during a period of political consolidation throughout the Maya area, the building was designed as a performance space for asserting social order within particular rituals, such as commemorations of royal accession. Built to be competitive and conversant with the building campaigns of contemporaneous Maya kingdoms, the builders of Structure 22 pushed the boundaries of sculptural skill and tested the limits of engineering technology at Copan. The forms of the building offer an expanded vision of divine kingship at Copan, one that situates the body of the ruler within historical, mythic, and cosmic frameworks. This investigation suggests that this building functioned as the royal throne room of the highest ruler at Copan; it was here that the ruler was transformed into, and subsequently reigned as, a deity. As such, Structure 22 was both a physical and conceptual extension of the royal body.}, keywords = {Pre-Columbian Art}, author = {Ahlfeldt, Jennifer} } @mastersthesis {9534, title = {Representations of St. Cecilia in Italian Renaissance and Baroque Painting and Sculpture}, year = {2004}, school = {Rutgers}, abstract = {Saint Cecilia, an early Christian virgin martyr, was represented with increasing prominence in easel paintings and chapel decorations in Italian art during the Renaissance and Baroque periods. This dissertation traces Cecilia{\textquoteright}s origins and follows her divergent iconography over time, from the early medieval period when she was shown as one among many virgin martyrs with generic attributes, to the point where she was given a particular identity of her own, through an association with individualized emblems. A floral crown was her first significant distinguishing item, associated with her circa 820. As early as the thirteenth century, she was shown with an organ for the first time. The long standing and close link between Cecilia and music was the central theme in Raphael{\textquoteright}s famous altarpiece of circa 1513, whose success exerted strong influence on the subsequent diffusion of images showing the saint in the context of music. After the rediscovery of her body beneath the high altar of Santa Cecilia in Trastevere, on October 20, 1599, Cecilia{\textquoteright}s cult was reinvigorated, spurred on by Cardinal Paolo Sfondrato{\textquoteright}s redecoration of his titular church, but her image also conformed to Post-Tridentine thought. The events at the church and her renewed status in Rome and elsewhere in Italy, led to several chapel decorations which feature Cecilia prominently. Five such decorative cycles are compared here. In addition to her presentation within chapels, Cecilia also became a popular subject for both public altarpieces and private easel paintings in the seicento. Her iconography was significantly expanded during this century, and she was often shown in art as singing or playing a wide variety of instruments. Such imagery must reflect contemporary developments in music, which are examined along with the rise in the status of female musicians and singers. Thus, this study draws upon the social and religious background to the transformation of Cecilian iconography through the centuries. In the wake of the Counter-Reformation, the Catholic Church encouraged the representation of saints in art. In the Baroque period Cecilia transcended a purely religious role as martyr and intercessor for the faithful, and became an inspirational force for music, as played within the noble and middle-class household. In essence, she became the model patron saint of music and musicians.}, keywords = {Renaissance/Baroque Art}, author = {Festa, Lisa} } @mastersthesis {9453, title = {Re-Presenting Women in Early Stuart England: Gender Ideology, Personal Politics, and the Portrait Arts}, year = {2004}, school = {Pennsylvania}, abstract = {Contributing to emerging art historical interests in both portraiture and female patronage, the current study explores the interplay between art, ideology, and personal politics in order to arrive at a fuller understanding of seventeenth-century conceptions of sex and gender and the functions of portraiture in early modern England. This dissertation examines representations of not only the early Stuart queens, Anne of Denmark and Henrietta Maria, and ladies of the court, but also the anonymous women of the lower classes. Broadening the traditional definition of the portrait, it treats easel painting, miniature, and masque as correlative arts, performing equivalent cultural work. Thematic, rather than monographic, it focuses on the dialogue between cultural practices and social order in the Early Stuart world, constructing an ideological framework using not only visual documents, but other remnants of material culture, including costume, and extent texts, including literature, drama, sermons, prescriptive tracts, letters and diaries. Early Stuart men and women, the dissertation concludes, collaborated in the production of an ideal vision of feminine virtue that was used both as a basis for the prescription of social behavior and appearance that differentiated men and women and as evidence of innate distinctions between classes and ethnicities. Portraiture was thus a significant tool in the shaping of early Stuart gender ideals and a potent instrument of the patriarchal social order that existed under James I and Charles I. Nonetheless, in the hands of individual women, portraiture sometimes became a vehicle for empowerment. Using the portrait as a means by which to assert claims to personal strength and to forge alliances with other women, ladies of a certain class were able to upset the foundations of contemporary gender ideology, portending alterations to woman{\textquoteright}s station that would accompany the years of civil war and restoration.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Renaissance/Baroque Art}, author = {Hallam, Jennifer Lynne} } @mastersthesis {9572, title = {Resisting Abstraction: Cubism, Robert Delaunay, and the Crisis of Representation in Early Twentieth Century French Painting}, year = {2004}, school = {Princeton}, abstract = {The central concern of this dissertation is to argue that the Cubist painters were confronted with a representational crisis following their belief that vision could no longer serve as a credible basis on which to ground pictorial representation. Coming as they did in the wake of modern optical theory and late 19th-century modernist painting, the Cubists were faced with the problem of how painting could maintain a pictorial bond with the world given their conviction that the visual ground of classical representation had collapsed. Accordingly, it is my claim that the Cubist painters were compelled to develop new forms of pictorial realism that would resist the loss of painting{\textquoteright}s representational function (and in so doing resist abstraction) while circumventing conventional appeals to visual appearance. Picasso, the Salon Cubists (most notably Albert Gleizes, Jean Metzinger, Andre Lhote, and Henri Le Fauconnier), and Robert Delaunay each developed, I argue, distinct solutions to the problem of developing a "third way"-an alternative course between the poles of abstraction and visual illusionism. Opposing dominant accounts of Picasso{\textquoteright}s Cubism, I argue that his Cubism was intended to function as a form of "counterfeit" realism. Much in the way that a counterfeit coin gives the false appearance of value and substance, Picasso strategically sought to deceive the viewer into the impression that he was depicting the essential idea of the object. This deception, I claim, was particularly successful in terms of Picasso{\textquoteright}s reception among the Salon Cubists. Indeed, it was on the basis of this reception that Gleizes and Metzinger developed their notion of "profound realism"-a vehemently anti-visual realism that appealed to the mind and not the eye. The bulk of the dissertation, however, attempts to argue that between 1911 and 1913 Robert Delaunay sought to represent the structure of vision as it occurs as a physiological and cognitive process according to tenants of modern optical theory. This attempt culminates in what is often credited as one of modernism{\textquoteright}s first fully abstract paintings-Delaunay{\textquoteright}s 1913 First Disk. It is my claim, therefore, that even when visual appearance is entirely eliminated, Delaunay{\textquoteright}s abstraction remains bound to a representational function.}, keywords = {Twentieth-Century Art}, author = {Hughes, Gordon} } @mastersthesis {9526, title = {Ritual Performance in Renaissance Florence and the Sculpture of Lorenzo Ghiberti}, year = {2004}, school = {Rutgers}, abstract = {This study focuses on two sculptural projects executed by Lorenzo Ghiberti-the bronze shrine of St. Zenobius (completed between 1432 and 1442), and the second, bronze door he sculpted for the Florentine Baptistery (completed between 1425 and 1452)-as a way to investigate the relationship between art and ritual in fifteenth-century Florence. Ghiberti executed the shrine to hold the relics of St. Zenobius, a fifth-century bishop of Florence, and it was commissioned for the easternmost chapel of the apse of the Florentine cathedral. The chapel was reconfigured in the sixteenth and seventeenth centuries, and I therefore begin with a reconstruction of the fifteenth-century appearance of the chapel. While the shrine is today located beneath an altar, it originally was elevated above columns. I follow the reconstruction with an analysis of several aspects of the shrine. It is argued that in formulating the images on its sculpted panels, and in designing the general configuration of the chapel, Ghiberti and his commissioners responded to a shift in attitudes concerning Zenobius{\textquoteright} status in Florence. After the transfer of his relics that took place in 1439, Zenobius was newly seen as a civic saint, capable of successfully interceding on behalf of the Florentine people. The appearance of the shrine and the configuration of the chapel reflect this shift in attitudes. Moreover, the liturgical rituals performed in the chapel, in conjunction with the sculpted images of the shrine, continuously and publicly called attention to the efficacy of the saint{\textquoteright}s relies. The second, major section of this dissertation argues that the evolution of Ghiberti{\textquoteright}s style relates to his increasing consideration of the ritual use of his sculptures. While often seen as stylistically regressive, the images of the later panels of his second door, and the last panel of the shrine of St. Zenobius, are here presented instead as manifestations of Ghiberti{\textquoteright}s increasing consideration of the links between his sculptures, and the liturgical and civic rituals performed in the spaces surrounding his works. Finally, in the last section I analyze the relationship between the placement of the baptistery doors, and the ritual use of the baptistery{\textquoteright}s portals.}, keywords = {Renaissance/Baroque Art}, author = {Bloch, Amy R.} } @mastersthesis {9547, title = {Rogier Van Der Weyden{\textquoteright}s Descent From the Cross (c. 1435)}, year = {2004}, school = {Harvard}, abstract = {This dissertation is about the "rhyme" between the postures of the Virgin and Christ in Rogier van der Weyden{\textquoteright}s painted altarpiece of the Descent from the Cross (ca. 1435). This "rhyme"-produced by the Virgin{\textquoteright}s strange mirroring of Christ{\textquoteright}s position as he is removed from the Cross-has two seemingly competing effects. It heightens the dramatic display of the image (Christ) at the same time that it gestures towards the removal of that image through an insertion of it into a series. The stutter is the best metaphor for Rogier{\textquoteright}s rhyming bodies, insofar as it represents the single utterance broken into parts, each of which is an unsuccessful attempt to produce that utterance in toto. The "stutter" in Rogier{\textquoteright}s Descent from the Cross announces the image{\textquoteright}s own limits, and, by asserting that images of God are never singular, the "stutter" expresses a broader late-medieval ambivalence towards such images. This reading of Rogier{\textquoteright}s "rhyme" serves as a basis for re-interpreting the flowering of copying practices in early Netherlandish painting circa 1500. Rogier{\textquoteright}s Descent is often seen as an originary image that gave rise to numerous derivatives. But the "stutter" within the frame of Rogier{\textquoteright}s painting, requires the viewer to synthesize a split image, whose very structure questions the concepts of the singular, definitive, and original image. Based on an understanding of Rogier{\textquoteright}s painting as a meditation on repetition, I argue against the prevailing habit of seeing early Netherlandish copies as deictic gestures towards singular prototypes, and for understanding them instead as gestures in the opposite direction, that is, towards further instantiations that might fill the constitutive lack in the images that had come before. The "stutter" within Rogier{\textquoteright}s painting and the copy-seen as a symptom of belief, not in the image{\textquoteright}s perfection, but rather in its idiosyncratic and limited nature-appear on the eve of the Reformation. I argue that these phenomena are evidence of an "auto-iconoclasm" that was built into the devotional imagery of the late-medieval period, and that anticipated many of the Reformation{\textquoteright}s subsequent attacks on the image, as a manufactured and merely material thing.}, keywords = {Renaissance/Baroque Art}, author = {Powell, Amy} } @mastersthesis {9487, title = {Sacred Eloquence: Giambattista Tiepolo and the Rhetoric of the Altarpiece}, year = {2004}, school = {Columbia}, abstract = {Considered Venice{\textquoteright}s greatest painter in his own time, Giambattista Tiepolo (1696-1770) stands at the crossroads of tradition and innovation. His images both respond to Renaissance pictorial tradition and at the same time transcend the hitherto accepted canons of expression. They are marked by an extravagant richness, which escapes conventional methods of analysis, thus frequently leading to misinterpretations. This study deliberately addresses Tiepolo{\textquoteright}s idiosyncratic eloquence in his altarpieces through a model that considers both their historical context and the beholder{\textquoteright}s experience in front of the picture. The fundamental thesis is that Tiepolo{\textquoteright}s rhetoric depends on the creative work of the beholder. Rather than presenting him with ready-made propositions, he forces him to activate his fantasia in order to produce the picture{\textquoteright}s meaning. This creative demand is considered in four chapters, each one discussing a particular mode of expression-iconic, narrative, silent, and visionary. In order to demonstrate that Tiepolo{\textquoteright}s idiom indeed is congruent within the contemporary context, each section draws transversal connections between painting, devotion, and epistemology. The texts of Italy{\textquoteright}s foremost eighteenth-century philosopher, Giambattista Vico (1668-1744), make up the second corner stone of the study. His notion of Poetic Wisdom explains a mode of artistic and linguistic production in which human imagination is elevated to the status of a faculty decisive in the acquisition of knowledge and production of meaning. Drawing on a variety of other contemporary thinkers and theologians, in which the same idea is present, the study restitutes Tiepolo{\textquoteright}s images to their original context and confirms the painter{\textquoteright}s status within both the devotional and intellectual framework of his time.}, keywords = {Eighteenth-Century Art}, author = {Fassl, Johanna} } @mastersthesis {9502, title = {Sacudiendo de Los Espirtus Adormecidos (Awakening of Sleeping Spirits): The Art of Pedro Figari (1861-1938)}, year = {2004}, school = {Yale}, abstract = {Between 1919 and 1934, Pedro Figari, a first generation Uruguayan of Italian descent, executed over 4,000 paintings in Montevideo, Buenos Aires and Paris, depicting Uruguayan society{\textquoteright}s various groups: Spanish Creole Elites, Gauchos, Indigenous peoples, Afro-Uruguayans, and Southern Italian immigrants. I argue that Figari examined difference in Uruguayan society through the lens of anthropology to interrogate and comment on his world, as well as upon the discipline itself. This dissertation responds to the prevailing representation of Figari as a painter of Uruguay{\textquoteright}s folkloric social customs-the picturesque. Figari offers complex, nuanced representations of Afro-Uruguayans, not represented in the fine arts prior to his work, that defy the narrow folkloric type. He figuratively juxtaposed elites and Afro-Uruguayans according to a common activity, progressively making visible Afro-Uruguayans in settings from which they had been excluded in previous representations. In so doing, he critiqued prevailing images of national identity. He represents Spanish Creole elites as stylish and elegant, but superficial and imitative. Gauchos, of mixed ancestry, are depicted as semi-domestic, colorfully attired, country dwellers that exist first and foremost as performers of country dances for wealthy white ranchers within their ranch estates. Figari imagines Uruguay{\textquoteright}s indigenous peoples as the country{\textquoteright}s naked potential buried in crude shells waiting to be developed by new immigrant groups like himself. I move beyond many studies of Figari{\textquoteright}s work by analyzing writings from his tenure as a lawyer, art educator, philosopher, and personal letters for insights into his alienation in society and his atypical relationship with Uruguay{\textquoteright}s black population. In theory, white elite Uruguayan men like Figari did not acknowledge Afro-Uruguayans, so previous historians have not looked for his references to Afro-Uruguayans in his writings. His role as a Defender of the Poor put him in close contact with Afro-Uruguayans. An examination of Figari{\textquoteright}s cross cultural representations demonstrates the ways in which his work as a visual artist exceeded his work as a lawyer, politician, art educator to bring Uruguay{\textquoteright}s cultural heterogeneity into nationalist discourse.}, keywords = {Latin American/Caribbean Art}, author = {Lyneise Williams} } @mastersthesis {9475, title = {The Sainte-Chapelle and the Ideology of Royal Sovereignty}, year = {2004}, school = {Columbia}, abstract = {With its resplendent stained glass, gilt, polychromy, and decorative architecture, the Sainte-Chapelle of Paris, built by king Louis IX between 1239 and 1248, is one of the most spectacular monuments of the thirteenth century. While scholars of the Middle Ages already acknowledge the dual religious and political function of the chapel, the extraordinary novelty of the building{\textquoteright}s architecture and ideological program has not been recognized. Consequently, our understanding of the Sainte-Chapelle{\textquoteright}s greater cultural significance, not only during the Middle Ages but also throughout French history, has been limited. This study demonstrates that the Sainte-Chapelle transformed the public image of the king and conveyed a newly emergent form of royal ideology. While earlier types of Capetian imagery emphasized the king{\textquoteright}s status as terrestrial ruler, the Sainte-Chapelle asserted sacral kingship, or divinely ordained rule. The chapel{\textquoteright}s innovative combination of meaningful architectural forms and its public function effectively conveyed propaganda to a broad range of people. By employing the bishop{\textquoteright}s chapel type and the ecclesiastical (or "Gothic{\textquoteright}) style in the royal palace complex of the Palais de la Cite, the authors of the Sainte-Chapelle appropriated that which was customarily associated to the Church and aligned it with the king. The messages implicit in the architecture of the royal chapel were broadcast to the public on new feast days whose liturgy extolled Louis IX and the kingdom of France. When considered within the social and political context of the time in which it was constructed, the elaborate visual and liturgical program of the Sainte-Chapelle appears as more than just a statement of the monarch{\textquoteright}s status as sacral king, but rather as a forceful exclamation of divinely sanctioned royal sovereignty, a prelude to absolutism. The chapel{\textquoteright}s role as a sign of royal power led to its near destruction in the French Revolution and factored in the decision to recreate it in the nineteenth century as a Monument historique, a locus of French cultural and national identity. This study illustrates the crucial role that the Sainte-Chapelle of Louis IX played during the Middle Ages in unifying the elements that ultimately came to define what is "French."}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Meredith Cohen} } @mastersthesis {9521, title = {Sculpting Imperialism? The Diverse Expression of Local Cults and Corporate Identity in the {\textquoteright}two-Tufted{\textquoteright} Figure at the Templo Mayor}, year = {2004}, school = {UCLA}, abstract = {When the Spanish arrived in the Central Valley of Mexico in 1519, the Mexica/Aztec (A.D. 1375-1521) had sewn together a political quilt covering the diverse cultural landscape of the Basin of Mexico and beyond. In the following years the Spanish destroyed the Aztec capital of Mexico-Tenochtitlan, entombing its remains beneath the foundations of their new city. Four hundred fifty years later the remains of the Templo Mayor, the Mexica premiere structure, were unearthed along with the associated deposits, which contained marine materials, land and sea animals, and a trove of cultural materials including portable sculpture. This discovery provided a lens to a once-lost world, one far more sophisticated and complex than described by Spanish writings, which sensationalized aspects of Mexica society, asserting that it was barbaric, warlike, and consequently unworthy. Although recent discoveries have brought notable changes in our perceptions of Aztec art and social history, discussions of Mexica civilization continue to favor militaristic interpretations. My work challenges the one-dimensional interpretation of Mexica society as barbaric and bellicose in nature. This image can be deconstructed through careful analysis of portable sculptures found buried in the Templo Mayor ruins and depicting seated males in distinctive headdresses with two rectangular protuberances, or "tufts." These "two-tufted" figures provide evidence of Aztec socio-political behavior and indigenous ideology, adding a new dimension to commonly held interpretations of Mexica and neighboring societies. I seek to prove that Aztec artworks embodied multiple ideologies within the ethnically composite and fractious political milieu of Post-Classic Central Mexico in order to ensure the consensual domination of diverse groups. My study is the first to conduct a fine-scale stylistic, iconographic, petrographic, and contextual analysis of all of the two-tufted figures exposed in the Templo Mayor offerings. By exploring the polyvalence of the two-tufted figures, performing a thorough analysis of each statue{\textquoteright}s form, pose, style, anatomy, facial features, iconography, and contextual setting, I have identified, for the first time ever, two major styles consisting of a total of thirty-five sub-styles. My findings challenge the old, simplistic, "single" interpretation of this figure, revealing a more complex and diverse interpretation of not only the two-tufted figure, but of the Mexica as well. By combining art-historical and archaeological research methods in this study of the two-tufted figures, I have provided a glimpse into the important integrative role Aztec sculpture played in the course of empire.}, keywords = {Pre-Columbian Art}, author = {Guzman, Eulogio} } @mastersthesis {9373, title = {Selected Problems in Aegean and Near Eastern Dendrochronology}, year = {2004}, school = {Cornell}, abstract = {Dendrochronology, the study of chronology from tree rings, is simple in principle, but not always so in practice. Although I have worked with dendrochronological wood and charcoal samples from the early Neolithic Period to modern forest samples, I have selected the papers presented in this dissertation as exemplars of "problems" with the application of dendrochronological techniques to the study of (1) the Early and Middle Bronze Ages in Anatolia and Assyria, (2) the Early Iron Age in Anatolia, (3) the Later Iron Age in Anatolia, and (4) the Early Iron Age in Greece. They illustrate the ways that dendrochronology, properly studied and applied, can add a new dimension to the chronological studies of important areas and time periods. They involve issues of interspecies crossdating, and working with datasets of differing degrees of robustness. Radiocarbon dating has been employed in at least two of the papers to illustrate how different methods of archaeometric dating can complement each other to offer near-absolute dates for some archaeological phases. Noteworthy among these is the use of dendrochronological radiocarbon wiggle-matching (DWM) to offer near-absolute dates for the Assyrian Colony Period at Kultepe-Kanes in Anatolia and the Protogeometric Period in Greece.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa, Egyptian/Ancient Near Eastern Art}, author = {Newton, Maryanne Woodruff} } @mastersthesis {9399, title = {Signature Styles, Art Historical Agonism, and Robert Morris{\textquoteright}s Language Games}, year = {2004}, school = {Stony Brook}, abstract = {Robert Morris (b. 1931) enjoys canonical status within art history as an artist associated with Minimalism. However, this privileged position distorts the contribution Morris made to the course of Late Modern or Postmodern conceptual art during the latter half of the 20th century. Morris{\textquoteright}s critical reception is limited by the ongoing emphasis on his artistic endeavors of the 1960s as his signature style. While Morris adopted artistic strategies that extended the formal limitations of Minimalism, and has continued exploring new and diverse artistic avenues, the art he produced during his mature years has either been ignored or severely impugned. Influenced by the posthumous publication of Ludwig Wittgenstein{\textquoteright}s writings, Morris treats art as a "language-game" whereby the Modern art world functions as a "form of life" with unique rules by which the game is played. This dissertation examines Morris{\textquoteright}s oeuvre as a case study to assess the utility of Wittgenstein{\textquoteright}s theories for art history. Wittgenstein was widely read and referenced by many of the seminal Conceptual Artists, including Morris. To clarify his concept of the language-game, Wittgenstein relied upon an ocularcentric discourse revolving around his theories of "seeing as", "noticing an aspect", "continuous seeing", and "aspect blindness". Morris{\textquoteright}s exploration of these ideas reveals limitations and contradictions inherent within art historical discourse, especially as it relates to the formalist theories of Modern Art as promoted by Clement Greenberg and Michael Fried. Morris{\textquoteright}s philosophical approach to art results in an ongoing interrogation of the rules of Modern art, especially the concept of an artist{\textquoteright}s original genius as exhibited through the creation of and devotion to a signature style. By developing numerous styles that share Wittgensteinian "family resemblances," Morris abrogates this Modernist rule Taking Wittgenstein{\textquoteright}s concepts to their logical conclusion, Moms treats art as a game with Marcel Duchamp, Jackson Pollock, and Jasper Johns as both his opponents and teammates.}, keywords = {Art of the United States, Contemporary Art}, author = {Winkenweder, Brian} } @mastersthesis {9393, title = {Silken Parchments: Design, Context, Patronage, and Function of Textile-Inspired Pages in Ottonian and Salian Manuscripts}, year = {2004}, school = {Delaware}, abstract = {This dissertation examines illuminated manuscripts produced in the Ottonian and Salian empires during the tenth and eleventh centuries. The ornament in these works evokes the look of silk produced in the Byzantine Empire. By bringing together two distinct art forms, silk and painted manuscripts, the textile-inspired manuscripts added a new dimension to the splendor of the realm through the augmentation of pageantry of the liturgy and secular ceremonies. These works were associated with members of the imperial family or high-ranking ecclesiastics. The first chapter discusses patronage and gift-exchange in the Ottonian and Salian eras, which were the driving forces behind art production during this period. Rulers advanced their political agendas and bishops developed their reputations through carefully planned artistic projects. In the case of textile-inspired manuscripts, patrons chose the elaborate ornament in order to enhance secular and ecclesiastical luxury. Chapter two focuses on liturgical practice in the tenth century. Like their Carolingian predecessors, Ottonian rulers imposed their interests in liturgy on religious practice and developed texts explaining procedures for carrying out rituals. In addition to developments in liturgy, this chapter discusses ecclesiastical reform movements that spread throughout the Ottonian realm. Chapter four discusses the history of silk in Western Europe and describes its uses among ecclesiastical and secular patrons. Silk was a valuable commodity in the Middle Ages and was used to wrap relics, protect painted pages in manuscripts and cloak important figures. Through these various uses, the precious fabric inspired manuscript artists to create a new style of ornament. Chapter five describes several textile-inspired manuscripts produced at the monasteries of Corvey, Hildesheim and Echternach. Artists from each of the scriptoria approached the decoration of the manuscript differently. Patterned backgrounds behind text and figures are characteristic of work produced at Corvey. At Hildesheim, bishop Bernward{\textquoteright}s interests were reflected in his productions. The manuscripts made at Echternach placed textile-inspired ornament pages between Gospel texts, thus providing visual metaphors for silk that protected relics. The dissertation concludes with a discussion of the originality of textile-inspired ornament in manuscripts and offers a suggestion as to why production of this type of decoration ceased in the eleventh century.}, keywords = {Art of the Middle East/North Africa, Early Medieval/Romanesque/Gothic Art}, author = {Wagner, Stephen} } @mastersthesis {9570, title = {Situating Cindy Sherman: Artistic Communities, Cultural Allegiances, and Critical Agendas, 1975-1984}, year = {2004}, school = {UC Berkeley}, abstract = {For twenty-five years, Cindy Sherman{\textquoteright}s Untitled Film Stills have been the favored subject of art history{\textquoteright}s most sophisticated and influential theoretical readings. Situating Cindy Sherman rereads the stills in terms of three highly specific historical contexts for their production. The first chapter, which details the work Sherman produced while a member of the Buffalo artists{\textquoteright} co-op Hallwalls, demonstrates that her initially open, lively and patently comical photo-performances epitomized the group{\textquoteright}s playful and highly sociable practice. Sherman{\textquoteright}s habit of disconcerting her peers with impromptu masquerades, her preference for working alone and the evolution of her early work into multi-character photo-fictions reveal, however, that a resistance to the desires of the audience and an ambivalence about the rigors and rewards of both high art and mass culture lie at the heart of her practice. These negative qualities come to the fore in the film stills. By way of a survey of the initial production, exhibition and criticism of the stills, the second chapter uncovers in the work of Sherman{\textquoteright}s peers and in the writings of Douglas Crimp, a concern not with the nature of representation as such but with the nature of one{\textquoteright}s always-intimate relationships with images. Taking the Untitled Film Stills at face value, this chapter also reads the series as an implicitly feminist representation of the situation in which Sherman found herself as a woman artist trapped by a fear of New York streets inside her home/studio, where she produced cinematic images of solitary women while her partner, Robert Longo, turned out film-based drawings of isolated men. Their exchange of imagery not only insists on gender differences in the experience of alienation, but also demonstrates their generation{\textquoteright}s investment in both existential issues and quotidian enthusiasms (for film, for example). The final chapter examines the implications of the claim that Sherman{\textquoteright}s work matters as a critique of the myth of modernist originality and as a high-art rebuke to mass culture. It argues that both Sherman{\textquoteright}s and Longo{\textquoteright}s work responds instead to unheralded, alternative artistic practices of the period: New York punk rock and the "No Wave" schools of music- and film-making.}, keywords = {Twentieth-Century Art}, author = {Evans, Sarah} } @mastersthesis {9493, title = {Social Articulation in the Early Bronze Age of the Central Mediterranean}, year = {2004}, school = {Brown}, abstract = {The third millennium witnessed fundamental changes in social articulation in the central Mediterranean. In Italy the material remains of the Early Bronze Age (EBA) reveal the first clear indications of individuals of distinction. Based on analysis of the archaeological record, a general model for understanding social articulation in the Italian peninsula can be formulated. This model is as follows: society was organized according to family groups with one individual at the head of the group. These individuals are distinguished in the archaeological record by metal daggers. The ritual contexts of these daggers suggest that the status of these individuals had its basis in ritual activity. A parallel development can be seen in the social organization of the EBA of the Aegean. Theoretical models applied to developments in this region concentrate on the connection between agricultural development and emerging social complexity. This complexity had its roots in the development of metallurgical technology, and the connection of metal objects to social status is suggested by EBA funerary contexts. However, the best reflection of differentiation in the archaeological record, particularly in the central and southern Greek mainland, is the monumental architecture of the Early Helladic II period. The combination of monumental architecture and funerary evidence suggests the division of society according to kin-based groups, some of which would have had greater status than others. Additionally, the importance of ritual activity can be seen in connection to monumental architecture. A connection between metallurgy, ritual activity, and social articulation is the common thread which links the prehistoric central Mediterranean. In both EBA Italy and the Aegean, metallurgy was the principal impetus for the emergence of rank in society. In turn, metal objects, especially daggers, reflect the formation and establishment of this rank. Daggers were used by individuals with power in a ritual or religious sphere. While the importance of ritual activity can be seen in connection to monumental architecture in the Aegean, evidence for particular individuals of upper status is lacking. Therefore, the archaeological record of EBA Italy presents a clearer picture of rank in society at this time.}, keywords = {Greek/Roman Art, Prehistoric Art}, author = {Kontes, Zoe} } @mastersthesis {9374, title = {Society Matrons, Working Girls, Fair Maidens, and New Women: Frances Benjamin Johnston}, year = {2004}, school = {Delaware}, abstract = {The image and social role of women were enduring concerns for Frances Benjamin Johnston (1865-1952), as evidenced in her photographic, written, and other production. The twenty-year period I have chosen to study (1890-1910) was one of great flux for the definition of these roles and Johnston{\textquoteright}s work reflects this transitional era in American culture. Indeed, the flux and uncertainty of the period are mirrored by Johnston{\textquoteright}s own uncertain relationship to her milieu and the inherent ambiguity in many of her photographs of women, issues that emerge as overarching themes in this text. I employ the framework of gender to analyze Johnston{\textquoteright}s efforts to document and construct female roles. Within this framework I utilize biographical, historical, formal, and sociological approaches, in order to offer a more nuanced, if not conflicted, "portrait" of Johnston and her work than is present in previous scholarship. Chapters 2 and 3 provide biographical and historical background with the aim of illuminating how Johnston{\textquoteright}s life and professional aspirations informed her representation of women. The following five chapters address specifically Johnston{\textquoteright}s photographs of women, which I have categorized into four "series": portraits of society women, photojournalistic essays featuring female workers, pictorialist compositions, and images of "New Women," which include Johnston{\textquoteright}s own self-portraits. Finally, Johnston{\textquoteright}s efforts at shaping roles for women through written essays and an exhibition of the work of American female photographers at the 1900 Paris Universal Exposition are examined. These groups of photographs by Johnston and her other activities have not been previously discussed together. Johnston both adhered to and subverted conventional depictions of women and their social role. While doing so, she maintained a commitment to the exploration of possibilities for female representation and roles. An examination of her strategies, subject matter, and engagement with her milieu illuminates not only Johnston and her work but also our understanding of the interrelationship between photography and the role of American women at the turn of the twentieth century.}, keywords = {Architectural History/Historic Preservation, Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Jameson, Kathleen} } @mastersthesis {9450, title = {Soft Focus: Glamour and the Hollywood Redevelopment Project}, year = {2004}, school = {Rochester}, abstract = {This dissertation project undertakes a critical examination of the Hollywood Redevelopment Project (or H.R.P.). The H.R.P. is a thirty-year, billion-dollar effort to revitalize Hollywood, Ca. Using the recent renovation of Times Square in New York City as a model, Hollywood{\textquoteright}s redevelopment seeks to create a tourist friendly environment that capitalizes on the city{\textquoteright}s history as the home of the American film industry. But for the past three decades, Hollywood has been as synonymous with porn theaters, sex shops, prostitution, and homelessness as it has with movies and entertainment. As a result, Hollywood{\textquoteright}s rebirth raises a number of problematic and disconcerting issues that concern the complicated intersection between cinema and the city. What expectation do tourists have when they visit Hollywood? Where and how was that expectation produced? Who will benefit from the Hollywood Redevelopment Project? And who will be left out? This dissertation is an interdisciplinary project that uses film history and theory, urban studies, and cultural studies. It investigates the manner in which artistic and visual media intersect with social, civic, and commercial forces in reconstructing Hollywood. The first part of this project explores how urban redevelopment is attempting to capitalize on early perceptions of the city as a space and place of "glamour." It explores the history of this term and its connotations of sexuality, artifice, and consumerism. It argues that the glamour of Hollywood{\textquoteright}s redevelopment potentially conceals social displacements taking place there. The second part of the project explores the material effects of urban redevelopment. It discusses the growing popularity of "urban entertainment centers" as tools to reinvigorate the blighted downtown regions of major metropolitan areas like New York City, San Francisco, and Los Angeles. These spectacular retail complexes combine shopping and moviegoing to lure tourists and residents back to the city center, and their construction plays an important role in the redevelopment of Hollywood. The project concludes by returning to a discussion of glamour, arguing that glamour becomes an affect of the built environment of a revitalized Hollywood and a metaphor for the dynamics of displacement taking place within the city.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Film/Video}, author = {Reynolds, Matthew} } @mastersthesis {9443, title = {The Spaces of Everyday Life: Claes Oldenburg, 1959-1969}, year = {2004}, school = {CUNY}, abstract = {This thesis proposes that a serious reconsideration of the early work of Claes Oldenburg necessitates a reconsideration of the division between space and surface in 1960s art, that is, between art concerned primarily with issues of spatial investigation and that concerned primarily with questions of image and representation. Although one of the key figures associated with Pop Art in art historical literature, Oldenburg did not focus on the slickness and superficiality of media and commercial imagery, nor did he employ the cool impersonality of mass media production techniques. Instead, he emphasized the tactile and experiential quality of his sculptures and installations and chose subjects of the most immediate familiarity, giving the viewer a sense of an embodied experience in real space rather than a purely visual experience. The thesis uses the concept of "everyday life" rather than that of "low art" or "popular culture" often brought to bear on Pop Art. In the 1960s, everyday life began to take on new importance both as a theoretical construct and as a site of political activism. Using both semiotic and social models, I argue that Oldenburg{\textquoteright}s work extends the exploration of space beyond the concerns of sculpture and into its social context, so that the spaces of everyday life-the street, the store, the home, the city-become themselves the very subject of the work. I further argue that in contrast to Oldenburg{\textquoteright}s later large-scale projects, his 1960s work addressed the spaces of the city not as fully determined and intact, but as an open proposition that can be engaged by active participants. Through techniques such as parody and defamiliarization, Oldenburg{\textquoteright}s work points not only to the power of disciplinary institutions and discourses, but also reveals how social interaction produces the potential for critique and change.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Tepfer, Ellen} } @mastersthesis {9436, title = {Statecraft and Cemetery in Early Dynastic China: Yu Funerary Arts in the Zhou}, year = {2004}, school = {Pittsburgh}, abstract = {Recent archaeological investigation on early dynastic China has yielded new materials with which scholars are beginning to re-evaluate the traditional "Middle Kingdom" model, one that defines early China-the state of the Zhou people in particular-as a unified kingdom that assimilated all peoples into one single unity. My dissertation joins this scholarship, and contributes to it from an art-historical perspective by examining the funerary arts of a non-Zhou group, the Yu people. I also study the unique stylistic tradition of bronze vessels from a different archaeological context-a bronze cache-which were commissioned by the Wei Shi people, descendants of the royal Shang who were overpowered by the Zhou. I hypothesize that the Zhou state was not politically and culturally homogeneous, but was diverse. I challenge the centrality of the "Middle Kingdom" model by investigating the artistic manifestation of the Yu and Wei Shi groups and the socio-political relations they had with the Zhou. The dissertation begins with an introduction that outlines the structure and main argument of the thesis. Following this, the research background, problem, and methodology are introduced. Major analytical approaches in the studies of the Chinese bronze age are then evaluated, and my hypothesis is proposed. I compare the Yu mortuary practice with those of the Zhou and two of the Zhou{\textquoteright}s sub-states-the Jin and Yan-to explore patterns of differentiation and affiliation in their material culture. I discuss arts, ritual, human agency, gender, and different political strategies among these various groups. Different from what the "Middle Kingdom" model assumes, I suggest that the formation of early Chinese culture is characterized by difference and diversity. By taking an interdisciplinary approach that combines studies of artistic style, patronage and function of commemorative bronzes with mortuary analysis, my research establishes an interpretive model of social and political function of funerary arts and burial practice in the Zhou, and provides insight into the statecraft in early dynastic China.}, keywords = {Chinese Art}, author = {Yu, Jiang} } @mastersthesis {9413, title = {Surveying the Nation in Time: Landscape in Nineteenth-Century Print Culture}, year = {2004}, school = {Chicago}, abstract = {This dissertation describes the integral role of landscape views in illustrated books produced in connection with the territorial expansion and economic development of the United States in the period 1825-1875, focusing on the emerging discourses of scenic tourism and ethnological and geological science. I argue that these discourses depended on new conceptions of time (new time frames for tourist activity and new formulations of the history of civilizations and the earth) and that the way these books presented landscape imagery rendered these temporalities comprehensible and perceptible for the reader. I further show that the critical component of this presentation involved embedding different narrative forms within the viewing of landscape, that the visual perusal of space followed narrative forms that were constitutive of the temporalities so important to scenic tourism, ethnology, and geology. Current scholarship on nineteenth-century American landscape painting has similarly stressed how works from this period encoded abstract narratives of the progress of civilization, one of the dominant mythologies driving the nation{\textquoteright}s expansion, by guiding the viewer{\textquoteright}s eye along particular a path into depth. My work not only expands the kinds of history that were shaped by narrative viewing, but extends this representational strategy to the wider culture, especially to the rapidly growing domain of print culture. The nineteenth century witnessed a succession of important advances in printing technology (wood engraving, electrotyping, steam-powered presses) that enabled publishers to reach a much greater proportion of the population than before, resulting in a new instrumentality for print materials within society. Moreover, these inventions spurred experimentation with the juxtaposition of text and illustrations, with relating the activities of reading and looking, narrative and spectatorship, that I argue is part of the more well-known nineteenth-century fascination with optical toys and other imaging devices. Paintings and optical inventions made use of narrative models of viewing, but the books I examine deploy and theorize relations of reference between narrative text and visual representation more concretely. Through them I reconstruct a little examined but no less important chapter in the operation and significance of narrative as a representational tool in American society at this time.}, keywords = {Art of the United States}, author = {Johnston, Matthew} } @mastersthesis {9546, title = {Taking Aim at Amore: Michelangelo, Bronzino, and the Lexicon of Pictorial Ambiguity in Representations of Venus and Cupid}, year = {2004}, school = {Michigan}, abstract = {Love ranks among the most pervasive subjects of Italian Renaissance poetic, philosophical, and visual discourses. The vocabulary often used to frame the bittersweet amatory experience was that of archery; the characters invoked to direct and personify love{\textquoteright}s processes, Venus and Cupid. As executors of the potent arrow, governors over love, and extensions or surrogates of lover and/or beloved (and of author/dedicatee/reader), the mythological god and goddess operated as protean signifiers within the textual domain. Their operations and guises proved all the more complex as fifteenth- and sixteenth-century discourses of literature, medicine, and magic blurred boundaries among the metaphorical, physiological, and supernatural domains. Focussing on Michelangelo Buonarroti{\textquoteright}s Venus and Cupid executed by Pontormo, and Agnolo Bronzino{\textquoteright}s Allegory of Love, Venus, Cupid, and Jealousy, and Venus, Cupu4 and Satyr, this dissertation seeks to understand how the multivalent semiotic values attached to the deities and their weaponry in the verbal realms transformed and were mobilized in the pictorial realm. Examining these images within contexts of philosophical treatises, somber and burlesque poetry, Ovidian narrative, comedic theater, and the discourses of love magic, I argue that Michelangelo and Bronzino each developed lexicons of visual ambiguity centered upon the multivalent weaponry of love. Whence, these artists exercised a pictorial syntax whereby the equivocal relations crucial to Renaissance literature on love-relations of gender and sexuality, agency and passivity, masculine and feminine, and desire and fulfillment-were both represented for, and enacted via, the beholder{\textquoteright}s own visual engagement. These poet-artists hereby asserted themselves within longstanding discourses of competition among the verbal and visual, and painterly and sculptural, arts. Long a metaphor for the gaze and amatory potency, the multivalent arrow became, in Michelangelo{\textquoteright}s and Bronzino{\textquoteright}s hands, an instrument of powerful artistic riposte. Using these examples of Venus and Cupid, this dissertation points to a broader agenda: to examine more closely the complex relations among intellectuality, eroticism, vision, desire, and metaphorical and physiological cultural paradigms, in order to better understand literature and imagery of Early Modern Europe.}, keywords = {Renaissance/Baroque Art}, author = {Perlman, Julia} } @mastersthesis {9529, title = {The Technology of Salvation and the Art of Geertgen Tot Sint Jans: Manifestations of Salvation Theology in Material Culture}, year = {2004}, school = {UC Santa Barbara}, abstract = {My dissertation investigates the complex interactions between devotional painting and Church doctrine in late-medieval and early-modern visual and material culture. In particular, I demonstrate how the pictorial arts intersected with popular religious practice and helped devotees negotiate the condition of their souls and create spiritual personae. Religious images and the systems governing their use constituted what I term a "technology of salvation"-a radical method of self-fashioning designed to form souls worthy of salvation and bring them into accord with the teachings of the Church. I analyze paintings by Geertgen tot Sint Jans (Little Gerard at St. John{\textquoteright}s) who worked for the Haarlem house, or commandery, of the Knights of St. John Hospitaller. My study situates each painting its larger socio-historical milieu and provides a period-specific understanding of the use of images in the process of soul formation. I rely on historical epistemology-drawing on Walter Ong{\textquoteright}s "poetic economies,{\textquoteright} Michael Baxandall{\textquoteright}s "period eye{\textquoteright} and Mark Meadow{\textquoteright}s "habits of mind{\textquoteright}-to reconstruct the conceptual matrix underlying the use and production of religious art in the period. At its core, my project excavates the terms and ideational structures with which fifteenth-century Christians conceptualized the role of religious art and expands our understanding of how these objects functioned in the period.}, keywords = {Renaissance/Baroque Art}, author = {Decker, John} } @mastersthesis {9380, title = {Techno-Morphism of Frank Gehry at the Guggenheim Museum in Bilbao, Spain}, year = {2004}, school = {Florida State}, abstract = {Frank Gehry introduced a new era in architecture with the Guggenheim Museum in Bilbao, Spain. Noteworthy at the Guggenheim is its design and building processes which mark a paradigm shift in architectural historiography and pedagogy. The museum comprises three significant over-arching ideas: Gehry{\textquoteright}s unprecedented use of e-technology to design and build, his extensive and innovative use of architectural language, including Jacques Derrida{\textquoteright}s "deconstruction," and his sensitive awareness of cultural memory and history. Furthermore, the design and construction of the Guggenheim Museum have created a ripple effect throughout the architectural world, altering pedagogical models and introducing new styles. The design and construction of the Guggenheim Museum, effectively mirrored society{\textquoteright}s transformation from industrial to post-industrial. Therefore, this museum serves as a model of society{\textquoteright}s change to an incorporation of e-technology, while representing a historical architectural shift from industrial construction to technological construction. As a result of the immense transpositions and transformations Gehry created in architecture, a new discourse has been opened among architects and critics alike. Now termed "The Bilbao Effect," this new dialogue challenges ideas of architecture as economic tool used for urban revitalization. Furthermore, "The Bilbao Effect" incorporates issues of signature designs and a new "mechanization" of architectural design. This dissertation briefly outlines the beginning dialogue of "he Bilbao effect." Furthermore, I demonstrate that the Guggenheim Bilbao is a new style-Techno-Morphism-a term I have coined. Since the museum is both formed and informed by e-technology, technomorphism is also a process. This process is due to Gehry{\textquoteright}s employment of CATIA, a multi-faceted aeronautic software which includes CAD (Computer Aided Drafting), CAM (Computer Aided Manufacturing), and CAE (Computer Aided Engineering) capabilities. This highly sophisticated software streamlined the processes Gehry needed to produce more "artistic" buildings, while being cost effective. I have also demonstrated that Gehry{\textquoteright}s use of CATIA for design and construction finalized the mechanized industrial age, prevalent in the mid-nineteenth and twentieth centuries.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Nero, Irene} } @mastersthesis {9495, title = {That Customary Magnificence Which Is Your Due{\textquoteright}: Constantine and the Symbolic Capital of Rome}, year = {2004}, school = {Columbia}, abstract = {This dissertation examines the public monuments erected in Rome in the years surrounding Constantine{\textquoteright}s victory over Maxentius at the Milvian Bridge in October, 312. The Tetrarchic panegyrics, as well as the Tetrarchic Five-Column Monument erected in the Roman Forum, reveal the tensions brewing in Rome over the emperors{\textquoteright} absence from the ancient capital. The acclamation of Maxentius was the direct result. Maxentius won the loyalty both of the praetorians and of the local elite by representing himself, through his numismatic imagery and extensive building campaign, as Rome{\textquoteright}s champion, as a new city-founder, and as the "protector of his city." Constantine{\textquoteright}s projects in the city responded to the legacy of Maxentius by construing him as a tyrant, by systematically reinscribing his architectural benefactions so that they now redounded to Constantine{\textquoteright}s own glory, and by emulating first- and second-century imperial models of the civilis princeps. The Roman Senate largely followed suit, rewriting the embarrassing recent history of the civil war-in which Rome had fought on the losing side-by eagerly seconding the image of Maxentius as a tyrant from whom Constantine had mercifully liberated them. The construction of this narrative was not entirely smooth, however. From the point of view of the Roman elite, the city was once again ruled by an absent emperor who seemed to care little for the mos maiorum and for the imperial traditions of the caput mundi. Rome honored the new ruler in ways that ultimately had more to do with the emperor the Senate expected him to be rather than the one Constantine actually was. At the same time, these public monuments can be read as celebrations of Rome itself as much as of the emperor. Particularly noteworthy is the fact that both Constantine and the Senate articulated these complicated, layered messages not with brand new monuments but by reframing and renewing the material fragments of Roman imperial history with which the ancient capital was, by the early fourth century, overflowing.}, keywords = {Greek/Roman Art}, author = {Marlowe, Elizabeth} } @mastersthesis {9498, title = {Tomioka Tessai{\textquoteright}s Narrative Landscape: Rethinking Sino-Japanese Traditions}, year = {2004}, school = {University of Washington}, abstract = {This dissertation investigates the development of what I call Tessai{\textquoteright}s "narrative landscape," a hybridized oeuvre of yamatoe (Japanese nativist painting) and literati painting (scholar-amateur). Regarding these artistic "traditions" not as fixed aesthetic genres, but rather, as "specifically discriminating view[s] of the past" (Baxandall), this study examines the ways in which yamatoe and literati painting were reconsidered and reinvented by Tessai and his contemporaries. The origin of the yamatoe aspects in Tessai{\textquoteright}s painting is identified as the setsuwa (popular-tale) style painting of the twelfth and thirteenth century. Setsuwa-style painting became an integral part of yamatoe in the nineteenth century when yamatoe was made into a national aesthetic. Changes in Tessai{\textquoteright}s painting in the early twentieth century are linked to his study of Chinese landscapes by literati painters of the Ming (1368-1644) and Qing periods (1644-1912). His painting in the early twentieth century reflected and fueled Japanese interest in China during the period of Japanese expansion. By analyzing the reception of Tessai during his lifetime and afterwards, until 1945, this dissertation considers modern Japanese views of East Asian art.}, keywords = {Japanese/Korean Art}, author = {Maeda, Tamaki} } @mastersthesis {9468, title = {Toward a History of Byzantine Psalters}, year = {2004}, school = {Chicago}, abstract = {The dissertation is the first attempt at a general study of Byzantine Psalters. It is based on an almost exhaustive examination of Greek Psalters written on parchment from the fifth to the fifteenth century. Horologia (Books of Hours) and sets of communion prayers are also studied, being closely related in contents to Psalters. The text, physical form, and decoration of Psalters are analyzed in general, noting aspects of continuity and change. The use of Psalters is then described on the basis of Byzantine sources, first of all six rules for private prayer whose texts are published in print for the first time. Fifteen representative groups of Psalters are discussed in chronological order in terms of their paleography, contents, illustration, and patronage. Finally, the working methods of the scribes and painters who produced Psalters are considered, as well as the way they interacted with patrons}, keywords = {Early Christian/Byzantine Art}, author = {Parpulov, Georgi} } @mastersthesis {9485, title = {The Two Eyes of the Earth: Competition and Exchange in the Art of Ritual of Kingship Between Rome and Sasanian Iran}, year = {2004}, school = {Chicago}, abstract = {In late antiquity, the figure of a sacralized emperor who mediated between heaven and earth dominated the late-Roman and Sasanian empires. These conceptions of kingship, while often generating conflict over their four centuries of coexistence (224-651), also drove exchange, especially with regards to the main tools that the Roman and Iranian courts utilized to project their conceptions of universal rule: elaborate systems of ritual, and their cultures{\textquoteright} visual, architectural and urban environments. This project focuses on a pivotal period in political and religious history, a period which lies at the crossroads of the ancient and medieval worlds and between the Mediterranean and the Near East. In it I analyze how the Roman and Sasanian emperors grappled with two fundamental problems arising from the intersection of religion and political power. Firstly, I investigate the process of creating and sustaining a system of sacred kingship. In this project I analyze how these empires continuously reshaped and reinterpreted their visual environments and ritual practices to legitimate the actions of the sovereign and project power over populations. Secondly, I ask what were the conditions and motivations that enabled two hostile systems of sacred universal sovereignty not only to coexist, but to foster cross-cultural exchange and communication even in the face of an undying rivalry. Whereas contemporary theoretical work on the subject of cultural interaction has dealt mainly with post-colonial situations of inequality and coercion, I examine the problem as it unfolded between the apexes of two social hierarchies, a surprisingly neglected subject. I argue that the Sasanian and Roman sovereigns encountered each other{\textquoteright}s cultural and ideological goods, expressed competitive claims, observed the resulting interchange and ultimately remodeled themselves in response to these visual and ritual assertions.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Canepa, Matthew} } @mastersthesis {9533, title = {Two Faces of Mary: Franciscan Thought and Post-Plague Patronage in the Trecento Fresco Decoration of the Guidalotti-Rincuccini Chapel of Santa Croce, Florence}, year = {2004}, school = {Indiana}, abstract = {This dissertation focuses on the history and decorative program of the Guidalotti-Rinuccini Chapel in the church of Santa Croce, Florence. Dedicated to the Virgin Mary and Saint Mary Magdalen, the Guidalotti-Rinuccini Chapel is one of the best-preserved private family chapels from the late Trecento; retaining not only all of its frescoed wall decoration, but also its original altarpiece and iron gate. Yet, despite its significance, scholarship on the chapel is limited, focusing primarily on stylistic analysis and authorship. By exploring the chapel{\textquoteright}s patronage, complex iconography and artistic lineage, this study enriches our understanding of the chapel{\textquoteright}s importance and its role in late Trecento painting. Decoration of the chapel began around 1363, the same time as the second outbreak of the plague in Florence. Originally this sacristy chapel was contracted through the will of Lapo di Lizio Guidalotti. Posthumously, the chapel was purchased in Guidalotti{\textquoteright}s honor and arrangements for Giovanni da Milano, a foreigner associated with the workshop of Taddeo Gaddi, were made to paint the chapel. Shortly after beginning the project, however, funds for its decoration were exhausted and Giovanni abandoned the project, completing only the vault and the first two registers of the fresco cycles. The chapel remained abandoned until 1370-71, when it was sold to Francisco Rinuccini, a prominent Florentine diplomat and international trader. Rinuccini subsequently hired a second artist, Matteo di Pacino, a member of Orcagna{\textquoteright}s circle, to complete the frescoes. The decorative program centers around the chapel{\textquoteright}s two fresco cycles- the Infancy of the Virgin and the Life of Mary Magdalen. Although the Virgin and Mary Magdalen were the two most venerated female saints of the period, they were rarely paired together in monumental art. However, to the Franciscans, these two figures symbolized complementary paths to salvation. The Virgin Mary, the perfection of womanhood, embodied the way of purity and innocence, and Mary Magdalen, the repentant harlot, represented the way of penance. The juxtaposition of these saints derives from contemporary Franciscan thought and emerges in response to the dramatic events that shaped fourteenth-century Florence.}, keywords = {Renaissance/Baroque Art}, author = {Erhardt, Michelle A.} } @mastersthesis {9525, title = {Unclean Spirits: Images of Exorcism in Italian Renaissance Art, 1260-1520}, year = {2004}, school = {Columbia}, abstract = {Raphael{\textquoteright}s final painting, the Vatican Transfiguration, is one of the most extensively studied paintings in the history of art. The artist{\textquoteright}s unique interpretation of the transfiguration narrative has fascinated viewers from the moment of its completion. The theme in the lower part, which has always been identified as the apostle{\textquoteright}s failure to heal a possessed boy, has received significant scholarly attention. However, no one has ever approached the work from the perspective of the history of exorcism in painting. Exorcism has never been comprehensively treated as a separate theme in painting. I originally set out to discover developments in the iconography that could be traced through my chosen time period. What I found, however, was not a linear progression, but rather a relatively standardized formula that remained substantially unchanged. Additionally, I became increasingly fascinated with artist{\textquoteright}s representation of the demonically possessed body. Rather than a chronological, stylistic examination, this study focuses on the positioning of exorcism in its cultural and historical context, the function of the theme in religious imagery, and artist{\textquoteright}s strategies for depicting the possessed body. Approached from the context of the historical iconography of exorcism, Raphael{\textquoteright}s painting emerges as a unique treatment of the theme that nonetheless functions as a perfect distillation of its many facets. Most significantly, it can be shown that Raphael depicts the miracle of exorcism occurring simultaneously with the transfiguration of Christ.}, keywords = {Renaissance/Baroque Art}, author = {Begel, Andrea} } @mastersthesis {9383, title = {Upscale Suburban Architecture and Development in Dallas and Houston, Texas, 1890-1930}, year = {2004}, school = {Delaware}, abstract = {By the early twentieth century, promotional literature for newly planned suburban communities painted bucolic images of a suburban home life in picturesque landscapes filled with wonders of nature where families could rear their children in beautifully designed, restricted neighborhoods. The trend reached Texas in the 1890s, only to be delayed by the Panic of 1893, but resumed strongly in a few years until it was halted by World War I. Postwar economic expansion along with the increasing affordability of home sites and of the automobile spurred the Texas suburban movement to a climax in the mid-1920s. For this study, Texas suburban developments have been selected from its two largest cities, Dallas and Houston. Both cities experienced the greatest growth in population and wealth and were able to build the grandest and most distinguished suburban communities. But before discussing Dallas{\textquoteright}s and Houston{\textquoteright}s most prominent suburbs prior to 1930, American suburban models for Texas are analyzed in terms of how they influenced suburban development in Texas and what ideas Texas developers learned and borrowed from them. Especially significant in this regard are Roland Park in Baltimore, MD; Beverly Hills in Los Angeles, CA; and the Country Club District in Kansas City, MO and KS, because Texas real-estate developers were aware of these state-of-the-art models and employed nationally recognized professional landscape architects to design their communities. Other more newly contemporary developments important for this study include Forest Hills Gardens in Queens, Long Island, NY; Shaker Heights in Cleveland, OH; and Palos Verdes Estates and Rancho Santa Fe in CA. After a study of these prototypes, an examination of the development and architecture of nine major intact Texas suburbs and contemporary developments are addressed at some length: Munger Place, Highland Park, Highland Park West, University Park, and Lakewood in Dallas; and Courtlandt Place, Shadyside, Broadacres, and River Oaks in Houston. The purpose of this dissertation is to document Texas upscale suburban planning and architecture by showing how their developers drew upon innovative planning concepts and architectural trends in keeping with up-to-date practices within a national context, benefiting both themselves and their homeowner clients.}, keywords = {Architectural History/Historic Preservation}, author = {Ferguson, Cheryl} } @mastersthesis {9509, title = {The Urban Romantic: Caspar David Friedrich and the City}, year = {2004}, school = {CUNY}, abstract = {Caspar David Friedrich gained his reputation painting the German countryside, but the artist remained a city dweller his entire life. This dissertation investigates the urban presence in his work, i.e. the inclusion of towns and urban wanderers as subject matter and the urban perspective that informed his landscapes. Its underlying aim is to disrupt the standard narrative of Friedrich as a reclusive monk investigating infinite nature, in order to view him instead as a social creature, influenced by the urban culture in which he was embedded. In doing so, it seeks to "denaturalize" Friedrich{\textquoteright}s production, so that the cultural constructedness of his work becomes more readily visible. Although the discourse on nature is a hallmark of German Romanticism, the city also became an object of inquiry during the period, and cityscapes found a growing audience alongside landscape painting. The urban places Friedrich depicted were those that played the most significant roles in his life: the Baltic medieval towns of his youth and the Baroque city in which he lived his entire adulthood, Dresden. In his work, the small Gothic town acts as the essence of Heimat, or home, and becomes the bearer of meaning in a way that Dresden never does. The artist{\textquoteright}s attachment to Dresden, which offered him opportunities a small town could not, remained an ambivalent one, and his images of the Saxon capital reflect a sense of disconnect between himself and his adopted hometown. Investigating the urban foundations of Friedrich{\textquoteright}s production allows for a deeper understanding of his imaging of nature by opening up discussion of the urban cultivation of the countryside. Town and country were inextricably linked during the Romantic era, despite their perceived opposition to one another. The Romantic devotion to nature emerged while German society itself was becoming more urbanized, its material needs increasingly encroaching upon the resources of the countryside. Considering Friedrich primarily as an urban-based artist exposes the connections between his art and his time, overturning the usual emphasis on the artist{\textquoteright}s peculiarities.}, keywords = {Nineteenth-Century Art}, author = {Doyle, Margaret} } @mastersthesis {9544, title = {The Urbanistic Transformation of Parma in the Age of the Commune}, year = {2004}, school = {IFA/NYU}, abstract = {In the one hundred years between 1196 and 1296, the mid-sized Lombard city of Parma transformed its urban core according to rational, geometric principles as early as 1196. In the first part of the dissertation, I analyze the thirteenth-century development of the two most important public spaces within Parma, the piazzas now known as Piazza del Duomo (the cathedral square) and Piazza Garibaldi (the communal square). By closely reading Parma{\textquoteright}s surviving medieval fabric, contemporary chronicles, contracts, and the extant legislation of the commune, I establish the building history of both squares, reconstruct their period appearance, and interpret their form. I conclude that both the episcopal and communal squares are carefully-crafted urbanistic ensembles pervaded by geometric order and animated by the desire to produce panoptic, panoramic vistas of the major monuments defining the sites{\textquoteright} perimeters. Furthermore, by closely analyzing the formal qualities that produce these effects, I demonstrate that Parma{\textquoteright}s Piazza del Duomo is one of the earliest examples of rational urban planning thus far identified in medieval Italy. In Parma, as in all of north Italy, continual warfare and civil unrest scarred life in the thirteenth-century. The city{\textquoteright}s political history in this period is marked by the constant desire to achieve a mode of governance capable of imposing order on this tumult. In the second part of the dissertation, I document how order-both physical and social-was established within and around the cathedral and communal squares and explore the two squares{\textquoteright} roles as stages for civic ritual. The panoptic qualities of the two piazzas facilitated both the surveillance demanded by social order and the civic spectacles of the commune. Finally, I propose that factions within Parma{\textquoteright}s oligarchy visually asserted their authority within the city by imposing order on the irregular features of these key sites. The orderly and harmonious squares were architectural and urbanistic metaphors for the orderly rule of the oligarchs, and the harmonious society they sought-but ultimately failed-to establish.}, keywords = {Renaissance/Baroque Art}, author = {Marina, Areli} } @mastersthesis {9391, title = {The Vicissitudes of Realism: Realism in Architecture in the 1970s}, year = {2004}, school = {Harvard}, abstract = {In the mid 1970s, a series of architectural journal articles championed the concept of realism, a topic not commonly associated with architecture. In retrospect, the correlation of realism and architecture raises a number of questions. For example, what prompted the multiple appeals for realism in architecture, appeals that faded as quickly as they appeared? Furthermore, what was meant by "realism in architecture?". To address these queries, this dissertation begins with an investigation of historical and 20th century concepts of realism, followed by an examination of the specific texts of the 1970s that relate architecture and realism. The discussion of various forms of realism leads to the identification of the crucial components of realism, namely the existence of architectural autonomy alongside historical and contextual relativity. Considered in conjunction with the theories of Georg Lukacs, realism itself may even appear as a symptom of the struggles of architecture during the mid 1960s through the 1970s. The protagonists of realism in architecture-Martin Steinmann, Bruno Reichlin, and Bernard Huet-along with the architectural historians Vincent Scully and Manfredo Tafuri, share this struggle, the crux of which arrives in the late 1960s with the clear threat to the architectural discipline. Thus, this dissertation seeks to elucidate the conception of realism in architecture and to propose an understanding of the appearance of realism as a symptom of disciplinary turmoil.}, keywords = {Architectural History/Historic Preservation}, author = {Sykes, Anna Krista} } @mastersthesis {9564, title = {Vintage Drag: Female Impersonators Performing Resistance in Cold War New Orleans}, year = {2004}, school = {Tulane}, abstract = {Post-World War II New Orleans was home to several famous and successful venues for female impersonators. In the white club My-O-My, situated in a lightly policed border-space on the fringe of New Orleans, men performed women to a largely heterosexual audience of locals and tourists in a fast-paced nightclub review. Black clubs included the Dew Drop Inn and the Caledonia. On all stages, the female impersonators, utilizing sex, humor, talent and falsies, acted to undermine the basis of patriarchy. During this Cold War period, patriarchy was the law of the land. Women, confined to the home and relieved of any economic or personal agency, were encouraged to find fulfillment in passive femininity. Black Americans were offered only second-class citizenship, with no voice in their own governance, and little or no economic opportunity. Homosexuals were despised and persecuted, particularly under the auspices of the House Un-American Activities Committee and the attacks of Senator Joseph McCarthy. In this political climate, the success and popularity of entertainment clubs featuring female impersonators might seem an anomaly. However, the phenomenal appeal of the female impersonators was directly attributable to the transgressive nature of their performance. The performance of women by men challenged the assumption of essential gender; the appeal of the free wheeling sexuality of the impersonators in their guise as women offered actual women an alternative to passive dependence, while undermining the basic idea of patriarchy: men are masculine and women are feminine. The performers skewed ideas of essential gender; without active and passive natures irrevocably assigned according to biological sex, there is neither a basis nor a justification for patriarchy. By establishing the social construction of gender, it was possible also to suggest a social construction of race. As "Other" to patriarchy, and therefore dominated by patriarchy, women, blacks and homosexuals all had an interest in finding a new social order. Performance provided freedom to transgress the restrictive prohibitions of the Cold War era, and disprove the tenets of the established system of hierarchy. The performance became a dress rehearsal for a less restrictive social order.}, keywords = {Twentieth-Century Art}, author = {Bartlett, Thomasine} } @mastersthesis {9532, title = {The Virgin{\textquoteright}s Sacred Belt and the Fifteenth-Century Artistic Commissions at Santo Stefano, Prato}, year = {2004}, school = {Rutgers}, abstract = {This dissertation focuses on the major fifteenth-century artistic commissions made for the parish church of Santo Stefano, Prato, and their vital relationship to the relic of the Virgin{\textquoteright}s sacred belt, which has been conserved in the church since 1140. Made by leading artists of the fifteenth century, these works of art represent some of the most costly and innovative monuments produced during the Early Renaissance. Santo Stefano{\textquoteright}s acquisitions began with the building of a new outdoor marble pulpit by Donatello and Michelozzo (1428-37). A year after the pulpit{\textquoteright}s completion, the church financed the project for an ornamental bronze gate (1438-68) around the Cappella della Cintola, the chapel in which the relic has been kept since the late fourteenth century. This commission was followed by Fra Filippo Lippi{\textquoteright}s murals depicting the lives of Saints Stephen and John the Baptist in the main choir chapel (1452-66), and Antonio Rossellino and Mino da Fiesole{\textquoteright}s chalice-shaped marble pulpit (1469-73) located inside the church. A series of drawings related to Francesco di Simone Ferrucci{\textquoteright}s now-destroyed altar-tabernacle (ca. 1480-92), which was originally placed at the entrance to the main choir chapel, is the last work under consideration. The increasing popularity of the relic and its cult paralleled the rise of the Medici, who, in the early stages of establishing themselves as the most powerful family in Tuscany, recognized the advantages that an association with the cult and Santo Stefano could bring. In particular, the heretofore unrecognized role of Carlo de{\textquoteright} Medici, illegitimate son of Cosimo il Vecchio and provost of the church from 1460 to 1492, in securing familial power outside of Florence through the financing of Santo Stefano{\textquoteright}s art works will be addressed. Santo Stefano{\textquoteright}s fifteenth-century artistic renovations not only endorsed the authenticity of the belt, but they reflected its powers to insure fertility and infant survival, major concerns of a post-plague society that was still rebuilding its population. By converting, renewing, and inspiring belief in the relic, these innovative monuments played a major role in the perpetuation of one of Italy{\textquoteright}s most popular cults.}, keywords = {Renaissance/Baroque Art}, author = {Eliason, Lois Munemitsu} } @mastersthesis {9375, title = {Visible Cities: Photography, Visual Discourse, and City Planning in Early Twentieth-Century Toronto and Montreal}, year = {2004}, school = {Binghamton}, abstract = {This dissertation examines the way visual discourse was produced and mobilized in attempts to control and shape two rapidly growing Canadian cities, Toronto and Montreal, in the early twentieth century. The visual material in question includes photographs, city plans, diagrams, architectural drawings, and visionary drawings. The study maintains that the discursive effects of the visual material range from the instrumental to the persuasive. On the one hand, a new social domain was constituted through instrumental discourse, a term used to refer to a range of representations that were deployed as instruments of truth in the planning, development, and governance of cities. On the other hand, persuasive and visionary discourse produced the experts and professionals who used it. By examining visual discourse, the dissertation makes the claim that visual representations produce meaning and generate effects of power. It also argues against interpreting representations of the urban realm either as accurate records of real places or as expressions of authorship. The study shows that visual discourse played a crucial and productive role in the constitution of social relations, social identities, planning practices, and modes of governance in Canadian cities. Through extensive archival research, close scrutiny of visual material, and careful analysis of the reports and publications in which the images appeared, the dissertation puts forward a number of interrelated claims. Chapter one argues that photography became an instrument of surveillance and regulation through public health and social reform initiatives in Toronto. Chapter two shows that, through attempts to embed photography with the value of the real, photographs were rendered the site of a struggle for control over the imaginary of the city. The third chapter maintains that architects turned to both instrumental discourse and persuasive discourse in an effort to constitute the city as a field of possibility, which they could then claim as their rightful domain. In chapter four, the professionalization of city planning is more fully examined with the argument that the Canadian planning profession negotiated its professional status by generating specialized forms of knowledge and by reproducing visual discourse produced by its international counterparts.}, keywords = {Architectural History/Historic Preservation, Drawings/Prints/Works on Paper}, author = {Bassnett, Sarah} } @mastersthesis {9560, title = {Visnu and Harihara in the Art and Politics of Early Historic Southeast Asia}, year = {2004}, school = {UCLA}, abstract = {The mitered Visnu image was among the earliest and most ubiquitous anthropomorphic stone sculpture in ancient Southeast Asia. For the first time, this study attempts to bring together the better part of the entire corpus of mitered Visnus and analyze them as a group that includes sculptures of the sixth-seventh centuries from the Mekong River Valley of southern Vietnam and Cambodia, peninsular Thailand, western Java, and South Sumatra, as well as ca. eighth-century images from Si Thep (Thailand) and ninth-century images from Phnom Kulen (Cambodia). In addition to reassessing the chronology and stylistic relationships of the mitered Visnus, this study seeks to situate them in the context of early Southeast Asian political developments. The importance of Hindu deities in early Southeast Asia was linked to patterns of political authority and the ruling elite, whether kings or chiefs, utilized images of the gods with these considerations in mind. With specific reference to Preangkorian civilization, the deities Visnu and siva embodied two different conceptions of sovereignty and images of these deities were employed to exploit these contrasting notions according to location and styles of rule. These practices are perhaps best understood through analysis of a third case, Harihara, a composite Hindu deity that experienced a brief but pronounced period of efflorescence during the Preangkorian period due to particular political circumstances in Khmer society. By unifying siva and Visnu in one anthropomorphic form, Khmer images of Harihara served as a divine analogue for the concentration of two forms of royal power. Seventh-century rulers based in northern Cambodia, where the style of rule was linked to siva, were trying to assert and/or maintain control over coastal areas to the south, where Visnu had been the traditional symbol of royal power. These rulers, consequently, employed an icon that represented the union of both these deities, and the concurrent conceptions of authority represented by each, in order to represent and legitimize their own territorial and political aspirations}, keywords = {South/Southeast Asian Art}, author = {Lavy, Paul} } @mastersthesis {9479, title = {The Warnebertus Reliquary: A Study in Early Medieval Metalwork}, year = {2004}, school = {Missouri}, abstract = {The elaborate seventh-century metal casket known as the Warnebertus Reliquary has attracted scholarly attention for over a century. This small but sumptuous container is distinguished by the juxtaposition of two very different decorative styles on opposite sides. This synthesis of two contrasting styles can be seen as an attempt to satisfy the tastes of patrons who admired Mediterranean ornament while retaining an interest in designs expressed in Late Germanic Animal Style II. Recent archaeological discoveries illuminate the cultural context in which the Warnebertus Reliquary and related artifacts were made. Considered as a group, these luxurious metal objects illuminate the identity of Warnebertus, contemporary craft traditions, and the trade in luxury goods and cult objects in the early Middle Ages.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Hunvald, Katharine C.} } @mastersthesis {9440, title = {The Whole Artist: Dan Graham and Robert Smithson, Works and Writings, 1965-69}, year = {2004}, school = {CUNY}, abstract = {Borrowing a phrase from Robert Smithson{\textquoteright}s perspicacious essay "Donald Judd" (1965) for a title, "The Whole Artist" examines the re-siting of the work and identity of the visual artist after Minimalism in the practices of Dan Graham (b. 1942) and Robert Smithson (b. 1938 and d. 1973). During the years 1965-69, the artists{\textquoteright} work shared historical horizons, minimalist practice and discourse, and a material and structural quality: the dislocation of aesthetic experience and value onto the sites of exhibition (the art gallery) and reception (the art magazine). For Smithson, the presentation of his writing in art magazines was a regular aspect of his visual practice by 1966. Until his death in 1973, he would continue to publish as frequently as he presented his visual work in exhibitions. Such a parallelism was especially significant between the series of shows he mounted at the Dwan Gallery in New York and his publications in Artforum magazine. Whether in the context of the art gallery or magazine, Smithson would consistently locate a share of the aesthetic experience of his work outside or beyond the perceptual object. During the period 1964-65, Graham directed a short-lived contemporary art gallery in New York, the John Daniels Gallery, where he mounted the debut exhibition of minimalist Sol LeWitt. His criticism as an advocate for gallery artists coincided with his earliest experiments in art: "Homes for America" (1966-67), a work with multiple iterations as a slide projection, an article for Arts Magazine, and a series of photographs for reproduction; and Schema (March 1966-67), among the works Graham designed for primary perception in magazines and catalogues. "The Whole Artist" recounts selected instances of the coincidence of practice and criticism in the work of Graham and Smithson. Minimalism, I argue, enabled the two artists to position themselves in relation to the field of power of the dominant discourses and institutions. Yet the two artists{\textquoteright} practices ultimately presented an artistic challenge to the conventional distinctions Minimalism upheld between the perceptual object and its secondhand reproduction, and between criticism and the products of a sculptural practice.}, keywords = {Contemporary Art, Performance Studies}, author = {Anastas, Rhea} } @mastersthesis {9422, title = {Why Not Revolution{\textquoteright}: The John Reed Club and Visual Culture}, year = {2004}, school = {Kansas}, abstract = {The John Reed Club (JRC) was founded in October 1929 to promote the interests of the Communist Party by attracting artists and writers to its cause. Over the next six years, it became the most successful American Communist cultural organization and a key participant in debates over the proper role and nature of American art. Through a close reading of key images, the dissertation explores the work of the artists of the JRC and the ideology behind it. Two chapters focus on the collective art activities of the club, first examining the art produced in direct support of political activities, including banners and posters, and then analyzing graphic art that appeared in a leftist journal closely associated with the JRC, New Masses. Three "case study" chapters consider the work of JRC members Louis Lozowick, William Gropper, and Philip Guston, who explored themes of capital and labor, President Roosevelt and the New Deal, and the growing fight against fascism. Their art, like that of club members in general, was class-oriented and internationalist both in subject matter and aesthetic influences. In addition to promoting their political views, JRC artists explored the question of the proper style to be used by "revolutionary" artists. Modernism was officially deplored by Marxist artists, but some modernist attitudes and formal qualities continued to appear in JRC art. Much of the work of JRC artists relied on symbolism, emotional intensity and physical distortion, making the post facto description of it as "social realism" problematic. The art created by JRC members constitutes an important visual legacy of the cultural and political conflicts of the Depression era. Even after the club was dissolved in 1935, JRC artists organized and dominated successor groups such as the American Artists{\textquoteright} Congress and were key participants in New Deal art programs. Although the art world turned against the views of the JRC after World War II, the work created by the group still stands as a revealing monument to the interaction between politics and art.}, keywords = {Art of the United States}, author = {Sloan, Donald E.} } @mastersthesis {9430, title = {Widows, Monks, Magistrates, and Concubines: Social Dimensions of Sixth-Century Buddhist Art Patronage}, year = {2004}, school = {Chicago}, abstract = {This study focuses on the human figures depicted as worshippers or venerators on Buddhist votive sculptures produced in the Henan-Hebei-Shanxi region of China in the later Northern Dynasties period (495-577 CE). These worshipping images are an important source for the study of both the devotional practices of contemporary Buddhism and the social significance of Buddhist art patronage in the Northern Dynasties. This was a period in which the conquest of Northern China by non-Chinese regimes led to the destabilization of some traditional Chinese social structures and the introduction of non-Chinese customs and practices. Because of this, various forms of social identity such as class, ethnicity, family status, and gender were renegotiated in Northern China during this period of political division. This series of case studies of individual Buddhist art patrons focuses on the ways in which the patrons{\textquoteright} identity is represented in worshipper figures as compared to other biographical sources of the time, in order to understand the ways in which the patrons represented themselves in a public religious context. Lady Yuchi, the wife of a Xianbei elder statesman, used the images of herself and her husband and son in a niche she dedicated in 495 to give herself primacy within a nuclear family of sorts, despite the fact that she was actually subordinate in status to her husband{\textquoteright}s primary wife. The cave temple of Gaomiaoshan functioned as a representation of the collective fortunes of its patrons, the Chen family, during the Eastern Wei, and of the complex relationships of seniority within the extended family. Zhang Yuanfei, the patron of the Shuiyusi cave temple, chose to appear as a nearly anonymous member of a group of patrons in one context and as an individual patron in another context within the same site. And the imperial patron of the Binyang Central Cave chose to be represented in the cave not by his own image, but by the image of his father, in whose honor the cave was dedicated.}, keywords = {Chinese Art}, author = {Lingley, Kate} } @mastersthesis {9434, title = {Xu Wei{\textquoteright}s "Zahua": a Study of Genres}, year = {2004}, school = {Yale}, abstract = {This dissertation explores an overlooked yet critical issue in the history of art: Xu Wei{\textquoteright}s (1521-93) use of the special pictorial genre to which he applies the genre-label za (miscellaneous). This interesting genre-label leads us to Xu Wei{\textquoteright}s criticism of the classification system of art and culture in his day. In brief, za is to be seen as the antithesis of jidacheng (the "great synthesis"); za is heterodox and jidacheng is always orthodox in the Chinese context. The two kinds thus function as two extreme modes of cultural and artistic reorganization. Za can be regarded as a kind of "cultural miscegenation," whereas jidacheng is a kind of "cultural endogamy" within the network of canonical families. Cultural battles between them start in the Warring States Period (ca. 403-221 BCE) in philosophical debates and then gradually extend into the exegesis of the Classics and into the field of literature. In the mid-Ming (around the 16th century), the art of painting becomes the final battlefield between za and jidacheng, in the form of "genre and counter-genre": the zahua (miscellaneous flowers and plants) genre versus the mountain-and-water (landscape) genre. Xu Wei reshapes the zahua genre and in so doing launches a frontal attack on classicism in the genres that aim for jidacheng . Through a new style and composition, Xu Wei presents a seriocomic social and aesthetic criticism and, by the same token, a new vision of a society, one in which multiple voices can make themselves heard, opening a new forum for later Individualist artists. Because of the nature of Xu Wei{\textquoteright}s art, it is natural to take an interdisciplinary and comparative approach. Artistic and cultural reorganizations happen everyday and everywhere, and Xu Wei{\textquoteright}s work, which reveals subtle clues hidden in the complex inherited classification systems of his time, enables us to see how diverse cultural currents conflict, separate, or merge within a shared context.}, keywords = {Chinese Art}, author = {Yen, Shou-chih Isaac} } @mastersthesis {9432, title = {Xumishan Grotto 105 and the Iconography of Tang Dynasty Dizang}, year = {2004}, school = {Kansas}, abstract = {This is the first detailed study in English introducing the cave temple site of Xumishan in Ningxia province. Concentrating on the Tang grottoes and particularly the remarkable figures in Grotto 105, this study suggests that this region was strategically important to the government and the stability of the Tang Empire. The research shows that Xumishan Grotto 105 was carved sometime around 700 CE. By applying the Dizang data in section two, it is suggested that the iconographic program in this grotto originally consisted of Amitabha, Maitreya, Dizang and Guanyin on the central pillar, surrounded by seven Buddhas carved along the side and back walls. Xumishan Grottos 1 and 5 provide a platform for addressing issues of refurbishment and the living context Chinese Buddhist cave temples and sculpture. The three Dizang case studies of Binxian, Longmen and Xiangtangshan define markers for identifying early Dizang sculpture. My research found that this group of dated and inscribed images reflect neither Dizang{\textquoteright}s traditional iconography nor his assumed role as a Hell savior. He is commonly shown during this period seated in lalitasana rather than as a standing monk with jewel and staff. This study of collected images demonstrates that during circa 700 the relief of suffering, rather than specific references to Hell, death or to Dizang{\textquoteright}s compassionate powers in the lower realms, pervades early Tang inscriptions and representations. The iconography of Dizang during this period is malleable and inconsistent. It is also interwoven with the iconography and personalities of other deities, particularly Guanyin. In the process of Dizang{\textquoteright}s formation it seems plausible that the later, popular form of Dizang as a standing monk was borrowed from the iconography of Yaoshi. This form overtook the earlier lalitasana form as the standard manner of depicting Dizang. The frequent groupings of Dizang, Guanyin, Amitabha, Yaoshi and Maitreya illustrate that the division amongst specific deities with specific attributes and abilities did not dominated the patronage of these objects during this time.}, keywords = {Chinese Art}, author = {Pluth, Lisa} } @mastersthesis {9426, title = {Yin Yu Tang, the Architecture and Daily Life of a Chinese House}, year = {2004}, school = {Harvard}, abstract = {This dissertation was the opportunity to generate a new paradigm for considering an historic architectural structure. While in the past, considerations of Chinese architectural structures have primarily focused on original construction or spatial arrangements, the work of this dissertation was to view a complete building, in its 200-year old state, as a conglomerate of its physical history, the integrated regional culture and history, and the lives of the many individuals who occupied the building. The term "archiculture" was conceived for this process to describe the paradigm of understanding an architectural structure through an exploration of its physical components, over time, as well the surrounding histories and culture, and the activities and lives of its inhabitants over the entire history of the structure{\textquoteright}s existence. The result of such a study can produce a full picture of the fluid mutual influences between humans and their built environment, and how built environments can be physical evidence of historical and cultural changes through time. The "archiculture" paradigm has been applied in this dissertation to the study of Yin Yu Tang, a 200-year old vernacular residence relocated from a small village in Anhui Province to the Peabody Essex Museum during the years 1997 through 2003. The dissertation first presents the regional geography and culture of the Huizhou region in southern Anhui Province; the specific village where the residence was located; the many inhabitants of the house; and the physical structure of the building. Many different types of resources allowed for this investigation into the "archiculture" of Yin Yu Tang. In addition to English, Chinese and European language 19th and 20th century books on Chinese history and culture, numerous Chinese language family and non-family documents were also accessible. Interviews with the Huang family members who lived in Yin Yu Tang and other Huang Cun villagers further enriched the study. The result of this "archicultural" paradigm for examining an architectural structure is a study that not only reveals the cultural concepts and physical techniques that contribute to the physical manifestation of a house within a society, but as well it demonstrates the individuality of one building.}, keywords = {Chinese Art}, author = {Berliner, Nancy} } @mastersthesis {9467, title = {Your body, O Empress, Is a Treasure of Marvelous Qualities{\textquoteright}: Representations of Middle-Byzantine Empresses (780-1081)}, year = {2004}, school = {University of Washington}, abstract = {This dissertation concerns representations of empresses in Byzantium between 780 and 1081. Although empresses had limited power and authority in Byzantium, they constituted an essential facet of the vision and experience of the imperial hierarchy. This study investigates the visual and verbal imagery through which the Byzantines represented their empresses and the roles and ideological statements they assigned to them. The study combines a thematic approach with an investigation of the separate genres of artifacts in which empresses were represented. It draws together all extant images of empresses in various media and analyzes texts that provide glimpses into the ways in which the empress was imagined in Byzantine thought. The bulk of the evidence and discussion concerns portraits of empresses, yet representations of imperial female saints and allegorical figures are also considered along with verbal and visual images of the Virgin as empress. Chapter I considers the role of empresses in imperial ceremonials, while Chapter II investigates Byzantine imperial portraiture contextualizing representations of empresses. Chapters III through VII examine images of empresses in different media: coins and seals, monumental effigies, ivories, metal-works, and manuscripts. Chapter VIII explores three principal themes that define the visual and mental image of the empress: her physical beauty, her body, and her garments; it also explores the correlation between empresses and the Virgin clad in imperial robes. Pictorial images of Byzantine empresses are reticent, highly standardized, abstract effigies conspicuously removed from the mundane qualities of common experience. They are not intended to represent a perception of reality in an illusionistic or realistic manner, rather they are part of a distinctive world of the visual image that is in a dynamic dialogue with the wider social and cultural context from which it emerges. Representations of empresses lack an independent iconography as no specifically feminine imperial imagery was developed elevating important aspects of the uniquely feminine imperial experience. Rather, images of empresses were integrated into the male imperial iconography and empresses served as attributes or personifications along the side of the emperor, within the image of the imperial family, and in the thought world of Byzantium.}, keywords = {Early Christian/Byzantine Art}, author = {Kotsis, Kriszta} } @mastersthesis {9199, title = {An Actor in Real Life: Chen Hongshou{\textquoteright}s Scenes from the Life of Tao Yuanming}, year = {2003}, school = {Yale}, abstract = {Chen Hongshou painted Scenes from the Life of Tao Yuanming for Zhou Lianggong in the summer of 1650. Tao Yuanming, who resigned office to live in reclusion, has been admired most for his indifference to worldly concerns. In the long tradition of illustrating his biography since the eleventh century, his image and the episodes selected for illustration all conform to the myth about his joyous transcendence. Chen Hongshou, however, dramatized Tao{\textquoteright}s image with stylized postures and calculated facial expressions to intimate that Tao{\textquoteright}s serenity was a mere facade to conceal emotional disturbances. Chen{\textquoteright}s portrayal of Tao as a self-conscious actor embodied the contemporary view of Tao as a care-worn loyalist in the guise of a carefree recluse. As late Ming historical revisionism deconstructed the one-dimensional representations of many historical figures, Chen Hongshou resorted to theatricality to imply the significant discrepancy between Tao{\textquoteright}s appearance and inner self. Earlier studies on Chen Hongshou{\textquoteright}s Tao Yuanming scroll maintained that Chen painted it for Zhou Lianggong, a political proselyte, to advise him to withdraw from office like Tao instead of serving the Manchu regime. A survey of the socio-political context for the creation of this painting, however, indicates that Chen{\textquoteright}s attitude toward collaborators like Zhou changed from initial contempt at the fall of the Ming dynasty to full acceptance by the summer of 1650. Like most Chinese in the early Qing period, Chen became more and more disillusioned with the Ming cause by what he heard and witnessed personally. The collapse of the Southern Ming resistance in the spring of 1650 destroyed his last hope for a dynastic revival and convinced him of Zhou{\textquoteright}s prescience in accepting the Manchu rule years earlier. The painting was meant to be a token of reconciliation with Zhou because like Tao Yuanming, Zhou was an actor in real life by serving the Manchus to protect the Chinese.}, keywords = {Chinese Art}, author = {Liu, Shi-yee} } @mastersthesis {9269, title = {The Actor Prints from the School of Utagawa}, year = {2003}, school = {Louisville}, abstract = {During the last part of the Tokugawa era, around 1800, Ukiyo-e (Pictures of the Floating World) changed radically and in this change actor prints of the school of Utagawa played a significant role. Many Ukiyo-e scholars called this period of Ukiyo-e decadent. I propose to leave Ukiyo-e value free. The Utagawa school existed during a time of profound change in all aspects of Japanese society: politically, economically and culturally. Japan was going through a transformation from an oppressive feudal society ruled by dictorial Tokugawa Shogunates to the beginning of the open modern era of the Meji (1868-1912). Accordingly from the end of the 18 th century to the fall of the Tokugawa regime in 1868, actor prints of the Utagawa school also changed dramatically. Artists no longer adhered to the established canons of Ukiyo-e. They freed themselves from the paradigm of formalism. Their ideas, beliefs and values were totally different from their predecessors. Ukiyo-e{\textquoteright}s traditional aesthetic and fidelity to iconography was not important to them, rather, they valued the life experience of the Chonin, and strove to depict it in realistic fashion through different modes of expression in their art, often with complex means of communication, in order to circumvent the harsh rule of the Bakufu (military government). These artists, by adding many extra-aesthetic elements to the traditional aesthetic, created a powerful new style. It was a dramatic revolution within Ukiyo-e and actor prints of the Utagawa school played a vital role. Actor prints of the last period of the school of Utagawa are not "decadent", they are modern.}, keywords = {Japanese/Korean Art}, author = {Cressman, Elizabeth} } @mastersthesis {9279, title = {The Aesthetics of Regeneration: The Zionist Invention of the Muscle Jew and the Visual Culture of the Fin-de-Si√{\textregistered}cle}, year = {2003}, school = {UC Berkeley}, abstract = {This dissertation is a study of the visual culture and aesthetic discourses of Zionism between 1890 and 1918. By focusing on Max Nordau{\textquoteright}s fraught invention of the "muscle Jew" and his paradoxical aesthetics of regeneration, I show how Zionism made use of the domain of the visual for re-imagining both the individual Jewish body and the body politic through various modes of representation and cultural dissemination. At the same time, I show how Zionist body culture emerged in collaboration with other dubious and contradictory discourses including decadence, eugenics, nationalism, and colonialism. Not only does the muscle Jew have to be seen as a figure for overcoming prevalent anti-Semitic stereotypes of the weak, degenerate Jew, but it also has to be evaluated as the product of this confluence of discourses and its attendant politics of regeneration. The first part of the dissertation, "The Art of Regeneration/The Regeneration of Art," examines how the late-nineteenth century belief that art is the expression of both the health of the nation and the vitality of its people bears on the reformation of the "artless" Jewish tradition. In chapter two I argue that Nordau{\textquoteright}s Zionist articulation of the muscle Jew is informed by the same aesthetic logic found not only in his earlier project of Degeneration but also in Julius Langbehn{\textquoteright}s decidedly more "volkisch" cultural criticism. The third chapter, "Martin Buber and the Origins of Jewish National Art," examines the role of Jewish artistic production in the creation of nationality by focusing on the art of Lesser Ury, Jacob Epstein, and E. M. Lilien. Part two, "Bio-Power," examines the ways in which the discourses of muscle Jewry moved between the regeneration of the individual body and the regulation of the body politic. Chapter four analyzes the visual culture of the muscle Jew in the journal Die Judische Turnzeitung as well as the public exhibition of Jewish hygiene and sexuality. In the last chapter, I turn to Zionist colonial fantasies, giving particular attention to the ways in which photography was deployed in imagining, representing, reconnoitering, and, ultimately, possessing both the territory and people of Palestine.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Presner, Todd Samuel} } @mastersthesis {9182, title = {Alfred H. Maurer: Aestheticism to Modernism, 1897-1916}, year = {2003}, school = {CUNY}, abstract = {This dissertation represents the first concentrated scholarly assessment of Alfred H. Maurer{\textquoteright}s early and mid career. It serves as a repository of information about the artist{\textquoteright}s production between the years 1897 and 1916, during which time Maurer made the transition from nineteenth-century figurative artist to twentieth-century vanguard modernist. Organized in catalogue raisonne-like fashion, this study offers the most comprehensive assemblage of Maurer{\textquoteright}s early paintings, among them many previously unknown works. It offers a coherent narrative of Maurer{\textquoteright}s imagery within the matrix of late-nineteenth and early twentieth-century art historical developments. It does so by discussing the aesthetic currents in which Maurer operated and by exploring the artistic, cultural, and historical issues that framed the production of his art from 1897-1916. During this time Maurer created a dynamic body of work that bridged the nineteenth and twentieth centuries and spanned a period stretching from Aestheticism to modernism. He launched his career with elegant fin-de-siecle figure studies that garnered critical acclaim on both sides of the Atlantic and rose to prominence as a cosmopolitan painter of genteel female subjects. While creating paintings in this vein, Maurer also produced captivating genre portrayals of contemporary life executed in a Realist mode. Although he demonstrated great facility working in these two aesthetics, and was perfectly poised for continued success, Maurer abandoned his more traditional work to chart a modernist course. By 1907 Maurer had begun to make seminal contributions to American modernism, a field that was then in its embryonic stages. As this dissertation demonstrates, he went on to become one of the earliest American artists to embrace the promise of vanguard art. He emerged as arguably the most accomplished American to create Fauve work. Maurer played an active role in the cross-fertilization of modern art between France and America, and he served as an important link between New York and Paris art circles, furnishing his fellow countrymen with invaluable first-hand knowledge of pre-World War I Parisian art.}, keywords = {Art of the United States}, author = {Epstein, Stacey Beth} } @mastersthesis {9317, title = {Ammannati{\textquoteright}s Neptune Fountain as Public Ornament}, year = {2003}, school = {Washington University}, abstract = {This dissertation explores the first public fountain in Early Modern Florence, Bartolomeo Ammannati{\textquoteright}s Neptune Fountain. I approach the Neptune Fountain at its most fundamental level-as a visual and ideological manifestation of water and stone crafted for a specifically Florentine context. Each material is analyzed for its appearance and the historical circumstances of its creation and reception. In addition to expanding on secondary research, I also incorporate new primary source material, including unpublished manuscripts acquired by the Getty Research Center as well as contemporary Latin verses and compositions by Benvenuto Cellini. This study draws on the growing scholarly work on Cosimo{\textquoteright}s Florence and seeks to chronicle the range of activities that relate to the Neptune Fountain, from embittered rivalries to construction delays to the consumption of water in the city. In chapter one, "Biancone: Life of a Colossus," the long and contentious history of the Neptune centerpiece is discussed, a fate linked to the tradition of large-scale statuary carved from monolithic blocks of white Carrara marble. Chapter two, "Chariot and Basin: a Mixture of Marbles," deals with the creation of the chariot and basin, carved from marmo bianco and marmo mischio of Seravezza, and the difficulties faced by Ammannati in procuring and transporting these stones. In the third chapter, "Bronze, the Figural Link," I explore how the bronze statues, impressive for their quantity and quality, served as links between the viewer and fountain and how their subject matter reinforces the metaphor of the fountain as a conjunction between land and sea. Chapter four, "On Aqueducts," considers the broader historical context for Cosimo{\textquoteright}s aqueduct constructions, including the tradition of ancient Roman aqueducts, existing water systems in central Italian cities and villas, and Florence{\textquoteright}s own history of water supply out of which Ammannati{\textquoteright}s Neptune Fountain served as the ultimate public showpiece for this ambitious transformation of a complex urban network. In the conclusion, I explore the military overtones of the fountain and its relation to maritime empire.}, keywords = {Renaissance/Baroque Art}, author = {Else, Felicia M.} } @mastersthesis {9215, title = {Andy Warhol and New Realism}, year = {2003}, school = {Northwestern}, abstract = {This dissertation accounts for Andy Warhol{\textquoteright}s (1930-1987) artworks from the early 1960s and their effective, sensuous qualities that have been suppressed by the numerous interpretations of the artist{\textquoteright}s works since the mind-1960s. It was the case that the early but unacknowledged critical reception of Warhol{\textquoteright}s paintings understood their perceptual affect as an aspect of New Realism, and this critical reception reveals the unacknowledged links between Warhol{\textquoteright}s artworks and a tradition of Anglo-American philosophical aesthetics that I account for. The first account is of the American philosopher Arthur Danto{\textquoteright}s (b. 1924) controversial "The Artworld" essay (1964) and its proposal that Realism in the visual arts came to end with the exhibition of Warhol{\textquoteright}s Brillo Box in 1964. I contend that the end of Realism comes at the expense of the sensuous qualities of artworks and of a beholder{\textquoteright}s perceptual capacity to apprehend those qualities. The second account is of British philosopher Richard Wollheim{\textquoteright}s (1923-2003) influential essay "Minimal Art" (19650 and how it supports a New Realist account of Warhol{\textquoteright}s Brillo Box by proposing that the minimal requirement of an object to be considered an artwork is the real work done by an artist and subsequently perceived by a beholder. Acknowledging the historical relevance of philosophical aesthetics presents new ways to address the relationship of Warhol{\textquoteright}s artistic enterprise to those aspects of his work that the scholarly discourses on Warhol have focused on-advertising and the common objects of consumer culture. I attend to these aspects of Warhol{\textquoteright}s artwork by working through a set of philosophical terms that construct a new view of Warhol.}, keywords = {Art of the United States, Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Golec, Michael} } @mastersthesis {9356, title = {Answers of the Experimental Group: Ilya Kabakov, Moscow Conceptualism, Soviet Avant-Gardes}, year = {2003}, school = {UC Berkeley}, abstract = {Answers of the Experimental Group investigates the creation and reception of unofficial art in the later years of the Soviet Union. Focusing on the work of Ilya Kabakov, the preeminent Soviet artist of the postwar era, and his close affiliation with the unofficial art movement known as Moscow Conceptualism, my project examines Kabakov{\textquoteright}s ambiguous status as a celebrated "unofficial" artist and successful "official" Soviet illustrator. No more resembling the repressive landscape of the Stalinist 1930s than the West{\textquoteright}s consumerist spectacle, Moscow{\textquoteright}s cultural climate in the 1960s and 1970s presented a unique laboratory for collective artistic experimentation. As if completing the project of the historical Soviet avant-garde, unofficial practice existed in close proximity to life itself, beyond the reach of the artworld, beyond the logic of the marketplace. Collaborating with Conceptualists such as the painter Erik Bulatov and the performance artist Andrei Monastyrsky, Kabakov negotiated the idiosyncratic terrain of unofficial Moscow. His production synthesized the idiom of a declining international modernism with conceptual strategies inspired in equal measure by the subculture of the communal apartment and the semiotics of Soviet bureaucracy. The dissertation{\textquoteright}s individual chapters focus on Kabakov{\textquoteright}s efforts to develop a post-painterly practice in the late 1950s; the artist{\textquoteright}s self-critical appropriation of his own professional labor in the 1960s; the theory and practice of Moscow Conceptualism in the 1970s; and Kabakov{\textquoteright}s ambitious album-cycle, Ten Characters (1972-1975). Just as the challenges and opportunities that informed unofficial production are inconsistent with our received histories of late twentieth-century art, so has the specificity of Kabakov{\textquoteright}s achievement been obscured by Cold War-era narratives of artistic dissidence and the normative discourses of Western art criticism. My project labors to understand unofficial art within its distinctive, communal context, even as it wonders whether Ilya Kabakov{\textquoteright}s subjection to professional surveillance and ideological management might provide a proleptic glimpse of the artist{\textquoteright}s position in a postdemocratic future.}, keywords = {Twentieth-Century Art}, author = {Matthew Jesse Jackson} } @mastersthesis {9338, title = {Antonio Allegri of Correggio: Private Art, Reception and Theories of Invention in Early Sixteenth-Century Emilian Painting}, year = {2003}, school = {Johns Hopkins}, abstract = {The dissertation focuses on the most significant works of art that Antonio Allegri, better known as Correggio (1489?/-1534), produced for private patrons during the period 1518-1530. It places these sacred and profane paintings within their historical, cultural and social context and attempts to understand the bearing that such discourses might have had on the way these works were conceived by the artist and experienced by their prime patron-viewers. In the first chapter, I consider the historiography of the artist, providing a critical account of the most relevant issues concerning Allegri, his art and his place in the history of Renaissance painting. In the second chapter the distinguished feature of lietezza characteristic of Allegri{\textquoteright}s individual style is discussed through a detailed examination of his Portrait of a Lady (1517-1518). In the third chapter, I deal with the famous room that Allegri frescoed in the private abbatial apartment within the Benedictine nunnery of San Paolo in Parma (1518-1519). Firstly, I provide a new account of the life of the artist{\textquoteright}s patron, the sophisticated abbess Giovanna da Piacenza, and of the distribution of representational spaces in her suite of rooms. Secondly, I look carefully at the genre of Allegri{\textquoteright}s enigmatic lunette images, demonstrating how and why their imagery was invented within the humanist method of hieroglyphics. In the fourth chapter an attempt is made to discursively decode the messages set forth in the Camera di San Paolo{\textquoteright}s lunette images. The overall meaning, which encompassed serious matters including the abbess{\textquoteright}s status and personal beliefs, is impregnated with all the witticism and elegance of art. The chamber painted by Allegri, which functioned as the abbess{\textquoteright}s own bed-room, was a space also conceived for the purposes of instruction and diversion. In the subsequent fifth and final chapter, I argue that Allegri{\textquoteright}s private sacred works such as his Mystic Marriage of St. Catherine, and St. Sebastian, his Noli me Tangere, and the Ecce Homo (late 1520s) represent arguments in visual forms that speak for the devotional experiences and attitudes of their prime patron-viewers. I investigate Allegri{\textquoteright}s sacred images as instruments by which their first viewers negotiated their religious conceptions and intellectual practices of piety in a period of religious crisis and theological controversy.}, keywords = {Renaissance/Baroque Art}, author = {Periti, Giancarla} } @mastersthesis {9210, title = {"Anxiety over His Flesh Painting": Art and Masculinity in the Early Paintings of George de Forest Brush}, year = {2003}, school = {UNC Chapel Hill}, abstract = {In 1880, after six years of study in France, George de Forest Brush returned to the United States to establish his career in New York. Over the next ten years, his paintings, representing Native Americans and figures from classical mythology, marked the development of this young artist as an established member of the American art world. This was a world in flux, transformed in the late 1870s by new institutions to foster cosmopolitan tastes and styles that young artists, like Brush, were bringing back to America from their experiences abroad. In his images of men engaged in the production of art and in the appreciation of beauty, Brush expressed his hope for an American art that, rooted in the past, would offer ameliorative benefits for a country in the midst of rapid urban and industrial development. As a young man at the beginning of his career, Brush also used his art to explore the concerns of American men in the face of societal changes that challenged beliefs in traditional gender definitions. His early images in the decade displayed a youthful, robust energy; but as the decade proceeded and Brush moved from bachelorhood to marriage and fatherhood, his work revealed his personal conflicts and his attempts to achieve a balanced relationship between his involvement with the modern world around him and his antimodernist desire to withdraw to the haven of his art and his family.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Boyles, James} } @mastersthesis {9149, title = {The Architectural Landscape of Eleventh- and Twelfth-Century South-Central France}, year = {2003}, school = {Columbia}, abstract = {Traditional studies focusing on the spectacular building boom that took place across Western Europe in the eleventh and twelfth centuries have often concentrated on the shared formal characteristics belonging particular regional "schools." This dissertation demonstrates the advantages of adopting a new perspective on this eleventh- and twelfth-century architecture. To achieve this goal, the text focuses on a case-study group of monuments-located within an area bordered by the south-central French cities of Limoges, Perigueux and Cahors-that does not correspond with any one of these traditional schools, but that did share many common communities of interest in the High Middle Ages. This break with academic tradition is not passed over lightly; the text begins with a thorough examination of the nineteenth-century conditions of creation of this older, regional approach, in order to understand more fully its original utility and present problems. Since this method of approaching this architecture was so thoroughly based on the notion of connecting a monument with its regional geography, the present study continues by addressing the ways in which the inhabitants of eleventh- and twelfth-century south-central France imagined and experienced their own geography, in an attempt to understand more clearly how geography may, or may not, have interacted with this architecture. The text then proceeds to investigate the ways in which this particular group of monuments displays a complex balance of formal similarity and difference, and what these forms might have implied about the social, religious, economic and political functions of architecture within the different communities of interest that inhabited the case-study region during the eleventh and twelfth centuries. The study concludes that the formal differences of these monuments should not be ignored in favor of their similarities, and that their variety of form encourages many different types of imagined meanings. The arguments found in the text have as their foundation a computerized database, attached to this project as a catalogue, that indexes the 292 eleventh- and twelfth-century structures considered in the text. This database contains over 3,000 digital photos, as well as spatial diagrams and individual bibliographies for each monument.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Langmead, Alison} } @mastersthesis {9284, title = {Aristocratic Ch√{\textcent}teau to Republican Villa: The Changing Construction of Rational Theory and Regional Form in the Country Houses of Viollet-le-Duc}, year = {2003}, school = {Harvard}, abstract = {This thesis has analyzed a small group of country houses, ten built and five that remained projects, designed by Eugene Emmanuel Viollet-le-Duc from 1853 to 1879 in France and Switzerland. Varying greatly in plan, form, style and materials, the houses nonetheless display a common sensitivity to siting, plan types adapted from historical precedent, and respect for regional forms. Four chapters discuss the cultural, political and formal development of his work as a country house architect through close analysis of archival and published sources, as well as extant buildings. His family upbringing and early education in a republican school formed the basis for his love of nature, respect for the individual, advocacy of the single family house, and anti-urban tendencies. The second, third and fourth chapters are arranged by building type: the aristocratic chateau, the bourgeois maison de campagne, and the modern vernacular villa. His country houses usually begin with the Gothic Revival style, but often evolve into more French Renaissance, early seventeenth century classical, or even vernacular inspired designs. The social ambiguity of each building type, with confusion over nomenclature, was typical of the Second Empire and Third Republic in France.}, keywords = {Nineteenth-Century Art}, author = {Gilkerson, Ann} } @mastersthesis {9265, title = {Ars Venerandi et Ars Navigandi: Technology and the Gods in Roman Navigation}, year = {2003}, school = {Florida State}, abstract = {This dissertation presents a diachronic study of the Greek and Roman technology of navigational beacons and an analysis of the symbolic and metaphorical meaning of navigation in ancient culture. While it concentrates more on the Roman aspects of navigation, there is necessarily considerable discussion of the Greek contribution, because the Greeks greatly influenced the Romans in nautical and maritime affairs. Chapters One through Four investigate the processes and functions of ancient navigational technology as it relates to various divinities. Archeological and literary evidence demonstrates that the ancients used images of a number of deities, including Neptune, Priapus, Janus, Isis, and the Dioscuri, as religious icons requiring worship (as would any cult statue) and as navigational tools that aided and protected mariners and inland boatmen by marking out navigable channels and by designating hazards such as reefs. Chapters Five and Six examine the cultural symbolism of navigation that also played an important role in Greco-Roman culture. In both literature and iconography, navigation was a metaphor for the hegemony of civilization, especially for its control over nature. Greco-Roman mythology depicts a number of navigational deities who, in addition to their role in navigational technology, also tame savage lands by bringing laws, by fostering civilization, and by establishing agriculture. Moreover, ancient belief reveals a strong correlation between navigation and dying because the Greeks and Romans perceived each as a mysterious passage, the former physical and the latter conceptual. By studying the technology of navigation with attention to the cultural implications, this dissertation aims to provide a better understanding of an important aspect of ancient practical knowledge and the role it played in the religious beliefs of Greco-Roman culture.}, keywords = {Greek/Roman Art}, author = {Neilson, Harry} } @mastersthesis {9202, title = {Art after Words: Conceptualism, Structuralism, and the Dream of the Information World}, year = {2003}, school = {UC Berkeley}, abstract = {This dissertation examines the linguistic turn in the visual arts, circa 1970. Many artists-often called "conceptualist"-mobilized language as an artistic strategy, hoping to democratize artistic production and consumption. My project situates this aesthetic movement within the larger field of structuralism and its account of language, defined by Claude Levi-Strauss, Roland Barthes, and Jacques Lacan, among others. Structuralism represented the notion that all human endeavors were inescapably governed by language{\textquoteright}s grid-like order, and that sociality could be epistemically mastered through a "science" of the signifier. Structuralisms from many fields of inquiry linguistics, literary studies, social sciences-believed they could extract the underlying codes of social phenomena from the details that obscured them. Like artists, they turned to language hoping for a revolution in signifying structures. I argue that the visual arts became a field where these claims were imaged and tested. My dissertation departs from 1970, when the conceptualist project, though increasingly institutionalized, had begun to lose its critical edge. In Chapter One, my examination of MoMA{\textquoteright}s Information show demonstrates that it was not just language that had emerged onto the visual field, but a {\textquoteright}linguistico-informational{\textquoteright} style, within which the artwork was systematized, stripped down, or abbreviated as information conveyed through words. For many artists, therefore, the grid also became the deep structure of the visible world. In subsequent chapters I focus on the work of three practitioners who resisted this style, and questioned the structuralist world-picture and its reconfiguration of visibility as a figure of epistemic mastery. Robert Morris{\textquoteright}s drawing practice discloses that time, the body, and the phenomenal are sacrificed by the disciplining effects of structural order. Robert Smithson reveals that when grid-based systems-perspectival, cartographic, linguistic-are mapped onto the world, their rationalisms crumble, and the illogic of matter produces another kind of sense. Mary Kelly visualizes the ways in which the symbolic order not only shapes our social institutions, but also seduces us with its intellectualisms and scientisms. I conclude by anticipating the lessons which we might take from this linguistic turn, now that the visual world is saturated with the informational aesthetic of digitality.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Meltzer, Eve} } @mastersthesis {9178, title = {The Art and Activism of Hugo Gellert: Embracing the Specter of Communism}, year = {2003}, school = {CUNY}, abstract = {Born Hugo Grunbaum in Budapest, Hungary, Hugo Gellert (1892-1985) became an extraordinarily influential figure in American art of the early twentieth century. Graphic artist, muralist, and painter, Gellert not only produced a vital, socially engaged body of work, but he also founded and occupied crucial positions in many of the important artists{\textquoteright} organizations, which propelled American artists to a less isolated place in society during the Depression years. His most significant contribution to the development of art in America was his conviction that artists should organize and work together, not only for their ideals, but also for their own survival. Gellert was perhaps the most active, outspoken and unapologetic American Communist artist of the twentieth century. His unrepentant, orthodox devotion to the Communist Party is one reason his reputation has suffered. Since Marxism is a product of modernist thought, the intersection of radical political theory and modern art should not be disjoined, but rather, examined as an important aspect of the twentieth century intellectual condition. Perhaps more than any other American artist of his generation Gellert is suited for this analysis. He himself strongly disavowed any distinction between his art and his life declaring, "being an artist and being a Communist are but two cheeks of the same face, and I fail to see how I can be one without also being the other one."1 This dissertation analyzes Gellert{\textquoteright}s artistic production in relationship to Communist Party policies. "The Art and Activism of Hugo Gellert: Embracing the Specter of Communism," is the first monograph of this central, yet long neglected early twentieth century American artist. It traces the development of Gellert{\textquoteright}s artistic and political concerns from the 1910s through the 1940s. Because his life and art interfaced with so many significant developments in the social, political, and intellectual histories of this country, this study places Gellert in context of these related disciplines.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Wechsler, James} } @mastersthesis {9236, title = {Art and Patronage in Medieval Hungary: The Frescoes of the Augustinian Church at Siklos}, year = {2003}, school = {Yale}, abstract = {This dissertation provides an in-depth analysis of the former Augustinian church at Siklos in southern Hungary, and its fresco decoration. Commissioned by an aristocratic family, the frescoes reveal a wealth of information about art and patronage in the reign of King Sigismund (1387-1437). The Introduction provides an overview of art historical literature dealing with Siklos and its church, and outlines the problems discussed in the dissertation. Part I focuses on the history and architecture of the church. The Augustinian canons settled at Siklos in the early fourteenth century, invited by the Siklosi family. Their first church, dedicated to St. Anne, stood near Siklos castle, and was completed before 1343. It was built in a simple manner resembling contemporary mendicant churches. At the end of the fourteenth century, under its new patrons, members of the Garai family, the church was remodeled. Part II surveys the painted decoration of the church. There were two layers of frescoes in the sanctuary, and the remainder of this chapter is dedicated to the earlier layer, of which only fragments remain. Painted in the 1360s, these frescoes are most likely the work of a group of masters familiar with Riminese painting, or its offshoots in Hungary-Croatia (cf. Esztergom, Zagreb). Part III focuses on the later, more fully preserved decorative scheme executed around 1410 under the Garai family{\textquoteright}s patronage. After a description, the iconography of key scenes is analyzed. Most attention is given to the large scenes on the walls: the Crucifixion, the Coronation of the Virgin, and the Traditio Legis. Based on comparisons with the painting of Altichiero and his circle, and with works of his followers in South-Tyrol, the chapter demonstrates that direct connections with Italian painting did not cease with the demise of the Neapolitan Angevin dynasty in Hungary (1382). The frescoes are then placed in their historical context. First they are examined as a product of Garai patronage, by comparing them to other monuments commissioned by this family and other barons. Other elements of an ensemble of monuments at Siklos, including the castle and its frescoed chapel, as well as the tombstone of Miklos (I) Garai, are also discussed. The church functioned as a family burial church, similar to a group of monuments, all richly decorated with frescoes. In conclusion, the contribution of these findings to a fuller understanding aristocratic patronage in the Sigismund period is summarized.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Jekely, Zsombor} } @mastersthesis {9228, title = {The Art of Being Byzantine: History, Structure, and Visual Narrative in the Madrid Skylitzes Manuscript}, year = {2003}, school = {Yale}, abstract = {This study focuses on the Skylitzes Matritensis, the only extant medieval illustrated chronicle in Greek. The 574 surviving illustrations of manuscript, which is housed in the National Library of Spain in Madrid, provide rich scenes of imperial, civic, and military life in the Byzantine empire. I examine the manuscript{\textquoteright}s narrative program, organization and structure in order to reconstruct its ideological origins. While debate about the manuscript has primarily focused on reclaiming its Byzantine identity and explaining the combination of "Byzantine" and "Western" images, my study explores the relationship between text and images and analyzes the choices inherent in the production of the visual narrative. Chapter one examines the history of the manuscript and the debates about the provenance of the imagery. Chapter two discusses the stages of production of the manuscript and analyzes the conceptualization of the visual narrative. I argue that the visual narrative was created ad hoc and provide case studies of how the visual narrative was selected and executed. Chapter three analyzes the vulnerable, unflattering and irreverent representations of imperial murder which repeatedly transgress the boundaries of Byzantine ideology and official iconography. Chapter four examines the treatment of iconoclasm and the restoration of Orthodoxy in the visual narrative. I conclude that the images reveal a curious ideological distance from the triumphant visions of Orthodoxy prevalent in Byzantine art and discourse. Chapter five explores how the manuscript fits into the cultural world of Norman Sicily. I demonstrate that Roger II drew heavily upon Byzantine models and extended his political competition to appropriation of imperial style in word and image. In view of the fact that the manuscript fits well with what we know about Roger{\textquoteright}s reign, as well as the fact that certain omissions in the visual narrative might even be explained by circumstances of Roger{\textquoteright}s life, I suggest that the manuscript was commissioned after 1144 by someone at the court of Roger II, if not Roger himself.}, keywords = {Early Christian/Byzantine Art}, author = {Boeck, Elena} } @mastersthesis {9249, title = {The Art of Interaction: Distance and Social Status in Prepalatial Crete}, year = {2003}, school = {UCLA}, abstract = {Exotic objects and materials capture contemporary imaginations much as they did the ancient mind. As such, they are often the subject of blockbuster museum exhibitions and art historical analyses. At the same time, exotic objects provide fruitful evidence for ancient trade patterns and foreign contacts and are therefore regularly exploited for studies of this nature. Much rarer, however, are works that attempt to decipher the meaning of such exotica within the contexts of a given society. It is this social significance of exotic objects that will be the focus of the present study. In this dissertation I explore the evidence for Near Eastern and Egyptian imports, including objects, raw materials, iconography, and production techniques, in Prepalatial Crete (c. 3000-2000 BCE). Beyond analyzing this material in terms of the evidence it provides for artistic transference between societies, this study explores the ideological value assigned to objects because of their origin in distant lands. Specifically, I examine the way in which imported objects and materials were used and displayed, as emblems, in order to effect social and political distancing, therefore providing evidence of social ranking in Crete in the period preceding the first palaces. This approach differs from earlier diffusionist or exogenous models in that rather than suggesting a subordinate relationship of Crete to the civilizations of the Near East and Egypt, an agency-oriented local perspective is applied in order to understand the role of exotica in the sociopolitical development of Prepalatial Crete.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Colburn, Cynthia} } @mastersthesis {9365, title = {Artists{\textquoteright} Periodicals and Alternative Artists{\textquoteright} Networks: 1963-1977}, year = {2003}, school = {Iowa}, abstract = {Periodicals published by the historic avant-garde are key elements in these group{\textquoteright}s strategies for cultural empowerment. This often neglected area of art historical inquiry constitutes a continuous genre from the beginnings of the twentieth century to the present day. I argue that up to World War II these periodicals are concerned almost exclusively with refuting and advancing new cultural texts, accompanied by a re-examination of the typographic conventions, space and materiality of the traditional printed page. My central area of investigation is bracketed by two key post-World War II periodicals. The first is the pre-Fluxus periodical An Anthology (1963) and I conclude with the initiation of the correspondence art periodical Commonpress (1977-1990). Both periodicals are examples of the new genre of "artists{\textquoteright} periodicals" and they mark the shift from the periodical as a site for the reproduction of texts, to one in which artist and reader collaborate in the production of new texts and experiences. The periodicals published by Fluxus serve as the armature through which I examine the transformation of the periodical within the expanded arts activities of the alternative arts milieu of the 1960s. I claim that Fluxus{\textquoteright} periodicals lie at the heart of its constitution as a community and were instrumental in constructing Fluxus as an imagined "conceptual country." The final series of periodicals that I examine all play defining roles in the emergence and consolidation of the international correspondence art network (aka., mail art and the Eternal Network). Network periodicals played a pivotal role in establishing this alternative communications network. Particular attention is paid to a new genre of periodicals, assembling magazines, that develop and sustain this anti-hierarchical network. I claim that Commonpress{\textquoteright} existence was only possible through the consolidation of this self-sustaining communications network. Common to all the periodicals examined is the perennial avant-garde quest to dissolve the boundaries between art and life. This anti-formalist and utopian history is revealed as the larger text which activated these often overlooked, but vital arenas of post-World War II avant-garde activity.}, keywords = {Twentieth-Century Art}, author = {Perkins, Stephen} } @mastersthesis {9174, title = {Augustus Saint-Gaudens, His Critics, and the New School of American Sculpture, 1875-1893}, year = {2003}, school = {CUNY}, abstract = {This dissertation explores the development of Augustus Saint-Gaudens{\textquoteright}s critical reputation through the lens of his participation in American art venues and the published reception to his sculptures. During the first half of his career, through the late 1870s and 1880s, Saint-Gaudens consistently exhibited his portrait busts and bas-reliefs, most notably at the Society of American Artists in New York. Since then, these works have been eclipsed in scholarly and critical attention by his successful public monuments in New York, Chicago, and Boston, and have sustained his rank as an American master sculptor. Yet along with these great monuments, Saint-Gaudens{\textquoteright}s small sculptures must be viewed as integral to the construction of his artistic persona and status. From his return to New York from Europe in 1875, he purposefully marketed his public image with the twin goals of attracting lucrative monumental commissions and promoting the legitimacy of American sculpture on American shores. His participation in exhibition venues, role in the management of the overseeing organizations, and affiliation with well-placed critics, artists, and patrons were seminal to his professional and social advancement. A genteel circle of critics, including Richard Watson Gilder, Charles de Kay, and Mariana Van Rensselaer, trumpeted Saint-Gaudens as the harbinger of a new school of American sculpture. The published reaction to Saint-Gaudens{\textquoteright}s small work in New York newspapers and art journals between 1875 and 1893 put him in context with his fellow sculptors and contemporary aesthetic debates. The art writings also assert Saint-Gaudens{\textquoteright}s genius, often in propagandistic terms. His sculptures-large and small, public and private-were at once evidence of sophisticated foreign-trained talent working in an original idiom as well as a refutation of American artistic provincialism. Saint-Gaudens was central to the new movement of young cosmopolitan painters and sculptors who emphasized subjective aesthetics over transcriptional subjects. By the early 1890s, as a well-established and overcommitted artist, Saint-Gaudens{\textquoteright}s involvement in art venues diminished. His unique artistic talent and the unwavering backing of certain loyal critics propelled him to the position of role model and tastemaker by 1893.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Tolles, Thayer} } @mastersthesis {9194, title = {Authoring the East: Okakura Kakuzo and the Representations of East Asian Art in the Early Twentieth Century}, year = {2003}, school = {Harvard}, abstract = {This dissertation reexamines the representations of East Asian art in the early twentieth century by the pioneering Japanese art historian and critic, Okakura Kakuzo (Tenshin, 1862-913). Okakura{\textquoteright}s vision of the East that idealized Japan as its epitome paradoxically came into a particularly sharp focus when it was articulated to a Western audience, and this study unravels the ways in which intention and reception reinforced, conflicted with, or diverged from one another in Okakura{\textquoteright}s cross-cultural representations. Chapter 1 analyzes in The Ideals of the East (1903) and discusses the consolidation of Okakura{\textquoteright}s theory of the East during his travels to India in 1902. I investigate the inherent contradiction in his conception of the East: Okakura appropriated the cultural heritage of continental Asia in order to establish Japan{\textquoteright}s equivalence with modern Western nations, yet at the same time, he also advocated pan-Asian solidarity and collective resistance against European domination. Chapter 2 considers the relationship between cultural difference and gender difference in The Book of Tea (1906). Okakura sought to create a refined, artistic paradigm of Japanese masculinity in this text. This strategy allowed him to overturn the stereotype of a passive, feminine Japan, while also giving him the opportunity to refute the growing reputation of modern Japan as hostile and militant. Chapter 3 looks at the expansion of the East Asian art collection at the Museum of Fine Arts, Boston (MFA), during Okakura{\textquoteright}s tenure there, and the transformation of its display at the museum{\textquoteright}s new building on Huntington Avenue, which opened in 1909. I demonstrate the means by which East Asian art mediated the construction of American cultural identity, vis-a-vis Europe, as a nation situated at the crossroads of East and West. The MFA moreover assisted Okakura in achieving his goal of securing a "fine art" status for East Asian art in the West. The concluding chapter raises the question concerning the impact of Okakura{\textquoteright}s representations of East Asian art for artistic modernism in Japan and the West.}, keywords = {Chinese Art, Japanese/Korean Art, Twentieth-Century Art}, author = {Murai, Noriko} } @mastersthesis {9359, title = {"A Barbarian in Asia": Henri Michaux{\textquoteright}s Works in Ink, 1927-1955}, year = {2003}, school = {IFA/NYU}, abstract = {This dissertation examines the early works in ink by Henri Michaux, executed between 1927 and 1955. Best known for his mescaline drawings and large ink paintings of the mid-1950s and 1960s, Michaux experimented extensively with ink in the preceding decades. Michaux{\textquoteright}s "marks" must be considered in relation to the ideas and practices of Surrealism and Existentialism that dominated cultural discourse during this period, as well as in relation to Michaux{\textquoteright}s lifelong interest in Asian art and thought. A contextual and historical analysis reveals Michaux{\textquoteright}s dialogues with contemporary artists like Paul Klee, Max Ernst, Jean Dubuffet and Georges Mathieu. This discussion not only distinguishes Michaux{\textquoteright}s project from his peers, but also revises the common portrayal of the artist as a reclusive individualist. A writer as well as an artist, Michaux{\textquoteright}s practice was literary as well as artistic and this study also considers his dialogue with the contemporary writings of Georges Bataille, Maurice Merleau-Ponty and Jean-Paul Sartre, among others. Central to Michaux{\textquoteright}s practice was an exploration of the relationship between writing and drawing, between lingual and retinal signs. Evoking archaic scripts and prehistoric cave engravings, Michaux{\textquoteright}s works explore the origins and nature of "signs". Fundamental questions Michaux asked include: At what point does a mark become a sign? And at what point does a line become a form in space? Related to these formal questions into the nature of "signs" are much broader ones that deal with the nature of human existence. Michaux{\textquoteright}s works challenge the fixity of Western dualisms with notions of fluidity and paradox rooted in Taoism and related to contemporary phenomenology. Michaux{\textquoteright}s visual explorations at the limits of legibility thus interface with his reflections on the limits of "being." How Michaux negotiated this slippery liminal realm with marks in ink is analyzed in the course of this study.}, keywords = {Twentieth-Century Art}, author = {Jones, Leslie} } @mastersthesis {9313, title = {The Battle of Lekkerbetje: Imagery and Ideology during the Eighty Years War (1568-1648)}, year = {2003}, school = {USC}, abstract = {The battle of Lekkerbeetje (February 5, 1600), was the Result of a challenge between Pierre de Breaute, a French nobleman in the service of the Protestant Dutch Republic, and Gerard Abrahamszoon van Houwelingen who served in the Spanish army. The battle pitted twenty against twenty, which resulted in the death of both of the protagonists and a number of their men. Small as the battle was, it had a symbolic significance that far exceeded its brevity and modest scale. Rather, the battle, its protagonists, and its outcome immediately exemplified the larger issues of the Eighty Years War (1568-1648). During this war, the Dutch Republic fought to gain its independence from Spanish rule. Because of its small scale the battle functioned as an exemplar for both the Dutch Republic and the Spanish Netherlands. This idea found expression through written sources, but particularly through a great number of paintings and prints that are documented in numerous collections. Despite the partisanship of the written accounts, the images-of which at least sixty-seven have survived-are extremely repetitive through the use of a number of recurring motifs. Van Houwelingen, for instance, always lies dead in the left foreground, while De Breaute is on horseback on the right side surrounded by his men. The juxtaposition of their poses and position within the composition demands a comparison between the two men. However, the motifs do not demand a judgment when seen in isolation. As a result, the paintings and prints could be meaningful for viewers from both sides. It is also this quality that ensured the continued exemplary function of the battle of Lekkerbeetje. As the political landscape shifted, the imagery could be re-interpreted to adapt to the new situation. Since the opposing parties remained the same, the motifs continued to serve as exemplars throughout the seventeenth century. The fact that the battle was pre-arranged and the result of a challenge made it unique within the scope of the Eighty Years War. This circumstance, too, allowed the battle to exemplify the larger issues at stake.}, keywords = {Renaissance/Baroque Art}, author = {De Koning, Marion} } @mastersthesis {9364, title = {Benedetta Cappa Marinetti: "Donna Generatrice"}, year = {2003}, school = {CUNY}, abstract = {The writer and painter Benedetta Cappa Marinetti occupies a unique place within Italian Futurism and among the ranks of its female participants. Benedetta represents an amalgam of positions that are not only complex, but inseparable-Futurist artist, wife, mother, autonomous individual, and political subject. This complexity is reflected in Benedetta{\textquoteright}s works, which both embrace and deviate from Futurist and Fascist ideologies. Benedetta{\textquoteright}s philosophical and aesthetic conceptions of the world center on notions of resolution and harmony, the individuation of the self from the universe, and maternity as a font of creativity. They reflect varying concerns and influences, particularly the context of post-World War I Italy, deep divisions occurring within the Futurist movement, and her developing ideological construction of woman. This study examines Benedetta, her work, and her varied roles in order to establish her personal, cultural, and political beliefs. This investigation shows how Benedetta was able to function successfully as a Fascist and as an avant-garde artist and how she advanced her artistic ambitions despite the constraints on women inherent in both Futurism and Fascism. Though largely undiscussed in contemporary literature, Benedetta{\textquoteright}s contribution to Futurism was significant. She wrote three well-received works of fiction, created a small but important body of paintings, and assisted her husband, Filippo Tommaso Marinetti, founder of Futurism, in presiding over the movement. By contrast, under the Fascist regime, a woman{\textquoteright}s official role was that of mother. This study reveals how Benedetta not only adopted this view, but advocated it by developing a theory of creativity centered on motherhood that allowed her to meld her political, personal, and artistic beliefs. In addition, this investigation explores the way in which Benedetta{\textquoteright}s spiritualism-a blend of Christianity and Theosophy-is revealed in her works. In retrospect, Benedetta{\textquoteright}s roles seem contradictory, but are less so when understood within the context in which she worked: namely that of Futurism and Fascism in Italy, in themselves inconsistent movements that embodied ideological stances that, like Benedetta{\textquoteright}s, shifted over time.}, keywords = {Twentieth-Century Art}, author = {Panzera, Lisa} } @mastersthesis {9346, title = {Bharhut: Narrative and Pilgrimage in Ancient India}, year = {2003}, school = {Virginia}, abstract = {The scholarship of Bharhut is a puzzle, the pieces of which may be assembled into a picture of a monument as it was originally experienced. Chapter One sets these pieces in order, revealing both the value and limitations of tools used to study ancient monuments. Our view of Bharhut is hampered by the scattering of fragments, the interests of early scholars, and the dogged scholarly dedication to specific methodologies and theories as absolute. Instead, I use different views as tools to gain a greater understanding of Bharhut and of the experience of pilgrimage in ancient India. Much of the scholarship on Bharhut focused on the narrative sculpture. In Chapter Two, I consider the narratives of Bharhut, starting with a discussion of the jataka tradition and its role in early Buddhism. Jatakas are usually understood as stories of the previous lives of the Buddha. This is not necessarily true of the early tradition in evidence at Bharhut. The early role of jatakas becomes entwined with the use of aniconism and the role of the stupa. Narrative and aniconism are scrutinized in Chapter Three. Not all of the sculpture of Bharhut is narrative. The Bharhut program includes lotuses, processions, demigods, shrines, and sacred symbols, all arranged into a living mandala, a model of the cosmos with the relic-body of the Buddha at its heart. The creators of this great mandala consisted of patrons and viewers from all over northern India. The experience of the monument, both in construction and under worship, is the subject of Chapter Four. The donations of kings and queens stand next to those of merchants, clerics, horsemen, and townsfolk. This diversity is part of the Buddhist cosmos, and should be considered when trying to understand how monuments were experienced. The fragments of the Bharhut vedika are the most important pieces of the puzzle, scattered and isolated in various collections across the world. Chapter Five provides a catalogue of the fragments and their current fate. It also presents a number of problems in cataloguing scattered monuments, from fragments whose present location is unknown, to problems of provenance and restoration.}, keywords = {South/Southeast Asian Art}, author = {Guyton, Amanda} } @mastersthesis {9344, title = {The Bible of Borso d{\textquoteright}Este: Christian Piety and Political Rhetoric in Quattrocento Ferrara}, year = {2003}, school = {Florida State}, abstract = {The monumental, profusely illuminated Bible (Modena, Biblioteca Estense, Lat. 422-423 = V.G. 12 \& 13) executed between 1455 and 1461 for Borso d{\textquoteright}Este, papal vicar and signore of Ferrara (1450-1471), was an essential component in a coordinated program of art patronage and self-promotion that extended throughout his reign. This study investigates the intertwining themes that link the visual images to spiritual and temporal aspects of Borso{\textquoteright}s rule. The miniatures, set within a context of sacred narrative, were conceived to celebrate Borso{\textquoteright}s qualifications: his noble genealogy, superior moral virtue, and proven administrative experience. The first portion of this study provides the historical background that determined Borso{\textquoteright}s choice of a Bible over other forms of art patronage. Commissioning an illuminated Bible included Borso in an elite group of powerful ecclesiastics and wealthy secular rulers for whom manuscripts served as material markers of political and cultural status. In addition, commissioning a Bible, the holiest of Christian texts, demonstrated Borso{\textquoteright}s piety and was certain to win favor with his papal overlord. Subsequent chapters demonstrate how the expansive display of family emblems and personal imprese that accompany the sacred text and distinguish this Bible from all others refer to Borso{\textquoteright}s noble ancestry and link him to an ideal state in which peace and prosperity reign. The inclusion of specific flora and fauna in the margins of the Bible further enhances this dynastic subtext. Metaphorical and emblematic references in the miniatures of the Old Testament link Borso with the virtues requisite for a successful ruler. More dramatic, however, is the appearance of Borso himself in the miniatures illustrating the New Testament to demonstrate his successful assimilation of the requirements of the Perfect Prince that had for centuries featured prominently in the tradition of speculum principis literature. Defining the relationship of the miniatures in the Bible to Borso{\textquoteright}s political and religious goals clarifies the motivations that influenced Borso{\textquoteright}s wider program of patronage.}, keywords = {Renaissance/Baroque Art}, author = {Wright, Amy Johnson} } @mastersthesis {9171, title = {Birge Harrison: Artist, Teacher, and Critic}, year = {2003}, school = {CUNY}, abstract = {Lovell Birge Harrison (1854-1929) was one of the few artists of his generation to receive national and international recognition as a talented artist, gifted teacher and articulate critic. Leaving the United States in 1876, he studied at the Ecole des Beaux-Arts and, with other important artists of the period including his brother, Thomas Alexander Harrison (1853-1930), painted in several important artist colonies in France. His figure painting November, 1881, which was among the first American works purchased at the Paris Salon by the French government, prepared the way for other American artists to gain access to this important source of patronage. Forced by ill health to leave France in 1883, Harrison embarked on a decade of extensive travel including eighteen months in Australia from 1890-91, where he painted and worked as a writer and illustrator. During this period, Harrison continued to pursue his personal expression of his pantheistic belief in the harmonious unity of man and nature while redirecting his art toward landscape painting. By the beginning of the twentieth century, having participated in almost all of the major exhibitions of American art, he was recognized as one of the America{\textquoteright}s foremost Tonalist landscape painters. Primarily concerned with landscape, the Tonalist movement produced an art of poetic suggestion that is characterized by the harmonious modulation of color, simplified composition, and an interest in atmospheric effects. Following his return to the United States, Harrison, like others of his generation, worked to secure a role for art in American society, first as a teacher and later as a critic. In 1904, he became the director of painting at the at the Arts and Crafts colony of Byrdcliffe, and in 1906, the head of the Woodstock Summer School of the Art Students League of New York. Harrison considered teaching to be his most enduring contribution to the development of American art. Although he published numerous articles in the leading art journals of the period, Harrison{\textquoteright}s authoritative book Landscape Painting, 1909, remains the most comprehensive statement of his art theory and criticism, and established his reputation as one of the leading spokesmen of Tonalism. It continues to be sighted in studies of landscape painting of the period. His theoretical stance, that art is nature seen through the individual artist{\textquoteright}s temperament, aligned him to representatives of contemporary art movements, such as Robert Henri, Sadakichi Hartmann, and Charles H. Caffin, whose theories have historically been viewed as antithetical to Tonalism. Documenting Harrison{\textquoteright}s career reveals more than the diversity and richness of this period. It also reveals an artist who made a significant contribution to the development of American art.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Husby, Andrea} } @mastersthesis {9311, title = {The Birth of Antiquities Collections in Rome, 1450-1530}, year = {2003}, school = {Harvard}, abstract = {This study examines antiquities collections from 1450 to 1530 in Rome, relating their history to critical changes in Rome{\textquoteright}s urban landscape and in the social and political life of the city. These years encompass the beginnings and widespread growth of antiquities collections and by the end of this period, almost every noble family displayed ancient marbles. Past studies have tended to focus on individual collections-especially the papal collection at the Belvedere-or on the sculpture gardens formed in the mid-sixteenth century, often with a particular interest in provenance, in a "period taste," or in abstract "programs." This work, however, encompasses a wider time frame, examining the intertwined histories of the collections of the native nobility and the collections of the curial nobility to study how each type was adapted to particular methods of social competition. In the mid fifteenth century, native Roman nobles were the most active collectors in Rome, and their collections largely centered on the cults of particular ancient ancestors. In a discussion of the Santacroce family collection, I examine how a family who had only recently acquired noble status used antiquities to legitimate their ties to an ancient ancestor, and therefore to shore up their tenuous social standing. "Ancestor" collections of this sort, however, would not endure in Rome. As the renovatio Romae of Sixtus IV brought a new concern for the civic utility of culture and for an all{\textquoteright}antica urban image, sculpture collections in monumental courtyards or in garden settings became the norm, first in the collections of the curial elite, then in almost all collections. Native nobles adapted to these trends, but even in the sixteenth century continued to use antiques for political purposes: for Gabriele de{\textquoteright} Rossi, the possession of ancient sculpture would assert native-ness in the face of foreign incursion into municipal affairs. As is discussed in the last chapters, the Della Valle were native nobles who adapted more successfully to curial society. Andrea{\textquoteright}s collections, especially his hanging garden built when he became a Cardinal, were primarily concerned with defining the public roles of Roman ecclesiastical elites.}, keywords = {Renaissance/Baroque Art}, author = {Christian, Kathleen Wren} } @mastersthesis {9272, title = {The Birth of Japanese Painting History: Kano Artists, Authors, and Authenticators of the Seventeenth Century}, year = {2003}, school = {Princeton}, abstract = {This dissertation examines the origins of Japanese painting history in the seventeenth century. A dramatic rise in the historical consciousness of Japanese painting during the early Edo period (1600-1868) can be understood in relation to a constellation of related phenomena, including the emergence of a market for old Chinese and Japanese paintings, a system for their authentication by professional painters, the spread of signatorial practice, the articulation of a Sino-Japanese ink painting canon, and the production of lineage charts and biographical compilations. Playing a central role in nurturing these trends were members of the Kano house of painting, a familial network of studios serving the Tokugawa shogunate in a semi-official capacity. Through their activities as artists, authors, and authenticators, the Kano reimagined their own stylistic lineage as a national genealogy of painting. This genealogy would be famously articulated in the 1693 publication of the first full-fledged art historical treatise in Japan, The History of Japanese Painting (Honcho gashi) by Kano Eino (1631-97). As a way of conceptualizing the origins of Japanese painting history, the following topics are treated for critical analysis in five chapters, all related in some way to the activities of the Kano school: (1) lineal anxiety as reflected in the late Mt. Fuji paintings of Kano Tan{\textquoteright}yu (1602-74); (2) Kano modal albums and the role they played in visualizing a Japanese canon of Chinese painting, as mediated by the memory of the legendary Ashikaga shogunal collection; (3) the practice of painting authentication, which developed during the seventeenth century along with a market for old paintings; (4) the authorship of Kano biographical compilations in the shadow of the dauntingly prestigious legacy of the medieval monk-painter Sesshu Toyo (1420-1506); and finally, (5) the codification of a name-centered, lineage-driven vision of the development of Japanese painting in Eino{\textquoteright}s History. The Introduction provides an institutional and theoretical basis for discussion, while the Conclusion traces the implications of seventeenth-century Kanocentric narratives of painting history for art historical discourse in the modern era.}, keywords = {Japanese/Korean Art}, author = {Yukio Lippit} } @mastersthesis {9300, title = {The Black Box of Experience: Happenings and the Mechanization of Affect, 1958-1966}, year = {2003}, school = {Columbia}, abstract = {Crash: a disaster of machinic impact; a singular and accidental event, unrepeatable. The very name of Jim Dine{\textquoteright}s 1960 happening "Car Crash" points symptomatically to an "accidental" violence that pervaded the performance works known as happenings: the time-stoppage of disaster, which organizes the event not towards some positive construction of presence but radically, negatively towards absence. In the late 1950{\textquoteright}s a number of New York-based visual artists-including Allan Kaprow, Claes Oldenburg, Jim Dine, and artists associated with Fluxus, NO Art, Neo-dada and (later) Pop-began to produce event-structures. "Happening," the name Kaprow selected to designate this new time-based art, was an intentionally vague term chosen to avoid association with the theater and to conjure less textual, more popular cognates. In part as a result of what was in effect a terminological disarticulation, the happenings have never been adequately dealt with either historically or formally; they have served instead as curious addenda to the history of the early 1960s, inhabiting the problematic liminal space-between painting and theater, between art and life-formulated by Kaprow. The accident-which negates both object and durational structure-haunts happenings and has rendered them marginal, if not irrecuperable, to the official histories of post-war art. This dissertation attempts a partial recovery of that negation-and its history-by examining the relations between happenings and two kinds of reproduction: theater and photography. The critical aporia is addressed in three ways. First, I examine happenings as "second generation" post-war artifacts; second, I assess the latent content described by the category itself; and third, I analyze salient features of canonical works-particularly of their material, formal and thematic structure-and proposes a set of readings which places the happenings in complex relation to contemporaneous artistic practices.}, keywords = {Performance Studies}, author = {Rodenbeck, Judith} } @mastersthesis {9204, title = {Black Market: Materiality, Abstraction and the Built Environment in the New York Avant-Garde, 1958-1962}, year = {2003}, school = {UC Berkeley}, abstract = {This dissertation historicizes the New York avant-garde around 1960. Comprising chapters on tightly bounded groups of works by Claes Oldenburg, Jasper Johns, and Robert Rauschenberg, it seeks to understand the social significance of the famed resistances to representation in this art. In particular, the dissertation argues that these artists{\textquoteright} urban- and commodity-oriented works were inextricably bound to two historical conditions: (1) the architectural re-imagining of New York City under urban renewal, and (2) America{\textquoteright}s critical reception of the changes in advertising and consumer goods at the end of the 1950s. It then understands the emphatic materialism of these art practices as a complicated critique of the apparently increasing abstraction of the broader built environment as a whole. As such, the dissertation proposes both a new understanding of the art of this period and also a socially specific framework for understanding the terms materiality and abstraction, which were heavily fraught both in Abstract Expressionism and in the early years of postmodernism. The conclusion offers a means for thinking about the dissertation as a first case study in a newly concrete history of signification in the later twentieth century.}, keywords = {Contemporary Art, Twentieth-Century Art}, author = {Joshua Shannon} } @mastersthesis {9361, title = {Bodies, Statues, Machines: Dance and the Visual Arts in France, 1900-1925}, year = {2003}, school = {UC Berkeley}, abstract = {During the first three decades of the twentieth century, dance emerged as one of modernism{\textquoteright}s most striking achievements. Exploring the fluid exchange between artists and choreographers and between representations of the body and representations through the body, this dissertation argues that neoteric forms of dance practice furnished early twentieth-century artists with new modes of conceiving and expressing relationships between embodiment and image. Chapter One analyzes the ways in which Isadora Duncan manipulated the forms and associated meanings of classical art as a strategy to elevate the status of her choreographic practice and in so doing, offered a revitalized version of classicism at a moment when the classical tradition in the visual arts seemed to have lost its bearings. Chapter Two focuses on French sculptor Emile-Antoine Bourdelle, who based his designs for the sculpted decorative friezes on the exterior of the Theatre des Champs-Elysees in Paris after his drawings of Duncan. Tracing the complex passage from dance to drawing to sculpture, I argue that Bourdelle{\textquoteright}s engagement with Duncan{\textquoteright}s dance formed part of a broader attempt to create a viable art social in which the antinomies of public and private and classical and modern might be resolved. Chapters Three and Four examine the explosive combination of modernism and "primitivism" in Vaslav Nijinsky{\textquoteright}s choreography for Afternoon of a Faun (1912) and The Rite of Spring (1913). Situating the body between a pre-social atavism and a fragmented, automatistic modernity, Nijinsky{\textquoteright}s choreography simultaneously articulated the desire for-and the failure of-a deeply-held fantasy of returning to bodily and cultural origins via the dance. While both modern dance and its representations in the visual arts served as metaphors for the tenuous position of the individual in pre-war French culture, new forms of dance participated in a wider project of cultural reconstruction in interwar France. In this vein, chapter Five examines how Fernand Leger{\textquoteright}s representations of the body in his designs for the Ballets Suedois{\textquoteright} Skating Rink (1922) articulated, in terms particular to the interwar period, the broader tensions between primitivism and mechanization which had haunted the corporeal imagination of early twentieth-century modernism.}, keywords = {Twentieth-Century Art}, author = {Kennel, Sarah} } @mastersthesis {9358, title = {The {\textquoteright}Britishness{\textquoteright} of British Art: Landscape, Art, and Identity, 1951-1956}, year = {2003}, school = {Penn State}, abstract = {This study investigates how the production and discussion of landscape art in Britain during the period 1951-1956 can be related to the larger issue of nationalism during the Cold War era. These five years represented a transitional period in British social and political history; a term announced by the post-war civic optimism of the Festival of Britain and concluded by the governmental instability resulting from the Suez Crisis. Throughout the Second World War, and immediately afterwards, the Neo-Romantic landscape art of artists such as John Minton, Paul Nash and John Piper was celebrated as an established symbol of Britishness, while the national topography itself was viewed nostalgically as the hallowed ground of Shakespeare{\textquoteright}s "sceptre{\textquoteright}d isle". By the mid-1950s, however, the threat of atomic war had raised doubts as to even the probability of a future, and the old narratives of a timeless and inviolable land were shaken in a very physical sense. At the same time, the influence of American art and culture, the expanding global media and the new frontiers of science opened up fresh possibilities that challenged the isolationist preservation of an indigenous culture. This dissertation examines the changing status of landscape art in the early 1950s through the examination of works that represented Britain at the Festival of Britain, the Venice Biennale and the Ten Years of English Landscape Painting exhibition at the Institute of Contemporary Arts. The impact of developments in scientific technology on artist{\textquoteright}s perceptions of the environment is investigated through the Growth and Form exhibition, held at the ICA in 1951, and through an evaluation of the spiral paintings of Victor Pasmore. The works of Barbara Hepworth, Henry Moore, Francis Newton Souza, John Minton and Derrick Greaves are explored to show the ways that paintings, photographs and sculpture not only contributed to the discourse of collective identity but acted in the perpetuation of social divisions of gender, race and class; while the canvases of Graham Sutherland, L. S. Lowry, and Peter Lanyon reveal representations of landscape in the 1950s to be sites of anxiety, rather than security, concerning national, political and regional identity.}, keywords = {Twentieth-Century Art}, author = {Jolivette, Catherine} } @mastersthesis {9150, title = {Building Civic Pride: Strasbourg Cathedral from 1300 to 1349}, year = {2003}, school = {Penn State}, abstract = {The years 1300 to 1349 comprised one of the most turbulent eras of political and social unrest in the town of Strasbourg. Paradoxically this was also the time when the divided citizen body began to unite in funding the construction project to complete the cathedral{\textquoteright}s huge west front. Though usually the responsibility for medieval cathedral building belonged to the clergy, the Oeuvre Notre-Dame workshop at Strasbourg had been governed by lay citizen administration since the late thirteenth century. Though these early citizen patrons came from the ruling patrician class, in a few decades they were joined in their building efforts by the very artisans who were struggling to gain political enfranchisement. Donations to the fabric of the west front began to increase as a result of the creation of a manuscript book. This little-studied Liber Donationum of c. 1320, in which the name of each donor was written, was in large measure responsible for the financial success of the west front project. The book was kept on the altar of the Virgin chapel, where masses were said for the souls of the departed patrons. The book and chapel, together with the west front, provided a perpetual memorial for these faithful that was at once more elaborate than any other monument in the city and at the same time affordable to nearly everyone. The completion of Strasbourg{\textquoteright}s west front, with its famous single spire, is due ultimately to the critical years of the early fourteenth century, when the citizens were persuaded to fund an expensive structure that both offered individual spiritual benefits and promoted the growth of civic unity and pride.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Stanford, Charlotte} } @mastersthesis {9152, title = {Cardinal Cesi and His Garden: Antiquities, Landscape, and Social Identity in Early Modern Rome}, year = {2003}, school = {Penn State}, abstract = {My dissertation investigates the ways in which gardens and the antiquities collections they exhibited reflected their owner{\textquoteright}s self-perception and defined social distinction in early modern Rome. My case study is the Cesi Garden, established by Cardinal Paolo Emilio Cesi in the 1520s at his palace (no longer extant) near Saint Peter{\textquoteright}s Basilica. The garden was redesigned, enlarged and further embellished by his younger brother Cardinal Federico Cesi, ca. 1545-1565. At its peak, the garden enjoyed international fame as the site of one of the preeminent collections of ancient sculpture in the city. The Cesi were a "new family," members of a provincial Umbrian elite who joined the ranks of the Roman nobility as their fame and fortune grew with Federico{\textquoteright}s curial career. More than just a show of Cardinal Federico{\textquoteright}s taste and wealth, however, I argue that the garden was saturated with messages communicating Cesi{\textquoteright}s virtu and romanitas---messages that helped to establish his position as a member of the nobility. In this sense, the garden and its collection functioned as a monumental "self-portrait" exhibited for public consumption. As such, it responded to an established code of expectations for cardinals{\textquoteright} palaces and social conduct. The Cesi Garden therefore operated as a dynamic field in which the patron{\textquoteright}s identity was formed both through his own ambitions and by the requirements of a viewing audience. Since the audience played such a critical role in shaping Federico{\textquoteright}s identity, I consider the reception of the garden: how the landscaped setting of the garden conditioned the experience of the visitor and how this helped to bolster Cardinal Cesi{\textquoteright}s reputation in Rome and abroad. Drawing on a wealth of archival documentation, I trace the history of the Cesi family and offer a new reconstruction of the Cesi Palace, Garden and collection. I give special consideration to the practice of collecting and inheritance law for constructing and perpetuating noble identity in this period, as well as to a detailed analysis of images representing the garden such as Cardinal Cesi{\textquoteright}s Garden in Rome, painted in 1584 by Flemish artist Hendrick van Cleve III.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Bentz, Katherine} } @mastersthesis {9333, title = {Catherine of Siena and the Use of Images in the Creation of a Saint, 1347-1461}, year = {2003}, school = {Virginia}, abstract = {Saint Catherine of Siena (1347-80) was one of the most famous visionaries of the Late Middle Ages and Early Renaissance. As a Dominican tertiary, she was part of the greater movement of lay piety that transformed devotional practices beginning in the thirteenth century. One of the practices that the laity helped to foster was image veneration, and the dissertation begins with an exploration of Saint Catherine{\textquoteright}s use of visual images in her own spirituality. Evidence for the devotional role of images for Saint Catherine is derived from an analysis of her own writings, the contemporary biographies of her, and by situating her within the greater spiritual context of lay piety in fourteenth-century Siena. Saint Catherine achieved some of her most profound visionary experiences while contemplating visual images, such as her miraculous receipt of the Stigmata of Christ, and therefore images were vital to her sanctity. However, Saint Catherine was not officially canonized until more than eighty years after her death, and during this time visual images again played a key role in creating her sanctity. The remaining chapters of the dissertation examine three distinct groups of visual images that all functioned to construct Catherine of Siena{\textquoteright}s saintly identity. The first is a series of ink drawings from a manuscript of Catherine{\textquoteright}s life that helped, through visual analogy with established saints, to justify her disputed stigmatization and ultimately argued for her sainthood. The second is a group of images painted in the civic spaces of Siena that are interpreted as an orchestrated program of civic art designed to celebrate Catherine as a new patron saint of the city. The third is the series of panels by Giovanni di Paolo that depict the life of Saint Catherine and present her as a visionary saint at the moment of her canonization. From the first chapter to the last, this study provides an analysis of the function of visual images in the life and cult of Saint Catherine of Siena, and it argues that the visionary function of images was crucial to Catherine{\textquoteright}s spirituality and afterwards to the development of her cult.}, keywords = {Renaissance/Baroque Art}, author = {Moerer, Emily A.} } @mastersthesis {9143, title = {The Changing Legacies of Bantu Stephen Biko and Black Consciousness in South African Visual Culture}, year = {2003}, school = {Wisconsin}, abstract = {Steve Biko is South Africa{\textquoteright}s best known martyr for the cause of a just, free society in which each individual is respected and each voice is honored. He died at the hands of the South African police on September 12, 1977. Soon after, he was described as a "magnifying glass [that exposed] a whole spectrum of South African reality." Through his life and death, "the structure of a whole nation" was revealed (Hilda Bernstein, 1978:7). Twenty-five years have passed since then, and in that time Biko{\textquoteright}s legacy has vitally informed the changes in South Africa{\textquoteright}s political structure, ideological position, and domestic and international identity. This study explores the considerable impact of images, most particularly portraiture, in the evolving legacies of Biko and Black Consciousness. Two portrait types are considered-one type represents his living likeness, the other type depicts his corpse; both were printed in the mass media in the months immediately following his death. Represented alive, Biko embodies the pride and dignity inherent to Black Consciousness, the ideology he helped found in the mid 1960s. Represented dead, Biko vilifies the apartheid state and, through the late 1970s and 1980s, prompted resistance to its brutal laws and actions. Since 1977, South African artists have regularly returned to these two portrait types and reconfigured them to sometimes challenge, and other times support, the nation{\textquoteright}s changing needs. Though presented chronologically, several representational threads are explored throughout the study: Biko as the living icon of Black Consciousness; as the embodiment of pain and suffering, and their transcendence; as the messianic messenger of humanity, a moral imperative that apartheid ignored. Through post-apartheid imagery, he is a vehicle by which to remember and resolve the conflicts of the past. The chapter devoted to the 1980s examines the state{\textquoteright}s efforts to censor Biko{\textquoteright}s image. The epilogue considers the significance of site-memorials, murals, graffiti, and exhibitions-in the evolving legacies of Biko and Black Consciousness.}, keywords = {African Art (sub-Saharan)}, author = {Hill, Shannen L.} } @mastersthesis {9205, title = {Chicana/o Murals of California: Indigenist Aesthetics and the Politics of Space, 1970-2000}, year = {2003}, school = {UIUC}, abstract = {Chicana/o Indigenism in the visual arts has found its most radical and provocative expression in the iconography of community murals throughout the United States since the Civil Rights Movement. While muralism is an art form that has saturated urban spaces nearly everywhere in the U.S., California has been a critical site for community muralism due to the astounding number of works found there as well as to its well-earned reputation as a center for Chicana/o intellectual and artistic activity. In this project, I am focusing on the recurrence of Indigenist iconography in Chicana/o murals from the late 1960s to the turn of the twentieth century as it presents itself in three major cities in California where the community mural movement has been the most fertile, namely San Diego, Los Angeles, San Francisco and their surrounding metropolitan areas. In the process, I am generating theoretical frameworks that explain how the Indigenist aesthetic coupled with the public nature of the community mural defined Chicana/o identity politics and cultural nationalism during and after the 1960s. Not only am I identifying the various components that inform the Indigenist aesthetic in Chicana/o mural art, but I am also documenting the changes that this aesthetic has undergone through the years. By depicting images of indigenous culture and history from the Americas, these artists embraced an aesthetic that rewrote their place in U.S. history and society. Indigenism, as an ideology and aesthetic, emerged during the early decades of the twentieth century in various parts of Latin America, but Mexico in particular. Unlike in Mexico, however, for Chicanas/os, Indigenism was not an institution supported and endorsed officially, but rather a discourse occurring at the margins of U.S. dominant culture. Chicanana/o murals, for the most part, did not grace the walls of major public and government buildings; rather, they decorated the walls along the streets of the barrios and urban neighborhoods through out the country.}, keywords = {Contemporary Art}, author = {Latorre, Guisela} } @mastersthesis {9323, title = {The City Rehearsed: Architecture, Rhetoric, and Print in the Arts of Hans Vredeman de Vries (1526-1609)}, year = {2003}, school = {UC Berkeley}, abstract = {This dissertation examines the creation and reception of "architectural" prints by the Netherlandish polymath Hans Vredeman de Vries (1526-1609). Painter, architect, rhetorician, perspective theorist, but chiefly draughtsman, Vredeman was active in Antwerp, where he designed a bizarre and (until recently) unstudied body of images of fantastic architecture. Starting with the Scenographiae (1560), and continuing through the two-volume Perspective (1604-5) his publications depicted nightmarish structures and cities largely bereft of any narrative action, or of human figures altogether. Few of Vredeman{\textquoteright}s hypothetical structures were ever built. As a print designer, Vredeman{\textquoteright}s work for Antwerp publishers like Gerard de Jode, Philips Galle, and Hieronymous Cock was always subject to the multiple inputs of different etchers, engravers, and publishers, and as a painter his compositions were frequently supplied with staffage by other hands: Lucas van Valkenborch, Marten van Cleve, and reputedly, Pieter Bruegel the Elder. Vredeman was of course not unique in this respect, and the locales where he was employed-Prague, Danzig, Wolfenbuttel-cherished exactly the combinatory possibilities of his work. Yet unlike Albrecht Ddrer, Lucas van Leyden, or Hubert Goltzius-artists who drew, cut, and even published their own designs-Vredeman{\textquoteright}s control over the path from inventio to execudit was never total. Hence he has never fulfilled the gilded role of the peinture-graveur that print history since Bartsch has historically adored. The study posits a new way of thinking about the Renaissance artist as a historical subject, overturning conventional criteria such as originality, beauty, and solitary genius in favor of categories like collaboration, copying, and failure.}, keywords = {Renaissance/Baroque Art}, author = {Christopher P. Heuer} } @mastersthesis {9301, title = {Claude Raguet Hirst (1855-1942): Gender and Genre in Turn-of-the-Century America}, year = {2003}, school = {Columbia}, abstract = {Claude Raguet Hirst (1855-1942) was the only woman artist of note to pursue the highly illusionistic mode of still life known as "trompe l{\textquoteright}oeil" that flourished in turn-of-the-twentieth-century America. Typically created by and for men, these hyper-realistic works characteristically featured casual arrangements of hunting paraphernalia, firearms, smoking apparatus, and other artifacts of masculine leisure and nostalgia, with a strong undercurrent of wit. My study addresses the intriguing questions of why and how Hirst forged her identity as an artist in a genre dominated by men. Working from unpublished archival sources, I provide the first substantive account of Hirst{\textquoteright}s life and career as well as the only comprehensive catalogue of her substantial oeuvre. I link Hirst{\textquoteright}s life and art to larger socio-historical trends that defined the Gilded Age, especially the powerful role that gender played in aesthetic discourses of the period. Hirst appropriated the masculinizing visual trope of the trompe l{\textquoteright}oeil, but her pictorial strategies ultimately overturned its usual codes and thus ruptured its privileging of a male viewing position. Specifically, I look at Hirst{\textquoteright}s iconography of decorative objects, her unabashed use of the so-called "lady{\textquoteright}s medium," and even the deployment of her paintings in exhibition spaces gendered feminine. I focus most on Hirst{\textquoteright}s representation of open, legible books, her most pervasive iconography. I examine the content as well as the historical reception of the particular texts and meticulously rendered engravings that dominate her work. Supported by the archives, my reading demonstrates that the corpus of texts in Hirst{\textquoteright}s images adds up to a meta-text that endorses the emerging ideology of the "new woman" and its emphasis on independence. Hirst{\textquoteright}s pictures related to those of her male compatriots (Harnett, Peto, etc.) in a dialogic, not imitative way, as past scholarship has suggested. Her paintings frequently engaged in witty repartee with the masculine signifying systems visually encoded in the men{\textquoteright}s works. Hirst{\textquoteright}s paintings ultimately challenged the male status quo of the art world of turn-of-the-twentieth-century America.}, keywords = {Pre-1945 North American and South American Art}, author = {Evans, Martha} } @mastersthesis {9225, title = {Constructed Identities: The German Photobook from Weimar to the Third Reich}, year = {2003}, school = {Pittsburgh}, abstract = {In 1926 photographer Laszlo Moholy-Nagy predicted the illiteracy of the future would be ignorance not of reading or writing, but of photography. Five years later theorist Walter Benjamin described the ability to compare facial types via the portrait photobook as a vitally important skill. As Germany endured a national identity crisis in the interwar years, the photographic book proved an effective alternative to traditional representation across the political spectrum. Nevertheless, its impact remains largely unexplored by an art historical discourse that privileges the so-called high arts over the "low" mass media. Although much attention has been paid to the purge of "degenerate" painting and sculpture under National Socialism, substantially less is known about the ideological function of Weimar photography and its fate in the Third Reich. This dissertation examines the relationship between national identity and the photographic book during Germany{\textquoteright}s turbulent transition from unstable democracy to totalitarian state. It analyzes the production and reception of several photobooks and demonstrates how they became the visual battleground over which a struggle for a coherent national identity was waged. The first two chapters introduce the emergence of neo-conservative photobooks in the immediate postwar years and an attendant emphasis on visual literacy in Dada photomontage and the illustrated press in the early twenties. The third chapter explores the influence of Bauhaus photobooks on increasing complaints of "photo-inflation" after 1929. Chapter Four analyzes books by Albert Renger-Patzsch and Karl Blossfeldt which attempted to organize and regulate Weimar{\textquoteright}s chaotic visual sphere while the final chapter examines the application of physiognomic theory in portrait compendiums by August Sander, John Heartfield, Helmar Lerski and Erna Lendvai-Dircksen. More than innocuous collections of fine art photography, these books functioned as physiognomic guidelines for the representation of national identity for both progressives and conservatives. Their unique combination of text and image offered a kind of reassuring narrative authenticity perceived to be unavailable to more traditional media. By tracing the ideological function of the photographic book from 1919 to 1933, this dissertation introduces a neglected arena of modern publishing and challenges a German historiography that emphasizes rupture, rather than cultural continuity between Weimar and the Third Reich.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Rittelmann, Leesa} } @mastersthesis {9179, title = {Constructing Taste: Athenaeums and Academies of Art in the United States, 1800-1865}, year = {2003}, school = {Columbia}, abstract = {This study considers several buildings designed to contain public galleries of art that would elevate public taste, seeking to answer the question: how was their architectural design related to contemporary assumptions about the operation of correct aesthetic perception, or good taste? Evidence provided by four case studies suggests that programs, plans and architectural styles were closely correlated with specific conceptions of what beauty was thought to be, how it was believed to be perceived, and, by implication, who was considered capable of apprehending it. Moreover, it appears that as the century progressed, structures were increasingly intended to facilitate the apprehension of an ever-broader concept of aesthetic delight by an ever-larger segment of American society. Prior to the creation of public museums of art in the 1870s, private academies and athenaeums were a critical means of cultivating the general public{\textquoteright}s love of art. This dissertation analyzes architectural designs for four organizations with this pedagogical mission: first, a project by John Trumbull for the American Academy of Fine Arts, New York (c. 1828); second, John Dorsey{\textquoteright}s Pennsylvania Academy of the Fine Arts, Philadelphia (1805); third, Alexander Jackson Davis and Ithiel Town{\textquoteright}s Wadsworth Athenaeum, Hartford (1842); and Peter Bonnet Wight{\textquoteright}s National Academy of Design, New York (1865). At the American and Pennsylvania Academies, classical architecture seemingly equated a learned knowledge of the antique world with good taste. Leaders of the former, however, agreed with Sir Joshua Reynolds that taste involved the rational recognition of universal beauty, while those of latter were influenced by William Gilpin{\textquoteright}s theories of aesthetic variety and Lord Kames{\textquoteright} conviction that taste was a common sense. The Gothic style was used at both the Wadsworth Athenaeum and the National Academy of Design. Yet, directors of the former embraced Archibald Alison{\textquoteright}s argument that associations prompted taste, while those of the latter, using John Ruskin{\textquoteright}s ideas, argued that it involved instinctive love nature. This final, implicitly democratic, concept of taste shaped the appearance of America{\textquoteright}s first public museums of art, but was abandoned shortly thereafter.}, keywords = {Art of the United States}, author = {Brugger, Laura} } @mastersthesis {9308, title = {Counterbalancing Classicism: Jan Steen and the {\textquoteright}Socratic Style{\textquoteright}}, year = {2003}, school = {Virginia}, abstract = {Jan Steen{\textquoteright}s oeuvre has been considered from many angles, predominantly autobiographic or iconographic. I propose that in looking at Steen{\textquoteright}s commissioned portraits, even with their outwardly conventional decorum, we can nonetheless find clues that point to his comic personality. I survey trends in Steen{\textquoteright}s portraiture that show his tendency to ironically invert the viewer{\textquoteright}s expectations in comic-rather than satiric-ways. Steen challenges the traditions of portraiture, creating witty examples that the erudite sitters themselves likely found compelling. I contextualize Steen{\textquoteright}s work within contemporary imagery and literature, as well as social and familial debates. To point to the folly of late-century classicizing forms of etiquette and dress, Steen juxtaposed an older, medieval-type sociability. Steen{\textquoteright}s portraits often include contrasting social classes and family generations, comparing their looks and morals in untraditional ways. We can describe Steen{\textquoteright}s use of opposing groups as dialectics, a tool not yet used in art history. The dissertation is made up of two parts: an introduction that outlines my approach, and four chapters that focus on individual portraits as carriers of parodic meaning. In the second chapter, I discuss his portrait of the Burgher of Delft (1655) in which he alludes to prints and modes of portraiture that subvert the outward image of unmitigated charity. In the third chapter, I study the Poultry Yard (1660). In creating that painting, Steen rediscovers the archetypal pastoral-where shepherds speak in epic verse-and retools it as an ironic mode of portraiture. To do so, he includes servants and visual clues that challenge the viewer by putting servant and mistress on equal moral footing. In chapter four, I reattribute the Fantasy Interior (c.1663) as a portrait of Gerrit Gerritsz. Schouten instead of Jan van Goyen. Schouten was a wealthy, titled Catholic brewer whose family Steen reinvents as nouveau riches, surrounded by luxury and its dangers. The final chapter focuses on the Garden Party (1677). At that time Steen was finding more subtle ways of ribbing his patrons-using architectural and pastoral metaphors-juxtaposing his unique, "disordered" family image with the family of Leiden{\textquoteright}s burgomaster to comic effect}, keywords = {Renaissance/Baroque Art}, author = {Blazzard, Kimberlee Cloutier} } @mastersthesis {9239, title = {Courtly Images Far from Court: The Family Saint-Floret, Representation, and Romance}, year = {2003}, school = {Harvard}, abstract = {The murals at the chateau of Saint-Floret (France, Auvergne, c. 1350) provide the most extensive depiction of romance in surviving French wall-painting. They are also, most unusually, accompanied by substantial extracts of painted text. Life-size images of jousts and lovers{\textquoteright} meetings cover the walls of a large hall, depicting a romance of Tristan and Iseut, two of the most famous doomed lovers in western culture. Only a few pages have been dedicated to these wall-paintings in published scholarship, sometimes naming the paintings "courtly" (while ignoring the apparent contradiction of their rural surroundings) and largely devoted to identifying the text to which the images relate. My argument addresses the paintings{\textquoteright} role in courtly culture and their use of visual rhetoric. In particular, I argue that the chateau and its wall-paintings provide evidence of a considered relation to at least three traditions of courtliness. By means of the style and form of the narrative which they present, the murals visually negotiate between the courtly visual culture of Paris, that of papal Avignon, and the locally-rooted troubadour society in southern France. The murals, therefore, provide evidence not only of sophisticated cultural production in areas outside the heavily-studied "centers" of the Middle Ages, but also of the strength of various strands of courtly tradition. What emerges most pointedly from the analysis is the vital social role of the paintings, the realization that the narrative images at Saint-Floret were not "mere decoration"; they mattered. They create an arena in which certain topics had already been put into play, and they act as an invitation to enter a dialogue. The viewing experience at Saint-Floret shapes viewers{\textquoteright} consciousness of being part of a social group and simultaneously allows the opportunity for monologue, dialogue and performance. The paintings at Saint-Floret highlight the role of romance material in constructing and presenting an image of a self-particularly a noble self-in the Middle Ages. They allow their patron to show himself as a cosmopolitan member of the nobility, accomplished in the courtly codes and the material of romance, to the extent that he could "author" a visual text.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Luyster, Amanda} } @mastersthesis {9193, title = {Critics, Collectors, and the Nineteenth-Century Taste for the Paintings of John Frederick Kensett}, year = {2003}, school = {UC Berkeley}, abstract = {Between 1848 and 1872, landscape painter John Frederick Kensett (1816-1872) was understood to be one of the most important artists of his day. This study traces his public reputation and the sales of his paintings during his lifetime. The dissertation provides a case study of mid-nineteenth-century taste, and analyzes the way contemporary writers perceived and shaped culture of the period. Integral to their praise for Kensett was their emphasis upon values that avoided material concerns and demonstrated "refinement." Chapter One traces the venues at which Kensett exhibited paintings, and the language, such as the terms "quiet" and "refined," with which the critics frequently described the pictures. Through an analysis of newspaper and magazine reviews, the chapter provides a chronological account of Kensett{\textquoteright}s reputation. Chapter Two maps the broad spectrum of individuals who owned at least one of Kensett{\textquoteright}s paintings during his lifetime, and the variety of means by which they acquired the pictures. The appendix lists the many individuals who are known to have owned a work by Kensett. The chapter also considers the other paintings that the owners possessed and studies the way in which they were displayed. Chapter Three considers the landscapes that Kensett painted of Newport, Rhode Island, and places them in the context of contemporary paintings of the area, the history of Newport as a resort destination, and the discourse around tourism. The chapter suggests that instead of seeing Kensett{\textquoteright}s paintings as souvenirs of a rapidly developing resort, contemporaries understood them to offer a view of Newport that appealed especially to a knowledgeable and careful viewer. Chapter Four investigates the term "quiet" so often used to describe Kensett{\textquoteright}s pictures, and its frequent pairing with the term "refinement." The chapter considers the other ways in which these same terms were used, especially their application to the "refined" culture of Europe. It suggests that in the 1860s, during a moment of cultural transition, Kensett{\textquoteright}s pictures offered to an American public a particularly American landscape which also embodied many of the qualities that were admired about Europe.}, keywords = {Art of the United States}, author = {Trafton, Melissa Geisler} } @mastersthesis {9169, title = {Cultural Costuming: Native Americans, Inversion, and the Power of an Exceptional White Masculinity}, year = {2003}, school = {UC Berkeley}, abstract = {Between the American Revolution and the "closing" of the frontier in 1893, some of America{\textquoteright}s best known painters, including Benjamin West and Thomas Eakins, executed a handful of large formal portraits of white males costumed as Native American warriors. Art historians have interpreted these portraits individually, as either illustrating aspects of the sitter{\textquoteright}s biography, or as a step in the artist{\textquoteright}s stylistic development, or both. My dissertation instead identifies these portraits as a distinct sub-genre of American portrait painting. I see this sub-genre as symptomatic of, on the one hand, the cultural construction of what I call an "exceptional white masculinity"-which had implications for sitter and artist alike-and on the other hand, of deeply held beliefs regarding the idea of the warrior in Anglo-American society. Each of my five chapters constitutes a case study of one portrait. Each case study is organized around an identical set of issues: where each sitter positioned himself in the social hierarchy before his portrait was painted; why the artist the sitter chose to portray him was particularly qualified to represent him costumed as an Indian warrior; how the artist constructed the sitter{\textquoteright}s identity according to visual codes signifying gender, class, and race; and, finally, how the portrait imaginatively repositioned the sitter in present and future male hierarchies. As it turns out, each sitter commissioned his portrait not at a moment of personal triumph, as we might expect, but when his dominant position in the male hierarchy was in doubt. By commissioning a portrait of himself as a man of exceptional masculinity, however, each sitter was able to create a heroic, mythic image of himself that transcended the very real uncertainties that plagued him. Whereas it is generally believed that the idea of the warrior was incompatible with ideals of democracy and capitalism, this subgenre of American portrait painting suggests otherwise. The warrior ethos could be successfully imported into the centers of cultural and commercial power without undermining egalitarian values, but only if the warrior invoked was an ideal and, in the case of Anglo-Americans, only if the frontier experience continued to exist.}, keywords = {Art of the United States, Critical Theory/Gender Studies/Visual Studies}, author = {Muller, Kevin Richard} } @mastersthesis {9275, title = {David Alfaro Siqueiros, Josep Renau, the International Team of Plastic Artists and Their Mural for the Mexican Electricians{\textquoteright} Syndicate, Mexico City, 1939-40}, year = {2003}, school = {Northwestern}, abstract = {In August 1939 the Mexican Electricians{\textquoteright} Syndicate commissioned David Alfaro Siqueiros to paint a mural in its newly constructed Mexico City headquarters. Siqueiros assembled Mexican artists Antonio Pujol and Luis Arenal, Bolivian Roberto Berdecio, and Spanish refugee artists Josep Renau, Miguel Prieto, and Antonio Rodriguez Luna to form the International Team of Plastic Artists and accept the commission. Their goal was to create distinctly communist art, defined by collaborative production, dynamic realist style, and content initially reflecting Popular Front ideology but later focused on anti-capitalism. Their production process, industrially inspired, resulted in a montage of contrasting forms and viewpoints, designed to engage its viewers. While the effects of such an agitprop conception are subjective, the mural{\textquoteright}s composition and montage-like form can be understood today as representing the conflicts and compromises that plagued the team{\textquoteright}s collaborative effort. Siqueiros{\textquoteright}s team aspired to tailor their production process to their electrician audience; however, the Syndicate rejected the muralists{\textquoteright} attempt to create a work that kept up with changing Comintern policy. As a result, the extant mural in the Syndicate headquarters{\textquoteright} main stairwell, Portrait of the Bourgeoisie, is far from Siqueiros{\textquoteright}s original vision. Following Siqueiros{\textquoteright}s May 1940 attempt to assassinate Leon Trotsky, the Syndicate brought Renau back to revise and complete the work. Renau balanced the needs of the anarchist Syndicate with his personal artistic vision and his communist convictions, transforming the original mural. Thus, the mural, typically discussed in terms of Siqueiros{\textquoteright}s artistic and political trajectory, is greatly indebted to Renau{\textquoteright}s decisive contributions and reflects the larger cultural and political agenda of its patron. With its apocalyptic allegory predicting capitalism{\textquoteright}s self-destruction, the mural remains a monument of Mexican Muralism and modern art not because it is Siqueiros{\textquoteright}s culminating work of the 1930s, but rather because it reveals choices made by politically committed artists and their patrons to overcome the political impasse faced by the Mexican and international left at the end of the Cardenas regime and Popular Front period.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Jolly, Jennifer A.} } @mastersthesis {9256, title = {"De nos ambitieux, vous etes le symbole": Aspects of Childhood in Eighteenth-Century French Art}, year = {2003}, school = {Rutgers}, abstract = {My dissertation analyzes visual representations of childhood in the final century of the ancien regime. Central to these images is their correspondence to new ideas about childhood promulgated by the Enlightenment. These images of children speak not only to new educational theories, but also to France{\textquoteright}s effort to uphold and, in some cases, undermine the weakening social, political, and religious structures of the ancien regime. Enlightened thinkers and educationalists stressed two factors that shaped a child{\textquoteright}s development: education and recreation. Within this scope of understanding, my dissertation is divided into four discrete chapters. Chapter 1 reviews the historiography of the critical literature on images of children in eighteenth-century France. In this chapter I evaluate the trends and oversights in the art historical literature from the early nineteenth century to the present. Eighteenth-century criticism has been purposefully omitted, as it is assessed in the subsequent chapters. Chapter 2 treats images related to the education of boys and is divided into essentially two parts. The first section reviews the educational literature and facilities for boys during the final century of the ancien regime . In this section, a boy{\textquoteright}s relationship to his family, the church, and the state are evaluated. The second section is an appraisal of the images related to educational theory and practice. Chapter 3 is an exploration of the images of girls and their education. Like the previous chapter, Chapter 3 is divided into two main parts. The first explores the educational literature and facilities for girls in the seventeenth and eighteenth centuries. In this section, emphasis is placed on a girl{\textquoteright}s limited curriculum which included needlework, reading and writing. This section is followed by an analysis of corresponding images. The final chapter treats images of children at play. The educational literature related to concepts of play is reviewed in the first section and is followed by an appraisal of the relevant eighteenth-century French images. Child{\textquoteright}s play became increasingly associated with education during the eighteenth century. Moreover, child{\textquoteright}s play was emblematic of innocence, an innocence that was often associated with the pastoral landscape.}, keywords = {Eighteenth-Century Art}, author = {Jasin, Gabriela} } @mastersthesis {9357, title = {The Decadent Dandyism of the Work of Yves Klein}, year = {2003}, school = {Wisconsin}, abstract = {No record in ProQuest}, keywords = {Twentieth-Century Art}, author = {James, Linda} } @mastersthesis {9229, title = {Diplomacy by Design: Rhetorical Strategies of the Byzantine Gift}, year = {2003}, school = {Chicago}, abstract = {This dissertation explores cultural exchange in the medieval world by focusing on a select corpus of art objects created specifically for inter-cultural exchange between Byzantium and the West. The study is organized into five chapters. The first examines the theoretical underpinnings of Byzantine largess from contemporary Arabic, Greek and Latin textual sources while the remaining chapters comprise case studies of specific gifts custom-made for imperial presentation to strategically significant western representatives. Chapter Two reevaluates an eleventh-century crown in Budapest known as the Royal Crown of Hungary, originally conceived as a crown to be worn by a Byzantine bride in a foreign land and later reconfigured, even regendered, to be worn by a male sovereign as a symbol of statehood. In Chapter Three, an illuminated manuscript presently in Rome is read as a welcoming present for a young French bride to introduce her to Constantinople{\textquoteright}s court culture which in the late twelfth-century was rife with faction. Chapter Four argues that the embroidered silk textile, or pallio, connected with the 1261 re-conquest of Constantinople and now on view in Genoa, celebrates the concept of imperial largess and blurs the distinction between commercial exchange and ritual giving. Lastly, Chapter Five considers an early fifteenth-century illuminated codex of the writings of Dionysios the Areopagite now in Paris and the elaborate genealogy of past and future Dionysian gifts to which it relates, exploring the relationship between book, hagiography, and relic status. Though formally and materially diverse, the Byzantine gifts under investigation are united by function and motivation, deliberately incorporating both eastern and western imagery in order to index both giver and recipient. Accordingly, they each respond to their particular exchange circumstance and may be read as visually extended gestures of their giver and as metonymic evocations of the desires and aspirations of their creators. At the same time, it takes into consideration the reception and afterlife of the luxury gifts from Byzantium and considers the valences of meaning that accrue and erase historically. Ultimately contributing to our understanding of the status and deployment of luxury throughout the medieval world, this project brings conceptual issues of cultural exchange to the concrete level of material culture.}, keywords = {Early Christian/Byzantine Art}, author = {Cecily Hilsdale} } @mastersthesis {9145, title = {Diplomacy in Motion: Art, Pageantry, and the Politics of Creativity in Barotseland}, year = {2003}, school = {Iowa}, abstract = {"Diplomacy in Motion: Art, Pageantry and the Politics of Creativity in Barotseland" explores the multi-faceted power of creativity in the production and projection of cultural identity for approximately 25 ethnic groups known collectively as Lozi. Barotseland is an historic kingdom that once included Victoria Falls, Namibia{\textquoteright}s Caprivi Strip, eastern Angola and western Zambia. Today, its heartland remains intact in Zambia{\textquoteright}s Western Province. The diplomatic use of creativity within Barotseland led to a vision of a unified Lozi kingdom, and a cultural identity that has been marketed internationally. "Creativity"-the innovations of style and form in the production of art for sale, ceremonial choreography and court fashion-has served as a potent vehicle for negotiating shifting Lozi identities throughout Barotseland{\textquoteright}s dynamic history. Drawing upon both historic and contemporary examples, this dissertation investigates three facets of Barotseland{\textquoteright}s culture of creativity: art objects; performances, like the riverine pageant, Kuomboka, and the coveted investiture rites, Coliso; and the purposeful presentation of the body in photography and choreographed codes of conduct. Chapter One introduces the forms of Lozi arts in museums. Next, "Barotseland and its Contexts" provides basic information on Barotseland{\textquoteright}s environment, political history, and treatment as a site of scholarship. Chapters Three and Four focus upon the life, times and influence of turn-of-the-twentieth-century king, Lewanika. "King Lewanika and the Invention of Barotseland" looks to his influence as an artist and patron of a Native Curios Shop. "King Lewanika and his Incorporative Strategies for Barotseland," traces Lewanika{\textquoteright}s manipulation of his own image through photography, his orchestration of etiquette at court and throughout his kingdom, and his talent for staging spectacular pageants. Chapter Five, "Kuomboka: A Pageant for a Nation" analyzes the forms of Kuomboka to reveals insights into Lozi history. To better understand the complex sources informing Lozi political and visual praxis, the chapter addresses the relationship between Kuomboka and Coliso as public and exclusive dramas deeply imbedded in central Bantu cosmogony and teleology. Chapter Six, "Concluding Remarks: Barotseland{\textquoteright}s Ongoing Creativity and Diplomacy," reviews the means by which objects, bodily practice and performance have and continue to work in concert to envision Barotseland.}, keywords = {African Art (sub-Saharan)}, author = {Milbourne, Karen} } @mastersthesis {9214, title = {Discourses of Dis-Ease: Medical Imaging and Contemporary Art}, year = {2003}, school = {UC Berkeley}, abstract = {This dissertation examines the intersections between medical imagery and contemporary art at the end of the 20th century. The primary objectives of the project are: (1) to bring together the discourses of art history and medicine; (2) to define a "new vision" used to look at the body; (3) to delineate a range of models used to represent or imagine the body; and (4) to articulate the ways in which artistic practice re-imagines these constructs and visual procedures. The text launches a socio-historical inquiry into the bodily representations. This study argues that artistic representations of the body both reference and resist dominant constructs of the body. Artistic reformulations of medical imaging acquaint the viewer with the recalcitrant, unpredictable, ambiguous inscrutability of the body. Chapter One describes methodological approaches to studying the body and its medical and artistic representations. Chapter Two outlines a series of dominant bodily models, tracing conventional ways of looking at the body and implications. Using the photographic work of Hannah Wilke, Chapter Three focuses on representations of breast cancer. This chapter emphasizes Wilke{\textquoteright}s use of photography to frame and contradict conventions of medical documentation, and to point towards relational aspects of disease. Chapter Four considers the work of Felix Gonzalez-Torres and his sculptural descriptions of AIDS. This investigation relies upon the theories of exchange and gift-giving to examine the implications of representations of infectious disease. Chapter Five turns to the work of Robert Gober to explore the histories of medical display and the dynamics of desire and taboo catalyzed by the long trajectories of medical representations of the body. In the concluding Chapter Five, the tensions between materiality and metaphor, between the body and its representations, are described and emphasized.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Dungan, Elizabeth} } @mastersthesis {9342, title = {The Documented Paintings and Life of Andrea Vaccaro (1604-1670)}, year = {2003}, school = {Penn State}, abstract = {This dissertation takes stock of what is known about Andrea Vaccaro (1604-1670), one of the most prominent painters of Naples in the middle of the seventeenth century. Although successful during his lifetime, Vaccaro currently suffers a reputation that is, at best, second rate. Due to the hundreds of paintings attributed to Vaccaro of dubious quality, modern art historians characterize his art as "eclectic" and "academic." The sole monograph on Vaccaro, Maria Commodo Izzo{\textquoteright}s Andrea Vacccaro pittore (1604-1670) published in 1951, is also sorely out of date. This study provides a new and more accurate portrayal of the artist. Rather than the customary all-inclusive approach, this study is based on the solid foundation of all known documents about the artist{\textquoteright}s life and art, which are gathered and analyzed in one place for the first time. An overview of Vaccaro{\textquoteright}s career organized in three sections provides an original assessment of the artist. Vaccaro{\textquoteright}s early period (ca. 1604-1636) is the least documented and therefore the least understood. An analysis of different speculations on his formation reveals the biases of those who propose them. I also suggest a model employed by the eighteenth-century biographer Bernardo De Dominici for characterizing Vaccaro and his artistic advancement. Vaccaro{\textquoteright}s mature (ca. 1636-1660) and late (ca. 1660-1670) periods are studded with documented artistic activity for both private and public patrons. In my chronological discussion of the paintings, stylistic and iconographic links are made in order to revise the wide-spread perception of Vaccaro{\textquoteright}s so-called eclecticism. The results of this study demonstrate that Vaccaro was a good painter, on par with his contemporaries Massimo Stanzione and Bernardo Cavallino. In addition, contrary to what is believed, Vaccaro{\textquoteright}s art and reputation did not decline as he grew older and he was not immediately eclipsed by Luca Giordano. Instead, numerous prestigious church commissions, his post as the first prefetto of the renewed Corporation of Painters, and a variety of other documented activity attest to his artistic importance and the public recognition he enjoyed before he died in 1670, making him a model religious painter of the period.}, keywords = {Renaissance/Baroque Art}, author = {Tuck-Scala, Anna Kiyomi} } @mastersthesis {9262, title = {The Doric Revival under the Attalids of Pergamon}, year = {2003}, school = {Missouri}, abstract = {In the wake of Alexander{\textquoteright}s conquests, the rise of the Hellenistic monarchies brought a shift of power from the Greek mainland to the Greek East, and thus a period of great wealth in the eastern cities. Architecturally, it was an age of great achievement, and the popularity of the Ionic and Corinthian orders is well evident. On the contrary, it is often said that the Doric order lost popularity, and that architects lost interest in it because of its imperfect symmetries. This is supported by the writings of the Roman architect Vitruvius, who wrote under the emperor Augustus. Vitruvius was frequently read by Renaissance architects who, in turn, transmitted their ideas to the present. If the evidence is examined more closely, however, we see that the Doric continued in use, and numerous Doric stoas and temples were built during the Hellenistic Period, ca. 300-100 BCE. More importantly, cities in the Greek East such as Pergamon used the Doric extensively. The Attalid kings of Pergamon also donated buildings in the Doric order to other cities, and spread their influence throughout their kingdom, Asia Minor, and abroad. The reasons for this use of the Doric in a region known for its Ionic architecture are examined here. The evidence overwhelmingly illustrates that this esteemed architectural symbol did not meet its end in the Hellenistic Period.}, keywords = {Greek/Roman Art}, author = {Kidd, Benton} } @mastersthesis {9296, title = {On the Double: Mirroring and Twinning in the Photographs of Clementina, Lady Hawarden}, year = {2003}, school = {Virginia Commonwealth}, abstract = {In the over 800 extant photographs taken by the Victorian amateur photographer Clementina, Lady Hawarden, between 1857 and 1864, the double is a recurrent motif. Of the 550 photographs of her daughters posed indoors, approximately 100 prints employ an actual mirror, the reflective surface of a window, or a pairing of her models to create a mirrored effect. Technically, in an age before flash photography, the mirror provided more light to reduce exposure times. Formally, it fragmented and reorganized space while simultaneously offering two views of a sitter. The manner and ubiquity of Hawarden{\textquoteright}s doubling, however, suggests a meaning beyond technical and formal concerns. While scholars have investigated Hawarden{\textquoteright}s biography and more recently, theoretical aspects of her photographs, few have focused specifically on her use of the mirror and doubling in general. By employing the term "doubling," my study will include not only her use of literal mirrors, but, by extension, her interest in the psychological effects of doubling through twinning and pairing. I contend that doubling was employed by the artist, not to represent the traditional motif of vanity or narcissism, but to visually express what was then a growing interest in identity, interiority, and feminine psychic life. While the woman-before-her-glass has a long tradition in the visual arts, I will further argue that Hawarden{\textquoteright}s doubling more closely parallel trends in literature. From the explorations of female identity exemplified in novels by female writers to the theme of the doppelganger in romantic writing, it is in the nineteenth-century literary realm that the mirror and doubling topos truly emerges. Although letters reveal that Hawarden was familiar with nineteenth-century literature, my argument is not that she was attempting to illustrate scenes from these books; rather, there is a common sensibility between them, both developing at a time when there was a new interest in psychology and female identity. By employing contextual, literary, feminist, and psychological strategies, this dissertation will seek to understand the significance of the double in terms of the artist and the Victorian culture in which she functioned.}, keywords = {Nineteenth-Century Art}, author = {Ramirez, Jennifer Otto} } @mastersthesis {9175, title = {Dutch and Flemish Seventeenth-Century Art in America, 1800-1940: Collections, Connoisseurship, and Perceptions}, year = {2003}, school = {IFA/NYU}, abstract = {American museums are richly endowed with Dutch and Flemish baroque paintings, a result of two centuries of collecting and a particular taste for these schools, a striking cultural and aesthetic phenomenon. This dissertation explores the roots and development of this trend while documenting the motives and acquisitions of the seminal, and later, the most successful and prolific collectors of these schools, spanning the period from about 1800 through 1940. The early collectors are represented by Charles Russell Codman of Boston, Robert Gilmor, Jr. of Baltimore, and Thomas Jefferson Bryan and Louis Dun both of New York, amateurs who amassed paintings of an intimate scale and refined technique by the "little masters," with an increasing awareness of and demand for quality. The later generation, introduced by the grandeur of Henry Gurdon Marquand{\textquoteright}s gift of about fifty old masters to the Metropolitan Museum, 1880s-90s, and the acquisitive might of J. P. Morgan, is represented by P. A. B. and Joseph Widener (father and son), and John Graver Johnson, all of Philadelphia, Benjamin Altman of New York, and the Pittsburgh natives and friends Henry Clay Frick and Andrew Mellon. The unprecedented financial power of these individuals was matched by their ambitions as acquisitors of Dutch and Flemish masterworks as the cabinet paintings of their predecessors gave way to monumental examples of Rembrandt, Van Dyck, et al. This study is informed by a reading of contemporary documents, including the letters and papers of the above collectors and the scholarship and criticism which accrued around their acquisitions and actions. Further, it is underscored by an interpretation of the cultural context of the collecting of northern paintings in the United States, namely that they have consistently been perceived as the material and symbolic messengers of a morality particularly suited to the philanthropic ambitions and gestures of our collectors. Finally, the appendices of this study-comprehensive lists Dutch and Flemish paintings acquired by the above individuals-document and record their collecting efforts.}, keywords = {Art of the United States, Renaissance/Baroque Art}, author = {Minty, Nancy} } @mastersthesis {9173, title = {Edward Simmons, a Painter and Yankee in the Gilded Age}, year = {2003}, school = {CUNY}, abstract = {Edward Simmons (1852-1931) was one of the most prolific and respected mural painters of the American Renaissance (1876-1917). As an easel painter Simmons was competent, versatile, and associated with the most significant group identified with American Impressionism, the Ten American Painters. However, mural commissions absorbed most of his time and attention, and it is his decorative career that is the focus of this dissertation. Nearly all of his generation of American artists went to Europe, especially to Paris, to study in the academies. Simmons and many colleagues returned home with great mastery in drawing and painting the human figure and inspired by the decoration in the Renaissance and Beaux-Arts buildings they had seen. They aimed to take the best from the past and create a new era in the decorative arts, even greater than what had gone before. In addition to establishing their own careers, they stimulated a demand for public art and gave the decorative arts new status in this country. This study looks behind the scenes at how Simmons and fellow artists, architects, and patrons advanced the profession of decorative painting in the United States. Simmons{\textquoteright}s career is traced chronologically through his murals and the archival documents that, together with his autobiography, record his experience at various sites, including the Library of Congress; the Criminal Courts Building, and Appellate Division Courthouse in New York; courthouses for Polk County, Iowa, and Mercer County, Pennsylvania; the Massachusetts, Minnesota, and South Dakota State Capitols; and several private clubs and mansions. From his debut in the 1893 Columbian Exposition to the 1915 Panama-Pacific International Exposition, Simmons was one of the most sought-after muralists for prestigious commissions, both on the East Coast and in the West. He was on the cutting edge of trends in the mural movement and among the first to shift from purely allegorical decoration and answer the call for scenes of local history. Simmons was noted for creating the perfect decoration for the site, for giving fresh interpretation to old symbols, and for exemplifying a new American spirit in public art.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Sanford, Cynthia} } @mastersthesis {9327, title = {The Elusive Oeuvre of Jacques Callot}, year = {2003}, school = {Harvard}, abstract = {This dissertation considers how Jacques Callot (1592-1635) became the epitome of the collectable printmaker, in Paris and other parts of Europe, from the mid-1600s through to the early 1800s. Why, for instance, did his oeuvre come to merit the first catalogue raisonne for any artist in 1744? I seek the answer in the intersection of Callot{\textquoteright}s elusive oeuvre and the normative practices of early compilers and cataloguers. While his oeuvre is in many respects very satisfying to early compilers, it is also inherently resistant to totalization. This very resistance places his work in such urgent need of containment. The chapter {\textquoteright}What is an Oeuvre?{\textquoteright} investigates the period concept of an oeuvre, which was, by definition, always something printed, as opposed to unpublished poems or drawings. Publication makes the oeuvre possible by allowing for public consensus, and by enabling the work to be gathered in one place. {\textquoteright}The aesthetics of accumulation{\textquoteright} investigates the early modern compulsion to amass prints and related objects. {\textquoteright}Supply{\textquoteright} traces the history of Callot{\textquoteright}s early publishers. {\textquoteright}The Chase{\textquoteright} examines the efforts of local and foreign collectors to assemble Callot oeuvres in Paris. {\textquoteright}Rules and Spaces of Order{\textquoteright} surveys the physical and conceptual configurations of early print collections, with examples drawn from early Callot compilations. {\textquoteright}Mise en Oeuvre{\textquoteright} analyzes the albums in which Callot prints were kept in the more extensive European collections, known from the surviving compilations and early inventories. {\textquoteright}Reasoned Catalogues and Authoritative Compilations{\textquoteright} puts the evidence of early albums together with collector{\textquoteright}s guides and sales catalogues, from Marolles{\textquoteright} Catalogue de livres d{\textquoteright}estampes (1666) to the extremely detailed and standardized catalogues of the early nineteenth century. {\textquoteright}How many Callots?{\textquoteright} explains why cataloguers have never even been able to agree on the number of Callot prints. The reasons include collaboration, plate division, disputed authorship, and copying. Six appendices detail the contents of early Callot catalogues and collections, as well as the classification schemes of libraries, print collections and Callot{\textquoteright}s oeuvre.}, keywords = {Renaissance/Baroque Art}, author = {Larkin, Benjamin Graham} } @mastersthesis {9255, title = {Embodying Erudition: English Art, Medicine, and Antiquarianism in the Age of Empiricism}, year = {2003}, school = {Chicago}, abstract = {From the early-seventeenth century until the mid-eighteenth century, virtuostic culture facilitated the intersection of art, medicine, and antiquarianism in England. This dissertation examines these points of contact, from the circle around the Second Earl of Arundel to Dr. Richard Mead, a prominent collector and physician to King George II. The project unearths the importance for the fine arts of the Royal Society, which from its founding in 1660 served as an institutional base for London{\textquoteright}s physicians, and offers an important revision of studies that have emphasized only the republican discourse of civic humanism. This fresh perspective provides an effective model for understanding the role of the arts in Georgian England based on polymathic continuity. Focusing on William Harvey, Theodore Turquet de Mayerne, and Richard Haydocke, chapter one explores the relationship between physick and connoisseurship in the early Stuart Court. John Evelyn, the focus of chapter two, serves as a useful figure for probing about the relationship between the Royal Society and medicine, as well as the History of Trades project. Chapter three addresses the publication of art texts by medical men, with the physician and Fellow of the Royal Society, William Aglionby contrasted with the quack William Salmon. The theme of legitimacy is pursued in chapter four, which focuses on the role of Don Quixote references in the medical discourse of the period, particularly as employed in a pamphlet war between Mead and Dr. John Woodward. Finally, chapter five concentrates on Mead and his collection, asserting that he should be understood as a continuation of the virtuostic tradition. At the heart of this material is the problem of the new status given the role of the senses in establishing knowledge. On the one hand, the New Science propagated by the Royal Society embraced observation and experimentation. Lockean empiricism seemed to promise the future, and yet describing a university-educated physician as an {\textquoteright}empiric{\textquoteright} was anything but complimentary as the term continued to connote one who treated symptoms rather than causes. Similar tensions pervaded antiquarian studies and the visual arts as theory was worked out in relation to practice.}, keywords = {Eighteenth-Century Art}, author = {Hanson, Craig} } @mastersthesis {9312, title = {Empathetic Constructions in Early Netherlandish Painting: Narrative and Reception in the Art of Hans Memling}, year = {2003}, school = {UT Austin}, abstract = {For centuries scholars admired early Netherlandish paintings for their descriptive quality, but believed their stories did not inspire spiritual and intellectual meditation as well as those by Italian contemporaries. Art historians have long denied that early Netherlandish painters invested their compositions with sophisticated narrative content. This dissertation demonstrates that such traditional perceptions are inaccurate. By using four paintings by Hans Memling as case studies, I analyze narrative structures and reception in early Netherlandish painting. These four objects are the Scenes from the Passion of Christ in the Galleria Sabauda in Turin, the Scenes from the Advent and Triumph of Christ in the Alte Pinakothek in Munich, the St. John Altarpiece and the Shrine of St. Ursula, both in Sint-Janshospital in Bruges. Each is an exceptionally beautiful painting with an involved, simultaneous storytelling system. A careful analysis of the narrative structures in these four artworks according to the constructions and solutions that are within the tradition of early Netherlandish painting confirms that Memling{\textquoteright}s compositions are especially rich and complex. This dissertation shows that Memling structured his narratives for the purpose of encouraging an empathetic response. Each chapter begins with an examination of Memling{\textquoteright}s composition and a comparison to other artworks from the era. Following that, I consider analogs for reception in contemporary devotional literature and public religious ritual that reveal how Memling engaged his audiences on a subjective level. The artist{\textquoteright}s narratives elicited a personal, devotional event that fitted well within the historical context. Memling{\textquoteright}s works are some of the more intricate examples of what is still an under-acknowledged concern for storytelling and viewer response by early Netherlandish painters.}, keywords = {Renaissance/Baroque Art}, author = {Coleman, Sally Whitman} } @mastersthesis {9293, title = {The English Landscape Painter Abroad: Tourism, Genre, and Modernity in the Post-Napoleonic Period}, year = {2003}, school = {Brown}, abstract = {I analyze the politics of collection and display in {\textquoteright}public{\textquoteright} and {\textquoteright}private{\textquoteright} venues in London between 1798 and 1832 emphasizing the ambiguity evident in discourses surrounding exhibition venues that have traditionally been viewed as either public or private. Chapter One addresses the notion of an {\textquoteright}aristocratic domestic sphere{\textquoteright} and examines the way notions about the public and the private underpinned the creation of a {\textquoteright}public{\textquoteright} space for art within the confines of the private interior. I analyze these issues within the context of the British reception of the Louvre. In Chapter Two I examine the representation of the Marquis of Stafford{\textquoteright}s private gallery as both a domestic space and as a stage for the performance of public responsibility. Analysis of interior views, plans of the collection, and letterpress shows how the rhetoric of {\textquoteright}publicity{\textquoteright} surrounding the gallery was accompanied and countered by a more subtle emphasis on the gallery as a private and even domestic space. In Chapter Three I use the royal collection to further discuss the role of the private collection in the provision of public spaces for art. The National Gallery of Art, founded in 1824, was conceived as an institution based on collections purchased by the government. The British royal collections continued to be displayed within royal palaces as part of the trappings of monarchy. Illustrated books portraying these interiors stressed their private and domestic character alongside their public roles. Finally, I examine the rhetorical strategies adopted by critic William Hazlitt and other commentators to defend the private sphere as a suitable site for the display of important works of art. Hazlitt{\textquoteright}s dislike of popular exhibitions led him to privilege private, domestic spaces as the best option for the display of pictures to serious-minded art lovers. However, domestic spaces were vulnerable to the charges of commercialism and spectacle that frequently dogged public exhibition venues. The auction of William Beckford{\textquoteright}s Fonthill Abbey in 1822 provides a central case study for an analysis of the problems associated with exhibiting and viewing pictures in a private space that had been compromised by commercial concerns.}, keywords = {Nineteenth-Century Art}, author = {Nellis, Anne} } @mastersthesis {9332, title = {Erudite Eyes: Artists and Antiquarians in the Circle of Abraham Ortelius (1527-1598)}, year = {2003}, school = {Princeton}, abstract = {This dissertation examines an important nucleus of antiquarian activity in the Low Countries in the second half of the 16th century: the circle around the Antwerp cartographer Abraham Ortelius (1527-1598). The first of five chapters investigates Ortelius{\textquoteright} reception and collaborative investigation of local Germanic and Gallic antiquities, as it appears from his published map of the Arx Brittanica (c. 1568) and his Itinerarium per Nonullas Gadliae Belgicae Partes (1584), and from his contacts with a host of antiquarians across Europe, including Marcus Welser, Pirro Ligorio, and William Camden. Chapter II confronts these object-oriented investigations with more textual traditions of history writing, using Justus Lipsius{\textquoteright} De Amphitheatris quae extra Romam Libellus (1584) and Ortelius{\textquoteright} own Aurei Saemk Imago (1596) as case studies. It discusses how Ortelius{\textquoteright} more visually oriented approach to antiquities influenced Lipsius{\textquoteright} textual interpretations, and vice versa. Chapter III shifts the focus to the exploration of the natural world, especially to the analogy between antiquarianism and early-modern ethnography and topography. The intersection between these domains, and their shared attention to direct observation and interest in mores et instituta, is illustrated by means of Georg Braun{\textquoteright}s Civitates Orbis Terramm (1572-1618, especially its designs by Joris Hoefnagel) and Lucas d{\textquoteright}Heere{\textquoteright}s Theatre de toes les Peoples (c. 1570), both created in close consultation with Ortelius. Since Ortelius{\textquoteright} strong visual orientation in the study of the past can be greatly attributed to his artistic background, Chapter IV investigates the cartographer{\textquoteright}s extensive artistic connections, his role as a unifier between Netherlandish Romanist and naturalist artists, and his determining role in the formation of art-theoretical principles in the Low Countries. Chapter V describes how Ortelius tried to ensure his legacy for the future, both commercially, by getting his own work and that of his friends published, and philosophically, by taking a Stoic position towards life. Drawing on a range of primary source material such as alba amicorum, letters, poems, unpublished drawings and manuscripts, and sixteenth-century printed books, this study thus seeks to restore the antiquarian tradition as an important link between Netherlandish artistic and scholarly communities at the close of the sixteenth-century.}, keywords = {Renaissance/Baroque Art}, author = {Meganck, Tine} } @mastersthesis {9276, title = {Estridentismo and {\textlnot}{\textdegree}30-30!: The First Mexican Avant-Gardes}, year = {2003}, school = {Columbia}, abstract = {This dissertation examines the development of estridentismo ("stridentism"), Mexico{\textquoteright}s first self-acknowledged avant-garde movement, from the perspective of the visual arts. Estridentismo originated in 1921, in the aftermath of the Mexican Revolution, with the dissemination of the irreverent manifesto Actual N{\textlnot}$\infty$1 by the poet Manuel Maples Arce. Seeking cultural renovation, the author called for producing art based on the experience of modernity. A group of avant-garde writers and artists, the estridentistas, rallied to his cause. Long regarded exclusively as a literary movement, estridentismo was grounded in visual models. This study demonstrates that the changes that affected its development occurred as a result of Maples Arce{\textquoteright}s collaboration with plastic artists, particularly mural painters. Through their example, Maples Arce came to realize that his original proposal was not sustainable in the Mexican context and adapted his writings to reflect a greater social awareness. Throughout the twenties, Mexican artists, faced with the challenge of constructing a new society, sought to reconcile international modernist models with social and local concerns. My dissertation posits that the visual arts are integral to understanding how estridentismo came to embody the structural contradictions of being both international and culturally specific. I demonstrate how in its refusal of simple classification, the case of estridentismo is emblematic of Mexican avant-garde culture of the 1920s. Chapter One delineates Maples Arce{\textquoteright}s original plan for a Mexican avant-garde. I analyze the manifesto{\textquoteright}s literary and social significance from the optimistic post-revolutionary moment. Chapter Two reads the origins of muralism in relation to estridentismo, as contemporary proposals for the future of Mexican art. Chapter Three discusses the mutual influences between Maples Arce{\textquoteright}s theories and the visual arts. Outlining the development of estridentismo as a formal movement, I demonstrate how it came to be defined in the broadest of terms. Chapter Four discusses the paradoxical nature of estridentismo, caught between formal innovation, local forms of expression, and socialist ideals. Although Maples Arce espoused technological modernity, woodcuts and masks, mediums associated with pre-industrial cultures, became paradigmatic estridentista art forms.}, keywords = {Latin American/Caribbean Art}, author = {Tatiana Flores} } @mastersthesis {9347, title = {The Eternally Flourishing Stronghold: An Iconographic Study of the Buddhist Sculpture of the Fowan and Related Sites at Beishan, Dazu, ca. 892-1155}, year = {2003}, school = {Ohio State}, abstract = {The religious sculpture of Sichuan has become increasingly recognized as an important resource for the study of the development of Buddhist sculpture in China. One of the most important centers of Buddhist sculpture in Sichuan is the area of Dazu county where there are dozens of cliff sculpture sites. This dissertation focuses on the sculpture of Beishan (North Hill), which is one of the two primary sites with Buddhist sculpture in Dazu and the site with the longest chronology in the local area. The principal location for cliff sculpture at Beishan is an approximately quarter mile long sandstone cliff near the summit of Beishan, which is known as the Fowan (Buddha Cove). The cliff sculpture at this site consists of some two-hundred seventy odd image niches and small excavated caves that were carved over a period of roughly two-hundred sixty years from the late ninth to mid twelfth centuries. In this dissertation an attempt is made to provide an iconographical analysis of the Buddhist imagery found at the Fowan site and to show their significance within the developments in Chinese Buddhist art and the Buddhist art of the region, as well as to reveal something of the local society and Buddhist practices that underpinned the sponsorship of this imagery. The most significant iconographic subject matter that occurs at the Fowan site is discussed under the broad categories of Esoteric and Pure Land Buddhism. These include many conventionalized Buddhist iconographies from the Tang and Song Dynasties, but also feature a number of unique iconographic variations. Accordingly, the iconography of the imagery at the site is presented in light of scriptural sources, historical documents, and related imagery elsewhere, particularly within the region. The general history and chronology of the site is discussed in relation to the historical setting of the Sichuan Basin and its broader cultural environment. Description and interpretive accounts of each niche/cave, as well as transcriptions and tentative translations of a significant portion of the relevant epigraphy found at the site are also provided.}, keywords = {South/Southeast Asian Art}, author = {Suchan, Thomas} } @mastersthesis {9304, title = {An Examination of the Art Market in Renaissance Spain (1470-1530)}, year = {2003}, school = {USC}, abstract = {The art historian Max Friedlander in 1935 noted, the Iberian peninsula was, by the beginning of the period under study, a destination for Netherlandish paintings. Throughout the period 1474-1530, Northern merchandise, including sculpture, books, tapestries, and altarpieces, went to established markets and fairs found throughout Castile. Documenting the organization of the art market in Castile from the last quarter of the fifteenth century through the sixteenth, the dissertation addresses Isabella{\textquoteright}s establishment of duty-free markets and fairs along previously established trade and pilgrimage routes. Key to the exchange and spread of Flemish art, these fairs and markets, established throughout Castile, assured the continual movement of merchandise, including art objects. The ability of merchants and prosperous townspeople of Castile to purchase works, such as paintings and sculptures, at duty-free fairs resulted in the growth of art production and an enormous demand for early Netherlandish art by Spanish patrons. This study also examines foreign merchants and artists, who settled in Spain, not only because of the lucrative markets and fairs, but also because of tax benefits granted by the crown. Saturated with foreign travelers from areas such as the Germanic and Burgundian territories, Spain became responsive to the new stylistic traditions brought by northern artists.}, keywords = {Renaissance/Baroque Art}, author = {Alvarez, Mari-Tere} } @mastersthesis {9336, title = {Expanding Antiquity: Andrea Navagero and Villa Culture in the Cinquecento Veneto}, year = {2003}, school = {Pennsylvania}, abstract = {This dissertation examines a number of aspects of the history of the Venetian villa. In particular, it documents Andrea Navagero{\textquoteright}s influence on the nature of villeggiatura in the sixteenth-century Veneto. Although the initial impetus for this study was the evaluation of Navagero{\textquoteright}s descriptions of Islamic Spanish gardens and their influence on the Renaissance garden, aspects of his work, letters, and villas have forced a further reevaluation of Venetian villa life and its sources. Among the more significant results of my research on their impact are: a recasting of the early modern Venetian approach to the past, a recognition of a scientific component in villa agriculture, a discussion of the importance of a rustic vocabulary for certain villas, a transmission of the ideal of learned farming to provincial nobles, and a subsequent exercise of villa ideology in the service of the Counter-Reformation in Verona. The powerful image Navagero created of a fruitful and refreshing Moorish landscape did, indeed, reinforce the importance of water within the garden. More importantly, his firm belief that a profusion of ideas about gardens and agriculture offered by these and other sources could be integrated by him and his colleagues into the tradition of villa patronage. In his letters from Spain, Navagero praised the "Moors" gardens and their scientific approach to agriculture. Similarly, while there, Navagero received and recounted news of discoveries in the Americas and carried home to Venice exotic specimens and wonderful tales of the New World. His receptive attitude indicates that Venetian intellectuals were increasingly willing to expand the realm of authorities, mainly the autori antichi, beyond its traditional classical boundaries. In the case of his villas, Navagero{\textquoteright}s interest in the historical world beyond Greece and Rome supported his transformation of the villa garden into a locus for learned farming. Navagero{\textquoteright}s adept synthesis of this expanded antique with villa culture and the development of the Venetian mainland influenced not only his immediate circle of friends, but also the titled nobility of the province of Verona and a number of bishops of Verona.}, keywords = {Renaissance/Baroque Art}, author = {Pastore, Christopher J.} } @mastersthesis {9170, title = {Fabricated Images: Invented Dress in British and Colonial American Portraits}, year = {2003}, school = {Princeton}, abstract = {This dissertation studies invented dress in portraits of American women in the eighteenth century, with particular focus on the works of John Singleton Copley (1738-1815) and Charles Willson Peale (1741-1827), who used imaginary dress in approximately half of their portraits of female sitters. Part One discusses the history of this practice, which began with the work of Van Dyck in England, and interprets it as an aspect of the practice of portraying women in terms of ideal beauty and feminine virtue rather than as unique individuals. The thesis centers on two aspects of eighteenth-century visual culture: the violent and strongly gendered criticism of fashionable dress in the period, which concerned itself with women{\textquoteright}s behaviour, and the continuing strength of the artistic tradition that portrayed women as ideals. Because fashion was viewed as an indicator of women{\textquoteright}s behaviour and morality, and because it represented in reality one of the few arenas under feminine control, invented dress, it is proposed, represented a masculine vision of the ideal woman. Parts Two and Three analyse the invented dress of Copley and Peale respectively. For each artist, his invented dress is analysed in order to understand his methods, sources, and intentions. Particular attention is given to the relation between American and English invented dress, an area of study previously difficult because of the premise that the dress represented masquerade costume, a custom unique to eighteenth-century England. Understanding the dress as an artistic practice relating to women{\textquoteright}s portraiture, stemming from the seventeenth century, and not dependent on masquerade, provides a coherent interpretive context for pictures of American women. The latter half of each of these sections is devoted to the interpretation of invented dress within the context of the artist{\textquoteright}s portraiture of women. Individual examples are examined that reveal the themes of ideal beauty and feminine virtue. Appendices provide a collection of texts that discuss invented dress from the first part of the seventeenth century to the end of the eighteenth, and a listing of portraits by Copley and Peale in invented dress, with an analysis of sitters{\textquoteright} ages.}, keywords = {Art of the United States, Eighteenth-Century Art}, author = {Reinhardt, Leslie} } @mastersthesis {9196, title = {Fabricating Life Out of Death: Sixth-Century Funerary Monuments and the Negotiation of Cultural Traditions}, year = {2003}, school = {Chicago}, abstract = {This dissertation explores Northern Dynasties (3rd-6th centuries) tombs as sites of cultural negotiation and political deployment. I examine how the appropriation, adaptation, and blending of disparate artistic practices in China during the late fifth-sixth century effected a significant transformation in the focus of the grave. By analyzing figurine assemblages, murals, architectural components, and the positioning of these features in their spatial contexts, I identify strategies with which non-Chinese rulers manipulated funerary practices to legitimize political claims or to assert social hierarchy. These artistic formulations were initially a mixture of nomadic Xianbei customs and Chinese conventions. But later, following a period in which Xianbei traditions were systematically rejected and Chinese customs actively adopted, artistic traditions became subtle amalgams of past forms recast with innovative sixth century features. Even later, as exchanges between disparate territories became more frequent, the admixture of cultural forms only grew more diverse. Drawing inspiration from cultural anthropologists and social and art historians, I illustrate how funerary art before the sixth century served to alleviate fears of the afterlife, but was significantly reconfigured in sixth century tombs to commemorate and exhibit an individual{\textquoteright}s social station. I adopt a perspective on the political import of Xianbei traditions advanced by Albert Dien, who rejects the presumption that the Xianbei assimilated into the dominant fabric of Chinese culture in favor of the opinion that they played an active role in the formulation of so-called "Chinese" conventions. Instead of distilling various intermingling strands into isolated oppositions, I demonstrate how the complexity of conflated and sometimes dissonant traditions could denote particular articulations of a given historical moment. I examine the tomb itself as a space of significant transformation and focus on the discrete potential of each burial component as well as striking interrelationships between the features. By further juxtaposing material traditions with highly contentious political events of the period, I position changes in mortuary practices within exchanges and aspirations of the living. My analyses of burial traditions against the perplexing backdrop of cultural self-definition amends our conception of sixth century China from one of disorder and division to one of fluid exchange.}, keywords = {Chinese Art}, author = {Cheng, Bonnie} } @mastersthesis {9335, title = {Fantastic Observations: Images of Insects in Early Modern Europe}, year = {2003}, school = {UC Irvine}, abstract = {This dissertation examines images of insects in a number of contexts-natural history, manuscript illumination, microscopy, textile design and cabinets of curiosity-as a means of understanding how images participated in the construction of nature in early modern Europe. The project also considers how concepts of truth and accuracy in visual images were established and sustained among artistic and scientific communities during the period 1550-1700. In the dissertation I argue for the mutually constituted relationship between images and the natural world; rather than simply creating images that reflected nature, image-makers such as Joris Hoefnagel, Ulisse Aldrovandi, Thomas Moffet, Robert Hooke and Maria Sibylla Merian actively participated in defining the content and scope of the natural world for themselves and their audiences. Images that to modern eyes might seem to be straightforward "descriptions" were for early modern Europeans both new and complexly constructed ways of understanding the world.}, keywords = {Renaissance/Baroque Art}, author = {Neri, Janice} } @mastersthesis {9354, title = {Fascist Criticism and the Novecento Art Movement}, year = {2003}, school = {Virginia Commonwealth}, abstract = {Through the examination of the newspaper and journal criticism surrounding the three major Novecento exhibitions held in Milan, Italy in 1923, 1926 and 1929, this study will demonstrate how politics and art criticism in the early Fascist period obscured future critical interpretations of the intentions of the group known as the Novecento. In the 1920{\textquoteright}s the Novecento desire to create a new national identity through culture would inextricably link the group with the Fascist government. Even when the content and style of their works had no political message, critics of that period and later have attributed one to them. This historic misrepresentation has led scholars and the public to dismiss the artists as uninspired and conventional, when, in fact, their sophisticated and well crafted works demonstrated an understanding of the complex issues of early modern painting. In the decades following World War II scholars rarely, if ever, acknowledged the Novecento because of the unpopularity of any cultural connection to the defeated Fascist regime. These views originated from interpretations of often slanted news articles, exhibition reviews, and statements made by prominent members of the Regime{\textquoteright}s inner circle. This study will investigate the motives of the Novecento artists and the writers associated with them. It will show that through articles and reviews, the government controlled press provided a platform for the critics such as Margherita Sarfatti and others to fabricate a relationship between Novecento works and Fascist ideology. The traditional analysis of the Novecento illustrates that the form of a work of art and the meaning that springs from it should not be minimized or subverted because it is the keystone to the understanding of the artist{\textquoteright}s world.}, keywords = {Twentieth-Century Art}, author = {Hobson, Maria Lena} } @mastersthesis {9334, title = {Fashioning the Certosa di San Martino: Ornament, Illusion, and Artistic Collaboration in Early Modern Naples}, year = {2003}, school = {Princeton}, abstract = {The Carthusian monks{\textquoteright} residence in Naples began in the fourteenth century when their monastery, the Certosa di San Martino, was established upon the wishes of Charles of Anjou. In the late sixteenth century they began to sponsor an ambitious series of decorative campaigns that continued without interruption until the mid eighteenth century, transforming the Certosa into one of the premier architectural, pictorial, and sculptural monuments in Naples if not all of Europe. The present study focuses on the decorative ensemble created by these decorative campaigns and approaches the Certosa as a monument that engages the history of ornament. The Certosa di San Martino provides the opportunity to view ornament as the product of an extraordinary collaborative effort of artists and patrons, as the product of a sophisticated workshop dynamic, and as a catalyst for early-modern thinking and theory about decoration, perception, and morality. Beyond the monastery, these approaches to ornament deliver insights into how art was produced and witnessed in early-modern Naples. The visual forms of Baroque Naples were the result of sophisticated social and professional relationships between patrons and artists and between artists themselves. Furthermore, this art and architecture responded to a common interest in expressing wealth. The effect of wealth was universally acknowledged by the early-modern observers of Neapolitan art: it was both appreciated for its splendor and metaphorical resonance, and harshly criticized for its decadence, poor taste, and social irresponsibility.}, keywords = {Renaissance/Baroque Art}, author = {Napoli, John N.} } @mastersthesis {9251, title = {Fashions of Sociability in Jean-Francois de Troy{\textquoteright}s {\textquoteright}tableaux de mode,{\textquoteright} 1725-1738}, year = {2003}, school = {UC Santa Barbara}, abstract = {Jean-Francois de Troy created a series of approximately thirty small-scale, lovingly detailed depictions of polite society, the tableaux de mode, during his early career in Paris (1725-1738). These paintings provide crucial opportunities to examine how novel forms of fashion and sociability combined with the rise of a new social and economic class in Paris to form a modern sensibility. The tableaux de mode both expressed and shaped the sensibilities of the new mixture of aristocratic and non-aristocratic elites formed in the 1720s-30s as a consequence of important shifts in finance and politics, specifically the boon in speculative land investments during the Mississippi Bubble. I contend that this group{\textquoteright}s particular assertion of identity and status was expressed through cultural production and the consumption of luxury goods. Moreover, de Troy{\textquoteright}s exacting depiction of luxury commodities-and the consumption of them-prefigures, and perhaps inaugurates, the emergence of a modern sensibility in French painting, a development customarily associated with the 19th century. The first chapter defines the tableau de mode as a genre characterized by their meticulous, luxurious, intimate, and modish qualities. Chapter two examines the social and political contexts of de Troy{\textquoteright}s work and focuses on how a state-sponsored stock scheme transformed social relations between the nobility (de l{\textquoteright}epee, de la robe) and wealthy groups with no claim to noble lineage, while the third chapter investigates the case of Germain-Louis de Chauvelin as a collector of the genre. The fourth and final chapter examines the afterlife of the tableaux de mode in paintings and prints in order to trace their founding importance for the subsequent history of the representation of polite society. Exploring the tableaux de mode in their specific historic, social, and economic contexts, I will illuminate a neglected, pre-Revolutionary source of modern aesthetics. More broadly, I will examine how the modern receptivity to commodity culture and its attendant promise of self-fashioning emerges in the objects and gestures of de Troy{\textquoteright}s tableaux de mode.}, keywords = {Eighteenth-Century Art}, author = {Baxter, Denise} } @mastersthesis {9198, title = {Feng Zikai{\textquoteright}s Art and the Kaiming Book Company: Art for the People in Early Twentieth-Century China}, year = {2003}, school = {Ohio State}, abstract = {This dissertation focuses on the early twentieth-century Chinese artist Feng Zikai (1898-1975) and looks at the relationship between Feng{\textquoteright}s artistic career and China{\textquoteright}s new publishing industry, particularly the Kaiming Book Company (Kaiming shudian). Feng both taught art and worked as a cover designer and illustrator at the Kaiming Book Company as well as for other publishers. His artistic production includes traditional Chinese painting, calligraphy, woodcut prints, cartoons, illustrations, and cover designs. A crucial element in Feng{\textquoteright}s success was the development of the modern printing industry and the proliferation of publishing houses, which brought about the publication of books, urban magazines, and newspapers, and spread popular culture to the masses in China. In so doing, a new category of professional artists, such as graphic designer, was created. To carve and profit from a new market niche in the booming publishing industry, the Kaiming Book Company seized the new popular trend exemplified by the new Japanese-influenced style Feng Zikai. Being an editor and committee member of the Kaiming Book Company, Feng was active in disseminating art and art education through the print media, like The Juvenile Student (Zhong xuesheng). Feng published many of his personal essays, books regarding art, and cartoons at the Kaiming Book Company. He also designed illustrations for many books published by the Kaiming Book Company, which was very uncommon in China at the time. More importantly, Feng utilized the print media to communicate with the growing young readers and disseminate his thoughts and aesthetics to the masses. Because of the circulation of books with innovative cover design and illustrations, art appreciation was no longer limited to a few private collectors. Not only did Feng{\textquoteright}s art reflect an important page of the Sino-Japanese relationship at the beginning of the twentieth century, but it also played a significant role in the flowering of graphic art in China.}, keywords = {Chinese Art}, author = {Lin, Su-Hsing} } @mastersthesis {9201, title = {Figurations of Ethics, Configurations of Power: Michel Foucault, Attila Richard Lukacs, and the New Painting}, year = {2003}, school = {McGill}, abstract = {The monumental paintings that Canadian artist Attila Richard Lukacs (b. 1962, Edmonton) created while in Berlin (after 1986) focus on the themes of desire, power, masculinity, and eroticism. This focus, however, is not only a representation of what he sees, but is also an attempt to order things to a political and ethical end. Using the major works of Michel Foucault ( The Order of Things, The History of Sexuality), the thesis demonstrates how Where the Finest Young Men... (1987) and Authentic Decor (1988), may be interpreted as achieving a fundamental ordering and representation of desire. In particular, the thesis shows how Lukacs intervenes on existing codes and conventions of culture through heterotopia, and how he articulates political, sexual, and ethical choices through a concept of self-forming ethics. If one is to situate Lukacs{\textquoteright} work within the dynamic of heterotopia, and support the claim that these paintings not only intercede on existing codes and conventions, but also manifest ethical choices, then one ought to read the work against a prior understanding of sexual politics proper to the art historical and socio-political moment of the 1970s. The basis of that historical glance is established through the work of General Idea and notions of sexual identity. The sensuosity and pleasure characteristic of mass media entertainment formats, such as beauty pageants and variety shows, is similar to that featured in much of General Idea{\textquoteright}s work created throughout the 1970s. Importantly, the aesthetics that General Idea embraces in their brand of performance art increasingly becomes evident at the end of the 1970s, with the emergence of the New Painting. An assessment of the so-called "return of painting from exile"-as it appeared in Italy, Germany, and Canada-considers the output of Lukacs{\textquoteright} contemporaries. The intention there is to establish whether a newer focus exists in the work of the late 1970s and early 1980s, which supports the hypothesis that what Lukacs aims to do is to order things to a political and ethical end. Upon setting forth an examination of the framework in which Lukacs appears, the dissertation then presents a highly detailed analysis of Where the Finest Young Men... and Authentic Decor, with particular focus on the function of heterotopia in these works. Finally, an explication of power and ethics in Lukacs is proposed through the later works of Michel Foucault, in order to demonstrate how, teleologically, the paintings operate as political, sexual, and ethical choices.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Filice, Eugenio} } @mastersthesis {9217, title = {Figuring Gender: Photomontage and Cultural Critique in Germany{\textquoteright}s Weimar Republic}, year = {2003}, school = {Michigan}, abstract = {Long considered a peripheral art form, photomontage is placed at the center of a complex of visual culture, political critique and gender construction in this interdisciplinary study. Tracing the medium{\textquoteright}s origins in the nineteenth century and its blossoming in Germany{\textquoteright}s interwar period, "Figuring Gender" examines the surface breaks and combined images that are the very essence of composite works. In rediscovering wide-spread and varied practices of montage, the dissertation argues that this medium provided fertile ground for constructing and confronting gendered ideals. Close readings of form and content in four groups of photomontages reveal these works as interventions in Weimar political culture and historical circumstances. The dissertation conceives of montage as a critical tool of visual engagement, a concept developed out of recent theoretical writings and the interwar texts of Walter Benjamin and Siegfried Kracauer. Chapter One considers the method of allegorical montage construction, which confronts viewers with constellations of meaning and encourages active interpretation. Chapter Two examines photomontage{\textquoteright}s historical roots in nineteenth-century composite soldier portraiture to explore an associative link between constructions of militarized masculinity and photomontage upon which Weimar artists would draw. Otto Dix{\textquoteright}s work from WWI and the early interwar years, the subject of Chapter Three, grapples with a language of bodily fragmentation that is most troublingly developed in his Lustmord and Kriegskruppel images. Chapter Four addresses the Bauhaus montages of Marianne Brandt, which offer views through the eyes of urban and savvy New Women-flaneuses or which center on modern, allegorical female figures who invite reflection on contemporary politics. In the final years of the Republic, Communist artist Alice Lex{\textquoteright}s composite images engaged the classed and gendered politics of rearmament, capitalist production and reproductive rights, as Chapter Five demonstrates. Taken together, the pictorial disjuncture of nineteenth-century montages and the works of Dix, Brandt and Lex responded to fin-de-siecle German militarism and the troubled political landscapes of the Weimar Republic. These works support the dissertation{\textquoteright}s claim that photomontage technique formed a vocabulary of critical modernism in which modes of cultural critique became embedded within the medium itself and vocabularies of violence coexisted with iconographies of renewal and change.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Otto, Elizabeth} } @mastersthesis {9220, title = {The Fine Arts and Hollywood Visual Culture: Art Practices and Artistic Identity in the California Southland of the 1930s}, year = {2003}, school = {UC Santa Barbara}, abstract = {California{\textquoteright}s Southland, during the nineteen-twenties and thirties, was a unique setting for art and artists. A synergy occurred between the producers and consumers of art, cultivating a context in which art-making practices and identity as an artist became a continuum which crossed the boundaries of fine, commercial, and popular art. This study describes that synergy and the continuum of practice and identity which it fostered. The Southland{\textquoteright}s interpretation of modern aesthetics was linked with both popular culture and an intention to create a cultural establishment. Thus, the Southland generated neither a modernist avant-garde nor a counter-modernist enclave. Hollywood was the most visible manifestation of the resulting visual culture, and its idealized aesthetic informed nearly every aspect of the development of modern southern California. Hollywood did not create its visual culture in isolation, however, and an understanding of the complexity in which it arose it is critical here. Ward Ritchie, a designer and printer of books, attracted a diverse group of artists and intellectuals which included the artists considered here: script writer and continuity artist Delmer Daves, wood engraver Paul Landacre, sculptor Gordon Newell, and painter Barse Miller. This study examines how these artists model the appropriative eclecticism and practical continuum of Hollywood visual culture, and its characteristic view of art and artist. Several aspects are considered to illustrate their negotiation of the unique circumstances. First, they saw themselves as part of modern visual culture, not separate from their contemporaries in terms of their artistic contribution. Second, the synergistic mutuality between the arts became normative to their artistic identity. Artistic identity was located in the individual, and they were free to engage in commercial or popular art production, without degradation of artistic status. Third, their practices assimilated modernism as a heritage and represented a continuance of modernist visual expression. This encouraged a freedom to use both the traditions and modernist disruptions of those traditions as expressive turns. While this historical moment must be seen as one of the facets of modernism in America{\textquoteright}s cultural unfolding, it may represent seminal shifts in artistic practice and identity which we now categorize as post-modern.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Garner, Jeffrey} } @mastersthesis {9209, title = {Flesh to Stone: Ingriste Women and Portraiture in the Circle of Ingres between Rome and Paris, 1825-1870}, year = {2003}, school = {Northwestern}, abstract = {The point of departure for my dissertation is the sustained production of portraits of women by J.-A.-D. Ingres (1780-1867) and six of his most devoted and distinguished students. Through the examination of the solidification and multiplication of a monumental, sculptural female portrait type in the work of Ingres and his students Amaury-Duval [Amaury Eugene Emmanuel Pineu-Duval] (1808-1885), Henri Lehmann (1814-1882), Theodore Chasseriau (1818-1856), Hippolyte Flandrin (1809-1864), and Victor Mottez (1809-1897), I assert that portraiture, rather than a subsidiary genre of painting divorced from the atelier{\textquoteright}s serious pursuits, lay at the crux of ingriste studio practice and group identity. Despite the persistent myth of the exteriority of portraiture to academic pedagogy (and regardless of Ingres{\textquoteright}s notorious repudiation of the genre), portraits featured in Ingres{\textquoteright}s atelier teaching, both in Paris from 1825 to 1834, and in Rome, from 1834 to 1841. Indeed, portraiture functioned as the practice through which Ingres articulated his particular relation to {\textquoteright}nature{\textquoteright} and {\textquoteright}ideal,{\textquoteright} undergirding terms of academic training, practice and criticism. Excavating the allegorical processes and {\textquoteright}academic{\textquoteright} techniques used in the creation of ingriste female portraits, I posit that these artists practiced portraiture as history painting. The products of a series of encounters characterized by the negotiation of the desires of artist and sitter, ingriste portraits did not only exist in the rarefied realm of the atelier. The women portrayed included key participants in the artistic and social culture of Ingres{\textquoteright}s studio, including Julie Mottez, Marie d{\textquoteright}Agoult, and Rachel [Elisabeth Rachel Felix]. Charting the convergence of aesthetic investments on the part of artists and noteworthy women subjects around the terms of monumental solidity and {\textquoteright}antiquity,{\textquoteright} I demonstrate that operations of emulation exceeded the bounds of the (male) community of Ingres{\textquoteright}s students and the images of women they produced, and were shaped by the identities of women sitters as salonnieres, art critics, artists and aesthetic interlocutors. This project thereby traces the history of portraits of women within an atelier setting whose {\textquoteright}culture{\textquoteright} was not limited to the space of the studio itself, or to the male artists who occupied it.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Betzer, Sarah E.} } @mastersthesis {9252, title = {Forging a New Iconography: The French Revolutionary Festivals in Paris, 1789-1799}, year = {2003}, school = {Maryland}, abstract = {No record in ProQuest}, keywords = {Eighteenth-Century Art}, author = {Berdaus, Lois} } @mastersthesis {9177, title = {The Fourteenth Street School}, year = {2003}, school = {Case Western Reserve}, abstract = {My dissertation examines the three major figures of the Fourteenth Street School: Reginald Marsh, Raphael Soyer, and Isabel Bishop. My introduction situates the reader within the physical landscape of Lower Manhattan during the Depression-era. This is essential information for those unfamiliar with the artists, where they lived, and where they worked. I begin connecting highly subjective iconography to unique social and historical contexts; these connections run throughout the dissertation. The Fourteenth Street School did not simply paint their city and their historical epoch; the artists also painted their own desires and fears. The body of my text presents, in a chronological, biography-based fashion, key moments in the artists{\textquoteright} personal and professional lives. In spite of their radically different backgrounds, and for dissimilar reasons, the artists gravitated to the same part of New York and chose the same working-class themes. Several chapters trace the artists{\textquoteright} childhoods, artistic training, and eventual emergence on the art scene. Extensive analysis is devoted to a handful of major works that encapsulate the individuals{\textquoteright} personal concerns and larger social issues. Reginald Marsh was the most productive and interesting of the group. Therefore, I include a chapter comparing Marsh to other major figures in American art, particularly the Regionalist painter Thomas Hart Benton. The comparison is enlightening because it shines light on an important, under-examined influence on the most important Fourteenth Street School artist, and reinforces how important the urban milieu was to the movement as a whole. Because, for different reasons, each of the artists stagnated as the Depression decade ended, my narrative cuts off around 1940. However, my conclusion addresses defining episodes in the later careers of the longer-lived members, Soyer and Bishop. Unlike Marsh, Soyer and Bishop lived to see the ascendancy of Abstract Expressionism and each reacted to their growing marginality in unexpected and, of course, distinctive ways.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Ellis, James Walter} } @mastersthesis {9298, title = {Francois Rude: The Importance of Sculpture}, year = {2003}, school = {IFA/NYU}, abstract = {In customary art historical accounts, Francois Rude (1784-1855) stands as a beacon in nineteenth-century sculpture, a stepping stone to sculptural modernism and the art of Rodin. Nevertheless, his importance has largely been taken for granted, and he has attracted little scholarly attention. This situation mirrors Rude{\textquoteright}s predicament vis-a-vis the critics of his time, often reticent to champion his work even while acknowledging his status as a major master. And yet Rude produced one of the most enduring examples of public art ever, one that would haunt the modern sculptural imagination: his great relief Le Depart des volontaires de 1792 for the Arc de triomphe de l{\textquoteright}Etoile. The dissertation reconstitutes contemporaries{\textquoteright} conflicted feelings about Rude, seeing this as a point of access to the sculpture and Rude{\textquoteright}s art historical legacy; it argues that much of the controversy surrounding the artist hinged on his investment in the studio as the conceptual basis for his practice. The centrality of the studio found concrete expression in Rude{\textquoteright}s almost fanatical loyalty to particular technical procedures he had developed. La methode Rude claimed to reproduce the life model{\textquoteright}s pose and anatomy exactly. The conceit meant that Rude{\textquoteright}s very process of production entered the public realm and critics{\textquoteright} discourse; indeed, the Rudian method became a screen for the aesthetic experience of his work. The last section of the dissertation examines the various, sometimes conflicting, ways in which Rude imagined his sculpture intervening on and transforming the public sphere. It takes up an evolution in Rude{\textquoteright}s practice which occurred in the 1840s, when he was being shunned by the government{\textquoteright}s beaux-arts administration and the Institut-a period that saw the artist working for provincial and private patrons, evidence of the changing face of sculpture patronage and consumption. These patrons were less committed to conventional precedents, and their needs were often idiosyncratic, so that Rude enjoyed unusual freedom in exploring his art{\textquoteright}s rhetorical potential.}, keywords = {Nineteenth-Century Art}, author = {Tripodes, Lucia} } @mastersthesis {9299, title = {Franz Pforr{\textquoteright}s Brotherhood, Bilder and Bildung: Drawing on Friendship, Chivalry, and Schiller}, year = {2003}, school = {UC Berkeley}, abstract = {This dissertation presents a biographical and iconographical study of the early nineteenth-century German artist Franz Pforr (1788-1812) in order to demonstrate that his reputation as Nazarene cofounder has led to a misunderstanding of his art historical significance. It seeks to set the record straight, so to speak, by showing that Pforr was not a religious painter-he did not make bible-based pictures. Nevertheless, the dissertation focuses on Pforr{\textquoteright}s obsessive concern with virtue as expressed through his idealization of brotherhood and the Middle Ages, two themes central to understanding his work. The dissertation provides a personal account of Pforr{\textquoteright}s life with emphasis on his friendship to Johann David Passavant and Johann Friedrich Overbeck. Pforr is also placed within the larger artistic and cultural context of the Bildungsburgertum and the emergence of the public literary sphere. The dissertation argues that Pforr was among the first painters of his time to look to contemporary literature for subject matter and inspiration, particularly the historical dramas of the Sturm und Drang. Another theme examined in the dissertation concerns Pforr{\textquoteright}s effusive emotional life, as registered in his writing, and its direct contrast to his controlled and rigid painting style. Finally, the dissertation also shows how Pforr{\textquoteright}s classification as a romantic artist has also sold him short. While he did embody many of the qualities typical of what we understand to be romantic, the dissertation seeks to establish the degree to which he was equally an inheritor of the German Aufklarung in order to argue that finally, he is an artist best situated at the threshold between the two.}, keywords = {Nineteenth-Century Art}, author = {Zafman, Deborah} } @mastersthesis {9260, title = {Frontier without Borders: Romans and Natives in the Upper Ebro Valley during the Roman Period (First c. BC-Seventh c. AD)}, year = {2003}, school = {Missouri}, abstract = {This dissertation examines the interaction between native and Roman cultures in the Pais Vasco of northern Spain after the Roman conquest. Goals for the study include charting the changes experienced by the region{\textquoteright}s inhabitants in the wake of Roman rule and assessing the relative influence of geographic, environmental, and social factors on the ways in which natives interacted with Roman culture. Through comparison with other peripheral areas of the Roman Empire, a model is generated that may be applicable to the study of the Roman provinces in general. The first chapter reviews the history of the concepts of "Romanization" and frontiers, and attempts to chart a middle course between the view of Roman culture as an irresistible civilizing influence and the concept of native resistance to Romanization espoused by many authors. Chapter two looks at the inhabitants of the Pais Vasco prior to Roman rule, with an emphasis on the cultural mixing that took place in the region. The lack of strong geographical differences in wealth and material culture is particularly stressed. Chapters three through five deal with the evidence for cultural stratification and acculturation during the Early Roman Period (A.D. 35-250) in the areas of urban and rural settlement development, inscriptions, the economy, and trade. A spatial database or GIS is used to analyse settlement patterns, numismatic, epigraphic, and ceramic evidence. During the Roman period changes in communications routes, increased opportunities for agricultural exploitation, and new means of displaying social status transformed the Pais Vasco, leading to great geographical differences in wealth, society, and the economy. Parallels are drawn with peripheral areas of the Roman empire, such as Sardinia, Dalmatia, and other areas of northern Spain. Chapters six and seven discuss the changes the Pais Vasco experienced during late antiquity, as barbarian invasions and increasing regional isolation led to the formation of religious, linguistic, and political frontiers. Two appendices present the data used in constructing the spatial database.}, keywords = {Greek/Roman Art}, author = {De Brestian, Scott} } @mastersthesis {9309, title = {Full of Grace: Raphael{\textquoteright}s "Madonnas" and the Rhetoric of Devotion}, year = {2003}, school = {Johns Hopkins}, abstract = {This dissertation explores the critical construction and reception of Raphael Santi{\textquoteright}s paintings of the Madonna and Child, known collectively as his Madonnas. It analyzes both the self-conscious pictorial syntax of the Madonnas and a number of contemporary texts, sacred and secular, humanist and popular, in order to explore historical modes of reception of these paintings, with particular stress on devotional function and court culture in the period. Although they have been naturalized as the embodiment of a classically beautiful ideal and marginalized in current art historical scholarship, the Madonnas are shown to be integral both to developments in the artist{\textquoteright}s practice and to the widespread contemporary speculation on the artist{\textquoteright}s grace, a critical formulation that has deeply informed the historiography. As a group of paintings that constitutes a major proportion of his oeuvre, their study enables a cogent charting of Raphael{\textquoteright}s stylistic development and artistic innovations throughout his career. Previous observations in these areas, some canonical and some widely dispersed throughout the scholarship, are synthesized and integrated into new arguments regarding the artist{\textquoteright}s training, the nature and scope of his artistic referents, and his sensitive and strategic engagement with the sophisticated literary-religious culture of the humanists with whom his association is well documented. This permits a reorientation of the artist{\textquoteright}s critical fortunes that seeks to shed light on his status as an important cultural innovator in the Renaissance and dispute the historiographical error underlying his current reputation as a derivative follower. In analyzing not only the devotional and liturgical functions of the Marian paintings of the Urbinate and his contemporaries, but also exploring more broadly the role of sacred paintings at a critical moment in the religious history of Early Modern Italy, this study analyzes the tensions embedded in pre-Reform humanist and artistic efforts to formulate sacred content with unprecedented eloquence. With a consideration of both form and function and an examination of the complex nexus of artistic, intellectual, religious, and gendered interests at stake in the production of an immensely popular category of sacred painting-the {\textquoteright}Madonna{\textquoteright} painting-it also pertains more broadly to Quattrocento and Cinquecento critical studies of sacred painting and devotional ritual.}, keywords = {Renaissance/Baroque Art}, author = {Butler, Kim} } @mastersthesis {9226, title = {Galleries of Friendship and Fame: The History of Nineteenth-Century American Photograph Albums}, year = {2003}, school = {Chicago}, abstract = {This dissertation is the first thorough investigation of the development and practices of nineteenth-century American photograph albums. It argues that the varied meanings family albums acquired were created reciprocally in the public, commercial sphere and the private, domestic one. The many functions of the earliest photograph albums-family record, parlor entertainment, social register, national portrait gallery, or advertisement for photography itself-cannot be understood without taking into account this striking reciprocity. This study examines carte de visite and cabinet card albums from their introduction in the United States in 1861 to shortly after the Kodak camera and snapshot arrive in 1888. As a study of practices, focused on the broader functions and meanings of early family albums, it explores how albums originated; what kinds of photographic self-representations were contained within them; how they were marketed to families; how they were displayed in the parlor; and what kinds of stories families told about and through them. By examining the popular and professional press, broadsides and advertisements, patents, posing manuals, sales catalogues, household account books, and albums themselves, this dissertation also brings to light an entirely overlooked body of primary materials. As a collection of photographs, carte de visite albums performed many more functions and possessed wider meanings than any single picture could alone. This dissertation ultimately addresses definitions of family and nation, the history of technology and innovation, the interconnectedness of the public and private spheres, and the ways in which visual images and collections come to help us understand who we are. This study forges connections between everyday objects, collecting, and identity, showing the links between these activities on a personal and a national scale. Finally, the history of nineteenth-century photograph albums contributes to a deeper understanding of modernity and mass-production, by showing the standardization that is part of modern visual representation of even these most intimate of pictures.}, keywords = {Drawings/Prints/Works on Paper}, author = {Siegel, Elizabeth} } @mastersthesis {9218, title = {Gender and the Forms of Modernism: Dancers and Painters}, year = {2003}, school = {Case Western Reserve}, abstract = {Women have long been acknowledged as innovators in the world of modern dance. By contrasting the acceptance of women in the field of dance with the reception of contemporaneous women visual artists during the modernist period of the 1890s to the 1950s, this dissertation explores the effect of gender ideologies which associate {\textquoteright}woman{\textquoteright} and dance with the physical body and {\textquoteright}man{\textquoteright} and the visual arts with the intellect for the expression and interpretation of women{\textquoteright}s creativity in two different mediums. In the chapters of this dissertation, gender is seen as a central category of meaning for defining modernist art in both dance and visual mediums. Interdisciplinary links are forged by tracing common concerns and parallel currents in the writing of dance and art history from a feminist perspective. Modernism in dance and the visual arts are understood as differential modes of artistic practice conceived in opposition to previous and contemporaneous models. I focus on the examples of three dancers, Loie Fuller, Isadora Duncan, and Martha Graham, examining the evolution of their work and careers in terms of their self-perception and reception by contemporary audiences, critics, and art world figures. The role of gender in representations of these women by male painters, sculptors, and photographers frames their respective fulfillment of the roles of muse, woman, and artist. It is shown that as both subject and object, the dancer, in performance and in her depiction by male visual artists, had the potential to simultaneously subvert and reinforce stereotypical views of women and conventional mores. In comparing and contrasting the careers of Fuller, Duncan, and Graham with well-known and lesser-known female visual artists, such as Mary Cassatt, Theresa Bernstein, Lee Krasner, and Elaine de Kooning, it is clear that women faced greater institutional hurdles in art schools, galleries, and museums than in the newly-pioneered modern dance world. However, in order to acknowledge the complexity of the production and reception of works by female visual artists in the context of their milieu, it is crucial to understand their experiences as processes of negotiation, rather than oppression.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Richmond, Patricia} } @mastersthesis {9156, title = {Gilles-Marie Oppenord and the Gout Moderne}, year = {2003}, school = {Columbia}, abstract = {Gilles-Marie Oppenord (1672-1742) is usually considered a brilliant rococo decorator but an indifferent architect. This construct emerged during the eighteenth century. Later apologists of the rococo have taken over the views of these detractors and turned their earlier disparagement into praise. But none have reexamined Oppenord{\textquoteright}s presumed participation in the "go√{\textordfeminine}t moderne." This revision of the rococo is centered upon the examination of Oppenord{\textquoteright}s domestic architecture, the primary arena in which the rococo developed. A major claim is that Oppenord{\textquoteright}s practice was marked by an acute concern for social status that fostered his cultivation of honnetete . Based on new archival research, part one traces the architect{\textquoteright}s biography, his major domestic projects and their patrons. It identifies Oppenord{\textquoteright}s social ambition as a key factor that determined his professional practice. The first chapter considers Oppenord{\textquoteright}s family background. Chapter two examines Oppenord{\textquoteright}s formative years in Italy. There, he gathered a repertory of motifs culled from the works of Mannerist and Baroque architects that had a direct impact upon his future practice. His Italian sketchbooks also show that he developed drawing techniques calculated to please a knowing public. Having failed to join the Batiments du roi on his return to France, Oppenord sought the protection of another prince. Chapter three looks at the crucial patronage of Philippe II d{\textquoteright}Orleans, the regent. For the regent, Oppenord emulated the grand go√{\textordfeminine}t which reflected the duc{\textquoteright}s pretensions to the French throne. The appropriation of the regent{\textquoteright}s taste by lesser clients is developed in chapter four. Part two considers the impact of honnetete, one of the fundamental institutional structures of the ancien regime, on Oppenord. It is argued that, through honnetete, Oppenord consolidated his claim to nobility. Chapter five focuses on the architect{\textquoteright}s self-image. Chapter six studies how Oppenord furthered his noble image and fortune by exploiting his graphic skills. The final chapter examines how Oppenord{\textquoteright}s creative process itself integrated honnete values. The printmaker Gabriel Huquier{\textquoteright}s crucial role in shaping Oppenord{\textquoteright}s image is examined in the epilogue.}, keywords = {Architectural History/Historic Preservation}, author = {Bedard, Jean-Francois} } @mastersthesis {9348, title = {Giorgio de Chirico: A Confrontation with Modernity}, year = {2003}, school = {Rutgers}, abstract = {Giorgio de Chirico{\textquoteright}s reputation as a major 20th century artist rests on the spare, enigmatic paintings, intimately related to early Modernism that he produced in Paris and Italy between 1911 and 1919. In mid-1919 he suddenly changed course and for the rest of his career assaulted modernist sensibilities by taking the pre-modernist history of art as his model and point of departure. The later de Chirico was vilified by modernist critics and historians as a practitioner of deception and kitsch. The eclipse of Modernism in the late 20th century and the new value given to anti-institutionalism, historical consciousness and ironic self-awareness by Postmodernist artists and thinkers revives the question of de Chirico{\textquoteright}s motives and of the significance of his later work. This dissertation re-examines de Chirico{\textquoteright}s change of direction in the context of his personal response to the general dislocating forces of modern industrial society as they had evolved to the end of the 19th century. The dissertation argues that anti-historical Modernist idealism and de Chirico{\textquoteright}s historically aware ironism were antithetical responses to these forces.}, keywords = {Twentieth-Century Art}, author = {Carroll, David} } @mastersthesis {9268, title = {Gutai and Informel: Postwar Art in Japan and France, 1945-1965}, year = {2003}, school = {Northwestern}, abstract = {This dissertation analyzes a transnational artistic exchange between Japan and France in the 1950s. It focuses on two groups, the Gutai and the Informel, who developed a complex interchange of interpretation, dialogue and collaboration. Both the Gutai, a group of interdisciplinary experimental artists in Japan led by Yoshihara Jiro (1905-1972), and the Informel, an abstract painting movement in France promulgated by Michel Tapie (190-1987) emerged in the period after the Second World War and sought new modes of expression adequate to a post-Holocaust, post-nuclear age. Ethically committed to internationalism and cross-cultural dialogue, these two groups came into contact 1957. This dissertation is a historical analysis of the collaboration between the two groups and their exchange of artworks, ideas, and aesthetic theories. It employs translation as a model of cultural interaction and considers their relationship in light of the power dynamics that developed in the modern period between Japan and France. Employing a cross-cultural framework of analysis, this dissertation looks at four artists: Informel artist Jean Fautrier (1898-1964), Gutai artists Shiraga Kazuo (b. 1924) and Tanaka Atsuko (b. 1932) and, in order to examine the legacy of this interaction, Nouveau Realiste Yves Klein (1928-1962). It considers the strategies of representation Fautrier and Shiraga developed in response to the Second World War as well as the efforts of Tanaka and Klein to go beyond their vocabulary of Action Painting and diaristic expression through experiments in performance, installation, and the use of alternative materials. Crossing sub-disciplinary boundaries, this project challenges the notion that the analysis of art should be constrained by national boundaries, particularly at a time when changes in communication technology are making borders more permeable and cultures more intertwined, altering the shape of culture.}, keywords = {Japanese/Korean Art, Twentieth-Century Art}, author = {Tiampo, Ming} } @mastersthesis {9189, title = {Henrietta Shore: American Modernist}, year = {2003}, school = {CUNY}, abstract = {Canadian-born American painter Henrietta Shore (1880-1963) was a major conduit for the importation of modernist ideas from New York to Southern California. She was an important stimulus to modernist activity there as disseminated by Edward Weston and Peter Krasnow and through arts organizations she co-founded such as the Los Angeles Modern Art Society and the Progressive Artists Group. In one way Shore{\textquoteright}s struggle was every woman artists{\textquoteright} struggle of the period: to become professional, to establish herself as a competitor in the art market, and to gain critical recognition. In some ways, Shore was successful. She was active in steering the course of her career by using the mentorship of Robert Henri, by creating an innovative aesthetic vocabulary, and by founding arts organizations. In another way, Shore{\textquoteright}s struggle was a personal one. Shore was engaged in a private battle for acceptance as a lesbian. Fearing social censure and the subsequent dismissal of her art, Shore never commented (in anything known today) about her sexual life. Instead, she fashioned a self-representation and an exploration of sexuality in her work. Her art parallels developments in early twentieth century investigations of sexuality such as Havelock Ellis{\textquoteright}s Studies in the Psychology of Sex and Margaret Sanger{\textquoteright}s efforts to establish women{\textquoteright}s rights in the areas of health and sexuality. Moreover, it corresponds to new thought about the construction of lesbian identity only begun in Europe in the nineteenth century and not a part of the American public consciousness until the twentieth century. For a period of about ten years, 1925 to 1935, critics and curators considered Henrietta Shore a first-rate artist. But with the onset of the Depression in 1929, her initial reputation and popularity declined. Additionally, for most of her life, Shore lived in California where, removed from the locus of art activity in New York, she lost a vital viewing audience and market. Described in 1927 by Los Angeles Times art critic Arthur Millier as one of the United States best woman painters, Henrietta Shore is now mostly unknown.}, keywords = {Art of the United States}, author = {Roznoy, Cynthia} } @mastersthesis {9180, title = {Historic American Paintings at the Brooklyn Museum of Art: A Critical Collection History with Selected Entries}, year = {2003}, school = {CUNY}, abstract = {This dissertation participates in the current interest in the critical analysis of museum collections. The subject is The Brooklyn Museum of Art{\textquoteright}s historic American painting collection from 1851 to 1951. The critical essay begins with a consideration of the collection{\textquoteright}s ideological origins in Brooklyn{\textquoteright}s social reform movement, and its actual founding through the bequest of the philanthropist Augustus Graham to fund the purchase of work by living American artists for a permanent gallery at the Brooklyn Institute. It demonstrates that Graham{\textquoteright}s introduction of art exhibitions at the Brooklyn Institute (1843 to 1849) and his interest in the patronage of American art were shaped by the reformist rhetoric of the young Brooklyn journalist Walt Whitman. The essay continues with a consideration of the reestablished American painting collection at the new Brooklyn Museum, from 1897 to 1951. It examines the expansion of the collection under a new generation of professionalized directors and curators, with particular focus on the competing agendas for contemporary and historical painting initiated respectively by the director William H. Fox and the Museum{\textquoteright}s more conservative trustees from 1914 to 1930. Finally, it considers the seminal tenure of curator of John I.H. Baur, and his role in assembling for Brooklyn one of the leading collections in the field. The essay is followed by detailed entries on selected paintings from Brooklyn{\textquoteright}s collection.}, keywords = {Art of the United States}, author = {Carbone, Teresa} } @mastersthesis {9330, title = {History Made Visible: Visual Strategies in the Memorial Project of Emperor Maximilian I}, year = {2003}, school = {UC Berkeley}, abstract = {This project focuses on art produced in the service of Maximilian I (Holy Roman Emperor 1493-1517) and his memorial project. A complex and fascinating personality, Maximilian employed the major talents of 16th century German art-artists including Albrecht Durer, Albrecht Altdorfer, and Hans Burgkmair-to create a highly styled campaign, which memorialized himself, his rule and his dynasty in a range of media and idioms. The appearance as well as the content of these works was not haphazard, but rather part of a carefully thought out scheme of historical, individual and dynastic representation for specific political and personal ends. The contention basic to this project is that three central visual strategies pictorially define the memorial projects of Maximilian: genealogical, event based/narrative and portraiture. In this, the visual projects-monuments including his Triumphal Arch, Triumphal Processions and Tomb-parallel a series of written projects, which referenced the range of textual genres then current to force specific interpretative ends. The visual strategies articulated in the projects similarly drew on recognizable traditions of visual representation, using forms ranging from the Tree of Jesse, to contemporary forms of reportage, to erudite humanist allegory. This systematic referencing of forms was intended to cue specific patterns of viewing and interpretation, and thus articulate dynastic myth, personal memory and imperial ideology. The overall thrust of the memorial projects is undeniably biographical, and aims at preserving the official memory of the person of Maximilian through a complete, even obsessive recording of his deeds and persona. In the end, this range of themes and multiplicity of strategies at work in the Maximilian projects work to the same end, and are intended to establish and reinforce the programmatic purpose of these commissions. Maximilian{\textquoteright}s commemoration took on the ambitious task of creating a canonical view of an official persona and life. A series of claims were further embedded in this depiction-claims about Maximilian{\textquoteright}s person, family and life, all to the end aim of cementing his status, not just as ruler, but as one uniquely qualified by birth, divine election, and natural temperament to rule, a fitness to which every deed and event bore witness.}, keywords = {Renaissance/Baroque Art}, author = {Madar, Heather} } @mastersthesis {9227, title = {A History of the Roman Catacombs from the Constantinian Era to the Renaissance}, year = {2003}, school = {Columbia}, abstract = {This dissertation is a history of the catacombs in the Middle Ages and Renaissance. It attempts to demonstrate that the cemeteries were not forgotten between the ninth and the sixteenth centuries and then "rediscovered" by fortuitous accident in 1578, as proposed by the renowned, nineteenth-century Christian archaeologist, Giovanni Battista De{\textquoteright} Rossi. Its contention is that the providential nature of the 1578 discovery was exaggerated for ideological reasons, and that the catacombs-even in the centuries of their alleged abandonment-retained a strong hold on the collective imagination of the Roman people. The study begins in the early Middle Ages with the transformation of the cemeteries into pilgrimage sites, a process closely related to the production of new hagiographies. It then examines the massive relic translations from the catacombs to churches in the eighth and ninth centuries, and the relationship between this phenomenon and changing papal policies governing the transport of human remains. Finally it compares the relative importance of relics to catacomb paintings, many of which were severely damaged during these shifts. Chapter II deals with humanist attitudes to martyrdom, the early Church, and its triumph. It examines the parallels that humanists drew between Christian and pagan antiquity, and the ways in which these men of letters reconstructed the early Church from literary rather than physical remains. It argues that the humanists, indifference to the catacombs stemmed from their reservations about the cult of relics, which they associated with medieval superstition, and their realization that the catacombs drew excess attention to the negative qualities of the pagan empire, which in many ways they admired. Chapter III is a case study of Pomponio Leto, a fifteenth-century pedagogue, who visited several catacombs with friends. It examines his motives for doing so, his synthesis of paleo-Christian and pagan practices, and the relationship between his interest in the catacombs and his persecution at the hands of Paul II. The study concludes with the contention that the catacombs were never truly abandoned, and that their memory survived not only on account of their physical presence in Rome, but also through literature and art.}, keywords = {Early Christian/Byzantine Art, Renaissance/Baroque Art}, author = {Oryshkevich, Irina} } @mastersthesis {9244, title = {Illuminating the "Comedy": Artistic Strategy and Rhetoric in the Pierpont Morgan Library{\textquoteright}s MS M676 and Botticelli{\textquoteright}s "Dante"}, year = {2003}, school = {Columbia}, abstract = {This thesis studies the numerous illustrations found in a fourteenth-century, study-book manuscript of the Divine Comedy, New York, Pierpont Morgan Library MS M676, related designs by Botticelli, and as found in other manuscripts. It recognizes that these works include willful misrepresentations of Dante{\textquoteright}s text and its accompanying commentary, often contradicting or subverting its meaning. Yet it is obvious from internal evidence that the artists had a clear understanding of the verses being illustrated. Willful misrepresentations of this sort have not received analytical attention in the literature concerning manuscript illustrations of the Divine Comedy. The thesis demonstrates, through the medium of contemporary writings, that these "intentional errors" represent a pedagogical technique that evolved from Ciceronian rhetoric. Willful misrepresentation is only one of at least five such pedagogical tools used in the images of M676 and by Botticelli; the others are segmentation, transition, earnestness and repetition. The study illustrates the use of each technique and labels their use collectively as the "Art of Rhetoric." Didactic manuscript illustrations of the Divine Comedy cannot be fully appreciated without an understanding of the artist{\textquoteright}s application of these techniques. Similar in concept to willful misrepresentation, some illustrations in M676 are purposefully enigmatic: generally related to the text but not to specific verses. Images of this sort represent a pedagogical technique derived from a medieval acculturation to symbolism and obscurity, much as in the use of parables. The study also recognizes that at least twelve of Botticelli{\textquoteright}s sixty-one drawings to Purgatorio and Inferno (c. 20\%) exhibit correspondences in composition, posture, or gesture with those found in M676. Similarly, Botticelli{\textquoteright}s radical change in style in many of his illustrations to Paradiso finds a precursor in the stylistic change of a similar quality seen in M676. Finally, the dissertation clarifies disputed issues concerning the M676 place of origin, its provenance, the dating of its historiated initials, its collation, and the textual relationship of many of its illustrations. Both a revised current collation and an original collation, incorporating missing folios, are proposed.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Papillo, Paul J.} } @mastersthesis {9231, title = {Image, Envy, Power: Art and Communal Life in The Age of Giotto}, year = {2003}, school = {Chicago}, abstract = {This dissertation explores the notion of sight as a danger in early fourteenth-century Italy, and investigates this assertion through examination of texts and images that address the visibility of images, the responsibility of viewers, and the morality of pictures in a public setting. Documents examined in this dissertation-including legends, legislation, and inscriptions-attest to deep concerns about the effects of viewer engagement with objects. These concerns posed a problem in their urban contexts, where public morality preoccupied governing classes and religious orders. My investigation challenges the assumption that regards viewing as an innocent activity in a period long hailed as a turning point toward pictorial "naturalism" and "objectivity"; instead it contributes to a growing body of art historical scholarship on the problematic nature of visuality and viewer response in pre-modern European milieux. I argue for a reciprocity between the social role played by art and the societal implications of viewing skills as demonstrated in a variety of case studies. Chapter One examines a protest lodged in 1305 by monks of the Augustinian order of the Eremitani in Padua against the adjacent Arena Chapel, the interior of which was being decorated with frescoes by Giotto di Bondone at just this time, and considers proximity and visibility as motivations for the monks{\textquoteright} concern. Chapter Two investigates relationships between visibility and civic power in medieval legends and literature concerning the "Volto Santo" (Holy Face) in the Cathedral of Lucca, a wood crucifix sculpted probably in the twelfth century. Chapter Three explores the viewer{\textquoteright}s responsibility for proper viewing of sculpture as evidenced by two inscriptions that gird the great pulpit carved by Giovanni Pisano between 1302-1311 for the Cathedral and Commune of Pisa. Chapter Four turns its attention back to the Arena Chapel to examine the role of "envy" in promoting public morality through narrative images. Chapter Five highlights relationships among textual and visual materials presented in preceding chapters, and uses these relationships to contest a prominent scholarly notion of viewer engagement with images in late medieval Italy that ascribes verbal discourse power over visual experience.}, keywords = {Early Medieval/Romanesque/Gothic Art, Renaissance/Baroque Art}, author = {Shoaf, Matthew} } @mastersthesis {9367, title = {Images for the New Generation: Soviet Illustrated Children{\textquoteright}s Books, 1918-1936}, year = {2003}, school = {CUNY}, abstract = {This dissertation investigates illustrated children{\textquoteright}s books in Soviet Russia during the period from 1918 to 1936. During that time, many prominent avant-garde artists produced innovative and highly experimental children{\textquoteright}s books. In the aftermath of the Bolshevik Revolution of 1917, children{\textquoteright}s books played an important political role in the new Soviet society, aiming at an audience numbering in the hundreds of thousands. The Bolshevik regime regarded children{\textquoteright}s books as major vehicles for transmitting Soviet ideology and influencing the new generation. By addressing the complex relationships among the Soviet state, artists, and public, this dissertation explores how the close ties between art and politics of the time manifested in the design for children{\textquoteright}s books. The dissertation also demonstrates how abstract/realist nexus in children{\textquoteright}s book design was paralleled by a significant development toward a greater abstraction in the fine arts of the time. In seeking to address these concerns, my approach is informed by a variety of sources: aesthetics, education, psychology, sociology, and literature. Chapter One provides a brief overview of the development of children{\textquoteright}s literature in Russia before the Bolshevik Revolution of 1917. It describes the conflict over fairy tales, which some of the educators of the 1920s condemned as an obstruction to the introduction of the proletarian child to the real issues of everyday life. Chapter Two explores how children{\textquoteright}s book illustrations reflected contemporary tendencies in painting towards geometric abstraction. Chapter Three demonstrates how the genre of "production book" became one of the most important spheres of practical work for a number of Constructivist artists. It also examines the use of photography in children{\textquoteright}s books. Chapter Four focuses on issues of figuration and abstraction in Soviet children{\textquoteright}s books. The bulk of the research for this dissertation derives from a careful examination of hundreds of published illustrated children{\textquoteright}s books and mock-ups. Soviet illustrated children{\textquoteright}s books of the 1920s-30s are now rarities, and only a limited number of copies have survived in various libraries all over the world. This interdisciplinary dissertation integrates original Russian archival research, recent work in Soviet cultural and social history, and theoretical studies of children{\textquoteright}s literature.}, keywords = {Twentieth-Century Art}, author = {Rosenfeld, Alla} } @mastersthesis {9197, title = {Images of Happy Farmers in Song China (960-1279): Drunks, Politics, and Social Identity}, year = {2003}, school = {Michigan}, abstract = {This dissertation investigates a genre of paintings depicting farmers{\textquoteright} celebrations and entertainments. Much of the study focuses on how these paintings were "read" by two major groups, the imperial household and non-aristocratic scholar-elites, who comprised their primary patrons and audiences. I argue that these viewers were engaged in a process of deploying a variety of social and political discourses in viewing the images of happy farmers. The discourses include political debates concerning farmers{\textquoteright} and the state{\textquoteright}s welfare, discursive issues on the legitimacy of cultural and political authority, and ideas on the conflation of social and political identities belonging to rural figures and scholar-elites. Chapter One begins with an exploration of the close relationships among the idea of fengsu (local customs), its political connotations, and paintings of village themes. A study of the patronage for these paintings is also attempted in order to provide a basic explanation of the production and consumption of the paintings. Chapter Two examines the village festival theme{\textquoteright}s close association with literature. I demonstrate that Song scholars{\textquoteright} active engagement in making public commentaries on the paintings led to a sympathetic reinterpretation of these rural images. Negative or propagandist readings of happy farmer paintings, which were imposed by the imperial household, were challenged and altered. Chapter Three looks into the specific social and political conditions related to farmers during the Song period. I examine how conflicting political parties could use the subject of farmers differently, as a symbol of state prosperity or a peaceful regime, in order to argue for their own legitimacy or to advocate different policies. The last two chapters look at the rural festival paintings from a new angle-that of scholars{\textquoteright} writings about their social identity. I interpret that the conflation of a drunken villager with a scholar-recluse image as is associated with concepts of spontaneity, liberation, and anti-social mannerism. Finally, I investigate the political reasons behind the literati{\textquoteright}s choice to represent themselves in this manner.}, keywords = {Chinese Art}, author = {Cheng, Wen-chien} } @mastersthesis {9241, title = {Images of Synagoga as Christian Discourse (1000-1215)}, year = {2003}, school = {USC}, abstract = {This dissertation examines imagery of Synagoga, the female personification of Judaism, in the Latin West. I investigate the complex meanings that her depictions might have signaled not only to the Christian artists and patrons who produced her images, but also to those who saw them. In exploring the specific contexts for each of her representations, I investigate the contemporary, social framework surrounding these examples and note cases in which the artistic record is at odds with the textual record, as well as with official Church doctrine. With this study, I attempt to gain a more nuanced understanding of how Christians repeatedly used Synagoga{\textquoteright}s visual representations to position the Jews as outside the Christian community. Chapter 1 focuses on Synagoga{\textquoteright}s earliest imagery and highlights how textual anti-Jewish stereotypes, such as obsolescence, blindness and stubbornness, began to impact representations of Synagoga after the year 1000. Chapter 2 considers Synagoga{\textquoteright}s conversion and assimilation imagery in several biblical contexts, primarily within the Old Testament book, the Song of Songs. In Chapter 3, I relate the unprecedented appearance of violence in Synagoga{\textquoteright}s depictions to Crusading massacres of Jewish communities and successive, sometimes ambivalent, efforts by the Church to prevent their reoccurrence. Chapter 4 concentrates on the latter decades of the twelfth century and concludes with the Fourth Lateran Council in 1215. Here, I treat several negative themes in Synagoga{\textquoteright}s pictorial representations that denigrate Judaic worship and position the Jews as deserving damnation. These and other degrading motifs stress Synagoga{\textquoteright}s exclusion from Christian salvation and seem linked both to the changing political status of Jewish communities as well as to shifting Church policy, codified in the legislation of Lateran IV. In the Conclusion, I consider some of Synagoga{\textquoteright}s post-1215 imagery in comparison to previous depictions not only to explicate further what was probably implied in earlier imagery, but also to assess the impact of Lateran IV.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Monroe, Elizabeth} } @mastersthesis {9310, title = {Imitation and Invention in the Service of Rome: Giulio Clovio{\textquoteright}s Works for Cardinals Marino Grimani and Alessandro Farnese}, year = {2003}, school = {Johns Hopkins}, abstract = {This dissertation confronts the problem of imitation in the historiography and Roman works of the sixteenth-century Croatian miniaturist Giulio Clovio (1498-1578) and examines his artistic development in the households of two cardinals: Marino Grimani (1488-1546) and Alessandro Farnese (1520-1589). Past scholarship has interpreted Clovio{\textquoteright}s frequent references to Michelangelo, Raphael and other artists either as an indication of his lack of invention or as a symptom of mannerism. Considered in the context of Rome in the 1530s and 40s and according to Renaissance theories of imitation, however, Clovio{\textquoteright}s miniatures recover their ability to bear meaning specific to the projects that he completed for his two patrons. Chapter One proposes that Clovio{\textquoteright}s cultural education with the Grimani family and his study of their collections profoundly influenced his approach to the making of art, so that his skills in inventio, dispositio and elocutio were akin to the collecting, displaying and discussing of art. Chapter Two examines Clovio{\textquoteright}s miniatures for Cardinal Grimani{\textquoteright}s Pauline commentaries, which combine images drawn from his collection with those related to papal Rome and thereby reveal an acute understanding of the power of style to proclaim allegiances, authority and canon. Chapter Three examines both Clovio{\textquoteright}s status as a courtier when he joined Cardinal Farnese{\textquoteright}s household and his lifelong penchant for conversation and collaboration, as evidenced by his work with the poet Eurialo d{\textquoteright}Ascoli, his role in Francisco de Holanda{\textquoteright}s Dialogos em Roma and his membership in the Accademia dello Sdegno. Chapter Four argues that the Farnese Hours provided Clovio{\textquoteright}s young patron with a visual primer that addressed the most salient liturgical and artistic concerns of the time, comprising-like Vasari{\textquoteright}s Vite-the canon of the maniera moderna while resembling a miniature gallery. The judicious selection and disposition of images in Clovio{\textquoteright}s masterpiece provide the best argument against the idea that his imitative practice was simply derivative. The Epilogue addresses the ways in which he supplemented and emended Michelangelo{\textquoteright}s designs, concluding with an examination of Clovio{\textquoteright}s inventory, whose content and language reveal a determination to distinguish his imitation and collecting of Michelangelo{\textquoteright}s works from his own inventions and taste for other artists.}, keywords = {Renaissance/Baroque Art}, author = {Calvillo, Elena} } @mastersthesis {9263, title = {The Impact of Luxury: The Forum of Meninx. An Architectural Investigation}, year = {2003}, school = {Pennsylvania}, abstract = {This dissertation compiles the evidence, offers analysis and reconstructions for the buildings surrounding the forum of Meninx, a city on the southeastern coast of the Tunisian island of Jerba, and places the forum{\textquoteright}s structures within the cultural and economic contexts of the Roman Empire for the time in scholarship. The architecture was examined through the lens of the Meninx{\textquoteright}s famed purple dye production. The architecture of Meninx is presented as a crucial manifestation of the interrelation between luxury production and reception in the region of Roman North Africa. Carried out in conjunction with the Jerba Project, my work at Meninx has concentrated in the forum area. I catalogued approximately 150 fragments, numbering, measuring, analyzing, and drawing them. This documentation of the architectural fragments combined with magnetometric and aerial studies as well as limited, yet focused excavations allowed me to offer a reasoned reconstruction of the forum of Meninx and its surrounding structures. The marble temples, for which little evidence survives, and the forum basilica had few parallels in North Africa. Based on the available evidence, I propose that at the time of its completion, the forum basilica at Meninx with its use of imported marble, was the most elaborate basilica in all of Roman North Africa. Carved in purplish-stones, sculptures of figures in eastern dress ornamented the basilica and responded to similar displays in Rome and made a unique self-reference to the production of the luxurious purple dye at Meninx. Previously considered to be a minor outpost of the Roman Empire, Meninx is now positioned as a result of this research as one of the most important cities in North Africa. Meninx might have been a city in the provinces, but it was not to be associated with the barbaric frontiers of the Empire. It was in constant dialogue, especially architecturally, with its neighbors and, more importantly, it attempted to join in a visual conversation with Rome. Its famed purple dye industry gave it the means to do so.}, keywords = {Greek/Roman Art}, author = {Morton, Thomas J.} } @mastersthesis {9295, title = {Imperialist Intent - Colonial Response: The Art Collection and Cultural Milieu of Lord Strathcona in Nineteenth-Century Montreal}, year = {2003}, school = {McGill}, abstract = {This thesis addresses the nineteenth-century art collection of Donald Alexander Smith, Lord Strathcona (1820-1914), in relation to intersecting questions of imperialism, colonial relations, and cultural status. Both the formation of the collection and its dispersal are linked to a dialectic of cultural hegemony and national identity in nineteenth-century Canada. Smith came penniless to Montreal from Scotland in 1838, became the wealthiest man in Canada by the end of the century, and is known as Lord Strathcona after being raised to the peerage by Queen Victoria in 1897. My discussion of the rise and fall of Strathcona{\textquoteright}s collection is informed by postcolonial theory and its critical re-reading of imperialism. While British imperialism was the ideology that governed Strathcona{\textquoteright}s activities, Anthony Giddens{\textquoteright}s structuration theory is introduced to account for how personal agency remains operative within this dominant ideology. Strathcona formed a significant collection of European paintings and Asian art, which was, however, largely dispersed by the institution charged with its care, thus reducing its significance. Krzysztof Pomian{\textquoteright}s concept of collectors as select individuals who mediate symbolic cultural power through semiotic constructs provides an important methodological anchor for an analysis of the collector and his collection, as does Carol Duncan{\textquoteright}s work on the motivation to collect art and to structure cultural identity through control of museums. As well, the princely model of collecting reveals the humanist values operative throughout the centuries by comparison of Strathcona to the Medici in terms of the deployment of spectacle. This thesis makes use of primary source materials to compare Strathcona{\textquoteright}s collection to several of his peers in order to place him in his cultural milieu during a time in Canadian history when Montreal was a British enclave in a French province. Analysis of fragmented primary source inventories, catalogues, personal letters, and records held by the Montreal Museum of Fine Arts and the National Archives of Canada, identification of paintings documented in the Notman photographs of 1914-1915, and my tracing of the public portraits of Strathcona by Robert Harris still on view in Montreal institutions allowed me to create useful inventories that previously did not exist.}, keywords = {Nineteenth-Century Art}, author = {Pierce, Alexandria} } @mastersthesis {9183, title = {In All Good Conscience: Abolitionism in Popular American Imagery, 1830-1865}, year = {2003}, school = {Yale}, abstract = {This is a study of the ways in which popular abolitionist images reflected, interpreted and instigated events and opinions of the early to mid-nineteenth century. It is also intended to ground these works of art firmly in the social and historical context of their era. Popular prints are the primary focus because of their broad dissemination as well as the views they offer of the general social, cultural and political climate of their time. The works included were selected for the insights they offer concerning how these types of images functioned as a part of the fabric of American life. Each chapter explores the production and iconography of an individual image, supported by additional images, which serves to highlight certain broader contexts of antebellum society. The immediate power and impact of pictures made them an ideal means of communicating messages directed at reaching the American conscience in the struggle against slavery. Abolitionists employed a wide range of visual media toward their cause, but it was the popular imagery, much of it available in the rapidly expanding affordable press, that carried the most far-reaching and potent messages. These images serve as a visual record of history and, beyond simply augmenting the testimony of the printed word, provided a powerful catalyst for advancing causes in their own right. Because of the linkage between antebellum events, beliefs and images, it is crucial to analyze their relationships more closely than has previously been done. All of the pictures discussed here, and many others, shaped and were shaped by the cultural and artistic climate of their time. The result was a fusion of thought and image in popular culture, which is the subject of this study.}, keywords = {Art of the United States}, author = {Harper, Jennifer} } @mastersthesis {9337, title = {In the Fullness of Time{\textquoteright}: The Vault Mosaic in the Cappella Sant{\textquoteright}Elena, Santa Croce in Gerusalemme, Rome}, year = {2003}, school = {Georgia}, abstract = {No record in ProQuest}, keywords = {Renaissance/Baroque Art}, author = {Payne, Cynthia A.} } @mastersthesis {9363, title = {Inner Necessity: The Interior Scenes of Ernst Ludwig Kirchner and Erich Heckel and Their Relationship to the Artists{\textquoteright} Group Die Bruecke}, year = {2003}, school = {Bryn Mawr}, abstract = {This dissertation focuses on the interior scenes of Ernst Ludwig Kirchner (1880-1938) and Erich Heckel (1883-1970), two German Expressionist artists who belonged to the Bruecke, a group that was active in Dresden and Berlin between 1905 and 1913. Most of these images, which represent a variety of media, are set within the artists{\textquoteright} homes and studios, and date from their Bruecke period. This study differs from previous studies of Bruecke interiors in that it does not focus on their "primitivist" studio scenes-images designated as such on the basis of their purportedly tribal aesthetic. Instead, this project takes the concept of community as its leading theme, and situates these artists{\textquoteright} interior scenes alongside the development, and eventual disintegration, of the Bruecke. The theories of Ferdinand Toennies, as expressed in Gemeinschaft und Gesellschaft (1887), are introduced in consideration of the artists{\textquoteright} approach to community. Turn-of-the-century medievalism, the Romantic Revival, and the artists{\textquoteright} early architectural studies in Dresden are treated as sources for their understanding of community, and their interest in the domestic interior. The Bruecke{\textquoteright}s Dresden years, 1905-11, witnessed the peak of the artists{\textquoteright} communal identity, which, it is argued, was rooted in the physical space of their communal studios, and actively expressed in their depictions thereof. Conversely, their Berlin period, 1911-13, saw the weakening of that community, the demise of their real-life studio culture, and a dramatic change in their representation of interior space on paper and canvas. Some of Kirchner{\textquoteright}s and Heckel{\textquoteright}s post-Bruecke interiors, 1914-15, are read as attempts to come to terms with the history of the group and that of the interior. Eine Kuenstlergruppe, Kirchner{\textquoteright}s monumental portrait of 1926-27, is viewed similarly.}, keywords = {Twentieth-Century Art}, author = {McCullough, Kelly Ann} } @mastersthesis {9164, title = {Inventing the Multicultural Museum: A Critical Study of {\textquoteright}Harlem on My Mind{\textquoteright}}, year = {2003}, school = {CUNY}, abstract = {The Harlem On My Mind exhibition, held at the Metropolitan Museum of Art in 1969, was the first major museum show to respond to the call for racial equality in American society. The exhibition presented a multimedia history of Harlem and put before a large audience images of black America that had never before been granted cultural legitimacy by the museum establishment. The exhibition recast the role of the museum from connoisseur to participant in contemporary cultural politics. In addressing issues of race and culture, and attempting to reconstruct power relations within the museum, Harlem On My Mind was a watershed in the development of multicultural exhibition practice. Yet, in its effort to expand the Metropolitan Museum{\textquoteright}s constituencies and mission, the show became one of the most controversial ever mounted by an American museum. This dissertation explores how the reception of Harlem On My Mind affected the subsequent development of multicultural museum practice in the United States. Chapter one explores the ways in which the Civil Rights Movement impacted arts institutions in the mid- to late-1960s. Chapter two investigates the process of developing Harlem On My Mind, charting the key moments of the unfolding drama, from the museum{\textquoteright}s first exuberant announcement of the show in late 1967 to early criticisms by artists, Harlem residents, and community leaders, to the ultimate crisis that erupted shortly before the exhibition opened in January 1969. Chapter three reconstructs the exhibition{\textquoteright}s contents and design, and analyzes the influence of specific curatorial decisions on the reception of the show. Chapter four looks at the immediate aftermath of Harlem On My Mind in the early 1970s and the ways in which mainstream museums responded to the demand for increased representation of diverse constituencies. And finally, chapter five addresses ways in which Harlem On My Mind, as a lightning rod for controversy and a catalyst for vociferous public debate, affected ways in which multiculturalism would be articulated and enacted in American museums.}, keywords = {Art of the United States, Contemporary Art}, author = {Cahan, Susan} } @mastersthesis {9360, title = {Jackson Pollock{\textquoteright}s Late Paintings, 1951-1955}, year = {2003}, school = {Harvard}, abstract = {This dissertation presents a new analysis of the late paintings of Jackson Pollock (1912-1956). Although Pollock is one of the most famous twentieth-century artists, his late paintings have long proven a critical enigma and, indeed, are themselves not well known. By re-examining those works executed between 1951 and 1955, as well as the critical discourse which has invariably dismissed them, this dissertation effects a new understanding of Pollock{\textquoteright}s working method and offers a alternative framework for understanding his oeuvre as a whole. The reasons for the critical neglect of Pollock{\textquoteright}s late paintings are manifold. Perhaps the most important factor is their apparent eclecticism; not only do Pollock{\textquoteright}s late paintings look very different from the dripped abstractions that are indelibly associated with his name, they themselves are tremendously varied. Rather than take a stylistic approach to these late works, this dissertation focuses on the formal operations at work in them. That is, by analyzing how the paintings came to look the way they do, this operational approach privileges procedure and process over style and form, creating an interpretative framework, which not only proposes to accommodate the formal eclecticism of Pollock{\textquoteright}s late painting, but also to help explain it. Using the artist{\textquoteright}s final four solo exhibitions as benchmarks, this dissertation charts the development of these operational procedures. Proceeding with remarkable consistency, Pollock approached painting in his last five years with a new, intensely self-critical attitude. Systematically working to dismantle the terms of his previous styles, Pollock forged a new painting that acknowledged the radical consequence of his past production without repeating it. What emerges from this analysis is a very different picture of Pollock than is typically sketched in art historical accounts. Without attempting to resuscitate Pollock{\textquoteright}s late paintings in the same terms that created the paradigm to deem them failures in the first place, this dissertation attempts to situate them with regard to a working method, and a modernist strategy, entirely consistent with his career as a whole. This ultimately impacts not only how we see Pollock{\textquoteright}s late works, but also those paintings which made him famous, and the commonly-understood narrative of his career.}, keywords = {Twentieth-Century Art}, author = {Kantor, Jordan} } @mastersthesis {9352, title = {Jean Tinguely: Useless Machines and Mechanical Performers, 1955-1970}, year = {2003}, school = {UT Austin}, abstract = {This dissertation examines the cultural contexts of Jean Tinguely{\textquoteright}s sculpture from 1955 to 1970, emphasizing the concepts of "useless machines" and mechanical performance. Chapter 1 demonstrates the roots of Tinguely{\textquoteright}s work in an early modernist fascination with both machines as performers and with the relationship between movement, time, and space. Chapter 2 discusses his meta-matic drawing machines within a specific mid-century artistic context and literary revival of interest in the absurdist painting machines of Alfred Jarry and Raymond Roussel. Chapter 3 examines Tinguely{\textquoteright}s self-destructing sculpture Homage to New York, explicating the differing receptions of his work in Europe and the United States and establishing the impact of various misappropriations of the term Dada. Chapter 4 discusses these self-destructing mechanical performances in relation to Tinguely{\textquoteright}s interest in anarchism as well as the highly politicized context of the 1960s. Chapter 5 examines how his fascination with the aesthetics of nineteenth-century industrial equipment and their modes of display served as a foil to the growing artistic interest in cybernetic systems, highlighting Tinguely{\textquoteright}s deliberate use of older industrial models as a statement on contemporary society{\textquoteright}s problematic relationship with new technologies. This text recovers the mid-century context for Tinguely{\textquoteright}s kinetic art, with implications for the movement as a whole. Analyzing the complex web of agendas of critics and curators, this dissertation demonstrates essential differences between American and European interests. This is the first investigation of K. G. Pontus Hulten{\textquoteright}s important role in historicizing Tinguely{\textquoteright}s work and shaping the history of European kineticism. An examination of Marcel Duchamp{\textquoteright}s relationship with Tinguely reveals the older artist{\textquoteright}s unwitting position in both the promotion and criticism of kinetic art during this period. This study also underscores the political content of Tinguely{\textquoteright}s work, showing that he was actively engaged in anarchist ideas and rhetoric, thus establishing a relevance and seriousness to his work that has previously been under-recognized.}, keywords = {Twentieth-Century Art}, author = {Hanor, Stephanie} } @mastersthesis {9190, title = {Jean-Joseph Vaudechamp in France and Louisiana}, year = {2003}, school = {Bryn Mawr}, abstract = {This dissertation examines the transatlantic career of the nineteenth-century French portraitist Jean-Joseph Vaudechamp (1790-1864). A student of Anne-Louis Girodet-Trioson (1767-1824), Vaudechamp worked as a portrait painter in Paris and began to journey to New Orleans, Louisiana, first arriving in 1832. There, Vaudechamp worked virtually every winter between 1832-39, where he was patronized both by the city{\textquoteright}s old Creole families and by the new American elite. Besides examining Vaudechamp{\textquoteright}s American itinerancy in issues of self-fashioning on behalf both of the artist and his sitters, this dissertation contains a catalogue of Vaudechamp{\textquoteright}s extant works and a chronology of his life and Salon exhibitions.}, keywords = {Art of the United States}, author = {Rudolph, William} } @mastersthesis {9192, title = {Jesus is Black!{\textquoteright}: Race and Christianity in African American Church Art, 1968-1986}, year = {2003}, school = {Maryland}, abstract = {Between the late 1960s and the mid-1980s, black Christian congregations increasingly commissioned art that incorporated references to Africa, African American history, a black Jesus, and political leaders. The new church art had several precedents from the late nineteenth century and first half of the twentieth century and thus continued a certain tradition in African American thought. However, in frequency, in scope, and in its choice of subjects, it marked a significant departure from earlier examples. Popularized in the post-1960 period, African American church art must be considered in the context of historical movements such as Black Power, the Black Arts Movement, and black theologies. Its imagery responded to the same issues that lay at the heart of these movements. However, black church art created during this time offered not only new interpretations of race and politics, but also of Christianity. This dissertation examines how congregations engaged in a careful negotiation of race and religion in order to create an identity rooted in both. Focusing on three mural projects, I propose that by utilizing diverse strategies such as familiar Christian iconography, sacred texts, or denominational history, African American churches attempted to "sacralize" perceived "secular" subjects, such as black history, through church art. As the mixed reception of these images illustrates, the process of "sacralization" resulted in new understandings of both Christianity and race that congregation members sometimes rejected. At the same time, it was this very process that encouraged acceptance of the new imagery. Ultimately, I argue that African American church art created during this period was a key component of many congregations{\textquoteright} move toward what scholar David D. Daniels calls the "new black middle-class religion." Murals, windows, and sculpture articulated congregational identity in a visual manner. Their imagery contributes to a broader understanding of the interaction between Christianity and race during a critical period of American history.}, keywords = {Art of the United States}, author = {Strychasz, Jennifer} } @mastersthesis {9277, title = {Jimmie Durham{\textquoteright}s Portraits}, year = {2003}, school = {New Mexico}, abstract = {Jimmie Durham is a sculptor, installation artist, author, and political activist whose work is exhibited before an international audience. This dissertation interprets the installation The Caliban Codex and the sculptures Malinche, Pocahontas, and Durham{\textquoteright}s own Self-Portrait as unconventional works of portraiture. Early colonial narratives, historical fictions, and Cherokee cultural traditions are but a few of the sources within which these works are contextualized and interpreted. This dissertation conveys how Durham, through these four major works, deconstructs the concepts of race, gender, history, and nation that are constellated within the discourses of colonial metanarratives. Moreover, this dissertation contends that, although these concepts steadily lose their currency in other arenas, miscegenation, biological determinism, and nationalism continue to inform how Native American identity, especially mixedblood identity, is defined and legitimized today. The imprecise and capricious terms of identity, and the related and equally uncertain concept of authenticity, are the forces behind the contentious 1990 Indian Arts and Crafts Act and Jimmie Durham{\textquoteright}s expulsion from the Native American art world.}, keywords = {Native American}, author = {Murphy, Greta} } @mastersthesis {9147, title = {John Hartwell Cocke (1780-1866): From Jeffersonian Palladianism to Romantic Colonial Revival in Antebellum Virginia}, year = {2003}, school = {Virginia Commonwealth}, abstract = {John Hartwell Cocke was a Virginia planter and amateur architect whose style evolved from Jeffersonian Classicism to a revival of English Tudor-Stuart or Jacobethan architecture. This dissertation discusses the Cocke family{\textquoteright}s Elizabethan roots and advances four theses. The first of these theses is that John Hartwell Cocke implemented Thomas Jefferson{\textquoteright}s principles for the reform of Virginia architecture. Cocke{\textquoteright}s most ambitious project, a Jeffersonian Palladian mansion called Bremo, was in the planning stages by 1815. The second thesis is that Cocke{\textquoteright}s off-plantation buildings signal his break from the Palladianism of Thomas Jefferson in favor of the Jacobean style for houses and his acceptance of classical Jeffersonian elements for public buildings. The third thesis proposes John Hartwell Cocke as the first practitioner of the Romantic Colonial Revival movement in America in his revival of Tudor-Stuart architecture. The fourth thesis is that John Hartwell Cocke{\textquoteright}s architectural legacy was expanded by Philip St. George Cocke, the second of his three sons, when the younger Cocke commissioned Alexander J. Davis to build Belmead and later promoted Davis among his circle of family and friends.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Rogers, Muriel Brine} } @mastersthesis {9176, title = {Josef Albers and the Department of Design at Yale}, year = {2003}, school = {CUNY}, abstract = {This dissertation explores Josef Albers{\textquoteright}s role in restructuring the School of Fine Arts at Yale University in New Haven, Connecticut. The chairmanship of the newly formed Department of Design, which Albers assumed in 1950, was his last full-time teaching position until he retired from Yale in 1958. As Chairman, Albers transformed Yale{\textquoteright}s more than 80-year-old entrenched Beaux-Arts-based program founded in 1864 into a Department of Design, infused with the spirit of the Bauhaus, the famed German school founded by Walter Gropius in 1919, where Albers himself had been a student and teacher beginning some thirty years earlier from 1920-1933. Albers fled Nazi Germany in 1933 and came to Yale after 16 years as Chairman of the Department of Art at Black Mountain College in North Carolina. The Bauhaus had become a pivotal model for the teaching of art in the United States. This model involved an alignment of the arts with industry; a strong, if strained, relationship between the fine arts and crafts and between mass produced goods and craft traditions; and a greater alignment between the arts themselves, i.e. art, architecture, and drama. What was envisioned at Yale was a modern program in which the school could serve as a design laboratory that would enrich the entire cultural fabric of the country. With "new materials, new forms, and new methods of instruction," the traditional boundaries between the fine arts and the useful arts in terms of forms and materials were understood to have lost much of their meaning. These developments reflected a mid-century understanding of the Bauhaus in America that in turn shaped how Albers was understood at this time. Albers{\textquoteright}s reception by American critics and American business-which began to collect and use modern, abstract art to define its corporate image-is also explored in this context. Albers believed that art education was general education and that artists should work with their hands. By 1958 he would make the claim that in "democratic education, the visual and manual type of student is just as important as the intellectual student."}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Chevlowe, Susan} } @mastersthesis {9318, title = {Juan de Torquemada{\textquoteright}s Meditationes in the First Cloister of Santa Maria sopra Minerva in Rome: A Reconstruction of Fifteenth-Century Devotional Experience}, year = {2003}, school = {Emory}, abstract = {This dissertation argues that the fresco cycle of the Meditationes commissioned by Cardinal Juan de Torquemada for the cloister of the Dominican church and convent of Santa Maria sopra Minerva is a testament to the changing attitudes toward the structure and development of both popular and religious piety in the early Renaissance. For this reason, we shall see that the organization and composition of Torquemada{\textquoteright}s Meditationes reveal connections to long-standing traditions of devotional imagery, while at the same time point to new developments in the use of that imagery by individuals and corporate bodies, in particular in reform religious houses like the Observant Dominicans and lay corporate congregations like the Confraternity of the Annunciation. The Meditationes stood on the cusp of a changing world, with its roots in medieval and more ancient traditions of imagery while at the same time incorporating distinctive changes in the way that imagery functioned for its audiences that point toward the Counter-Reformation ideals of the sixteenth and seventeenth centuries. In the year 1460, Cardinal Juan de Torquemada (1388-1468) founded the first lay confraternity at the church of Santa Maria sopra Minerva in Rome. The goals of the Confraternity of the Annunciation, according to the original statutes composed by Torquemada, were twofold. First, the pious society was intended to enhance the spiritual lives of its members; and second, it was meant to aid poor young Roman women through the periodic charitable gifts of dowries. In the following year, 1461, Pope Pius II charged Torquemada with the reform of the Dominican friars at this same church and convent. The papal decree states that Torquemada was to cleanse the convent of corruption and to restore the friars to the proper religious life. This order resulted in the conversion of the Minerva to the Dominican Observance. During these same years, Torquemada commissioned a fresco cycle to decorate the first cloister of the Minerva. Though little has been written about this monumental fresco cycle due to its early destruction, extensive evidence survives testifying to its vital role in the formation and reformation of the spiritual lives of its audiences.}, keywords = {Renaissance/Baroque Art}, author = {Elsea, Angi} } @mastersthesis {9320, title = {Keeping Up Appearances: The Social Significance of Domestic Decoration in Antwerp, 1542-1600}, year = {2003}, school = {Columbia}, abstract = {In this dissertation, I address the use and display of Flemish paintings and decorative objects in the homes of sixteenth-century Antwerp{\textquoteright}s wealthy merchants, civil servants, and land-developers. Using the house as both a literal and theoretical framework, I examine paintings by the best-known artists of the period-including Pieter Bruegel, Quentin Metsys, Hieronymus Bosch, and Albrecht Durer-alongside decorated movable goods such as drinking mugs, jewelry boxes, flatware sets, and carved furniture. My focus centers on a variety of extant primary sources related to Antwerp{\textquoteright}s wealthiest households, including household inventories, testimonies, and wills. I combine a close examination of such documents-relating to a few selected families-with the relatively vast array of extant sixteenth-century household objects in Antwerp collections. Many such objects share important iconographic and functional ties to some of the period{\textquoteright}s most famous paintings. For the self-conscious, upwardly mobile merchant class-arguably the largest segment of the local art-buying public in Antwerp-household goods defined room function and created gendered spaces within the house while affecting, on a more symbolic level, the family{\textquoteright}s social status outside it. In addressing intersections between material culture and social life, I approach some of the most famous paintings of the Northern Renaissance from a new perspective, thinking of them not as autonomous works but as domestic artifacts.}, keywords = {Renaissance/Baroque Art}, author = {Goldstein, Claudia} } @mastersthesis {9212, title = {La Matrona Bergamasca: Portraying Women in Renaissance Bergamo}, year = {2003}, school = {USC}, abstract = {It is generally assumed that all portraits of women produced in Renaissance Italy adhered to contemporary ideals of virtue and beauty. The present study challenges this notion by examining twenty-four extant portraits of women painted in the sixteenth-century Venetian province of Bergamo, which deviate from this convention. In this city, a representation of a stout, dignified married woman with a purposeful demeanor, termed here the matrona bergamasca, distinguished female imagery. To explain this difference, the present study addresses portraits of women in Bergamo in terms of women{\textquoteright}s experiences and needs, both as perceived by women themselves and as defined by men on their behalf. It treats women{\textquoteright}s daily lives and their roles within society as important determinants in the production and consumption of the visual arts. Bergamo was the site of important pictorial innovations and unique female representations traditionally neglected in art-historical studies. This comprehensive regional analysis examines the development of portraits of women by Lorenzo Lotto in the first part of the sixteenth century and Giovanni Battista Moroni at the end of the century as the principal and most influential artists in the city. The images they produced both reflect and helped shape Bergamo{\textquoteright}s transformation from a mercantile ...}, keywords = {Critical Theory/Gender Studies/Visual Studies, Renaissance/Baroque Art}, author = {Zaharia-Roth, Andrea} } @mastersthesis {9264, title = {The Late Antique Domus in Ostia: Patterns of Diversity and Transformation}, year = {2003}, school = {UT Austin}, abstract = {This study examines fifteen houses from late antiquity in Ostia. Traditional scholarship has treated the late antique domus in Ostia in terms of radical change in architectural form and decoration, symptomatic of an equally profound change in the political, economic and social climate of the city and the Roman Empire from the mid-third century AD to the fifth. This study questions the methodological and historical assumptions underlying this conclusion and proposes analytical and interpretive methods that have not been applied to these houses.}, keywords = {Greek/Roman Art}, author = {Muntasser, Nayla Kabazi} } @mastersthesis {9166, title = {Lawrence Alloway in England: His Criticism in Context}, year = {2003}, school = {CUNY}, abstract = {The dissertation examines the criticism of Lawrence Alloway during his early years in London until his arrival in the USA in 1961 to develop an understanding of Alloway quite different from his association with the Pop Art movement in the USA by selectively contextualizing his critical position. The first context examined is the new science of cybernetics applied to the human condition by Norbert Wiener in 1950. The dissertation aligns Alloway and his colleagues in the Independent Group (IG) with C.P. Snow{\textquoteright}s discourse between the humanities and science, and finds them exemplars of Snow{\textquoteright}s "new man" formed as a social consequence of World War II. The second context is the emergence of the field of Cultural Studies from British cultural Marxism. By comparing Alloway{\textquoteright}s position to the Culturalism of Richard Hoggart and Raymond Williams, the concepts of Alloway and the IG are established as well ahead of, and perhaps influential upon, the development of Cultural Studies. The third context is Alloway{\textquoteright}s early biography and writings, from 1949 to 1955, to examine how his middle-class life shaped his vision of culture and the importance in his criticism of a topical approach. The fourth contexts are the London Institute of Contemporary Art (ICA) and the IG. The dissertation argues that the ICA was responsible for much of the IGs new understanding of culture. It details the importance of Dadaism and how Alloway and the IG incorporated issues of randomness and equivalence in criticism and visual form. The fifth context is the complex concept of modernity in England through the conservative but modern concept of populism in the 1951 Festival of Britain, the "New Humanism" debated in architecture and design, and Bauhaus concepts. Alloway{\textquoteright}s writings on modern sculpture are also examined, as are, for the first time, Alloway{\textquoteright}s BBC broadcasts on popular movies. The final contexts are the emerging abstract and second-generation Pop artists, and Alloway{\textquoteright}s relationship to the criticism of Clement Greenberg and Harold Rosenberg. Alloway positioned his criticism as a synthesis of Greenberg and Rosenberg, a theory of criticism as a topical field intended to leverage cultural change.}, keywords = {Art of the United States, Contemporary Art}, author = {Leslie, Richard} } @mastersthesis {9274, title = {Leonora Carrington: The Alchemical Kitchen}, year = {2003}, school = {CUNY}, abstract = {This dissertation examines the work of the British-born Mexican Surrealist Leonora Carrington (1917-present), in particular those works that equate the feminine domestic sphere with the magical practices of diverse cultures. It provides the most complete account to date of the artist{\textquoteright}s life and work, particularly from 1917 to 1942. Chapter One concentrates on Carrington{\textquoteright}s childhood and adolescence and analyzes previously unpublished artwork dating from 1929 to 1936. Chapter Two traces her artistic training in London (1936-37) and goes on to chronicle her initial involvement with Max Ernst and the Surrealists (1937-38). Previously unpublished student work is analyzed and placed within the context of her later development. Chapter Three chronicles the heyday of her involvement with Surrealism (1938-1942), including her stays in Paris, the village of Saint-Martin-d{\textquoteright}Ardeche, and finally New York City. Discussed is her problematic role as muse within Surrealism and how she managed to transform herself from a femme enfant to a femme sorciere. A fresh interpretation is provided of her novella Down Below that recounted her experience of madness while incarcerated at a mental institution in Santander, Spain. Chapter Four investigates her move to Mexico in 1942 and her insertion into the emigre Surrealist enclave living there, focusing in particular on her relationship with the Spanish painter Remedios Varo. Demonstrated is how at this time Carrington began to incorporate more mythical and occult themes into her work and equated the act of painting to magic. In addition, I explore how Carrington{\textquoteright}s interest in Celtic lore, the Tarot, astrology, alchemy and the Kabbalah led her to formulate an iconography in which, through an alignment with magic and nature, the feminine domestic realm is made a point of power. Specifically I examine the theme of the dining table laden with food, revealing how, inspired by Mexico{\textquoteright}s hybrid Catholicism, the artist is able to transform the Catholic notion of the sacramental altar into an alchemical parable. The conclusion provides an enumeration of the many magical arenas she chose to explore, and a summary as to how she developed a hybrid style with which to depict them.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Aberth, Susan} } @mastersthesis {9273, title = {Liaisons between Painters and Department Stores: Merchandising Art and Identity in Meiji Japan, 1868-1912}, year = {2003}, school = {University of Washington}, abstract = {This dissertation examines the earliest relationships between painters and department stores in Japan through a study of institutional history and the biographies of representative artists of the Meiji era (1868-1912). In so doing, it probes one aspect of Japanese modernity that constitutes visual, ideological, and social structures. It asserts that the types of opportunities afforded artists, the choices they made in the department-store context, and the needs of the emerging Japanese state as well as those of different types of consumers, all conjoined to effect new forms of artistic commodification in the Meiji era by which painters and painters{\textquoteright} practices were radically changed. During the Meiji era, a time of rapid change and modernization in Japan, Japanese artists discovered new venues for practicing and marketing their work. Painters working for department stores, one of these new venues, altered established painting practices. These artists made designs for atypical but familiar formats, such as kimono, and new formats, including tapestries, billboards, and posters. These design projects, part of an emergent Western-style market structure, involved painters in the merchandising of department-store goods through enhancement of the products{\textquoteright} visual-and later social-appeal. What is distinct about this process was not the collaboration engendered by patronage or the fact that artists were able to make a product more appealing, but that painters{\textquoteright} work for department stores tended to involve designs for a number of different media and at a number of different stages in the merchandising process, which introduced new approaches to painting and to marketing that had previously not been aspects of the painting profession. Painters became immersed in the commodification of Japanese culture for both domestic and international audiences through their involvement with department stores. Although the visual economy of Japan had already shifted drastically in the Edo period, from elite patronage and tastes to much more diverse patronage and influences, Meiji painters became "cultural merchants" through these liaisons, developing visual vocabularies that helped define commerce and nation in an era of imperialism and developing global exchange.}, keywords = {Japanese/Korean Art}, author = {Sapin, Julia Elizabeth} } @mastersthesis {9240, title = {Living at the Edge of the World: Monstrosity and Marginality in Anglo-Saxon Manuscripts and Beyond}, year = {2003}, school = {Stanford}, abstract = {Anglo-Saxon England was a deeply multi-cultural society, with its members drawn from the Angles, Saxons, Jutes, Britons and Romans, Celtics and Galls. In order to provide some measure of national unity to this ethnic and cultural multiplicity, illuminators and authors cast their gazes outward to more disparate "Others," both near and far. In texts and images, they depicted the Vikings, Danes, Scots and Picts as monstrous, bestial men and the more remote inhabitants of Africa and Asia as literal monsters, including the dog-headed, fire-breathing cynocephali, the one-footed sciopods and the fascinating headless, mindless, possibly soulless blemmyes, who seem to exist as an embodiment of man{\textquoteright}s basest desires. These creatures, along with a fantastic host of dragons, ogres and elves, populated the Anglo-Saxon world with a very real presence. These chapters contain visual and textual evidence of a world view in which the Anglo-Saxons viewed England as geographically peripheral and therefore a potent site for potential salvation. Chapter 1 covers the composition of world maps, reconceptualizing their structure as radial rather than linear, with the British Isles located in a marginal, monster-filled band that demarcates the boundaries of the inhabitable world. Chapter 2 examines a selection of these monsters as they appear on the mappaemundi and in The Marvels of the East, a trio of manuscripts devoted to their cataloging and classification. They are composed of consciously constructed hybrid bodies which, by contrast, render the bodies of their viewers as stable and normal. Chapter 3 is a study of Gerald of Wales{\textquoteright} Topography of Ireland. This later text incorporates all of the themes present in the various earlier works, redefining and shifting the perception of England. Chapter 4 covers inhabited initial letters, which are often composed of monstrous, human, animal and plant elements in free association with one another. Through these images, the illuminators established a violently animate world in which orders of life continually merge and blend, at once lending concrete physicality to the monsters and tempestuous animation to the trees and vines of the English forests and fens which lay, dark and brooding, just outside monastery and town walls.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Mittman, Asa} } @mastersthesis {9157, title = {London Calling: Modern Architecture in the Diaspora, 1933-51}, year = {2003}, school = {CUNY}, abstract = {This dissertation reassesses modern architecture and urban theory in mid-twentieth-century century Britain, revealing a progressive culture that was active long before the emergence of the more well-known postwar English avant-garde. The study acknowledges the importance of the international context of modern architecture, while simultaneously elucidating aspects of a Britain-specific discourse. The "diaspora" refers literally to a large community of emigre architects who had left continental Europe before World War II, some as political refugees, but figuratively as well to England as an outpost of continental modernism to which European ideals were transplanted. The theoretical construct of a diaspora provides a framework in which England{\textquoteright}s modern architecture is not seen as a copy of continental forms, which is the general view of British architectural modernism in the interwar years, but rather as referring to them, since diasporan peoples by definition retain a connection to their homeland. The diaspora also gives us a model for understanding the ways in which modern architecture in England altered or reflected the work in which it was rooted, while taking on particularly English characteristics. In Britain{\textquoteright}s early postwar years, the return to humanism in the New Empiricism and the revival of interest in the picturesque as manifested in Townscape are both seen as sentimental and reactionary, but these views are reductive and neglect to consider alternative tendencies. The founding of the ATO (Architects{\textquoteright} and Technicians{\textquoteright} Organization) by the emigre architect Berthold Lubetkin and his firm Tecton, for example, amounted to a radical critique of the MARS (Modern Architectural Research) Group, the British branch of CIAM (Congres Internationaux d{\textquoteright}Architecture Moderne). Furthermore, Tecton{\textquoteright}s large-scale housing schemes in London counter the prevailing view that postwar England, with its New Towns and welfare state politics, was promoting an unchallenged reversion to nationalistic garden city ideals. The years under consideration in this study were urgent years for Britain both domestically and globally-whether it was because of economic crises and the influx of refugees in the 1930s, the war in the 1940s, or the need for postwar reconstruction in the 1950s. The intention is to restore to British modern architecture a sense of the urgency that existed in the culture at large.}, keywords = {Architectural History/Historic Preservation}, author = {Lewittes, Deborah} } @mastersthesis {9216, title = {Looking Like a Lesbian: The Sexual Politics of Portraiture, Paris between the Wars}, year = {2003}, school = {Stanford}, abstract = {For many women artists of the last century, opting out of the heterosexual contract-and, with it, received ideas about what it meant to be a woman-was a fundamental condition of artistic identity and professional achievement. The artists I investigate here, all active on Paris{\textquoteright}s cultural scene between the world wars, believed that they could succeed-not despite-but because of their lesbianism. In their portraiture and self-promotional initiatives, they represented lesbianism (then a new category of social subjectivity) in ways that would make this hypothesis tenable. If feminine stereotypes stigmatized women of the 1920s and 30s as intellectually limited, morally and physically weak, capricious, and derivative, characterizations of lesbians (even by detractors) often emphasized the exceptional intellectual prowess, independence, strength, reliability, creativity, and qualities of leadership that characterized this "new breed." In the 1920s, portraiture became an important locus of self-determination for women whose ability to participate in scientific, juridical, or political debates concerning their status and/or their "nature" was limited. The portrait initiatives of lesbian artists who earned acclaim in the Paris art world at its apogee provide the focus of this dissertation. In Chapter One, I consider the image of lesbianism produced in the atelier of Romaine Brooks, a wealthy American expatriate portrait painter and member of Paris{\textquoteright}s lesbian salon-society. In Chapter Two, I re-evaluate the work of Claude Cahun in light of the fact that her partner Marcel Moore collaborated in the production of a photographic oeuvre that commonly passes as "self-portraiture;" I explore the cultural, political, and sexual-political implications of this lesbian partnership. Finally, in Chapter Three, I introduce Suzy Solidor, an ingenue libertine from the provinces who achieved notoriety in Parisian society by decorating her cabaret (a lesbian watering hole) with hundreds of portrait likenesses signed by an array of 1930s art-world celebrities. By asking where and how each of these artists chose to represent herself within the symbolic framework available to her, I explore the ways in which a generation of women-loving women participated in the formation (and/or deformation) of modern categories of feminine, sexual, and artistic identity.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Latimer, Tirza} } @mastersthesis {9278, title = {Luce: The Artist Engage}, year = {2003}, school = {Columbia}, abstract = {Maximilien Luce (1858-1941) was an early member of the Societe des artistes independants and, in his later years, its president. Luce{\textquoteright}s artistic reputation has been based on the painted oeuvre, which has generally been considered as that of a follower of Seurat and in relation to Neo-Impressionism. The present dissertation turns instead to an examination of the artist in regard to his known but understudied engagement in social and political causes. The topic is extensive. Not only does the artist{\textquoteright}s career coincide with a period of intense cultural ferment, it has been claimed that Luce{\textquoteright}s "entire oeuvre is imprinted with his stance in relation to the working conditions of the men of his time and his political engagements." Precision regarding Luce{\textquoteright}s concerns and their significance, however, has been lacking and may in part be attributed to the obscurity which has surrounded the artist{\textquoteright}s graphic work. Investigation of the artist{\textquoteright}s production in this arena reveals his significant position in the relations of art, the press, and social and political thought in Paris from 1889 to the Great War. Selected works are here considered at length, according to their place in the development of the artist{\textquoteright}s oeuvre, their place of publication, and in relation to the referents and cultural context of the imagery. The published graphic work was frequently accompanied by a text. Although pertinent, such literary accompaniments cannot be read as a simple reflection of the imagery, nor vice-versa. Discursive and linguistic context are, however, important for an understanding of the meanings of Luce{\textquoteright}s art and its engagement. The long collaboration with the editor Emile Pouget is crucial in this regard. The dissertation therefore discusses the cultural activity of Le Pere Peinard and assesses the significance of journalism for Luce. Luce{\textquoteright}s commitment is considered in relation to his position as a Parisian for whom the events of the Commune of 1871 were a formative influence. The dissertation demonstrates further that Luce{\textquoteright}s artistic engagement was a factor in the development of an anarchist and revolutionary syndicalist movement intent on steering the power of organized labor. This tendency predicated Luce{\textquoteright}s interest in Belgian industry from 1895. The Commune continued to have a "mythic" significance both for the artist and for the Left throughout the period, but it was a tenet of Luce{\textquoteright}s ideological context that the action of intellectuals or Parisians alone was insufficient-what was required was the mass-organization of labor and the international extension thereof. Over the long term, Luce{\textquoteright}s achievement appears indissolubly linked to his interest in the laboring classes; an interest which is consistent with the artist{\textquoteright}s engagement in the social movement of his times.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Brown, Stephen} } @mastersthesis {9246, title = {Lydian and Persian Period Settlement in Lydia}, year = {2003}, school = {Cornell}, abstract = {The region of modern western Turkey known as Lydia during the Lydian period, c. 1185-546 BCE, was the realm of an indigenous and independent people ruled by famously wealthy kings at Sardis. Lydia continued to be governed from Sardis in the following period of Persian hegemony, c. 546-334 BCE, but had a new Persian administration. This dissertation presents evidence for settlement in Lydia during the Lydian and Persian periods and examines regional organization through analyses of distributional patterns of settlement, ancient sources, and environmental and resource data. Areas of settlement are indicated by sites previously known or recently discovered during regional survey, mostly unpublished but provenienced finds housed in local museums, and the locations of burial mounds, or tumuli. The diverse tumulus tradition in Lydia consisted of burials in pits, sarcophagi, and architectural tomb complexes covered by large earthen mounds. Only a few tumuli are known from the Lydian period and they were probably reserved for royalty and, perhaps, related elites. Persian period tumuli are more numerous and represent a new access to this form of elite burial. The distribution of tumuli, tumulus groups, other finds, and sites establishes regional settlement patterns that corroborate earlier understandings of social, political, and economic organization in Lydia. Lydian and Persian period settlements were probably elite estates consisting of village-like agglomerations of domestic and other buildings. Settlement locations confirm concerns attested in historical sources: subsistence, through agriculture and livestock husbandry; communication and defense, through the strategic situation of sites; and procurement of area-specific resources. Elite families probably saw to settlement concerns in the Lydian period, including military and agricultural provisioning. Military garrisons and royal land-grantees appear to have taken over such responsibilities by the late fifth or early fourth century. Building on the established Lydian model, Persian regional organization became more centralized through direct links between garrisons, land-grantees, and the bureaucracy at Sardis. This research documents an increase in the number and distribution of tumuli and hence settlements throughout the region in the Persian period and argues that this increase was gradual, reflecting the importance of Lydian precursors on which Persian organization was based.}, keywords = {Egyptian/Ancient Near Eastern Art, Greek/Roman Art}, author = {Roosevelt, Christopher H.} } @mastersthesis {9191, title = {Machine Crafted: The Image of the Artisan in American Genre Painting, 1877-1908}, year = {2003}, school = {Stanford}, abstract = {During the last quarter of the nineteenth century, numerous and varied American genre artists painted pictures of skilled handicraft that offered vivid contrasts to the realities of modern manufacture, wherein the factory and unapprenticed machine-tenders were rapidly supplanting the workshop and manually skilled artisans. Situating these seemingly anachronistic images within the contexts of both art history and labor history, this study explores the various ways in which artisanal genre painting actively engaged contemporary debates over the definition of art and the role of the laboring artist in a crucial moment of transition from the post-bellum period to the modern era. Close formal and iconographic examinations reveal the conflicted nature of these pictures, which simultaneously asserted traditional craft values and naturalized industrial progress. Each chapter of the dissertation explores an individual artist{\textquoteright}s unique experience of, and reaction to, a changing work culture. Considered as a group, the four chapters offer a nuanced picture of American genre painters{\textquoteright} complex response to the newly emerging industrial paradigm. Chapter one concentrates on Jefferson David Chalfant{\textquoteright}s 1899 painting The Clock Maker, calling attention to the aesthetic and ideological contradictions inherent in turn-of-the-century representations of handicraft. Focusing on Charles F. Ulrich{\textquoteright}s 1882 An Amateur Etcher, chapter two explores the extent to which gender-based hierarchies of artistic endeavor informed the cultural ambivalence towards manual production in the Gilded Age. Chapter three centers on George de Forest Brush{\textquoteright}s 1889 canvas The Weaver, arguing that images of indigenous American artisanry were informed by a slippery discourse of artistic evolution that distanced the academic genre artist from mechanical culture via identification with the native craftsman, but also demonstrated the Anglo painter{\textquoteright}s hierarchical superiority over his painted subject. Chapter four, which discusses Thomas Eakins{\textquoteright}s 1877 and 1908 portraits of William Rush Carving his Allegorical Figure of the Schuylkill River, uncovers a kind of "underbelly" to the painter{\textquoteright}s purported modernity, an insistence on the hand that is in considerable tension with his well documented enthusiasm for scientific investigation and mechanical invention.}, keywords = {Art of the United States}, author = {Shapiro, Emily Dana} } @mastersthesis {9141, title = {The Majesty of Architecture in Madagascar: Transforming a Kingdom in the Central Highlands, 1820-1870}, year = {2003}, school = {Harvard}, abstract = {This dissertation traces the development of royal Merina architecture, from 1820-1870, in the capital city of Antananarivo, a site in the central highlands of Madagascar. This 50-year period was characterized by extraordinary transformations in Merina architecture and planning. These included the creation of an impressive palace site, known as the Rova, and the construction of new palaces and tombs at the Rova and near the capital. As the Merina kingdom was expanding from a small principality to one encompassing nearly two-thirds of Madagascar, there was a dramatic growth in the capital{\textquoteright}s population and corresponding number of houses. Beginning in the 1820{\textquoteright}s, there was a growing European presence of missionary-artisans from the London Missionary Society (LMS) and French traders and carpenters who introduced Western architectural forms, techniques and ideas into royal Merina culture. In comparison to many other Europeans working abroad at the time, these individuals demonstrated an unusual commitment to Madagascar by remaining on the island for a large part of their lives. This study is thematically organized with a structure that is more or less chronological. Each chapter stands on it own as it explores principal themes in the history of royal Merina architecture. Chapter 1 examines how wooden architecture came to embody a range of social values that was at the very center of the creation of the Merina state. Even though the scale of this architecture was transformed as social and political circumstances changed, it remained the backbone for most royal Merina architecture until the late 1860{\textquoteright}s. Chapter 2 examines the relationship between landscape and architecture in the environs of Antananarivo. Focusing on the meanings of the landscape for example, water, stone and wood, that were used to build royal enclosures (rova) and played important roles in the daily lives of the Merina, will help us see how royal architecture is situated in its larger environmental and social contexts. Chapter 3 analyzes the incorporation of European architecture into the Rova and other royally sponsored architecture during this 40-year transition period in Malagasy history. Transformations in Merina architecture generally have been attributed to a unilateral process of European introductions with little reference to questions centering on the dynamics of cultural exchange and what architecture can reveal about the nature of such exchanges. In the Conclusion, I discuss the brief period between the death of Queen Ranavalona I (1861) and the conversion of Queen Ranavalona II to Christianity (1869). During this period, LMS missionaries returned to the island to build churches and reestablished the schools they had organized 40 years before.}, keywords = {African Art (sub-Saharan)}, author = {Bird, Randall Davey} } @mastersthesis {9219, title = {The Makeover and Other Consumerist Narratives}, year = {2003}, school = {McGill}, abstract = {"The Makeover and Other Consumerist Narratives" is an interdisciplinary work in both approach and scope, and reads the construction of feminine desire and identity through what is popularly known as the makeover. Bringing together such diverse areas as film, literature, women{\textquoteright}s magazines, psychoanalysis, historical analysis and cultural theory, this research is particularly concerned with visual communications media (mostly film and advertising) and spectatorship. Of central import is the relationship of consumerism to feminine identity, desire, and the historical emergence of popular entertainments aimed directly at women. The narrative of the makeover{\textemdash}so prevalent in women{\textquoteright}s magazines and advertising{\textemdash}works to effectively orient women{\textquoteright}s desires in a consumerist direction through product promotion and self-commodification. In addition, the makeover is explored in terms of how it might be seen to provide a model by which to understand the workings of late consumer capitalism as a whole. From an excavation of the official commodity-oriented origins of the makeover in the history of women{\textquoteright}s magazines, the project then moves through a reading of several print advertisements and the phenomenon of the consumer tie-in, and finally to what I call the "Transformation Film." Questions of narrative, desire and class are key here, especially insofar as these films make explicit the connection between self-transformation, commodity consumption, feminine desire and the promise of identity in consumer culture. At issue is the peculiar problematic of feminine desire as negotiated by Freudian and Lacanian psychoanalysis, as well as the historical implications of female identity as explainable by Marxian commodity theory. It is only by means of examining the objects which cater to feminine desire that we may be able to understand this "culture of the makeover" and women{\textquoteright}s identity therein. }, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Fraser, Kathryn} } @mastersthesis {9233, title = {Manifestations of the Holy as Instruments of Propaganda: The Cologna Dreik√∂nigenschrein and the Aachen Karlsschrein and Marienschrein in Late Medieval Ritual}, year = {2003}, school = {Rutgers}, abstract = {My study seeks to broaden our awareness of the ceremonial use of the Cologne Dreikonigenschrein and the Aachen Karlsschrein and Marienschrein in late Medieval ritual. From the primary source material available in Aachen and Cologne, I have attempted to show how the relics and their shrines, as manifestations of holy cults, were brought into "communion" through the celebration of the liturgy, while their multifaceted imagery reflected the sacred histories that defined the inextricable union of the cults of the Virgin and Charlemagne in Aachen, and united them to the cult of kingship that was embraced by late medieval Germanic rulers. As highly prized trophies, the relics and their elaborate containers were no less tools of political propaganda than they were instruments of divine intercession. Evocations of the Heavenly City of Jerusalem, these principal church-shaped shrines of the Rhineland were also platforms for the political agendas of late Medieval rulers who sought to embrace anew the ideologies of a Sacred Empire ruled by a "Holy" emperor. Their ecclesio-political agendas were encoded into the iconography and pictorial programs of the shrines that further reflected the intersection of the divine realm with thirteenth-century society-a metaphysical mystery believed to occur during liturgical performance. The messages manifested in the shrines tended to resonate beyond the immediate context of their ceremonial use declarations not only of the preeminence of late Germanic rulers in Christendom, but also of their eschatological role in insuring the position of their "Holy Roman Empire" within the matrix of the Celestial Kingdom. I believe my methodological approach to this collection of reliquaries, as well as the various lines of inquiry I pursue, will begin to unravel some of the complexities of the Medieval function, perception, and conception of the architectural shrines and other closely related treasury objects commissioned to aide in the anagogical exercises characteristic of Medieval society.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Ciresi, Lisa Victoria} } @mastersthesis {9223, title = {The Many Hearts of Whiteness: Dis/Investing in Whiteness through South African Visual Culture}, year = {2003}, school = {Stony Brook}, abstract = {In the burgeoning field of Whiteness studies it is generally concurred that whiteness is perceived to be non-raced, invisible and normative. By contrast, this dissertation argues that postapartheid South Africa provides one instance where the norm of whiteness has been thoroughly fractured to reveal a self-conscious, ambivalent and vulnerable construction. In exploring this crisis of whiteness within the domain of visual culture, the dissertation begins by focusing on the way in which the imagination is mobilised under conditions of displacement. I argue that displacement is firstly figural or imaginative for many white South Africans who are unable to recognise the land around them as theirs-a displacement that is exteriorised in contemporary representations of the land, both visual and textual. Secondly, displacement is also literal for those who have physically emigrated from South Africa and their cyber-communication reveals attempts to find locality in the void of cyberspace. In both cases it becomes clear that for many displaced South Africans, "home" is often an impossibility, a simulacrum of a place that exists in neither real time nor space. The dissertation then moves on to consider the issue of white generational responsibility by looking at artists Minnette Vari and Kendell Geers, specifically at works produced around the time of the Truth and Reconciliation Commission. I argue that both artists witness the trauma of South Africa{\textquoteright}s past performatively-Geers by raising the issue of white guilt in his work and Vari by working in a mode of "emphatic unsettlement." In chapter four I consider queer performance artist Steven Cohen who capitalises on a context where white heteronormative masculinity has been thoroughly challenged by the transfer of political power. Cohen makes a point about the changed status of whiteness in South Africa by performing various marginal and contradictory identities, thereby proposing iv that all identity is ultimately performative, constructed and contingent. The dissertation concludes by suggesting an exit from Whiteness studies by exploring alternative paradigms that may lead away from racialised looking. I review potent arguments for non-racialism in recent literature, specifically a suggestion for a kind of "adversarial aesthetics" meant to destabilise racial looking.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Van Der Watt, Liese} } @mastersthesis {9206, title = {Marcel Broodthaers (1924-1976): Signing the Self}, year = {2003}, school = {CUNY}, abstract = {The Belgian artist Marcel Broodthaers is widely understood today as a progenitor of installation art, and specifically the kind of art known since the eighties as institutional critique. He is not, however, as readily associated with another tendency in later twentieth-century art: the exploration of identity. In an effort to demonstrate that the probing of artistic subjectivity was indeed a dominant theme and artistic strategy for Broodthaers, this dissertation takes into account various kinds of self-portrayal-self-portraits, the name of the artist, bodily references, acting, and artists statements. Generally, these auto-reflexive gestures amount to a critique of the notion of an original, masterful artist, an idea that is still encouraged by art institutions. Yet, my research has found in Broodthaers{\textquoteright} oeuvre not a consistent critique-of either institutions or the artist/author-but a constant vacillation between the exhilaration of self-representation and the ironic exposure of its inauthenticity, between self-referential mirrors and self-dissolving mis-en-abymes, between identity and dispersion. By focusing much of his artistic energy on these self-representational alternatives, Broodthaers demonstrated that a thoroughgoing critique of cultural institutions is in fact premised on self-scrutiny. In successive chapters, the dissertation sorts Broodthaers{\textquoteright} self-references into four categories: the signature, photographs, films, and works of art that posit the artist as a sacrificial self. These groupings show, on the one hand, the prevalence and breadth of self-depiction in his ≈{\`\i}uvre, and, on the other hand, the myriad theoretical and art historical associations that are produced by his different modes of self-portrayal. The last chapter looks beyond the immediate context of the European art world to consider how Broodthaers{\textquoteright} self-representations compare with the work of one of his contemporaries, the feminist performance artist Carolee Schneemann. Both artists, in their references to the image and body of the artist, combined self-presentation with self-sacrifice in order to raise institutional questions. In so doing, they demonstrated that the perceived phenomenon of marginalization and the apparent sacrificial alienation of the avant-garde artist are precisely what enable the broader community to persist, and at the same time allow the individual artist to continue to survive.}, keywords = {Contemporary Art}, author = {Lindsay, Shana Gallagher} } @mastersthesis {9351, title = {Marcel Broodthaers, 1964-1976; or, The Absence of Work}, year = {2003}, school = {Columbia}, abstract = {In his analysis of madness, Michel Foucault describes...a linguistic code that does not say anything...fold of the spoken that is an absence of work." This dissertation argues that the artistic practice of Marcel Broodthaers produces similar codes, presenting failure, erasure, and repetition in works that also analyze these conditions. The mode of spectatorship thereby produced revokes both the historical conception of progress and the rationalized, Enlightenment forms of subjectivity it celebrates. This project also disentangles Broodthaers{\textquoteright}s work from its subsumption into the discourses on Conceptual art and institutional critique. Fundamental to these discourses is the triangulation of subject, object and institution. This dissertation claims that Broodthaers{\textquoteright}s practice replaces such schematic relations by creating a viewing subject confronted by its non-place in the institutionalized narration of the "ends" of history. It is that subject, interpellated by the state yet critically aware of the state{\textquoteright}s ambiguous authority, which exploits a language that "does not say anything." Projecting his identity as a postwar Belgian artist through the use of "cast" forms such as coal and shells, Broodthaers{\textquoteright}s earliest works align the emptiness of their forms with that of national identity. This project argues that these works resist the rationalization of form{\textquoteright}s relation to content, thereby producing a template for understanding the contemporary dilemma of post-national identity. This project then demonstrates how Broodthaers{\textquoteright}s 1969 Exposition autour de Mallarme frames Mallarme{\textquoteright}s poetics against the Conceptualist mythologization of a "dematerialized" linguistic sign, revealing the interpellative, even spectacular dimensions of Conceptualism{\textquoteright}s aesthetic. Broodthaers{\textquoteright}s most ambitious work, the Musee d{\textquoteright}Art Moderne, Departement des Aigles, undertaken from 1968 to 1972, analyzes the performative function of language through which modern states and their institutions erect and enact authority. In the utterly denuded design of the Musee{\textquoteright}s final exhibition, hundreds of eagle-representations resonant with hieratic authority describe the de-historicizing power of the modern public art museum. Exposing Broodthaers{\textquoteright}s analysis of the capacities of the sign to mask and compensate for the absence of an originating (institutional) authority or holistic (state) identity, this project posits his own claims to authorship as an extended, self-conscious demonstration of such fraudulent or split identity.}, keywords = {Twentieth-Century Art}, author = {Haidu, Rachel} } @mastersthesis {9324, title = {Marriage, Motherhood, and St. Catherine of Alexandria: Painting Domestic Values in the Veneto}, year = {2003}, school = {Cornell}, abstract = {In the Republic of Venice during the sixteenth century, numerous paintings of the mystic marriage of St. Catherine of Alexandria were produced. In the majority of these images, Catherine is splendidly dressed in contemporary Venetian clothing, and she often has an intimate relationship with the Christ Child. Most of these images are not altarpieces, but rather canvases of modest proportion that share a compositional and thematic affinity with contemporary paintings of the Madonna and Child with saints produced for private devotion and domestic display. As a number of these paintings of St. Catherine of Alexandria were commissioned in conjunction with weddings or for married couples, it seems fruitful to examine these images of Catherine{\textquoteright}s mystic marriage in terms of earthly, rather than spiritual, marriages, the joining of two families and the creation of male heirs. Canvases that contain St. Catherine focus on the intimate bond between Catherine and the Christ Child. Through her contemporary clothing and her tender relationship with the Christ Child, the figure of St. Catherine of Alexandria appears to be a model for wifely and motherly behavior. In Venice, getting married and having children were essential duties of the patrician class. Marriage was not simply the wedding between a man and a woman, but a microcosm for political stability and prosperity. Not only did having children and raising them successfully ensure the continuity of the family line, but the offspring of a patrician couple were crucial in perpetuating and securing the success of the Venetian Republic. As an aristocrat, a virgin, a scholar, a bride, and a "mother," St. Catherine of Alexandria appealed to the patricians of the Venetian Republic as an appropriate role model who combined civic, domestic, and religious values. Paintings of the Madonna and Child with St. Catherine produced for private devotion not only provided young brides and mothers with an appropriate religious role model, but also revealed the desire of the Venetians to transform and emphasize certain aspects of sanctity that were advantageous to the interests of the Venetian Republic.}, keywords = {Renaissance/Baroque Art}, author = {Kaplan, Stacey Erin} } @mastersthesis {9172, title = {Mary Cassatt: The Maternal Body and Modern Connoisseurship}, year = {2003}, school = {CUNY}, abstract = {As a woman in a male-dominated profession, a somewhat latecoming American participant in what has come to be defined as "French Impressionism," and a figure painter working within an artistic movement that is now most often seen publicly in exhibitions of landscapes, Mary Cassatt has been written out of many histories of art, with most studies of her work either taking biographical shape, concentrating ahistorically on her mother and child imagery, or bracketing her career within the category of "woman artist"-something the artist herself fought against by refusing to participate in "women only" exhibitions. While these approaches have carved out a space for the deserved recognition of an oeuvre without a comfortable art historical home, they all too frequently serve to confirm the validity of a formalist modernism that finds little of interest or value in her work. And to try to understand-even to celebrate-Cassatt{\textquoteright}s mother and child images outside history is to suggest that the family is unchanging or "natural" and that she has somehow managed to capture some essential truth about maternity. "Mary Cassatt, the Maternal Body, and Modern Connoisseurship" examines the artist{\textquoteright}s maternal imagery and the critical response to it within the cultural context of her time as well as in relation to the continuing problem of the place of the woman artist within various bodies of art historical knowledge. Primary among these is the development of formalism, as it emerged from the "modern connoisseurship" of Bernard Berenson in particular. The many parallels between efforts to define a woman{\textquoteright}s role as solely within the family (as debated in the popular press and in new fields of study including psychoanalysis), to give connoisseurship the status of a "science," and to theorize formalism during the artist{\textquoteright}s lifetime will be understood to be not merely uncanny coincidences, but as motivated in part by women{\textquoteright}s efforts to assert themselves outside the home, in the political, social, economic, and artistic realms.}, keywords = {Art of the United States, Nineteenth-Century Art}, author = {Ivinski, Pamela} } @mastersthesis {9238, title = {The Master of St. Augustine: Studies in Late Medieval Style and Iconography}, year = {2003}, school = {Binghamton}, abstract = {This study investigates The Cloisters panel painting Scenes from the Life of St. Augustine assigned to the anonymous painter The Master of St. Augustine by Max Friedlander in 1937. Chapter one outlines the current state of research available on the panel. Chapter two reviews the assemblage of the oeuvre and examines The Cloisters panel{\textquoteright}s relationship to each painting assigned by Friedlander. Chapter three traces the historical development of Augustinian hagiography and the timely emergence of each scenes that is included in the narrative cycle; while chapter four discusses the Rule of St. Augustine and the historical role played by the Hermit Friars and the Canons Regular in the increased demand for Augustinian cycles during the late fourteenth and fifteenth centuries. Chapter five suggests that Augustinian spirituality and the devout lay communities known as the New Devotionalists were influential in determining the pictorial program of The Cloisters Panel. In the final chapter, the study argues that Augustine is depicted as a secular canon active in the instruction of the laity. It also suggests that The Cloisters Panel was designed to engage the viewer to imagine his own position within the church at a time when formal religious practices were being challenged. Furthermore, the investigation concludes that while the image appears traditional and predictable there are certain anomalies not previously identified. For example, the depiction of two laymen holding episcopal crosiers in the center foreground is a pictorial curiosity that challenges the traditions of episcopal authority by placing the symbol of pastoral authority in the hands of the laity. This suggests that The Cloisters Panel is embedded with more than a simple narrative cycle of a saint{\textquoteright}s life. The result of this work not only broadens the spectrum of current research it exposes certain anomalies previously unrecognized by the modern viewer.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Ludwick-Bieker, Rosemary} } @mastersthesis {9224, title = {Material Culture in Miniature: Historic Dolls{\textquoteright} Houses Reconsidered}, year = {2003}, school = {Wisconsin}, abstract = {Especially well-made and intricate dolls{\textquoteright} houses and miniatures often seize the imaginations of their viewers. A critical analysis of historic examples reveals much about the values and ideals of the people behind them and perhaps, illuminates the power of these objects to fascinate. This study begins by considering the precise nature of dolls{\textquoteright} houses, attempting an exact definition of the form. It then explores aspects of the aesthetic appeal of dolls{\textquoteright} houses and related miniatures in Western society. Formal categories of dolls{\textquoteright} houses-as cabinets, as miniature buildings, and as single room settings-are explained. Distinctions between connoisseur{\textquoteright}s pieces and children{\textquoteright}s toys are addressed, as are modes of production and patronage ranging from ornate custom works for royalty to standardized models assembled in large numbers for middle-class consumers. Following this conceptual and historic background, the dissertation examines some of the ways dolls{\textquoteright} houses are connected to the people involved with them, specifically in terms of social and personal identity. Three case studies explore different aspects of these connections. The 1558 dolls{\textquoteright} house of Albrecht V of Bavaria contained general references to his status as a sovereign duke, as well as to his specific state policies and individual tastes, manifesting attributes of both his public and private identities. A mid-nineteenth-century Philadelphia dolls{\textquoteright} house originally belonging to the family of Edward H. Trotter incorporates a mediated elegance in its decor, reflecting their transition from Quaker simplicity to high society fashionability. As a novel and ingenious work of craftsmanship, it also demonstrates its maker Gottlieb Vollmer{\textquoteright}s identity as a highly skilled master artisan fully trained in the German guild tradition. Finally, eighteenth- and nineteenth-century toy kitchens are a class of dolls{\textquoteright} houses meant to shape rather than reflect identity, as they were intended both to amuse little girls and to encourage them toward traditional adult gender-roles as housewives. Reconsidering historic dolls{\textquoteright} houses thus allows us to examine the human condition through material culture in miniature.}, keywords = {Decorative Arts/Textiles/Design History}, author = {James Edward Bryan III} } @mastersthesis {9211, title = {Mendelssohn to Mendelsohn: Visual Case Studies of Jewish Life in Berlin}, year = {2003}, school = {Rochester}, abstract = {This dissertation presents visual case studies of Jews in Berlin from their readmission in 1671 to the final years of the Weimar Republic. The principal images of the five chapters are, respectively, the Baroque Heidereutergasse synagogue (1712-14), examined in relation to the feudal conditions imposed on Jews; Daniel Moritz Oppenheim{\textquoteright}s 1856 painting of the 1769 meeting represented in Lavater and Lessing Visit Moses Mendelssohn; the Oriental facade of the Oranienburgerstrasse synagogue (1861-66) and its relation to the modernity of the building and its sponsoring community: Alfred Messel{\textquoteright}s Wertheim department store (1897-1904) and its historicist architecture; and Erich Mendelsohn{\textquoteright}s Herpich store and Mossehaus renovations and the WOGA housing and retail complex (1925-1931), their modernist vocabulary and relation to German architectural precedents. I propose extended readings of these paintings, photographs, prints and representations of architecture, engaging both other images and textual sources. The plurality of interpretative possibilities problematizes the dominant narrative characterizing most historical and art historical accounts of the period, one in which the Jewish subject is incrementally emancipated in the nineteenth century and despite desiring to participate fully in German society, is rejected and destroyed. The critical strategies that I engage highlight both the continuities in German-Jewish history and the necessarily fragmented and contingent nature of changing historical circumstances. I engage discourses that allow an adequate translation of this visual material to the textual. To accomplish this, I foreground space, including representations of the urban space that constitutes Berlin. I relate this to historical material that I interpret through historiographical categories of scene, agent (protagonist), act, agency, and purpose that are figured prior to representation of the historic field. These categories are employed to identify the narratival structure driving the literature where Jewish authors read history back from, most dramatically, the Final Solution and from the vantage point of the liberal democratic subject. I incorporate German nation building into this narrative, guided by the model of visual analysis where the language of the visual is already that of the majority culture.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Nineteenth-Century Art}, author = {Reade, Cyril} } @mastersthesis {9188, title = {Merchants and Artists: The Apollo Association and the Formation of the American Art-Union}, year = {2003}, school = {CUNY}, abstract = {The American Art-Union (1839-1852), a New York-based organization run by volunteer merchant-managers, succeeded in spreading a national awareness of American art by means of its lottery, free gallery, the wide distribution of etchings and medals, and its illustrated Bulletin. Founded as the Apollo Gallery in 1838 by James Herring, an entrepreneurial Mason, portraitist, and former Secretary of The American Academy of The Fine Arts, it boasted over 18,000 subscribers at its height in 1849. By 1852 it had run its course. The Art-Union experience has been frequently summarized in the literature as a merchants{\textquoteright} initiative. More recently, its actions and choice of art and artists have been examined as expressions of the class and political interests of its leadership. In this dissertation I have attempted to look beyond the labels to understand the reality of the Art-Union in the context of its times. I closely examine its managers and their world, positioning the Art-Union as one of a series of New York City fine art initiatives. I consider how New York men of affairs used Enlightenment texts to create an intellectual justification for the involvement of merchants as fine arts patrons. I analyze the Art-Union{\textquoteright}s antecedents in James Herring{\textquoteright}s 1830s series of folios, published as The National Portrait Gallery, and in Herring{\textquoteright}s experience with the American Academy and the Apollo Gallery which preceded the Apollo Association. The Art-Union papers provide the material for establishing the nature of Herring{\textquoteright}s vision for the organization and the tenor of his relationships with artists. I conclude with a discussion of the Art-Union{\textquoteright}s political agenda. James Herring was a patriot who hoped to encourage a truly American school of art. As events played out, this generalized patriotism turned to a more specific purpose, the hope that a shared art would be a source of national unity as America moved inexorably closer to Civil War. By the time the courts ruled against the Art-Union{\textquoteright}s lottery mechanism for art distribution, it had become clear that art would not hold the nation together. The energies of the amateur merchant-managers turned elsewhere.}, keywords = {Art of the United States}, author = {Nichols, Arlene} } @mastersthesis {9314, title = {The Merchants of Venice: A Study in Sixteenth-Century Cittadino Patronage}, year = {2003}, school = {Princeton}, abstract = {This dissertation focuses on the private art patronage of the cittadino merchant in Renaissance Venice. The patrons who form the core of this study were not Venetian by birth. Rather, they immigrated to the lagoon city with the hopes of becoming cittadini, that is, citizens of Venice. Situated between the patriciate and the popular orders, cittadini occupied an ambiguous position in Venice{\textquoteright}s three-part social hierarchy. They were denied the honor of nobility and participation in the political process, and yet a number of them possessed fortunes greater than their patrician contemporaries. While conspicuous display was strongly discouraged in the society as a whole, with sumptuary laws applying to patrician and cittadino alike, a number of wealthy cittadini sought to circumvent the limits of their class through the visual arts. The dissertation is divided into three sections. The first section examines Venetian citizenship in the sixteenth century and the attraction of this social designation for textile merchants from throughout Europe. Chapter Two examines the individual and joint mercantile activities of consortium of immigrant merchant families, including the d{\textquoteright}Anna, Cuccina, dal Basso, di Mutti, and Cornov√{\textasciidieresis} dalla Vecchia. These textile entrepreneurs undertook a wide variety public activities, ranging from their dominant role in the management of the Scuola Grande di San Rocco to their interest in the import of pigments from the Americas. Sections Two and Three of the dissertation focus on the individual artistic patronage of the d{\textquoteright}Anna and Cuccina families, respectively. Both families were ardent patrons of the arts as evidenced by their association with painters such as Titian and Paolo Veronese, their purchase of Grand Canal palazzi and their acquisition of jus patronatus over burial tombs at San Salvador and San Francesco della Vigna. In addition to examining the events surrounding a given artistic commission, the study also considers the patrons{\textquoteright} status as immigrants, their social identity as naturalized cittadini, and their interaction as a defined group of outsiders operating within the framework of Venetian society.}, keywords = {Renaissance/Baroque Art}, author = {De Maria, Blake} } @mastersthesis {9286, title = {Mexican Muralism without Walls: The Critical Reception of Portable Work by Orozco, Rivera, and Siqueiros in the United States, 1927-1940}, year = {2003}, school = {IFA/NYU}, abstract = {In the late 1920s and continuing through the 1930s the presence of numerous Mexican artists in the United States constituted what has been termed a "Mexican invasion" on the American art scene. In addition to their mural commissions, Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros created a corpus of portable works (movable mural paintings, easel paintings, and prints) that received critical attention. Portable works with Mexican subject matter by the muralists were shown throughout the United States in group gallery and museum exhibitions that often displayed modern Mexican art alongside pre-Columbian objects as well as folk art, introducing the public to the work of the muralists within the context of a broader commercial interest in ancient artifacts and tourist objects. This dissertation analyzes how the muralists{\textquoteright} visions developed and were altered in the context of the United States. I examine various channels by which work by the Mexican muralists became known in the United States, and how it was represented, promoted, and received. This study illuminates how the American reception of portable work produced by the muralists impacted the development of Mexican muralism. The first chapter argues that American reactions to the visualization of the violence of the Mexican Revolution forced Orozco to alter his work in order to accommodate the expectations placed on a Mexican artist and the commercial vicissitudes of the market place. Chapter two proposes that the search for common American cultural origins prompted one of the first blockbuster exhibitions of Mexican art (Mexican Arts which originated at the Metropolitan Museum of Art in 1930) and informed its portrayal of Mexican nationalism. Chapter three considers the critical reception of Rivera{\textquoteright}s exhibition at The Museum of Modern Art (1931-1932) and argues that the public rejection of the artist{\textquoteright}s "portable" frescoes indicates that American critics began to reach more informed conclusions about Mexican muralism. An analysis of MoMA{\textquoteright}s exhibition, Twenty Centuries of Mexican Art (1940), is the focus of the fourth chapter, which reveals Orozco{\textquoteright}s more successful use of the portable fresco medium and changing attitudes towards Mexican modern art over the course of the decade.}, keywords = {Nineteenth-Century Art}, author = {Anna Indych} } @mastersthesis {9248, title = {The Middle and Late Bronze-Age Tomb Complex at Ashkelon, Israel: The Architecture and the Funeral Kit}, year = {2003}, school = {Brown}, abstract = {This dissertation focuses on two aspects of the Middle and Late Bronze Age family tombs at Ashkelon: the architecture and my hypothesis regarding a "funeral kit" in ancient burials. I first suggest that the form and function of the tombs reflected funerary and mortuary beliefs and practices from the Middle Bronze Age II B/C (1850/1750-1550 BCE) through the Late Bronze Age II (1550-1250 BCE). Based on the analysis of the burials placed in these tombs, I conclude that a relatively predictable set of ceramics, scarab(s), and toggle pin(s) accompanied the body. I explain how the funeral kit was employed in the mortuary and funerary practices of ancient Ashkelon. Incorporating the work of scholars such as van Gennep, Binford, Saxe, Tainter, and O{\textquoteright}Shea, I separate all the grave goods in these tombs into three categories: essential, status, and personal goods. The essential items, deemed necessary to equip the individual for his/her journey into the afterlife, made-up the "funeral kit." In addition, I consider that which the tomb architecture and the funeral kit reveal about ancient beliefs. More than forty of the burials from the Ashkelon tombs were relatively undisturbed and were analyzed in situ. Not only were the skeletal remains in their original (or nearly original) positions, but so were the grave goods. Thus, this study is distinctive in that the pottery and funerary items could be associated with individual burials. As a result, I have been able to conduct a comprehensive analysis of the position in which individuals were laid to rest, the grave goods and their placement around them, and the changes in these assemblages over time. I am suggesting, for the first time, that there was a prescribed set of grave goods, used during the funerary ceremony, and deposited with the deceased. Comparative analyses can be undertaken on the previously excavated materials from other ancient sites in search of cultural ties, which may yield new information concerning ancient settlement patterns. This study provides crucial information to enhance our understanding of ancient funerary and mortuary practices in non-literate ancient societies.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Baker, Jill} } @mastersthesis {9345, title = {The Ming Gap and Shipwreck: Ceramics in Southeast Asia}, year = {2003}, school = {UCLA}, abstract = {This dissertation uses shipwreck archaeological materials in Southeast Asia to discover the extent of trade ceramics shortages from China in the early Ming period and to describe the Southeast Asian ceramics that take their place. Firstly, some 120 maritime sites are organized into an approximate relative chronology. The chronology is shown on 24 tables that cover the years from the first centuries AD to the 20th century. The analysis then focuses on 15 sites that cover the period circa 1368-1487. These sites reveal two types of shortages. Once Thai and Vietnamese ceramics join shipwreck cargoes in the Hongwu reign (1368-98) or very shortly thereafter, there is not a single shipwreck with 100\% Chinese ware until the 16th century. On shipwrecks from circa 1368-1430 the percentage of Chinese ware, which comprises primarily celadon and brown glazed wares, is 30-40\%. On ships from approximately 1430-1487, the percentage of Chinese ceramics drops to 2\% and usually less, and then in the Hongzhi (1488-1505) reign the percentage abruptly rises to about 90\%. The Ming gap, a term that refers to a near absence of Chinese blue and white ware, runs from about 1352 through to the beginning of the Hongzhi reign when Chinese ware, including a large proportion of blue and white, floods onto the Southeast Asian market. Only one to three blue and white Chinese pieces are documented on shipwrecks from circa 1352-1450, and about a hundred examples are known for the years circa 1450-1487. Many thousands fill the shipwrecks from the Hongzhi reign. Besides finding evidence for shortages of Chinese ceramics, the research reveals, for the first time, a six-phase chronology for Thai ceramics. This chronology covers the late 14th to late 16th centuries. Vietnamese ceramics are divided into two major phases, circa 1368-1430 and circa 1450-1510. The abrupt disappearance of Vietnamese ware after about 1510 until about 1600 is here dubbed the "Mac (dynasty) gap.{\textquoteright} The ships also show evidence for the export of Central Vietnam Champa ceramics circa 1450-1475, and for Burmese ceramics circa 1470-1510. They also suggest minor shortages of Chinese ware in the middle 16th century circa 1520-1560/70 when the only Southeast Asian exports came from Thailand.}, keywords = {South/Southeast Asian Art}, author = {Brown, Roxanna M.} } @mastersthesis {9221, title = {Minimalism, Post-Minimalism and Wittgenstein: The Problem of Meaning and Intention}, year = {2003}, school = {Columbia}, abstract = {This dissertation examines the development of Minimalism in relation to the problem of meaning, particularly in connection with the philosophy of Ludwig Wittgenstein and Abstract Expressionism. Although Wittgenstein{\textquoteright}s philosophy is intrinsic to our historical understanding of Minimalism, the thesis argues that Minimalism developed not as a philosophical movement, but rather as technical question about ontological character of the painterly mark. Minimalism began as a question about painting. The thesis explains that the artworks produced between 1959 and 1962/63 were painterly investigations that converted Abstract Expressionism{\textquoteright}s model expressive content and painterly "style" into the problem of meaning and intention. Minimalism thus emerged not from a rejection of painting, but rather a confrontation with its source of value in the pictorial mark. Wittgenstein{\textquoteright}s importance, the thesis argues, emerges in relation to proto-Minimalist artwork, rather than the canonical Minimalist "specific object." And it emerges in a non-uniform manner. Through an examination of early Minimalist artworks, we trace a series of influences that stem from Frank Stella and Jasper Johns to the Minimalists that bifurcate along the lines of two models of meaning: fact and meaning as use. Fundamental to this examination is a critical understanding of those models of meaning, and the way in which artists and critics employed them to identify the Minimalist strategies, models of both semantic and technical potential. At the same time, the thesis shows that by 1965/66 Minimalism had become over-determined by these models and attempted to dispense with them altogether by introducing a technique they learned from painting, that is, repetition. Repetition had the advantage of posing an event without a model of meaning by virtue of the fact that there was no longer an isolated object as such to be taken up as a kind of assertion or proposition. Finally, although the dissertation poses questions about the historical details of Minimalism{\textquoteright}s emergence, it also poses questions about models of meaning in general.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Macapia, Peter} } @mastersthesis {9146, title = {Missions and Modern Art in Southern Africa}, year = {2003}, school = {Emory}, abstract = {This dissertation examines the experiences of four southern African missionary art programs. The four, Grace Dieu and Rorke{\textquoteright}s Drift in South Africa, and Cyrene and Serima in Rhodesia (as well as their offshoots) pioneered art education for Africans in the region. Art emerging from these institutions laid the stylistic and thematic foundations for modern black art in southern Africa. The dissertation shows how new forms of art developed at each station. Typically, a maverick white missionary would start a school and include art in the curriculum. This art training was always restricted to the few techniques that the mission founder knew. Because these founders could limit their students{\textquoteright} exposure to other art forms, highly distinctive school styles developed. The founders were quick to identify talented youngsters willing to work within the prescribed style, and these favorites became the first professional black artists. Hired to take on the teaching chores, they also did commission work. With these favorites in place the founders were able to exhibit, promote, and sell their work to the outside world. Once a mission{\textquoteright}s work attracted attention, its artists could no longer remain sheltered. Inevitably, some rebelled and began experimenting with new techniques and themes. This pattern resulted in the traditions of bas relief woodcarving and realistic sculpture at Grace Dieu; Arts \& Crafts movement-based painting and sculpture at Cyrene; stylized, architectural woodcarving at Serima; and weaving and linoprinting at Rorke{\textquoteright}s Drift. The dissertation shows how these styles diffused across southern Africa, affecting woodcarving, stone sculpture, painting, and screenprinting. Finally, the dissertation argues that the missions were dominated by their founders{\textquoteright} personalities and operated in a manner similar to the colonial-era workshops of the Atelier d{\textquoteright}Art ("The Hangar") in Congo, Poto-Poto in French Congo, Polly Street Art Centre in South Africa, the National Gallery Workshop School in Rhodesia, and the Oshogbo Mbari Mbayo Center art workshop in Nigeria. These workshops have been portrayed as the originators of modern African art. Mission art, then, should not continue to be segregated from other forms of modern African art.}, keywords = {African Art (sub-Saharan)}, author = {Morton, Elizabeth} } @mastersthesis {9245, title = {Monastic Architecture and Royal Patronage in Thirteenth-Century France: The Convent of Saint-Jean-aux-Bois}, year = {2003}, school = {Brown}, abstract = {Founded in 1152 by Queen Adelaide, wife of Louis VII (1108-37), Saint-Jean-aux-Bois is and has been recognized historically as a highly worked edifice containing many examples of superb twelfth and thirteenth century decorative style. The small size of the claustral ensemble combined with the unusual survival of both its monastic buildings (thirteenth-century abbey church, twelfth-century chapter room and fifteenth-century fortifications) and documentation dating to the period of its construction, allows us to draw an intimate, textured portrait of the community and their use of space. Saint-Jean-aux-Bois is a specific case where monastic architecture, female enclosure, royal patronage, female patronage and administration meet and can be studied. Chapter one examines the community{\textquoteright}s textual record which spans the period from the community{\textquoteright}s foundation through the final phase of its church building campaign in the 1220s. Forty-seven donation charters, dating from 1155 to 1279/80, and the obituary record the community{\textquoteright}s transactions and interactions with those outside the monastery. (My transcriptions and my translations of the charters are in Appendices I-XI; Appendices XII-XIII contain the abbey{\textquoteright}s previously published texts). These documents illuminate the material possessions acquired by Saint-Jean-aux-Bois and illustrate the community{\textquoteright}s active participation in its development, growth and financial maintenance. The donation charters reveal a pattern of interaction between the abbesses of Saint-Jean-aux-Bois and the community at large-a community including Queen Adelaide, her son King Louis VII, King Philip Augustus, ecclesiastics from neighboring Soissons, monastics from nearby abbeys such as Ourscamp and Longpont and various aristocrats. Chapters two, three and four locate Saint-Jean-aux-Bois within its architectural and decorative milieu, drawing comparisons between it and other major twelfth and thirteenth-century monastic and secular church architecture. Changes made to the abbey are phased to determine how the space was changed to accommodate the monastic complexes{\textquoteright} changing function and communities. Chapter five examines the disposition of the church{\textquoteright}s various decorative elements in relationship to the ritual use of the space by the female religious, suggesting a correlation between architectural and decorative disposition and use.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Pongracz, Patricia Colbert} } @mastersthesis {9302, title = {More Than Meets the Eyes: The Decoration and Deposition of Ceramic Vessels from the Sitio Conte Cemetery, Panama}, year = {2003}, school = {Emory}, abstract = {The people of ancient Panama, many of whom lived in chiefdom societies, buried some of their deceased at a cemetery known as Sitio Conte between approximately 750 and 950 CE. The survivors left in the graves various kinds of objects made of clay, metal, stone, bone, and fiber. This study concerns the decorated ceramic vessels. Both figural and abstract paintings appear on the interior and exterior surfaces of the mortuary vessels. This study concentrates on the abstract paintings. Previous researchers clarified that the figural paintings portray creatures that lived in the Pacific side of Panama. The abstract geometric motifs, which are equally as common as the figural ones, are not as well understood. The set of motifs raises important art historical problems regarding the identify and purpose of the abstract motifs. Previous researchers also emphasized the relationship between the figural motifs and the socio-political context of the chiefdom societies. In other words, they discussed the function and value of the zoomorphic motifs for a chiefdom{\textquoteright}s members. The archaeological data indicates another perspective on the funerary context: the physical deposition of the decorated ceramic vessels. The ways that the vessels were physically prepared for interment and placed in the graves played a role in their significance. This study proposes that Sitio Conte ceramic vessel painting cannot be fully understood without comprehensive identification, analysis, and interpretation of the abstract motifs. Regarding vessel deposition, this study proposes that the ceramics as they existed in the graves need identification, analysis, and interpretation. It shall be suggested that the abstract motifs engaged humanity at large and specifically the community of living and deceased people involved with the cemetery. The motifs accomplished this through their formal and iconographic ties to ceramic anthropomorphic effigies and body decoration practices. The forms of physical deposition, including fragmentation and grouping, engaged the relationships between the living and dead. Furthermore, they drew the non-human cosmological realms into the relationships. Ceramic decoration and deposition thus indicated more completely the visual and physical resources the Sitio Conte community deployed in funerary spaces.}, keywords = {Pre-Columbian Art}, author = {O{\textquoteright}Day, Karen M.} } @mastersthesis {9266, title = {The MuSIS 2007 System and Its Application to the Throne Room Fresco at Knossos}, year = {2003}, school = {Temple}, abstract = {The Throne Room Fresco from Knossos was excavated in 1900. Fragments of the fresco were found clinging to the north wall of the Throne Room, next to the gypsum throne. Other fragments were discovered on the floor of the room. A replica of the original wall painting was executed by Emile Gillieron in the early 1900s and can be found in the Throne Room. Gillieron{\textquoteright}s replica of the Throne Room Fresco is characterized by heraldic, wingless griffins who face the gypsum throne. An additional pair of heraldic, wingless griffins flanks the door to the Inner Shrine. Three flowering, reed-like papyrus stalks are found on either side of the throne. These flowering papyrus separate the griffins from the throne. The background of the painting has red and white undulating bands, and four white bands at the top of the fresco. Problems were identified in the replica of the Throne Room Fresco by Mark Cameron, who believed that large palm trees, not evenly spaced papyrus, were painted on either side of the throne (Cameron 1970, 163-164). Cameron{\textquoteright}s theory was based on his study of a large fragment that was found attached to the wall to the right of the throne. The existing fragments of the fresco have deteriorated rapidly since its excavation. The accumulation of dust and dirt on top of a wax coating applied to the fragments has made the pieces that have been stored in the Herakleion Museum for decades virtually unrecognizable. The development of a multi-spectral imaging system called the MuSIS 2007 System has allowed scientists, art historians, and conservators to view artwork in a new way (Teule 1999, 1277-1278). The MuSIS 2007 System was invented and patented by Dr. Costas Balas, of the Foundation for Research and Technology, Hellas. The purpose of this study was to apply the MuSIS 2007 System to the Throne Room Fresco from Knossos as a test case. The results of the application of infrared light were outstanding, and added greatly to our knowledge of the fresco.}, keywords = {Greek/Roman Art}, author = {Shank, Elizabeth B.} } @mastersthesis {9292, title = {The Mythologizing of Egypt in Late Nineteenth-Century British Art}, year = {2003}, school = {Virginia Commonwealth}, abstract = {This study of academic art of late nineteenth-century Britain attempts to show how it participated in the creation and transformation of the national mythology of the Victorian Empire, specifically regarding military and economic policies in North Africa. Most importantly, it examines how this Christian culture understood Egypt, the land of the Biblical Old Testament, through the representations created by its official art establishment, the Royal Academy. Further, this study shows how, as contemporary events in Egypt and Sudan became sensational front-page news for the populace in England, a transformation of the representation of the cultural definition of what it meant to be British took place. For those readers unfamiliar with the general history of the British in North Africa or of the specific events involving the death and vindication of General Gordon, Chapter One provides the necessary background information. Three major national myths evolved in late nineteenth-century Britain regarding its right to control Egypt. The first, the theory of social uplift as generated under the modern conception of social Darwinism, is explored in Chapter Two. Because Great Britain subscribed to the social evolution myth, it believed itself morally required to uplift more primitive nations into modernity through proper education and indoctrination. The direct outcome of the implementation of this policy precipitated what popularly became known as the Egyptian Crisis and which evolved into the myth of war and remembrance explored in Chapter Three. The last chapter focuses on the myth of divine right seen in the nineteenth-century British use of typology to write itself into the spiritual history of Egypt, validating its rule. The conclusion of this study deals with the culturally altered Egypt that entered the twentieth century. The exotic past as dealt with in Chapter Two was now rewritten to include the British presence, much in the tradition of the typological works. The Egyptian present was depicted as either an ideal exotic retreat or as a newly industrious nation with thriving commerce and a hard-working population. In short, the mythology that Egypt had been uplifted into modernity had entered the public British consciousness and would influence imperial policy throughout the first half of the twentieth century.}, keywords = {Nineteenth-Century Art}, author = {Monger, Kathryn} } @mastersthesis {9331, title = {Narrative and Allegory in the Genesis Fresco Cycle in the Chiostro Verde, Santa Maria Novella, Florence}, year = {2003}, school = {Georgia}, abstract = {The Chiostro Verde (Green Cloister) at the Dominican convent of Sta. Maria Novella, Florence, is decorated with a monumental fresco cycle, forming a continuous narrative, spanning three walls. The thirty-six scenes are painted in terra verde (green earth) by Paolo Uccello and anonymous Florentine artists (ca. 1422-1439). The subject matter is drawn from the lives of the Patriarchs, namely, Adam, Cain and Abel, Noah, Abraham and Isaac, and Jacob, with the notable exclusions of Joseph and Moses. The Chiostro Verde is the only narrative Genesis cycle known to have been painted in a Florentine cloister, and as such is of primary importance in the artistic history of Florence, cloister decoration, Genesis cycles, the use of terra verde, and the development of mendicant iconographies. The dissertation focuses on the iconography of the mural cycle, as well as questions of style, dating, context, and audience. In order to consider the cycle in its contemporary terms, it must be read as the product of two historical moments: 1348/49 when the commission was initiated, and ca. 1420-39, when the project was finally realized. The iconography is considered not only in relation to the history of art and patterns of patronage, but also in the context of the Dominican Order, the Church, and Florentine state politics during the long span, almost a century, between its gestation to its completion. Study of the cloister as physical and narrative spaces place the cycle in the context of the history of art, while consideration of the fraternal and communal spaces grounds the cycle in its specific Dominican context. In its function as fraternal space, the cycle speaks directly to the mission of the friars, likens them to the first Patriarchs, and reads as an allegory of the Dominican Order. The Chiostro Verde was also open to select laymen and visitors, and functions as a communal space. In this capacity, the narrative reminds viewers of the importance of the Dominicans, particularly those at Sta. Maria Novella, in the life of Florence and of the Church, and thus the cycle also becomes an allegory of Sta. Maria Novella.}, keywords = {Renaissance/Baroque Art}, author = {McAlister, Amber Allison} } @mastersthesis {9186, title = {The National Arts Club: Its Founding, Early History, and the Artist Life Membership}, year = {2003}, school = {CUNY}, abstract = {Established in 1898 by Charles de Kay, the National Arts Club was one of the most innovative arts organizations of its day. Its mission included bringing artist and patron together in an amenable social setting and educating the public about the arts. Most importantly, it provided diverse groups and individuals with an open, non judgmental forum in which to exhibit their work. This dissertation examines the club{\textquoteright}s role in relation to the artistic life of New York City from 1898 to 1914, providing an in-depth examination of its founding and early history and underscoring those aspects of its exhibition programming that set it apart from existing cultural organizations in Manhattan. The club{\textquoteright}s early promotion of cutting-edge American art is highlighted through an assessment of five key exhibitions related to pictorialist photography, radical realist painting and modernist painting, all of which provided young, non-established artists with an opportunity to exhibit in the nation{\textquoteright}s art capital and gave local art audiences the opportunity to see radical and ofttimes controversial work not shown elsewhere. In addition to generating critical commentary that illuminates the conflict between academic and non-academic art, these events were instrumental in paving the way for the liberal spirit that led to landmark exhibitions such as that of the Eight at the Macbeth Gallery in 1908 and the Armory Show of 1913. This study also chronicles the evolution of the club{\textquoteright}s artist life membership program, established in 1909 as a means of attracting prominent American artists into the ranks of the membership. The brainchild of William T. Evans, the program proved highly successful, but as my study demonstrates, it had a detrimental effect on the exhibition programming, transforming the club from a liberal to a conservation organization that promoted the work of the artist life members rather then showcasing new and progressive American art. However, by requiring artist life members to submit a "diploma presentation" in order to qualify, the club developed a small but specialized collection of artwork dominated by examples of Impressionist, Tonalist and Realist painting. An accompanying catalogue of the diploma paintings represents the first such reconstruction of this formerly unknown institutional collection.}, keywords = {Art of the United States}, author = {Lowrey, Carol} } @mastersthesis {9184, title = {Nature and Progress: Winslow Homer{\textquoteright}s Oils, 1880-1890}, year = {2003}, school = {Columbia}, abstract = {This study examines Homer{\textquoteright}s mature, Prout{\textquoteright}s Neck phase by re-examining the premise he was isolated, in every sense of the word, from the mainstream American art world of the 1880s and 1890s. It argues that in these decades Homer in fact accommodated some leading critical theories of the day, not least because of an artistic evolution or development that late nineteenth century critics who shaped his reputation and enduring image equated with progress. The study is divided into three parts, the first of which attempts to pinpoint essential critical issues of the 1880s and 1890s-issues that of course affected interpretation of Homer{\textquoteright}s work-by examining the writing and philosophical sources of a few leading critics of the era. The second section of the dissertation evaluates several of Homer{\textquoteright}s well-known oils of the 1880s in light of ideas discussed in the opening chapters and attempts in particular to illuminate Homer{\textquoteright}s dialogue with a mainstream American an world that then favored monumental figure painting. A motif recently imported from Europe by the numerous younger American artists who had studied there, its appearance in Homer{\textquoteright}s art signaled, it is argued, his progress to artistic adulthood. The final section of this study discusses the marines without figures Homer painted in the 1890s, works that late nineteenth century critics considered his greatest achievement of all. It argues that early critics admired these images of pure nature on aesthetic grounds, regarding them as synthetic, modern, individual and national, in short distinguished by just the attributes they were looking for in American art. At the same time, it is proposed, late nineteenth century critics also prized Homer{\textquoteright}s pure marines because they saw these non-narrative paintings as evidencing the final stage of a systematic, even deterministic progress they believed Homer had sustained throughout his career. It would have been significant, it is argued, that Homer{\textquoteright}s culminating works emerged away from New York and its influences and instead through his apparently intense, individual response to the nature of a regional American locale. For Homer{\textquoteright}s last burst of progress occurred when critics had become disillusioned about the impact widespread European training was having on American art and about the slow pace at which younger American artists were converting the lessons of that training into expression that was individual and national-characteristics they found in the work of the older, non-European trained Homer. In light of this, it is argued, critics may have believed that Homer{\textquoteright}s final flowering through an empirical response to nature set an example for younger compatriots, something that would mean this purportedly exceptional figure within late nineteenth century American art may actually have become something of a paradigmatic one.}, keywords = {Art of the United States}, author = {Hayward, Judith} } @mastersthesis {9159, title = {Navigating by Glimmers Toward Uncertain Horizons: The Influence of Emphasizing Reasons for Versus Consequences of Change on the Perception of Future Scenarios}, year = {2003}, school = {Harvard}, abstract = {The intention of this thesis was to test two variations of a method for constructing future scenarios for their perceived effectiveness in a decision making context. The processes were organized around the exploration of critical uncertainties-aspects of the future which are difficult to predict and which could significantly impact the success of current plans. A question that results from this approach is what is more useful: understanding the forces of change which could produce these situations? Or, understanding what might occur if they were to materialize? The former allow for an assessment of the likelihood of change. The latter allow for an understanding of the significance of change. Having both perspectives is desirable, but given limited resources, what are the differences of having only one? A case study employing ten environmental managers was developed on Delphi-based methodology. Five possible futures were developed: a Surprise Free future and four alternatives based on the most significant critical uncertainties. To develop the alternatives, the group was divided into halves. Sub-group A used the critical uncertainties as ending-points and mapped occurrences that could bridge the present with the futures; Sub-group B used the critical uncertainties as starting-points and mapped occurrences that could follow. Sub-group A had a greater sense that the scenarios were logically consistent and that the set was more comprehensive relative to land management concerns. This result may reflect that sub-group A scenarios had a cognitive anchor in the present and were more readily perceived as salient and more viable. Additionally, while the sub-groups were randomly assigned, the members of sub-group A had more work experience. As such, they may have a broader understanding of change and, commensurately, be more comfortable with future contingencies. Second, the scenarios described by sub-group B tended to direct the alternatives back toward the Surprise Free future. It is possible that this group found a cognitive anchor in the projection of current trends and moved toward them. This result may also reflect that the scenarios were constructed by managers who primarily implement policies at a local level and do not participate in strategic planning efforts.}, keywords = {Architectural History/Historic Preservation}, author = {Shearer, Allan Webster} } @mastersthesis {9200, title = {A New Imperial Style of Calligraphy: Stone Engravings in Northern Wei Luoyang, 494-534}, year = {2003}, school = {Princeton}, abstract = {This is a study of calligraphy{\textquoteright}s role in the construction and reinforcement of political and cultural values in early medieval China. It examines the ideological functions and calligraphic styles of a group of state-sponsored stone engravings in Luoyang, Henan, the capital of the Northern Wei dynasty from 494 to 534 C.E. Through a historical, archaeological, and stylistic reconstruction of Luoyang calligraphy, this thesis uncovers an ancient imperial tradition of Chinese art that has largely been overlooked in both traditional historiography and modern scholarly discourse, which have tended to limit the examination of calligraphy to its role as a vehicle for individual expression. The Luoyang stone engravings appeared after the Xianbei Northern Wei regime relocated its capital there in 494. They include nearly three hundred epitaphs unearthed from the official cemetery on the Mang Hills and dedicatory inscriptions in the Longmen Buddhist Caves. Puzzled by the sudden emergence of these stone engravings with their distinctive calligraphic style of geometric and tectonic structures, many scholars have speculated that this calligraphic style developed without any stylistic precedents, and have consequently forfeited further inquiry. Through careful contextual research and stylistic analysis, this thesis brings to light two major discoveries about the Northern Wei engravings. First, the distinctive Luoyang style of calligraphy was a revival and re-creation of an imperial style of writing from the Eastern Han empire (25-220). This new imperial style was the artistic embodiment of the political agenda of the Northern Wei regime as it sought political and cultural orthodoxy on a par with the contemporaneous, ethnically Chinese-ruled courts in Southern China. Secondly, state-sponsored Luoyang calligraphy underwent significant stylistic changes during its four decades of development, from 494 to 534, that reflected crucial transformations in Northern Wei politics and society. The case of the Northern Wei illuminates an essential function of Chinese calligraphy that hearkened back to ancient times and was sustained in subsequent dynasties: the use of calligraphy to implement political and ideological agendas. The revelation of this tradition, it is hoped, will help achieve a more nuanced understanding of the art of calligraphy and its role in Chinese culture.}, keywords = {Chinese Art}, author = {Lu, Hui-wen} } @mastersthesis {9144, title = {Nineteenth-Century Loango Coast Ivories}, year = {2003}, school = {UC Santa Barbara}, abstract = {A number of intricately designed and carefully detailed ivory sculptures emerged from the Loango Coast of Central Africa during the nineteenth century. The Loango style is characterized by realistic and imaginative portrayal of humans and other animals, plants, architecture and traditional symbols, typically spiraling from the base to the apex of a whole elephant tusk. Since the corpus was poorly documented heretofore, I analyzed a sample of 274 pieces ({\quotesinglbase}{\`a}{\textordmasculine}1/2 the total) for their artistic attributes, and investigated their cultural and historical significance. Initially, I scanned, videotaped and measured each ivory, counted the number of figures/motifs, and recorded information that accompanied the sculpture. Beginning at the base of the tusk, I then noted the details of each figure/motif and its relationship to adjacent figures, characterizing gender, gesture, body art, position on tusk, orientation (forward/backward) and activity; similar figures were counted for comparison of frequency among tusks. I used videotapes of each sculpture in conjunction with my notes to infer possible narratives. Finally, I arrayed images from each work on paper to represent their spatial organization, in an attempt to identify unique characteristics of each artist/workshop. My observations and background research suggest that about 600 sculptures were created in four workshops by as many as 50 artists, working up to 18 months on each example. They were produced for foreigners on commission or for royals and/or special society members. The themes were essentially secular, in contrast to much figural art in Africa that addresses spiritual concerns. Most pieces appear to contain narratives describing important events occurring in the lives of a Kongo royal or a visiting foreigner. They "speak" a metaphoric language laced with a multiplicity of meanings. Broadly speaking, the individual figures carved in relief portray African life as it was during the period when they were sculpted. More subtly, they act as silent witnesses to the life of the Kongolese peoples and their interactions with Europeans in the nineteenth century. Though some have referred to Loango coast ivories as "mere souvenirs", they are eloquent testimony to their place and time, and sophisticated objects d{\textquoteright}art in their own right.}, keywords = {African Art (sub-Saharan)}, author = {Jenkins, Della} } @mastersthesis {9203, title = {Ordinary Pictures and Everyday Language: Photography and Text in 1960s American Art}, year = {2003}, school = {CUNY}, abstract = {This dissertation examines a group of 1960{\textquoteright}s photographic-based works, frequently joined with texts, by Hollis Frampton, Edward Ruscha, Dan Graham, and Bruce Nauman. It explores the role that deskilling-as the intentional use of unskilled means-played in these particular works and its relation to photography in general. Photography has historically been regarded as requiring less skill than other visual arts. This accessibility has made photography an ordinary activity and an everyday object. Pierre Bourdieu{\textquoteright}s 1965 book, Photography: A Middle-Brow Art, argued that photography with aesthetic aspirations distinguishes itself negatively, by refusing the features of ordinary photographic practices and the middle class tastes with which they are associated. The artists I address instead redoubled the medium{\textquoteright}s affiliations with the commonplace, using average or mundane formal devices and banal subject matter in an attempt to reconfigure the parameters of high culture and low. The characteristics of these works most often cited include their everyday subject matter, their ordinary stylistic features, and their pragmatic approach to photography. What is rarely cited, however, are the discourses that developed around these topics at the same moment. Beginning in the later 1950{\textquoteright}s we witness a heightened attention to the everyday as an object of theoretical analysis by such writers as Bourdieu and Roland Barthes; a focus on the routines of ordinary life which marks the New Novel of the 1950{\textquoteright}s; and the revival of American Pragmatism in the early 1960{\textquoteright}s. One thing that these critical, literary, and philosophical writings shared with the art under discussion was an interest in qualities of literalness and an indifference to traditional metaphoric or metaphysical concerns of fine art. With its disregard for established aesthetic tastes, this indifferent or neutral disposition is also manifested in deskilling; it is, however, quite different from aesthetic disinterest. Literalness is also a fundamental trait of the photographic document as a seemingly objective and neutral form of representation. I will trace the history of this neutral sensibility and its allure during the 1960{\textquoteright}s for artists such as Frampton, Ruscha, Graham, and Nauman who deployed photographic mediums in ways both unremarkable and-for high art-remarkably unorthodox.}, keywords = {Contemporary Art, Drawings/Prints/Works on Paper}, author = {Marks, Maryjo} } @mastersthesis {9339, title = {An Original Artist: Nicolaus Knupfer (Leipzig ca. 1605?-Utrecht 1655)}, year = {2003}, school = {IFA/NYU}, abstract = {As a comprehensive monograph, with the first catalogue raisonne of Nicolaus Knupfer{\textquoteright}s works, this study offers answers to the questions with which the artist{\textquoteright}s name has become synonymous; {\textquoteright}When and where was he born?{\textquoteright}, {\textquoteright}What was his relationship with Jan Steen?{\textquoteright} and, most importantly, {\textquoteright}What was he painting?{\textquoteright}. By clarifying his biography and reconstructing his oeuvre, Knupfer{\textquoteright}s artistic heritage, his sources, milieu and influence become clear. These investigations demonstrate that the peculiar blend of biography and artistic independence, which was at the root of Knupfer{\textquoteright}s contemporary success, also lies behind his subsequent neglect in the art historical literature. Knupfer has eluded classification because he is difficult to place; neither really German nor fully Dutch, his art was produced in Utrecht and yet is distinct from what we think of as {\textquoteright}Utrecht painting{\textquoteright}. He was the author of erudite histories, yet worked in the scale, patination and with the humanity of a genre painter. A product of Knupfer{\textquoteright}s easy synthesis of the style of genre with his artistic independence was the first painting of A Doctor{\textquoteright}s Visit, a development hitherto credited to Gerrit Dou or Frans van Mieris. Although this subject proved the most enduring, it is only one of the many iconographic inventions, often taken directly from classical sources, which make Knupfer{\textquoteright}s oeuvre exceptional and have led authors from the seventeenth to the twentieth centuries to describe his art as {\textquoteright}ingenious{\textquoteright} and {\textquoteright}original{\textquoteright}. The names of contemporary painters one might anticipate like Bloemaert, Honthorst, Poelenburch and Wtewael, as well as German predecessors Elsheimer, Liss and Pencz, are shown to be central to the development of Knupfer{\textquoteright}s unique artistic personality. So too are the more surprising names of the writers and intellectuals who were active in Knupfer{\textquoteright}s Northern Netherlands, specifically Jacob Cats, Johann Gronovius, Daniel Heinsius, P. C. Hooft, Joost van Vondel, Gerard Vossius, and even the great Rene Descartes. In linking Knupfer{\textquoteright}s {\textquoteright}original{\textquoteright} pictures to these humanists this study breaks new ground, and locates the probable audience of erudite history painting in seventeenth-century Utrecht.}, keywords = {Renaissance/Baroque Art}, author = {Saxton, Juliette Jo} } @mastersthesis {9322, title = {Out of the Shadow of Titian: Bonifacio de Pitati and Sixteenth Century Venetian Painting}, year = {2003}, school = {Case Western Reserve}, abstract = {Bonifacio de{\textquoteright}Pitati (Verona, 1487-Venice, 1553) was praised during the Cinquecento by such notable writers as Giorgio Vasari and Pietro Aretino and received commissions from the Cavalli, Capello, and Querini families as well as the lucrative government commission for the decoration of the Palazzo dei Camerlenghi. Bonifacio has been named as a teacher of Tintoretto, Jacopo Bassano, and Schiavone, yet is little known today outside of specialists in Venetian Cinquecento painting. The combination of a limited number of documents, only two signed paintings, and a large workshop has left a tangled legacy regarding his corpus and position within the history of Venetian painting. This study examines Bonifacio{\textquoteright}s career, in particular his presence within a {\textquoteright}Romanist{\textquoteright} artistic and patronage circle and incorporation of outside sources, and his decline in critical acceptance from the sixteenth to the twentieth century. Chapter one discusses Bonifacio{\textquoteright}s possible early training in Verona and his move to Venice where he entered the shop of Palma Vecchio. It is suggested that Bonifacio{\textquoteright}s relationship with Lorenzo Lotto, Pietro Aretino, Jacopo Sansovino, and members of the powerful {\textquoteright}Romanist{\textquoteright} faction in Venice such as the Grimani and Capello families, is responsible for a number of his more prestigious commissions such as the Palazzo dei Camerlenghi decoration. His use of models, particularly northern prints, prints after Raphael, and antique sculpture are discussed in relation to his {\textquoteright}Venetianness{\textquoteright} and supposed early role in Venetian Mannerism. Chapters two and three are divided by century and track Bonifacio{\textquoteright}s critical fortunes with special attention given to important writers such as Giorgio Vasari, Francesco Sansovino, Marco Boschini, and Carlo Ridolfi. A {\textquoteright}crisis of identity{\textquoteright} occurs with the gradual shift of Bonifacio from a pupil of Palma Vecchio to an imitator of Titian and a constructed corpus dominated by late workshop paintings (1540s, 1550s) displaying the influence of Tintoretto and Schiavone. Understanding the limitations and flawed analysis of earlier writers will help to better define the artistic persona of Bonifacio.}, keywords = {Renaissance/Baroque Art}, author = {Herman, Todd} } @mastersthesis {9257, title = {Painting Natures: Buffon and the Art of the {\textquoteright}Histoire Naturelle{\textquoteright}}, year = {2003}, school = {Chicago}, abstract = {This dissertation looks at the metaphor of the "painter of nature" in the French Enlightenment as it described the naturalist Georges-Louis Leclerc Comte de Buffon (1707-1788), and the literary style of his forty-four volume Histoire naturelle generale et particuliere avec la description du Cabinet du Roi (1749-1804). The metaphor has obscured the actual presence and the study of more than two thousand engravings that Buffon published with his original text. On the evidence of those pictures and Buffon{\textquoteright}s direct and sustained contact with artists, I argue that artistic labor completed his material practice in natural history. The production and use of images imported to Buffon{\textquoteright}s work (and thus to French science for nearly fifty years), the interests and theoretical debates of visual representation in eighteenth-century France. Foremost among these was the contest between the entrenched academic representation of nature as it ought to be, " la belle nature," and the possibility, glimpsed by the artists of the Histoire naturelle, of objects represented "as they are" in "la nature pure." The first chapters identify Buffon{\textquoteright}s ambition for the Histoire naturelle to achieve in life science the intellectual, professional, and popular status of Newton in physical science. Next I provide an account of the primary collaborators: naturalists Buffon and Daubenton, and artists de Seve and Martinet. I describe the labor of natural history as practiced at the Jardin du Roi in Paris and linked to French institutions of art, natural philosophy, commerce, and publishing. A small chapter shows the range of genres and forms of graphic art that Buffon sampled for his preliminary theoretical discourses and history of nature. Subsequent chapters pursue specific animals and illustrations for their rapport with historical and contemporary problems in representation. These images addressed ancient and modern theories of imitation, resemblance, sensation, and sensibility; they actively participated in the empiricist explorations of animal form and nature. The penultimate chapter marks the introduction of color to the illustration of birds, and the changes that Buffon made in his visual program, his collaborative partners, and his systematic thought. A conclusion summarizes the artistic impact of Buffon{\textquoteright}s painted tableau of nature.}, keywords = {Eighteenth-Century Art}, author = {Liebman, Elizabeth} } @mastersthesis {9325, title = {Painting with Violence: The Representation of Jews in the Italian Renaissance Courts}, year = {2003}, school = {Chicago}, abstract = {According to modern historical literature, Italian Renaissance princes such as Duke Federigo da Montefeltro of Urbino and Marquis Francesco Gonzaga of Mantua protected their Jewish subjects, maintaining amicable relations with Jewish moneylenders, merchants, and scholars. Although written documentation in the form of state letters, princely decrees, and notarial registries portray the Renaissance as a period of unusual princely toleration for Jews and the Italian principalities as a safe haven for Jewish difference, paintings of Jews in the Italian Renaissance courts convey a very different social reality. Placed within ecclesiastical and monastic spaces for Christian consumption, these paintings are images of the punishment of Jews commissioned or approved by the despotic rulers of Italy. This dissertation seeks to explore the different nuances of meaning embedded in the concept and practice of tolerance in the Italian courts by examining the written history of Renaissance Jews documented in Italian archives and interpreted by historians and the visual history recorded in painting. The Renaissance principalities of Urbino, Mantua, and Ferrara are the focus of this study because of their relatively prosperous Jewish populations and because all three city-states shared regional and political affinities as northern Italian territories and as hereditary principalities governed by a single despot. I examine the three princely states as case studies in order to determine how the Renaissance term "tollerare" acquires local meanings depending on cultural context and how the dynamics of tolerance inevitably are linked to civic identity, particularly the identity created by and for the Christian prince.}, keywords = {Renaissance/Baroque Art}, author = {Katz, Dana} } @mastersthesis {9306, title = {The Paintings and Career of Cornelis de Man: Art and Mercantile Culture in Seventeenth-Century Delft}, year = {2003}, school = {Michigan}, abstract = {This study examines the forces which shaped the career and art of Cornelis de Man, and the ways in which his paintings investigate the role of commerce in seventeenth-century Dutch society. De Man{\textquoteright}s work is remarkable for the prominence it gives to so many aspects of commercial life. His pictures make very specific references to many of the circumstances, activities, and overseas ventures that led to Dutch economic prosperity as well as to the wide variety of products that became available at this time. The first chapter opens with a discussion of De Man{\textquoteright}s earliest dated painting of a whale oil factory in the North Sea, a picture that documents his early pictorial interest in a particular commercial venture in Dutch history. This is followed by an introduction to De Man{\textquoteright}s genre paintings. Particular attention is given to the ways that he places recognizable motifs and figures, such as the goldweigher, in contemporary settings to consider aspects of seventeenth-century socio-economic life. Particularly notable here is De Man{\textquoteright}s construction of the merchant-scholar figure, identifiable by his dress in a quilted Japanese robe. This figure straddles the realms of commerce and learning, thus allowing De Man to consider the inter-connections between those realms as a way of making sense of the social conditions of his time. Chapter 2 looks at De Man{\textquoteright}s family background and how his relation to a number of apothecaries and silversmiths may have inspired him to paint commercial themes. The focus of chapter 3 is what portraits can tell us about seventeenth-century mercantile culture, and here De Man{\textquoteright}s acquaintances with prominent Delft citizens and the possible audience for his art are discussed. Chapter 4 focuses on De Man{\textquoteright}s genre images that refer specifically to overseas travel and trade. A concluding discussion of the representation of non-European people considers how De Man and other artists explored the ways that Dutch society might come to terms with the social changes that accompanied increased contact with people around the world.}, keywords = {Renaissance/Baroque Art}, author = {Bassett, Laura} } @mastersthesis {9242, title = {Pallid Corpses in Golden Coffins{\textquoteright}: Relics, Reliquaries and Art of Relic Cults in the Adriatic Rim}, year = {2003}, school = {University of Washington}, abstract = {This study examines the artistic aspects of relic culture from the Early Christian to late Medieval period, focusing on the imagery from Dalmatia, Venice and the Veneto regions in order to provide an enhanced understanding of the pervasive artistic force of relic cults during the Middle Ages. It is the primary tenet of this study that the body of the saint and its corporeal existence in relics is underscored in the imagery that was generated by the presence of the relic. Whether contained in the reliquary, depicted on the altarpieces associated with the cult of holy remains, or sculpted on a reliquary shrine, the iconography of the artwork calls a relic-conscious interpretative community to engage in a relic-culture-specific dialogue with the artwork. This study is therefore concerned with relic visibility in reliquaries and their extension into mimetic reliquaries. Furthermore, the figurations of relics are discussed in the context of the historical formation of Dalmatia and the collective memory of the Zadar commune. Venetian relic culture is closely connected with a series of panel paintings by Paolo Veneziano and his circle. These paintings were made to the measure of the relic-conscious interpretative community, and, occasionally, to the measure of the holy cadaver within the painted tomb. A particular emphasis is paid to the shrines of Saint Simeon-one in Venice and the other in Zadar-as bearers of artistic and political meaning after the Fourth Crusade and the rise of the Hungarian Angevin rule in the Eastern Europe and on the eastern shores of the Adriatic Sea. The leitmotif of this study and the rational for a wide scope of the examined artistic media is formulated in Gregory of Tours{\textquoteright} late antique literary trope of the broken tomb. Taken as a mode of viewing, this study endeavors to find apertures in relic-bound arts leading to the relics and the meanings they reflect back to the enclosing surface.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Munk, Ana} } @mastersthesis {9319, title = {Paolo Veronese{\textquoteright}s Portraits: Their Creation and Context}, year = {2003}, school = {IFA/NYU}, abstract = {This dissertation presents the first comprehensive study of the portraits by Paolo [Caliari] Veronese (1522-1588), the circumstances of their creation and reception, and their importance to later portraitists. Often overlooked in this genre, Veronese created fashionable likenesses, highly prized for their grace and grandeur. Chapter one examines Veronese{\textquoteright}s portraits produced in the villa culture of the terra ferma, especially the symmetrical, architectonic pendants of the Da Porto and the innovative fresco cycle at Villa Maser, such portrayals pioneering new depictions of nonchalance, sprezzatura, and decorum. Chapter two addresses Veronese{\textquoteright}s images of ideal female beauty, exploring their nuances in the context of the visual/literary traditions of sixteenth-century Venice. Chapter three discusses military likenesses, placing particular emphasis on an early work omitted from previous catalogues. While building on Titian{\textquoteright}s example, Veronese pioneered his own refined style indebted to the courtliness valued so highly in the man-at-arms by Castiglione and others. The fourth chapter explores the role of antiquity in Veronese{\textquoteright}s portraits of artists and the elite. The artist exploits such romanita to serve a range of emotive purposes, especially to suggest melancholy, so central in the fashioning of Renaissance identity. The final chapter offers concluding remarks defining Veronese{\textquoteright}s style and a brief survey of subsequent portraitists, as diverse as Peter Paul Rubens, Anthony Van Dyck, Mary Cassatt, and Henri Matisse, who profited from Veronese{\textquoteright}s example.}, keywords = {Renaissance/Baroque Art}, author = {Garton, John} } @mastersthesis {9259, title = {Peter Greenaway and the Baroque: Writing Puzzles with Images}, year = {2003}, school = {CUNY}, abstract = {The work of Peter Greenaway poses a complex challenge since it ranges from films to artworks and tends to push against the limits usually accepted for both domains. The themes of his work, such as death, violence and sexuality, mixed with games and different kinds of measuring can be polemical. Furthermore, the treatment that they are given eschews well-known solutions, thus compelling the viewer to take an active role in order to enjoy the work. In this study the Baroque is proposed as a key to relating different aspects of Greenaway{\textquoteright}s work that would otherwise appear chaotic and incoherent. The term Baroque refers to a historical period, but also, and importantly, to a topic that has been given attention by both art and film critics who do not limit the period exclusively to the seventeenth century. The Baroque is seen instead as an ensemble of strategies that have informed the production of different works at present time. The aim of this thesis is to find the basic strategies of Greenaway{\textquoteright}s work that resulted in different formal and thematic manifestations linked to what has been conventionally identified as a Baroque aesthetic. Film and artwork are analyzed together, with intention of identifying how similar conceptions of an idea can be translated into different domains.}, keywords = {Film/Video}, author = {Dobal-Jordan, Susana} } @mastersthesis {9140, title = {The Philani Printing Project: Women{\textquoteright}s Art and Activism in Crossroads, South Africa}, year = {2003}, school = {Wisconsin}, abstract = {In the township of Crossroads, South Africa, a group of Xhosa women artists have created an extraordinary space of female agency and empowerment. This women{\textquoteright}s collective, called the Philani Printing Project, has formed a place where art and feminist politics intersect with political action. Primarily concerned with economic survival and with self-representation, these women use artmaking as a vehicle to address and confront social and gender inequalities. They produce work with powerful visual narratives that call attention to their own personal experiences with varied public and private forms of injustice and violence, as they simultaneously call for these conditions of injustice to change. The primary focus of this dissertation is the Philani Project itself, the women who work there, and the artwork that Philani artists produce. In addition to writing a case study of The Philani Project, I consider the historical presence, experience, and activism of Xhosa women in Crossroads, and position the Project within this context. Additionally, I examine why and how Philani artists create artworks that boldly address issues that are critical for most of South Africa{\textquoteright}s women (including themselves), such as labor exploitation, freedom from physical violence, access to natural resources, the urgent need for pre and post natal care, lack of educational opportunities, employment, HIV/AIDS, and the political possibilities of motherhood. Although they do not necessarily refer to themselves as "feminist", Philani artists express a political consciousness that is feminist in that they depict and discuss their life experiences with an acute awareness that gender is a factor in their oppression as well as a basis from which they can resist. Indeed, this feminist consciousness is evident not only in the iconography of the work, but also through the very existence of the Project itself. This study thus aims to frame Philani artists as political actors who strive to make visible the conditions of their lives by focusing their artistic efforts on the exploitation and survival of black South African women despite apartheid policies that discriminated against them, and a current environment which continues to be hostile towards the emancipation of women.}, keywords = {African Art (sub-Saharan), Decorative Arts/Textiles/Design History}, author = {Miller, Kimberly Anne} } @mastersthesis {9253, title = {Pictures and Prayers: Madonna of the Rosary Imagery in Post-Tridentine Italy}, year = {2003}, school = {Johns Hopkins}, abstract = {Through the study of prints, illustrated prayerbooks, and altarpieces, this dissertation explores the relationship between the cult of the rosary and the visual arts in Italy from c. 1475 to c. 1630, focusing especially on the post-Tridentine era, when both the rosary and the visual arts were being avidly promoted by Church leaders as means of reforming and guiding lay spirituality. The first three chapters present a broad historical overview of the cult and imagery of the rosary. Chapter one addresses the rosary{\textquoteright}s medieval origins, its integration into the pastoral agenda of the Observant Dominicans, and the earliest images produced to support the practice of the devotion. Chapter two traces the dissemination of the rosary in Italy in the late fifteenth century and the establishment of a pictorial iconography specifically associated with the rosary confraternity. It demonstrates that visual images were considered to be essential components in the efficacious practice of the rosary. Chapter three situates the cult of the rosary within the context of the post-Tridentine Church and discusses the changes that occurred in the rosary confraternity{\textquoteright}s rituals, administration, and artistic patronage, highlighting the significant role images played in unifying the private and public realms of the devotion. The second part of this dissertation presents two case studies aimed at determining the effects of local artistic, religious, and political concerns on the imagery of the rosary. The first case study (chapter four) examines a series of rosary altarpieces executed in Bologna in light of the criteria for religious art voiced by the city{\textquoteright}s bishop, Gabriele Paleotti. This chapter argues that the Madonna of the Rosary altarpieces executed by the pupils of the Carracci academy reveal their attempts to negotiate between the expression of their artistic creativity and the image{\textquoteright}s devotional function. The second case study (chapter five) traces the evolution of the cult of the rosary in Venice in order to elucidate the complex social, civic, and religious network underlying the creation of the rosary chapel of the church of SS. Giovanni e Paolo.}, keywords = {Eighteenth-Century Art}, author = {Camara, Esperanca} } @mastersthesis {9307, title = {Picturing Health: The Garden and Landscape in the Late Fourteenth-Century Illuminated Tacuinum Sanitatis}, year = {2003}, school = {USC}, abstract = {The illuminated Tacuinum Sanitatis from northern Italy is the most important family of late fourteenth-century health handbooks. The handbooks are based on the Latin translation of an Arabic health treatise from the eleventh century, the Taqwim al-sihha by Ibn Butlan, which treats the doctrine of the "six nonnaturals," dietary and environmental factors necessary for the proper maintenance of the body. The nonnaturals comprise of the following categories: air; food and drink; movement and rest; sleep and wakefulness; evacuation and retention of bodily fluids; and "accidents of the soul" (or emotions). While the late fourteenth-century Tacuinum enumerates health factors like the Arabic original, its most striking feature are the nearly full-page illuminations, which feature courtier figures engaging in playful activities as well as individuals from the laboring classes hard at work in fields and in shops. This dissertation focuses on images of garden and landscape, and courtiers at play in these nature settings. It examines the implications of these illuminations for the social and cultural life of late fourteenth-century Lombardy. First, the study addresses the Tacuinum{\textquoteright}s purpose as a manual of health by analyzing how these images elucidated contemporary fourteenth-century ideas of health maintenance, and how they are manifested visually in the depictions of nature. Secondly, in the handbook{\textquoteright}s capacity as a complex social document, this dissertation offers a new reading of the illuminated Tacuinum Sanitatis, considering the images as ideological constructions, rather than "illustrations" of historical experience as scholars have regarded them. The illuminations can be seen as reinforcing and maintaining the hegemony of the upper class, as they embody and display the values and occupations of the handbooks{\textquoteright} commissioners. The Tacuinum images are representational tools that served importance functions for their aristocratic patrons, including class distinction and depiction of social status.}, keywords = {Renaissance/Baroque Art}, author = {Bertiz, Agnes} } @mastersthesis {9289, title = {Picturing Listening in the Late Nineteenth Century}, year = {2003}, school = {Harvard}, abstract = {This dissertation is a study of music listening as a subject of art during the years 1880-1900 in France and Belgium. With the progressive interiorization of musical experience over the nineteenth century, the music listener appeared as a figure of increasing prestige and independence. In order to explain this phenomenon, we gather and analyze scores of visual examples in the light of period art criticism and theory, also taking into account concurrent developments in philosophy, psychology, and literature. Richard Wagner{\textquoteright}s music revolutionized listening, not only because of the longer attention span it required but also because of its outsized emotional impact. The extraordinary accounts of Wagner{\textquoteright}s music (by Charles Baudelaire and others) implicitly challenged painters to find ways to represent this new listening. Artists answering the challenge, such as Henri Fantin-Latour and Fernand Khnopff, begin to invite their beholders to greater emotional identification with pictured listeners. At the close of the century, the external, visual aspects of listening wane in importance. Symbolist tenets, which had crowned music as the supreme art, favored at the same time a focus on private experience so complete that music-makers and even music itself become superfluous in images of listeners. With this portrayal of radical subjectivity, artists can expand and manipulate the representation of time in painting, in an attempt to secure prolonged attention such as music itself commands. The dissertation concludes with a discussion of the first abstract experiments in transforming beholders into listeners.}, keywords = {Nineteenth-Century Art}, author = {Leonard, Anne} } @mastersthesis {9222, title = {A Pilgrimage of the Eyes: Sacred Topography in Black and White}, year = {2003}, school = {UC Santa Barbara}, abstract = {This dissertation seeks to investigate numerous issues surrounding the immensely popular stereographic "travel tours" published by the Underwood and Underwood and Keystone View Companies. Variously entitled Traveling in the Holy Land Through the Stereoscope and Palestine Through the Stereoscope, these tours, published in numerous editions between 1898-1914, came complete with sets of stereographic images, keys to orient the viewer, and patented maps. Put together, this package allowed the purchaser the opportunity to make what can only be called a {\textquoteright}virtual{\textquoteright} tour of the area in question. Key issues considered in the following pages include: how the Underwood and Underwood, and later the Keystone View companies marketed their stereographic tours; what the experience of seeing a stereograph might have been like for a late 19th century/early 20th century viewer; and how the organization and presentation of the tours shaped the experience of the viewer in important ways. It also becomes clear that the Underwood tours were intended to serve, in essence, as a substitute for the real experience of Christian travel. This tension between the commercial product as sold by the company, and the way this product was intended to be (and presumably was) consumed is another avenue which is explored. The issue of spectatorship is a tricky one to take up when discussing any historical period: without first-hand accounts (which generally do not exist) it is difficult to know for certain exactly how any one person or group of people experienced a given set of images. Yet a consideration of the issue of the spectator and his or her possible experience of these tours presents a unique way to investigate the convergence of several additional intersecting topics: the nature and role of religious imagery in late nineteenth- and early twentieth-century America; the role and importance of vision in religious experience; and the fine line between pilgrimage and tourism in the late 19th and early 20th centuries-a time of massive growth in the tourist industry to the Holy Land. The role played by photography in the spaces in which these various subjects interconnect is crucial to examine.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Unruh, Holly} } @mastersthesis {9207, title = {Police Photography: Visual Representation, Scientific Evidence, and the Construction of the Criminal}, year = {2003}, school = {Rochester}, abstract = {This dissertation, "Police Photography: Visual Representation, Scientific Evidence and the Construction of the Criminal," examines the use of photographic representation and photographic technologies in modern and contemporary American and Canadian law enforcement and criminal identification practices. I combine approaches from visual studies, particularly the history of photography, and from science and technology studies to position the photograph as an inscription, as a material representation at work in the construction of scientific evidence. I argue that the production, archiving and exchange of photographic representations in law enforcement and criminal identification practices function in the construction of identity. The dissertation addresses three identification practices fundamental to modern and contemporary law enforcement: fingerprinting, DNA analysis, and information databases. I stress that each is dependent on photographic representation. I argue that the specific collaboration of photography and the theory of fingerprint identification at the close of the nineteenth century gave rise to law enforcement practices based on the collection and use of latent identification data. This transformed the subject of law enforcement from the individual, physical body to a larger, aggregate social body. I trace the development of DNA analysis in law enforcement at the close of the twentieth century to examine the development of power and authority associated with the control of inscriptions. I argue that the FBI constructed a dominant position in the field of DNA analysis through the development of control over the visual representation of DNA, the autoradiograph. The dissertation concludes with an examination of two digital archives used in current law enforcement and criminal identification practices, the National Crime Information Center 2000 and the Combined DNA Index System. The theoretical possibilities associated with the collection and use of latent identification data announced at the close of the nineteenth century have become a reality in 2003. I suggest that contemporary law enforcement practices are driven by the collection and archiving of identification data and argue that this practice functions in the redefinition of criminality and the body. I argue that the body in the twenty-first century digital archive is constructed as a site of potential criminality.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Drawings/Prints/Works on Paper}, author = {Finn, Jonathan} } @mastersthesis {9162, title = {The Portrait Medals of Ottoman Sultan Mehmed II (r. 1451-81)}, year = {2003}, school = {Harvard}, abstract = {This dissertation is an historical study of the portrait medals featuring Mehmed II, the Ottoman sultan who conquered Constantinople in 1453 and whose military and administrative achievements effectively transformed the fifteenth-century Ottoman state into an empire. It considers Mehmed{\textquoteright}s intellectual and politically motivated interests in western-style portraiture, in particular as they relate to the antiquarian medium of the cast medal, a new art form at the Italian courts, by exploring the circumstances of production and historical significance of each of the ten discrete medals, or medallic {\textquoteright}types{\textquoteright}, commemorating his person and rule. This thesis argues that Mehmed II is likely to have commissioned as few as two of the portrait medals characterizing him through the medium{\textquoteright}s provocative interplay of image and text. The majority instead attest to two broad trends: first, collective knowledge among the ruling bodies of Europe of Mehmed{\textquoteright}s interest in ancient GrecoRoman portrait traditions, and his persistent efforts to host a western portrait artist at his imperial court; and, second, a desire among the European elite to commemorate posthumously the "Great Turk" who had seized from Christendom the ancient seat of the eastern Roman Empire, and from 1453 onwards demonstrably threatened to extend his dominion from the {\textquoteright}Second Rome{\textquoteright} to Rome itself-the long-harbored ambition likely spurring the Ottoman attack at Otranto less than a year before Mehmed{\textquoteright}s untimely death in May, 1481. The latter trend, termed the {\textquoteright}commemorative impulse{\textquoteright}, is traced through the production, circulation, and documented ownership of portraits of Mehmed well into the sixteenth century in the medium he was known to have favored, and perhaps the only medium in which his likeness was available, the cast medal. Supplemented by a catalogue, the entire corpus of medals featuring Mehmed II receives comprehensive treatment in this study. Moreover, the rare prototype for, and several unknown casts of, the so-called Tricaudet medal are introduced and analyzed, and new archival records concerning the patron Jean Tricaudet also considered.}, keywords = {Art of the Middle East/North Africa, Renaissance/Baroque Art}, author = {Spinale, Susan} } @mastersthesis {9282, title = {The Possibilities of Print: John Constable, English Landscape, and the Chiaroscuro of Nature}, year = {2003}, school = {Case Western Reserve}, abstract = {This dissertation considers the print medium as an avenue of exploration for the landscapist John Constable (1776-1837), who amassed an impressive collection of fine art and books encompassing subjects such as art, literature, theology, politics, history, and topography. This collection, here called the Bibliotheca Constabeliana, served as an exemplary model of early nineteenth-century collecting practices and informed Constable{\textquoteright}s ideas to direct a printmaking project from 1829 until his death. Under Constable{\textquoteright}s direction, the series, known as English Landscape, featured more than twenty-two mezzotints engraved by David Lucas (1802-1881). All of the locations depicted were places where Constable had resided or visited and thus they carry an autobiographical meaning as well as aesthetic function. In addition to choosing subjects and guiding Lucas{\textquoteright}s translation into mezzotint, Constable drafted letterpresses which offered original commentary and direct or paraphrased literary quotations from ancient and contemporary sources; these are identified and discussed in detail for the first time in my text. Constable devoted more than eight years to the production of English Landscape. Yet the prints have been de-emphasized by scholars who refer to it as a short-lived, financially failed, or insignificant achievement compared to Constable{\textquoteright}s paintings. I re-situate English Landscape {\textquoteright}s prominence as the continuation of life-long interests in printmaking, travel books, poetry, literature, and the history of England and the Essex-Suffolk region, in particular. For my interpretation, I look to the work of cultural and literary theorists, art historians, historians, and linguists. My discussion makes use of the published volumes of Constable{\textquoteright}s correspondence and C. R. Leslie{\textquoteright}s posthumous biography of the artist. To enhance these sources, I consider specific social, historical, and political contexts for English Landscape during Constable{\textquoteright}s life. Drawing upon Wirkungsgeschichte and reader-response theory, I construct a narrative of the subsequent uses by Constable and others of the engravings and their letterpress. Finally, I identify what role these visual and literary texts played in shaping Constable{\textquoteright}s reputation and the designation of his homeland along the Stour River as "Constable{\textquoteright}s Country."}, keywords = {Nineteenth-Century Art}, author = {Decker, Juilee} } @mastersthesis {9151, title = {Post-Bronze-Age Architecture at Ano Englianos: Architectural Commemoration of a Bronze-Age Site}, year = {2003}, school = {Minnesota}, abstract = {This study examines evidence for post Bronze Age building activity uncovered during excavations conducted by the Minnesota Archaeological Researches in the Western Peloponnese (MARWP) from 1990 to 1997. New data identified through an examination of Blegen{\textquoteright}s original excavation notes supplements the re-excavated architectural evidence. The study, itself, is divided into three chapters. Chapter one begins with an examination of the published material. New data identified through an examination of the unpublished excavation notes is used to reconstruct the stratigraphy and excavated material for the NW area and rooms 89 and 90. A function associated with the veneration of ancestors is proposed for construction 87 based on similarities this structure shares with circular platforms identified at other Dark Age and early Archaic sites. Chapter two focuses on the proposed early Archaic temple represented by the building defined by rooms 83/84/85. This building was constructed during the late seventh century B.C. with a second phase of construction activity dating to the mid sixth century B.C. Chapter three summarizes the relative chronology of the post Bronze Age architectural remains and places the architectural development at Englianos within the broad historical background of post Bronze Age Messenia. This discussion is divided into four chronological periods defined by significant Messenian historical events: First Messenian War (735-715 B.C.), Second Messenian War (668-657 B.C.), Pylos War (ca. 600 B.C.), and the period immediately following Messenia{\textquoteright}s liberation (fourth century B.C.). The proposed date of architectural remains recovered at Englianos roughly corresponds with these periods. Each section is prefaced by a brief historical overview followed by a discussion of how the architectural developments at Englianos fit within the context of contemporary historic events. This discussion references developments in Messenian cult activity at Mycenaean tombs. The final section summarizes the possible significance of the cult and architectural developments at Englianos.}, keywords = {Architectural History/Historic Preservation, Greek/Roman Art}, author = {Brenningmeyer, Todd} } @mastersthesis {9270, title = {The Presence of the Past: Exhibitions, Memories, and National Identities in Colonial and Postcolonial Korea and Japan}, year = {2003}, school = {Binghamton}, abstract = {This dissertation is an effort to contribute to the understanding of the politics of exhibitions in Korea and Japan across their colonial and postcolonial times. I aim to show how the colonial and postcolonial interrelations between Korea and Japan are articulated in colonial expositions and museums. I also explore how such expositions and museums become the site for the formation and transformation of colonial cultures, ideas of modernity, and national identity. In pursuing these aims, I examine the significant roles played by the historical memories of colonialism in imagining the "postcolonial" or "postwar" present of the contemporary nation. By focusing on intra-Asian tensions between Japan and Korea, I argue that the formation of Japan{\textquoteright}s modern and imperial culture was inseparable from its colonial experience in Korea. At the same time, modernity in Korea was formed under the conditions of Japanese colonialism. Further I argue that their colonial encounters have continued to shape their postcolonial symbiotic relationships. In order to address these questions, the dissertation is organized in three interrelated parts, under the themes of "Encountering", "Remembering", and "Forgetting." Part One, "Encountering," examines the politics of colonial expositions (outside "the West") in the colony (Korea), their specific historical meanings, and the (unintended) local receptions that generated various forms of (anti-colonial) nationalism. Part Two, "Remembering," shows how the national identity of Korea is formed through a culture of "remembering" the colonial past. The general theme here is to show how colonial memories structure the political imagination of the postcolonial nation. Part Three, "Forgetting," discusses the attempts of postwar Japan to "forget" its colonial past, showing how the atomic bomb "peace" museums constitute a culture of "forgetting" the memories of Japanese colonialism in Asia and how the ambiguous presence of "colonial Korea" in Japanese peace museums indicate the difficulties of sustaining a coherent narrative of "victim-hood." In this dissertation, by juxtaposing cultural strategies of commemoration in these two countries and times, I aim to show the ways in which the symbiotic yet ambivalent power relations of Korea and Japan are articulated in exhibition cultures and how the effects of visual representation help to constitute the political imagination of these postcolonial nations.}, keywords = {Japanese/Korean Art}, author = {Kal, Hong} } @mastersthesis {9187, title = {Primary Process: Louise Bourgeois and American Art since World War II}, year = {2003}, school = {UCLA}, abstract = {Louise Bourgeois{\textquoteright} artistic career spans more than fifty years, offering an unusually rich and complex perspective on the development and institutionalization of western art since World War II. Bourgeois initially gained national and international acclaim during the feminist art movement in the 1970s, when a younger generation of women artists and writers championed Bourgeois{\textquoteright} emotionally-charged, body-based sculpture as an alternative to the formalist values of modernist abstraction, as it had been defined by Clement Greenberg. Yet Bourgeois began her artistic career in New York in the 1940s as a colleague of the developing abstract expressionists, whose artwork was hailed by Greenberg as a high point in modernist abstraction. Historically, Bourgeois{\textquoteright} peculiar position-poised between two seemingly opposed art movements-has created a conundrum for critics. As art historians have increasingly begun to blur the rhetorical boundaries separating modernism from feminism, however, Bourgeois{\textquoteright} art has acquired fresh urgency. This dissertation proposes that Bourgeois{\textquoteright} artistic oeuvre engages and reworks themes relating to human subjectivity that the artist initially undertook in the context of the New York School in the 1940s. Building on recent scholarship emphasizing the importance of surrealist ideas in abstract expressionism, I argue that Bourgeois, along with her abstract expressionist and surrealist peers, elaborated a shared vocabulary of visual metaphors for the irrational or unconscious aspects of human subjectivity. Many of these popular metaphors for the unconscious, including images of boxes holding enigmatic contents, references to hidden depths, and images of flora and fauna, carry implicit associations with femininity. Nevertheless, Bourgeois{\textquoteright} artwork negotiates avant-garde tropes for the unconscious in order to posit a complex female subjectivity and to challenge the simplistic identification of irrationality with femininity. Comparing Bourgeois{\textquoteright} visual imagery with contemporary psychoanalytic accounts of human subjectivity, I find that both of these approaches-the visual and the textual-rely on bodily metaphors to convey complex and shifting subjective states. Thus the body itself functions as a metaphor for an unstable and multi-layered identity. Ultimately, the dissertation challenges the limits of feminist theory (which has tended either to reify the female body as the mark of a fixed identity or to deny it altogether) as well as those of formalism (which likewise has tended to eschew consideration of the body) in articulating the significance of Bourgeois{\textquoteright} art and that of abstraction more generally.}, keywords = {Art of the United States}, author = {Meyer, Laura D.} } @mastersthesis {9167, title = {Process Art and Pictoriality: Reading the Work of Robert Morris, Richard Serra, and Robert Smithson}, year = {2003}, school = {CUNY}, abstract = {This study examines the practice and theory of process art of American artists Robert Morris, Richard Serra, and Robert Smithson during the period of 1967 to 1972. It provides a sustained analysis of the ways that painting and vision became subject to critique in process art. The purpose therein is to redress critical traditions in which process art remains inadequately theorized and its concerns, undistinguished from those of painting, Minimalism, and picturesque tradition. The continuous themes in this study are: process art{\textquoteright}s opposition to the authority and hermeticism of painting and formalism, the ways that perspective and vision became objects of political struggles in process art, and the indictment of nontropic, alienated, commodity-like, and experientially conservative aesthetic form by Morris, Serra, and Smithson. These artists celebrate the unstable gaps between everyday gestures and artmaking, critical and scientific statements, and manual and intellectual labor. Their entropic and disorienting works underscore breakdowns in the perceived homogeneity of the manufactured environment. Their process art{\textquoteright}s creative and sacrificial materiality, hinges on the situational qualities of knowledge, anti-vision, perceptual dissonance, anti-composition, and dedifferentiation. Specific sources addressed in this study are: the writings of Georges Bataille, the Beats, Anton Ehrenzweig, Morse Peckham, and George Kubler, scientific studies of cognition, learning, and gestures, models of perception and visual perspective, and modes of travel. The analytic focus on operational discourse makes process art meaningful and influential. It remains more relevant to understanding process art than the shared procedural emphases that have stymied traditional explications of this work. While Morris Serra, and Smithson insist on their work{\textquoteright}s abstraction, they also emphasize the ways in which their works are read, made, and used like everyday objects. Their works make political, semiotic, and perceptual demands of spectators by bringing junctures of the everyday, the postindustrial landscape, and labyrinths of the city to the fore. The "landscape mode," which emerged in process art, is neither purely abstract nor conventionally picturesque. In a volatile milieu, it exposes the power and values that are assigned to landscape through discourse, the administration of resources, critical, perceptual, and visual vantage, militarism, taboo, trespassing, and vagabondage.}, keywords = {Art of the United States, Contemporary Art}, author = {Paice, Kimberly} } @mastersthesis {9283, title = {The Production of Authenticity: Wilderness, History, and Travel in Landscape Representation of the Canadian Rockies (ca. 1860-1940)}, year = {2003}, school = {Duke}, abstract = {This dissertation examines the question of how personal and national identities are constructed against wilderness-understood as a place, representation and concept-primarily in the context of the British North American and Canadian west in the period from 1860 to 1940. It argues that wilderness is not a putative Other to modernity, but an integral component of that modernity. It further argues that the desire to locate authentic personal and national identities in an Edenic wilderness has inevitably run up against the prior presence of Native peoples, who are consequently either idealized or marginalized. The dissertation{\textquoteright}s three central chapters are case studies examining different kinds of representations. Chapter Two is an analysis of Milton and Cheadle{\textquoteright}s 1865 work The North-West Passage by Land. Chapter Three is a comparison of a manuscript travelogue by Robert M. Rylatt, a quartermaster with the Canadian Pacific Railway Survey in the early 1870s, and Mary Schaffer, a wealthy American traveller in the Canadian Rockies in the late nineteenth and early twentieth centuries. Chapter Four explores the concept of wilderness and its relationship to bodily experience and remembrance in the work and reception of the Group of Seven, and compares this with a seminal work of modernist Canadian literature, Howard O{\textquoteright}Hagan{\textquoteright}s novel Tay John. This dissertation has uncovered new archival information about the persons and topics it discusses. More importantly, it illuminates the function of wilderness as a canonical theme in early Canadian modernism by showing its connections to larger ideological structures in a diverse range of representations.}, keywords = {Nineteenth-Century Art}, author = {Fullalove, Benedict} } @mastersthesis {9155, title = {Progress in the Age of Navigation: The Voyage-Philosophique of Julien-David LeRoy}, year = {2003}, school = {Columbia}, abstract = {This thesis is an analysis of the career and publications of the influential French architectural theorist Julien-David Leroy (1724-1803). It is proposed that Leroy{\textquoteright}s work takes its significance from the concept of the voyage-philosophique, a category of research linked to the ideology of progress that motivated the Paris-based Academie des Sciences and Academie des Inscriptions et Belles-Lettres. Leroy{\textquoteright}s most significant contribution to architectural theory built on his voyage to Greece (1754-55) and consisted of transposing the voyage-philosophique into the realm of architecture. Focusing only on phenomena that could be apprehended either through measurement or by the mobile eye of a scientific traveler, Leroy rejected Renaissance notions that beauty derived from the impact of specific proportional relationships on the eye of an immobile observer. Leroy not only liberated the eye, his work also redefined the classical canon. Rejecting Providence, he explained the transformation of architecture through time as a response to environmental and social factors. Though he admired Greek architecture, the notion of an absolute or ideal past state had no place in his thought. Progress thus understood in both its literal and figurative senses, Leroy displaced the orders from the preeminence they had enjoyed since the Renaissance and conceptualized the experience of architecture as the sensation of forms in space relative to a mobile observer.}, keywords = {Architectural History/Historic Preservation}, author = {Armstrong, Christopher Drew} } @mastersthesis {9153, title = {The Protection of Ancient Monuments in Renaissance Rome}, year = {2003}, school = {Harvard}, abstract = {The tradition of protecting and conserving ancient buildings is long-established in Rome, and my thesis addresses the continuation of this tradition during the Renaissance. Although the Renaissance has often been criticized for the widespread demolition of the city{\textquoteright}s ancient remains, it was also a period when new legislative advances were instituted to help protect the physical remains of the city{\textquoteright}s ancient past. The inauguration of extensive urban growth with the return of Martin V to Rome in 1420 was also accompanied by the development of new controls to limit damage to the surviving ancient remains. New protective policies were refined by the papal administration, building upon both established ancient precedent and values advocated by the Capitoline government, to ensure the survival of the most prestigious ancient structures during the building of Renaissance Rome. As the Popes consolidated their power over the city, tensions between the papal administration and the Capitoline authorities infused the protection of ancient remains with further political resonance. The thesis draws upon a wide range of materials, including documentary and visual records and archeological evidence, to examine the record of protective measures undertaken upon five ancient monuments during the Renaissance, including the Colosseum, the Pantheon, the Baths of Diocletian, the Ponte Santa Maria and the Acqua Vergine.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Karmon, David} } @mastersthesis {9181, title = {Public and Exposed: The Female Body Imaged in American Visual Culture, 1848-1875}, year = {2003}, school = {Indiana}, abstract = {Beginning in the middle decades of the nineteenth century, the presence of American women and the exposure of female bodies in public spaces offered a rich and vivid subject matter to graphic artists. Both the desire and fear of women{\textquoteright}s public visibility registered in such images of "strong-minded" women speaking on a platform, city belles promenading along urban streets, "unsexed" and cross-dressed heroines on the Civil War battlefield, and beach beauties sporting brazen bathing costumes at the seashore. In examining these multivalent images of American public womanhood, this dissertation explores the visual manifestation of women{\textquoteright}s increasing visibility in the newly developed spaces of urban consumption and public domain and the ascendency of female bodily imagery in this era of immense social change, linking images of public women to the inevitable rise of a new visual culture of printed mass media between the years of 1848 and 1875. Utilizing the methodology of visual culture studies, this study primarily examines vital pictorial artifacts that either portray known public women or anonymous female types in public spaces from sources of mass culture such as wood-engraved cartoons and illustrations in pictorial magazines like Harper{\textquoteright}s Weekly and illustrated books. How visual artists responded to the new public visibility of women and how their images of women{\textquoteright}s bodies absorbed, masked, and reinforced changes in the nature of the female social body ultimately reveals cultural tensions to the entrance of the modern and visible female into the public sphere. In signifying the anxiety toward a feminized public sphere, this visual imagery also helped to establish the public woman as an alternative vision of the modern female body and as a social and visible entity in mid-nineteenth-century American society.}, keywords = {Art of the United States}, author = {Empen, Cynthia Wiedemann} } @mastersthesis {9158, title = {Public Buildings and Civic Pride: Town Halls in Northern Germany, 1200-1618}, year = {2003}, school = {UIUC}, abstract = {This study examines the development of the town hall as a category of monumental architecture in the Hanseatic cities of Northern Germany. It traces the origin of communal buildings in this region from the earliest period in which they are known to have existed, the early 13th century, up to the decades immediately preceding the outbreak of the Thirty-Years War. The particular focus here is on three major communal structures in Lubeck, Bremen and Luneburg, all of which are distinguished by their complex architectural histories, in each case lasting for several centuries. These three town halls represent part of a wide-ranging phenomenon in the history of German communal architecture, in which the idea of a truly representative place of assembly for the burgher classes evolved rather gradually, from the simple to the sophisticated. In important ways this architectural evolution parallels the political fortunes of German cities themselves in the Middle Ages. Initially the towns were in the firm control of secular and ecclesiastical lords. Over time, however, the burgher populations of the towns, through successful development of commerce, and the skillful use of economic and political leverage over their nominal rulers, were able to rise to ascendancy in local politics, displacing the territorial lord and his deputies at the top of the power structure. The construction of a magnificent town hall was symbolic of their burghers{\textquoteright} victory. As architectural symbols of civic pride, the super-extended building histories of the Northern German town also suggest that the very concept of civic pride was fluid, subject to change and refinement, in that what people considered worthy of pride shifted as the political stature and freedom of the urban populations engendered loftier aesthetic standards by which their most important public buildings were to be judged. In a sense, these monuments initially represented an expression of defiance toward established authority, but subsequently came to articulate the triumphant entry of the council of burghers as the new authoritative entity in the daily life of the city.}, keywords = {Architectural History/Historic Preservation}, author = {Rafii, Keyvan} } @mastersthesis {9297, title = {Public Lives, Private Places: British Houses in Delhi, 1803-1853}, year = {2003}, school = {IFA/NYU}, abstract = {Within two hundred years of arriving in India as merchant adventurers, Britain{\textquoteright}s East India Company was effectively in control of this diverse country{\textquoteright}s government and natural resources. Analyses of the relative ease with which this happened, and of subsequent effects upon India, continue to challenge scholars in a changing intellectual climate. This dissertation focuses on British occupation of Delhi, the Mughal "seat of empire". It examines the problem of British domestic settlement patterns in the city in the early 19th century, asking how they related to and resisted the spatial inscription of the pre-existing built environment. Challenging the widespread assumption that the desire to maintain cultural distinctiveness was central to the colonial context, it takes the specific encounters of individual Britons to argue that, in Delhi at the time, there was a complex interrelationship between British and late Mughal culture. This is read through the siting and plans of new buildings; the re-use of palaces and other monuments; and the ceremonial use of the built environment. The first chapters of the dissertation provide a select historical background to the study of houses in early 19 th century Delhi by surveying Mughal Delhi before the British arrival; Surat, the site of the first British factory in the 17th century; and Murshidabad and Calcutta in 18th century Bengal. Subsequent chapters turn to elite houses associated with both public and private British use in 19th century Delhi. Chapters 4 and 6 examines adaptive re-use of sub-imperial Mughal palaces and monumental religious structures used as houses; while chapter 5 looks at new houses in which Indian forms, adapted to viable living in the climate, were assimilated into British patterns of use. Historic preservation is used as an indicator of changing British knowledge of India, and as further evidence for the distinction between official and individual attitudes.}, keywords = {Nineteenth-Century Art}, author = {Shorto, Sylvia} } @mastersthesis {9254, title = {Raising Standards: Art and Imperial Politics in London, 1745-1776}, year = {2003}, school = {Yale}, abstract = {Between the Jacobite Rebellion of 1745 and the American Declaration of Independence, London artists transformed themselves from loosely organized artisans into one of the most progressive schools of art in Europe. I argue that this remarkable accomplishment was predicated on the ability of London artists to capitalize on the imperial enthusiasm and political realignments brought about by the Seven Years{\textquoteright} War (1756-1763). As the Union Jack was raised throughout North America, the West Indies, Africa, and India, London artists seized upon mercantilist, militarist, and imperialist discourses in their attempt to raise artistic standards as well as their own professional status. The first half of the dissertation focuses upon the ability of artists to equate their professional plight with Britain{\textquoteright}s professional military, and to a lesser extent the English militia, as they sought a viable form of artistic organization. William Hogarth{\textquoteright}s The March to Finchley established a complicated precedent for this stage of professional development by dramatizing conflicts between civic duty and personal conscience, empire and liberty. The end of the Seven Years{\textquoteright} War in 1763 inaugurated a period of more nuanced professional self-fashioning as artists attempted to distance themselves from militaristic themes in their quest for an apolitical, autonomous fine art practice. When Joshua Reynolds adopted a Shaftesburian aesthetic discourse in 1769, he strategically sidestepped twenty years of vigorous debate over the role of fine art in the opening stages of modern imperial, industrial, and economic expansion. This dissertation attempts to resurrect the terms and intensity of that debate, demonstrating that artistic genres as diverse as graphic satire, portraiture, sculpture, and history painting reacted to and influenced imperial politics in London. This account of art in the {\textquoteright}first British empire{\textquoteright} concludes in 1776 with the Declaration of Independence shattering the imperial confidence of the past thirty years and altering popular conceptions about the purpose and meaning of a transatlantic trading empire.}, keywords = {Eighteenth-Century Art}, author = {Douglas Fordham} } @mastersthesis {9234, title = {(Re-)Constructing a Passion: The Pontile of Modena Cathedral}, year = {2003}, school = {Ohio State}, abstract = {The late twelfth-century choir screen, or pontile, erected by the Campionesi in Modena Cathedral is a masterpiece of Italian Romanesque sculpture. The pontile separated the faithful in the nave from the clergy in the sanctuary. It served as a backdrop for liturgical dramas while the Eucharistic rite took place behind its balustrade carved with images of Christ{\textquoteright}s Passion. Similar to other pieces of medieval church furniture, Modena{\textquoteright}s screen was subject to alterations, removal, and reconstruction during its long history. Although discussed in general publications and in local studies of the cathedral, the pontile{\textquoteright}s original form and its modern reconstruction have never received a detailed analysis. This in-depth study will provide new insight into one of the most complete and important of these Romanesque liturgical furnishings to survive. My dissertation focuses on reconstructing the pontile{\textquoteright}s original narrative program by relating the images to their religious and liturgical context and setting them against the background of the secular concerns faced by the bishop during his loss of power to the emerging city-state. Moreover, I examine Modena{\textquoteright}s pontile in conjunction with the fragments of other screens in Northern Italy, Romanesque pulpits in the nearby region of Tuscany, and Gothic screens in Northern Europe. These studies are supplemented by comparisons with other Romanesque Passion cycles that may have informed the choice of images found on the pontile. By studying primary liturgical sources, like a contemporary sacramentary from Modena, and examining secondary sources, completing a catalogue of the existing fragments of the original structure, recording the monument{\textquoteright}s complex history, and analyzing the issues and rites addressed by the images, I provide anew reconstruction of the pontile as it stood in the late twelfth century. Our understanding of the clergy{\textquoteright}s perception of this structure is further enhanced by a discussion and reconstruction of the first choir screen erected by Wiligelmo in this building and replaced by the Campionesi{\textquoteright}s work. This analysis of successive change within the cathedral will pave the way for a better understanding of the transition from these large carved ensembles in stone to the painted wooden Passion altarpieces of the Renaissance.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Cunningham, Dawn} } @mastersthesis {9160, title = {Redesigning Downtown: The Fabrication of German Themed Villages in Small-Town America}, year = {2003}, school = {Washington University}, abstract = {This dissertation examines the conversion of Leavenworth, Washington, and Helen, Georgia, into Germanic-themed towns in the 1960s and {\textquoteright}70s. Although neither community had a Germanic ethnic base, both sought economic and physical rebirth by remodeling their town cores in an "alpine" or "Bavarian" style. My research indicates that these efforts to "create culture" betray the same fundamental instinct pioneered in a series of world{\textquoteright}s fairs and in Disney{\textquoteright}s theme parks. They also share a living history element with Colonial Williamsburg, another American community that has a fabricated cultural and historical identity. This study argues that Helen and Leavenworth{\textquoteright}s revitalization movements are related to a rising preservation movement in the United States, and proposes that they constitute important variants of the national trend to capitalize on tourism as other forms of economic revenue declined. Close analysis of the circumstances and the architectural design processes behind the civic transformations (including extensive archival research and interviews with the surviving protagonists) suggests that the choice of a Germanic theme was a direct result of American military presence in post World War II Germany. The principal community designers for both Helen and Leavenworth were stationed in post-war Germany, and both sought to recreate a vision of the appealing Alpine and late-medieval landscapes they had encountered overseas. Back at home, their positive and romantic vision of Germanic culture was promoted by America{\textquoteright}s growing travel and entertainment industry. Books of Germanic fairy tales featured illustrations of half-timbered chalets, while Disney used similar elements in cartoons like Snow White and Sleeping Beauty, which promoted a connection in the American psyche between German architecture and childhood fantasy. America{\textquoteright}s extensive Germanic heritage, combined with its central role in the reconstruction of post-war Germany, made it particularly receptive to the idealized "Germanic" environments created at Helen and Leavenworth, which continue to inspire similar communities. Finally, this thesis explores the challenges and successes of these communities{\textquoteright} strategies over time, investigating how they may provide helpful case studies within a broader investigation of the problem of "created culture."}, keywords = {Architectural History/Historic Preservation}, author = {Swope, Caroline} } @mastersthesis {9281, title = {Religiosity and Secularism: Two Case Studies of the Nineteenth-Century French Reception of Spanish Art, Bartolome Murillo (1617-1682) and Francisco Jose Goya y Lucientes (1746-1828)}, year = {2003}, school = {Rutgers}, abstract = {This dissertation offers a revised and deepened view of the art of Bartolome Esteban Murillo (1617-82) and Francisco Jose Goya y Lucientes (1746-1828), arguing that the religious works of Murillo conceal secular concerns related to fundamental issues of sexuality and aesthetics, while the ostensibly secular works of Goya in fact confront the fundamental theological theme of dogmatic sin. My study of the nineteenth-century French reception of the works of both artists reveals that neither can be understood fully without the other. Nineteenth-century France identified Spanish art as encompassing both a gentle brand of Catholicism and grotesque realism. Among the myriad of Spanish religious subjects imported into France in the early decades of the nineteenth century, it was Murillo{\textquoteright}s tender depictions of the Virgin Mary that were the most effusively celebrated, even as they were implicitly associated with a particularly Spanish brand of terror. I explore the institutional preference for Murillo{\textquoteright}s aesthetics and argue that the multiple copies of his works produced for church decoration reflected a desire to control the individual expression of creativity represented by original work; an effort to establish a profoundly emotional relationship between worshippers and the Virgin; an attempt to confirm women in their domestic roles; and a confrontation with the relationships among beauty, ugliness, and gender. In a reappraisal of Goya{\textquoteright}s work, I explore Charles Baudelaire{\textquoteright}s essay on the artist in Quelques caricaturistes etrangers, published in 1857 together with one of the critic{\textquoteright}s most provocative discussions of the theme of the centrality of dogmatic evil, De l{\textquoteright}essence du rire et generalement du comique dans les arts plastiques. I argue that Baudelaire discovered in the works of Goya a new pictorial vocabulary, not only for the horror embedded in Murillo{\textquoteright}s imagery, but also for the key Christian concept of the original fall from grace. In the drawings, prints, and paintings of Goya, the Fall assumes forms that are comic, ironic, absurd, and grotesque, embodying elements of the biblical tragedy while also transcending religious myth to explore the nature of social and individual difference, beauty, memory, and the self.}, keywords = {Nineteenth-Century Art}, author = {Cason, Mary} } @mastersthesis {9285, title = {Representations of Alcohol Consumption in France, 1850-1900}, year = {2003}, school = {Rutgers}, abstract = {The flourishing cafe culture of the second half of the nineteenth-century in France inspired a variety of images in which alcohol consumption is an integral component. This dissertation explores these representations of alcohol use, and other images of drinking from the worlds of urban leisure and labor in France, during the period between approximately 1850 and 1900. Two interrelated facts provide the historical context for this examination: a tripling in the amount of alcohol consumed in France between 1830 and 1900, and the development of a disease concept of alcoholism, following the coining of that term in 1849. Many images from this period cannot be properly understood without an awareness of the contemporary meanings of drinking. Through a visual analysis of paintings, prints, and other imagery of the period, and the close examination of primary and secondary sources, this study explores the meaning and significance of these images of alcohol consumption. The dissertation presents a background discussion of the social history of alcohol consumption and the developing definitions of alcoholism in nineteenth-century France, and follows with an examination of the imagery of the French temperance movement. The study then explores thematic groupings of images, including images of men and women drinking at work and at play, the significance of solitary men drinking, the differences in rural versus urban cafe settings, and women cafe customers and waitresses drinking as a potential sign of prostitution. This dissertation concludes that the meaning alcohol consumption lends to each image is highly contextual. Salient factors include the gender, age, class, occupation, and social status of the drinker, the location, the solitude of or company kept by the drinker, as well as the beverage being consumed. The presence of alcohol is much more than an insignificant detail; for contemporary audiences, images of alcohol consumption represented the intertwined relationship of alcohol use and alcoholism with social pathologies as disparate as prostitution, criminality, and disease-all of which were thought to affect the fate of the French nation.}, keywords = {Nineteenth-Century Art}, author = {Harrington, Sara} } @mastersthesis {9315, title = {Representations of Bentivoglio Authority: Fifteenth-Century Painting and Sculpture in the Bentivoglio Chapel, San Giacomo Maggiore, Bologna}, year = {2003}, school = {Harvard}, abstract = {This dissertation examines monuments of painting and sculpture in the Bentivoglio Chapel in San Giacomo Maggiore, Bologna. It demonstrates how generations of artists and patrons positioned Bentivoglio patriarchs as legitimate rulers of Bologna by creating works that draw from different models of social and political authority and their related artistic traditions. The contexts surrounding fifteenth-century Bentivoglio rulers and their monuments mandated changing forms of commemoration specific to those protagonists and their historical moments. The first two chapters establish the roots of Bentivoglio hegemony and examine the professor{\textquoteright}s tomb of Antongaleazzo Bentivoglio, a professor, condottiere, and, briefly, ruler of Bologna. Chapter One discusses the contexts surrounding Antongaleazzo{\textquoteright}s ascendancy and his son Annibale{\textquoteright}s procurement of the tomb. It argues that the tomb was carved mostly by Jacopo della Quercia in the 1430s. Chapter Two explores the motivations behind, and development of, medieval Bolognese professors{\textquoteright} unique funerary iconography. I argue that the iconography{\textquoteright}s elite status and the tradition of burying Bologna{\textquoteright}s de facto rulers in professor tombs made Quercia{\textquoteright}s monument useful to the Bentivoglio in the 1440s. Chapter Three addresses the equestrian monument of Annibale I Bentivoglio, dated 1458. It queries the relief{\textquoteright}s accepted attribution to Pagno di Lapo Portigiani and places it within the contemporary tradition of equestrian monuments. It explains why commemorating Annibale I as a military hero was a useful strategy for the mid-century Bentivoglio, in an emphatic shift from intellectual ideologies. This conclusion emerges from a discussion of the titles and authority the Bentivoglio gathered from foreign rulers at mid century. Chapter Four considers paintings by Lorenzo Costa and Francesco Francia, commissioned by Giovanni II Bentivoglio in the 1480s and 1490s. I argue that Giovanni emulated his princely peers to shape his family{\textquoteright}s dynasty and to control his own representation as devote patriarch, erudite prince, and successful condottiere, partly through the reinstallation of Annibale{\textquoteright}s relief. This chapter traces an iconographic shift toward Petrarchan literature and allegories of Fame and Fortune. It explains how these changes remain within the framework of selecting effective legitimating identities from the contemporary social and artistic lexicon.}, keywords = {Renaissance/Baroque Art}, author = {Drogin, David} } @mastersthesis {9362, title = {Revolutionary Beauty: John Heartfield, Political Photomontage, and the Crisis of the European Left, 1929-1938}, year = {2003}, school = {UC Berkeley}, abstract = {This dissertation is a study of the political photomontages of the German artist John Heartfield (pseudonym of Helmut Herzfeld) that were published in the popular Communist weekly Arbeiter Mustrierte Zeitung between 1929 and 1938. During this period of political radicalization and polarization, the medium of photomontage-the cut-and-paste assemblage of photograph and text-offered a way of deconstructing and reconstructing the visual world, mobilizing the most technologically advanced means of mass reproduction as agitational propaganda. Because photomontage is based on the structural principle of pictorial rupture and re-assembly, the medium is widely understood as the symbolic register of the shocks and disjunctions of modern life. Yet, most of the photomontages that John Heartfield produced for the Arbeiter Mustrieee Zeitung insistently suppress the seams and ruptures of their manufacture, instead offering up pictorially sutured photomontages that propagate fictions of visual wholeness rather than of cognitive ruptures. They do so, I demonstrate, in order to issue an ideological critique from a radical leftist perspective, staging our illusory, unstable apprehension of the world. In using the term "suture" to discuss Heartfield{\textquoteright}s work, I incorporate its cinematic connotations into my analysis, considering how his photomontages summon their beholder, both optically and psychologically. The dissertation traces John Heartfield{\textquoteright}s trajectory from an artistic manufacture of rupture to one of suture, interrogating how these pictorial modes signified in specific historical contexts. Chapter One studies the semiotics of rupture at the intersection of political violence and mass culture, understanding visual disjunction to be a cipher for the volatile street politics of the late Weimar Republic. Chapter Two elucidates the technological developments and cultural currents in which Heartfield{\textquoteright}s visually sutured photomontages flourished. Chapter Three focuses on the critical year 1932, when photomontage became the centerpiece of mass propaganda in the public sphere. Chapter Four situates John Heartfield{\textquoteright}s work firmly within the aesthetic and political debates of the larger European Left after the consolidation of National Socialism. Visual seamlessness cedes to an optics of transition, of metamorphosis, of temporal change, rooted in the discourses and anxieties of 1930s Europe.}, keywords = {Twentieth-Century Art}, author = {Kriebel, Sabine} } @mastersthesis {9326, title = {Right Princely Art: The Portraits of Ottheinrich}, year = {2003}, school = {UT Austin}, abstract = {A scholarly cliche has it that the modern art of portraiture was born in the Renaissance, but scholars have found these portraits difficult to discuss objectively. That difficulty is compounded in the case of Renaissance Germany, where scholarly focus has been on the bourgeoisie. Princely portraiture, recognized as an important subgenre, has been virtually ignored except insofar as it reveals Lutheran attitudes and goals. This dissertation rectifies that problem by examining the portraits of one prince, Ottheinrich (1502-59), elector Palatine from 1556. Rather than ask what kind of person Ottheinrich{\textquoteright}s portraits show, the dissertation looks at questions of what a portrait meant in sixteenth-century Germany, how it could be presented, and to what uses it could be put. The dissertation opens with Ottheinrich{\textquoteright}s biography and art patronage, asking why a minor historical figure needed dozens of portraits in multiple media over his entire adult life. Ottheinrich{\textquoteright}s reasons for advertising himself were urgent, having to do with his struggle to become elector Palatine in the face of considerable opposition. The second chapter of the dissertation places Ottheinrich{\textquoteright}s likenesses in the context of sixteenth-century German portraiture, examining both images and unusually rich documentary sources to determine what kinds of portraits were available and what expectations people brought to them. It divides images of Ottheinrich into categories. The themes and messages of the portraits were tied to the varying media Ottheinrich{\textquoteright}s artists used. Chapter three investigates his princely portraits in a Judgment of Paris (Berlin), tapestries (Neuburg an der Donau) and on bookbindings. Chapter four looks at Ottheinrich{\textquoteright}s Christian images, examining pilgrimage tapestries (Munich and Neuburg an der Donau), bookbindings, and a medal struck by Ludwig Neufahrer. Chapter five deals with Ottheinrich{\textquoteright}s genealogical and family images and focuses on tapestries (Munich) and the heraldry on portrait medals. The dissertation concludes that Renaissance Germany offered a wide variety of media, each with different advantages, that Ottheinrich could exploit to spread his image. The possibilities for expression were also great, and Ottheinrich used well-known formulas to make sure that educated, elite viewers of his likenesses would understand the nuances of each image.}, keywords = {Renaissance/Baroque Art}, author = {Kirch, Miriam Hall} } @mastersthesis {9355, title = {Romantic Fragments: Kurt Schwitters{\textquoteright} Collages}, year = {2003}, school = {Columbia}, abstract = {Kurt Schwitters developed a collage practice which emphasized the fragment, and his assertion of fragmentary compositional structures in a wide range of media followed from his sophisticated understanding of essential principles of fragmentary structure, which were proposed by the Romantics to express fundamental qualities of Modernity. Born in Hannover, Germany in 1887, Schwitters made thousands of collages from 1918 until his death in 1948. This dissertation demonstrates that the conceptual underpinnings of Schwitters{\textquoteright} artistic practice were developed from German Romantic theories of the intentional fragment as articulated by the late-18th century philosopher Friedrich Schlegel and his circle. My research augments current literature on Kurt Schwitters and establishes that-beyond its importance as a source of themes and nostalgic pictorial and poetic references-Romanticism provided the conceptual and structural foundations of Schwitters{\textquoteright} entire artistic practice. Romantic theories of the fragment have never been examined in relation to Schwitters nor to the history of collage. This study, limited to an examination of Schwitters{\textquoteright} early collages and assemblages, demonstrates the centrality of these theories for the artist{\textquoteright}s re-conceptualization of the collage medium, and presents previously unknown sources documenting the depth of his knowledge of essential Romantic theories acquired as a student at the Royal Academy of Art in Dresden from 1909 to 1914, where he attended literature classes taught by Oskar Walzel (1864-1944), a specialist in Romantic theory. Schwitters transposed the fragment from one medium to another to explore specific structural characteristics of each. This "reciprocal illumination of the arts," developed from Walzel{\textquoteright}s formalist theories, is based on Schwitters{\textquoteright} understanding of a Romantic fragmentary structure-one that is by definition incomplete, open-ended and revelatory of processes of formation, creation and becoming. The visibly torn and fractured elements of Schwitters{\textquoteright} collages are assembled with a dynamic adjacency that emphasizes the duality between the materiality of the fragments and the abstract geometry of their compositional arrangement.}, keywords = {Twentieth-Century Art}, author = {Hunter, Christina Rosine} } @mastersthesis {9328, title = {Rubens{\textquoteright}s Pastorals}, year = {2003}, school = {Brown}, abstract = {This dissertation examines Rubens{\textquoteright}s pastoral images. These images were created between the early 1620s and the late 1630s. They include pastoral landscapes, portraits in pastoral dress, as well as two pastoral scenes, one of which was inspired by a literary text. The goal of this dissertation is to contextualize as well as to define Rubens{\textquoteright}s pastoral imagery. Chapter one provides a visual analysis of Rubens{\textquoteright}s pastoral images aiming to identify what makes them a coherent pictorial group. This chapter also establishes the pictorial pastoral production, on which Rubens drew, in the Southern Netherlands, in Italy and in France. It focuses on examples dating before Rubens{\textquoteright}s own production, from the sixteenth and the early seventeenth centuries, but also on some images dating after the 1630s. In chapter two I discuss certain theoretical debates on the pastoral during the Renaissance and the seventeenth century in the Netherlands, Italy, and France. I include both artistic and literary theories on the pastoral genre, involving the issue of the definition of the pastoral; and of its position in the hierarchy of genres. Chapter three addresses the question of the definition of Rubens{\textquoteright}s pastorals by testing them against twentieth-century artistic and literary theories on the nature of this genre, as well as against certain other of his images. Chapter four examines more closely the pastoral in the Southern Netherlands. It includes the local literary pastoral production, the presence of pastoral literature in local libraries, and the manifestations of the pastoral especially at the Brussels court. It also raises the issue of Rubens{\textquoteright}s own garden and of his library, as further evidence for his personal interest in the pastoral genre. By situating Rubens{\textquoteright}s pastorals within a broader European and a local Southern-Netherlandish context, his choice of this genre is provided with a strong foundation on the artistic, literary and cultural concerns of his time. By defining the particular character of these images, Rubens{\textquoteright}s understanding of the pastoral tradition can be highlighted against certain too inclusive modern conceptions of the pastoral genre.}, keywords = {Renaissance/Baroque Art}, author = {Litsardopoulou, Nausika-Sotiria} } @mastersthesis {9258, title = {The Sacred Heart of Jesus: Art and Religion in Eighteenth-Century Italy}, year = {2003}, school = {Pennsylvania}, abstract = {This dissertation examines representations of the Sacred Heart of Jesus in eighteenth-century Italy. The Sacred Heart provoked some of most intense religious debates of the Enlightenment, many centering on the devotion{\textquoteright}s novel iconography. The Sacred Heart grew from a local cult in southern France into the most important eighteenth-century devotional phenomenon. It reached across the globe, embracing and transforming earlier religious, literary, and physiological conceptions of the heart, and operating on both popular and ecclesiastical levels. Depictions of the Sacred Heart articulated the new, controversial devotion while revealing the widening gulf between advocates of a Enlightened, rationalist, and moderate Catholicism and supporters of traditional, Counter-Reformation Catholicism-committed to a papal-centered, mystic, emotive, and populist spirituality. The cult sparked debates over Catholic reform, the embodiment of Christ in modern worship, the role of images in religious practice, and the place of mysticism and popular spirituality in the Enlightenment. I examine images of the Sacred Heart through five case studies. The first concentrates on the best-known representation: the small painting, designed in 1767 by Pompeo Batoni and the Jesuit Domenico Maria Saverio Calvi for Rome{\textquoteright}s Church of the Gesu. Chapter Two investigates the diffusion of this image through popular prints and the networks of religious figures who circulated these images. To understand how representations fueled the devotion{\textquoteright}s move from periphery to center, Chapters Three and Four investigate the first Italian altarpieces depicting the Sacred Heart and the reasons for their local success, in the case of the altarpieces emerging in Emilia Romagna from the 1750s through the 1780s, and the failure of the altarpieces (in contrast to the successful use of prints and ephemera) at the Archconfraternity of the Sacred Heart at San Teodoro al Palatino in Rome. Finally, expanding to an international, diplomatic dimension, I conclude with the set of seven enormous altarpieces, commissioned in the 1780s by the Portuguese queen from Pompeo Batoni for Lisbon{\textquoteright}s new basilica of the Sacred Heart, which point to the universal success of the cult in the nineteenth century.}, keywords = {Eighteenth-Century Art}, author = {Seydl, Jon L.} } @mastersthesis {9305, title = {Savonarola and the Origins of Florentine Mannerism}, year = {2003}, school = {Columbia}, abstract = {Fra Girolamo Savonarola{\textquoteright}s impact upon artistic production during the Renaissance has been the subject of many studies. Since Savonarola did not leave a treatise on art, these studies have sought out correspondences between the friar{\textquoteright}s sermons and the imagery of his age. To this end, his pronouncements from the pulpit have often been artificially synthesized into a pandect of artistic notions that are then forced on those paintings associated-sometimes very loosely-with his influence. In contrast, this dissertation offers a more historically and methodologically defendable exploration of Savonarolan aesthetics and their repercussions for the history of art. The first chapter analyzes Savonarola{\textquoteright}s concept of simplicitas, its roots in the tenets of early Dominican pauperism, and its application to specific artistic and architectural concerns. To be studied closely are two instances in which the concept was most clearly articulated: Savonarola{\textquoteright}s plans for his new convent and his 1496 manual on ethical and aesthetic sobriety, De simplicitate vitae christianae. The second chapter examines the artistic production of San Marco{\textquoteright}s most prominent artist, Fra Bartolomeo della Porta, and the artistic patronage of Savonarola{\textquoteright}s followers, the Piagnoni. Emphasis is placed on the incorporation of Savonarola{\textquoteright}s project of reform and his ideal of simplicitas into all aspects of Fra Bartolomeo{\textquoteright}s production, including iconography, style, and workshop practice. The final chapter turns to the Dominican convent of San Silvestro a Monte Cavallo in Rome, a city known for its recalcitrance towards Piagnonism and reform. This convent, where a number of prominent followers of Savonarola resided, was both artistically and morally at odds with Savonarola{\textquoteright}s religious tenets. New discoveries in Roman and Florentine archives permit a detailed reconstruction of the history of Rome{\textquoteright}s only satellite convent of San Marco, as well as the life and career of its most notorious resident: Fra Mariano Fetti. This history in turn sheds light on the works of Fra Bartolomeo for San Silvestro. At the crux of this study, these works emerge as the site of a moral and aesthetic conflict pitting Savonarolan simplicitas against Leonine majestas.}, keywords = {Renaissance/Baroque Art}, author = {Assonitis, Alessio} } @mastersthesis {9247, title = {Scribal-Sacerdotal Agency in the Production of the Neo-Assyrian Palace Reliefs: Toward a Hermeneutics of Iconography}, year = {2003}, school = {Harvard}, abstract = {Neo-Assyrian palace relief iconography (883-612 BC) has been understood in socio-political terms with particular emphasis placed upon political propaganda, itself centered on the king and his military accomplishments. There are, however, layers of covert visual rhetoric in this iconography which, upon decipherment, not only demonstrates its "sacred" content, but also puts both Assyrian religion and royal ideology in a more refined context. Each of the four divisions of this study addresses one particular mode of covert rhetoric in relief iconography, revealing a philosophical agenda in each that must have been embedded in the visual record through the mediation and supervision of a learned scribal-sacerdotal elite. The first part disentangles a rather unobtrusive but ubiquitous mingling of human and animal anatomy that may be thought to reveal among the designers of the reliefs an understanding in which man and beast were seen as ontologically cognate. The second part focuses on the art of Ashurnasirpal II and lays out in it the principles of a rhetoric of duality encompassing the union of the regnum and the sacerdotium, very similar in structure to the visual vocabulary of Egyptian duality that pertains to the unification of the two lands. The third part addresses the "monsters"/ Mischwesen represented on the reliefs, delineating the two sources whence they originate, the Mesopotamian antediluvian tradition and the poem of cosmogony. Both types evoke and signify a primordial time in the cosmos, and act as agents of a vanished "Golden Age" and its now restricted wisdom in both art and literature. Representations of these beings in Assyrian art may hence be understood as referring to the Assyrian scholarly elite themselves in their role of guarding the Mysteries and "esoteric knowledge." Finally, the fourth part presents an overview of the changing faces of the relationship between kingship and priesthood in the major periods of Mesopotamian history. It argues that in certain historical texts, the enemy may have been understood as yet another mask for the initiated elite in translating the shift in cosmic power structure from an older defeated "Golden Age" to a new regime in need of kingship.}, keywords = {Egyptian/Ancient Near Eastern Art}, author = {Atac, Mehmet-Ali} } @mastersthesis {9353, title = {Self-Portraiture and Self-Representation: The Painting and Writing of Giorgio de Chirico (1888-1978)}, year = {2003}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {Twentieth-Century Art}, author = {Hirsh, J. R.} } @mastersthesis {9288, title = {Sighing after the Infinite{\textquoteright}: Masculinity, Androgyny, and Femininity in the Art of Edward Burne-Jones}, year = {2003}, school = {Kansas}, abstract = {The art of Sir Edward Coley Burne-Jones (1833-98) is considered overwhelmingly "feminine" not only because female figures far outnumber males in his compositions, but also because many of his male figures display feminine traits. Reviews of the Grosvenor Gallery indicate that his representations of feminized males and masculinized females stirred public debates in the late nineteenth century. Burne-Jones had a number of ardent supporters, but he also had detractors who vehemently opposed his art. These detractors called his paintings imitative and his figures melancholic and sickly, but their most controversial accusations were the charges of effeminacy in his art. In this dissertation, I examine these charges within the cultural context of gender relations in the late Victorian era. The accusations of effeminacy and the subsequent defense of his art reveal the cultural politics underlying the shifting constructions of masculinity in this period.}, keywords = {Nineteenth-Century Art}, author = {Joyce, Beverly} } @mastersthesis {9368, title = {Sign Language: Pop Art, Vernacular Architecture, and the American Landscape}, year = {2003}, school = {IFA/NYU}, abstract = {This dissertation investigates the work of architects Robert Venturi and Denise Scott Brown and the dialogue they establish between architecture and art. From their early examinations of American commercial environments, most notably their studies of Las Vegas in the late 1960s, the architects have understood the changing methods of representation and the significant shifts in scale, which reoriented urban space to the experience of the highway and presupposed the car as a primary means of perception in the contemporary city. Pervasive in their writing on postwar architecture is their acknowledgment that Pop artists shared their interest in vernacular landscapes. Particular artists, while matching Venturi and Scott Brown{\textquoteright}s attention to an aesthetics of the everyday, also directed the architects{\textquoteright} conception of contemporary architectural symbolism and specifically influenced their representational strategies in several projects. Venturi and Scott Brown{\textquoteright}s exhibition Signs of Life: Symbols in the American City organized in 1976 at the Renwick Gallery, Smithsonian Institution presented America{\textquoteright}s vernacular landscape, bringing together lessons from courses they had taught on Las Vegas and Levittown. In these studios and in the exhibition proposals, the architects specifically engaged with Pop artists whose work informed the visual format of their curatorial efforts and shaped the objectives of later architectural projects. Through a comprehensive analysis of Edward Ruscha{\textquoteright}s and Claes Oldenburg{\textquoteright}s investigations of, and incursions into, the urban context, my study examines the ways that their art, as well as that of others associated with the Pop style such as Edward Kieholz and Andy Warhol, paralleled, and even anticipated, Venturi and Scott Brown{\textquoteright}s conceptualization of city spaces. Looking at several built projects, such as the Allen Memorial Art Museum, the Basco Building, and the Best Products Showroom, this dissertation considers Ruscha{\textquoteright}s representations of urban strips, Oldenburg{\textquoteright}s large-scale sculptures and monuments, as well as his and Coosje van Bruggen{\textquoteright}s architectural designs executed in collaboration with Philip Johnson and Frank Gehry, all of which exist in dialogue with Venturi and Scott Brown{\textquoteright}s theorization of urban vernacular architecture.}, keywords = {Twentieth-Century Art}, author = {Smith, Katherine} } @mastersthesis {9237, title = {Signs of Affinity: Canterbury Pilgrims{\textquoteright} Signs Contextualized, 1171-1538}, year = {2003}, school = {Emory}, abstract = {Medieval pilgrims who journeyed to the shrine of Saint Thomas Becket at Canterbury between 1171 and 1538 usually purchased metal souvenirs, which they wore to signify their status as pilgrims of Saint Thomas. These metal souvenirs, called "signs" in medieval documents, take two forms: ampullae, which contained a small amount of water tinged with the blood of the martyred saint, which pilgrims wore around their necks; and badges, which they wore pinned to their clothing. This study of Canterbury pilgrims{\textquoteright} signs adds to our understanding of medieval pilgrimage both empirically and conceptually. This study analyses the collection of Canterbury pilgrims{\textquoteright} signs discovered in archaeological excavations in the city of London and housed in the Museum of London. These pilgrims{\textquoteright} signs are contextualized using the Miracula Sancti Thomae Cantuariensis, the miracles collected at Canterbury Cathedral during the first decade of the cult, which provides the best evidence for the contemporary understanding of these objects. Other documents from the period and information about the use of badges by groups other than pilgrims are used to expand the picture of the society in which pilgrims{\textquoteright} signs were worn. Individual examples of unusual pilgrims{\textquoteright} signs and of situations in which pilgrims{\textquoteright} signs were used are analyzed in support of the conclusions derived from studying the signs collectively. This thesis proposes that to wear a pilgrim{\textquoteright}s sign meant more than the personal commemoration of a pilgrimage. Rather, the sign was a public statement of its wearer{\textquoteright}s ongoing affiliation with the saint, complete with mutual obligations of devotion and protection, and that this relationship was similar to other types of individual and corporate allegiances that were also signified by wearable insignia.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Lee, Jennifer Miller} } @mastersthesis {9290, title = {Sir Edward John Poynter and His Paintings of the Female Nude: Influences and Ideals}, year = {2003}, school = {Case Western Reserve}, abstract = {Sir Edward John Poynter, P.R.A. (1836-1919) was a prominent figure within the Victorian and Edwardian art worlds. Not only a respected artist in a variety of media, he was also an author, administrator and advocate for art reform. And yet, with few exceptions, his name and works are seldom discussed; nor has there ever been a major exhibition or monograph devoted to his art. The purpose of this dissertation is to examine his paintings of the female nude as visual manifestations of his adherence to and advocacy of classical paradigms and academic strictures. The focus will be on specific factors that both influenced these works as well as pictorially reflected the embodiment and conceptual canon of the Ideal. His artistic career encompassed a period from the implementation of the life study of the nude in art training until its demise as an idealized subject as a result of the advent of modern art movements. Poynter{\textquoteright}s paintings of the female nude provide a microcosm within which to study the Nude and Victorian Classicism in English academic art from 1860-1919.}, keywords = {Nineteenth-Century Art}, author = {Marsteller, Nancy-Clay} } @mastersthesis {9271, title = {The Sooji Screens and the Teinai Yurakuzu}, year = {2003}, school = {Michigan}, abstract = {F√{\textordfeminine}zokuga, conventionally translated as "genre painting," remains one of the categories of Japanese paintings insufficiently researched both in Japan and elsewhere. Although much work has been conducted regarding Kyoto Screens (Rakuch√{\textordfeminine} rakugai zu) in the last few decades, paintings of the early half of the seventeenth century sub-categorized as Pleasure-seeking Scenes ( Y√{\textordfeminine}rakuzu) have yet to receive adequate scholarly attention. Many art historians have found f√{\textordfeminine}zokuga useful primarily to support their developmental narratives of the more privileged genres of Heian period (794-1185) yamato-e ("Japanese painting"), Edo period (1615-1868) ukiyo-e ("Pictures of the Floating World"), and the studio style of the Kano school. This dissertation centers on the analysis of one early- to mid-seventeenth century screen painting commonly referred to as the Sooji Screens. This pair of eight-fold screen paintings pictures scenes of outdoor entertainment districts and the communal practice of arts in a private architectural setting. The composition of the left screen of the pair also became the model for many screens collectively called Mansion Screens (Teinai y√{\textordfeminine}rakuzu). Although interpretations of the painting have varied widely over the past century of art historical scholarship, the dominant reading of this image has characterized it as an important precursor to ukiyo-e emerging in the Genroku era. This dissertation conducts a historical analysis of the Sooji Screens by recontextualizing the painting in the cultural field in which it issued and circulated. In cities such as Kyoto and Edo, the members of the new military bureaucracy of the early Edo period strove to cultivate a unique aesthetic identity separate from the ruling canons of nobility, culture, and art associated with the court and aristocracy. Imagery like the Sooji Screens contributed to the articulation of a flamboyant and iconoclastic aesthetic style coded as uniquely "warrior." This "new" style was constructed through the aestheticization of prostitution patronage and the parallel of a contemporary samurai lover figure with the paradigmatic aesthete ideals of the Confucian scholar and the male lovers of both Chinese and Japanese court romantic narratives.}, keywords = {Japanese/Korean Art}, author = {Lee, Susan Jung} } @mastersthesis {9195, title = {The Soul of Transactions: Illustrated Travels and Representations of China in the Seventeenth Century}, year = {2003}, school = {Chicago}, abstract = {The subject of my thesis is the interaction of northern European and Chinese art in the period before Chinoiserie, specifically the seventeenth and early eighteenth centuries when many Europeans engaged Chinese art not merely as a source of decoration, but as a crucial means of comprehending Chinese culture. The materials of my study are primarily illustrated travel books about Asia, the majority of which were printed in Amsterdam and written by Jesuit missionaries, East India Company merchants, and European linguists, among others. My approach to the material is comparative; I consider these European publications and their proto-ethnographic and topographical illustrations in conjunction with similar representations produced in China during the late Ming and early Qing dynasties. In addition, I discuss paintings and printed books produced by European missionaries for the Chinese court and literati. These, along with certain forms of Chinese export art, allow me to engage questions about the role of art in conversion, the translation of style across cultures, and the relationship of calligraphy and the history of language to artistic practice. One goal of my thesis is to bring to the attention of historians of European colonialism a body of similar and comparable Chinese material. Our understanding of the links between art and imperialism are limited if we believe it was only European artists who sought to develop new ways of picturing foreign lands and people in the early modern period. In my thesis, I argue that certain aspects of mercantilism transform the conventions by which both European and Chinese artists represent the experience of travel and cultural difference in image and text. I show how commerce not only alters northern European conceptions of China from the sixteenth through the eighteenth century, but also how this transformation is reflected in China{\textquoteright}s own self-representation in export ware bound for European markets.}, keywords = {Chinese Art, Renaissance/Baroque Art}, author = {Odell, Dawn} } @mastersthesis {9243, title = {The Space of the Holy Body: Relics and Reliquaries in Medieval Ireland}, year = {2003}, school = {IFA/NYU}, abstract = {In Ireland, as elsewhere in medieval Europe, the cult of relics was an essential part of Christian worship: remains of the saints linked the earthly realm to the divine, and testified to the continuous presence of the holy in the world. But relics-whether corporeal remains or, as was more common in medieval Ireland, material relics, such as bells, books and staffs associated with the saints-are in need of supplement. It is the reliquaries, the containers for these sacred objects, that mediate the experience of the divine for the audience, literally coming between the worshipper and the holy space of the relic. In their forms and in their imagery, I argue, reliquaries represent holy space in relationship to the social spaces of early Ireland: the territorial spaces of secular and ecclesiastical jurisdiction, the enclosed spaces of the monastic complex, and the devotional spaces of cultic communities. Some reliquaries, including the Domnach Airgid book shrine and the large, {\textquoteright}tomb-shaped{\textquoteright} Shrine of St Manchan, were made and remade over several centuries; their patrons constructed {\textquoteright}spatial histories{\textquoteright} for the relics, and these histories were reimagined to accommodate the changing needs of their audiences. My reexamination of these histories enables an identification of the iconography of each shrine, and a reinterpretation of their functions. Royal patronage is established for the Shrine of St Manchan, and the Domnach Airgid is shown to reflect the territorial ambitions of a fourteenth-century monastery. Other shrine forms-bell shrines and staff shrines in particular-incorporated iconographic motifs that, although previously unidentified, are here argued to resonate with the hierarchical structures of Irish ecclesiastical organization. Three bell shrines are demonstrated to visualize the relationship between monastic law and secular responsibility, and the iconography of staff shrines is reevaluated in terms of the changing roles of bishops and abbots from the eighth through the twelfth centuries. By drawing on visual, textual, ritual and oral traditions, I place medieval Irish reliquaries in their historical and art-historical contexts, and outline the ways in which holy space was invested with social and political significance.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Overbey, Karen} } @mastersthesis {9185, title = {Spaces of Desire: The Department Store in America}, year = {2003}, school = {Boston}, abstract = {This dissertation addresses issues of consumerism, representation, and spatial theory in the development of the American department store from 1870 to 1930. It is a cultural study of a modern building type through the lenses of architectural history and spatial practice, interweaving considerations of the material artifact with those of space as a social and perceptual construct. Using the Wanamaker{\textquoteright}s Department Stores in Philadelphia and New York as a paradigm, it explores the relationship between architecture, in its real and imagined forms, and society, in identity and practice. The premise here is that this retailing type acted both as the site of commercial exchange in the modern city and as the setting for the staging of the myths of modern consumption. Visitors and inhabitants experienced the physical space defined by this architectural enclosure as both a material and fictional place, constructed as text and image as it was performed in social space and concretized in steel and glass. This project of analyzing the Wanamaker{\textquoteright}s department store as the embodiment of the economic systems and representational practices of modernity is divided into three parts. The first section sets out to examine the history of the institution as a retailing category, building type and spatial practice and then locate it in the larger context of the commercial city. Part Two traces the development of the store at the turn of the century in its shifting guises as a warehouse/factory and palatial home. The final section examines the construction of the retailing establishment as a modern utopia, made manifest in the representation of shopping as domestic routine and aesthetic excursion into the early twentieth century. The agenda in this dissertation is thus three-fold; to address the specific lack of a comprehensive treatment of the department store as a modern spatial type in the United States; to expand the analysis of the commercial landscape as a socially and mythically, as well as materially produced artifact; and to continue recent efforts in the social sciences that seek to concretize theoretical conceptions of space as a historically produced and actively contested construct.}, keywords = {Art of the United States}, author = {Iarocci, Louisa} } @mastersthesis {9329, title = {Spinello Aretino, Benedetto Alberti, and the Olivetans: Late Trecento Patronage at San Miniato al Monte, Florence}, year = {2003}, school = {Rutgers}, abstract = {The first study in English of monastic and family patronage in late Trecento Florence, this dissertation focuses on the decoration of the sacristy at San Miniato al Monte. While the church itself has been the focus of several studies, the historical events that led to the construction and decoration of this room (used as sacristy, chapter house, and commemorative chapel) have yet to benefit from an integrated, art historical investigation. A fresco Life of Saint Benedict is the artistic centerpiece of the sacristy{\textquoteright}s decorative program and itself an iconographic watershed. This cycle-one of the most important monuments of late-Trecento Florentine painting-is also the artistic apex of Spinello Aretino{\textquoteright}s career and his third major commission for the Olivetan Order. The three audiences addressed by the cycle are identified for the first time and the disparate perspectives of each group inform my reading of the iconographic sub-texts. New also to the literature is this dissertation{\textquoteright}s comprehensive examination of the Alberti family as benefactors of religious institutions and patrons of the visual arts. Drawing from published and unpublished documents and a variety of historical studies, this project places the sacristy in perspective as the family{\textquoteright}s premier artistic campaign of the 1380s. Benedetto Alberti-the city{\textquoteright}s richest and most dangerous statesman-paid for the decoration of the new sacristy at San Miniato al Monte on the eve of his two-year exile from Florence in 1387, immediately before departing on pilgrimage to the Holy Land. The sacristy project was his family{\textquoteright}s first involvement with the Order for whom they would continue as active patrons well into the next century. The early visual culture of the Olivetan Order is examined here in a comprehensive manner for the first time. Never before has that group{\textquoteright}s artistic heritage been chronicled with any sophistication; San Miniato al Monte{\textquoteright}s status as their first monumental fresco commission makes it an ideal starting point for such research. Moreover, this study accounts for the monastic patrons{\textquoteright} role in the conception and execution of artistic commissions and their participation in the production and trade of decorated liturgical texts.}, keywords = {Renaissance/Baroque Art}, author = {Loughman, Thomas} } @mastersthesis {9161, title = {St. Johns Abbey Church, Collegeville, Minnesota (1953-1961): The Benedictines and Marcel Breuer Search for the Sacred}, year = {2003}, school = {Virginia}, abstract = {The design of St. John{\textquoteright}s Abbey Church in Collegeville, Minnesota (1953-1961) demonstrates how a patron with an agenda, in this case the Benedictines supporting new liturgical reforms, can dictate the shape of modern sacred space. Led by Abbot Baldwin Dworschak, the brethren of St. John{\textquoteright}s put forth a powerful call to architects around the world in 1953 in their quest to design a building that would be significant in the history of American religious architecture. This study is important because the liturgical concerns evaluated and presented in the church{\textquoteright}s design predate the decrees of the Second Vatican Council (1962-1965), usually considered to be the watershed event in the development of a modern liturgical architecture for the Roman Catholic Church. Several of the St. John{\textquoteright}s Benedictines were involved in the preparations for the Council and through these men, numerous key architectural elements of the church were worked out with the Vatican and liturgical leaders in Europe. In addition to the liturgical experimentation occurring in Collegeville, the Benedictines decided that their new ideas were best shaped by a modern architect with an appreciation of functionalism, modern materials, and modern technology. Their prayers were answered when they selected the Hungarian-born, Bauhaus-trained designer Marcel Breuer (1902-1981) from a list of twelve international architects, all with a preference for modern design. The Benedictines worked together with Breuer to build a church that responded to reformed liturgical needs with a contemporary architectural expression, a building that transcended centuries and styles and gave them a place in the history of inventive monastic architecture. It also once again located the structures of organized religion at center stage in the history of American architecture, this time as a purpose-built paradigm of monasticism and liturgical reforms.}, keywords = {Architectural History/Historic Preservation}, author = {Young, Victoria} } @mastersthesis {9343, title = {Studies in the Rhetoric of Dominican Imagery in Fifteenth-Century Italy}, year = {2003}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {Renaissance/Baroque Art}, author = {Wolf, K. A.} } @mastersthesis {9232, title = {Studies of the Romanesque Sculpture of Saint-Pierre de Mozac in Auvergne: Location and Meaning}, year = {2003}, school = {Harvard}, abstract = {The Romanesque sculpture of Auvergne has long intrigued scholars because of its remarkable artistic unity, the many themes unique to the region, and the abundance of subjects derived from antiquity. The former abbey church of Saint-Pierre de Mozac is one of a group of six churches in Basse-Auvergne which exhibit an unusual unity of style in both architecture and sculpture. Though its choir was rebuilt in the fifteenth century, the nave, transept, and crypt match those of the other churches. The focus of this study is the sculpture of Mozac, which is unsurpassed in the region for its quality, sophistication, and abundance. Forty-five sculpted capitals remain in situ, primarily in the nave, and five capitals remain from the original Romanesque hemicycle. This dissertation has attempted to answer two questions about the sculpture of Mozac: (1) Is there any relationship between the location of sculpture and its meaning? (2) Why are there so many antique, pagan themes in the church? The two questions are interrelated because the preponderance of pagan subjects in the nave of the church suggests a connection between those themes and that location. The sculptures from the choir hemicycle quite appropriately focus on Christ and the central elements of Christian belief. Capitals depicting the Resurrection, a rare scene from the Apocalypse, and the Four Evangelists are related to Christ and to the altar, the locus of Christ{\textquoteright}s presence in the Eucharist. In addition, two capitals depicting atlante figures, which at first seem to correspond more to the pagan motifs of the nave, functioned as part of a hierarchy of figures typically accompanying a central image of the divine. With the Four Winds and Four Evangelists, they suggest that Christ was depicted in the vault above, as at Cluny. A capital depicting the Deliverance of Saint Peter is quite significantly placed at the threshold to the choir, on the path of the monks from the cloister entrance. This dissertation has shown that in Auvergne, the area of the transept was often a locus for imagery of the patron saint. The Peter capital is related to the monks{\textquoteright} entrance, choir threshold, and crypt, with its relics of saints. The primary finding of this study concerns the nave capitals, which are shown to be derived from classical Dionysian motifs. Their precision and detail show an awareness and understanding of Dionysian iconography and mythology, rather than random borrowings. With the scenes from the Old Testament in the nave, they represent the past, fulfilled and redeemed by Christ, the True Vine. The placement of the sculptures corresponds to the symbolism of the church, understood as a place of passage, the goal of which is the altar and Christ.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Bond, Sarah Carrig} } @mastersthesis {9230, title = {Style, Ideology, and Identity: Issues of Patronage and Courtly Culture in the Work of Simone Martini}, year = {2003}, school = {UC Santa Barbara}, abstract = {Simone Martini, a fourteenth-century Sienese artist, was well-known in his own time for the mannered and elegant style in which he painted. Simone{\textquoteright}s style was easily distinguishable from the work of his contemporaries because of qualities often described as "courtly." Later, scholars noted the courtliness of Simone{\textquoteright}s work but chose to focus, for the most part, on other key issues such as attribution and chronology. As a result, the larger cultural significance of Simone and his place within the history of art has been difficult to establish. I suggest that Simone{\textquoteright}s style of painting represented a self-conscious choice that was connected to larger cultural exchanges taking place in fourteenth century Tuscany; Simone{\textquoteright}s patrons found his work especially attractive because it reflected certain social, religious and political ideologies (which focused on class identity) that were an intrinsic part of this process. Further, I argue that the formation of this identity through the aesthetic ideal that is present in Simone{\textquoteright}s work resulted in part from the pressures toward social cohesion in the patron class. Chapter One of the dissertation is an examination of the role that courtly ideals played in the emerging culture of Italian city-states and thus provides the basic historical context for the dissertation. This analysis is accomplished through the study of contemporary descriptions in conjunction with brief overviews of the roles that literature, music and art played in the Trecento. Chapter Two focuses on Simone and Siena, investigating the role of the Nine in the creating and redefining the cultural landscape during their period of rule (1287-1355), which included the commissions that Simone completed for the commune. Chapter three examines the cultural milieu of the papal curia and the Angevin Kingdom of Naples and several of the commissions that Simone executed for patrons who were members of these courts. The final chapter reviews the analyses of the second and third chapters and examines the courtly ideology present in Simone{\textquoteright}s work, thus providing the means by which to analyze the process of self-definition among Simone{\textquoteright}s patrons and resulting in an elucidation of the larger significance of Simone{\textquoteright}s work.}, keywords = {Early Medieval/Romanesque/Gothic Art, Renaissance/Baroque Art}, author = {Duran-McLure, Michelle} } @mastersthesis {9168, title = {Subversive Humor: The Performance Art of Hannah Wilke, Eleanor Antin, and Adrian Piper}, year = {2003}, school = {CUNY}, abstract = {The Women{\textquoteright}s Movement served as a major catalyst for feminist art in the United States during the 1970s. It produced a "carnivalesque" moment when groups of women sought to promote political and social change. Although anger often inspired socio-politically concerned art of the 70s, there were complicated notions of humor operating at the same time. This dissertation emphasizes the humorous, yet serious strategies of American feminist art of the decade. The first chapter of this dissertation provides an overview of critical issues and contexts relevant to the paper. According to Mikhail Bakhtin, carnival offers a potential site for social and linguistic transgressions, for historically it produced a time when the populace used humor to rebel against established norms and authority of all kinds. The integral concept of the "Carnivalesque Diaspora" is presented and humor is discussed as a strategic tool in the hands of "unruly" women, in particular, feminists. This leads to the key premise: that feminist performance art is carnivalesque and reflects the carnival-like environment of the 70s Women{\textquoteright}s Movement in general. The thesis is supported through the examination of the different types of humor at work in the 1970s performance art of Hannah Wilke, Eleanor Antin, and Adrian Piper. The artists serve as case studies, which encourages close analysis of individual pieces. Wilke, Antin, and Piper{\textquoteright}s comedic strategies are conceptualized along a spectrum: humor moves from Wilke{\textquoteright}s puns to Antin{\textquoteright}s masquerade to Piper{\textquoteright}s sarcasm. All three artists work with levels of gender experimentation and bodily transgression. As this dissertation travels along its spectrum of humor, it simultaneously transverses a body-politic axis: beginning with Wilke{\textquoteright}s mimesis of the classically beautiful body, to Antin{\textquoteright}s liminal body, and ending with Piper{\textquoteright}s purposefully disturbing or grotesque body. The conclusion briefly looks at feminist art from the 1980s. Linkage of the 70s with more recent artistic production not only removes 1970s feminist work from its artistic ghetto, but also contradicts notions that the tremendously successful, ironic women artists of the 1980s burst onto the art scene without art historical predecessors.}, keywords = {Art of the United States, Contemporary Art}, author = {Wacks, Debra} } @mastersthesis {9165, title = {Susan Rothenberg: Recreating Significance in Late Twentieth-Century Painting}, year = {2003}, school = {CUNY}, abstract = {This dissertation is a study of the work of American artist, Susan Rothenberg, a painter whose work emerged in the 1970s. The primary focus of this study is to analyze the sources and evaluate the contribution of Rothenberg{\textquoteright}s well known horse paintings of the 1970s. Connections to Minimalism, Abstract Expressionism, and Performance Art are carefully considered in the first two chapters. The third chapter examines her work in the context of New Image Painting. Chapters four and five consider Rothenberg{\textquoteright}s place in relation to New Expressionism, the tradition of the painterly image in Contemporary art, and themes and technical concerns from the horse paintings to the present. In addition, the impact of Rothneberg{\textquoteright}s move to New Mexico in 1990 will be discussed. This study places Rothenberg{\textquoteright}s work in a broad Art Historical context and establishes her contribution to the paintings genre during the late twentieth century.}, keywords = {Art of the United States, Contemporary Art}, author = {Erpf, Rosemary} } @mastersthesis {9321, title = {Tabletop Still Lifes in Haarlem, c. 1610-1660: A Study of the Relationships between Form and Meaning}, year = {2003}, school = {Maryland}, abstract = {Scholars have considered Dutch still life and its meaning from a variety of methodological perspectives and have often reached different opinions on the prevalence of intentional moralizing meaning in these pictures. This study approaches meaning-that is, messages specifically religious or moralizing in nature-in still-life painting by focusing on paintings produced in Haarlem between 1610 and 1660 and assessing their capacity for meaning in terms of their visual structure and the objects featured in them. Drawing on a database of 630 paintings created for this study, I analyzed the patterns that developed in Haarlem tabletop still-life painting; from the objects and foods used in these paintings to their thematic types and compositional characteristics. The results of these analyses foster an understanding of the most typical forms of the Haarlem tabletop still life. However, these analyses also permit one to identify works exceptional in visual structure and/or use of objects that convey unmistakable messages focused on christological and vanitas themes. A prime example of a painting with these qualities is a large canvas by the artist Willem Claesz. Heda (1635-National Gallery of Art, Washington). The compositional structure in this picture focuses one{\textquoteright}s attention on a roll along the front edge of the table. A contrast between the roll and the rest of the table is evident: the latter has been consumed while the former is untouched. The presence of elements connoting transience-an extinguished candle and a broken berckemeier-underscores the allegorical nature of this painted table and sharpens the contrast between the roll as symbol of Christ and the rest of the table as a worldly, ephemeral indulgence. While most tabletop still lifes painted in Haarlem between 1610 and 1660 were not overtly allegorical, a significant number were. The methodology in this study allows one to identify these paintings and assess the nature of their meaning.}, keywords = {Renaissance/Baroque Art}, author = {Gregory, Henry} } @mastersthesis {9148, title = {That Which Stimulates and Numbs Us: The Museum in the Age of Trauma}, year = {2003}, school = {CUNY}, abstract = {This dissertation examines four museum projects that opened in the last quarter of the 20th century with the purpose of presenting traumatic cultural material to the general public. These museums are (1) the Narrenturm Federal Pathological-Anatomical Museum in Vienna, (2) the Temple of Confessions by Guillermo Gomez-Pena, (3) the NAMES Project Memorial Quilt (the AIDS Quilt), and (4) the United States Holocaust Memorial Museum in Washington, D.C. Although focusing on diverse materials, these projects are similar in the way they challenge the "edification" paradigm that describes the function of the traditional museum. In studying museums built to accommodate traumatic material, we must consider not only the physical objects but also the potential for viewers coming upon the traumatic material to become traumatized. Viewer traumatization contradicts the edification paradigm because, by definition, trauma occurs in individuals when they cannot assimilate what stands before them into their existing knowledge. In order to understand how these museum projects present traumatic material and deal with potentially traumatic effects on viewers, it is necessary to construct an alternative museum paradigm. Because trauma is a central concern of psychoanalysis, it is productive to use psychoanalytic theory in this construction. The psychoanalytic museum paradigm eschews models that begin their analysis with the museum object or collection. Instead, the new paradigm focuses on the performative acts (symptoms) of the museum visitor. In these four museum projects, symptoms point to the presence of trauma in the viewer. In this dissertation, the psychoanalytic museum paradigm, developed through a consideration of the work of Sigmund Freud and Jacques Lacan, is proposed and developed. It is used to help unravel the symptoms of trauma in the museum visitor, especially the often perplexing and contradictory behaviors that follow its manifestation. In a final analysis, this study proposes new configurations for museums that will be built in the future to present traumatic material to the general public.}, keywords = {Architectural History/Historic Preservation, Contemporary Art}, author = {Patt, Lisa} } @mastersthesis {9291, title = {Theodore Chasseriau and the French Colonial Project in Algeria}, year = {2003}, school = {IFA/NYU}, abstract = {Recent scholarship has suggested that French artist Theodore Chasseriau (1819-1856), born in Santo Domingo to a French diplomat and a Creole woman, was in fact a sang-mele, whose racial identity is reflected in his pictures. Unsettling notions of a direct correlation between biological make-up and artistic production, this dissertation aims to show that Chasseriau, while self-conscious of his difference, captured in his work a more general mid-nineteenth-century fascination with racial classification. This interest is apparent in his paintings inspired by a three-month sojourn in Algeria in 1846, which occasioned a fundamental turning point in the artist{\textquoteright}s career. Indeed critics noticed an increasingly idiosyncratic deployment of color and a more expressive brushstroke that Theophile Gautier attributed to the military milieu in North Africa. Accordingly, I argue that Chasseriau{\textquoteright}s most important commission to decorate a public building, the mural cycle conceived for the escalier d{\textquoteright}honneur of the Cour des Comptes at the Palais d{\textquoteright}Orsay, achieved between 1844 and 1848, allegorized the French conquest and colonization of North Africa. Dependent on the precedent established by his chief critical champion Gautier, who traveled to Algiers and Constantine in 1845 with the intention of writing a Voyage pittoresque based on his experience, Chasseriau{\textquoteright}s imagery, like Gautier{\textquoteright}s writings, demonstrates an anthropological consciousness. My analysis of Chasseriau{\textquoteright}s production of images of Algeria{\textquoteright}s diverse population drawn from this milieu draws out of them certain affinities with the conclusions arrived at by anthropologists such as Bory de Saint-Vincent, the director of the Commission d{\textquoteright}exploration scientifique de l{\textquoteright}Algerie. Those conclusions tended to establish a racial and cultural distinction between Arabes and Kabyle Berbers. The latter were constructed as the true indigenous population of the Maghreb with kinship ties to Celtic French ancestors. This maneuver, which I argue is embodied in Chasseriau{\textquoteright}s representation of Gallic warriors in his ambitious painting exhibited at the 1855 Exposition Universelle, La Defense des Gaules, rationalized the colonial project even as it proposed that national self-realization depended on the full incorporation of North Africa into the metropole.}, keywords = {Nineteenth-Century Art}, author = {Peter Miller} } @mastersthesis {9316, title = {Titian{\textquoteright}s "Rape of Europa": The Intersection of Ethics and Aesthetics}, year = {2003}, school = {Chicago}, abstract = {Titian{\textquoteright}s Rape of Europa is a work often touted as the greatest Italian Renaissance painting in an American collection. It is also considered one of Titian{\textquoteright}s finest works and it{\textquoteright}s not hard to see why. The painting is rightfully praised for its subtle modulations of luminous colors and its wide array of palpably sensual textures. If this were all there were to the painting, then I would say that its univocal acclaim and pride of place in the canon would be entirely justified. But there is a dark side to this virtuosic display of lustrous colors and shiny textures: the painting, I shall argue, eroticizes and celebrates rape and this is a serious ethical defect. Further, I make the case that this defect diminishes the painting aesthetically. The general point defended here, then, is that an artwork can, in certain cases, be worse off qua work of art precisely because of its ethical flaws. I argue for this in two stages. The first part of the dissertation examines Titian{\textquoteright}s painting and makes the case that it has a particular sort of ethical flaw, namely that it eroticizes and celebrates sexual assault. The second part argues for the aesthetic relevance of this flaw. Taking Hume{\textquoteright}s analogy between artworks and friends as a point of departure, I show how in certain instances agreement with a work{\textquoteright}s ethical orientation can be a condition for responding to the work in a way required for its artistic success. In those cases in which artistically important features of a work depend upon the audience{\textquoteright}s having an unethical response, we have good reason not to respond to the work in the way required to fully understand and appreciate it. The work fails to merit a response that is central to achieving its own artistic aims, and this, I argue, is an aesthetic failure.}, keywords = {Renaissance/Baroque Art}, author = {Eaton, Anne} } @mastersthesis {9154, title = {Topologies: The Urban Utopia in France, 1960-1970}, year = {2003}, school = {CUNY}, abstract = {This dissertation examines the utopian architectural and urban designs of a specific group of practitioners in France during the decade of the 1960s. The study focuses on the architects, artists, critics, and theorists associated with the Groupe International d{\textquoteright}Architecture Prospective, founded by the critic Michel Ragon in 1965. The diverse work of the individuals associated with the GIAP is described in relation to the socio-political context of France and the world during this period. Specifically, the dissertation discusses the debates about urban design in Paris during the mid-sixties, developments in scientific technology and the social sciences, as well as contemporaneous developments in architectural and artistic practice. The term "topology" is discussed as it related to both the mathematical determination of structures in engineering and space frame design, as well as its popular dissemination in architectural, urban, and artistic discourse. The aim of the study is to describe the complex cultural and ideological issues that faced this avant-garde during a period of intense social change.}, keywords = {Architectural History/Historic Preservation, Twentieth-Century Art}, author = {Busbea, Larry Dale} } @mastersthesis {9267, title = {Tourism in Roman Greece}, year = {2003}, school = {Missouri}, abstract = {Tourism in Roman Greece has been implied tangentially in studies of Roman travel or culture, but has not been fully treated. Examination of the Greek writer Pausanias reconfirms his Periegesis Hellados as a cultural guide-book, situated firmly within a tradition of guidebooks and circumscribed chorographies. "Attractions" in Greece are surveyed and found to act as functions of education and the desire for connection with significant places and objects. A canon of "great art," the institution of healing spas, and the ubiquitous festivals are also seen to contribute to the lure of Greece. A cross-section of tourist types is achieved by use of the literary sources and analogy with tourist graffiti in Egypt. Tours can be divided into five types: educational, lecture, governmental, antiquarian, and tours of transit. These are illustrated by seven tours. Evidence for souvenirs is garnered from the literature. This material is bolstered archaeologically. Iconographic and distribution analysis argue that Roman Provincial coins, as well as some works in terracotta, bronze and stone of roughly contemporary date should occasionally be interpreted in this way. A survey of sources concerning accommodations, matched with archaeological plans drawn from southern Italy, and previously identified way stations in Europe, provide a yardstick against which to measure similar evidence from Greece. This evidence reveals several types of accommodation, including way-side stations, urban inns and sanctuary hostels.}, keywords = {Greek/Roman Art}, author = {Stumpf, Joseph Anthony} } @mastersthesis {9294, title = {A Tradition Gone Awry: The Salon Nude in Fin-de-Siecle France}, year = {2003}, school = {UC Berkeley}, abstract = {This dissertation examines the critical reception of images of nude or semi-nude bodies exhibited from 1880 to 1905 in the Salon, officially called by 1890 "La Societe des artistes francais." It is critics{\textquoteright} reactions to representation of such subject matter which most richly and complexly reveals to us why the Salon-Academic Tradition had become not merely stagnant at the end of the nineteenth century but had entered into a period of intense breakdown. Given that its foundation-and indeed the foundation of the Western system of visual representation-was the nude human figure, critics tell us not only what they think is so intensely wrong with the nude, but also what they think is wrong with the Academic Tradition at the end of the nineteenth century. In Chapters One and Two of my dissertation I analyze the milieu in which this Tradition existed during the 1880s and 1890s vis-a-vis the careers and oeuvres of two painters: Jules-Joseph Lefebvre (1834-1912) and Raphael Collin (1850-1916). I argue that specific works by them were in fact concerted efforts-and failures-to revive the Academic Tradition (Lefebvre) or to create an alternative to it within the space of the Salon (Collin) at the dawn of the twentieth century. The third chapter concerns the work of Fernand Cormon (1845-1924), a painter whose reputation was based on images of prehistoric humanity-"cave" men and women wearing minimal clothing. Cormon received consistent praise from critics as one of the few painters of consequence exhibiting in the Societe des artistes francais at the end of the century. I argue that Cormon attempted to make the painting of prehistory a means by which the human body could be reimagined. The prehistoric body allowed Cormon to push forward his study of the human figure-fully explore the academie-without explicitly repeating in subject and tone the work of an earlier generation of painters. Critics recognized and praised this effort.}, keywords = {Nineteenth-Century Art}, author = {Parker, Shalon} } @mastersthesis {9208, title = {The Tragic Screen: Cinema at the Limits of Philosophy}, year = {2003}, school = {Rochester}, abstract = {In the aftermath of a century that witnessed vast technological development alongside unprecedented disaster, contemplation of the relation between reason and representation has never been more necessary. The atrocities of the 20th century led to a rethinking of western Enlightenment thought and instrumental reason, and by the close of the century, all political and ethical claims had been destabilized by postmodern theories. This dissertation argues that the concept of tragedy is an important critical tool for thinking beyond the stalemates and failures of reason. I argue that it is the film screen rather than the theatrical stage that now poses the challenge of tragedy. I argue that philosophy from Plato to Derrida is defined through its encounter with the problem of tragedy-whether as the effort to overcome its aporias or to affirm them. As such it enacts tragedy{\textquoteright}s repeating drama of loss and renewal. I describe tragedy through a series of oppositions, or aporias, within thought and art-subject and object, rise and fall, freedom and necessity, finite and infinite, and law and justice. The agent of tragedy is the human figure and its drama is the contest between chance and fate. Despite the centrality of tragedy to the dramatic, film is one of the few disciplines to have failed to produce a substantial contribution to the discourse on tragedy. Film scholarship has more often understood cinema in terms of melodrama and genre, and its predominant conceptual framework has been born of Althusserian Marxism and Lacanian Psychoanalysis. This dissertation takes a different approach, charting the parallels between cinema and the structures of thought and asking how this popular form reveals philosophy{\textquoteright}s limits and presents a tragic alternative. I do this through an analysis of singular films as well as the deep structures of modern cinema-music, stardom, action, love, and justice. This dissertation takes a new approach towards the screen that escapes the limitations of both traditional aesthetics and current approaches to arts and media.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Film/Video}, author = {Celeste, Reni} } @mastersthesis {9142, title = {The Transcultural Lens: Picture-Taking, Portraits, and Performing Identities on the Kenyan Coast, 1940-1980}, year = {2003}, school = {Columbia}, abstract = {The study of African photography has emerged as a dynamic and widely appreciated field over the last decade. However, much of the literature is related to the presentation of photography by Africans within museum and gallery contexts, with only a handful of scholars providing discussions based on in-depth and on-site research. This dissertation explores the recent practice of black and white studio photography along the Indian Ocean coast and specifically, in Mombasa, Kenya. Fifty years after the region{\textquoteright}s first studio was established and began producing postcards in Zanzibar, photographers of South Asian backgrounds began tailoring their services to diverse studio customers. In Mombasa, these urban Swahili, Asian African and newly urban African clients used portrait photography, from the 1940s to the 1980s, to imagine, negotiate and produce new urban subjectivities. Together with their photographers, they engaged in a creative and collaborative process drawing upon diverse elements, from Islam and Hinduism to Indian film, Hollywood headshots and European fashion, in order to create idealized images of themselves. Women, in particular, actively participated in this practice, using photography as a critical means of self-determination. Building upon interviews with photographers and clients, this study investigates the imagination and photographic production of Mombasa{\textquoteright}s urban identities, creating a platform for a broader and more inclusive discussion of African photography with attention to both its local and global significance.}, keywords = {African Art (sub-Saharan)}, author = {Brielmaier, Isolde} } @mastersthesis {9349, title = {Tunnel Vision: Images of the New York City Subway, 1904-41}, year = {2003}, school = {Rutgers}, abstract = {Examined in their social context, amid new technologies and the constantly transforming urban environment, representations of the subway reveal dualities between public and private space, freedom and restraint, and the machine and the body. The subway altered perceptions of time and space in the urban environment when it opened in 1904. Its earliest representations on souvenirs, postcards, song sheet covers and in film celebrated the subway as part of the modern urban landscape and often poked fun at its crowded conditions and speed. The introduction of futurism to the United States in the 1910s prompted Max Weber, Joseph Stella, and Fortunato Depero to depict the subway. Constantly roaring beneath the city, the subway was a befitting topic, enabling futurist inspired artists to position the viewer to experience the frenzy of urban space. By the 1920s and 1930s the subway was one of the most densely and diversely populated spaces in the city. It emerged as a site in which to investigate the masses, a popular goal among artists influenced by trends away from European modernism toward legible styles and local subject matter. Two of the most prolific, Reginald Marsh and Walker Evans, created works that depended on the subway as a public space within which people of all backgrounds rode in close proximity. Carving illusionary privacy, riders avoid one another{\textquoteright}s glance, searching for unoccupied visual space. By close visual scrutiny of the subway, Marsh turned himself, his painted characters, and his audience into voyeurs. Evans took photographs of riders with a concealed camera between 1930 and 1941. While Marsh never hid his authorial gaze, Evans{\textquoteright} photographs depended on the subversion of his photographic vision and the blindness of his subjects to his presence. From Weber{\textquoteright}s and Stella{\textquoteright}s visceral depictions to Marsh{\textquoteright}s and Evans{\textquoteright}s voyeuristic approach to the subway as a site of watching, being seen, and averting gaze, generations of artists working in a variety of styles turned to the subway as a subject matter because it afforded them novel forms of visuality.}, keywords = {Twentieth-Century Art}, author = {Fitzpatrick, Tracy Schpero} } @mastersthesis {9341, title = {Uitgedreven en door Godts Engel Geredt{\textquoteright}: The Biblical Hagar and Ishmael in Seventeenth Century Netherlandish Art and Literature}, year = {2003}, school = {UCLA}, abstract = {From the Old Testament, Hagar{\textquoteright}s tragic tale of servitude, expulsion, and exile with her son Ishmael was of great significance to seventeenth century Netherlanders, as the story{\textquoteright}s prevalence in the painting and literature of the Dutch "Golden Age" attests. About 140 paintings of the narrative survive and, combined with a group of prints, etchings, and engravings, suggest that the theme was a peculiarly northern Netherlandish preoccupation. I deal with questions of audience, patronage, and function, and survey the literary development of the theme in Christian tracts and conduct books, sermons, prayer books, poetry, and a theatrical play. This establishes a cultural context for the paintings, clarifies meaning, and charts the parallels and discontinuities between religious art and literature. The story of Sarah{\textquoteright}s Egyptian slave, who, at her barren mistress{\textquoteright} urging became Abraham{\textquoteright}s concubine and mother of his first-born son Ishmael, only later to be banished from the household, and then rescued by an angel, (Gen. 16, 21) belongs to the Abraham stories concerned with the search for an heir. Traditional Christian theology saw Hagar and Ishmael merely as typological villains, as the Epistle of Paul prescribed (Gal. 4:21-31). However, seventeenth century Dutch painting largely rejected the Pauline stereotype: curiously, the pictorial Hagar is almost always shown as sympathetic. Why? Early modern literary developments and the Dutch experience specifically had implications for the story{\textquoteright}s appeal and visual form in the Netherlands. Dutch literature did not see Hagar solely as a stereotypical villain: sympathetic attitudes emerged. Some even praised her as a model of penitence and maternity. This left painters freer to tell Hagar{\textquoteright}s tale in terms of fundamentally human values and emotions. Moreover, they recognized the dramatic appeal of a beautiful, young woman caught in a terrible bind. In sum, as both literature and painting attest, the Dutch developed a curiously ambivalent attitude toward Hagar as they struggled to make historical sense of the outwardly cruel biblical story of a fractured family, so at odds with their own ideals. Thus, what we are seeing in the Hagar-themed paintings is the intersection of literature, art, and human experience, and the manner in which these forces work upon each other in the Dutch cultural sphere. Shaped by these special conditions and raised up by sympathetic literature, the pictorial maidservant becomes extremely attractive, enhanced with a new, peculiarly Dutch, sense of humanity.}, keywords = {Renaissance/Baroque Art}, author = {Sellin, Christine P.} } @mastersthesis {9261, title = {The Vatican Necropolis: Ritual, Status, and Social Identity in the Roman Chamber Tomb}, year = {2003}, school = {UT Austin}, abstract = {This dissertation examines the second and third century chamber tombs of the Vatican Necropolis in terms of form, function, and ritual. The Vatican Necropolis is the modern name given to the two rows of tombs, single-chambered brick-faced monuments now underneath St. Peter{\textquoteright}s Basilica in the Vatican City. These monuments-the best preserved examples of this important tomb typology-lay undisturbed from the fourth century until 1939, when an excavation team working on the authority of Pius XII cleared a total of twenty-two tombs. Untouched for centuries, the painted and stuccoed interiors of these tombs, with their mosaic floors and sarcophagi and urns lining the walls, are the most remarkable examples we have of Roman funerary art in its original architectural context. The examination includes the relationship of the necropolis to the topography of the Vatican plain, memory and ritual activity tomb side, and the relationship of these tombs to civic euergetism in Rome. An important goal is to show how the tombs worked to secure remembrance for the dead, while also giving status and affirming a desired social identity for the surviving family and heirs. The re-insertion of a Roman viewer allows a reading of the monuments that includes the architectural form and the interior artistic program of wall paintings, decorative stucco, mosaic, and sculpture. In addition, there is a strong emphasis on the under-examined aspect of the experiential quality of these tombs for the living, the family and friends who made repeated visits annually to the monuments during Roman festivals such as the Parentalia and the cena novendialis. This group was the principle audience for the tomb{\textquoteright}s interior program, and through ritual activity and banqueting they periodically animated the tomb, transforming it from a passive monument into an active space for entertainment and reception.}, keywords = {Greek/Roman Art}, author = {Gee, Regina Lynn} } @mastersthesis {9250, title = {A Very Great and Uncommon Genius in a Peculiar Way{\textquoteright}: Joseph Wright of Derby and Candlelight Painting in Eighteenth-Century Britain}, year = {2003}, school = {IFA/NYU}, abstract = {Joseph Wright (1734-1797), known as "Wright of Derby," ranks among the finest painters of Britain{\textquoteright}s golden age. Equally adept at portraits, landscapes, and history subjects, he is best remembered for his remarkable depictions of artificial light. This study re-examines Wright{\textquoteright}s candlelight paintings, seeking to regain the meanings they embodied for their earliest viewers. It begins by situating Wright{\textquoteright}s work within the broad history of tenebrist painting, with particular attention to seventeenth-century Dutch {\textquoteright}fine-painters{\textquoteright} such Gerrit Dou and Godfried Schalcken, and to mid-eighteenth century British night painters such as Henry Robert Morland and James H. Bunck. It relates the period{\textquoteright}s taste for dramatic chiaroscuro in the fine arts to the popularity of spectacle in other aspects of the visual culture-from the {\textquoteright}Eidophusikon{\textquoteright} to transparency paintings to public illuminations. Next, it re-examines Wright{\textquoteright}s celebrated painting of the Orrery, discrediting its supposed representation of a real historical event with recognizable figures surrounding an actual astronomical machine. It re-presents this iconic image of Enlightenment science as a thoughtful meditation on the nature of art cleverly constructed from printed sources, and directed to a large public audience. Similarly, it questions the traditional identification of Wright{\textquoteright}s Hermit as Democritus. Instead, it proposes a deliberately evocative, polysemic narrative structure-one that draws meaning from the contemporary vogue for hermits and hermitages, and that manifests Wright{\textquoteright}s evolving conception of the modern subject painting. It concludes with a new analysis of Wright{\textquoteright}s candlelights from 1768 to 1773, a vital period of innovation and change, when the artist altered his handling, composition, and techniques of painting, and prepared many of his most accomplished genre scenes. In addition to his arresting depictions of women reading letters and children occupied with bladders and with cats, Wright{\textquoteright}s celebrated views of iron forges and blacksmiths{\textquoteright} shops, as well as his earliest landscapes, are considered here. Finally, an appendix provides the hitherto-unknown contents of Wright{\textquoteright}s library, as they appear to have descended to his widowed son-in-law, Graham Chappell, by 1834.}, keywords = {Eighteenth-Century Art}, author = {Barker, Elizabeth} } @mastersthesis {9287, title = {The Viewer Viewed: Art{\textquoteright}s Public in Victorian England}, year = {2003}, school = {CUNY}, abstract = {During the nineteenth century, England witnessed a proliferation of new museums and exhibiting societies. These new venues included the foundation of the National Gallery in 1824 and the great public exhibitions of mid-century such as the Crystal Palace of 1851 as well as the creation of numerous municipal museums in the 1870s and 1880s, in addition to the annual exhibitions of the Royal Academy, which had been founded in 1768. This dissertation examines the representation of the art public, in paintings, prints, periodical illustrations, and cartoons during this period of art mania. Such images provide information not only about the public{\textquoteright}s experience of visiting art exhibitions in the Victorian era but also about the issues surrounding the formation of public art institutions. Chapter One examines the origins of exhibition culture in England and its earliest representation in prints and cartoons. These images, derived from seventeenth-century Flemish gallery pictures and eighteenth-century conversation pieces, are considered in light of eighteenth-century aesthetics and the changing identity of the public. The foundation of the National Gallery and the attendant exploration of its audience in contemporary imagery, parliament, and the press forms the basis for Chapter Two. Chapter Three focuses upon the iconography of education in the representations of the art public. Images of women with children, the frequent inclusion of exhibition catalogues, and the mixing of the classes are discussed within the context of the rhetoric of self-improvement and contemporary cultural theories. After the democratization of the art public at mid-century, the end of the nineteenth century witnesses the separation of the art public by class. Chapter Four contrasts the rarified art public of the Grosvenor Gallery and the Private View with the working-class art audiences of the East End. The representations of the art public in the Victorian era constitute a coherent discourse on the role of both the museum and art in society. This convergence of ideas-education, leisure, nationalism, class, aesthetics-within the discourse of the museum ensures that an examination of the discourse sheds much light on society and culture in England in the nineteenth century.}, keywords = {Nineteenth-Century Art}, author = {Johnson, Jamie} } @mastersthesis {9340, title = {The Virgin of Atocha and Spanish Habsburg Devotion to Miraculous Images}, year = {2003}, school = {IFA/NYU}, abstract = {The Virgin of Atocha stood at the intersection of piety, power and miracles in Habsburg Spain (1516-1700). This thirteenth-century statue enshrined near Madrid was thought to mediate a covenant between the Virgin Mary and the ruling family. Through their devotion to this and closely related images, the Habsburgs sought her blessing for their reign. Artistic and textual evidence will guide an analysis of the miraculous powers ascribed to this imagery and their efficacy for the dynasty. This study surveys the emergence of miraculous Marian images in late medieval Spain, their adaptation to royal needs, and their inheritance by the House of Austria. By establishing their government in Madrid in 1561 and transforming the city into a theater of royal piety, the Habsburgs redrew the landscape of courtly devotion. The venerable Marian sanctuaries of the Iberian Peninsula, including Montserrat and Guadalupe, increasingly had to share the stage with the Atocha shrine. The Virgin of Atocha eventually headed an exclusive group of images entrusted with the continuity of the dynasty, the territorial integrity of the monarchy, and the success of its armed forces. This association between the Virgin Mary and the Habsburgs was forged on several fronts. Historians formulated treatises in the sixteenth and seventeenth centuries to codify the powers of miraculous images and link them with the Spanish sovereigns. The political and spiritual foundations of this literary genre inform an overview of royal devotional practices before this imagery. Prayer, pilgrimage, and votive gifts comprised the principal means for harnessing miracles for the welfare of the monarchy. The study of their votive offerings concentrates on their artistic and architectural patronage of these shrines, which stood at the foundation of the covenant. These sanctuaries also figured prominently in royal ceremonies, which progressively centered on the Virgin of Atocha in Madrid. By integrating miraculous imagery into their government, the Habsburgs defended a genre threatened in many parts of Europe and assured its strength throughout their realms.}, keywords = {Renaissance/Baroque Art}, author = {Schrader, Jeffrey} } @mastersthesis {9235, title = {The Visual Culture of the Court of King Edgar (959-975)}, year = {2003}, school = {Temple}, abstract = {This paper is an in-depth study of the visual culture of the court of King Edgar (959-975) and the construction of kingship and queenship during this period in relationship to the tenth-century Anglo-Saxon reform movement and the emergence of England as a unified nation. I begin by introducing the historical and political setting of King Edgar{\textquoteright}s reign, and the traditional role of the Anglo-Saxon king and queen. Then I direct my attention to the core of my work, and analysis of a new image of kingship and queenship, which, as I demonstrate, is a fundamental change from the past. Finally, I examine the visual culture sponsored by King Edgar and Queen Aelfthryth and their court within the context of the monastic reform movement and the Christological and Marian image of kingship and queenship. During King Edgar{\textquoteright}s reign, the concept of kingship slowly moved away from the ideal of the Old Testament warrior model. Instead, the idea of the king as a typum Christi emerged, which stressed his divine authority. Edgar forged a strong relationship with the church and exercised power through peace in imitation of Christ. Towards the end of Edgar{\textquoteright}s reign, I will demonstrate that the character of the king was one of rex et sacerdos, king and priest, a universal ruler whose power exceeds all others. This construction of kingship occurs simultaneously with that of the Ottomans, and I study the similarities and differences between Anglo-Saxon and Ottonian images of Christological kingship. Strong connections with the continental religious houses and royal government brought a steady exchange of ideas, manuscripts and men, which result in similar theological, political, and artistic developments emerge concurrently. Edgar{\textquoteright}s relationship with three prominent religious leaders, Aethelwold, Oswald, and Dunstan, is examined in order to follow the patronage of the monarch and his court, and to understand the emerging new concept of kingship, rooted in ecclesiastical theory, that was adopted by Edgar and in support of monastic reform. I show how Edgar and Aethelwold established a religious center at Winchester, which gave birth to an elaborate style of illuminated manuscripts and set the pace for the entire monastic reform movement. Edgar and the three church leaders launched an elaborate building campaign and reconstruction of monasteries throughout England, which served to unite the kingdom through religious houses. The study will investigate the possibility that Edgar was a powerful, secular force who was responsible for merging church and state. The monarch enhanced his dignity and power through the cultivation and promotion of a new Christological image of kingship, which emphasized monastic piety. Subsequently, the Anglo-Saxon royal office derived its power from God, and it functioned as a ministerium that united ecclesiastical and secular politics. The Anglo-Saxon kingdom was embedded in religious tradition, with its rulers personifying holiness.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Ferguson, Carol Mae} } @mastersthesis {9213, title = {Visual Modernities in a Comparative Perspective: The West and South Asian and Asian-American Art}, year = {2003}, school = {Cornell}, abstract = {This dissertation deploys a comparative framework for examining the effects of modern Western art upon the practice and study of non-Western visual culture. It focuses particularly on modern South Asian art and craft, and Asian-American contemporary art, by articulating a series of case studies that scrutinize the subject-formation of the fine artist and the artisan since the mid-nineteenth century. This study theorizes the artisan and the artist as subjects-in-formation, and shows how these subjects become both fraught and (in)visible through a complex process of translation of Western metropolitan cultural and critical ideas into the non-West. The problem of subjectivity is located through case studies in two interrelated visual articulations: the site of artisanal practice in South Asia under modernity, and the recourse to modes of figurative and calligraphic expression by modern South Asian and contemporary Asian-American artists. First, the construction of the figure of the artisan in the writings and images of the nineteenth century British colonial official, George Birdwood, and by the art historian, Ananda Coomaraswamy, during the early twentieth century is examined. Their characterizations, influenced by Romanticism and the Arts and Crafts Movement, render the South Asian artisan strictly as a pre-modern figure, for whom modernity is a corrosive, rather than an enabling influence, a depiction that continues largely unchallenged in art history until today. In contrast, the subjectivity of the modernist Pakistani artist Sadequain and the contemporary Iranian-American artist Shirin Neshat is scrutinized. Their works translate the "modern" through the lens of difference, here marked by Islamic calligraphy and the body/figure. This study demonstrates how these case studies address facets of a persistent set of relationships, between art and craft, the "Orient" and the West, "tradition" and "modernity," and representations of elite and subaltern practices. Each chapter develops different theoretical approaches appropriate for the topic addressed, but shares a conceptual frame that locates interrelated modes of the body, decoration, and ornament within the tropes of translation and the status of the subject. The dissertation has wider significance for understanding the colonial and postcolonial context of modern and postmodern Western and non-Western art in a comparative perspective.}, keywords = {Critical Theory/Gender Studies/Visual Studies, South/Southeast Asian Art}, author = {Iftikhar Dadi} } @mastersthesis {9280, title = {Visual Representation of Emile Zola, 1866-1902: A Case Study in Public Image and Media Spin in Late Nineteenth-Century France}, year = {2003}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {Nineteenth-Century Art}, author = {Balakirsky, Maya} } @mastersthesis {9350, title = {The Visuality of Race: The Old Americans and The New Negro in American Art, ca. 1925}, year = {2003}, school = {Northwestern}, abstract = {American popular and academic discourse of the interwar period was obsessed with race and the means for discerning different racial types. My dissertation investigates the visuality of race, that is, the idea of race as a visible phenomenon by analyzing representations of two different racial types: the Old American and the New Negro. These types were the products of competing racial ideologies and the subjects of major books in 1925, Ales Hrdlicka{\textquoteright}s The Old Americans and Alain Locke{\textquoteright}s anthology The New Negro: An Interpretation. Hrdlicka was a physical anthropologist and his book was the first comprehensive, illustrated study of the "Old American stock" reputedly descended from the first English colonists and understood to be superior to other races, including other whites of non-Anglo-Saxon heritage. Conversely, The New Negro documented the lives and culture of urban African Americans, whom it praised as the foundation for a New America built on the principles of cultural pluralism developed by cultural anthropologist Franz Boas. Hrdlicka and Locke therefore presented competing ideas about race, culture, and evolution. Significantly, their books were heavily illustrated and also contained competing theories about the visualization of race-each type was identified not only with a distinctive physical appearance but also with a particular style of representation that was meant to express their distinctive qualities. Hrdlicka{\textquoteright}s book relied upon traditional and picturesque styles of representation to identify his subjects with the past and the sense of a clear evolutionary heritage. In contrast, the illustrations of Locke{\textquoteright}s book identified his subjects with the present and future through their use of modernist style. By comparing and contrasting the text and illustrations from these books with other contemporary sources, we can better understand how racial difference was made visible and seemingly real through the style, as well as the subject matter, of representation. Among the other images discussed are anthropological photographs, the iconography of Uncle Sam and the Gibson Girl, Doris Ulmann{\textquoteright}s photographs of Appalachian mountaineers, Grant Wood{\textquoteright}s paintings of Midwestern Old Americans, Winold Reiss{\textquoteright} illustrations for The New Negro, Aaron Douglas{\textquoteright} illustrations and murals, and Miguel Covarrubias{\textquoteright}s drawings of Harlem types.}, keywords = {Twentieth-Century Art}, author = {Foster-Rice, Gregory J.} } @mastersthesis {9303, title = {Weaving Metaphors, Weaving Cosmos: Structure, Creativity, and Meaning in Discontinuous Warp and Weft Textiles of Ancient Peru, 300 BCE-1540 CE}, year = {2003}, school = {Emory}, abstract = {This dissertation concerns a history of ancient Peruvian textiles created with the use of the discontinuous warp and weft (DWW) technique between 300 B.C.E. and 1540 C.E. A sample of 268 textiles was assembled from collections in South America, Europe, Canada, and the United States. This unique technology, an ancient Peruvian innovation, produces a flexible patterned plain-weave cloth in which the warps and wefts are equal, visible partners. Significantly, this arduous technique was not developed at any other time in the history of weaving worldwide. In ancient Peru, DWW textiles appear in general to have been reserved for ritual use, funerary rites in particular, throughout much of their 1800-year history. All textiles were primary forms of artistic expression and communication for the oral and highly visual cultures of the ancient Central Andes, identifying regional affiliation, culture, sex, and social rank. Those textiles destined for ritual use, however, including vestments, head coverings, carrying cloths, shrouds, tomb and temple hangings, and offerings, were encoded with more profound messages about the ideal order and nature of the universe. It is argued that although all ritual textiles in ancient Peru were certainly multivalent, DWW textiles shared at least one common message, the paired principles of balance and reciprocity. These inseparable principles, expressed by the single word ayni in Quechua (the language of the Inka and traditional present-day highlanders), directed all material and spiritual relationships in the ancient Andes and were viewed as absolutely essential to the health of the cosmos. Today they can be read as visual metaphors in the structure, formal elements, and iconography of DWW textiles. The worldview that generated these and other ancient Central Andean cosmological principles and concepts, including consubstantiality and the interconnectedness of all things, was shamanic in nature. Thus, the inspiration for the compositions of DWW textiles as ritual cloth, like their conceptual content, can be seen as derived from shamanic practices; i.e., transformation rites and visionary experiences. With this project, therefore, I seek to move the general study of ancient Andean textiles beyond description toward use, context, and interpretation.}, keywords = {Pre-Columbian Art}, author = {Rehl, Jane W.} } @mastersthesis {9366, title = {When Father Doesn{\textquoteright}t Know Best: Surrealism, Metaphor, Masculinity}, year = {2003}, school = {IFA/NYU}, abstract = {For Breton, Surrealism is fundamentally a problem of language-and of desire. With respect to language, it constitutes a distinctly metaphorical practice; and with respect to desire, a self-consciously masculine practice. The relationship between metaphor and masculinity is demonstrated not only by the works themselves of Bretonian Surrealism, but also by the psychoanalytic theories with which they are contemporaneous: in particular, those theories focusing on the acquisition of language, and of metaphorical/symbolic processes more generally, as they relate to the Oedipal interdiction and the origins of normative male heterosexuality. My dissertation, therefore, first defines Bretonian Surrealism in terms of the privilege it doubly affords metaphor and masculinity, including how Surrealism genders metaphor as, itself, masculine; then elaborates a fundamental counter-method to Bretonian Surrealism, one which rejects metaphor, as well as its putative basis in masculinity. The Introduction discusses how language and desire-metaphor and masculinity-occupy the fulcrum of Bretonian Surrealism. My dissertation then addresses how Duchamp identifies masculinity to metaphor, and femininity to its rejection-most notably, in The Large Glass which he divides in two-including the binary male-female axis which structures his use of language and space more generally. It next addresses how Bataille and Oppenheim directly repudiate Bretonian metaphor and also "pervert" its basis in masculinity, in favor of an immediate, bodily relationship to their erotic writings and objects, respectively. In particular, it focuses on Breton{\textquoteright}s response to Bataille{\textquoteright}s rejection of metaphor and symbolism more generally, as processes which, by disembodying meaning, reduce it to what Bataille calls a "common measure"; as well as Oppenheim{\textquoteright}s rejection of Breton{\textquoteright}s efforts to metaphorize her Object as Breakfast in Fur, or her Pair of boots as Undressing. Lastly, it addresses how Dali and Cocteau, rather than rejecting metaphor, instead reveal its failure. In particular, it focuses on how the Oedipus myth, to which they return time and again, is symbolized as a failure of the Oedipal interdiction. The Conclusion repositions these artists{\textquoteright} treatment of metaphor within a counter-teleology of Modernism which, traceable through Neo-Dada and Pop, effectively culminates in Literalism (or Minimalism, as it is now known).}, keywords = {Twentieth-Century Art}, author = {Powers, Edward} } @mastersthesis {9163, title = {Wonders and Its Images in Medieval Islamic Culture}, year = {2003}, school = {Harvard}, abstract = {In the century and a half following the thirteenth-century Mongol conquest of the Islamic east, illustrated manuscripts concerning the wonders of creation were produced that hint at the sustained interest such manuscripts would attract throughout the Islamic world until the nineteenth century. They vary widely in text and illustration, but their combined verbal-visual presentations of various kinds of wonders ({\textquoteright}aja{\textquoteright}ib) are all designed to induce a reaction of wonder ({\textquoteright}ajab) in the reader. This dissertation closely examines four of the earliest such manuscripts in terms of that shared goal. Appreciation of the sophisticated contributions the images make to the reader{\textquoteright}s complete experience of these books depends heavily on understanding their texts, not only as translated verbal artifacts, but also as cultural products positioned within a broader history of ideas. The manuscripts examined here include three Arabic manuscripts with texts by Zakariyya b. Muhammad al-Qazwini and one Persian manuscript with text by Muhammad b. Mahmud b. Ahmad al-Tusi. They are the 1280 Wasit Qazwini manuscript (Munich, Bayerische Staatsbibliothek cod. arab. 464); a newly discovered Inju Qazwini manuscript dated 1322 (Istanbul, Suleymaniye Yeni Cami 813); an undocumented Qazwini manuscript produced around 1300 (London, British Library Or. 14140); and the 1388 Tusi manuscript (Paris, Bibliotheque Nationale suppl. pers. 332). The Wasit manuscript and the Inju manuscript both emphasize created wonders that ultimately point to God, but their images do this in completely different ways. In addition to created wonders, the ca. 1300 manuscript also draws attention to temporally structured wonders. In the 1388 Tusi manuscript, emphasis shifts away from the created status of wonders, towards the often exceptional conditions associated with seeing wonders on the horizons. These differences relate to the manuscripts{\textquoteright} different audiences, ranging from Wasit{\textquoteright}s conquered intellectual elite to the Jalayirid Sultan Ahmad. This dissertation seeks to highlight for art historians the methodological potential of intellectual history to unlock interesting but otherwise unobvious functions of images. It is also offered as a building block for future consideration of the cross-cultural history of wonders that flourished not only in the Islamic lands, but also in Europe.}, keywords = {Art of the Middle East/North Africa}, author = {Berlekamp, Persis} } @mastersthesis {9057, title = {Accommodating the Faithful: San Bernardino de Sena and the Franciscan Program in Sixteenth-Century Yucat√{\textdegree}n, Mexico}, year = {2002}, school = {Florida State}, abstract = {The Franciscan monastery of San Bernardino de Sena (constructed between 1552-1560) in Valladolid, Yucatan is an enduring symbol of the Spanish conquest and colonization of Mexico{\textquoteright}s peninsula frontier. Its construction over a great cenote in the Maya heartland embodies the characteristic determination of Church and Crown to bring Christianity to the New World. This dissertation treats San Bernardino as a visual metaphor for the cultural tensions that arose among the Spanish colonizers, the indigenous Maya, and the Franciscan friars following the suppression of the Great Maya Revolt (1546-1547) in Valladolid and the final conquest of Yucatan in 1547. San Bernardino{\textquoteright}s architectural design adheres to the standard mendicant plan implemented throughout early colonial Mexico, but architect Juan de Merida rendered a specifically local interpretation to that scheme. San Bernardino functioned as a bi-lateral architectural design tailored to screen the vast local Maya population from the negligible, yet dominant, Spanish citizenry. Its lack of an atrium forecourt, the anomalous placement of its capilla abierta, and its sweeping porteria reflect carefully calculated solutions to facilitate harmony in conflict-ridden colonial Valladolid. San Bernardino{\textquoteright}s interior mural program, painted by the Maya during their first generation under Spanish rule, reveals the use of indigenous techniques and suggests a native understanding of Christian themes. The first chemical analysis of pigment used in a sixteenth-century church mural program in Yucatan appears in this study. It substantiates, for the first time, the use of the pre-Columbian pigment Maya azul in the creation of Christian church paintings in early colonial Yucatan. This dissertation is the first art-historical study, not only of the murals in San Bernardino, but of any ecclesiastical murals produced in sixteenth-century Yucatan.}, keywords = {Latin American/Caribbean Art, Renaissance/Baroque Art}, author = {Howe, Kate} } @mastersthesis {8988, title = {The Aesthetics of Information: Terry Winters and Scientific Representation}, year = {2002}, school = {Stanford}, abstract = {This dissertation considers the work of Terry Winters (born 1949), an artist who manipulates scientific representation in three visually distinct bodies of work-monochromatic field paintings made in the 1970s, figurative images appropriated from botanical and zoological illustrations created in the 1980s, and abstract depictions of densely woven linear structures produced in the late 1990s. Although Winters{\textquoteright} work is well known and was the subject of a mid-career retrospective at the Whitney Museum of American Art, art historians have overlooked the critical import and subversive stance of his interaction with scientific modes of representation. Analysis of his painterly nexus of art and science yields new insight into three fields of inquiry, all previously neglected by art historians: the aesthetics of information as practiced by scientists at the end of the nineteenth century, appropriation as a procedure that emphasizes sameness as well as difference, and the role of painting in the decade that announced its demise. In contrast to interpretations that focus on the modernist implications of Winters{\textquoteright} work, I present his oeuvre as a sustained examination of how scientific images transmit information and construct objectivity. Borrowing the imagery, format, and techniques of scientific representation, Winters revealed hitherto unrecognized points of contact between the practice of art and science; such as, the shared neutral ground of scientific representation and nonobjective painting. His acts of appropriation resulted in paintings and drawings that promoted analogy-a comparative mode that sustains similarity in difference-at a time when Craig Owens and Benjamin H. D. Buchloh defined postmodernism by its allegorical procedures. This dissertation does not simply seek to restore the stature of Winters{\textquoteright} work or painterly practice in the 1980s; it also stakes a claim for analogy as a critical position. Recent recuperations of analogy (a term historically understood vis-a-vis its scientific applications) by the literary critic Eve Tavor Bannet, the art historian Barbara Stafford, and philosopher Gilles Deleuze inform my explication of analogy as the operative mode in contemporary art that engages scientific forms of notation and visualization.}, keywords = {Contemporary Art}, author = {Teagle, Rachel} } @mastersthesis {8957, title = {The African Burial Ground in New York City: Manifesting and Representing Spirituality of Space}, year = {2002}, school = {Binghamton}, abstract = {The dissertation project concerns the African Burial Ground that was unearthed in lower Manhattan in 1991. It was actively used from the late seventeenth century until 1795 by Africans and people of African descent. Perhaps containing between 10,000-20,000 bodies, the African Burial Ground covered five to six acres. A small portion of it was unearthed in 1991 when General Services Administration (GSA) began and completed construction of a thirty-four story federal office building at 290 Broadway. This discovery has prompted a retelling of history to include slavery in the northeastern United States and to acknowledge that it was largely enslaved people who first built what is today New York City. The purpose of this dissertation is dual. First, it will serve as a fundamental and exhaustive resource for the African Burial Ground, past and present. As of yet, no comprehensive scholarly publication exists. Second, this dissertation explores expressions and manifestations of spirituality by contemporary African Americans and by eighteenth century Africans who held funerals at the Burial Ground. One aspect of the dissertation concerns the African Burial Ground in its colonial era and the other since its contemporary discovery. I consider eighteenth-century funerary artifacts, such as African waist beads, coins, quartz, coral, ceramics, and shells, in order to explore African based performances of spirituality. I also examine colonial New York cartography, drawings, and prints to interrogate mis-representation and erasure of the site and of an African/African American presence in the city. In the dissertation, I also trace the politics of power, spirituality, and space surrounding the discovery and excavation of the site. In particular, I focus on African American community groups that intersected with African American politicians to force issues of respect and racism to a national and international level. I then focus on contemporary artistic representations of the African Burial Ground by exploring central cultural, political, and spiritual issues defining and deriving from African American and African based discourses. How do the art projects memorialize the site? How do they create spaces of spirituality?}, keywords = {Art of the United States}, author = {Frohne, Andrea} } @mastersthesis {9049, title = {Agrippina Minor: Optima Mater or Semper Atrox}, year = {2002}, school = {Emory}, abstract = {Agrippina Minor, mother of the emperor Nero, was related to all of the first five emperors of Rome and was a participant in the politics of the imperial court for her entire life. She exploited her genealogical connections within the imperial house to ensure continuing power for herself and her son, and it was largely through her efforts that Nero attained the principate. Agrippina{\textquoteright}s reputation as a formidable and ruthless opponent is based largely on the way which ancient authors have presented her; their views have been privileged over the visual evidence, which presents Agrippina in a positive light as an important part of the visual propaganda campaigns of her brother Caligula, her husband Claudius, and her son Nero. The discrepancy between the two presentations is largely due to the conflicting motives of the historians, who wanted to present powerful imperial females as negative moral examples of behavior, and the imperial court, who celebrated the images of imperial women as providers of heirs who would sustain their male relatives{\textquoteright} dynastic aims. This privileging of literary over visual evidence has led to scholarly as well as popular misconceptions of Agrippina. Past studies have focused either on Agrippina{\textquoteright}s presentation in literature or on the mere classification of her sculpted portraits into groups of stylistically similar works, but have not attempted to integrate all of the various types of evidence including literature, sculpted portraits, coins, and gems. In this dissertation the literary evidence has been carefully examined for bias before use. The portraits of Agrippina in all media have been reexamined using new computer-aided techniques developed specifically for this dissertation, in order to refine her portrait typology, now grouped definitely into four types, and better organize the visual evidence. The visual evidence taken in conjunction with the literary evidence indicates that Agrippina Minor was both an active and passive participant in Julio-Claudian propaganda, a woman who was intent on using all propagandistic means necessary to solidify her own position within the imperial household as well as that of her son Nero.}, keywords = {Greek/Roman Art}, author = {Dickson, Katrina M.} } @mastersthesis {9122, title = {Alberto Aringhieri and the Chapel of St. John the Baptist: Patronage, Politics, and the Cult of Relics in Renaissance Siena}, year = {2002}, school = {Florida State}, abstract = {The reliquary chapel of Saint John the Baptist in Siena Cathedral, built between 1482 and 1504, provides valuable insight into an important cultural and historical moment in late fifteenth-century Italy. This dissertation explicates the meaning of the chapel and its multi-media decoration on three levels: the viewpoint of the patron, Alberto Aringhieri; the significance for the city of Siena; and in response to the knightly Order of Saint John of Jerusalem. For Aringhieri, the chapel continued a tradition of commemoration on the part of his family. The portraits painted by Pinturicchio depict Aringhieri and his son Luzio underscore the dynastic content of the monument while stressing the membership of these figures among the noble ranks of the Knights of Rhodes. The chapel{\textquoteright}s civic significance is revealed by reference to the ancient Roman and early Christian heritage of Siena. The all{\textquoteright} antica facade is related to the codification of the Siena{\textquoteright}s Roman past by local humanists, and the presence of Saint Ansanus, baptizer of the Sienese, in the interior makes clear the city{\textquoteright}s venerable place in the history of Christianity. Another level of civic meaning in terms of Siena{\textquoteright}s politically-turbulent relationship with Florence is suggested by the importance of Donatello{\textquoteright}s bronze statue of the Baptist, which could have been read both as a confirmation of Sienese supremacy over their traditional rivals and as supportive of the Florentine government. Alberto and Luzio Aringhieri{\textquoteright}s membership in the Order of Saint John (Knights Hospitaller of Rhodes) is directly relevant to the decoration and function of the chapel. The Knights{\textquoteright} devotion to John the Baptist and their interest in relics of this saint are vital for understanding the chapel{\textquoteright}s meaning for its patron and other local members of the Order. The traditional role of the Hospitallers as protectors of sacred relics and is continued by the painted Aringhieri Knights that flank the chapel entrance on the interior. The enduring importance of the chapel was underscored in the mid-seventeenth century by Pope Alexander VII who used the monument, which he refurbished, as a model for his new Cappella del Voto located in a pendant position across the transept. The pope{\textquoteright}s interests in the chapel reflect the same familial, civic, and knightly issues important for the original patron, Alberto Aringhieri.}, keywords = {Renaissance/Baroque Art}, author = {Smith, Timothy Bryan} } @mastersthesis {9061, title = {Alfred Stevens (1823-1906), {\textquoteright}La Femme Seule{\textquoteright}: Constructions of 1906 and Modernity in French Art of the Later Nineteenth Century}, year = {2002}, school = {IFA/NYU}, abstract = {The Belgian painter Alfred Stevens built his Paris-based career and international reputation on the treatment of a recurrent theme: the woman alone, a subject without an overt narrative context. Operating across the traditional boundaries between portraiture and genre, these paintings concretized a contemporary feminine ideal entwining conceptions of intimacy, sensuality, and domesticity with subtle psychological nuance. Rejecting timeworn notions of Salon painting, Stevens forged a new kind of history painting, defined by his friend Charles Baudelaire and promoted by his brother Arthur Stevens as the painting of modern life. Hailed by contemporaries for his modernity, Stevens pioneered a distinctive genre attracting academic and avant-garde adherents alike. He considered Gustave Courbet, Edouard Manet, Berthe Morisot, and Edgar Degas not only personal friends, but professional rivals. With these constructions of modernity, Stevens staked an alternative position between the juste milieu and the avant-garde. In a broader sense, his images of the woman alone established a site of rapprochement for artistic, social, and political debates of the Second Empire and Third Republic. This dissertation begins with an investigation of the origins of Stevens{\textquoteright}s single figure genre and considers the artist{\textquoteright}s early paintings and the critical ideals of Arthur Stevens. Each succeeding chapter explores a set of issues engaging the genre of la femme seule. Stevens{\textquoteright}s theme is situated amidst conventions of genre and portraiture, and within Second Empire debates over national schools. The Realist interest in classifying human types and the impact of popular imagery-including physiologies, fashion prints, and domestic genre prints-on Stevens{\textquoteright}s work are explored and the impact of photography weighed. Stevens{\textquoteright}s generative interest in Japanese art is examined and his work compared with that of fellow Japonists Edouard Manet, James Tissot, and James McNeill Whistler. The gendering of Stevens{\textquoteright}s single figure images, suggesting to some an excessive or even "virile" femininity, is analyzed. Finally, the shifting identification of Stevens{\textquoteright}s images with French and Belgian nationalisms during the Franco-Prussian War and Third Republic is investigated to reveal the Belgian painter{\textquoteright}s central role in the figuring of the French nation.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Kihara, Elizabeth} } @mastersthesis {8947, title = {American Art of the Second Machine Age: Space, Sputnik, and Technocracy, 1957-1971}, year = {2002}, school = {UT Austin}, abstract = {This study examines the relationship of art to science and technology in the United States in the decade and a half following the launch of Sputnik by the Soviet Union in 1957. During this period, from 1957 to approximately 1971, the art world witnessed a burst of activity connecting these fields, a development which has been largely overlooked in art historical accounts of the 1960s. The following survey explores four programs that established links between artists, engineers, and scientists: the NASA Art Program, established 1962; Experiments in Art and Technology, founded 1966; the Center for Advanced Visual Studies, created in 1967 at the Massachusetts Institute of Technology; and "Art and Technology," an exhibition program carried out at the Los Angeles County Museum of Art between 1966 and 1971. This dissertation describes how a widespread interest on the part of artists in new technologies and scientific methods grew out of a broad desire to break down traditional categories of art making. However, it also asserts that this boom in projects connecting art, science, and technology cannot be fully understood apart from the political and social context of the Cold War. An important dimension of this historical situation was the Vietnam War, which became increasingly controversial in the late 1960s and early 1970s, eventually contributing to a dramatic decrease in interest in projects joining art, science, and technology, and negatively impacting the programs discussed here in the early 1970s.}, keywords = {Art of the United States, Contemporary Art}, author = {Goodyear, Ann Collins} } @mastersthesis {8996, title = {An American Heroine in Paris: Hollywood and Women in the City of Light in the 1950s}, year = {2002}, school = {Minnesota}, abstract = {From 1950 to 1965, Hollywood studios produced over fifty films that had Paris as their setting. The most popular of these was An American in Paris, which MGM released in 1951. It began a cinematic vogue in which "Gay Paree" turned pedestrian Americans into pleasure-seeking romantics. During a period in which the threat of a Communist France was very real, the image of the good American as a Parisian{\textquoteright}s strongest ally was reassuring. But despite its success, the story of an ex-GI in Paris could not be repeated, for it was simply a recycling of Lost Generation literature and fantasies from the post-World War I era. The new American expatriate in Paris was a woman, usually young, white, and more often than not, middle-class and college-educated, and her story was reflected in countless popular films and novels of the period. This study examines the genesis and development of the cultural myth that Paris was where a young woman went to have a "continental education," and shows how in an era in which young women were typically expected to wait at home for "Mr. Right," Paris promised a sensual and sexual liberation that small town and suburban America did not. The success of Sabrina, Funny Face, Gigi, and many other films reveals a collective fantasy in which the City of Light transforms a young girl into a soignee and sophisticated woman. Traveling abroad became a required step in the formation of a worldly American woman. The myth of Parisian transformation is reflected throughout the media and the material culture of the period, from the rage for Christian Dior{\textquoteright}s "New Look" to the mania for French poodles and gourmet cuisine. It finally reached its apotheosis in the personage of Jacqueline Kennedy, a chic young woman who had her own "continental education" in Paris, and fashioned an image as First Lady that proved "worldliness" could be the province of American women.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Chase, Alisia Grace} } @mastersthesis {9031, title = {Anne de Bretagne (r. 1491-1514): Images of Medieval Queenship in Early Modern France}, year = {2002}, school = {Binghamton}, abstract = {Anne de Bretagne (1477-1514), Queen of France and Duchess of Brittany, is unique in the history of France in that she was reigning queen to two successive kings: Charles VIII (r. 1483-1498) and Louis XII (r. 1498-1515). Her complex political position had a dramatic impact on all facets of her life, not the least of which was her patronage of the arts. Anne commissioned numerous artistic and literary artifacts which demonstrate her understanding of her role as Queen of France, as dictated by law and tradition, and serve as a record of her attempts to employ and manipulate the conventional attributes of her role in order to affect the outcome of the political events of her time. This dissertation examines three important manuscripts that Anne commissioned during her second reign as Queen of France. They are the Description du couronnement et de l{\textquoteright}entree a Paris d{\textquoteright}Anne de Bretagne (James A. de Rothschild Collection, MS. 22, National Trust Waddesdon Manor, Aylesbury, Buckinghamshire, Great Britain); Les Vies des femmes celebres, (Nantes, Musee Dobree, MS. 17); and Le Voyage de Genes (Paris, Bib. Nat., MS. fr. 5091). Each of these texts and their illustrations reveal Anne{\textquoteright}s concern with her official role and public image as Queen of France and her more activist interventions into the political activities of her husband{\textquoteright}s reign. Codicological examinations of each manuscript as well as the textual and visual evidence in conjunction with contemporaneous historical documentation suggest that Anne de Bretagne was especially concerned with crafting an official public persona that corresponded to the Valois traditions of queenship in an attempt to establish herself as a model queen in the eyes of her contemporaries and for posterity as well as to support her sometimes controversial politically oriented goals.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Hearne, K. Michelle} } @mastersthesis {8987, title = {Anne Truitt: Placement and a Sense of Place}, year = {2002}, school = {Bryn Mawr}, abstract = {Anne Truitt is an American sculptor, painter and writer who lives in Washington, D.C. She was born in 1921 and has had a long and distinguished career. She was discovered by Clement Greenberg in 1962, and he launched her career in New York at the Andre Emmerich Gallery in 1963. Greenberg also wrote two essays which focused on Truitt{\textquoteright}s sculpture, "Recentness of Sculpture," in 1967; and "Changer: Anne Truitt" in 1968. Later in 1991, a sculpture by Truitt was reproduced on the cover of Art in America with an article on her 30 year retrospective at Emmerich. Truitt has also been included in recent books on Minimalism. Truitt has exhibited for over 40 years and she continues to produce her sculptures and paintings. Her early work from 1962-65 are large, block-like forms of stacked cubes cantilevered in space or tall columns painted in dark, close-hued colors. Truitt{\textquoteright}s sculptures from the late 1960s to today are slender, wood columns about five feet high painted in radiant colors. Truitt, however, is not a well-known name and there are no monographs written on her. This study is in part a biography and an extensive history of her critical reception. Truitt was usually identified as a Minimalist, although her name only appeared in the earliest accounts on Minimalism. She was also associated with the Washington Color School, mainly because of her close association in the 1950s and early 1960s with Kenneth Noland and Morris Louis. This study examines the various critical placements that her work suggests. She is also a writer of three journals where she presents her life as an artist. This study also presents her voice as it suggests meaning to her sculptures. Truitt herself resists a historical placement, preferring to present herself as an Original and an Independent. My position is to place Truitt with Greenberg. Although this is not a perfect fit, it acknowledges her compatibility with many of his theoretical positions. Truitt had described Greenberg as her "anchor," and their friendship of over 40 years is also a testimony of placement.}, keywords = {Contemporary Art}, author = {Saunders, Susanna Terrell} } @mastersthesis {9077, title = {The Anti-Heroism of Modern Life: Symbolist Decoration and the Problem of Privacy in Fin-de-Siecle Modernist Painting}, year = {2002}, school = {UC Berkeley}, abstract = {My dissertation treats intimacy and privacy in the painting of Edouard Vuillard, Pierre Bonnard, and Maurice Denis, and examines the possibilities and limits these terms offered to modernism. Rather than seeing the modernist cult of inferiority in terms of a simple reaction to-even a flight from-a series of crises and confusion in fin-de-siecle society, as so many studies on Symbolism have done, I argue that Symbolist decoration is best understood in terms of a dialectic between interior and exterior, public and private spheres, in which artists attempt to make individual subjectivity the basis of an elusive, and distinctly modern synthesis. By studying paintings, journals, personal correspondence, periodical literature, as well as contemporary literature and philosophy, I investigate how these artists conceptualized intimacy, and how their conceptualizations participated in larger intellectual currents. Ultimately, by foregrounding privacy and interiority as problems central to modernism, my dissertation challenges a historiographic tradition which has equated artistic progress with public battles and controversies. The core of my dissertation consists of three case studies focused on, but not limited to, a single work by Edouard Vuillard, Maurice Denis, and Pierre Bonnard, respectively. My first chapter investigates Vuillard{\textquoteright}s attempt to make the subconscious intuition awakened through aesthetic experience the basis of an experience of collective consciousness. The second section takes seriously Denis{\textquoteright}s religious understanding of intimacy, his belief that the spiritual perfection of individuals through painting could lead to renewed public ideals. The last case study looks at Bonnard{\textquoteright}s attempt to create a democratic art by harnessing popular idioms and subject matter, as well as technologies of mass reproduction, to works destined for private consumption. These three case studies underline how art in the 1890s took as its subject the difficult-maybe unnegotiable-passage from individualism to collective consciousness. In a concluding chapter, I argue that these attempts to reconcile public and private, individual and collective identities, broke down in and around 1900 in the intense polarization and politicization of culture during the Dreyfus Affair.}, keywords = {Nineteenth-Century Art}, author = {Kuenzli, Katherine} } @mastersthesis {8935, title = {The Architectural Patronage of Wilhelm II: Issues of Urban, Dynastic, and National Identity in the Work of Hofarchitekt Ernst von Ihne}, year = {2002}, school = {Brown}, abstract = {As Kaiser Wilhelm II sought to consolidate his authority, his various identities of Deutscher Kaiser, Koenig von Preussen and Schlossherr functioned as the conceptual framework in which he created his kingship mechanism. Exercise of power is the focus of this study, and it is through building activity that this is evaluated. Four interconnected projects are examined, that as a group possessed a singular relevance to Herrschaft, since they centered around the bedrock of Hohenzollern Machtanspruch, the Berliner Schloss. The exercise of power is dissected down to the individual maneuver, so that an understanding can be gained as to how a modus operandi of rulership began to form. It is this connection-when an architectural agenda prompted the establishment of a political mechanism-that defines the methodological conceit of this study, wherein the interconnections between political, legal, and architectural issues are reconstructed, distinguishing it from the work of other historians. The first project, the demolition of the Schlossfreiheit and construction of a national monument, is examined with regard to both site attainment and monument placement and design. To achieve his goals, Wilhelm II circumvented the constitutionally-mandated ministerial apparatus of government during the first half-year of his reign, and the onset of Byzantismus can be traced to this time, predating its emergence by a half-decade as previously assigned by historians. The construction of terraces along the south and west sides of the Schloss, the second project examined, engendered a ministerial dispute in which the boundaries of Wilhelm II{\textquoteright}s identity as Schlossherr were brought under scrutiny. At issue were property ownership, the right to build, and self-governance of the Schlossbezirk-all pertaining directly to Wilhelm, a man with singular constitutional status. The third and fourth projects examined occurred within the Berliner Schloss and demonstrate how consolidation of authority was expressed within an internal environment. Wilhelm II{\textquoteright}s transformation of the Weisser Saal is evaluated primarily as a political act, a reconciling of Wilhelm{\textquoteright}s dual roles as Deutscher Kaiser and Koenig von Preussen that took an architectural form, as is the final project, Wilhelm{\textquoteright}s creation of a Doppelthron for the Weisser Saal.}, keywords = {Architectural History/Historic Preservation, Nineteenth-Century Art}, author = {Klahr, Douglas} } @mastersthesis {8918, title = {Architecture and Nationalism at Abuja, Nigeria: A Study of the Ideologies of {\textquoteright}Federal Character,{\textquoteright} 1975-1991}, year = {2002}, school = {Northwestern}, abstract = {Lagos, however, will remain the chief trade center. I hope the time may not be distant when this move can be effected, and the Southern Capital relieved of its present congestion. Sir Frederick Lugard, Amalgamation Report, 1917 This dissertation focuses on the Nigerian Military{\textquoteright}s exploitation of the nation{\textquoteright}s petroleum revenues under the guise of producing a nationalist architectural ideology for the country. The Nigerian Military proposed that a new Federal Capital City, Abuja, would facilitate the creation of a "Federal Character" that would resolve the problem of nepotism and ease ethnic tensions among the two hundred and fifty cultural groups which constitute the Nigerian nation.1 While the ideology of a nationalist architecture and the concept of a "Federal Character" might have merits for the purposes of cementing national identity and unity in a multi-ethnic society like Nigeria, I posit that at Abuja "Federal Character" was instead a means for resolving a particular struggle that has been unfolding from the very moment the Nigerian nation was formed in 1914. Before independence, various segments of the Nigerian elite (politicians, bureaucrats, traditional rulers, military officers, and professionals) competed for control of the country. However, the British handed over power to an elected regime when Nigeria became an independent nation in 1960. In 1966 the military emerged as the dominant power in the country. In the 1970s, when Abuja was planned, the struggle was intensified by the desire to control the nation{\textquoteright}s petroleum resources, the aspiration to form a social hierarchy, and the ambition to consolidate housing privileges such as those enjoyed by the colonialists. I will elucidate the means by which the military marginalized Lagos and continued the British agenda of unifying the country under the pretext of producing a nationalist architecture at Abuja. According to the military, Lagos no longer met the needs of Nigeria{\textquoteright}s federal capital because it was overcrowded. However, my research suggests that the military and the political elite might have used the concept of a national identity---as projected in Abuja---to camouflage a long-term profit-making opportunity directed at securing their positions. 1Nigeria{\textquoteright}s "Federal Character" refers to the desire to give every citizen a sense of belonging and participation in the affairs of the nation regardless of their ethnic origin and cultural differences. See A. E. Afigbo, of the Department of History, University of Nigeria, Nsukka, Federal Character: Its Meaning and History (Owerri, Imo State, Nigeria: Rada Publishing Company, 1986), 2.}, keywords = {African Art (sub-Saharan), Architectural History/Historic Preservation}, author = {Elleh, Nnamdi} } @mastersthesis {9112, title = {Art and Natural History at a Colonial Court: Albert Eckhout and Georg Marcgraf in Seventeenth-Century Dutch Brazil}, year = {2002}, school = {Northwestern}, abstract = {This dissertation offers an examination of the works of art and natural history produced by the Dutch painter Albert Eckhout and the German naturalist-illustrator Georg Marcgraf in seventeenth-century Brazil. Their collective work, which includes natural history illustrations and ethnographic images, was created at the court of the German count Johan Maurits van Nassau-Siegen, who was governor from 1637-1644 of the Dutch West India Company{\textquoteright}s colony at Recife. Johan Maurits supported the study of natural history (which at that time included the study of human beings as well as flora and fauna) as part of a program to document the different peoples and natural resources present in the colony. As argued throughout this dissertation, the creation, use, and display of the Brazilian paintings and drawings by Eckhout and Marcgraf strengthened Johan Maurits{\textquoteright}s position as a colonial and cultural leader. Part I focuses on Johan Maurits{\textquoteright}s patronage and collection of natural history illustration in Brazil. While entry into the world of aristocratic supporters of science upon his return to Europe may have been a motivating factor for Johan Maurits, the study of natural history in Brazil was firmly entangled with imperialistic aims. The discussion here furthermore demonstrates the fluidity of the boundaries between fine art and scientific illustration in the early modern period. Part II is dedicated to Eckhout{\textquoteright}s paintings from Brazil, including twelve still lifes, eight ethnographic portraits, and one painting of dancing Indians. Eckhout{\textquoteright}s ethnographic portraits include life-size paintings of Amerindians (Tapuya and Tupinamba), Africans, a mulatto man, and a mestizo woman. The Indians represented the allies and subject peoples of the Dutch in Brazil, while the Africans embodied the primary areas of trade in both human beings and goods along the West African coast. Although Eckhout employs a documentary style like that seen in his nature studies, his figural works are nonetheless informed by sexual as well as ethnic stereotypes. All of these paintings were part of a unified pictorial cycle for Johan Maurits{\textquoteright}s Vrijburg palace in Dutch Brazil. Here I offer a reconstruction of the arrangement of these works in Vrijburg.}, keywords = {Renaissance/Baroque Art}, author = {Brienen, Rebecca P.} } @mastersthesis {9072, title = {The Art and Science of Late Nineteenth-Century Images of Human Prehistory at the National Museum of Natural History in Paris}, year = {2002}, school = {Pennsylvania}, abstract = {This dissertation explores the symbiotic relationship between the paintings and sculptures of the Stone Age that were exhibited at the National Museum of Natural History in Paris in the late nineteenth century and the prehistoric fossils and artifacts that were collected, studied, and displayed there. While authentic prehistoric objects validated the artistic representations that made reference to them, artists{\textquoteright} renderings of earliest times established a context for the Paleolithic and Neolithic vestiges housed at the Museum. In addition, these works of art frequently communicated a sense of France{\textquoteright}s preeminence and were used to further French colonialism. On a more subconscious level, these images of human origins were materializations of the society in which they were created, as they crystallized contemporary attitudes about gender, race, and progress. After examining the display of both science and art in and around the Museum{\textquoteright}s New Galleries of Comparative Anatomy, Paleontology, and Anthropology (1898) in Chapter One, the dissertation proceeds to a detailed consideration of select works of art. Chapter Two focuses on the ways in which Emmanuel Fremiet{\textquoteright}s sculpted reliefs of prehistoric humans and contemporary "primitives" served to support the Museum{\textquoteright}s colonialist agenda. Fernand Cormon{\textquoteright}s painting cycle, which depicts the development of humanity and thus served as a visual manifestation of what was taught in the amphitheater in which it was situated, is the subject of Chapter Three. Chapter Four then juxtaposes Paul Richer{\textquoteright}s bronze statue of a Stone Age sculptor with paintings of prehistoric artists by Albert Besnard and Paul Jamin in regard to prevailing beliefs about the physical appearance and intellectual capabilities of early painters and sculptors. In conclusion, there is a brief analysis of the decline of art at the Museum and the general shift in the twentieth century from fine art depictions of prehistory to "scientific" visual reconstructions of the deep past. Although displayed in science museums because of their didactic content, these later recreations lacked the aesthetic and decorative cachet of late nineteenth-century paintings and sculptures.}, keywords = {Nineteenth-Century Art}, author = {Gindhart, Maria} } @mastersthesis {9109, title = {Art in a Time of Danger: Urban VIII{\textquoteright}s Rome and the Plague of 1629-1634}, year = {2002}, school = {Columbia}, abstract = {In the years 1629-1634, Rome fearfully witnessed Italy{\textquoteright}s devastation by war, famine, earthquakes, volcanic explosions, and one of the most virulent plagues in history-all of which were interpreted as signs of God{\textquoteright}s ire and the imminent Apocalypse. However, under the leadership of Pope Urban VIII Barberini (1623-1644), the city was not only spared from destruction, it also flourished artistically. This dissertation explores relationship between these calamitous events and the art and architecture of Baroque Rome. In particular, it centers on works created to protect Rome from the onslaught of these disasters, and, after the dangers had subsided, to thank the divine intercessors who had saved the city. After the broad survey of Rome{\textquoteright}s history of plague art in the introduction, the focus sharpens in chapter one as we examine the measures-artistic and otherwise-taken to protect public health during two minor epidemics in the earliest years of Urban VIII{\textquoteright}s pontificate. Chapter two pursues this topic by demonstrating how the papal family{\textquoteright}s concerns about epidemic disease determined many aspects of the design and decoration of Palazzo Barberini; it also offers important insight into the millenarian visions taking shape within Urban VIII{\textquoteright}s imagination in response to the events of these early years. The next two chapters are devoted to the art and architecture commissioned in connection with the great plague of 1629-1634. In chapter three, works having their origin in secular or scientific conceptions of plague are analyzed in light of contemporary medical treatises. The fourth chapter investigates art engendered by religious responses to the plague, including Bernini{\textquoteright}s Baldacchino, Domenichino{\textquoteright}s Saint Sebastian altarpiece, and the newly restored church of San Sebastianello, all of which helped to communicate the city{\textquoteright}s anguished prayers for mercy, and placate divine anger. The final chapter depicts Rome{\textquoteright}s sudden surge of optimism as the period of danger closed. Instead of Armageddon, Rome was now imagined as a New Jerusalem with an Angelic Pope at its helm, its hopes reified in an exultant art heralding the Millennium of Peace.}, keywords = {Renaissance/Baroque Art}, author = {Barker, Sheila} } @mastersthesis {8975, title = {The Art of Cha Shih-piao (1615-1698)}, year = {2002}, school = {Kansas}, abstract = {Cha Shih-piao (1615-1698), the merchant-scholar, calligrapher, poet, professional painter, seal carver, connoisseur and collector, was originally from Anhui province in southern China. Traditionally Cha is considered one of the four Anhui masters (as defined here Anhui masters includes: Sun I (act. 1630s-1650s, Wang Chih-jui (act. 1640s-1650s), Hung jen (1610-1663) and Cha Shih-piao). Cha Shih-piao was the most prolific of these four, but no one has explained that Cha spent almost fifty years (1649-1698) in Yangchou where we can trace his activities as a highly successful professional painter. The purpose of this study is to examine Cha Shih-piao{\textquoteright}s accomplishments both in Anhui and in Yangchou. This study first addresses Cha Shih-piao{\textquoteright}s family background and his circle of collectors and friends in Anhui. An analysis of Cha{\textquoteright}s works produced in this context follows. This study continues with an explanation of Cha Shih-piao{\textquoteright}s move to Yangchou and how his exposure to a larger circle of painters, patrons, collectors, poets, playwrights, and Ming loyalists transformed his art. In conclusion, this study establishes Cha Shih-piao{\textquoteright}s status as one of the most prominent late seventeenth century Yangchou painters.}, keywords = {Chinese Art}, author = {Tenckhoff, Diana} } @mastersthesis {9117, title = {The Art of Hubris: Pellegrino Tibaldi in the Papal States}, year = {2002}, school = {Johns Hopkins}, abstract = {This study consists of interpretative and contextual essays on Pellegrino Tibaldi{\textquoteright}s painted and sculpted oeuvre in Bologna, Ancona, and Rome in the 1550s. By positioning his maniera in relation to the artistic literature of the sixteenth and seventeenth centuries I examine his creation of a particularly Bolognese version of the Roman maniera moderna through his approach to disegno and color. As his patrons in Bologna and Ancona were eager to express political and spiritual allegiance to Rome Tibaldi{\textquoteright}s cultivation of an original style could serve their agendas as well. A transforming imitation of Michelangelo is the most distinguishing feature of Tibaldi{\textquoteright}s art, and this leads me to consider his different strategies of imitation. In the Homeric frescoes in Bishop Giovanni Poggi{\textquoteright}s palace in Bologna the pictorial quotation served as a source of displacement and irony. Tibaldi thereby reflected not only on his ambiguous status as an artistic latecomer, but also on the increasingly controversial status of "divine" artifice as associated with Michelangelo. In the Poggi Chapel in San Giacomo Maggiore Tibaldi painted an eschatological meditation on the patron{\textquoteright}s name saint John the Baptist. By letting the decoration consist of "poetic veils," dense with symbolic references, Tibaldi polemically hinted that an elusive sacred art could utilize the signifying habits of a profetic text. This he did at a historical moment when this kind of painting-as exemplified by Michelangelo{\textquoteright}s Sistine Last Judgment -was becoming increasingly controversial as some thought it only displayed vainly the artist{\textquoteright}s ingegno. In the second part of the 1550s Tibaldi was active in Ancona. Since the early Cinquecento the majority of the ambitious artistic commissions in the form of altarpieces in the papal Adriatic city had come from immigrant merchants. The Armenian Giorgio Morato belonged to this group, and he commissioned the high altarpiece for the cathedral from Tibaldi. I examine how the immigrants used church patronage in response to their particular status, and how Morato{\textquoteright}s commissions were utilized by the resident nobility to negotiate a tense relationship with the papacy.}, keywords = {Renaissance/Baroque Art}, author = {Hansen, Morten} } @mastersthesis {9123, title = {The Art of Living Nobly: The Patronage of Prince Frederik Hendrik (1584-1647) at the Palace of Honselaarsdijk during the Dutch Republic}, year = {2002}, school = {IFA/NYU}, abstract = {As Prince of Orange, Count of Nassau, and Stadhouder of the United Provinces, Frederik Hendrik (1584-1647) was the most visible, and powerful, nobleman during the heyday of the Dutch Republic in the early 17th century. In the history of Dutch collecting, as well, Frederik Hendrik{\textquoteright}s activities as a patron of art and architecture between 1612 and 1647 remain conspicuously unusual in style, function, and wide-ranging extent. Despite this prominence, Frederik Hendrik{\textquoteright}s patronage has received only sporadic attention from specialized historians since 1928. In this study, based on new archival research, the visual environment of Frederik Hendrik{\textquoteright}s first and favorite home, the huis Honselaarsdijk, is examined. A country retreat outside of The Hague, Honselaarsdijk provided Frederik Hendrik with a place to fully express his noble status and aristocratic heritage, outside the confines of his administrative position as Stadhouder. Constructed and improved continuously over the course of Frederik Hendrik{\textquoteright}s adult life, Honselaarsdijk introduced sophisticated international models for the visual arts, for aristocratic lifestyles, and for elite domestic settings into the predominantly republican Netherlands of the 17th century. By examining the evidence for the entire built environment of the palace (destroyed in 1815), including painting, sculpture, architecture, landscape and garden design, and decorative arts, a clearer picture of the thematic and decorative unity of the home is achieved. The use of such overt noble signifiers at this country retreat by the Prince and Stadhouder carried a significant social and political charge for its original audience. Rather than view Frederik Hendrik{\textquoteright}s patronage activities as an aristocratic aberration during the Dutch Republic, this study examines the evidence anew to construct a more accurate picture of the creation, operation, and effect of the Honselaarsdijk palace. Frederik Hendrik{\textquoteright}s lavish domestic environment emerges as not only artistically and conceptually innovative, but as an effective exemplar of noble life, a powerful argument for the Prince{\textquoteright}s political status, and a lasting influence on the artistic preferences and lifestyles of the Dutch regent class of the seventeenth century.}, keywords = {Renaissance/Baroque Art}, author = {Tucker, Rebecca} } @mastersthesis {9137, title = {An art of no dogma: Philosophical anarchist protest and affirmation in Barnett Newman{\textquoteright}s writings and art}, year = {2002}, school = {CUNY}, abstract = {Notions of freedom, the individual{\textquoteright}s relation to freedom, and the enactment of freedom pervade most theories of modern art and modern art practice. This dissertation attempts to expand even further the ways in which concepts of freedom have been incorporated into fields of artistic activity. By examining what philosophical anarchism is and how it was adopted by Abstract Expressionist Barnett Newman, this dissertation demonstrates that anarchist ideals gave greater meaning to his work. Specifically, this study investigates Newman{\textquoteright}s engagement with philosophical anarchism, especially the ideas articulated by a most important theorist, Peter Kropotkin. Newman{\textquoteright}s writings from the 1920s to 1968 when he wrote an essay titled "The True Revolution is Anarchist!" are examined in detail, as are particular artworks. With a lens focused on the instances of anarchist thought, opinions, and metaphors expressed by Newman, this dissertation elucidates a lifetime of interest in the model of Kropotkin. Newman{\textquoteright}s ongoing complaints against dogmatic systems, one individual speaking for another, his misreading of Mondrian as authoritarian are considered. Newman{\textquoteright}s 1936, self-published magazine, The Answer is examined for the first time to illustrate the complexity and consistency Newman{\textquoteright}s thought on issues regarding freedom and bettering society. This dissertation also provides research on instances of modern artists and critics{\textquoteright} identification with anarchism, especially the influential Herbert Read. The study demonstrates that philosophical anarchism has often been present within the discourse of freedom that has informed modern art.}, keywords = {Twentieth-Century Art}, author = {Schoenfeld, Ann} } @mastersthesis {8954, title = {Art to Educate: A History of Public Art in the New York City Public Schools, 1890-1976}, year = {2002}, school = {CUNY}, abstract = {"Art to Educate" chronicles a history of public art in the New York City public schools from the beginning until the passage of the City{\textquoteright}s Percent-for-Art Law in 1982. Its purpose is twofold: to bring to light public artworks in school buildings that are typically ignored in discussions of public art and to create a historical framework for understanding this collection. To contextualize this collection, "Art to Educate" links public art in schools to school architecture and the Board of Education{\textquoteright}s school construction programs over the last century; to a consideration of educational theory and viewpoints in art education; and to the concerns of audience, site, and patron. From this matrix several major themes emerge: public art as educator, public art as architectural enhancement, public art as commemoration, the tension between public art and abstraction, and public art and the politics of identity. "Art to Educate" covers the period 1890 through 1976. Arranged chronologically, each chapter provides an overview of roughly a decade, illustrated by case studies. Chapter 1, the 1890s, focuses on the motives for placing art in schools with an examination of the practice of placing art reproductions in school-rooms, largely inspired by John Ruskin{\textquoteright}s writings. Chapter 2 discusses the little known Board of Education architect, Charles B. J. Snyder and early stained glass windows. Chapter 3 expands on Snyder{\textquoteright}s contributions, focusing on several major murals by second-generation American Renaissance artists. Chapter 4 considers the commemorative function of public art in schools, particularly World War I memorials. Chapter 5 covers the New Deal period, and its emphasis on murals, focusing on those that tackle the ambitious history of civilization theme. Chapter 6 shows how modernist architecture ushered in the transformation of public school art, evidenced in abstract mosaics and sculptures by Hans Hofmann, Ben Shahn, and Mary Callery. And Chapter 7 establishes the roots of multiculturalism in public school art by examining a body of work by African-American artists.}, keywords = {Art of the United States}, author = {Cohen, Michele} } @mastersthesis {8924, title = {The Arthurian Architecture of H. H. Richardson}, year = {2002}, school = {Wisconsin}, abstract = {Together with Louis Sullivan and Frank Lloyd Wright, H. H. Richardson (1838-1886) has been acknowledged by architectural historians as one of America{\textquoteright}s most innovative and influential architects. When he came to artistic maturity in the early 1870s, American architecture was in the midst of stylistic turmoil, and he capitalized on a climate of freedom in creating a new style that expressed his taste for muscular, medieval forms, based on the French and Spanish Romanesque, while his basic architectural geometry (plans and volumes), always reflected the rational common sense instilled into him by the Ecole des Beaux-Arts. I propose that Richardson{\textquoteright}s stylistic vision paralleled the nineteenth-century interest in King Arthur{\textquoteright}s legend, and that his architecture represents an attempt to evoke an Arthurian spirit that simultaneously charmed his clients and allowed for the functional requirements of a modern building to be met. Enthusiasm for Arthurian legends expanded throughout the western world in the nineteenth century, and in the American south where Richardson spent his formative years, the legend played a leading role in the social activities of the slave-holding class to which he belonged. When he arrived at Harvard University in 1855, he was exposed to a perspective that used the legend as a means to enhance the appreciation of the natural landscape. Later, as an architect, he synthesized those approaches to the legend into a cohesive style that, paradoxically, evoked an idealized Arthurian realm in an American nineteenth century entrepreneurial context. Richardson{\textquoteright}s Arthurian manner, characterized by sumptuous color and texture, heroic arches, and staggering mass that evoked the mythic wonder of Camelot, rendered it distinct from other nineteenth-century medieval modes, and he demonstrated that his style could find vivid expression in a variety of building types without undermining functional requirements or standards of decorum. Richardson{\textquoteright}s premature death in 1886, coupled with a resurgence of academic classicism capped by the 1893 Columbian Exposition, brought American Arthurianism to an early end. Yet, during the 1870s and early 1880s, he demonstrated that the essence of a modern, inventive style could be distilled from a centuries-old legend.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Bubenzer, Brian} } @mastersthesis {8959, title = {The Artist-Makers: Professional Art Training in Mid-Nineteenth-Century New York City}, year = {2002}, school = {Princeton}, abstract = {The objective of this dissertation is to explore the interactions between American art teachers and their students in New York during the mid-nineteenth century. The maturation of professional art training that occurred during the period coincided with both the city{\textquoteright}s debut as the nation{\textquoteright}s cultural capital and the widespread cultural anti-authoritarianism characteristic of the Jacksonian era. These competing social trends commingled in the dynamic relationships between American art teachers and their students. The dissertation assumes that the relationship between teacher and students was a constantly renegotiated social contract. In America, where definitions of art and its meaning remained fluid until late in the century, the five teachers included here wielded an authority under constant interrogation by their students. The careers of these leading educators-John Wesley Jarvis (1780-1840), Samuel F. B. Morse (1791-1872), Thomas Seir Cummings (1804-1894), William Rimmer (1821-1879), and Lemuel Wilmarth (1835-1918)-succeeded one another from the 1810s to the 1880s. Each of the five chapters centers upon one of these teachers, discussing their own training and artistic background, their teaching methods, and finally their relationships with their students. Some of these teachers are already well known to the history of art, while others remain quite obscure. This dissertation attempts to constrain them to a similar analytic framework so that each will be understood in relation to the others. Looking for patterns of change and similarity in art instruction of the period, this study endeavors to contribute new perspective on a subject long neglected by historians of American art. The mythic figure of the quintessential American artist as autodidact has previously eclipsed the reality of training during the period for two reasons: education has been interpreted primarily as mindless imitation, and academies, the traditional bastions of instruction in Europe, were relatively inactive as schools in America. The contribution of this dissertation will, I hope, be to refocus attention not on the institutions of learning where little collective effort was apparent, but on the individual instructors who animated them. Art instruction during the mid-nineteenth century in New York was a matter of individual initiative, simultaneously idiosyncratic and idealistic.}, keywords = {Art of the United States}, author = {Mitchell, Mark} } @mastersthesis {9050, title = {The Attic Volute-Krater}, year = {2002}, school = {IFA/NYU}, abstract = {This dissertation traces the developments in shape and decoration of one of the grandest mixing vessels made in Athens from the late seventh century B.C. until the middle of the fourth. The first chapter sketches the background from which the first Attic volute-kraters emerge, as well as discussing ceramic volute-kraters made in other Greek potteries in the sixth century, including Sparta, Corinth, Northern Greece and Reggio di Calabria. The central chapters study the evolution of the volute-krater in the Athenian potters{\textquoteright} quarter from the late seventh century until the middle of the fourth. Special attention has been paid to style, patternwork, and profile in order to identify new potters and painters, their interconnections, and their chronological framework. The catalogue lists over six hundred examples in black-figure, red-figure and black glaze. In the second half of the fifth century, local potteries in South Italy were established that imitated Athenian work: the evolution of their earliest volute-kraters and their debt to Attic are described. Volute-kraters were also made in bronze during the archaic and classical period. The development of several types from before the Vix krater until after the Derveni is analysed, and a catalogue of over one hundred given. Brief notes on Neo-Attic marble volute-kraters and volute-kraters in precious metals are appended. The study closes with a discussion and catalogue of representations of volute-kraters.}, keywords = {Greek/Roman Art}, author = {Gaunt, Jasper} } @mastersthesis {9139, title = {Avant-Garde and Center: Devetsil in Czech Culture, 1918-1938}, year = {2002}, school = {Pennsylvania}, abstract = {This dissertation offers a panoramic analysis of avant-gardism in interwar central Europe, grounded in four "case studies" connected with the Czech movement Devetsil (1920-1931). Avant-gardism here means an internationally informed but locally conditioned practice that is pedagogical and highly public; less interested in commodity culture than performance as an arena of intervention; and attached to history and commemoration as legitimating structures for radical ideas. The 1926 book Alphabet allies humorous verses by Vitezslav Nezval with a constructivist layout by Karel Teige featuring photomontages of the dancer Milfca Mayerova. Text and typography express a utopian belief in universal communicability fundamental to this "era of the ABC." Mayerova, however, subverts that ideal through her performance of gender-and she responds as well to her teacher, Rudolf von Laban, author of a dance notation system he called an "alphabet of movement." As Alphabet shows, the Czech avant-garde engaged with popular culture not dialectically but indirectly, via the medium of spectacle (film, cabaret, dance). Two avant-garde artists turned star performers, Jiri Voskovec and Jan Werich, developed an analogous strategy; their work triangulates the international constructivism, dada and surrealism of their Devetsil mentors and the nationalist expectations of their popular constituency. Photographer Jaromir Funke, meanwhile, epitomizes avant-garde efforts to lay claim, belatedly, to the status of "modern," by fashioning a historical narrative that in the case of photography derives loosely from periodizing art histories proposed by Alois Riegl, Heinrich Wolfflin, and their disciples or popularizers. With history comes a renewed commitment to commemoration, highly fraught in countries where the reward of modern statehood issues directly from the calamity of World War I. Cremation, a thoroughly modern form of commemoration in Europe, is allied in Czechoslovakia with both avant-garde architecture (e.g., Devetsil architect Bedrich Feuerstein) and official sentiment. At the Monument to National Liberation in Prague-Zizkov (1927-38), vast columbaria consecrate cremation as exemplary memorialization-yet these rooms are impenetrably blank, as if in anticipation of the perversions effected with the aid of further crematoria during World War II.}, keywords = {Twentieth-Century Art}, author = {Witkovsky, Matthew S.} } @mastersthesis {9095, title = {The Aviator{\textquoteright}s (Re)Vision of the World: An Aesthetic of Ascension in Norman Bel Gedde{\textquoteright}s Futurama}, year = {2002}, school = {MIT}, abstract = {This dissertation considers a new ontology of vision brought on by the advent of human flight. It focuses on the project that best reflects this new vision: the Futurama, an exhibit designed by the American industrial designer Norman Bel Geddes for the 1939 New York World{\textquoteright}s Fair. The Futurama{\textquoteright}s status as the cause celebre of the 1939 World{\textquoteright}s Fair derived largely from its theatrical technique of seeing: spectators literally gazed down upon an American utopia as if they were aviators in a low-flying airplane. My analysis contextualizes Bel Geddes{\textquoteright}s Futurama within a utopian vision prevalent among urbanists, architects, artists, novelists, and science-fiction writers during the 1920s and 1930s. This "golden age" of American aviation was marked by the fantasy that the vision of the world from above would usher in new spatial dynamics from which would emerge the city of the future. I argue that Bel Geddes{\textquoteright}s method of seeing the Futurama from a simulated airplane revealed as much about a culturally valorized aviator hero as it did about the utopia itself. By demonstrating how the Futurama spectator{\textquoteright}s aerial viewing became enmeshed in broader 20th-century modernist visuality, my study reveals the crucial presence of an aesthetics of ascension in the avant-garde imagination. The Futurama was one of those modernist utopias that ideologues like Nietzsche, Wells, and arch-modernist Le Corbusier visualized through the eyes of an ascending protagonist. Histories of modernism have often overlooked the exalted presence of this protagonist in favor of focusing on the aesthetic object itself. This protagonist{\textquoteright}s aesthetic experience of altitude appealed to the encyclopedic ambition of modernist planners, particularly in light of modernism{\textquoteright}s prescriptions of rationality, clarity, and order as a panacea for human problems. The Futurama{\textquoteright}s aesthetics of ascension offers a new context for understanding interwar modernism{\textquoteright}s redemptive aspirations. On one hand, an innocent self-assurance tinged the Futurama and the grand (re)vision of America that it promised to its spectators. On the other hand, the Futurama was a crucial cultural artifact that revealed a surprising affiliation between aviation and modernism{\textquoteright}s logic of looking at the world. The self-aggrandizing, detached gaze of the modernist planner masquerading as the Futurama{\textquoteright}s spectator worked to dispel the anxieties of the 1930s; at the same time, this gaze also rendered most effective the fantasy of an ideal world of tomorrow. The heightened expectations that underpinned the Futurama{\textquoteright}s heroic gaze offered a populist analogue to modernist promises of cultural renewal. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Pre-1945 North American and South American Art}, author = {Morshed, Adnan} } @mastersthesis {8974, title = {The Baoshan Tomb: Religious Transitions in Art, Ritual, and Text during the Warring States Period (480-221 BCE)}, year = {2002}, school = {UCLA}, abstract = {This dissertation explores historical transitions in funerary art, ritual, and text in their archaeological context by focusing on the tomb of a high-ranking Chu official, Shao Tuo (d. 316 BCE), discovered at Baoshan in Hubei Province. The Warring States transition has long been regarded as a process of rationalization and secularization, developing from the mystical, superstitious Shang and Zhou dynasties to the rational, bureaucratic Qin and Han empires. This contextual study problematizes this vision of antiquity, arguing that religious transitions played a vital role in shaping the intellectual and religious foundations of a unified empire. Chapter 2 demonstrates that the tomb inventories and funerary gift-lists as ritual devices structured the communication between humans and spirits, and that tomb construction, modeled on the cosmos, expressed new conceptions of the afterlife that emerged during the Warring States period. Chapter 3 shows that the practice of burying mingqi ("spirit artifacts") and personal belongings was a form of a tie-breaking ritual, the purpose of which was to ritualize the gradual separation between the deceased and the living. Chapter 4 shows that the new categories of burial furnishings, such as lamps and folding beds, were chosen to perform specific religious functions. The lamps in the Baoshan tomb were to facilitate the spirit journey to the increasingly alienated, gloomy, and dangerous underworld, a conception of the afterlife that emerged in the Warring States era. Chapter 5 discusses the historical development of ancestral cults, changing from the use of living persons as impersonators to the concordant use of images. This transition led to the development of the burying of tomb figurines as substitutes of human servants, the use of spirit tablets, and a reinterpretation of the concept of wei ("position") in early Chinese ritual art. The pictorial representation of the human figure originated in the context of rhetorical uses of works of art. Finally, the appendix reconsiders Karlgren{\textquoteright}s linguistic method of distinguishing "free" texts from "systematizing" texts, and draws connections between funerary texts and the genesis of ritual texts in Early China.}, keywords = {Chinese Art}, author = {Guolong Lai} } @mastersthesis {9046, title = {Between Ancient and All{\textquoteright}Antica: The Imitation of Roman Coins in the Renaissance}, year = {2002}, school = {Boston}, abstract = {Ancient Roman coins were attractive in the Renaissance because they survived in great volume and were thus available to a large number of humanists and collectors across Europe. As the demand for these tangible relics of the ancient world increased, they became scarcer and increasingly expensive. From an early stage, enterprising medalists took advantage of this situation by forging ancient coins with the intention of deceiving their purchasers for financial gain. Alongside these duplicitous artists, however, was a class of medalist who produced imitations of ancient coins whose modernity was not concealed, but celebrated. There has been a great deal of debate over the motivation behind the imitation of ancient coins, with some scholars arguing that all such objects were intended to deceive. This dissertation demonstrates that, in fact, the Renaissance period was a fertile environment for both genuine and invented antiquities. The simultaneous praise and derision directed towards imitation coins is indicative of the coexistence of a nostalgic passion for the ancient world which encouraged reproductions of antiquities or works of art in the ancient fashion (all{\textquoteright}antica) alongside an empirical view which sought to objectively study antiquity{\textquoteright}s remains. This complexity found in the Renaissance approach to antiquity is explored in the first chapter through an analysis of the acceptance and promotion of reconstructions of the ancient world. The second chapter investigates the important role played by ancient coins in this endeavor as both moralizing agents representative of ancient virtue and archaeological documents used to illuminate aspects of ancient society. Similarly, chapter three demonstrates how Renaissance artists employed ancient coins as both general vehicles for creating an antique aura in their works and sources for the reuse of specific ancient symbolism. The simultaneous presence of original, copied and invented antiques in Renaissance collections, the subject of chapter four, further illustrates the secure place of imitative antiquities. Through an analysis of the medallic oeuvre of the Paduan artist Giovanni da Cavino, the final chapter applies the context outlined in the previous chapters to demonstrate the desirability, function, and promotion of imitation ancient coins in the Renaissance.}, keywords = {Greek/Roman Art, Renaissance/Baroque Art}, author = {Bresler, Ross} } @mastersthesis {8976, title = {Between Modernity and Tradition: Zhao Zhiqian (1829-1884) and the Epigraphic Movement of the Late Qing Period}, year = {2002}, school = {Kansas}, abstract = {Zhao Zhiqian{\textquoteright}s (1829-1884) main contributions to the Epigraphic movement can be summarized in three points. First, he was the earliest seal-carver who actively employed the aesthetics of newly discovered ancient materials such as bronzes, coins, and epitaphs to enrich his work. The jottings, remarks, and pictorial engravings on his seals create an artistic form, which was an innovation to the field. Second, his text Supplement to the Record of Visiting Stelae under the Heavens demonstrates an epigraphic scholar{\textquoteright}s empirical training in the application of philological knowledge to rectify ancient inscribed characters. Without the accumulated efforts of numerous Qing dynasty scholars, it would not be possible to decode the oracle bones of the Shang dynasty, offering a better understanding of early Chinese civilization. Finally, during his sojourn to the southeastern coast of China, he produced a series of paintings that were the crystallization of his pursuit of evidential studies (kaozheng). Although this type of "nature study" did not continue in his later paintings, it signifies a major step towards actualizing evidential research in a pictorial form. Perplexingly, after accomplishing such a significant milestone in his career, Zhao abandoned his intellectual curiosity in nature and adopted a more calligraphic style for his paintings after 1863. Unlike the descriptive and precise style evident in his Strange Fish of Different Species and Products of Wenzhou of 1861, Zhao{\textquoteright}s later paintings display a strong awareness of epigraphy-especially Northern style calligraphy. Inevitably, a conflict arose between his early pursuit of precise pictorial representation and his later interest in creating a two-dimensional pictographic effect. The development of Zhao{\textquoteright}s painting testifies to the unique characteristics of Chinese painting, which espouses a fundamentally different concern regarding the nature of painting. When radical Chinese reformers of the early twentieth century claimed traditional Chinese painting needed "revitalization" and advocated the adoption of Western techniques such as perspective and chiaroscuro, they overlooked the fact that their proposal had been experimented with, and abandoned by Zhao Zhiqian fifty years earlier.}, keywords = {Chinese Art}, author = {Wu, Chao-jen} } @mastersthesis {8970, title = {Between the Living and the Dead: Han Dynasty Stone Carved Tomb Doors}, year = {2002}, school = {Columbia}, abstract = {The performance of mortuary ritual within the tomb was an innovation that occurred during the Eastern Han period. Within the Eastern Han tomb the concept of death was blurred and ambiguous, allowing the living and the dead to undergo paired social initiations resulting in their rebirths as changed social persona. During mortuary rites for a dead father, for example, the deceased underwent initiation in order to join the ranks of the ancestors. At the same time, his living son, in the role of the chief mourner, underwent social initiation to assume his father{\textquoteright}s place as family patriarch. Tomb doors were another mortuary innovation of the Eastern Han period. This thesis analyzes tomb doors and thresholds as the organizational keys to tomb structure, decorative program, and the performance of ritual necessary to ensure linkages between and transformations between the worlds of the living and the dead. Archaeological material from the Eastern Han tombs at Yi{\textquoteright}nan, Dongjiazhuang and Dahuting is presented as the primary evidence of these innovations. By using a holistic approach to the tombs, the doors are reintegrated into their original architectural setting as the structure of the thesis directs the reader through the tomb from south to north, following the path of the Eastern Han mortuary audience. The carved stone doors signaled that the tomb was a locus of transformation to an audience of the living and the dead. Death, a system-endangering event of central importance, was defeated by the correct program of mortuary ritual at the site of the doors and doorways within the tombs. Mortuary ritual functioned as a homeostat, providing a mechanism to repair the tear in the fabric of Han society caused by the death of a family member. It accomplished this repair via the transmission of information at the site of the tomb doors. The doors were thus instruments linking the living and the dead and uniting the past, the present and the future for "ten thousand generations."}, keywords = {Chinese Art}, author = {Dramer, Kim} } @mastersthesis {8932, title = {The Bishop{\textquoteright}s Palace at Aphrodisias: A Late Roman Townhouse in the Center of the City}, year = {2002}, school = {IFA/NYU}, abstract = {The building known as the Bishop{\textquoteright}s Palace at Aphrodisias is a large, late Roman townhouse located in the heart of the city. It is one of the best-preserved examples of late antique domestic architecture in the Roman empire. Aphrodisias is a Graeco-Roman city in southwest Asia Minor, which has been excavated under the auspices of New York University since 1961. The Bishop{\textquoteright}s Palace was excavated in the 1960s and has not been published in any detail. This dissertation studies of the architectural history of the site of the building from the first through the twelfth centuries A.D., with an emphasis on the late antique townhouse. It begins with a detailed discussion of the remains of the building, and an examination of the evidence for its appearance in the Imperial period. The townhouse occupies a city block on the north side of the Agora, and is next door to the city council house, an area that is likely to have originally served public purposes. The late antique house comprises a central peristyle court, a triple-apsed dining room, an apsidal audience hall, and several more public and private spaces. This work provides an in-depth study of the architecture and interior decoration of the house, and a presentation of the building as it appeared in the fourth through the sixth centuries A.D. This is followed by a comparative study of late antique townhouses and villas in the Roman empire. The layout, organization, and decoration of the house are representative of empire-wide trends in late antique domestic buildings, which were designed to suit the social and political lives of the late Roman elite. When Aphrodisias suffered a decline in the seventh century, most of its buildings were abandoned. The Bishop{\textquoteright}s Palace, however, along with the city{\textquoteright}s Cathedral, formerly a temple, were occupied until the twelfth century. Finally, the evidence for the appearance of the building in the middle ages, and its function as part of a larger episcopal precinct, is presented.}, keywords = {Architectural History/Historic Preservation, Greek/Roman Art}, author = {Berenfeld, Michelle} } @mastersthesis {8977, title = {Black Artists, Black Work? Regarding Difference in Three Dimensions}, year = {2002}, school = {Rochester}, abstract = {This dissertation is a study of three contemporary American artists: Fred Wilson, Kara Walker, and Glenn Ligon, all of whom are black. Working from the premise that what else they are also contributes to the significance of the work they produce, my aim is to demonstrate how vital (and difficult) it is to keep that "what else" in view when the seductions of race are at issue. I argue that it does not suffice, no matter what one{\textquoteright}s interests, to think of art work in the narrow terms dictated by its maker{\textquoteright}s racial identification. In this dissertation, I seek to locate the work of these three artists in relation to an approach to art and identity that derives from interpretive strategies employed in art history and art criticism, visual studies, cultural studies, postcolonial and psychoanalytic theories. What makes these critical discourses important touchstones in coming to terms with this art work is that, within them, a representation is never simply a representation, a racial identification never simply a racial identification. Such perspectives allow precisely those concerns and differences to remain in view that would be deemed peripheral to an interpretation grounded in an equation between appearance and identity. And black artists{\textquoteright} work is particularly susceptible to such closure. I begin by exploring the histories out of which Wilson{\textquoteright}s, Walker{\textquoteright}s, and Ligon{\textquoteright}s projects (and my own) have emerged, introducing the dissertation with a review of some historical and contemporary moments in which well meaning but restricted attempts are made to direct the motives and means of black representation. The next chapter places Wilson, Walker, and Ligon in the context of contemporary art production. Because these artists engage and interrogate traditional issues-Wilson, institutions of culture; Walker, history; and Ligon, individuality-I attempt to convey the specificity of their interventions by arranging the remaining chapters thematically and monographically. These intermingling frameworks function not to neatly explain how blackness is to be understood here, but rather to show that truly progressive "race work" must concern itself with the manifold constructions of modernity and the intricate conceptual and practical problems they impose}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Darby English} } @mastersthesis {9080, title = {Bodies of Work: Autobiography and Identity in Adrian Piper{\textquoteright}s Conceptual and Performance Art}, year = {2002}, school = {UCLA}, abstract = {Adrian Piper{\textquoteright}s artwork of the late 1960s and early 1970s manifests the dilemma that women and African-American artists faced at the time: how to make and exhibit art that would be accepted as having validity for all viewers and that would also allow the artist to reflect her own experiences as a black woman. Piper{\textquoteright}s approach-confronting viewers in order to force them to consider the social construction of identity-is singular among the work of her peers. I situate her work at the junction between the various artistic practices developed by black, white, and Feminist artists. Piper was the only black woman associated with Conceptualism and one of only a few to participate in exhibitions of the nascent Feminist art movement in the early 1970s. In order to reveal certain assumptions about whose art was considered Minimalist, Conceptualist, or Feminist-and whose could not be-it is important to consider how questions of race and gender manifest themselves in Piper{\textquoteright}s work and the critical response it generated. I consider how Piper{\textquoteright}s art addressed race and gender-or refused to address them-and the prejudiced responses this elicited. Piper{\textquoteright}s Hypothesis series documents activities conventionally deemed women{\textquoteright}s work as simple exercises in space and time, claiming universal value for personal experience. In her Catalysis street performances, Piper disfigured herself with such materials as smelly clothes or wet paint. She made herself up to appear as someone viewers feared, turning their scrutiny against them in order to explore the capacity for an anomalous human presence to provoke self-reflection. In Food for the Spirit, Piper presents her efforts to claim the transcendence promised by Kant{\textquoteright}s philosophy through the particular experience of her body. Like all of her work, this project exposes the unresolvable tension between embodied subjectivity and universalist ideals.}, keywords = {Performance Studies}, author = {Bowles, John} } @mastersthesis {8929, title = {Building Images of Prosperity: The Catalan Merchant Halls of the Fourteenth and Fifteenth Centuries}, year = {2002}, school = {Brown}, abstract = {The emergence of new civic building types in late medieval Europe is a testament to the tremendous growth of cities at this time. The role of these buildings in the life of the city remains obscure today, however, due to the emphasis of medieval studies on ecclesiastical art and architecture. This dissertation brings to light one form of this new civil architecture, the Llotja de Mar, or maritime merchant hall, of the late medieval Crown of Aragon. The Llotja was a center for wholesale trade, banking, and the governing of the port, which was first conceived in fourteenth-century Barcelona during a time of economic crisis. In the dissertation, I argue that the citizens of Barcelona constructed the Llotja to create an image of prosperity for their city, hoping to resolve economic tensions and improve their prospects in foreign trade. Both the architectural form and the functions of the Llotja in Barcelona are analyzed and reconstructed, in order to assess the impact of the new institution on the economy of the late medieval city. The image the Llotja projected architecturally functioned both as signifier of the new status of the merchant in society and as herald of the prosperous city in the fifteenth century.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Roff, Shelley Elaine} } @mastersthesis {8968, title = {The Burkean Sublime in British Architecture}, year = {2002}, school = {Columbia}, abstract = {The critical discourse that emerged in response to Edmund Burke{\textquoteright}s A Philosophical Enquiry into the Origin of our Ideas of the Sublime and Beautiful (1757) is shown to have been a primary force behind the development of monumental public architecture in Great Britain during the period of industrialization. Burke{\textquoteright}s theory of the sublime, since it challenged architects to evoke in their work the magnitude, infinity, and power of nature by means of an aesthetic system that privileged terrific experience, not only described a built environment contingent on the economic and technological resources generated through industrialization, but also encouraged architects to aestheticize the new, at times overpowering, industrial infrastructure, and eventually to incorporate industrial imagery into structures of the most exalted functions. This process is explored through the teaching and practice of architects associated with the Royal Academy, primarily William Chambers, founder of the institution and architect of its headquarters in London; Thomas Sandby, first Professor of Architecture from 1768 to 1798; his student John Soane, Professor of Architecture from 1806 to 1837; and finally Soane{\textquoteright}s student Charles Robert Cockerell, who held the post from 1839 to 1856. Projects and built works by these architects are shown to have embodied, in various ways, the interaction of Burke{\textquoteright}s aesthetic and political aspirations-in short, his conviction that the economic and military operations of the British state, supporting a world-wide commercial empire, must be redeemed through the arts and learning. Burke{\textquoteright}s theory of the sublime is shown to have described the very economic forces on which he brokered his political career-the same forces that gave British architects the means to fulfill his aesthetic vision during the nineteenth century. The study concludes with a discussion of works by Alfred Waterhouse that not only synthesized key themes of the Burkean discourse, but also, through the juxtaposition of historical and industrial imagery, anticipated the aesthetic strategies of early modernist practice.}, keywords = {Baroque and 18th-Century European Art}, author = {Wendt, Edward} } @mastersthesis {8986, title = {Byron Browne: The Measure of a Polemical Legacy}, year = {2002}, school = {CUNY}, abstract = {The author examines the life of an American painter whose remarkable creative gifts promised a brilliant career. Indeed, by the time he graduated from the National Academy of Design, Byron Browne (1907-1961) had won nearly every prize and medal offered during his three years at the School. Then, within a short time, Browne shook off the yoke of his conservative training to accept modernism in all its ramifications. He fell headlong into the arms of Picasso and Cubism, an embrace from which he never extricated himself. The time was 1929, the year the stock market crashed, ushering in the longest financial depression in the history of this nation. This study documents Browne{\textquoteright}s struggle for artistic survival during that terrible period, occurring at a time when abstract art by an American was an unacceptable commodity. Stubborn, dedicated and persevering against all odds, Browne gained national prominence at the end of World War II, when, finally, American abstraction began to achieve acceptance. Browne, with the patronage of his dealer, Samuel M. Kootz, became one of the most celebrated modernist painters in the country. Yet other currents were operating simultaneously, as the brash Abstract Expressionist painters, armed with the Surrealist teachings of Andre Breton, began to undermine Cubism and everything that harked back to European tradition and our slavish worship of "their" art as the leading edge. Suddenly, Browne found his kind of painting eclipsed by the revolutionary concepts of the New York School. Aesthetically and psychologically, he could not accept the iconoclastic premises of painters like Jackson Pollock, Franz Mine, Willem de Kooning, Robert Motherwell and Adolph Gottlieb. By summer{\textquoteright}s end 1948, Browne learned that his dealer had eliminated him from the gallery{\textquoteright}s roster, as Samuel Kootz wholeheartedly embraced surrealism and gestural painting that left no room for his decorative Cubist fantasies. Then, without warning, one Sunday morning in 1951 Browne awakened to learn through a full-page advertisement in The New York Times that dozens of his paintings, held by his former dealer, had been advertised for sale at discount prices on the selling floor of Gimbles Department Store. This unprecedented incident, so publicly announced, devastated the artist, ruining his reputation and driving his prices downward; it shattered an already fragile ego as well. Shortly thereafter, Browne suffered a heart attack from which he never fully recovered. Browne{\textquoteright}s paintings from the late 1940s and the 1950s are contrasted with those of the Abstract Expressionists, in a effort to learn what happened to an artist who by all rights could have been among those now-revered members of the New York School. His is at once a marvelous and a chilling story, unfolding during some of the most breathtaking moments in American art history.}, keywords = {Contemporary Art}, author = {Paul, April} } @mastersthesis {8992, title = {The Casa delle Zitelle: Gender and Architecture in Renaissance Venice}, year = {2002}, school = {Columbia}, abstract = {This dissertation provides an account of the architectural development of the Casa delle Zitelle, 1575-1597. It elucidates how the patronage and purpose of the institution were critical determinants for the location, organization and image of the building. The Casa delle Zitelle was founded in 1559 by a group of patrician women to educate Venetian girls they had saved from becoming prostitutes. Because these women supervised the construction of the building, the Casa delle Zitelle also presents a rich site for exploring the impact of gender in Renaissance architecture. The principal documents for this inquiry, the building accounts preserved at the Istituzioni di Ricovero ed Educazione, Venice, show that construction proceeded in four campaigns. During the first, 1575-77, a fourteenth-century palace on the Giudecca purchased in 1561 was renovated; the patrons relied on traditional convent design as a model for this structure. During the second, 1581-88, the central-plan church of Santa Maria della Presentazione was built. The patrons employed the architectural idiom of Andrea Palladio to position the Casa delle Zitelle as a modest, virginal component of the image of civic piety created by the neighboring churches of San Giorgio Maggiore and the Redentore. During the third, 1589-91, the east wing of the building was constructed on property acquired in 1586; in the final campaign, 1596-97, the west wing was completed. For these final stages, the patrons adopted an H-plan similar to projects for the new charitable hospitals of the Incurabili in Rome and Venice. At the Zitelle, however, this design generated a building whose function is embodied in its form. Each of the three symmetric floors contained an aspect of the girls{\textquoteright} education: household management, education and industry, and chastity; the church at the center regulated their lives. Built by women for women, the Casa delle Zitelle reflected the range of women{\textquoteright}s experiences in early modern Venice.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Renaissance/Baroque Art}, author = {Chase, Vanessa} } @mastersthesis {9069, title = {The Center Cannot Hold: J. M. W. Turner{\textquoteright}s Contemporary History Paintings in the Age of Revolution}, year = {2002}, school = {Bryn Mawr}, abstract = {This dissertation is focused on J. M. W. Turner{\textquoteright}s evocation of contemporary British history. It considers primarily exhibited oil paintings, with reference to studies, watercolors and sketches. My goal is to follow authors such as John Gage and Eric Shanes in describing Turner{\textquoteright}s relationship to the complex social political changes that swept Britain during his lifetime. But I will seek to describe that relationship in different terms than have yet been attempted. In short, I will argue that Turner was remarkably sensitive to the consequences of the growth of mass politics in the early nineteenth century, and allowed them to inform the very structure of his work. Turner, in my account, recognized that in the period after the French Revolution, in the period that saw the rise of socialism, history could not be represented in the same terms as it had been in the previous century. Thus, my discussion will in many ways analyze Turner{\textquoteright}s relationship with the art, literature and philosophy of the eighteenth century. As I consider his treatment of eighteenth-century poetry, history painting and picturesque landscape, I will show that Turner aspired to achieve the kind of unity that was still possible in that century. But, ultimately, he was too aware of the changed circumstances of the new century, and thus created fragmented, divided representations of history. Another important difference between my study and previous accounts of Turner will be my focus on the ways political circumstances affected the formal structure of his work. I will consider very closely, for instance the interaction of the detail and the whole in a number of Turner{\textquoteright}s paintings from throughout his career. An important methodological influence on this study is Marxist art theory and history. It will not be my goal, however, to suggest that Turner{\textquoteright}s work represented any particular class viewpoint, or dominant ideology. Rather, in my account, it is Turner{\textquoteright}s ability to give visual form to the complexities and uncertainties of history in the early nineteenth century that makes his work so compelling.}, keywords = {Nineteenth-Century Art}, author = {Costello, Robert Leo} } @mastersthesis {9126, title = {Charles Le Brun and Louis XIV: Art, Ethics and the State}, year = {2002}, school = {Maryland}, abstract = {Charles Le Brun, founder of the Royal Academy of Painting and most famous painter of his day, was by the 19th century barely remembered. His and the Academy{\textquoteright}s intimacy with the government of Louis XIV, and the glorifying nature of his mainly "decorative" and largely collaborative output even raised questions of whether his work was "art" at all. This discussion attempts, through an examination of literature, philosophy, politics and current art theory, to understand the social matrix out of which the public art for Louis XIV grew. Not simply ambition, or "absolutism," but the theological concept of the current world order and its social arrangements drove artists into the arms of the state. If the power structure{\textquoteright}s need for propaganda contributed to this, the artists{\textquoteright} own declaration of art as "liberal" imbued it with a "purpose" or a moral imperative that rendered it subservient to royal government or church. This thesis focuses on the literary, philosophical and theoretical traditions, underlaid by strong ethical and moral considerations-largely derived from the Ancients and the Italians-that upheld this view. Le Brun{\textquoteright}s career is chronologically interspersed within the discussion of theory and its transfer from the learning of the ancients and contemporary Italy to France. Theory, as adopted by his Academy, is discussed in connection with the attempt to arrive at "perfection". In the drive towards it, the appreciation of the element of beauty-or what came later to be called aesthetics-though crucial as a component of the (Platonic) "good," was subservient to ethics. An exploration of Platonism and morality in the current theory of art and during the color quarrel follows. The conclusion, after an examination of the painter{\textquoteright}s work for the Sun King, is that the symbiosis between art and state reached its apogee under Le Brun but that the reasons for this lay less in the "absolutism" of the age than in the ideas of antiquity as developed into art theory by Le Brun{\textquoteright}s predecessors. Already containing the seeds of their own destruction, these views nevertheless, lay in the mainstream of contemporary artistic thinking}, keywords = {Renaissance/Baroque Art}, author = {Widmann, Elizabeth} } @mastersthesis {9006, title = {Claude Gillot and the Theater with a Catalogue of Drawings}, year = {2002}, school = {Rutgers}, abstract = {The aim of this dissertation is to address issues surrounding the drawings related to the theater by Claude Gillot (1673-1721) and to systematically catalogue those drawings. There has been little attention paid to Gillot{\textquoteright}s draftsmanship and his role in pioneering the genre of scenes from contemporary theater in eighteenth-century French art. In this study, I have attempted to better define the artist{\textquoteright}s oeuvre, to describe his working methods and ascertain the function of his drawings, and to propose a chronological framework for his drawings related to the theater. In an effort to establish a corpus of drawings securely attributed to the artist, I have included a catalogue of seventy-one autograph drawings with a focused discussion of each work, a section containing works elsewhere attributed to Gillot but rejected by this author, and entries on lost drawings known only from reproductive engravings or from references. This is the first time such a significant portion of Gillot{\textquoteright}s oeuvre has been assembled, documented, and studied in depth, with special consideration given to the artist{\textquoteright}s relationship with his pupils and his career-long involvement with the theater.}, keywords = {Drawings/Prints/Works on Paper, Eighteenth-Century Art}, author = {Tonkovich, Jennifer} } @mastersthesis {8973, title = {Cliff Notes: Text and Image at Baodingshan}, year = {2002}, school = {Kansas}, abstract = {This dissertation takes as its focal point six tableaux found within Great Buddha Bend [Da fo wan] at the 12th-century Buddhist grotto site of Baodingshan, located within Dazu County in Sichuan Province. Carved over a period of seventy years under the direction of the monk Zhao Zhifeng [1160-1240 CE], this late Song dynasty site makes possible the study of a large Chinese Buddhist complex as one man{\textquoteright}s singular vision. Great Buddha Bend incorporates both narrative and iconic imagery, and encompasses a broad spectrum of Buddhist beliefs. The core research presented here entails a detailed analysis of the carved images and inscribed texts found in six large tableaux located on the north side of the grotto. The six are paired into three groups of two based upon location, and within the central three dissertation chapters, it is argued that their placement within the grotto as a whole was consciously done by the site{\textquoteright}s creator, Zhao Zhifeng, in order to reinforce ritual programs and address traditional Chinese concerns related to filial piety and ancestor worship. Framing this central discussion of the narrative tableaux at Baodingshan are two chapters devoted to theoretical and socio-historical issues. Entitled "Narrative/Iconic" and "Text/Image", these two chapters consider the carved works of Great Buddha Bend in the light of past sentiments as well as recent scholarship. Elements from a variety of earlier theoretical studies are synthesized in order to best utilize them with regard to the Baodingshan works, highlighting the fluidity inherent in the use of both sets of terminology. Ultimately, it is postulated that the site functioned on at least two different levels, one meant to educate and edify the twelfth-century worshippers, the other meant to protect and preserve the Buddhist faith through increasingly uncertain and difficult times. Given the unusually large amounts of textual imagery found carved within Great Buddha Bend, blocks of texts not related to dedicatory inscriptions but mostly scriptural in content, this author contends that Zhao Zhifeng{\textquoteright}s ultimate goal was to see the Buddhist faith through to the next kalpa, a need necessitated by the constant uncertainty of the Sichuan area in the late Southern Song. Zhao{\textquoteright}s utilization of the unique carved combination of text and image at Great Buddha Bend insured a future audience not dependent solely on either text or image. This approach allowed the tableaux at Baodingshan to educate a broad spectrum of worshippers over the centuries that followed, thereby also achieving the goal of preserving the Buddhist faith through the vicissitudes of the ensuing eras.}, keywords = {Chinese Art}, author = {Kucera, Karil} } @mastersthesis {9027, title = {Commemorating the Dead-Constructing the Community: Church Space, Funerary Monuments, and Saints{\textquoteright} Cults in Late Antiquity}, year = {2002}, school = {Chicago}, abstract = {This project examines sites of saints{\textquoteright} tombs for insight into the fundamental transformation of burial and commemoration practices associated with the rise in saint veneration in the fourth to sixth centuries CE. The first section compares the physical and conceptual definition of the tomb among pagans and Christians. In contrast to earlier burials which differed little from their contemporaries, by the fourth century we see not only a difference in the outward appearance and arrangement of Christian graves, but also significant shifts in the tomb{\textquoteright}s place in the cultural and religious landscape. The second section turns to evidence from late antique North Africa in order to investigate more closely the effects of saints{\textquoteright} cults on the sacred and commemorative qualities of church space. I begin with an examination of funerary mosaics to demonstrate how North African burial churches became key sites for the representation of elite status and the construction of a new social hierarchy privileging the clergy. This work thus seeks to adjust the current, purely eschatological conceptions of so-called "ad sanctos" burial to account for the individual tomb{\textquoteright}s position among the gathered dead of the community as well as its reception by the living viewers and visitors to the church. The next chapter challenges several aspects of the conventional model for the development of the saint{\textquoteright}s tomb from common grave to monumental, commemorative holy site. Archaeological evidence demonstrates that the saint{\textquoteright}s "memoria" was often neither monumental nor the clear focal point of either the architectural program or burial pattern within the basilica. Chapter 5 investigates the functions of church space before and after the introduction of saints{\textquoteright} cults. Rather than creating a new locus of the sacred, I suggest that the introduction of saints{\textquoteright} cults augmented the collective, sacred and commemorative features of church space which had long been in place. The final chapter examines the contemporary reception of commemorative monuments within early Christian churches. Ultimately, I argue that the saints{\textquoteright} ability to concentrate communal memory and focus collective prayer provides the key to reading the commemorative monuments erected by and for non-saintly individuals inside church buildings.}, keywords = {Early Christian/Byzantine Art}, author = {Yasin, Ann Marie} } @mastersthesis {9023, title = {Commemoration of the Dead: Late Byzantine Tomb Decoration (Mid-Thirteenth to Mid-Fifteenth Centuries)}, year = {2002}, school = {IFA/NYU}, abstract = {Among the most prestigious of Late Byzantine burial monuments were painted niche tombs. Built for wealthy patrons to serve as the focal points for communal and private devotions commemorating the dead, they formed an important genre of church decoration. This study is the first to consider the Late Byzantine niche tomb in detail, placing it within its broader art historical, social and religious contexts. Chapter One treats the architectural setting and basic form of the Late Byzantine niche tomb. Set within the church interior or on the building{\textquoteright}s facade, the tombs{\textquoteright} mosaic or frescoed compositions were highlighted by an architectural frame, either built or painted, and often included attendant sculpture, most prominently the sarcophagus. As in earlier periods, their painted compositions featured both sacred subjects and funerary portraits (renderings of the human subject), point to continuity with earlier traditions. The predominance of images combining both human subjects and divine figures, however, is distinctive to the Late Byzantine period. An in-depth examination of the tombs{\textquoteright} painted decoration is taken up in Chapter Two. In the representation of the human subject, visual features conveying gender, status, and age are emphasized, with texts displayed at the tomb reinforcing these same elements. The selection of sacred figures decorating the tomb in many cases indicates that such monuments were personalized, in keeping with the character and status of the individual commemorated. Questions of audience and patronage are explored in Chapter Three. A tomb{\textquoteright}s location, as well as the character of the foundation in which it was erected, influenced the audience{\textquoteright}s access to and reception of the tomb{\textquoteright}s imagery. Archaeology as well as textual sources reveal a great deal about how tombs were commissioned, with individual churches receiving significant and much-needed funds in exchange for housing burials. Rites associated with the commemoration of the dead are treated in Chapter Four, including the funeral, commemorative anniversaries, acts of private devotion, moments in the Divine Liturgy, and select Saturdays of Remembrance. The role of the decorated tomb in the enactment of such ritual is featured here.}, keywords = {Early Christian/Byzantine Art}, author = {Brooks, Sarah} } @mastersthesis {8933, title = {A Commercial and Industrial Building in the Athenian Agora, 480 BC to AD 125}, year = {2002}, school = {Bryn Mawr}, abstract = {Building Δ was discovered by the American School of Classical Studies during the excavations of the Athenian Agora{\textquoteright}s northeastern corner in 1971. This vernacular structure was erected just after 480 B.C. and stood through the early second century A.C. During its six hundred year existence, Building Δ underwent three major renovations to its plan and superstructure: in the first quarter of the third century B.C., in the middle of the second century B.C., and just after the Sullan destruction in 86 B.C. Its architectural history demonstrates a fluid relationship between structure and function. And it shows that while an architectural plan cannot be relied upon to identify a particular trade, it can be relied upon to convey information about the architectural features characteristic for a trade. Building Δ appears to have been a publicly held synoikia, a single structure within which separate units were leased as shops to a variety of tradesmen. Merchants were active in the building at least from the second half of the fourth century B.C., with foodstuffs being sold out of at least one one-roomed unit. Marble and metal workers opened up shop alongside the merchants from the start of the third century B.C. A two-roomed unit was used for the production of metal vessels in the second century B.C. This shop not only demonstrates the practice of working metal indoors, but also provides evidence for expanding the distribution of metal working about the Athenian Agora as well as the first evidence from the Agora for the use of piece molds in casting.}, keywords = {Architectural History/Historic Preservation, Greek/Roman Art}, author = {Milbank, Thomas L.} } @mastersthesis {9092, title = {Concerning the Spiritual in American Abstract Art: The Life and Painting of Raymond Jonson (1891-1982)}, year = {2002}, school = {CUNY}, abstract = {Raymond Jonson was one of the first modernist painters in the Southwest. He pursued abstraction gradually and his artistic goal was to visualize the spiritual in paintings in which line, shape, color, texture, and space are used independently of depicting the natural world. Jonson is one of many American artists who resisted Regionalism and Social Realism between the World Wars. Jonson grew up in the West in a poor, devoutly Baptist family. He went to Chicago in 1910 to study art and quickly became one of the most outspoken members of the Midwestern avant-garde. He knew Bror J. O. Nordfeldt, Birger Sandzen, Albert Bloch, and Nicholas Roerich and was involved with Cor Ardens and the Chicago Salon des Refuses. He was the artist for Maurice Browne{\textquoteright}s Chicago Little Theatre and a leader in the simple-stage movement in theater. Jonson moved to New Mexico in 1924 to escape the problems of urban life. He taught at the University of New Mexico at Albuquerque, where today the Jonson Gallery houses many of his works. In the 1910s and 1920s Jonson painted portraits and landscapes influenced by Impressionism, Symbolism, and Cubism. Jonson{\textquoteright}s exposure to modern art, the simple stage movement, and the Western landscape influenced him at this time. After painting landscapes for fifteen years, Jonson created abstract paintings of numerals, alphabet letters, plant forms, colors, skyscrapers, and other subjects in the 1930s. This phase was transitional; Jonson was searching for a personally effective means of painting abstractly. By the late 1930s, Jonson{\textquoteright}s work became totally non-representational and he began using watercolor, tempera and the airbrush. In 1938, he, Agnes Pelton, Emil Bisttram, Lawren Harris, Dane Rudhyar and others established the Transcendental Painting Group to further the cause of the spiritual in art. After World War II, Jonson{\textquoteright}s painting became much larger and in 1958 he started using acrylic paints. In analyzing the spiritual in Jonson{\textquoteright}s paintings the author examines Kandinsky{\textquoteright}s, Mondrian{\textquoteright}s, and Jonson{\textquoteright}s own theories, the works of Kandinsky, Laszlo Moholy-Nagy, Mondrian, and various American abstractionists, the new media and techniques Jonson used, and, occasionally, various alternative, modern mystical and spiritual belief-systems.}, keywords = {Post-1945 World Art, Pre-1945 North American and South American Art}, author = {Hartel, Herbert} } @mastersthesis {8981, title = {Conjure Woman: Betye Saar and Rituals of Transformation, 1960-1990}, year = {2002}, school = {Michigan}, abstract = {California assemblage artist Betye Saar has been called a conjure woman of the arts, masterfully combining found objects and transforming them into powerful visual statements. However, Saar{\textquoteright}s carefully planned career, launched in the politically charged environment of Los Angeles in the 1960s and 1970s, was not the product of magic, but rather the result of Saar{\textquoteright}s determination to carve out personal and social power through art. This artistic biography, the most substantial study of Saar{\textquoteright}s career to date, charts the transformation of her artwork during a period of rapid social transformation. By outlining Saar{\textquoteright}s strategies of transformation-from the artistic margins, through the intersecting art communities of Southern California, to the international mainstream-this project asserts Saar{\textquoteright}s professional agency, details a modern history of black arts in California, and provides a synoptic study of California arts during the age of protest. Ultimately, Saar emerges as a case study of an artist at the forefront of California{\textquoteright}s black art and women{\textquoteright}s art movements; a multipositional artist who wove in and out of communities to produce work that challenged essentialized notions of modern, black, feminine and politically engaged art. Betye Saar culled imagery and objects from the political movements, spiritual systems, and visual cultures around her, from black aesthetics, feminist art, African art, and Latino art, to modern art, popular culture, and personal memorabilia. The synthetic artwork that resulted reflected her critical interpretations of these genres and her own interactive and fluid construction of identity. Though previous scholarship has served to mystify Saar by overwhelmingly emphasizing the spiritual and ritualistic aspects of her work, this dissertation will historicize her career and artwork by taking into account the complex matrix of social, cultural, regional and historical contexts from which they emerged. In so doing, it denies the existence of a single black aesthetic and asserts that black art during the sixties, seventies and eighties was not a monolith, but a range of expressions and experiences. Covering the years from 1960-1990, my thesis is that Saar used two primary strategies in her art making: ritual and multipositionality. Drawing upon the notions of ritual as articulated by Nestor Garcia Canclini, redemptive assemblage as expressed by Richard Candida Smith, and multipositionality as defined by Earl Lewis, I will explain Saar{\textquoteright}s art making as her "ritual of transformation." I define her ritual as a multifaceted change process that transformed common objects into art and de-essentialized black art and identity into a range of lived experiences. As a result of the accumulated nature of both her artwork and identity, I argue for readings of Saar{\textquoteright}s work that are multipositional, demonstrating that explorations of identity in visual culture must look beyond objects to the complex web of social contexts in which they are produced.}, keywords = {Contemporary Art}, author = {Carpenter, Jane Hattie} } @mastersthesis {9110, title = {Constructing History: The Visual Legacy of Pope Sixtus IV}, year = {2002}, school = {UIUC}, abstract = {Pope Sixtus IV (1471-1484) commissioned more paintings and architectural monuments than any other fifteenth-century pope, yet his commissions have never been examined as a group. "Constructing History: The Visual Legacy of Pope Sixtus IV" is the first comprehensive assessment of the pope{\textquoteright}s patronage in its historical context. By investigating archival documents, unpublished literature, previous scholarship, as well as the monuments themselves, I offer a balanced assessment of Sixtus IV{\textquoteright}s contributions as a patron of the arts and provide insight into the pope{\textquoteright}s perceptions of himself as a religious and secular leader. Chapter I introduces the patron, Pope Sixtus IV, defines the meaning of his patronage in general, and critically analyzes his reputation by contemporaries and later historians. I consider the promotion of Pope Sixtus IV by others, and include the eulogizing panegyrics, poems, and historical chronicles composed by the poets and humanists in his papal circle. Chapter II investigates the pope{\textquoteright}s attempts at self-promotion, and examines the way in which Pope Sixtus IV advertised his power through ambitious commissions at the Hospital of Santo Spirito in Rome and at San Francesco in Assisi. In chapters III-V, I study three separate areas of Pope Sixtus IV{\textquoteright}s wide-ranging patronage in order to understand the different images projected by the pope: Religious Leader, Urban Renovator, and Dynastic Ruler. These divisions allow me to consider the unprecedented number of visual works in the context of the pope{\textquoteright}s interest in shaping perceptions. The catalogue that accompanies the text is divided into five sections that correspond with the chapters. This section of the dissertation provides extensive information about the attribution, scholarship, and history of each commission. Ultimately this fresh appraisal of Pope Sixtus IV{\textquoteright}s artistic patronage substantially revises our understanding of Rome in the late fifteenth century by introducing a new, comprehensive approach to viewing papal art and architectural commissions.}, keywords = {Renaissance/Baroque Art}, author = {Blondin, Jill Elizabeth} } @mastersthesis {9079, title = {The Construction of Childhood Spaces as Represented in Victorian Art}, year = {2002}, school = {Louisville}, abstract = {This dissertation is an examination of children in Victorian art in terms of social and cultural perspectives. The study places the images of children in these contexts to see what factors contributed to the appearance of those images and how, in turn, the images played an important role in developing a new construction of childhood in Victorian society. I use social historical and, to some extent, psychoanalytical approaches to investigate multiple roles ascribed to children between around 1840 and 1900 in the realm of art. I am also influenced by postmodernist theory which, in conjunction with social historical practice, provides important insights. Chapter one examines questions about children{\textquoteright}s nature and how these ideas were reflected in Victorian art as well as how the art helped to universalize the myth of childhood innocence. Chapter two discusses the rise of a domestic ideology in the middle class and the way it shaped new conceptions of what family and childhood should be. The chapter also explores how patriarchal ideology played a major role in the production of pictures of family and children in Victorian art. Chapter three focuses on children{\textquoteright}s spaces in playground and school in Victorian art. It discusses how the evolution of an increasingly compulsory education system affected children and their families and how discipline, control and power relations operated within the school, leading to inevitable resistance from students, which was integral to power relations. Chapter four addresses the exploited child as represented in Victorian art. The chapter also discusses how the Victorians used legislation, reforms and welfare services to extend the concept of childhood to all social classes. The paper concludes that children in Victorian art were conceived by and for adults as symbols to perpetuate cultural myths, as commodities, and as objects of policy, reform or philanthropy.}, keywords = {Nineteenth-Century Art}, author = {Ni, Ming} } @mastersthesis {8946, title = {Contemporary Aboriginal Art, 1948-2000: Constructing the Canon}, year = {2002}, school = {Columbia}, abstract = {This dissertation concerns the construction of international art canons for Australian indigenous art produced between 1948 and 2000 and circulated between Australia and North America. The focus is on two concurrent events; the 1997 Sotheby{\textquoteright}s Australia auction of the bark paintings in the Barnett Collection at Columbia University, produced by Arnhem Land artists during the 1960s; the international marketing during the 1990s of urban Aboriginal art, produced by artists who reside in cities and towns of Australia. Varying notions of the globalization process for indigenous art are challenged. One that because of international influences indigenous people are always experiencing three processes: a disappearance of the old, the translation of old to new, and the emergence of a new order of difference. The other that the notions of globalization are too simplistic as art is shaped by local factors more so than international ones. The histories of the Barnett Collection and urban arts are examined first within the local framework of Australia. Then each art category is re-examined as it crosses between cultures and continents to America. This broadens the thesis from a local to a global perspective and includes criteria from other disciplines, political, social, and economic. The chapters vacillate between the continents, detailing influences and histories first within Australia and then within America. Pivotal collecting and exhibition experiences such as the 1948 Australian American Scientific Expedition to Arnhem Land and 1988-89 New York Asia Societies{\textquoteright} exhibition "Dreamings: Art of Aboriginal Australia" are dissected for their influence on international perception. The financial results of several auctions are used to gauge consumer valuation for bark paintings. Each chapter considers several examples of the art, as individual works, and as a collection, how the international buyer determines desirability and excellence as well as the original artist{\textquoteright}s intent. This demonstrates how the nexus of perception and art object combines with its historical particularity to either create or reject an Aboriginal international art canon that is a validation, a response and an activator, defining as well as being defined by the global marketing network.}, keywords = {Art of the Pacific}, author = {Zeller, Susan Kennedy} } @mastersthesis {9060, title = {The Contested Object: Pop Art in Latin America, 1964-1974}, year = {2002}, school = {Harvard}, abstract = {Since the 1960s art critics and historians have remarked the absence of Pop art in Latin America. They justified its absence by relating Pop art with high levels of industrialization, consumption, and an American ethos. However, Pop art was frequently spoken of in countries such as Argentina, Brazil, Colombia Cuba and Venezuela. This dissertation analyzes how mainstream Pop art was adopted and adapted in three different countries: Argentina, Colombia and Cuba during a ten-year period (1964-1974). A group of Pop artists emerged in Buenos Aires around 1964. Among them were Marta Minujin, Dalila Puzzovio, Rafael Squirru, Edgardo Gimenez, Delia Cancela and Pablo Mesejean. These artists converged around the prestigious Centro de Artes Visuales of the Instituto Torcuato di Tella (1963-1969), which became a privileged site for avant-garde art. The works produced by this group, for the most part installations, happenings and environment, point to an understanding of Pop art as a primarily experimental style. In Colombia, Beatriz Gonzalez became identified early on with Pop art. Her work, like that of mainstream Pop artists, stems from pre-existing sources culled from mass culture. The aesthetic hierarchies in place in Latin America at this moment, however, made her work acquire a radically different form and content. Her use of mass culture sources threatened the long-standing relationship between high art and popular culture and pointed to exclusions based on class and gender and embedded in the ideology of national culture. Her work, like that of the Argentineans, was primarily three-dimensional, incorporating cheap furniture that acted as a frame for her pictures. Cuba{\textquoteright}s adoption of Pop art surprised many critics in the mid-1960s because of the style{\textquoteright}s association to American culture and consumer values. However, Cuban artist Raul Martinez used the style to create portraits of the Revolution{\textquoteright}s principal leaders, while poster designers often blended Pop art with Op to create an image of absolute contemporaneity.}, keywords = {Latin American/Caribbean Art}, author = {Trelles Hernandez, Mercedes} } @mastersthesis {9081, title = {Convergence: Form, Meaning, and Context in the Work of Alice Aycock, Nancy Holt, and Mary Miss}, year = {2002}, school = {Louisville}, abstract = {Although Alice Aycock (1946- ), Nancy Holt (1944- ), and Mary Miss (1938- ) have steadily produced art since first achieving notice in the early 1970s, there are no extensive critical studies of their work as most information in the literature is in the form of short articles, interviews, and exhibition reviews. This dissertation seeks to rectify this situation by discussing their body of work in formal terms as well as exploring inherent iconography and contextual meanings. This study focuses primarily on sculpture; however, work in other media (drawing, film, and photography, in particular) is discussed when relevant. Overall, the relationships between the sculptures, their sites, and the experiences of people who view and interact with them is clarified and, in the process, their work is more clearly placed within the context of contemporary art movements. Each artist{\textquoteright}s work is treated separately, demonstrating that for each oeuvre there is an underlying motif present. For Alice Aycock the interior world and the forces of the non-rational animate her work; Nancy Holt{\textquoteright}s theme resides in the exterior world, perception, and one{\textquoteright}s relationship to the cosmos; in the work of Mary Miss, community, or the connection to space, place, and interaction is primary. Using approaches including formal, psychological, feminist, and perceptual analysis I demonstrate that the work of Aycock, Holt, and Miss represent a flexible paradigm in which form and content are not binary oppositions, but are integrated.}, keywords = {Performance Studies}, author = {Wacker, Kelly} } @mastersthesis {9065, title = {Creativity and Reproduction: Establishing the Graphic Arts as an Academic Discipline, The Engraving Department at the Institut de France and the Rome Prize for Engraving, 1803-1825}, year = {2002}, school = {UCLA}, abstract = {The study investigates the engravers{\textquoteright} rise within the French academic system and demonstrates their success in transforming a reproductive medium into a creative and original art genre. In the nineteenth century, graphic artists developed an artistic language that was independent and on par with the original model that they reproduced. The Academie royale de peinture et de sculpture welcomed graphic artists into its ranks in 1655. As talented reproductive artists were able to disseminate works of art produced at the Academy, engravers rose to occupy administrative positions at the compagnie in the eighteenth century. Their success notwithstanding, graphic artists remained unable to overcome the perception of being reproductive artisans rather than creative and original fine artists. The proof of their predicament was the continuous refusal of advanced artistic training for graphic artists within the French academic system. The Engraving Department at the Institut de France, established in 1803, was the first academic institution that distinguished between imitative and creative artistic execution in the reproductive graphic arts. Through patronage, the supervision of competitions, and the administration of the Prix de Rome program for graphic artists, the Engraving Department established specific guidelines for artistic reproduction and encouraged the formulation of an independent, artistic language in the reproductive arts. Finally, it defined the characteristics of fine engraving as a creative art medium. The Prix de Rome for engraving was crucial in consolidating the new understanding of engraving as an original art form. The engravers{\textquoteright} participation in the Grand Prix competition transformed their artisanal training practice in the master{\textquoteright}s workshop into an artistic and academic education of graphic artists in the engraving ateliers. Furthermore, their sojourn at the French Academy in Rome encouraged the collegial collaboration between painters, sculptors, and engravers, leading engravers to develop a free and graphic interpretation of their model. The reproductive engraver was now able to rival painters and sculptors and, consequently, he emerged as a creative and original artist. A catalogue of archival documents accompanies the dissertation illustrating the administration of the academic graphic arts in early nineteenth-century France}, keywords = {Nineteenth-Century Art}, author = {Anderson-Riedel, Susanne} } @mastersthesis {9088, title = {The Crisis of Crossing: Race and Identity in the Work of Archibald J. Motley, Jr.}, year = {2002}, school = {Rutgers}, abstract = {This dissertation focuses on the issue of racial identity in the works of Archibald J. Motley, Jr. (1891-1981), an African American painter working in Chicago. Motley{\textquoteright}s images and writing present the opportunity to examine the complexities and contradictions inherent to the shifting definition of race as a biological factor to the understanding of race as an ideological construction dependent upon specific social circumstances. After his academic training at the School of the Art Institute of Chicago, Motley chose the artistic tradition of portrait painting to explore racial identity. Charged with the responsibility of revealing exterior likeness as well as interior character, Motley painted family members and anonymous African American women, creating a series of portraits that are at once passionate and complicated, masterful and controversial. The artist stated that he intended his works to refute the racist stereotypes about African Americans that perpetuated popular consciousness. By questioning the process of connecting image with category and sign with symbol, Motley positioned viewers to become aware of their own participation in the formation of class, gender, and race identity. Such an awareness corresponds with the battle against white superiority and the struggle for social equality that marked the work of artists during the Harlem Renaissance. Motley{\textquoteright}s own sensibility, however, was informed by the postivist science and class hierarchies that misconstrued physical difference to support prejudice. His deliberate evocation of stereotypes simultaneously confirmed and contradicted contemporary viewers{\textquoteright} expectations of black identity. Through his portraits, Motley constructed a very personal definition of blackness, revealing the seminal role that visual imagery played in the formation and dissemination of racial identity.}, keywords = {Post-1945 World Art}, author = {Mooney, Amy} } @mastersthesis {8941, title = {Critical Sights/Sites: Art Pedagogy and Settler Colonialism in Hawai{\textquoteright}i}, year = {2002}, school = {Rochester}, abstract = {This dissertation examines art pedagogy-the teaching and learning of art-within the context of settler colonialism in Hawai{\textquoteright}i. Drawing from research in several disciplinary fields, including (post)colonial studies, education, anthropology, geography, art history, studio art pedagogy, and the study of indigenous/Native peoples, the education of artists is linked to a history of colonialism and the cultural and visual practices that facilitated it. An important distinction is made between Native peoples and settler-immigrants who reside within the geo-political borders of the United States. A common trait of settlers is their refusal to acknowledge (or their desire to forget) the existence of colonialism in "America." The work of Hawaiian scholar Haunani-Kay Trask importantly reveals a complex political landscape wherein "settlers of color" collude with the white community to share colonial power, Antonio Gramsci{\textquoteright}s notion of hegemony and Henri Lefebvre{\textquoteright}s formulation of the relationship between social relations and the "production" of space are used to examine how seemingly innocent aesthetic practices, like the representation of non-Western peoples and territories, have contributed in unforeseen ways to the transformation of Native places into sites of political subjugation. The art curriculum will be examined as a hegemonic, national structure that promotes a narrow definition of art, as well as likened to a national narrative that circulates a vision of the United States as a place of unlimited opportunity. Ironically, while individuality and uniqueness are valorized in the arts, teachers rarely speak to the specificity of student identity. Students are addressed as if they were "universal citizens" unbounded by their race, gender, class, sexual orientation, or national affiliation. An important section of the dissertation describes a fieldwork project conducted at the University of Hawai{\textquoteright}i at Manoa (1995-1997) by the author, a Japanese-American born in Hawai{\textquoteright}i, Interviews with students and teachers and descriptions of classroom activities provide crucial information on curricular efforts to include non-Western points of view and non-art material. The final chapter describes an important exhibition by Hawaiian students which severely criticizes the Western orientation of the curriculum, and a compelling photographic series by a Hawaiian artist which prohibits settlers from access to everything Native.}, keywords = {Art Criticism and Theory}, author = {Kosasa, Karen} } @mastersthesis {8937, title = {Cultural Construction of Jakarta: Design, Planning, and Development in Jabotabek, 1980-1997}, year = {2002}, school = {MIT}, abstract = {Jakarta{\textquoteright}s physical restructuring during the 1980s and 1990s was largely the result of choices made by a small circle of business and political elite surrounding President Suharto (1966-1998) in emulation of North American urban form. The insights of urban regime theory are useful in moderating any lingering economic determinism common in political economy and globalization approaches but fail to account for the successes of Suharto{\textquoteright}s growth coalition. With media controls setting the terms of reference for public discourse, Suharto{\textquoteright}s "New Order" regime deployed a rhetoric of "development," functioning as the overarching paradigm to coordinate individual and collective values, priorities, and assumptions while reinforcing both fears of violent repression and aspirations for the trappings of modernization. Examination of specific historical processes reveals that, unlike their dominance in the West, economic forces operated within, and subordinate to, long-standing culturally-defined structures of power, as but one of a long history of syncretically adapted forms imported from foreign sources. With culture defining the goals and means of the controlling elite, the restructuring of architecture, urban design, and planning of the Jakarta Metropolitan Area became, not just a reflection of the dominant culture, but one of the most significant instruments for achieving the desired social order. The imagery employed in the design and marketing of Jabotabek suburban real estate development played off interwoven projections of life imagined to exist in the developed West (based largely on American television and film), while the internal spaces of California-style houses reveal a hybrid formation reflecting persistent social relationships and everyday practices. Planning{\textquoteright}s normative function to remediate and avoid infrastructure shortages and a growing environmental crisis was acquiesced in the pursuit of the New Order elite{\textquoteright}s rent-seeking projects, ultimately responsible for the financial crisis of 1997 and 1998 that ended Suharto{\textquoteright}s rule. The inescapable spatial divide driven between the enclaves of high amenity (entertainment kitchens, gated communities, private automobiles) and the left-over spaces beyond the walls of privilege (servants quarters, the kampung, the street) left a shrinking public realm increasingly abandoned to the multiple crises of failing infrastructures, poor housing, and environmental degradation.}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Cowherd, Robert} } @mastersthesis {9107, title = {The Cultural Legacy and Patronal Stewardship of Margherita Paleologa (1510-1566), Duchess of Mantua and Marchesa of Montferrat}, year = {2002}, school = {Washington University}, abstract = {Margherita Paleologa, duchess of Mantua and marchesa of Montferrat, participated in patronage activities that differed from those of her famous predecessor and mother-in-law, Isabella d{\textquoteright}Este. Although she commissioned some works of art, Margherita primarily focused on being the custodian of Gonzaga possessions in order to create and maintain a Gonzaga dynastic legacy. The dissertation introduces the concept of stewardship, a type of patronage activity defined as the preservation and maintenance of artifacts and material culture. The study of Margherita{\textquoteright}s patronal stewardship reveals how a woman was affected by and utilized material culture beyond the commissioning of works of art. Margherita married Duke Federico I Gonzaga in 1531 and brought the Gonzaga both the small, prosperous region of Montferrat and an ancient heritage rooted in Byzantium and France. Duke Federico honored Margherita and this alliance by building and decorating the Palazzina Paleologa, a small villa attached to the Mantuan Castello. Geographical and spatial theory illuminates how this construction embodied and transmitted many of the duke{\textquoteright}s assumptions about the duchess{\textquoteright}s position through its location, plan, and decoration. Margherita also preserved objects of material culture that she owned and that she cared for on behalf of the Gonzaga dukes, especially after the deaths of Federico and Isabella. Margherita{\textquoteright}s possessions ranged from tapestries and linens, to silvers, jewelry, and reliquaries. Analysis of the Inventario delle gioie, a listing of Margherita{\textquoteright}s jewels and objects in Isabella d{\textquoteright}Este{\textquoteright}s Grotta and Studiolo, demonstrates that Margherita commissioned this document to codify the reputation of her mother-in-law and to reflect the Gonzaga{\textquoteright}s social refinement, ancient heritage, and education. Margherita also attempted to secure Gonzaga legitimacy in Montferrat with coinage, including visual representations of herself and her sons and references to her celebrated past. The depiction of Margherita as a veiled widow and sovereign, with and without her sons, reminded the Montferrati people of her concern and assured them that the Gonzaga dukes maintained similar attitudes. Margherita Paleologa{\textquoteright}s stewardship, which was formed in part through the organization and location of her quarters and focused on material culture and coinage, created and maintained the Gonzaga{\textquoteright}s dynastic heritage.}, keywords = {Renaissance/Baroque Art}, author = {Ahrendt, Martha} } @mastersthesis {9133, title = {Curating Surrealism: The French Avant-Garde in Exhibition, 1925-1938}, year = {2002}, school = {Chicago}, abstract = {This dissertation examines the expanding role of the exhibition in the French avant-garde from the mid-1920s through the 1930s. The interwar period gave rise to some of the most significant transformations of the century in exhibition theory, signaling a decisive reorientation in both museological and avant-garde artistic practices across the European spectrum. It is during this period, as I argue, that the exhibition surpassed the artwork as the focus of curatorial, pedagogical, and spectatorial attention, as increasingly sophisticated installation strategies displaced the novelty of artistic technique, and as the figure of the curator challenged the creative predominance of the artist. Debates over modes of installation and the exegetical and aesthetic properties of exhibitions became just as central in the 1920s and 1930s to the European artistic and art-historical community, if not more so, as questions of style and artistic practice. If the avant-garde art installation emerged most forcefully following World War I simultaneously in Weimar Germany and the Soviet Union, by the mid-1920s its significant developments were taking place in the surrealist circle in Paris. Beginning in 1925, the surrealists began mounting a sequence of installations through which they radically reconfigured the conventional uses to which exhibitions had previously been put. No longer ignored in favor of the art it displayed, the space of installation moved rapidly to the fore of aesthetic consciousness. Perceived as a mediating agent between the group and the public, the exhibition would be one of the central platforms through which the surrealists would define not only their own aesthetic, but their political stance on a wide variety of issues as well, including Communism, colonialism, and the neoclassical revival. Concerned on the one hand with the surrealist contribution to twentieth-century exhibition practice, "Curating Surrealism: The French Avant-Garde in Exhibition, 1925-1938" also investigates then how we might rethink surrealism itself through its curatorial exercises. It finds that surrealism assumed its identity as an art movement as much from the space of the gallery as it did in the pages of the movement{\textquoteright}s critical treatises, literary ventures, and artistic experiments.}, keywords = {Twentieth-Century Art}, author = {Jolles, Adam} } @mastersthesis {9070, title = {Cutting a Figure: Tailoring, Technology, and Social Identity in Nineteenth-Century Paris}, year = {2002}, school = {Stanford}, abstract = {To {\textquoteright}cut a fine figure{\textquoteright} or faire figure was to produce a favorable impression in public. This thesis analyses how tailors fashioned figures and how men and women experienced these fashions bodily. Class and gender were physically constructed and reconfigured during the nineteenth century, as the boundaries separating worker and bourgeois, man and woman became more fluid. In much theoretically-driven literature on dress, clothing proves a mere foil for abstract concepts. By contrast, I insist that concepts were materially expressed in the construction, consumption and depiction of tailored garments after the French Revolution. The stitches, seams and very fabric of objects serve as a springboard for analyzing larger ideas of class, gender, self-presentation and consumption. The mannequin or tailor{\textquoteright}s dummy, the military uniform and tailoring for women provide in-depth case studies for exploring these themes. The late eighteenth and early nineteenth centuries were a pivotal moment in the history of European concepts of the body. Scientists, administrators, artists and doctors abstracted and depersonalized the human body, producing statistical averages and mathematically quantifiable norms. Though it was closely tied to anthropometric discourses, the problems of dressing actual, not abstract bodies were a constant and compelling concern for the tailor. Nineteenth-century tailoring practices allow me to consider the body from both a post-structuralist and an experiential perspective: corporeal norms were imposed externally in the form of fashion plates representing the body beautiful and paper patterns designed for an {\textquoteright}average{\textquoteright} male body. These norms found expression in garments made in standardized sizes. This vestimentary standardization was often experienced negatively by people who felt that they had become impersonal numbers. The tensions between democratic principles of sartorial uniformity and more personal demands for individual identity informed heated contemporary debates over tailoring. By using interpretive methods derived from art history, textual analysis and material culture studies, I find a model of subject construction and self-presentation that is flexible, one which {\textquoteright}cuts across{\textquoteright} traditional class and gender categories. Tailoring enabled men and women to cut new figures, to self-consciously {\textquoteright}produce impressions of specified character{\textquoteright} that changed the face of modern urban France.}, keywords = {Nineteenth-Century Art}, author = {David, Alison Matthews} } @mastersthesis {9047, title = {Dance Scenes in Early Archaic Greek Vase Painting}, year = {2002}, school = {Harvard}, abstract = {Late eighth- and early seventh-century Greek vase-painting presents us with several hundred dance images: processional figures, acrobats, mourners, men clapping their hands, musicians, armed warriors, and even seated rattle players-all of these can be fairly and accurately termed "dance scenes." Yet the majority of these images conform to a recognized iconography: a group of figures who are similar in clothing, attribute and pose, and who often hold hands. This iconography is consistent with what we know of Greek choral performance. The first chapter introduces the reader to the images themselves, some of the problems of researching them, and attempts to define the most important terms. The second chapter gives a brief history of the ways in which research into ancient dance and choral performance have been conducted in the past. The third chapter is a chronological introduction to the images, and focuses on the emergence of choral performance as a visual theme in the LGII period. The next chapter proposes a more productive approach, a typology arranged by general context. Two major and five minor categories are proposed and examined. The fifth chapter covers the various categories in more detail, beginning with the larger categories of funerary and nonfunerary choral performance, and ending with the smaller categories: acrobatic, armed, competitive, ritual and processional, and mixed dance. The sixth chapter explores what anthropological evidence can contribute to an investigation of these images of choral performance. The last chapter, the conclusion, emphasizes broader readings which can be applied to larger numbers of dance scenes, and the usefulness of anthropological approaches in general. Above all, this dissertation emphasizes two points: that these images must be properly understood as depictions of the popular Greek practice of choral performance, and that choral performance, a common feature in preliterate societies, should be viewed as a positive social force.}, keywords = {Greek/Roman Art}, author = {Buboltz, Lisa} } @mastersthesis {9058, title = {Defying Structures: Gego and the Crisis of Geometric Abstraction in the Americas}, year = {2002}, school = {CUNY}, abstract = {This dissertation investigates the work of German-Venezuelan artist Gego (Gertrud Luise Goldschmidt, 1912-1994) in the context of sculptural practices of the sixties in Venezuela, Brazil, and the United States. In these countries, the legacy of Constructivism, and geometric abstraction in general, provided a formal matrix in relation to which a radical rethinking of the art object was elaborated. As a result of a crisis of the pictorial and sculptural signifier, artists developed strategies in which issues of space, spectatorship, public address, environmental scale and temporal conditions were paramount. The investigation focuses on Gego{\textquoteright}s most important work: the Reticularea, first installed in 1969 at the Museo de Bellas Artes de Caracas, and permanently housed by Gego at the Galeria de Arte Nacional, Caracas in 1980. The Reticularea, made of meshes and nets of metal connected and dispersed irregularly within the space of a room, was entitled by critic Roberto Guevara prior to its first exhibition in 1969. The word reticula, as in the English reticule, refers to a network of lines or a net, therefore, Reticularea alludes to an area of nets. Line, and the inherent liminality of drawing, allowed Gego to circumvent the hierarchical organization and constructive nature of the sculptural object, its material integrity, its common figure/ground relationship to the visual field, and its reliance on volume and shape. To Gego, the linear grid provided a matrix, which once submitted to manual deformation (she wove her nets manually with the aid of assistants and friends), undid the rectilinearity of the architectural space in which the work was inserted, destroying the differentiation between the environment and the work{\textquoteright}s apprehension by the viewer. Related concerns with space, spectatorship and the reconceptualization of conventional paradigms of pictorial and sculptural production are studied in the work of artists Lygia Clark an Helio Oiticica, and artists Eva Hesse, Donald Judd and Robert Morris. During the sixties, both artists from North and South America found themselves at an impasse and were compelled, within the different local circumstances and contexts they confronted, to rethink the status of geometric abstraction, to redefine the art object, and along with it, its modes of production, its audiences and its modes of circulation.}, keywords = {Latin American/Caribbean Art, Twentieth-Century Art}, author = {Amor, Monica} } @mastersthesis {8963, title = {Democracy{\textquoteright}s Passion Play: The Lincoln Memorial, Politics, and History as Myth}, year = {2002}, school = {CUNY}, abstract = {This dissertation is a study of how the symbolism, meaning and function of the Lincoln Memorial has been shaped and altered by civil rights protests held at its site from 1922 to 1968 and by the overarching influence of the ideology of American exceptionalism. The focus is on protests held at the Memorial not previously discussed and considers how and why they were marginalized by the dominant culture while other protests were subsumed and became synonymous with the Memorial and the "success" of American democracy. The use of exceptionalist rhetoric as a spoken and written iconography that reaffirmed prevailing cultural beliefs and attitudes is examined, as is its role in creating a national and mnemonic consensus about the meaning of the Memorial. A detailed account is given of the segregated dedication ceremony in 1922 that initiated the first protest. The role the proposed 1941 March on Washington played in the establishment of a government policy of benign control that disempowered more radical civil rights protests is examined. The negative receptions of the 1946 American Crusade to End Lynching demonstration and the 1951 Willie McGee protest are analyzed within the context of anti-Communism and racism and are contrasted with the positively received NAACP event held at the Memorial in 1947 in which President Truman announced a national civil rights policy. The dissertation concludes with an examination of the impact on the perception of the Memorial by the 1963 March on Washington and the 1968 Poor People{\textquoteright}s Campaign. The 1963 March, which perpetuated the exceptionalist ideal is viewed as integral to the meaning of the Memorial, while The Poor Peoples Campaign, which rejected it and the symbolism and rhetoric associated with Abraham Lincoln, has been viewed as a failure. The Campaign{\textquoteright}s failure also marked the moment of the diminution of the Memorial{\textquoteright}s potency as a universally accepted symbol of democracy.}, keywords = {Art of the United States}, author = {Randall, Terree} } @mastersthesis {9055, title = {The Development of Amida Raigo Painting: Style, Concept, and Landscape}, year = {2002}, school = {Yale}, abstract = {This dissertation focuses on Japanese Amida raigozu (Paintings of the welcoming descent of Amida from the Western Pure Land) from the mid 11th to the early 14th century. Major themes treated are the stylistic development of native raigo paintings from Chinese prototypes, the impact of contemporary Pure Land Buddhism and its culture on raigo paintings, the function and transformation of raigo paintings under the monks Genshin (942-1017), Honen (1133-1212) and Shoku (1177-1247), and the mountain landscape as iconography.}, keywords = {Japanese/Korean Art}, author = {Kanda, Fusae} } @mastersthesis {9024, title = {Devotion and Narrative within the Tradition of the Croce Depinta}, year = {2002}, school = {Florida State}, abstract = {The croce dipinta, or Italian painted panel cross, has been largely discussed in formal terms involved with attribution and the development of this pictorial tradition. Essentially, two basic iconographic types, commonly referred to as the Christus triumphans and the Christus patiens{\textemdash}the Triumphant Christ and the Suffering Christ{\textemdash}have been identified by the scholarship. This study focuses on questions concerning the liturgical and devotional function of these works. Examining the iconography of the images as a whole in this light, I have discerned a third, transitional type, the narrative or Christus vivens cross, a cross depicting the Living Christ. Consequently, I maintain that the earliest of these image types, the so-called Christus triumphans crucifix of the twelfth century, a type that depicts Christ as transcendent over death, was intended to serve as a mystical portrayal of the Crucified. The introduction of narrative elements in the croce dipinta tradition through the Christus vivens cross was intended to aid the devotional function of the painted panel crosses, encouraging the devotee to inject himself into the actual Crucifixion scene. The cross type that portrays the deceased Christ, the mid-thirteenth century Christus patiens crucifix, was clearly intended for the purposes of empathic devotion. In conclusion, I question why these changes within the tradition took place, focusing on the Berengarian controversy of the eleventh century and its final resolution in the Church{\textquoteright}s adoption of the dogma of Transubstantiation at the Fourth Lateran Council of 1215 during the papacy of Innocent III.}, keywords = {Early Christian/Byzantine Art}, author = {Choate, Steven Burton} } @mastersthesis {9116, title = {Devotional Practice in Fifteenth-Century Germany: The Use of Images in the Schatzbehalter}, year = {2002}, school = {Harvard}, abstract = {The Schatzbehalter is among the most important illustrated books of the late Middle Ages. Published in Nuremberg in 1491, the devotional work was written by the Franciscan monk Stephan Fridolin and illustrated with woodcuts from the workshop of Michael Wolgemut. The Schatzbehalter {\textquoteright}s central theme is Christ{\textquoteright}s Passion presented in a hundred meditations illustrated with ninety-five full-page woodcuts. The uniquely close relationship between text and image in this work has never been the subject of extensive scholarly attention. Each chapter of this dissertation examines one image function embedded in the Schatzbehalter{\textquoteright}s text: Chapter 1 focuses on the two hand diagrams introducing the work, and their role as mnemonic container of the text{\textquoteright}s contents. Chapter 2 looks at the devotional function of the woodcuts, their potential to arouse the viewer{\textquoteright}s passions and their puzzling sobriety in contrast to the graphic and brutal style of related images. Chapter 3 considers the woodcuts{\textquoteright} role as illustrations, in comparison to popular typological works and the Nuremberg Chronicle. Chapter 4 examines them as visual aids in the author{\textquoteright}s didactic and allegorical readings of biblical events. This study reveals how one fifteenth-century viewer, Stephan Fridolin, used and interpreted images. But closer examination reveals tensions between image and text, ways in which the woodcuts resist and even contest their ostensible functions. These tensions contribute to an understanding of the complex ways images functioned in the late fifteenth century, as well as the roots of renaissance ideas of art embodied in the work of Wolgemut{\textquoteright}s famous pupil, Albrecht Durer.}, keywords = {Renaissance/Baroque Art}, author = {Hall, Cynthia} } @mastersthesis {8916, title = {The Dialectic of Dada and Constructivism: Theo van Doesburg and the Dadaists, 1920-1930}, year = {2002}, school = {Rutgers}, abstract = {This is a study of Theo van Doesburg{\textquoteright}s interest in Dada and its place in his career during the 1920{\textquoteright}s. Van Doesburg (1883-1931), the founder of the influential journal De Stijl, is usually acknowledged as the organizer of a group of artists embracing geometric abstraction as the modern tool for transforming the world. This conventional picture of De Stijl is wholly at odds with that of the Dada movement, which employed nonsense, chance, and subversion to revolt against the norms of European culture during and after its embroilment in World War I. Because Constructivist ideas arriving in Central and Western Europe from Russia seem consonant with those promoted in De Stijl, one might expect Van Doesburg{\textquoteright}s enthusiasm for them in the twenties. Yet alongside his espousal of the Constructivists{\textquoteright} utopian faith in abstraction, Van Doesburg experimented with Dada in criticism and practice. Accounting for this requires examining the context of Van Doesburg{\textquoteright}s introduction to Dada; analyzing the writings Van Doesburg produced under the pseudonyms I. K. Bonset and Aldo Camini; reconsidering the Dada-Constructivist conference he hosted in Weimar (1922) and the Holland Dada tour he took (1922-23); and reevaluating his theorization of Elementarism and its manifestation at the Cafe Aubette (Strasbourg, 1927-28) in the light of his concurrent but less canonical projects. Rather than a prior and ephemeral phase that merely cleared the ground for his constructive, progressive abstraction, Dada persisted alongside and as a challenge to Van Doesburg{\textquoteright}s endorsement of Constructivism throughout this period. This dissertation seeks not only to illuminate this unfamiliar side of Van Doesburg, but also to analyze how his "sides" fit together. Primary and secondary sources employ the notion of the dialectic to account for the relationship between Dada and Constructivism. This dissertation takes note of the weaknesses in this application of a Hegelian scheme, arising both from its theoretical contradictions and from resistance offered by the historical material. The aim here is not to dismiss the idea of the dialectic, but rather to reframe it as a vital myth that has served-and still serves-to define the avant-garde for participants and historians.}, keywords = {19th- and Early 20th-Century European Art}, author = {Eliason, Craig} } @mastersthesis {9078, title = {The Dilemma of Painting in the 1824 Salon: A New Interpretation of Eugene Delacroix{\textquoteright}s Career}, year = {2002}, school = {Johns Hopkins}, abstract = {Assessments of Eugene Delacroix{\textquoteright}s career have accorded him a limited and fixed place: he has been seen as a simple harbinger of impressionism, and as laboring in the shadow of Theodore Gericault. A picture of Delacroix as august but static genius has become solidified in the canon. The historical figure of the painter remains oddly devoid of a generative context and lacks a substantial relation to his contemporaries. This dissertation gives him both. In the 1820s, major painting in France, by which was still meant the tradition of representing historical subjects on a grand scale, had become an enterprise freighted with difficulty. With Gericault{\textquoteright}s Raft of the Medusa (1819) still its most outstanding recent representative, multi-figure painting appeared debilitated, its grounds for progression straitened. Delacroix{\textquoteright}s prospects unfolded in this setting. Chapter one explains a mystery whose solution illuminates the entirety of Delacroix{\textquoteright}s career, of why Delacroix{\textquoteright}s now-neglected peer Xavier Sigalon rose to an unrepeatable height of Salon success in 1824. My explanation centers on the two different approaches to painting that animated the art criticism of the 1824 Salon. One group of critics based their criteria on the dramatic properties of Jacques-Louis David{\textquoteright}s paintings from the 1780s. Other critics preferred the qualities of duration David developed in the 1790s, culminating in the Leonidas at Thermopylae (1800-1814). This divided field provides the conditions for understanding Sigalon{\textquoteright}s painting Locusta and for thinking anew about the terms of Delacroix{\textquoteright}s development. No quality is more central to that development than Delacroix{\textquoteright}s exploration of new modes of facture: in chapter two, I discuss this topic in detail. My interpretive model also addresses a central tension in Delacroix{\textquoteright}s oeuvre. Some of Delacroix{\textquoteright}s greatest canvases, his Scenes from the Massacres at Chios (1824) and the Women of Algiers (1834) are characterized by a subsidence of drama. This is so despite Delacroix{\textquoteright}s reputation as a painter of action and movement, endlessly depicting "romantic" scenes of high emotion. The Chios{\textquoteright}s achievement is central to this tension: it has nothing to do with critics who wanted to recuperate David{\textquoteright}s painting of the 1780s, and it has only a flickering relation with the second critical approach. I then discuss the extent to which Delacroix{\textquoteright}s next major painting after the Chios, the Christ in the Garden of Olives (1827), a subject of chapter three, appears riven by emphatic gestures and consuming passion, although it refuses to embody the ideal epitomized by David{\textquoteright}s paintings of the 1780s}, keywords = {Nineteenth-Century Art}, author = {MacNamidhe, Margaret} } @mastersthesis {8951, title = {Displacing Orientalism: Thomas Eakins and Ethnographic Modernity}, year = {2002}, note = {A. Nemerov (Yale)}, school = {Delaware}, abstract = {This dissertation is the first extended critical study to explore constructions of race in the art of Thomas Eakins (1844-1916), the pre-eminent American realist painter of the late nineteenth and early twentieth centuries. My central contention is that Eakins creatively adapted, or displaced, international orientalism in fashioning an innovative ethnographic approach to American subjects between the Civil War and World War I. Eakins{\textquoteright}s quasi-scientific vision of race, formatively influenced by his French master Jean-Leon Gerome and other orientalists, set his work apart from both the grotesque racist caricature and sympathetic sentimentalism then dominating American art and visual culture. By depicting a variety of racial subjects ethnographically, including himself, Eakins also registered the otherness and ambivalence that increasingly marked modern Western selfhood. Using an interdisciplinary historical method informed by post-colonial theory and close visual analysis, I situate Eakins and his work on an epistemological threshold between art and anthropology on the one hand, and evolutionism and modern cultural relativism on the other. Although Eakins did not undertake ethnography in a systematically scientific manner, his oeuvre bespeaks a practical understanding of contemporary anthropological theories and greater awareness of human diversity than has been previously acknowledged. Throughout his career, Eakins knew artists and scientists involved with ethnographic representation and the burgeoning discipline of anthropology. In displacing orientalism, Eakins domesticated or naturalized ambivalent colonial stereotypes and evolutionary metaphors of the period while also subtly broaching a new, more complex and fluid understanding of racial identity. Even certain images of "whites" by Eakins reveal an ethnographic logic in the subjects{\textquoteright} melancholy, specimen-like appearance, thereby projecting a reflexive bohemian alterity increasingly pertinent after his scandalous ouster from the Pennsylvania Academy of the Fine Arts in 1886. Rather than offering an uninflected moral critique of "racism" in Eakins{\textquoteright}s "images of blacks" (limited interpretive cliches), my dissertation proposes that ethnographic concerns were broadly constitutive of his realism in that they helped establish recurring structures of beholding and techniques of representation. Though often considered paradigmatically American, Eakins and his work provide an important transatlantic case study in the visual culture of modern ethnography and colonialism as well as a critical opportunity to examine lingering nativism in U.S. art history.}, keywords = {Art of the United States}, author = {Braddock, Alan} } @mastersthesis {9104, title = {Donatello{\textquoteright}s Legacy and the Training of Michelangelo: Sculptural Practice in Fifteenth-Century Florence}, year = {2002}, school = {Columbia}, abstract = {Michelangelo{\textquoteright}s training as a sculptor has yet to be convincingly explained. The notion, attributed to Michelangelo himself, that he acquired his predisposition for sculpture from the milk of his wetnurse, has dominated thinking on the question for more than four centuries. Art historians have looked for a training experience during the years the young Michelangelo spent in the so-called Medici Garden at San Marco in Florence, but the discussion has narrowed in recent years to whether or not the Medici Garden was an art academy of sorts or merely a myth. My research has shown that the Medici Garden should be regarded as a manifestation of the increasing fascination with antiquity in the Quattrocento, one that is directly related to patrons, their growing collections of antiquities, and the artists with whom they dealt. Participation by artists in sculpture gardens of antiquities such as this only slightly later in time, and in Rome, is rooted in the kind of experience Michelangelo had in the Medici Garden at San Marco, in Florence. The large majority of surviving antiques were sculptural objects and sculptors had an ample supply from which to learn form and style, as well as actual technique. Another factor, more subtle, but no less important, relates to the ravenous appetite of the collectors of antique statuary and small precious objects. Artists of the early Quattrocento were certainly aware of the demand for such objects, the high esteem in which they were held, and the extraordinary prices they commanded. This awareness enabled the greatest of artists of the time to perform what today are considered tasks rarely considered to require originality or genius, that is, the restoration, copying, and forgery of antique objects. All of these activities, which I have located in the practice of Donatello and his contemporaries, become a form of artistic training by the later 1480{\textquoteright}s, coinciding with Michelangelo{\textquoteright}s adolescent years. This study adds a significant dimension to the current understanding of the kind of workshop practice from which Michelangelo emerges. In doing so it offers a definition of the tradition, previously unidentified, from which formal academic training ensued.}, keywords = {Renaissance Art}, author = {Catterson-Silver, Lynn} } @mastersthesis {8949, title = {Doughboys, Art Worlds, and Identities: Sculpted Memories of World War I in the United States}, year = {2002}, school = {Stony Brook}, abstract = {This dissertation highlights the complexity of World War I commemoration by focusing on the professional and personal aspirations of individual sculptors and exploring the meanings that memorials held for particular communities in the interwar period. Using research based largely on artists{\textquoteright} papers at the Smithsonian Institution{\textquoteright}s Archives of American Art, contemporary art criticism, and commentary on memorials in monument trade journals and newspapers, this study recovers the circumstances of the production of public commemorative art after the First World War. In 1919, art professionals mobilized to distribute guidelines and offer their services to memorial committees that they felt were in need of expert advice. However, despite efforts to save the public from the "pitfalls of sentimentality" and the "maddening monotony" of stock soldiers that had dominated Civil War commemoration, locally dedicated sculptures of "doughboys," both original commissions and mass-produced designs, proved to be one of the most popular types of memorials to the Great War. These memorials provide a unique opportunity to study the art worlds of the United States in the 1920s. At that time, immigrant artists strove to gain legitimacy in a highly xenophobic society, women sculptors increasingly took on monument commissions that had been the prerogative of men, and monument dealers attempted to perpetuate the business success they had achieved after the Civil War. Though the impulse of local communities to commemorate their war dead with representational sculptures of soldiers was not unique to the United States after World War I, the attitudes and values of interwar American society, including those nurtured by the Red Scare of 1919, informed the significance and symbolism of such memorials in the U.S. in the 1920s. This dissertation shows how World War I memorials in the United States not only commemorated lost lives, but served as signs of loyalty and antiradical sentiment, reinforced popular conceptions of ideal manhood, and engendered debates over the authenticity of sculptural expression and the function of war memorials in general.}, keywords = {Art of the United States, Twentieth-Century Art}, author = {Wingate, Jennifer} } @mastersthesis {9114, title = {The Drawings of Peter Vischer the Younger and the Vischer Workshop of Renaissance Nuremberg}, year = {2002}, school = {Yale}, abstract = {In the early sixteenth century, the Vischer family of Nuremberg operated the most important {\textquoteright}art bronze{\textquoteright} foundry in northern Europe. They supplied customers ranging from local patricians to the Emperor of the Holy Roman Empire with decorative plaquettes and inkwells, epitaphs, choir screens, and massive polyfigural monuments. These works have enjoyed almost unabated renown since that time. Yet a survey of their literary fates also shows that understanding of the Vischers and their work was badly distorted over time; a brief documentary history creates a new foundation for their examination. Peter Vischer the Younger (1487-1528) was the most prolific and versatile member of the family. Raised in the shadow of his exact contemporary Albrecht Durer, Vischer assimilated many of the great artist{\textquoteright}s achievements, such as figural studies after classical models and an abiding interest in mythological scenes. Like Durer, he traveled to Italy and returned with technical and other innovations that profoundly influenced his work. Some of Peter Vischer{\textquoteright}s most innovative works are not sculptures at all, but drawings that he created at the behest of his humanist patron, Pangratz Schwenter. Most were made as book illustrations for classical and Renaissance texts on mythology, though there are also figural studies and autonomous drawings. Remarkably, they are all but unknown. This study illuminates the context of the drawings, particularly their relationship to bronzes from the family foundry, but also the larger framework of drawings in Renaissance Nuremberg. There are now eighty-four drawings attributable to Peter Vischer the Younger and his brothers; a further 225 have been de-attributed. All are collected here for the first time in an exhaustive catalogue raisonne that constitutes the second part of the study.}, keywords = {Renaissance/Baroque Art}, author = {Dreher, Derick} } @mastersthesis {9004, title = {Dressing up Modernity: Decoration as Strategy in Art Deco Images of Women}, year = {2002}, school = {Rutgers}, abstract = {Despite the stylistic disparities of their productions, I propose that Tamara de Lempicka, Marie Laurencin and Sonia Delaunay all employed decorative techniques strategically to negotiate the contested terms of femininity in modern art. At a time when many artists and critics in Europe favored formal innovation and nonrepresentational abstraction, these artists explored the discursive possibilities of surface ornament. Each played with analogies between the decorative function of easel painting and the decoration of the female body, using the very terms of denigrated femininity-commercial, fashionable, narcissistic, weak-to comment on modern woman{\textquoteright}s access to self-display through fashion and her role as bearer of the gaze. Each cultivated associations with the applied arts of fashion, advertising, and stage performance, through direct participation in these industries and by stressing the performative nature of femininity in their subjects. The theme of feminine identity as a series of roles and a carefully staged performance was central to the 1925 Exposition and lies at the heart of the feminine imagery created by Delaunay, Laurencin, and Lempicka. Drawing variously on abstraction, traditional figure painting and the culture of fashion, each of these artists incorporated a new kind of looking at women and a new means of self-expression for women. Delaunay launched the notion of a physically embodied and feminine modern art in 1913 with her first Simultaneous Dress. Laurencin intentionally pushed decorative effects to extremes to dematerialize her women, veiling the body and masking the interior life of her female subjects. The hypnotic, Symbolist imagery of Loie Fuller{\textquoteright}s dance performances were a likely source for Lempicka{\textquoteright}s depictions of mesmerizing women-electrically lit and surrounded by fabrics that appear to capture the movement of the body in suspended animation. Straddling the realms of nineteenth-century literary and decorative sources and new image-making technologies like film and advertising, each of these artists contributed to the idea of woman as a producer of images and master of her own performance. A performance that may take place literally on stage or screen, in the artist{\textquoteright}s studio, or on the street in the day to day negotiating of private and public identities.}, keywords = {Decorative Arts/Textiles/Design History}, author = {Bloom, Patricia Laughlin} } @mastersthesis {9094, title = {Duncan Phillips and the Phillips Memorial Gallery: A Patron and Museum in Formation}, year = {2002}, school = {Boston}, abstract = {The dissertation argues that Duncan Phillips, founder and director of the Phillips Memorial Gallery, used his museum as a public showcase and forum for his individual aesthetic, social and political views. He actively engaged the institution in this manner until his death in 1966. His approach differed markedly from that of other modern art museums that were founded in the United States during the 1920s and 30s. Unlike the Museum of Modern Art, which set out to create and disseminate a definitive formalist textbook canon of the development of modern art, or the Whitney Museum of American Art, whose philosophy inclusively embraced all modern and contemporary movements in American art, the Phillips Memorial Gallery{\textquoteright}s purpose was not to redefine art history for the future. Instead, it publicly served as the mouthpiece for one person{\textquoteright}s-Duncan Phillips{\textquoteright}s-developing views as a collector, critic and political advocate. In general, Phillips preferred expressionistic art to analytical styles and viewed his collection in terms of stylistic affinities spanning the ages; consequently, his exhibitions were selective and trans-historical. He was also an avid internationalist; consequently, his gallery displays mixed artists{\textquoteright} nationalities in an effort to symbolize world cooperation. Duncan Phillips{\textquoteright}s development to maturity as a patron and museum director spanned approximately the period 1918 to 1940. This study focuses on those years of growth in Phillips{\textquoteright}s career, with chapters covering: his youth and early influences prior to 1918; the founding of the museum and its progress during its first decade; his aesthetics and exhibition strategy; his collecting and patronage style; and his socio-political views. Each section highlights the major influences on Phillips{\textquoteright}s developing ideals and discusses his assimilation, interpretation and reflection of those influences through his exhibitions and publications. I will argue that the Phillips Memorial Gallery became synonymous with and inseparable from its creator-a microcosm of his personal beliefs and worldviews.}, keywords = {Pre-1945 North American and South American Art}, author = {Lane, Grayson Harris} } @mastersthesis {8948, title = {Early American Modernism and Craft Production: The Embroideries of Marguerite Zorach}, year = {2002}, school = {Delaware}, abstract = {This dissertation is an examination of the embroidery production of Marguerite Thompson Zorach (1887-1968), one of a diverse group of avant-garde American artists working during the first part of the twentieth century. As an active member of the New York art community, Zorach was an important contributor to the development of modernism in America. Her established position as an Early American Modernist, however, has been based almost exclusively on her paintings and prints, but she also executed a series of large-scale embroideries, batiks, bedspreads, and rugs. Although recognized for their craftsmanship and highlighted as curiosities on the basis of the often perceived incongruity between modern and women{\textquoteright}s art, her embroideries have not been adequately examined for their subject matter or their relationship to early twentieth century art, the fiber arts, and women{\textquoteright}s art production. This dissertation evaluates Marguerite Zorach{\textquoteright}s embroideries from this larger, more comprehensive perspective. Zorach{\textquoteright}s embroideries challenge the ways in which art production was categorized and valued during the early twentieth century. They document the strong interest in experimenting with crafts shared by both European and American artists of her time. However, Zorach{\textquoteright}s commitment to embroidery far exceeded that of many of her contemporaries. While many of her fellow artists dabbled in craft production early in their careers, Zorach remained committed to embroidery production throughout her life. She was dedicated to elevating embroidery to the level of fine art and to creating embroideries that reflected new trends in twentieth-century art. Although the ultimate goal of Zorach and other self-proclaimed "modern embroiderers" who strove to elevate the status of needlework to the respectability of painting has been only recently realized, these embroiderers nonetheless deserve recognition for their role in challenging the limited ways in which embroidery was viewed within the fine arts tradition. The embroidery movement they established has an unwritten history that has yet to be thoroughly examined by art historians. This dissertation will document a segment of the history of this movement through an examination of the needlework created by Marguerite Zorach, one of its most successful, prolific, and gifted practitioners.}, keywords = {Art of the United States, Decorative Arts/Textiles/Design History}, author = {Fowler, Cynthia} } @mastersthesis {9053, title = {Early Iron Age Pottery and the Development of the Sanctuary at Aetos, Ithaka}, year = {2002}, school = {Washington University}, abstract = {This dissertation investigates the development of the Early Iron Age sanctuary at Aetos, Ithaka, first excavated in the 1930s by archaeologists of the British School at Athens. The material, which covers the Protogeometric and Geometric periods, c. 1025-700 BCE, represents one of the largest bodies of evidence for this period from western Greece and, as such, its study bears directly on problems encountered in the study of the region as a whole. The study focuses on two broad categories of archaeological evidence: architecture and pottery. Examination of the architectural remains concentrates on the enigmatic {\textquoteright}cairns{\textquoteright}, variously interpreted as cremation burials or the remains of houses, and three superimposed walls located to the west. The greater part of this study is devoted to pottery. It focuses on a stylistic analysis, with the goal of establishing a relative dating sequence. Special emphasis is given to the Protogeometric pottery and the poorly understood phases of Early and Middle Geometric. Discussion centers on the problematic issues of dating Ithakan and West Greek Protogeometric pottery within the larger context of traditional approaches to Early Iron Age studies and a revised chronology is proposed. This study also includes an analysis of the ritual vessels. Consideration of the form and function of the vessels provides clues for understanding the rituals performed at the sanctuary and for identifying the deities worshipped there. Two ritual forms, the ring-kernos and the tripod, indicate that cult activity began at Aetos in the Protogeometric period. Artifacts other than pottery are referred to, but not examined in detail.}, keywords = {Greek/Roman Art}, author = {Symeonoglou, Nancy} } @mastersthesis {9099, title = {The Early Works of Everett Shinn (1897-1911): Art at the Crossroads of a New Century}, year = {2002}, school = {CUNY}, abstract = {Although today Shinn is remembered primarily for his membership in the artists{\textquoteright} group, The Eight, his contribution to American art in the early years of the 20th century was much more varied and far-reaching. At the time of The Eight{\textquoteright}s exhibition at Macbeth Galleries in 1908, Shinn had already been exhibiting his art for nine years. Shinn{\textquoteright}s coming together with The Eight was an extremely important chapter of the artist{\textquoteright}s career, but as this dissertation will demonstrate, it was only one of his several artistic associations and alignments. Shinn{\textquoteright}s early career has never been comprehensively mapped. For many artists their early career is considered a prologue, a necessary, but often awkward, period on the way to their mature work. This was not the case for Shinn, for whom the early work is not only technically highly accomplished, but also explores all of the important themes that would continue to occupy him for the rest of his career. Indeed, Shinn{\textquoteright}s early work is in many ways his strongest accomplishment in the sense that it shows the artist at his most original and when he is most engaged with the crosscurrents of New York City. Shinn{\textquoteright}s work is extremely diverse, ranging from delicate drawings in red chalk of dancers to gritty Ashcan pictures of evictions. The various styles in which he worked and the different subjects that commanded his attention pointed not only to the multiple facets of an intensely creative personality, but perhaps more importantly, to an artist who could recognize, absorb, and render the diverse influences, trends, and crosscurrents which were profoundly affecting life at the turn of the century. By thoroughly examining Shinn{\textquoteright}s work from 1897 to 1911, one can better understand not only the artist himself, but also the rich cosmopolitan environment that provided his inspiration.}, keywords = {Pre-1945 North American and South American Art}, author = {Wong, Janay} } @mastersthesis {8967, title = {The Education of the Dutch Artist in the Eighteenth Century}, year = {2002}, school = {Case Western Reserve}, abstract = {By the beginning of the eighteenth century new venues for artists{\textquoteright} training had appeared-artists{\textquoteright} drawing academies-which co-existed with such traditional venues as workshops, apprenticeships and guild training. These academies were intended to provide training of both the hand and the mind. Drawing from casts of antique sculpture and the male nude were combined with lectures on art and anatomy. After mid-century nearly all artists in the United Provinces attended academies as the main path to a career. These academies were founded by community leaders, art patrons and leading artists as a means to spur economic development through artistic and intellectual education. In this manner, academies were seen as a way to inspire a return to the values of the "Golden Age" of the Dutch nation and stop its decline. Dutch academies differed from their contemporary European counterparts in important ways. Without the centralizing sponsorship of a strong monarchy or the Roman Catholic Church, Dutch academies were unable to dominate the aesthetics and artistic production in the nation as did the French, English and Italian academies. Nonetheless the academies became a significant presence in the social and intellectual life of the Dutch people. Just as in other European artists{\textquoteright} academies of the time, however, the Dutch academies sought to embrace the classical principles of ancient Roman and Greek art and the art of the Renaissance in order to inspire artists to create works that reflected higher societal values. As the century wore on, however, academies came to terms with the discrepancy between their teachings and the prevailing tastes of the wealthy Dutch burghers who were their primary patrons. These patrons preferred art that recalled works by the great Dutch artists of the seventeenth century. Their taste was for realistic depictions of everyday life and the Dutch countryside over works that reverberated with classical forms, themes and treatments promoted in all other European academies. The taste for the art of the Dutch "Golden Age" was ultimately promoted by Dutch academies and eventually led their academicians to articulate what became identified as a Dutch national "style." This style represented the Dutch equivalent of "classicism," in that it created a referential stream from the contributions of their greatest economic, social and artistic period throughout the eighteenth century, providing pleasure and creative sustenance to the nation.}, keywords = {Baroque and 18th-Century European Art}, author = {Mandle, Earl Roger} } @mastersthesis {8925, title = {Ekistics, Architecture and Environmental Politics 1945-76: A Prehistory of Sustainable Development}, year = {2002}, school = {MIT}, abstract = {The dissertation examines Ekistics, a field defined by the architect and planner Constantine Doxiadis as the "science of human settlements" that championed the radical expansion of architecture{\textquoteright}s scope, called for its alignment with international development, and emphasized the profession{\textquoteright}s responsibilities towards global environmental exigencies. Spanning the disciplines of architectural history, environmental history, and cultural studies, the study analyzes the intellectual lineage of Ekistics{\textquoteright} conceptions of the global environment, and the complex historical circumstances in which they were shaped: international policies for development, postcolonial agendas of modernization and nation building, scientific controversies on global interconnectedness, and architectural critiques of modernism. The study focuses on Ekistics{\textquoteright} planning models of "dynapolis" and "ecumenopolis," and on physical interventions proposed by branches of Doxiadis{\textquoteright}s enterprise in the Mediterranean margins of Europe and the Middle East, where Ekistics had widespread appeal. The study also analyzes Doxiadis{\textquoteright}s relationship with key figures in postwar architectural culture, notably Jaqueline Tyrwhitt, who was also the editor of the journal Ekistics, Buckminster Fuller, who embraced Doxiadis{\textquoteright}s vision of world cities, and Hassan Fathy, who operated as a proponent of local "traditions" in the midst of the Ekistics group. Furthermore, the study examines Doxiadis{\textquoteright}s and his colleagues{\textquoteright} interpretation of such concepts as Patrick Geddes{\textquoteright}s notion of an interconnected "environment," Conrad H. Waddington{\textquoteright}s notion of "systems," Jean Gottman{\textquoteright}s notion of "megalopolis," and Rachel Carson{\textquoteright}s notion of an ecological "balance." By proposing an alternative focus on Ekistics, which for the first time examines the environmental themes underlying its transnational practice, the study fills a gap in current scholarship, by uncovering the profound impact of 1950s and 60s environmental consciousness on architectural culture, before the popularization of environmentalism in the 1970s. Furthermore, it contemplates the extent to which postwar environmental consciousness in architecture is entangled with postwar modernization and development discourses directed at the so-called third world. In the process, the study suggests that the history of postwar environment-development politics can also provide a fresh critical perspective on today{\textquoteright}s popular topic of sustainability.}, keywords = {Architectural History/Historic Preservation, Contemporary Art}, author = {Pyla, Panayiota} } @mastersthesis {8921, title = {Elephants and Hunters, Diviners and Oracles: Yoruba Carving in Bone and Ivory}, year = {2002}, school = {Maryland}, abstract = {Why is bone sometimes used instead of ivory in Yoruba carving? Bone objects are often mistaken for ivory, which is not surprising since the two materials look similar, although they are not identical. During interviews with Yoruba practitioners carried out in Nigeria in the summer of 1998, priests, carvers and historians often spoke of elephant ivory and elephant bone interchangeably, making it clear that the association with elephant was paramount. The first chapter of this dissertation begins with a review of the image of elephant that reverberates throughout both the verbal and visual art of the Yoruba. Architectural sculpture and painting, sculpture, and textiles all exhibit elephant motifs that can be tied to those found in praise songs and hunters{\textquoteright} chants. Chapter two discusses elephant in his natural environment, the hunters who pursue him and the charms they use in the hunt, and some of the uses for elephant ivory and bone. The practice of lfa divination and the tappers, divining chains and small heads carved of bone or ivory used in the performance of its ritual are examined in chapter three. Finally, chapter four explores the cult of Orisa Oko, god of the forest and the farm, and the use of bone and ivory whistles as emblems for the male devotees. What emerges from this study is the certainty that both bone and ivory are materials with rich metaphorical associations tied to elephant and his attributes, but that both materials also have important intrinsic characteristics that differ. Elegant ivory, lustrous and durable, is a fitting material for the public display of kings and other leaders, while porous bone is more easily broken down to become the ingredient for powerful charms and medicines, the province of the more esoteric realm of hunters and priests. In Yoruba eyes, elephant truly has "long, white arrows of bone"-ivory and bone, one the echo of the other.}, keywords = {African Art (sub-Saharan)}, author = {Bonnell, Letty} } @mastersthesis {9096, title = {Emigrants in Harlem: New Perspectives on Miguel Covarrubias and Winold Reiss}, year = {2002}, school = {Boston}, abstract = {This dissertation argues that Mexican native Miguel Covarrubias (1904-1957) and German-born Winold Reiss (1886-1953)-two artists heretofore overlooked due to their identities as non-Black "emigrants" from outside the United States-were vital contributors to the Harlem Renaissance. New Negro promoters deemed these artists{\textquoteright} ethnographic inclinations and fusion of modern art and figurative traditions as essential for constructing a forward-looking African American identity. Chapter one presents a theoretical lens through which the Harlem works of Covarrubias and Reiss are viewed simultaneously as ethnographic and modern. Rigorous fieldwork methodologies espoused by Franz Boas and Bronislaw Mahnowski and reinterpreted by recent theorists James Clifford and Clifford Geertz have resulted in an ethnography that extends to artists as ethnographic fieldworkers. The chapter also explores Covarrubias{\textquoteright}s and Reiss{\textquoteright}s early twentieth-century modernity as defined by Alain Locke, Albert Barnes, Paul Guillaume, Robert Coady, Arthur Wesley Dow, and Arthur Jerome Eddy. The second chapter traces stylistic and ethnographic influences that derive from the artists{\textquoteright} respective homelands. Reiss{\textquoteright}s German influences may include the Neue Sachlichkeit and Jugendstil movements, the ethnographic theories of Leo Frobenius, and admiration for African art among European modernists. Mexico{\textquoteright}s indigenismo and graphic traditions initiated Covarrubias{\textquoteright}s exploration of folk cultures and native forms of representation. Chapter three establishes Reiss{\textquoteright}s centrality in the New Negro Movement and examines his contributions to Opportunity, Survey Graphic, The New Negro, and the 135th Street library art gallery. This chapter analyzes Reiss{\textquoteright}s "representative" portraits, type studies, and "imaginatives," and demonstrates the artist{\textquoteright}s intention to illustrate every facet of the New Negro-its intelligentsia, diversity, and modernity. Chapter four examines Covarrubias{\textquoteright}s caricatures of blacks in the contexts of Vanity Fair{\textquoteright}s exaltation of the celebrity, the artist{\textquoteright}s fluency in modernism, and Mexican vacilada. Analyses of Covarrubias{\textquoteright}s more serious portraits and Harlem scenes in Negro Drawings (1927) and other publications demonstrate the artist{\textquoteright}s continuing ethnographic proclivities. The final chapter addresses the reception of Covarrubias{\textquoteright}s and Reiss{\textquoteright}s Harlem works by both black and non-black viewers. The diverse opinions about the works as well as the artists{\textquoteright} self-perceptions of their participation in the Harlem Renaissance are interpreted in light of their respective identities as outsiders.}, keywords = {Pre-1945 North American and South American Art}, author = {Rubin, Sydelle Iris} } @mastersthesis {8939, title = {Ethics and Aesthetics: New Brutalism, Team 10, and Architectural Change in the 1950s}, year = {2002}, school = {CUNY}, abstract = {During the decade following World War II, Europe found itself faced with the massive task of reconstruction, which in terms of architecture was complicated by a variety of issues concerning nationalism, history, and style. This dissertation provides an in-depth investigation of a group of individuals who, in 1953, seized control of the Congres Internationaux d{\textquoteright}Architecture Moderne (CIAM) in order to advocate for a new, sympathetic relationship between architecture and inhabitant. Their so-called "ethic" resulted from a direct refutation of the utopian architectural projects of the prewar architectural establishment, embodied by CIAM, which the younger generation found to be removed from the exigencies of everyday life. The attempt to name this new architectural ethic resulted in the heavily contested term "The New Brutalism." They claimed that these words were meant to stand not for at aesthetic, but rather an ethical position, characterized by a consuming relationship with what the Smithsons called the "inescapable present." However, as concluded in this dissertation, their words and deeds were often at a variance with one another, as an alternating embrace and denial of contemporary conditions forced a difficult and complex relationship between the ethical and the aesthetic components of architectural practice. The major point of this dissertation is to understand the movement as a collaborative effort, and to situate each of the most prominent members of this younger generation within their historical context in order to understand how this new avant-garde negotiated the difficult terrain between the real circumstances of postwar European existence and the rarefied realm of the avant-garde, and to investigate the difficulties of collaboration when both actual and theoretical projects are concerned. An examination of the contemporaneous situation in the United States, where postwar elation clashed with a new culture of containment, sheds light on this dilemma. The Europeans{\textquoteright} view of their American contemporaries-such as Louis Kahn, Paul Rudolph, and Charles and Ray Eames-shows a desire to see beyond mere surface and find within the same ethical components celebrated in Europe, thus ignoring the Americans{\textquoteright} overwhelming preference for formal concerns.}, keywords = {Architectural History/Historic Preservation}, author = {Chasin, Noah} } @mastersthesis {9040, title = {Evidence in Context: Public and Funerary Monuments of the Seviri Augustales at Ostia}, year = {2002}, school = {Princeton}, abstract = {This dissertation contextualizes the public and funerary monuments of the *Augustales, a group of municipal magistrates composed predominantly of freedmen, or ex-slaves, which was present in Roman towns during the first three centuries CE. Participation in the organization provided an otherwise-disenfranchised social group with a public role, and *Augustales came to bridge the gap between the decurions, or town councilors, and the population at large. Nearly absent from the literary record, *Augustales instead are known from over 2,500 inscriptions from the western Roman empire. The study aims to remedy a disjunction between two dominant scholarly approaches. While historians and epigraphers have marshalled masses of epigraphic evidence to draw widespread conclusions regarding the group{\textquoteright}s functions, structure and history, art historians have restricted their corpus to a limited number of idiosyncratic monuments, which are taken to represent not only the tastes of the *Augustales, but the visual predilections of freedmen in general. Both approaches isolate materials made by and for *Augustales from social, geographic and temporal contexts. Examining an array of monumental evidence in a single town allows an evaluation of current scholarly conclusions while nuancing and complicating our understanding of the function and identity of the group and its members. Ostia, the port of Rome, where nearly two hundred inscriptions recording *Augustales and their activities survive, provides the municipal backdrop. Complemented by evidence from the Italian peninsula, this corpus forms the basis of an examination of the organization. Four chapters examine the history of the Augustales and seviri Augustales (two temporally-dependent organizations), buildings associated with the order at Ostia and elsewhere, the public monuments commissioned by its members and the choices made by *Augustales in the funerary realm. Each section focuses on Ostian evidence, although adduces parallel material from other towns, such as Pompeii, Herculaneum, Misenum and Brescia. Catalogues detailing the public and private monuments of Ostia{\textquoteright}s *Augustales provide supplementary information. Each chapter explores the ways in which *Augustales visually emphasized their position as magistrates (rather than cultic overseers) and sought parity with the municipal elite, to whom they often had ties of patronage or kin.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Laird, Margaret} } @mastersthesis {8983, title = {Experimental Artists{\textquoteright} Groups in Europe, 1951-1968: Abstraction, Interaction and Internationalism}, year = {2002}, school = {IFA/NYU}, abstract = {In Europe in the late 1950{\textquoteright}s and the 1960{\textquoteright}s, a spirit of hopeful anticipation began to replace the existential angst of the immediate post-war period. Frustrated by the extreme subjectivism of the predominant art movements Tachisme, Art informel and Abstract Expressionism, many visual artists of the second postwar generation, born between the late 1920s and the mid-1930s, engaged in collective art practice to develop a more communal, interactive model for art. Working with like-minded colleagues provided them with a supportive environment for their experimental investigations. The tendency to form partnerships, groups and teams became especially prevalent after 1957. The group phenomenon was not limited to artists associated with a single geographic location or visual vocabulary. However, it was particularly pronounced among European and Latin American artists producing abstract art that emphasized both virtual and actual representations of light and movement. Such groups were founded in most countries in Europe and on both sides of the Iron Curtain: Exat 51 (1951-1956), Yugoslavia; Equipo 57 (1957-1965), Spain; Zero (1957-1966), Germany; Groupe de Recherche d{\textquoteright}Art Visuel (1960-1968), France; Gruppo Enne (1959-1964) and Gruppo T (1959-1967), Italy; Nul (1960-1965), the Netherlands; Dvizhenie (1962-1977), the Soviet Union and the international group Nouvelle Tendance-recherche continuelle (1963-1965). Art historians have neglected these artists{\textquoteright} groups in large part because of their absorption into the history of Op and Kinetic Art, movements marginalized by art history. Moreover, authors have tended to stress the groups{\textquoteright} national contexts, thus downplaying the importance of the internationalism of the group phenomenon. This dissertation reconstructs the individual histories of these groups, and it examines the relationships and rivalries among them. Their cross-national collaborations with their colleagues, coupled with the organization of exhibitions in cities across Europe by artists and institutions, constituted some of the earliest attempts to establish a European community. The various groups combined visual and participatory elements in their art to activate the artist-viewer-work of art relationship. Through their works, texts, and actions, they demonstrated art{\textquoteright}s potential for generating a climate of communication and interaction.}, keywords = {Contemporary Art}, author = {Hillings, Valerie} } @mastersthesis {9106, title = {Federico Barocci, the Art of Painting, and the Rhetoric of Persuasion}, year = {2002}, school = {Temple}, abstract = {Federico Barocci (1535-1612) is an under appreciated figure in Italian art around 1600. His style is regarded as {\textquoteright}proto-Baroque{\textquoteright} yet it has never been adequately characterized. This is particularly true of his color. Superficially, it appears to be like his contemporaries{\textquoteright} mannerist artificiality, yet it is also naturalistic and suggestive of Baroque opticality. What is necessary is a full formal analysis of Barocci{\textquoteright}s coloristic style. However, this must be understood within a complex counter-reformation context, wherein his pretty, expressive color becomes a vehicle of persuasive rhetoric, put to use for the Catholic viewer. Barocci{\textquoteright}s residency in the Marche, his cultural contact with Venice, and his contacts with the native Franciscan reform movement left him exposed to progressive religious thinking and made him therefore predisposed to an anti-artificial mode of composing. These motivations were only enhanced with the expression of Tridentine themes in the Marche and Barocci{\textquoteright}s participation in the Triumphant Church through his Roman commissions. Barocci{\textquoteright}s careful preparatory procedures assured that his product{\textquoteright}s appearance was faithful to his conception. He introduced new media into his preparatory drawings (pastel) and invented new kinds of drawings-a study of light and a study of color-related to one another. Barocci{\textquoteright}s painting materials are slightly unusual; he does not prepare his canvases, he uses dark grounds and mixes media (oil and egg or glue). His style relies on bright color for visual and poetic interest but never alienates the viewer{\textquoteright}s sense of verisimilitude. Younger artists were keen to take up Barocci{\textquoteright}s stylistic innovations, thus assuring him much currency in the seventeenth-century.}, keywords = {Renaissance Art}, author = {Verstegen, Ian} } @mastersthesis {9041, title = {Figuring Marie Leszczinska (1703-1768): Representing Queenship in Eighteenth-Century France}, year = {2002}, school = {UNC Chapel Hill}, abstract = {This dissertation investigates the representation in portraiture and in the decorative arts of Marie Leszczinska (1703-1768), queen of France, and considers what the queen{\textquoteright}s image represented for the monarchy, for the varied publics who viewed it, and for herself. Chapter One introduces Marie Leszczinska and the context of her queenship. Chapter Two concentrates on a 1725 portrait of the young queen, painted by Pierre Gobert, directly modeled on a Jean-Baptiste Santerre portrait of Louis XV{\textquoteright}s mother. The use of serial imagery of royal women incorporated Marie Leszczinska into the monarchy by patterning her image on those of her predecessors. Chapter Three focuses on two portraits of the queen. The first was commissioned from Carle van Loo and represented her as the wife of the king. Marie Leszczinska commissioned the second from Jean-Marc Nattier. This portrait represented her as a foreign woman, an intellectual woman, and the queen of France. Chapters Four and Five analyze the decoration of the queen{\textquoteright}s apartments as non-figural representations of Marie Leszczinska. Chapter Four investigates the decoration of this space as a representation of the symbolic importance of the queen{\textquoteright}s body, which envisaged her place in the social order, through an emphasis on fecundity, lineage, and maternity in the decorative scheme. The final chapter considers the queen{\textquoteright}s decoration of her Cabinet des Chinois, where she was both patron and artist. The queen{\textquoteright}s Cabinet des Chinois is reconstructed based on plans and elevations at the Archives Nationales, contemporary descriptions of the room, and an examination of the panels the queen created with the help of four artists. This space is examined as way to understand how the queen used the {\textquoteright}exotic{\textquoteright} to represent her own difference as a Polish woman within the French court. Marie Leszczinska was a discerning and critical patron. Her patronage reveals new questions about artists, works of art, and the patronage activity of the royal family and prominent members of the court. By turning attention toward the distaff side of the monarchy, one can better reconsider the construction of the dynasty in the early modern period.}, keywords = {Eighteenth-Century Art}, author = {Germann, Jennifer} } @mastersthesis {8979, title = {The Filmic Anomaly: Moments in Post-Minimalism (1966-1970)}, year = {2002}, school = {CUNY}, abstract = {The Filmic Anomaly presents a forgotten chapter in the early history of media art by focusing on the films of five American visual artists: Robert Barry, Mel Bochner, Dan Graham, Bruce Nauman, and Richard Serra. The films by these post-minimalists were intended to be viewed within the institutional framework of the visual arts and, therefore, do not belong to the pre-existing genres of documentary or experimental cinema. It is precisely the anomalous status of filmic projection within the gallery setting that these five artists were determined to exploit. Post-minimal film represented a hybridic practice that was situated in the charged overlap between different technical procedures, discursive positions and historical moments. Three genealogical strands of art history were interwoven in post-minimal film: modernism, minimalism and pop art. Barry, Bochner, Graham, Nauman, and Serra adopted the medium of film in order to work through this multiple lineage in a critical and self-reflective fashion. In their hands, film gained a distinctly serial and performative aspect that worked to decenter the contemplative viewer of modernist aesthetics. At the same time, the post-minimal practice of film raised the issue of the transformed status of the art object within a post-modern society of mass communication. Hence, the underlying paradox of the post-minimal turn to film which referenced the productivist methods of the historical avant-garde but also acknowledged the very obsolescence of film within the present age of television. The dissertation is organized around a set of specific case studies which are situated within the wider, transformational field of institutional, discursive and technical practices that marked the historical period of the later sixties. Not only does The Filmic Anomaly reconstruct the exhibition history of post-minimal film between 1966 and 1970 and analyze the artists{\textquoteright}s appropriation of such popular inventions as the Super 8 mm camera, but it also brings the conflictual arena of contemporary theory and criticism to bear upon the performative staging of subjectivity in post-minimal film.}, keywords = {Contemporary Art, Film/Video}, author = {De Bruyn, Eric} } @mastersthesis {9074, title = {The First Dresden Hoftheater (1835-1841), Gottfried Semper and Theater Architecture in Vormarz Germany}, year = {2002}, school = {Columbia}, abstract = {The first Dresden Hoftheater was the first of Semper{\textquoteright}s many designs for the theater and a work of European significance. Yet nowhere in the literature does one find a full documentary account or a balanced and nuanced appraisal of the building. In the process of filling a lacuna in Semper studies, this dissertation proposes major revision. Analysis of the building is undertaken in a series of overlapping contexts that are at once documentary and interpretative. While traditional architectural issues are examined thoroughly, special emphasis is placed on the cultural context of opera and drama. By focusing on this single building project, one covers of the issue of theater for the whole of Semper{\textquoteright}s Dresden period: from 1835, when the architect first proposed his idea of a theater as part of a project to extend the royal Zwinger, to 1849, when he published a monograph on the completed Hoftheater from exile in Paris. With the building considered in careful chronological sequence, one gains insight into Semper{\textquoteright}s complex struggle with ideas on the theater. Following the process of layers accruing in phase after phase of revision, an account of the first Dresden Hoftheater provides a fascinating record of Semper{\textquoteright}s on-the-job apprenticeship as a theater architect. It also contributes to an understanding of the larger cultural moment. Major components of this revision include: an explication of the Hoftheater as a design problem, a recognition of the importance of grand opera to the design of executed building, a clarification of the nature of Ludwig Tieck{\textquoteright}s influence on Semper, a clarification of the relationship between Semper and Richard Wagner in the Dresden period, an assessment of Semper{\textquoteright}s ambivalence with regard to issues of the theater, and an assessment of his status as proponent of a theater reform. Conclusions drawn from this material provide a strong argument for this kind of integrated approach especially when the subject at hand is a cultural institution.}, keywords = {Nineteenth-Century Art}, author = {Gobran, Sophie} } @mastersthesis {9001, title = {Flowers at the Crossroads: The Four-Hundred-Year Life of a Japanese Textile}, year = {2002}, school = {Washington University}, abstract = {This study traces the cultural biography of a group of Japanese textile fragments, highlighting the process through which a secular garment from the sixteenth century was transformed into highly coveted museum objects in our time. The twelve fragments considered in this study once shared a single existence as a kosode. Subsequently, this garment was taken apart and made into an altar cloth. By the mid-twentieth century, the altar cloth was disassembled and each fragment embarked upon distinctive historical trajectories in the hands of individual collectors. Today the fragments again share a common social history through their classification as tsujigahana, a textile term translated here as "flowers at the crossroads." Presently, these fragments exist in museum and private collections, divorced from their original sixteenth-century function as clothing. The methodology employed in this case study-focusing on an object-in-motion within distinct temporal and spatial contexts-exposes information concealed by more traditional approaches to the study of Japanese textiles and casts this group of fragments in a new light. Garments reconstructed from fragments provide new evidence for the study of sixteenth-century women{\textquoteright}s clothing history. Additionally, tracing the transfiguration from garment to fragments focuses attention on the relatively understudied practice of donating the clothing of the deceased to temples. Finally, this object-based approach establishes social connections between painters, dyers, and dealers of the modern era who collected tsujigahana textiles. An objective of this study is to recover the individual and composite histories of these textiles by treating them as objects-in-motion. Each phase-initial production and use as a garment, reconfiguration as a sacred cloth, and revaluation as a collector{\textquoteright}s item-represents one chapter in the four-hundred-year life of a Japanese textile. The transformed shape, function, and value of these fragments represent significant imprints left on the historical record by subsequent generations and reveal the process through which these objects were preserved and acquired their cultural significance.}, keywords = {Decorative Arts/Textiles/Design History, Japanese/Korean Art}, author = {Milhaupt, Terry} } @mastersthesis {9085, title = {The Folding Screen as Sexual Metaphor in Twentieth-Century Art: An Analysis of Screens by Eileen Gray, Man Ray, and Bruce Conner}, year = {2002}, school = {CUNY}, abstract = {The folding Screen is a unique and ancient object. Given its functionality, versatility, history, and self-referential meanings, the folding screen offers an unusual perspective for the presentation and questioning of sexuality and gender hierarchy in both Asian and Western examples. In the twentieth century Western artists began to reconceptualize the screen{\textquoteright}s function, structure, and imagery sometimes aligning it with its acquired meanings as a dressing partition, a divider between one desiring person and another, and a locus of female imagery and erotic innuendo. By analyzing the Block Screen (1923) by Eileen Gray, Screen (1935) by Man Ray, and Partition (1961-64) by Bruce Conner, the screen may be understood as a vulvar (as opposed to phallic) object and a disruptive theatrical component in domestic interiors. Gray{\textquoteright}s Block Screen questions the modernist enterprise through subtle functional, formal, and visual ambiguities. Because its rotating lacquer blocks and flexible structure allow one to see through it, Gray{\textquoteright}s Block Screen forces viewers to revise all notions of folding screens and acknowledge its subversive erotic message. By contrast, Man Ray{\textquoteright}s Screen with its Surrealist fragmentation, erotic signifiers, and scopophilic intent destroy its pretentions as a traditional piece of bourgeois furniture. Although Man Ray{\textquoteright}s purpose was to signify control of his desired female object, the effect of this painted collage of rebuslike body parts surrounding the undressing woman was to amplify the artist{\textquoteright}s own castration anxiety, yet increase the woman{\textquoteright}s apparent strength. Finally, Conner{\textquoteright}s statements critiquing the social role of women embellish yet contradict his assemblage screen Partition. Female erotic display is repetitively portrayed but tarnished and condemned on a screen that hides nothing. Discarded female accoutrements, especially stockings, are heaped in with images of religion and symbols of death to question female gender and sexual roles and the role of religion. The result is a folding screen that is a site of philosophical conflict for both the artist and the viewer.}, keywords = {Post-1945 World Art}, author = {Butera, Virginia} } @mastersthesis {8964, title = {For {\textquoteright}The Boys in Blue{\textquoteright}: The Art Galleries of the Sanitary Fairs}, year = {2002}, school = {CUNY}, abstract = {Beginning in 1863 and continuing until 1865, the Sanitary Fairs held in Northern cities, to raise money for Union soldiers were the most significant fundraisers of the Civil War. The fairs combined the local with the global, and enticed visitors with relics of the colonial past, interesting artifacts of Native American culture, souvenirs from far away lands, and fascinating technological inventions. For the majority of the fairs however, the art exhibitions were without doubt the most significant, complex and politically charged exhibits, and they are the focus of this paper. Visitors to the art galleries were attracted by their educational mission and their ability to elevate the psyche of visitors above the serious tribulations of the war. The national faith in Manifest Destiny and Divine Providence was strongly evidenced in the art galleries by the many paintings that celebrated the exceptionality of American nature, the setting of America{\textquoteright}s greatest historical accomplishments, which were also acknowledged by many works of depicting events from colonial history. From Chicago to Cleveland and Cincinnati, St. Louis, Philadelphia, New York and Boston, artists and collectors generously lent works, allowing audiences a retrospective of American art of the first half of the nineteenth century. The art galleries showcased the works of younger and lesser-known American artists, including women, when other venues for their promotion were entirely lacking. Furthermore, the art galleries gave audiences the opportunity to compare the relative merits of American versus European art. Their remarkable attendance records indicated the desire of the public to have access to public art collections and ultimately led to the creation of American museums at the last quarter of the nineteenth century.}, keywords = {Art of the United States}, author = {Savidou-Terrono, Evdokia} } @mastersthesis {8997, title = {Formalism{\textquoteright}s First Affair: What Roger Fry Made of Paul Cezanne}, year = {2002}, school = {UNC Chapel Hill}, abstract = {Formalism{\textquoteright}s First Affair examines what the British critic Roger Fry (1866-1934) made of the art and life of Paul Cezanne (1839-1906). By "made" I mean a process of figuring out, or making sense of. But beyond this, I also want to stress the creative aspect of Fry{\textquoteright}s relationship to Cezanne. By curating exhibitions, delivering lectures, writing texts and making visual objects, Fry turned Cezanne{\textquoteright}s art into new artistic and critical forms. Fry hoped that these new forms would themselves be Cezannian, that is, that they should either resemble the art that had inspired them, or embody the principles of composition he attributed to Cezanne{\textquoteright}s art. Ideally, they would do both. My first chapter discusses Fry{\textquoteright}s first encounter with Cezanne{\textquoteright}s art, a moment recorded in the critic{\textquoteright}s own autobiographical writings, as well as in the verbal and visual caricatures produced by some of his adversaries in the English art world. Chapter two examines Virginia Woolf{\textquoteright}s description of this moment in her biography of Fry, and relates this account both to her short story Solid Objects and to Fry{\textquoteright}s interest in psychoanalysis{\textquoteright}s description of the collector as an anal-erotic type. Woolf is, indeed, a central figure in this dissertation: throughout, I explore and amplify many of her suggestive observations about Fry{\textquoteright}s work on Cezanne. The rest of the dissertation concentrates on different aspects of Fry{\textquoteright}s landmark monograph, Cezanne. A Study of His Development (1927). Recreating the troubled genesis of the text, chapter three discusses how these circumstances effected Fry{\textquoteright}s sense of his critical persona-that is, the way his activities relate both to his audience and to Cezanne{\textquoteright}s paintings. Chapter four explores how the Cezannian features of the monograph itself-namely, its dust jacket, and its developmental plot-compensate for the presumed absence of Cezanne{\textquoteright}s art from the scene of reading. In my final chapter, I argue that Fry{\textquoteright}s book is much more pervasively informed by his reading of Freud than has previously been acknowledged. Ultimately, Fry uses Freudian theory both as a way of understanding Cezanne{\textquoteright}s development and as a way of articulating his own relationship to Cezanne{\textquoteright}s art.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Harvey, Benjamin} } @mastersthesis {8930, title = {A Fractured Mirror: The Royal Portraiture of Louis XV and the Search for a Successful Image through Architecture, or, Versailles Is the Thing in which We Will Catch the Character of the King}, year = {2002}, school = {UNC Chapel Hill}, abstract = {Louis XV was a monarch in search of an image. This dissertation looks at the roles and functions of royal portraits, and I argue that something as abstract as architecture can function in the like manner of a portrait. The major components of Louis XV{\textquoteright}s adult personality serve as a backdrop for the examination of Louis{\textquoteright}s painted portraits, and the abstract portraits created at Versailles in pursuit of an effective and forceful public image and an insightful and empathetic private one. Louis XV{\textquoteright}s personality came into direct conflict with the traditions of how the monarch was publicly represented and perhaps this was the root of his problem in failing to communicate his personality and his desires for the kingdom. As the painted portraits failed, the emphasis would be placed on architecture. It is my belief that Louis XV and advisors were aware of the need for something different and initiated a change in monarchial symbology. In doing this, Louis would need a convincing and powerful image and it is my conclusion that he would do this through architecture focusing on Versailles. What I am arguing is that through architecture, Louis would create an effective image of power through public buildings, and an insightful, self-affirming private portrait, in interiors, particularly at Versailles. In other words, personality in paint and character in stone.}, keywords = {Architectural History/Historic Preservation, Eighteenth-Century Art}, author = {Justus, Kevin Lane} } @mastersthesis {9039, title = {Framing Public Life: The Portico in Roman Gaul}, year = {2002}, school = {Columbia}, abstract = {This dissertation examines an important aspect of provincial Romanization in the three Gallic provinces of Narbonensis, Lugdunensis, and Aquitania, primarily between the dates of 100 BCE and 275 CE. By focusing on the colonnade as it was installed and maintained, I seek to understand how intersubjective identities were shaped and sustained by a pervasive architectural form. The intercolumnar space provided a repeating framework for the activities of daily life, not only in cities but also in rural sanctuaries. As the foundation for this project, I have assembled a catalogue of 193 Gallic porticoes and submitted them to typological, chronological and topographical analysis. Adopting a phenomenological perspective, I seek to restore an understanding of the portico as a space that was encountered simultaneously on physical, symbolic and ideological levels. I summarize textual references to colonnades in ancient literature with an eye toward extracting patterns of Roman understanding of the space: in their praise of moral public figures, and their condemnation of those who flouted accepted social standards, writers feature the portico as a moralizing framework that alternately put public worth on display for all or that sheltered the unsavory activities of the corrupt. Visual materials also bear on the discussion, and Gallic ceramics, mosaics and funerary monuments that depict columnar architecture are brought in as evidence for the interpretive responses to actual porticoes on the part of the Gauls. The analysis of the Gallic porticoes themselves divides into a discussion of forum complexes as the implements of imperial policy, of sanctuary porticoes as local adoptions of an imperial form that put worshippers into new relationships with deity, and of non-forum urban plazas given housing economic or religious activities. Finally, I conclude with a brief assessment of portico architecture from other western provinces, including Gallia Belgica, the Hispaniae and Africa Proconsularis.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Frakes, James} } @mastersthesis {9043, title = {Framing Spain: Cinema, Painting, and National Identity under Franco, 1939-1950}, year = {2002}, school = {CUNY}, abstract = {This dissertation takes an interdisciplinary approach to the study of five films made in Spain during the 1940s, the first decade of General Francisco Franco{\textquoteright}s prolonged dictatorship. Framing Spain examines the ways in which the visual arts were invoked in Spanish post-Civil War cinema to symbolize the nation and possibly generate and foster identification with and consensus for Franco{\textquoteright}s political and cultural agenda. By engaging in complex interpretations and representations of Spanish art, these films constructed varied paradigms of "Spanishness" and formulated discourses about tradition, nationalism, gender, and class. At the same time, these works questioned and redrew boundaries between popular cinema and art cinema, high and low culture. Although these motion pictures often promoted conservative views of Spanish identity and history, they should not be seen as airtight vessels of Francoist ideology. Rather, they are sites of ideological struggle; texts riven by hegemonic and counter-hegemonic claims that mediated a traumatized social domain. Juan de Orduna{\textquoteright}s Locura de amor (1948), a historical film, recreates tableaux vivants based on nineteenth-century history paintings to dramatize a momentous chapter of Spain{\textquoteright}s past that mirrored and resonated with concerns of the early Post-Civil War era. Benito Perojo{\textquoteright}s Goyescas (1942) is a musical set in the early nineteenth century that capitalizes on the polyvalent readings of Goya{\textquoteright}s art in order to make a probing commentary on the antagonisms within Spanish society. Anchored within the religious practices of Andalusian Catholicism, Luis Marquina{\textquoteright}s Malvaloca (1942) discreetly evokes Julio Romero de Torres{\textquoteright} iconic images of Andalusian women to image a community torn between sorrow, guilt, and spiritual rapture. Mixing comedy and suspense, Edgar Neville{\textquoteright}s Domingo de carnival (1945) invokes the grotesque carnival paintings of Jose Gutierrez Solana to formulate a national-popular cinema centered on Madrid{\textquoteright}s popular classes. Finally, Carlos Serrano de Osma{\textquoteright}s Embrujo (1947) is a musical that employs avant-garde film techniques for a surrealist treatment of flamenco that recalls Federico Garcia Lorca{\textquoteright}s theories linking Spanish deep song (cante jondo) to the tapping of the unconscious.}, keywords = {Film/Video, Twentieth-Century Art}, author = {Dapena, Gerard} } @mastersthesis {9120, title = {Francesco d{\textquoteright}Ubertino Verdi, il Bachiacca (1494-1557): {\textquoteright}Diligente Dipintore{\textquoteright}}, year = {2002}, school = {IFA/NYU}, abstract = {The sixteenth-century Florentine artist Francesco d{\textquoteright}Ubertino Verdi, nicknamed il Bachiacca, was a respected friend and colleague of Andrea del Sarto, Pontormo, Bronzino, and Benvenuto Cellini. Yet, Giorgio Vasari denied him an independent biography in the Lives of the Artists and classified him a diligent, specialist painter of small figures; this characterization conforms to contemporary interpretations of topoi derived from Pliny{\textquoteright}s Natural History. It has been assumed from that day forward that Vasari{\textquoteright}s scant treatment indicates Bachiacca{\textquoteright}s lack of importance. The artist{\textquoteright}s biography and production document a steady rise in status and demand for his art. Bachiacca did indeed establish himself as a painter of generally small- and medium-format panel paintings with little figures and verdant landscapes. But as his career progressed and social status increased, Bachiacca expanded his output to include larger paintings, altarpieces, tapestries, and embroideries, often in collaboration with his younger brother Antonio and a burgeoning Verdi family studio. His works were highly valued as domestic decoration, partly due to their formal variations on fashionable German and Netherlandish paintings and prints, to which he added figures taken from Italian sources. His ability to imitate nature in minute detail made him an ideal illustrator of plants and animals. Bachiacca{\textquoteright}s hybrid style attracted the attention of the economic and political elite in Florence, and was particularly well-suited to the artistic needs and cosmopolitan aspirations of the nascent court of Duke Cosimo I de{\textquoteright} Medici and Duchess Eleonora di Toledo. His assemblages of quotations from diverse image sources appealed to contemporaries as demonstrations of the artist{\textquoteright}s copious creative fantasia. Vasari defined the Lives in terms of a few unique culture heroes. Bachiacca{\textquoteright}s career provides a far more common model of artistic production and professional advancement in sixteenth-century Florence.}, keywords = {Renaissance/Baroque Art}, author = {La France, Robert} } @mastersthesis {8936, title = {Francois Blondel (1618-1686): Architecture, Erudition, and Early Modern Science}, year = {2002}, school = {Columbia}, abstract = {It is surprising, given the state of research on the relationship between architecture and early modern science, that a subject as compelling as Francois Blondel has so completely escaped scholarly attention. The first director of the Academie royale d{\textquoteright}architecture, the creator of the porte St. Denis, and the author of the monumental Cours d{\textquoteright}architecture (1675-1683) has been virtually forgotten as a scientist, scholar, and man-of-letters. Standard architectural histories present him only in fragmentary form, barely acknowledging the qualities that made him famous to his contemporaries: a polymathic range, an extensive circle of friends and intellectual contacts, a European-wide readership, and an extraordinary breadth of personal experience, including several distant and exotic travels. This dissertation is the first work to reassess Blondel{\textquoteright}s place in the intellectual world of his time. Chapter One reinterprets his famous debate with Claude Perrault in light of Blondel{\textquoteright}s contemporary reputation as an erudit, an aspect of his identity that I argue lies at the heart of their dispute. Chapter Two focuses on Blondel{\textquoteright}s interest in mathematics, exploring his place within the French tradition of practical geometry in light of recent scholarship on the "mixed" mathematical sciences in seventeenth century England. I compare him specifically to Girard Desargues and Philippe de La Hire, two contemporary mathematicians also interested in architecture. Chapter Three looks at Blondel{\textquoteright}s life, charting his varied history as a soldier, engineer, naval officer, tutor, diplomat, architect, and scientist. I argue that Blondel{\textquoteright}s career is best seen as a long trajectory of clientage, a continuing attempt to create patronage relationships based on mutual trust and personal service. I show that Blondel, like many clients, sought a career at court, a goal he attained following his appointment as mathematics tutor to the dauphin. Chapter Four returns to the debate over architectural proportion, to challenge the standard view of Blondel as a backward, retardataire personality. For a more representative view of his interests and background, I turn to the inventory of his library. This previously unknown notarial document contains 439 entries for more than 1200 volumes and provides a vivid picture of Blondel as a reader and collector.}, keywords = {Architectural History/Historic Preservation, Renaissance/Baroque Art}, author = {Gerbino, Anthony} } @mastersthesis {9019, title = {From Creation to the End of Time: The Nave Frescoes of San Gimignano{\textquoteright}s Collegiata and the Structure of Civic Devotion}, year = {2002}, school = {Johns Hopkins}, abstract = {The nave frescoes of San Gimignano{\textquoteright}s Collegiata remain one of the most impressive ensembles of trecento mural decoration in Tuscany. Produced over a period of seventy years, sixty painted episodes extend the length of the aisle walls, the reverse-facade and the first bay of the central nave. On the north wall twenty-seven separate panels trace the history of the New Testament in three horizontal registers. Thirty Old Testament episodes on the south side of the nave repeat the basic format of the opposite wall. By the end of the fourteenth century the paintings of the nave visually proclaimed the church{\textquoteright}s status as the preeminent ecclesiastical institution in San Gimignano, a structure that intermingled the sacramental and civic aspects of communal life. This dissertation examines the architectural, religious, and historical circumstances surrounding the construction of the church and the execution of its frescoes. Examination of the institutional history of the building indicates that the church{\textquoteright}s canons exerted considerable influence over the fabric of the building during the period of the nave{\textquoteright}s adornment. As a result, the frescoes can be seen as an expression of their role in the cura animarum of their parish. Interpreting the frescoes together with the evidence provided by contemporary liturgical rites, communal statutes, and civic literature provides an historical framework for understanding their reception by contemporary audiences. As pictures designed for a specific space, the murals and the various installations they accompanied played a constitutive rather than purely representational role in the structure of civic devotion. Though the textual sources of these images were important, the visual language of the pictures-their surfaces, their disposition along the wall, and their relationship to the architecture of their setting-were equally central in enhancing the devotional experiences of fourteenth-century church-goers. Ultimately, by calling attention to the dialogue between sacred history and its periodic re-enactment in the Pieve, the murals of the nave spoke directly to the Pieve{\textquoteright}s role as the mother church of the parish, the site that most effectively dissolved the boundaries between past and present, universal and local.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Mann, Charles Griffith} } @mastersthesis {8938, title = {From Picturesque Ruin to World Heritage Site: A Spatial History of Fatehpur Sikri}, year = {2002}, school = {UCLA}, abstract = {Until now the study of historic monuments in India has focused on their original meaning and function. That these monuments continue to shape the social landscape is clear to us today, but a detailed inquiry into the history of this modern process and how it occurs has been scarcely undertaken. This art historical dissertation considers the genealogy of one historic monument, Fatehpur Sikri, a sixteenth century Mughal mosque-palace complex, and examines how it was produced through modern Indian history as a social space in India from 1757 to the present. The study is divided into four chapters, beginning in the late eighteenth century, when Fatehpur Sikri was rendered in the picturesque idiom. The second chapter considers the influence of direct British rule over the landscape of Fatehpur Sikri, as well as utilitarian social reform and history writing aimed at eliciting the meaning of the monument in the first half of the nineteenth century. The third chapter considers how the politics and social ordering of the Victorian Raj in the second half of the nineteenth century effected the spatial ordering of Fatehpur Sikri. The fourth chapter examines the post-Independence period and how nation building, globalization, and nationalism affected the perception and representation of Fatehpur Sikri. Each chapter is divided into three sections that describe three related spaces of activity-the material, the ideological, and the imagined. This trialectic approach illuminates the notion of the historic monument as a space of Indian social ordering. Since it plays an instrumental role in the formation and contestation of social hierarchies, the trialectic mode of producing social order is discernable throughout India{\textquoteright}s modern history.}, keywords = {Architectural History/Historic Preservation, South/Southeast Asian Art}, author = {Kavuri, Santhi} } @mastersthesis {8960, title = {From the Courtroom to the Gallows: Picturing Justice in American Visual Culture, 1850-1880}, year = {2002}, school = {Kansas}, abstract = {For over a century and a half, Americans have depended upon highly mediated sources to provide them with the means of acquiring knowledge of and forming opinions about jurisprudence. Although scholars from a variety of fields-American studies, history, literature, and law-have investigated aspects of Americans{\textquoteright} long-standing fascination with the legal system and criminal justice in particular, visual representations before the age of electronic media have largely gone unexamined. This study attends to this gap. Specifically, I am interested in the production of objects that responded to and reinforced the visibility of the courtroom and the gallows in the turbulent decades preceding and following the Civil War. By looking at the themes and tools available for picturing the law-and by extension, picturing both justice and injustice-I address not just what the images convey about the legal system, but how specific representational practices lent themselves to constructing those meanings. The dissertation brings together a number of prominent as well as lesser-known painters, sculptors, illustrators, and photographers whose works respond to similar impulses without necessarily addressing identical audiences or sending the same messages to the public about the law. I begin by examining why pictorial representations of courtrooms emerged in the mid-nineteenth century and how they worked within and against the conventions of genre and historical painting. The initial chapter deals with obvious courtroom "fictions" that evince an interrelatedness of legal practice, melodrama, and pictorial form. The second chapter addresses the historical representation of the notorious Salem witchcraft trials. Chapters three and four look at highly visible contemporary trials and executions. In the third chapter I analyze the various forms of representation used to create competing stories about John Brown, the abolitionist mythologized as both madman and martyr. In the fourth chapter I consider how Alexander Gardner and Timothy O{\textquoteright}Sullivan{\textquoteright}s photographs of the Lincoln Conspirators fit within a larger social and political program of identifying and disciplining deviant citizens. In conclusion, I argue that the graphic art of Thomas Nast established the parameters for the intermingling of art and law at the end of the nineteenth century.}, keywords = {Art of the United States}, author = {Morgan, Kerry} } @mastersthesis {9005, title = {The Functions of Graphic Design: Sociologies, History, and the International Design Conference in Aspen}, year = {2002}, school = {Binghamton}, abstract = {This dissertation offers an analysis of three very different attempts to give shape to the great mixture of visual forms and practices that make up graphic design in the United States after World War II. What is examined, however, is not the history of a pre-given graphic design, but rather the discourses that have sought to identify it, and the stakes of their definitions. In the first chapter, the ways in which graphic design functions as a symptom of a new era in the sociological theories of "post-industrialism," "information society," and "post-modernism" is considered. These narratives are mapped through a close reading of select texts. The second and third chapters examine efforts within the design community, beginning in the 1980s, to constitute graphic design as the object of a specialist discourse of design history. This attempt to define graphic design is traced not only through texts but also through professional sites-schools, publications, conferences, museums, and collections. The remaining chapters are devoted to a survey of the archive of the International Design Conference in Aspen (IDCA) as an arena of debate and contestation in which the status of graphic design was never resolved. The exchanges at Aspen thus stand as a counterpoint to the discursive closures of periodizing hypotheses and specialist history. A survey of the IDCA archive therefore opens up understandings of history not permitted by homogenizing narratives of the development of graphic design as a social symptom or as a specialist art.}, keywords = {Decorative Arts/Textiles/Design History}, author = {George, Joanne Leigh} } @mastersthesis {8961, title = {The Gilded Rush: Art Patronage, Industrial Capital, and Social Authority in Victorian California}, year = {2002}, school = {UCLA}, abstract = {This study discusses the patronage of and institutional support for the visual arts in the late nineteenth century by bankers and industrialists in California, particularly the executives of the Central Pacific Railroad-Charles Crocker, Edwin Bryant Crocker, Collis Huntington, and Leland Stanford. By examining the social and institutional frameworks for art consumption and engaging in close readings of individual objects, this project demonstrates how art patronage, as part of a larger complex of social and cultural philanthropy, became a means of establishing social authority even while that authority was challenged locally, nationally and internationally. In short, collectors in California framed and legitimated their patronage in three primary ways: as a means of educating the working classes and elevating their tastes; as a commitment to and the preservation of a partisan account of local history; and, particularly with photography, as a contribution to the advancement of scientific inquiry. Yet at the same time, these same artworks precipitated divergent responses, exemplifying how acts of patronage and art collecting in California occurred in a contested socio-cultural arena. Dissenters and critics regularly challenged or negotiated the meanings imposed by these industrialists on their collections. The first section, "Towards a Topography of Art Patronage in San Francisco," maps the philosophical and institutional terrain-as variously inhabited by patrons, supporters, and opponents-for the consumption, display, and theorization of art collections. Subsequent case study chapters examine individual or classes of artworks. The third chapter, "White Gold," addresses competing representations of the idealized white fraternity of the California Gold Rush that emerged in the 1870s. The fourth, "Missionary Work," scrutinizes the symbolic currency of the state{\textquoteright}s Spanish Mission Myth, with special emphasis on the cultural philanthropic and art collecting practices of women. The fifth, "Iron Horses," examines the conflicts over the significance of these early stop-motion photographs as debates over the nature of vision and the role of technologies of industrialization. The last, "The Pinnacles of Society," investigates the taste for landscape painting and photography in the 1870s alongside contemporaneous geologic and sociological theories.}, keywords = {Art of the United States}, author = {Ott, John William} } @mastersthesis {9000, title = {Globalization and the Anxious State of a New Regionalism}, year = {2002}, school = {Rochester}, abstract = {This dissertation deals with regionalism as a discourse that is resurgent in the contemporary cultural landscape of the United States. What is herein referred to as "a new regionalism" both recalls earlier regionalisms, particularly that of the 1920s and 1930s, and asserts itself as a phenomenon distinct from its precursors. Bringing with it images of the mythologized small-town community, the agrarian past, and the "folk" of "nation," a new regionalism is often a thinly-veiled response to the anxieties that emerge from the experience of globalization. If in the United States globalization does not impact the human environment as in the poorest of the countries linked to the world economy, it does bring to the American context an increased intercultural mixing. With this increased mixing comes a diffuse xenophobia that is often treated indirectly, through cultural discourses such as a new regionalism that speak of a time, frequently idealized, when such mixing did not require the attention and negotiation that it does in a globalized world.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Zanes, R. J. Warren} } @mastersthesis {8920, title = {Hand to Hand: Uli Body and Wall Painting and Artistic Identity in Southeastern Nigeria}, year = {2002}, school = {Yale}, abstract = {This dissertation examines contemporary concepts of artistic identity in uli body and wall painting in Igbo-speaking southeastern Nigeria through the study of thirteen female uli artists. The artists include Ekedinma Ojiakor and Martina Okafor in Agulu, Mgbadunnwa Okanumee and Agbaejije Maryanne Anunobi in Nnobi, and Eucheria Amoke in Eha Alumona. The study also includes an analysis of uli art based cooperatives in Arochukwu and Nsugbe. In Arochukwu, uli artists{\textquoteright} work was a source of design inspiration for a Church of Scotland mission embroidery cooperative in the 1930s and 40s. From the early 90s to the present, uli artists involved with a cooperative in Nsugbe have been encouraged to add acrylic binder to their pigments and paint on canvas. The work is then sold to a mainly German clientele. Through the analysis of the work of thirteen uli artists, both in and outside the context of these cooperatives, this dissertation proposes that concepts of artistic identity are not defined solely by ethnicity, but are mutable, and defined through media, geography, interculturation, and time.}, keywords = {African Art (sub-Saharan)}, author = {Sarah Adams} } @mastersthesis {9068, title = {Henri de Toulouse-Lautrec and the Cafe-Concert: Printmaking, Publicity, and Celebrity in Fin-de-Siecle Paris}, year = {2002}, school = {IFA/NYU}, abstract = {The art of Henri de Toulouse-Lautrec has long epitomized fin-de-siecle Paris. His posters, prints, and paintings immortalized the cafe-concert stars of the 1890s in an innovative way, bringing a bold modernist visual vocabulary to the new business of advertising and publicity. His work crossed high art with ephemeral advertising, emphasized the mixture of social classes, and above all asserted the individuality and star power of the cafe-concert stars he depicted. These performers-dancers, singers, actors, and actresses-were the focus of intense interest at the end of the century, when public fascination with celebrity reached new heights and the cafe-concert was at its apogee. Toulouse-Lautrec thus wisely situated himself at the juncture of several important streams of public life: he allied himself with the most innovative new methods of production (original prints, four-color poster lithography, luxury bookmaking), the most prominent performers (including Jane Avril, Aristide Bruant, La Goulue, and Yvette Guilbert), and the most popular of fin-de-siecle entertainments, the cafe-concert. In so doing, Lautrec styled himself as the chronicler of montmartrois entertainment and crafted a personal image not only for the stars he depicted, but also for his own work and life, successfully melding publicity with biography. This dissertation investigates the work of Toulouse-Lautrec in the context of this nexus of practices and conditions: the cult of personality surrounding cafe-concert performers, the role of the color poster and original print, and the intersection of art, advertising, and consumer products. Furthermore, I examine the importance for entertainers and artists to market their personalities in the highly competitive and spectacular arena of fin-de-siecle Paris. By investigating these diverse yet related discourses, this study presents a new interpretation of Lautrec{\textquoteright}s work and seeks to offer a greater understanding of the forces that launched our modern culture of art, personality, and promotion.}, keywords = {Nineteenth-Century Art}, author = {Mary Weaver Chapin} } @mastersthesis {9030, title = {The Herzogenburg Moralia: A Thirteenth-Century Illuminated Manuscript of the {\textquoteright}Moralia in Job{\textquoteright}}, year = {2002}, school = {Columbia}, abstract = {No record in ProQuest}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Decker, Patricia} } @mastersthesis {9036, title = {Hoc Opus Eximium{\textquoteright}: Artistic Patronage in the Ottonian Empire}, year = {2002}, school = {Chicago}, abstract = {This dissertation examines the patronage of several key monuments of Ottonian art: the treasury binding for Henry H{\textquoteright}s Bamberg Pericopebook, Mathilda of Essen{\textquoteright}s processional crosses, and Gerbert of Aurillac{\textquoteright}s Imperial Crown for Otto III. By focusing on the visual dynamics at play on each monument, and on the historical circumstances that occasioned their production, we can better understand how these liturgical and imperial objects communicated the identities, the values, and the political and spiritual aims of each patron. The first chapter examines the treasury binding of a lavishly illuminated Pericopebook that King Henry II commissioned for the new Cathedral at Bamberg (Munich, Bayerische Staatsbibliothek, Clm. 4452). Henry II{\textquoteright}s conscious re-use of a Carolingian ivory and a set of Byzantine enamels for this monument announces his bourgeoning imperial ambitions in the period from 1007-1012. The second chapter focuses on two processional crosses that Abbess Mathilda commissioned for her royal convent at Essen (Essen Munster, Schatzkammer). I argue that they served as material "chronicles," similar in theme to the well known historical chronicles penned by Hrotsvit of Gandersheim, for they visually recorded the imperial status of Mathilda{\textquoteright}s family as well as the special spiritual power exercised by women in the Ottonian Empire. The final chapter reassesses the historical conditions that prompted the patronage of the Imperial Crown (Vienna, Weltliche Schatzkammer, inv. no. XIII, 1) and it re-attributes the patronage of the crown to Gerbert of Aurillac (Pope Silvester II), friend and advisor to Emperor Otto III. I conclude the chapter, and indeed the project itself, with a brief historiographical survey that examines why Archbishop Bruno of Cologne has generally been assumed to have been the crown{\textquoteright}s patron-a notion which, I strive to show, had more to do with historical factors in the twentieth century than those in the tenth century.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Nielsen, Christina} } @mastersthesis {9111, title = {How Antwerp Stole the Idea of Popular Culture; or, The Rise of the Painted Panel in Early Modern Netherlandish Art}, year = {2002}, school = {Duke}, abstract = {This dissertation challenges the primacy of painting within the historiography of early modern Netherlandish art. It contends that the privilege accorded to painting within modern scholarship betrays a teleological bias that deflects critical attention from the distinct cultural values articulated by the visual practices native to fifteenth- and early sixteenth century society in the Low Countries. The rise of the painted panel as a culturally privileged object is thus construed as historical process rather than as a presumptive fact. The mechanics of this process constitute the central focus of this study, which turns around the fundamental question: "Why painting?" The attempt to pursue this inquiry is initiated through a critique of the presumption of painting{\textquoteright}s centrality within the art historical literature from Van Mander until the present. Subsequent analysis of the collecting practices of the Burgundian aristocracy in the fifteenth century argues that painting was not the most privileged luxury object within Netherlandish visual culture, and that the social function of images at court was distinct from the purposes to which pictures were put among the urban patriciate. The fact that early sixteenth-century collecting practices among the northern nobility indicate a conspicuous interest in the medium of panel painting thus marks a significant shift in the system of aesthetic values guiding the consumption of visual culture at court. This shift is plotted through the comparative analysis of the international mercantile exchange centered in Antwerp at the turn of the sixteenth century and the structural fluidity of the Antwerp St. Luke{\textquoteright}s Guild (the guild of the image makers). The combination of these conditions allowed painters to actively shape the consumption of visual culture in the Low Countries at the time, thereby subtly advancing the cultural priority of painting and the demand for their work. The historical and theoretical arguments framing this narrative are then grounded within an extended case study of a single painting: the so-called Festival of the Archers (1493), thought to be the earliest extant painting produced in Antwerp. The work is examined as a conspicuous marker of the shifting pictorial concerns that shaped the production and consumption of images in early modern Antwerp, and as a means to reconsider traditional narratives that describe the development of popular painting in the early modern Netherlands more broadly.}, keywords = {Renaissance/Baroque Art}, author = {Bloom, James} } @mastersthesis {9026, title = {How to Do Things with Words and Images in Late Antiquity and the Early Middle Ages}, year = {2002}, school = {Chicago}, abstract = {When scholars address magical texts and objects, they usually examine the content or subject matter of words and images. By examining content, many studies address the category of "magic" itself and suggest intersections between religion, magic, and science. But generic analysis of content itself (whether orthodox, unorthodox, or scientific) reifies, rather than explains, the nature of magic and the psychological whole of ritual experience. Late Antique and Byzantine amulets exemplify, make, and maintain ritual power. How did words and images on small personal objects address such everyday needs as health, aid in childbirth, erotic desire, and protection from demons, as texts tell us they did? Thousands of these objects survive. They must have done something or else they would not have continued to be produced and used through centuries and across the Mediterranean. To call them "magical" merely discourages further discourse. An investigation of their semiotic forms-rather than their content-reveals specifically how they effected experience by directing interpretations of it. I examine four case studies. A Late Antique tin pilgrim{\textquoteright}s souvenir from Jerusalem enacted a past holy event in the present experience of the beholder, enabled by a believed ontological relationship between images and memory. An early Christian hematite amulet depicts Christ healing the bleeding woman and created a persuasive analogy for the medieval woman who wore it to address her own illness, thereby engaging authoritative Greek medical logic in which analogy was common. A multi-religious bronze amulet depicts a rider trampling a demon; its psychological power against evil lies in the performative interplay between speech-acts and what I call "show-acts." Speech-acts and show-acts imaginatively initiate the very actions that they depict, a practice dating back to ancient Jewish beliefs and miracles. Amulets display the practical mechanics of pan-Mediterranean conceptual schemes that extend beyond magical content and lay behind the power of holy icons. As a last case study, a pre-Iconoclastic icon of Christ Pantocrator argues for a circular epistemology between an image, its prototype, and its interpretation. Through a comparison between amulets and icons, I suggest that icons eventually replaced amulets.}, keywords = {Early Christian/Byzantine Art}, author = {Tuerk, Jacquelyn} } @mastersthesis {9121, title = {Icons after Iconoclasm: The Flemish Garland Picture, 1608-1700}, year = {2002}, school = {Harvard}, abstract = {This dissertation explores the paradoxical nature of the Flemish "garland pictures," a hybrid genre in which a devotional image is encircled by an elaborate still life wreath. Scholars have argued that in the wake of the Protestant image critique, painters and patrons valorized the holy picture by enframing it in a wreath, a typical form of tribute. But this interpretation is problematized by the response of seventeenth-century viewers to the pictures. Almost without exception, viewers at that time ignored the devotional image, and yet expressed curiosity and excitement about the wreath. This unexpected reception shapes the central question of my study: exactly what kind of response to the Protestant image critique did the garland pictures constitute? Using an analysis of the aesthetics and reception of the images, I argue that the treatment of the cult picture in the garland paintings constitutes a complete re-casting of the old devotional image. I show how the garland pictures divest the devotional image of presence, and how the interest formally directed towards the devotional figures was re-directed towards the seductive wreaths, and to the surface of the newly created image. Moreover, because the pictures are essentially anti-figural, celebrating instead figural substitutes in the form of representations (paintings, sculptures, and the eucharist), they in a sense adopted the very terms of the Protestant critique, in particular, its suspicion of, or anxiety about, figural imagery. Put in its strongest form, my argument is that the garland pictures internalize the Protestant critique and adopt a form of self-censure, and can therefore be called iconoclastic images. Finally, although the paintings recognize a rupture between their own moment of production and that of the cult pictures they reference, they are ultimately sites for thinking about the status of the cult picture, not a negation of the idea that painting may provide a place to meditate on divinity.}, keywords = {Renaissance/Baroque Art}, author = {Merriam, Susan} } @mastersthesis {9035, title = {Illuminated Crusader Histories for Philip the Good of Burgundy (1419-1467)}, year = {2002}, school = {Princeton}, abstract = {This study considers Philip the Good of Burgundy (1419-1467) as a patron of history writing and of illuminated manuscripts, concentrating on the visual and literary projects that supported his efforts to launch a crusade. Several manuscripts commissioned in the mid-1450s are part of a larger desire of Philip{\textquoteright}s: to recover the Holy Land for Christianity, a longstanding dream made more urgent in 1453 by the fall of the city of Constantinople. Chapter I discusses the place history writing held at Philip{\textquoteright}s court, as a culmination of several developments in earlier medieval historiography-the increasing popularity of vernacular prose histories, slanted toward local families and regional concerns. Chapter II deals with historical fiction at the ducal court, and especially the characteristics of the mises en prose, reworkings of rhymed tales from the high Middle Ages, with departures and emendations that suggest the court{\textquoteright}s more modern requirements. Chapter III outlines the events of the earlier crusades and the manuscripts in Philip{\textquoteright}s library that treated them, to provide a context for his crusading activities and for the heterogeneous examples of "crusade literature" that were so well represented in his library. Chapter IV examines Philip{\textquoteright}s response to the Fall of Constantinople, focusing on the Banquet of the Pheasant (staged to enlist support for the coming crusade) and on several of his manuscript commissions, and argues that his plans, though ill fated, were sincere. Chapters V and VI focus on two of the most splendid of Philip{\textquoteright}s illuminated manuscripts, the Charlemagne Chronicle in Brussels (BR, MS 9066-68) and the Jerusalem Chronicle in Vienna (ONB, Cod. 2533). As the preceding chapters suggest, our perception of these works of art is enhanced when they are considered within the full range of Philip{\textquoteright}s "crusade literature," in the context of his court{\textquoteright}s interest in history writing and updated historical romances, and against the background of the French crusading tradition and the Burgundian incarnation that succeeded it.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Moodey, Elizabeth} } @mastersthesis {9029, title = {The Illustration of the Akathist Hymn at the Ferapontov Monastery}, year = {2002}, school = {Binghamton}, abstract = {The Ferapontov Monastery, founded by the monk Ferapont in 1398, stands in the White Lake (Belozersk) District, a flat, forested area some 430 miles north of Moscow. Stunning frescoes painted by the iconographer Dionisy and his sons between 1500-1502 cover not only the interior walls, vaults and exterior facade of the little stone church. Linking and unifying the iconography are twenty-five scenes painted in the central belt of the monastic church, which illustrate the Akathist Hymn. The Hymn, composed originally in the sixth century, is an Eastern Christian Liturgical Service chanted on the fifth Saturday in Great Lent, which eloquently extols the Virgin Mary as Theotokos and proclaims the Incarnation of Jesus Christ. The sophisticated iconography is distributed in twenty-five scenes over the piers and walls of the Ferapontov Monastery. The church and its frescoes are, however, more than art treasures in themselves. First of all, they have a profound spiritual and mystical significance. In the Eastern Christian tradition, every architectural feature of a church, from domes and pillars to walls and foundations, is held to have profound spiritual meaning. Further, icons themselves mean more to the Eastern Christian than their significance as sacred narrative portraits found in Western religious art. Interestingly, these Ferapontov Monastery frescoes provide insight into some of the great ecclesiastical, doctrinal and political struggles of their time, when sweeping changes in the structure of civil authority, complicated by old-fashioned court intrigues and power struggles, collided and intermingled with efforts on the part of the Russian Church to maintain doctrinal purity against a broad dissident movement and, in so doing, to resolve a question as to the morality of the Church{\textquoteright}s possession of property, and to deal prudently with the treatment of those branded heretics. No previous scholar has discussed the dense iconographical programs as a whole in their architectural setting. An examination is made into the political, religious and social contexts, and a detailed analysis of the Akathist Hymn frescoes themselves. Never before and never since has an Eastern Christian church so eloquently articulated the Incarnation of Jesus Christ in icons and architecture.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Bertha, Joseph William} } @mastersthesis {9028, title = {Imagery in the Aftermath of the Crusades: A Fourteenth-Century Illustrated Commentary on Job (Paris, B.N. ms. Graecus 135)}, year = {2002}, school = {UCLA}, abstract = {The Peloponnese has only begun to be considered a single region of artistic exchange or interaction. Scholarship has maintained strict boundaries between Medieval West and Byzantine East, treating Greek Orthodox Mistra as distinct from the Latin Principality of Achaea. The few twelfth and thirteenth-century archeological ruins have led to this understanding of the Peloponnese as a region of strong class divisions and stark cultural differences. The fourteenth century is believed to have had the most interaction and commingling of cultures in Greece; however, with such little archaeological evidence we must turn to other testimonies such as the manuscript Paris. grec. 135. The fourteenth-century manuscript Paris. grec. 135 is an illustrated copy of the Commentaries on the Book of Job at the Bibliotheque nationale in Paris. The text was copied by the scribe Manuel Tzykandyles. It is dated to 1362, and because of the scribe{\textquoteright}s residence during that year, assigned to production in Mistra, a medieval city in the central valley of the Peloponnese. The iconography reproduces a standard sequence of narrative episodes given to Byzantine illustrations of the Book of Job, yet the images have copied or reproduced stylistic elements from a variety of cultures including France, Italy and Byzantium. Paris. grec. 135 has been singled out from other Byzantine illustrated Books of Job because of its inclusion of Western artistic motifs. This dissertation examines how Paris. grec. 135 fits into the Byzantine tradition of artistic reproduction and transmission. Attention is given to the reception of culturally specific imagery and the role of identity in the exchange of artistic models. By questioning the extent to which the imagery of Paris. grec. 135 is a conscious copy of non-Byzantine motifs, this project illuminates our understanding of multiculturalism and artistic transmission in the fourteenth-century Mediterranean. The illustrations of Paris. grec. 135 reveal that the borders and boundaries constructed between these cultures are flexible particularly in terms of the reproduction and the copying of artistic models. Mistra is an integral part of the Peloponnese as a whole, a site of the commingling of cultures, not an oasis of Byzantine life.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Andrews, Justine} } @mastersthesis {8969, title = {Images of Liu Haichan: The Formation and Transformation of a Daoist Immortal{\textquoteright}s Iconography}, year = {2002}, school = {Kansas}, abstract = {This dissertation examines the formation and transformation of the iconography of a Daoist immortal, Liu Haichan. Liu Haichan was a court official in the tenth century who became a famous Daoist immortal. He has been worshipped as the fourth patriarch of the Quanzhen School, one of the largest schools of religious Daoism since the 13th century. From the middle of the Ming period, he has been extraordinarily popular and gradually transformed into a folk symbol of good fortune. Many images of Liu Haichan have been produced in various formats, such as painting, prints, and craft works. In art, he is usually represented carrying an auspicious three-legged toad. The earliest extant picture of Liu Haichan is dated to the Yuan period, and his image was a popular subject matter from the Ming period onward. However, no textual descriptions explained his association with the three-legged toad until the late Ming period. This discrepancy between text and image has led to questions about the original identity of the "Toad Immortal." Sometimes other immortals are proposed to replace Liu Haichan. These candidates, however, do not qualify. Judging from fictions of the Song period, hagiographies of the Yuan period, and many other later records, Liu Haichan is still the most plausible person to be this immortal. Along with the popularization of the cult of Liu Haichan, the pictorial representation of him has changed from a serious wanderer to a cheerful young boy. It is also a change from a religious immortal to a secular figure and from a symbol of spiritual enlightenment to that of monetary luck. These changes occurred in response to religious, political and social situations. The transformation of Liu Haichan{\textquoteright}s iconography is also accompanied by the change of the styles, functions and meanings of the images. Some pictures of the later period show an amalgamation of Liu Haichan and Shide, an eccentric Buddhist monk of the Tang period. This indicates the visual syncretism of Daoism and Buddhism.}, keywords = {Chinese Art}, author = {Insoo Cho} } @mastersthesis {9118, title = {Images of the Soldier in Seventeenth-Century Dutch Art}, year = {2002}, school = {Kansas}, abstract = {From 1568 until 1648 the Netherlands was involved in the Eighty Years{\textquoteright} War with Spain resulting in the frequent appearance of soldiers in paintings and prints. German and early Netherlandish representations of soldiers and warfare provided prototypes for Dutch artists to follow. Printed accounts related information about the war in both text and image and military manuals informed artists about the appearance, discipline, duties, and equipment of the individual soldier. While earlier images of the soldier often reflected negative perceptions engendered by the cruelties of the Spanish forces and foreign mercenary soldiers in the service of the United Provinces, after the Twelve Years{\textquoteright} Truce (1609-1621), improved relations between the military and society altered the image of the soldier. Reforms instituted by Prince Maurits for the States{\textquoteright} Army decreased the fearful or scornful perception of soldiers by civilians. These changed attitudes resulted in the reduction of violence in plundering images as well as the development of kortegaerdjes (guardroom scenes) that became a specialty of Dutch painters. It is in these guardroom paintings, and particularly the subsequent domestic interior scenes with military figures, that the soldier is rendered more sympathetically, yet always remaining an outsider to society. The chapters are thematically divided as such: Chapter I, "The Dutch Soldier in the Field: Images of Military Conflict," examines battles, sieges and skirmishes that were not usually witnessed by artists and thus rely heavily upon artistic precedents and textual sources; Chapter II, "Military Plundering and Ransoming in Dutch Painting," explores images depicting violence, considering the legitimacy of such actions in war and the effect of military reforms implemented by the government; Chapter III, "Encampments," considers how paintings of the life of the soldier during long periods of siege warfare reflect the accepted presence of camp followers and leisurely pursuits such as gambling; and Chapter IV, "From Kortegaerdjes to Elegant Interiors: The Leisurely Pursuits of the Soldier," discusses issues regarding the soldier{\textquoteright}s activities within a guardroom setting and his transformation to an elegant officer within a domestic environment during the last stages of the war.}, keywords = {Renaissance/Baroque Art}, author = {Kennedy, Jan} } @mastersthesis {9076, title = {Immaculate Skin, Admirable Machine Body, and Representation in French Aesthetics, Science, and Art, 1850-1900}, year = {2002}, school = {Princeton}, abstract = {In a series of close interdisciplinary readings of aesthetic-philosophical texts, scientific writings, and works of art, my thesis addresses the question of the representation of the human body in 19th-century France as a discursive site where philosophical, aesthetic, and scientific concerns regarding beauty, truth, and meaning intersected and formed complex relationships. The epistemological problem of how the body could visually be represented in a truthful manner, as a form of writing that needed to be legible and meaningful, turned into a theory of representation that was itself predicated on a certain understanding of the body and its relationship to subjectivity, soul/spirit/mind, beauty, health, norms and types. The relationships between neo-classicist academic conservatism, progressive scientific positivism, and avant-garde art were not of the nature of a simple influence or opposition, but were marked by significant structural overlapping, conflation, and internal contradictions. The thesis is divided into four sections. Chapters 1 to 3 address the way neoclassicist and romantic aesthetics (Hegel, Charles Baudelaire, Charles Blanc) defined the media of sculpture and painting with reference to the truth of the idealized body. A transitional chapter 4 examines the aesthetics of Hippolyte Taine as an attempt to bridge idealist and positivist theories of the human body in art. The second part (chapters 5-7) examines empirical scientific approaches to the study of the body that remained structurally indebted to aesthetic preconceptions and artistic techniques: anthropometry and sociology (Adolphe Quetelet), anthropology (Paul Topinard), physiognomy (Duchenne de Boulogne, Duval), and chronophotography and animated anatomy (Albert Londe, Paul Richer). The concluding section discusses various modes of the deformation of the neoclassical ideal body in modernist aesthetics and artistic practices. Chapter 8 focuses on theories of the comic and caricature as a breakdown of the signifying relationship between body and soul in writings by Hegel, Baudelaire and Henri Bergson. Chapter 9 finally compares neoclassicist notions of a natural body language of gesture and pose to the gestural deformations in Degas{\textquoteright} theatrical, absentminded, and self-absorbed bodies, as well as movement, color, surface-effects, fragmentation, and repetition in Rodin{\textquoteright}s sculpture.}, keywords = {Nineteenth-Century Art}, author = {Kramer, Martin} } @mastersthesis {9037, title = {In the Shadow of the Gothic Idol: The "Cantigas de Santa Maria" and the Imagery of Love and Conversion}, year = {2002}, school = {Harvard}, abstract = {This thesis focuses on the thirteenth-century illuminated manuscript known as the Cantigas de Santa Maria-a poetic compilation in which Alfonso X, king of Castile and Leon (r. 1252-84), self-proclaimed troubadour of the Virgin, recounts her miracles and praises her virtues through the language of courtly love. For its combination of poetry, music, and more than two thousand magnificent illuminations, this work has been acclaimed as one of the greatest artistic achievements of the Middle Ages. Yet, it is seldom featured in general accounts of Gothic art. In addressing this paradoxical absence, I develop a historiographical and methodological critique of conventional notions about Gothic visual culture and I contend that current revisionist studies, rather than fostering an expansion of the canon, have, in fact, reinforced traditional paradigms by their uncritical reliance on the pre-established archival record. By contextualizing the Cantigas in the historical moment of a newly-expanded and multi-ethnic kingdom of Castile, I present it as the product of a fascinating process of cultural merging and artistic experimentation that affects both its visual language and the notions of religion and society that it propounds. Some of the innovations developed in the Cantigas in order to promote Alfonso{\textquoteright}s policy of cultural synthesis and religious conversion include: the dynamic relation between images and the textual matrix of the manuscript; the combination of traditional Christian iconography with Eastern pictorial and poetic imagery; the performative dimension of its visual language; the incorporation of popular forms of theatrical representation into its visual rhetoric; and the convergence between a Christian theology of love and Muslim modes of popular piety. The diverse literary and artistic sources used to produce this manuscript, ranging from Byzantine acheiropoieta legends to Arabic popular narrative, open a window into the colorful cultural landscape of the thirteenth century. My methodological approach is selectively eclectic. I bring into my analysis critical terminology originating in diverse fields, such as literary theory, cultural anthropology, theater studies, film criticism, and others, in order to highlight the artistic and intellectual significance of the Cantigas.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Prado-Vilar, Francisco} } @mastersthesis {9097, title = {Independent American Artists: The Post-Armory Show Careers of Robert Henri and John Sloan}, year = {2002}, school = {Boston}, abstract = {This dissertation examines the diverse range of professional endeavors undertaken by Robert Henri (1869-1929) and John Sloan (1871-1951) to promote the independent artist in America in the aftermath of the landmark 1913 Armory Show. By this date both men were leaders of the progressive wing of the American art community. Though challenged by the radical European modernism exhibited at the Armory Show I shall argue that Henri{\textquoteright}s and Sloan{\textquoteright}s reputations were not totally eclipsed thereafter. Their charismatic personalities, inspirational teachings, organizational activities, and their art commanded devoted followings until their deaths. This study investigates the complex social structure of the early twentieth-century art world in the United States and the production, distribution, and reception systems by which artists receive professional recognition and historical significance. Chapter one examines Henri and Sloan{\textquoteright}s early careers, portrait images and critical reviews to trace the self-construction of their public personae. Chapter two studies their teaching theories and practice in the context of the progressive education movement that emphasized the connection between art and life. Chapter three focuses on the jury-free exhibitions at the MacDowell Club and the Society of Independent Artists to examine issues of inclusiveness, installation design, and the role of the independent movement for advancing modern American art. Chapter four investigates Henri and Sloan{\textquoteright}s response to "ultra-modern" formalist aesthetics. Through their use of the Maratta color system they reinvigorated realist painting and developed an interest in the metaphysical aspects of abstraction. Chapter five examines the artists{\textquoteright} relationships with a network of dealers, patrons, and museums that facilitated sales while preserving their aura of independence from the marketplace. Chapter six explores the process of artistic canonization, the artists{\textquoteright} retrospective exhibitions and posthumous reputations. The thesis argues that Henri and Sloan{\textquoteright}s independent ideal shaped a generation of American artists. During the inter-war years, their model of individuality was especially valued. Based on the conviction that art should be democratic, Henri and Sloan remained significant even in their later careers to a generation that still believed that art should speak to the experiences of the common man.}, keywords = {Pre-1945 North American and South American Art}, author = {Vure, Sarah} } @mastersthesis {8985, title = {The Independent Group{\textquoteright}s Encounters with Logical Positivism and Searches for Unity in the 1951 Growth and Form Exhibition}, year = {2002}, school = {MIT}, abstract = {This study analyzes the intellectual and historical milieu of the Independent Group. Its point of departure is Growth and Form, an exhibition of scientific imagery, largely conceived and designed by Richard Hamilton, and the book accompanying the exhibition, Aspects of Form, edited by Lancelot Law Whyte and including a wide range of essays by leading scientists of the day, as well as by Konrad Lorenz, Rudolf Arnheim, and Ernst Gombrich. In tracing the discourses of "form" and "unity" to several distinct sources, my study charts the unmapped territory where multiple influential, yet previously unconnected art figures may be seen to cross paths. The models of perception posited by the writers discussed in this study-a Romantic organicism, a scientific and a scientistic unitarism, and the ostensibly empirical Gestalt theory-existed simultaneously and intermingled in the IG environment. The historical avant-garde{\textquoteright}s emphasis on method-such as El Lissitsky{\textquoteright}s call for "Gestaltung als Ergebnis wissenschaftlicher Untersuchung eines Problems," or Hannes Meyer{\textquoteright}s call for the "wissenschafltliche Erfassung und gestalterische Umsetzung der neuen Welt"-continued after World War II. But while those radical experiments were at times themselves totalizing-wanting to reform society, politics, and housing right then and there-scientific method or, in Habermas{\textquoteright} terms, a notion of "procedural rationality," now rued as a means of somehow {\textquoteright}neutralizing{\textquoteright} politics from practices such as architecture, design, and painting. The artist{\textquoteright}s role became one not of agitator, planner, or social engineer but of medium or seismograph as Moholy-Nagy{\textquoteright}s wrote in the 1947 Vision in Motion. This intellectual framework led the IG to see in mass culture an art form that fulfilled all the concepts of unity their milieu had to offer: it practiced a unity of art and life, constituted direct communication (unhampered by emotive speech or extra-textual references), and it practiced a cultural monism in which all perceptions were equally valid. Accordingly, the assumption was, one could decide whether something was successful or riot, but ethical and political judgments could be left out as metaphysical, elitist, or, simply, old-fashioned.}, keywords = {Contemporary Art}, author = {Moffat, Isabelle} } @mastersthesis {9067, title = {Inspiration, Innovation, and Emotion: The Early Religious Paintings of Eugene Delacroix}, year = {2002}, school = {Iowa}, abstract = {In my dissertation, I examine Eugene Delacroix{\textquoteright}s early religious easel paintings, linking the images together thematically, visually, and iconographically. I further demonstrate how his religious values informed his compositional, aesthetic, and thematic choices. Delacroix was one of the leading painters of his day, and his religious reflections had a great impact not only on his artistic contemporaries, but also on current art theorists, writers, and the viewing public. In placing Delacroix{\textquoteright}s religious paintings within a cultural, historical, literary, and religious context, my dissertation highlights salient artistic and iconographic developments already present in the earliest years of the artist{\textquoteright}s career. Delacroix{\textquoteright}s early religious paintings receive little attention in current art historical criticism because scholars label the representations as mere rudimentary experiments in his oeuvre. The earliest developments in Delacroix{\textquoteright}s style and religious thinking tend to be ignored in present discourse. My dissertation addresses these lacunae, challenging current interpretations that focus on the more dynamic, sublime, and coloristic canvases that the artist completed mid-career. The broader significance of my study for both art historians and theologians is my presentation of the nineteenth-century artist as an innovative religious thinker. In my dissertation, I demonstrate how Delacroix{\textquoteright}s thematic choices of adversity and psychological distress mirror the struggles of the Catholic Church and its responses to modernity. My approach is interdisciplinary as I consider the religious history of nineteenth France, the profound artistic impact of Delacroix{\textquoteright}s spiritual paintings and sketches, and the significance of his historical and critical writings. In Chapter I, Religious Revival: the Early Nineteenth-Century Background, I investigate how Delacroix{\textquoteright}s representations mirror the religious environment in which they were created. Chapter II, Delacroix{\textquoteright}s Religion of the Spirit, is an exploration of the issues at the heart of Delacroix{\textquoteright}s spiritual crisis. In Chapter III, De la croix/Delacroix: Penseur, Peintre, Poete, I introduce Delacroix{\textquoteright}s interest in the Bible as an extension of his fascination with literature. Chapter IV, Patronage and Criticism, focuses on the patterns of patronage, specific contexts for the commissions, and the criticism of the artist{\textquoteright}s early religious paintings.}, keywords = {Nineteenth-Century Art}, author = {Bland, Cynthia K.} } @mastersthesis {8991, title = {Into Performance: Japanese Women Artists in New York, 1955-1975}, year = {2002}, school = {Rutgers}, abstract = {This dissertation considers the historical significance of five Japanese women artists-Yayoi Kusama, Yoko Ono, Takako Saito, Mieko Shiomi, and Shigeko Kubota. They were among the first Japanese women artists to leave their native country and expand their career opportunities in New York. While these artists began their careers in Japan, the conservative Japanese art world did not support women artists. By examining these five artists together for the first time, this dissertation illuminates a remarkable turning point in art history, the moment when Japanese women artists first gained recognition in the international art world. This study focuses on the years 1955-1975, the period when these five artists{\textquoteright} paths crossed in Tokyo and New York. In both cities, these artists were active participants in avant-garde movements, thus forging a bridge between the art worlds in the East and West. With their knowledge of cutting-edge Japanese art, these artists had an impact on the early years of American performance-oriented art movements, such as Happenings and Fluxus. By discussing the role of these women artists in the development of Japanese and American art, this study revises the West-centered historical narratives of avant-garde art. While these five artists made significant contributions to the artistic exchanges between Japan and the United States, they became marginalized in histories of both countries because of their gender and ethnicity. Only recently have monographic studies appeared on Ono, Kusama, and Kubota. Saito{\textquoteright}s and Shiomi{\textquoteright}s work is absent from the art historical literature. The main goal of this study is to bring these neglected artists to light within the emerging critical context of performance art. By experimenting with a relatively new medium of performance art, these women artists rose above preconceptions about art. Through fostering interaction with spectators, they explored the expressive potential of their own bodies as a site of multiple meanings. Combining current theoretical concepts with historical documents and newly acquired artists{\textquoteright} statements, this dissertation offers the first in-depth and interdisciplinary study of these five unique Japanese women artists.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Performance Studies}, author = {Yoshimoto, Midori} } @mastersthesis {9062, title = {Intoxication and Representation: A Visual Culture of Absinthe, 1859-1915}, year = {2002}, school = {Stanford}, abstract = {Absinthe was an alcoholic liqueur produced from the essence of the wormwood plant and distilled alcohol that appeared in France during the first decades of the nineteenth century. The drink was an essential component of social life in modern Paris, and around its use coalesced issues of the city{\textquoteright}s spaces, artistic life, visual production, consciousness, and commodity culture. This dissertation analyzes the visual culture of absinthe in Paris from the mid-nineteenth century until the drink{\textquoteright}s prohibition in 1915. Drawing on a variety of visual sources including canonical paintings, popular illustrations, advertisements, and temperance imagery, as well as a wide range of textual evidence (city guides, novels, plays, medical and scientific studies), the dissertation argues that absinthe-and, more broadly, a culture of intoxication and narcotics-is closely tied to the ways in which modernity defines itself, functions, and is represented. Because of its prominent and public presence in Paris, absinthe was uniquely positioned to operate as a metaphor for the experience of the modern city and moreover, to perform an active role in structuring the conceptual premises upon which modern life was understood. With its myriad rituals and preparations, colouristic variations and transformations, and allusive state of intoxication, absinthe and its corresponding visual culture dramatized a range of encounters with the modern world-alienation or empathy, disorientation or lucidity, spectacle or stimulation, transgression or excess-and accommodated a range of intentions, social forces, and meanings. The drink and its image were intimately connected to the spectacular character of modern Paris, but increasingly took on a look of estrangement and anomie visualized by a classed (lower) and gendered (female) drinker. By the early twentieth century, the image of absinthe came to be dominated by two forces-those promoting the liquor and those seeking to prohibit it-and intoxication and representation alike were displaced onto the experience of the commodity and a culture of consumption.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Lewis, Rael} } @mastersthesis {8943, title = {Islamic Piety and Dynastic Legitimacy: The Case of the Shrine of Ali al-Rida in Mashhad (10th-17th Century)}, year = {2002}, school = {Harvard}, abstract = {In 203/818, {\textquoteright}Ali b. Musa al-Rida, eighth Shi{\textquoteright}i Imam and heir apparent of the {\textquoteright}Abbasid caliph al-Ma{\textquoteright}mun, passed away in the Iranian province of Tus. Mashhad, the place of his burial, emerged as a site of visitation during the late tenth century, and assumed increasing importance in the religious landscape and economic life of eastern Khurasan. The large architectural complex, which grew around the tomb, still dominates the center of the old city today. This dissertation explores the formation and implantation of this great sacred institution. It examines its evolution from the tenth to the seventeenth century, focusing on the economic, social, and political forces, which contributed to the production of its spaces. Challenging the Shi{\textquoteright}i label usually associated with the shrine, this study proposes an alternative understanding of the shrine{\textquoteright}s sacred authority during the period under investigation. It argues that the main impulse for the survival of the shrine was linked to a class of sayyids, descendants of the Prophet, who assumed the shrine{\textquoteright}s charismatic tradition, and appealed to a wide constituency, unfettered by ethnic and sectarian divisions. Under their stewardship, the shrine emerged as a polyvalent space, shared and sometimes contested, between Sunnis and Shi{\textquoteright}is. The analysis of the shrine{\textquoteright}s architectural spaces unravels its many historical layers, proposing an interpretation for the spatial, institutional, and ideological structuring of the shrine at important historical junctures. The focus on the shrine{\textquoteright}s political patronage in particular reveals the process by which the shrine{\textquoteright}s sacred authority was appropriated and framed within divergent religious ideologies and narratives of political legitimation. Mostly an autonomous and self-governing institution between the eleventh and fourteenth centuries, it became increasingly associated with political power in the post-Mongol period. Under the Timurids, the shrine became a signpost for Timurid power as legitimate rulers of the Islamic world. The Safavid Shahs, in turn, appropriated the shrine, casting it within an exclusively Imami Sh{\textquoteright}i framework, and establishing the foundations of the shrine as it survives today.}, keywords = {Art of the Middle East/North Africa}, author = {Farhat, May} } @mastersthesis {8926, title = {Isrealizing Jerusalem: The Encounter between Architectural and National Ideologies, 1967-1977}, year = {2002}, school = {MIT}, abstract = {The victorious Israeli acquisition of East Jerusalem during the 1967 War set off industrious construction intended to turn a modernist Israeli town and an ancient Jordanian city into "a united (and indivisible)" Israeli Jerusalem. This dissertation questions the reasons and venues for the consequent architectural break with high modernism that defined the built landscape of Jerusalem between 1967 and the first political defeat of Labor Zionism in 1977. For Mayor Teddy Koliek, who aspired to legitimate Israeli rule over Jerusalem on cultural and aesthetic grounds, architects were indispensable agents. However, invited luminaries, like Louis Kahn, Bruno Zevi, Philip Johnson and Lewis Mumford, forcefully attacked Jerusalem{\textquoteright}s modernist masterplan in favor of a spiritual and historical theme for the city. Their criticism became the catalyst for a beautification campaign that intriguingly resembled the British Mandate{\textquoteright}s "colonial regionalism." It also inspired younger Israeli-born architects whose quest to create an "architecture of the place" was ambivalently modeled after the Palestinian vernacular. By casting this architecture as biblical, primitive or Mediterranean, these architects emerged as interlocutors who mediated national identity into built and lived environment, culminating in Moshe Safdie{\textquoteright}s integration of archeology, the vernacular and technology in his authorized design for the Western Wall Plaza. Based on structural analysis, archival research and interviews with architects, planners and politicians, as well as the insights of recent literature on nationalism, Orientalism and post-colonialism, this dissertation offers the first critical account of Jerusalem{\textquoteright}s architecture during statehood and in light of the prevailing debates in post-WWII architectural culture at large: It argues that modernist architecture geared toward the state{\textquoteright}s values of progress and development fell short of expressing the symbolism of the Jewish nation as it emerged in post-67 Jerusalem. In this context, post-WWII architectural theory{\textquoteright}s emphasis on Man, community, memory and place helped architects create a symbolic terrain for the mamlachtiyut project that mediated between the new state and its historical "national home." This "localist" program for Israeli architecture, however, could hardly survive the Palestinian intifadas, during which Israeli architectural historiography retreated back into the modernist origins of Israeliness as yet uncontaminated by the conflict and the Orient. Ironically, the "architecture of the place" rendered transparent the ambiguity of the Israeli national-colonial project.}, keywords = {Architectural History/Historic Preservation, Critical Theory/Gender Studies/Visual Studies}, author = {Nitzan-Shiftan, Alona} } @mastersthesis {8995, title = {Italian Futurism: Gender, Culture, and Power}, year = {2002}, school = {Case Western Reserve}, abstract = {This study presents Valentine de Saint-Point and Benedetta Cappa Marinetti as principal figures in the changing character of gender and power in Italian Futurism. The following chapters demonstrate a steady course of disruption in their literary and visual art that undermined the original misogynist tenets of the movement. Their aesthetic production, in large part a result of personal relationships with F. T. Marinetti, Futurism{\textquoteright}s key theorist, placed them in a position of authority that has not been recognized in the post-history of the Futurist movement. A study of this nature, a comparison of the artistic production of the two principal female figures in Futurism, that incorporates issues of gender and power, has never been executed. Valentine de Saint-Point is relatively unknown in Futurist scholarship, her reputation relinquished to obscurity in the history of early modernism. She can and should be brought forward and repositioned as a crucial figure in the developing stage of Futurism. Bringing to light a number of works of art by Saint-Point, I have expanded the study of her oeuvre to include the visual arts and demonstrate connections between her visual and literary work created during her time spent with the Futurists. Benedetta Cappa Marinetti is often looked at in a one-dimensional manner, as the wife of F. T. Marinetti, an apologist for Fascism, and finally, a participant in the less heroic "second" Futurism. I look at her work and her relationship with Marinetti from another stance, one that searches out the disruptive nuances in the discourse on gender in her works. Analysis of her visual and literary work indicates that her influence on Marinetti, and thus on Futurist rhetoric, was paramount to the development of the second phase of Futurism. Based on the findings of my research and critical analysis, I propose that Saint-Point and Benedetta{\textquoteright}s works can be construed as a site of symbolic struggle against the misogynist agendas of their milieu. While appropriating the images and rhetoric of the masculinist agendas of Futurism and Fascism and working from what might be considered a subaltern position, they managed to be confrontational and to forge a space for the feminine voice. The actions of Saint-Point and Benedetta subsequently caused changes and shifts in Futurist ideology, thus confirming the authority of their position in Italian Futurism. Whether in the realm of the symbolic or the real, Valentine de Saint-Point and Benedetta Cappa Marinetti maintained a constant, and formidable force against the Futurist desire to suppress the feminine.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Conaty, Siobhan} } @mastersthesis {9014, title = {Jacques-Henri Lartigue (1894-1986): Invention of an Artist}, year = {2002}, school = {Princeton}, abstract = {In 1963, shortly before his seventieth birthday, French photographer Jacques-Henri Lartigue (1894-1986) was "discovered" by the Museum of Modern Art, New York, and lauded for a body of photographs he had taken in France during the 1910s, supposedly as a young boy. MOMA{\textquoteright}s exhibition not only presented a compelling vision of the French belle epoque, a period enjoying a vogue in America at the time; it also commenced a rigorous program to institutionalize photography as a modern art form within the sanctified space of the art museum. Lartigue{\textquoteright}s transformation from an unknown amateur into a modern artist was achieved almost single-handedly by John Szarkowski, MOMA{\textquoteright}s new curator of photography. During the 1960s, Szarkowski propounded a stringently formalist position on photography; this comprised two bold theoretical precepts: (1) the modernist definition of the medium according to a set of discrete photographic qualities, and (2) the integration of vernacular efforts into photographic history. Lartigue not only served as a consummate exemplar of these ideals, he also played a key role in the formulation of a new photographic genealogy, one which established a patrimony for American art photography of the 1960s. Deemed a precursor, Lartigue served to constitute an aesthetic tradition for a movement eventually identified as "the snapshot aesthetic." Szarkowski{\textquoteright}s lapidary construction of Lartigue as "a true primitive"-viz. an untrained photographic prodigy-was based not on historical evidence, but on a desire to interpret Lartigue according to a predetermined modernist schema. In fact, Lartigue{\textquoteright}s early exposure to photographic technique and pictorial convention, begun in 1902, was extensive and prolonged. Tutored by his father, an accomplished photographer himself, Lartigue was by his late teens an exemplary product of amateur code. Moreover, Lartigue emulated the pictorial style of illustrated sports and fashion magazines, as well as motifs disseminated by cinema. Lartigue{\textquoteright}s work, I argue, is a product of both the cultural milieu that formed him and the one that transformed him into a celebrated modern artist.}, keywords = {Drawings/Prints/Works on Paper}, author = {Moore, Kevin} } @mastersthesis {9103, title = {The King and His Brother: Simone Martini{\textquoteright}s Louis of Toulouse Crowning Robert of Anjou and the Visual Language of Power}, year = {2002}, school = {Rutgers}, abstract = {This dissertation is a contextual analysis of Simone Martini{\textquoteright}s Louis of Toulouse Crowning Robert of Anjou. It pursues the thesis that the painting is a complex instrument of statecraft and interprets the painting as a response to the issues Robert faced at the beginning of his reign: the picture promoted the cause of Louis{\textquoteright}s sainthood, celebrated Robert{\textquoteright}s coronation, legitimized Robert{\textquoteright}s succession, defended the king against Imperial aggression and championed Angevin aspirations. Simone{\textquoteright}s bold Angevin proclamation, a visual exegesis of Robert{\textquoteright}s view of his sovereignty, converted contemporary political reality and royal ideology into a religio-political vision of power. Part I places the study bibliographically and conceptually and discusses its aims and method. Part II concludes that the work was painted c. 1310-14, just after Robert{\textquoteright}s coronation and prior to Louis{\textquoteright}s canonization. It points out Simone{\textquoteright}s innovation of placing the donor figure on the same scale as the saint and suggests that the painting was originally a Guelf standard that may have hung in the apse of San Lorenzo Maggiore, Naples. The blatant advocacy of Robert in the main panel is underscored and the predella{\textquoteright}s liturgical significance is demonstrated. Finally, the importance of Simone{\textquoteright}s painting to the history of Italian portraiture is examined. Part III emphasizes the painting{\textquoteright}s function as a royal partisan picture and instrument of Angevin propaganda. It interprets the painting as an emblem of revisionist history and a record of affirmation that converts Louis{\textquoteright}s poverty to politics and champions Robert{\textquoteright}s kingship. Religio-political theory was wielded to present Louis as a legitimizer, not abdicator, and as a majestic hallmark of Angevin statecraft and an emblem of the Angevin-Papal alliance. Simone incorporated arguments and typological traditions used to defend Robert against his detractors and his deadly enemy, Emperor Henry VII. The painting promoted Angevin aspirations by asserting Louis{\textquoteright}s holiness, validating Robert{\textquoteright}s legitimacy, celebrating the dynasty{\textquoteright}s sacred roots, supporting Angevin geo-political claims, harnessing eschatalogical expectations, and extolling Robert{\textquoteright}s leadership as a wise ruler who would bring peace to the Italian peninsula under the protection of his saintly brother.}, keywords = {Renaissance Art}, author = {Caldi, Louise} } @mastersthesis {8955, title = {Landscapes of Lineage: Nahua Pictorial Genealogies of Early Colonial Tlaxcala, Mexico}, year = {2002}, school = {UCLA}, abstract = {During the first one hundred years of Spanish rule in Central Mexico, Nahua people created a corpus of colorful pictorials showing conventionalized representations of men and women linked to each other into genealogical networks. Of the nearly eighty extant examples of these Nahua pictorial genealogies, more than a third come from the small region of Tlaxcala in Eastern Central Mexico. These Tlaxcalan pictorials together represent the only subgroup within the larger genre of Nahua pictorial genealogies that exhibits iconographic and compositional consistency. This dissertation seeks to explain why the people of Tlaxcala produced so many genealogies and why these pictorials are formally coherent. The pictorial genealogies of Tlaxcala are analyzed within their early colonial context and with a consideration of their pre-Columbian roots, using primary and secondary sources in Nahuatl and Spanish. Legal transcripts created in conjunction with a full third of the Tlaxcalan genealogies reveal that, following native tradition, the images functioned as evidentiary pictorials presented in disputes between native citizens over land. These and other textual sources on local social history paint the picture of an elite class of locals accustomed to claiming noble status on the basis of their positions within the teccalli, a distinctive system of social organization that was historically unique to the region. The formal consistency of the Tlaxcalan genealogies reflects an unusually cohesive sense of corporate identity that emerged from the teccalli system. This study finds that during the first one hundred years of Spanish rule, the elite citizens of Tlaxcala were particularly empowered by this solid sense of identity to react to shifting dynamics in their colonial environment. In the genealogy, Tlaxcalan people found a powerful instrument through which to reinforce their noble identity and negotiate their social and political positions in a changing world. The widespread use of this pictorial genre among local nobility helped to establish Tlaxcala as a hub of genealogical production. As an appendix, the dissertation includes an annotated catalogue of pictorial genealogies from early colonial Tlaxcala, as well as another that lists examples of the genre from the larger Nahua region of Central Mexico.}, keywords = {Art of the United States}, author = {Cosentino, Delia A.} } @mastersthesis {9084, title = {Leaps of Faith: Formalist Notions of the Painterly}, year = {2002}, school = {CUNY}, abstract = {This project focuses on the concept of the "painterly" as conceived by three writers: Konrad Fiedler, Heinrich Wolfflin, and Clement Greenberg. It is divided into three main sections, each devoted to one writer. Each section begins with a detailed analysis of the writer{\textquoteright}s characterization of the "painterly" and the role it plays rhetorically within its larger narrative framework. This analysis is followed by an investigation of aspects of the writer{\textquoteright}s historical context which are crucial to an understanding of his formulation of the painterly. In the case of Fiedler, I situate his concept of the painterly in relation to the philosophical tradition of Lebensphilosophie ("life philosophy") as represented by the work of Wilhelm Dilthey and others. In the case of Wolfflin, I deal with his version of the painterly within the context of controversies and discussions concerning the nature and purpose of art historical education and of pedagogical philosophy during the fin de siecle period in German-speaking countries. In the case of Greenberg, I examine his notion of the painterly and its complicated relationship to a New York-based culture of literary radicalism and positivism during the 1930s and 1940s. This selection of writers reflects the flexibility of the category of the painterly as conceived by three writers with very different historical motivations. By emphasizing the varied interpretations of the painterly, I want to suggest its continued applicability for current art historical practice.}, keywords = {Post-1945 World Art}, author = {Adler, Daniel} } @mastersthesis {9083, title = {Led to Believe: Photography and the Construction of the Medical Subject}, year = {2002}, school = {Boston}, abstract = {Medicine and photography have intertwined histories that have yet to be adequately understood. This dissertation considers three historical applications of photography in medicine: the instantaneous, the composite and the x-ray; the study concludes with a look at the continued priority of medicine in applying meaning to the human body. Because of the seeming one-to-one indexical relationship photography maintains with its subject, the photograph became a central component in the pursuit of scientific objectivity by medicine. This dissertation argues that aesthetic decisions and fine art practices informed medical uses of photography, just as photography gained legitimacy through doctors{\textquoteright} use of it for scientific purposes. Particularly at the end of the nineteenth century, photography assumes an expansive role for physicians both because of medicine{\textquoteright}s desire for an objective view of the body and because of improvements in the speed and sensitivity of photographic processes. Medicine{\textquoteright}s attempts to define itself were centered largely on the aspiration to be seen as scientific. The privileged mode of viewing in science at the time was objectivity-principally, that kind of objectivity that was "guaranteed" by machine forms of vision. Previously, medicine{\textquoteright}s attempts at objectivity were confounded by the nature of its subject: the human body. The body, in order to function as a unit of meaning in medical discourse, needed to be "neutralized." It needed to become unidentifiable as an individual, and instead completely identifiable as a medical object. Photography produced an object that seemed equivalent to a body without subjectivity, thus playing a crucial role in establishing medicine as a science. Beginning with Eadweard Muybridge{\textquoteright}s 1885 Animal Locomotion, the dissertation examines this extensive motion study, an example of instantaneous photography, as a formative collaboration between artists and doctors. Chapter two reviews the aesthetic and cultural biases of Dr. John Shaw Billings{\textquoteright}s 1885 composite cranial photographs, and chapter three examines the overlap between scientific expertise and fine photography in Elizabeth Fleischmann{\textquoteright}s turn-of-the-century x-ray photographs. Finally, I consider the collaboration of the physician and collector of historic medical photographs, Dr. Stanley Burns, with the artist, Joel-Peter Witkin, attempting to reveal the contemporary cultural currency of medical photography.}, keywords = {Photography and Film}, author = {Dermer, Rachelle} } @mastersthesis {9113, title = {Leonardo da Vinci through Milan: Studies on the Documentary Evidence}, year = {2002}, school = {Columbia}, abstract = {There is a tremendous corpus of documentary materials relating to the life and work of Leonardo da Vinci, in the forms of letters, notations, payment records and contracts, supplemented by the wealth of evidence generated by Leonardo{\textquoteright}s own hand. Nevertheless, he has remained something of a mysterious genius about whom comparatively little can be definitively ascertained. While a portion of the documents have been published, even numerous times, they have been treated as isolated texts, far removed from the reality of Leonardo{\textquoteright}s existence, and have thus never been placed in their proper context. These documents, which, along with the art objects themselves, form the only secure basis for our knowledge of the artist, have remarkably never been systematically mined for precious and fertile information about Leonardo{\textquoteright}s life and career. As the volume of books and articles published about Leonardo continues to expand, in many respects he still eludes us. The period upon which this study focuses-those years spent as a youth in Vinci and Florence, his training with Verrocchio, and his first residency in Milan in the service of the Sforza court-is replete with lacunae in his chronology and unanswered questions. There are, for example, significant periods for which his activities and even whereabouts remain uncertain. Nevertheless, an examination of the documents necessitates a radical re-dating of Leonardo{\textquoteright}s first sojourn to Milan, while at the same time indicating the strong likelihood of several returns to Florence during the 1490s. Furthermore, this study sets into focus Leonardo{\textquoteright}s relationships, both with his family and members of the artistic circles in which he traveled, more fully defining Leonardo as an individual who frequently found himself at the epicenter of momentous cultural and political events. By fleshing out the context of the documents in a series of individual essays, a better comprehension of his network, the interpersonal relationships that he formed during the course of his life, becomes a key element in gaining insight into the complex nature of the multifaceted Leonardo.}, keywords = {Renaissance/Baroque Art}, author = {Budd, Denise} } @mastersthesis {9136, title = {Life as It Is, Life as It Is Becoming{\textquoteright} : Socialist Realist Paintings of Collectivization, 1934-1941}, year = {2002}, school = {USC}, abstract = {Soviet Socialist Realism in painting, although often viewed as a derivation from literary practice, played its own independent role in Soviet society during the Stalinist period. Socialist Realist painting is often seen as merely representing a vision of the future; however, the argument that will be put forth in this dissertation is that it displays not only the future of Soviet society but, at the same time, presents a reflection of contemporary society. Conversely, Socialist Realist paintings have typically been seen by western art historians as examples of retrograde art and by scholars of Soviet history simply as propaganda. The contention being postulated in this scholarship is, however, that Socialist Realism was an extensive program of skillful artistic practice coupled with masterful propaganda. Further, Socialist Realist painting generally has been seen as mass art-in other words, not considered to be of the caliber of high art such as traditional oil painting. Yet, painting was indeed a form of mass art and, at the same time, qualifies as being considered high art. Socialist Realist painting was neither one thing exclusively nor the other, but will be explored as having developed as a continual and constant interplay among three complimentary threads: representations of the future and the present; legitimate art and adroit propaganda; and a configuration of both mass art and high art. Did Socialist Realist paintings present the storied future or the contemporary milieu? How, and in what way, did these paintings depict a here-and-now reality and, at the same time, propagate the mythic elements of future Soviet achievements? What enabled Socialist Realist paintings to be fine art and concurrently function as tools of propaganda? How did Socialist Realism operate as both high art and mass art? These are the main questions that will be answered in this dissertation through relevant images of collectivization, one of the two major branches of Stalin{\textquoteright}s five-year plans. The dissertation will concentrate on the years 1934-41, which encompass the period from the First All-Union Writer{\textquoteright}s Congress to the advent of World War Two.}, keywords = {Twentieth-Century Art}, author = {Rusnock, Andrea} } @mastersthesis {8940, title = {Literal Functions: Modern Architecture, Literature, and Literary Theory in Interwar Prague}, year = {2002}, school = {Harvard}, abstract = {An acknowledgement of language as a constituent part or even originating agent of the formation of subjects, objects and their relations emerged in the context of modernism. The relation of this acknowledgment to modern architecture, however, has been less historicized than denied, with this denial enmeshed in the "postmodern" recuperation of modern architecture{\textquoteright}s putatively disavowed linguistic status. Modern architecture has thus been staged as a functionalist outcome of technology, science or modernity itself, as if it relied upon and reproduced oppositions that modern theories of language themselves disrupted: between the functional and the formal, the technological and the aesthetic, and the practical and the theoretical, to name but the most prominent. This dissertation is a re-examination of modern architecture{\textquoteright}s relation to modern literary analytics and poetics, focusing on interwar Prague. Interwar Prague has often been examined as a space of intense activity in linguistic and literary theory, and sometimes as a space of intense activity in modern architecture. This dissertation focuses on the tangencies, intersections and blurred boundaries between those spaces, arguing that architectural functionalism was conditioned by exchanges between architecture, literature and literary theory. Part 1 of the dissertation tracks the circulation of the concept of function between Formalist literary theory and Constructivist aesthetics, concentrating on Roman Jakobson{\textquoteright}s involvement in both discourses. Part 2 examines the imbrication of the functional and the linguistic in modern architecture in Prague in three instantiations: first, Karel Teige{\textquoteright}s parallel theorization of Constructivism and Poetism; second, the use of montage in the "picture poetry" and functionalist architecture of the Czech avant-garde group, Devetsil; and third, the textualization of modern architecture in the avant-garde manifesto. Part 3 explores Jan Mukarovsky{\textquoteright}s theorization of architectural function through Prague Circle structuralism. At stake in this dissertation, then, are received views of both modern architecture and its "postmodern" successor. On one hand, modernist functionalism is here staged as an articulation of the architectural object entwined in contemporaneous articulations of language and literature; on the other hand, the "return to language" enacted in Western European and North American architectural discourse from the 1960s and 70s becomes but one episode in modern architecture{\textquoteright}s persistent and historically-conditioned involvement in linguistic and literary problematics.}, keywords = {Architectural History/Historic Preservation}, author = {Andrew Herscher} } @mastersthesis {8994, title = {Lunar Nation: The Moon and American Visual Culture, 1957-1972}, year = {2002}, school = {UNC Chapel Hill}, abstract = {Lunar Nation reveals how the Moon influenced American space-age photography, painting, fashion, and architecture. Beginning with a panic in 1957 when the Soviets launched Sputnik, the first artificial "moon," and terminating prematurely in 1972 with the abrupt cancellation of the Apollo program, the space age exemplified Kennedy{\textquoteright}s New Frontier rhetoric, but the Moon also symbolized other "frontiers." The Cold War, Vietnam, black civil rights and nationalism movements, economic justice, women{\textquoteright}s and gay liberation, and the sexual revolution are, like the Moon, sites of difference where New Frontier optimism meets New Frontier fear. In space-age imagery, the Moon appears like it does in the sky; sometimes brightly lit, but often shadowy or invisible, it is always present, orbiting in silence and gently tugging at our planet, our bodies, and our minds. Key images bring into focus contemporary ideological issues. A famous "aerial" photograph of the Earth from the Moon foreshadows the Cold War threat of nuclear destruction, and reveals the undeniable strangeness of outer space. A photograph of an astronaut "walking" in space encourages a radical rethinking of orientation-sexual and otherwise-and exemplifies how queer theory destabilizes confining assumptions about human existence. Space-age fashion photography and design articulate feminism, gender, and "the Pill" with a distinctly lunar iconography. A Faith Ringgold painting highlights how race, class, patriotism, and Vietnam intersect in the image of the American flag on the Moon. Finally, a body of "Camp" architecture supposedly represents space-age confidence in the future. Always already in "ruins," however, these buildings compel us to question that conviction. Lunar Nation is an interdisciplinary study that cuts across the "frontiers" of art history, and combines artistic, scientific, and commercial imagery in a broader, cultural studies context. It is a project fraught with personal and intellectual ambivalence, marked by a profound respect for the Moon, a lifelong fascination with space exploration, and a refusal to accept blithely American space exploration as a unilaterally heroic achievement. Ultimately, Lunar Nation asks readers to consider astronoetics: what, in fact, did "we" learn by going to the Moon?}, keywords = {Critical Theory/Gender Studies/Visual Studies, Twentieth-Century Art}, author = {Andre, Laura} } @mastersthesis {8989, title = {Lurking and Looking: Media Technologies and Cultural Convergences of Spectatorship, Surveillance, and Voyeurism}, year = {2002}, school = {UC Irvine}, abstract = {This dissertation theorizes "lurking" as a mode of visuality. Within the textual Internet discourse of newsgroups, lurking refers to the practice of unseen observation prior to active participation in an online community. Online, lurking is an explicitly invited, encouraged, and acceptable practice. I have extended this notion of lurking in order to theorize the emergence of a mode of looking at remote, banal images through mediating electronic technologies. In doing so, lurking is understood as a mode that combines spectatorship, voyeurism, and surveillance in new ways that begin to occur with the introduction of television into American culture. Looking back at earlier moments in the history of mass media and computing, one can begin to understand how the "cultural installation" of different mass media impacted American life in regular, consistent, and significantly unnoticed, or at least under-theorized, ways. Lurking is the unseen, often remote viewing of seemingly "live" or "real-time" banal situations by a subject who can potentially become an active participant in the scene s/he is watching. Lurking is mediated by electronic technologies that accommodate the lurker{\textquoteright}s desire for invisibility and anonymity while distributing information and images to the lurker. The theory of lurking I put forward here is an interdisciplinary theory of contemporary cultural and technological experience that draws upon media theory, cultural studies, critical theory, media history, art history, and digital media studies methods and texts. Primary sources include television series, films, and websites. Each chapter traces out the emergence of lurking while also reconsidering theories of spectatorship, voyeurism, and surveillance. Television viewing introduces a new spectator, the TV viewer, whose relation to media is more interactive and less focused than the film spectator. Utilizing Andy Warhol{\textquoteright}s prolific film work, I demonstrated that lurking is a productive process and one that scrambles a lurker{\textquoteright}s negotiation of the passive and active aspects involved in using and consuming visual media. Finally, in the online discourse of the world wide web, lurking is a de facto position for computer users who both embrace anonymity and are involuntarily becoming more visible through online information systems.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Digital Media/Animation}, author = {Murphy, Sheila C.} } @mastersthesis {9056, title = {Manifestations of Cultural Hybridity in Yosa Buson{\textquoteright}s Bunjinga: Interpretations of Eighteenth-Century Japanese Paintings}, year = {2002}, school = {University of Washington}, abstract = {This dissertation examines Yosa Buson{\textquoteright}s (1716-1783) dated paintings of the literati style. Buson{\textquoteright}s paintings act a visual record of the cultural hybridity the artist gradually developed through his embrace of Chinese and Japanese traditions of representation. Through a juxtaposition of biographical accounts of Buson{\textquoteright}s life and close visual studies of his dated works, the hybrid nature of the paintings becomes evident. This hybridity has implications for how these works enhance our understanding of eighteenth-century Japanese urban Sinophiles as they embraced Chinese precedents and altered them to suit their individual interests and idiosyncrasies. Japanese scholars{\textquoteright} examinations of the many recorded events of Buson{\textquoteright}s life emerge both within the research dedicated to the artist{\textquoteright}s painting and his poetry. Combing through these accounts introduced in chapter one, a richly detailed narrative of Buson{\textquoteright}s life emerges. In chapter two the events of Buson{\textquoteright}s youth and early years as a painter (1716-1750) are detailed to provide a framework for understanding the many elements contributing to his earliest paintings. Chapter three examines these paintings in detail to enumerate the ways in which the young artist absorbed and appropriated imagery from his surroundings. Chapters four and five provide further biographical information showing Buson{\textquoteright}s having closely studied Chinese paintings in a focused manner. His paintings from this period are assessed in chapter six to reveal how Buson appropriated images and recombined them to form novel compositions. Chapter seven explores the last period of Buson{\textquoteright}s life (1771-1783). It is during this period that his works exhibit a fully internalized hybridity as they retain links to Chinese and Japanese painting traditions, and inspire a new generation of Japanese painters through their visual impact. Through juxtaposition of Buson{\textquoteright}s images and records of his life, it is possible to see his artistic activities shift from imitative, to appropriative, and finally to unified, novel expressions of the artist{\textquoteright}s individual conceptions of the world. In these last expressions, Buson{\textquoteright}s hybrid works emerges from his explorations of both native Japanese painting styles and Chinese styles as represented by imported works he had seen.}, keywords = {Japanese/Korean Art}, author = {Mintz, Robert} } @mastersthesis {9018, title = {Medieval Decorated Refectories in France, Italy, and England until 1250}, year = {2002}, school = {Johns Hopkins}, abstract = {The present work takes the first diminutive steps towards a comprehensive appraisal of decorated refectories in Italy, France and England until 1250. Drawing on archeological reports and intellectual history, including saints{\textquoteright} lives, historical accounts and customaries, the main focus of the dissertation is the interaction between images and the function of dining rooms. Except for chapter one, which traces the development of early refectories, only a few monuments receive close scrutiny. The introduction of a new subject dictated the selection. Although an episcopal dining room, Neon{\textquoteright}s pentaklinium, studied in chapter two, merits analysis-for the simple reason that the pictorial cycle is the first known extensive program in a Christian dining room. Chapter three investigates the introduction of Crucifixes in Carolingian dining rooms; chapter four, the appearance of the Last Judgment with pictures of patrons and donors in Cluny{\textquoteright}s refectory. The following chapter traces the dissemination of the iconography in two abbeys with close ties to Cluny: Charlieu and Lavaudieu, while the concluding chapter analyses the two earliest surviving Last Suppers and their analogues. Pictures worked in many ways. Comparable to the daily lectio prescribed by monastic regulators, pictures aided in spiritual contemplation, transforming the physical and potentially dangerous process of eating into spiritual ruminatio. More important, they articulated the room, marking the ritual heart of the space, usually the east end or other area where the abbot, prior or other distinguished personages sat. By designating the most significant part of the dining room, images provided focal point for rites. Refectory rites often find close parallels in church ceremonies. Links between churches and refectories were forged from the inception of eremitical life when a meal sometimes followed the Eucharistic sacrifice in the church. Often adapted from the church, decorative programs converged with refectory rites to highlight the correlation between the two structures. The change in context however modified the meaning of the iconography. Simultaneously linking and differentiating between churches and refectories, pictures marked dining rooms as holy sites, second in importance only to the church itself.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Kabala, Irene} } @mastersthesis {8980, title = {The Mexican Front: Artist Collectives in Mexico City, 1968-1985}, year = {2002}, school = {UCLA}, abstract = {The 1970s marked a shift in the direction of visual arts in Mexico. During the student protests of 1968 in Mexico City many young artists learned to work collectively and to produce work that was in the service of the student movement rather than on any individual agenda. This shift in focus and in their conception of their role as artists would have a major effect on the direction of the arts in Mexico in the 1970s. The decision to work in teams rather than individually led artists to form collectives, which came to be known as "Los Grupos." Numbering at least fourteen in 1978, the Grupos{\textquoteright} work in Mexico City allowed for a reconsideration of what constituted the art object or artistic production as well as a contemporary model by which to work collectively. Drawing on a past history in Mexico of collective work the Grupos created a dynamic cultural environment in which artistic experimentation and an increased engagement with Mexican society were encouraged. Their contribution to the development of contemporary art practices has, however, been largely overlooked. The focus of this study is not only to expand the body of knowledge concerning the work of these artists but also to understand the importance of these collectives, their activities and the reasons why their contributions have been largely overlooked. This was accomplished through archival research carried out in Mexico City concerning the Grupos and their relationship to the art market, institutional funding of the arts, connections to and involvement with international avant-garde circles, community activism and the inception of performance and conceptual art practices in Mexico as well as interviews by the author with key participants in the Grupo movement. The efforts of the Grupos stand as a critical example of the power of art to communicate and provide a voice to those who have been disenfranchised. Though facing the censorship of the media and art officials, Los Grupos were able to make a lasting contribution to the arts and provide a model for action that countered the silencing and the desire of many to render them invisible.}, keywords = {Contemporary Art, Latin American/Caribbean Art}, author = {Lopez, Elizabeth} } @mastersthesis {9132, title = {Mobilization and Modernization in Vichy France: The National Renovation of Paris, 1939-1945}, year = {2002}, school = {IFA/NYU}, abstract = {Architectural symbols and interventions in the built environment have documented the rise and fall of political systems in the twentieth century. During the second world war, the city of Paris functioned as a cultural concept and as well as a geographical site that was a problem of national concern to French officials because it was the country{\textquoteright}s administrative capital and the locus of its national patrimony. Although Vichy France cannot be considered fascist, its authoritarian political environment provided fertile conditions for modernization and the creation of national structures for management. Yet the government{\textquoteright}s economic policies were disguised in a cultural agenda or Revolution nationale whereby official propagandists disseminated images of provincial agrarian communities that attempted to mitigate the social malaise and growing urban problems of the previous decade. Professional activity in Paris, therefore, served as a microcosm of French practice to the degree that it was characterized by a plurality of responses where modernism and modernization were as equally legitimate as regionalism. In this context, the conjuncture of Paris was the collusion between a strong political regime, often extreme social agendas, and coordinated economic planning. Viewed in these terms, wartime activities are critical to understanding how the reconstruction or "national renovation" of Paris was accelerated during the Second World War in a way that was neither complicit in restoring Paris to its previous activities nor in reproducing its pre-war character. There are two goals to this project. The first objective is to specify cultural production as determined by discrete historical conditions which caused limitations in the capital, both material and social. A related investigation is to interrogate how architecture and planning were influenced, contaminated, and to a certain degree determined, by social discourses pertaining to major issues such as open space, sports, health and regionalism. The second part of this study reframes this activity in terms of larger strategies of the French state in the twentieth century such as modernization, urbanization, and nationalization which were closely connected to administrative changes and the growth of new technical practices that emerged over the course of the Occupation.}, keywords = {Twentieth-Century Art}, author = {Hausman, Tami} } @mastersthesis {9012, title = {Modernist Gambits and Primitivist Discourses: Reframing Man Ray{\textquoteright}s Photographs of African and Oceanic Art}, year = {2002}, school = {Maryland}, abstract = {Photographs of African and Oceanic objects taken in Paris in the 1920s and 1930s by the American photographer Man Ray (1890-1976) provide a springboard for examining the largely overlooked photographic facet of modernist Primitivism, situating these images at the nexus of issues of photographic representation and modernist primitivist discourses. Incorporating non-Western masks and sculptures in diverse photographs across the commercial and artistic divide, Man Ray constructed images that challenged contemporary conventions and hierarchies of Western artistic tradition both in content and form. This dissertation explores the ambiguous and often contradictory functions of Man Ray{\textquoteright}s images incorporating non-Western objects and examines the cultural and political contexts from which they emerged. In addition to reevaluating the iconic Noire et blanche, many little-known and never before published photographs are considered. Although Man Ray created this body of photographs in Paris between the wars, this inquiry positions his approach to non-Western objects within the framework of his creative roots in the United States and his exposure to African art as first embraced in vanguard circles in New York. The dissertation explores the historical contexts of New York in the first decades of the twentieth century and Paris between the two World Wars, construing Man Ray{\textquoteright}s disposition toward non-Western objects as a continuum across geographical divides. This study is an exercise in criticism and historiography, grounded in critical photographic discourses that examine the nature of representation and deconstruct {\textquoteright}mythic notions of neutrality{\textquoteright} accorded to this medium. Photography{\textquoteright}s verisimilitude in particular raises key issues, belying attempts to disguise under a veil of unproblematic "affinities" the contradictory nature of modernist primitivist practices. The dissertation explores the concerns and discourses of photography and how they affect the meaning of the images in a manner distinct to this medium, examining issues of race and gender invoked by Man Ray{\textquoteright}s images. Man Ray{\textquoteright}s photographs frame this study, highlighting the role they played in both reflecting and constructing ideas about non-Western art. This endeavor opens a previously unexplored chapter in Man Ray scholarship, offering new insight into the practices of this protean artist and the multifaceted dialogues to which they contributed.}, keywords = {Drawings/Prints/Works on Paper}, author = {Grossman, Wendy} } @mastersthesis {9042, title = {The "Monument du costume" of Jean-Michel le Jeune in the Context of Rousseau and the Ancien Regime}, year = {2002}, school = {Florida State}, abstract = {The Monument du costume, published in 1789 by Jean-Henri Eberts (1726-1803), represents the merging of two suites of engravings designed earlier by Jean-Michel Moreau le Jeune (1741-1814): the Seconde suite d{\textquoteright}estampes, pour servir a l{\textquoteright}histoire des modes et du costume en France, dans le dix-huitieme siecle issued by Eberts in 1777, and the Troisieme suite d{\textquoteright}estampes, pour servir a l{\textquoteright}histoire du costume en France, dans le dix-huitieme siecle issued by Eberts in 1783. This dissertation clarifies Moreau{\textquoteright}s intentions by returning his images to their original context. Reconsidering his images requires a multidisciplinary approach beginning with a history of the publication, a biography of the artist and of the patron, a discussion of the suite of 1775 by Eberts and Sigmund Freudeberg that inspired the project, and a detailed analysis of Moreau{\textquoteright}s twenty-four scenes with Eberts{\textquoteright}s original text. Traditionally scholars refer to the two dozen images as though Moreau designed and published them for the first time in 1789 as a unified project, even though he was not involved in this republication. As a result, art historians interpret the suites as promoting a waning aristocratic lifestyle. Often dazzled by the technical brilliance of Moreau{\textquoteright}s images and what they term his realism, scholars fail to see the artist{\textquoteright}s critical but nuanced view of the aristocratic class or his commitment to changing its behavior. Scholars overlook the uniqueness of these suites within the artist{\textquoteright}s oeuvre: most of Moreau{\textquoteright}s commissions illustrated fixed literary texts and afforded him less freedom. Here he could express his views. Moreau, as I propose in this dissertation, envisioned his suites as teaching tools, didactic models of proper aristocratic behavior that showed his elegantes and petits-maitres how to lead a virtuous life centered around family according to the principles laid down by Jean-Jacques Rousseau (1712-78). Everything in Moreau{\textquoteright}s biography, his role as a Freemason, his interest in the literature of the period by writers like Marivaux, Marmontel, and Montesquieu, and his dedication to the ideas of Rousseau, subverts a simplistic approach to the complex project known today as the Monument du costume.}, keywords = {Eighteenth-Century Art}, author = {Heller-Greenman, Bernadine} } @mastersthesis {9038, title = {Monumental Fictions: Personifications of Synagogue and Church on the Thirteenth-Century Cathedral Facade}, year = {2002}, school = {Northwestern}, abstract = {In the early thirteenth century, sculptural programs adorning the most ambitious and lavish new cathedral building projects of France and Germany featured paired female personifications of the Synagogue and the Church-identified as Synagoga and Ecclesia in contemporary sources. Ecclesia stands upright, bearing eucharistic chalice, battle standard and royal mantel as symbols of her spiritual and temporal might. Synagoga slouches and sometimes appears to topple from her pedestal. She drops the tablets of the law, her spear is broken and she is blindfolded-these attributes all attesting to her spiritual decrepitude. But Synagoga is remarkable for her beauty. Sculptors consistently presented this personification of the Jewish tradition as comely sister to the Church. The presentation of the aestheticized Synagoga alongside the panoply of saints and church heroes adorning Gothic cathedral facades is all the more striking considering that the early thirteenth century was an age of pitched animus toward Jews. Theologians penned tracts condemning Jews as killers of Christ, blind to the truth of Christian exegesis. Canon lawyers and secular rulers ordained juridical and economic restrictions on Jews. And lay populations circulated tales of Jewish malfeasance, instigating bloody riots against Jews. This dissertation explores the range of likely responses to the figures of Synagoga and Ecclesia in light of prevailing conceptions of Jews and Judaism. Departing from traditional iconographic methods, I resist seeking fixed meanings for the figures. Rather, I focus on three cathedrals as case studies-those at Reims, Strasbourg and Bamberg-and explore the multiplicity of significances the theme likely bore depending on artistic handling and audience. At each site I analyze the manner in which the formal qualities of each pair of sculptures and their attendant artistic programs elaborates visually prevailing Christological conceptions of Jews and Judaism. Then I consider the ways in which ecclesiastical as well as lay audiences likely interpreted the figures and their larger decorative programs in relation to prevailing political imperatives and anxieties.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Rowe, Nina Ariadne} } @mastersthesis {9044, title = {The Myth of Interactivity in Video Art}, year = {2002}, school = {Stanford}, abstract = {What does it mean to describe a video art installation as interactive? This dissertation provides a historical account of several interactive video art installations exhibited in American museums and galleries in the United States from 1969 to the present. Video art is placed within two trajectories-the post World War II American avant-garde on the one hand, and new media and information technology on the other. Chapter 1 situates video{\textquoteright}s emergence during a period of mixed reactions to new technologies, as the increased presence of computers contributed to fears that machines would soon replace their human counterparts. During this period of oppositions to the Vietnam War, video activists saw the portable camera, with its capacity for immediate transmission and feedback as a tool for talking back to the "establishment" by challenging the one-way transmission of broadcast television. This chapter examines video activists{\textquoteright} attempts to provide alternative broadcasting in relation to Frankfurt School media critiques. Chapter 2 positions video in the context of other art movements of the late 1960s, such as minimalism and conceptual art, performance and body art and avant-garde film, all of which focused on the interpretive contributions of the viewer. It considers the disparate approaches to video exemplified by artists such as Bruce Nauman, Vito Acconci, Joan Jonas, Dan Graham, Peter Campus and Martha Rosler. Video is identified as a new avant-garde at a time when critics initiated a fundamental reconsideration of the very existence of a post-World War II American avant-garde. Chapter 3 focuses on the work of Bill Viola and Gary Hill. Viola{\textquoteright}s and Hill{\textquoteright}s work is explored in relation to the debates surrounding postmodernism and Fredric Jameson{\textquoteright}s claim video is postmodernism{\textquoteright}s most distinctive new medium. By the mid-1980s, interactivity no longer implied an effort to create an egalitarian exchange with the viewer but rather referred to the creation of immersive spaces that the viewer temporarily inhabits. This shift called for a greater level of passivity from the viewers, as the challenge of soliciting the viewer{\textquoteright}s equal participation, remains unresolved.}, keywords = {Film/Video}, author = {Falkenberg, Merrill} } @mastersthesis {9063, title = {Nationalism in Hungarian Art, c. 1860-1920}, year = {2002}, school = {Indiana}, abstract = {This dissertation traces the development of a national art based on heroic characters and motifs from folk tales and legends, situated within the larger social, political and cultural context of which it formed an integral part. This includes the struggle for independence from the Habsburg Empire and the seismic changes in Hungary around World War I. This research is not limited to the study of events surrounding artists{\textquoteright} lives, but encompasses a broad historical context, focusing on the ways members of the cultural world reflected the anxieties and nationalist insecurities Hungarians felt as members of the European scene. The study is important not only because it introduces non-Hungarian audiences to an important yet unknown aspect of Hungarian culture, but also because it addresses several issues of current scholarly concern: national identity, the renewed interest in myth, folklore, and the idealized peasant, artists{\textquoteright} colonies and Orientalism. Familiarity with visual arts of this period is crucial to an understanding of modern Hungarian culture, and the construction of Hungarian national identity. During the late nineteenth century, artists created in response to a perceived need to establish a national school of art emphasizing the distinctness of the Hungarian character. National pride led to a renaissance of {\textquoteright}Hungarian style{\textquoteright} in literature and music, followed by artists turning their attention to folk culture. Although aspects of this have been addressed in other studies, the bulk of this information is undocumented, particularly outside of Hungary. Research in the modern period has focused on the movement toward abstraction in the realm of historical narratives, often neglecting the question of nationalism due to perceptions of this type of art as retrograde. The fact that Hungarian art is more complicated than studies tend to suggest indicates the need for a reevaluation of the importance of these artists and their works.}, keywords = {Nineteenth-Century Art, Twentieth-Century Art}, author = {Switzer, Terri} } @mastersthesis {9010, title = {New Deal Photography and the Campaign for Public Housing}, year = {2002}, school = {Chicago}, abstract = {Most of the studies that address socially effective imagery of the 1930s have come under the purview of "documentary," a term which has come to characterize the decade as a whole based on the singular example of the Resettlement Administration/Farm Security Administration (RA/FSA) photographs. This study identifies and analyzes a different body of material, the exhibitions and publications prepared for the New Deal campaign for public housing. The predominantly anonymous photographs which reformers publicized from 1934 to 1941 utilized a mode of address very different from the affective emblems the RA/FSA circulated, like Dorothea Lange{\textquoteright}s Migrant Mother. In contrast, housing reformers employed a visual rhetoric of banality to emphasize the extent to which poor housing conditions pervaded American cities. They eliminated tenants from view to depict urban housing as an architectural and economic problem. What made an image effective in the housing campaign was not its ability to arrest a viewers{\textquoteright} attention but its credibility as evidence. A picture{\textquoteright}s status as evidence was established in a variety of ways throughout the period. For instance, some reformers published pictures which erased the presence of the photographer at the scene, while others used technically amateurish photographs to signal that the photographer was incapable of manipulating the image. Despite the reformers{\textquoteright} efforts to define poor housing as a ubiquitous national type, the public considered it emblematic of New York City. Once the national public housing program was instituted, the United States Housing Authority (USHA) had to re-banalize poor housing and enlisted local amateur photographers. That the USHA encouraged local communities to prepare their own promotional material shows that the New Deal government did not always authoritatively control the representation of its programs.}, keywords = {Drawings/Prints/Works on Paper}, author = {Avery, Elizabeth Bloom} } @mastersthesis {9102, title = {The Nordeste Tradition: Innovation and Continuity in Brazilian Rock Art}, year = {2002}, school = {Virginia Commonwealth}, abstract = {This dissertation addresses the Nordeste Tradition of rock art from southeast Piaui, Brazil, as part of a sacred aesthetic still reflected in the living arts of the Brazilian Indians. Two major points are presented in this dissertation. First, a previously unrecognized style of rock painting, the Angelim Style, is identified. Second, a deeper understanding of the Nordeste Tradition is proposed through a detailed study of the historic arts of the Brazilian Indians. This provides a historic significance for the rock art and contextualizes the historically known arts as part of a long-lived tradition of visual expression. The rock art of the Serra Branca and Angelim Styles, and the Salitre Subtradition is characterized by elaborate, elongated anthropomorphs that bear a significant resemblance to several living mask types used by Northeast and Central Brazilian Indian groups. The historically documented ceremonies associated with seasonal resource procurement, death, and ancestors, most likely have a functional and conceptual basis in the same ceremonial structures that gave rise to the rock art.}, keywords = {Pre-Columbian Art}, author = {Morales, Reinaldo, Jr.} } @mastersthesis {9064, title = {Observing Techniques: Images from the Microscopical Life Sciences, 1850-1895}, year = {2002}, school = {Michigan}, abstract = {With the rise of objectivity as a standard of truth in the sciences during the first half of the nineteenth century, the spheres of art and science came to be seen as increasingly polarized. Artists exploited subjective sensations, aesthetic sensibilities, and the human imagination while scientists demanded objectivity and truth unadulterated by human interpretation and idiosyncrasies. In spite of this active binary, this thesis claims that at mid-century the burgeoning microscopical life sciences entwined the aims of art and science, mixing subjective aesthetic response and objective observation just as Realist and Naturalist artists claimed to blend these values. Specifically, describing and depicting the transformation of living organisms (nature) into colorful specimens (artifact) presented microscopists with difficult rhetorical and aesthetic choices concerning objective study and subjective effect. The dissertation begins by considering three aspects of the researcher{\textquoteright}s activities, observation (eye), drawing (hand), theory (mind), to demonstrate how they worked together to create microscopic knowledge and ways of seeing specifically driven by cell theory. Chapter two examines microscopy manuals to discern how instructors presented the initial transformation of the live, intact organism into a specimen or epistemic object. Concentrating on verbal and visual presentations of the animals{\textquoteright} often violent demise, the thesis investigates whether aestheticizing the descriptions of these violent acts was a feasible or desirable strategy. Chapter three explores "color vision," microscopists{\textquoteright} experiences with dyes, their production of microscopically readable pictures, and their aesthetic responses to the colorful views they created. The intertwining of subjective response and objective examination is considered through scientific examples and through a comparison to Naturalist painting. The last two chapters concentrate on the production and use of drawings and photographs to document and communicate microscopic knowledge. Opinions regarding the usefulness of the camera lucida are considered as well as ways in which the demand for drawings linked the microscopist to artistic practices. Chapter five offers a brief discussion of photomicrography, highlighting in particular a case study that reveals the persistent value of drawing in the face of technological advances in photography and microscopy.}, keywords = {Nineteenth-Century Art}, author = {Anderson, Nancy A.} } @mastersthesis {9100, title = {Ochpaniztli and the Woman of Discord: Picturing Native Ritual in Colonial Mexican Books}, year = {2002}, school = {New Mexico}, abstract = {Within the context of the Spanish colonization and Christianization of Mexico in the sixteenth century, a remarkable series of illustrated manuscripts was compiled under the auspices of missionizing friars. These manuscripts categorized and classified indigenous Mexican ritual, so that the friars might better understand and more effectively extirpate native religion. They are best understood as a collaborative effort between the friars and the indigenous Mexican population, for native artists were active participants in the project, supplying information, books, and their own artistry. This dissertation examines the corpus of colonial manuscript images of a Pre-Columbian festival known as Ochpaniztli. Inasmuch as pictorial imagery had been the primary Mexican means for communication, it suggests that the indigenous images accompanying the friars{\textquoteright} descriptions may operate on a level independent from the texts. That is, the images do not serve precisely as "illustrations" to the friars{\textquoteright} texts, which generally concentrate on the details of public performance of indigenous ritual practices. Instead, the images convey information about the patron goddess and her accoutrements. Rather than force the visual information to fit a model based on the chroniclers{\textquoteright} accounts, however, this dissertation seeks to accord primacy to the significance of the deity{\textquoteright}s paraphernalia. The texts thereby become a means to illuminate the native-style imagery. Although Ochpaniztli is often characterized in modern scholarship as a harvest festival, this analysis has led to the conclusion that it functioned instead as a purification ritual, during which harmony and equilibrium were reestablished in the universe. It further suggests that agricultural overtones and celebrations of maize and rain deities, described and represented in a handful of manuscripts, were not part of Ochpaniztli at all, but were instead related to the construction and dedication of a temple to Chicomecoatl, the maize goddess. This was raised in the early sixteenth century, ordered by Motecuhzoma II in the aftermath of droughts and famine. The heterogeneity of details, events, actors, and locations in these colonial accounts indicates that indigenous ritual was not fixed throughout Mesoamerica, but was variable and fluid, producing a variety of meanings and changing in response to cultural and political needs.}, keywords = {Pre-Columbian Art}, author = {Dicesare, Catherine} } @mastersthesis {9086, title = {Orphans of Moralism: Chicano Art, Public Representation, and Spatial Practices in Southern California}, year = {2002}, school = {Rochester}, abstract = {This dissertation concentrates on the social production and functions of the visual arts it considers by examining the work{\textquoteright}s public impact. As a historiography of contemporary art, this study is focused on public representation, including museum exhibitions, public, performance, and conceptual art, and multimedia installation formats. This study is centered on the theme of public space as a site for critical interrogation by artists. Particular attention is given to the curatorial process and politics of museum exhibitions and to the collaborative processes of artists and art groups. The artwork examined provides unconventional models for understanding the social role of artists and art. The objective involves reconceptualizing the public role of art and artists, by focusing on artwork that situate social critique in urban spaces in order to reclaim social space. The art practices examined in this study demonstrate how the dominant narratives of urban space in southern California are negotiated and contested. I begin with the premise that different, often conflicting, perceptions of urban space are related to uneven positions of power, and link these uneven urban power relations to the historical record of contemporary art in southern California. Chapter One examines the curatorial methods used to promote Chicano art nationally as represented by the exhibitions Hispanic Art in the United States and Chicano Art: Resistance and Affirmation. Chapter Two historicizes and analyzes the work of Asco, focusing on what the group{\textquoteright}s early public and conceptual art practices elucidate about public space and urban relations in Los Angeles. Chapter Three examines a controversial public art project by David Avalos, Louis Hock, and Elizabeth Sisco and analyzes the public debate that their Welcome to America{\textquoteright}s Finest Tourist Plantation generated. Chapter Four examines the function of lowrider aesthetics in the multimedia art of Ruben Ortiz Torres and explores the Chicano tradition of lowrider automobiles in relation to public space. In identifying performance and conceptual work that challenge the conventional categories of both Chicano and U.S. American art, this dissertation advocates that Chicano aesthetic and cultural production be explored in terms of concurrent histories, particularly the Euro-American avant-garde.}, keywords = {Post-1945 World Art}, author = {Chavoya, C. Ondine} } @mastersthesis {9098, title = {Paintings, Collecting, and the Art Market in the Gilded Age: Minneapolis, Chicago, St. Louis, 1885-1920}, year = {2002}, school = {Minnesota}, abstract = {Painting Collections and the Gilded Age Art Market: Minneapolis, Chicago and St. Louis, 1890-1920 examines midwestern American patterns of art collecting during the Gilded Age. Growing art collections mirror the expansion of midwestern cities at this time, and reflect a new interest in establishing cultural identity among the successful entrepreneurs who fostered the economic development of the region. This dissertation addresses questions of why midwestern collectors selected contemporary French art, how they assembled collections working with French art dealers both in the US and in Paris, and how the choices of landscape painting and rural genre paintings reflect a particularly midwestern aesthetic. The research examines the Potter and Bertha Palmer collection in Chicago, the Charles Parsons collection in St. Louis and the James J. Hill collection in St. Paul as background for the collecting pattern seen in the Minneapolis collection of T. B. Walker. The original Walker collection, which eventually became the Walker Art Center, is explored as a case study of collecting patterns, and compared with other Gilded Age midwestern art collections. The material is drawn entirely from Walker{\textquoteright}s personal correspondence with art dealers and artists, newspaper accounts, critical reviews, collection catalogues, and provenance records from the Walker archives. Other chapters examine the process of building a collection, presenting it to the public, and expanding into the old master art market. The research also includes an analysis of the exhibition installations in Walker{\textquoteright}s home gallery and its subsequent placement in a separate building on the site of the current Walker Art Center. Walker{\textquoteright}s insistence that the public have access to his collection, a commitment which distinguished him from other collectors of the time, brought him into conflict with some of the leading citizens of Minneapolis who wished to restrict access of the basis of wealth. The dissertation examines the social issues surrounding this controversy, focusing on the tensions between establishing a cultural elite and providing an open forum for educating all social classes.}, keywords = {Pre-1945 North American and South American Art}, author = {Whitmore, Janet} } @mastersthesis {9119, title = {Paradoxes of the German Small Engraving in the Reformation}, year = {2002}, school = {Yale}, abstract = {The engravings of Albrecht Altdorfer (1480-1538), Sebald Beham (1500-1550), Barthel Beham (1502-1540), and Georg Pencz (1500-1550) are typically no larger than a playing card and represent diverse biblical, classical, and secular subjects. The Behams and Pencz are famous as the "godless painters" of Nuremberg, for their severe skepticism of authoritative figures and external signs of faith. Their dissent is consistent with the image debate of the Reformation. Yet, it is puzzling therefore why the artists depicted so many sacred and heroic figures in an intimate medium. The iconography, technique, size, and scale of the prints reveal paradoxical and subversive treatments of iconic forms. Because it makes extra demands on perception in the first place, the small format extends the paradox and "image crisis" to the viewer{\textquoteright}s fundamental relationship with the image. This phenomenon is analyzed through comparisons of small images and compressed literary formats from the late Middle Ages and the early Renaissance. The small engravings are also distinguished from the important precedents of Albrecht Durer and Hans Baldung Grien (among others), whose prints are typically larger and support strong iconic forms. Although Baldung{\textquoteright}s art evokes the crisis of the image, only the small engravings undermine the constitution of the image itself. The small engravings are most analogous to the terse paradoxes of Sebastian Franck (1499-1542) that were devised to challenge faith in scripture at an elementary semantic level. Comparison of Franck{\textquoteright}s paradoxes with milder versions by Nicolas Cusanus, Alberti, and Erasmus reveals a sharp difference that is similar to how the small engravings depart from visual conventions. Humanism and its emphasis on classical style and history provided a crucial platform for the small prints. Still, the engravings are a radical branch of the many small, classicizing devices-including emblems, medals, and nielli-that broke down medieval paradigms by stressing relative meanings and physical contingencies in signs and their perception.}, keywords = {Renaissance/Baroque Art}, author = {Kilpatrick, David} } @mastersthesis {8990, title = {Per Feminam Mors Per Feminam Vita: Images of Women in the Early Christian Funerary Art of Rome}, year = {2002}, school = {IFA/NYU}, abstract = {This is a study of the eight most popular female image-types surviving in catacomb wall paintings and on sarcophagi commissioned by Christians in third- and fourth-century Rome: the Virgin, Eve, Susanna, the Haemorhoissa, Lazarus{\textquoteright} sister, bust portraits of wives, the female orant, and women holding scrolls. The images are analyzed primarily in the context of early Christian gender and sexual ideology. Christianity deeply problematized sexuality by linking it to the Fall, to the loss of a presumed human immortality. Sexual abstinence was thus held up as the antidote, as the surest means to redemption and eternal life. While the doctrine concerned both genders, it was especially critical for women because they were traditionally characterized as innately sexual and had few options other than becoming wives and mothers. However, the connection between sexuality and women on the one hand, and (a)sexuality and salvation on the other, also ensured that female constructs played a central role in Christian soteriology. The representations examined in this study-Susanna being sexually harassed by the Elders may stand for all-may be defined as the visual interlocutors in the debate. In recent decades, scholars have increasingly focused on the rich corpus of early Christian written sources that discuss gender and sexuality. Yet the fact that contemporary female representations participated in the discourse has rarely been acknowledged. Moreover, while the textual evidence itself provides valuable insights into the original meanings inscribed and read into the representations, the latter are an independent historical source, one with different "authors." Indeed, compared to the small group of men responsible for most ancient writing, the patrons of paleochristian funerary art were representative of a larger and more heterogeneous social group, including women. Even accepting the limitations imposed by their highly coded idiom of and specific function in the cemeteries, paleochristian funerary female images are an alternative and more inclusive source for the understanding of the construction of and response to contemporary gender and sexual ideology than the surviving texts. In adding another dimension to the current understanding of the discourse, they also deepen our knowledge of how representation itself functioned in early Christianity.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Early Christian/Byzantine Art}, author = {Salvadori, Sharon} } @mastersthesis {8999, title = {Performing Relationships: Gendered Subjectivity in the Work of Robert Morris}, year = {2002}, school = {Case Western Reserve}, abstract = {This study reexamines the art of American artist Robert Morris by investigating how Morris{\textquoteright}s use of the physical body, both his own and that of the viewer, expresses ideas linking gender and human subjectivity. Although best known for the Minimalist sculptures he produced during the 1960s, Morris has created a diverse oeuvre over the past forty years that includes painting, sculptural installation, film, performance, earthworks, and theoretical writings. I contend that by conflating the corporeal realm of the body with the interior world of the self, Morris{\textquoteright}s work encourages new ways of exploring the concept of subjectivity and its formation within society. Moreover, seen in his collaborations with female artists and dancers, it offers a paradigm demonstrating how bodily experience and human subjectivity intersect with gender identity. To support this thesis, I draw on methodologies based in scholarship in fields of dance, theater and performance studies, gender and feminist theory, and philosophy, in addition to art historical inquiry. I apply performativity theory as a tool to analyze how people use words and actions to create and demonstrate individual identities based on culturally determined gender stereotypes. Looking at examples of artwork from throughout Morris{\textquoteright}s career, I question how his use of the physical body supports and/or challenges conventional roles of men and women. I then compare his strategies to those employed by Morris{\textquoteright}s female colleagues and collaborators Simone Forti, Yvonne Rainer, and Lynda Benglis. Through this investigation, I explain how Morris{\textquoteright}s use of the human body signifies gender in art, which has previously been interpreted as gender-neutral, and explore the relevance of bodily experience to the formation of the gendered subject, especially as it occurs in Morris{\textquoteright}s work.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Spivey, Virginia} } @mastersthesis {9082, title = {Performing the Other: Asian Bodies in Performance and Video Art}, year = {2002}, school = {Boston}, abstract = {This dissertation examines the shifting identities of Asian diasporal artists by examining Nam June Paik and Yoko Ono in local and global contexts. As Asians who received Western educations and deeply involved themselves in the international art world, each of these artists confronted the problem of defining themselves in regard to cultures that often viewed them within an ethnic or "native" frame. While these artists drew on their respective Asian traditions, the postwar Western avant-garde played a major role in shaping their work. By delving into the reception of their works both in the West and in their countries of origin, I argue that their particular "border" positions created an interface between the rigid dichotomy of East and West. Investigating the cultural and historical contexts for their performances and videos in Europe, the U.S., and Asia, this dissertation demonstrates that the Asian body reads differently according to its staging. Chapter One introduces this theme by examining how the notion of Asia was itself constructed and how that construction shifted after World War II. Chapters Two, Three and Four present Paik and Ono, who began their artistic careers in the 1960s{\textquoteright} art movement Fluxus. Despite their important roles in establishing Fluxus as international, their participation was constantly framed within their native cultures, often under the rubric of Zen Buddhism. In their native countries, on the other hand, these artists were presented as Western, thus essentially foreign to their cultural traditions. While their otherness gained much attention from Western viewers, the advantage of being "exotic" also limited the meanings to be found in their art. In the 1990s, postmodern artists often positioned themselves as multinational. The conclusion presents this new generation with Mariko Mori, who employs pastiches of East and West, past and future in her video art. By investigating the social, cultural, and personal aspects in these Asian diasporal artists{\textquoteright} art, this dissertation addresses how that art produced a liberating interface between East and West that went beyond Orientalism during the postwar period.}, keywords = {Asian Art, Photography and Film}, author = {Rhee, Jieun} } @mastersthesis {9138, title = {Performing the Primitive: Mikhail Larionov and the Paradoxes of Russian Futurism}, year = {2002}, school = {USC}, abstract = {This dissertation presents the first full-scale study of the interconnections between primitivism and futurism in the work of Mikhail Larionov. The study first aims to reveal the particularities of Larionov{\textquoteright}s primitivism, as well as the distinct character of Russian, as opposed to West European, modernist primitivism. Although Larionov{\textquoteright}s early artistic practice was deeply informed by well established and singularly Russian notions about the "primitive," this study shows that his activities often formed a contentious dialogue with more conservative celebrations of folk and ancient religious art. Whereas state-sponsored folk revivalism promoted an ethnic Russian purity and hegemony in the empire, Larionov and others in the avant-garde focused attention toward an Asio-centric ethnic eclecticism. A comparison of Larionov{\textquoteright}s primitivist work with the French modernist paintings he often used as formal models also reveals how his negotiation of primitivism, nationalism, and modernity contrasted with that of his Western counterparts. The dissertation then focuses on Larionov{\textquoteright}s combination of primitivism and futurist performance. This unusual association suggests a new model for understanding the role of primitivism in the development of painterly abstraction. Instead of viewing primitivism as a simplification of form that propelled modernist painting beyond the innovations of Cezanne, I argue that it was Larionov{\textquoteright}s engagement with "performative" art and language that encouraged his turn away from representational painting. In examining Larionov{\textquoteright}s rayism, his style of abstract painting, this study theorizes a relationship between his abstraction and Orthodox icons, privileging the icon as an ontological rather than a formal model for rayism. In a discussion of speech act theory, icons are forwarded as a type of "performative" image that challenged the illusionistic foundations of easel painting. The performative aspirations of Larionov{\textquoteright}s practice are most dramatically demonstrated in his performance practices, especially face painting, which reached their zenith in 1913, a period in which the artist continued his experiments with rayism.}, keywords = {Twentieth-Century Art}, author = {Warren, Sarah} } @mastersthesis {9071, title = {Physicality and Modern Sculpture in Late-Victorian Britain}, year = {2002}, school = {Northwestern}, abstract = {Beginning in 1877, Britain experienced rapid innovations in the theory, production, and reception of sculpture. However, the "New Sculpture," as it became known, has been largely overlooked in histories of modern art because of its superficial resemblance to the conventions of earlier nineteenth-century sculpture. Artists such as Frederic Leighton, Hamo Thornycroft, Alfred Gilbert, Edward Onslow Ford, and James Havard Thomas engaged in a sustained inquiry into the medium and experience of sculpture. I explore a series of polemical works intended for London{\textquoteright}s Royal Academy of Arts exhibitions, including Leighton{\textquoteright}s Athlete wrestling with a python, Gilbert{\textquoteright}s Enchanted Chair, Onslow Ford{\textquoteright}s Percy Bysshe Shelley Memorial, and Havard Thomas{\textquoteright}s Lycidas. In these works, the artists explored the dynamic relations between sculpture as both image and object. They experimented with figuration, materiality, and physicality within the boundaries of verisimilitude, illusionism, and naturalism. They also investigated the ways in which the viewer encountered, perceived, and engaged with sculpture as a physical and spatial object. I examine these issues in relation to such themes as realism, the sculptural encounter, the tradition of the male nude, contemporary subject matter, sexuality and eroticism, and intersubjectivity. In addition, I consider the art criticism of Edmund Gosse and John Addington Symonds in terms of the potential physical, subjective, and homoerotic engagements between viewer and statue. This project reconsiders the received taxonomies of modern sculpture by putting forth a different set of criteria for the evaluation of statues and sculpture theory in the late-nineteenth century. Excavating the importance of physicality in late-Victorian sculpture theory also allows for a more sophisticated account of the transition to modernist sculpture in the twentieth century. The emphases on "truth to materials," direct carving, and sexualized justifications for sculpture put forth by artists such as Jacob Epstein, Henri Gaudier-Brzeska, and Eric Gill all draw upon an analogous attention to sculpture as both image and object. I explore specific instances of influence, appropriation, reaction, and negotiation between late-Victorian and modernist sculptors, demonstrating how sculptural modernism shared fundamental art-theoretical concerns with the New Sculpture.}, keywords = {Nineteenth-Century Art}, author = {Getsy, David J.} } @mastersthesis {9034, title = {Picturing the World: The Illustrated Manuscripts of "the Book of John Mandeville"}, year = {2002}, school = {Iowa}, abstract = {The Book of John Mandeville, later known as Mandeville{\textquoteright}s Travels, certainly could be considered a late medieval best seller. Today, almost three hundred manuscripts of Mandeville are known to survive, yet of these, only about eighteen are illustrated. In this dissertation, I examine images in twelve of these illustrated Mandevilles, using visual analysis and contextual study of the manuscripts as the foundation for an interdisciplinary investigation. I also make use of reception theory and cultural studies in considering how these images may have shaped or modified the reading experiences of specific audiences. Chapter One presents an early reception history of Mandeville . I identify specific audiences for the book, examining some of the ways these readers may have perceived the narrative. I also introduce my sample of illustrated Mandevilles. Chapter Two highlights more devotional possibilities for Mandeville imagery. Here I focus on ways in which the illustrations reveal contemporary attitudes towards both Christian and non-Christian devotion, as well as considering how the images offer more critical glimpses of the state of Western Christendom. Chapter Three addresses the marvelous world of Mandeville. Artists depicted the East in a variety of ways, and audiences came to such imagery with preconceptions of their own. In this chapter, I examine how such illustrations appealed to readers{\textquoteright} curiosity about the unknown East while engaging more spiritual interests such as crusades, conversions, and a unified Christendom. Chapter Four describes the reading experiences of aristocratic Mandeville audiences as shaped by the imagery within their manuscripts. Illustrations in these luxury books reveal such expansive concerns as crusader dreams, territorial acquisitions, and political alliances while reflecting the ceremony and chivalry of courtly life Images in The Book of John Mandeville both projected and reflected the cultural values and world-views of patrons, artists, and audiences. The images thus became sites for the transformation or exchange of cultural information, offering readers a more collaborative experience of the text than one without images. Illustrations in these manuscripts reveal the many different ways in which late medieval readers were picturing Mandeville{\textquoteright}s world, and also their own.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Kann, Andrea Grace Justus} } @mastersthesis {9073, title = {Pierre Bonnard: Le Nabi tres Japonard}, year = {2002}, school = {Penn State}, abstract = {Modern art historians have done much to investigate the role that Japonisme played in the emergence of the many formal idiosyncrasies seen in the work of avant-garde artists since the mid nineteenth-century. These scholars have put a great deal of effort into describing iconographic and compositional influences and finding precedents in Japanese art, especially prints. This study, however, expands the definition of Japonisme to include not only the influence of other Japanese art forms (e.g. screens) but also the influence of Asian thought. In particular this study examines the creative work of Pierre Bonnard in light of this richer definition of Japonisme. The first part of this study situates Japonisme within the broader historical context of encounters between Eastern and Western cultures and more specifically between France and the East (i.e. China, India, Japan). Special attention is paid to discussing the role the age of Enlightenment had in philosophically, ideologically and psychologically preparing the West for the introduction of Japanese culture in the mid nineteenth-century. This study then examines one of the most significant consequences of this new Weltanschauung : the introduction and dissemination of Asian philosophy in the West. The discussion then shifts to study how Western artistic response to Japanese aesthetic influences changed in light of growing Western knowledge of and interest in Asian philosophy and religions. The second part of this study traces the development of Bonnard{\textquoteright}s Japonisme from his early experiments in chromolithography and traditional easel painting to the influence of Zen Buddhism on his work as transmitted to him via Mallarmean poetics and the philosophy of Henri Bergson. The last chapter on Bonnard is an isolated study of his screen production and related works and examines them in relationship to Zen. In essence, this study argues that Bonnard adopted Zen ontology as a philosophical leitmotif, one that exists in his work both experientially and metaphorically. In addition, and more broadly, this study situates the introduction and influence of Asian philosophy into Western art history at a much earlier date than other Japonisme scholarship.}, keywords = {Nineteenth-Century Art}, author = {Gliem, David E.} } @mastersthesis {9021, title = {Pierre Gilles{\textquoteright} "Topography of Constantinople and Its Antiquities": A New Translation with Commentary}, year = {2002}, school = {Rutgers}, abstract = {In the sixteenth century when Francis I the humanist king and benefactor of Leonardo da Vinci ruled France, one of the greatest Turkish Sultans, Suleyman the Magnificent, sat upon the throne of the Ottoman Empire. Although the two leaders were separated by religion, culture and political aims, the Catholic Francis and the Muslim Suleyman joined forces for a time in a political alliance to check the Hapsburg threat to both their empires. This thesis centers, however, on Pierre Gilles of Albi, an established scholar and author in France, who was caught up in the resulting diplomatic exchange between these two powerful rulers. He was sent to Constantinople as a member of a French embassy, but his role (so far as we know) was not a political one. He was assigned the task of purchasing antique Greek manuscripts to add to Francis{\textquoteright} royal library. While in Constantinople Pierre Gilles conceived of his own project, to study the history and monuments of the ancient, formerly Byzantine capital and publish an account of his findings based upon what he saw on the spot in conjunction with what he could learn from ancient and medieval sources. His resulting publication, The Topography of Constantinople and its Antiquities in Four Books is the subject of this dissertation. This study is divided into three components. The first presents the original Latin text of the first edition of The Topography of Constantinople, published in 1561, and is the first full modern transcription of that text. The second component is a modern English translation of Gilles{\textquoteright} Topography of Constantinople, complete with references to the sources he consulted and to the most important and recent scholarly works on the city and/or its individual monuments. A commentary of Pierre Gilles{\textquoteright} text makes up the third and final part of this dissertation. It is divided into four sections that correspond to the four books of Gilles{\textquoteright} publication. The main focus here is to elaborate on monuments the author saw and was told about while in Constantinople in light of his own reading and interpretations of the ancient sources he consulted. A further aim here is to point out Gilles{\textquoteright} few errors, but primarily his abundant accurate observations, observations upon which all historians of Constantinople have relied up to the present day.}, keywords = {Early Christian/Byzantine Art, Renaissance/Baroque Art}, author = {Byrd, Kimberly} } @mastersthesis {9093, title = {Playing Shakespeare in the Colonies: Charles Wilson Peale, Miss Hallam, and the Paradox of the Actress}, year = {2002}, school = {UNC Chapel Hill}, abstract = {This study examines two artistic ventures converging in Charles Willson Peale{\textquoteright}s portrait of Miss Hallam in the Character of Fidele in Shakespeare{\textquoteright}s Cymbeline. In 1771 at the beginning of his career as a portrait painter, Peale gambled on the success of a theatrical portrait to advertise his skills. Concurrently, Miss Hallam and the American Company of Comedians speculated that an itinerant theater company could flourish in the Atlantic colonies. The artist and actress collaborated in fashioning an innovative and recognizable portrait of the actress and her Shakespearean character, the virtuous and vulnerable Imogen, cross-dressed as Fidele. From British theatrical portraits they borrowed a "classical" attitude for Hallam, with her upraised eyes and uplifted left hand, that suggests the intellectual work of memorizing her lines and creating a visual image. The wit of Peale{\textquoteright}s interpretation of an artistic woman succeeded in amplifying the discourse about the actress arising from the male culture of the Homony Club of Annapolis. Hallam{\textquoteright}s wit consisted in her use of costume, voice, and demeanor to elicit admiration and to avoid castigation as a "strolling comedian." Responses to Hallam{\textquoteright}s performance and Peale{\textquoteright}s portrait, published in the Maryland Gazette, reveal actress and artist playing with Anglo-French conceptions of the artist as a creator of illusions. Hallam, Peale, and their enthusiasts speculated that wit, sensuality, and play could become part of the visual culture of the developing colonies. However, because of the American Revolution, their success in these ventures was short-lived. The Continental Congress banned the theatre from the thirteen colonies in 1774. Peale repositioned himself as the painter of the heroes of the republic, statesmen, and scientists and eventually subordinated painting to his museum activities. Miss Hallam and her troop departed for Jamaica to wait out the war and she was forgotten. Her portrait was sold from Peale{\textquoteright}s museum as a "landscape" in 1854. The eloquence of Hallam{\textquoteright}s pose, gesture, expression, and costume substitute for her silent voice, preserving evidence that she, working with Peale, reconstituted Shakespeare{\textquoteright}s text in visual form for American audiences, responding to and shaping their culture in the process.}, keywords = {Pre-1945 North American and South American Art}, author = {Huber, Christine Jones} } @mastersthesis {9131, title = {The Politicization of Public Opinion on Modern Art at the National Gallery in Berlin, 1918-1933}, year = {2002}, school = {Northwestern}, abstract = {The abdication of the kaiser in 1918 provided an opportunity for the National Gallery{\textquoteright}s director, Ludwig Justi, to support Expressionism as the leading style in German modernism through exhibitions and acquisitions. The change was widely reported in the daily newspapers. This fueled press debates which were frequently marked by criticism, raising awareness of the museum{\textquoteright}s activities. This study is motivated by the question of the impact of politicized criticism of the National Gallery{\textquoteright}s support of modern art on public art opinion, and ultimately on the public acceptance of the National Socialist policy to suppress modern art beginning in 1933. The museum{\textquoteright}s power to control the ideological projection of the nation{\textquoteright}s self-image made it a participant in national politics. Its linkage of national self-representation and art was important because there was a general conviction that the leading styles in art were expressive of the state of society. Therefore in light of the nationalist implications of the museum{\textquoteright}s activities, Justi{\textquoteright}s embrace of Expressionism became highly contested. As a reflection of the state of society, Expressionism had become firmly linked to the political and economic instability prevalent in the years 1918-1923. Justi sought to couch the rhetoric surrounding modern art in language that would make it palatable to a nation searching for stability after its defeat in World War I. However, this backfired among critics interested in promoting a heroic and stable image of Germany. By far the most dangerous and virulent of these attackers were right-wing cultural organizations, who based their attacks on nationalist grounds. They did not want the culture of the German nation, as represented in the National Gallery, to be associated with a period of crisis. For them, culture had become a tool in the battle for political power, used to gain the sympathy of socially conservative voters in electoral campaigns. Their success led the majority of the audience for art to dislike modern art, disapprove of the activities of the National Gallery and its director, and ultimately to favor the radical changes made in government cultural policy by the National Socialists in 1933.}, keywords = {Twentieth-Century Art}, author = {Grady, Elizabeth M.} } @mastersthesis {9108, title = {The "Portraits Histories" of Henri IV (1589-1610)}, year = {2002}, school = {Princeton}, abstract = {This study explores the varieties of historiated portraits of Henri IV, king of France from 1589 to 1610. The introduction includes a literature review and an etymological discussion of the terms used to describe images of individuals in the guise of a biblical, historical, or mythological figure. The first chapter, on the royal French precedent, investigates the genre in relation to Henri{\textquoteright}s immediate predecessors, beginning with Charles VIII and continuing through the kings of sixteenth-century France: Louis XII, Francois I, Henri II, Francois II, Charles IX, and Henri III. In the second chapter, I set this portrait type in its historical context by providing the background of cultural, political, religious, and historical events that took place during the twenty-one years of Henri{\textquoteright}s reign. I also explore the religious and chivalric identities manifested in many of Henri{\textquoteright}s portraits that heretofore have not been investigated. The focal point of the dissertation is a detailed and comprehensive illustrated catalogue of all the portraits histories produced to honor Henri IV during his reign, in a variety of media. From the time of Henri{\textquoteright}s accession to the throne of France, when his right to rule was continually challenged, to the abrupt conclusion of his life, a complex and evolving visual vocabulary was used to depict the king. I argue that the imagery was such an effective propagandistic tool that not only did it provide the seeds for the legend of "Henri le Grand," it provided inspiration for royal portraiture for years to come. Having evolved out of a loose tradition of royal representation, the royal French portrait historie was commandeered to promote and advance the goals of Henri IV, quite literally changing the face of a nation.}, keywords = {Renaissance/Baroque Art}, author = {Bakemeier, Emily} } @mastersthesis {9022, title = {Possessing the Holy: Private Churches and Private Piety in Late Antiquity}, year = {2002}, school = {Princeton}, abstract = {As the Christian faith spread through the Roman world, its affects reached into the most private recesses of Late Antique life, impacting sexual mores, the institution of marriage and the individual{\textquoteright}s perception of self and body. Christianity would inexorably alter the foundation upon which Roman society was built, the institution that formed the center of Roman political and economic life, namely, the house. This thesis discusses the archaeological evidence and historical implications of private house chapels and privately sponsored Christian cult in the Late Roman world. I am particularly interested in the relationship between chapel and its surrounding domestic space, and use a variety of techniques, such as computer modeling and quantitative spatial analysis to better understand the place of chapels within Roman houses. I pay particularly attention to the issues of private cult in rural homes, and emphasize the important role played by villa-churches in not only the Christianity of a family, but of the surrounding countryside. Episcopal reactions to and restrictions on private chapels provide a third theme, and highlight the tension between domestic cult and the ecclesiastical hierarchy, as well as the existence of new and conflicting ideals of {\textquoteright}the home.{\textquoteright} The thesis concludes with an examination of the role of women in private cult, both as impressariae of chapels and their rituals, but also as objects of an episcopal gaze that used female private cult to construct emblems of the pious and heretical woman. The study of Christian cult in the Late Roman home and estate suggests a complex dialectic between the domestic and the sacred, questioning our ideas of what constituted {\textquoteright}public{\textquoteright} and {\textquoteright}private,{\textquoteright} and pointing to changes in not only the nature and function of the house, but in the perception of the home and its values. Ultimately, the thesis highlights the problematic role of the lay individual in Christian cult, the challenge posed by families and women to the Christian community, and focuses on the place of the {\textquoteright}private{\textquoteright} in a faith defined by public, cult participation.}, keywords = {Early Christian/Byzantine Art}, author = {Bowes, Kimberly} } @mastersthesis {8993, title = {Power, Gender, and Representation in the Italian Renaissance Court: The Cultural Patronage of Caterina Sforza (1463-1509)}, year = {2002}, school = {UIUC}, abstract = {This dissertation brings the insights of gender studies to bear on art history to examine the significance of gender, symbolic practice, and power in Italian Renaissance court culture. It focuses on the largely unexplored area of Caterina Sforza{\textquoteright}s (1463-1509) cultural patronage, which included commissions of architecture and the decoration of chapels and palaces as well as the sponsoring of intellectual and spiritual endeavors. In the Renaissance period, patronage was an important symbolic means by which rulers could establish authority and aspire to the ideals of magnificence and splendor. This dissertation demonstrates how Sforza constructed a strong public image using cultural patronage as a means of presentation to further her own political needs within the Riario court of fifteenth-century Italy. It explores her self-fashioning in four major areas: portraiture; civic, domestic, and military architecture; the maintenance of a splendid persona through both material and intellectual means; and religious patronage. The study argues that Sforza manipulated the symbolic meanings of wife, mother, regent/ruler, and widow to negotiate successfully the masculine and feminine realms of power at play in Renaissance court culture. The dissertation discusses the extant artifacts, contemporary documents, including biographies, chronicles, letters, and official records, and period treatises to provide the social and political context necessary to understand Caterina Sforza{\textquoteright}s cultural patronage. The analysis demonstrates that Sforza and noble women like her were active participants, not bystanders, in the cultural practices that were so important to the power negotiations of the Renaissance court. Furthermore, it provides a study of the cultural practices of a newly-established dynasty, namely the Riario of Imola and Forli.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Renaissance/Baroque Art}, author = {Devries, Joyce} } @mastersthesis {9101, title = {Power, Politics, and Persuasion: The Painted Histories of the Tira de Tepechpan}, year = {2002}, school = {Tulane}, abstract = {A pictorial annals history created in the relatively minor city-state of Tepechpan in the first century after the conquest of Mexico, the Tira de Tepechpan records Tepechpan{\textquoteright}s history on the upper register and the history of the Mexica capital, Tenochtitlan, on the lower register. Working at different times, a number of artists and scribes contributed to the Tira; thus, the Tira records multiple histories. In this examination of the painted history, I take a diachronic focus and place the Tira in its correct historical context(s). By identifying and correlating the work of the different artists and scribes, I reveal that Spanish colonial policies shaped this indigenous history. Indigenous communities wished to earn cabecera rank, and aware of Spanish criteria for such rank, the artists of the Tira present the history of Tepechpan adhering to these criteria. Furthermore, indigenous pictorials often were admitted into Spanish courts of law, and it has been proposed that the Tira was created for use in a lengthy lawsuit between Tepechpan and its subject Temascalapa. My comparison of the Tira with the lawsuit reveals that the manuscript was not made specifically for the suit nor was it submitted as evidence. Instead, I propose that the Tira was an all-purpose document that could be used in various circumstances to argue the autonomy and prestige of the community. A final intriguing aspect of the Tira de Tepechpan is the fact that Tepechpan was once subject to Texcoco, yet that city is virtually absent in this history. Instead, the principal artist of the Tira paints a portrait of Tepechpan as a major ally of Tenochtitlan, the ruling power in the Aztec empire; by doing so, he hopes to establish the prestige of Tepechpan. After the conquest and with the emergence of the Spanish as the new imperial leaders, the artists of the Tira shift the focus of their histories to show Tepechpan as a principal ally of the Spanish. In Mesoamerica, alliance with the victors, regardless of ethnic affiliation, was paramount; by painting such a situation, the artists of the Tira hoped to make it true.}, keywords = {Pre-Columbian Art}, author = {Lori Boornazian Diel} } @mastersthesis {9025, title = {Precious Metals in Byzantine Art and Society, 843-1204}, year = {2002}, school = {Penn State}, abstract = {By looking at gold and silver together, rather than focusing on a specific type of object or on one metal, this study looks at more than two hundred portable gold and silver objects from museum collections in a new way. The overall nature of this study is to define precious metal as a major cultural expression the result of which is a collection of observations of both the norms and changes in perception that occurred. This is accomplished through the examination of surviving objects, the interpretation of contemporary literature and inventory records, and builds upon existing scholarship. The text of the dissertation consists of six chapters. Appendix A is a catalogue of all the objects examined, Appendix B is a compilation of the precious metal objects found in inventory lists, and Appendix C is a glossary. In Chapter One, the use of gold and silver for objects and each chapter topic are introduced. Chapter Two examines chronicles and histories, presents the imperial use of and attitudes toward precious metals, and notes the eventual failure of precious metal as a diplomatic tool. Chapter Three analyzes the inventories included in wills, monastic typika, legal proceedings, and tax documents. The innovation in the typikon of the Monastery of the Theotokos Evergetis that defined the status of precious metal objects as conditionally inalienable is discussed. The motives for the donations of precious metal objects, the type of objects, and how they were used are discussed. The pattern of consumption that indicates that by the second half of the eleventh century the wooden panel icon, albeit with precious metal ornament, assumes numerical precedence over panels in other media. Chapter Four examines the role played by gold and silver in ekphraseis and epigrams. The literary evidence continues to support the notion that gold is used metaphorically for expressing the spirituality of sacred figures and the virtues of the emperor. We are informed of the belief in the efficaciousness of silver to ward off women{\textquoteright}s infirmities. The patterns of piety that emerge indicate donations of gold-embroidered icon veils are made in thanksgiving and of the application of gold ornament to an icon as a form of supplication. Perhaps the most significant contribution is a previously unnoted change in perception and use of gold by merchants in the first half of the twelfth century. In Chapter Five, the overall questions of available resources, the fineness of jewelry vis-a-vis nomismata, the use of plating, and a development in the composition of niello are discussed. In Chapter Six, gold and silver are considered in terms of economics, esthetics, and social context. The economic value of objects is analyzed in terms of capital and who perceived them as such. The esthetics of gold and silver are analyzed with regard to their use as simile and metaphor, and matters of choice. The idea of a community of taste is explored and set in the context of the social dynamics of the Middle Byzantine period.}, keywords = {Early Christian/Byzantine Art}, author = {Stavros, Margo} } @mastersthesis {8971, title = {The Production of Good Government: Images of Agrarian Labor in the Southern Song (1127-1279) and Yuan (1272/79-1368) China}, year = {2002}, school = {Michigan}, abstract = {This dissertation examines the changing face of labor during the Song and Yuan dynasties in relation to the development of a new theme in painting known as Gengzhi tu "Pictures of Tilling and Weaving". Lou Shu (1090-1162), a court official during the reign of Emperor Gaozong (1127-1162), designed the Pictures of Tilling and Weaving, in which male citizens grow grain in a step-by-step sequence in one scroll, and female citizens produce silk and weave silk fabric in the other. Current scholarship tends to see Pictures of Tilling and Weaving as highly informative works, motivated by a didactic need to teach others how to grow rice and to produce silk fabric. I argue that the development of the theme was related to significant changes in the structure of government bureaucracy and ensuing political debates. By showing the introduction of technological advances and by positioning the farmers within self-sufficient communities, Lou Shu made an innovative shift in the iconography of labor. To accompany each step in both scrolls, he wrote an accompanying poem that in effect challenged the government{\textquoteright}s right to taxes. The Pictures of Tilling and Weaving are part of a larger category of painting called "fengsu hua," a phrase typically translated as "genre painting." This conveys the general idea of the Chinese phrase, but it fails to capture all its nuances. Lou Shu{\textquoteright}s poems and later Southern Song documents on the Pictures of Tilling and Weaving attest to the political component of labor painting, specifically evoking associations of the common people and their role in validating government policy. In order to comment on the changing political circumstances of the Southern Song and Yuan dynasties, the content and format of the Pictures of Tilling and Weaving were ideologically altered. They were reformulated as academic court paintings, as carvings on public stelae, and as woodblock prints in an agricultural treatise disseminated to the reading public. Imagery of working farmers form a political commentary on the relationship of the government to its citizenry. This dissertation seeks to reclaim the paintings{\textquoteright} meaning by positioning them with their historical and literary contexts.}, keywords = {Chinese Art}, author = {Hammers, Roslyn Lee} } @mastersthesis {8928, title = {Provencal Baptisteries: Early Christian Origins and Medieval Afterlife}, year = {2002}, school = {Princeton}, abstract = {Monumental baptisteries attest to the physical presence of the Church in the region of Provence in southeastern France in the fifth century. Though no Early Christian episcopal complex is entirely intact in this region, numerous baptisteries remain standing in various states of preservation. This dissertation addresses four of the nine known Provencal baptisteries: those at Riez, Aix-en-Provence, Marseille and Frejus. All four were initially built in the fifth century and, of the nine, only these include evidence of rebuilding or survival into the Romanesque period. Each structure was a significant architectural component of its city{\textquoteright}s episcopal complex, both at the time it was built and again in the eleventh to twelfth centuries. Though all are nearly square in plan at the ground level and incorporate interior niches and columns, there are considerable variations among them in terms of spatial and structural articulation-both in their original forms and in their medieval reconfigurations. In four monographic chapters the baptisteries are studied in terms of their history, architecture, architectural sculpture, decoration and liturgical furnishings. Archaeological interventions and post-medieval building alterations are also analyzed, contributing to both new and revised reconstructions of their medieval appearances. The concluding chapter is composed of a series of short, interpretive essays that consider the geographic and iconographic origins of the buildings, their typological sources, their formal relationship to liturgical practice and their expanded functions in the Romanesque period. Several important conclusions are made in this study. The baptisteries-when initially built and when reconstructed in the Romanesque period-rely heavily on local sources (in Provence and Italy) for their general planning, building components (spolia), construction techniques and conceptual origins. The formal typological source for the Early Christian phase of the baptistery seems to be the Roman mausoleum/commemorative monument. However, in the Romanesque reconstructions, builders rely on the organization and articulation of Provencal church towers: rather than a reformulated funerary monument, the medieval baptistery appears as an arcaded tower, presented as an additional vertical marker of the episcopal complex. Thus, in its origin and in its medieval afterlife the Provencal baptistery remains rooted in western architectural traditions.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Laos, Nora} } @mastersthesis {9032, title = {The Psalter of Blanche of Castile: Picturing Queenly Power in Thirteenth-Century France}, year = {2002}, school = {UNC Chapel Hill}, abstract = {The Psalter of Blanche of Castile (Paris, Bibliotheque de l{\textquoteright}Arsenal MS 1186) is lauded as a medieval treasure but we have little understanding of the pictorial aspects of this manuscript. Although scholars associate it with Queen Blanche of Castile on the basis of textual evidence, they have never considered its lavish miniatures in light of this connection. Costly materials, artistic quality, and thematic emphases on Eve, lineage, and the Virgin suggest a female royal owner and patron for this devotional manuscript. This study examines the extensive prefatory cycle of illuminated miniatures and the program of historiated initials in order to link this manuscript with Blanche of Castile. A consideration of Blanche of Castile within the historical context of the Capetian dynasty and medieval queenship suggests Arsenal MS 1186 served a function beyond devotion. As a Capetian queen, Blanche played an unusual role. Although the power of Capetian queens declined during the twelfth century, in 1226 Louis VIII appointed Blanche as regent for their son, Louis IX. She successfully executed her duties, significantly influencing Louis IX, his reign, and France. As queen and regent, Blanche had access to power. But, like other medieval queens, her claims were contested, destabilizing her authority. Blanche of Castile used many tools to counteract her detractors and enhance her power, among them art patronage. Studying the Psalter of Blanche of Castile in conjunction with Blanche of Castile{\textquoteright}s extensive art patronage suggests that Arsenal MS 1186 validated Blanche of Castile{\textquoteright}s power. The illuminations emphasize themes significant to medieval queens, such as lineage and the contrast between Eve and the Virgin. This thematic emphasis on queenship recurs in other objects associated with Blanche. Through its images, this psalter functioned as more than a devotional manuscript; it pictured concepts on which queens{\textquoteright} grounded their power. I argue that art patronage, such as that of Blanche of Castile, and art objects associated with queens, exemplified by Arsenal MS 1186, played a key role in queens{\textquoteright} development of their power.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Hudson, Elizabeth} } @mastersthesis {9059, title = {Public Duties, Private Interests: Mexican Art at New York{\textquoteright}s Museum of Modern Art, 1929-1954}, year = {2002}, school = {UC Santa Barbara}, abstract = {MoMA is one of the world{\textquoteright}s most influential institutions in terms of establishing a canon for modern art. While canons ostensibly connote impartiality, the history of Mexican art at MoMA raises critical questions. Why did MoMA{\textquoteright}s promotion of Mexican artists vary so dramatically from 1929 to 1954? What forces were in play? I document how MoMA interpreted and evaluated Mexican art during this period, and situate esthetic issues relative to the diverse political and economic pressures brought to bear on MoMA policy. Of special interest are the conceptions of public duty that motivated trustees and staff, and the private interests to which these duties were often related-especially those of the Rockefeller family. My research draws on publications, reports, correspondence and registration records from MoMA, the Rockefeller Archive Center, Archives of American Art, and the Hoover Institution. While MoMA committed significant funding to the goal of educating the U.S. and, ultimately, the global public about modern art, the museum also made use of critical discourse for broader purposes. Generally the goal was to promote international understanding and to strengthen U.S.-Mexican or U.S.-Latin American relations. A less publicized aspect of this mission was the promotion of democracy and capitalism and the thwarting of communism in the name of peace and economic progress. Internationalist perspectives coincided with U.S. nationalist and expansionist thinking. The underlying aim in the 1930s, 1940s and 1950s was to attain or maintain the position of the U.S. as global cultural leader-cultural status to match the nation{\textquoteright}s preeminence in political, financial and military affairs. What was perceived to be in the public interest often was beneficial for the Rockefeller family, including their investments in Latin America. The museum was adept at manipulating highly varied art styles and trends for ideological purposes. MoMA deployed works by communist artists to promote democratic ideals and the ostensibly free exchange of culture under capitalism. At the same time the museum practiced repressive measures, especially when trustees believed such measures were necessary to safeguard the financial assistance and good will of the institution{\textquoteright}s supporters.}, keywords = {Latin American/Caribbean Art}, author = {Paquette, Cathleen} } @mastersthesis {9134, title = {Pure Painting{\textquoteright} in Berlin, 1912-1913: Boccioni, Kandinsky, and Delaunay at Der Sturm}, year = {2002}, school = {Chicago}, abstract = {Between 1912 and 1913 Umberto Boccioni, Robert Delaunay and Wassily Kandinsky exhibited in Herwarth Walden{\textquoteright}s Berlin art gallery works in which they dissolved objects in whirlpools of light, color and movement. In their writings these artists and the critics around them referred to this painting as "pure," a term which is key in the interpretation of modern art, especially after Clement Greenberg{\textquoteright}s definition of it in his influential essay "Modernist Painting" (1960). In studying the artworks, the theoretical writings and the critical reception of these three artists in a very specific site of exhibition, I find that many of the notions which the historiography of the twentieth century has attached to the concept of purity in painting need important revisions. Far from being just about forms and colors stressing the flatness of the canvas, merely addressing the eye in an instantaneous apprehension and abolishing discourse, Delaunay{\textquoteright}s, Boccioni{\textquoteright}s and Kandinsky{\textquoteright}s "pure" painting did not abandon reference to the world, was committed to a deep pictorial space, involved also the mind and the body, required time to be fully experienced and crucially needed the artists{\textquoteright} words for viewers to learn how to appreciate it. So much so that some of its enemies considered this art too "literary."}, keywords = {Twentieth-Century Art}, author = {Marchi, Riccardo} } @mastersthesis {8998, title = {Put-Ons and Take-Offs: Lynda Benglis, Feminism, and Representations of the Body, 1967-1977}, year = {2002}, school = {UT Austin}, abstract = {The first decade of Lynda Benglis{\textquoteright} career coincided with the burgeoning women{\textquoteright}s movement, during which time women{\textquoteright}s representations of the body emerged as powerful feminist statements of sexual and artistic liberation. As a young artist working with abstract, erotic forms, Benglis was poised both to participate in and to take advantage of this growing genre. Yet, from the beginning of her career, the artist cultivated an ambivalent relationship to feminist art and politics. The following comment she made in a 1979 interview sums up her position: "I don{\textquoteright}t wish to separate myself from [feminism], I don{\textquoteright}t wish necessarily to be a part of it, but I am a part of it whether I want it or not." Her statement suggests that Benglis maintained a reluctant dialogueue with feminism; but it was a dialogueue nonetheless, and one she sustained both through published statements and through her artwork. Historical accounts of seventies feminism almost exclusively emphasize Benglis{\textquoteright} notorious 1974 Artforum advertisement. The ad was an important gesture on the artist{\textquoteright}s part, but it has overshadowed serious consideration of both the artist{\textquoteright}s three-dimensional work and her videos. Consequently, I focus on different moments in Benglis{\textquoteright} early career, using visual and contextual analyses to define her contributions to the period. While Benglis is the primary focus of my study, I also use the artist to reconsider the significance of the erotic for seventies feminist art and politics more generally. While sexuality has always featured prominently in accounts of the period, examination of how exactly women both approached and expressed the topic has not been developed much beyond the conclusion of essentialism. Some of the issues I address in this context include the feminist promotion of masturbation, the theory of a female sensibility and the feminist reclamation of craft processes. All of these issues shaped the production and reception of feminist erotica, but they were neither straightforward nor consistent in their significance. Benglis variously engaged with these issues, developing her own ironic and erotic "put-ons" and "take-offs" as she both embraced feminist discourse and fashioned critical, artistic responses to it.}, keywords = {Critical Theory/Gender Studies/Visual Studies}, author = {Richmond, Susan Erin} } @mastersthesis {9013, title = {Race-ing American Moderns: Race and Modernism in Photography between the Two World Wars}, year = {2002}, school = {Yale}, abstract = {This dissertation examines to elements crucial to the formation of American identity: race and photography. The concept of race delineates the contours of identity in America by legitimizing biological definitions of the physical body and by generating a useful framework for the organization of society. Photography provides a key site for the articulation of identity by rendering bodies legible and establishing the cultural norms that bodies are intended to signify. Photography and race generate the armature that allows bodies to be distinguishable, classifiable, and meaningful within American society and serve as the basis for the American individual. I consider the valence and efficacy of this convergence of identity formation mechanisms at a critical historical juncture-the interwar years-when the concepts of race and photography were under revision. Examination of the photographic portraiture of James L. Allen (1907-1977), Alfred Stieglitz (1864-1946), and Carl Van Vechten (1880-1964) reveal how photographic portraiture evolved during the interwar years and how changing concepts of race and photography affected this development. The reconsolidation and reinvigoration of these processes set the parameters for American identity for the course of the twentieth century.}, keywords = {Drawings/Prints/Works on Paper}, author = {Holloway, Camara} } @mastersthesis {9115, title = {Raffaello Borghini{\textquoteright}s Il Riposo: A Critical Study and Annotated Translation}, year = {2002}, school = {Case Western Reserve}, abstract = {The 1584 dialogue Il Riposo by Raffaello Borghini (1537-1588), published sixteen years after the second edition of Giorgio Vasari{\textquoteright}s Vite, was the first art treatise specifically directed toward a lay audience. Although never translated, it has enjoyed five editions in addition to two twentieth century facsimile editions. Borghini{\textquoteright}s dialogue is presented as taking place over four days at a country estate (named Il Riposo) outside Florence. The first book addresses iconography; the second is concerned with style and technique. Two additional books review ancient and Renaissance Italian art concluding with a discussion of later sixteenth century artists. Borghini{\textquoteright}s dialogue is the most frequently cited Florentine response to the Council of Trent (1545-1563). It is also a vague, flexible and relatively unenthusiastic Florentine interpretation of the "new seriousness" with which the second half of the sixteenth century reacted against the High Maniera. The dialogue expressed the values of the by now provincial court of Grand Duke Francesco I and was written, in part, as a carefully understated defense of the Medici. For the ostensibly straightlaced Borghini, whose treatise focused on public religious painting, art was the straightforward illustration an invention of a donor or, preferably, a learned advisor. To this the artist added, with modesty, reverence and devotion, as little as possible. Mimesis determined style which was to be simple, clear, and lucid, providing these qualities did not detract from the grace, style, and cleverness of the presentation. In the most interesting part of the dialogue these inconsistent values are somewhat inconsistently applied to the painting and statuary which the four discussants encounter as they imagine they are walking through the churches and public spaces of Florence. Borghini{\textquoteright}s treatise has been heavily criticized for its derivative character. Much of the iconographic material is taken from Benedetto Varchi and Giovanni Gilio. Much of the technical studio material is taken from Cennino Cennini, Leonardo, and Vasari. The historical material prior to the 1560{\textquoteright}s is taken almost entirely from Pliny and Vasari. Subsequently, however, Borghini provided much first-hand or otherwise unavailable second-hand information concerning contemporary developments in Venice and Florence which is of particular value to students of Tintoretto, Giambologna, and the artists of the Studiolo of Francesco I. Furthermore, students have found Borghini{\textquoteright}s detailed Counter-Reformation and Counter-Maniera analysis of contemporary paintings and sculpture helpful in understanding the aesthetics of the later sixteenth century.}, keywords = {Renaissance/Baroque Art}, author = {Ellis, Lloyd} } @mastersthesis {9015, title = {Ralph Eugene Meatyard: Postmodern Poetics and Photography}, year = {2002}, school = {New Mexico}, abstract = {This dissertation examines the photography of Ralph Eugene Meatyard within the ground of an emerging radical aesthetic in the United States in the 1950s and 60s. This aesthetic distinguished a specific American moment in which a nation{\textquoteright}s sense of place, time, and, most importantly, itself was forever altered. It posited a shift toward the individual and his place in the world amidst the shifting landscape of American society. In response, Meatyard envisioned a personalized aesthetic pursuit for photography with poetic and literary affiliations in light of the needs and perplexities of this new cultural landscape. Meatyard sought to forge an alliance between photography and the literary arts, in particular poetry. He attempted to re-interpret the time-honored concept of the sister arts in which both arts share a similar poetic imagination and language. It was his pursuit to tie the photograph to contemporary poetics, to envision a new ut pictura poesis wholly attuned to his day. He was encouraged in this objective by photographers, including Van Deren Coke, Minor White, and Henry Homes Smith. Meatyard also looked to contemporary writers, poets, and cultural commentators for support and guidance, many of whom were reshaping American literary arts, including poetry: Charles Olson and the Black Mountain School of Poets, Jonathon Williams, Denise Levertov, Flannery O{\textquoteright}Connor, Thomas Merton, and the literary critic, Ihab Hassan. Working largely outside of the photographic mainstream but with an extremely developed, mostly self-taught conception of the medium{\textquoteright}s relationship to other, non-visual art forms, Meatyard raised the conceptual bar for his chosen discipline of photography by insisting that meaning comprises more than can be seen, by demonstrating his ardent belief in its possibilities through indelible, fully realized images.}, keywords = {Drawings/Prints/Works on Paper}, author = {Mulligan, Therese} } @mastersthesis {8965, title = {Realizing Whiteness in U.S. Visual Culture: The Popular Illustration of J. C. Leyendecker, Norman Rockwell, and The Saturday Evening Post, 1917-1945}, year = {2002}, school = {UCLA}, abstract = {During the period of its ascendancy between the World Wars, the Saturday Evening Post employed hundreds of illustrators to produce images for its weekly covers, essays and short stories. Their graphic art was integral to the success of the Post which was acknowledged not only as having the largest circulation of any magazine in the world, but of influencing the cultural life of America more than any other periodical. Among the thousands of illustrators working for the Post, J. C. (Joseph Christian) Leyendecker and, later, Norman Rockwell received special attention from editors and readers alike. Post enthusiasts lauded the "realism" of the magazine{\textquoteright}s vision and of its illustrations as embodying symbolic truths deeper than any mere record of life. These truths concerned, above all, the essential meaning of Americanism and the identity of the frequently invoked "common man." In shaping a visual language appropriate to this common man, the Post accorded specific connotative resources to popular illustration. Rather than simply employing illustration as alluring advertisement on the cover and as decorative enhancement to essays and stories inside, the Post articulated an instrumental function for its graphic art. In the context of this national magazine, illustration was argued to be the true art of America, one peculiarly suited to expressing core beliefs and shared values of the common man. In a rejection of modernism and Old Master paintings alike, the magazine developed an aesthetic of common sense in a visual style expounded as legible, sensible, anti-radical and American. More subtly, this style was tied as well to the common man{\textquoteright}s implicitly normative modes of gender, sexuality, class, ethnicity and race, which, taken together, are constituent material of whiteness. At stake in the Post was the functional creation of an audience to support its commercial enterprise and the conceptual formulation of a People as the basis of an ideological function. The signifying process that joined pictures and texts to a rhetoric of nationalism was both underwritten by and affirming of the complex event understood as whiteness. Here, whiteness undergirded the ideological production of white bodies as a medium for ideals national identity.}, keywords = {Art of the United States}, author = {Eric Segal} } @mastersthesis {8931, title = {Reforming Rome: Architecture and Culture, 1730-58}, year = {2002}, school = {Princeton}, abstract = {Rome in the 1730s and 40s was the setting for two important historical phenomena-the intense building campaign carried out by the popes and the concentrated movement by a number of Italian reform-minded intellectuals to save Italian culture and resurrect it from its state of "decadence." Divided into three main sections, this dissertation examines how architecture is implicated in the proposals of the members of the loosely-knit group of learned men committed to cultural renewal in a number of ways. A series of buildings-religious, secular, institutional, and private-constructed by the architects Alessandro Galilei (1691-1737) and Ferdinando Fuga (1699-1782) are considered within the framework of a succession of reform propositions. The dissertation is divided into three parts, each of which relates a group of monuments to a specific aspect of program for cultural renewal. In the first section, architectural projects at two of the great early Christian basilicas in Rome, S. Maria Maggiore and S. Giovanni in Laterano, are contextualized within contemporary and often fiery discussions about the nature of sacred erudition, notions of piety, and attempts to re-define the discipline of history itself. The second section considers the series of revolutionary proposals that conditioned the palace building of a papal family that resulted in some of the most significant architectural and urban monuments constructed in eighteenth-century Rome. The final section, analyzes two institutions devoted to learning, the Capitoline museum and the Corsini library. In both of these rich collections, architecture was deployed in the service of knowledge and space and was used to present new ideas about the nature of erudition in eighteenth-century Rome. Drawing on primary source material, and readings in the history of science, the social history of ideas, contemporary historiography, and economic history, as well as a host of eighteenth-century personalities, this study seeks to illuminate the profound affects reform programs had on the architectural and cultural landscape of the city.}, keywords = {Architectural History/Historic Preservation, Eighteenth-Century Art}, author = {Minor, Heather} } @mastersthesis {8978, title = {Reframing the 80s: Visual Culture and the Picture Generation}, year = {2002}, school = {Stony Brook}, abstract = {Louise Lawler{\textquoteright}s photographs show the places of art, its found situations, its surroundings, and its spatial arrangements: collectors{\textquoteright} living rooms, auction houses, museum stacks, and back rooms of galleries. This shifting of the frame from the significant interior of the work to its context leads to the inclusion of external elements: its constitution, its historicity, its perception, and the value and use society has assigned it. Aiming to overcome the polarization of art historical methodology-the traditional approach of a purely formal analysis on the one side and on the other, the critical contextualism of more recent theoretical readings-I investigate Lawler{\textquoteright}s photographs and installations from a more dialectical point of departure, taking her work as a nexus for both formal as well as contextual issues. I focus closely on the visual and spatial characteristics of Lawler{\textquoteright}s photographic arrangements and installations. I analyze her concepts of spatialization in light of their increasing relevance in the predominantly spatial arts of recent times, in which the discontinuous spatial experience of the postmodern annuls the unifying spatial form of the modern. My formal readings of Lawler{\textquoteright}s works themselves will be close, but never closed-allegorical interpretations characterized by a sensitivity to the heterogeneous, to Difference rather than Identity, to breaks and fissures rather than seamless narrative progressions. What is at stake in these interfaces is the compatibility between aesthetic experience and the need to theorize about them. The ambiguity of Lawler{\textquoteright}s work and the multiplicity of influences and interpretation render a traditional monographic approach untenable. In the main chapters of my dissertation I will instead approach Lawler{\textquoteright}s work from three different fronts: historically, by locating her work within the context of the emergence of a group of artists in the New York art world of the late 70s and early 80s; theoretically, by reassessing postmodern theories of photography in hindsight and with the help of visual culture as a new theoretical tool; and critically, through close analysis and reevaluation of the works themselves; here in particular I focus on the installation character of most of her works. In my concluding chapter I take Lawler{\textquoteright}s installations as a vantage point for an investigation of the relevance of concepts of spatialization that have become increasingly pertinent in the predominantly spatial arts of the 80s and 90s. Lawler{\textquoteright}s installations-in which she arranges not only disparate media but also works of other artists-can be considered precursors to this spatial trend in contemporary art. Lawler{\textquoteright}s installations, which include: photography, painting, sculpture, writing, visual and sound projections and even architecture, might be called mixed media installations but they do not fit comfortably into this category{\textquoteright}s implication of a transcendental uberproduct or Gesamtkunstwerk but rather draw attention to the interrelationships of the spatial arrangement or the relationships between the different media. Thus Lawler{\textquoteright}s early installations from the late 70s already anticipate the art of the 90s in which the narrow distinctions of modernism become more and more obsolete with the dominant use of mongrel mediums such as photography, installation, video, and the digital arts that do not fit into the history of aesthetics.}, keywords = {Contemporary Art, Critical Theory/Gender Studies/Visual Studies}, author = {Kroksnes, Andrea} } @mastersthesis {9129, title = {Reinventing Spain: Images of the Nation in Painting and Propaganda, 1936-1943}, year = {2002}, school = {IFA/NYU}, abstract = {This thesis examines competing images of the Spanish nation elaborated by artists, art historiaras and propagandists in their attempts to mobilize sectors of the population and legitimate their political agendas between 1936 and 1943. The Republican government, the Nationalists (a coalition led by General Francisco Franco which rose up in arms), and political factions within both camps sought to establish definitions of a "true Spain" and a "Spanish tradition" that selectively recontextualized and reinterpreted elements of Spanish history. Although recent histories of the Spanish Civil War have demonstrated that the Republican and Nationalist camps were not ideologically monolithic, the effects of these internal divisions as well as regional differences on the visual arts and propaganda have until now not been studied in an in-depth, comparative framework. I examine paintings, propaganda posters, graphic portfolios, illustrated books and pamphlets, interpreting these in relation to contemporary art historical texts and exhibition reviews. I make extensive use of periodicals and archival materials related to the organization of exhibitions, propaganda and cultural preservation campaigns. Chapter 1 traces references to Spanish history and visual traditions employed by right- and left-wing parties in the 1936 electoral campaign that set the stage for the imagery discussed in subsequent chapters. The use of nationalist rhetoric, historical parallels and the appropriation of Spanish art history in Republican propaganda are examined. In Chapter 2, works in the Spanish Republican Pavilion at the 1937 Paris World{\textquoteright}s Fair initiate a discussion of debates within the Republic related to realism, Popular Front imagery, and regionalist nationalism. In Chapter 3, two exhibitions organized by the Nationalist government abroad-Jose Maria Sert{\textquoteright}s altarpiece at the Vatican Pavilion at the 1937 World{\textquoteright}s Fair and the Spanish Pavilion at the 1938 Venice Biennial-lead to an analysis of images of the nation, stylistic models and their uses in portraits of Franco. Chapter 4 examines post-war exhibitions designed to legitimize official versions of the Spanish art-historical tradition, and the ruins of the Alcazar of Toledo as a case study of the uses of national history to promote the new regime.}, keywords = {Twentieth-Century Art}, author = {Basilio, Miriam} } @mastersthesis {8984, title = {The Relevance of Juergen Habermas{\textquoteright}s Concept of the Public Sphere for Contemporary Public Art Practices}, year = {2002}, school = {Florida State}, abstract = {The controversies that regularly meet public art projects and museum exhibitions as well as the embattlement of public funding for the arts have made apparent that we have to re-examine the function of art and the responsibility of artists and art administrators working in the public realm. These disputes are more than questions about what kind of art is appropriate for display in public spaces. They indicate the disappearance of a genuine public sphere and, simultaneously, point to the need for critical dialogue concerning diverse cultural values and needs. In recent years, a subcategory of public art has emerged, which not only problematizes its relationship to the public realm, but also explores the possibility of generating a public sphere of critical interaction through art. To clarify the complex relationship of art to the public realm and the potential of generating critical debate through art, this dissertation turns to Jurgen Habermas{\textquoteright}s conception of the public sphere and communicative action. Specifically, this dissertation argues that his theories provide a critical methodology that lends support to current public art practices. Habermas{\textquoteright}s analysis of the public sphere unmasks the discourses of power operative in that realm. While his theory of communicative action establishes the conditions that make mutual understanding possible. His concept of the public sphere, then, offers a critical model that elucidates the relationship between culture and the socio-political domain. As such, it is helpful in clarifying how public art functions in the public realm and, simultaneously, betrays facile interpretations and misrepresentations of public art. While other theoretical models, such as urban geography, urban sociology, or Foucault{\textquoteright}s theory of power, are useful in identifying the discourses that shape the public realm, they do not suggest how to resist or transform them. However, Habermas{\textquoteright}s analysis of the public sphere and communicative action provide a model that goes beyond mere ideology critique. They offer a means for reclaiming the emancipatory promise of the public sphere, that is, its role as arbiter of collective action. At the same time, they indicate the role art that moves into the public realm can play in this effort.}, keywords = {Contemporary Art}, author = {Merryday, Michaela} } @mastersthesis {9011, title = {Religious Fervor and Photographic Propaganda: Durandelle{\textquoteright}s Anatomical Studies of the Sacre-Coeur de Montmartre}, year = {2002}, school = {UC Santa Barbara}, abstract = {Amidst the siege of Paris in December 1870, Alexandre Legentil vows to erect a votive church to the Sacred Heart of Jesus as an act of repentance for the alleged moral decadence of the Second Empire and the collective apostasy of the French nation. Initially predicated upon the deliverance of the besieged capital, this initiative eventually leads to the construction of the Sacre-Coeur de Montmartre (built 1875-1914). With formal approval from the National Assembly but no state subsidies, the promoters of this Voeu national implement an ambitious program of public relations designed to solicit prospective donors. Over the next four decades, forty-eight million francs are donated by the faithful to erect the colossal ex-voto. Foremost amongst the Committee{\textquoteright}s concerns is the imperative to keep the public apprised of the state of the works. To that effect, Louis-Emile Durandelle (1839-1917), a leading architectural photographer, is commissioned in 1877 to portray the work in progress, a long-term assignment continued by his business successeur after 1890. The resulting body of work provides the organizers with a compelling source of raw material with which to propagandize the Voeu national. Accordingly, the thrust of this dissertation is to bring to light the ideological ramifications of the Sacre-Coeur commission in order to establish its fundamental contribution to the extensive fund-raising campaign. Of crucial relevance to this argument are the numerous published engravings derived from Durandelle{\textquoteright}s photographs. As their comparisons reveal, the mediation inherent in the production of these hand-drawn engravings yields further opportunities for ideological interventions. Ultimately, this focus upon the reproductive phase of the commission confirms how the publication process is manipulated to promote the rhetoric of fund-raising. To situate this commission within its larger context, there are two preliminary parts: an account of how the tradition of construction photography as propaganda evolved in the 1850s and a profile of Durandelle{\textquoteright}s business practices. In the final analysis, Durandelle{\textquoteright}s involvement is characterized as a form of commodity production subservient to the specific requirements of the commissioning agency.}, keywords = {Drawings/Prints/Works on Paper}, author = {Baillargeon, Claude} } @mastersthesis {8956, title = {Robert Blackburn: American Printmaker}, year = {2002}, school = {CUNY}, abstract = {Robert Blackburn (b. 1920) affected the course of American printmaking through his graphic works, and the institution he founded in New York in 1948, The Printmaking Workshop (PMW). When cited, he has been contextualized as a black WPA artist or as printer-teacher, at both PMW and Universal Limited Art Editions (ULAE). As a teen, he learned lithography in the Harlem WPA; he was intrinsic to the formation of ULAE as well as PMW. However, Blackburn{\textquoteright}s passage through lithography is epic, linking the Harlem WPA era with the "graphics boom" of the 1960s. His fluency and technical mastery of complex, abstract, color lithography contributed to forging the well-known ULAE expression. This study chronicles Blackburn{\textquoteright}s graphic oeuvre and influences. The first chapter assesses the 1930s uptown arts community, who responded to the Harlem Renaissance{\textquoteright}s intellectual and artistic legacy, European abstraction, African art, and the artistic ideologies and political tendencies of both American social realism and Mexican modernism. The second section examines the 1940s and 1950s, when Blackburn encountered varied modernist currents at the Art Students League, including "Indian Space Painters," Atelier 17{\textquoteright}s Surrealism, and Abstract Expressionism. His work for The Harmon Foundation, initiation of PMW, groundbreaking lithograph collaboration with Will Barnet (1951-1952), and travel to Europe is outlined. The third chapter covers his most productive period, from the late 1950s until 1971. It investigates his tenure as the first master printer of ULAE (1957-1963) while reviewing his mature lithographs-complicated, varicolored abstractions. They prefigured or complimented the more familiar ULAE production, and as precursor and participant, Blackburn influenced Larry Rivers, Grace Hartigan, Robert Rauschenberg, and the ULAE aesthetic in general. The final portion summarizes from 1971 to the present, including PMW{\textquoteright}s incorporation, organizational structure, and select sponsored projects, while focusing on collaborative efforts that affected Blackburn{\textquoteright}s prints. Romare Bearden and Krishna Reddy inspired Blackburn in monotype and intaglio; Blackburn also created small- and large-scale woodcuts in the 1970s and 1980s. In conclusion, appendixes outline a preliminary Blackburn print catalogue, and a formative listing the artists of PMW.}, keywords = {Art of the United States}, author = {Cullen, Deborah} } @mastersthesis {9066, title = {Rodin{\textquoteright}s Gates of Hell and Dante{\textquoteright}s "Divine Comedy": An Iconographic Study}, year = {2002}, school = {Iowa}, abstract = {Rodin was commissioned by the French government in 1880 to produce a sculpted illustration of Dante{\textquoteright}s Divine Comedy in the form of monumental bronze doors to be placed at the entrance to the planned (but never built) Museum of the Decorative Arts in Paris. Rodin took his task seriously, working on his project for some twenty years before finally exhibiting a partially completed plaster version of his Gates of Hell in 1900-its casting in bronze would not occur until after Rodin{\textquoteright}s death in 1917. While scholars of Rodin{\textquoteright}s work understand the initial commission called for an illustration of Dante{\textquoteright}s Divine Comedy, the actual meaning of Rodin{\textquoteright}s Gates of Hell in direct reference to Dante{\textquoteright}s text has never been established in the art historical literature nor explored in relation to other 19th-century French interpretations of the epic poem. This dissertation investigates the relationship of Auguste Rodin{\textquoteright}s Gates of Hell to Dante{\textquoteright}s Divine Comedy . While centered on the work of Rodin, this dissertation encompasses several fields including French painting, sculpture, and book illustration of the 19th century, French translation and interpretation of the Divine Comedy in the 19th century, and Medieval and Renaissance iconographic traditions in relation to Dante{\textquoteright}s text.}, keywords = {Nineteenth-Century Art}, author = {Audeh, Aida} } @mastersthesis {8945, title = {The Role of Illustrated Manuscripts in Ottoman Luxury Book Production, 1413-1520}, year = {2002}, school = {IFA/NYU}, abstract = {This dissertation surveys all known illustrated manuscripts from their first appearance in the Ottoman realm to the end of Selim I{\textquoteright}s reign and compares them with non-illustrated Ottoman luxury manuscripts of the same period. This period, 1413-1520, also precedes the reign of Suleyman the Magnificent when the number of illustrated manuscripts increases dramatically. I divided the period of 1413-1520 along the lines of the reigns of the Ottoman sultans. I examined each manuscript as a book rather than focusing only on their illustrations. I studied a total of twenty-six illustrated manuscripts in terms of their size, calligraphy, binding, illumination and illustration as well as their textual content, patron, artist, date and place of production. All the illustrations are analyzed in relation to their text as well as in terms of their style and iconography. After establishing patterns in the overall appearance and production of illustrated manuscripts I also compared them to those of the non-illustrated luxury manuscripts of the same period. A comparison of these groups allows us to gain a more detailed view of luxury book production in the Ottoman realm, especially under the patronage of the Ottoman court.}, keywords = {Art of the Middle East/North Africa}, author = {Yoltar, Aysin} } @mastersthesis {9124, title = {A Royal Gallery for Philip III: Humanism, State Craft and Art in Spain, 1598-1621}, year = {2002}, school = {Maryland}, abstract = {My dissertation focuses on the Traza de las virtudes, an iconographic program conceived by Pedro de Valencia (1555-1620) and Juan Bautista Lavanha (1555-1624), two important humanists and official chroniclers at the court of Philip III of Spain (ruled 1598-1621). The subject of the program is the virtues and fruits of good government. The program, which was never executed, is known only through the related manuscripts at the Biblioteca Nacional, Madrid. My dissertation studies the program in the related contexts of royal patronage, humanist culture, iconology and classical rhetoric. In Chapter 1, I look at the artistic patronage of Philip III, particularly as it pertains to the two major palace renovations undertaken during his reign at the palaces of the Pardo and the Alcazar of Madrid. I argue that the Traza de las virtudes was written between 1616 and 1618 for the {\textquoteright}galeria del mediodia{\textquoteright} at the Alcazar and not, as has previously been thought, for the analogous gallery at the Pardo. Pedro de Valencia was undoubtedly the primary author of the Traza de las virtudes, and Lavanha{\textquoteright}s luminous reputation at court made him indispensable for this kind of project. Their respective areas of expertise and career ambitions could not have been more different. In Chapter II, I present the lives and works of these two humanists, and discuss their respective contributions to the Traza. The iconography and sources of the program are studied in Chapter III. The Traza de las virtudes draws on the tradition of the cardinal virtue system in political literature and in art, in which the cardinal virtues stand at the head of a group of subordinate virtues. The authors also relied on specific iconographic handbooks and rhetorical books of commonplaces to facilitate the composition of the program. The very use of these tools of oratory indicates that the program was composed as a discourse or speech. In Chapter IV, I study the simultaneous origins of verbal and visual speech in the Traza de las virtudes by showing how the program engages the three first parts of rhetoric, which are invention, disposition, and elocution.}, keywords = {Renaissance/Baroque Art}, author = {Van Houtven, Andrea} } @mastersthesis {9105, title = {Salome with the Head of John the Baptist in Renaissance Art: A Contextual Study}, year = {2002}, school = {Rutgers}, abstract = {Salome, the girl who demanded the head of John the Baptist and thereby brought about the saint{\textquoteright}s death, was represented with increasing prominence in Christian art beginning around the thirteenth century. All over western Europe, narrative cycles of the Baptist{\textquoteright}s life showed Salome as important and dignified; concurrently, she was also isolated in non-narrative works of art. This tendency to emphasize Salome continued until the mid-sixteenth century. This dissertation argues that the attention paid by late medieval artists to Salome, traditionally viewed as seductive and sinful, was the result of a widely-held belief that she could be considered necessary, beneficent, and even virtuous. This belief was precipitated by the importance of the head of the Baptist in European culture at the time. As images of the Baptist{\textquoteright}s head proliferated from around 1200 to 1550, Salome{\textquoteright}s role in the visual arts changed. Rather than being shown as a worldly dancer, as she had been in the earlier Middle Ages, Salome was depicted in later medieval art holding out the Baptist{\textquoteright}s head for the viewer to venerate. The Church sought to draw attention to the importance of the Baptist{\textquoteright}s head, and in particular, to its Eucharistic significance. Salome{\textquoteright}s image was used to further this goal. Religious artwork compared Salome receiving John{\textquoteright}s head to the gentiles accepting Christ in the sacrament. Once Salome was recognized as a redeemed figure-as a prototype for the faithful, or Church, receiving the "Eucharistic" head in salvation-she became the subject of devotional and secular art, celebrated as a virtuous woman. In the mid-sixteenth century, when the impact of the Reformation caused images of the Baptist{\textquoteright}s head to wane in popularity, Salome{\textquoteright}s role again changed. Protestant imagery either relegated her to the background of John{\textquoteright}s beheading or showed her in a moralizing context. Yet in Italy and Spain, where the tenets of Catholicism were reinforced during the Counter Reformation, images of the Baptist{\textquoteright}s head and Salome continued to proliferate. This suggests that Salome{\textquoteright}s rise in religious art and thought is the manifestation of a particularly Catholic devotion, which flourished all over Europe until the mid-sixteenth century.}, keywords = {Renaissance Art}, author = {Reed, Victoria Spring} } @mastersthesis {9052, title = {Seeding the Landscape: Experimental Contributions to Regional Survey Methodology}, year = {2002}, school = {Bryn Mawr}, abstract = {Regional archaeological survey continues to increase in complexity. Rooted in the tradition of classical topography, archaeological surface reconnaissance has been reinvigorated by new, scientific approaches. Modern survey projects in Greece are characterized by an explicitly regional framework, a diachronic time-frame, interdisciplinary cooperation, and an unprecedented level of ground-inspection intensity. The research presented here explores the off-site data collection techniques employed by current surveys and attempts to identify and quantify some of the sources of bias that hinder archaeologists{\textquoteright} attempts at measuring features of the surface archaeological record. Specifically, I conducted a series of field seeding experiments in which known quantities of ceramic artifacts were systematically placed in relatively sterile survey units. Members of the Eastern Korinthia Archaeological Survey explored those test fields in search of the pottery that I placed there. As a result, we can compare what the filedwalkers found (a notional archaeological document) with what was there in the first place (a notional archaeological record). The variables that I tested included relative ground visibility, background disturbance, artifact size, walker swath width, and the variation between individuals. The results of these experiments should help future survey projects fine tune their data collection methods as well as their interpretations of surface archaeological data.}, keywords = {Greek/Roman Art}, author = {Schon, Robert} } @mastersthesis {9016, title = {The Self-Portraits of Claude Cahun: Transgression, Self-Representation, and Avant-Garde Photography, 1917-1947}, year = {2002}, school = {Yale}, abstract = {This dissertation analyzes photographic self-portraits by French Surrealist artist Claude Cahun (pseud. Lucy Schwob, 1894-1954) to elucidate the theme of boundaries and their transgression. I locate articulations of transgressed borders as framing strategies within the photographs; in Cahun{\textquoteright}s androgyny and homosexuality; in her marginal position inside/outside the avant-garde; in her negotiation of national, racial, and geographic borders; as well as in the boundary of the photographic surface itself, pierced and reconfigured through photomontage. Photographic self-representation allowed Cahun to invent a transgressive avant-garde persona. The Introduction recounts Cahun{\textquoteright}s rediscovery by art history in the 1980s and 1990s. Chapter One theorizes Cahun{\textquoteright}s self-conscious framing of her body-whereby she poses and is framed to resemble a photograph-as the moment of the transformation from lived subject to representation. In Chapter Two, I read the delineated boundaries in Cahun{\textquoteright}s photographs as a metaphor for her borderline existence as an "alien within" Surrealism, referring to gender, race, and sexuality as categories of analysis. Chapter Three locates pictorial strategies of lesbian visibility in Cahun{\textquoteright}s self-portraits and photomontages. I relate Cahun{\textquoteright}s gender-bending self-portraits and imagery of revealing and concealing (e.g. masks, mirrors) to interwar concepts of the invisible lesbian. I theorize photomontage as a space of transgression and deconstruction. Chapter Four analyzes a selection of Cahun{\textquoteright}s self-portraits dating from c.1938-39 and c. 1947 made in Jersey (Channel Islands, UK), where Cahun moved in 1938 and was active in the Resistance during the German Occupation. I theorize that artistic and social transgression becomes political resistance as identities and geopolitical boundaries are renegotiated. In the self-portraits, mirroring, multiple exposures, and other photographic manifestations express the themes of borders and transgression. Cahun{\textquoteright}s photomontages-made in collaboration with her partner Suzanne Malherbe-destabilize the integrity of straight photography, question fixed ways of seeing, and challenge the concept of photographic authorship. I theorize Cahun and Malherbe{\textquoteright}s work as an erotics of collaboration whereby the subject/object relations of photography become fluid, ambiguous, and continually transformed.}, keywords = {Drawings/Prints/Works on Paper}, author = {Vayzman, Liena} } @mastersthesis {9017, title = {Sex in the Field: Photography at the Kinsey Institute}, year = {2002}, school = {Indiana}, abstract = {Alfred C. Kinsey (1894-1956) and a small research team comprised of Clyde Martin, Wardell Pomeroy, and Paul Gebhard conducted the most comprehensive studies on American sexual behavior during the mid-twentieth century ever attempted. Not surprisingly, Kinsey{\textquoteright}s landmark research, generally considered to be the first scientific investigation of sexual behavior to have wide popular impact, has received much more attention than the collection of supplementary materials related to sex amassed in conjunction with the research. Kinsey and his colleagues collected a wide range of media, which was a significant resource for the team of sex researchers and continues to be an archive of great importance. Even though the materials they collected were diverse in subject, aesthetic quality, and intended purpose and use, photographs were of particular value. The affordability and realism of the medium made it important to the researchers. Moreover, the steady accumulation of images over the years and the size of the archive, the employment of a staff photographer, the elaborate organizational system designed specifically for the photography collection, and Kinsey{\textquoteright}s statements about the value of images reveal a sustained interest in photographic representation in relation to a scientific study of human sexuality that has not been examined in depth, until now. This dissertation assesses the importance of photography at the Kinsey Institute during its early years, examining its prominent role in the institute{\textquoteright}s federal obscenity case, the multiple roles of visual representation in a scientific research institute, and the meaning of the photographic archive as a whole. This project attempts to evaluate the functions of the collection and the meaning of the photo raphic archive by examining it in relation to relevant subjects such as twentieth-century American culture, history, and science, censorship and the law, the politics of collecting, some of the precedents of classifying objects and images and the impact of this activity, as well as the history of sexuality and sex research.}, keywords = {Drawings/Prints/Works on Paper}, author = {Yamashiro, Jennifer} } @mastersthesis {8944, title = {The Shahnama-i Isma{\textquoteright}il: Art and Cultural Memory in Sixteenth-Century Iran}, year = {2002}, school = {Harvard}, abstract = {This dissertation examines the corpus of illustrated manuscripts of the panegyric Shahnama-i Isma{\textquoteright}il, a work commissioned by Shah Isma{\textquoteright}il himself from the poet Qasimi. While the existence of this poem has been known for some time, the manuscripts have languished largely unappreciated. When the extant manuscripts of the poem are tallied up, though, the evident popularity of Qasimi{\textquoteright}s panegyric at sub-royal levels indicates a work that struck a nerve in sixteenth-century Safavid culture. The thrust of the dissertation is to examine this phenomenon using tools from recent developments in the sciences of mind, including cognitive psychology, schema theory, and connectionism. These tools are brought to bear on the manuscripts using a methodology heavily indebted to the Polish philosopher Roman Ingarden{\textquoteright}s phenomenological approach to artworks, which he analyzes as intentional objects requiring "completion" or activation by the consciousness of the viewer. The essence of this methodology is laid out in Chapter One. The next two chapters deal with the Shahnama-i Isma{\textquoteright}il as a literary work in the context of Persian literature and with its reception in sixteenth-century Safavid culture. The popularity of the Shahnama-i Isma{\textquoteright}il is seen to be a function of Shah Isma{\textquoteright}il{\textquoteright}s unusually striking "fit" to the schema of the epic hero as known from the Persian tradition. Other works are compared to Qasimi{\textquoteright}s epic to demonstrate that combinations of form and content which did not highlight such a match did not achieve the same popularity. Chapter Four turns to the illustrations proper. The paintings are categorized thematically according to the relations they stand in: painting-to-(external) world, painting-to-text, and painting-qua-(projected) world. This is done in an effort to "take apart" the illustrations and see where in the process of aesthetic interaction the viewers{\textquoteright} consciousness would make a contribution(s). Chapter Five, in turn, takes a theoretical turn in accounts for the role of conceptual schemata in the creation as well as the cognition of manuscript illustrations. The Conclusion considers the parallel phenomenon of ssehnamecilik in the contemporary Ottoman Empire and the crucial differences apparent in its approach to myth, history and illustration.}, keywords = {Art of the Middle East/North Africa}, author = {Wood, Barry} } @mastersthesis {8934, title = {The Shaping of Imperial Order: Rome{\textquoteright}s Porticoed Enclosures from the Late Republic to the High Principate and the Question of Hellenistic Antecedents}, year = {2002}, school = {UC Santa Barbara}, abstract = {From the Imperial fora of the city center to the great temple precincts of the Campus Martius and other surrounding areas, porticoed enclosures largely defined the visual experience of Imperial Rome. These monumental, inward-looking spaces, open to the sky and surrounded by high enclosure walls with colonnaded porticoes, were amongst the most visible and imposing architectural entities of the Imperial capital. "The Shaping of Imperial Order" reexamines traditional scholarly interpretations of the origins and meaning of these enclosures by framing the question of antecedents in terms of a continuous local tradition of "imperial" architectural patronage dating back to the first half of the second century BCE. By that time, soldiers had begun the custom of acclaiming their victorious commander as imperator, a title that carried unmistakable regal connotations that were incompatible with traditional Republican magistracy. Following his triumphant return to Rome, the ambitious imperator would commission a portico-cum-temple complex as the ultimate symbol of his personal authority as well as the peace and prosperity brought about by his military achievements. As my examination of ancient testimonia demonstrates, such porticus triumphalis were unknown in Rome before the Macedonian wars of the 160{\textquoteright}s and 140{\textquoteright}s BCE. Through a consideration of literary sources and epigraphic evidence together with an analysis of architectural and sculptural ensembles, my study isolates the Macedonian wars as the precise historical moment in which victorious commanders appropriated the porticus as a triumphal monument from longstanding Greek tradition of victory stoas. By way of a specifically Pergamene connection, imperatores of the late Republic turned to Hellenistic monarchial models of propaganda in constituting the new signifier of power par excellence in Rome. This revised interpretation of antecedents allows for a new reading of the messages Romans received from the celebrated porticoed enclosures of their city, revealing the architectural strategy by which a new class of rulers promulgated their authority and new guiding fictions during Rome{\textquoteright}s transition from Republic to Empire.}, keywords = {Architectural History/Historic Preservation, Greek/Roman Art}, author = {Senseney, John} } @mastersthesis {8919, title = {Shaping the Future, Wearing the Past: Dress and the Decorated Female Body among the Afran Qallo Oromo in Eastern Hararghe, Ethiopia}, year = {2002}, school = {Emory}, abstract = {Oromo women live as traders, wood carriers, shepherds, and farmers in and around the ancient trade center of Harar in Hararghe Province, Ethiopia. They have lived with the uncertainties of drought, famine, war, and political unrest for several generations and experienced poverty, disease, and severe restrictions in personal freedom. These same women, both young and old, adorn themselves with an array of body modifications and supplements. This study seeks to understand why these women decorate their bodies in particular ways and why they invest so much time and effort in doing so. These questions will be addressed first by tracing the historical development of dress from the mid-nineteenth century to the present, then through an investigation of the changes brought about in the Oromo social system during this period, and finally by a closer examination of the objects activated on the body in particular contexts. This narrative of dress will uncover further ideas about the decorated body as an aesthetic and symbolic system as it relates to the construction of history, identity, and aesthetics. In order to locate the form, function, and meaning of dress and the decorated body in history and cultural practice, this thesis is divided into two parts. The first half examines the history in which formal and symbolic choices have been made in coiffure, jewelry, clothing, and skin markings. In particular, this section explores Oromo dress in relation to trade, the introduction to Islam, the disintegration of traditional Oromo institutions, and the political changes brought about by the incorporation of Harar into the Ethiopian Empire. The second half of this dissertation focuses on the use of dress and the decorated body as a means of examining Oromo social discourse. Here the body serves as a framing device to further explore the socially marked stages that occur in a woman{\textquoteright}s life as she moves from childhood through old age. In both the broad, historical overview and the more specific, body-centered investigation of dress, several diametrically opposed tensions resurface in the meanings of various body art practices. These include concealing versus revealing, repelling versus attracting, beautifying versus disfiguring, and tying versus cutting. It is my intention that these ideas function as conceptual threads that bind the two analytical approaches in writing together.}, keywords = {African Art (sub-Saharan), Decorative Arts/Textiles/Design History}, author = {Klemm, Peri} } @mastersthesis {9091, title = {Skin Deep: Authorship, Authenticity, and Picturing a Self in American Art since the 1970s}, year = {2002}, school = {Boston}, abstract = {This dissertation examines the work of a select group of artists active in New York City from the 1970s to the 1990s-Sylvia Sleigh, Joan Semmel, Cindy Sherman, Adrian Piper, Carrie Mae Weems, and Jimmie Durham-who explored issues of authorship and authenticity, gender and race, through the representation of a self. In four chapters I will argue that each of the artists-by exploring, exploiting, and subverting the traditional decorum of self-portraiture-challenged the genre{\textquoteright}s entanglements with a rhetoric of exclusivity and mastery. By pressuring the genre and asserting their own self-conscious agency, they reinvented and expanded both the discourse and the forms of "picturing" a self. Chapter One examines the works of Sleigh and Semmel, artists who drew upon the historical authority of painting as they appropriated and reformulated the existing forms of self-representation. In Chapter Two I examine the early photographs of Cindy Sherman, an artist of a younger generation who seemed disinterested in projects of revision and reformation. Sherman re-enacted cinematic images of female identities, which constituted a set of those very types from which Sleigh and Semmel had sought distance. Her double-directed and ironic restatements contrast with the emphatic paintings of Sleigh and Semmel. Chapter Three analyzes the photographic work of Adrian Piper and Carrie Mae Weems, as well as the paintings of Emma Amos, as they placed race as well gender in tension with self-representation. Chapter Four turns to the work of Jimmie Durham, an artist of Native American descent, who challenged conventional expectations of authentic Indianness in his self-portraits. Through parodic invention he moved beyond the apparent impasse of repetition, reversal, and substitution. With humor as well as critical insight, these seven artists manifest the complexity of negotiating their identities within the terms of a traditional genre. This dissertation concludes that the shift from self to subject offers unique possibilities for the exploration of identity in a culturally diverse world.}, keywords = {Post-1945 World Art}, author = {Wilcox-Titus, Catherine} } @mastersthesis {8927, title = {Some Observations on Visigothic Architecture and Its Influence on the British Isles: More Spanish Symptoms}, year = {2002}, school = {Louisville}, abstract = {This dissertation employs a comparative method to examine the similarities between the church plans of Visigothic Iberia, the mid-sixth through the late-eighth century, and Anglo-Saxon Britain. The comparative study of these two architectural groups relies on evidence from the archaeological record, contemporary literary descriptions, and on-site analysis. Three aspects of church design are taken into consideration-elements used to achieve separation within the churches, i.e. chancel barriers, choir screens, and full walls; the presence of eastern chambers, i.e. sacristies; and complicated subdivisions. The use of these architectural elements is found to be similar between the Visigothic and Anglo-Saxon churches. In order to account for these similar architectural features, the contemporaneous liturgies of these two periods, the Mozarabic and the Celtic, are analyzed for comparable liturgical practices. It is found that both rites possessed an elaborate ceremony of preparation, which would have required sacristies, as well as other comparable ritual formulae. Therefore, it is proposed that Visigothic and Anglo-Saxon architecture responded to similar liturgical exigencies. In addition, it is hypothesized that the Celtic rite, like the Mozarabic, is preoccupied with issues of separation between the clergy and the laity. Sixth- and seventh-century Spanish church councils address these issues and are, interestingly enough, attended by British churchmen from the British See of Britonia established in Galicia. Generally, it is found that the space considerations within Visigothic and Anglo-Saxon church architecture are remarkably similar as are their liturgical practices. Furthermore, the architectural planning and liturgical practices of both Iberia and the British Isles recall Eastern, Syrian, liturgical practices and architectural planning. Such Eastern influences are known to have been present in Iberia and such ideas may have been disseminated to the British Isles by way of contacts between Iberia and the North. Historical, archaeological, literary, and epigraphic evidence are examined to establish the connections which existed between Iberia and the British Isles demonstrating that liturgical and architectural influences between these two geographic areas are probable.}, keywords = {Architectural History/Historic Preservation, Early Medieval/Romanesque/Gothic Art}, author = {Higgs-Dinwiddie, Jamie Lynn} } @mastersthesis {9008, title = {Speculating Daguerre}, year = {2002}, school = {Harvard}, abstract = {Although celebrated for his invention of the daguerreotype and contributions to the development of photography, Louis Jacques Mande Daguerre{\textquoteright}s work as an artist has remained relatively unknown. By exploring his career as a theatrical set designer, Salon painter, inventor of the Diorama, and lithographer, the thesis reinterprets the commonly accepted connection between Daguerre{\textquoteright}s art and photography, which until now has been based upon vague notions of realism or mechanical reproduction. Interpreted as slick and illusionist, Daguerre{\textquoteright}s oeuvre has been left out of general accounts of 19th-century modernism, which are more concerned with "painterly" avant-garde productions. Similarly, his printmaking experience is normally considered important only as far as it is related to the development of the photographic multiple. Concentrating on Daguerre{\textquoteright}s extant work, I explore early 19th-century stage design, the history of painting on transparent supports, the use of optical instruments in landscape representation, and Daguerre{\textquoteright}s printmaking experience.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Pinson, Stephen} } @mastersthesis {9127, title = {Storytelling on Stone: The Patterns of Visual Narrative Intention on Ancient Khmer (Cambodian) Temples}, year = {2002}, school = {UC Berkeley}, abstract = {This dissertation is concerned with patterns of visual narrative intentions on ancient Khmer (Cambodian) temples. Visual storytelling on ancient Cambodian temples does not follow Aristotle{\textquoteright}s definition of a narrative which requires a beginning, a middle, and an end. Instead, we see stories from many different texts told on stone relief s; these reliefs are to be viewed according to ritual as well as pairing patterns. Moreover, the content and formal appearances of these stories mirror one another. This project focuses on the visual narrative of one text, the Ramayana, a Hindu epic poem and examines how this text contributes to the narrative programs of four temples dated between the tenth and twentieth centuries. Essentially, this project explores the intersection between visual storytelling, ritual, power, and patronage.}, keywords = {South/Southeast Asian Art}, author = {Ly, Boreth} } @mastersthesis {9090, title = {Strategies of Institutional Critique in Recent American Art}, year = {2002}, school = {Rochester}, abstract = {This dissertation, "Strategies of Institutional Critique in Recent American Art," examines the critical strategies of the kind of art known as institutional critique. "Institutional critique" is a term which entered art criticism in the 1980s to describe works that, since the 1960s, have commented upon their position within the institution of art-that is, within art{\textquoteright}s material and discursive frame or context. Focusing on works commissioned or occasioned by museums, the dissertation analyzes how the practice of institutional critique positions itself in relation to the contexts of institution and audience. Informed by Michel Foucault{\textquoteright}s work on the processes of discursive legitimation and Judith Butler{\textquoteright}s work on the strategies of performative reiteration, I argue that the art of institutional critique draws much of its critical potential from the very legitimacy that institutions grant to works of art within their sphere. Composed of thematic chapters, the dissertation begins with an introduction that discusses institutional critique in the art criticism of the 1980s and 1990s and outlines the different approach I take to the subject. Following this, the first chapter analyzes the diversity of aims already at play during the 1970s in works by three central artists, Michael Asher, Daniel Buren, and Hans Haacke. The following chapters focus on various aspects of the structures that enable, even as they limit, selected works of institutional critique, through close analyses of 1980s and 1990s works by artists Michael Asher, Sophie Calle, Andrea Fraser, Louise Lawler, Gerald McMaster, Julia Scher, Rirkrit Tiravanija, Fred Wilson, and the institution of the Museum of Jurassic Technology. Chapter Two analyzes the figure of the artist as both an object of critique and a necessary point of identification. Chapter Three considers the role of the museum through an analysis of four archives-based projects. Chapter Four goes beyond this institutional base to discuss strategies of address and how they mediate between the artist, institution, and audience. Chapter Five explores the question of audience participation and the ethical dimension of solicited interactions between the artist, a work of art, its host institution, and an audience.}, keywords = {Post-1945 World Art}, author = {Peltomaki, Kirsi} } @mastersthesis {8917, title = {The Struggle for Art at the End of Apartheid}, year = {2002}, school = {Columbia}, abstract = {This dissertation examines debates about the definition of "art" and "community" within the history of the production of art in South Africa, with particular emphasis on Johannesburg during the 1980s and generally covering the period 1976-1996. It posits that in South Africa during the 1980s a formalist art aesthetic borrowed from America was harnessed as a sociological phenomenon, as a means to creating community against the grain of the social separateness of Apartheid. A history of the educational constraints which beset black artists, and the extent to which they were restricted by the market and by liberation politics to a limited set of self-referential styles is sketched. The extreme political polarization of the art world in South Africa after the Culture and Resistance Festival in Gaborone in 1982 is described. The relationship of South African art, especially that made by its black African practitioners, to international polemics about the nature of abstract art during the Cold War is then explored. One art workshop where nonfigurative art was experimented with, the Thupelo Project in Johannesburg, is singled out as a case study. The thesis is three-fold: it establishes the extent to which the making of {\textquoteright}black{\textquoteright} modernist culture in South Africa had as its condition of possibility a multicultural, nonracial social and aesthetic space-what I term {\textquoteright}grey areas{\textquoteright}; it describes the critical juncture and foment of political and aesthetic crises of representation during the end years of Apartheid; and it demonstrates the inextricability of the history of internationalist involvement from local revolutionary ideas about a future South African national identity.}, keywords = {African Art}, author = {Peffer, John} } @mastersthesis {9048, title = {Studies in the Programmatic Statuary of Roman Asia Minor}, year = {2002}, school = {IFA/NYU}, abstract = {Multi-story columnar facades with statuary set within them were erected on a wide variety of building types in Roman Asia Minor. Such impressive sculptural monuments became ubiquitous in this prosperous region of the Empire by the second century AD. The sculptural displays set within these facades, which are the focus of this study, allowed for the rich expression of the varying cultural, political, and social values upheld by their patrons. This dissertation collects and presents the best preserved and published public statuary programs set within columnar facades from Roman Ephesos, Perge, and Side. Of critical importance is the fact that each of the sculptural displays analyzed within this study has a documented architectural context. This study demonstrates that a large part of a program{\textquoteright}s effect and meaning was gained from its context, from the relationship of the statues to one another and to the architectural setting in which they were erected. Where the evidence permits, reconstructions of the original design and installation of these programs are provided. The aim of this dissertation, however, is not to propose detailed archaeological reconstructions, but to analyze the broad cultural implications projected by these carefully conceived monuments. Earlier studies have tended to overlook the programmatic nature of these displays, analyzing the statues individually from the perspectives of style, date, and attribution. This study applies, instead, a thematic and contextual approach. By examining three prosperous urban centers from Roman Asia Minor, a wide variety of columnar buildings can be considered, which ultimately demonstrates that the sculptural decoration of building types such as libraries, nymphaea, and city gates, could be linked to the buildings{\textquoteright} functions and their cultural associations. In addition to addressing the appropriateness of subject matter to building type, this dissertation also illustrates that issues such as urban locale, local history, patronage, and political identification with Rome could affect the selection of subjects represented within columnar facades.}, keywords = {Greek/Roman Art}, author = {Chi, Jennifer} } @mastersthesis {9051, title = {Subject and Symbolism in Historical Battle Reliefs of the Late Classical and Hellenistic Periods}, year = {2002}, school = {UNC Chapel Hill}, abstract = {The depiction of historical battles has long been held to be a theme absent from ancient Greek narrative relief, wherein scenes of warfare traditionally focused on allegorical and mythological conflicts, principally Amazonomachies, Gigantomachies and depictions of the Trojan War. Historical battle narrative is instead usually believed to have begun in the western world with the frieze decorating the victory monument of the Roman general Lucius Aemilius Paullus, constructed at Delphi in 168 B.C. In spite of this widely-held view, several reliefs dating to the Late Classical and Hellenistic periods have been individually identified as depicting historical battles, although they have yet to be discussed as a thematically-unified group. This dissertation proposes that the earliest steps from allegorical to historical battle reliefs can be demonstrated as having taken place in Athens during the late fifth century B.C. with the depiction of the Battle of Marathon on the south frieze of the Temple of Athena Nike, while during the fourth century B.C., artists in Lycia blended Greek sculptural forms with traditional Near Eastern and Anatolian motifs to create fully historical battle reliefs on the funerary monuments at Xanthos and other sites, highlighting the military accomplishments of their dynastic patrons. It is further proposed that the symbolic and propagandistic value of these battle reliefs appears to have led to their use on select funerary and other monuments of Late Classical and Hellenistic rulers, and that the necessary narrative and symbolic elements for historical battle narrative were already in existence by the time Greek artisans sculpted the battle frieze for the victory monument of Aemilius Paullus at Delphi.}, keywords = {Greek/Roman Art}, author = {Karakas, Scott} } @mastersthesis {9135, title = {Succeeding Rodin: Emile-Antoine Bourdelle and the Making of a New Sculptor for France, c. 1900-1931}, year = {2002}, school = {Rutgers}, abstract = {This dissertation contextualizes the critical reception of the sculptor, Emile-Antoine Bourdelle within the milieu of political and cultural conservatism in France between 1900 and 1931. Focusing on French texts published on Bourdelle during this period, it elaborates the ways in which the rhetorical language of this discourse succeeded in asserting conservative, nationalist ideologies before World War I and during the post-war "Return-to-order." Central to this examination is the issue of Bourdelle{\textquoteright}s replacement of Rodin as the new sculptor for France, a pervasive motif within the discourse that betrays a newly masculine prescription of sculptural identity. It explores how his masculinized status was concomitant to the ideology of national reconstruction and exclusivity. Bourdelle{\textquoteright}s sculpture, writings and behavior are investigated to elucidate disparities, correspondences and reciprocity that existed between him and his critics. Bourdelle emerges as politically motivated sculptor who fashioned a resolute national profile against a more complex and sometimes contentious private identity. This study relies on first-hand analysis of the critical texts on Bourdelle and Rodin in combination with primary source material of this period. It also relies on the corroboration of secondary historical and cultural studies produced contemporaneously and later. Finally this dissertation posits that this criticism and Bourdelle{\textquoteright}s role in it, provided an effective, and as yet unexplored, vehicle for the propaganda of French cultural supremacy. In so doing, it provides new enrichment to the understanding of the history of art and politics in early twentieth-century France, and new possibilities for the examination of sculpture in this period. Finally, this dissertation offers a substantive American contribution to Bourdelle scholarship that heretofore was lacking.}, keywords = {Twentieth-Century Art}, author = {Rose, Gabrielle} } @mastersthesis {8923, title = {The Sultan Hasan Complex in Cairo, 1357-1364}, year = {2002}, school = {IFA/NYU}, abstract = {This dissertation discusses the Sultan Hasan Complex in Cairo, 1357-1364, one of the most significant examples of Mamluk architecture. The focus of the study is on the architecture and decoration of the Complex in its historical, urban and stylistic context. It suggests that the appearance and the stylistic features of the Complex are derived primarily from the development of Mamluk architecture in the last decade prior to its construction. It also links several of the Complex{\textquoteright}s features to buildings constructed by earlier sultans from the Qalawunid Family. By establishing a chronology for the construction of this Complex, this study suggests that only three major parts of the present edifice belong to its original scheme. It discusses the plan, elevation and decoration of these parts and links them to the development of Mamluk architecture in Egypt and Syria in the two decades after the death of Sultan al-Nasir Muhammad in 1341. This study also explores the distinct nature of the design of the Sultan Hasan Complex, which reflects the individual function of its components on one hand, and on the other, incorporates these components into a unified architectural and decorative scheme. This study includes preliminary reconstructions of the geometric grids that underline the composition of the plan and some of the elevations in the Complex. It also identifies common compositional schemes that permeate the organization of the surface decoration of the building; and suggests that the building embodies a conscious attempt to integrate the plan, elevation and decoration in a harmonious composition. It analyses the Complex{\textquoteright}s stylistic features and links them to Cairene and Syrian sources, and proposes that its features reflect the design of manuscript illuminations and woodwork, as well as earlier Cairene and Syrian buildings. It also situates this building within a broader regional context and in particular considers its connection to Ilkhanid culture. Finally, this study concludes with an examination of the careers of two individuals who might have designed the Sultan Hasan Complex.}, keywords = {Architectural History/Historic Preservation, Art of the Middle East/North Africa}, author = {Kahil, Abdallah} } @mastersthesis {9130, title = {Svend Wiig Hansen (1922-1997): The Human Figure in Art after World War II}, year = {2002}, school = {Louisville}, abstract = {Wiig Hansen is virtually unknown in international contexts but is well established in the history of the arts in Denmark. He was equally important as a sculptor, a painter, a print maker and a draughtsman. The purpose of the present study is to demonstrate that his work should be accorded a place within the international art scene of the second half of the twentieth century. The author{\textquoteright}s thesis is that traditional views of this period fail to leave room for an artist whose oeuvre was devoted exclusively to expressive images of the human figure. The bias against intellectually- and emotionally-charged figurative art account for the fact that Wiig Hansen remains entirely absent from surveys of modern art. In the post-World War II climate with its prevalent skepticism, works that reflected an idealistic and expressive concept of the human form were destined to be ignored. However, in retrospect, it may be seen that Wiig Hansen preceded the significant return to expressive figuration in the last quarter of the century, and that the failure of critics and historians to comprehend his work has generated a serious lacuna in extant literature. In Chapter I the author circumscribes motifs and themes in Wiig Hansen{\textquoteright}s work in order to indicate the scope and impact of his use of the human figure. The discussion is focused on the artist{\textquoteright}s practice of articulating his thoughts almost exclusively through human images that function as signs and convey meaning without the use of objects and sceneries. Chapter II is a review of critical positions and major trends that affected the role of the human figure in post-World War II art at large. Wiig Hansen{\textquoteright}s art is seen in the light of the gradual revival of figuration that, in the last quarter of the century, gained prominence in the Italian Transavantgarde artists{\textquoteright} and the German Neo-Expressionists{\textquoteright} use of the human form. In Chapter III the author traces elements in Wiig Hansen{\textquoteright}s background that may have motivated his concentration on human forms. These include the artist{\textquoteright}s experience of the Nazi occupation, his larger public commissions, and his acquaintance with the poet and art critic, Ole Sarvig. Chapter IV presents a wide historical view, as the author endeavors to place Wiig Hansen{\textquoteright}s oeuvre in the broad perspective of the modern age, from Renaissance and post-Renaissance art to twentieth-century modernism and post-modernism.}, keywords = {Twentieth-Century Art}, author = {Christensen, Jesper} } @mastersthesis {9075, title = {The Symbolist Portraiture of Berthe Morisot}, year = {2002}, school = {Iowa}, abstract = {This dissertation presents a study of Berthe Morisot{\textquoteright}s portraiture within the context of late nineteenth-century French culture. Focusing upon specific works executed in the second half of her career (1880-1895), this study takes as an essential premise Morisot{\textquoteright}s ardent embrace of the genre of portraiture as a means to express the widest possible compass of her ideas on art. In her late portraits Morisot responded to new ideas about individual personality and human identity advanced in the writings of biologists, physiologists, and psychologists during the nineteenth century. In doing so she expanded the boundaries of portraiture, the genre of painting most sensitive to changes in notions of personal identity. Morisot demonstrated for her contemporaries the singular potential of the painted portrait as a medium for the expression of the sublime depth and complexity of human nature. Focusing upon representations of women and children (infants, children, and adolescents) this study treats the themes of kinship, friendship, nature and the natural, music, and dreams presented by the artist. This dissertation also examines how Morisot revived and reformed select subjects and motifs of French Rococo and Romantic art for modernity and responded to the Symbolist aesthetic of seeking universal meaning within the circumstances of the everyday, mundane world. Often overlooked in recent considerations of Morisot and her art is the extent to which she transformed her practice of painting in the decades following the last Impressionist exhibition in 1886. Invigorated by new professional opportunities and associations, inspired by new friendships and progressive ideas about art connected directly to her meditations on Symbolist aesthetics, Morisot produced paintings in the second half of her career that were entirely different from the works for which she has been best remembered. One of the central objectives of this study is to restore Morisot{\textquoteright}s legitimate place of leadership within the Parisian avant-garde and to demonstrate the extent to which her ideas were respected and her art valued by her peers. To understand Morisot{\textquoteright}s achievements she must be accepted as an intellectual-an associate mover of new ideas and ideals in late nineteenth-century French art.}, keywords = {Nineteenth-Century Art}, author = {Hopson, Robert R.} } @mastersthesis {8950, title = {A Taste for Landscape: Studies in American Tonalism}, year = {2002}, school = {Delaware}, abstract = {Although today Impressionism receives scholarly attention, and great support from museum-going audiences, not all Americans at the close of the nineteenth century embraced this style. Instead, during the 1890s and first decade of the twentieth century, a group of collectors and critics identified and encouraged a tonalist style as an alternative to Impressionism. This style emphasized harmonious modulations of color and old master techniques. The tonal aesthetic is the subject of this dissertation. In order to examine the tonalist aesthetic, this investigation centers on four distinct subjects, a private club, a collector, an artist, and a major exhibition. The club is the Lotos Club, which promoted a tonalist style through its exhibition program. The collector is William T. Evans, chair of the Lotos Club{\textquoteright}s Art Committee, and one of the most influential collectors of this era. The artist is Henry Ward Ranger, a spokesman for the tonalist style and an active member of the Lotos Club. The exhibition is the 1904 Comparative Exhibition of Native and Foreign Art which privileged tonal painting over other styles. An analysis of these topics presents a clearer understanding of taste, painting, and collecting at the end of the nineteenth century. What will become apparent is that the contrasting colors and broken brushwork of Impressionism did not match the taste of many of the largest and most influential collectors of contemporary American painting.}, keywords = {Art of the United States}, author = {Becker, Jack} } @mastersthesis {9020, title = {Text into Art: The "Chronica Dominicana" and Tomaso da Modena{\textquoteright}s Chapter House Frescoes at San Nicolo in Treviso}, year = {2002}, school = {Oregon}, abstract = {The fourteenth-century frescoes by Tomaso da Modena in the Chapter House at the Dominican convent of San Nicolo in Treviso, Italy and their iconographic program have been the subject of numerous studies, but none have explained the meaning and organization of this painted cycle in a convincing way. In this study I propose that the Chronica Dominicana, authored by the early-fourteenth century Dominican historian Bernard Gui, was used by the planners of the iconographic program. It contains all the categories rendered visible in the wall paintings; in addition, the friars named in the text coincide precisely with those depicted on the walls; the reasons for their portrayal can also be found in this textual source. The Chapter House frescoes are thus important both as a historical record of the Chronica itself and as a translation of text into artistic image. In order to fashion his chronicle, Gui assembled, revised, and augmented material from contemporary authors, most notably Stephen of Salagnac, his close associate and fellow Dominican historian. Gui acknowledged his debt to Salagnac by carefully identifying his own additions and revision to Salagnac{\textquoteright}s work. To explain and corroborate his history, Gui also used texts written by other contemporary Dominican scholars and historians. Taken as a whole, Gui{\textquoteright}s oeuvre and that of his predecessors explain the frescoes and frame them in the context of Dominican thought and politico-religious ideology. Adopting Gui{\textquoteright}s method of using many textual sources, I utilize interdisciplinary methods to analyze medieval Dominican art and texts with a view to developing a new understanding of the iconography of San Nicolo{\textquoteright}s Chapter House frescoes.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {West, Priscilla} } @mastersthesis {9007, title = {Theodore Gericault{\textquoteright}s {\textquoteright}Erotic{\textquoteright} Drawings Reconsidered as Exercises in Composition and Invention}, year = {2002}, school = {Virginia Commonwealth}, abstract = {This dissertation examines selected works within a group known in the scholarship as Theodore Gericault{\textquoteright}s "erotic" art (1815-19). The primary goal of this study is to argue that, although these works have sexual content, the way the artist reworks them reveals that he used such subjects as the raw material for a process of artistic self-reinvention. Consequently, they function as academic exercises in composition and invention, the practice and theory traditionally prescribed as fundamental for artists. From this process of artistic self-reinvention emerged a new formal vocabulary, which was essential to the development of his artistic ability to create complex compositional schemes as typified by the Raft of the Medusa (1819). Quotation marks appear around the word "erotic" because this dissertation seeks to demonstrate that, although these works have "erotic" qualities, they should not be primarily labeled as or known in art history as such. It also establishes a link between the direction of this artistic development and the political, social, and cultural events that followed the fall of the First Empire in 1814. Indeed the results of Gericault{\textquoteright}s self-reinvention began to emerge around 1816 when he began depicting current events such as the new sciences (archeology, anthropology, and psychiatry), street scenes, horse races, and sociopolitical events. In short, the goal of this dissertation is to broaden the scope of the scholarship by shedding light on a fundamental stage of Gericault{\textquoteright}s development through an examination of the events that triggered it and an understanding of the creation that emerged from it, such as the Raft of the Medusa.}, keywords = {Drawings/Prints/Works on Paper, Nineteenth-Century Art}, author = {Casey-Del Priore, Kimberly Beth} } @mastersthesis {9089, title = {Theorizing the Anti-Avant Garde: Invocations of Phenomenology in Architectural Discourse, 1945-1989}, year = {2002}, school = {MIT}, abstract = {My dissertation is an intellectual history of "phenomenology," as it came to be understood within architectural discourse during the Cold War. The principal thesis is that contacts with phenomenology were at the crux of the 1970s shift from modernist to postmodernist thinking in architecture. I support this thesis through critical analyses of the work of Ernesto Rogers, Charles Moore, Christian Norberg-Schulz, and Kenneth Frampton, who are largely credited with introducing phenomenology to architecture, and with the expansion of the debates on Postmodern architecture to include issues of human-environment relations, such as the social function of traditional building practices, and place-bound identity politics. At present their invocations of phenomenology are often charged with a naive essentialism generally understood to be inconsistent with postmodern thought. This dissertation takes issue with that simplistic view by providing a more complete account of their contributions to architectural thinking. It situates each author in the context of the historical emergence of a new type of architectural avant-garde practice, that of the historian, which to this day has received little scholarly attention. I argue that they are important transitional figures, whose work is enframed by both the closing stages of a postwar modernist understanding of architecture and the opening stages of postmodernist epistemologies. Around their interest in phenomenology cohered an intellectual formation that I call the anti-avant-garde, to situate it within the 1970s debates concerning the terms of architectural avant-gardism. The anti-avant-garde opposed the autonomy of practice or theory, charging equally against the formalism of neo-avant-garde architects such as Peter Eisenman, and against the self-sufficiency of theory proclaimed by critical historians like Manfredo Tafuri. Instead, the anti-avant-garde asserted a theory of "authentic" experience, in which theory and practice became indistinguishable. I argue that this put the anti-avant-garde in the contradictory position of having to efface its own theorizing. This dissertation critically evaluates the anti-avant-garde{\textquoteright}s full impact in architectural thinking and pedagogy by laying bare its theoretical program. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Post-1945 World Art}, author = {Otero-Pailos, Jorge} } @mastersthesis {8962, title = {Thomas Eakins and Antiheroic Modernism}, year = {2002}, school = {Iowa}, abstract = {The traditional literature on Thomas Eakins reflects a perception of his legacy as a double myth of heroism: that of the heroically unflinching realist who fearlessly recorded the visual facts, no matter how unpleasant that "truth" might be for his viewers or how detrimental to his career; and that of the artist whose work celebrated heroic, contemporary individuals. Although recent scholarship has examined Eakins more critically, this legacy has emerged, for the most part, intact. Eakins might have complicated his subjects, but they are still the heroes of their own pictorial dramas. In much of Eakins{\textquoteright}s work, however, the ostensible heroism of his subjects and protagonists is pictorially undermined by artifice, reflexivity, an anti-narrative impulse, a modernist self-consciousness, and an engagement with modern spectacle. New readings of three series of works that span his career and are generally considered formally academic-the Rush, cowboy, and boxing pictures-demonstrate that his work is both more modernist in nature than usually acknowledged, and less heroic. The modernist subjectivity that has been widely attributed to his late portraits actually characterizes paintings throughout his career, and his conflicted representations of femininity and masculinity boldly reconfigure traditional ideas about physical propriety, figural relationships, and genre boundaries. My methodology is largely feminist and deconstructionist, employing modernism, gender, and antiheroism as overlapping structural elements. The project{\textquoteright}s major goal-to present an in-depth re-reading of these series of paintings, has three primary aspirations: to dispel any lingering illusions of Eakins as a heroic figure who painted heroic figures, to challenge the privileging of his portraiture over his genre work, and to situate the artist{\textquoteright}s oeuvre more securely within the context of early modernism.}, keywords = {Art of the United States}, author = {Paulk, Ann Bronwyn} } @mastersthesis {9002, title = {Through the Looking Glass: Engagements with History and the Decorative Arts in Britain, 1870-1910}, year = {2002}, school = {UC Berkeley}, abstract = {This dissertation explores four critical moments in which the decorative arts intersected with the writing of history in late nineteenth- and early twentieth-century Britain. Chapter 1, "The Phoenix in the Carpet: Textiles and the Imperial Imagination," examines the ways in which the pressing concerns of empire merged with the historiography of Indian decorative arts and the collecting, importation, and sale of Indian carpets. This chapter presents a close reading of cultural narratives about carpets and assesses how these narratives informed, or were themselves informed by, complex ideas about empire, domestic space, and the exotic. Victorian fascination with the Italian Renaissance lies at the heart of Chapter 2, "Critical Fortunes: Cellini, Homosociality, and the Making of Jewelry." This chapter investigates the curious late nineteenth-century revival of interest in Benvenuto Cellini, a Cinquecento sculptor and goldsmith, in light of the homosocial environments of guilds and workshops and the production of Arts and Crafts jewelry. Chapter 3, "Penelope{\textquoteright}s Web: Embroidery and Women{\textquoteright}s History," studies relationships between women as producers of embroidery, as patrons of embroidery, and as historians of the craft. The central argument of this chapter is that the practice of embroidery allowed women to claim a long tradition of preserving history through a visual, rather than verbal, medium. Chapter 4, "The Anxiety of Influence: Britain and Art Nouveau," deconstructs the language from a series of debates about art nouveau in the early years of the twentieth century in order to shed light on aesthetic and nationalist concerns about the future of the decorative arts. This chapter argues that Celtic design provided an analogous but indigenous visual language to the abstract forms of the "foreign" visual language of art nouveau. The particular pasts explored in each chapter (Indian, Renaissance, women{\textquoteright}s, and Celtic) are interpreted through the lens of one particular group of objects (carpets, jewelry, needlework, and various objects produced under the rubric of art nouveau) and through writing, both historical and critical, about those objects or styles. Issues of nostalgia, memory, power, gender, sexuality, and nationalist anxieties weave together the chapters of this dissertation.}, keywords = {Decorative Arts/Textiles/Design History, Nineteenth-Century Art}, author = {Olsen, Kara} } @mastersthesis {8942, title = {Traumatic Repetition: Mimicry, Melancholia, Performance}, year = {2002}, school = {Rochester}, abstract = {This dissertation studies how the traumatic impact of pain and illness can affect artistic collaborations based on mimicry, melancholia and performance. It focuses specifically on contemporary forms of performance that address these issues through a range of media that include photography, film, installation, and performance art in order to consider how contemporary theories of trauma relate to strategies of representation, constructions of identity, and cultural difference. Because collaborative performance suggests that bodies are mutually dependent and mutually defining, it raises questions about the dynamics of identification and desire and considers how such works address embodied forms of difference in an intimate and direct way. It also offers a crucial site for investigating how cultural anxieties about illness, sexuality, and race rest within larger questions of representation. Responding to a critical and theoretical tendency to treat race, illness, and sexual orientation as separate and unrelated categories of analysis, this study uses an interdisciplinary approach that draws from feminism, queer theory, art criticism, performance studies, and postcolonial criticism. I argue that one of the strengths of collaborative performance is its intimate and direct insistence on the materiality of bodies as the site of intersubjective identification and difference. The research is based on case studies in performance including the works of Angela Ellsworth and Tina Takemoto; Jo Spence and Rosy Martin; Hannah Wilke and Selma Butter; Bob Flanagan and Sheree Rose. Challenging cultural assumptions about public and private relations between two people, these artists deploy the proximity of bodies as both subjects and objects of performance. Through these various couplings, this study examines how physical and psychological effects of illness across two individual bodies impact the public and private representations of illness in artistic practice, and how the socially-deemed monstrous effects of illness, aging, and medical intervention relate to anxieties about racial and sexual difference. In conclusion, it assesses the critical importance of collaborative performance as a continuing engagement with intersubjective identities, placing particular emphasis on embodied and relational subjectivities.}, keywords = {Art Criticism and Theory}, author = {Takemoto, Tina} } @mastersthesis {9045, title = {The Traveling City: Representations of Rio in U.S. Films, Travel Accounts and Scholarly Writing (1930s-1990s)}, year = {2002}, school = {Binghamton}, abstract = {From the 1930s, Rio de Janeiro has occupied a privileged position within U.S. culture, not merely as a tourist destination and a tropical scenario for commercial movies, but also as a theoretical challenge to scholarship. U.S. tourists and travelers, film crews and Brazilianists, have helped to transform Rio into a traveling city-a geographic, cultural and spatial icon, the various representations of which have traveled around the world. Consisting of four parts, this dissertation examines how Rio, as a traveling city, offers a distinctive ground for the U.S. collective entity to encounter, empirically or virtually, an exciting Other and, as a consequence, encounter with the repressed aspects of its own self. The first part, The Spatialities of Representation, covers two theoretical areas of reflection. Chapter one, The City and Its Representations, identifies some of the ways in which the city has been represented within different intellectual traditions and how these systems of representation have changed over time. The second chapter, Visiting/Inventing/ Describing The Other and Its Spaces, examines the relationship between colonialism/post-colonialism, travel, film and cultural representations of otherness. The second part, Welcome to Cosmopolitan Paradise (1933/1950s), takes the reader on a journey to a theoretical place where travel narratives, Hollywood musicals, the Good Neighbor Policy, the emergence of a tourist industry in Brazil, and Carmen Miranda, meet. The third part, Hollywood Gives Way to Academy: Brazilianists and the Re-invention of Rio (1960s-1970s), provides a brief overview of U.S. academic production, providing a backdrop for a closer analysis of Janice Perlman{\textquoteright}s well-known, and influential text, The Myth of Marginality. The most recent production of U.S. film makers and travelers{\textquoteright} tales about Rio, and the dynamics behind the radicalization of the image of the city and its representations as a threatening place, is the theme of the last part, Images of Heaven in Hell ( 1980s-1990s). U.S. representations of Rio are examined in transdisciplinary terms, and approached as part of a broader intertextual discourse, which extends from the erudite to the popular. The methodology appeals to the interweaving of examples not only from cinema and travel culture, but also, of those two forms of representation with others from photography, architecture, and academic discourse. By tracing different historical and political phases, in different media, the dissertation has aimed to avoid generalizations that could have lead to misrepresentations of the relationship between the two nations.}, keywords = {Film/Video}, author = {Freire-Medeiros, Bianca} } @mastersthesis {8972, title = {The Triptych of "Daoist Deities of Heaven, Earth, and Water" and the Making of Visual Culture in the Southern Song Period (1127-1279)}, year = {2002}, school = {Yale}, abstract = {This interdisciplinary study of three Daoist paintings depicting the pantheon of the Three Officials (sanguan) in the Museum of Fine Arts, Boston proposes a new way of viewing and thinking about Chinese religious paintings. By addressing issues of image-making, imperial patronage, regionalism, and religious practice, this study shows how these Daoist images shed light on painting practices and ritual performances in twelfth- and thirteenth-century China. The various chapters of this dissertation propose a sequence for studying the Boston triptych: from the opening stage of its production to when it was finished and used in a ritual context. The quality of the Boston triptych links the three paintings to a small body of extant works previously attributed to earlier painters or simply treated as anonymous works. Together, they belong to the little-studied Southern Song imperial collection and workshop production. Stylistic analysis of the Boston triptych and comparison with figure, landscape, bird-and-flower paintings, and Buddhist prints from the metropolitan Hangzhou region and the provincial Ningbo region suggests that it can be dated to the late twelfth to early thirteenth century. The Boston triptych is a powerful visual statement that documents the intricate intersection of image-making and religious practice. Its encyclopedic array of the deities of Heaven, Earth, and Water (tianguan, diguan, shuiguan), spirits, and a human ghost suggests that it was a set of efficacious images (ling xiang) used in a Daoist mortuary ritual huangluzhai, similar to a Buddhist shuilu hui. Both the Daoist canon and ethnographic sources have shown that paintings like the Boston triptych were hung alongside other painted deities in Daoist rituals, the common repertoire of which included sending petitions to the gods, summoning them to a ritual, warding off evil spirits, and exorcising human souls. The Boston triptych should be considered in such a performative setting. Its positioning in ritual and its style signify the efficacious presence of the mobile cosmic powers summoned by the Daoist practitioners to restore the universe to a natural order governed by the Dao.}, keywords = {Chinese Art}, author = {Huang, Shih-shan Susan} } @mastersthesis {9009, title = {Twentieth-Century Photography}, year = {2002}, school = {Duke}, abstract = {Every year, nearly every school child in the United States sits for a school portrait photograph. This dissertation examines the history of school portraiture as it emerged in the 20th century, first considering the fine art work of Frances Benjamin Johnston, who was commissioned to photograph students at: the Hampton Normal and Industrial Institute; the Carlisle Indian School at Carlisle, Pennsylvania; Tuskegee Normal and Agricultural Institute; the Military Academy at West Point; and the Naval Academy at Annapolis. Johnston{\textquoteright}s photographs reveal tensions between portraiture, documentary, and corporate photographs produced for public relations. Although independent studios began producing yearly, individual, bust portraits of every student in schools around 1920, contemporary school portrait practices coalesced with the formation of the Professional School Photographers Association International in 1951. This industry organization fostered cooperation between school photographers and established technical standards. The PSPA also provided studios with a collective voice audible to the populations they served and the material suppliers upon which they depended. Many contemporary artists employ school portraits directly in their work or reference the idiom of school portraiture, which emphasizes the particular identity of each subject and artifact while operating through ritualized repetition. The formal simplicity of school portraits permits artists and audiences alike to cathect a wide variety of meanings and functions into these images.}, keywords = {Drawings/Prints/Works on Paper, Twentieth-Century Art}, author = {Rosenblatt-Farrell, Noah} } @mastersthesis {8982, title = {Undermining the Museum: The Rhetorics of Michael Asher, Marcel Broodthaers, Daniel Buren, Hans Haacke and Louise Lawler}, year = {2002}, school = {CUNY}, abstract = {This dissertation brings together the work of Modern and Postmodern artists who have addressed the issue of the museum, both as institution and as space, within their own practices in order to make it speak with a different voice. From Courbet to Louise Lawler-by way of Marcel Duchamp, Jean Dubuffet, Robert Smithson, Marcel Broodthaers, Daniel Buren, Michael Asher and Hans Haacke-these artists have brought to light the different contexts in which art is displayed and distributed within capitalist society. Unlike the interventions of most of their fellow artists, theirs bear upon the conditions governing the exhibition and dis-semination of art, rather than on the making of new objects for the market. The museum and gallery nexus can be viewed as an enunciatory system in which art dealers, critics, curators and scholars display materials and presentation procedures, catalogues and symposia, educational training sessions and public education tours, museum architecture and exhibition design, acquisition policies and de-accessioning practices-all of which help to form and establish a specific vision of art. Similarly, the strategies of artists who intervene on this level are aimed at bringing other possible discourses to the fore, and at transforming the conventional system of art distribution. I have examined, both diachronically and synchronically, how the most significant artists to have addressed the issue of the museum have also inscribed their work within a broader cultural context that includes the market-place. From Courbet to Lawler, all of the artists who have drawn my interest show a concern with the economic dimension of art circulation. It has, therefore, become impossible to separate this system into one side that articulates aesthetic standards, and another that makes art profitable. In fact, the link connecting them is shown and analyzed throughout this dissertation, as it was explored, appropriated or otherwise used by the artists I am examining.}, keywords = {Contemporary Art}, author = {Cummins, Louis} } @mastersthesis {9054, title = {Untangling the Muses: A Comprehensive Study of Sculptures of Muses in the Greek and Roman World}, year = {2002}, school = {Harvard}, abstract = {This dissertation considers sculptures of Muses, both free-standing and relief, spanning the Greek Archaic through Roman Imperial periods. Iconographic and contextual (literary, historical, architectural) components are examined. The dissertation aims to untangle the unsystematic presentation of Muse sculptures in the existing scholarly literature. This study presents a new classification system for Muse iconography that simplifies the existing typology by offering ten categories, or formats, into which all Muse sculptures, both repeated versions (types) and free versions, can be classified; digital images are incorporated directly into the classification chart. The study proposes that Hellenistic Muse types were created in the burgeoning intellectualism of the late fourth and early third century BC; furthermore, these types can be viewed as products of the prominent Hellenistic cities, such as Antioch, Alexandria, and Pergamon. The contextual component of the study enables a broad interpretation of Muse sculptures to emerge. Muses in their literary contexts are characterized by numerous dualities, not least the Muses{\textquoteright} status as Nymphs; this duality finds parallels in Muse sculptures that incorporate the iconography of Nymphs. Likewise, inconsistencies in assigning realms and attributes to specific Muses can be found in both ancient texts and sculpture. Historically, the popularity of the Muse cult increased in the Hellenistic period, perhaps resulting in an increased production of Muse sculptures. Specifically, in the early third century BC the Alexandrian Mouseion was established, and soon afterwards the Valley of the Muses received large-scale architecture (altar, theater, stoa) and instituted festivals to the Muses (Mouseia). The study further proposes that architectural settings strongly influenced the iconography of the sculptures, for instance their physical dimensions and sculptural type. Additionally, the study shows that Muse sculptures complemented the messages of their settings: dramatic (in the theater); intellectual (in baths and libraries); nymph-like and rustic (in nymphaea); and prestigious (in villas). This dissertation hopes to show that a more complete understanding of Muse sculptures can be achieved through a revised study of their iconography and an examination of their literary, historical, and architectural contexts.}, keywords = {Greek/Roman Art}, author = {Taback, Natalie} } @mastersthesis {8922, title = {Vigilant Things: The Strange Fates of Ordinary Objects in Southwestern Nigeria}, year = {2002}, school = {Yale}, abstract = {For the Yoruba people of southwestern Nigeria, aesthetics is inextricable from ethics. But the objects that have been discussed under the privileged banner of Yoruba art history can not contend with the full range of Yoruba aesthetic practice. In Yoruba culture the beautiful object is a visual guidepost of moral excellence, proffering in form the attributes and rewards of good behavior and fine character. Conversely, there are other objects- made things, intended to be seen and understood-that offer no such recourse to the beautiful. Created to protect properties from the ravages of thieves, aale are assemblages of common objects that are often ruined or broken, or that signify such a diminished condition of being. Worn-out shoes, corn-cobs, snail shells, rags, shards of broken pottery or rusted metal-when "useless" objects such as these are displayed as aale they become aworan, images "we look at and remember," intended to compel moral identification by triggering the work of conscience. Aale encode in legible symbolic form the consequences of transgression: disease, loss, barrenness, poverty, madness, and death. They are abstract portraits of "the thief," a person who is no longer regarded as a person as such. In this mode of representation, which in every case inverts the most tenaciously held cultural ideals of excellent personhood, aale constitute a Yoruba anti-aesthetic. Until now, aale have not been examined at any length in the vast literature on Yoruba visual culture. Yet the humble, often degraded objects that comprise aale reveal as eloquently as any canonical artwork the channels of power that underlie the surfaces of the visible. Aale objectify the processes of transformation by which powerful institutions in Yoruba society transform persons into subjects. Working through metaphor and analogy, aale also detail in miniature the terms by which such institutions punish transgressors, transforming subjects into objects. They tell us much about what it means to see, to be seen, and indeed, to be in Yorubaland. Further, in present-day Nigeria-where crimes such as theft, armed robbery and unchecked governmental corruption have become everyday concerns-aale have become allegorical.}, keywords = {African Art (sub-Saharan)}, author = {David Doris} } @mastersthesis {8966, title = {Vijayanagara: Architectural Style, Patronage, and Kingship (1336-1485)}, year = {2002}, school = {Columbia}, abstract = {This dissertation focuses on early temple architecture and patronage under the Sangama kings of Vijayanagara (ca. 1336-1480s). Vijayanagara is located on the banks of the Tungabhadra River, near pilgrimage center of Hampi in the modern state of Karnataka. This city was the capital of three successive dynasties that built medieval southern India{\textquoteright}s largest imperial formation. Vijayanagara kings, their subordinates and other elites sponsored the construction and renovation of temples in the city and across the kingdom. Most patrons eulogized their work in inscriptions. Architectural and inscriptional rhetoric was part of an evolving discourse on power. The material remains of their collective endeavors challenge current theories of architectural style, patronage and state formation in pre-modern India. I study the resignification of temple space, the appropriation of architectural styles, and the relationship between deities, temple space, patronage, and sectarian practices. I also discuss these issues in relation to questions of state formation, social ranking and resource distribution. This is the first study that analyzes temple construction, renovation and expansion both in the city and in the larger kingdom. My work is also the first to take single monuments and simultaneously address questions of architectural idiom, temple space and donative inscriptions. This dissertation will critique existing scholarship, propose new interpretations and offer a new methodology. Based on inscriptional and archeological data, I put forth four arguments. First, architectural idioms and spaces created a scale of cultural forms that marked and produced the status of the patron, the god and the devotional community. The choice of idiom was contingent and responsive to local and imperial concerns. Second, multiple elite groups sponsored temple construction and renovation. Their patronage acts, like temple styles, were ranked within the temple and provided different classes of people the opportunity for social mobility. Third, the temple facilitated devotional and pragmatic transactions. Religious patronage produced and represented kin, devotional, professional and service affiliations. These affiliations were central to Sangama state formation. Four, temple foundation and renovation were part of an internal and larger discourse of history and politics.}, keywords = {Asian Art}, author = {Garimella, Annapurna} } @mastersthesis {9128, title = {Violence and Serenity: Late Buddhist Sculpture of Indonesia}, year = {2002}, school = {UC Berkeley}, abstract = {Various attempts have been made to understand the Buddhism of Central Java, especially as reflected in ancient statuary and archaeological monuments, but little effort has been expended on examining the Buddhist sculpture of the East Javanese period (circa tenth-fifteenth centuries). This thesis examines Buddhist sculpture in Indonesia, concentrating on Javanese and Sumatran works from the thirteenth and fourteenth centuries. In most cases these statues are affiliated with the rulers of the Singasari or Majapahit dynasties, although several are also associated with the Sumatran ruler Adityawarman. The Sumatran images discussed were found at the ancient archeological sites of Padang Lawas, Muara Jambi, and the Upper Batang Hari. The sculpture of this period is not only breathtakingly beautiful, but also an important key to a deeper understanding of the histories of Java and Sumatra. This thesis helps explicate the cultural significance of artistic production, focusing on the role of royal patronage, the impact of local cultures, the position of sculpture in religious ceremony, and the function of statuary in a political context both in the past and today. My methodology includes not only a close art-historical examination of works of art and their sites of origin, but also a necessary exploration of relevant epigraphical, archaeological, literary, and religious sources. After an introductory chapter discussing the history of Buddhism in the region, each of the subsequent chapters revolves around a single statue, or group of statues. These include the so-called Joko Dolok from Surabaya, the famous Prajnaparamita from Singasari, the Amoghapasa mandala from Candi Jago, the Heruka from Padang Lawas, and a colossal Bhairawa from Padang Roco. This study analyzes the relationship between these sculptures and the form of Buddhism practiced by native rulers, exploring specifically what role art played in the political as well as religious arena. In addressing this question, I am interested not only in identifying how these images may be placed into the Buddhist pantheon, but how they were used-what were their aesthetic, religious, political and performative functions?}, keywords = {South/Southeast Asian Art}, author = {Reichle, Natasha} } @mastersthesis {9125, title = {The Virgo inter Virgines: Art and the Devotion to Virgin Saints in the Low Countries and Germany, 1400-1530}, year = {2002}, school = {Pennsylvania}, abstract = {This dissertation presents the first systematic study of the Virgo inter virgines, or Virgin among the virgins, theme. Works of art that depict the Virgin and Christ Child surrounded by Early Christian virgin martyrs were produced in significant numbers in Northern Europe between 1400 and 1530. These varied from panel paintings and prints, to manuscript illuminations and sculpture, and served as both communal altarpieces and private devotional images. Despite this evidence, there has never been an attempt to analyze the Virgo inter virgines as a devotional theme. This study is broadly divided into two parts. The first half traces the development of the Virgo inter virgines theme from its origins in late fourteenth-century Germany, to its appearance in Flanders later in the fifteenth century. Although current scholarship on the Virgo inter virgines universally focuses only on the Flemish examples, it will be shown that the theme originated in the German city of Cologne and surrounding province of Westphalia. Only after the theme spread throughout Germany did it appear in Flanders. Moreover, it will be argued that the artist Hans Memling introduced the theme into Flanders. The second part of this dissertation examines the Virgo inter virgines{\textquoteright} place within the contemporary devotional climate, and seeks to uncover what the works of art would have meant to their primary audience, religious women. The veneration of the Virgo inter virgines was in response to the intercessory powers of Mary and the saints, but also closely reflected, and supported, the Immaculate Conception, the hotly debated belief that Mary was conceived without sin. Although the Virgo inter virgines was venerated by a wide audience, it was most popular with religious women. The majority of works of in this study came from convents. The specific iconography of the images, with their emphasis on enclosure, contemplation, and veneration of the Christ Child provided ideal models of devotion for the nuns, whose own existence was so closely mirrored in the works of art.}, keywords = {Renaissance/Baroque Art}, author = {Weed, Stanley E.} } @mastersthesis {8952, title = {The Visionaries{\textquoteright}: Archer and Anna Hyatt Huntington-Patrons of American Sculpture}, year = {2002}, school = {CUNY}, abstract = {This dissertation seeks to demonstrate that philanthropist Archer Milton Huntington (1870-1955) and his wife, sculptor Anna Hyatt Huntington (1876-1973) were major public benefactors whose generous gifts advanced numerous cultural institutions and art organizations during the first half of the twentieth century. The legacy of Archer and Anna Hyatt Huntington is a little known chapter in American art and cultural history, which begs to be rediscovered and revealed. The recognition the Huntingtons so rightly deserve inspires this study. I propose to demonstrate that the Huntingtons{\textquoteright} deliberate philanthropy and visionary efforts had an enduring impact on American art. Their dedicated patronage provided for, and maintained artistic conventions and traditional aesthetics in 20th century American sculpture and their generous philanthropy promoted and made accessible to the public, American academic sculpture.}, keywords = {Art of the United States}, author = {Brazeau, Linda} } @mastersthesis {9003, title = {Visions of Modernity: The Architectural Landscape of the 1925 Exposition of Decorative Arts, Paris}, year = {2002}, school = {UC Santa Barbara}, abstract = {The 1925 Exposition of Modern Decorative Arts in Paris represents a moment in the history of architecture when the very meaning of "modern architecture" was up for grabs. Two years prior to the Deutscher Werkbund{\textquoteright}s Weissenhofsiedlung in Stuttgart, Germany, and seven years before Henry-Russell Hitchcock and Philip Johnson coined the term "International Style," architects in France offered an eclectic assortment of architectural approaches that they considered "modern" on some level. Yet architectural historians like Sigfried Giedion and Hitchcock and Johnson quickly formulated strict definitions of modern architecture that excluded the bulk of architecture that had been created during this period of intense experimentation and creativity. In this dissertation I examine the architectural landscape of the exposition, comparing the variety of French "modernisms" on offer. The exposition featured what today is called the Art Deco style; I refer to this as modern classicism. This was a stripped-down classicizing style produced largely by Beaux-Arts architects who updated the French classical tradition. The exposition was also a showcase for architectural regionalism, a neo-vernacular style widely used in the rebuilding of France following the First World War. Like modern classicism, it utilized modern building materials and technologies while at the same time maintaining a connection with French traditions. Finally, the exposition included experimental works such as Robert Mallet-Stevens{\textquoteright} Pavilion of Tourism and Le Corbusier{\textquoteright}s Esprit Nouveau pavilion. In contrast to the first two trends, both reflected an awareness of international developments. Historians have emphasized the differences among these trends, ignoring the concerns shared by architects of all three: the use of reinforced concrete and the development of an aesthetic appropriate to it; the rejection of the pre-war "modern" style of Art Nouveau; the response to the "call to order" prevalent in France after the war; and adherence to Structural Rationalism as the hallmark of the modern. Two of these trends-modern classicism and experimental architecture-shared certain formal concerns such as a geometrical aesthetic and an apparent connection with popular notions of cubism. The 1925 exposition shows us that modern architecture in 1925 was infinitely more complex and varied than it has been remembered.}, keywords = {Decorative Arts/Textiles/Design History, Twentieth-Century Art}, author = {Hornbeck, Elizabeth} } @mastersthesis {8953, title = {Visualizing the Nineteenth-Century American City: Lithographic Views of San Francisco, 1849-1905}, year = {2002}, school = {UC Berkeley}, abstract = {During the nineteenth century, lithographers issued thousands of views of American cities-from hamlets with urban aspirations to great metropolises. This flood of popular, affordable images was a response to the demographic, cultural, and economic changes that saw the United States transformed from agrarian republic to urban, industrial empire. This dissertation pairs these under-studied prints with other documents, such as contemporary newspapers, in order to place them in their social and cultural context and explore issues of building identity-individual, local, and national-via property. San Francisco was uniquely emblematic of both the forces of change at work in the metropolis and the nineteenth-century belief in an ideal American city. Located on the western seaboard, it occupied the geographical culmination of the journey told in a mythology of urban progress. Ideologically, that journey was oriented toward an ideal city which would cap America{\textquoteright}s "natural" development from wilderness to civilization. The lithographs acknowledged an actual place while stretching toward alternate visions of the city which existed in the past, future, or in a better world. These alternate visions force a re-evaluation of the prints{\textquoteright} much-vaunted accuracy. By assessing the conventional pictorial languages-based on the picturesque and the sublime-that developed in lithographic urban description, this dissertation identifies those urban features particularly important for contemporary viewers. A watershed change in the views{\textquoteright} conventional language, occurring at the Civil War, reveals a powerful shift in the way the city was conceptualized. The lithographs fostered and replicated communal experience, demonstrating how individual responses to the city could be shaped and reinforced in dialogue with others in the community. The means by which the views were produced created a symbiotic relationship between viewmaker and viewer in which the former anticipated and incorporated the values of the latter, and the latter accepted the visual codification of those values. Ultimately, the prints illustrate the prominence of certain modes of seeing, describing, and defining the nineteenth-century, American city. The lithographs are celebratory, but also reflect the effort required to make the city knowable in the course of great change, and in the space between ideal and actual.}, keywords = {Art of the United States}, author = {Breskin, Isabel} } @mastersthesis {9033, title = {The West Choir Screen of Naumburg Cathedral and the Formation of Social and Sacred Space}, year = {2002}, school = {Columbia}, abstract = {The mid-thirteenth-century west choir of Naumburg Cathedral has long been admired both for its unified architectural design and for its unusually naturalistic and expressive statuary, especially its twelve life-sized donor figures. Because the architectural and sculptural ensemble, executed by a single team of artists over the course of a decade, has survived in situ, it also offers an exceptionally rich case study of the communicative role of images in the architectural, liturgical, and social setting of the medieval church. This dissertation analyses the sculptural works, especially those attached to the choir screen, as part of a larger network of images and performance that imbued the interior with meaning for people of various social stations. I begin by situating the program within the local history of the bishopric, focusing on the career of Bishop Dietrich II of Wettin, under whose guidance the west choir was constructed. Part One deals with the choir screen as a furnishing that simultaneously separated and united liturgical spaces (choir and nave) and social groups (clergy and laity). I locate the Naumburg west screen within a wider context of screen production in France, Italy, and Germany, before examining the spatial dynamics of the Naumburg church in particular. Part Two investigates three aspects of the crucifixion portal at the physical and iconographic center of the program. Using categories derived from Turner{\textquoteright}s analysis of ritual symbols, I discuss the exegetic meaning of the crucifix (its emphasis on bodily and psychological suffering), its operational meaning (its role in liturgical performance) and its positional meaning (its place within the network of images in nave and choir). Part Three turns to the narrative reliefs lining the screen{\textquoteright}s upper story, which present Christ{\textquoteright}s Passion in unabashedly secular terms. Two chapters analyzing modes of social differentiation within this pictorial world offer new interpretations of the images{\textquoteright} unusual iconography, pointing out their relevance for lay congregants who occupied the nave. I conclude by placing the reliefs within a broader context of thirteenth-century clerical efforts to win the attention of laypeople, both through verbal rhetoric and through a subtle, but no less deliberate, rhetoric of images.}, keywords = {Early Medieval/Romanesque/Gothic Art}, author = {Jacqueline Jung} } @mastersthesis {8958, title = {White Fantasies: Dirt, Desire, and Visual Culture in Late Nineteenth-Century America}, year = {2002}, school = {Indiana}, abstract = {This dissertation shows how the late nineteenth-century interest among artists in female "purity" was inextricably bound to a fear and fascination with "dirt." Challenging previous scholarly assessments, which view the wholesome depiction of women in art as an unquestioned American ideal or, more recently, as an antifeminist reaction to women{\textquoteright}s changing social roles, I argue that for artists these "milk white angels of art" disguise a deeper set of concerns. Through the analysis of works by Abbott Thayer, George de Forest Brush, Thomas Dewing and Augustus Saint-Gaudens, I consider how artists negotiated the apparent contradictions at stake in creating "high" works of art based on models who were lower-class-and sometimes immigrant-working women, coded as "dirty" in Gilded-Age America. In some cases, the discourse of racial whiteness provided artists a convenient ideological veil, concealing their models{\textquoteright} underlying "dirtiness." In other cases, "filth" was constructed in relationship to the blight of modernity, with its urbanization, industrialization and "crass" commercial culture. Using artists{\textquoteright} letters and personal writings as evidence of these interests, I demonstrate how painted and sculpted images of refined white women were conceived as a means of covering over artists{\textquoteright} anxious cultural concerns. Based in rural New England artists{\textquoteright} colonies, in Dublin and Cornish, New Hampshire, these artists used the image of woman as a "pure" ideal to cleanse their art and, by extension, themselves, of a surrounding "contaminated" environment.}, keywords = {Art of the United States}, author = {Lee, Elizabeth Lightfoot} } @mastersthesis {9087, title = {Yvonne Rainer{\textquoteright}s Media: Performance and the Image, 1961-1973}, year = {2002}, school = {Stanford}, abstract = {Using an interpretive method, this study of the performance work of US artist Yvonne Rainer (1934- ) argues for her centrality, both as a leading figure of the postwar American avant-garde, and as an artist who engaged the wider culture{\textquoteright}s growing concern with the effects of mass media on social and cultural experience. Although as "live art" performance is often assumed to be more immediate than other artistic practices, with a more direct connection between artist and audience, the documents of Rainer{\textquoteright}s performance work of the period 1961-73 reveal that immediacy and connection were issues of great complexity-even anxiety-in her practice. Rainer{\textquoteright}s performance was itself hypermediated: rife with appropriation, quotation, and mixed-media elements, and self-consciously engaged with both photography and film. But her work also engaged the conditions of media-saturated society on a deeper, structural level. This occurred through a set of linked preoccupations with the body, vision, attention, and time. Through studies of works like Rainer{\textquoteright}s dance Trio A and her film Lives of Performers as well as the records of less well-known projects, this dissertation proposes that Rainer{\textquoteright}s concern with spectatorship-its dynamics, meanings, and above all, its limits-makes her work invaluable for understanding the artistic response in the 1960s to the transformation of culture and society by mass media.}, keywords = {Post-1945 World Art}, author = {Carrie Lambert} } @mastersthesis {8831, title = {The Active Spectator: Art and the Viewer in Ancient Greece}, year = {2001}, school = {Bryn Mawr}, abstract = {The way in which ancient Greeks responded to works of art has recently been the focus of study by classicists and art historians. The emerging consensus has stressed the importance of accompanying inscriptions in drawing the viewer into an interactive relationship with art. The present study examines ancient Greek texts from the fifth century B.C. through the third century A.D. that preserve evidence of the interaction of the spectator with works of art. It demonstrates that the ancient Greek viewer was an active and vocal participant in the viewing process, in ways that are far more complex than the models that have been suggested. The normal mode of viewing for the ancient spectator is to be characterized as emotionally engaged, social and vocal. The ancient viewer used sculpture as a catalyst for discourse and social interaction, whether or not the work of art was accompanied by an identifying inscription. The spectator relied equally on previous knowledge, local informants, or inscriptions in order to identify the subject of a work of art. In the absence of these sources of information, the viewer engaged in speculation, altering or creating meaning in the process of viewing. While maintaining awareness that the work of art was a lifeless object, the spectator became emotionally involved in the viewing process. The ancient viewer engaged in play, dissolving the boundary between himself and the object, and allowing himself the conceit of becoming a witness to the events portrayed or the individuals depicted. This study of ancient viewing practice emphasizes the role of the viewer in creating and assigning meaning to works of art through active discourse. It suggests a new paradigm for viewing practice in antiquity that remained consistent over time, was independent of the level of sophistication of the viewer, and existed without the need for an identifying inscription associated with the work of art. Sculpture, for the ancient viewer, functioned as a trigger for memory, a didactic tool, and a means of reinforcing and transmitting cultural identity. The active participation of the viewer was a necessary element of a social process.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Rusnak, Terrance J., Jr.} } @mastersthesis {8804, title = {Adam Elsheimer{\textquoteright}s Artistic Development in Relation to the Mannerist and Early Baroque Styles}, year = {2001}, school = {Bryn Mawr}, abstract = {Adam Elsheimer (1578-1610), a German-born artist who lived the last decade of his life in Rome, has long been recognized for his distinctive painting style. Since his own time, critics have paid particular attention to the naturalistic elements in Elsheimer{\textquoteright}s work. This trend continues in modern scholarship, where he is usually identified as a pioneer of the Early Baroque style. Few scholars, however, discuss Elsheimer{\textquoteright}s painting in the context of the other dominant artistic mode at the turn of the seventeenth century, maniera, or its corresponding period style now identified as Mannerism. Studies that recognize Elsheimer{\textquoteright}s use of Mannerist elements usually argue that he abandoned this style in order to develop an Early Baroque naturalism. This conception of Elsheimer{\textquoteright}s artistic development as an essential progression towards an innovative style remains accepted in current scholarship, where it is often used to both generate and support dating arguments. This study challenges this view of Elsheimer{\textquoteright}s style. Following a discussion of the historical context of the Mannerist and Early Baroque styles, I define the formal elements characteristic of each. I then demonstrate that in the paintings that are widely accepted as authentic, the two styles are identifiable in single paintings that have typically been identified as Early Baroque alone. Elsheimer continued to use Mannerist elements while he developed an innovative Early Baroque style, and did not follow an identifiable progression from one style to the next. I discuss the implications of this finding for the dating of Elsheimer{\textquoteright}s paintings on the basis of style. I also speculate that the disinclination to identify Elsheimer{\textquoteright}s ongoing interest in the more traditional style reflects both a lingering prejudice against Mannerism, and a continued emphasis on Elsheimer as an innovator who influenced later, important artists.}, keywords = {Baroque and 18th-Century European Art}, author = {Lang, Michelle} } @mastersthesis {8772, title = {The Afterlife of Images: Memory and Painting in Mid-Nineteenth Century France}, year = {2001}, school = {Johns Hopkins}, abstract = {This study forms an inquiry into the role of memory in artistic practice and theory within French Realism from 1848 to 1870. A reading of texts of the period reveals how the insistence on personal observation was often coupled with troubling questions about the ways of storing and retrieving visual impressions. Memory was believed to possess creative potential, but was also suspect, due to its autonomy. The importance of this discussion for contemporary conceptions of the making and viewing of art is demonstrated through the analysis of case studies from various fields: painting, art pedagogy, art theory, and criticism. The first chapter analyzes memory{\textquoteright}s role in the artistic theory of Hippolyte Taine and the criticism of Horace Vernet{\textquoteright}s painting. This analysis shows how memory was related to questions about spontaneity, automatism, and volition in the making of art. The second chapter forms a discussion of the educational project of Horce Lecoq de Boisbaudran and its reception in pedagogical circles. An examination of his training method for visual memory the memorization of models, and the reproduction of images stored in memory. Next, the engagement with memory in artistic practice is examined in the work of two major artists of the period: Edouard Manet and Alphonse Legros. Legros used the memory technique he learned from Lecoq de Boisbaudran as an instrument for the triggering of mental images. The iconography of meditation in his early work is read in parallel with discussions on voluntary hallucination in the medical milieu. Finally, the presence of pictorial quotations in Manet{\textquoteright}s paintings of the 1860s is questioned in relation to the spectator{\textquoteright}s memory of artistic tradition. The references to past art are interpreted as a strategy to negotiate the memory images which intercede in the viewing of his work.}, keywords = {19th- and Early 20th-Century European Art}, author = {Thielemans, Veerle} } @mastersthesis {8849, title = {Andre Breton{\textquoteright}s Aesthetic Theory, 1914-1937: From Psychiatry to Surrealist Art}, year = {2001}, school = {Boston}, abstract = {Andre Breton (1896-1966) was the primary force behind the formation of the Surrealist movement and theory. Although scholars have identified Sigmund Freud as having an influence on Surrealism{\textquoteright}s visual material, this dissertation reveals that, in addition to Freud, the writings of Jacques Moreau de Tours, Emil Kraepelin, Pierre Janet, Frederic Myers, Theodore Flournoy, Jean-Martin Charcot, and Joseph Babinski had a significant influence on Breton{\textquoteright}s aesthetic theory. This interpretation is based on text and image analysis, focusing on the visual materials in Breton{\textquoteright}s books Nadja and L{\textquoteright}Amour fou as well as in his Surrealist magazines Litterature and La Revolution surrealiste . Chapters 1 and 2 trace the literary and psychiatric sources that influenced Breton{\textquoteright}s Surrealist experiments with automatism. Chapter 1 covers the period 1914-18, the years that Breton studied medicine. This marks the starting point in Breton{\textquoteright}s interest in the creative language of the insane. Chapter 2 covers the period 1918-24, focusing on Breton{\textquoteright}s experiments with automatic writing and drawing and with hypnotic experiments. The work of this period reveals influences from Freud{\textquoteright}s method of psychoanalysis and the concept of free association, Janet{\textquoteright}s experiments with automatism, Myers{\textquoteright}s study of spiritism, and Flournoy{\textquoteright}s concept of "cryptomnesia." Chapters 3 and 4 are close readings of Breton{\textquoteright}s books Nadja (1928) and L{\textquoteright}Amour fou (1937). Chapter 3 focuses on Nadja{\textquoteright}s intellectual context, examining parallels between the Surrealist concept of "objective chance" and the Freudian unconscious, and on Breton{\textquoteright}s erotic language and the illustrations in Nadja. Links to Babinski{\textquoteright}s and Charcot{\textquoteright}s studies of hysteria emerge through a textual analysis and an iconographic comparison of Nadja{\textquoteright}s illustrations, including the previously overlooked photographs of Charcot{\textquoteright}s "hysterical" patient Augustine at the Salpetriere Hospital. Chapter 4 establishes the textual and visual continuity between Nadja and L{\textquoteright}Amour fou, and examines how the blurred limits between sanity and insanity in Nadja expand in L{\textquoteright}Amour fou as an investigation of the balance between subjective and objective reality. In L{\textquoteright}Amour fou, Breton includes photographs by Brassai, Man Ray, and Henri Cartier-Bresson to achieve this end. Based on his investigation of subjective and objective reality, Breton developed his concept of "convulsive beauty"-his own contribution to the literary psychiatric discourse first inspired by his medical teachers.}, keywords = {Photography and Film}, author = {Spinari-Pollalis, Tatiana} } @mastersthesis {8779, title = {On the Animation of the Inorganic: "Life in Movement" in the Art and Architecture of Modernism, 1892-1944}, year = {2001}, school = {UC Berkeley}, abstract = {From film and television to architecture and even to the global market economy, we evolve and dissolve in a computer (re)generated culture which is increasingly possessed by the omnipotent spirit of "animation." With this dissertation, I want to locate the modern origins of animation as a collective fantasy by inquiring into discourses of simulated life and movement- Lebendigkeit, Beweglichkeit-which evolved from the equally anxious and analogously "animated" psychological landscape of the preceding fin-de-siecle. Originated in the "enslaved" columns of Vitruvius, incorporated in Renaissance doctrines of proportion, echoed in classical theories of physiognomy and caractere and scientifically researched in the formulations of empathy theory in nineteenth-century German aesthetics, discussions of pneumatism, spiritism or animism of forms have proved to be implicitly central in the foundational discourses of art and architectural theory. However, starting with the physiological conception of the sublime in the eighteenth-century, the "body metaphor" mutated from a harmonious exterior morphology into an organic inner pathology affecting the organisms of statues, buildings and modern metropolises. Within this shifting ground, in fin-de-siecle Europe, the artistic drive, Alois Riegl{\textquoteright}s Kunstwollen, presents an inflection, marking the shift from empathy theory to what Wilhelm Worringer calls "the uncanny pathos for the animation of the inorganic." My main argument, is that empathy, the ability for identification with the external world, was fundamentally repressed by modern egos, thus, it had to return metamorphically projected and reified into the inorganic form of the animistic artifacts of twentieth-century modernism. The dissertation has two sections. The first deals with animation in turn of the century historiography and the second presents the practice of animation in early twentieth-century avant-garde movements in Germany and France. Moving from mythology to history and from psychoanalysis to social anthropology and natural history, I rehearse the effort of modern discourse to invent new totemic orders between crystals, trees, snakes, houses and human bodies. Bringing together Warburg{\textquoteright}s nymphs and Leger{\textquoteright}s nudes, Ovid{\textquoteright}s Daphne and Mies{\textquoteright}s skyscrapers, this project ultimately attempts to replicate a Mnemosyne atlas of the inorganic fragments and reanimated fossils of modernism{\textquoteright}s "living" archaeology.}, keywords = {Art Criticism and Theory}, author = {Papapetros, Spyros} } @mastersthesis {8904, title = {The Archaeology of Baldassarre Peruzzi{\textquoteright}s Architectural Drawings}, year = {2001}, school = {Virginia}, abstract = {This dissertation clarifies the contributions made by Baldassarre Peruzzi (1481-1536) to sixteenth-century architecture and architectural theory by placing him within a historical context and by comparing his drawings of ancient Roman architecture with the work of his contemporaries. I argue that Peruzzi{\textquoteright}s drawings demonstrate an analytical and scientific approach to studying the monuments that reflects the objectives outlined by Raphael in his Letter to Pope Leo X of 1519/20. However, Peruzzi distinguished himself from Raphael by not fully reconstructing the buildings in graphic form. Furthermore, Peruzzi{\textquoteright}s attitude towards Vitruvius distinguishes his work from that of Antonio da Sangallo the Younger. Peruzzi was much less reliant on the ancient author than Sangallo, and his drawings do not reflect an effort to distill rules from the ancient monuments. Peruzzi paid dose attention to the physical objects as his source of information, that is, both their material components and architectonic qualities. His drawings demonstrate this in part through the representational methods he employed. Peruzzi used perspective, or perspective and orthogonal projection combined, to highlight the physical qualities of the monuments, thereby furthering his analytical objectives. I argue as well that Peruzzi{\textquoteright}s decision to show parts of buildings, rather than to reconstruct the missing pieces, reflects his understanding of the monuments as an assemblage of constituent elements that could be variously recombined. Peruzzi has long been understood as a major influence on Sebastiano Serlio whose publications of 1537 and 1540 introduced a new form of architectural treatise, centered on images rather than words as the primary means of conveying information. My close examination of Peruzzi{\textquoteright}s drawings reveals him not simply as a source for particular images within Serlio{\textquoteright}s third and fourth books but, more significantly, for the conceptual basis of Serlio{\textquoteright}s work. Furthermore, Peruzzi{\textquoteright}s focus on the evidence of the physical remains offered an alternative to dose reliance on Vitruvius as a source of authority. In these ways Peruzzi{\textquoteright}s drawings influenced the publications as well as built work of such subsequent architects as Michelangelo, Pirro Ligorio, Vignola, Andrea Palladio, Gianlorenzo Bernini and Francesco Borromini.}, keywords = {Renaissance Art}, author = {Huppert, Ann Claire} } @mastersthesis {8883, title = {Architecture and the Ideology of Surveillance in Modern American, 1850-1950}, year = {2001}, school = {Delaware}, abstract = {This dissertation explores multiple ways in which surveillance was incorporated into the American built environment between 1850 and 1950 and considers how it worked in different contexts as a means through which power was asserted, challenged, and negotiated. Whereas previous scholars have elaborated on architectural strategies of surveillance in prisons and other institutional settings, this dissertation examines surveillance operating through a range of building types. Exploring these strategies reveals that surveillance is more complex than previous interpretations have suggested, involving gazes which, in addition to being monocentric and disciplinary, may also be returned, dispersed, and contradicted. The first chapter evaluates the critical literature on surveillance in penal settings to show how the punitive paradigm illustrates only one aspect of surveillance in modern culture. The second chapter elaborates another aspect of surveillance, discusses surveillance in a context of efficiency. Beginning with post offices and broadening out to consider the larger landscape of work, this chapter shows how supervisors relied upon surveillance of workers to gain more control over the work environment. In the third chapter, I explore surveillance in a context of hierarchy by considering the role of surveillance in the Victorian house. Exploring the layout of Victorian houses and how they were lived illustrates how mistresses used surveillance and servants reacted to it as they affirmed, resisted, and negotiated boundaries between them. The last chapter examines surveillance in the context of spectacle at religious camp meetings, showing how reciprocal gazes between ministers and worshippers aimed to secure success of the spectacular services of which they were part. These case studies reveal that surveillance is infinitely more complex than earlier interpretations of the disciplinary gaze in punitive settings allow. By using architecture and discourse around it as evidence, this dissertation thus reveals a broader culture of surveillance lying behind and acting through the American built environment between 1850 and 1950. This dissertation also lays out a broader framework unpack the varied tangents of surveillance acting through the landscape of modernity and thus a means to work toward a more nuanced understanding of the asymmetries of power in modern culture.}, keywords = {Pre-1945 North American and South American Art}, author = {Andrzejewski, Ana Vemer} } @mastersthesis {8903, title = {Architecture, Audience, and Gender: Paintings for the Early Clarisse, Recontextualized}, year = {2001}, school = {Yale}, abstract = {Paintings from early Clarissan houses represent important evidence regarding the degree to which medieval Italian visual imagery addressed specific audiences. Established in 1211 or 1212, the order quickly grew into one of the largest organizations of female religious in Europe. This rapid growth, moreover, often included an artistic dimension, and numerous surviving images can be linked to houses of the order. Because the brand of strict enclosure practiced by the Clarisse meant that these images stood before distinct populations within the convents, a study of the images can reveal the extent of the "nunnery influence" that is a common assumption in medieval art historical scholarship. The first chapter probes the rigidity of Clarissan enclosure through an analysis of architectural and legislative evidence, and shows that images placed in the convents were often visible to either nuns or laity, but rarely to both. The next three chapters involve an attempt to create a list of works with Clarissan provenances, and to establish their likely original audience. Finally, the last four chapters involve an analysis of the paintings, with one eye cast towards their audience, and one towards comparable works executed for non-Clarissan settings. Based on the surviving evidence, it seems that correspondences between image and audience, in the case of the early Clarisse, were often overshadowed by the stronger influence of textual and pictorial traditions; alterations of form and content motivated by considerations of the gender or station of the audience are rare, and even more rarely forceful. Furthermore, there was no consistent body of imagery deployed consistently for Clarissan settings. At the most, then, Clarissan imagery might be termed a lively offshoot of Franciscan art, shaped by circumstances of patronage that were sometimes quite idiosyncratic. Ultimately, Clarissan images were shaped to suit the alleged needs and interests of specific audiences only after they had already answered more universal demands, rendering the idea of a convent art as much modern invention as medieval reality.}, keywords = {Renaissance Art}, author = {Houston, Kerr} } @mastersthesis {8873, title = {Architecture in the Age of Alienation: Paul Rudolph{\textquoteright}s Postwar Academic Buildings}, year = {2001}, school = {Harvard}, abstract = {The American architect Paul Rudolph (1918-1997) was acclaimed in the early 1960s for creating monumental buildings like his Yale School of Art and Architecture (1958-1964). His work drew upon the architecture of Frank Lloyd Wright and Le Corbusier and reflected the cultural policies of American higher education during the Cold War period. Yet by the early 70s, he had ceased to develop as an architect, his work had fallen from critical favor and his buildings were derisively called "Brutalist." This dissertation draws upon my extensive primary research as the first scholar to look at the Rudolph papers now housed in the Library of Congress. It examines three college fine arts centers (Wellesley, Yale and Colgate) and one campus plan (the University of Massachusetts, South Dartmouth) by Rudolph to explain how his buildings were "citadels for the arts" designed to preserve the humanities from the alienating effects of mass culture. To combat alienation, Rudolph used richly textured surfaces, bright colors, cantilevered forms and complex processional routes to connect the viewer with his buildings. Although Rudolph believed that he was "humanizing" modern architecture, many found his surfaces overly aggressive and his interiors confusingly labyrinthine. Paradoxically, his buildings often engendered the very alienation that they were designed to combat. This contradiction can be understood if the buildings are seen as a register of Rudolph{\textquoteright}s own alienation as he struggled to synthesize disparate elements of the modernist vocabulary while living as a homosexual man in the Cold War period. This study breaks new theoretical ground by analyzing Rudolph{\textquoteright}s so-called "Brutalism" as a form of hypermasculinity. It is a manifestation of camp-a homosexual sensibility that rose to the forefront of artistic practice in the early 60s and that was described by Susan Sontag in her well-known essay "Notes on {\textquoteright}Camp{\textquoteright}" of 1964.}, keywords = {Post-1945 World Art}, author = {Rohan, Timothy} } @mastersthesis {8810, title = {Architecture, the Press, and Public Opinion in Seventeenth- and Eighteenth-Century France}, year = {2001}, school = {Columbia}, abstract = {Based on extensive surveys of seventeenth- and eighteenth-century French periodicals, pamphlets, books, and manuscripts, this dissertation examines how architecture was affected by the emergence of a broad public opinion within a new model of public life in ancien regime France. The first chapters examine the cultural claims made on behalf of classicism by the Academie royale d{\textquoteright}architecture after its foundation in 1671, and recover examples of popular and elite resistance to those claims through the 1730s. Subsequent chapters document the sudden eruption after 1746 of widely-followed polemical battles about specific Parisian monuments, and show how these transformed architecture and town-planning into politically explosive metaphors for public life in general. The last third of the thesis then considers how an increasingly refractory debate, in which architectural proposals and criticism were made to serve a variety of social and political agendas, both reflected and contributed to an erosion of traditional architectural and social hierarchies. The dissertation concludes that these debates altered the nature of architectural communication, the shape of the profession, and the very horizons of architectural meaning for both individuals and the culture as a whole, and should be considered a founding event in the emergence of modern architectural culture.}, keywords = {Baroque and 18th-Century European Art}, author = {Wittman, Richard} } @mastersthesis {8874, title = {Art in the Information Age: Cybernetics, Information Processing, and Telematics}, year = {2001}, school = {Duke}, abstract = {This dissertation argues that the artistic use of technology demands greater recognition. Scholarship on twentieth century art generally has ignored or disparaged the artistic current otherwise known as Art and Technology. Art History has failed to recognize and incorporate into its canons the rich historical and theoretical underpinnings of this tendency. This oversight is especially conspicuous in the literature{\textquoteright}s inability to grasp how the sciences and technologies particular to the Information Age have shaped the formal and conceptual development of art since 1945. The research presented here employs a synthetic method drawing on diverse disciplines, archival research, correspondence, and personal interviews. The work of British artist Roy Ascott and American art critic Jack Burnham furnish central practical and theoretical frameworks and are discussed in detail. Their contributions support the dissertation{\textquoteright}s thesis that the cultural manifestations of the late twentieth century can be better understood by closely analyzing the scientific and technological developments that have played a central role in shaping society. This study does not privilege science and technology as the engines of discovery that drive subsequent cultural developments, but demonstrates how artists have integrated art with science and technology in a praxis that interrogates key aspects of western epistemology and aesthetics. The dissertation examines how this praxis seeks to challenge conventional models of communication, such as aesthetic exchanges in which an authorial message is embedded in an object by an artist and decoded by an audience. By contrast, many works of Art and Technology (and artists{\textquoteright} theories about them) explicitly propose that richer forms of meaning can arise from a multi-directional flow of information in discursive networks. Such works stress the processes of artistic creation and audience participation. They emphasize the dematerialized forms of ideation and collaboration rather than the materiality of concrete art objects. The dissertation problematizes these aesthetic theories, but maintains that artistic meaning in the Information Age is not embedded in objects or individuals so much as it is abstracted in the collective production, manipulation, and distribution of information.}, keywords = {Post-1945 World Art}, author = {Shanken, Edward} } @mastersthesis {8741, title = {Art in the Service of Colonialism: French Art Education in Morocco, 1912-1956}, year = {2001}, school = {Binghamton}, abstract = {The aim of this dissertation is to examine the development of the system of art education in Morocco during the French colonial Protectorate, 1912-1956. In this context, I will also explore the hypothesis that France, in its position as a ruling colonial power, used state sponsored art education to enhance its cultural hegemony over one of its principal colonial possessions. The primary focus of the research is on the system of art education designed by the French for the majority of Moroccans, including the vocational schools, the open workshops created within the Service of Youth and Sports, and the Casablanca School of Fine Arts-institutions which involved craft training and fine arts. The principle goal of the analysis is to explicate the substructures of thought and feeling that have shaped the way the French approached Moroccan arts and crafts and contributed to the formation of Morocco{\textquoteright}s visual culture. The argument is also made that, throughout the process of creating these schools, no one institution held a monopoly on truth or insight. Yet, no matter how different this form of art education was, it had a an immense impact on the attitudes of both Moroccan and French people toward Morocco{\textquoteright}s arts. A key to entangling the role of these educational institutions is to be found in the intervention made by French women in the traditional forms of women{\textquoteright}s craft production and this theme is given particular attention as also is the role Moroccans performed in maintaining these colonial institutions. The dissertation concludes with an evaluation of the attempts made by Moroccan artists towards the decolonization of their visual culture from the imprint of French hegemony.}, keywords = {19th- and Early 20th-Century European Art, African Art, Islamic Art}, author = {Irbouh, Hamid} } @mastersthesis {8754, title = {Art in the Third Reich: The Fabrication of National Cultural Identity}, year = {2001}, school = {UCLA}, abstract = {This art historical dissertation, Art in the Third Reich: A Fabrication of National Cultural Identity, analyzes how National Socialist art molded the German peoples into an "ideal" community, the Yolk, by examining the Grosse Deutsche Kunst Ausstellung in Munich, 193{\textquoteright}7. The reasons the National Socialists chose Munich as the site for this Great German Art Exhibit relate to the movement in Bavaria. Bavarian religious and cultural traditions that the Reich appropriated to construct social identity, thereby unifying society, are discussed. The dissertation explores the use of these traditions starting with the prologue to the Exhibit where the culturally related pageantry generated a desire to be a part of the new political system. At the same time it encouraged a return to the mythical ur-German roots. The museum hosting the Exhibit conveyed a contemplative, almost religious aura that excluded "degenerate" art, known to the rest of the world as avant-garde. The "democratic" milieu demanded appropriate behaviors through surveillance. This milieu and the art imposed an idea of a singular cultural identity-the Aryan. The artworks, mainly landscapes, men and women, farmers, and Hitler and his leaders, portrayed ideological themes and repetition of these themes in order to fabricate a connective tissue. The portraits of Hitler and his leaders were offered as icons, similar to those of Catholicism. By using theoretical orientations from de Certeau, Foucault, Lacan and Freud, an explanation is developed of how the "ideal citizen" was erected by the portraits of Hitler and his leaders. From the viewers{\textquoteright} experiences with the all-seer, Hitler, a sense of community was created, a kind of spiritual discourse emerged and "docile bodies" were turned into "disciplined ideal citizens." For analysis, the art of the ideal Yolk was divided by gender. Lacanian theory provides a description of the viewer identification process with these representations of the "ideal Aryan citizens," the militaristic, muscled male and the prolific, "healthy" female. This process of identity, associated with the milieu of the museum and the greater community, provides an explanation of how art was used to mold the peoples of Nazi Germany while excluding the "other."}, keywords = {19th- and Early 20th-Century European Art}, author = {Esslinger, Sandra} } @mastersthesis {8862, title = {The Art of Activism: Artists and Writers Protest, the Art Workers{\textquoteright} Coalition, and the New York Art Strike Protest the Vietnam War}, year = {2001}, school = {Yale}, abstract = {This dissertation focuses on specific examples of activism against the Vietnam War by three New York-based artists{\textquoteright} groups, roughly from 1965 to 1971: Artists and Writers Protest, the Art Workers{\textquoteright} Coalition, and the New York Art Strike. The first actions of the earliest of these groups, Artists and Writers Protest, were statements against the war, published in 1965. Two years later the group organized the Collage of Indignation, a collaborative visual antiwar statement. The Art Workers{\textquoteright} Coalition came into being in early 1969, largely in response to demands for artists{\textquoteright} rights within museums. After its founding, its platform quickly grew to broader reforms that included identifying and severing what the group saw as museums{\textquoteright} complicity with the government in its waging of the war. In early 1970 the Coalition produced the poster Q. And Babies? A. And Babies, a visual expression different in production, goals, and style from the Collage of Indignation. The New York Art Strike, which began in May 1970, was both an action and a group. Its participants included members of the two other groups, as well other, previously uninvolved artists. As an action, the Art Strike challenged museums and galleries to close in response to such events as the invasion of Cambodia. The group further pressured museums to take political responsibility and sought to gain control over the government{\textquoteright}s use of art. In not producing any visual statement against the war, the Art Strike shifted the burden of responsibility onto art institutions and artists. The dissertation examines these three groups by paying particular attention to the difficulties inherent in the relationship among artists, art objects, and activism that they forged. To do so, it uses four fields: (1) the art historical context; (2) the relationship between form and content, or the way history takes form aesthetically; (3) artistic identity; and (4) antisystemic movements. These fields shape the discussion of the three groups, which is divided among four separate chapters. The Introduction lays out the theoretical armature of the project, and the Conclusion offers a summary of the groups{\textquoteright} final actions.}, keywords = {Post-1945 World Art}, author = {Handler, Beth} } @mastersthesis {8752, title = {Artistic Origins of the French Peasant Painter Jean-Francois Millet: Between Normandy and Barbizon}, year = {2001}, school = {IFA/NYU}, abstract = {Jean-Francois Millet was an active agent in forging his mythic identity as an "outsider artist" in mid 19th-century France. His unusual provincial peasant origin in Normandy was what gave his rural imagery unprecedented authority, according to his supportive critics. Yet, unlike the archetypical French peasant who is always the silent object of discourse, Millet easily conversed in the nostalgic and erudite language of pastoral art. In the artist{\textquoteright}s many letters, Millet both forged his reputation as an authority on peasant life and displayed his familiarity with classical literature and seminal biographic writing on the arts. By positioning himself between rural and urban experience and by locating his practice in Barbizon-literally between city and country-Millet could speak both of and for rural life. A careful study of his neo-rococo early work and the return to stylistically eclectic allegorical imagery in his late career challenges the canonical version of Millet{\textquoteright}s Realism. Millet{\textquoteright}s relationship to popular imagery of provincial life as well the assimilation of his images like the Angelus to the realm of women{\textquoteright}s popular culture are considered in the context of contemporary criticism and the religious revival in France. The shifting reception of both his "dirty" peasant imagery and pious peasant-painter biography from the 1850s to the fin-de-siecle has significantly influenced Millet{\textquoteright}s reputation in the 20th century.}, keywords = {19th- and Early 20th-Century European Art}, author = {Coughlin, Maura} } @mastersthesis {8826, title = {Assyrian Music as Represented and Representations of Assyrian Music}, year = {2001}, school = {Harvard}, abstract = {This thesis describes the social practice of music as it is represented in images from the late Neo-Assyrian period (883-648 BC), and then considers how images of music may contribute new understanding to the study of ancient art. Musical instruments of the period include chordophones (horizontal forearm harp, vertical harp, various lyres, lute, and possibly a zither), aerophones (pipes, flutes, whistles, trumpets), membranophones (kettle drums, frame drums, and others), idiophones (cymbals, sistra) and vocal music. A variety of musicians are distinctively portrayed: male and female; Assyrian, Elamite, Judean, Syrian, Arab and others; human and animal. The events in which these musicians play these instruments are classified as Military, Religious, Banquets, Work, and Mythical. Once these categories of instruments, musicians, and events are defined, patterns emerge. For example, the horizontal forearm harp is played only by male Assyrians in Religious and Military scenes. Another pattern: female musicians tend to play for female audiences. Using the definitions and classification systems developed in the first half of the thesis, the second half focuses on the semantic value of a half dozen themes that recur in these representations of music. An argument is made for the horizontal forearm harp being a national instrument, closely associated with the king and his duties, regal, martial and cultic. Images of foreign musicians are re-examined with an eye to how visual details show them becoming assimilated, or assyrianized-a visual analogue to the royal boast about prisoners of war: "I made of them Assyrians." The inherent temporal aspect of music is shown to have embellished the narrative structure of the palace reliefs. A typology of lyres is established and may help in identifying the musicians who wear feathered headdresses. The placement of images of female musicians is considered as a clue to the function of palace rooms. The ancient vocabulary used to describe music is considered as a means of accessing the aesthetic appreciation of music. Some of the meanings expressed in these images of music are explicit, others implicit. All of them add to a richer understanding of Assyrian life and art.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Cheng, Jack} } @mastersthesis {8808, title = {Augusta{\textquoteright}s Glittering Spires: Thomas Archer and the Queen Anne Churches, 1711-1738}, year = {2001}, school = {Princeton}, abstract = {In 1711, with the patronage of Queen Anne, and the support of a newly elected Tory Parliament, a "Commission for Building Fifty New Churches" was established to oversee the construction of parish churches in and around the City of London. When the Commission was disbanded in 1733, twelve churches had been erected. Although this number fell short of the Commission{\textquoteright}s goal of "Fifty New Churches," the twelve were among the largest and most magnificent structures built in metropolitan London in the 18th century. All twelve churches survive, along with the voluminous building records of their building kept by the Commission. These include minutes, contracts and work books, a portfolio of plans, regular reports to Parliament, and other miscellaneous papers. The Commission churches represented the work of architects Nicholas Hawksmoor, Thomas Archer, John James, and James Gibbs. They were built in a style that-for lack of a better term-later historians have called the "English Baroque." Augusta{\textquoteright}s Glittering Spires studies the historical, political, and cultural background of the twelve 1711 Commission churches, the last great public building project of the Stuart dynasty. Their designs reflected contemporary theoretical opinions about the fundamental nature of the Anglican religion. At the time of their building, the churches were also viewed as embodiments of the Queen{\textquoteright}s piety, and trophies of the recent Peace of Utrecht. Many 1711 Commissioners were significant figures in 18th-century London, churchmen, politicians, architects, and members of the Royal Society, including Sir Isaac Newton and Sir Christopher Wren. Thomas Archer, a career courtier, was a member of the 1711 Commission, and one of four architects who designed churches for the Commission. The two churches he built for the 1711 Commission, St. Paul, Deptford, and St. John, Westminster, are among his finest works. Although little has been published about him, Archer has long been considered one of the leading practitioners of the English Baroque. His 1711 Commission churches provide a richly documented context against which his greater contributions to eighteenth-century English architecture can be assessed, and the practice of architecture in the early eighteenth century more completely understood.}, keywords = {Baroque and 18th-Century European Art}, author = {Temos, Janet} } @mastersthesis {8763, title = {Authoring the Unconscious: Freudian Structures in the Art of Max Ernst}, year = {2001}, school = {Pennsylvania}, abstract = {This study analyses the adaptation of Freudian theory by the Surrealist artist Max Ernst (1891-1976) as a unifying paradigm that subtends the theoretical, technical, textual and visual components of his art. While Ernst{\textquoteright}s indebtedness to Freud{\textquoteright}s theory of the unconscious has achieved general recognition, the extent and nature of his involvement has been subject to continuing debate. This study illustrates how specific texts such as Freud{\textquoteright}s The Interpretation of Dreams provide Ernst with a structural model for the production of imagery and how Freud{\textquoteright}s unconscious mechanisms such as condensation and displacement equip him with an associative system for the generation of meaning. By placing emphasis on Ernst{\textquoteright}s conscious appropriation of Freudian theory, I privilege the authorial intentions of the artist. Yet, Ernst{\textquoteright}s stated intention is to sacrifice his own conscious authority. This study explores the contradictions and ambiguities of authorship in an art of the unconscious. The first chapter focuses on Ernst{\textquoteright}s discovery and implementation of Freudian theory, and Cubist forms, as vehicles for a personal, political and artistic Oedipal rebellion. In chapter two, I interpret Ernst{\textquoteright}s created persona Loplop as a totem as defined by Freud in Totem and Taboo . Loplop functions as both psychic amalgam and allegory of artistic production. Freud{\textquoteright}s predication of the creation of the totem on the primal crimes of incest and patricide allows Ernst to interpret these crimes as metaphors for his desire to enter his unconscious and repress his conscious authority. The next three chapters explore Ernst{\textquoteright}s identification with the mind of the insane, the child, and the "primitive" as defined by Freud. Ernst celebrates the female hysteric as the primary signifier of insane mentality capable of subverting both medical and religious authority. After the second World War he relocates to America where he constructs his own mythology and a new identity as a Native American Shaman. In conclusion, I place his interpretation of Freud in relation to that of Levi-Strauss regarding personal and universal structures of the unconscious and of myth.}, keywords = {19th- and Early 20th-Century European Art}, author = {Kavky, Samantha} } @mastersthesis {8757, title = {Axel Gallen and the Constructed Nation: Art and Nationalism in Young Finland, 1880-1900}, year = {2001}, school = {IFA/NYU}, abstract = {The dissertation examines the intersection of art and politics in the work of Finland{\textquoteright}s national painter, Axel Gallen (1865-1931) (after 1907, Akseli Gallen-Kallela) during the pre-independence period that witnessed Finland{\textquoteright}s evolution from a buffer zone of the Russian empire into a self-conscious and determined modern nation. In contrast to earlier investigations of Gallen{\textquoteright}s art, the study focuses upon the inner mechanisms of regional nationalism (the politicization of an indigenous people{\textquoteright}s history and cultural heritage) as witnessed in the artist{\textquoteright}s appropriation of Finnish oral traditions and fading regional customs. Examined in detail are Gallen{\textquoteright}s relations to his patrons, French and German artistic circles, Finnish rural inhabitants of different social classes, and his colleagues in the nationalist Young Finland circle. The dichotomy between Finno-Swedish and Finno-Finnish culture as evinced in Gallen{\textquoteright}s art is considered as a civil conflict spawned by severe economic, social, and political inequities between different segments of the Finnish population historically. Also, the schism between city and country, mirrored in the clash between literate and oral cultures, is explored as a polarity that shaped Gallen{\textquoteright}s constructed image of modern Finland. A secondary objective of the dissertation is to re-evaluate misunderstood aspects of Gallen{\textquoteright}s career (his relation to European Naturalism and Symbolism, for example) and to introduce new documentary and visual material. The rediscovery of Gallen{\textquoteright}s 1880s masterpiece, Peasant Life (1887), which was thought destroyed in World War I, opens a new path for understanding the amalgamation of real and fictive elements in Gallen{\textquoteright}s naturalist works. Examining the significance of biblical motifs in the artist{\textquoteright}s 1890s works, neglected in earlier scholarship, illuminates the intersection of international and regional myths in late nineteenth-century Finnish art. Finally, an analysis of Gallen{\textquoteright}s mythological works inspired by Finland{\textquoteright}s national epic, the Kalevala, demonstrates how the artist refuted the autonomy of written language and assumed the mantel of a painter-creator within a shifting socio-political context. Although thematically and geopolitically anchored to Finnish terrain, the dissertation seeks to make a significant contribution to broader re-examinations of European nationalist movements and to investigations of art inspired by oral cultural traditions.}, keywords = {19th- and Early 20th-Century European Art}, author = {Gallen-Kallela-Siren, Janne} } @mastersthesis {8876, title = {Bathrooms, Bubbles, and Systems: "Archigram" and the Landscapes of Transience}, year = {2001}, school = {MIT}, abstract = {The dissertation studies the Archigram, the primary avant-garde architectural publication in Britain from 1961 to 1970, and the related avant-garde practices that engendered the high-tech movement. Drawing on the histories of technology, architecture and popular culture, the study explores the roots of architecture{\textquoteright}s foray into the realm of electronic information. By challenging the machine-based model of technology that had defined modernist architectural theory and production, my thesis unfolds, the publishers of the Archigram struggled to reconcile architectural form with emerging technologies and to represent visually the dissolution of the artifact into a landscape of complex and indeterminate systems. This attempt to conceive an essentially material object, such as a house, in a world viewed as a series of impulses was among the earliest architectural explorations of the dilemmas introduced by electronic culture. Using the concept of mobility and flux as a unifying thread, the dissertation examines the strategy for developing an architecture based in the practice of representation and of dissemination. The desire to set structures in motion by liberating them from the anchor of urban infrastructures required a reconsideration of the architectural object. For architecture to fully abandon its traditional role as environmental hardware, the conflict between the processes of indeterminacy and the dependence of those processes on a closed system would have to be overcome. This tension between the physical and the dematerialized led from megastructural networks to self-contained skins, and finally to the disintegration of architectural objects into a technologically driven version of the Picturesque. In the ultimate merging of the environmental domain with that of information, architecture would become its absence, marked in the landscape only as the residue of a nomadic culture of information. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Post-1945 World Art}, author = {Steiner, Hadas} } @mastersthesis {8887, title = {Be a Man First{\textquoteright}: Images of Men in the Art of the Ashcan School}, year = {2001}, school = {Rutgers}, abstract = {This study examines themes of masculinity in the early-twentieth-century work of the Ashcan school by analyzing the representation of men in their paintings, drawings, and prints. While the performance of masculinity in American art was traditionally defined in terms of cowboys and mountain ranges, Ashcan artists suggested that certain kinds of manliness were equally prevalent on the mean streets of New York City. They promoted an ideology of white masculinity that was in many ways distinct from the more typical, but perhaps historically over-represented, voice of Theodore Roosevelt, creating an iconography of the urban, white man. This masculinity retained traditional trappings of authority and virility, but existed comfortably in urban, industrial settings. Moreover, in portraying male figures, Ashcan artists not only illustrated urban, American manhood, but also gave definition to femininity, whiteness, and class. The first chapter examines how Ashcan artists advanced the alignment of their art with a masculine sensibility, and how that self-promotion influenced subsequent art historical readings of the school. The second chapter focuses on Robert Henri{\textquoteright}s and other Ashcan artists{\textquoteright} uses of representations of race and ethnicity to define white manhood. The third chapter explores Ashcan images of laboring male bodies in the contexts of both traditional American iconographies of labor, as well as the particular political ramifications images of labor held in the tumultuous early decades of the twentieth century. Ashcan representations of women in urban settings are considered in Chapter Four. The social and political roles of women were changing during this period, and Ashcan artists{\textquoteright} depictions of men and women together reveal both an acknowledgment of these changing roles and an attempt to reassert masculine dominance. The conclusion addresses the two Ashcan works most commonly understood to address masculinity: George Bellows{\textquoteright}s Stag at Sharkey{\textquoteright}s and John Sloan{\textquoteright}s McSorley{\textquoteright}s Bar. A close reading of these two works captures both the assertive as well as the ambivalent natures of the urban masculine ideal produced by these artists. In figuring the male body so prominently in their works, Ashcan artists mapped spaces of urban masculinity within the larger terrain of gender.}, keywords = {Pre-1945 North American and South American Art}, author = {Boylan, Alexis} } @mastersthesis {8744, title = {Between England and America: The Art of Thomas Charles Farrer and Henry Farrer}, year = {2001}, school = {CUNY}, abstract = {This dissertation surveys the careers of two artists, Thomas Charles Farrer (1838-1891) and Henry Farrer (1844-1903), who were born in England and relocated to America. The elder brother, Thomas Charles Farrer came to the U.S. from London about 1857 and lived in New York until 1872 when he returned to England permanently. He was a founder of the Association for the Advancement of Truth in Art (1863) and an important member of the American Pre-Raphaelite circle. Thomas Charles Farrer{\textquoteright}s younger brother, Henry Farrer, came to the U.S. about 1862. Although Henry Farrer{\textquoteright}s early work shows the influence of the American Pre-Raphaelites, his mature watercolor style consists of large-scale tonal landscapes. He exhibited his work at the American Water Color Society exhibitions from 1867 until his death in 1903. Henry Farrer was also a dedicated printmaker, producing many topographical etchings of the New York harbor as well as poetic landscape prints. This study includes biographies of both artists, an analysis of their work, and a catalogue raisonne of the paintings, drawings, and prints they produced both in the U.S. and in England.}, keywords = {19th- and Early 20th-Century European Art, Pre-1945 North and South American Art}, author = {Wiles, Stephanie} } @mastersthesis {8781, title = {Beyond Muslim Space: Jeddah, Muscat, Aden, and Port Said}, year = {2001}, school = {UCLA}, abstract = {Port cities in the Arabian Peninsula along the Bombay/London trade route formed the link between Europe and the colonies on the Indian Ocean. Port cities were the places where the colonial and religious interactions were the most visible. They were the locus of colonial settlers and merchants from Europe, as well as nodes of attraction for Muslim merchants. In the nineteenth century the four major port cities along the Red Sea/Indian Ocean route were Jeddah in the Hezaj, Muscat in Oman, Aden in Yemen and Port Said in Egypt. Each of these cities developed different urban fabrics and urban identities in response to varying conditions and sources of patronage. How these four port cities and their communities chose to interact with colonial enterprises and conservative Muslim dawas is the subject of this dissertation. This dissertation focuses on the interaction of Muslim doctrines and urban practices in the major nineteenth century port cities of the Arabian Peninsula. I seek to explore how Muslim dawas shaped the spaces in cities of the interior inhabited by Muslim populations-defined as Muslim space. I am seeking also to show the difference between this Muslim space and the port cities that had multi-ethnic communities under Muslim sovereignty defined here as beyond Muslim space. Aden, the exception, is a colonial space and is included here because of its geographical location and because it underscores the difference between cities that are beyond Muslim space and colonial cities.}, keywords = {Art of the Middle East/North Africa}, author = {El Amrousi, Mohamed} } @mastersthesis {8869, title = {On the Borders of the Self: Paintings of Jorg Immendorff}, year = {2001}, school = {UIUC}, abstract = {No record in ProQuest}, keywords = {Post-1945 World Art}, author = {Menar Morales, Lorraine} } @mastersthesis {8855, title = {Building a Ludic Environment: The Aesthetics, Ethics, and Economics of Play in the Postwar Avant Garde}, year = {2001}, school = {Duke}, abstract = {This dissertation traces the development in the mid-twentieth century of a movement in the European avant-garde that argued for the economic, aesthetic, and ethical significance of play. There is a rich history of discourse on play in Western literature. However, the idea that the ludic impulse is an integral part of human civilization and could play a vital role in the culture of adults as well as children assumed a special importance in the European art world of the 1940s, 50s, and 60s. I have coined the phrase "ludic avant-garde" to describe this loosely-affiliated group of artists and designers. The hallmarks of the ludic avant-garde were an emphasis on experimentation, collective action, and spontaneity. Despite the repeated references to play in both the writing and artwork of artists and designers of this period, this facet of the twentieth century avant-garde has been neglected by subsequent critics. Experiments in play took place both in the built environment and in the art world. Innovative "loose parts" playgrounds were begun in Denmark during WWII and spread to England after the war. Children on the loose parts playground were given scrap materials and tools and encouraged to build their own play environment. The small huts and towers that resulted often became an important part of the civic infrastructure, as they served as de facto community centers for neighborhood adults. In the art world the career of Asger Jorn is exemplary of the post-war interest in play. Jorn was a member in many influential artists{\textquoteright} groups including Helhesten, Cobra, the International Movement for an Imaginist Bauhaus, and the Situationist International. Jorn and his colleagues in these groups expressed a common interest in producing art that reflected the experience of everyday life and encouraged interaction between artist and audience. Jorn and his colleagues offered play-based art as a challenge to the elite art forms championed by galleries and museums, which ignored the "banal" culture of everyday life. This dissertation encourages the re-evaluation of design practices in the post-war era, and suggests that postmodern manifestations of "play" should be understood as the product of a significantly different cultural logic.}, keywords = {Post-1945 World Art}, author = {Broderson, Deborah} } @mastersthesis {8856, title = {Building Propaganda: Architecture at the American National Exhibition in Moscow of 1959}, year = {2001}, school = {UC Santa Barbara}, abstract = {My dissertation demonstrates how the American Cold War government used architecture as a propaganda tool in its fight against Communism. Called "A corner of America" by President Dwight Eisenhower, the American National Exhibition in Moscow (ANEM) opened on July 24, 1959. United States Vice President Richard Nixon went to Moscow to open the exhibition but ended up debating the virtues of the "American Way of Life" with Soviet Premier Nikita Khrushchev in what quickly became known as the "Kitchen Debates." The setting for the finale of this day long sparring match was the kitchen of the distinctly American, distinctly suburban model home known as Splitnik. After considering the architectural precedents of the ANEM, such as the American pavilions erected world-wide by the Office of International Trade Fairs, I analyze how the American government capitalized on the architectural imagery offered by both Buckminster Fuller{\textquoteright}s gold tinted geodesic dome, which was the theme building of the ANEM, and the suburban model home as part of its propaganda campaign to promote capitalism and democracy and undermine Soviet Communism.}, keywords = {Post-1945 World Art}, author = {Carbone, Cristina} } @mastersthesis {8815, title = {Byzantine Dress}, year = {2001}, school = {IFA/NYU}, abstract = {In the Byzantine court of Constantine Porphyrogennetos, a courtier participating in a day{\textquoteright}s festivities changed his outfit five times. This same courtier was paid annually with textiles, in addition to money. Entire prescriptive volumes were written to help him know what to wear for what occasion. When he married, his wife{\textquoteright}s dowry would almost certainly include a lifetime supply of garments and textiles. Dress was also of primary importance to Byzantines at other levels of society. An average citizen staying at the Xenon hospital would not only get the clothing he wore upon admittance washed, but also receive a new set of clothes upon release. Soldiers fighting on the borderlands wore silk lined clothes into battle because it protected against arrows better than more loosely woven wool. It is only the nun or monk who was caught wearing plain clothes of coarse fabric, perhaps in reaction to the fashion obsessed society in which they lived. Fashion was a high art in the Byzantine Empire, yet no history of Byzantine dress has been written. This dissertation examines representations of Byzantine secular dress between the eighth and twelfth centuries. New readings of Byzantine paintings are also offered through a study of the garments included therein. Chapters one and two address the imperial garments and dress of courtiers. Chapter three contrasts the dress of the elite in the borderlands with that of the capital. The final chapter elucidates the dress of non-elite classes, using the stereotypical images of laborers, soldier, and others found in manuscript illuminations.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Ball, Jennifer} } @mastersthesis {8910, title = {Cardinal Matthaus Schiner as the Knight in Durer{\textquoteright}s "Knight, Death, and Devil"}, year = {2001}, school = {Louisville}, abstract = {The dissertation attempts to explain the disparity between a number of explanations for Albrecht D{\"u}rer{\textquoteright}s 1513 engraving Knight, Death and Devil. It advances a theoretical historical identity for the knight that incorporates a variety of previous theses. It begins with Erwin Panofsky{\textquoteright}s 1943 identification of the knight with the Christian soldier of Desiderius Erasmus{\textquoteright} 1504 Enchiridion militis Christiani. It continues through analyses made in the wake of the 1971 Nuremberg festival in honor of D{\"u}rer to the present date. Taking into account several diverse methodologies, it finds common features in previous studies that view the print as a memento mori, a Robber Knight, and various historical figures. The study concludes that much of the imagery of the engraving can be explained by the hypothesis that D{\"u}rer intended his knight as a caricature of Swiss cardinal Matth{\"a}us Schiner (1465-1522). It concludes as well that D{\"u}rer employed devices of scholastic allegory in constructing this caricature.}, keywords = {Renaissance Art}, author = {Taylor, Leo Glenn} } @mastersthesis {8839, title = {The Casa del Dean Murals: The Dynamics of Tlapalli}, year = {2001}, school = {Maryland}, abstract = {The extensive mural cycle in two rooms of the Casa del Dean in Puebla, Mexico dates from 1580 and was the work of a native artist with one or more assistants. The patron, Don Tomas de la Plaza from Extremadura, served as the Puebla Cathedral dean from 1564 until his death in 1587. The subjects of the paintings incorporate themes that are reflective of contemporary Christian humanist theology. In the foreground of the first mural, Sinagoga and ten Sibyls process on horseback before a continuous Flemish landscape. Based on the Triumphs of Petrarch, the murals of the second room culminate in the Church Triumphant. Set into the framing rinceaux are pre-Columbian motifs. I will characterize the pictorial image as a significant locus for intercultural communication. The art of rhetoric, related to the interplay of language and image, became the cultural meeting place for Spaniard and Native American in the sixteenth century. The metaphorical language of the Aztecs, whether spoken or visual, remained alive in the new religious context. Ancient indigenous themes, along with their spiritual references, continued to serve as mnemonic devices. Thus, in a complex dialogue between the artist and patron, the native tlacuilo retained aspects of his past while acquiring a new stylistic vocabulary, and Don Tomas de la Plaza visualized the meaning of his vocation in the murals he commissioned.}, keywords = {Native American and Pre-Columbian Art}, author = {Morrill, Penny} } @mastersthesis {8775, title = {The Castle of Emperor Fasiladas: Missionaries, Muslims, and Architecture in Gondar, Ethiopia}, year = {2001}, school = {Columbia}, abstract = {This dissertation examines the 17th century Castle of Fasiladas, the premier edifice within the imperial complex of Gondar, a former Ethiopian capital. This particularly complex by-product of the intriguing cross-cultural interplay of Africa, the West and the East is herein examined from the specific vantage point of architectural history, using royal chronicles, accounts of travelers and diplomats, local oral traditions, and mercantile and missionary histories. The text of this thesis is divided into two parts. Part A focuses on the castle itself in order to assess how it developed out of the enduring indigenous tradition of wandering capitals. Also addressed are specific architectural questions regarding spatial organization, functions of the different rooms and levels, the structure{\textquoteright}s capacity for defensive use, and its symbolic potential. This dissertation demonstrates that Fasiladas used his castle to define rather than to defend, to reinstate monarchical dignity after the devastation of civil war, and to visually reinforce a socio-political structure. Part B focuses on the issue of origins for the castle: who built it, and where do its stylistic sources lie? The nature and extent of Portuguese and Indian involvement are analyzed in detail to demonstrate that the Portuguese were merely the agents for introducing both a new building technology and the architect capable of erecting a variety of structures. It is argued that Abdul Kerim, the Indian architect employed during the reign of Susenyos, was most likely the architect of Fasiladas{\textquoteright} castle as well. Although it is difficult to pinpoint a stylistic source for this building, it is possible to situate Kerim in a particular part of India-Diu, or the broader region of Gujarat. Larger, related issues are also addressed, including the symbolic significance of using foreign artisans, and how the appropriation of cultures and individuals enhanced the image of the state and ruler. Audiences interested in cultural exchange within the Indian Ocean world will profit from this dissertation{\textquoteright}s contribution to inter-regional studies and its fresh approach to one of Ethiopia{\textquoteright}s most significant cultural icons.}, keywords = {African Art}, author = {Ranasinghe, Shaalini} } @mastersthesis {8825, title = {The Changing Relationship between Archetype and Image throughout the Era of Byzantine Iconoclasm}, year = {2001}, school = {UNC Chapel Hill}, abstract = {In the 1940s, Otto Demus wrote Byzantine Mosaic Decoration, which he described as "short and slight," though the text is well under 100 pages, its influence has been anything but slight. Two tenets lie at the base of Demus{\textquoteright}s understanding of post-iconoclastic art: that it reflects Christological doctrine and that in order for an image to have meaning for a Byzantine beholder, he or she must believe in a "magical identity" between archetype and image. Scholars of post-iconoclastic art assume the belief in the "magical identity" between archetype and image and have posited a set of formal criteria demonstrating that identity. I do not investigate how the "magical identity" is made evident; I investigate how it is made possible. This dissertation traces the path that the relationship traveled over two periods of iconoclasm during which any possible identity between archetype and image had been denied. In the era of John of Damascus, iconophiles argued that pictures were properly related to their archetypes because they belonged within a hierarchy of legitimate image-archetype relationships, which includes the supreme relationship-Cod the Son to God the Father. While Son relates to Father according to essence, the picture relates to its archetype according to art or imitation. At the Council of Nicaea (787), iconophiles argued that though picture and archetype differ essentially, they are identical nominally (by name) and formally. After 787, iconophiles argued that the relationship between pictorial image and archetype belongs to a particular class of relationships, defined by Aristotle (Categories) as mutually correlated: they are related like a double and its half are; the existence of one assumes the existence of the other. By the end of the ninth century, a logical explanation for the identity of image and archetype was no longer required because image-making came to be seen as part of God{\textquoteright}s oikonomia. In the same way that the divine economy made possible the mystery of the Incarnation, it made possible the mystery of picture-making, seen most clearly in the image of the Virgin Mother of God and, eventually, in the miraculous imprint of Christ{\textquoteright}s face on cloth.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Wetter, Kathy Jo} } @mastersthesis {8807, title = {Children Borne Aloft: Nicolaes Maes{\textquoteright}s Ganymede Portraiture and the Context of Death and Mourning in the Seventeenth-Century Netherlands}, year = {2001}, school = {Ohio State}, abstract = {This study seeks to explain the function of an unusual group of images painted by the seventeenth-century Dutch artist Nicolaes Maes: portraits of children in the guise of Ganymede. Most scholars agree that the youngsters in these portraits represent deceased children, an idea that is based on the Neoplatonic and Christian interpretation of the spiritual associations of the myth that date back to antiquity. While I accept this memorial thesis, my investigation of these paintings in relation to relevant portrait conventions and within the broader culture of death in the Netherlands has revealed that Maes{\textquoteright}s Ganymede portraits were not simply memorials, but that they would have evoked multiple responses in viewers and thus served a variety of functions. My research of Ganymede portraits and other Dutch images of deceased children within the context of consolatory literature of the period indicates that such images not only reflect attitudes toward death but are also participatory objects. In other words, some images were consoling, others helped to facilitate the grieving process, and some did both. While Maes{\textquoteright}s Ganymede portraits had the ability to both memorialize the deceased and offer comfort to grieving parents, their staged, artificial style generates other associations. As I argue, aristocratic pretensions underlie these curious paintings. Their theatrical nature, portrait historie format, fanciful style, and use of symbolism allowed sitters to project an idea of elevated social status and link themselves with the intellectual elite.}, keywords = {Baroque and 18th-Century European Art}, author = {Schaller, Wendy Mcpeters} } @mastersthesis {8782, title = {Chinese Ceramics in Colonial Latin America}, year = {2001}, school = {Michigan}, abstract = {From 1573 to 1815 Manila galleons traversed the Pacific bringing the luxuries of the orient to Acapulco, Mexico. Chinese porcelain, which combines beauty with utility to an unusual degree, was a major item in this trade and the best preserved. The existing Chinese ceramics in museums and venerable private collections in Mexico and Peru testify to this exchange. In addition, systematic archaeological excavations around the zocalo area in Mexico City, in Lima, and in other sites in the Spanish New World as well as from sunken Manila galleons have produced further evidence of this trade. The influence of Chinese ceramic styles in shape, motifs and compositional arrangements on locally made ceramic wares in Latin America is apparent in varying degrees. The proposed dissertation will document this historic event in trans-Pacific commercial and cultural exchange. The principal types of Chinese ceramics from the sixteenth to the early eighteenth centuries will be selected and described from museum and private collections in Mexico and Peru. Ceramic specimens from archaeological excavations in Mexico, Peru, Santa Fe, New Mexico, Guatemala and Panama will be utilized to support their antiquity and substantiate their arrival aboard the Manila galleons. Chronologies will be based on excavated materials from dated sunken galleons, and on traditional stylistic analysis. New World maiolica emulating Chinese ceramics will be dated by stylistic comparison, and their stylistic sources traced to Chinese porcelains, to native wares especially Pueblan and Andean, and to Spanish and Italian maiolica and other European and Islamic wares. Mexican museums are notably rich in their Chinese ceramic holdings gathered from cathedrals, official possessions of the Spanish crown, and established families. In contrast Chinese ceramics in Peru are almost exclusively in private collections, many of which are held by families with long established ancestries. The material and cultural contributions of the Manila galleon trade to the civilization of colonial Latin America has been little researched. This study of Chinese ceramics in the New World is an initial attempt at bringing coherence to a vast subject.}, keywords = {Asian Art, Latin American/Caribbean Art}, author = {Kuwayama, George} } @mastersthesis {8872, title = {CIAM and the Emergence of Team 10 Thinking, 1945-1959}, year = {2001}, school = {MIT}, abstract = {This study is an intellectual history which examines the complexities of a debate about modern architecture and planning in Europe between 1945-1959. In particular, it examines the cultural shift that occurred within the orally-based institution of CIAM (Conges Internationaux d{\textquoteright}Architecture Moderne) in the post-World War II period, led by a group of its younger members which became known as Team 10. Set within the context of CIAM before the war, this inquiry focuses on the period from the first postwar CIAM Congress at Bridgwater, England, in 1947, to the dissolution of CIAM in the late 1950s, and briefly discusses the subsequent codification of Team 10{\textquoteright}s theoretical stance. While Team 10 is best known for the architectural buildings and projects by its members in the 1960s, it was their reevaluation of the premises of modernism in the mid-50s that has changed the terms of debate for modern architecture ever since. This inquiry contributes to the neglected area of architecture inquiry which examines design theory, or theories of production. It is founded on the premise that all production is based on a theory, implicitly held or explicitly stated, and these theories are not necessarily consistent, or necessarily even written. From this methodological position I argue that the importance of Team 10 lies less in their role as insurgents who dismantled the institution of CIAM, than as contributors, for the discipline of architecture, to a cultural critique of Modernism occurring in postwar society. This study contributes to on going studies on the development of modernist practices by proposing a critical role for Team 10 in the shift from formal Modernism to critical Postmodernism, and provides a case study for how important intellectual shifts occur. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Post-1945 World Art}, author = {Pedret, Annie} } @mastersthesis {8846, title = {Cinema of Stills: Minor White{\textquoteright}s Theory of Sequential Photography}, year = {2001}, school = {Princeton}, abstract = {There are many theories of photography and film but few theories of ordered groups of photographs called sequences. This dissertation addresses the work of the American photographer Minor White (1908-1976), especially from 1946 to 1953 while he taught at San Francisco{\textquoteright}s California School of Fine Arts (CSFA). Of all his sequences, White{\textquoteright}s Fourth Sequence (1950) of twelve images was critical because it inspired his definitive theorization of sequential photography. The accompanying text claims that "a sequence of photographs is like a cinema of stills." Utilizing archival evidence, this dissertation deconstructs this text in order to reconstruct White{\textquoteright}s theory in relation to five contemporaneous philosophical debates in painting, photography and film. White first addressed "the time between photographs." Revising the cinematic concept of the persistence of vision, Chapter 1 argues that this is negative time, or eternity, and that it is filled in by the beholder{\textquoteright}s persistence of memory. White then examined "the subject of the sequence." The Fourth Sequence images depict the coastline rocks found south of the city at Point Lobos. However, Chapter 2 argues that the subject is couched symbolically and metaphorically, where the rocks become equivalents of White{\textquoteright}s frustrated homosexual desires. White proposed a unification of these previous concepts in "the flow of the sequence." Chapter 3 claims that this is a transformation of Heinrich Wolfflin{\textquoteright}s "flow of the Baroque," from the Principles of Art History, and Sigmund Freud{\textquoteright}s "psychic concatenation" from The Interpretation of Dreams. The fourth concept is the tension or "spring-tight line" between abstraction and reality in the photographs. Chapter 4 examines the San Francisco School of Abstract Expressionism, especially work by CSFA instructor Clyfford Still, and demonstrates White{\textquoteright}s fusion of painterly abstraction with photographic realism. The fifth aspect concerns White{\textquoteright}s belief in "reading without reservation." Chapter 5 notes that this method preceded that of Roland Barthes and that it was based on Freud{\textquoteright}s process of word association. The dissertation concludes that a "cinema of stills" was White{\textquoteright}s attempt to create not only a persistence of memory as in Chapter 1, but a memory of memory, to recall memory and lock it to itself.}, keywords = {Photography and Film}, author = {Hershberger, Andrew} } @mastersthesis {8850, title = {Citing Angkor: The {\textquoteright}Cambodian Arts{\textquoteright} in the Age of Restoration, 1918-2000}, year = {2001}, school = {Columbia}, abstract = {This thesis presents a survey of art training and visual production in Cambodia from the beginning of the 20th century to the present. The thesis begins with a consideration of the colonial establishment of a French-administered "School of Cambodian Arts" which was meant to shape and control artistic production throughout the country. At this institution, existing forms of practice were "corrected" and students were trained to mass produce hand-made "authentic" Cambodian art objects. Following independence, the definition of "Cambodian Arts" proposed by this colonial system of production was rethought. During the 1950s and 1960s, painters working from observation laid claim to a "modern Khmer painting" while institutional reforms at the School of Cambodian Arts introduced what were considered "modern subjects" (representational drawing, design, contemporary architecture and advertising). This shift in visual regimes was cut off, however, by the devastating events of the 1970s. More recent forms of "modern Cambodian art" from the 1990s, have turned away from observation, borrowing such tropes of Western modernism as the mark of the brush and the singular gesture with which to stake their claim to the new. All these post-independence forms carry with them lingering traces of a colonial regime which emphasized the model and its multiple copies. Through a survey of these colonial and post-independence forms of visual production, this thesis provides a first account of the 20th century in a place which art history has almost exclusively considered in terms of the temples of Angkor (9th-14th century CE). Just as art history has written out the colonial processes through which these temples were "re-discovered" and monumentalised, so it has refused to consider more recent forms of visual production in Cambodia. A consideration of 20th century visual production in Cambodia cannot depend on the seemingly self-evident categories of artists and coherent bodies of work established by canonical accounts of Western modernism; instead, this thesis focuses on an institution and the successive regimes of training through which it introduced and enforced the concept of "the Cambodian Arts".}, keywords = {Asian Art, Post-1945 Art}, author = {Muan, Ingrid} } @mastersthesis {8866, title = {Collaborative Projects, Inc.: A History of American Artists{\textquoteright} Collective, 1977-1983}, year = {2001}, school = {Duke}, abstract = {This dissertation is the first history of Collaborative Projects, Inc. (Colab), an artists{\textquoteright} group based in New York that formed in 1977 and remained active until 1983. Today Colab is cited in contemporary art survey books for its sponsorship of "The Times Square Show" (1980), an unjuried exhibition of multimedia works by approximately a hundred artists in an abandoned message parlor in Times Square. Although Colab is well known for this show and for the individual career achievements of its most famous members-particularly Kiki Smith, Jenny Holzer, and Tom Otterness-Colab as an artists{\textquoteright} group is virtually unknown. Based on original archival materials (the group{\textquoteright}s administrative documents, grant applications, and interviews with members, etc.) as well as close analysis of works, this dissertation chronicles Colab{\textquoteright}s collective artistic activities and contextualizes them. Specifically, I examine Colab{\textquoteright}s formation, democratic organization, multimedia projects, and, above all, its mission to create collaborative work that reached a broad audience and addressed social issues. This dissertation then is both a construction and recuperation of Colab{\textquoteright}s history. This dissertation also critiques the absence of serious scholarship on post 1960s artists{\textquoteright} groups. I argue that art historians have ignored these groups for three primary reasons: Art historical analysis of individual artists and "master" works still dominate the discipline. Art historians have adopted new critical methods but applied them almost solely to earlier periods in modern art. And the widespread belief in the "death of the avant garde" as a conceptual framework to analyze artists{\textquoteright} groups has led art historians to ignore recent group formations. I hope this dissertation will help spur further discussion of contemporary artists{\textquoteright} groups and new methods to understand them.}, keywords = {Post-1945 World Art}, author = {Little, David} } @mastersthesis {8759, title = {Corot and the Historical Landscape, 1835-1848}, year = {2001}, school = {Yale}, abstract = {This dissertation is a critical examination of the French painter Jean-Baptiste Camille Corot (1796-1875). Long known for his small oil sketches painted outdoors, Corot also produced large-scale, imaginative studio paintings for exhibition at the Paris Salon, the government-sponsored exhibition that was the premier venue for French artists in the nineteenth century. This study focuses on Salon paintings dating from the 1830s when Corot first began to exhibit his work. In isolating these works for examination, this dissertation seeks to reassess existing conceptions of Corot as a painter of nature; instead, it is argued here that he was an ambitious Salon painter whose works engage with issues at the center of French social and artistic life in the 1830s. Chapter One examines the terms and strategies of French landscape art from 1820-1835 in order to establish a broader framework through which to understand Corot{\textquoteright}s art. This chapter focuses on the changing critical discourse for art following the July Revolution of 1830, and the rise of naturalism in art and criticism. Chapters Two and Three, which form the core of the dissertation, are a focused investigation of Corot{\textquoteright}s Salon paintings of the mid- to late 1830s. It is demonstrated how these large-scale, ambitious paintings radically rework past forms and make them into a new language through which Corot could speak to his audience. More specifically, Chapter Two is an in-depth examination of Hagar in the Wilderness (1835), and it is argued that the painting{\textquoteright}s strength and its success before the public came about through the way it engaged recent turbulent social experiences in the early 1830s. Chapter Three examines Corot{\textquoteright}s depictions of supernatural, mythological subjects that are far removed from this turbulent context. In his mythological paintings, it is argued that Corot undertook an intensive examination of the figure and the role of the figure in narrative painting as part of a larger experiment to formulate a new kind of history painting. Finally, Chapter Four, which functions as a concluding chapter, examines Corot{\textquoteright}s reflections on the nature of ambitious painting at the end of the 1830s, and his own reappraisal of his project.}, keywords = {19th- and Early 20th-Century European Art}, author = {Greenberg, Susan} } @mastersthesis {8853, title = {Craft Paradigm: Process and Handwork in Sculpture, 1967-1973}, year = {2001}, school = {Yale}, abstract = {The dissertation focuses on the "six years" that Lucy Lippard once identified as the heyday of conceptual art and "dematerialization." This project is a history of attitudes towards the physical processes of making during the same period, through the juxtaposition of mutually instructive episodes within sculpture and craft. The first chapter, "Craft as Process," compares parallel developments in the studio ceramics movement and the Process art movement. While potters of the day were working to shed their association with the traditional aspects of their craft, sculptors were devising means to avoid artistic gesture. In effect, potters were trying not to make pots and sculptors were trying not to make sculptures. The result was that both movements culminated in self-effacing strategies. Figures discussed include Peter Voulkos, Stephen DeStaebler, Robert Arneson, Robert Morris, Richard Serra, and Eva Hesse. The second chapter, "Craft as Pastoral," is a discussion of an ideological impulse towards decentralization-an attempt to stage social critiques from a place of secure detachment. Using William Empson{\textquoteright}s Some Versions of Pastoral as a guidepost, I chart the optimistic Utopian character of the late 1960s and indicate some problems with it. I also show that while craftspeople actually exemplified a pastoral lifestyle, artists were inclined to hold pastoral idealism at arm{\textquoteright}s length. The chapter ends with an analysis of the exhibitions "Objects: USA," the 1969 Ceramic National, and "California Design." Figures discussed include Carl Andre, Robert Smithson, Gordon Matta-Clark, Alice Aycock, Art Carpenter, J. B. Blunk, Gerry Williams, and Warren MacKenzie. Chapter Three treats craft as pattern, both in the formal sense and in the sense of an organizing structure for living. The chapter focuses on the Feminist movement, which has been this country{\textquoteright}s most ambitious attempt to frame the crafts as a suitable subject and medium for the avant-garde. Feminism is compared to the seemingly apolitical fiber art movement, which faced struggles over status and self definition that were akin to those faced by women artists. The chapter covers Magdalena Abakanowicz, Sheila Hicks, Ed Rossbach, Judy Chicago, Faith Wilding, Mike Kelley, and Miriam Schapiro.}, keywords = {Post-1945 World Art}, author = {Adamson, Glenn} } @mastersthesis {8915, title = {Crafting Knowledge and Knowledge of Crafts: Art Education, Colonialism, and the Madras School of Arts in Nineteenth-Century South Asia}, year = {2001}, school = {Minnesota}, abstract = {This dissertation examines the institution, ideology and practice of art education in South Asia during the latter half of the nineteenth century. In particular, it focuses on the Madras School of Arts, the earliest of the surviving colonial art schools. Established in 1850 by Resident Surgeon, Dr. Alexander Hunter, the Madras School of Art functioned as a mediator of ideas about art and aesthetics between England and other art schools in the Indian colony. It also served as a site for the production of a new kind of visual culture in the latter half of the nineteenth century. In this dissertation, the history of the Madras School of Art has been gleaned from a specific set of archival documents dating between 1850 and 1870 that have received little scholarly attention yet constitute an important point of entry into the early history of a cultural institution on the margins of the colonial administration. Specifically, this dissertation explores the history of the Madras School of Arts and its intersection with nineteenth-century British art education and colonialism. The strategy of the using the visual past as a model in art education, a characteristic of the larger arena of nineteenth-century art education, prompted colonial art schools to draw on South Asia{\textquoteright}s visual past from their inception, contrary to Nationalist narratives that claim colonial art schools as bastions of western art education. Further, art schools also intersected with colonial discourse, formulating ideas about art and art education in terms of differences between colonizer and colonized. The intersection of the nineteenth-century art schools in South Asia with colonialism and the larger arena of art education produced a particular notion of the "Indian Craftsman" as the cause of Indian art{\textquoteright}s decline and the hope for its revival. The figure of the "Indian Craftsman" came to be represented as the craftsman-at-work, a representational trope that communicated the contradiction. The figure of the "Indian Craftsman" is one example of the role nineteenth-century art education played in the production of knowledge in the discipline of South Asian art history.}, keywords = {South/Southeast Asian Art}, author = {Dewan, Deepali} } @mastersthesis {8766, title = {The Crisis of Sculpture in Weimar Germany: Rudolph Belling, the Bauhaus, Naum Gabo}, year = {2001}, school = {Princeton}, abstract = {This study addresses the problematic position of sculpture in the theory and practice of modernist art in Germany in the 1920s. Steeped in academic conventions, largely restricted to the human figure and haunted by the physical presence of its material, sculpture seemed particularly ill suited to analyze or represent modernity. And yet, for all of its outmoded qualities, sculpture proved remarkably vital. Conventionally understood as the static display of mass in space, sculpture now became inflected by the materials and technology of modern industry, the emerging visual practices of photography and film, and the processes of mass production and consumption. Through a series of chronologically organized case studies, the problem of modernist sculpture is examined from different vantage points: the turn-of-the-century sculptor and theorist, Adolf von Hildebrand, whose formalist aesthetics respond to new visual media of modernity; Rudolf Belling, who rose to prominence after the First World War and aggressively pursued opportunities for sculpture in the newly commercialized spaces of the metropolis; the unstable position of sculpture at the modernist academy, the Bauhaus-e.g. Gropius{\textquoteright}s attempt at a modernist monument, controversies between architecture, ornament and statuary, and the centrality of photography to the practice of sculpture at the late Bauhaus; concluding with a design by Naum Gabo for a searchlight installation in Berlin in conjunction with a festival of light and commerce. The artists I address do not form a coherent group, but in their reactions to the cultural conditions they faced, and in the successes and failures of their work, they reveal important aspects of the crisis of modernist sculpture and underscore a profound uncertainty about the nature of sculpture{\textquoteright}s relationship to monuments, architecture, photography and mass-produced commodities. Their works, and the explanations and defenses offered for them, represent an effort to develop an engaged and historically authentic sculptural practice in the changing visual and material culture of modernity. Together they suggest the partial collapse of sculpture as category of art in the Weimar Republic and the instability that has characterized the theory and practice of modernist sculpture ever since.}, keywords = {19th- and Early 20th-Century European Art}, author = {Paret, Paul} } @mastersthesis {8827, title = {Death Rituals and the Development of Kingship in Early Dynastic III Period Southern Mesopotamia}, year = {2001}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Cohen, Andrew} } @mastersthesis {8871, title = {Decoration as Deviance: Andy Warhol in the 1950s}, year = {2001}, school = {Rutgers}, abstract = {The central topic of this dissertation is the art produced by Andy Warhol throughout the 1950s. This portion of Warhol{\textquoteright}s oeuvre, which preceded the emergence of his Pop art in the early 1960s, has received minimal scholarly attention to date. To help rectify this situation, this dissertation specifically addresses the decorative nature of Warhol{\textquoteright}s early work, and thereby demonstrates how Warhol gave expression to his homosexuality during the initial phase of his career. My analysis of Warhol{\textquoteright}s early art is framed within a broader discussion of the historical ties among decoration, femininity, and male homosexuality. I first establish how both a decorative aesthetic and the practice of decorating became intimately linked to a domestic ideal of femininity throughout much of the nineteenth century. I then examine how the common cliche of the gay male decorator emerged from this context. While circulating throughout American culture of the twentieth century, this popular stereotype has effectively devalued gay male creativity in contrast to the work of "real" men and "authentic" artists. Having established this cultural context, the bulk of this dissertation argues that Andy Warhol variously embodied the stereotype of the gay male decorator throughout the 1950s. I first examine how Warhol cultivated a signature artistic style during this decade. I argue that Warhol{\textquoteright}s unique drawing technique and consistent use of decorative patterns gave expression to his self-proclaimed effeminacy. I also discuss how Warhol worked as a window dresser and, arguably, an interior decorator during this period. Close analysis of these creative endeavors suggests that Warhol consciously ensconced himself in the stereotypical role of the gay male decorator. I also examine numerous drawings of the male body that Warhol created during the 1950s. I argue that Warhol{\textquoteright}s ornamental embellishment of these drawings asserted his homosexual authorship, while also expressing his homosexual desire. The thesis concludes with a survey of Warhol{\textquoteright}s later career. I suggest that a decorative impulse pervaded much of Warhol{\textquoteright}s Pop art, and continued to express both his gender identification and homosexuality.}, keywords = {Post-1945 World Art}, author = {Nichols, Matthew} } @mastersthesis {8901, title = {Decorum in the Religious Imagery of Titian and His Literary Circle}, year = {2001}, school = {Harvard}, abstract = {During Titian{\textquoteright}s lifetime, Venice changed from a center known for its tolerance to one in which orthodoxy was legislated by the Inquisition. In order to study Titian{\textquoteright}s religious imagery in relation to this changing climate, I examined the writings of his literary friends. Many of these writers had books banned or were tried for heresy, while others became Inquisitors. No one writer can be identified with Titian{\textquoteright}s art, but the debates, elisions, and expurgations in their writings reveal period issues of decorum. Titian{\textquoteright}s friendship with Pietro Aretino is well-known, but I have found that he knew over sixty writers, including Pietro Bembo, Benedetto Varchi, and Giovanni della Casa. The dissertation includes a catalogue of writers Titian knew. Titian was not a literary man, but he had pretensions to being cultured in literature. He socialized with writers, painted their portraits, had rhetorical letters written in his name, and gave his sons literary names. Studying the literature of Titian{\textquoteright}s friends is thus essential for an understanding of the public success of Titian{\textquoteright}s religious paintings. The lyric and elegiac motifs in Titian{\textquoteright}s paintings of saints in a landscape are related to pastoral poetry. Similarly, Titian{\textquoteright}s imitation of the Laocoon in an image of St. Sebastian can be understood in the context of literary descriptions criticizing the wild writhing of the statue. I also examine the violence in Titian{\textquoteright}s St. Peter Martyr Altarpiece in relation to contemporary debates about the uses, limits and pleasures of violent imagery in tragedy. I interpret Titian{\textquoteright}s images of Mary Magdalene in relation to contemporary serious and satirical writings about the Magdalene and Petrarchism. Finally, I examine why Titian{\textquoteright}s paintings of the Annunciation were lauded and imitated, whereas closely related passages in Aretino{\textquoteright}s religious prose were criticized as heretical. Titian made religious paintings that were newly sensual, grand, pagan, and violent. It is a mark of his success as a religious painter that Titian{\textquoteright}s Christian poesie, which pushed the boundaries of decorum, were widely imitated during the Counter Reformation.}, keywords = {Renaissance Art}, author = {D{\textquoteright}Elia, Una Roman} } @mastersthesis {8891, title = {Design and the Industrial Arts in America, 1894-1940: An Inquiry into Fashion Design and Art and Industry}, year = {2001}, school = {CUNY}, abstract = {This dissertation explores design and manufacturing in America through the lens of the industrial arts. It concentrates on fashion design in New York City during the formative years of the fashion design profession and women{\textquoteright}s ready-to-wear industry from 1894 to 1940. For modern design historians industrial manufacturing and conception versus making are crucial to definitions of design, and significant within this context is "industrial design", a term that arose in the late 1920s and is tied to machines, advances in mass production and design creativity. By investigating the institutions, theories of mass production, and vocational and marketing practices associated with fashion design, the dissertation argues that the present understanding that frames design in terms of manufacturing and conception is historically incomplete and thoroughly tied to ideologies of technology and gender. During a period of accelerated mechanization from the 1850s to 1940, the term "industrial art" gained currency to describe useful objects that were made by hand, machines or a combination of the two, and fashion design was important therein. This terminology and the related phrase, "art and industry", designated the process of bringing "good" design to bear on mass produced items, as undertaken in educational programs, museums, and societies of manufacturers and designers. Through a study of the museums (The American Museum of Natural History, Brooklyn Museum and Metropolitan Museum of Art), schools (Cooper Union, Pratt Institute and Parsons School of Design), societies (The Fashion Group) and ideas (Elizabeth Hawes) that propelled garment making from the realm of dressmaking with its connotations of handiwork and domesticity to a practice of design, this study enables a more complete understanding of this period of design and industrial history, and offers the opportunity to consider the shifting meanings and values assigned to the concepts of "design" and "designer" in American scholarship. The dissertation also reveals attitudes about machines, technology, and modernism, as well as the social roles of women and men, underlying the cleavage between the design and industrial arts and definitions of design in America that persist to this day.}, keywords = {Pre-1945 North American and South American Art}, author = {Donahue, Mary} } @mastersthesis {8911, title = {Domenico Morone and the Decoration of the Sagramoso Library in the Church of San Bernardino, Verona}, year = {2001}, school = {Case Western Reserve}, abstract = {This study investigates the fresco cycle of the Franciscan Library of San Bernardino, Verona. The program depicting sixty-two illustrious Franciscans is unique in the history of Renaissance art in that it combined local tradition and ecclesiastical orthodoxy with subtle iconographical statements to advance the Observant Order of the Franciscans. It also links theological doctrines, including the controversy over the Immaculate Conception, with secular concerns, and provides one of the best-preserved pictorial cycles of the late Quattrocento in a northern Italian city. Chapter One focuses on the vicissitudes of art history as it relates to Veronese culture, especially during the Quattrocento. Chapter Two is a survey of the Franciscan presence in the Veneto and Verona and the increased relationship between Franciscan charity and private donations in the city. Included is a review of the artistic program in the Church of San Fermo, isolating individual donors and their prominent positions as supporters of the Order. The remainder of the chapter deals with the preaching of Saint Bernardino of Siena in Verona, and the building of the church in memory of the newly canonized saint. Chapter Three is an overview of the involvement of the Franciscan Order in the formation of monastic libraries, and places the Sagramoso Library in historical context. Chapter Four deals with the decorations in the Sala di Morone, which combines various theological positions of the Order, with an advocacy of the doctrine of the Immaculate Conception. Finally, the study examines the perplexing question of the authorship of the fresco series. Domenico Morone has traditionally been credited by most sources with the narrative series. However, a recent article by Luciano Bellosi casts doubt on the artist traditionally involved in this project. This analysis of the philosophical, iconographical and artistic legacy of the library provides a clearer understanding of the entire fresco series, and places it into the context of late Quattrocento Veronese culture. Moreover, it acknowledges the goals of the Observants and the artists who transformed these priorities into visual realization.}, keywords = {Renaissance Art}, author = {Veronesi, Gene} } @mastersthesis {8788, title = {Dual Darsana: Re-Addressing the Surya Icon}, year = {2001}, school = {Columbia}, abstract = {Throughout northern India, medieval patrons constructed temples to house icons of the Hindu sun god, Surya. Surya temples look much like neighboring structures dedicated to other Hindu deities. As such, they have not attracted attention from art historians. However, the solar sect has used (or refused to use) these temples in a manner that differs dramatically from the traditions of other temple-building sects. This dissertation seeks to re-define the ritual role played by the enshrined Surya icon. Surya is unique among the major deities of medieval Hinduism in his association with a natural phenomenon. Surya first gained prominence in the Vedic period, when gods were more frequently identified with the forces of nature. In a later period, Surya was the only Vedic deity to attract a sectarian following while maintaining his phenomenological character. Surya{\textquoteright}s visible presence in the sky affects the way in which he is worshipped. In Hindu temple rituals, the enshrined icon serves as a temporary manifestation of the deity. During worship, devotees benefit from viewing the incarnate divinity, an experience known as darsana. While the devotees of non-phenomenological gods such as Siva and Visnu must travel to icon-housing temples to gaze upon their god, the devotees of Surya can experience darsana from any outdoor location between dawn and dusk. Because adoration of the sun pre-dates the advent of icon-based worship in India, the introduction of the Surya icon necessitates the re-working of an established ritual tradition. For Hindu sun worshippers, the icon becomes a second source of darsana . Through examination of Puranic texts, ancient and contemporary ritual practices, and the architecture and iconography of sun temples, I will argue that non-iconic worship of the sun continued to dominate long after the introduction of the icon, and that the icon played only a peripheral role in the Indian sun-worshipping tradition. The problems presented by the Surya icon invite us to re-think our assumptions about the origins, meaning, and purpose of darsana in a Hindu context.}, keywords = {Asian Art}, author = {Cummins, Joan} } @mastersthesis {8845, title = {Ecce Homo Prostheticus: Technology and the New Photography in Weimar Germany}, year = {2001}, school = {Yale}, abstract = {This dissertation offers an analysis of avant-garde photography in Germany in the 1920s emphasizing its relationship to new technological paradigms that emerged during and shortly after World War I. My central argument is that the "new photographers" in Weimar Germany approached the medium not merely as a new method for making pictures, but more ambitiously, as a radical new technology of perception. The photographic camera, with its capacities to see faster, sharper, microscopically, telescopically, and, under most conditions, better than the naked eye, was conceived as a type of optical prosthesis, a mechanical supplement to the built-in deficiencies of human vision. Chapter One considers the new intimacy between bodies and machines brought about by the First World War, examining the practical and ideological efforts of the medical-technical industry to reintegrate maimed soldiers into the postwar industrial economy. In Chapter Two, I trace a parallel development of forms in postwar prosthetic technology and photographic aesthetics, arguing that in both fields there was a shift from an imitative to a functional paradigm. Chapter Three focuses on the work of Karl Blossfeldt, a German professor of decorative arts whose austere photographs of plant forms were discovered and championed by advocates of the new photography in the late 1920s. I argue that Blossfeldt{\textquoteright}s photographs were viewed as evidence of the primordial basis of functional form and served as the foundation for a reconciliation between organic nature and the "second nature" of modern technology. In Chapter Four, I discuss the phenomenon of "image fatigue," a concept that emerged in photographic discourse shortly after the pivotal Film und Foto exhibition of 1929. Here I suggest that underlying the enthusiasm about the new photography was a dramatic loss of faith in the perceptual power of the naked eye, and that by the early 1930s, photography was held accountable for a new kind of modern blindness-a pollution of vision through an overwhelming glut of images.}, keywords = {Photography and Film}, author = {Fineman, Mia} } @mastersthesis {8881, title = {Edwin Dickinson: His Work, Teaching, and Critical Reception}, year = {2001}, school = {CUNY}, abstract = {Labeled a "maverick" and "a painter{\textquoteright}s painter," the early American modernist Edwin Dickinson (1891-1978) has been problematical to many art historians because his work does not fit into a particular movement or category. He has been identified as a painter of fantasy, a visionary, a mystic, an American Romantic, a Surrealist, a Magic Realist and a Realist. In actuality, Dickinson was a true American eccentric who drew on European and American traditions but synthesized them to produce an original and emotionally expressive language. Besides his artistic contribution to American art, Edwin Dickinson was a renowned and gifted teacher. An important aspect of this dissertation is its concentration on Dickinson{\textquoteright}s teaching methodology, the tradition from which it emerged, and how his artworks reflect his approach. He influenced hundreds of American artists during his years of teaching (1916-64) at numerous institutions including the Art Students League, The Cooper Union, Pratt Institute, the Provincetown Art Association, and Skowhegan. Among his students were Lennart Anderson, Jean Buckley, Arthur Cohen, Francis Cunningham, Edward Denyer, Salvatore Del Deo, Louis Finkelstein, Ruth Hatch, Denver Lindley, Walter Prochownik, Susan Smith, Roger Van Damme, and Merrill Wagner. Edwin Dickinson represents a strain of American modernism which reaches back through his primary teachers Charles W. Hawthorne and William Merritt Chase to both the Munich School{\textquoteright}s painterly realist orientation and French and Italian Impressionism. These European schools, in turn, can trace their ancestry to artists such as Titian, El Greco, Hals, Velazquez, Delacroix, and Manet. This dissertation has traced this painterly strain and analyzed its impact on Dickinson{\textquoteright}s own teaching methodology and painting practice. This dissertation has also examined the literature on Edwin Dickinson for the first time as far as changes in critical attitudes toward his art and has shown that though the artist has traditionally been associated by art historians with the decades of the 1920s and 1930s, in actuality the period of his greatest recognition occurred in the 1950s and 1960s. The reasons for this, including why his work was so attractive to the Abstract Expressionists as well as the critical establishment, have been soundly documented.}, keywords = {Pre-1945 North American and South American Art}, author = {Abell, Mary} } @mastersthesis {8811, title = {Embodying the Empress-Widow: Maria Theresa and the Arts at Schoenbrunn, 1765-1780}, year = {2001}, school = {UNC Chapel Hill}, abstract = {Upon the death of Emperor Franz I in 1765, the Habsburg Empress Maria Theresia petitioned her son, the recently ascended Emperor Joseph II, for a new title in the court ceremonial protocol. Instead of "widowed Empress," which emphasized her husband{\textquoteright}s death, she requested "Empress-Widow," a term she felt described her present situation and status more accurately. This new nomenclature heralded broader changes in Maria Theresia{\textquoteright}s political identity and behavior: for the remaining fifteen years of her reign, she lived a seemingly contradictory existence combining the secluded life of an imperial widow with the daily responsibilities of a ruling Empress. This dissertation studies how Maria Theresia used architecture, interior decoration, and painting to define her identity as an Empress-Widow. I accomplish this through an examination of the renovations she supervised during the late 1760s and 1770s to the imperial summer palace at Schonbrunn, located in Vienna, Austria. The requirements of her dual identity, I argue, generated the unusual decoration found in Schobrunn{\textquoteright}s imperial apartments. To better understand how one female monarch used art to meet her needs as a specifically female ruler is this study{\textquoteright}s goal. In the dissertation{\textquoteright}s first chapter I address Anton von Maron{\textquoteright}s Portrait of Empress Maria Theresa as a Widow of 1773 to discuss the formation of a new imperial iconography representing political power as emanating from a widow. The second chapter compares the organization of palatial space at Schonbrunn before and after 1765 to analyze how Maria Theresia transformed the palace into a combined court residence and widow{\textquoteright}s retreat. The following two chapters examine specific rooms at Schonbrunn in detail: the Vieux-Laque Zimmer, which illustrates dynastic continuity through carefully designed family portraits, and the Millionen-Zimmer, which alludes to aspects of Maria Theresia{\textquoteright}s reign through references to the Islamic East. In both rooms, I argue, Maria Theresia melded available art traditions into complex programs that visualize the priorities of her reign as well as her achievements as wife, mother, and monarch.}, keywords = {Baroque and 18th-Century European Art}, author = {Yonan, Michael} } @mastersthesis {8799, title = {The Emergence of the Conversation Piece in Georgian England}, year = {2001}, school = {Rutgers}, abstract = {This study explores the origin, emergence, and social significance of the English conversation piece, which is generally defined as a small-scale, informal group portrait of family or friends. The problems examined include the development of the English conversation piece in the early eighteenth-century, the etymology of the term, the patrons of the genre, and the issue of "informality" in these pictures. An examination of the writings of eighteenth-century authors as well as records in contemporary sale catalogues reveals that the term "conversation" was frequently assigned to genre pictures. Genre pictures were still designated this way after the rise and popularity of small group portrait, and the modern meaning of "conversation piece" did not commence until the twentieth-century. An analysis of English conversation pictures during the first three decades of the eighteenth-century reveals that this new type of subject had its origin in Netherlandish small-scale family portraits. Foreign-born artists working in England played a significant role, but the roles assigned to Watteau and Mercier in the creation of the genre have been exaggerated. While it is often claimed that the conversation piece was principally patronized by the middle class, a comprehensive study of the patrons of early English conversation pictures shows the genre was predominantly favored by the upper class, i.e., the nobility and gentry. Finally, images of tea parties are used to investigate the social context of the English conversation piece. The traditional notions of informality and bourgeois taste that have been associated with the conversation piece are dispelled. Through the study of historical documents and the formal analysis of the paintings, the purpose and meaning of the Georgian conversation piece are shown to be very much like the formal Baroque portrait, namely, to highlight the elevated social and economic status of those represented.}, keywords = {Baroque and 18th-Century European Art}, author = {Chen, Ching-jung} } @mastersthesis {8914, title = {Emerging from the Shadow of Giotto: The Riminese School and Other Masters in the Trecento Marche}, year = {2001}, school = {Penn State}, abstract = {This dissertation considers the painters working in Rimini and the Marche region in the 14th century, and seeks to place them into the larger context of Italian Trecento Painting, a field that has long been dominated by the art of Tuscany. The working methods of these painters, as well as specific frescoes and panels are examined in an attempt to define their contributions to the period. The Introduction includes a consideration of the historiography of Riminese studies and a methodological statement. Chapter two considers the primary artists of the Riminese School, and their particular style. The lack of specific names attached to works and other documents, as well as the singular style of these painters, has led to many attribution problems. These difficulties are especially numerous in the Riminese works in American collections. Chapter three examines the itinerant nature of the Riminese School, and the relationships that were developed between various artists and paintings. This idea is illustrated by images of the Crucified Christ, located throughout the region, their relation to each other and to Giotto{\textquoteright}s Crucifixion in the Arena Chapel, and his Crucifix in Rimini. Chapters four through six are case studies of specific examples by the Riminese and Marchigian Schools. In chapter four, Pietro da Rimini{\textquoteright}s frescoes in the Chapterhouse of the Abbey at Pomposa are discussed in the context of the extraordinary illusionism of the frescoes. Chapter five examines three related frescoes from Fabriano, now detached and separated, and considered in conjunction with a series of similar panels. This examination serves to clarify the relationship between the Fabrianese and Riminese schools. Chapter six introduces the fresco fragments located in the Belltower chapel in the Church of San Domenico in San Severino Marche. They are the work of a previously unknown painter, examined here for the first time. This chapter demonstrates how they relate to the Riminese painters and other local masters. The conclusion considers the contribution of the Marchigian painters of the Trecento, and their influence on later painters. This promotes the integration of these artists into the broader field of Italian Trecento painting.}, keywords = {Renaissance/Baroque Art}, author = {Fleming, Alison Christine} } @mastersthesis {8821, title = {Envisioning Faith and Structuring Lay Experience: The Narthex Portal Sculptures of Sainte-Madeleine de Vezelay}, year = {2001}, school = {Johns Hopkins}, abstract = {This dissertation presents a new interpretation of the textual sources, content, meaning, function, pictorial sources, and influence of the narthex portal sculptures at Sainte-Madeleine, Vezelay. After an introductory survey of the existing literature on the sculptures, I examine the identity of the figure around whom the entire program revolves, the central deity of the main tympanum, arguing that this figure{\textquoteright}s gestures, pose, and formal articulation demand that it be understood not simply as Christ, but as personification of the Trinity. I then propose that the primary textual source for the composition of the main portal is Ephesians 2:11-22. This passage uses a series of anthropomorphic metaphors to describe the establishment of the Universal Church through the joining of its two constituent communities, the Jews and the gentiles, in the keystone of Christ. The identification of this source enriches the main portal{\textquoteright}s meaning, in particular by revealing how tightly tied the sculptures are to their physical context, and explains the presence of the composition{\textquoteright}s many architectural details. After suggesting that the main portal was also intended to function as a portrait of the monks and their lay congregation involved in the performance of the Mass, I argue that the three portals together function as a visualization of the central text recited by the laity during this liturgical ceremony: the Nicene Creed. By giving pictorial form to Ephesians 2:11-22, the Mass, and the Nicene Creed, the monastic authors of the portal program intended to teach lay visitors the proper doctrine of the Church, to determine the nature of their experience while inside the basilica, and to emphasize the centrality of the Church and its rituals to their lives, both in this world and the next. The discovery of the true content of the sculptures also allows a number of important pictorial sources for the program to be identified, sources that suggest English involvement in the scheme{\textquoteright}s conception. I conclude by arguing that the narthex portal sculptures, through their visualization of Ephesians 2:11-22, served as the primary inspiration for the first Gothic portal scheme, created at the royal abbey of Saint-Denis.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Low, Peter D.} } @mastersthesis {8906, title = {Et Macula Non Est in Te{\textquoteright}: The Birth of the Virgin in Sixteenth-Century Rome}, year = {2001}, school = {Binghamton}, abstract = {This study demonstrates that Roman depiction of Mary{\textquoteright}s birth acquired new prominence in the visual culture of Rome between 1530 and 1600. Divided into four patterns of dates that share distinct characteristics, the scenes of Mary{\textquoteright}s birth, executed between 1530 and 1559, are characterized by a conspicuous and unprecedented muscularity of the human actors, including women. Marian cycles painted between 1560 and 1568, however, are distinguished by a simplified and more straightforward artistic interpretation that may reflect the larger polemic against lascivious and improper sacred representation. A notable characteristic of the chapels decorated between 1573 and 1588 is the arrangement of the Marian narrative around venerable icons of the Madonna, and the extraction of events from the narrative that were then set within elaborately decorated, gilded stucco frames. Another shift occurred again in the Marian cycles executed between 1590 and 1598. These cycles are characterized by the distinct absence of scenes of Mary{\textquoteright}s birth, most notably in the chapels belonging to patrons closely associated with the Dominican order, as well as with the policies of the Dominican Pope Clement VIII. I argue that sixteenth-century Roman images of the scene of Mary{\textquoteright}s birth represent a transition between Italian imagery and the Spanish interpretation of the Purissima, or Woman Clothed with the Sun, which is the paramount image of the Immaculate Conception. As such, images of Mary{\textquoteright}s birth executed in Rome in the sixteenth century demonstrate support for the issue of the Immaculate Conception of Mary and, most significantly, for the Marian cult.}, keywords = {Renaissance Art}, author = {MacCaskey, Laura} } @mastersthesis {8877, title = {Exhibiting America: The Search for a National Art from the American Wing to the New York World{\textquoteright}s Fair}, year = {2001}, school = {Yale}, abstract = {This dissertation is the first scholarly treatment of the exhibitions that introduced American modernism to the general public in the interwar years. The dissertation examines how these shows, held in New York City between 1925 and 1935, framed modernism, creating meaning through the selection of art, labels and catalogues, and interior architectural design. It consists of four case studies: Alfred Stieglitz{\textquoteright}s Intimate Gallery (1925-1929); the Metropolitan Museum{\textquoteright}s 1929 The Architect and the Industrial Arts; the early exhibitions of American art at the Museum of Modern Art (including Paintings by Nineteen Living Americans, 1929, and Homer, Ryder, Eakins, 1930); and two popular exhibitions that celebrated American machines as art, the Machine-Age Exposition (1927, sponsored by The Little Review), and MoMA{\textquoteright}s Machine Art (1934). Each case study documents the architectural and intellectual apparatuses of the exhibitions and examines the works on view from this perspective. Together, the studies reveal that these shows borrowed visual and intellectual tropes from mainstream American culture. The motivations for this borrowing were complex and contradictory. One the one hand, these artists and curators aimed to frame their art, with its often critical view of society, in the most legible language for the mainstream, so that it might reach a larger audience; and, on the other hand, they envied that department stores, movies, radio, and tabloid magazines had been thoroughly successful in capturing public attention, and wanted to borrow strategies to cultivate entranced audiences for their own work. This not-entirely-critical relationship between modern art and popular culture contrasts with typical formulations of the history of modern art, which have cast modernism as an elitist force resisting the mainstream culture industries. This project demonstrates that early modernism was not a self-sufficient cultural institution, but rather had to negotiate a social role using pre-existing non-art discourses. It ultimately opens the field of American modernism beyond the analysis of a work{\textquoteright}s intrinsic properties by investigating the ways such art was "sold" to the public. In so doing, it questions the manner in which fine art interacts with the preoccupations and prejudices of the society in which it lives.}, keywords = {Post-1945 World Art}, author = {Wilson, Kristina} } @mastersthesis {8870, title = {Exhibiting Equality: Black-Run Museums and Galleries in 1970s New York}, year = {2001}, school = {Chicago}, abstract = {This dissertation recognizes an overlooked but formative period of contemporary art history when black artists and activists responded to their historical exclusion from the canon of American art. It concentrates on New York where black artists and curators in the late 1960s and 1970s, dissatisfied with the few and inadequate exhibition opportunities available to them, initiated separate, black-run institutions. These exhibition sites, including the Studio Museum in Harlem, Kenkeleba House in the East Village, and Just Above Midtown Gallery on 57th Street, were established in the aftermath of the Civil Rights movement and in the context of emerging alternative gallery spaces. My study investigates the roles of independent museums and galleries in articulating complex discourses of aesthetics, politics, identity, and race. I argue that these spaces ventured new understandings of contemporary black artists, established a canon of black masters, and created a new market for black artists{\textquoteright} work. A broad spectrum of intentions and ideologies helped shape these alternative black-run museums and galleries. Chapter one outlines artist protests in New York during the late 1960s and 1970s. Black artists vehemently criticized white-identified institutions for excluding black curators and historians from the production of black artist exhibitions, and claimed that white curators and historians ultimately misrepresented the work and the artists. Protesters argued for the acceptance of black artists in the breadth and diversity of American art, but were unable to bring about significant change. Chapter two traces the spectrum of definitions of "black art" and details how black artists confronted the biases of modernist criticism, which they argued were used to justify disparaging their work. Black artists called for a "new criticism" that would measure their work not according to white-identified standards, but instead recognize their artistic productions as equally valid to those of white artists. Chapters three and four examine how individual black-run spaces negotiated the complex dynamics between their disparate curatorial visions and their communities. The epilogue discusses 1990s controversies about the use of stereotypes to critique racism and attests to the ongoing challenges of exhibiting black artists{\textquoteright} work.}, keywords = {Post-1945 World Art}, author = {Meyerowitz, Lisa} } @mastersthesis {8847, title = {Fictions of Far-Away Places: Travel, Exoticism, and Cinema from High Imperialism to Global Culture}, year = {2001}, school = {Rochester}, abstract = {This dissertation interrogates how cinema functions as a form of knowledge of cultural difference by proposing, first, a reconsideration of the early history of cinema in terms of how the filmic representation of faraway lands was implicated in the literal traversal of space in geopolitical expansion. I draw upon the cultural and political history of the U.S., studies of early cinema, and postcolonial theory to argue that cinema enabled an effective visual appropriation of the world at a historic moment of conquest. Chapter One situates the emergence of cinema in the U.S. within the visual culture of the turn of the century, and in relation to practices of overseas imperialism and colonial conquest in Asia and the Pacific region. Chapter Two considers the early work of the popular American illustrated travel lecturer E. Burton Holmes, in particular his lectures on Japan, China, Hawai{\textquoteright}i, and the Philippines, as specific examples of how the new technology of cinema, combined with the existing conventions of travel narratives, could be marshaled to legitimate a particular view of the world. The second part of the dissertation focuses on different aspects of travel-as the circulation of images, ideas, people, and capital-in an examination of contemporary cinema and global culture. In this section I also call attention to intersections of race, gender, sexuality, and nation at the level of the subject, thus shifting the focus from the commerce between nations to questions of intersubjective identity and difference. Chapter Three analyzes the production, marketing, and reception of The Last Emperor (Bertolucci, 1987) as a virtual voyage to China and the Forbidden City. Chapter Four demonstrates how David Cronenberg{\textquoteright}s M. Butterfly (1993) highlights the contradiction between a faith in the objective nature of the cinematic apparatus, or film as a form of knowledge, and the necessarily subjective nature of perception, or seeing as socially determined. Chapter Five returns to the U.S. context in an analysis of The Wedding Banquet (Lee, 1993) in relation to questions of travel and the deterritorializations of contemporary global culture.}, keywords = {Photography and Film}, author = {Roan, Jeanette} } @mastersthesis {8756, title = {Figurations of Women Dancers in Weimar Germany (1918-1933): Hannah Hoech, Otto Dix, and Paul Klee}, year = {2001}, school = {Wisconsin}, abstract = {During the economic and political upheavals of the Weimar Republic (1918-1933), a media icon of an independent, urbanized, and androgynous woman emerged known as the New Woman. Many living women incorporated aspects of the New Woman stereotype into their everyday lives, particularly through dance. This dissertation examines figurations of women dancers in the visual arts of the Weimar era. Using case studies of Hannah Hoch, Otto Dix, and Paul Klee, I explore how artists grappled with the New Woman as a dance phenomenon, and how their works ultimately countered the 1950s modernist myth that high art developed separately from the female-dominated realms of popular culture and the performing arts. Representations of women dancers in the visual arts both reinforced and contradicted stereotypes presented in the culture at large. Hoch, Dix, and Klee often rendered dancing women as far more traditional than the contemporary women around them. At the same time, by promoting alternate roles for women, acknowledging the fallacy of the stereotype, and exploring dance{\textquoteright}s relationship to the visual arts, these artists actively responded to complex and fluctuating characteristics of the New Woman. Following my introduction of the history of Weimar women and dance in chapter one, I detail each artist{\textquoteright}s participation in circles that included women dancers, and explore the degree to which they knew of contemporary performance practices in order to understand the deeper meanings of the artists{\textquoteright} figurations. Contesting cultural hierarchies by depicting a range of women dancers across high and popular culture, Hoch{\textquoteright}s photomontages render women as multifaceted cultural forces. Dix characterized women{\textquoteright}s dance as conflated stereotypes of jazz dance, metropolitan life, and contemporary fashion through realism, revealing living women{\textquoteright}s struggles to become the ideal New Woman. Finally, Klee{\textquoteright}s imagery of women dancers, ranging from sensuous goddesses to springing acrobats, balances his interests in modernist art and geometric simplicity with explorations of gender and sexuality. This new approach to Weimar art history thus examines the fluid relationships between the visual and performing arts and places women at its very center.}, keywords = {19th- and Early 20th-Century European Art}, author = {Funkenstein, Susan L.} } @mastersthesis {8789, title = {Filling the Void: The Fugen Jurasetsunyo Iconography in Japanese Buddhist Art}, year = {2001}, school = {Princeton}, abstract = {A new iconographic theme began to appear in Japanese Buddhist art of the twelfth century. It was referred to in contemporary diaries as {\textquoteright}Fugen jurasetsunyo,{\textquoteright} and it combined the familiar image of the bodhisattva Fugen, astride his six-tusked white elephant, with the jurasetsunyo, the ten female demons who are introduced in the Darani chapter of the Hokkekyo. The new combinate image does not have any extant scriptural basis, nor does it appear in existing sutra-related literature. It emerged purely in the realm of Buddhist art. This dissertation is the first comprehensive examination of the origin and development of the Fugen jurasetsunyo theme in Japanese Buddhist art. It is my thesis that the Fugen jurasetsunyo iconography was a Japanese invention, and that it was derived from visual, rather than textual sources. I further argue that this theme was created for use in death memorial services for aristocratic women, but by the fourteenth century also served as the main image in death anniversary services for men. Chapter One of this dissertation is an examination of Fugen Bodhisattva in literature and art, concluding with my theory regarding the transformation of the Fugen image into the main object of worship in death memorial services. In the second through fourth chapters, I present the first examination of the female demons as an image with an iconographic tradition distinct from that of Fugen. After a discussion of their appearance in religious texts, secular literature, and the visual arts, this section concludes with the identification and description of extant works of the jurasetsunyo, theme. Chapter Five is an examination of the Fugen jurasetsunyo painting in its various permutations, and Chapter Six deepens our understanding of the theme through a comprehensive exploration of its art historical context. In Chapter Seven, I propose a new theory regarding the early twelfth century origins of the Fugen jurasetsunyo, iconography. I then conclude in Chapter Eight with a discussion of its patronage and function in early medieval Japan. It is here that we begin to understand the Japanese creation of an indigenous theme to fill a void left by the adoption of a foreign religion and its visual tradition.}, keywords = {Asian Art}, author = {Fabricand-Person, Nicole} } @mastersthesis {8761, title = {The Flaneur: Genealogy of a Modernist Icon}, year = {2001}, school = {CUNY}, abstract = {Looking back at the emergence of the flaneur in French literature of the first half of the nineteenth century, one is struck by his fluctuating, ambivalent reputation, as well as by his ascendancy in a rather peculiar type of publication that thrived during the July Monarchy, entirely dedicated to the city of Paris and its inhabitants, namely panoramic literature. It is only when the type began to wane in the literature of the Second Empire, that the idea of the artiste-flaneur as painter of modern life gained momentum, first with Charles Baudelaire, then with Emile Zola, and crystallized around the persona of their common friend, Edouard Manet. This keen observer{\textquoteright}s intimate relationship with the modern metropolis (which defined him and outside of which he did not exist) became the paradigm of a new type of representation, which Nils Sandblad, speaking of Manet, coined "the realism of the flaneur ." Virtually every art historian who wrote about Manet after that concurred with the view that the flaneur epitomized early modernism as it arose in the course of the Second Empire and the Third Republic. In the latter part of the twentieth century, prompted by the publication of Walter Benjamin{\textquoteright}s essays in French and English translation, a new surge of interest in the flaneur has occurred, from which the flaneur has emerged as a pivotal figure in discussions of early modernism, not only in relation to the art of Manet, but also in theoretical essays pertaining to the issue of modernity in general. By looking beyond Baudelaire and Benjamin and focusing on nineteenth-century texts, I identify crucial notions about visuality, spectatorship and the modern observer which were largely ignored by Benjamin and have thus since been overlooked. I also establish a connection between the Surrealist literature that triggered Benjamin{\textquoteright}s interest in the nineteenth-century flaneur and later twentieth-century art practices, and I analyze the occurrence and significance of those rituals of random, purposeless, chance induced strolls, from their origins in the "promenades" of 18th and 19th-century Romanticism to contemporary peripatetic practices, drawing examples mostly from the International Situationist and Conceptual Art.}, keywords = {19th- and Early 20th-Century European Art}, author = {Hollevoet, Christel} } @mastersthesis {8791, title = {Folk Art in Modern China, 1930-1945}, year = {2001}, school = {UC Berkeley}, abstract = {Folk Art in Modern China, 1930-1945, looks at the emergence of folk art as a recognized category of visual art in China. It examines why some Chinese intellectuals became interested in folk art, what sorts of objects and practices they classified as "folk," and what assumptions that classification carried with it; and also how the idea of folk art was deployed in the artistic debates of the period. Exploring these questions sheds light on issues that are central to an understanding of 20th Century Chinese art and culture, and also provides another perspective on modern culture as a transnational phenomenon. When Chinese intellectuals first took up the idea of folk art, they drew on 19th century Western theories of folklore and ethnography that saw folk culture as intermediate step between modern civilization and primitive society. The Chinese engagement with the idea of folk art was thus deeply ambivalent. As a living link to the ancient past, folk art was valued as an expression of the enduring spirit and creativity of the national soul, but at the same time, it served as painful evidence of China{\textquoteright}s superstition and backwardness. The dissertation looks at a several episodes of Chinese intellectual engagement with the idea of folk art, and with the objects and practices they viewed through its lens. This include the treatment of folk art in the arts magazines of the early 1930s; the role of folk art within the self-consciously avant-garde New Print Movement; the first major folk art exhibition in China; and finally use of folk art in propaganda during the Anti-Japanese War. Although in each case the use of definition of "folk art" varies, they share a common sense of folk art as a point of cultural intervention: folk art was celebrated as the unmediated expression of the voice of the people, but ultimately it was to be reinterpreted and reformed by intellectuals.}, keywords = {Asian Art}, author = {Lufkin, Felicity} } @mastersthesis {8824, title = {Fountains and the Culture of Water at Roman Corinth}, year = {2001}, school = {Pennsylvania}, abstract = {This dissertation considers the history of Corinthian fountains and water imagery from the Roman refoundation of Corinth in 44 BC to the Gothic sack of AD 395, examining the archaeological evidence for standing fountains, and a diverse corpus of fountain art. Each case study has an archaeological core. Successive layers of interpretation draw from the history of art and architecture and studies in topography and landscape. The central archaeological zone of Ancient Corinth offers a unique chance to monitor evolving practices and tastes within a prominent class of monuments, and to reflect on their meaning for this Roman colony and provincial capital. The case-studies begin with the architectural history of Peirene, always the preeminent Corinthian spring. Four major Roman phases are identified, and the transformation of the fountain court into a grand trefoil-shaped pavilion is reassigned from the second century to the fourth, casting new light on the state of Late Antique Corinth. The study finds that fountains were among the most evocative symbols of Roman Corinth. The historiated fountains of Peirene and Glauke were complemented visually and symbolically by a plethora of other water-displays, ranging from modest basins and water-spouting Nymphs to an impressive Fountain of Neptune-Poseidon, the jewel-like South Stoa Fountain, and a grand Nymphaeum built in the shadow of Temple Hill. Of water displays known only indirectly, a Skylla group, attested on local coins, and a fountain of Pegasos and Bellerophon, noted by Pausanias, stand out as monuments that perpetuated and further extended Corinthian claims over land and water. Focusing on the phenomenology of springs and fountains, my study delineates a new vision of the creative fusion of architecture, art, and nature in Roman Corinth, as the city transformed itself from a provincial parvenu into a potent exemplar for the rest of the Roman hegemony.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Robinson, Betsey Ann} } @mastersthesis {8771, title = {From Princess to Empress: The Transformation of the Monarchy in the Portraits of Queen Victoria, 1819-1901}, year = {2001}, school = {IFA/NYU}, abstract = {The situation of the monarchy at the time of Victoria{\textquoteright}s birth in 1819 and throughout her childhood was precarious, resulting partly from the political agitation and social unrest that characterized the period, but also from the continued misconduct of the generation of royal family members that preceded Victoria. The ascendancy of the middle class, and with it a strict moral code, had made the public more mindful and less tolerant of the royal family{\textquoteright}s flagrantly immoral behavior, as evidenced by the public{\textquoteright}s devastation in response to the death of the popular Princess Charlotte in 1817 and their outrage at the behavior of George IV during the Queen Caroline Affair of 1820. The fact that public opinion in both instances was based on an ideal of female virtue suggested, however, that the accession of a young and innocent queen might help to revitalize the public{\textquoteright}s sentimental attachment to the institution of the monarchy. This dissertation examines Victoria{\textquoteright}s portrait image over the course of her lifetime, as her identity evolved from that of a little-known princess, to a willful queen of just eighteen years of age, to an exemplary wife and mother, to a despondent widow and finally to a formidable imperial matriarch. Its objective is to determine how Victoria{\textquoteright}s portrait image contributed-both favorably and unfavorably-to public opinion of her and of the monarchy at each stage of her life, looking in particular at how the conventions of Victoria{\textquoteright}s sex influenced her portrait image and, therefore, her public image as well. The image of Victoria as a domestic queen regnant during the years of her marriage to Prince Albert, for example, helped to promote the monarchy as a politically harmless and valuable role model, while the image of Victoria as a despondent widow in the years following Albert{\textquoteright}s death served only to advertise her neglect of her sovereign duties. However, the image of Victoria as an imperial, maternal icon after she was crowned Empress of India in 1876, presented Victoria as an emblematic representation of Britain itself, helping to transform significantly the public{\textquoteright}s relationship with their monarchy at the end of Victoria{\textquoteright}s reign.}, keywords = {19th- and Early 20th-Century European Art}, author = {Svetlik, Claire} } @mastersthesis {8790, title = {The Frontier Imaginary in the Song Dynasty (960-1279): Revisiting Cai Yan{\textquoteright}s {\textquoteright}Barbarian Captivity{\textquoteright} and Return}, year = {2001}, school = {Michigan}, abstract = {This dissertation examines the early twelfth century handscroll the Eighteen Songs of a Nomad Flute in light of changing conceptions of gender and ethnicity in pre-modern China. Focusing on the dynamic relationship between text and image in this early masterpiece of narrative painting, it examines its textual and stylistic precursors as well as its artistic innovations. The Eighteen Songs illustrates the "barbarian captivity" of Lady Cai Yan, a legend that originated in the late second century and that epitomized the fascination and anxiety that people in China felt about their northern frontier. Arguing against the prevailing sinological interpretation that the illustrations of Cai Yan{\textquoteright}s twelve-year captivity indicate a Chinese sense of cultural superiority and ethnic chauvinism, this dissertation demonstrates that the painting presents a highly constructed and polemical narrative that belies notions of rigid boundaries between culture and savagery. Chapter One makes the case for the historical importance of the northern frontier in the Chinese historical imagination. It examines the pictorial and poetic conventions in which this nomadic frontier was defined. Chapter Two traces the textual tradition of Cai Yan{\textquoteright}s captivity, exploring how the story was transformed through the centuries. In particular, it contrasts different portrayals of her tearful parting from her "barbarian" children and her return to her Chinese home, and it argues that recent interpretations of the story overemphasize the importance of the latter. Chapter Three examines the interplay of text and image in the handscroll, investigating how the visual material inflected and reformulated the multivalent story. Specifically, it shows how the visual rhetoric of the work, which emphasizes Cai Yan{\textquoteright}s separation from her children as opposed to her return to China, reveals a more sympathetic view of her captors and thus an anti-xenophobic sentiment running through the work. Finally, Chapter Four offers a re-dating of the painting based on the artistic and political concerns that it reveals, and it suggests a new historical context for the handscroll{\textquoteright}s creation and reception.}, keywords = {Asian Art}, author = {Leung, Irene S.} } @mastersthesis {8795, title = {Gathering Jade, Assembling Splendor: The Life and Art of Tseng Yuho}, year = {2001}, school = {University of Washington}, abstract = {Painter, calligrapher, teacher, and scholar, Tseng Yuho{\textquoteright}s achievements in the field of Chinese art history are many. Her contributions as artist and scholar and the development of dsui hua, the collage-like technique that is her signature painting style, are the focus of this study. Born in Beijing in 1925 to a family who embraced the twin ideals of Confucianism and modern education, Tseng graduated from Furen University. In Beijing, she was indoctrinated into the Orthodox painting traditions of her teachers Pu Jin and Pu Quan. This training fostered within her a deep commitment to the ideals of Ming dynasty artist and theorist Dong Qichang, particularly his theory of creative reinterpretation: in mastery of the past lay the roots of personal expression. With her husband Gustav Ecke, Tseng emigrated to America in 1949 and settled in Hawaii, where she felt free to experiment. In this creative atmosphere was nurtured the development of dsui hua (literally, "assembled paintings"). The technique is entirely of Tseng{\textquoteright}s own creation, but has antecedents in both Chinese and Western art. Tseng{\textquoteright}s attention to Western art movements, local Hawaiian imagery and materials, and her friendships with such prominent figures as Max Ernst, all contributed to the evolution of dsui hua. Within the Chinese tradition, the layers of influence are diverse and indirect, combining techniques and aesthetics from scroll mounting, textiles (kasaya), and trompe l{\textquoteright}oeil painting (bapo ). From 1960-70, Tseng was represented by Edith Halpert and the Downtown Gallery, an association that brought Tseng Yuho and dsui hua to the attention of a broader audience and led to numerous commissions and exhibitions. Tseng Yuho{\textquoteright}s artistic career is distinguished by her parallel career in academia. Until her retirement in 1985, Tseng taught art history and studio art at the University of Hawaii, Manoa. Teaching, scholarship, publications and art historical exhibitions offered other avenues of expression for Tseng{\textquoteright}s creative and intellectual interests. Interviews with the artist, family members, and colleagues have been supplemented with material from various sources. These include correspondence, catalogues, press releases, newspaper and magazine articles, photographs, and scrapbooks. In addition, Tseng{\textquoteright}s own writings have been useful sources.}, keywords = {Asian Art}, author = {Thompson, Melissa} } @mastersthesis {8851, title = {Generations of Lesbian Self-Representation and the Construction of Desire}, year = {2001}, school = {Rutgers}, abstract = {"Generations of Lesbian Self Representation and the Construction of Desire" assumes the relevance of art history and the necessity of political action. It considers the circumstances under which memory and autobiography may enter into history. It looks back to historic lesbian identities, and forward to another generation that is working to deconstruct these identities. Attentive to the crisis of control of women and the feminine body that has dominated the public sphere during the Feminist Movement, it turns us toward the paradigms through which women{\textquoteright}s subversions and resistance have been understood within the Feminist Art Movement. What are the implications of sexuality and sexual identity, categories of analysis, for the disciplinary paradigms of art history? The figure of the Lesbian has been a problem both in and for western visual representation-the problem of Woman and the feminine body doubled. Romaine Brooks{\textquoteright}s portraits, stand at the beginning of a visual history of (transgressive) gender performance used to annunciate (lesbian) desire and presence. Produced between 1905 and 1930, Brooks{\textquoteright}s portraits are a critical intervention in the formulation of modern sexual identity-a discourse that increasingly conceptualized a lesbian identity layered with psychoanalytic and medical theories of inversion, social theories of unruly deviance, and political strategies of repression and control. Brooks{\textquoteright}s portraits are a statement of an/other subjectivity, and as such, they have been a necessary point of access for those wishing to challenge the understanding of Woman (and women) as always already heterosexualized that has been the precondition for so many art histories. If a culturally authoritative lesbian gaze can be said to be the achievement of Brooks{\textquoteright}s oeuvre, the politics and poetics of visibility and the closet are a primary concern of successive generations of lesbian artists, as they consider the formulation of feminine, feminist, lesbian, and queer identifications. Lesbian self representation has been framed within, the transgression of, oppositional dualities, the (feminine) body and the (lesbian) gaze, the abject and the sublime, the androgyne and the maternal, butch and femme, presence and the apparitional, through which desire is figured; the meanings of embodiment, gender, and subjectivity re/negotiated; in short, through which Western knowledge has been constructed.}, keywords = {Critical Theory/Gender Studies/Visual Studies, Post-1945 Art}, author = {Rando, Flavia} } @mastersthesis {8842, title = {The Genre Interior in English Painting: From Dutch Origins to Native Solutions}, year = {2001}, school = {Penn State}, abstract = {This thesis investigates the history and role that paintings of seventeenth century Netherlandish genre interiors played in introducing Britain to the world of the visual arts. It demonstrates the influence of itinerant Dutch teaching methods on English artists and shows how much was absorbed and what was adapted to strong English traditions of literature, drama, portraiture, topography and the decorative arts. It offers a chronological examination of how British patronage, the art critic, a continental bias, and the artists helped to shape a distinctive British idiom separate from its Dutch origins. It covers analyses of individual British artists who concentrated on these scenes; what their exposure and dependence on Dutch art was and how their approach deviated from their predecessors. It analyzes how theoretical essays on the taste for the picturesque and the sublime contributed to the development of the literary Romantic movement which shifted the emphasis in the visual arts from the theme of a painting to the artist{\textquoteright}s subjective feeling about it. This promoted the genre interior as valid subject matter and paved the way for the emergence of the new theme of the empty room which eliminated the need for the figure altogether. In these, formal elements were used to evoke a mood, suggest a presence, create an atmosphere, project a personality or define a trade or social standing. The theme of the empty room has been adapted to a multitude of art movements and has survived to the present day. It demonstrates how the genre interior was adapted to various later British art movements. The final analysis reveals how original Dutch treatments continue to offer viable twentieth century variations-as in the works of David Hockney. It also shows a persistence of Dutch influence in the rectilinear abstract constructions of Mondrian in the works of contemporary British artists like Ben Nicholson.}, keywords = {Nineteenth-Century Art}, author = {Keating, Mary O.} } @mastersthesis {8890, title = {George Inness: Landscape, Representation, and the Struggle of Vision}, year = {2001}, school = {Johns Hopkins}, abstract = {This dissertation presents a new interpretation of the art and career of the American landscape painter George Inness (1825-1894). I argue that Inness understood his art as belonging to a tradition of scientific and philosophical inquiry with origins in the seventeenth century. He conceived of his practice as an experimental process, taking as his object of investigation the configuration of perceptual experience in representation and, more specifically, the structure of the relation of an individual to the natural and spiritual realms established in the act of vision. In so doing, he expanded the limits of the landscape genre, making it a discipline akin to the fields of metaphysics, philosophy, psychology, psychophysiology, and theology. Inness described his practice as if it were a science, spoke repeatedly of formulas, principles, and laws, stated that he had struggled to find a "scientific formula for the subjective of nature," and involved himself directly in contemporary and historical debates concerning perception. Specifically, I claim (1) that in his landscapes, Inness explored and attempted to evoke a mode of vision that penetrated beyond the surface of things and ascertained universal truths; (2) that he understood the functioning of memory to be a fundamental aspect of this mode of vision; (3) that penetrating sight, to Inness{\textquoteright}s mind, combined the effects of the body and those of the eye; and (4) that Inness was interested in the relation painting bore to writing, and hoped, by conjoining the two, to create a formula for a universal language and psychology of perception, one that collapsed the boundaries between systems of representation traditionally understood as distinct. By examining the material characteristics of Inness{\textquoteright}s paintings in relation to nineteenth-century conceptualizations of perception within artistic and scientific circles, I explain how it was that, in nineteenth-century America, landscape representation came to be a site where disparate discussions of human perceptual capacity converged. The project as a whole reflects a larger concern on my part with the modern landscape tradition and the configuration of the nature and limits of the landscape genre at different historical moments in the modern period.}, keywords = {Pre-1945 North American and South American Art}, author = {Delue, Rachael Ziady} } @mastersthesis {8809, title = {Gerard de Lairesse (1640-1711) and the Audience for the Antyk}, year = {2001}, school = {Delaware}, abstract = {With histories, myths, and allegories executed in a classicizing style termed antyk by contemporaries, Gerard de Lairesse (1640-1711) became the leading painter and etcher in late seventeenth-century Holland. His easel paintings of such elevated subjects contrasted dramatically with the portraits, still lifes, genre paintings, and landscapes of the Dutch Golden Age prevalent in the collections of his knowledgeable buyers. His idealized allegorical decorative canvases adorned grand houses along Amsterdam{\textquoteright}s prestigious canals and the palaces of Willem III of Orange. His erudite frontispieces attracted the attention of book browsing intellectuals. When blindness abruptly curtailed his creative abilities in 1690, he turned to lecturing and then writing two treatises on art, Grondlegginge ter Tekenkonst (1701) and Het Groot Schilderboek (1707). As the foremost artist and art theorist of his era, Lairesse provided an unusually complete record of both his own career and his opinion of Holland{\textquoteright}s art world. This dissertation considers Lairesse{\textquoteright}s artistic training, responses to a new artistic environment, career advancement, buying public, and pedagogical activities. His visual and textual oeuvres, works by fellow artists, and contemporary documents form the basis for my arguments. These sources suggest that Lairesse{\textquoteright}s appreciation for certain aspects of contemporary and earlier Dutch art encouraged him to adapt his classicizing art and artistic ideals to the Dutch tradition. Nonetheless, he capitalized on the antyk quality of his art when advancing his career in an increasingly cosmopolitan Holland. By recognizing that Lairesse adjusted to his Dutch milieu and that his buyers and fellow artists considered him a positive force in the development of an internationally competitive Dutch art, this dissertation challenges many prevailing assumptions about the artist{\textquoteright}s career and reception. Traditionally, art-historical studies properly identified Lairesse as the primary example of artistic activity in late-seventeenth-century Holland but held his classicizing style responsible for a decline in Dutch art. By closely examining his career and the cosmopolitan appeal of his art and writing, this dissertation furthers the ongoing reconsideration of late-seventeenth-century Dutch art and Lairesse{\textquoteright}s contribution to it.}, keywords = {Baroque and 18th-Century European Art}, author = {Vander Ploeg Fallon, Melinda} } @mastersthesis {8800, title = {Giulio Mancini{\textquoteright}s "Considerazioni sulla pittura": Recreation, Manners, and Decorum in 17th-Century Roman Picture Galleries}, year = {2001}, school = {Johns Hopkins}, abstract = {This dissertation, which analyzes the conception of collecting advanced in Giulio Mancini{\textquoteright}s Considerazioni sulla pittura (c.1617-21) argues that Mancini theorized two modes of display for a collection of pictures-one for a distribution throughout a noble household and the other for a picture gallery. The modes of viewing they assume and their function and significance within civil society is the focus of inquiry. I situate Mancini{\textquoteright}s conception of the picture gallery in the context of research into the original artistic decoration in the Baths of Diocletian. As a locus for physical and mental recreation and instruction, the baths provided a model for seventeenth-century collectors, for whom the viewing of paintings was one in a set of leisure activities. Mancini{\textquoteright}s view of the recreative function of painting, further elucidated in his comments on landscape painting, is important in this context. The growing body of literature on civility and the attention to artistic and ecclesiastical reform in late Counter Reformation Rome shaped Mancini{\textquoteright}s view of the related social purposes of collections of paintings in noble households and in the picture galleries of wealthy gentlemen. In the former, the collection was designed to encourage beholders to imitate the exemplary behavior of painted figures, comporting themselves in conformity with notions of decorous household relations. Mancini{\textquoteright}s theory of the proper composition of history painting further comments on their didactic function in the domestic realm. The latter mode of display, which challenged the collector and his visitors to refine their artistic tastes, developed in relation to the emerging notion of taste within elite culture, in which members of polite society were expected to demonstrate their courtesy by discerning the gusti of those with whom they interacted. I argue that the considerations of decorous behavior and artistic delight were implicitly interrelated in Mancini{\textquoteright}s theory of painting, concluding that the two forms of collection theorized shared the single overarching purpose of maintaining the physical, mental and moral health of the collector, his famiglia, and society at large.}, keywords = {Baroque and 18th-Century European Art}, author = {Gage, Frances M.} } @mastersthesis {8760, title = {Good Impressions of Good Things: The Art Journal Print and the Craft of Connecting in Mid-Victorian Britain}, year = {2001}, school = {Chicago}, abstract = {The purpose of this study is to argue that fine art practices and the audiences and markets for them in mid-Victorian England, here defined as ca. 1850-1880, were influenced by art publishing and the contemporary media culture in substantial and formative ways. Mid-Victorian art publishing and its most influential product, the reproductive fine art print, marked a pivotal historical intersection of high art ideals, historical investigation, commercial production methods, modern publicity, and advocacy journalism, all supporting art knowledge as a form of public discourse in ways it had not been before and would not be again. My study of the reproductive fine art print as a practice and a product in mid-Victorian England centers on the rhetorical conjunctions between images and ideas as the dominant theme for the content, realization, and promotion of the reproductive print. There was an increasing need among the burgeoning bourgeois audiences to see and understand art as a prime index to forms of domestic social consensus. I investigate the phenomenon of the reproductive print as cultural amelioration by eliciting the tropes of connection-e.g. context, familiarity, congruity, similitude, and kinship-upon which art publishing relied in its practices and presentation. The major historical source employed is the Art Journal (London, 1839-1912)-the leading English Victorian art periodical, and one deeply involved in fine art publishing, through the collaboration of the print publishers George Virtue and Co. (proprietors of the Art Journal), and Samuel Carter Hall, founding and chief editor until 1880. During the mid-Victorian period, the Art Journal published more than 800 hand-engraved steel plate prints after contemporary British and Old Master paintings. The "Art Journal print" became a staple of mid-Victorian art appreciation, as a commercial and educational resource. The choices of imagery, artists, engravers, advertising, art writing, and other aspects of publishing and journalism reflected in forty years of the Art Journal are of signal importance to a rich reconstruction of the craft of connection informing mid-Victorian art knowledge, not as a lesser aesthetic production, but as one of the great successes of nineteenth-century bourgeois cultural expression.}, keywords = {19th- and Early 20th-Century European Art}, author = {Haskins, Katherine} } @mastersthesis {8796, title = {Heaven in Visual Culture: The Painted Han Tomb in Xi{\textquoteright}an}, year = {2001}, school = {Harvard}, abstract = {This dissertation examines the act of picturing Heaven in the conventions of Han China by exploring the complex interface of image and knowledge. It establishes that there were three visual modes developed by Han artisans to make Heaven visible: first, Heaven could be delineated as simple as a circle that was part of the favorable diagram of the universe; second, Heaven could be represented as complicated as star groups that were taken from charts of the sky; and third, Heaven could be depicted as fantastic as a wonderland that was mostly inspired by celestial myths. Since picturing Heaven during the Han relied heavily on cosmology, astronomy and mythology, this study further investigates how image can be post-production of knowledge, borrowing intellectual achievements while transforming them into pictorial entities. It seeks to clarify that picturing Heaven is not only an act of denotation but also an act of appropriation and modification, deeply involved in the distribution and consumption of celestial knowledge. It also pays close attention to potential agents, mainly illustrated manuals in wide circulation, that bridged experts and artisans, to see how cosmography, celestial cartography and mythography contributed to the emergence of certain visual modes. Moreover, it notices that Han artisans may have used the three modes separately, but they more often incorporated one with another, neglecting incompatibility among cosmology, astronomy and mythology. Their mixed works show either synthesis or syncretism of the introduced prototypes, which was even comparable to contemporary intellectual trends that either systemized or juxtaposed different branches of celestial knowledge. This dissertation thus argues that losing their unity, the cosmological, astronomical and mythological factors in popular use during the Han served the plain function of signs whose denotation and connotation could be arbitrarily assigned and freely combined. By investigating the interplay between visibility and invisibility as revealed in attempts of picturing Heaven, this dissertation hopes to elucidate the visuality of Han China and to add a stimulative to the current fascination with visual culture.}, keywords = {Asian Art}, author = {Tseng, Lan-ying} } @mastersthesis {8905, title = {The Iconography of the Visitation in Italian Renaissance Art}, year = {2001}, school = {Case Western Reserve}, abstract = {The story of the Visitation appears often in Italian Renaissance art, yet little consideration of the overall context of the subject exists in the art historical literature. This study traces the development of the iconography of the Visitation as well as the theological meaning of the event. The image of the Visitation is briefly discussed from its earliest manifestations in the sixth century through the thirteenth century. The study then concentrates on the appearance and connotations of the subject during the fourteenth and fifteenth centuries. In its earliest representations, the Visitation was depicted simply, with Mary and Elizabeth usually touching or embracing. Often each woman was accompanied by a servant to function as a witness to the sacred event. The iconography began to change in the late thirteenth and early fourteenth centuries. At that time, the Franciscan order became interested in the story, adopting a feast for it as early as 1263. They began including additional figures in their depictions and used the story to emphasize the virtues of Mary and Elizabeth as well as the poverty of the Holy Family. Yet the story remained placed within the greater narrative of the life of Christ or John the Baptist. In 1389 the feast of the Visitation was accepted into the western liturgy by Pope Urban VI. As a result, the imagery was interpreted by other orders and patrons. The Dominicans in particular became interested in the story, using it to demonstrate the important role which the Virgin played in the story of salvation. As interest in the event increased, the Visitation was no longer simply an episode in the life cycle of John or Christ. Individual patrons began to use it as the central subject of their altarpieces. It became a means to express profound theological beliefs, such as the mystery of the Incarnation.}, keywords = {Renaissance Art}, author = {Kiefer, Lisa} } @mastersthesis {8813, title = {The Iconology of Female Adornment in Late Antiquity}, year = {2001}, school = {Rutgers}, abstract = {The purpose of this dissertation is to examine late antique imagery of women adorning themselves with the goal of elucidating its relationship to antecedents; its iconography, audience and function(s); and more specifically its meaning on two fourth-century monuments: the Proiecta Casket and the Trier ceiling. Adornment is defined as an act intended to make the body more pleasing. In Chapter One, I trace visual and thematic continuity of scenes of female adornment from the following ancient cultures: Classical Greece; Magna Graecia and Sicily; Late Classical and Hellenistic Greece; Etruria; and Imperial Rome. In Chapter Two, an examination of late antique adornment iconography illustrates that both its formal qualities and its function(s) vary little from its antecedents. The adornment scenes also exhibit the wealth and social status of their patrons, perhaps even more so than in earlier cultures. Chapter Three examines the early fourth-century Trier ceiling. The ceiling{\textquoteright}s adornment imagery was part of a broad decorative program in a room that was probably used for entertaining, suggesting that the iconography was not used only in contexts associated with women. I argue that the adorning women depicted on the ceiling are not portraits but are generalized images evoking the owners{\textquoteright} status, wealth, and classically inspired culture. Chapter Four focuses on the Proiecta Casket, a late fourth-century silver casket that depicts a woman at her toilet with several attendants, juxtaposed with Venus at her toilet. The casket belongs to a tradition of adornment imagery first seen on fifth-century Attic vases; that is, a wedding-preparation scene found on a wedding gift. The imagery is considered within this tradition and within the context of late antique weddings. The importance of real precious portable toilet objects and their is also addressed. Finally, the Conclusion argues that the history of this imagery-beginning in Classical Greece and culminating in late antiquity, before the political climate resulted in the hoarding or destroying of such monuments rather than their creation-shows societies{\textquoteright} continuous interest in favorably showing a woman{\textquoteright}s status through images of adornment.}, keywords = {Early Christian, Byzantine, and Medieval Art, Greek/Roman Art}, author = {Rose, Marice} } @mastersthesis {8820, title = {Illuminating Kingship: Politics, Patronage, and the Education of Edward III}, year = {2001}, school = {Bryn Mawr}, abstract = {According to the dedicatory passages in his treatise, Walter de Milemete presented two manuscripts to the newly-crowned king of England, Edward III. Both manuscripts are lavishly illuminated Latin texts in the tradition of the speculum principis. One of the manuscripts was a popular medieval text associated with Aristotle and Alexander the Great, the Secretum Secretorum (British Library MS Add. 47680). The other manuscript was a treatise written by Walter de Milemete entitled De Nobilitatibus, sapientiis, et prudentiis regum (Oxford, Christ Church MS 92). In spite of the dedicatory passages, irregularities in the collation, alterations to the text and illumination, and the heraldic arms present in the borders raise questions about the genesis of the project. As first noted by A. Van de Put in 1913, the heraldry is more appropriate to Edward II. Based on visual and textual analysis and historical contextualization, this dissertation addresses past scholarship on the Milemete treatise and the Secretum Secretorum and provides evidence to suggest that the manuscripts were originally intended for Edward II. Alterations in the course of production transformed them into suitable educational texts for Edward III.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Karlinger, Libby Michele} } @mastersthesis {8768, title = {Images of Death and Domesticity in Victorian Britain}, year = {2001}, school = {Indiana}, abstract = {This dissertation examines images of widows, widowers, and dead and dying children produced in Britain from ca. 1850-1901, specifically as they engage issues surrounding the meaning of death within the Victorian family. As is well known, the importance of the domestic sphere was a key construct in nineteenth century Britain, not only in terms of middle-class identity, but also in providing an anchor for a stable and healthy society. Nevertheless, a death in the family, while a ubiquitous and natural event, could be seen as a breach in the walls of this hallowed institution. However, along with other forms of discourse, images played a vital role in creating ways for the Victorian viewer to envision the experience of a loved-one{\textquoteright}s death so that the familial bonds remained intact. The strategies employed varied according to the gender and age both of the deceased as well as the survivor, but nonetheless provided the Victorian viewer models in which to frame this devastating event. Moreover, artists and photographers not only addressed the difficulties the survivors faced in coping with death and reestablishing a sense of purpose within the domestic construct, but as in the case of the dead child most especially, images were also concerned with visualizing the new role the deceased would play in the after-life. In addition to examining paintings, photographs and illustrations, this dissertation also discusses how and where the Victorian viewer came into contact with images, as well as their importance within domestic ideology.}, keywords = {19th- and Early 20th-Century European Art}, author = {Sabatos, Terri R.} } @mastersthesis {8823, title = {Images of the Virgin and Their Public in Middle Byzantine Constantinople}, year = {2001}, school = {Harvard}, abstract = {This thesis explores the public role of non-narrative images depicting the Virgin on a variety of media produced in Constantinople during the Middle Byzantine period (from the end of Iconoclasm in A.D. 843 to the fall of Constantinople in A.D. 1204). Greek and Latin texts recording the role of Mary in the Avar, Arab and later sieges of the city are gathered, translated and analyzed. Based on this textual evidence, I have argued that Marian panels were integrated in public processions only after Iconoclasm and well into the tenth century. Chapter two focuses on the Hodegetria icon and deconstructs the story of its legendary past. As the importance of the icon grew in the eleventh and twelfth centuries, the perception of its tradition changed; the panel started to be regarded as Mary{\textquoteright}s authentic portrait done by the Evangelist Luke and a gift to the fifth-century virgin-empress Pulcheria. Focusing next on the Middle Byzantine processions with the Hodegetria, their character is reconstructed on the basis of the written sources, narrative scenes of the Virgin{\textquoteright}s Presentation in the Temple, and the liturgy for Tuesday. Chapter four explores the role of the Virgin and her icons in war. Based on the written sources and extant images, it is argued that the concept of the pagan warrior-goddess Athena had a strong impact on the formation of the perception of Mary as invincible general. Furthermore, the Virgin{\textquoteright}s maiden motherhood, promoted by the Akathistos hymn, also secured the belief in the unassailable strength of the Theotokos. Finally, by analyzing the sigillographic evidence and written sources, chapter five explores the origins and meaning of the image-type of the Virgin with the hovering medallion of Christ on her chest, and its associations with Neoplatonism, Orthodoxy, and the icon of the {\textquoteright}usual miracle{\textquoteright} at the Blachernai in the eleventh and twelfth centuries.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Pentcheva, Bissera} } @mastersthesis {8817, title = {Images of Wisdom in the Middle Ages}, year = {2001}, school = {Rutgers}, abstract = {Early Christian writers, theologians and intellectuals were faced with the explanation and reinterpretation, in Christian terms, of abstract classical concepts such as "wisdom" and "knowledge." Early Christians inherited a rich tradition of Greek and Roman thought as well as a vast body of literature that dealt with various aspects of what we now know as secular humanism. Since Christians aspired to the highest level of knowledge in the form of divine wisdom as embodied in both the Trinity and logos, the value and role of secular learning would naturally come into question. Depictions, allegories and symbols of wisdom, knowledge and learning were part of a cultural paradigm inherited by Christians from classical antiquity. Grammar, rhetoric and dialectic (the Trivium) and music, arithmetic, astronomy, and geometry (later known as the Quadrivium) were standard, and inherited, educational elements that seemingly had little to do with a Christ-centered religion with its own tradition of numerical symbolism. In the early years of Christianity, theologians and church fathers attempted to assimilate pagan tradition and Christian dogma. Beginning with Prudentius, this study will present a survey of related images of wisdom and learning as they were developed in court and monastic schools from the fourth century through the twelfth century. Throughout these eight-hundred years, theologians, monks and court officials struggled to systematize learning and wisdom. Prudentius, Boethius (480-526/7) and Martianus Capella (c410-439) are often cited in medieval discussions of learning and wisdom; these medieval scholars, as well as many others, provided a model for the individual{\textquoteright}s quest for wisdom. Culminating in the figure of Hildegard of Bingen, this survey concludes with some of the same issues and images found in the beginning of this look at Christian educational culture in the West. For example, the origin and attainment of divine wisdom challenged thinkers from the beginning of recorded history. Whether attained through formal education or by mystical inspiration, learning, cognition and the attainment of wisdom continue to fascinate cultural historians. Muses, sapientia, sophia, philosophia and ecclesia are evidence of traditions in both literature and the visual arts surrounding wisdom and knowledge. The virtues and vices and the seven liberal arts are equally important in the expansive evolution of Christian and secular learning from the fourth to the twelfth century. They were inherent in the development of civil behavior in both sacred and secular society. The images and ideas discussed in this study signaled a consistent interest in humanism and an ongoing reconciliation of ancient thought and medieval Christian education. I am hopeful that this survey will make clear that the humanism of the twelfth century was part of a broader based tradition of medieval learning that spanned the Middle Ages.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Bzdak, Michael} } @mastersthesis {8829, title = {Images of Women and Concepts of Popular Culture in Classical Athens (450-400 B.C.)}, year = {2001}, school = {USC}, abstract = {The social status of Athenian women during the Classical period (450-400 B.C.) has been traditionally viewed by scholars as secondary to Greek males within the Athenian polis (city-state). This dissertation reevaluates visual (artistic) and written (literary) sources dating from this time, in order to challenge previously accepted notions of Athenian male dominance. The kathimerinotes gynaikeion (the daily existence of women) will be the primary focus, through which the emergence of a popular culture and a female consumer market becomes evident in post 450 B.C. Attika. The scholarship of northern Europeans is surveyed in Chapter I in order to support the thesis that a male aristocratic bias has permeated modern scholarship regarding the status of Attic women. Chapter II examines the radical democracy initiated by Perikles, in particular its effects and subsequent societal changes on the Attic male and female populace after the introduction of the Citizenship Law of 451/450 B.C. Material evidence relating to the private dwellings ( oikoi) of Attika is also considered as a determinant of the existence of the gynaikonitis (women{\textquoteright}s quarters). Chapters III and IV focus on the iconographic development of genre scenes on Attic vessels during the Archaic and the Classical periods. Chapter IV proffers new iconographic interpretations and reevaluations of the status of the Attic woman.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Mihalopoulos, Catie} } @mastersthesis {8893, title = {Immigrant in America}, year = {2001}, school = {UCLA}, abstract = {Designed to present "the meaning of America to the Immigrant and of the Immigrant to America," the exhibition, "Immigrant in America," was the only instance in which those who came to the United States during the Great Wave of migration of the 1880s through World War I were asked to make art about their experiences. In reconstructing and analyzing this historic exhibition, this dissertation illuminates an event in American cultural history which sheds light on issues central to both art and social historical endeavors. The historical record reveals "Immigrant in America" to have been the first occasion in the United States in which art was expressly curated to present a range of opinions on a contemporary socio-political theme. My dissertation examines this shift in curatorial practices that greatly transformed art exhibitions in the United States throughout the twentieth century along three avenues of inquiry. First, it explores the impetus for, and the contributing factors to this curatorial revolution and the uniqueness of the exhibition itself. Second, it illuminates the concerns and experiences of artists in the United States prior to World War I through an examination the art exhibited in "Immigrant in America" and the artists{\textquoteright} family. Third, this project examines how the Committee incorporated "Immigrant in America" into its future programming initiatives and explores how contemporary social concerns are manifested through public exhibitions.}, keywords = {Pre-1945 North American and South American Art}, author = {Galland, Amy} } @mastersthesis {8814, title = {In the Viewer{\textquoteright}s Hands: The Reception of the Printed Image in Late Medieval Europe, ca. 1400-1500}, year = {2001}, school = {Northwestern}, abstract = {This dissertation examines the impact of early printmaking on the function, meaning, and viewing of images in late medieval Europe (primarily Germany, Italy, and England), The first three chapters examine the print as an object that survives with clues to its original meaning and use still intact. Chapter 1 explores certain handcrafted aspects of early prints such as coloring, metal leaf, and textured backgrounds. While these formal elements are designed to simulate other media, they are also often necessary to complete a print{\textquoteright}s expressive and iconographic meaning. Chapter 2 argues that the print medium facilitated a new kind of viewing experience in which the viewer manipulated the image in a variety of ways: by adding hand-painting or handwritten inscriptions, or even by subtracting part of the print. Such acts demonstrate the print{\textquoteright}s adaptability as a devotional, meditative, and ritual tool. Chapter 3 examines the reception of prints by a specific viewer, a lawyer named Jacopo Rubieri. While it has been suggested that Rubieri{\textquoteright}s practice of cutting, painting, and collaging his prints was mainly random, the evidence suggests otherwise. By reconstructing their manuscript context, it is revealed that the prints were programmatically arranged to express Rubieri{\textquoteright}s life and labor as a pious journey facilitated by the intercession of the saints. The last two chapters stress both the private and public valences of early prints. Chapter 4 focuses on woodcuts of Simon of Trent, a boy supposedly murdered by Jews in 1475. These prints served a variety of functions: as images of Simon{\textquoteright}s martyrdom, as advertisements for his relics, as devotional images, and as anti-Semitic propaganda. These functions depended partly on the print medium{\textquoteright}s aura of authenticity and the visual conflation of the body of Simon with the body of Christ. Finally, chapter 5 explores a woodcut of the Side Wound of Christ. The print{\textquoteright}s metonymic design is linked to liturgical objects, cosmological diagrams, and world maps, while its life-size scale depends on a conceptual strategy used in contemporaneous printed scale-maps. Similarly, the woodcut allowed a visual and spatial reconstruction of Christ{\textquoteright}s body that benefited from the visual accuracy of the print medium.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Areford, David Sheridan} } @mastersthesis {8896, title = {The Influence of English Engraving on 19th C. American Landscapes, Seascapes, and Prints}, year = {2001}, school = {Columbia}, abstract = {This thesis explores the role of English engravings in the creation of nineteenth century American landscape and seascape painting, as well as printmaking. Artists of the new nation had little exposure to European paintings until they went abroad. Years of research has revealed that English engravings acted as inspiration and models for American landscape artists. Early American traditions of topographic studies of their land made the linear definition of English engravings an easy way for American artists to learn to compose and delineate forms of flora as well as provide the means to depict American skies, rivers and seas. Many American landscape artists were trained as engravers. Engravers shops as well as book stores with illustrated books became their academies as well as their galleries. Trained mainly as bank note artists, American artists were also employed copying English engravings. From this background there developed a school of American landscape artists. Five areas of investigation will be examined which will describe the cross-cultural interchange between the engravings in English tour books, American tour books, American commercial guide books and gift books. The people who aided in this exchange will be discussed. It is hoped that this study will add to the limited published research in development of American nineteenth century landscape art.}, keywords = {Pre-1945 North American and South American Art}, author = {Phillips, Rhoma} } @mastersthesis {8748, title = {Interior/Landscape: Placelessness and the Gendered Gaze in the Work of Caspar David Friedrich}, year = {2001}, school = {Bryn Mawr}, abstract = {This dissertation seeks to disrupt the conception of Caspar David Friedrich as an isolated genius, reconnecting his work to the concerns of the broader Romantic and Biedermeier culture. Specifically, I construct a network through and against which Friedrich{\textquoteright}s artistic identity and working procedure can be understood. Examining the spaces of early nineteenth-century German {\textquoteright}high{\textquoteright} and popular culture-the cityscape, the Salon, the interior, the landscape, the panorama-I trace the mutuality of interior and exterior in this period, and argue that a fundamental ambiguity, between inner and outer worlds, private and public, enclosure and expansiveness, security and freedom, sensual engagement and self-possessed detachment resulted in a certain placelessness for the contemporary viewer. Thus I seek connections between the conflicted gaze of the historical viewer before Friedrich{\textquoteright}s landscapes and the gaze of the visitor to the popular spectacle, the tourist, and the Romantic artist-wanderer as he is figured in contemporary art theory and literature. From a feminist perspective, I analyze the way in which gender assumptions structure the identity of the viewer in this culture, examining the ways in which women were empowered as viewers, but also confined. There was an increasing emphasis on {\textquoteright}home{\textquoteright} and domesticity in this culture-in the fiction of Goethe and Friedrich Schlegel, in the Berlin cityscape (by Eduard Gaertner and Johann Erdmann Hummel), in the Biedermeier painted interior (by George Friedrich Kersting)-as well as in Friedrich{\textquoteright}s landscapes as metaphorical and literal shelters. I trace the desire and anxiety of the male viewer in this culture towards the female other, both woman and nature, in Friedrich{\textquoteright}s landscapes, in the writings of Carl Gustav Carus, Friedrich de la Motte-Fouque, Goethe, Philipp Otto Runge, Friedrich W. J. von Schelling, in travel accounts and in contemporary descriptions of popular spectacles (performed in Berlin by the Gropius Brothers, Karl Friedrich Schinkel, and Carl Langhans). Finally, I examine the placelessness of women within the Romantic movement (Bettina von Armin, Louise Seidler, Caroline Schlegel-Schelling, Rahel Varnhagen) in an attempt to understand the relationship of the back-turned women in Friedrich{\textquoteright}s landscapes to the Romantic wanderer.}, keywords = {19th- and Early 20th-Century European Art}, author = {Bender, Gretchen Holtzapple} } @mastersthesis {8835, title = {Istanbul Viewed: The Representation of the City in Ottomon Maps of the Sixteenth and Seventeenth Centuries}, year = {2001}, school = {MIT}, abstract = {Starting from the premise that maps are essentially about visualizing space, this dissertation examines what the Ottoman maps of Istanbul reveal about the city{\textquoteright}s perception, as it evolved in connection to urban development after the conquest. The maps that form the subject of this study appear as illustrations in three manuscript books. The Istanbul maps contained in Mecmu{\textquoteright}-i Menazil (1537-8) and Hunername (1584) respectively mark the beginning and the accomplishment of the city{\textquoteright}s architectural elaboration. The other twenty maps, featuring in manuscript copies of Kitab-i Bahriye (1520s), roughly span the period between 1550 and 1700. The variants of a design fixed around 1570 offer an image that fulfills its topographic elaboration in the late-seventeenth century. While the making of this map{\textquoteright}s design relates to Istanbul{\textquoteright}s sixteenth century urban development, its topographical elaboration reflects a new perception of the city. These picture-maps, produced in the sixteenth and seventeenth centuries, form a unique group of documents as the only known Ottoman pictorial representations showing the city as a whole. As revealed by the context of the books containing them, their making relates both to Ottoman Empire{\textquoteright}s territorial expansion and to the appropriation of Constantinople as its new capital. Their cartographic language combines, in different manners, the familiar conventions of Islamic miniature painting with artistic forms encountered and assimilated during territorial expansion, particularly in contact with Venice. Especially the making of the Istanbul maps in Kitab-i Bahriye copies illustrates the crucial role of the Mediterranean seafaring culture, its navigation manuals, nautical charts and island books. These images of Istanbul can be related to the development of the urban landscape and its symbolic function. Their study as cartographic representations pays attention to both accuracy and emphasis in their topographic contents. Supported by contemporary European visual sources and travel accounts as well as Ottoman topographic and poetic descriptions of Istanbul, the viewing directions, the depictions of buildings, and the overall cartographic composition in these maps are interpreted as features shaping a symbolic landscape that developed from an ideal vision to an actual garden-like urban environment, structured by land, water, and architecture. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Islamic Art}, author = {Orbay, Iffet} } @mastersthesis {8879, title = {James Brooks: From Texas to the New York School}, year = {2001}, school = {CUNY}, abstract = {Texas bred James Brooks, began his career as an artist when a Dallas high school student. He painted regularly until illness made it impossible some seventy years later. His long, illustrious career embraced many kinds of art-making from his early commercial work, to his murals, to his later abstract painting as an active member of the Abstract Expressionist movement. Major recognition came to Brooks as a lyrical New York School artist in 1963 when the Whitney Museum of American Art gave him a retrospective. The introductory chapters trace his family background, education, and early career as a lithographer, muralist, and war artist. As Brooks{\textquoteright} mature career develops, the text refocuses on the works, their content, exhibition history, and the critical response to them. It examines Brooks{\textquoteright} theory of painting and discusses formerly unknown influences. It also considers the artist{\textquoteright}s participation in communal activities of the New York School. Out of the research came questions that this dissertation attempts to answer. If mentioned in much Abstract Expressionism literature, why is the artist{\textquoteright}s work and name not more readily recognized? What is unique in his contribution? What is his legacy? This research draws upon early and late literature on Abstract Expressionism and subsequent twentieth century art. The Archives of American Art, National Archives, and museum libraries held rich information, as did the artist{\textquoteright}s archives, family journals, and exhibition catalogues. James Brooks{\textquoteright} widow, the artist Charlotte Park Brooks, has been an indispensable resource. I have interviewed such professionals as Dore Ashton and Irving Sandler who knew Brooks personally. In considering Brooks{\textquoteright} achievement, the latter wrote, Most writers on art have overlooked the deeper content in Brooks painting....This dissertation takes up the challenge. It revisits the artist{\textquoteright}s oeuvre and fulfills the need for a complete and current account on Brooks{\textquoteright} lengthy career.}, keywords = {Post-1945 World Art, Pre-1945 North American and South American Art}, author = {Abeles, Anne} } @mastersthesis {8864, title = {Jose Rafael Moneo Valles, 1965-1985}, year = {2001}, school = {MIT}, abstract = {Rafael Moneo, a Spanish architect and educator who has been practicing architecture in Madrid since 1965, rose in the profession from local practitioner to designer of international reputation in the mid-1980s with his Museum of Roman Art in Merida (1980-86) and into the highest ranks of academe when he assumed the chairmanship of the Department of Architecture at the Graduate School of Design at Harvard University (1985-1990). Moneo{\textquoteright}s work falls into three distinct periods: the pre-Harvard Spanish years (1965-85), the five Harvard years (1985-90), and the post-Harvard international years (1990-present). This dissertation traces the systematic and reflective character of Moneo{\textquoteright}s double practice up to 1985; it fits his uninterrupted professional practice into the context of his academic career, suggesting that his commitment to both professional practice and knowledge of the discipline is what led him to form a coherent philosophy of design. Throughout the years the contents of his teaching and writing have imbued his built projects with a programmatic character derived from his critique of modern architecture in the 1960s, investigations in architectural theory in the 1970s, and interpretation of the history of Western architecture in the early 1980s and allowed him to achieve a synthetic reading of the modern within the Western tradition of building. It is his drive to design and explain the building, not as part of a local tradition, but as the work of a cultured architect able to transcend national borders that has allowed him to have an all-encompassing career that combines practice and teaching. Moneo is generally considered to be the most independent thinker and the most intellectual of the architects of his generation. Through the influence of the Spanish philosopher Jose Ortega and Gasset Moneo{\textquoteright}s ability to "reabsorb his circumstances" was a source of necessity and freedom to connect practice with intellect: he could become both architect and educator furthering the cultural development of Spain. Using the Italian aesthete Luigi Pareyson{\textquoteright}s theory of "formativity," which regards material and form as inseparable, Moneo realized that the making of architectural form lay in its construction and formalized the principles of his philosophy of design. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Post-1945 World Art}, author = {Koukoutsi-Mazarakis, Valeria} } @mastersthesis {8880, title = {The Jungle in the Clearing: Space, Form, and Democracy in America, 1940-1949}, year = {2001}, school = {MIT}, abstract = {Combining aesthetic theory with theories of the public sphere, this dissertation examines the brief appearance of a publicly empathetic civic realm in the United States during the 1940s. The argument begins with a reevaluation of the debate over monumentality initiated in modernist architectural circles, which included such figures as Sigfried Giedion, Lewis Mumford, Henry-Russell Hitchcock, and Philip Johnson. Centering on the city, this debate recast monumentality in terms more progressive than commemorative; it posited open-ended architectural and urban strategies that offered a non-restrictive yet sympathetic public resonance. If empathy is understood as the viewer{\textquoteright}s physical and psychological engagement with an object, then the {\textquoteright}publicly empathetic{\textquoteright} collects and communicates the public{\textquoteright}s individualized engagements. The term {\textquoteright}publicly empathetic{\textquoteright} underscores the distinction between totalitarian consensus, exemplified by the modernism of Mussolini{\textquoteright}s fascist Italy, and what Alexis de Tocqueville identified in 1835 as America{\textquoteright}s collective individualism, which persisted in the 1940s under the umbrella of Franklin Roosevelt{\textquoteright}s New Deal. Springboarding from Ernst Cassirer and Susanne Langer{\textquoteright}s philosophies of symbolic form as unconsummated symbol, I argue that the modernism of this period did not define the public but rather expressed architecture{\textquoteright}s publicness through the recasting of form, programming, and modernism{\textquoteright}s public mandate. The chapters of this dissertation examine in turn the texts, projects and urbanism of this empathetic modernism. The projects constituting this realm are both public and private in nature; they include Charles Franklin and Ernest Kump{\textquoteright}s Fresno City Hall, Eero Saarinen{\textquoteright}s Demountable Social Center, Ludwig Mies van der Rohe{\textquoteright}s IIT campus, and the urbanism of Chicago{\textquoteright}s Near South Side. The specific context of American democracy in the 1940s-the complex jungle underlying what has often been read as a simple consensus born of naive optimism-influenced an important yet often overlooked shift in modernism{\textquoteright}s reception. This shift remains particularly resonant today in light of the recasting of Jurgen Habermas{\textquoteright}s theory of the public sphere by such contemporary authors as Arjun Appadurai, Rosalyn Deutsche, and Nancy Fraser, among others. The texts and projects examined in this dissertation reveal an obscured discourse of the 1940s, which itself prefigures contemporary reflections on the public sphere. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Post-1945 World Art, Pre-1945 North American and South American Art}, author = {Whiting, Sarah} } @mastersthesis {8783, title = {The Kongo-ji Sun-Moon Landscape Screens}, year = {2001}, school = {Columbia}, abstract = {This dissertation employs an in-depth analysis of the Sun-Moon Landscape Screens preserved at Kongo-ji temple of Kawachi Nagano, Japan to explore a long tradition of sun-moon screen painting in East Asian art. The Kongo-ji screens, while heretofore little understood and difficult to date and attribute definitively, hold a pivotal place in this tradition. The dissertation traces the development of the two most prominent elements of the Kongo-ji screens-their sun-moon iconography and yamato-e landscape scenery-from their earliest appearance through the fourteenth and fifteenth centuries, when both were incorporated into the ritual paintings utilized in Esoteric Buddhism. The dissertation concludes that while scholars have generally approached the Konjo-ji screens within the tradition of secular, yamato-e seasonal landscape painting, the screens were probably conceived of as deeply religious works and perhaps functioned as ritual tools within the context of kanjo ordination ceremonies, as Kongo-ji claims. Indeed, iconographic, stylistic and contextual analysis strongly support the conclusion that the Kongo-ji screens were likely viewed as Two World mandala or suijaku mandala within the Japanese Esoteric Buddhist Mikkyo tradition. The study then offers a specific historic context, the struggle of Emperor Go-Daigo to assert his legitimate right to reign during the Nanbokucho period (1336-1392), in which the screens can best be explained and approximately dated. The dissertation suggests that the Kongo-ji screens were likely painted as a legacy in the aftermath of the Southern Court{\textquoteright}s demise.}, keywords = {Asian Art}, author = {Bambling, Michele} } @mastersthesis {8758, title = {Kurt Schwitters in Hanover: Investigation of a Cultural Environment}, year = {2001}, school = {Iowa}, abstract = {This dissertation investigates the cultural environment of Hanover between 1916 and the end of the Weimar Republic. It argues for a reassessment of collage-artist Kurt Schwitters{\textquoteright}s work in terms of the alternative art community set up by the Kestner-Gesellschaft, an association that introduced Hanover to modern artistic movements such as Expressionism and Constructivism through its exhibitions and lectures. An investigation of the discourse that the Kestner-Gesellschaft provoked makes it possible to see Schwitters{\textquoteright}s advocation of artistic autonomy as an attempt to free art from politically doctrinaire influence. This is important, for it shows that Schwitters was not interested in formalism for its own sake and consciously posited his artistic viewpoint in opposition to society{\textquoteright}s notion of art. Because Schwitters reacted to conventional artistic values, the reception of his work becomes key. His collages and literary works such as "Anna Blume" and "Glorious Revolution in Revon" demonstrate that Schwitters strategically played off societal expectations regarding art, in a way similar to how his collages rely on the dynamic configuration of various elements. A discussion of the critical writings of Christof Spengemann and Paul Erich Kuppers in chapter 2 illuminates the attempts to legitimize modern art through Expressionist rhetoric. Chapter 3 discusses the reception of Constructivism by focusing on the work of museum director Alexander Dorner. By looking at the guest book he placed within this structure, and by examining eye-witness accounts of tours given by Schwitters, the last chapter centers on the Merzbau and the way Schwitters creates it as a site of transaction with society. The dissertation gives an insight into the methods employed by Schwitters and others within the alternative art community in Hanover to give modern movements such as Expressionism, Dada and Constructivism a productive and transactional role within society.}, keywords = {19th- and Early 20th-Century European Art}, author = {Germundson, Curt R.} } @mastersthesis {8751, title = {L{\textquoteright}Age de l{\textquoteright}Affiche: The Reception, Display, and Collection of Illustrated Posters in Fin-de-Siecle Paris}, year = {2001}, school = {Chicago}, abstract = {Throughout the 1880s and 1890s, illustrated publicity posters were increasingly produced, distributed and displayed in the streets of Paris. Covering the walls of buildings throughout the city, these large-scale color lithographed posters were regarded as a ubiquitous, if not inescapable part of the urban landscape. Critics{\textquoteright} reactions to this newly-emerging, mass-produced advertising included enthusiastic accounts of the poster{\textquoteright}s enlivening effects on the impersonal urban environment, characterizations of new modes of visual perception sparked by the poster{\textquoteright}s designs, and vehement objections to the poster{\textquoteright}s seductiveness, especially to those that flaunted female nudity. The poster could be simultaneously regarded as the most egalitarian form of art, accessible to all citizens dans la rue, as the quintessential emblem of urban corruption and licentiousness, and as l{\textquoteright}estampe originale for the print connoisseur. This fin-de-siecle visual culture, rather than being confined to fixed and rigid conceptions of "art," was often the product of unprecedented dialogues between artistic production and critical reception, and between mass-produced culture and socially-diverse audiences. The purpose of my dissertation is to examine the fin-de-siecle poster through its critical reception, display and collection during the 1880s and 1890s. Accordingly, my project retrieves the multiple purposes that were once attributed to posters and extends the boundaries of art historical scholarship beyond an examination of poster artists and styles to analyze the poster{\textquoteright}s reception and consumption. In doing so, I examine the immense body of poster criticism that was written in the late-nineteenth century by mapping the different issues brought to bear on the proliferation of visual imagery at this time and by tracing the ideological values at work in its reception. I also explore the consumption of posters within the various spaces in which they were amassed or displayed-the streets, the collection and the exhibition-that ultimately helped to determine their reception. Through this examination of critical responses to the fin-de-siecle affiche, I have sought to explore the ways in which culture was newly defined in an age that witnessed the birth of mass consumption and its emblematicization in the illustrated poster.}, keywords = {19th- and Early 20th-Century European Art}, author = {Carter, Karen} } @mastersthesis {8765, title = {Liberty, Fraternity, Genius: Eugene Delacroix and the Making of the Modern Artist, 1822-1832}, year = {2001}, school = {UC Santa Barbara}, abstract = {My dissertation explores the ways in which Delacroix, perhaps one of the most important artists of the nineteenth century, came to define what we now understand as the "modern artist." My dissertation investigates the creation of Delacroix{\textquoteright}s reputation as the paradigmatic leader of Romanticism and the quintessential representative of modernism in French art. Examining Delacroix in his historical context, I reveal the formation of these characteristics through critical discourse and public reception. My goal is to demonstrate how Delacroix as the modern artist, the seemingly self-sufficient hero, actually emerged out of a network of institutions and practices which both created and promoted him and which defined the modern art world of nineteenth-century Paris. My dissertation begins by focusing on the studio culture in which Delacroix developed during a period of modernization of the art world, and the expansion of cultural journalism and the art market. My second chapter addresses the exhibition of the Death of Sardanapalus (1827-28), and two major Romantic theoretical texts, Stendhal{\textquoteright}s Racine and Shakespeare (1823, 1825) and Hugo{\textquoteright}s Preface to Cromwell (1827). The Sardanapalus, I argue, is a visual (and public) manifesto laying out the principles of the Romantic school described by Stendhal and Hugo. My third chapter investigates the iconography of struggle in his works of this time. As Romanticism was a movement enacted in the public sphere, the performative aspect of this "Romantic struggle" is critical. Chapter three also analyzes the motif of victory and liberty in Delacroix{\textquoteright}s work as it relates to the triumph of Romanticism over Classicism, thematized visually through his 1831 Liberty Leading the People. I conclude in chapter four with a discussion of Delacroix{\textquoteright}s legacy, developed in the nineteenth century, as the representative of Romantic genius and as one of the fathers of modernity whose specter, as in Fantin-Latour{\textquoteright}s 1863-64 pictorial tribute Hommage a Delacroix, continues to haunt the art world even today.}, keywords = {19th- and Early 20th-Century European Art}, author = {O{\textquoteright}Rourke, Kristin} } @mastersthesis {8886, title = {Likeness and Deception in Early American Art}, year = {2001}, school = {Northwestern}, abstract = {In the decades following the American Revolution, artists including Charles Willson Peale, Raphaelle Peale, Rembrandt Peale, Charles Bird King, Samuel Lewis, and John Neagle created and exhibited several dozen trompe l{\textquoteright}oeil paintings and watercolor drawings in the Philadelphia area. Arguing that a marginalized but visually complex set of art objects can illuminate the logic of a representational system, this dissertation posits that trompe l{\textquoteright}oeil pictures exposed unsettled aspects of the revolutionary experiment. Whereas mainstream imagery of the early national period commemorated the events of independence, valorized exemplary citizens, and heralded the virtues of the new political order (such as disinterest, sincerity, and representational transparency), pictorial deceptions enabled artistic self-interest, challenged perception, and tested the limits of resemblance as a function of representation. Installed within a doorway of the Pennsylvania State House, Charles Willson Peale{\textquoteright}s Staircase Group (1795) operated as portrait, deception, and self-portrait, therein epitomizing trompe l{\textquoteright}oeil{\textquoteright}s implication in the central artistic practice of the era-portraiture-and its key signifying functions, likeness and self-representation. Chapter two establishes a theoretical ground by tracing the changing meanings of "deception" in art writing between the mid-seventeenth and late-eighteenth centuries, and chapter three constructs a historical and geographical parameter in examining why Philadelphia emerged as the locus of trompe l{\textquoteright}oeil. Chapter four, which investigates the diversity of illusionistic imagery and spectacles in circulation around 1800, contends that trompe l{\textquoteright}oeil functioned uniquely within this visual field as-paradoxically-a strategy of undeceiving and engaged spectators on the proving grounds of Enlightenment rationality and republican subjectivity. Chapter five argues that trompe l{\textquoteright}oeil images of printed texts and handwritten scripts aggrandized concerns about forgeries, counterfeits, and other crimes of resemblance. The final chapter posits that trompe l{\textquoteright}oeil portraits exploited republican faith in the verity of exact resemblance. Lifelike portraits set within trompe l{\textquoteright}oeil frames elided the degree to which likeness was an effect of pictorial simulation, a representation freed from material referents. The great lie of trompe l{\textquoteright}oeil was not that it tried to pass for reality, but that it successfully pretended to actuality while obliging virtuality.}, keywords = {Pre-1945 North American and South American Art}, author = {Wendy Ann Bellion} } @mastersthesis {8852, title = {Lost in America? Raphael Soyer and the Search for Modern Jewish Art}, year = {2001}, school = {UNC Chapel Hill}, abstract = {This dissertation examines the work of the Jewish-American, immigrant artist Raphael Soyer (1899-1987). Soyer{\textquoteright}s negotiations of his difference and Jewish identity in changing ways over his lifetime drive this analysis, and his artistic choices are understood in relation to different aspects of his ethnicity and position as an Other in the Diaspora. At the same time, this project questions and analyzes the assumptions and methodologies scholars employ when studying modern Jewish art. Many scholars have made unsubstantiated arguments about Jewish art, and have categorized as "Jewish" the work by artists who were born Jews without adequately exploring their assertions. Each chapter looks at "Jewish art" differently, but considers the concept through Soyer{\textquoteright}s art. The five chapters that comprise the main body of this study discuss Soyer{\textquoteright}s work as "Jewish" through iconography, theme, form, and style. Soyer is an interesting candidate for this kind of inquiry because he depicts Jewish themes and also embraces the subjects and forms of more mainstream American artists, and his art covers many categories, both in media and genre: he was a watercolorist etcher, lithographer, book illustrator, and painter, and created artworks ranging from self-portraits to still-lifes. Moreover, Soyer{\textquoteright}s life spans almost the entire twentieth century and his long, productive career reflects some of the vicissitudes of the Jewish-American immigrant experience. I conclude that although his art did not always deal explicitly with Jewish themes, the actuality behind the self-image Soyer projected reveals the strong influence of his Jewishness.}, keywords = {Post-1945 Art}, author = {Baskind, Samantha} } @mastersthesis {8746, title = {Lost Objects: Francis Picabia and Dada in Paris, 1919-1924}, year = {2001}, school = {Columbia}, abstract = {"It is inadmissible for man to leave a trace of his passage upon the earth." Summoning up images of dissolution and dispersal, of loss and destruction alike, Andre Breton{\textquoteright}s 1920 Dadaist proclamation emerges as contiguous with the later thought of the dissident Surrealist Georges Bataille (for example: "The meaning of an extremely profound work lies in the author{\textquoteright}s desire to vanish [to be resolved, leaving no human trace])." Although recent histories of the avant-garde have depicted Breton and Bataille as diametrically opposed figures, the impact of Dadaism upon Bataille{\textquoteright}s work has long been acknowledged. This dissertation argues that Bataille{\textquoteright}s later exploration of loss-a series of operations that he variously called "expenditure," the informe, heterology, consumption, sacrifice, or the gift-can be projected back onto Dada, providing the basis for a theorization of its contradictory activities, and a revision of received ideas about the significance of such Dadaist phenomena as the strategy of the ready-made, pictorial parody and pastiche, the emergent critique of artistic economies and aesthetic institutions, the libidinalization of the aesthetic object, and the negation of traditional conceptions of authorship. To such ends, this dissertation presents the first in-depth study of the artist Francis Picabia during his association with the Dada movement in Paris. Organized around a series of the Bataillean operations described above, the project investigates Picabia{\textquoteright}s work in the form of several "case studies" opening onto a larger field of avant-garde activities that paradoxically took loss and destruction as their very substance, working in every way against the object-oriented procedures of traditional art history, as much as the productivist bias of recent critical histories of modernism. Individual chapters focus on a "lost" 1920 work by Picabia entitled La jeune fille, the dialogue between Marcel Duchamp and Picabia that led to Picabia{\textquoteright}s painting L{\textquoteright}oeil cacodylate, the artist{\textquoteright}s long-ignored 1922 Barcelona exhibition, and his eventual descent into an aesthetic of figurative pastiche at the moment of the rise of Surrealism. Ultimately, this project imposes a new interpretative grid onto the field of Dada activities, isolating there a series of cultural operations that open onto use rather than exchange, onto consumption rather than production, onto destruction-to the point of loss-over preservation.}, keywords = {19th- and Early 20th-Century European Art}, author = {Baker, George} } @mastersthesis {8909, title = {Lucrezia{\textquoteright}s Saint: The Child Baptist and Medici Redemption in Fifteenth-Century Florence}, year = {2001}, school = {UC Berkeley}, abstract = {This dissertation locates a revolutionary change in the visual imagery of the Child St. John the Baptist in mid-fifteenth century Florence-a shift brought about by the religious poet Lucrezia Tornabuoni de{\textquoteright} Medici, a member by marriage of the city{\textquoteright}s ruling family. While Florentine images of the Child Baptist before mid-century occurred exclusively in narrative cycles within public spaces, during the late 1450{\textquoteright}s the young saint was divorced from his narrative framework and removed from the public stage to the domestic setting; a wholly new and dramatically influential type of Baptist imagery was born. Designed to stimulate internal contemplation in viewers, these new images stemmed from the manuscript culture of private devotion whose texts also demanded an active meditative state from their readers. While literary historians have widely excluded spiritual, vernacular literature from the Quattrocento canon, evidence from personal devotional manuscripts illustrates its redemptive power and the spiritual authority of its authors, such as Lucerzia Tornabuoni. Lucrezia{\textquoteright}s poetry demonstrates her special devotion to the saint, as well as her fluency in the literary tradition that engendered the new imagery, marked by Fra Filippo Lippi{\textquoteright}s Palazzo Medici Adoration (c.1459), the altarpiece for the Medici Palace{\textquoteright}s private chapel. Art historians, however, have downplayed or rejected her influence on the painting. Demonstrating Lucrezia{\textquoteright}s spiritual authority, and validating it by refocusing the politically-based construction of power in Medicean Florence, reverses the assumption that a woman living in this rigidly patriarchal culture could not have influenced the visual arts on such a vast and meaningful level. Evidence of Lucrezia{\textquoteright}s involvement with other, rare images of the Child Baptist, as well as proof, based on archival evidence, that her spiritual interests dictated other fundamental components of her family{\textquoteright}s altarpiece, makes her influence on the painting unquestionable. Her intervention was, moreover, a powerful bid for the salvation of her family, and provides the basis for a new reading of the painting as inextricably tied to Medici hopes for redemption. It also offers new evidence for female, spiritual influence in Renaissance Florence, throwing into question the conceptions of power and patronage that continue to shape the period{\textquoteright}s historiography.}, keywords = {Renaissance Art}, author = {Solum, Stefanie} } @mastersthesis {8755, title = {Making a Tradition of Modern Art: The Case of Jean-Francois Millet}, year = {2001}, school = {Washington University}, abstract = {This dissertation explores the reception and artistic canonization of Jean-Francois Millet (1814-75) during his life and in the quarter century after his death. Millet{\textquoteright}s depictions of rural life were sometimes harsh, and were received poorly at mid-century, earning him the reputation of a Socialist upstart in conservative circles. His difficulty selling them left Millet in financial straits and on the margins of the Parisian art world, suiting him ideally to the romantic, heroic archetype of the avant-garde artist that still largely persists in histories of Modern art. Considering the commemorative projects implemented by the artist{\textquoteright}s supporters, this study demonstrates how Millet{\textquoteright}s imagery and persona intersected with the political and cultural climate in France{\textquoteright}s Third Republic to transform him into a national hero. In tracing the recuperation of Millet{\textquoteright}s memory, this study presents a model for investigating the institutional embrace of other so-called radical artists. It is a case study of the processes that form canons of Modern art. At the foundation of the project are assessments of current Millet scholarship, his artistic achievement and the mid-nineteenth century reception of his work. They situate the current study methodologically and offer a point of origin for measuring the changes in Millet{\textquoteright}s constructed persona, and are the subject of the Introduction and the first two chapters. The subsequent three chapters focus on commemorative projects designed to assuage conservative anxieties that his most difficult works aroused. They include, among others, a Millet biography written by Alfred Sensier and Paul Mantz, two provincial monuments designed by Henri Chapu, a retrospective exhibition held in Paris and the incorporation of The Gleaners and The Angelus, two of Millet{\textquoteright}s most famous paintings, into French collections. These projects presented the artist and his imagery in a nostalgic, pastoral and nationalistic manner that comforted an insecure audience in fin-de-siecle France. The final chapter examines Millet{\textquoteright}s artistic legacy in the 1890s. Considering how artists of divergent aesthetic and political persuasions each turned to Millet{\textquoteright}s works for their own development demonstrates both the broadly nationalistic appeal of Millet{\textquoteright}s work and the ideological divisions that his memory continued to accommodate.}, keywords = {19th- and Early 20th-Century European Art}, author = {Fratello, Bradley} } @mastersthesis {8818, title = {The Making of the Huntington Library {\textquoteright}Legenda Aurea{\textquoteright} and the Meaning of Martyrdom}, year = {2001}, school = {IFA/NYU}, abstract = {The Huntington Library Legenda aurea (San Marino, California, The Huntington Library, HM 3027) is an undeservedly understudied manuscript. As the earliest surviving extensively illustrated copy of Jacobus de Voragine{\textquoteright}s famous work, and as one of the handful of the over 1,000 extant manuscripts of the Legenda aurea in Latin to be so comprehensively decorated, HM 3027 is a landmark work in the history of the reproduction of this text, as well as hagiographic illustration in general. In addition, the manuscript is an excellent example of the collaborative nature of manuscript production in thirteenth-century Paris. With its copious written instructions to the rubricator and illuminator, and its many preliminary marginal drawings for the 135 surviving column miniatures, HM 3027 is a unique vehicle to investigate scribal and artistic practice in the manufacture of such manuscripts. Part I is concerned with the making of the Huntington Library Legenda aurea -its place in hagiographic illustration, its artistic context, and its physical structure and decoration. Many of the miniatures depict violent scenes of martyrdom, and in Part II I examine the myriad of meanings that such images might have had for a medieval viewer. I discuss the perception of pain in the later Middle Ages, and the idea of physical pain as a vehicle for spiritual devotion. The increasing significance of the visualized pain of religious figures such as Christ and the martyrs has its counterpart in the secular world; in the thirteenth century public torture began to be used as a means to extract confession in court. I also discuss the issue of gender; male martyrs are most often clothed and beheaded while female martyrs are most often stripped and penetrated. Yet both male and female saints can be said to transform and transcend the binary system of gender through their embrace of martyrdom; women who were capable of uncommon spiritual fortitude were described as "becoming male," while men intimately connected to their bodies were feminized.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Easton, Martha} } @mastersthesis {8797, title = {Making the Artistic: Ren Bonian (1840-1895) and Portraits of the Shanghai Art World}, year = {2001}, school = {IFA/NYU}, abstract = {The leading painter in nineteenth-century Shanghai, Ren Bonian (1840-1895) was known for his tour-de-force technique, as well as the remarkable range of subjects he painted. His portraiture, however, occupies a special place in his oeuvre. In high demand but difficult to obtain, these works by Ren focused almost exclusively on denizens of the Shanghai art world. Though much admired, little research has been done on this unprecedented series of images of fellow painters, calligraphers, dealers and collectors. By employing the portraits as documents, and also by using contemporary primary sources such as guidebooks, newspapers, magazines and collected writings by the sitters themselves, this dissertation casts light on Shanghai{\textquoteright}s little-understood art world, specifically in its social and economic contexts. Thus, this dissertation not only examines Ren Bonian{\textquoteright}s portraiture practices and strategies, it is also a study of the artist and the art world that engendered these portraits. The dissertation begins with a double portrait of the artist himself. A major obstacle in approaching Ren Bonian is the large number of anecdotes and stories surrounding the artist since his death in 1895. While these largely fictive tales complicate a straightforward biography, they are valuable for understanding changing attitudes towards and assumptions about Ren Bonian. These stories are contrasted with an account of the artist{\textquoteright}s early career as told through the numerous portraits dating from this period, and with the young artist{\textquoteright}s rising reputation as documented in contemporary Shanghai guidebooks and magazines. The critical setting of Shanghai is given wider scope in a study focusing on art world business practices and activities using advertisements and articles from the famous Shanghai newspaper, Shenbao. These documents make the increasing professionalization of the artist especially clear, a necessity in Shanghai{\textquoteright}s marketplace society. The final section of the dissertation looks at Ren Bonian{\textquoteright}s portraiture as a social practice, both in terms of analyzing Ren{\textquoteright}s social characterization of his sitters as latter-day literati and in terms of the uses of the portraits as tools of social interaction and identity.}, keywords = {Asian Art}, author = {Wue, Roberta} } @mastersthesis {8863, title = {Manuel Neri: Transformations of the Classical and Modernist Figure}, year = {2001}, school = {Louisville}, abstract = {California sculptor Manuel Neri selected the human figure as metaphor for creative expression five decades ago. In the course of his career that began in the late fifties, Neri has slashed and gouged a variety of materials-plaster, marble, and bronze, into female forms, their anatomical particulars reduced to gesture and distilled to the essence of being. The sculptures, often suspended in agitated brushwork, are reflections of his intellectual and artistic pursuits, demonstrating an openness to historic influence and a daring facility for experimentation and innovation. Drawn to the classical figure and the classical figure viewed through modernist eyes, Neri{\textquoteright}s figural works are permutations of those influences. As a student of Peter Voulkos, Richard Diebenkorn, Nathan Oliveira, and Elmer Bischoff, Neri acquired his studio training in an environment that spawned the Beat generation, funk art, and the Bay Area figurative movement. From this cultural milieu, Neri emerged as the only sculptor associated with the San Francisco artists who rejected the non-objective character of Abstract Expressionism and turned to the figure. His continued fidelity to the representation of the human figure, especially the female, and his expressionist paint-handling result in works that are a synthesis of painting and sculptural elements. This study of historical influences in Neri{\textquoteright}s work, based upon a thematic examination of his sculpture, reveals a serial quality to his work and his return to favorite figures. Neri frequently creates transformations of earlier works through a translation of form, from one material to another. In addition, he habitually remakes or alters his own existing work through a violent assault on the materials, often removing limbs with an ax or energetic filing and sanding. A review of Neri{\textquoteright}s unique sculptural technique reveals his exploitation of materials for aesthetic purpose.}, keywords = {Post-1945 World Art}, author = {Hessel, Patricia Moore} } @mastersthesis {8902, title = {Mapping the Past: {\textquoteright}The Fleur des Histoires{\textquoteright} (Brussels, Bibliotheque Royale Mss. 9231-9232) in the Context of Fifteenth-Century Burgundian Historiography}, year = {2001}, school = {Chicago}, abstract = {The Fleur des Histoires (Brussels, Bibliotheque Royale, Ms. 9231-9232), an illuminated chronicle made around 1450 for Philip the Good, third Valois duke of Burgundy, has long been admired for its lavish series of sixty-five miniatures. Painted by Simon Marmion, the Mansel Master and their assistants, these miniatures illustrate historical events in the text, a universal history written by court functionary Jean Mansel. Among the miniatures is a world map, which, in the tradition of medieval cartography, provides a visual synopsis of universal history. The dissertation argues that the Fleur{\textquoteright}s map informs the entire series of miniatures. By adopting the map{\textquoteright}s style, these miniatures project a cartographic vision that furthers the claims of universal history and the political projects of Philip the Good. After analyzing the stylistic and codicological features of the Fleur des Histoires, the dissertation places the manuscript and its map in the context of Burgundian historiography. It then examines the Fleur{\textquoteright}s miniatures in relationship to the map. Through this examination, I show that the miniatures appropriate the map{\textquoteright}s visual structure, including its distinctive geographical spaces and topographical landscapes. More importantly, the miniatures take over the narrative structure of maps by showing several events in the same image space, a technique known as "continuous narration." The conjunction of continuous narration with cartographic space in these miniatures creates an interpretive framework, one that enables the courtly viewer to see that all events, even those of regional interest, take place within the larger sweep of universal history. In this way, the miniatures set forth a divinely sanctioned view of history by which Philip the Good, the Fleur{\textquoteright}s primary viewer, could justify his projects of territorial expansion. Finally, I show that these cartographic and narrative techniques were not limited to the Fleur{\textquoteright}s miniatures, but were employed in well known tapestries and panel paintings of the time, including Jan van Eyck{\textquoteright}s Ghent Altarpiece and Washington Annunciation. Thus, the vision set forth by these miniatures is characteristic of a larger current in fifteenth century art and historiography, one that inscribes the past and present together, as on the surface of a map.}, keywords = {Renaissance Art}, author = {Deam, Lisa} } @mastersthesis {8913, title = {Marcus Gheeraerts the Elder and the Language of Art: Images with Text in the Elizabethan Renaissance}, year = {2001}, school = {Case Western Reserve}, abstract = {This investigation of the use of image and text in the art of Marcus Gheeraerts the Elder (ca. 1525-ca. 1603) draws upon an interdisciplinary approach to understand the function and purpose of these art works. A map-maker, printer, book illustrator, designer and painter, Gheeraerts worked in the southern Netherlands until exiled for heresy, whereupon he moved to England. His work thus provides an opportunity to examine the cultural relationships between England and the Netherlands during the Elizabethan era. Increasingly, scholars are recognizing that the Netherlands played a significant role in the shaping of Elizabethan culture, while in turn England provided a stimulating environment in which intellectual and artistic exchange could flourish. Gheeraerts{\textquoteright}s relationships with leading humanists, authors, publishers, and other artists from both England and the Netherlands demonstrate the complexity and variety of the milieu in which he worked. Theatre, allegory, literature, religious issues, nature and anatomy studies, vernacular proverbs, mythology, foreign lands and the status of the artist are but a few of the subjects explored in his imagery. His combination of image and text was a deliberate strategy to ensure the simultaneous viewing and reading of pictures, each action reinforcing the other, and can be connected to a Netherlandish cultural heritage. His impact upon the artistic community in England was significant: not only was he the first etcher to work in England, but he also created the first emblems published in that country. In addition, his son Marcus Gheeraerts the Younger became one of the leading portrait painters of the late Elizabethan/early Jacobean period, incorporating typical features of his father{\textquoteright}s works into his own compositions. Using this combination of visual and verbal language, Gheeraerts created works of art for a specific audience of well-educated humanists, who would appreciate and engage with his allegorical structures and symbolisms.}, keywords = {Renaissance Art}, author = {Webster, Erin} } @mastersthesis {8867, title = {Mary Kelly{\textquoteright}s INTERIM: A Reexamination and Reevaluation}, year = {2001}, school = {UCLA}, abstract = {This study of Mary Kelly{\textquoteright}s INTERIM (1984-1989), a four-part, or four-scene, installation work-consisting of serial images, objects and narratives-looks briefly at the discursive positioning of the installation by the museum where it was presented, in 1990, as a major feminist project on feminism and middle age. In particular, it looks at the feminist readings in the catalogue accompanying the exhibition and their claim that the work provides a site (of knowledge) in which women or the {\textquoteright}feminist subject{\textquoteright} ought to find themselves/herself reflected. The installation{\textquoteright}s complex mode of {\textquoteright}imaging{\textquoteright} (where the female figure is basically absent), although not considered a deterrent to this by the catalogue readings, strategically refuses to provide such a site. To explain this refusal, the visual, narrative, and enunciatory strategies by which the installation attempts to construct the woman as spectator as a desiring subject, understood as the desiring psychoanalytic subject, are examined. Positions of femininity are shown to be acted out across the narrative scenarios. The narratives, or stories, which hinge on the identifications and desires of women characters and the diverse elements interarticulating with the stories are said to offer a mode of nonspecular representation that invites identification, and alternately, invites one to enter into a kind of analytic listening, reading, and viewing. While it self-consciously, and parodically, reinscribes the rhetoric of minimalist and conceptual art practices, Kelly{\textquoteright}s INTERIM installation is shown to depart from the specular representationalism in which those practices participate. Constructed out of repetitively serialized elements that create an intense visual-discursive dynamics, the scenes are said to effect a haptic spatiality which implicates the spectator and impacts her or him physically. If the figure of the female body is jettisoned from the scenes, it is displaced by the {\textquoteright}imaging{\textquoteright} of the body of the drives, the repetitions and movement of which the spectator is given to negotiate. It is suggested that the INTERIM installation is performative, that cumulative effects of identification and desire are both pictured-narrated and performed, and that the spectator who takes part in the (temporal) construction of the scenes also enters into this performance.}, keywords = {Post-1945 World Art}, author = {Mannix, Patricia A.} } @mastersthesis {8900, title = {Mary Magdalen and Visual Culture in the Low Countries, 1450-1530}, year = {2001}, school = {Binghamton}, abstract = {This dissertation considers the meanings of and audiences for the figure of Saint Mary Magdalen in the Low Countries of the late fifteenth and sixteenth centuries. The figure of Saint Mary Magdalen conjures images of sensuousness and beauty, of worldliness and sin, penitence and redemption. By tradition a repentant prostitute, she was witness to the crucifixion and the first person to see Christ resurrected. Her legend appealed to people of such diverse backgrounds that her cult had grown, by the late middle ages, to extraordinary proportions, rivaled only by that of the Virgin herself. The dissertation discusses the Magdalen tradition in the Low Countries, accounting for and explaining its pervasiveness in the Low Countries of the late medieval/early Renaissance period. In the period covered by this investigation, the Low Countries underwent profound and rapid transformations, and the iconography of Saint Mary Magdalen provides an example of the way in which these were understood by a variety of audiences. Images of this extremely popular saint evolved both to accommodate and explicate the changes in society, and thereby, in many cases, offer a model of stability. Chapter One briefly outlines the origins and evolution of the legend of Mary Magdalen, in order to provide a framework for the issues discussed in the remainder of the study. Chapter Two considers the appropriation of the Magdalen by the late fifteenth century House of Burgundy, and the use of the Magdalen as a political motif through which the values and ideals of the Hapsburg-Burgundians were expressed. Chapter Three pursues this investigation through to the early years of the sixteenth century, specifically examining the meanings of Lucas van Leyden{\textquoteright}s engraving of 1519, Dance of Mary Magdalen, which are placed in a contemporary religious and political context. In Chapter Four, the half-length images of the Magdalen that gained popularity in the Low Countries in the second decade of the sixteenth century are discussed, in particular in terms of their position as exemplars of middle class female behavior and their relation to contemporary conduct books. This subject of the half-length images of Mary Magdalen is pursued in Chapter Five, in which the alternative, erotic meanings of Magdalen imagery are considered.}, keywords = {Renaissance Art}, author = {Cohen, Brian} } @mastersthesis {8895, title = {The Material Word: Anglican Visual Culture in Colonial South Carolina}, year = {2001}, school = {Delaware}, abstract = {Through a careful analysis of both material evidence and diverse primary texts, this dissertation examines church architecture, gravestones, and communion vessels as a document of "lived religion." By using the modifier "lived," I mean to emphasize the material choices made by the laity that collectively reflect the impact of belief on the lives of individuals and communities. In six chapters, the narrative addresses such themes as regional identity, the social politics of established church architecture, and Anglican theologies of the sacred. In the first chapter, a comparative analysis of the Anglican architecture of eighteenth-century South Carolina and that of its Caribbean cousin Jamaica highlights the central role of regionalism in provincial architecture, even in the architecture of the establishment. The next chapter examines the complicated process of constructing churches designed by a lay committee and erected by both master craftsmen and day laborers. A chapter on Anglican "regularity" interprets architectural classicism as a visualization of liturgical worship by Anglicans in light of the threat of evangelical individualism. It also examines the ways that monumental construction and pew plans were used by Anglicans to establish their place in South Carolina{\textquoteright}s political and social landscapes. A chapter dedicated to the sacred uses gravestones and the subtleties of church ornament to illustrate Anglican ideas on death, eternity, the sovereignty of God, and the nature of the Church. As a conclusion, the final chapter moves the discussion of these subjects past the American Revolution, after the dis-establishment of the Anglican Church in South Carolina. In terms of scope, this dissertation has expanded the discourse on colonial American architecture to include the Caribbean and has encouraged greater nuance in the discussion of religion in the field of early American visual culture. It has demonstrated the value of architecture as a primary document in the writing of colonial American religious history and it engages an architectural history that depends on a thick description of the immediate religious, social, and political context. In that way, "The Material Word" has demonstrated the value of architecture in the examination of "lived religion."}, keywords = {Pre-1945 North American and South American Art}, author = {Nelson, Louis} } @mastersthesis {8908, title = {A Materialized Vision as Meditative Exemplar: Albrecht Durer{\textquoteright}s "Marienleben", 1502-1511}, year = {2001}, school = {Wisconsin}, abstract = {Albrecht Durer{\textquoteright}s woodcut cycle of the Marienleben, published in Nuremberg in 1511, was the most comprehensive visual narrative of Mary{\textquoteright}s life made in contemporary Northern Europe. The artist commissioned Benedict Schwalbe, a Benedictine monk at the monastery of St. Egidius, to compose twenty verses to accompany his images. Durer dedicated the cycle to Caritas Pirckheimer, abbess of the Franciscan convent of St. Clara in Nuremberg and older sister of his friend Wilibald Pirckheimer. The iconographic program of Durer{\textquoteright}s Marienleben drew upon the mysteries of the rosary, the sequential illustrations in the Hours of the Virgin and the liturgical calendar. Such a theologically orthodox iconographic program linked the cycle{\textquoteright}s contemplative use closely to the dogma of the Church. It is my thesis that Durer created a visual primer that could assist the faithful{\textquoteright}s personalized experience of the history of salvation in a way that conformed to the teaching of the Church. Published only six years before the outbreak of the Protestant Reformation, Durer{\textquoteright}s Marienleben represented an orthodox version of Mary{\textquoteright}s life narrative that could be endorsed by the Church both before and after the Reformation.}, keywords = {Renaissance Art}, author = {Shin, Junhyoung} } @mastersthesis {8832, title = {Meaning in Context: Continuous Narrative in Roman Painted Panels}, year = {2001}, school = {Princeton}, abstract = {Continuous narrative-a single scene in which the same figure appears more than once-is found in the art of many cultures and periods. Within the context of ancient Roman art, there has been considerable theoretical discussion concerning continuous narration, but little investigation based on the surviving evidence. This oversight is particularly unusual when one considers that the mythological panels decorating the walls of Pompeian houses allow an excellent reconstruction of the ancient context in which continuous narrative was displayed and viewed. When examined in their programmatic context, the panels allow for the reconstruction of more subtle shades of intention and meaning than would be possible with isolated objects. In fact, when these images are examined in their original location with their planned assemblage, they demonstrate that the continuous narrative technique was used in much more subtle and varied ways than previously imagined. This project is unique in allowing the art to elucidate how and why the Romans used continuous narrative, rather than making the art fit a particular theory. The first chapter addresses the scholastic history of continuous narrative and demonstrates how previous scholars have been preoccupied with a single, over-arching theory of continuous narrative and have neglected to closely examine the art itself. In the second chapter, the continuous narrative panels are examined within the context of their location, association with other panels, visual tradition and literary history. Chapter three explores Roman attitudes and expectations toward the art that decorated their homes. Rather than treating the panels as "texts" that need to be "read," it examines Roman approaches to creating, displaying, viewing and understanding art, which are different from those of the Greeks. Chapter four reviews the evidence and concludes that there is no single, universal meaning behind the use of continuous narrative. Continuous narration is simply one potential means of artistic expression that can be used to meet a variety of functions and purposes. Nonetheless, the nature of continuous narrative-which highlights more than one scene from a myth-often results in its use when a more complicated and sophisticated expression of meaning is desired.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Swan, Glenda Middleton} } @mastersthesis {8798, title = {The Meaning of Wang Duo{\textquoteright}s Line: A Study of Two Scrolls of the Poems of Du Fu}, year = {2001}, school = {Columbia}, abstract = {Using a colophon Wang Duo added to one of his scrolls as a starting point, the thesis will examine how the artist integrated two conflicting styles of calligraphy: the orthodox approach of Wang Xizhi and the "wild way" of Zhang Xu and Huaisu. The thesis reviews the texts used for the Tang Poems in relation to Wang Duo{\textquoteright}s own poems and life history. It also looks at Wang Duo{\textquoteright}s earliest works to trace evolving influences, paying particular attention to his copies of orthodox calligraphers like Wang Xizhi and exponents of "wild way" like Zhang Xu and Huaisu. The thesis studies the relationship between Wang Duo{\textquoteright}s calligraphy and the work of his contemporaries, both those in his own school and calligraphers like Dong Qichang whose work he disdained. In the process, it examines Wang{\textquoteright}s aesthetic views and discusses their relationship with those of the revivalist movement in late Ming culture. By analyzing the struggle between revivalism and anti-revivalism-between the orthodox and the "wild way," the thesis defines the role Wang Duo played in reconciling conflicting schools. By relating the Tang Poems scroll to Wang Duo{\textquoteright}s theories and examining the work within the context of the cultural movements of the period, the study provides a unique viewpoint on the culture of seventeenth-century China, and the calligraphy of one of its greatest masters.}, keywords = {Asian Art}, author = {Zhang, Yiguo} } @mastersthesis {8740, title = {Mediterraneita and Modernita: Architecture and Culture during the Period of Italian Colonization of North Africa}, year = {2001}, school = {MIT}, abstract = {This dissertation examines the intersection of the modern and the colonial in architecture and culture during the period of Italian colonization of North Africa from 1911 to 1943. Rather than see the colonies as merely a projection of the metropolitan context, this research reverses this relationship by examining how colonialism was crucial to the formation of modernity. The focus of this investigation has been the appropriation of indigenous Libyan constructions by Italian architects working in this region-an appropriation that was justified by the contention that this culture was Mediterranean. The incorporation of these vernacular buildings within a Mediterranean tradition was a means of designating their modernity. It was also a method for these architects to efface the Arab content of these sources by creating a broader geographical category whose identity was Italian. This general theme has been structured around three distinct but interrelated topics of investigation, with the objective being to create a more complex understanding of this phenomenon. These topics are; the discourse on modernity in Italian architecture in magazines and publications and its intersection with the prospects for a modern colonial architecture, the "politics of representation" of the indigenous culture of Italy{\textquoteright}s colonies in exhibitions and fairs in Italy and abroad, and the formation of a Mediterranean identity in the creation of a tourist system in the Libyan colonies. This research has examined these themes against the broader cultural context of Italian colonialism; such as the "indigenous politics" of the Italian colonies, the exoticism of colonial literature, and the scientific practices of anthropological and ethnographic research. This project ultimately reveals two different approaches to the appropriation of local culture by architects working in the Libyan colonies-both of which are modern. The first of these viewed the vernacular as the abstract basis for a contemporary architecture, while the second argued that these references should be literally re-enacted to harmonize with the pre-existing environment. This dissertation asserts that the conflicts and confluences between these two modernities characterized both the architecture of colonialism and the larger "cultural" project of the Italians in Libya. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {19th- and Early 20th-Century European Art, African Art}, author = {McLaren, Brian} } @mastersthesis {8860, title = {(Mind)ing "The Store": Claes Oldenburg{\textquoteright}s Psychoaesthetics}, year = {2001}, school = {Emory}, abstract = {Claes Oldenburg{\textquoteright}s project, The Store (1961-1962), has received surprisingly little scholarly examination despite its reputation as one of the first important examples of Pop to emerge in New York during the sixties. This study rectifies this neglect. First, it provides an overview of Oldenburg{\textquoteright}s early aesthetic development leading up to The Store, suggesting how much of his work-metamorphic drawings, collages, poems, objects, environments, and performances-incorporated fragmentation, scale displacement, metaphoric substitution, and unexpected juxtaposition. The dissertation argues that like many of these early works, the objects in The Store reveal the fundamental characteristics of dreams, particularly how dream work translates dream thoughts into pictorial images through condensation and displacement. Second, the dissertation reconstructs how aspects of Oldenburg{\textquoteright}s early projects informed his working method used in the three main versions of The Store-the original version at the Martha Jackson Gallery; the alternative loft environment on East Second Street; and the final version at the Green Gallery. This study presents a new understanding of The Store, arguing that the aesthetic structure underlying Oldenburg{\textquoteright}s project stems from his disciplined investigation into the relationship between dreams, the unconscious, and aesthetic activity. Oldenburg{\textquoteright}s series of projects called The Store marks his most extensive exploration of Freudian psychoanalysis. However, his subsequent endeavors continue to incorporate the basic premises discovered during this early stage. Oldenburg{\textquoteright}s notes and interviews support the contention that The Store was inextricably linked to his curiosity about how dream images could be a generative source for art. Oldenburg, who first read Freud in Chicago during the mid-fifties, claimed that The Store was a laboratory in which to analyze and represent his consciousness. He chronicled his dreams and subjected himself to rigorous self-analysis, using his dream journals to generate aesthetic ideas. His discovery of Freud{\textquoteright}s notion of the unconscious led him to revitalize certain strategies of historic Surrealism in new ways-free association, psychic automatism, estrangement, and double- or multiple-imaging. His aesthetic activity during this period constitutes one return to and transformation of the avant-garde methods of historic Surrealism.}, keywords = {Post-1945 World Art}, author = {Freiman, Lisa} } @mastersthesis {8861, title = {Missing Absence: Trauma and National Memorials to the Holocaust}, year = {2001}, school = {Rochester}, abstract = {This study investigates the interpretation of national Holocaust memorials through the trope of trauma, as it is understood within psychoanalysis and literary theory. While previous analyses of Holocaust memorials work within the rubrics of memory and collective memory, this study demonstrates the limits of those frameworks and suggests trauma theory as an alternative. Between traumatic events and the narration of them, victims of psychological trauma often are plagued by aftereffects that hinder a life in which emotional security and a working through of the past are possible. When therapists "bear witness" to patients{\textquoteright} traumas, they assume ethical positions in understanding the limits between what someone says and what they are unable to say. The motif of repeating trauma has been appropriated by literary studies to explain how texts enact a pattern of repetition similar to trauma. The reader, like the listener described above, must read the stories of trauma and discern how metaphorical language indicates underlying trauma. This study proceeds from these investigations and considers the relationship between trauma, Holocaust memorials and the viewer. If memorials are marked by visual dissonance and disruption, then they require a certain kind of viewing that understands what trauma is and how it functions, thereby making bearing witness possible. When a cultural milieu is not ready to investigate or accept the aftermath of trauma, however, the aftereffects of trauma in the present go unremarked and unwitnessed. The United States Holocaust Museum is an official site of memory in which documentary objects make trauma visible while official rhetoric about them conceals it. Works of art and the museum{\textquoteright}s imperative to "bear witness" are also considered. The diverse memorials at Yad Vashem, a living memorial, have changed form as the cultural rhetoric of trauma has developed. Early memorials dedicated to heroes have given way to ones that investigate the deaths of ordinary people. The Berlin Holocaust Memorial debate is investigated as a site of traumatic return that misses important absences regarding the Nazi past. The static site of the memorial is contrasted to the public works of art that dot Berlin{\textquoteright}s living memorial landscape.}, keywords = {Post-1945 World Art}, author = {Goldman, Natasha} } @mastersthesis {8747, title = {Money as Muse: The Origin and Development of the Modern Art Market in Victorian England: A Process of Commodification}, year = {2001}, school = {Tulane}, abstract = {The aim of this dissertation is to present a first statistical study of the economics of the modern art market in nineteenth-century Britain. During the reign of Queen Victoria, the arts in England experienced an unprecedented boom, and the period witnessed the emergence of modern Europe{\textquoteright}s first art market as it functions today. Through the influence of the newly emerged breed of professional picture dealers, many painters achieved celebrity status, and their works commanded unheard-of prices not equaled until the last third of the twentieth century. The period also witnessed the introduction of the first successfully produced art mass product in the form of mass marketed engravings after {\textquoteright}sensation{\textquoteright} paintings. This study proposes that, in addition to the conventional sociological factors, the Victorian art boom was a consequence of a process of commodification which, starting at the beginning of the eighteenth century, began to transform the English arts environment towards the gradual establishment of Europe{\textquoteright}s first art market in the modern sense. This model of commodification and its use are introduced in a brief case study of the Dutch art environment of the sixteenth and seventeenth centuries, relying heavily on recent scholarly investigations into the economics of that region{\textquoteright}s art market. With the partial collapse of the Dutch economy towards the end of the seventeenth century, the economic center of the arts environment began to shift to England, the focus of this research. Through the application of economic models, the study illustrates how commodification occurring within the different art market components, effected specific changes which enhanced the commodity character of paintings and facilitated their exchange. It is argued that, ultimately, this commodification and its agents must be considered among the formative factors responsible for the characteristic appearance of much of English eighteenth and nineteenth-century painting. In this context, moreover, the investigation also aims to illustrate the crucial role played by middlemen in the new, market-oriented, art environment. The research relies heavily on the use of statistical and micro-econometric tools with a database which consists of over forty thousand individual auction sales of paintings from around 1720 to 1910 and which was created specifically for this study. Hitherto, quantifying investigations of this type have not been undertaken in art historical research. It is one of the purposes of this study to introduce such methodology and demonstrate its merits. In addition to revealing numerous micro-aspects of the Victorian arts environment, the employment of econometric models also provides insight into macro-developments of the art market which affect our visual culture to this day.}, keywords = {19th- and Early 20th-Century European Art}, author = {Bayer, Thomas M.} } @mastersthesis {8834, title = {A Muraqqa{\textquoteright} for the Ottoman Sultan Murad III (r. 1574-1595): Osterreichische Nationalbibliothek, "Codex Mixtus" 313}, year = {2001}, school = {IFA/NYU}, abstract = {This dissertation will focus on a unique album (Vienna, Osterreichische Nationalbibliothek, Codex Mixtus 313) created in the sixteenth-century for one of the greatest Ottoman bibliophiles, Sultan Murad III (r. 1574-95). The album includes miniature paintings and figural drawings created in Bukhara, Tabriz, Isfahan, Qazvin and Istanbul during the late fifteenth to seventeenth centuries, as well as varnished pasteboard panel or "lacquer" paintings made in Tabriz during the 1520s-30s. The majority of material in the album consists of calligraphy specimens, mostly from ghazals of Persian lyric poetry copied by celebrated Persian calligraphers active in the early to mid-sixteenth century. There are also Ottoman (and Tabriz-style) decorative pages which feature saz-style drawings and a beautiful example of a papercut garden of flowers and cypress trees. The album is unusual and worthy of study for three reasons. It has a clearly documented history: the album dedication (Fols. 2b-3a) identifies its patron, Sultan Murad III, and the detailed preface (Fols. 5b-6a) names the album{\textquoteright}s compiler, one Mehmed Cenderecizede, and the location and date of its production, Constantinople/Istanbul, 980 H./1572-73. Secondly, the-album{\textquoteright}s distinctive decorative program of mid-sixteenth-century Ottoman palace studio designs made especially for the margins of each folio is critical to the reconstruction of the original album made for Sultan Murad III. The album ONB Cod. Mixt. 313, like many contemporary Islamic albums, was altered by successive owners who added to and also removed folios from the album. Thirdly, the album{\textquoteright}s miniature paintings, ink drawings and calligraphed verses of poetry are not predominantly Turkish, but are of Persian origin. The aims of this study are to authenticate and reconstruct the original album prepared for Sultan Murad III by examining its contents codicologically within the context of Islamic album production, to shed light on the artistic patronage of Sultan Murad III, and ultimately to learn more about the art of the album and its place in Ottoman cultural aesthetic in the early modern era.}, keywords = {Islamic Art}, author = {Froom, Aimee} } @mastersthesis {8885, title = {Myer Myers and the Silversmith{\textquoteright}s Trade in New York City, 1746-1795}, year = {2001}, school = {Yale}, abstract = {Myer Myers (1723-1795) created outstanding works in silver and gold for leading members of the New York elites and was the most productive silversmith in the city during the third quarter of the eighteenth century. Many objects with his mark have long been regarded as among the most important American statements of the Rococo style, and he is perhaps best known as the maker of the only Jewish ritual silver to survive from Colonial America. These objects also provide an extraordinary amount of information about craft, patronage, and religious diversity in pre- and post-Revolutionary America. As a native American Jew, Myers was part of a small but close-knit community that provided him with patrons as well as mercantile contacts. His leadership role within the New York Jewish community mirrored and to some extent reinforced his prominence in his craft. Myers{\textquoteright}s career as a silversmith offers insights into the complexities of the often-romanticized and oversimplified subject of preindustrial craftsmanship in America. Surviving objects with his marks clearly were the product of a sizeable workshop that made both routine, less expensive forms as well as the unique, style-conscious wares for which Myers is renowned. While highlighting his outstanding works, this study also will situate them within his routine shop production, giving a more complete picture of his output. It will also highlight the interrelationships between different craftsmen in precious metals that traditionally have been interpreted as autonomous artists. Myers{\textquoteright}s finest works clearly demonstrate the importance of specialist craftsmen, such as engravers, chasers, and piercers. His routine productions apparently were marketed not only through his own establishment, but also through other silversmiths and jewelers who worked primarily as retailers. Myers{\textquoteright}s career also permits an examination of the evolving styles of London silver of fifty years as filtered through one colonial workshop.}, keywords = {Pre-1945 North American and South American Art}, author = {Barquist, David Lawrence} } @mastersthesis {8769, title = {The Nation, the Nude, and Desire: An Account of William Etty and His Work in the Nineteenth and Twentieth Centuries}, year = {2001}, school = {Bryn Mawr}, abstract = {In this thesis, I examine the critical fortunes of William Etty (1787-1849), the only significant British painter to dedicate himself to the nude before the twentieth century. His nudes won high praise and provoked allegations of prurience. Although he earned several honors in his day, including being elected to membership in the Royal Academy, his reputation declined shortly after his death and has not been revived. I look at the nineteenth-century criticism of Etty{\textquoteright}s work and place it in the context of larger concerns in the criticism of the time. I note that many of the same criticisms that were voiced in the nineteenth century are leveled against him again in the twentieth century. I consider the impact of Etty{\textquoteright}s representation in art exhibitions on his reputation. I present the record of his patronage and collecting, including an analysis of the value, pricing, and sale of his work over the last two decades. I find that Etty{\textquoteright}s life and art are so interdependent in his biographies that these accounts must be taken into account in his critical fortunes. Finally, I use the recent work of Joseph Kestner on the construction of masculinity in Victorian art as the basis of my own interpretation of how Etty{\textquoteright}s life and art were related. I conclude that Etty{\textquoteright}s conflicted sexuality complicated his response to the male and female nude and contributed to his selection and treatment of particular themes involving love, lust, and the loss of power. I find that there are essentially only two factors that have brought about the decline of Etty{\textquoteright}s reputation. The first factor is nationalistic sentiment that is active in the agendas of commentators on British art in both centuries. The second factor is what I describe as the subjective response that the nude elicits in the viewer. Commentators from both centuries have expressed a wide range of responses to Etty{\textquoteright}s nudes, but they have generally been unfavorable, because his art is marked by evidence of the artist{\textquoteright}s unresolved, unmediated, and very peculiar obsession with the nude that led to a shallow repetitiveness in his oeuvre.}, keywords = {19th- and Early 20th-Century European Art}, author = {Schedler, Amanda Adams} } @mastersthesis {8742, title = {"The (New) World in the Time of the Surrealists": European Surrealists and Their Mexican Contemporaries}, year = {2001}, school = {Chicago}, abstract = {After arriving in Mexico in 1938, Andre Breton described it as "the surrealist place par excellence." His comment highlights Mexico{\textquoteright}s important location in the surrealist imagination. Mexico entered surrealist projects in various ways from the early 1920s, served as a refuge for several surrealists during World War II and remained central to surrealism{\textquoteright}s landscape into the 1950s. Much of the scholarship on surrealism and Mexico has asked how the surrealists influenced Mexican art or has treated the surrealists as isolated from Mexico{\textquoteright}s cultural community. Alternatively, this dissertation examines relationships and collaborations between European surrealists and Mexican artists and anthropologists. The dissertation argues that Mexican artists and anthropologists who fostered a nationalist ideology grounded in pre-Columbian and contemporary indigenous traditions following the Revolution of 1910 also shaped the representation of Mexico in surrealist projects during the late 1930s and early 1940s. It then explores a shift in this representation due to pan-Americanism{\textquoteright}s influence in the mid-1940s. The dissertation considers projects such as exhibitions, journals and books as well as paintings. The dissertation also illuminates the intersection between art and anthropology during the period. It explores the surrealist and Mexican engagement with anthropology as a discipline, and examines the surrealists{\textquoteright} adoption and rejection of anthropological practices in their artistic projects. Chapter 1 investigates surrealist representations of Mexico before Breton{\textquoteright}s 1938 journey. It surveys second-hand sources of information on Mexico to which the surrealists had access and argues that Mexico entered surrealism as part of a larger interest in ethnography. Chapter 2 demonstrates that Mexican intellectuals who would later introduce the surrealists to Mexico actively exported nationalist, indigenist and revolutionary ideals in projects aimed at foreign audiences during the 1920s and 1930s. It also considers the growing strength of pan-Americanism in Mexico in the early 1940s. Chapter 3 illustrates the influence of Mexican intellectuals on surrealist representations of Mexico after Breton{\textquoteright}s 1938 visit. Chapter 4 demonstrates the impact of pan-Americanism on surrealist approaches to Mexico in the mid-1940s. The conclusion considers the relationship between Mexico and surrealism in the early 1950s and the evolution of this relationship through earlier decades.}, keywords = {19th- and Early 20th-Century European Art, Pre-1945 North and South American Art}, author = {Gilbert, Courtney} } @mastersthesis {8884, title = {New World Primitivism in Harlem and Havana: Constructing Modern Identities in the Americas, 1924-1945}, year = {2001}, school = {CUNY}, abstract = {This dissertation examines the role of the racialized figure in modern art in the New World or the Americas, particularly as it is depicted in the paintings of four artists-Aaron Douglas, Carlos Enriquez, Jacob Lawrence, and Wifredo Lam-between 1925 and 1945. During this period, artists in the New World worked towards the creation of a culturally, nationally and racially specific image that would stand as a symbol for a new national identity and, simultaneously, for modernity as a whole. I call these efforts by New World artists "re-negotiations" of Modernity as it was originally presented in the work of the European avant-garde. These artists created images that responded to a new set of conceptual demands framed by a rapidly changing social environment. In the course of this examination, I have selected a number of important texts by major writers of the period that coincide with the work of these artists as examples of rhetorical statements or strategies that supported the visual construction of cultural nationalism. As will become apparent, national identity was closely linked to racial ideology in some places and, in others, to a more generalized notion of race in the New World as distinct from European races. Authors cited include Alain Locke, W. E. B. DuBois, E. Franklin Frazier, Jose Gomez Sicre, Juan Marinello, and Luis Soto y Sagarra. The exploration of both visual art and text reveals individual similarities in modern discourse across the Americas, particularly in reference to the racialization or primitivization of national culture, through a focus on just two centers of artistic production, Havana and Harlem. In examining the visual rhetoric created in these two cities, I underscore how aesthetic production here expressed itself as part of a larger movement that was reflected throughout the Americas. In Harlem, I examine the development of the concept of the New Negro as an element of racial pride that was rhetorically linked to both cultural nationalism and modernism. In Havana, I explore the concept of Cubanismo and how it is reflected in the work of the Cuban avant-garde.}, keywords = {Pre-1945 North American and South American Art}, author = {Aranda-Alvarado, Rocio} } @mastersthesis {8892, title = {New York Collectors in the Last Third of the Nineteenth Century, 1865-1895}, year = {2001}, school = {Rutgers}, abstract = {Between 1865-1895 New York City became a focal point for the development of the art world in America. A period of rapid change in the country was epitomized by the business leaders of the city. The Civil War was the turning point, as a new business elite emerged, self-made men, whose fortunes surpassed those of established social leaders of the old republic. The rise of this new business class was a world-wide phenomena-but many changes occurred in the United States first. Men such as those profiled here-A. T. Stewart, Jay Gould, Henry T. Chapman, George I. Seney, George Merritt, and Louis Durr, were instrumental in the radical change from an agricultural to an industrial economy of world significance. Once established in fortune, these men re-created themselves as gentlemen, and merchant-princes; seeking approbation and status in European-styled mansions filled with European art, libraries and furnishings. The social, political, and economic changes had a profound effect on art and culture. The new class had a solid middle-class origin, and sought to humanize the old Academic traditions of art, making it more democratic. Genre scenes predominate in softened, yet still idealized versions of European Academic classicism. The often sentimental scenes are visual sermons of proper moral virtues. This strong ethical content supplanted religious art in the nineteenth century, as businessmen turned to alternatives that allowed for a less Old World, and more democratic view. The realism that modern viewers see in these paintings is only in artistic technique. The brutal social realism of Courbet was unacceptable to most collectors. This thesis explores the development of New York as the center of the art world, and the changes epitomized by six representative collectors. The rise of the modern fine art auction is described as is the tension of American critics urging a return to American art, as the collectors took a more universal view, ignoring the critics to specialize in European art. The active role of the collector in effecting cultural change has not been adequately explored before. While critics often worried that society was turning its back on the democratic ideals of the American Revolution, collectors saw a broader view-bringing a provincial nation into the world arena.}, keywords = {Pre-1945 North American and South American Art}, author = {Duffy, Henry} } @mastersthesis {8848, title = {New York Modernism and the Cityscapes of Alfred Stieglitz, 1927-1937}, year = {2001}, school = {Princeton}, abstract = {Between 1927 and 1937, Alfred Stieglitz (1864-1946) photographed about ninety views from the high-rise windows of his apartment at the Shelton Hotel and his gallery, An American Place, in midtown Manhattan. The cityscapes marked Stieglitz{\textquoteright}s artistic return, after an eleven-year hiatus, to the subject of New York City, an object of frequent effort for him in earlier years. As it turned out, these high-rise views also formed a closing chapter in the artist{\textquoteright}s career, as declining health forced him to give up photography in the latter half of the 1930s. In this dissertation, "New York modernism" is proposed as an overarching rubric for thinking about culture in the 1920s and 1930s. The phrase highlights both New York City{\textquoteright}s role as a common destination or home for artists and writers, and Manhattan{\textquoteright}s currency in popular culture worldwide as a model, metaphor, and barometer whereby cosmopolitans identified paradigmatic manifestations of the Modern. When understood in this context, and compared and contrasted to other contemporary images of New York, Stieglitz{\textquoteright}s cityscapes diagram several animating tensions and energies of American society early in the Great Depression, and provide an entree to the distinctive cultural role of the so-called "Stieglitz circle" between the wars. Chapter One surveys Stieglitz{\textquoteright}s changing aims and methods in photographing New York City during the years from 1890 to 1916. Chapter Two examines Stieglitz{\textquoteright}s life in the decade thereafter, which began, signally, with the closing of his gallery "291" and the initiation of his domestic partnership with the painter Georgia O{\textquoteright}Keeffe. In these years, the artist{\textquoteright}s work was affected by changes in his cast of associates and by the rise of cinema entertainment and relativistic science as influences on visual representation. Chapter Three tracks the evolution of Stieglitz{\textquoteright}s cityscapes from 1927 to 1937, raising interpretive questions through documentary, symbolic, and stylistic analyses. Chapter Four analyzes Stieglitz{\textquoteright}s deployment of the cityscapes in his 1932 and 1934 exhibitions and examines the perspectives of Paul Rosenfeld, Waldo Frank, and Lewis Mumford, three associates whose writings illuminate the artist{\textquoteright}s final series of cityscapes as an impassioned yet sympathetic judgment of his era and his nation.}, keywords = {Photography and Film}, author = {Smith, Joel} } @mastersthesis {8898, title = {Nothing of Substance: James McNeill Whistler, the Viewer, and the Gentle Art of Painting}, year = {2001}, school = {Harvard}, abstract = {This dissertation re-examines major paintings by James McNeill Whistler from the 1860s and 1870s, bringing new attention to their dual address to two distinct classes of viewers posited by the artist. Analysis of Whistler{\textquoteright}s writings and of the critical reception of his work, as well as of the paintings themselves, provides evidence that the artist designed his paintings with a double function: on the one hand, baiting the common public with a sensational ruse; on the other hand, satisfying the aesthetic viewer with unadulterated formal rigor. Chapter One clarifies Whistler{\textquoteright}s two-faced role as public provocateur and aesthetic purist through close readings of selected texts from his book The Gentle Art of Making Enemies (second edition, 1892) and of existing accounts of the trial of Whistler v. Ruskin (1878). This chapter then investigates Whistler{\textquoteright}s design and titling of The White Girl (1862), his first painting to generate{\textquoteright} significant public controversy. Chapter Two examines how Whistler{\textquoteright}s Japonisme in the mid-1860s facilitated his move to paintings concerned pure form, even while the exotic allure of East Asian subject matter could attract the public{\textquoteright}s curiosity. The last two chapters treat Whistler{\textquoteright}s canvases after 1870, when he had developed his distinctively diaphanous facture. Chapter Three argues that Whistler{\textquoteright}s mature canvases embodied his two-sided project through their formal reductions: they would appear as an empty joke to the common public, while offering the most refined nuances to the aesthetic viewer. Chapter Four examines the visual dynamics and critical reception of Whistler{\textquoteright}s Arrangement in Grey and Black: Portrait of the Painter{\textquoteright}s Mother (1871), a work in which the dichotomy of aesthetic and popular address was especially pronounced. The Conclusion proposes that Whistler{\textquoteright}s paintings constitute a two-faced version of modern art that combines elements of the opposing currents of high modernist formal purity and an alternative modernist play with wit, language, institutional, interventions, and the mind{\textquoteright}s operations.}, keywords = {Pre-1945 North American and South American Art}, author = {Tsui, Aileen} } @mastersthesis {8875, title = {"Ode a ma mere": Louise Bourgeois, Intersubjectivity, and Embodied Feminism}, year = {2001}, school = {Stony Brook}, abstract = {Spanning nearly the entire 20th century, the work of Louise Bourgeois invokes a range of Modernist languages and forms: the totems of Surrealism; the formal precision of mid-century sculpture imbued with the expressionism of her European forebears; and the tropes of existentialism and psychoanalysis. Feminist art historians and postmodern theorists have revalidated Bourgeois{\textquoteright}s pictorial obsession with the body, figuration, unstable identity, and gender formation as played out across sociological and psychological representations. The artist{\textquoteright}s attempt to signify the unconscious through childhood memories and associations has revealed rich and recurring images as well as metaphorical traces that speak to maternity, sexuality, femininity, masculinity, loss, desire, aggression, embodiment, and domination and submission. This dissertation investigates select portions of Bourgeois{\textquoteright}s oeuvre from three time periods-the 1940s; the 1970s-1980s; and 1990 to the present-decades in which the artist directly addresses the maternal-child relationship through prints, drawings, sculptures and installations. Maternal-child relations are explored not only as a structural foundation for the work, but as a way to describe her process of referencing unconscious desires, fantasies, and emotional responses to a profoundly ambivalent, dialectical relationship (in fantasy and reality). An object relations psychoanalytic framework centered on the mother{\textquoteright}s subjectivity provides a meaningful way to interpret Bourgeois{\textquoteright}s self- and other-representations. While this project is monographic in scope (based on a close analysis of the work, and the artist{\textquoteright}s practice, i.e., use of materials, and processes), my focus on intersubjectivity and feminism sheds light on object reception, spectatorship, gender, and the way these issues have been historically framed. My use of the phrase "embodied feminism" draws in part on the French psychoanalytic tradition (Helene Cixous, Luce Irigaray, and more recently Jane Gallop) of ecriture feminine as I attempt to reconcile Bourgeois{\textquoteright}s overtly body-based images with a culturally inscribed female subjectivity. My use of maternal relations as the underpinning of Bourgeois{\textquoteright}s work is not only descriptive of the psychoanalytic situation (emphasizing the intrapsychic subjects of mother and daughter) but constitutes a matrix of cultural, social, and historical conventions and practices that describe notions such as femininity, masculinity, maternity and domesticity.}, keywords = {Post-1945 World Art}, author = {Somers, Lynn M.} } @mastersthesis {8830, title = {Old Syrian Popular Style Cylinder Seals}, year = {2001}, school = {Columbia}, abstract = {This dissertation encompasses a corpus of 396 images that have been identified as Old Syrian popular style cylinder seals belonging to the Middle Bronze Age (ca. 2000-1600 B.C.) in Syria and Anatolia. The material includes excavated seals and unexcavated examples, many of which were previously unpublished. The size of the corpus-in fact evergrowing with new excavations and publications-demonstrates that there are more seals of this style than previously recognized. This is the first major study of this body of cultural material, presented here by discussion chapters, photographs, and a catalogue. The explanatory chapters show what is characteristic of these seals and provide meaningful comparisons with seals in contemporary glyptic styles, such as elite Syrian seals and Old Babylonian ones, as well as those used to make impressions on the clay tablets from the trading centers of Anatolia. Many categories of objects are analyzed in order to convey special features and properties of Old Syrian popular style cylinder seals. The illustrated photographs-presented in the order of the catalogue-reproduce each image at a scale of 2:1 in the original version of the dissertation so that each one can be readily compared with others. The individual catalogue entry has a full description and complete bibliography of published references so that each cylinder can also be considered by itself. However, it is the complete corpus and the concomitant discussion that are intended to give the full picture and range of iconographic motives and ways of engraving the seal images. It is also suggested that these cylinder seals were rarely used as sealing devices but rather functioned as amulets for the nonelite clientele who acquired them.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Porter, Barbara A.} } @mastersthesis {8784, title = {The Organization of Imperial Workshops during the Han Dynasty}, year = {2001}, school = {Princeton}, abstract = {From the earliest period of dynastic rule in China, specialized groups of artisans under official control supplied the ruling house with luxury articles and weapons of war. The Former Han (206 BC-AD 9) is the first period for which we have sufficient information to study the organization of these artisans and their workshops. Chapter 1 details the macro-organization of Han imperial workshops-the position of state-run workshops and factories within the political, economic, and geographic structure of the state. It follows a narrative structure which begins by describing workshops within the palace compound and expands outward to discuss larger factories in the capital and provinces. Factories were established according to the dictates of military strategy and following such practical guidelines as proximity to raw materials and labor resources. Overlapping production units provided goods of different quality to different markets and prevented reliance on one source for vital products. Chapters 2-5 narrow the scope of investigation by selecting a single imperial factory, the Western Workshop of Shu Commandery, in order to study its micro-organization. Micro-organization is defined as the inner workings of a workshop or factory, encompassing all stages of the production process and their management. Relying on a critically selected mixture of inscriptional and historical sources, as well as technical and stylistic analyses of the lacquer vessels produced at this factory, it is argued that the artisans{\textquoteright} labor was divided along very fine lines of specialization as part of a production process similar to the modern assembly-line method of mass production. Other mass-production tools such as turntables, pattern books, and standardized molds were used to produce thousands of nearly identical lacquer vessels on a short production schedule. As the factory organization became more refined, the quality of the artistic output declined. The factory management structure was modelled on the structure of the smallest unit of centrally-controlled regional administration, the xian "county." Parallel to bureaus in the county government which managed various affairs such as law-enforcement and taxation, bureaus in the factory structure handled different media like bronze or lacquer.}, keywords = {Asian Art}, author = {Barbieri-Low, Anthony} } @mastersthesis {8822, title = {The Ornamental Colonettes of the Royal Portal of Chartres: Architecture and Sculpture in the Context of Design and Labor}, year = {2001}, school = {UC Santa Barbara}, abstract = {This study focuses on the ornamental colonnettes of the royal (west) portal of Chartres cathedral. Through a pluralistic methodological approach, these marginal colonnettes are placed within a broad social, economic and historical context. In part one, The Architectural Context, the role of the colonnette is examined in relation to the emergence of the gothic style in the Ile-de-France (royal domain) of the 1130s and 1140s. It is argued that practical issues of standardization and mass production, in addition to economic motivations for lower labor and shipping costs, led to the colonnette becoming an integral element in gothic architectural design. In so doing, this work ultimately challenges traditional concepts of the emergence of the gothic style which typically describes the gothic as a spontaneous event which arrived in the royal domain via outside influences. This study examines existing regional architectural practices which, from a twenty-first-century perspective, appear to have coalesced into {\textquoteright}gothic{\textquoteright}. In part two, The Sculpture in Context, the question of iconography and reception is considered by arguing that the marginal ornament of the colonnettes must be read within the greater context of the theological teachings of the church and the Neoplatonic interests of the cathedral school of Chartres. It is posited that the ornament played a role in the overall message of the portal. Labor practices within the sculptural workshop are also investigated. Past scholarship rarely acknowledged the ornamental sculpture when determining the productivity of an individual, thereby relegating it to the realm of anonymous assistants. This study considers individual production and the distribution of work on the facade in order to address larger questions of design process and labor practices within the collaborative workshop. The concept of a hierarchical division of labor between master and assistant is disputed by examining the individuals responsible for the ornamental carving and the labor process utilized. Rather than finding a division of labor based on masters and assistants as traditionally thought, it appears that the division was based on specialized tasks, not on a hierarchical arrangement of talent and personalities.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Olson, Vibeke} } @mastersthesis {8841, title = {The Painted Image and the Fabrication of Colonial Andean History: Jesuit and Andean Visions in Conflict in {\textquoteright}Matrimonio de Garcia de Loyola con Nusta Beatriz{\textquoteright}}, year = {2001}, school = {UCLA}, abstract = {Painted in the late seventeenth-century by an Andean artist, Matrimonio de Garcia de Loyola con Nusta Beatriz ("Matrimonio") commemorates the marriage of Nusta (Princess) Beatriz, the last legitimate heir to the Inka throne, and don Martin Garcia de Loyola, the grandnephew of the founder of the Jesuit Order, San Ignacio de Loyola, as well as that of their daughter, Ana Maria, to the grandson of the Jesuit saint, San Francisco de Borja. In the context of analyzing Matrimonio, this work challenges several paradigms of colonial Andean scholarship. Contrary to previous interpretations which place "Spanish colonial painting" squarely within a European pictorial frame and deny any substantive Andean content, I will argue that two distinct semiotic systems are embedded within the composition of Matrimonio. The Andean artist manipulated the imposed European mimetic style and encoded Andean epistemological structures within the composition of the painting. Moreover, countering previous assertions that colonial tocapu (woven pre-Hispanic designs) had become empty signs, merely nostalgic referents to a longed for Andean past, it will be demonstrated that the tocapus continued to encode the Andeans{\textquoteright} understanding of their spatial and temporal world. Positioned just inside the entrance to La Transfiguracion (today La Compania), the seventeenth-century Jesuit church in Cuzco, Matrimonio formed a part of the triumphal narrative of the Jesuit Order and the cycle of the Vida de San Ignacio (Life of Saint Ignatius). This study posits that the visual images encircling the interior of the church acted as mnemonic cues, prompting the beholder to recall Jesuit/Christian triumphs in the same manner that Andeans mentally transversed their sacred landscape, each huaca (sacred object) recalling a specific culture hero or ancestor. In this way, Nusta Beatriz and don Martin become veritable huacas, or a new foundational pair, for a new colonial era. The painting presents a facade of consensual union, which belies the forced nature of the marriage. Although this pictorial deceit legitimizes the colonial project, the Andean elite manipulated this mirage for their own benefit. As will be demonstrated, the power of this image to fabricate history continues unabated to this day.}, keywords = {Native American and Pre-Columbian Art}, author = {Timberlake, Marie} } @mastersthesis {8750, title = {The Painter as History: The Evolution of Gustave Courbet{\textquoteright}s Exhibition Strategy}, year = {2001}, school = {Delaware}, abstract = {This dissertation proposes that Courbet used exhibitions to construct a visual history of his art, life, and career. His displays often parallel an autobiographer{\textquoteright}s invention of a subjective story masked as truth. Thus, by exhibiting select landscapes, historical genre paintings, and portraits, Courbet constructed and maintained an image that supported his personal narrative. Chapter 1 examines the early development of Courbet{\textquoteright}s self-image. The painter{\textquoteright}s perception of himself grew out of romantic conceptions of the artist, especially that of the artist as persecuted outsider. Chapter 2 focuses on Courbet{\textquoteright}s first submissions to the Salons of the 1840s. During this period, he searched for ways to meet the jury{\textquoteright}s criteria and to create cutting-edge art. Ultimately, the open Salon of 1848 offered him the opportunity to group paintings together and promote his own version of his history to the public. Like autobiography, Courbet{\textquoteright}s exhibitions document a transformation. Chapter 3 proposes how his Salon entries reinforced his self-constructed persona by recording his journey from romantic to Realist. At mid-career, the work having the greatest relevance to Courbet{\textquoteright}s historical presentation was The Studio of the Painter, a Real Allegory Determining a Phase of Seven Years of my Artistic Life, created specifically for the Universal Exposition of 1855. Chapter 4 examines the relationship of the Studio to the other paintings submitted to the Exposition jury. I contend that these fourteen paintings consolidated a specific view of Courbet{\textquoteright}s life and career. The rejection of the Studio and two other paintings led Courbet to plan his Pavilion of Realism. The Pavilion, which made it possible for him to exhibit additional paintings in 1855, is analyzed in Chapter 5. The contents of this show point to a selective narrative of Courbet{\textquoteright}s career-that of a painter who has shed his romantic, literary origins to usher in a new artistic age-that of Realism. At his second independent retrospective of 1867-the topic of Chapter 6-Courbet{\textquoteright}s exhibition strategy emerged as a fully developed concept. This display, with its catalogue, reads as autobiographical narrative or fictionalized history, asserting Courbet{\textquoteright}s persistent self-construction as persecuted outsider.}, keywords = {19th- and Early 20th-Century European Art}, author = {Brody, Jeanne} } @mastersthesis {8749, title = {The Painter-in-Chief of Ugliness{\textquoteright}: Edouard Manet and Nineteenth-Century America}, year = {2001}, school = {CUNY}, abstract = {By the end of the nineteenth century, Edouard Manet was widely acknowledged by the art cognoscenti in this country as a positive influence on the evolution of modern painting, who redirected artistic expression away from a reliance on the stale formulae of the academy toward originality of vision and methods. In addition to perceptions of Manet as a liberator and a force for change, many Americans, especially artists, recognized him as one of the greatest painters of all time, who had an exceptional talent for handling paint, for capturing accurate values, and maintaining freshness of color in his canvases. In the course of only three decades, the number of Manet{\textquoteright}s admirers increased significantly in this country from a handful of art writers and artists in the 1860s and 1870s, to an impressive segment of the artistic community by the close of the century. Considering the fact that Manet{\textquoteright}s importance was still under debate in France at the century{\textquoteright}s end, and his works continued to elicit outbursts of disdain from his countrymen, enthusiasm for Manet{\textquoteright}s art in America was extraordinary, especially in light of long standing allegiance to academic painting on these shores. Nonetheless, while they lamented the ugliness of his subjects or the roughness of their treatment, the absence of sentiment, as well as faulty drawing and modeling of form, nineteenth-century American art viewers were open to a consideration of Manet{\textquoteright}s art and found it worthy of study, cautious praise, and even emulation. This dissertation investigates the reputation of Manet in nineteenth-century America through the identification of opportunities for contact with his art in this country and abroad and through an examination of critical commentary in period newspapers, popular magazines, art journals, and books. By studying the reactions of American art writers, artists, and amateurs to their encounters with Manet{\textquoteright}s art, we can chart the rise in appreciation for the artist, consider the elements of his art that commanded respect as well as those that were problematical, and come to a better understanding thereby of changing aesthetic attitudes in the United States in the post-Civil War period.}, keywords = {19th- and Early 20th-Century European Art}, author = {Brennecke, Nancy Mishoe} } @mastersthesis {8792, title = {Paintings as Social Rhetoric: Wei-Jin Themes in Ming Dynasty Illustrations and Inscriptions}, year = {2001}, school = {Kansas}, abstract = {Ming dynasty artists (1368-1644) made numerous illustrations and transcriptions of Wei and An dynasty (220-420 C.E.) themes. Most of the historic events and literary themes were about or by literati who lived in the Jiangnan, and most of the Ming artists who painted them were natives of Jiangnan. Thus, we can read Ming works as expressions of pride in local literati cultural history. Preferences among the themes and treatments of them changed over the Ming dynasty. Early-Ming artists (1368-1506) made straightforward, easily readable depictions of the Seven Sages, Ge Hong, Visit to Dai, The Orchid Pavilion Gathering, "Peach Blossom Spring," and the public facets of the Tao Qian persona (Tao as drunk, Tao as famous poet, and Tao as recluse). Middle-Ming artists (1507-1560) strongly preferred The Orchid Pavilion, White Lotus Society, the contemplative or creative facet of the Tao Qian persona, and "Peach Blossom Spring," and idealized both the figures and the settings in their depictions. Late-Ming artists (1560-1644) again used most of the themes, but varied their approaches to include documentary, allusive, and idiosyncratic treatments. Artists of all the periods alluded to pre-Ming paintings to create art historical rhetoric. The social and political circumstances of the three periods varied considerably, as did the popularity of certain themes and the way of treating them. I argue that specific social currents influenced the artists{\textquoteright} selections and interpretations of Wei-Jin themes, and that we can read their art as pictorial responses to the events that shaped their lives. In making this argument, I take into account artists{\textquoteright} social standing (professional or scholar), examinations, and bureaucratic positions as these were affected by the broader currents of economics, blurring of social strata, and selected philosophical issues. By analyzing the selection and treatment of particular themes in specific contexts, we can identify added layers of social rhetoric. This approach reveals that middle-Ming artists and artists at the end of the dynasty used Wei-Jin illustrations and inscriptions to reflect on and idealize their own activities and unique circumstances.}, keywords = {Asian Art}, author = {Morton, Dianne} } @mastersthesis {8858, title = {The Paintings of Robert Colescott: Race Matters, Art, and Audience}, year = {2001}, school = {Stony Brook}, abstract = {Robert Colescott (b. 1925, Oakland) became nationally known in the mid-1970s for a series of satirical paintings reflecting on stereotypical depictions of black people. Traditionally negative images culled from a range of popular sources were inserted into compositions borrowed from canonical (white) art history. Colescott{\textquoteright}s purpose was to show how real "black presence" has been omitted from Western history overall. Since then, the concept of race has remained a fundamental matrix to the formal fabric of his oeuvre, which takes off from a modernist approach to spontaneous painting. The content of his art relates to the resounding tensions of historical racial, ethnic and gender polarization in contemporary life and their effects on his own self-image. Despite much critical recognition over the past two decades for individual works and exhibitions, Colescott{\textquoteright}s oeuvre and career has not been considered comprehensively. I have attempted to provide a broad range of contexts in which to consider collective meaning and social value in his art, in terms of concurrent theoretical and social developments and certain historical and contemporary forms of cultural expression. I proceeded by gathering the disparate critical record on Colescott{\textquoteright}s work and established an overall chronology and aesthetic trajectory for the oeuvre. I built upon and reconsidered certain analyses of specific paintings acknowledged therein, informed largely by a review of the following: recent, overlapping discourses on race and representation, philosophical developments, and art historical methodologies; political and social developments in post-war America; stylistic trends in mainstream (mainly white) contemporary art; and developments in the field of African American art history. I posit that strong relationships between Colescott{\textquoteright}s aesthetic and some of this material are embedded in the intentions (in general and specific senses) of the oeuvre. I elucidate the breadth of its purview in the American art scene of the past quarter century and lay the ground for further specialized studies on the artist.}, keywords = {Post-1945 World Art}, author = {Cutler, Jody B.} } @mastersthesis {8805, title = {The Palazzo Pamphilj in the Piazza Navona, Rome (1470-1655): Urban Context, Architecture, Function, and Patronage}, year = {2001}, school = {Rutgers}, abstract = {No record in ProQuest}, keywords = {Baroque and 18th-Century European Art}, author = {Leone, Stephanie} } @mastersthesis {8907, title = {The Perugian Painter Giannicola di Paolo: Documented and Secure}, year = {2001}, school = {Indiana}, abstract = {This dissertation provides a comprehensive study of the Italian Renaissance painter Giannicola di Paolo of Perugia (ca. 1460/70-1544), in the form of a catalogue raisonne. Due to the fortunate survival of over two hundred documentary references for this artist, both his life and works can be established with a certain degree of accuracy. Indeed, Giannicola di Paolo was one of the leading painters of the Umbrian school, which boasted such prominent masters as Pietro Perugino, Bernardino Pintoricchio, Raphael Santi and Giovanni di Pietro, called Lo Spagna. However, while these latter artists have received adequate attention in the literature, to date, there has been no comprehensive, monographic treatment of Giannicola di Paolo, which attempts to consider, not only his documented and securely attributable works, including both paintings and drawings, but also provides a thorough catalogue, including a discussion of lost works and rejected attributions, as well as a complete listing of all the known documentation which concerns the painter. Through extensive investigation and analysis, on-site study, connoisseurship and archival research, it is hoped that this dissertation has achieved a more accurate and complete understanding of the production of Giannicola di Paolo as well as the Perugino school, and thus contributed significantly to the literature on Umbrian painting.}, keywords = {Renaissance Art}, author = {Shaneyfelt, Sheri Francis} } @mastersthesis {8843, title = {Photographic Luminary: The Contribution of Andy Warhol to Photographic History}, year = {2001}, school = {Stony Brook}, abstract = {From 1982 to 1987 Andy Warhol made 503 works composed of identical b\&w photographic prints stitched together with thread. These enigmatic works are obviously indebted to his earlier repetitive silkscreen paintings, but are also the result of a lifelong photographic exploration and a prolific and obsessive last decade when he photographed over 124,000 frames. The sewn works are contextual products informed by photographic history including the multiples of stereography, cinema, the Bauhaus, and conceptual art. Significantly, they occur at the point in the {\textquoteright}80s when photography sheds it marginalization from other art media. To demonstrate how Warhol subverts objective photography through his repeated images, contemporaneous photographs by Warhol and Harry Callahan depicting New York architecture are compared. Through seemingly objective, but repeated photographic prints, Warhol recasts the modernist image and forces one to rethink photographic truth, illusion, and iconicity. Confronting the viewer with the photographic medium{\textquoteright}s physicality, Warhol mitigates the subject{\textquoteright}s importance and helps to break photography{\textquoteright}s debt to the painting tradition. In return, he offers the bliss of the sublime, especially as one comes to understand the parergonal nature of his seemingly endless repetition. The stitched works emphasize the fundamental resistance to photography as an art form-that photographs can never be valued for their uniqueness because they are inherently repeatable. Warhol presents a paradox-unique objects composed of identical copies which by photography{\textquoteright}s definition are not unique. Warhol exposes assumptions regarding the pervasive "straight photography" of many of his contemporaries. In the sewn works, Warhol imitates straight photography{\textquoteright}s objective signifiers, but subverts their transparency by making viewers aware of photographic distortions and mediation through multiple iterations of an image. Like in drag, gendered signs cross in the stitched works; the haptic threads, signifiers of feminine work, pierce the straight photograph{\textquoteright}s objective masculine plane to create paradoxical tension through disparate materials. Warhol{\textquoteright}s major contribution to contemporary art is his program of openly and aggressively manipulating the art market{\textquoteright}s sign systems to challenge and complicate valuations and conventions. Through media machinations Warhol conflated, confused and complicated painting, printmaking, drawing and photography.}, keywords = {Photography and Film, Post-1945 World Art}, author = {Ganis, William V.} } @mastersthesis {8912, title = {Pictura and the Concept of Cognate Arts in Florence}, year = {2001}, school = {Rutgers}, abstract = {The goal of this dissertation is to clarify the relationship between painting and sculpture in fifteenth-century Florence as one of interaction, and to observe the effects of this relationship in the sixteenth century. A crucial, and well-established, historical moment in this development occurred in the sixteenth century, when an official paragone, or comparison of the arts, was formulated by Benedetto Varchi: almost simultaneously an opposing idea was presented that saw the arts unified under the banner of design, or disegno. However, these two concepts can be fully understood only by also considering the meaning of the word pictura . Pictura developed as a theoretical term in the fifteenth century, particularly in the treatises by Alberti, where it described pictorial art in general, including relief sculpture. The meaning of the word changed in the sixteenth century, when Leonardo da Vinci gave pictura its modern meaning of painting on a two-dimensional surface. Long before Varchi explored the concepts of the paragone, Alberti spoke of picture-making (pictura) and sculpture in stone (sculptura) as cognate arts. It is Alberti{\textquoteright}s use of the word pictura that provides the most compelling arguments for its meaning as {\textquoteright}depiction,{\textquoteright} not {\textquoteright}painting.{\textquoteright} Supporting evidence is also found in other fifteenth-century documents, as well as in fifteenth-century practice. By the beginning of the sixteenth century, however, there had developed an acute awareness of the differences between painting and sculpture. At this time, with rare exception, artists were limiting their work to one or the other medium. Thus, with the concepts of pictura, disegno, and paragone in mind, this study attempts to do the following: to define pictura as it was used in the theoretical treatises of the fifteenth and sixteenth centuries, to show how the early Renaissance use of the word led to a basic understanding of painting and sculpture as unified arts, to support the idea of theoretical unity with examples of practical application, and to show how an understanding of the evolution of the meaning of pictura provides a framework for the sixteenth-century separation of painting and sculpture as part of the paragone debate.}, keywords = {Renaissance Art}, author = {Vick, Susan} } @mastersthesis {8840, title = {Picturing Sovereignty: Land and Identity in Contemporary Native American Art}, year = {2001}, school = {Columbia}, abstract = {Since the November day in 1924 when Cayuga chief Deskaheh stood before the members of the League of Nations in Geneva to proclaim the sovereignty of the nations of the Iroquois Confederacy, indigenous peoples of the United States and Canada have waged an ongoing battle for the recognition of their right to self-determination. The battle has been waged on many fronts: in the courts; through protest marches, sit-ins, and fish-ins; through the occupation of government buildings and disputed territories; even through armed insurrection. Nevertheless, there have been few efforts quite as sustained as the effort of contemporary indigenous artists to expand the dialogue of self-determination, both in Indian Country and in the mainstream. This dissertation argues that art produced by Native American artists in the past decade has been not only reflective of the intensification of the movement toward sovereignty, but has acted as an agent in this paradigm shift. In the course of this dissertation, I juxtapose two different rhetorics: that of the sovereignty movement and that of the discipline of art history, as I trace the evolution of two traditional genres of art-landscape painting and self-portraiture-that have all but disappeared in the postmodern era, only to resurface, I contend, in the artistic discourse of post-colonialism. Through detailed analysis of the works of artists such as James Lavadour, Kay WalkingStick, and Hulleah Tsinhnahjinnie (in a range of media, including photography, installation, and postmodernist painting), this dissertation makes a case for the discourse of sovereignty as a useful theoretical framework for the study of contemporary art by indigenous artists.}, keywords = {Native American and Pre-Columbian Art}, author = {Morris, Katherine L.} } @mastersthesis {8770, title = {Picturing the Dead and Dying in Nineteenth-Century L{\textquoteright}Illustration}, year = {2001}, school = {Columbia}, abstract = {The birth of the illustrated press opened a new venue for the representation of death. L{\textquoteright}Illustration, the first French illustrated news magazine targeting the affluent and growing middle class, was founded in 1843. Its weekly depictions of the dead and dying changed in a discernable pattern over time, as the magazine participated in the cultural, political, pictorial and journalistic environment of the nineteenth century. During the July Monarchy, corpses appeared before the eyes of the reader only where their presence would have minimal shock value, i.e. in reproductions of works of art, fictional illustrations, allegories and cartoons, lying-in-state pictures, and reports from exotic cultures. In the pictures of natural catastrophes, the victims were concealed; images of contemporary murders, suicides and fatal accidents were avoided; and the rare portrayal of casualties of the Revolution of 1848 had an ideological slant. Responding to competition from a growing illustrated press, L{\textquoteright}Illustration moved towards franker, more eye-catching and exciting imagery during the Second Empire. The boundary between news illustrations and reproduced genre paintings of the Salon became blurred. During the crises of 1870-71, the magazine{\textquoteright}s images of the dead and dying crossed a water-shed, when contemporary French war casualties were presented without the traditional aura of glory. In the aftermath of the Franco-Prussian war, L{\textquoteright}Illustration {\textquoteright}s extensive memorializing of the war dead was an attempt to cope with the nation{\textquoteright}s grief. L{\textquoteright}Illustration consistently claimed to abhor the sensationalist press. However, during the Third Republic a profusion of detailed pictures about the moment and aftermath of the passing of prominent individuals presented death as a spectacle while revealing the political and cultural bias of the magazine. Cadavers on display, en masse and individually, dominated the reporting of catastrophes and titillating reconstructions of executions and massacres demonstrated the magazine{\textquoteright}s participation in a pervasive journalistic tidal wave of morbid faits divers. Fashioning and distributing pictures of the dead as a hybrid of news and entertainment, L{\textquoteright}Illustration prefigured the next century, when the visual media would increasingly produce the basis for the public{\textquoteright}s perception of death.}, keywords = {19th- and Early 20th-Century European Art}, author = {Staudt, Christina} } @mastersthesis {8764, title = {Place, Time, and the Art of Architecture: The Education of Charles W. Moore}, year = {2001}, school = {IFA/NYU}, abstract = {Charles W. Moore (1925-1993), architect, writer, and educator, insisted upon the importance of place. He meant that the first responsibility of architecture, for the well being of individuals, communities, and the natural environment, is to preserve, where they exist, to order, where they are confused, or to create, where they are absent, human environments that are identifiable, meaningful, and memorable. Time, the evolving historical context and the fourth dimension in the perception of architecture and in the physical life of buildings, was to Moore an inseparable aspect of a place. As an art form, architecture, he asserted, is the making of places incumbent on a profound understanding of existing character and physical and historical contexts of a location and the needs of potential users. This search for the origins of Moore{\textquoteright}s understanding of place follows a narrow subject, his education and experience from 1942 through 1965, and a larger subject, changes in architectural ideas and education in the same period. The first chapter is an overview of the idea of place in 20 th Century architecture and planning, cultural geography, and philosophy. The following six chapters, relying on archival material, contemporary writing, and Moore{\textquoteright}s own words, present the chronological development of Moore{\textquoteright}s idea of place. As a consequence of his education at the University of Michigan, Moore regarded himself as a modernist, within a definition that required appropriate architectural solutions to specific problems. His first extensive practical experience in California established his lifelong concern for the environment and its relationship to architecture. Travels in Europe followed by his first teaching post at the University of Utah convinced him of the importance of historical knowledge as the fulcrum of architectural education, a conviction that led to pursuit of a PhD in architecture at Princeton, where his philosophy coalesced around the concept of place. During his tenure at the University of California, Berkeley, Moore tested and applied this idea of place in his architectural design, teaching, and writing.}, keywords = {19th- and Early 20th-Century European Art}, author = {Luebbers, Leslie} } @mastersthesis {8878, title = {Planting, Planning, and Design: A Comparative Study of British Colonial Cities in North America, the Caribbean, and India, 1660-1710}, year = {2001}, school = {Binghamton}, abstract = {The object of this dissertation is to undertake a comparative study of the planning, founding and initial development in the latter half of the seventeenth century of five English colonial cities: Bombay (1667), Charleston (1680), Philadelphia (1682),Calcutta (1690), and Kingston, Jamaica (1692). With the selection of these cities, located in widely different geographical and cultural conditions, and founded under different historical and political circumstances, the aim of the study is to identify and explain both common and divergent forms of their spatial and built environments. Particular attention is given to the possible extent of influence of earlier English colonial urban planning experience in Ireland; to the transfer and use of ideas and standards which emerged from the rebuilding of London after the Great Fire of 1666; to the presence (or absence) of prepared plans in the {\textquoteright}planting{\textquoteright} or laying out of these cities; and to the spatial accommodation for the pre-existent populations at each site. From a methodological viewpoint, the research is undertaken, as far as is intellectually and historically possible, with the perspective of the planners constantly in mind. In its conclusions, the dissertation emphasizes the importance of human agency in the planning of these cities and provides evidence to suggest that the common attitude towards the indigenous occupants of the various territories was one of consideration, though changes in this attitude took place subsequently. Band on this consideration, an explanation is offered for the comparatively different spatial organization between the {\textquoteright}Atlantic{\textquoteright} cities and those in India. The study also provides evidence of the application of the building codes and regulations issued for the rebuilding of London in 1667. In these, and other, ways, this study aims to make a significant contribution to the presently sparse history of English colonial urban planning in the early modern period.}, keywords = {Asian Art, Pre-1945 North American and South American Art}, author = {Graham, Diane} } @mastersthesis {8854, title = {Post-Imperial Legacies: The Art of Ingrid Pollard and Sokari Douglas Camp}, year = {2001}, school = {Duke}, abstract = {Due to the complex web of race discrimination, gender oppression, art-world elitism, and economics, black British women artists have been neglected by art historical discourse and criticism. My dissertation critically addresses these omissions. Since the 1980s, two London-based artists have begun consciously to articulate their personal histories, investigate the politics of race and place, disrupt traditional artistic canons, and address the xenophobia that has been lodged in popular culture, films, literature, and art since Britain{\textquoteright}s nineteenth-century imperial territorial expansion. Guyanan-born Ingrid Pollard investigates the underexamined relationships between perceptions about race and sexuality, representations of black women, travel writing, nationalism, and British landscape painting through her hand-colored photographs and photo-constructions. Through her life-size, abstract, metal sculptures of Kalahari masquerades, Sokari Douglas Camp, a Nigerian-born artist, examines the Western ethnographic method of exhibiting African art. By questioning the perceived sanctity of British museums and the British landscape-sites that signify the prowess and cultural contention that British imperialism ignited-Camp and Pollard through their investigation of black bodies intentionally challenge the authority of history and formulate self-determined, alternative legacies. While my dissertation focuses on the work of Camp and Pollard, it examines the historic black presence in Britain, investigates the origins and significance of the black British arts movement in the 1980s, and constructs a broad narrative of postimperialism and black British art. This study is based in part on extensive interviews that I conducted with Pollard and Camp between 1997 and 2001. In addition, this dissertation, which is firmly rooted in the traditional tools of art history (iconography, iconology, and formal analysis) and informed by black cultural studies, feminism, literary criticism, postcolonial theory, semiotics, social history, and Victorian cultural and travel theories, reexamines the ways that black British artistic and intellectual life has previously been theorized. Moreover, my dissertation has larger art historical implications, as it explicates the richly complex multiple layers of contemporary artistic practice.}, keywords = {Post-1945 World Art}, author = {Barnwell, Andrea} } @mastersthesis {8794, title = {The Production of Painting, Place, and Identity in Song-Yuan (960-1368) Fujian}, year = {2001}, school = {Yale}, abstract = {This dissertation is about the production of painting, place, and identity in China{\textquoteright}s coastal province of Fujian during the Song and Yuan dynasties, while simultaneously proposing a new hybrid cultural geographic and social spatial model for the investigation of painting production in China. This dissertation demonstrates that during the Song dynasty, localism, not regionalism, dominated discourses of painting practice in, and by natives of, Fujian, and that nativity, not activity, was the basis of claims of geocultural identity in documentation of painting practice. This thesis also describes the emergence of social networks of painting practice and criticism, to elucidate the mechanisms by which local painting practices were disseminated to localities in which they did not originate, and assess relationships of native places and social networks to identity constructs. This dissertation then argues that, during the Yuan dynasty, painting began to be practiced in geographically more broad-based social networks, in which nativity and activity became, at least in Fujian, the basis of equal claims to geoculturally-based identity. This thesis reconstructs the social and critical circles of painters that existed in networks of larger than localities in geographic scope to suggest a decrease in the role of localism in the formation of social networks. Finally, this dissertation demonstrates that painting produced in Southern Fujian during the Yuan dynasty by men active, but not born, in Fujian became a catalyst to the formation of social networks of regional scope, and by extension to a sense of regional identity, albeit one of limited circulation and short duration. The conclusion to this dissertation posits that this regional sense of painting and identity in Fujian was lost after the end of the Yuan dynasty, and did not re-emerge to have broad currency until the Wanli era (1573-1620) of the Ming dynasty. An Appendix of this dissertation examines the visual production of displaced, non-ethnic Chinese expatriates in the multicultural city of Quanzhou during the Song and Yuan dynasties to demonstrate that visual production was a medium through which expatriate populations articulated their ethnic and/or geocultural traditions and identities, and subverted normative Chinese urban visual life.}, keywords = {Asian Art}, author = {Purtle, Jennifer} } @mastersthesis {8778, title = {The Project of Evaluation of Values: From Foucault to Dada}, year = {2001}, school = {Iowa}, abstract = {This dissertation aims to exemplify possible venues of research that the genealogical historiography introduces as possible or thinkable particularly when applied as analytical tool to examine cultural mechanisms of formation and organization of values of individual and social conduct. In the first chapter of the dissertation the objective is to present the constitutive factors of the emerging principles of the governmental rationalities of pastoral power or the (T)truth/sovereign relations that were to become the fundamental epistemological coordinates of rationalization of identity and value that continues to define the Judeo-Christian tradition. The second chapter introduces, via Foucault, the ethics of creativity as an epistemological alternative to the ethics of (T)truth. The absence of the concept of (T)truth as the organizing principle of value, permits a rationalization of identity and thus value in terms of the aesthetics of the possibilities of experience. Chapter three, following Kantorowicz, indicates the formation and development of the figure of the sovereign and its governmental Right to institute value and its inscription into the rule of law. Chapter four, following Max Weber, clarifies the relations between the acquisition and security of capital and the conceptualization of individual and social identity resulting from the Protestant democratization of sovereignty. In Discipline and Punish, taken up subsequently in chapter five, Foucault{\textquoteright}s genealogical reconstruction of the present politico-economic mechanisms constitutive of identity as subject/object of (T)truth is expounded. Once the governmental effects of the culturally dominant figure of sovereign identity are isolated, it becomes possible to consider, in chapter six, the objectives of their normative deployment as the ethics of (T)truth in contemporary historiography, as opposed to the open-ended ethics of creativity. The final chapter illustrates the re-conception of art, the figure of the artist and of the cultural critique in terms of the ethics of creativity as understood and artistically re-enacted by some members of the Berlin Dada.}, keywords = {Art Criticism and Theory}, author = {Golczewski, Artur Zbigniew} } @mastersthesis {8897, title = {Props and Poses: The Genteel Tradition in the Figure Paintings of William McGregor Paxton (1869-1941)}, year = {2001}, school = {Yale}, abstract = {At first glance, works of art by William McGregor Paxton (1869-1941) seem to exemplify genteel culture. The polite society Paxton represented appears to be perfectly polite, and very similar to that found in the figure paintings of his Boston School colleagues such as Edmund Tarbell, Frank Benson, Philip Hale and Joseph DeCamp. However, a closer examination of Paxton{\textquoteright}s imagery reveals an underlying sense of tension-something aside from the superficial trappings of gentility. His work serves as a useful tool for understanding certain aspects of twentieth-century American life because his place within that culture. Paxton witnessed dramatic changes in both art and society. The subtle tension and discomfort apparent in his images seem to acknowledge the shifts in his social landscape and suggest that he was not entirely comfortable with those changes, though he did not rebel against them either. Instead, his work seems to embody the oppositions of his age. Each chapter of this dissertation addresses a different theme as it spans the course of Paxton{\textquoteright}s career. Chapter 1, "In Search of the Eternal Feminine: Women, Gender and Domesticity," grapples with some of the changing constructions of femininity that Paxton witnessed during his lifetime. Chapter 2, "Sex Sells: Popular Painting and Commodity Culture," focuses on Paxton{\textquoteright}s images of female nudes and discusses their relationship to both "high art" and mass culture. Looking back in time for technical precedents and stylistic models, Paxton worked in what one might call a nostalgic style. Chapter 3, "Is Near Vermeer a Mere Veneer? Stylistic Nostalgia In Paxton{\textquoteright}s Paintings," examines how that style helped him negotiate between the seeming extremes of past and present, old and new. This theme continues in the first half of fourth chapter, "Iconographic Nostalgia: The Role of Revivals and the Crafting of Class," which looks at Paxton{\textquoteright}s relation to various revival movements. The second half of the chapter turns the discussion to related concerns of class. The dissertation concludes with an analysis of Paxton{\textquoteright}s last painting, which draws together the themes of gender, consumer culture, craftsmanship, nostalgia, and modernity discussed throughout the body of the project.}, keywords = {Pre-1945 North American and South American Art}, author = {Smith, Jessica Todd} } @mastersthesis {8776, title = {Reading the Gothic: American Art and Architecture in the Age of Romantic Literature, 1800-1850}, year = {2001}, school = {Boston}, abstract = {This dissertation analyzes the impact Gothic novels and historical romances had on American art and architecture between 1800 and 1850. The study of American Gothic Revival architecture has been limited generally to formal analyses and attempts to see the style as prefiguring later architectural movements. Rather than analyze Gothic Revival architecture in light of proto-modernist innovations, this dissertation aims to place the style within the intellectual climate of its time. Chapter one initiates this methodology in the field of painting by analyzing the work of American Romantic painter Washington Allston in light of his literary tastes. This analysis demonstrates that Allston was haunted by the Gothic throughout his life{\textquoteright}s work, despite his dismissal of what he called his youthful "banditti mania." Chapter two shows that many other prominent Americans, including artists, architects, and clients, were readers of Gothic novels and historical romances, and that their reading-often enhanced by European travel-influenced their artistic production. Key figures in the second chapter include Alexander Jackson Davis, Robert Gilmor III, James Fenimore Cooper, Washington Irving, and Thomas Cole. Using American actor Edwin Forrest{\textquoteright}s Fonthill Castle as a case study, the third chapter delineates the connections between Gothic Revival architecture and theatrical performance, arguing that the Gothic Revival style relies on spectacle and disguise to create semi-fictional spaces in which dramatic events are staged Finally, the fourth chapter examines Nathaniel Hawthorne{\textquoteright}s houses: both his fictional House of the Seven Gables, and the only home he ever owned, the Wayside in Concord, Massachusetts. Hawthorne articulated the subject of this dissertation when he wrote that he could understand Sir Walter Scott{\textquoteright}s romances better after viewing Scott{\textquoteright}s Gothic Revival house Abbotsford, and he understood the house better for having read the romances. This study investigates this symbiotic relationship between the arts and Gothic literature to reveal new interpretative possibilities.}, keywords = {Architectural History/Historic Preservation, Art of the United States}, author = {Carso, Kerry} } @mastersthesis {8857, title = {Reconstructing Place: Transformations of the Vieux-Port of Marseille, 1949-1959}, year = {2001}, school = {Northwestern}, abstract = {This study takes as its subject the violent evacuation and dynamiting of a densely populated section in the historic center of the city of Marseille during the Second World War and the subsequent postwar reconstruction of this site. From its proposed transformation under Vichy by the architect Eugene Beaudouin, to its actual demolition by Nazi forces working in cooperation with local Vichy authorities, and throughout the long and contested trajectory of its postwar rebuilding, the history and physical structures of this quarter were variously and dramatically destroyed, ignored, recreated, and reconfigured. The long-term process of projecting and implementing proposals for this site by architects including Jacques Greber, Le Corbusier, Andre Leconte, Andre Dunoyer de Segonzac, and Fernand Pouillon is examined through the analysis of architectural and urbanist rhetorics and representations in which particular visions of this place and its inhabitants took form. In this case, the reconstruction was orchestrated through the collapsing of the site{\textquoteright}s postwar present and its desired future onto its excavated and reimagined ancient past. Most importantly, the new buildings lining the waterfront were imagined to form a new facade and visage for Marseille and its projected postwar status as the capital of the Mediterranean and the critical link to France{\textquoteright}s increasingly contested colonial empire. As the reconstruction progressed, the distant moment of the city{\textquoteright}s legendary founding as a Phocaean port also became a critical reference point for the reconfigured quarter. The combined archeological and urbanist efforts undertaken as part of the reconstruction not only cleared away the ruins of the dynamiting but also effectively wiped away the physical traces of the war and the collaboration between Vichy and Nazi authorities that allowed for the evacuation and demolition in the first place at the same time that the majority of the quarter{\textquoteright}s former residents were permanently displaced by the very process of rebuilding. The mechanisms of erasure, reinscription and memory at work in the Vieux-Port quarter{\textquoteright}s transformation provide a model for understanding the role of reconstruction in architecture and the dynamics of place more broadly speaking.}, keywords = {Post-1945 World Art}, author = {Sheila Ruth Crane} } @mastersthesis {8836, title = {A Red Sea Society in Yemen: Architecture, Urban Form, and Cultural Dynamics in the Eighteenth-Century Port City of Al-Mukha}, year = {2001}, school = {UCLA}, abstract = {The port city of al-Mukha dealt in a wide variety of commodities, but it gained its fame in the west as "Mocha," from the legacy of its most famous trade item, coffee. This dissertation explores architecture, urban form, and community life in this major Yemeni Red Sea port city, which was located at a strategic point along trade and pilgrimage routes during the early eighteenth century. In this study, the city is examined as a complex space for cross-cultural interaction and exchange among a varied population of merchants, pilgrims, travelers and local officials. Al-Mukha serves as a unique historical case study-as a city that was never colonized by a European power, but where a diverse community was continually in residence-during an era when the power structure along the shores of the Indian Ocean was being radically transformed. As an urban study, this dissertation grapples with the multidimensionality of city space, as understood from a historical perspective, and relies on a varied corpus of source materials, visual and textual, published and archival, Western and Arab. The dissertation takes the form of three sets of chapters that highlight different aspects of the city{\textquoteright}s space and culture, including its urban form and orientation, the merchant{\textquoteright}s house as a microcosm of the larger city itself, and the spatial politics of cross-cultural dynamics within the urban fabric. This multiplicity of perspectives on the city funnels into a single unifying concept, demonstrating how the complex cultural identity of the port city of al-Mukha was defined by the city{\textquoteright}s particular geographical location and historical role as a major source of revenue for Yemen{\textquoteright}s Qasimi Imams and its integral relationship to the Indian Ocean trade. The dissertation posits that the city of al-Mukha diverged greatly from traditional understanding of the Arab city, in its layout, the functional organization of the trade, and the urban mediation of identity.}, keywords = {Islamic Art}, author = {Nancy Um} } @mastersthesis {8785, title = {Redefining the Nature of Cultural Regions in Early India: Mathura and the Meaning of {\textquoteright}Kushan{\textquoteright} Art}, year = {2001}, school = {Pennsylvania}, abstract = {The critical role of patronage in defining regional identity and art in northwest India during the Kusana period (1st-3rd centuries) has rarely been addressed in scholarship. In my dissertation, I hope to bridge this gap by examining how complex patronage networks stretched across open boundaries in spite of the distinctiveness of regional styles in northwest India. In particular, my project aims at exploring the construction of regional identity in Mathura, a stylistically distinct region in the upper Ganges valley and prominent pilgrimage center in the Kusana period. Combining art historical inquiry with evidence of inscriptions and texts in my work, I reconstruct relationships among competing religious cults, multiple ethnic communities and diverse social groups in Mathura. By mapping the relations among Buddhist, Jain and brahmanical religious groups, local patrons and outsiders at local shrines and supra-regional monasteries in Mathura, I hope to understand how these communities shaped sacred landscape through their interaction and patronage to art. I analyze representations of patrons, particularly ethnically distinct Kusanas, on votive images, and examine how varying scale, gestures and dress may have functioned as expressions of cultural and social differentiation. By analyzing multiple sources of patronage and the relationship of Kusana ruling groups to local communities, my dissertation re-examines the dynastic affiliations of art in Mathura.}, keywords = {Asian Art}, author = {Basu, Chandreyi} } @mastersthesis {8787, title = {The Reexamination of Tang Hou{\textquoteright}s Life (1250s-1310s) and his Huajian (Examination of Paintings)}, year = {2001}, school = {Kansas}, abstract = {Tang Hou, an early Yuan connoisseur, has been forgotten in the core of Chinese art history until the late 20th century. He experienced the political transition between the Chinese Southern Song and the Yuan Mongols in the 1270s and was nurtured by dynamic artistic and cultural bursts in the Jiangnan, particularly Hangzhou and near areas from the late 1280s to the very early 1300. Studies show that the market in antique art in Hangzhou was very bustling after the fall of the Southern Song and arouse an interest in collecting and appraising paintings at the same time. Prosperity of the art market and expansion of taste in painting generated some unique ideas in art in the early Yuan. Tang Hou, along with some other famous connoisseurs and collectors, was inspired under this fashion and contributed his connoisseurial knowledge in recording paintings that were accessible to him in his lifetime. Tang Hou, however, geared his painting records in a systemic and theoretical approach; and revealed some important notions in his Huajian (Examination of Painting) about written between late 1280s and 1300s. His unique concepts, were overlooked, became a dominant force in the painting development in the fifteenth century and onward; and further foreshadowed the formation of literati painting theory by Dong Qichang in the seventeenth century. This dissertation is the first careful study of Tang Hou and his Huajian. I reconstruct Tang Hou{\textquoteright}s life, political career, and his associations with the early Yuan elite and important figures; and further situate him among the advocators and leaders of literary and artistic movements in the early Yuan. In addition, this study also sheds light on the artistic context of the time in which Tang Hou{\textquoteright}s artistic criteria developed in the thirteenth and fourteenth centuries China. This clarification of the context and of the Huajian contributes the modern scholarship to the understanding of Tang Hou{\textquoteright}s viewpoints and theory on paintings, and readjusts our perception of the painting development in the Yuan.}, keywords = {Asian Art}, author = {Chou, Yeongchau} } @mastersthesis {8806, title = {The Reformation of Devotional Art and the Great Church of Haarlem}, year = {2001}, school = {Yale}, abstract = {This dissertation studies the impact of the Reformation on devotional art in the Netherlands in the late sixteenth and early seventeenth century. By examining the paintings, sculpture, and architecture of the St. Bavo or Great Church in Haarlem, a clear picture emerges of a distinctive Dutch Reformed devotional art. Detailed formal analysis of objects in the Church shows that contrary to common belief, devotional art did not end with the fall of the Catholic Church in the Netherlands. Instead, artists and architects found creative solutions to give visual expression to a new religious philosophy. Dutch Reformed devotional art was molded by the tenets of Calvinist theology and tempered by the political, social, and economic character of the local community. This art consisted of inoffensive Catholic art maintained from before the Reformation, Catholic art modified to fit Reformed ideals, and completely new Reformed contributions. The two most important results of Calvin{\textquoteright}s ideas on devotional art were the rise of the Word and the ban on divine figural imagery, themes addressed and expressed in different forms in the paintings, sculpture, and architecture of the Great Church. Some Dutch Reformed devotional art functioned as liturgical aids. Other Reformed art had a civic component and was used to foster a sense of community and shared past, smoothing over confessional differences and drawing upon a long-standing tradition of local pride. Formal and functional innovation were fused together in this new art, not only at the expense of figural representation, but also at the cost of traditional symbolic systems. In the context of Northern art, the great achievement of these artists and architects was that collectively they summoned up a new challenge to the realism that was considered the hallmark of Dutch art of the Golden Age.}, keywords = {Baroque and 18th-Century European Art}, author = {Mochizuki, Mia Margaret} } @mastersthesis {8894, title = {Regarding Strategies: Salvador Dali, Modernism, and Paranoid Vision}, year = {2001}, school = {CUNY}, abstract = {By my dissertation title, Regarding Strategies: Salvador Dali, Modernism and Paranoid Vision, I mean to imply a reconsideration of the strategies of seeing, the historical politics of looking, the aesthetics of regard and disregard vis-a-vis Salvador Dali. To do this, I look at some of the fundamental arguments and assumptions of the discursive traditions of modernism, I identify Dali{\textquoteright}s early formal, iconographic and structural borrowings from other artists, and I explore alternately the subject as visual agent and visuality as object of critical inquiry. In Chapter One, "Introduction: Dali, Painting and Its Tradition," I trace and re-articulate some of the discursive determinations of the history of modern art. My aim here is to examine Dali{\textquoteright}s oeuvre within the context of art history, a history with which he has had a combatively ambivalent relationship. In Chapter Two, "Regarding Strategies," I describe the evolution of Dali{\textquoteright}s paranoid-critical method and significant commentary about it. I also look at the relationship between Dali{\textquoteright}s art production and the work of Georges Bataille, Andre Breton, and Jacques Lacan. Although by no means a flawless strategy, Dali{\textquoteright}s exploitation of paranoia confirms his fascination with the territory between interpretation and authorship, reality and fiction, and the structures of organization and production. In Chapter Three, "Regarding Dali{\textquoteright}s Paintings," I look at the paintings themselves in light of the groundwork laid in the first two chapters. In Chapter Four, "Conclusion: From the Optical Unconscious to the (Self)Conscious Optic," I explore Dali{\textquoteright}s marginalization from mainstream modernism and his relevance to postmodern art practices. To consider Dali{\textquoteright}s art in the context of surrealism is to witness his critical engagement with major currents of modernist thought. He merits our attention because his persona and vision are so symptomatic of our times. Dali crystallizes the paranoiac circumstances pervasive in our society and confirms our suspicion that what we see is colored by a mixture of experience, memory, conjecture and imagination. His best paintings capture the texture of quotidian reality by communicating both its precious order and terrible uncertainty. Moreover, they assure us that a canny approach to visual representation has a long history.}, keywords = {Pre-1945 North American and South American Art}, author = {Glass, Angela} } @mastersthesis {8833, title = {The Reliefs from the Roman Civil Basilica at Aphrodisias in Caria}, year = {2001}, school = {IFA/NYU}, abstract = {The dissertation examines a series of marble relief panels that decorated the upper story of a Roman civil basilica of the late first or early second century A.D. at Aphrodisias in Caria (S.W. Turkey). Remains of approximately forty-six different reliefs are preserved featuring deities and mythological figures, mainly associated with Aphrodite, Dionysos, and Zeus, as well as a great variety of acanthus and floral motifs. The imagery ranges from familiar subjects with sources in the late Classical and Hellenistic periods combined with less familiar depictions, unattested scenes, and motifs that appear to be local creations. The most remarkable panels depict the legendary heroes Bellerophon, Pegasos, Ninos, Semiramis, and Gordios, of which Bellerophon and the Assyrian king, Ninos, are attested as founders at Aphrodisias. A full archaeological description of the reliefs, their find context, as well as a reconstruction of their architectural context is provided in the dissertation, and is used as evidence for dating the reliefs to the period of the construction of the basilica in the late first and early second century A.D. rather than the second half of the third or the early fourth century A.D. as has been proposed. The iconography of the reliefs is identified and the significance of their imagery is assessed within their historical context. The seemingly arcane depictions of the local mythical and cultic history on the Basilica reliefs is shown to belong to a long-standing tradition of collective self-representation by communities that used myth as a medium for claiming venerable status, kinship, and noble pedigree. The reliefs are a rare example of the use of such founding imagery in a Roman civil basilica, but it is demonstrated that as a public commemoration of local identity it is characteristic of monuments produced by the culture of the Second Sophistic, which flourished between the late first and middle of the third century A.D., especially in the Greek East.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Yildirim, Bahadir} } @mastersthesis {8745, title = {Representing {\textquoteright}Scenes et Types{\textquoteright}: Wassily Kandinsky in Tunisia, 1904-1905}, year = {2001}, school = {Northwestern}, abstract = {Wassily Kandinsky{\textquoteright}s Tunisian works of 1905 have received little attention in the extensive literature on the artist, which traditionally promotes the artist{\textquoteright}s role as a pioneer of modernist abstraction during his Munich period (1896-1914). In recent investigations, the Tunisian pictures tend to be grouped with other representational works dating to the artist{\textquoteright}s early career, all usually explained in terms of Kandinsky{\textquoteright}s experience and continued interest in ethnographic practice. While the artist{\textquoteright}s early engagement with ethnography clearly resonates in his widely known paintings with Russian themes dating from 1903 to 1907, his Tunisian works cannot be deciphered simply in relation to such ethnographic interests. Instead, Kandinsky{\textquoteright}s set of tempera pictures featuring Tunisian scenes must be placed in the specific context of French colonial culture, and with regard to the heritage of European Orientalism. In the present study, many of the motifs of Kandinsky{\textquoteright}s Tunisian sketches, oil studies, and tempera pictures are identified for the first time and assessed in relation to the information provided by period tourist guidebooks, contemporary travelogues, and commercial photography. When appropriate, works by Kandinsky{\textquoteright}s companion Gabriele Munter are also examined in the evaluation of his artistic production. The artist couple{\textquoteright}s visits and excursions in Tunisia, rather than suggesting any independent exploration, closely correspond to the recommendations available to tourists in such authoritative sources as the Baedeker{\textquoteright}s Handbook for Travellers. This study focuses attention on the Tunisia experienced by the artists, following their movements with reference to travel guides and examining artistic output in the context of a country increasingly transformed by French colonial administration. While Kandinsky{\textquoteright}s detailed and often carefully annotated sketches demonstrate his close attention to architecture, costume, and daily activities witnessed in Tunisia, his finished tempera pictures evoke the familiar categories known as {\textquoteright}scenes and types{\textquoteright} promoted by popular photography and travel literature of the colonial era.}, keywords = {19th- and Early 20th-Century European Art}, author = {Ashjian, Cristina M.} } @mastersthesis {8802, title = {The Rhetoric of Perspective: Realism and Illusionism in Dutch Seventeenth-Century Still Life and Trompe l{\textquoteright}Oeil Painting}, year = {2001}, school = {Rochester}, abstract = {Entitled "The Rhetoric of Perspective: Realism and Illusionism in Dutch Seventeenth-Century Still Life and Trompe l{\textquoteright}Oeil Painting," this dissertation examines the ways in which perspective influences the relation of the image to both meaning and art historical modes of looking and interpreting. I argue that perspective should be understood as a rhetorical device, more specifically an allegory of truth in painting. I compare two variations of truth in deceptive trompe l{\textquoteright}oeil paintings by Cornelius Gijsbrechts (ca. 1610-1678), and in the hyper-realistic monochrome breakfast still lifes of Pieter Claesz. (1597-1660) and Willem Claesz. Heda (c. 1594-c. 1680) in order to investigate whether Gijsbrechts{\textquoteright}s illusionism is a form of hyper-realism that is achieved by means of radicalizing realism. My question is how we should understand the notion of truth in painting if realism{\textquoteright}s ultimate form is contradictory to truthful representation, insofar as it evokes deception. I attempt to answer this question by analyzing the ways in which breakfast and trompe l{\textquoteright}oeil artists have deployed perspective as a pictorial rhetoric. Comprising a theory of vision as well as a method of representation, perspective promises to present a truthful image of three-dimensional reality on a two-dimensional picture plane. Its claim to (scientific) truthfulness is based on its being a geometrical system. Breakfast and trompe l{\textquoteright}oeil painting, however, problematize the correlation between truth and pictorial depth that perspective is assumed to achieve to the extent that these images create an effect of truth through the representation of banal, meaningless objects located in a flat pictorial space. The non-narrative genre of still life painting lays bare the structure of meaning m painting through alternative strategies of spatial illusion. Consequently, the relatively flat and meaningless, though highly realistic still lifes, resist interpretation according to traditional art historical models. They demonstrate, moreover, how perspective constitutes a regulatory rhetorical system rather than merely a neutral method of representation. I correspondingly conclude this study by claiming that still life resists interpretation and therefore points to a realm beyond interpretation that may be called thinking.}, keywords = {Baroque and 18th-Century European Art}, author = {Grootenboer, Hanneke} } @mastersthesis {8865, title = {A Rose Has No Teeth: Bruce Nauman, 1965-1974}, year = {2001}, school = {MIT}, abstract = {This dissertation develops a critical reading of the early work of the American artist, Bruce Nauman, who, in the mid-sixties, began creating a highly diverse and eclectic oeuvre-including discrete sculpture, photographic and text pieces, video and audio installations, neon signs, and cast body parts. While most studies focus on either one medium, theme, or body of work for review, I take a synthetic approach, arguing that the failure to locate the coherence of Nauman{\textquoteright}s art is due to the challenges it proposes theoretically and art historically. In the literature, the art of the late sixties is frequently divided into two strains of practice, which are seen as mutually exclusive-one defined through models of language, the other through the body and performance. Nauman{\textquoteright}s art, however, undermines the legitimacy of these divisions. As such, I propose that it raises philosophical and theoretical questions regarding the meanings of language, action, the body, experience, and subjectivity, resulting in the necessity for an art historical re-evaluation of their significance. The point of departure for my investigation is Nauman{\textquoteright}s reception of Minimalist sculpture, which challenged the traditional idea of medium and interrogated the perceptual conditions of the art object. I propose that Nauman{\textquoteright} art, however, lends historical and social specificity to this project, responding to the extraordinary growth of technology and expansions of media in the sixties, which were, paradoxically, accompanied by a philosophical critique of the subject. As a result, I suggest that Nauman{\textquoteright}s practice overcomes the abstract notions of experience and limited definition of subjectivity Minimalism proposes. By examining the multiple material forms his investigation takes, I conclude that the very opacity of Nauman{\textquoteright}s art emerge as an embodiment-or an enactment-of its meanings. From enigmatic body sculptures, which are frequently mistitled, to proposals for impossible performances, to the use of confining architectural spaces mediated by sound, light, and video recordings, the potentiality for communication (linguistic, perceptual) to fail or manipulate can be recognized as a central theme of Nauman{\textquoteright}s technically and stylistically diverse, but conceptually consistent, work. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Post-1945 World Art}, author = {Kraynak, Janet} } @mastersthesis {8801, title = {Royal Piety: Faith, Religious Politics, and the Experience of Art at the Convent of the Descalzes Reales in Madrid}, year = {2001}, school = {IFA/NYU}, abstract = {Since the time of its founding by Princess Juana of Austria in 1556, the convent of the Descalzas Reales in Madrid has always embodied a close alliance between the spiritual and the royal. This study uses sixteenth- and seventeenth-century histories of Madrid, accounts of the Descalzas Reales, and biographies of affiliated individuals to reconstruct the relationship between art, Habsburg dynastic identity, religious politics, and religious experience at this royal convent. I examine first the role of art in public and semi-public religious rituals of Corpus Christi and Holy Week, which involved the Conquest of Tunis tapestries designed by Jan Cornelisz Vermeyen, the Triumph of the Eucharist tapestries designed by Peter Paul Rubens, and the sculpture of the Dead Christ attributed to Gaspar Becerra. The art used in these rituals is representative of layered ideas and associations all innately tied to questions of Habsburg dynastic power, both religious and secular, at the Spanish court. I next consider the importance of miraculous images including the painting called Our Lady of the Miracle, relics, and reliquaries. I demonstrate how the acquisition, display, and use of these objects express not just religious and devotional, but also specifically royal needs and understanding. I also consider the iconography of the archangels in the convent{\textquoteright}s central staircase decoration as a Habsburg statement available to all who entered this semi-public space. The dissertation closes with an analysis of Juan de Palmas biography of the Habsburg archduchess and nun Sister Margarita de la Cruz. The discussion and description of art in the biography is at once a window into the nun{\textquoteright}s private devotional practice at the Descalzas as well as a rhetorical statement about art, religious expression, and Margarita{\textquoteright}s royal identity that became available to a wider audience through the biography{\textquoteright}s publication by the Royal Press. As a whole, I argue the art at the Descalzas Reales was essential to the frameworks of private devotion and public display for the Habsburgs in Madrid during the sixteenth and seventeenth centuries. The use, presentation, and perception of art at the convent reflects a unique and complex Habsburg institution.}, keywords = {Baroque and 18th-Century European Art}, author = {Goodman, Eleanor} } @mastersthesis {8888, title = {Seen and Not Seen: A History of Black Representation and Self-Representation in Art Exhibitions in the United States, 1893-1998}, year = {2001}, school = {Rochester}, abstract = {This dissertation creates a dialogue between the current and historical discourses of Black representation and self-representation in U.S. exhibitions. Beginning with the struggle for Negro self-representation in the Chicago World{\textquoteright}s Exposition of 1893 and continuing with three modern and contemporary exhibitions that have had a profound effect on the discourse of Black representation, this project examines strategies of resistance to dominant representations of Blacks and the organized challenges to these representations. Not merely a study of images created of Blacks and by Blacks, this project addresses the forms of resistance that Blacks have employed against their cultural misrecognition in art history. First, it focuses on dominant representations of Blacks in exhibitions that have been contested by Black communities. Second, it examines Blacks{\textquoteright} efforts to represent themselves in exhibitions. Third, it provides analysis of the conflicts within Black communities over self-representation. The primary methodology this project utilizes is discourse theory, which establishes a method of articulating the complex social, cultural, and individual histories relevant to the analyses of this project. Approaching the struggle of Black representation as a discourse frees me from the task of excavating an underlying truth in representation, and allows me to discuss the conflicting ideas, opinions, and beliefs that contribute to the definition of a culture. Throughout the dissertation, Black representation means two things. First, representation refers to the participation of Blacks in the organizing and curating of exhibition material. Second, representation refers to images, objects, texts, and performances that address Blackness. The writings of Stuart Hall, Kobena Mercer, and bell hooks are important for discussions of the power of the Black image and the construction of Blackness. Each author engages with the complicated history of the Black image and offers strategies for representation. Their work denaturalizes the idea of Blackness as an inherent signifier of danger and threat, and deals with Blackness as a constructed and culturally defined sign within the dominant racist culture. Their ideas present ways to understand the fiction and function of Blackness for the dominant culture, and suggest ways to work with and against them for cultural and physical survival.}, keywords = {Pre-1945 North American and South American Art}, author = {Bridget Cooks} } @mastersthesis {8889, title = {Selling {\textquoteright}America{\textquoteright}: Precisionism and the Rhetoric of Industry, 1916-1939}, year = {2001}, school = {UC Berkeley}, abstract = {This dissertation considers Precisionist art in the context of the forms, practices, and ideologies of American mass-industrial culture. It situates the art of Precisionism within a specific set of concerns that marked 1920s and 1930s America: the position of labor under scientific management, the cultural roles of the commodity and the machine, the impact of the Great Depression upon representational practice, and the depiction of the American landscape. In addition, the text launches a socio-historical inquiry into the modes of production that governed Precisionist practice and the ways in which its works were harnessed to support particular ideological programs through advertisements, trade literature, and art exhibitions. This study argues against the reductive notion that Precisionist images were simply co-opted by capitalist interests and instead insists on acknowledging the ambivalences and complexities which mark the Precisionist project. One of the sites of greatest tension occurs around the representation of working bodies and machine subjects. Questions of labor and the forces of mass industrialism thus form a central axis of this thesis and serve to install the figure of labor-both the worker{\textquoteright}s and the artist{\textquoteright}s-firmly within a history of Precisionism. Chapter One examines Charles Sheeler{\textquoteright}s 1927 photographic commission for Ford Motor Company. Sheeler{\textquoteright}s photographs of Ford{\textquoteright}s River Rouge plant depict the massive machines and monumental architecture of the Ford factory. They also, importantly, picture Ford workers. This chapter contends that these laboring figures are crucial to both a history of Ford Motor Company and a full account of Sheeler{\textquoteright}s artistic practice. Using the photographs of Margaret Bourke-White as a case study, Chapter Two explores the role of modern photography in American consumer culture, as well as the reciprocity between artists and advertisers, Precisionist art and corporate America. Chapter Three considers Precisionist painting within the rhetorics of scientific management and mass production and proposes a reading of Precisionism within an aesthetic of efficiency. Through the urban-industrial and rural-agrarian imagery of Georgia O{\textquoteright}Keeffe and Charles Sheeler, the subjects of America{\textquoteright}s agrarian past are seen through the formal lens of its industrial present. Chapter Four argues that the Precisionist project is bound to the binary poles of technological progress and rural nostalgia.}, keywords = {Pre-1945 North American and South American Art}, author = {Corwin, Sharon} } @mastersthesis {8828, title = {Sensual Power: A Warrior Aphrodite in Greek and Roman Art}, year = {2001}, school = {IFA/NYU}, abstract = {This dissertation explores the rich aftermath in Hellenistic and Roman sculpture of an authoritative Classical statue type. The type, known as the Aphrodite of Capua, has previously been examined by scholars in order to reconstruct the lost Greek original of the fourth century B.C. Here the focus is instead on the creative ways in which the image was given new meanings in later art. The number and variety of adaptations-over 300 versions of the type are known in monumental sculpture, terracotta statuettes, gems, and coins-as well as their art historical significance in works such as the {\textquoteright}Venus de Milo,{\textquoteright} the Victoria of Brescia, and Trajan{\textquoteright}s Column, makes this case study a useful one for assessing the Roman transformation of Greek art. After a brief discussion of how the Classical type might hypothetically be reconstructed, the dissertation examines first its adaptation in Hellenistic art, and then its more widespread use in varied Roman contexts including imperial art in Rome, provincial civic sculpture, private artworks throughout the empire, and sculptural groups, primarily funerary, which eclectically combine the type with another Classical work, a statue of Ares/Mars. Drawing upon literary and historical as well as archaeological evidence, I use contextual information to reconstruct how viewers saw and understood such images. The Aphrodite of Capua type, created in fourth century B.C. Corinth to celebrate the martial successes of a traditional Classical polis, was transformed under the Roman empire to become an effective symbol of Greek culture and Roman power. The Classical format and style gave the image an attractive and authoritative appearance, suggestive of venustas (desirability) and humanitas (civilization). At the same time, martial and victorious attributes clarified the type{\textquoteright}s ideological message, a celebration of the Roman empire{\textquoteright}s divinely ordained invincibility in war, and a proclamation of the benefits of empire for both the conquerors and the conquered. The dissertation shows that the varied uses of Aphrodite of Capua type were not derivative imitations, but creative transformations of the artistic legacy of Classical Greece for new patrons and purposes. The study thus illuminates both Greek and Roman art.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Kousser, Rachel} } @mastersthesis {8793, title = {Sheng Maoye: Painting and Poetry in Late Ming Suzhou}, year = {2001}, school = {Columbia}, abstract = {It can be said that a man is defined by the world in which he lives; accordingly a man{\textquoteright}s work reveals his time and place. In the attempt to resolve questions related to the life and painting career of Sheng Maoye (ca 1575-1640), this thesis discloses key issues related to late Ming art and provides important information about the city of Suzhou, its cultural history, and the legacy of an under-recognized painter. Divided into three chapters, the first chapter focuses on the general quality of life as well as the men who shaped artistic practice in late Ming Suzhou. Sheng studied, collaborated, and associated with many prominent late Ming artists and scholars including Ding Yunpeng, Li Shida, Fan Yunlin, Wen Zhenmeng, and Chen Guan. The second chapter examines Sheng{\textquoteright}s place in China{\textquoteright}s continuing painting lineage. Sheng combined revitalized styles and formats first introduced in the Southern Song with others established in Suzhou throughout the Ming dynasty, to create his own unique method. Characteristically he utilized moist brushwork on fans and album leaves to depict atmospheric scenery associated with the changes of the seasons and weather conditions like those found in his native Suzhou. The final chapter explores the critical and popular importance of poetry in a variety of artistic traditions during the late Ming. Heterodox schools of poetry criticism, like the Gongan school founded by the Yuan brothers, arose in opposition to the orthodoxy of the fugu revivalists. Publishers produced a great number of woodblock printed books joining poetry and illustrations. Tang Xianzu combined jiju shi (collected lines [of Tang] poetry) and drama together for the first time in his well-known play Peony Pavilion of 1598. Sheng too satisfied the late Ming popular demand for intimate visual formats and Tang poetry by not only inscribing poetic couplets on his paintings but by creating something new, a kind of jiju hua (collected lines painting).}, keywords = {Asian Art}, author = {Pegg, Richard} } @mastersthesis {8859, title = {Shifting Ground: An Early History of Afro-Creole Women{\textquoteright}s Mas{\textquoteright} in Trinidad Carnival}, year = {2001}, school = {Emory}, abstract = {This dissertation is a historical examination of Afro-creole women{\textquoteright}s masquerade style in nineteenth-century Trinidad Carnival. In the extant Carnival literature, certain Afro-creole male portrayals, specifically those who engage in verbal and/or choreographic performances, are constitutive of the authentic in mas{\textquoteright}. As a result, female maskers, who generally do not engage in such performances, are marginalized and positioned as inauthentic. This examination of nineteenth-century Afro-creole female maskers is an attempt to recoup an early history of the women{\textquoteright}s Carnival portrayals, and to determine why they did not engage in the oral and choreographic styles. The initial results reveal that nineteenth-century Afro-creole women{\textquoteright}s performance is centered in (un)dress. They loved to dress up, a strategy that enhanced their appearance and provided them with some visibility in the public arena. They also manipulated dress, and undress, to "voice" their opinions and concerns. In this way, the women were able to create meaning in their Carnival portrayals. In sum, nineteenth-century Afro-creole female maskers may have opted to forego orality and stylized choreography because (un)dress, over which they exerted some control, enabled them to create their own "voice" and mode of articulation.}, keywords = {Post-1945 World Art}, author = {Franco, Pamela} } @mastersthesis {8816, title = {Situating Sheela-na-gigs: The Female Body and Social Significance in Romanesque Sculpture}, year = {2001}, school = {Chicago}, abstract = {This dissertation takes as its topic a number of sexualized and yet grotesque representations of women that appear in the Romanesque sculpture of England, France, and Ireland. The focus of the project is on the so-called "Sheela-na-gig" sculptures; images of naked women, shown actively exposing their genitals, found on twelfth-century and later medieval churches and castles in England and Ireland. In the existing scholarship, these sculptures are typically understood to be dire warnings, devised by church officials, against the evils of women and the sins of sexuality. This project focuses instead upon the reception of such sculptures by specific, localized, and historically identifiable audiences and argues that these images visualized for their viewers the social significance of the female body{\textquoteright}s reproductive potential. Situating the Sheel-na-gig corbel from the church of Saint Mary and Saint David at Kilpeck, Herefordshire, within the local visual, architectural, and social contexts in which it would have been seen, I argue that it presented an image of childbirth as a problematic passage between the interior and exterior of the body. Shifting focus to the French "femme aux serpents" sculptures-images of naked women with snakes at their breasts-I argue that, for its local audience, the sculpture at Saint-Pierre in Aulnay represented maternity as positioning women in between the human and the nonhuman, the animal or supernatural. Finally, by following the Irish "Sheela" sculptures through a series of receptions-in the twelfth, fourteenth, and nineteenth centuries-I argue that these images became meaningful within a local culture that was concerned with controlling reproduction as a means of controlling the devolution of property and access to power. As a whole, this project challenges traditional iconographic models of art history, which have allowed the discourse of the church to dominate our understandings of the medieval past. This dissertation attends instead to local cultures and contexts and understands images to be primary historical sources for the lives and experiences of the majority of the medieval population.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Bleeke, Marian} } @mastersthesis {8812, title = {Space and the Space Age in Postwar European Art: Lucio Fontana, Yves Klein, and Their Contemporaries}, year = {2001}, school = {UT Austin}, abstract = {In the 1950s, advances in space travel, the atom, and telecommunications promised to transform radically life on earth and beyond, bringing about what was called at the time, the "Space Age." Beginning in the 1940s and 1950s, artists in Klan, London, Paris, and Dusseldorf questioned the relevance of painting itself in the Space Age, offering in its place a broadened notion of artistic expression that utilized, in various ways, expanding channels of mass communication. Lucio Fontana in Italy, the Independent Group in Great Britain, Yves Klein in France, and the Zero group in Germany, along with many of their contemporaries across Western Europe, attempted to redefine the place of the avant-garde artist in an increasingly technological and global society. This study explores the strategic and often critical role of "space" in the self-definition and self-promotion of these artists, emphasizing the cultural and political contexts of postwar internationalism, from science fiction to the Cold War.}, keywords = {Contemporary Art}, author = {Petersen, Stephen} } @mastersthesis {8762, title = {On the Strength of My Imagination{\textquoteright}: Visions of Weimar Culture in the Scrapbook of Hannah Hoch}, year = {2001}, school = {Bryn Mawr}, abstract = {The dissertation focuses on a single work: a mass media scrapbook made circa 1933-34 by the German artist Hannah Hoch (1889-1978). The scrapbook is a 116-page montage of images clipped from the Weimar illustrated press (Illustrierte). It reflects the social, cultural and political tenor of the Weimar Republic and shares striking similarities with photography exhibits and photographically illustrated books from this time. With this in mind, I interpret Hoch{\textquoteright}s scrapbook as a memory book of the Weimar Republic. The scrapbook has the characteristics of an "exhibit" displaying Hoch{\textquoteright}s desire to comprehend the world pictured around her by formulating a visual language of images. Hoch{\textquoteright}s method of selecting and juxtaposing images provides a general commentary on how people experienced their surroundings, as well as how Hoch strove to understand her own place in the world at a time of great personal loss and change. The dissertation is divided into five chapters. The first four chapters are descriptive and historical. I discuss the history of the photographically illustrated press in Germany from 1890 to the 1933. I analyze and describe Hoch{\textquoteright}s scrapbook according to a grammar of juxtaposition of montage elements that I have defined. I discuss issues of collecting and memory, both collective and individual. And I explore how the photographic and filmic practices and theories of the 1920s provide a context of reception for Hoch{\textquoteright}s scrapbook. Chapter five offers three possible readings of the scrapbook. First, using the writings of Siegfried Kracauer I focus on the motif of travel (both real and imaginary) in Hoch{\textquoteright}s scrapbook. Next I examine how Hoch provided a commentary on the German cultural phenomenon of Amerikanismus. And finally, I look at how Hoch used images in both her scrapbook and her photomontages, and consider how this provides for an associative and nonlinear reading of the scrapbook. A catalogue listing the mass-media source images that Hoch used in her scrapbook and photomontages which I identified as a part of my research on the scrapbook concludes the dissertation.}, keywords = {19th- and Early 20th-Century European Art}, author = {Johnson, Melissa A.} } @mastersthesis {8753, title = {Strong Women, Fallen Men: French Commemorative Sculptures Following the Franco-Prussian War, 1870-1880}, year = {2001}, school = {IFA/NYU}, abstract = {After decades of mounting anxiety over the growing tears in the social fabric of the nation, the debacle of the Franco-Prussian War plunged France into a nationwide crisis in masculinity. This dissertation examines how sculptors modeling war memorials during the early years of the Third Republic frequently employed the trope of the strong woman, fallen man as a means of mediating the humiliation of military defeat and salving the sense of wounded male identity. The juxtaposition of an allegorical female figure with a realist male figure, as seen in the work of Falguiere, Mercie, Barrias, and Rodin, among others, broke ground for one of the most innovative ideas in the history of modern sculpture, the progressive strides toward formal and emotional abstraction.}, keywords = {19th- and Early 20th-Century European Art}, author = {Dorsch, Michael} } @mastersthesis {8837, title = {The Stuccoed and Painted Ceramics from Teotihuacan, Mexico: A Study of Authorship and Function of Works of Art in an Ancient Mesoamerican City}, year = {2001}, school = {Columbia}, abstract = {This dissertation is a contextual analysis of 142 stuccoed and painted cylindrical tripod vessels, bowls, and jars from the ancient city of Teotihuacan, Mexico. The paintings associated with these ceramics have traditionally been thought of as derivative of mural paintings and assumed to have been created by muralists. Using a variety of viewing points, this study shows the ceramics are more closely linked to other portable art traditions. Though technologically diverse, there appear to be closer connections between stuccoed and painted and plano-relief decorated ceramics than the stucco paintings and murals. Recognition of this relationship raises questions regarding interactions among craft workshops in the city, the exchange of information among artisans, and producer/consumer relationships. In these contexts, the placement of unprovenienced pictorial ceramics within the current ceramic chronology is essential, as stuccoed and painted ceramics appear to have surged in popularity as the quantity and quality of plano-relief decorated wares declined. New iconographic identifications and readings of major themes and subjects associated with pictorial style ceramics also reveal closer affiliations to other portable art traditions, including figurines, which for the most part represent the people of Teotihuacan. Pictorial ceramics of diverse technological style are thus viewed as a single genre, functioning within Teotihuacan society as that assisted their owners to negotiate status and organizational affiliation. As the most highly decorated ceramics produced in the city, they are viewed as extensions of the social body. Ownership of the wares may have served in part to unify diverse members of the community beyond the boundaries of the apartment compound.}, keywords = {Native American and Pre-Columbian Art}, author = {Conides, Cynthia} } @mastersthesis {8899, title = {Studies in Nineteenth-Century American Furniture and Other Decorative Arts, 1825-1885}, year = {2001}, school = {CUNY}, abstract = {No record in ProQuest}, keywords = {Pre-1945 North American and South American Art}, author = {Voorsanger, Catherine Hoover} } @mastersthesis {8743, title = {A Tale of Two Cities: The Ladd Collection in the Context of Early 20th-Century Print Patronage in Portland, Oregon and Minneapolis, Minnesota}, year = {2001}, school = {Minnesota}, abstract = {"A Tale of Two Cities: The Ladd Collection in the Context of Early 20th Century Print Patronage in Portland, Oregon and Minneapolis, Minnesota" addresses the formation, use, and legacy of an encyclopedic collection of prints. Between 1885 and 1916, William Mead and Mary Andrews Ladd accumulated nearly six thousand etchings, engravings, woodcuts, and lithographs that traced the history of the graphic arts in Western Europe and America. They were pioneering collectors in America not only for their focus on the graphic arts, but also in their attempt to bring original art to a region devoid of traditional sources of Western culture. This dissertation brings to light the efforts of these forgotten collectors. Chapter One examines the collection within the context of print collecting in America at the turn of the century. It begins with an examination of the etching revival and museum development in this country, and concludes with an analysis of other private and public print collections formed in America at this time. Chapters Two and Three place the Ladds and their collection within the social and historical context of Portland, Oregon. Chapter Four addresses the legacy of the Ladd Collection in Minnesota where it came after it was purchased by Herschel V. Jones in 1916 and given to the Minneapolis Institute of Arts. Although the Ladd Collection was initially formed as a private collection, it was created to serve as a community resource. In both Portland and Minneapolis the Collection played a major role in each city{\textquoteright}s cultural life. Chapters Five, Six, and Seven examine the content of the Ladd Collection and analyze the importance of specific groups of prints. Dealers who helped place many of the works in the Collection, specifically Vickery, Atkins and Torrey of San Francisco and Frederick Keppel Galleries of New York are discussed. This dissertation recreates the social, historical, and intellectual contexts of an era and examines the Ladd Collection as a paradigm of mid-American taste and collecting.}, keywords = {19th- and Early 20th-Century European Art, Pre-1945 North and South American Art}, author = {Michaux, Lisa} } @mastersthesis {8773, title = {Techniques of Imagination: Viollet-le-Duc and the Restoration of the Chateau de Pierrefonds}, year = {2001}, school = {Northwestern}, abstract = {Eugene Viollet-le-Duc was the most important architectural theorist of the 19th century and restorer of numerous Gothic buildings for France{\textquoteright}s Monuments Historiques. I argue that restoration was modern for Viollet-le-Duc because it was linked to the imaginative project of generating new architectural forms out of old ones. Nowhere was this project deployed with more force than his restoration of the Chateau de Pierrefonds for Napoleon III between 1858 and circa 1870. I contend that for Viollet-le-Duc, Pierrefonds was an imagination technology-a tool that calls attention to the fact that imagining, defined as the ongoing habitual process of structuring and restructuring experience, is a pragmatic activity that is aided, framed, and extended by technological apparatuses. In 1866, Viollet-le-Duc commissioned a series of anamorphically distorted, 360-degree photographs of the partially restored chateau{\textquoteright}s exterior to be taken with a newly patented device, the planchette photographique, originally designed for topographical mapping. According to the planchette{\textquoteright}s inventor, each photograph was a metaphor for the embodied eye of a viewer rotating around his or her own axis. I argue that through these photographs and the phenomenology of vision they exemplify, Viollet-le-Duc systematically explored the formal possibilities latent within the building{\textquoteright}s manifest appearance. Further, I show how the restored chateau functions as a tool that generates rich horizonal experiences activated by a viewer{\textquoteright}s movement around it. I also examine Viollet-le-Duc{\textquoteright}s ideas about formal transformation through an analysis of his theory that the origins of art and architectural thinking are found in monstrosity and imagination. I relate these ideas to the biologist Geoffroy Saint-Hilaire{\textquoteright}s theories of transformism and to the plethora of imaginary beasts carved according to Viollet-le-Duc{\textquoteright}s instructions at Pierrefonds. My dissertation posits that Viollet-le-Duc{\textquoteright}s methods demonstrated his larger claim: that the restoration of Gothic architecture was an imagination technology par excellence because it opened up fecund directions for an immanent modern architecture. I suggest that he was not interested in reconstructing {\textquoteright}a{\textquoteright} building so much as in having perspicuous views of the foundations of possible buildings.}, keywords = {19th- and Early 20th-Century European Art}, author = {Aron Vinegar} } @mastersthesis {8780, title = {Telling It Slant: Historic House Museums and the Re-Creation of the Past}, year = {2001}, school = {Rochester}, abstract = {This dissertation addresses the history and the methods of re-creating historical milieus in house museums. It investigates the cultural politics of historic preservation, the traditions of museum display, and the desire to represent the past in three-dimensional form through the exhibition of intimate domestic life associated with significant historical figures or periods. I argue that house museums garner their authenticity by being museums that depend upon both history and its reception to construct a convincing representation of past life. Two historical perspectives of the display of historic interiors are analyzed: the cultural history of sites dedicated to the representation of significant national figures and traditions, and the history of the museum and its conventions. The first path analyzes the formation and the motivations of the historic preservation movement, and the values its proponents have attributed to the restoration of historic houses. The second path analyzes the methods and conventions formed by and in the institution of the museum to represent past life. The invented tradition of re-created historic interiors in house museums reinforces a becalmed, genteel tradition that melds ideology, aesthetics, and scientific method to establish a context predicated upon a belief in the resurrection of an "actual" past. I explore the dual histories of re-created historic interiors with respect to their underlying concepts. I analyze how current curatorial practices in house museums meld formal standards, scientific techniques, nineteenth-century historical perspectives, memory, imagination, and intimate associations that exceed the framework of conventional explanation. I conclude by calling for a more self-reflexive approach to history in house museums that pays more attention to the event of reception and the importance of the viewer as an active agent in the construction of the intimate past.}, keywords = {Art Criticism and Theory}, author = {Quinn, Laura L.} } @mastersthesis {8777, title = {The Thick of Things: Framing, Fetishism, and the Work of History}, year = {2001}, school = {Rochester}, abstract = {The Thick of Things, Framing, Fetishism, and the Work of Art History develops an approach to thinking and writing about works of art based on close readings of Jacques Derrida{\textquoteright}s The Truth in Painting and Martin Heidegger{\textquoteright}s "The Origin of the Work of Art." My approach emphasizes the mutual engagement of object, viewer, and "contextual" discourses, and I analyze its implications for the continuing practice of art history and criticism. The following three chapters put my definition "to work" in various debates concerning art historical exhibition and interpretation. First, I examine a debate between Mieke Bal and a museum curator over the installation of her 1998 "Femmes Fatales!" exhibition; relating the debate to Derrida{\textquoteright}s analysis of Kant, I formulate Bal{\textquoteright}s approach as a "bloodletting," a way of simultaneously acknowledging and resisting the violence implicit in the attempt to present works as autonomous "masterpieces." Continuing this exploration of the concept of the masterpiece, I next analyze Pablo Picasso{\textquoteright}s Les Demoiselles d{\textquoteright}Avignon (1907) in terms of its multivalent relationships to discourses of mastery (artistic, authorial, and sexual), again suggesting ways in which these discourses might be both acknowledged and resisted. Building on the previous chapters{\textquoteright} explorations of the mutual implication of artwork, observer, and historical discourse, I turn to James Rosenquist{\textquoteright}s 1992 Gift-Wrapped Dolls series, demonstrating how the "place" of the viewer radically affects the meanings produced in the encounter with an artwork. Issues of AIDS, race, and sexuality lead to another close reading of Derrida in Chapter 5, this time of his treatment of fetishism. Taking both Freudian and Marxian definitions into account, I argue that Derrida enacts the logic of fetishism in his own argument, suggesting that the "truth" of fetishism may in fact correlate to the "truth" of the work of art. I then revisit claims made in previous chapters, considering how they may or may not be altered by a new, "fetishistic" definition of the work of art. Finally, the conclusion attempts to clarify my overall intention in the dissertation, defending the apparent "perversity" of using Derridean terminology to develop "definitions" and even to arrive at conclusions.}, keywords = {Art Criticism and Theory}, author = {Denaci, Mark Edward} } @mastersthesis {8882, title = {Thomas Ustick Walter{\textquoteright}s {\textquoteright}Lectures on Architecture{\textquoteright}}, year = {2001}, school = {Delaware}, abstract = {In the early 1840s architect Thomas Ustick Walter presented a series of six lectures before audiences in Philadelphia and later in Washington. Based on his extensive study in recent architectural histories, aesthetic philosophies, and archaeological findings, the "Lectures" exhibit Walter{\textquoteright}s grasp of current thinking in his field. They also represent what might be the earliest formal architectural theory written by an American. The first five lectures present a history of architecture as Walter understood it from his readings and cover a range of civilizations: the ancient Near and Far East, Egypt, Greece, Rome, and the architecture of the Medieval, Renaissance, and Modern periods. Through the filters of his time and his position as a man of intellect and faith, Walter{\textquoteright}s history judges these cultures by virtue of their appeal to his personal values which stem from his Baptist beliefs and understanding of Enlightenment philosophy and eighteenth-century aesthetic theory. Such influences also figure strongly in the sixth lecture, "On Architecture Considered as a Fine Art." In it Walter explains the issues of design and composition which contributed to the formal judgments discussed in the previous lectures. Walter had two main aims in delivering his "Lectures." He meant to instruct interested citizens in a correct aesthetic taste so that they might distinguish good architecture from bad, and in supporting quality work, contribute to the improvement of the civic arena while benefitting personally from the qualities of successful design-ultimately to a Christian sense of "Improvement." They could also then differentiate between skilled architects and untrained builders, elevating the former while rejecting the latter, strengthening the professional nature of Walter{\textquoteright}s vocation.}, keywords = {Pre-1945 North American and South American Art}, author = {Amundson, Jhennifer A.} } @mastersthesis {8838, title = {The Tlaxcalan Conquest Pictorials: The Role of Images in Influencing Colonial Policy in Sixteenth-Century Mexico}, year = {2001}, school = {UCLA}, abstract = {At various points in the sixteenth century, Nahua artists of Tlaxcala produced a number of pictorials representing the Tlaxcalteca{\textquoteright}s alliance with the Spaniards during the conquest of Mexico. This dissertation shows that each of these cognates operated as a distinct visual stratagem, serving Tlaxcala{\textquoteright}s partisan interests in a distinctive way, and seeks to identify how and why changes in form and content served this end. Through an examination of the Tlaxcalan conquest images in relation to each other and sixteenth-century Tlaxcalan municipal records, other Spanish and indigenous conquest histories, and the texts of contemporary indigenous petitions to the crown government, this study demonstrates that the Tlaxcalan images participated in a competition of claims. Tlaxcalan accounts contradicted not only those of the Spanish conquerors and friars but those of other Nahuas as well. Different ethnic divisions and social classes within Tlaxcala itself took competing positions in their response to the conquest. This study contributes to the current investigation into this varied and contentious character of colonial narratives. In these images and documents, the Tlaxcalteca sought to remind the Spaniards of their cooperation in the conquest of Mexico and subsequent expeditions for which the Spaniards had not fully compensated them. Yet the pictorials were made at a time when the Tlaxcalteca were also being uncooperative in Spanish military and colonizing campaigns in hostile regions. The Tlaxcalteca, then, were adroitly resisting Spain even as they referred to alliance and accommodation in their conquest pictorials. This provides a more nuanced understanding of Tlaxcalan-Spanish colonial power relations. Because the Tlaxcalan conquest images vary over time, they have implications for the question of indigenous artistic agency. This study shows that artists drew upon Nahua traditions of the past, but at the same time appropriated new European forms as they re-shaped their community{\textquoteright}s history to respond effectively to points of contention in the present. The dissertation concludes by showing how the Tlaxcalan version of the conquest narrative remains active into the nineteenth century, indicating the art historian{\textquoteright}s need to recognize the changing nature of art of the colonial period.}, keywords = {Native American and Pre-Columbian Art}, author = {Kranz, Travis} } @mastersthesis {8868, title = {To Paint and Not to Paint: The Art of Blinky Palermo}, year = {2001}, school = {Harvard}, abstract = {This is a historical and critical study of the work of the German abstract painter Peter Heisterkamp, known as Blinky Palermo (1943-1977). Its central argument is that Palermo created a historically resonant mode of abstraction. As such, Palermo{\textquoteright}s art constitutes a nuanced matrix for an understanding of German art of the 1960s and 1970s. Chapter 1 traces Palermo{\textquoteright}s early formation in the class of Joseph Beuys at the Dusseldorf academy and examines his so-called objects in relationship to the work of his teacher as well as in the context of their reception as Romantic, expressionist, and {\textquoteright}spiritual.{\textquoteright} Palermo{\textquoteright}s objects engage with, yet increasingly undermine these historical legacies of abstraction which in the postwar German art world were coded as specifically German. Chapter 2 examines Palermo{\textquoteright}s cloth pictures and the ways in which they intertwine essentialist, self-reflexive painting and the market, thus reflecting on the context of the German economic miracle and the rising German art market. As such, Palermo{\textquoteright}s cloth pictures also point to the kinship of American Pop and Color Field painting and are related in that sense to the Signal Art prominent in the German 1960s. Chapter 3 argues that Palermo{\textquoteright}s wall-paintings project a skepticism towards a utopian project of enhancing the viewer{\textquoteright}s consciousness by interweaving three different readings: as perceptually destabilizing in the context of concurrent environment art, as banal in the context of German Pop, and as decorative in the context of a New Ornamentalism. I further propose that Palermo{\textquoteright}s wall-paintings engage abstract painting in its own history by exploring its ambivalent relationship to decoration. Chapter 4 concerns the metal-pictures that Palermo made after his move to New York in 1973. These works collapse, that is to say both preserve and overcome, national boundaries and definitions of art in an increasingly international art world. They do so by engaging in a specifically German misreading of isolated and nationally defined characteristics of American art, while at the same time commenting on and leading away from the hermetic aesthetic discourses that characterized the New York art world in the late 1960s and early 1970s.}, keywords = {Post-1945 World Art}, author = {Christine Mehring} } @mastersthesis {8803, title = {Vessels of Empire: Eighteenth-Century British Marine Painting}, year = {2001}, school = {UC Berkeley}, abstract = {This dissertation argues that eighteenth-century marine painting was not a minor genre appealing to nautical specialists but rather a practice at the center of a newly-formalized art establishment, a genre comprehensible and of interest to the public at large, and a narrative vehicle through which eighteenth century Britons told themselves about heroic action and national virtue. It seeks to place marine painting within the wider context of the later eighteenth-century artistic sphere in London and to examine the ways in which marine paintings helped to shape conceptions of nation and empire. At issue is the degree to which marine paintings, products of an intersection between the naval and artistic spheres, were able to fulfill their potential role in the public sphere. Rather than as documents of naval achievements or as evidence of the development of British style from Dutch influences, marine paintings are addressed as the ideologically-loaded products of a series of relations between individual painters, patrons and publics. They are initially addressed at two key moments of intersection between developments in the naval and artistic spheres: the capture of Porto Bello in 1739 with the emergence of the first public venues for the display of art in England in the 1740{\textquoteright}s, and the conclusion of the American War of Independence with the ascendancy of the Royal Academy as a national forum for the exhibition of art and the formation of artistic identity. The aesthetic codes dominating the latter are contrasted with the demands for accuracy which shaped the commissioning and production of marine paintings, discussed in the context of cultural responses to the battle of the Glorious First of June in 1794. While critics might have claimed that the appeal of marine paintings was limited to a specialist audience, the evidence of poetry, songs, theatrical productions and public spectacles such as ship launches, panoramas and mock sea-fights suggests not only the legibility and importance of naval matters to a more general public but also the existence of a pre-romantic mode of seeing whose rediscovery is essential to understanding the larger eighteenth-century artistic project.}, keywords = {Baroque and 18th-Century European Art}, author = {Hughes, Eleanor} } @mastersthesis {8844, title = {The Visual Idea: Photography in Conceptual Art}, year = {2001}, school = {Yale}, abstract = {The dissertation examines the role of photography in Conceptual Art from 1966-72. While conceptual artists formulated their work in explicitly anti-formal terms, and avoided the conventions of modernist painting and sculpture, they did not abandon medium-specific inquiry. In the majority of cases, they adopted text and photography as their principle visual forms. Conceptual artists claimed to have no interest in fine art photography, or indeed to have any aesthetic investment in the photographs that they made. However, the uses of photography in their work produced a new set of aesthetic possibilities that crucially altered the terms of both art and art photography. The first chapter uses close readings of texts by Sol LeWitt, Lucy Lippard and John Chandler, and Joseph Kosuth to overturn the myth of conceptualism as a dematerialized anti-visual art. Readings of works by Kosuth, Robert Barry and Lawrence Weiner provide counter-arguments to the claim that conceptual art is essentially linguistic. The second chapter examines the engagement of conceptual artists including Bruce Nauman, Mel Bochner, John Baldessari, Jan Dibbets and Dennis Oppenheim with the conditions and limitations of photographic technology, and discusses such self-consciousness in the context of 1960s photographic aesthetics and fine art photography. The third chapter describes the N.E. Thing Co.{\textquoteright}s rejection of Clement Greenberg{\textquoteright}s formalist aesthetics in favor of Marshall McLuhan{\textquoteright}s theorization of medium. The final chapter discusses Douglas Huebler{\textquoteright}s work in relation to Alain Robbe-Grillet{\textquoteright}s theorization of the nouveau roman. Throughout, the dissertation argues that conceptual art uses the combination of image and text to extend the modernist logic of criticality and self-reference into new domains, some visual and some existing in the mind{\textquoteright}s eye.}, keywords = {Photography and Film, Twentieth-Century Art}, author = {Soutter, Lucy} } @mastersthesis {8786, title = {Visualizing Love and Longing in Song Dynasty Paintings of Women}, year = {2001}, school = {Michigan}, abstract = {The nature of emotion, particularly how it is manifested, has been a concern of Chinese theorists since the early imperial period. One way that this concern came to be expressed in certain genres of Chinese art and literature was in the conception of elite women as preoccupied with romance. In the Song dynasty (960-1279), painters and poets engage in an extensive dialogue on the meanings of attachments between men and women, with the stages of the love relationship coded as desire, love, longing and heartbreak. An examination of extant paintings from this period reveals that this construction pervades the cultural productions of both court figures and intellectuals. This dissertation analyzes Song dynasty paintings of women in love in light of the construction of both femininity and masculinity, the nature of representation, and text-image relationships, and considers the authorship and reception of these works. I argue that by the Song dynasty, what became valued in the pictorial representation of a female figure was her interior state. Artists had several modes for revealing it at their disposal: these included not only attention to a figure{\textquoteright}s facial expression and gesture, but also the employment of poetic tropes that seized upon every aspect of the female figure as a potential means of disclosing her feelings. Chapter One investigates the gardens and bedrooms of the inner quarters as gendered settings for the representation of inner emotions. Chapter Two considers the representation of "singing girls" (courtesans) and the connection of musical entertainment to the performance of desire, arguing that paintings of this performance constitute a metaconstruction. Chapter Three examines self adornment with mirrors and makeup as a means of reflecting a figure{\textquoteright}s heart/mind and a way of literally writing emotions upon her face. Chapter Four analyzes the erotic connotations of women{\textquoteright}s work with cloth. I conclude that each of these elements is available for manipulation, not so much to express the figure{\textquoteright}s imagined feelings as to provide the authors and audience of these images with a figure on which to project their emotions, on subjects that could be much wider-ranging than the vicissitudes of love relationships.}, keywords = {Asian Art}, author = {Blanchard, Lara Caroline Williams} } @mastersthesis {8767, title = {Waking the Soul{\textquoteright}: The Manchester Art Treasures Exhibition of 1857 and the State of the Arts in Mid-Victorian Britain}, year = {2001}, school = {IFA/NYU}, abstract = {The Manchester Art Treasures Exhibition contained over 16,000 works of art, including 1,173 Old Master paintings, 689 modern paintings, 386 British portraits, 969 watercolors and drawings, 260 Old Master drawings, 597 photographs, 1,475 engravings and 10,000 works of decorative art, contributed primarily by private collectors. When it closed on October 17, 1857 over 1,300,000 people had visited the Exhibition, hundreds of articles written in newspapers and periodicals, both British and foreign, guidebooks published, and sermons and lectures delivered. By focusing on the Manchester Art Treasures Exhibition, how and by whom it was organized, what it displayed, who saw it and how it was reported, interpreted, praised and critiqued, we are able to take a cross section of a particular moment in the history of art and mid-Victorian Britain. We will see that the different aspects of the Manchester exhibition confront and challenge notions of production, reception and consumption that together demand a multipronged approach to its study. Its place in the history of temporary art and industrial exhibitions, examined in Chapter One, and the organizational methods of the Executive Committee and their staff, examined in Chapter Two, make clear the Art Treasures Exhibition{\textquoteright}s position as one of the first blockbuster exhibitions that area mainstay of today{\textquoteright}s museum programs. The importance of the 1857 exhibition to the development of the study of art history in Britain is examined through an analysis of the Art Treasures Palace and the arrangement of its contents in Chapter Three, forming a transition between issues of production and diffusion. The production of official and unofficial exhibition catalogues and guidebooks, examined in the fourth chapter, intersects issues of consumption and marketing, pointing to the inextricable relationship of commerce and the arts. Likewise, the difficulties a temporary, public exhibition confronted in catering to the needs of a varied exhibition-going public are highlighted in the examination of the reception of specific paintings that forms the final chapter.}, keywords = {19th- and Early 20th-Century European Art}, author = {Pergam, Elizabeth} } @mastersthesis {8819, title = {The Wall Paintings of the Thirteenth Century in the Church of the Saviour at Zica}, year = {2001}, school = {UC Berkeley}, abstract = {The monastery of Zica, located in central Serbia, contains some original early thirteenth century wall paintings, dated about 1220. These show two scenes from the Passion of Christ-the Crucifixion and the Deposition from the Cross-also the figures of eight apostles and two angels. The poor state of preservation of all paintings makes their study difficult. Nevertheless, the faded remains of the life-size figural images still convey to the beholder a sense of dignity and grandeur attesting to classical artistic concepts, for example the contrapposto stances of the imposing figures of the apostles, suggestive of antique statuary. In the Crucifixion scene the figures of the Virgin and the Apostle John display an elegance and poise that is intrinsic to Byzantine metropolitan art. The figure of the crucified Christ shows a sense of monumentality that possibly reflects a nascent stage of the new classicizing "monumental" or "volume" style of the thirteenth century. During the Latin rule between 1204 and 1261, which severely upset the longstanding artistic leadership of Constantinople, the evolution of Byzantine painting towards the "Palaeologan Renaissance" is uniquely represented by a sequence of Serbian monuments. The first wall paintings to display a progressive version of the new style appear to have been created in Milegeva during the 1220{\textquoteright}s, that is nearly contemporary with Zica. The new classicizing features in Byzantine art of the thirteenth and fourteenth centuries are said to have ultimately been adopted from a learned classical vocabulary of the art of the Macedonian Renaissance in the ninth and tenth centuries. The paintings in Zica give a quite unexpected support for that reasoning: A specific arrangement of the figures in the Deposition scene demonstrates an iconographic scheme that had become totally antiquated by the thirteenth century, yet was common in the Macedonian Renaissance. Equally surprising is a barely legible inscription in the Crucifixion scene, also reflecting a past tradition. Zica thus very likely is part of a deliberate revival of the Macedonian Renaissance.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Janitzky, Peter} } @mastersthesis {8774, title = {Yoruba Shrine Painting Traditions: Color, Cosmos, Process, and Aesthetics}, year = {2001}, school = {Wisconsin}, abstract = {This work focuses on indigenous painting traditions found on ancestral shrines of Yoruba divinities collectively known as orisa in southwestern Nigeria. The devotional activity of orisa painting often enacted in honor and veneration of departed ancestors for healing, empowerment, and transformation continues to find expression today in the creative works of contemporary artists who have been influenced by this enduring traditional art far beyond the shores of Yorubaland. Beginning with the exploration of orisa imagery using Yoruba oral traditions as the basis of its critical vocabulary, I examine sixteen sacred paintings found in rural and urban centers in Yorubaland. I explore the symbolism of color focusing on the temperament and characters of the orisa. I discuss the materials, processes and aesthetics of the sacred artistry, concluding with an exploration of the contemporary manifestation of orisa imagery in the hands of academically-trained artists, who have adopted the traditional iconography, first as a means of asserting their identity and second as a demonstration of their aversion to economic exploitation and cultural imperialism. The sacred paintings are like "clothing" of the orisa representing "unfinished generative art" in constant need of renewal. I analyze the images, designs, and colors using Yoruba orature, particularly the sacred texts of Ifa, popular songs, folklore, proverbs, and maxims. The affective qualities of color found on the shrine walls represent a means of veneration and worshiping of departed ancestors. Color employed on orisa murals as well as on wooden sculptures might provide a new touchstone for evaluating African art and suggest a model for the interpretation of other African art objects. Among the Yoruba color makes things happen. This work demonstrates the dynamic ways in which color is consciously applied thereby offering a unique lens for interpretation, grounded in the specific traditions of artistic cultures that might be applicable cross-culturally.}, keywords = {African Art}, author = {Campbell, Bolaji V.} } @mastersthesis {8663, title = {The {\textquoteright}85 Movement: Avant-Garde Art in the Post-Mao Era}, year = {2000}, school = {Harvard}, abstract = {The {\textquoteright}85 Movement, which flourished from 1985 to 1989, was the first nation-wide avant-garde movement since the founding of the People{\textquoteright}s Republic of China. It laid the foundation for Chinese art of the 1980s and 90{\textquoteright}s, and might continue to be influential. The 85 Movement was very much a product of its period and reflected the intellectual engagements of the 1980s when China had just opened its door to the West. Most of the artists of the {\textquoteright}85 movement were of the generation born just before or during the Cultural Revolution (1966-76) and experienced the rapid political and economic change in contemporary Chinese society. They were extremely devoted to the search for a modern-type of Chinese culture, and to involving themselves in social reform by fighting for freedom of self-expression. In doing so, they adopted various contemporary visual forms and employed different artistic approaches. Rather than aiming to established conventional art schools or styles, in their art practice they engaged in a search for a contemporary Chinese intellectual ideology which, for most, combines concepts, such as individualism, humanism and nationalism. All the different such "isms" no matter how ambiguous and controversial, were fixed in the particular Chinese political and cultural context of 1980{\textquoteright}s. A pivotal event in modern cultural history, the {\textquoteright}85 Movement was a group movement which overwhelmingly involved some 100 self-organized avant-garde groups during the second half of 1980. The movement produced the numerous attention-getting avant-garde exhibitions of various scales in different locations across the nation, various provocative Dada-Chan-type conceptual art projects, and some extremely aggressive performances which frequently took place in the public sphere. This thesis tempts to sketch an overview of the {\textquoteright}85 Movement, its development and the activities of the groups and artists by using a lot of original, first-hand materials and documents.}, keywords = {Asian Art, Post-1945 Art}, author = {Minglu Gao} } @mastersthesis {8662, title = {Abstract Expressionism, Art Informal, and Modern Korean Art, 1945-1965}, year = {2000}, school = {CUNY}, abstract = {This study discusses the development of modern Korean art in connection with the presence of American and European art in Korea. In particular, it focuses on the relationship between the Informel movement and American and European Abstract Expressionism. The Korean War, which was brought to the attention of the American art community through the MOMA{\textquoteright}s 1951 exhibition "Korea: The Impact of War in Photographs," Pablo Picasso{\textquoteright}s Massacre in Korea of 1951 and War of 1952, and David Smith{\textquoteright}s Parallel 42 of 1953, forms a backdrop against which to understand Korean Informel art. The war led Korean artists to reject all the existing moral, esthetic values and to start over from zero. Their struggle to create a language to express their unique experience resulted in the Informel movement. During the 1950s, Korean artists were eager to absorb information on American and European art. Exhibitions, little known today, such as "Student Work from College and University Art Department" (1956), "Eight American Artists" (1957), and "Art from the University of Minnesota" (1958) gave the Korean art community the opportunity to see some examples of contemporary American art. Magazines were another source of information about American and European art. During the 1950s, such magazines as Life, Time, Art in America, and Art News, which were easily available in Korea, mainly focused their attention on unconventional techniques of Euro-American Abstract Expressionism and Harold Rosenberg{\textquoteright}s idea of Action Painting. For Korean Informel artists, these stylistic characteristics became effective tools for accommodating the specific nature of the national experience. The cultural conflicts between the United States and France were another factor that made it easier for Korean artists to embrace Euro-American Abstract Expressionism. In these conflicts, Asian art and culture served as a means for both injuring and defending the prestige of rivaling American and French positions of modern art. In the process, Asian art and culture unexpectedly emerged as a source of artistic independence, originality, and universality. In this sense, what Korean Informel artists saw in Euro-American Abstract Expressionism was a possibility of cultural convergence in which Asian artistic practices have been enjoined with Western artistic traditions.}, keywords = {Asian Art, Post-1945 Art}, author = {Chung, Moojeong} } @mastersthesis {8579, title = {African Rococo: House and Portrait in Eighteenth-Century Senegal}, year = {2000}, school = {Chicago}, abstract = {African Rococo examines two eighteenth-century West African trading posts, Goree and Saint-Louis. Primarily a work of architectural history, it seeks to create a {\textquoteright}portrait{\textquoteright} of two towns by examining a variety of objects, chiefly houses and actual portraits. Whereas many colonial studies focus on urbanism and colonial discourse, this study looks at the domestic sphere and material objects. In establishing and conducting their domestic living arrangements, Europeans and Africans were in daily contact and thus embarked upon the process of getting to know one another. These two trading centers were the nodes that connected African inland and coastal trade to the European dominated Atlantic trade. Goods-and people-poured into these towns, with the result that they had diverse populations, including Dutch, English, French, and Portuguese; Bambara, Moor, Tukulor, and Wolof. These towns were also notable because many of the categories by which people are identified-gender, race, nationality, religion-were not strictly defined and did not limit people{\textquoteright}s economic and social opportunities. Just one example: at one time, mixed-race African women owned the majority of the houses. These women came to be known as signares, a derivation of the Portuguese word senhora. The signares frequently married European traders and administrators, and they headed up the creole class known as habitants. While the lack of strict categories has its admirable qualities, there is no attempt to paint a rosy picture. The most notorious inhabitants of these islands were the export slaves who faced the horrors of the middle passage. This dissertation constitutes a challenge to how art and architecture are typically seen to have functioned in the colonial world. It probes the relationship between architecture and politics, and seriously questions that art and architecture in the colonies only had destructive properties. Even when forms of representation-a house, a portrait-were European, they could be used by Africans with willingness and intelligence. Arguing constantly for African agency, this dissertation examines the autonomy and authority Africans and mixed-race Africans exercised within these structures.}, keywords = {African Art}, author = {Hinchman, Mark} } @mastersthesis {8669, title = {An Analysis of the Effect of Economic Recessions from 1973 to 1993 on the Auction Value of Paintings by Eight Contemporary Artists}, year = {2000}, school = {IFA/NYU}, abstract = {Over the years there have been innumerable explanations for the rise and fall of the art market. The most often voiced opinion is that there is a cyclical factor of an unspecified duration that controls the secondary market-the sale of art at auction. Prior to 1973, the year of the famous auction of contemporary works in the Scull collection, it was very rare for works of art by living artists to be offered for sale in the secondary (auction) market. In this dissertation, that tracks the secondary market from 1973 through 1993, of works by Willem de Kooning, Jasper Johns, Franz Kline, Roy Lichtenstein, Jackson Pollock, Robert Rauschenberg, Mark Rothko, and Andy Warhol, an analysis based upon the researched data draws conclusions about the relationship between the American economy and the secondary art market. The scope of this study covers the Abstract Expressionist and Pop Art movements, surveying their origins, development and later phases, and in respect to these movements, a history of the auction market in the United States. A short analysis of the general state of the American economy during the years 1973 through 1993 (with particular emphasis on inflationary periods) and a brief overview of both the primary and secondary markets of each of the artists studied reveal similarities and disparities between the art market and the economy.}, keywords = {Post-1945 Art}, author = {Ewald, Elin} } @mastersthesis {8731, title = {Anamorphosis and the Hermeneutics of Perspective from Leonardo to Holbein, 1490-1533}, year = {2000}, school = {Harvard}, abstract = {The thesis traces the development of anamorphic perspective from Leonardo to Holbein. The perspective of a plane so steeply foreshortened that its vanishing point is no longer readily visible, anamorphosis makes projected objects unrecognizable unless they are viewed from a predetermined sight-point. The first chapter is a technical analysis of the curious perspective; the chapters which follow elucidate the changing relations between allegorical reading, visual curiosity, and concepts of secret knowledge associated with anamorphosis. Chapter 1 argues that Leonardo invented anamorphosis by combining traditional principles of Euclidean optics with innovative methods of shadow-casting. Chapter 2 places the novel perspective in the context of other projective systems that drastically alter the way pictures thematize viewing and thus condition their own reception. To explain the hermeneutic possibilities inherent in these systems, I analyse Durer{\textquoteright}s Melencolia I (1514). This complex allegory uses what the artist himself calls a "Kunst in Heimlicher Perspectiva "-an "art of secret perspective"-to elaborate a critique of unbridled curiosity, the desire to decipher nature{\textquoteright}s secrets which was one of melancholy{\textquoteright}s defining features. Perspective thus becomes a figure for "perspectivism", the shifting standpoints of interpretation itself; at the same time, the way the image conceals its perspectival "art" implicates the viewer in the very project of forbidden inquiry the allegory is designed to condemn. Chapter 3 discusses the Vexierbilder (1533-38) or perspective puzzles of Erhard Schon, one of Durer{\textquoteright}s most original, yet least studied followers. These anamorphic prints-the earliest to use the curious perspective-redirect the impulse to illicit curiosity registered in Melencolia I by underscoring the observer{\textquoteright}s complicity in viewing images of the eroticized body. In so doing they modify the hermeneutic parameters of a period culture of secrets which extended from the vernacular arcana of bedroom and brothel to more elevated mysteries of politics and theology. These parameters figure prominently in Chapter 4, which analyses the role of anamorphosis in Holbein{\textquoteright}s "Ambassadors" (1533). In this double portrait of Jean de Dinteville and Georges de Selve (envoys sent by Francis I to the court of Henry VIII), the curious perspective visualizes the politico-theological arcanum of the King{\textquoteright}s Two Bodies, thereby evoking the dichotomy of the Body natural of the sovereign, subject to mortality, and the Body politic of the State, which was thought to be immortal. Central to my interpretation is the picture{\textquoteright}s use of royal symbolism, which includes the Order of St. Michael which Dinteville wears (token of his status as representative of the French king) and the Cosmati floor upon which he and his friend are standing (sign of the sacrality of English monarchy). Working in concert with the anamorphosis, these allusions suggest that the image functioned as an allegory of sacral kingship meant to facilitate diplomatic exchange between the courts of France and England in 1533.}, keywords = {Renaissance Art}, author = {Sherer, Daniel} } @mastersthesis {8641, title = {Ancient Egyptian Royal Bronzes with Special Attention to the Kneeling Pose}, year = {2000}, school = {IFA/NYU}, abstract = {Royal bronze (properly cupreous to encompass generally early usage of copper and other alloys) statuary is collected in a catalog and studied to establish a network of datings to known kings or limited time ranges by inscription or by stylistic comparisons to dated bronze and stone statuary. Study of the preponderantly popular kneeling pose provides a second tool for understanding the role and development of royal bronzes. While large royal cupreous statuary apparently existed quite early, it is known rarely in the preserved record. Small royal examples in ritual actions such as kneeling and offering are first known in the late Middle Kingdom, and continue throughout the New Kingdom. Small bronze royal statuary is very popular, and stylistically and technologically diverse and innovative during the Third Intermediate Period. A focused interest in the kneeling pose begins already in the late ninth century. The brief Kushite Dynasty produces a large array of strongly standardized bronzes in ritual performance poses, most in the kneeling pose, but also in other types suggesting a programmatic interest. Dynasty 26, actually the successor of both the Third Intermediate Period and the Kushite interlude, shows a standardized figural canon for bronzes. Even so, a surprising degree of variability in details of costume is tolerated, suggesting royal bronzes were simply made under different controls than stone statuary. Only two inscribed bronzes are known for the entire fourth century and Ptolemaic Period. Still, a certain number can be assigned to narrow ranges, and beyond that a set of extended types is also identified which seem likely to belong to the period. Examination of the role of small bronze royal statuary identifies offering and protecting/revitalizing functions. Several possibilities for use and placement are noted, and the common notion that confronted groups of god and king epitomize the use of these kings is examined and criticized. The conclusion draws attention again to the non-canonical aspects of bronzes and underscores the fact that large numbers of more generalized images, very often of poorer quality and difficult to date except possibly by technological clues, exist from the Third Intermediate Period onwards.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Hill, Marsha} } @mastersthesis {8700, title = {The Appearance of Modernity: Images of New York City, 1919-1932}, year = {2000}, school = {IFA/NYU}, abstract = {This study examines the strategies artists developed to convey the meaning and appearance of urban life in New York as it established itself as a global capital between the First World War and the Depression. During this period, the imagery of the city changed dramatically from Joseph Stella{\textquoteright}s panoramic vistas, to Georgia O{\textquoteright}Keeffe{\textquoteright}s geometric easel painting and Margaret Bourke-White{\textquoteright}s abstract architectural photographs. In addition to problems of representation, I address shifting paradigms in art criticism and aesthetics as they coincide with attitudes toward urban representation. The dissertation consists of four chapters each highlighting a single artist or partnership. A fifth chapter discusses criticism and aesthetics. Chapter one presents Stella{\textquoteright}s urban art as a romantic vision consistent with nineteenth century landscape traditions. Chapter two takes Charles Sheeler and Paul Strands film Manhatta as an example of work that eschewed romanticism to forge an essential and geometric image of New York City. Limiting references to nature and romantic allusions, Sheeler and Strand created the formal vocabulary for a new urban realism. Chapter three examines representations that adopt styles and attitudes that, as in Sheeler and Strand{\textquoteright}s work, prioritize objectivity, but inflect its order with expressive and metaphoric visual languages. O{\textquoteright}Keeffe{\textquoteright}s cityscapes dominate this chapter, which also considers the work of Stefan Hirsch and George Ault. Chapter four addresses the intellectual context of urban imagery. Part one examines the changing notion of New York as the Cubist City. Francis Picabia first applied the modernist epithet to New York in 1913 and it was used throughout the twenties while the city and images of it changed. The second half of chapter four considers the aesthetic thought of John Dewey as a philosophical counterpart to the period. Chapter five returns to the methodology of the first three chapters to investigate Bourke-White{\textquoteright}s photographs of Manhattan skyscrapers. These images focus so narrowly on the forms of modern building that they jettison the context of the city itself. New York is no longer the subject. Transcendence, once the realm of Stella{\textquoteright}s abstractions, returns in an objective guise constructed from the unaltered shapes of the city.}, keywords = {Pre-1945 North American and South American Art}, author = {Kalb, Peter} } @mastersthesis {8637, title = {The Architectural Expression of Social Categories at Five Early Bronze Age West Anatolian Communities}, year = {2000}, school = {Bryn Mawr}, abstract = {This study is both a critical examination of the social category of the individual in archaeological interpretations as well as a demonstration of how architectural remains can be analyzed as a material expression of social units and boundaries. I argue that the category of the individual is socially constructed and culturally variable. Cross-cultural research has shown patterned differences in the way that people conceptualize the relationship between an individual and larger social groups. Western ideas of the individual within society have developed in a specific way and may be inadvertently misapplied in archaeological interpretations of ancient societies. Archaeologists need to develop better methods to investigate the changing material expression of the individual in relation to other social categories within ancient contexts. Ideas of the individual and relationships between social units can become physically manifested in forms of material culture. The built environment has a special relationship to the expression of social categories by providing a physical structure, which can either enclose or create boundaries between them. There are specific aspects of the built environment, including segmentation, privacy controls, and canonical communication that offer potential in exploring the ancient material expression of social categories. Five excavated sites: Thermi, Poliochni, Troy, Karatas and Demircihuyuk, from the West Anatolian Early Bronze Age (early 3rd millennium B.C.E.) provide a case study. I show how investigating questions about the form of houses and communities may reveal how people thought of and used spatial arrangements to express their social knowledge of themselves as an individual and larger social categories.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Aslan, Carolyn Chabot} } @mastersthesis {8692, title = {Architecture of Luis Barragan}, year = {2000}, school = {Delaware}, abstract = {The Mexican architect Luis Barragan (1902-1988) had a long and distinguished career, but his total architectural output was small. His office was small in terms of staff, and he maintained a solo practice for most of his life, taking on a partner only in 1979. None of his staff, including his partner, wrote on Barragan and his office, leaving a somewhat incomplete record with respect to the way in which Barragan actually practiced architecture. Although several of his clients are still living, little of their recollections of working with Barragan have been published. The purpose of this dissertation is to address his career and works through the perspective of his clients. The research into this subject placed a great deal of emphasis on primary documentation wherever available and on personal interviews with the clients and collaborators on the projects themselves. The result of these investigations was a reconstruction, at least as close as was possible, of the course of the architect-client relationship from the initiation of the design through its completion, combined with an analysis of the design itself as a work of architecture. This study produced a picture of the architect not as the solitary artist, as he has often been depicted in the literature, but rather as an architect who was keenly aware of the role of his clients and who went to great lengths to work with them on their individual designs. Indeed, Barragan made his clients his partners during the design process, in addition to becoming their friend as well. He practiced architecture on a personal as well as professional level, which is rather unique and distinctly Mexican in character.}, keywords = {Pre-1945 North American and South American Art}, author = {Ferguson, John} } @mastersthesis {8562, title = {Aristide Maillol (1861-1944): Pioneer of Modern Sculpture}, year = {2000}, school = {IFA/NYU}, abstract = {This fully illustrated and documented, chronological survey of the life and career of the French sculptor Aristide Maillol, analyzes his work in relation to the events of his life and to political, artistic and theoretical influences. Newly available archival material, and a recent proliferation of scholarly analyses of the period in which Maillol lived, have made it possible to reevaluate his intellectual and stylistic place in the development of modern sculpture. Maillol{\textquoteright}s classicist aesthetic is rooted in his native Mediterranean village of Banyuls-sur-Mer. As a painting student at the Ecole des Beaux-Arts in Paris, he moved beyond the conservative teaching offered there in search of a style that would convey his warm feelings for the landscape and women of his region. This he found in the paintings of Gauguin and the Symbolist theories of his new friends, the Nabis. Pursuing their involvement with the Arts and Crafts Movement, Maillol focused on the decorative arts of embroidery and woodcarving throughout most of the 1890s. About 1903, he decided to become a sculptor. Wanting to make his own mark, he rejected the cold neo-classicism of Salon sculpture and the expressive sculptural style of Rodin to concentrate on abstract, architectonic interpretations of the female nude. Maillol{\textquoteright}s statues in the first decade of the twentieth-century looked forward to the formalism of modern sculpture, although he never went as far toward abstraction as the generation of sculptors that followed him. The position he achieved in the avant-garde was compromised in the 1920s and 1930s when his style was appropriated by the classicizing sculptors in France favored by the supporters of the nationalistic "return to order." The popularity of these works in Nazi Germany and Vichy France, as well as Maillol{\textquoteright}s questionable activities during that period, caused his sculpture to fall from favor at the end of World War II. It is only now, with the perspective of time, that Maillol{\textquoteright}s formative role in the history of twentieth-century sculpture can be understood.}, keywords = {19th- and Early 20th-Century European Art}, author = {Kramer, Linda} } @mastersthesis {8612, title = {The Aristocratic Town House in Regency Paris: Hotel du Maine and Hotel de Matignon}, year = {2000}, school = {Columbia}, abstract = {This dissertation examines the aristocratic town house in the context of the political and social upheavals of Regency Paris (1715-1723). Two Regency town houses serve as case studies, the Hotel du Maine (Robert de Cotte, Armand-Claude Mollet, Antoine Mazin; 1716-26) and the Hotel de Matignon (Jean Courtonne, Antoine Mazin; 1720-25). The study argues that in the uncertain period following the death of Louis XIV, sword nobles broke the rules of architectural decorum by deploying signs of princely status in their houses. The first chapter considers why each family built a town house and finds that both the Maine and Matignon sought to use architecture to bolster their claims to princely status. The second and third chapters examine the floor plans of these houses, which exemplified the new art of domestic planning of the early eighteenth century. Based on previously untapped archival sources, these chapters offer a more complete picture of each hotel than that offered in the plans published in the eighteenth century by Jean Mariette and Jacques-Francois Blondel. Chapter Two explores the realm of servants, both service areas and servant lodgings, in each town house. Each family employed a large household of officers and domestic servants, partly as a way to symbolize their power and potential to rule, and thus the provision of architectural space for domestic servants had a representational significance. At the same time, an emerging distrust between master and servant compelled the architects to devise methods to make the servants invisible to the family they served. Chapter Three focuses on the family apartments, and examines how the architects designed each house to be seen and understood by court society. In the realm of their town houses, the Maine and Matignon families boldly transgressed the rules of architectural decorum by including room types commonly associated with princes and by using fashion to proclaim rank. The myriad symbols of rank embedded within each hotel were aimed at a specific audience, namely court society and the Regent, who were ultimately not persuaded to acknowledge either the Maine or the Matignon families as princes.}, keywords = {Baroque and 18th-Century European Art}, author = {Lewallen, Nina} } @mastersthesis {8711, title = {Art and Allegiance in Baroque New Spain}, year = {2000}, school = {Chicago}, abstract = {The seventeenth-century Spanish empire was global. From the court in Madrid, the Spanish Habsburgs ruled over kingdoms on the Iberian and Italian peninsulas as well as realms in the Low Countries, the Philippines, the Caribbean, and the viceroyalties of Peru [Andean South America] and New Spain [today, Mexico]. The crown{\textquoteright}s American possessions of Peru and New Spain were especially distant from the court, and the temporal and spatial dimensions of the empire pervaded the experiences of those peninsular Spaniards who moved back and forth between the Old World and the New in early modernity. But on the level of the imaginary, how was the empire of the Spanish Habsburgs conceptualized by those whose lives were so closely tied to its design? Focusing on the case of New Spain, this dissertation charts the emergence and discursive circulation of the figure of the imperial subject-the figure who appears in and is presupposed by an array of written and visual representations produced in the second-half of the seventeenth century in Mexico City. The dissertation argues that around this figure a visual and spatial culture was generated which referenced ideas of allegiance to the crown and which gave a visible and material form to conceptualizations of the Spanish Habsburgs{\textquoteright} empire as a network of thematized, inter-referential social spaces.}, keywords = {Pre-1945 North American and South American Art}, author = {Michael Schreffler} } @mastersthesis {8580, title = {Art and Identity among the Zaramo of Tanzania}, year = {2000}, school = {Binghamton}, abstract = {This dissertation uses three types of figurative wood sculpture of the Zaramo of Tanzania as an illustration of some of the social and political effects of usasishaji or modernization on contemporary African art. It considers the ways post-independence influences of usasushaji on the Zaramo, and on Tanzania generally (particularly during the ujamaa period of socialist revolution between 1961-1980), have contributed to shape select figurative sculpture; how these Zaramo sculptures helped to construct, define, negotiate, and express Zaramo identity and culture in the light of these changes. The study describes how in the process of social, cultural, and political change, a variety of social responses-modern Tanzania, Christian missionaries, tourism, Islam, and Swahili-have shaped the form, style, function, and meaning of Zaramo mwana hiti trunk figures, grave markers, and staffs. With the aid of museum objects, photographs, written sources, and field research, I approach the subject of this inquiry using an art-historical and cultural perspective. The dissertation shows that the modernizing influences it addresses have led to significant changes on Zaramo figurative wood sculpture. But usasishaji influence like Islam, I argue, has not undermined the Zaramo, tradition of making figurative wood sculpture since the tradition is linked to the cultural identity/practices of the Zaramo. It is the principal means for producing some of the art objects central to defining and fostering Zaramo identity and culture. In this connection, the Zaramo tradition of figurative carving will continually be reinvented in line with usasishaji and social change in Zaramo society and culture.}, keywords = {African Art}, author = {Mshana, Fadhili} } @mastersthesis {8735, title = {Art and Ommegangen}, year = {2000}, school = {IFA/NYU}, abstract = {This study investigates the interplay between painting and drama in the fifteenth-century Netherlands. Plays accompanied many local processions (called ommegangen), often appearing alongside local relics and/or miraculous statues. Artists were sensitive to the heightened importance and value of these dramas and painted allusions to the stage, perhaps to help assure that their images shared in that status. Investigating the power of these theatrical productions, this study reframes the art and-drama question by focusing on the performative vs. the literary nature of theater, suggesting that theatrical experience helped audiences interpret and understand other visual images, such as those found in paintings. The work begins by explaining general aspects of late-medieval drama: its form, its participants, its sources and theology, its international character, its impact. It then focuses on the Netherlands, using works by nineteenth-century archivists to outline its theater{\textquoteright}s history and pervasiveness. From there, the study discusses selected works by a small group of artists, each involved in dramatic productions, or active in town with strong theatrical traditions. It starts with Robert Campin and Rogier van der Weyden in Tournai, discussing their paintings in relation to that city{\textquoteright}s dramatized Procession of the True Cross. It then follows Rogier to Louvain, with its theatrical Kermis Ommegang, and to Brussels, where the artist, as city-painter, probably designed and decorated the carts for the Petit Sablon Procession and its {\textquoteright}Seven Joys of Mary{\textquoteright} plays. Hugo van der Goes{\textquoteright}s later works, painted nearby in Oudergem{\textquoteright}s Rood Klooster, may also relate to Brussels{\textquoteright}s plays. That artist was also active in Ghent{\textquoteright}s civic and church theater, and his other works are discussed with that connection in mind. The study concludes with Bruges, its Procession of the Holy Blood, drawing possible connections to Hans Memling{\textquoteright}s works, and to paintings by Petrus Christus, who renovated its carts. In each case, the author focuses on how artists forged theatrical connections in their works, and on the status and meaning that viewers might have transferred from drama to art when confronted with such connections.}, keywords = {Renaissance Art}, author = {Trowbridge, Mark} } @mastersthesis {8719, title = {Art and Politics in Counter-Reformation Paris: The Case of Philippe de Champaigne and His Patrons (1621-1674)}, year = {2000}, school = {Pittsburgh}, abstract = {Philippe de Champaigne (1602-1674) dominated both religious painting and portraiture in Paris during his lifetime. His career also coincided with tension between the Catholic Church and the State caused by the launching of the Counter-Reformation movement in France. Since the majority of Champaigne{\textquoteright}s patrons actively supported the Counter-Reformation, some reflections of these religious and political tensions are to be expected in Champaigne{\textquoteright}s art; yet, art historians have failed to address these issues. Champaigne{\textquoteright}s involvement with the Benedictine Convent of Port-Royal, seen as the stronghold of Jansenism in France, has dominated all discussions of his life and work. After opening this study with a brief summary of Champaigne{\textquoteright}s life and career (to provide a general understanding of the artist), I explain the motivations of previous scholars who have constructed Champaigne as a Jansenist. These motivations are linked to the fact that Jansenism was still an essential and debated issue in the French politico-religious climate in which these scholars worked. Redirecting the manner in which Champaigne{\textquoteright}s oeuvre has been analyzed can only help to revitalize the state of research on this painter. The core sections of my dissertation are devoted to the politico-religious patronage Champaigne received from his most prestigious patrons: Queen Maria del Medici, Cardinal Richelieu, selected devot personalities and Queen Anne of Austria. In these chapters, I demonstrate how closely the patronage of Champaigne by this group was linked to their political and religious agendas. Moreover, this approach clarifies Champaigne{\textquoteright}s role within the Counter-Reformation and shows how his work fulfilled the pictorial needs and requirements of this movement in France. This study is one of the first attempts to examine the workings of French seventeenth-century patronage in the politico-religious sphere and to shed light on the influence of the Counter-Reformation movement on the politics of the State.}, keywords = {Renaissance Art}, author = {Bertrand, Anne} } @mastersthesis {8697, title = {Art Criticism in America before The Crayon: Perceptions of Landscape Painting, 1825-1855}, year = {2000}, school = {Delaware}, abstract = {The rise of art criticism in America began in earnest in the second quarter of the nineteenth century in response to the emergence of the Hudson River School of landscape painting, hailed as the first national style. Surprisingly, these nascent years of the craft of criticism have been largely overlooked in favor of the later blossoming of art writing at mid-century. Most discussions of the early discourse on painting focus on the first major periodical devoted exclusively to art in this country, the Crayon, which was launched in 1855. Indeed, this publication did provide the first concentrated arena for the formulation of artistic doctrine. However, the criticism of the preceding decades, which was scattered in literary journals and newspapers, was not inconsequential, even though modern historians have dismissed these early appraisals as unperceptive and limited to mere description. On the contrary, many early critics wrote with insight on the new painting they encountered. Much has been written concerning the general reception of landscape painting in its first decades in America, but the body of appraisals has been treated as an anonymous source, with little concern for specific authors. However, many individual critics from this early period can be identified, and a knowledge of their particular circumstances enriches the understanding of their comments on art. Art criticism during these years was authored by a wide variety of individuals, including literary editors, poets and novelists, artists, and ministers. I have devoted a chapter to each of these groups, focusing on the distinct perspective each brought to the judgment of a work of art. A comparison of each reviewer{\textquoteright}s outlook to the prevailing norms in criticism, characterized by a concern for nationalism, moralism, and egalitarianism, illuminates this distinctiveness. My final chapter is focused on the work of a single critic, George William Curtis, whose writings in the early 1850s represent the pinnacle of this initial period in American art criticism. His exceptional analysis of New York landscape painting is the most resounding proof of the need for a thorough examination of these pre-Crayon years.}, keywords = {Pre-1945 North American and South American Art}, author = {Halligan, Emily} } @mastersthesis {8560, title = {The Art of Grace Hartigan: Masquerade and Identity}, year = {2000}, school = {Wisconsin}, abstract = {With the reassessment of abstract expressionism, figurative realism, and women{\textquoteright}s place in art history, Hartigan{\textquoteright}s position as an innovative, prolific, and socially critical artist is secure. Referred to as a "second generation abstract expressionist," Hartigan began her career in New York City in the 1950s and by 1951 had achieved her initial recognition as an innovative artist. She began to paint figuratively in 1952, an act considered regressive by the champions of abstract expressionism. In 1960 she moved to Maryland, further severing her ties and lessening her fame in New York. Although Hartigan{\textquoteright}s career has been increasingly recognized in print, little scholarly attention has been given to her as an astute social observer. This dissertation examines Hartigan{\textquoteright}s works formally, biographically, and culturally, focusing on her personal iconography, its ideology, and its commentary on contemporary American issues, especially those that focus on women. Hartigan has consistently painted themes of masquerade and explored issues of identity as she observes and comments on her environment. In locating her work theoretically, I investigate feminist literature on masquerade and how it relates to the images of masks. Hartigan criticized society-imposed gender roles, in particular how they consciously or unconsciously affect identity. On that point, her collaboration with the poet Frank O{\textquoteright}Hara centers on the "Oranges" series as an expression of their complex relationship. Essentially, my purpose is to assess Hartigan{\textquoteright}s self-identification through the images she chooses from history, art history, popular culture, literature, and everyday life. Although there are many and varied definitions of modernism, I view Hartigan{\textquoteright}s work on the basis of modernist aesthetic ideology. Her personal manifesto, to capture subjects both vulgar and vital and their possible transcendence into the beautiful, is evident throughout her career.}, keywords = {19th- and Early 20th-Century European Art}, author = {Kinnecome, Mary} } @mastersthesis {8683, title = {The Art of Lucio Fontana: Between Utopia and Kitsch}, year = {2000}, school = {Harvard}, abstract = {This study examines the intersection between modernism and mass culture in the art work of Lucio Fontana (1899-1968). The protean nature of his oeuvre, which includes abstract painting, decorative sculpture and installation art, is interpreted as a critical response to the fraught condition of 20th century artistic avant-gardes. In the early 1930s Fontana attacked the idealism of traditional figurative sculpture through an irreverent use of color. Engaged in modernist debates on the synthesis of the arts in the mid-1930s, Fontana produced planar, abstract sculptures that were visually integrated with the architectural wall. However, a similar repudiation of the autonomous art object lay behind the employment of abstraction in fascist spectacle. Fontana{\textquoteright}s response was to re-address the question of the art work{\textquoteright}s connection to its environment through polychrome decorative ceramics. By prostrating his sculptures on the ground, and employing light-reflective glazes, Fontana emphasized the material basis of his work while continuing to stress its relationship to the physical surroundings. After the war, Fontana produced several large-scale installation works. Through an innovative use of modern lighting technology these {\textquoteright}environments{\textquoteright} engaged with both the architectural and phenomenological dimensions of space. While returning to the project of a synthesis of the arts in such installations, in his choice of materials such as fluorescent paint and neon light, Fontana also demonstrated the medium{\textquoteright}s closeness to the commodity spectacle ushered in by the post-WWII economic boom. Faced with the difficulties of realizing art{\textquoteright}s integration with space, in his later career Fontana returned to the autonomous art work by taking up easel painting. However, by puncturing the canvas and through the application of kitsch colors, he continued to demonstrate the need to demolish and go beyond the art object. Moreover, by literally opening his paintings with a gesture that marked the author{\textquoteright}s absence, Fontana focused on the profoundly visceral relationship between his work and the viewer{\textquoteright}s physical body.}, keywords = {Post-1945 Art}, author = {White, Anthony} } @mastersthesis {8691, title = {Art of the American South, 1915-1945: Picturing the Past, Portending Regionalism}, year = {2000}, school = {UIUC}, abstract = {Concepts of race, region, and nature shaped the works of interwar southern artists who gave visual definition to a distinctive image of the South in paintings and prints which were sold to tourists, widely exhibited and published. The thirteen artists included in this study are substantially representative of members of the Southern States Art League, the primary professional organization of the region. In interwar southern art, concern for the relationship between society and the natural world is strong in images which reformulate centuries-old ideas of nature as a positive guiding force or remedy for the ills of civilization. Artists establish a regionalist complex that is characteristically southern by celebrating pastoral and agrarian themes, suggesting that the South is unaffected by modern life, featuring African Americans as children of nature who are emotionally and intellectually immature, and asserting that nature is a controlling force which regulates aspects of southern society as diverse as its rhythm and its segregation by race. This art supported arguments that the South{\textquoteright}s unique qualities warranted self-determination in internal affairs. Between 1915 and 1945 many Americans exhibited an interest in folkways and regionalism. A region which projected a clear identity based on its intrinsic character, even when that character was flawed, gained the attention of many outside of the South who were hesitant to embrace modernity or who felt threatened by industrialization. The South{\textquoteright}s homogeneous groups and predictable social interactions appealed to some who were tired of social transformations. The inequities, economic hardships and exploitation found in southern society were largely glossed over by purveyors of its image. Peace, leisure and serenity were stressed in art of the region. Southern art has received little scholarly attention. Archival sources are used here to document the development of regionalism in the South and to examine the work of Frank London, Hobson Pittman and Mary Tannahill from North Carolina; Alfred Hutty, Anna Heyward Taylor and Elizabeth O{\textquoteright}Neill Verner form South Carolina; Lamar Dodd from Georgia; J. Kelly Fitzpatrick and Anne Goldthwaite from Alabama; Marie Hull and John McCrady from Mississippi; and Josephine Crawford and Will Henry Stevens from Louisiana.}, keywords = {Pre-1945 North American and South American Art}, author = {Dennison, Mariea} } @mastersthesis {8598, title = {Art Production and Theory in Benjamin West{\textquoteright}s Studio}, year = {2000}, school = {CUNY}, abstract = {This dissertation examines the process of art production in the large and prosperous studio of Benjamin West, examining his roles as teacher and artist. West{\textquoteright}s reputation and success were based on wealth (or the illusion of wealth), innovative painting strategies, and a professed knowledge of contemporary art theory. To all this he added self-promotional tales of his own biography, which, according to West, were proof of his artistic genius. His concept of artistic genius was based on two opposing ideas; an artistic "innocence" born of his close ties to nature and the natural world, and his inherent understanding, from an early age, of the artifice characteristic of eighteenth-century art theory. First hand accounts of life in West{\textquoteright}s studio recorded by his students and friends, as well as contemporary biographies, are examined in conjunction with eighteenth-century artistic practices found in instructional treatises of the day. Considered scientific in his approach to his craft, West meticulously followed the artistic methods handed down from the French and Italian academies of the seventeenth century. An examination of West{\textquoteright}s preparatory drawings reveals he followed three specific stages of painting preparation; invention, composition and design. In planning the painting of a picture, West, critical of artists who relied on instinct, was guided by the color theories of Isaac Newton. His interests in color theory echo a larger trend in which artists no longer needed to be concerned with the time-consuming manufacture of pigment in the studio, relying instead on paint suppliers, a practice that greatly reduced the need for studio assistants. West{\textquoteright}s scientific and methodical techniques rendered him a valuable teacher and his willingness to share his methods with a large number of students broke with traditional apprentice/master conventions. Since nearly all successful American artists of the period spent time in West{\textquoteright}s studio during their formative years, knowing more about their experience there leads to a greater understanding of their subsequent careers, as well as the way in which art was taught in America well into the nineteenth century.}, keywords = {19th- and Early 20th-Century European Art, Baroque and 18th-Century European Art, Pre-1945 North American and South American Art}, author = {Carson, Jenny} } @mastersthesis {8686, title = {Articulating {\textquoteright}American{\textquoteright} Text and Image in American Modernism}, year = {2000}, school = {Pennsylvania}, abstract = {This dissertation explores the various manifestations in which text appeared in the verbal and visual art forms of American modernism and argues that written language was an essential component of this group{\textquoteright}s artistic activity between 1900 and 1930. Participants in the dynamic, interdisciplinary intellectual community of American modernism, including Paul Strand, Florine Stettheimer, Charles Demuth, and Alfred Stieglitz, discovered that the meaning of their art as both modern and American could be inscribed in their work through the deployment of verbal strategies in their writing and their visual art. In my first chapter, I consider Stieglitz{\textquoteright}s role as the editor of the avant-garde periodicals Camera Work and 291 between 1903 and 1917 to suggest that although the written word functioned for the American modernists initially as a means of literal and conventional communication, it eventually came to signify the larger deconstruction of meaning and hierarchies underway in the artworld at large. My second chapter considers the use of "found" texts in the 1916 street photographs of Paul Strand. The framing of these found texts within the pages of Camera Work served an aestheticizing mission intended to humanize society through the benevolent mechanics of the camera. My final chapter explores the function of proper names as visual forms capable of signifying individual, national, and modern identity in portraits by Charles Demuth and Florine Stettheimer during the 1920s. In considering these artists and their works, I have employed primarily formal looking and social history, as well as some historical semiotics. For American modernists who sought to dissolve hierarchies between tradition and innovation, Europe and America, the established and the fledgling, the dissolution of boundaries between word and image provided a model for just such subversions of larger socio-cultural structures.}, keywords = {Pre-1945 North American and South American Art}, author = {Arauz, Melanie Rachael} } @mastersthesis {8614, title = {The Artistic Patronage of Anne of Austria (1601-1666): Image-Making at the French Court}, year = {2000}, school = {IFA/NYU}, abstract = {Anne of Austria (1601-1666), Queen of France, commissioned four major projects: the decoration of three apartments, one in the Palais Royal and two in the Louvre, and the construction of the church and convent of the Val-de-Grace. Previous studies of these projects focus on the painters and architects involved in the work, and therefore isolate the commissions from one another, obscuring the relationship between them. As a result, Anne{\textquoteright}s artistic patronage has appeared inconsequential and diffuse. This dissertation studies these commissions together for the first time and seeks to arrive at an understanding of Anne of Austria. Anne{\textquoteright}s projects were undertaken to glorify her reign and celebrate the position of the queen. Following princely tradition, Anne commissioned elaborate allegories to decorate her political arena. Although artistic paradigms extolling male rulers were well-established, gender-specific metaphors were needed to laud the French queen. Anne was not the first French female regent to grapple with this problem; indeed, the allegories created for Anne of Austria extended the imagery used to glorify two of her predecessors, Catherine and Marie de Medicis. From the late sixteenth through the mid-seventeenth century, a specifically female heroic language was engendered. This representation of the heroic image of the French queen reached its peak during the reign of Anne of Austria when paintings, prints, medals, court ballets, and treatises, as well as the queen{\textquoteright}s personal projects all extolled her in a similar language. Each of Anne{\textquoteright}s commissions is analyzed as evidence of the developing image of the heroic queen and is related to contemporary panegyrics. Furthermore, the commissions are discussed as models of princely style and grandeur and as monarchical propaganda that profoundly influenced the artistic patronage of Anne{\textquoteright}s son, Louis XIV. The formulation of Louis XIV{\textquoteright}s image, which effectively presented the Sun-King as the ultimate embodiment of the ancien regimen{\textquoteright}s power, is indebted to the decorative projects commissioned by Anne of Austria.}, keywords = {Baroque and 18th-Century European Art}, author = {Rotmil, Lisa} } @mastersthesis {8666, title = {The Artist{\textquoteright}s Book in the United States: 1960-Present}, year = {2000}, school = {Minnesota}, abstract = {"No Longer Innocent: The Book Arts in America, 1960 to 1980" traces the emergence of the artist{\textquoteright}s book in America during the sixties and seventies in its three manifestations: the fine press book, the deluxe book, and the bookwork. The discussion considers the characteristics of the artist{\textquoteright}s book and the issues it raises that stem from its dual nature, that is its identity as both book and art. Those issues include the art world{\textquoteright}s historical bias against craft, questions of rarity and value arising from works made in multiple copies, and the challenge posed to traditional artistic media by the artistic use of commercial printing technologies. In fact, this history broadens the portrayal of the artists of the period to encompass the role of an independent publisher, or even of an artist standing at a copier or offset press. Together with the discussions of specific books and artists, this history also considers the book arts{\textquoteright} own institutional development, along with the related worlds of typography, trade book publishing and independent publishing. The discussion begins with two chapters that concern European and American precursors from the late nineteenth century up to 1960, followed by two chapters that focus on the U.S. artist{\textquoteright}s book in the sixties and seventies. This study investigates how the book affected art movements sympathetic to its properties and potential, as a site and source of art-making, and in particular it considers key artists{\textquoteright} books that responded to a specific art movement, like Pop, Fluxus or Conceptualism. In addition, this dissertation traces an identifiable trend from the mid fifties, that consists of artists who have chosen to work with books, simply from a recognition that the book is an artifact that can inhabit both private and public realms, a performative object that can enact an artist{\textquoteright}s ideal of directly addressing an audience one-on-one.}, keywords = {Post-1945 Art}, author = {Bright, Betty} } @mastersthesis {8657, title = {Arts, Gender, and Changing Constructions of Tamazight (Berber) Identity: The Ait Khabbash of Southeastern Morocco, 1930-1999}, year = {2000}, school = {Wisconsin}, abstract = {Imazighen (Berbers), one of the oldest groups of people inhabiting the northern part of the African continent, use arts to create a distinct identity for themselves in relation to other groups. This dissertation focuses on how arts are used in the process of identity construction among one particular Amazigh (Berber) group, the Ait Khabbash of southeastern Morocco, and the relationship of identity construction to gender roles. The period between the 1930s and the 1990s was a time of profound change for the Ait Khabbash as they moved from a nomadic lifestyle to a sedentary existence. Group identity among the Ait Khabbash is expressed in performative and visual arts. Arts provide them with the means to maintain and enhance their identity. Until the last thirty years, Ait Khabbash women created and used the majority of art forms that not only served as symbols of group identity, but they also celebrated female sexuality and fertility. Women were the guardians of Ait Khabbash group identity, and the importance of women in identity construction gave women a certain level of power and prestige. This study uses the arts produced by women to deconstruct gender dichotomies that associate women with the private, domestic sphere and men with the public domain. Since the power of women in Ait Khabbash society comes from their role in creating arts of group identity, recent changes in the construction of identity mean that the position of women is also changing. By the 1970s, most Ait Khabbash had left their nomadic, rural lifestyle and settled in more highly populated areas. Women in these areas no longer create the artistic symbols of Ait Khabbash group identity and have lost some of their power and status. This study concludes that artistic expressions of group identity are continuously created and recreated to fit the needs of a group, and this profoundly influences gender roles.}, keywords = {African Art, Post-1945 Art}, author = {Becker, Cynthia J.} } @mastersthesis {8653, title = {Arts of the Book in 16th-Century Shiraz}, year = {2000}, school = {IFA/NYU}, abstract = {The dissertation examines arts of the book in Shiraz during the first century of Safavid rule. Scholarly literature has neglected Shiraz illustrated manuscripts, despite the fact that the number of extant manuscripts from this city exceeds those from all other centers combined. The first three chapters of the dissertation provide a framework for the understanding of sixteenth century Shiraz manuscripts. The manuscripts are situated within the social and political history of the period and the local history of Shiraz. The next five chapters discuss the chronological evolution of the arts of the book in sixteenth-century Shiraz. The final chapter is devoted to issues of patronage in connection with this sub-royal body of material and analyses Safavid and Ottoman demand for Shiraz manuscripts. 1520 marks a turning point in the illustrative style of Shiraz manuscripts. These radical stylistic changes were clearly the result of new modes of painting which originated in Tabriz, and were subsequently assimilated to the Shiraz idiom. The dissertation identifies an artist named Qasim, active in Shiraz in the 1520s, as the instigator of this new Shiraz style and traces its history until it draws to a close at the end of the century. Some of the prolific Shiraz production of sixteenth century was extremely luxurious, although the degree of ostentation varied. Especially from about the middle of the 1570s, Shiraz manuscripts began to display a degree of richness that reached its zenith in the 1580s when a remarkable number of illustrated manuscripts incorporated all the outward trappings of court productions. The dissertation demonstrates that Shiraz manuscripts were purposefully made to resemble royal manuscripts produced in the reign of Shah Tahmasp. It additionally utilizes inscriptional documentation on the manuscripts themselves and archival inventories to show that the clientele included not only Safavid courtiers but also the elite of the Ottoman realm. The dissertation therefore argues that deluxe Shiraz manuscripts of the sixteenth century were specifically produced for the consumption of court circles.}, keywords = {Islamic Art}, author = {Uluc, Lale} } @mastersthesis {8695, title = {Asher B. Durand{\textquoteright}s American Landscapes and the Nature of Representation}, year = {2000}, school = {Boston}, abstract = {My dissertation has two goals: to reassess Durand{\textquoteright}s place in the current scholarship and to offer a new interpretation for Nature and landscape representation in American culture. The paper emphasizes the relationship between the object, Nature, and its representation, landscape. Rather than focusing on the meanings associated with Nature in nineteenth-century America, I consider how the form of its painted image, the landscape, worked to shape these values. I analyze Durand{\textquoteright}s Letters on Landscape Painting, 1855, as one example of the prevailing discourse on Nature from Durand{\textquoteright}s moment. A close reading reveals signs of strain in this discourse. We see grammatical and metaphorical contradictions and incongruities that I read to suggest that Nature is an open, even empty, term rendered meaningful by its rhetorical relationship to God, art, truth-privileged signifiers at this time. The role of landscape representation in constructing Nature as replete with cultural value is typified by the work of Durand-a major figure in the mid-century art world. One example, In the Woods, 1855, and its critical reception articulates my interpretation. The composition of the painting and the debates in the press over its classification suggest that narrative structure was essential to the construction of Nature. The critically successful landscape structured the raw material of the outdoors as a unified, coherent, sequential phenomenon that also intrinsically embodied man{\textquoteright}s relationship to Nature. In the Woods precipitated critical uncertainty because its form worked to imagine Nature, then withheld narrative closure, creating visual and epistemological ambiguity where conclusion was required. I also consider the manner in which mid-century landscape painting worked to keep Nature intentionally beyond the signifying systems of society. I argue that Durand{\textquoteright}s landscapes constructed Nature as culture{\textquoteright}s other. I also find two disparate styles of writing about the landscape. The styles, which I define as ekphrastic and formal, present opposing ideas about the power of representation as well as conflicting notions of the separateness of Nature from culture. It is, finally, the role of the landscape to maintain the putative opposition of Nature to culture, while imbuing Nature with man{\textquoteright}s abstract values.}, keywords = {Pre-1945 North American and South American Art}, author = {Georgi, Karen} } @mastersthesis {8588, title = {Authenticity in a New Key: Chen Hongshou{\textquoteright}s Figurative Oeuvre, {\textquoteright}Authentic Emotion,{\textquoteright} and the Late Ming Market}, year = {2000}, school = {Michigan}, abstract = {This dissertation focuses on the eremitic garden portraits, the romance drama illustrations, and the printed playing cards of Chen Hongshou (1598-1652). It examines his art in relation to two interacting themes: (1) the commodification of late Ming society, and (2) the importance of authenticity ( zhen) and emotion (qing) in late Ming literary theory. In Li Zhi{\textquoteright}s essay on the "childlike mind" he rails against those who fake their authentic personal feelings. Li sees feeling and political frustration as essential sources of good writing. He also regards companionate male-female relationships as the source of feeling (qing) and hence as a basis for other values. Linked to these ideas, both Li Zhi and Yuan Hongdao also invest vernacular literature with a new importance. Chen Hongshou{\textquoteright}s interest in facial expressions, his individualized characterizations of the bandit-heroes of the Water Margin, his decision to illustrate romance novels and the visual correlation he creates with the lush ci poetry therein, his pictorial adaptation of poses and props from the theater, Chen{\textquoteright}s prefaces drawing on the wording of Li Zhi, and even his persistent choice of literary models for figurative paintings (Su Shi, Bo Juyi, Tao Yuanming) all reinforce the stress on authenticity, emotion, and direct, vernacularized writing in the essays of Li Zhi and Yuan Hongdao. Chen{\textquoteright}s Water Margin cards became a forum for expressing political criticism aimed at reforming the late Ming court. After the fall of the Ming, Chen{\textquoteright}s Venerating Antiquity cards built upon the social critique set up by Wang Daokun{\textquoteright}s Wanli-era text. In order to barter for his daily needs, Chen Hongshou flattered patrons by painting them as materially disinterested hermits, or by painting for them depictions of renowned scholars like Su Shi. Chen also portrayed himself as a hermit, simultaneously confessing to this own routinized artistic production. The gradual late Ming shift away from personalized barter to less personalized public exchange meant that it was advantageous for an artist to develop an identifiable, idiosyncratic style. Chen Hongshou found himself providing patrons with their desired self-image at the same time that he marketed his own "authentic" persona to an increasingly broad collecting public.}, keywords = {Asian Art}, author = {Bentley, Tamara H.} } @mastersthesis {8659, title = {Ben Enwonwu and the Constitution of Modernity in 20th-Century Nigerian Art}, year = {2000}, school = {Northwestern}, abstract = {This dissertation maps, through the career of Ben Enwonwu, the constitution of visual and discursive practices in modern Nigerian art defined as those forms of intellectual production engendered by the appropriation of European modes of symbolic communication by Nigerian artists in the 20th century. Narratives of the interaction between African and European cultures brought about by the colonization of Africa has so far privileged Europe by perceiving African forms of expression as mimicry of or deviations from occidental perfection. This perception is most damaging in art where African appropriations of European modes of representation early in the 20th century are denigrated while appropriations of African visual languages and modes of symbolic communication by European modernists in the same period are celebrated as evidence of genius. The constitution of social space(s) of modern art practice and artistic identity by Nigerian artists is thus hobbled by the weight of colonial and postcolonial discourses that deny the validity of these forms of cultural practice in relation to the hegemonic narratives of European modernism. This dissertation evaluates, through analysis of Enwonwu{\textquoteright}s career, how ideologies of representation and notions of cultural practice impacted on the practice of modern Nigerian artists in the 20th century.}, keywords = {African Art, Post-1945 Art}, author = {Ogbechie, Sylvester} } @mastersthesis {8633, title = {Between Matter and Spirit: The Reliquaries of Pope Paschal I}, year = {2000}, school = {Johns Hopkins}, abstract = {Lavishly decorated with images, the reliquaries of Pope Paschal I (817-24) are among the most extensively pictured reliquaries of the early Middle Ages. The objects consist of two pairs, each of which contains a golden reliquary cross enclosed by a silver casket. Except for one reliquary cross, which dates to before Paschal{\textquoteright}s pontificate, all of the objects are covered with images on every external surface. The imagery focuses on New Testament narrative cycles with a clear preference for scenes of Christ{\textquoteright}s infancy and of his appearances after the resurrection. The first chapter presents the objects in the light of artistic tradition and extant sources and demonstrates the difficulty in associating them with any specific liturgical activity. The following chapters are concerned with iconography and meaning. An analysis of the pictorial tradition behind each individual image shows that the pictorial sources were used eclectically, comprising Early Christian, later Byzantine and early medieval models. In Rome, inspiration was found in local monuments such as the triumphal arch mosaic of Sta. Maria Maggiore and especially in the oratory of John VII (705-707). Additionally, the imagery contains several original features independent of any pictorial tradition. The investigation of the content of the pictorial programs focuses on the relationship between the relics, the reliquary crosses, and their containers. The analysis demonstrates that both caskets were designed to symbolize the Church. In so doing, the establishment of the Church is attributed to the Incarnation, whereas the Virgin and the cross are emphasized as the vehicles of this establishment. The Church is expressed in terms of Christ{\textquoteright}s sacramental body, with particular attention given to the primacy of Rome. There then follows a comparison of the pictorial programs of the two pairs of objects. This shows that the two pairs should be understood as pendants, each of which complements the incarnational and ecclesiological content of the other. The succeeding chapter examines the programs within their historical context, arguing that the distinct focus on the Virgin and the cross as mediators and the Church as a sacramental fellowship departs from a discussion of the function of images provoked by the outbreak of the second period of Byzantine Iconoclasm and the writings of Claudius of Turin. The objects should, therefore, be seen as material statements of Orthodoxy, emphasizing the ability of physical things to mediate between humankind and God. By reference to the Jewish sanctuary and its divinely ordained cult objects, the reliquaries are themselves stressed as sacred matter. Since the issue of material mediation is subsequently linked to the episcopal office of Pope Paschal, the objects both serve as authorizations of the pope{\textquoteright}s Orthodox faith and emphasize his own position as mediator of the sacred. The final chapter sums up the foregoing conclusions and puts them into the broader context of Pope Paschal{\textquoteright}s artistic patronage.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Erik Thuno} } @mastersthesis {8548, title = {Between Spirituality and Nationalism: Expressionism in Polish Art, 1917-1922}, year = {2000}, school = {CUNY}, abstract = {Between Spirituality and Nationalism: Expressionism in Polish Art, 1917-1922 is the first extensive study that brings Poznan Expressionists, Young Yiddish, Formists, and Polish Futurists together and examines interconnections between them, while bridging their art with broader socio-political and cultural currents in Poland after World War I. The first chapter, "The Polish Context," defines Polish Expressionism, discusses artistic life in Poland between 1917 and 1922, and provides an overview of the existing literature on the subject. The following four chapters are devoted to individual groups, analyzing their activities and art. The four chapters discuss the activities of each of the four groups chronologically, while focusing on the art and programs detailed in the groups{\textquoteright} publications. The last chapter, "Toward the Future, Realism a rebours," presents circumstances leading to the disappearance of Expressionism in Poland in the mid-twenties. This dissertation argues that Expressionism in Poland was an original artistic formation developed after Independence, as well as the first Polish avant-garde movement with a clear program that aimed at uniting modern art and life. I question, therefore, the assumption advanced by the majority of Polish scholars that Polish Constructivism rather than Expressionism played a pioneering role in the development of modern Polish art. As a part of a larger phenomenon that occurred all over Europe, Polish Expressionism needs to be understood as a missing link between similar tendencies in Russia and western Europe. The development of Expressionism in Poland coincided with the reemergence of Poland on the map of Europe in 1918, which was a crucial factor for its reception. Perceived as a foreign (mainly German) or foreign-influenced aesthetic, Expressionism was rejected by both Polish artists and the public at large in the 1920s, in part because they considered it a threat to Polish cultural identity. This study pays special attention to the issue of multiculturalism in Poland. While analyzing multicultural and multiethnic specificity of Poland in the period between 1917 and 1922, I use Expressionism as a case study to show how nationalism conditioned Polish art and led to the suppression of pluralism.}, keywords = {19th- and Early 20th-Century European Art}, author = {Bartelik, Marek} } @mastersthesis {8554, title = {Between Stations and Habitations: The Architecture of French Science at the Shore, 1830-1900}, year = {2000}, school = {MIT}, abstract = {This dissertation introduces a group of mutable institutions of research which emerged along the coast of France in the nineteenth century. The setting of these stations gave rise to a manner of occupation, both in the sense of physical inhabitation and of intellectual orientation, distinct from but related to the cultural institutions of the city. Their very remoteness resulted in structures with an unusual "double program": one of research and one of habitation. In examining the architectural, visual, and scientific components of this double program, the dissertation reveals a profound connection between the domestic and natural economies which ordered these places of research. This connection, I argue, provides the basis for a new understanding of ordering space on the related scales of architecture, landscape, and region. The first part of the study identifies a moment of cultural criticism in which a group of naturalists vacated the existing edifice of knowledge. Physically and intellectually abroad in a new field of research, their efforts to accommodate themselves there constituted a particular understanding of place in the production of knowledge. A tension between mobile and fixed modes of experiencing place determined the structural features of these accommodations. This tension is shown to be an important conceptual feature of nineteenth-century architectural, historic, and scientific accounts of man{\textquoteright}s place in nature. The second part of the study presents the thesis that these stations did not merely facilitate a research discipline but served as its premise. Focusing on the development of two stations which were "annexes" of the Paris Sorbonne, it shows how they were shaped by a practical and political bias against scientific institutions conceived as monuments. It argues instead that in comprehensively managing the elements of time, place, and circumstance these stations were instruments for mediating the natural world. The unique and undocumented visual practices for which they were the site ultimately revealed the physical and philosophical limits of the project of knowledge that they set in motion, and of vision itself. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.) This dissertation introduces a group of mutable institutions of research which emerged along the coast of France in the nineteenth century. The setting of these stations gave rise to a manner of occupation, both in the sense of physical inhabitation and of intellectual orientation, distinct from but related to the cultural institutions of the city. Their very remoteness resulted in structures with an unusual "double program": one of research and one of habitation. In examining the architectural, visual, and scientific components of this double program, the dissertation reveals a profound connection between the domestic and natural economies which ordered these places of research. This connection, I argue, provides the basis for a new understanding of ordering space on the related scales of architecture, landscape, and region. The first part of the study identifies a moment of cultural criticism in which a group of naturalists vacated the existing edifice of knowledge. Physically and intellectually abroad in a new field of research, their efforts to accommodate themselves there constituted a particular understanding of place in the production of knowledge. A tension between mobile and fixed modes of experiencing place determined the structural features of these accommodations. This tension is shown to be an important conceptual feature of nineteenth-century architectural, historic, and scientific accounts of man{\textquoteright}s place in nature. The second part of the study presents the thesis that these stations did not merely facilitate a research discipline but served as its premise. Focusing on the development of two stations which were "annexes" of the Paris Sorbonne, it shows how they were shaped by a practical and political bias against scientific institutions conceived as monuments. It argues instead that in comprehensively managing the elements of time, place, and circumstance these stations were instruments for mediating the natural world. The unique and undocumented visual practices for which they were the site ultimately revealed the physical and philosophical limits of the project of knowledge that they set in motion, and of vision itself. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {19th- and Early 20th-Century European Art}, author = {Edward Eigen} } @mastersthesis {8684, title = {Brasilia in Context: The Dissemination and Character of Modern Architecture in Brazil}, year = {2000}, school = {Missouri}, abstract = {The construction of Brasilia, designed by Lucio Costa as the new capital of Brazil, dedicated in 1959, was a dramatic experience in the history of Brazilian architecture and urban design. It had a tremendous impact on Brazilian architects and urban planners who either participated in its creation or were aware of its development through a number of official and unofficial journals such as Modulo and Habitat. This dissertation explores the architectural and urban context in which Brasilia was created and the impact of its design on later Brazilian architecture and urban planning. Chapter I briefly discusses the general history of Brazilian urbanism from the colonial period up to the creation of the new state capital of Minias Gerais at Belo Horizonte. The primary focus of Chapter II is the Modernist movement in Brazil prior to Brasilia. Central to this discussion is the influence of Le Corbusier, who was a consulting architect on the Ministry of Education, 1936-44. His Dom-ino structural system and "Five Points of a New Architecture" had a pervasive influence on subsequent Modern architecture in Brazil, due to its adaptability to the Brazilian climate and culture. Chapter III discusses Brasilia in context with the creation of Goiania as the new state capital of Goias, the Brazilian "Garden City" movement and the urban development of Rio de Janeiro and Sao Paulo. Chapter IV is concerned with the continual development of Brasilia and the legacy of Oscar Niemeyer whose Free-form Modern style has taken Brazilian Modern architecture in a new direction. Chapter V discusses the impact of Brasilia after 1960 by means of a regional breakdown. The main focus is on new state capital cities, such as Palmas in Tocantines and Boa Vista in Roraima, and new state capital complexes, such as at Salvador in Bahia, Cuiaba in Mato Grosso, Porto Alegre in Rio Grande do Sul, Teresina in Piaui and others. Also discussed are new housing projects, corporate headquarters, university campuses and other buildings and urban designs that can be linked stylistically to the architecture and urban design of Brasilia.}, keywords = {Post-1945 Art}, author = {Wright, Steven D.} } @mastersthesis {8714, title = {Bringing Light to Life: The Art of Agnes Pelton (1881-1961)}, year = {2000}, school = {Kansas}, abstract = {This study places the life and works of American painter Agnes Pelton (1881-1961) within a cultural and historical framework, emphasizing her ceaseless efforts to support herself solely with art. Despite the forces-internal and external-which impeded her success, Pelton produced a quality oeuvre in multiple styles. Focusing on imaginative paintings, portraiture, floral designs, abstractions, and desert landscapes, this work examines Pelton{\textquoteright}s representations of gender, sexuality, place, class, ethnicity, and religion, as well as delineates the issues which affected the inception, creation, and reception of her art. For example, Chapter Six examines Pelton{\textquoteright}s reconfiguration of the nineteenth-century metaphor, woman is a flower, into the floral symbol as eros, an internal creative force. Pelton exhibited in the acclaimed Armory Show in 1913; she was a student of Arthur Dow and Hamilton Easter Field, a contemporary of Georgia O{\textquoteright}Keeffe and Arthur Dove, and active in New York City{\textquoteright}s avant-garde arts community in the 1910s. She belonged to the Transcendental Painting Group of New Mexico, was a friend of Mabel Dodge Luhan, knew Mary Austin, and participated in Will C. Comfort{\textquoteright}s Glass Hive in Pasadena. Pelton was one of the earliest abstractionists in California, creating Lotus tor Lida there in 1929. She also devised a visual representation of movement, a trajectus sursum, in her spiritually focused abstractions and constructed an iconography which appealed to a limited audience "enlightened" by Theosophy and Agni Yoga. Because Pelton promoted her work without a long-term patron or support group, her diminished acclaim resulted, in part, from limited exposure in major galleries after 1932, her dedication to spiritual themes, and her decision to dislocate from the mainstream, city art world. Through all, Pelton{\textquoteright}s life can be read as a series of displacements, initiated, for the most part, by her own willful choices. At fifty, Pelton moved to the California desert and spent her later years painting realistic landscapes to sell to tourists and luminous, spiritual abstractions to meet her "life{\textquoteright}s goal." Not only does this dissertation bring Pelton{\textquoteright}s life to light, it also illumines the spiritualized light she projected through her art. Moreover, it provides a glimpse of that elusive spotlight of fame and exposes the difficulties a highly competent, single woman artist faced in the first half of the twentieth century, as she struggled to bring her "especial light messages to the world."}, keywords = {Pre-1945 North American and South American Art}, author = {Sheley, Nancy Strow} } @mastersthesis {8584, title = {Brushes with Freedom: Painting and the Ethics of Formalism}, year = {2000}, school = {Cornell}, abstract = {A common objection to Anglo-American formalist criticism is that its understanding of the viewer as autonomous detaches aesthetic theory from considerations of politics or ethics. Against this critique, I want to argue that, for Anglo-American formalism, the idea of the autonomous viewer is an ethical imperative. And the defense of this ideal constitutes an engagement with the cultural crisis into which, according to the major texts of this tradition, capitalism has cast Western society. As instructive examples of this tendency, I will focus on three crucial texts: John Ruskin{\textquoteright}s Modern Painters (1842-1860), Roger Fry{\textquoteright}s "Essay in Aesthetics" (1909), and Clement Greenberg{\textquoteright}s "Modernist Painting" (1960). In each of these texts, the writers hold that recognizing good painting depends upon free aesthetic judgment-a concept derived from the writings of such major eighteenth-century philosophers as the Earl of Shaftesbury and Immanuel Kant. While Ruskin, Fry, and Greenberg disagreed significantly over what constituted freedom, they concurred that it required detachment from the profit-driven mechanisms of cultural production, which they believed determined everyday life in industrialized society. Their texts suggested that such mechanisms threatened to compromise the viewer{\textquoteright}s autonomy by replacing all forms of free judgment with calculations based on economic viability. Thus, under capitalism, these critics argue, individual judgment is eclipsed by an externally-generated calculus of profit and loss. This shift constitutes the colonization of the imagination that is, for Ruskin, Fry, and Greenberg, the essence of the cultural crisis brought on by capitalism. Because capitalism must expand to survive, it continuously searches for new areas of human life that can be turned to profitable use. Its pervasiveness as an actively colonizing force means that the autonomy of the viewer cannot be assumed. Rather-and this is what makes the formalist ideal an ethical imperative-the viewer{\textquoteright}s autonomy must be defended earnestly, and viewing autonomously must be thought of as a deliberate feat of resistance.}, keywords = {Art Criticism and Theory}, author = {Reeve, Charles} } @mastersthesis {8581, title = {Burden of Legacy: Two Generations of Makerere Artists}, year = {2000}, school = {Emory}, abstract = {In this dissertation, I examine the history of art production and training at the Margaret Trowell School of Fine and Industrial Arts of Uganda{\textquoteright}s Makerere University. Focusing on the careers of two generations of artists trained at this School between the 1930{\textquoteright}s and 1990{\textquoteright}s, I take a two-fold approach. First, while tracing the history of the School through the changing scenarios of colonial and post-colonial periods, I pay special attention to the numerous ways artists from both generations exploit existing indigenous objects, materials, images, ideas, and social memories in their representations to make artistic statements. I examine how these appropriated elements transform as symbols, from one context to another, until many of them become remote from their traditional origins, acquire a new identity, and become integral with the process and enterprise of art-making. Second, I show that the academic legacy of the School plays a crucial role in this artistic process, providing a link among the numerous individual artistic endeavors to connect them into one historical continuum. I argue that though this demonstrates the making of an art history under local conditions, it ultimately claims a global identity for these artists.}, keywords = {African Art}, author = {Sanyal, Sunanda K.} } @mastersthesis {8643, title = {Burial Customs of Roman Cyprus: Origin and Development}, year = {2000}, school = {Missouri}, abstract = {No record in ProQuest}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Parks, Danielle} } @mastersthesis {8707, title = {Caricature, Modernity, and Artistic Identity: Peggy Bacon between the World Wars}, year = {2000}, school = {Case Western Reserve}, abstract = {A prolific artist and author, Peggy Bacon produced her most important work and received considerable critical attention during the years between the World Wars. Two bodies of work from this period are especially noteworthy: her satirical prints of art students and the bohemian life of New York{\textquoteright}s Greenwich Village, and her celebrity caricature drawings. This dissertation examines Bacon{\textquoteright}s pursuits in these two areas, analyzing how caricature offered her a way to reconcile mutual interests in European modernism and Ashcan School realism, and establishing how they reflect her strikingly personal transformation of an established genre. Bacon{\textquoteright}s emphasis on her surroundings and experiences in her prints derived from the practices of the Ashcan School, in particular, John Sloan, a prominent member and Bacon{\textquoteright}s mentor. However, whereas Sloan{\textquoteright}s observations of New York life generally express a detached attitude on his part, Bacon{\textquoteright}s images are usually more personal in nature, frequently portraying occasions with family and friends or her own activities. Her prints often touch on the role of women in a bohemian society that was challenging traditional social norms. Bacon{\textquoteright}s satirical portrait drawings were inspired by the celebrity caricature trend which peaked in the United States during the interwar era, but again, she developed her own unique approach. In contrast to many of the leading celebrity caricaturists whose work highlighted visible and distinctive qualities of the famous, Bacon, conversely, sought to penetrate skin-deep impressions to expose inner characteristics of her subjects. These works strike an interesting balance between Ashcan School realism and modern art. In addition to analyzing visual work by Bacon, I also consider her satirical poetry and various personal issues, including, the suicide of her father, Charles Bacon, and her marriage to the painter Alexander Brook. In this study, I argue that Bacon{\textquoteright}s use of satire, in her art and verse, helped to ease both the pain of her father{\textquoteright}s death and the pressures of balancing a career, marriage, and motherhood. Moreover, I discuss how Bacon{\textquoteright}s pursuits in caricature and printmaking allowed her to develop fully her own artistic identity without fear of direct competition from her then very successful husband.}, keywords = {Pre-1945 North American and South American Art}, author = {Meng, Sara} } @mastersthesis {8606, title = {Cataloguing Nature in Art: Jan Brueghel the Elder{\textquoteright}s Paradise Landscapes}, year = {2000}, school = {USC}, abstract = {The novelty of Jan Brueghel{\textquoteright}s (1568-1625) paradise landscapes lies in the impressive assemblage of animals depicted naturalistically and presented simultaneously as figures of a religious narrative and subjects of a scientific order. Brueghel{\textquoteright}s paintings represent cultural attitudes towards nature, such as the taxonomic schemes of natural history catalogues of the time. The categories employed by contemporary naturalists to characterize animals also reveal a pansophic approach; they defined species in terms of their literary, biblical, or morphological associations. Brueghel, like the sixteenth-century natural historians Conrad Gesner and Ulisse Aldrovandi, combined empirical methods with textual knowledge to achieve a comprehensive and veristic representation of animals that incorporated different systems of belief. Brueghel{\textquoteright}s development of the paradise landscape, which paralleled his encounters with patrons and collectors who had a keen interest in nature, reveals the evolution of his descriptive and cataloguing approach in which he applied the prevalent scientific and religious schemes of ordering the universe. His paintings chronologically follow Ulisse Aldrovandi{\textquoteright}s methodology in which description leads to definition, definition to classification, and classification to knowledge. Brueghel represents the episodes in the narrative of Genesis that corresponded to this taxonomic process of naming and ordering; he refers to the creation and naming of animals in the Creation of Adam (1594; Doria Pamphilj Collection, Rome) and classifies species in the Allegory of the Elements (1604; Kunsthistorisches Museum, Vienna) and Entry of the Animals into Noah{\textquoteright}s Ark (1613; J. Paul Getty Museum, Los Angeles). Brueghel was the first artist to classify species using the format of a panel painting. He adhered to Aldrovandi{\textquoteright}s division of species into homogeneous groups based on biological and physical resemblance. Furthermore, by depicting animals{\textquoteright} behavior and natural habitats, Brueghel translated the written information in natural history catalogues into a pictorial format. The naturalistic description of animals formed the basis of Brueghel{\textquoteright}s approach, but his ultimate quest for an appropriate framework within which to present species led to his formulation of an encyclopedic representation that incorporated the scientific, religious, courtly, and artistic language of his time.}, keywords = {Baroque and 18th-Century European Art}, author = {Faber-Kolb, Arianne} } @mastersthesis {8642, title = {The Cave-Sanctuary of Apollo Hypakraios on the Acropolis North Slope: Politics and Religion in Imperial-Age Athens}, year = {2000}, school = {Brown}, abstract = {In 1897, ten votive plaques were found during the excavation of a cave on the northwest slope of the Athenian Acropolis, certainly the "sanctuary of Apollo in a cave" mentioned by Pausanias. The plaques were dedications to Apollo Hypoakraios, and the dedicants were archons. Although the corpus has proliferated since then, the inscriptions have not been collected since the original publication. This dissertation presents the corpus as it now stands and offers conclusions drawn from the analysis of this corpus. Although the texts are short and formulaic, the plaques themselves, their decoration, prosopography, and dates offer clues to the origins and function of the cult. References to the sanctuary in ancient literature were long conflated with references to the Athenian Pythion, leading some to postulate that the sanctuary on the North Slope served as a kind of primitive Pythion. Recent developments in the interpretation of the sources and, consequently, of the topography, have made this conflation unnecessary. Analysis of the votive formulae sheds doubt on the pertinence of an archaic inscribed base, often cited as evidence of the antiquity of the cult. One is then confronted by total silence regarding the cult until the early 1 st century AD. The dedications clearly relate to the archonship, and were likely made in official capacity, perhaps accompanying oaths of office. The late date of the evidence offers opportunity for interpretation of the cult{\textquoteright}s function. A distinct connection between Apollo and the Roman Emperor is well attested in Julio-Claudian Athens. Claudius shared honors with Apollo Patroos, whose cult myth overlaps that of Apollo Hypoakraios. A statue base from Athens refers to Augustus as "the new Apollo", a connection that was heavily exploited by the Athenians. Perhaps it seemed fitting that the archons uphold tradition in swearing by Apollo Patrons under another guise, one that allowed them to simultaneously reverence their "new Apollo." The reign of Augustus seems a likely circumstance for the development of such an unusual official cult.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Nulton, Peter E.} } @mastersthesis {8575, title = {Cezanne, Lucretius, and Late Nineteenth-Century Crisis in Science}, year = {2000}, school = {UC Berkeley}, abstract = {Focusing on the late years of his career (1890-1906), this dissertation examines Paul Cezanne{\textquoteright}s practice and theory of painting in the context of the "crisis in science" at the end of the nineteenth century. The critical debate turned on the status of representational "realism" in scientific theory, and it was catalyzed by the increasingly central role played in science by atomic theory. Positivist orthodoxies had dominated scientific investigation in France since mid-century. Restricting scientific inquiry to the study of objects directly accessible to vision, positivists considered "the atomic hypothesis" speculative and the term "atom" merely a figure of speech. Cezanne{\textquoteright}s art emerged in the heyday of French positivism in the 1860s, and previous scholars have interpreted his work within that cultural framework. But Cezanne executed his late canvases and issued most of his theoretical statements about painting when positivism was most deeply troubled by the implications of atomic theory in the 1890s. Moreover, while scientists and philosophers debated the "question of the atom," Cezanne turned to read Lucretius{\textquoteright}s De Rerum natura, a classical treatise on atomistic philosophy. This text figured centrally in debates about scientific realism. My dissertation seeks to provide specific historical parameters for Cezanne{\textquoteright}s pictorial innovations-especially for what has been called his "constructive stroke"-at the intersection of the conflict between positivism and atomism. Chapter One describes the nature of the crisis in science and outlines how its concerns inform nineteenth- and twentieth-century critical questions about Cezanne{\textquoteright}s art. Chapter Two discusses Cezanne{\textquoteright}s engagement with Lucretius during the late 1890s and offers evidence that he was familiar with the poet as early as the late 1850s. This chapter then re-examines Cezanne{\textquoteright}s "materialism" in the context of the nineteenth-century reception of Lucretius. Chapter Three describes the multiple and often contradictory uses of the term "atom" in scientific discourse, concentrating on theories of optics and psychology known to avant-garde painters during this period. Chapter Four shows how Cezanne{\textquoteright}s painting participates in these debates pictorially and how his late work resists interpretation either as strictly "positivist" or "materialist" as these terms were defined at the turn of the century.}, keywords = {19th- and Early 20th-Century European Art}, author = {Kathryn Tuma} } @mastersthesis {8673, title = {Challenging Boundaries: The History and Reception of American Studio Glass, Patterns of Patronage and Commodification, 1975-1990}, year = {2000}, school = {USC}, abstract = {This dissertation addresses the dilemma facing the American studio glass movement after World War II: Can art be fashioned out of glass, or do the utilitarian associations embedded within the medium preclude it from being considered an acceptable art medium? This dissertation is the first to examine this question that reveals both the early history of the movement and the clash of ambitions and power that mark the relationship between the craft and high art worlds. The Introduction frames the question, defines the terms used, and reviews the sparse literature found in the craft and high art worlds. Part I (three chapters) presents the early history and distinctive characteristics of the movement to 1975. Chapter 1 analyzes the evolving terminology (from art glass to studio glass), the effects of production practice (factory or studio), and the adoption of high art customs. Chapter 2 reviews not only philosophical and circumstantial factors that shaped studio glass, the state of glassmaking practice before the proto-studio glassmakers, the emergence of pioneering practitioners, the importance of the Asilomar conference of 1957, early institutional support, the founding of The Corning Museum of Glass, the Glass 1959 exhibition, but how each benefited from the resolution of technical issues, permitting expanded artistic expression. Chapter 3 covers the contested history (1955-62), the influential exhibitions, and pre-1975 marketing and collecting patterns. Also recounted is the movement of glass into university curricula, the impact of the Object USA exhibition of 1969 and early collector behavior. The tentative movement of glass into museums and the challenge of creating content-driven art conclude Part I. Part II (three chapters) moves to the period 1975 to 1990 period and addresses the increased commodification and expanding patronage for American studio glass. Chapter 1 outlines market development through craft fairs, multimedia craft shops, glass-only galleries, dealers, and the secondary market. Escalating prices attest to the creation of higher perceived value that resulted from increased publications, exhibitions, and critical reviews. Chapter 2 examines private and public (institutional and corporate) collecting. Chapter 3 assesses the degree to which American studio glass has challenged the boundaries between craft and high art.}, keywords = {Post-1945 Art}, author = {Lynn, Martha Drexler} } @mastersthesis {8733, title = {The "Chiostro Grande" of Monte Oliveto Maggiore and the Olivetan Reform Movement}, year = {2000}, school = {Florida State}, abstract = {The character of fourteenth- and fifteenth-century Italian Benedictine monasticism was profoundly changed through the vigorous reform effort spearheaded by the Olivetan Congregation. Begun in 1313 by Bernardo Tolomei, the Olivetan reform movement continued to thrive well into the sixteenth century. During these centuries abbot generals initiated numerous and vast artistic and architectural programs at the congregation{\textquoteright}s mother house, Monte Oliveto Maggiore. The culmination of these campaigns was the Chiostro Grande fresco cycle of the life of Saint Benedict commissioned by Abbot General Domenico Airoldi. Begun in 1495 under Signorelli and completed in 1508 by Sodoma, this cycle was the most extensive cloister cycle ever executed in Italy. Beginning in the fifteenth century, and contemporary with other Benedictine reform movements, Benedict cycles began to appear regularly in cloisters of other important reform houses. Based on Pope Gregory the Great{\textquoteright}s life of the saint, as set forth in the second book of his Dialogues, the Monte Oliveto Maggiore cycle most clearly expresses the chief measures that led to the restoration of Benedictine monasticism in Renaissance Italy. Essentially Signorelli and Sodoma transformed the sacred text of Gregory{\textquoteright}s Dialogues into a descriptive narrative emblematic of Olivetan monasticism and monastic reform. Each wall of the Chiostro Grande-east wall with episodes prior to Benedict{\textquoteright}s entrance into monastic life, south wall depicting narratives from the saint{\textquoteright}s abbacy at Subiaco, and the west and north walls depicting events from Benedict{\textquoteright}s abbacy at Monte Cassino-can be understood as a recapitulation of the history of the Olivetan Congregation and its founding. The expansion of the Order under Olivetan command, the strict adherence to the precepts of the Rule of Saint Benedict, the restructuring of the Order{\textquoteright}s governing infrastructure, and the implementation of Benedict{\textquoteright}s life as monastic exemplum are all integral elements of the program{\textquoteright}s central message. In this cycle a new interpretation of Gregory{\textquoteright}s Dialogues was developed to express the conceptual unity that pervades these messages. This included shifting focus away from the particulars of Benedict{\textquoteright}s life in an effort to stress the concordant nature of the Dialogues and the Rule. Only when this unity of text and monastic practice is recognized can the visual images be understood as exempla of the Olivetan{\textquoteright}s vision of the ideal monastic environment.}, keywords = {Renaissance Art}, author = {Sundstrom, Kurt J.} } @mastersthesis {8631, title = {The Choir of St. Quentin: Gothic Structure, Power, and Cult}, year = {2000}, school = {Columbia}, abstract = {This dissertation seeks to understand the interface between French Gothic architectural design, stained glass, and social history through the comprehensive study of a single building, the collegiate church of Saint-Quentin. The interpretive difficulties that Saint-Quentin has posed for scholars of Gothic architecture provide an opportunity to examine several questions about the development of the Gothic church and its ability to convey meaning. Combining an analysis of the architectural fabric with study of figurative stained glass allows a consideration of the multiple visual, spiritual and intellectual levels on which the space might be experienced. The builders, artisans, and clergy of Saint-Quentin participated actively in the artistic invention that characterized the decades immediately before and after 1200 throughout much of western Europe. There are both intersections and disconnections among their endeavors. Space, image, function, and interpretation are therefore treated as separate but interdependent strands that define Saint-Quentin as a monumental whole. The first chapter is a critical examination of the historiography of Saint-Quentin and its implications for a rethinking of artistic development and social influences in Gothic. Chapter II presents the textual and archaeological background for the early medieval history that became central to the institutional identity of the church in the high middle ages. Chapter III describes the several social hierarchies, both civic and ecclesiastical, within which the collegiate chapter operated. Chapters IV-VI provide a detailed examination of the architectural fabric, and its underlying design processes, and propose a new dating for the phases of construction up to 1257. The final three chapters look at the two surviving cycles of stained glass, and examine their subjects and the ways that the interaction of image and architectural space affect the viewer{\textquoteright}s experience. Chapter VII treats the historiated lower glass and Chapter VIII the role of donor portraits within the radiating chapels. The final chapter views the more publicly accessible hemicycle clerestory windows as a means of focusing attention on the sanctuary, where connections between images and relics provided links between past and present, between earth and heaven, and between ecclesiastical history and clerical authority.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Shortell, Ellen} } @mastersthesis {8571, title = {The City at Night in Nineteenth-Century British Art}, year = {2000}, school = {IFA/NYU}, abstract = {A defining characteristic of our modern Western culture is that we are an urban society that has decisively broken with the organizing principle of basing our daily lives on the rise and fall of the sun. Nineteenth-century Great Britain was the first nation to establish a commonplace outdoor urban night life, beginning with the gaslighting of Pall Mall in 1807. A galvanizing force in this story was the development of a reliable, convenient system of public street lighting, using gas and eventually, electricity. Nineteenth-century Britain was also notable for being the first nation to be defined by the modern phenomenon of the mega-city. Therefore, British artists would have had the initial opportunity to live in and think about the city at night. While art historians have to some extent looked at the city at night in twentieth-century art, virtually no work has been done on its intellectual and visual origins and development in the previous century. This manuscript deals with how British artists investigated this new aspect of the city. It begins with the development of the industrial night and ends with the Great War. Artists discussed include Gustave Dore, William Powell Frith, Walter Greaves, Atkinson Grimshaw, William Holman Hunt, John Lavery, Wyndham Lewis, Philip James de Loutherbourg, John Martin, Christopher Nevinson, Abraham, Sebastian and Henry Pether, Thomas Rowlandson, Walter Sickert, Joseph Turner, Edward Wadsworth, James Whistler, and Joseph Wright of Derby. In the hands of these artists, the city at night gained multiple layers of meaning. The urban night could be a source of great national pride and also a symbol of unspeakable shame. It could be a time of allusive beauty and dreamy leisure. It was a venue that afforded great theater, while also being fraught with danger. The city at night became a complex and integral part of an expanding urban society.}, keywords = {19th- and Early 20th-Century European Art}, author = {Ruzicka, Joseph} } @mastersthesis {8674, title = {Collectivities: Protest, Counter-Culture and Political Modernism in New York City Artists{\textquoteright} Organizations, 1969-1985}, year = {2000}, school = {CUNY}, abstract = {A succession of New York City artists{\textquoteright} organizations had political agendas and avant-garde intentions. They idealized collective action, and were linked by overlapping memberships. This dissertation asserts that collectivity is a key method in postmodern artistic practice. The Artworkers Coalition (AWC) and the Guerrilla Art Action Group (GAAG) mark the beginnings of the political critique of institutions in the United States. GAAG{\textquoteright}s work was journalistic conceptual art. Artists at the Soho alternative space 112 Greene Street embodied an informal version of collectivity. Artists Meeting for Cultural Change took up the politics of the AWC. AMCC included members of the British conceptual art group Art \& Language, who had made collectivity itself a principal object of study. AMCC produced An Anti-Catalog, an American art history revised to include women and artists of color. Collaborative Projects (aka Colab) formed in reaction to the Soho alternative spaces, working in film, media and punk music. The South Bronx art space Fashion Moda, which exhibited graffiti as art, led Colab to produce the Times Square Show, a large exhibition in a vacant building. Political artists responded to Colab, forming the collectives Group Material and Political Art Documentation/Distribution. Group Material opened a gallery in the East Village, and exhibited art mixed with popular culture artifacts, a method they called "dialectical." PAD/D arose as a "left-to-socialist artists{\textquoteright} resource and networking organization," maintained an archive, produced a journal, and coordinated Artists Call against U.S. intervention in Central America, and Not For Sale, against gentrification in the East Village. Group Material was key in the elaboration of a political post-modern art by theorists opposed to neo-expressionism during the early 1980s. The group used the vocabulary of a neo-pop and commodity-based art to critique both popular culture and high art. The legacy of these artists{\textquoteright} groups is felt today in new practices of public art and museum exhibition, the number and variety of groups practicing "activist art," and in the historical reconsideration of conceptual art.}, keywords = {Post-1945 Art}, author = {Moore, Alan} } @mastersthesis {8703, title = {The Constructed Self in Colonial American Portraiture}, year = {2000}, school = {Maryland}, abstract = {Portraiture was the most widely commissioned type of painting in colonial America. This dissertation seeks to explain the prevalence of portraiture by examining its cultural function. To this end, I speculate that portraits were one means by which colonial Americans fulfilled an eighteenth-century inclination to explore identity and construct selfhood. This process of self-definition occurred through imagined interaction between represented sitter and viewer, a dynamic exchange with implications for the identities of both. My investigation of the cultural functions and meanings of colonial American portraiture builds from scholarship in art history, history, literature and literary theory, and social psychology. Chapter one integrates this body of scholarship with portraiture studies and argues for the interactivity of portraits. The theoretical bases for this argument derive from a review of eighteenth-century history and social practices, as well as the ideas of twentieth-Century Russian thinker Mikhail Bakhtin. In the next three chapters I consider portraits of different segments of the colonial population created in densely-settled regions on the East coast. I have adopted a case study approach in which I carefully examine individual portraits, situating them within the social, historical, and psychological contexts of eighteenth-century Anglo-American culture in order to gain a deeper understanding of the many forces that impacted the production of portraiture in the Atlantic colonies. In chapter two, I investigate the cultural function of portraits of Boston area merchants painted by John Singleton Copley. Copley{\textquoteright}s portraits of merchants, including Isaac Smith, Harrison Gray, Nicholas Boylston, Robert "King" Hooper, and Jeremiah Lee, promoted the appearance of politeness and sociability between represented sitter and viewer that mitigated contemporary negative connotations of mercantilism. Chapter three queries the ways colonial women Julia Stockton Rush, Margaret Kemble Gage, and Mercy Otis Warren may have explored identity through portraiture, among other conversational forms of cultural expression. In chapter four, I interpret colonial portraits of children, namely Justus Engelhardt Kuhn{\textquoteright}s Henry Darnall III and Eleanor Darnall, and William Williams{\textquoteright} portraits of Deborah, William, and David Hall, as artificial, theatrical entities that facilitated interaction between youthful sitters and their audiences to shape and reflect the latter{\textquoteright}s definitions of childhood.}, keywords = {Pre-1945 North American and South American Art}, author = {Kloss, Michelle} } @mastersthesis {8681, title = {Constructing Cornell: Artistic Identity and the Invention of Joseph Cornell}, year = {2000}, school = {Boston}, abstract = {No record in ProQuest}, keywords = {Post-1945 Art}, author = {Taylor, Stephanie} } @mastersthesis {8647, title = {Contemporary Fashions and Jewelry in the Roman East: Evidence from the Mosaics of Antioch-on-the-Orontes}, year = {2000}, school = {Brown}, abstract = {This dissertation seeks to define the designs of the cosmopolitan jewelry and clothing fashions in the Roman East from the second through the sixth centuries CE, by examining the mosaics from Antioch-on-the-Orontes. In this dissertation, it is maintained that cosmopolitan trends were adhered to throughout the empire in the ranks of the social elite, crossing ethnic boundaries and reaching a common fashion. This dissemination of cosmopolitan fashions is supported in the mosaics from Antioch, which not only display changes over the centuries, but also display direct importations of fashions from other parts of the empire; the traders and travelers bringing products in and out of the city provided ample models for such artistic sources as these mosaics. After an introduction to the site and history of Antioch in Chapter 1, Part I of this dissertation, Chapters 2-6, addresses the jewelry designs depicted on these mosaic figures, while Part II, Chapters 7-9 concentrates on the depictions of garment designs. The Catalogue in Appendix I serves as the point of departure for this dissertation, by providing descriptive information about the clothing and jewelry depicted on each of the 392 figures from the extant corpus of mosaics. By analyzing the depictions of jewelry and clothing as a whole, it is possible to trace chronologically, the changes and modifications made on these general designs. These mosaic features evolve from their early, Greek forms in the second century CE, by assimilating Roman features into a late version of the Greek dress and jewelry designs during the fourth, fifth and early sixth centuries. In the clothing in particular, certain Greek features are maintained which differ from the imported Roman customs. This analysis demonstrates that the mosaic jewelry and clothing designs were, by and large, not simply stock forms re-used from a previous era, but instead, were influenced by fashionable designs worn in contemporary society, and thus changes the previously established analysis of these mosaics. Overall, these mosaics reveal an insight into the daily fashions of the Antiochenes, and display some of the key cosmopolitan trends followed in the Roman East.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Voight, Laura A.} } @mastersthesis {8565, title = {Degas, Mallarme, and Symbolist Aesthetics}, year = {2000}, school = {Iowa}, abstract = {To date there has been very little consideration of a potential guiding theory behind Degas{\textquoteright} Symbolist works between 1886 and 1917. My dissertation opens the door for further study of this compelling subject. This dissertation is distinctly an interdisciplinary consideration of the various factors that might have influenced the development of Degas{\textquoteright} personal Symbolist aesthetic theory. As such, I have focused on five distinct aspects of Degas{\textquoteright} applied theory, providing the works with a multi-faceted interpretation and understanding. I begin my dissertation with an examination of the role of the Symbolist journals in the dissemination of information considering the theory and practice of the artists at this time. Journals such as La Plume, Mercure de France and Entretiens Litteraires et Politiques provide considerable insight into the relationship between these communities at the time. Analysis of the articles, reviews and calendric entries reveals a rich cross-fertilization of theory between the literary and artistic communities. Consideration of the potential for social interaction and shared ideas between the communities provides a framework in which to understand the impetus and influence behind Degas{\textquoteright} personal Symbolist aesthetic. Further understanding for the complex theory behind Degas{\textquoteright} works at this point can be gathered through analysis of the works in terms of prevalent socio-scientific and philosophical theories of the day. To explain his shift in palette, I examine Degas{\textquoteright} works in light of the color theories of M. E. Chevreul, Charles Blanc and Ogden Rood. To explain his new compositional techniques, I examine them in light of the recently published and socially influential theories on temporality by Henri Bergson. The majority of the dissertation is a comparative study between Degas{\textquoteright} art and poetry and Mallarme{\textquoteright}s poetry. In my analysis, I discuss the parallels in process, intent and theme between Degas{\textquoteright} sculpture and Mallarme{\textquoteright}s poetry, explaining some of the many complex facets of Degas{\textquoteright} works. I also undertake the first extensive examination of Degas{\textquoteright} poetry in light of its similarities with the poetry of Mallarme. With this dissertation I provide a new model for understanding the rich theoretical nature of the final period in Degas{\textquoteright} career.}, keywords = {19th- and Early 20th-Century European Art}, author = {Locheed, Jessica A.} } @mastersthesis {8680, title = {The Discovery of a New Measure: Creative Institutions and Visionary Arts from Black Mountain College to MoMA}, year = {2000}, school = {Iowa}, abstract = {This project focuses upon Black Mountain College, The New Bauhaus/Institute of Design, and the Museum of Modern Art (three art institutions founded within seven years of one another in the 1930s) in order to explore conflicting narratives about the institutional foundations for Modern Art in the United States. I argue that an understanding of art history in the twentieth-century United States is contingent upon understanding the histories of the institutions that sustained and championed modern art. The Discovery of a New Measure formulates a more complicated understanding of the history of arts in the United States at mid-century by maintaining that so-called "alternative" institutions such as Black Mountain College and the New Bauhaus were, along with MoMA, part of a crucial dialogue over artistic form and function as it relates to the imagination of social groups and political possibilities. If their mythologized ends have meant that we tend to view Black Mountain College and The New Bauhaus as utopian blips on the screen of contemporary American art history, my project insists upon a renewed relationship to the specific theses and practices they engendered. I argue that the story of their development as it has been written in the latter third of the twentieth century, constitutes a cautionary tale about the conceits and elisions of history-a narrative that inexorably and uncritically privileges single sites at the expense of a richer understanding of the whole.}, keywords = {Post-1945 Art}, author = {Robertson, Wendy L.} } @mastersthesis {8553, title = {Duchamp Homeless? The Avant-Garde and Post-Nationalism}, year = {2000}, school = {Columbia}, abstract = {This dissertation examines the wartime art of Marcel Duchamp, offering sustained analyses of the installation designs for the surrealist exhibitions in 1938 and 1942, La Boite-en-valise (1935-41), and Etant donnes (1946-66). It views in these projects the progressive definition of a homeless aesthetic. Homelessness, which I define as a historically specific condition, groups together geopolitical dislocation, non-national identity, anti-national and anti-fascist politics, and psychic deracination as it variously arises in, and informs, Duchamp{\textquoteright}s practice. Unlike earlier avant-garde art that conformed to the artistic requirements of nationalization during World War I, and unlike artists who merged their art with anti-national propaganda during World War II, Duchamp{\textquoteright}s work explored the spatial, psycho-physiological, and mnemonic conditions of an aesthetic non-nationalism. Duchamp{\textquoteright}s "homeless" work emphasized such features as nomadic mobility (against the nationalist{\textquoteright}s return to the soil), antagonistic social spaces (countering the imaginary community of fascism), the non-nostalgic memory of the home (against nationalism{\textquoteright}s idealization of the home), and fragmented, disorienting spaces (against the spatially and psychically fused spectacles of fascism). In order to historicize this homeless aesthetic and mediate the relation between Duchamp{\textquoteright}s work and homelessness, I turn to other members of the avant-garde who, like Duchamp, experienced and wrote about exile or the anxiety of geopolitical dislocation, or who, conversely, criticized fascist homeliness. These include Frankfurt School writers Walter Benjamin and Theodor Adorno, French psychoanalyst Jacques Lacan, surrealist theoretician Andre Breton, and dissident surrealists Georges Bataille and Roger Caillois. The dissertation also provides a reading of Duchamp{\textquoteright}s Etant donnes, seeing it as revealing nostalgic desires for the home that are defined through obsessive contextualization. But rather than a simple reaction against homelessness, Etant donnes enacts a telling analysis of the dialectical conditions of homeless desire and the impossibility of homely resolution, and as such it operates as a critical elaboration of his wartime work.}, keywords = {19th- and Early 20th-Century European Art}, author = {Demos, Thomas James} } @mastersthesis {8728, title = {Early Modern Mourning: Widow Portraiture in Sixteenth-Century Florence}, year = {2000}, school = {Bryn Mawr}, abstract = {In this dissertation, I am primarily concerned with the death rites and portraits of the Medici family in early sixteenth-century Florence. I focus on the performances and representations of the immediate family unit composed of Giovanni delle Bande Nere (1498-1526), his wife and widow, Maria Salviati (1499-1543), and their son, Cosimo del Medici, the first Grand Duke of Tuscany (1519-1574). Chapter 1, "Introduction: Widow{\textquoteright}s Peek," begins this study by calling attention to the ambiguous social position of the widow within early modern Florence and to the complex nature of the representation of the widow within sixteenth-century portraiture. Chapters 2 and 3, "Funeral Sites, Rites, and Rights" and "Funeral Sites, Sights, and Sounds," examine the social structures and rules of the death ritual, especially the strategic staging of gesture, movement, and visibility within urban space. A particular emphasis is placed upon the spatial and bodily negotiations of the Florentine widow within public space. In sum, these two chapters focus on the ways in which gender roles can be both reinforced and challenged through ritual. Chapter 4, "The Death of the Father," examines the ways in which analyses of grieving have perpetuated a distinct dichotomy between female mourning and male melancholia, a traditional contrast dating back to Aristotle and revived by the fifteenth-century humanist Marsilio Ficino. In Chapter 5, "Widow Portraiture: Man Alive?," my emphasis shifts from the structures of ritual to the representations of ritual, reading widow portraiture as a particular memorial strategy. This chapter also questions the power of such portraiture. Having examined the performance of the Florentine widow in relation to her representation, I suggest that the widow, in ritual, in rhetoric, and in representation, assumed a very precarious place within the discourse on mourning and masculine memory in early modern Florence. In sum, I hope here to establish and define what we can recognize as a new genre of portraiture by drawing upon theories of gender and performance in order to examine the particular-and peculiar-negotiations of the widow within ritual and the complex issues informing her representation in early modern Florence.}, keywords = {Renaissance Art}, author = {Levy, Allison Mary} } @mastersthesis {8709, title = {East Meets West: The Model Homes Exhibits at the 1939-1940 New York and San Francisco World{\textquoteright}s Fairs}, year = {2000}, school = {UC Santa Barbara}, abstract = {Two worlds{\textquoteright} fairs opened in 1939; one in New York, the other in San Francisco; each incorporated a housing exhibit as a component of their fair. New York called its exhibit the Town of Tomorrow. San Francisco had two, one on the fair site, known as Homeland, and an off-site display called the Exposition Model Homes Tour. Unlike the Modernist exhibit for the 1933 Century of Progress, the vast majority of the two fairs{\textquoteright} houses were designed in traditional styles. These model houses exemplified not only the current state of suburban housing, a number of which incorporated innovative planning schemes such as open floor plans and contiguous, street-front garages, but, were among the primary purveyors of one of the most iconic images of the postwar era-the American housewife. Galvanized by such housing displays women were being recast as home technicians in charge of the "mechanical tools" of the house. As didactic illustrations in speculative housing these housing exhibits pointed increasingly toward an American society where status was codified through the acquisition of the latest household appliances, furnishings and automobiles. These accouterments of a material society would be exemplified through the paradigm of the middle class house. Enveloped within a comfortable and familiar image and combined with the latest technological and planning innovations, they would provide inspiration for postwar suburban design.}, keywords = {Pre-1945 North American and South American Art}, author = {Post, Pamela} } @mastersthesis {8619, title = {The Eleventh-Century Frescoes of Clement and Other Saints in the Basilica of San Clemente in Rome}, year = {2000}, school = {Johns Hopkins}, abstract = {This study analyzes the eleventh-century hagiographic frescoes of the Early Christian, or lower, basilica of San Clemente in Rome, a key monument in the history of medieval Roman painting. The aim of the study is to decode the language of the paintings through an analysis of the literary and pictorial sources used in the composition of each scene. An analysis of this type first provides the necessary foundation for an interpretation of the paintings and, second, furnishes valuable information about the methods used by the painters{\textquoteright} workshop, in their production. The evidence examined suggests that the San Clemente workshop drew on a variety of pictorial sources both from the traditional repertoire and also from other contexts, though the previously suggested link with the art of the abbey of Montecassino seems to have been of slight importance. Historically, the frescoes are linked to the Gregorian Reform. More specifically, they appear to be related to the political events concerning the investiture struggle. However, the final composition seems to be determined by the use of a well-established pictorial vocabulary rather than by external dictates. Indeed the main aim of the paintings is to celebrate the basilica{\textquoteright}s titular saint, Clement, to emphasize the presence of his relics in the church and to propose a liturgical calendar for him. Further, the different locations within the church of the paintings establish a connection between the subject matter of the various scenes and the varying functions that these parts of the church had. The frescoes also appear to be a polemical message against the anti-pope Clement III (1080-1100). At the same time the suggested connection with the titular cardinal of San Clemente Rainerius is substantiated. However, the lay donors portrayed within the paintings seem also to have had a role to play, specifically in the choice of subject matter. Thus, although the workshop producing the San Clemente frescoes drew on a well-established pictorial vocabulary, the composition of the paintings is also strongly connected to the contemporary historical and political scene.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Filippini, Cristiana} } @mastersthesis {8649, title = {The Elixir of Mirth and Pleasure: The Development of Bijapuri Art, 1565-1635}, year = {2000}, school = {Minnesota}, abstract = {The {\textquoteright}Adil Shahi Sultanate of Bijapur, one of several Islamic kingdoms that flourished during the sixteenth and seventeenth centuries in the Deccan region of India, produced art today considered both enigmatic and intriguing: enigmatic because of the paucity of incontrovertible visual evidence from the kingdom and intriguing because of the unique qualities marking the existing works of art. Single-page paintings, illustrated manuscripts, tombs, mosques, and palaces from Bijapur all display a sophisticated blending and juxtaposing of cultural traditions. Much of the art also displays an intimate bond to poetry and mysticism. Moreover, the art-along with other aspects of Bijapuri culture-seems to have blossomed suddenly at the end of the sixteenth century. Both the character and timing of this flowering frequently is attributed to the influence of Ibrahim {\textquoteright}Adil Shah II, the charismatic sultan who ruled Bijapur between 1580 and 1627; however, this explanation neglects the roles that other members of the {\textquoteright}Adil Shahi court as well as the larger cultural environment played in the development of the art. Thus, the objective of this study is to re-examine Bijapuri painting and architecture created between circa 1565 and 1635 in order to gain a deeper understanding of its development. The art{\textquoteright}s relationship to the cultural milieu and its role in shaping an {\textquoteright}Adil Shahi sense of identity also are examined. In terms of the cultural interaction highlighted in both the scholarship on Bijapur and the art itself, this study investigates not only why it took place, but also how this interaction was viewed by the {\textquoteright}Adil Shahis and the relationship between such interaction and artistic expression. In order to address these issues using the optimal visual evidence that does survive while acknowledging that this evidence is only the fragmented remains of a once-remarkable whole, this study takes a "micro-view" of Bijapuri art rather than a broad overview from the period. To this end, it is formatted around a series of nine case studies-five related to painting and four to architecture-each examining a single work of art or a closely related group of works.}, keywords = {Islamic Art}, author = {Hutton, Deborah} } @mastersthesis {8618, title = {The Emergence of the Spanish Illuminated Haggadah Manuscript}, year = {2000}, school = {Northwestern}, abstract = {In late thirteenth-century Spain, the Hebrew Passover haggadah appeared for the first time as an independent and decorated book. The purpose of this investigation is to develop an explanation for its emergence through the recovery of an original reading of the manuscripts and their decoration, insofar as this is possible. By shedding light on the function and meaning of this new type of book for its medieval readers, this project inserts the manuscripts (and their reading) within the historical narrative of Jewish grandeur and decline in fourteenth-century Christian Spain. The illuminated haggadah tradition demonstrates how Spanish Jews effectively expressed a cultural identity based on shifting relations of both resemblance to and difference from the majority Christian culture. In particular, the decoration reveals ways in which Jews continued to identify with the majority culture while finding creative ways to express their dissent or to subvert dominant ideologies. Each of the three most prominent aspects of the haggadah{\textquoteright}s artistic program illuminates this process of identity-formation by lending support to and actually expanding upon the ideological message already implicit in the text. First, the corpus of text illustrations is viewed in light of the rabbinic emphasis on teaching and learning. The rabbis sought to associate Jewish education with the survival of the Jews in terms of the power of tradition to act as a bulwark against hostile forces. The various types of illustration all draw upon the importance of tradition in asserting an unequivocal Jewish strength in the face of a more uncertain reality. Next, the striking image of the unleavened bread in each manuscript is viewed within the context of a contemporary visual discourse of power. When activated by the reading of the haggadah, this illustration effectively neutralized the threat to Jews posed by a number of Christian power-signs. Finally, the biblical miniature cycles included within ten of the manuscripts are understood in terms of the court Jews{\textquoteright} stake in biblical narrative and national-religious historiography. They therefore bring narrative traditions and strategies to bear on the production of meaning and the construction of identity.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Batterman, Michael A.} } @mastersthesis {8561, title = {Empathy Abstracted: Georg Fuchs and the Munich Artists{\textquoteright} Theater}, year = {2000}, school = {MIT}, abstract = {Founded by the art critic Georg Fuchs and built by the architect Max Littmann on 1908, the Munich Artists{\textquoteright} Theater is famous for its shallow "relief stage." Reworking the ideas of Friedrich Nietzsche and Richard Wagner in the service of the emerging mass audience, Fuchs advocated "the stage of the future," but created one embedded in its historical moment. Eliciting reactions from major figures in theater, architecture, and the visual arts, it provoked debate over the nature of spectatorship and crystallizes the complex relationship between empathy and abstraction, foundational concepts in modernist aesthetic discourse and artistic production. The relief stage embodied the modernist discourse of flatness; the performances it presented may be allied to the contemporaneous birth of abstraction in Munich. Evoking the newly popular film screen, it faced an amphitheatrical auditorium suitable for the emerging mass audience. The publication that year in Munich of Wilhelm Worringer{\textquoteright}s Abstraction and Empathy, which articulated the "urge to abstraction," a universal, visceral response to art, registered the spectator{\textquoteright}s changing status in aesthetic discourse. But Fuchs was inspired by the discussion of relief sculpture presented in 1893 by the sculptor and visual theorist Adolf von Hildebrand. Through Hildebrand, he absorbed the theory of empathy, developed in late nineteenth-century aesthetic philosophy, psychology, and visual theory to describe the spectator{\textquoteright}s experience as a form of active and embodied vision. Fuchs attempted both to create and serve the mass audience, but he relied on an outmoded aesthetic model while abstraction was brewing in Munich. Ignoring Worringer{\textquoteright}s displacement of theoretical allegiances from empathy to abstraction, he never linked the relief stage to the aesthetic theory being embraced by the Munich avant-garde. His political leanings were equally conservative; he valued theater{\textquoteright}s ability to mold a group of individual spectators into the unified audience that he considered necessary for the creation of a strong German state. The promotion and reception of the Artists{\textquoteright} Theater in 1908 present a turning point between the solitary bourgeois viewer of the nineteenth century implied by empathy and the mass audience of the 1920s, often described in terms of abstraction, distraction, and estrangement. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {19th- and Early 20th-Century European Art}, author = {Koss, Juliet} } @mastersthesis {8546, title = {The End of Dada: Charting the German Avant-Garde{\textquoteright}s Move from Photomontage to Figurative Realism}, year = {2000}, school = {Harvard}, abstract = {In September of 1920, Berlin{\textquoteright}s Dada movement took a hiatus from the photomontage it had become so famous for producing. As a temporary alternative, it began developing a new figurative painting whose smooth compositional consistency apparently lay at odds with the movement{\textquoteright}s original aspirations. Indeed, this move to a new figurative painting seemed to betray the most basic avant-garde ideals in whose formation Dada played a significant role: the making of an aggressive and disorienting art. Why would the most boisterous and political of Europe{\textquoteright}s avant-garde movements suddenly suspend its most successful art practice and why would an alternative come about so quickly, within the course of a single month? This dissertation seeks to address this question by concentrating on what was effectively Berlin Dada{\textquoteright}s demise. But it does so not by asking how an avant-garde spirit of disruption was suspended and transformed but instead, how one notion of objectivity could have been substituted for another. Combining a historical and formal approach to the history of art, this dissertation specifically discusses Berlin Dada{\textquoteright}s understanding of objectivity and the realism meant to convey it, photomontage. As a technique making "current events...both in time and place" its subject, photomontage showed how appropriated representations of reality and sharp modernist fragmentation could combine to make social reality radically open to interpretation. The technique managed to represent contemporary society while simultaneously offering the critical the tools with which to analyze it. Coming under pressure from its political allies to produce more didactic works of art, Berlin{\textquoteright}s Dada group sought a new form more traditional form of realism based on the metaphysical painting of Giorgio de Chirico. Having already made the representation of reality its primary goal, these smooth and carefully articulated surfaces seemed an appropriate alternative to the fragmentation of montage. The primary goal of this project is to use Dada and its demise as the occasion for reconsidering the historical avant-garde as a whole. Taking Dada{\textquoteright}s unique sublimation of modernist aesthetics as its guide, this dissertation wishes to chart the success and failure of such an aesthetic project and help determine the avant-garde{\textquoteright}s mixed contribution to modernism{\textquoteright}s survival through the twentieth century.}, keywords = {19th- and Early 20th-Century European Art, Post-1945 Art}, author = {Andres Zervigon} } @mastersthesis {8608, title = {The English Mezzotint and Its Public, 1660-1725}, year = {2000}, school = {Yale}, abstract = {My dissertation examines the life and career of the British artist Robert Robinson (1651-1706). The chance survival of several decorative schemes by Robinson makes it possible to examine the aspirations of this artist who, although not among the upper echelon of Restoration painters, was a prominent member of the Painter-Stainers{\textquoteright} Company and a true pioneer in the fields of decorative painting as well as mezzotint engraving. Robinson{\textquoteright}s importance lies chiefly in his role as an advanced proponent of chinoiserie in English decorative painting, but his activity as a painter of easel pictures, stage painter, and printmaker have never been integrated into a fully inclusive study. This dissertation reconsiders Robinson{\textquoteright}s better-known decorative schemes, while focusing on his less familiar activity as a still life painter and mezzotint engraver. The introductory chapter outlines the state of the literature on Robinson and the early English mezzotint, followed by four chapters which give a full account of his life and career. Chapter 2 brings together newly compiled archival information in an attempt to flesh out details of Robinson{\textquoteright}s biography and his professional association with the Painter-Stainers{\textquoteright} Company; original documents are transcribed in Appendix I. Chapter 3 consists of a study of his painted oeuvre, including a consideration of his stage designs and possible involvement in tapestry design. Appendix II contains a list of Robinson{\textquoteright}s paintings appearing in London auction catalogues between May 1689 and March 1692. Appendix III is a transcription of set descriptions from Elkanah Settle{\textquoteright}s The Virgin Prophetess, for which Robinson painted the scenery in 1701. Robinson{\textquoteright}s mezzotints, which are fully catalogued in Appendix IV, are the focus of the final two chapters. Chapter 4 begins the study of Robinson{\textquoteright}s printed oeuvre with a discussion of the nascent mezzotint publishing industry in London during the 1680s, followed by an analysis of his technique and style which is essential to the reconstruction of his oeuvre. Chapter 5 considers the function of non-portrait mezzotints in seeking to explain their efflorescence and disappearance, and ends with a contextualized survey of the various genres in which Robinson and his contemporaries worked.}, keywords = {Baroque and 18th-Century European Art}, author = {Ganz, James Atkins} } @mastersthesis {8582, title = {On the Epistemological Significance of Aesthetic Value in Architectural Theory}, year = {2000}, school = {MIT}, abstract = {This dissertation examines the epistemological significance of "truth, "rationality," and the "aesthetic" first in the nineteenth-century definitions of the nature of Gothic and, then in more recent twentieth-century debates about objectivity. My study links the Aristotelian notion of practical reasoning to aesthetic cognition, and brings to surface the scientific, moral, and ethical arguments, which have been ignored by contemporary architectural criticism. The theoretical foundation of my argument lies in the work of analytic philosophers and literary theorists such as Hilary Putnam, Nelson Goodman and Satya P. Mohanty.1 These writers emphasize the rational and affective nature of our aesthetic experience and our aesthetic values and judgments, and propose a sophisticated account of objectivity by reexamining the actual nature of the "hard" sciences, interpreting them as complex, coordinated social practices. By drawing upon this understanding of objectivity, particularly as it relates to politics, I hope to bring to light a theoretical alternative to postmodernism in architecture that can enable us to explain the relationship of architecture to political power without abandoning the values of aesthetics, truth or rationality. My dissertation mediates between the disciplines of philosophy, literary theory, and architecture and tries to create space for inquiry wherein the epistemological, the theoretical, and the historical are interconnected. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.) 1See Nelson Goodman Languages of Art: An Approach to a Theory of Symbols (New York: The Bobbs-Merrill Company, Inc, 1968); Hilary Putnam, Reason, Truth and History (Cambridge: Cambridge University Press, 1981); Satya P. Mohanty, Literary Theory and the Claims of History: Postmodernism, Objectivity, Multicultural Politics (Ithaca: Cornell University Press, 1997).}, keywords = {Art Criticism and Theory}, author = {Bhatt, Ritu} } @mastersthesis {8638, title = {The Erotic Reliefs of Ancient Mesopotamia}, year = {2000}, school = {Columbia}, abstract = {This thesis explores two sets of artifacts, terracotta, and lead reliefs that feature human figures in intercourse or females in sexual display. They represent most of ancient Mesopotamia{\textquoteright}s visual erotica. Both types of reliefs belong to larger industries, the "Old Babylonian" terracotta plaque industry (end of the third millennium to the early 1700s BCE), whose purpose has largely eluded scholars, and the Middle Assyrian lead industry (1240-1207 BCE), about which close to nothing was known. Formerly scholars considered Mesopotamia{\textquoteright}s sexual images of whatever time, place or medium to have approximately the same meaning. By studying them within their contexts, I show that the meaning and function of sexual images shifted dramatically from one cultural sphere to the next. The thesis investigates how clay sexual images worked in domestic magical practices to disarm evil and attract the auspicious. It also considers the relationship between these images and contemporary literary erotica. Lead reliefs, identified in these pages as furniture inlays for private royal use, are studied as a subset within an ideology-ridden program of palatial decorative arts. I analyze their exploitation to stimulate a masculine taste for conquest in the ruling classes. The thesis looks at how social differences altered the viewer{\textquoteright}s experience of sexual arousal. Finally, I ask-why did "Old Babylonian" erotic art celebrate sexual acts and receive wide cultural acceptance, while Middle Assyrian erotic art went against the social conventions of its time? This work has necessitated substantial historiographic revision. Art historians have interpreted sexual imagery according to a widespread discourse about sexual practice in the ancient Near East that insists on sex professionalism and orgiastic rites for the unmarried women of antiquity. This thesis shows that the popular precepts of sacred and secular prostitution, fertility cults, sacred marriage rituals, and so forth, are inconsistent with Mesopotamian evidence in art and text.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Assante, Julia} } @mastersthesis {8563, title = {Essays on Corot{\textquoteright}s Late Landscapes and the Purposes of French Landscape Painting, 1850-1870}, year = {2000}, school = {Harvard}, abstract = {The dissertation investigates the cultural contexts and purposes of Corot{\textquoteright}s "late manner" landscapes of 1850-1870. French landscape painting of this period is usually equated with emerging practices of urban mass-leisure, including the dissemination of experiences and images of nature through tourism and the mass press. My own research indicates that artists and writers often responded to the popularization of landscape with alarm, and attempts to limit its public and appeal. As "nature" became increasingly commodified, traditional meanings of landscape painting-traditional notions of property, art, and "subjectivity"-were thought to be at risk. The later landscapes of Camille Corot (1796-1875) are particularly instructive in this respect: Corot was viewed as the most "artistic" landscape painter of his time, and his late manner was seen as creating an autonomous, subjective world, independent of modern cultural developments. Comprised of three extended essays, the dissertation describes moments in which Corot{\textquoteright}s practice and reception attempt to define landscape as a "private" (not public), "exclusive" (not accessible), "subjective" (not standardized) medium of representation. The essays focus, respectively, on the material context of Corot{\textquoteright}s open-air landscapes at Ville d{\textquoteright}Avray; on his Salon criticism of the 1850s; and on the formal and historical context of the celebrated Souvenir de Mortefontaine of 1864. My conclusions offer ways of reading the historical purposes of 1850s and 1860s landscape not just through external contexts, but in the medium{\textquoteright}s capacity to organize and recast cultural and social materials as fictive, pictorial space.}, keywords = {19th- and Early 20th-Century European Art}, author = {Kurlander, Amy} } @mastersthesis {8636, title = {Etruscan Domestic Architecture of the Orientalizing, Archaic and Classical Periods}, year = {2000}, school = {UIUC}, abstract = {From the second half of the seventh century and through the sixth century BC, monumental building complexes were erected in proto-urban settlements in Etruria and Latium. Located on prominent positions within settlements and comprising large central courtyards and surrounding building wings, the complexes appear to have been constructed and used by the elite both as residences and as centers of civic authority. Examples of such monumental building complexes are known from Satricum, Rome, Veii, Caere, Acquarossa, San Giovenale, and Poggio Civitate (Murlo). In this study, the social context in which the Italic aristocracy first earned civic authority is examined. Following, details of the architectural form employed as expression of this authority are probed: monumental building complexes are analyzed to determine how plan, possible uses, and decoration conveyed the attributes of economic primacy, achievement, and ancestry necessary for the maintenance of social power. Finally, the abandonment and sometimes violent destruction of the monumental building complexes at the end of the sixth and the early fifth century BC is discussed in relation to socio-political changes that enabled the installation of ruling bodies based on representation in central Italy. While the architectural form of the earlier monumental building complexes was not entirely rejected-open courts surrounded by wings of aligned rooms subsequently appeared in a new architectural form-it was manipulated to serve different socio-political purposes. Fifth-century BC evidence for this new form-known as the courtyard house-has been unearthed at Rome, Roselle, Regisvilla and Marzabotto. Evidence suggests that these buildings too served as expressions of social primacy. Though smaller in scale than their monumental predecessors, they appear to have been both domestic and civic in nature, functioning as homes to the expanded urban elite and as a means for self-representation in a increasingly competitive socio-political environment.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Flusche, Laura} } @mastersthesis {8660, title = {Excavating Discursivity: Post-Partum Document in the Conceptualist, Feminist, and Psychoanalytic Fields}, year = {2000}, school = {MIT}, abstract = {Post-Partum Document, a multi-media artwork made by American artist Mary Kelly from 1973-1978, was informed by and contributed to contemporaneous debates in the fields of Conceptualism, feminism, and psychoanalysis throughout the seventies. This dissertation addresses the project{\textquoteright}s "debate-specificity." The conventional art historical categorization and analysis of an artwork, one based upon its medium specificity, was a mode of modernist criticism that Kelly{\textquoteright}s work specifically interrogated. What therefore distinguished Post-Partum Document from other artworks of its period was an interrogation of the "discursive site"-i.e. a specific site of debate grounded within a given discourse. Within the practice of art, Post-Partum Document begs us to think of the discursive site as a displacement of the "material" site. Its "multimedia" status thus indicates the manner in which it simultaneously addressed questions of aesthetics, semiotics, film, psychoanalysis, and activism within the visual field. Previous studies have engaged Post-Partum Document primarily as an example of psychoanalytically informed feminist art. My dissertation traces its original debate within the broader history of Conceptualism, feminism, and psychoanalysis in Britain, followed by its American reception in the eighties, at which point Post-Partum Document became a model for feminist critical art practice. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Art Criticism and Theory, Post-1945 Art}, author = {Carson, Juli Christine} } @mastersthesis {8670, title = {Extra Credits: The History and Collection of Pacific Title and Art Studio}, year = {2000}, school = {Minnesota}, abstract = {Pacific Title and Art Studio has been producing film title sequences in Hollywood since 1924. This dissertation focuses on the history of Pacific Title and on their collection of original tiling material from the 1950s and 1960s. I begin with an examination of the development of titling in American film, then delve into the history of Pacific Title, taking into account trends in the Hollywood filmmaking business. Technological developments as well as financial ups and downs in the greater industry directly affected production practices at Pacific. The business expanded during the first half of the century and by 1950 was a leader in title production, working for studios such as Warner Brothers, 20th Century-Fox, and MGM. For blockbuster, color productions of the 1950s and 1960s, Hollywood studios ordered special glass plate title sequences from Pacific. To create a glass plate sequence, Pacific artists painted title and credit material on large sheets of glass, which were then filmed before a painted background or composited over a film{\textquoteright}s introductory shots. This method produced titles with expressive, lustrous, screen-filling lettering. By hand-painting each credit, lettering artists were able to create individualized designs for each film, adding to the suggestive nature of the words on screen. Lettering style helped establish mood, setting and tone. In order to understand the graphic language spoken by these titles, I review the history of lettering and typography. I then analyze selected pieces from the collection. After discussing Pacific{\textquoteright}s collection of original title material, I look at how titles work as an integral part of an overall opening strategy. Finally, I chart the decline of glass plate title production in the 1960s in light of changes in technology and the rise of independent graphic designers. Scholarship on titling is notably sparse, especially when it comes to titling before 1955. This dissertation seeks to address that lacuna by focusing on the history and collection of one of Hollywood{\textquoteright}s longest-lived and most successful titling production firms, Pacific Title and Art Studio.}, keywords = {Post-1945 Art}, author = {Harris, Adam} } @mastersthesis {8682, title = {False Intimacies, Open Secrets: Public and Private in the Performance Art of Vito Acconci and Chris Burden}, year = {2000}, school = {Cornell}, abstract = {"False Intimacies, Open Secrets" examines what happens to the categories of public and private in the performance art of Vito Acconci and Chris Burden (Acconci primarily between 1969 and 1973, Burden primarily between 1971 and 1975). Acconci{\textquoteright}s and Burden{\textquoteright}s work is seen to have provided a sustained interrogation of the effects on subjectivity of the collapse of the distinction between public and private. Their work departed from minimalism{\textquoteright}s concern with aesthetic experience and meaning as public, so Chapter One presents aspects of minimalism and its accompanying critical rhetoric with most bearing on Acconci{\textquoteright}s and Burden{\textquoteright}s work, particularly concerning relations between artistic subjectivity and medium. Chapter Two elaborates the relevance of minimalism, centrally through readings of Acconci{\textquoteright}s Trappings and Burden{\textquoteright}s Five Day Locker Piece. Chapter Three is a discussion of Acconci{\textquoteright}s work, informed by feminist critiques of the discourse of the public sphere, that describes his shuttling between public and private realms in such a way as to undermine conventional circuits of aesthetic legitimation. Chapter Four concentrates on the way that Burden{\textquoteright}s notorious Shoot constituted a public around a violent act, with the effect of raising the question of the public as a realm of participation and responsibility. Chapter Five surveys Burden{\textquoteright}s work in the period, especially as it negotiated institutional expectations and, despite its apparent physical extremity, denied the artist{\textquoteright}s presence as a secure ground of aesthetic experience. The Conclusion marks the continuing relevance of three issues: subjectivity{\textquoteright}s instability in relation to public and private; the way that the body does not authenticate aesthetic experience, and the persistence of the public realm as an ideal of intersubjective experience.}, keywords = {Post-1945 Art}, author = {Ward, Frazer David} } @mastersthesis {8667, title = {Family Legacies: Race, Gender, and Inheritance in the Art of Betye and Alison Saar}, year = {2000}, school = {UNC Chapel Hill}, abstract = {Contemporary mother and daughter artists Betye and Alison Saar provide a unique model of a family legacy within art{\textquoteright}s histories: one that hinges around a family of women artists. Because they represent different generations of three intertwined legacies-a family artistic legacy, a feminist legacy, and an African American cultural legacy-their work calls for a broad scope of analysis that questions the ramifications of cross-culturalism in terms of the politics of race and gender. This project uncovers how the racial, gendered, and familial components of the Saars{\textquoteright} art merge with the metaphysical to affect issues of political agency. Chapter 1 discusses Betye Saar{\textquoteright}s negotiations within the 1970s feminist and black arts movements and her influence on Alison, especially with respect to the burgeoning interest in the historical development of the black female nude. Betye{\textquoteright}s self-positioning reveals the historical trajectory of racism within (white) feminism, and the varying ideological allegiances black women have felt toward cultural and feminist groups. Betye{\textquoteright}s experiences also provide a means of contextualizing Alison{\textquoteright}s contemporary feminist consciousness. Chapter 2 draws from recent scholarship about history and memory to examine how Betye and Alison interrogate ethnic identity through their depictions of stereotypes. I show that Betye{\textquoteright}s early imagery overtly responds to the politically allied black artists groups and civil rights protests of the 1960s and 1970s, while Alison{\textquoteright}s art is also directly linked to contemporary identity politics. Chapter 3 lays the foundations for a matrilineal narrative of art history. I argue that the Saars, as a family collaborating with each other, are the inheritors of the 1970s feminist tradition of a metaphorical "family" of women artists, but are also part of an occluded historical phenomenon of women being mentored and taught by, or members of a network of, women artists. Central to my analysis is the controversial model of the mother{\textquoteright}s body as a line of creativity, which has been theorized differently by black and white feminist writing.}, keywords = {Post-1945 Art}, author = {Dallow, Jessica} } @mastersthesis {8558, title = {Fashion, Disguise, and Transformation: Origins of the Modern Art Movement in Vienna, 1897-1914}, year = {2000}, school = {Chicago}, abstract = {The social and artistic culture of Vienna at the turn of the century was deeply rooted in a tradition of "dressing up." Expanding textile and tailoring industries, the nationalistic display of folk costumes and embroidery, imperial court festivals, and carnival masquerades were the context for a modern program of artistic reform that revolved around the language and mechanism of fashion and disguise. This dissertation explores the social and theoretical origins of the Vienna Secession of 1897 and its related educational and commercial ventures before World War I. Gottfried Semper{\textquoteright}s theory of "dressing" was the foundation for the subsequent work of Otto Wagner, Adolf Loos, and Josef Hoffmann, each of whom related the architectural "cladding" of their buildings to the process of "clothing" the human body. The Secessionists, including Gustav Klimt, Josef Hoffmann and Kolo Moser, were influenced by contemporary architectural theory in their turn towards the applied arts-an interest reflected in their style of exhibition as well as in the establishment of the Wiener Werkstatte (Vienna Workshops) in 1903. After 1899 the Secessionists became increasingly interested in fashionable interior design inspired by the traditional women{\textquoteright}s embroidery used to decorate household linens and upholstery, as well as by the introduction of the "artistic dress" to the Vienna fashion world in 1902. Experiments with dress designs by Klimt, Hoffman, Moser and their women partners and collaborators led the Wiener Werkstatte to establish a highly successful fashion division in 1911. By examining this aspect of the modern art movement in Vienna in written texts, catalogues and reviews of exhibitions, and visual motifs of transformation through dress, this dissertation presents a new model for understanding the Secession. This study asserts that the Secessionists found the rejuvenating modern visual language they sought in the very processes of "dressing up."}, keywords = {19th- and Early 20th-Century European Art}, author = {Houze, Rebecca} } @mastersthesis {8574, title = {The Fashion Stages of Lucile, Lady Duff Gordon}, year = {2000}, school = {USC}, abstract = {The dissertation explores the culture of fashion and its theatricalization during the first two decades of the twentieth century by focusing on the career of Lucile, Lady Duff Gordon (1863-1935). Although largely overlooked or forgotten today, Lucile (as she was known professionally) was a ubiquitous and spectacularly successful couturiere. She created Court mourning when Queen Victoria died, dressed Edwardian and Georgian London{\textquoteright}s haute monde and haute bohemia, New York{\textquoteright}s "Four Hundred," Broadway{\textquoteright}s and Hollywood{\textquoteright}s royalty, and a wide assortment of international women of accomplishment such as Isadora Duncan and Sarah Bernhardt. Along with impresario Florenz, Ziegfeld, Lucile is credited with creating the "showgirl," a performer who need have no talent other than the ability to look beautiful. The dissertation demonstrates the following: (1) that Lucile understood both the mechanisms of glamour-the fashion show, the stage, the screen, and the magazine-and the erotic and dramatically charged aspects of dress, manipulating them in ways that made her the first internationally celebrated woman of fashion; (2) that Lucile{\textquoteright}s insight was to shape the production and reception of her clothes using strategies that are taken for granted today, but were innovative in her time (e.g., Lucile was the first fashion designer to stage fashion shows with catwalks, elaborate mises-en-scene, and storylines); and (3) that, being attuned to identity construction and consumerism, Lucile saw the advantage of dressing such famous and trend-setting stars as Mary Pickford and Irene Castle. At the height of her career, Lucile commanded the most prestigious and, reputedly, highest-priced international couture house in the world, with headquarters in London and branches in Paris, New York, and Chicago. Her fashion empire produced clothing, lingerie, accessories, and perfume. She employed as many as 3,000 people and earned as much as $2,000,000 a year. Thanks to both her skills as a dressmaker and her flair for self-promotion, she was a major celebrity in her own right. But she was nothing if not a contradiction: an independent, self-determined woman who specialized in creating images of women as objects de luxe.}, keywords = {19th- and Early 20th-Century European Art}, author = {Steele, Victoria L.} } @mastersthesis {8712, title = {Federal Prints and Democratic Culture: The Graphic Arts Division of the Works Progress Administration Federal Art Project, 1935-1943}, year = {2000}, school = {Northwestern}, abstract = {If the mural was the spokesperson of a New Deal campaign to democratize culture, the fine art print was its laborer. Nearly 800 artists employed by the Federal Art Project, one of several jobs programs for artists of the period, made 239,000 prints, which were distributed to tax-supported institutions across the United States. And it was prints, more than any other government media, that Project participants described as "democratic." I argue in this thesis that an examination of FAP prints and the language surrounding them provides unique insights into contemporary discourse about the meanings of and prospects for American democracy. The first chapter searches for the roots of the democratic ideals associated with Project prints. Two philosophies emerge: one liberal, the other radical. FAP director Holger Cahill{\textquoteright}s view that American printmaking should be diversified technically, and that printmaking instruction could cultivate Americans{\textquoteright} interest in art, are traced to the progressive liberal idea of a "democratic culture" of diversity and community forwarded by philosopher John Dewey. Radicals{\textquoteright} interest in using the medium to carry opinion are connected to the pro-democratic Popular Front ideologies of two Communist-guided cultural organizations, the American Artists Congress and the Artists Union. In ensuing chapters, I examine FAP print workshops, and argue that liberals used these spaces to promote their process-oriented idea of democratizing printmaking-by making it collaborative and encouraging technical experimentation. I show that radicals chose printmaking over other Project media to forward U.S. Popular Front goals, including agendas that urged artists{\textquoteright} solidarity with industrial workers. I look at print circulation, noting how message-conscious radicals urged officials to organize thematic displays and issue large editions, while technically focused liberals worked to make printmaking accessible and desirable as a commodity through print education. I conclude with a history of FAP printmaking after 1939, when production declined, and, after the Project{\textquoteright}s elimination in 1943, prints{\textquoteright} democratic potential held little appeal for the next generation of artists who valued different competencies in the medium.}, keywords = {Pre-1945 North American and South American Art}, author = {Seaton, Elizabeth} } @mastersthesis {8668, title = {Five American Photographers in the 1970{\textquoteright}s: Conceptual Issues}, year = {2000}, school = {CUNY}, abstract = {The place and practice of photography shifted during the decade of the 1970s. The rupture between modernism and post-modernism, in theory and in production, provided a field in which photography worked flexibly, and photographs were produced that centered specifically on conceptual and theoretical problems. Photographers freely used techniques of appropriation, manipulation, and studio set-ups to explore issues that concerned the culture of late capitalism. The photograph also began to appear in the rainbow-hued colors of the natural world, no longer restricted to the sepia tones of the tones of the nineteenth century or to the carefully calibrates white to black tonal scale of the early twentieth. Performance became an accepted art form in the late {\textquoteright}60s and early {\textquoteright}70s. Photographs of Happenings and Performance were included in avant-garde publications and increasingly began to enter museum collections. The art fields of the {\textquoteright}70s would be inclusive, hybrid, contingent, multivocal-challenging institutional spaces that had come to be considered canonical, elitist, didactic, hermetic. If photography was considered as both index and sign in the post-modernist theoretical literature of the {\textquoteright}70s, art practice in photography increasingly reflected that discourse: a cross-fertilization of the disciplines of philosophy, materialist history, political science, literary criticism, and feminism. The canons that modernism had erected earlier in the 20th century and that were adapted to the production of photography seemed not relevant to the concerns of the {\textquoteright}70s or to the {\textquoteright}80s. I have chosen to examine the work of five photographers in this dissertation: Lucas Samaras, David Levinthal, William Wegman, Cindy Sherman and Louise Lawler. Each details different concerns and different histories of photography. As a group they react differently to particular aspects of modernism, but their dissident practices open up a discussion of both the multifaceted aspects of post-modernism and the rupture between modernism and post-modernism.}, keywords = {Post-1945 Art}, author = {Ehrenkranz, Anne} } @mastersthesis {8566, title = {Fixed Ecstasy: The Early Artistic Maturity of Joan Miro and Michel Leiris}, year = {2000}, school = {Johns Hopkins}, abstract = {My Dissertation, "Fixed Ecstasy: The Early Artistic Maturity of Joan Miro and Michel Leiris," examines the development of Miro{\textquoteright}s painting around the time of his breakthrough in the early 1920s and challenges the prevalent view of Miro as a prodigy of Surrealist painting by placing needed emphasis on his closer, earlier ties with the group of artists and writers gathered around Andre Masson{\textquoteright}s studio in the rue Blomet. The common impulse that manifests itself in Miro{\textquoteright}s paintings throughout the period of his breakthrough is that of the painter displaced into the space of the painting. During his early years, Miro{\textquoteright}s paintings allegorize his practice and, throughout his first years in Paris, those allegories assume a variety of new forms. In such works, the pictorial space becomes something like a second skin that marks Miro{\textquoteright}s contiguity with as well as his separation from the picture, while his painting emerges as an ongoing activity in a continual present moment. Among the most important members of the rue Blomet group is Michel Leiris, whose literary project is analogous to Miro{\textquoteright}s enterprise. In my dissertation, I draw on Leiris{\textquoteright}s criticism to understand Miro{\textquoteright}s breakthrough, which leads me to offer a new interpretation of Leiris{\textquoteright}s early work.}, keywords = {19th- and Early 20th-Century European Art}, author = {Palermo, Charles} } @mastersthesis {8727, title = {The Florentine Badia: Monastic Reform in Mural and Cloister}, year = {2000}, school = {IFA/NYU}, abstract = {This dissertation investigates the Orange Cloister of the Badia Fiorentina-a Benedictine abbey located in central Florence. Between 1428 and 1441, this cloister was built and decorated with mural paintings depicting the Life of St. Benedict. Despite their position in one of the oldest and richest Florentine ecclesiastical institutions, these murals are not included in general surveys of Italian Renaissance painting for lack of an accepted author. However, they survive as a rare example of progressive Florentine mural decoration painted during the decade following the death of Masaccio. Rather than its authorship, this investigation begins with questions of the mural program{\textquoteright}s function and reception, creating a framework where issues of architectural setting, iconography, historical context, patronage, and style are integrated to present a more extensive and satisfying interpretation of the paintings. A review of the literature demonstrates how previous studies of the Orange Cloister focus on issues of authorship, as historians have discussed either the cloister{\textquoteright}s construction and responsible architect or its mural program and painter. This dissertation examines the entire complex, remedying the artificial division between architectural and art history. Analyzing the extant building fabric, documentary evidence-much published here for the first time, and other primary sources, this study aims to reconstruct the cloister{\textquoteright}s fifteenth-century appearance and function. A discussion of the patron, Abbot Gomezio di Giovanni, explains how the cloister complex formed an integral part of his reform program initiated at the monastery in 1419. Issues of architectural authorship are also addressed to question the validity of historians{\textquoteright} attempts to identify the cloister{\textquoteright}s "architect." Similarly, art historians have struggled with the authorship of the cloister{\textquoteright}s murals. A review of documentary, circumstantial, and stylistic evidence suggests that the Life of St. Benedict cycle was produced by two teams of artists, who included the documented, much-debated, and poorly understood Portuguese painter Giovanni di Consalvo. Stylistic and iconographic analysis clarifies the relationship between the Badia cycle and its textual and pictorial sources to show how the murals served Gomezio{\textquoteright}s institutional reforms by expressing themes crucial to the abbot and his monastic community.}, keywords = {Renaissance Art}, author = {Leader, Anne} } @mastersthesis {8572, title = {Forging Men and Manufacturing Women: Fernand Leger{\textquoteright}s Mechanical Arts}, year = {2000}, school = {Michigan}, abstract = {This dissertation examines Fernand Leger{\textquoteright}s wartime and postwar painting and his postwar set design as an index of changing attitudes about gender in French culture between 1917 and 1924. In Chapter One, it argues that the machine aesthetic that Fernand Leger developed during World War I with his Card Party (1917) painting and afterwards with his "mechanical man" images was not an unqualified embrace of war as a maker of men. Instead, Leger{\textquoteright}s figures embody the historical trauma that undermined the dominant ideology of masculine mastery, especially for the laboring classes. In Chapter Two, it is shown that Leger{\textquoteright}s Cubist representations of working class men reclaim the symbolic order of labor for the male worker at the same time that they invoke the postwar economic traumas that he thought were as destructive to masculinity as war: the poor French economy, the unstable currency prior to the Dawes Plan, and Leger{\textquoteright}s own monetary losses due to the reparations{\textquoteright} sales of the Daniel-Henri Kahnweiler and Wilhelm Uhde collections. Chapters Three and Four examine Leger{\textquoteright}s contributions to collaborative works in light of his theory of the spectacle that he developed in several essays about ballet and film. In these essays, he describes the subject position of an artist-engineer who envisions utopian uses to technologies and imagines new social orders. His designs for the Swedish Ballet{\textquoteright}s Creation of the World (1923) represent hybrid beings in a world that combines African and industrial iconography and invokes multiple social and sexual movements: Taylorist factory production, modernist dance, migration and immigration to Paris, Le Corbusier{\textquoteright}s theories of the new urbanism promoted in L{\textquoteright}Esprit Nouveau, and the different meanings attached to "negre" and to the dancing "new woman." Leger{\textquoteright}s laboratory set for The Inhuman Woman (1924) is an object-spectacle that replaces the human star. It synthesizes ideas of invention identified with new communication systems (telegraph, radio, television, film) and with new social orders offered by Constructivist models. In both cases, it is argued that the new worlds of Leger{\textquoteright}s spectacles are also fantasies of social control positioned at the nexus of post-war ideologies about natalism, colonialism, immigration and nationalism.}, keywords = {19th- and Early 20th-Century European Art}, author = {Shanahan, Marueen G.} } @mastersthesis {8628, title = {Fourteenth-Century Sculpture in Westphalia, Germany: The Apostle Cycle Figures of the Wiesenkirche in Soest}, year = {2000}, school = {Wisconsin}, abstract = {This study of the apostles from the choir of the Wiesenkirche in Soest, Germany, poses iconographic, stylistic and art-historiographic questions regarding fourteenth-century sculpture in Westphalia. The author presents three conclusions regarding the Wiesenkirche choir. First: that the cycle of apostles dates to the years 1315-30 and not 1360-75 as has been maintained. Second: that the Wiesenkirche patrons were keenly aware of iconographic traditions in the Rhineland, specifically the newly-constructed Cologne Cathedral (1248-1322), since the iconography of the Wiesenkirche apostle cycle follows that of the Cologne Cathedral and, thereby, also maintains the tradition of interior choir figures found in the Sainte Chapelle, Paris. Third: that the style of the Wiesenkirche sculpture is directly related to the innovations of the Cologne Cathedral workshop around 1300. Previous scholarship has claimed that the Wiesenkirche sculptures represent a crude, provincial, and local Soest workshop, yet the strong visual similarities to Cologne Cathedral suggest that this claim can no longer be upheld. The less-than-celebratory claims regarding the provincial nature of the Wiesenkirche cycle are analyzed in light of art-historical writings. The Wiesenkirche figures have suffered in scholarship in part due to the prevailing research from the 1930s-40s. Here notions of a provincial style paralleled claims that region, and not individual will, was the determining factor in a region{\textquoteright}s culture. The local artistic landscape, or Kunstlandschaft, was vehemently promoted by researchers who believed that the products of culture (art, literature, etc.) were manifestations of a cultural purity within regional boundaries. Such conclusions parallel the agricultural romanticism of the National Socialists who claimed that this cultural purity, found in the provincial countryside, was the antidote to the degenerate modernism so prevalent in metropolitan cities, themselves corrupted by invading foreigners. To claim that sculpture in Westphalia was crude and provincial during the 1930s, was to celebrate it. Unfortunately, post WWII scholars have failed to recognize this and consequently maintain the provincial nature of Westphalia{\textquoteright}s artistic and cultural achievement when, in fact, Westphalia, and more specifically Soest, formed one of the largest centers of artistic, economic and cultural exchange in Northern Germany during the thirteenth and fourteenth centuries.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {McManamy, Kevin W.} } @mastersthesis {8671, title = {Franz Kline: The Mature Paintings, 1950-1962}, year = {2000}, school = {CUNY}, abstract = {This thesis posits defining characteristics of Abstract Expressionist Franz Kline{\textquoteright}s mature style and pictorial methodology in an effort to broaden the base of understanding of his work and establish a framework for future use. The visual analysis of this large a sample of unquestionably authentic Kline works permits the delineation of his formworld{\textquoteright}s infrastructure and how it evolved over the years. Baseline characteristics are established in a close study of the works in his first solo exhibition in 1950. Certain devices, spatial ploys, and collage effects recur throughout his subsequent work, while some aspects (curves, for instance) are phased out and others (such as color) are increasingly brought in. With this intense formal scrutiny it has been possible to define the many image clusters he invented over the years and to see how his paint handling differed considerably from one period to the next making his development discernible. Kline{\textquoteright}s mature commitment to abstraction was total and even though his means were quite severely restricted, he was able to produce a seemingly inexhaustible variety of imagery. Some explanations for why this was possible are posited in introductory chapters that provide background for the mature work in the following areas: biographical sources for recurrent images and formal tactics; formal sources in Zen art and Constructivism; and stylistic sources in caricature. The combined effect of these sources served to set him apart from the other Abstract Expressionists with his own distinctive style. Volume II of this dissertation contains a catalogue of 339 Kline works relevant to the thesis. The complete catalogue raisonne is still a work in progress.}, keywords = {Post-1945 Art}, author = {Kingsley, April} } @mastersthesis {8694, title = {From Bohemianism Idealism to Political Activism: Art of the Liberator, 1918-1924}, year = {2000}, school = {CUNY}, abstract = {This dissertation seeks to broaden the scope and role of the politically active artist and intellectual during the 1920s. The Liberator, an American cultural and political magazine, was among the most important venues, for artists and writers of the 1920s featuring the work of such prominent artists as Stuart Davis, Hugo Gellert, Kathe Kollwitz, George Grosz, and Diego Rivera. The Liberator was published from March 1918 to October 1924; a time of great political change, marked by the end of World War I and the aftermath of the Bolshevik Revolution. As an independent voice for radical intellectuals of the 1920s, its contributors pioneered the concept of proletarian art, contributed to the ongoing debate on the relationship between art and politics, the conflicting objectives of artistic merit versus political message, as well as what constituted an indigenous American art. The first chapter, "Framing the Liberator" provides the historical and cultural background of the publication and a comparison between its predecessor, the Masses. The second chapter, "Patrons and Policy" concentrates on the financial supporters of the publication and the art editorial policy of its editors (Max Eastman, Floyd Dell, Crystal Eastman, Claude McKay, Mike Gold, Joseph Freeman and Robert Minor), as well as a description of Soviet art policy as it affected the magazine. The third chapter, "The Artists" examines the work of Lydia Gibson, William Gropper, Robert Minor and Boardman Robinson. The fourth chapter, "Defining Bolshevism in America" evaluates international events that shaped American radicalism, specifically that of the Bolshevik Revolution and the Spartacist uprising in Germany. The fifth chapter, "The Liberator{\textquoteright}s Response to Communism in America," addresses the effects of the revolutionary model of Soviet Russia on the national agenda. The establishment of the Communist Parties in 1919, the "red scare," the impact of the Communist movement on African Americans, censorship and labor are discussed in the chapter. The conclusion, "The Legacy of the Liberator: Confrontation Between Bohemianism and Radicalism" evaluates the status of the Liberator and its subsequent impact on the cultural and political activities which determined a socially relevant art of the 1920s and 1930s.}, keywords = {Pre-1945 North American and South American Art}, author = {Galotola, Antoniette} } @mastersthesis {8599, title = {From Monastery to Theatre: The Casa di Correzione for Boys in Rome and the Role of Prisons in Eighteenth-Century Architecture}, year = {2000}, school = {Duke}, abstract = {This dissertation examines the design, use, and influence of the House of Correction for boys in Rome (1701-1704). Many historians consider the Casa di Correzione to be the first modern prison because of its architectural design. The social and political setting in which the prison was constructed challenges a prevalent understanding of institutional types and their historical evolution. While eighteenth-century Rome was denigrated by foreign travelers as backwards and marked by papal despotism, these same travelers considered the Casa di Correzione to be one of the most enlightened institutions of Europe. This study explores the history of the Casa di Correzione in the context of Rome{\textquoteright}s institutions and social policies of the Catholic Reformation era. It also examines the ways in which the plans for the prison were disseminated through Italy and Europe both by architects and by travelers on their Grand Tour. The decision to build a new House of Correction was made after a century of experimentation with forms of confinement in Rome. Constructed under the patronage of Pope Clement XI (1700-1721), the prison was designated for young male criminals as an alternative to detention in Rome{\textquoteright}s main prison. Architect Carlo Fontana combined the ideals of monastic seclusion with the functional requirements of a workhouse in the Casa di Correzione plan. The most striking aspect of the Casa di Correzione was its interior layout, composed of a long hall with three stories of individual prison rooms on each side. The construction of the Casa di Correzione marks a moment in which architects and other professionals began to theorize new methods of social reform through architecture. For interested reformers and architects, the outstanding innovation of the Casa di Correzione was its visual clarity. The House of Correction introduced the use of surveillance and observation in prison design. Disseminated throughout Europe as a model for prison architecture, the House of Correction occupies a central place in the history of Enlightenment discourses of discipline.}, keywords = {Art Criticism and Theory, Baroque and 18th-Century European Art}, author = {Foster, Laura} } @mastersthesis {8605, title = {The Garden Theory and Landscape Practice of Jean-Marie Morel}, year = {2000}, school = {Columbia}, abstract = {The origins of the praxis of landscape architecture and of the modern environmental understanding of landscape design are situated in the picturesque garden theory of eighteenth century France{\textquoteright}s foremost landscape gardener Jean-Marie Morel. His long career and documented gardens provide a focus for examining the picturesque garden in both pre- and post-Revolutionary France. As a theorist and practitioner, whose knowledge of the physics and metaphysics of nature as well as horticulture and botany set him apart from his contemporaries, Morel is the most convincing advocate for the picturesque. This dissertation is a comprehensive study of Morel{\textquoteright}s life and work, and argues that the basis of his theory and practice is a synthesis of the laws of nature and the metaphysics of empirical aesthetic sensibility. It demonstrates that Morel{\textquoteright}s theory incorporates major trends in eighteenth century natural science to build a theory of landscape design independent of prior aesthetics and practice. Morel{\textquoteright}s work is examined in relation to the established tradition of picturesque theory and the newly emerging organic understanding of the natural world, set within the larger frame of the changing perception of man{\textquoteright}s place in nature and late eighteenth century thought. Morel alone among his contemporaries emphasized that an understanding of the processes of nature was a necessary prerequisite to landscape design. Armed with a critical understanding of the dynamics of natural processes, Morel forged a theory of gardening flexible and complex enough to allow for future professional development. Indeed, Morel coined the French term for the landscape professional, architecte-paysagiste, as early as 1804.}, keywords = {Baroque and 18th-Century European Art}, author = {Disponzio, Joseph} } @mastersthesis {8729, title = {Girolamo Muziano and Art in Rome, circa 1550-1600}, year = {2000}, school = {Yale}, abstract = {Girolamo Muziano ranked as one of the most important artists in Rome during the second half of the sixteenth century. He was one of the greatest draughtsmen of his age and his paintings are (or were) found in almost every Roman church built or redecorated during his time. He worked for patrons such as Cardinal Ippolito II d{\textquoteright}Este, Cardinal Alessandro Farnese, and Pope Gregory XIII and created works including the original high altarpiece of the Gesu and the first mosaics and altarpieces for new St. Peter{\textquoteright}s, pictures which can without question be considered among the most important of the Cinquecento. His professional success was virtually unmatched among his contemporaries, and the new style of painting Muziano developed from a combination of Venetian and Roman models lies behind the work of a generation of artists. Muziano is, however, largely forgotten today, and not least among the products of investigating Muziano anew are valuable insights regarding the historiography of art and canon formation in art history. It will be argued, for example, that our image of sixteenth century art is skewed by the Renaissance-Mannerist-Baroque periodization. Escaping that, the history of Cinquecento Italian art as traditionally written is tied to a Vasarian model which fails to account for Muziano, and many of his contemporaries. Accordingly, this study of Muziano alternates between a traditional monographic discussion of Muziano{\textquoteright}s development, with commentary on his innovations in the use of landscape settings and in the construction of narrative compositions, and a new, broader investigation into some of the foremost issues attendant upon the art of his time: the effect of artists{\textquoteright} training, theoretical discourses such as the colore-disegno debate, the development of the reproductive print genre, the impact of the Counter-Reformation on art, and the manner in which the administration of artistic projects influenced the final appearance of those works. Above all, this study has two purposes: first, to reevaluate the career of Muziano and to (re)present his art, so that the artist might be returned to his rightful place of consideration in the first rank of painters of the later Cinquecento, and, furthermore, to use the new information discovered in the study of this forgotten but important artist as evidence to begin re-evaluating the art of his time.}, keywords = {Renaissance Art}, author = {Marciari, John} } @mastersthesis {8632, title = {Gold Glass of the Roman Empire: Sources and Development of Religious Imagery}, year = {2000}, school = {Rutgers}, abstract = {My dissertation addresses issues surrounding the production, context, and function of gold-glass vessels in an attempt to better understand their place within late antique artistic production. Gold glass is one of the most important late antique iconographic sources, yet these objects have always been studied outside of their archeological context with emphasis on formalistic approaches. This has resulted in the virtual isolation of this class of material, leaving it little understood and therefore ignored in discussions of the origins of Judeo-Christian imagery. My research focuses on vessel shape, decoration, and the dual character of gold-glass vessels as domestic and funerary objects. Through this line of inquiry I hope to more firmly establish the importance of this class of material within late Roman society. To date, most studies have dealt with issues of style and iconography as a means of securing a more specific dating sequence for the material. It is not the intent of this study to issue a new chronology but rather to address broader issues concerning the use of these objects within the cultural context in which they were produced. To this end, the present study is divided into three sections, each dealing with an essential aspect of gold glass, that will further understanding of the material within its cultural context. Following a brief history of gold-glass scholarship, the first section presents a condensed history of the glass medium up to the period of gold glass production. This is followed by a more focused discussion of the gold-glass technique and the resultant vessel shapes. This section draws on first-hand examination of gold-glass remains. The second section presents a general overview of the iconography and inscriptions found on gold glass as indicators of the audience for this class of objects. The third section deals with the context and function of gold-glass vessels based primarily on archeology. Two appendices, accompanying the text, help to organize the extant material in terms of iconography and morphology. They are meant to be of general assistance while reading the text.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Smith, Stephanie} } @mastersthesis {8721, title = {Gozzoli, the Camposanto, and the Pisan Renaissance: A Documentary Study of the Old Testament Cycle}, year = {2000}, school = {IFA/NYU}, abstract = {Benozzo Gozzoli{\textquoteright}s vast cycle of twenty-three Old Testament scenes, painted in Pisa between 1468 and 1484, represents one of the largest and most complex fresco commissions of the Florentine Quattrocento. The majestic series occupied the entire north wall of the city{\textquoteright}s Camposanto, or monumental cemetery. This dissertation considers Gozzoli{\textquoteright}s cycle within the context of its documentation in order to more fully understand the realization of such an ambitious artistic project. A nearly complete series of payments to Gozzoli for the scenes provides a meticulous record of its chronology and physical dimensions. The now imperfect state of the cycle is considerably enhanced by a careful reading of this contemporary account of its execution. Until now, the documentation of the cycle has been only superficially studied. Preserved in a nearly complete state, the payment records for the Old Testament cycle reveal a wealth of information concerning the origin and progress of this great work. My study of the documentary record of the Old Testament cycle is based on a full transcription of the entries recorded in the surviving payment registers of the Opera. In Chapter One, the importance of the cycle as a major component of imagery and meaning in the Camposanto is established. The details of the execution of the cycle over nearly sixteen years are examined at length in Chapter Two. What is revealed in the documentary record is the full character of the cycle as a work in progress. This study of the documentary history of the cycle restores a vivid impression of the enormity of its scale, and the effort and time required for its completion. Chapter Three places the cycle within the remarkable surge of artistic patronage in Pisa which occurred during the second half of the fifteenth century. My thorough examination of the documents which chronicle the physical revival of the Duomo area suggests, as has never been attempted, the principal role of the Medici as its instigators, and more specifically, the importance of Piero de{\textquoteright} Medici, son of Cosimo Pater Patriae, in the direction of the work itself.}, keywords = {Renaissance Art}, author = {Cheek, Sheldon} } @mastersthesis {8706, title = {H. Langford Warren: Architecture, Harvard, and the Organizations of the Arts and Crafts Movement}, year = {2000}, school = {Brown}, abstract = {At the turn of the twentieth century, Herbert Langford Warren (1857-1917) was widely known among American architects. After working for Henry Hobson Richardson and on his own, Warren was hired by Harvard in 1893 to establish an architecture program. He became a successful complement to the vibrant personalities of fellow faculty members Charles Eliot Norton, the art historian, and Charles Herbert Moore, the painter, both of whom were associated with the English critic John Ruskin. Warren ultimately became the dean of the Faculty of Architecture, holding that position for the rest of his life. He also was a founder of the Society of Arts and Crafts, Boston, and served as its president from 1904 until his death. Through his positions at Harvard and with the Society of Arts and Crafts, Warren articulated a particular aesthetic, guided by an attachment to the past that was characteristic of Brahmin Boston and a broader Yankee culture. The extensive study of architectural history, taught by Warren, came to define the Harvard program and reflected this reverence. In his work with the Society of Arts and Crafts, Warren served a membership that was characterized by a fundamental conservatism in its regard for historical models and in its desire to address aesthetic reform at the expense of social reform. He and his architect-colleagues dominated the Society, collaborating with its craftsmen to produce a distinctive, Boston-based Arts and Crafts architecture. Warren{\textquoteright}s own practice provides examples of this architecture, which was based mainly on English and American sources. The primary evidence for this dissertation includes archival records from Harvard University and the Society of Arts and Crafts as well as two collections that document Warren{\textquoteright}s personal life and professional practice, one owned by a granddaughter and the second owned by a descendant of his partner. While focusing on Warren{\textquoteright}s career, this study more generally explores the ideals of an influential circle of architects and educators and the world to which they belonged at the turn of the last century.}, keywords = {Pre-1945 North American and South American Art}, author = {Meister, Maureen} } @mastersthesis {8589, title = {Handprints and Footprints in Tibetan Painting}, year = {2000}, school = {Michigan}, abstract = {The goal of this dissertation is to illuminate the tradition of Tibetan paintings (thang ka) displaying handprints and/or footprints through an investigation into their origins, history, and religious significance. This study demonstrates that the print thangka tradition has at least an eight hundred year history in Tibet and that it is primarily associated with the Bka{\textquoteright} brgyud and Dge lugs sects of Tibetan Buddhism. The thirty-two print thangkas examined are categorized into four types which correspond generally in composition, iconography, date, technique, and support material. Based on visual analysis and on textual references, it is suggested that each category of thangka fulfilled a particular function and that the prints on print thangkas are based on the actual touch of a lama. Chapter 1 reviews Western scholarship on the subject of print thangkas and Chapter 2 investigates Indian antecedents to print thangkas. Chapter 3 focuses on the multivalence of print thanakas by examining the occurrence of prints in other Tibetan contexts and the concepts that might be evoked by handprints and footprints on thangkas. Chapters 4 and 5 examine the corpus and relevant texts. The first part of each chapter is a visual analysis of the thangkas. The second half provides insight into the thangkas{\textquoteright} buddhological and historical contexts using texts which mention the creation of print thangkas. Chapter 4 addresses the two early categories (11th to 14th century), footprints in ink on silk supports and footprints flanking a deity and/or a lama, and a text written by the early Bka{\textquoteright} brgyud scholar, Phag mo Gru pa (1110-1170). Because of their iconography, it is suggested that thangkas in the latter category were created to function as described by Phag mo Gru pa: to provide teachings when the teacher is absent. Chapter 5 examines the two categories of thangkas which date from the 15th to the 20th century, lamas or other historical personages with handprints and footprints, and handprints. This chapter also discusses the significance of passages written by the Fifth Dalai Lama (1617-1682) and his regent Sangs rgyas Rgya mtsho (1652-1703). Chapter 6 offers conclusions about the Tibetan print thangka tradition.}, keywords = {Asian Art}, author = {Brown, Kathryn Selig} } @mastersthesis {8658, title = {A History of Zulu Beadwork 1890-1997: Its Types, Forms, and Functions}, year = {2000}, school = {Ohio State}, abstract = {Beadworking is an important art form both historically and contemporarily for the Zulu people of South Africa. While being an expression of Zulu aesthetic concepts, beadwork also has important roles in the economy; regulation of society; healing and divination practices and display of wealth, religious and political affiliations, and political power. Additionally, regional and sequential variations in the names and types of items produced, the color combinations and design motifs used on beadwork items, and the symbolism associated with various motifs and colors serve to identify an individual{\textquoteright}s age, social status, and region of origin. As such, the historical study of Zulu beadwork between 1890-1997 provides insights into the historical events, movements of people, social practices and their changes, religious beliefs, structure and changes of the economy, political climate, and artistic trends within Zulu society of this period, as they were experienced at both the individual and group level. Assuming such a broad range of roles, beadwork becomes then a symbolic embodiment of the common circumstances and interests that define Zulu ethnicity during the period under consideration. As such, this study examines the art historical development of Zulu beadwork from 1890-1900 in twenty year intervals to determine: (1) the various major regional styles and their developments and (2) the functions of beadwork within Zulu society and how these functions are adapted to historical and social changes. It will show that while there are certain common elements to beadwork forms and functions that serve as the basis for the expression of a unified ethnic identity, artists are continually experimenting with colors, materials, shapes, and beadworking methods to create unique objects that reflect their unique position within Zulu society. It reveals some of the social, political, religious, and economic changes that have come to have an impact on these stylistic developments; and conversely, how these changes are expressed in beadwork. In short, this study will show the history of beadwork to be a materialization of the contemporary and historical experiences that define the ethnicity of the Zulu people as a united yet diverse people. On a broader level, this investigation will also increase the appreciation of the deep significance of the role of body arts within the context of African art as a whole.* *Originally published in DAI Vol. 61, No. 5. Reprinted here with corrected author name.}, keywords = {African Art, Post-1945 Art}, author = {Boram-Hays, Carol S.} } @mastersthesis {8730, title = {Holbein and the Reformation of Art}, year = {2000}, school = {UC Berkeley}, abstract = {This thesis interprets several paintings by Hans Holbein the Younger (1497/8-1543) as explorations of the relationship between the known visible world and spiritual experience, a problem at the heart of the religious crises of the Reformation period. Many humanists and reformers came to believe that divinity must be understood as something wholly other than ordinary experience; traditionalists, on the other hand, maintained that physical objects can themselves be sacred and, moreover, indispensable to any human attempt at understanding God. As these alternative views became increasingly polarized over the first decade of the Reformation and beyond, Holbein sought a middle ground, not only in religious painting but in portraiture as well. Several of his religious works made in Basel in the 1520s use naturalism and spatial coherence to represent saints and the holy family as almost fully human, thereby bringing divine beings into a tangible and comprehensible realm. His portraits appear to reproduce outward appearance almost exactly, so that it is material description that conveys to the viewer the sense of the sitter{\textquoteright}s essence. Both of these kinds of works, usually studied as separate genres, therefore explore the ability of physical description to convey spiritual presence. This thesis demonstrates that the correlation of appearance to essence examined in Holbein{\textquoteright}s works parallels the issues at stake in a number of contemporary debates directly concerning his patrons in Basel: iconoclasm (whether a saint may be reproduced in images), transubstantiation (whether Christ{\textquoteright}s incarnation in the eucharist replaced, coexisted with, or was merely symbolized by the substance of bread and wine), poor relief reform, and the status of mercenary warfare (how charity recipients and soldiers should be assessed on the basis of both physical appearance and moral character). While the irreparable religious divisions limited the pursuit of a reconciliation between materiality and spirituality within devotional works, Holbein{\textquoteright}s portraits achieved a more enduring solution, though in the end they also point to the limitations of directly identifying spiritual essence through external qualities. In demonstrating the interdependence between religious paintings and {\textquoteright}secular{\textquoteright} portraiture, this thesis re-evaluates one artist{\textquoteright}s works as a whole and redefines the relative status of these genres in the first half of the 16th century.}, keywords = {Renaissance Art}, author = {Nuechterlein, Jeanne} } @mastersthesis {8610, title = {The Hotel de Soubise and the Rohan-Soubise Family: Architecture, Interior Decoration, and the Art of Ambition in Eighteenth-Century France}, year = {2000}, school = {Princeton}, abstract = {The hotel de Soubise has long been considered an important example of domestic architecture and interior decoration in Paris during the first half of the eighteenth century. From 1700 to 1787, the hotel was the principal residence of the Rohan-Soubise family, a branch of the old noble dynasty of the Rohan, whose members played prominent roles in court society under both Louis XIV and Louis XV. Both the design history of the hotel and the social history of the Rohan-Soubise are well documented, but the relationship between the two has remained largely unexplored. This study examines the ways in which the hotel both expressed and actively shaped the social self-image of its owners. It focuses on two major renovations commissioned by the Rohan-Soubise: one by Pierre-Alexis Delamaire in 1705-9, and one by Germain Boffrand in 1735-39. Delamaire transformed the exterior of the building by adding an entry gate, a vast colonnaded courtyard, and a new facade. Boffrand significantly altered the interior by reorganizing and expanding the plan and redecorating the principal social spaces in the rococo style. His scheme included decorative painting and sculpture by seven prominent artists, including Francois Boucher and Charles-Joseph Natoire. These refigurations of the hotel are analyzed in terms of a contemporaneous social project undertaken by the Rohan-Soubise: an effort to attain the status of "princes etrangers" (foreign princes), a prestigious but problematic rank within the hierarchy of court society that was granted to families of sovereign lineage. The Rohan-Soubise were technically unqualified for this honor, and their pretension was disputed by other nobles, but they successfully maintained it through a variety of social strategies. This study argues that the developing design of the hotel de Soubise was also socially strategic, an architectural and decorative engagement with the aspirations of a uniquely positioned family. Drawing on a range of sources, including building contracts, inventories, genealogical histories, and memoirs, it provides a comprehensive, contextual analysis of the hotel as an environment that produced meaning through a complex interplay of visual, spatial, and social dynamics.}, keywords = {Baroque and 18th-Century European Art}, author = {Hellman, Mimi} } @mastersthesis {8626, title = {The Illumination of Legal Manuscripts in Bologna, 1250-1350}, year = {2000}, school = {IFA/NYU}, abstract = {This dissertation addresses legal book production in Bologna from circa 1250 to 1350, focusing on the physical realities of the manuscripts themselves rather than the study of law or of legal texts per se. The manuscripts examined and described constitute the basic texts of canon and Roman law (the Corpus iuris civilis and Corpus iuris canonici) utilized in lectures in the Studium at the University of Bologna. The first chapter presents an overview of the variety of texts encompassed by the legal genre and gives a brief description of their contents and historical background. The following two chapters provide an assessment of the legal page as executed by Bolognese artisans: codicological aspects, text articulation, the utilization and functions of decorative devices, and the manner in which scribes and illuminators worked together to employ them. Chapter four is devoted to the activities and working methods of individual illuminators and workshops. It examines the various forms of professional collaboration within manuscripts and the concept of "workshop" as related to the contemporaneous Bolognese context, addressing some of the principal questions that have been raised about this collaboration. The careers of the period{\textquoteright}s dominant artists are described and correlated historically and stylistically. The fifth and last chapter identifies the most common legal themes recurrent throughout the corpus iuris, and provides descriptions of the iconographical compositions most often employed by Bolognese artists to visually represent them, tracing their development along the thirteenth and fourteenth centuries. While the majority of examples are taken from civil law texts, there is overlap in some cases from canon law manuscripts. As the core of this dissertation, it represents an introductory survey of the essentially unexplored topic of legal iconography, situating juridical themes and their visual interpretations within artistic and socio-historical contexts. Following Chapter Five, the Appendix lists and provides basic codicological information for all manuscripts referred to along the dissertation.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {L{\textquoteright}Engle, Susan} } @mastersthesis {8620, title = {Illustrating a Thirteenth Century Natural History Encyclopedia: The Pictorial Tradition of Thomas of Cantimpre{\textquoteright}s {\textquoteright}De Natura Rerum{\textquoteright} and Valenciennes Ms. 320}, year = {2000}, school = {Pittsburgh}, abstract = {The Dominican Thomas of Cantimpre composed his Latin natural history encyclopedia in twenty books titled De natura rerum (On the Nature of Things) around 1245. Subjects in the encyclopedia range from monstrous people to animals of the land and sea, trees, herbs, metals, great rivers, and astronomy. Fourteenth-century charters regulating the production of pecias at the University of Paris show that De natura rerum was prized in academic circles. Eleven finely illustrated manuscripts of the text exist. This dissertation studies the medieval illustrative tradition of De natura rerum, which has never been the subject of scholarly inquiry. I introduce the topic with an overview of medieval natural history illustration. I focus on thirteenth-century Valenciennes Municipal Library Ms. 320, the earliest extant manuscript of the tradition; I provide a codicological, stylistic, and iconographic analysis of the manuscript. The 670 gold and color natural history illustrations in this codex are highly unusual for their time of production. Many reflect current interests in newly available translations of Aristotle. Accompanying the illustrations are hundreds of heretofore-unassessed vernacular illustrators{\textquoteright} notes, which carry important information about the creation of the illustrations and suggest that Valenciennes 320 contains an original picture program upon which the illustrations of later manuscripts were based. In an analysis of the illustrations, coupled with some dialectal features in the illuminators{\textquoteright} notes, I localize the Gothic manuscript in northeastern France, and provide compelling evidence that a member of the Order of the Augustinian Friars commissioned it. Using a closely related fourteenth-century Czech manuscript (Prague Klementinum Ms. XIV A 15) as an example, I address the transmission of the illustrations of Valenciennes 320 into later manuscripts. I also show that Cistercian patronage was important to the later illustrative tradition. The appendices of the dissertation provide a complete list of all the illustrations in Valenciennes Ms. 320 and Klementinum Ms. XIV A 15, and an annotated list of related fourteenth- and fifteenth-century manuscripts illustrated in the Holy Roman Empire.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Gatewood, Deborah} } @mastersthesis {8591, title = {Images for Warriors: Unkei{\textquoteright}s Sculptures at Ganjojuin and Jorakuji}, year = {2000}, school = {Yale}, abstract = {Early in his career, the sculptor Unkei (ca. 1150-1223) carved two sets of images for temples in Japan{\textquoteright}s eastern region. The first set was produced in 1186 (Bunji 2) for Hojo Tokimasa, who was the father-in-law of Minamoto Yoritomo, the leader of the new military government ( bakufu) headquartered in Kamakura. Tokimasa subsequently installed these images at Ganjojuin, a temple he constructed at his home base in Nirayama, Izu (Shizuoka). In 1189 (Bunji 5), Unkei created a similar group of sculptures for Wada Yoshimori, the first director of the bakufu{\textquoteright}s bureau of samurai. These images were installed at Jorakuji, Yoshimori{\textquoteright}s temple in Ashina, Sagami (Kanagawa). Both Tokimasa and Yoshimori hailed from locally powerful families, and were among the gokenin (housemen; vassals or retainers) in Yoritomo{\textquoteright}s innermost circle. Unkei{\textquoteright}s sculptures at Ganjojuin and Jorakuji mark the connection forged between the busshi (makers of Buddhist images) of the workshop at Kofukuji in Nara, and the bushi (military men) of the new Kamakura regime. While the importance of these innovative works to the development of Unkei{\textquoteright}s style has been noted widely, the unusual iconography of these images has received little attention. The particular combination of figures at each temple appears to be unprecedented in Japanese sculpture, and may have originated in an obscure iconographic tradition of the Tendai school. Symbolizing the moment of death in sculptural form, this iconographic scheme was well suited for images commissioned by bushi for private temples constructed within their residential domains. The temple/residence complexes of the bushi, as sites where the military lifestyle and the desire for rebirth intermixed, were emblematic of the contradictions and compromises inherent in Buddhist belief among warriors, and provided a fertile ground for creativity in the formulation of appropriate imagery. In selecting an iconographic model for the Ganjojuin and Jorakuji works, Unkei was attentive to the requirements of a new class of patrons. The iconography of these sculptures yields information on Unkei{\textquoteright}s creative process, the character of private temples in the east, and the concerns that fueled the faith of men at a time of transition in Japanese society, religion, and culture.}, keywords = {Asian Art}, author = {Drogin, Melanie Beth} } @mastersthesis {8739, title = {Imago Triumphalis: The Function and Significance of Triumphal Imagery for Italian Renaissance Rulers}, year = {2000}, school = {University of Washington}, abstract = {This study examines the manner in which independent rulers in fifteenth-century Italy used the motif of the Roman triumph or pompa triumphalis for self-aggrandizement and personal expression. Rulers such as Alfonso of Aragon, Federico da Montefeltro, Sigismondo Malatesta, and Borso d{\textquoteright}Este, each chose to incorporate triumphal iconography in the visual construction of their own personal mythology. Triumphal imagery, replete with connotations of victory and splendor, was recognized in the Renaissance as a reflection of the glory of classical antiquity. Its popularity relied on the fact that the image of the triumphal procession could at once suggest victory, antiquity, perpetuity, and power. The imagery{\textquoteright}s malleability allowed it to both retain its classical associations and function as a highly personalized commentary. Triumphal imagery incorporated visual associations and decorative possibilities that were fundamentally regal and laudatory, qualities that were enticing for any ruler. The appeal of the motif and its power as a visual bearer of meaning is evident in its appearance as a decorative theme in Renaissance literature, art and architecture. Authors such as Dante, Boccaccio and Petrarch used the model of the antique triumph as an allegorical tool to express the Triumph of Christian virtue. By the Quattrocento, the theme of the triumph had evolved into an artistic concetto that embodied not only the classical past but also the virtue of the Christian faith. The flexibility and inherent hieratic quality of triumphal imagery made it a significant and dominant feature in the visual propaganda of fifteenth-century rulership. This study addresses the purpose triumphal imagery served for rulers who chose the motif for major artistic commissions in which they themselves are represented. It suggests, ultimately, that there was perhaps no better single image to convey the wide array of political and humanistic concepts so important in the self promotion of the Italian Renaissance ruler.}, keywords = {Renaissance Art}, author = {Zaho, Margaret Ann} } @mastersthesis {8576, title = {In Pursuit of Childhood: Lewis Carroll{\textquoteright}s Photography and the Victorian Visual Imagination}, year = {2000}, school = {Yale}, abstract = {The photography of Charles Lutwidge Dodgson, alias Lewis Carroll, spans the mid-Victorian period. This dissertation attempts to place Dodgson{\textquoteright}s photographs of children in aesthetic and historical contexts. Like his two Alice books, Dodgson{\textquoteright}s photography participates in a history of childhood defined against adulthood, a history that engages issues of gender, class, and sexuality. I argue that Dodgson{\textquoteright}s photographs mark a crucial moment in the visual history of modern childhood. By performing close analyses of his photographs against visual antecedents and contemporary representations, I claim that Dodgson{\textquoteright}s photographs establish new visual models for the representation of children-models that propose a concept of the self predicated upon an explicit division between child and adult. The first chapter investigates Dodgson{\textquoteright}s photographic practices and his visual concerns as articulated in the practice of collecting and compiling images. The second chapter examines photographs of Alice Liddell to assert that Dodgson{\textquoteright}s photographs originate a pictorial vocabulary that differentiates children from adults and that has come to be seen as natural. My third chapter refutes one of the central myths of Dodgson{\textquoteright}s character by showing that Dodgson photographed far more boys than is thought. In photographs of boys at a preparatory school, Dodgson visualizes the development of a "manly boyhood." In contrast to his photographs of girls in the static space of childhood, his photographs of boys construct a seamless transition from boyhood to manhood. The fourth chapter analyzes Dodgson{\textquoteright}s fancy dress photographs in relation to the Victorian theater and ideas of theatricality. The last chapter examines Dodgson{\textquoteright}s photographing of nude girls as a carefully controlled enterprise, a necessary strategy to stabilize a practice inherently uncertain once purity and sexuality divided between childhood and adulthood. I propose that Dodgson attempted to control the relationship between spectatorship, sexuality, and the display of the nude girl{\textquoteright}s body to insure that his representations of nude girls were representations of innocent bodies. Dodgson{\textquoteright}s photography therefore addresses crucial issues surrounding the visual imagining of childhood in the nineteenth century, constructing dichotomies of innocence and experience, purity and sexuality, girl and boy, stasis and growth, and child and adult.}, keywords = {19th- and Early 20th-Century European Art}, author = {Waggoner, Diane} } @mastersthesis {8716, title = {In Sympathy with the Heart{\textquoteright}: Rembrandt Peale, an American Artist and the Traditions of European Art}, year = {2000}, school = {Pennsylvania}, abstract = {While some historians have seen Rembrandt Peale as "complex and puzzling" (E. P. Richardson), others have seen him as an artist who lived and worked in "the shadow of his father" (Lillian B. Miller). By contrast, this study seeks to unscramble the puzzle, bring Rembrandt Peale out from under the shadow of his father, and establish his vital links to the traditions of European art, as well as to the times in which he lived and painted. It seeks to identify the guiding principles in Peale{\textquoteright}s seemingly diverse works by examining his aesthetic, psychological and social patrimony. His exhibition paintings, the works in which he placed his greatest hopes and ambitions, are the pictorial focus of this study. These paintings and his related lesser works, his fancy pieces, have, to date, received scant attention. Here, it will be demonstrated how they reveal the well-springs of Peale{\textquoteright}s art, his commitment to an art of strong visual and emotional effect that sought to be "in sympathy with the heart" of an emerging, diverse nineteenth century American audience seeking culture and entertainment. Although Rembrandt remained connected to many of the artistic traditions and issues that deeply engaged both his father, Charles Willson Peale, and his brother, Raphaelle, Rembrandt Peale produced a body of work that was uniquely his own and reflective of his intense, life-long engagement with the art of painting and his mission of being an artist.}, keywords = {Pre-1945 North American and South American Art}, author = {Soltis, Carol} } @mastersthesis {8639, title = {Institutional Patronage and Social Commemoration in Theban Tomb Painting during the Reigns of Thutmose IV (1419-1410 BC) and Amenhotep III (1410-1382 BC)}, year = {2000}, school = {IFA/NYU}, abstract = {In private tombs from the reigns of Thutmose IV and Amenhotep III, two general painting styles occur which I have named the Palace Style and the Temple Style, based on the similarity of each chapel{\textquoteright}s paintings to decoration in palace or temple contexts. These styles were patronized by two distinct groups of officials: the "state class", namely civil, palace and military personnel used the Palace Style; and temple employees such as priests, temple provisioners, grain scribes of Amun, and artisans utilized the Temple Style. The tomb owner{\textquoteright}s patronage of a specific group of painters was an essential factor in these tomb paintings, but reflected something more than the patron{\textquoteright}s access to artisans connected to his institution{\textquoteright}s workshops; it indicated that the tomb owner chose a specific style of painting, together with its images (here called icons) and relevant texts, to relay a message about his individual and social identity to induce visitors to perform his cult. However, in so doing, the tomb owner, also relayed the ideology of the social institution that employed him, thereby educating future generations and disseminating the values of the elite while simultaneously asserting the status of a particular component within that elite. In commemorative private T-shaped tombs which were monuments to individual and collective identity, the living and the dead were brought into contact, the focus of which occurred on the back walls of the transverse hall which held the Blickpunktbild or "focal point representation". Here, visual information was conveyed which could be understood by literate and non-literate alike, albeit in varying degrees. To the visitor, the Palace and Temple Styles of painting conveyed two very different messages in which the deceased expressed his legitimization by and relationship to either the king or the gods; and conveyed an ambiance and ideology characteristic of either the world of "state officials" or of temple priests and staffs.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Hartwig, Melinda} } @mastersthesis {8570, title = {Irony, Melancholy, and the Avant-Garde: Francis Picabia, Giorgio de Chirico, Rene Magritte}, year = {2000}, school = {Columbia}, abstract = {This dissertation concerns what has come to be called "anti-modernism." Where scholarship has presented anti-modernism as the reactionary other to mainstream, progressive modernism, this study argues that the two are in fact deeply intertwined. The dissertation begins with an examination of the poetry and criticism of Guillaume Apollinaire in the years around 1912, that is, the moment in which the symbolist aesthetic of interiority was displaced by an avant-garde aesthetic of radical exteriority. Apollinaire{\textquoteright}s ambivalent response to this displacement serves the rest of the dissertation as a model for a rearticulation of anti-modernism. The poet{\textquoteright}s ambivalence suggests that, even at its most radical, the avant-garde was accompanied by moments of melancholic attachment toward that which has been displaced as well as a sense of irony toward that very attachment. Like Apollinaire{\textquoteright}s "calligrammes," Francis Picabia{\textquoteright}s "mechanomorphs" of the early teens have been interpreted as triumphant affirmations of modernity. Overlooked in such accounts is the fact that Picabia{\textquoteright}s work was, like Apollinaire{\textquoteright}s, the expression of a profound ambivalence. This chapter argues that the painter{\textquoteright}s abandonment of a symbolist-derived aesthetic of abstraction was a far more complex, equivocal process than previously considered. The next chapter turns to perhaps the most important representative of interwar anti-modernism-Giorgio de Chirico. De Chirico{\textquoteright}s eccentric reception of cubism and collage within the context of a symbolist aesthetic derived from Bocklin and Klinger-which is to say, of modernism and its other-is shown to be best understood in terms of the "allegorical" as Walter Benjamin developed it. The final chapter focuses on a different reception of the outmoded as it appears in the work of Rene Magritte. Magritte{\textquoteright}s adoption of de Chirico{\textquoteright}s figuration is demonstrated to have been driven by a recognition that the craft of figurative painting-precisely because it was no longer a legitimate pictorial practice-could serve as a means of instrumentalizing deception and thereby function dialectically as a tool of illumination. In sum, the dissertation maps a terrain of practices that look suspiciously on the strictly linear, developmental model of modernism-practices that engage the past as a means of critiquing the present.}, keywords = {19th- and Early 20th-Century European Art}, author = {Rothman, Roger} } @mastersthesis {8609, title = {The Irregular Garden in Late Eighteenth-Century France}, year = {2000}, school = {Yale}, abstract = {Over the course of the eighteenth century, the formal paradigm of French garden design underwent a radical transformation. Until the mid-1760s, the typical layout was regular and featured a framework of axes within which the designer could structure formal and symbolic content. Around the mid-1760s, however, a reaction against those practices began to take shape. In the new mode, the axes of regular design were suppressed as structuring and generating armatures and their place was assumed, in plan, by irregular shapes and freely curving lines. The new preponderance of asymmetrical forms differed radically from anything seen in French garden design before that time. In spite of that novelty, however, the mode flourished throughout the 1770s and 1780s and became the dominant style in and around Paris within a decade of its first appearance. Ever since the eighteenth century, the origins and meaning of irregular garden design in France have been highly disputed. Yet, the many speculations share the idea that the development was an aberration within the fabric of French garden history, whether as a concession to foreign taste or a repudiation of national tradition. Irregular design was never called "francais," even when it was a representative style in France. Historians typically characterize the mode as a superficial phenomenon without meaningful implications for French style. The idea that irregular design was an aberration has chronically overshadowed evidence that the new approach was framed by concerns completely in keeping with principles of classical French design. The most important of those concerns included the idea of the garden as a place of urbane sociability, even in rural settings; the idea of a correspondence between French garden style and an image of national landscape (i.e., the territoire); and the idea that the plan was the best format for conceiving and representing French garden design, regardless of its form. Far from being obstacles, those conservative positions helped make irregular design possible in France by providing a structure within which the new mode could take root and develop. In other words, irregular design seems to have emerged in France not through a reversal of broad principles but through shifting emphases within a framework of traditional conditions. That interpretation suggests that the development is best understood not as an historical aberration but as an attempt to formulate a new style of germanely French design.}, keywords = {Baroque and 18th-Century European Art}, author = {Hays, David Lyle} } @mastersthesis {8672, title = {Isaac Stoltzfus: Images about Sexuality and Culture}, year = {2000}, school = {IFA/NYU}, abstract = {In this study I examine various discourses on human sexuality. I also examine visual art works in order to form an understanding of art that addresses sexual identity. The research is used to inform and expand my own art work in general, and specifically, to help conceptualize and create art works based on a fictional, homosexually-oriented Amish man. As part of that process, I identify specific art works by Matthew Barney, Paul Cadmus, Joseph Cornell, Marcel Duchamp, Atilla Richard Lukacs, and Charles Ray that explore sexuality. I also identify and explore specific discourses in philosophy, psychology, medical science, women{\textquoteright}s studies, and gay and lesbian studies about sexuality that I relate to the work of these artists. Finally, I demonstrate how the artists and discourses influenced the creation of Isaac Stoltzfus, the homosexually oriented Amish man, and document the exhibit about him. The exhibit was presented at the Rosenberg Gallery, New York University, from January 3, 1999 to January 24, 1999. Questionnaire and postcard forms were used to obtain viewer{\textquoteright}s reactions to the exhibit as part of the study. The subject of the questionnaire was the exhibition about Isaac Stoltzfus, not the viewer of that exhibit. Persons under the age of eighteen were not permitted to complete the questionnaire. The postcard was created because it gave viewers the opportunity to respond to the exhibition on a more personal level since they could communicate their specific reactions to the art work in the exhibit. I used the results of the questionnaire and the postcards in two ways. First, to explore the relationship of the artist as creator to the viewer as receiver of the art work. Second, to explore my hypothesis that the dominant binary conceptualization of human sexuality in our culture is limiting and inadequate. The questionnaire yielded some surprises, but generally supported that hypothesis. The postcards from viewers, however, yielded many surprises and their observations helped me to discover some of my own abstruse motivations in creating the fictional character Isaac Stoltzfus and the exhibit about him. As I considered the nature of viewer{\textquoteright}s written, responses to the exhibit, I proposed a model of communication through visual images that is based upon Ferdinand de Saussure{\textquoteright}s model of spoken language, page 12 in Course in General Linguistics (1966).1 The model allowed me to conceive of the possibility that visual communication between artist and viewer could be structured so that it more closely resembles spoken language. That vision helped me to frame directions for future art production that are more interactive and include possible hybrids of electronic (virtual) space and (actual) physical space, as well as continuous feedback loops in which the distinction between viewer and artist may be lost entirely. Most importantly, as I reflected upon the art produced about this fictitious, gay, Amish man, the related discourses and art works, and the viewer{\textquoteright}s responses to the exhibit about it, I made a series of observations about human sexual identity. The observations helped me to redirect the current faulty dichotomous view toward a more open conceptualization that includes related philosophical, spiritual, moral, psychological, and physical aspects. 1Saussure, Ferdinand. Notes for a Course in General Linguistics. New York: McGraw-Hill Publishing Company, 1966.}, keywords = {Post-1945 Art}, author = {Klomp, John} } @mastersthesis {8556, title = {Isamu Noguchi: The Artist as Engineer and Visionary Designer, 1918-1939}, year = {2000}, school = {IFA/NYU}, abstract = {The Japanese-American artist Isamu Noguchi considered himself to be not only a sculptor, but also an artist-engineer, inventor, and visionary designer. This dissertation explores the trajectory of his design career and cross-influences between his sculpture and design from his youth through 1939. Two inventors and engineers, Dr. Edward A. Rumely and R. Buckminster Fuller, shared Noguchi{\textquoteright}s enthusiasm for new technologies and efficiency engineering, offered him his first design opportunities, portrait commissions, and links to the industrial world, and fostered Noguchi{\textquoteright}s ambitious self-marketing campaign as a visionary designer. Chapter One investigates the pedagogy of Rumely and his progressive school, Interlaken, in Rolling Prairie, Indiana, whose summer camp Noguchi attended in 1918. Noguchi later reinterpreted the craft, industrial, and agricultural practices that were promoted there. Chapter Two focuses on Rumely{\textquoteright}s early patronage of Noguchi and concludes with a discussion of how Noguchi consolidated his interests in industry and sculpture during his apprenticeship with Constantin Brancusi in Paris (1927-28). Chapter Three addresses Fuller and Noguchi{\textquoteright}s early exchange of ideas, and Noguchi{\textquoteright}s immediate response to Fuller{\textquoteright}s utopian Dymaxion philosophy. Chapters Four and Five examine Noguchi{\textquoteright}s industrial designs from 1932-34, the establishment of his own design business, Time Design, and two of his unrealized landscape designs of 1933: Monument to the Plow and Play Mountain. Chapter Six analyzes Noguchi{\textquoteright}s mass-produced radio transmitter and baby monitor, Radio Nurse (1937) for the Zenith Radio Corporation, in terms of its design, material, role as an efficient surveillance device for mothers, publicity, historical context, and reception. The Conclusion discusses Noguchi{\textquoteright}s merging of art and design between 1938 and 1939 and examines his institutional ties to The Museum of Modern Art, whose trustees privately commissioned him to execute sculpted portraits, furniture, and design objects. This dissertation provides a context for Noguchi{\textquoteright}s later career, distinguished by his broadened definition of sculpture and expanded participation in the commercial world.}, keywords = {19th- and Early 20th-Century European Art}, author = {Goldberg, Deborah} } @mastersthesis {8689, title = {Jared French (1905-1988)}, year = {2000}, school = {Delaware}, abstract = {The work of Jared French (1905-1988) is largely forgotten today, known mostly by specialists in twentieth-century American figurative art who regard him as an exemplary painter of the Magic Realist movement. Although French never attained wide renown, during his career he did garner both modest success and outright notoriety-attention brought about in part by his interest in the male figure. French, who was bisexual, was one of the first American artists whose gay desires were recognized by contemporaries who viewed his work. This dissertation is the first extended study of the art and life of Jared French. It assembles archival and documentary material to examine the artist{\textquoteright}s paintings, drawings, prints, and sculptures in a variety of styles, including his early American Scene images, his mature Magic Realist work, and his late biomorphic abstractions. The artist{\textquoteright}s personal and professional relationships are discussed in order to demonstrate the effects they had on his oeuvre. A list of exhibitions in which French participated and a chronological checklist of his known works accompany the text.}, keywords = {Pre-1945 North American and South American Art}, author = {Cole, Mark} } @mastersthesis {8690, title = {John Ringling In Perpetua Memoria: The Legacy and Prestige of Art and Collecting}, year = {2000}, school = {Florida State}, abstract = {The human need to be remembered is closely followed by how one wants that memory to endure. John Ringling, the Circus King, collected Old Master paintings in an attempt to leave a legacy of his own creation. Unavoidably, he did not want to be simply associated with the American Circus of popular culture. He wanted to be remembered as a gentlemanly art collector who left his mansion, art collection and museum on the west coast of Florida to the people of that state. Surprisingly, Ringling, a self-made man in the late Gilded Age, was not alone in his attempts to create his legacy identity among the many other more famous businessmen collectors. This dissertation examines John Ringling in this context and illuminates how he set about the task of professional art collecting. This study shows how he surrounded himself with world authorities on art and educated himself by collecting books, periodicals and exhibition and auction catalogues. It also shows how he collected almost five hundred Old Master paintings from dealers and auctions both in America and in Europe and what comprised the collection he acquired in only six short years. The dissertation concludes with a full interpretation and discussion of the museum he built to house his art collection. All of Ringling{\textquoteright}s endeavors are tied together with his desire to remake himself so that his family name would belie that of cheap spectacle and showmanship.}, keywords = {Pre-1945 North American and South American Art}, author = {De Groft, Aaron H.} } @mastersthesis {8567, title = {Klee and Eros}, year = {2000}, school = {Michigan}, abstract = {The erotic work by the Swiss artist Paul Klee (1879-1940) is among the most complex and important in the twentieth century. From his earliest diary entries and his earliest works, Klee acknowledged sexuality as a crucial force in his art and life, and he continued until his death to create a powerful body of works that dealt with this theme. This dissertation delves into this intensely private aspect of the artist and his works. It turns to the artist{\textquoteright}s diaries as a way to introduce Klee{\textquoteright}s early sexual experiences, and his attitudes toward the erotic. Two fundamental themes, which will be developed throughout the dissertation, emerge from the analysis of the diaries. Firstly, Klee interconnects the aesthetic and the erotic in complex ways. For example, early diary entries reveal that Klee{\textquoteright}s artistic maturation is specifically tied to his sexual maturation. Secondly, Klee{\textquoteright}s erotic experiences and feelings reveal themselves to be charged with ambivalence. Sexuality both torments and invigorates Klee, and from this tension, as we trace in the dissertation, he creates a remarkable group of images. These subsequent chapters analyze the artist{\textquoteright}s sexual oeuvre from a thematic approach. Over a long period of time, Klee was drawn to certain sexual configurations and themes that held particular importance for him. The chapters treat the following subjects: Self-Portraits; the Demonic, the Celestial, and Eros; Images of Fertility; Childhood and Sexuality; Woman and Beast; Vision and Sexuality. The study places the works in their historical and artistic context, while at the same time acknowledging the highly individual nature of Klee{\textquoteright}s artistic world. This dissertation treats the most personal of Klee{\textquoteright}s imagery. What emerges is a incredible diversity of works. At the same time, equally striking are the complex and multifaceted ways in which the images may be associated with one another in a bond created by Klee{\textquoteright}s individual sensibility.}, keywords = {19th- and Early 20th-Century European Art}, author = {Perkins, Jonathan} } @mastersthesis {8568, title = {La Vice a la Mode: Gustave Courbet and the Vogue for Lesbianism in Second Empire France}, year = {2000}, school = {IFA/NYU}, abstract = {Le Vice a la Mode: Gustave Courbet and the Vogue for Lesbianism in Second Empire France studies the centrality of the trope of lesbianism in 19th-century French visual culture, using several "lesbian" paintings by Gustave Courbet as a nucleus within a larger environment of related imagery, discourses, and psychosexual cultural obsessions. The quotation marks surrounding the term "lesbian" are meant to signal the difference between the historical reality of actual lesbians and the cultural fantasy of lesbianism produced, for the most part, by male artists, writers, and savants. Courbet{\textquoteright}s "lesbian" paintings are situated along a spectrum, or continuum, which ranges from the suggestive to the overtly erotic and explicitly sexual. For example, his Bathers, 1853, is deemed his earliest and most subtle exploration into the theme of lesbian eroticism, followed by Les Demoiselles des bords de la Seine, 1857, which is reread as an image replete with pictorial signifiers then associated with visual and literary lesbianism. Within the lesbian spectrum delineated, the Etude de Femmes (or Venus and Psyche), 1864, and The Awakening, 1866, are read as "lesboerotic" images; that is, as images with "lesbian" overtones, but not necessarily a "lesbian" theme. Finally, The Sleepers, 1866, is considered the most unambiguously and explicitly sexual of Courbets "lesbian" paintings. Courbet{\textquoteright}s dedication to popular imagery-most particularly, to contemporary lithographic and photographic "lesbian" erotica-is emphasized throughout the dissertation, with special attention paid to the ways in which Courbet turned to the visual and literary lesbianism that was then in vogue (by Charles Baudelaire, George Sand, Achille Deveria, Pierre Numa Bassaget, and so on) as source material for his own "lesbian" paintings.}, keywords = {19th- and Early 20th-Century European Art}, author = {Reilly, Maura} } @mastersthesis {8724, title = {Landscape Painting in Late Fifteenth- and Early Sixteenth-Century Franco-Flemish Manuscript Illumination}, year = {2000}, school = {Case Western Reserve}, abstract = {This dissertation is a survey of the development and proliferation of landscape painting in Franco-Flemish manuscript illumination of the fifteenth and sixteenth centuries. Particular emphasis is placed on artists of the so-called "Ghent-Bruges" school of manuscript illumination, including the Master of Mary of Burgundy and his followers, the Master of the Dresden Prayerbook, the Master of the "Older" Prayerbook of Maximilian, Gerard Horenbout and Simon Bening. In addition to issues of style and iconography, consideration is given to the role patronage played in the expansion of landscape painting in manuscript illumination as well as to the impact that changing devotional needs of fifteenth century readers. It is hoped that this study will provide a foundation for future inquiries into the foundations of Northern landscape painting.}, keywords = {Renaissance Art}, author = {Goehring, Margaret} } @mastersthesis {8726, title = {The Lion of St. Mark in Venetian Art}, year = {2000}, school = {Louisville}, abstract = {Since the translation of the body of Mark the Evangelist from Alexandria in Egypt in 828, the city of Venice placed itself under his powerful patronage. Almost immediately the Venetians publicized their possession of the relic by publicly depicting either the image of St. Mark or that of his attribute, the Lion. During Venice{\textquoteright}s early history, between the ninth and twelfth century, the likeness of Mark was depicted more frequently than that of the Lion. However, by the thirteenth century, a period corresponding to Venice{\textquoteright}s territorial expansion in the Aegean, a conspicuous prevalence of Lion imagery can be noted not only throughout Venice but in its subject territories. The Lion was prominently displayed on the exterior of public buildings, on banners, on all official documents and on weapons. He was also portrayed on large painted panels with half of the body on land and half on water to symbolize Venice{\textquoteright}s dominion over both, and placed in the offices of Venetian bureaucrats as a reminder of the vigilance of the State. Venetian scholars who first examined Lion imagery in art historical terms in the late-nineteenth century assigned to it an almost exclusively civic symbolism. Even the more contemporary and international scholars have not considered the many, subtle and often intentional variations in the symbolism of Lion imagery, noting only the most obvious changes, such as the apparent substitution of the Lion for the representation of Venice as a goddess or a queen in the Cinquecento. However, the civic symbolism of Lion imagery is neither clear nor constant throughout Venetian history. This study offers a unique examination of not only the distinction between the sacred and civic meaning of Lion imagery but also of the fluctuations in the symbolic overtones and expressive content of the figure. In demonstrating a correlation between the various changes in the representation of the figure and the political and cultural experiences which prompted them, this dissertation explores the propagandistic nature of Lion imagery in the Serenissima Republic and its dominions and interprets the connection between the image and the culture which produced it.}, keywords = {Renaissance Art}, author = {Karem, Marina Del Negro} } @mastersthesis {8547, title = {Livre d{\textquoteright}Artiste, Critical Instrument, Performance: Stephanie Mallarme and the Book}, year = {2000}, school = {Chicago}, abstract = {The subject of this dissertation is Stephane Mallarme{\textquoteright}s life long theoretical engagement with the "Book" and his role as a pioneer of the "artist{\textquoteright}s book." Mallarme{\textquoteright}s contribution embodies two distinct trajectories: the deluxe limited edition livre d{\textquoteright}artiste and the more utopian livre d{\textquoteright}avant garde which he characterizes as a critical "instrument" that could liberate readers by demanding their creative participation. I argue that Mallarme{\textquoteright}s seemingly contradictory objectives reflect the peculiar challenges of fin-de-siecle artistic culture that shunned yet thrived on modern developments in publishing. This dissertation offers a new reading of Mallarme by challenging the traditional characterization of him as an "ivory tower" poet. Although books are inherently a private medium, I demonstrate that Mallarme{\textquoteright}s ambitions were ultimately public in nature because he envisioned the "instrument"-book as empowering readers and transforming everyday life. Within the context of nineteenth-century discourse, I examine closely the particular semantic inflections of the term "book." Influenced by Baudelaire and other literary figures, the book is initially conceived by Mallarme as a heroic protest against commercialized forms of publications such as the album, the serial novel, or the daily newspaper. As the poet developed his theories, however, he ultimately sought to integrate certain structures of mass media to create a book that could engage the latent creative potential of a diversified reading public. This dissertation also offers a rigorous analysis of illustrated texts by clarifying the distinctions between different genres of nineteenth-century illustrated publications. Without exception, an of the artists whom Mallarme asked to contribute to his books were peintre-graveurs or "original" printmakers rather than professional illustrators or technically-trained engravers. This categorical distinction reflects not only particular values associated with images and image making to which Mallarme subscribed, but it entailed specific printing practices and independent publishing venues that proved useful to a poet rejected from traditional literary publishing houses. As such, Mallarme emerges in my study as both utopian idealist and as a writer who understood the role publishing played in sustaining the careers of avant-garde artists and writers.}, keywords = {19th- and Early 20th-Century European Art}, author = {Arnar, Anna} } @mastersthesis {8624, title = {Many Goodly and Pleasant Bookes{\textquoteright}: The Library of Henry VII}, year = {2000}, school = {Iowa}, abstract = {This work concerns books and manuscripts owned by Henry VII, the first Tudor king. The collection, although much decimated by time and taste, can nevertheless illuminate England and her king at the cusp of the Early Modern era. Henry used the contents of his library as tools, to create a cultural image within a European context; the texts were also personal possessions, reflective of Henry{\textquoteright}s preferences. Like other European monarchs, he used manuscripts and books as agents; not the least important aspect of this agency extends social meaning to the contents and images. Henry and his nobility manipulated the texts, along with their visual qualities to {\textquoteright}bend the horses of praise{\textquoteright}. The phrase describes one important use of the manuscripts, which were sometimes used to obsequiously flatter the recipient, to gain or retain social standing. However, works in the King{\textquoteright}s library display other types of manipulation. Henry commissioned manuscripts and patronized the printed book for more political ends: to display the mythic and historic position of his rule, show his cultural acumen, establish a sophisticated persona, and ingratiate an English cultural presence into a European context. Even beyond public manipulation of texts, Henry{\textquoteright}s library contents reflect his life and personality. Like other book owners, he purchased works that apparently held personal interest for him, books that reflected his individual history and character. Further, the very presence of the library institution itself, is reflective of Henry{\textquoteright}s manipulation of cultural enterprise to create public and courtly personae that supported his political ambitions. While Henry was not a great bibliophile in the same sense as that renowned English bibliophile, Edward IV, Henry{\textquoteright}s campaign of acquisition, led by his librarian, was one in which we find the seeds of the great English libraries of later centuries. Through those texts which remain Henry{\textquoteright}s role as the founder of the Tudor dynasty, and his position vis-a-vis contemporaneous European rulers, may be re-evaluated. We can also more fully reconstruct the cultural, political, and literary milieu of the first Tudor.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Kidrick, Valerie A.} } @mastersthesis {8611, title = {Marie-Antoinette and Her Portraits: The Politics of Queenly Self-Imaging in Late Eighteenth-Century France}, year = {2000}, school = {UC Santa Barbara}, abstract = {Recent studies of eighteenth-century French culture have consistently foregrounded artists such as Jacques-Louis David and Elisabeth Vigee Le Brun as catalysts for social and political change in the heavily contested "public sphere" of the Royal Academy Salons. However, women art patrons, whether queens or courtesans, deserve equal attention as individuals who had a large public following and definite cultural and political agendas. This dissertation seeks to redress this imbalance in scholarship by critically examining the origins, function and public reception of six portraits of Marie-Antoinette which she commissioned from Gautier-Dagoty, Vigee Le Brun and Wertmuller during her reign as queen of France (1774-1792) and exhibited, either at Paris or Versailles. At issue is the success with which these ceremonial and more casual images may be said to have served her as a sign of her identity, particularly at a time of her increasing participation in the leading cultural and political movements of the day. The Queen{\textquoteright}s intentions are extracted from personal correspondence, household accounts and court memoirs; "public" response is conjectured based on official news reports as well as clandestinely circulated Salon literature and libels. This evidence suggests that while Marie-Antoinette largely intended her portraits to define her rank, duties and prerogatives as consort to Louis XVI, critics often viewed the portraits{\textquoteright} novel imagery, much like her independent political behavior, as challenging the traditional identity prescribed for a queen of France and, therefore, the patriarchal basis of the Bourbon monarchy. Ultimately, this dissertation establishes that Marie-Antoinette was an active and engaged patron whose attempts to model her public image on her political ideals was consistently and, ultimately, tragically misunderstood.}, keywords = {Baroque and 18th-Century European Art}, author = {Larkin, Todd} } @mastersthesis {8617, title = {The Martyrdom Paintings of Jusepe de Ribera}, year = {2000}, school = {Binghamton}, abstract = {The paintings of martyrdom by the Spanish painter Jusepe de Ribera (1591-1652) are Early Modern examples of the depiction of the human body in extremis. In this study, using an interdisciplinary approach, the suffering body of the saint becomes a locus for interpretations that encompass the worlds of artistic theory, ecclesiastic dogma, judicial practice, medical history, and colonial discourse. The guiding premise used in these interpretations is that the paintings were employed in various discourses that promoted the belief in a cathartic process: a spiritual transformation in imitation of Christ and the saints. The dissertation first examines the formal considerations of Ribera{\textquoteright}s martyrdom paintings within academic discourses of the sixteenth and seventeenth centuries. The prescriptive requirements imposed upon the production of religious imagery by a decree of the 1563 Council of Trent inspired the creation of a constructed reality within Ribera{\textquoteright}s martyrdom paintings, based on antique theories of imitation. Rhetoric and discourse concerning verisimilitude helped to validate the depiction of extreme acts of violence and a sense of decorum softened the brutality of representation, but the paintings also reflected the harsh judicial policies of the church and the state, and echoed commonly viewed sights of public punishment. The dissertation investigates the climate of civil unrest in Naples, and the steps taken by disciplining institutions to influence and maintain social order. Within that arena, the paintings of martyrdom are seen as products that supported doctrinal concerns. The pervading cultural dictum of imitation enhances the interpretation of the paintings{\textquoteright} symbolic aspects, focusing on the possible meanings of pain, blood, and sacrifice, and the dissertation examines the relationships between the body, imitation and transformation through discipline. Finally, Ribera{\textquoteright}s paintings serve as a point of departure for a discussion on the conflation of cultural signs that affected the interpretation of martyr imagery with the exploration and conquest of the New World.}, keywords = {Baroque and 18th-Century European Art}, author = {Williamson, Mark} } @mastersthesis {8550, title = {Matisse and America, 1905-1933}, year = {2000}, school = {CUNY}, abstract = {Matisse had a reciprocal relationship with America: not only did he influence American modernism in its formative stages, but Americans played a decisive part in his career. This relationship can be charted according to three (overlapping) factors: collectors, critics, and other artists. This study is in the form of a narrative, in which events are reconstructed with the aid of correspondence, reminiscences, newspaper accounts, and exhibition catalogues. The circumscribed dates constitute the time span from Leo Stein{\textquoteright}s purchase of The Woman with the Hat in 1905 to Matisse{\textquoteright}s installation of the Barnes mural in 1933. These years coincided with a shift in Matisse{\textquoteright}s reputation from rebel to upholder of the grand tradition in French painting. The chronology divides itself naturally into four chapters: 1905-1912, 1913-1919, the 1920s, and the early 1930s. Before 1913, the Stein family, the Cone family, Albert Barnes, and John Quinn began to collect Matisse; Matisse and his American followers exhibited at Alfred Stieglitz{\textquoteright}s 291 Gallery; and Matisse ran an art academy that included American students. In 1913 Matisse reached a broader public at the Armory Show; Walter Pach, Matisse{\textquoteright}s de facto representative in America, organized a Matisse exhibition at the Montross Gallery; and Arthur Jerome Eddy and Willard Huntington Wright wrote about Matisse in their pioneering books on modern art. The 1920s saw the growth of three great Matisse collections-those of John Quinn, Claribel and Etta Cone, and Albert Barnes-and the arrival of the artist{\textquoteright}s son Pierre, who inherited Pach{\textquoteright}s role of Matisse{\textquoteright}s stateside representative. In the early thirties Matisse made four visits to America; Albert Barnes wrote a book on Matisse and commissioned him to paint a mural; and Alfred Barr organized a Matisse retrospective at the Museum of Modern Art. The first two chapters focus on artists and collectors and on Matisse as teacher. The final two chapters, chronicling a period when Matisse{\textquoteright}s influence on American artists was more diffuse, focus on collectors, the early years of the Modern Museum, and Matisse{\textquoteright}s American visits. It is the author{\textquoteright}s intention that this method will yield new insights into both Matisse and American modernism.}, keywords = {19th- and Early 20th-Century European Art}, author = {Cauman, John} } @mastersthesis {8615, title = {Military Town Planning under Louis XIV: Vauban{\textquoteright}s Practice and Method (1668-1707)}, year = {2000}, school = {Columbia}, abstract = {This dissertation examines the town planning of Sebastian Le Prestre de Vauban. Beginning with his project in Lille in 1668 and ending with his death in 1707, Vauban rebuilt one hundred and sixty fortified cities as part of a national project to consolidate the border of France. This study recasts these plans, which were previously discussed on a formal level, into their military, strategic, economic, political, and demographic context. Vauban{\textquoteright}s approach adapted to diverse regional conditions and is captured in a selection of three case studies corresponding to the first three of four chapters: Lille, Brest, and Longwy. In Lille Vauban worked with the war minister Louvois to implement a plan combining strategic, financial, and aesthetic factors, contending with a strong municipal and economic power which had entrenched building traditions. In the port city of Brest, Vauban demonstrated his convictions in adverse conditions. Unlike Lille, the choice of site was unsuitable for modern fortification and the town was too poor to develop an economic and urban infrastructure and Vauban worked with the contrary town planning policies of the naval minister, Colbert. The third chapter discusses the ex nihilo city (new town), Longwy, comparing it to two other such projects, Sarrelouis and Neuf-Brisach. It shows that even these formally similar towns were built on an individual basis, and that Neuf-Brisach was not his universal model, as has been claimed. Unlike his Renaissance predecessors, Vauban had a flexible process rather than a geometrical model plan. He multiplied standardized units to make plans based on statistical surveys of local conditions. The final chapter contextualizes Vauban{\textquoteright}s approach by examining his writings and his contemporary intellectual culture. It shows that he was influenced by an empirical current of thinking in the natural sciences. His multi-faceted approach was influenced by overlapping administrative structures and elastic professional parameters. To permit such flexibility, Vauban structured and trained a corps of engineers and made guidelines for memoranda and maps that would emulate his approach. Thus, Vauban emerges as a talented practitioner with a coherent method. The similarity in the solid and elegant schemes he built across the country testifies to the combination of flexibility and structure that comprised absolutist urbanism.}, keywords = {Baroque and 18th-Century European Art}, author = {Sanger, Victoria} } @mastersthesis {8679, title = {Mirrored Travels: Robert Smithson and History}, year = {2000}, school = {Yale}, abstract = {This dissertation analyzes the temporal and historical dimensions of the work and writings of American artist Robert Smithson (1938-1973). It examines and interprets Smithson{\textquoteright}s philosophy of history-its interdisciplinary genesis, its deployment in his work and writings, and its social and political implications. Chapter one introduces the range of temporal/historical themes in Smithson{\textquoteright}s work and reviews the current literature on Smithson in these terms. Chapter two demonstrates that questions of history preoccupied Smithson from the outset of his career. It examines a set of religious paintings that Smithson produced in the early 1960s, arguing that these images stage an anxious confrontation between timelessness (associated with the iconic figure of Christ) and history (associated with materiality, decay, and distortion). Chapter three argues that Smithson resolved the tensions evident in his early paintings by developing a dialectical model of temporality based on crystal structure. This crystalline model enabled Smithson to acknowledge the refractions and dislocations of historical time while ultimately neutralizing them in a static, jewellike order. Chapter four focuses on Smithson{\textquoteright}s 1967 "Tour of the Monuments of Passaic, New Jersey," suggesting that Smithson adopted tourism as an artistic strategy in order to extend this crystalline model beyond the abstract temporal realm into the concrete field of the American landscape and its history. Chapters five and six provide case studies that examine the specific political implications of these findings. Chapter five examines the relationship between the Spiral Jetty and the nearby Golden Spike National Historic Site. It argues that the Jetty provides an astute but ultimately passive critique of this famous monument to Manifest Destiny. By comparing Smithson{\textquoteright}s 1969 Artforum project, "Incidents of Mirror-Travel in the Yucatan," with John Lloyd Stephens{\textquoteright}s expedition to the same area in the 1840s, chapter six proposes that Smithson{\textquoteright}s philosophy of history connects him to the longer tradition of expeditionary landscape art in the Americas. It argues that Smithson, in much but not entirely the same spirit as his predecessor, perceived Latin America and its inhabitants as extra-historical, and identifies Levi-Strauss{\textquoteright}s theories of primitive temporality as a key source for Smithson{\textquoteright}s own crystalline model of time.}, keywords = {Post-1945 Art}, author = {Jennifer L. Roberts} } @mastersthesis {8693, title = {Modern Art, {\textquoteright}Racial Art{\textquoteright}: The Work of Malvin Gray Johnson and the Challenges of Painting, 1928-1934}, year = {2000}, school = {Emory}, abstract = {This dissertation concerns a "middle period" of African-American art history and one of its key figures, the New York painter Malvin Gray Johnson (1896-1934). As I define it, this middle period was bracketed by the Harlem Renaissance (1920-1929) and the Federal Arts Project era (1935-1943). The middle period, moreover, was dominated by the Harmon Foundation exhibitions of black artistic production (1928-1931, 1933, 1935) and the ensuing discussions about whether African-American artists should develop a racially particular practice. While some African-American artists embraced and advanced the notion of a aesthetic practice separate and different from those of white artists, Johnson was ambivalent. My thesis is that his ambition was to strike an aesthetic compromise between the already dominant, naturalist styles of the academy and figurally abstract modernism. Although his expressionist genre portraits and scenes of 1930-1934 have been presented as an abandonment of academic concerns, I argue that Johnson{\textquoteright}s appropriation of School of Paris strategies was a predictably measured step by an artist who had studied for several years at the National Academy of Design and who was trying to create a marketable modernism. Johnson{\textquoteright}s moves were typical for a middle-tier, American artist, and with this project, I am recovering an unconsidered narrative of United States art production.}, keywords = {Pre-1945 North American and South American Art}, author = {Francis, Jacqueline} } @mastersthesis {8586, title = {Monarchs, Monuments, and Museums: Public Art, National Culture, and the Reign of King Kalakaua in Late Nineteenth Century Hawai{\textquoteright}i}, year = {2000}, school = {UCLA}, abstract = {This study examines national culture and cultural change in Hawaii as manifest in public art and art institutions developed during the Kalakaua era (r. 1874-91), a period marked by escalating colonial pressures and a century of contact with foreign cultures. It counters the notion that late 19th C. Hawaiian visual culture was "too westernized" to be spoken of as "genuinely" Hawaiian. Such a view implies that Hawaiians were effectively assimilated by western culture and ignores Hawaiian "subjectness" and agency in the colonial and nationalist discourses that characterized international relations of the period. The visual manifestations of national culture considered here are: the royal regalia displayed in Kalakaua{\textquoteright}s coronation ceremony in 1883; {\textquoteright}Iolani Palace (completed 1882); the monument to King Kamehameha I, unveiled during Kalakaua{\textquoteright}s coronation; and the Hawaiian National Museum. Of principle interest is how Hawaiian chiefly conceptions of rulership intersected with predominantly Euro-American national discourse in the visual and performative presentation of Hawaiian nationness and sovereignty. Global historical forces and local histories must be considered conjointly in studying systems of meaning engendered by culture contact in order to avoid overparticularizing local responses and homogenizing all colonial encounters. Local political, economic and social conditions, combined with international developments linked to intensified, colonial activity in the Pacific, influenced Hawaiian national art forms and culture. Hawaiian leaders utilized a variety of visual, institutional and narrative means to present a national culture embodying the country{\textquoteright}s past, present and future status as an independent nation, its cultural distinctiveness, and its engagement with enlightened modern internationalism. Though nationalist symbols and forms were both Hawaiian and foreign in origin, the objects, spaces, and institutions were not so hermetically sealed as to hinder re-valuation and the incorporation of new or additional significations. Late 19th C. Hawaiian nationalist culture was unambiguously syncretic-not an aggregation of indigenous and foreign visual forms arranged side by side, but rather a fusion of unfolding native Hawaiian conceptions of chiefliness and western notions of monarchical and modern forms of rulership that generated new cultural forms.}, keywords = {Art of the Pacific}, author = {Kamehiro, Stacy L.} } @mastersthesis {8555, title = {Monumentality and Its Shadows: A Quest for Modern Greek Architectural Discourse in Nineteenth-Century Athens (1834-1862)}, year = {2000}, school = {MIT}, abstract = {The dissertation traces the sources of modern Greek architectural discourse in the first period of the modern Greek State following Independence and under the monarchy of Bavarian King Othon I (1834-1862). Its intent is to provide an informed account, first, of the intellectual and ideological dynamic wherein the profession of the modern architect developed in Greece in contradistinction to that of the empirical masterbuilder; and second, of the cognitive realm whereby modern Greeks formed their architectural perception relative to the emerging phenomenon of the westernized city. The dissertation offers a methodical survey of Greek sources of organized discourse on architecture authored mainly by non-architect scholars at the time. The focus of the writings is Athens, the reborn city-capital in which westernization manifested its effects most prominently. Monumentality, a concept with implications of cosmological unity and sharing in the same communicative framework, serves as a working conceptual tool which facilitates the identification, categorization, and analysis of different models of thought in reference to key architectural ideas (e.g., beauty, imitation, dignity). Special heed is paid to the writers{\textquoteright} attitude relative to the country{\textquoteright}s monuments, both old and new, which were now considered the principal activators of ethnic unity, cultural assimilation, and national identification for diverse urban populations under the call for a return to the country{\textquoteright}s "Golden Age." The texts reveal that the urge for nation-building under the aegis of a centralized authority provided but little room for the development of disinterested discourse on architecture as opposed to instructive discourse which often followed the path of prescriptive or ideological reasoning. Bipolarity, moralism, reliance on precedent, and impermeability of boundaries were some of the characteristics of this reasoning. Architecture, in particular, was subjected to an ideologically-based dichotomy of classicism and romanticism which in theory obstructed any fruitful amalgamation of the two intellectual paradigms and which, in effect, displaced any organic/evolutionist patterns of thought. The dissertation presents the discourse of the Greek philologist-archaeologists as the most influential in the shaping of the theoretical foundations of architecture as a new discipline, in the universalization of neoclassicism as the official style, and in the promotion of monumentality as the preferred rhetorical strategy toward the reacquisition of the country{\textquoteright}s ancient glory. The written and visual texts of the philologist-archaeologist Stephanos A. Koumanoudis (1818-1899) are set forth as telling witnesses of the relevance of this discourse to architecture, as well as of the positive and negative aspects of such a conjunction. The dissertation finally argues that organic practices of space use and manipulation with roots in the vernacular tradition persisted through the new era and informed people{\textquoteright}s response to building problems in the new city, yet now coupled with the rational categories of modernity as introduced by the aforementioned discourses. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {19th- and Early 20th-Century European Art}, author = {Fatsea, Irene} } @mastersthesis {8592, title = {A Mountain of Anomie: Transformation of the Soushan tu Genre}, year = {2000}, school = {Harvard}, abstract = {This study focuses on a genre of Chinese paintings known as soushan tu, which depict a throng of demon-like men charging through wooded mountains to ferret out noxious spirits in human guises. These images and scenes are among the most violent in Chinese art, radically different from the landscape and figure compositions which embody the harmony and elevated dignity extolled by conventional Chinese aesthetic theory. Artistic interest in depicting the mountain-search persisted for nearly a millennium-from the tenth century, when famous artists were said to have painted soushan tu, to the nineteenth century, the latest era for which an example in this genre has been found. Previous scholarship on the subject has assumed that soushan tu illustrate a preexisting story and conclude that the legends surrounding a deity known as Erlang were their original inspiration. This study shows that during the first one hundred years of the Song dynasty, Erlang was regarded by the imperial court as a deity of yinsi (licentious cults) which were to be suppressed. Yet it was precisely during this period that the earliest written references to soushan tu, as well as to court patronage of such paintings, appeared. Although Erlang was later promoted by the Song court as a powerful guardian of the state, he certainly could not have been the subject of these early soushan tu. Literary, as well as early pictorial, evidence point to a gradual process through which the core artistic repertoire of soushan tu scenes developed. They suggest that Bishamen Tianwang (Vaisravana) was the first among a succession of deities that were portrayed in soushan tu. Furthermore, the identity of the commander of the mountain-search varied according to the changing predilections of the imperial court. Despite such variations, the central theme of the soushan tu images remained the same for a millennium: the forces of order marshal a search to locate and expunge demons and other malign influences that threaten cosmic harmony. This study thus concludes that the soushan tu are not illustrations of an identifiable text, but rather they are pictorial works that are historically aligned with a range of similar endeavors which employed various cultural media and ritual acts to establish and defend symbolic regimes related to the maintenance of political power.}, keywords = {Asian Art}, author = {Hinton, Carmelita} } @mastersthesis {8577, title = {Negotiating Cultural Icons: Sukuma Art, History, and Colonial Encounter in Tanzania}, year = {2000}, school = {Harvard}, abstract = {This dissertation examines the ways that individuals navigate memory, history and formations of identity through the visual arts. In Usukuma, the area inhabited by the Sukuma culture in northwestern Tanzania, visual culture engenders generations of responses to such pressures as colonialism, religious conversion and ujamaa socialism, and serves as a model for current constructions of history and identity. Indigenous constructions of history in relation to the arts of Sukuma royal, religious and performance traditions are addressed in the first section of the thesis (Chapters One through Three). These chapters examine the negotiation of the royal body in sacred and juridico-political realms through regalia, the construction of sacred meaning through architectural enclosures and object containers in the work of bafumu (Sukuma medical and religious practitioners) and the navigation of boundaries to transgress social mores in the space of Sukuma performance. Chapters Four and Five analyze negotiations of Sukuma history and culture in the context of colonial interventions, most importantly, those of a French Canadian missionary, Father David Clement, who utilized Sukuma arts and icons to teach the Catholic liturgy in the Bujora Church at the same time constructing his own version of Sukuma history in the Sukuma Museum. In the chapters of this dissertation, meaning is mapped in relation to objects from both insider and outsider perspectives. As modes of remembering the past and family ancestors, shitongelejo, or objects of ancestral remembrance inherited by Sukuma rulers, medical practitioners and dance society leaders, have been significant to constructions of Sukuma identity throughout the generations of change of colonialism, independence and current post-independence politics. While objects may reveal, through the memories they recall, moments of the cultural and historical past, so too do individuals have the power to suppress, reevaluate, or even rewrite those memories. It is these stories of constructed identities, definitions of historical pasts, and traditions of remembering and forgetting that this dissertation tells through the lens of Sukuma objects.}, keywords = {African Art}, author = {Bessire, Aimee H.C.} } @mastersthesis {8629, title = {Northern European Visual Responses to Holy Land Pilgrimage, 1453-1550}, year = {2000}, school = {Columbia}, abstract = {In the late fifteenth and early sixteenth century, Northern European pilgrims planning trips to the Holy Land commissioned particular objects, including guide books, to help them on their physical and spiritual journeys. Included among these are two unpublished books of hours with unprecedented imagery as well as extra prayers to be said at sites in the Holy Land that most Christians visited on standard tours and where they gleaned numerous plenary indulgences. Cloistered women, and others who could not go, sought ways to recreate the experience in their imaginations and obtain the indulgences by proxy through "virtual pilgrimages." A genre of literature for spiritual pilgrimages, based on literature for real pilgrimages, spread in Northern Europe. An illuminated German manuscript, made in a Franciscan monastery around 1467, several unillustrated Flemish manuscripts, as well as a number of illustrated printed books from the first decades of the sixteenth century, met the needs of non-travelers by providing images of pilgrims{\textquoteright} shrines, as well as appropriate prayers to be said at those sites. These texts appear in the order in which pilgrims visited sites, rather than the order in which they occurred in Nativity and Passion narratives; I call this "cartographic" sequence. Land- or cityscapes that represent Jerusalem and contain representations of multiple events from the Passion provide a corresponding pictorial devotional strategy. Veteran pilgrims joined Jerusalem brotherhoods, commissioned portraits, and flaunted their new status. They also commissioned structures to sponsor "spiritual" or mental pilgrimages. Veteran pilgrims also "imported" the Holy Land by commissioning reconstructions of sacred sites, namely sacred mountains and Stations of the Cross.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Rudy, Kathryn} } @mastersthesis {8685, title = {Not White Art Painted Black{\textquoteright}: African American Artists and the New Primitive Aesthetic, c. 1920-1935}, year = {2000}, school = {Rutgers}, abstract = {In my dissertation, I extend the study of primitivist art to African American artists, a group which has been largely ignored in published scholarship on primitivism and modern art. I examine how black American artists, such as Aaron Douglas, Gwendolyn Bennett, Richard Nugent, and James Wells, articulated a new primitive aesthetic in American art. Variously, they redefined the primitivism white normative culture had assigned the African American population of the 1920s-a primitivism dependent on a biologically determined notion of race that relegated those of African descent to a status of pure nature, while allying the white Western world with culture and civilization. Destabilizing the nature-culture divide, they constructed a hybrid primitive aesthetic in which African American figures occupied a place between nature and culture, uniquely capable of connecting these two realms normally deemed polar opposites. Primitivism, therefore, became a multi-faceted strategy which African American artists employed to complicate categories of race, civilization, religion, and gender. My first chapter contrasts the new primitive aesthetic of African American artists with the primitivism of white American and European American artists, and it discusses graphic artists as those who most persuasively articulated the new primitive aesthetic through work published in books and black American journals. My second chapter investigates Aaron Douglas{\textquoteright}s primitivist strategies to situate black American identity "between two worlds," rather than allowing it to be fixed to a debilitating stereotype. My third chapter looks at African American motivations behind the new primitive aesthetic to create a "usable past." My fourth chapter considers the strategies African American artists employed to reclaim and refashion the Judeo-Christian tradition. And, my final chapter defines another primitivist strategy, in which African American artists "mastered" the tradition of minstrelsy and stole back vernacular artistic forms that had been appropriated by the dominant white culture.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Goeser, Caroline} } @mastersthesis {8585, title = {Nothing but Bodies: Nineteenth-Century Representation of Animals in Georges Cuvier{\textquoteright}s Natural System and U.S. Industrial Meat Production}, year = {2000}, school = {Rochester}, abstract = {This dissertation examines the representation of animals in the nineteenth century focusing on French animal taxonomy and the development of industrial meat production in the United States. I have chosen these seemingly incongruous sites of production since they constitute influential points in inception of a distinctly modern construction of animals. I begin in the first chapter by examining the anatomical concept of the animal used in Georges Cuvier{\textquoteright}s text The Animal Kingdom and the ways in which Cuvier distinguishes between humans and animals. In the following chapter I examine the staging of this distinction in the public display of Cuvier{\textquoteright}s collection of comparative anatomy specimens in the National Museum of Natural History in Paris. In the third chapter I discuss the ways in which live animals, intermediary and waste products, and meat itself were made visible in the city. The industrial concentrations of meat production in cities like Cincinnati and Chicago were policed in the name of public health reform, with uneven results, while the spatial consolidation of the industry produced an increasing geographical division between consumption and production. Meat became increasingly commodified, an effect enhanced by new practices of retail display. In the fourth chapter I move from public space into the packing house to examine the effects of industrial meat production on animals and human workers. Here I argue that humans and animals were subject to a disciplinary continuum and that by failing to take into account the impact of capitalism on animals Marxist historians have typically underestimated its full effects. In my final chapter I relate the representation of animals as subjects of violence to a diverse set of nineteenth century discourses: the development of humane legislation, eye witness accounts of industrial meat production and work on animal husbandry ("improvement" i.e. the selective breeding of livestock animals to maximize profitable traits and the development of standardized feeding regimens). I argue that these discourses displaced the social character of meat production onto animals themselves, both as subjects and bodies. This representation of cattle and pigs as either implicitly or explicitly commensurate with meat production normalized the violence to which these animals were subject.}, keywords = {Art Criticism and Theory}, author = {Williams, Anna} } @mastersthesis {8698, title = {The Nude in the Era of the New Movement in American Art: Thomas Eakins, Kenyon Cox, and Augustus Saint-Gaudens}, year = {2000}, school = {Princeton}, abstract = {This dissertation explores a generation of artists who were producing nudes in the United States between the 1876 Centennial and 1915. While also produced in the pre-Centennial era, the nude flourished in the last quarter of the nineteenth century, as did the debate surrounding its appropriateness. Many of this generation had studied in Paris, where the nude was an important component of teaching art, as well as a vehicle for success at such exhibitions as the Paris Salon. When they returned to the United States, many artists joined or were affiliated with the progressive Society of American Artists, founded in New York in 1877. The Society was often referred to as The New Movement, acknowledging their fresh approach to art. Yet, these artists were often thwarted in their productions of the nude, both from artists and critics seeking a wholly native American art that had little in common with European tradition, and from organizations in America that censored, or attempted to censor, their art, most notably Anthony Comstock{\textquoteright}s Society for the Suppression of Vice. Following a contextualization of the period, the nude in the careers of three artists is considered: Thomas Eakins, Kenyon Cox, and Augustus Saint-Gaudens. Particular attention is given to Eakins{\textquoteright} William Rush and His Model paintings of c. 1908, nudes by Cox from the 1880s, and Saint-Gaudens{\textquoteright} Diana (1891-93), two versions of which were created to surmount the Tower of Madison Square Garden in New York.}, keywords = {Pre-1945 North American and South American Art}, author = {Hardin, Jennifer} } @mastersthesis {8701, title = {Ordering the Colony: Casta Painting and the Imaging of Race in Eighteenth-Century Mexico}, year = {2000}, school = {IFA/NYU}, abstract = {This dissertation considers the Mexican pictorial genre known as castas (castes). Casta paintings portray the complex process of race mixing among the three major groups that inhabited Mexico during the colonial period: Indian, Spanish, and African. These paintings, mostly produced in Mexico throughout the eighteenth century, are crucial visual documents of the racial and cultural miscegenation, as well as the shifting politics, that took place in the Spanish colony. While casta paintings have generally been considered a homogenous pictorial genre and a sort of "exotic" souvenir destined for a European audience, the differences between early sets created in the first half of the eighteenth century and those dating after 1750 have not been sufficiently studied. This dissertation seeks to demonstrate how these paintings formed part of a larger colonial discourse, where their meanings changed according to the varying political realities of the colony. While most early paintings stress the abundance of the colony and embody a collective image of colonial self-pride, later works place more emphasis on stratification and the colony{\textquoteright}s means of production by depicting a host of trades. In fact, later works emphasize a limited number of subjects, types, and scenes that closely parallel issues raised by contemporary reformers. To understand the shifting meanings of this pictorial genre, this dissertation draws on various disciplines, including art history, history, anthropology, and reception theory. An important core of the research is the study of unpublished primary sources and visual materials. This method is essential in determining what gave rise to this pictorial genre, who commissioned these paintings, what functions and meanings they held for contemporary audiences, and why they were so popular during the eighteenth century.}, keywords = {Pre-1945 North American and South American Art}, author = {Katzew, Ilona} } @mastersthesis {8677, title = {"Other Voices, Other Rooms": Between Andy Warhol and Truman Capote, 1948-1961}, year = {2000}, school = {CUNY}, abstract = {Other Voices, Other Rooms, Truman Capote{\textquoteright}s first novel, was published in January 1948 while Andy Warhol was still a student at the Carnegie Institute of Technology in Pittsburgh. Warhol{\textquoteright}s infatuation with Capote dates from this time. It is generally maintained that this was a "peculiar obsession" Warhol{\textquoteright}s part,1 marking his status as an outsider and exposing the trauma of his homosexuality. This dissertation posits an alternative proposition: that Warhol{\textquoteright}s infatuation was enormously productive for him, setting in motion a force field of intense desire and identification that activated his artistic practice and his capacity for self-invention. Moving outwards from Capote at its charged core, this field is mapped here through selected studies of Warhol{\textquoteright}s work from the period 1948-1962: idealized "portraits" of Capote and sketches inspired by the Broadway production of Capote{\textquoteright}s House of Flowers, drawings of men in partial drag, a group of display windows designed for Bonwit Teller, his privately-printed illustrated books, erotic drawings of men, and selected paintings of 1961-62. The modalities of camp, pastiche, sexual inversion and homoerotic desire are each examined, variously located in these works, and considered in a relation to particular photographic images and literary texts. The latter include Capote{\textquoteright}s early writings, especially Other Voices, Other Rooms, Gore Vidal{\textquoteright}s contemporaneous The City and the Pillar, and a vanguard homosexual novel of the early 1930s by Charles Henri Ford and Parker Tyler, The Young and Evil. Drawing was the focus of Warhol{\textquoteright}s enterprise during the decade before 1960, and this dissertation studies its complexity at close range. Namely, it examines how Warhol used photographs in tandem with drawing, parsed his line into two functions-one that was multiply-traced and blotted, the other continuous and haptic-enlisted his mother{\textquoteright}s hand, and applied color. Particular attention is paid to the way photography, drawing, painting and writing operate intertextually, how presence is registered, transformation negotiated, and pleasure represented in Warhol{\textquoteright}s early work. 1David Bourdon, Warhol (New York: Harry N. Abrams, 1989), 31-32.}, keywords = {Post-1945 Art}, author = {Printz, Neil} } @mastersthesis {8640, title = {The Painted Motifs on Early Cycladic Figures}, year = {2000}, school = {IFA/NYU}, abstract = {The Early Bronze Age marble figures that were made in the Cycladic Islands between Greece, Turkey, and Crete, have long been valued for their pleasing forms. While traces of painted details have been observed on these figures from at least the late nineteenth century, there has been no recent attempt to assemble the range of motifs. Probably most figures were painted; I have noted traces on about half of the more than 400 marble figures and fragments I have examined in public and private collections. More than 60 works are presented in my catalog, chosen to illustrate the range of the painted motifs and the sculptural types on which they can be found. The purpose of this dissertation is to identify and document the traces or effects of paint on as many Early Cycladic figures as practical. As a trained conservator of archaeological objects, I have applied scientific methods to my examination and documentation of the marble surfaces and, when permitted, have analyzed the traces of paint that remain. The visual documentation of the painted markings includes drawings, normal, raking, and transmitted light photography, computer enhancement, and ultraviolet reflectography. With these methods I have sought to illustrate surface patterns that may otherwise be difficult to see. Two classes of motifs were observed: anatomical or representational motifs such as eyes, hair or headdress, and jewelry; and symbolic or abstract motifs, such as zigzags or stripes on various parts of the body, patterns of dots on the face, and, most curiously, eyes in unexpected positions on the body. Many of the motifs have been mentioned in the literature; a few have not been noted before, such as the zigzags and the non-anatomical eyes. The limited contextual information associated with even properly excavated marble figures, combined with the fact that the Early Cycladic peoples left no written records, makes it impossible to interpret the meanings of the figures or the painted motifs. Thus, this dissertation simply aims to present the figures with an emphasis on their painted motifs.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Hendrix, Elizabeth} } @mastersthesis {8559, title = {Painted Slang: The Caricatural Aspects of French Painting, 1850-1880}, year = {2000}, school = {CUNY}, abstract = {A complicated relationship between painting and caricature emerged in France in the 1850s and 1860s when writers like Baudelaire and Champfleury, who were known for their work on painting and painters, produced a number of texts focusing on caricature and caricaturists. Such writings legitimized imagery previously relegated to the realm of "low art" by declaring caricature integral to the aesthetic discourses of the nineteenth century. The legitimization of caricature also involved a concurrent effort by artists like Honore Daumier, Gustave Courbet, and Paul Cezanne, who incorporated caricatural elements within their painted works. Rather than adopting the traditional strategy of marginalizing their caricatural interests by keeping such endeavors private, these artists integrated painting and caricature-essentially making "painted caricatures." These "painted caricatures" redefined a sometimes oppositional relationship between painters and caricaturists established in the press through decades of visual and verbal caricaturing of Salon exhibitors and their works. When painters appropriated the formal terms used to poke fun at their works, they responded to and extended an aesthetic dialogue carried on in the language of caricature to the point where this very language became the subject of their painted discourse. That discourse, which is comprised of the "painted caricatures" produced by French painters from 1850 to 1880, is the subject of this dissertation. Focusing on the "painted caricatures" of Daumier, Courbet and Cezanne, I argue that painters who employed the formal language of caricature necessarily associated their paintings with the issues integral to the practice of printed caricature in the period-issues including censorship, political and social criticism, and the blurring of artistic boundaries. I also consider the ways in which "painted caricature" is a distinctly modern phenomenon, noting that the criticism that underscores the process of caricaturing becomes a more viable option in a post-Revolutionary era when Republicanism is alternately a possibility and a reality. Finally, in highlighting the unstable boundary between caricature and other forms of distortion, exaggeration, and manipulation that are part and parcel of much twentieth-century avant-garde production, I argue the significance of "painted caricature" to our understanding of the formation of modernist painting.}, keywords = {19th- and Early 20th-Century European Art}, author = {Kervandjian, Melina} } @mastersthesis {8718, title = {Painting the American Indian at the Turn of the Century: Joseph Henry Sharp and His Patrons, William H. Holmes, Phoebe A. Hearst, and Joseph G. Butler, Jr.}, year = {2000}, school = {Florida State}, abstract = {Joseph Henry Sharp (1859-1953), his art, his patrons, and their respective institutions played an important role in shaping ideas about Indians for turn-of-the-twentieth-century Americans. By means of the examination of Sharp{\textquoteright}s career and the part played by three of his most significant patrons-William H. Holmes, Phoebe A. Hearst, and Joseph G. Butler, Jr., who created public institutional policies-pervasive Euroamerican sentiments and monied influence can be evaluated, revealing the operative dynamic of expansionist ideology. A matrix of history, mythology, and memory, Sharp{\textquoteright}s paintings not only invented but often misrepresented American Indians{\textquoteright} cultural identities, despite his own sympathy with his subjects and his own sense of artistic integrity. Because of the prestige of his patrons, Sharp{\textquoteright}s reputation as an artist of the authentic Indian subject was legitimized and confirmed. But he, too, along with the press, took an active role in shaping his career persona. He recognized that his image was a commodity to be bought and sold, no different from his studio output of Indian imagery. He purveyed his Western lifestyle and experiences to authenticate his art becoming as unique himself as the Indians he painted, the story of his life as carefully constructed as his Indian canvases. Through a documented chronicle of the artist{\textquoteright}s interactions with his patrons and of contemporary criticism of his art by the popular and critical press, his paintings can be contextualized and probed to illuminate a broad range of scientific, social, and political issues. In their sincere effort to provide aesthetic, historical, and scientific enlightenment, Sharp and his patrons became architects of Indian imagery and symbolism. Although there were differences of gender, class, social institutions, and professions among them, Sharp and his patrons constructed their version of Indianness. From both scientific and historical points of view, they perceived the Indian subject as a primitive conduit to the past. Sharp{\textquoteright}s paintings conferred societal meaning and authenticated Indian qualities, spawning conventional ways of seeing (as well as not seeing) his subjects that justified the individual aims of his collectors.}, keywords = {Pre-1945 North American and South American Art}, author = {Watkins, Marie} } @mastersthesis {8734, title = {Patronage and Public Image in Renaissance Rome: Three Orsini Palaces}, year = {2000}, school = {Brown}, abstract = {This dissertation examines the artistic and architectural means by which the Orsini family positioned itself within the political topography of Renaissance Rome. By providing a focused study of how a baronial family inhabited and shaped their environment during the late Middle Ages and Renaissance, the present thesis expands the existing literature on the development of art, architecture and urbanism in Renaissance Rome, which is dominated by studies of papal patronage. This study begins with an examination of the foundations of Orsini patronage, which were laid by Nicholas III Orsini (1277-80). The Orsini pope{\textquoteright}s artistic and architectural projects at the Vatican, Lateran, and other sites in Rome combined an emphatically Roman image of authority with a degree of family aggrandizement unprecedented in earlier papal patronage, and established themes revisited in the fifteenth century by Cardinal Giordano Orsini. Chapter Two is primarily concerned with Cardinal Giordano{\textquoteright}s patronage at Monte Giordano, which included the building of Rome{\textquoteright}s first identifiably Renaissance palace and Cardinal{\textquoteright}s apartment, as well as a reconstruction of the location and appearance of Masolino{\textquoteright}s extensive Uomini Famosi fresco cycle. The next chapter examines the changing fortunes and patronage models of the Orsini during the sixteenth century, followed by an Epilogue presenting newly discovered architectural plans and related documents by the seventeenth-century architect Horatio Torriani. The history of the Orsini palaces at Monte Giordano, Campo de{\textquoteright} Fiore and Piazza Pasquino reflects the ideals and influence of their owners, who employed a wide range of Florentine and Roman artists to project their identity to their peers, to the papal court, and to the wider circle of European court culture. Analysis of the evolving artistic and architectural models embraced by the Orsini family from the late Middle Ages through the sixteenth century also illuminates the development of post-Avignon Rome, and the complex relationships between secular and curial patronage during the Renaissance. The artistic and architectural projects of the Orsini family were intended not only to respond to a variety of public and private uses, but also to reinforce an image of family power that explicitly rivaled those of papal patrons during this period.}, keywords = {Renaissance Art}, author = {Triff, Kristin} } @mastersthesis {8607, title = {The Patronage of Juan de Palafox y Mendoza: Constructing the Cathedral and Civic Image of Puebla de los Angeles, Mexico}, year = {2000}, school = {Columbia}, abstract = {Considered one of the most compelling and perhaps the most important single figure in seventeenth-century Mexican history, Bishop Juan de Palafox y Mendoza erected and consecrated the Puebla Cathedral, the first Cathedral to be consecrated in New Spain, in fewer than nine years. Centering on Palafox{\textquoteright}s unexamined role as patron, this dissertation argues that the bishop{\textquoteright}s subscription to "a culture of magnificence" and the principles of the Council of Trent were the primary factors shaping his Cathedral patronage. These values together with Palafox{\textquoteright}s loyalty to the Spanish Crown and his belief in the importance of regional legal systems were made manifest in Puebla{\textquoteright}s architectural landscape and elite expressions of civic identity. This thesis posits that the realization of the Puebla Cathedral marked the arrival of Mexican Baroque architecture. The Cathedral project also invigorated a nascent hybrid civic image in Puebla, engendered through its founding as a city for Spaniards, which coupled creole separatism with a close identification with Spain. Assertions of this civic magnificence and difference are chronicled in this dissertation through a chapter-long study of Puebla{\textquoteright}s ritual celebrations of the entry of successive viceroys from 1640-1696. Part One of Chapter Two provides a biography of Palafox and situates him in a socio-political context. Part Two of Chapter Two considers how notions of magnificence and Palafox{\textquoteright}s commitment to the Council of Trent forged his aesthetic beliefs. Chapter Three studies Palafox{\textquoteright}s actual involvement with and correspondence about the Cathedral project from the time of his arrival through the building{\textquoteright}s consecration. Chapter Four examines how Puebla elites presented their city and Cathedral through the analysis of ephemeral arch imagery and the celebrations of the viceregal entry ritual. An epilogue discusses the changing nature of and reception to colonial Mexican art history. The dissertation as a whole, then, elucidates how baroque thought, power structures, and civic image were expressed and modeled through ritual, architecture, and patronage in Puebla, the "second city" of New Spain.}, keywords = {Baroque and 18th-Century European Art}, author = {Fee, Nancy Hopwood} } @mastersthesis {8600, title = {Petits Sujets, Grandes Machines{\textquoteright}: Critical Battles over Genre Painting in France}, year = {2000}, school = {Rutgers}, abstract = {This thesis studies genre painting in the context of art theory, the art market, art and literary criticism, and the workings of the Royal Academy of Painting and Sculpture in late seventeenth- and eighteenth-century France. It elucidates why and by what means genre scenes were kept to the margins of official French culture until the 1770s. Sources consulted include theoretical texts, Academy records, inventories of property, auction catalogues, Salon reviews, critical writings, and fiction. The first chapter considers genre painting and the hierarchy of subject types. It traces the tradition of subject ranking from Porphyry to Renaissance sources to Andre Felibien. Contrary to accepted wisdom, Felibien{\textquoteright}s renowned statement of 1668 was not highly influential, and detailed subject ranking was not a feature of French eighteenth-century art theory. Genre painting was for decades considered to be a kind of history painting. A second chapter charts the response of the French Royal Academy to genre pictures. Examination, year by year, of the way artists were received into the Compagnie reveals that the genre category was victim of both hostile institutional strategy and benign neglect. Aspects of this information are tabulated in an appendix. The third chapter looks at genre paintings in the marketplace, where interest in the subject type by collectors of differing social rank was overshadowed by dealers{\textquoteright} steadfast published endorsements of Italian pictures. The critical reception of genre painting at the Academy Salons is the focus of a fourth chapter, which demonstrates that unsettled patterns of word use effectively suppressed the identity of the genre type. Categories of paintings exhibited at the Salons are tabulated in a second appendix. New fiction and painted anecdotal subject matter shared a rocky road to official acceptance. The final chapter studies the interplay of terms and ideas between critics of the novel and commentators on genre painting. Women emerge as central to the critical fortunes of genre scenes, at first indicted as poor art critics and promoters of inferior, popular painting, and by the later eighteenth century embraced as champions of a new moral rectitude in art.}, keywords = {Baroque and 18th-Century European Art}, author = {Anderman, Barbara} } @mastersthesis {8702, title = {Photography in the Field: Timothy O{\textquoteright}Sullivan and the Wheeler Survey, 1871-1874}, year = {2000}, note = {Fourth advisor: G. Shaw}, school = {Harvard}, abstract = {Timothy O{\textquoteright}Sullivan{\textquoteright}s survey photographs possess odd formal qualities that have puzzled scholars for generations. While some have heralded his work as intuitively modernist, others have linked it to prevailing or archaic aesthetic conventions. In a riposte to all such strategies, a vocal few have suggested that it should not be understood in aesthetic terms at all. This dissertation revisits this longstanding controversy as it pertains to O{\textquoteright}Sullivan{\textquoteright}s photographs from the Wheeler survey. By examining previously unnoticed archival evidence, and carefully tending to the photographs themselves, it proffers four related claims. First, it argues that O{\textquoteright}Sullivan{\textquoteright}s full-plate photographs from the survey were understood as pictures in the wall-hanging sense. Contrary to some reports, these photographs were exhibited widely, whereas sales of his survey stereographs to the public were meager. Second, the dissertation contends on the basis of ample evidence that O{\textquoteright}Sullivan{\textquoteright}s photographs primarily served to promote the Wheeler survey among members of Congress, officers of the Department of War, and the general public. Third, the bulk of the dissertation makes a case for understanding the strange formal character of O{\textquoteright}Sullivan{\textquoteright}s photographs as deriving from his immersion within a matrix of graphic practices, including topographic and geological sketching, cartography, and verbal reportage. By appropriating visual ideas from other practices within this matrix, O{\textquoteright}Sullivan ingeniously complied with the functional imperatives subtending his practice. At times, however, he made use of such appropriation for critical ends, effectively disrupting the circuitry connecting function to form. Fourth, the dissertation concludes with claims that O{\textquoteright}Sullivan photographed for an anticipated posterity, that we can properly understand him as a modernist, and that such an understanding may require us to revisit the notion of modernism itself.}, keywords = {Pre-1945 North American and South American Art}, author = {Robin Kelsey} } @mastersthesis {8604, title = {Pietro Edwards and the Restoration of the Public Pictures of Venice, 1778}, year = {2000}, school = {University of Washington}, abstract = {Pietro Edwards (1744-1821) served as the Director of the Restoration of the Public Pictures of Venice and dedicated his life to the preservation of Venetian art. His visionary spirit and meticulous bureaucratic administration resulted in revolutionary developments in art conservation. The situation in Venice during these years was unique in restoration history because the city{\textquoteright}s location demanded an early awareness about the destructive effects of a maritime climate on art. The government also expected written reports and management of its art which was also unique in conservation history. While acting as a restorer and inspector through years of technical and theoretical study, Edwards devised a unified method of theory and practice that included a respect for the artist{\textquoteright}s original intention. He promoted professional standards including public disclosure of treatments, environmental solutions to problems, reversibility principles in the use of materials, and he established the first conservation laboratory in Europe. He invented the team approach to conservation projects that today is still operative in Italy and he proposed the very first plan in Europe (and perhaps anywhere) to create a school to train professional restorers. Edwards{\textquoteright} impact was felt on the cultural life of Venice for over forty years. In 1797 the Republic of Venice fell to Napoleon, who ordered the appropriation of many famous works of art from the city and Edwards was appointed to manage their removal and shipment to France. He continued his work for the French Regno Italico (1807-1814) and later governments of Austria (1814-19). He was instrumental in the creation of the Brera museum in Milan, selected the first collections to establish the Galleria dell{\textquoteright} Accademia in Venice and wrote its first catalogue. Throughout his long life he advocated for increased respect for the restorer and promoted scientific research as the necessary foundation for restoration practice. Pietro Edwards{\textquoteright} written record is unparalleled in conservation history and frames the same philosophical debates that continue today about the proper role of the restorer in maintaining the aesthetic aspect of a work of art.}, keywords = {Baroque and 18th-Century European Art}, author = {Darrow, Elizabeth} } @mastersthesis {8551, title = {The Politicization of Nature: The Critical Reception of Barbizon Painting during the July Monarchy}, year = {2000}, school = {CUNY}, abstract = {This dissertation examines the critical reception of French landscape painting during the July Monarchy. I concentrated on the painters who, for a lack of better term will later on, in the 1860s and 1870s, be referred to as the School of Barbizon. The annual Salon and the multitude of reviews written on this occasion provided the framework of my study. As landscape paintings gained more and more visibility on the Salon walls every year, critics constructed a new discourse around this phenomenon. I documented the transformation of the significance of landscape painting in French art by identifying, gathering and analyzing a wide variety of Salon reviews. By organizing this study around the political affiliation of the journals in which the Salon reviews appeared, I was able to demonstrate the importance that landscape painting had for each of the political factions. The analysis of these reviews enabled me to demonstrate how that new discourse about landscape painting was for some critics, especially those opposed to Louis-Philippe{\textquoteright}s government, highly charged with political implications. One of the main issues at stake in these reviews was the debate between the supporters of paintings which represented specific views of the French landscape and the supporters of the classical mode who favored historical landscape painting. This debate alone should be of course seen in political term. As the Academy supported the classical tradition, how could artists oppose the Academy and not be seen as opposing the government? Because some painters in the 1830s proposed a new and specifically French vision of the countryside, their supporters wove into their criticism issues of patriotism and national identity. The proliferation of landscape imagery, from travel prints to Salon landscapes participated in the ideological construction of a nation centered on the land and the diversity of its regions. This dissertation was by nature archeological. It entailed a major attempt at resurrecting texts and their authors, who have many of them been long forgotten. I see my work as the first step in establishing a new history of texts in order to further our understanding of this period beyond a history of style.}, keywords = {19th- and Early 20th-Century European Art}, author = {Chagnon-Burke, Veronique} } @mastersthesis {8590, title = {The Politics and Aesthetics of Citation: Nath Painting at the Jodhpur Court, 1803-1843}, year = {2000}, school = {Columbia}, abstract = {The Politics and Aesthetics of Citation: Nath Painting at the Jodhpur Court, 1803-1843 examines the intersection of painting and politics at the court of Maharaja Man Singh of Jodhpur, a Rajput kingdom in northwest India. The dissertation focuses upon previously unpublished paintings relating to the political and economic ascendance of the Naths. The Naths are a heterodox religious order of Shaiva yogis and householders whose elite became Jodhpur{\textquoteright}s most important powerbrokers for forty years. Images examined include court portraiture and darbar paintings; devotional paintings that draw upon the genres of portraiture, pilgrimage maps and cartography; folios from the Suraj Prakash (an illustrated dynastic history) and the Siddha Siddhanta Paddhati (an illustrated yoga text); and the wall murals the Mahamandir temple in Jodhpur. The study demonstrates that artists responded to a dramatically reconceived sovereignty through pictorial strategies reliant upon the visual tradition of copying. Rejecting the notion that copying is a conservative gesture that perpetuates timeless values, the study examines artistic practice, court reception and historical context to redefine the mechanism of picture and meaning production in nineteenth-century Jodhpur as one of citation. Citation recognizes that repeated motifs were appreciated at court as an aesthetic that not only perpetuated, but also appropriated and subverted established values and hierarchies. When artists appropriated motifs from non-court genres or juxtaposed motifs from diverse genres, they actively participated in an historical reworking of an ideology of rule. While the dissertation draws upon semiotics, it gives equal consideration to indigenous aesthetic and poetic traditions that address the role of repetition in the construction of meaning. The study also considers how certain genres, such as devotional painting and cartography, invite viewing practices that structure reception.}, keywords = {Asian Art}, author = {Diamond, Debra} } @mastersthesis {8573, title = {Politics by Another Name: Government-Sponsored Art in Paris, 1870-1900}, year = {2000}, school = {Penn State}, abstract = {The relation between art and politics in late 19th-century France and its implications for modernism is an established pursuit of art historians. This study examines a range of government-sponsored art and architecture in Paris from 1870 to 1900 in order to broaden our understanding of the dynamics of power in a nascent polity and the role of images in articulating political debates. The decorative program designed by the Marquis Philippe de Chennevieres for the Pantheon (1874), Jules Dalou{\textquoteright}s bronze sculpture Le Triomphe de la Republique (1879-99) in the Place de la Nation, Paul Baudry{\textquoteright}s painting La Glorification de la loi (1880) for the Cour de Cassation in the Palais de Justice and the Grand Palais and Petit Palais built for the Exposition universelle of 1900 appeared as re-interpretations of tradition in response to the antagonism that marked the genesis of the Third Republic. A chronological treatment allows for the presentation of these monuments in their social and political environments, an exercise that starts from Pierre Bourdieu{\textquoteright}s theory that struggle itself, not its resolution, is the creative principle of a cultural system. The impact on the selected objects of the failed attempt to restore the monarchy in the wake of the Franco-Prussian War, the Boulanger Affair that ended in 1889 and the chaos of last decade of the century is analyzed. The complex of factors from which these works emerged identifies the mechanisms by which meaning accrued to official art. Allegory, appropriation, narrative, intertextuality and public ritual, used alone or in combination, are shown to have been reliable strategies for producing effective visual arguments. By studying these works independent of a modernist agenda, which emphasizes an artist{\textquoteright}s originality and the resolution of aesthetic problems, the function of art as a mise-en-scene of democratic discourse is made relevant.}, keywords = {19th- and Early 20th-Century European Art}, author = {Snay, Cheryl K.} } @mastersthesis {8675, title = {The Politics of Redemption-Dynamic Symmetry, Theosophy, and Swedenborgianism in the Art of Emil Bisttram (1895-1976)}, year = {2000}, school = {CUNY}, abstract = {Emil Bisttram{\textquoteright}s (1895-1976) drawings and paintings executed between 1920 and 1945 are examined in the context of his use of various aesthetic and occult systems. The two aesthetic systems primarily investigated are dynamic symmetry, a system of picture composition based on Euclidean geometry developed by Jay Hambidge, and Denman Ross{\textquoteright}s color system. The author argues that Bisttram adopted these systems as a way of effecting the redemptive process described in theosophy, Swedenborgianism, and Rosicrucianism. Bisttram took these occult philosophies, which described redemption as a resolution of opposites in geometrical terms, and applied them to his art-making. This argument is supported by examining Bisttram{\textquoteright}s teaching curricula and notes, in addition to his drawings and paintings. In Chapter 2 the author shows that many other artists were similarly interested in grid systems and the occult during the period, and proposes that Bisttram{\textquoteright}s approach was analogous to Mondrian{\textquoteright}s. Bisttram was introduced to dynamic symmetry and the occult in the 1920s in New York; his New York occult circle included Howard Giles, Leo Katz, Nicholas Roerich, Claude Bragdon, and Manly P. Hall. After studying with Diego Rivera in Mexico City in the summer of 1931, Bisttram moved to Taos, New Mexico, where he began experimenting with cubist, futurist, and geometric styles, in addition to specifically occult subjects. The author argues that Bisttram{\textquoteright}s turn to abstraction was influenced by the occult milieu he found in Taos, exposure to Native American culture, the theories of Carl Jung, and his friendship with Dane Rudhyar, a theosophist who became one of the writers for the Transcendental Painting Group, which Bisttram and nine others founded in New Mexico in 1938. The ways that William Blake, Adolpho Best-Maugard, Picasso, and Kandinsky influenced Bisttram{\textquoteright}s work are also discussed. The dissertation concludes with a chapter on the founding of the Transcendental Painting Group.}, keywords = {Post-1945 Art}, author = {Pasquine, Ruth} } @mastersthesis {8601, title = {Portraits of Impropriety: Adelaide Labille-Guiard and the Careers of French Women Artists at the End of the Eighteenth Century}, year = {2000}, school = {Columbia}, abstract = {What did it mean to be a professional woman artist in Paris at the end of the eighteenth century? Looking at the art and career of the Academician and portrait painter Adelaide Labille-Guiard (1749-1803), 1 argue that to be a woman artist was to be a figure of conflict-both an improper woman and an improper artist. Yet the paradoxical category also opened up unique possibilities. This dissonance structures Labille-Guiard{\textquoteright}s story. As the dissertation follows Labille-Guiard{\textquoteright}s professional biography, it expands to consider broader moral, artistic, and political issues at every step. Chapter one, "Beyond the Academy: The Street, the Guild and the Cabinet of Curiosity," presents new readings of largely forgotten but deeply important exhibiting venues that Labille-Guiard used as stepping-stones to the Parisian Royal Academy of Painting and Sculpture. I argue that women who forged artistic careers at these marginal, commercial sites courted accusations of ethical and sexual impropriety, but gained invaluable publicity. Chapter two presents Labille-Guiard as a figure of impropriety within the Academy. It examines the eroticized receptions of the women active in the Academy in 1783. It culminates with the sexual scandal that greeted Labille-Guiard{\textquoteright}s debut at a Salon already struggling to maintain its decorum. Chapter three focuses on the strategic self-presentations that helped Labille-Guiard both fight against and capitalize upon the erotic innuendo-and even enabled her to become painter to the king{\textquoteright}s aunts. Chapter four looks at the professional and political moves that spared Labille-Guiard{\textquoteright}s life during the French Revolution, but ended her career. I ask how conflicting notions of identity, virtue, and representation molded her experiences, and how she complicated these ideas. The chapter re-inserts gender into the discourse on Revolutionary iconoclasm by considering the rhetoric surrounding the destruction of her works. Finally, an epilogue explores the personal and professional legacies that Labille-Guiard forged at the end of her life. Labille-Guiard died at age fifty-three with her most accomplished works long behind her, and the battle for her reputation undecided.}, keywords = {Baroque and 18th-Century European Art}, author = {Auricchio, Laura} } @mastersthesis {8676, title = {Postwar French Painting and the Rhetoric of Defilement}, year = {2000}, school = {Harvard}, abstract = {Jean Dubuffet and Jean Fautrier have been heralded in the critical literature for their creation of a matieriste aesthetic in the postwar period in France. My dissertation, Retour a L{\textquoteright}Ordure: Defilement in the Postwar work of Jean Dubuffet and Jean Fautrier, examines their shared interest in the representation of defilement and the performance of debasement. Rereading their work through the filter of their reception, I reconstruct the discursive field within which materiology originated, delineating the scope and currency of the concept of defilement within the cultural imaginary of the period. In so doing, I insist upon the particular intelligence of negative criticism. I begin with Dubuffet{\textquoteright}s foundational Messages series in which he uses base materials, engages with entropy and solicits the non-visual senses-themes that will mark his subsequent work. "The Pursuit of Fecality in Dubuffet{\textquoteright}s Hautes pates," presents evidence of the excremental reading Dubuffet{\textquoteright}s work provoked, while also underscoring the work{\textquoteright}s potential for seduction. "Retour a l{\textquoteright}Ordure" revisits this excremental rhetoric and analyzes its politicization. Alluding to the polemic on decadence waged during the Vichy collaboration and to the purifying policies of the postwar purges, the reception points to a larger cultural preoccupation with defilement. "Off-Color: Kitsch and the Defilement of Color" examines Fautrier{\textquoteright}s uneasy oscillation between the aestheticization of the base and debasement of the aesthetic. I discuss his disjunction of pate and color, renunciation of oil paint and kitschy colors and relate these to his Originaux multiples, the hybrid print/paintings he began producing in the late 1940s. "Things Fall Apart" explores our protagonists{\textquoteright} conflicted interest in debasement and decay by examining the story of the melt-downs Dubuffet{\textquoteright}s canvases experienced. "Stereoscopic Pleasures: Matierisme {\textquoteright}s Critique of Vision" traces Dubuffet and Fautrier{\textquoteright}s interest in soliciting the non-visual senses, analyzing the ways their work both challenges and buttresses the modernist, visual system. Dubuffet and Fautrier{\textquoteright}s matierisme of the 1940s is committed to "ordure." While the concept of defilement is central to avant-garde contestation and transgression, my dissertation delineates the particular forms these categories assumed in their early matieriste work, ultimately revealing the internal limits inherent in the project of debasement.}, keywords = {Post-1945 Art}, author = {Perry, Rachel} } @mastersthesis {8597, title = {Power in Stone: Rock-Cut Architecture and the Stone Medium in Tamil Nadu}, year = {2000}, school = {UC Berkeley}, abstract = {This dissertation compiles a range of sources revealing the importance and implications of the stone medium in Tamil Nadu. The project begins with investigation of the prehistoric archaeological evidence of megalithic culture. Ancient Tamil literature, from the Sangam anthologies to bhakti poetry, is examined closely for its references to the ancient artistic world, the uses and associations of stone, hero-stone producing culture, and the objects and media involved in early worship rituals. We confront a central narrative of South Indian art history: the breaking of the stone building taboo by early Pallava king Mahendravarman, who commissioned the first rock-cut temples in Tamil Nadu. While the personal complexities and aesthetic ambitions of this king are compelling, his innovation is part of a larger cultural transformation that includes evolving stoneworking technologies, a Tamil self-consciousness, and a new hierarchy-defying, emotionalistic brand of Hinduism. Although bhakti poets do not mention cavetemples, some early rock-cut temples are found at sacred sites celebrated in the literature. The role of ancient sculptors in the birth of Tamil rock-cut architecture and sculpture is only beginning to be understood. To investigate the physical circumstances and technical challenges of early rock-cut temples, we attentively examine the evidence at the sites themselves, with interest in unfinished details, geological faults, and traces of tool use. We look closely at the available evidence concerning traditional Tamil sculptors, including epigraphy, Sanskrit Pallava court literature, and other ancient Tamil and Sanskrit texts. We also seek out the voices of contemporary traditional sculptors, including such well-known figures as Ganapati Sthapati who has authored numerous works expressing unique views of the Dravidian architectural and sculptural traditions. Tamil sculptors themselves also express ancient paradigms surrounding the meanings and fundamental roles of stone in ritual and religious life. As a low caste group they are charged with handling and fashioning the stone medium into orthodox images for worship. The opening of stones images{\textquoteright} eyes, their ritual coming to life, is a dangerous but critical event that can only be engineered by a sculptor carrying out complex ritual precisely. In an ancient Tamil paradigm, the potent force of stone must be channeled by a low caste person capable of managing its beneficial and fearsome possibilities. To conclude, we turn again to the voices of contemporary sculptors to assess their perceptions of the stone medium, and estimation of the particular medium of granite. Other voices in popular culture, including experts on gems, and commentators on stone sculpture in worship, also express continuities with prehistoric and ancient Tamil ideals concerning the sacred power of stone. (Abstract shortened by UMI.)}, keywords = {Asian Art}, author = {Youso, Kristina} } @mastersthesis {8564, title = {Primitivism and the Politics of Identity: The Art of Anne-Louise Girodet-Trioson}, year = {2000}, school = {CUNY}, abstract = {The term primitivism has traditionally been associated with European art from the late nineteenth and early twentieth centuries. However, art historical texts recognize that interest in other cultures considered primitive derived from ideas disseminated in the eighteenth and early nineteenth centuries. In this dissertation, I look closely at these notions, particularly in the writings of Jean-Jacques Rousseau. During the French Revolution, Rousseau{\textquoteright}s political and social theories were used as models for the new republic and its citizens. Girodet started his artistic career during this crucial period. Studied within its historical and theoretical context, Girodet{\textquoteright}s work reveals many aspects of the multiple facets of primitivism. Rousseau made extensive reference to the human body as a metaphor for his concepts. The dissertation focuses on Girodet{\textquoteright}s depiction of the body and the ways in which desire is figured as a means to correlate these two bodies of work. The central thesis of this dissertation is that the obsession with primitivism is more enlightening about modern Western culture than about any so-called "primitive peoples." I argue that primitivism is a term that describes a particular mindset of the modern subject and is integral to the social theory of individualism. Girodet{\textquoteright}s painting Hippocrates Refusing the Gifts of Artaxerxes of 1792 is described in Chapter One as presenting an archetype of the new republican citizen-virtuous and without desire-namely, the Rousseauist paradigm of primitive man. The Scene from a Deluge of 1806 is considered for its depiction of a family in light of revolutionary doctrine. Ossian Receiving the Shades of the French Heroes of 1802 and its relationship to the fabrication of nationalism based on myths of origin are studied in Chapter Two. In Chapter Three I examine Girodet{\textquoteright}s oeuvre of non-Western subjects, including Jean-Baptiste Belley of 1797, Entombment of Atala of 1808, and The Revolt of Cairo of 1810, in contrast to his portraits of the French bourgeoisie. The similarities between the Sleep of Endymion of 1791 and Pygmalion and Galatea of 1819 are explored in Chapter Four as exemplars of the notion of a golden age.}, keywords = {19th- and Early 20th-Century European Art}, author = {Kurtz, Gayle Rodda} } @mastersthesis {13243, title = {Prints and printmakers in Viceregal Mexico City, 1600-1800}, year = {2000}, abstract = {Although woodcuts and engravings documented viceregal life and reflected Mexican artistic achievement, they are generally absent from colonial art historiography. This lacuna is the result of persistent biases affecting print scholarship worldwide against art tainted by multiplicity, mechanical interference, labor divisions, and popular audiences. The near total lack of published information concerning the artists and their efforts has also discouraged research on Mexican prints. This dissertation is, therefore, a documentary study of the printmaking profession in the viceregal capital between 1600 and 1800. Its goal is to examine how colonial block-cutters and engravers trained, worked, and understood their art. Documentary evidence, including marriage records, censuses, government documents, and Inquisition trials, demonstrates that printmakers worked for typographic printing firms, the Royal Factory of Playing Cards, the Royal Mint, and the Royal Academy of San Carlos. Engravers also established print publishing shops where they produced and distributed single-leaf images and book illustrations. Lacking a guild, print publishers exploited marketing strategies ranging from promotional inscriptions on devotional prints to newspaper advertisements. This behavior blurred the distinction between art and commodity, making printmakers simultaneously fine artists and artisanal merchants. Mexican prints themselves also reflected the colonial printmakers{\textquoteright} ambiguous status. In general, block-cutters and engravers participated in the formal trends of contemporary Mexican painting and sculpture. At the same time, printmakers were supple in their responses to market pressures. When official tastes abandoned the Mexican Rococo style for Neoclassicism, for example, print publishers were slow to follow. Instead, these businessmen maintained the ornamentalism favored by their customers, only altering their approach when academic forms became more widely admired. Ambiguity and divergent perceptions also pervaded the documentary record of inquisitorial print censorship. Inquisition investigations of printmakers, prints, and patrons reveal that Church authorities understood these images as powerful vehicles of information. In cases addressing thematic orthodoxy, inquisitors articulated the threat faulty prints posed to viceregal spirituality, citing the widespread belief in the inherent truth of all printed materials. Their efforts to prohibit unorthodox images, however, were unsuccessful. The print{\textquoteright}s innate potential for multiplicity, rapid dissemination, and anonymous production and consumption virtually guaranteed all attempts would fail.}, author = {Kelly Thomas Donahue-Wallace} } @mastersthesis {8688, title = {Private Art Galleries in New York City, 1850-1875}, year = {2000}, school = {Emory}, abstract = {Between 1850 and 1870 thirteen New York area art collectors constructed art galleries in their homes. As specialized domestic spaces dedicated to art, these galleries embodied their owners{\textquoteright} attitudes toward their collections in their design, decoration, and installation. An analysis of these galleries and the role they played in the public and domestic lives of their owners provides fresh insights into the social significance of art and art collecting in mid-nineteenth-century America. The study begins with a discussion of the theoretical arguments for the inclusion of art in an ideal nineteenth-century American home. Contemporary theories regarding environmental influences on character were highly relevant to the formation of America{\textquoteright}s residential art galleries and are explored through contemporary advice manuals, architectural plan books, housekeeping manuals, and popular magazines. Chapter Two examines the early nineteenth-century art collectors who most directly influenced New York{\textquoteright}s mid-century residential gallery owners. The contributions to domestic art installations made by Thomas Jefferson, Luman Reed, Samuel Ward, William Coventry Waddell, and Robert Donaldson are all discussed. Chapters Three and Four present a chronological overview of the domestic galleries built In the New York metropolitan area between 1850 and 1870. These include those of Samuel Townsend, Edwin Clark Litchfield, Elias Lyman Magoon, Marshall Owen Roberts, August Belmont, William Wright William Henry Aspinwall, John Taylor Johnston, John Wolfe, Alexander Turney Stewart, William and Caroline Astor LeGrand Lockwood, and George Merritt. Ten of these gallery collections are catalogued in the appendix Chapter Five explores the expressive aspects of mid-century residential galleries. Using seven galleries as case studies, tins chapter analyzes surviving visual and written documentation and concludes that mid-century residential gallery owners understood artworks primarily as illustrations of meaningful ideas and employed their collections to articulate personal values. The study concludes with a consideration of the residential gallery{\textquoteright}s contributions to the emerging social significance of the visual arts in mid-nineteenth-century America. Both the formation of the Metropolitan Museum of Art and the introduction of the visual arts into New York City{\textquoteright}s public schools are briefly discussed.}, keywords = {Pre-1945 North American and South American Art}, author = {Bolin, Anne M.} } @mastersthesis {8661, title = {Private Objects, Public Institutions: French Art and the Reinvention of the Museum 1968-1978}, year = {2000}, school = {Chicago}, abstract = {This dissertation explains how the social and political movements of 1968 precipitated a restructuring of the French art world as well as a re-evaluation of the issues that world considered primary in the making of advanced art. It analyzes the emergence in the exhibitions of artists Christian Boltanski and Annette Messager of conceptions of historical and personal memory, of public and private domain, and of the incidental matter of everyday life, issues that have now become the subject of widespread cultural criticism. While critics in this period tended to see in the exhibitions mounted by Boltanski or Messager a universally accessible evocation of everyday memories, my dissertation argues that the force of these exhibitions resided in their questioning of the museums{\textquoteright} representation of public history and national identity, and did so well before these issues were available as such in critical theory. Boltanski{\textquoteright}s installations combine images and forms of documenting daily life (yearbook photos and family albums) with museum forms of preserving history and ethnography (file drawers and vitrines), in order to explore the difficulties of preserving personal and collective memory within public museum frameworks; in marked and revealing contrast, Messager{\textquoteright}s collection albums-forms and media traditionally considered feminine-underscore how "women{\textquoteright}s work" was both defined by and traditionally excluded from art education and the museum. Because of the prominence of photographs in all of these displays, I also track how these exhibitions and the gendered differences among them related to investigations, including those of Roland Barthes and Pierre Bourdieu, of photography{\textquoteright}s function as a medium of communication and a record of the past in connection with memory. Finally, I demonstrate how these artists{\textquoteright} presentations through private and public exhibition forms, though initially intended to critique the market and the museum, intersected nonetheless with exhibition and sale opportunities in the art world and aided both the artists{\textquoteright} success and the popularization of the issues and problematics their art engages. The dissertation explains how, paradoxically, during a period of unprecedented public support for the arts, themes of the private take on such importance in exhibitions.}, keywords = {Art Criticism and Theory, Post-1945 Art}, author = {Deroo, Rebecca} } @mastersthesis {8655, title = {Pugilistic Occasions: Cultural Constructions of Boxing in Painting, Film, and Television}, year = {2000}, school = {Rochester}, abstract = {This study departs from most approaches to boxing by addressing the plurality of interpretations and kinds of knowledge generated by boxing as a cultural practice. In my close readings of texts ranging from painting to television documentary, I draw on a range of critical and theoretical practices including cultural studies, psychoanalytic criticism, media criticism, and theories of subjectivity. In my discussion of Norman Mailer as a public intellectual, I address the contradictions inherent in Mailer{\textquoteright}s fascination with Muhammad Ali and Mailer{\textquoteright}s use of boxing as a metaphor. In my reading of George Bellows{\textquoteright}s boxing paintings, I argue for both modernism and realism as valid expressions of modernity. My critique of a dualistic, Manichean interpretation of Jake La Motta{\textquoteright}s self-destructive behavior depicted in La Motta{\textquoteright}s autobiography Raging Bull draws from psychoanalytic theories of masculine subjectivity. I also employ a psychoanalytic theoretical model in my discussion of Martin Scorsese{\textquoteright}s film adaptation of La Motta{\textquoteright}s autobiography. I argue that Scorsese{\textquoteright}s approach departs from other film adaptations in the ways interfolding textual and intrapsychic elements give shape to the final film. My final chapter on Mike Tyson argues that Barbara Kopple{\textquoteright}s Fallen Champ, a documentary aired on prime time television and also advertised by NBC as a "miniseries," reveals that the distinctions between fiction and non-fiction are affected by genre conventions, sports broadcast practices, and network advertising. Drawing on Peter Brooks{\textquoteright}s discussion of the "text of muteness" as a subgenre of melodrama, I examine the relationship between Mike Tyson{\textquoteright}s voice and body in the framework of prime time programming. As the title of this study suggests, boxing in each reading becomes the occasion through which its intersection with or informing of a cultural or aesthetic expression tells us something both about boxing and about that mode of expression. In each reading boxing functions not as an essence, nor as a poetics or a language, but as an "occasional," contingent, always-embedded cultural practice.}, keywords = {Photography and Film}, author = {Gentile, Phillip} } @mastersthesis {8627, title = {Queen as King: Patronage at the Romanesque Church of San Isidoro de Leon}, year = {2000}, school = {Pittsburgh}, abstract = {San Isidoro, the great Romanesque monument in Leon in north-central Spain, holds a place of honor in nearly every survey of medieval architecture. In the eleventh and twelfth centuries, the architecture and sculpture of San Isidoro played an essential role in the rulership strategies of the Leonese royalty. Yet a comprehensive history of the complex has never been written, nor has the patron of the early twelfth-century church been convincingly identified. This dissertation traces the history of San Isidoro from its origins c.1055 as a palatine chapel attached to a double monastery through its reconstruction in the twelfth century as a major urban pilgrimage site attended by canons. I argue that Queen Urraca (reigned 1109-1126) built the Romanesque church of San Isidoro to fortify her unique position as a queen who ruled in her own right, rather than as consort to a king. Urraca{\textquoteright}s patronage enhanced her prestige and emphasized her right to rule the largest kingdom in medieval Spain. When Urraca chose to build a grand new church, she was in some ways following her family{\textquoteright}s tradition of female patronage for their royal chapel, especially that of her aunt, the infanta Urraca ({\quotesinglbase}{\"A}{\textdagger}1101), and her grandmother, Queen Sancha ({\quotesinglbase}{\"A}{\textdagger}1067). Though the first church of San Isidoro was built in the name of King Fernando I ({\quotesinglbase}{\"A}{\textdagger}1065), I suggest that Queen Sancha was the real force behind its construction c.1055, in order to emphasize her family{\textquoteright}s imperial pretensions. Under Queen Urraca, however, San Isidoro evolved from the private palace chapel of her grandparents{\textquoteright} day to a public statement of the queen{\textquoteright}s power through a development of the pilgrimage cult of San Isidoro.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Martin, Therese} } @mastersthesis {8644, title = {Questioning Roman {\textquoteright}Freedman Art{\textquoteright}: Ancient and Modern Constructions}, year = {2000}, school = {UT Austin}, abstract = {This dissertation offers a critical study of art thought to have been commissioned by former slaves in ancient Roman society. Traditionally, the history of Roman art has focused almost exclusively on elite culture, the segment of society that controlled the power and wrote the literature that we depend upon so heavily to understand the past. However, former slaves, or freedmen, who made up a significant portion of Roman society, left behind an extensive artistic legacy; they commissioned monumental tombs, generous civic benefactions, and houses with elaborate painted and sculptural decoration. This dissertation specifically considers how freedmen represented themselves through artistic patronage by exploring how these first-generation Roman citizens were a more diverse, and more complex, group of individuals than modern scholarship has suggested. The goal of this project is to dismantle ancient and modern stereotypes that have characterized former slaves in the history of Roman art. These stereotypes include claims that freedmen ostentatiously displayed their newly acquired freedom and wealth and that they simply and naively imitated elite culture, thus aspiring to an elite status. To avoid these stereotypes, this dissertation will not privilege the words of elite ancient authors in assessing how freedmen constructed their social and legal identities. Thus it will problematize scholars{\textquoteright} dependence on the "Cena Trimalchionis" of the Satyricon, where Petronius satirizes the social pretensions of the freedman Trimalchio. It will instead rely on the only records we have by freedmen themselves-their monuments-with careful consideration of the ways that these monuments could communicate the complex legal and social identities of freedmen, whose servile past marred their citizen-status, thus reinforcing their marginal position in society. This project will manage the ample visual evidence by considering four principal case studies: (1) the tomb of the baker Eurysaces in Rome (c. 13 BCE); (2) the Isola Sacra necropolis, near Rome (second century); (3) the House of L. Caecilius Iucundus in Pompeii (first century); and (4) the rebuilding of the Temple of Isis, also in Pompeii (after 62 CE). Together, these case studies will explore how freedmen{\textquoteright}s desires for self-representation may have been realized differently within funerary, domestic, and civic contexts, reflecting the diversity of former slaves themselves.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Petersen, Lauren Hackworth} } @mastersthesis {8549, title = {Questions of Work, Class, Gender, and Style in the Art and Life of Gustave Caillebotte}, year = {2000}, school = {Case Western Reserve}, abstract = {This dissertation provides new understanding of Gustave Caillebotte and his oeuvre by introducing important aspects of his experience outside of art, by comparing his painting and attitudes more critically with those of his colleagues the major Impressionists, and by reexamining his painting and life in a synthetic and contextualized manner. New and traditional interpretative methods are utilized to study the fundamental themes of work, class, gender, and style. Chapter 1: Historiography, reveals the limitations of previous studies built around the traditional exhibition format, and recovers the Realist interest that period critics first voiced for Caillebotte{\textquoteright}s painting. Chapter 2: Work, looks at Caillebotte{\textquoteright}s attention to workers in his early paintings, and connects it with his singular investment in the group effort of Impressionism, as well as to his serious involvements later as "amateur" in sailboating, gardening, philately, and town administration. Caillebotte is seen to share the Republican conception and valorization of work that dominated early Third-Republic France, in which work was seen as a rational process uniting mental and physical energy and bridging class differences. Chapter 3: Class, addresses the complexity of Caillebotte{\textquoteright}s social positioning and attitudes, interpreting his self-portraits in these terms. The artist{\textquoteright}s attention to class difference is revealed in several other pictures, including an 1870s series of aerial cityscapes. His interest in class mingling is considered within paintings, and discussed as a feature of his involvements in Impressionism and other pursuits. Chapter 4: Masculinity, highlights the long overlooked emphasis on male sociability and masculinity that marks Caillebotte{\textquoteright}s oeuvre, especially next to the art of his colleagues. The Impressionist cause and the sport of sailing are shown to have been important to Caillebotte as sites where class difference could be elided under a common gendered identity. Several Caillebotte pictures possessing homoerotic overtones, frequently expressed with tension, are interpreted as suggesting the likelihood of a repressed homosexual sensibility. Chapter 5: Aesthetics, returning to Caillebotte{\textquoteright}s early Realist concerns, argues that his awkward later move toward Impressionist style and landscape represents a displacement of his special concern with the collaborative effort of Impressionism into the realm of painting, whereby he unconsciously sacrificed his more original program to follow his closest colleagues Monet and Renoir.}, keywords = {19th- and Early 20th-Century European Art}, author = {Cable, Patrick} } @mastersthesis {8687, title = {Race, Gender, and Nation: Rethinking the Sculpture of Meta Warrick Fuller}, year = {2000}, school = {Maryland}, abstract = {At the height of her career in the 1920s, Meta Warrick Fuller (1877-1968) created the sculpture, Ethiopia Awakening. Art historical scholarship has focused on the way this work anticipated the ideals of the Harlem Renaissance in its symbolic representation of a new radicalized African American identity. Ethiopia Awakening has become the single most important object in Fuller{\textquoteright}s oeuvre. To a large extent, the rest of her sculpture has been ignored because it does not fit neatly into this black nationalist narrative constructed around this one work of art. In addition, Fuller has been defined frequently as both a "race artist" and a "genius" anointed by the French sculptor Auguste Rodin. Her art, however, is not singularly about genius and race, nor is it simply a marker in the narrative of the ascendancy of black culture. Neither is it a mere illustration of historical events. Her work is about history and race, religion and gender, art and nation. This dissertation focuses on the art Fuller created between her return from Paris in 1902 and her modeling of Ethiopia Awakening in 1921. Central to my evaluation of her sculpture is an inquiry into its interaction with the social and political movements of the early 1900s. By analyzing the cultural and historical events that shaped Fuller{\textquoteright}s work, this dissertation expands the scope of research on Fuller and provides a nuanced exploration and more complex understanding of the content of her work as it relates to its form. I have chosen to discuss five works by Fuller based on two criteria: first, they survived to the present and are in either museum or private collections; and second, they illustrate and elucidate the intertwining relationship of race, gender, and nation in the early twentieth century. I resituate Fuller in the complicated historical past that she occupied, shaped by her identities as an African American, as a woman, as an artist, as a wife and mother, as a Victorian, and as a member of an elite W. E. B. Du Bois called the "Talented Tenth".}, keywords = {Pre-1945 North American and South American Art}, author = {Renee Ater} } @mastersthesis {8736, title = {Raphael into Print: the Movement of Ideas about the Antique in Engravings by Marcantonio Raimondi and His Shop}, year = {2000}, school = {Princeton}, abstract = {This dissertation considers the role played by Marcantonio Raimondi and his workshop in shaping contemporary understanding of the antique. Building on scholarship that has demonstrated the degree to which Raimondi and his shop were not simply slavish imitators but artists in their own right, it asks what it was about the antique they strove to convey. Hired to create prints after drawings by Raphael and his studio, Raimondi and his shop played an important role in translating Raphael{\textquoteright}s ideas about the antique into a medium celebrated for its modernity. The profitability and usefulness of prints for Raphael and his studio, for the Raimondi print workshop, and for the study of the past are considered over the course of four chapters. The first chapter looks at Raimondi{\textquoteright}s series of printed coins known as the Twelve Caesars as an expression of the value of engraving. Because of the authority invested in ancient coins, their printed versions came to be considered a powerful source of information about the past. Through the perceived similarities between the two media, prints possessed an artificial value that allowed them to be exchanged in the spirit of ancient medaglie. The second chapter examines the role engraving could play in the restoration of Rome. Raphael{\textquoteright}s desire to breathe life into the ruins of the ancient city is reflected in a range of prints that depict restored antiquities in dilapidated circumstances. Prints offered an effective means to reproduce a vision of the new Rome. Studying the way in which Raimondi and his shop framed exemplary works of classical and Renaissance art, the third chapter considers the role prints could play in the paragone of the ancients and moderns. Through their embodiment of pictorial and sculptural values, prints facilitated Raphael{\textquoteright}s rivalry with the Ancients. The last chapter considers how the medium of prints assisted Giulio Romano in his mission to appropriate the mantle of his master, Raphael. Publicizing and playing with Raphael{\textquoteright}s amorous subjects, Giulio sought to tap into the legend of Raphael as one who had excelled in the arts of love to become, like him, a modern ancient.}, keywords = {Renaissance Art}, author = {Viljoen, Madeleine} } @mastersthesis {8630, title = {Reading Romances: The Production and Reception of Gothic Ivory Romance Caskets in the Context of Literary Practices}, year = {2000}, school = {UIUC}, abstract = {French Gothic secular ivories from the fourteenth century have carved on their external sides scenes from medieval imaginative literature (romances of Arthur etc.), and are one of the few media displaying such pictures to survive from the period. Thus they are crucial to an understanding of medieval secular art. Research on these ivories has focused on workshop origin, artistic style, date, and iconography with little reference to cultural usage and significance. In my dissertation I demonstrate that the visual imagery of these ivories is the unique creation of its makers who through manipulation of carving technique, artistic style, narrative structure, and spatial arrangement of scenes generated a pictorial language unequaled in medieval art. Moreover, I will argue that the caskets{\textquoteright}s visual cycles, rather than being derived from manuscripts, as previous scholars have claimed, are "texts" in their own right with their own meanings. Narratology and semiotics with a grounding in a knowledge of workshop practices will enable me to define this language. Furthermore, I shall situate the works in their original context, and consider the caskets{\textquoteright}s social function, audience and audience{\textquoteright}s ability to generate meanings from the works.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Shoppe, Paula} } @mastersthesis {8715, title = {Reconstructing Lilla Cabot Perry (1889-1933): A Study in Class and Gender}, year = {2000}, school = {Minnesota}, abstract = {This dissertation examines the career of American painter Lilla Cabot Perry (1848-1933) from multiple perspectives, placing her within the greater cultural context of American and European art at the turn-of-the-century. Part I chronicles Perry{\textquoteright}s career from her initial academic training here and abroad, through her introduction to Impressionism, her exposure to the art and culture in Japan, to her maturation as an international artist, to her fifteen-year role as founding member of the Guild of Boston Artists, concluding with her return to landscape painting at the end of her career. An extensive exhibition history confirms the solidity of Perry{\textquoteright}s professional standing during her lifetime, while taking into account gender and class factors which impacted her career. Part II focuses on Perry{\textquoteright}s mature work through a thematic and stylistic analysis, and a philosophical reading of her work in order to arrive at an understanding of its underlying subject: specifically, her interest in the spiritual and in {\textquoteright}Mind,{\textquoteright} in both its transcendental and mundane meanings. Perry{\textquoteright}s career has been difficult to assess. Her artistic reputation has been obscured by her close association with Claude Monet. Scholars, unable to integrate her two stylistic approaches of academic portraiture and Impressionist landscape, have described her alternately as an American Impressionist or as a Boston School painter. Additional influences were important to Perry, including Japonisme and Eastern mysticism in work by John La Farge, as well as her own newly-documented interest in the occult. The discovery of Perry{\textquoteright}s organization of the "Boston Women Painters" exhibition (1913-14), including symbolist imagery, confirms that these interests were widespread. Based on this information, a new reading of Perry{\textquoteright}s imagery through the lens of {\textquoteright}Mind{\textquoteright} is possible. Her society portraits are viewed, not as {\textquoteright}ladies of leisure,{\textquoteright} but as the portrayal of {\textquoteright}cultivated minds.{\textquoteright} Perry{\textquoteright}s late Luminist landscapes are read in the Emersonian Transcendental sense of "Mind" or "Oversoul" as symbols of God{\textquoteright}s pence in nature. This interpretation enables us to place the range of Perry{\textquoteright}s work within a consistent philosophical framework-a belief in a basic value of her New England upbringing: "high-mindedness."}, keywords = {Pre-1945 North American and South American Art}, author = {Soderman-Olson, Marcia L.} } @mastersthesis {8603, title = {Rembrandt{\textquoteright}s Bankruptcy}, year = {2000}, school = {IFA/NYU}, abstract = {This study examines the causes, circumstances, and effects of the 1656 declaration of bankruptcy by Rembrandt Harmensz van Rijn (c.1606-1669). Following a highly successful early career, the artist{\textquoteright}s wealth dwindled and his patronage base grew slender, even while his international fame spread. By the summer of 1656 Rembrandt{\textquoteright}s personal finances had deteriorated to such an extent that he was left with few alternatives. Even though he operated narrowly within legal bounds, the artist{\textquoteright}s manner of evading his responsibility to his creditors was so socially disreputable that laws in Amsterdam were quickly altered to prevent such actions. To relieve his debts Rembrandt applied for cessio bonorum-literally, "surrender of goods"-a type of insolvency whereby he ceded control of his assets to be sold by the local municipal authorities in order to repay his creditors, who in turn could have no further claim on him. To this end, the artist{\textquoteright}s household effects and immense art collection were inventoried by a representative of a city agency called the Desolate Boedelskamer, or Chamber of Insolvent Estates, and then were sold along with the house itself over the course of the following two years. Rembrandt{\textquoteright}s poor management of his finances magnified other difficulties that he had with family, paramours, friends, neighbors, and patrons. Together, his economic and social exigencies affected his living and working environment, his public reputation, and his art. This study examines all of these aspects of the artist{\textquoteright}s financial problems, including his marketing practices, the appreciation of his work, and his relations with patrons, in addition to the details of the bankruptcy itself. The study traces the documentary evidence from all periods of Rembrandt{\textquoteright}s life which shed light on its nadir, his bankruptcy. The artist{\textquoteright}s attitudes, actions and motivations are assessed in relation to the options available to him. A consideration of the maneuvers of the people around Rembrandt, especially his creditors, is a necessary complement. Several patterns of short-sighted decision-making emerge as Rembrandt conducted his affairs within a constantly changing framework of relationships, a shifting set of obligations, and evolving artistic pursuits.}, keywords = {Baroque and 18th-Century European Art}, author = {Crenshaw, S. Paul} } @mastersthesis {8732, title = {The Renaissance City Gates of the Veneto}, year = {2000}, school = {Chicago}, abstract = {This study examines a select group of extant city gates built in the Venetian Terraferma during the sixteenth century that are impressive for their distinctive spatial plan and monumental all{\textquoteright}antica facades. They were constructed as part of an extensive program of refortification that included urban centers such as Treviso, Padua, Verona and Bergamo as well as small fortress towns such as Legnago, Orzinuovi, Peschiera and the radially-planned Palmanova. This study demonstrates that the source of the distinctive spatial plan was a fusion of Filarete{\textquoteright}s ideal city gates and Vitruvius{\textquoteright} tetra-style atrium. Central to the creation of the new schema was Alberti{\textquoteright}s paradigm of the city as a large house in which the city gate would function as an atrium or vestibule. The implications of this paradigm were developed further in the cavalier gates of Francesco Maria della Rovere and Sanmicheli into a structure whose principal and city side facades are differentiated according to the decorum of the fortified urban palace. Advances in the design of the half cavalier and extended terrapiena of mid-century fortifications prompted experiments with lateral buttresses seen in the city gates of Guidobaldo II della Rovere. This study suggests that the T-shaped city gates of Bonaiuto Lorini, which incorporated these new structural ideas together with the tetra-style atrium, were influential in the early designs for the elaborate dormitory gates of Palmanova. While the change from the commemorative arch facades of the early city gates of II Bergamasco and Falconetto to the rusticated portals designed by Sanmicheli signals a shift towards a greater emphasis on utility rather than ornament, these rugged facades still embodied the Republic{\textquoteright}s belief that visual display enhanced the power of the state. The varying sumptuousness of the later gates was the result of the counter balancing of cost-cutting measures in the ever expanding program of fortification with the willingness of the Venetian rectors to disburse their personal funds for the prestige of their family name and the Republic.}, keywords = {Renaissance Art}, author = {Smith, Nancy Kipp} } @mastersthesis {8616, title = {Representing the Body in the Seventeenth-Century Netherlands: Rembrandt{\textquoteright}s Nudes Reconsidered}, year = {2000}, school = {UC Berkeley}, abstract = {This dissertation examines the visual strategies employed in Rembrandt{\textquoteright}s depictions of naked human bodies, addressing the claims made in the literature on Rembrandt{\textquoteright}s nudes. Chapter one examines the literature on Rembrandt{\textquoteright}s nudes. Chapters two through four address the three major claims made in this literature and question the assumptions behind each claim. The first claim is that Dutch nudes were infrequently produced at the time, so that it was unusual for Rembrandt to have been producing nudes at all. Chapter two demonstrates that over two hundred single figure nudes were produced by more than sixty artists in the Northern Netherlands during the period in which Rembrandt was painting his nudes. Chapter two then goes on to question whether the nude was a stable category with well defined boundaries in Rembrandt{\textquoteright}s culture. The second claim is that the figural types that Rembrandt chose to depict were unusual, and even undesirable. Chapter three demonstrates that for any of the bodily features we might consider, Rembrandt{\textquoteright}s representations of their proportions fall well within the range of those depicted by his colleagues. Chapter three also shows that Dutch artists did not think in terms of display of readable figural type in the first place. The third claim is that Rembrandt{\textquoteright}s insistence on realism, particularly his rendering of bodily detail, sets him apart. Chapter four demonstrates that, within Dutch culture Rembrandt is unusual neither for the kinds of particularities of the body he depicts, nor for the density of them in his nudes. It also demonstrates that it would not have been possible for a Dutch artist to have thought in terms of an excess of details, since the details were the place that artists began, generating whole figures out of the elaboration of particularities. These chapters show, then, that Rembrandt was not unusual within his culture for his approach to the body. On the contrary, within the range of options available to him, Rembrandt was ambitious about representing the nude. Chapter Five then examines the ways in which Rembrandt{\textquoteright}s nudes are remarkable, that is, for their engagement of Rembrandt{\textquoteright}s own representational strategies.}, keywords = {Baroque and 18th-Century European Art}, author = {Schott, Elizabeth} } @mastersthesis {8557, title = {The Reputation of Eugene Delacroix and the Modernist Ethos}, year = {2000}, school = {UC Santa Barbara}, abstract = {There is no doubt that the great Romantic painter Eugene Delacroix served as lodestar to the avant-garde generations of artists who followed him. In Henri Fantin-Latour{\textquoteright}s Hommage a Delacroix (1864), Manet, Whistler, Baudelaire, Duranty and Champfleury are among those who gather around Delacroix{\textquoteright}s portrait to pay tribute to the recently deceased painter. Delacroix was passionately admired by Degas, Cezanne, Matisse and many others. But while artists like Courbet, Manet and Cezanne have long been considered harbingers of modernism, Delacroix{\textquoteright}s place in the modernist pantheon has never been adequately explained. Despite his acknowledged importance for later generations, the question remains: what, precisely, is the significance of Delacroix{\textquoteright}s reputation for modernism? An examination of contemporary sources and studies on the social position of the artist in the nineteenth century revealed that Delacroix{\textquoteright}s stylistic innovations must be placed in a cultural context; that is, features such as his famous "errors" in drawing must be viewed as the pragmata of an ethos that valued deviations from academic standards. In the view of the modernist ethos, Delacroix appeared as the model for what the ideal artist should be. His willful departures from "correct" drawing constituted the antithesis of the academic style; rather than mistakes, they were seen by his admirers as marks of originality and creative genius. In 1825, Henri de Saint-Simon called upon artists to lead society; artists were to be the new priesthood. Delacroix fulfilled this Orphic role by producing "new worlds" through his art, allowing others to see what would otherwise remain unseen; his Orpheus in the Palais Bourbon Library can be interpreted as the artist who brings civilization to humanity. Great talent, however, brings great suffering; the artist must also bear the scorn of the public that does not understand his work. Delacroix{\textquoteright}s paintings were relentlessly criticized throughout his lifetime and after; he was a kind of martyr for art{\textquoteright}s sake. As genius, Orpheus and martyr, Delacroix embodied the various tenets of the modernist ethos that shaped artist{\textquoteright}s theories until at least the mid-twentieth century.}, keywords = {19th- and Early 20th-Century European Art}, author = {Hillson, Karen} } @mastersthesis {8678, title = {The Rhetoric of Realism: Painting, Politics, and Commitment in France, 1940-1956}, year = {2000}, school = {Northwestern}, abstract = {This dissertation focuses on the aesthetics and politics of realism in France during the Nazi Occupation and the post-War reconstruction. It centers around the work of three "engaged" painters, Andre Fougeron, Boris Taslitzky, and Francis Gruber. My study opens with a critical-historiographical introduction which lays out the terms for the debates over aesthetics and politics during the 1920s and 1930s, and shows how pre-War oppositions between modernism and realism still influence thinking about artistic engagement. Chapter 1 evaluates Fougeron{\textquoteright}s, Gruber{\textquoteright}s, and Taslitzky{\textquoteright}s efforts to maintain an engaged art practice during the Vichy era. I compare Fougeron{\textquoteright}s clandestine resistance activities and artworks with his public paintings exposed in galleries and Salons. Next, I consider Taslitzky{\textquoteright}s appropriation of a revolutionary, national symbolism in his prison camp murals. Finally, I suggest that Gruber{\textquoteright}s paintings of abject female nudes operated as a form of resistance to the dominant ideology of health and wholesomeness. Chapter 2 discusses the post-War re-evaluation of French modernism and traditions. I look at historicizing texts and exhibitions driven by the idea that France could start over, erase, ignore or repress its past. Painting became a powerful tool in the reworking of history, politics, and the subject that took place upon the Liberation. Chapter 3 considers paintings by Gruber, Taslitzky and Jean Fautrier which relied on the human body as a means of challenging this idea of historical continuity and which attempted to cope with historical trauma. Chapter 4 focuses on Fougeron{\textquoteright}s role in developing a Nouveau Realisme Francais, a French Socialist Realism. Here, I consider his recuperation of 19th century models for the official language of the French Communist Party, and argue that his 1951 project Le Pays des Mines reveals the temporal and ideological contradictions at the heart of his aesthetic.}, keywords = {Post-1945 Art}, author = {Rehberg, Vivian S.} } @mastersthesis {8569, title = {Risking the Incoherence of Identity: Locating Gender in the Late 19th-Century Artist{\textquoteright}s Home Studio}, year = {2000}, school = {UNC Chapel Hill}, abstract = {This dissertation analyzes late nineteenth-century paintings of the artist{\textquoteright}s home-based studio in order to gain a better understanding of the way artists perceived and represented both their artmaking and their place in society in terms of gender. The first part of this study discusses the most common gender tropes of the time, including the popular conception that bourgeois private spaces were gendered feminine and public spaces were gendered masculine. This seemingly bipolar world is complicated when one considers the home-based painting studio that is both a professional workspace and a domestic room, thus simultaneously inhabiting both of the gendered worlds typically discussed as separate. According to normative constructs, a man works outside the home and a woman manages that home in a way that both provides the husband with a comforting haven and visibly represents his success in the business world. The artist{\textquoteright}s studio is a place where we can challenge these assumptions because the space exists outside of the standard dichotomies and because the artist, whether male or female, generally melded the worlds of work and home at some point in a way that few other bourgeois people did at this time. New questions are raised: what does it mean for a male artist to have a "feminine" parlor for a workspace? What does it mean for a woman to earn her living as a professional artist and fulfill her duties as a bourgeois housewife from the same room? This dissertation considers those questions by focusing on studio paintings by William Merritt Chase and Mary Fairchild MacMonnies Low. I argue that in both cases these representations reveal something that is fundamentally at odds with the standard interpretations of such images, the artists who painted them, and our concept of the manner in which gender functioned in the lives of nineteenth-century artists.}, keywords = {19th- and Early 20th-Century European Art}, author = {Ringelberg, Kirstin} } @mastersthesis {8704, title = {Robert Henri and the American Southwest}, year = {2000}, school = {CUNY}, abstract = {American artist Robert Henri (1865-1929) has most often been identified as the organizer of the 1908 landmark exhibition of The Eight and leader of the progressive movement; however, his relationship to the American Southwest has been largely neglected in scholarly discourse. This dissertation examines and reevaluates the work from and impact of Henri{\textquoteright}s extended visits to the Southwest in 1914, 1916, 1917, and 1922. During these stays he produced a distinguished body of work that is among the creative pinnacles of his career. Henri painted more than three-hundred and twenty-five works while visiting the Southwest; his principal mode of expression was portraiture of Native-, Asian-, and Hispanic-American subjects. His depictions of these multiethnic models is discussed in terms of his humanistic approach to portraiture. Issues of stereotypes, multiculturalism, and his portrayal of the exotic is also addressed by exploring his artistic choices and representation of these ethnic groups in the context of his overall production. Henri{\textquoteright}s role in the development of the Santa Fe artist colony is also appraised. As a direct result of Henri{\textquoteright}s encouragement, Leon Kroll and George Bellows visited Santa Fe in 1917, and Randall Davey and John Sloan went in 1919. These artists brought their individual styles of New York realism to the Santa Fe art community. Henri{\textquoteright}s impact on the New Mexican work of these four artists has never been fully explored, as well as his association with the Taos art colony and the Taos Society of Artists, an organization with which he was affiliated from 1918 to 1922. Though his Southwestern work forms a discrete body of work, many-artistic concerns within this corpus directly, relate to issues with which he grappled throughout his entire painting career, particularly in relation to his lifelong commitment to portraiture. Henri{\textquoteright}s Southwestern production will be examined regarding his choice of subject, interpretive approach, technique, and stylistic development, as well as the marketability and critical reception of this work. His Southwestern work is also placed and analyzed within the broader context of his career and oeuvre.}, keywords = {Pre-1945 North American and South American Art}, author = {Leeds, Valerie} } @mastersthesis {8623, title = {Rock-Cut Architecture of the Peristrema Valley: Society and Settlement in Byzantine Cappadocia}, year = {2000}, school = {IFA/NYU}, abstract = {This dissertation focuses on the art and architecture of Byzantine Cappadocia, one of the most intriguing border regions that once belonged to the Byzantine Empire and is now located in central Turkey. Since the discovery by European travelers and explorers in the eighteenth and nineteenth centuries of Cappadocia{\textquoteright}s exotic landscape of volcanic rock formations, scholars have interpreted the area as one of monastic settlement during the medieval period. This dissertation argues against the long-standing monastic interpretation of Cappadocia and posits a secular, residential context for the majority of the region{\textquoteright}s rock-cut architecture. Original plans, photographs, and diagrams of chiefly unpublished material provide the primary documentation of a newly discovered group of structures carved into the volcanic rock. Located in the Peristrema Valley, the most fertile river valley in western Cappadocia, these structures comprise elaborate facades that decorate vast courtyards, which lead into ceremonial halls, churches, and utilitarian rooms. Thirteen such courtyard units constitute the settlement{\textquoteright}s core. Additional funerary chapels and a fortification wall surround this cluster of complexes and define the settlement{\textquoteright}s outer limits. Instead of monasteries, these architectural ensembles appear to have been the mansions and manor houses that once belonged to the local landed aristocracy and military elite of the tenth to eleventh centuries AD. When the Byzantine Empire regained its eastern territories after the devastating Persian and Arab invasions of previous centuries, powerful magnate families settled Cappadocia and made its countryside secure and prosperous. Through an analysis of rooms and their functions, the arrangements of spaces in relationship to each other and to the landscape, I attempt to define this frontier society{\textquoteright}s social organization and daily concerns. In particular, through the relative size, degree of sophistication in design and decoration, and prominence within the landscape of each complex, the settlement{\textquoteright}s architecture reveals the underlying social hierarchy of medieval secular society. As Middle Byzantine mansions and manor houses, Cappadocia{\textquoteright}s rock-cut complexes fill a significant void in our knowledge of medieval domestic architecture and settlement patterns. They represent an exceptional architectural and engineering accomplishment of the pre-modern, pre-industrial age.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Kalas, Veronica} } @mastersthesis {8645, title = {Roman Architectural Influence in Provincial Asia: Augustus to Severus Alexander}, year = {2000}, school = {Princeton}, abstract = {This study consists of two major sections: first, a historical analysis of the patrons{\textquoteright} influences upon and motivations for building monuments in Provincia Asia; second, an analysis of the Roman architectural characteristics found in the structures. A discussion of the increasingly important role of imperial urbanization provides background for the work{\textquoteright}s focus: the sponsorship and construction of monuments. The study constitutes part of the larger debate concerning cross-cultural impact between East and West. Examination of the material remains of Provincia Asia represents an important, and largely untapped, source of information for this debate. All benefactors may not have been involved in every aspect of a monument{\textquoteright}s construction, from planning to dedication, but funds rarely would be provided without some direction from the sponsor. At the very least, almost all monuments must have been approved by their patron; occasionally our evidence demonstrates involvement by sponsors in every step of their project, from formulation to completion. The analysis of evidence for the personal involvement of sponsors regarding the appearance of their monuments is essential to a basic thesis of this study: {\textquoteright}Roman{\textquoteright} elements in the structures project a message of Romanization on the part of the benefactor. Explaining the outpouring of these benefactions during the Empire is another complex problem requiring much deeper explanation than the suggestions usually offered. The effect of the monuments upon the urban image was immense. An analysis of Romanizing features (materials and building techniques, types of monuments, siting, and decoration) in the monuments of Provincia Asia demonstrates considerable western influence on the architecture of a province generally considered impervious to Romanization. The impact of this physical patronage upon the architectural landscape of Provincia Asia also helps to explain how and why an international style of architecture had evolved by the time of the Late Empire. {\textquoteright}Romans{\textquoteright} had created, collected, and dispersed architectural elements throughout the Empire. The process contributed to the forging of a new aesthetic, which was appreciated and understood empire-wide. It made the physical culture of each region available to every other region by creating a more comprehensible physical language: Roman imperial art and architecture.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Sherwood, Andrew} } @mastersthesis {8737, title = {Rosso Fiorentino, Benvenuto Cellini, and Clement Marot: Court Artists and Poets at Francis I{\textquoteright}s Fontainebleau, 1530-1545}, year = {2000}, school = {Cornell}, abstract = {Upon his return to France in 1526 from captivity at the hands of Charles V, Francis I accompanied a reassertion of political power with an outpouring of funds for the arts and letters. Francis built many new residences, inviting the Italian artist Rosso Fiorentino in 1530 to embellish what soon became his favorite at Fontainebleau. This group of three essays on art and literature produced there reveals the complexity of patron/artist relations at Francis{\textquoteright}s court and probes the phenomenon of the artist as courtier. Chapter one reconsiders Rosso{\textquoteright}s decorations in the Galerie Francois Ier, suggesting practical and intellectual functions for the hall and new contexts in which to view it. Seen in the Italian studiolo tradition, the gallery adheres to contemporary Italian practices of collecting and displaying art. These findings, along with visual evidence from the gallery, indicate an earlier involvement for Rosso in its conception than previously believed. The second essay explores the relationship between art and poetry at Fontainebleau and the embellishment and transformation of models across disciplinary boundaries by Rosso and Francis{\textquoteright}s valet de chambre, Clement Marot. It presents an analysis of Rosso{\textquoteright}s drawing depicting Petrarch{\textquoteright}s canzone 323 on the death of Laura, made for Francis{\textquoteright}s chief advisor, the Cardinal of Lorraine, shortly after the supposed rediscovery of Laura{\textquoteright}s tomb in Avignon. The drawing can be seen as an attempt to honor this important court figure by lending him the everlasting fame Petrarch{\textquoteright}s verse secured for his beloved. The chapter also investigates Marot{\textquoteright}s epigrams on art, focusing on one that may record a lost work by Rosso. The final essay traces Benvenuto Cellini{\textquoteright}s attempt to surpass ancient and contemporary precedents in stature, materials and pose by erecting a bronze Mars colossus over fifty feet tall. In his autobiography, this gigantic undertaking becomes an expression of Cellini{\textquoteright}s desire to forsake the lot of the lowly goldsmith for that of the lauded court artist. For this reason, despite the project{\textquoteright}s ultimate incompletion, the technical ingenuity Cellini displayed in conceiving the colossus and the evidence of his progress from wooden modello to full-scale plaster mock-up are given new emphasis.}, keywords = {Renaissance Art}, author = {Weislogel, Andrew C.} } @mastersthesis {8625, title = {The Rotunda of St. George and Late Antique Serdica: From Imperial Palace to Episcopal Complex}, year = {2000}, school = {Princeton}, abstract = {The topic of this dissertation is the Rotunda of St. George, the oldest standing structure in the city of Sofia (ancient Serdica). Built in the early 300s C.E., the structure has been in nearly continuous use for sixteen centuries. Originally a part of a Roman bath, by the second half of the fifth century it was converted into a church. This church served Serdica as a cathedral between the fifth and the sixteenth century, when it was converted into a mosque. The Rotunda became a church again in 1878. At the time of its construction in the early fourth century, the Rotunda was part of a large architectural complex that comprised the imperial palace in Serdica. In all likelihood, this was the residence of Emperor Constantine the Great during his lengthy stays in Serdica at different times between 316 and 321 C.E. The late antique imperial palace in Serdica is virtually unknown and it has never received sufficient attention from scholars. This dissertation focuses on the connection between the Rotunda and the palace complex. Special attention is accorded to the urban development of late antique Serdica, marked by the transition from a small provincial city into an imperial residence.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Asen Kirin} } @mastersthesis {8613, title = {Ruben{\textquoteright}s Graphic Eclecticism: Style, Eloquence, and the Matter of Drawing, ca. 1600-1620}, year = {2000}, school = {UC Berkeley}, abstract = {The drawings of Peter Paul Rubens (1577-1640), as much or more than any other draftsman of the early modern period, exhibit a profound interest in the mastery and mobilization of various stylistic forms to achieve a range of expressive effects. This dissertation introduces the question of Rubens{\textquoteright}s commitment to graphic copia as a springboard for exploring his interest in achieving rhetorical eloquence in individual drawings, especially in the first decades of the seventeenth century. Sharing a Flemish, Neostoic concern for reuniting "matter" (form) with "substance" (content) through style, and creating a new "living" artistic language that would respond to the needs and tastes of his own time, Rubens took a flexible, eclectic approach to drawing as a way to reinvigorate art and restore the underlying artistic intelligence that he believed characterized the best models of the past. The introduction shows how a rhetorical model, especially the personal epistolary genre widely promoted in Rubens{\textquoteright}s humanistic circles, helps in understanding the nature and implications of his seemingly improvisational, eclectic approach to drawing. This dissertation then offers three extended case studies of individual sheets from this formative graphic period, with an eye to the qualitative and unusually self-conscious approach he took to the denotation and connotation of graphic form. The drawings under consideration include: A Kneeling Male Nude (Rotterdam, Boymans-van Beuningen Museum), Medea Fleeing with her Dead Children (Los Angeles, J. Paul Getty Museum) and A Fallen Tree with Brambles (Chatsworth, Duke of Devonshire Collection). In each, Rubens argued eloquently for underlying concepts-respectively, ideal, male robustness, the pathetic, dual nature of a Senecan grande ame and the variety and regeneration of the Flemish landscape through a seemingly "after-life" motif through an "apt" use and transformation of a range of esteemed models. These studies demonstrate an inextricable relationship in Rubens{\textquoteright}s drawings between their facture and underlying content, arguing that judiciousness (judicio), innate wit (ingenium) and a desire for appropriate, decorous applications of graphic form (apte dicere ) often provided the underpinnings for Rubens{\textquoteright}s remarkable, indeed singular, variety of graphic approaches.}, keywords = {Baroque and 18th-Century European Art}, author = {Lusheck, Catherine} } @mastersthesis {8665, title = {Sam Gilliam: The Making of a Career, 1962-1973}, year = {2000}, school = {Michigan}, abstract = {This dissertation explores the early work and career of Sam Gilliam (b. 1933). It begins in 1962 when Gilliam moved to Washington, D.C. to pursue a career as an exhibiting artist and teacher, and ends in 1973, by which time he had secured a reputation on the national and international art scenes and achieved a level of curatorial, critical, and marketplace success that few African American artists had attained at the time, especially those living outside New York City. The project{\textquoteright}s fundamental purpose is threefold: to situate Gilliam within the artistic and social milieus from which he emerged as an artist; to explicate his major art-historical contributions during this period; and, finally, to understand how the contexts in which he circulated impacted his early production and its reception by the art world. After establishing the context for Gilliam{\textquoteright}s arrival in Washington in 1962 and describing his subsequent development there, the dissertation compares his emergence in the capitol to that in New York City. In Washington, Gilliam{\textquoteright}s overtly nonrepresentational, non-political style was embraced by critics seeking out the best of the new in Washington Color School painting, the city{\textquoteright}s only art movement to transcend its regional confines. In New York, Gilliam{\textquoteright}s paintings were more obviously embedded in the political fray that characterized the period. There, his work suggested a liberal viewpoint characteristic of civil rights era thinking at a time when liberalism was being challenged by more radical tactics for social change, most important the Black Power Movement. Gilliam{\textquoteright}s art attracted wide-ranging interpretations and represented a crossroads of meaning, a site where art history, aesthetics, and political and social influences intersected to generate a historical significance that extended beyond the art{\textquoteright}s elemental modernist purposes. In addition to being the first major in-depth scholarly study of Gilliam, an artist who is described in the thirty-four volume art-historical encyclopedia The Dictionary of Art (1996) as "the most prominent African American abstract painter," this dissertation provides a case-study examination of the cultural politics and issues of regionalism that shaped the U.S. art world of the 1960s and early 1970s.}, keywords = {Post-1945 Art}, author = {Binstock, Jonathan P.} } @mastersthesis {8713, title = {The Shipcarvers{\textquoteright} Art: Shop and Cigar Store Figures in America}, year = {2000}, school = {CUNY}, abstract = {Throughout the eighteenth and nineteenth centuries, American shipcarvers created a wide range of wooden sculpture, including figureheads, shop and cigar store figures, garden and circus wagon figures, and all types of decorative architectural and church carving. Most of this work has long since disappeared. Because they have survived in reasonable numbers, shop and cigar store figures provide the best opportunity for exploring the shipcarvers{\textquoteright} art. The earliest extant cigar store Indian dates to about 1800, but they surely were used throughout the colonial period. Shop figure carving reached its height in America from about 1840 to 1890, a period that coincided with the last great era of shipcarving. Fanciful images of American Indians were by far the most common, but especially after about 1860, any character that caught the public{\textquoteright}s imagination could and would be skillfully personified, from the more traditional Turks and Scotsmen to up-to-date baseball players and fashionable women. New York City was the source of much of the most innovative work during this period, and was the major center for the production of figures that were used to advertise a wide variety of goods and services. After the Civil War, New York figures were marketed nationally by a few large tobacco products distributors. Derived from a shared cultural and artistic imagination, nineteenth-century shop figures speak to several important aspects of American social history, including racial and gender stereotyping, and the emergence of a national popular culture. Based on contemporary perceptions, they resonate with meaning, embodying traditional values while at the same time reflecting the attitudes, prejudices and trends of a rapidly developing society. Indian figures were generally rendered in the "Noble Savage" mode, for example, a characterization influenced by the art and literature of neoclassicism and romanticism. By tradition, shipcarvers were familiar with current trends in the fine arts and their work reflected the general stylistic developments of the time. While not considered "Art" by contemporary critics, wooden sculpture was widely admired and remained a vibrant form of popular expression until the end of the nineteenth century.}, keywords = {Pre-1945 North American and South American Art}, author = {Sessions, Ralph} } @mastersthesis {8635, title = {The Sign of the Cross: Irish High Crosses as Cultural Emblems}, year = {2000}, school = {Columbia}, abstract = {In 1853, a spectacular exhibition of arts and industry was held in a newly constructed glass and timber pavilion in the heart of Dublin, Ireland. Alongside galleries filled with the latest developments in machine technology and magnificent imported works of art was a hall devoted to Irish antiquities in which several massive stone crosses were on display. Known as "high crosses," these enormous artifacts-some of which were nearly twenty feet high-were transported to the capital from the places in the landscape that they, had inhabited for almost a millennium. Characterized by a ring encircling the intersection of their shafts and arms, they were also adorned with relief sculptures-including elaborately carved geometric designs as well as sophisticated figural compositions. The colossal effort of moving the crosses to Dublin proved to be worthwhile, for a flurry of scholarly and popular interest in their origins and significance ensued. In fact, the ringed cross was rapidly appropriated as a symbol of the country{\textquoteright}s venerable artistic heritage and cultural identity. In this dissertation, I have examined the roles of Irish high crosses within their cultural surroundings. My investigation of the history of scholarship on the topic as well as modern replicas of the objects frames a discussion of the crosses within their medieval contexts. Using an inter-disciplinary approach that combines evidence from archaeological excavations, written sources, and visual objects, I have demonstrated that the crosses at Clonmacnois, County Offaly and Tuam, County Galway include formal and iconographical elements that participate in the construction of their surrounding communities{\textquoteright} collective identities. The work of anthropologists like Victor Turner and historians like Benedict Anderson has enriched my study of these unusual monuments{\textquoteright} functions in the ritual and ideological lives of the people who created, used, and experienced them.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Williams, Margaret Mcenchroe} } @mastersthesis {8552, title = {Sir Michael Sadler and Michael Sadlier: Their Patronage of the Visual Arts in Great Britain (1909-1943)}, year = {2000}, school = {Ohio State}, abstract = {No record in ProQuest}, keywords = {19th- and Early 20th-Century European Art}, author = {Cupps, Catherine} } @mastersthesis {8646, title = {Sleep That Rouses: Naturalism and the Observer in Greco-Roman Art}, year = {2000}, school = {Columbia}, abstract = {Greco-Roman images of sleep require spectators to engage in the fiction that they may dream and wake and so serve an agenda of imagination and reflection. The thesis outlines and applies a fresh means of analyzing the ancient representation of sleep by reconstructing the audience for ancient works. Although the sleeping types have been perennial favorites with modern viewers, little is said about them in contemporary scholarship. The reason is threefold. First, sleep has been classed as a "genre" select and hence an unimportant one, despite the many indications in classical literature that the ancients thought otherwise. Second, many of the images are without confirmed findspots and so inaccessible to archaeological inquiry. Third, sleep as a theme in sculpture and monumental painting developed in the hellenistic period, which suffers from a confused chronology, an old reputation as a time of "decline," and a dearth of facts about the centers of artistic production. I argue that Greco-Roman images of sleep express significant cultural concerns, for they intrigued and challenged audiences to consider the suggested qualities of characters withdrawn in sleep. Since all of the figures that sleep in ancient art are notable for the paradox or enigma they embody, observing them involves penetration of an alien existence. The promise of seduction and the temptation to capture color response to many of the sleeping figures. The widespread currency of the sleeping types in both decorative and funerary art suggests their value as emblems of nostalgia, either for the past of private memory or the past of legend and history romanticized. Sleeping figures exercised the retrospective sensibilities of Greco-Roman audiences from the time when they emerged in large-scale sculpture around 200 B.C. into late antiquity, and my study focuses on examples from this period. The allure of classical culture has continued to weigh on later art, however, and reinterpretation of the ancient sleeping types marks the work of such disparate artists as Bernini, Michelangelo, Wiligelmo, Guido Reni, and William Blake.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Sorabella, Jean Louise} } @mastersthesis {8720, title = {The Social and Artistic Context of the Baptistry of Siena}, year = {2000}, school = {Rutgers}, abstract = {This dissertation focuses on the fresco cycle of the Apostles{\textquoteright} Creed by Vecchietta (1450-1453) that forms the core of the Baptistery{\textquoteright}s decoration. The study attempts to discover why the Creed was selected for the Baptistery when no other baptistery is known to feature it and the subject is rare in Italian art. Chapter One traces the construction of a sequence of baptisteries in Siena drawn from sources largely unavailable in this country. Chapter Two relates the iconography of the Apostles{\textquoteright} Creed cycle to precedents in Sienese and northern European art, and to the liturgy of baptism and Holy Week. I conclude that the recitation of the Creed in the baptismal liturgy is the reason why this prayer is featured in the decoration of the Baptistery. Chapter Three acknowledges the existence of six works of Sienese art featuring the Creed that predate Vecchietta{\textquoteright}s Baptistery cycle. It is argued that the Sienese first became interested in this unusual subject matter when one of the Nine Governors was convicted of heresy (1321). Later governmental patronage of the Creed is analyzed and I suggest that these representations of the Creed formed part art of Siena{\textquoteright}s Republican rhetoric and had that the Creed had become an oath associated with Sienese civic identity. Chapter Four examines major events and personalities of the contemporary intellectual and spiritual milieu for possible influence on the frescoes{\textquoteright} subject. I argue that Vecchietta{\textquoteright}s program emphasizes the textual source of the Apostles{\textquoteright} Creed in response to an attack on its authenticity made by Lorenzo Valla. The broader implications of this position placed Siena in support of Pope Eugenius IV, and this issue is then considered within the context of Augustinian humanism then blossoming in Siena. Chapter Five offers an explanation for the unusual iconography of the Assumption of the Virgin and the opening of a tunnel leading to the Cathedral presbytery immediately above it. I argue that the architectural feature was used in the enactment of a religious spectacle on the Feast of the Assumption, including as evidence new documents from the cathedral archives}, keywords = {Renaissance Art}, author = {Campbell, Andrea Whitney} } @mastersthesis {8648, title = {On the Sources of the Ottoman Renaissance: Architectural Revivalism and Its Discourse in E Abdulaziz Era (1861-76)}, year = {2000}, school = {Harvard}, abstract = {During the Abdulaziz era (1861-76), the heavily westernized language of early nineteenth-century Ottoman architecture was replaced by an entirely novel and highly eclectic repertoire that was culled from the supposedly "authentic" sources of the Ottoman tradition. These sources ranged from Early Ottoman and Medieval Islamic architecture (particularly that of Spain) to European Gothic. The eclectic monuments of the Abdulaziz era, usually overlooked by twentieth-century architectural historians for being "decadent" and "characterless," were the products of a novel approach to the architectural past that was engendered by a complex and far ranging revivalist discourse. The present study aims to investigate this revivalist discourse with reference to the changing cultural and political agendas of the Late Ottoman state. It links the changing perceptions of architecture in the Late Ottoman realm with the novel strategies of self-representation cultivated by a "nationalizing" dynastic empire. This dissertation centers around a discussion of the Usul-i Mi{\textquoteright}mari-i-i {\textquoteright}Osmani [The Fundamentals of Ottoman Architecture] (Istanbul, 1873)-henceforth referred to as the Usul, the first comprehensive study on the history and theory of Ottoman architecture. The Usul was authored by a group of Ottoman intellectuals, artists and architects and published by the Ottoman government on the occasion of the 1873 World Exposition in Vienna. It was conceived as a standard reference for the sources of revival and as an official manifesto promoting the imminent "Ottoman Renaissance" in architecture. Setting out from a close reading of the Usul and its context of production, this study seeks to provide a better understanding of the professional, intellectual and political backdrop of architectural production during the Abdulaziz era. It explores the professed "Ottoman Renaissance" of the Abdulaziz era as a decisive turning point in Ottoman architectural history which left a strong imprint on the subsequent revivalist endeavors that dominated the architectural scene up to the early years of the Republican era.}, keywords = {Islamic Art}, author = {Ersoy, Ahmet} } @mastersthesis {8723, title = {Studies in Wall Painting in the Southern Low Countries, c. 1300-1500}, year = {2000}, school = {IFA/NYU}, abstract = {Over fifty wall paintings and ensembles of the Gothic period-not including a large number of tomb paintings-have survived the vicissitudes of time, Iconoclasm, and changing tastes in churches and monasteries, town halls and guild chapels, castles and hotels of the southern Low Countries, many rediscovered beneath layers of whitewash in the last twenty-five years. This study examines the development of figurative wall painting in the southern Low Countries c.1300 to 1500, offering detailed stylistic analyses of seventeen extant wall paintings and ensembles. Examples are drawn from the major urban centers of the south and west, from the Duchy of Brabant, the Bishopric of Liege, and Limburg. These include narrative cycles, mural altarpieces, and private devotional images in urban and rural parish churches, as well as the decoration of monastic refectories and domestic chapels. Also discussed are some important lost fourteenth-century secular murals from Artois and Hainaut known through antiquarian copies and contemporary documents. All principal secular patrons of the fourteenth century commissioned figurative wall painting ensembles to decorate their castles, hotels, and chapels, their tastes later emulated by a wealthy urban patriciate. The small residue of domestic wall paintings, mostly with sacred subjects, includes two examples from the fourteenth century and seven from the second half of the fifteenth. The murals are examined within the context of their architectural settings and historical circumstances, to gain new insight into their function and the artists{\textquoteright} choice of subjects. Special consideration is given to the formal and stylistic cross-fertilization of murals, tapestries and stained glass. The growing prestige of panel painting is illustrated by the replacement of traditional wall decoration by large ensembles with isolated murals simulating framed pictures, increasingly common in the fifteenth century. Use of an oil-based medium for wall painting spread quickly beyond the aristocratic milieu where it seems to have originated in the early fourteenth century. It is frequently encountered in fifteenth-century murals, even those of a more popular nature.}, keywords = {Renaissance Art}, author = {Fryklund, Carina} } @mastersthesis {8634, title = {Style-Consciousness in Fourteenth-Century Society and Visual Communication in the Moralized Bible of John the Good}, year = {2000}, school = {Michigan}, abstract = {This study proposes that fourteenth-century society nurtured an idea that style had meaning in itself. Social practice created a vast repertoire of meaningful forms, especially forms of dress, used to make distinctions not just in status, but also in values and between periods of time. Artists transformed this repertoire into a system of visual communication which added a new dimension to the narratives of the moralized bible and other contemporary manuscripts. The bible moralisee of King John the Good (Bibliotheque Nationale fr. 167), 1349-53, is based on a manuscript made soon after 1300 (British Library Add. 18719). The 5112 miniatures in the bible Lire attributed to fifteen different illuminators, and, along with a group of other manuscripts attributed to the same artists, exemplify the range of Parisian illumination in the mid-fourteenth century. Drawing contrasts to modern ideas of "conspicuous consumption" or "commodity fetishism" the first chapter proposes that in fourteenth-century social practice, badges of status became transferable, that they acquired value in themselves. The prestige given to cointise, or contrivance, is suggested as a motivation for new techniques in metalwork as "old" styles for many common objects, including forms of dress. These forms had connotations of values and morality which created a growing necessity for "decorum" in the use of style. The second chapter examines iconographic themes in the moralized bible of John the Good. Instructions written into the model manuscript reveal the working arrangements and the contribution made by the illuminators. This chapter explores the popular notion of a "language" of style: how artists transformed forms of dress and architecture into pictographic symbols, how a kind of syntax assembled these forms into messages, and how moral and historical connotations were accessed. Indeed, this system of communication helps us understand the historical concepts artists expressed. Twelve appendices include documentary evidence of the moralized bible and the library of John the Good, a catalogue of manuscripts attributed to the illuminators of the moralized bible, and details on the artists{\textquoteright} usage of forms of dress.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Waugh, Christina Frieder} } @mastersthesis {8656, title = {On the Subject of Reality Television}, year = {2000}, school = {Rochester}, abstract = {Reality television can be considered a cultural phenomenon of considerable magnitude. This is so if only for the fact of its rapid, if constantly mutating, growth as a televisual generic form, for the fact of its status as the defining mode of contemporary American television, and for the fact of its quite noticeable diffusion into the wider cultural arena where it impacts as an everyday epistemological framework in which the "real" accrues a resonance more far reaching than yet experienced by a society already long enmeshed in a consuming effort to restore contact with real things. The dissertation is an analysis and theorization of reality television as both a radically different mode of (tele)visuality and an ideologically significant cultural phenomenon. It focuses specifically on the genre{\textquoteright}s impact upon identity formation, democratic citizenship, and participation in the public sphere With its theorization of the subject of reality television (the subject as understood by psychoanalysis), the dissertation{\textquoteright}s politically-grounded cultural critique is presented as a much needed alternative to the predominating strain of American television studies which takes as its focus resistant audiences and creative consumption. The field of television studies is notoriously resistant to the idea that psychoanalytic theory offers a "methodology" by which we might expand our understanding of the ways in which television and its viewers interact. An implicit goal of the dissertation is to demonstrate the usefulness of psychoanalytic theory for an analysis of televisual phenomena and their relationship to contemporary socio-political trends. This dissertation was undertaken as an intervention in the field; to elucidate our cultural moment in ways that are not possible for either "institutional" or "active audience" approaches to television. The over-arching thesis of the dissertation is that reality television is not as is so frequently argued, the space of a new, radically democratic public sphere; rather, it is a cultural space which eradicates the desire to participate in "the life of the nation." The dissertation argues that reality television is fundamentally anti-democratic and, moreover, participates in a radical form of labor relations fitted to the totalitarian contours of the globalizing "new (economic) world order."}, keywords = {Photography and Film}, author = {Ogdon, Bethany} } @mastersthesis {8602, title = {The Sublime and the {\textquoteright}Civilized{\textquoteright} Subject: History, Painting, and Cook{\textquoteright}s Second Voyage}, year = {2000}, school = {Cornell}, abstract = {This dissertation examines a number of images by William Hodges from Cook{\textquoteright}s second voyage in relation to the eighteenth century discourse on the sublime. While the encounter with the sublime inaugurates and empowers the "civilized" subject, I argue that it is also characterized by another movement: a sublime upon a sublime, which interrupts this teleological end, diverting it to more ambiguous goals and displacing the subject{\textquoteright}s sense of empowerment by an apprehension of power{\textquoteright}s instability. I propose, furthermore, that the scene of the sublime has geographical and cultural, as well as historical, settings: it "happens" in the encounter with others on "beaches" in faraway places. In my introduction, I outline this double movement of the sublime. In chapter one, I look at Hodges{\textquoteright}s "landing" paintings, suggesting that they allegorize the "turn" in the aesthetic ideology of Reynolds{\textquoteright}s Discourses in which the aspiration to a certain kind of sublime-the classical ideal of universality in painting-is interrupted and, in effect, derailed by the intuition of another which exactly overshadows the first. In chapter two, I analyze two paintings by Hodges based on an encounter with a Maori family in Dusky Bay New Zealand in conjunction with the film Once Were Warriors. Both narratives, despite their disparities, are about the transformation from "savagery" to "civility" (figured in the ideal of the domestic bourgeois family) as enabled through the agency of sublime encounters. In chapter three, I examine Hodges{\textquoteright}s painting of the ruined monuments of Easter Island and its pendant of Tahiti in relation to Poussin{\textquoteright}s painting, Et in Arcadia Ego, each of which is pervaded by an elegiac mood constitutive of "civilized" subjectivity as, again, the displaced effect of a sublime encounter. In all these chapters, I show these transformations to be more equivocal than they at first appear. Indeed, the sublime, I argue, is this equivocation. To reveal it as such, as I aim to do here, is less to undermine the "civilized" subject as to restore it to the multiple cultural and historical indeterminacies at its origin.}, keywords = {Baroque and 18th-Century European Art}, author = {Brunt, Peter} } @mastersthesis {8651, title = {The {\textquoteright}Sultanate{\textquoteright} Architecture of Gujarat: A Case Study in Scholarship on Islam in India}, year = {2000}, school = {Harvard}, abstract = {The focus of this dissertation is the Islamic architecture of western India (Gujarat and Rajasthan). The monuments span the mid-twelfth through fourteenth centuries. The hypothesis is that there was a continuity between the indigenous temple architecture and the buildings erected for Islamic worship. It is proposed that the latter embodied the confluence of local and imported architectural traditions. While the majority of scholarship espouses the view that Islamic architecture in the subcontinent was stylistically and structurally distinct from the indigenous buildings, examples from western India are analyzed to provide evidence that this commonly held conclusion needs reexamination. Many scholars have assigned religious, social, and political antagonism to the relations between Muslims and non-Muslims, concluding that the two communities remained irreconcilable throughout the centuries preceding British rule. In this view, architecture is thought to provide an additional indication of this enduring religious hostility. One of the bases of the irreconcilable scholarly classification of medieval Indian architecture as "Islamic" and "Hindu" is the reading of textual sources and architectural inscriptions. The religiously separatist propaganda of the chroniclers renders the texts not wholly reliable in their descriptions of historical attitudes. The motivations behind the texts{\textquoteright} composition have not been thoroughly examined. Thereby, the uncritical reading of textual sources has colored the study of architecture. Examination of the monuments themselves contradicts the theoretical opposition between "Islamic" and "Hindu." This thesis examines the evidence that has been largely overlooked in the scholarship. It hopes to offer new perspectives not only on the monuments themselves, but also on the ancillary factors that have contributed to the scholarship on medieval Indian architectural history. These other factors include medieval texts and architectural inscriptions, and donatory records as sources of social and religious history. These influential contributions to the study of architectural history have been treated together with a reappraisal of the monuments, with the aim of affirming the significance of architecture itself as a primary source for the historical circumstances of its context.}, keywords = {Islamic Art}, author = {Patel, Alka} } @mastersthesis {8587, title = {Surrealism, Post-modernism, and the Relations of American and French Feminism in the Art of Annette Messager}, year = {2000}, note = {fourth advisor: D. Kaspit}, school = {Stony Brook}, abstract = {This investigation considers the artistic career of French artist Annette Messager as a means to foreground and/or to forge anew what links there may be between late twentieth century French and American women artists in the women{\textquoteright}s movement, a time framed roughly between the late 1960s and the late 1990s. At the time of this writing, no critical analysis has been undertaken to address what appears to be an obvious visual interface between the artistic production of a distinct group of American and French feminist artists and that of Messager. This artist{\textquoteright}s work exemplifies the relations between French and American feminist art because of its feminist themes and because Messager is one of the few French women artists known to contemporary American art historians through two retrospectives: the Los Angeles County Museum of Art (1995) and the New York Museum of Modern Art (1995-96). This study will survey a body of visual evidence to order, to construct and to justify a working hypothesis: whether intentional or not, Messager makes art that fits the parameters of feminist praxis. The strength of this hypothesis depends largely on the degree of descriptive force contained in the illustrations of well-known American feminist and in the more neglected French feminist iconography presented in tandem with Messager{\textquoteright}s images. These illustrations were chosen in order to support a claim for Messager{\textquoteright}s feminism primarily by visual evidence showing a similarity of materials, modes of presentation and the artist{\textquoteright}s ironic resistance to women{\textquoteright}s status. However undeniable the common origins, the formal and conceptual links between French and American artists in the first decade of their feminist activism, the subsequent course of feminist art history took radically different paths. In the United States, a burgeoning feminist art historical scholarship developed. In France, after one decade of struggle, feminist art and art history fell into such disrepute that today no such epistemology exists. The goal of the study is straightforward: to render Messager{\textquoteright}s feminism visible, to picture the intersections between French and American feminist art where possible and also, where possible, to show cause for the disruption and dissolution of those junctures.}, keywords = {Art of the United States and Canada}, author = {Bradford, Thomasine Haynes} } @mastersthesis {8621, title = {The Temple-Church at Aphrodisias}, year = {2000}, school = {IFA/NYU}, abstract = {In ca. A.D. 500, the Temple of Aphrodite at Aphrodisias was converted to a large basilica church (60 m. x 30 m.) that certainly served as the cathedral of the city. Aphrodisias, a Greco-Roman and Byzantine city located in southwestern Asia Minor, has been excavated under the auspices of New York University since 1961. The Temple-Church was excavated mainly in the 1960{\textquoteright}s, but has thus far been only summarily published. This work offers an in-depth study of the temple conversion and of the history of the building as a church. It reviews the structural alterations, illustrated with new plans and drawings, that transformed the temple to a church. It then goes on to examine how the temple conversion both affected and was affected by its urban surroundings, and discusses the implications of its occurrence in a city whose elite classes still included many pagans. The Temple-Church at Aphrodisias is then compared to other converted temples. The alterations made to effect the transformation from temple to church at Aphrodisias were unique among all known examples. More ambitious than others, they also produced more spectacular results. The converted temple is also compared to other Early Christian churches. Architectural affinities with the churches of Greece on the one hand, and Syria on the other, are explored, with particular attention to what they reveal about the liturgical functioning of the church. In the Middle Byzantine period, Aphrodisias had contracted to a small settlement situated in the ancient Theater, with most of the rest of the city reduced to half-buried ruins. The large Cathedral, however, was maintained and refurbished. Surviving from this later era are a set of carved epistyle blocks and a fragmentary series of wall paintings. These and other remains are examined, as is the cemetery that grew up around the church. It is argued on the basis of architectural remains and literary sources that the church was probably a pilgrimage shrine of some importance. Finally, evidence for the destruction of the church by invaders in the late twelfth century, and the contemporaneous abandonment of Aphrodisias by the Byzantines, is presented.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Hebert, Laura} } @mastersthesis {8654, title = {Textiles from Peru{\textquoteright}s Central Coast, 800-1000: The Reiss and Steubel Collection from Ancon}, year = {2000}, school = {Columbia}, abstract = {This thesis describes and analyzes gravelots excavated by German geologists Wilhelm Reiss and Alphons Stubel at the Necropolis of Ancon, Peru in 1875. Their work is historically significant as the first scientific archaeological excavation carried out in Peru, and as the source of the first Huari tapestry tunic ever published. Located on Peru{\textquoteright}s and central coast, the Ancon burials include well preserved organic materials, including numerous textiles. Twenty-eight individual gravelots including nine bundles and nineteen false-heads (interred about A.D. 750-1100) are identified in the holdings of the National Museum of Ethnology in Berlin, Germany. The gravelots are analyzed to elucidate change in mortuary practices over time, and to discover status distinctions among the deceased. It is found that the gravelots can be divided into two chronologically distinct groups. Textile data from the tombs are also utilized to define a textile tradition in use at Ancon. Textiles from the earlier group of burials are found to be more elaborate, and to include more camelid-fiber yarns than those from the later burials. Comparison of Ancon{\textquoteright}s textiles to those from other central coast valleys permits identification of a regional complex, characterized by shared garment forms and weaving techniques. Competing historical reconstructions of Middle Horizon events are evaluated in light of the regional textile complex identified at Ancon. It is concluded that the Ancon gravelots provide no evidence to support the widely accepted theory that the central coast region was incorporated into a politically and economically integrated Huari State.}, keywords = {Native American and Pre-Columbian Art}, author = {Young-Sanchez, Margaret} } @mastersthesis {8664, title = {Theory in Context: Marta Traba{\textquoteright}s Art-Critical Writings and Colombia, 1945-59}, year = {2000}, school = {New Mexico}, abstract = {The purpose of this dissertation is to examine the art-critical writings Marta Traba. (1923-1983) published from 1954 to 1959 in several Colombian magazines and newspapers. By critically analyzing her contributions to these publications, this dissertation explores how Traba developed her early aesthetic theories at the intersection of several interrelated contexts: Argentina, Europe, Colombia, and, to a lesser extent, Mexico and the United States. In the 1940s Traba adopted the basic tenets of aestheticism, a problematic aesthetic ideology prevalent in Argentina and Europe. Although in 1960s Traba abandoned her earlier views in favor of a stronger link between art and society, during the 1950s her writings legitimized a critical discourse which defined art as a spiritualized practice autonomous from other human activities. After Traba settled in Colombia, she developed an authoritative critical discourse in support of the expansion of international modernism in the culturally conservative environment of Bogota. Her writings in El Tiempo, Mito, Plastica, and Prisma effectively challenged competing aesthetic ideologies which included idealized academic costumbrismo and several realistic modes emphasizing socially-oriented, nationalist, and Latin Americanist subject matter. At stake was access to the local, national, and international art circuits, which she facilitated for artists such as Fernando Botero, Judith Marquez, Edgar Negret, Alejandro Obregon, Eduardo Ramirez Villamizar, and Guillermo Wiedemann. Those painters and sculptors whom Traba and her followers perceived as working with exhausted signifying vehicles or whose works did not conform to the tenets of international modernism received neither her support nor the validation of international institutions, especially those in the United States. Many artists and writers publicly voiced their opposition to Traba{\textquoteright}s modernist project, which provoked a series of oftentimes heated debates in the press regarding the following interrelated questions: the legitimacy of modernism and abstraction as artistic expressions, the role of art in addressing the issue of political commitment, as well as the definition of Colombian and Latin American art. In these public exchanges, participants articulated competing cultural projects which revealed the leading guiding fictions framing artistic practices in Bogota and, to some extent, in Colombia as a whole.}, keywords = {Post-1945 Art}, author = {Bazzano-Nelson, Florencia} } @mastersthesis {8725, title = {To Demonstrate the Greatness of His Spirit{\textquoteright}: A Contextual Study of Leone Leoni{\textquoteright}s Casa degli Omenoni}, year = {2000}, school = {Rutgers}, abstract = {The quotation in my title derives from Vasari{\textquoteright}s description of the late Renaissance sculptor Leone Leoni{\textquoteright}s house. Just as Vasari{\textquoteright}s collection of biographies (The Lives of the Most Excellent Painters, Sculptors, and Architects, 1550; revised 1568) certified the newly achieved status of Italian artists as creative intellectuals, so too did Leone{\textquoteright}s house, the Casa degli Omenoni, which he designed and built himself. Vasari{\textquoteright}s Lives and Leone{\textquoteright}s home are unique celebrations of artists{\textquoteright} hard-won elevation from the artisan class, the primary social/financial struggle they confronted during the Renaissance. Whereas the Lives have been well studied, Leone and his house, a grand building in central Milan elaborately decorated with figural and relief sculptures on its street facade and in its public areas, have not. Leone was the first artist to make such a blatant public statement of his "self-fashioning" through the design and decoration of his house. The land for the Casa was given to Leone as a gift from the Holy Roman Emperor Charles V; Leone displayed there his art collection of unprecedented size and quality. Though other artists had acquired works of art for study purposes in their studios, Leone collected art in the same manner as the aristocracy: for decoration and display in his home. Leone superseded the newly established role of the artist as a legitimate member of the humanist circles and announced, through his house, his even greater achievement of becoming part of the nobility. Singlehandedly he advanced the potential status of the artist from mere employee of the nobility to member of the nobility itself. In this study, Leone{\textquoteright}s house and collection will be considered as the embodiment of Leone{\textquoteright}s self-fashioned autobiography. Both will be compared with contemporary artists{\textquoteright} homes and collections as well as with those of the aristocracy and educated elites. In addition, Leone and his house will be placed in the artistic, political, economic, and social climate of late sixteenth-century Milan, to establish the significance of his career and the legacy of the Casa degli Omenoni.}, keywords = {Renaissance Art}, author = {Helmstutler, Kelley} } @mastersthesis {8594, title = {Tosa Mitsunobu{\textquoteright}s Ko-E: Forms and Functions of Small-Format Handscrolls in the Muromachi Period (1333-1573)}, year = {2000}, school = {Princeton}, abstract = {This study reconceptualizes the relationship between the formats and functions of illustrated narrative handscrolls in premodern Japan by examining a group of miniature scrolls that peaked in popularity during the fifteenth and sixteenth centuries. Referred to as ko-e (literally "small pictures") by medieval diarists, these scrolls measure approximately fifteen centimeters in height and usually consist of a single scroll. Ko-e thus differ dramatically from most handscrolls of this period, which frequently measure twice this height and often consist of multiple scrolls sets. Although a hypothesized juvenile audience for ko-e has traditionally explained their diminutive size, this dissertation posits broader cultural connections between the rise of the small format and other Muromachi-period forms of art and literature. Separate chapters on three small scrolls by Tosa Mitsunobu (act. ca. 1462-1521) demonstrate that he and his collaborators viewed the small format as a narrative space suitable for the blending of literary and pictorial genres. The works under discussion, Breaking the Inkstone (Suzuriwari soshi), Brief Slumbers (Utatane soshi ), and The Jizo Hall (Jizodo soshi), interweave a didactic tale with features of popular acolyte tales, a courtly romance with allusions to miraculous stories of the bodhisattva Kannon, and a story of Buddhist rebirth with elements of a famous folk tale about the Dragon Palace. This mixing of genres, however, derived from the needs of particular viewers and the social context of each scroll{\textquoteright}s production, as research into the historical circumstances of their intended audiences illustrates. With fewer and narrower painting frames, the small-format handscroll proposed a new type of pictorial space for which Mitsunobu created a highly economical but richly intertextual visual language. Tosa Mitsunobu{\textquoteright}s ko-e represent a significant but previously neglected aspect of the painter{\textquoteright}s oeuvre that illuminate a crucial phase of Muromachi cultural practice in aristocratic and warrior circles. Small scrolls also constitute an important chapter in the ongoing development of the Japanese handscroll format and speak eloquently of the complex relationships that these scrolls mediated between image and text, artist and patron, the depicted object and the viewing subject.}, keywords = {Asian Art}, author = {Melissa McCormick} } @mastersthesis {8652, title = {Transformations in Early Safavid Architecture: The Shrine of Shaykh Safi Al-Din Ishaq Ardabili in Iran (1501-1629)}, year = {2000}, school = {MIT}, abstract = {Shrines in the Islamic world may be viewed as spatial constructs of ideology that are built as monuments to secular, as well as religious, authority. However, owing to the diversity of their patrons, these institutions are also loci for the subversive power of customary ritual as resistant to that hegemony. Such supposed polarities are not necessarily antagonistic, but exist simultaneously and enrich our understanding of devotion and its cultural location. This dissertation provides a specific context within which shrine formation is studied during the early Safavid period (1501-1629), by focusing on the shrine of the fourteenth-century Sufi mystic, Safi al-din Ishaq in Ardabil, Iran. The shrine of Shaykh Safi was a temporal and architectural aggregate, the evolution of which has never before been studied. As the ancestral shrine of the Safavid rulers of Iran, this monument provided a template for the development and propagation of sixteenth-century architecture. The shrine of Shaykh Safi was a theatre for the enactment of royal ceremonial as well as a dynamic public institution, both these aspects incorporated and negotiated through its architectural program. Moreover, as an interface between the Sufi image of the first Safavid shahs and the more imperial one favored by the later dynasty, the shrine of Shaykh Safi was a site of experimentation where Safavid architectural vocabulary was developed, one which chose selectively from past metaphors and transformed them according to the changing social and political climate of early modern Iran. In my research I investigate the complex relationships between politics and popular piety, charity and commerce, religion and sovereignty, and their resolution at this important site. (Copies available exclusively from MIT Libraries, Rm. 14-0551, Cambridge, MA 02139-4307. Ph. 617-253-5668; Fax 617-253-1690.)}, keywords = {Islamic Art}, author = {Kishwar Rizvi} } @mastersthesis {8705, title = {Understanding the Mistri: The Arts and Crafts of Lockwood De Forest (1850-1932)}, year = {2000}, school = {Delaware}, abstract = {In 1881, as a partner in the New York decorating firm of Tiffany \& de Forest, Lockwood de Forest (1850-1932) contracted with Muggunbhai Hutheesing to establish a workshop for wood carving and metalwork in Ahmedabad, India. After Tiffany \& de Forest was dissolved in 1882, Lockwood de Forest continued to operate this workshop into the first decade of the twentieth century. This work explores several aspects of de Forest{\textquoteright}s career as an artistic decorator and purveyor of Indian arts and crafts. First, it examines some of the reasons why de Forest wanted to go to India and why, in 1881, he came to believe that there would be positive reception for Indian goods in the United States. The context for this analysis is the "East Indian Craft revival" of the late-nineteenth century, a grassroots effort that was later adopted by the Colonial government of India in order to stimulate the economy of the subcontinent. Second, this work presents a revised history of de Forest{\textquoteright}s relationship with Louis Comfort Tiffany (1848-1933), including his role in the so-called "Associated Artists." Third, it investigates how de Forest conducted his business, including his methods of self-promotion and his relationship to other firms. Fourth, de Forest{\textquoteright}s major patrons are reviewed. This work concludes by addressing the question of whether or not de Forest was able to reconcile the ideals of his East Indian enterprise with his actual experience.}, keywords = {Pre-1945 North American and South American Art}, author = {Mayer, Roberta} } @mastersthesis {8710, title = {The Utility of Art: Mechanics{\textquoteright} Institute Fairs in New York City, 1828-1876}, year = {2000}, school = {Columbia}, abstract = {Throughout the nineteenth century, the American Institute of the City of New York and the Mechanics{\textquoteright} Institute of the City of New York held annual commercial fairs, which invariably included substantial art galleries. This study resurrects the history of these art displays, their embodiment of ideals of art{\textquoteright}s social utility, and their relationship to the development of art criticism and cultural hierarchies in the nineteenth-century. The first two chapters provide a detailed history of the institutes, and situate their development within the contexts of educational theory and of the social structure of New York City. Their exhibitions worked both as technical educators and, increasingly, as propagators of a culture of social restraint and consumerist values. Chapter three discusses the philosophic links between art, science, technology and commerce expressed in connection with these fairs, and the real links between the institutes and the National Academy. A strong current in mid nineteenth-century thought allowed for the fine arts to be considered an adjunct to mechanical invention and production. In this light, chapter four reviews the types of artwork displayed at the fairs and their reception. The institutes{\textquoteright} association of the fine and useful arts encouraged the formation of a pseudo-aesthetic of artistic utility based on originality and accuracy. In addition to paintings and sculptures, arts occupying a shadowy ground between the fine arts and commercial production, including lithography, photography and architecture, were shown at the fairs. The chapter further illustrates the tensions between scientific and aesthetic evaluations of each medium. The final chapter examines how the interrelation of art and artisanship was expressed in the layout of the fairs, and in the American Institute{\textquoteright}s unexecuted plan to erect a permanent museum. The ideologically driven heterogeneity of American Institute fairs is contrasted with the situation in post-Civil-War art museums, which began to erect cultural boundaries around the fine arts. Ultimately, the ascendancy of an aesthetic that dealt in emotional value repudiated the conflation of the fine arts, craft and commerce expressed in and by the institute fairs.}, keywords = {Pre-1945 North American and South American Art}, author = {Robey, Ethan} } @mastersthesis {8578, title = {Visions of Access: Colonial Hieroglyphs and Sublime Views: Designs on Africa 1880-1940}, year = {2000}, school = {Binghamton}, abstract = {This dissertation investigates the deployment in Africa, within specific colonial contexts, of forms of visual representation such as photographies and cartographies from around 1880 to 1940. During the most intense phase of the European "Scramble for Africa" in the late nineteenth and early twentieth centuries, Africa was configured through a multiplicity of European visual representations (cartographic, photographic, illustrational, etc.) to an unprecedented degree. Analysis focuses, in large part, on three fragmentary archives-sets of photographs from quite disparate itineraries in Africa (tourism in {\textquoteright}Ancient Egypt,{\textquoteright} the occupation of {\textquoteright}Mashonaland,{\textquoteright} and safaris in the {\textquoteright}African Wilderness{\textquoteright}), which were later disseminated in various forms (family archives, travel books, publicity photographs, museum exhibition) to diverse audiences in England and the USA. Elements of these archives are currently located in collections at the George Eastman House in Rochester, NY, in the Zimbabwe National Archives in Harare, Zimbabwe, and in the British Museum and Royal Geographical Society in London, England, as well as elsewhere. They are re-read here in order to elucidate both their initial stagings (according to cartographic, economic, and psychological projections) and the discursive formations through which they were later invested with meaning in Africa and elsewhere.}, keywords = {African Art}, author = {Bleach, Gordon} } @mastersthesis {8595, title = {Visions of Paradise: Sui and Tang Buddhist Pure Land Representations at Dunhuang}, year = {2000}, school = {Princeton}, abstract = {The hope for rebirth in paradises became a powerful goal for many Chinese Buddhists in the sixth century. The practice of visualization, a meditative method to attain such rebirth, became increasingly popular as did artistic representations of Buddhist paradises. The growing interest in these paradises corresponded with the development of three-dimensional, illusionistic representation in Chinese pictorial art. At the Mogao complex near Dunhuang in northwest China there is a continuous visual record of Buddhist cave-temple decoration spanning the fifth through the thirteenth centuries. This dissertation explores and documents the complex relationships among figural, architectural, and landscape elements that together produce convincing three-dimensional, spatial representations. I propose that this development of illusionism in painting at Dunhuang was closely linked to the Buddhist meditative practice of visualization in which the practitioner mentally constructed an eidetic image of a specific object or scene. The pure land paintings at Dunhuang are also related to sutras that both describe the wonders of paradisiacal worlds and prescribe visualization practices. The changing conventions of these practices can be seen in concrete form in the paradise programs of the Sui and Early Tang cave-temples at Dunhuang. The rapid development of pictorial skills necessary to depict a spatial environment reflects an intention to present these paradises as both enticing and attainable as well as a significant alteration in the way visual perception was represented.}, keywords = {Asian Art}, author = {McIntire, Jennifer} } @mastersthesis {8696, title = {Visions of the City at the 1939 New York World{\textquoteright}s Fair}, year = {2000}, school = {Pennsylvania}, abstract = {Visitors to the 1939 New York World{\textquoteright}s Fair witnessed a uniquely American modernism that synthesized different stylistic and ideological strands of modern architecture, design and urban planning. Two such expressions, created by industrial designers, were Democracity and Futurama, popular exhibits that used large models to portray the city of the future. The Democracity model, designed by Henry Dreyfuss, was intended to express the fair{\textquoteright}s theme, {\textquoteright}Building the World of Tomorrow.{\textquoteright} Futurama, designed by Norman Bel Geddes and sponsored by General Motors, proclaimed itself a vision of the {\textquoteright}City of 1960.{\textquoteright} This dissertation examines these models, and the planning and design of the fair itself, as expressions of both the new modern style of industrial designers and contemporary regional planning ideals. Members of two local planning organizations, the Regional Plan Association of New York (RPA) and the Regional Planning Association of America (RPAA), were closely connected to the fair. Chapter 1 documents the involvement of the RPA in the planning of the fair, focusing on the leadership of RPA president George McAneny. Chapter 2 chronicles the selection of the fair{\textquoteright}s Board of Design and examines the campaign of the {\textquoteright}Fair of the Future{\textquoteright} committee to make the fair more progressive in its style and theme. Particular attention is given to industrial designer Walter Dorwin Teague{\textquoteright}s successful bid for involvement in the fair{\textquoteright}s design. Chapter 3 describes the creation of Democracity{\textquoteright}s regional vision under the guidance of Board of Design and RPAA member Robert Kohn, emphasizing his struggle to make Democracity an expression of communitarian values. Chapter 4 discusses Futurama{\textquoteright}s regional vision as a reflection of Bel Geddes{\textquoteright} interest in city planning and links the exhibit to the RPA{\textquoteright}s plan for developing the region surrounding New York City.}, keywords = {Pre-1945 North American and South American Art}, author = {Hagan, Carol} } @mastersthesis {8699, title = {Visual Music: The Music Analogy in American Modernist Art Criticism and Synchromist Color Theory}, year = {2000}, school = {Delaware}, abstract = {The desire to synthesize painting and absolute music, or music without referential literary content, into a new art form of "visual music" is the keynote of modernist abstraction. The universal language of absolute music not only provided the perfect paradigm for abstract painting, but the late nineteenth-century formalist debate in music over absolute and program music also established a theoretical precedent for the public discourse on visual abstraction after 1900. In a period when the public had considerable musical training and critics covered both the visual and musical arts, the rhetoric and metaphor of music gave artists the inspiration for their first breakthroughs to abstraction, while affording the public a familiar ground for appreciating the new art. This study first focuses on the evolution of the nineteenth-century concept of absolute music and the analogy between music and painting and how these ideas became the ideological foundation for such notable turn of the century American critics, curators, and educators as James Gibbons Huneker, Sadakichi Hartmann, Charles Caffin, Ernest Fenollosa, and Arthur Wesley Dow, among others. It then documents the link between the visual arts and the 1910s revival of Aesthetic and Symbolist literature, which, coinciding with a resurgence of Classical absolute music, projected the music analogy and theory of correspondence into the twentieth century. And, finally, it demonstrates how the music analogy formed the basis for the color theory of Synchromism, America{\textquoteright}s first abstract art movement.}, keywords = {Pre-1945 North American and South American Art}, author = {Harrell, Anne L.} } @mastersthesis {8622, title = {Visual Typology in Early Gothic Art, 1140-1240}, year = {2000}, school = {UC Berkeley}, abstract = {This dissertation, "Visual Typology in Early Gothic Art, 1140-1240," concerns the pictorial registration of typology in Gothic metalwork, stained glass, and manuscripts. Typology signifies the exegetical method that articulates mystical parallels between the Old and New Testaments. By 1200 this venerable interpretive tradition had devolved into the mechanical reiteration of a set of commonplaces. At the same time, typological programs came to dominate ambitious works of art in all media. Such masterpieces as the Klostemeuburg Altar (c. 1181), stained-glass windows at Bourges Cathedral (c. 1215), and the Moralized Bible (c. 1240) presented the usual array of types and antitypes, but gave them new life by reconceiving them as complex and innovative pictorial structures. In these works, Old and New Testament scenes are arranged in diagrammatic, compositional, and quasi-architectural configurations that elicit an ever-changeful meditation on the concord of the two eras. These artworks therefore present typological exposition as a dynamic system for seeing, and then interpreting, formal parallels. This development signals a new confidence in the powers of visual, as opposed to textual, cognition. To understand this remarkable challenge to the traditional prestige of the written word in the Middle Ages, I treat typology less as a static iconography and more as a lively conceptual activity. St. Augustine calls allegory a forma intellegendi; and typology, too, constitutes an epistemology, that is to say, a method for understanding one{\textquoteright}s world. My sense of typology and its attraction for medieval intellectuals is enhanced by comparing it to rhetorical figures, styles of narrative, and such perceptual faculties as attention. As writings by Augustine, Hugh of St. Victor, and other theologians attest, visual typology mobilizes a slew of faculties and disciplines, ultimately giving rise to cognitive structures and spiritual truths unavailable to texts. To put it another way, medieval viewers readily thought of viewing as a uniquely rewarding form of construing.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Hughes, Christopher} } @mastersthesis {8738, title = {What Knockers! Italian Bronze Doorknockers, Mainly Renaissance: A Study in Functional Sculpture}, year = {2000}, school = {UC Santa Barbara}, abstract = {This dissertation examines Italian bronze doorknockers, a particular class of small sculpture which flourished during the sixteenth century, developing into diminutive, self-contained artistic venues which displayed inventive virtuosity in depictions of classical and mythological subject matter. This distinctive group of objects is usually classified with other decorative utensils and portable bronzes as manifested in the survey of the literary tradition which discusses small bronzes. As the first art object a visitor to a Renaissance household would encounter, the doorknocker could reveal several pieces of information such as the family{\textquoteright}s arms, their city of origin, and possibly their metier or station in life. Initially produced to serve a functional yet decorative purpose on the doors of Renaissance palazzi, in the early decades of the sixteenth century doorknockers started becoming collectible items and were also produced for display in collector{\textquoteright}s cabinets. The preliminary chapters focus on production of small bronze sculpture; a survey of doorknocker types; and the individual elements which compose the doorknockers. Following is an analysis of the iconography and heraldry which were used by the sculptors for their patrons. The body of the dissertation is a topographical catalogue of doorknockers organized alphabetically by city. Each entry includes dimensions, casting technique and detailed descriptions, followed by provenance, literature, exhibition history, and variants which are cross referenced to each other. Attributions to various artists are in most cases conjectural as none of the doorknockers are signed. Because the proposed field includes a vast number of examples in the United States and Europe, this dissertation comprises a limited study of select art works which will be the foundation for an inventorial corpus. The current investigation includes all available statistical information on the objects in the catalogue. Study of Italian bronze doorknockers demonstrates the creative and complex way in which small, functional objects are taken to new artistic levels in the hands of talented and imaginative sculptors.}, keywords = {Renaissance Art}, author = {Wyshak, Robin Marie} } @mastersthesis {8708, title = {William Gropper and "Freiheit": A Study of His Political Cartoons, 1924-1935}, year = {2000}, school = {CUNY}, abstract = {The author examines a selection among the thousands of political cartoons William Gropper drew for the New York Yiddish newspaper Freiheit (Freedom), later known as Morgen Freiheit (Morning Freedom), during the first eleven years of his career on the paper, from late 1924 when he became full-time to mid-1935 when he began his painting career in earnest. An organ of the radical Jewish left, Freiheit (1922-1988) promoted Yiddish culture, or Yiddishkeit, and supported most official Communist positions during these years. While the author focuses on these years in Freiheit, she also looks at earlier drawings and cartoons by Gropper, beginning in 1917, that led, in part, to the development of his cartoons for the paper. This is the first art historical study of Gropper{\textquoteright}s cartoons in Freiheit. It contributes to the literature on Gropper and American political art of the 1920s and 1930s through investigating a neglected but major source of Gropper{\textquoteright}s cartoons, analyzing selected works according to leftist ideological concerns, studying the drawings in the context of radical cartoon styles, and uncovering the importance of Freiheit for his most noted painting, The Senate. The dissertation is divided into two parts. Part One examines the artist{\textquoteright}s early life, including his childhood in the Lower East Side of New York, the effect of the tradition of social consciousness among the Jewish immigrants there, the lasting effects on Gropper of Robert Henri{\textquoteright}s teachings at the Ferrer Center, and the evolution of humanistic themes and related cartoon styles in his student drawings. This part provides the first overviews of his cartoons in the New York Tribune, the Labor Defender and Rebel Worker, Revolutionary Age, New Yorker Volkszeitung, and Advance. Part Two chronicles the history of Freiheit and examines three major categories of ideologically-driven cartoons Gropper drew for the paper-the capitalist, the antiradical Jewish socialist, and cartoons against fascism. Indeed, Gropper{\textquoteright}s cartoons of Mussolini, Pilsudski, Hitler, Japan, and American "fascists" are a major contribution to antifascist art. This part concludes with the author citing a new source for Gropper{\textquoteright}s painting, The Senate, of 1935, in drawings made for Freiheit a year earlier. She ends this study by discussing the importance of the war-driven capitalist for radical ideology at the time.}, keywords = {Pre-1945 North American and South American Art}, author = {Phagan, Patricia} } @mastersthesis {8583, title = {The Woman{\textquoteright}s Body as Art: A Philosophic and Aesthetic Investigation Focusing on Orlan{\textquoteright}s Performance "The Reincarnation of Saint Orlan"}, year = {2000}, school = {IFA/NYU}, abstract = {This dissertation is a close reading of the performance art piece The Reincarnation of St. Orlan. It focuses on the art historical and philosophical thought that pertains to the relationship of the body to identity with regard to body performance art, and specifically investigates the significance of Orlan{\textquoteright}s surgical performances which entail repeatedly opening her own live body publicly, in order to appropriate Western art historical referents, in the form of facial features taken from images of women created by prominent European male artists. It is divided into three parts. The first three chapters provide foundational psychoanalytical, feminist, philosophical, and poststructural theory; an historical overview of Orlan{\textquoteright}s oeuvre; a description of her seventh surgical-performance Omnipresence, one in the series The Reincarnation of Saint Orlan; critical and meta-critical discourse generated by Omnipresence; and a comparative analysis of Orlan{\textquoteright}s work with that of other women artists whose performances also relate to the body and identity. Part II, Chapter IV, explores the relationship of Orlan{\textquoteright}s surgical performances to the history of public anatomies, medical performance and illustration, as they pertain to drawing the gaze into the opened body. Included is an exploration of the relationship of medical performance and illustration to misconceptions about woman{\textquoteright}s body in opposition to man{\textquoteright}s body. The third part examines pertinent art historical, philosophical, and theoretical discourses regarding the relationship between one{\textquoteright}s self image and the material body one presents to the world. I argue that Orlan{\textquoteright}s performance surgeries deconstruct binary codes by viscerally tampering with epistemological truths, and that from the point of view of the spectator, a deconstruction of Orlan{\textquoteright}s identity comes into play as well. Taking the necessity of this performed deconstruction into account, I discuss Orlan{\textquoteright}s work in relation to the following binary structures: self/other, interior/lexterior, and feminine beauty/the monstrous feminine. Informing these discussions are, for example, Luce Irigaray{\textquoteright}s feminist psychoanalytic analysis of women{\textquoteright}s relationship to the self/other binary, Gilles Deleuze, F{\'e}lix Guattari, and Camilla Griggers{\textquoteright} discussions of facialization, Antonin Artaud{\textquoteright}s description of the body without organs, Jacques Derrida{\textquoteright}s definition of deconstruction as a double affirmation, Elizabeth Grosz{\textquoteright}s appropriation of deconstruction into feminist theory.}, keywords = {Art Criticism and Theory}, author = {O{\textquoteright}Bryan, Connie Jill} } @mastersthesis {8722, title = {Women, Space, and Power in Elizabethan England: The Building and Use of Hardwick Hall}, year = {2000}, school = {Binghamton}, abstract = {This dissertation seeks to integrate the study of Hardwick Hall, built in 1590-1597 by Elizabeth Talbot, Countess of Shrewsbury, to larger discourses in feminist architectural history and theory. Hardwick is located in Derbyshire, seven miles east of Chesterfield, on the border with Nottinghamshire. Its plan is attributed to Robert Smythson, one of the most talented master builders of the 16th century whose other credits include Longleat in Wiltshire, Workshop and Wollaton, both in Nottinghamshire. Hardwick Hall changed the internal layout of traditional Elizabethan country houses in a radical way by altering the arrangement of great hall, service areas, and state chambers. Such a change, from a female patron, may be ascribed to the presence of a woman on the throne of England for 44 years, to the unique circumstances of Bess{\textquoteright}s life which allowed her to earn power and prestige, and to the evolution of English domestic arrangements in noble households in the 16th century. By changing the way in which traditional spaces, such as the great hall, service areas, and state rooms, were related to each other, Bess controlled her own space, and significantly influenced the built environment in England.In the Elizabethan period, domestic planning was tied to broader ideological programs, including notions of the family, sexuality, and the female body. Further, it was intimately bound up with sight, spectatorship and display. Architecture was not free from the effects of these discourses on early modern society, for architecture controls and limits physical movement while creating and framing those who live and move within it. At Hardwick, the change in the great hall affected the symbolic use of that space as the stage for a medieval display of lordly authority. The importance of the hall is displaced at Hardwick; instead, the high great chamber takes precedence as the most impressive interior space. At Hardwick, the hall is no longer a destination, approached obliquely and guarded by the screen, but is a connection between the front door and the more important state rooms on the upper floors. Architectural historians studying Hardwick Hall have ignored Bess of Hardwick{\textquoteright}s agency as its patron. Bess{\textquoteright}s involvement has been marginalized in favor of Smythson{\textquoteright}s creative genius in designing such a radical plan. Bess{\textquoteright}s agency as a builder is one of the key elements in the construction of Hardwick Hall. This study seeks to integrate that agency into the larger topics of feminist architectural history, Elizabethan building practice, courtiership, women{\textquoteright}s roles in early modern society, and internal domestic planning of the English country house.}, keywords = {Renaissance Art}, author = {French, Sara} } @mastersthesis {8717, title = {Word over Image: Benjamin West, John Singleton Copley, Washington Allston, and the (Dis)Illusion of Grand Manner History Painting}, year = {2000}, school = {Delaware}, abstract = {Historians and biographers characterize Benjamin West, John Singleton Copley, and Washington Allston as being devoted to the tradition of Grand Manner history painting, which involved recreating scenes from classical and biblical texts in the manner of Renaissance and baroque Old Masters. This study reassesses this assumption, arguing that American artists{\textquoteright} interest in European-styled history painting was fueled the historicism prevalent in the late eighteenth and early nineteenth centuries and amplified by the painters{\textquoteright} provincial anxiety. After relocating to England, Benjamin West became the best known and most prolific painter of historical subjects in the English-speaking world, but he fought persistent criticism of his labored painting technique and style. Unable to deflect this charge with consistently beautiful paintings, West ensured his connection to the Old Masters and proved his intrinsic value as a history painter with words: his semi-fictional biography, The Life, Studies, and Works of Benjamin West (1816-20), and the discourse on history painting that he cultivated among his contemporaries. In contrast to West, John Singleton Copley lingered in the colonies and built a thriving business as a portraitist. When Copley did finally make his grand tour of Europe, the celebrated Old Master works he saw there failed to inspire him. Consequently, after settling in London, Copley boldly recast the art form of history painting and gained the attention he craved by drawing subjects from contemporary British history rather than ancient or biblical texts. Throughout his career, Copley fixated upon the aspect of history painting that he found most appealing: the esteem in which its practitioners were typically held. Standing in the long shadow cast by his mentor Benjamin West, Washington Allston{\textquoteright}s will to practice grand-style history painting faded. After returning to America, Allston was tormented by his Belshazzar{\textquoteright}s Feast, the large biblical painting he brought back from England that he did not wish to finish. Unwilling to work at history painting, Allston instead wrote and spoke about it at length, knowing that such discourse would sustain his reputation as a well-studied, serious artist. By carefully crafting their response to history painting in light of prevalent cultural beliefs, West, Copley, and Allston all earned respect for their connection to an art form that they alternately embraced, modified, and rejected.}, keywords = {Pre-1945 North American and South American Art}, author = {Wat, Kathryn} } @mastersthesis {8650, title = {A World unto Himself{\textquoteright}: Human Images in the Late Seljuk Period (1150-1250)}, year = {2000}, school = {Harvard}, abstract = {The period between 1150 and 1250 witnessed an unprecedented proliferation of figural art in the politically fragmented lands of the former Seljuk Empire. At the heart of this phenomenon, which comprised the application of figural representation to a wide variety of portable arts, manuscripts, and architecture, is the conceptual development of human images formulated in tandem with contemporary popularization of philosophical notions regarding man{\textquoteright}s potential for perfectibility and for achieving microcosmic status in creation. This dissertation seeks to explore the intersection of humanistic trends and the transformation of figural art in the late Seljuk period, giving rise to a widely disseminated new human image. The visualization of a humanistic worldview was generated through depictions that can be perceived as a paradigm consisting of interrelated themes which were similarly articulated in literary and philosophical culture. Thus, the theme of human perfectibility was visually expressed in representations of the pursuit of knowledge and virtue, a dual path that communicated man{\textquoteright}s potential for realizing his noble nature. The attainment of perfection in this dual path was conveyed, respectively, through images of the exalted scholar and the enthroned ruler which intimate the achievement of microcosmic status. The investment of the perfect man with an intermediary position between the temporal and the universal domains of creation was linked to anthropomorphic representations of the celestial systems that affirmed man{\textquoteright}s primary status in the continuum of creation. Analysis of these interrelated themes in this study is directed to shed light on the dynamic interface between the conceptual and visual representations of the human image. In this regard, this work represents a shift from previous scholarship on this material which lacked a broad investigation across all media and, with few exceptions, did not attempt to correlate the visual evidence with cultural transformations of the period. This study has been motivated by a desire to redress the hitherto fragmentary understanding of a transient crystallization of humanistic thought in visual culture. In doing so, it seeks to contribute meaningfully to the perennial discussion of the place of figural expression in Islamic art.}, keywords = {Islamic Art}, author = {Pancaroglu, Oya} } @mastersthesis {8596, title = {Wu Changshi and the Shanghai Art World in the Late Nineteenth and Early Twentieth Centuries}, year = {2000}, school = {Ohio State}, abstract = {This dissertation, which focuses on the late Qing and early twentieth century Chinese artist Wu Changshi (1844-1927), argues that fundamental changes took place in the economics of the Chinese art world at the end of the nineteenth century that led to basic shifts in the attitudes of artists and patrons to each other and to art itself. The remarkable career of Wu Changshi, China{\textquoteright}s most famous painter at the time of his death in 1927, makes possible a case study of the transformation of China{\textquoteright}s cultural world between about 1895 to 1905 and of the contradictions inherent in the life of a modern traditionalist artist. Born and educated into the Confucian literati class, Wu spent the first fifty-five years of his life seeking to become a scholar-official. Ironically, he failed at this traditional career path, and by 1900 found himself at the center of a burgeoning urban art world, where he became a great success in the highly commodified Shanghai cultural scene. The four chapters of this dissertation discuss the economic, cultural, and social background of Shanghai in the period; patronage of art in Shanghai, including the growth of art shops and art societies; Wu Changshi{\textquoteright}s biography, social network, and painting, with reference to his unpublished correspondence; and his modern legacy. Despite selling in an increasingly anonymous market, where buyers might include foreigners and uneducated merchants, Wu remained faithful, in many respects, to his scholarly ideals. Most significantly, he succeeded in bringing the aesthetics of ancient epigraphy (jinshixue ) into his painting, calligraphy, and seal carving. His fundamentalist reform of Chinese painting imbued it with an archaeological flavor believed to embody the most authentic qualities of China{\textquoteright}s ancient culture and aimed to rescue Chinese art from its late Qing dynasty decline. Ultimately, Wu{\textquoteright}s art came to represent for sympathetic critics the strength needed to prevail in the modern world against the invasion of Western culture. He was successful in his own work, but his achievements ultimately failed to survive his own lifetime. Despite many competing claims to this title, we consider Wu Changshi to be China{\textquoteright}s last great literati painter.}, keywords = {Asian Art}, author = {Kuiyi Shen} } @mastersthesis {8593, title = {Zhao Mengfu (1254-1322) and the Revolution of Elite Culture in Mongol China}, year = {2000}, school = {Princeton}, abstract = {This study aims to bridge existing histories for the artistic transformations of early Yuan (1279-1368) China, and a fresh understanding of the less tidy horizons of cosmopolitan Yuan culture that my research has generated. I address this concern by focusing on the production and milieux of the pivotal figure in the Yuan revolution in art, Zhao Mengfu (1254-1322), a Chinese aristocrat and poly-math, statesman, and favourite of Khubilai khan. By relating each experimental stage of Zhao Mengfu{\textquoteright}s transfiguration of nature, and his reforms of calligraphy and painting to historical and social contingencies, I aim to recover something of the society and ideology of pictorial art at this most significant juncture. Mine is a long overdue attempt to complicate our understanding of these changes. The reunification of China under Mongol rule in 1279 precipitated massive canonical reforms in art, and coincided with the eclipse of mimetic aesthetics by a transformation of the medium into a self-critical device. Central to this thesis is my reading of Zhao Mengfu{\textquoteright}s art as a leading corrective in this process. Initially, I investigate the hermeneutic art of calligraphy as an informative paradigm in elite pictorial art. This provides grounds for recounting what I see as the inscribing of this discipline into the art of painting. Then, I explore tensions evident in Zhao Mengfu{\textquoteright}s art between Song (960-1279) representational aesthetics, medieval symbolist aesthetics-which he recovered through collecting and connoisseurship-and the abstract moral aesthetics of calligraphic brushwork. I see Zhao{\textquoteright}s later paintings as drawing authority not from nature, but from the act of redefining the past through isometric recreations of the old masterworks that he canonised in colophons; at the same time they were reflexive ideological statements on his own predicament as a Chinese cultural leader in a government of occupation. I regard the impulses to represent thought and action as the visual initiatives in Zhao{\textquoteright}s art-whether the formal recoding of sagely calligraphic models (chapter I); the transformation and abstraction of the pictorial surface in figure and animal painting (chapter 2); self-enrichment via stylistic reinvention in landscapes (chapter 3); or the devotional exercises in the intelligentsia{\textquoteright}s signature genre "Old Tree, Bamboo \& Rock" (chapter 4).}, keywords = {Asian Art}, author = {McCausland, Shane} } @mastersthesis {8397, title = {The 6th c. Buddhist Caves at Anyang: Dalin Shengku, Xianangaishike, and Dazhu Shengku}, year = {1999}, school = {Columbia}, abstract = {In 555 C.E., Sengchou (480-560) became the patron of the Xiaonanhai cave-chapel, a small Buddhist rock-cut cave near Anyang in Henan Province that had been constructed five years earlier. A Confucian scholar who had become eminent as a Buddhist monk, Sengchou received strong imperial support for the renovation and decoration of the Xiaonanhai cave, which enabled him to recruit court-trained professional artists to finish his project. Not only did he have the main icon in the cave recarved, he also had pictorial reliefs created in line engraving on the smoothed surfaces of the cave{\textquoteright}s interior walls. Moreover, in accordance with his wishes, Sengchou{\textquoteright}s disciples had an excerpt from the Nirvana Sutra engraved on the facade of the Xiaonanhai cave-chapel following his death. This sutra text contains detailed technical procedures and crucial doctrines of sinianchu, a Buddhist meditation practice to which Sengchou had dedicated his entire monastic life. The sculptures of the Buddhist icons at Xiaonanhai reveal the beginning of an innovative style inspired by South and Southeast Asian Buddhist art, which was characterized by naturalistic modelling and carving of the body form. The reliefs on the cave{\textquoteright}s interior walls display formal features traditionally associated with Chinese painting and artistic decoration in stone. The iconographic programs of the Xiaonanhai carvings reflect Sengchou{\textquoteright}s religious beliefs and spiritual aspirations, and their diverse scriptural and doctrinal scope alludes to the specific theological and philosophical concerns of a Chinese Buddhist monk who had spent the first twenty-eight years of his life as a Confucian student and teacher. The sculptures at Xiaonanhai are a visual autobiography of Sengchou, whose imperial connection not only motivated him to have his spiritual journey recorded in stone but also contributed to the fine pictorial carving of these sculptures.}, keywords = {Asian Art}, author = {Hsu, Eileen} } @mastersthesis {8476, title = {The Abstraction Within: Diagrammatic impulses in twentieth century American art, Pedagogy, and Art History}, year = {1999}, school = {Chicago}, abstract = {This dissertation explores the relationship between the pedagogy and practice of art history and the professional training of visual artists in the United States through an examination of the art-historical technique of diagramming. A once common practice in which an image is overlaid with a schematic web of fines (purporting to reveal fundamental truths about its internal structure), diagramming has an early antecedent in the comparative method of formal analysis introduced into the discipline by the late-nineteenth century Swiss-German art historian Heinrich Wolfflin-the juxtaposition of images emphasizing stylistic differences. But diagramming reached its apogee in the United States in the years immediately preceding and following World War II, as a generation of American art historians fashioning overtly expressive strategies flaunted their affinity with the modernist artists who were their contemporaries. Why and how this came to be are the central questions addressed by the dissertation, as well as shifts in the meaning of diagramming as a signifying practice over the same period. The early editions (1926-1959) of Helen Gardner{\textquoteright}s classic survey, Art Through the Ages provide a touchstone, representing the integration of ideals held by Gardner to be common both to the study and appreciation of art and its history, and to the practical training of visual artists. Like other influential partisans of "diagrammatic" form discussed in the dissertation-including Arthur Dow of Columbia University, Denman Ross of Harvard, and University, Denman Ross of Harvard, and artists Thomas Hart Benton and Hans Hofmann-Gardner was part of a generation which sought to many its commitment to industry and the applied arts with a Germanic emphasis on the visual as a branch of human knowledge. Analyzing in this way the effects of late-nineteenth century educational reforms on the teaching of art and art history in the twentieth century, the dissertation reconsiders not only the relationship between art and commerce in the United States, but between modernism and formalism. At the same time, it narrates the often overlooked stories of Helen Gardner and the city of Chicago (where she both trained and worked), and their contributions to the diversity of modernism{\textquoteright}s developmental contexts in the United States.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Jaffee, Barbara} } @mastersthesis {8367, title = {Albert Renger-Patzsch: Contextualizing the Early Work, 1920-1933}, year = {1999}, school = {Columbia}, abstract = {The underlying goal of this dissertation is to examine the term "New Objectivity" as it refers to photographic production in Weimar Germany and to demonstrate how its meaning evolved over the period of a decade. To do so, the dissertation focuses on the work of a key exponent of this approach, Albert Renger-Patzsch (1897-1966), and his transition from the anonymous maker of photographic documents in the context of archives affiliated with publishing houses, to his celebration as the author of Die Welt ist schon, a collection of one hundred images in the form of a picture book that became virtually synonymous with New Objectivity photography. The dissertation examines several books published by Renger-Patzsch during the first decade of his career. These books provide the context in which his photographs were viewed, while also documenting the dialectical exchanges that resulted between Renger-Patzsch and those individuals who were instrumental in realizing these projects and in shaping the concerns of his work. Chapter 1 shows how the writer Ernst Fuhrmann enlisted the scientific neutrality of the earliest images Renger-Patzsch produced in a professional context to demonstrate photography{\textquoteright}s capacity to function as a universal language. Chapter 2 traces Renger-Patzsch{\textquoteright}s alternation between overviews and details in Die Halligen to demonstrate photography{\textquoteright}s capacity to describe the many "expressions" of a landscape and its people in multiple images, using as his model the work of several pioneers of art photography. Chapter 3 focuses on the role of architectural and industrial photography, first as utilized by the architect Rudolf Schwarz to illustrate Wegweisung der Technik, then to illuminate Germany{\textquoteright}s search for a national identity via the medieval cathedral as its cultural patrimony in Norddeutsche Backsteindome and technology as the guarantor of its future in Eisen und Stahl. Chapter 4 demonstrates how Carl Georg Heise, the art historian responsible for Lubeck and Die Welt ist schon, emphasized both the modern and traditional qualities of photography as an artistic medium, on the one hand, to enable the contemporary viewer to develop a more acute visual sensibility of the everyday world, and, on the other, to discover symbols that were deeply rooted in traditional Christian iconography.}, keywords = {19th-and Early 20th-Century European Art}, author = {Heckert, Virginia} } @mastersthesis {8413, title = {Allegories of Love in the Late Work of Jean-Honore Fragonard}, year = {1999}, school = {IFA/NYU}, abstract = {This dissertation focuses on aspects of the late work of Fragonard (1732-1806), inasmuch as such work, produced away from the public forum of the Salon, evolved during the late 1770{\textquoteright}s and the 1780{\textquoteright}s from a late avatar of the Rococo to a powerful early version of Romanticism. This transformation can particularly be identified in Fragonard{\textquoteright}s late compositions on amorous themes, such as the group of Allegories of Love painted in the 1780{\textquoteright}s, and in his 1791 reinstallation of and additions to the Louveciennes Progress of Love. In the first chapter, a close study of the social, professional and institutional context of Fragonard{\textquoteright}s late work traces his alienation from the official artworld, his critical reception, and his participation in alternative exhibition spaces and in the print trade. The Allegories of Love are the subject of the second chapter. In these images, Fragonard effected a certain compromise with the increasingly popular Neoclassicism of the 1780{\textquoteright}s. I relate the Allegories iconographically to the writings of several young poets and novelists of the period, followers of Rousseau such as Parny or Loaisel de Treogate. Fragonard, in the Allegories, can be seen to propose a solution to a paradox about the temporal aspect of the erotic experience that concerns all these writers, and that can be seen as essential to the "Preromantic" quality of their work. The third chapter discusses the 1791 reinstallation of, and additions to, the Louveciennes panels in the house of Fragonard{\textquoteright}s cousin, Maubert, in Fragonard{\textquoteright}s native town of Grasse. The transition of this group of works from a high aristocratic to a bourgeois milieu allows us to study the metamorphosis of a high Rococo decorative scheme into what can only be called a Preromantic one. The narrative aspects of the cycle are de-emphasized in favor of the transformation of an entire room into a trompe-l{\textquoteright}oeil garden of love. The conclusion returns to the social perspective of the first chapter, and attempts to answer the question of the relationship between such eminently private works of art and the cataclysm that followed them by only a few years, the French Revolution.}, keywords = {Baroque and 18th-Century European}, author = {Molotiu, Andrei} } @mastersthesis {8428, title = {Alpine Sanctuaries: Topography, Architecture and Decoration of Early Medieval Churches in the Bishopric of Chur}, year = {1999}, school = {Princeton}, abstract = {During the early medieval period, over 200 churches were constructed in the bishopric of Chur, situated in the heart of the Alps. Despite the intimate connection between life and landscape in the Alpine region, the impact of the natural world on Alpine art and architecture remains unexplored. This study illuminates critical relationships between the artistic environment and the cultural traditions of the region. In addition to socio-economic, political, and ecclesiastical factors, the local geography, geology, and climate significantly influenced the development and character of art and architecture in early medieval Churraetia. The topography, architecture, and decoration of churches built between the fourth and ninth centuries supply primary evidence for these interactions. Careful analysis reveals distinct patterns in the locations chosen for the construction of early medieval churches, Ecclesiastical structures were variously built on valley-floor sites, topographic highpoints, and elevated sun-terraces, reflecting developments in the Christianization process and shifts in ecclesiastical policy, as well as practical considerations. Furthermore, these patterns document tensions between the Christian cult and indigenous agricultural and astronomical cults. Most early medieval churches in Churraetia were simple hall-churches with minimal decoration. Exceptional monuments included the eighth- or ninth-century triapsidal halls at Chur, Disentis, Mals, Mistail, Mustair, and Zillis. These churches were outfitted with marble furnishings from the episcopal quarries at Laas, polychrome stucco decoration, technically sophisticated wall-paintings, and marble or mosaic floors. The architecture and decoration of the triapsidal halls, in particular, betrays the strong dependence on late antique traditions that characterized Churraetian culture. Positioned prominently in the landscape, these lavish monuments were testaments to the political ambitions of wealthy and powerful patrons-the prince-bishops of Chur and the Zacconen, an influential local family. This study confirms that a vibrant and dynamic community of artists, architects, and patrons prospered in this isolated Alpine bishopric during the early medieval period. If recent scholarship has favored the cultural traditions of the imperial or papal courts, this material serves as a potent reminder that early medieval culture flourished in regions far removed from the most influential centers of early medieval Europe.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Jerris, Randon} } @mastersthesis {8492, title = {The American Architecture of Joseph Urban}, year = {1999}, school = {CUNY}, abstract = {The Austrian-American architect and designer, Joseph Urban (1872-1933) helped to introduce and popularize European modern design in the United States during the early part of the twentieth century. Urban emigrated to the United States in 1911, after establishing a reputation as a designer in Europe. Imported European designers and theatrical troupes as well as exhibitions and periodicals displaying the latest European avant-garde set designs formed an early source of information for American designers during the 1910s and 1920s. Theater also provides a critical model for assessing Urban{\textquoteright}s visual forms and professional role. During the 1910s-1920s many European theatrical designers and directors made a radical visual shift from Expressionist to epic theater. While visually discontinuous, the shift evolved out of concerns with the audience, and the use of visual effects to engage or detach the viewer. This provides a better model for assessing the aims and impact of architects like Urban who shifted from Art Deco forms to an International Style vocabulary than the formalist and functionalist approach that has dismissed the work of such architects as inconsistent. Recent scholarship has suggested that modernism not only consisted of the machine aesthetic of cubism but the exotic decorations of painter Henri Matisse, the Russian ballet, and fashion designer Paul Poiret. Modern artists often began with the materials from their contemporary life and popular activities. The forms of urban vernacular culture provided inspiration for the content and the visual language of modern art. Modern designers during the 1910s and 1920s took this a step further by creating works for broad commercial cultures rather than elite markets. Urban{\textquoteright}s involvement and promotion of European design in the 1900s and the United States during the 1910s, his use of the forms and subjects of urban commercial culture and work for commercial art industries identifies him as a key figure in the development and spread of modernism in the United States. Urban{\textquoteright}s transfer of his celebrity status from the theatrical to the architectural worlds profoundly influenced his own practice and the professional role and public perception of American architects.}, keywords = {Pre-1945 North American and South American Art}, author = {Betts, Mary Beth} } @mastersthesis {8392, title = {"American-Type" Formalism: The Art Criticism of Alfred H. Barr, Jr., Clement Greenberg, and Michael Fried}, year = {1999}, school = {Minnesota}, abstract = {The period of formalist dominance in art criticism and art history spans the middle two quarters of the twentieth century, as is particularly evident in the work of three American critics, Alfred H. Barr, Jr., Clement Greenberg, and Michael Fried. At the expense of close reading, careful periodization, and an exploration of the roots of the central ideas of their critical modus operandi, analyses of these critics have usually been limited to polemical debates over issues of postmodernism. The philosophical heritage of formalism is explored in the nineteenth and back into the eighteenth century in the works of Lessing, Karl Phillip Moritz, Kant, Schiller, and Schopenhauer. Formal concepts such as disinterestedness, the autonomy of art, medium-based criticism, and a denigration of subject matter first appear in their. Conrad Fiedler, Heinrich Wolfflin, and Roger Fry in the late-nineteenth and early-twentieth century translate these philosophical concepts to applications in art theory, art history, and modern art. Alfred Barr, first director of the Museum of Modern Art, formulates the first English-language, comprehensive map of modern art history based on formal principles derived from Wolfflin. He arranges and organizes exhibitions and the organizational structure of the museum according to medium development and generally in favor of abstraction between 1927 and 1945. Clement Greenberg{\textquoteright}s work is divided into four stages. Early Theory (1939-40) includes his Trotskyite-tinged essays situating the avant-garde and abstraction in an historical and political matrix. Greenberg{\textquoteright}s Early Criticism (1940-1955) applies principles from Early Theory to the material nature of modern art in a Lessing-derived criticism. In Late Criticism (1955-mid-1960s), Greenberg focusing on justifying purely abstract art, and justifying it on aesthetic grounds that become explicitly Kantian. Finally, in his Late Theory (mid-1960s-1994) Greenberg abdicates the contemporary scene and concentrates entirely on aesthetic problems, coming to an increasingly pessimistic and relativistic definition of art. Michael Fried{\textquoteright}s criticism of the 1960s responds primarily to the growing "literalism" of contemporary art and its address to the beholder. In response to the "object" character of Minimalism, Fried asserts the instantaneous and aesthetic character of formally abstract modernist painting.}, keywords = {Art Criticism and Theory}, author = {Van Schepen, Randall K.} } @mastersthesis {8410, title = {The Archaeology of Fable: Visual and Poetic Memory in Rubens{\textquoteright} Versions of Myths (1610-1620)}, year = {1999}, school = {Maryland}, abstract = {This dissertation addresses Rubens{\textquoteright} interpretation of ancient myths through a close study of four of his most remarkable representations of classical subjects: Juno and Argus (c. 1611), Prometheus Bound (c. 1612-1618), The Findings of Erichthonius (c. 1616), and The Rape of the Daughters of Leucippus (c. 1616-1618). Painted in the decade following Rubens{\textquoteright} return from Italy, these images express his intense concern with artistic originality and imitation, a concern made most manifest in his overlaying of the respective compositions with pictorial and poetic quotations from Antiquity and the Renaissance. Rather than seeking visual and textual sources to serve as iconographic keys towards a specific meaning, my goal has been to map out the ways in which these paintings generate several levels of meaning through a dynamic play of references. This approach shares certain aspects with that of historians of literature who are interested not merely in establishing the sources for the texts they study, but in the patterns that govern the relationship between texts within the literary canon. My goal in exploring the relationship between Rubens{\textquoteright} emulation of ancient and modern models of excellence and the pictorial and poetic genre of the subject of his representation has been to refine the current understanding of the artist{\textquoteright}s theory and practice of imitation. At the same time, this study points to another important purpose behind the deep antiquarian erudition with which Rubens imbues these paintings. Through the abundance of visual and literary references within these mythologies, the artist signals the epistemological value accorded to pagan fables in his time, and thereby defines the specific historic parameters of his interpretation}, keywords = {Baroque and 18th-Century European}, author = {Georgievska-Shine, Aneta} } @mastersthesis {8385, title = {The Architect{\textquoteright}s Working Drawings in Context: Paris, 1791-1875}, year = {1999}, school = {Harvard}, abstract = {The thesis examines the evolution and conventions of the Parisian architect{\textquoteright}s working, or construction drawings (dessins d {\textquoteright}execution) between 1791 and 1875. Prepared by the architect in collaboration with teams of draughtmen and contractors, they functioned as a set of graphic instructions for the construction workers on the building site. Because of their difficult technical content and precarious position within the Academic tradition, they have been neglected by architectural historians. My hypothesis posits, however, that the dessin d{\textquoteright} execution is the fundamental architectural document reflecting and embodying, in its full physical and theoretical aspects, inclinations of nineteenth-century modernism (within French society at large and architectural culture in particular): "to enoble technical necessities by artistic aims" (Walter Benjamin). For in its artistic finish and technical language, it displays distinct contradictions, simultaneously conservative and progressive, rooted in continuity and rupture, larger themes in Alexis de Tocqueville{\textquoteright}s analysis of the Ancien Regime and the French Revolution which animate my arguments. Dualistic forces in the conceptual and material nature of the dessin d{\textquoteright}execution permeate post-Revolutionary architectural practices. Revolutionary decrees abolished the feudal guild system, Royal Academy of Architecture, and Royal Building Administration. To a limited degree structural iron, mechanization, and industrialization were introduced on the work site. However, rather than radically changing traditional building habits, conventional construction technology, materials, and artisanal skills prevailed. A hierarchical, bureaucratic building system was controlled by the Conseil general des Batiments civils, itself largely styled upon the Royal Administration. From the Revolutionary epoque through the July Monarchy, major treatises and manuals by Gaspard Monge, Jean-Baptiste Rondelet, Charles Mandar, and C. Leblanc (illustrated by two generations of draughtsmen with origins in Diderot and d{\textquoteright}Alembert{\textquoteright}s Encyclopedie) codified and vulgarized construction drawing conventions. They were adopted by Rondelet and Adolphe Jay for the construction competition submission drawings at the Ecole des Beaux-Arts and by the bureaucrats at the Batiments civils for architects applying for building permits and directing construction. Drawing conventions, however, depended upon media, instruments, supports, and draughting skills of the 1700s, a fact corroborated by comparison of pre- 1800 drawing manuals and architects{\textquoteright} sheets with equivalent documentation from the 1800s, including those of Henri Labrouste and Charles Garnier for the National Library and Paris Opera. The artistic finish of these working drawings (manually executed despite the availability of mechanical reproduction techniques) attests to the architect{\textquoteright}s desire to preserve personal control over the description and execution of the building. As such the dessin d{\textquoteright}execution mirrors and focuses upon the uneasy alliance between hand and machine labour, between individuality and conformity, between art and technology, between habits of the Old Regime and the new Republique.}, keywords = {19th-and Early 20th-Century European Art}, author = {Shapiro-Comte, Barbara} } @mastersthesis {8481, title = {Architecture as Artform: Drawing, Painting, Collage and Architecture 1945-1965}, year = {1999}, school = {MIT}, abstract = {The development of an American architectural avant-garde after the Second World War is examined in relation to the formal properties and institutionalized cultural authority of modern art. Rather than looking to the artwork of their American artistic contemporaries, architects and critics appropriated the early European avant-garde as typological precedents, guided by a pedagogical approach steeped in Bauhaus teaching methods. Drawing became the common conduit between the abstract work of art and its transformation into modern architecture. Architecture was seen as a problem that could be studied diagrammatically, and consequently also thought of as a fundamentally conceptual, immaterial artifact. At the same time that architecture was moving towards a flattened artistic condition, however, abstract expressionist painting began to take on the material and dimensional properties of the architectural object, demarcating volume and structure. Modernist collage techniques were also introduced into post-war architectural design, but again the material aspects of the medium were suppressed in favor of its purely d in favor of its purely visual qualities.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Lum, Eric} } @mastersthesis {8514, title = {Art and "Fortune": Machine- Age Discourse and the Visual Culture of Industrial Modernity}, year = {1999}, note = {L. Marx (MIT)}, school = {Boston}, abstract = {In his magazine Fortune, Henry Luce sought to create a multi-faceted visual culture that placed business and industry at the heart of American life. To that end, he hired writers skilled at dignifying business with vibrant prose and photographers expert at aestheticizing industry. Luce{\textquoteright}s first photographer was Margaret Bourke-White, whose pictures dominated the early numbers of Fortune and established a stylistic precedent for its photography. Her imagery, embedded in an aggressively pro-capitalist matrix, was emulated by many other photographers contracted by the magazine. This dissertation examines the heroic years of Fortune, beginning with its inception in February 1930 and ending in December 1935. The first chapter traces the magazine{\textquoteright}s prehistory, introducing Luce, the genesis of Fortune, Margaret Bourke-White, and the cultural conception of the Machine Age. Fortune developed an innovative format, the corporation story, that focused on the history and current status of a single company. The second chapter centers on a corporation story about International Paper and Power Company and demonstrates that the magazine developed pictorial strategies to affirm a belief in rationalism, a key economic theory behind industrial production. The third chapter, analyzing a mix of agency "newspictures" and commissioned photographs published in Fortune, confirms that the magazine{\textquoteright}s editorial point-of-view shifted towards political liberalism in 1932-33 with written essays critical of capitalism and photographic essays sympathetic to the plights of laborers. The fourth chapter, through an examination of both articles and advertisements, investigates the religious overtones in the discourse and imagery of technology. The final chapter charts the magazine{\textquoteright}s employment of candid photographers such as Dr. Erich Salomon, showing that the visual precedents for Fortune{\textquoteright}s use of documentary photography after 1935 were extant as early as 1931. In conclusion, this study shows that between 1930 and 1935 Henry Luce, in collaboration with his photographers and writers, successfully created a complex literary and visual culture focused on a positive interpretation of industrial modernity.}, keywords = {Pre-1945 North American and South American Art}, author = {Stomberg, John} } @mastersthesis {8485, title = {Barnett{\textquoteright}s Nouvemenon: Temporality and Difference in the Serial Work of Barnett Newman}, year = {1999}, school = {Yale}, abstract = {Though abstract expressionist Barnett Newman was active as a painter and critic in the forties and fifties, his career did not reach its zenith until the sixties-a decade in which abstract expressionism was usually discussed in the past tense. This dissertation investigates the ways in which Newman negotiated with the younger age that finally welcomed him. Primarily focusing on Newman{\textquoteright}s serial works, the Stations of the Cross, the 18 Cantos and the Who{\textquoteright}s Afraid of Red, Yellow and Blue? paintings, this project examines the ways in which Newman confronted artistic strategies and attitudes native to the sixties. This project is in many ways an attempt to introduce notions of difference into Newman{\textquoteright}s work. Barnett Newman has frequently been identified as one of the artists most committed to the metaphysics of presence in painting. By focusing upon the sites of difference in Newman{\textquoteright}s work (in the figure of the "Zip," in the production of different canvases in serial works), this dissertation argues for a more complex reading of Newman{\textquoteright}s work. This dissertation is thus also an attempt to juxtapose different methodologies by joining social art historical techniques with analytic methods commonly associated with deconstruction.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Sarah Katherine Rich} } @mastersthesis {8529, title = {Benvenuto Cellini and the Act of Sculpture}, year = {1999}, school = {Princeton}, abstract = {"Benvenuto Cellini and the Act of Sculpture" focuses on the question of how early modern sculptors gave significance to the work that constituted their professions. Looking especially at the theory and practice of Benvenuto Cellini, it considers the artist{\textquoteright}s successive undertakings in metal, in stone, and on paper; his choice and use of visual subject and motif to remark and characterize his endeavors; and his coordination of word and image to expand adeptness at art into more momentous ethical and religious achievement. Drawing on many of the writer{\textquoteright}s own texts, as well as on contemporary art theory, poetics, technology, moral philosophy, and natural history, the study offers a perspective on how the sixteenth-century sculptor, through his artistic acts, could participate in his culture. The dissertation has four chapters, each of which isolates a feature of a particular work or group of works for the creative scenario it represents. The first, on Cellini{\textquoteright}s Saltcellar, discusses why the artist chose the birth of salt as the topic for his culminating work as a goldsmith. The second, on Cellini{\textquoteright}s pyrotechnics, shows how contemporaries appropriated the blood of his Perseus and Medusa to present figural infusion as the origin of the arts. The third, on Cellini{\textquoteright}s work in stone, considers his use of Apollonian imagery to claim mastery as a marble cutter. The fourth, on Cellini{\textquoteright}s figures of disegno, shows how Cellini turned his contemporaries{\textquoteright} philosophies of action into principles of sculptural virtue. All four parts contribute to a revised conception of medium, viewing medium neither as a package of essential qualities, nor as a characterless instrument available for expression, but rather as an invitation for particular procedures and performances, through which distinctive virtues could be realized. The dissertation also includes five appendices. The first of these presents new documents concerning the activity of Willem de Tetrode in Cellini{\textquoteright}s workshop. The other four present new documents concerning the reception of Cellini{\textquoteright}s sculptures and writings by his contemporaries.}, keywords = {Renaissance Art}, author = {Michael Cole} } @mastersthesis {8464, title = {The Body of Knowledge: Exteriority, Corporeality and Identity in the Works of Delilah Montoya and Sandra Cisneros}, year = {1999}, school = {New Mexico}, abstract = {No record in ProQuest}, keywords = {Photography and Film}, author = {Kuusinen, Asta} } @mastersthesis {8496, title = {Brand Name Modernism: Helena Rubinstein{\textquoteright}s Art Collection, Femininity, and the Marketing of Modern Style, 1925- 1940}, year = {1999}, school = {UCLA}, abstract = {My dissertation investigates the ways in which particular forms of modernism in the United States between the wars were marketed to women via the intersecting cultural arenas of business, art, and fashion. Built around a case study of cosmetics entrepreneur Helena Rubinstein and her extensive collection of modern art, I demonstrate how certain women modified and transformed modern art and design to negotiate new career-oriented identities, define their experience of modernity, and advance different claims for modernism. I follow the shifting fortunes of two forms of modernism that met with popular success, surrealism and the School of Paris, as well as Georgia O{\textquoteright}Keeffe{\textquoteright}s trademark flower imagery and aspects of Art Deco. My analyses focus on a broad range of imagery and display venues, including trade show exhibitions, the art and decor of exclusive beauty salons, advertisements, and fashion photography. In Chapter One I examine Rubinstein{\textquoteright}s collecting and display practices in her beauty salons, first in 1915 and then in 1937. The second chapter investigates how certain professional women working in the fashion field deliberately redefined "feminine" taste as an empowering marketable asset in the workforce. This context sheds new light on the gendered origins of the corporate collection and how business discourses inflected the American reception of French modernism. Chapter Three presents case studies about two female artists, O{\textquoteright}Keeffe and Marie Laurencin, who were linked to Rubinstein and Elizabeth Arden; and whose reputations were mediated by fashionable modernism, female celebrity, and new concepts of the decorative. The fourth chapter examines Rubinstein{\textquoteright}s art collection as it was displayed in her triplex Park Avenue apartment. Finally, an epilogue suggests how in the immediate aftermath of World War II figures such as Rubinstein fared in the cultural landscape of High Modernism.}, keywords = {Pre-1945 North American and South American Art}, author = {Clifford, Marie Joann} } @mastersthesis {8447, title = {Building Power: Women as Architectural Patrons during the Roman Empire, 30 BCE-54 CE}, year = {1999}, school = {UT Austin}, abstract = {This dissertation examines six Roman monuments in the western empire, commissioned by elite women of the Julio-Claudian era. These include three building in Rome: the Porticus Octaviae, the Porticus Liviae and its shrine to Concordia, and the Temple of Divus Claudius; and three in Roman colonies: the Eumachia Building and the Temple of the Genius of Augustus in Pompeii, and the Arch of the Sergii in Pola, Croatia. Though each monument has previously been studied individually, I bring them together as a group in order to consider themes common to them as products of women{\textquoteright}s patronage. By examining each monument{\textquoteright}s historical context, topographical siting, architectural design, and associated decorative ensembles, I argue that woman patrons gained access to civic life and used monumental architecture to create and express public personas that reflected their feminine concerns. In my investigation, I consider both imperial women of Rome (Octavia, Livia, and Agrippina II) and non-imperial, elite women (Eumachia and Mamia in Pompeii, and Salvia Postuma in Pola).}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Woodhull, Margaret} } @mastersthesis {8511, title = {Buildings, Builders, and Patrons: A Study of Domestic Architecture in Guilford, Connecticut 1690-1790}, year = {1999}, school = {Yale}, abstract = {For much of the twentieth century the work of Norman Morrison Isham and Albert F. Brown, as well as J. Frederick Kelly, has been the last word on colonial domestic architecture in Connecticut. This case-study builds on the work of Isham, Brown, Kelly, and others to construct an object-based community study. By focusing on a single community, rather than the whole state, and examining not only the buildings, but also the men behind them (i.e., those who paid for, and built, the houses), this work begins to examine domestic architecture in a different way. The ebb and flow of the town{\textquoteright}s population, and the traits the buildings exhibit, were considered in light of documentary research into tax and vital records, as well as other public and private documents. What results is a fuller picture of how the buildings in a community reflect its social structure. The dissertation begins with two chapters that introduce the terms and concepts that will be used throughout the work. Chapter Two focuses on the role that craftsmen play in the development of building practices within the community. Chapter Three discusses the ways in which the buildings reflect the attitudes of both the craftsmen and their clients. The next three chapters discuss the chronological development of the community as it was shaped by the craftsmen and their clients, and reflected in the buildings. Chapter Four describes the period from 1689, fifty years after the town was settled, to 1729. Chapter Five covers the years 1730-1763. Chapter Six describes 1763-1789. Each of these chapters describes the craftsman population during the years being discussed, the role of the client in the building process, and the importance of the buildings constructed. Chapter Four focuses on the consolidation of styles and techniques which occurred during the 1689-1729 period, while Chapter Five discusses the impact of non-native craftsmen on the construction techniques used within the community. Chapter Six discusses the greater regional awareness of the community and the way in which it is reflected in the houses constructed during this period.}, keywords = {Pre-1945 North American and South American Art}, author = {Sexton, James} } @mastersthesis {8445, title = {Capturing the Exotic: The Role of the Nimrud Ivories in Neo- Assyrian Art and Ideology}, year = {1999}, school = {Columbia}, abstract = {The subject of this dissertation is the role which a collection of ivory objects from North Syria played in the formation of royal identity during the Neo-Assyrian empire, the entity based in northern Mesopotamia in the ninth through seventh centuries B.C. This dissertation suggests that the North Syrian ivories were collected by the kings of Assyria because they were metonymic reminders of the land of their origins which was imagined as a lush and naturally diverse world. This fictive imagining engendered a desire of the Assyrian kings to recreate that fertile world in the Assyrian heartland. A historiographic analysis in chapter one suggests that until recently, the study of a large number of ivories found at the Neo-Assyrian capital of Nimrud has concentrated on the meaning which the objects held in the context of production within North Syria. This study departs from its predecessors in that it seeks to examine the meaning which the ivory objects held within a very different context of consumption in Assyria. In chapter two, analysis of Assyrian royal inscriptions and documents demonstrates that Assyrians were cognizant, even appreciative of foreign objects. In chapter three, analysis of the careful manner in which the ivories were stored at Nimrud, as well as of the images and texts referring to the collection of ivory objects from abroad supports the contention that collecting was an important public act in Assyria. Chapter four demonstrates that ivory collecting held relevance for two facets of Assyrian royal identity, involving acquisition and creation, and was therefore an important element of Assyrian ideology. Images and texts analyzed in chapter five demonstrate that other types of objects, including flora, fauna, and architectural elements from North Syria were collected and recreated in the form of botanical gardens, zoos, and buildings in the Assyrian heartland. These images and texts suggest that North Syria was imagined as a lush, exotic, and diverse landscape and its reification at the center ultimately attested to the royal ability to order and make useful the chaotic periphery. Thus Assyrian royal identity was deliberately constructed through the imagining and collecting of all things North Syrian, which conversely served as metonymic reminders of their captured foreign origins.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Thomason, Allison Karmel} } @mastersthesis {8506, title = {Carnival Culture and the Engendering of Florine Stettheimer}, year = {1999}, school = {Bryn Mawr}, abstract = {This dissertation is a feminist interpretation of Florine Stettheimer{\textquoteright}s self-representations in relation to various subject positions of the New Woman in the private and public spheres of modernity. "Introduction: Imaginary Acts, Performative Events" charts my perspectives on subjectivity and representation through the poststructuralist theories of Michel Foucault and Judith Butler. Both chapters one and two set up Stettheimer{\textquoteright}s fabrications of the New Woman{\textquoteright}s feminized modernity in contrast to the prevailing masculinization of modernism. The first chapter, "The New Woman as Androgyne," frames Stettheimer{\textquoteright}s androgynous self-representations in relation to the gender politics of the New Woman. I also trace the pictorial and political influences of feminized visual culture on Stettheimer{\textquoteright}s self-images as an androgynous New Woman. My analysis takes up Stettheimer{\textquoteright}s resignifications of Jewish associations, which foreshadow an elaborate interpretation of Stettheimer{\textquoteright}s identity as a Jewess in the final chapter. The second chapter, "Camping a Feminized Modernity," closely reads Stettheimer{\textquoteright}s performative reiterations of the androgynous and decorative cult of the Ballets Russes in the 1910s and of the avant-garde and popular culture of the Jazz Age as an effort to inscribe her transgressive fantasy and desire as a New Woman against the grain of the phallocentric and heterosexual hegemony. I especially elucidate Stettheimer{\textquoteright}s polymorphous coding of the New Woman{\textquoteright}s erotic dramas through the poetics and politics of Camp. The third chapter, "Between Women: Signifiers of the Maternal Imaginary and Female Spectatorship," probes Stettheimer{\textquoteright}s constructions of women{\textquoteright}s subject positions in the private sphere. Through poststructuralist feminist theories it charts Stettheimer{\textquoteright}s utopian inscriptions of an alternative female-centered "herland" in her family portraits. My speculation focuses on Stettheimer{\textquoteright}s fashioning of a female spectatorial desire and identification in regard to her significations of the maternal imaginary. Chapters four and five explore Stettheimer{\textquoteright}s negotiations of women{\textquoteright}s subject positions in the public sphere. The fourth chapter, "In the Mirror of Mass Culture," lays out Stettheimer{\textquoteright}s ambivalent mapping of feminized mass culture as a vigorous impetus in the making of a feminized modernity. I particularly examine Stettheimer{\textquoteright}s portrayals of bourgeois women{\textquoteright}s liberating and manipulated participation in the consumption of mass culture. The fifth chapter, "Feminine Dandyism and the Flaneuse," continues arguing for Stettheimer{\textquoteright}s representation of women as prominent participants in the public realm of modernity through the invention of her personae as flaneuse and female dandy in the age of mass culture. I also attempt to distinguish Stettheimer{\textquoteright}s representation of the different female character types of the absorbed consumer and the alienated artist in the public domain. The last chapter, "Irony as a Jewish Woman of the Diaspora," analyzes Stettheimer{\textquoteright}s enactment of her diasporized identity as the wandering and masquerading Jewess through the theories of the Jewish thinker Emmanuel Levinas and other writers. The dissertation{\textquoteright}s epilogue, "Posing Modernism{\textquoteright}s Other," concludes with a deliberation of Stettheimer{\textquoteright}s feminist deconstruction of masculined modernism and her invention of a feminized and proto-postmodernist modernity.}, keywords = {Pre-1945 North American and South American Art}, author = {Liu, Jui-ch{\textquoteright}i} } @mastersthesis {8361, title = {Cezanne{\textquoteright}s "Bathers": Biography and Erotics of Paint}, year = {1999}, school = {IFA/NYU}, abstract = {This dissertation concerns the ways in which the writing of Paul Cezanne{\textquoteright}s biography intersected with the interpretation of his paintings of the nude. The strange intensity and deformed anatomies of Cezanne{\textquoteright}s images of male and female bathers were so puzzling to his contemporaries that they could only be explained, it seemed, by the eccentricities of their maker. Thanks to Emile Zola{\textquoteright}s description of "artistic impotence" in L{\textquoteright}Oeuvr and Emile Bernard{\textquoteright}s early writings on the artist, stories of Cezanne{\textquoteright}s sexual anxieties and his excessive passion for and fear of women were used to justify his approach to image-making, suggesting that as a result Cezanne could not work from the live model because his desire for his subject paralyzed his artistic capacities. The interpretive strategy, which arose in the artist{\textquoteright}s day, of linking Cezanne{\textquoteright}s nudes to his sexual hang-ups has been taken up by current scholarship. Missing, however, is an examination of what purpose such an interpretation served. Cezanne was being positioned as "the father of modern art" at the very time that his bathers were being read as the measure of his sexual anxieties, and by the very same writers responsible for this reading. What need could possibly be fulfilled by depicting him as an impotent genius, as a man paralyzed by his repressed desires for and fears of women? The stories of Cezannels anxieties were prompted by the critics, own anxieties, provoked by the artist{\textquoteright}s radical reconception of the means by which the erotic was communicated in representation. No longer signified by beautiful women and idealized anatomies, or cloaked in the objective-seeming subject positions of the disinterested artist or viewer, the erotic was seen by Cezanne{\textquoteright}s contemporaries to be located everywhere in his painting, manifest in the very quality of paint on the canvas. The fiction of the objective artist, interested only in the aesthetics of form, could not be sustained when looking at Cezanne{\textquoteright}s canvases. If Cezanne was, in formalist discourse, turned into such a fiction, it was only through struggle, a struggle in which biography came to play a crucial role.}, keywords = {19th-and Early 20th-Century European Art}, author = {Aruna D{\textquoteright}Souza} } @mastersthesis {8418, title = {Changing Views: The Origins and Iconology of Garden Images in Seventeenth-Century Dutch Paintings}, year = {1999}, school = {Maryland}, abstract = {On the basis of some 450 seventeenth-century Dutch paintings, this dissertation surveys the ideas associated with the garden images in these works. The main thesis is that the ideas associated with gardens in sixteenth- and early seventeenth-century Dutch paintings were predominantly negative but in the course of the seventeenth century eventually became predominantly positive. A second conclusion based on this body of paintings is that all but about five percent of them were creations of the artists{\textquoteright} imagination. The first chapter reviews the iconographies of the middle ages that were still illustrated in the Northern Netherlands in the seventeenth century and discusses their origins in the Bible and ancient medical and literary texts. In these iconographies the garden image was associated with both positive and negative themes ranging from fruitfulness to sin and transitoriness. Chapters two and three discuss the economic and intellectual developments of the Italian Renaissance that revolutionized the medieval perception of the garden. Chapter two summarizes how the expansion of cities in northern Italy led to middle class ownership of country estates with gardens. Chapter three reviews the revival of ancient Roman texts idealizing country life and how these texts affected the perception of the gardens Chapters four and five return to the development of garden iconographies in the sixteenth and seventeenth centuries. Chapter four considers the complex of negative garden iconographies developed by the reformation movement in the sixteenth century and perpetuated in the seventeenth century. Chapter five reviews the concurrent development of the positive garden iconographies inherited from the middle ages, as well as the new garden that emerged in response to the same developments in the Northern Netherlands that had revolutionized the perception of the garden in Renaissance Italy.}, keywords = {Baroque and 18th-Century European Art}, author = {Wages, Sara} } @mastersthesis {8544, title = {The Choir of Florence Cathedral: Transformation of Sacred Space, 1334-1572}, year = {1999}, school = {IFA/NYU}, abstract = {This dissertation is a diachronic, interdisciplinary study of the Choir of the Florentine Duomo-Santa Maria del Fiore-from the earliest medieval records to the demolition of the cinquecento structure in the nineteenth century. The Choir was the sanctuary of the Florentine Cathedral where the Archbishop and some 200 clergy performed their daily rounds of Mass and Office; the stage on which, ringed by blazing torches, the obsequies of the most important persons took place and the weightiest civic actions were ceremonially ratified. In later periods it became a symbolic focus of newly emerging political and spiritual ties forging the Medici principate to the Papacy, greater Italy, and the Holy Roman Empire. Analyzing the surviving visual evidence, a large body of documentation-for the most part newly discovered-and the physical remains of the final choir itself, this study seeks to clarify the history of the monument{\textquoteright}s genesis and design, and its changing meanings as a reflection of Florentine religious and civic identity. It examines the dramatic transformations of this central project of Florentine architecture and sculpture, in terms of responses to crucial changes in liturgical and ceremonial practice in the Cathedral, of the Choir{\textquoteright}s interactions with its surroundings, and, ultimately, of its unique role as a focus of Florentine social, political and artistic life. The innovative Choir project created by the sculptor, painter, architect and entrepreneur Baccio Bandinelli-whose design included a gigantic figure of the Dead Christ on the mensa of the high altar-is examined in the light of the space{\textquoteright}s liturgical functioning and of its relation to contemporary developments in the Church. Particular attention is given to the artistic politics of the commission for the Bandinelli Choir, and especially to the sculptor{\textquoteright}s use of the project-and of his position as provisor or head of the Opera del Duomo-to secure a monopoly on Medici patronage and to generate new artistic commissions.}, keywords = {Renaissance Art}, author = {Louis Waldman} } @mastersthesis {8545, title = {The City as Practice: Urban Topography, Pictorial Construction and Liminality in Venetian Renaissance Painting, 1495-1595}, year = {1999}, school = {UT Austin}, abstract = {The unique topography of the city of Venice is mirrored in a multitude of visual and kinesthetic practices. I draw these behaviors and habituations out of the landscape by a process of thick description, both visual and documentary. The practices are the basis of several phenomena in Venetian Renaissance painting: unique spatial strategies, mesh-like figure/ground relationships and structures, maze-like constructions, and a concentration on optical effects, exemplified by reflections and highlights. Even in non-Venetian settings, Venetian painters employ Venetian spatial practices. Further, the viewer{\textquoteright}s relationship to the pictures, driven by the highly liminal nature both of the city and the visual practices that it engenders, is multiply liminal, causing the viewer to cross the pictorial border, actively to penetrate the pictorial space, and to navigate purposefully around the picture. The shift in narrative content between late Quattrocento and the Cinquecento occurs simultaneously with local change in painting technology and technique, so that while Venetian paintings retain their level of narrative content, the type of narrative switches from extended storytelling to the tale of the journey of the eye.}, keywords = {Renaissance Art}, author = {Zimmerman, Joann} } @mastersthesis {8508, title = {Commerce and Ritual in America Daguerreian Portraiture 1839-1859}, year = {1999}, school = {Cornell}, abstract = {The daguerreotype occupies an important position in the history of American visual culture as the earliest form of commercial photography. Following its introduction in 1839, thousands of Americans entered the promising new trade and made daguerreotyping a very lucrative industry. The photographic medium offered inherent attractions to a largely middle class audience that distinguished it from other forms of representation, but astute marketers assured its overwhelming popularity. This investigation closely analyzes the means through which daguerreotypist entrepreneurs communicated among themselves through their professional journals and manuals, and contrasts these writings with advertisements and stories directed toward a public largely unfamiliar with photography. Furthermore, a close inspection of images reveals that daguerreotypists imposed strict rules governing pose and perspective to assert their authority over sitters and to convey social codes through visual means. The methods of social history, material culture studies and formal analysis provide the basis for this study of early photography as a commercially-driven art form. Daguerreotypists capitalized on early responses to their "almost magical operation" to build commercial strategies. This marketing of magic was, indeed, the key to their continued success in selling portraits. Advertising messages, elaborate packaging, and carefully-designed studios further fetishized the portrait photograph. Daguerreotypists introduced their portraits into middle-class family matters, including courtship and mourning rituals, and even proposed the child{\textquoteright}s visit to the photography studio as a discrete rite and, therefore, a parental obligation. Photographers thus created an aura of enchantment while simultaneously appealing to sentiment, and in so doing, blurred rigid distinctions between home and market that prevailed in mid-nineteenth-century American domestic ideology. Finally, this dissertation establishes that daguerreotypists displayed shrewd business acumen, manipulating their market in ways that encouraged middle-class Americans to conceive of family unity through photographs.}, keywords = {Pre-1945 North American and South American Art}, author = {Newberry, Susan} } @mastersthesis {8451, title = {Composite Ritual Vases from Cyprus and Syria-Palestine}, year = {1999}, school = {Cornell}, abstract = {Composite vases, vessels with multiple bodies and/or spouts, are known from most cultures of the ancient Mediterranean, especially in Bronze Age Cyprus. They are commonly, but not universally, associated with religious rituals. The goal of this dissertation is to test this association through analysis of the contexts from which composite vases have been recovered and through symbolic exegesis of morphology and function. Composite vases are most often encountered in burials. Three Bronze Age cemeteries, Bellapais-Vounous sites A and B on Cyprus and Bab edh-Dhra in Jordan are analyzed. The unequal distribution of composite vases in these cemeteries-as demonstrated by factors including spatial distribution, the wealth of associated tomb offerings, tomb size, the gender of occupants, and co-occurrence with other ritual objects-suggest that ownership of these vases was limited to specific social groups in both Cyprus and Palestine. Symbolic exegesis of composite vases focuses on the performative value, i.e., how they would function in a given ritual. The manner in which these vases act to separate and/or integrate their contents suggest that they may be associated with rites of passage, three stage rituals which create social identity through rites of separation, liminality, and integration. The contextual associations between composite vases and liminal spaces such as burials, gates and other passageways, and grain storage areas also support this conclusion. Therefore, composite vases should be considered as ritual objects, and their presence in archaeological contexts should be interpreted as an indication of ritual activity.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Walz, Clark} } @mastersthesis {8379, title = {Conditions of Beholding: Images of Femininity in the Work of Jean- Baptiste Camille Corot}, year = {1999}, school = {Brown}, abstract = {Widely recognized as one of the major French landscape painters of the nineteenth century, Jean-Baptist Camille Corot (1796-1875) also produced a significant number of figural works-most of which are images of women. This study re-examines Corot{\textquoteright}s long-neglected figural paintings by placing them in biographical, social, and art historical context. It considers his earliest sketches, figural Salon paintings, nudes, women reading, and a late group of paintings depicting a female model in the studio contemplating a Corot landscape-the genre with which Corot is most often associated. In turn, these works are examined through the lenses of his academic training, his encounters with photography, contemporary issues of sexuality and the nude, contemporary discourse on female literacy, and contemporary notions of gender and spectatorship. The dissertation demonstrates that throughout his career, women appear in Corot{\textquoteright}s figural work as independent, thinking, feeling beings-entirely subjects in their own right. Corot{\textquoteright}s strategy for imaging women was fundamentally different from both traditional and contemporary constructions of femininity and the body, and his work with the figure occupies an odd set of interstices between conventional genres. His later works in particular show an increasing concern with female subjectivity, which culminates in the group depicting women as not just models, but ideal viewers of his paintings. As such, they comprise a coherent meditation not only on his own painting practice, but they shed important light on ways that the relationship between gender, art, and spectatorship were conceptualized in nineteenth-century France.}, keywords = {19th-and Early 20th-Century European Art}, author = {Ogawa, David} } @mastersthesis {8472, title = {Constructing a {\textquoteright}National{\textquoteright} Architecture: The Exhibition/Theater Building in Ankara}, year = {1999}, school = {Binghamton}, abstract = {This study explores the relationship between architecture and the {\textquoteright}nation{\textquoteright} as exemplified in the conceptualizations of {\textquoteright}national architecture{\textquoteright} in early republican Turkey. The concept of {\textquoteright}national architecture{\textquoteright} is examined through the display of, and the discourse on, architectural products as representative of the {\textquoteright}nation{\textquoteright} that disseminate, and thus create, the category of the {\textquoteright}nation{\textquoteright} as well as the {\textquoteright}nation{\textquoteright} itself. The study focuses on the political, economic and social context of the {\textquoteright}nation{\textquoteright}-state as the regulating mechanism of the {\textquoteright}nation{\textquoteright}-building process that changes according to varying relations and practices. Accepting architectural production as an integral part of this process, the basis of the analysis is the consequent constructions of the {\textquoteright}national meaning{\textquoteright} in architecture in a reciprocal relationship with the construction of the {\textquoteright}nation{\textquoteright}. The study concludes that {\textquoteright}national architecture{\textquoteright} cannot simply be defined as a real and stable entity with reference to some formal stylistic characteristics. In its time and place specific context, the {\textquoteright}national{\textquoteright} in architecture is, rather, variously constructed according to, and also itself significant in, the continually changing process of constructing the {\textquoteright}nation{\textquoteright}.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Ergut, Tomris Elvan} } @mastersthesis {8359, title = {The Construction of Artistic Identity in Turn-of-the-Century Berlin: The Prints of Klinger, Kollwitz, and Liebermann}, year = {1999}, school = {Brown}, abstract = {The prints of Max Klinger, Kathe Kollwitz, and Max Liebermann serve as case studies for exploring how artistic identity was constructed through the vehicle of art criticism in turn-of-the-century Berlin. What follows is not a sequential "history" of Berlin{\textquoteright}s fin-de-siecle art community nor is it an institutional history of German museums or art academies. Rather, this is a story of historical misrepresentation. The received histories of Klinger, Kollwitz, and Liebermann have, for one reason or another, neglected to interrogate the period discourse produced during the 1880s and 1890s. Once these sources have been examined, a very different picture of the artists begins to emerge. The recovery of this important historical perspective allows us to retrieve what has been overlooked or written out of subsequent discourses that has largely reduced these complex figures to mere place holders in an unbroken art-historical genealogy. While the questions necessarily vary due to the tenor of the discourse associated with each artist, the answers are surprisingly inter-connected. Each case study reveals what critics saw as the function of culture and how this culture related to German nationalism. The power invested in Klinger{\textquoteright}s, Liebermann{\textquoteright}s, and Kollwitz{\textquoteright}s art relates directly to the capacity of their images to reinforce or demean preexisting cultural stereotypes, and how such imagery was used or abused for its perceived capability to formulate a distinctly German visual culture. For example, as a painter, Liebermann was seen to have brought a sometimes welcome sometimes unwelcome foreign (read French/Jewish) element into German art, and yet as a graphic artist he was unanimously praised as distinctly "German." One may ask how Liebermann{\textquoteright}s prints, which employed the same facture and subject matter as his paintings, served to position him as a carrier of German cultural pride. While the shifting terms of Liebermann{\textquoteright}s artistic identity were constituted primarily through the lens of race, the larger questions raised by such transitions in period discourses, when combined with similar instabilities surrounding issues of gender in Kollwitz and German nationalism in Klinger, collectively enable our revision of turn-of-the-century print culture.}, keywords = {19th-and Early 20th-Century European Art}, author = {Clarke, Jay Anne} } @mastersthesis {8412, title = {Court Dress and Ceremony in the Age of the Baroque, The Royal/ Imperial Wedding of 1719 in Dresden: A Case Study}, year = {1999}, school = {IFA/NYU}, abstract = {Judged from a bourgeois point of view, major and minor German absolute princes have often been blamed for conspicuous consumption and excessive display of splendor. The luxury of dress at court has met with particularly harsh condemnation. However, during the period of absolutism, German writers on court ceremony took dress very seriously and regarded it as an important tool for the assertion of rulership. They believed that most people were more easily impressed and persuaded by startling sensual perceptions than by intellectual reasoning. For them, the aesthetics of clothing was as important as that of castle architecture and the paintings and sculptures of its interior decoration. This dissertation investigates the meaning and function of court apparel by examining one major court festival. The Saxon Elector Frederick Augustus and Polish King Augustus II, commonly known as Augustus the Strong (1670-1733), organized one of the most splendid court festivals in Dresden when he married his son Frederick Augustus to the Habsburg princess Maria Josepha in 1719. Ample archival records and art works have survived from the month-long celebrations. They offer valuable insights into the consumption of and concern for clothes at a leading German court, and reveal the vital significance of dress during the Baroque period in general. The dissertation deals with the state dresses, costumes, uniforms and liveries that were made for the festival and that illuminate different aspects of the function of apparel. An investigation of the courtship, engagement and marriage in Vienna and Dresden shows how garments were used as a means of foreign diplomacy and court ceremony and made telling political statements. Elaborate fancy disguises were the focus of the wedding festivities in Dresden. As an important part of the Gesamtkunstwerk court festival they unified the arts and made the complex iconographic program comprehensible and aesthetically pleasing. Especially made for the wedding celebrations, the splendid liveries and uniforms of the guards presented the image of an affluent court and wealthy country. However, lengthy disputes with the citizens of Dresden over the character and production of court and civic uniforms also vividly illustrate the difficulties confronting an ambitious ruler striving for absolute power.}, keywords = {Baroque and 18th-Century European}, author = {Mikosch, Elisabeth} } @mastersthesis {8523, title = {Creating Art and Artists: Late Nineteenth-Century American Artists{\textquoteright} Studios}, year = {1999}, school = {CUNY}, abstract = {This dissertation examines the studios of American painters and sculptors working in the cosmopolitan era of the late nineteenth century. Between the Philadelphia Centennial and World War I, most makers of fine art worked in studios furnished with old furniture, personal mementos, historic relics and superbly-crafted objets d{\textquoteright}art, all rich in evocative associations. In these spaces artists made art, taught art, sold art, entertained friends and patrons, and kept house. These studios were often opened to the public, they were featured in newspaper and journal articles, and they appeared in paintings and novels, making them quasi-public places. Born out of the era{\textquoteright}s impulse towards aestheticist endeavors, the studios were a deliberate attempt to create beauty for its own sake; thus they are termed aestheticizing studios in this dissertation. The dissertation has a dual thesis: that aestheticizing studios enabled artists to create their public personae and to create their art. The dissertation is composed of six chapters, and an introduction and conclusion. The introduction surveys prior scholarship and discusses methodology. A chronological and stylistic survey of the phenomenon of aestheticizing studios is presented. Two chapters detail the contents of studios and the activities that took place in them. A fourth chapter analyzes texts and images that portrayed aestheticizing studios, as well as the messages and motivations embedded in them. Together, the studios themselves and the diverse media in which they were portrayed forged multifaceted public personae for American artists; these separate facets are examined individually in a fifth chapter. The sixth chapter demonstrate the direct catalytic influence of aestheticizing studios on their inhabitants by presenting "close readings" of studios and works of art created in them. The conclusion places the patterns observed in studios within a larger cultural framework. While the dissertation discusses the artwork, writings, and lives of several hundred American artists and authors, the work of William Merritt Chase, Augustus Saint-Gaudens, Francis Davis Millet and Frederic Edwin Church receive particular emphasis.}, keywords = {Pre-1945 North American and South American Art}, author = {Zukowski, Karen} } @mastersthesis {8362, title = {The Crise Catholique: Avant-Garde Religious Painting in France}, year = {1999}, school = {UT Austin}, abstract = {In the 1890s, French Catholics were confronted with the decreasing relevance of their religion in society, a situation they called the crise catholique . The advances of science challenged some of the basic tenets of Catholicism, and the government of the Third Republic began to oppose the role that the Church played in French education and politics. During the period 1890-1912, religion moved from the public sphere into a more private realm, as important events, including the enactment of the Law of the Separation of Church and State in 1905, changed the role of Catholicism in French society. This dissertation considers the changing nature of religious painting in the context of this history, from attempts in the 1890s to find a reconciliation of religious painting and avant-garde style, to the gradual elimination of religious painting from avant-garde salons in the twentieth century. Chapter One introduces the history of the crise catholique in the period 1890-1897. Chapter Two considers Maurice Denis{\textquoteright}s efforts to create an avant-garde form of religious art in his early easel paintings and theoretical writings. Chapter Three addresses Josephin Peladan{\textquoteright}s Salons de la Rose+Croix and Peladan{\textquoteright}s attempts to modernize Catholicism through his theory of occult Catholicism. Chapter Four relates the continuing history of the crise catholique in the period 1898-1912. Chapter Five considers the gradual codification of religious art in the twentieth century, especially as it was embodied in the later work of Maurice Denis and the art criticism of the journal L{\textquoteright}Occident. Chapter Six contrasts the painting of Georges Rouault in the early twentieth century to the prevailing trends described in Chapter Five, and assesses Rouault{\textquoteright}s attempt to create a new and private expression of religious sentiment in painting. The conclusion examines Marcel Duchamp{\textquoteright}s 1912 drawing Vierge as a response to the changing nature of religious art in this period. This dissertation shows that Catholicism was an important backdrop for a variety of developments in the avant-garde at the turn of the century in France, and it documents important changes in the nature of religious painting and in attitudes towards subject matter in general in the twentieth century.}, keywords = {19th-and Early 20th-Century European Art}, author = {Di Pasquale, Maria} } @mastersthesis {8518, title = {Critic, Curator, Collector: Christian Brinton and the Exhibition of National Modernism in America, 1910-1945}, year = {1999}, school = {Pennsylvania}, abstract = {This dissertation focuses on the life and career of Christian Brinton (1870-1942), an internationally noted critic, collector, and curator, who participated in the promotion of modernism between 1910 and the end of his life. Over a thirty-five year career, he wrote more than 200 articles and curated scores of exhibitions that introduced to American audiences the modern and contemporary art of Northern, Eastern, and Southern Europe. He moved with remarkable ease through diverse communities of intellectuals, artists, and art world professionals who, by and large, were united by a single purpose: To popularize modernism in America. Unlike some of his contemporaries, however, Brinton did not believe modernism{\textquoteright}s expressive forms, anti-illusionism, and primitive style signaled an international aesthetic revolution that broke with all past traditions. Rather, he considered both the form and content of modernism to be a major advance in the evolutionary progress of art, and therefore connected to intellectual debates that helped to construct the interrelated ideas of "race" and "nation" during the interwar years. He allied his own critical perspective with the burgeoning efforts of art museum directors in America, and with their full support, organized numerous travelling exhibitions of Nordic, Slavic, and Teutonic modernism. Using Brinton as the helmsman, this dissertation proposes a new interpretation of modernism during the interwar era in America. This study examines how critics and curators, with the cooperation of foreign critics and state institutions, used temporary exhibitions of mode modernism of proffer a political interpretation of art production organized around the concept of "the nation" rather than aesthetic universality. This dissertation also traces the dissolution of Brinton{\textquoteright}s museum model for modernism. Although active in promoting modern art and international intellectual exchange, his ideas were too dose to the supporters of scientific racism for the comfort of others fighting for the cause of "new" art.}, keywords = {Pre-1945 North American and South American Art}, author = {Andrew J. Walker} } @mastersthesis {8442, title = {A Critical Review of Theories about the Origin of the Ancient Egyptian State}, year = {1999}, school = {UCLA}, abstract = {An explanatory Theory must answer an explanation-seeking "why" question concerning a "what"; e.g. why did a State develop in the Nile valley? Acceptable theories covering Egypt or anthropological theories applicable to the area do not exist. A theory consists of a general regularity linking broad categories to be "filled" with specific "whats" to answer the "why" question. General regularities and categories are universal for scientific explanations; man made generalities and categories offer interpretive explanations. Known approaches as to "why" fail on ontological grounds; Egypt is not an instantiation of an existing category, e.g. "state", the latter, too, needs explaining. Several purportive theories (Steward, Adams, Flannery) merely restate the "why" question; or are models of analysis (Childe, Renfrew, Hoffman), or failed to elicit common denominators (Service); or are mere descriptive of common aspects (Wittfogel, Hoffman, Schenkel, O{\textquoteright}Connor) or assume particular earlier political units (Kemp, Hoffman, Kaiser), and/or assume a war of unification (all). Absence of an adequate theory of semiotic meaning hampers efforts to answer "what" questions. Peirce{\textquoteright}s semiotics is discarded in favor of Grice{\textquoteright}s natural/non-natural meaning. Reichenbach{\textquoteright}s Common Cause is used to construct a meaning giving context (Hodder) including the meaning of patterned absence. Certain issues can be resolved; there was no war of unification, no kingdoms of upper and lower Egypt nor any unified political rule in the beginning of the Dynastic era. The archaeological record signifies conditions which brought the record about: organized water control to be essential to urbanization (Hoffman, Hassan, Wittfogel), unorganized migration (Trigger / Kaiser); Pharaoh rises as spiritual leader (Bard). A proposed evolutionary theory applies Goudge{\textquoteright}s explanatory narrative of biological evolution to the construction of cultural evolutionary trajectories from necessary / contingent conditions nearly sufficient to explain projections of the trajectory. Hassan presented a scientifically justified narrative which together with Renfrew{\textquoteright}s multiplier permits the construction of an evolutionary trajectory to explain urbanization of upper Egypt. Further trajectories lead to spiritual leadership in the Nile valley, gradual accretion of political power, management of grandiose building projects eventually leading to an organized State by the Middle Kingdom.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Siegemund, Ralf H.} } @mastersthesis {8431, title = {The Crosses and Related Monuments of the Barrow Valley}, year = {1999}, school = {Temple}, abstract = {This study considers a number of Early Medieval granite standing crosses and cross fragments in the Barrow Valley in southeastern Ireland. For the first time, both plain and decorated crosses are evaluated and classified as examples of a regional group according to form, abstract and zoomorphic decoration, figure style and iconography. Also considered are the dates of the crosses, their probable function and siting, as well as a connection to the Celi De ascetic reform movement of the eighth and ninth centuries. A relationship can be found between these stone sculptures and the crosses at Iona, as well as with those at Kells, Co. Meath and the Ossory Group of Co. Kilkenny and Tipperary. Much of the evidence points to a very strong Iona influence based on models in metalwork, manuscript decoration and the standing stone crosses. A distinct regional form can be identified for the crosses, and this is evident in both the plain and decorated versions, with attention focused for the first time on the importance of the plain group.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Lord, Rosemary} } @mastersthesis {8380, title = {The Cultural Politics of Paris Dada, 1914-1922}, year = {1999}, school = {Delaware}, abstract = {This dissertation explores Paris Dada in relation to the anarchist and individualist philosophies that shaped the cultural dialogue immediately following the First World War. Drawing on correspondence, criticism, periodicals and manifestoes, it argues that Paris Dada was driven by a vision of societal transformation through cultural upheaval. Though scholars readily comment on Paris Dada{\textquoteright}s "anarchizing" character, they simultaneously dismiss it as apolitical. This view originates in the assumption that anarchism declined during the war with the hegemony of Marxism on the left, and it has become axiomatic in formalist theories that analyze Dada "style" in opposition to Cubism, place it in a continuum with Surrealism, and ignore all three movements{\textquoteright} political goals. Yet anarchism not only flourished in postwar France, it fueled Dada{\textquoteright}s debut there in 1920; Dadaist anarchism, in turn, became a central topic in anarchoindividualist debates. Chapter One traces the development of anarchoindividualism from its prewar Stirnerian origins to its postwar Nietzschean manifestation, and it shows how such theorists as Emile Armand, Pierre Chardon, Florent Fels and Marcel Sauvage narrowed anarchism{\textquoteright}s individualist focus to locate "revolution" specifically in formal innovation. Chapter Two reveals how this anarchoindividualism resonated with the writings of other postwar intellectuals who were similarly pursuing social change by marshalling creative individualism as an alternative to "propaganda by the deed." These postwar writers and artists wished to "construct" a new society, and they debated individualist theory to reconcile autonomy with social responsibility. Chapters Three and Four position Paris Dada in the aforementioned context. Chapter Three explores Dada{\textquoteright}s anarchist basis, its attack on artistic institutions and its promotion of Stirnerian anarchoindividualism. This cultural assault aimed at heralding society{\textquoteright}s destruction; thus, it issued a direct challenge to all constructive alternatives. Chapter Four unravels critical responses to Paris Dada{\textquoteright}s revolutionary tactics, and it foreshadows the internal conflict that catalyzed Dada{\textquoteright}s decline and Surrealism{\textquoteright}s emergence. Chapter Five examines Andre Breton{\textquoteright}s tense collaboration with Tristan Tzara, which forced the latter to reexamine his Dadaism, his individualism and his anarchism. This ideological clash, along with the Literature poets{\textquoteright} experiments with "psychological automatism," transformed Dada destruction into a constructive anarchoindividualist model for social change.}, keywords = {19th-and Early 20th-Century European Art}, author = {Papanikolas, Theresa} } @mastersthesis {8503, title = {Discussing the Ineffable: Color in the Paintings of James McNeill Whistler}, year = {1999}, school = {Bryn Mawr}, abstract = {This study redirects attention to James McNeill Whistler as a colorist, a role perhaps undervalued in recent critical and historical writings about the artist. It also points to the importance, complexity, and interest of his use of color, not only to his contemporary viewers, but for any account we make of his work. To this end I analyze and compare two bodies of literature that address the subject of the color in Whistler{\textquoteright}s paintings of the 1860s and 1870s, first the body of criticism of those years, then the more recent accounts of conservators who have examined his work in detail. For early critics of Whistler{\textquoteright}s paintings, color was among the first stumbling blocks encountered, meeting no known or accepted aesthetic. The challenge of Whistler{\textquoteright}s color, while discouraging and frustrating many critics, motivated others to look to art from different cultures and of different media, and to examine their own personal responses; these explorations became key to critics not only in ascribing significance to their experiences of Whistler{\textquoteright}s paintings, but in opening up discussions of the nature of the viewer-object relationship in general. While many critics clung to the age-old notion of a secondary role for color, others found new ways to appreciate Whistler{\textquoteright}s color. Visual comparisons to color in Far Eastern art and exploration of personal responses to color, for instance, helped critics articulate their viewing experiences; however, analogies between color and music, proved to be the most resonant means of ascribing significance to Whistler{\textquoteright}s color. The writing of conservators tends towards the scientific, yet the decision of these writers to focus closely on Whistler{\textquoteright}s color places certain values on the artist{\textquoteright}s color. Their studies collectively establish a history of the paintings of this artist not explored before in this way, and provide a basis for our examining the complicated relationship between the perception and the practice of color. Whistler{\textquoteright}s conservators and critics shared common interests in his color practice, and the latter are shown here to be accurate observers at times; most often, however, the role of practice in creating observed visual effects goes unnoticed.}, keywords = {Pre-1945 North American and South American Art}, author = {Haslett, Carrie} } @mastersthesis {8484, title = {Donald Judd{\textquoteright}s Skepticism}, year = {1999}, school = {UT Austin}, abstract = {This dissertation explains how Donald Judd{\textquoteright}s pragmatic art shared with his anarchist politics a fundamental skepticism toward the fixation of belief. As an intellectual history grounded in modern epistemology and archival research, this study is centered around themes of individualism, opposition to hierarchy, and rejection of inherited tradition. In the Introduction, I focus on Judd{\textquoteright}s skeptical belief in the local unit as the appropriate area of knowledge. In Chapter 1, I explain his artistic beliefs through his understanding of pragmatic philosophy, with its empirical foundation. Chapter 2 shows how Judd{\textquoteright}s works of art belong to an empirical philosophical tradition that clashes with the idealistic foundation of artistic modernism. In Chapter 3, I discuss his opposition to compositional hierarchy in art, which paralleled his efforts to overthrow centralized government. Chapter 4 presents his rejection of inherited artistic traditions, which corresponded to his anarchist rejection of certain traditionally held social values. In the Conclusion, I discuss Judd{\textquoteright}s political pessimism in the aftermath of the Vietnam War and his accompanying partial abandonment of leftist anarchism in favor of more individualistic Libertarian values. This dissertation also has three appendices, which index Judd{\textquoteright}s philosophy citations, discuss his involvement with the Art Workers Coalition, and consider the relevance of Chicano politics for his efforts in Marfa, Texas.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Raskin, David Barry} } @mastersthesis {8528, title = {Drawing from Memory: Giuliano da Sangallo and the Ruins of Rome}, year = {1999}, school = {Harvard}, abstract = {Giuliano da Sangallo{\textquoteright}s two books of drawings, the Codex Barberini and Taccuino Senese, document the changes that took place in conventions of architectural representation and approaches to archeology over the fifty years of their making, from c. 1465-1516. These drawings of ancient Roman buildings, intermingled with Giuliano{\textquoteright}s own designs, suggest that drawing an existing building is never a simple act for an architect, because design begins at the point of perception. The way an architect views the world cannot be unfiltered or objective, but is transformative. My thesis is centrally concerned with what Thomas Greene has defined as the "double act" of studying the ruins, at once digging down into history and imagining how to build up. Chapter One, "Constructing Ancient Rome: The Porticus Minuciae" shows how the lure of the rich materials of ancient Roman building sparked an investigation of the techniques of their construction. It suggests that Giuliano{\textquoteright}s reading of the monument usually known as the "Crypta Balbi" as a facade is tied to his re-use of it in his own palace designs. In the background Giuliano creates an allegory of the relation of ancient and new architecture through an imagined topography of the ancient city. The circumstances surrounding the destruction of the so-called "Basilica Aemilia" are explored in Chapter Two, "Fragments and Memory: The Temple of Janus." An ancient Roman building destroyed within Giuliano{\textquoteright}s lifetime and used in the construction of Bramante{\textquoteright}s Palazzo Castellesi allows an examination of the interlocking impulses of destruction and creation. In Chapter Three, "Reconstruction as Design: The Quirinal Temple," Giuliano{\textquoteright}s misidenfication of an ancient temple as a palace leads him to reconstruct it as if it were one of his own palace designs. The resulting analysis complicates the notion of the source, and challenges the conventional model-copy paradigm. The conclusion analyzes the Letter to Leo X and the letters of Claudio Tolomei as registers of the shifts that took place over the course of the sixteenth century in reconstruction and archeology, methods of drawing, and conventions of representation.}, keywords = {Renaissance Art}, author = {Brothers, Cammy} } @mastersthesis {8430, title = {The Dress of Monastic and Religious Women as Seen in Art from the Early Middle Ages to the Reformation}, year = {1999}, school = {IFA/NYU}, abstract = {The clothing of medieval religious women is generally thought to be uniform by definition, insignificant by decree, and distinctive primarily by color. Art historians have at times used nuns{\textquoteright} dress, as seen in medieval depictions, for purposes of dating and identification as to religious order. This thesis examines written and visual sources for information on the garments of medieval female religious to see if and how such classifications may be applied. It also takes issue with two long-held assumptions: that there are no dress distinctions by order observable in art before the fourteenth century; and that the concept of {\textquoteright}fashion{\textquoteright} is a phenomenon born at the end of the medieval period. Evidence to the contrary is presented, derived from Early Christian texts, and from the visual material of the tenth century onwards. A selection of images, drawn primarily from illuminated manuscripts, is included in the accompanying database catalogue. The thesis relies also on work by feminist scholars in the disciplines of anthropology, history, literature, sociology, and theology. The concept of {\textquoteright}high context{\textquoteright} and {\textquoteright}low context{\textquoteright} societies is used to make a general separation between ways of describing and depicting in the earlier and in the later medieval periods respectively. The different types of medieval books and their audiences appear, in the illustrations, linked to choices made by the artists and their patrons. In the study{\textquoteright}s garment typology, the role of the black veil in the rituals and lives of the female religious emerges with particular significance. In art, the veil also provides the means by which ideas of subversion are made visible, expressed in the forbidden textiles and ornaments so often condemned in conciliar decrees. Garment types, rather than color, display consistency in depictions of the religious, allowing a primary classification as to order and hierarchical significance. Expressed in types of clothing, notions of apostolic poverty thus seem to be adhered to as well as abandoned, by degrees and over time.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Koslin, Desiree} } @mastersthesis {8482, title = {Eero Saarinen on the Frontier of the Future: Building Corporate Image in the American Suburban Landscape, 1939- 1961}, year = {1999}, school = {Pennsylvania}, abstract = {Between 1945 and 1961 Eero Saarinen molded the image of the modern American corporation in the postwar suburbs, in five office and research complexes built for General Motors, IBM, Bell Laboratories and Deere \& Company. These projects represent an architectural shift away from the hegemony of the International Style, in favor of client- and site-specific forms, designed and promoted as part of elaborate corporate image campaigns. Examined within the context of postwar decentralization, these projects reveal the role of large bureaucratic corporations in manipulating the form of the contemporary American landscape. Beginning in the late 1930s and continuing through the 1950s, American corporations, such as General Motors, promoted the suburbs to the consumer public as a landscape of progress-as the next frontier of American civilization. Through popular exhibitions, such as the Futurama pavilion at the 1939 World{\textquoteright}s Fair, GM created in the minds of Americans a technological image of the suburban landscape, built with the fruits of scientific research and wholly dependent on the automobile. Then, GM and other interested corporations promoted the construction of a national system of highways throughout the 1940s, and began building in the suburbs as soon as World War II ended. In the projects examined here, Eero Saarinen translated the future-oriented pre-war rhetoric of the suburbs into architectural form through the use of new, mass-produced and flexible materials. From porcelain enameled curtain wall panels, neoprene window gaskets, reflective glazing and the first architectural use of Cor-Ten steel, the technological innovations of these projects contributed to an advanced building industry. Culturally, the innovative materials and forms served as progressive icons of the nascent American suburbs. By the 1960s, however, corporate profiteers seized the image of the flexible office building and reduced the role of the creative architect. They developed a transitory commercial landscape and spurred a rising chorus of critics opposed to the tactics of big business and the effects of the suburbs.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Miller, Nancy Ann} } @mastersthesis {8444, title = {Egyptian Royal Sculpture of the Ptolemaic Period}, year = {1999}, school = {IFA/NYU}, abstract = {This dissertation analyzes 150 Egyptian-style statues of the Greek Ptolemaic rulers of Egypt from Ptolemy I through Cleopatra VII (305-30 B.C.) and represents the first comprehensive study of these sculptures. Previously, most scholarly attention focused on Greek-style marble portraits of the Ptolemies and Egyptian works influenced by them, typically viewing the Egyptian material from a Hellenistic Greek point of view. This study gains a new understanding of Egyptian-style Ptolemies by interpreting them from a native Egyptian perspective. Archaeological evidence is gathered in a site-by-site analysis in Chapter 2. Chapter 3 studies statue types (such as the category called sculptors{\textquoteright} studies or votives), materials (principally limestone and granite), and royal attributes (diadem, cornucopia, and triple uraeus, for example). Chapter 4 examines the conception of the royal image, exploring the decision making process regarding how the Ptolemies were portrayed in their Egyptian-style statues. Central to the discussion is a revised interpretation of the native priestly decrees, including Ptolemy V{\textquoteright}s Memphis decree inscribed on the Rosetta Stone, which describe the creation of royal imagery. Chapter 5 outlines a chronological framework, collecting sculptures attributed based on inscriptions, archaeological contexts, and/or close visual and typological similarities to images possessing inscriptions and contexts. Chapter 6 describes and groups sculptures not covered in the preceding chapter and suggests new dates and attributions for many. The catalogue entries fully describe each royal sculpture, providing provenance, material, measurements, inscription, and bibliography. Appendix I divides additional sculptures, many of which were previously attributed to the Ptolemies, into several categories: "Date uncertain" (more analysis is needed to determine a date), "Ptolemaic or Roman" (a Ptolemaic or Roman date cannot be determined on present evidence), or "Roman" (a Roman date is probable). Appendix 2 gathers Egyptian stone statue bases inscribed for the Ptolemies in Greek, demotic, and/or hieroglyphs. Appendix 3 addresses modern imitations of ancient works.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Stanwick, Paul} } @mastersthesis {8450, title = {Elements of Romanization in Hellenistic Etruscan Banquet Scenes}, year = {1999}, school = {Iowa}, abstract = {One of the most important aspects of the Romanization of Etruria is how the adoption of Roman values altered the Etruscan cultural identity. Among specific changes, the role of women in Etruscan society was modified to conform more closely to Roman standards of female behavior. The perceived need for such conformity is evident from the accounts which Greek and Roman authors give of the culturally approved "immoral" behavior of women within Etruscan society compared to the "proper" behavior of their own women. The dichotomy between the behavior of Etruscan women and their Roman or Greek counterparts is best exemplified through the medium of the banquet. Greek and Roman authors are preoccupied with using these social events as a defining measure of feminine moral behavior. How the depictions of Etruscan women at banquets changed over time in different areas provides an accurate indicator of encroaching Romanization. Scholars have stressed the need for such wide-ranging studies of Romanization throughout Etruria because Roman power extended to different Etruscan territories at different times. It is possible to follow the shifting Etruscan cultural values by measuring increases in Romanizing banquet scene changes and then plot increases in Romanizing banquet scene changes and then plotting their distribution geographically and chronologically. The banqueter figures on Etruscan cinerary urn lids provide the single most important indicator for the Romanization of Etruscan banquet imagery. More than one thousand examples survive from ca. 300 B.C. to 20 A.D., the period of Romanization. Additionally, many such sculptures were produced quickly and inexpensively thus permitting many people from different economic classes to purchase them. This study examines the figural urn lids produced at the three major Etruscan centers of Chiusi, Perugia, and Volterra in order to identify iconographic and stylistic traits associated with the spread of Romanization. The funerary inscriptions which appear on many figural urns are also analyzed to determine if they contain levels of Romanization corresponding to those of their accompanying banquet figures. This approach permits the testing of previously held notions about the roles of women in Etruscan society as well as the processes of Romanization on a broader scale.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Caccioli, David A.} } @mastersthesis {8532, title = {Emblem of Faith or Heresy? Iconography of the Descending Christ-Child Figure in Northern European Art from 1100 to 1550}, year = {1999}, school = {Maryland}, abstract = {A small figure of the Christ Child, often bearing a cross, descends into many Medieval and early Renaissance Annunciations. Although it appears in orthodox religious art throughout Europe from the eleventh century into the sixteenth, critics have argued against its orthodoxy, saying that it depicts the "fully-formed body" of the Child himself. However, I demonstrate that it represents his human soul descending from Heaven to acquire his earthly form from the body of the Virgin Mary. This use of the visible to explain the invisible has an honorable tradition in Christian exegesis. In my research, I have consulted contemporary theological treatises and devotional texts with their evocative literary imagery, as well as sermons, contemporary practices in worship, and dramatic productions in order to gain understanding of the images discussed. These images reveal aspects of contemporary life and worship and help us to understand how the medieval beholder might have used such material in his or her own devotions. In this connection, the reciprocal relationship between images and words, both in and out of texts, must be emphasized, and one of the points that becomes clear from this study is the belief in the ability of images to act on the memory and thus to serve as learning devices. Four fifteenth-century masterpieces are examined in detail here for what they can teach us about the evolution of the Christ-Child figure. These studies are set within a framework of earlier and later manifestations of the motif that helps to increase our understanding of the subject. As the study progressed, it became evident that we were also tracing an evolution in the position of the Virgin Mary. While the Catholics elevated her to the position of co-Mediatrix with her Son, the Protestant Reformers sought to return her to what they saw as her true biblical position: a passive instrument of God{\textquoteright}s Grace in the salvation of man. However, the significance of the figure of her Son does not change: it continues to represent Christ{\textquoteright}s human soul as he begins his earthly pilgrimage for man{\textquoteright}s salvation.}, keywords = {Renaissance Art}, author = {Gwatkin, Nina} } @mastersthesis {8408, title = {Embodying Ethos: Anguier, Poussin, and the Concept of Corporal Expression in the French Academy}, year = {1999}, school = {Maryland}, abstract = {The concept of expression in seventeenth-century art history has generally been considered synonymous with the rendering of the transitory "passions of the soul," largely due to Charles Le Brun{\textquoteright}s 1668 lecture to the French Academy. This study will reveal that expression also involved the representation of character through the physiognomic form of the body, demonstrated in the theory and practice of Michel Anguier (c. 1612-86), a highly-esteemed French sculptor and academician. His 1652 series of bronze gods and goddesses offers an important case study, for previously its perplexing stylistic diversity could only be rationalized as "eclecticism." When viewed in relation to Anguier{\textquoteright}s later conference "On the Manner of Representing the Divinities According to their Temperaments," it is shown that this stylistic diversity results from his theory of corporal expression, derived from the study of ancient sculpture alongside Nicolas Poussin. The sculptor{\textquoteright}s remarks reveal that such works were informed by a knowledge of humoral physiology, which remained a viable explanation for temperamental distinctions in the seventeenth century. Since humoral constitution was thought to additionally determine physiognomic appearance, Anguier and Poussin considered how proportion, contour, and the overall dessein of the body externalized temperament. In so doing they imitated the precedent of ancient sculpture, as well as the works of Raphael, who is shown to have similarly incorporated humoral theory. When viewed in the broader context of debates concerning expression in the French Academy, Anguier{\textquoteright}s compelling emphasis on the expressive physiognomy of the body provides a crucial complement to Le Brun{\textquoteright}s privileging of facial pathognomics. Like rhetorical eloquence, expression involved the representation of both pathos and ethos, with the principal aim of affecting the viewer. By relating the sculptor{\textquoteright}s preference for the forceful grand maniere to the grandiloquent manner of rhetoric, we can comprehend how figural style was conceived as an affective means of expressing character.}, keywords = {Baroque and 18th-Century European}, author = {Dabbs, Julia} } @mastersthesis {8404, title = {Emergence of the Stone Sculptural Tradition at Mathura: Mid- Second Century B.C.-First Century A.D.}, year = {1999}, school = {Harvard}, abstract = {Although the region of Mathura is recognized as one of the most important artistic and religious centers in South Asia and is famous for its sculptures dating to the Kusana and Gupta periods (second to sixth centuries A.D.), a systematic examination of the earliest schools of art at Mathura has not hitherto been undertaken. A careful study of the sculptural remains from the mid-second century B.C. to the first century A.D. indicates that Mathura was a vibrant, multi-sectarian center for the production of art and architecture for at least two hundred and fifty years prior to the reign of Kaniska (early second century A.D.). The sculptures created during this early period portray distinctive and influential modes of narrative and iconic imagery that form the bases of the later, more well-known traditions. Hence, an analysis of the beginnings of Mathura sculpture leads to a fuller understanding both of the cultural history of this obscure period in North India and of the art of subsequent centuries. A coherent chronology of this early school of sculpture at Mathura is developed through a combination of stylistic, epigraphic and numismatic analyses. This study is made possible by the existence of several objects that are dated by inscription to this period. Such a chronology and analysis of styles would have been virtually impossible without the combined epigraphic and sculptural evidence provided by a unique group of objects known as ayagapatas, stone plaques carved with devotional bas relief sculptures and dedicatory inscriptions. The same material sheds light on the broader cultural and political history of North India by helping to fix the most plausible date for the reign of Mahaksatrapa Sodasa, and by providing clues as to contemporaneous developments within local Jaina, Buddhist, and Brahmanical sects and among worshippers of yaksas and nagas. The identification of an obscure sect of Jaina monks called ardhaphalakas proves particularly important for understanding the evolution of art and inter-sectarian relations at Mathura, including the rise and popularization of the anthropomorphic representations of Jinas and Buddhas.}, keywords = {Asian Art}, author = {Quintanilla, Sonya Rhie} } @mastersthesis {8425, title = {Engaging the Viewer: Reading Structures and Narrative Strategies in Illuminated Manuscripts of Dante{\textquoteright}s {\textquoteright}Divine Comedy{\textquoteright}}, year = {1999}, school = {Columbia}, abstract = {From the very first line, where we are invited to join the protagonist in "the middle of our life{\textquoteright}s way," Dante{\textquoteright}s Divine Comedy repeatedly attempts to engage us in the narrative. The author suggests that his religious, literary, and political agendas have extraordinary meaning both for our present as readers of the text and for our future as pilgrims on our own spiritual journey in the afterlife. But whether the reader does indeed engage in the narrative and precisely what meaning it thereupon holds for him or her may vary from one encounter with the text to the next. Thus, to discern how Dante{\textquoteright}s contemporaries and near-contemporaries perceived the Commedia we must recover fourteenth- and fifteenth-century responses to it. Although there are seventeen pre-modern commentaries on Dante{\textquoteright}s text, the greatest source for early perceptions of the reader{\textquoteright}s relationship to the narrative is the 2300 miniatures of the Commedia. While classical and scholastic formulas for literary criticism discouraged the commentators from recording their perceptions of the reader{\textquoteright}s relationship to the narrative, the translation of text to image forced the illuminators to address this issue. In positioning the viewer relative to the miniatures by means of perspective, framing, figural arrangement, and other compositional devices, the artists had to reveal their interpretation of the reader{\textquoteright}s relationship to the text. Judging from the differences in how the viewer is addressed from one manuscript to the next, the artists perceived Dante{\textquoteright}s afterworld as ever more fictional and ever less theologically relevant to the reader. Whereas the early fourteenth-century illuminators attempt to give us a first-person perspective of the entire afterworld, the fifteenth-century illuminators attempt to engage us only on narrative occasions and by pictorial means that serve primarily literary or political ends. The artists thus immerse us in the growing secularization of a text that is often considered to be the foundation of modern Italian language, literature, and culture.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Fugelso, Karl} } @mastersthesis {8436, title = {Enotia: The Contexts of Greek Earrings, Tenth to Third Century B.C.}, year = {1999}, school = {Bryn Mawr}, abstract = {Earrings, often worn together with necklaces, bracelets and rings, were one of the most popular forms of jewelry in the Greek world. The present study collects earrings discovered in archaeological contexts from Greece, the Black Sea, Asia Minor, Cyprus and Magna Graecia, dating from the tenth to the third century B.C. Chapter One considers general issues concerning jewelry in antiquity, including the types of ornaments customarily worn, techniques of manufacture, and the primary and secondary evidence for jewelry. A brief overview of the two main archaeological contexts in which jewelry is customarily found, cemeteries and sanctuaries, leads to a consideration of these contexts for the public display of personal wealth. Finally, the evidence from the visual and written sources that relates to jewelry is presented. Chapters Two through Five present the material chronologically, with discussion of the main archaeological contexts that have yielded jewelry, descriptions of specific earring types, and, where relevant, artistic representations of earrings. At the end of each chapter, broader topics concerning jewelry are considered. In Chapter Two, the question of Greek interaction with the eastern Mediterranean is explored with particular reference to jewelry forms and techniques supposedly inspired by the east. Macedonian burial practices are evaluated in Chapter Three with the purpose of identifying various cultural and artistic links among northern Greece, the Balkans and southern and eastern Greece. Jewelry as women{\textquoteright}s wealth is discussed in Chapter Four, using the written evidence from lawsuits and temple inventories. In Chapter Five, the causes and effects of an increase in the corpus of known jewelry are investigated. A summary reviewing the functions of jewelry is presented in the concluding chapter. An appendix documents the earrings discussed in the text, arranged by type and cross-referenced to the description of the form in the text.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Castor, Alexis Q.} } @mastersthesis {8414, title = {Escudos de Monjas/Shields of Nuns: The Creole Convent and Images of Mexican Identity in Miniature}, year = {1999}, school = {Brown}, abstract = {This dissertation is a contextual study and catalog of a Mexican genre of devotional art known as escudos de monjas (the shields of nuns). These small-scale painting and embroideries were worn by Conceptionist, Jeronymite, and some Augustinian and Dominican nuns in colonial Mexico. The escudo de Monja developed out of European roots into a new and distinctive genre of art and cult object found only in Mexico. The religious reforms of the seventeenth century, specifically the restrictions of dress imposed on the convents by the (Spanish) bishops of Mexico, were the impetus for the creation of the new genre. The dissertation considers the escudo de monja as both a religious object, related to the ritual practices of the convents, and as a fine-art object. Both aspects of the escudo de monja worked to produce cultural identity for the creole elite through the institutions of the convents. The program of iconography seen on the escudo and the practice of its use identified the nuns as the embodiments of a Mexican spiritual culture that claimed to be supernatural in its intensity and apocalyptic in its meaning. In the eighteenth century the convents became engaged in an active resistance to the reforms imposed of the bishops; the escudos de monjas also appear to have carried symbolic meaning for the creole elite in the context of that struggle with Spanish authority.}, keywords = {Baroque and 18th-Century European}, author = {Perry, Elizabeth Quigley} } @mastersthesis {8466, title = {Excavating the Goddess in the Nineties}, year = {1999}, school = {USC}, abstract = {The subject of my dissertation is the feminist performance and video done in southern California in the late seventies and early eighties that made reference to women{\textquoteright}s spirituality and the goddess. When I first began researching this topic, it struck me that a lacuna existed in this particular area of feminist art scholarship. Much of the feminist performance done at that time was imbued with cultural feminist values which sympathetic critics such as Gloria Orenstein and Arlene Raven readily acknowledged and documented extensively in their published criticism. Even though there has been a renewed interest in the art produced in southern California in the seventies, there has been very little mention of the role played by feminist spirituality and belief in the goddess for these artists. Following the lead of critics such as Amelia Jones, feminist art historians and critics have shied away from mentioning the invocation of feminist spirituality and the goddess in this art, preferring instead to engage it in terms of more contemporary concerns, such as the use and meaning of the body, the autobiographical articulation of identities, and its relationship to contemporary feminist activist art. In my dissertation, I explore the body-based feminist performance art in southern California by taking as my point of departure the terms and meanings that the artists themselves gave their work. I have concentrated on a handful of artists and performance collectives, all of whom were connected in some way with the Woman{\textquoteright}s Building and all of whom were interested in either alternative feminist spirituality or the goddess: Suzanne Lacy and Leslie Labowitz, The Waitresses, Barbara Smith, Linda Montano, Cheri Gaulke, Terry Wolverton and the Oral Herstory of Lesbianism. Rather than taking the writings and interviews of these women at face value and therefore dismissing them as hopelessly essentialist, I have attempted to re-situate their art production within the context in which it was originally produced. Using the sophisticated theories of performance and performativity articulated in the nineties by Peggy Phelan, Judith Butler and Amelia Jones, I argue that the invocation of the goddess was both politically proactive and deeply disruptive to the male dominated, modernist art world.}, keywords = {Art Criticism and Theory, Post-1945 Art}, author = {Klein, Jeannette} } @mastersthesis {8471, title = {Experimental Art: John Cage, Robert Rauschenberg and the Neo-Avant-Garde}, year = {1999}, school = {Harvard}, abstract = {This dissertation explores the importance of John Cage{\textquoteright}s ideas and aesthetics within the context of the visual arts in America. Specifically, it examines the development of a paradigm of post-War avant-garde production that emerged in the summer of 1952 when Cage encountered Robert Rauschenberg{\textquoteright}s White Paintings at Black Mountain College. According to the influential argument advanced in Peter Burger{\textquoteright}s Theory of the Avant-Garde (1974), post-War neo-avant-garde art such as Rauschenberg{\textquoteright}s represents a repetition of earlier avant-garde strategies and institutionalizes and annuls their formerly radical potential. Rejecting such a position, this dissertation argues that Cage and Rauschenberg were instrumental in transforming the major tenets of historical avant-garde thought as they formulated an aesthetic that Cage specifically termed "Neo-dada." Drawing attention to the previously unexamined historical and theoretical connections between Cage{\textquoteright}s aesthetic outlook of the fifties and the philosophy of Henri Bergson, I argue that this new paradigm of neo-avant-garde production was based on a critique of negation in which difference was no longer conceived as negative, but as a creative force. From this perspective, the dissertation investigates the manner in which Cage and Rauschenberg reformulated such avant-garde strategies as the monochrome canvas, chance techniques, collage and photomontage. Rejecting the historical avant-garde reliance on "shock" and the goal of forging a collective form of subjectivity, Cage and Rauschenberg developed a sophisticated implementation of Bergsonian ideas of "multiplicity" and promoted an aesthetic-political goal of forging a radical and liberating form of individuated reception. This program found expression in Cage{\textquoteright}s discussion of "experimentation," an idea later adopted into the philosophical thought of Gilles Deleuze and Felix Guattari. The dissertation proceeds to examine the idea of "experimentation" as it was adopted and transformed by Allan Kaprow in the late-fifties and sixties and elucidates the important aesthetic and political stakes at issue in the differences between Cage{\textquoteright}s and Kaprow{\textquoteright}s views. The final section discusses the relationship between Cage{\textquoteright}s work and Andy Warhol{\textquoteright}s film Sleep, likewise examining the differences in their aesthetic positions. Finally, an extended appendix chronicles the early decades of Cage{\textquoteright}s artistic development within the context of the avant-garde of the 1930s and 40s.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Branden, Joseph} } @mastersthesis {8438, title = {Female Archaistic Statue Supports: Motives for Archaizing in Greek and Roman Statuary}, year = {1999}, school = {Harvard}, abstract = {This dissertation critically examines for the first time a group of twenty-seven Greek and Roman marble sculptures, datable to the late fifth century B.C. through the second century A.D., which show statues in either Classical, Hellenistic, or Roman style leaning on supports represented as female figures in archaistic fashion. The information is presented in five parts: (1) Catalogue; (2) Historiography; (3) Typology; (4) Chronology, Distribution and Context; and (5) Interpretations. The Catalogue provides systematic documentation from first-hand examination and/or research that yields new observations about the style and context of these statue groups. For each sculpture there is a comprehensive bibliography and a commentary that focuses on chronology, provenance, and stylistic type. "Historiography" is a synthesis of past scholarship pertaining to the origins of and motivations for the use of the archaistic style, and that which concerns the more general use of figural supports in Greek and Roman art. "Typology" consists of two parts, first of the female archaistic statue supports and then of the leaning figures. It is proposed that the supports fall into two essential types based on dress, and that the associated leaning figures represent at least five different divinities, although Aphrodite occurs most frequently. "Chronology," based primarily on stylistic comparisons of the leaning figures with more securely dated works and archaeological context when known, establishes when this type of composition first occurs at the end of the fifth century B.C., and when it is most frequent during the late Hellenistic period and again in the Imperial period. "Distribution," based on stylistic analysis and provenance, considers the most important areas of production and innovation during the Classical, Hellenistic, and Roman periods. "Context," postulated on the basis of archaeological evidence, considers a variety of functions for these statue groups in both private and public displays. Finally, some "Interpretations" are suggested for this type of composition. The author introduces new identities for the Tarquinia Goddess, and for the other statues and their supports based on careful consideration of iconographic details and characteristics of the archaistic style.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Hemingway, Colette Czapski} } @mastersthesis {8524, title = {The Figuring of Excess in French Renaissance Art}, year = {1999}, school = {Chicago}, abstract = {This dissertation identifies an ideology of natural superabundance associated with France in the sixteenth century and expressed in visual terms through the copious use of ornament and an emphasis on fertility imagery. Sixteenth-century theories of Art and Nature took a particular turn in France, where Nature was identified with Frenchness and art and artifice with Italian influence. I study the French appropriation of classical imagery and mythology from Italian sources, which lent prestige to the king and to the nation; the ambivalent status of allegory in relation to visual images; the practice of artistic collaboration and the sexual metaphors through which art and nature were understood. I trace anxieties regarding excess (in artifice, luxury, and sexuality) in relation to Protestant and Catholic ideas about image-making. My primary objects of study include the Galerie Francois I at the Chateau of Fontainebleau, the work of draftsmen and engravers in the mid-sixteenth century who made its imagery widely available, the iconography of terrestrial abundance, ideas about gold, fashion and luxury objects, and the genre of the nude portrait.}, keywords = {Art Criticism and Theory, Renaissance Art}, author = {Zorach, Rebecca} } @mastersthesis {8468, title = {Flying and Touching Down, Abstraction, Metaphor, and Social Concern: The Use of Conceptual Form among Mexicans and African-American Artists, 1968-1983}, year = {1999}, school = {Yale}, abstract = {This dissertation presents a crosscultural discussion of artists{\textquoteright} use of conceptual art in the service of mass audiences. It considers works by Mexican artists Felipe Ehrenberg, Lourdes Grobet, Sebastian, and collectives Marco and Proceso Pentagono, and the African Americans David Hammons, Senga Nengudi, and Adrian Piper. With a focus on artists{\textquoteright} books, photography, graphics (including mail art), installation, and performance, it explores how different cultural contexts and social and political concerns affected the artistic process and the material conditions of objects. Conceptual strategies offered easily attainable and effective means of expression for those whose economic situations prohibited the creation of expensive paintings or sculpture. Its language-based critique of art and institutions, could also be used in a wider arena to comment on cultural and political authority, and to call attention to the problems of society. Conceptual methodologies echoed strategies inherent in Mexican and African American historical and popular traditions as well, resulting in every action, (non)construct, and word constituting metaphoric and symbolic gestures that were not simply self-referential but culturally specific. The Introduction sets the stage for a comparison of the work of Mexican and African American artists using the 1968 Olympic Games as a shared event in their histories. Chapter One investigates the use of language and text, including mail art (Ehrenberg), concrete poetry (Marco), vernacular speech (Hammons) and conceptual "documents" (Piper). Chapter Two explores installations in a variety of media such as black hair (Hammons), pantyhose (Nengudi), paper constructions (Sebastian), and photographic and multimedia labyrinths (Grobet, Proceso Pentagono). Chapter Three looks at performances in which artists fused elements such as sculpture and dance (Nengudi), photography and pedagogy (Grobet, Ehrenberg), and gesture, difference and subjectivity (Hammons, Piper). The Conclusion sums up how these Mexican and African American artists drew on their specific cultural contexts in creating works of conceptual art in the service of mass audiences.}, keywords = {Post-1945 Art}, author = {Kellie Jones} } @mastersthesis {8538, title = {Formation of the Artist: Michelangelo{\textquoteright}s Early Drawings}, year = {1999}, school = {Washington University}, abstract = {The formation of one{\textquoteright}s artistic abilities is an inner, personal development unique to each artist. As a result, it is difficult to understand and to trace the maturation of an artist{\textquoteright}s skills. In many cases, we lack the necessary sequential evidence from which to interpret and construct a complete view of how an artist becomes a master. In the case of Michelangelo, given the scarcity of his early works in painting and sculpture, the approximately 100 extant drawings he executed dating from the years of his apprenticeship to the completion of the Sistine Ceiling-1488-1512 constitute the most important and consistent record of the artist{\textquoteright}s mastery of his craft. My methodology consisted of observation and imitation; repeated examination of the original drawings was combined with hand copying all of the sheets in order to analyze artistically Michelangelo{\textquoteright}s creative processes. I examined all the drawings as an interrelated and coherent body of material to reconstruct Michelangelo{\textquoteright}s artistic formation from apprentice to master. Studied as a whole, the drawings demonstrate that Michelangelo began like any other Renaissance apprentice and developed steadily through his work on a number of commissions which culminated in his artistic maturation at the age of thirty-seven.}, keywords = {Renaissance Art}, author = {Pascuzzi, Alan} } @mastersthesis {8388, title = {Francisco Hayez and the Byronic Influence on Italian Romantic Painting}, year = {1999}, school = {Temple}, abstract = {Throughout his career, Francesco Hayez (1791-1882) adopted northern Romantic source material and ideologies. Although he drew inspiration from various authors and poets, he was particularly influenced by Lord Byron. This is most evident in his use of nationalist and heroic themes. As a result, Hayez founded a trend in Italian painting that corresponds to northern European Romantic artistic developments. As early as 1826, a decade after the exhibition of his "romantic manifesto" Pietro Rossi. Prisoner of the Scaligeris, Hayez painted a series of works based on the Greek War of Independence, a cause frequently championed by Lord Byron. In these works, Hayez focused on the Greek refugee as an oppressed victim of Turkish despotic forces. His earliest example, Exiles of Parga, illustrates a political travesty that forced the inhabitants of a small Ionian island to flee their homeland in an attempt to retain their liberty. This is also the predominant theme in his boat paintings, completed between 1833 and 1839, which depicted Greek heroes in flight. Lastly, his now lost work entitled The Sortie of the Defenders of Missolonghi glorified the heroic sacrifice of the Greek people in their struggle for liberty, while simultaneously recalling the death of Lord Byron at that site two years previously. The majority of Hayez{\textquoteright}s Greek subjects illustrated ideas gleaned from Byron{\textquoteright}s democratic ideology, but one work, Hayez{\textquoteright}s Portrait of Carlo Prayer as the Character Alp (1832) addressed Byron{\textquoteright}s poetry directly by depicting one of his characters from The Siege of Corinth. In this work, Hayez created a modern and unorthodox hero type that stemmed from Byronic precedents. The complexity of the characterization, emphasized through the use of multiple genres, suggests that Hayez had a sophisticated and profound understanding of his Byronic models. Later in his life, during the 1840s and 1860s, Hayez made a series of paintings based on Byron{\textquoteright}s Venetian dramas The Two Foscari and Doge Marino Faliero, Doge of Venice. Although both subjects were previously described by historical authors, Hayez{\textquoteright}s interpretations resembled Byron{\textquoteright}s in their recognition of unjust tyranny and the paradoxical roles of the public and private the public and private man.}, keywords = {19th-and Early 20th-Century European Art}, author = {Watts, Laura Lynne} } @mastersthesis {8488, title = {Frans Kracjberg: Art in Defense of the Forest}, year = {1999}, school = {Texas Tech}, abstract = {This dissertation is the first comprehensive study in the United States of the Brazilian artist Frans Krajcberg. It documents his art and his life from his youth in pre-war Poland to his current status as an internationally-acclaimed environmental artist. Drawing on Krajcberg{\textquoteright}s ecological concerns and on environmental art discourse, it explores the subject of his environmental aesthetic, placing him at the forefront in Brazil. It also assesses the influence of his art and his environmental activism on public attitudes. Chapter II introduces the major phases of Krajcberg{\textquoteright}s work to acquaint the reader with his media and processes from painting and reliefs to sculpture and photography. Chapter III is a biographical study. The trauma of World War II and the loss of his family play a major part in his creative work. His childhood reflects the tragedy of anti-semitism. Emerging after the war, he searched for himself as both an artist and a human being, eventually finding both aspects in the forests of Brazil. Chapter IV assesses the impact of Krajcberg{\textquoteright}s art on public attitudes, focusing on the period from 1975 forward, when he began to devote his creativity to being a force for positive change by defending the environment, specifically Brazilian forests. Its several critical perspectives increase understanding of his environmental and ethical aesthetic, which is based on the forms found in nature and promote a determination of whether and how he has achieved his stated goal of defending the environment through his art. Krajcberg{\textquoteright}s creative production demonstrates the inextricability of biography, social/political milieu, and aesthetics. The desecration of the environment, especially through burning, provides the perfect forum for Krajcberg to express his personal tragedy while supplying the quintessential materials for his work. His photographs of pristine and degraded nature and his sculptures of burned and discarded wood from the Amazon forest express a redeeming aesthetic quality and a message to the viewer about loss. These residual shapes forged by fire and reconstructed by Krajcberg claim us aesthetically with their formal qualities and accost our environmental consciousness with the reality of those scarred landscapes.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Walters, Roberta L.} } @mastersthesis {8486, title = {From {\textquoteright}African Savages{\textquoteright} to {\textquoteright}Ancestral Legacy{\textquoteright}: Race and Cultural Nationalism in the American Modernist Reception of African Art}, year = {1999}, school = {Columbia}, abstract = {The history of the influence of African art on modernism has been directed primarily toward Europe. This dissertation instead investigates issues in modernist primitivism in the United States, specifically the influence of exhibitions of African objects held in art, not ethnographic, venues and the impact of a multi-racial, multi-ethnic society on the reception of African art. The eve of World War I through the early 1930s saw shifting approaches to African art. The first modernist exhibition of the work in the United States or Europe at Alfred Stieglitz{\textquoteright}s Gallery "291" in November 1914 was still premised on totalizing ideas of the world{\textquoteright}s evolution from African "savages" to European "civilization." One post-war reaction to these cataclysmic hostilities saw a growing interest in the local and the folk. The exhibition of African art at the Brooklyn Museum in 1923, despite presenting 1400 objects, virtually disappeared from memory because it did not conform to the growing cultural nationalism of the 1920s when Euro-American artists turned away from African art, seen as too allied with the French avant-garde, and toward Native American art and culture. Black modernists, segregated within their own country, had a different relationship to the objects they considered their "ancestral legacy." Alain Locke created The Harlem Museum of African Art to present a holistic cultural approach to the work as an alternative to the ethnographic vs. aesthetic dichotomy. American artistic responses to African art often had no corollaries in the model of European modernism. The impact on photography is examined, demonstrating that Alfred Stieglitz mid Charles Sheeler learned lessons from African art that influenced the development of straight photography. The work of two black artists, Amon Douglas and Sargent Johnson, demonstrates that the presence of Egypt and Ethiopia in the New Negro idea of Africa produced unique African-American styles. The recognition of the hybridity of the post-colonial encounter of African art by Americans of various races and ethnicities creates a platform for the writing of a more inclusive history of American modernism.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Shannon, Helen} } @mastersthesis {8376, title = {From Documents to Monuments: The Representation of Spain and the Avant-Garde in the 1930s}, year = {1999}, school = {Yale}, abstract = {This dissertation examines two fundamental issues that intersected in Spanish art of the 1930s: the desire to study, reconstruct, and imagine things rural and the overwhelming embrace of the "document" to do so. Amidst social turmoil-the last year of General Primo de Rivera{\textquoteright}s dictatorship, the Second Republic, and the Civil War-the avant-garde, ethnographic institutions, and the dominant political forces shared in the production and appropriation of images of rural Spain from 1929 to 1939. When issues of nationalism, centralization, and reform were highly contested, the "document"-photographic, filmic, textual-offered a shared reference point for artists, government agencies, and the masses. To demonstrate the Spanish avant-garde{\textquoteright}s participation in these debates, I focus on four cases: Salvador Dali and the 1929 Barcelona International Exhibition, Luis Bunuel{\textquoteright}s 1933 documentary Las Hurdes: Tierra sin Pan, Josep Renau{\textquoteright}s photomurals for the Spanish Pavilion at the 1937 Paris International Exhibition, and Salvador Dali{\textquoteright}s 1938 Le mythe tragique de l{\textquoteright}Angelus de Millet. In all, the writings and works of the avant-garde intersect with those of the nation{\textquoteright}s institutions and politico-ethnographic archives. Artists known for their participation in the French avant-garde were actively engaging issues and images with highly mediated national significance. In situating these artists with their compatriots, a new understanding of Spanish artistic production emerges. As the relation of radical artists to government changed over the course of the decade, becoming closer as the Civil War approached, artists turned back to the visual artifacts that had marked the turn of the century and the 1920s. Recycling images that had a public history in the press, these artists were self-conscious consumers and producers of a national "archive" of ethnic representations. Dali, Bunuel, and Renau were commentators on and fabricators of agrarian myths. Far from uniform in their responses to this problematic, their work indicates the complexity of Spain{\textquoteright}s reception of and contribution to European modernism.}, keywords = {19th-and Early 20th-Century European Art}, author = {Mendelson, Jordana} } @mastersthesis {8520, title = {From Dynamism to Objectivity: The Late Career of George Bellows}, year = {1999}, school = {Kansas}, abstract = {George Bellows (1882-1925) has long been recognized as one of the more important artists in the United States in the early twentieth century. His paintings are continually shown in American art surveys and reproduced in the survey texts on American art. However, the information the average student or independent reader receives on Bellows from the survey texts constitutes a partial view. Most surveys focus only on the early years of his career, and Bellows{\textquoteright}s relevancy to American art after 1913 is often ignored in favor of other artists and styles. Critics have frequently dismissed Bellows{\textquoteright}s late style as the result of misguided modernism or finite creativity. While he may have responded to modernism only half-heartedly with innovations in his color and composition, Bellows developed a new style that allowed him to examine effectively the changing attitudes of the post-war culture. Like his modernist contemporaries, Bellows looked to the world around him for inspiration and experimented relentlessly for a new language in which to capture that experience. As such, Bellows{\textquoteright}s late paintings are the ideological products of the 1910s and early 1920s. He subscribed to the idealism of the Progressive era, responding on an aesthetic level to the hope of a better society. The artist increasingly sought aesthetic objectivity as a means of bringing into his paintings order, harmony, and perfection-the loftiest ideals motivating progressivism. He found validation for his beliefs in figures as varied as Woodrow Wilson, H. G. Wells, and his teacher Robert Henri. This stylistic objectivity acted as a remedy to the violent disorder of World War I and later the failed expectations of Wilsonian idealism. This dissertation interprets Bellows{\textquoteright}s late work through this framework, focusing on six paintings in particular: The Studio (1919), The White Horse (1922), Emma and Her Children (1923), The Crucifixion (1923), Dempsey and Firpo (1924), and Two Women (1924).}, keywords = {Pre-1945 North American and South American Art}, author = {White, Mark Andrew} } @mastersthesis {8377, title = {From "Fountain" to Fetish: Duchamp, Man Ray, Breton and Objects: 1917- 1936}, year = {1999}, school = {Pennsylvania}, abstract = {When Marcel Duchamp attempted to exhibit an industrially manufactured urinal as art in 1917, he signaled a fundamental reevaluation of the materials and means of making art. His readymades have long been considered pivotal in the history of art, but have yet to be considered in the historical and theoretical context of the object art that succeeded them. Beginning at the First Exhibition of the Society of Independent Artists in New York and ending almost twenty years later at the Exposition surrealiste d{\textquoteright}objets in Paris, this dissertation traces an early history of object art, especially with regard to the oeuvres of Man Ray and the surrealists associated with Andre Breton in Paris. By looking at these artists{\textquoteright} various handling of the mechanisms of desire, I argue that objects enable a corporeal experience of art and thus offer an important counter example to the notion that twentieth-century modernism is defined by aesthetic distance and the autonomy of the work of art. Whether the seemingly indifferent selection of a plumbing fixture or the suggestive enveloping of a store-bought teacup by a scrap of fur, the art under investigation derives from a world marked by objects at once disposable and treasured. The frame of fetishism as it takes shape in economic, sexual, and religious theory, helps to delineate not only the ways in which these objects operate as art, but also the significance of the turn to objects in the interwar years for art in general. This broad investigation encompasses particular examples that range from the role of flea markets in Breton{\textquoteright}s theory of objective chance to Haitian voodoo and Sadism in Man Ray{\textquoteright}s "Object of Destruction," 1923-32, or the conflicting politics of Colonialism displayed by the juxtaposition of tribal and surrealist objects at the Galerie Charles Ratton in 1936.}, keywords = {19th-and Early 20th-Century European Art}, author = {Mileaf, Janine A.} } @mastersthesis {8512, title = {From Total War to Total Living: American Architecture and the Culture of Planning, 1939-1945}, year = {1999}, school = {Princeton}, abstract = {This dissertation examines how American architects during World War II imagined the world after the war. It proceeds from two entangled events and the cultural milieu that resulted. First, after a decade of depression, the rationing and building restrictions of war threatened to bring architectural practice to a halt. Second, at the same time, the United States witnessed the rise of a "culture of planning." Social, economic, regional, and urban planning, once loosely related, under the auspices of the New Deal and the pressures of war grew into a widespread cultural phenomenon. Under these conditions, many of the leading architects of the day became convinced that traditional practice was dying and that the profession had to make a shift to planning. They jettisoned the trappings of traditional practice, and between 1942 and 1945 refashioned themselves as planners. Planning became, for a brief period, as monumental a professional issue as the rise of engineering had been in the previous century. The study focuses on the paper architecture and writing of the war years-all created in anticipation of the postwar period-in order to recreate the culture of planning in light of architectural thought and practice. In turn, it marshals the writings of leading modernists such as Eliel Saarinen, Jose Luis Sert, Joseph Hudnut, Sigfried Giedion, and Louis Kahn; articles in the mainstream and professional press; home planning scrapbooks, and a range of advertisements and pamphlets from the building industry. From these sources, the architectural rhetoric and visions of the homefront are read against contemporary economic rhetoric. This comparison reveals the broad shifts in the architectural profession, showing how the Modern Movement crystallized in the United States in the context of the much wider cultural ethos of planning. It also demonstrates the extent to which modern architecture became integral to the construction of national identity in the postwar period. Finally, this work traces the ultimate decline of planning at the hands of a strong anti-planning reaction in Congress and the building industry that set the pattern for much of American postwar planning. Dissertation available at Seeley G. Mudd Library, Princeton University.}, keywords = {Pre-1945 North American and South American Art}, author = {Shanken, Andrew} } @mastersthesis {8427, title = {The Function and Status of Carved Ivory in Carolingian Culture}, year = {1999}, school = {Michigan}, abstract = {This study is an investigation into the semiotics of carved ivory objects in the Frankish Empire of the ninth and early tenth centuries. It argues that a number of distinctive social practices involving ivory emerged in this period that made carved ivory a newly desirable category of art object, with culturally specific connotations. It attempts to uncover some of the codes of signification that are critical for understanding what medieval viewers (including ivory sculptors) brought to bear in their appraisal of ivory objects, and it offers a series of models for reading Carolingian ivories and for examining Carolingian texts that mention ivories. The first chapter examines inventories, preserved in estate-surveys, legal records of gifts, and narrative histories, that mention ivory, Cumulatively, these documents provide a clear indication of the qualities of ivory that Carolingians deemed defining and admirable, as well as information about ivories{\textquoteright} place in an economy of gift-giving and exchange. The second chapter examines the ninth-century practice of re-using and re-carving ancient ivory plaques. It claims that, during this period, ivory was considered-and indeed valued as-a protean material, subject to mutations in its appearance and context. The third chapter explores the distinctive contributions of Carolingian ivory-carvers to the depiction of gospel narratives. Ivories served as the principal field for complex visual narration at this time; this chapter, through a discussion of specific narrative techniques, assesses the ways in which properties peculiar to the material of ivory interacted with the exigencies of story-telling. The final chapter serves as an historiographical epilogue to the previous three. It explores the moment in the nineteenth century when the category of ivory could be said to have been invented as an art-historical category. In so doing, it highlights the distinction between Carolingian notions of ivory and those assigned to ivory by modern art historians. This study also includes a list of inventories from the Carolingian period, a catalog of ivories recarved and reused in the Carolingian period, as well an excursus that explores what middle eastern sources from the ninth and tenth centuries tell us about the international ivory trade.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Holcomb, Melanie E.} } @mastersthesis {8396, title = {Gems in the Crown of Bengal: The Creation of Ratna Temples and Gaudiya Vaishnava Identity}, year = {1999}, school = {Pennsylvania}, abstract = {This work identifies the formation of a distinctive temple-type in seventeenth-century Bengal. This architectural form, called Ratna (jewel), is hailed as new in the temples{\textquoteright} dedicatory inscriptions. I assert that the temples are new in being double-storied, that is, in their incorporation of an upper shrine, stacked above the conventional sanctum on the lower level. I argue that the particular historical context of the seventeenth century-the spatial requirements for a new set of rituals for the emergent Gaudiya Vaishnava community, and the need for the newly established Malla dynasty of Vishnupur to legitimate itself through affiliation with the spiritual leaders of the Gaudiya Vaishnava movement-provided fertile ground for experimentation in temple forms toward the creation of the Ratna temple. The temples use the earlier Bengal Sultanate mosque{\textquoteright}s square box-like structure as a base for the upper shrine. In doing so, they assert the political agenda of their royal patrons as heirs to the authority of the independent sultans of Bengal during the Mughal military conquest and initial establishment of Mughal sovereignty in the region. Multiple architectural forms are selected for the upper shrine above the consistent Sultanate base. These range from miniature vernacular thatched huts, Sultanate mosques, palatial pavilions, older temple forms and combinations thereof. I explore each for its range of social, political and symbolic meaning for the community of users. This unique architectural pastiche is sheathed in a terra cotta veneer that draws attention to the new spatial organization of the temple compound that departs dramatically from older temple complexes. The terra-cotta facade highlights the dual entrances and axes of these temples that accommodate traditional priestly rituals and Gaudiya Vaishnava performance on a daily basis.}, keywords = {Asian Art}, author = {Pika Ghosh} } @mastersthesis {8519, title = {Genteel Production: Art and Labor in the Images of Women Sewing by Tarbell and Weir}, year = {1999}, school = {Maryland}, abstract = {The dissertation examines images of refined women sewing by hand in American art production of the Gilded Age as expressions of conflicting and competing values inherent in the turbulent societal changes of their day. Specifically, the study looks closely at portrayals of genteel sewing figures by the American artists Edmund Tarbell (1862-1938) and J. Alden Weir (1852-1919) as representative of the motif in the last two decades of the nineteenth century and the first two of the twentieth. An analysis of the tension created between the quiet containment of the figures and their portrayal as actively producing, prompts a reading of the depictions as both resisting and promoting societal change. I explore the multiple meanings of the sewing figures as reflecting and contributing to shifting perceptions of needlework in the era as productivity and leisure, utility and gentility, liberation and confinement, art and labor, finding that the theme in turn-of-the-century America eludes a single, simple interpretation. Studying the motif historically and in the context of contemporary popular culture and needlework practice, I argue that among their mutable meanings, the images embody idealistic goals of the Aesthetic and Arts and Crafts movements as embraced in America by progressive reformers-to solve social ills by elevating taste, spreading beauty, and adding joy to the work of the laborer through the hand production of beautiful things.}, keywords = {Pre-1945 North American and South American Art}, author = {Wardle, Marian} } @mastersthesis {8433, title = {Gorleston Psalter: A Study of the Marginal in the Visual Culture of Fourteenth-Century England}, year = {1999}, school = {IFA/NYU}, abstract = {The Gorleston Psalter (London, British Library, MS Additional 49622) was made in the second decade of the fourteenth century, most probably in Norwich, and is one of the cornerstones of the so-called East Anglian School of manuscript illumination. It is celebrated for several aspects of its decoration, for an added full-page Crucifixion miniature in an Italianate style, for the exuberant borders and historiated initials that mark the major divisions within the text, and for the marginalia-the figures and scenes that animate the margins of almost every page. This dissertation examines these latter images and finds that while they tend to be secular in subject, they bear a great deal of meaning in relation to the religious text and to its use in the practice of devotion. In addition, some of the marginalia can be shown to speak to specific concerns of the patron, who is argued to be John, the eighth Earl of Warenne (1286-1347). The dissertation has four chapters and an introduction. The Introduction briefly outlines some of the key questions, reviews essential literature on the subject, describes the visual characteristics of the Gorleston Psalter and considers the background of the designer of the marginalia. Each of the subsequent chapters considers the relevance of a type or subject that is especially prevalent in the margins. Chapter One examines both the animals and the hybrids composed of animal and human parts, as these are the most numerous figures in the manuscript, and they help to establish how meaning could be conveyed by the marginalia. Chapter Two looks at the rabbit in particular, as its treatment in conjunction with certain heraldic devices argues in favor of identifying the patron of the manuscript as John of Warenne. Chapters Three and Four focus respectively on images of churchmen and knights, the two professional classes that are most often represented, and most often lampooned, in the margins. Humor characterizes much of the marginalia, in fact, but this dissertation argues that moral instruction was just as important to their conception and deployment.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Nishimura, Margot Mcilwain} } @mastersthesis {8351, title = {Hannah Hoch: On Her Own after Dada}, year = {1999}, school = {Minnesota}, abstract = {This dissertation is an interdisciplinary study that investigates certain pivotal themes that have been neglected in the consideration of the photomontages of Hannah Hoch from 1919 to the early 1930s. Through the photomontages she created while a member of the Berlin Dada group and throughout the 1920s and early 1930s, Hoch critiqued the ways the illustrated press reconstituted visual culture and human identity, challenging their constructions through her own alterations of bodies, space, and syntax. Considering Siegfried Kracauer{\textquoteright}s essay on photography of 1927, I argue that Hoch was the first artist to centralize the position of the mass media in her work, making it the site of a profound disruption between image and reality, seeing and perceiving, that attended the modern individual{\textquoteright}s relationship to an ever-expanding image world. Three avenues of investigation form the basis of my discussion of Hoch{\textquoteright}s engagement with modern mass culture. First is the developing discourse of film, starting here in the 1910s with the popular cinema and continuing through the extraordinary explosion of interest in the structural, perceptual, and phenomenological implications of moving pictures in the late 1920s and early 1930s. This chapter will show how the world of both popular and avant-garde film and its distinctly dadaistic fracturing of visual and cognitive perception found its counterpoint in photomontage, and Hoch{\textquoteright}s photomontages in particular. The second chapter deals with the integral relationship of Hoch{\textquoteright}s "portrait" photomontages to new typological and physiognomical modes of portraiture during the 1920s. Through her use of established models of character analysis, such as the silhouette and profile, deconstructed into the mere semblance of identification, Hoch critiques what Helmut Lethen has described as the "behavioral guides" regulating behavior and identity during the Weimar Republic. The third chapter charts the discourses that attended the creation of Hoch{\textquoteright}s series known as "From an Ethnographic Museum" from around 1930. In this case, we see how several issues-the resurgence of the typology of the "eternal female," the force and power of a new European "bush cult," and a new concern for ethnographic authenticity-become implicated in the hybrid construction of Hoch{\textquoteright}s photomontages.}, keywords = {19th- and Early 20th-Century European Art, Post-1945 Art}, author = {Makholm, Kristin} } @mastersthesis {8394, title = {Haunting the Buddha: The Influence of Indian Spirit Religions on the Formation of Buddhism}, year = {1999}, school = {UCLA}, abstract = {When looking at the art that adorns even the earliest Buddhist monastic centers one is confronted by a contradiction. The architecture of these monasteries, which the canonical literature describes as being dedicated to non-attachment and transcendence, is decorated with minor deities and spirits which are directly associated with wealth, health and worldly success. Few scholars have addressed this seeming contradiction and most simply dismiss these images as being concessions to popular demand. This work is an attempt to see the presence of these figures at Indian Buddhist sites as part of a process by which the samgha (the Buddhist monastic community) intentionally incorporated folk deities into Buddhist contexts. This process was actively pursued by the monastic community and gained them clear benefits. It provided the samgha with a social role as the tamers and keepers of potentially dangerous and unpredictable spirits which, in turn, gave the monastic community a much needed public role. This new social relevance ensured Buddhist patronage after the cessation of royal support (c. 200-100 BCE) and provided the monastic community with a methodology for expansion. This monastic role as the converters and tamers of troublesome spirits is well attested in both the popular literature and the material evidence.}, keywords = {Asian Art}, author = {Decaroli, Robert} } @mastersthesis {8457, title = {The Heiltsuk Case: Museums, Collectors, Inventories}, year = {1999}, school = {Victoria}, abstract = {The art of the Heiltsuk of the central coast of British Columbia is not well known to non-aboriginal people and has been frequently misrepresented in the literature on the Northwest Coast. Because the majority of historical art from Bella Bella and other Heiltsuk communities is now in museums, ideas about Heiltsuk art and culture have been shaped largely by the museum collections from this region. While it is recognized that museums impose new organizations and narratives on the objects they display and store, how this happens is often less clear. To elucidate the process, the current methodological study analyses in detail the Heiltsuk collections of four major museums: the National Museum of Natural History (Smithsonian Institution), the American Museum of Natural History, the Royal British Columbia Museum, and the Canadian Museum of Civilization, and makes reference to Heiltsuk art and artifacts in other collections. Close examination of the composition and documentation of, and motivations for, these collections reveals both the diverse inventories used to create the museum-structured representation of Heiltsuk culture and the processes of their accumulation. The dissimilar agendas, knowledge, and opportunities of the artifact collectors influence museums{\textquoteright} portrayals of Heiltsuk culture. The study deals only with Heiltsuk collections but its findings and methodologies are applicable to other Northwest Coast collections.}, keywords = {Native American and Pre-Columbian Art}, author = {Black, Martha} } @mastersthesis {8448, title = {Hermonax: An Early Classical Vase-Painter}, year = {1999}, school = {Missouri}, abstract = {The dissertation addresses the career of Hermonax, an Athenian vase-painter of the Early Classical period. His name is known from a number of signed works, and the catalogue includes almost two hundred attributions, to his hand. His career spanned the years between c. 475 B.C. and 450 B.C. The scholarly literature pertaining to Hermonax and the history of attributions are surveyed, before proceeding to the documentation and analysis of the writing and graffiti on his vases, his drawing style, the shapes and non-figural decoration of the vessels, and their iconography. The stylistic associations of Hermonax with the Berlin Painter, Makron, the Providence Painter and the Achilles Painter set forth in the work of J. D. Beazley are supported by the vase-profiles and by the shared arrangements of figural and non-figural decoration on the vessel surfaces. The goals of the study of Hermonax are to analyze and document the painter{\textquoteright}s work and to place him in the context of the Athenian pottery industry in the years between the Persian Wars and the budding of the Parthenon. The study of the works by individual craftsmen in the Kerameikos may aid in the identification of the networks of association between potters and painters in the Kerameikos and, ultimately, may contribute to a better understanding of this important craft-industry that supplied both local Athenian and foreign markets with ceramic wares for the home, sanctuary and grave. The dissertation includes a catalogue of works signed by and attributed to Hermonax with discussions of the decoration and references to published illustrations. A number of works in Hermonax{\textquoteright}s manner or otherwise related to his vases are catalogued as well. In addition, profile drawings of over fifty vases by Hermonax and related artists are included.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Benson, Lisa} } @mastersthesis {8406, title = {The Heroic Image: Self-Sacrificial Decapitation in the Art of India}, year = {1999}, school = {UCLA}, abstract = {This dissertation studies self-sacrificial images, specifically head-offering images in Indian art. It considers why self-sacrificial images were produced and why they became paradigms of heroism. It seeks to answer why visual records of self-sacrificing heroism were considered necessary and it explores the power of that heroic image of self-giving. The fear of self-annihilation, is a catalyst for much religious thought. Indian religions faced the fear of death resolutely and used that fear in rituals of self-oblation to define self-identity and divine communion. Self-sacrifice demands that the offerant formulate the question: what is more important: self-preservation or absorption into the cosmic matrix? If the later, the conundrum arises: can one hurry ego extinction by self-determined destruction? Religious thought did not stop with this speculation, many individuals at discrete moments of Indian history abandoned life to merge with divinity. These individuals were exempted from the sin of suicide and were instead honored for their bravery; they were memorialized in the descriptive sculpture of hero stones. Abandonment of the body took many forms, but self-decapitation specifically engaged the complex issues of head and blood symbolism. Abstract religious principles were not sufficient to create a climate conducive to religious self-decapitation. Changes in politics, sectarian movements, stress factors such as war, epidemic disease, or famine, could influence an individual to take his life. The following issues are considered in the dissertation: the purpose of sacrifice and the meaning attached to blood and human sacrifice; the Indian attitude towards suicide and the heroic abandonment of the body; the symbolism of head and blood; the deities which demanded the ultimate sacrifice; the hero and the hero stone in the hierarchy of aesthetic privilege; dynastic patronage in reference to sacrifice images; motivations for self-immolation in the context of politics, military values, and health; and finally, the art of the goddess Chinnamasta, the Tantric goddess who is the symbolic embodiment of head-sacrifice and the summation of self-giving.}, keywords = {Asian Art}, author = {Storm, Mary Nancy} } @mastersthesis {8534, title = {Hugo van der Goes{\textquoteright}s "Portinari Altarpiece": Northern invention and Florentine reception}, year = {1999}, school = {Columbia}, abstract = {This thesis interprets the Portinari Altarpiece in the context of the artist{\textquoteright}s devotional routines (as styled by the Devotio Moderna), the ensemble{\textquoteright}s liturgical function, and the commemorative aims of the patron, Tommaso Portinari, manager of the Medici Bank in Bruges. Historical interest in the donor and striking iconographic details have fostered speculation about the meaning of this work, Portinari{\textquoteright}s largest and costliest commission. The history of the altarpiece{\textquoteright}s eventual site, the church of Sant{\textquoteright}Egidio in the Florentine hospital complex of Santa Maria Nuova, is investigated and related to the work. The altarpiece claims a privileged status in the history of art for several reasons: the work{\textquoteright}s role in the studies of cultural connections across the Alps during the Renaissance; the documents extant about the painter, Hugo van der Goes; and the image of the artist drawn from those documents. The survival of evidence concerning the painter and his work is a mixed blessing for scholars, however. The painting{\textquoteright}s arrival in Florence in May 1483 is meticulously documented; yet a single contemporary account of Hugo{\textquoteright}s apparent struggle with mental illness has, anachronistically, fueled his popularity in a modern world keen on the notion of genius suffering for art. In turning to the Devotio Moderna as a motivating context for the altarpiece, we pass beyond analyzing details of Hugo{\textquoteright}s work to considering it as the expression of a broader, well-articulated and communal perspective on what it means to be a pious Christian and on what visual images can contribute to that piety. Moreover, the Devotio Moderna-a physical, psychic and social regime-sheds a raking light on preconceptions about the subjective life of a believing 15th century artist. What seem, through the myth of Hugo{\textquoteright}s madness, symptoms of an uncontrolled inner turmoil are symbols of religious exercise and ecstasy. A complex ensemble of parts, Hugo{\textquoteright}s altarpiece is studied not by way of one global approach or idea, but through interlinked and sometimes competing aspects that conditioned the work and its subsequent reception.}, keywords = {Renaissance Art}, author = {Koster, Margaret} } @mastersthesis {8435, title = {The Iconography and Cult of the Aphrodite of Aphrodisias}, year = {1999}, school = {IFA/NYU}, abstract = {Aphrodisias in Caria was famous in antiquity as the center of an important local cult of Aphrodite. Although she was worshipped at the sanctuary by the seventh or sixth century B.C., little solid evidence concerning the Aphrodite of Aphrodisias can be securely dated prior to the Hellenistic era. At this time, around the second or first century B.C., the goddess became assimilated with the Greek Aphrodite and received a new divine image. This image remained canonical and consistent through Late Antiquity, and it survives in a series of images produced during the Roman Imperial period. Its form recalls traditional Anatolian divine images and emphasizes the local character of the Aphrodisian goddess, but most of its iconographic program uses a Greek artistic vocabulary and demonstrates the strength of Hellenistic influences on the city and its cult. Like many other divinities in Asia Minor, the Aphrodite of Aphrodisias stands in a stiff, frontal pose, her body fully encased in a heavy overtunic (often called an "ependytes" in modern scholarship). The front of this overtunic is divided into horizontal zones filled with complex figural reliefs: the three Charites, Helios and Selene, Erotes, and Aphrodite escorted by a marine thiasos. The entire image shows careful and deliberate planning, with each element of its form and iconography symbolizing a distinct aspect of Aphrodite{\textquoteright}s sphere of power. It represents a Hellenistic recasting of the ancient Carian deity, one that was intended to make the Aphrodite of Aphrodisias a more universal goddess by using contemporary Greek images. The surviving representations of the Aphrodisian goddess appear in a variety of materials and media: marble, bronze, and terra-cotta; free-standing and relief sculptures; engraved gemstones and coins. In addition to the examples from Aphrodisias, images of the goddess are found throughout the entire Roman Empire. Numerous statuettes and statues have been discovered in Italy, particularly in Rome, as well as at sites in Turkey, Greece, the Balkans, Lebanon, North Africa, and Portugal. This broad distribution testifies to the geographic diffusion and widespread popularity of the Aphrodite of Aphrodisias around the Mediterranean during the Imperial era.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Brody, Lisa} } @mastersthesis {8542, title = {The Iconology of the Massacre of the Innocents in Late Quattrocento Sienese Art}, year = {1999}, school = {Case Western Reserve}, abstract = {In The Iconology of the Massacre of the Innocents in Late [special characters omitted] Sienese Art the author investigates the reasons the Innocents, narrative became the subject of a marble pavement on the floor of the Duomo, at Siena in 1481 and of the central panel of three major altarpieces by Matteo di Giovanni between 1482 and 1491. Since it was unprecedented for artists to use this scene as the principal subject of altarpieces, the Massacre of the Innocents apparently acquired new importance in late fifteenth century Siena. What might this change have signified? What did the Holy Innocents mean to the Sienese at that time? In order to come to terms with the meaning of the Innocents and of their martyrdom in late Quattrocento Siena, the author traces the Innocents{\textquoteright} story from the Gospel of St. Matthew through texts and art of the Early Christian and Medieval Church in the Went. Part One deals with the nature of the innocents, sanctity and with the celebration of innocents{\textquoteright} Day in the Middle Ages. In Part Two the author studies several topics: the celebration of innocents{\textquoteright} Day in the Sienese Ordo of 1215, the evolving attitude toward family and children in late medieval Tuscany, Sienese relics of the innocents, Sienese religious drama, and pro-1480 Sienese Massacre imagery. This background provides a setting for the discussion of the late Quattrocento Massacre of the Innocents . To the extent that she is able the author reconstructs the history of the major post-1480 works. She refutes the theory that the late fifteenth-century Sienese Massacres symbolized the slaughter of innocent Christians at Otranto by the Muslim Turks in August of 1480. The author argues that a heightened interest in children and therefore in these Saints lay behind the now prominence of this narrative, which Sienese artists often had represented throughout the Middle Ages.}, keywords = {Renaissance Art}, author = {Silberger, Henrietta} } @mastersthesis {8389, title = {Identities, Komo Societies, and Art among the Tagwa-Senufo of Burkina Faso}, year = {1999}, school = {Iowa}, abstract = {The peoples known collectively as "Senufo" form a complex network of over thirty subgroups numbering over 2,000,000, who inhabit a large area in West Africa that is currently divided into three countries: Mali, Cote d{\textquoteright}Ivoire, and Burkina Faso. Each subgroup identifies itself by a different name. So, one cannot speak about the Senufo as a monolithic people with the same art, traditions, and customs. The classification of the Senufo as a single ethnic group, is based on external classification from the Mande speaking people and later the French colonial administration. The art of the Senufo has been widely illustrated in African art books, and is well represented in museum collections. Researchers have devoted much attention to the initiation society known as Poro and related art forms of the Senufo subgroups living in Cote d{\textquoteright}Ivoire. However although there are indeed similarities among the different Senufo groups, not all Senufo subgroups are familiar with the Poro society and the art related to it. This is especially true for the Tagwa-Senufo. The Tagwa-Senufo, the focus of my study, live nowadays in Burkina Faso. Although they have a social leadership based on family heads, and leaders of secret societies, they do not have centralized political structures. The Tagwa have the Komo male secret association, usually seen by American can scholars as Bamana. Indeed scholarship on the Komo, focuses on the Bamana people and does not speak of the Senufo. The Komo mask is a sacred mask with great power and authority. It is worn by initiated males for performance and is inaccessible to the general public, women and non-circumcised males. Although the objects used in Komo{\textquoteright}s performances are similar in function, form and style, one can still distinguish a Bamana Komo from a Senufo Komo in the usage and iconography. Today, the Komo is the most important religious cult of the Tagwa who definitively shaped it to the image of their own tradition and custom. This study aims to examine the origin, function, style and masquerade of the Komo among the Tagwa Senufo and the social and traditional contexts in which they are used.}, keywords = {African Art}, author = {Diamitani, Boureima T.} } @mastersthesis {8480, title = {Image and Duplicator: Roy Lichtenstein and the Emergence of Pop Art}, year = {1999}, school = {Yale}, abstract = {In the early 1960s Roy Lichtenstein was one of a group of American artists whose work came to be categorized within the larger movement known as Pop Art. This dissertation reconsiders the work Lichtenstein produced in the period between 1961 and 1965, and challenges those accounts which have maintained that the artist{\textquoteright}s relation to his comic book and advertising imagery was as simple and controlled as his painting style. In contrast, through a careful reading of Lichtenstein{\textquoteright}s early Pop paintings, and an examination of their historical context, the dissertation identifies in the artist{\textquoteright}s seemingly uninflected imagery a set of wholly ambivalent responses to issues of vision, repetition, and technology. Chapter One attends to the putative origins of Pop Art by reconsidering the relationship between Lichtenstein and his colleague Andy Warhol; the question of Pop{\textquoteright}s "origins" is also confronted through a close analysis of what is commonly taken to be Lichtenstein{\textquoteright}s first Pop painting. Chapter Two considers the articulation of identity in the artist{\textquoteright}s work through his treatment of the related elements of brand name, trademark, and signature. Chapter Three documents Lichtenstein{\textquoteright}s training in a particular program of modernist visuality, and analyzes the recurrent motif of monocularity in his work as evidence of his confrontation with certain problems of vision and technology. Chapter Four relates Lichtenstein{\textquoteright}s work to contemporaneous art historical discourses, while Chapter Five considers the interrelation between gender and semiology in his imagery. The dissertation concludes with a reconsideration of the artist{\textquoteright}s commitment to artmaking in the face of those elements of the industrial and the mechanical that he had incorporated into his practice.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Lobel, Michael} } @mastersthesis {8455, title = {Image of an Ottoman City: Imperial Architecture and the Representation of Urban Life in Aleppo in the Sixteenth and Seventeenth Centuries}, year = {1999}, school = {UCLA}, abstract = {The urban development of Aleppo in the sixteenth and seventeenth centuries is explored, focusing on the patronage of urban architectural complexes by Ottomans, members of the ruling imperial Elite based in Istanbul. The synchronic and diachronic study of architectural intervention are combined in order to discern patterns of patronage, shifts in urban planning, and choices in architectural form. Each new structure is placed in the context of an ongoing, multilayered dialogue between the ruling group, the urban dwellers, and the past of the city as embodied in structures and spaces from previous ruling groups. At this time, Aleppo emerged as the node in the profitable long-distance trade linking the East and the West. Such detailed study over a long period shows that Ottoman intervention in the urban fabric-Ottomanization-was a complex and highly flexible process. In the sixteenth century, a series of governors and viziers reoriented the city on a new trading center. By using the Islamic legal mechanism of waqf, or charitable endowment, in the guise of large multi-functional complexes, they forever changed the form and use of the urban core. Through deliberate choices in architectural form, they changed the profile of the city, creating a monumental corridor and a distinctive skyline. The structures they built, especially mosques, bore the hallmarks of the Ottoman imperial form, which was disseminated and adapted throughout the empire. However, following a series of rebellions in the early seventeenth century, official Ottoman patronage became decentered: the types of institutions supported changed, and they no longer focused on a single area of the city. Over the centuries under study, Ottomans also remade the urban fabric by destroying older buildings, allowing others to remain, and modifying yet others according to Ottoman expectations of architecture, and to accommodate Ottoman rituals. Through these different means, Ottoman hegemony was articulated in the urban space. In addition to urban form, the image of the Ottoman city is explored through various texts and paintings produced both in Aleppo and in Istanbul. The various textual genres devised to define and to describe the Islamic city, the Ottoman city, and Aleppo in particular are examined. It is shown that by the end of the second century of Ottoman rule, Aleppo had come to be remade in the very image of an Ottoman city.}, keywords = {Islamic Art}, author = {Watenpaugh, Heghnar} } @mastersthesis {8371, title = {Images of Entanglement: Wittgensteinian Spatial Practices between Architecture and Philosophy}, year = {1999}, school = {MIT}, abstract = {This thesis explores the deep spatio-linguistic relationship between the Austrian born philosopher Ludwig Wittgenstein{\textquoteright}s practices of philosophy and of architecture. Wittgenstein{\textquoteright}s philosophy of language is notable for its sharply distinguished early and late work: with the early work most strongly associated with his Tractatus Logko-Philosophicus (1922) and the later frequently designated by his posthumously published Philosophical Investigations (1953). Following the completion of the early work Wittgenstein abandoned philosophy for a period of ten years, spending the years from 1926 to 1929 engaged in the design and construction of a house in Vienna for his sister Margarethe Stonborough. The thesis considers the ways in which the intervening practice of architecture infiltrated, altered, influenced and manifested itself in the later philosophy by focusing on the spatial, temporal, conceptual and cognitive gaps in the philosophy. The importance and the prevalence of the practice of architecture for Wittgenstein{\textquoteright}s later philosophy are exhibited in a variety of ways that together broaden, reconceive and resituate the functioning of language and philosophy. The thesis considers these developments in the philosophy as they are revealed in the visual and spatial language, thinking and construction of the philosophical texts. This analysis reveals a shift from the removed, idealized and flattened picture theory of the Tractatus to the production of the spatially complex and ambiguous images of entanglement in the Investigations . The Stonborough house, itself, is analyzed through its production of cognitive and spatial practices and problematics. Wittgenstein{\textquoteright}s practice of architecture is shown to utilize, develop, challenge and reveal related spatial concepts found in the philosophy. These include the ideas of limits, boundaries, inner/outer dichotomies, the relationship between showing and saying, the idea of correspondence and the practices of representation, assembly, resemblance, construction, building and rearrangement}, keywords = {19th-and Early 20th-Century European Art}, author = {Last, Nana} } @mastersthesis {8352, title = {Imagined Identities: Romanticism, Cultural Identification, and Sevillian Cityscape Art}, year = {1999}, school = {Kansas}, abstract = {Land and landscape art are invariably loaded with connotations fundamental to cultural identification, and urban settings and cityview motifs offer some of the most accessible and sharable cultural associations. Indeed, with their recognizable buildings, cityscapes can provide a potent tie between specific geographical scenes and the abstract ideological construct of cultural identification. This dissertation studies the profusion of portrayals of the Spanish dry of Sevilla over the centuries and the unexplained revival of interest in that motif in the nineteenth century. Particular attention is paid to those associations generally linked to cultural identification and to the advancement of Sevilla as a suitable synecdoche for Spain Two distinct periods of interest in Sevillian cityscape art include the early works mostly from the sixteenth and seventeenth centuries when Sevilla and Spain peaked in world power, and the nineteenth century{\textquoteright}s renewed attention to the city when Sevilla no longer ranked as a significant international player. Careful contrasts further disclose two important categories within the nineteenth century: cityviews produced mostly by foreign artists before 1840 and for the most part by Spanish artists after 1840. Chapter I concentrates on the visible representations in pre-nineteenth-century vistas of Sevilla-as-city, especially Sevilla-as-famed-city, and introduces the idea of this city as a reference point for Spain. The following three chapters on nineteenth-century cityscapes argue that romantic interests ensure that the city of Sevilla remains a suitable synecdoche for Spain. Specifically, Chapter II examines how one of the most powerful and influential cities in the past ironically came in the 1800s to represent "Romantic Spain," an ideal foil, principally among the French and British, for the uniformity and standardization cultivated in modern society. Chapter III explores how the Spanish artists appropriated and modified the foreign images. By concentrating on a contemporary Sevilla appropriate for group identification and pride, Spanish Sevillian cityviews thereby served to awaken, nurture, and advance the country{\textquoteright}s burgeoning nation building. Chapter IV analyzes the incongruities and complexities in the attitudes towards Spain{\textquoteright}s Muslim heritage as suggested by the attention to Sevilla, a key representative of Andalusia, the Spanish province longest under Moorish rule.}, keywords = {19th- and Early 20th-Century European Art}, author = {Boze, Diane} } @mastersthesis {8390, title = {Imagined Nations: Art in Nkrumah-Era Ghana}, year = {1999}, school = {Harvard}, abstract = {While the imposition of colonial authority had demonstrable effects on artistic production in Africa, we have yet to fully understand the manner in which different alliances of power responded to that authority. A critical aspect of the effort to articulate different notions of the "nation" in post-colonial art, and a phenomenon which has been insufficiently explored, is the employment and negotiation of modernity. In this dissertation I undertake an examination of the relationship between nationalism, modernism, and art production in Ghana, as well as a discussion of manifestations of nationalism in the present-day Ghanaian state. In the first two chapters of my dissertation I undertake an analysis of representations of nationalism associated with political parties in the Ghanaian independence era. The iconography of the dominant party focused on representations of Kwame Nkrumah, the first president of Ghana, and in chapter one I explore the reliance on Nkrumah as a metaphorical allusion to political emancipation and panAfrican unity. In the second chapter I examine the efforts on the part of the Asante opposition to invoke in its iconography a historical legacy of hegemony. For both Asante chiefs and the emergent Asante entrepreneurial class, a critical mechanism in consolidating political allegiance was the invocation of historical representations of authority, and I discuss the role of these representations in constructing an alternative notion of "nation." In attempting to construct an ideology of statehood which would supercede existing loyalties and affiliations, the administration of Nkrumah both encouraged investment in the arts and questioned the viability of subnational cultural traditions. In the third chapter of my dissertation I examine this tension between the Nkrumah administration{\textquoteright}s promotion of the arts and its advocacy of an aesthetic philosophy of generalized "Africanity." The fourth chapter examines Ghanaian architecture and spatial organization, artistic forms which clearly reveal the relationship between a legacy of colonial rule and perceptions of nationalism. The spatial organisation and architecture of the Asante capital of Kumasi and the Ghanaian capital of Accra suggest that divergent responses were offered to the imposition of colonial authority, and I discuss the manner in which urban development in Kumasi and Accra has reflected a struggle between power alliances in the postcolonial era. In the concluding chapter of my dissertation, I address a phenomenon that was instrumental in the effort of the nineteenth-century Asante to construct a national culture, the pre-colonial festival known as odwira. Through the odwira, the Asante secured an association between the hierarchy of state authority and art which articulated-and ultimately constituted-the fundamental values of Asante society. While the odwira declined in significance following the colonial occupation of Asante, I argue that artistic representations and institutions associated with the odwira-notably those incorporated into the akwasidae and the recent anniversary celebration of the Asantehene Otumfuo Opoku Ware II-manifest an ongoing struggle over nationalism.}, keywords = {African Art}, author = {Hess, Janet} } @mastersthesis {8449, title = {Import Consumption in the Bronze Age Argolid (Greece): Effect of Mediterranean Trade on Mycenaean Society}, year = {1999}, school = {Michigan}, abstract = {This dissertation considers the consumption of imported commodities in one region of Mycenaean Greece as a means of assessing the effects of interregional contact. The evidence of long-distance exchange between the Late Bronze Age Argolid (ca. 17th-12th centuries BCE) and contemporary cultures of the eastern Mediterranean consists predominantly of the imported artifacts. Recognized as a particular class of material culture, imports played an ideological or communicative role in their new cultural context. Contextual study of foreign-made items and the local products of exotic materials demonstrates that imported goods were subject to a number of processes after their transport across the Mediterranean. The analysis begins with a survey of the Mycenaean context, especially the economic and administrative structures described by Linear B texts. The bulk of the dissertation, however, focuses on the uses of foreign-made items, ivory and glass objects in the Argolid. The distributions of these three classes of objects, as well as typological and iconographic analyses, was accomplished through the compilation of all published examples from the sites of the Mycenaean Argolid, as documented in the appendices. I argue that the great quantities of imported goods in the Argolid, and especially at the site of Mycenae, are correlated to the intense competition between the sites and people of the region. The distinct patterns of import acquisition and consumption of imports, as preserved in settlement and burial contexts, are interpreted as representing divergent social strategies. Workshops at Mycenae, for example, transformed the exotic materials ivory and glass into objects with a local iconographic style. The concentration of these goods at Mycenae and controlled distribution to other sites were means of attempting to extend centralized power over the region. At the same time this wealth-finance system was in operation, however, items that were recognizably foreign served to undermine the role of any single administrative power through their consumption by a number of elite groups who sought to demonstrate their connection with external sources of power.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Burns, Bryan} } @mastersthesis {8509, title = {Interactions of Photography and the Mass Media, 1920-41: The Early Career of Ralph Steiner}, year = {1999}, school = {Boston}, abstract = {This dissertation examines the career of the American photographer Ralph Steiner (1899-1986), whose work exemplifies the medium{\textquoteright}s complex role during the 1920s and 1930s. For him, photography served as a medium of modernist art, a favored tool of documentary practice, and a ubiquitous presence in mass circulation periodicals and advertising. A successful commercial photographer, Steiner also exhibited and published images as authored works of art. In the 1920s, he employed many of the same technical and stylistic devices in both, effectively collapsing distinctions between commercial and fine art practice. By the end of that decade and during the 1930s, however, Steiner--influenced by socialist critiques of consumer culture--began to differentiate his independent photography from commercial assignments. Now embracing a realist aesthetic, he would, nonetheless, continue to draw on the visual culture of advertising and other forms of pictorial persuasion as key themes in his photographs and in criticism. In tracing Steiner{\textquoteright}s career, this study gauges his changing approach to photographic practice. Chapter One examines his education in 1921 to 1922 at the Clarence H. White School of Photography, where the curriculum emphasized commercial applications. Chapter Two analyses Steiner{\textquoteright}s commercial work for mass circulation women{\textquoteright}s magazines demonstrating how these images contributed to the promotion of a consumer ethos to American women. A third chapter surveys Steiner{\textquoteright}s photographs of architecture and machine iconography illustrating that distinctions between commercial and fine art practice were often fluid in photography of the interwar years. Chapter Four discusses Steiner{\textquoteright}s independent images of advertising, a body of work which indexes the photographer{\textquoteright}s growing disdain for commercial visual culture. The final chapter examines Steiner{\textquoteright}s critical writing for the newspaper PM from 1940 to 1942, where he fully articulated a distrust of propagandistic applications of photography--including commercial forms--in favor of social documentary practice.}, keywords = {Pre-1945 North American and South American Art}, author = {Payne, Carol} } @mastersthesis {8507, title = {Intruder into Eden: The Train in the Nineteenth-Century American Landscape}, year = {1999}, school = {Columbia}, abstract = {My thesis is concerned with the philosophical and aesthetic implications of the appearance of the train in the eastern landscapes of the mid-nineteenth-century American artist. Immediately after being introduced in this country in the 1830s, the railroad permeated the nation{\textquoteright}s consciousness to an extent that Europeans noted there was a mania in America regarding railroads. The train was seen as an element of the picturesque and as a sign of progress in America{\textquoteright}s advancement of civilization. The railroad{\textquoteright}s presence, often scarcely perceptible, enlarged the meaning of the artist{\textquoteright}s composition, adding historical associations, not of America{\textquoteright}s past, but its potential future. By the mid-nineteenth century, the locomotive with its chain of cars streaking across a distant vista or along a riverbank is found in works by almost every Hudson River School painter and became in a host of lesser artists an almost pedestrian motif. My thesis uses examples from the popular arts and academic painting to show the importance of the railroad for Americans and the artistic conventions which were adapted to depict the train entering the American landscape. Often the artists{\textquoteright} images venerate both a pastoral simplicity and the idea of progress, conjoining disparate elements within a single composition. Only in the lithographs of Currier \& Ives does the train dominate the landscape-images that are precursors to the art of the American Precisionists. Separate chapters are devoted to detailed examinations of Thomas Cole{\textquoteright}s River in the Catskills, Asher B. Durand{\textquoteright}s Progress, and Jasper F. Crospey{\textquoteright}s Starrucca Viaduct, Pennsylvania. The artist{\textquoteright}s use of the railroad in exploring the landscape is also considered and how rail travel may influence the artist{\textquoteright}s vision. The role the artists{\textquoteright} excursions played in promoting the scenic attractions of the various lines reveals an unprecedented rapport between the artistic community and agents of capitalism. My last chapter is devoted to George Inness{\textquoteright}s controversial painting, The Lackawanna Valley, and his Delaware Water Gap series of paintings which fully develop an American Pastoral ideal.}, keywords = {Pre-1945 North American and South American Art}, author = {Maddox, Kenneth} } @mastersthesis {8460, title = {Inventing {\textquoteright}Indian Art{\textquoteright}: New Deal Indian Policy and the Native Artist as {\textquoteright}Natural{\textquoteright} Resource}, year = {1999}, school = {University of Washington}, abstract = {This study examines federally funded Indian arts and crafts programs of the 1930s and early 1940s. Such programs are considered within the context of wider United States Indian policy as it developed out of late nineteenth and early twentieth century efforts to reform government policy regarding Native Americans. Additionally, it locates those features of government programs of the 1930s and early 1940s that built upon earlier privately sponsored efforts to promote the welfare of America{\textquoteright}s indigenous peoples. Touted as exemplary of a new and enlightened United States Indian policy intended to remedy and reverse previously misguided assimilationist government policy, federally funded Indian arts and crafts programs of the 1930s and early 1940s were intended to restore Native cultural practices for the benefit of Native peoples. However well-intended and sincerely motivated by a desire to revive traditional cultures they may have been, these efforts by middle-class and affluent white citizens fell far short of their ultimate expressed goal. It is my assertion that such programs ultimately worked to position indigenous artisans and their work as "natural" resources, as the raw materials necessary to a process of colonial domination productive of enormous cultural capital for Euro-Americans. Such arts and crafts "revival" efforts, I contend, served to more firmly position Native North Americans as exploited colonial subjects, ultimately working at cross-purposes with reformers{\textquoteright} expressed intent to foster greater self-sufficiency and self-direction among such indigenous peoples. In the 1930s and early 1940s, the federal government researched and recorded traditional forms of native production and, in many cases, completely retaught them the descendants of their original practitioners in an effort to stimulate production of arts and crafts forms amenable to Euro-American ends. This dissertation explores both the immediate and long-range effects of federally funded Indian arts and crafts programs through an examination of their historical base and through an analysis of the discursive structures that functioned to support them. It also attempts to locate points of resistance that allowed native producers some modicum of agency in a situation of colonial dominance.}, keywords = {Native American and Pre-Columbian Art}, author = {McLerran, Jennifer} } @mastersthesis {8370, title = {The Italian Renaissance Refashioned: Fascist Architecture and Urban Spectacle}, year = {1999}, school = {Brown}, abstract = {This dissertation examines the Fascist use of the medieval and Renaissance past in Italy. Resourcing this past, in terms of architectural patronage, urban planning and civic spectacle, proved important for the national agenda of constructing a shared identity of Italianita. This study contextualizes this architectural/urban activity within the regime{\textquoteright}s interest in this past as a whole. Through the centralized control of mass media and a variety of cultural venues (feature films, short documentaries, exhibitions, conferences, academic publications, the popular press, special events, and the tourist industry) they bombarded the public with a carefully constructed vision of the past. This past provided the Fascists with a way to reinforce the rhetoric of "native" Italic traditions, or Italianita. It was the tool necessary to unite different regions under the identity of a shared communal heritage. The second portion of the thesis focuses on the redesign of Arezzo, where the Piazza Grande and public communal-era building were dramatically reconstructed in period by the architect Giuseppe Castellucci. The newly restored city center then provided the perfect scenographic backdrop for the re-introduction of medieval/Renaissance-style urban spectacle. The third section forms a postscript to Fascism. It is a discussion of the Venetian town of Marostica and its invented medieval festival (the Partita a Scacchi, or, living chess game) which continues to celebrate the medieval/Renaissance past as a part of contemporary civic identity, and has become economically dependent upon that past. Marostica demonstrates how the political rhetoric of the Fascist vision of the past was transformed into a lucrative commercial enterprise at a time when the town was faced with the conflicting pressures of growing industry and the concerns of a vocal, pan-European historic preservation movement. The use of medieval/Renaissance buildings and spaces in the 20th century is not only an important facet of our understanding of the Middle Ages and Renaissance but crucial to more fully understanding the historiography of that period during this century. Medieval/Renaissance buildings have had, and continue to have, a life integral and meaningful to contemporary urban activity and civic identity.}, keywords = {19th-and Early 20th-Century European Art}, author = {Diana Medina Lasansky} } @mastersthesis {8477, title = {It{\textquoteright}s all true: Imagining New York{\textquoteright}s East Village art scene of the 1980s}, year = {1999}, school = {Maryland}, abstract = {This dissertation examines the East Village art scene as a series of multiple imagined communities through its representation in three primary discourses: the popular press, the art magazines, and the memories of the participants. The purpose is twofold: to illuminate the various constructions of the scene and their interconnectedness and, second, to gain insight into the process of culture, or more specifically how art worlds work, by examining the multiple constructions over time. For this study, I combine insights from discourse analysis and approaches broadly defined as cultural studies, recognizing that the popular press, the art magazines, and the East Villagers{\textquoteright} recollections are historically embedded and operating within certain material conventions and conceptual fields. I argue that the different discourses not only shaped the East Village art scene; they constituted it. That is, the rise and demise of the scene was the product of the way it was imagined in the media and the memories of the participants as an entrepreneurial avant-garde of bad art, a spawning ground for neo-conceptualism, and an adolescent subculture. The most important question is not which discourse was most truthful, but which truth came to dominate and why? The East Village provided new opportunities for artists, dealers, collectors, writers, landlords, and even tourists. It offered a wider range of artistic production and a grassroots empowerment through self-promotion, but it was also part of the subterranean currents of dissent and affirmation that sustain the exclusivity of the mainstream art market. The greatest cultural legacy of the East Village is that it collapsed the distinction between art and commodities. The East Villagers poked fun at the art world while reaping the commercial benefits of a subversive pose. It was a postmodern "avant-garde" completely in tune with the consumer culture of the 1980s. By the 1990s, the East Village art scene was known as a simulacrum of bohemia-more the product of the media and its manipulation than any individual or communal achievement. This dissertation gives us special insight into the relationships of power expressed in the popular press, the art magazines, and the life stories that shaped that perception and that continue to constitute our culture.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Kirwin, Elizabeth} } @mastersthesis {8402, title = {Japanese/American Architecture: A Century of Cultural Exchange}, year = {1999}, school = {University of Washington}, abstract = {Traditional Japanese architecture has had a significant impact on the development of both the physical forms and the underlying principles of American design. Much has been written about this Japanese influence, but only in passing in the general histories of American art and architecture, or in relationship to individual American architects such as Frank Lloyd Wright or Greene and Greene. It has not been discussed in a broader context. In addition, most studies of Japanese influence in American architecture have depended upon superficial visual resemblance and neglected seriously exploring the historical roads of migration, transmission, and dissemination of traditional Japanese forms and principles into American design. The primary aim of my dissertation is to analyze the specific nature of the Japanese impact on American architecture, and how it changed from 1854, when Japan opened its door to America, up to the present. Japanese impact on American landscape architecture will be analyzed in a limited scope, however, mainly focusing on the close relationship between the house and its surrounding gardens. During the given period, when American architects sought some external reference to solve their own vexing design problems, they selected certain Japanese forms and principles such as horizontality, plain walls, modular organization, built-in furniture, visible framed structure, open planning with movable partitions, interaction of house and garden, frank exploitation of wood, deep-overhanging eaves with exposed rafters, shoji-like grid and effect of shadows and Mused light. As their problems differed through the time, so were the ways they perceived Japanese architecture. These various perspectives are evident when one reads literature written by American critics on traditional Japanese architecture and when one investigates buildings built by American architects.}, keywords = {Asian Art}, author = {Min, Myungkee} } @mastersthesis {8517, title = {Jean Xceron: Rediscovered American Modernist Pioneer Life and Works, 1912-1949}, year = {1999}, school = {CUNY}, abstract = {This is a revisionist study on the early American modernist artist Jean Xceron. This contextual monograph includes biographical data, and numerous reproductions of the artist{\textquoteright}s paintings. The thesis advanced, states that although Xceron{\textquoteright}s contributions to American abstraction were seminal, as an artist and critic, he has been neglected since his death in 1967. Xceron painted in an abstracted style from as early as his student years, the teens, and then from ca.1930 in an abstract style. Thus, he should be viewed as a bridge figure who closes the perceived gap in the literature, between first and second generation American abstraction. Because his works were reproduced in European publications such as Cahiers d{\textquoteright}Art often examined by American artists, David Smith or Arshile Gorky for example, he should also be viewed as a valuable channel through which European art was disseminated to Americans. Another aspect of his importance to American artists was as an art critic for the Chicago Tribune, European Edition. His columns about the latest trends of the European avant-garde were frequently reproduced in America and read by contemporary artists. Stylistically, Xceron has been most often cited by critics Robbins and Ashton, as having contributed through his paintings, as early as 1928, a background which utilizes light to create seemingly transparent space. This same sort of ground would appear in Mark Rothko{\textquoteright}s paintings of the 1940{\textquoteright}s and 1950{\textquoteright}s. Rothko was one of the many American artists who frequently visited Xceron in his capacity as custodian of paintings, at the Guggenheim warehouse to examine and discuss art. Xceron attained some prominence during the years after his return up until his death, yet he has been forgotten by the American critical community since that time. This revisionist study is meant to reacquaint the reader with the artist and his contributions to American abstract art.}, keywords = {Pre-1945 North American and South American Art}, author = {Vrachopoulos, Thalia} } @mastersthesis {8356, title = {John Singer Sargent{\textquoteright}s Images of Artists in an International Context}, year = {1999}, school = {Emory}, abstract = {From his early days in Paris until the end of his international career, John Singer Sargent created more than 150 images of artists. In this dissertation I trace the development of these images within Sargent{\textquoteright}s oeuvre and their previously unexamined critical reception by audiences in Paris, London, and New York. No one reason can be given as the cause of Sargent{\textquoteright}s repeated decisions to depict certain fellow artists, but this study reveals that these works of art functioned for him and his contemporaries in three principal ways: as popular images of artist-celebrities, as subtle signs of allegiance between the artist and the sitter, and as displays of artistic virtuosity or experimentation. Public interest in artist-celebrities made Sargent{\textquoteright}s 1879 portrait of his teacher, Emile-Auguste Carolus-Duran, an immediate success. But critics on either side of the Atlantic gave varying interpretations of this portrait and others depending upon the popularity of the sitter and his resemblance to contemporary stereotypes. Also of primary concern to late nineteenth-century audiences were the artistic sympathies shared between Sargent and his artist-subjects. Within an increasingly competitive art world, Sargent{\textquoteright}s depictions of his fellow artists served as a testament to his abilities and as a display of his public and private allegiances with his realist or "Impressionist" colleagues. To historians, Sargent{\textquoteright}s images of artists, because of their realism, may seem to frustrate any attempts to see them as evidence of his artistic personality. The situations and conditions in which Sargent depicted his fellow artists, though, intersected with some of the most significant concerns of his career. At many of the critical junctures when he began to use a new medium, method, or subject matter, Sargent often depicted one or more of his mentors or colleagues. With their virtuoso brushwork and unusual compositions, these paintings, drawings, and prints belong among the most innovative works of art in his oeuvre. When placed within their contemporary aesthetic contexts, they offer new insights for the study of Sargent{\textquoteright}s work and the study of artistic self-representation.}, keywords = {19th-and Early 20th-Century European Art, Pre-1945 North American and South American Art}, author = {Jordan, Lacey Taylor} } @mastersthesis {8391, title = {Kiuza Mpheho (Return of the Winds): The Art of Healing among the Shambaa Peoples of Tanzania}, year = {1999}, school = {Iowa}, abstract = {This dissertation will discuss the role of art objects in the expression of religious, philosophical and social ideologies among the peoples of the West Usambara Mountains of Tanzania, with a focus on the Shambaa, the major ethnic group in the area. Specifically, I intend to discuss how art and imagery are used in the spirit healing institution of ughanga to express continuity and change in religious, philosophical, social and moral codes that help maintain health and well-being according to Shambaa experiences of their ever-changing world. Until I began fieldwork among the Shambaa peoples in 1996, there had been no in-depth study of the origin, meaning, or function of their art. While some publications had suggested that some arts forms such as clay figurines were/are used for initiation purposes, others claimed they serve(d) as instruments of "magic" and "witchcraft." However, there has been little field research completed among the Shambaa to substantiate any of these suggestions. My own research indicates that many Shambaa visual and performing arts were/are used primarily as symbolic embodiments of spirits that represent and enforce socio-cultural laws called mila. Through participation-observation in healing, religious, and life-cycle ceremonies, and through in-depth interviews with ritual specialists, called waghanga, I have found that figurative and nonfigurative sculpture, body adornment, music and dance help to preserve traditional ideologies through the use of metaphoric and metonymic symbolism. Furthermore, the integration of internal innovations as well as foreign and imported iconic elements into the traditional art forms of ughanga also serve as a means of continuously re-interpreting Shambaa.}, keywords = {African Art}, author = {Thompson, Barbara} } @mastersthesis {8495, title = {Leopoldo Mendez, Revolutionary Art, and the Mexican Print: In Service of the People}, year = {1999}, school = {University of Washington}, abstract = {This dissertation situates the Mexican printmaker, Leopoldo Mendez (1902-1969), as a leading member of the Mexican art world of the twentieth century, revealing his central role in Mexican art and politics. His significance is demonstrated through analysis of his extensive body of politically motivated prints and his participation in a number of important art movements and organizations. Mendez came to maturity in the dynamic artistic environment of post-Revolutionary Mexico. In the 1920s he participated in the Stridentist Movement, a group of Futurist and Dadaist-inspired avant-garde writers and artists, and produced prints with revolutionary themes. In the late 1920s Mendez committed himself to leftist political action and refined his graphic skills. Mendez{\textquoteright}s participation in the Liga de Escritores y Artistas Revolucionarios (LEAR), from 1933 to 1937, led him to develop a graphic idiom based on Mexican and international sources. Mendez was the first to adapt the style and motifs of Jose Guadalupe Posada to political printmaking, publishing satirical prints in LEAR{\textquoteright}s journal Frente a Frente. In LEAR Mendez evolved a new model of artistic practice based on the collective method and the production of prints and murals for the proletariat. In 1937 Mendez was a founder of the Taller de Grafica Popular (Popular Graphics Workshop, TGP), a collective printmaking workshop. Under Mendez{\textquoteright}s leadership the Taller created ephemeral political prints, portfolios of prints, illustrated books, and, from the late 1930s to 1945, powerful anti-fascist and anti-Nazi images. The TGP became an international art center in the 1940s and 1950s. In the late 1950s, Mendez turned to publishing fine art books that reproduced the paintings of the Mexican muralists, prints by Posada and folk art. This dissertation demonstrates that Mendez deserves to be considered a major figure in the history of twentieth-century art because of the high quality of his work and his leadership in the creation of modern Mexican art.}, keywords = {Pre-1945 North American and South American Art}, author = {Caplow, Deborah} } @mastersthesis {8372, title = {The Logic of the Bones: Architecture and the Anatomical Sciences at the Museum d{\textquoteright}Histoire Naturelle, Paris, 1793-1889}, year = {1999}, school = {Chicago}, abstract = {Throughout the nineteenth century, the Museum d{\textquoteright}histoire naturelle in Paris was the acknowledged international center of the natural sciences. From 1793 to the late 1840s, the dominant figures at the Museum were zoologists Georges Cuvier and Etienne Geoffroy Saint-Hilaire. Their forty-year rivalry split the Museum into two parts, represented by Cuvier{\textquoteright}s Galerie d{\textquoteright}anatomie comparee on the one side, and Geoffroy{\textquoteright}s Menagerie on the other. In these side-by-side sections of this scientific institution, two ways of seeing the world were laid out to view, forcing visitors to choose between the messy vitality of living animals, or the static logic of their bones. It was an important decision, for the "organization" of animal bodies implicated crucial questions of social reform. Hence, although architects and theorists such as Leonce Reynaud, Louis-Auguste Boileau, and Eugene-Emmanuel Viollet-le-Duc acknowledged the influence of the anatomical sciences on their work, they, like scientists, diverged widely in their views on the subject. For them, as for many others, the "architecture" of animal bodies might serve as a model for a future society, but its shape and structure was an open question. On that basis, the Museum{\textquoteright}s institutional and physical architecture was attacked by social reformers, for they saw it expressing a rigid classificatory agenda that was incompatible with social "progress." This study argues that by looking at the way the architecture of the Museum itself was evaluated and received, it becomes possible to retrieve the effects of these large ideas at the quotidian level.}, keywords = {19th-and Early 20th-Century European Art}, author = {Lee, Paula} } @mastersthesis {8386, title = {The Lysaker Circle and the Development of Peasant Imagery in Norwegian Painting (1880-1920): From Naturalism to Modernist Expressionism}, year = {1999}, school = {Bryn Mawr}, abstract = {The peasantry played a crucial role in modern Norwegian art from the latter nineteenth century through the mid-twentieth. As Norwegians struggled for independence, the rural peasantry became identified as the repository of timeless and unique values, unspoiled by foreign influence, the essence of the emerging Norwegian nation. This study discusses such images in Norwegian painting, analyzing their social context, implications and changing emphasis within a forty year span from 1880-1920. It focuses specifically on the group of artists who formed the Lysaker Circle (Erik Werenskiold, Christian Skredsvig, Gerhard Munthe and Harriet Backer) and their artistic legacy (Henrik S√∏rensen, and Harald Kihle). Peasant imagery is a recurring theme in Norwegian art, and Nordic art in general. It is a complex issue, and demonstrates more than just a sentimental or romantic attachment to rural culture or the delay in industrialization. It documents the historical shift in political, economic, and social forces which the literature and philosophy of the period also described. Images of the peasantry gradually shifted from an ethnographic interest, tied to nationalist-romantic impulses, during a period of definition of the nation, to a rejection of the city and a nostalgic look backwards in the transition to modernism. Since images of the peasantry were related to developing nationalism in Finland, Sweden and Denmark too, my work will provide a better understanding of modern Scandinavian painting in general. It also offers new insights into the anti-modern, "primitivizing" impulse, an idea exemplified by many Expressionists as the Scandinavian pupils of Matisse came to be called. Recently, the arts of Scandinavia have received increasing attention through major international exhibitions, as well as publications. Yet none of these studies has focused specifically on the unique ideological implications of peasant imagery within Norwegian painting. My research aims to rectify this, and hopefully, to illuminate other important issues in the process.}, keywords = {19th-and Early 20th-Century European Art}, author = {Sheffield, Clarence Burton, Jr.} } @mastersthesis {8469, title = {Making History: Surrealism and the Invention of a Political Culture}, year = {1999}, school = {Iowa}, abstract = {This dissertation examines the role of history within the cultural critique of the Surrealist movement. Informing the discussion throughout is the concept of "political culture," as articulated by Keith Baker and Robert Gildea. Indeed, throughout the discussion the Surrealist movement is theorized in terms of its attempts to create its own coherent sub-culture, which would rival the legitimacy of competing political interest groups. Following a brief introduction to the topic and the relevant literature, the dissertation begins with a contextual analysis highlighting both the crisis of the First World War and the conservativism of the post-war climate in France. The discussion then moves to the "battleground of history," where agenda-driven and overtly politicized interpretations of French history rivaled one another for validation. The next chapter examines the formation of the Surrealist group specifically within the context described above. Particular emphasis is paid to the politicized nature of the Surrealists{\textquoteright} moral code. Chapter four addresses the construction of a Surrealist "anti-canon," as a project which would subvert the traditional classically oriented art historical canon by celebrating scandalous, anti-rational, and "primitive" figures. At the same time, however, the anti-canon also allowed the Surrealists to validate their own project by providing a means to describe Surrealism as a trans-historical phenomenon rather than as the latest style of painting or poetry. The following chapter entertains a distinct yet related aspect of the Surrealist critique of history, that of the seemingly self-conscious production of Surrealist "artifacts." Looking at a range of images of the Surrealist group, this chapter will suggest that some of these images functioned to allow the Surrealists to pre-preemptively author their own history, while other images, specifically those emphasizing the collective nature of the group, visualized the Surrealists{\textquoteright} disdain for the so-called "Great Man" theory of history. Concluding the dissertation are remarks on the relevance of the Surrealists{\textquoteright} critique of history to more recent deconstructions of our dominant histories.}, keywords = {Post-1945 Art}, author = {Strom, Kirsten J.} } @mastersthesis {8465, title = {Mapping Contemporary Theories of Photography: A Reader in New Approaches to the History of Photography, 1964- 1995}, year = {1999}, school = {Binghamton}, abstract = {This dissertation aims at mapping the positions of eight theoretical texts on photography written between 1964 and 1995. The time span of 1964-1995 encompasses an important shift in the ways in which theory and criticism in the field of photography have been practiced. After 1964, the most innovative directions in the theory of photography departed from the formalist focus on photography characteristic of the modernist era and began to think of the medium as a textual field, rich in social, cultural, and political implications. As a result, the scope of theoretical analysis and interpretation widened to include the issues of power, representation, politics, and sexuality. "Mapping texts" means locating each text at the site of its intervention into theoretical practice, within the institutional settings that frame the theory of photography. Each essay has been selected both for its historical importance and for the ways it serves to represent one or other contemporary trend in the theory of photography. The essays are ordered according to thematics, moving from the semiotic analysis of photographic texts (Barthes, Hall), to psychoanalytical readings of photographic images and the photographic apparatus (Burgin, Silverman), to questions of disciplinary power, visual representation and counter-practice (Tagg, Sekula, Solomon-Godeau) and finally, to the question of history, evidence and the archive (Tagg). This dissertation is comprised of two major parts. The first part, the introduction, outlines the history, significance and problems of the key essays in the theory of photography that have been selected for translation. The broader scope of the legacy of theory will also be discussed in this part. In the second part, the selected essays have been translated into Korean. Translation is not merely the work of putting an original text into another language. It is, in itself an intellectual experiment, since the text must undergo an examination of its effectiveness as an intellectual tool in a different cultural context, involving different practices, different conventions, and a different audience.}, keywords = {Photography and Film}, author = {Lee, Young-june} } @mastersthesis {8502, title = {Marsden Hartley{\textquoteright}s Late Paintings: American Masculinity and National Identity in the 1930s and {\textquoteright}40s}, year = {1999}, school = {Kansas}, abstract = {This dissertation examines historically and critically the paintings that Marsden Hartley produced from the mid-1930s to his death in 1943. It investigates in particular the issue of "American-ness," not only as it pertains to Hartley{\textquoteright}s late paintings, but also as it was constructed in American culture in the 1930s and {\textquoteright}40s. By examining broad political debates of the period, aspects of popular culture, and the reception of art (especially European modernism) in America, I argue that national identity in the 1930s and {\textquoteright}40s was constructed as both masculine and primitive. Hartley{\textquoteright}s late paintings conformed to and reinforced this construction. Following basic precepts of contemporary critical theory, this dissertation approaches Hartley as a subject in and of cultural discourse in an effort to elucidate the unacknowledged politics of his late production. In this respect, I approach Hartley throughout my study as a homosexual male for whom cultural discourses concerning gender held particular importance. As a man whose sexual desire cut against the dominant construction of masculinity, Hartley was ever positioned in interwar culture as a "feminine" subject. His late work constituted an effort to disavow his "feminine" subject position (and thus his homosexuality) and align himself with the "masculine" construction of national identity. Hartley{\textquoteright}s paintings are examined as objects that existed (and exist) at the intersections of these gendered discourses. Hartley allowed his viewers to see in his late paintings only what he wanted them to see; and what he wanted them to see was a great American painter, one whose work expressed powerfully the nation{\textquoteright}s primitive and masculine identity, which corresponded (not coincidentally) to the artist{\textquoteright}s own character. To achieve this goal, Hartley loaded his work with available "masculine" and "primitive" signs that circulated throughout 1930s and {\textquoteright}40s American culture. This dissertation exposes and explores those signs and thus offers a more critical and historically grounded reading of the artist{\textquoteright}s late career.}, keywords = {Pre-1945 North American and South American Art}, author = {Griffey, Randall R.} } @mastersthesis {8494, title = {Mary Edmonia Lewis: The Biography of a Career, 1859-1876}, year = {1999}, school = {Michigan}, abstract = {This dissertation is about the American sculptor, Mary Edmonia Lewis (1844 after 1911). Because so many of her works are lost and so much of her biography at this point is missing, reconstructing the breadth of Lewis{\textquoteright}s career is impossible. Therefore, this study will consider the extant body of Lewis{\textquoteright}s ideal work, the bulk of which she created between 1866 and 1876. Despite the many unanswered questions about Lewis, she remains a compelling figure. However, the paucity of archival records allows for imaginative readings of Lewis{\textquoteright}s art as it relates to her life. Whether she is regarded as an activist or exotic, the assumption that her art represents a full and uncomplicated expression of her identity has persevered since the nineteenth century. This dissertation will explore the complexities of her choice of subject matter, manner of execution, and the artistic and social contexts in which those choices were performed. Of particular importance to this study has been the scholarship of Clifford Geertz and Michael Baxandall. As a cultural anthropologist and semiotician, Geertz{\textquoteright}s analysis of culture as a system of signs that remain legible helped to keep Lewis and her endeavor in focus, while Baxandall, a social historian of art and a semiotician, provided a structure for contextualizing Lewis{\textquoteright}s sculpture. Cultural anthropology, semiotics, gender and race studies, social history, biography, and the traditional tools of art history (formal analysis, iconology, and iconography) have informed this dissertation. I contend that her works formed part of an intricate web of relations, that they were a cultural achievement and that they do not adhere to any concerted agenda on Lewis{\textquoteright}s part. In fact, not all of her subjects meant the same things to her. In Lewis{\textquoteright}s art, we decipher a kaleidoscope of responses, from questioning, to conflicted, to concession towards an education that emphasized the sanctity of family and domesticity. In her ideal works created in Rome, we can begin to understand how culture shaped her, the inescapability of it, and how it educated her in the interpolated Cultures of "True Womanhood" and of "Sentiment."}, keywords = {Pre-1945 North American and South American Art}, author = {Buick, Kirsten P.} } @mastersthesis {8374, title = {Maschinenmenschen: Images of the Body as a machine in the Art and Culture of Weimar Germany}, year = {1999}, school = {Chicago}, abstract = {One of the strangest and most disturbing images in the figurative art produced by the culture of Weimar Germany is the Maschinenmensch, the body-as-machine. I investigate here the image of the body-as-machine in the work of three Weimar artists, George Grosz, Willi Baumeister, and Heinrich Hoerle. These artists imaged the body-as-machine in a variety of guises, each of which does critical cultural work: the athlete and especially the boxer; the engineer as athlete; the war veteran or worker with prosthetic limbs. By bringing the different versions of the mechanized body in the work of these three artists together for the first time, I am able to show that the figure of the body-as-machine represents a consistent cultural attitude and habitus, not only an enthusiasm for technological progress and the gleaming image of technology, but also a projected wish for a modern society which can be characterized as anti-humanist and anti-democratic, a mass society of machines among machines. I here return this figure to its historical context; the body-as-machine was a fantasy held not only by artists on the Left, such as Grosz and Hoerle, but also by essayists on the right, such as Ernst Ringer. I interrogate the ideological ambivalence of this image by relating Junger{\textquoteright}s work to that of these visual artists. The context in which the Maschinenmensch operated included the bodily disciplines of the science of work and its offshoot the science of sports. These disciplines also conceived of the body as a kind of machine; the engineers of the working or athletic body elaborated a compensatory discourse of mechanization, designed to mitigate the threat to the body posed by the modern world, a threat inaugurated by the industrialized destruction of the First World War. This threat was imagined to continue after the end of the war in the mechanization and technologization of the post-war urban landscape, and the imaginary mechanization of the body served to protect it from this ongoing threat by reconciling it to its increasingly mechanized environment. The Maschinenmensch embodies the promise of a seamless integration of the subject into its threateningly mechanized environment.}, keywords = {19th-and Early 20th-Century European Art}, author = {Mackenzie, Michael} } @mastersthesis {8458, title = {Meanings of the Maya Monolith}, year = {1999}, school = {Yale}, abstract = {This dissertation addresses the ancient Maya tradition of monumental stone sculpture, AD 250-800. The study examines the practices by which stone sculptures were ritually patronized, executed, and aesthetically recognized among the ancient Maya. It analyzes the role of stone sculpture in ancient Maya religious belief and ritual practice, and the place of sculpture and carving in the social, political, and aesthetic experience of the Maya court culture. The dissertation also provides an analysis of monumental patronage and production in a particular historical and regional context, that of Palenque, Chiapas, Mexico, between about AD 600 and 780.}, keywords = {Native American and Pre-Columbian Art}, author = {Adam Herring} } @mastersthesis {8533, title = {Meat, Social Status and Spatial Politics in Pieter Aertsen{\textquoteright}s {\textquoteright}Meat Stall{\textquoteright}}, year = {1999}, school = {Duke}, abstract = {This dissertation explores the social-historical implications of Pieter Aertsen{\textquoteright}s Meat Stall (1551), widely regarded as the first still life in modern European art. Implicitly, this study demonstrates how canonicity can obscure a work{\textquoteright}s initial function and reception. Explicitly-through archival research and analysis of visual tradition-it illustrates how The Meat Stall{\textquoteright}s unconventional subject matter and form confronted its initial viewers with the dynamic and conflicted nature of their society. In 1551, no aspect of The Meat Stall was more remarkable than Aertsen{\textquoteright}s unprecedented portrayal of butchered meat. This meat and its political associations provide one of multiple keys to The Meat Stall {\textquoteright}s social interventions. Between 1500 and 1551, Antwerp had become the commercial and cultural capital of northern Europe. Rapid growth and change, however, created enormous stresses. Its population had tripled, and its traditional markets had been eclipsed by international trade and finance. Massive real estate development benefited few while refashioning urban geography. Friction grew between traditional civic interest groups and new social formations. In contemporary consciousness the meat in Aertsen{\textquoteright}s image was not a generic "object," but a product inseparable from the city butchers{\textquoteright} guild. In 1551, this organization faced a sudden threat to its ancient monopoly on meat, and therefore to its traditional social status. The butchers{\textquoteright} predicament was emblematic of change and instability in mid-16th century Antwerp. New archival evidence not only sheds light on this aspect of The Meat Stall{\textquoteright}s local reference system, but further demonstrates the picture{\textquoteright}s allusions to corruption in urban land development. The Meat Stall was no mere social text, however. It was a visual tour-de-force whose formal innovation fueled its social intervention. Aertsen parodied contemporary professional portraiture, in which the tools of banking and commerce-contracts, ink pots, ledgers-increasingly encroached on human users. By foregrounding meat, Aertsen gave prominence not to the entrepreneurs the genre usually portrayed, but to Antwerp{\textquoteright}s endangered local food providers. He thereby made visible how picture space-and art itself-had become implicated in social contest.}, keywords = {Renaissance Art}, author = {Houghton, Charlotte} } @mastersthesis {8419, title = {The Medieval Frescoes in the Crypt of the Duomo of Anagni}, year = {1999}, school = {Johns Hopkins}, abstract = {The aim of this dissertation is to provide a new understanding of the pictorial cycle of the crypt of the Duomo of Anagni as an example of medieval monumental narrative. The program{\textquoteright}s historical, social, and artistic contents have been taken into consideration. In particular, issues of liturgical function, audience and patronage have been analyzed in to the decorative scheme, its placement inside the crypt and its iconography. I have evaluated the history and nature of the architectural container of the frescoes and drawn evidence for its use by a large public. I have examined the transformation of existing pictorial sources in the creation of a new visual language and determined the use of this new language in a specific liturgical discourse. In addition I have linked the Anagni program with the existing provincial tradition of church decoration in Latium, and have underlined its differences.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Bagnoli, Martina} } @mastersthesis {8424, title = {The Melisende Psalter Ivories (British Library, Egerton 1139) and Patterns of Nineteenth-Century Collecting}, year = {1999}, school = {Brown}, abstract = {This dissertation develops notions of authenticity with regard to medieval ivories first, by examining and reattributing the Melisende Psalter ivories, and secondly, through an analysis of collecting and historiography of medieval art in France in the 1830{\textquoteright}s and 1840{\textquoteright}s when the Psalter first appeared in a private collection in Lyon. In the final chapter, the market in medieval art and manuscripts that followed the dissolution of the churches and monasteries in 1793 is described. The Melisende ivory plaques (British Library, Egerton 1139) have often been considered part of the same commission in which the Melisende Psalter was created in 12th-century Crusader Jerusalem. It is argued here that the ivories were made into the manuscript{\textquoteright}s bookcover much later, in the 18th or 19th century. It is suggested that the ivory bookcover should be understood as a creation of the Gothic Revival milieu which surrounded the Troubadour painters in Lyon. It is suggested that the plaque which formed the back cover was carved in modern times, by using the other plaque as a model. The front cover is reattributed to the school of Regensburg in c. 1160 or to England in the same period. In chapter two, the modern history of the Psalter is considered as an example of how medieval art was collected and understood in France in the first half of the 19th century. Two histories of collecting are examined: one, the rich and unusually early tradition of collecting medieval art in early 19th-century Lyon and two, the relationship of collecting to the newly popular activity of archaeology. The second part of chapter two is devoted to the historiography of medieval art and architecture. Works by Alexandre Du Sommerard, Arcisse de Caumont, and Charles Cahier are considered in detail, as are the activities of the Societe francaise d{\textquoteright}archeologie, founded in 1834 by Caumont. The writings of these authors express a range of approaches which include nationalism, archaeology/science, and iconography. It is demonstrated that medieval art had profound political overtones at this time, due to the art{\textquoteright}s royal and sacred associations.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Brodahl, Jean} } @mastersthesis {8363, title = {Men in the Making: Case Studies in the Work and Personae of Vaslav Nijinsky, Charlie Chaplin, and Marcel Duchamp, 1909-1929}, year = {1999}, school = {Harvard}, abstract = {In this dissertation, through a detailed analysis of the work and personae of Vaslav Nijinsky, Charlie Chaplin, and Marcel Duchamp, I identify and examine the manner in which these male artists dared to invoke the cultural categories of effeminacy and male homosexuality as codified in France and America during the 1910s and 1920s. In the aftermath of the trials of Oscar Wilde (1895), the emasculating trauma of World War I, and the birth of the New Woman or la garconne, Nijinsky, Chaplin, and Duchamp were key players in redefining the parameters of "acceptable" masculinity in the French and American avant-garde. Employing a lexicon of complementary as well as contradictory corporeal signifiers in circulation in a variety of visual and textual media, their collective artistic output from this period forms a complex matrix of non-traditional masculinities: the muscularly overdeveloped male dancer who was bisexual in his private life and whose early stage roles comprised a kind of bisexual performativity in their emphasis on the gracefulness, etherealness, and submissiveness traditionally associated with the feminine (Nijinsky); the comedic actor with a weakness for barely pubescent young women whose diminutive and cowardly tramp persona resorted to all kinds of unmanly antics in order to outwit his burly, brutish male antagonists (Chaplin); and the consummate bachelor artist adored by men and women alike whose work addressed the themes of urination, cross-dressing, and anal eroticism ail of which, from a medical perspective, were symptomatic of sexual pathologies (Duchamp). In writing the case histories of these three seemingly unusual men, I assert that their concurrent visual exploration of non-traditional masculinities and male sexuality formed the foundation of and functioned as the catalyst for a broad-based aesthetic project that continues to influence and haunt the avant-garde in our fin de siecle .}, keywords = {19th-and Early 20th-Century European Art}, author = {Franklin, Paul} } @mastersthesis {8456, title = {Middle Horizon Tapestry Tunics}, year = {1999}, school = {Columbia}, abstract = {This dissertation explores mathematical concepts articulated in the tapestry tunics of Wari (Huari) and Tiwanaku (Tiahuanaco), the two dominant powers of the ancient Andean Middle Horizon (ca. 500-1000 A.D.) The tunics probably were worn by high-level, state officials whose authority was sanctioned by religion, to judge from the supernatural associations of the tunics{\textquoteright} imagery. The number system articulated in the tunics, therefore, should be seen as an expression of the political ideology on which the state based its claim to power and, since linked to cosmological precepts, as one of the basic ways in which the world was classified and understood. The system strongly focuses on the number two and a series of doublings to four, eight, sixteen, and so forth. These numbers link to patterns of opposition and alternation between motifs, colors, orientations, and other features, including formal distortion, the opposed elements often bringing one another into balance and equilibrium at the level of the visual. Through analogy to the dualistic beliefs of the Inka and contemporary Andean folk, these joined numbers and patterns suggest that Middle Horizon elites based their claim to authority on their ability, or that of their supernatural patrons, to bring conflicting principles and forces into resolution. The tunics also provide evidence of socio-political dualism, if two groups of tunics proposed as a ranked pair can be accepted as such, and if ranking in these official garments reflects socio-political structure. I also argue that the similarity between Tiwanaku and Wari tunics constitutes some of the best, but until now unrecognized evidence of interchange between Wari and Tiwanaku, whose relationship is a matter of contention. For various reasons the tunic evidence cannot yet have unquestioned impact on this debate, but it may suggest a Tiwanaku origin for shared features and, in any case, should become an important consideration in the future. A catalogue that describes about 350 tapestries is provided, along with appendices that summarize the major groups{\textquoteright} characteristics. More than 150 tracings illustrate the catalogue and text.}, keywords = {Native American and Pre-Columbian Art}, author = {Bergh, Susan} } @mastersthesis {8527, title = {Miniature Painting and Its Role at the Medici Court in Florence, 1537- 1627}, year = {1999}, school = {Johns Hopkins}, abstract = {Miniature painting is a technique originally developed for painting on parchment and vellum. During the sixteenth and seventeenth centuries it was highly valued as a unique and precious art form and the works painted played a significant part in the diplomacy, politics and identity-shaping of the European courts. The important place miniature painting occupied at the time lays open to question an idea that has long permeated scholarship, namely that miniature painting is a minor art of secondary importance. Critical re-evaluation of the role of miniature painting in the history of art is therefore long overdue. One of the greatest centers for miniature painting during the sixteenth and seventeenth centuries was the Medici court in Florence. The Medici rulers engaged some of the finest miniaturists in Europe, and promoted the training of additional artists to paint in miniature. They also amassed an extraordinary collection of works executed in miniature, which they displayed together with their most prized possessions. Many miniatures were also presented by the Medici as gifts to key figures of other courts, among them the Hapsburg Emperors, and the monarchs of France and Spain. This study has two objectives: to describe and explain the technique of miniature painting and its innovations in the sixteenth century, and to demonstrate its historical importance by unfolding a history of miniature painting at the Medici court in Florence for the period 1537 to 1627.}, keywords = {Renaissance Art}, author = {Bauman, Jennifer} } @mastersthesis {8368, title = {Modernism{\textquoteright}s Edge: Nationalism and Cultural Politics in Fin-de- Siecle Europe, Norwegian Painters 1880-1905}, year = {1999}, school = {Brown}, abstract = {In a study of the critical reception of Norwegian painters from 1880-1905, I propose a re-reading of the intersections between early artistic modernism and nationalism. Histories of modernism have traditionally asserted a French (Parisian) modernist model as a universal. A more complex picture of modernism{\textquoteright}s structures is revealed through this investigation of Norwegian art and cultural politics. The Norwegian artists and critics{\textquoteright} attempts to construct their own modernism from 1880-1905 coincided with their national independence. Norwegian politics and culture were mobilized against Swedish (and before them, Danish) colonizers, with independence achieved in 1905. The Norwegian example proposes a "post-colonial" modernism in contrast to the "imperialism" of French-informed modernism. The Norwegians{\textquoteright} importation of French painting techniques and theories (soon to be proposed as universal by Meier-Graefe and Mauclair) indicated the cultural politics inherent to modernist art practices; the Norwegians were eager to exploit this politics for their national project. They reconfigured France{\textquoteright}s Impressionism as a radical politics for Norwegian culture via an artists{\textquoteright} strike in 1881-2, establishing a Norwegian avant-garde. By 1886, Norwegian critics and art historians began to produce critical re-presentations of past Norwegian art traditions to serve their current formulations for a Norwegian modernism, and to reconfigure their status as Europe{\textquoteright}s "primitives." By 1896, a theory of decorative color was proposed as a Norwegian "instinct," essentializing modernism as Norwegian. By mid-1890s a nationalist politics aimed at independence, and a symbolist aesthetic of individual creativity converged to form an internationally recognizable Norwegian modernism in the work and identity of Edvard Munch. Contrasting the familiar modernist trajectory of a genealogy of great (French) painters, Norway{\textquoteright}s modernism was based in the collective idea of nationalism, reflecting its "post colonial" status. It asserted Norway as culturally independent, and through its style, reflected this new nation back to itself as recognizable yet distinctive within the arena of European nations. Tracing the negotiations between early international modernism and nationalism brings the remains of hidden "national modernisms" to light, providing an opportunity to re-examine the legacy of "imperialist" modernism.}, keywords = {19th-and Early 20th-Century European Art}, author = {Herman, Kerry Brita} } @mastersthesis {8360, title = {Modernist Fame and Cultural Regionalism: The Works and Reception of Emil Nolde in Hamburg, 1907-1937}, year = {1999}, school = {Brown}, abstract = {Until now, it has been very difficult to locate and describe German Expressionist Emil Nolde in the art historical context out of which he emerged. Too often critics and scholars have uncritically described him as a rustic, land-bred loner by personality akin to all the northern German peasants supposedly eternally {\textquoteright}rooted{\textquoteright} to the soil they tilled. The conditions of his rise to fame between 1907 and 1937 have rarely been compared to those of other modern artists, with whom Nolde had in fact much in common. I place Nolde in the cultural context of Hamburg where he first became famous and where other artists such as those of the Brucke, Sturm, and Blaue Reiter became differently famous at roughly the same time. I argue that Nolde{\textquoteright}s fame and success in the modernist project can only be understood by appreciating the cultural regionalism prevalent in Hamburg. Since the city of Hamburg was the central location of Nolde{\textquoteright}s self-promotion, its regionalism and Hansa identity played an understandably important role in shaping the artist{\textquoteright}s reputation. In particular, many of Nolde{\textquoteright}s supporters were invested in an intense post-unification competition between Hamburg and Berlin for cultural status. Berlin was broadly respected for its artistic scene, whereas Hamburg struggled with its long-time image as a booming port city filled with uncultured shipping merchants. Proponents of Hamburg struggled to assert the intellectual centrality of the city. Nolde eventually became a kind of figurehead for the regional and cultural prominence Hamburg{\textquoteright}s elite wished to achieve. Furthermore, he symbolized the regeneration of the whole of German culture for which northern Germany and specifically Hamburg were supposedly responsible. A close study of Nolde{\textquoteright}s works and exhibitions provides me with valuable insights into his market strategy. By comparing the programs of his supporters and his own market strategy, I argue that Nolde{\textquoteright}s art historical construction as a northern loner functioned as powerfully as support for the regional program of his supporters as it did for his painting.}, keywords = {19th-and Early 20th-Century European Art}, author = {Cloeren, Susanne Vivian} } @mastersthesis {8467, title = {Modernizing Main Street: Everyday Architecture and the New Deal}, year = {1999}, school = {CUNY}, abstract = {This dissertation examines the impact of the Great Depression on everyday architecture in the United States and proposes a reevaluation of the acceptance of modernism in architecture before World War II. Specifically, it investigates a nationwide effort to "modernize" or improve commercial buildings as an antidote to the economic and social catastrophe of the 1930s. It offers a reassessment of the New Deal{\textquoteright}s impact on visual culture by broadening notions of federal sponsorship and by revealing the close relationship which existed between big government and big business, a relationship which, in turn, strongly influenced the architectural practice of building modernization. To this end, the dissertation engages issues of legislation (Title I of the 1934 National Housing Act), public policy (government-insured credit), manufacturing (of building materials) and marketing (of architectural service). On an urbanistic level it explores a moment when "Main Street," the traditional commercial core of the American city, attempted to stem the tide of burgeoning decentralization and rapid economic change through a program of deliberately modern architectural image-making. To this end, the dissertation explores the way architecture expanded the era{\textquoteright}s iconography of prosperity and contributed to a redefined self-image of small-town America that was progressive rather than nostalgic. On a theoretical level it demonstrates that debates about populism, consumerism, gender, and legibility were an important part of the discourse of the 1930s when architects and industrial designers began to exploit the scenographic and symbolic potentialities of the strip and when the practice of architecture, like the practice of advertising, emerged as a product of the consumer culture.}, keywords = {Post-1945 Art}, author = {Esperdy, Gabrielle} } @mastersthesis {8535, title = {The Monumental Saint{\textquoteright}s Tomb in Italy: 1260-1520}, year = {1999}, school = {Harvard}, abstract = {The dissertation examines the history of the monumental saint{\textquoteright}s tomb in Italy from the tomb of St. Dominic until the early sixteenth century. It begins with a definition of sanctity and a discussion of the role which saints played in Italian society during the late Middle Ages and Renaissance. The importance of saints in the symbolic and religious culture of cities, churches and individuals is addressed in order to better motivate the iconographical and morphological discussions which follow. After an account of earlier saintly commemoration, the history of saintly tomb building in Italy is then examined beginning with the tombs of the late Duecento and Trecento. While this discussion is generally chronological, the tombs are divided into two morphological categories, free-standing and wall-mounted, and each category is organized according to its morphological sub-types. This same organization is used in the discussion of Renaissance monuments with particular attention being paid to the connections between saintly and non-saintly commemoration. The patronage of the tombs is examined. Commissions funded by cities, religious organizations and individuals are investigated in order to discover how specific patronal concerns influenced tomb construction. General trends in tomb patronage are also noted. Finally, the more general aspects of the monumental commemoration of the saints are examined. The tombs of saints are compared to both reliquaries and non-saintly tombs. The idea of the tomb as an image is examined with particular attention given to issues of eschatology, exegesis, memorialization, classical reference and contemporary efficacy. The dissertation includes an extensive catalog which discusses in depth the tombs covered by this study.}, keywords = {Renaissance Art}, author = {Nygren, Barnaby} } @mastersthesis {8440, title = {Myth of the Classical Peplos}, year = {1999}, school = {Bryn Mawr}, abstract = {This study reassesses the evidence for the peplos and the peplophoros in the Early Classical period of Greek sculpture, ca. 480-450 B.C., and offers a new interpretation of the peplophoros type. Following an introduction to the basic problems surrounding the peplos and the peplophoros (Ch. 1), a survey of the history of scholarship (Ch. 2) demonstrates how the garment and the sculptural type were identified, the evidence consulted, and the assumptions made and passed down to the present day. Chapter 3 is an analysis of the term peplos from the earliest Greek literature through the end of the fifth century, with the aim of reconstructing the semantic value of the term for the Greeks of the Early Classical period. Chapter 4 surveys the evidence for the peplos and other garments in Greek cult practices, especially the Panathenaic peplos at Athens, as well as the evidence for dress fasteners in sanctuary and other contexts. Chapter 5 offers an analysis of the Early Classical peplophoroi based on the comprehensive corpus of monuments collected by Renate Tolle-Kastenbein, Fruhklassische Peplosfiguren. Originale (Mainz am Rhein, 1980). Chapter 6, the conclusion, synthesizes the many misapprehensions surrounding the peplos and the peplophoros and offers a new interpretation of the sculptural type as an iconographic construct of feminine Hellenic identity. The aim of this study is to expand the realm of inquiry into the peplos and the peplophorus beyond the traditional questions of historicity and style in order to examine the garment and the sculptural type within a broader socio-cultural context. In particular, the role of the peplos as a feminine garment and the peplophoros as a representation of a female figure suggests that both the garment and the sculptural type had special meaning in terms of Greek constructions of feminine gender. Recent scholarship on gender in the field of Classics illuminates the potential meanings of the peplos and the peplophoros, allowing for a new understanding of the garment and the iconography.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Lee, Mireille Michelle} } @mastersthesis {8354, title = {Napoleonic Painting from Gros to Delaroche: A Study in History Minor}, year = {1999}, school = {CUNY}, abstract = {This dissertation argues that in First Empire France, history painting split into distinct visual languages that claimed historical legibility for viewers of different social backgrounds. Artists such as Jacques-Louis David defined Napoleonic authority through an esoteric, monumental idiom that solicited the approval of an academic elite; meanwhile, painters like Nicolas-Antoine Taunay and Adolphe Roehn eased the less historically aware into support of the regime with anecdotal scenes of Napoleonic genre, equated here with oral history in pictorial form. The Salon walls thus simulated Napoleon{\textquoteright}s paradoxical fusion of imperial ambitions with democratic pretensions; grand-scale works depicting Napoleon robed in regal finery and small-scale history paintings of Napoleon the homme du peuple performed symbiotically in a historical mirage of balance between monarchic and republican extremes. Such alternate historical strategies were not necessarily determined by questions of individual style. Antoine-Jean Gros engaged "monumental" and "anecdotal" historical tactics within single works, simultaneously exploiting classical iconography and the more contemporary languages of journalism and genre painting to carry out Napoleon{\textquoteright}s political tasks. The government programs behind Gros{\textquoteright}s paintings required the inclusion of genre-like anecdotes, propagandist devices that blurred the line between fact and fiction while courting the public{\textquoteright}s desire for romantic narratives. However, Gros{\textquoteright}s works often went beyond administrative expectations, complicating to an extreme any claims to Napoleonic supremacy that official painting might be expected to proffer. The last two chapters of the dissertation investigate how the system of anecdotal narrative that served official and popular interests under Napoleon persisted in historical representations after the collapse of his regime. Horace Vernet{\textquoteright}s nostalgic historical ethos is discussed as an extension of one of the Empire{\textquoteright}s official styles, representing the transfiguration of history painting into an expression of public and personal consciousness. The dissertation closes with the Napoleonic paintings of Paul Delaroche, whose retrospective remove allowed him to express what Gros, his teacher, could not: the inevitable failure of one of history{\textquoteright}s most powerful figures, and the eternal power of history itself.}, keywords = {19th- and Early 20th-Century European Art}, author = {Tanyol, Derin} } @mastersthesis {8369, title = {A Neurotic Mirror{\textquoteright}: The Painting of O. Louis Guglielmi, 1932-43}, year = {1999}, school = {IFA/NYU}, abstract = {This dissertation examines O. Louis Guglielmi{\textquoteright}s (1906-1956) enigmatic narratives undertaken in 1932 during the depths of the Depression and abandoned after his induction into the armed forces in 1943. Subsequently renounced by the artist as "a neurotic mirror [held] to a disordered world," the work is informed by fascism, war, social unrest, and the misfortunes of the artist{\textquoteright}s Italian-American community. Employing various aesthetic strategies, Guglielmi constructed a succession of highly imaginative responses to these crises. Chapter I considers Guglielmi{\textquoteright}s initial commitment to social themes and his relationship to indigenous American painting-folk and popular art-as well as regionalist and precisionist painting. Guglielmi recast these native styles as a reproof of New England{\textquoteright}s insularity and reactionary attitudes in American society. Chapter II places Guglielmi{\textquoteright}s art in the context of united front tactics to engage artists{\textquoteright} support of the Communist cause. During the mid-thirties, his oeuvre became more incisive and provocative in its treatment of proletarian themes likewise examined by social realist artists and political illustrators. He advanced an anti-institutional critique by adopting the iconoclastic imagery of the Mexican muralists; yet, unlike the latter, he rejected all ideology, capitalist and Marxist-Leninist alike. Chapter III examines Guglielmi{\textquoteright}s radical narrative, American Dream (1935), in light of the Popular Front{\textquoteright}s concern over fascism and war. Appropriating the tropology of leftist cartoons, this carefully crafted critique of tradition-bound American mural painting graphically debunks the antiquated mythology of a good life for the common man. Chapter IV analyzes Guglielmi{\textquoteright}s social surrealist premonitions of war and tragedy. These paintings reflect the artist{\textquoteright}s concern over the effects of impending armed conflict on working class Italian-American{\textquoteright}s during the Spanish Civil War and the period leading up to the United States{\textquoteright} entry into World War II. The dissertation concludes with a brief discussion of Guglielmi{\textquoteright}s dramatic reevaluation of his artistic mission during the post-war period. Based on allegory and myth, his work retreated from its polemical stance, moving towards a poetics of virtually pure abstraction devoid of recognizable subject matter.}, keywords = {19th-and Early 20th-Century European Art}, author = {Lansing, Gerrit} } @mastersthesis {8516, title = {New Deal Murals in Kentucky Post Offices}, year = {1999}, school = {Louisville}, abstract = {This dissertation takes a primarily art historical approach to the murals commissioned from 1934 to 1943 under President Franklin D. Roosevelt{\textquoteright}s administration. This study is confined to the post office murals created for the Commonwealth of Kentucky under the United States Treasury Department{\textquoteright}s Section of Fine Arts. Many of these paintings were lost or deliberately destroyed when the program was dismantled. Today most of the remaining murals are dirty and faded and little noticed. Many of the artists have been forgotten. During the Depression years, however, these paintings contributed to local pride, optimism for the future, stronger patriotism, and a sense of community Since then, the murals have been ignored or denigrated as inferior examples of painting. My thesis is that the murals do have artistic significance. Almost every muralist whose work is still in a Kentucky post office had solid academic training, many of them in Paris, and a good grasp of the fundamentals of painting. Their work is well worth stylistic analysis and preservation as part of our American heritage.}, keywords = {Pre-1945 North American and South American Art}, author = {Toutant, Eileen} } @mastersthesis {8382, title = {New Landscapes of Nature in Victorian England: The Pre-Raphaelite Landscape, Natural History and Modern Architecture in the 1850s}, year = {1999}, school = {IFA/NYU}, abstract = {The dissertation is entitled "New Languages of Nature in Victorian England: The Pre-Raphaelite Landscape, Natural History, and Modern Architecture in the 1850s." This study provides new ways of thinking about landscape and landscape painting, ways which are particular to England in the mid-nineteenth century, but which will extend into other disciplines as well as other geographic regions of artistic endeavor. To that end, I have used a wide variety of primary sources including books, journals, newspapers, and archival documents to form my argument. I have also drawn on the expanding fields of Cultural Geography and heritage studies to enhance my thinking in more art historical areas. The crucial issues that I address are: the state of research into landscape painting of the mid-Victorian period and the status of Pre-Raphaelite landscapes in British art history; the relation of specific sites of Pre-Raphaelite landscape practice to the development of inner and outer London in the early 1850s, and the role of the railroads and contemporary forms of transport in helping to define a relationship between humankind and nature, artist and environment, and travel and conceptions of modernity; the interconnections between the Pre-Raphaelite approach to nature in their landscapes and contemporary conceptions of the display and control of nature through the study and pursuit of natural history; and finally, the role played by the Pre-Raphaelites and their circle in forming a modern approach to public and private institutions concerned with natural history and sciences, as conclusively and brilliantly realized in the architecture and decorations of the Oxford University Museum. This study in art and cultural history, while concentrating on the 1850s, will, I hope, stimulate a reconsideration of English art of the later decades of the nineteenth century, with the aim of trying to understand the relationship between artists and nature in this period of great environmental and social change.}, keywords = {19th-and Early 20th-Century European Art}, author = {Rosenfeld, Jason} } @mastersthesis {8443, title = {A New Study of the Palazzo Imperiale at Ostia}, year = {1999}, school = {Princeton}, abstract = {The object of this study is a building complex at Ostia Antica known since the late nineteenth century as the "Palazzo Imperiale." Located in the far western part of the ancient city on the banks of the Tiber (modern Regione III), the Palazzo comprised a large bath complex, apartments, two courtyards, a mithraic shrine, shops and magazzini, with an overall length of ca.130m. The aims of the dissertation are threefold: (1) structural examination, (2) architectural analysis, and (3) interpretation within the context of ancient Roman urbanism. The so-called Palazzo Imperiale was the centerpiece of the papal excavations at Ostia carried on by Pietro Ercolo Visconti and Carlo Ludovico Visconti for fifteen energetic seasons (1855-70), under the sponsorship Pope Pius IX. A review of the excavation accounts in Chapter One records early speculation about the nature of the building, the disposition of small finds, and the serious structural losses sustained to the building due to weathering and exposure. Chapters Two and Three supply the data base for its architectural analysis. The typology of masonry techniques used in the Roman building practice of faced concrete walls, applied to the standing remains of the Palazzo, establishes the chronology of the building. Chapter Three follows with a full room-by-room description of the actual remains, drawing on archival records to assemble as complete a picture as possible of the original edifice. On the basis of these combined sources of information, a building history emerges for the Palazzo that is anything but palatial (Chapter Four). In its first phase, the building was a small city bath, or balneum, associated by epigraphical evidence with Matidia the Younger (daughter of the niece of Trajan), a wealthy and well-placed imperial woman, who in all likelihood was the patroness of this enterprise in the port city. The baths were renovated in a second phase, datable to the last decade of the second century A.D., and expanded on all sides to form a large public insula, which may have served as a schola, the headquarters of one of the important Ostian guilds or collegia, among the town{\textquoteright}s most important social institutions. Chapter Five examines its role as a multipurpose complex within the "urban armature" of the port city of ancient Rome, and challenges the validity of its traditional epithet as Ostia{\textquoteright}s Imperial Palace.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Spurza, Joanne} } @mastersthesis {8403, title = {Ninh Phuc Temple: A Study of Seventeenth-Century Buddhist Sculpture in Vietnam}, year = {1999}, school = {UC Berkeley}, abstract = {In seventeenth-century Vietnam, Buddhism enjoyed a resurgence of patronage. The socio-political changes associated with this religious revival were also linked to the appearance of new types of religious and secular images. These innovations in the form of sculpture are notable for their high levels of refinement. These sculptures are the subject of this dissertation. The remarkable naturalism and realism of these figures are tied closely to factors that led different social groups to venerate images of different deities. Most examples of these seventeenth-century sculptures are found in the Ninh Phuc temple. Epigraphic records on stone stelae, stupas and bronze bells can also be found in this temple. Such a representative collection of images make the cloister an ideal setting for this project. Additionally, Ninh Phuc temple was also the home of two eminent monks who helped restore Buddhism to its previous high status of social practice. The dissertation has four main sections: Buddhist imagery, roles of prestigious monks, royal patronage, and visual images of Pure Land practice. Section one focusses on the popular lacquered images of old and new Buddhist figures, which are a distinctive feature of religious revival in the 17th century. The circumstances leading to their production and their function within the prevailing religious, political, and social conditions help to explain the appearance of various new types of religious personages in sculpted form. Section two discusses the roles of prestigious monks. The theologies these monks expounded to social elites and to ordinary people influenced the iconography and new sculptural forms of all the religious artifacts in this period. Ultimately, they expressed a new type of a monastic piety. Section three examines the roles of royal patronage at the Ninh Phuc temple. Depending upon the imperial patrons to sponsor the restoration and expansion of monasteries to work the renewal of Buddhist traditions in the villages, the highly regarded monks helped shape dramatic aesthetic changes in the Vietnamese sculptural tradition. Section four analyses the visual images of Pure Land practice that were portrayed through the revolving lotus tower. The nine-leveled octagonal tower of the lotus form depicts wonderful scenes of the Pure Land, and the images of Bodhisattvas and Buddhas. It is a Vietnamese architectural work that is remarkable not only because it expresses cultic images of Pure Land Buddhism, but also because its reveals a religious practice that was truly pervasive in the medieval period. Dated stele inscriptions, epigraphy, historical records, local gazetteers, hagiographies, religious writings, a diverse array of religious objects, and most importantly the sculptures form the documentary foundation of this thesis. Materials written in classical Chinese and nom which deal directly with the art works are connected to iconographical transformations. These writings are also linked to concurrent changes in the style, meaning. and subject matter of the visual arts in the seventeenth century. Both substantive and methodological dimensions are present in this dissertation by addressing an important body of previously neglected material and by combining art-historical analysis with the socio-historical study of religious movements.}, keywords = {Asian Art}, author = {Nguyen, Trian} } @mastersthesis {8453, title = {The Object in the Gift: Embassies of Jahangir and Shah Jahan}, year = {1999}, school = {Minnesota}, abstract = {Throughout the sixteenth and seventeenth centuries two powerful Islamic dynasties, the Mughal Empire of India and the Safavid Empire of Iran, forged a fascinating history of dynastic interaction. Sometimes allies, sometimes enemies, the Mughals and the Safavids encountered one another on a number of levels. From border disputes to itinerant poets, the history and culture of each dynasty impacted those of the other. The most direct form of interaction between the two empires was through ambassadorial parties dispatched in the interest of advancing political, mercantile, and military ventures. In this dissertation, I examine gifts, works of art in particular, exchanged between the courts of the Mughal emperor Jahangir (1605-27) and the Safavid Emperor Shah Abbas (1588-1629) through official embassies. The types of gifts exchanged, the circumstances in which gifts were presented, and the consequences of giving and receiving equity among other fines of inquiry are analyzed towards a better understanding of relations between these two courts, the role and nature of gifting, and the values attributed to gifted works of art then and now.}, keywords = {Islamic Art}, author = {Littlefield, Sharon} } @mastersthesis {8461, title = {Out of Site: Photographic Representations of Japanese American Internment}, year = {1999}, school = {Michigan}, abstract = {Two months after the bombing of Pearl Harbor in 1941, the United States government ordered the forced evacuation and incarceration of 120,000 Japanese Americans-citizens and non-citizens alike-in concentration camps located in remote and often desolate areas of the western and southern United States. From the inception of the evacuation to the present, photographs have played a crucial role in both recording and remembering internment. This dissertation examines photographic representations of internment as it was documented in images from the 1940s and as it has been remembered in images from the 1990s. I analyze documentary photographs of the evacuation and incarceration made by Dorothea Lange, Ansel Adams, and Toyo Miyatake as well as images of the internment sites made by contemporary artists Patrick Nagatani and Masumi Hayashi, who use photography to forge their own identities in the aftermath of internment. I argue that photography was integral to the multiple struggles that accompanied the process of internment, and analyze how photographs from that period have been contextualized and deployed in different forums, including government propaganda, personal albums, the popular press and museum exhibitions. These forums have at times constructed competing versions of history, using photographs to bolster historical accounts in different ways-as windows onto the event that reveal real subjects and truthful occurrences, as opaque surfaces that project hegemonic interests and tell false stories, and as mirrors that reflect the photographers{\textquoteright} intentions more than the subjects{\textquoteright} identities. Calibrated readings of these photographs that consider both their production and subsequent deployment provide insight into the relationship between "official" history and personal memory, the construction of patriotism and citizenship, and the use of photography as a representational practice by agents ranging from government officials to independent documentarians to internees. Finally, I discuss how Nagatani and Hayashi have produced images of the former sites of the concentration camps to construct their own histories of an event that has too often been ignored in more conventional renderings of the nation{\textquoteright}s past.}, keywords = {Photography and Film}, author = {Alinder, Jasmine A.} } @mastersthesis {8439, title = {The Palm Tree-Palmette Motifs and Goddess Imagery in the Bronze Age}, year = {1999}, school = {Bryn Mawr}, abstract = {This study attempts to trace the development of the forerunners of the Phoenician palmette motif in the Middle and Late Bronze Age, as they occur in Mesopotamia and the Levant, Egypt, and the Aegean. It concentrates on the palm tree as the likeliest prototype, with attention paid as well to other vegetal forms which may contribute to the morphology of the palmette. In particular it follows the seemingly universal association of the palm and related imagery with a goddess of fertility, often solar, variously known as Hathor, Ashtart, Ishtar, and the unnamed divinity or divinities worshipped by the Minoans and Mycenaeans. As a secondary but probably more important program, the thesis functions as an exemplar and a critique of a methodology that is no longer very useful, given the volume of material now extant and the scanty social and ideological context provided by texts, particularly in marginally literate cultures such as those of the Bronze Age Aegean. It dramatizes the difficulty of tracing iconographical meanings across cultural boundaries, and the seductions of equating likelihoods or even possibilities with proven facts, as is still practiced in certain contemporary studies, despite today{\textquoteright}s more rigorous standards of research. Among specific uses of the palm that are dealt with at some length are the Mari fresco as cosmic exemplar; the volute tree with ibexes as an emblem of imperial Egyptian propaganda; the painted pottery of the Levant as possibly pertaining to celebrations of the marzeach; origins of the Egyptian pole bouquet in Levantine cult; and certain Mycenaean beliefs about the afterlife based on those of Egypt. The significance of the palm and the ideology surrounding it, religious and political, were shared by the elite classes of the areas under consideration, even though they were in some cases alien to the general population. This common aristocratic culture goes far to explain the seeming universality of certain symbols and their accompanying ideas. The very fact of the motifs{\textquoteright} foreignness would have added an additional layer of meaning and prestige to such borrowed imagery.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Kantzios, Niki Holmes} } @mastersthesis {8420, title = {Papal Politics of a Trecento Bible: The Bible of Anti-pope Clement VII (London, British Library, ms. Add. 47672)}, year = {1999}, school = {Johns Hopkins}, abstract = {The "Bible of Anti-pope Clement VII" (London, British Library, ms. Add. 47672), also called the Clement Bible, is a richly illustrated Italian manuscript produced in the first half of the fourteenth-century for an unknown patron. The later ownership of Anti-pope Clement VII (1378-1394), known through the papal library archives and the repeated presence of his coat-of-arms, gives the Bible its name. The manuscript contains the Old and New Testaments with detailed narrative marginal images at the start of each book, and longer cycles in Daniel, the Gospels, the Acts of the Apostles, and Revelation. This study establishes the Bible{\textquoteright}s localization and dating in Angevin Naples circa 1330 through stylistic and iconographical comparisons to the art of Pietro Cavallini, to individual monuments, such as Santa Maria Donnaregina, and through parallels in the production and format of other Neapolitan Bibles. An analysis of the manuscript{\textquoteright}s iconography suggests that a Romanesque Bible served as the primary model for the illuminations due to its traditional iconography and dense narrative images. The special character of the illustrations appears in the choice to emphasize certain cycles and in the alteration of the usual iconography in particular instances. A visual emphasis on the opposition of Jerusalem and Babylon in the Old and New Testaments links the Bible to the polemics about the popes{\textquoteright} presence in Avignon (1309-1417), often called the "Babylonian Captivity." The scenes refer literally to evil Babylon as captor of the people of holy Jerusalem in the same manner that writers such as Dante and Petrarch allegorically compared Avignon to Rome in the fourteenth century. Furthermore, image details seem to relate to the issue of the beatific vision, or the moment when the soul would see the Lord, a subject of heated theological debate circa 1331 when Pope John XXII expressed opposition to accepted opinions. Both issues would have had particular resonance in Naples due to that city{\textquoteright}s close ties to Avignon, displayed in the example of the Angevin King Robert the Wise (1309-1343).}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Fleck, Cathleen} } @mastersthesis {8526, title = {The Patronage of Catherine de Medici: Imaging Authority and Power}, year = {1999}, school = {Columbia}, abstract = {This dissertation examines the funerary patronage of Catherine de{\textquoteright} Medici in the context of the political history of the years immediately following the death of Henri II in 1559. The first chapter of the dissertation investigates various traditions of female patronage and funerary patronage which served as models for the French queen. In the second chapter, the Tomb of Henri II and the heart monuments are presented as an unprecedented series of interrelated, ambitious commissions which were politically charged responses to the religious wars in France. The third chapter reexamines the existing archival sources and presents a revised chronology of the Valois Chapel construction history. This chapter establishes the exact chronology of the Chapel{\textquoteright}s construction and the nature of its original appearance, and argues that the Chapel{\textquoteright}s design was the work of the French architect Jean Bullant. The fourth chapter presents a critical examination of the textual descriptions and engraved views of the Valois Chapel, clarifying the various inaccuracies of the well known engravings by Jean Marot. Also discussed in this chapter are the motives behind the destruction of the Valois Chapel and the questionable provenance of the Parc Monceau fragments. The fifth chapter addresses the function and design of the Valois Chapel, examining the building in the context of Italian and French Renaissance architecture and presenting the design as the most important and most successful work of Jean Bullant{\textquoteright}s architectural career. A detailed examination of the architectural symbolism and iconography of the Valois Chapel project is the basis of the sixth chapter. In this chapter, the topographical and architectural context of the Valois Chapel is explored, and the building design is shown to be informed by sixteenth-century currents in architectural design and other long-standing building traditions. In conclusion, Catherine de{\textquoteright} Medici{\textquoteright}s funerary patronage is presented as a deliberate attempt to defend, develop and consolidate her political power as Regent and Queen Mother of France. In the epilogue of the dissertation, Catherine{\textquoteright}s projects are shown to have served as an inspiration for other royal patrons and for the development of French architecture in the seventeenth century.}, keywords = {Renaissance Art}, author = {Bassett, Michele Beth} } @mastersthesis {8365, title = {Paul Cezanne: The Resistance of Painting}, year = {1999}, school = {Columbia}, abstract = {A twofold inquiry has inspired this thesis: what-from the phenomenological and psychoanalytical viewpoints-was Paul Cezanne{\textquoteright}s experience of Impressionism; and how do Cezanne{\textquoteright}s works resist such interpretive methods? This two-pronged approach has several ends in view: to reveal the complexity of Cezanne{\textquoteright}s encounter with Impressionism and its lasting impact on his later works; and to witness the emergence of his painting as an aesthetic-critical object, as a result of the prolonged dialogue with theory. Chapter 1 discusses Maurice Merleau-Ponty{\textquoteright}s phenomenological interpretation of Cezanne. His debate with the psychoanalyst Jacques Lacan is introduced to reveal the blind spot in the philosopher{\textquoteright}s interpretation of Cezanne. Chapter 2 examines Cezanne{\textquoteright}s encounter with Impressionism through a careful analysis of his relationship with Camille Pissarro. Cezanne{\textquoteright}s belated acquisition of the Impressionist technique and its effect on the structure of his painting is interpreted through Lacan{\textquoteright}s theory. In Chapter 3, I study the effect of Cezanne{\textquoteright}s experience of Impressionism on his works. Careful analyses of several painting series reveal the difficulty in painting that Cezanne internalized through his plunge into Impressionism. Chapter 4 then considers how Cezanne{\textquoteright}s sexual drive-patent in "pre-Impressionist" works-was sublimated into a formal problem, only to increase his difficulty in painting. Lacan{\textquoteright}s concept of sublimation is invoked to analyze this complicated relationship between Cezanne and his painting. Chapter 5 develops the theme of painting as a field of libidinal conflicts by comparing painting and dream. Anton Ehrenzweig{\textquoteright}s study of color as a signifying element in painting, and Jean-Francois Lyotard{\textquoteright}s interpretation of Freud{\textquoteright}s theory of dream, are brought to bear on the affective function of color in Cezanne{\textquoteright}s late works. And Freud{\textquoteright}s concept of the uncanny is introduced to elucidate the profoundly paradoxical effect of Cezanne{\textquoteright}s color on the viewer, simultaneously provoking and defying interpretation.}, keywords = {19th-and Early 20th-Century European Art}, author = {Hayashi, Michio} } @mastersthesis {8437, title = {Performance and the Art of the Aegean Bronze Age}, year = {1999}, school = {Columbia}, abstract = {The dissertation examines representations of performance in the art of the Aegean Bronze Age within a framework of social drama. The representations of performance examined are bull leaping and dancing, two of the most common images reproduced in Minoan and Mycenaean art during the Late Bronze Age (MMIIa/LHI to LMIIIb/LHIIIb2 or the second and third palace periods, absolute dates c. 1750-1720 to 1700-1680 to c. 1360-1325 to 1200/1190). By approaching these images as representations of social drama, structured social events which address crisis or change in culture, they are recognized as visual records of critical social practice. Specifically, it is argued that representations of bull leaping and dancing in glyptic, art referenced palace sponsored ceremonies during which actual bull leaping and dance were performed and where specific social boundaries were maintained. Through close analysis of the representations of performances, it is discovered that these social boundaries were composed of specific age, gender and social status values. Representations of bun leaping and dancing in glyptic, then, become badges of these identity values. It is concluded that social dramas emerged at the palaces in the second palace period at first to mitigate the social pressure of a change from kinship-based to social identity-based systems, defined by specific age, gender and social status values. It is proposed that at the end of the second palace period social dramas and representations of them worked to address the social pressures created by the aftermath of the Santorini volcanic explosion. Finally, it is concluded that the Mycenaeans, when they controlled Knossos in the third palace period, adopted the use of representations of social drama as their own, even using them in palatial centers on the Greek mainland.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {German, Senta} } @mastersthesis {8479, title = {Performing History: Walking along Ulay and Abramovic{\textquoteright}s "The Lovers"}, year = {1999}, school = {UT Austin}, abstract = {An investigation of a 1988 performance by Ulay and Marina Abramovic which documents how interpretation re-makes an artwork. Of primary interest are the relationships between fiction and history, text and object, theory and practice. Using six revisionary ratios introduced by Harold Bloom, the dissertation is structured to test the boundaries of thinking and making such that historian and artist, theorist and architect, share and exchange roles.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Krukowski, Samantha} } @mastersthesis {8501, title = {Performing Identities in the Art of John Singer Sargent}, year = {1999}, school = {Pennsylvania}, abstract = {In the elegant society portraits by John Singer Sargent, body language created social identities. The fallen dress strap and obvious makeup in Madame X, for example, declared her a "professional beauty"; the costume of Charles Stewart proclaimed him a British lord. Critics often conflated appearance and character in Sargent{\textquoteright}s images, yet Sargent used theatre and masquerade in numerous works to problematize essentialist links between appearance and character that were fundamental to turn-of-the-century class, gender, and racial stereotypes. This dissertation concentrates on the art Sargent produced after Madame X, as he recovered from the scandal it provoked in 1884 and as he established his patron base in England and America. Many of Sargent{\textquoteright}s later works can be seen as a response to the issues raised by Madame X concerning the relationship between appearance and character. An analysis of theatrical elements in Sargent{\textquoteright}s paintings elucidates the function of these images in variously maintaining and challenging notions of social identity. Chapter One discusses the critical reception of Sargent{\textquoteright}s art in the context of a turn-of-the-century culture engaged in classification and performance activities. These activities are interpreted as strategic responses to a pervasive anxiety about the instability of class, gender, and racial identities resulting from modern conditions. This chapter looks specifically at the celebration of Sargent as a skilled delineator of "racial" types, the varied analyses of his own "national" identity, the debate over his artistic merit, and the concern about his "artifice." Chapters Two through Four consider how Sargent responded to the discourses about his art through his portrayals of Ellen Terry as Lady Macbeth (Chapter Two), Jewish and aristocratic patrons (Chapter Three), and costumed family members and friends (Chapter Four). The visual structures of the paintings, in relation to evidence about the social culture in which Sargent painted and exhibited, suggest his artistic intentions even if Sargent himself rarely spoke of them. Through his work, Sargent called attention to the dialectic between reality and artifice and, consequently, the constructed nature of art and identity.}, keywords = {Pre-1945 North American and South American Art}, author = {Culver, Leigh} } @mastersthesis {8381, title = {Performing Roles: Images of Ophelia in Britain 1740-1910}, year = {1999}, school = {Columbia}, abstract = {This dissertation examines the representation of Ophelia in British art in a feminist context and asserts that images of the character were integral to the construction of feminine social roles (daughter, sister, lover), which were subject to cultural conflict and continually in flux between 1740 and 1910. To this end, images of Ophelia are analyzed within an interdisciplinary framework that includes discussion of the editing of Hamlet and Shakespearean criticism; the history of the performance of the play; the importance of actresses in the role of Ophelia; art criticism and practice; other visual representations of feminine social roles; the appropriation of Ophelia as a model of pathology by Victorian psychiatrists; and cultural attitudes toward suicide by drowning. The dissertation is arranged thematically by scene and follows the trajectory of Ophelia{\textquoteright}s life and death in Hamlet so as to provide the reader with a coherent analysis of the feminine roles the character embodies and her context within the play; chronological assessment of representational shifts is also considered. The great variety of visual material included for discussion ranges from renowned paintings exhibited at the Royal Academy of Art such as John Everett Millais{\textquoteright}s Ophelia (RA 1852) to photographs by Julia Margaret Cameron to the work of lesser known artists such as Henrietta Rae and Anna Lea Merritt to book illustration and drawings.}, keywords = {19th-and Early 20th-Century European Art}, author = {Rhodes, Kimberly} } @mastersthesis {8462, title = {Picking a Course: Photography and Cultural Memory, 1865-1975}, year = {1999}, school = {Michigan}, abstract = {This dissertation explores the relationships between photography, the concept of authorship, the archive, and their relationship with art history, by exploring two major government archives produced during and immediately after the Civil War. In exploring the photographs produced for the Army Medical Museum and the Wheeler Survey West of the One Hundredth Meridian, I chart the difficult relationship that art history as a discipline must have when dealing with powerful photographs that were only intended for scientific, archival purposes. In the various publications of both archives, the principal author is an institution not an individual. As a result, art history has few of the normal focal points-recognizable author, an obvious aesthetic function, a finite production date, for example-with which to analyze the photographs in front of it. However, the dissertation also explores both the legacy of the Civil War and its effects on both the archive and two individuals{\textquoteright} attempts to negotiate their {\textquoteright}authority{\textquoteright} in its aftermath. By exploring John William DeForest{\textquoteright}s Miss Ravenel{\textquoteright}s Conversion from Secession to Loyalty (1867) and William Bell{\textquoteright}s stereograph image "The Bath," A Dripping Spring in Kanab Canyon (1872), I explore how each negotiates their experience of the War. Where DeForest heroicizes himself through his novel, I argue that Bell deliberately submerged himself and his experience within the archive. I also explore how the other Wheeler Survey photographer, Timothy O{\textquoteright}Sullivan, may have deliberately explored what it meant to produce an {\textquoteright}archival{\textquoteright} image through the landscapes he produced for the survey. In doing all of this, I suggest that {\textquoteright}the archive,{\textquoteright} whether that of the Army Medical Museum or art history as a discipline, attempts to eradicate a wide range of experiential traces through a number of conventional methodologies. However, I also argue that photography as a medium is poignantly placed to challenge and question those methodologies.}, keywords = {Photography and Film}, author = {Campbell, Andrew Richard J.} } @mastersthesis {8537, title = {Pilgrimage in Hyperreality: Images and Imagination in the First Phase of the "New Jerusalem" at Varallo (1436- 1530)}, year = {1999}, school = {UCLA}, abstract = {The Sacro Monte or "New Jerusalem" was founded in 1486 by the Observant Franciscan Bernardino Caimi as an alternative pilgrimage site for those faithful who could not travel to the Holy Land. The sanctuary, located in the former territory of the Lombard Duchy, is constituted by a series of chapels built over a hill overlooking the town of Varallo. Although originally constructed as exact imitations of the Palestinian originals, the chapels soon began to be decorated with polychrome tableaux which shifted the strategy of the site from a replica of the holy sites to an illustration of the Christological narrative. The introduction of images changed the physical aspect of the site and its conceptual basis and ultimately the pilgrimage experience. Those chapels continued to be developed and modified for almost three centuries. Its present aspect thus concealed the original appearance as well as the intentions of the founder and is rather a reflection of Counter-Reformist concerns which informed its construction since the end of the sixteenth century. Through an investigation of the few extant documents and an analysis of external sources, it has been possible to reconstruct the original project and its changes in the first phases of its development. The first chapels duplicated the interiors of the Palestinian sites in an area that was of high strategic importance for the Franciscan Order and for the Duke of Milan. The recreation of the loci sancti was born out of the tradition of transferred edification, a concept started in the late Middle Ages within the framework of pilgrimage and developed by the Franciscans to embrace several phenomena such as the via crucis and the Meditationes vitae Christi. The aspect of the Sacro Monte and the dynamics of pilgrimage changed forever around 1514 with the arrival of Gaudenzio Ferrari, a second-generation follower of Leonardo da Vinci. No longer do we find finished chapels housing mobile polychrome tableaux, but a complex, interdependent combination of architecture, painting and sculpture envisioned as a unique space, a "total" space. Gaudenzio{\textquoteright}s last two chapels-the Arrival of the Magi and the Calvary-direct and shape the reception of the pilgrims with a fusion of the elements of time and space calibrated in the service of the devotional aims of the site. The new chapels are thus a viable stage, a theatrical paradigm, intended as a superimposition of the fictitious scene onto the reality of the spectator. The spectatorial quality of Gaudenzio{\textquoteright}s chapels came to full fruition in the later stages of the Sacro Monte, when the Counter-Reformist efforts of the local Bishops were to close the chapels and force the pilgrims to observe the scenes from peepholes in the wooden and metal screens. This arrangement ultimately forced the viewer into a predisposed, structured position and into a programmatic relationship with the three-dimensional images. The new spatial regime of the enclosed chapels positions the spectator opposite the scene, and perspective pushes the viewers theoretically and empirically outside the represented event, where the viewer is finally constrained into the fixed passivity of the gaze.}, keywords = {Renaissance Art}, author = {Panzanelli, Roberta} } @mastersthesis {8513, title = {The Plantations of Colonial South Carolina: Transmission and Transformation in Provincial Culture}, year = {1999}, school = {Columbia}, abstract = {The colonial plantations of South Carolina provide a potent example of provincial culture. Charleston had unusually close economic and cultural ties with London, as demonstrated by its patterns of communication, travel, education and trade. While many of the northern settlements were created with the explicit purpose of founding new societies unadulterated by the evils of modern Europe, the ambitions of the southern settlers were founded on the acceptance and pursuit rather than the rejection of English models and culture. Furthermore, per capita wealth in the Carolina low country grew to four times that of the Chesapeake colonies and six times that of New York and Philadelphia by the time of the Revolution. The architecture of the southern planter clearly reflected these different motivations and circumstances. Chapter 1 is a survey of the first period and vernacular architecture of South Carolina, as revealed by plats, other contemporary documents and archaeology, with particular reference to recent evidence from the colonial Chesapeake. Chapters 2, 3 and 4 present the chronological history of South Carolina plantation architecture, identifying salient features of each period in the context of social and economic developments. Chapter 6 is a detailed account of materials and building technology, drawing together a heretofore widely scattered body of information on construction practices in the lower South. Chapters 5, 7 and 8 focus more directly on the provincial theme, with a discussion of designers and the design process in the isolated provincial setting of colonial South Carolina in Chapter 5, an examination of the transmission and transformation of four selected architectural features-porch towers, pediments, piazzas and central halls-in Chapter 7, and a study of the town and country lifestyle and its relationship to European tradition in Chapter 8. Although the theme of provincialism is present throughout, the crux of the theoretical discussion is reserved for Chapter 9, which begins with the historiography and definitions of "provincialism" and associated concepts. The insights drawn from the South Carolina material are then combined with wide-ranging examples from previous scholarship to explore and support a proposed framework for future discussions and analyses of provincial art.}, keywords = {Pre-1945 North American and South American Art}, author = {Smith, Shelley} } @mastersthesis {8441, title = {Portrait Statues of Women in the Roman world}, year = {1999}, school = {IFA/NYU}, abstract = {Under the Roman Empire more than in any other period in western history portrait statues were used to reward and commemorate outstanding individuals. These monuments can be seen as consisting of three distinct signifying elements, the statue base, the statue support, and a portrait head. Each of these elements was an essential part of the monument. The base specified the subject{\textquoteright}s name and the subject{\textquoteright}s roles, virtues, and deeds, on account of which the monument had been erected. The portrait statues of men are readily understandable; they used one of four statue options (togate, cuirassed, himation-clad, or nude) and that option generally corresponded to the man{\textquoteright}s public role. In contrast, the portrait statues of women, who did not have public roles nor the possibility of wearing different real "uniforms", seem at first endlessly variable. This dissertation evaluates the significance of the different options used for the portrait statues of women in the Roman world. It does so by establishing and analyzing the extant repertoire of statue configurations used for portrait monuments to women. A catalogue of approximately 275 statues preserved with their heads provides the basis for discussion. This is an impressive number of monuments dedicated to women. From this material emerges important information for the study of Roman statue practice and sculpture production as well as for the study of women in the Roman world. We are able to recognize and trace chronological, geographical, and social preferences in the choices of statue bodies deployed. and we can assess better the range and parameters of the ways that women were represented. The thesis is a contribution to the understanding of what was deemed to be the appropriate roles of women in the society of the Roman period and of how those roles were visualized in the most important symbolic marker of the day, namely public portrait statues.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Lenaghan, Julia} } @mastersthesis {8454, title = {Possessors and Possessed: Objects, Museums, and Visualization in the Late Ottoman Empire}, year = {1999}, school = {UCLA}, abstract = {As institutions that take objects from the past and, using the media of text and space, negotiate them into the present, museums simultaneously expose and produce culture. The emergence of the new cultural imperatives of modernization and Westernization during the nineteenth century led to the production of legislation which defined new objects of value. Museums collected and displayed these objects-archaeological artifacts, military memorabilia, and works of Islamic art-in order to construct clear interpretations of the empire in relation to Europe, to the rest of the Islamic world, and to its own history. The national symbolism produced through museum displays in the late Ottoman Empire helped produce ideologies that would eventually sustain the heir to the empire, the Turkish Republic. This dissertation considers the panoply of museological practices developed during the late Ottoman empire for mediating between the physical world of objects and the ideological world of history in its continual revision. Bringing the discourse of museography to a culture bordering that of Europe, it addresses the question of how an institution developed in Europe metamorphosed in a different socio-political arena. Contextualizing the practice of archaeology to sites in the Ottoman Empire, it reevaluates the legacy of the Hellenic past in modern Europe. Focusing on a cultural institution of relatively small import on the Ottoman agenda, it exposes the subtle emergence of national identity in the final years of a great empire. By reinventing an originally European institution for an extra-colonial context, the Ottoman Empire successfully mimicked European practice in order to resist cultural imperialism and to reconstruct its self-image for a changing world order.}, keywords = {Islamic Art}, author = {Shaw, Wendy Miriam Kural} } @mastersthesis {8400, title = {Pottery Towers of Han Dynasty China}, year = {1999}, school = {IFA/NYU}, abstract = {Some of the most remarkable burial objects (mingqi) from early Chinese tombs are the tall pottery towers (taolou) created during the Han dynasty (206 B.C.E.-220 C.E.). In the prevailing view, these pottery towers, along with other architectural mingqi, have been considered a critical source of information about the architecture of the Han period. While there is truth in this view, a significantly different interpretation of the architectural burial objects emerges from this comprehensive analysis. This dissertation presents a history of scientifically-excavated pottery towers and examines the complex and, sometimes, ambiguous meanings of the towers in relation to Han culture-its artisans, patrons, and religion. The study has established that pottery towers were made from the end of the Western Han (first century B.C.E.), attaining greatest popularity during the turbulent years of the late Eastern Han (second century C.E.), and continuing for several decades into the third century C.E. A total of 119 towers of the Han and immediate post-Han periods have been identified and categorized by regional styles. Artisans who made the pottery towers were anonymous craftsmen-working in local workshops away from the sphere of influence of the court, but utilizing the court factory techniques of mass production and modular construction. The patrons of the Western Han period came from a small corps of the middle levels of the elite, and during the Eastern Han from a very large segment of the nation{\textquoteright}s elite. By the Eastern Han dynasty (first and second centuries C.E.) this group included high-level bureaucrats, landowners, merchants, the military, and even one royal prince. In the interaction of artisans and patrons, local traditions, not centrally-controlled court traditions, largely determined the design of the works. Accordingly, the iconography of the pottery towers can be identified as non-scholastic in origin, with two main subjects-the mingtang (Bright Hall, a traditional ritual structure with cosmological significance) and the taicang (Great Granary, a building symbolizing food and wealth). Both have. been characterized as popular utopian visions, expressing hopes for a bountiful and harmonious existence in the afterlife.}, keywords = {Asian Art}, author = {Lewis, Candace} } @mastersthesis {8415, title = {Poussin, Tasso, and Poetics of Painting with an Excursus: Ancient Painting and Baroque Elocution}, year = {1999}, school = {Columbia}, abstract = {Poussin has always been viewed as a literary painter with a profound theoretical interest in painting as a means of narrative, indeed poetic, representation. Of all of the authors he encountered, only Tasso inspired Poussin{\textquoteright}s paintings and his art theory alike. He composed several paintings and drawings after the Gerusalemme liberata. Simultaneously, Tasso{\textquoteright}s poetic discourses furnished the single most important source for Poussin{\textquoteright}s recorded ideas on painting. I aim to demonstrate how Poussin discovered in the inextricable tangle of Tasso{\textquoteright}s poetry and theoretical ideas the means to articulate a poetics of painting. When Poussin painted, Tasso{\textquoteright}s poem had engendered a larger cultural legacy of imitation, adaptation, and critical commentary. His paintings thus emerge as part of the broader reaction to Tasso essential to the development of Seicento poetics. Poussin{\textquoteright}s appropriations from Tasso{\textquoteright}s theoretical writings, and his profound understanding of the structure, ideology, and language of the epic, mediated his approach not only to the Tasso pictures, but to works as diverse as the Sacraments, the Echo and Narcissus, the Realm of Flora and the Israelites Gathering Manna. The excursus examines how Poussin{\textquoteright}s Coriolanus and the Esther before Ahasuerus thematize discourse, whether enacted through speech or gesture. His stark rhetorical approach to these subjects evolved in relation to contemporary texts on the same themes, whose metaphorical imagery complemented the specific ancient artworks, both real and legendary, that inspired the artist. In both the main dissertation and the excursus, I conclude that Poussin{\textquoteright}s works entail a pictorial reformulation of the figurative devices, rather than the mere narrative data, of their literary sources. This is achieved through compositional structure, pictorial allusions, the use of allegory, and, always, a structured involvement of the beholder. The relationship of text and image is not one of illustration, but of continued poetic elaboration, of further conceptual and thematic associations. This locates "ut pictura poesis" not only in the product of imitation-but its very process.}, keywords = {Baroque and 18th-Century European}, author = {Unglaub, Jonathan} } @mastersthesis {8434, title = {Procession, Piety, Politics: Three Medieval Rheno-Mosan Reliquary Shrines and the Cult Communities for Bishop-Saints Servatius of Maastricht, Elevetherius of Tournai, and Remaclus of Stavelot}, year = {1999}, school = {Ohio State}, abstract = {Processions with reliquary shrines were surely highlights of medieval life and visual culture. For such events, the saints whose remains were housed in lavish containers, accompanied their cult communities, in ritual fashion, on many diverse occasions-in celebration, commemoration, petition, supplication, penitence, and thanksgiving. Transportation of a community{\textquoteright}s favorite saints{\textquoteright} relics, always significant of their patronage and potential intercession, had particular meaning in the cases of bishop saints. Such patrons could continue as community leaders and, simultaneously, reinforce the symbolism of episcopal tenancy and bolster the stature of current officeholders. Pictorial shrine programs imparted political messages linking bishops to apostles, and life in earthly communities to anticipated existence in the Heavenly Jerusalem. Such messages were enhanced by magnificent decoration of gold and jewels, with implications drawn from familiar scriptures of the Apocalypse. Design and form of relic containers by Rheno-Mosan artisans evolved to accommodate a patent regional penchant for pomp and ceremonial display in apparently frequent and customary transportation of favorite relics for a variety of communal ritual journeys, within and between burgeoning urban sites and pilgrimage centers. While the use of lavish reliquaries was widespread in medieval Europe, the largest and the most sumptuous examples emerged in the Rhine-Meuse region in the twelfth and thirteenth centuries, in an era when customs associated with the Corpus Christi cult first appeared in the same locale. A regional proclivity for opulent optical effect, as part of complex multi-media events is indicated, and a plethora of regionally adapted customs which included transportation of relics may be seen as part of the seedbed in which expanded community cult spectacle took root. The role of large reliquary shrines as focal points in devotion and display is explored in relation to artistic impulse for creation of magnificent examples of metalwork. The extant reliquaries for Saints Servatius, Eleutherius, and Remaclus represent the pinnacle of a long tradition of cult expression through provision of lavish relic containers which display a medley of luxurious and costly materials and highly refined techniques, drawn into the service of Christian liturgical and extra-liturgical rites, along with a variety of other accoutrements.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Tekippe, Rita} } @mastersthesis {8504, title = {Progressive Primitivism: Race, Gender and Turn-of-the-Century American Art}, year = {1999}, school = {Stanford}, abstract = {This dissertation explores concepts of art, race, and gender in the turn-of-the-century celebration of Native American handicrafts. Identifying the Progressive Era interest in Indian art as distinct from the modernist concerns of the twenties and thirties, I identify this phenomenon of the reformist Arts and Crafts Movement. Anglo-Americans of this period promoted private and federal support of "pre-industrial" Indian art to facilitate their own social and cultural progress and accelerate the "civilization" of Indian people. Middle-class women arguing that the advance of American civilization depended on the active participation of their sex helped redefine both the manufacture and enjoyment of Indian art as female activities. Like other aspects of federal assimilationist policy of the time, the celebration of Indian art encouraged Indian people to develop a modern, transcultural understanding of Indianness. This history is not only vital to the understanding of the subsequent course of Native American art, but it illuminates the role of visual culture in concepts of American cultural identity. While American artistic culture of this period is frequently described as anti-modern, conservative, and masculinist, my research allows us to see this period, and the history of American art in general, as a site in which attitudes toward art and commerce, and gender and race, are contested. I have arranged this material in four chapters. Chapter one analyzes the cultural messages about primitivism, civilization and gender in the use of Indian art as home decoration by examining photographs of the George Wharton James, Jewett and Joseph Keppler collections. Chapter two looks at publications celebrating handicraft-oriented Indian reform projects designed by non-Indians Sybil Carter and Estelle Reel to bring Native American women into a middle class American economy and value system. Chapter three examines the relationship between gender, primitivism and early American modernism in representations of Native American artists by pictorialist photographer Gertrude Kasebier. The last chapter looks at how Angel DeCora, a Winnebago painter, manipulated contemporary aesthetic ideas to advance a politicized theory of Indian art within the context of the Indian rights movement.}, keywords = {Pre-1945 North American and South American Art}, author = {Elizabeth W. Hutchinson} } @mastersthesis {8395, title = {Radiance and Darkness: Color at the Heian Court}, year = {1999}, school = {Kansas}, abstract = {During the Heian period in Japan (794-1185), color played a significant role in the political, social, literary and artistic life of the capital. Color was used to denote court rank and mark political authority. It was used as metaphor by courtiers familiar with the source and particular characteristics of each color. In a secluded society focused on aesthetic pursuits, skill with color ranked with skill in poetry and calligraphy as a measure of a person{\textquoteright}s aesthetic sensibility, a primary marker of a person{\textquoteright}s {\textquoteright}worth{\textquoteright}. I define and delineate a dominant color aesthetic that can best be described as a dichotomy between colors associated with {\textquoteright}radiance{\textquoteright} and those associated with {\textquoteright}darkness{\textquoteright}. The vocabulary used to describe the {\textquoteright}radiant{\textquoteright} colors linked the sun, the couple, the court and Heian aristocratic culture. They were part of the discourse on kingship and served to support the established social order. Associated with Chinese court culture, most of these colors-and the materials and skills needed to produce them-were imported from the continent in conjunction with the nascent rank system established by Shotoku Taishi and Empress Suiko in the early seventh century. These colors were intimately linked with Five Agents and Yin-yang theories and carried weighty philosophical and political meanings. The colors associated with {\textquoteright}darkness{\textquoteright}-primarily somber greys, browns and blacks made from native materials-were metaphorically connected to death, kegare (pollution) and the untamed wilds beyond the reach of the civilized and civilizing court. The first chapter draws on the rich legacy of women{\textquoteright}s writings in the early eleventh century to look at specific ways that color functioned in the Heian court at that time. The second chapter traces sources of Heian ideas about color to earlier continental as well as native beliefs and aesthetic concepts. The third chapter presents an annotated translation of the " Kusagusa no some yodo" (Miscellaneous dyeing supplies) section of Fascicle XIV of the tenth century Engishiki. This text provides a solid basis for studying dyed color in the Heian period. The fourth chapter deals with pigments and painting.}, keywords = {Asian Art}, author = {Dusenbury, Mary Mcclintock} } @mastersthesis {8401, title = {Rakuchu rakugai zu: Politicized Cityscapes in Late-Medieval Japan}, year = {1999}, school = {Columbia}, abstract = {Rakuchu rakugai zu, folding screen paintings of Kyoto, Japan{\textquoteright}s ancient capital city, first appear around the beginning of the sixteenth century. These gold-emblazoned images were initially painted by artists of the Tosa and Kano schools for patrons of the martial elite. By the seventeenth century, the Kyoto screens had become enormously popular and were produced by a wide range of painters for a diverse clientele, as evidenced by the dozens of remaining works. This study attempts to decipher the complex pictorial program and selection of motifs of several early examples of the Rakuchu rakugai genre, in an effort to explicate how political motivations and biases governed the conception of these paintings. The first chapter examines the "Sanjo" screens, the earliest extant example of Rakuchu rakugai zu. This section makes an attribution to a particular artist, determines when the painting represents the capital city, and examines the screens in fight of late medieval political interests. The "Uesugi" screens have been much more closely examined than the Sanjo screens, so much of the second chapter is devoted to reviewing the history of research on this most famous of the Kyoto screens. The third chapter looks at screens produced from the second half of the sixteenth century into the beginning of the seventeenth, during which time Japan underwent its violent process of unification. The impact that this reconfiguration of the architecture of power had on Rakuchu rakugai zu is demonstrated by the representation of the palatial fortresses such as Azuchi, and of Nijo Castle in almost all Kyoto screens after the beginning of the seventeenth century. After the Tokugawa shogunate{\textquoteright}s removal of the seat of administrative government from Kyoto to Edo in the early seventeenth century, the political imperatives that shaped the Kyoto screens seem to disappear. In conclusion, the dissertation shows how Rakuchu rakugai zu after unification underwent a transformation in their fundamental character, responding to new demands of patronage.}, keywords = {Asian Art}, author = {Matthew McKelway} } @mastersthesis {8399, title = {The "Ramayama" of Loro Jonggrang: Indian antecedents and Javanese impetus}, year = {1999}, school = {IFA/NYU}, abstract = {The sculptural reliefs depicting the Ramayana at the ninth-century Hindu temple complex of Loro Jonggrang in Central Java represent the most extensive telling of the epic in stone. For over a century the identification of many of their episodic themes and the influences leading to their creation have challenged scholars, particularly the Dutch archaeologist Willem F. Stutterheim (1892-1942). These reliefs{\textquoteright} literary point of origin still remains an enigma. Furthermore, their relationship to other extant examples, such as the narrative reliefs of the relatively contemporaneous Borobudur monument, has encouraged various unfounded postulations concerning the evolution of Classical Javanese art and culture. Discoveries and revisions in the fields of Classical Javanese literature, archaeology and epigraphy since Indonesia{\textquoteright}s independence now encourage the development of new approaches for the evaluation for these sculptural episodes well as to the study of narrative art in a culture where storytelling was a paramount means of expression. This study proposes new methods for the analysis of Classical Javanese sculptural relief style based on the employment of a wider array of determinants and challenges the perception that its exponents represent a clearly-ordered "stylistic progression." In addition to connecting the Ramayana reliefs to potential stylistic prototypes from the Indian subcontinent, other Indian antecedents for Hindu-Javanese narrative art are put forth, such as narrative conventions adopted by Classical Javanese sculptors to create a visual imagery intended for a specific audience versed in traditional modes of reading narrative material. These, in turn, further a new understanding Of the relationship between "text" and "illustration" as it existed in Classical Javanese art and culture. This study also evaluates how the significant fusion of Classical Indian kingship beliefs with indigenous Javanese ideologies impacted Loro Jonggrang{\textquoteright}s narrative conception and selections. As a result of these various patterns of investigation it can be determined that the Ramayana depicted at Loro Jonggrang and its unique manner of visual interpretation could only have been created on this particular series of Hindu monuments at this specific moment in Classical Javanese history.}, keywords = {Asian Art}, author = {Levin, Cecelia} } @mastersthesis {8539, title = {Raphael, Durer, and Marcantonio Raimondi: Drawn, Painted and Printed Images in the Early Cinquecento}, year = {1999}, school = {Harvard}, abstract = {This dissertation examines how images passed between individuals, into different media, across geographic boundaries, and through time. This traffic of images became heavily congested in the early sixteenth century when printing had become not only a technological wonder but also a powerful force for disseminating texts and images that touched many people{\textquoteright}s lives. In the same years, a figure of the artist as author of images was being fashioned, as patrons started to request "some work of yours, even small," rather than, for example, an altarpiece with Madonna and Child with John the Baptist and Saint Catherine. These patrons desired unique works created through a single artist{\textquoteright}s genius, rather than decorative objects designed for a specific purpose. Printed images were produced in multiple copies in highly collaborative undertakings. Thus, they challenged the notion of a singular artist creating unique works, even as they spread the images of works far and wide, thereby increasing the fame of their creators. As a result, print inflected the emerging sense of artist as author of images in various ways. Print{\textquoteright}s role in shaping the authorship of images is examined through a focus on an engraver, Marcantonio Raimondi, who copied Albrecht Durer{\textquoteright}s woodcuts, collaborated with Raphael to create printed masterpieces of the Italian High Renaissance, and was discussed at length in a biography in the 1568 edition of Giorgio Vasari{\textquoteright}s Lives of the Artists. These three interactions, discussed in the three chapters of this thesis, scrutinize the idea of author as owner of his work, the desired singularity of author/creator of images, and the post facto fashioning of authorship. These chapters also correspond to three nodes of regulation in the Renaissance traffic of images: the publisher, who often chose the images to be published and supervised their production; the workshop, whose role in producing what were beginning to be understood as works of art necessitated the manifold multiplication of images; and the historian, who provided a means of understanding the works produced.}, keywords = {Renaissance Art}, author = {Pon, Lisa} } @mastersthesis {8375, title = {Reactionary Modernism and Fascist Aesthetics: National Socialist Visual Culture and the Appropriation of Modernism}, year = {1999}, school = {UCLA}, abstract = {This dissertation examines a frequently overlooked paradox evident in the visual culture produced under National Socialist authority. In contrast to much of the extant literature, I argue that Nazi cultural policy was not wholly hostile to modernism, and further, that the Nazis relied upon many aspects of modernist visual culture to propagate their fascist ideology. While prevailing research has discussed the deplorable Nazi attacks upon modern art, artists, and art professionals, as well as the Nazi{\textquoteright}s cultivation of anti-modernist aesthetics, such discussions remain incomplete without an inquiry into the Regime{\textquoteright}s appropriation of modernism. I have adopted the term "reactionary modernism" to refer to this simultaneous embrace and repulsion of modernism within Nazi aesthetics. The body of this dissertation includes three case studies that explore Nazi architecture, filmic portraits of Hitler, and illustrations of industry. Each chapter outlines how the particular fragment of Nazi culture was internally contradictory, at once reacting against and appropriating modernism. Through both detailed object analysis and more generalized commentary, I illustrate the dialectical relationship between Nazi traditionalism and modernity. Much of Nazi authority derived, I argue, from the Regime{\textquoteright}s ability to synthesize nostalgia and progress, past and future. If the case studies successfully demonstrated that Nazi culture was a reactionary modernism, then we need to reconceptualize our understanding of the relationship between modernism and fascism. Traditionally, the discipline of art history has isolated Nazi art from the history of modern art. I suggest that this trend needs to be redressed if we are to accept the ugliness of fascism as part of our own (art) history. The final chapter of this dissertation explores the work of postmodern artists who have appropriated Nazi art. I explore various issues connected with the re-presentation of Nazi art in a post-Nazi culture. I argue that the polemical readings of these images derive from opposing historical understandings of 1945 as a decisive break or a continuous historical landscape. This chapter, therefore, serves as a concluding reminder that the fascist aesthetics that are the subject of this project were not wholly extinguished at the end of the War, and that the issues addressed reflect both historical and contemporary concerns.}, keywords = {19th-and Early 20th-Century European Art}, author = {Matheny, Lynn Kellmanson} } @mastersthesis {8491, title = {Reassessing Modernism: Katherine S. Dreier and the Societe Anonyme}, year = {1999}, school = {CUNY}, abstract = {In 1920 Katherine S. Dreier, along with Marcel Duchamp and Man Ray, founded the Societe Anonyme, which became the first modern art museum in America. Although Dreier{\textquoteright}s efforts to aid the development of modernism were at times unparalleled in this country, she has become a somewhat neglected figure in the history of 20th century art. This dissertation seeks to reassess Dreier{\textquoteright}s efforts and achievements by focusing on four major aspects of her activities: her role as a museum director, her function as a bridge between American modernism and its German and Soviet counterparts, her attempts at social reform through art, and her place in the context of women art patrons. By re-examining Dreier{\textquoteright}s ideas and innovations in these areas, we are able to determine not only a more prominent place for Dreier in the history of modernism, but also to expand our parameters as to what modernism includes. Many of Dreier{\textquoteright}s areas of activity have only recently become the focus of art historians, such as her involvement with Dada, her breakdown of the traditional Universal Survey Museum, her identity as a woman professional in the arts, and her refusal to privilege Parisian modernism above anything else. These are issues that are only now beginning to merit scholarship and attention, and by recognizing Dreier{\textquoteright}s role in these matters, we may come to realize that our accepted modern/postmodern binarisms are due for a reassessment.}, keywords = {Pre-1945 North American and South American Art}, author = {Angeline, John} } @mastersthesis {8357, title = {Redefining the Modernist Paradigm: Modern Art and Nationalism in Fin-de-Siecle Poland}, year = {1999}, school = {Chicago}, abstract = {The dissertation examines the impact of nationalism on the critical discourse surrounding the emergence of Polish modern art and on aesthetic attitudes, modes of self-definition, and exhibition strategies of the first generation of Polish modernist artists. It focuses on a roughly three decade period, from the mid 1870s through the end of the first decade of the twentieth century, during which various forms of self-consciously modern art gradually supplanted traditional academic art as the most critically acclaimed and institutionally entrenched stylistic tendencies in Poland. Following a chronological outline, the study focuses on the critical reception of modern art in Poland. In the initial period from the mid 1870s to the late 1880s, the dissertation examines the debate over the definition of national art, which was ignited by the initial hostile reception of naturalist and realist paintings by mainstream art critics. In the early 1890s, it analyzes Polish critics{\textquoteright} attitudes to foreign modern art, in particular impressionism, and their reaction to the first impressionist paintings produced by Polish artists, such as Jozef Pankiewicz and WladysLaw Podkowinski. The study investigates the conservative critics{\textquoteright} claims that foreign art{\textquoteright}s influence undermined the didactic and therefore social function of Polish art and threatened its national character. It also examines the progressive critics{\textquoteright} efforts to come to terms with the foreign pedigree of the newest Polish painting and their strategies to establish it as a legitimate tendency within Polish art. Finally, the dissertation examines the process of critical and institutional legitimization of modern art, which took place in the second half of the 1890s and continued through the end of the first decade of the twentieth century. During this period, the Polish modernists not only succeeded in establishing modern art as the program of Polish academic education by initiating a reform of the Krakow School of Art, but also made it synonymous with Polish art abroad through the activities of their organization, Towarzystwo Artystow Polskich "Sztuka" [the Society of Polish Artists "Art"].}, keywords = {19th-and Early 20th-Century European Art}, author = {Brzyski-Long, Anna} } @mastersthesis {8530, title = {Relations of Painting and Writing in Fifteenth-Century Siena}, year = {1999}, school = {IFA/NYU}, abstract = {It has frequently been suggested that painting in fifteenth-century Siena is especially suited to narrative, yet no single study has attempted to define how narrative paintings in Siena do and do not relate to written texts. This dissertation looks closely at different kinds of Sienese narrative painting and at the working methods of artists, particularly the use of pattern books, which contribute a high degree of mediation to relations of painting and writing. Questions provoked by the paintings are set into dialogue with questions Jacques Derrida asks about origin, authorship, metaphor, narrative, and classification. Chapter I deals with Sassetta{\textquoteright}s Borgo San Sepolcro altarpiece and the difficulties of establishing a sequence or hierarchy among the many written texts and images that scholars have used in attempting to establish its literary and visual origins. The chapter juxtaposes two notions of "residue" in the works of Pope-Hennessy and Derrida as a way of defining the complex relations of painting and writing in this altarpiece. Chapters II and III focus on the illuminations of Dante{\textquoteright}s Divine Comedy by two artists, an unidentified illuminator and Giovanni di Paolo, in Yates Thompson Ms. 36 in the British Library. Chapter II examines the much-disputed question of the identity of the first illuminator and calls into question the meaning of authorship in the light of fifteenth-century collaborative practices. Chapter III discusses complex mediations in the illustration of Dante and challenges the pervasive view that these images are "literal" renditions of metaphors and similes, with reference to Derrida{\textquoteright}s White Mythology. Chapter 4 deals with cassoni associated with Francesco di Giorgio and collaborators. The collaborative practices of Francesco di Giorgio, Neroccio de{\textquoteright}Landi, and others complicate the search for a single written text to identify the narrative. What are we to do with a painting that appears to tell a story with which we are unfamiliar This discussion leads to questions of what constitutes narrative and of the demand we make on these cassoni and on Sienese paintings in general to be narrative, with reference to Derrida{\textquoteright}s "Living On: Borderlines" and "The Law of Genre."}, keywords = {Renaissance Art}, author = {David, Benjamin} } @mastersthesis {8490, title = {The Representation of American Femininity: The True Woman, the New Woman, and Thomas Wilmer Dewing{\textquoteright}s Enigmatic Woman}, year = {1999}, school = {USC}, abstract = {In the last decades of the nineteenth century and the first decades of the twentieth, the complexity of middle-class American women{\textquoteright}s lives, increased to an unprecedented degree. Never before had women had so little to do and, at the same time, they had never been presented with so many choices. As Victorian society began to crumble, ideas of what constituted proper femininity no longer seemed as clear-cut and defined as it had a. generation earlier. Moreover, the possible loss of the feminine ideal, often referred to as the cult-of-true-womanhood, threatened to unravel the elaborate justifications Americans had come to believe represented the natural order of the universe. The majority of feminine images from the decades surrounding the turn of the century functioned within the structural parameters Of the dominant gender ideology: the cult-of-true-womanhood. However, some of the paintings of women by the American artist Thomas Wilmer Dewing appear to resist this paradigm. My project will look at how images of women acted to construct and support the dominant cultural ideal and how a selected group of Dewing{\textquoteright}s paintings problematized that ideal. Contemporary critics could not seem to agree on what type of woman Dewing was trying to represent. The women often were described as ethereal, mysterious or enigmatic. I will investigate the possibility that the very qualities that have made definitive readings of Dewing{\textquoteright}s images problematic in the past, their ambiguity and mystery, could serve as a wholly different marker of femininity that transcends a specific historical moment. I will examine how a reading of woman as enigmatic riddle may provide a viewing position for audiences, both at the time they were produced and today, that makes problematic ideas of traditional and natural roles for women. Woman-as-enigma is impossible to fully know and, as a consequence, she cannot be reduced to a knowable, predictable and controllable entity. Enigmatic woman signifies resistance, and resistance, although not overthrowing the dominant cultural paradigm, keeps it from attaining hegemony. By offering this type of analysis I hope to contribute a positive model for future studies of femininity in western culture.}, keywords = {Pre-1945 North American and South American Art}, author = {Abram, Trudi} } @mastersthesis {8393, title = {Representations of Power: Architecture and Urban Form in Colonial Patna}, year = {1999}, school = {Minnesota}, abstract = {This project centers on the city of Patna in northeastern India, today the capitol of the state of Bihar. Because of its status as a provincial center for British colonialism in the late eighteenth and early nineteenth centuries, Patna does not represent a major facet of the study of British colonialism and the changes it engendered in India{\textquoteright}s urban space and architecture. By examining a colonial site outside of the main Presidency cities of Calcutta, Madras, and Bombay, this dissertation opens up questions within our understanding of a variety of paradigms related to colonial urban and architectural histories. In doing so, this project reveals contradictions and ambiguities which illustrate the inherent slippages of colonial discourse, even within the urban space and architecture itself. To mine these ambiguities, I examine extant late eighteenth and early nineteenth century architecture in Patna, the urban space itself, images of Patna by both British colonizers and Indian artists of the period, and textual descriptions of the city. I weave these elements together around pivotal elements of Patna{\textquoteright}s colonial history: a monument to the massacre of British officers in 1763, the representation of the Islamic ceremonies surrounding Muharram, and the European-style architecture in Patna built by both British and Indian residents. In addition, I discuss the architecture and urban space of Patna in relation to Dhaka, at that time a similarly provincial colonial center in the northeastern subcontinent. This comparison further accentuates the internal contradictions of the colonial construction of urban space and architecture, as Dhaka offers a different paradigm for what a colonial city might be. Finally, I place Patna{\textquoteright}s colonial urban space in relation to Madras, Calcutta, and Bombay, unfolding the problematic category of the colonial city. Two major questions echo throughout the project: how might the term "colonial" be understood through this architecture and art, and what constitutes a colonial city? The conclusions drawn from this study of Patna and related sites reframe these issues by suggesting that only in embracing the ambiguities and slippages of colonialism can we account for these contradictions within urban history and space.}, keywords = {Asian Art}, author = {Brown, Rebecca} } @mastersthesis {8500, title = {Representations of the Self: Problems of Image and Identity in the Self-Portraits of Frida Kahlo}, year = {1999}, note = {J. Weinstein (Getty)}, school = {Pittsburgh}, abstract = {Frida Kahlo{\textquoteright}s face has come to represent struggle; struggle against physical adversity and the emotional vicissitudes of having an unfaithful husband; struggle to carve out an individual identity from the mass of imposed cultural and societal norms; the struggle to be recognized as an artist as a woman in a masculinist world. Kahlo{\textquoteright}s self-portraits present a compelling body of work to examine for the complicated ways in which individual identity is socially constructed of convergent factors of nationality, gender, class, ethnicity and race. This dissertation analyzes the artist{\textquoteright}s self-portraits to show how her work calls into question ideas of an innate, fixed self, and concomitant terms like {\textquoteright}authenticity{\textquoteright} and {\textquoteright}truth{\textquoteright} when applied to interpretations of life and art. These ideas are shown instead to be more fluid, leading to more possible interpretations of Kahlo{\textquoteright}s work than the predominantly biographical approach taken by most writers. The profusion of photographs of Kahlo in her many guises contributes to the tendency to want her art to speak for her. The simplicity that this gives to the entire interpretive enterprise speaks for a desire to find the single objective truth of a painting, a problematic approach that has led to a suppression of many interpretations made possible by Kahlo{\textquoteright}s self-portraits. This dissertation argues that construction of meaning occurs not only when an art work is produced, but each time the work is viewed and interpreted. Frida Kahlo{\textquoteright}s art has become an important part of women{\textquoteright}s art history and popular culture. The popularity of her art indicates that it helps to fulfill some of the needs and desires of those who interpret Kahlo and her art. It is crucial to return to Kahlo{\textquoteright}s paintings themselves to examine how she laid the groundwork for the strong identification with her that is experienced by so many different groups of people.}, keywords = {Pre-1945 North American and South American Art}, author = {Crary-Ortega, Laura} } @mastersthesis {8373, title = {Representing the Commune of 1871: The Depiction of Contemporary History in the Early Third Republic}, year = {1999}, school = {IFA/NYU}, abstract = {The Paris Commune can be identified not simply as a radical reorganization of the municipal government, but as a redefinition of the city itself. As one of the primary characteristics of the Commune, this radical political and ideological project set it apart from other historical events that had previously served as subject matter for ambitious paintings. By 1871, the status of history painting had already long been open to question. Artists who depicted the Commune therefore only occasionally employed the format of traditional history painting, and often modified it considerably when they did so. The majority of works followed different models. Moreover, paintings made up only a small portion of the visual material that treated Commune themes, the greater part consisting of works of graphic art. Prints appeared in a variety of different formats, from engravings in illustrated journals, to caricatures, to etchings intended for connoisseurs. Similarly, photographs of the city proliferated, recording certain moments of the Commune{\textquoteright}s existence and extensively cataloguing the damaged city after its fall. The nature of the visual record reflects the way in which such an historical event was depicted at this particular moment, when history painting seemed outdated, when prints and illustrated journals widely distributed pictures of contemporary events, and when photography was emerging as a competing recording medium. Works in all the media frequently focused on Paris itself as the best visual manifestation of the effects of the Commune. The majority of the paintings are thus characterized by their various relations to the documentary sources that recorded the city{\textquoteright}s appearance during the spring. Some paintings resemble documents in their nearly uninflected, descriptiveness, while others that do not record evidence of the Commune directly instead thematize the process of observation of the city much as the documents themselves do. The focus of these works on the city and its destabilization, and the consequent transformation of Paris into a spectacle, characterizes many of the images of the Commune. The present study examines such images along with others that acknowledged the Commune{\textquoteright}s existence only ambiguously or indirectly, in order to determine their interrelations.}, keywords = {19th-and Early 20th-Century European Art}, author = {Lees, Sarah} } @mastersthesis {8531, title = {The Residence and Loggia della Misericordia-Bigallo: Confraternal Piety, Charity, and Civic Virtue in Trecento and Early Quattrocento Florence}, year = {1999}, school = {Rutgers}, abstract = {This dissertation considers the art and architecture of the residence and loggia of the Compagnia di Santa Maria della Misericordia. The Misericordia was one of the largest charitable confraternities in late medieval Florence. It was located on the Piazza San Giovanni, near the Baptistery, Campanile, and Duomo, in the physical and symbolic center of the city. At this highly prestigious location the confraternity provided services to the city{\textquoteright}s needy and stood as a public symbol of Florentine charity and civic virtue. The research presented here focuses on a series of projects commissioned by the Misericordia from its move to Piazza San Giovanni in 1321 to its merger in 1425 with another confraternity, the Compagnia di Santa Maria del Bigallo (by which the site is known today). It is a study of artistic patronage, specifically how a lay pious institution defined its charitable mission through its art and architecture during a period of tremendous urban development, intense lay piety, horrific plagues, and the rise of renaissance humanism. The dissertation addresses five major topics: (1) the acquisition of property on the Piazza San Giovanni; (2) a fresco representing an Allegory of Divine Misericordia; (3) the expansion of the Misericordia{\textquoteright}s residence through the acquisition of neighboring property and the subsequent design, construction, and decoration of a new loggia and oratory; (4) a fresco cycle representing the life of Tobit, the confraternity{\textquoteright}s patron saint; and (5) a fresco representing Members of the Misericordia Uniting Foundlings with Natural and Adoptive Parents. This study is the first to draw together these projects and interpret them as a means to understand the confraternity and how it defined its place in the complex urban and social fabric of trecento Florence. Analysis of these projects demonstrates that the over the course of the trecento, the Misericordia identified its pious mission as a crucial feature in the city{\textquoteright}s religious and civic well-being. Moreover, it reveals that the confraternity commissioned two of the earliest surviving views of the city, promoted Florence as the New Jerusalem, and identified itself as the foremost institution of Florentine charity, and symbol of that virtue in the city.}, keywords = {Renaissance Art}, author = {Earenfight, Phillip Joseph} } @mastersthesis {8378, title = {Resuscitating Ophelia: Images of Suicide and Suicidal Insanity in Nineteenth-Century England}, year = {1999}, school = {Wisconsin}, abstract = {Suicide became increasingly inseparable from insanity in nineteenth-century England. Before that, popular opinion at times connected the two, often as a subversive legal recourse to prevent an ignominious burial or forfeiture of the deceased{\textquoteright}s property, but the belief that insanity caused suicide was far from universal. Then, medical discourses popularized by William Rowley, John Haslam, and Forbes Winslow, among others, legitimized the bond and encouraged lenient treatment for the suicidal in asylums, courtrooms, and graveyards alike. Despite male suicide rates that remained three to four times higher throughout the nineteenth century, the merger of suicide and insanity led to the displacement of suicidal tendencies onto women due to their supposed mental inferiorities. Using Shakespeare{\textquoteright}s Ophelia as a prototype, physicians Alexander Morison and Hugh Welch Diamond created psychiatric portraits revealing the consequences of female autonomy and sexuality, and supported the theory of moral insanity espoused by doctors such as G. F. Savage. Breaking with iconographic tradition, Victorian visual culture fixated upon redemptive female suicides by drowning, a morbid manifestation of water treatments to improve moral and physical health. Produced by artists such as Ford Madox Brown, George Cruikshank, Gustave Dore, Augustus Leopold Egg, John Everett Millais, Richard Redgrave, Thomas Rowlandson, and G. F. Watts, these images served a dual purpose in maintaining a social order dependent on the separation of the spheres. First, they prioritized women{\textquoteright}s domestic accountability, revealing the dangers that lurked outside their place in the home. Second, they showed dissolute men the tragic cost of deviance, which could undermine the family structure by pushing women into the public sphere and over the edge of sanity to suicide. The proliferation of these suicide narratives in Royal Academy exhibitions, illustrated books and journals, and on the stage ensured the longevity of this iconography. Today, gendered Victorian notions about suicide methods and motives are still apparent, recurring in advertising and films such as Thelma and Louise and The Full Monty. But the picture of female suicidal insanity is changing as contemporary photographers Gina Glover, John Shimon, and Julie Lindemann work to expose and revise these stereotypes.}, keywords = {19th-and Early 20th-Century European Art}, author = {Nicoletti, Lisa J.} } @mastersthesis {8353, title = {Revolution in the Museum: Nikolai Punin{\textquoteright}s {\textquoteright}Department of Newest Trends{\textquoteright} at the State Russian Museum, 1926-1932}, year = {1999}, school = {USC}, abstract = {This dissertation explores art historian, critic, and curator Nikolai Nikolaevich Punin{\textquoteright}s (1888-1953) relationship to a collection of avant-garde art and the institutions which housed it from its formation in 1918 to 1930, when it was removed from exhibition. The collection, acquired for the Museum of Artistic Culture in Petrograd, is now an important component of the State Russian Museum in St. Petersburg; the paintings, prints, and sculptures, dating from 1904 to 1920, represent the core of the Russian avant-garde. Artists include Petr Konchalovskii, Aleksandr Rodchenko, Nataliia Goncharova, Mikhail Larionov, and Kazimir Malevich, as well as those less well-known in the West such as Nikolai Tyrsa and Petr Miturich. After the Bolshevik revolution, artists attempted to take over the acquisition, exhibition, and interpretation of contemporary art in academy-dominated museums. Nikolai Punin was an instrumental figure in the formation of the collection and became its curator when the works were transferred to the Russian Museum in 1926. For a brief period, Punin conducted curatorial experimentation in the permanent collection and explored the transitional phase of Russian art as it shifted from western-inspired abstraction to new painterly realism in the mid-1920s. However, the political agenda of the early 1930s and the dominance of Socialist Realism ended-Punin{\textquoteright}s museum experiments and the exhibition of radical revolutionary-era art. By analyzing the history of museums and art collecting in Russia, Punin{\textquoteright}s diverse writings, and his curatorial work, the dissertation reveals the conservative state of the museum establishment before the revolution and the great potential for radical change in Russian museology proposed by the "futurists." Punin is usually identified only as the major theoretician of the avant-garde, however his work reveals a complex relationship with contemporary and past art, as well as with the revolution. His changing views of art and his curating reflect both his traditional art historical training and national shifts in the political and cultural climate. Investigation of Punin{\textquoteright}s developing theories on abstraction, realism, and their relation to western art helps us to see more realistically the ambiguities, confusions, and struggles surrounding contemporary art in the early years of the Soviet state.}, keywords = {19th- and Early 20th-Century European Art}, author = {Cahn, Jennifer} } @mastersthesis {8474, title = {Richard Tuttle: Reframing Modernism, 1965-1995}, year = {1999}, school = {CUNY}, abstract = {This examination of the work of Richard Tuttle was undertaken in an attempt to locate a discourse that effectively addressed the formal art inquiry that Tuttle and a number of his peers have chosen to practice at the end of the century. The goal was to discover if there was a new language to approach formalist work, beyond Clement Greenberg{\textquoteright}s prescriptions for modernism and the subjective limits of phenomenology written about by artists and art historians influenced by his writings, that made allowance for an art that utilized everyday materials, space, and time. The research resulted in the discovery of a language rooted in the writings of Eastern philosopher Kitaro Nishida that reframed the field of illusion placing it against the field of nothingness. Nishida{\textquoteright}s repositioning of artistic practice against this field recognized the arena of culture a priori, freeing form and the artist{\textquoteright}s and viewer{\textquoteright}s experience of art from the limits of space and time. Throughout the last thirty years, Richard Tuttle has repeatedly returned to line, color, form, and the frame to lead his art-making. It was in response to the non linearity of his experience and understanding of the qualities inherent in these elements that determined the structure of the dissertation, rather than as a chronological study of his oeuvre. Therefore a number of bodies of Tuttle{\textquoteright}s work such as the Wire Pieces are re-examined in each relevant chapter. The appendices to this study are: interviews of Richard Tuttle by Mei-Mei Berssenbrugge, Steven Beyer, and Jennifer R. Gross; a lecture by Tuttle at Skowhegan School of Painting and Sculpture in July of 1995; and correspondence between Richard Tuttle and Jennifer R. Gross.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Gross, Jennifer} } @mastersthesis {8505, title = {Robert Henri and Cosmopolitan Culture of Fin-de-Siecle France}, year = {1999}, school = {CUNY}, abstract = {The American painter Robert Henri (1865-1929) lived in Paris and its environs for nearly eight years between 1888-1900. This dissertation relates the critical impact his extensive exposure to fin-de-siecle French culture had upon his early paintings, his theories about the production of art, and ultimately upon the ideological foundation of the Ashcan School. This is accomplished through analysis of the many significant cosmopolitan elements Henri encountered in France not only in the realm of art but literature, philosophy, and politics. Henri{\textquoteright}s rebellion against the art institutional bureaucracy and hierarchy and his non-traditional teaching methods have frequently been attributed to the individualist spirit of the American frontier where he spent much of his youth. Such stereotyping diminishes the importance of his residencies in France. In the Introduction, these persistent references to Henri{\textquoteright}s western upbringing are chronologically surveyed. The nationalist context in which he has so often been placed and his alignment with primarily American writers, artists, and thinkers is also called into question. Part I of the dissertation begins with a chapter on Henri{\textquoteright}s early studies at the Pennsylvania Academy of Fine Arts and surveys the degree to which that training influenced his theories and style. The subsequent three chapters chronicle his first trip to France from 1888-1891 in terms of the literature he read and the many parallels that exist between such diverse sources as Emile Zola and Leo Tolstoy and his own evolving attitudes about art. Part II begins with a chapter on French politics and its influence on Henri, with an emphasis on the anarchist movement. The following chapter charts the similarities between the anti-positivism of Henri{\textquoteright}s art theories found in his treatise The Art Spirit and the theory of vitalism developed by the French philosopher Henri Bergson. The final chapter surveys early critical reaction to Henri{\textquoteright}s early paintings and analyzes these works in terms of the many influences discussed throughout the dissertation. The conclusion assesses the impact of Henri{\textquoteright}s French experience on the philosophical development of the Ashcan School and establishes his importance as a vanguard of complex modern thought in turn-of-the-century American.}, keywords = {Pre-1945 North American and South American Art}, author = {Jones Gibbs, Linda} } @mastersthesis {8470, title = {Robert Mapplethorpe{\textquoteright}s Self- Portraits}, year = {1999}, school = {Case Western Reserve}, abstract = {Referencing sources ranging from Rembrandt{\textquoteright}s revealing psychic histories, and Durer{\textquoteright}s dialogues with the soul, to the tableaux of Neo-Classicist Jacques-Louis David and post-WW II fashion photography, Robert Mapplethorpe manipulated the self-portrait as an arena in which to publicly disclose personal revelations. Mapplethorpe articulated a unique vision, creating photographs that documented his keen awareness of American art and social dynamics during the 1960s, 70s, and 80s. Focusing on Mapplethorpe{\textquoteright}s conceptual, mixed media and photographic studies of himself created between 1969 and 1988, this dissertation demonstrates that one of the artist{\textquoteright}s most important contributions was in the genre of self-portraiture, an area often overlooked in consideration of Mapplethorpe{\textquoteright}s oeuvre. Rejecting the notion that his self-portraits merely reflect a fundamental narcissism, this thesis addresses the intricacy of Mapplethorpe{\textquoteright}s emotional and psychological introspection, the integrity of the self-portraits as a whole, and the ramifications of an understanding of these works for issues germane to humanistic studies. Rather than declaring a singular overriding ideology to be the impetus for Mapplethorpe{\textquoteright}s production and reception, I develop interpretations that place the artist and his self-portraits in a wider cultural and art-historical context. Exploring the ways in which Mapplethorpe resolved personal, aesthetic, and public contradictions and ambiguities by photographing himself, I focus intensely on selected images, applying a synthetic model incorporating interdisciplinary methodologies. Tools of investigation include formal analysis, the artist{\textquoteright}s personal and professional history, film theory, queer studies, theories addressing race and fetishism, psychoanalytic models ranging from Freud to Lacan, and critical approaches to social theory. Structuring a pluralistic investigation of the major concerns and themes that underlay Mapplethorpe{\textquoteright}s maturing aesthetic, in each chapter I demonstrate how the related symbolic and subliminal issues that Mapplethorpe tracked through his larger body of work are always introduced or summarized in the self-portraits.}, keywords = {Photography and Film, Post-1945 North American, South American, and European Art}, author = {Grove, Jeffrey} } @mastersthesis {8432, title = {Romanesque Pathenay: Art and Feudal Urbanism in the Twelfth Century}, year = {1999}, school = {Yale}, abstract = {This dissertation investigates the construction of a single town{\textquoteright}s ten churches over a 150 year period. Parthenay originated as the small military settlement of minor lords in the uncleared lands of Poitou. From about 1050 to 1200, however, the town witnessed remarkable political and economic growth, and gradually rose to become one of the most important feudal towns of Aquitaine. The concomitant surge in urban growth naturally gave rise to important building campaigns, of which the churches, ch{\^a}teau, and town fortifications were the most enduring result. The present study focuses on the churches{\textemdash}the best preserved of these urban works{\textemdash}and considers their construction within the context of increasing urbanization. Each church is treated in turn, analyzing in close detail the methods of construction, the means of decoration, and the significance of the edifice for the developing townscape. In the almost complete absence of written documents, the churches are critically important for understanding the role of construction on certain socio-political relationships within the town. In particular, this study assesses their contribution to the definition of secular and lay spheres of power, to the creation of social spaces, to town identity, and to political orientation. Moreover, as the sharing of masons and sculptors increased across the lord{\textquoteright}s territorial domain, Parthenay{\textquoteright}s own urbanization and frenzied church-building is also viewed as critical to the circumscription of an artistic domain. In foregrounding the urban context, this dissertation offers a new perspective for interpreting Romanesque monumental art, one which draws out the relations between art and its changing environment and one which sheds light on early urbanism. By mapping the processes of urbanization, this dissertation considers how monumental art contributed to the very conception of a town in the Romanesque period.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Maxwell, Robert Alan} } @mastersthesis {8423, title = {Romanesque Vezelay: The Art of Monastic Contemplation}, year = {1999}, school = {Michigan}, abstract = {This dissertation examines the formal and thematic interrelations among the capitals in Vezelay{\textquoteright}s nave as they relate to the notion of program. Instead of describing the church{\textquoteright}s program as the mapping of a preconceived idea or Procrustean plan, it is argued that much of its coherence was dependent on an active process of viewing, largely cenobitic in character, and that those who selected the themes anticipated that a specifically monastic audience would bring corporate associations to bear upon the interpretation of capitals. The question considered here is not how the rationales for the program{\textquoteright}s design might be reconstructed, but how the sculpture relates to monks{\textquoteright} cultural praxes-what might be called the monastery{\textquoteright}s ecology of viewing. The first two chapters examine the hagiographic narratives represented at Vezelay. Curiously, Mary Magdalene, whose cult was the object of lay devotion at the site, appears nowhere in the nave sculpture. The saints that are represented seem not to have any particular importance for lay viewers, but, it is suggested, they resonate with Vezelay{\textquoteright}s history and culture and manifest the political and religious ambitions of the cenobitic community. The third chapter examines the abbey church{\textquoteright}s sculpture in light of a sign language used by monks during observed periods of silence. It is argued that the intersections between Vezelay{\textquoteright}s carved gestures and those performed by its monks, what might be termed its visual puns, yield insight into a semiotics, specifically monastic in character. The final chapter addresses the alternative ordering practices observable in the disposition of capitals featuring gestures of decapitation and hair-pulling. Rather than develop themes in a linear fashion, the repetition of these motifs at irregular intervals throughout the nave encourages the viewer to compare and contrast very different subjects, thereby fostering rumination. Similar strategies of organization may be identified in other forms of cenobitic cultural production, including music theory and poetry. What emerges from this analysis is that Vezelay{\textquoteright}s program stands apart from the systematic sculptured schemas of Gothic churches, constructed during the age of the Scholastic Summa, and offers an exemplum of the artistic and intellectual achievements of early twelfth-century monasticism.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Ambrose, Kirk Thomas} } @mastersthesis {8429, title = {Sacred Image/Urban Space: Image, Installations, and Rituals in the Early Medieval Roman Forum}, year = {1999}, school = {Bryn Mawr}, abstract = {My topic is the Roman Forum under revision during the era when Christians first established churches within this precinct{\textquoteright}s ancient structures. My dissertation sees Christian art works as active agents that consolidated the Forum{\textquoteright}s public space in the early Middle Ages. Medieval images, I argue, bolstered ancient architecture by finding new functions for classical monuments. My investigation focuses on the reuse of ancient civic structures, emphasizing in particular the reconceptualization of the Forum that developed as these particular sites became churches between the sixth and ninth centuries. The dissertation is organized around case studies establishing that post-classical viewers structured their perceptions of the Forum through images added to ancient sites. During late antiquity, emperors placed column monuments along the edges of the central area of the Roman Forum to commemorate their achievements. In the first chapter I argue that these imperial images transformed the Forum conceptually while ensuring the preservation of the zone{\textquoteright}s architectural fabric, defining the subsequent Christian transformation of the precinct. My second chapter looks at the meaningful interaction between medieval images and classical monuments in the Forum, focusing in particular on the church of SS. Cosma e Damiano. The apse mosaic of this church presented viewers with a heavenly landscape that contrasted with the ancient marble plan of Rome, exhibited on a rear exterior wall. My third chapter continues to investigate the installation of Christian art into antique settings by looking at S. Maria Antiqua; this church occupied an ancient monumental vestibule that was linked with the ancient imperial palace. Members of the clerical and civic elite sponsored paintings at this church, some of which caused viewers to reassess nearby ancient shrines such as the Temple of Vesta and the Lacus Iuturnae. The third chapter analyzes two churches, S. Adriano and S. Martina, that were inserted into structures within the senatorial compound, marking a papal occupation of a site of administrative authority. A main premise I trace throughout the dissertation concerns how early medieval churches in the Forum established a unique set of circumstances in which early medieval worshipers were constituted as viewers of art and as users of ancient architecture and public space. My final chapter focuses on the Christian penitential processions that traversed the Forum and stopped primarily at the church of S. Adriano. The mournful tones of the Christian processions form a sharp contrast to the brash pomp associated with ancient triumphal parades. This provides an opportunity to conclude with a discussion of the penitential stance that was imposed on the Forum{\textquoteright}s ancient topography during the early Middle Ages.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Kalas, Gregor Addison} } @mastersthesis {8543, title = {Sanctity Set in Stone: Popular Piety and the Oratory of San Bernardino in Perugia by Agostino di Duccio}, year = {1999}, school = {Rutgers}, abstract = {The following dissertation examines the iconography, historical context, and patronage of the Oratory of San Bernardino in Perugia by Agostino di Duccio. Due to the fact that the Perugians had no relics, they created a monumental, outdoor, sculptural cycle as a tribute to San Bernardino. The study begins with an analysis of the previous scholarship on this unique monument. Chapter two examines the career of Agostino di Duccio and the significance of this monument within that career. Chapters three and four examine Bernardino{\textquoteright}s biographies and place his life within the larger context of fifteenth-century Italy. Specifically, these chapters examine both Bernardino{\textquoteright}s position within the church and the wider political climate of fifteenth-century Italy, and relate them to the development of his cult. Chapter five then explores Bernardino{\textquoteright}s relationship to the city of Perugia, in order to better understand how and why the commune and the Franciscans cooperated to create a shrine in his honor. The second part of chapter five shows that the monument originally functioned as a chapel, not as an Oratory. Chapter six looks at the distinctive image of San Bernardino in Glory and the other sculptures on the facade and shows that the iconography of the facade ties Bernardino directly to Saint Francis of Assisi and Christ. Chapters seven and eight develop the argument that the fagade became the Perugians, relic, that it functioned both as the final stop for processions held to honor San Bernardino and as a backdrop for the Franciscan preachers who gave their sermons in the Piazza San Francesco al Prato. In addition, the chapel was meant to attract pilgrims who were on their way to or from Assisi. Seen in light of the monuments that Aquila (the city which possessed Bernardino{\textquoteright}s relics) and Siena (the city which claimed Bernardino as its native son) created to honor Bernardino, the truly unique nature of the Chapel of San Bernardino in Perugia is made clear.}, keywords = {Renaissance Art}, author = {Vogel, Elizabeth} } @mastersthesis {8421, title = {Sant{\textquoteright}Urbano alla Caffarella: Eleventh-Century Roman Wall Painting and the Sanctity of Martyrdom}, year = {1999}, school = {Johns Hopkins}, abstract = {Urban I, a pope martyred in 230, was a relatively minor saint until the late eleventh century. The most remarkable example of the pictorial development of his cult is the Roman fresco cycle that adorns the walls of Sant{\textquoteright}Urbano alla Caffarella. Located on the via Appia Pignatelli near what was believed to be the original tomb of Urban in the Early Christian catacombs, Sant{\textquoteright}Urbano is a converted second-century pagan structure with medieval frescoes picturing the Madonna and Child flanked by Urban and John in the crypt, standing saints in the lower cella, and extensive cycles of Christ{\textquoteright}s Infancy and Passion as well as the lives and martyrdoms of Urban and Cecilia in the upper cella. Dated most likely to the time of Urban II (1088-99), the christological and hagiographic program in Sant{\textquoteright}Urbano constitutes one of the few remaining examples of Roman painting of the late eleventh century. Focusing on Sant{\textquoteright}Urbano, this dissertation is divided in two parts. The first half serves as a monographic study of the ancient structure and Christian use of the building: this section traces the monument from its construction in ca. 160 A.D. to its restoration in the twentieth century. The second half of the dissertation concentrates on the eleventh-century christological and hagiographic cycles decorating the cella interior. The representation of the passion of Urban and a partial copy of the nave imagery from Old St. Peter{\textquoteright}s juxtaposed a new hagiographic legend with a venerable cycle linked to the apostolic period. This imagery, sponsored by lay patrons pictured in the Crucifixion scene, helped both to legitimize the legend of Urban and to create an environment suitable for burial. The visual authority of the Early Christian pope, Urban I, also reinforced the political legitimacy of the contemporary pope, Urban II. Pictorial programs, like that in Sant{\textquoteright}Urbano, showed an interest in visually developing the lives of the persecuted members of the Primitive Church at a time when their sanctified authority gave credence to the program of Church renewal characteristic of the Gregorian period.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Noreen, Kirstin} } @mastersthesis {8409, title = {The Science of Aesthetics in Eighteenth-Century Landscape Design}, year = {1999}, school = {Columbia}, abstract = {This thesis seeks to define the concept of "nature" in England at the turn of the eighteenth century by examining the relationship between a scientific understanding of nature constructed in the late seventeenth century and the development of landscape gardening in the eighteenth century. I begin by considering the activities associated with England{\textquoteright}s first scientific institution, the Royal Society, highlighting some of the themes of their methodology to show how its early Fellows developed an approach to the study of nature based on sensation, observation, experiment, and imitation, as well as an atomist conception of the physical laws of nature which emphasized such qualities as variety, change, motion, and chance. I analyze how this methodology was applied to the study of nature, and used to shape a particular view of the English landscape. In my discussion of the new genre of natural histories of English counties, I look at the way they used scientific assumptions to identify the principal elements of the natural environment, thus generating a different way of understanding and seeing the landscape I then examine how this scientific approach to the natural world was aestheticized by John Evelyn, both in his written work-including the unpublished "Elysium Britannicum"-as well as in his garden design as evidenced at Sayes Court, Deepdene, Albury, and Wotton. John Locke{\textquoteright}s An Essay Concerning Human Understanding, on the other hand, took this methodology and used it to construct a theory of consciousness. Locke{\textquoteright}s epistemology was translated by writers such as Joseph Addison into aesthetic terms, defining the way in which nature could elicit an aesthetic response. Finally, I examine Stephen Switzer{\textquoteright}s use of Addison{\textquoteright}s aesthetics to generate a theory of "natural" garden design by looking at his Ichnographia Rustica and the three gardens of Dyrham Park, Grimsthorpe, and Wrest Park.}, keywords = {Baroque and 18th-Century European}, author = {Di Palma, Vittoria} } @mastersthesis {8446, title = {The Sculptor{\textquoteright}s Workshop at Aphrodisias}, year = {1999}, school = {IFA/NYU}, abstract = {The Sculptor{\textquoteright}s Workshop at Aphrodisias was located in the civic heart of the ancient city, where it occupied several rooms of a modified stoa situated north of the Bouleuterion and south of the Temple of Aphrodite. Excavations carried out between 1965 and 1970 uncovered the physical facilities for the manufacture of marble sculpture, stone-carving tools, and over 200 pieces of sculpture in various states of completion, including several "practice pieces" carved by apprentices as part of their training. The importance of this material for the field of classical archaeology lies in the unique preservation of a range of finished and unfinished statuary within an identifiable and datable production context, allowing for a fuller understanding of the production of Roman marble sculpture than has previously been possible. This study of the Sculptor{\textquoteright}s Workshop provides a full archaeological analysis of the facility and a comprehensive catalogue of the marble finds, most of which are currently unpublished. The first chapter examines the excavation history, architecture, and urban setting of the Workshop. The sculptural finds from the facility suggest that the Sculptor{\textquoteright}s Workshop specialized almost exclusively in the production of portrait sculpture and mythological statuary: the repertoire and chronology of the Workshop{\textquoteright}s output are discussed in chapters two and three. In the fourth chapter the unfinished sculptures are analyzed in terms of their technique: the evidence provided by these unfinished pieces allows hypotheses to be made concerning the working methods of the sculptors, the organization of the Workshop and the division of labor within it, and the methods used to train the apprentices. Like many of the monuments of Aphrodisias, the Sculptor{\textquoteright}s Workshop is unique only in its state of preservation: in its setting, architecture, and repertoire, however, the Workshop is quite typical for marble-working facilities in classical antiquity. This study concludes by situating the Sculptor{\textquoteright}s Workshop and its output into the larger context of ancient sculptural production through comparison with less well-preserved facilities and related material recovered from other archaeological sites.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Van Voorhis, Julie} } @mastersthesis {8515, title = {The Sculpture of Dorothy Dehner}, year = {1999}, school = {Yale}, abstract = {This work examines the abstract sculpture of Dorothy Dehner (1901-1994), whose totemic, emblematic and textured bronzes attracted scholarly attention within the context of the feminist movement. Dehner{\textquoteright}s art evolved within the compass of abstract expressionist developments, and in her sculptures of the 1950s, she applied specific abstract expressionist objectives to the medium. Using visual materials as well as documentary evidence, this thesis establishes Dehner{\textquoteright}s place within the postwar renaissance of sculpture and abstract expressionism. A member of The Club, Dehner exhibited extensively at the Willard Gallery in New York, and participated in organizing the "New Sculpture Group," which provided a forum for sculptors of the abstract expressionist movement. Dehner{\textquoteright}s sculptures gave form to critical preoccupations of the movement, such as the veneration of the artwork as a palpable interface between the unconscious motivation of the artist and his or her creative action, and the predilection to generate the content of the work of art itself during the creative process, which, concomitantly, enabled the artist to claim himself or herself as the ultimate subject of the work. Dehner extended the limits of sculptural form, as she pushed surface texture to embody somatic experiences. Texture had been the hallmark of abstract expressionist authorship, and Dehner specifically advanced the physical surface of the sculpture as the material equivalent for the psychological interface between the unconscious and the creative act. As popular aspects of depth psychology had permeated Dehner{\textquoteright}s thinking and approach to creativity, it also influenced the character of the abstract expressionist movement. Therefore, the study of Dehner{\textquoteright}s sculptures in this context not only provides insight into the meaning of her subjects, but also serves to establish the abstract expressionist character of her sculptures.}, keywords = {Pre-1945 North American and South American Art}, author = {Tornai, Flora Esther} } @mastersthesis {8366, title = {Sculpture{\textquoteright}s Private Self: Medardo Rosso and the Role of the Imagination in Nineteenth-Century European Sculpture}, year = {1999}, school = {UC Berkeley}, abstract = {This dissertation critically reexamines the life, career, works, and reputation of sculptor Medardo Rosso (1858-1928) in the context of fin-de-siecle European sculpture{\textquoteright}s struggle for modernization. In four chapters, I argue that Rosso was the first to apply the modern concept of the private to the publicly-dependent genre of nineteenth-century sculpture. In reorienting sculpture inwards, away from the public sphere, Rosso shifted attention to representing the less material, inner qualities of the imagination. In Chapter I, I establish Rosso{\textquoteright}s elusive yet crucial role in the history of modern sculpture through a review of the literature and an assessment of his project. I ground the frustrating intangibility of Rosso in the rhetoric of the private that characterized modern life as well as in nineteenth-century sculptors{\textquoteright} search to make sculpture more "imaginative." In Chapter II, I trace Rosso{\textquoteright}s early experiments in Milan in the 1880s and describe them as part of the larger modern ideology of withdrawal from the public realm. I claim that Rosso sought a dematerialized presence for his art and persona by questioning the body{\textquoteright}s role as sculpture{\textquoteright}s primary signifier, thus shifting focus to the inner realms of the imagination. In following Rosso{\textquoteright}s move to Paris in 1889 in Chapter III, I argue that he inserted his art into a larger history that had already been developing since the 1830s through the idiosyncratic, imaginative private sculptural experiments of Preault, Daumier, and Degas. I conclude that Rosso{\textquoteright}s ideas, as the fullest expression of private sculpture{\textquoteright}s quest for modernity, only became publicly embodied in the first modern monument, Rodin{\textquoteright}s Balzac of 1898. My final chapter is dedicated to Rosso{\textquoteright}s late period, which was marked by re-castings of earlier works and performances of the act of casting. I claim that far from a sterile ending, his last years were an integral part of his project of privatization through a continuing process of creative self-repetition. By making serial repetition imaginative, Rosso was the first artist to reflect conceptually on the physical act of making sculpture, thus modernizing the role of the sculptor by placing the imagination within the confines of his own working body.}, keywords = {19th-and Early 20th-Century European Art}, author = {Hecker, Sharon Haya} } @mastersthesis {8525, title = {Sebastiano del Piombo and Michelangelo in Rome: Problems of Style and Meaning in the Viterbo "Pieta"}, year = {1999}, school = {Rutgers}, abstract = {The aim of the dissertation is to analyze Sebastiano del Piombo{\textquoteright}s Pieta (oil on panel, Viterbo, Museo Civico), commissioned by the cleric Giovanni Botonti for his funerary chapel in San Francesco alla Rocca in Viterbo. A collaborative work with Michelangelo, who provided Sebastiano with the invention of the figures, the Pieta was received by contemporaries as one of the most important works of the Cinquecento, a reputation-making painting. However, because Vasari credited the cartoon to Michelangelo, Sebastiano{\textquoteright}s role has seemed ambiguous and often reduced to that of an executant of the former{\textquoteright}s ideas. The dissertation examines for the first time Sebastiano{\textquoteright}s and Michelangelo{\textquoteright}s alliance in the scenario of the competition between Michelangelo and Raphael and as a response to Raphael{\textquoteright}s supposed primacy on color. Given that the role of color was crucial to sixteenth-century aesthetics, it is argued that Sebastiano{\textquoteright}s colorito should be given equal emphasis to Michelangelo{\textquoteright}s disegno. Indeed, in synthesizing Venetian color and Tuscan drawing, the Pieta introduced Roman patrons and painters to Venetian taste. In Venice, the paragone between painting and sculpture and in particular the confrontation with Tullio Lombardo, informed Sebastiano{\textquoteright}s paintings, thus representing a fundamental key to reading the Pieta and Sebastiano{\textquoteright}s subsequent involvement with Michelangelo. Sebastiano{\textquoteright}s invention of the widely praised nocturnal landscape-the first ever represented in an altarpiece-offered the painter the opportunity to show his ability in coloring with softly modulated oils, while also allowing him to represent the liturgically correct setting for the Lamentation over the body of the dead Christ. The role of the patron of the Pieta, a secretary of Cardinal Raffaele Riario and a friend of the Augustinian theologian Egidio da Viterbo, is considered in light of significant archival discoveries. The iconography of the Pieta is interpreted in relation to the patron{\textquoteright}s devotion to the miraculous Madonna Liberatrice of Viterbo and to Augustinian spirituality. St. Augustine himself is also fundamental to the interpretation of the most striking element of the Pieta, that is, Mary{\textquoteright}s masculinity. Her masculine appearance is explained as imago dei, the unveiling of Mary{\textquoteright}s spiritual self in the image of God.}, keywords = {Renaissance Art}, author = {Barbieri, Costanza} } @mastersthesis {8417, title = {Self-Fashioning and Portraits of Women at the Restoration Court: The Case of Peter Lely and Barbara Villiers, Countess of Castlemaine 1660-1668}, year = {1999}, school = {Yale}, abstract = {My dissertation examines women{\textquoteright}s self-fashioning through the medium of painted portraiture in the years immediately following the Restoration of Charles Stuart to the English throne in 1660. I focus on the various role-portraits of Barbara Villiers, Countess of Castlemaine, that were painted by Peter Lely between 1660 and 1668; my discussion of these images demonstrates the various ways in which painted likenesses functioned as strategic tools in the construction of female identity, within the particular context of the emerging visual culture of Charles II{\textquoteright}s newly restored court. Overall, I aim to make three main points: first, that the portraits of one woman, Barbara Villiers, were instrumental both to her own success and to that of the most successful painter of the period, Peter Lely; secondly, that her role-portraits reveal how specifically Lely used allegory and emblematic role-play within his early Restoration oeuvre; and, finally (and more generally), that portraits such as Barbara{\textquoteright}s, although dismissed for centuries as mere pictorial concetti, are in fact themselves "evidence" of early modern woman{\textquoteright}s efforts at "self-fashioning." The dissertation demonstrates that the role-portraits of Lady Castlemaine hold a unique position within both Lely{\textquoteright}s art and Restoration portraiture as a whole. Not only were her portraits much more than simple representations of her likeness, or physical appearance, they (and the types developed therein) also became the paradigms for all Restoration portraits of women. In other words, they were the prototypes for the depiction of "Restoration Beauty". By revealing some of the ways in which Barbara Villiers, mistress of the king and mother to his children, and Lely consciously created, articulated and promoted a visual "persona", I uncover various ways by which she was able at once to dictate and to subvert the standard pictorial conventions for female portraiture during the first years of Charles II{\textquoteright}s reign. Ultimately, the methods and arguments used here to discuss the portraits of one woman by one artist provide a reassessment of visual culture in Restoration England and a practical, methodological model for the discussion of women{\textquoteright}s portraiture as a whole.}, keywords = {Baroque and 18th-Century European Art}, author = {Marciari-Alexander, Julia} } @mastersthesis {8459, title = {A Semiotic Analysis of the Puebloan Human Hand Image}, year = {1999}, school = {Virginia Commonwealth}, abstract = {Images of the human hand, used by Puebloan artists since the Basketmaker II period, remain integral elements in Puebloan art. They occur most frequently on rocky outcroppings and solitary boulders scattered throughout the Four Corners area of the southwestern United States. During the Pueblo II period, however, human hand images began to appear in a variety of settings and on objects in addition to stone surfaces. By this time, Puebloan artists began appropriating the hand design as a means of referencing previous traditions while simultaneously adjusting the symbolic significance to fit contemporary purposes. Images of the human hand serve as primary iconographic motifs linking ancient and modern Puebloan artistic traditions. A general history of the hand image from the Basketmaker II period to the present is offered based upon an evaluation of human hand images in three contexts: rock art, kiva mural compositions, and ceramic vessels. Following this, a formal typology of Puebloan human hand images is established. Eight varieties of the image, which include the positive, positive with filled palm, patterned positive, stencil, patterned stencil, outline, grotesque, and replica are discussed in detail. The second portion of the project interprets the many meanings conveyed by human hand images through the application of the Piercian model of semiotics, which posits that a sign can be interpreted as an icon, an index, or a symbol. Among these interpretations are human hand images that function as mnemonic devices to aid in the recollection of important mythological episodes, those that symbolically represent important Puebloan deities, and hand images that may indicate Puebloan ethnic and cultural identity. Secondary ethnographic documents, studies of Puebloan cultural and religious practices, and interviews with living artists of Puebloan heritage are offered as evidence to support interpretations of human hand imagery according to Pierce{\textquoteright}s model. The project concludes with a case study of thirty-five Puebloan ceramic vessels dated between the Pueblo II period and the present that bear human hand imagery. The temporal and geographic distribution of the vessels, the formal varieties of hand images displayed, as well as the relative semiotic value of the hand images are among elements analyzed.}, keywords = {Native American and Pre-Columbian Art}, author = {May, Julia Stephens} } @mastersthesis {8487, title = {Signification and the Subject: The Art of Jasper Johns}, year = {1999}, school = {Bryn Mawr}, abstract = {My dissertation, Signification and the Subject: The Art of Jasper Johns, examines the pictorial project of Jasper Johns (1930- ), offering a novel interpretation of an American artist working in the postwar period. Arguing that Johns{\textquoteright} work reflects a significant shift within Western culture, I divide Johns{\textquoteright} oeuvre into two parts, arguing that the artist{\textquoteright}s early work (1954-1972) is best understood as a critique of representation and subjectivity as these concepts have been understood since the end of the eighteenth century. In my analysis of work made since 1972, I conclude that Johns{\textquoteright} work from this period reflects an attempt to construct an alternative understanding of representation and subjectivity based on conclusions reached about each in the context of Johns{\textquoteright} work from the fifties and sixties. This study is divided into a total of five sections, the first of which summarizes my project and situates it within the broader context of the existing literature on Johns. Chapter one, "Origins," focuses on the painting said to be Johns{\textquoteright} first work of art: Flag, 1954. Through an analysis of the painting and its initial reception, I conclude that the work destabilizes several accepted ideas about the nature of the relationship between an artist and his or her artwork. Chapter two, "According to What," focuses on Johns{\textquoteright} work from the late fifties and sixties, arguing that Johns{\textquoteright} work from this period is engaged in a critique of the relationship between image and referent. Chapter three, "Corpse and Mirror," offers an interpretation of works made during the seventies, arguing that these paintings function as an expression of conclusions reached during the first two decades of Johns{\textquoteright} career. In addition, this section also situates those conclusions within the broader history of art, arguing that Johns{\textquoteright} painting from this period is instructively compared to other moments within art history. Chapter four, "Epilogue," focuses on Johns{\textquoteright} work from the eighties and nineties, asking what it might mean for Johns to paint given the limits ascribed to representation in course of the chapters one, two and three.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Isabelle Wallace} } @mastersthesis {8387, title = {Skirts and Scaffolding: Women Architects, Gender, and Design in Wilhelmine Germany}, year = {1999}, school = {Bryn Mawr}, abstract = {This dissertation examines women{\textquoteright}s journey into the architectural profession in Germany, from their first appearance as architectural students at the turn of the century to their heightened professional stature by the end of the First World War. Emerging at a moment in German history when women were actively engaging with and assuming control over their built environment, women architects were part of a larger struggle to define, create and contest space. The diverse experiences of individual women architects are given voice here, as is the broader collective narrative they forged in integrating the field. These histories suggest that something unsettling happened to architecture when women entered. Women in skirts on the construction site elicited male fears not only of exposed female bodies, but more fundamentally, of the moral and physical endangerment of architectural order and identity. The histories of women architects are thus not simply about these women, but are also the story of architecture told from a different and disruptive perspective. Treating architecture as social process, this dissertation looks to recent social histories of the Wilhelmine period and their concern with the modern "experience of transience." This approach allows us to consider architecture in the framework of contested process rather than linear progress. From this more inclusive perspective, we can assess architectural practice in the context of the complicated and conflicting responses by Wilhelmine Germans to changes-perceived as destabilizing and potentially threatening-to their culture and society. The thesis is organized into two sections of four chapters each. The first section, "Constructing the Architektin," addresses the making of the woman architect from a social and cultural perspective. Chapter one investigates the relationship between the women{\textquoteright}s movement and the urban built environment in Berlin from the turn of the century to the outbreak of war. I focus on how women{\textquoteright}s claims to political, economic and social space expressed themselves in physical terms. Chapter two analyzes the image of women architects in career guides for girls, the women{\textquoteright}s media and the popular press, as well as in writings by male architects and architectural critics. This chapter reveals the dichotomy between cultural conceptions of femininity in Wilhelmine Germany and the social construction of the architect as a masculine figure. Chapter three addresses women{\textquoteright}s struggles to gain admission to the technical institutes. The German Lyceum Club, a women{\textquoteright}s association of considerable importance for women designers and architects, is the subject of chapter four. The second section, "What the Architektin Built," examines women{\textquoteright}s architectural practices. Chapter five looks at the patronage of the women{\textquoteright}s movement in relation to one woman architect, Emilie Winkelmann. Analyzing three large-scale projects, I consider how Winkelmann{\textquoteright}s practice attended to her clients{\textquoteright} concerns for a built environment responsive to gender. The relationship among women architects, domestic design, and professional strategies is the focus of chapter six. Chapter seven explores the conception, architecture and reception of the women{\textquoteright}s pavilion ("Haus der Frau") at the 1914 Werkbund exhibition in Cologne. Chapter eight addresses the professional advances made by women architects working for the military during the First World War and compares these gains to the postwar experience, which was characterized by renewed hardships and setbacks.}, keywords = {19th-and Early 20th-Century European Art}, author = {Stratigakos, Despina} } @mastersthesis {8540, title = {The Sleep of Reason: Inspiration and the Renaissance Iconography of Creativity}, year = {1999}, school = {Columbia}, abstract = {It is commonly agreed that the Italian Renaissance witnessed a shift in conceptions of intellectual and artistic achievement. The Platonic doctrine of divine furor presented an alternative to Aristotelian notions of knowledge gained through sense experience, resulting in a debate that pitted fantastic invention against rational imitation as the measure of creative accomplishment. Studies of the texts that voice this discourse have described the linguistic evidence of this shift, revealing the meanings and values embedded in the use of words such as invenzione and fantasia. But what was the pictorial vocabulary of inspiration and creativity? This study suggests that images of sleepers constituted the visual component of this Renaissance discourse. Chapter One considers portraits of poets and philosophers in which sleep functions as an attribute of the intellectual. In these images, the connection between sleep and the irrational was exploited to signify creative experience derived from divine inspiration. Chapter Two examines images that juxtapose sleep and waking. This visual antithesis describes two distinct concepts: the difference between passive inspiration and active creation, and the distinction between Platonic and Aristotelian models of creativity. Chapter Three explores how gender provided another form for this antithesis. It charts the use of metaphors of sexual generation to describe intellectual activity, noting that inspiration and creativity were gendered terms, and examines the role that "woman" played as both the inspiration for and product of creative experience. The analogous connection between sleep and Renaissance notions of woman sheds new light on the tradition of the sleeping female nude, the subject of Chapter Four. I argue that the sleeping female nude functioned as an inspirational icon to a group of male viewers, the emerging class of intendenti. The final chapters consider the dream as metaphor. In Chapter Five, an analysis of Marcantonio Raimondi{\textquoteright}s so-called Dream of Raphael demonstrates how the topos of the dream allowed both artist and viewer to escape the constraints of narrative. Chapter Six considers a drawing by Michelangelo, the Sogno. Identifying previously unrecognized self-quotations in the drawing, I locate it as part of Michelangelo{\textquoteright}s self-construction as melancholic genius.}, keywords = {Renaissance Art}, author = {Ruvoldt, Maria} } @mastersthesis {8384, title = {Soane at Westminster: Civic Architecture and National Identity, 1789-1834}, year = {1999}, school = {Columbia}, abstract = {This thesis examines the incremental program of urban renewal, historic preservation, and architectural intervention that transformed the decrepit medieval palatial precinct at Westminster into a modern civic complex to serve the institutions of national law and government. Sir John Soane (1753-1837), one of Britain{\textquoteright}s preeminent architects, was the principal designer involved in this process, and the concomitant goal of this thesis is to trace his lifelong involvement with the architecture of the palace and its central role in shaping his identity as an architect of national stature. His works at the palace of the 1820s, principally the Law Courts and the Royal Entrance to the House of Lords, were subsequently destroyed. The spatial and symbolic richness of these lost works are documented here for the first time by synthesizing the copious and complex graphic and archival evidence. The majority of Soane{\textquoteright}s projects for the palace were not realized, and this thesis also analyzes how his promotion of an architecture of Antique civic magnificence clashed with the patriotically-inspired Gothic revival and posits that the construction of British national identity, together with the fast-paced evolution of the institutions of law, parliament, and the monarchy were the dominant and creative forces in the palace{\textquoteright}s architectural history during this pivotal period and led to the representational and functional failure of his civic architecture.}, keywords = {19th-and Early 20th-Century European Art}, author = {Sawyer, Sean} } @mastersthesis {8405, title = {The Social Position of Dian Women in Southwest China: Evidence from Art and Archaeology}, year = {1999}, school = {Pittsburgh}, abstract = {This study reconstructs the gender roles and changing social status of women in the Dian archaeological culture, a late Metal Age society first discovered at Shizhaishan in Yunnan Province, P.R.C. This culture produced images in a lively, narrative style that is unique in its naturalism. Of particular importance to this study are Dian compositions of detailed people, animals and architecture which adorn bronze vessels filled with cowry shells. These scenes depict activities presumably important to the Dian people, including combat, ritual performances, and the weaving of cloth. In several examples, women are portrayed in ways that suggest they enjoyed high status in Dian society, perhaps equal to that of elite men. Grave inventories support this conclusion, at least for some women, if only for a short time. It is shown here that the idiosyncratic Dian style was itself a marker of high status, used by the elite to confirm their superior social position. Dian noble women employed this style in their burial goods, and were interred with the same markers of wealth and authority as were Dian men. This gender panty is not observable in lower level burials, where female interments are consistently the poorest within any circumscribed group. I argue that the economic and authoritative disparities between the two classes of Dian women, both absolute and with respect to men of the same social standing, can in part be explained by their differing roles in the creation of a prestige cloth, highly valued by the Dian elite. It is also suggested that the devaluation of that product around 109 BC contributed to the degradation of women{\textquoteright}s social status. Regional elite burial programs were transformed in the last centuries BCE, as Chinese objects and practices gradually replaced those of local character. Mortuary remains demonstrate a coetaneous decline in the social position of woman. By the end of this period, women were no longer buried with the complement of high status markers. In fact women were not represented in later aristocratic interments at all. As textual data relating to this region are few in number and post-date the period in question, this study relies on the material remains of the Dian, recovered from numerous sites in Yunnan Province in the past four decades. The aims of this study are (1) To analyze the material remains and burial patterns of the Dian cemeteries in order to explain these representations of women in their art; (2) To detect those aspects of Dian material culture which reflect high status, (3) To determine what practices and/or objects, (or combinations thereof) indicate the sex of the deceased; and (4) To determine the basis for the decline in the status of women, as reflected in changes in their treatment in burial.}, keywords = {Asian Art}, author = {Rode, Penny} } @mastersthesis {8521, title = {Soldiers, Sharps and Shills: Richard Caton Woodville and Antebellum Genre Painting}, year = {1999}, school = {Princeton}, abstract = {This dissertation investigates the life and work of the antebellum genre Richard Caton Woodville (1825-1855). Though Woodville died when he was thirty, he produced a body of work that includes such iconic paintings as Politics in an Oyster House 1848, and War News from Mexico, 1848. My goal is to deconstruct the narratives in Woodville{\textquoteright}s pictures in order to contradict facile locutions attached to genre painting, such as "scenes of everyday life." Woodville{\textquoteright}s paintings of domestic and public interiors circumscribe antebellum ideologies but do not present these ideologies viewers in tidy packages. Like Melville, Woodville obscured his subjects-which include slavery, the Mexican War, drinking, the penny press, gambling, and confidence games-with material excess and overwrought stylings. As a result, Woodville tend to bewilder his own narratives, and in some cases, assumed the subversive personality shill, a poser who dupes bystanders into participating in a seemingly innocent game. Woodville was a Baltimore native, and though he worked at the Dusseldorf Academy in Germany, he exhibited his paintings at New York{\textquoteright}s American member-supported art patronage organization. The middle- and upper-class Woodville{\textquoteright}s paintings at the Art-Union overlooked the subversive aspects of dissertation attempts to answer why and how Woodville{\textquoteright}s art was simplified, viewers during the antebellum period and by twentieth-century cultural historians. of Woodville{\textquoteright}s paintings equivocate over questions about antebellum capitalism, domestic hierarchies, and expansionist politics; some even revel in antebellum social disorder. I argue that viewers have ignored the ambivalence on display in Woodville{\textquoteright}s works because it exposes as myth those ideologies that imagine ant I antebellum social and political order. In this dissertation, I combine social history, the analysis of material culture, and biography to revise conventional attitudes regarding Woodville and antebellum genre painting. Rather than look frankly at everyday life, many genre painters, and Woodville in particular, denied its actuality and studied instead the messy facts of public and domestic life from oblique perspectives.}, keywords = {Pre-1945 North American and South American Art}, author = {Wolff, Justin} } @mastersthesis {8416, title = {Sowing Empire: Landscape and Colonization in the Eighteenth Century}, year = {1999}, school = {Harvard}, abstract = {Postcolonial studies challenge the center/periphery model through which the imperial metropole imagines itself at the center of a world network and yet as separate and unchanged by exchange and contact with its colonies. In order to avoid once again positioning Paris or London as the claimed center, this dissertation represents the strategies of British and French imperialism in rivalrous contrast to one another and the metropoles of England and France as profoundly affected by contact with the sugar plantations of the Caribbean. The contested terrain of empire in the eighteenth century was constituted not just out of appropriated lands and claims of property or conquest, but also out of its supposed opposite-the aesthetic, economic, and imaginative practices of "cultivation" or landscaping. I argue that the practices of landscaping that emerged in the eighteenth century functioned as imperial modes that defined and transformed the "heartlands" of nations as well as the conceived national borders and colonial peripheries in the West Indies. What I refer to as "Georgic" forms of landscaping were the primary means through which particular formations of family, nation, and colonial empire were engendered and naturalized. The picturesque landscape garden, the ferme ornee or ornamented farm, and the colonial plantation justified and glorified patriarchally-organized and controlled agricultural production and heterosexual reproduction as the necessary bases for family and for national and imperial stability, peace, and prosperity. At the heart of this mythic construction of empire is the farm, a "cultivated" site of agriculture that functioned as both the material impress and reproducing sign of imperial power. The general claim of this study is that landscaping-whether in the form of painting, planting, poetry, or aesthetics-should be understood as united discursive and material practices which came to the fore in the eighteenth century as techniques of empire.}, keywords = {Baroque and 18th-Century European Art}, author = {Casid, Jill} } @mastersthesis {8426, title = {The Spectacle of Stained Glass in Modern France and Medieval Chartres: A History of Practices and Perceptions}, year = {1999}, school = {Chicago}, abstract = {The varied display practices which have surrounded stained glass throughout its long history have had a formative effect on the perception of the medium by its viewers. This dissertation seeks to analyze this process by examining instances of modern and medieval perceptions of stained glass windows. Elements of the modern experience of medieval stained glass are primarily found in the dominant discourse of painting, as it emerged in the 17th and 18th centuries, and in the modern methods of display in the 19th and 20th centuries, the museum and photography. These practices determined the modern perception of the medium as a two-dimensional and painterly surface. The medieval experience of stained glass was predicated upon the specific ritual occasion which had placed the viewer before the windows. Through three in-depth case studies (of the windows of the trades, the two windows of saint Nicholas displaying miracles featured in liturgical drama, and the multiple stained glass images of the Sedes Sapientiae) I argue for an exploration of the medieval perception of stained glass according to performance (of acts of donation, of plays, and of processions). In these scenarios, the windows guide the body of the viewer through the spaces of the cathedral, resulting in a dynamic relationship between viewer and image that posits a connection between stained glass and the lay identifies being formed by the town{\textquoteright}s emerging marketplace economy. The trade windows project the new medieval subjectivity of the artisan, who is depicted negotiating in the civically-associated space of the nave and laboring in the spiritual space of the ambulatory. The two stained glass windows devoted to miracles of saint Nicholas are strategically places in the nave and ambulatory to frame the movements of liturgical dramas which culminate in the reassertion of a coherent Christian community. The stained glass images, of the Sedes Sapientiae, dispersed through the cathedral space establish a socio-spiritual hierarchy of access to Mary{\textquoteright}s cult image within the church space. Medieval devotional practices resulted in the perception of stained glass windows as markers of an experiential space transformed by the reconciliatory gestures of specific performances.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Harris, Anne} } @mastersthesis {8358, title = {Spectacular Performances: Art, the Artist and the Audience at the Musee Gustave Moreau, the Musee Rodin and the Musee National Jean-Jacques Henner}, year = {1999}, school = {UNC Chapel Hill}, abstract = {When the painter Gustave Moreau died on April 18, 1898, he left his home, already transformed into a museum of his own work, to the state. Although the Third Republic was noted for intense involvement with art production and display, four years passed before the negotiations between various state agencies and the museum{\textquoteright}s first unofficial curator, Henri Rupp, were completed. The Minister of Public Instruction and the Fine Arts was only authorized to accept the terms of the will in the name of the state on February 28, 1902, under the condition that Rupp yield his personal inheritance to fund the venture. This dissertation examines in close detail the ideological and material problems presented by the Musee Gustave Moreau. It addresses the role of the Fine Arts Administration in art production and display during the Third Republic and how the foundation of the Musee Moreau directly challenged the state{\textquoteright}s museological authority. The charter of the Musee Gustave Moreau is linked to those of two other museums founded in the same period: the Musee Rodin and the Musee National Jean-Jacques Henner. Although the differences among them are significant, the similarities suggest ways in which they all defied more traditional museum models. Finally, this text proposes how the galleries at the Musee Moreau enact a different reading of the museum script, one that requires the active participation of the spectator. Unlike the viewing position offered by the national collections, the Musees Moreau, Rodin, and Henner challenge the visitor to re-read, re-interpret, and re-figure artwork. The final two chapters directly address how this spectatorial change is enacted as they also propose new understandings of art objects and the cultural work they perform.}, keywords = {19th-and Early 20th-Century European Art}, author = {Buck, Elizabeth Gray} } @mastersthesis {8497, title = {The State of Culture: Institutional Patrimony in Post-Revolutionary Mexico}, year = {1999}, school = {UIUC}, abstract = {As proletarian art, Mexican muralism is said to represent the values of the "people," and its status as a public art form has been crucial to claims for its popular accessibility. Yet, how was muralism disseminated publicly? This question is approached through an analysis of the national culture initiative inaugurated at the close of the Mexican Revolution (1910-17) by President Obregon through his creation of the Secretaria de Educacion Publica (Ministry of Public Education). Jose Vasconcelos, the Secretaria{\textquoteright}s first director, commissioned Mexican artists to paint public murals as part of a governmental initiative to discipline a disaffected population into an "imagined community." This dissertation examines Mexican muralism within the context of this initiative by treating the museum as an important but unacknowledged mediator between this national art form and its audience. Through an analysis of four different cultural institutions, the articulation between "the people" and national culture is foregrounded as a governmental claim, a pursuit of popular allegiance and affiliation that while rhetorical has nevertheless solidified into "truth." The murals on permanent display in the Palacio de Bellas Artes (Palace of Fine Arts) are presented as representatives of a coherent and legible movement through which the "People" can discern the coordinates of their national identity. The Museo Nacional de Historia (National Museum of History) utilizes mural-art to situate the historical objects on display into didactic lessons that seek to cultivate "civic consciousness" in the visitor. The intertextual dynamic between the Palacio Cortes (Cortez{\textquoteright} Palace), the regional history museum it has housed since 1971, and a mural-cycle painted on site by Diego Rivera in 1929, constructs the region of Morelos and its popular movement-Zapatismo-as icons of national character. Finally, the Museo Nacional de Arte (National Museum of Art) presents a narrative of national art that re-casts Mexican muralism and its governmental support into a story of private patronage through which cultural consumption and the financial support of the arts are promoted as modes of citizenship.}, keywords = {Pre-1945 North American and South American Art}, author = {Coffey, Mary} } @mastersthesis {8364, title = {The Symbolist Key: Jan Verkade in Germany}, year = {1999}, school = {CUNY}, abstract = {In the autumn of 1906, the former Nabi and then Benedictine monk, Jan (Pater Willibrord) Verkade traveled to the German art capital of Munich to embark upon an extended period of study intended to revitalize his approach to art. He was to spend eighteen months in Munich. While there, he carried the credo of Symbolism and its corresponding Synthetist painting style to a new generation of painters. In so doing, Verkade served as a catalyst, spurring artists like Kandinsky, Jawlensky and Munter to pursue their quest to develop abstract styles of painting. Verkade had spent the previous twelve years immersed in the stylistic direction of the founder of the Beuronerkunstschule, Pater Desiderius Lenz, and his mathematically-based "canon of sacred proportions." Feeling the sterility of the method and the coldness of the works produced according to canonic formulae, Verkade was intent upon returning to nature as a source of inspiration for his art. To do so, he looked to his earlier Symbolist roots, formulated during his association with his fellow Nabis and with Gauguin. He also sought to rekindle the sort of direct involvement with contemporary developments in art, which he had thrived on as a young Nabi in Paris and Pont-Aven. His long-standing relationships with Maurice Denis and Paul Serusier, with whom he had never lost contact, enabled Verkade to establish himself within the experimental artistic community of Schwabing. Denis, especially, helped Verkade gain entry to Munich{\textquoteright}s art society. Through Denis, Verkade met such men as Henry van de Velde and Julius Meier-Graefe. Verkade{\textquoteright}s personality and easy sociability brought him into contact with several artists working in Munich, who were experimenting with new approaches to painting. What they shared with Verkade was a desire to restore to art its primary role as a communicator of a spiritual realm. Verkade{\textquoteright}s own quest to revive the Symbolist/Synthetist character of his work, coupled with his interaction with the Munich avant-garde, resulted in an exchange among them that ennobled Symbolist ideology. Verkade{\textquoteright}s work, along with that of his Nabis colleagues, which he displayed proudly in his lodgings, and his constant talk of Gauguin and of Nabi sensibility, caused artists like Jawlensky, Werefkin, Kubin and others to explore again and experiment with Symbolist ideas and Synthetist technique. Verkade{\textquoteright}s direct involvement with Serusier, who visited him in Munich, and with Denis, whose Symbolist writing had been widely published, served to elevate Verkade{\textquoteright}s ideas in the eyes of his Munich colleagues. As they began to formulate plans to establish the Neue Kunstlervereinigung, Munchen, these painters carried Verkade{\textquoteright}s message to Kandinsky and Munter, whose works from the period of 1908-1911, display the distinct character of a Symbolist/Synthetist approach. Although the Munich sojourn left Verkade at a serious crossroads in his own life and career-his new experiment with Symbolism made it impossible to return to Lenz{\textquoteright}s "canon" in earnest-his significance in the history of art is imbedded in his influence on those experimental painters: Kandinsky, Jawlensky, Munter, etc., whose own work would change the nature of modernism.}, keywords = {19th-and Early 20th-Century European Art}, author = {Grecco, Marguerita} } @mastersthesis {8478, title = {The Synthesis of the Arts in the Context of Post-World War II: A Study of Le Corbusier{\textquoteright}s Ideas and His Porte Maillot Pavilion}, year = {1999}, school = {CUNY}, abstract = {This dissertation is the first study of the Porte Maillot Pavilion building-type in the work of Le Corbusier with a twofold purpose: first, to understand the contextual significance of artistic synthesis within the international social, cultural, and political setting in Europe following World War H; second, to investigate Le Corbusier{\textquoteright}s pavilion designs with a specific focus on his Porte Maillot project in order to show how this design represents the ideology of the synthesis of the arts in Le Corbusier{\textquoteright}s theory and practice. The goal of this research is to fill the lacuna that exists in cultural studies of postwar Europe as well as in the scholarship of Le Corbusier{\textquoteright}s postwar production. The material for this dissertation is organized into three chapters. The first chapter looks at Le Corbusier{\textquoteright}s and Fernand Uger{\textquoteright}s writings addressing their ideas for a synthesis of the arts that can be traced from 1920{\textquoteright}s and 1930{\textquoteright}s through the postwar years. The second chapter places postwar ideas of synthesis of the arts within the broad context of seven important international conferences, from 1944 to 1952, that dealt with the subject in conjunction with issues of urbanism, monumentality, and aesthetics. And the third chapter focuses on the Porte Maillot project and the influence of Andre Bloc and the Groupe Espace. Ultimately, this study shows how Le Corbusier, ever eager to promote his career, was adept at working with different organizations in order to promote his pavilion designs; whether through international organizations such as CIAM and Unesco, national governments such as the French government, or through private connections. In turn, it shows how he transformed his chameleon-like pavilion designs to adapt to different external pressures. This in-depth exploration of this little-studied pavilion building-type in the work of Le Corbusier serves as a catalyst to raise larger issues and demonstrates how the pavilion reflected the ideological failures and successes of the complex social, cultural, and political milieu in postwar Europe.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Koll, Ann} } @mastersthesis {8398, title = {The "Ten Kings" at the Seikado Library}, year = {1999}, school = {Princeton}, abstract = {To this day, the majority of extant corpus of Korean paintings on silk are known to date from the mid-thirteenth to fourteenth centuries, a period corresponding to the late Koryo dynasty (918-1392). The following study of the Ten Kings paintings now in the Seikado Library, Japan, offers important measures to rectify that assumption. A complete set of ten pristine hanging scrolls replete with figural, landscape, flower, and decorative details, these paintings have been designated "Important Artistic Properties" by the Japanese government; ironically, however, they are admired without clear awareness of their provenance, likely patrons, function, and position in the evolution of Ten Kings paintings. Through the analysis of Chinese, Korean, and Japanese textual, archaeological, and visual materials, this dissertation posits that the Seikado Ten Kings date from far earlier than hitherto presumed, most likely from the twelfth or early thirteenth century Koryo. Perhaps commissioned by the royal court, their painting styles reflect those of the Northern Sung (960-1126), which exerted significant impact in early Koryo. As rare reflections of the Ten Kings in the Northern Sung now lost, they equally represent the earliest iconic representation of the Ten Kings in ten hanging scrolls in East Asia, and the earliest surviving paintings on silk in Korea. Historical documentation on the belief of the Ten Kings in the Koryo dynasty and the recently uncovered thirteenth-century woodblock editions of The Scripture of the Ten Kings at the Haein-sa repository point to the distinctively aristocratic patronage of an enriched pantheon of the Ten Kings in Kory[special characters omitted]. While stylistic comparisons to the Choson dynasty (1392-1910) representations of the Ten Kings further locate the Seikado Ten Kings in the Korean context, their stylistic features place them earlier than the hitherto known Koryo] Buddhist paintings. Moreover, a reconfiguration of the Ten Kings paintings in East Asia reveal their direct evolution from the tenth-century mandalas of Ksitigarbha and the Ten Kings as seen in examples from Tun-huang, and as such, they represent the earliest iconic representations of the Ten Kings in ten separate hanging scrolls. The unique position of the Ten Kings at Seikado will in the end fill in an important lacuna of Buddhist art in the history of East Asian art history.}, keywords = {Asian Art}, author = {Kwon, Cheeyun} } @mastersthesis {8473, title = {Too Good Lookin{\textquoteright} To Be Smart{\textquoteright}: Beauty, Performance and the Art of Hannah Wilke}, year = {1999}, school = {UT Austin}, abstract = {This dissertation is the first full-length study of the art and career of Hannah Wilke. It investigates the biographical, historical and art-historical circumstances in which she created her art; and it considers the critical evaluation of her work during her active career. The text is roughly chronological, following the development of Wilke{\textquoteright}s work over the course of her career and making connections between her major bodies of work. In addition to the published material by and about Wilke, analysis of the work was based on the following materials: sketchbooks, diaries, correspondence and other personal papers, the artist{\textquoteright}s substantial files of slides and contact sheets, her book collections, and many unpublished works. Most of this material has not yet been studied by other scholars. In addition, many people who knew Wilke personally and/or professionally were interviewed including family, friends, colleagues, critics, and curators.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Goldman, Saundra} } @mastersthesis {8475, title = {Traveling with the Eye: The Sites and Spaces of Modern Art in New York, 1915-1950}, year = {1999}, school = {Chicago}, abstract = {This dissertation is an exhibition history of galleries and museums in New York in the first half of the twentieth century. Each chapter is organized around a specific category of sites: early modern galleries and their European antecedents; museums founded in New York between 1929 and 1939; surrealist exhibitions in New York in 1942; and the exhibitions of Jackson Pollock, Mark Rothko, and Barnett Newman at the Betty Parsons Gallery. In each chapter, I reconstruct original conditions of display at these sites, examine the critical responses to these interiors and the works contained within them, and link this primary material to recent scholarly conceptions of viewing and viewers in order to interrogate those conceptions from a historical standpoint. "Traveling with the Eye" proposes an alternative understanding of the development of the "white cube" gallery. The historical material demonstrates that galleries did not simply move from full to empty, or from red to white, as a cursory examination of their history might suggest. Based on an examination of the role of surrealist exhibitions in the history of New York galleries, I argue that the spaces of museums and galleries were highly articulated as early as the 1930s (rather than the 1960s, as traditional narratives of installation art claim) and that the "white cube" was far from a neutral, empty space in which to respond "optically" to paintings. Because the "narrative of anorexia" that I counter is understood as generally analogous to the "purification" of painting as charted by the influential art critic Clement Greenberg, one result of this dissertation is a reconfiguration of our understanding of mid-century American art. Analyzing the historical discourses and debates over gallery space in light of the early exhibitions and rarely examined original criticism of the paintings of three Abstract Expressionist artists, I argue that their paradigmatically "Modernist" art can be understood as embodied rather than optical, environmental rather than self-contained, and tied to installation practices rather than physically autonomous. Thus "Traveling with the Eye" restores to Modernist theory, New York School painting, and the development of the "white cube" gallery their original historical complexity.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Hogan, Erin} } @mastersthesis {8452, title = {Umayyad Markets and Manufacturing: Evidence for a Commercialized and Industrializing Economy in Early Islamic Bilad Al-Sham}, year = {1999}, school = {Harvard}, abstract = {This dissertation argues for the existence of a highly commercialized and industrializing economy during the Umayyad period (661-750 C.E.), with unprecedented levels of trade and production localized in cities of Bilad al-Sham (Greater Syria). It also seeks to demonstrate that the economic florescence began in the centuries before Umayyad rule and lasted centuries after, addressing the intersection of governmental and private sector forces in the transformation. My study stresses Umayyad-period architectural evidence of commercial production and exchange, discovered primarily through archaeology. An analysis of the market and manufacturing centers informs this pivotal period of economic history. The markets and industries are variously located, distributed among physical and administrative geographic subregions. Textual references to markets and manufacturing facilities in Bilad al-Sham and other readies of the Umayyad dominion develop, test, and broaden the implications of archaeological study. Though many more markets and centers of industry existed than have been excavated or referred to in the sources, the extant examples offer myriad trajectories of analysis. Seen as the support for market activity, the data register qualitative and quantitative changes in Greater Syrian production and consumption during the early Islamic period, especially during Umayyad rule. I construct a diachronic and synchronic picture for supply and demand in Greater Syria, generated primarily from the physical evidence of production and trade. The dissertation has two parts. Because markets are a locus of goods changing hands, Part One explores supply and demand, the goods themselves, their origin and destination, and the means of transport. The segment of society involved in making and selling required that space be dedicated to it; hence, Part Two introduces the architectural forms and urban context of commercial exchange and industrial production, and analyzes patronage, possible motivations, contributing factors, and issues of capital investment, and their affect as a presence in the urban landscape on the nature of life in cities. When articulated together, the data convey the necessity and character of commercial and manufacturing establishments. In addition, theory is balanced with data to express the socio-economic activities, forces, and outcomes of the period.}, keywords = {Islamic Art}, author = {Foote, Rebecca} } @mastersthesis {8411, title = {Un sapere non ordinario{\textquoteright}: The Art and Theory of Francois Duquesnoy}, year = {1999}, school = {Brown}, abstract = {The Flemish sculptor Francois Duquesnoy (1597-1643) traveled to Rome at the age of twenty-one, and worked there for the remainder of his career. According to Giovanni Battista Passeri, one of Duquesnoy{\textquoteright}s seventeenth-century biographers, the sculptor "wanted to show himself a rigorous imitator of the Greek manner, which he called the true teacher of perfect working, because in itself it holds in the same moment grandness, nobility, majesty, and loveliness{\quotesinglbase}" and this tendency for him became increased by the observations of [Nicolas] Poussin, who wanted above all to vilify the Latin manner." In the study, I investigate this puzzling claim, beginning with consideration of Duquesnoy{\textquoteright}s small mythological sculptures and antique restorations and the development of his perception of antiquity during his first decade in Rome, when his circle also included the German painter and theorist Joachim von Sandrart, the Italian painter Andrea Sacchi, and the nobleman and connoisseur Vincenzo Giustiniani. I found clear evidence for Duquesnoy{\textquoteright}s familiarity with classical texts about Greek art and application of his knowledge of Greek artistic practice to his own works. I also uncovered notices of a previously unknown academy, in which Duquesnoy{\textquoteright}s circle extolled Greek art and formulated an ideal they called la gran maniera greca . In subsequent chapters I make close studies of Duquesnoy{\textquoteright}s tomb commissions, his celebrated statue of St. Susanna, and his portrait busts, clarifying aspects of his career and demonstrating his subtle approach to adapting the formal language of antiquity to a modern Christian context. In the final chapter I locate Duquesnoys vision of Greek art within a broader trajectory of intellectual history, citing sixteenth-century precedents in the art theory of the Flemish artist Lambert Lombard and in the art criticism of Lodovico Dolce, and probing the remarkable analogies of la gran maniera greca with the vision of Greek art articulated by Johann Joachim Winckelmann in his early polemical essay Gedanken uber die Nachahmung der griechischen Werke in der Malerey und Bildhauerkunst. Understanding Duquesnoy{\textquoteright}s pursuit of Greek classicism serves to complicate and expand the art historical notions of classicism that have strongly shaped and often vexed the study of seventeenth-century Italian art.}, keywords = {Baroque and 18th-Century European}, author = {Lingo, Estelle Cecile} } @mastersthesis {8536, title = {"Un Semplice Modello": Michelangelo and His Three-Dimensional Preparatory Works}, year = {1999}, school = {Case Western Reserve}, abstract = {This study examines the textual and visual evidence regarding Michelangelo{\textquoteright}s models in order to situate them within his preparatory practices and thereby expand our understanding of his working methods. References to Michelangelo{\textquoteright}s models permeate all areas of the primary literature on the artist. Sources such as the ricordi, sonnets, contracts, biographies, payment documents, and contemporary treatises are mined here to locate information on this aspect of his working method. In all, nearly 250 examples are compiled in the Appendix, representing approximately twenty-five known projects. Models had become an important component to the working practices of both sculptors and painters in the fifteenth century, and we know that in many practical matters Michelangelo can be placed squarely within the tradition of the working methods of the late Quattrocento. The rise of the use of three-dimensional models in the fifteenth century is therefore delineated, to better understand the techniques that Michelangelo used in his own preparatory practices. The documentary sources alone reveal much about the various ways in which Michelangelo utilized models. The incorporation of his extant models and related drawings offer tangible insights into those practices. For Michelangelo{\textquoteright}s sculpture, the Medici Chapel project is given special consideration. In particular the construction of the full-scale models and the evolution of the river gods are examined. Michelangelo{\textquoteright}s use of models as a painter is discussed in relation to the Sistine Ceiling, the Last Judgment, and in various examples of his graphic work. A catalogue of models associated with Michelangelo is also included. The attributions of the models have been considered problematic, but issues of provenance are brought to light that connect several models to the collection of Michelangelo{\textquoteright}s nephew and only heir, Lionardo. Also, the volume of visual material from the sixteenth century related to Michelangelo{\textquoteright}s models demonstrate their powerful influence on the great number of artists who copied them. That Michelangelo used three-dimensional models is not extraordinary. It is the extent to which he incorporated these models into his creative processes and preparatory practices that was unusual. With Michelangelo the role of the model was raised to a new status.}, keywords = {Renaissance Art}, author = {O{\textquoteright}Grody, Jeannine} } @mastersthesis {8483, title = {The United States Air Force Academy: A Case Study of Rhetoric and Reality in the Making of Modernism}, year = {1999}, school = {New Mexico}, abstract = {This case study of the United States Air Force Academy in Colorado Springs, construction of which was begun in 1954, analyzes the myths and realities of architectural modernism. The process of the project{\textquoteright}s realization has been reconstructed using archival documents from the Air Force Academy Construction Agency, the United States Air Force Academy, and the firm of Skidmore, Owings and Merrill (SOM), in addition to Congressional proceedings and mass media accounts. That process included the initial decisions involving the location of the facility in Colorado, the choice of SOM as the architectural firm, the firm{\textquoteright}s decision to use an International Style modernist vocabulary to realize the project, and their attempts to convince Congress, the military establishment and the public to subsidize and endorse their design. The resulting history is diachronic, complex and often contradictory, grounded in the specifics of political, cultural and geographic realities, replacing the synchronic narrative posited by SOM and their advocates. An analysis of the project leads to a rethinking of modernism itself. Debates within the architectural community over such matters as regionalism and monumentality vie with public perceptions and expectations to create a rich tapestry of meanings, as the successes and failures of the Academy design are presented within a framework of Cold War culture. Contrary to the technological teleology of "international" modernism, the Academy{\textquoteright}s actual production was grounded in a bureaucratic and political process whose outcome was not predetermined. Rather, the Academy{\textquoteright}s conception and meanings developed with the project itself. Included in those meanings were the interweaving of myths and metaphors of flight and American West with those of modernism. SOM{\textquoteright}s experiences with World{\textquoteright}s Fairs expositions and museum exhibitions provided them with both the rhetoric and the marketing experience to present their design within such a context. The firm{\textquoteright}s experiences also underscored the importance of the photographic image in conveying and transmitting the arguments upon which the project{\textquoteright}s success depended for its political as much as cultural success.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Nauman, Robert Allen} } @mastersthesis {8355, title = {"USSR in Construction": From Avant-Garde to Socialist Realist Aesthetics}, year = {1999}, school = {Michigan}, abstract = {This study of the magazine SSSR na stroike ( USSR in Construction) examines the persistence, modification, and transformation of Soviet avant-garde representational practice in light of the emergence of Socialist Realism during the early 1930s. This monthly magazine propagandized the progress of the transformation of the Soviet economy, society and culture during the industrialization program initiated in 1928. With Russian, English, German, and French editions, the magazine{\textquoteright}s audience was domestic and international. Guided by an editorial board that included Maksim Gorky, Artemii Khalatov, Mikhail Kol{\textquoteright}tsov and Georgii Piatakov, this magazine brought together the Party elite and leading cultural figures, including El Lissitzky, Aleksandr Rodchenko and Sergei Tret{\textquoteright}iakov, and served as a key vehicle in the formulation of Socialist Realism. Drawing upon diverse sources largely unexplored by previous scholarship, this dissertation uses the case of SSSR na stroike to examine the problem of continuity and change between avant-garde ideals of the 1920s and the formation of a distinct Socialist Realist visual culture in the following decade. Among the avant-garde ideas, practices, and examples that shaped this magazine are: Constructivist photographic theory, literature of fact, film montage, Dziga Vertov{\textquoteright}s theories, and John Heartfield{\textquoteright}s photomontages. This study begins by tracing the origins of SSSR na stroike to the Soviet Pavilion at Pressa in 1928 and to the magazine Nashi dostizheniia . The varied audiences targeted by the magazine, including Western industrialists and the Stalinist elite, are also examined. The origin of the Soviet narrative photo-essay (fotoocherk) is discussed, first with the publication of Arkadii Shaikhet and Maks Al{\textquoteright}pert{\textquoteright}s "24 Hours in the Life of a Moscow Worker Family" in Arbeiter-Illustrierte-Zeitung and then with the appearance in SSSR na stroike of "Giant and Builder", the story of a worker at Magnitostroi. The changing representation of Dneprostroi in SSSR na stroike is employed as a case study in which the magazine{\textquoteright}s content is correlated to changing government policies and the contributions of American photographers Margaret Bourke-White and James Abbe are investigated. The work concludes with a re-assessment of Rodchenko{\textquoteright}s work at the White Sea Canal Construction project and his cultivation of the patronage of the Soviet secret police.}, keywords = {19th- and Early 20th-Century European Art}, author = {Wolf, Erika M.} } @mastersthesis {8522, title = {Utopia Mexicana: Diego Rivera{\textquoteright}s Program for Chapingo Chapel, 1924- 1927}, year = {1999}, school = {Maryland}, abstract = {Between 1924 and 1927, Diego Rivera created a mural program for Chapingo chapel, located on the grounds of the Escuela Nacional de Agricultura (ENA) and commissioned by ENA director Marte Gomez and the Minister of Agriculture, Ramon de Negri. After painting several frescoes in the adjacent administration building, Rivera began the chapel murals in the fall of 1924. This space, originally the Catholic chapel of a rural hacienda, was deconsecrated and transformed into the school{\textquoteright}s formal assembly hall. As a federally sponsored project, Rivera{\textquoteright}s work at Chapingo, exemplifies the fundamental partnership between art and politics during the Mexican Renaissance. However, as one of the few major mural projects located outside of the Federal District, Chapingo chapel also differs significantly from other murals painted in the capital. Conceived and executed in the aftermath of the Mexican Revolution (1910 1920), Rivera{\textquoteright}s decoration of Chapingo chapel must be considered in the context of postrevolutionary state-building. Rivera{\textquoteright}s painted walls engage important social and political issues of the day, and contribute to contemporary discourse concerning the future of the Mexican nation. The chapel murals project and reflect revolutionary ideology regarding race, gender, eugenics, anti-clericalism, Communism and agrarian reform. This dissertation examines the nexus of these ideas as they converge within the context of the chapel space. By approaching the chapel program through its historical context, I understand the space as a cultural artifact that lends valuable insight into the early years of postrevolutionary reconstruction. Theorizing both the production and reception of the chapel program, I address broader questions concerning the federal patronage of mural painting, the construction of national community, and the importance of modernity as aesthetic strategy, cultural policy and political platform.}, keywords = {Pre-1945 North American and South American Art}, author = {Younger, Jennifer} } @mastersthesis {8541, title = {The Verrocchio Workshop: Techniques, Production, and Influences}, year = {1999}, school = {UC Santa Barbara}, abstract = {Historically the works of Andrea del Verrocchio have not been given sufficient attention. A number of influential artists, most notably Leonardo da Vinci, were among his students. This dissertation addresses the problem of Verrocchio{\textquoteright}s teaching methods and techniques, particularly the use of sculptural models, to determine the degree of stylistic and technical influence he had on his students. The examination of contemporary sources and documents, cultural and art historical studies, technical data from restorations and laboratory inspections, direct visual analysis (connoisseurship) and photography of many of the artworks produced in this workshop were used to develop the thesis. Many of the conclusions in this study are based on the relationships of selected drawings and paintings to particular sculptures. Further support for the findings are made evident in a series of images derived from photographs run through a morphing program on a PC. Among the most important findings to have been proven through this study is that the stucco Bust of St. Jerome in the Liebieghaus, Frankfurt, was used as the model for the Bust of St. Jerome in the Palazzo Pitti, Florence and for the head and neck of St. John in Verrocchio{\textquoteright}s Baptism of Christ in the Uffizi Gallery, Florence, and that the perspectographic device described and illustrated by Leonardo was employed in its production. This evidence demonstrates that Verrocchio was cognizant of the technique and that the published date of c. 1500 for the Liebieghaus is incorrect by at least thirty years. It is also argued that an attribution to Leonardo for the painting of the Bust of St. Jerome in the Palazzo Pitti, Florence, be accepted. The criteria used here is also applied to a Madonna and Child with Two Angels in the National Gallery, London. The attribution of these two tempera paintings to Leonardo opens a new discussion on his early training, as all previously accepted paintings by him are in oils. These findings have led to a number of other attributions and re-attributions of works to various members of Verrocchio{\textquoteright}s workshop.* *Dissertation includes a multi-media interactive CD-ROM compatable with all Windows based PCs.}, keywords = {Renaissance Art}, author = {Serros, Richard David} } @mastersthesis {8463, title = {Victor Regnault, Louis Robert, and Photography at the Manufacture Imperiale de Porcelaine de Sevres, 1845-1865}, year = {1999}, school = {Princeton}, abstract = {Victor Regnault (1810-1878) and Louis Robert (1810-1882) were chemists who independently came to the practice of photography in the 1840s. In the 1850s, during the peak of their photographic activity, they were employed together at the imperial porcelain factory at Sevres, where Regnault was the director and Robert was engaged as the head of the painting studio. Both photographers made large, artistically ambitious landscapes for exhibition, intimate family portraits for private appreciation, and documentary photographs of the factory and its workers. Robert also made photographs of the factory{\textquoteright}s wares and landscapes for commercial purposes. The flourishing of photography at the Manufacture de Sevres, the most prominent of France{\textquoteright}s three state-owned factories of decorative arts, represents an important instance of the contested conjunction of art, science and industry, as individual and corporate forces struggled over the direction of the new medium. Chapter One comprises a review of the recent scholarship and criticism on early French photography and a description of my approach to the material of the dissertation. The second chapter introduces the biographies of Regnault and Robert and traces their photographic careers, with attention given to their individual technical and artistic formation. Chapter Three considers the implications of photography{\textquoteright}s presence at the manufacture, and the relationship of photography at Sevres to the aims and needs of the Second Empire government. A longstanding internal conflict at the manufacture between traditional artistic handcrafting and new industrial techniques of fabrication is described, which presaged a conflict over the applied use of photography at the factory. This historical debate thus illuminates the situation confronting Regnault and Robert, for despite their efforts, practical applications of photography in the factory were discouraged by the minister of the Emperor. This circumstance is shown to reflect the State{\textquoteright}s equivocal relationship to technology at the moment of France{\textquoteright}s crisis as the European leader in decorative arts. Chapters Four and Five consider the principal subjects of the photographers, work: portraiture and landscape. Chapter Four begins with a brief account of the portrait tradition in painting that was inherited by photographers and discusses the critical framework for "artistic" photographic portraiture that was promulgated in the 1850s in the photographic press. Regnault{\textquoteright}s portraits-probably the most significant single body of early French calotype portraiture-are analyzed in relation to available visual precedents, technical limits, purpose, and personal intention. The photographers, work in landscape is the subject of Chapter Five. This chapter questions the meaning of pictorial landscape, rendered via an "industrial" medium, at time when the natural landscape was yielding to industrialization especially in suburban environments like that of Sevres.}, keywords = {Photography and Film}, author = {Dahlberg, Laurie} } @mastersthesis {8489, title = {The Virtual Museum}, year = {1999}, school = {CUNY}, abstract = {This dissertation examines three "virtual" museums. The virtual museum, like traditional museum structures, displays scientific, artistic, historical, and other collections. In the traditional museum, viewers walk through a physical site in order to look at discrete objects. A virtual museum presents a view or account of a museum rather than offering the beholder a physical structure. The virtual museum participates in a reflexive representation of its own parts because it oscillates between representing and being a museum. This self-depiction can reveal the ideological underpinnings of the museum or it can give the illusion of greatness, facilitate easy access, and itemize the elements of the museum. Three case studies are employed in order to critique the object-based focus of the physical museum and its investment in exhibiting valuable and original objects. The first case study is the nineteenth-century photographically extra-illustrated The Marble Faun, which was written by Nathaniel Hawthorne. The purpose of this case is to interpret one of the many histories of the virtual museum and to thereby refute the contemporary belief that virtual museums are a computer-facilitated phenomenon. The second case study considers the many reproductions of the Louvre museum on the world wide web. The Paris Louvre has produced a version of its "real" structure on the web in order to maintain its unique claim to the name Louvre. Web museums remain composite structures despite such efforts. The third case study is the LambdaMOO museum. Multi-user object oriented world or MOO museums are text-based but they still rely on schematics and processional representations of space in order to convey a traditional museum experience. These virtual museums, in which the presumptions of the physical museum are both undermined and employed, can offer an alternative model and highlight some of museum{\textquoteright}s conceptual failures. My employment of aesthetic and museum critiques is intended to provide a model for the further application of these studies to virtual structures. This dissertation also sets out a critical framework for defining and critiquing virtual settings by describing the virtual museum{\textquoteright}s structural and spectatorial differences from the traditional museum.}, keywords = {Post-1945 North American, South American, and European Art}, author = {White, Michele} } @mastersthesis {8422, title = {Visio Divina, Exegesis, and Beholder-Image Relationships in the Middle Ages and the Renaissance: Indications from Donor Figure Representations}, year = {1999}, school = {Harvard}, abstract = {Employing an interdisciplinary approach grounded in texts and images, this thesis postulates the early thirteenth-century appearance of a new form of beholder-image relationships (termed "visio divina" as it derived from exegesis, lectio divina, and mystical theology) that marks a shift in the semantic paradigms governing the intention and reception of religious images. As a devotional methodology and representational model, visio divina effectively empowered devout be holders to access divine grace without priestly mediation and implied the beholder{\textquoteright}s potential experience of the divine corporeally manifest through the image as "imagistic real presence." Examining historiographical and methodological issues, Chapter I considers to what extent images might function as art historical documents. Treating so-called "donor figures," Chapter II deconstructs historiographical conventions informing prior studies of "donor figures" and redefines these figures as "votive agents": mortals depicted in devotional relationships with the divine. By comparing votive agent representational conventions with period theologies, ideologies, and devotional practices relating mortal and divine, Chapter III traces the modes of depicting the relationship between votive agent and divine subject from late antiquity to the Renaissance and examines how such depictions can be read, analogously, as documenting the changing form of beholder-image relationships. Focusing on Duecento, Trecento, and Quattrocento Italy, Chapter IV concludes by examining beholder-image relationships in the context of imagistic devotion; the origins of visio divina and McGinn{\textquoteright}s (Franciscan) New Mysticism are posited in the convergence of orthodox ideologies, "high" theology, and lay beliefs about divine presence in material images.}, keywords = {Early Christian, Byzantine, and Medieval Art, Renaissance Art}, author = {Jones, Lars} } @mastersthesis {8407, title = {Visions of Chinese Art and the Concept of the East in Early Twentieth-Century Japan}, year = {1999}, school = {Columbia}, abstract = {The concept of the East as a unified cultural entity that emerged in late-nineteenth-century Japan had profound effects on the understanding of art in modern Japan and China. It inspired new trends in painting, historiography, and art theory, and prompted explorations of the relationship between regional identity and cultural practices. Paintings that combine fragments of Asian history drawn from classical tales with Western pictorial techniques, and works that synthesized native and foreign styles enjoyed widespread popularity. Painters influenced by the nationalistic art activist Okakura Tenshin were major producers of these works. The concept of the East, which was founded upon the idea of intercultural bonds, also provided an impetus for extensive interchange between the Japanese and Chinese art worlds. A series of joint exhibitions held during the interwar years exemplified this interaction. During this period changing patterns of collecting Chinese art in Japan transformed Japanese knowledge of Chinese painting history. Naito Konan{\textquoteright}s ground-breaking History of Chinese Painting (1922-1923) was based almost entirely on works imported into Japan since the 1910s. It reflected a new commitment to keep Eastern cultural artifacts in the East. The ideal of individualism prevalent in the Taisho period became associated with traditional forms of Eastern culture and suddenly allowed literati painting to be re-constituted as a symbol of modernity. Komuro Suiun, Taki Seiichi, Omura Seigai, and Chen Hengke pointed to precursors of modern individualism in what they portrayed as the Eastern expressions of subjectivism inherent in literati painting.}, keywords = {Asian Art}, author = {Yuen, Aida} } @mastersthesis {8499, title = {William Russell Birch (1755-1834) and the Beginnings of the American Picturesque}, year = {1999}, school = {Pennsylvania}, abstract = {William Birch was among the group of British artists who emigrated to the United States in the 1790s who brought with them a strong interest in landscape representation and the picturesque, popular subjects in Britain, and a belief in the important place of the professional artist in society. Birch{\textquoteright}s work and career correspond to the early stages of the "naturalization" of these ideas into American culture. He had absorbed these notions in the circle of Sir Joshua Reynolds, where he primarily painted miniature enamels. This specialty relegated Birch to a secondary position as a practitioner of a "minor art" and as a "copyist." He aspired to more, however, and published his first picturesque views, the Delices de la Grande Bretagne, in 1791, a book of engravings after the landscape paintings of his London contemporaries. Birch emigrated to Philadelphia in 1794 after the death of Reynolds and his most important British patrons; there he discovered opportunities previously unavailable to him. He issued the first book of American views, The City of Philadelphia ... in 1800; several of his fellow immigrants unsuccessfully attempted such publications. Birch was unusual in expressing American values of democratic, collective achievement through a British medium. The patronage for this work reveals the interests of wealthy Americans in the period. Due to the association of landscape representation with garden design, the success of the City of Philadelphia led to commissions for landscape gardens, and to his final set of views, The Country Seats of the United States (1808). Among other things, the Country Seats promoted his own garden designs. While the City of Philadelphia successfully merged British and American values, the Country Seats did not, and failed to find as wide an audience. Many of Birch{\textquoteright}s ideas about landscape representation, country homes, and gardening expressed in the Country Seats and in his autobiography were crucial to American artists and designers later in the nineteenth century, but Birch did not present them in a way that appealed to contemporary viewers.}, keywords = {Pre-1945 North American and South American Art}, author = {Cooperman, Emily Tyson} } @mastersthesis {8498, title = {Winslow Homer and His Critics in the 1870s}, year = {1999}, school = {CUNY}, abstract = {Since the mid-1890s, fifteen years before his death in 1910, Winslow Homer had acquired the rank of American art hero. The works that secured Homer{\textquoteright}s high place in American art were his seascapes painted at Prout{\textquoteright}s Neck, Maine. With their success, Homer{\textquoteright}s earlier work and the struggles of his early career were mostly forgotten, and the assumption grew that Homer and his work had always been universally revered. The newspapers and magazines of the 1870s tell a different story. The saga told there is one of a leading painter caught in the crossfire of the aesthetic battles that defined American art during this time. Winslow Homer was the artist who commanded the most sustained and penetrating commentary in New York City newspapers and magazines between January 1868 and March 1881, the years he spent in New York City between his two only trips to Europe. While other artists-for example, Sanford Gifford in 1870 and J. Frank Currier in 1879-had moments when their work monopolized the discussions on art, Winslow Homer and his art were a continual and pressing topic in the art writing of the 1870s. This dissertation investigates how Homer was discussed and why he was so often the focus of the commentary on art. By thoroughly surveying the critics{\textquoteright} reactions to Homer from 1868 to 1881, we can better comprehend the central position Homer held in creating the critical framework of the period and offer a better understanding of the artist at a critical point in his career at a defining moment in the development of American art.}, keywords = {Pre-1945 North American and South American Art}, author = {Conrads, Margaret} } @mastersthesis {8383, title = {World without End: Philip Hubert Frohman and the Washington National Cathedral}, year = {1999}, school = {Harvard}, abstract = {The Washington National Cathedral in Washington, D.C., is one of the most significant and comprehensive masterpieces of the Gothic Revival. Its architecture and its incorporate art constitute one of the greatest artistic outpourings in America. This dissertation examines the Washington Cathedral from a number of perspectives. In Chapter 1, the origins of the Cathedral as a building and as an institution are explored. Specific attention is given to its founder, The Right Reverend Henry Yates Satterlee, to the role of the Episcopal Church, as well as to some of the popular reception to the idea of a National Cathedral. Discussion is also given to the theology of cathedral building and the specific Anglican theology which is at the foundation of Washington Cathedral, Incarnational Theology. Incarnational Theology was codified in the 1890 publication, Lux Mundi: A Series of Studies in the Religion of the Incarnation. Chapter II discusses the architectural plans of the Cathedral{\textquoteright}s first architects, George Frederick Bodley and Henry Vaughan. The celebrated "Battle of Style" between the Gothic and the Beaux-Arts is also examined. In Chapter III, the second architects of the Cathedral-Philip Hubert Frohman, E. Donald Robb and Harry Britton Little-as well as their plans and their refinements to the plans of Bodley and Vaughan are presented. The role of Ralph Adams Cram is discussed as well as Frohman{\textquoteright}s employment of the architectural findings of Charles Goodyear. In Chapter IV, some of the architectural philosophies of Frohman are discussed as well as the application of these philosophies to the creation of Washington Cathedral and Frohman{\textquoteright}s Trinity College Chapel in Hartford, Connecticut.}, keywords = {19th-and Early 20th-Century European Art}, author = {Row, Christopher} } @mastersthesis {8510, title = {The Writings of Russell Sturgis and Peter B. Wight: The Victorian Architect as Critic and Historian}, year = {1999}, school = {CUNY}, abstract = {The focus of this dissertation is on the writings of Russell Sturgis (1836-1909) and Peter B. Wight (1838-1925). As part of a movement that professionalized the practice of architecture in the United States, they brought an awareness of the role of architecture to a larger public, both through their buildings and their writings. Their joint beginnings in the American Pre-Raphaelite movement led to their journalistic endeavors in the New Path, published between 1863 and 1865 in New York City. As proselytizers for Ruskinianism in their architectural work and words, this pervasive force was to remain an important influence throughout their writing careers. The concurrent functionalist influence of Viollet-le-Duc was equally important. As they reflected these currents in their writings and sought to forge an ideal drawn from both Ruskin and Viollet-le-Duc, they were in turn able to influence their contemporaries. This study analyzes the various ideas and themes they shared-truth in design; the nature of architectural style as a vehicle for truthful architecture; the problem of architecture as an art, even while the architect had to be a businessman; sound construction and especially fireproof construction and its implication for architectural design; and the nature and role of architectural criticism. Very few of Sturgis{\textquoteright}s and Wight{\textquoteright}s buildings survive, and the Victorian Gothic style in which they designed fell out of favor, but their prolific writings, which reflect their shift away from strict Ruskinian dogma to an ideal of "truthfulness" in design fashioned from Ruskin and the functionalism of Viollet-le-Duc, remain as a guide to interpreting many aspects of the development of American architecture in the second half of the nineteenth century. Overlooked or ignored by earlier scholars who have not found them to be sufficiently "modern," Sturgis and Wight can be better appreciated and analyzed as we have gained more knowledge and perspective on the development of nineteenth-century America and its architecture.}, keywords = {Pre-1945 North American and South American Art}, author = {Pearson, Margorie} } @mastersthesis {8493, title = {The Yalalag Cross, a Multitude of Trees}, year = {1999}, school = {Maryland}, abstract = {The Yalalag Cross (La Cruz de Yalalag) is a cruciform ornament named after the Sierra, Zapotec community of Yalalag, in Oaxaca, Mexico. Traditionally worn by Yalalag women, the Yalalag Cross is now widely reproduced throughout Oaxaca, Mexico, and the United States. Its unique cruciform design is instantly recognizable as an art object, regardless of any religious association or significance. The Yalalag Cross pendant is worn suspended from beaded or silver necklaces that may include crosses, as well as pomegranates, and other objects. This cross is not a crucifix; there is no human form attached to the traverse and shaft. In the local Yalalag and regional Oaxaca cultures, the Yalalag Cross is identified and appropriated as a pre-Hispanic, pre-Christian symbol of indigenous origin. The Yalalag community has no historical memory of the cross{\textquoteright}s origins, nor do they recall any myths or narratives associated with its specific design. However, they allude to its association with a Living Tree (Arbol de Viva) or Green Cross (Cruz Verde) growing within the community. European and American indigenous people both had a long-established spiritual and aesthetic tradition of crosses. Amerindian crosses and cross forms were represented in mural paintings, painted books, and relief sculpture as living trees associated with the earth, agriculture, regeneration, and the cardinal directions. Christian crosses were used as military standards for possession during the Conquest of Mexico. Shortly thereafter, the Dominicans carried out the process of Christian conversion in Oaxaca. Building churches and erecting crosses where indigenous temples once stood, the friars used atrio crosses, processional crosses and rosary beads with cross pendants in Catholic rituals. The Yalalag Cross design is derived from the cruciform rosary beads worn by the Dominican clergy in Oaxaca. As a toponym, the Yalalag Cross, is an object named for a specific geographical location. When the word Yalalag is translated from the ancient Zapotec language as "a multitude of trees," the Yalalag Cross can be identified as a symbol, named for what it visually represents. The cruciform pendant{\textquoteright}s meaning is inherent in its name, "a multitude of trees." These Yalalag Cross, "trees," syncretize the Mesoamerican Cosmic Tree, the Christian Cross and Yalalag{\textquoteright}s Living Tree (Arbol de Viva) all conceptualized as a Tree of Life.}, keywords = {Pre-1945 North American and South American Art}, author = {Bland, Beryl} } @mastersthesis {8323, title = {Abstraction, Spiritualism, and Social Justice: The Art and Writing of Charmion von Wiegand}, year = {1998}, school = {CUNY}, abstract = {This study examines the significant contribution Charmion von Wiegand{\textquoteright}s (1898-1983) paintings and critical essays made to the development of American modernism. A feminist before the term was invented, she began her writing career in 1922 as a poet and playwright, publishing in Poet Lore, Buccaneer, and Double Dealer with the assistance of Hart Crane. In 1928, she gave up her artistic pursuits for a career in journalism, working for Hearst papers as the only woman correspondent in post-revolutionary Russia. From 1932 to 1940, von Wiegand turned her interests solely to art and theater as one of two women on staff at the New Masses. Her ideas about the relationship of art to politics and economics reflected a Marxist perspective. A steady stream of articles in Art Front (the official publication of the Artists{\textquoteright} union), where she served as the only woman editor, elevated her reputation as a New York critic in the mid 1930s. Her articles appeared in later years with less frequency in Art News, Arts Magazine, and The Journal of Aesthetics, but continued to document the evolution of the abstract movement. She gave new context and meaning to the works of George Vantongerloo, Mark Tobey, Marsden Hartley, and Pablo Picasso. Von Wiegand is best known for her critical writings on Piet Mondrian, about whom she wrote the first American essay in 1943. Von Wiegand began painting in 1926 when she underwent psychoanalysis. In the 1930s, John Graham and Hans Richter encouraged her to experiment with psyche-automatism. In the early 1940s von Wiegand studied Mondrian{\textquoteright}s painting and the principles of Neo-plasticism. She found a spiritual kinship in Mondrian{\textquoteright}s theories of Neo-Plasticism. After Mondrian{\textquoteright}s death, von Wiegand researched the origins of Theosophy, reading Egyptian, Chinese, Indian, and Tibetan religious writings. Von Wiegand adopted many ideas from these Eastern sources for her choices in color and geometrical forms. By the 1950s, von Wiegand based her work on sacred principles of the Tantra--the foundation of Tantric Buddhism.}, keywords = {Pre-1945 North American and South American Art}, author = {Hersh, Jennifer} } @mastersthesis {8320, title = {An Acquired Taste: Women{\textquoteright}s Visual Education and Industrial Design in the United States, 1925-1940}, year = {1998}, school = {UC Berkeley}, abstract = {This dissertation argues that women{\textquoteright}s formal visual education had a marked effect on consumer taste--and ultimately on the appearance of industrially designed goods--in the United States of the 1930s. Informed by the works of Michael Baxandall and Michel Foucault, this study both defines a period "cognitive style" and posits women{\textquoteright}s vocational education of the 1920s and 1930s as an instrument of social efficiency that operated by fostering a particular way of seeing and thinking about the appearance of objects and persons. The study proposes a model for understanding style, the assessment of aesthetic value, and the social causes and implications of both. It contributes to the scholarship on consumption and industrial design as well as to the histories of gender, education, science, and popular visual culture. Chapter one introduces the so-called rise in "style consciousness" that occurred in the U.S. in the late 1920s, and discusses previous scholars{\textquoteright} approaches to understanding it. Chapter two addresses "related art" education, an offshoot of home economics that taught young women "good taste" in the selection and arrangement of the decorative arts through the use of "objective," "scientific" principles and methods. Chapter three discusses "body mechanics" or posture instruction, which required young women to assess the appearance of their own and others{\textquoteright} bodies in the same ways in which they were asked to judge the design quality of furniture, costume, and tableware in related art courses. Chapter four deals with American industrial design of the 1930s, and proposes that "streamlining" was less accurately a design mode derived from aerodynamics than it was a response to female consumers{\textquoteright} formally acquired skills in making aesthetic judgments. Chapter five, the conclusion, proposes that the ways of seeing and thinking that were promoted in "vocational" related art and body mechanics courses not only had an impact on the style of mass-produced goods, but also served to make women docile, efficient members of society.}, keywords = {Pre-1945 North American and South American Art}, author = {Gorman, Carma R.} } @mastersthesis {8322, title = {Aesthetics, Horticulture and the Gardenesque: Victorian Sensibilities at Tower Grove Park (St. Louis)}, year = {1998}, school = {Missouri}, abstract = {Tower Grove Park in St. Louis, Missouri, is a 289-acre gardenesque landscape conceived and planned by Henry Shaw in the mid-1800s. In it, he made reference to an eclectic mix of aesthetic theory, horticultural expertise and methods of planting that reflect nineteenth-century British sensibilities. In concept and plan, Tower Grove Park makes reference to the first public parks in England, such as John Claudius Loudon{\textquoteright}s Derby Arboretum (1840) and Joseph Paxton{\textquoteright}s Birkenhead Park in Liverpool, England (1843). Shaw{\textquoteright}s personal papers clearly outline his intentions, both aesthetic and functional. In his ten-page proposal for Tower Grove Park, Shaw clearly states his choice of the gardenesque method of planting trees and shrubs. This direct reference to the writings of horticultural journalist John Claudius Loudon places the park firmly within the context of innovative planting and design. Shaw{\textquoteright}s interpretation of British models and aesthetic theory resulted in a unique blending of nineteenth-century sensibilities in the American Midwest.}, keywords = {Pre-1945 North American and South American Art}, author = {Grove, Carol} } @mastersthesis {8247, title = {Agency Studies: Art and Diplomacy in Northern European Protestant Courts of the Early 17th Century}, year = {1998}, school = {IFA/NYU}, abstract = {Arising out of a study of the seventeenth-century engraver-dealer-diplomat Michel le Blon, this dissertation confronts a fundamental question: Was such a combination of diplomatic and artistic involvement an anomaly or a paradigm? Did Le Blon represent a seventeenth-century type of dealer-diplomat and, if so, what evidence is there beyond the oft-cited example of Rubens for the existence of such a model? In seeking the interconnected nature of artistic and diplomatic agency in a significant sector of the Northern European elite art trade of this period, this dissertation pursues a broader context for the dealer-diplomat considering not only individual figures and case studies but also artwork as the object of agency. Following an indepth analysis of the Rubens-Buckingham deal of the late 1620s, perhaps the best-known and best-documented instance of such interconnections, the dissertation turns to types of agency. Successive chapters analyze the use of diplomats as art agents, their role in the employment of artists, and the particularly telling instances of professional dealers who functioned as diplomats. Attention then turns to the object, studied in turn in the context of the diplomatic occasion, as a form of diplomatic currency, and as a cover for diplomat maneuvering. Drawing on this panoply of case studies, a final chapter looks at the broader significance of agency studies for our understanding of seventeenth-century collecting and patronage. Here is discussed not only the obvious contribution made by such agents in the spread of objects and artistic concepts, but the pivotal role they played in the positioning of artists and artwork in the Northern European market and, more specifically, in the construction of seventeenth-century court collections.}, keywords = {Baroque and 18th-Century European}, author = {Brantl, Mary} } @mastersthesis {8203, title = {Albrecht Durer, Erwin Panofsky and Weimar Culture}, year = {1998}, school = {Columbia}, abstract = {In this thesis, I have analyzed how Erwin Panofsky{\textquoteright}s and Walter Benjamin{\textquoteright}s attitudes toward historical interpretation developed within the fragmented culture of Weimar Germany. I have evaluated the function served by the classical tradition--in particular the works of the German Renaissance artist Albrecht Durer--in the political and cultural rhetoric of the Weimar Republic and in Panofsky{\textquoteright}s and Benjamin{\textquoteright}s methodological studies. I specifically focus on how Panofsky{\textquoteright}s theory of iconology and Benjamin{\textquoteright}s allegorical philosophy intersect with German idealist thought and with German-Jewish political and philosophical traditions. I have compared their writings to studies by other German writers of the late nineteenth and early twentieth centuries including Frederich Nietzsche, Aby Warburg and Thomas Mann and have attempted to evaluate how Panofsky{\textquoteright}s, Benjamin{\textquoteright}s and Aby Warburg{\textquoteright}s use of language is consistent with the Nietzschean rhetoric circulating within Weimar culture. In concluding, I have compared Panofsky{\textquoteright}s 1943 monograph of Albrecht Durer with Thomas Mann{\textquoteright}s Doctor Faustus (1948). Although these two works were written after the National Socialists came to power, I have regarded them as "mournful" tributes to Weimar culture. In this chapter and also throughout the dissertation, I have tried to show how Panofsky and Benjamin utilized the Renaissance and classical traditions as metaphors for their own commentaries about the death and/or survival of enlightened German culture.}, keywords = {19th- and Early 20th-Century European Art}, author = {Dempsey, Anna} } @mastersthesis {8302, title = {The Alternate Aesthetic: Robert Motherwell{\textquoteright}s Early Collages and the Formative Years of Abstract Expressionism}, year = {1998}, school = {Rutgers}, abstract = {Robert Motherwell{\textquoteright}s commitment to the collage aesthetic has frequently been cited as an index of his separation from the Abstract Expressionist movement, as art historians have tended to view his collage works as purist, formal endeavors or as whimsical autobiographical statements which were antithetical to the theoretical and symbolic concerns of the New York School. In contrast, this dissertation analyzes collage as a conceptual device within Motherwell{\textquoteright}s early oeuvre and argues that he adopted collage as an alternative automatic method, which he used to explore a variety of Abstract Expressionist concerns which were central to the movement. However, my study also proposes that Motherwell utilized a Pragmatist approach to collage as a philosophical and ideological critique of the more mystical and idealist Jungian outlook of his Abstract Expressionist colleagues. In examining the first decade of Motherwell{\textquoteright}s career in terms of the linked issues of collage and Pragmatism, my dissertation contributes to recent efforts to more fully recognize the heterogeneous aesthetic and philosophical basis of early Abstract Expressionism. Chapter One examines the historical factors surrounding Motherwell{\textquoteright}s adoption of collage and demonstrates that the artist{\textquoteright}s initial involvement with collage was not an anomalous practice within the early years of Abstract Expressionism, but was partly an outgrowth of collage trends which were prevalent within the New York avant-garde. Chapter Two argues that in contrast to the more mystical Jungian form of psychic individuation which was associated with the automatic gesture painting of the New York School, Motherwell{\textquoteright}s automatic collages were influenced by Pragmatist notions of subjectivity and psychological development. Chapter Three also considers issues of automatic practice within the New York avant-garde and analyzes how Motherwell{\textquoteright}s use of collage was related to the Abstract Expressionists{\textquoteright} aim to challenge the systematic aesthetic tenets of geometric abstraction. However, instead of the subjectivist basis of gesture painting, Motherwell undermined the theoretical values of geometric abstraction through various collage strategies which were inspired by John Dewey{\textquoteright}s Pragmatist aesthetics. Chapter Four addresses more contextual concerns by investigating the theme of World War II in Motherwell{\textquoteright}s early collages from the standpoint of Surrealist collage strategies and Freudian black humor.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Gilbert, Gregory} } @mastersthesis {8311, title = {The American Art Association in the Nineteenth Century: The Art Market and Cultural Values in America}, year = {1998}, school = {CUNY}, abstract = {In 1883 James F. Sutton, Thomas E. Kirby, and R. Austin Robertson founded the American Art Association (AAA) in New York City for the "encouragement and promotion of American art." The history of the AAA illuminates the changing fortunes of American artists, expresses the growing cosmopolitanism of the American art world, and delineates the establishment of a stable and broad-based market for art in the United States. This dissertation focuses on the AAA{\textquoteright}s birth and maturation in the context of late-nineteenth century art galleries, auction houses and institutions such as the Metropolitan Museum of Art. Additionally, this study reconstructs the physical appearance of the AAA and several other commercial art galleries. Conceived as a commercial gallery devoted to American art, in its first year the AAA exhibited Thomas B. Clarke{\textquoteright}s collection of American pictures, the finest collection of native art in the country. The AAA{\textquoteright}s "Prize Fund Exhibitions" of American art, launched in 1885, were initially hailed as extraordinary shows. Later "Prize Fund Exhibitions" grew increasingly irrelevant as the Association moved into the auction business and expanded its exhibition program and inventory with European art. Most notable was the collaboration with Paul Durand-Ruel, who brought Impressionist pictures to New York in 1886 at the invitation of the AAA. The Association{\textquoteright}s 1889 exhibition to benefit the Antoine-Louis Barye Memorial Fund, which included some 450 of the sculptor{\textquoteright}s works together with one hundred oils and watercolors by his French contemporaries, was acclaimed the greatest show of French painting ever held in the country. Meanwhile, the AAA speculated in European art, stock-piling Barbizon and Impressionist pictures, and in 1889 paid a world record $110,000 for Jean-Francois Millet{\textquoteright}s {\it The Angelus}. At the AAA{\textquoteright}s sale of the Thomas B. Clarke collection ten years later in 1899, auctions records of $10,150 for a George Inness landscape and \$4,500 Winslow Homer{\textquoteright}s Lifeline, though modest in comparison to the Millet{\textquoteright}s cost, were hailed as evidence of the rise in value--financial and cultural--of American art. Thus, the Association fulfilled its original aim of promoting American art by providing an exhibition venue and highly visible auction arena where collectors could buy, sell and appreciate American art within a cosmopolitan context.}, keywords = {Pre-1945 North American and South American Art}, author = {Bolas, Gerald} } @mastersthesis {8303, title = {Ana Mendieta, the Iowa Years: A Critical Study, 1969 to 1977}, year = {1998}, school = {CUNY}, abstract = {This dissertation investigates the artistic development of Ana Mendieta (born Cuba, 1948; died United States, 1985) from 1969 to 1977 when she lived in Iowa City, attended the University of Iowa, worked as an art teacher, and established herself as an artist. Mendieta is known for her early performance pieces and earth-body sculptures. From the late 1980s her work has been increasingly included in the contexts of feminist art history, performance, photography, work in nature, body art, self-representation, Cuban art, and transcultural identity. Collected by major museums throughout the United States, her work has begun to be included in surveys of world art. Her approach to earth-body art differed significantly from the new forms of conceptual art of the 1960s and early 1970s. By 1974 the artist had begun to produce ephemeral body-earth pieces in Iowa and Mexico that endowed nature with a human form, personifying it and evoking nature{\textquoteright}s lifecycle. That work evolved from both painting and performance-oriented work that layered multiple references, with sources as diverse as her autobiography, everyday life, transcultural myths, Catholic subjects, and Western and non-Western art and archaeology. This study begins with Mendieta{\textquoteright}s exile from Cuba and relocation in Iowa, then examines her evolution as a graduate student in painting (1969-1972), a Multimedia student (1972-1977), and an elementary art school teacher (1973-1975). Mendieta. developed during a period of intense collaboration between the university{\textquoteright}s Multimedia area and the Center for New Performing Art, two unique programs that encouraged interdisciplinary, experimental performance work. In contextualizing that innovative period, I investigate the artist{\textquoteright}s learning environment and studio practice. I also examine works that have not yet been written about, elaborate the circumstances of their creation, identify the sites and the assistance the artist had in making or performing them, incorporate her written sketchbook notations for them, and relate the substance of her comments regarding intentions for specific pieces. This study incorporates oral histories from previous instructors, colleagues, friends, and acquaintances and discusses the artist{\textquoteright}s responses in her work to well-known visiting artists such as Robert Wilson, Vito Acconci, and Scott Burden, who performed and lectured at the university. Mendieta{\textquoteright}s early and middle production has not been examined in the literature within the larger artistic milieu at the university. This study remedies this omission and presents a contextual reading of the artist{\textquoteright}s work, thereby locating her practice within contemporary art history wherein performance, body work, and earth art were key expressive modes.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Herzberg, Julia} } @mastersthesis {8224, title = {Anni Albers: The Significance of Ancient American Art for Her Woven and Pedagogical Work}, year = {1998}, school = {Emory}, abstract = {Anni Albers (1899-1994) was a member of the Bauhaus Weaving Workshop (1922-1930), taught weaving at Black Mountain College (1933-1949), and produced both works of art and utilitarian products in fiber throughout her prolific weaving career. She was a modern artist-designer who studied and collected ancient American art, particularly Andean textiles. This dissertation explores her role in reviving and redefining the Andean fiber art tradition. Her first encounters with these textiles occurred in Germany, inspired by contemporary interests in the art of non-European cultures. Albers studied the abstract motifs and weaving structures of these textiles as a way to achieve innovative solutions to the formal, technical, and social concerns of her time. The teachings of Klee, Kandinsky, and Itten and the ideas of De Stijl and Constructivism were highly relevant to her investigations of the constructive process and of the grid format. Her main source of information as it applied directly to the weaving idiom, however, was the Andean textile paradigm, which she believed represented the highest standard of achievement among fiber traditions. She positioned herself between the ancient Andean past and the modern industrial age in order to serve as an intermediary between them, and to advance the role of hand weaving as a necessary step toward the production both of industrial prototypes and of art. After immigrating to the United States in 1933, her contact with and indebtedness to Andean textiles increased to a level unsurpassed by any other artist working at the time, as demonstrated in her woven work, her writing, her pedagogy, and the collections of ancient American art that she assembled. Albers studied Andean weaving techniques including multi-weaves, supplementary wefts, and open-weaves; she appropriated Andean geometric motifs including checkerboards and tocapu units, arranging them according to compositional principles of rotation, flipping, and repetition; and she investigated the role of textiles as transmitters of meaning by using threads to create ideographic and pictographic signs. These issues are explored in this dissertation with the goal of presenting a new understanding of the work of Anni Albers and her place in twentieth century art and design.}, keywords = {19th- and Early 20th-Century European Art}, author = {Troy, Virginia} } @mastersthesis {8290, title = {Archetypal Interpretation of Women in Photography}, year = {1998}, school = {New Mexico}, abstract = {No record in ProQuest}, keywords = {Photography and Film}, author = {Vejvoda, Judith} } @mastersthesis {8223, title = {Architecture and Truth in Vienna, 1894-1912: An Historical Account with Four Case Studies}, year = {1998}, school = {Bryn Mawr}, abstract = {This dissertation is a study of the notion of "truth" in modern architecture in turn-of-the-century Vienna. It traces the various meanings carried by the notion of architectural truth (and related concepts such as realism, honesty and authenticity) beginning with Otto Wagner{\textquoteright}s 1894 speech to the Academy of Fine Arts and ending with the opening of Adolf Loos{\textquoteright}s Michaelerplatz building in 1912. The first chapter offers a discussion of the notion{\textquoteright}s roots in nineteenth-century architectural theory and its place in the Viennese architectural renewal of the 1890s. The subsequent four chapters each concentrate on a specific building and seek to answer two questions: What role did the desire for truth in architecture play in each building? And, how was the determination of this role affected by non-architectural forces such as the buildings{\textquoteright} clients? Chapter two focuses on the Secession building (1898), designed by Joseph Maria Olbrich as a gallery for the "Secession" group led by Gustav Klimt. The Secessionists saw the building as simultaneously embodying the higher truth of artistic subjectivity and a pragmatic truth to functional requirements. The coexistence of these two contradictory notions of truth is discussed in the context of artistic and philosophical pluralism in the Secession. The Purkersdorf Sanatorium, the topic of the third chapter, was built from 1904 to 1905 by Josef Hoffmann as part of a sanatorium for nervous ailments. Its design, I argue, sought to convey a fact-based, scientific necessity, derived from and reinforcing the attitudes of the beleaguered school of psychiatry which was followed at Purkersdorf. Chapter four deals with Otto Wagner{\textquoteright}s Postal Savings Bank (1904-6, 1910-12), the headquarters of a public office which offered banking services to the mass of the Austrian population. Wagner{\textquoteright}s design took as its starting point not stylistic concern but the functional necessities of the building, and was inspired and restricted by the rigorously pragmatic attitude of the bank{\textquoteright}s directors. Lastly, Adolf Loos{\textquoteright}s Michaelerplatz building (1909-12), which housed an exclusive men{\textquoteright}s tailoring firm, is interpreted in chapter five as an "honest mask," whose form was determined by the desire to distinguish it from the modern type of the department store.}, keywords = {19th- and Early 20th-Century European Art}, author = {Topp, Leslie Elizabeth} } @mastersthesis {8295, title = {Art Authenticity and the Marketplace: Institutional Transformations since 1960}, year = {1998}, school = {CUNY}, abstract = {Many works of art produced since 1960 call into question traditional assumptions concerning originality and the nature of the work of art through the use of technical reproduction, the deployment of industrial materials and methods, the assembly of prefabricated or readymade elements, or the incorporation of the surrounding context. In the absence of the artist{\textquoteright}s hand, both limits on production and evidence of authenticity may be present not in the material object itself but in its connection to the institutional structures of the art world. Under Postmodernism the conventions associated with a particular medium are often separated from the medium itself, and distinctions between representation and abstraction become blurred as both are subjected to similar types of mediation. The pervasive incorporation of reproduction in works of art can also lead to copyright conflicts, particularly when artists take up mass-media images. To understand the context for contemporary art, it is important to consider the historical development of the museum and the reciprocal relationship between art and various forms of mechanical reproduction. One key moment in the history of the museum was the reorganization of the collection according to the category of the artist rather than subject matter or genre. The connection to the name of the artist has remained crucial even for works where traditional conceptions of stylistic or formal unity no longer pertain, and it allows a range of nontraditional images and forms to be designated as art. The dissertation is divided into three sections that consider interlocking issues: the rise of the art museum as a specific type and the role of the museum in defining originality and artistic authorship; copyright and the importance of the legal definition of authorship, both as a model that has parallels to artistic authorship and as an increasingly important force in a society permeated by images; and the impact of transformations in mechanical reproduction on shifting definitions of authenticity as artists have incorporated various types of reproduction and fabrication.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Buskirk, Martha} } @mastersthesis {8301, title = {Art into Television, 1960-65}, year = {1998}, school = {Columbia}, abstract = {Since the early twentieth century, avant-garde artists in the United States and Europe have regarded the most advanced imaging technologies of their respective eras from a utopian perspective. Many have used such technologies to sublate art into life, with the objective of radically transforming both. In the late fifties and early sixties, as artists were becoming more aware of the achievements of the historical avant-garde, especially Dada, television was becoming the era{\textquoteright}s most advanced imaging technology and the most powerful incarnation of the new perceptual modality emerging from the nexus of technological, social, and economic relations that constituted capitalist modernity after World War II. Within this order, the dominance of the photographic and filmic image as a material manifestation of the real was giving way to another model: the image as the phosphorescence of electronic signals transmitted simultaneously from a sender to multiple receivers, effectively integrating them into a vast network of consumers and producers linked electronically via immaterial images through which fluid structures of power were continuously shaped, reshaped, and experienced as the real. The indomitable power of television largely resided in its very capacity to usurp the authority of the real and to deploy this authority to legitimate the structures of power its administrators put in place. The engagement of Neo-Dada artists--including Robert Rauschenberg, Nam June Paik, Wolf Vostell, and Andy Warhol--with this system crucially mediated their critical reception of Dada by rendering the utopian potential of the sublation of art into life through technology increasingly problematic. Stimulated by such avant-garde inventions as the Readymade, photomontage, filmic montage, and the organization of actions that involved the mass media, these artists developed new pictorial spaces that no longer functioned as windows, mirrors, or manifestations of pure visuality, but as screens--a tendency reflected in the demise of traditional methods of painting and the emergence of silkscreen painting, the incorporation of actual television sets into works of art, and ultimately the use of the television set itself as an artistic medium. Although they typically produced these works in the name of sublating art into life, in most cases this process resulted in the revolutionary transformation of neither. Instead, these artists played a crucial role in the consolidation of the postwar capitalist order--in which the real was becoming increasingly experienced via images through which regimes of subjectification were implemented, maintained, and legitimated--whether by passively affirming that order or by actively contesting it.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Farmer, John} } @mastersthesis {8346, title = {The Art of Arousal in Some Religious Paintings by Correggio}, year = {1998}, school = {Rutgers}, abstract = {During the 1520{\textquoteright}s Correggio (c. 1489-1534) accepted commissions for religious paintings of three types. This dissertation analyses the social, intellectual, and religious context of five of those paintings. Two are altarpieces: The Scodella and the Giorno. One is a devotional panel, the Ecce Homo, and two others, the Del Bono laterals, are perhaps the earliest examples of laterals in a chapel. In contrast to formalists who have tended to slight Correggio{\textquoteright}s religious works, this dissertation argues that Correggio was a Christian painter who re-interpreted biblical and hagiographical scenes in startling ways. The city of Parma underwent many crises during the 1510{\textquoteright}s, including siege and disease. Chapter I argues that the Scodella dramatizes one of the consequences of these conditions--an absence of fathers. Chapter II argues that Il Giorno counters the challenge of the Protestant Reformation by presenting both the Magdalene and St. Jerome as upholders of Catholic tradition. Chapter III explores ways in which the Ecce Homo devotional painting involves the viewer in a tension between the swooning Virgin and the gesticulating Pontius Pilate. In response to the Protestant Reformation, both figures call attention to Christ as Eucharistic offering. Parma harbored a house of the Cassinese Benedictine Order, San Giovanni Evangelista, to which Corregio was affiliated and whose turmoil his commissions reflected. There a spirituality initiated by Ludovico Barbo (c. 1383-1443) called for private prayer by monks, who were expected to visualize scenes from the life of Christ in a highly affective way. Chapters IV and V argue that the affective visualization practiced by Cassinese Benedictines finds parallels in Correggio{\textquoteright}s Del Bono laterals. This dissertation shows that Correggio excelled at evoking currents of spirituality in novel ways. He was highly attuned to religious issues and used this alertness to re-invent images pertaining to a wide range of formats, subjects, and theological debates.}, keywords = {Renaissance Art}, author = {Renkin, Claire} } @mastersthesis {8319, title = {The Art of Maria Izquierdo: Formative Years 1928 to 1934}, year = {1998}, school = {UT Austin}, abstract = {Maria Izquierdo (1902-1955) trained at the Academy of San Carlos in Mexico City. At the Academy Izquierdo began to study under Rufino Tamayo but by 1929, both had left it. The years 1929 to 1934 marked Izquierdo{\textquoteright}s formative artistic period and also a four-year relationship with Tamayo as a mentor and also as an intimate partner. Izquierdo{\textquoteright}s early career coincided with a post-revolutionary Mexico whose particular definitions of painting and femininity prevented many women and male painters from becoming or being recognized as important artists. Izquierdo was a contemporary of the mural painters, but she, like Tamayo, objected to their narrative content and pursued the ideals of European modernism. Izquierdo and Tamayo also became affiliated with Los Contemporaneos, the international literary vanguard of Mexico. Los Contemporaneos were a group of writers and poets who strove to express, in their writings, the Mexican spirit through universal features by adapting literary and visual modes regardless of their national origin. Consequently, Los Contemporaneos were accused of rejecting Mexican values and received harsh criticism from many intensely nationalistic writers and critics. The dissertation discusses the cultural and political context of Izquierdo{\textquoteright}s early painting years It presents the political arena created by the Calles administration (1928-1934) which was marked by artistic upheavals. It also discusses the establishment of the Open-Air Schools, the introduction of woodcutting, and the revival of popular arts, all of which provided sources for her early works. The second chapter investigates Izquierdo is association with Los Contemporaneos and how this affiliation brought her into contact with European models and allowed her to enter the art world as well as how her paintings reveal that she was affected by the universalism embraced by Los Contemporaneos. The third chapter analyzes Izquierdo{\textquoteright}s relationship to Rufino Tamayo and how this connection also produced the stimulus for a universalist approach to her art Izquierdo{\textquoteright}s work of this period is similar to that of Tamayo; however, her work began to differ from his almost from the beginning. Through an examination of her early works, the final chapter addresses the way in which Izquierdo fit into Mexico{\textquoteright}s male dominated society and art world, maintaining a position of respect in both. The dissertation, as a whole, focuses on the role into which Izquierdo was cast: the individual who challenges conventions and constructs an alternative visual narrative in Mexico{\textquoteright}s defined patriarchal society and art world.}, keywords = {Pre-1945 North American and South American Art}, author = {Gonzalez, Maria De Jesus} } @mastersthesis {8210, title = {The Art of the Woman{\textquoteright}: Women{\textquoteright}s Art Exhibitions in Fin-de- Siecle Vienna}, year = {1998}, school = {Chicago}, abstract = {This study treats women{\textquoteright}s art unions and exhibition practice, and provides an analysis of the reception of women{\textquoteright}s art exhibitions in fin-de-siecle Vienna. Because of their exclusion from the officially sanctioned professional organizations, women turned instead to exhibit at private art dealers{\textquoteright} salons. The first women artists to form a regular exhibition association were able to cultivate an elite and wealthy public very quickly through their aristocratic connections. I explore the women{\textquoteright}s marginalized relationship to public institutions within the monarchy, which contrasts with their close ties to the aristocracy. The successes of women artists in the public sphere gave rise to more discussions on the Woman Question, and to an increasingly emphatic insistence on a separate aesthetic for women. Social issues and debates surrounding the woman artist were inflected with pseudoscientific notions about the degenerative effects which women supposedly caused when they competed with men in the public sphere. Others posited the woman artist as the ignorant dilettante, a copyist skilled only in the fakery of cosmetics and whims of fashion. The decoration of the private interior was traditionally deemed the realm of women, but such social sanction did not extend to the supposedly disinterested public space of the exhibition hall. When women exhibited works together in the rooms of the Salon Pisko and the Secession, Vienna{\textquoteright}s feuilletonists derided their public efforts, making jokes about private spaces and the separate social worlds of women. The idea of the woman artist became attached to a series of broad generalizations which intersected with one another in a debate on dilettantism and became connected to woman{\textquoteright}s role as private consumer of commodities rather than as creator of transcendent artworks. The art exhibition thus became a site where a separate aesthetic was manufactured for the woman artist in the popular press. This dialogical process contributed to the elision of women artists from histories of modernism, for critics attached qualities to women which the theorists of modernism despised: copying, fakery, and superficiality.}, keywords = {19th- and Early 20th-Century European Art}, author = {Johnson, Julie Marie} } @mastersthesis {8332, title = {The Artistic and Sociological Imagery of the Merchant-Banker on the Book Covers of the Biccherna in Siena in the Early Renaissance}, year = {1998}, note = {fourth advisor: M. O{\textquoteright}Neil}, school = {University of Washington}, abstract = {Between the thirteenth and seventeenth centuries, the account covers of the Biccherna, Siena{\textquoteright}s foremost financial and administrative office, bore painted decorations and inscriptions. The wooden covers are deemed unique and unprecedented, but most studies have dealt with the attribution of selected covers, not their genesis and development as a whole. This dissertation tests the assumption that they lack a genealogy by proposing to establish a place for them within larger historical and artistic contexts. The focus of the study is the principal and most ignored group of images, which began as a portrait of a seated official in 1258 and evolved into a genre-like office scene in the fourteenth century. Its most salient feature is the handling of money by the Camarlingo (treasurer). Because the Biccherna{\textquoteright}s key officials were prominent merchant-bankers, the depiction of money in light of traditional medieval attitudes is discussed, as are the changing ideas about wealth, profit, usury, and citizenship. In Siena, these emerging sentiments were promulgated by its officials, whose depiction on the covers as virtuous public servants were in part inspired by the hagiographic exempla used in popular sermons of the period. In order to decipher their embedded messages, the scenes on the covers are compared with exempla and Italian miniatures of money transactions in the Decretum Gratiani. The investigation includes certain portraits that are combined with inscriptions: Roman consular diptychs, ecclesiastical and judiciary seals, and pitture infamanti (defaming pictures used as a form of public punishment). The office scene is also examined in relation to Ambrogio Lorenzetti{\textquoteright}s frescoes in the Palazzo Pubblico in Siena. By integrating its socio-historical context with a visual analysis, the scene can be perceived as a didactic instrument used by the officials to persuade, validate, and legitimize their function and status. That the scene emphasized the role of the officials as communal leaders is reinforced by an examination of its disappearance and a comparison with the Medicean themes on sixteenth-century covers. The study ends with a suggestion that similar scenes appearing later in northern art may have had Italian connections.}, keywords = {Renaissance Art}, author = {Baker, Donna Tsuruda} } @mastersthesis {8252, title = {The Barberini Tapestries of the Life of Pope Urban VIII Program, Politics and {\textquoteright}Perfect History{\textquoteright} for the Post-Exile Era}, year = {1998}, school = {Pennsylvania}, abstract = {The tapestry series of the Life of Urban VIII, masterminded by Pietro da Cortona and executed under the patronage of Cardinal Francesco Barberini between 1663 and 1679, must be acknowledged as a central monument of the Roman High Baroque age. Heroic in scale, decoratively complex, and consisting of over forty different panels, the series mixes history and allegory to present an idealized portrait of Urban and his pontificate (1623-1644). The patron clearly intended the images to rehabilitate the reputation of not only his uncle but also the entire family, whose popularity and influence had reached a nadir during their years of exile (1645-1653). This dissertation is the first full iconographic and contextual study of the tapestries. Chapter One introduces the cycle, placing it in the context of the post-exile history of the Barberini family. The design and production of the series are the focus of Chapter Two, while Chapter Three turns to the development of the program. Chapter Four explores the two-hundred year old tradition of the papal biographical cycle: defining the characteristics of this underexplored genre is an important step towards understanding how its traditions influenced the planners of the tapestry series. Chapter Five, examining the narratives one by one, forms the core of the dissertation. Historical accounts, documents and court panegyrics assist in the reconstruction of the meaning of each scene. The final chapter considers the matter of installation, situating the tapestries in the real space and time of late seventeenth century Rome. When hung in the salone at the Palazzo Barberini, the primary locus of display for which the series was designed, the tapestries become a continuation of Pietro da Cortona{\textquoteright}s Divine Providence vault fresco. Conversely, the content of the ceiling becomes an important component of the meaning of the tapestries. Reconstructive installation leads not only a rethinking of the tapestry series, but also a rethinking of the vault and its reception by the Barberini circle in the later seventeenth century. Alone, but especially in tandem with the vault, the Life of Urban VIII functions as a powerful engine of family propaganda.}, keywords = {Baroque and 18th-Century European}, author = {Harper, James Gordon} } @mastersthesis {8205, title = {Beyond the Femme Fatale: Female Types in Wilhelmine Visual Culture}, year = {1998}, school = {Boston}, abstract = {No record in ProQuest}, keywords = {19th- and Early 20th-Century European Art}, author = {Ehrenpries, David} } @mastersthesis {8239, title = {Beyond the Postcolonial: Architecture, Urban Planning, and Political Cultures in India}, year = {1998}, school = {Binghamton}, abstract = {This dissertation considers the production of architecture and space and the concomitant discourses of modernity and nationality in postcolonial Indonesia. Its central theme concerns the ways architecture and urban space are appropriated, represented, and politicized, or equally, nationalized, aestheticized and traditionalized, bought and sold in order to "develop" the nation following the end of formal colonial rule. The main objective is to see the discourses of architecture and urban planning in a postcolonial country as implicit or explicit evidence of political directions and tendencies and to understand them as socio-cultural forces that represent an emerging as well as declining social order. I approach the subject by using one of the paradigms in postcolonial studies, that of "intertwined histories and overlapping territories." Looking at what the colonial and the postcolonial have done to each other, the dissertation shows the ways in which "old" colonial imaginings are restructuring the politics of time and space of the later postcolonial regime. Linking architecture and urban planning with their socio-political circumstances, I argue, is one of the first steps to remove "colonial culture" from the structure of architectural knowledge in the postcolony.}, keywords = {Asian Art}, author = {Kusno, Abidin} } @mastersthesis {8336, title = {Birds, Beasts and Blossoms: Form and Meaning in Jan Van Eyck{\textquoteright}s Cloths of Honor}, year = {1998}, school = {Case Western Reserve}, abstract = {The carefully detailed fabrics in Jan van Eyck{\textquoteright}s paintings include seven cloths of honor. These exquisite textiles adorn the thrones of the most holy members of the heavenly court--Christ, Mary, and John the Baptist. This dissertation focuses on their patterns, iconographic content, and multiple functions within the panels. Jan van Eyck{\textquoteright}s cloths of honor take three forms: "mysteriously suspended" textiles, textiles held by angels, and throne canopies. The throne canopy arrangement, specifically, may derive from the forms associated with the French courts and religious processions of the mid fourteenth century. Throughout history, cloths of honor have implied royalty, divine kingship, supreme authority, and an association with the Divine. In Jan van Eyck{\textquoteright}s art, they also provide important visual clues to the sacred events and special qualities associated with the figures seated before them. The examination of the three types of painted fabrics represented, as well as their patterns and the manner in which they are executed, permits their reconstruction and comparison to textiles produced in Flanders and Italy during the late fourteenth and early fifteenth centuries. Analysis reveals that the fabrics of Jan van Eyck{\textquoteright}s garments and decorative items closely duplicate contemporary textiles, but that the contemporary fabrics upon which he based his cloths of honor were altered in significant ways. Evidence from extant textiles, panel painting, and manuscripts assist in identifying the sources and accuracy of his painted patterns. The study of Jan van Eyck{\textquoteright}s creative weavings serves as an important tool to further our knowledge of his methods of invention and his genius. The deciphering of the inscriptions in the Deesis cloths of honor provides new information about the complex iconography of the Ghent Altarpiece. Additionally, the recognition that textiles function in specific ways in Jan van Eyck{\textquoteright}s panels further illuminates the hierarchical structure of Burgundian society. Finally, clues provided by the patterns and construction of the cloths of honor indicate the Antwerp Madonna by the Fountain is an early work by the Flemish master.}, keywords = {Renaissance Art}, author = {Cottrell, Donna} } @mastersthesis {8215, title = {Black and White: Ambiguity and Modernism in the Art of Odilon Redon}, year = {1998}, school = {CUNY}, abstract = {Odilon Redon{\textquoteright}s frontispieces are isolated as a genre within his lithographic oeuvre for the first time. They are subject to formal analysis with particular attention to their role within self-initiated and collaborative publishing projects, and they are seen as central to the linked developments of his public persona and the dissemination of his images. A chronological framework allows for a detailed account of the circumstances surrounding their execution and for a clear picture of changes in Redon{\textquoteright}s milieu in the 1880s and -90s, which included Huysmans, Mallarme, and Verhaeren. Redon was a literary-pictorial artist, the breadth of whose sources can be best understood when his published projects are considered from the point of view of the frontispieces. Baudelaire{\textquoteright}s prose poems are thus examined not only in terms of their formal content, but for the context in which they initially appeared, that is, in the popular press. Similarly, the prints of Rodolphe Bresdin, Redon{\textquoteright}s most important mentor, are examined not only for their formal content, but in the context of Bresdin{\textquoteright}s inability to make the essential step from printmaker to successful published printmaker. Redon mythologized these precursors, and their influence is revealed symbolically in his many depictions of Faust and St. Anthony, particularly in the three portfolios of lithographs (1888, 1889, 1896) devoted to Flaubert{\textquoteright}s novel La Tentation de saint Antoine (1874). These portfolios are considered as landmarks of the series of albums he issued in the twenty years inaugurated by the appearance of Dans le reve in 1879. Redon{\textquoteright}s collaborations with Belgian symbolist authors, particularly under the aegis of the innovative Brussels publisher Edmond Deman, are considered in terms of their mutual literary-pictorial interests, which bore fruit in numerous finely printed editions that stand as monuments in the early history of the artist{\textquoteright}s book. Considered together as a category unto themselves for the first time, the specialized function of the frontispieces reveals a further stage in Redon{\textquoteright}s creative process, which consisted of using his drawings as bases for prints, by taking into account as well the commercial context into which his images would be disseminated.}, keywords = {19th- and Early 20th-Century European Art}, author = {Miller, Asher} } @mastersthesis {8209, title = {Blackness in Weimar{\textquoteright}: 1920s German Art Practice and American Jazz and Dance}, year = {1998}, school = {Yale}, abstract = {Jazz abounds in representations of Weimar Germany to the extent that few motifs seem more capable of capturing the era{\textquoteright}s supposed zeitgeist. However, since the Weimar Republic preceded a totalitarian regime that was to exercise one of the fiercest crusades against racial and cultural difference in the history of humankind, many writers have questioned the authenticity of Weimar{\textquoteright}s interest in jazz and African American culture. Some authors cite the enthusiastic celebration of black musicians as proof of Weimar{\textquoteright} s cosmopolitan spirit. Others view the jazz craze as an instance of inverted racism that paved the way for Nazi obsession with racial and cultural purity. Comprehending Weimar{\textquoteright}s jazz imagery in this polarized manner belies, I argue, the complexity of this arresting cultural encounter between Weimar Germany and African America. This dissertation seeks a more nuanced understanding of the impact of jazz on German artists by looking at the myriad ways in which German artists responded to the foreign cultural practice. Close analysis of paintings, prints, drawings, and photographs show that some artists merely appropriated jazz as a new iconography for conveying conventional ideas, often replete with racial and sexual stereotypes. Jazz prompted others to experiment with montage and explore abstraction. Still others engaged in captivating cases of cross-cultural translation that employed irony and parody.}, keywords = {19th- and Early 20th-Century European Art}, author = {Heinrichs, Jurgen W. W.} } @mastersthesis {8219, title = {Brancusi and Postwar Paris, Portraiture, Primitivism, and Patronage in the 1920s}, year = {1998}, school = {IFA/NYU}, abstract = {This dissertation examines Constantin Brancusi{\textquoteright}s artistic development and critical reception in Paris in the 1920s. Following his creation of a group of highly abstract, African-influenced wood sculptures during World War I, Brancusi resumed an interest in portraiture unequaled since his youth, and an engagement with contemporary subject matter unprecedented in his oeuvre. Among these works, White Negress (1923) and Portrait of Nancy Cunard: Sophisticated Young Lady (1925-1927) embody two prevailing concerns of the postwar period: the association of primitivism with classicism and fashion, and the new interest in American culture and the machine, exemplified in the transatlantic ocean liner. Each of the four chapters of this thesis examines how these themes, emerging from the postwar artistic and social context, inform the materials, style and content of these sculptures, find reflection in the preoccupations of Brancusi{\textquoteright}s critics, and pervade the taste of Brancusi{\textquoteright}s Parisian collectors. Chapter One situates Brancusi{\textquoteright}s rejection of primitivism and return to portraiture in the 1920s against the backdrop of the broader reassessment of art negre by the postwar avant-garde. Chapter Two interprets two sculptures--White Negress (1923) and Portrait of Nancy Cunard (1925-27)--in relationship to a discourse that linked the primitive, America and the machine in 1920s Paris. Chapters Three and Four address the French reaction to Brancusi{\textquoteright}s sculpture, first analyzing his reception by Parisian critics, and then offering an account of the response to Brancusi{\textquoteright}s sculpture by Parisian collectors. This dissertation concludes by emphasizing the role of the decorative arts in providing a context for Brancusi{\textquoteright}s sculpture within the interior of his most important Parisian collector, Jacques Doucet. Whereas prevailing scholarship on Brancusi has focused on the timeless qualities of his work, has assumed his independence from postwar artistic movements, and has centered on the primacy of his American reception, this thesis firmly locates Brancusi{\textquoteright}s sculpture in the context of contemporary art, criticism and culture in 1920s Paris.}, keywords = {19th- and Early 20th-Century European Art}, author = {Rosenberg, Susan} } @mastersthesis {8241, title = {Bright Pearls Hanging in the Marketplace: Self-Expression and Commodification in the Painting of Xu Wei}, year = {1998}, school = {IFA/NYU}, abstract = {The paintings of the late Ming dynasty artist Xu Wei (1521-1593), executed in a dramatic, bold wet ink wash style and with a sketchy abbreviation of form, have been traditionally interpreted as a direct transmission of his eccentric personality, his tragic life experiences, and his theoretical commitment to spontaneous and straightforward artistic expression. This study examines Xu Wei{\textquoteright}s paintings of flowers and plants in its socio-economic context, as well as its biographical one, in order to understand the complexities of one artist{\textquoteright}s manipulation of personality, self-expression, reputation and the market. In addition, previous scholarship on Xu Wei{\textquoteright}s painting has not examined the role of his poetry inscribed on both extant and recorded paintings. This dissertation looks carefully at this body of texts in order to illuminate Xu{\textquoteright}s painting practice and analyze the iconography of Xu{\textquoteright}s paintings within the context of the late Ming economy of luxury commodities. Xu{\textquoteright}s fame as a writer of poetry, prose and drama during his lifetime enabled him to use his literary reputation as a component of his painting. This reputation was characterized by the promotion of vernacular language as a more immediate form of expression, social criticism, especially in his plays, and an unconventional use of language and metaphor in general. These values are present in many of his paintings, in which a dramatic and seemingly spontaneous execution is coupled with poems that describe the ostensibly mode of their production yet simultaneously articulate their status as a goods in the marketplace. Through his use of style, subject matter and text, Xu Wei also overtly appeals to various sensual consumer desires prevalent in the local cultural sphere of Shaoxing and in the wider region of Jiangnan at the end of the sixteenth century. While continuing to explore the stylistic legacy of literati flower painters who worked earlier in the sixteenth century, Xu Wei uses that genre to explore and exploit the complex tension between the increasing commodification of luxury goods and elite culture in the late Ming period and contemporary discourse on self and self-expression.}, keywords = {Asian Art}, author = {Ryor, Kathleen} } @mastersthesis {8237, title = {Building Context: The Personal and Professional Life of Eleanor Raymond, Architect (1887-1989)}, year = {1998}, school = {Boston}, abstract = {The contributions of Boston architect Eleanor Agnes Raymond to twentieth-century American domestic architecture have been overlooked by most historians. This dissertation recovers the architect{\textquoteright}s career, focusing on the impact of gender, class, and the modernist discourse on her personal and professional development. A graduate of Wellesley College (1909) and the newly founded Cambridge School of Architecture and Landscape Architecture for Women (1919), Raymond continued to operate within a female-dominated community after the completion of her education. Raymond and four of her associates, including her partner Ethel Brown Power (1881-1969), shared a home, renovated by Raymond in 1923, on Boston{\textquoteright}s Beacon Hill. Raymond{\textquoteright}s committed relationship with Power held professional import for the architect, as well as great personal significance. As Editor of House Beautiful magazine from 1923 to 1933, Power facilitated the promotion of Raymond{\textquoteright}s work, as well as the work of numerous other Cambridge School alumnae. Raymond{\textquoteright}s clientele also included a number of prominent independent women, whose non-traditional lifestyles warranted unique design solutions. This network of female collaborators and clients greatly contributed to Raymond{\textquoteright}s success in the male-dominated profession of architecture. Frequently at the forefront in her field, Raymond explored almost every major trend in twentieth-century American domestic architecture. Projects such as the Rachel Raymond House of 1931, designed after the architect{\textquoteright}s 1930 visit to the Bauhaus, and the Peabody Sun House of 1948, a groundbreaking effort in solar heating, are missing chapters in the male-focused history of American modernism. The majority of Raymond{\textquoteright}s domestic commissions, however, represent a more conventional accommodation of regional building traditions and forms--a fact explained by the impact of gender and patronage issues, as well as the architect{\textquoteright}s own ambivalence to strict modernism. This study of Raymond{\textquoteright}s life and work challenges the modern movement{\textquoteright}s emphasis on stylistic purity and suggests a richer reading of the history of twentieth-century domestic architecture, one that addresses both the concerns of mainstream American architects and the particular challenges faced by women professionals in the field.}, keywords = {Art of the United States and Canada, Pre-1945 North American and South American Art}, author = {Gruskin, Nancy Beth} } @mastersthesis {8342, title = {The Capuchins and the Art of History: Retrospection and Reform in the Arts in Late Renaissance Italy}, year = {1998}, school = {Harvard}, abstract = {The Capuchins, founded in 1527, forged the most radical successful reform of the Franciscan Order. They attempted a material--as well as spiritual--return to the world of Saint Francis. The artistic implications of this position led the Capuchins toward a "medieval revival" that would seem to set them quite apart from their later Renaissance environment. However, since all direct links to the ideal past of early Franciscanism were lost, Capuchins found themselves in a situation analogous to that of the humanists who labored to reconstruct the classical past. This recognition of historical distance forced the friars to adopt Renaissance scholarly methods, including the antiquarian study of paintings, architecture, mosaics, and even early Franciscan seals (much as humanists studied ancient numismatics) to recover medieval Franciscan simplicity. The "paleo-Franciscan" revival was most evident in Capuchin architecture, which was often created by the friars. "It is not for us to observe the Doric, or Ionic... " wrote one of their early theorists. Numerous Capuchin churches eschew classicizing detail and resemble instead small Dugento Franciscan shrines such as San Damiano in Assisi, the church in which the Crucifix spoke to Francis and set him on his mission. The Capuchins were equally thorough when they approached medieval painting. They appreciated Dugento images initially as unique historical evidence in the battle over the definition of authentic Franciscanism. But their research led eventually to a positive revaluation of the stylistic qualities of medieval images, as models for a new religious art. Large public painting, such as altarpieces, challenged the Capuchin commitment to neo-medievalism: for such works were gifts from wealthy supporters, employing significant "modern" artists who would not simply revert to archaic styles. Nonetheless, several significant painters of the period--with artistic personalities as varied as Federico Barocci and Caravaggio--exhibited great sensitivity in incorporating Capuchin ideals into contemporary picture-making. The ultimate aim of my dissertation is to examine the nature of the negotiations that underlay these incorporations, and to begin to sketch the importance of retrospection--far beyond the confines of the Capuchin Order--in informing the expression of much late Renaissance art.}, keywords = {Renaissance Art}, author = {Stuart Lingo} } @mastersthesis {8251, title = {Careless Romance: Van Dyck and Costume in 17th-Century Portraiture}, year = {1998}, school = {IFA/NYU}, abstract = {This dissertation aims to show that an understanding of dress can offer a new way of revealing the associations and ideals that a portrait may have projected, and that the history of costume provides a unique set of tools with which to analyze the creativity and contributions of Anthony Van Dyck (1599-1641). Van Dyck introduced a new type of costume in his portraits during his second English period (1632-1641), one that blurred the margins of fact and fancy. Until Van Dyck{\textquoteright}s time, Northern European portraitists either showed formal clothing rendered in great detail or fanciful attire that was part of a broader program of narrative or allegory. While Van Dyck initially adhered to the established protocol for dress, he soon changed the rules for costume in his portraiture. He did so by eliminating fashionable accessories, by adding fantastic details, by presenting his sitters in informal attire, and by emphasizing plain satin fabrics rendered in broad brushstrokes. The bulk of the evidence for this thesis derives from a close examination of the paintings themselves. The costume represented is compared to surviving garments, to fashion prints, and to the dress in paintings by other artists. Contemporary writing--in the form of art-theoretical texts, diaries, drama, poetry, and publications on etiquette and morals--indicates where the costume diverged from that actually worn and illuminates the portraits{\textquoteright} cultural context. It is crucial to understand that dress can convey a multitude of meanings simultaneously. Van Dyck used costume to forge a complex and memorable image of his English patrons, the Caroline courtiers, one that captured their ideals and yet had resonance for many years after his death. Van Dyck established new conventions for the representation of dress in portraits that held sway until the end of the seventeenth century. Later generations of English, Dutch, and French painters, used Van Dyck{\textquoteright}s innovations as a touchstone for a new manner of dressing sitters, one that was partially fictional, and much more casual and unbuttoned than had ever been represented before.}, keywords = {Baroque and 18th-Century European}, author = {Gordenker, Emilie} } @mastersthesis {8280, title = {The Carving of an Empire: Neo-Assyrian Monuments on the Periphery}, year = {1998}, school = {Harvard}, abstract = {In the first millennium B.C., the Assyrians created a unified empire encompassing much of the ancient Near Eastern world. In the process of this territorial expansion, Assyrian rulers carved stelae and rock reliefs to commemorate their victories along Assyria{\textquoteright}s newly-established borders. It is these royal monuments in the peripheral regions of Assyria{\textquoteright}s growing realm that are the focus of the present study. Chapter One examines the geographical distribution of the Assyrian peripheral monuments, especially in relation to the campaign narratives found in the Assyrian center. Documenting the monument locations reign by reign, clear patterns in geographical placement emerge. Specifically, the monuments are shown to have regularly marked important culminating moments in the historical narratives, when campaign goals had been accomplished. Moreover, the locations reveal an awareness of previous rulers{\textquoteright} monuments, and thus a desire to engage a larger tradition of Assyrian monument-making. Chapter Two analyzes the peripheral monument{\textquoteright}s standardized imagery and form. On the one hand a simple image of the Assyrian king and deities, here the scene is shown to be a multi-layered image of the ideal aspects of Assyrian kingship. Not only does the scene represent the king in a well-established idiom of fitness to rule, but it also conveys the king{\textquoteright}s power to craft his own image and to engage a much larger iconographical tradition associated with notions of divine favor and territorial growth. Chapter Three examines the Assyrian royal peripheral monument in situ, considering textual, visual, and archaeological evidence for siting and related ceremony. In the process, the monuments reflect a dichotomy inherent in the very process of Assyrian expansion itself. First, the monuments appear to have acted as strong statements of Assyrian military power and domination over local populations. At the same time, however, they appear to have functioned on another level, as the focus of Assyrian ritual activity. As such, the monuments served as an important vehicle for the expression of dynastic tradition and legitimation.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Shafer, Ann Taylor} } @mastersthesis {8270, title = {A Catalogue of Images of Women in the Official Arts in Ancient Rome}, year = {1998}, school = {Missouri}, abstract = {This dissertation is a study of the representation of one-hundred fifty-seven women in the official arts of ancient Rome: twelve goddesses, eighteen personifications of abstractions treated in a manner that suggests deification, twenty personifications of other abstractions, forty-eight personifications of place, and fifty-nine mortals. The media in which these women are represented include literature, calendars, architecture, coins, and sculpture. The study is focused on particular corpora or collections of the types of evidence: calendars in Inscriptiones Italiae 13.2, monuments in Rome, coins in the Hunter Coin Cabinet, and sculpture in Rome. Each category is treated in a chapter which is essentially a narrative catalog raisonne of the representation in the different media. Inclusion is based generally on the naming of the women in coinage. In these chapters the facts of representation-presence, iconography, description, and more-are set forth. The seventh chapter is further comparative study of usage of the attributes and adjuncts, and their functions and meanings as presented by the coinage and attested through writings and other traditions. In the conclusions representation in the various categories of evidence is considered. In addition the relation of the coins to sculpture is considered through discussion of column and altar types on coins. Other matters considered are: attire; typification, continuity, and conflation; the problem of identification of sculpture; men{\textquoteright}s women and women{\textquoteright}s women; conflation of the mortal and divine: lifetime and diva images; and representation in Rome vs. the provinces.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Auanger, Lisa} } @mastersthesis {8208, title = {Chana Orloff: Woman Sculptor in the School of Paris}, year = {1998}, school = {CUNY}, abstract = {Chana Orloff, a Russian Jew born in 1888, emigrated with her family to Palestine in 1905 in response to political oppression. There she developed her talents and expanded her ambitions and in 1910 with the aid of her brother, left for Paris to study art and discover herself as a sculptor. In the vanguard of artists now called "L{\textquoteright}Ecole de Paris," she created a highly original and personal body of work in which she projected her sense of herself as a woman. Orloff won the accolades of patrons, critics, and the French nation in the decades before the Second World War. In the intervening years her work has been largely unknown and unappreciated despite the fact that many male sculptors of the same era have now been rediscovered. Orloff{\textquoteright}s brief experience as a sketcher in the couture firm of Paquin is explored for the confluence of fashion and art. Her wood-block prints in the magazine SIC and that avant-garde magazine{\textquoteright}s early promotion of her sculpture is discussed. The antique art as seen in the Louvre, the gothic sculpture of Chartre Cathedral, the ritual art of Africa, as well as the work of contemporaries especially Constantin Brancusi, Elie Nadelman, and Amedio Modigliani in the early decades of the century, are all considered for their relationship to Orloff{\textquoteright}s development as a sculptor. Examples from Orloff{\textquoteright}s large body of works in the areas of animals, portraits, and personal subjects are discussed; careful consideration yielding insights into her personal concerns. The issue of her being called a Jewish artist is explored. Her sculptures are compared to the work of well-known male sculptors who ostensibly deal with the same themes. Orloff{\textquoteright}s work after World War II and her relationship to Israel until her death in 1968 is briefly discussed. A meaningful examination of Orloff{\textquoteright}s oeuvre allows a contemporary understanding of the productivity of this Jewish French woman sculptor and enhances our understanding of the work of women. A reconstruction of her work provides a new appreciation of the contribution and importance of the artist Chana Orloff.}, keywords = {19th- and Early 20th-Century European Art}, author = {Grossman, Cissy} } @mastersthesis {8287, title = {The Christian Icon: A Photographic History}, year = {1998}, school = {New Mexico}, abstract = {No record in ProQuest}, keywords = {Photography and Film}, author = {Grega, Stacey} } @mastersthesis {8266, title = {Christian Tomb Mosaics of Late Roman, Vandalic and Byzantine Byzacena}, year = {1998}, school = {Missouri}, abstract = {Christians in North Africa in the Late Roman, Vandalic and Byzantine periods marked the tombs of loved ones with mosaics that combined epitaphs with symbols and images. This study focuses on the Christian tomb mosaics from the ancient province of Byzacena, examining them from contextual, technical, epigraphic, stylistic and iconographic perspectives. The mosaics were laid in catacombs, churches and open-air cemeteries. They were placed at floor level or on raised caissons covering graves. Mosaics that were covered or destroyed by the repaving of a church were sometimes reproduced as secondary tomb mosaics incorporated into the new pavement. Peculiarities in the placement of certain mosaics suggest that they were prefabricated in the workshop. Fourteen workshops are identified on the basis of style, typology, iconography, paleography, formulas, materials and technique. These workshops operated on a small, local scale. The earliest mosaics in the province date to the second or third quarter of the fourth century, the latest to the last quarter of the sixth or first quarter of the seventh century. The mosaics served several social and religious purposes for the middle-class families who commissioned them, helping them cope with grief, conferring social status and reinforcing community solidarity. They also facilitated memorial rites and functioned as prayers offered by survivors on behalf of the souls of the deceased. Stylistically independent of pagan antecedents, the tomb mosaic was re-invented in a Christian context in Africa. In Byzacena it flourished especially in the second half of the fourth and first half of the fifth century. The artisanal tradition was weakened by the disruptions of the Vandalic period, and although the art form survived into Byzantine times, it became rarer and more limited to the elite. The style of the Byzacena tomb mosaics is generally naive and schematic, in contrast to the sophisticated, naturalistic style typical of African mosaics of the second and third centuries. This contrast should not be understood fundamentally as a matter of technical devolution, but as an index of the Christian re-thinking of the aims and purposes of art. Investigation of provincial, vernacular products like the Byzacena tomb mosaics provides some balance for the strong impression created by the elite arts of the capitals and so broadens our understanding of Late Antique art in its social context.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Terry, James} } @mastersthesis {8268, title = {The Church of the Virgin of Skripou: Architecture, Sculpture and Inscriptions in Ninth-Century Byzantium}, year = {1998}, school = {Princeton}, abstract = {The church of the Virgin of Skripou, at Orchomenos, in central Greece, has long been considered a pivotal monument in the history of Byzantine architecture. Its position at the crossroads between Early Christian and Middle Byzantine developments has cast it as the "transitional" monument par excellence, one of the best preserved examples of ecclesiastical architecture to have emerged from the so-called "Dark Ages" of Byzantium. The present dissertation is intended as a new interpretation of the church, one which takes into consideration its function, possible reasons for its overall form, questions of its style and the meaning of its iconography. The building is "read" in its entirety as an architectural, sculptural, epigraphical and, ultimately, cultural expression of the late ninth century. A complete set of photographs and measured drawings, prepared by the author, form the basis around which all observations are made. It is shown that the church of Skripou defies superficial treatment of its structure and decoration as a purely provincial phenomenon. Rather, it is viewed as a dynamic expression of imperial power and prestige, translated into the provinces and imbued with ideological meaning. The thesis includes, for the first time, a detailed interpretation of the actual functioning of the building{\textquoteright}s plan. It is determined that it operated as a "triple church," an elaboration of the basilican scheme with contemporary and later parallels throughout the Balkans. The iconography of its overall form, however, is seen primarily within the context of Constantinople, where the famous imperial burial church of the Holy Apostles likely served as the prototype. Consideration is given to the program of architectural sculpture and inscriptions, with emphasis on the working methods of a ninth-century workshop which operated out of Thebes. The apotropaic and often eschatological messages of this material are interpreted in the light of the building{\textquoteright}s clearly defined status as the burial church of its patron. The incorporation of spolia from the ancient site of Orchomenos is discussed within the context of the ninth-century growing appreciation for antiquity. Together, the architecture, sculpture and inscriptions of the church convey a unified message of the preoccupations of its founder. His imperial connections, his passion for the classical revival and, above all, his own planned burial place figure largely in the building{\textquoteright}s design.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Papalexandrou, Amy} } @mastersthesis {8220, title = {Cleansing the Nation: Italian Art, Consumerism, and World War I}, year = {1998}, school = {Pennsylvania}, abstract = {This study explores the interconnections between Italian avant-garde art, consumer culture, and World War I. Beginning with its inception in 1909, Italian Futurism advanced the idea that war was a form of global hygiene. Chapter 1 introduces the political context of such a rhetoric of hygiene and violence and relates this to a group of art works depicting scenes of urban conflict. Chapter 2 considers hygiene as it was presented to Italy{\textquoteright}s mass audience in the nation{\textquoteright}s expanding consumer culture. The advertising of commercial hygiene products reflected a variety of bourgeois myths of order and controlled social change. This promotion became a source of reference for avant-garde artists. My discussion interprets Carlo Carra{\textquoteright}s free-word collage Patriotic Festival as an effort to mediate Italy{\textquoteright}s political crisis of June 1914, {\textquoteright}Red Week,{\textquoteright} by invoking commercial mythologies of social health. The following two chapters focus on events after August 1914, when the government declared Italy{\textquoteright}s neutrality in the war. This led an unusual political coalition of nationalists, syndicalists, dissident socialists, irredentists, and members of the avant-garde to wage a heated campaign in support of intervention on the side of France. Chapter 3 analyzes Carlo Carra{\textquoteright}s interventionist book Guerrapittura (War-painting) of 1915. Carra creates analogies between a dynamic new Futurist perspective, based on the vision of aviators, and the defeat of programmatic party politics reflected in the political realignments occurring in this period of national debate. Cultural ramifications of Italy{\textquoteright}s political crisis are considered in Chapter 4, where causes are sought for the public rift that developed between the Milanese Futurists and Florentine Lacerbiani. The split within the avant-garde was motivated by divergent attitudes towards the mass public. Ardengo Soffici and Giovanni Papini became critical of F. T. Marinetti{\textquoteright}s {\textquoteright}free-word{\textquoteright} poetry which they interpreted as an effort to reach a mass public by imitating the procedures of consumer marketing. Their belief that art should remain elite and "aristocratic" led to efforts to reform Futurist style with broad implications for visual artists. My final chapter surveys discursive and visual constructions of the war from both the mass media and the avant-garde.}, keywords = {19th- and Early 20th-Century European Art}, author = {Shell, Oliver C.} } @mastersthesis {8296, title = {Colonizing the Past: Archaic References and the Archaeological Paradigm in Contemporary American Earth Art}, year = {1998}, school = {Delaware}, abstract = {My study reinterprets certain canonical works of earth art in light of historical and contemporary American ideologies. I focus on Robert Smithson{\textquoteright}s Spiral Jetty (1970) and "Incidents of Mirror-Travel in the Yucatan" (1969); Michael Heizer{\textquoteright}s Double Negative (1969-70) and Complex One/The City (1972-76); and James Turrell{\textquoteright}s Roden Crater Project (1974 to the present). Other works by these artists, and by Nancy Holt and Walter De Maria, are discussed. The archaeological paradigm became a rich and multivalent metaphor for these artists. It appeared to be a rational and empirical path to historical knowledge, a way of uncovering secrets, or a means of disinterring the Truth. These artists used an archaeological paradigm to question our ability to recover the past. The artists{\textquoteright} interpretations of the past, and of the past{\textquoteright}s relationship to the present and the future, cannot be separated from contemporary interests, concerns and values. Smithson, Heizer and Turrell each expressed a desire to create a specifically American type of art. Significantly, they tried to do so via huge works, situated in remote, desert areas of the western United States, that directly engaged the land and that suggested the prehistoric through visual and verbal references to archaeology, geology and pre-modern cultures. These choices evoke traditional notions of American exceptionalism rooted in nature in general, and in the supposedly pristine, primeval wilderness spaces of the western deserts in particular. They also represent an attempt to evade spatially and temporally the urban upheavals caused by contemporary events such as the war in Vietnam, race riots and environmental protests. I argue that each of the works under consideration functions as a ritual landscape, one that provides a pilgrimage-like experience for members of an urban art world. By producing works that would engage the entire body rather than the eye alone, these artists tried to transform the participant-spectator{\textquoteright}s perceptions concerning his or her relationship to nature, technology, history and the future.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Butterfield, Rebecca Ann} } @mastersthesis {8285, title = {Comanche Gap: An Art Historical Analysis of Native American Rock Art}, year = {1998}, school = {New Mexico}, abstract = {For the first time, all images on stone located within the Abo Unit of Salinas National Monument have been recorded. This dissertation begins an initial exploration into meaningful patterns of cultural interaction between the art of Abo Pueblo and its physical landscape. Rock art, a product of human social behaviors, shapes and defines landscape space. Traces of these behaviors are analyzed with new tools available with Geographic Information Systems (GIS) software. The images are first analyzed for stylistic and chronological structure. Style, or aesthetic tradition, is defined primarily on the basis of physical form, composition, and technique, not by subject matter. In contrast to Polly Schaafsma{\textquoteright}s work, this dissertation separates the iconography from the physical form. A relative chronology is established in a stylistic comparison of Abo{\textquoteright}s images to nearby rock art sites, pottery, and the Gran Quivira kiva murals. These petroglyphs and pictographs are traditionally attributed to inhabitants of Abo Pueblo, occupied from ca. C.E. 1150 to 1672, due to their relative proximity to this site. However, some images do not conform to a Puebloan aesthetic and are attributed to foreigners, especially Southern Plains peoples, in light of this area{\textquoteright}s history as a major trade route. Investigation of the site{\textquoteright}s cultural history reveals greater time depth of cultural interaction than previously published, from ca. 6,000 B.C.E. to the early 20th century. Dating rock art solely by archaeological attribution is risky, because it is assumed that a nearby village was where the responsible artists lived. Relative dates obtained through stylistic analysis have proven more reliable when the images are compared to better documented materials such as kiva murals and pottery. Once the fundamental elements of form, space and time are in place, an initial exploration of the dynamic interaction between land and art will follow. With GIS software, it is possible to analyze how the cultural landscape and rock art shape one another, and if that dynamic interplay shifted over time. The ultimate goal is to illustrate and expand what is already known about interaction between Pueblo and Southern Plains cultures.}, keywords = {Native American and Pre-Columbian Art}, author = {Smith, Helene} } @mastersthesis {8321, title = {The Commercial Skyscrapers of Pittsburgh Industrialists and Financiers, 1885-1932}, year = {1998}, school = {Penn State}, abstract = {Early twentieth century Pittsburgh was one of the most important cities in America-an industrial powerhouse, environmentally ravaged by massive industrialization, yet home to some of the country{\textquoteright}s wealthiest men and most important companies. Glass, iron and steel produced in Pittsburgh was used in the creation of better-known skyscrapers in New York and Chicago, yet the city{\textquoteright}s own high-rise buildings have received little attention by scholars, This work desires to understand the physical structures as well as larger planning issues in Pittsburgh, and, consequently, the role industrialists played in shaping the city. The interconnections between industry, banking and railroads forged in Pittsburgh a web of relationships which intimately linked industrialists and financiers to one another, resulting in a rather non-competitive building environment. The exception: Henry Clay Frick{\textquoteright}s obsessive and aggressive building program, meant in part to combat the image and popularity of his chief antagonist and former partner Andrew Carnegie. The earliest high-rise builders chose locations for very personal reasons, to be near their business concerns. However, landmark buildings like Henry Hobson Richardson{\textquoteright}s Courthouse as well as natural and man-made barriers dictated where and when construction occurred within the downtown. The financial district of Fourth Avenue and the municipal structures on Grant Street drew important construction, while the Point and riverfront districts suffered from flooding and industrialization. The economic prosperity brought about by industrialization resulted in a building boom during the first decade of the twentieth century. On every level, the industrialists manipulated and dictated the urban planning and eventual zoning of Pittsburgh. Only after World War II would corporate interests supplanted the role individual industrialists played in construction of skyscrapers within the city.}, keywords = {Pre-1945 North American and South American Art}, author = {Grash, Valerie S.} } @mastersthesis {8232, title = {Communist Nostalgia: On Soviet Aesthetics and Post-Soviet Memory}, year = {1998}, school = {Rochester}, abstract = {The dissertation examines the phenomenon of nostalgia for Soviet life and culture in the visual arts of the late- and post-communist periods. The considered material is drawn from artworks as well as documentary and feature films produced both in the former Soviet Union and abroad, covering the period from 1981 to 1993. This phenomenon of communist nostalgia presents a political paradox: at the same time that the knowledge of the historical atrocities of the Soviet regime was being made available to an ever-increasing public, the nostalgia for the aesthetically memorable aspects of Soviet culture was growing as well. From postmodern emigre art to French film to British rock music to the touring exhibitions of Socialist Realist art, the alluring images of Soviet life were flooding the channels of international mass culture. Was this an act of humility toward the slain enemy? Was this a symptom of the political naivete of a cynical postmodern generation? Was this a way of cashing in on the fascination with the Cold-War taboos? Examining the ways in which cliches of Soviet culture have been re-appropriated in contemporary visual arts, the dissertation argues that instead of a politically suspect position, communist nostalgia can be seen as a recuperation of the collective experience of Soviet citizens whose individual lives were embedded in the life of the state. The conflict of nostalgic collective memory with the traumatic symbolic history is a necessary process in coming to terms with the Soviet experience beyond the Cold-War-influenced historical discourse. Along with the currently emerging historical studies that value individual experience of Soviet everyday life seen as a complex personal negotiation in the overall socio-political context, this dissertation makes a contribution from the point of view of the history of visual culture.}, keywords = {Art Criticism and Theory}, author = {Efimova, Alla} } @mastersthesis {8338, title = {Conflicting Desires: Sexuality, Chastity, and the Representation of Lucretia in Venetian Renaissance Painting}, year = {1998}, school = {Bryn Mawr}, abstract = {The story of Lucretia, the Roman matron who chose death over dishonor, was a frequent subject of Venetian Renaissance painting, notably in works by Titian and Tintoretto. In the Renaissance, as in antiquity, Lucretia functioned primarily as a symbol of chastity and as an example to women of the importance of that virtue both for themselves and in their roles as daughters, wives, mothers. However, in the Renaissance and also in earlier literary and philosophical sources, there existed a description of Lucretia as a disruptive figure, as a potentially complicit participant in an act of adultery rather than as the unwilling victim of a rape. Moreover, several late sixteenth-century Venetian paintings of Lucretia{\textquoteright}s rape and suicide portray her in what can be seen as a sensuous and erotic manner. In this dissertation I examine those images of Lucretia, considering particularly their place within the social context of Renaissance Venice, a context which, I will argue, embodies conflicting attitudes towards sexuality. It is my contention that these paintings of Lucretia expressed the contradictory views of female sexuality present in a city which was renowned for its sensuous courtesan culture and also for the almost cloistered existence imposed on its patrician women. As evidence for my interpretation of the paintings, I survey the situation of women in sixteenth-century Venice; consider the literary accounts of Lucretia in circulation during the Renaissance both in and beyond Venice; and examine the paintings of Lucretia themselves, both what may be called their material aspects and, most particularly, their visual effect on the viewer.}, keywords = {Renaissance Art}, author = {Deturk, Sabrina} } @mastersthesis {8305, title = {"Constructing" the United Nations Headquarters: Modern Architecture as Public Diplomacy}, year = {1998}, note = {M. Bacon (Northeastern)}, school = {Harvard}, abstract = {This case study of the United Nations Headquarters examines architecture as a strategy of public diplomacy. As the first major buildings erected by the new organization, the Headquarters played a key role in clarifying perceptions of the institution. Site selection debates paralleled design meetings as exercises in self-definition. Each provided a forum in which the nature and scope of the new Organization could be considered. By scrutinizing the public information campaigns about the creation and significance of this major public building, it is possible to consider the broader issue of how political institutions have used architecture to extend their spheres of influence and power. The U.N. gave special attention to publicizing the work of an international team of architects from member nations as they gave form to the Headquarters. This team would be presented as a microcosm of the international cooperation represented by the Organization. Throughout the study, the Headquarters is presented as the locus of conflict between specific factions, all striving for dominance. Analysis of the site selection process reveals the shift of powers in the post-War world order and recounts efforts by local groups to promote their own interests. Design proposals presented during four months of meetings reflect a range of conceptions regarding the nature of the United Nations. Publicity by the U.N. Planning Office promoted a model internationalism linking the proportions of the buildings to basic human forms, needs and values. In assessing the public and critical reception of the Headquarters, varying attitudes emerge regarding the role of the United Nations and the effectiveness of modern architecture as an expressive medium. Problems of monumentality, artistic collaboration and genius, and the tension between functionalism and aesthetics extended far beyond the Headquarters. The role of popular culture and high art within the forms of the complex, and the clash between European and American design practices paralleled contemporaneous debates about painting. By situating the Headquarters within this larger popular and critical discourse, it emerges as a benchmark of modernism at a crucial period in its development.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Phipps, Linda Sue} } @mastersthesis {8213, title = {The Construction of Reserve: Urbanism and Experience in Rous- seau{\textquoteright}s Paris}, year = {1998}, school = {IFA/NYU}, abstract = {As traditional forms of spatial organization broke down during the eighteenth century, individuals were forced to confront an urban space that appeared increasingly threatening and unknown. How did city dwellers acquire the ability to negotiate these crowded spaces with ease? This dissertation traces the individual bourgeois walker{\textquoteright}s accommodation to the environment of the modern city, a reconciliation mediated through a newfound conception of reserve. Jean-Jacques Rousseau{\textquoteright}s Reveries of the Solitary Walker, an autobiographical book from his last years in Paris, provides one of the most remarkable accounts of this physical and psychological rapprochement. So often thought of as a celebrant of nature{\textquoteright}s purity and of a sentimental approach to landscape, Rousseau may rather be read as struggling to articulate a reassuring, if fragile, autonomy in the face of a city whose density threatens to overwhelm the self. New architectural spaces in the city participated in this transformation of the crowd into a series of independent solitudes: the first boulevards, which mediated between city and countryside, or the transposition of the garden into the urban fabric in the Place Louis XV, for example, were spaces in which this novel, ambivalent form of sociability was practiced, Sociologist Georg Simmel famously wrote of reserve in his essay on the psychology of the city-dweller. For Simmel this withdrawal of affect was a purely defensive maneuver in the face of the traumatic character of modern urban experience. Yet Rousseau allows us to understand reserve as a rather more complex phenomenon: not simply as an armor that protects the self from the shock of encounters in the crowd, but as a retreat to the interior which deepens the individual{\textquoteright}s very sense of self. It hollows out a space of autonomy that had not previously existed, an autonomy constitutive of the modern subject. We can no longer relegate Rousseau to the margins of city life; as the Reveries show, his experience of the later eighteenth-century city as a space of reserve is, largely, our own.}, keywords = {19th- and Early 20th-Century European Art}, author = {Thomas McDonough} } @mastersthesis {8304, title = {Consuming Passions: Women Art Collectors and Cultural Politics in the United States, 1945-1995}, year = {1998}, school = {Rutgers}, abstract = {This dissertation examines the role of women art collectors in the United States at the end of the twentieth century, emphasizing the contributions of these women to our national culture and the position(s) they hold within their gendered, racial, ethnic, economic, geographical, and art communities. It interrogates, in particular, the cultural practices of two American women art collectors, Samella Sanders Lewis of Los Angeles and Louise Rosenfield Noun of Des Moines, each of whom selected a focus for their art collections in the years following World War II. Their cultural practices are revealed as ones that end the cultural apartheid which epitomized most of this century. Through their personal, professional, scholarly, artistic, and political pursuits, we are afforded a view of how mature women, inspired by and active in social change movements, maneuver within a changing society.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Olin, Ferris} } @mastersthesis {8331, title = {A Context for the Advanced Studies of Portrait Miniatures Painted in Oil on Metal Supports}, year = {1998}, school = {Delaware}, abstract = {The English miniature-painting tradition does not encompass miniature portraits painted in oil, instead it focuses on small portraits in water-based media on vellum and ivory. Exclusion from the influential English tradition has promoted and sustained the idea that oil miniatures are unworthy of study. As a result of the lack of scholarly interest, no information is available to assist a conservator in assessing the physical condition of an oil miniature, proposing a conservation treatment, or addressing questions about authenticity. This investigation initiates the systematic collection of information about oil miniatures, starting with the development of an historical context. The origins of small-scale portraiture are found in books and medals, and are associated with the influences of humanism and court culture. Oil miniatures appeared during the sixteenth century in the courts of the Medici and the Habsburgs, and were among small paintings on metal associated particularly with the court of Rudolf II. By the seventeenth century oil miniatures were being painted in Holland during the Dutch Golden Age, and often appear in vanitas paintings. By the mid-eighteenth century, oil miniatures were being painted in colonies of the New World, although the final waning of interest already had begun in Europe. The decline of oil miniatures accelerated after the first decades of the eighteenth century, when ivory was introduced as a support for portrait miniatures. Stylistic and technical developments can be observed when oil miniatures are examined. Physical features are described on the basis of a survey of the Rosenbach collection, Philadelphia. Research seeking to address the conservation problems of oil miniatures must be developed within a context of reliable information that is combined with a reasonable knowledge of the objects. A context for the study of oil miniatures has been developed by establishing basic historical facts, identifying literature related to painting on metal supports, and describing materials and physical features that characterize oil miniatures. The integration of these different means of defining oil miniatures provides a fundamental understanding of them at the same time that it provides an essential context for advanced studies.}, keywords = {Renaissance Art}, author = {Aiken, Carol} } @mastersthesis {8272, title = {Contributions to the Study of Cypriote Sculpture: Limestone Votives from Athienou-Malloura}, year = {1998}, school = {Brown}, abstract = {This study examines a selection of Archaic-Classical sculptures from the sanctuary of Athienou-Malloura, Cyprus; initial investigations suggest that the earliest statues were dedicated in the late seventh or early sixth century, while the majority are dated ca. 550-450. The corpus exhibits types common to sanctuaries dedicated to male divinities in this part of the island. The carving and artistic expression of the Athienou-Malloura sculptures is among the finest attested from Archaic and Classical Cyprus and grants distinction to an inland site which many would consider rural and secondary. Chapter One ("Prolegomena to the Study of Cypriote Sculpture") offers an exhaustive survey of the development of scholarly studies on Cypriote sculpture. Questions of stylistic and chronological developments are presented, as well as discussions regarding typology, function, and technique. Chapter Two ("The Site of Athienou-Malloura") surveys the archaeological history of the site including a narrative of the excavations of the Mission Vogue; sculptures from this excavation, now housed in the Louvre, were assigned the provenience "Malloura" and have important consequences for the study of sculpture from Athienou-Malloura". This chapter also examines limestone quarries in the area and their relation to nearby sanctuaries such as Athienou-Malloura, Golgoi-Ayios Photios, and Arsos. Chapter Three ("Limestone Votive Sculpture from Athienou-Malloura") presents the catalogued material as it relates to the currently accepted systems of classification and chronology. Affinity with sculptural assemblages from neighboring sites is clear; in particular, comparisons with sculpture from Golgoi-Ayios Photios and Arsos evidence a regional workshop (or workshops) in the region of modern Athienou. Stylistic parallels between the sculptures from Athienou-Malloura and other Cypriote sanctuaries permit a better understanding of the internal and external relations of Cypriote artisans. More extensive observations concerning Cypriote sculpture are also made such as the persistence of archaizing traits, the ambiguities of gender in identification, and the recognition of sculptural "templates" in the creation of standard, mass-produced types.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Counts, Derek Brittain} } @mastersthesis {8228, title = {The [Convulsive] Enigma of Eternal Recurrence in de Chirico{\textquoteright}s {\textquoteright}Architecture{\textquoteright}}, year = {1998}, school = {Georgia Institute of Technology}, abstract = {This research proposes a fragmentary writing (after Blanchot) of the Nietzschean influence in the enigmatic architectural representations haunting de Chirico{\textquoteright}s "metaphysical" paintings of 1911-1917. The post-structuralist interpreters of Nietzsche{\textquoteright}s unresolved doctrine of eternal recurrence (Deleuze, Derrida, Blanchot, Bataille, Klossowski, Irigaray, and Foucault) originate three episodic genealogies (of the body, of vision, and of the spacing of time) that trace the significance of repetition of the Nietzschean "classical" ideal in the emergence of de Chirico{\textquoteright}s (convulsive) modern architectural subject. The genealogy of the body moves from the projected subject{\textquoteright}s convulsive body of semiotic impulses towards the architectonic body of fragment, ruin, and absence. The genealogy of vision situates tropes of blindness in the expanded definition of the vanishing point, mobilized in de Chirico{\textquoteright}s Nietzschean perspectiv/ism and near-anamorphosis. The genealogy of the spacing of time follows the exile and detours of the convulsive urbanism of de Chirico{\textquoteright}s tragic polis as the disquieting museum of oracular objects, anticipating the chiasmic metaphysical interiors. The conclusion supplements the three genealogies with a vision of eternal recurrence the first time that challenges the teleological truth of architectural historical discourse through its "terrifyingly ancient" origin/s.}, keywords = {19th-and Early 20th-Century European Art}, author = {Mical, Thomas} } @mastersthesis {8256, title = {The Coptic Galaktotrophousa as the Medicine of Immortality}, year = {1998}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Bolman, Elizabeth Stinette} } @mastersthesis {8348, title = {A Copy of My Countenance{\textquoteright}: Biography, Iconography, and Likeness in the Portraits of the Duchess Mazarin and Her Circle}, year = {1998}, school = {Bryn Mawr}, abstract = {My dissertation considers the 17th-century female portrait as an outgrowth of the practice of social typing by means of which women at the English, French, and Italian courts were identified and understood. Through a case study of the written and painted portraits of Hortense Mancini, Duchess Mazarin (1646-1633), I explore the ways in which the names of these 17th-century women were fused by a viewing and reading audience with the notorious circumstances of the women{\textquoteright}s lives, and how the familiarity of their stories led to their being "type-cast" through recurring code words and iconographic formulae. I argue that such verbal and visual typing linked them implicitly with other women of like social stature, subject to similar public perceptions. My dissertation provides historical and theoretical grounding for the proposal that the portraits called "Hortense Mancini" were read as depicting generalized female type(s) with which the sitter was linked and as representing the (hi)stories of those types, as much as they were understood to depict uniquely referential physical features. In this sense, I argue for a reconsideration of the portrait genre, itself: as embedded in and productive of narratives resulting from the collaboration of sitter, image, and viewer. In many cases, the mythologies created around women at 17th-century European courts harnessed the iconographic force of earlier mythologized figures. I examine, for instance, multivalent representations of court women that reappropriated the myths of the goddesses Diana and Flora, the histories of Cleopatra, Queen of Egypt and the quasi-historical Amazon queens, as a means of figuring their early modern subjects. I also examine the "cult of series" in 17th-century Europe, addressing in particular the popular genre of the "beauties series." Portrait series "type-cast" their multiple subjects, retaining the individuality of separate sitters by means of discrete canvases at the same time that the cohesiveness of the series depended upon conceptual and formal "likenesses{\textquoteright} among portraits. I argue--in the context of the genre{\textquoteright}s popularity during the 17th century--that the beauties series provides a paradigm for the reading of portraits of women during this time as dually referential: to the typed as well as to the individualized sitter.}, keywords = {Renaissance Art}, author = {Shifrin, Susan} } @mastersthesis {8225, title = {Courbet{\textquoteright}s Sources 1848-1855}, year = {1998}, school = {Yale}, abstract = {This project attempts to document a series of interrelated art-historical references in the early works of the nineteenth-century French painter Gustave Courbet. Underlying pictorial sources are proposed for eleven large-scale, multifigure canvases Courbet painted during the seven-year period 1848-1855. To summarize, this study rereads the After Dinner at Ornans as a Judgment of Midas; the Burial at Ornans and Stone Breakers together as a scene of royal coronation; the Return From the Fair as a Flight from Sodom; the Departure of the Fire Brigade and the Wrestlers together as a Last Judgment (or, alternatively, as a scene of Hercules Battling the Hydra); the Village Maidens as a Judgment of Paris; the Wrestlers as Hercules and Antaeus (or, alternatively, as figures of Christian judgment and retribution); the Bathers as personifications of Virtue and Pleasure from a Choice of Hercules; the Sleeping Spinner as a play upon the Hercules and Omphale theme; passages of the Painter{\textquoteright}s Studio as recycling classical motifs (such as Hercules and Omphale) or introducing biblical themes (Jacob Shown Joseph{\textquoteright}s Bloody Coat, for example); and finally the Painters Studio and Grain Sifters together as a Judgment of Solomon. This synopsis underscores a central thesis of this investigation-the ability to visualize purported references is often dependent upon analyzing compositional and structural relations between the paintings themselves. In addition, fundamental links emerge among the suggested underlying references: they largely consist of images of condemnation and judgment inspired by Greco-Roman mythology and Judeo-Christian scripture, as well as scenes of monarchical rule closely tied to French political history. It is theorized that, in their transposition of canonical sources, Courbet{\textquoteright}s early works formulate an ambitious philosophical discourse on the Enlightenment values of free choice, independent judgment, and self determination.}, keywords = {19th- and Early 20th-Century European Art}, author = {Willers, Karl} } @mastersthesis {8324, title = {The Critical Reception of Robert Henri{\textquoteright}s Portraiture: Rejuvenation in an Overly-Civilized Nation}, year = {1998}, school = {Wisconsin}, abstract = {The portrait painter Robert Henri occupied a prominent position in the world of American art during the early twentieth century. Scholars have investigated his family background, aesthetic philosophy, teaching experience, and role as leader of an acclaimed group of urban realists, but few scholars have concentrated solely on his critical reception. Furthermore, recent scholarship examining the critical reception of the group of artists known as the Ash Can School, of which Henri was the leader, reveals a lack of recognition and understanding of the actual reasons why contemporary critics admired Henri{\textquoteright}s art. To remedy this situation this dissertation examines the meanings contemporary critics assigned Henri{\textquoteright}s portraiture upon its reception and considers them within the social context of the era. In the early twentieth century many Americans became preoccupied with the notion that the United States risked evolving into an "overly-civilized," weak, soft, and degenerate state. The neurasthenic attitude of the aesthete, which had been celebrated in the late nineteenth century as emblematic of artistic refinement and sensitivity, was condemned. Cultural critics were quick to praise art, literature, politics, and even personality traits that emphasized vitality, simplicity, naturalness, and masculinity, because it was believed that these characteristics hindered enervation. This dissertation argues that by examining the language of Henri{\textquoteright}s critics, it becomes clear that his critical acclaim owes much to the fact that contemporary critics believed his art, his aesthetic philosophy, and even his personality were antidotes to the degenerative tendencies in American culture. The primary source materials for this study are the over one-hundred reviews of Henri{\textquoteright}s art dating from 1904 to his death in 1929. The first three chapters examine the most prevalent themes encountered in these critical reviews, namely the descriptions of his portraiture as full of energetic vitality, simplicity, and naturalness. The fourth chapter investigates the fact that he tended to portray foreign and ethnic minority individuals. The fifth chapter reveals how contemporary critics celebrated the similarities between Henri and Theodore Roosevelt. The conclusion summarizes these themes and includes a discussion of why critics repeatedly characterized Henri{\textquoteright}s art as masculine and virile.}, keywords = {Pre-1945 North American and South American Art}, author = {Ince, Julia Christine} } @mastersthesis {8253, title = {The {\textquoteright}Curious and Polite{\textquoteright} World of William Hogarth{\textquoteright}s {\textquoteright}The Analysis of Beauty{\textquoteright}}, year = {1998}, school = {Georgia}, abstract = {William Hogarth advertised his art treatise, The Analysis of Beauty (1753), and its accompanying two plates, stating that he wanted "to render it useful and interesting to the Curious and Polite of both Sexes by laying down the Principles of personal Beauty and Deportment, as also of Taste in general, in the plainest, most familiar, and entertaining Manner." Using this advertisement as a frame for the chapters, my dissertation investigates who were the "Curious and Polite," why it was important to write about personal beauty and deportment, and how Hogarth{\textquoteright}s examples are plain, familiar, and entertaining. I show what sources helped Hogarth make his aesthetic principles more accessible to his audience. Hogarth probably modeled his treatise after Leon Battista Alberti{\textquoteright}s art treatise, On Painting (1435), first published in English in 1726. On Painting provided Hogarth with an example of how to discuss the formal elements of art without turning into the "more beaten path of moral beauty;" however, both Hogarth and Alberti advocated art that serves a moral purpose. They wrote treatises emphasizing the sense of sight and the principles of variety, propriety, and modesty. These latter ideas are also featured in the Gentleman{\textquoteright}s Magazine (1731-1907), a popular periodical of the time read by men and women. Hogarth{\textquoteright}s audience would have been familiar with the examples in his text and in the plates through the variety of subjects, including politeness, science, and art, in the Gentleman{\textquoteright}s Magazine. Hogarth chose his illustrations carefully to appeal to an audience of both men and women. His references to goods that women bought, such as corsets and candlesticks, and to the manly activities of hunting and boxing indicate that he wrote for the wealthy who had the leisure time to enjoy the polite consumption of pleasure. Hogarth entertains his readers with the interplay of the text and the drawings, which I interpret in terms of Hogarth{\textquoteright}s theory of the ridiculous. His nationalistic and moralistic stance coincide with contemporary ideals about British values, making Hogarth{\textquoteright}s The Analysis of Beauty a document that reveals the culture of the time.}, keywords = {Baroque and 18th-Century European}, author = {Kallins, Gail} } @mastersthesis {8254, title = {David{\textquoteright}s Basket: Art and Activism in the French Revolution}, year = {1998}, school = {CUNY}, abstract = {Can art cause political change? This dissertation proposes Jacques-Louis David{\textquoteright}s painting of 1789, The Lictors returning to Brutus the Bodies of his Sons, as a means of asking a question which is fundamental to the study of the French Revolution, and to the Modernist project which the French Revolution initiates. The Introduction outlines the parameters of this discussion. Just as revolutionary historiography has been concerned with problems of agency and will, so, too, Art History has drawn an unquestioned analogy between artistic motivation and political goals. Section One clarifies the expectations brought to this painting by the audience of 1789. The Brutus was a site on which questions of political allegiance were thrashed out: allegiance to the Royal image, allegiance to current epistemological issues and mostly, allegiance to the enlightened elites of the Royal Academies. Section Two traces a parallel development of David{\textquoteright}s Brutus and the events of 1787-1789. The Brutus was undoubtedly political in intent, but David{\textquoteright}s intentions, like his politics, changed month-to-month, even week by week. Section Three raises the question of art{\textquoteright}s capacity to cause political change, as seen through the Brutus and David{\textquoteright}s career. The Enlightenment critique of society necessitated a belief in the possibility of change through culture, while denying such change in actuality, whereas the French Revolution affirmed change-within limits. David{\textquoteright}s Brutus, and David himself, were more the pawns of this ideology than its creators. The Conclusion narrates the author{\textquoteright}s personal experiences in a politically and culturally charged moment, the events of May, 1968, and draws conclusions applicable to the broader issue of politics and the arts.}, keywords = {Baroque and 18th-Century European}, author = {Werner, Paul} } @mastersthesis {8337, title = {Dialogues with the Beholder: The Poetics of Portraiture in the Italian Renaissance}, year = {1998}, school = {Columbia}, abstract = {Portraiture is, quite possibly, the most recognizable and continuous of visual genres. Whether by Raphael or Picasso, full-length or profile, the portrait consistently represents and refers to a specific person. From this core definition, however, arise a series of questions, particular to the type, that complicate the reading of any portrait: Does the portrait offer an image that resembles the sitter? Does the image of a person necessarily refer to an actual person outside the frame? How does the issue of likeness affect our interpretation of the portrait? How, and to what extent, do portraits represent those aspects central to personhood--self and identity--that seem to be invisible and, therefore, impossible to represent? This dissertation poses such questions to Italian Renaissance portraits painted during the first half of the sixteenth century, when artists introduce formal inventions--the most notable among them being the exploration of a range of poses other than the profile. Portrait sitters begin to address the beholder more directly, gazing at or gesturing to the viewer. Such a significant shift, already recognized by other scholars, marks a changing conception of portraiture at a time when pictures themselves--and not just portraits--intentionally confuse the distinction between viewer and painting. This project considers how such a dialogue with the beholder locates the portrait in the present moment of viewing and the effects of such a shift: the sitter, seeming to interact with the viewer, emphasizes the portrait-image as a surrogate for the person represented and, consequently, encourages the beholder to perceive the portrait as incomplete, always open and responsive, rather than as a fixed commemoration of the past. The dialogue functions as a hermeneutic in cinquecento portraiture, both conveying the affective relationship between sitter and viewer that is derived from other dyads of exchange--speaker-listener, lover-beloved, self-other--and offering a discursive paradigm for thinking of portraiture as analogous to language, particularly in terms of the problem of referentiality for both systems.}, keywords = {Renaissance Art}, author = {Jodi Cranston} } @mastersthesis {8307, title = {Discourses on (the Art of) Eva Hesse}, year = {1998}, school = {UCLA}, abstract = {Since the late 1970{\textquoteright}s, several French feminist writers have argued that discourse is phallocentric. Among their convictions is the belief that it is only through analyzing language, since language is the result of a single, male, point of view, that change can come about. In an attempt to validate this belief Discourses on (the Art of) Eva Hesse examines the various writings on Hesse in order to learn how the subtle operations of a phallocentric-based ideology manifests itself in art discourse. This study could have examined any female artist, but Eva Hesse was selected because of the possibilities both she and her work presented. Hesse was one of the few woman artists who achieved critical acclaim and peer recognition while an emerging artist in the late 1960{\textquoteright}s. Much of Hesse{\textquoteright}s early success was due to the fact that she was a major "player" in the 1960{\textquoteright}s sculpture scene. Joined by Sol LeWitt, Carl Andre, Robert Smithson and others, Hesse, along with her peers, aimed to transform art. Although Hesse{\textquoteright}s art was visibly different from her peers in that she contextualized the female body in most of her work, she nonetheless maintained the same theories as these artists and was accepted for her innovative style. After her early death in 1970, her sculpture, which during her lifetime was discussed in formal terms, suddenly became synonymous with her "tragic" life and with the then emerging feminist art movement. Today, her work is only briefly mentioned in most contemporary art history books or surveys and biography generally plays a dominant role in the discussion. Curious as to how these various "readings" developed, i.e., how one approached her biographically, politically, and critically, I examined each of these issues in context. Since a major factor of her work, her use of female anatomy, was not discussed within the various discourses, this study, which proves that all writers avoided this topic because it wasn{\textquoteright}t part of the accepted discourse, ultimately analyzes Hesse{\textquoteright}s art from a female point of view, one that incorporates a new theory of subjectivity based on the primacy of the body.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Reed, Victoria Ann} } @mastersthesis {8350, title = {The Ecclesiastical Architecture of Francesco di Giorgio Martini: A Study of Theory and Practice}, year = {1998}, school = {Harvard}, abstract = {This dissertation investigates Francesco di Giorgio Martini{\textquoteright}s place in the development of both the theory and practice of ecclesiastical architecture in fifteenth-century Italy. New editions of the architect{\textquoteright}s theoretical writings on churches are provided and analyzed. These texts were transcribed and edited from surviving manuscripts in Italian collections, specifically codex Saluzzianus in Turin and codex Magliabechianus in Florence. The ideas in these texts are compared and contrasted to actual churches built by Martini as well as to his drawn and painted representations of religious architecture. Among the built works discussed, primary focus is given to San Bernardino in Urbino and Santa Maria delle Grazie al Calcinaio in Cortona. After establishing some of Martini{\textquoteright}s fundamental ideas on church architecture, his place in the history of the Italian Renaissance is explored. The traditions he himself belonged to as well as his own contributions to the architectural climate of the time are topics covered. Martini{\textquoteright}s reception by and influence on later architects are also addressed. Academic Art History{\textquoteright}s understanding of Francesco di Giorgio is also evaluated and challenged}, keywords = {Renaissance Art}, author = {Wolf, Eric Michael} } @mastersthesis {8229, title = {Egon Schiele{\textquoteright}s Landscapes}, year = {1998}, school = {Yale}, abstract = {This dissertation examines the landscapes of Viennese Expressionist Egon Schiele. Although Schiele has become a figure of some renown, and has been the subject of several excellent analyses, the field of Schiele scholarship is still in need of critical work on the landscapes as substantive studies of the figural images far exceed those of the landscapes. Created between 1908 and 1918, Schiele{\textquoteright}s landscapes are very much a part of this era and its anxieties, both witnesses and contributors to the uneasy malaise which pervaded so much of Austrian culture during these years. Schiele{\textquoteright}s landscapes offer evidence of a society traumatized by the alienating transformations of modernity, by the dissolution of the self as a viable concept, by the imperial pretenses of a disintegrating political body, and by the loss of faith in language as a viable source of communication, to name just a few of the anxieties which pervaded Viennese culture around 1910. However, the landscapes frequently exhibit a redemptive instinct as well, one which resides simultaneously, if uncomfortably, with the nihilistic aspects of the works. Schiele{\textquoteright}s landscapes may be nostalgic, melancholic and dissatisfied with the present, but they are also ambitious, refusing to relinquish the romantic belief in the ability of the work of art to interact with the world and the possibility of aesthetic renewal. Defined on the one hand by a despairing attitude towards a lost collective past and, on the other, by an insistent vision of art{\textquoteright}s relevance to a new future, the landscapes lend insight into the structural dynamics of Schiele{\textquoteright}s work, and into the character of Viennese modernism itself.}, keywords = {19th-and Early 20th-Century European Art}, author = {Smith, Kimberly} } @mastersthesis {8314, title = {The Eilshemius Pendulum: Louis Eilshemius, Marcel Duchamp, and the New York Art World}, year = {1998}, school = {Emory}, abstract = {Marcel Duchamp discovered academically trained painter Louis Eilshemius (1864-1941) at the first Society of Independent Artists Exhibit in 1917. He catapulted Eilshemius into the eye of the public and effectively concluded Eilshemius{\textquoteright}s "obscure period." By the 1930s, Eilshemius was arguably one of the most well-known artists in America. Why did Eilshemius not achieve recognition until he was 53, and why do many no longer consider him to be one of America{\textquoteright}s great artists? This dissertation analyzes what critic Edward J. Reardon termed the "Eilshemius Pendulum" in 1944, or the painter{\textquoteright}s ever-changing reputation. I argue that the "Eilshemius Pendulum" is a phenomenon that relates to diverging definitions of artistic practice during different periods. Eilshemius considered himself to be an academic artist during his early years, but he gave up this role around 1910 when he turned to his painting as a place to re-invent his life. Influenced by popular notions of hypnotism, particularly as described in George Du Maurier{\textquoteright}s novel Trilby (1894), Eilshemius{\textquoteright}s new practice consisted of imagining that the figures in his paintings were real, and that he controlled them. At the same time, Eilshemius cultivated a new style, one marked by a "primitive" appearance. Unaware of Eilshemius{\textquoteright}s private art world, but intrigued by his eccentric personality, Duchamp patronized Eilshemius and caused him to be associated with the Dadaists during the 1920s. Now known to the public, critics sought in the 1930s to redefine Eilshemius{\textquoteright}s practice by calling him a "visionary" or folk artist. Such thinking reflected American isolationist politics and a desire to favor artists whom they believed to have no knowledge of European art. These critics{\textquoteright} promotional tactics brought Eilshemius genuine, if short-lived, fame, which diminished only in the 1970s with feminist critiques of the female nude in art.}, keywords = {Pre-1945 North American and South American Art}, author = {Chastain, Catherine M.} } @mastersthesis {8316, title = {Eloquent Representatives{\textquoteright}: A Study of the Native American Figure in the Early Landscapes of Thomas Cole, 1825- 1830}, year = {1998}, school = {Pennsylvania}, abstract = {Although scholars frequently view the Indian figure as an incidental element in the early landscapes of Thomas Cole (1800-1848), the complexity of his Indian paintings suggests a deeper meaning. This project argues that Cole{\textquoteright}s early works declared the ideals of his patrons by articulating the stereotype of the Indian as noble savage. Cole{\textquoteright}s first patrons were a close-knit elite who made their headquarters in New York City. Their outlook was aristocratic and they shared values rooted in class-privileging institutions of British origin. When Cole debuted in 1825, these individuals were engaged in a struggle for cultural and political power. Despite their efforts to establish English taste as an cultural standard, British peers denounced the United States as barbarous; at the same time, Cole{\textquoteright}s patrons strove to maintain class prerogatives before newly-enfranchised and empowered democrats. Cole{\textquoteright}s patrons saw a solution to their problems in developing the concept of American nationality. They formulated an view of nationhood defined by British high culture and marked in its conservatism. By selectively encouraging the production of novels, poetry and painting, these individuals created an image of America through which they broadcast their own ideology. The Indian as noble savage was integral to their aims. A respected figure in the European cultural pantheon, the noble savage argued for American cultural sophistication while echoing the elite{\textquoteright}s own self-perception. The chivalry of the noble savage contrasted with lower- and middle-class stereotypes of the Native American as bloodthirsty killer. By using the conceit of the virtuous savage, Cole{\textquoteright}s Federalist patrons celebrated a view of the Indian which effectively distinguished them from democrats. Using the iconology of the noble savage, Cole countered British views of the American landscape. Positing the Indian figure as virtuous, Cole simultaneously inscribed anti-democratic commentary into some of his most significant narrative works. A remarkably cohesive group, Cole{\textquoteright}s early Indian landscapes constitute an overlooked but highly important formative episode in the history of American cultural nationalism.}, keywords = {Pre-1945 North American and South American Art}, author = {Dimond, Vernon S.} } @mastersthesis {8294, title = {The Emergence of Earthworks: 1968 and After}, year = {1998}, school = {CUNY}, abstract = {Earthworks epitomized the art and spirit of the late 1960s. These telluric works of art both embodied and disrupted contemporary conceptions of art, nature, society, and their relationship. This first analysis of this earliest genre of contemporary Land Art, Earthworks, demonstrates this by both presenting its artistic lineage and situating that development within the several contexts of individuals{\textquoteright} biographies and the social, political and cultural and economic changes in the nineteen-sixties. Chapters on major American artists who made transient environmental works of naturally-occurring materials analyze their different stylistic approaches: Carl Andre/Minimalism; Michael Heizer/the Western spirit; Sol LeWitt/Conceptualism; Robert Morris/Anti-Form; Claes Oldenburg/Happenings and monumental public art; Dennis Oppenheim, an ambitious Californian in New York; and Robert Smithson/anti-formalism. These paths came together in the genre{\textquoteright}s debut exhibition, "Earthworks" at the Dwan Gallery, New York, October 1968, examined as a microcosm of Earthworks and its critical response. The two conventional rationales for Earthworks are addressed as paradoxical: the view of earthworkers{\textquoteright} usage of this debased material in rough wilderness terrains as a pastoral sensibility motivated by ecological sympathies, and the gallery presentation of these works, often dealer-funded, as oppositional to the art market. On the contrary, it is earthworks{\textquoteright} evocation of "entropy"-their powerful manifestations of a lack of harmony with either nature or culture-that stimulated viewers{\textquoteright} reactive projections of the regenerative forces of nature onto these earthen creations. Secondly, the patronage of dealers and collectors not only enabled the creation of specific earthworks, but the genre "Earthworks" itself to develop. Also recognized is the artistic, nationalistic, and sexist chauvinism that resulted in this exhibition{\textquoteright}s both lack of women artists and absence of other Americans and Europeans (Iain Baxter, Jan Dibbets, Harvey Fite, Barry Flanagan, Richard Long, Pino Pascali). Thereafter, I discuss significant international exhibitions in 1969 featuring earthen materials, and briefly describe two monumental land projects of the late 1960s, Heizer{\textquoteright}s Double Negative and Smithson{\textquoteright}s Spiral Jetty. These again display earthworkers{\textquoteright} conflicted behaviors toward the natural environment, which fused with ambivalent responses to the anti-institutional position of much of late- sixties culture, and materialize both the era{\textquoteright}s desire for regeneration, and even more so, its social fragmentation.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Boettger, Suzaan} } @mastersthesis {8264, title = {Empress, Image, State: Imperial Women in the Early Medieval World}, year = {1998}, school = {Harvard}, abstract = {This dissertation studies the role and representation of imperial women in early medieval visual culture. Women such as Ariadne, Theodora, and Sophia featured prominently in imperial art as the embodiment of distinct institutions as Empress and head of the sekreton ton gynaikon. Looking at the formative period of Byzantine culture, this project interrogates how power was implemented and represented by imperial women on modest coins and commercial weights as well as sumptuous mosaics and architecture. The investigation begins with the Empress Ariadne (d. A.D. 513), who appeared on five ivory consular diptychs following her death. The prevailing attribution of the two imperial ivories in Florence and Vienna, though, perhaps should shift from Ariadne to Sophia. The next chapter reevaluates steelyard weights formed as bust-length effigies of the empress. Archeological evidence proves that the weights can be dated to the sixth and seventh centuries rather than the fourth- and fifth-century dating previously preferred. Rather than view the weights as portraits of specific historical figures on the basis of numismatic comparisons, the weights typologically render the Empress in a mode linked to personifications. Prokopios{\textquoteright} Secret History now overshadows the patronage of the Empress Theodora (d. 548), but both aspects of her identity require scrutiny within their respective literary and institutional histories. The Empress Sophia{\textquoteright}s (d. after 600) authority finds voice in the substantial urban commissions as well as her representation on coinage enthroned as co-ruler with the Emperor. Perhaps this study can inform how Irene and Theodora opposed the two waves of Iconoclasm that swept over the East Roman Empire in the eighth and ninth centuries. The sole reign of Irene culminated a practice of cultural and political acceptance of female authority evidenced in the capacities of earlier empresses. Imperial statuary populated the urban streets, coins endlessly replicated the ruler{\textquoteright}s portrait, and empress-shaped steelyard counterpoises measured out the transactions of everyday commerce. The haloed figure of Theodora depicted in Ravenna functioned within the same visual culture as the lowly commercial weights, both defining the empress powerfully as a central and widely-understood emblem of authority.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {McClanan, Anne} } @mastersthesis {8199, title = {Eugene Delacroix and the Pictorial Invention of Orientalism}, year = {1998}, school = {Wisconsin}, abstract = {The tendency to envision nineteenth-century Orientalist art as signs and not as pictorial forms misses the crucial impact form had in the metropolitan perception of the Orient and its peoples. Unfamiliar with the actual appearance of the Orient, metropolitan audiences were dependent on academic conceptions such as appropriateness (convenance), expression, and the picturesque in order to establish the truth in painting. Using the pictorial license from Napoleonic painting as a sort of camouflage, painters from Alexandre-Gabriel Decamps, Eugene Delacroix, Eugene Fromentin, Jean-Leon Gerome, Prosper Marilhat, and Horace Vernet made the Orient the setting for pictorial inventions in pure color theories and in ethnographic representation. As Director General of the Imperial Museums, Dominique Vivant Denon encouraged the use of sources such as his Travels in Upper and Lower Egypt (1803) and the Description of Egypt (1809-1828), to render the figures in scenes from the far-flung territories of the Napoleonic Empire with their appropriate ethnographic appearance. The interest these sources initiated in the classification of bodies, obliged subsequent generations of painters to travel to the Orient in order to procure and produce accurate records of the ethnographic types encountered. From the resulting hierarchical placement on an evolutionary scale, Vernet presented a lecture to the Academie des Beaux-Arts advocating the use of contemporaneous Arabs for biblical scenes, rather than African Jews. The metropolitan fascination with exotic subject matter emancipated painters from the academic proscriptions for acceptable representation. The Orient provided the setting for Marilhat{\textquoteright}s painting almost without half-tints, for Fromentin{\textquoteright}s reversal of the emphasis in lighting from the center to the margins, and for Delacroix{\textquoteright}s compositional revolution from modeling figures with clair-obscur to modeling them with reflected light. Different from the familiar form of ambitious avant-garde painting meant as a challenge to bourgeois opinion and the academic tradition, the innovation in Orientalist art appeared in accordance with the prevailing views of art and other cultures.}, keywords = {19th- and 20th-Century European Art}, author = {O{\textquoteright}Brien, Thomas J.} } @mastersthesis {8271, title = {Expressions of Harmony: Representations of Female Musicians in Fifth-Century Athenian Vase Painting}, year = {1998}, school = {Emory}, abstract = {Throughout the history of ancient Greek culture, music and song played an important role and inspired countless works of art. In Attic vase painting of the fifth century B.C., hundreds of scenes feature mortal women playing music, in a rich variety of contexts and social situations. One particular class of images, featuring women in a domestic setting, represents a significant departure from earlier scenes of female musicians, both in terms of their iconography and of the social status of the women shown. These scenes, which enjoy a brief but intense popularity in the period from c. 470-460 B.C. to c. 420-410 B.C., depict neither Muses nor prostitutes but rather privileged, mortal, Athenian women who engage in musical performance as a leisure activity within the home. The images suggest an important relationship between women and music in Classical Athenian society that is inadequately conveyed in the written record. Working against the backdrop of contemporary Greek art, musical theory, philosophy, and history, I argue that the imagery of female musicians in a domestic setting contains several layers of meaning, referring both to the actual activities of women and to the symbolic aspects of music and gender as perceived by the Athenians in the fifth century B.C. As a starting point, I focus on composition and iconography, analyzing the formal qualities of the scenes and placing them within the artistic context of the Classical period. I consider the identity and social standing of the women represented and the general historicity of the scenes. Although these images are not photographic documents of daily life, the visual evidence nonetheless leads us to reassess the access that elite Athenian women had to musical education. The scenes also reflect contemporary attitudes concerning women and gender roles. They are part of a larger interest in female iconography at this time, which reflects an increased emphasis on the oikos and its relationship to the city as a whole. The scenes of musical women appear to derive the most meaning from the portrayal of musical performance. Changes in musical iconography of the Classical period recall innovations in musical practice as well as new beliefs regarding the power of music and its influence in society. Musical references in the scenes of women suggest an atmosphere of concord, order, and harmony. This concept of harmonia, in both a musical and a social sense, seems to be an underlying theme of these images. I attempt to demonstrate that the scenes have allegorical meaning in the specific context of Classical Athens, with the musical women embodying fifth-century ideals of social, musical, and cultural harmony.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Bundrick, Sheramy Deanna} } @mastersthesis {8235, title = {Fag-o-sites: Minor Architecture and Geopolitics of Queer Everyday Life}, year = {1998}, school = {Chicago}, abstract = {A four-part theoretical investigation of the limits of architecture, visuality, sociality, and pedagogy, as precipitated by cruising and anonymous sex, AIDS, ethical betrayal, and crises in the production of knowledge. Each of these axes is marked by an attenuation of relations between the social and the visual, and this slender gap, necessarily impoverished in its representability, is theorized through a vocabulary or poetics of elusivity and imperceptibility. This vocabulary is an attempt to register the conceptual limits of community posed by the practices and conditions listed above, without abandoning notions of collectivity. In other words, the terms that are theorized here, elicit the social bond that is materialized as nothing more nor less than a wink, a nod, a discarded snapshot, a handwritten note on a scrap of paper, two drinking glasses stacked together and left on a counter. These are moments of uncertainty that anonymously punctuate our everyday lives, and these are also occasions for the work of contemporary visual artists: Tom Burr, Doug Ischar, Derek Jarman, Matts Leiderstam, Glenn Ligon, and Jurgen Mayer. The work of these artists is addressed (chapters three \& four) in terms of the various ways in which each critically intervenes in hegemonic logics of representation invested in a politics of identity. Such a critical questioning of identity-based logics of representation, sociality, and sexuality, is also a means to redress work in architectural and spatial theory that has recently appeared under the title of "Queer Space" (chapter one). For it is this discourse of spatial identification and categorization that has been most incapable of attending to those practices, moments, and places which, in their tactical itinerancy and anonymous uncertainty, defy the impulses of representation, and are worthy of being thought precisely because of this defiance. These forms of representational defiance inevitably raise questions for pedagogical practice as they undermine assurances as to the possession of objects and rational methods of inquiry. By extending recent queer theories of pedagogy beyond the classroom and other conventional sites of learning, relations across publics, forms of publication, political movement, and public sex are explored (chapter four).}, keywords = {Art Criticism and Theory}, author = {John Paul Ricco} } @mastersthesis {8248, title = {The Family Paradigm in French Painting, 1789-1814}, year = {1998}, school = {IFA/NYU}, abstract = {Images of the family flourished in the French Salons between 1789 and 1814, encompassing history painting, portraiture, and genre scenes. The critical response that these images generated reveals the period{\textquoteright}s preoccupation with the family. The institutional crises and external forces besieging the family at the close of the eighteenth century further invests its representation with an unprecedented level of urgency. Unlike their Ancien Regime predecessors, these images were inextricably linked with contemporary events. A contextual reading of family imagery further reveals the convergence of artistic trends and ideological constructs of the family. Notably, the crisis in patriarchal authority that preceded the Revolution is considered in relation to representations of fathers, from Oedipus and Brutus to Napoleon, and their attendant critical response. Implicit in the Revolution{\textquoteright}s assault on the patriarchy was a concomitant threat to family stability, as the authority of the paterfamilias was undermined. In the unstable sociopolitical climate of the 1790s, images of families beset by natural disasters proliferated; these works serve as metaphors of the plight of the state, whose basic unit is the family. Additionally, a body of contemporary portrait and genre scenes explicitly document the family experience of Revolution. Despite the instability of the patriarch during the period, maternity was exalted, as the role of the mother was central to the period{\textquoteright}s Rousseauian family ideal. The period{\textquoteright}s ongoing efforts to codify maternal and paternal models find expression in a body of didactic family tableaux, which promoted the ideologies of both Republic and Empire. These images especially resonated at a moment in which family ideals shaped public debate regarding the fundamental nature of political and social order. The breadth of subjects in which the family figured as well as the range of artists who created family images, from David to minor genre painters and portraitists, further reveal the pervasiveness of the family model. Thus, the various facets of the family paradigm offer a perspective of French painting circa 1800 that expands its iconographic range and reveals its engagement with contemporary social and political issues.}, keywords = {Baroque and 18th-Century European}, author = {Calley, Kathryn} } @mastersthesis {8339, title = {Federico Barocci: Imitation and the Formation of Artistic Identity}, year = {1998}, school = {Brown}, abstract = {This dissertation examines the training and early career of the Italian painter Federico Barocci, from his apprenticeship in the late 1540s through the works of the early 1570s. Barocci{\textquoteright}s innovative style, which departed from contemporary Mannerism and led the way to the Baroque, has generally been appreciated for its naturalism, but little attention has been paid to its origins in the imitation of other masters. Barocci consciously sought to forge his own style from those of Raphael and Titian. We can witness the way he looked to their paintings as exemplars of clarity, emotional directness, and representational universality, toward which he aspired. Characteristics of Barocci{\textquoteright}s early paintings that have been traditionally attributed to a knowledge of Correggio I alternatively ascribe to study of Titian{\textquoteright}s and Lorenzo Lotto{\textquoteright}s works in the Marches. In addition to expanding our knowledge of Barocci{\textquoteright}s training through a presentation of little-known drawings, this dissertation provides detailed analyses of his early paintings and their incorporation of motifs and design principles from specific models. By assessing the evidence in the light of contemporary literature on imitation in theory and practice, we gain a clearer understanding of Barocci{\textquoteright}s maturing creative processes and the important decisions he made as his unique style took shape. In painting, as in poetry and rhetoric, imitation connoted varying relationships of equality between imitator and model, depending on the degree of inventiveness also employed. Through {\textquoteright}emulation{\textquoteright} (aemulatio), the most praiseworthy and difficult form of imitation, the artist made references to his models in a competitive spirit, in order to demonstrate his ability to surpass them. Beginning with the frescoes in the Casino of Pius IV (1561-63), Barocci sought to heighten his reputation by rivaling his principal models, Raphael and Titian, through allusive imitation. The declaration of lineage required informed beholders who could appreciate visual references, which the evidence suggests he had, especially in Pope Pius IV. Barocci was meticulous and exacting in his work, and it is likely that the striving for excellence motivated him to imitate these two masters, in addition to a desire to succeed his famous compatriot Raphael.}, keywords = {Renaissance Art}, author = {Fontana, Jeffrey} } @mastersthesis {8341, title = {Fifteenth-Century Independent Flemish Portraiture: Origins, Development and Influences}, year = {1998}, school = {Case Western Reserve}, abstract = {The independent portrait developed in Flanders in the fifteenth century. Unlike the donor portrait or the devotional portrait diptych, the independent portrait depicted a single sitter presumably recording his or her actual features. This dissertation identifies the origins of the independent portrait in Flanders, traces its development in the work of Flemish painters of the fifteenth century, and explores its influences throughout the Netherlands in the sixteenth century. The functions of portraits, significance of attributes and portrait types, and patronage among various social classes is explored. The origins of the independent portrait in Flanders can be traced to images in manuscript illumination and sculpture in the second half of the fourteenth century. Members of the Valois family of France, beginning with King Charles V and his brothers, Philip the Bold, Duke of Burgundy and Jean, Duke of Berry, were particularly instrumental in the growth of this genre among the nobility by their patronage. Their passion for portraits, reflecting their authority and accomplishments, contributed to the development of portrait painting on panel in the early fifteenth century. Philosophical and economic shifts which occurred prior to the fifteenth century, including Nominalism, the expansion of the guild system and the emergence of a new middle class are also discussed. These factors contributed to the commissioning of independent portraits, not only by the nobility, but also by a class of merchants, bankers, clergy and other professionals which greatly expanded the popularity of the genre. Stylistic developments are discussed starting with the work of Robert Campin, who situates his sitters in a three-quarter pose against a dark neutral background, through the work of Hans Memling who depicts the sitter out-of-doors against a deep landscape space. Milestones such as Jan van Eyck{\textquoteright}s directing of the sitter{\textquoteright}s eyes to engage the viewer and Petrus Christus{\textquoteright}s placement of the sitter within an actual interior space are explored. The contributions of Rogier van der Weyden and Dieric Bouts are also discussed. In the final chapter, I will distinguish the fifteenth century tradition of independent portrait painting from the new styles developing in Antwerp and elsewhere in the sixteenth century, especially in the work of Quentin Metsys and Jan Gossaert. I will also summarize the influences that Dutch painters such as Jan van Scorel and Maerten van Heemskerck may have had upon contemporary Flemish artists. Finally, the emergence of the "portrait specialist" is revealed in the work of Dutch artists Jan Cornelisz Vermeyen and Antonis Mor.}, keywords = {Renaissance Art}, author = {Janson, James} } @mastersthesis {8312, title = {Figurative Expressionism in Boston and Its Germanic Affinities}, year = {1998}, school = {Boston}, abstract = {Karl Zerbe{\textquoteright}s development as a member of the German avant-garde in the 1920s and the branding of his work as entartete by the National Socialists made him a refugee and a carrier of German modernism to Boston in 1935. His painting and his teaching at the Boston Museum School and the display and acquisition of "Degenerate Art" by the Germanic (Busch-Reisinger) Museum and the Institute of Modern (Contemporary) Art in the late 1930s and 1940s made Northern European modernism a vital source of inspiration of Boston artists. Hyman Bloom and Jack Levine developed in Boston{\textquoteright}s Jewish-Germanic immigrant community where they studied art with Harold Zimmerman in the late 1920s before encountering the academic establishment through Denman Ross and the Fogg Art Museum in the early 1930s and developing their individual imagery through the 1950s. Zerbe{\textquoteright}s students, particularly David Aronson, Bernard Chaet, Reed Kay, Arthur Polonsky, Jack Kramer, Barbara Swan, and Lois Tarlow, were influenced by Zerbe, Bloom, and Levine, as well as by Germanic art, in the 1950s and {\textquoteright}60s. In 1955, Aronson brought Figurative Expressionism to Boston University where he reorganized the Art Division of the School for the Arts (formerly the School of Fine and Applied Arts). Philip Guston{\textquoteright}s tenure there in the 1970s, rekindled the debate over figuration as a valid modernist discourse and influenced many SFA students such as Jon Imber and William Harsh. The dissertation maps the structure of these relationships. It utilizes new interviews of the participants, archival materials, and stylistic analysis to reconstruct the environment which fostered this development. Boston Figurative Expressionism found its sources primarily in German Expressionist and Neue Sachlichkeit images by Kokoschka, Grosz, and Beckmann and in the writings of Brecht and Thomas Mann. In confronting issues of the immigrant experience, of personal and group identity in the modern world, of the role of the artist as witness to violence, prejudice, and corruption in modern society, and of the nature of the creative process and its formal and spatial implications, the Boston Figurative Expressionists engaged in a modernist discourse which presents an alternative approach to the trajectory of abstraction.}, keywords = {Pre-1945 North American and South American Art}, author = {Bookbinder, Judith} } @mastersthesis {8349, title = {Forging the Missing Links: Robert Campin and Byzantine Icons}, year = {1998}, school = {Case Western Reserve}, abstract = {As one of the earliest artists of the Northern Renaissance, Robert Campin is of key importance in the understanding of the development of painting in the Low Countries. Of the works attributed to this fifteenth-century Netherlandish painter, several show Byzantine influences. This dissertation explores the relationship between these paintings and painted Byzantine icons. One of the most important aspects of this study is to securely document the presence of Byzantine icons in the Low Countries and adjacent areas during the late fourteenth and early fifteenth centuries. Using information found in wills and inventories, I was able to document several icons then in private collections, and bring together information on the handful of Byzantine icons that still exist in present-day Belgium and neighboring areas. Contemporaneous accounts about how greatly these items were valued, both as luxury goods and as images imbued with spiritual power, served as the foundation for my argument about why Campin adapted Byzantine icons. This dissertation focuses upon three paintings attributed to Campin. Each of these works reflects Byzantine influences, though to varying degrees and in different ways. My study of Byzantine borrowings in the work of Campin begins with his Christ and the Virgin (Philadelphia Museum of Art, Philadelphia). This panel, with its trompe l{\textquoteright}oeil metal work and simple busts of Christ and the Virgin, represents a fairly straightforward adaptation of Byzantine works. Related stylistically to this painting is Campin{\textquoteright}s Virgin and Child (Stadelsches Kunstinstitut, Frankfurt). However, this full-length image of the Virgo lactans relies not only upon Byzantine imagery, but reflects Campin{\textquoteright}s interest in realism. The last painting addressed in my thesis is the artist{\textquoteright}s Saint Veronica (Stadelsches Kunstinstitut, Frankfurt). Although its debt to Byzantium is less obvious than the two other works, it nonetheless makes reference to that culture. It also shows Campin{\textquoteright}s interest in popular religious drama and documents popular beliefs about non-European costume. Identifying the influence of Byzantine art in Campin{\textquoteright}s paintings helps explain the artistic origins of this important but elusive master. It also elucidates one significant aspect of the development of early Netherlandish painting. Last, it suggests the importance of cross-cultural borrowings during the earliest period of the Northern Renaissance.}, keywords = {Renaissance Art}, author = {Thomas, Stanton} } @mastersthesis {8218, title = {Gabriel Max: The Artist, the Darwinist and the Spiritualist}, year = {1998}, school = {IFA/NYU}, abstract = {The reputation of Gabriel Max, a leading member of the legendary Munich school, has long been in eclipse. An artist of international stature, a noted scholar, gifted musician and committed social activist, he was an extraordinary figure for whom the designation "genre painter" does little justice. Born in Prague in 1840, by his death in 1915 he had been ennobled by the Bavarian state and granted an honorary doctorate by the University of Jena. The first distinction recognized his achievements as a painter, the second his equally intense commitment to the exploration of those branches of science then termed Natural History. Though Max is best known for his paintings of apes and spirits, these subjects occupied his easel only toward the latter part of his career. Like many of his contemporaries, he specialized in genre subjects with themes drawn from popular literature. Venturing into the realm of religious painting, he produced a series of highly controversial, deeply personal works whose character call into question the validity of traditional religious expression in the nineteenth century. Nevertheless, it was the artist{\textquoteright}s involvement with spiritualism and Darwinism which makes his oeuvre unique. He made no qualitative distinction between the two disciplines, believing that Darwinism explained where man came from and spiritualism revealed the final stage of the evolutionary process, the fate of the individual after death. To support his theory he accumulated a vast collection of materials, from spiritualist memorabilia and photographs to ape skulls and mammoth skeletons, setting them up in his home as a private museum. Additionally, he harbored a band of apes which he lived with and observed, then dissected, measured, drew and finally photographed after their death, using the data gathered to expand his research and facilitate his painting. While many artists painted singeries, Max created an unusual body of work in which apes enact biblical dramas, function as scientists, critics, and connoisseurs, even reveal the missing link between man and monkey.}, keywords = {19th- and Early 20th-Century European Art}, author = {Richter, Margaret} } @mastersthesis {8293, title = {Games}, year = {1998}, school = {New Mexico}, abstract = {No record in ProQuest}, keywords = {Post-1945 North American, South American, and European Art}, author = {Adams, Williams} } @mastersthesis {8340, title = {"Gli Asolani" and Some Venetian Paintings of the Early Cinquecento}, year = {1998}, school = {Delaware}, abstract = {This dissertation argues a close correlation between several Venetian paintings of the early-cinquecento and Pietro Bembo{\textquoteright}s vernacular dialogue, Gli Asolani (1505). One painting by Lorenzo Lotto (ca. 1505), one by Palma Vecchio (ca. 1515), and five paintings by Titian (ca. 1515) are the subject of these essays. In them I discuss poetic invention, feminine and masculine ideals, Classicism, Petrarchism, and Neoplatonism that are present in the text and also appear in the paintings. My primary methodology is textual. I draw comparisons between the literary text and the paintings. I also consider the cultural context, including manuscripts, letters and biographical evidence, to confirm these comparisons. Additionally, I address the artists{\textquoteright} invention by considering how their paintings fit within the Venetian and northern-Italian pictorial traditions and how they reflect the goals of Venetian painting outlined in Paolo Pino{\textquoteright}s Dialogo di pittura (1548), the first Venetian treatise on painting. Each of these paintings parallels some aspect Bembo{\textquoteright}s text. Lorenzo Lotto{\textquoteright}s A Maiden{\textquoteright}s Dream is a poetic invention like one of Bembo{\textquoteright}s Petrarchan poems. Three portraits by Titian, the Halifax Portrait of a Man, the Galleria Spada Portrait of a Musician, and the Frick Man in a Red Cap, all ca. 1515, conform to the masculine ideal of the humanist/courtier that emerged in Gli Asolani. Several paintings of women, all ca. 1515, reflect ideals of love and beauty presented within Gli Asolani. Titian{\textquoteright}s Flora compares to Gismondo{\textquoteright}s sensuous prose description, an ideal of beauty prevalent in vernacular literature. In Titian{\textquoteright}s Sacred and Profane Love, the woman in white mirrors the courtly Petrarchan beauty in one of Lavinello{\textquoteright}s canzoni, and the nude figure embodies Neoplatonic ideals of love and beauty discussed by the Hermit at the end of the dialogue. Palma Vecchio{\textquoteright}s La Bella reflects the enriched Petrarchan ideal in another of Lavinello{\textquoteright}s canzoni. Sacred and Profane Love contains a multitude of additional reference to the argument of Gli Asolani, notably its Neoplatonic ideas and structure, which contribute significantly to the painting{\textquoteright}s meaning. Titian created the painting during a time when Bembo, a friend of the patron, visited Venice and republished Gli Asolani .}, keywords = {Renaissance Art}, author = {Gregory, Judith} } @mastersthesis {8212, title = {Hannah Hoch Post Dada}, year = {1998}, school = {Minnesota}, abstract = {No record in ProQuest}, keywords = {19th- and Early 20th-Century European Art}, author = {Markholm, Kristin} } @mastersthesis {8318, title = {Henry Dreyfuss and American Industrial Design}, year = {1998}, school = {CUNY}, abstract = {Henry Dreyfuss (1904-1972) was one of the pioneers of the industrial design profession in the United States. A native of New York City, he attended public schools in Manhattan until he was offered a scholarship by the Society for Ethical Culture, allowing him to attend the Society{\textquoteright}s High School for his last two years of formal education. Afterward he worked as a student-apprentice to Norman Bel Geddes, a major figure in the establishment of industrial design in the late 1920s. After leaving Bel Geddes{\textquoteright}s office, Dreyfuss began producing stage shows and by the end of the 1920s had made the transition to the Broadway theater. In 1929, he opened an office for industrial design on West 48th Street; among his first employees was Doris Marks, his business manager who also became his wife. Dreyfuss{\textquoteright}s early designs focused on articles intended for mass production. By the second half of the 1930s, Dreyfuss could point with pride to a client list that would retain his services for decades to come: among others, Bell Telephone Laboratories, Deere \& Co., Minneapolis-Honeywell Regulator Company, and the New York Central Railroad. Wartime work for the U.S. Government and Armed Forces included the Situation Room for the Joint Chiefs of Staff and the redesign of a 105mm anti-aircraft gun. Out of this wartime environment grew his and his colleagues{\textquoteright} interest in what would become known as human factors (ergonomics), which emphasized the interface between man and machine and the assemblage of accurate information on human dimensions. Post-war work was diverse, while restricted to an average of fifteen major clients in any given year: Dreyfuss insisted on being able to personally supervise the work undertaken by his two offices. In 1969 he turned control of the firm over to Bill Purcell, Jim Conner, Niels Diffrient, and Don Genaro. These men were the new partners in Henry Dreyfuss Associates, which began a new era in 1969 when the founder left to pursue personal interests as a corporate consultant and, with Doris Marks and other assistants, to compile his last major contribution to the profession, the Symbol Sourcebook (1972).}, keywords = {Pre-1945 North American and South American Art}, author = {Flinchum, Russell} } @mastersthesis {8202, title = {Historicizing Matisse{\textquoteright}s Representations of Women: Gender and Artistic Expression in the Age of Consumer Culture}, year = {1998}, school = {Minnesota}, abstract = {Henri Matisse{\textquoteright}s odalisques and his representations of the artist{\textquoteright}s model have received little attention in the literature. Nevertheless, the sensuous female figure constitutes one of Matisse{\textquoteright}s primary motifs. Rather than focusing on art historical precedents for Matisse{\textquoteright}s sensuous women, this study locates his odalisques and images of the artist{\textquoteright}s model within the context of the artist{\textquoteright}s evolving aesthetic outlook and the mass-disseminated imagery of his own time. Chapter Two analyzes the evolution of the meaning of Matisse{\textquoteright}s numerous representations of himself with his model. Photographs of Matisse with his model as well as Matisse{\textquoteright}s representations of the motif are examined in light of the artist{\textquoteright}s evolving aesthetic concerns and the changing profession of the artist{\textquoteright}s model. Matisse{\textquoteright}s earliest representation of the motif in Carmelina of 1903 was tied to the professional context of the communal atelier and represents the academic values of professional disinterestedness and rational analysis. From 1916 on, Matisse{\textquoteright}s treatment of the motif reflected his commitment to working from nature, as well as his new practice of working one-on-one with specific favored models. Here, the model is an important symbolic figure representing woman as the object of desire, and reflecting the twentieth-century commingling of the discourses of aesthetics and sexual desire. Chapters Three and Four analyze the illustrated journals featuring photographs of female nudes consulted by Matisse from roughly 1904 to 1909. Matisse{\textquoteright}s sculptures and paintings of this period share many of the characteristics of the mass-distributed photographic academies and erotic postcards that flourished in the early twentieth century. A comparison of the poses assumed by models represented in communal ateliers and those featured in the photographic discourse indicate that Matisse{\textquoteright}s eroticised treatment of the female figure owes a great deal to the mass-distributed imagery marketed to artists and voyeurs alike. Although he worked from the live model from 1916 through the 1920s, Matisse{\textquoteright}s odalisques of this period were fundamentally shaped by the orientalism prevalent in this commercial photographic discourse.}, keywords = {19th- and Early 20th-Century European Art}, author = {Briggs, Patricia} } @mastersthesis {8288, title = {Hysteria, Charcot, and Photography in Late Nineteenth- Century France}, year = {1998}, school = {New Mexico}, abstract = {No record in ProQuest}, keywords = {Photography and Film}, author = {Hymer-Thompson, Karen} } @mastersthesis {8325, title = {The Ideal Catalogue House: Mail-Order Architecture and Consumer Culture, 1914-1930}, year = {1998}, school = {CUNY}, abstract = {This dissertation explores the mail-order house and its relation to aspects of consumer culture, establishing a context for understanding its popular appeal and its notable presence in the competitive housing market between 1918 and 1930. Fueled by a demand for housing, and widely promoted during a period of economic prosperity which ushered in an interest in consumerism associated with home ownership, the mail-order house, assembled from pre-cut lumber and sold by mail-order suppliers, represented an affordable and appealing means for consumers to acquire the aesthetic and material elements associated with the ideal house and home. The dissertation articulates the popular appeal and critical reception of mail-order houses in order to gain greater understanding for their presence in the housing market of the 1920s. By reviewing contemporary government publications, articles and commentaries printed in the professional and popular press, as well as the contents of the trade catalogues, this dissertation places mail-order houses in an appropriate social and historical context. In doing so, it is thus revealed that they appealed not only to middle class home buyers, but were favored by industrial corporations for workers housing, and were simultaneously embraced by real estate entrepreneurs for an upper class clientele in emerging suburban developments. The geographic placement of mail-order houses strongly indicates that these houses had a great impact on the appearance of cities and towns in the United States, as well as elsewhere. By investigating both large national manufacturers as well as small regional companies that frequently advertised, and produced mail-order houses to a diverse consumer population, this dissertation presents a background for understanding the broad scope of the mail-order house business. The dissertation reviews trade materials to explore the methods by which mail-order houses were designed, marketed, and targeted to appeal to a broad range of consumer interests. Comparing manufacturers{\textquoteright} points of view with popular attitudes, tastes, and trends of consumer culture, it concludes that the variety of architectural styles, goods and services offered by the various competitors afforded consumers the opportunity to acquire through catalogues their own mail-order versions of the "ideal" house and home.}, keywords = {Pre-1945 North American and South American Art}, author = {Joselow, Evie} } @mastersthesis {8234, title = {Idees Recues: The Role of Theory in the Formation of Postmodernism in the United States, 1965-1985}, year = {1998}, school = {Harvard}, abstract = {Theories of postmodernism gained currency in American art and criticism in the early 1980s, becoming the prevalent model of vanguard art by the mid-{\textquoteright}80s. Two ideas dominated such theories; the redundancy of Greenbergian modernism, and the equivalence of postmodernism with "French theory" (variously identified as poststructuralism, semiotics, structuralism, or deconstruction). Consequently, both the history of postmodernism and the role of theory were reduced to an opposition between formalism and poststructuralism. This thesis will argue that the development of this limited definition of postmodernism was the result of circumstances specific to the United States; in particular, the anti-formalist rhetoric of vanguard art and criticism in the 1960s and {\textquoteright}70s. This tendency bracketed the definition of postmodernism as a revisionist reading of non-formalist modernisms. In the late 1960s, a vanguard grouping of minimal, conceptual, and earthworks artists drew broadly on theory, using literature, literary criticism, the philosophy of language, phenomenology, and countercultural ideologies to contest the hegemony of formalist criticism. Such artists defined themselves as postmodernists in anti-formalist, rather than poststructuralist terms. Following the lead of artists, disaffected formalist critics explored new theoretical models in their defence of the post-formalist avant-garde. The circulation of poststructuralist theory increased through the 1970s, but the pluralist character of the decade, founded on anti-formalism, exacerbated the tendency to define postmodernism in binary opposition to formalism. This led to the dominance of notions of rupture and redundancy, closing off the possibility of revisionist readings of modernism. At the same time, pluralism created a demand for the nomination of a new mainstream, resulting in definitions of postmodernism produced by adversarial and territorial ambitions rather than theory as such. In the 1980s, the rise of neo-conservatism further exaggerated the division of criticism into radicals and opportunists. Read through such territorial divisions, poststructuralist theory had an instrumental value, being used to establish the succession of postmodernism over modernism, or to defend a {\textquoteright}60s-derived radicalism against {\textquoteright}80s conservatism. At the same time, the narrow, binary definition of postmodernism made it vulnerable to appropriation and commodification in a boom market. This commodification of theory returned proponents of poststructuralism back to the revisionist impulse of the early 1970s, but only after a decade-long diversion.}, keywords = {Art Criticism and Theory}, author = {McAuliffe, Chris} } @mastersthesis {8258, title = {The Illuminated Manuscripts of William of Tyre{\textquoteright}s Histore D{\textquoteright}Outremer: Political Code in Thirteenth-Century Crusader Painting}, year = {1998}, school = {Florida State}, abstract = {No record in ProQuest}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Cone, John A.} } @mastersthesis {8257, title = {The Illustrated "Vie et Miracles de Saint-Louis" of Guillaume de Saint-Pathus (Paris, B.N., Ms. fr 5716)}, year = {1998}, school = {Michigan}, abstract = {An illustrated copy of Guillaume de Saint-Pathus{\textquoteright} Vie et miracles de saint Louis, made in Paris in the 1330s, contains ninety-two miniatures, making it the most extensive fourteenth-century pictorial cycle of Saint Louis to survive. This dissertation provides a study of this long-neglected manuscript, one which offers us a unique opportunity to observe how Louis{\textquoteright} life was constructed and utilized by those who had the most to gain from fostering his cult. While the precise circumstances of its commission remain a mystery, arguments are made that Jeanne of Bourgogne, the wife of Philippe VI, may have been its patron. The dissertation systematically identifies, for the first time, the iconographical content of the miniatures in this cycle. By doing so, an important visual document is brought to the attention of the scholarly public. In addition, the character and significance of the illustrated Saint-Pathus as it draws insight from and sheds light on the political and social realities within the courts of the first Valois kings are explored. The illuminator of Ms. fr. 5716, possibly Mahiet, did not draw from the well-established Capetian repertory of Louis imagery. Indeed, significant changes in the iconographic formulae--seen also in precisely contemporary Saint Louis cycles--seem related to historical circumstances. This manuscript was produced during a time of great political unrest, a situation precipitated by the dynastic shift from Capetian to Valois rule. It is argued that the illustrated Saint-Pathus, by casting Louis as a royal pedagogical model, served as a vehicle for explicating and validating a political process in which royal parents, through personal ministrations and instruction, ensured that each succeeding generation was rendered deserving of the crown. Parallels are drawn to ideas contained in political and pedagogical manuals read contemporaneously in court circles. The historical Louis, as presented in this manuscript, emerges as a politically charged image which reflects certain changing notions of kingship at a critical juncture in French dynastic history. The fact that later Valois would take this image of Louis to heart, and further exploit its potential as a model for their own behavior, is an indication that the illustrated Saint-Pathus captures well the political climate of the early Valois era.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Chung-Apley, Jane Geein} } @mastersthesis {8217, title = {Imaging the Artist: Cezanne and the Rhetoric of the Self-Portraits}, year = {1998}, school = {IFA/NYU}, abstract = {Through a study of the artist{\textquoteright}s self-portraits, the dissertation provides a fundamental reinterpretation of the painter, Paul Cezanne. "Cezanne, Self-Portraits, And The Construction Of A Radical Persona"--the initial chapter--reinterprets and attempts to clarify the opening decade of the youthful Cezanne{\textquoteright}s tumultuous early career. Indeed, the images reveal an ambitious young man who came to Paris to assert his right to be an artist but also to leave a mark on the French art world. Through his art and conduct, Cezanne astutely fashioned an artistic persona that positioned him in opposition to both the Salon and the avant-garde community. The second chapter, "Reconstruction of the Self: Cezanne And The Recall To Order," scrutinizes the painter{\textquoteright}s self-portraits of the 1870{\textquoteright}s. Through an analysis of these images, the section provides a new explanation for Cezanne{\textquoteright}s move to Pontoise, for his brief flirtation with the Impressionist technique, and finally, for his adoption of a more personal-idiosyncratic style characterized by the "constructive stroke." Chapter three, "La Belle Dame Sans Merci: Cezanne{\textquoteright}s Narrative Self-Portraits And The Femme Fatale," takes a new and radically different view of a series of paintings in which the artist injects himself into the pictorial narrative of the canvas. In each of the narrative self-portraits, Cezanne exhibits an anxiety that translates into a negative--one might even say misogynistic--representation of women in which the primary female actor acquires the characteristics of the standard nineteenth-century femme fatale. It is Cezanne{\textquoteright}s fascinating relationship with this perversely negative icon of the feminine which is explored here for the first time. While the self-portraits discussed in the final chapter, "The Topography Of The Self: Cezanne And The Final Decades," exhibit certain characteristics of their predecessors, the emphasis of these self-images has changed. Rather than employing his self-representations as a pictorial assertion of his evolving personality, Cezanne utilizes these images primarily, though not exclusively, to look inward, as if he were taking stock of his life, providing invaluable insight into one of the great masters of European art.}, keywords = {19th- and Early 20th-Century European Art}, author = {Platzman, Steven} } @mastersthesis {8222, title = {The Impression to Excess: Color and Drawing in Cezanne}, year = {1998}, school = {Harvard}, abstract = {The Impression to Excess: Color and Drawing in Cezanne is an examination of the relationship between color and drawing in Cezanne{\textquoteright}s art. It traces a shift in the artist{\textquoteright}s career from an ambition, in his mature work (1880-1895), to fuse the functions of color and line in a single stroke of paint, to an affirmation of their discontinuity in his late work (1895-1906). In four chapters I explore the stages of this shift. I begin with a discussion of Cezanne{\textquoteright}s technique of painting with modular strokes of paint, a technique that was consolidated around 1880 as a reaction against the Impressionist reduction of painting to pure color. The so-called "constructive stroke," I argue, signifies a recovery of a unity of color and line in a single mark. In chapter 2 I address the simultaneous appearance of unfinish in Cezanne{\textquoteright}s paintings as a by-product of this atomistic technique of painting with modular strokes of paint. Examining the structure of absence and presence that results, I argue that unfinish submits Cezanne{\textquoteright}s paintings to a temporality of infinite waiting. In chapter 3 I discuss Cezanne{\textquoteright}s work in watercolor. I try to show how his work in this medium is a meditation on the strange composite identity of the medium itself, in which a painting, based on a chromatic system of figuration, is literally superimposed upon a drawing, which operates according to a tonal figurative system. Finally, I examine Cezanne{\textquoteright}s late work in oil. I set this work in the context of a general trend toward decorative flatness in painting in the 1890s, exemplified by Gauguin, Bernard, Denis, and Anquetin. Against Greenberg, I argue that, rather than affirming the flatness of painting in his late paintings, Cezanne resists it instead. He accomplishes this by generating a depth of field in the physical surface itself of his late oil paintings, thereby exploiting a discontinuity between color patches and painted contours. The Impression to Excess tries to show how this shift in the artist{\textquoteright}s ambitions from continuity to discontinuity of color and drawing signifies a shift in priorities away from the visual experience of the depicted motif and towards a concentration on the phenomenology of the surface of painting itself. Consequently, I show at each step along the way how Cezanne increasingly places the analogy between painting and vision in doubt as his career develops.}, keywords = {19th- and Early 20th-Century European Art}, author = {Simms, Matthew} } @mastersthesis {8261, title = {In the Image of the King: The Chapel of Henry VII at Westminster Abbey}, year = {1998}, school = {Emory}, abstract = {This work presents an integrated study of the architecture, sculpture, and stained glass of the Chapel of Henry VII (1503-12), which was built by the first Tudor monarch as the Lady Chapel at Westminster Abbey. As a comprehensive study of the architectural whole, it analyzes the structure and its imagery within the context of the political circumstances and devotional practices of late medieval England. In addressing issues that concern the fabric of the chapel, the history of its construction, the sources of its design, the identity of its architect and others involved in its devising, the objectives of its heretofore unrecognized iconographical program, and the factors that prompted Henry VII to undertake its patronage, the study revises and reinterprets the imagery, meaning, and purpose of a structure that has been recognized for years as a key monument of late medieval architecture. The Chapel of Henry VII, in fact, is essentially an architectural biography of its patron, whose image is indelibly marked in its stones. Indeed, the structurally unique and sculpturally ornate Lady Chapel documents the devotional interests and political ideology of the king, reflects influences from Henry VII{\textquoteright}s exile in Brittany, and reveals the instrumental role played by his mother Lady Margaret Beaufort in the creation of an edifice that represents a truly remarkable flowering of late medieval ingenuity.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Henderson, Virginia Knox} } @mastersthesis {8255, title = {Innovation and Popularization: Printmaking and Print Publishing in Haarlem during the 1620s}, year = {1998}, school = {Columbia}, abstract = {This dissertation surveys the work and lives of four printmakers and one print publisher, all active in Haarlem in the 1620s: Willem Akersloot, Cornelis van Kittensteyn, Cornelis Koning, Gillis van Scheyndel and Jan Pietersz Berendrecht. It examines the success of their endeavors in the print trade, as well as their failure to remain in that field in the long run. Their prints, which have been little studied, are diverse, covering a wide range of image types from landscape and costume to portraiture and current events. These images participate in many of the established traditions of printed imagery, while they also helped to define the evolving genres of seventeenth-century Dutch art. Chapter one examines the fertile conditions that made Haarlem a magnet for artists in the early seventeenth century. Connections are made between the legend of the invention of the printing press in Haarlem, the predominance of printmaking and the origins of Dutch landscape art there. Chapter two describes the printed output of the printmakers, starting with a discussion of so-called genre depictions, which are often overlooked in the intensity of the focus on landscape in Haarlem. Jan Pietersz Berendrecht{\textquoteright}s life and his activities in the art and print trade are the subject of chapter three. He played a critical role in the etching career of Esaias van de Velde, and hence in the history of Dutch landscape art. A printer, not a printmaker and a founding member of the book trades guild established in Haarlem in 1616, he only published prints until about 1630, after which he gradually sold off his plates to other publishers and moved to The Hague, where he had already been doing business for many years. In chapter four the lives of the four printmakers in question are examined, nearly all of whom came from upwardly mobile families. They started their careers around 1620, but the information presented here reveals that they too stopped making prints around 1630, one by one moving on to other careers.}, keywords = {Baroque and 18th-Century European}, author = {Wyckoff, Elizabeth} } @mastersthesis {8289, title = {An Inside View: Photographs of Domestic Interiors}, year = {1998}, school = {New Mexico}, abstract = {No record in ProQuest}, keywords = {Photography and Film}, author = {Robinson, Michal} } @mastersthesis {8335, title = {Ippolito Scarza and the 16th-Century Renovation Projects at Orvieto Cathedral}, year = {1998}, school = {IFA/NYU}, abstract = {Orvieto Cathedral, one of the most famous medieval churches in Italy and the home of a venerated relic of a medieval Eucharistic miracle, was completely renovated during the course of the sixteenth century. Altar-pieces, frescoes, stucco decoration, marble statues and reliefs, and church furnishings were commissioned by the Cathedral council, the Opera del Duomo, in response to changes in liturgical and devotional practices during the period of Catholic reform and the Counter-Reformation. In these same years the facade of the cathedral was completed. A late nineteenth-century restoration project destroyed or removed much of the sixteenth-century work from the cathedral interior. This thesis, based on a careful examination of the original documents in the cathedral archive and including a volume of transcriptions, presents a reconstruction of the sixteenth-century renovation projects in all media, and an epilogue devoted to the completion and decoration of the facade. Ippolito Scalza (ca. 1532-1617), an Orvietan sculptor and architect, was capomaestro of the cathedral workshop for fifty years, participating in or overseeing the execution of much of the work, while creating several groundbreaking works of sculpture for the cathedral interior. His work in the cathedral and his situation as a native artist working in a small, provincial town are examined in the context of the renovation projects. A discussion of the cathedral fabric includes evaluations of the cathedral interior in the early sixteenth century and today. A chapter on the role of the papacy in Renaissance Orvieto, traditionally a papal stronghold, presents the historical context for the renovation projects. The patronage process is treated in detail, considering the central role of the civic, lay council, the Opera del Duomo, as well as such outside agents of influence as popes, bishops, private citizens, and artists. Single chapters discuss each of the major renovation projects, within the context of the cathedral decoration as a whole and in the more general context of renovation trends in Italy as a whole.}, keywords = {Renaissance Art}, author = {Cambareri, Marietta} } @mastersthesis {8267, title = {Jean Fouquet as a Painter of National History}, year = {1998}, school = {IFA/NYU}, abstract = {This dissertation was completed at New York University{\textquoteright}s Institute of Fine Arts in 1997, under the supervision of Professor Jonathan Alexander. In it, I study Jean Fouquet (c. 1405/20-c. 1480) as a painter of national history, looking at three of his manuscripts: a now-lost copy of Noel de Fribois{\textquoteright}s Abrege des chroniques de France, presented to Charles VII; a Grandes Chroniques de France, probably made for Charles VII; and Josephus{\textquoteright}s Jewish Antiquities, painted for Jacques d{\textquoteright}Armagnac. The dissertation has three sections. The first outlines the context for Fouquet{\textquoteright}s work, summarizing his career, the Hundred Years War, and contemporary French nationalism. The second studies archaizing devices in French manuscript painting. I argue against the prevalent belief that late medieval depictions of historical events are entirely anachronistic, noting that costume and architecture frequently signify historical distance. At the same time, some intentional anachronisms underline connections between past and present. In the third section, I look at each of Fouquet{\textquoteright}s national histories. I begin with Fribois{\textquoteright}s Abrege, arguing that Fouquet illuminated the now-lost presentation copy by linking several extant copies to other works by Fouquet. I study Fouquet{\textquoteright}s Grandes Chroniques in the context of France{\textquoteright}s recent triumph in the Hundred Years War. Reconstructing the largely non-political criteria which determined the program, I demonstrate that Fouquet{\textquoteright}s cycle is not directly determined by its contemporary context. Indeed, it was more important simply to have pictures than to have pictures of specific events. Nevertheless, some political themes do emerge, revolving around the king{\textquoteright}s religious role, French crusades, and rivalry with the English. Finally, I examine the Josephus. Here, analyzing the criteria used to select events for illustration reveals that the cycle was carefully assembled to stress the oscillating rise and fall of the Hebrews. Fouquet{\textquoteright}s miniatures highlight narrative continuity over a period of centuries, and suggest analogies between Hebrew and French history. Contemporary writers made similar analogies, claiming the French as God{\textquoteright}s new chosen people or using Jeremiah{\textquoteright}s lament for Jerusalem to mourn French suffering.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Inglis, Erik} } @mastersthesis {8300, title = {Jean Tinguely: Technology and Identity in Postwar Art, 1953-1970}, year = {1998}, school = {UC Santa Barbara}, abstract = {The Swiss kinetic sculptor Jean Tinguely (1925-1991) is one of the major artists of the postwar years. My work focuses on the machines he produced in the 1950s and 1960s. During these years Tinguely developed his signature style and made works which address issues he would return to throughout his career. I begin by discussing Tinguely{\textquoteright}s early work as a product of his Bauhaus-inspired training in Switzerland. I then show how his works addressed issues of national identity in Switzerland, France, and the United States during a time when recovery from the horrors of World War II and the privations of the immediate postwar years were followed by the extraordinary economic take-off that fueled the emergence of present-day consumer culture. Tinguely used his works to critique this culture and took aim at specific political developments, including the arms race. In addition, he humorously critiqued postwar experiments in literature, music, and the visual arts. Finally, the erotically anthropokinetic machines he produced in the 1960s address issues of masculine identity and the continual conflict between freedom and desire.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Doerr, Andrew} } @mastersthesis {8327, title = {Jens Fredrick Larson and American Collegiate Georgian Architecture}, year = {1998}, school = {Louisville}, abstract = {Jens Fredrick Larson, a leading campus architect and planner, was born in Boston in 1891. Larson enjoyed a very long and successful career designing and planning a number of major collegiate complexes. His book, Architectural Planning for the American College (1933) carried his influence even farther. He retired in 1971 and died, in Winston Salem, in 1981. What makes Mr. Larson{\textquoteright}s work of such note is not merely the volume of his work (built and unbuilt) nor the thoughtfulness of his planning, rather it is that he chose to design in a style that was not en vogue. His work was primarily in the Georgian, or Georgian Revival, style, a Classical mode which carries with it ideas of history, order, proportion, symmetry, harmony, and tradition all functioning as an ontological model. Although eminently successful, Larson and the Beaux-Arts/Neo-Georgian style fell into increasing disfavor in post World War II America. In spite of Modernism{\textquoteright}s pervasive influence in the design of that utopian ideal, the American college campus, Larson steadfastly refused to adapt to the new taste. In addition to documenting Larson{\textquoteright}s education, major projects, and cataloging his work, there are stylistic issues that require investigation. The issue of traditionalism in the history of twentieth-century American architecture is significant for its own contributions, but also for what light it can shed on the benefits, the detriments, and the motives of Modernism.}, keywords = {Pre-1945 North American and South American Art}, author = {Miller, Rod} } @mastersthesis {8245, title = {The Jesuit and the Visual Arts in Spain, 1670-1767}, year = {1998}, school = {IFA/NYU}, abstract = {During the last third of the seventeenth century and until their expulsion in 1767, the Society of Jesus was one of the most powerful religious organizations in the Viceroyalty of New Spain. Through a series of studies, this dissertation examines several ways in which their privileged position affected the realm of the visual arts. Each chapter investigates a different area of Jesuit activity which spans the ideological defense of religious images to the material production of art works. The subjects selected reflect the extent to which Jesuit involvement with the visual arts extended beyond the construction and decoration of their own churches and schools. Thus, they include the role of the Jesuits of New Spain in the international art market as facilitators of European imports, as well as their promotion of both European and colonial devotions and the images surrounding them. Throughout, the complex nature of Jesuit identity in the colonial context provides a unifying thread. A salient characteristic of the Jesuits in New Spain was their participation in the formation of a sense of creole identity, most clearly symbolized by their promotion of the Virgin of Guadalupe of Tepeyac. At the same time, the Society of Jesus included the single largest group of foreigners in the viceroyalty. This jesuit multinationalism, on the one hand, and creole sensibility, by birth or persuasion, on the other, mingled in New Spain to produce extraordinary results. Through analytical readings of Jesuit sources and through surviving images as well as unpublished archival material, these studies bring into focus a variety of issues related to the presence of the Jesuits in the viceroyalty: for instance, their control of the production and viewing of images by native audiences on the one band and elite groups on the other; their seduction of patrons; and their propagation of a taste for Italian paintings and polychromed sculptures in the eighteenth century.}, keywords = {Baroque and 18th-Century European}, author = {Alcala, Luisa} } @mastersthesis {8281, title = {The Laconian-Style Roof: Development, Distribution, and Technology}, year = {1998}, school = {Missouri}, abstract = {The Laconian roofing system emerged in Sparta in the mid-seventh century B.C. as an ornate protective covering for temples. The technology spread quickly to Arcadia, with local variations in decoration and design, but with the same essential purpose. Laconian tiles also appeared outside the Peloponnese in the Early Archaic period, especially in the Islands and in Central Greece. Trade in tiles was primarily intra-regional and cannot account for the rapid distribution of the technology to so many regions of Greece. Traveling artisans probably account for the arrival of decorative roof elements at sites such as Aegina, Delphi, and even Sardis. At these sites the disc akroteria, and perhaps the entire roof or even the entire temple, constitutes a gift from the Spartans to an important sanctuary or ruler. Most examples of Laconian-style tiles outside the Peloponnese differ too significantly in design and conception from their Peloponnesian counterparts to be the products of Laconian craftsmen. Roofs from Samos have different dimensions, profiles, and design elements, as well as a local decorative vocabulary to distinguish them from Laconian examples. A series of roofs from Naxos also differs in material, being made of marble. All the Island examples, however, apparently roofed sacred buildings. Tiles produced in Boeotian workshops, while similar in material and design to their Laconian parallels, covered domestic and other non-sacred architecture, even when used in sanctuaries. These differences suggest a technology that was not distributed directly by trade in a commodity or taught by traveling artisans, but one which spread as an idea through observation or report. Local workshops learned of the concept of curved Laconian tiles and adapted it to familiar production techniques, materials, and usage. Available anthropological models of trade can be used to study and explain this exchange of technology, but as with any component of a trade network it is important to understand the overall trade relationship between the partners before the special circumstances involved in the exchange of ideas and technology can be fully examined.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Skoog, Victoria} } @mastersthesis {8298, title = {Le Nouveau Realisme: Fetishism and Consumer Spectacle in Post-War France}, year = {1998}, school = {Bryn Mawr}, abstract = {This dissertation examines the 1960s Paris-based avant-garde movement Le Nouveau Realisme, and argues for a re-evaluation of specific Nouveau Realiste works associated with the themes of sexual fetishism and commodity fetishism. Against standard readings of Nouveau Realisme as an uncritical mirror of capitalist abundance, I argue that Nouveau Realisme occupied a deeply ambiguous position, caught between the seriality, optimism, and commercial icons of 1960s modernity, and a rampant nostalgia and mourning for the past. Works by the Nouveaux Realistes--Arman, Christo, Niki de Saint-Phalle, Daniel Spoerri, Martial Rayssel Jean Tinguely, Gerard Deschamps, Yves Klein, Raymond Hains, Jacques de la Villegle, Mimo Rotella, Francois Dufrene, and Cesar--can be seen to enact a complex and ambivalent dialogue with themes of consumption and commodity spectacle, seduction and abjection. Pieces such as Saint-Phalle{\textquoteright}s Tirs, Spoerri{\textquoteright}s Epicerie, or Tinguely{\textquoteright}s La Vittori and Rotozaza III are examined for their contestation and ironic subversion of contemporary machineries of commercial and sexual display. This thesis approaches Nouveau Realisme from the perspective of both French critical debates of its period, and current theoretical concerns. Following a discussion of the movement{\textquoteright}s founding manifestoes by Pierre Restany, the thesis focuses firstly on its largely unflattering critical reception in the United States, and secondly on its highly charged reception in France. Restany{\textquoteright}s characterizations are contrasted with condemnations of the movement by figures such as the International Situationists, critic and Mythologies Quotidiennes curator Gerald Gassiot-Talabot, and artist Daniel Buren. Nouveau Realisme{\textquoteright}s positioning as a form of "neo-dada" is also examined in the light of French debates on Marcel Duchamp{\textquoteright}s post-war artistic and philosophical legacy: a legacy colored by questions of political contestation and avant-garde radicality. Arguments by critic Alain Jouffroy and the parodic magazine Daily Bul further extend these debates. Against this context of historical debate, my discussion proposes a further undertaking: the "re-animation" of Nouveau Realiste art and criticism through its grafting onto concerns of the present; and the similarly fetishistic extension, supplementation, and querying of contemporary theoretical discussions of fetishism through exposure to Nouveau Realiste imagery.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Carrick, Jill M.} } @mastersthesis {8328, title = {The Life and Work of Claude Hirst (1855-1942)}, year = {1998}, school = {Missouri}, abstract = {In a New York Times article of 1922, Claudine Raguet Hirst was described as "the female Harnett," a reference to successful still-life painter William Michael Harnett (1848-1892). This was high praise for a woman artist to have received at that time. Yet, like many women artists, Hirst has been omitted from the art historical canon. This dissertation, the first scholarly examination of Hirst, establishes a chronology of Hirst{\textquoteright}s life, and brings together the body of her work so that it may be examined in its entirety. To do so, this dissertation examines the circumstances of women artists of Hirst{\textquoteright}s time, as well as the art world of New York during the end of the nineteenth and beginning of the twentieth centuries. In addition, this dissertation proposes answers to the question, why did Hirst, and other women artists, paint still-life compositions? In addition to chronicling her personal and professional lives, this dissertation examines the body of her artistic work. Accurately titling and dating extant paintings was one of this researcher{\textquoteright}s primary tasks, in addition to identifying 117 total works. By dividing her oeuvre into three periods that reflect stylistic and thematic changes and developments, her growth as an artist is evident, and her oeuvre becomes comprehensible. Understanding Hirst{\textquoteright}s oeuvre highlighted her contributions to the still-life genre. She executed her compositions in the "masculine" trompe l{\textquoteright}oeil manner, but frequently used the "feminine" medium of watercolor to do so. She worked in the gender-appropriate category of still-life painting, but rather than floral paintings, she rendered "bachelor" and library table compositions. Finally, she opened the painted books and presented to the viewer, thus adding a narrative layer to a genre usually appreciated for its formal qualities.}, keywords = {Pre-1945 North American and South American Art}, author = {Neal, Christine} } @mastersthesis {8262, title = {Living Testimony: Exemplary Old Testament Narratives on the North Transept Facade of Chartres Cathedral}, year = {1998}, school = {UC Berkeley}, abstract = {This study centers on the fight portal of the Chartres north facade, a portal entirely devoted to Old Testament imagery, much of it narratives of surprising length and clarity for the sculpture of the period. Chapter one presents the state of research on the production, condition, and dating of this sculpture within its architectural context, concluding that the north transept terminal was designed from the beginning to have three portals and a porch. Of those portals, the Old Testament portal was created last, finished in ca. 1215. Chapter two offers an extended analysis of the biblical thematics of the Old Testament portal, arguing that its tympanum and archivolts pose the problem of captivity-an analogue for life in the world, in time-while the embrasure statues and lintel respond with a solution in the form of just and wise rule. More particularly, the portal presents the challenge of belief in terms of a thematization of vision and blindness and a gestural rhetoric of sincerity and hypocrisy. In examining the imagery{\textquoteright}s narrative construction as the means by which its historical and tropological dimensions were conveyed, I call into question the standard interpretive move which appeals solely to typology and instead seek parallels with contemporary exegesis and literature. I also link the imagery to contemporary Parisian theologians{\textquoteright} interest in practical ethics and to new pastoral initiatives. Chapter three situates the program of the Old Testament portal in its physical and functional context as both entrance to the cathedral and frons scenae for activities outside it. Investigation of the cathedral{\textquoteright}s facades in light of liturgical usage and the surrounding urban fabric makes it possible to specify who saw what when and thus which themes were deemed appropriate for target audiences in particular parts of the cathedral precinct. I suggest that the Old Testament portal presents a reflection on history that corresponded to the season of Lent. Located facing a part of the precinct consistently associated with the authority of the cathedral clergy, the Old Testament imagery worked to guide both clerical and lay participants in such rites as private confession and public reconciliation.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Hollengreen, Laura Holden} } @mastersthesis {8329, title = {Local Views, National Visions: Art, New England, and American Identity, 1890-1920}, year = {1998}, school = {Pennsylvania}, abstract = {Between 1890 and 1920, depictions of New England landscapes and figures came to occupy a prominent place in American culture. Artists and critics hailed these images of the region not only for their aesthetic qualities but for their embodiment of ideals of community and nationhood. I argue that producers and consumers of art mobilized high culture to promote a particular vision of New England, one they hoped could transcend ethnic, class, and other divisions and animate a national collective spirit. While many of the paintings and sculptures under consideration entered major American collections, they have eluded analysis as a corpus because they cross boundaries of medium, genre, and style. This dissertation reclaims a thematic unity, positioning the efflorescence of New England images within a larger turn-of-the-century attempt to shape an American national character. Through a series of case studies, each of which draws on a range of primary sources, from the art work and its reception to articles about contemporary issues, this study explores the nexus of nationalism, art, and style. The opening chapters treat the idea of New England in the public sphere, focusing first on the Chicago World{\textquoteright}s Fair of 1893 as a defining moment in the artistic reconception of New England and then on the social history of three public sculptures. The final chapters consider the potent appeal of images of the New England countryside and the significance of the American Impressionist landscape genre. In these works, an iconography of belonging, expressed through the use of particular landscape motifs that explicitly evoked signs of community, materialized. New England was formulated as a repository of values that deserved emulation and offered what the raw, untamed West and other regions could not: tradition, lineage, and time-tested values, qualities seemingly threatened by the estranging forces of industrialization and immigration.}, keywords = {Pre-1945 North American and South American Art}, author = {Rosenbaum, Julia B.} } @mastersthesis {8344, title = {The Lutheran Paintings of the Cranach Workshop, 1529-1555}, year = {1998}, school = {Northwestern}, abstract = {My dissertation examines the religious paintings of the Lucas Cranach workshop in Wittenberg during the first decades of Lutheran reform. I argue that a new function of religious images within the framework of the new faith distinguishes Lutheran art from Catholic art of the early modern period, as well as from art of the later Middle Ages. Some of these functional characteristics include pronounced didacticism, antithesis as a rhetorical strategy, and deflection of veneration. I begin my study of Cranach{\textquoteright}s Lutheran art in 1529, the year when Cranach painted the first definitively Lutheran image, the Allegory of Law and Grace. The Weimar Altarpiece, the Cranach workshop{\textquoteright}s last major commission during Cranach the Elder{\textquoteright}s lifetime, was consecrated in 1555. Its completion represents the conclusion of the initial phase of Lutheran art production. My dissertation is divided into five chapters. The first chapter on the Allegory of Law and Grace explains how this image recapitulates the key notions of Lutheran Grace. The clarity of Lutheran doctrine and the villainizing of everything "Other" is part of its rhetorical strategy and a defining feature of Cranach{\textquoteright}s Lutheran images. The Schneeberg Altarpiece, the subject of the second chapter, stretches the Law-and-Grace iconography by inserting it into a triptych and expanding it to embrace a wider variety of motifs. In the third chapter, I argue that the Wittenberg Altarpiece defines the Lutheran sacraments; and the fourth chapter describes how the Weimar Altarpiece embellishes the function of the retable by transforming it into an epitaph. Two conservative subjects persist among Cranach{\textquoteright}s Reformation inventions: the Madonna, and Adam and Eve. I argue in chapter five that the Madonna pictures persist because the Virgin has become model of faith rather than a divine intercessor, and that Adam and Eve retain their importance as warnings of the human condition that requires Lutheran salvation. My dissertation examines the varieties of Lutheran art in the Cranach workshop based on Luther{\textquoteright}s writings, and analysis of patronage and viewing spaces. The Cranach workshop{\textquoteright}s production represents the genesis of Lutheran art.}, keywords = {Renaissance Art}, author = {Noble, Bonnie-Jeanne} } @mastersthesis {8274, title = {Luxury Goods from Ras Shamra-Ugarit and Their Role in the International Relations of the Eastern Mediterranean and Near East during the Late Bronze Age}, year = {1998}, school = {Harvard}, abstract = {In the eastern Mediterranean and Near East, the Late Bronze Age period, in particular the fourteenth and thirteenth centuries BCE, is characterized by a wide array of luxury goods that exhibit a shared repertoire of formal properties termed an "international style." While often explained as a natural outcome of international contacts, the precise articulation of and socio-political context for such a "style" have not been closely examined. This study addresses both of these fundamental concerns. First, a thorough formal analysis establishes a principal category of international pieces called a koine, as well as identifying additional works as divergent forms of internationalism. Then, textual and archaeological documentation, in particular letters exchanged among rulers, suggest an international network of kings as the socio-political context for the main group. The international correspondence describes a structured set of behavioral conventions based on the reciprocal exchange of luxury gifts that helps explain the motivation for an international artistic koine as a means of bonding together disparate rulers. The assemblage of ten objects of worked elephant ivory and gold from the site of Ras Shamra-Ugarit on the coast of Syria is taken as the point of departure. The formal relationships of the Ras Shamra luxury goods are analyzed with respect to each other and to the artistic production of other regions, establishing various sub-groups, which are addressed in three separate venues. First, they are situated within the indigenous tradition of Ugarit. Second, they are examined within the specific context of internationalism connected with the royal palaces. Last, two pieces are seen as manifestations of additional forms of internationalism, in which foreign elements act either as the building blocks for an indigenous idiom or as cultural quotations associated with foreign interactions on a mercantile level. The kingdom of Ugarit presents an interesting case study for the Late Bronze Age as a small but resourceful state located in a contested zone between the powers of Egypt, Hatti, Mittani, and Assyria. In this constantly shifting political landscape, Ugarit engaged in maneuvers to increase its own status vis-a-vis the international "superpowers." This dissertation argues that the international koine luxury goods, as symbolically charged visual objects, represent vehicles for such status negotiation.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Feldman, Marian} } @mastersthesis {8226, title = {Marie Bashkirtseff (1858-84): The Self-Portraits, Journal, and Photographs of a Young Artist}, year = {1998}, school = {UNC Chapel Hill}, abstract = {The young Ukrainian aristocrat Marie Bashkirtseff presented herself as a brilliant artist in her journal and self-portraits, making them unique among works by nineteenth-century women artists. She experimented with many different styles and subjects such as street urchins, but her most successful works were her portraits. Although many of her numerous paintings and drawings were lost during World War II, over one-hundred still remain in French, Russian, and Ukrainian collections. Eighty-five of these works were donated by Mme Bashkirtseff to the Hermitage Museum in St. Petersburg and approximately nineteen exist outside of Russia and Ukraine. With the opening up of Russia and the Ukraine, many have been found in provincial museums. In spite of her successful art career, Bashkirtseff is best known by twentieth-century scholars for her one-hundred and five volume journal, written from 1873 to 1884, which has been published only in fragmented form. I am the first scholar to consider systematically the entirety of Bashkirtseff{\textquoteright}s work, from the organizing point of view of the self-portrait. This dissertation situates her works within artistic and historical contexts, addressing issues of interest to art historians and scholars concerned with the changing roles of professional bourgeois women in late nineteenth-century France. My study reconfigures how we view nineteenth-century women. Many other career-minded women were pushing against the same boundaries, trying to become professionals in their areas of interest. Bashkirtseff was a woman who performed extraordinarily well in a field dominated by men. Like many women artists, she sought to exhibit in the traditional Salon, instead of with avant-garde groups such as the Impressionists. Moreso than any previous artist, Bashkirtseff tells about the intricacies of the creative process in her Journal. She realized the significance of her Journal to future readers, not only in the area of creativity, but also in its discussion of the everyday life of a young woman. My work seeks to continue the feminist research that has been conducted on Bashkirtseff, while drawing also on the more traditional art historical work. I view Bashkirtseff as a woman striving against obstacles in a creative and interesting manner to become successful in the Parisian art world.}, keywords = {19th-and 20th-Century European Art}, author = {Konz, Louly Peacock} } @mastersthesis {8244, title = {Material Culture and Emperorship: The Shaping of Imperial Roles at the Court of Xuanzong c. 1426-35}, year = {1998}, school = {Yale}, abstract = {This thesis examines the multi-dimensional relationships between various kinds of material culture and the court of Xuanzong (r. 1426-35). The primary themes are how Xuanzong played imperial roles through the use of emblematic objects and how Xuanzong{\textquoteright}s style of role-playing embodied the concept of emperorship current during his time. Each of the five chapters deals with one aspect of the concept of emperorship and imperial role-playing, and their representations in material culture. Chapter one discusses the ways in which Chengzu, Xuanzong{\textquoteright}s prominent predecessor, and Xuanzong used material culture to legitimate Chengzu{\textquoteright}s reign. Specifically, I focus on a Buddhist temple, a sacred mountain, the capital city, and the imperial necropolis. While chapter one explores one aspect of ancestor worship-the issue of legitimacy is partly the issue of deciding who would be included in the imperial lineage and worshiped by later emperors-chapters two and three approach the issue of ancestor worship from the angles of ritual performance and context. Chapter two investigates four sacrificial sites in which Xuanzong worshiped his ancestors, especially the Hall of Ancestor Worship (Fengxiandian) where early Ming imperial portraits were held. Chapter three looks at imperial portraits that were employed as objects of worship. In these chapters I attempt to show how these two kinds of material culture reveal a new concept of emperorship that emerged in the early Ming. Chapter four tackles the issue of the imperial image projected in paintings other than imperial official portraiture. It focuses on the painting category Xuanzong{\textquoteright}s Pleasures (Xuanzong xingletu) which portrays Xuanzong engaged in various activities. Chapter five studies how Xuanzong established his historical image by various media, such as painting, calligraphy, porcelain, and enamel, which were in turn used to assess Xuanzong{\textquoteright}s legacy. The last two chapters reconstruct Xuanzong{\textquoteright}s special style of imperial role-playing and the new model that he set up in the tradition of Chinese emperorship.}, keywords = {Asian Art}, author = {Wang, Cheng-hua} } @mastersthesis {8233, title = {Media Pedagogy: New Technologies and Visual Culture in Postwar Education}, year = {1998}, school = {Rochester}, abstract = {This dissertation considers the intersections of the theory and practice of pedagogy and new (postwar) media technologies and media uses. I begin with the premise that pedagogical practice is not limited to schools, but can be found in a range of institutions that draw on educational theories or work in conjunction with schools to produce and regulate subjects and communities. My central thesis is that visual media in particular has played a pivotal role in the development of pedagogical techniques for organizing and disciplining cultures in and beyond the institutional setting of schools, and that educational policies and practices have figured importantly in the emergence of a salient public agenda of education through visual media in contexts such as the museum, the television industry, the cinema, and public health education. I also consider the important ways that public institutions structured through pedagogical models have served as sites for the formation of new communities and identities, and new models of political agency and resistance. Specific examples of the pedagogical media described in this dissertation are drawn from institutions of public culture in which visual media has figured centrally. These include the museum, the cinema, and television in addition to the field of education proper. My thesis engages with works in cultural studies, art history, critical theory, education, and film and media studies to show that pedagogy is a powerful ideological force that is enacted across these disparate sites and that the rise of mass media culture coincides in important ways with the rise of pedagogy as a mode of social discipline and regulation.}, keywords = {Art Criticism and Theory}, author = {Goldfarb, Brian} } @mastersthesis {8263, title = {Medieval Armenian Architecture in historiography: Josef Strygowski and His Legacy}, year = {1998}, school = {Princeton}, abstract = {This thesis traces the scholarship concerning medieval Armenian architecture and architectural sculpture from its beginnings in the eighteenth century to the present, focusing on questions of origins, development, and diffusion. Chapter One explores travel accounts and surveys of the field which launched the main themes of the study of Armenian architecture: its origins and relations to the West, Byzantium, and Persia. The second chapter explores the work of Armenian art historian T{\textquoteright}oros T{\textquoteright}oramanyan. Both chapters assess the validity of the theories presented as well as the contexts that informed them. For example, T{\textquoteright}oramanyan{\textquoteright}s theories regarding the sources of Armenian church architecture are shown to reveal the influences of Nikolai Marr and Auguste Choisy, and the contemporary political world, which included the Armenian genocide in Turkey in 1915. Chapter Three, the main chapter, evaluates Josef Strzygowski{\textquoteright}s Die Baukunst der Armenier und Europa(1918). Charged with nationalist and racist ideology, this work was the first to consider thoroughly Armenia{\textquoteright}s relations to Byzantine, Gothic, and Persian architecture. Using archival materials, this chapter explores Strzygowski{\textquoteright}s theory of the "Aryan" nature of Armenian architecture in light of major contemporary political events--the First World War, the rise of Austrian Pan-Germanism, and the situation in Turkey and Russia. The subsequent chapter traces the retreat from broad comparative studies like Die Baukunst towards more insular works, such as monographic and typological studies, accompanied by increasing interest in theories of indigenous origins. Further, I identify a personal hostility, understandably, towards Strzygowski on the part of modern scholars. I thus argue that the insularity of modern studies is both a general reaction to the synthetic approach of the early twentieth century, and a specific reaction against Strzygowski{\textquoteright}s ideas and political affiliations. Because of this problem, no comparative study of Armenian architecture has replaced Die Baukunst, and Armenia{\textquoteright}s position within the development of medieval architecture is no better understood. Chapter Five formulates preliminary questions towards a new cross-cultural study of Armenian architecture which considers Armenia{\textquoteright}s relations with neighboring traditions, and suggests ways to undertake it without employing paradigms of racial and national superiority characteristic of much of the older scholarship.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Maranci, Christina} } @mastersthesis {8275, title = {Miniature Votive Vessels from the Early Sanctuary of Athena Alea at Tegea}, year = {1998}, school = {Missouri}, abstract = {The Norwegian Institute at Athens, Greece conducted excavations at Tegea from 1990 to 1994, concentrating their efforts within the Classical Temple of Athena Alea and the area to its north. Investigations confirmed the existence of an Archaic temple and two Geometric apsidal structures beneath the Classical cella, while a metal-working area and a bothros were uncovered in the pronaos. The area to the north of the Skopaic structure yielded remains ranging in date from Archaic through Byzantine. The finds yielded during this campaign included miniature vessels, which are ubiquitous components of sanctuaries and cult sites throughout the ancient world. The miniature votive vessels found at Tegea during the Norwegian expedition are presented by locus, specifically from beneath the pronaos and calla of the Classical temple of Athena Alea and the area to its north. Three Phases can be distinguished from this corpus of material, which is summarized by shape, ware and fabric type. The Tegean miniatures are then compared to miniature vessels found at other cult sites throughout the various regions in the Peloponnesus. Finally, interpretations and conclusions are presented regarding the creation and use of the Tegean miniatures during the life of the sanctuary and their resulting implication upon Tegean society.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Hammond, Leslie} } @mastersthesis {8276, title = {Minoan Women{\textquoteright}s Clothes: An Investigation of Their Construction for the Depictions in Art}, year = {1998}, school = {IFA/NYU}, abstract = {This dissertation examines representations of women{\textquoteright}s costume in Bronze Age Crete in order to attempt to resolve problems surrounding the construction of the garments, foreign or indigenous sources, influences abroad, dating, and where possible, significance and identification with roles of women. The absence of preserved textiles, fragmentary and/or indistinct depictions of clothing, complicated by artistic license in portraying the female anatomy and its accompanying attire, are some of the problems that have long deterred a comprehensive study of Minoan dress. These problems have lessened with the discovery, in the 1970s, of fine costumes meticulously depicted on frescoes from Thera. These, combined with the best Minoan examples have provided sufficient information for greater understanding and proposed reconstructions. The dissertation collects representations of dress in all media: sculpture, painting, and glyptic. An introduction outlines the problems surrounding the elusive character of Minoan portrayals of clothes. Preliminary chapters on the Neolithic and Early Bronze Age provide a background for early evidence for textiles in the Aegean. Chapter 3 collects the corpus, analyzes and reconstructs the peak-back robe commensurate with the Middle Bronze Age. Subsequent chapters collect and examine Late Bronze Age costumes and suggest possible reconstructions. Based on actual evidence for construction techniques of preserved Egyptian dresses and visual evidence for dress construction from Crete and the Cyclades, two different Minoan dress designs appear to have existed, a two-part dress (bodice and skirt), and a Minoan chiton. These form the basis for all overgarments such as the long flounced skirt and short kilt, the hide skirt and the shoulder-tied mantle. The Minoan flounced skirt derived from Near Eastern models worn by priestesses and goddesses, possibly identifying the Minoan wearers of equivalent rank. Reflections of Minoan costume appear at Mycenaean palaces until their destruction in LHIIIB. At that time, an indigenous Mycenaean dress design with a high, horizontal neckline appeared. Theran clothes, considered in a separate chapter, generally depend on Minoan models, but also show individual traits and a tendency toward simplification which suggests a certain independence.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Jones, Bernice} } @mastersthesis {8214, title = {The Modern Artist and the Old Master: The Reinvention of Rembrandt in France, 1850-1900}, year = {1998}, school = {Pittsburgh}, abstract = {This dissertation analyzes the discourse concerning Rembrandt{\textquoteright}s Old Master status and its role in shaping the new aims of French painter-printmakers. It addresses how and why French critics and artists assigned Rembrandt an increasingly prominent position as an ancestral figure whom contemporary artist should emulate. The concentrated interest in Rembrandt resulted from the desire to position him as an exemplar for artists who could use Rembrandt as a benchmark and justification for their goals. The proliferation of publications, increasing sales and prices of Rembrandt{\textquoteright}s art, and the appropriation of his symbolic figure assigned Rembrandt an heroic, cult-like status. Writers--including Blanc, Burty, Fromentin, Gautier, Haden, Proudhon, Taine and Thore-Burger--molded and reinvented earlier anecdotal biographies and used new archival material to formulate an artistic persona for Rembrandt that had particular resonance within the context of nineteenth-century French vanguard art and politics. Artists Bonnat, Gerome, and Meissonier also made significant contributions. Aligning oneself with Rembrandt{\textquoteright}s example was a particularly effective tactic for French printmakers who wanted to assert the value of prints in the face of an unreceptive public and rising competition from photography. Their strategy was to associate themselves with Rembrandt as they tried to consolidate a professional identity. Vanguard printmakers promoting the value of original etchings modelled themselves after Rembrandt the independent worker who used exotic papers, printed his own plates, and treated the copper plate with the freedom of a canvas. Associations between Rembrandt and originality meant he was also admired by reproductive etchers and engravers and ultimately heralded as an icon within Academic circles. Printmakers discussed in this dissertation include Bracquemond, Buhot, Flameng, Guerard, Haden, Jacque, Legros, Lepic, Mouilleron, and Waltner. The formation of Rembrandt{\textquoteright}s artistic persona in nineteenth-century France has had repercussions on the history of art that are still felt. In particular, controversies over authenticity and attribution, debates which grew significantly in the 1890s, continue to dominate Rembrandt studies. This dissertation concludes that while positioning Rembrandt as an authoritative archetypal figure fulfilled the self-validating needs of artists and critics in nineteenth-century France, scholars in the twentieth century are still contending with the repercussions of this designated iconic status.}, keywords = {19th- and Early 20th-Century European Art}, author = {McQueen, Alison} } @mastersthesis {8326, title = {Modernisms in the Visual Art of the Harlem Renaissance}, year = {1998}, school = {Emory}, abstract = {This study examines the complex relationship of the visual art associated with the Harlem Renaissance, to notions of "modernism" that were prevalent in the United States during the 1920s and 1930s. The meanings of "modern" and "modernism" are historicized in the words of the artists themselves, as well as in the rhetoric of Alain Locke and other leading proponents of the Harlem Renaissance. In addition, the role of language and painting in the attempts of Locke and the artists to reconcile the alleged paradox over modernity and black cultural specificity is investigated. The first chapter examines the various critical definitions that were assigned to modernism during the period of the Harlem Renaissance. First, the distinction between the late twentieth-century, formalist definition of modernism, and the plurality of styles and meanings that were identified as modernism during the period of the Harlem Renaissance, is examined. Then the influence of early twentieth-century formalism, specifically in the writings of the English critics Roger Fry and Clive Bell, on the artists and patrons associated with the Harlem Renaissance is examined. The association of modernism with the "new," or the "up-to-date," is traced in the artwork and writing of the period. Then the use of primitivism by the artists of the Harlem Renaissance, and the complex relationship of modernist primitivism to the establishment of a new identity for the American Negro artist, is examined. In Chapter 2, the role of modernism in the construction of a paradigm for the modern Negro artist is investigated through the art, and the words, of the painter Aaron Douglas. The complexity of Douglas{\textquoteright}s conception of himself as an American and a Negro artist is analyzed in the context of definitions of "race" that were accepted by his white and black contemporaries, and in relation to the various definitions of modernist practice that were studied and adopted by Douglas and other Harlem Renaissance artists. Alain Locke, as well as Fritz Winold Reiss and Albert Barnes, are shown to have significantly influenced Douglas{\textquoteright}s ideas about modernism and modernist primitivism. Through the work of Aaron Douglas, this chapter demonstrates that there was a plurality of accepted definitions of modernism, or that there were many different modernisms, in the visual art of this period. Finally, Chapter 3 surveys the significant art historical scholarship concerning the visual art associated with the Harlem Renaissance over the past eighty years, to reveal the central role that changing definitions of modernism, and notions of black cultural specificity, have played in the development of a paradigm of modernist formalism in American art that excluded the modernisms of Harlem Renaissance artistic practice. In conclusion, this study demonstrates that, just as predominantly formal readings of American modernist art have tended to obscure underlying meanings of its various modernisms, so too have largely formalist interpretations of the art associated with the Harlem Renaissance effectively masked its subtle and complex relationship to other contemporary American styles that were considered to be modernist during the 1920s and 1930s.}, keywords = {Pre-1945 North American and South American Art}, author = {McClintock, Diana L.} } @mastersthesis {8292, title = {Naked Shots: The Masculinization of American Photography, 1945-60}, year = {1998}, school = {Washington University}, abstract = {In this dissertation, I examine the manner in which photography became a site for the reconstruction of masculinity after the historical trauma of World War II. I argue that photography--in its subject matter, its aesthetic, and in the rhetoric surrounding the profession and the act of photographing--became increasingly concerned with the restoration of the male body and psyche to wholeness, and with the assertion of mastery and autonomy necessary to the maintenance of collective faith in traditional masculinity. My five chapters concern five different models of postwar masculinity--breadwinner, warrior, tough guy, playboy, and rebel. Throughout this project, I contend that the stability of masculinity depends on the visibility of the male body, not only to provide proof of masculine potency, but because to be learned, masculinity requires a visible exchange between men. However, because such intense focus on male bodies risked homoerotic readings, the homophobic Cold War climate necessitated a masculine-coded rhetoric and aesthetic to compensate. A result of this masculinization was the triumph of a "new" modernist photography, one centered on individual artistic expression, but opposed to the formalist aesthetics of previous forms of modernism, which had come under attack as effeminate, sterile, and escapist. Rather than truth to medium and adherence to a transcendental aesthetic, this modernism, as exemplified by the work of Robert Frank, sought an existentialist truth and anti-aesthetic predicated on the primacy of masculine subjectivity and the authenticity of the male body. This continuing quest for truth, central to the tenets of modernism, was also related to Cold War anxiety. Indeed, the realism enabled by photography functioned to provide security by packaging the world for consumption, containing it within iconic images, and at the same time, serving as evidence of the male photographer{\textquoteright}s perilous, yet successful, journey through that world. "Naked shots" gave materiality to the ideology of containment, a symptom of postwar masculine crisis.}, keywords = {Photography and Film, Post-1945 North American, South American, and European Art}, author = {Tom, Patricia} } @mastersthesis {8206, title = {Narrating Modernity: The Problem Picture, 1895-1914}, year = {1998}, school = {Columbia}, abstract = {Problem pictures are paintings of ambiguous modern-life scenes, designed to call forth multiple, equally plausible interpretations. Often depicting women in suspect situations, these paintings posed morally, as well as narratively, indeterminate "problems," and Edwardian viewers enthusiastically discussed possible "solutions" at the Royal Academy, in inquiries to the artists, and in the periodical press. In the dissertation, I survey the previously undocumented genre, and argue that the problem picture and its representation in the press provided one arena in which the contested social and artistic terrain of Edwardian England was debated and negotiated by a large middle-class audience. When successful, the pictures generated discussion of marriage, money, and sexual misconduct, with particular emphasis on the changing roles available to women. However, over the first decades of the twentieth century, the problem picture came to stand for the wrong way of looking at art, and was quickly demoted to the status of popular culture. Having traced this trajectory in the critical and popular reception of the pictures, I argue that while the problem picture failed to provide a viable visual form of socially engaged public modern art, the genre and its representation in the press contributed to the creation of an audience for modern art: an audience defined by dividing the enormous Victorian art public into a select group who were considered qualified (by knowledge, gender, or class) to understand art, and the vast majority who were not}, keywords = {19th- and Early 20th-Century European Art}, author = {Fletcher, Pamela} } @mastersthesis {8297, title = {The National Vietnam Veterans Memorial in Context: Commemorative Public Art in America, 1960-1997}, year = {1998}, school = {Rutgers}, abstract = {This study traces the history of commemorative public art in America during the last four decades of the twentieth century. Memorials in the Nation{\textquoteright}s Capital and across the country are examined in terms of chronology, stylistic topology, subject matter, innovation, and public reception. Special emphasis is placed on the National Vietnam Veterans Memorial (NVVM) in Washington, D.C. During the 1960s and 1970s, commemorative public art was generally reviled. Attempts to commission monuments often failed, and the majority of the few dedicated were either based on nineteenth-century academic styles, or were unsuccessful attempts to blend Modernist abstraction with narrative commemorative programs. Halting attempts at innovation did occur, however, particularly in the steps taken towards the new participatory memorial type. This type was fully realized in Maya Lin{\textquoteright}s Vietnam Veterans Memorial (1982), which allowed visitors to construct commemorative content through spatio-temporal experience, rather than passively receiving didactic content from an iconic object. Lin{\textquoteright}s Wall was initially controversial, but ultimately became the most influential monument in America, affecting the style, iconography, and positive reception of memorials in the 1980s and 1990s. Frederick Hart{\textquoteright}s Three Fightingmen (1984), an academic figurative group added to the site to placate conservative critics, influenced a resurgence of narrative statuary across the country. During the 1980s and 1990s, commemorative public art proliferated. The NVVM sparked the creation of state and local Vietnam memorials, which in turn stimulated public desire for memorials to veterans of other wars, and many other subjects. Subject matter expanded to include women, minority groups, and victims of disasters. In 1993, Glenna Goodacre{\textquoteright}s figurative Vietnam Women{\textquoteright}s Memorial was dedicated on the NVVM site. Memorial types also expanded as contemporary artists embraced participation and developed innovative strategies for commemoration. The aesthetic and political issues surrounding Lin{\textquoteright}s Vietnam Veterans Memorial and Hart{\textquoteright}s Three Fightingmen have resuscitated, framed, and expanded the critical and public discourse surrounding subsequent memorials in America. Conventional figuration and accelerating participatory innovation are practiced simultaneously, and often uneasily coexist in single monuments.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Capasso, Nicholas} } @mastersthesis {8200, title = {Only One Art: The Interaction of Painting and Sculpture in the Work of Medardo Rosso, Auguste Rodin, and Eugene Carriere, 1884-1906}, year = {1998}, school = {IFA/NYU}, abstract = {This dissertation addresses a unity of the arts forged in the fin-de-siecle Parisian work of Medardo Rosso, Auguste Rodin, and Eugene Carriere. The artists shared an affinity for molten forms, whether in a painted sfumato style or in a sculpted non-finito aesthetic. In intimist scenes and fleeting urban imagery, these three friends (or, in the case of Rosso and Rodin, friends and later rivals) presented figures to the viewer through the prism of visual instability. By emphasizing atmosphere, the three created a continuum of space and form that ignored the boundaries of each realm. Space became active in relation to both light and the objects portrayed. Rosso led their aggressive new explorations of the incompleteness of human vision. After addressing the interlocking biographies of Rosso, Rodin, and Carriere, the dissertation turns to the formal issues raised by their painting and sculpture as well as the role of nineteenth-century critics in identifying their allied aesthetic goals. A discussion then follows of the social forces determining their use of active space, light, and distorted perception. Such forces included developments in optics and non-Euclidean geometry, and the psycho-perceptual theories of Henri Bergson. Finally, the dissertation examines the social stimuli behind the two poles of vision these artists presented: the distant vision of the flaneur{\textquoteright}s elusive city and the near vision of enclosed domestic space. The catalysts for alternating focii of distant and near viewing ranged from the crowd theory that was then being promoted by social scientists to the public "threat" of the New Woman on the traditional Good Mother{\textquoteright}s enclave. Rosso and Carriere, in particular, joined radical formal devices to reactionary subject matter in response to external social changes. The dissertation illuminates the work of these artists both thematically and formally, then, laying bare the correspondences of the arts they created.}, keywords = {19th- and Early 20th-Century European Art}, author = {Becker, Jane} } @mastersthesis {8347, title = {On the Order of Seeing in the Burgundian Netherlands}, year = {1998}, school = {UC Santa Barbara}, abstract = {This dissertation concerns the social and intellectual significance of seeing and being seen in early Flemish painting. This is done by examining contemporaneous cultural phenomena including cognitive theory, lay devotion, guild practices, and literary self-reference. The relationships between the paintings and these phenomena are especially important, for by treating them as analogous structures, I demonstrate that early Flemish paintings functioned neither as iconographic compendia nor merely as formal exercises, but rather as sophisticated and dynamic cultural products that helped shape the practices that informed them. Chapter One examines the importance of vision and takes as its focus the Bladelin Triptych of Rogier van der Weyden. In Chapter Two, I investigate the paradoxical depiction of imageless devotion in Jan van Eyck{\textquoteright}s Virgin and Child with Canon Joris van der Paele. Chapter Three concerns the social value of being visibly devout in van Eyck{\textquoteright}s Virgin and Child with Chancellor Nicolas Rolin. And Chapter Four examines the ways in which early Flemish painters promoted the social and intellectual value of their work. Though this last chapter begins with a reconsideration of pictorial self-reflexivity in the three paintings discussed thus far, Petrus Christus{\textquoteright} St Eligius figures especially prominently in the discussion. At the heart of Chapter Four lies the claim that the very challenges of producing religious imagery ultimately allowed painters to approach their craft as in some sense a viable pictorial subject-matter in its own right.}, keywords = {Renaissance Art}, author = {Bret Rothstein} } @mastersthesis {8333, title = {Out of the Shadow of Isabella: The Artistic Patronage of Francesco II Gonzaga, Fourth Marquis of Mantua (1484- 1519)}, year = {1998}, school = {Harvard}, abstract = {This dissertation studies the artistic patronage of Francesco II Gonzaga, Fourth Marquis of Mantua from 1484 to 1519. Although it was during his reign that the Gonzaga court rose to fame as a great cultural center of Renaissance Italy, Francesco{\textquoteright}s celebrated consort, Isabella d{\textquoteright}Este (1474-1539), has received virtually full credit for this phenomenon. Previous art historical studies have focused on Isabella{\textquoteright}s creation and decoration of her studiolo and grotta, while constructing Francesco into a philistine and convenient foil for his refined wife. A central argument of this dissertation is that if we examine Francesco{\textquoteright}s cultural achievements in a comprehensive manner for the first time, it becomes clear that artistic patronage in Renaissance Mantua was, in fact, a shared enterprise between these two rulers. Francesco commissioned numerous works of art, both sacred and secular, but almost none of them survive, and some were never finished. His most significant architectural projects included the construction and decoration of additions to two countryside palaces and the creation of a new, third villa, while in Mantua itself he built and decorated a city palace to house Andrea Mantegna{\textquoteright}s Triumphs of Caesar, commissioned Pietro Lombardo to create marble revetments for a chapel in the cathedral, and built the church of Santa Maria della Vittoria, with its well-known altarpiece by Mantegna. These projects can all be reconstructed using the same kinds of archival materials used to document the artistic pursuits of his wife, namely: early descriptions, archeological evidence, inventories, and court correspondence. Chapter One provides an overview of Francesco{\textquoteright}s political career, his court, and the mechanics of his patronage, while the second chapter shows how a specific episode--the Battle of Fornovo in 1495--became the defining moment of his marquisate and of his image as a patron. Chapters Three and Four reconstruct, respectively, Francesco{\textquoteright}s countryside and city palaces, examining how their painted cycles of triumphs, heraldic devices, horses, and city views served to underscore his expertise in arms, horsebreeding, and map collecting, while also articulating the social and political relationships he had with his subjects and his peers. Finally, Chapter Five examines Francesco{\textquoteright}s contributions in the broader context of the Gonzaga court by analyzing the relationship of his patronage to that of his wife in three case-studies. By reconstructing his most important projects, this study seeks to accomplish two things: first, to show how Francesco, under the rubric of princely magnificence, used architecture and decoration to fashion a particular princely image for himself, and second, to demonstrate that during his marquisate, contrary to popular belief, Isabella d{\textquoteright}Este did not occupy the cultural stage in Mantua alone.}, keywords = {Renaissance Art}, author = {Bourne, Mary Harris} } @mastersthesis {8242, title = {The Painted Puranas of Telengana: A Study of a Scroll Painting Tradition in South India}, year = {1998}, school = {UC Berkeley}, abstract = {This dissertation is about a recently, discovered tradition of scroll painting from the Telangana region of Andhra Pradesh in South India. It is about a tradition of art that is deeply religious in its premises, complex in its ideological motivations, and embedded within the caste system of the region. The dissertation is based on fieldwork done in 1993, it is the first major study of this living legacy. The painted scrolls of Telangana range in length from twelve to thirty feet, they are made to be used in storytelling performances. Auratic, impressive and imbued with divine presence, the paintings receive public displays of obeisance in elaborate ritual contexts. The scrolls are owned by professional, itinerant storytellers, and it is their responsibility to ensure that the deities on the scrolls are properly venerated and periodically appeased. The earliest extant painting from this tradition dates from 1625 A.D., but the dissertation itself is based primarily on my work with a family of artists working in Telangana today. The dissertation is concerned with the making, commissioning and consecration of the scrolls in the artists{\textquoteright} studios, and with the systems of their inheritance and circulation within (and among) the storyteller families. The dissertation attends to the formal language of the paintings, as well as to the wide array of pictorial devices and artistic resources that artists employ in narrating the stories. Not only does it propose an oral basis for the scrolls, but by situating them back into the events that surround the ritual enactments of their narratives, the dissertation shows how the paintings are used in fluid and performative ways by their storyteller owners. Finally, the dissertation seeks to understand the paintings through the themes that they depict. The painted scrolls of Telangana are painted caste puranas, they narrate the origin myths of the sudra and the panchama (dalit, "untouchable") castes in the region. The paintings represent the rank and status claims of these castes, they read therefore as strident and ideologically charged documents. The dissertation argues that the scrolls serve both as repositories and as evidence for these claims, and it asks, therefore, that the exegetical programs of their painted narratives be understood in the context of this address to their intended viewers.}, keywords = {Asian Art}, author = {Thangavelu, Kirtana} } @mastersthesis {8207, title = {Painting and the Language of the Private in Early Nineteenth-Century France}, year = {1998}, school = {UC Berkeley}, abstract = {This dissertation examines the relationship between painting and contemporary notions of the private in the decades following the French Revolution. The Revolution, and particularly the state-sanctioned Terror of 1793-94, at once rendered the idea of privacy suspect and exacerbated the private realm as a key new fact of French society. In early nineteenth-century France, painting functioned as one important site where new notions of privacy and privateness were established. The process by which this occurred was surely neither automatic nor self-evident. Each of three case studies examines how an artist (or pair of artists) used the medium of painting to produce a visual language of the private. The case studies concern a trio of subjects: friendship, sexuality and familial bonds, three themes associated with private expression. Each chapter, via a close reading of a single painting, explores Jurgen Habermas{\textquoteright}s contention that the bourgeois notion of the private, discovered within the human encounters of the family, was, at its origin, a "privateness oriented to an audience." The feelings of interiority and intimacy were not only crucial to the bourgeois sense of self, but had an inherently social dimension. The first case study is closely tied to the end of the Terror and examines an exchange of self-portraits in 1795 by two young artists, Antoine-Jean Gros and Anne-Louis Girodet, when both Frenchmen, still in their mid-twenties, were living abroad in Genoa. This chapter establishes the tenor and urgencies of the political moment in order to present Gros and Girodet{\textquoteright}s pictures as responding to the unstable status of the private in Jacobin France. The second chapter examines the imagery and reception of Pietre-Paul Prud{\textquoteright}hon, an artist best known for delicate drawings and mythologically inspired paintings on the themes of love, courtship and sensual delight. The third and final chapter examines the writing and painting of Eugene Delacroix. Delacroix derived many of his beliefs about painting and privacy from his experience of literature, particularly from his early and fascinating efforts translating Dante and Shakespeare}, keywords = {19th- and Early 20th-Century European Art}, author = {Garfinkel, Stacy W.} } @mastersthesis {8277, title = {Pampoikilos: Representation, Style, and Ideology in Attic Red-Figure}, year = {1998}, school = {UC Berkeley}, abstract = {This dissertation is about Athenian red-figure vases: how they convey meaning, and how they connect to the social life of Athens. Part I develops a critical vocabulary. It begins with an examination of the writings of Sir John Beazley, the great connoisseur of Attic pottery. For Beazley, style is a semiotic system: "author" is to "work" as "signified" is to "signifier." Beazley developed a lexicon of this language as it pertains to vase-painting: and the task is now to work out some of its "pragmatics." Chapter 2 begins this process, focusing on the aristocratic banquets (symposia) at which Attic vases were used: the poetry of the symposium provides a readymade vocabulary for discussing the pottery. Part II turns from "stylistic" signification to "iconic" representation. Against traditional stylistic histories, it argues that Classical naturalism evolved out of efforts to fragment the picture-field. Naturalistic elements, where they appear, are always undercut by extravagant displays of painterly technique. The aim was not to create a coherent spatial envelope, but a pleasing tension between flat and not-flat, realistic and fantastic. The result is a pictorial equivalent to the puns and riddles of sympotic poetry. This aesthetic characterizes Attic red-figure. Part III shifts the focus from questions of form to questions of ideology. It explores what happened when "stylistic" signification and "iconic" representation coincided: when painters set out depict themselves. A small group of late Archaic vases depicts vase-painters in the guise of aristocrats. Here, the pictorial ambiguity of red-figure becomes an ambiguity of class and social hierarchy. Artisans re-imagine the class structure of the Archaic polis, and re-imagine themselves in the process. Sympotic poetry provides some precedent for this phenomenon; but it is no coincidence that the vases are contemporary with the democratic revolution in Athens. Part IV extends this model to examine depictions of the new democracy{\textquoteright}s distinctive rituals and heroes. Characterized by a blending of aristocratic and democratic motifs, such images are more conciliatory than partisan. They exploit vase-painting{\textquoteright}s characteristic ambiguity in order to cobble together a new civic iconography, one that will be acceptable to all Athenians. Vase-painting helps to reconcile the divided citizenry.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Richard T. Neer} } @mastersthesis {8343, title = {The Papal Series in the Sistine Chapel: The Embodiment, Vesting, and Framing of Papal Power}, year = {1998}, school = {USC}, abstract = {The Sistine Chapel, built in the late-fifteenth-century under Sixtus IV, provided the foremost site for papal worship and election. Witnessed by cardinal and king, the frescoes of Sixtus{\textquoteright} chapel expressed his assertions of preeminent religious and theocratic power. Encircling the horizon of the chapel{\textquoteright}s original blue starry sky, a unique papal portrait series painted by Botticelli, Ghiriandaio, and Rosselli typified these assertions. The series singularly combined classical and Early Christian elements to embody an immortal succession of saintly, papal Famous Men, culminating in Sixtus on the throne. A surviving contract stipulates instructions for the papal series, indicating that it was recognized as an important part of the chapel{\textquoteright}s fresco program. Yet today, the images are overlooked by visitors and scholars alike because of Michelangelo{\textquoteright}s frescoes (astounding examples of western art, but disruptive of the original fresco program); the once-dirty state of the frescoes; the majestic rhythm of the portraits deemed repetitive by modern eyes accustomed to novelty; and our loss both of the late-fifteenth-century sense of these images as portraits and of the clear messages woven into their frescoed vestments. My goals are two-fold: to create much-needed connections between art, liturgy, and costume-bringing some elements under the art historical lens for the first time-and to restore to the popes their key role in Sixtus{\textquoteright} frescoed program. Firsthand examination of the frescoes and restoration documents, and contemporary vestments, texts, liturgy, and literature, allows me to propose a reconstruction of the original state of the lost altar wall and lunette frescoes; to uncover the proclamations of papal preeminence over the interlocking spheres of secular and sacred life woven into the popes{\textquoteright} frescoed vestments; and to reveal the contemporary understanding of the papal images as "portraits" emphatically embodied through liturgy, realism, and physiognomy. Bearing shimmering chasubles, copes, and triregna, the popes stand as sole intermediaries between heaven and earth, their saintly dynasty continuous and unbreakable. In the Sistine Chapel, the papal portraits form the fulcrum for Sixtus{\textquoteright} claim to preeminence as Legislator, Ruler, and Priest.}, keywords = {Renaissance Art}, author = {Meyer, Starleen Kay} } @mastersthesis {8345, title = {Patronage and the Construction of Nobility: The Villa Godi Fresco Cycle and the Villa{\textquoteright}s Role in the Veneto and the Politics of a Sixteenth-Century Patrician Family}, year = {1998}, school = {Pennsylvania}, abstract = {The Villa Godi (by which I mean the totality of the building) played a complex role in the economic, social, and political activities of the Godi family. This estate functioned both as an agricultural center for their possessions in the foothills of the Dolomite mountains in northern Italy, and as a stately mansion with which to entertain and impress distinguished guests. While the architecture of the villa has been studied owing to its status as one of Palladio{\textquoteright}s earliest works, neither the frescoes nor the patrons have been considered in any great detail. As one of the first of the nobility of Vicenza to construct a modern villa all{\textquoteright}antica and then to decorate it with frescoes by Gualtiero dall{\textquoteright}Arzere from the school of Padua and later Battista Zelotti and Battista del Moro from Verona, Girolamo Godi and his family were among the vanguard in their patronage. Their influential example undoubtedly served as an impetus in the construction and decoration of subsequent villas by Palladio for other Vicentine nobles. This dissertation is the first comprehensive analysis of the entire fresco cycle to examine their subject matter and propose possible interpretations with regard to northern Italian art while simultaneously relating them to the patron, his family, and the villa{\textquoteright}s agricultural function. By considering the frescoes in relation to specific information about the patrons and their activities culled from the archive of the Godi family and other primary sources, it is possible to see how the villa and its contents played a specific and important role in the life of Girolamo and his family. The encyclopedic variety of themes to be found inside combined with the immense size of the villa served to proclaim the wealth and sophistication of the Godi, helping to increase the noble status of the family and thus aiding them in their advancement within the highly competitive society of Vicenza.}, keywords = {Renaissance Art}, author = {Pixley, Mary Louise} } @mastersthesis {8265, title = {Portraire, Contrefaire, and Engin: The Prehistory of Portraiture in Late Medieval France}, year = {1998}, school = {Northwestern}, abstract = {This dissertation explores the representation of individuals in late medieval France. Art historians have long noted that certain fourteenth-century images appear to represent their subjects through physiognomic likeness-that is, the representation of an individual{\textquoteright}s facial features. Scholars have traditionally believed this to mark both a radical departure from medieval traditions and the beginning of the practice that we know as "portraiture." My dissertation studies these images in the context of the late medieval culture that produced them, rather than as the progenitors of a later artistic genre. I demonstrate that the changes evident in fourteenth-century images do not constitute a revolutionary break with the past, but instead were continuous with medieval representational traditions. Chapter one investigates the use of terms and concepts such as "portraiture" and "representation from or to the life" in the thirteenth-century "portfolio" of drawings by Villard de Honnecourt. Villard refers to some of his drawings as being produced by "portraiture," while he describes others as having been "contrefait al vif (depicted from or to the life)." By using a wide range of textual sources, I demonstrate that these terms held opposite meanings. Portraiture entailed representation of essential truth, specifically excluding "representation from or to the life." Chapter two addresses the fourteenth-century reassessment of this opposition. I investigate that century{\textquoteright}s new understandings of the nature of sensory perception and memory, relating these to changes in image use and production. Chapter three explores references to images in fourteenth-century literary texts. These provide evidence for this period{\textquoteright}s criteria for measuring accuracy in representation, which they describe as being enabled by the artist{\textquoteright}s mental qualities, or " engin." The final chapter examines the social and economic circumstances of artistic production at the court of France in the late fourteenth century. This chapter demonstrates that artists continued to employ traditional means of representing individuals, but that they also began to claim the ability to contrefaire nature through the production of physiognomic likenesses. They did this in an attempt to manifest their engin, and thereby improve their social and economic standing.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Perkinson, Stephen Grant} } @mastersthesis {8227, title = {Primitivism and Picasso{\textquoteright}s Early Cubism}, year = {1998}, school = {UC Berkeley}, abstract = {This study treats Picasso{\textquoteright}s early Cubism circa 1907-1909, commencing with a discussion of various definitions of primitivism and sources which were deemed primitive, including archaic Greek sculpture, archaic Iberian sculpture, Catalonian Romanesque painting and sculpture, El Greco, the self-taught French artist Rousseau, Cezanne, and African and Oceanic artifacts. I am particularly concerned with identifying and untangling the various strains of these sources, which Picasso frequently synthesized in a pseudo-naive manner during 1907-1909. Picasso{\textquoteright}s experiences in Barcelona in the early years of the century were crucial for the development of his primitivism, as was his visit to the remote Spanish village of Gosol in the summer of 1906. I argue that Catalonian Romanesque art played a substantial role in the development of Picasso{\textquoteright}s Cubism, beginning with the forms which figure importantly in Les Demoiselles d{\textquoteright}Avignon. The impact of archaic Iberian art, on the other hand, has been greatly exaggerated, largely as a consequence of a fraud perpetrated by the artist himself. The influence of tribal objects has also been overestimated, mostly because of the failure to recognize features which derive from Romanesque art. Picasso rarely imitated even a single detail derived from tribal forms. From mid-1907 to mid-1908, Picasso made a synthesis of Cezanne and various styles which referred to or were inflected by tribal cultures in one way or another (bright colors, expressionistic brushwork, sculptural forms, irrational mystery, magic, fetishistic defenses), though these works bear little formal relation to actual tribal objects. In these paintings, shading is sometimes conflated with wounding. Picasso was attracted to images of suffering and these forms were also associated with magical powers which were attributed to tribal objects. By the summer of 1908, Picasso had replaced tribal influences with a generic, naive style of painting, which is associated with Rousseau. For much of the next year, the dominant strain of Picasso{\textquoteright}s work was a synthesis of Cezanne and Rousseau, which culminated in Still Life with Bread and Fruitdish on a Table. Finally, in 1909, Picasso dispenses with Rousseau and pantomimes Cezanne in Cezanne{\textquoteright}s own style. The loss of synthesis was a harbinger that the primitivist mode of painting was coming to an end. After briefly toying with grotesque sexual comedy, no new synthesis was made. Instead, Picasso created a new kind of painting at Horta. But this kind of painting was abandoned upon Picasso{\textquoteright}s return to Paris. Primitivism had split into its component parts. The masquerade of produced awkwardness and naivete was at an end. The canvases Picasso produced in the summer of 1910 at Cadaques, and the sculpture Guitar made in 1912, led to new ways of painting and sculpting. Instead of turning out pseudo-primitive works, Picasso produced pseudo-scientific ones.}, keywords = {19th-and Early 20th-Century European Art}, author = {Cordova, Ruben Charles} } @mastersthesis {8259, title = {The Programmatic Sources of the Earliest Christian Art: Salvation History in the Catacomb of Callistus}, year = {1998}, school = {Rutgers}, abstract = {The earliest Christian art of substance is the paintings found on the walls of a few isolated chambers in the Catacomb of Callistus in Rome dating to the late second or early third centuries. While the importance of these decorated chambers has frequently been noted, they have seldom been isolated and studied as singular examples of Christian art in its earliest phase. This dissertation reconstructs these painted chamber ensembles and places them within their proper historic context, revealing their significance as time- and place-specific programs, and providing evidence which speaks to the question of why Christian art appeared when and where it did. The manner in which Christians accessed and responded to Judaism and to the pagan Roman cultural context as represented in contemporary Christian polemic is key to understanding the ideology which governed the choice and placement of these images, which reflect a step toward resolution of the conflict between the developing Church in Rome and its pagan, Jewish and heretic Christian detractors. These images equally reflect the Church{\textquoteright}s need to acknowledge and confront the issue of the non-occurrence of the Second Coming of Christ in the face of the Severan persecution. The salvation history view outlined by Roman apologists for the Christian cause and accepted by the Church in Rome as orthodox Roman policy by the end of the second century is the common denominator of early Christian writing and teaching, and provided the content for these earliest Christian images. In addition, consideration of specific Roman pagan artistic traditions in comparison to the catacomb art under investigation reveals that they interface at various levels and that the specifically Christian content of this catacomb art is manipulated in a manner consistent with Roman tradition.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Enz Finken, Kathleen} } @mastersthesis {8240, title = {The Proliferation of Images: Ink-stick Designs and Printing of the Fang-Shih Mo-P{\textquoteright}U and the C{\textquoteright}heng-Shih Mo-Yuan}, year = {1998}, school = {Princeton}, abstract = {This study analyzes the compilation method and the content of two ink-stick design compendiums, the Fang-shih mo-p{\textquoteright}u (The Ink-manual of the Fang Family) and the Ch{\textquoteright}eng-shih mo-yuan (The Ink Garden of the Ch{\textquoteright}eng Family), in late Ming China (the second half of the sixteenth century and the first half of the seventeenth century). Two Hui-chou ink-makers, Fang Yu-lu (ca. 1541-1608) and Ch{\textquoteright}eng Chun-fang (1541-after 1610) initiated new trends by decorating their solid inks with flamboyant designs. In order to record their unprecedented achievements and promote their ink-making business, Fang published the Fang-shih mo-p{\textquoteright}u in 1588 and Ch{\textquoteright}eng published the Ch{\textquoteright}eng-shih mo-yuan in 1605. Both books feature hundreds of illustrations of ink-stick designs as well as commentary by the famous literati of the day. The editorial programs of these two ink-manuals reveal their origins as catalogs of objects, as well as the ambitions of their compilers. Ch{\textquoteright}eng arranged his ink-stick designs in an encyclopedic manner to demonstrate that his ink-sticks could encompass the knowledge of the universe. He further proclaimed his pride as a successful merchant and ink-maker in many of his writings and in the illustrations in the Ch{\textquoteright}eng-shih mo-yuan, where he portrayed himself as a literatus. These two books are the records of Fang{\textquoteright}s and Ch{\textquoteright}eng{\textquoteright}s careers as ink-makers as well as documents of visual sources in the late Ming period, since many of their designs were adapted from different crafts, books, paintings and even Western images. By tracing the sources of these ink-stick designs and the influence they exerted upon later ink-makers and artists of other decorative media, we come to realize the active exchange of decorative vocabularies between different crafts in this period. This study aims to reconstruct one aspect of the visual environment that partially constituted affluent culture in late Ming China, never before seriously considered in the study of Chinese arts, in order to portray a more complete picture of the period.}, keywords = {Asian Art}, author = {Lin, Li-Chiang} } @mastersthesis {8317, title = {Public Bodies: Form and Identity in the Work of John Singer Sargent}, year = {1998}, school = {UC Santa Barbara}, abstract = {This dissertation explores the ways in which the public work of John Singer Sargent (1856-1925) was understood in the context of his time. In three chapters, I direct attention to the ways in which Sargent{\textquoteright}s subjects were perceived in the broader culture: the Italian in the United States, mythological subjects for the Museum of Fine Arts, Boston and the World War I soldier for Harvard University. It will be evident that these public bodies, the institutions and the subjects for which they were intended, were potent political sites that mediated issues of race, gender, and violence in the public realm. Chapter One analyzes how the public response to Sargent{\textquoteright}s Italian genre painting, specifically Street in Venice (1882), was bound up in a larger perception of Italian immigration in the United States. Chapter Two discusses how Sargent{\textquoteright}s interest in dance influenced his mural designs for the Museum of Fine Arts, Boston. Chapter Three demonstrates how Sargent remembered Harvard{\textquoteright}s soldiers killed in World War I in his murals at Widener Memorial Library. I explore how Sargent reacted to, or integrated, popular images associated with his subjects. Sargent{\textquoteright}s conceptions of the Italian working woman, of mythological figures with the gestures inspired by ballet dancers, and of Anglo-Saxon doughboys relate to the contemporary politics of the institutions for which they were conceived.}, keywords = {Pre-1945 North American and South American Art}, author = {Dini, Jane} } @mastersthesis {8204, title = {Puvis de Chavannes and America: His Artistic and Critical Reception, 1875-1920}, year = {1998}, school = {IFA/NYU}, abstract = {This dissertation engages the work of French artist Pierre Puvis de Chavannes through the lens of his artistic and critical reception in the United States 1875-1920. Puvis de Chavannes (1824-1898) is perhaps best known for the influence that as an academic artist he had on European avant-garde artists. Less well-known is his impact on conservative artists, especially in the United States, where mainstream artists seeking to align themselves with French respectability turned to Puvis, including Kenyon Cox, Will Hicok Low, Edwin Howland Blashfield, and John La Farge. After 1900, modernists such as Maurice Prendergast, Augustus Tack, Arbhur Wesley Dow, and Arthur B. Davies looked to him as well. American artists commissioned to decorate the Beaux-Arts buildings of a new wealthy class of American industrialists found in Puvis not only a model for allegorical decoration based on women{\textquoteright}s bodies but also for idealist aesthetics. Puvis and his art offered a modern decorative strategy nonetheless evocative of the classical past and of the rhetoric of culture. This study narrates American critical and artistic interest in Puvis during the period of his greatest regard and employs this framework to understand Puvis{\textquoteright}s work and the translation of his idyllic French nationalism into an American idiom. In the process, it discerns how gendered imagery was embedded in contemporary social political, and artistic discourse. Chapter One studies Puvis{\textquoteright}s career in France reported by American critics. Chapter Two traces contact between Puvis and Americans in Paris. Chapter Three investigates Puvis{\textquoteright}s Boston Public Library murals and their bohemian Boston milieu. Chapter Four analyzes American works responding to Puvis, both allegorical and not, that satisfied Americans{\textquoteright} elitist quest for perfection predicated on the female form. Chapter Five analyzes later stages of interest in and collecting of Puvis{\textquoteright}s work, as well as the negation of his ideas after 1905 through the 1930s, when another American mural movement developed. His feminized aesthetic, so appropriate to the Gilded Age, would be displaced by a more masculine ethos.}, keywords = {19th- and Early 20th-Century European Art}, author = {Earle, Susan} } @mastersthesis {8260, title = {Queens, Kings, and Clergy: Figures of Authority in the 13th-Century Moralized Bibles}, year = {1998}, school = {IFA/NYU}, abstract = {This dissertation takes as its focus some of the most elaborately-illustrated manuscripts of the Middle Ages, the four moralized Bibles of the thirteenth century. These manuscripts are unique in that they contain not only biblical illustration but also exegetical imagery. Each page of a moralized Bibles contains eight images placed inside roundels and juxtaposed with accompanying texts. Four of the images relate biblical events. The other four consist of commentary scenes which gloss the biblical images. The moralized Bibles were royal commissions, created under clerical supervision for members of the French royal family. They, thus, stand as important documents for understanding the relationship between Church and State in medieval France. This dissertation takes as its goal an in-depth study of this relationship as presented in the words and pictures of the manuscripts. The first chapter considers the innovative page design of the manuscripts and asks how they were meant to be read. It demonstrates that the viewer is implicated in the semiotic structure of the manuscripts and that he/she is a necessary component of the manuscripts{\textquoteright} project to create a contemporary narrative parallel to the biblical one. The second and third chapters deal with the manner in which royal readers, kings and queens, might have found reflections of their own status within medieval society in the biblical imagery of the manuscripts. These chapters examine the representation of the matriarchs of Genesis and the repeated use of coronation imagery in the manuscripts. The final chapter turns to the exegetical illustration of the manuscripts and considers images of the clergy, concentrating on the books of Maccabees. Throughout the moralized Bibles, the personified figure of Ecclesia or the Church is presented as the unifying force in medieval society. Thus, images of the clergy are arguably among the most important in these manuscripts. This chapter demonstrates the care with which the artists of the manuscripts distinguished the various orders of medieval clergy, secular and regular, monastic and mendicant, priest and canon, and represented their role in the Church{\textquoteright}s struggle against its enemies.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Guest, Gerald} } @mastersthesis {8334, title = {Reason and Faith in Renaissance Rome: The Stanza Della Segnatura}, year = {1998}, school = {Temple}, abstract = {The frescoes painted 1508-1511 by Raphael for Pope Julius II in the Stanza della Segnatura of the Vatican{\textquoteright}s Palazzo Apostolico were first described by the Renaissance biographer of the artists Giorgio Vasari in 1550. Vasari{\textquoteright}s description of the room as the "segnatura" or papal tribunal, and his conflation of the facing frescoes of the Disputa and the School of Athens, has been the subject of controversy ever since. Today, scholarly opinion--based upon other primary sources and a reading of the four main frescoes as representing Renaissance faculties of knowledge--has generally agreed that the room was actually the private library of Julius II. Through a close, complex and systematic reevaluation of not only those same primary sources, but the history of papal libraries, and the development and outfitting of study spaces from Antiquity into the Renaissance, the author strongly challenges the accepted "Segnatura as library" scheme. A second, interwoven, examination of the historical relationship of Reason and Faith, both within the Church and the Humanism of the Italian Quattrocento, reveals (particularly through a close reading of Giovanni Pietro Bellori{\textquoteright}s highly-informed 1695 description of the room) that Vasari{\textquoteright}s account may be seen as an attempt to grasp a complex, underlying, theological programme that united Raphael{\textquoteright}s painted images. This programme was rooted in the Franciscan and Augustinian position regarding the primacy of the Revealed Word. That both Vasari and Bellori failed, ultimately, to grasp the fullest meaning of the room may be due to the fact that the iconography of the Justice wall was changed at a very late stage, thus altering the coherence of the underlying programme and masking the function of the room from post-Julian viewers.}, keywords = {Renaissance Art}, author = {Callaghan, James} } @mastersthesis {8249, title = {Reconsidering Gabriel de Saint-Aubin (1720-1780): The background for his scenes of Paris}, year = {1998}, school = {IFA/NYU}, abstract = {Since the mid-nineteenth century, Gabriel de Saint-Aubin (1724-1780) has been portrayed as a bohemian artist who spent most of his life compulsively sketching scenes of his native Paris. The Goncourt brothers were the main authors of this novelistic characterization. They believed Saint-Aubin abandoned all career ambitions after failing to win a prix de Rome in student competitions at the Academie royale. Emile Dacier, the artist{\textquoteright}s chief twentieth-century biographer, uncovered much previously unknown information but left the Goncourts{\textquoteright} interpretation essentially unchallenged. It has not been seriously challenged to the present day. The purpose of this dissertation is to reconsider Saint-Aubin{\textquoteright}s Parisian subjects, particularly those produced in a more formal, professional capacity. Major new evidence concerning the artist{\textquoteright}s initial employment as a figural illustrator of architectural drawings, considerably predating his disappointing academic experiences, provides the basis for a fresh interpretation of his subsequent activities and thematic concerns. The lifelong continuity of his professional endeavors can now be established, dispelling the bohemian image that has been imposed on the artist for so long. Redefining the evolution of Saint-Aubin{\textquoteright}s career also redefines our sense of his role in the development of eighteenth-century French art. His representations of contemporary Paris were far more indebted to artistic sources than has generally been assumed. His popular scenes and depictions of elegant social gatherings on the outskirts of Paris cannot be fully understood without reference to the achievements of other genre artists. His more numerous representations of specific memorable occasions--including his celebrated views of Salons at the Academie royale--are firmly rooted in court related traditions of commemorative art. At the same time, Saint-Aubin{\textquoteright}s distinctive formative experience working for and among architects consistently sets him apart from others concerning themselves with like Parisian subjects. The key to his originality, whether in genre or commemorative scenes, is his refusal to accept preconceived boundaries for the interpretation of any given theme. If our esteem for his art grows with a sense of its larger context, the purpose of this dissertation will have been fulfilled.}, keywords = {Baroque and 18th-Century European}, author = {De Beaumont, Kim} } @mastersthesis {8221, title = {The Religious Paintings of Emil Nolde}, year = {1998}, school = {UIUC}, abstract = {Few doubt the significance of Emil Nolde among the artists in Germany now loosely called Expressionists. From 1909 until his death in 1956, he painted over fifty pictures with religious subjects. Arguably, they represent the premier accomplishment of a long and prodigious career, one rich in a variety of media--oil painting, water color, and the various graphic arts. Of the religious paintings, the first twenty five, painted between 1909 and 1912, have a special place among his works. They include some of his largest and most elaborate paintings, among them a triptych, Legend: Saint Mary of Egypt, and the nine-piece Life of Christ; they fully chronicle his evolution to his mature, Expressionistic style between 1909 and 1912; and they incorporate an elaborate vocabulary of stylistic devices and motifs generally not found elsewhere in his works. Perhaps most importantly, little like them exists after the advent of modernism, with its general disdain for literary subjects. Nolde himself recognized the significance of his early religious paintings. To him they formed the pivotal point in the transformation of his idiom from Impressionist to Expressionist--"the turn from external optical stimulus to experienced inner," as he wrote in the second volume of his memoirs. However, remarkably little thorough scholarship exists on Nolde--his religious paintings or otherwise--and he himself managed to set the tone for much of this by publishing four volumes of memoirs. Here, Nolde presents himself as the quintessential, self-contained Romantic genius, isolated in the rural north, with little connection to the art world, events, or culture of his day. However, he was neither isolated artistically nor ahead of his era in a social sense--in fact, politically and socially he remained quite conservative. But he also could not have developed his radical style if he had remained entirely in and of the land of his roots. Careful consideration of Nolde{\textquoteright}s life and work reveal him to be less isolated and unique, but also a more complex and fascinating figure--one born in and retaining the values of a conservative and rural milieu, who nonetheless strived for the artistic vanguard. His religious paintings represent the clearest embodiment of this conflict between the progressive and the conservative, being works traditional in subject yet radical in style. For Nolde, art, life, and religion were inextricably joined, and the self-conception elaborated in his writings provides clues to the meaning of many of his religious paintings. But while Nolde{\textquoteright}s religious paintings have an important non-rational element that must remain forever ineffable--as Nolde and many writers rightly stress--they involve other important issues that, once addressed, provide a richer understanding of the man and his work. These include his relationship to the events and art world of his day, the relative influence of Nietzsche and German Romanticism, his relationship to German theology and the western tradition of religious art--particularly German Medieval and Renaissance religious art--and of course the nature and meaning of his subjects.}, keywords = {19th- and Early 20th-Century European Art}, author = {Sieger, William} } @mastersthesis {8273, title = {Retrieving Late Babylonian Art: The Seal Impressions from Eanna Archive at Uruk}, year = {1998}, school = {IFA/NYU}, abstract = {The Late Babylonian dynasty established by Nabopolassar in 626 BC when he seized the throne of Babylon from the Assyrians, witnessed the culmination of indigenous Mesopotamian civilization. In the brief period between the defeat of Assyria and the Persian conquest in 539 BC, the Babylonian empire thrived, and Babylon, its imperial capital, blossomed into the grandiose city commemorated in myth and legend. Substantial, animated histories of sixth century Babylonia can be written owing to the extraordinary number of preserved texts. In contrast, the art histories are terse and treat the age as the twilight of Mesopotamian art. Part of the problem with appraising Late Babylonian art lies in its dearth. Few monumental works can be called upon for analysis. The glyptic arts serve as the primary source, quantitatively and iconographically, around which to formulate an art history of the period. Unlike actual seals, which often lack archaeological context, seal impressions on tablets carry supplemental associations gleaned from the texts, including the date of employ and sometimes the seal{\textquoteright}s owner and office. The relevance of the seal{\textquoteright}s imagery and conventions of sealing choice can thus occasionally be deduced. This dissertation investigates the sealings on economic tablets from the sixth century archive of the Eanna temple of Istar at Uruk. At that time, Uruk was southern Babylonia{\textquoteright}s foremost city and the Eanna its major temple. The core of the dissertation is a thematically arranged catalogue of 218 seal impressions. Each impression is given a catalogue entry providing a description of the sealing and tablet that bears it, and is illustrated by a line drawing. The accompanying text commences with a delineation of the Late Babylonian setting, the Eanna temple and its archive. Sealing iconography in both the archival and greater Babylonian context is then investigated. Observations on sealing usage reveal an apparent lack of systematic practices that obtain in other periods of Mesopotamian history. Finally, the influence of the Mesopotamian heritage on the sealings is documented, as is the Persian acceptance of Babylonian intellectual precedence.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Ehrenberg, Erica} } @mastersthesis {8286, title = {Returning Worlds: Still Photography in the Hollywood Motion Picture}, year = {1998}, school = {New Mexico}, abstract = {No record in ProQuest}, keywords = {Photography and Film}, author = {Cohen, Matthew} } @mastersthesis {8299, title = {Revolutions in Vision{\textquoteright}: African-American Women, Aesthetics, and Visual Politics}, year = {1998}, school = {Minnesota}, abstract = {Inspired by cultural critic Michele Wallace{\textquoteright}s call for a "revolution in vision" that would centralize issues of "vision, visuality, and visibility" and, in doing so, finally put an end to the past and present "visual void" in African-American thought, this study foregrounds and engages the art of a host of African-American women artists who have produced bodies of work during the 1980s and 1990s. Generators of, and participants in, the latest upswing in black creativity, these cultural workers are part of the unprecedented number of African-American women artists--photographers, filmmakers, painters, installation, and mixed media artists--whose work has garnered the attention of the art viewing public since the 1980s. Many of these artists are engaged in a similar project of representing black history. Recognizing that their status as professional artists marks a significant departure from the past and that black history has largely been avoided as a subject of museum art, these artists frequently use their newly won position in the art world to investigate why this is so. This study examines the histories these artists consistently recast and how their visual rearticulations comment on both artistic and social legacies. Specifically, it focuses on four "problems" that recur when these artists confront nineteenth and twentieth-century history: the documentation of truth, the status of the black female body, the relationship between art and cultural contact and change, and the constraints on and possibilities for black girlhood. Each chapter addresses a problem. First, I lay out an artistic, social, and cultural context for one of these problems. Then I explore various artistic strategies to address it. This means surveying how currently salient aspects of history have been represented in visual art and culture and then analyzing how artists such as Renee Green, Carla Williams, Carrie Mae Weems, Lorna Simpson, Emma Amos, Alison Saar, Renee Stout, Beverly Buchanan, Martha Jackson-Jarvis, Clarissa Sligh, and Julie Dash visually converse with these histories and with each other.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Collins, Lisa G.} } @mastersthesis {8330, title = {The Role of the 1933-34 Century of Progress International Exposition in the Development and Promotion of Modern Architecture in the United States}, year = {1998}, school = {UT Austin}, abstract = {The Chicago Century of Progress International Exposition of 1933-34 played a pivotal, yet previously under-recognized, role in the rise of modern American architecture. The Fair provided an opportunity for architects to explore a wide range of new ideas reflective of the times. During the years that the Exposition was designed and built, architects were searching for design solutions appropriate for the rapidly changing modern world. The Fair{\textquoteright}s guidelines and the economic crisis of the Great Depression forced the Beaux-Arts trained members on the official architectural commission to put aside their classical ideas and create a modern fair. They did this by employing less costly, but more innovative, design solutions. In the process, they rejected a solely stylistic vision of modern architecture and incorporated into their definition the use of new building materials and processes. The resulting fair pavilions consisted primarily of large, flat surfaces with decoration derived from innovative uses of color and electric lighting. The Exposition also served as an opportunity for explorations of modern ideas by other designers, such as Frank Lloyd Wright and Norman Bel Geddes, who added to the vocabulary of modernism through unrealized designs for the event. Additionally, the Fair served as a venue through which architects and critics expressed their own views on modern architecture in design journals and in more popular publications. This dissertation illustrates the importance of the Century of Progress Exposition in American architecture. It examines advances in building materials, structural innovations, and building processes-as well as formal and decorative practices-present in the design of the Fair. The Exposition facilitated a general acceptance of modern architecture by presenting these new concepts to over 38,000,000 fairgoers and to millions more through numerous articles and images on souvenirs. By examining the role that the designs of the Exposition served in academic and popular discourses on modern architecture, along with the relationship of the fair designs to larger architectural and cultural issues, this dissertation demonstrates that the event played a significant part in the widespread reception, as well as in the development, of modernism in American architecture.}, keywords = {Pre-1945 North American and South American Art}, author = {Schrenk, Lisa Diane} } @mastersthesis {8278, title = {Roman Arles: A City in Landscape}, year = {1998}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Nicholson, Caroline Smitter} } @mastersthesis {8282, title = {Roman Delphi and Its Pythian Games}, year = {1998}, school = {Princeton}, abstract = {The sanctuary of Delphi in central Greece was one of the principal centres of Hellenic culture and, as such, has been long been the object of fascination and study. But almost all scholarship so far has focused on the period when Delphi{\textquoteright}s political influence over the Greek world was at its height (roughly the seventh through early fifth centuries B.C.), much to the detriment of subsequent developments. One is led to suppose that the place faded utterly from the ancient consciousness, if not actually from existence. This dissertation redresses the balance somewhat by exploring the continued vitality and influence of Delphi in the first through third centuries A.D. The primary means of refuting the imputation of decline is the quadrennial festival of the Pythian Games, second only to the Olympic Games in status, which continued in regular observance for almost a thousand years until the late fourth century of our era. To this end, Chapter I begins the study by introducing the early Pythian Games and their participants of the sixth century B.C. as a foil against which one might compare the festival in the Roman period. What subsequent chapters reveal is that the desires and aspirations of those involved with the games changed very little over the centuries: administrators still attained influence through them, spectators still came for entertainment or enlightenment, and athletes or musicians still saw the Pythian Games as a means of professional advancement. A high profile not only kept Delphi on the map and attracted generous benefactions, but it also attracted the attention of the imperial administration. Although the emperors{\textquoteright} association with, and final control over, Delphi was as old as the principate, later rulers of Rome, particularly Domitian, allied themselves more closely with the interests of Delphi and the sponsorship of its games. Delphi became a symbol in the repertory of imperial ideology, but a living symbol possessed of contemporary significance. For the culmination of Rome{\textquoteright}s involvement with Delphi came in the late second and third centuries, when emperors made over twenty grants to faithful cities in the eastern provinces of permission to stage their own Pythian Games. Although Delphi had always possessed a desirable cachet, its adaptability was eventually what secured its vigorous survival until the end of antiquity.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Weir, Robert George Alexander} } @mastersthesis {8284, title = {Scaling the Mountain of the Ancients: The Altarpiece of Santiago Atitlan, Guatemala}, year = {1998}, school = {UT Austin}, abstract = {This study concerns the extent to which the sacred architecture and monumental sculpture of Santiago Atitlan, a Tz{\textquoteright}utujil-Maya speaking community in Western Guatemala, reflects the world view of its indigenous society. The focus of this world is the central altarpiece of the town{\textquoteright}s sixteenth century Roman Catholic church. Originally constructed at an unknown date during the Colonial Era (1524-1821), the altarpiece underwent extensive reconstruction from 1975-1981 under the direction of the parish priest, Father Francisco Rother, following its collapse in a severe earthquake. Father Rother commissioned a local Tz{\textquoteright}utujil sculptor, Diego Chavez Petzey, and his younger brother, Nicolas Chavez Sojuel, to re-erect the monument and to carve replacement panels for those sections that were too damaged for reuse. Rather than strictly following the original decorative program of the altarpiece, the Chavez brothers chose to emphasize imagery which was familiar to the contemporary experience of the traditionalist Maya community in Santiago Atitlan, whose faith demonstrates a syncretic fusion of ancient indigenous traditions and selected elements from Christianity. The relationship between the artists who reconstructed the altarpiece and the patron who commissioned the work is best characterized as collaborative, a bilateral interaction in which both Catholic priest and Maya sculptors were active participants. The result is an amalgam in which Christian forms and images are shaped in such a way that they reveal uniquely Maya meaning, while Maya motifs and rituals are harmonized with Roman Catholic orthodoxy. Traditional Atiteco religion is centered in the confraternity system, a network of ten voluntary associations dedicated to the veneration of individual saints and associated deiforms. Although the confraternities are ostensibly Christian organizations, their administration is wholly indigenous and independent of the official Roman Catholic church{\textquoteright}s control. Indeed, the ceremonies conducted in the confraternity houses retain significant elements of ancient Maya cosmology that run counter to European notions of Christian orthodoxy. The altarpiece represents an attempt on the part of the Chavez brothers to assert the legitimacy of traditional Atiteco Maya faith as an independent complement to Roman Catholicism. In so doing, it presents an invaluable visual display of esoteric Tz{\textquoteright}utujil rituals and beliefs that are otherwise poorly accessible to Western researchers.}, keywords = {Native American and Pre-Columbian Art}, author = {Christenson, Allen} } @mastersthesis {8246, title = {Science into Art: Rachel Ruysch{\textquoteright}s Early Development as a Still-Life Painter}, year = {1998}, school = {Pittsburgh}, abstract = {This dissertation explores the early artistic development of Rachel Ruysch, one of the finest Dutch flower painters of the late 17th and 18th centuries, and arguably the most successful Dutch woman artist in history. Although the elaborate bouquets of her mature career are well-known, Ruysch{\textquoteright}s early efforts have often been misattributed to other painters, and have not been examined as a group. Through connoisseurship and careful stylistic analysis, this study identifies and examines for the first time the scope and nature of Ruysch{\textquoteright}s earliest artistic efforts, a total of 36 extant works dating from c. 1680 to c. 1690. Her artistic models for these works--Willem van Aelst, Cornelis and Jan Davidsz. de Heem, Abraham Mignon, Otto Marseus van Schrieck, and possibly Ernst Stuven, Maria van Oosterwijck, Nicolaes Lachtropius, and Nicolaes de Vree--are also identified. Ruysch{\textquoteright}s rich socio-cultural network is examined in the four opening chapters, which chronicle the achievements of major family figures. In Chapter One, which discusses the Posts (Ruysch{\textquoteright}s mother{\textquoteright}s family), the focus is upon Ruysch{\textquoteright}s grandfather, Pieter Post, leading architect to the House of Orange in the mid 17th century, and her great-uncle, Frans Post, whose landscapes of Brazil earned him the distinction of being the first European-trained painter of the New World. Chapter Two deals with the Ruysch family, whose history is traced back to the 14th century. The key figure is Dr. Frederik Ruysch, the artist{\textquoteright}s father and a renowned scientist who involved his entire family in his major scholarly enterprise: the human anatomy museum he created with a secret embalming technique. Chapter Three explores this museum, Rachel Ruysch{\textquoteright}s involvement in designing the displays there, and the impact that this work had upon her art. In Chapter Four, Frederik Ruysch{\textquoteright}s connection with the Amsterdam Botanical Garden is examined, together with its plant, codex, and library resources which would have been available to Rachel Ruysch for use in her art. Chapter Five analyzes the first biography of Rachel Ruysch, written by Jan van Gool. According to van Gool, Ruysch{\textquoteright}s only formal artistic education was with Willem van Aelst. During her first decade of artistic production, Ruysch produced more types of still life than she did at any other phase of her 67-year career. While she continued to paint bouquets in a vase, fruit pieces, and nosegays, Ruysch produced nature pieces, festoons, and garlands only during this early phase. Chapters Six through Fourteen examine, genre by genre, each type of still life Ruysch painted during the formative decade of her career: hanging bouquets (Chapter Six), vases of flowers (Chapter Seven), fruit on a tabletop (Chapter Eight), nosegays (Chapter Nine), and nature pieces (Chapters Ten, Twelve, Thirteen and Fourteen). The paintings are arranged as chronologically as possible within each chapter. Within each section, the history of each particular still-life genre is presented, Ruysch{\textquoteright}s sources for individual motifs and compositional devices are identified, and her personal contributions to the genre are explained. Chapter Eleven considers the butterflies in Ruysch{\textquoteright}s early paintings, and postulates that she may well have glued actual insects to her canvases rather than painting them.}, keywords = {Baroque and 18th-Century European}, author = {Berardi, Marianne} } @mastersthesis {8236, title = {The Sculpture of Frederick William MacMonnies: A Critical Catalogue}, year = {1998}, school = {IFA/NYU}, abstract = {This first documented resource on the sculpture of Frederick William MacMonnies (1863-1937) combines a catalogue raisonne with a critical assessment of the past literature. One of the most successful sculptors of the American Renaissance, his works persist as instantly comprehended icons of that glittering era. Columbian Fountain, symbol of Chicago{\textquoteright}s World{\textquoteright}s Columbian Exposition, 1893, paved a gilded path for his career, providing a basic repertory for major aspects of his work, mutability of forms and metamorphosis of themes. He was an innovator of American fountain sculpture, and a mentor for a generation of artists. Connections with Augustus Saint-Gaudens, Stanford White, the Ecole des Beaux-Arts, Alexandre Falguiere, Antonin Mercie, the New Sculptors, and Rodin informed his art. The Catalogue demonstrates his affinity to Art Nouveau and the contemporaneity of his art of the 1890{\textquoteright}s. Domiciled three decades in Paris (and Giverny), he created sculpture for American private and public patronage, exhibiting at the Salon more extensively than any compatriot, winning more honors, and leading in producing bronze statuettes that permeated America{\textquoteright}s market. The dissertation contains revelations regarding: his relationships with Saint-Gaudens (especially their interdependence), politicians, and businessmen; the dynamics of his collaborations with White (including their shared ambitions for colossal monuments), Thomas Hastings, and Theodore Blake; and Alice MacMonnies{\textquoteright} role as the motive force behind his commissions after 1905. Catalogue entries specify: Titles, Dates, Typology, Media, Dimensions, Markings, Foundry, Exhibitions, Locations, Collaborators, Sketches, and Editions (known sizes, markings and foundries). Historiography, drawn from the broadest range of material, follows, and, finally, a concordance to references in the most frequently cited publications. Methodology includes cross-referencing primary and secondary sources with previously published information, and physical examination or reevaluation of objects. Entries contextualize the object{\textquoteright}s significance in his oeuvre and in social and artistic terms, and present the views of MacMonnies, his contemporaries, press, and critics in France and America, often in their own words. Included are newly discovered works, little-known projects and bozzetti, and a full account of the medallions and portrait busts and reliefs of his last twenty years. Section introductions and entries highlight career events and document biographical facts.}, keywords = {Art of the United States and Canada, Pre-1945 North American and South American Art}, author = {Gordon, Ethelyn Adina} } @mastersthesis {8315, title = {The Selling of Japan: Race, Gender, and Cultural Politics in the American Art World, 1876-1915}, year = {1998}, school = {Delaware}, abstract = {This study reexamines the American interest in Japan, "the Japan Craze," manifested in American art and popular culture between 1876 and 1915, the era of the West{\textquoteright}s expansion to East Asia, with special attention to the image of women. American japonisme has been studied mainly from a Western perspective, while focusing on historical documentation and formalistic analysis. Following an interdisciplinary approach and avoiding either a Western- or an Eastern-centered point of view, I reevaluate American japonisme in the light of race/gender issues and cultural politics of the period. Contemporary American and Japanese materials indicate that Japan deserves more credit for engineering the Japan phenomenon in the United States than art historians have previously suggested. This situation owes much to the Japanese government{\textquoteright}s use of art and culture as part of a foreign policy that promoted Japan in reaction to the Western threat that jeopardized Japan{\textquoteright}s political, economic, and cultural aspirations. American views of Japan as a racial and cultural Other, in turn, were based less on actuality than on misperceptions and fanciful information and shifted from the uncivilized and heathen to the exotic and ideal. Victorian Americans, notably those in the art world, projected their imaginary view of nostalgic Orientalist romanticism onto Japan, and the Japanese themselves presented the West with idealized prescriptive images of their country. During this period many artists from the Boston and New York areas painted idealized American women of privilege in interior settings with Asian accoutrements. This is the first in-depth examination of these paintings within the context of the Japan phenomenon. The female figures are represented as the feminine ideal in the patriarchal society of the period and display stereotypical characteristics corresponding to the contemporary conception of the quiet, subservient, and passive Japanese woman. My research reveals that, as part of the reaction against the movement towards women{\textquoteright}s independence, the patrons and artists in the conservative Northeast wished to recreate the image of the American feminine ideal; they responded to the popularized image of subordinate Japanese maidens as represented in literary and visual sources, such as ukiyo-e prints, photographs, fiction and non-fiction, and various popular culture materials.}, keywords = {Pre-1945 North American and South American Art}, author = {Cho, Eunyoung} } @mastersthesis {8308, title = {Sex and Sensibilities: The Aesthetic and Political Struggles over Women{\textquoteright}s Representations of the Female Body, 1966- 1980}, year = {1998}, school = {Northwestern}, abstract = {Between 1966 and 1980, American women artists thematized sexuality with unprecedented frequency by representing the female body in a variety of styles and media. A category of fragmentary representations of the female body-generally centrally-organized, biomorphic, and often empty at the center-comprises the subject of my dissertation. I propose that radical and lesbian feminist political discourses that problematized the project of representing the female body inflected the production and reception of this category of female body imagery. Representations of the female body reciprocally extended and complicated those discourses. Arguing against a reading of female body imagery as uniformly essentialist, I conclude that these representations were products of and participants in a multi-vocal feminist discourse on the body, gender, and sexuality in the 1970s. Chapter One considers Hannah Wilke{\textquoteright}s and Judy Chicago{\textquoteright}s late-1960s abstract representations of the female body. They are located in relation to debates over the female body and sexuality within the Women{\textquoteright}s Movement and with regard to their status as erotic art. In Chapter Two, I introduce the feminist art critical term "feminine sensibility," which masked the erotic content of female body imagery. This strategy of concealment parallels radical feminist political discourse, in which "woman-identified woman" was substituted for "lesbian." Female body imagery affirmed sexuality in counterpoint to its displacement from feminist political discourses. I discuss the mid-1970s work of Tee A. Corinne, Betty Dodson, and Harmony Hammond in Chapter Three. Hammond{\textquoteright}s abstract sculptures offered an alternative to anti-pornography feminist politics that militated against visual pleasure. Chapter Four addresses "lesbian sensibility" in art by further analyzing Hammond{\textquoteright}s sculpture as the stage for a renegotiation of erotic content in art by lesbians. In Chapter Five I compare two exhibitions, Judy Chicago{\textquoteright}s Dinner Party (1979) and the "Great American Lesbian Art Show" (1980). Representations of the female body figured prominently in each, but sexual content was denied by Chicago, while it was endorsed by some GALAS participants. I demonstrate that female body imagery had by now disengaged from "feminine sensibility" but remained attached to a notion of "lesbian sensibility."}, keywords = {Post-1945 North American, South American, and European Art}, author = {Thompson, Margo} } @mastersthesis {8291, title = {Shifting Paradigms, Current Strategies in Documentary Photography}, year = {1998}, school = {New Mexico}, abstract = {No record in ProQuest}, keywords = {Photography and Film}, author = {Vlaun, Scott} } @mastersthesis {8230, title = {Site and Symbol: Framing Cultural Identities in Mousgoum Architecture}, year = {1998}, school = {Harvard}, abstract = {In this analysis of the domed houses of the Mousgoum of Cameroon and Chad, I examine architectural structure as a text through which an array of interpretations have been formed. Based on oral history, language, Western travelers{\textquoteright} accounts, and contemporary sources and materials, I attempt an illumination of historic Mousgoum architecture, explore the ways in which the built environment allows insight into Mousgoum social and religious values, interrogate the changing Western perception of the Mousgoum environment, and examine how the Mousgoum themselves have reconstructed their architecture to meet contemporary needs. While the Mousgoum dome has always had an evocative power for the Mousgoum, the arrival of Westerners and their fascination with the structure reveals its many parallel lives. Quite simply, this dissertation is about the relationship of architecture to both the Mousgoum and the West. It is about multiple stories and the mechanisms through which they are created. This study moves into Africa, out of Africa, and back into Africa. Through the encounters between the structure and the travelers Heinrich Barth, Olive MacLeod, Andre Gide and Marc Allegret, I analyze how preconceived notions of the "primitive" are questioned, positing a primal scene in which the boundary between self and Other threatens to collapse. The appropriation of the Mousgoum dome by the French for the 1931 International Colonial Exposition in Paris is also interrogated in an exploration of how architecture became an integral part of the construction of France{\textquoteright}s imperial identity. Finally I examine the contemporary reconstruction and representation of the Mousgoum dome, which over the past five decades has nearly disappeared. Here, Mousgoum perception of the dome their understanding of the West{\textquoteright}s fascination with the structure create an architectonic repository of Mousgoum cultural history and memory.}, keywords = {African Art}, author = {Steven Nelson} } @mastersthesis {8211, title = {Site of Contestation: Constantin Brancusi{\textquoteright}s World War I Memorial}, year = {1998}, school = {IFA/NYU}, abstract = {At the initiative of a private group of women, known as the National Women{\textquoteright}s League of Gorj County, Constantin Brancusi executed between 1937-38 a World War I memorial in Ti rgu Jiu, Romania. The memorial contains four structures--the Endless Column, the Gate of Kiss, the Alley of Chairs, and the Table of Silence--which are deployed on a one-mile long axis. As a whole, the ensemble constitutes Brancusi{\textquoteright}s sole civic work on an architectural scale, and is credited to be a paradigmatic case of environmental art in the history of modernism. Based on archival documentation, this thesis considers the history of commission as part of the cultural reforms undertaken by the Women{\textquoteright}s League. Then, it contributes an in-depth analysis of the memorial{\textquoteright}s genealogy in relation to other Brancusian works and to his unrealized architectural projects (e.g. the Temple of Love and Temple of Meditation for the Maharajah of India in the 1930s; the colonne habitable, or residential skyscraper for Central Park, New York; and the colossal Endless Column for the shore of Lake Michigan in Chicago). By introducing previously censored material, this dissertation also probes the national reception of Brancusi{\textquoteright}s memorial during different political regimes, such as: the interwar period of the 1930s; the Stalinist hiatus, followed by the Communist epoch; and the years since the revolution of December 1989, In addition, it examines the current campaign of restoration which has stirred considerable controversy over the dismantling of the Endless Column. The concluding section considers Brancusi{\textquoteright}s impact on postwar art practices, and more specifically, discusses the key role played by the Ti rgu Jiu memorial in the dissemination of serial art, site-specific art, furniture art, and the topoi of countermonument and architectural folly. Finally, this thesis reflects on the ways in which Carl Andre, Robert Morris, Dan Flavin, Robert Smithson, Claes Oldenburg, Sherrie Levine, Scott Burton, Kcho, Jason Rhoades, and Cristian Alexa, among others, have read and productively misread Brancusi{\textquoteright}s production through the contemporary lens.}, keywords = {19th- and Early 20th-Century European Art}, author = {Marcoci, Roxana} } @mastersthesis {8269, title = {Social and Cultural Context of Programs in Pompeiian Wall Painting}, year = {1998}, school = {UCLA}, abstract = {Pompeian wall painting is one of the most studied elements of Roman art, yet there remain many aspects of the practice which are not well understood. The use of programs to select and organize the painted decoration on the walls of Pompeian houses is one such aspect. Although first recognized over a century ago, programmatic decoration within Pompeian residences has remained a controversial subject. Some scholars have supposed that virtually every house in Pompeii contained murals which were grouped together to express a theme, while others have argued that such conceptually related groups of paintings were quite rare. Even among those who acknowledge some frequency of programmatic decoration, there has been little attempt to quantify the occurrence of programs or to correlate their use with socio-economic status or other factors. The purpose of this study is to clarify the extent of programmatic painting at Pompeii, and to correlate the use of programs and their level of complexity with the relative socio-economic status of the householder as reflected by the size and features of his residence. Region VI of Pompeii was chosen as the focus for this study because of the representative nature of its properties and its ample but manageable size. The study examined all the properties in Region VI, identifying those houses which potentially contained programmatic groupings of pictures--that is, houses which preserved at the time of excavation two or more pendant paintings within any one of its rooms. The houses within the resulting study group were then classified by size and qualified by such other features as quantity of rooms, number and types of atria, and number and types of peristyles. The pendant groups within these houses were then studied to determine whether they exhibit programmatic relationships, and the programs identified were analyzed in detail to discern their nature, level of complexity, and structural principles. The study concludes that virtually every group of pendant paintings in the sample was unified by some sort of programmatic relationship, and that the size and type of house did not necessarily determine the sophistication of the program.}, keywords = {Egyptian, Ancient Near Eastern, and Classical}, author = {Grebl, James William} } @mastersthesis {8231, title = {Spaces of Representation/ Representations of Space: Discourses of Architecture, Urbanism and the Built Environment, 1960- 1995}, year = {1998}, school = {Binghamton}, abstract = {This dissertation examines discourses of architecture, urbanism and the built environment as represented by a group of English-language scholarly journals between 1960 and 1995. The journals studied extend across the "space" disciplines, and include the Journal of the Society of Architectural Historians, the oldest journal of architectural history in the United States; Assemblage, a journal of architectural theory, design and criticism; the Traditional Dwellings and Settlements Review, a journal focusing on "traditional environments," particularly in the rapidly industrializing countries of the so-called "third world," the International Journal of Urban and Regional Research, concerned with the political economy of urban and regional development, and Environment and Planning D. Society and Space, a journal that has played an important role in adapting various forms of social and critical theory to the analysis of geographic space at various scales. The dissertation argues that each of the journals constitutes a space of representation, or a geographically, historically and intellectually specific socio-spatial world, defined through a range of textual and institutional practices. Drawing upon literary theory, the sociology of knowledge, and theories of representation, the study analyzes the representations of space that have emerged from these worlds over the last three decades. Each case study questions the historical conditions and political effects of the discourse, the interests it serves and the relations of power it upholds. The study concludes by examining the discourses as part of a larger, interdependent field of knowledge, according to three critical, comparative themes: interdisciplinarity and the relationship between "the social" and "the spatial"; internationalism and geographies of knowledge and power; and the relation between theory, practice and the construction of professional identity.}, keywords = {Art Criticism and Theory}, author = {Crysler, Greig} } @mastersthesis {8250, title = {A Study of Neostoic Patronage in Baroque Rome}, year = {1998}, school = {Pennsylvania}, abstract = {Cardinal Camillo Massimo (1620-77) was among the most influential figures in the cultural world of seventeenth-century in Rome. His collection is distinguished by his taste for the classical and the classicizing, his interest in combining his literary and artistic interests, and his unusually intimate relationships with the artists he employed. This dissertation examines Massimo as a patron of contemporary painting, focusing on his collection of ten important works by Nicolas Poussin and Claude Lorrain. Massimo shared close, although different, relationships with both these painters that were unique among each artist{\textquoteright}s experience in terms of their intimacy and their effect on the works of art they produced for him. The paintings have not been considered as a group before, but when assembled they share remarkable similarities of content and form. The paintings are connected by references to Neostoicism, the combination of Christianity and classical Stoicism that emerged in sixteenth- and seventeenth-century European intellectual circles. Evidence from Massimo{\textquoteright}s Library indicates his scholarly preference for this creed. My Neostoic analysis of this set of paintings is particularly revealing for the enigmatic late paintings by Poussin and Claude, the 1665 Apollo and Daphne and the 1673/4 Perseus and the Origin of Coral. When examined in the context of Massimo{\textquoteright}s collection and in terms of one another their mysteries begin to clarify and both paintings can be understood as allegorical representations of cyclical Neostoic cosmology.}, keywords = {Baroque and 18th-Century European}, author = {Gardner, Victoria Curtin} } @mastersthesis {8238, title = {Style and Workshops in Ajanta Painting}, year = {1998}, school = {Columbia}, abstract = {The essential goal of this dissertation has been the determination of a coherent method of classifying the paintings of Ajanta by introducing a new explanatory model based on individual workshops centered around artists{\textquoteright} families and guilds. Thus far no systematic analysis of the paintings has been published which is not linked to considerations of a long-term chronological development of the site. The method proposed herein has the advantage of avoiding the necessity of chronological assumptions. Instead it takes into consideration the itinerant artists and their impact on the considerable stylistic diversity apparent in the Ajanta murals. The analysis of the paintings focusses on caves I, II, XVI, and XVII and has led to the identification of eight workshops, each consisting of three to eight members. Each workshop was headed by a master artist working in a clearly defined style and who was responsible for a major part of a composition. The master artist was assisted by other members of the same workshop displaying varying degrees of expertise. Generally two or three workshops were active side by side in the same cave, each identifiable by a distinct style. Thus stylistic diversity at Ajanta is viewed as the result of the collaboration of numerous families of painters from various geographical areas and with different artistic backgrounds. The investigation of style includes also a study of the compositional schemes of the narratives depicted at the site. Several patterns of narration are analyzed. Emphasis is placed on the large-scale compositions which reveal particularly sophisticated schemes of narrative discourse. The thesis concludes with an analysis of the ceiling ornaments and proposes an interpretation of a cosmic vision based on the cakravala or single-world system.}, keywords = {Asian Art}, author = {Francoeur, Susanne} } @mastersthesis {8313, title = {Testament to American Modernism: The Prints of William and Marguerite Zorach}, year = {1998}, school = {Penn State}, abstract = {Rarely did early American Modernists display the breadth of media or address the scope of themes exhibited in the work of William and Marguerite Zorach. Although their positions in the history of art are established--William for his sculptures, Marguerite for her paintings and embroidered tapestries--their prints, oddly enough, have been neglected. My dissertation couples a print list of the Zorachs{\textquoteright} graphic oeuvre with essays focusing on the major issues reflected in these works. Nearly one hundred prints the Zorachs completed from c. 1910 to the late 1960s--mostly linoleum cuts, but also etchings and lithographs--touch upon the major concerns of American modernism: "primitivism", "nature," and the modernist quest to reach "universals." From a contextual approach, I use these works as points of departure to demonstrate that the Zorachs{\textquoteright} attitudes towards these subjects reflected a larger sociological mindset. I am using the term "modernism" to denote the span of time from the mid-nineteenth century to the mid-twentieth, including the fundamental changes (political, industrial scientific, artistic, and otherwise) that occurred in the West during that period. The Zorachs printed their graphic work by hand whenever inspiration took hold. Rarely did these artists number their prints. I feel part of my mission is to shed light on this overlooked and underappreciated body of work. Because these works are indicative of crucial tenets of modernism, I also hope this document will be of interest to print curators, cultural historians, scholars from a wide range of disciplines, and the public at large. The entries in the print list section provide all the pertinent information concerning the individual prints themselves: artist, title, date, media, edition number (if known) and the institution(s) or collection(s) in which they are located. Each work is presented in color or black and white, depending on the original.}, keywords = {Pre-1945 North American and South American Art}, author = {Burk, Efram} } @mastersthesis {8309, title = {"Toward a Democratic Esthetic"? The Modern House in America, 1932- 1955}, year = {1998}, school = {CUNY}, abstract = {This dissertation explores the discourse and debates that shaped American house design from 1932 to 1955. It concentrates on the relationship between the house and the modern movement, not as viewed from the vantage point of the International Style alone, but as seen by its critics and interpreters. A broad and inclusive narrative is presented, emphasizing efforts by museums and magazines to shape the image of domestic architecture in the United States. From these debates a modified modern aesthetic emerged, one blending the International Style, vernacular traditions, and the work of Frank Lloyd Wright. With 1932 as my starting point, I trace the ways the Museum of Modern Art attempted to influence popular taste, through public exhibitions, publications, and two full-size demonstration houses designed by Marcel Breuer and Gregory Ain. Whereas many historians view the Modern{\textquoteright}s programming as monolithic, dictated by Philip Johnson and his supporters, it was in fact shaped by a number of curators, many of whom have been overlooked by historians. In particular, the contributions of John McAndrew and Elizabeth B. Mock are investigated. The war years and the housing boom that followed are discussed, particularly the impact patriotism and political ideology had on the nation{\textquoteright}s domestic landscape. Consequently, after 1945 a general reassessment of the modern movement occurred. Long-time supporters like James Marston Fitch and Joseph Hudnut urged their peers to rethink the modernist enterprise to reflect the war, its meaning, and the sacrifices made by the layman. These populist critiques climaxed in the early 1950s when Elizabeth Gordon, editor of House Beautiful, launched a controversial campaign against modern architecture and its leaders, linking their ideas to fascism and similar authoritarian tendencies. The conclusion, which focuses on William Levitt, describes the developer{\textquoteright}s career and his relationship to the modern movement. The stylistic evolution of Levittown is presented, analyzing specific designs and their debt to both critics and defenders of the International Style. In effect, this dissertation returns the modern architect and the merchant builder to their rightful positions of influence and impact--two parts of a extremely complex, and more often than not, interwoven narrative.}, keywords = {Art Criticism and Theory, Pre-1945 North American and South American Art}, author = {Postal, Matthew} } @mastersthesis {8306, title = {Towards a General Theory of Abundance: The Continuous Creation Model of the Universe}, year = {1998}, school = {New Mexico}, abstract = {No record in ProQuest}, keywords = {Post-1945 North American, South American, and European Art}, author = {Powell, Thomas} } @mastersthesis {8310, title = {Transferring Values: Albert C. Barnes, Work and the Work of Art}, year = {1998}, school = {UT Austin}, abstract = {"James taught me how to think, Santayana taught me how to feel, and Dewey taught me what is involved in educating people to new ways of thinking," claimed American art collector and critic, Albert Barnes. Although Barnes explicitly named John Dewey{\textquoteright}s Pragmatism as the source for his method of art education, and George Santayana{\textquoteright}s Naturalism as the foundation of his criticism, mine is the first study to consider Barnes{\textquoteright} thought within the context of American philosophy. I discuss the development of Barnes{\textquoteright} criticism and educational method between 1918 and 1935. Inspired by Dewey{\textquoteright}s Democracy and Education, Barnes worked on several projects in 1918, attempting to put into practice Dewey{\textquoteright}s theory of education and social reform. These included promoting the Alexander Technique, and introducing industrial democracy into the workforce at Barnes{\textquoteright} Chemical Company. In the 1920s, as Dewey began to consider art as the qualitative ideal of experience while writing Experience and Nature, the collector established the Barnes Foundation to house his collection of modern art, and to promote the progressive method of art education he had developed. Barnes{\textquoteright} method of evaluating "Plastic Form" in modern painting and sculpture introduced the aesthetic theory Santayana proposed in The Sense of Beauty and Reason in Art into the contemporary critical discourse on art. Promoting a theory of ideal forms of a naturalist philosophy, Barnes was intent upon distinguishing his Formalism from contemporary critics such as Roger Fry, Bernard Berenson and Thomas Craven. The philosophies of Dewey and Santayana not only provided the foundation of Barnes{\textquoteright} criticism and educational method, but determined the scope of his collection and his arrangement of objects within the galleries of his Foundation. Under the influence of Santayana in the 1920s, Barnes added traditional African sculpture and Old Master paintings to his collection of French Impressionist paintings. In the 1930s, collaborating closely with Dewey while the philosopher applied his Instrumentalism to the realm of aesthetics in Art as Experience, Barnes was inspired to expand his collection again, to include decorative arts, rearranging the wall ensembles in his gallery to illustrate his new theory of "Transferred Values."}, keywords = {Pre-1945 North American and South American Art}, author = {Bahr, Megan Granda} } @mastersthesis {8283, title = {The Turkish House: An Effort of Memory}, year = {1998}, school = {UCLA}, abstract = {This dissertation traces the image of what is now called "the Turkish House" as it emerged from Ottoman obscurity into the consciousness of the new Turkish Republic, between the closing decades of the 19th century and the end of the 1930s. Using visual representations, the discourses of the politics of culture and the architectural profession (as well as its built forms,) and, most productively, the culturally thick descriptions in periodicals, novels and stories, I explore the interaction of meaning and memory in the Turkish urban imaginary, that is, in its visual repertoire as it is encoded with ideology, symbolism, desires, and dreams. Beginning with an image from Turkish Puppet-Theater, which I argue was a comfortable representation of "time immemorial," I move to the late 19th century, when the old house engaged with the future as an image of the present in need of modernization. But the political polemics of the emerging Turkish Republic re-coded this image as "the venerable past" and gave it the name "Turkish," solidifying its position as a defining image in the memorial heritage of the new nation. By examining the novels of the late Ottoman and early Republican period, I am able to discuss the emotional charge of this "Turkish House," showing how it was invested with a matrix of interiority, spirituality, and historical consciousness. I then position this memory-image of the house within the developing architectural landscape of modernism. I close by bringing the reader into the later part of the 20th century, presenting representations that struggled to remember and ached to preserve meaning for the Turkish House, images that delayed its slip into nostalgia, before it was redefined as a tourist destination, a scenographic gated community, and a coffee table book.}, keywords = {Islamic Art}, author = {Bertram, Carel} } @mastersthesis {8201, title = {Un Viol de Moi-Meme{\textquoteright}: Matisse and the Female Model}, year = {1998}, school = {Pennsylvania}, abstract = {Voluptuous women populated the canvases and studios of Henri Matisse for over fifty years. His endless pictorial exploration of the female body seems to fulfill the modernist stereotype of dominant male artist and vulnerable female model, a cliche strengthened in the popular imagination through the mistress-models and sexual exploits of other modern artists. Matisse{\textquoteright}s art and life, however, reverse expectations. His representations of women show complicated attitudes toward his female models, and his biography contains evidence of interdependent relationships with them. This dissertation examines Matisse{\textquoteright}s pictures of women to reveal an active dialogue between the artist and his models and thereby challenges traditional interpretations of the women in his art as mere decorative surfaces. Female models held great importance for Matisse and his art, and a careful analysis of his paintings reveals the ambiguous nature of these interdependent relationships. In addition, a discussion of performed roles and shifting identities in the studio environment offers an alternative vision of the modern male artist and his female model and subverts several stereotypes about the seamlessness of art historical modernism. Photographs of Matisse from the 1930s present the stereotypical artist and model relationship. The comfortable proximity and confident demeanor of the aging artist before his nude, female model demonstrate his power within his own studio space. But Matisse{\textquoteright}s paintings reveal a much different dynamic. Matisse frequently depicted himself in a diminutive manner in front of his female model. Such self-effacement calls into question Matisse{\textquoteright}s role as "master" male artist. That Matisse often considered himself disempowered in the artist and model relationship can be further demonstrated in his conflicting statements about the model and in his biography. In perhaps his most surprising comment, Matisse admitted to flirting with his models but stated that this flirtation ended in his own "rape." The repudiation of the popular assumption that a male artist could sexually dominate his models demonstrates how Matisse{\textquoteright}s attitudes differed from those of many of his contemporaries.}, keywords = {19th- and Early 20th-Century European Art}, author = {Bourguignon, Katherine M.} } @mastersthesis {8216, title = {Utopianism and Propaganda: The Family and Visual Culture in Early Third Republic France, 1871-1905}, year = {1998}, school = {Minnesota}, abstract = {"Propaganda and Utopianism: The Family and Visual Culture in Early Third Republic France, 1871-1905" brings together visual images that have been understudied or ignored, interpreting them as agents produced with an intent to stimulate French patriotism and birth rates. The Franco-Prussian War and the Paris Commune (1870-71), had decimated France{\textquoteright}s military and morale; critics cried that population decreases would further diminish France{\textquoteright}s status as an international power. Period literature and images were designed to stimulate deep-seated improvements in the family; parents and children became the targets of intensive propaganda designed to strengthen the nation. Based on social history studies and primary documents, this thesis presents paintings, printed journals, children{\textquoteright}s books, and posters as persuasive tools used to stimulate French population growth and to restore needed optimism. Chapter One presents an overview of issues linked to this regeneration campaign and the criteria for the selection of images and artists. The complex interrelationship between popular culture imagery and issues of crisis and growth in the Early Third Republic are established in Chapter Two. Chapter Three studies the nature of public exhibitions of child imagery, such as the 1900 Education Pavilion at the Exposition Universelle in Paris. Previously ignored primary documents reveal propagandistic designs by the republican government, while stimulating interest in children and public education. The next three chapters are case studies of specific artists as regenerative propagandists. Jean-Jules Geoffroy (1853-1924), the subject of Chapter Four, was an illustrator for the children{\textquoteright}s publishing industry and a painter of public school themes. Louis-Maurice Boutet de Monvel (1850-1913) was a primary ideological and artistic contributor to children{\textquoteright}s book and journal imagery, as referenced in Chapter Five. Chapter Six demonstrates that Theophile-Alexandre Steinlen{\textquoteright}s (1859-1923) posters, books, and journal illustrations were also propagandistic agents for strengthening the nation. Thus, images became crucial political tools in an information campaign designed to stimulate French growth and confidence. Regeneration propaganda in period texts has been previously recognized by social historians-, but the evaluation of the dissemination of such ideas through images emerges as an original contribution of this study.}, keywords = {19th- and Early 20th-Century European Art}, author = {Miller, Jill} } @mastersthesis {8279, title = {Warriors, Youths, and Tripods: The Visual Poetics of Power in Geometric and Early Archaic Greece}, year = {1998}, school = {Princeton}, abstract = {The most prestigious dedicatory object in Olympia, Delphi, and Athens during the eighth and seventh centuries B.C. was the Greek tripod, a type of vessel which was often equipped with anthropomorphic attachments in bronze. These figures take the form of spear-brandishing warriors in the eighth century, and handle-holding youths in the seventh. Traditional interpretations of these images view them only as decorative while at the same time they neglect their original function on top of tripods, the precise significance of which is never addressed. This dissertation challenges this approach by examining the iconography of these attachments in light of two considerations: first, the function of the tripod as symbol of authoritative discourse and political power in Early Greek culture, which is examined in detail in chapter one; and second, the communicative role of images in the pre-literate contexts of Early Greek sanctuaries, the specification of which informs the analysis of the last three chapters. In particular, chapter three argues that the spear-brandishing warrior attachments should be understood as visual schematizations of the Homeric ideal of leadership, which valorized competence in war and authoritative rhetoric. The ritual celebration of this ideal, understood only in terms of performed hexameters, focused on the tripod as an individualized token of the dedicant{\textquoteright}s claims to prominent political status. From the late eighth century onwards the handle-holder schema, the archaeological evidence for which is examined in detail in chapter four, redefined the tripod as a symbol of collectively shared sovereignty. In contrast to the spear-brandishing bronzes, the handle-holders are anonymous youths, whose gesture dramatizes the consensual surrender of political authority to a community{\textquoteright}s patron god. The character of this gesture as the "political" coming-of-age of a community{\textquoteright}s citizen body is explored in light of a Delphic ritual, which involved the collective transferance of a tripod to Apollo. This ritual acted out the arrival of Apollo at Delphi as the institutionalization of divinely sanctioned justice and law. Following a pattern established by the Geometric spear-brandishing warriors, Apollo became visible as a tripod figure, an interpretation proposed for the well-known Daidalic bronze kouros from Delphi (DM 2527).}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Papalexandrou, Athanasios} } @mastersthesis {8243, title = {The Yi{\textquoteright}nan Tomb: Narrative and Ritual in Pictorial Art of the Eastern Han (25-220 C.E.)}, year = {1998}, school = {IFA/NYU}, abstract = {This dissertation investigates the pictorial narrative of relief carvings in a second century C.E. Chinese tomb. Among the issues addressed are the relationship of pictorial narrative and ritual practice, and how the space of the tomb conveys narrative meaning. I find a dynamic space of shifting positions in which the imagery is not aimed at one ideal observer, but at two kinds of ideal observers--the living mourner as s/he enters the tomb from the south and the deceased male and female located in the rear chamber. Thus it is concluded that the pictorial narrative represents the process of forging an unbroken relationship of mutual benefit between the living and the dead and establishing a sacred center. The public reception of the monument{\textquoteright}s imagery is also considered. It is argued that the imagery, especially representations of cultural heroes, may have been viewed differently depending on the viewers{\textquoteright} status, education and ability to read. Such figures are usually identified with the moral and behavioural codes sanctified by the state. However, the mode of representation and placement in the tomb evoke powers of supernatural protection associated with their local cult status. This points up the dual role of the male occupant of the tomb, a member of the provincial elite: he is charged with both disseminating the ideology of the state and accommodating or co-opting the local cults. Finally, the pictorial narrative is considered from the perspective of its function within the larger context of the burial ground and ritual performance. It is argued that the narrative structure parallels the mourner{\textquoteright}s progress as s/he enters and then exits the tomb, and that scenes of funerary rites may have had a votive function. Also examined is the role of the artisan and ritual performance in consecrating the tomb and imbuing the bas-reliefs with magical powers of protection and transformation.}, keywords = {Asian Art}, author = {Thompson, Lydia Dupont} } @mastersthesis {8172, title = {Abstract Expressionism and the Exiled German Intellectual: Hannah Arendt and the Question of Evil}, year = {1997}, school = {CUNY}, abstract = {There is virtually no literature that explores the complex relationship which existed between the artists and critics of the early New York School and the unprecedented number of German scholars and artists then finding refuge in New York. Due partly to the early nationalist claims made for Abstract Expressionism and a cultural bias which has favored the study of French over German art, there has been an underestimation of the impact of German culture on mid-twentieth century American art and criticism. This dissertation seeks no direct cause and effect between the German refugees and the advance of Abstract Expressionism, yet by utilizing Hannah Arendt{\textquoteright}s concurrent political philosophy as a case study, a lens with which to reveal meaning, a richer understanding of the art{\textquoteright}s concern with the questions of evil and freedom is achieved. Arendt offered a timely and reasoned philosophical structure with which to react to the immense violence of totalitarianism. Her work has proven valuable in illuminating aspects of the early New York School that have otherwise resisted interpretation. It is my thesis that Arendt{\textquoteright}s concurrent writings and lectures were as relevant to the work of principal Abstract Expressionists as they were accessible. Her conceptions of the polis, radical evil, and her analysis of those elements of freedom which remain accessible in the modern world, shed light on the artists{\textquoteright} groups, on the abandonment of myth by certain artists, and on the achievement of abstraction as an enactment of freedom. This dissertation focuses, for the most part, on the artwork of Lewin Alcopley, William Baziotes, Adolph Gottlieb, Willem de Kooning, Seymour Lipton, Robert Motherwell, Barnett Newman, Jackson Pollock, Mark Rothko, and David Smith.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Zucker, Steven} } @mastersthesis {8104, title = {Abstract Passion: Images of Embodiment and Abstraction in the Art and Criticism of the Alfred Stieglitz Circle}, year = {1997}, school = {Brown}, abstract = {The photographer and entrepreneur Alfred Stieglitz faced the decline of his first and pioneering art gallery, "291", in 1917 only to become a reemergent figure in the New York art world during the early 1920{\textquoteright}s. In part, Stieglitz achieved his comeback through the efforts of a group of highly influential art and cultural critics, most notably Paul Rosenfeld and Waldo Frank. If 291 was a more or less experimental forum for a diverse range of projects, the agenda that Stieglitz pursued after its closing was more rigorously strategized. As a result of a tighter promotional focus, Stieglitz and his in-house critics were able to produce and maintain a consolidated identity for their "American" artists, a group which included Arthur Dove, Marsden Hartley, John Marin, Georgia O{\textquoteright}Keeffe, and later, Charles Demuth. One of the distinguishing characteristics of Stieglitz circle discourses is that the artists{\textquoteright} non-figural works, including landscapes, still lifes, and outright abstractions, were continually described in terms of the sexed and gendered human body. In this study I examine how and why such a conceptual anchor informed Stieglitz circle painting, criticism, and photography from c. 1915 to 1950. In the process, I trace the shifting but surprisingly constant presence of the gendered human subject in American modernist aesthetics over a period of three-and-a-half decades. Once the Stieglitz circle{\textquoteright}s critical rhetoric was fully established, it attracted a great deal of commentary from rival artistic movements. From the early twenties through the forties, the Stieglitz circle engaged in a series of generative if frictional encounters with other leading modernist movements, including New York Dadaism, Regionalism, and Abstract Expressionism. In the final sections of this study I examine the ways in which the Stieglitz circle{\textquoteright}s critical rhetoric was integral to the various counter-constructions which each of these groups undertook of themselves.}, keywords = {Art of the United States and Canada}, author = {Brennan, Marcia} } @mastersthesis {8113, title = {African-American Women in 19th-Century Visual Culture}, year = {1997}, school = {UCLA}, abstract = {This art historical study concentrates on the representation of African-American women in visual imagery during the nineteenth century in the United States. It is an inquiry into what part art has played in effecting societal attitudes about former African women and their American descendants. Between 1830 and the 1890s, paintings and drawings of African descendant women were invariably crafted by EuroAmerican men. Much can be learned about those men by studying their pictures of slaves, freedwomen, mulatto women, mammies, domestic servants, and, exotic, dark skinned women. Portrayals of former African slave women were used to elicit sympathy for the abolition movement beginning around 1830 through to Emancipation in 1863. Following the Civil War, during Reconstruction of the 1870s, artists located the newly freed women and their ragged children within ramshackle homes. The period of North/South reconciliation of the 1880s and 1890s, coincided with the rise in manufacturing and new product promotions. African-American women were featured in numerous ads, often as domestic servants to the EuroAmerican women whom the manufacturers targeted as potential consumers. Following a four part chronological order, this study examines the manner in which artists defined the African-American woman in visual culture. There are recurring and evolving types of representation. The barely visible nurse maid figure of 1830s and 1840s genre paintings, for example, evolves into a boisterous Mammy for Gilded Age advertisements. In many cases, as much can be learned from the absence of a type of image as from the manner of portrayal. The mulatto woman, rendered as delicate and sympathetic in numerous slave auction scenes disappeared from pictures after Emancipation, only to return as an exotic temptress in late century popular arts. Well-known nineteenth century American genre painters such as Winslow Homer, Eastman Johnson, Francis William Edmonds portrayed African-Americans, as did lesser known commercial illustrators. By viewing fine art along with popular prints, book illustrations, and advertising images as seamless and correspondent thematic forums, this dissertation locates portrayals of African-American women within the broad range of social, political, and economic events of the nineteenth century.}, keywords = {Art of the United States and Canada}, author = {Morgan, Jo-Ann} } @mastersthesis {8190, title = {The Alchemy of Drawing: Bartholomius Spranger at the Court of Rudolf II}, year = {1997}, school = {Princeton}, abstract = {Bartholomaus Spranger (1546-1611), celebrated painter, draughtsman and etcher, imprinted his figural style throughout the courts of Central Europe and beyond. Yet for all of his success, serving illustrious patrons including Pope Pius V, Maximilian II and his son, Rudolf II, many aspects of Spranger{\textquoteright}s artistic production and ambition remain unclear. Although his paintings have been cogently discussed, and his activity as a court painter assessed, his activity as a draughtsman, indeed the root of his artistic enterprise, has heretofore been neglected. After more than thirty-six years since the completion of the unpublished dissertation of Konrad Oberhuber, Die Stilistische Entwicklung Bartholomaus Sprangers, which examined Spranger{\textquoteright}s drawings ancillary to his paintings, Spranger as a draughtsman merited reevaluation. This present study initiates the first catalogue raisonne of Spranger{\textquoteright}s drawings and contributes the first comprehensive study devoted strictly to Spranger{\textquoteright}s graphic oeuvre. The Alchemy of Draughtsmanship ... engages the drawings of Spranger in not only a stylistic and chronological analysis and discourse, but also reveals the roots of his particular style. Previous discussions of Spranger{\textquoteright}s artistic background have relied too heavily on the influence of Parmigianino, which only in part accounts for his development. This discussion addresses the problem by introducing the significance and authority of the miniature and monumental modes, distilled through the miniaturist Giulio Clovio and his interpretation of Michelangelo. The catalogue raisonne sorts and codifies the constant characteristics of a Spranger drawing, enumerating standards of authenticity. Numerous incorrect attributions, perpetuated for decades, have been confronted by methodical and protracted comparison with Spranger{\textquoteright}s entire graphic oeuvre. The catalogue, divided into several sections, also addresses those drawings not by Spranger{\textquoteright}s hand, although heavily under his influence, thus illuminating Spranger{\textquoteright}s enormous impact on the arts c. 1600.}, keywords = {Renaissance Art}, author = {Metzler, Sally} } @mastersthesis {8111, title = {American Architecture and the Picturesque Mind, 1800-60}, year = {1997}, school = {Delaware}, abstract = {This study reconsiders the role that the Picturesque played in shaping American architecture and thought, 1800-1860. The Picturesque and its ideal of the rustic cottage may be seen at work in new approaches to the domestic landscape of the American home, as embowerment became the norm and the piazza flourished. The concern of the English Picturesque for the primitive hut, an inheritance of Neo-Classicism, was translated in the United States into a fascination with the log house, even as Picturesque philosophy led to a reconsideration of the meaning of the wilderness. The habits of Picturesque travel in Britain, including a passion for ruins and relics, are duplicated in America. The Walden Pond sojourn of Henry David Thoreau, usually considered as a manifestation of original genius, was, in fact, an exercise in Picturesque retirement inspired both by the English tradition of the literary hermitage and by his 1844 visit to that mecca of Picturesque travel, the Catskills; moreover, the Walden house deserves to be understood as an exercise in creating a latter-day primitive hut. The concern of English villa-book authors and Picturesque tourists with antiquarianism, as well as their habitual "Old English" mindset, worked to produce both a reawakened American interest in Colonial architecture and the nascent phenomenon of historic preservation. Independence Hall, Philadelphia, and other buildings provide useful case-studies in the application of Picturesque sensibilities to preservation. The writings of William Meade on the historic architecture of Virginia are likewise helpful in understanding the American incursion of Picturesque thought. The Greek Revival, generally considered to be "rational" and Classical in opposition to the "irrational" and Gothicizing Picturesque, in fact could also be viewed as having had affinities with the architectural Picturesque. By urging a more complex and far-reaching definition of the Picturesque, by highlighting the varied nature of its influence, and by considering a number of topics not previously examined in this context, this study hopes to call attention to the extraordinary importance of the Picturesque and to lay the groundwork for a wide-ranging, holistic, and informed understanding of the often-confusing architectural scene in early nineteenth-century America.}, keywords = {Art of the United States and Canada}, author = {Maynard, William Barksdale} } @mastersthesis {8142, title = {Amusements of Jan Steen: Comic Painting in the 17th Century}, year = {1997}, school = {IFA/NYU}, abstract = {Jan Steen was one of the most versatile Dutch seventeenth-century painters and the most determinedly comic. By placing Steen within the artistic, literary, and economic culture of the Dutch Republic, this dissertation details how he became a comic painter and why his paintings appealed to a broad middle-class audience. A comprehensive analysis of Steen{\textquoteright}s market in Leyden, Haarlem, and Amsterdam demonstrates the particular interest of his pictures of traditional festivals, unruly households, and titillating seductresses for his viewers. A full account is given of Steen{\textquoteright}s creative relationship to a wide range of comic literature and theater, from the highest reaches of wit to the coarsest motifs of jokes. Although Steen occasionally rendered specific texts, his forging of visual equivalents for the strategies of literary comedy appears more wide-ranging and innovative. His frequent self-portraiture in compromising situations has numerous literary and theatrical parallels, for example, both in its variety of forms and in its multiple functions, from claiming witness status to fashioning a fictional self with tantalizing ties to the artist{\textquoteright}s lived life. The specifically pictorial character of Steen{\textquoteright}s comedy is explored further through an analysis of his realist devices that create lifelike disorder and a charting of his witty rivalry with predecessors and contemporaries such as Pieter Bruegel the Elder, Adriaen van de Venne, Rembrandt, Frans Hals, and the tradition of "fine painting." In the process, terms are offered for seventeenth-century understandings of archaism, stylistic versatility, and originality. In some of his wittiest paintings, Steen blurred the boundaries between the traditional genres of painting, infusing history with the liveliness of genre and individualizing portraiture through recourse to narrative and still life. Drawing on the early modern theory and practice of rhetoric and tragicomedy, the dissertation proposes historicized readings of Steen{\textquoteright}s notoriously unconventional portraits and history paintings. An epilogue traces Steen{\textquoteright}s historiographic ascent to the status of culture hero by 1900, and suggests how his lionization circumscribed modern understanding of Steen{\textquoteright}s culturally grounded comedy.}, keywords = {Baroque and 18th-Century European Art}, author = {Westermann, Martine} } @mastersthesis {8096, title = {The Anatomy of Anxiety: A Psychoanalytic Approach to the Work of Hans Bellmer}, year = {1997}, note = {fourth advisor: M. Ward}, school = {Chicago}, abstract = {From the 1930s in Germany until his death in Paris in 1975, Hans Bellmer remained preoccupied with sexual subject matter. Whether in paintings, sculpture, photographs, or graphic art, his work consists almost exclusively of eroticized images of the tortured female body. Because the repetitive nature of these representations suggests a compulsive neurosis, I investigate the psychic conflicts that might propel his enterprise. Relying on psychoanalysis for insights into the construction of a sexual subject, I attempt to determine why Bellmer is so consumed by desire, driven by erotomania and longing for suffering and revenge. Although he styled himself a quintessential Oedipal son, Bellmer{\textquoteright}s filial attitude was perhaps more complex than he consciously allowed. His reiterations of father-hatred and his paranoid disposition towards authority deserve the kind of scrutiny that his obsessive depictions of corporeal punishments also require, and I propose that a feminine identification informs all the perversions enacted in his art: the fetishism and pedophilia embodied in his first doll sculpture; the sadomasochism staged in his photographs of its successor, the ball-jointed doll with multiple limbs; and the passive/aggressive scoptophilia of his photographic spectacles of female genitals and graphic depictions of sexual activities. Attentive to his transvestite performances and his heretofore untranslated writings, I trace a repressed homoerotic attachment to the father with a concomitant castration anxiety and unconscious sense of guilt. Bellmer{\textquoteright}s reconstructions of the primal scene in photographs, prose, and drawings show him re-visiting the traumatic moment when sexual difference is discovered; the resulting castration fears are reanimated at times in his life of threatened abandonment and loss. Thus his fetishizing of the female figure (endowing it with compensatory phallic qualities), like his unceasing assertions that male and female are equivalent, can be understood as a disavowal of difference. The reification of the female body, as central as it is to Bellmer{\textquoteright}s work and to that of other male Surrealists, becomes instrumental to the more urgent project of defending against a homosexual object choice and the disconcerting loss of masculinity that might entail.}, keywords = {19th-and 20th-Century European Art}, author = {Taylor, Sue} } @mastersthesis {8186, title = {Ancient Egypt and Egyptian Antiquities in Renaissance Italy}, year = {1997}, school = {Princeton}, abstract = {The rediscovery of Ancient Egypt and Egyptian art is one of least appreciated accomplishments of the Renaissance "revival of antiquity." In the first decades of the Quattrocento, humanist "archaeologists" began to recognize the obelisks, pyramids, and other Egyptian and Egyptianizing monuments in Rome as the expressions of a culture distinct from the "Classical" tradition. Their interest was directed primarily to the obelisks and their hieroglyphic inscriptions, which they interpreted, on good ancient authority, as a system of allegorical and non-linguistic image-signs, whose meanings could be deciphered by members of an educated elite. After 1463, the rediscovery of the writings attributed to the Egyptian sage Hermes Trismegistus strengthened the notion that the Egyptians had possessed a secret, proto-Christian theology. During the 15th-century, a number of important artistic and intellectual figures, including Leon Battista Alberti, Filarete, Annius of Viterbo, Pinturicchio and the author and illustrator of the Hypnerotomachia Poliphili, explored the symbolic, and narrative possibilities of the hieroglyphs and other Egyptian themes. While these treatments were often more imaginative than archaeological, by the early 16th century, artists of the "Roman School," including Raphael, Giulio Romano and others, began to develop a more precise understanding of the visual properties of the Egyptian monuments. This development coincided with an expansion of scholarly interest in Egypt and the hieroglyphs during the pontificate of Leo X (1513-21), whose court contained some of the most "Egyptophiles" of the period, including Pierio Valeriano. The Egyptianizing trend of the High Renaissance reached its apotheosis with the "Egyptian Page" of the Colonna Missal (c. 1530-38), whose startlingly comprehensive assemblage of Egyptianizing imagery is "deciphered" in the final chapter.}, keywords = {Renaissance Art}, author = {Curran, Brian} } @mastersthesis {8089, title = {Antifascist Art of the Popular Front in Paris, 1934-1938}, year = {1997}, school = {Northwestern}, abstract = {This study explores the functions of art of the Popular Front in Paris, a key part of the largest international antifascist alliance during the 1930s. It establishes a corpus of imagery and systematically studies how it relates to the multiple aspects and aspirations of the Popular Front. It underlines the aesthetic as well as the political diversity of the artists who participated in the Popular Front, from Robert Delaunay{\textquoteright}s abstraction to Boris Taslitzky{\textquoteright}s French brand of social realism, in order to explore how democratic participation and internal debate contributed to an ongoing effort to define politically engaged art and the role of the artist in the antifascist cause. The dissertation furnishes criteria for defining art of the Popular Front springing from the alliance{\textquoteright}s structure as a mass movement, an electoral coalition, and an elected government by using its political and cultural organizations and programs as an institutional framework. It takes artists{\textquoteright} participation in the organizations{\textquoteright} debates and exhibitions and in the alliance{\textquoteright}s public demonstrations as indicators of Popular Front involvement. Moreover, it identifies and analyzes the primary themes in art appearing in such contexts, including the portrayal of street agitation, key Popular Front events and values, the government social achievements and programs, and the Spanish Civil War. Arranged both chronologically and thematically, the study examines the commemorative function of early street art and imagery of the street in establishing a history of Popular Front events and in tracing a lineage of 18th- and 19th-century revolutionary struggles and cultural traditions. Such early art contained contestatory and affirmative charges which related to the often contradictory alliance propositions of antifascism and peace. These charges informed the Debates on Realism and ultimately became fragmented into distinct functions in affirmative government art and contestatory art of the Spanish Civil War. The study concludes that, among the western democratic powers, the Popular Front in France was the force most able to mobilize a coherent yet diverse artistic response to the totalizing projects of the three dictatorships with which it was faced.}, keywords = {19th-and 20th-Century European Art}, author = {Miliotes, Diane} } @mastersthesis {8108, title = {Antonin Raymond: Designs in Japan and the United States (1920- 68)}, year = {1997}, school = {Virginia}, abstract = {This dissertation concentrates on a critical exploration of selected residential designs and writings of the Czech-American architect Antonin Raymond (1888-1976) in both Japan and the United States during the period 1921-1952. These will serve to evaluate Raymond{\textquoteright}s definition of modernism and the role which Japan{\textquoteright}s traditional culture were to play in its legitimization. Using the persona of the heroic and seemingly isolated modernist working in Japan during the 1920s and 1930s propagated by Raymond in his later writings, my study seeks to break through this self-constructed image by first defining his concept of the modern, developed while a student in Prague during the first decade of this century, and then using this as a means of exploring the ways in which this ideal was shaped and changed within his residential work in both Japan and the United States during the course of some thirty years. Antonin Raymond{\textquoteright}s houses and writings provide an opportunity to assess the ways in which the modern movement of the 1920s and 1930s simultaneously embraced and rejected the West{\textquoteright}s nineteenth-century image of Japan, termed "Japonisme," as an exotic repository and bastion of handicraft traditions in an increasingly technologically-driven world. Arriving with Frank Lloyd Wright in Tokyo in 1919, Raymond brought with him preconceived ideas concerning the value of traditional Japanese design which he would in turn propagate and modify during the course of his practice in Japan until 1938 and then in the United States until 1949. For Raymond, Japan{\textquoteright}s building traditions were embodied in the craftsmanship and regional adaptation of its daiku (master carpenters) whose lessons would benefit younger architects in both Japan and the United States. Raymond combined the ideas of Le Corbusier with direct observation of Japanese design particularly through the work of these master carpenters. In doing so, he developed his own version of a modern architecture by the early 1930s which rejected what he viewed as the rigid and formalized tenets of the so-called International Style in Europe and instead sought to use the landscape and local building traditions to soften and contextualize the harshness of the modern movement{\textquoteright}s goal of the rationalized and machine-produced dwelling.}, keywords = {Art of the United States and Canada}, author = {Helfrich, Kurt G. F.} } @mastersthesis {8094, title = {Archaic Modernism in Viennese Art and Architecture: Theories and Applications, 1880-1918}, year = {1997}, school = {UT Austin}, abstract = {This dissertation examines the structures of late nineteenth-century theories of style in order to clarify the unique formal and compositional factors that define modern Viennese art, architecture, and design. It identifies and defines four specific perceptions of stylistic meaning and development in the abundance of theoretical writing produced in England, Germany, and Austria in the second half of the century, and it establishes a critical link between each model and a particular understanding of natural science and of linguistic structure. The four models of judging style are evaluated through an examination of the writings of four prominent theorist: John Ruskin (1819-1900), Owen Jones (1809-74), Gottfried Semper (1803-1879), and Alois Riegl (1858-1905). Using ornament from the archaic past as their diagnostic tool, each author sought to explain how artistic style evolved and operated by aligning their methods of assessment with various perceptions of ordering the natural world and deciphering the meaning of signs. During their investigations, ornament underwent a critical transition in the course of the latter half of the century; its representational value, like that of the organism and the word, was gradually overshadowed by a growing interest in its structural, functional, and perceptual value. This study proposes that the appeal of archaic compositions and their use as ornamental devices in turn-of-the-century Vienna were directly related to the {\textquoteright}order of ornament{\textquoteright} as presented in late nineteenth-century stylistic doctrines. Theoretical evaluations of style revealed a broad range of functional and perceptual motives that dictated the appearance of images and objects throughout history. Properly understood, stylistic elements could order visual experience, create significant formal metaphors, and produce psychological experiences. Employing the conventionalized motifs from archaic Western sources with which theorists explained stylistic meaning, Viennese artists and architects began to explore new functions for the formal sign, discover new relationships between visual elements, and propose new goals for art in general. Archaisms, as they were employed in fin-de-siecle Vienna, prepared the way for modern art and architecture of the twentieth century. In assuming this crucial position, their appearance constitutes the early or "archaic" stage of Viennese Modernism.}, keywords = {19th-and 20th-Century European Art}, author = {Schafter, Debra Kay} } @mastersthesis {8101, title = {The Art Criticism of Harold Rosenberg: Theatres of Love and Combat}, year = {1997}, school = {CUNY}, abstract = {This dissertation situates the art criticism of Harold Rosenberg within his entire body of criticism and within the history of his time. It asserts that Rosenberg{\textquoteright}s art criticism had the same radical purpose as his political, social, and literary criticism: to combat the institutionalization of independent critical culture in the United States. Part I, "Harold Rosenberg{\textquoteright}s Symposium," explores the social, literary and philosophical origins of Rosenberg{\textquoteright}s bohemian modernism, and concentrates on the vital importance of his "theater of love"--his intimate community of artists--the bonhomie, and especially the continuous dialogue. Plato{\textquoteright}s Socratic dialogue, the Symposium, is proposed as a model for Rosenberg{\textquoteright}s criticism and life. Part II, "Making Harold Rosenberg: Self, Community, Conflict" overlays the ideal world of the Symposium presented in Part I with the personal and political realities of Rosenberg{\textquoteright}s downtown Manhattan bohemia in the nineteen thirties. Beginning with Rosenberg{\textquoteright}s first publications in little avant-garde magazines in 1930 when he was twenty-four, it displays the transforming dynamic between Rosenberg{\textquoteright}s bohemian modernism and his marxism by way of his contributions to little avant-garde magazines like transition, Blues, Poetry, Symposium, and his own The New Act, as well as Communist Party magazines like the early Partisan Review and The New Masses. Rosenberg{\textquoteright}s experiences on the Federal Art Project and as editor of Art Front, the Artists Union magazine, and American Stuff for the Writers{\textquoteright} Project are discussed at some length because of their impact on his later art criticism. Finally, Part III, entitled "Aesthetic Assault," is about Rosenberg{\textquoteright}s "theater of combat." It documents his commitment to anti-bureaucratic intellectual culture from the thirties to the personal manifesto, "On the Fall of Paris," of 1940, to 1962, his first year as "The Art World" columnist of The New Yorker, to his death in 1978. "Aesthetic Assault" represents and situates Rosenberg{\textquoteright}s attacks on institutional art critics and curators in the 1960s and 1970s, such as Michael Fried, Henry Geldzahler, Rosalind Krauss, Hilton Kramer, and Robert Rosenblum and William Rubin.}, keywords = {Art Criticism and Theory}, author = {O{\textquoteright}Brien, Elaine} } @mastersthesis {8074, title = {The Artist as Producer: Karl Ioganson, Nikolai Tarabukin and Russian Constructivism, 1918-1926}, year = {1997}, school = {Harvard}, abstract = {This dissertation examines the emergence and development of constructivism within the radical left Institute of Artistic Culture (the INKhUK) in Moscow in the early 1920s, through the lens of the work of Karl Ioganson and the critical writing of Nikolai Tarabukin. Chapter One analyzes the portfolio of drawings (Costakis collection) produced in its debate over the principles of "composition" and "construction." Kazimir Malevich{\textquoteright}s Suprematism and the Shchukin galleries were the context for the revolutionary avant-garde{\textquoteright}s attempt to individuate modes of artistic "organization"; its broader historical frame was the struggle then taking place in the political and economic arena apropos state planning vs. market diffusion. Chapter Two examines the first exhibition of the group{\textquoteright}s "spatial constructions" in May 1921, and delineates the presence of a polemical conflict therein: between the technological representationalism of the Stenberg brothers and the modular, deductive and reductive principles of Ioganson and Aleksandr Rodchenko. Ioganson{\textquoteright}s self-representation as an "inventor" after 1921--his response to the INKhUK{\textquoteright}s dilemma concerning the role of the artist in production--is unpacked in Chapter Three. Chapter Four contextualizes his position through a reading of the theorist Tarabukin{\textquoteright}s 1923 tract, From the Easel to the Machine, a text partly indebted to Spengler{\textquoteright}s Decline of the West. For Ioganson and Tarabukin, I argue, the problem was not predominantly whether the constructivist object should be conceived as purely aesthetic or as purely utilitarian, but rather whether it would still be possible, within the new conditions of mass production, to think in terms of the integral object. Both propose that the only kind of constructivist "work" still conceivable is that which concerns itself specifically with process--with the network or system of production in and of itself. It is demonstrated in Chapter Five that Ioganson{\textquoteright}s activity in the metal-rolling factory "Krasnyi Prokatchik" involved not the design of utilitarian objects (pace Vladimir Tatlin) but the invention of apparati and devices for the raising of economic productivity, thereby highlighting a fundamental tension within the art of production: the constructivists{\textquoteright} desire to overcome the alienation of labor while simultaneously contributing to the raising of labor productivity.}, keywords = {19th- and Early 20th-Century European Art}, author = {Gough, Maria} } @mastersthesis {8160, title = {Becoming Documentary: Berenice Abbott{\textquoteright}s Photographs, 1925-1939}, year = {1997}, school = {Boston}, abstract = {This project examines the photographic production of Berenice Abbott (1898-1991) between 1925, when she took up the camera professionally, and 1939, when she completed her Federal Art Project, "Changing New York." It argues that during this period her photographs represent not a uniform body of work, nor one simply fitting the categories "portraiture" and "urban views." Instead, her work must be seen as a series of exploratory phases with diverse thematic, stylistic, and intellectual concerns. The first three chapters examine previously unexplored links between her work and European Modernism and her initial, utopian view of America. The succeeding three chapters examine the factors leading to her more straightforward style and more historical view of American civilization. The final chapter demonstrates how she combined modern and documentary styles in her Federal Art Project to produce a critique of American urban life. Chapter One places Abbott{\textquoteright}s Paris portraits within their European modernist context. Chapter Two examines her earliest snapshots of New York and demonstrates how they satisfied the modernist demands of her European publishers and patrons. Chapter Three reveals how her utopian vision of America{\textquoteright}s machine civilization motivated her to remain permanently in New York in 1929, and to create stylish depictions of American businessmen, modern architecture, and vanishing pre-modern New York. Chapter Four recounts how her promotion of Eugene Atget{\textquoteright}s Paris photographs convinced her to abandon her earlier modernist style and to depict the city{\textquoteright}s dramatic contrasts of old and new. Chapter Five elucidates how she adapted Atget{\textquoteright}s style to fit an indigenous American tradition, which she found in the Civil War photographs of Mathew Brady and in Holger Cahill{\textquoteright}s writings on the "usable past." Chapter Six focuses on her collaborations in 1934 and 1935 with the American writers Henry-Russell Hitchcock and Elizabeth McCausland, both of whom encouraged her to explore the phases of American history as described in Lewis Mumford{\textquoteright}s book, Technics and Civilization. Finally, Chapter Seven examines how she employed a full range of modernist and documentary photographic styles in her Federal Art Project to persuade her fellow New Yorkers to demand greater control over their city{\textquoteright}s development.}, keywords = {Photography and Film}, author = {Barr, Peter} } @mastersthesis {8134, title = {Bernini{\textquoteright}s Bell Towers for St. Peter{\textquoteright}s and the Politics of Architecture at the Vatican}, year = {1997}, school = {Columbia}, abstract = {The focus of this dissertation is the infamous architectural failure in the otherwise spectacular career of the seventeenth-century artist Gianlorenzo Bernini: the construction of a massive bell tower atop the southern end of the facade of St. Peter{\textquoteright}s. Designed and built under the patronage of Pope Urban VIII Barberini (1623-1644), the ground beneath the tower was judged unstable by his successor Innocent X Pamphili (1644-55), who staged an architectural competition to solve the problem and ultimately decided to have the tower demolished. While the episode is notorious in the artist{\textquoteright}s biography, details of the commission, the tower design, its construction and the competition it provoked have remained largely obscure. This thesis attempts to explain why the tower failed by considering the project in the context of architectural practice at the Vatican. It offers a reconstruction of the particular circumstances of the Fabbrica of St. Peter{\textquoteright}s in the mid-seventeenth century: the chain of command on the site from architect to stone cutter; the political allegiances of the cardinals who composed the Fabbrica congregation; the mechanics of the architectural competition and what it revealed. The thesis contends that the topos of disastrous failure that surrounds the standard account of Bernini{\textquoteright}s tower is, in large part, the legacy of the biographical literature. It is argued that the failure of the tower was neither the result of Bernini{\textquoteright}s incompetence (as his critics claimed), nor of a political conspiracy (as Bernini claimed) but rather of a lapse in institutional memory, in which powerful liturgical and political imperatives drove the Vatican to persist in building large and heavy towers on notoriously unstable ground.}, keywords = {Baroque and 18th-Century European Art}, author = {Sarah Collyer McPhee} } @mastersthesis {8149, title = {The Blickling Psalter (the Pierpont Morgan Library, M.776)}, year = {1997}, school = {Brown}, abstract = {The Blickling Psalter, now at the Pierpont Morgan Library in New York (M.776), is the only decorated Insular manuscript in the United States. While the origin of the manuscript is unknown, because of some similarities to the Vespasian Psalter, the Psalter has been most commonly attributed to south England/Canterbury. Probably due to the lack of large-scale illumination, however, the Psalter has hardly received attention in the scholarship of Insular art. The manuscript, nonetheless, includes numerous ornamental initials, which hold crucial information not only for the provenance of the Psalter, but also for the early history of Britain and Ireland. This dissertation for the first time conducts a thorough examination of the Psalter. In order to comprehend the manuscript in its entirety, this thesis scrutinizes and analyzes all aspects of the Psalter: codicological, textual, paleographical and art historical. The study elucidates a multiplicity of influences and sources and consequently sheds light on the circumstances and environment in which the manuscript was produced. In examining the ornamental incipit lines and initial letters in detail, this dissertation also conducts the first exhaustive study of Insular minor initials in scholarship. The letter designs and motifs (interlace, spiral, zoomorphic, anthropomorphic, miscellaneous) are extensively compared to other manuscript decoration as well as art in other media. The study also takes an unprecedented approach to the ornamental letters by seeking multiple layers of iconography in the decoration of the minor incipits and initials. The dissertation shows that the codicology, text, paleography and ornamentation of the Psalter all manifest Northumbrian and Irish background of the manuscript. The ornamentation, while a collection and combination of Hiberno-Northumbrian, Irish-Scotic, Celtic, Pictish, Vespasian-Southumbrian and Continental designs, is predominantly Hiberno-Northumbrian, and its Irish-Scotic and Celtic features are unusually abundant. Iconographically, the ornamentation is Irish Christian and pagan Celtic. The {\textquoteright}Vespasian{\textquoteright} features seem to connote the scribe{\textquoteright}s effort to make his Hiberno-Northumbrian Psalter look {\textquoteright}authentic{\textquoteright}. On the basis of the study, this dissertation hypothetically attributes the Blickling Psalter to northern Northumbria during the second quarter of the eighth century, possibly Melrose around 730.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Soeda, Afuri} } @mastersthesis {8177, title = {Breast, Brawn and the Selling of a War: America World War I Propaganda Posters}, year = {1997}, school = {Pittsburgh}, abstract = {Although there have been many critical studies of avant-garde art produced in response to World War I, this dissertation is the first comprehensive critical analysis of popular imagery made for the American war effort. Unlike previous literature on U.S. war posters, this study contextualizes the poster images, at a time when they were at their pinnacle of power as a propaganda tool, within the economic, political, social and cultural milieu of World War I America. The dissertation divides the corpus of posters into four thematic groups which reveal patterns that cut across the various institutional sponsors and diverse designers of the posters: images of the enemy, images of the American recruit, images of laborers and/or recruits working together, and images of American women. These thematic groupings are compared to similar types of images in World War I era mass-magazine illustrations and advertisements, cartoons, serial novels, films, and City Beautiful sculptures and murals. These visual comparisons reveal the enormously complex social and cultural issues that shaped and were shaped by the posters. The poster images represent solutions that met the immediate, practical needs of the commissioning institutions; that addressed pre-existing domestic anxieties and divisions; and that met the ambitions of the "low status" illustration profession. For the most part, noted poster designers such as Howard Chandler Christy and James Montgomery Flagg borrowed familiar formulas of masculinity and femininity directly from mass-magazine illustrations and advertisements, to publicize and sell a distant, largely unpopular war to the American people. Significantly, when poster designers opted to borrow imagery from the fine art realm, the results were often singled out for criticism. Finally, the dissertation{\textquoteright}s findings refute the standard view that these posters were centrally produced by Woodrow Wilson{\textquoteright}s propaganda agency. Rather, the production of these posters was highly decentralized. Despite the multiplicity of institutions and individuals that created the war posters inside and outside the federal government, there is a surprising degree of coherence and unity to the United States{\textquoteright} first large-scale experiment with war-time propaganda imagery.}, keywords = {Pre-1945 North American and South American Art}, author = {Knutson, Anne} } @mastersthesis {8116, title = {Building for Democracy: Girard, Educational and Architectural Ideology}, year = {1997}, school = {Pennsylvania}, abstract = {Thomas Ustick Walter{\textquoteright}s Girard College for Orphans (1833-1848) in Philadelphia, a Greek Corinthian, peristylar temple, was one of the greatest achievements of the American Greek Revival and the most controversial building project of its era. Established as a school for white male orphans by the shipping magnate Stephen Girard, its temple design and elite polytechnical curriculum reflected the grecophile taste and Whig politics of Nicholas Biddle. As president of the trustees of the College, he planned to make the institution a model for the nation. An examination of the full context of its architecture provides a case study of the function of architectural meaning. It reveals the existence of two opposite ideological and aesthetic conceptions reflecting a broader political and cultural war over the merits of the Greek Revival. Whigs promoted the style for its democratic associations, formal simplicity, canon of prototypes sanctioned by tradition, and utilitarianism, all of which they thought expressed Girard College{\textquoteright}s extensive educational agenda. Democrats countered that their opponents{\textquoteright} Greek design and academic plans were aristocratic and elitist. They promoted instead a plain and functional architecture, conveying populist goals of providing a solid but rudimentary education for large numbers of laboring class orphans. Both sides linked architectural meaning to political and educational ideology. This national debate over the college lasted the duration of its construction and reflected the cultural and political devaluing of the Greek ideal in Jacksonian America.}, keywords = {Art of the United States and Canada}, author = {Taylor, Michele Taillon} } @mastersthesis {8182, title = {Burgundian Arts across Europe: New Paradigms for the 15th Century}, year = {1997}, school = {Chicago}, abstract = {Artworks emanating from the Burgundian Netherlands were among the most prestigious in fifteenth-century Europe. Rulers across the continent coveted and deployed them as supreme expressions of power and wealth; patrons of lesser status and means used them to enhance their standing and display their taste. The technical mastery and aesthetic refinement of Burgundian manuscripts, metalwork, music, painting, sculpture, and tapestry earned them international esteem; association with the illustrious Burgundian Dukes and provenance from their domains increased these arts{\textquoteright} widespread desirability and distribution. Flemings, as they were called abroad, were actively recruited by foreign potentates and found ready employment and clientele in major centers of culture and commerce throughout Europe; craftsmen of other countries imitated their work to cater to persistent demand. Today much of Flemish masters{\textquoteright} achievements has been eclipsed by those of their more studied Italian colleagues, and despite the overwhelming evidence of their far-reaching fame and popularity art historians tend to treat them as local Netherlandish practitioners. This study demonstrates Flemish artists{\textquoteright} significance to the political and cultural agendas of Edward IV and Henry VII in England, Alfonso of Aragon and the Catholic Monarchs in Spain, the Medici, d{\textquoteright}Este, Sforza, and Federigo da Montefeltro in Italy. By addressing Flemings{\textquoteright} participation in pan-European economic networks and examining the work of not only painters but also weavers, goldsmiths, sculptors, and musicians it seeks to elucidate the wide-ranging acclaim of Flemish arts. The wider European contexts for the procurement and employment of Burgundian artists and arts are investigated: the general mobility of fifteenth-century Europeans and specific itineracy of artists; intersections between travel and artists{\textquoteright} cartographic work; inter-court diplomacy and the multiple roles played by artists in this arena; political motivations underlying the engagement of Flemings and their art by various European rulers; long-distance dissemination of Burgundian artifacts along channels of commerce; and economics of art production and consumption. I aim not to revisit the North-South dichotomy, but to reconsider fifteenth-century art patronage and usage based not on Vasarian and later assessments, but on the evidence of contemporary documents and works of art.}, keywords = {Renaissance Art}, author = {Belozerskaya, Marina} } @mastersthesis {8098, title = {Burne-Jones{\textquoteright}s {\textquoteright}The Story of Saint George and the Dragon{\textquoteright}: A Neo-Platonic Quest}, year = {1997}, school = {Louisville}, abstract = {Sir Edward Burne-Jones is well-known for his series paintings such as The Briar Rose. However, little has been written about his first attempt at a series, The Legend of St. George and the Dragon (1865-66). This lack of scholarly attention occurred, in part, because two paintings within the series have long been "lost." Recently, these paintings, The Petition to the King and The Princess Sabra Drawing the Lot, were located at Hanover College in Indiana. The spiritual aspect of Burne-Jones{\textquoteright}s work has not been emphasized in most studies on the artist, nor has his interest in Neoplatonism been mentioned. The present study uses Burne-Jones{\textquoteright}s St. George series to illuminate these essential aspects of his art, and consequently to provide a new framework for interpreting Burne-Jones{\textquoteright}s work as a whole. As a partner in William Morris{\textquoteright}s design firm, Burne-Jones was commissioned to paint the seven St. George canvases which were hung in the dining room of The Hill--a Surrey, England country house owned by watercolorist Birket Foster. Examining the St. George series in the context of its original setting sheds additional light on the artworks and Burne-Jones{\textquoteright}s creativity. An analysis of the seven finished paintings, along with the seventy preliminary drawings, also offers new insights into the series and Burne-Jones{\textquoteright}s own talent. This appraisal of the total St. George work clearly indicates that Burne-Jones{\textquoteright}s style evolved while he created the series. The influence of Renaissance and Classical art, plus his reliance on the Neoplatonic pattern, transformed his art during the 1860s. Observing his personal life, including his relations with key influential artists, reveals Burne-Jones{\textquoteright}s strong individuality and depth as an artist. Comparing Burne-Jones{\textquoteright}s Cupid and Psyche works with his St. George series brings to light the strong Neoplatonic undercurrent which shaped his artwork and his artistic outlook. Together, these new insights illuminate Burne-Jones{\textquoteright}s art, his acuity as an artist, and his importance as a forerunner of twentieth century styles.}, keywords = {19th-and Early 20th-Century European Art}, author = {Martin, John Franklin} } @mastersthesis {8188, title = {Cardinal Georges d{\textquoteright}Amboise at the Chateau de Gaillon at the Dawn of French Renaissance}, year = {1997}, school = {Penn State}, abstract = {The Chateau de Gaillon in Normandy is one of the key monuments in France that established the early French Renaissance style, combining Italian antique elements and local Gothic components. Between 1501 and 1510, Cardinal Georges d{\textquoteright}Amboise transformed the medieval chateau into a Renaissance complex comprising architecture, painting, sculpture and decorative arts. The Chateau de Gaillon set a new style that was quickly followed by other chateaux along the Loire and then throughout France. Cardinal d{\textquoteright}Amboise, archbishop of Rouen and prime minister of Louis XII (1462-1515), was the first to introduce Italian Renaissance art to northern France. Already, at that time, the powerful Cardinal was described as the "real king of France"; his chateau was praised as the most splendid in Europe. The chateau has sat in ruins since the French Revolution; the sculptures, the paintings and the art collection of Cardinal d{\textquoteright}Amboise at Gaillon were dispersed. It is now under restoration; many medallions, sculptures, reliefs and fragments have been returned to their original place. The purpose of this dissertation is first to examine the life of Cardinal d{\textquoteright}Amboise in a broader historical, political, religious and economic context, so that the motives of his art patronage at Gaillon may be effectively analyzed and the meanings of the chateau{\textquoteright}s ornaments may be more comprehensively understood. The second aim is to assess how the Italian Renaissance style was interpreted at Gaillon in architecture, painting, and sculpture by the French and Italian artists. Also included is an examination of Gaillon{\textquoteright}s new style as an expression of "Italianism" and of a "vernacular" manner with a Gothic flamboyant essence. Thirdly, by discussing the reconstruction campaigns and works of art, the artistic taste of the Cardinal will be defined, and the attribution to architects and artists will be explained or clarified. An inventory of 1540 is fully transcribed for the first time, and the iconography of the boiseries is adequately identified and represented for the first time.}, keywords = {Renaissance Art}, author = {Liou, Elaine Yu-ling} } @mastersthesis {8133, title = {Caricatura: The Theory and Practice of Caricature in Baroque Italy}, year = {1997}, school = {Toronto}, abstract = {No record in ProQuest}, keywords = {Baroque and 18th-Century European Art}, author = {Davies, Gregory} } @mastersthesis {8105, title = {Cass Gilbert and the Ideal of the City Beautiful: City and Campus Plans, 1900-16}, year = {1997}, school = {CUNY}, abstract = {The dissertation argues for understanding the acclaimed American architect, Cass Gilbert (1859-1934), as an important planner and not just as an architect. It discusses the interest that Gilbert had in the shaping of public space throughout his career by examining his comprehensive city and campus plans. This examination also illuminates (1) Gilbert{\textquoteright}s understanding of the civic reform ideals of the City Beautiful movement at the turn of the century and in later years, and (2) the impact of local citizens on the development of each of Gilbert{\textquoteright}s comprehensive plans. Chapters I and II argue that Gilbert was profoundly influenced by his professional involvement with his early employers (McKim, Mead \& White), the 1893 Chicago World{\textquoteright}s Columbian Exposition, the American Institute of Architects (AIA), and particularly by Glenn Brown, Secretary of the AIA. Brown{\textquoteright}s influence is shown to have been instrumental in encouraging Gilbert to develop an understanding of the ideal of the City Beautiful movement. The remaining chapters illustrate Gilbert{\textquoteright}s application of this ideal in the comprehensive plans that he developed after 1902. The study presents a chronological examination of the early development of the Minnesota State Capitol Approaches (especially 1902-1909) and also of his master plans for schools--the University of Minnesota, the University of Texas, and Oberlin College (1903-1916). The goals of Gilbert{\textquoteright}s and Frederick Law Olmsted, Jr.{\textquoteright}s report and city plan for New Haven (1907-1912) are highlighted in the conclusion. The discussion of each of these projects shows that Gilbert was aided greatly by the efforts of local, public-spirited advocates of municipal reform. It emphasizes the interconnections between actual small-scale efforts and the idealized, monumental vision of the City Beautiful. This dissertation therefore explains how Cass Gilbert was encouraged by citizens at several critical junctures and how he made significant contributions to the American landscape aside from the buildings for which he is best-known, such as the U.S. Custom House (New York; 1899-1907), the Woolworth Building (New York; 1911-1913), and the U.S. Supreme Court (Washington, D.C.; 1927-1935).}, keywords = {Art of the United States and Canada}, author = {Christen, Barbara} } @mastersthesis {8091, title = {Charles Blanc and the "Gazette des Beaux-Arts": 1859-70}, year = {1997}, school = {Michigan}, abstract = {The founding of the Gazette des Beaux-Arts in 1859 by Charles Blanc (1813-1882) and his affiliation with the journal during the 1860s inform this dissertation. Blanc was a respected and influential nineteenth-century art critic, theorist and art historian. His substantial output of scholarly publications on the arts include the encyclopedic Histoire des peintres de toutes les ecoles, a paradigm for the Gazette. Blanc was Directeur des Beaux-arts in 1848 and 1870, and he was a member of the Institut and the Academie Francaise. This study investigates the circumstances that surrounded the creation of the Gazette and analyses Blanc{\textquoteright}s program for the review. Blanc{\textquoteright}s strategy to establish a serious, scholarly journal committed to educate the public on all artistic matters, abundantly illustrated with high quality, text-related engravings and dedicated exclusively to the visual arts worldwide, marked a new approach in reporting on the arts in French periodicals. Articles in L{\textquoteright}Artiste, the Revue Universelle des Arts, and the Revue des Deux Mondes demonstrate differences in style and content. Blanc and his "equipe" of prestigious collaborators used the Gazette as a means for participating in the public debate on a national cultural program in France during the last decade of the Second Empire. Two campaigns--the fate of the celebrated Campana collection and the promotion of the Union centrale des beaux-arts appliques a l{\textquoteright}industrie--show how essays published in the periodical situate Blanc and his journal{\textquoteright}s agenda within the discourse on cultural politics. The complex issues that informed these debates reflected larger concerns that engaged France as a whole: maintaining artistic superiority seen to be threatened by foreign competition, agitating for reforms in art education and professional training, elevating good taste in the public, and preserving France{\textquoteright}s "patrimoine." Nationalism was the overriding issue that fueled these debates as the absence of an effective national art policy was revealed. The journal{\textquoteright}s position within the mainstream cultural and artistic milieu of its time was articulated as was its intellectual force as an institution. The continuing publication of the Gazette des Beaux-Arts is testimony to Charles Blanc{\textquoteright}s grand vision and contribution to the arts.}, keywords = {19th-and 20th-Century European Art}, author = {Pour, Marcelle Hourt} } @mastersthesis {8179, title = {Charles Mulford Robinson: Theory and Practice in Early Twentieth-Century Urban Planning}, year = {1997}, school = {Florida State}, abstract = {The writings, theory, and planning projects of Charles Mulford Robinson (1869-1917) are integrated in this study emphasizing his importance in the development of the profession of city planning in early twentieth century America and in the formulation of early twentieth century aesthetic theory, especially in the area of urban beautification. Robinson, who has been described as one of the fathers of the City Beautiful movement, was a major figure in fostering the widespread interest in urban aesthetics that followed the Columbian Exposition of 1893. This analytical study of his writings (three books and over fifty articles in a wide variety of publications) and his planning projects for over thirty cities reveals the theoretical and philosophical constructs from which he worked and locates him in the larger context of his time. As a teacher, Robinson contributed to the development of the profession of city planning. From 1913 until his death in 1917, Robinson held the first Chair in Civic Design at the University of Illinois. In addition, Robinson played a pivotal role in the transition from City Beautiful planning to planning less concerned with aesthetics and more concerned with efficient urban function, a phase in planning known as the "City Practical." As a theorist and planner, Robinson was a bridge from the nineteenth to the twentieth century, passing and transforming ideas about America{\textquoteright}s urban form.}, keywords = {Pre-1945 North American and South American Art}, author = {Piland, Sherry} } @mastersthesis {8112, title = {The Charms of Exposed Flesh{\textquoteright}: Reginald Marsh and the Burlesque Theater}, year = {1997}, school = {Pennsylvania}, abstract = {This dissertation undertakes the examination and interpretation of paintings and prints of the burlesque theater produced by Reginald Marsh (1898-1954) during the 1920s, 1930s, and early 1940s. During these years, social reformers sought to have burlesque banned from New York City, the heart of the burlesque as well as the legitimate theater world. At the same time, however, popular awareness of and interest in this type of entertainment increased. The ensuing public discourse indicates that the burlesque had become a site of cultural contention, onto which broader social concerns about gender, sexuality, and class had been projected. Responding to this conflict, artists such as Thomas Hart Benton, Adolf Dehn, Caroline Duriex, Mabel Dwight, Edward Hopper, Gaston Lachaise, Reginald Marsh, and Elizabeth Olds all turned to the burlesque as a subject for their art. Of these, Reginald Marsh produced by far the most images of this subject, and continued to do so after other artists had abandoned it. This dissertation takes a social-historical approach to the study of art. By indexing Marsh{\textquoteright}s images not only against the rest of his oeuvre and against other artists{\textquoteright} images of the same subject, but also against the varying fortunes of burlesque, this study demonstrates that Marsh revealed more about the cultural concerns of the time than about the actual practices of burlesque performance and spectatorship. The multivalence and ambiguity that characterize these images is in keeping with the nature of the entertainment, and enabled Marsh to engage contemporary concerns about class and authenticity, gender and employment, and consumer culture and personal fulfillment, while satirizing the performers, their fans, and the culture at large.}, keywords = {Art of the United States and Canada}, author = {Miller, Michele} } @mastersthesis {8124, title = {The Ch{\textquoteright}ing Dynasty Wen-Yuan-Ku Imperial Library: Architecture and the Ordering of Knowledge}, year = {1997}, school = {Princeton}, abstract = {In Chinese architecture, an edifice is judged beautiful not only by its outward form, function, or structure, but even more by its underlying symbology, which is often embodied in a building{\textquoteright}s name, numerology, decoration, and design prototypes. One may even go so far as to posit that a building{\textquoteright}s symbology is its mark of authenticity. This thesis examines the Chinese conception of architectural symbology and its connection to the "imperishable word." Knowledge is recorded in writings, and is ordered in libraries. In the Ch{\textquoteright}ing dynasty Ssu-k{\textquoteright}u ch{\textquoteright}uan-shu OOOO, the largest book compilation ever produced in dynastic China, the library books and halls came to manifest imperial ritual. The 1776 Wen-yuan-ko XOO library in the Forbidden City, Peking, was specially constructed to house the chief set of the Ssu-k{\textquoteright}u books. Contrasting this hall{\textquoteright}s ideal design with its built reality affords a unique opportunity to observe the close interaction between architecture and "imperishable words." It is commonly asserted that the timber-frame Wen-yuan-ko imitates the Tien-i-ko private library in southern China. Even imperial records cite this connection, yet a comparison of the two buildings reveals differences. Moreover, imperial libraries and archives in the late Ming and early Ch{\textquoteright}ing were predominantly built of masonry for fire protection. The return to a timber-frame typology, thus, represents a significant reversal. The differences between the Wen-yuan-ko and Tien-i-ko library halls, and the return to a timber-frame library type, can be explained by the need to accommodate the ritual functions of an imperial library, palace building regulations, and architectural and institutional typologies for library halls and their agencies. The Wen-yuan-ko hall design also had to conform to the dictates of the bibliographic ordering of knowledge implicit in the Ssu-k{\textquoteright}u ch{\textquoteright}uan-shu compilation. For this study, Ch{\textquoteright}ing imperial archives and statutes, private accounts, building documents, and modern building surveys of the Wen-yuan-ko hall allow us to reconstruct the hall as it was actually erected. Prior to the beginning of construction, however, imperial building records and poems for the Ssu-k{\textquoteright}u halls specify an ideal design whose symbology was tied to the bibliographic order of the Ssu-k{\textquoteright}u books and concerns for dynastic authority. Discrepancies between the ideal and actual designs can be traced to imperial building codes, provisions for imperial ceremonies, and to a long-standing imperial library typology with roots as early as the Northern Sung dynasty Tai-ch{\textquoteright}ing-lou XOO library as seen in a surviving painting and written descriptions.}, keywords = {Asian Art}, author = {Liu, Cary} } @mastersthesis {8122, title = {The Coexistence of Artistic Styles and the Pattern of Exchange: Sanxingdui during the Second Millennium B.C.}, year = {1997}, school = {Pittsburgh}, abstract = {The discovery of Sanxingdui unexpectedly revealed an urban center in the Chengdu Basin. Equally unexpected, indigenous and Shang style artifacts coexisted at the site, and with the Shang works serving local purposes. From the perspective of interaction, this study is an attempt to understand how and why this society was able to maintain its artistic identity while engaging in interaction with the more complex and powerful Shang. The Chengdu Basin, known for its self-sufficient environment, was in a landlocked setting. During the third millennium BC, if not earlier, communities there became stratified and developed distinctive symbol systems. It was not until the next millennium that Sanxingdui connected with the middle-Yangzi region. Later the Sanxingdui complex gained regional dominance and was in extensive interaction within the basin and beyond. The mid-Yangzi areas, where communities grew rapidly after stimulation by the Shang, may have served as providers of Shang casting technology and artifact types to the Chengdu Basin area. Nevertheless, Sanxingdui was neither a Shang colony nor its direct exchange partner. Inter-regional contact served as a resource that strengthened Sanxingdui{\textquoteright}s position in a competitive regional network, which may have supplied subsistence goods and other materials. Studies of the Pacific Northwest, Burma and Mesoamerica, where elite arts in the less complex groups were assimilated by more complex partners, suggest that the changes of those elite arts are a parameter of interaction. Variables significant to the changes are: (i) base and level of social development of participating communities, or base of interaction; (ii) demand generated by the development, or motivation of interaction; (iii) resources available, or materials in exchange; and (iv) form of interaction, such as migration, warfare or trade. By comparison, Sanxingdui was among highly stratified local communities with an entrenched symbolism; was in a self-sufficient environment; was in indirect contact with Shang; and was, therefore, allowed to develop continuously the indigenous identity while making use of "outside" art for its own sake. Methodologically, this dissertation is characterized by its interpretation of interaction in a regional context and its modeling of archeological questions about ancient art.}, keywords = {Asian Art}, author = {Ge, Yan} } @mastersthesis {8173, title = {Commercial Fallout: The Image of Progress, the Culture of War, and the Feminine Consumer, 1939-59}, year = {1997}, school = {CUNY}, abstract = {This dissertation explores the role of consumer culture in World War II by examining how and why wartime advertising and commercial propaganda forged a link between the home, the middle-class housewife, and the theatre of war, and thereby set a precedent for the military rhetoric found in many Cold War advertisements featuring the promises of a super-powered domesticity that visually affirmed the presumed moral authority of American capitalism and the white, suburban middle class. By investigating wartime advertisements and articles found in women{\textquoteright}s magazines and business trade, design, architectural, and pop-science publications, women{\textquoteright}s recruitment and consumer war bond propaganda, and archival documents, the dissertation argues that consumer culture, the "consumer engineering" professions and the American corporate infrastructure shaped the war{\textquoteright}s public image--an aspect of World War II which has not been thoroughly explored, especially from the vantage point of art history. This dissertation reveals the ulterior political motives behind wartime commercial propaganda about the product conversion and postwar reconversion processes sponsored by corporate entities, including the War Advertising Council, the National Association of Manufactures, and many industrial designers. The American corporate infrastructure sought to build middle- and working-class confidence in big business and capitalism through commercial imagery depicting how industry was winning the war and would democratize higher standards of living in peace, thereby attempting to undermine the public{\textquoteright}s faith in the New Deal. The business community sought to ensure that the free-enterprise system, corporate authority, and a consumption-oriented society would prevail over wartime collectivism and New Deal business regulations by constructing an image of postwar progress in which a "new and improved" America would emerge, "revolutionized" with the technological advances, product designs, and prefabrication building techniques developed for the war. The dissertation also examines whether or not the wartime promises for a "democratized" and "revolutionized" domesticity came true after victory by exploring representations of gender and class identity, forecasts for the "house of tomorrow," as well as the paradoxes behind Levittown, the Atomic Age, and the role of African-American consumers in the mainstream vision of postwar progress.}, keywords = {Post-World War II American and European Art}, author = {Henthorn, Cynthia} } @mastersthesis {8072, title = {The Composition of Femininity: The Significance of the {\textquoteright}Woman at the Piano{\textquoteright} Motif in Nineteenth-Century French Culture from Daumier to Renoir}, year = {1997}, school = {UC Berkeley}, abstract = {Throughout the nineteenth-century in France, artists working in a variety of media and in a broad range of circumstances represented the "woman at the piano" motif. Many nineteenth-century texts and images identified piano-playing as a gendered activity that was an integral part of domestic life and feminine education. The amateur woman pianist (who played an upright piano) was the generic counterpart of the high-profile male virtuoso. From the July Monarchy to the Third Republic, the image was employed to illustrate journals, books, sheet music, and advertisements for pianos and piano lessons. In many cases, the motif was used satirically to underscore the increasing prominence of this cultural practice among all classes of society. As a cultural history of the motif and its role in visual culture, the present study examines a wealth of primary visual and textual material, much of which has never before been published or interpreted. Sources not typically associated with art historical inquiry play a fundamental role in demonstrating the significance of the "woman at the piano" motif in the social imagination and the visual traditions of nineteenth-century France. This interdisciplinary analysis explores the terrain of musical culture (in private and public life), the popular press, domestic life and leisure, education, sexuality and the body, and current events in the political and artistic life of nineteenth-century France. An introductory chapter sets up methodological questions, while Chapters Two, Three and Four are conceived as case studies that examine particularly compelling episodes of the "woman at the piano" subject by artists such as Daumier, Cezanne, Degas, Manet, Caillebotte and Renoir. The project demonstrates the multitude of ways the motif was used to articulate important political, social, and artistic issues. This contextually-based analysis of the "woman at the piano" motif sheds new light on material that is surprisingly rich and complex and contributes new interpretations to the history of nineteenth-century French visual culture.}, keywords = {19th- and Early 20th-Century European Art}, author = {Eyerman, Charlotte N.} } @mastersthesis {8082, title = {Dialectics of Painting: Mondrian{\textquoteright}s Diamond Series, 1918-44}, year = {1997}, school = {Harvard}, abstract = {Far from embodying a modernist ideology of immediate presence, Mondrian{\textquoteright}s painting is deeply narrative, aspiring to describe spiritual evolution as the gradual fusion of such dualities as man and nature, universal and particular. The engine of the process is Hegel{\textquoteright}s Aufhebung (Mondrian{\textquoteright}s opheffing), or "sublation," which repeatedly sets opposites in conflict, each time yielding a new synthesis to be opposed in turn until a final unity is achieved. This basic plot, outlined by Mondrian{\textquoteright}s writings, is narrated by his art in a parallel, more complex way. Here the oppositions to be sublated include line and plane, figure and ground, stability and dynamism, and, at the highest level, deduction and intuition. This story is legible in individual works as well as in the total oeuvre, but it is clearest at the intermediate level of the series. In the group of 17 diamond pictures spanning Mondrian{\textquoteright}s abstract career (1918-44), the dialectics of Neo-Plasticism are pushed ahead by the peculiar pressures, or "deductive environment," of the diamond shape. Mondrian exploits these pressures in a series of 12 works (1921-38) at the heart of the group, developing two unspoken rules and exploring the range of allowed permutations. This becomes clear only when the pictures are viewed all at once, as simultaneous possibilities within a logical structure. But the series also displays a temporal flow, weaving compositional types in a way characteristic of written narrative; and like any narrative, the series is "anxious" about continuity, repetition, and ending. As a hybrid of conceptual array and temporal movement, then, the series is open equally to the structural and textual narratologies of Roland Barthes. In his last painting, the diamond-shaped Victory Boogie Woogie (1942-44), Mondrian faces the problem of how to end a series and a career. Just as he used jazz and ballroom dance as models for the sharp contrasts of classic Neo-Plasticism, so in New York he turns to boogie-woogie for a "dialectics of similarity." Setting repetition against itself, Mondrian collapses his dualistic vocabulary into the single texture of an end-style. But his trouble finishing the picture betrays a painter{\textquoteright}s resistance to the end of painting.}, keywords = {19th-and 20th-Century European Art}, author = {Cooper, Harry A.} } @mastersthesis {8191, title = {The Display of Distinction: Art Collecting and Social Status in Early 16th-Century Venice}, year = {1997}, school = {Michigan}, abstract = {This dissertation argues that contrary to received wisdom, the Venetian nobility were not the sole, or perhaps even primary, initiators of collecting and display practices in the early sixteenth-century. Rather, non-noble groups (specifically the cittadini, an intermediary caste without the privileges of the patricians) introduced innovative means for acquiring status and transcending their born station, and set new trends that the nobility later followed. This argues against standard art historical accounts which presuppose a static and deterministic correlation between class status and collecting practices--namely that the elite are the cultural innovators and the lower classes follow their lead. The dissertation takes as its foundation analyses of the practices of collecting from other academic disciplines such as anthropology, sociology, and history. It develops a theory of collecting as a dynamic social process of consumption and social exchange which does not produce foregone outcomes, but is rather riddled with gambles and risks. In contrast to the social science literature, which tends to lose sight of the actual objects in circulation, this art historical study reinserts the object, in this case works of art, into the process of social exchange and status negotiation that is the field of collecting. I develop these theories of collecting through detailed case studies of two cittadino collectors, Andrea Odoni and Francesco Zio, both of whose collections were described in Marcantonio Michiel{\textquoteright}s Notizia d{\textquoteright}opere del disegno (also discussed at length). Zio, both in his life, as reconstructed through newly discovered archival sources, and in his collection, as documented by Michiel{\textquoteright}s notes and surviving works of art, is shown to be an exemplary cittadino who adopted the civic values of the State in an expression of his "Venetianness." His nephew, Andrea Odoni, took a more aggressive and risk-taking approach towards his social position and his collecting practices. He projected his public persona both through the display of his "household collection" and in his famous portrait by Lorenzo Lotto. These two collectors, although related, fashioned very different identities for themselves, further cautioning us from too readily correlating class-status with taste.}, keywords = {Renaissance Art}, author = {Schmitter, Monika} } @mastersthesis {8120, title = {Drawing His Own Ravishing Features{\textquoteright}: Kitagawa Utamaro and the Construction of a Public Identity in Ukiyo-e Prints}, year = {1997}, school = {University of Washington}, abstract = {This dissertation considers how texts and images promoted a public identity for artist Kitagawa Utamaro (1753-1806) through ukiyo-e prints manufactured for the popular market. As much a social and commercial construction as a historical personage, the figure of Utamaro as master painter, bon vivant and intimate of women is revealed as a classic example of "artist as discursive effect" within the context of production and publication. Rhetoric contained within prints and illustrated books operated to construct a persona for the visual producer named Utamaro. The first chapter deals with the astonishing scarcity of material that survives to document Utamaro{\textquoteright}s biography, the characterizations of artistic production that a reading of Ukiyo-e kosho as criticism reveals, and the historiographical account of publications regarding Utamaro. The second chapter discusses the development of the public identity of Utamaro as transformed from student of Toriyama Sekien (1712-1788) to "great sophisticate" through a strategic representation of Utamaro as a collaborator of gesaku writers, kyoka poets, and especially the publisher Tsutaya Juzaburo (1750-1797). In the third and fourth chapters the definition of the persona of Utamaro as an expert on the lives of women as articulated through prints on physiognomy, appropriate behavior, the pleasure districts, and erotic subjects is considered, particularly with how that discourse functioned to reinforce certain contours of "the feminine." In the third chapter the persona of Utamaro is discussed with regard to the following issues: the categorization of female physiognomies and identities, the promotional effects and potential meanings of his "self-portrait," and assertions to artistic legitimization. The fourth chapter addresses the representation of Utamaro as master of his own painting atelier and expert on appropriate behavior for women. Utamaro{\textquoteright}s punishment in 1804 for prints of the regent Toyotomi Hideyoshi is interpreted as a transgression of political authority. The rhetorical function of the constructed persona of Utamaro and its continuing ability to persuade viewers of the veracity of his images and the elision of its own manufacture are discussed in the conclusion.}, keywords = {Asian Art}, author = {Davis, Julie Nelsen} } @mastersthesis {8138, title = {The Drawings of Paul Bril: A Study of Their Role in 17th-Century European Landscape}, year = {1997}, school = {IFA/NYU}, abstract = {The Flemish artist Paul Bril arrived in Rome around 1582 and began a successful career as a landscapist that lasted until his death in the same city in 1626. The four decades of Bril{\textquoteright}s activity were crucial in the development of landscape art in Rome. As a specialist and one of few Netherlandish artists to make that city his permanent home, Bril played an unusually significant role in this development. In some respects, he can be considered the precursor not only of the Dutch Italianates and the Bamboccianti, but also of Claude Lorrain. After defining Bril as a draughtsman, this dissertation clarifies aspects of his working methods and determines the types and functions of his drawings. It places Bril in the context of contemporary landscape draughtsmanship and analyzes Bril{\textquoteright}s specific contribution to the evolution of the genre in Rome from the mannerist views of Girolamo Muziano to the pastoral landscapes and seascapes of Claude Lorrain. Through a close investigation of dated drawings, Bril{\textquoteright}s position as a guiding force to two generations of Netherlandish artists who visited Rome and the influence Bril exerted on the development of landscape in the North is also revealed. The final section of the dissertation is a catalogue raisonne of Bril{\textquoteright}s drawings. While any catalogue raisonne is by nature evolving, the attempt to establish a secure canon is very important in finally placing Bril and his contemporaries in the correct perspective.}, keywords = {Baroque and 18th-Century European Art}, author = {Ruby, Louisa Wood} } @mastersthesis {8197, title = {Enclosing Le Murate: The Ideology of Enclosure and the Architecture of a Florentine Convent, 1390-1597}, year = {1997}, school = {Cornell}, abstract = {From the fourteenth through the sixteenth century, the number of Florentine women who took religious vows and the number of convents founded to accommodate them increased dramatically. The dissertation examines the ideology that prescribed the enclosure of ruling class Florentine women and its role as a motivating factor in the development of the institution of the convent, focusing on the architecture of the Benedictine convent of Santissima Annunziata delle Murate and the lives of the women who lived there. From its foundation in 1390 through the decades following the Council of Trent, the convent developed from a small group of pious lay women living in a house on the Rubaconte bridge into a community of approximately 200 nuns living in a 13,000-square meter complex, which was acquired gradually with the patronage of well-known families from Florence and elsewhere. As the community evolved, its social status defined the religious and architectural identity of the convent, commonly known as Le Murate, or "the walled-in women." Unlike the ideology that called for the enclosure of lay women, which was tacitly accepted by the ruling class but never systematically recorded as a law, the ideology of monastic enclosure was codified in the form of papal bulls, synodal laws, conciliar decrees, and treatises that reveal that Church authorities considered convent architecture the material embodiment of enclosure regulations. The Church{\textquoteright}s ideology was sustained, in part, by the perception that failings of a convent{\textquoteright}s architecture encouraged violations of enclosure and the loss of nuns{\textquoteright} chastity. Le Murate{\textquoteright}s prominence as a Florentine institution prompted an increasingly lax observance of enclosure regulations that was facilitated by its architecture. The dissertation argues that the architectural manifestation of the ideology of enclosure at Le Murate was an affectation of enclosure that signified a degree of monastic observance not always met in practice. The permeability of the convent walls testified to the paradox whereby the ideology of enclosure was simultaneously maintained by the ruling class and the Church, and circumvented by the nuns of Le Murate, their families, and their patrons.}, keywords = {Renaissance Art}, author = {Weddle, Saundra} } @mastersthesis {8073, title = {English Constructive Art in the 1930s: An examination of the social and political climate which propelled a movement}, year = {1997}, school = {Rutgers}, abstract = {The history of constructive art in Britain during the 1930{\textquoteright}s is well documented, however, the reasons why artists so fervently pursued this type of art is not. Modern art, particularly non-objective art, was considered antithetical to the English tradition, which placed emphasis on figuration, landscape and narration. Painting and sculpture have always remained secondary to literature and poetry in Britain, forcing them to retain narrative elements in order to remain competitive. Therefore, British artists{\textquoteright} commitment to constructive art is even more interesting and demands an examination of their motives. It is the contention of this thesis that artists in England, such as Barbara Hepworth, Henry Moore, Ben Nicholson and others, were prompted by the political events of the decade, particularly the rise of nationalism in England and fascist governments in Germany, Italy and Spain, to pursue more utopian modes of art. For these men and women, constructive art signaled freedom and the hopes of a modern society. In addition, as they began to witness the persecution of Bauhaus artists in Germany whom they admired, these artists began to fear a similar situation would arise in England. To protect and assure their artistic and intellectual freedom, British constructive artists began a serious campaign to establish this movement as a vital part of the artistic climate of Britain. Scholars have called for a study which explores the social and political conditions which may have propelled men and women to pursue a more revolutionary form of art in Britain, but one has never been completed. Using a chronological framework to examine this movement, it can be demonstrated that the commitment to constructive art coincides with the rise of fascism in 1933 and ends in 1939 with the outbreak of World War II.}, keywords = {19th- and Early 20th-Century European Art}, author = {Gardner-Huggett, Joanna} } @mastersthesis {8189, title = {Envisioning Sacred History: The Iconography of "The Circumcision of Christ" and "The Presentation of Christ in the Temple" in German Art, 1440-1525}, year = {1997}, school = {Maryland}, abstract = {This dissertation examines the iconography of the Circumcision of Christ and the Presentation of Christ in the Temple (and the associated scene, the Purification of the Virgin) from the medieval perspective of sacred history. In this view, Christ{\textquoteright}s and Mary{\textquoteright}s participation in these Jewish rites is a point of transition between what Christians called the Old and the New Covenants, the eras of Jewish Law and of Christian Grace. German works of art from the fifteenth and early sixteenth centuries were selected that contain motifs referring to Judaism or to other aspects of the relationship between the Old and New Covenants. The contextual basis for the interpretation of these events as a transition between historical epochs is derived from theological writings, sermons, plays, and pilgrim literature. In order to demonstrate that the biblical past prefigured Christ, the Virgin, and the Church and its sacraments, artists gave attention to details of the Temple interior such as the altar and the Tablets of the Law, to the vesture of the Temple{\textquoteright}s high priest, and to the sacrifices offered in the Temple. They also incorporated references to Moses, Abraham, Isaac, Abel, Noah, and other biblical figures. Artists also relied on traditional compositional formats, often adopting the division of left and right to indicate the differing spiritual principles of Old and New. In keeping with traditional medieval notions of history, most artists portrayed the objects and rites of the Hebrew past as similar to those of medieval Christianity. Occasionally, however, individual artists adopted a more Renaissance method, extracting information from illustrations or texts in order to give a kind of archaeological verisimilitude to particular details of their works. For the most part, artists expressed the theological idea that the ancient Hebrews and their religion were the foundation for Christ and the Church; in practice, however, Christianity viewed Judaism as imperfect and even inferior. Some artists alluded to this negative assessment of Judaism, for example, by reference to alleged Jewish idolatry, to the Jewish Law as a religion of the "letter," and to the Pharisees who were supposedly responsible for Christ{\textquoteright}s death.}, keywords = {Renaissance Art}, author = {Martinez, Louise Elizabeth} } @mastersthesis {8099, title = {Evictions: Art, Urbanism, and Spatial Politics}, year = {1997}, school = {CUNY}, abstract = {Since the 1980s a great deal has been written about the relationship between contemporary aesthetic practices such as art, architecture, and design, on the one hand, and the city, public space, or social space, on the other. Evictions investigates this urban-aesthetic interdisciplinary discourse--its various forms, its historical precedents, and, most importantly, its political functions. My inquiry unfolds in three stages. The first three chapters explore the mutually supportive relationship that developed in the 1980s between aesthetic ideologies and an oppressive program of urban restructuring--a relationship manifested in growing attention to public art. These chapters draw on critical urban theory to challenge mainstream and conservative rhetoric about art, the city, and public space. I also compare critiques of space in urban studies with critical treatments of space in contemporary art. Chapter 4 examines an influential alliance that has formed between urban and cultural scholars who use critical spatial theory for a different purpose--to ground an account of postmodern culture that defends traditional leftist political projects against challenges posed by new kinds of radical political philosophies, social movements, and aesthetic practices, including new feminist theories. Responding to this alliance, which is exemplified by the work of Fredric Jameson and David Harvey, I rearticulate the interdisciplinary field: while earlier I adopted the concept of "the politics of space" from Marxist urban studies to contest mainstream aesthetic assumptions, I now reinterpret "the politics of space," using aesthetic ideas about visual representation to dispute leftist urban-aesthetic thought. Chapter 5 expands this reinterpretation, returning to the issue of public art raised at the beginning of the dissertation. This final chapter explores contemporary aesthetic and urban debates about the meaning of the term public. Arguing that critics on both the left and the right frequently deploy this term to authoritarian ends, I rethink the question of public space from the feminist and radical democratic perspectives introduced in the preceding chapter.}, keywords = {Art Criticism and Theory}, author = {Rosalyn Deutsche} } @mastersthesis {8139, title = {Exoticism as Metaphor: Turquerie in 18th-Century French Art}, year = {1997}, school = {IFA/NYU}, abstract = {Exoticism underwent significant transformation during the eighteenth century. This dissertation traces and defines this transformation through a series of studies of turquerie, exoticism{\textquoteright}s predominant visual form in eighteenth-century France. Stepping away from established modes of viewing exoticism as either documentary or decoration, objects are studied within a chronological framework, with the aim of addressing the causal factors--social, political, historical, and aesthetic--behind this development. It is asserted that the ideas, fears, and fantasies expressed by this varied body of imagery consistently reveal the psyche and cultural heritage of the maker and patron more than that of the culture depicted. The first concentration of Turkish subject works were produced at the time of the 1721 Ottoman embassy to Paris. Images created around the time of the visit by Charles Parrocel and others are read in the context of French foreign policy and evolving attitudes towards colonialism. The turquerie as a true genre subject emerged in the mid 1730s with Carle Van Loo{\textquoteright}s ambitious portrait pendants of himself and his wife "a la turque". Feeding the taste for portraits in Turkish dress, Madame de Pompadour{\textquoteright}s commission of her own portrait as sultana uses the analogy of Ottoman court structure to publicize and strengthen her position in the court of Louis XV. Such associations proved short-lived, however, in the unstable political environment of the late ancien regime. Twenty years later, critics used Amedee Van Loo{\textquoteright}s immense Costume Turc tapestry cartoons to critique the idle luxury of the court and of Madame du Barry, their alleged patron, in particular. By the last quarter of the century, the harem was seen less as a setting for romantic fantasy and increasingly as a site of commerce in unwilling female slaves, casting light on tensions and anxieties within contemporary French society relating both to debates on slavery and colonialism as well as to inequities of power closer to home.}, keywords = {Baroque and 18th-Century European Art}, author = {Stein, Perrin} } @mastersthesis {8117, title = {Expression and Repression of Identity: Race, Religion, and Sexuality in the Art of American Sculptor Richmond Barthe}, year = {1997}, school = {Princeton}, abstract = {The years between the two world wars were marked by the appearance of sculpture by black American artist Richmond Barthe (1901-1989) in the art market. This dissertation brings to light expressions of race, religion and sexuality often confined to, and in turn, exposed by the art of a man considered the most broad-minded of the New Negro artists, and the most elusive. Barthe was an advocate of racial integration and social assimilation, and used his art to voice that advocacy. He was also homosexual, and the only black American artist to center his work around the male nude. While addressing race as central to the discussion of black American art from this period, the dissertation investigates Barthe{\textquoteright}s carefully controlled identity, public relations agenda, and how they informed his art. This serves to broaden the discussion of diversity within African America, and what has come to be labeled {\textquoteright}difference.{\textquoteright} Barthe{\textquoteright}s exhibition history began in 1927 in Chicago, and peaked around 1949 in New York City. The dissertation begins with his childhood in Mississippi, and ventures a few years beyond his last New York one-man exhibition in order to contextualize his years in the public eye. Several works of art are discovered or rediscovered revealing, for the first time, the scope of Barthe{\textquoteright}s talent and artistic vision. Primary sources (oral histories, personal letters, audio and video interviews), in addition to published accounts, are used to develop an original, in-depth analysis of Barthe{\textquoteright}s art, as well as document his role in the interpretation of modern America through figurative sculpture.}, keywords = {Art of the United States and Canada}, author = {Vendryes, Margaret} } @mastersthesis {8079, title = {The Faculty of Possession: Property and the Aesthetic in English Culture, 1730-1850}, year = {1997}, school = {Rochester}, abstract = {This dissertation examines the culture of the English middle-class between 1730 and 1850. It focuses in particular on the role played by property and the act of possession in defining the identity of a middle-class subject. The first chapter investigates the transition from an aristocratic to an agrarian capitalist culture in the English countryside during the eighteenth century, with a particular analysis of the discourse of agricultural improvement. The second chapter outlines the function of property and possession in eighteenth century moral and political philosophy, specifically the relationship between the physical possession of land and cognitive possession of knowledge in the works of John Locke and Immanuel Kant. In the third chapter this research is linked to the status of somatic experience in the aesthetic philosophy of Burke, Hutcheson, Kant, Schiller, and Shaftesbury, leading to the elaboration of a "property-based" model of identity. In the fourth chapter this model is related to the specific cultural practices of the natural style English landscape garden. I argue that there is a parallel between the concept of an original community of the land in liberal political philosophy and the spectacle of an endless expanse of uncultivated land in the gardens designed by Charles Bridgeman and William Kent. In the fifth chapter I develop a concept of moral property to analyze the significance of evangelical programs for the conversion and education of the rural poor under Hannah More and attempts to reform the morals of the middle and upper class by William Wilberforce. In the sixth chapter I explain the influence exercised by the spatial practices of the landscape garden and the moral practices of the evangelicals on the nineteenth century urban middle class. I argue that the landscape garden and evangelical schools provided models for the development of suburbs and secular urban reform movements in the Victorian era. I focus here on Clapham Common, a suburb of London, and on the impact of Malthusian political economy on the passage of the Poor Law Reform of 1834.}, keywords = {19th-and 20th-Century European Art, Art Criticism and Theory}, author = {Grant Kester} } @mastersthesis {8162, title = {Faith Ringgold: The Early Works and the Evolution of the Thangka Paintings}, year = {1997}, school = {CUNY}, abstract = {This dissertation examines the early paintings of Faith Ringgold from 1956 to 1973, within the framework of the black cultural and political nationalism of the 1960s and the Feminist Movement of the 1970s. In particular the two thangka landscape series (unstretched paintings bordered in fabric), entitled The Feminist Series (1972) and The Slave Rape Series (1972-73) are examined. These two groups of paintings are critical to the artists later works due to their unconventional format. They form a link between Ringgold{\textquoteright}s first mature works of 1963-67 and the painted "story quilts" begun in 1980, for which the artist is presently renowned. The thangka paintings are unique in that they represent a carefully constructed marriage between the Western tradition of painting on canvas and two distinct Non-western traditions: that of the Tibetan thangka (religious paintings on fabric) and that of African textile design. The research begins with an examination of Ringgold{\textquoteright}s landscape paintings of the late 1950s which are gestural in brushwork, incorporate Impressionist lighting, and foreshadow the artist{\textquoteright}s interest in abstraction. This phase quickly evolves into her first mature painting series, The American People (1963-1967), which addresses issues of race relations between blacks and whites in America during the period in which the series was painted. Discussions of subsequent paintings, which militantly and often graphically address issues of sexism and racism, follow. These figurative works include The Black Light Series, The Political Posters, and For the Women{\textquoteright}s House, and were painted from 1967 to 1971. The 1972 group of watercolor paintings, Political Landscapes are discussed as they relate to the thangkas in terms of the integration of text and image. Finally three chapters are devoted to the thangka-style works, discussing the artist{\textquoteright}s material process, the nature of the tests included in the paintings, the use of the nude black female image, and the socio-political environment in which these works were created.}, keywords = {Art of the United States and Canada, Post-1945 North American, South American, and European Art}, author = {Farrington, Lisa} } @mastersthesis {8093, title = {The Field of Honor: Painters and the Politics of Masculinity at the Salon during the First French Empire}, year = {1997}, school = {Northwestern}, abstract = {The basis of Napoleon{\textquoteright}s power was not hereditary right, nor any programmatic espousal of political principles. Rather, he solicited belief on the basis of his honor: on what he was and what he had achieved, more than on what he said. And what Napoleon was, or rather identified himself as, was a new masculine ideal, a paragon of honor, who alone was capable of restoring social stability to France by reinstating the political, social, and gender hierarchies to which the French Revolution had done so much damage. Napoleon{\textquoteright}s honor ideologically secured a resolution to the "historical trauma" of the French Revolution: to the crisis, that is, in patriarchal masculinity, and the ensuing crisis in the social order, which that event had occasioned. This dissertation takes the nature of bonapartist power on its own terms, and examines its personal, psycho-sexual appeal: an appeal waged in terms of biography and image, narrative and the body, and soliciting inter-subjective identification on the part of the individual male citizens of the nation. In terms of publicly exhibited painting, this means taking into account what discursive analyses normally leave out: the biographies and subjectivities of individual painters. Male artists were asked not only to represent pictorially the man Napoleon but also, like all male citizens, to incorporate him imaginatively: to identify with the honor that defined him, and by which he redistributed power and social identity. Composed of a series of case studies of paintings and painters at the biennial Salons of 1804-14, this dissertation shows how Salon painting during the Empire was profoundly affected, and shaped, by the subjectivities of individual makers--by their psycho-sexual histories and biographies, not least important of which was their personal experience of the "historical trauma" of the French Revolution. Some (Gros) found it easy to align their subjectivities with the Napoleonic imaginary. Others (Girodet, David, Gerard) either rejected that alignment, or found it a troubled effort. What this study of publicly exhibited painting reveals is that honor during the Empire, like the masculinity upon which it depended, was a conceptual and visual field. The Salon itself is considered as both a personal and political field of honor, where a range of representations figured the possibility of destabilizing public belief in Napoleon Bonaparte.}, keywords = {19th-and 20th-Century European Art}, author = {Sagraves, Julia} } @mastersthesis {8086, title = {The Figurative Sculpture of Magdalena Abakanowicz: Bodies, Environments, and Myths from Abakans to Crowds}, year = {1997}, school = {Wisconsin}, abstract = {This study analyzes the development of the figurative sculpture of the Polish artist Magdalena Abakanowicz (b. 1930) and discloses the artistic, cultural, and sociopolitical context that has been disregarded or hidden beneath the myth of Abakanowicz{\textquoteright}s isolation. It examines the representation of the human body beginning with the fiber works of the 1960s known as Abakans, through the various cycles of the burlap crowds of the 1970s, and ending with the outdoor environments of the 1980s. This dissertation reveals that Abakanowicz{\textquoteright}s expressive depictions of the body in the crowds drew much from the figurative sculpture that emerged in Poland after 1945, and that they reflect the specific national experience of a generation that lived through World War II and under communism. It also shows, that like many of her Polish contemporaries, Abakanowicz relied on the deeply ingrained array of national symbols and ceremonies that were present in the public discourse of the 1970s and 1980s. Finally, it explains the complexity of Abakanowicz{\textquoteright}s attitudes toward contemporary politics and the troubled history of her native country, and discusses her attraction to the primitivizing tendencies in contemporary art as a way of transporting her sculpture from a local to a "universal" plane.}, keywords = {19th-and 20th-Century European Art}, author = {Inglot, Joanna V.} } @mastersthesis {8076, title = {Figuring Sexual Difference: Paul Cezanne{\textquoteright}s Bathers (1870-1906) and Pablo Picasso{\textquoteright}s Nudes (1906-1907)}, year = {1997}, school = {Pennsylvania}, abstract = {Art historians have often linked Cezanne and Picasso on the basis of formal affinities in their painting. This dissertation brings them together because of their innovative approach to the representation of the nude--Cezanne in his more than 230 images of male and female bathers, and Picasso in the pictures he painted in 1906 and 1907, two crucial years between the end of his so-called Rose Period and Cubism. In creating these images, the artists generally worked without live models, isolated their figures from any social or historical context, and often inscribed their own identities in their pictures, not as voyeurs but as disguised presences displaced onto the representation of an "other," whether male or female. A surprising number of these artists{\textquoteright} nudes are ambiguously sexed or gendered. Cezanne painted male bathers who both looked like and posed like females; Picasso mingled his own features with those of his demoiselles. I argue that the resulting ambiguities were not a side effect of stylistic considerations but a deliberate strategy that allowed the artists to dissemble their own identities, to remove their figures from any simple, direct relationship to external reality, and to represent desire as an internal, mutable force that both shapes and exceeds what is inscribed upon the visible body. In other words, it allowed them to figure sexual difference and identity--a question of male and female and of self and other--as a struggle that takes place within the psyche. Cezanne and Picasso belonged to an era that had not only turned sexuality into an object of medical scrutiny but created a culture focused on desire. like their contemporary Freud, they chose to make desire the object of their investigation and they isolated and shaped that object according to emerging ideologies that divorced sexuality from anatomical considerations. I use visual analyses, the history of sexuality, and recent theories of gender and subjectivity to reveal how their ambiguous figures participated in the ideological, turn-of-the-century shift that transformed how we understand ourselves as sexed subjects--one that subordinated physiological and neurological understandings of sex to psychoanalytic conceptualizations of sexuality.}, keywords = {19th- and Early 20th-Century European Art}, author = {Prince, Sue Ann} } @mastersthesis {8165, title = {Forces of Modernism in the Work of Glenn O. Coleman}, year = {1997}, school = {New Mexico}, abstract = {Glenn O. Coleman (1887-1932) was an American artist born in the Midwest and relocated to New York City to pursue a career as an illustrator of urban modernity and, subsequently, as a modernist painter. He is best known for his anecdotal drawings of various enclaves of Lower Manhattan begun in 1905, which he later transcribed into lithographs in 1928. Today, Coleman{\textquoteright}s graphic renderings of the Bowery, the Lower East Side, and Chinatown stand as endearing documents of people and places of a bygone era. His mentor Robert Henri (1865-1929) declared: " (Coleman{\textquoteright}s work) is the record of a certain life drama going on about us here in New York ... (his) material is ... a page of life."$\sp1$ Indeed, Coleman is still cited for his expressive verism of New York City{\textquoteright}s urban genre, and such is his work that typifies the broader appeal of those artists known collectively as the Ashcan School--the second generation of New York Realists inspired by the teaching of Henri and influenced by the activities of America{\textquoteright}s first independent artists, the Eight. While Coleman{\textquoteright}s graphic work as well as his place in the Ashcan School are acknowledged in numerous sources, his modernist paintings, done within the last five years of his life, have yet to be discussed from a critical point of view. Scant references only infer the causes that led Coleman to a more formal artistic language beginning in 1925 and, consequently, his exploration of abstract tendencies beginning in 1927. This paper discusses specific events and individuals in Coleman{\textquoteright}s life that informed his aesthetic sensibility toward an art moderne in America, and the subsequent forces of modernism that influenced his modernist painting. Whereas the dynamics of New York City{\textquoteright}s populace and the influence of Henri and the New York Realists fueled Coleman{\textquoteright}s desire to illustrate modernity, his general camaraderie with America{\textquoteright}s more progressive artists and his participation in various independent exhibitions established him as a modernist painter. Presented for the first time is an examination of distinct circumstances that led to Coleman{\textquoteright}s engagement with a more formal and abstract idiom that he imposed upon his work during the final years of his life. Focusing on select paintings from this time period, it will be seen that the artist{\textquoteright}s life-long relationship with Stuart Davis (1894-1964), his ongoing participation in exhibitions of modernist art, as well as New York City{\textquoteright}s changing physicality were forces of modernism central to Coleman becoming a modernist painter. While this paper does not propose a full account of Coleman{\textquoteright}s oeuvre--much of which remains in private and unknown collections--it does represent the most comprehensive study to date on the development of Coleman{\textquoteright}s modernist work and his contribution to early twentieth-century American modernism.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Fairfield, Douglas} } @mastersthesis {8078, title = {Formal Reduction and the Empirical Ideal, 1750-1914: An Essay in the History of Ideas of Classicism}, year = {1997}, school = {UT Austin}, abstract = {In the late-eighteenth and the early-nineteenth centuries, Joshua Reynolds, Denis Diderot, Quatremere de Quincy and G. W. F. Hegel, among others, described a thoroughly empirical way of visualizing Classical appearance. The theoretical centerpiece of this new {\textquoteright}empirical Classicism{\textquoteright} was John Locke{\textquoteright}s concept of the {\textquoteright}general{\textquoteright} or {\textquoteright}abstract idea,{\textquoteright} and its theorists explicitly distinguished the process of {\textquoteright}generalization{\textquoteright} from previous commonplaces of Classicism such as neo-Platonic {\textquoteright}inspiration{\textquoteright} (innateist Classicism), {\textquoteright}borrowing{\textquoteright} from the achievements of past art (neo-Classicism), and {\textquoteright}aggregating{\textquoteright} perfect parts from the dispersed beauties of nature (selection). {\textquoteright}Inspiration,{\textquoteright} {\textquoteright}borrowing{\textquoteright} and {\textquoteright}selection{\textquoteright} are still the three main ways of describing the Classical process in current scholarship; my study of the empirical Classical process of {\textquoteright}generalization,{\textquoteright} then, acts both as a corrective and a contribution to the history of ideas of Classical process. The idea of {\textquoteright}generalization, was in essence a modernization of Classical process. The epistemological process of generalization was paired, by empirical Classical theorists, to a formal process: simplification of mimetic form or {\textquoteright}formal reduction.{\textquoteright} Again, such reduction gave Classicism a form contrary to our common understanding of Classical style: Reynolds and subsequent theorists explicitly state that the ideal of nature is best achieved through a broad, painterly rendering of the mimetic object. Both the {\textquoteright}modernization{\textquoteright} of the Classical epistemological process and the broad brushwork used to achieve and signify the new idealization allowed Classicism to subsist within burgeoning Modernist discourses and products. Between 1880 and 1900 Symbolist artists such as Emile Bernard and Maurice Denis extended the Classical project of reductive idealization (which they called {\textquoteright}synthetism{\textquoteright}) to an extreme, thus realizing a radically Modernist product through a demonstrably Classical process. This odd confluence of traditional Classical aims and radical Modernist formal innovation--already explicitly anticipated in late-eighteenth century theory and criticism, and implicitly suggested in the Lockean concept of the {\textquoteright}abstract idea{\textquoteright}--culminated in Piet Mondrian{\textquoteright}s extension of the Classical process of formal reduction to achieve and validate an {\textquoteright}abstract{\textquoteright} art.}, keywords = {19th-and 20th-Century European Art, Art Criticism and Theory}, author = {Cramer, Charles} } @mastersthesis {8150, title = {Funerary Portraiture and Symbolism: The Depiction of Women in Roman Asia Minor}, year = {1997}, school = {UC Santa Barbara}, abstract = {This dissertation interprets funerary symbols and memorial portraits of women in Roman Asia Minor during the second century CE which are represented on grave stelae, altars and cippi, cinerary containers, sarcophagi and reliefs from rock-cut tombs. A survey of the literary tradition establishes traditional methods of burial and ritual practice which are witnessed in the grave markers. Social attitudes toward women are also presented to establish the significance of how they are ideally depicted in the context of sepulchral imagery. The commemoratives are discussed according to typology with examples selected from the necropoli of the most important civic centers in Asia Minor from Byzantium to Tarsus. Female beneficiaries whose portraits preserve their likenesses and familial associations for posterity are analyzed in terms of their public and private roles in Roman society within the eastern province of Asia Minor. This dissertation focuses on stylistic and iconographic issues of funerary symbolism and portraiture in predominantly mass produced art. The formulaic character of the narrative scenes reveal these women as serialized figures, repeatedly lauded as mothers and faithful wives. There are memorials dedicated to priestesses, philosophers, physicians and patronesses, yet the overwhelming number of commissions reveal a family orientation and a higher number of women belonging to the non-privileged classes. Even in the repetitive formulas and cliches in sepulchral art, one can discern the elevated position afforded to most women in Asia Minor as mothers, and as cherished daughters who could inherit family wealth and prestige. Their higher status overall, in a society which valued feminine qualities and strengths as child bearers, religious leaders and civic administrators, led naturally, to a greater incidence of funerary memorials which celebrated their contributions with portrait memorials in a variety of styles. The analysis of funerary iconography and portraiture attests to how their families wished them to be remembered and gives us some insight into their social significance. Study of the patronage of the local aristocracy and the marginalized classes begins an important dialogue regarding private art and society in the Roman east as opposed to the more public monuments of state-commissioned art.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Da Costa, Virginia Marie} } @mastersthesis {8095, title = {Going Up in the World: Social Mobility in the Caricature of J. J. Grandville, 1826-47}, year = {1997}, school = {UCLA}, abstract = {This study examines the contribution of Jean Ignace Isidore Gerard, known as J. J. Grandville (1803-1847), to the visual critique of social climbing during a Paris career of just over two decades. The draughtsman from Nancy depicted the radical aspirations and disappointments of a newly mobilized lower middle class in fictional characters such as Jerome Paturot, Hahblle, Faustus, Oscar Rapin, Malvina Paturot, Puff, and Krackq. These creations of the 1840s vied with Daumier{\textquoteright}s Robert Macaire, Travies{\textquoteright} Monsieur Mayeux, Monnier{\textquoteright}s Joseph Prudhomme, and Gavarni{\textquoteright}s Thomas Vireloque to entertain readers of the July Monarchy with the claims being made for new kinds of self-promotion and self-expression. Chapter One examines the emergence of these issues in Grandville{\textquoteright}s work, from his arrival in Paris in 1825 through his first major success with the animal characters of Les Metamorphoses du jour (1829). Chapter Two considers the aspect of social mobility in Grandville{\textquoteright}s politically oriented lithography of the early July Monarchy (1830-35), prior to the censorship crackdown of 1835. Chapter Three focuses on the four books of 1842-1844, illustrated with wood engravings after Grandville{\textquoteright}s drawings, on which his enduring reputation has rested: Scenes ... des Animaux, Petites Miseres de la vie humaine, Un Autre Monde, and Cent Proverbes. Chapter Four directs attention to the most relevant book depicting Grandville{\textquoteright}s concern with the social climber and charlatan, Jerome Paturot a la recherche d{\textquoteright}une position sociale (Jerome Paturot in Search of A Social Position)(1846), which has never been accorded the attention it warrants. Chapter Five explores Grandville{\textquoteright}s autobiographical investment in the character of Hahblle (and in Un Autre Monde as a whole), and in the character of Jerome Paturot. Chapter Six looks at ways in which other caricaturists, from Rodolphe Topffer to Gustave Dore, shared Grandville{\textquoteright}s particular concern with social mobility. The Appendix addresses the evidence of overcrowding in the professions during the July Monarchy, and recent efforts to analyze this question}, keywords = {19th-and 20th-Century European Art}, author = {Sexsmith, Dennis Watson} } @mastersthesis {8181, title = {The Gualenghi-d{\textquoteright}Este Hours: Art and Devotion in Renaissance Ferrara}, year = {1997}, school = {UC Berkeley}, abstract = {The Gualenghi-d{\textquoteright}Este Hours was made for Andrea Gualengo and Orsina d{\textquoteright}Este around 1469, the year of their marriage. Illuminated by Taddeo Crivelli and Guglielmo Giraldi, the two most important and innovative illuminators working in Ferrara during the period of Borso d{\textquoteright}Este{\textquoteright}s rule (1450-71), this manuscript is an example of the highest level of court patronage and artistic sophistication. This study examines the manuscript in the context of both its artistic and devotional culture, attempting to look at the miniatures in the book as a contemporary viewer might have. It tries to evoke a sense of the living texture of visual and mental experience that the owners would have brought to the manuscript by associating it with other works of art in their environment and with habits of thinking current in devotional life. First, the art of Crivelli and Giraldi is examined against the background of the remarkably diverse artistic center of Ferrara in the fifteenth century. Crivelli, the major illuminator of the manuscript, is studied the most thoroughly. He is seen as drawing on the work of various artists that either worked in Ferrara or were fashionable in court circles, including Belbello da Pavia, Pisanello, Mantegna, Cosimo Tura, and Flemish artists like Rogier van der Weyden and Jan Van Eyck. The miniatures--for the most part images of saints pictured as exemplary models of prayer--are then viewed against the background of religious life in Ferrara, devotional texts popular in the fifteenth-century, Alberti{\textquoteright}s treatise On Painting, and other devotional pictures. Crivelli{\textquoteright}s art is seen here as an example of the period{\textquoteright}s concern with penitential psychology and the relationship between the exterior expression of the body and the inner life of the soul.}, keywords = {Renaissance Art}, author = {Barstow, Kurtis A.} } @mastersthesis {8126, title = {The Hasedera Juichimen Kannon: Popularization of Buddhist Belief and Icon Cult}, year = {1997}, school = {UCLA}, abstract = {The Tenjukoku Shucho Mandara consists of fragments of embroidered textile arbitrarily mounted on a support fabric. Analysis of the structure of the fabric and the abundant documentary evidence associated with the fragments allows us to reconstruct the history of the artifacts to which they belonged. Accordingly, a group of fragments are the remains of a Shucho (shu, embroidered, and cho, curtains) with a depiction of Tenjukoku (ten, heaven; ju, span of life; and koku, land) made some time after the death of Prince Shotoku (574-622 C.E.) and his mother, Empress Anahobe no Hashihito, as indicated by an inscription recorded in Jogu Shotoku h$\overline{oo}$ teisetsu. The other group are the remains of a replica, called Tenjukoku Mandara, that was made in 1275. Since the fragments now belong to the Buddhist nunnery of Chuguji, the replica is called a mandara, and especially because of the relationship with Prince Shotoku (who is considered to be the key figure of the establishment of Buddhism in Japan), the fragments are considered to be examples of Buddhist pictorial art. The goal of most studies was to interpret Tenjukoku, a word that apparently does not appear in the Buddhist sutras, and a variety of theories were formulated. Since most of the studies hardly take the visual material into account, this study presents an analysis of all the motifs on the fragments and attempts to reconstruct the iconography of the embroidered curtains. The motifs are closely related to those appearing in the funerary monuments in China and on the Korean peninsula, dated to the fifth and sixth centuries. Consequently, it is likely that the original embroidered curtains, as part of the funerary paraphernalia, were the visual record of the various rituals performed after the death of the Prince, and not associated with Buddhist ideas as it was argued before. On the other hand, the analysis of documents that refer to the Kamakura period events indicate the original curtains were considered to be relics of the patron of Chuguji, Empress Anahobe no Hashihito, and as such, together with the replica served in the fund raising activities for the reconstruction of the temple by legitimizing its history.}, keywords = {Asian Art}, author = {Pradel, Maria Del Rosario} } @mastersthesis {8192, title = {History of Renaissance Civic Loggias in Italy from the Loggia dei Lanzi to Sansovino{\textquoteright}s Loggetta}, year = {1997}, school = {Yale}, abstract = {The goal of the dissertation is to further our understanding of civic loggias in Italy in terms of functions, variations in architectural typology, patterns of patronage, and urbanism. The Loggia dei Lanzi in Florence and the Loggetta in Venice are taken as apogees at either end of the history of civic loggias, not as markers of the chronological limits of the dissertation{\textquoteright}s scope. The focus is on loggias which, like the Loggia dei Lanzi and the Loggetta, are self-contained buildings in their own right, not anterooms, terraces, balconies, or galleries of other buildings. The patron of all the loggias studied is the state, in most cases a communal regime. The word "civic" refers to functions which pertain to the official administration of the state; therefore, loggias for other functions, such as markets, are not included even if they were built by the state. Out of the analysis of architecture, functions, patrons, and urbanism, issues arise relating to the potential of loggias to symbolize systems of political life. Addressing these and related issues leads ultimately toward an improved definition of the typology of the loggia or, perhaps, of a larger building typology of which loggias are but a part. The dissertation begins with an exploration of possible antecedents of Renaissance civic loggias among antique Roman structures and the Carolingian laubiae, then proceeds with an examination of the earliest surviving civic loggias, which date to the thirteenth century and are largely located in northern Italy. An architectural tradition emerges in central Italy, exemplified by the Loggia dei Lanzi, which differs from that of the North. The changes reflect a broader range of sanctioned functions and users as well as the needs of different branches of government. Fifteenth- and sixteenth-century loggias in northern Italy are protagonists in an ideal urbanistic formula in which a multi-functional palazzo-loggia is paired with a smaller loggetta. The bureaucratic functions of the large Renaissance territorial state tend to converge in the former, while the future of the self-contained civic loggia is with the loggetta, the prospects for which lie in private patronage and suburban locations as garden loggias and pleasure pavilions, a fate presaged architecturally by Sansovino{\textquoteright}s Loggetta. The dissertation includes a catalogue of Renaissance civic loggias and relevant documents.}, keywords = {Renaissance Art}, author = {Sexton, Kim} } @mastersthesis {8194, title = {The identical synthronos Trinity: Representation, ritual and power in the Spanish Americas}, year = {1997}, school = {University of Washington}, abstract = {This dissertation examines the origin and meaning of the Trinity represented as three enthroned (synthronos), identical men. Although banned by the Vatican in 1623 and 1745, it was used in the Spanish Americas until the twentieth century. This study shows that the identical, synthronos Trinity was not derived from the "Old Testament" Trinity, which, until now, has been most often posited as its source. Instead, its visual prototype was the enthronement of Roman emperors commonly represented on coins distributed throughout the Roman Empire and widely available in Medieval Europe. The function of the identical, synthronos Trinity during the Middle Ages was to combat heresies against the faith or to be used in polemics directed against Muslims, Jews and other outsiders of the Roman Catholic Church. It would eventually do the same with Native Americans. The motif{\textquoteright}s textual source was Psalm 109 and its New Testament derivations, the credo and Gloria in Excelsius Deo. It expressed in word and imagery Augustine{\textquoteright}s mystical "City of God" ruled over by the Trinity, a Christian utopian paradise believed by the conquistadors and friars to have been found in the Americas. Having the attributes of secular and ecclesiastical power, the synthronos Trinity connoted triumphal victory and world sovereignty. This study also investigates the affiliation of the synthronos Trinity with the Roman Imperial Entry (adventus) and enthronement rituals, which were adapted and used to sustain the theocracy in Medieval Europe. These ceremonies were also performed throughout the Americas after conquest. Because of the European desire to conquer and missionize Native peoples and the need for images to assist in this activity, these rituals and the image of the identical, synthronos Trinity were considered particularly appropriate for the Americas. The ultimate purpose of the image was didactic; it taught Native Americans about the scriptures, the credo and Gloria, and the dogma of the Catholic church. The goal of this study is to establish a more inclusive interpretation of the political, spiritual and social context of the Spanish conquest by understanding aspects of the theater of power expressed through the adventus ceremony and the synthronos Trinity.}, keywords = {Renaissance Art}, author = {Storey, Ann Elizabeth} } @mastersthesis {8119, title = {The Identification of Non-Dynastic Burial Practice Involving a Northern Tool Tradition on China{\textquoteright}s Dynastic Frontier}, year = {1997}, school = {Pittsburgh}, abstract = {The 1976 excavation of a site in Changping Baifu, Beijing district, unearthed two well-preserved burials with Chinese-style artifacts and burial features associated with the late Shang and early Western Zhou dynasties (c. late 2nd millennium BCE) in the Central Plain. A handful of non-Chinese implements and their placement in both tombs in close proximity with the interred, however, cast doubt on the Chinese excavators{\textquoteright} assessment that the site is dynastic Chinese. Chapter One argues that the Baifu tombs differ in tool tradition and burial custom from those associated with late Shang and early Western Zhou dynasties established in the Central Plain. The types of non-dynastic implements and their consistent placement in the Baifu tombs align the site with other non-dynastic burials in China{\textquoteright}s northern frontier zone. The data suggests that rituals of an extant burial system were being followed--evidence for the existence of a non-dynastic Northern culture in the late 2nd millennium BCE on China{\textquoteright}s northern frontier. Chapter Two establishes a model for the material culture and burial customs of the Shang and Zhou at the core of Chinese dynastic civilization. Chapter Three examines Shang and Zhou burial practices and investigates peripheral tombs of the Shang and Zhou to confirm that the Central Plain model is maintained at Chinese outposts on the frontier. Chapter Four reviews the archeological report from Baifu. I identify differences between the Chinese model and the model presented by the Baifu site, and in Chapter Five survey Northern burials with artifacts of similar type and style for supporting evidence of the Baifu burial practice. Chapter Six determines that Baifu also participated in a regional culture that developed prior to and apart from dynastic civilization. The data from Baifu and other Northern sites part the curtain on a culturally inter-related group of non-dynastic sites in China{\textquoteright}s Northern Zone in the late 2nd millennium BCE, centuries before the historic confederation of non-Chinese Northern populations under the Xiongnu in late 3rd century BCE.}, keywords = {Asian Art}, author = {Csorba, Mrea} } @mastersthesis {8156, title = {The Ilkhanid Phase of Takht-i Sulaiman}, year = {1997}, school = {IFA/NYU}, abstract = {Takht-i Sulaiman, the only well-preserved secular architectural complex from the Ilkhanid Mongol period in Iran, was built by the second Ilkhanid ruler Abaqa in the late thirteenth century on top of a Sasanian Zoroastrian sanctuary in the Azerbaijan region of Iran. It was used as a summer residence for the Il-khans and housed the treasury of Abaqa{\textquoteright}s son Arghun probably also that of Abaqa{\textquoteright}s wife Bulughan Khatun. The significance of the monument for Ilkhanid architecture can be clarified only through a comprehensive analysis of its functional, structural, and decorative aspects, based on Persian, Chinese, and other historical sources, excavated materials, and archaeological reports about other Mongol cities. The functions, structures, and decorative schemes of the site reflect its ownership by the Il-khans who maintained a close relationship with the Qa{\textquoteright}ans in China and observed Mongol customs. Like other Mongol imperial cities, it seems to have developed from a summer encampment and contained both permanent buildings and temporary tents. The complex{\textquoteright}s south-southeast orientation and its inclusion of buildings with polygonal ground plans reflect Mongol preference. Its decorative repertoire included some Chinese symbols of rulership and introduced the Mongols{\textquoteright} favorite colors. On the other hand, the Iranian builders and craftsmen contributed their traditional techniques and designs. The four-aivan plan was used both for the entire plan of the palace and for some of the buildings. The monument was abundantly decorated with tiles in a variety of shapes which were embellished with various designs and executed in a variety of techniques. Among their motifs were pictorial and calligraphic quotations from the Iranian epic Shahnama. An analysis of smooth luster-painted tiles contributes to the dating of other Ilkhanid luster-painted tiles by creating a frame of reference for their date formulae, poetic inscriptions, design schemes, motifs, and paintings styles. In conclusion, the Ilkhanid phase of Takht-i Sulaiman demonstrates a characteristic of the Ilkhanid period, that is, the coexistence of Chinese-Mongol and Iranian elements.}, keywords = {Islamic Art}, author = {Masuya, Tomoko} } @mastersthesis {8145, title = {The Illuminated Pages of the Codex Amiatinus: Issues of Form, Function, and Production}, year = {1997}, school = {Brown}, abstract = {The illuminated pages of the Codex Amiatinus (Florence, Biblioteca Medicea Laurenziana, MS Amiatino 1) present a unique, untapped reservoir of evidence on the production and function of manuscripts, the transmission and adaptation of late antique sources, and the Northumbrian religious context in the late seventh and early eight centuries. They are remarkable, identifiable survivors in a research area plagued by the complete or partial loss of material and the inability to locate and date material with certainty. These pages are in very good condition and bound within the Codex Amiatinus, the sole survivor from a monumental commission for three Bibles and the earliest, extant, complete copy of the Bible in the Latin Vulgate. Despite the certainty of the date and site of production at the double monastic scriptorium at Wearmouth and Jarrow prior to 716 and the landmark status accorded to the text and script of the Codex Amiatinus, the illuminated pages are virtually unstudied by art historians. Noted for their large size, distinctive iconography, style and technique, the illuminated pages are cited as enigmatic exemplars of late antique, Mediterranean models transplanted north from the sixth-century scriptorium of Cassiodorus in Italy. The primary evidence for my study is the manuscript itself as well as contemporary texts, Bede{\textquoteright}s Lives of the Abbots and the anonymous author{\textquoteright}s Life of Ceolfrid. My analysis of the placement of the pages, their visual, textual and paleographic content and the materials and techniques employed, addresses issues of form, function and production. Reset within the Northumbrian context the illuminated pages give life to the practices of pilgrimage and participation in the cult of Saint Peter, indicating a changing function of the manuscript. The illuminations present a powerful visual message running parallel to the text while study of the production methods of the scriptorium suggest a greater specificity in dating the manuscript. On a broader level of historical inquiry, the illuminated pages bear witness to Wearmouth and Jarrow{\textquoteright}s extensive resources, adaptation of late antique sources and fervent commitment to the Roman church.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Beall, Barbara Apelian} } @mastersthesis {8118, title = {The Image Shrine in Northwest India (1st-6th Centuries C.E.): Its Role in Buddhist Practice and Architectural Development}, year = {1997}, school = {UCLA}, abstract = {This dissertation investigates the 1st through 6th century creation and development of relic and image shrines in Gandhara. The first part of the dissertation examines the relic tradition as reflected in the architectural evidence; the second looks to sculptural evidence to better understand both the relic tradition and the emergence of devotional images; finally, the third part, utilizing architectural evidence, traces the growing importance of the iconic image. In chapter one a relative chronology of Gandharan architecture, is presented as well as a general outline of the geography in which the architecture is found and of the region{\textquoteright}s political history. The second chapter addresses the development of monastic architecture and the use of image and relic shrines in this context. Next attention is shifted to the public sacred area, with chapter three examining the phenomenon of direct relic worship and chapter four the early architectural organization and development. Part II (includes chapters five and six), which examines the images that would have adorned stupas and relic shrines or been housed in image shrines within the sacred and monastic areas. Chapter 5 presents a historiography of Gandharan sculpture and chapter six investigates the architectural context, dating and relative chronology of narrative and iconic sculpture. In Part III chapters seven through nine outline the late architectural development and analyze the emerging importance of iconic images through case studies of key sites at Taxila. This investigation of the late phase is substantiated and expanded in chapter nine through the study of two important sites in the Peshawar basin (Takht-i-bahi and Mekhasanda) where the late development, of the use of images in their architectural context, is best exemplified. It is hoped that the dissertation will be helpful in broader contexts. It assembles much of the sacred Gandharan architectural evidence from the Peshawar basin, Taxila and Swat into a single source. New light has been shed on the monastic and sacred architecture of Gandhara and the use of relics as well as of narrative and iconic images that hopefully can be applied to Buddhist art and architecture throughout the Indian sub-continent.}, keywords = {Asian Art}, author = {Behrendt, Kurt} } @mastersthesis {8164, title = {Images of Maternity in Mexican Art}, year = {1997}, school = {Rutgers}, abstract = {Motherhood is a very important concept in Mexican culture and a pervasive theme of its artistic production. Some of the most profound historical, iconographic, and psychological roots of the representation of motherhood in the twentieth century Mexican painting are studied here from a multiple perspective. In the twentieth century the artist{\textquoteright}s interpretation of motherhood ranges from abstract notions of earth, nation, and revolution, to introspective views reflecting personal experiences of motherhood which challenge gender roles{\textquoteright} stereotypes. This dissertation concludes that maternity is not a timeless instinct which unquestionably defines the essence of the Mexican woman, but an ideological fabrication which transformed itself according to the unequal needs which the different times are committed to face.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Comisarenco, Dina} } @mastersthesis {8087, title = {Impressionism, Women, and the Public Sphere of Modernity}, year = {1997}, school = {UCLA}, abstract = {This study explores the interrelationships between the art of the Impressionists, including Manet, and consumer culture in Paris during the second half of the nineteenth century. Focusing primarily on the representations of modern women, this study proposes that the art of the Impressionists represents not merely scenes of leisure, but scenes of consuming leisure. The study probes gender issues beyond classic feminist positions. Rather than focusing on women{\textquoteright}s exclusion from the public sphere, it proposes that Manet and most of the Impressionists depicted metropolitan women as integral to modernity{\textquoteright}s public sphere of consumption, in spite of the ideology that linked women to domesticity and the private sphere. It explores the icons, representations, and discourses of metropolitan modern women, focusing primarily on images of women consumers. It addresses representations of urban service workers at the sites of consumption and investigates the new strategies of display of commodities and their representations. It examines Impressionist images of modern women both in their domestic interiors and in the public spaces of the city, including boutiques, cafes, cafe-concerts and Parisian boulevards. This study situates Impressionist works in the context of the expanded visual culture of modernity, particularly advertising images in posters. It proposes that the Impressionist vision of modernity was steeped specifically in the cultural discourses of consumption, and analyzes the paintings of Manet and the Impressionists in this context. Exploring the relationships between modernity, commodification and femininity, it suggests that the Impressionists represented modernity at times as trouble-free pleasures of entertainment, sociability, and fashion, and at other times as a conflictual terrain of tensions and contestations.}, keywords = {19th-and 20th-Century European Art}, author = {Iskin, Ruth E.} } @mastersthesis {8183, title = {Italian Renaissance and Baroque Bronzes at the Minneapolis Institute of Arts}, year = {1997}, school = {Case Western Reserve}, abstract = {Within the vast holdings of world art at The Minneapolis Institute of Arts, there resides a small but highly respectable collection of early modern European bronzes ranging in date from about 1450 to 1750. This collection is comprised mainly of bronze statuettes and utilitarian objects, but an assortment of bronze portrait busts, medals, and plaquettes are also represented. While most of the bronzes were created in Italy, the collection includes a smaller number of German and French examples. The collection is little known, and it has never been the topic of a systematic and comprehensive study. Chapter one traces the history and development of the collection of European bronzes at The Minneapolis Institute from its origins up to the present day, emphasizing the contributions made by staff members, patrons, and donors, as well as the internal and external factors and events that ultimately defined the scope and breadth of the existing collection. The second chapter presents the reasons why eleven of the bronzes are chosen for more intense study within the format of an anthology of critical essays. This third chapter or anthology includes a cross section of the different kinds of small bronzes created during the Italian Renaissance and Baroque periods. Each bronze is examined thoroughly in terms of attribution, technical fabrication, date of production, provenance, publication and exhibition history, classical prototype, and iconographical interpretation. Some were created in North Italy and others in Central Italy, specifically Florence. Most of them reveal the stylistic influence of either the Venetian sculptor Jacopo Sansovino or the Florentine sculptor Giovanni da Bologna. They include works attributed to or associated with Matteo de{\textquoteright} Pasti, Severo da Ravenna, Danese Cattaneo, Girolamo and Giuseppe Campagna, Agostino Rubini, Andrea Bresciano, Giovanni Francesco Susini, Ferdinando Tacca, and Francesco Fanelli. The epilogue briefly evaluates the status of the bronze collection at The Minneapolis Institute of Arts. The appendix contains a summary catalogue of the other early modern European bronzes in Minneapolis.}, keywords = {Renaissance Art}, author = {Bliss, Joseph Richards} } @mastersthesis {8198, title = {Jacques Daret: Beyond the Arras Altarpiece}, year = {1997}, school = {Ohio State}, abstract = {This study examines the life and work of the fifteenth-century Tournai painter, Jacques Daret. A pupil of Robert Campin, the so-called "Master of Flemalle", Daret is the author of one of the best documented of all Early Netherlandish altarpieces, the Arras Altarpiece, which was completed for the Abbey of St. Vaast, Arras in 1435. Apart from this fact, little else is generally known about him. Following a review of the Campin, Flemalle, and Daret literature in chapter 1, a biography of Daret is presented in chapter 2. By considering the evidence of the painter{\textquoteright}s activity as designer of tapestries and metalwork, decorator for court festivals, and his possible role as illuminator of manuscripts, a more complete understanding of Daret{\textquoteright}s extended career is attained. As his only documented works, the four surviving panels from the Arras Altarpiece form the basis for an analysis of Daret{\textquoteright}s individual style in chapter 3. Along with an examination of the paint surfaces, Daret{\textquoteright}s underpainting and underdrawing styles as revealed by x-radiography and infrared reflectography are also discussed. In chapter 4, this stylistic analysis is applied to a group of paintings whose attributions are currently debated. New attributions are proposed which not only extend Daret{\textquoteright}s oeuvre beyond the four Arras panels, but also raise questions about our current understanding of fifteenth-century workshop practices. An analysis of the historical context, original appearance, and iconographic program of the 1434-35 Arras Altarpiece is presented in chapter 5. Daret{\textquoteright}s second major work for the Abbey of St. Vaast, the lost Holy Spirit Altarpiece of c.1453-55 is discussed in chapter 6. Along with its historical context and iconographic program, a theoretical reconstruction of its original appearance, based on an analysis of the St. Vaast documents and a comparison with extant paintings in the circle of Daret, is proposed. Conclusions of the study are summarized in chapter 7.}, keywords = {Renaissance Art}, author = {Zinn, Nancy E.} } @mastersthesis {8140, title = {Jacques de Gheyn II and the Representation of the Natural World in the Netherlands ca. 1600}, year = {1997}, school = {Columbia}, abstract = {This dissertation offers an analysis of the reciprocity between visual representation and scientific exploration of the natural world in the Netherlands ca. 1600. A number of issues having to do with the epistemological status of images in the early modern period are introduced in Part I, "Jacques de Gheyn II and the Representation of the Natural World ad vivum." A selection of de Gheyn{\textquoteright}s works on paper, including his virtuosic Lugt album (1600-1604), serve as the basis for a sustained consideration of the scientific valencies of the naturalistic strategies they engage. The section opens with a close reading of the uses of the term "ad vivum" (and its vernacular cognates) in scientific contexts, prior to its assimilation to art theory by Karel van Mander in 1604, and concludes with a chapter that considers just what made an image "scientific" or capable of serving scientific ends ca. 1600. De Gheyn lived and worked for several years in Leiden, where he maintained close contacts with the medical faculty at the newly founded Leiden University. Part II of this dissertation reconstructs and examines the academic context in which de Gheyn worked ca. 1600, and in particular the Leiden University hortus academicus. "The Use of Images in the Medical Curriculum at the Leiden University ca. 1600: From Images of Gardens to a Garden of Images" explicates the various ways in which images served medical instruction, in and out of the garden. Part II closes with a reattribution of the original ownership and function of the nearly 2000 botanical watercolors presently housed in the Jagiellon University Library, Krakow, Poland, which played a new and crucial role in the medical curriculum, and which were appraised by de Gheyn upon the death of their owner. These fascinating works exemplify the conjunction of artistic and scientific prerogatives in the Netherlands ca. 1600.}, keywords = {Baroque and 18th-Century European Art}, author = {Claudia Swan} } @mastersthesis {8097, title = {Joan Miro and Collage in the 1920s: The Dialectic of Painting and Anti-Painting}, year = {1997}, school = {IFA/NYU}, abstract = {Joan Miro{\textquoteright}s collages of the 1920s comprise a significant body of work that has never been studied in depth. Created during one of the most important decades in Miro{\textquoteright}s career, they provide the basis for a reconsideration of his contribution to Surrealist aesthetics and of the ways his desire to challenge "painting" manifested itself. In 1924 Miro told his friend, the French poet, writer, and ethnographer, Michel Leiris, that his current work was "hardly painting, but I don{\textquoteright}t give a damn." These words announce the dialectic between "painting" and "anti-painting" that persisted in Miro{\textquoteright}s work throughout the 1920s. This thesis explores the question of what Miro meant by "painting" and the particular role of collage as a model for what it ("painting") was not. Close attention is paid to the internal dynamics of Miro{\textquoteright}s collages and related works of the period and to their position relative to French Surrealist and Catalan cultural debates. Andre Breton and Louis Aragon{\textquoteright}s language-based definitions of collage are considered, as are the theories of dissident Surrealists such as Leiris and Georges Bataille, along with the films, paintings, and writings of Miro{\textquoteright}s younger Catalan compatriot, Salvador Dali Both Miro and the Surrealists shared a desire to disrupt the stable, rational order postulated by the post-war Cubists and their supporters. In their syntactical disjunction, destabilization of fixed meanings, unconventional use of materials (including paint), sexual innuendos, and pointed attacks on the visual field, Miro{\textquoteright}s collages of the 1920s function not only as formal but as cultural critiques. They make clear that Miro conceived of his work as an oppositional practice, calling attention to his deep involvement with sensual, carnal, and tactile realities (as opposed to celestial metaphors). They introduce notes of contradiction, argument, and aggression into Miro{\textquoteright}s early work, and highlight the heterogeneity of his production, presenting the flip side of the lyrical, poetic, painterly transformations for which he is best known.}, keywords = {19th-and 20th-Century European Art}, author = {Umland, Anne} } @mastersthesis {8135, title = {John Singleton Copley: The Artist as {\textquoteright}Realist{\textquoteright} and the London Impresario}, year = {1997}, school = {UT Austin}, abstract = {In 1774 at the age of 36, the celebrated American colonial portraitist John Singleton Copley (1738-1815) sailed for Europe and never returned to America. This single biographical fact has served to distort attitudes of generations of art historians and critics who believed the artist{\textquoteright}s change in subject matter and style abroad signaled not only artistic degeneration but a significant break in America{\textquoteright}s cultural past. The artist{\textquoteright}s forty year career in London demonstrates how Copley successfully presented himself, earning election to the prestigious Royal Academy, and marketing his work through its yearly exhibitions and, especially, through the spectacular one-picture exhibitions he invented for a London audience. This study explores the relationship between Copley{\textquoteright}s art and the aesthetics, criticism, and professional politics of the Georgian period, particularly as they relate to the most complex history painting of the artist{\textquoteright}s career: The Death of Major Peirson (1784, Tate Gallery). The study begins with a discussion of the artist{\textquoteright}s "realism" and the rhetoric of "improvement," key ingredients in Copley{\textquoteright}s strategy of self-presentation as he arrived on the London scene. Subsequent chapters situate Copley in a matrix of conflicting interests within the Royal Academy concerning money, patronage, and reputation, and demonstrate how these various issues converged in Copley{\textquoteright}s one-picture exhibitions. With this novel form of private enterprise, Copley changed the environmental conditions for receiving history painting, most notably in The Death of Major Peirson. Copley adapted academic orthodoxy to new ends, mediating between the demands of the rules of history painting and popular culture. As played out in the public exhibition space, Copley{\textquoteright}s painting sustains tension by flirting with youthful resistance and rebellion while allowing patriotic themes of duty, stoicism, and authority to prevail. His negotiation of the subjects of artistic and military discipline, dramatic multiplicity, theatrical space and the principles of sympathy, the sublime, gestural language, and vraisemblance (the "likelihood" of the pictured historical event), transformed the viewing experiences of his spectators and constitutes his major contribution to the visual experience of eighteenth-century London.}, keywords = {Baroque and 18th-Century European Art}, author = {Neff, Emily Ballew} } @mastersthesis {8123, title = {Jukoin: Art, Architecture, and Mortuary Culture at a Japanese Zen Buddhist Temple}, year = {1997}, school = {Princeton}, abstract = {This study examines the art and architecture of the Japanese Buddhist temple Jukoin located within the Kyoto Zen monastery Daitokuji. Jukoin was established in 1566 as the mortuary site of the daimyo Miyoshi Nagayoshi (1522-64) and acquired additional layers of memorial function as the mausoleum of its founding abbot, Shorei Sokin (1505-83), and the teamaster Sen no Rikyu (1522-91). Jukoin has long attracted attention because of the sliding door paintings that decorate its main hall, or abbot{\textquoteright}s quarters. Completed in 1566 by Kano Eitoku (1543-90) and his father Shoei (1519-92), they are among the finest works of large-scale pictorial art to survive from the sixteenth century. Art historians have discussed the paintings meticulously since the 1930{\textquoteright}s but have rarely looked beyond issues of authorship and style. This has limited our understanding of these paintings and obscured other works of art within the abbot{\textquoteright}s quarters and the contextual meanings that united them. In this study of the abbot{\textquoteright}s quarters, I examine a range of icons and images and endeavor to reconnect them with their historical, architectural, and liturgical contexts. My goal is to deepen our understanding of these objects while demonstrating the profound energies devoted during the sixteenth century to the integration of art and architecture within Jukoin and other Zen mortuary sites. I interweave formal analysis with study of textual materials (inventories, monastic codes, Zen discourse records, painting inscriptions, etc.) and architectural evidence uncovered during repair of the abbot{\textquoteright}s quarters. For most of Jukoin{\textquoteright}s history, the paintings and statues found within the abbot{\textquoteright}s quarters were neither viewed as "Art" nor related directly to the practice of Zen meditation. Instead, they were experienced within defined architectural and liturgical settings as servants of mortuary ritual and expressions of familial or institutional identity and influence. Portraits of Miyoshi Nagayoshi, Rikyu, and Shorei Sokin are of paramount importance in this respect. Much of this study is focused, therefore, on the production and enshrinement of these portraits. Eitoku and Shoei{\textquoteright}s paintings, treated heretofore as disembodied masterpieces, are recontextualized within this confluence of mortuary portraiture, architecture, and liturgy.}, keywords = {Asian Art}, author = {Gregory Levine} } @mastersthesis {8187, title = {La Virtu fa Sempre Vivo: Danese Cattaneo and the Monument to Giano Fregoso in Sant{\textquoteright} Anastasia, Verona}, year = {1997}, note = {fourth advisor: M. W. Gibbons}, school = {Rutgers}, abstract = {The monument to the former Doge of Genoa and condottiere Giano Fregoso (circa 1455-1529) in the church of Sant{\textquoteright} Anastasia in Verona is the most important example of the modern classicizing style in architectural sculpture in the Veneto in the second half of the sixteenth century. Finished in 1565 it is both a culmination of the antiquarian interests so prominent in the Veneto during the first decades of the century, and a re-animation of the ancient type of soldier-ruler monument, whose type existed in Italy almost without break from the Medieval era. The monument{\textquoteright}s distinctive style, with its multi-leveled allusions to patron, literary, and religious significance, can be wholly attributed to its artist, Danese Cattaneo. Danese Cattaneo (circa 1512-1572) was a Carrara-born artist whose gifts as a sculptor and writer allowed him to move and live as an equal among the most artistically and intellectually advanced society of his day, the Venice of Titian, Sansovino, Aretino. Gifted not only naturally but through the good fortune of always having access to influential friends and willing support, he moved at an early age from provincial Carrara to Rome with sculptor Jacopo Sansovino. He followed Sansovino to Venice, and after several years working with the master on the sculptural decoration of the Libreria, the Loggetta, the Mint, and in various churches throughout the city, he fashioned his own career through his revival of the portrait bust genre. This soon led to his involvement with some of the most important funerary monument commissions of the Veneto, beginning with that of Pietro Bembo. This dissertation also traces his family and business associations in the Veneto, and contends that these became as important to his career as those provided by his association with Sansovino. His fame as a portraitist and his Veronese associations led first to the commission for the public statue of Girolamo Fracastoro (1559) and immediately thereafter to that for the memorial to Giano Fregoso. This dissertation combines a thorough study of Cattaneo{\textquoteright}s early life and career with a consideration of the history of the Fregoso in Verona to provide the fullest background to a study of the monument itself.}, keywords = {Renaissance Art}, author = {De Angelis, Adrienne Catherine} } @mastersthesis {8148, title = {A Late 11th- Century Illustrated Hagiographic Lectionary from Lucca (Biblioteca Capitolare, Passionario C): Expression of Ecclesiastical Reform}, year = {1997}, school = {UC Santa Barbara}, abstract = {This dissertation concerns a large-scale, extensively illustrated Hagiographic Lectionary created in Lucca between ca. 1068-ca. 1095 and most likely toward the latter part of this span. Codicologically and paleographically the manuscript dovetails with other extant specimens created in this highly important Tuscan religious and political center. The style of its initials reveals connections, above all, to reformist Rome, specifically as manifested by its Giant Bibles. Also explored is the reception of Frankish, Anglo-Saxon, Ottonian and south Italian artistic forms. The iconography of the various saints and historiated initials in the manuscript is examined to determine the nature of their textual relationship as well as of Latin hagiographic representation in the Middle Ages in general. The manuscript is related textually to another large-scale Hagiographic Lectionary presently located in S. Giovanni in Laterano in Rome (Archivio del Capitolo, mss. A.79/A.81) and dating between ca. 1110-ca. 1125. The inclusion of lections as well as feast days for certain saints which are singular to the two manuscripts and an analysis of the manner in which the Hagiographic Lectionary was utilized in the performance of the Divine Office at reformed religious centers during this era, allow one to determine the specific canonry in Lucca where both were produced, namely, S. Frediano. The examination concludes with an interpretation of two groups of initials in Passionario C created through "Ersatzornamente." One exhibits a deliberately anti-imperial sentiment, readily explained by the Investiture Struggle which afflicted the Lucchese clergy during this era. The other appears to be a typical visual manifestation of the spiritual struggle with which the human psyche was obsessed throughout the Middle Ages.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Buchanan, Charles Sturm} } @mastersthesis {8127, title = {A Late-Ming Pictorial Manifesto: Ch{\textquoteright}en Hung-Shou{\textquoteright}s {\textquoteright}Literary Gathering{\textquoteright}}, year = {1997}, school = {Kansas}, abstract = {Ch{\textquoteright}en Hung-shou{\textquoteright}s Elegant Gathering (Ya-chi t{\textquoteright}u), a handscroll in the Shanghai Museum of Art, can be read as a pictorial manifesto of one of the most significant cultural developments of the late-Ming period: the widespread acceptance of Pure Land Buddhism among intellectuals. The scroll presents a monk and eight scholars, including the Kung-an School literary theorists Yuan Hung-tao (1568-1610) and his brother Yuan Tsung-tao (1560-1600), gathered around a figure of a Buddhist deity in a garden setting. The subject of this picture has been identified as a meeting of the Grape Society, a club organized by the Yuan brothers in Beijing in the last years of the sixteenth century. In this dissertation, however, I argue that this work neither represents the Grape Society nor falls within the familiar category of literary meeting pictures. Rather, it treats a theme with special meaning for the artist and patron of the scroll as well as for the individuals portrayed, namely a shared belief in Pure Land Buddhism. Collectively, they represent the two generations of the lay Buddhist movement led by the two Pure Land masters, Chu-hung (1535-1615) and Chih-hsu (1599-1655). The composition can be linked to the most famous painting inspired by a Pure Land gathering of laymen and monks, The Lotus Society, by the Northern Sung Master Li Kung-lin (ca. 1041-1106). A more immediate source of inspiration, however, was undoubtedly Yuan Hung-tao{\textquoteright}s Hsi-fang ho-lun (Comprehensive Commentary on the Western Paradise). Investigation of Ch{\textquoteright}en Hung-shou{\textquoteright}s other Buddhist paintings further elucidates the artist{\textquoteright}s embrace of Buddhist teaching in art. Often shared by these works is the concept of nonduality, the Buddhist teaching most attracted the late-Ming intelligentsia. These works not only display the intermingling of literati and Buddhist activities as the daily experience of a late-Ming intellectual but also visualize the prevalent intellectual intercourse between the late-Ming Buddhist masters and lay Buddhist literati. Ch{\textquoteright}en Hung-shou{\textquoteright}s Buddhist paintings, as a whole, is representative of the cultural consequences of late-Ming revival of Buddhism. They offer us examples of the parallel developments in art and thought of late-Ming China. The concurrent secular and Buddhist traditions as well as the incorporation of Confucian elements into Buddhist paintings evidence the thorough sinicization of Buddhism by the late Ming. Elegant Gathering, in addition to expressing the concept of nonduality, identifies the Pure Land practice as a way to attain the ultimate goal. It can be read as a pictorial document that highlights Yuan Hung-tao{\textquoteright}s significance as a lay Buddhist in late-Ming history and affirms his contribution in the propagation of Pure Land Buddhism through Hsi-fang ho-lun. At the same time, it can be perceived as a pictorial manifesto in which Ch{\textquoteright}en Hung-shou and the patron advocated their Pure Land beliefs on behalf of Yuan Hung-tao and in which they voiced their full agreement with Yuan Hung-tao{\textquoteright}s Buddhist beliefs addressed in the book. In a broader sense, this handscroll can be seen as a microcosm which represents the late-Ming lay Buddhist movement and signifies the overwhelming popularity of Pure Land Buddhism among Chinese intellectuals.}, keywords = {Asian Art}, author = {Tsai, Hsing-li} } @mastersthesis {8131, title = {Le grand point est de plaire{\textquoteright}: Essays on and around the Work of Hubert Robert}, year = {1997}, school = {Bryn Mawr}, abstract = {This dissertation centers on the work of French painter Hubert Robert (1733-1808). It examines critical response in the Deloynes Collection, the Memoires secrets, and Diderot{\textquoteright}s Salons, and correspondence among political and cultural leaders, including Caylus, Cochin, Natoire, and Marigny. This material is assessed in the context of the standards of the French Academy, as expressed by de Piles, Du Bos, Dandre-Bardon, Liotard, and others; in relation to contemporary landscape theory; and as compared with criticism of Vernet and Boucher. Dismissal of Robert{\textquoteright}s work as failing to meet Academic standards for finish and compositional unity is undermined by an appreciation for the ineffable, socially-grounded qualities of "taste" and "genius". The ruin-image is analyzed carefully in its various dimensions: archaeological, melancholic, and anticipatory, and as metaphor for the dissolution of the court of Versailles, for political and social disorder in Paris, and for the diminishing ability of the Academy to control artistic production. The paintings of Hubert Robert, however, with their insistent inclusion of human figures engaged in everyday activities, are indifferent to the power of the ruin-poetic. Flemish, Italian, Dutch and French ruin-paintings of the sixteenth through eighteenth centuries are surveyed briefly. The simultaneous development of the English "picturesque" of Gilpin, Knight and Price and the French "pittoresque" is traced in detail. Robert{\textquoteright}s work is considered in relationship to contemporary theatrical set design; the ruin-image and the picturesque qualities of incompletion and oblique points of view are common to both. The figures in Robert{\textquoteright}s paintings have been either overlooked entirely or dismissed as meaningless. A re-examination of this important element of his work reveals that his representations of the human figure are rich and varied. His failure to attend to the specific requirements of the Academy has rendered his figures effectively invisible. Finally, Robert{\textquoteright}s frequent representations of laundresses encourage a consideration of the role of women in eighteenth-century France and of images of laundresses over time, beginning with that of Nausicaa. Robert{\textquoteright}s laundresses draw on the picturesque tradition of the decorative, while at the same time looking forward to nineteenth-century realism in their straightforward depiction of the details of hard work.}, keywords = {Baroque and 18th-Century European}, author = {Wiley, Donna L.} } @mastersthesis {8136, title = {Liberty and National Identity in British Political Prints of the American and French Revolution, 1763-93}, year = {1997}, school = {Northwestern}, abstract = {Liberty was highly prized by 18th-century Britons across the political spectrum. Though it was often claimed to be the virtuous outgrowth of an oligarchical British government, and thus could be used to justify maintenance of the social and political status quo, from the 1760s liberty also was increasingly connected with libertarian and enlightenment agitation for the rights of the individual. This dissertation focuses on an important and largely new genre in which the symbols and slogans of liberty were matters of especial concern: political prints. In these prints, medium and message were deeply intertwined: changes in their appearance occurred in tandem with the evolving ideology of liberalism and with the modern subject positions which it described. As a result, this study of political prints focuses on their persistent employment of the symbols of liberty and the ways they were used to describe certain collective and individual identities--as English, British or "enlightened;" as middle-class, libertine, or libertarian. Political prints were a kind of crucible in which was forged a liberal politics centered on a modern conception of the individual and his relationship to the state. Out of this crucible of political agitation, in turn, emerged political caricature--the modern visual language of politics. While they remained part of a continuous tradition, political prints underwent great changes between the 1760s and the 1790s, which can be described as a shift from a strongly literary and allegorical mode derived from emblems, to a more realist, vivid caricatural language. These changes were not the result of a gradual evolution but rather a distinct break, occurring around 1780. This break was a crisis within the representational tradition of political prints itself, resulting both from localized traumas, such as the loss of liberty symbols during the American Revolution, and from more generalized historical changes in artistic subjectivity and political discourse. Thus, one unexpected result of the agitation in political prints on the subjects of liberty and identity during the 1760s and 1770s, was the invention of political caricature in the 1780s.}, keywords = {Baroque and 18th-Century European Art}, author = {Rauser, Amelia} } @mastersthesis {8169, title = {Loren MacIver: Her Life and Artistic Career, 1930-1960}, year = {1997}, school = {Rutgers}, abstract = {This dissertation considers Loren MacIver{\textquoteright}s paintings from the 1930s through 1960, and analyzes them in relationship to her life experiences and the art of others that she admired. Despite her gender, which for many women artists limited their exposure, MacIver{\textquoteright}s work was seen as significant by her contemporaries, and she found early support from galleries, collectors, critics, and museums. Because of her husband{\textquoteright}s literary connections, MacIver{\textquoteright}s close friends included contemporary poets, including E. E. Cummings, Elizabeth Bishop, and Marianne Moore, whose poetry influenced MacIver{\textquoteright}s imagery as much as contemporary visual art. Knowledge of MacIver{\textquoteright}s biography expands the understanding of her art. The relationship of MacIver{\textquoteright}s imagery to visual art as well as poetry is also explored. Her paintings remained based in reality, which may have been due to her literary ties. Yet, throughout her career and especially in her mature work, she represented subjects that tended toward abstraction with their stylizations and emphasis on the two-dimensional. Contemporary visual art investigations influenced her abstraction. Her subjects, are from everyday life, many times from her own personal experiences, reflecting themes similar to these found in the poetry of her friends. This study focuses on the early part of MacIver{\textquoteright}s career, when her base was in New York City. MacIver{\textquoteright}s work, examined thematically, considers the imagery of and from her homes; transformations of everyday, overlooked themes from urban life; and street scenes. Her success during the first thirty years of her career is demonstrated by the support of the art community through exhibitions and reviews, and collectors who consistently purchased her work. This success is exceptional because women artists of her generation usually struggled to achieve recognition similar to MacIver{\textquoteright}s. Her personal connections and her pleasing, representational imagery that was understandable even while abstracted contributed to her popularity. Her inclusion in many dictionaries of art and surveys of women artists reflects her significance to the history of American art in the twentieth century.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Schlossman, Jenni} } @mastersthesis {8167, title = {Louise Bourgeois and the Logic of the Part-Object, 1947-1982}, year = {1997}, school = {CUNY}, abstract = {This critical study of the work of Louise Bourgeois encompasses the period from the late 1940s, when Bourgeois turned from painting to sculpture, through the early 1980s, the moment in which her work became known to a larger audience via her 1982 retrospective at the Museum of Modern Art in New York. In articulating the interrelations between Bourgeois{\textquoteright}s oeuvre and a series of historical frames--the history of modern sculpture, the American reception of Surrealism, Abstract Expressionism, and the American feminist art movement--this study attempts both to develop a fuller account of Bourgeois{\textquoteright}s production than has previously been assayed, and to consider how these histories might themselves be revised under the pressure of a more detailed assessment of Bourgeois{\textquoteright}s participation in them. In particular, it is argued that Bourgeois reworks the part-object logic of the body (as distinguished from the partial figure, and as developed in the work of Constantin Brancusi, Alberto Giacometti, and Marcel Duchamp, among others) in relation to feminism and to post-Freudian psychoanalytic theories of gender. The principal theoretical model of this analysis is the object-relations theory of Melanie Klein. The radical discontinuity of Bourgeois{\textquoteright}s project, it is suggested, operates at the limit of sculptural form, much as Kleinian theory, concentrated on the infantile drives and on immediate and fragmented bodily experience, posits a subject at the limit of psychoanalysis. It is argued that a Kleinian-based reading can account for these key features of Bourgeois{\textquoteright}s production: the extreme heterogeneity of the oeuvre; its destabilization of form and gender; and the intensity of affect it displays. This Kleinian-based analysis is further informed by the artist{\textquoteright}s own engagement with object-relations theory. The principal contention of this study thus is that the collapse of form enacted in Bourgeois{\textquoteright}s work restages a Surrealist operation, reworking the counter-modernist logic of the part-object in specifically feminist and post-Freudian terms.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Nixon, Mignon} } @mastersthesis {8100, title = {Lucy Lippard: Becoming Feminist}, year = {1997}, school = {CUNY}, abstract = {This study is an intellectual history that explores the transition from formalism to feminism of an influential American art critic, Lucy Lippard. Its scope ranges from the early 1960s to 1975, a period during which Lippard gained recognition as the foremost feminist art critic in the United States. The focus is on the inter-relationship between the New York art world, the ideas of Lippard, and the conceptual framework developed by the Women{\textquoteright}s Liberation Movement in the United States. The general thesis is that American feminism has done much to alter the conditions and reception of art in the United States and that this feminism developed with and influenced the critiques of postmodernism and multiculturalism. This study also attempts to refute the assumption that American feminism and the art it inspired were essentialist. Topics include the influence of Simone de Beauvoir, how gender influenced art critics{\textquoteright} use of phenomenology, the relationship between Conceptual Art and photography, Lippard{\textquoteright}s models for art and identity, the feminist critique of psychoanalysis, and the feminist dialogue on lesbianism. The following writers and artists are discussed: Ti-Grace Atkinson, Simone de Beauvoir, the Redstockings Collective, Judy Chicago, Priscilla Colt, Mary Daly, Shulamith Firestone, Sigmund Freud, Betty Friedan, Thalia Gouma-Peterson and Patricia Mathews, Carol Hanisch, Eva Hesse, Jill Johnston, Thomas Kuhn, R. D. Laing, Lucy Lippard, Kate Millet, Juliet Mitchell, Wilhelm Reich, Ad Reinhardt, Alain Robbe-Grillet, Kathie Sarachild, Robert Smithson, and G. R. Swenson.}, keywords = {Art Criticism and Theory}, author = {Kaufman, John} } @mastersthesis {8184, title = {The Madonna della Cintola in Italian Art before 1400}, year = {1997}, school = {Sydney}, abstract = {No record in ProQuest}, keywords = {Renaissance Art}, author = {Cooper, Julia Maria} } @mastersthesis {8103, title = {Mark Rothko and the Politics of Jewish Identity, 1939-1945}, year = {1997}, school = {USC}, abstract = {This dissertation addresses the problem of Jewish identity as manifested in the life and work of Mark Rothko during World War II. It argues that abstraction was a key component in the construction and deconstruction of that identity and situates Rothko{\textquoteright}s move toward abstraction against the development of a notion of "Jewish" art in the 1930s and 40s. The problem of Jewish identity came to the fore between 1939 and 1945 as Rothko responded to competing social imperatives: to be a modern artist, to be American, and to respond to the events of World War II. This study argues that for Mark Rothko in the early 1940s dissimulation, conscious or not, of identifiably Jewish images was necessary to secure his social identity as a modern, American artist. Further, the visual and textual discourses Rothko generated partially carried out his own process of assimilation. Chapters Two and Three show that Jewish identity was a significant issue for Rothko; that his membership in the Jewish community in New York significantly colored his experience of the war; that this experience was different from that of other, Protestant artists and that his social position as a Jew was germane to his art and life at the opening of World War II. Chapter Three discusses the ways in which various artists{\textquoteright} organizations and galleries in New York contributed to the positioning of an artist in terms of style, politics and ethnic identity. Myth, a key element in Rothko{\textquoteright}s artistic program, provided a conception of humanity that circumvented national, historical, ethnic, and religious differences. Chapter Four argues that part of the appeal of myth for Rothko and his cohorts was the universalizing--and therefore de-ethnicizing--aspect inhering in many contemporary views of myth. Chapter Five examines a range of American writings of the World War II period as a way of situating Rothko{\textquoteright}s fixation on tragedy--evidenced in his statements and the titles of works--within a larger discourse concerning modernity. The conclusion explores directions for further research}, keywords = {Art of the United States and Canada, Pre-1945 North American and South American Art}, author = {Pappas, Andrea} } @mastersthesis {8125, title = {Materials and Techniques of Kandyan and Southern Schools of Mural Painting of Sri Lanka: Mid-Eighteenth to Late-Nineteenth Centuries}, year = {1997}, school = {Delaware}, abstract = {Materials and techniques of the three schools of mural painting of Sri Lanka belonging to the late-historical period (mid-eighteenth to late nineteenth centuries) were studied. These three include the central Kandyan, provincial Kandyan, and southern maritime schools. The primary hypothesis was that visible stylistic and iconographic distinctions between these three schools will also be reflected in technological differences between them. A secondary hypothesis was that technological differences between schools will result in differences in observable state of deterioration or preservation of paintings, and that future treatment strategies may therefore need to differ. Samples of supports, grounds, primers, paints, and coatings from six randomly selected sites were examined using optical microscopy, scanning electron microscopy (SEM), x-ray spectrometry by energy dispersive microanalysis (SEM-EDX), microchemical methods, x-ray powder diffraction, Fourier transform infrared spectroscopy (FTIR), ultraviolet-visible absorption spectroscopy (UV-vis), thin-layer chromatography (TLC), and pyrolysis gas chromatography-mass spectrometry (Py-GC-MS). It was found that paintings were done on a clay and sand ground covered by a white primer. The mineral huntite, clay, barium sulfate, lead white, gypsum, calcite, and lithopone were used for the primers or as the white pigment. Gums, drying oils, plant resins, and emulsions of those three materials were used as binders. Cinnabar or dry-process vermilion, orpiment, Prussian blue, manganese blue, and soot were used as pigments. It was found that there was control over the choice of materials within the central Kandyan school and less control within the southern maritime school. No uniformity was seen in the painting technology within the provincial Kandyan school. It was suggested that the differences in the nature of deterioration problems of the sites are related to the differences in the materials and techniques of painting at each site.}, keywords = {Asian Art}, author = {Nandadeva, Bilinda} } @mastersthesis {8180, title = {Michelangelo{\textquoteright}s Commission for Apostle Statues for the Cathedral of Florence}, year = {1997}, school = {IFA/NYU}, abstract = {On 24 April 1503, the Arte della Lana and the Opera del Duomo commissioned Michelangelo to carve twelve over life-sized Apostles for the Cathedral of Florence, at the rate of one statue a year. Michelangelo ultimately produced only a series of drawings for the Apostles and one unfinished statue of St. Matthew. The original plan was transformed over a period of eighty years into a scheme consisting of eight new statues carved by six sculptors, completed by four fifteenth century Prophets transferred from the Duomo facade. I am examining how and why Michelangelo{\textquoteright}s prestigious project was initiated and interrupted, and I am reconstructing the artist{\textquoteright}s ideas by way of the surviving drawings. The statues were to replace Quattrocento frescoed Apostles in the crossing and in the aisles, or to be installed in an unspecified location. The placement of the cycle in the Trecento interior entailed formidable problems, considering that no twelve same areas could be found where monumental statuary could be installed and that the church had un-classical proportions. A Cinquecento location could be specially conceived for the Apostles by designing a new facade. The evidence suggests that the exiled Medici may have been behind such a project. The fact that Michelangelo was allotted the entire commission shows the extraordinary confidence the Operai had in the artist{\textquoteright}s "sprezzatura" and in his powers of invention. The artist{\textquoteright}s unparalleled speed of sculpting resulted from his relief-like method of carving. The unfinished St. Matthew became the earliest monumental manifestation of Michelangelo{\textquoteright}s particular technique of carving and of his conception of sculpture as the art of taking away. Michelangelo{\textquoteright}s remarkable capabilities of "invenzione all{\textquoteright}antica" resulted from his mastery of "contrapposto", the device that was essential to add life to his cycle. The agitated and partly unclad St. Matthew has important things to tell us about artistic freedom and Michelangelo{\textquoteright}s notions of decorum around 1506. The unfinished statue, with its connotations of "furia" (heavenly inspiration) and extreme "licenza", contributed to the myth of Michelangelo{\textquoteright}s "divinita".}, keywords = {Renaissance Art}, author = {Amy, Michael} } @mastersthesis {8170, title = {Minimalism for the Masses: Public Sculpture under the Federal Art-in- Architecture Program, 1972-1989}, year = {1997}, school = {Pittsburgh}, abstract = {"Minimalism for the Masses: Public Sculpture under the Federal Art-in-Architecture Program, 1972-1989," studies a period in American history when an avant-garde style was transformed into a model of public art on a national scale. In 1972, the federal Art-in-Architecture Program began commissioning large-scale, Minimalist sculptures for federal building plazas. My dissertation analyzes how this gallery-oriented style, considered avant-garde in the 1960s, could by the 1970s be employed by the state for an officially-sanctioned public sculpture program. My research employs three main approaches: First, I have studied the files in the Art-in-Architecture Program archives to delineate the program{\textquoteright}s criteria in selecting artists and artworks. Second, I have studied the sculptures themselves in situ, and have collected data on the artists{\textquoteright} working processes and public reception of the works. Third, I employ theoretical material on Minimalism, public art, and analyses of the "public sphere," to tease out the theoretical implications of these sculptural works in their official public context. My dissertation reaches the conclusions that in the 1970s, Minimalist sculpture was ideally suited to serve in the construction of a new federal image and a new federal ideal of public sculpture. This ideal assumes an ahistorical "public," which is commensurate with the "public" of Minimalist theory. But the ahistorical, idealized character of this model of public art brought on its breakdown in practice and reception. Since the 1980s, the revised Art-in-Architecture Program{\textquoteright}s commissions reflect the recent tendency in public art toward narrative works that engage specific publics and specific histories.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Schroeder, Ivy} } @mastersthesis {8081, title = {Modernism and the Gendering of Paul Klee}, year = {1997}, school = {Brown}, abstract = {My dissertation analyzes art-historical constructions of the artist, Paul Klee, and their implications for modernism. A previously ignored letter from Oskar Schlemmer in 1919, in which he states that the academics might not hire Klee at the Stuttgart Academy because they found him "feminine," suggests the relevance of gender to these constructions. Indeed, Klee{\textquoteright}s exhibitions throughout the 1910s highlighted ornamental effects, such as frames, miniatures, and formal and titular allusions to embroidery and rugs, and his work was read through the rubric of the decorative arts. The demise of Jugendstil was however coupled with the demonization of its traditional attribution of "femininity"; a backlash against women{\textquoteright}s rights movements, for example, and the aggressive, misogynist rhetoric of World War I and the German Revolution effectively destroyed any remaining viability of feminized decorativeness as a positive aesthetic. There was in fact a massive restaging of "Klee" in 1920 to recuperate his public image; a Munich retrospective with 387 works and three monographs (1920-21) suppressed signs in Klee that had been coded as feminine. In addition, these foundational texts created the now familiar story of Klee{\textquoteright}s heroic transformation into an abstract colorist during a two-week trip to Tunisia in 1914. My work addresses, finally, the contemporary desirability of this orientalization and the stakes of its displacement of the ornamental in modernism.}, keywords = {19th-and 20th-Century European Art}, author = {Anger, Jenny} } @mastersthesis {8129, title = {Murayama, Mavo, and Modernity: Constructions of the Modern in Taisho Avant-Garde art}, year = {1997}, school = {Princeton}, abstract = {This dissertation focuses on the Japanese western-style artists{\textquoteright} group Mavo, active in the late Taisho period (1912-1926). Responding to the rapidly changing conditions of modern Japan, Mavo artists sought to transform artistic production and practice by incorporating a social and political consciousness into their work, and by reconnecting art and daily life. They recast themselves as social critics, strategically fusing modernist aesthetics with leftist politics to effect their critique. I argue that Mavo{\textquoteright}s self-conscious rebellion produced a form of cultural anarchism that was a formative voice in the intellectual debates of the interwar period. The first chapter examines the historical development of western-style painting (yoga) in Japan, assessing its significance in relation to representation, individualism, and the establishment of the Japanese nation-state in 1868 to the 1920s when Mavo appeared. The second chapter is a prehistory of Mavo, highlighting the group{\textquoteright}s origins in the Japanese futurist movement. Chapter three chronicles Mavo{\textquoteright}s formation and diverse activities: exhibition practices, the publication of Mavo magazine, art criticism, book illustration, poster design, dance, theatrical performances, and architectural projects. Contemporary critical responses to the artists{\textquoteright} activities is interwoven into these interpretative narratives. The fourth chapter analyzes Mavo{\textquoteright}s aesthetic and sociopolitical strategies, beginning with an explication of Murayama Tomoyoshi{\textquoteright}s theorization of "Conscious Constructivism." I then demonstrate how his largely philosophical approach was transformed into a more socially and politically engaged movement through the collective activities of Mavo as a group. In the fifth chapter, I address Mavo artists{\textquoteright} active participation in the construction of a Japanese mass culture and how their engagement with commercialism and consumerism in part defined their strategy to integrate art and daily life. The sixth chapter considers the inherently theatrical and performative nature of Mavo{\textquoteright}s artistic activity. I contend that the group{\textquoteright}s theatrical expressionism was significant socially and politically because it served as a means of asserting desire and the quest for self-satisfaction, deemed by critics as a kind of hedonism. The study concludes with a consideration of the ideological implications of this labeling in the context of Japanese national politics.}, keywords = {Asian Art}, author = {Gennifer Weisenfeld} } @mastersthesis {8185, title = {A New Historical View of the Independent Female Portrait in Fifteenth- Century Florentine Painting}, year = {1997}, school = {Pittsburgh}, abstract = {Among the many fifteenth-century Italian panel portraits that survive, those depicting women independent from their husbands{\textquoteright} portraits were almost exclusively produced in Florence. A visual and historical examination from the perspective of women{\textquoteright}s experience in fifteenth-century Florence challenges current assumptions about the social role and evolution of their portraiture. Contemporary sources support a reconfiguration of patronage patterns, ownership issues, and the domestic display of portraits in upper-story chambers. Despite their private presentation, female portraits evolve in unison with women{\textquoteright}s prescribed image in the public domain, where legislators and appointed ufficiale delle donne obsessively sought to govern the language of social distinction communicated in the sumptuous dress of Florentine wives. This dissertation identifies two distinct female portrait types, the "mistress" and familial or "marriage" portrait. The popularity of the profile format, traditionally reserved for ruler portraits, and the fact that sitters appear in formal dress appropriate for a public appearance substantiate the idea that "marriage" portraits may have been presented to their intended household viewers as inflated images of the sovereignty of the young housewife. The typical spatial composition of this type of portrait, where the sitter is framed by windows or other "threshold" spaces between the public and private boundaries of the home, also serves to legitimate her newly-appointed role as a domestic guardian. In her husband{\textquoteright}s daily absences, the young Florentine housewife was expected to be an effective "ruler" of the household and its members, according to a patriarchal hierarchy that sanctioned this gendered division of labor. Familial female portraits may have been part of the "counter-dowry" gifts presented by a husband or father-in-law to a new wife after co-habitation had begun. Since husbands had the most to gain from a wife{\textquoteright}s transition to her new "figure-head" role in the home, these portraits may have been commissioned to facilitate the wife{\textquoteright}s rite of passage in a talismanic manner. The familial female portrait should be understood as a domestic art tradition that legitimized the merchant-class wife{\textquoteright}s special right to an otherwise masculine role.}, keywords = {Renaissance Art}, author = {Craven, Jennifer} } @mastersthesis {8110, title = {The New Murals of Ben Shahn: The Intersection of Jewish Identity Social Reform, and Government Patronage}, year = {1997}, school = {CUNY}, abstract = {This dissertation discusses the eight murals that Ben Shahn (1898-1969) created under the auspices of the New Deal. It begins in 1933 when the federal projects were initiated and ends with Shahn{\textquoteright}s mural for the Social Security building in Washington, D.C., completed in 1942. This work examines Shahn{\textquoteright}s murals within the sociopolitical history of the New Deal, foregrounds the social events that Shahn depicted, and problematizes the issue of Jewish identity within the context of public murals. Shahn proposed eight mural projects, completing four; in addition to Social Security (1940-42), he painted a mural for the Jersey Homesteads, New Jersey on immigration and the labor movement (c.1936-38), Resources of America for the Bronx Central Post Office, New York (1938-39), and the Four Freedoms for the Woodhaven Station, New York post office (1939-41). Officials rejected Shahn{\textquoteright}s satirical Prohibition Era for the Central Park Casino, New York (c.1934), his The Great State of Wisconsin, for the planned community of Greendale, Wisconsin (c.1937), and his Four Freedoms, submitted to the St. Louis, Missouri post office competition (1939). Officials canceled his project for Riker{\textquoteright}s Island Penitentiary, New York (c.1933-35) as Shahn began work on site. Three questions motivate this study of Shahn{\textquoteright}s murals. These questions are about Jewish identity, social reform, and government patronage. How did Jewish identity relate to the subject matter of Shahn{\textquoteright}s murals, and the contemporary Jewish American experience? Which particular issues of social reform did Shahn present in his murals and how did these relate to New Deal initiatives? How did the procedures, opportunities, and policies of government art patronage intersect (encourage, censor, modify, or parallel) with Shahn{\textquoteright}s message of social reform and Jewish identity? What was the Jewish ethnic and sociopolitical content within Shahn{\textquoteright}s murals and how did he negotiate these messages within the New Deal art projects? This work locates these answers within the sociopolitical terrain of the 1930s and early 1940s to establish how Shahn{\textquoteright}s narratives express the particular situation of American Jews between the wars.}, keywords = {Art of the United States and Canada}, author = {Linden, Diana} } @mastersthesis {8158, title = {Of Macaws and Men: Late Preclassic Cosmology and Political Ideology in Izapan-Style Monuments}, year = {1997}, school = {UT Austin}, abstract = {This study explores the phenomenon of avian transformation performed by Late Preclassic (300 BC-200 AD) rulers in the imagery of Izapan-style monuments. This corpus of monuments takes its name from the site of Izapa along the coastal plain of modern Chiapas, Mexico. The term "Izapan-style," which refers to a unique mode of artistic expression which flourished during the Late Preclassic, also applies to contemporaneous stone carvings from sites located throughout the highlands and coastal piedmont of Chiapas and Guatemala, along the Isthmus of Tehuantepec, and in the valleys of central Veracruz, Mexico. This study will suggest that the bird transformation rituals that figure so prominently into the iconography of Izapan-style monuments reveal the shamanic foundations for rulership during this period, and illuminate the nature of the Principal Bird Deity as a manifestation of this ideology. Through an exploration of the vivid imagery of the Izapan-style corpus, the archaeological record, and the textual account of avian transformation recorded on La Mojarra Stela 1, it will be demonstrated that the Principal Bird Deity and its attendant iconography were central to the articulation of rulership during the Late Preclassic period in Mesoamerica. This study will also explore the cosmological foundations that underpinned the phenomenon of avian transformation rituals, as well as the mythological identity of the Principal Bird Deity. Included within this discussion is an analysis of the iconographic assemblage associated with the Principal Bird Deity. As will be demonstrated, the iconographic assemblage which surrounded the Principal Bird Deity was part of the conceptual framework through which Late Preclassic rulership was articulated and symbolically defined. Importantly, one of the critical tenets of this ideology was the transformation of rulers into the Principal Bird Deity in legitimation of their status as the earthly analog to the primordial shaman, Itzamna, and as a validation of their claim to hegemony. Likewise, the evidence assembled in this study indicates that the iconography of rulership during the Late Preclassic period in Mesoamerica was shared across cultural and linguistic boundaries, from the Mixe-Zoque speaking regions of Izapa and La Mojarra, to the highlands and lowlands of the Late Preclassic Maya.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Kappelman, Julia Guernsey} } @mastersthesis {8157, title = {Orozco in Gringoland: The Years in New York, 1927-34, 1940}, year = {1997}, school = {CUNY}, abstract = {This dissertation investigates the life and work of the Mexican artist Jose Clemente Orozco (1883-1949) during his extended stay in New York City in the years 1927-34, and in later, shorter visits in 1940 and 1945-46. It begins in 1927, when Orozco, lacking mural commissions, decided to leave Mexico and come to New York, leaving behind a country embroiled in both political and religious strife. I will examine chronologically and briefly summarize Orozco{\textquoteright}s career up to the point of his departure, as well as his reasons for leaving Mexico. I will also examine his encounter with "the modern," as exemplified by the city of New York, not just in the general environment of the urban center, but also in his first experiences with European avant-garde art, which he found in the city{\textquoteright}s galleries. This study concentrates on Orozco{\textquoteright}s artistic production while in New York City, in the mediums of easel painting, drawing and lithography, as well as his murals at The New School for Social Research and The Museum of Modern Art. I examine and interpret these works not just in the light of previous literature on the artist, but also through Orozco{\textquoteright}s own words, and in juxtaposition to the works of some of his contemporaries, both Mexican and North American. I also place a special emphasis on Orozco{\textquoteright}s view of the Mexican Revolution, and Mexican reality in general, as expressed through his easel and graphic works, even in New York City. I examine the murals at The New School for Social Research from a contextual perspective, going beyond the usual formal interpretations based on the theory of Dynamic Symmetry. A pivotal work, Dive Bomber and Tank, the 1940 portable mural at The Museum of Modern Art, is discussed and interpreted thoroughly here for the first time in either Spanish or English. The work concludes with the artist{\textquoteright}s last visit to the city in 1945-46 and an overview of his influence on American artists. Orozco{\textquoteright}s work during his New York period has either been ignored or misinterpreted, while greater emphasis and in-depth research has focused on his murals in California (Prometheus, Pomona College) and New Hampshire (An Epic of American Civilization, Dartmouth College). I have undertaken this research to remedy this omission within the Orozco literature. My contribution lies in the contextual examination of the artist{\textquoteright}s New York work, in the light of his changing political outlook and aesthetic concerns. My methodology is eclectic, synthesizing both formal means and sociopolitical concerns to arrive at a clearer reading of the works. This dissertation locates Orozco in the crossroads of politics and art, grounded in the period between the two World Wars.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Anreus, Alejandro} } @mastersthesis {8128, title = {Pagoda and Transformation: The Making of Medieval Chinese Visuality}, year = {1997}, school = {Harvard}, abstract = {At the ruinous site of what used to be a Buddhist monastery in Shandong, China, stands a stone pagoda called "Longhuta" with relief sculptures covering its four faces and with Four-Directional Buddha statues enshrined inside its cell surmounted on tiers of Sumeru bases, probably of 8th or 9th century. Generically, the monument is a sarira pagoda that would evoke optical wonders in the medieval eyes. Integrated into the monastic precinct as a venue for contemplative meditations and ritual circumambulations, it cued for intense visualization fossilized in the elaborate relief sculptures and the complex interior/exterior structural design. Donated by lay community to the Buddhist monastery to "pursue the deceased with blessedness" and wish for the well-being of the living, the structure hints at imaginary journeys in and around this "chronotope" that evoked a symbolic cosmos. While mapping out a liminal space mediating between this world and the numinous sphere, it also sublimates and stakes out interests and aspirations of different social groups--monks, aristocrats, and plebeians--in the never-never land. The structure also testifies to the medieval craftsmanship displayed in relief sculptures which internalized other forms of cultural expressions. Describing the multifarious implications of the monument as such is tantamount to running an inventory of the polysemy of the period term "transformation" (bian). The term describes the metamorphosis between life and death and among forms of individual identities, evokes the flux of phenomenal world, and suggests interplay among different social forces. It also describes visual experiences ranging from thaumaturgy to choreography and calligraphy. Moreover, it designates a pictorial/sculptural genre current in Tang China (618-906) to which the relief sculptures on the pagoda belong. The term cuts across disparate cultural spheres; the monument unifies them; the monument suggests diverse cultural experiences, the term captures them all. Thus the case study affords us a closer look at what gives a culture a coherence and cohesion, for all its tensions and diversity. In so doing, it cuts both ways on the methodological scale: holistic organism on the one hand and fragmentary deconstruction on the other, depending which side of the fence one leans.}, keywords = {Asian Art}, author = {Eugene Yuejin Wang} } @mastersthesis {8176, title = {Painting Signs in the Fifties: Material Surface in the Art and Culture of the United States and Great Britain}, year = {1997}, school = {UT Austin}, abstract = {Valued as an indexical sign, painterly abstract painting served to remedy alienating aspects of workday American life. As an iconic sign, painterly painting seemed to issue as an abundance with a homogeneity that needed to be individualized--as was the case with commodities intended for the marketplace. In other words, during the Fifties, members of the art world and intellectuals from other fields were "make(ing) sense ... of (painterly painting) within the framework of possibilities offered by the society of which (producers and consumers were) members" (Clarke, "Pessimism versus Populism: The Problematic Politics of Popular Culture," l990). The "frame of possibilities" derived from postwar commodity capitalism. Semiotic categories (index, icon) clarify the status of painterly painting when it was evaluated in relation to capitalist practices, commodity form, and commodity features like label, brand, and trademark. Thus, having established two preliminary observations, commentators were converting painting into elements of commodity culture. (1) Certain items of commodity culture, such as the package, page, and screen, shared the same structure. Like them, painterly painting could be perceived as a surface covered with signs. (2) Commodity culture--including these semiotized surfaces--developed in correspondence with postwar capitalism and served it practically and ideologically. The work of the Independent Group in England and Claes Oldenburg in America reinforced the commodity culture status of painterly painting as it was simultaneously being articulated by critics. My argument is that art history and critical theory have as yet failed to acknowledge the relationship of painterly painting to commodity culture in the Fifties. This failure might be attributed to a tendency to maintain distinctions between high art and commodity culture. My dissertation detaches the existing analysis of commodity culture from its exclusive application to Pop Art and extends it to painterly painting. This reconfigures the historiography of painterly painting, previously restricted to considerations of Existentialism, modernist notions of subjectivity and expression, and analysis of the political environment of the Cold War years. Without denying the significance of these concerns, my dissertation adds new dimensions to the capacity of painterliness to signify.}, keywords = {Post-World War II American and European Art}, author = {Way, Jennifer Ellen} } @mastersthesis {8144, title = {The Parish Church of Saint-Gervais-Saint-Portais: Parisian Late Gothic in the Fifteenth and Sixteenth Centuries}, year = {1997}, school = {UC Berkeley}, abstract = {Built between about 1494 and 1623, the parish church of Saint- Gervais-Saint-Protais is arguably one of the most important Late Gothic monuments to survive in Paris. It is one of the most coherent and best presented articulations of Parisian Flamboyant religious architecture due to the consistent vision of its patrons and its reprieve from extensive wartime damage and overzealous restoration. Located near the historic Place de Greve, the parish of Saint-Gervais stood at the commercial and administrative heart of the medieval city. In the sixteenth century, the parish was home to an increasing number of wealthy merchants as well as royal and municipal officers. It was this elite group of parishioners who initiated the rebuilding of Saint-Gervais and were responsible for the majority of its funding. A wealth of notarial documents including building contracts, testaments, deliberations and foundations allows a reconstruction of the social, religious, and economic values that conditioned the reconstruction of Saint-Gervais. Until recently, Late Gothic architecture has received only cursory study. Following the work of Stephen Murray, Linda Neagley, Roland Sanfacon and others, my dissertation participates in a larger reassessment of Flamboyant architecture. While some art and architectural historians had judged Late Gothic to be derivative and primarily a decorative phenomenon, this study illuminates the experimental nature of Late Gothic architecture in northern France: its historicist appreciation for its antecedents and its equal estimation of the novel. As a Gothic monument completed by a Classical facade, Saint-Gervais also raises important questions about contemporary attitudes toward architectural idioms, stylistic continuity, and self-definition. By examining the chronology of construction as well as the cultural and devotional history of the parish, the first two chapters locate the building in its physical and historical contexts. Chapter Three concerns Saint-Gervais{\textquoteright} relationship to both contemporary Parisian and provincial workshops and demonstrates the impact that parish builders had as advisers and patrons. The fourth and final chapter interprets the patronage of the elite families of the parish--members of the royal and municipal administrations--and how their political and economic ambitions shaped this collective commission. At every level of the analysis, the complex negotiations between builders and patrons and their shifting conceptions of the building are revealed.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {McGehee, Abby Lee} } @mastersthesis {8121, title = {Patronage and Production in the 19th-Century Shanghai Region: Ren Xiong (1823-1857) and His Sponsors}, year = {1997}, school = {Stanford}, abstract = {Ren Xiong (1823-1857) was a founding leader of the Shanghai School of Chinese painting, which consisted of a loosely knit group of artists centered in the Shanghai region. Ren produced a new mode of painting that satisfied the needs of the Shanghai{\textquoteright}s new social order, by combining aspects of the vernacular and elite traditions. The resulting hybrid appealed to a wide range of consumers, and introduced a new era of Chinese painting. Besides creating works that were of interest to a varied audience, Ren sought to market his paintings and prints in every way possible. He produced paintings to order from his home, sold paintings and single sheet woodblock prints through shops, drew illustrations for woodblock printed books, and worked as an artist-in-residence. Ren{\textquoteright}s adaptiveness is exemplified in his relationships with his two major patrons, Yao Xie and Zhou Xian. With the two major works he created for these men, the Album after Poems by Yao Xie and the Picture of the Thatched Cottage of Fan Lake, Ren demonstrated his sensitivity to the forces motivating the patrons{\textquoteright} desire for the paintings, and tailored image and style to conform to those forces. So little work has been done on nineteenth-century Chinese art that there remains a need for an assemblage of the facts, which then can provide a framework on which to graft the more focused studies. In this dissertation I synthesize a background for the further study of Ren Xiong, and reproduce primary source material, much of which is inaccessible due to location. Having established a general understanding of Ren Xiong{\textquoteright}s life and works, I then examine two of the artist{\textquoteright}s greatest works in depth, to illuminate the respective artist-patron relationships out of which they grew. The study of these paintings and the circumstances surrounding their creation imparts to us some sense of the complex web of interrelationships tying together members of the Jiangnan cultural world during the second half of the nineteenth century.}, keywords = {Asian Art}, author = {Erickson, Britta Lee} } @mastersthesis {8092, title = {Photogenic Neurasthenia: Aesthetics, Modernism, and Mass Society in France, 1889-1929}, year = {1997}, school = {Columbia}, abstract = {This dissertation reconsiders the historical conditions underlying the developments of the 1920s that fall under the rubric of the French "machine" or "industrial" aesthetic. Looking at those developments in relation to earlier events within sociology, psychology, science, and philosophy, I argue that the convergence of technological and aesthetic form in French modernism was not simply an effort to ally art with the visible products of a technological, industrialized world. It was also part of a pervasive set of strategies for achieving social integration under modern capitalism--that is, the reification, standardization, and repression of individual experience that were considered crucial to the formation of a stable mass society. Chapter one outlines what I have called the "first" French industrial aesthetic--a range of related attempts around the turn-of-the-century to align aesthetic principles with the rationalized, normative ideals of contemporary sociology and psychology. Chapter two discusses the formulation of a Purist aesthetic in the 1920s in light of this earlier thought. I argue that with the work of Le Corbusier, Amedee Ozenfant, and Fernand Leger, among others, what had been an academic problem was given symbolic figuration in the machine itself. The "machine" thus emerges not as the source of aesthetic notions of objectivity or rationalism, but as a particularly consequential contribution to an earlier problematic. Chapter three examines the breakdown of the paradigm of machine objectivity in the work of the French film avant-garde in the early 20s--in particular the search for the principles intrinsic to the new medium, the theory of "photogenie." For although film, at first, seemed to represent the fulfillment of the decades-long search for uniform modes of perception (the movie camera as "mechanical eye"), its intersection with new forms of mass fascination and identification, in fact, called into question the a priori category of the subject upon which the premise of a machine objectivity in the aesthetic sphere had been based.}, keywords = {19th-and 20th-Century European Art}, author = {Rosenblatt, Nina Lara} } @mastersthesis {8115, title = {The Photographic Representation of the Eastern Landscape in Late 19th-Century America and the Work of William Herman Rav}, year = {1997}, school = {Columbia}, abstract = {This project explores a crucial yet surprisingly under-examined period in the history of American photography. Following the invention of photography, the two most significant developments in the medium are the introduction of the amateur camera and the institutionalization of art photography. Faced with the condemnation of photography as inherently inartistic because of its mechanical and chemical nature, a burgeoning class of photographer, the amateur, vitalizes the impulse to place photography within the pantheon of the traditional arts. This investigation focuses on the strategies employed in American attempts to elevate photography to the status of the traditional arts. Chapter One, " thinspace{\textquoteright}The Grammar of Art{\textquoteright}: An Appeal to Tradition," explores how many writers and photographers look to the formal codes of painting as a model for artistic practice, adapting to photography rules of composition outlined in respected texts on painting. Chapter Two, " thinspace{\textquoteright}Positive Conspicuous Defects{\textquoteright}: The Denial of the Photographic," explains how, by the 1890s, much of the burgeoning art movement eschews the crisp, smooth, detailed features of photography which make it seem so mechanical, creating instead soft-focused, textured images that seemed akin to prints and paintings. Still, these strategies meet resolute resistance from all camps: painters, the public, and some of the most gifted and articulate photographers of the era. Chapter Three, " thinspace{\textquoteright}That Legitimate Charm of Photography{\textquoteright}: Resistance to Impressionism and Naturalistic Photography and the Photographic AEsthetic," discusses photographers who propose a photographic practice that seems truer to the inherent characteristics of the medium, yet can still achieve the goals of art. Ultimately, as Chapter Four, " thinspace{\textquoteright}A Certain Air of Exclusiveness{\textquoteright}: The Institutional Legitimization of Art Photography," spells out, the establishment of a realm for artistic photographic practice requires the implementation of strategies outside of the medium itself. Systematic changes in exhibition structure and photographic institutions create a synthetic alliance among an elite group of art photographers. These photographers construct a distinct space allowing artistic practice to begin to be accepted among the fine arts.}, keywords = {Art of the United States and Canada}, author = {Sternberger, Paul Spencer} } @mastersthesis {8175, title = {Picasso and the {\textquoteright}Parti de la Renaissance Francaise{\textquoteright}: The Artist as Communist, 1944-53}, year = {1997}, school = {IFA/NYU}, abstract = {In October 1944, less than two months after the Liberation of Paris, Picasso joined the French Communist party, a commitment he upheld for the rest of his life. Although it is frequently claimed that the alliance between Picasso and the Communists was based on misunderstanding and mutual exploitation, a study of Picasso{\textquoteright}s life, attitudes and work during the immediate postwar years, against the background of what it meant at that time to be a Communist intellectual in France, reveals that his political belief ran indeed deeper and his compliance with party policies was more persuasive than heretofore assumed. As one of the most celebrated Communists of the time, during the escalating Cold War, when the French Communist party was closely aligned with Stalinist Russia, Picasso endorsed Soviet political positions with declarations and drawings in the press, numerous designs for propaganda material, and through participation in party events and conferences in France and abroad. Picasso{\textquoteright}s most militant role was in the Peace Movement, a Communist front organization which, as a creation of the Cominform, was the Soviets{\textquoteright} most powerful propaganda weapon against the West. Although Picasso never conformed to the doctrine of Socialist Realism, newly available archival material reveals that he dedicated some of his major compositions at the time to party propaganda. The Charnel House of 1945 reflects Communist postwar rhetoric, which demanded retribution against collaborators as a prerequisite for redemption and the reconstruction of French unity, Picasso{\textquoteright}s depiction of brute mechanized force combined with Holocaust imagery in The Massacre in Korea concurs with Soviet vilification of Americans as Nazis. And in his denunciation of bacteriological warfare in the temple of peace in Vallauris, Picasso followed specific requests and fulfilled the Communist intellectual{\textquoteright}s foremost obligation, to publicly indict America{\textquoteright}s alleged use of bacteriological weapons in Asia. Although never a doctrinaire Marxist, Picasso remained loyal to his political commitment even after the humiliating reaction to his Stalin portrait in 1953, and after public disclosure of Soviet atrocities.}, keywords = {Post-World War II American and European Art}, author = {Utley, Gertje} } @mastersthesis {8137, title = {Pictures for Private Purses: Robert Bowyer{\textquoteright}s Historic Gallery and Illustrated Edition of David Hume{\textquoteright}s "History of England"}, year = {1997}, school = {Brown}, abstract = {The appearance of several short-lived commercial publishing ventures merging the high art of history painting with print culture in London during the later 1780s and the 1790s coincided with a period of social turmoil in which the middle classes, empowered by the wealth of commerce, struggled for increased social and political power in Britain. Shifts of social and political power down the social scale prompted parallel downward shifts in the patronage of historical art as the middle classes increasingly aspired to greater authority of cultural expression in the nation. In order to understand further the dynamic relationship between print culture and the commercial order in eighteenth-century England, this dissertation examines the manner in which Robert Bowyer{\textquoteright}s Historic Gallery, together with the publication of an illustrated edition of David Hume{\textquoteright}s History of England (1792-1806), inscribed the social and political values of Bowyer{\textquoteright}s patrons and audience. This study begins with an analysis of the practical strategies of Bowyer{\textquoteright}s entrepreneurial venture to capture a consumer market for prints in order to identify his client pool and then analyzes the compatibility of that audience with the political and social ideology constructed within the Historic Gallery project. The social and political philosophy set forth in David Hume{\textquoteright}s History of England, as it was first selected by Bowyer and then appropriated and recast in his own representation of English history, figures critically in this evaluation. The rising phenomenon of nationalism played a critical role in the social and cultural formations manifest in these representations of English history and "Englishness." This dissertation concludes that rapid changes in the political climate, including increased apprehensions of revolutionary activities, contributed to the closure and bankruptcy of the Historic Gallery. Bowyer{\textquoteright}s efforts to mobilize print culture in order to forge a new sense of British nationhood and broaden the scope of cultural empowerment, while initially alluring, over time became too radical for many among his wealthy clientele.}, keywords = {Baroque and 18th-Century European Art}, author = {Roman, Cynthia E.} } @mastersthesis {8130, title = {"Pigmei Pizzicano dei Gigante": The Struggle between Netherlandish and Italian Artists in Seventeenth-Century Rome}, year = {1997}, school = {Johns Hopkins}, abstract = {This dissertation focuses on the interaction between Netherlandish and Italian artists in the years 1625 to 1675, attempting to trace its evolution through the decades, while alternating between the Italian and Netherlandish perspective. The impact of the Bamboccianti on the Roman art world was far greater than previously imagined. The threat posed by their success was of equal or greater importance in shaping the critical debate than was the success of "Baroque" artists such as Cortona and Bernini, and functioned as a spur to the writing and publication of theoretical texts intended to put the Netherlandish artists in their place. A concern to distinguish the "true artists" from the "apes of nature" led to a stigmatization of small scale and of landscape, which had repercussions for the production and reputation of artists such as Rosa, Testa, Mola, Albani, Maratta, Sacchi, and Poussin. Not just the passive center around which the controversy raged, the Northern artists were continually responding to Italian condescension and criticism. In the mid-twenties, they banded together to form the irreverent Bentveughels, a group which, by the mid-thirties, openly opposed the authority of the Academy. Two main waves of reaction to Italian criticism can be detected in the paintings of the Netherlandish artists: Pieter van Laer originated a genre of painting which featured the worst aspects of contemporary Rome, culminating in the limekiln paintings of the mid-thirties. Michael Sweerts, arriving in the mid-forties, responded to increasing attacks on the Northern approach by asserting its validity in solemn paintings of beggars, lice-seekers, and artists working nae{\textquoteright}t leven. Some Flemish artists, such as Luigi Gentile and Jan Miel, sought to be accepted by the Italians, becoming involved in official artistic organizations, and adapting their art to Italian standards. I hope to have shown that artistic developments in seventeenth-century Rome cannot be understood without reference to the activity of the Netherlandish artists, nor can the art of the Bamboccianti be understood without reference to the critical environment in which it was produced}, keywords = {Baroque and 18th-Century European}, author = {Thompson, Wendy} } @mastersthesis {8106, title = {Popularizing Art in Boston: L. Prang \& Co. and the Museum of Fine Arts, 1865-1910}, year = {1997}, school = {Northwestern}, abstract = {After the Civil War massive industrialization and capitalistic development in the United States further polarized a tension between material and aesthetic concerns which had been intense even in the 1850s. Many saw art as a remedy for the social and psychic upheavals produced by industrialization, but there was as yet no effective institutional infrastructure for popularizing art, which by the late 1860s became a national preoccupation. This dissertation examines the two types of institutions created to answer this need, chromolithograph publishers and metropolitan art museums. Using period commentary as a guide to important images and issues, the dissertation focuses on two Boston institutions, L. Prang and Company and the Museum of Fine Arts, that were early innovators and influential national leaders in their respective fields. Though there was little direct connection between them, the two institutions were related in purpose. They shared concerns for maximizing the benefits of machine production with an eye toward international industrial competitiveness, educating and gratifying aesthetic sensibilities, and grappling with the status of original works of art relative to various sorts of reproductions. Both institutions aimed to improve the aesthetic discernment of a broad public for the moral and economic good of individuals and the nation. By the first decade of the twentieth century these institutions had changed so much as to obscure their initial purposes and similarities. Under pressure from cheaper competitors, Louis Prang shifted his main business from chromolithographic facsimiles of oil paintings (chromos) to greeting cards in the late 1870s. The Museum, which had initially relied heavily on reproductions in order to build a comprehensive collection with the limited means generated by public subscription campaigns, began spending large sums on acquiring original works when sizable bequests were received in the 1890s. Both institutions had abandoned the goal of promoting education in practical art skills, Prang{\textquoteright}s company in favor of producing mass culture commodities and the Museum in favor of displaying original masterworks for aesthetic contemplation.}, keywords = {Art of the United States and Canada}, author = {Clapper, Michael} } @mastersthesis {8159, title = {Power Games in the Late Formative Valley of Oaxaca: The Ballplayer Carvings at Dainzu}, year = {1997}, school = {UT Austin}, abstract = {The Late Formative (200 B.C.-A.D. 200) carvings representing ballplayers at the site of Dainzu, in the Tlacolula arm of the Valley of Oaxaca, Mexico, are studied through a contextual examination. While these images have generally been discussed in terms of "the" Mesoamerican ballgame, this study supports a specific approach to the analysis of Prehispanic ballgame imagery. The context within which the Dainzu ballplayers are examined includes a consideration of site location, site planning, architectural-sculptural arrangement, ideology, socio-political change and motivations and an intensive iconographic analysis of particular events or moments recorded in the carved monuments and related works. The study reveals that the Dainzu players are participants in a form of mock battle that employed small, hand-sized (stone) balls. While the covenant of sacrificial exchange for rain and agricultural fertility was the religious conviction underlying the brutal combat, the handball game was also employed for, and sheds light upon, political strategies during this period of regional conflict and intense cultural change.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Orr, Heather Susan} } @mastersthesis {8166, title = {Problems of Remembrance in Postwar German Performance Art}, year = {1997}, school = {Chicago}, abstract = {In this dissertation I examine the work of Wolf Vostell and Joseph Beuys, two artists working in West Germany after 1960, and consider the ways in which each artist deployed performance art to explore the dynamics of individual and collective memory. In a departure from the practices of John Cage, Fluxus, and the concerns of Concrete Art in the Rheinland in the early 1960s, Vostell and Beuys developed a particularly embodied and synesthetic experience of performance. These strategies were to retrieve collective experience and the capacity to remember as a means of resisting the atomizing coordination of desire by the mass media in Reconstruction Germany. I outline the Frankfurt School{\textquoteright}s revision and critique of Henri Bergson{\textquoteright}s theory of memory within the model of an emancipatory notion of remembrance developed by Max Horkheimer, Walter Benjamin, Herbert Marcuse, and Jurgen Habermas. This understanding of memory comprised the intellectual context for the development of performance in West Germany in the 1960s. I describe Vostell{\textquoteright}s performances in public space of the 1960s, in which the German postwar city becomes an allegorical "mnemotechnic" space for remembering technological destruction. I then argue that two major impulses characterize Beuys{\textquoteright} action-performances. In the {\textquoteright}60s, Beuys enacted autobiographical memory as a means of accessing collective memory of the recent past, and as a link to his theory of art as social sculpture. Beuys later institutionalized his theory of social sculpture in the organizations of the Office for Direct Democracy and the Free International University in realizing a public sphere within an existing art institution in his Documenta installations of the {\textquoteright}70s. I examine how Beuys{\textquoteright} work of the {\textquoteright}70s engages and expands the institutional strategies of conceptual art. Finally I discuss Beuys{\textquoteright} most ambitious enactment of social sculpture in his activities within the eco-activist Grunen and in his candidacy for the German parliament. While Beuys{\textquoteright} infiltration of party politics ended with his withdrawal from conventional politics in 1983, his engagement with the Greens, which absorbed other spheres of life into the realm of art, almost realized his totalizing and mnemonic notion of art.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Mesch, Claudia} } @mastersthesis {8153, title = {Public Painted and Sculptural Programs of the Early Roman Empire: A Case Study of the So-Called Basilica in Herculaneum}, year = {1997}, school = {Princeton}, abstract = {The complex excavation history of the so-called Basilica in Herculaneum has long prevented a thorough study of this important public building and its sculptural and painted decoration. Since only a small part of the building is accessible today, the excavation reports from the eighteenth century, when the building was first explored by tunneling, are nevertheless the only basis on which a comprehensive analysis of this structure can be made. A reconstruction of the building, based on eighteenth-century drawings and measurements of the visible remains, identifies it, not as a basilica, but as a large, three-sided porticus structure of a type that became common in the Augustan and early Julio-Claudian period. Similar to these, the porticus in Herculaneum served not one, but numerous functions that typically are associated with imperial fora and other large, porticoed structures. The incorporation of the facade of the Herculaneum porticus into the pre-existing building across the street, which has been identified as the seat of the Augustales, care takers of the imperial cult, indicates that the porticus assimilated the function of this building and became part of a center for the imperial cult in Herculaneum. A reconstruction of the sculptural program from this "Porticus Augustalium" supports its identification as a building related to the imperial cult. Epigraphical and sculptural remains from the building indicate that a Julio-Claudian group was put up during the time of Claudius, and that Flavian imperial statues were added to the group under Vespasian. A reconstruction of the painted walls of the porticus does not provide an overall program; instead there seems to have been different themes, one associated with the cultic aspect of the building, another with the founding hero of Herculaneum, Hercules, and a third that possibly alluded to Julio-Claudian dynastic ideology under Claudius. The sculptural and painted decoration thus seemed to have been interrelated with the building{\textquoteright}s function as an imperial cult center.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Najbjerg, Tina} } @mastersthesis {8146, title = {Ravanica Monastery Fresco Paintings in Medieval Art of the Balkans. Interpretation of Its Iconographic and Programmatic Formulas: Their Geneses and Implications}, year = {1997}, school = {Princeton}, abstract = {The monastic church of the Ascension of Christ at Ravanica monastery (P scABANNUA) is a major monument of Serbian medieval art created under Byzantine influence. It is located in northern Serbia, in the Morava River region--11 kilometers east of the town of Cuprija. Ravanica was conceptualized as the mausoleum church of Prince Lazar, the ruler of the most influential feudal areas of late fourteenth century Serbia. It is the central unit of a fortified monastery compound, conceived as such from the very beginning as a logical response to the encroaching Turkish threat. This dissertation is the first inclusive study of the pivotal--iconographic and programmatic aspects of the monumental fresco program embellishing the main church of Ravanica, conceptualized and materialized between mid-1370s and late 1380s. In examining its iconographic program, this study simultaneously addresses the historical, dogmatic, and liturgical aspects of the images, relating them to each other in order to provide an understanding of their function(s) in Ravanica. Chapter One is a pioneering endeavor to address the chronology and nature of the historiographical literature on Ravanica. Chapter Two examines Ravanica{\textquoteright}s historical background and reevaluates the origin of its name. Chapter Three looks at principal concepts of its architecture, sculptural decoration, and painting. Chapter Four applies the detailed analysis of the system and content of Ravanica{\textquoteright}s fresco paintings, focusing on the monument{\textquoteright}s innovative iconographic repertory and the main theological ideas underlying its idiosyncratic scheme. It is suggested that the creative artists and theologians who worked in the Morava Valley--in an outlying part of the Byzantine world like Serbia in the late fourteenth century--were capable of accomplishing original and sophisticated interpretations of the late Byzantine scheme. This study has confirmed that the interplay between Byzantine tradition and novelty has been achieved in Ravanica not through mimicry of specific pictorial models, but through an elaborate process of synthesis and creative implementation of elements from variety of Byzantine sources. The outcome was both original and articulate, and profoundly amenable to the Byzantine artistic and spiritual traditions.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Belovic, Marina} } @mastersthesis {8155, title = {Reevaluating the Dura Synagogue{\textquoteright}s West Wall Iconography: A Deuteronomic Response and Affirmation}, year = {1997}, school = {UCLA}, abstract = {Discovered during the 1932 excavations of the city, the Synagogue in Dura-Europos revealed an assembly room whose walls contained narrative paintings inspired by biblical and extra-biblical Jewish literature. Found in a nearly complete state is the sacred Jerusalem-facing west wall. Embedded centrally is the earliest intact Torah Shrine retrieved from Late Antiquity, signifying the congregation{\textquoteright}s loyalty to the Law of Moses. Since their discovery, neither a convincing unifying theme nor a plausible motivating purpose has emerged from numerous iconographical studies of the paintings. Impressed by the carefully planned design of the important west wall, I made an iconographical analysis which clarified designated areas of emphasis, leading to new insights regarding the contents. Providing a key to the iconography is my identification of the monumental scroll-reading portrait as Moses reading from Deuteronomy, his protective legacy to the Israelites and their descendants. Adherence to this document{\textquoteright}s threshold injunctions would ensure protection of Jewish religious and national integrity; thus, Deuteronomy as a unifying theme seems justified. A study of the regional religious and historical context of the Synagogue paintings, however, led to a closer examination of the Jewish versus Christian conflict over the validity of the Law of Moses, namely, Deuteronomy. Dura{\textquoteright}s Jewish community might have felt the effect. My dissertation proposes that emphasis on Deuteronomy and its critical contents provided both the unifying theme of the west wall{\textquoteright}s iconographic program and its motivating purpose, reflecting at the same time a response to Christianity{\textquoteright}s threat to Jewish religious integrity, founded and built on Mosaic Law, and a reaffirmation of covenantal loyalty to Deuteronomy.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Talbot, May Oppenheim} } @mastersthesis {8196, title = {Representation and Marriage: Art, Society, and Gender Relations in Florence from the Late 14th through the 15th Century}, year = {1997}, school = {IFA/NYU}, abstract = {This dissertation analyzes the imagery of cassoni, spalliere, frescoes, manuscripts, engravings, and objects, commissioned or purchased for the weddings of upper-class Florentines in the late trecento and the quattrocento. To elucidate the subject matter, several sociological factors are investigated, most importantly the reasons women were regarded with suspicion and mistrust. Wedding rituals and the Florentine perception of marriage in this period are discussed in the introduction. The first chapter describes the works of art commissioned for weddings: their form, their use, and their placement in the home. The second and third chapters are devoted to those images that address the couple and, in particular, deal with their sexual relationship. It was important for the upper classes that women provide the families into which they married with male heirs. Yet the images show that the Florentines were ambivalent about the sexual aspect of matrimony. On the one hand, the works of art celebrate the family{\textquoteright}s lineage and social position but, on the other, they show the frailty of this model by focusing on the threat posed to it by female sexuality. The fourth chapter examines images that allude to the relationship between families establishing an alliance through the marriage. Their diverse political and business interests could have led to disagreements and antagonism which needed to be repressed at the wedding. The works discussed in this chapter portray the marriage in an agreeable manner but tensions are also obvious. The fifth chapter discusses depictions of conflicts arising between individuals and society. The final chapter is devoted to paintings for two important weddings that serve as case studies: the Primavera and the Villa Lemmi frescoes. The purpose is to show that a single painting can express many notions, some contradictory, and that the ideas presented in this survey of marital imagery serve to further elucidate familiar works.}, keywords = {Renaissance Art}, author = {Vidas, Marina} } @mastersthesis {8168, title = {Rethinking Martin Chambi (1891-1973)}, year = {1997}, school = {New Mexico}, abstract = {This dissertation examines the photographs of Peruvian photographer Martin Chambi. A successful photographer and celebrated artist during much of his life, Chambi and his work was largely forgotten about since the 1950s and unknown outside of South America. During the 1970s he was rediscovered and his photographs made known to audiences around the world. As a result, new interpretations of him as an artist have emerged which are different from those during his life. The photographs he is known for today are not those he considered his artistic work. Chambi was of Indian heritage, born in 1891 in a rural peasant village, but he became an acculturated mestizo and maintained a successful portrait business in Cusco for over thirty years. He photographed local dignitaries, businessmen, land owners, clergy, artists, and intellectuals. As an artist he pursued a photographic vision distinctive from his commercial work. The subjects of these photographs include Inca archaeological sites, local architecture, and a comprehensive inventory of the Andean community. I have tried, in my examination to reconstruct the circumstances in which Chambi photographed, returning the work, commercial and artistic, to its original context in order to understand his intentions. Then, it will be clear why, in the late twentieth century, we need to rethink Martin Chambi.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Penhall, Michele M.} } @mastersthesis {8075, title = {The Role of Religion in Delacroix{\textquoteright}s Religious Paintings, 1847-1863: Intention and Distortion}, year = {1997}, school = {CUNY}, abstract = {Delacroix{\textquoteright}s religious oeuvre is analyzed in terms of the theology that invests his religious themes. His religious subjects are scrutinized within a context of the radical, Romantic theologies (Mohler, Lamennais) that superseded traditional religious iconography during the first-half of the nineteenth-century. The religious reading of Delacroix{\textquoteright}s paintings revises perceptions of him as a political radical and a hero of modern painting, an unbeliever who in the tradition of the Enlightenment finds religion irrational. Delacroix{\textquoteright}s status in the modernist canon relied on his avant-garde style and locked him into the model of the artist/hero armed with eighteenth-century Voltairean ideals (supra-rationalism) coupled with the politics of an anti-establishment genius. Consequently, Delacroix{\textquoteright}s personality was shrouded with an elitist pseudo-skepticism and virulent anti-clericalism. This characterization now seems hardly credible; as a mature artist, Delacroix could be severely critical of the eighteenth-century thinker. Delacroix painted dozens of religious paintings that express orthodox Christian beliefs, some with a sublime sensitivity that reached the highest levels of Christian art, for example, Christ on the Cross, 1846 and the Lamentation, 1848. In his mural program at Saint-Sulpice, Delacroix showed he could give pictorial form to dogmatic eschatological teaching as biblical historiography. The program is not an arbitrary selection of action-oriented angel subjects, but a highly developed angelology unified by textual correlations to the Book of Daniel. Delacroix{\textquoteright}s religious pictures were without irony. A post-modern ideology that dismisses religious meaning as merely poetic concepts and mythology distorts intention and ultimately skews our understanding of his artistic genius. Added to the various cultural phenomena that make up Romantic period, rival ecclesiastical forces consisting of Gallican bishops, who were loyal to national ecclesiastical rule and not to the Roman Pontiff, were opposed by ultramontane bishops loyal to Roman authority. Partisan support for various theological systems ultimately politicized religious iconography and it had a direct influence on Delacroix{\textquoteright}s choice of subjects at Saint-Sulpice. Twentieth-century pluralistic theology (Rahner) is a metonymical means to explicate Delacroix{\textquoteright}s religious consciousness in order to define transcendence without religion and to broadened the definition of spirituality, to affirm Delacroix{\textquoteright}s contemplative nature beyond so-called melancholia.}, keywords = {19th- and Early 20th-Century European Art}, author = {Polistena, Joyce} } @mastersthesis {8152, title = {The Roman Cultural Context of Neo-Attic Maenad Reliefs}, year = {1997}, school = {UCLA}, abstract = {Maenads and bacchantes, the female followers of the wine god Dionysos, were figures in Graeco-Roman mythology and actual participants in cult activities. Maenads appeared in Greek literature as early as Homer. In Greek art, the maenad was most commonly found on Archaic and Classical period vases. The Romans appropriated a great deal from Greek prototypes of maenads. Consequently, both Greek and Roman artists consistently portrayed maenads as indistinguishable from human females. By contrast, the maenads{\textquoteright} male counterparts, the satyrs, displayed a combination of human and animal features. I argue that the visual conflation of woman and maenad was deliberate. Through a multidisciplinary analysis of Greek literature, medical treatises, philosophical texts, and archaeological evidence, I suggest that Greek men believed women were prone to irrational behavior, including hypersexuality and violence. These traits were stock behaviors for maenads. However, the wild character often attributed to maenads had little basis in reality. The scant evidence reveals that despite their questionable reputation, maenadic celebrations were socially sanctioned and continued to be practiced well into the Roman period. The only known opposition to the rites occurred in 186 BCE when the Roman Senate severely restricted the Bacchanalia throughout Italy. It was an unprecedented action and the motivations were undoubtedly complex. In Livy{\textquoteright}s account of the suppression, he blames women for the amoral character of the rites. Because Roman literature and theater continued to portray maenads as violent and erotic, popular opinion persistently inclined against the potentially subversive Bacchanalia. Nonetheless, during the Augustan period, representations of ecstatic bacchantes in diverse media were in high demand as part of the decorative ensemble in the Roman home, even within the Imperial circle. I argue the bacchante provided a context in which the artist could explore the unruly female. The Greek classicizing style that the Romans preferred both distanced and legitimized the subject. In Greek and Roman culture, images of maenads and bacchantes served as objects for the voyeuristic male who was in reality excluded from the Bacchanalia, and at the same time they reinforced the male fabrication of the innately violent and erotic female.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Joyce, Lillian} } @mastersthesis {8151, title = {Roman Marble Sculpture from the Levant: The Group from the Sanctuary of Pan at Caesarea Philippi (Panias)}, year = {1997}, school = {Michigan}, abstract = {In 1992, a deposit of broken marble statues was discovered during the excavations of the Sanctuary of Pan at Caesarea Philippi (modern Banias) in northern Israel. From the 245 fragments recovered, twenty-eight statues carved in the Graeco-Roman tradition and representing mainstream Graeco-Roman deities and mythological figures may be reconstructed. These range in scale from colossal to miniature, and are datable stylistically to the first through the late fourth or early fifth centuries AD. Subjects include Roma, Athena, Zeus or Asklepios, Dionysos, a nymph, Aphrodite, Artemis, a satyr, and Herakles. The discovery of such a large number of high-quality marble statues at a site in the Levant is notable, since there is no native source of marble in the region, nor are marble dedications common at other Levantine sanctuaries. This dissertation constitutes the first study of the Caesarea Philippi sculptures. It presents a catalogue of the sculptures in which the subject, comparanda, workshop associations, and date of each statue are identified. The body of the dissertation is introduced by a discussion of the history of scholarship on marble sculpture from the Levant and by a history and archaeology of Caesarea Philippi. In addition, three interpretive chapters examine the origins, patronage and chronology, and subjects of the sculptures. The style and technique as well as isotopic analyses of their marble indicate that the statues originated in Asia Minor. Six Greek inscriptions from the sanctuary reveal that sculptures were dedicated primarily by local religious and civic officials, all of whom had adopted Roman names. Epigraphic, sculptural, and numismatic evidence suggests that sculptural dedications were made from the second half of the first through the late fourth centuries AD with a concentration in the second and early third centuries. Iconographically, the sculptures follow Graeco-Roman conventions and show that a wholly Graeco-Roman pantheon was worshipped at the sanctuary. Thus, the sculptures not only provide substantial evidence for the participation of the Levant in the imperial marble trade, but, as religious dedications, they highlight the Hellenized character of the Sanctuary of Pan and distinguish it from neighboring Levantine cult centers.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Friedland, Elise A.} } @mastersthesis {8154, title = {Roman Women Portrayed as Venus: Political, Social, and Religious Contexts}, year = {1997}, school = {Johns Hopkins}, abstract = {This dissertation examines statues of Roman women portrayed as Venus in order to understand their meaning and function within the Roman world. The Romans made hundreds of copies of Greek Classical and Hellenistic Aphrodite types, and these Aphrodite statues, such as the nude Capitoline-Medici type (the modest Venus) or the draped Aphrodite Louvre-Naples type, were sometimes modified for combination with portraits of women. The representation of an imperial woman as a goddess could signify specific political ideals or virtues or, in some cases, her divinized status. Private individuals were also portrayed as goddesses to demonstrate their virtues, their hope for immortality, their allegiance to the imperial house, or their connection with the goddess. The statues were displayed in both public and private contexts, in funerary or honorific settings. The choices that were made in the representation of women in sculpture reflect their place in society, changing ideals of beauty and modesty, and religious and political practices. I discuss the interpretation of statues of women as Venus in terms of typology and iconography and also as a result of political circumstances, cultural practices, and religious beliefs in the Roman world. The Roman Venus is a patroness of the imperial house, a paragon of beauty and virtue, and a marriage and funerary goddess, according to literary, epigraphical, and archaeological evidence. The characteristics of Venus and her variety of roles are expressed in different statuary types. An investigation of typology and iconography provides a focus for an examination of the political significance of various Venus types. Literary and epigraphical evidence suggests, in addition, that all of these Venus types symbolize beauty, virtue, and modesty for a woman portrayed as the goddess. In terms of religious beliefs, posthumous statues of imperial women as Venus sometimes suggest their divinized status or their place in the imperial cult while statues of private women indicate the belief of some individuals that virtues lead to immortality. A study of the display context of these statues also helps to illuminate their political, religious, and social functions. The dissertation concludes with a detailed catalogue.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Salathe, Julie} } @mastersthesis {8088, title = {Russian Emigre Artists in Munich, 1890-1914: Cultural Mission and the Development of Artistic Identity}, year = {1997}, school = {Chicago}, abstract = {This dissertation focuses on the predominance of fulfilling Russian and German cultural agendas in the interchange which occurred between Russian emigre artists and Munich{\textquoteright}s art community between 1890 and 1914. The thesis examines how simultaneous institutional changes, socio-political issues and the waning of Realism encouraged a period of redefinition in the artistic identities Munich and Russia traditionally held towards an outsider, foreign-oriented aesthetic. The project describes the artistic precedents and cultural issues which encouraged such Russian artists as Igor Grabar, Wassily Kandinsky, Marianne Werefkin and Alexei Jawlensky to emigrate to Munich and participate in the city{\textquoteright}s artistic development through the framework of their Russian identities. In Munich, Russian art offers a frame of reference for the kind of spiritual integrity and populist rootedness the city seeks to redefine as competition from Berlin threatens Munich{\textquoteright}s status as Germany{\textquoteright}s premier art center. Concurrently, many younger Russian artists perceive Munich to be an environment open to the pursuit of a modernist aesthetic by foreign artists, an alternative to the tsarist government{\textquoteright}s monopoly over artistic expression in the Russian Empire. Russian emigre artists{\textquoteright} experience in Munich is examined through their manipulation of such Russian cultural stereotypes as spirituality and spontaneity in the context of growing fears of anarchism in Munich and the 1905 Russian Revolution. These factors and the existence of an 1885 Prussian/Russian treaty making any political activity by Russian nationals illegal in Bavaria prompts Russian emigre artists to depoliticize their art through non-representation and by adhering to themes and iconography German audiences deem non-political. The thesis concludes with a discussion of decadence and the ways in which Munich{\textquoteright}s Russian emigre artists{\textquoteright} supported the national consciousness raising role the Russian avant-garde promoted to restore society{\textquoteright}s ills. This dissertation is significant for its treatment of the Russian German question as a cross-cultural issue, distinguished by the redefinition of nationalist identities in Russian and German art at the turn of the nineteenth-twentieth century. The Russian component is integrated into Munich{\textquoteright}s artistic development as a dynamic relationship, manifested in the style and subject matter of individual artists.}, keywords = {19th-and 20th-Century European Art}, author = {Kochman, Adrienne} } @mastersthesis {8141, title = {Sarah Jenyns Churchill at Blenheim Palace: Setting the Record Straight. A Reevaluation of the Duchess of Marlborough as a Patron of the Arts}, year = {1997}, school = {Temple}, abstract = {In 1722, at the death of her husband John Churchill, the first duke of Marlborough and commander in chief of the allied forces in the War of the Spanish Succession (1703-14), Sarah Jenyns Churchill became one of the wealthiest women in eighteenth century Europe. Named executrix of her husband{\textquoteright}s estate and charged with the completion of Blenheim Palace (Oxfordshire), the duchess dedicated her considerable resources to the restoration of Marlborough{\textquoteright}s rightful place in history. The duke, who had been hailed as the international hero who had saved Europe from France{\textquoteright}s campaign of territorial conquest, had, by war{\textquoteright}s end, fallen victim to scandalous accusations of usuary. These allegations, fabricated by members of the influential Tory party, resulted in the duke{\textquoteright}s dishonorable discharge from his duties. Marlborough never recovered from this devastating blow to his reputation and honor. As a result of the public humiliation and personal defamation which he endured, the duke suffered a series of strokes which eventually led to his death in 1722. To honor her husband{\textquoteright}s memory and to set the historical record straight, the duchess undertook a building campaign at Blenheim Palace, a vast residence built to glorify the success of England{\textquoteright}s leadership in the war effort. Under Sarah{\textquoteright}s supervision, the palace was not only completed but totally transformed into a personal monument to the glory of the duke--one designed to restore his honor. This she accomplished by refocusing the theme of the interior decor of the palace and through the erection of three triumphal monuments: a multifigural sepulchral monument mounted in the chapel and a column of victory and an arch of triumph on the grounds. Dramatically situated at strategic sites along the avenue leading to the palace, the arch and column recall similar impermanent structures which may have stood on the parade route which Marlborough and his victorious troops traversed on January 3, 1705, the day of Maralborough triumphal entry into London to celebrate his victory at the battle of Blenheim (August 13, 1704). Together with the program of painted ceilings in the public rooms of the palace, these monuments were designed to glorify and memorialize the heroic life of the duke. In this manner, Sarah attempted to rewrite the historical record so that her husband might receive the fame and honor which had been denied him.}, keywords = {Baroque and 18th-Century European Art}, author = {Szpila, Kathleen} } @mastersthesis {8109, title = {Sargent Claude Johnson and Modernism}, year = {1997}, school = {UCLA}, abstract = {Sargent Claude Johnson: The Intersection Between a Double Consciousness and the Ideals of Modernism examines how sculptor Sargent Claude Johnson (1888-1967) redefined modernism to conform to his racial identity by invoking a native African-American art form and iconography. His major sculptural works were created in the 1930s-1940s, a period that offered Johnson financial support from private and public agencies such as the San Francisco Art Association, Harmon Foundation and the Works Progress Administration Federal Arts Project. Johnson gained fame for his modernist sculptures in San Francisco in the 1930s through exhibitions at the San Francisco Art Association, San Francisco Art Institute, the M. H. de Young Museum and the San Francisco Art Museum (now San Francisco Museum of Modern Art). The dissertation shows that while Johnson is most remembered for his modernist sculptures of African-American women from this period, his reformulation of modernism in the 1930s to address his racial identity is extremely significant. By 1926, Johnson began showing with the Harmon Foundation. The Harmon Foundation exhibitions were important in providing national exposure and developing a group identity for black artists through the foundation{\textquoteright}s exhibition and award programs. From 1937 to 1939 Johnson was active in the WPA/FAP program in San Francisco. Many progressive artists believed that art could not be separated from its social context. Typical of other artists of the period, Johnson followed the lead of Mexican muralist Diego Rivera, whose work encouraged unity of classes and the glorification of folk roots and peasant culture. Further, Johnson made many trips to Mexico to examine the murals and pre-Columbian art. Johnson moved to San Francisco{\textquoteright}s North Beach in the mid-1930s and remained there until the early 1960s. Critical to Johnson{\textquoteright}s development during the 1950s was his experimentation with abstract expressionism. While Johnson was already moving toward more abstraction, his associations with artists of North Beach encouraged his investigations of abstract expressionist sensibilities.}, keywords = {Art of the United States and Canada}, author = {Lefalle-Collins, Lizetta} } @mastersthesis {8195, title = {The Sculpture of Baccio da Montelupo}, year = {1997}, school = {Brown}, abstract = {The first scholarly study and critical catalogue of the Italian sculptor Baccio da Montelupo (c. 1469-c.1535), whose professional activity was concentrated mainly in Florence and Lucca. The technical and stylistic evidence of Baccio{\textquoteright}s early sculptures denotes training in the Florentine School, possibly in the workshop of Benedetto da Maiano. Baccio had a considerable influence on the various sculptors that worked under him, such as his son, Raffaello da Montelupo (1504-after 1568), as well as more distant imitators. Baccio da Montelupo is also interesting for having been a follower of one of the most prominent religious leaders of his day, Fra Girolamo Savonarola (d.1498). Notwithstanding the consistently high quality of his work and the recognition of his contemporaries, Baccio has received uneven treatment by modern scholars. The dissertation gives a connected account of Baccio{\textquoteright}s stylistic development, and examines in depth the nature of the impact on his work of the fundamentalist religious doctrines of Savonarola. This has involved a reassessment of the attested sculptures, a comparative analysis of these and other works that have been connected to Baccio{\textquoteright}s name on the basis of style, a reduction of the number of dubious attributions, and a reaffirmation of the ones that appear to be valid. As for the influence of Savonarola, interpretations of Baccio{\textquoteright}s work from this point of view have often been made without taking account of the artistic and iconographic conventions from which they sprang. Therefore, Baccio{\textquoteright}s devotional sculptures are treated first in terms of their art-historical significance, and the question of Savonarola{\textquoteright}s impact is addressed in light of these larger issues. Baccio emerges in this study as a truly transitional artist, in the sense that two distinct period styles are well represented in his oeuvre, which encompasses the expressive naturalism of the late fifteenth century, and the classicism of the High Renaissance.}, keywords = {Renaissance Art}, author = {Turner, John Douglas} } @mastersthesis {8174, title = {Secular and Spiritual Humanism: Louis I. Kahn{\textquoteright}s Work for the Jewish Community in the 1950s and 1960s}, year = {1997}, school = {Pennsylvania}, abstract = {Architect Louis I. Kahn (1901-1974) was a secular Jew who, in the 1950s and 1960s, received some of the Jewish community{\textquoteright}s most important public commissions. His American projects, which included synagogues, Jewish community centers, and a Holocaust memorial, paralleled and often chronicled the Jewish community{\textquoteright}s demographic and socio-economic shift from poor urban areas to middle-class suburbs. Kahn received two major commissions in Jerusalem after the 1967 Six Day War, for the country{\textquoteright}s single most important religious monument and its secular counterpart. Using the resources of the Louis I. Kahn Collection and the internal records of the patron institutions, this study examines why only one of these projects was fully completed. Lack of financing was the ostensible explanation but it can be shown that reasons for failure were more complex. A disparity between Kahn{\textquoteright}s aspirations and those of the client was often at the heart of each failure. While his clients were rarely satisfied with Kahn{\textquoteright}s work, their patronage challenged him to create some of his most significant designs and forced him to craft memorable phrases and pronouncements. This occurred because the Jewish community, like the modern movement in architecture, was in transition in the post World War II years. Kahn intuitively grasped that connection and eagerly embraced work for Jewish institutions because of the unique architectural opportunities it offered. Notions such as "Servant and Served" space and the dualities of "Silence and Light" were first developed or clarified for Jewish institutions. Kahn also used these projects to reinvigorate and redefine modernism; express his concern for human interaction; and explore his love of historical context. This dissertation investigates whether Kahn, sometimes labeled a Jewish mystic, actually infused his work with mystical or religious content. Projects with specific Jewish or Zionist meaning, where religious and philosophical views should have flowered, reveal that he had neither a mystical outlook nor a firm grounding in Jewish education or practice. Examination of Kahn{\textquoteright}s correspondence with clients, the lectures that he gave while working on these commissions, and the drawings produced, show that he interpreted Jewish institutions in a sincere but flawed manner. His connection with Israel was more complex and, in some ways, mutually rewarding. Kahn might not have categorized himself as a Zionist, but his work for Israel reveals an increasing commitment to the Jewish state and his own acceptance of Israeli nationalism.}, keywords = {Post-World War II American and European Art}, author = {Solomon, Susan G.} } @mastersthesis {8161, title = {Selling Sight: Stereoscopy in Mid-Victorian Britain}, year = {1997}, school = {Chicago}, abstract = {This dissertation examines stereoscopy, stereoscopic photography, and the circulation of stereographs in mid-Victorian Britain. Considering stereoscopy as a constellation of attitudes, materials, and practices, I emphasize the rhetorical distinctions--and practical connections--between stereoscopy as an epistemological category, or paradigm for the organization of knowledge; modes of production and marketing; and the viewing and collecting of stereographs through specific cultural channels. Stereoscopy is an imaging technology in which two slightly different representations of the same scene or object are viewed through an apparatus (a stereoscope), resulting in an effect of three dimensionality. The binocular nature of vision--the fact that each of our two eyes sees differently--is the operative principle. From the time of its invention in the 1830s to the end of its first wave of popularity around 1870, histories and theories of the stereoscope were put forward by an assortment of scientists, photographers, philosophers, poets, manufacturers, and middle-class citizens. As optical products replaced optical theories as the subject of the pedagogic discourse around stereoscopy, reciprocal relationships developed between advertisements, exhibition reviews, technical descriptions, and social commentary. Stereoscopic viewing required optical skills yet was also effortlessly magical; to engage in it was to enact both a public performance and a private meditation. As such it was aligned with modernity itself, one of the central aspects of which is to present itself as omnipresent, inevitable, fragmented, and beyond individual control, while simultaneously extolling the unified self and imposing a desire for an alternative. Stereoscopy--a set of products and a set of ideas--could provide that escape, both temporally and spatially. The mass-produced and mass-marketed stereoscope was hailed for its democratic availability and utility, reminding us that in the visual culture of this period the commodification of optical instruments facilitated the commodification of optical experience itself. Only a pervasive fascination with the possibilities and limitations of representation can explain the incredibly widespread popularity of stereoscopy at mid-century; and only a marketable array of images and accoutrements can account for the peculiarly consistent ways in which this fascination was expressed and explored.}, keywords = {Photography and Film}, author = {Salvesen, Britt} } @mastersthesis {8163, title = {Shallow Subjects: Andy Warhol{\textquoteright}s Paintings, 1962-66}, year = {1997}, school = {CUNY}, abstract = {In 1967, Andy Warhol told an interviewer that "if you want to know all about Andy Warhol, just look at the surface of my paintings and films and me, and there I am. There{\textquoteright}s nothing behind it." This statement is frequently quoted in discussions of Warhol{\textquoteright}s art, usually to support the notion that since there is "nothing behind" his paintings, they must be either meaningless or utterly indeterminate in their meaning. The same statement, however, suggests a different possibility: that the meaning of Warhol{\textquoteright}s paintings is to be found not beyond or behind them, but on their surfaces. The dissertation explores this possibility in two ways: first, it locates Warhol{\textquoteright}s focus on the painted surface within a much broader art historical context than has been attempted previously, and second, it charts a range of consequences that flow from seeing Warhol{\textquoteright}s advocacy of the surface as an historically significant and programmatic feature of his art. The first chapter thus links Warhol to predecessors in the colorist tradition who also favored the pleasurable effects of the painted surface over the intellectual rigors of design. The second chapter situates Warhol within Clement Greenberg{\textquoteright}s history of modernist painting, which accorded great importance to the flat surface of the picture plane. Once it has been placed in historical perspective, Warhol{\textquoteright}s privileging of the surface can help us to rethink a number of interpretive problems. In the last two chapters I consider the assumptions of formalist and iconographical modes of interpretation, the significance of authorial intention, and the contested dividing line between elite and popular culture, arguing that each debate can be reconfigured if we take into account the metaphors of surface and depth in which these problems are formulated. Given my focus on Warhol{\textquoteright}s surfaces, my arguments are advanced through close readings of selected paintings from Warhol{\textquoteright}s most fruitful and challenging period, 1962 to 1966.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Burns, Jennifer} } @mastersthesis {8143, title = {Social and Symbolic Functions of the Romanesque Facade: The Example of Maicon{\textquoteright}s Last Judgment Galilee}, year = {1997}, school = {Michigan}, abstract = {At the turn of the twelfth century, the bishop and canons at Saint-Vincent, Macon constructed a new galilee, replete with paradisiacal imagery, as public entryway to their cathedral. It is argued here that this liminal space sheltered France{\textquoteright}s earliest Last Judgment portal. In creating an innovative architectural and sculptural program for the cathedral facade, its clergy meant to create a self-consciously Christian community, and to attract the patronage of the Maconnais laity, who were increasingly turning to the abbey of Cluny as their religious center. Chapter one describes the galilee as a complement to Macon{\textquoteright}s pre-existing west-end architecture, and clarifies its construction campaigns. Chapter two characterizes the sculptural style of the galilee as an outcome of regional developments, and argues an approximate date between 1095 and 1110. A history of the community who commissioned and used this historiated public space, and the web of social actions surrounding the galilee{\textquoteright}s creation are described in chapter three. The argument culminates in chapter four, where the galilee is analyzed as social and symbolic expression. Its iconographies and possible functions are investigated, its interactive nature emphasized. Chapter five states conclusions. Appendix A provides a post-twelfth-century fabric history and Appendix B briefly describes the galilee capitals and gives measurements of the abaci, bases, and capitals. The Macon galilee program is defined here in relation to developments in Christian culture during the late eleventh and early twelfth centuries: a vastly increased number of churches, their public sculpture, an increasingly accessible liturgy, and various forms of pilgrimage and crusade secured for medieval Europe an active Christian community.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Cavell, Leslie Joan} } @mastersthesis {8171, title = {The Social Relations of {\textquoteright}Abstract Expressionism{\textquoteright}: An Alternative History}, year = {1997}, school = {Iowa}, abstract = {The artists Milton Resnick, Hedda Sterne, Esteban Vicente, and Elaine de Kooning are unfamiliar to most even though they each played an important role within the "Abstract Expressionist" social world. In recent years some scholars of Abstract Expressionism have attempted to be more inclusive by adding artists who have been left out of the standard texts; however these authors have failed to provide an historical framework and a critique of the construction of this so-called movement that would account for the causes of their marginalization. To provide an alternative history, it is vital to strip away the various theoretical positions that have contributed to the false notion that a small group of artists comprised a modernist movement known as Abstract Expressionism. One means of achieving this is to look to the artists, particularly the ones who have not told their stories, for their perspectives. Most artists insist that they did not represent a movement. Friendships and social ties are the only commonalties they profess. Shifting the focus from the model of a movement to one of social interactions opens up the parameters and allows for more artists to be acknowledged for their participation within the artists{\textquoteright} social world. In order to reexamine the artists{\textquoteright} social world in the 1950s, historiographic methods were employed such as interviewing artists, investigating artists{\textquoteright} statements and essays in the 1950s, reviewing the literature of the period, and examining published and unpublished correspondence. While my methodology is historiographic, the questions I am asking about the canon and marginalization are informed by feminist discourses which have attempted to provide more inclusive histories and questioned the power dynamics involved in canon formation. This dissertation challenges the standard version of Abstract Expressionism by both mapping and critiquing the books that have come to codify this "movement" and by incorporating "marginalized" voices in order to provide an alternative viewpoint. Looking at the period from a social perspective shifts the focus from a handful of male artists to a multitude of male and female artists interacting with one another and cooperatively fueling creative energy and artistic production.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Stahr, Celia S.} } @mastersthesis {8080, title = {Sonia Delaunay Terk: The Zenith Years, 1906-14}, year = {1997}, school = {CUNY}, abstract = {The "Zenith" era, a term first used by Blaise Cendrars, encompasses Sonia Delaunay-Terk{\textquoteright}s earliest years in Paris--from 1906 to 1914. Her explorations of art as drawings, easel paintings, book covers, clothing and advertising poems all began during these particular years when she was experimenting with the ideas of relating art and life--the critical concept of Simultaneism--for her and her husband, Robert Delaunay. The themes and ideas that were her focus from 1906 to 1914 were central to her work for the remainder of her career as an artist. My primary explorations in this dissertation will be of Sonia Delaunay-Terk{\textquoteright}s early paintings of women; collaborations, especially with her husband, Robert Delaunay and her friend, Blaise Cendrars; the Bal Bullier period, including her 1913 dress; the poster-poems; applied arts in an embroidery, a quilt, and bookcovers; and briefly, her life and ideas in the context of gender issues as well as certain misconceptions about her career that need clarification. Delaunay-Terk applied the concepts of Simultaneity she and Robert developed in 1912-1913--to her the quintessential element of the modern--to works for everyday use, not just to oil canvases. Juxtapositions of colors and shapes in her work imply the dynamic movement of urban life. In dresses, lamps, book covers, illustrations, and publicity-type paintings, she integrated art and life. By closely examining this short period of Delaunay-Terk{\textquoteright}s life and work, I hope to bring a clearer definition of her contributions to the continuing development of the avant-garde.}, keywords = {19th-and 20th-Century European Art}, author = {Albritton, Ann} } @mastersthesis {8107, title = {Spaces of Appearance: The Civic Square in the Design of New Canadian City Halls}, year = {1997}, school = {Binghamton}, abstract = {During the 1980s and 1990s, a series of new city hall-civic square projects were built in Canada (in Mississauga, Edmonton, Kitchener and Ottawa-Carleton). This study examines the conjunction of the new dominance of the civic square form with the turn toward a neo-conservative emphasis on entrepreneurialism in the Canadian city, how these two might be connected, and what the implications of such a connection are. It focuses on the design, use and ideological function of these squares, and on their representations of civic and citizen identity. As a form of representation, architecture transmits knowledge and meaning about the culture in which it has been created, and is thus implicated in the production of identities. Historically, the architectural and social form of the civic square represents the power of the local state to manipulate the form of the city, and acts as a metonymic representation of that state{\textquoteright}s ideas of what the city, and its citizens, should be. At the same time, because the square is situated physically, socially and representationally between the local state and its inhabitants, it becomes a site of conflict and power. This is seen in the development of civic and citizen identity in the civic squares of medieval Siena, and renaissance Amsterdam. In Canada, civic and local citizen identity were suppressed under colonialism, and the civic square was uncommon before World War Two and the modernist city hall. The contemporary Canadian local states promote their civic squares as proof of a more open, accessible and democratic relationship with their citizens (in contrast to the administrative and bureaucratic distance of the previous welfare state). However the function of these squares as sites for the democratic public sphere is submerged by their participation in the promotion of the city as a space of private development and consumption. The local states use the squares to legitimate their own positions within the contemporary city, and to aid in the strategies of entrepreneurialism and commodification, through the production of new civic and citizen identities. This results in both a conflation of the local state and the public sphere, and in the representation of the citizen as a {\textquoteright}citizen-tourist{\textquoteright}, who consumes rather than produces their own political identity.}, keywords = {Art of the United States and Canada}, author = {Delaney, Lesley Jill} } @mastersthesis {8090, title = {Theodore Gericault{\textquoteright}s Grande Suite Anglaise, Sources, Iconography, and Significance}, year = {1997}, school = {CUNY}, abstract = {Theodore Gericault began making lithographs in 1817, after his return from Italy. His fascination with the new medium stimulated a renewed concern with contemporary subject matter as well as a search for a modern style. His most important contribution to this medium is the suite of twelve prints entitled Various Subjects Drawn from Life and on Stone (The English Suite or La grande suite anglaise) which he executed in London in 1821. As opposed to Gericault{\textquoteright}s oil paintings and drawings, which have been analyzed and researched in detail, scholars have been satisfied so far with formal descriptions of his print oeuvre. This dissertation presents a thorough analysis of the twelve prints comprising the English Suite. The series, as its title suggests, is indeed varied. Nine of the prints deal with horses and their tenders: working horses, horses groomed for riding, horses in military use and horses in the process of being shod. Through a realistic rendering Gericault succeeded in conveying the hardships of the English working class, referring indirectly to various aspects of contemporary social abuse. He contrasted these with the allure and elegance of high-bred horses, thus referring to the gaps which separate between the various English social classes. The three prints dedicated to the London urban scene refer to the horrible conditions of the poor and the insane. Rather than read these works as genre, anecdotal renderings, this dissertation argues that Gericault{\textquoteright}s depictions are based on a veristic approach, devoid of idyllic or genre tendencies. The prints exhibit the artist{\textquoteright}s creation of symbols for human suffering, whose objectivity has no parallel in contemporary English or French art. In the English Suite Gericualt touched upon themes shunned by his contemporaries but recognized by authors and artists many years after his death. The depiction of such themes is one of the first artistic attempts at making a {\textquoteright}low{\textquoteright} subject into a great modern masterpiece. Gericault{\textquoteright}s lithographs show a virtuoso mastering of the new technique of lithography; the series can be counted as one of the first cases of European art in which prints equal large scale oil paintings in their powerful, communicative and expressive formal traits. The detailed iconographic and formal analyses of the English Suite allows one to further appreciate Gericault{\textquoteright}s realist tendencies and establish him as a most significant precursor of French Realism.}, keywords = {19th-and 20th-Century European Art}, author = {Mishory, Alec} } @mastersthesis {8147, title = {Theorica Vita: The Frontispiece of the Floreffe Bible and 12th- Century Contemplative Theory}, year = {1997}, school = {Columbia}, abstract = {Volume II of the Floreffe Bible, made ca. 1153 for the Premonstratensian canons of Floreffe, opens with a two-page frontispiece. Composed of easily identifiable scenes and figures, and elaborately annotated with tituli, this pictorial complex nonetheless has never been successfully interpreted. Although an inscription identifies its putative theme as that of the Active and Contemplative Lives, most of the subjects represented do not bear any obvious relation to Action and Contemplation. This dissertation is intended to explain how, and to what end, the imagery is in fact a thematically coherent whole that is expressive of the stated subject. The frontispiece is, first of all, a work of exegetical theology that presents two spiritual "readings" of the Biblical text of its Bible volume (Job-Revelations). The first presents the history of mankind{\textquoteright}s salvation effected through the activity of the Holy Spirit. The second, superimposed on the first and using the same imagery, is a description of mystical ascent, the personal journey of the individual Christian from Action to Contemplation. The sources of this double tradition of Biblical interpretation are traced to the writings of the Greek Fathers, especially Origen and Gregory of Nyssa. Within this general structure, the frontispiece is shown to be, among other things, a document of self-definition that emphasizes the historical and eschatological function of regular canons and their exemplars, the Apostles, in the life of the Church. It alludes to the whole exegetical tradition regarding Action and Contemplation, but selectively stresses those parts of the tradition that are most favorable to the case of the regular canons. The distinctively intellectualizing approach that the frontispiece brings to the theme of contemplation is shown to have a close structural and hermeneutic parallel in the speculative mystical writings of Richard of Saint-Victor. Finally, the argument is made that the frontispiece was deliberately constructed as a kind of spiritual puzzle intended to provoke an actual experience of speculative contemplation for the novices and canons of Floreffe.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Bouche, Anne-Marie} } @mastersthesis {8077, title = {Thomas Gainsborough and the Portrait in a Landscape}, year = {1997}, school = {CUNY}, abstract = {In late eighteenth-century England, the rise of the appreciation of stylistically distinctive painting went hand-in-hand with the unprecedented imperative to develop one{\textquoteright}s signature "mark" of distinction as a painter. This dissertation examines the mature work of Thomas Gainsborough--arguably the most style-conscious English painter of the eighteenth century. Applied to Gainsborough{\textquoteright}s full-length portraits of women, style registers in two different yet intertwined ways: his sensitivity to matters of stylish feminine fashion and his investment in the formal matters of painting, which is to say the formal aspects that comprise his own signature style of painting. The institutional framework in which Gainsborough participated after 1768--namely the Royal Academy--is closely examined as is his artistic relationship with his closest rival, Sir Joshua Reynolds. Gainsborough{\textquoteright}s mixing of the genres of landscape and portraiture provides the basis for his development of a distinctive portrait style, which is further enhanced when, upon his arrival in Bath at the end of 1758, his spectacularization of contemporary feminine fashion becomes a key feature of his large-scale portraits. The issue of Gainsborough{\textquoteright}s style is inextricably intertwined with his commitment to formal experimentation, a commitment that is evident in his crossing of boundaries between different media. His most innovative techniques evolved from his experimentations in drawing, watercolor, and pseudo-landscape "assemblages;" the fruits of his experimentation in these media were imported to his large, commissioned portraits. Finally, I aim to locate Gainsborough{\textquoteright}s distinctive style within the context of critical shifts in the increasingly commercial art market, the rise of art criticism, and emerging attitudes toward aesthetic judgement in late eighteenth century England. "The Matter of Style" is an intentionally shifting phrase that slips from addressing the importance of style as a manner of painting (one which may on the one hand be circumscribed by historical circumstances yet on the other hand be the outcome of a painter{\textquoteright}s unique skills and sensibility) and style as a subject that is unequivocally fashionable, indubitably stylish. Both senses of the phrase are conveyed most compellingly in Gainsborough{\textquoteright}s portraits of fashionably-dressed women in landscape settings, pictures in which the mimetically representational objects of fashion and nature simultaneously provide the vehicles and set the limits of their painterly dissolution.* ftn*Originally published in DAI Vol. 58, No. 9. Reprinted here with corrected title.}, keywords = {19th- and Early 20th-Century European Art}, author = {Rempel, Lora} } @mastersthesis {8193, title = {Titian{\textquoteright}s Mirror: The Self-Portraits and Self-Image in the Late Works}, year = {1997}, school = {Rutgers}, abstract = {Titian was perhaps the greatest and the most celebrated portraitist of the sixteenth century. Yet his exploration of self remains less understood than his other works. No one has dealt with the problem of all of Titian{\textquoteright}s self-portraits as a group, representative of Cinquecento self-portraiture while also departing from the genre in original and idiosyncratic ways. Traditionally, portraits and self-portraits were seen by scholars as representations of the new Renaissance self-awareness. Portraits have been studied mostly from the formal point of view, which does not sufficiently contextualize the evolution of the self-portrait, however. Qualitative concentration on specific cases allows for a greater depth of understanding. While such a methodology is inspired by historical anthropology and literary theory, the primary concern remains the object itself. The purpose of the focused study is to approach larger cultural patterns through analysis of individual personal "reflection" in the surrounding culture, and vice versa--reflections of the culture in the individual. The increased interest in "self" was expressed during the Cinquecento in a manipulative process of self-fashioning used for the creation of a consciously presented personality. Most studies regarding Renaissance self-fashioning have focused on written records: poetry, drama, biographies, autobiographies, and manner books. Yet, images, like other sign systems, were a collective construction. The historian{\textquoteright}s interpretive task is to deal sensitively with the consequences of this fact by investigating both the social presence of the work of art in its world and the social presence of the world in the work of art. The lack of written documents in Titian{\textquoteright}s case should not pose an insurmountable problem if the methodology of the exploration is formulated on the principles of non-verbal communication. As an acclaimed portraitist, Titian would have been fully aware of the social and cultural implications of the visual vocabulary used in his creations. This present study is an amalgam of the examination of iconographic details specific to particular works by Titian and of the larger patterns shared by Titian with other artists of the period.}, keywords = {Renaissance Art}, author = {Smetana, Zbynek} } @mastersthesis {8132, title = {"Titianus Redivivus": Titian in British Art Theory, Criticism, and Practice, 1768-1830}, year = {1997}, school = {Yale}, abstract = {The dissertation examines Titian as a model in British art theory, criticism, and practice from 1768 to 1830. Many of the patterns affecting art during this period were established earlier, at the court of Charles I, when the English adopted a coloristic approach to painting, with an emphasis on portraiture, which derived largely from Titian via Van Dyck. This legacy directed painting in England for at least two hundred years. However, Reynolds{\textquoteright}s early Discourses, the intellectual underpinnings of the nascent Royal Academy, derived from central Italian/French theoretical prototypes and--in opposition to traditional British practice--posited Venetian art as the Grand Style{\textquoteright}s antithesis, the paradigm for what great art was not. A disjuncture between Reynolds{\textquoteright}s widely accepted theory and British practice ensued: artists emphasized color in their work yet believed color to be mechanical. A product of this tension was the Provis Venetian Secret episode of 1797, in which a number of Academicians were duped into purchasing the reputed "recipe" for sixteenth-century Venetian coloring. During the early nineteenth century, the "British School," consisting primarily of the artists associated with the Royal Academy, began to value color more highly in theory. Considered the founder of the British School, Reynolds was viewed as a colorist, despite his diatribe against the Venetians in the early Discourses. The British School increasingly defined itself, too, as coloristic, natural, and ultimately derived from Titian, in opposition to the French School, viewed as dry, artificial, and "liney." Though the British School elevated the status of color during the early nineteenth century, it nevertheless otherwise accepted Reynolds{\textquoteright}s academic program. This stance may be viewed as academicism moderated with colorism. A few individuals rejected this middle-of-the road position. Outsider William Blake vociferously denounced Venetian color and naturalism. Connoisseur Richard Payne Knight, altogether rejecting academic art theory, formulated a color-oriented theory that placed Titian and the Venetians at the center of a new history of art. And the critic William Hazlitt also formulated a color-oriented theory that recognized Titian, and especially Titian the portraitist, as painting{\textquoteright}s greatest figure. With Hazlitt, art theory finally accorded with British practice.}, keywords = {Art Criticism and Theory, Baroque and 18th-Century European Art}, author = {Lee, Eric Mccauley} } @mastersthesis {8083, title = {"Uber alles die Liebe": The History of Sexual Imagery in the Art and Culture of the Weimar Republic}, year = {1997}, school = {Chicago}, abstract = {This dissertation examines the history of sexual art imagery produced during the Weimar Republic, and its reception and consumption within various social and cultural spheres. Evidence suggests there was an explosion of sexual imagery onto the 1920s fine art market and a change in subject matter, quality of works, and public reception. My project uses this history to construct larger questions about the mechanisms that influenced the Weimar public{\textquoteright}s relationship to sexual imagery. It documents the life of sexual imagery in the Republic, measures the mores of the public, reconstructs the market for such images, and dissects some of the cultural, social, sexual, economic, political, phenomenological, and psychological motivations involved in the practice of viewing and collecting sexual artworks in the early part of the twentieth century. The three parts of this dissertation are interrelated sites of cultural value, social meaning, and historical interaction. Police confiscations and obscenity trials serve as a backdrop to the government{\textquoteright}s struggle for moral order against the artworld{\textquoteright}s erotic decadence. While Weimar officials{\textquoteright} circumscription of the obscene may have been superficially tied to visible forms, the determination of obscenity depended on things not seen, or seen into, the actual object. Their pathological approach is tied to fears of social, medical, and political threats to the body politic. The illustrated Sittengeschichte functions as a model of how the social needs, sexual anxieties, and bodily desires of 1920s German art audiences relate to bourgeois institutions of culture and moral order. Meeting the ideal of Bildung, the books intersected with the general eroticization of visual imagery at the time, affording readers a transgressive opportunity to view sexual imagery in the high-culture sphere. Public collections of sexual imagery navigated between the instructive and sensational, the aesthetic and criminal, the culturally uplifting and degenerate. Collection organizers used the aesthetic in a pathological manner in order to identify scientific--or conversely--criminal qualities. Sexual imagery mitigated a public position in the Weimar Republic as fine art, and thus, as a part of high culture; at the same time, it became the locus of conflicting political and social agendas.}, keywords = {19th-and 20th-Century European Art}, author = {D{\textquoteright}Alessandro, Stephanie} } @mastersthesis {8178, title = {The Venerable Martyrs of Cajonos: An 1890 Painted History De Zapotec Rebellion in 1700}, year = {1997}, school = {New Mexico}, abstract = {This dissertation analyzes the painting program of The Venerable Martyrs of Cajonos, a series of four mural-sized paintings on canvas executed by Urbano Olivera in 1890 for San Juan de Dios, Oaxaca (Oaxaca), Mexico. Discussions of religious, historical and political content, location, dating, patronage, authorship, style and site specificity aid in the analysis of the cycle as a case study from which to delve into the role played by art in issues of Mexicanidad, the Porifirian agenda and church propaganda in Mexico at the end of the nineteenth century. The Venerable Martyrs of Cajonos series, interpretable on multiple levels, provides important insights into native religion vis-a-vis the process of Christianization in Oaxaca. These quasi-journalistic paintings chronicle historic events--the Oaxacan native uprising of 1700--albeit from a distance of two centuries. This rebellion began when two village informants--later murdered by members of their village, San Francisco Cajonos, and labeled by the Church the "martyrs of Cajonos"--apprised the local friars that village members were engaged in idolatry. The imagery of the Martyrs of Cajonos cycle visually interprets excerpts from the book Apuntes historicos. Published in 1890 by series patron Eulogio G. Gillow, Bishop of Oaxaca, the book argued unsuccessfully for the beatification of the Cajonos martyrs. Intended for an elite audience, it presented the rebellion in its complete form. The painting cycle, on the other hand, aimed at a predominantly illiterate native audience. It selectively illustrated only those events which could serve to stimulate broad native veneration of the martyrs whose sacrifice was little known outside the Cajonos region of Oaxaca. That effort, apparently, proved successful, for the cycle is cited frequently by the modern beatification committee, formed in Oaxaca in the 1980s, as proof of the efficacy of the martyrs of Cajonos cult. The cycle establishes a model of behavior for native peoples living in Oaxaca in the late nineteenth century. At the same time, it records in detail period indigenous customs, dress and architecture and sets it all within the particularized yet heroic landscape, concerns and tendencies that will occupy Mexican artists of the twentieth century. The Martyrs of Cajonos cycle remains singular, however, in nineteenth-century Mexican art for its subject matter, its site specificity and its creative compositional solutions.}, keywords = {Pre-1945 North American and South American Art}, author = {McIntyre, Kellen Kee} } @mastersthesis {8114, title = {Women, Culture, and Commerce: Rookwood Pottery, 1880-1913}, year = {1997}, school = {Northwestern}, abstract = {This dissertation is an exploration of the ways in which the production, marketing and consumption of the largest, longest lasting, and arguably most important American Art Pottery--Rookwood Pottery of Cincinnati (1880-1967)--reflected and inflected the cultural and commercial milieux in the United States from 1880-1913. Chapters 1 \& 2 assess the labor practices and production of Rookwood ceramic ware as a way to explore both anxiety about women{\textquoteright}s roles outside the home, as well as about industrialization, immigration, and urbanization. By situating Rookwood{\textquoteright}s production within the "wild ceramic orgy" which overtook the United States in the years following the Centennial, its utilization of and apprehension about women{\textquoteright}s labor is linked to the taint of amateurism. In Chapter 2, Rookwood{\textquoteright}s place within the American Arts and Crafts movement is examined: although labor practices seemingly followed the goal of reuniting art and labor, Rookwood{\textquoteright}s aesthetic is not found to mesh with Arts and Crafts precepts about good design. Chapter 3 takes up the marketing of Rookwood products as fine art and the connections with museums both locally and nationally. The thesis is advanced that conceptions of fine art and culture are closely linked to the debate about machinery and industrialization. It is argued that management positioned the firm{\textquoteright}s production and working methods as "an artist{\textquoteright}s studio, not a factory," in order to appropriate the aura and cachet of fine art for its wares. Rookwood{\textquoteright}s presence at international expositions is examined in Chapter 4, in order to map issues of national identity and competition. The meaning of Americanness is parsed in order to move beyond "native clay," American-born workers, and local flora and fauna as decoration. Rookwood{\textquoteright}s Native American portrait pieces are examined within the discourse about Native Americans and the closing of the frontier. Finally, Chapter 5 imagines Rookwood{\textquoteright}s consumers by exploring the vehicles through which Rookwood was sold: magazine advertising, mail-order and department stores, all of which are imbricated in technological advances in communication and transportation. By assessing the demographics of subscribers and clientele of retail venues, it is concluded that Rookwood{\textquoteright}s targeted consumers were primarily urban, upper- and middle-class women. It is further demonstrated that Rookwood{\textquoteright}s basic aesthetic of traditional shapes with floral decoration was formulated to appeal to this sought-after audience for the ware.}, keywords = {Art of the United States and Canada}, author = {Owen, Nancy} } @mastersthesis {8084, title = {Women Sculptors in 19th-Century Paris}, year = {1997}, school = {UCLA}, abstract = {This dissertation traces the complex process of the professionalization of women sculptors in France during the 19th-century. Though often considered according to a model of repression and victimization, a closer consideration of the history of women artists at this time reveals far greater agency on their part, as well as a more fluid system, albeit still unequal, of power relations. I argue that the women of my study were not simply subject to gender-biased institutional constraints, but that they experienced a more interactive relationship. Making the radical and often unexplained choice to pursue what was considered to be an inappropriate profession, these women chose to work in a conservative vein, and to conduct themselves according to a successfully established model of "appropriate feminine behavior." Despite institutional change later in the century which opened the profession to more women, their success still depended in part on their conduct according to this earlier model. By the Second Empire a "first wave" of women sculptors was established, not because of any systematic institutional changes, but largely through connections and privilege established through Napoleon III{\textquoteright}s exercise of arbitrary power. The situation changed with the establishment of the democratic Third Republic, bringing about greater institutional change, but also forcing women to appeal to a larger voting public through a "separate but equal" ideal. While there was discernible yet nebulous cross-over within this context between several women sculptors and the avant-garde, most of these women did not embrace the masculine model of the individualist artistic genius. How women sculptors strategically positioned themselves within the various systems they confronted throughout the 19th-century may have been ultimately limiting. But their strategies were the only really viable options aside from the unacceptable solution of overthrowing the established order altogether.}, keywords = {19th-and 20th-Century European Art}, author = {Easterday, Anastasia} } @mastersthesis {8085, title = {"The Works of Women Are Symbolical": The Victorian Seamstress in the 1840}, year = {1997}, school = {CUNY}, abstract = {In an era (the "hungry forties") when government commissioners, religious reformers and novelists examined every aspect of the living and working conditions of the working class, concern and anxiety focused on one type of worker in particular: those women who earned their living with the needle. Richard Redgrave exhibited the first painting of this subject in 1844, and illustrations of lonely shirtmakers in garrets and young women sewing in crowded workshops frequently accompanied articles, pamphlets and stories. This dissertation examines some reasons for the prevalence of the figure of the distressed seamstress during two specific periods: 1843-1844 and 1848-1851. Virtually every source one consults (from parliamentary reports to melodramatic fiction) tells the same fairy-tale-like story: a story in which a happy, healthy and virtuous young woman from the countryside leaves her home to become a seamstress in the big city where she encounters an evil employer and/or seducer, and begins an irreversible decline leading to death and/or prostitution. The sense of urgency evident in the constant repetition of the narrative of the seamstress{\textquoteright}s decline, as well as its use of one-dimensional characters and a melodramatic plot, suggests that it performed important ideological work: to secure definitions of "femininity" which had become increasingly unstable. Women and work became a hotly debated issue during the tense decade of the 1840s and seamstresses and sewing (in part, because of tremendous changes in the clothing industry) figured prominently in those debates. The narrative of the seamstress{\textquoteright}s decline worked to provide solutions to the grave problems which faced England in the 1840s. The seamstress became an especially visible figure during periods of working-class unrest, and corresponding upper-class fears of revolution. An extremely sympathetic figure, the seamstress was used to envision the problems of the 1840s in ways which were unthreatening and workable.}, keywords = {19th-and 20th-Century European Art}, author = {Harris, Beth} } @mastersthesis {8102, title = {YMCA Architecture: Building Character in the American City, 1869-1929}, year = {1997}, school = {Pennsylvania}, abstract = {The Young Men{\textquoteright}s Christian Association building, so standard as to be easily overlooked, paradoxically occupies a vital place in the social history of modern architecture in the United States. Its omnipresence and seemingly conservative architectural style mask the importance of a building type that embodies two of the primary issues of modernism: the belief that architecture has the ability to shape character, and the effect of industrialization on form and practice. Indeed these buildings, long ignored as both architectural monuments and significant elements of urban culture, offer rich insight into the relationship between architecture and society in the modern age. In the years after the Civil War, pious businessmen supported the YMCA{\textquoteright}s efforts to employ athletic clubhouses as an effective means of "manufacturing" manhood. They were motivated by a concern for the morals of their white-collar workers, who responded too eagerly to the culture of consumption the merchants themselves had fostered. More than tracts or sermons, the influence of an attractive, yet supervised, physical environment, seemed to be the most efficient means of evangelizing young men. Concerned principally by the process by which they produced a new building type, this dissertation examines the motives of the YMCA leadership, its perception of modern city culture, and the interpretation of this vision by architects, both famous and obscure. It also chronicles the YMCA{\textquoteright}s early development of a centralized building system designed to facilitate mass produce and distribution of buildings. This system not only anticipated the requirements of modern architectural practice, but also served to disseminate the YMCA idea of "environmental evangelism" to other religious and secular groups. This dissertation examines the YMCA{\textquoteright}s building program as a significant aspect of the history of architectural design, and argues for an intrinsic link between architecture and the formation of modern commercial culture. In doing so it redefines architectural modernism, integrating social and economic issues into what has been perceived as a purely aesthetic concern.}, keywords = {Art of the United States and Canada, Pre-1945 North American and South American Art}, author = {Lupkin, Paula Rachel} } @mastersthesis {8001, title = {The Adams Memorial and American Funerary Sculpture, 1891-1927}, year = {1996}, school = {Maryland}, abstract = {The Adams monument by Augustus Saint-Gaudens became an important model for memorial art in the early twentieth century. It was commissioned by historian Henry Adams at a time when cemeteries across the nation were adopting major design reforms. By the turn of the century, Americans living in an industrialized economy were distancing themselves from elaborate mourning rituals and relying on hospitals, undertakers and cemetery professionals to take care of matters previously handled at home. The mid-nineteenth-century fascination with public expressions of grief gave way in the decades after the Civil War to the twentieth century{\textquoteright}s "denial of death." Attitudes about faith, class and gender relations also were shifting. Appearing at this time of change, the Adams monument helped shape a new cultural definition of what a cemetery monument could be. In its enigmatic, inscriptionless and reductive form and in its germination from Asian, Renaissance and contemporary French artistic and philosophical sources, the monument broke with mid-nineteenth-century styles and conventions of sentimentality and Christian faith. It rejected the individual genealogical and achievement-recording purposes of earlier funerary sculpture and blurred standard distinctions about family and gender relations. It engaged the viewer{\textquoteright}s rapt participation, posing a sphinx-like riddle rather than offering an answer about the nature of death and the hereafter. Other patrons sought to imitate the monument{\textquoteright}s associations with exquisite taste and cosmopolitan intellect, and its validation of beautiful mystery and a quest for peace as an appropriate memorial statement. They wished their monuments also to be cathartic centers for memorialization offering viewers the equivalent of a spiritual experience. The Adams monument{\textquoteright}s influence was limited, however, by patrons{\textquoteright} desires to more firmly control the readings of their memorials. Later monuments that were compared with it conventionalized its most radical features. They added identifying labels or grave markers. Some "Christianized" their monuments with recognizable religious attributes.}, keywords = {Art of the United States and Canada}, author = {Mills, Cynthia} } @mastersthesis {8055, title = {Alfred Thompson Bricher and the Representation of Seaside Tourism, 1871-1908}, year = {1996}, school = {Case Western Reserve}, abstract = {After the Civil War tourism in America flourished. Sites that had been visited since before the war continued to be popular and new sites sprang up all along the eastern sea board. Throngs of middle-class tourists headed to these seaside resorts, while to a lesser extent, members of the upper-class also frequented some of the same sites. These tourists included Alfred Thompson Bricher (1837-1908), who often made these places and the people who visited them into the subject of his art. While Bricher{\textquoteright}s career has been studied monographically, his participation in and contribution to the tourist phenomenon has not been previously considered. Through an examination of specific pictures and groups of images Bricher{\textquoteright}s perceptions and opinions about the advent of Victorian vacationing at the shore can be articulated. His paintings show his interest in the divergent worlds that defined Victorian seaside leisure. In Indian Rock, Narragansett Bay, Bricher demonstrates an ability to speak directly to the upper-class audience whom he targeted as the buyers of this work. The painting represents his visual interpretation of contemporary social stratification. He also depicted the summer watering-place with specific attention to middle-class women at leisure--on the beach, around the vacation bungalow, enjoying well-deserved free time. In his images of Victorian women at the shore, Bricher contributed to the artistic construction of a standardized cultural ideal of femininity. Bricher also satisfied the period{\textquoteright}s fascination with the Romantic perception of isolated stretches of coastline such as were found on the remote Canadian island of Grand Manan. In this series of paintings, he identified with and represented a masculine notion of adventure as a confrontation with savage nature. The diverse topography of the island also facilitated his development of more contemplative ideals. Fascinated with tourism and tourist sites throughout his career, Bricher contributed in diverse and revealing ways to the representation of a key aspect of post-bellum American culture.}, keywords = {Pre-1945 North American and South American Art}, author = {Sachs, Daniel} } @mastersthesis {8070, title = {The Armorial Maiolica of Francesco Xanto Avelli}, year = {1996}, school = {Penn State}, abstract = {Francesco Xanto Avelli from Rovigo was an innovative and influential maiolica painter active in Urbino from at least 1530 until 1542. This dissertation presents a more comprehensive and detailed view of his artistic production than has heretofore been attempted. A solid basis for the study is provided by my catalogue raisonne. By focusing on a circumscribed yet representative group of Xanto{\textquoteright}s historiated ceramics--those with patrons{\textquoteright} coats of arms--I have been able to formulate a more precise description of his evolution as an artist and to build a more unified picture of his working methods and his social and cultural aspirations. Chapters 1-3 present a survey and analysis of Xanto{\textquoteright}s critical fortune, mid-18th-late 20th centuries. This includes a new contextualization for a much-debated mark (the "y" flourish) that Xanto left on the backs of a large number of his earlier istoriati and the correction of a long-standing error in the interpretation of a document of 1541 concerning his properties and shop. Chapter 4 is a biographical reconstruction on the basis of the scholarly literature and new documents. Chapter 5 deals with the dating of the earliest sets, which are unsigned, and examines problems with repercussions throughout all of his armorial production, such as the addition of lustre and his collaboration with other painters. Chapter 6 explores aspects of Xanto{\textquoteright}s noble patronage; families whose arms are reflected in the sets include the Gonzaga of Mantua, the Pesaro of Venice and the Pucci family of Florence--conspicuously represented with 37 of the finest pieces. Chapters 7 and 8 constitute a detailed analysis of the artistic and literary sources of Xanto, who cultivated poetry and some humanistic literature. This chronological type o examination permits us to gain a better understanding of Xanto{\textquoteright}s working methods, materials and aims. Specific iconographical problems are discussed in the individual entries of the catalogue raisonne.}, keywords = {Renaissance Art}, author = {Triolo, Julia Catherine} } @mastersthesis {8066, title = {Art and Public Festival in Renaissance Florence: Studies in Relationships}, year = {1996}, school = {UT Austin}, abstract = {There has been a significant revision of our understanding of Medieval and Renaissance theater in the past three decades, recognizing that theatrical events before the sixteenth century were almost always one part of a much larger celebration or festival. Students of theater and art history have realized that, in most cases, little is known of the staging of the festival plays and that using artistic imagery is not a valid means for reconstructing festival theater. This dissertation explores theatrical elements of fifteenth-century Florentine festivals by focusing on the primary documents. It specifically examines the places (luoghi) and the stage arrangements used for dramatizations and spectacles that were part of the festivals. In effect it presents six studies on Florentine festival that seek to establish a clear visualization of the spaces, scenic elements and stages used during the festivals. This is done to create a foundation for investigating questions concerning relationships between the festivals and the visual arts, and the interaction between the festivals and their architectural and urban frames. One study examines para-liturgical dramatizations for Good Friday, particularly the use of wooden crucifixes with hinged arms. It proposes that at least two Florentine tombs functioned as Easter Sepulchres during reenactments of the Deposition and Entombment of Christ. Another study discusses celebrations for May Day and Carnival, beginning with a May Day dramatization of the "Punishment of the Seven Deadly Sins", staged on floating stages in the Arno River in 1304. It also reviews ideas on the festival floats called trionfi and carri. The spectacular productions of the Ascension, Annunciation and Pentecost, the machinery of which is traditionally attributed to Filippo Brunelleschi and Il Cecca, are examined. New thoughts are offered about the affect that the Council of Florence had on the imagery of these spectacles and art. One chapter studies the San Giovanni festival and offers ways to visualize its scenic elements; floats called ceri, portable tableaux vivants called nuvole, and mobile stage sets called edifizi. Consideration is given to the seating at such festivals and to the urban spaces and architectural framework for the palio, the horse race of the San Giovanni festival. A review of the Magi festival demonstrates that two types of celebration probably coexisted, one of which incorporated elaborate stagecraft. The author provides a reconstruction of a little known yet magnificent stage that was erected in the 1460s. This coincides with an inquiry about the use of the Gardens of Lorenzo de{\textquoteright} Medici{\textquoteright}s as a place for festival. The final study concerns the staging of classical plays and sacre rappresentazioni, religious plays written in octave rhyme. By gathering what is known of the production of these plays, a variety of theatrical spaces emerge, significantly amending previous ideas on the staging of this type of festival entertainment.}, keywords = {Renaissance Art}, author = {Rogers, Mark Christopher} } @mastersthesis {8056, title = {Arte e scrittura nella Firente del Quattrocento. I Commentarii di Lorenzo Ghiberti}, year = {1996}, school = {Toronto}, abstract = {Lorenzo Ghiberti, the great sculptor of the doors of the Baptistery in Florence dedicated himself in his late years to the compilation of a treatise on art, into which he poured all his knowledge and experience in the field. That work, known by the apocryphal title of Commentarii, and written between 1447-48 and 1455, the year of Ghiberti{\textquoteright}s death, is the last project of a man who lived as the chief protagonist in the artistic scene of early fifteenth-century Florence. Ghiberti{\textquoteright}s references vary from the classical sources on the art of antiquity, such as Pliny and Vitruvius, to the mediaeval ones on optics (Alhazen, in particular), to his own notes and sketches as he gathered them in his productive workshop. The dissertation provides a critical and philological reassessment of Ghiberti{\textquoteright}s Commentarii by means of a new transcription of the fifteenth-century manuscript in the Biblioteca Nazionale Centrale of Florence (Fondo Principale II, I, 333, olim Magliabechiano XVII, 33), the only extant manuscript of Ghiberti{\textquoteright}s text. The philological work here carried out is the basis for a redefinition of the artistic and literary context in which Ghiberti{\textquoteright}s observations were produced and of the impact that some of the concepts which can be found in the text, such as the memoria-ingenium dichotomy, had on the artistic literature of the century from Leon Battista Alberti to Leonardo and beyond. The new structure of the Commentarii, as it appears after the present philological enquiry, proves to be tighter and possibly more influential on later art historians than has previously been recognized. The philological reassessment of Ghiberti{\textquoteright}s text suggests a reconsideration of the overall importance of the Commentarii in the development of the modern history of art, particularly vis-a-vis Vasari{\textquoteright}s Vite. Textual criticism, it is argued, is a necessary basis for the reassessment of art and literature in fifteenth-century Florence and of the role played by Ghiberti{\textquoteright}s Commentarii in such a cultural context.}, keywords = {Renaissance Art}, author = {Bartoli, Lorenzo} } @mastersthesis {8014, title = {The Artist{\textquoteright}s Practice in Tang Dynasty China (8th-10th Centuries)}, year = {1996}, school = {UC Berkeley}, abstract = {The study considers the artist{\textquoteright}s practice during the 8th to 10th centuries in China from three perspectives: painting regimes in preparatory sketches, the institutional framework supporting production, and the reception of artistic practice as revealed in contemporary 9th century texts. The function of sketches is determined by qualities of brushwork and linear style; institutions are reconstructed using the tools of social history and ethnoarchaeology; and a structural analysis of artist{\textquoteright}s biographies reveals significant aesthetic shifts in Tang painting and perception. I analyze conditions of artistic production in the painting workshop at Dunhuang, the largest Buddhist cave site in Asia located near medieval trade routes. The prolific output of murals and banners from the 8th to 10th centuries suggests active professional ateliers. This is the first major study of early atelier structure and working methods, and their relationship to monasteries and local government; it also links development of Dunhuang{\textquoteright}s arts industries with an emerging national, public culture in the 9th and 10th centuries. These transformations were concurrent with a shift from a literary, elite-based culture to one that favored indigenous, vernacular forms of expression in both literature and art. For the first time, lay patronage outpaced imperial demand. In painting, this emerging vernacular or public culture represents a shift from the richly detailed, schematic pictorial vocabulary of the Six Dynasties to a system in which dynamic ink line describes volume and motion. Artists{\textquoteright} sketchbooks reveal a new focus on quickly-rendered, bold brushwork to codify and transmit motifs; they display verisimilitude and a keen interest in observable phenomena. This new pictorial dynamism is projected upon the artist{\textquoteright}s practice. Texts valorize wall painters{\textquoteright} ability to sketch mural underdrawings with swift, bold brushwork. Writers liken their movement to dance, and to enlightened states of meditation, portraying the muralists{\textquoteright} endeavors as unique and original. Yet, most artists worked systematically within efficient regimes, consistently reusing motifs to decorate cave-shrines. This emerging admiration for fast, freehand brush drawing is explored in the context of a general practice that still used sketches, repetition of designs, and pounces. Over 190 photographs of modern ateliers and medieval sketches are included.}, keywords = {Asian Art}, author = {Sarah E. Fraser} } @mastersthesis {8042, title = {Ben Shahn: A New Deal Photographer in the Old South}, year = {1996}, school = {CUNY}, abstract = {This dissertation proposes a critical study of a group of photographs that Ben Shahn made for the Resettlement Administration/Farm Security Administration (RA/FSA) in the American South in the autumn of 1935. As a social artist and an ardent supporter of New Deal initiatives, Shahn was particularly well-suited to serve the federal government. As a humanitarian he was highly motivated to help the victims of poverty and discrimination that he encountered in the South. This dissertation examines how the Roosevelt administration used photography to promote relief and reform programs, especially to assist the rural South; and how to this end, Shahn{\textquoteright}s photographs were effective. Moreover, this study confirms Shahn{\textquoteright}s professional status as a photographer, dispelling the general perception that he used photography merely as source material for later paintings, posters and murals. Chapter I details the evolution of the Resettlement Administration, its photography project, Shahn{\textquoteright}s commitment to the social basis of art, why his politics were relevant and useful for New Deal initiatives and Shahn{\textquoteright}s motives vis-a-vis revisionist critiques of documentary truth and "victim" photography. Chapters II-V are devoted to examining the photographs and the social and historical conditions observed and documented by Shahn. Chapter II examines Shahn{\textquoteright}s photographs of the culture and livelihood of mountaineers living in the southern Appalachian and Ozark regions. Chapter III is devoted to the photographs which document agrarian capitalism as practiced in cotton production. It opens with a discussion of how racial segregation came to underlie southern labor practice. Chapter IV shows how Shahn{\textquoteright}s sociological approach was appropriate and sensitive to Protestant Christianity and its contradictory role in southern capitulation and survival. Chapter V concerns the southern preoccupation with the past and the rhetoric of loss, and how these factors are manifested in images that Shahn made along the Mississippi River. Shahn was active as a photographer only in the 1930s, but as this dissertation attests during those years and especially in 1935 he produced photographs that were in many ways more interesting than his paintings.}, keywords = {Photography and Film}, author = {Edwards, Susan} } @mastersthesis {8050, title = {Beyond Formalism: The Function of the Soviet Photograph, 1924- 1937}, year = {1996}, school = {CUNY}, abstract = {The primary focus of this dissertation is an analysis of a function of the photographic image in the Soviet Union between 1924, the year of Lenin{\textquoteright}s death and 1937, the year of Stalin{\textquoteright}s implementation of the Soviet Constitution. The major examples of straight photography and photomontage produced in this period by Aleksandr Rodchenko, Gustav Klutsis, Sergei Sen{\textquoteright}kin, El Lissitzky, Valentina Kulagina, Natalia Pinus, Elizar Langman, and Boris Ignatovich are discussed and related to such sociopolitical events as New Economic Policy, Lenin{\textquoteright}s death, First and Second Five-Year Plans, and to the process of increasing censorship toward the arts. Among the issues that are examined are the changing functions of representation and authorship in Socialist society and the new role given to artists in the mass media. The dissertation establishes a link between the writings of critics such as Osip Brik, Sergei Tret{\textquoteright}iakov, Leonid Volkov-Lannit, Victor Shklovsky, Boris Eikhenbaum, and Lev Iakubinskij and the development of photography and photomontage during this period. This study also includes previously unpublished and untranslated material from Klutsis{\textquoteright}s letters, Rodchenko{\textquoteright}s public presentations on photography, Lissitzky{\textquoteright}s late writings about mass media, and Valentina Kulagina{\textquoteright}s personal diaries. Many previously unknown photographs provide an important visual supplement to the ideas expressed in this dissertation.}, keywords = {Photography and Film}, author = {Tupitsyn, Margarita} } @mastersthesis {8026, title = {Canonizing the Apocryphal: London, British Library MS Egerton 2781 and Its Visual, Devotional, and Social Contexts}, year = {1996}, school = {IFA/NYU}, abstract = {This dissertation constitutes the first monographic study of London, B. L. MS Egerton 2781, a Book of Hours written and illuminated in early-fourteenth-century England. It is argued that Egerton 2781 was commissioned by Isabel de Byron to commemorate her family{\textquoteright}s inheritance of the Neville of Hornby estates in North Lancashire and Northwest Yorkshire, and that the manuscript was designed as a one-volume devotional compendium and a "primer" for the spiritual and literate education of the Neville daughter. A description of the manuscript{\textquoteright}s contents and analysis of the division of scribal and artistic labor are followed by discussion of the evidence for Isabel de Byron{\textquoteright}s patronage, and a history of the Nevilles of Hornby. Remaining chapters treat the different parts of Egerton 2781 and the devotional theme(s) which are their focus. The illumination of various sequences is argued to have been responsive to--and to have structured the reader/viewer{\textquoteright}s experience of--the language of the text illustrated, whether Latin (the Salutations of the Virgin) or vernacular (the Anglo-French Complaint of Our Lady/Gospel of Nicodemus, and the imagery of the Memoriae in Lauds, known through Middle English works). Image-text sequences are shown to fuse the reader/viewer{\textquoteright}s affective experience with that of characters in the sacred narrative through the insertion of owner portraits into imagery in innovative ways; the pairing of texts with thematically-linked imagery; the adaptation of image content in relation to the Nevilles{\textquoteright} particular circumstances, as in the Cosmological and Old Testament prefatory miniatures; the linking of words in the text with aspects of imagery, particularly in the Complaint/Gospel; the treatment of pictorial narrative; and the self-conscious opposition of pictorial styles. Additionally, prayers and sequences were marked for individual family members, most notably the Hours of the Virgin, whose cycle of Apocryphal Infancy miracles was intended to appeal to the Neville daughter. Each chapter discusses the literary, liturgical and pictorial context of unusual iconographic themes, such as the Destruction of Jerusalem imagery which closes the manuscript. Egerton 2781 is redated to c. 1335-40 and its production localized to London. The dissertation includes codicological, genealogical and textual appendices.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Smith, Kathryn A.} } @mastersthesis {7998, title = {The Changing Face of an Expanding America: The City Beautiful Movement, the Myth of the Frontier, and the Louisiana Purchase, St. Louis, 1904}, year = {1996}, school = {CUNY}, abstract = {The Louisiana Purchase Exposition, held in St. Louis from April 30 to December 1, 1904, was a celebration of the one hundredth anniversary of the Louisiana Purchase, and of America{\textquoteright}s historical march westward. This dissertation explores two facets of the fair: the reliance on the ideals and practices of the City Beautiful Movement for the creation of its ground plan, and the mythology of the frontier as reflected in its sculptural program. The ground plan of the exposition was unique; it utilized a fan-shaped plan, which was often referred to in the work of Charles Mulford Robinson, one of the earliest advocates of the City Beautiful Movement, as the ideal type of civic plan. The scale of the fair was also immense; indeed, the Louisiana Purchase Exposition, covering 1,240 acres, was the largest world{\textquoteright}s fair ever held in the United States. That scale enabled the fair{\textquoteright}s planners to experiment with City Beautiful aesthetics. These experiments were furthered by an exhibit of municipal art held on the grounds, called the Model Street. The sculptural program, supervised by Karl Bitter, was an integral part of the fair{\textquoteright}s demonstration of the importance of civic art and municipal planning, two very important aspects of the City Beautiful Movement. It was also a clear and unequivocal demonstration of the mythology surrounding the American frontier, which was perceived at the time to be rapidly disappearing. Many of the sculptors employed by Bitter were responding to two important cultural forces in late nineteenth-early twentieth century American life: historians Frederick Jackson Turner and Theodore Roosevelt. Turner and Roosevelt developed "frontier theses" which were equally responsible for American attitudes towards the West, and which informed the iconographic choices made by Bitter{\textquoteright}s team of sculptors.}, keywords = {Art of the United States and Canada}, author = {Luftschein, Susan} } @mastersthesis {8063, title = {Christ and the Woman of Samaria: Studies in Art and Piety in the Age of the Reformation}, year = {1996}, school = {Virginia}, abstract = {Focusing on images of the Samaritan woman (John 4: 1-42), the chapters that follow concern critical issues in the study of the relations between art and the Reformation, including the clash between an intensely visual culture and iconoclastic theology, questions of sectarian content, and the social functions of art. Central is the issue of interpretation--the extent to which, and the manner in which, we can retrieve the meanings of works of art. Following such scholars as Michael Baxandall, David Freedberg, and Aby Warburg before them, I take a broad view of Reformation-related art, not only gauging it against developments in Catholicism and the later Renaissance as a whole, but also giving considerable weight in interpretation to objects and practices generally excluded from art-historical studies and to the reception of works of art. The evidence considered comprises not only texts and documents, including correspondence between Europeans and the Samaritans themselves, but also devotional practices, "popular" and "elite," from the Mass to the piety of holy wells. Individual artists figure prominently as well. The power of the Samaritan woman{\textquoteright}s story was such that some of them ceased producing sacred images altogether. Their differences and often violent clashes notwithstanding, the Protestant and Catholic traditions--at least those amenable to images--emerge as parallel, competing efforts to reform the visual image. Both, reeling from the iconoclastic convulsions of the sixteenth century, were concerned to eradicate "pagan" practices, and reveal similar strategies in doing so, particularly in their attempts to control the "well of living water springing up into everlasting life" offered to the Samaritan woman by Christ. Their main differences lay in the area of theological anthropology, that is, in their views of the fundamental relations between God and man, heaven and earth, soul and body, manifested in their respective understandings of Christ{\textquoteright}s words to the Samaritan woman. But these views often had little to do with the ways in which images of the Samaritan woman were received by early modern viewers, at the level of the holy well, town square, or village church.}, keywords = {Renaissance Art}, author = {McColl, Donald A.} } @mastersthesis {7987, title = {Clearing in the Woods: Self and City in Frank Lloyd Wright{\textquoteright}s Organic Communities}, year = {1996}, school = {MIT}, abstract = {This dissertation undertakes a comparative and developmental analysis of Frank Lloyd Wright{\textquoteright}s community scale planning projects executed in the wake of Broadacre City during the decade of the Second World War (1938-1948). These include the Sun-Top Homes built in Ardmore Pennsylvania, the Usonia I project for East Lansing Michigan, the Pittsfield Worker Housing project designed for western Massachusetts, the master plan for Circle Pines summer camp in central Wisconsin, and three partially built circular lot subdivisions, Galesburg Country Homes near Galesburg Michigan, Parkwyn Village in Kalamazoo Michigan, and Usonia Homes in Pleasantville New York. Through this study of seven planning projects Wright{\textquoteright}s thinking can be seen moving from a tradition of viewing the settlement as a {\textquoteright}constructed whole{\textquoteright} to a design philosophy that approached nature as an a-priori, all embracing context. In these works he explored the relationship of the natural to the man-made by inventing patterns which allow neither the site nor the geometry of the plan to assume cognitive priority. One{\textquoteright}s perception of the relationship between the individual and the group comes to be crossed with one{\textquoteright}s perception of the character of the landscape in ways that extend an American hermeneutical tradition of self and landscape into the modern era. Building on the method of Emerson, and especially on the explorations of Thoreau and Whitman, Wright sought to redefine the ever-present tension between the individual and the democratic group in terms of a symbolic interaction of self and landscape that lies at the heart of the American myth of nature. His involvement with self, with nature, and with perceptions of community as indicated here suggests an alternative to traditional American suburban models, as well as to the European inspired housing ideas coming into this country in the post-war period.}, keywords = {Art of the United States and Canada}, author = {Desmond, John Michael} } @mastersthesis {7970, title = {Collecting the Past to Create a Future: The Old Masters, Artists, and Patrons in Early 19th-Century England}, year = {1996}, school = {Columbia}, abstract = {Sir Joshua Reynolds{\textquoteright}s Discourses advised artists to consider the Old Masters as "perfect and infallible guides." Yet artists in the second half of the eighteenth century faced the practical problem of finding old-master paintings to follow. The influx of paintings from the Continent during the warfare following the French Revolution, the opening up of private collections, and the establishment of the British Institution and The National Gallery created new possibilities for studying the Old Masters. The collections of John Julius Angerstein, the third Earl of Egremont, and Sir George Beaumont provide insight into the relationship between collecting and patronage at this critical juncture in British art history, as many of the paintings in their collections functioned as lightening rods for contemporary artistic debate. The founding of the British Institution and The National Gallery formalized the interrelationship between Old Masters and contemporary art production. Two themes have emerged in examining the impact of old-master painting on contemporary artists and patrons from the time of the Orleans sale of paintings in London to the founding of London{\textquoteright}s National Gallery. Patrons played a central role during this period in determining the future direction of British painting. An analysis of Angerstein, Egremont, and Beaumont has revealed a new sort of patron with expansive sights beyond the improvement of his own collection. During this period the impact of patrons and their collections on contemporary art cannot be overestimated. This era in English art was also one of transition, from the "golden" age of Hogarth, Wilson, and Reynolds to the "modern" age most often associated with Turner and Constable. The debate over the role of the Old Masters in shaping contemporary painting in early nineteenth-century England dominated discourse among artists, critics, and collectors in these years of transition. Artists scrutinized and debated the merits and failings of old-master paintings, especially in relation to their own productions. The pervasiveness of old-master paintings forced artists and collectors to reevaluate Britain{\textquoteright}s artistic past and established the framework in which they debated and shaped Britain{\textquoteright}s artistic future.}, keywords = {19th- and 20th-Century European Art}, author = {Pomeroy, Jordana} } @mastersthesis {8021, title = {Complicating Categories: Women, Gender, and Sexuality in 17th-Century French Visual Culture}, year = {1996}, school = {Rochester}, abstract = {This dissertation analyzes seventeenth-century French images within the Grand Louvre in order to offer a complex understanding of the various discursive constructions of seventeenth-century French visual culture. I argue that articulations of "femininity" are located at the framing edges of the productions of the stylistic categories, canonized artists and historical institutions that structure narratives of seventeenth-century French visual culture; those edges are thus the critical places where differences are most pronounced. In chapter one, I contend that the Carrousel du Louvre, the shopping mall located on the subterranean level of the Grand Louvre, is considered threatening and identified with "femininity" in discussions of it because its marginal position potentially undermines distinctions between "high" art and "popular" culture. In subsequent chapters, I examine how perceptions of the art works in the museum "proper" are informed by the presence of this commercial zone. My second chapter analyzes the representation of the seventeenth-century Royal Academy of Painting and Sculpture in the French sculpture installations of the Grand Louvre, while considering its role within and the political implications of the narrative of the "development" of French culture in the museum. In chapter three, I examine the articulation of gender in constructions of the identity of the Royal Academy by foregrounding the marginalized status of its seven female members. Chapter four continues to revise understandings of the Royal Academy by critically analyzing the visual and written texts of two female academicians, Elisabeth Sophie Cheron and Catherine Perrot. In the fifth chapter, I examine a small drawing by Nicolas Poussin which has not been previously recognized as an image of childbirth because, I contend, "feminine" reproduction is considered alien to, and therefore situated outside of, discursive constructions of Poussin{\textquoteright}s artistic productivity. My sixth chapter emphasizes the potentially erotic representation of Sister Catherine in the Ex Voto, a painting made by Philippe de Champaigne in 1662, in order to complicate interpretations of it as having either a "Jansenist" or a "classical" aesthetic. Each of these studies demonstrates that art-historical constructions of seventeenth-century French visual culture are inherently unstable and thus open to reconfiguration.}, keywords = {Baroque and 18th-Century European Art}, author = {McTavish, Lianne} } @mastersthesis {7986, title = {Constructions of Past and Present: (Neo-) Dada, the Avant-Garde, and the New York Art World, 1951-1963}, year = {1996}, school = {UT Austin}, abstract = {This dissertation explores the question of dada{\textquoteright}s identity and its place in history via another present-the New York art world of the 1950s and 1960s. Here, as original participants in the movement struggled to come to terms with their past, young artists and artwriters formed their own ideas about the significance of dada and its relevance to the present. The process of dada{\textquoteright}s retreat into history coincided with its supposed revival, a neo-dada, a term representing for some the very newest developments in contemporary art and for others a decidedly academic, cynically motivated appropriation of a past whose very identity was based upon an opposition to such strategies. The ways in which dada and neo-dada participated reciprocally in one another{\textquoteright}s passage into history are examined in this study, as is the degree to which the understanding of dada which had emerged by the early 1960s represented a highly selective, if often contradictory, vision of the movement. A crucial aspect of this development, the conflation of dada{\textquoteright}s identity with that of Marcel Duchamp, is also studied, and the irony that a movement so closely associated with radical political sympathies found its supreme latter-day incarnation in an individual who appeared indifferent to the demands of society is analyzed as well. This topic focuses upon the realm of the New York art world, the site of neo-dada{\textquoteright}s first appearance as a specific critical term, and the relationship between dada and neo-dada is also used to consider the workings of this "world." Participants in this milieu often invoked the past in order to examine problems of the present. As this study reveals, the key issues addressed through the use of (neo-)dada in artistic and critical practices during this period are the passing of abstract expressionism into history, appropriate distinctions between "art" and "life," the place of social responsibility and political engagement in the art world, and the ways in which the avant-garde itself was supposed to function-topics which continue to shape contemporary discussions of modernism.}, keywords = {Art of the United States and Canada}, author = {Craft, Catherine Anne} } @mastersthesis {7976, title = {Contemporary Yoruba Art in Ile-Ife: History, Continuum, Motive, and Transformation}, year = {1996}, school = {Yale}, abstract = {Ile-Ife is the central metaphor for the organization of a pan-Yoruba identity. This study examines the historical and mythological descriptions of Ife, its meaning in the construction of Yoruba identity, and some of the historical factors which have affected its rich artistic tradition. Once this discussion has established a context, the art, ideas, and motives of several types of artists who either reside or have been educated in Ife are examined to look at the collision between the deepest layers of Yoruba tradition and contemporary art expression. Where possible, Yoruba terminology is used to give meaning to the art or to help interpret or open up concepts. Lamidi Fakeye is a carver who has come to reside in Ife for almost two decades and emerges from the system of art and patronage which was ravaged by British colonial intrusion and the growth of Christianity and Islam. His work and ideas are examined to explore how he reconciles creating forms with no ritual significance while using traditional techniques and icons. Ulli Beier instituted the art workshop in Nigeria and the Ori Olokun workshop that opened in Ife in 1968 was a descendant of Beier{\textquoteright}s Mbari workshops. The workshop idea is examined and the questions raised by its inception in Africa. The final group discussed is that including younger artists educated in university settings. Some Europeans have expressed doubts about their ability to create "African" art once influenced by the international art world. How they deal with the reconciliation of their modernity and their history is discussed. All three groups are discussed as a means of looking at transformation and change in contemporary African art, and how the artists reconcile Western influences, expressive forms, and materials with their own identity and traditions.}, keywords = {African Art}, author = {Michael Dehart Harris} } @mastersthesis {7989, title = {Coonskin Fever: Frontier adventures in postwar American culture}, year = {1996}, school = {Minnesota}, abstract = {With the airing of Walt Disney{\textquoteright}s Davy Crockett on ABC television in 1955, the broad national ardor for all things wild and Western coalesced in a new kind of cultural frontierism. Rather than as a brief, albeit intense, period fad, the dissertation tackles the Crockett craze as a window on the changing shape of postwar American culture and the subsequent development of the nation{\textquoteright}s shared popular cultural memory. Fischman investigates the ways in which Americans employed objects and images, "high" and "low"--a plethora of cultural products and consumer goods, from historical texts to textile design--in the formation of Americanist identities. The project is cross-disciplinary, and combines the methodologies of Art History with the critical perspectives of Cultural Studies. Using a variety of sources both popular and scholarly, Fischman investigates the development, creation, and resonance of Disney{\textquoteright}s Davy Crockett. The prologue introduces actor Fess Parker who, through his personification of Crockett, provides a locus for the spin of a whole generation{\textquoteright}s world-view. Six chapters examine the Crockett phenomenon. The Disney narrative and character construction are contextualized as Cold War re-presentations of mythic American history; the memorable Crockett ballad is linked to musical precedents and parallels; the widespread media attention to Parker is considered in terms of the impact he came to have on the culture at large; the unprecedented scope and success of the series{\textquoteright} related merchandise is tied to the look of popular fashions and furnishings; television and film Westerns are considered as booming outgrowths of the craze; and the enormous popularity of Westering tourism, alongside the resurgence of interest in historic landmarks, like the Alamo, is examined in the same light. Finally, Disneyland is analyzed as the culmination of the postwar fascination with frontier adventures. An epilogue argues for the ongoing resonance of Disney{\textquoteright}s Davy Crockett--now as a nostalgic symbol, whether contested or confirmed, of both Americanist heritage and the optimistic innocence of postwar life.}, keywords = {Art of the United States and Canada}, author = {Fischman, Lisa Anne} } @mastersthesis {8027, title = {Costume as Communication: Textiles and Clothing in Northern French Early Gothic Sculpture}, year = {1996}, school = {Columbia}, abstract = {This dissertation seeks to uncover levels of meaning implied through the representation of clothing and textiles in mid-twelfth-century northern French portal sculpture. It is a study of the column-figures lining the jambs of well-known monuments such as Chartres, Saint-Denis, and Notre-Dame of Paris and eighteen other programs. This work accepts the artists{\textquoteright} fiction and explores the manner in which depicted costume functions as a signifier within the text of sculpture programs. The column-figures appear in distinctive costumes of precious silks and finely-woven linens with silk tapestry or embroidery, as if elegantly garbed in contemporary courtly fashions. These clothes, made in France, combined locally available goods with exotic imports. Evidence from literature, images on seals and in other twelfth-century artifacts support my thesis that the costumes "worn" by the column-figures correspond to the actual garments worn by members of the court. Archaeological textiles and extant trade records show the goods were imported from eastern lands; contemporary Islamic textiles and art verify a connection with the Near East. The patron used sculpture to shape political reality, employing images of textiles and clothing which had political, economic and social significance. These images assert the presence of a higher authority at a time when the relationship between the king and his vassals was evolving. During the last third of the century, changes in sculpted costumes occurred simultaneously with changes in technology and a shift in the center of government and commerce.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Snyder, Janet Ellen} } @mastersthesis {8022, title = {Cottages and crafts in fin-de-siecle Belgium: Artisans, antimodernism and art nouveau, 1880-1910}, year = {1996}, school = {Princeton}, abstract = {This dissertation concerns the rustic cottages and handmade crafts that were produced in Belgium at the turn of the century. I reconsider the prevalent understanding of Belgian Art Nouveau as an exclusively urban, curvilinear style by introducing the primitivist and antimodern aspects of the work of Henry van de Velde, Paul Hankar, Gustave Serrurier-Bovy and Georges Hobe, and the cultural circumstances that nourished a nostalgic image of the pre-industrial past. My first chapter considers Belgium as a nineteenth century invention. I suggest that the decorative arts exhibited at the large exhibition commemorating the fiftieth anniversary of independence in 1880 played an important part in defining an artistic and artisanal legacy that predated nineteenth-century borders. Since Belgium was the earliest industrialized country in continental Europe, the reasons for this attitude are particularly complex. At the avant-garde Brussels exhibition societies Les XX and the Libre Esthetique, primitivism was a significant aspect of the decorative arts shown by an international group of artists, including William Morris and other members of the British Arts and Crafts Exhibition Society. Two fully installed interiors by Serrurier-Bovy demonstrate how the romantic image of the artisan{\textquoteright}s dwelling and the concept of the Simple Life were deeply infused in Belgian culture around 1900. From the rustic "peasant" interiors of the mid 1890s, I trace the concept of the cottage in nineteenth-century architectural discourse. Throughout Europe vernacular building, particularly the English country cottage, was revered as both an ancient and a modern form that embodied the sanctity of the family, health and autonomy. The cottage was a suggestive notion for van de Velde, Hankar, Serrurier-Bovy, and Hobe, who built houses for themselves or artist friends as a means of finding a harmonic, artistic environment removed from the city. The literary, sociological and architectural expressions of the tension between city and the country is the subject of my last chapter. In the Belgian magazine Le Cottage, and especially at the developing seaside communities along the Flemish coast, the spatial utopia of the garden city held the promise of finally resolving the past with the future.}, keywords = {Baroque and 18th-Century European Art}, author = {Amy Ogata} } @mastersthesis {8048, title = {A Cultural Analysis of the Abduction of Westerners in Lebanon in the 1980s}, year = {1996}, school = {Rochester}, abstract = {This dissertation considers the images and texts produced about the western hostages who were kidnapped and held in Lebanon between 1985 and 1991. My approach is interdisciplinary and is cognizant of a variety of concerns shared among the fields of Middle Eastern history, post-colonial, gay and lesbian, and cultural studies. Chapter One examines five major official investigations into the Iran-Contra affair. I ask why certain questions were investigated and others were not, and note a series of interventions that limited the scope of the investigations. This chapter also considers how the investigations shaped the predominant questions that eventually dominated popular perceptions of the abductions and of the Iran-Contra affair. In my second chapter I concentrate on Maroun Baghdadi{\textquoteright}s film, Hors la vie. The film reveals political, ideological, and historical aspects of France{\textquoteright}s intervention in the Levant, and of the socio-political repercussions of this intervention on contemporary French public and political life. This chapter considers how these repercussions are given expression cinematically in the film{\textquoteright}s repetition of distinct representations of the city of Beirut. Chapter Three unpacks the themes and narrative structures that shape the representation of the experience of captivity in the captivity memoirs. I also ask: What markers of identity were deployed by the western men to identify themselves to their fellow captives? And, How are the Lebanese men marked as subject to western authority through the demarcation of certain differences and identities? In my fourth chapter I focus on the socio-sexual aspects of the encounters between westerners and Arabs, and more specifically between western and Arab men as they are represented in the captivity memoirs. I analyze the representations of the various bonds that developed between the western men, and between the western men and their Lebanese Muslim male captors. I also consider and challenge, through the writings of Eve Kosofsky Sedgwick, Sara Suleri, Mary Louise Pratt, and Joseph Boone, the persistent foreclosing on the homoerotics of Orientalism in critical analyses of the encounters between western and non-western men.}, keywords = {Photography and Film}, author = {Raad, Walid} } @mastersthesis {8033, title = {The Daochos Monument}, year = {1996}, school = {Princeton}, abstract = {This dissertation examines the Daochos Monument, a group of ancestral portraits erected in Delphi in the last third of the fourth century B.C.. The first chapter introduces the group and justifies a monograph on the monument. The second chapter details each individual statue, including comparisons to contemporary similar statues. The next chapter divides the monument into three distinct groups and then describes the features shared by all three groups; this prompts the conclusion that a single workshop was responsible for the entire monument. The fourth chapter provides an analysis of the group within the context of the sculpture of the last third of the fourth century. Issues including realism, motion, interaction of figures, interest in emotion, eclecticism, and the involvement of the artist in the monument are examined. This leads to a discussion of the artist in the next chapter, with the conclusion that a Thessalian workshop created the monument. The dissertation concludes with an examination of issues outside art; topics such as Philip{\textquoteright}s use of art as an expression of power, and the nature of artistic commissions in the late fourth century, as well as the changing nature of art, politics, and society as depicted by such a commission, are all discussed. Appendices containing the inscriptions from the base of the monument and photos of the statues and relevant comparisons complete the dissertation.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Evans, Kirsten} } @mastersthesis {7993, title = {The Darwinian Presence in American Painting, 1859- 1900}, year = {1996}, school = {Rutgers}, abstract = {This dissertation investigates the impact of Charles Darwin{\textquoteright}s texts, The Origin of Species, (1859), and The Descent of Man, (1871), on late nineteenth-century American painting. Based on Darwin{\textquoteright}s enormous influence on American cultural thought, it is possible to discern Darwinian ideas in paintings by artists whose only knowledge of Darwinism may have been through its pervasiveness in contemporary periodical literature. This dissertation combines close reading and contextual analysis to explore the absorption and testing of Darwinian ideas by American artists. Chapter one summarizes the pertinent arguments of Origin and Descent, and establishes Darwin as a cultural presence in America through an examination of nineteenth-century periodical literature. Chapter two explores Darwinian issues of struggle, mutability, and teleology in Winslow Homer{\textquoteright}s seascapes and Adirondack paintings. Chapter three examines the relationship between Frederic Remington{\textquoteright}s Native American imagery and Darwinian attitudes on extinction, adaptation, and racial differences, as well as contemporary writings on social Darwinism by Herbert Spencer, William Graham Sumner, and John Fiske. Chapter four investigates the presence of Darwinian ideas about female sexuality and the sociological and biological roles of women in images by late nineteenth-century American artists. Works by Edmund Tarbell, Thomas Dewing, and Frank Benson are considered in this chapter. This study is not intended to be an encyclopedic record of the literal representation of specific Darwinian theories by American painters; instead, it seeks to examine the impact of Darwinism as a larger, less tangible, cultural force on American artists. This dissertation attempts to unify American painting of the late nineteenth century through recreating the Darwinian context in which these artists worked.}, keywords = {Art of the United States and Canada}, author = {Guttzeit, Carol J.} } @mastersthesis {7972, title = {Daumier{\textquoteright}s "Histoire Ancienne": French Classical Parody in the 1840s}, year = {1996}, school = {IFA/NYU}, abstract = {This dissertation explores the aesthetic, cultural, and political context for Daumier{\textquoteright}s Histoire ancienne, a series of fifty caricatures published between December 1841 and January 1843. After a brief survey of seventeenth and eighteenth century precedents in French literature, theater, and caricature, the focus turns to French July Monarchy culture, and to the genre of classical parody--the ignoble ideal--developed at the periodical La Caricature between 1830 and 1835. In the ca. 1840 political environment, the writers and artists of opposition and caricatural journals began to use this classical idiom to indirectly critique the Louis-Philippe government in three thematic areas, all reflected in Daumier{\textquoteright}s Histoire ancienne: the classical curriculum in secondary schools under education ministers Victor Cousin and Abel Villemain; the classical stranglehold at the Institut (including Raoul-Rochette, Ingres, the Davidian ecole, the Ecole des Beaux Arts, and the salon system); and the classical revival at the Theatre Francais, from the debut of Mlle Rachel (1838) to Francois Ponsard{\textquoteright}s Lucrece (1843). Daumier{\textquoteright}s series also reflects a wide variety of "low" caricatural mythologies and vaudeville productions. Part of a reprise of classical caricature ca. 1850, Daumier produced twelve costume illustrations for the decrepit Olympians in a spectacular feerie in 1853. These drawings are examined along with the somewhat mocking acclaim Daumier received. The still-ongoing charactization of Daumier as a classique is repudiated with a review of the major critical articles written by Baudelaire, Champfleury, Thore, et al., about Histoire ancienne during the 19th century. Finally an annotated catalogue illustrates the caricatures, as well as selected pictorial sources. Literary, salon, and antique sources are listed along with sources found in printed material and relevant theatrical performances. The catalogue also reproduces the text that accompanied the series, and identifies all contemporary figures and other allusions.}, keywords = {19th- and 20th-Century European Art}, author = {Wilker, Jenny Squires} } @mastersthesis {8052, title = {Deprivileging Art: Seth Siegelaub and the Politics of Conceptual Art}, year = {1996}, school = {Northwestern}, abstract = {In this study I have sought to write a history of Conceptual art based on detailed archival research. The study addresses the emergence of Conceptual art in the mid-to-late 1960s as well as the problem of Conceptual art{\textquoteright}s relationship to the politicized cultural critique that erupted in New York City in 1969. These concerns led me to a systematic investigation of the evolving aesthetic dialogue in the work of those artists whose art practice came to represent Conceptual art and to the exhibition and distribution strategies of the dealer Seth Siegelaub in the late 1960s. My investigation begins with a rigorous examination of how a group of artists working in a multiplicity of different styles (Carl Andre, Robert Barry, Douglas Huebler, and Lawrence Weiner) come together with Siegelaub, a failed gallery operator and art entrepreneur. Chapter two examines how Joseph Kosuth becomes associated with Siegelaub and the artists he represents. Chapters three and four examine the development and implications of an art practice that collapses traditional categories and conventions while integrating the infrastructure of publicity and display into the work of art. Here I also consider the strategies Siegelaub devised to present this art practice--strategies that deprivileged the exhibition and distribution of the work in a way that paralleled the production practices of the artists associated with Siegelaub. Chapter five deals with the first reception of Conceptual art in the New York press. I argue that with the coalescing of a newly politicized art public around the Art Workers Coalition in early 1969 was coupled by a call for a public art that challenged the authority of not only museums but all art institutions and conditions, and that the initial critical reception of the works produced by the artists associated with Siegelaub indicates that this work fit the bill more adequately than other contemporary art practices. The final chapter tracks the reaffirmation of categories, criteria and hierarchy that begins to take place in late 1969, setting the stage for the emergence of the work of artists who take as their point of departure the perceived deficiencies in the models developed by Conceptual art. Conceptual art was at once a moment of rebellion, enlightenment, and fusion with spectacle culture within the context of art, and its reverberations continue to be felt today.}, keywords = {Post-World War II American and European Art}, author = {Alberro, Alexander} } @mastersthesis {8006, title = {The Discourse of the Artist in the University}, year = {1996}, school = {Rochester}, abstract = {This dissertation begins with the assumption that the way in which artists are educated as artists makes a difference in the forms and meanings they produce. In the postwar years in the United States, particularly since the early 1960s, the primary site for the professional education of artists has been the university and those art schools that envision themselves not as ateliers or academies, but as "universities for the arts." The chapters of this dissertation trace the history of the teaching of art and the training of professional artists on American campuses. Following an introductory chapter that considers contemporary art practice as a Foucauldean discipline and examines graduate training in studio art with the tools of a sociology of the professions, the opening chapters stress the university{\textquoteright}s discomfort with the practice of art and the image of the artist in the years between the world wars. The college-educated American artist was consistently; envisioned as an antidote to a useless, unemployable, excessive artist, the artist of a caricatured European academy or avant-garde. The dissertation examines the image of the excessive artist repeated by educators against the central role played by women art students and educators and women{\textquoteright}s institutions in shaping the practice of art in colleges and universities. Beginning with an investigation of the nineteenth-century sources for the Bauhaus foundation course and of the ideology embedded in the name "visual art," the second half of the dissertation stresses the impact of the university on, and its interconnections with, recent art practice. It reads first abstract expressionism and then the conceptual, performance, and video art of the 1970s in relation to the teachings and the facilities of the college campus. Finally, it examines the theorization of postmodernism in the 1980s as both a response to the academic demand for theory, and the continuation of a debate from the 1950s and 1960s over the place of the artist in the university, which had been cast, like postmodernism in the visual arts, as a struggle between vision and language.}, keywords = {Art of the United States and Canada}, author = {Howard Singerman} } @mastersthesis {8024, title = {Early Medieval Iberian Architecture and the Hispanic Liturgy: A Study of the Development of Church Planning from the 5th to the 10th Centuries}, year = {1996}, school = {IFA/NYU}, abstract = {This dissertation surveys the different liturgical arrangements that were in place in Early Christian, Visigothic, Asturian and Mozarabic churches during the supremacy of the Hispanic liturgy. Three chancel barrier arrangements develop in Iberia prior to the formal abrogation of the Hispanic rite and the political and ecclesiastical endorsement of the Roman rite at the Council of Burgos in 1080. These are the Early Christian Double-apsed Basilical Arrangement, the Longitudinal Tripartite Arrangement, and its variant, the Visigothic Cruciform Arrangement. This study focuses on their chronological and geographical dissemination and it suggests that they were product of two different liturgical traditions indigenous to the Iberian peninsula. Concomitantly, it discusses the spaces contained within these liturgical configurations. Thus the function and location of the altar area, and choir area, as well as the proliferation of chapels and sacristies are analyzed in relation to the archaeological remains and their liturgical, patristic, epigraphical, and monastic sources. The placement and usage of liturgical furniture such as chancels, eucharistic tables and their ornamentation, episcopal cathedra, pulpits, choir screens and curtains are discussed within the context of the remaining buildings. Finally, other potential influential factors in church planning such as the role of private religious foundations are considered.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Quevedo-Chigas, Elena} } @mastersthesis {8054, title = {Edmund C. Tarbell{\textquoteright}s Pictures of Women in Interiors: Paintings as Moral Metaphors}, year = {1996}, school = {Case Western Reserve}, abstract = {This dissertation presents a unique perspective an the paintings of women in interiors by the Boston painter Edmund C. Tarbell by highlighting the correspondences between the conservative artistic, cultural, and ethical climate of Tarbell{\textquoteright}s New England venue at the fin de siecle and the artist{\textquoteright}s moralizing and seemingly anachronistic pictures. The artist{\textquoteright}s biography and seventeenth-century Puritan heritage are considered as factors which intersect with the themes represented in his paintings. While the Boston School painters in general eschewed depicting their time, none did so as assiduously as Tarbell. In his works of the late nineteenth and early twentieth centuries, as Tarbell sought his own means of artistic expression, he acted on the iconography of European precedents. He appropriated subject matter from art history, yet manipulated it to accord with his own growing moral concerns. A critical reading of three key works by Tarbell and comparison of them with their likely models show that, in his oeuvre, the artist increasingly foregrounded and amplified his own, as well as Boston{\textquoteright}s sense of propriety. The women he posed were meant to act as paradigms for the nineteenth-century ethical ideal as documented by philosophers and etiquette manual authors. As seen in his paintings from 1904 on, although Tarbell largely borrowed his artistic vocabulary from Vermeer, he infused this iconography with a moral code modified by deeply embedded psychological concerns. In frequently representing his wife and daughters in interior genre scenes after 1904, Tarbell signaled autobiography. In his mature work, as a way of compensating for an unstable psychological identity, the artist pointed more directly to his family, a reference which coincided with Boston{\textquoteright}s traditional valorization of ancestry. While the artist had previously appropriated themes from such diverse artists as Degas and Hogarth, after 1904 he primarily devised variations on Vermeer{\textquoteright}s iconography, finding it to be most associative of his evolved sense of propriety and his heritage. Referencing an interconnected range of personal, social and aesthetic concerns in his mature paintings, Tarbell created images that could have been done nowhere else but in New England.}, keywords = {Pre-1945 North American and South American Art}, author = {Carstensen, Nancy Stillwagon} } @mastersthesis {7977, title = {Engendered Spirits: Politics and Performance in an Urban Masquerade Festival in Nigeria}, year = {1996}, school = {UC Santa Barbara}, abstract = {My dissertation is based on field research conducted in Enugu, Nigeria in the Fall and Winter of 1993-1994. Since 1986 Enugu state has organized the Mmanwu Festival, a spectacular urban event which brings together dozens of masquerade troupes from rural villages. The festival seeks to present a "modern" face to both internal and external audiences, and to elevate Igbo identity and the state{\textquoteright}s prestige. FESTAC {\textquoteright}77, a festival sponsored by the Nigerian government in the 1970s, emphasized the conjunction of modernity and cultural tradition and served as a model for the Enugu event. The festival organizers use the concept of cultural revitalization to stage the festival and provide educational examples of idealized and modernized "traditional" behavior to the general populace for their moral improvement. In order to analyze the festival{\textquoteright}s concern with modernity I compare it with a village ancestor masquerade which demonstrates changes in masking practice that occur in the urban festival. Sacred village masquerades such as these would not perform within the modernized and secularized context of the urban festival. A second case study examines Adamma, a secularized maiden spirit masquerade which appears annually in the Mmanwu Festival. Maiden spirit masquerades are danced by especially tall men, who simultaneously idealize and parody females. Adamma, created in 1984, wears a naturalistically colored mask, as well as lipstick, eyeliner and a glitzy taffeta head-tie. Adamma is concerned with modern experience--combining non-traditional elements with Igbo performance traditions. The relationship of gender to Igbo masquerades is a major focus of this study and is furthered through interviews with Igbo women and men. Women have a significant share in maintaining both family and community coherence, and they have access to powerful ritual sanctions that may be used against men--though they are often less powerful than the sanctions associated with masquerades. Despite their concern with modernity, festival organizers are careful to maintain the tradition of excluding women from direct participation, even as they actively alter other aspects of Igbo masquerades.}, keywords = {African Art}, author = {Reed, Dorothy Bess} } @mastersthesis {7982, title = {A Family Conflict: Visual Imagery of the {\textquoteright}Homefront{\textquoteright} and the War between the States (1860-66)}, year = {1996}, school = {Northwestern}, abstract = {Visual images which featured family, gender roles, and sexuality played important propagandistic roles in fighting the War Between the States. Supported by the loyal press in the North and by patrons with reinforcing commitments to art, social and moral reform, and the Republican Party, artists such as Thomas Nast, Eastman Johnson, George Cochran Lambdin, Lilly Martin Spencer, and John Rogers produced popular prints, paintings, and sculpture during the Civil War and in its aftermath which exploited the power of sentiment and ideologies of domesticity. Close readings of several domestic images produced by these artists between 1860-1866 reveal them to be active agents in contemporaneous political debates. Visual appeals to home and to the private sphere were especially potent representations for building the consensus of "union" in the North because they appealed to shared desires and naturalized the expression of loyalty. Republican propagandists were also eager to identify the Union cause with the private sphere and domestic womanhood because the latter was associated with nonpartisanship and the virtue of disinterest; thus advancing a notion of Northern moral superiority. This dissertation contends, however, that the representation of patriotic womanhood in particular was a contentious and potentially subversive enterprise which required careful monitoring, and that visual depictions of home subjects operated as vehicles of exclusion as well as inclusion during the Civil War. As a didactic, prescriptive genre, domestic pictures proposed middle class notions of family roles and composition which appeared more egalitarian when contrasted with the Southern "domestic institution" which Northerners argued was aristocratic and corrupted by slavery. Domestic images also attempted to regulate behavior and conduct by proposing ideals of gender roles and relationships which countered challenges to the separation of spheres and to existing definitions of masculinity and femininity which were exacerbated by the war. Finally, because they were read metaphorically and highlighted biological as well as social reproduction, visual depictions of family groups aided in determining the racial composition of the reconstructed "national family," and were complicit in building white hegemony in the wake of emancipation.}, keywords = {Art of the United States and Canada}, author = {Bell, Christine} } @mastersthesis {8009, title = {Fine Art and Popular Entertainment: The Emerging Dialogue between {\textquoteright}High{\textquoteright} and {\textquoteright}Low{\textquoteright} in American Art of the Early 20th Century}, year = {1996}, school = {CUNY}, abstract = {My dissertation focuses on the representation of vaudeville and movie phenomena in American art between circa 1900 and 1920. Subjects related to vaudeville and motion pictures first emerged in realist painting--particularly in works by John Sloan, Everett Shinn and William Glackens--at a time when the academic tradition was waning in American art and "democratic" values were on the rise. The progressive spirit of the realists was inherited by younger artists, like Stuart Davis, who would turn to modernism in the 1910s. As modernism gained ground in the United States, formal issues took precedence over concern with subject matter. Nonetheless, the entertainment spectacle remained a subject of interest for several major artists during this period of formal enlightenment. In the mid- to late 1910s, popular entertainment imagery was conspicuous in the work of Man Ray and Charles Demuth, two artists who were involved, each in his own way, with the phenomenon of New York Dada. Marcel Duchamp, the guiding light of New York Dada, was himself a great fan of American movies and vaudeville, and he shared his enthusiasm with American colleagues. This enthusiasm was also manifested in his own work. His notorious alter ego Rrose Selavy was inspired, at least in part, by American vaudeville. I approach this study of popular entertainment imagery as a problem in the evolving relationship between fine artists (and representatives of the "cultural elite" in general) and popular culture in twentieth-century America. During the first two decades of the twentieth century, the novelty and distinction of American movies and vaudeville were widely recognized by the most conscientious critics and observers of culture in America. Thus, in addition to interpreting the imagery of popular entertainment in paintings, prints and illustrations, I undertake to assess the related tendency to address popular entertainment phenomena in the literature and journalism of the period. My ultimate goal has been to evoke, in the most convincing way possible, the larger cultural context in which a fascination with popular entertainment developed among artists and writers active in New York in the early twentieth century.}, keywords = {Art of the United States and Canada}, author = {Weintraub, Laural} } @mastersthesis {8013, title = {Fishing Society at Hsi-Sai Mountain by Li Chieh (1124-before 1197): A Study of Scholar-Official{\textquoteright}s Art in the Southern Sung Period}, year = {1996}, school = {Princeton}, abstract = {The Fishing scroll had long been erroneously attributed to the Northern Sung painter Wang Shen (act. 1090), ever since the Ming painter and art critic Tung Ch{\textquoteright}i-ch{\textquoteright}ang (1555-1636) made such a statement in his colophon for this painting. This paper not only studies carefully the seven Southern Sung colophons attached to this painting--all of them point out the painter of the Fishing scroll being Li Chieh--but also attempts to reconstruct the socio-political and cultural context in which the Fishing scroll was created. As the paper proceeds, the authorship of the painting becomes self-evident. A couple of the most critical points include: Li{\textquoteright}s letter to his close friend Yang Kuan-ch{\textquoteright}ing (1139-?) describing the scenery in the Fishing scroll, and Fan Ch{\textquoteright}eng-ta{\textquoteright}s poems inscribed on other landscape paintings by Li that carry similar motifs to the Fishing scroll. In all, the Fishing scroll is the projection of Li{\textquoteright}s life and aesthetics. The paper will then interpret various ideas behind Li{\textquoteright}s vision of hsi-sai yu-she ("Fishing Society" at Hsi-sai Mountain)--his wish for a fishing reclusion to emulate Chang Chih-ho and Yuan Chieh, his literary activities in his poetry society, and his lyrical garden that alluded to literary and imagery antecedents in Chinese poetry and art. Finally, from the visual point of view, the representational principle of the Fishing scroll fits perfectly into the late twelfth century context, further attesting its authenticity as a Southern Sung rather than a Northern Sung work. Regarding its artistic expression and thematic treatment, Li{\textquoteright}s Fishing scroll, while absorbing the literati ideas and theories from the Northern Sung period, develops a unique style and content for the landscape painting of the literati in the Southern Sung, pioneering the literati art of the fourteenth century. Chapter I discusses Li{\textquoteright}s life in Hangchow at the year of 1170 when his Fishing scroll was completed; it also introduces the political activities of the seven colophon writers during this time. Chapter two portrays the painter{\textquoteright}s family background, official career and process of requesting the colophons from his friends after retiring. Chapter 3 interprets the social and cultural significance of Li{\textquoteright}s yu-she--fishing reclusion and poetry society--in the Southern Sung. Chapter 4 explores the symbolic and imaginary quality of Li{\textquoteright}s garden retreat in the context of the Southern Sung garden culture. Chapter 5 analyzes the stylistic relationship between the Fishing scroll and Tung Yuan (act. 937-76) and Chao Ling-jang (act. 1070-1100) tradition. Chapter 6 investigates how the four long established landscape themes--scholar{\textquoteright}s villa, "Blue-and-Green", fisherman, and literary gathering--came to merge in the Fishing scroll and gain new meaning for the eremitic vision in the Southern Sung.}, keywords = {Asian Art}, author = {Feng, You-heng} } @mastersthesis {7980, title = {Framing Words: Visual Language in Contemporary Art}, year = {1996}, school = {Rochester}, abstract = {Throughout the history of representation two distinct artistic categories have been constructed: one visual, based on images; the other verbal or literary, based on words. There have, of course, been points of intersection: visual art that includes letters, wards, phrases, written texts, audio recordings and/or linguistic structures with, as, and/or instead of images, such as Cubist collages and Conceptual art; and literary practices that feature images, illustrations, visual imagery, non-traditional typestyles and/or graphic layouts, such as illuminated manuscripts and concrete poetry. However, these combinations of words and images are typically considered "border crossings", exceptions to traditional visual and literary forms, and challenges to the boundaries between them. The separation of words from images is based on the modernist assumption that each of the arts occupies a specific area of competence. However, recent developments in visual art have overturned such purity: words and/or language frequently function as images, media and/or subject matter in an array of artistic formats. In this study I examine the conventional separation of words from images within visual art practices, demonstrating that it has led to the classification of linguistic components in art as intrusions, and has resulted in the isolation of "hybrid" practices within their own distinct category. While examples of art forms at the intersection of the visual and verbal fields are infinite, in this study I examine work by five contemporary artists--Edward Ruscha, Jenny Holzer, Barbara Kruger, Louise Lawler, Lawrence Weiner--in which words and language function visually. Though their work varies greatly, these artists present verbal components such that their art requires both reading and looking, and results in new ways of seeing and interpreting. By reframing their practices as investigations into visual and verbal signification, rather than as "exceptions" or moments of hybridity within well-established modernist borders, I consider the nature of visual language, and move toward a theory for interpreting how it is deployed in art.}, keywords = {Art Criticism and Theory}, author = {Steiner, Rochelle} } @mastersthesis {7975, title = {Franz Radziwill, the Art of Politics of the National Socialist Regime and the Question of Resistance in Germany, 1930-39}, year = {1996}, school = {Northwestern}, abstract = {This dissertation analyzes the relationship between the German painter Franz Radziwill, the National Socialist Party (NSDAP), and the National Socialist regime between the years 1930, when Radziwill{\textquoteright}s sympathies for the NSDAP emerged, and 1939, when his membership in the NSDAP ended after his induction into the German army. In 1933, Radziwill was one of the artists named by the new government under Hitler to succeed the modem art establishment of the Weimar Republic. Between 1935 and 1938, however, Radziwill was marginalized as centralized art institutions came to be dominated by hostile factions within the NSDAP. This dissertation addresses Radziwill{\textquoteright}s ultimately unsuccessful effort to reconcile modern painting, neoconservative ideology, and political engagement within the political and professional conditions provided by the Weimar Republic between 1930 and 1933, and by the NS-regime between 1933 and 1939. it discusses his career in terms of the relationship between traditional and National Socialist cultural elites, of policy-making in the NS-regime, and of the boundaries between consent and dissent in Germany between 1933 and 1945. After an introductory Chapter 1, Chapter 2 situates Radziwill within the artistic culture of the Weimar Republic, emphasizing the prevalence of conservative cultural criticism there and reinterpreting several of his acclaimed paintings, particularly those of the First World War. Chapter 3 focuses on Radziwill{\textquoteright}s engagement with the NSDAP, his turn away from leftist painters, and the remarkable influence of his circle in the Prussian Cultural Ministry in 1933. Chapter 4 details Radziwill{\textquoteright}s activities as a professor at the state art academy in Dusseldorf beginning in 1933 and traces the denunciatory campaign that led to his dismissal in 1935. Chapter 5 concludes with an analysis of Radziwill{\textquoteright}s later career in northwestern Germany, where he won the support of political leaders, military officers, and influential colleagues, but was unable to cross the threshold from regional recognition to national rehabilitation. This frustrating situation, exacerbated by the ramifications of the exhibition "Degenerate Art," led Radziwill to renew his conservative cultural critique, now directed against the NS-regime{\textquoteright}s populism and exploitation of modern media, while he supported the war it unleashed in the name of the nation.}, keywords = {19th-and 20th-Century European Art}, author = {Van Dyke, James} } @mastersthesis {7974, title = {From Making History to Living Legend: The Mystification of M. Ingres (1834-55)}, year = {1996}, school = {IFA/NYU}, abstract = {Despite his rabid conservatism and privileged position within the institutional hierarchies of 19th-century France, Jean-Auguste-Dominique Ingres has long occupied a prominent place in the canon of modern art. Ingres{\textquoteright}s modernism has usually been qualified as unintentional, however, and it has always been formally defined: it is the illogical spatial configurations and bizarre anatomical distortions--unconscious by-products, it is assumed, of the artist{\textquoteright}s working method and/or his particular psychological make-up--that most clearly distinguish his works from those of his academic colleagues and thereby secure his place in the pantheon of modernist genius. The present study seeks to re-assess Ingres{\textquoteright}s modernism from an institutional as opposed to a formal or psychological perspective, taking as its focus the strategies and discourses to which he appealed after his momentous renunciation of the Salon following the hostile reception of Le Martyre de saint Symphorien in 1834. And far from celebrating Ingres as an unwitting precursor to twentieth-century formal innovations, this thesis offers a critique of the modernist tradition that has co-opted his work. The raw material for this dissertation is provided by the vast array of contemporary writing on Ingres, much of which has never been incorporated into modern bibliographies on the artist. The introduction situates this mobilization of contemporary criticism within the tradition of literary and art historical studies of reception as well as the epochal death-of-the-artist debate. The main body of the dissertation is then given over to a detailed consideration of Ingres{\textquoteright}s critical reception between the years 1834 and 1855, when the artist orchestrated a spectacular re-entry into the public domain via a massive retrospective at the 1855 Exposition Universelle. Of primary interest here are the ways in which Ingres{\textquoteright}s innovative post-Salon exhibition practices and their accompanying discourses encouraged the disarticulation of the social and political factors that underlay his work for the sake of a purely mystical--and specifically modernist--conception of art as the direct emanation of the aesthetic personality of the Artist.}, keywords = {19th-and 20th-Century European Art}, author = {Shelton, Andrew Carrington} } @mastersthesis {8003, title = {From Margin to Center: The Space of Installation Art, 1958-1993}, year = {1996}, school = {CUNY}, abstract = {This study examines the development of Installation art in America from its emergence in the late 1950s as a radical art form shown primarily in alternative spaces, through its metamorphosis into a genre popular with major art museums in the early 1990s. Among the issues that are explored in the dissertation are the nature of the pressures that caused museums to become patrons of Installation art, and the way in which the protocols of museums impacted this radical art form, particularly in the area of spectator participation. Allan Kaprow{\textquoteright}s lasting contribution to the critical rhetoric of Installation art is discussed, as is the gradual critical acceptance of room-sized works of art. Kaprow showed his first Environment at the Hansa Gallery in New York eleven years before Installation art was first shown at the Museum of Modern Art, in the Spaces exhibition of 1969. In the 1970s, Installation art still flourished mainly outside the museum world, paralleling the emergence of new alternative spaces such as 112 Greene Street. The early 1990s saw the birth of Installation art as a museum form, with major museums not only mounting large group exhibitions of Installations, but also collecting the previously non-commodifiable form. Installation art has received only marginal scholarly attention to date. Elusive and ephemeral, it has resisted definition and traditional art-historical approaches. This study offers a methodology for approaching Installation art that includes examination of its criticism, which functions in part as eye-witness accounts of works no longer extant; first-person interviews and photographic documentation. Close attention is also given to the effect of exhibition context. The issues of spectator participation and site-specificity are identified as defining characteristics of Installation art as a genre. The artists discussed include Allan Kaprow, Claes Oldenburg, Jim Dine, Patrick Ireland, Michael Asher, Gordon Matta-Clark, George Trakas, Mary Miss, Bruce Nauman, Ilya Kabakov and Christian Boltanski.}, keywords = {Art of the United States and Canada}, author = {Reiss, Julie} } @mastersthesis {8012, title = {Fu Shan (1607-1684/85) and the Transformation of Chinese Calligraphy in the 17th Century}, year = {1996}, school = {Yale}, abstract = {The seventeenth century witnessed an important historical transformation in Chinese calligraphy. Toward the end of the Ming dynasty (1368-1644), a number of individualist calligraphers launched an expressive movement in calligraphy characterized by a spontaneous and bold cursive script. After the fall of the Ming, a new current of calligraphy stressing the plain, archaic, and awkward flavor of ancient epigraphy developed in the new sociocultural context of the early Qing dynasty (1644-1911). Fu Shan, a distinguished calligrapher and scholar who lived through the period of the late Ming and early Qing, was not only the last master of wild cursive calligraphy as practiced in the seventeenth century, but was also one of the forerunners of epigraphical calligraphy. By studying Fu Shan{\textquoteright}s life and calligraphy in relation to the political and intellectual context of late Ming and early Qing, this dissertation aims to cast new light on the Ming-Qing transformation, which has had a profound influence on the calligraphy of the last three hundred years. This dissertation consists of four chapters. Chapter One presents the general cultural background of the late Ming and Dong Qichang{\textquoteright}s legacy to late Ming individualist calligraphers. Fu Shan{\textquoteright}s early life in the late Ming is also discussed. Chapter Two gives an account of Fu Shan{\textquoteright}s life and calligraphy in the early years of the Manchu conquest and discusses the appeal of Yan Zhenqing{\textquoteright}s calligraphy to Fu Shan as well as Fu{\textquoteright}s pursuit of strangeness and awkwardness in calligraphy in the new political setting. Chapter Three examines the formation of a new intellectual discourse in the early Qing and its impact on calligraphy. Fu Shan{\textquoteright}s eloquent advocacy of epigraphic calligraphy in relation to contemporary intellectual trends is illuminated. Chapter Four contributes a thorough discussion of Fu Shan{\textquoteright}s cursive calligraphy, especially his wild and eccentric calligraphy. In the epilogue, a brief discussion of eighteenth century changes in intellectual life leads to the question why some calligraphic currents were dying out and why epigraphical calligraphy became a competitor to classical tradition of Wang Xizhi.}, keywords = {Asian Art}, author = {Bai, Qianshen} } @mastersthesis {8038, title = {Gaan/Gahe: The Art and Performance of the Apache Mountain Spirit Dancers}, year = {1996}, school = {UC Santa Barbara}, abstract = {The Apache Indians of the Southwestern United States have developed a complex ritual drama performed by masked dancers, called gaan by the Western Apache and gahe by the Eastern Apache, who imitate the Mountain Spirits. Today Mountain Spirits dances are among the most visible and frequently performed of all Native American masquerades. Gaan/gahe performances are part of the lengthiest and richest Apache ritual--the Girls{\textquoteright} Puberty Ceremony--which itself is described and analyzed. This study systematically examines the meaning of the Mountain Spirits, particularly why they look and act the way they do, and interprets the symbolism involved in the designs painted on dancers{\textquoteright} bodies and headdresses. By methodical contextualization, this dissertation examines how various aspects of Apache life and environment (social structure, economy, history, expressive culture) work together to construct the appearance, performance, and function of Mountain Spirit dances. Late nineteenth and early twentieth century ethnological and photographic documentation in comparison with the author{\textquoteright}s own and other more recent field data are utilized to establish a history of the art and performance of the Mountain Spirit dancers (at least for the last century). This results in an explanation of why local variations of these traditions exist and--plausibly--when and how they developed.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Larson, Thomas Leroy} } @mastersthesis {8019, title = {Galleries of Life and Death: The Anatomy Lesson in Dutch Art, 1603-1773}, year = {1996}, school = {Stanford}, abstract = {In early seventeenth-century Holland, the pictorial representation of the anatomy lesson on the human cadaver became an important mode of group portraiture. From the years 1603 to 1773, over twelve large-scale paintings and at least three sets of prints of anatomy lessons were commissioned in three scientific centers of Holland. These works, which depict a variety of actual anatomy lessons conducted by various surgeons{\textquoteright} organizations, were meant on a primary level as commemorative records for the buildings that housed these societies. They herald a new pictorial convention, one in which particular group identities and power were defined by depicting the acquisition and sharing of modern medical knowledge. This thesis suggests that the popularity of this subject occurred simultaneously with the development of a social need among medical practitioners to promote their practices and to elevate their profession in competition with other cities. Following the example set first by Leiden University, anatomy theaters in Holland became key sites where the ritual of public dissection became a means of linking corporate institutions with the implied power of claimed facts. As constructed by the surgeons{\textquoteright} guilds in Amsterdam and Delft, the civic anatomy theater served as a cultural arena where visualized experience could be validated and witnessed in public. Yet, while the pictures of anatomy lessons are supposed to represent truthful documented events, they nevertheless are carefully constructed fictions. This high degree of artifice suggests that their primary meanings lie in the politics of professional display, rather than in a striving for scientific accuracy. The anatomy lesson portraits also shed light on the meaning and representation of the dissected corpse in Dutch seventeenth-century society. Employing a number of cultural strategies to marginalize and justify bodies for anatomical practice, the ritual of the public lesson in early Modern Holland formed a new narrative of the anatomical body.}, keywords = {Baroque and 18th-Century European Art}, author = {Hansen, Julie V.} } @mastersthesis {7991, title = {George Catlin{\textquoteright}s Indian Gallery: Art, science, and power in the nineteenth century}, year = {1996}, school = {Columbia}, abstract = {George Catlin{\textquoteright}s Indian Gallery--a traveling exhibition of close to five hundred paintings that purported to portray savage life--sat on the border between the fine arts and the natural and social sciences of the mid-nineteenth century. When Catlin formulated his Gallery in the 1830s, America considered itself the New World. Vast amounts of its territories remained uncharted and its flora and fauna unclassified. Indian people living west of the Mississippi River were part of this wilderness. Those living east of it were being forced to move west through President Andrew Jackson{\textquoteright}s Indian Removal policies. To many Anglo-Americans, so-called savage Indian people seemed destined to inevitable extinction at the hands of "civilized" colonizers. Catlin{\textquoteright}s Gallery and his travel account of his western explorations, Letters and Notes on the Manners, Customs and Conditions of North Americans, Written during Eight Year{\textquoteright}s Travel amongst the Wildest Tribes of Indian in North America (1841), tried to make sense of this expanse of new territory and the violence of the "Indian situation." American science also took root and flourished under these circumstances. Catlin{\textquoteright}s images produced for nineteenth-century scientists an understanding of the history of race, the history of the American nation, and the history of the earth{\textquoteright}s crust; in short, an understanding of the history of God{\textquoteright}s civilization. In attempting to interpret God{\textquoteright}s New World, both Catlin{\textquoteright}}, keywords = {Art of the United States and Canada}, author = {Goodbody, Bridget Luette} } @mastersthesis {7965, title = {George Clausen and Henry Herbert La Thangue: The Construction of English Rural Imagery, 1800-1900}, year = {1996}, school = {Minnesota}, abstract = {George Clausen (1852-1944) and Henry Herbert La Thangue (1859-1929), major British artists, created an important series of paintings incisively constructed to reflect the complex and rapidly changing English rural scene of the last decades of the nineteenth century. Recognizing art as a social product, this dissertation analyzes the many and complex factors that contributed to the construction of this imagery. Rural social history is examined to provide a factual framework upon which to judge the intent and the message of the canvases. Agricultural depression led to a severe crisis of faith in England with profound effects on its social class hierarchy. A long-standing, and presumably harmonious, system of privilege and deference was called into question. Clausen and La Thangue contributed to the widespread public debate on these very issues by submitting their images of abject rural poverty to the exhibition walls. Inspired by the French naturalists, Clausen and La Thangue made use of academic techniques and photography to capture these often nearly documentary-like images. Their art was controversial, and the two would clearly not have been able to continue these particular pursuits were it not for the unflagging patronage of several prominent northern entrepreneurs. Thus their art is fully understandable only within the broader, and additional, context of a growing and changing urban scene. These young businessmen thought it their civic duty to patronize art and they made the consumption of rural imagery available to the masses as a moralizing exercise. Finally, the dissertation analyzes the impact of the critical audience. Clausen and La Thangue were cajoled, and eventually persuaded, to change their approach to their chosen subject matter by critics of the modernist persuasion grown more and more impatient with art which did not aspire toward formalistic and symbolic ends. Originally, these canvases deliberately and forcefully challenged the conventional Victorian notion of rural harmony and stability. By century{\textquoteright}s end, however, the paintings were complicit in the construction of a new national image--unflinching realism was supplanted by images that extolled the virtues of rural life and promoted an image of England as a land of strength and harmony.}, keywords = {19th- and 20th-Century European Art}, author = {Holden, Kristi} } @mastersthesis {7999, title = {George Inness: Problems in Antimodernism}, year = {1996}, school = {UNC Chapel Hill}, abstract = {This dissertation examines the art, patronage, and criticism of the American landscape painter George Inness (1825-1894) in the context of antimodernism. Antimodernism describes the phenomenon in which scores of nineteenth-century Americans, beset with panic, fatigue, and frustration--wrought by newfound material abundance and heightened class consciousness--sought to transcend and remedy their immediate time and place through alternative and reform activities. Weighing the artist{\textquoteright}s formal and iconographic programs against his political, intellectual, and professional milieu, this dissertation demonstrates that painting was an antimodern endeavor and dissenting strategy for George Inness. I show that Inness{\textquoteright}s antimodernism takes the painted forms of an engagement with Spencerian evolutionary models, a response to Shakespeare{\textquoteright}s As You Like It, a commitment to Fourier-inspired utopianism, and an excursion into Henry George{\textquoteright}s "single-tax" ideology. Wedding cultural history methodologies with traditional iconographic approaches, my study examines Inness{\textquoteright}s artworks as vehicles for dissent and activism. I show that his paintings effectively participate in larger social dialogues--as opposed to serving as unmediated reflections of them. Emphasizing links between Inness{\textquoteright}s painting, his public, and his patronage, this study demonstrates that the painter was an intensely political and self-consciously literary artist, subtly invoking themes of resistance, dissent, transcendence, and catharsis throughout his oeuvre.}, keywords = {Art of the United States and Canada}, author = {Mazow, Leo Galileo} } @mastersthesis {8051, title = {George Segal, Sculpture}, year = {1996}, school = {Rutgers}, abstract = {George Segal is best known for his sculptural tableaux in which plaster casts of human figures are placed within a realistic context. Because Segal uses {\textquoteright}found{\textquoteright} objects, his work is generally associated with Pop art. A close examination of his oeuvre proves this assumption is misleading. The major studies of the artist{\textquoteright}s work thus far have focused on a stylistic analysis which, in highlighting his affinities to Pop, make his work seem one dimensional. The one theme that unites Pop artists is a concern with consumer culture, a subject with which Segal is only minimally concerned. This study demonstrates that Segal is more interested in human relationships than in the commodification of American culture. Proceeding from this assumption, this dissertation examines Segal{\textquoteright}s work thematically, concentrating on a small but crucial group of works illustrating Old Testament stories. This dissertation undertakes an iconographic study of Segal{\textquoteright}s Genesis scenes, and places these works in the context of Segal{\textquoteright}s position as a modern artist, rather than specifically as a Pop artist. Segal has completed eight major tableaux, as well as several minor works, which illustrate tales from Genesis. These include the Expulsion, Lot and His Daughters, the Parting of Abraham and Ishmael, the Binding of Isaac, and Jacob{\textquoteright}s Dream. He has also executed a Holocaust memorial in which several biblical references are literally buried in a pile of corpses. Segal{\textquoteright}s consistent fascination with Biblical themes throughout his career indicates their importance. His attraction to Biblical themes places him within a long tradition of illustrating the Bible, and is indicative of a larger interest in narrative art which further separates Segal from his Pop contemporaries. George Segal has been my primary resource for this study. Hours of interviews with Segal have uncovered an autobiographical component in his sculpture which is most apparent in his Genesis works. In addition to aesthetic issues this study explores Segal{\textquoteright}s art as autobiography. The Genesis scenes demonstrate how the artist weaves together layers of personal, political and religious beliefs. By examining Segal{\textquoteright}s Genesis works in the context of autobiography, Biblical and Midrashic (Jewish exegesis of Biblical writings) texts this dissertation achieves a more complex reading of Segal{\textquoteright}s work which serves as a paradigm for studying his oeuvre, as well as his relationship to modernism.}, keywords = {Post-1945 North American, South American, and European Art}, author = {Cohen, Pamela} } @mastersthesis {8069, title = {Henry VIII and the Art of the Royal Supremacy}, year = {1996}, school = {UT Austin}, abstract = {This study analyzes the relationship between art and politics at the English court in the 1530s when Henry VIII replaced papal authority over the English Church with royal supremacy. Underlying my study of Henrician political iconography is an examination of contemporary modes of viewing and reception as well as an analysis of the propagandistic potential of art in this period of Early Modern Europe. The works of art considered include Henry VIII{\textquoteright}s well-known portrait by Holbein, created after the institution of the Royal Supremacy to demonstrate Henry{\textquoteright}s newly acquired omnicompetence. In addition to identifying the consolidation of Henry{\textquoteright}s official portrait type in the Holbein painting, my study also examines the political iconography of royal public displays, especially the coronation procession for Anne Boleyn. In what may be viewed as the definitive event of the break with Rome, Anne Boleyn was celebrated as the potential provider of a male heir to the Tudor throne. Mythological, biblical, and historical tableaux combining images with texts were set up along the traditional coronation route from the Tower of London to Westminster Abbey demonstrating to the masses who gathered there that the new marriage was in their best interest. Also considered are the newly produced English bibles and their role in instructing the English people about the momentous change in ecclesiastical authority. The title pages of the bibles display radical depictions of Henry VIII{\textquoteright}s new central role in the dissemination of the Verbum Dei. By royal proclamation, the Great Bible of 1539 was ordered to be purchased by every parish church in England and set up for all to see. The powerful frontispiece image of the monarch was conceived to communicate Henry{\textquoteright}s new role as Supreme Head of the Church in England to a broad English viewership. This study also includes examinations of major Henrician commissions such as the heraldic choir screen in King{\textquoteright}s College Chapel, Cambridge and the decorative ceiling of the Chapel Royal in St. James{\textquoteright}s Palace, London which until this time have received little scholarly attention.}, keywords = {Renaissance Art}, author = {String, Tatiana Christine} } @mastersthesis {8039, title = {The Hopi Ceremonial Cycle, Cosmology, and Art}, year = {1996}, school = {UT Austin}, abstract = {The Hopi ceremonial system is an allegory of cosmic movements, particularly the sun{\textquoteright}s movement from solstice to solstice, based on the philosophy that human is part of nature and must conform to nature{\textquoteright}s cyclic change. The ceremonies divide between the masculine, represented by the sun, and the feminine, represented by the earth. Those related to men, the sun, the return of life, and the kachinas performances are mainly held basically between the winter and summer solstices. Those related to women, darkness, coldness and the earth are held during the season when the sun is weak, between the summer and winter solstices. The kachinas represent the rational in human behavior, as opposed to the irrational clowns, as dual aspects of human nature. This philosophical system is given symbolic visual form in art and ceremonial performance, in which its ephemerality is part of the belief system. Thus, art is destroyed or desanctified at the end of ceremonial use. This system has relationships to other philosophies, especially in Asia, which suggest the existence of a very ancient substrate of intellectual inquiry and belief.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Zhang, He} } @mastersthesis {8068, title = {The Hotel de Ville of Paris: The Architecture, Urbanism, and Politics of Francois I}, year = {1996}, school = {Columbia}, abstract = {This dissertation concerns the Hotel de Ville of Paris, the city{\textquoteright}s municipal government building, begun in 1533. This study examines the building in its context, as it drew on the accrued associations of its site, the Place de Greve, with the commercial and civic identity of Paris. Based on newly uncovered visual evidence as well as fragments of the sixteenth-century structure, the dissertation establishes the original form of the Hotel de Ville and revises the building{\textquoteright}s construction history. In addition, this study establishes that the building follows the design of Domenico da Cortona to a greater extent than was previously believed. This new understanding forms the basis for an analysis of Domenico{\textquoteright}s design, which was a complex mixture of elements from the medieval tradition, the architecture of fifteenth and sixteenth-century Italy, and the ideas of Leonardo da Vinci. The study holds that the fusion of various traditions produced a hybrid style, a local manifestation of the Renaissance, developed by the architects of Francois I, which fulfilled particular functional and symbolic requirements. In particular, the design draws on the medieval town hall type, an emblem of civic power. The dissertation further argues that the Hotel de Ville was a joint undertaking of the city government and the king of France, Francois I; the building itself is interpreted as an episode in the long relationship of the capital city of France and the crown. The study maintains that the project was a gesture of architectural diplomacy and was part of Francois I{\textquoteright}s broader policy of alliance with the wealthy Parisian merchants who funded the king{\textquoteright}s war-related expenses. Built in the style of the royal chateaux, it was a physical manifestation of the alliance between city and crown. This study views the Hotel de Ville as the centerpiece of a broader urban project which Francois I undertook in the capital city. Driven by economic and commercial goals, this project established Paris as a vital commercial capital allied with the king.}, keywords = {Renaissance Art}, author = {Steeves, Cathryn Pauline} } @mastersthesis {8025, title = {I Believe{\textquoteright}: Images of the Credo from Charlemagne}, year = {1996}, school = {IFA/NYU}, abstract = {This study examines the visualization of the texts of Christianity{\textquoteright}s three main summaries of belief: the Apostles{\textquoteright}, Nicene, and Athanasian Creeds. It explores their origins and significance, and surveys their historical development to the Reformation. Over the centuries, artists found various ways of "illustrating," i.e. representing or alluding to creed texts. The introductory chapters outline the formulation and use of creeds in the Latin church, and consider issues of translation of Credo texts into image, major approaches to visual representations of the creeds--narrative (pictorial) and schematic (textual)--and functions of the Credo images{\textquoteright} verbal and visual components. The dissertation collected a thematic corpus. Organized primarily by type of representation, it investigates many aspects and relationships, both diachronic and synchronic, focusing on theological, functional, and artistic contexts, and on questions of origin and communication of invention. Following the appearance of this demanding theme in Carolingian art, diverse solutions emerged to the challenge of its visualization. The creeds were approached through their (real or believed) genesis, as composed by apostles, promulgated by a church council, authored by St. Athanasius, or through their use in liturgy, preaching, and teaching. Their content was conveyed through the visual equivalents of their fundamental doctrines (the Trinity, Christ in Majesty, Crucifixion). Translation of the dogma into pictorial terms was difficult, as witnessed by the paucity and complexity of the surviving narrative Credo cycles. For the Apostles{\textquoteright} Creed, its disseminators and authors could be shown. Collegium apostolorum proclaimed the "revealed truth" of the church, Concordance of the Testaments was made visible by Creed-bearing apostles paralleled by prophets. The Credo was always a basic tool of catechesis. Following the Fourth Lateran Council, Credo representations spread through all media of late medieval art, especially in transalpine regions, in commissions modest to lavish, public and private, realized on every scale, in nearly all art forms and programs, including in schemata and associated with other themes (the Heavenly Jerusalem, Throne of Wisdom, Tree of Life/Tree of the Cross, Fides). In the fifteenth century, attention turned to narrating individual Credo articles. Siena produced an unparalleled concentration of Credos.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Simor, Suzanna Beatrice} } @mastersthesis {7962, title = {Idol of the Moderns{\textquoteright}: Renoir{\textquoteright}s Critical Reception in America, 1904- 1940}, year = {1996}, school = {Brown}, abstract = {The period between 1904 and 1940 in America represents a unique episode in Renoir{\textquoteright}s critical reputation. During those years, conservatives, avant-garde realists, and avant-garde modernists in America viewed Renoir as one of the most important of all modern painters and one of the greatest painters of all time. The unanimity and heroic tone of American Renoir criticism during the 1904 to 1940 period contrasts strongly with the equivocal character of American Renoir criticism during the periods both before and after 1904, when Americans had difficulty understanding Renoir{\textquoteright}s contributions to modernism and/or had difficulty attributing artistic value to his works. This study examines chronologically the events that influenced as well as signaled Renoir{\textquoteright}s growing critical esteem in America from 1904. Between 1883 and 1904, when Americans were first becoming acquainted with French Impressionism, critics consistently expressed uncertainty about Renoir{\textquoteright}s figure Impressionism and consistently rated Renoir lower than Monet in terms of artistic greatness. Between 1904 and 1913 Renoir received increasing and positive critical attention in America from prominent and influential promoters of avant-garde developments, such as Leo Stein and James Huneker. During the decade following the Armory Show, between 1913 and 1923, the activities and publications of Willard Huntington Wright, Albert Barnes, and other formalist writers helped to raise considerably the intensity of Renoir enthusiasm in America. That intensity continued through 1940. The strength and unanimity of Renoir{\textquoteright}s critical reputation in America between 1904 and 1940 occurred because modernists persistently argued, and because their views were highly influential, that the formal innovations achieved by Renoir, and those achieved by Cezanne, helped to provide the foundation for future modernist developments. The strong influence of Renoir{\textquoteright}s works on American painting, especially after 1913, was a major consequence, as well as further evidence, of the idolization of Renoir that had become predominate by c.1913. This study demonstrates that Renoir{\textquoteright}s works were valued by Americans as primary examples of modernist painting, and that admiration for his works often helped to promote and/or defend modernism. It also concludes that Renoir{\textquoteright}s oeuvre validated the essential aesthetic ideologies of the period.}, keywords = {19th- and 20th-Century European Art}, author = {Dawson, Anne} } @mastersthesis {8067, title = {Image and the Rhetorics of Feminine Compassion: Art Critical and Poetic Reception of Michelangelo{\textquoteright}s Vatican "Pieta" in the 16th Century}, year = {1996}, school = {Toronto}, abstract = {This thesis is a study of the critical reception of Michelangelo{\textquoteright}s Vatican Pieta (c. 1499). Rather than attempt to account for changes in how the work was received aesthetically from one period to the next, it examines in detail one art theoretical theme that emerges from this body of literature in an effort to understand more fully the rationale behind the theme{\textquoteright}s consistent application to the work. This theme is the sculpture{\textquoteright}s expressiveness. Through a careful reading of the Cinquecento text which apparently inaugurated this interpretation of the Vatican Pieta, the thesis shows that the sculpture was interpreted as expressive because of its ability to function both visually and discursively according to the characteristics of metaphor. Both the meaning of the Vatican Pieta and its visual aspect as a piece of sculpture contributed to its interpretation as an expressive image. This feature of Cinquecento understanding of the work becomes especially apparent through an extended analysis of the content of the image which demonstrates that the interpretation was dependent upon a longstanding tradition of understanding feminine compassion, or pieta, as a love-based metaphor for the enlivening of art. The thesis also shows that this perception of the Vatican Pieta, as an expressive metaphor, was the product of an understanding of art especially germane to Renaissance poetics, discussions of the likeness of the visual and verbal arts, and the idea of achieving a certain kind of expressiveness, defined as enargeia, through the production of tropic language. In addition to what it suggests about Cinque and Seicento understanding of the Vatican Pieta as an expressive image, the thesis raises certain questions about the theory of expression generally considered typical, by art historians, of Renaissance discussions of ut pictura poesis, the likeness of the arts. It suggests that this view of the phenomenon of ut pictura poesis is influenced by how modern art historians have come to understand the relation between an artwork and its critical reception. The thesis also contributes to the study of the content of the ecclesiastical pieta. Further, it proposes that Renaissance discussions of decorum may be a fertile source for many of the love metaphors that enter Renaissance visual arts theory.}, keywords = {Renaissance Art}, author = {Smick, Rebekah} } @mastersthesis {8005, title = {Industrialism in Early 20th- Century American Art: A Catalogue Raisonne of the Edward Steidle Collection at the College of Earth and Mineral Sciences}, year = {1996}, school = {Penn State}, abstract = {When Edward Steidle, Dean of the School of Mineral Industries at The Pennsylvania State College, established the Mineral Industries Art Gallery in 1928, his intent was to create a visual record of Pennsylvania{\textquoteright}s primary industries, as well as to provide an educational tool to illustrate the opportunities in industry that the college and the state had to offer. Comprised of 230 paintings, prints, drawings, watercolors, and sculpture, this collection represents the work of 130 artists, most of whom were from Pennsylvania. Today the Steidle Collection, as it is now known, serves as a time capsule that allow us to observe the relationships among the fine arts, industry, and education in America in the years before the Second World War. The majority of works in the collection date from the 1920s and 1930s, and all are devoted to, depictions of American industry. As such, the collection represents a repository of the heretofore unexplored topic of the art of early-twentieth century American industrialism, as this thesis proposes, represents an Industrialist School of twentieth-century American realism.}, keywords = {Art of the United States and Canada}, author = {Schruers, Eric} } @mastersthesis {8016, title = {Jades of Liangzhu Culture}, year = {1996}, school = {Princeton}, abstract = {Recent advances in Chinese archaeology have brought to light a number of neolithic cultures that produced carved jades. Among them the jade industry of the Liangzhu culture, whose origin dates from the fifth millennium scB.C., was the most prominent. The Liangzhu culture arrived at a period of fluorescence in the first half of the third millennium scB.C., when unprecedentedly large quantities of refined jades were produced and surface decoration grew increasingly more sophisticated. These jades provided a source of inspiration for contemporary jade industries and had far-reaching influence on later cultures. This study attempts to provide an interpretation of the evolution of the surface decoration of Liangzhu jades and the typological transformation of major jade shapes. At the same time it responds to other related issues such as the material sources and jade working techniques. The discussion then moves on to explore more generally the relationship between Liangzhu jades and those of contemporary cultures as well as the contribution of Liangzhu jades to artistic traditions of later times.}, keywords = {Asian Art}, author = {Sun, Zhixin} } @mastersthesis {8044, title = {Jakob Tuggener: Photographs 1926-56}, year = {1996}, school = {Princeton}, abstract = {Jakob Tuggener, born in 1904, is a pioneer of twentieth-century Swiss photography. Unlike other photographers of his generation in Switzerland, he always saw himself as an artist and his photographs and films, like his paintings, as art. His photographic oeuvre is unique in that its core consists of over seventy book maquettes with original photographs intended for publication. However, only one of them was actually printed, the Fabrik of 1943. Drawing mainly on material from his estate that was left intact after his death in 1988, Tuggener{\textquoteright}s photographic work is presented here for the first time. Based on the analysis of his early work of the late 1920s, his student work made under the influence of the "New Vision" aesthetics in Berlin in 1930-31, and the magazine work done in Switzerland until the out-break of World War II, the main book maquettes of 1942-56 are discussed in relation to Tuggener{\textquoteright}s three major thematic concerns. They are technology and industry, rural life in Switzerland, and high society events such as New Year{\textquoteright}s Eve balls and carnival parties. Tuggener{\textquoteright}s oeuvre is seen in photo historical and aesthetic terms. It was formed in the area of conflict between modernist ideas and increasing conservatism during the 1930s, related to the cinematic concept of montage, and was instrumental in the formation of post-war New Swiss Photography occurring parallel to the "Subjektive Fotografie" movement in Germany. The oeuvre is also put into the socio-cultural and political context ranging from the wide-spread enthusiasm for speed and technological progress during the 1930s, to Switzerland{\textquoteright}s physical and spiritual isolation during the war, and to the revival of the Swiss economy and of social life in the early 1950s. Together with a discussion of Tuggener{\textquoteright}s theories of art and photography, this project offers differentiated views of both Tuggener as a paradigmatic artist working in Switzerland and his photographic oeuvre as a personal, expressive documentation of a changing Swiss society. An extensive appendix includes a first biographical chronology as well as an exhibition chronology, lists of his major magazine reportages and his films.}, keywords = {Photography and Film}, author = {Gasser, Martin} } @mastersthesis {8065, title = {Jonathan Richardson{\textquoteright}s Art Theory: The Canon of History Painting and Its Preeminent Realization in Raphael{\textquoteright}s Cartoons}, year = {1996}, school = {UIUC}, abstract = {In 1715, when Richardson published An Essay on The Theory of Painting, he established English leadership in the writing of theoretical treatises on art. Prior to this time, no Englishman had produced a distinctive and comprehensive explanation of art theory or an essay that was of equal stature to those long produced on the continent, particularly in Italy and France, during the previous three centuries. With the publication of his succeeding essays, The Art of Criticism and The Science of a Connoisseur, which were published in one volume as The Two Discourses, 1719, and in An Account of Some of the Statues, Bas Reliefs, Drawings and Pictures in Italy, 1722, Richardson{\textquoteright}s prominence in the field was fixed. The first chapter identifies the historic conditions, concerning the state of art in England, that prompted Richardson to write and caused him to believe that the fine arts were in desperate need of a spokesman. In the second chapter, a historical overview is continued. Early English writings on art, prior to Richardson, are reviewed and analyzed. The third chapter turns directly to a review and analysis of Richardson{\textquoteright}s four essays and includes a summary of the tradition which formed the basis of Richardson{\textquoteright}s schooling, shaped his thinking and inspired his love of art. The fourth chapter focuses on Richardson{\textquoteright}s interpretation of Raphael as the exemplary artist and specifically on the application of Richardson{\textquoteright}s theory to Raphael{\textquoteright}s Cartoons. The ongoing relevance and usefulness of traditional art theory, as expressed by Richardson, and the tendency toward its neglect in twentieth century scholarship, are the topics of the fifth and final chapter. Throughout, it will be apparent that Richardson{\textquoteright}s importance is not as a major innovator of ideas. Rather, his authority is derived from the manner in which he restated principles of art that had been in circulation for centuries. Richardson{\textquoteright}s accomplishment is found in his ability to communicate, to a general audience, the rational basis of often-repeated precepts of art theory, to systematically demonstrate how abstract precepts operate in actual works of art, to provide a logical argument for the justification of history painting as a liberal art and to identify specific processes of criticism and analysis. Richardson was the representative of a long-standing tradition to which he made unique contributions by formulating a methodology that established a clear, comprehensive and rational explanation of history painting and the body of concepts that gave rise to this particular genre of art.}, keywords = {Renaissance Art}, author = {Mora, Stephanie} } @mastersthesis {7984, title = {Joseph Rodefer DeCamp: The Boston Technician}, year = {1996}, school = {CUNY}, abstract = {Joseph Rodefer DeCamp was one of Boston{\textquoteright}s finest painters. Throughout his career he experimented with, and mastered, many techniques, constantly thirsting for new ways to express his artistic skills. DeCamp{\textquoteright}s first leanings were towards landscape painting, yet it is a tragic irony that so few of his landscapes survive, as a significant proportion of his early work, some several hundred paintings, was destroyed by fire when he was 46. This tragedy was compounded in later years by ill health, which reduced his output. "Joseph Rodefer DeCamp: The Boston Technician" examines the artist{\textquoteright}s life in terms of seven well-defined periods. The dissertation traces how, as a boy in Cincinnati, DeCamp showed astonishing early dedication to his talent. It describes how he trained in Europe for five years, studying first at the Royal Academy in Munich and then training under Frank Duveneck while living in Venice and Florence. His blossoming career on his return to America is studied in three stages: Cincinnati and teaching in Cleveland; his early years in Boston; and his emergence as a national figure when, in the 1890s, he turned his consummate skills to Impressionism. Experimenting with bright colors, he earned himself an accolade from the New York Times as a painter "in the Monet advance." During DeCamp{\textquoteright}s mature years, 1900-1917, the artist became well known for his portraiture, both of prominent men and of female models posed in domestic interiors. Joseph Rodefer DeCamp was born in 1858 in Cincinnati, Ohio, where he studied at the McMicken School of Design. He left America in 1878 to study in Munich and then lived in Florence and Italy, before returning to the U.S.A. in 1883. The following year he settled in Boston. He was a founding member of the Ten American Painters in 1897 and visited North Africa, Spain, and England in 1909. DeCamp died in 1923 in Boca Grande, Florida.}, keywords = {Art of the United States and Canada}, author = {Buckley, Laurene} } @mastersthesis {7992, title = {Learning from Letterboxes}, year = {1996}, school = {Minnesota}, abstract = {In The Do-It-Yourself Letterbox I describe several types of do-it-yourselfers--ranging from owner-builders to hopeless handymen. I discuss several reasons why Do-it-yourself activities were so popular in Australia and America following World War II. I also examine some of the functional and cultural roles of the home workshop during the 1950{\textquoteright}s--including work place, toolbox, male sanctum, and playhouse. I discuss one "hero" of the Do-it-Yourself movement, the American filmmaker Walt Disney. I look at some connections between Walt Disney{\textquoteright}s Do-It-Yourself hobby--backyard railroading--and the creation of Disneyland. Ever since Disneyland opened in Anaheim, California, in 1955, it has been a major source of inspiration for many do-it-yourselfers, both in Australia and the United States. I also argue that Disneyland is really a sophisticated form of folk art, arising from the human need to invent, create and express. I describe the iconography of the Australian handmade letterbox. I discuss the important role of the letterbox as a vehicle of personal creativity and self-expression, and I reflect on how this might change if the design of letterboxes are standardized in Australia at some time in the future. I talk about the letterbox as a symbol of home, and making a letterbox as a surrogate form of house construction. To illustrate the vulnerability of the boundary between the house and the street, I describe several cases where the letterbox has been a target of vandalism and other crimes. By the same token, I also discuss the letterbox as the guardian of the gate. I describe some similarities between roadside popular architecture and handmade letterboxes, especially those which reflect their owners{\textquoteright} occupations and hobbies. I suggest that designers can learn from handmade letterboxes in the same way they have done from roadside popular architecture. Finally, I describe several seminars and exhibitions that I have organised, which looked at various aspects of the design and construction of letterboxes.}, keywords = {Art of the United States and Canada}, author = {Groves, Derham} } @mastersthesis {8035, title = {Making and Spending Money along the Bosporous: The Lysimachi Coinages Minted by Byzantium and Chalcedon and Their Socio-Cultural Context}, year = {1996}, school = {Columbia}, abstract = {Since the middle of the last century, numismatic scholarship has largely ignored the study of an abundant group of Hellenistic coins minted with the name of Lysimachus, king of Thrace, beginning shortly after 300 BC. Although in the last thirty years some preliminary studies have appeared, none of these coins have been subjected to a detailed analysis. This dissertation considers the most prolific of these coinages, the parallel series minted during the third and second centuries BC by the cities of Byzantium and Chalcedon. The dissertation proposes to explore these coinages in order to reveal the way they were made, their economic purpose, and the socio-cultural repercussions resulting from their dissemination. The dissertation{\textquoteright}s core is a die study of these Lysimachi, a project that properly classifies them, establishing minting order and chronology. The resulting arrangement demonstrates that minting began sometime in the 260{\textquoteright}s, continuing at Byzantium virtually unabated until 110 BC, but ceasing at Chalcedon around 150 BC. An analysis of the historical background suggests that these coins were at first emitted as tribute money, but were equally useful in a carefully orchestrated economic policy intended to raise money in times of crisis. Stylistic analysis reveals that a single engraver{\textquoteright}s workshop (which I have called the "Bosporus Workshop") produced the Lysimachi of both Byzantium and Chalcedon, and was also responsible for some of their local coinages and the Lysimachi of other cities. A welcome consequence of this phenomenon is that the Lysimachi of Byzantium and Chalcedon become a chronological yardstick by which stylistically related series may be approximately dated. Successfully produced for over 150 years, the Lysimachi of Byzantium and Chalcedon played a dynamic role within the Propontic and Pontic zones, where they were increasingly spent among the non-Greek people of the region; here, the Lysimachi not only became a preferred currency, but were even regarded as emblems of royal status and occasionally imitated by local dynasts eager to emulate their Greek counterparts}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Marinescu, Constantin A.} } @mastersthesis {8002, title = {Manierre Dawson: A Chicago Pioneer of Abstract Painting}, year = {1996}, school = {Penn State}, abstract = {In the spring of 1910, Manierre Dawson (1887-1969) experimented with a variety of abstract compositions, including what are apparently the first non-objective paintings produced by an American artist. What makes the creation of these paintings even more remarkable, and problematic, is that Dawson painted them when he was only twenty-two years old, having had no academic art training beyond a high school art class, and before he had traveled far from his native Chicago. The precociousness of Dawson{\textquoteright}s development, while working in the relative isolation of Chicago, has caused some skepticism about the dates on his first abstractions. The goal of this study has been to identify the sources of influence which aided Dawson in this conceptual development, thereby demonstrating that his arrival at pure abstraction in Chicago in 1910 was possible and to validate the dates inscribed by the artist on these paintings. An early source of influence on Dawson{\textquoteright}s paintings was Arthur Wesley Dow{\textquoteright}s Composition, a manual for secondary school teachers. Dow{\textquoteright}s exercises were directed toward representational imagery but stressed pictorial structure at the expense of subject-matter. Dawson{\textquoteright}s earliest surviving paintings reflect his knowledge of Dow{\textquoteright}s illustrations and principles of design by the time he graduated from high school in the spring of 1905. By 1908 Dawson formulated a purely formalist aesthetic philosophy, portions of which he recorded in his personal journal, and his paintings reflect a dramatic change in his approach to his art. A significant source of many of Dawson{\textquoteright}s ideas was probably Arthur Jerome Eddy{\textquoteright}s book Recollections and Impressions of James A. McNeill Whistler (1903). However, the catalyst which altered the way he approached painting appears to have been Denman Waldo Ross{\textquoteright}s book A Theory of Pure Design (1907). Not only does Dawson{\textquoteright}s development toward abstraction concur with Ross{\textquoteright}s theories, but his pivotal paintings from 1908 and 1910 resemble Ross{\textquoteright}s illustrations. Without the advantages of an artistic mentor, a proper studio or living models, Dawson relied on published sources for his aesthetic ideas and formal motifs.}, keywords = {Art of the United States and Canada}, author = {Ploog, Randy} } @mastersthesis {8018, title = {The Marriage Portrait in 18th-Century England}, year = {1996}, school = {Boston}, abstract = {This study examines the development and social function of the eighteenth-century English marriage portrait in the context of the complex popular debate about marriage ideals and practices that occurred throughout the period. It also analyzes the iconography of the marriage portrait in relation to traditional English models and to continental sources in portraiture, genre and allegory. Organized thematically, the thesis groups together images that share a pictorial strategy, and considers them in light of visual influences and relevant ideas about marriage, as described in periodicals, plays, fiction, satires and letters. For most of the eighteenth century, the financial and social status of the family superseded personal considerations in marriage among the elite in England, a preoccupation which appears in marriage portraits in the form of a marked preference for settings which place the couple in relation to an estate or a landscape garden. The settings in paintings by Devis, Hayman, Gainsborough and Romney are examined for their cultural currency as potent symbols of prestige and productivity and are interpreted in light of the predominant economic and dynastic ideals of marriage at the time. Marriage portraits also present behavioral paradigms. Conventional activities in these portraits draw on traditional sources in portraiture and genre, but modify them to articulate contemporary markers of class and to define distinctly separate roles for husband and wife, as disseminated in popular literature and conduct manuals. A small but significant group of equestrian double portraits signify landed privilege, but also connote propriety in marriage, a theme that underlies many of the portraits set in interiors by Zoffany, Cotes, Ramsay and others. The study also considers significant exceptions to the conventional marriage portrait, examining the individualistic approaches of Hogarth and Wright of Derby to the companionate portrait, and the development, by Mercier, Gainsborough and Reynolds, of the strolling couple as a special motif in English portraiture. Innovations in the marriage portrait that foreground personal interaction and affection over material situation parallel significant changes in popular attitudes about marriage, and also reflect the move to a more expressive purpose in general for portraiture in England after 1750}, keywords = {Baroque and 18th-Century European Art}, author = {Hanni, Margaret Ann} } @mastersthesis {7964, title = {Matisse{\textquoteright}s "Luxe, Calme et Volupte": Humor and Harmony in the Golden Age}, year = {1996}, school = {Penn State}, abstract = {The purpose of this study is to reexamine Matisse{\textquoteright}s different forms of harmony in the subject, style and the double versions of Luxe, Calme et Volupte, to recognize the cohesive intent of these various forms of harmony and to explain the paintings{\textquoteright} surprising, ambiguous and paradoxical aspects. Chapter I surveys the major studies of light, color and harmony from the eighteenth to the early twentieth century in order to define Matisse{\textquoteright}s expression of light, color and harmony as a synthesis of objective and subjective sensations in the painting. Chapter II compares Matisse{\textquoteright}s representation of a pair of joint female figures with representations of pairs of women in literature, paintings and popular cartoons about the Golden Age in order to show that Matisse{\textquoteright}s joint pair of women represent a combination of harmony, sacred and profane love and humor. Chapters III and IV compare the double subject of the women, the double content of the Golden Age and the double styles in the painting to Baudelaire{\textquoteright}s definition of the absolute comic in the essay "On the Essence of Laughter" as the combination of dualities. Also, a comparison between the painting and Baudelaire{\textquoteright}s poem "Invitation to the Voyage" shows that unpredictability, ambiguity and paradox function to both destroy reason by laughter and to show that harmony is humor. Chapter V examines Matisse{\textquoteright}s use of two versions of the same subject. Luxe, Calme et Volupte I and II indicate absolutely contradictory physical and perceptual modes of light. Paradoxically, in Luxe, Calme et Volupte I the voluptuous sensations vanish in a physical light, while in Luxe, Calme et Volupte II an imaginary light restores them. In conclusion, the double styles of inner and physical light, the double expressions of harmony, the double aspect of two women, the double themes of sacred and profane love and even the double paintings create one total humorous and harmonious concept of Luxe, Calme et Volupte. And consideration of the painting as surprising, ambiguous or paradoxical is part of Matisse{\textquoteright}s program to join humor and harmony in the Golden Age.}, keywords = {19th- and 20th-Century European Art}, author = {Hirshon, Stephen C.} } @mastersthesis {8049, title = {Michelangelo Antonioni: Iconicity and Iconoclasm}, year = {1996}, school = {Minnesota}, abstract = {The thesis is an examination of the correspondences between Antonioni{\textquoteright}s imagery and art, illustrating the parallels between the iconic elements of his films and modern art history. In spite of the general recognition that Michelangelo Antonioni privileges the image over the word in his films and that his cinema is informed by twentieth century modern art, only occasional and marginal critiques of his work have been proposed from the perspective of contemporary art movements. Michelangelo Antonioni: Iconolatry and Iconoclasm is a corrective for this critical omission. The claim of the thesis is that Antonioni{\textquoteright}s imagery competes with his narratives in a cinema divided against itself, in which the images both constitute the tale and work against the telling. This contradictory film practice is analyzed within the frame of current theories of art and film which explore the tensions between image and word, figure and discourse, icon and narrative. A central argument of the study is that the iconic features of Antonioni{\textquoteright}s cinema are not merely formalist exercises but constitute a theme of vision when the films evolve from alienated characters to alienated vision, from interrogations of the uncertain visual perceptions of the characters to investigations of the equivocal images of the films. Thus, Antonioni{\textquoteright}s cinema becomes as much a drama of imagery as a drama of characters. The thrust of the dissertation is to demonstrate the tendency of Antonioni{\textquoteright}s images to become abstractions in the manner of high modernist art. The director{\textquoteright}s most notable abstract motif is his temps mort, dead time consisting of conspicuously silent images which do not advance the narrative, suggestive of modern art in which the image is exempt from the meanings of narrative anecdote. A corollary to this technique of abstraction is Antonioni{\textquoteright}s device of literally abstracting the image by dissolving it into a wash of light or reducing it to an amorphous field of color. Antonioni{\textquoteright}s cinema recapitulates the trajectory of modern art which celebrates the image and yet annihilates it in a film practice of iconolatry and iconoclasm.}, keywords = {Photography and Film}, author = {Reynolds, Gary} } @mastersthesis {8015, title = {Modernism and Tradition in Japanese Architectural Ideology, 1931-1955}, year = {1996}, school = {Columbia}, abstract = {This doctoral thesis examines the relationship between modernism and tradition in Japanese architectural ideology in the transwar period of 1931-1955. Initially, modernists struggled against the hybrid "Nihon shumi" or "Japanesque," promoted by senior architects as the style of Japanese national representation in architectural competitions. Over the course of the war and its aftermath, modernists developed an authentic language of architectural representation--a modern Japanese monumentality--that became the dominant architectural style of the postwar era as well. Six events are analyzed: five competitions and one outside intervention, that of the German modern architect Bruno Taut. These events were crucial to Japanese modernists in reassessing their views of Japanese architectural tradition, modernism, national identity, and monumentality. The competitions in which these issues were explored were as follows: the 1931 Imperial Household Museum Competition; the 1939 Chureito Competition for memorial towers to the "loyal dead" of the China War; the 1942 Greater East Asia Co-Prosperity Sphere Commemorative Building Competition; the 1943 Japan-Thailand Cultural Hall Competition; and the 1949 Hiroshima Peace Center Competition. These competitions ranged from the fantastic and unbuildable to the officially recognized and well-funded, yet all were significant in the modernists{\textquoteright} efforts to create an architectural embodiment of a modern national identity. Although orthodox Japanese architectural histories divide the prewar and postwar periods into discrete units, they are addressed here as points on an ideological continuum. One important figure bridging both periods was Tange Kenzo. In his wartime projects, Tange synthesized Corbusian modernism, western hierarchical and dramatic techniques, and Japanese historicizing references to Shinto shrines and Imperial palaces. In the postwar period, Tange emerged with his project for the Hiroshima Peace Center, treated here as the culmination of his wartime design experimentation. With the monumental and internationally acclaimed Hiroshima Peace Center complex, Tange assumed the unofficial role of the Japanese architect of state in the postwar era.}, keywords = {Asian Art}, author = {Kestenbaum, Jacqueline Eve} } @mastersthesis {8053, title = {Multiple Originals: Art Publishing in the 1960s United States}, year = {1996}, school = {Northwestern}, abstract = {During the 1960s an unprecedented surge of interest in printmaking took place in the US, leading to radical changes in the production, distribution, and reception of prints by contemporary artists. Historians have explained this phenomenon, commonly referred to as a print revival or print boom, by outlining the formal and technical contributions made by artists, printers, and the directors of important lithography workshops. Departing from the traditional emphasis on the generative role of artists and printers, this analysis takes a sociological perspective, using interviews, archival records and published materials from the period to describe the role of economic conditions, institutional support, and art-world networks in the growth of art publishing in the 1960s. This investigation also problematizes the history of the print boom by showing how members of the art world conflicted over whether to circumscribe the new work within traditional categories of fine art, or conversely, to use it as a platform for experiment and resistance against traditional art-world values. Finally, this study investigates the reception of published art, showing how it was used to further various social, ideological, and economic agendas. During the 1960s prints and their three-dimensional cousins, multiples, functioned as markers of status and taste for the middle class and as promotional tools for corporations, the government, and art dealers. Prints and multiples were also at the center of the debate about how to democratize art in the 1960s. While some artists and publishers produced precious fine-art objects for a small audience of connoisseurs, others hoped that by making inexpensive unlimited editions, a mass audience could be reached. Ultimately, this project failed. Looking at the criticism both in favor of and against the multiples program, it becomes evident that this project had internal conflicts from the start which--combined with technical problems, an economic recession, and an ambivalent audience--led to its demise.}, keywords = {Post-World War II American and European Art}, author = {Fox, Danielle} } @mastersthesis {8030, title = {Myth in the Dionysiac Frieze in Pompeii{\textquoteright}s Villa of the Mysteries}, year = {1996}, school = {Virginia}, abstract = {The Dionysiac frieze in the Villa of the Mysteries at Pompeii derives principally from myth rather than from cult. Displaying exceptional formal balance, the frieze is presented in three sections. The left section (seated figure to the right of the western door clockwise through the seated satyrisca on the north wall) shows Dionysus as a boy amongst his caretakers--nymphs, Silenus, and satyrs. The section alludes to aspects of Dionysus{\textquoteright} Phrygian education and initiation, a myth that was foundational to the mysteries. The right section of the frieze (eros to the left of the western door counterclockwise through the kneeling figure on the south wall) shows Ariadne having her hair dressed on Crete in preparation for a wedding to Theseus, and Ariadne grieving on Naxos because of Theseus{\textquoteright} desertion of her. The seated figure into whose lap Ariadne is received on Naxos could be Aphrodite. The cymbalist and the thyrsus-bearer are members of Dionysus{\textquoteright} Naxian entourage. The central section (figure with the billowing veil on the north wall clockwise through the winged figure on the east wall) depicts the latter stages of the wedding of Dionysus and Ariadne, who are seated in the center of the section. Silenus, satyrs, and maenads are shown as members of Dionysus{\textquoteright} Naxian entourage. As Eos (the figure usually named as the "fleeing girl") arrives, Nyx (the winged figure) recoils and proceeds to depart; thus the figures, personifications of forces that repulse one another, make gestures of aversion toward one another. The frieze can be understood in solely mythical terms and is consistent with Vitruvius{\textquoteright} (7.5.2) observation of grand-style paintings of myth, and with the Greco-Roman pictorial tradition in which subjects are usually mythical. The frieze functioned as a decorative display of its patrons{\textquoteright} wealth and taste. The subjects depicted in the frieze reflect the popularity of Dionysus in Roman myth and art, in turn reflecting the importance of viticulture in Roman society--more specifically, the Villa of the Mysteries{\textquoteright} economic dependence on viticulture.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Baldwin, Michelle} } @mastersthesis {7968, title = {Odilon Redon: Science and Fantasy in the "Noirs"}, year = {1996}, school = {IFA/NYU}, abstract = {The dissertation examines influences from the natural sciences and their cultural discourses on the late nineteenth century lithographs and charcoals of Odilon Redon. Images of barbaric regression, atavism, plants with degenerating human physiognomy, evolutionary monstrosities, malevolent microorganisms, other worlds and flight, and images of mesmerism, madness and illness, reflect the biological pessimism and fascination with hidden natural forces that characterized French science and society after the Franco-Prussian War. By 1860 a revolution in the sciences had begun to replace the mechanical laws of positivism with a more dynamic approach to the workings of nature that emphasized genesis, development and processes. The varying ages of stars, the active and ongoing history of the earth with Lyell, the organic activity of physiology, the workings of the unconscious mind, and Darwinian evolution were all part of a new concept of science that had more to do with fluidity and uncertainty than stability or solidity. Darwinism had displaced man from the center of creation with its comforting notion of a deity that directed human destiny, shaking man{\textquoteright}s confidence in his position in the world and by extension, earth in the universal scheme of things. Philosophical offshoots from developments in various fields in the natural sciences seemed to confirm man{\textquoteright}s powerlessness and vulnerability before the invisible forces at work in world. In France, this could be seen as an analogy for the loss of the war and the reduced size of the country. The dissertation is divided into seven chapters. The first looks at artistic influences as well as the central importance of Redon{\textquoteright}s intellectual mentor, the botanist Armand Clavaud, and the dissemination of science under the late Second Empire. The second chapter "Evolution and Degeneration" looks at the rise of naturalism, the acceptance of evolutionary theory in France and attendant notions of degeneration after the Franco-Prussian War. Chapter Three is concerned with the Pasteurian Revolution and the social consequences of germ theory. Chapter four examines developments in astronomy, including the revived extraterrestrial life debate in light of an expanding cosmos (the Martian canal debates, etc.). The fifth chapter addresses new ideas in psychiatry, especially the critical importance of Charcot{\textquoteright}s school. The impetus given to the spiritist school by the validation of hypnotism and growing interest in paranormal activity is discussed. Chapter six looks at the influence of the popularization of science under the Third Republic on Redon{\textquoteright}s work, including science fiction writing and imagery, and the last chapter reassesses the debate between science and religion which peaked in the 90s.}, keywords = {19th- and 20th-Century European Art}, author = {Larson, Barbara} } @mastersthesis {8029, title = {The Oratory of Pope John VII (705-707) in Old St. Peter{\textquoteright}s}, year = {1996}, school = {Johns Hopkins}, abstract = {Richly decorated with mosaics and constructed to house the tomb of its patron, the oratory of Pope John VII was without precedent among papal burial monuments. The focus of the decoration was a large image of the pope offering the oratory to a regal figure of the Virgin Mary. Christological scenes surrounded this panel while, on the adjacent wall, apocryphal events from the life of St. Peter were represented. The oratory was torn down in the early seventeenth century. Fragments of the decoration survive; however, the chapel is known today primarily through drawings and descriptions made at the time of its destruction. The dissertation opens with an analysis of this documentary material and shows how, as a product of the Counter Reformation, it both contributes to and obscures knowledge of the monument. Chapter 2 provides a reconstruction of the oratory. Among other things, it determines the dimensions of the chapel, identifies a previously unrecognized christological scene and discusses the probable date of the problematic Peter cycle. The following chapter discusses iconography. In its broad outlines the oratory{\textquoteright}s decoration evokes the earlier Roman churches of Sta. Maria Maggiore and St. Peter{\textquoteright}s. At the same time, the narrative cycles contain scenes not found in their prototypes and show the influence of eastern traditions of iconography and church decoration. Chapter 4 examines the relationship between the oratory{\textquoteright}s pictorial decoration and its function as John VII{\textquoteright}s burial monument. The two narrative cycles constitute a project of self-definition by which the pope presented his personal and political virtues to viewers with the aim of gaining their sympathy, support and prayers. Moreover, the images above the altar supplement the text of the mass and express a conception of Mary{\textquoteright}s soteriological role that extends to the sacramental heart of the eucharistic celebration and, therefore, to the oratory{\textquoteright}s function as site of masses for the salvation of its patron{\textquoteright}s soul. The final chapter assesses the chapel{\textquoteright}s significance to the history of church decoration, analyzing its relation to both earlier Roman and later Byzantine tradition, as well as to a prescription for church decoration in the near contemporary Vita S. Pancratii.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Dijk, Ann Van} } @mastersthesis {8034, title = {Ordering the Body and Embodying Order: The Kouros in Archaic Greek Society}, year = {1996}, school = {UC Berkeley}, abstract = {The dissertation examines the production, semiological structure, and social significance of kouroi, sculptural figures of standing, unclothed youths from seventh- and sixth-century Greece. Two key problems are addressed: the formation of kouros-production as a conventional practice of object-replication; and the relationship between this practice and the symbolic formation of the male aristocracy (whose members commissioned and dedicated the statues). That kouros-production constituted a motivated practice of replication is deduced from the consistency with which kouroi repeat a highly specific figure type, particularly given the wide temporal and spatial distribution of production (over 150 years, in virtually every part of the Greek world). Analysis of unfinished statues indicates that two mechanisms were employed to control variance: an "Egyptian" grid system governed figural composition and proportions, and a dictionary of depictive forms governed figural description. It Is reasonable to assume that the resulting sameness among kouroi was legible to contemporary viewers. This legibility is termed the replication effect; its semiological structure (principally the deferral of signification along non-hierarchical relations of identity) is such that any one kouros instantiated the series of (all) kouroi as a fully-constituent fragment of that series. A strong homology exists between this structural relationship (kouros: series) and that of an individual male aristocrat with his social class. This homology indicates the general symbolic value of kouroi: the sculpture symbolized the social identity of male aristocrats by "mirroring" their social-structural position. It also indicates the status of kouros-replication not as a phenomenon determined by some finite agent (for which there is no evidence), but as one formed in and as social convention: erecting a kouros was an occasion for male aristocrats to perform their social identity. Given that the kouros figure-type was wholly constituted by the male body, this performance may be understood as (1) a naturalizing ideological maneuver, and (2) an index of the role of the body in (re)producing social identity. This associates kouroi with aristocratic discourse and practice of the body, and identifies kouros-replication as a material-symbolic analogue of the (re)production of male aristocratic subjects.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Mack, Rainer Towle} } @mastersthesis {7961, title = {Orientalist Visual Discourse and National Acculturation in 19th-Century France}, year = {1996}, school = {Minnesota}, abstract = {This dissertation argues that Orientalist paintings produced in France during the second half of the nineteenth century register the struggle of the French bourgeoisie to mold national identity in a manner that secured its dominance over the rural and urban poor. It analyzes how the Orient served as an imaginary geography where bourgeois fears of social unrest, violence and degeneration were transposed into visual stereotypes of "uncivilized" non-Europeans. This use of visual representation to dramatize and estrange the practices of the rural and urban poor shaped the public imagination and encouraged the universal adoption of middle-class respectability. Chapter One focuses on the role of the concept of civilization in the definition of national unity, shifting modes of perceiving geographic and representational space, and finally, the artistic production of effects of objectivity and verisimilitude. Chapter Two addresses the relation of Orientalist painting to the manufacture of historical memory, specifically, the institutional remolding of collective memory that enabled the bourgeoisie to imaginatively construct an idealized national identity by projecting dissonant elements of its social present backwards into the eternal past of the Orient. Chapter Three deals with constructions of masculinity in Orientalist visual discourse. It addresses the question of how men privileged by their gender and class could often feel so disempowered within the society they dominated, and further, how Orientalist paintings offered bourgeois males compensating fantasies of power that entailed identifying with "primitive" Others whom they simultaneously viewed with condescension and contempt. Chapter Four concerns the profound influence of visually-oriented social sciences (anthropometrics, criminology and ethnography) upon the bourgeois public{\textquoteright}s interpretations of Orientalist paintings and the way that these physiognomic codes ultimately referred depictions of the Oriental body back to "the Other France." Chapter Five addresses representations of femininity in Orientalist painting. It describes how depictions of Oriental women functioned as a fantastic (yet regressive) solution to the dichotomy between the mere de famille and the prostitute that reached its extreme during the interval between the Commune and the close of the century.}, keywords = {19th- and 20th-Century European Art}, author = {Bassewitz, Jon Samuel} } @mastersthesis {7969, title = {Originality, Imitation, and Genius: A.-L. Girodet-Trioson and French Art Theory and Criticism, 1785-1824}, year = {1996}, school = {Maryland}, abstract = {This dissertation analyzes theories of originality, imitation and genius in the visual arts from the late eighteenth century to the early nineteenth century, focusing on the life and career of the painter Anne-Louis Girodet-Trioson. Girodet wrote essays and presented speeches on art theory, and his paintings were often controversial, thus generating much critical attention. Consequently, his positions on artistic matters were accessible to a larger audience than was usually the case for his contemporaries. This study traces mechanisms of theoretical change in this pivotal historical period as they were effected by Girodet{\textquoteright}s responses to published treatises on art, Academic standards and practices, works by other artists, and critical reception of his work. For example, influenced by eighteenth-century theories of art, Girodet entered the studio of Jacques-Louis David in 1785 with his identity as an artist already formed by these sources. He responded enthusiastically to the politization of concepts of genius and originality during the Revolution, which had been in turn inspired by Johann Winckelmann and Antoine Quatremere de Quincy. From the heroizing of the rebellious, anti-establishment artist and from concepts of the beau ideal emerged a modern construction of originality, a concept strongly promoted by Girodet throughout his career. Posthumous writing on Girodet shows the extent to which his willfully engineered career as an original genius--as he and his culture constructed those concepts--influenced his biographers to narrate theories of genius and originality in the recounting of his life, thus furthering notions of artistic creation and the role of the artist that he had adapted and promoted.}, keywords = {19th- and 20th-Century European Art}, author = {Libby, Susan Houghton} } @mastersthesis {8071, title = {Painting Monstrosities: The Grotesque, Mannerism, and Rosso Fiorentino}, year = {1996}, school = {Georgia}, abstract = {Rosso Fiorentino{\textquoteright}s Dead Christ is re-examined in an attempt to arrive at conclusions regarding its iconographic significance, its function, and its possible Renaissance sources. In the second and third chapters, parallels are drawn between the panel{\textquoteright}s pictorial elements and the iconography of sacrament tabernacles. This deduction leads towards Eucharistic symbolism, and therefore to the proposal that this painting functioned as an altarpiece. Chapters Five and Six examine how works by Michelangelo, such as the St. Peter{\textquoteright}s Pieta and the Entombment, previously not discussed by art historians in relation to Rosso{\textquoteright}s panel, had a very strong impact on the manner in which Rosso depicted his Dead Christ.}, keywords = {Renaissance/Baroque Art}, author = {Townsend, Tiffanie Paige} } @mastersthesis {8017, title = {Palazzo Lancellotti ai Coronari and Its Fresco Decoration}, year = {1996}, school = {Columbia}, abstract = {Palazzo Lancellotti in via dei Coronari was built shortly after 1590 for the family who still owns it. Slowly, in the course of a century, the Lancellotti were able to acquire a vast area along Via dei Coronari, in the immediate vicinity of the church of San Salvatore in Lauro. Cardinal Scipione Lancellotti gave to Francesco da Volterra the task of creating a palace out of a medley of old constructions. After Volterra{\textquoteright} s death the palace was finished by Carlo Maderno, responsible for the rich stucco decoration of the courtyard, stairs and loggia. The real glory of the palace consists in its fresco decoration, carried out under Agostino Tassi{\textquoteright}s direction between 1617 and 1625, with the collaboration of numerous other artists, including Lanfranco and Guercino. Ten frescoed rooms, five on the piano nobile and five on the ground-floor, survive to this day. Six of them were known, if little studied, for access to the palace has always been difficult, and four are new discoveries. The earlier ones were painted for Cardinal Orazio Lancellotti, the later, after Orazio{\textquoteright}s death, for his brother Tiberio. The project though remained rather coherent. Its goal, most clearly spelled out in the three vaults on the ground-floor painted by Tassi, Guercino and Lanfranco, was the celebration of the nobility of the Lancellotti family, a nobility based both on the personal virtues of the family members and on the antiquity of their origins. The Lancellotti, relative newcomers to Rome and suspected of being Jewish, needed this sort of advertising to help them establish their status in Rome. To carry out the decoration they chose Agostino Tassi, extremely popular at the time, but now little known and less esteemed. This study of Palazzo Lancellotti inevitably becomes also a study of Agostino Tassi. If further work is certainly needed on the painter, Palazzo Lancellotti substantially adds to our knowledge of the central years of his career, and it helps us understand the extravagant praise of his contemporaries for here have survived some of his best works.}, keywords = {Baroque and 18th-Century European Art}, author = {Cavazzini, Patrizia} } @mastersthesis {8061, title = {The Palazzo Piccolomini in Siena: Pius II{\textquoteright}s Architectural Patronage and Its Afterlife}, year = {1996}, school = {IFA/NYU}, abstract = {This thesis explores the urban intervention Pius II Piccolomini (1458-1464) intended for Siena. Pius{\textquoteright}s building ensemble included a magnificent family palace and a loggia to be constructed around an enlarged Piazza Piccolomini at the heart of the city and adjacent to the Campo, Siena{\textquoteright}s civic center. At the same time the pope was planning this intervention he also commissioned the rebuilding of Pienza, his native village. Very much alike in their scope, these projects borrowed the symbols of medieval communal architecture with the purpose of giving concrete, visual form to Pius{\textquoteright}s personal and dynastic ambitions which centered on reforming the Sienese government and creating important roles for his nephews, Giacomo and Andrea Piccolomini, in a new political order. The first section of this dissertation explores Pius{\textquoteright}s original and ultimately unsuccessful plans for an architectural complex in Siena and includes a reconstruction of the first palace project, a reinterpretation of the Loggia in terms of its role in the whole intervention, and a discussion of the pope{\textquoteright}s use of architecture in Siena and Pienza as a tool to achieve a political end. Pius{\textquoteright}s building commissions are also placed within the wider framework of Tuscan architecture and architectural theory in the middle of the fifteenth century. The second part of this thesis focuses on the afterlife of Pius{\textquoteright}s Sienese project as it was taken up by his nephews after 1464. Although Giacomo and Andrea began the palace in 1469 according to Pius{\textquoteright}s plan, the brothers soon went in separate directions; Giacomo built the Palazzo Nuovo and Andrea remodeled the older buildings--the Casamento Vecchio--on his portion of the original site. The palaces the brothers eventually completed reflect the different roles each chose for himself in the political drama that unfolded in Siena at the end of the century. The Palazzo Nuovo, one of the masterpieces of Renaissance architecture in Siena and important for the contribution it makes to Italian palace design, stands as a monument to a man successful and secure in his position, but one who seems to have had no political ambitions. The more conservative Casamento Vecchio was, on the other hand, the residence of an active participant in an unstable political arena. Andrea{\textquoteright}s public role in Sienese affairs meant that he could ill afford the luxury of an ostentatious palace especially given that his residence stood on the Campo, the political heart of the city. Part Two of this study examines both these buildings, with special attention given to the architecturally more interesting Palazzo Nuovo, in an attempt to understand their formal qualities in terms of the needs and interests which shaped them. Each in its own way is a radical departure from Pius{\textquoteright}s original intention, yet when taken together all three projects contribute significantly to our knowledge of Sienese society in the second half of the fifteenth century. Indeed they are cultural and historical documents which fill the gap left by more conventional archival evidence and as such enhance our understanding of the people and events which shaped this period in Sienese history.}, keywords = {Renaissance Art}, author = {Jenkins, Alton Lawrence, Jr.} } @mastersthesis {8008, title = {The Path Towards Ananse: John Biggers Early Years}, year = {1996}, school = {UT Austin}, abstract = {In 1957, African-American artist John Biggers traveled to West Africa to study African culture and chronicle his experiences through his art. His six-month study journey resulted in the publication of Ananse: The Web of Life in Africa. The book{\textquoteright}s eighty-nine drawings depicted aspects of traditional life in West Africa, and accompanying narrative text served as a personal journal. As a black artist, Biggers took a journey preceded only by African-American artists Elton Fax and Henry Ossawa Tanner. During a period when many African-Americans were reluctant to even discuss Africa, what prompted Biggers to make his journey? A close examination of Biggers{\textquoteright}s developmental years brings into focus aspects of his early life that may have created both a sensitivity to and a curiosity regarding his connection to an African past, during a time when the southern United States was defined by segregation. The author analyzes Biggers{\textquoteright}s early years and their contribution to the artist{\textquoteright}s later definition of himself as one whose creativity was shaped in large part by his African roots. Major factors analyzed include the presence of a strong folk/African culture in Biggers{\textquoteright}s hometown of Gastonia, North Carolina; Biggers{\textquoteright}s early family life and classical black education; the emphasis Biggers{\textquoteright}s mentor, Viktor Lowenfeld, placed upon analytical as well as artistic ability; and the self-study that Biggers began in graduate school of African history and culture. Also considered are the political climate of the United States from 1924 through 1949 and Africa{\textquoteright}s impact on American consciousness. This study is also of necessity an analysis of changing public attitudes towards Africa over a seventy-year span. The pioneers who effected this change, such as Alexander Crummell, W. E. B. DuBois, Carter G. Woodson, all created a heightened interest over time in issues regarding Africa. From a cautious regard of the "Dark Continent" in the 1920s to an appreciation of African culture in the 1990s, positive perceptions of African culture have emanated from the black intellectual avant-garde into mainstream American thought. The art of John Biggers can be regarded as part of the visual expression of this black intellectual exploration of the African Diaspora.}, keywords = {Art of the United States and Canada}, author = {Wardlaw, Alvia Jean} } @mastersthesis {7978, title = {Patterns of Possession: An Art of African Habitation}, year = {1996}, school = {Columbia}, abstract = {Stemming from a dual focus on African Art and Theory, this dissertation examines the mural arts of Basotho women (of the Free State province of South Africa and Lesotho). To deconstruct Western paradigms of epistemology and methodology it strategically prioritizes post-structuralist and metaphysical models of understanding, placing particular emphasis on writing. It replaces the anthropological subject as a dialectically constructed other with an alternative object of study: Otherness as that which lies outside the West{\textquoteright}s dominant contemporary intellectual frameworks. The pseudo-anthropological cast of African Art History is therefore deliberately placed at war with itself. Basotho houses are both microcosms of the site of genesis and metaphors of the female body. The materials of the home (particularly reeds and mud) are sacred. Mural decorations are similarly immanent, composed largely of earth ochers. They call and please the ancestors who reside in the earth. Designs are frequently floral or vegetal, underscoring women{\textquoteright}s association with the vegetal realm and their roles as providers of food and sources of family fertility. Especially important is red ocher, letsoku, "the blood of the earth." It symbolizes the fact that sacrificial blood falling upon the earth is the primary facilitator of communication with the spirits, who provide in return the earth{\textquoteright}s vital rain and fertility. The same earth-centered symbolism is activated in religious ceremonies. Basotho art and ceremony in the early 1990s are thus interpreted as intimately tied to concepts of spiritual possession and communication that resist Western epistemological models. Simultaneously they resist whites{\textquoteright} political and economic values and their concomitant historical actions--particularly whites{\textquoteright} physical possession of land that was stolen from Basotho and the realities of the apartheid regime. This resistant and dynamic mobilization of culture was most intense in the Free State province of South Africa, where Basotho regarded themselves as peripheral to the center of Basotho culture that they perceived Lesotho to be. Written in 1993 and 1994, for its historical dimension this account subjectively mirrors the violent collapse of Western hegemony as expressed--and largely symbolized for the West in the latter twentieth century--by South Africa{\textquoteright}s racist regime.}, keywords = {African Art}, author = {Van Wyk, Gary N.} } @mastersthesis {8058, title = {The Plaza Mayor of Madrid: Architecture, Urbanism, and the Imperial Capital, 1560-1640}, year = {1996}, school = {Princeton}, abstract = {When Felipe II (1556-1598) brought the Spanish Habsburg court to Madrid in 1561, the Plaza del Arrabal lay just outside the town walls; by the early seventeenth century, it was engulfed by the expanding city, refashioned into a rectangle, and renamed the Plaza Mayor. Since its realization in the early seventeenth century, the square has been completely transformed. This study reconstructs the early modern aspects of the Plaza Mayor by means of a careful analysis of the abundant written documentation and more limited visual resources in Madrid, Simancas, Rome, Vienna, and Windsor. Madrid{\textquoteright}s physical attributes and central location in the Iberian peninsula inspired legendary histories after 1561 which sought to re-write the town{\textquoteright}s Muslim foundation in favor of a Roman origin. The shaping of the Plaza Mayor in the heart of Madrid was a central undertaking for the place{\textquoteright}s emerging image as Town and Court. Overseeing the rebuilding of Madrid was a coterie of architects, bureaucrats, and the person of Felipe II. Three central chapters of the dissertation analyze the construction history of the Plaza Mayor making use of drawings, paintings, and archival documents. I begin with an analysis of a 1565 program for Madrid here attributed to the Corregidor Francisco de Sotomayor. By 1590, the monumental Casa de la Panaderia was begun along the northern end of the Plaza Mayor; its design would serve as the model for all future reform in the square. A close analysis of the Panaderia project helps us understand the propaganda of beneficence in Felipe II{\textquoteright}s public works projects, but also reveals the changing nature of architectural practice in Madrid at the turn of the seventeenth century. To end the building chronology, I offer for the first time a coherent narrative of the Plaza Mayor{\textquoteright}s definitive reform between 1617 and 1622. Having established a chronology for the Plaza Mayor, I examine the manifold uses of the city square as a ceremonial space, but also as a market. In an epilogue, I discuss the Plaza Mayor as a symbol of the new imperial capital and the result of an urban process realized over time and through the art of architecture.}, keywords = {Renaissance Art}, author = {Escobar, Jesus} } @mastersthesis {8059, title = {Politics as Usual: Depictions of Petrarch{\textquoteright}s "Triumph of Fame" in Early Renaissance Florence}, year = {1996}, school = {Pittsburgh}, abstract = {Renaissance representations of Petrarch{\textquoteright}s Triumph of Fame have suffered scholarly neglect in the modern era in spite of the profusion of surviving works of art with this theme. The study of these images is warranted because they reflect attitudes prevalent in Florentine society during the early Renaissance. The subject originates in Petrarch{\textquoteright}s Triumphs (I trionfi); a six-part poem in which the personified concepts of Love, Chastity, Death, Fame, Time, and Eternity successively vanquish each other until only Eternity remains. Fame{\textquoteright}s triumph seems to have been favored over any other triumphal theme. This dissertation explores the contexts, iconography, patronage, and purpose of depictions of the Triumph of Fame. The socio-political and literary contexts of these works suggest a close association between the concepts of renown and governance in the minds of the Florentine elite. Such an association is evident in the many references to public achievement contained in these works of art. An important aspect of the theme is that many of its elements suggest that virtue was a necessary trait for attaining political office and fame. An investigation of the theme{\textquoteright}s patronage shows that these works were most likely to be commissioned and collected by the wealthy elite. Moreover, these images seem to demonstrate a conservative ideology, advocating that governmental power remain in the hands of this group. The best-known family to have collected these works was the Medici; their patronage of the theme suggests that it functioned as an affirmation of their political power. At the end of this study is an appendix that contains a catalogue of fifty depictions of the Triumph of Fame (and other representations of Fame and Glory) from various European cities from the fourteenth, fifteenth, and sixteenth centuries.}, keywords = {Renaissance Art}, author = {Gilday, Rosa Prieto} } @mastersthesis {7971, title = {The Politics of Collaboration: Brothers, Friends, the Party, and the Performance of John Heartfield, 1915-38}, year = {1996}, school = {CUNY}, abstract = {When the German painter Helmut Herzfeld began using the new name John Heartfield in 1916, he signalled not only a protest against the nationalist sentiment of wartime Germany, but also the intention to develop a new identity. "Heartfield," this study proposes, began as a collaborative performance involving Helmut, his brother Wieland Herzfelde, and the painter and caricaturist George Grosz. Initially the project helped to resolve a series of social and psychological conflicts centered on the relationships among the three men. Once established, however, it functioned to specify a range of media (photographs, type), a division of labor among collaborators, and a sense of dramatic conflict between the collaborating group and a shared external enemy. These proved stable enough to define an artistic identity for over two decades. Heartfield{\textquoteright}s identity is most clearly legible in the series of 237 photomontages made for the Communist weekly newspaper Arbeiter-Illustrierte-Zeitung (A.-I.-Z.). In this body of work, the artist appears to share with his audience a perception of current events distinguished by its difference from the kind of perception ordinarily demanded by print media. Heartfield finally emerges as a figure whose engagement in mechanized and collaborative production embodied a new relationship to his audience and a radical challenge to the underpinnings of a "personal" artistic identity.}, keywords = {19th- and 20th-Century European Art}, author = {Roth, Nancy} } @mastersthesis {7981, title = {Psychosexual Strategies of Enclosure and Entanglement: Re-Reading Bourgeois and Hesse}, year = {1996}, school = {Case Western Reserve}, abstract = {Enclosure and entanglement underscore shared themes in the works of both Louise Bourgeois and Eva Hesse. Used as both strategy and image, enclosure and entanglement indicate metaphorically the psychological consequences of space or the connections and boundaries between individuals. Each artist focused in her works on the domestic as an enclosed, contained environment, suggesting protection as well as claustrophobia. Entanglement is evident in Bourgeois{\textquoteright}s and Hesse{\textquoteright}s continued emphasis on needle-based or weaving forms. Entanglement themes and strategies are used in their oeuvres to imply emotional solidarity as well as interpersonal oppression. These two artists share important biographical similarities. Through comparative examination of several major works by each artist, the importance of enclosure and entanglement is shown to be key to understanding their art. Those works in which such significant usages appear are those which exemplify major developments or progressions within each artist{\textquoteright}s evolution. Related sources in Bourgeois{\textquoteright}s and Hesse{\textquoteright}s autobiographies include their artistic inheritances from Surrealism and Abstract Expressionism which contributed to their focus on enclosure and entanglement. Investigation of the feminist underpinnings of drawings, paintings, and sculptures by Bourgeois and Hesse demonstrates the psychosexual roots of their mutual employment of the body, their working out of compulsions and obsessions, their exploration of domestic spaces, and their incorporation of needle-based and weaving forms. Louise Bourgeois and Eva Hesse used their art to foster new phenomenologies of space, images, and forms, that (re)present a feminine sensibility. Providing a purposeful response to their own experiences, they created original art which has been influential in many quarters. Through their similar reliance on entanglement and enclosure, they transformed the treatment of process, materials, and space. This concentrated thematic study of Bourgeois{\textquoteright}s and Hesse{\textquoteright}s usage of these strategies and devices investigates their individual struggles to expand the boundaries of personal expression, to create a dialogue with historical and artistic processes and movements, and, most dramatically, to define and comment on this dialogue from a radically personal and feminist perspective.}, keywords = {Art of the United States and Canada, Post-1945 North American, South American, and European Art}, author = {Swartz, Anne} } @mastersthesis {7963, title = {The Recuperated Radical: Pablo Picasso and the Debate on Art and Politics in France, 1942-1962}, year = {1996}, school = {CUNY}, abstract = {"The Recuperated Radical: Pablo Picasso and the Debate on Art and Politics in France, 1942-1962" determines that Picasso was celebrated by the French Communist Party (P.C.F.) as a figurehead for its Peace Movement, and appreciated as an artist by the party only when his work accommodated propaganda requirements for Social Realism that honored Communist heroes. Such propaganda participated in postwar humanism{\textquoteright}s appeal to heroism, idealism, and productivity. This dissertation demonstrates that Picasso did not conform to these ideals in much of his work--especially in series of paintings after Delacroix{\textquoteright}s Women of Algiers (1954-55), Velazquez{\textquoteright}s Las Meninas (1957), and Manet{\textquoteright}s Dejeuner sur l{\textquoteright}herbe (1959-62). Picasso distanced himself from the P.C.F. after vicious attacks on his nonidealized 1953 Stalin portrait and the 1956 Soviet invasion of Hungary. Because he was devalued by the P.C.F. for his distorted form, dismissed by abstract artists for his commitment to representation, and exploited not only by the P.C.F. but by the arts and entertainment industry for his mass appeal, Picasso turned to the past to battle with great painters in order to reaffirm his sovereignty and genius. By drawing on "primitive" styles (late cubist forms and child-like drawing), and by deploying the banal and/or the base (mundane realities, sex, and violence), Picasso{\textquoteright}s series undermine the P.C.F. notion of legible and uplifting art. However, rather than read these works as radical interventions, this dissertation argues that Picasso dismantled other artists{\textquoteright} multivalent masterpieces into univocal attempts at possession thematized through sexual violation of the female body. By stridently asserting his mastery of art history and the female subject, Picasso attempted to mask the loss of his "self-possession": his important place in a critical, yet appreciative arts community. Rather than convey individuality and freedom (symbolically registered through increasingly loose and expressive brush marks that suggest spontaneity and the immediate transmission of a personal impression), Picasso{\textquoteright}s series chart the artist{\textquoteright}s explosive individuality trapped by the controlling confines of the P.C.F. and postwar commodity culture.}, keywords = {19th- and 20th-Century European Art}, author = {Feeser, Andrea} } @mastersthesis {8031, title = {Recurring Figure Types on Classical Attic Grave Stelai}, year = {1996}, school = {Princeton}, abstract = {Recurring figure-types are remarkably common in Classical relief sculpture, and are especially prevalent in the fourth century B.C., but the significance of these figures has not been fully recognized. This study suggests a new analytical framework for the material which emphasizes the role of conservative, recurring motifs in addition to the progressive, evolving elements of style. Traditionally, many similarities between figures on different monuments have been interpreted as stylistic elements and thus considered evidence of a common stage of stylistic development. The new analysis demonstrates that many recurring figure-types and other recurring motifs are not purely stylistic elements but are conservative features that recur over time, appearing in monuments of a range of dates. This study focuses on the Classical grave stelai, monuments which present a particularly striking duality of character. On the one hand, there is the unmistakable presence of conservative, recurring elements; and on the other hand the fully individual stylistic character of each monument, derived from its independent execution, comes out equally strongly. Analysis of a number of recurring figure-types on grave stelai reveals that they are closest to one another in their two-dimensional characteristics, that is, in their common design, rather than in the three-dimensional form of their individual execution. The figures do not appear to owe their similarities to their execution by the same hand or workshop, but may reflect the practice by sculptors of basing their figures on popular designs (schemata). The evidence does not suggest that designs or patterns were used for all commonly recurring figure-types in fourth-century Greek relief sculpture; a distinction is made between different categories of recurring motifs, which are labeled conventional, imitative, and schematic. The last of these is the term which is used to describe the pattern-related phenomenon observed in the grave stelai. The marked duality of characteristics found here suggests that the conservatism of the monuments was dictated by a desire for conformity on the part of the patron, as opposed to the technical process of their production. The schematic composition functions as a rhetorical device, of a highly expressive and propagandistic nature.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Benson, Carol} } @mastersthesis {7997, title = {A Regular Rendezvous for Impressionists: The Cos Cob Art Gallery, 1882- 1920}, year = {1996}, school = {CUNY}, abstract = {From 1882 until shortly after the First World War, the Cos Cob section of Greenwich, Connecticut, was the focus of a lively art colony. American Impressionists John Twachtman, Childe Hassam and Theodore Robinson produced major works in the area. Summer classes conducted by Twachtman, J. Alden Weir and Leonard Ochtman introduced younger artists to plein-air painting. Among the colony{\textquoteright}s second generation were Ernest Lawson, Allen Tucker, D. Putnam Brinley, Charles Ebert and Elmer MacRae. During the art-colony period, Greenwich was undergoing the transition from a farming and fishing community to a prosperous suburb of New York. In their choice of subject matter, artists reflected the tensions between tradition and modernity, nature and technology, country and city. The colony{\textquoteright}s boldly independent spirit inspired artists to try new themes, new media and new styles. The dissertation is divided into two parts, the first primarily documentary, the second interpretative. Part One is a narrative history of the art colony, organized chronologically. Its three chapters trace the involvement of various artists and writers, including Lincoln Steffens and Willa Cather; the summer schools; the colony{\textquoteright}s shifting relations with the larger community; its role in the Armory Show; the establishment of the Greenwich Society of Artists, and the early years of the Bruce Museum. In addition, this section analyzes the impact of such trends as Japanism and the Colonial Revival. Part Two is an iconological analysis of the five themes favored by Cos Cob{\textquoteright}s artists: boating, the railroad bridge architecture, the female figure, and home ground. In these five chapters, each devoted to one theme, materials as diverse as reports on shellfishing and Sears Roebuck catalogues are employed to illuminate the meaning the subjects held for the artists{\textquoteright} contemporaries. The Conclusion analyzes the significance of the Cos Cob art colony. Appendices 1 through 5 list the colony{\textquoteright}s artists and writers, the summer students, and the Greenwich Society of Artists{\textquoteright} members and guest exhibitors. Appendix 6 contains the transcripts of five previously unpublished letters from John Twachtman.}, keywords = {Art of the United States and Canada}, author = {Larkin, Susan} } @mastersthesis {8060, title = {The Renaissance Choir Stalls of Toledo Cathedral, 1535-1547}, year = {1996}, school = {Columbia}, abstract = {The choir stalls of Toledo Cathedral have long been recognized as a singular masterpiece of Spanish Renaissance art. The carved ensemble was commissioned by Cardinal Archbishop Juan Tavera in 1539 and executed under the direction of two of the most important sculptors in Renaissance Spain, Felipe Vigarny and Alonso Berruguete. This three-part monograph provides a detailed account of the complex history of the monument and examines its significance within an ecclesiastical, historical, and artistic context. Part one presents the individuals and institutions involved in the creation of the monument. Chapter one reviews the traditions of art and patronage at the cathedral and presents the principal patron, Cardinal Tavera. Chapter two introduces the principal protagonists: canon Diego Lopez de Ayala, who directed the office of works; architect Alonso de Covarrubias, master of works; Diego Siloe, who provided initial designs; and the sculptors Vigarny and Berruguete. The primary goal of this study is to provide the first complete, factual account of the creation of the monument, a task taken up in Part II. Chapter three reconstructs the history and evolution of the choir design. Chapters four and five provide a detailed history of the execution of the stalls, focusing, respectively, on the procurement and preparation of materials for the choir and on the roles of individuals within the artists{\textquoteright} workshops. Chapter six studies Berruguete{\textquoteright}s subsequent work on the archbishop{\textquoteright}s throne and retrochoir, including the crowning Transfiguration group. Chapter seven studies other artistic undertakings in the cathedral during Tavera{\textquoteright}s tenure and presents the choir ensemble as the centerpiece of a comprehensive redecoration of the center of the Gothic cathedral in Renaissance style. Part III presents new ideas and directions for the study of the style and significance of the monument. Chapter eight evaluates the iconographic program and architectural design of the stalls in the context of the typological tradition of Spanish choirs. The concluding chapter evaluates the roles of artists and patrons in the creation of the choir and interprets Berruguete{\textquoteright}s evolution as the most innovative sculptor of the Renaissance in Spain.}, keywords = {Renaissance Art}, author = {Heath, Samuel K.} } @mastersthesis {7994, title = {Re-Presenting Photorealism}, year = {1996}, school = {UCLA}, abstract = {Though in the late 1960s and 1970s art critics dismissed Photorealism as paintings inhabited by a singular lack of meaningful content, they did so with a surprising vehemence. This intense response signaled to me that something must be happening in these extremely realistic works. I argue that the paintings by Robert Bechtle, Richard Estes and Audrey Flack engage contemporary anxieties about social change. After an analysis of the critical response that positioned Photorealism either positively as a modernist movement, or, much more often, negatively as paintings that simply mimicked photography, I situate the Photorealist works in their cultural context. I compare the paintings to popular magazines, television shows, and concurrent art movements to tease out their ambiguous responses to such social issues as the "breakdown" of the American family, the crippling recessions, and the contradictory pressures of feminine and feminist subjectivity. Several theoretical models assist in my argument: I complicate theories of nostalgia to demonstrate its temporally-complex dynamic that animates Bechtle{\textquoteright}s paintings of his family as they refer to both the 1950s and the 1970s. In my discussions of Estes{\textquoteright} paintings of commercial New York I amend cultural criticism that poses consumer culture as an ecstatic, never-ending consumer experience by highlighting the grim economic conditions of the 1970s. I analyze Flack{\textquoteright}s still-lifes to show that the works posit a female subjectivity that embraces two apparently contradictory positions during the 1970s, a feminine and feminist one. By situating Photorealist works in their cultural context, and by bringing a variety of theoretical approaches to bear upon my analysis of the paintings, I demonstrate that they engage some of the most pressing social issues of the 1970s.}, keywords = {Art of the United States and Canada}, author = {Hauser, Katherine} } @mastersthesis {7966, title = {Resurrecting History: Jean-Paul Laurens and the Politics of History Painting during the French Third Republic, 1870-1914}, year = {1996}, school = {Maryland}, abstract = {Jean-Paul Laurens (1838-1921) was one of the most renowned history painters active during the French Third Republic. A prolific artist of exceptional talent, originality and intellectual discernment, Laurens produced a diverse oeuvre that included not only decorative cycles and easel paintings, but tapestry cartoons, book illustrations, lithographs and sculpture as well. His career was very much the archetype of the late nineteenth-century official artist: member of Salon juries, well-known teacher at the Ecole des Beaux-Arts and the Academie Julian, recipient of innumerable state commissions, awards, prizes, member of the Academy, and President of the Societe des Artistes Francais. But shortly after his death in 1921 his reputation sank into oblivion, the fate of so many academically trained and officially sponsored artists in the wake of modernism. This dissertation reconstructs the life and career of Jean-Paul Laurens in order to examine two closely related issues: first, the role of the history painter within the political and social structure of the French Third Republic, and second, the even more nebulous role of the official artist during this period. Perhaps more than any other contemporary artist, Laurens embodies these two complementary pursuits which at times manifested themselves as distinct, and even parallel, careers. This dissertation traces the evolution of these two careers step by step, and decade by decade, in order to arrive at a clear definition of each of these two roles and the ways in which they interacted in the artistic milieu of late nineteenth-century France. This dissertation will illustrate that the dual roles of history painter and official artist, while rewarding, were also extremely complex and at times difficult to reconcile. Ultimately it was Laurens{\textquoteright}s skill at consolidating these two facets of his professional life which proved to be the key to his extraordinary influence.}, keywords = {19th- and 20th-Century European Art}, author = {Jones, Kimberly Ann} } @mastersthesis {7995, title = {Re-Viewing Women of African Descent: 19th-Century American Representation of Black Women}, year = {1996}, school = {Northwestern}, abstract = {This dissertation examines the representations of women of African descent produced by nineteenth and twentieth century American artists by centering on the work of Black women artists who challenge hegemonic re-presentational language which has historically expressed itself as philosophically and visually anti-African, anti-Black, anti-female and fundamentally oppressive to women of African descent. "Mainstream" visual practices serve as an historical and analytical backdrop to the representations of women of African descent produced by Black women artists--their re-visions--which provide a lens to re-read America{\textquoteright}s racially-gendered visual and social texts. Chapter 1, "Towards A Black Feminist Art Historical Practice," presents the framework which assumes that the interconnected notions and expressions of race, class, gender and sexuality must be considered as central in any critical analysis of art and culture in the United States. It offers a set of principles--or basic visual elements--for viewing artistic representations. Chapter 2, "Status of the Art Historical Scholarship: Or, {\textquoteright}What{\textquoteright}s "It" Got to Do with Art History?{\textquoteright} " reviews academic and non academic literature. Part 1. "In-forming Visual Bodies: Sankofa" of Chapter 3, "Re-visioning Race, Sexuality and Gender" examines work of Catlett, Simpson, Willis and Piper that questions the construction of a racially-gendered representational language in white-Western, Euro-American fine arts, sciences--from physiognomy to ethnography--and popular culture. Part 2. "Liberating Images: Bolekaja" continues the interrogation of the racially-gendered visual codes of "mainstream" culture by focusing on artistic re-visions that re-center Africa as well as re-code Black and re-value notions of Blackness. Chapter 4, "Re-living Memories: Picturing Death" studies the theme of lynching in the work of Black women like Fuller, Catlett, Jones, Saar, Rowe, Williams, Piper and High-Tesfagiorgis who explore the legacy of lynching as a tragic chapter in American history and visual culture and who share a collective concern to use art to commemorate the victims, denounce perpetrators and examine the related photographic rituals that accompany mob violence.}, keywords = {Art of the United States and Canada}, author = {Jackson, Phyllis} } @mastersthesis {7985, title = {The Rhetoric of Degeneracy in American Critical Responses to Modern Art, 1908-1921}, year = {1996}, school = {UT Austin}, abstract = {Beginning with Alfred Stieglitz{\textquoteright}s first exhibits of the work of Matisse and Picasso in 1908, and ending with the Metropolitan Museum of Art{\textquoteright}s exhibition of post-impressionist paintings in 1921, this dissertation investigates the intellectual and cultural climate that colored American critical reactions to the emergence of modern art in the early twentieth century. In particular, it focuses on the pervasiveness of fears of degeneracy within the public discourse that developed in response to modernism. This thesis suggests that the strained optimism of progressive evolutionism that dominated American cultural discourse in the early twentieth century was a reaction to underlying anxieties about cultural degeneracy and decadence. Critics in this period defined and interpreted the concept of degeneracy in a number of ways, and this diversity is reflected in the themes of individual chapters. The first chapter provides background information on contemporary theories of degeneracy and evolutionism that filtered into a variety of social scientific and political discourses during this era. Chapter 2 focuses on the myriad ways in which modernists and traditionalist academicians applied theories of degeneracy and evolutionism to the arts, especially in debates over modern art in the 1910s. Chapter 3 investigates references to social degeneracy in this critical literature, while the fourth chapter analyzes competing strategies to link modern art to degenerative pathologies or, in the case of modernists, to health and regeneration. Finally, chapter 5 examines the ways in which art critics{\textquoteright} attitudes toward World War I and popular Social Darwinian and eugenics theories figured in debates about the future of modernism in the United States. The aim of this dissertation is to demonstrate the centrality of critics{\textquoteright} concerns with cultural degeneracy and, to a lesser extent, evolutionism to American responses to modern art. It examines those concerns as the products of a pivotal and tumultuous moment in American cultural history.}, keywords = {Art of the United States and Canada}, author = {Cole, David Allen, Jr.} } @mastersthesis {8036, title = {Roman Imperial Portraiture in the Eastern Provinces, A.D. 235-270: A Study of the Reception and Rejection of Imperial Models}, year = {1996}, school = {Boston}, abstract = {The study of Roman imperial portraiture has long focused on images of the ruling family, whether created in or outside the capital. An underlying assumption of the discipline is that portrait artists in the provinces were using the emperor{\textquoteright}s official portraits as models and were striving to create similar images. This dissertation tests that assumption by examining a large body of overlooked evidence: portraits on Roman provincial coins. These numismatic portraits are so diverse and so numerous that only a representative sample is treated. Portraits on coins issued in the middle years of the third century by cities in Greece, western Asia Minor, and along the southern coast of the Black Sea were chosen for comparison because each region experienced different cultural, historical, and political circumstances during this period. Numismatic portraits of each ruler within each region are grouped stylistically, and when possible, prototypes for each group are suggested. Usually, these portraits are local creations based on no identifiable model at all. When prototypes were used, different ones were chosen in different regions at different times. In Asia, Epirus, and Achaea, official imperial portrait types were almost never used as models; generally, when models can be identified, they are portraits of recent emperors on local coins. In Macedonia, Thessaly, and Bithynia/Pontus, prior to the Gothic invasions of the 250s, the usual prototypes were portraits on official Roman coins. After these invasions, Roman models disappeared in these areas. The mints in the Greek cities began freely creating their obverse portraits, while the Black Sea mints began reusing their own types for each new emperor. The degree of adherence to official types seems to be correlated to some degree with the amount of attention paid to each region by Rome. This study shows clearly that the die engravers of provincial coins regularly chose to use local portrait types rather than official Roman ones. This conclusion forces a re-evaluation of traditional assumptions of the study of Roman portraiture, and points to greater artistic freedom among provincial portraitists than is usually acknowledged.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Riccardi, Lee Ann} } @mastersthesis {8057, title = {Sculpted Tombs of the Professors of the University of Padua. c. 1358- c. 1557}, year = {1996}, school = {Syracuse}, abstract = {The present study examines the forty-two monumental sculpted tombs of one of the most highly respected occupational groups in Padua, its university professors, during the first two centuries in which they were made, beginning in the mid-Trecento. It examines the institutions in which the professors worked, patronage and manufacture of the tombs, the two major tomb types and other tombs outside the prevalent designs, and the significance of the tombs. The first chapter examines the character of university life to understand the identity and status of the professors. It shows that law professors enjoyed a higher reputation and were accorded more generous salaries than their counterparts in liberal arts and medicine. Professors from outside Padua received preferential treatment compared to the locally-born, though many of the latter whose tombs are the subject of the present study attained the prestigious teaching posts and were paid generous, albeit somewhat lower salaries. Chapter Two analyzes documents and tomb inscriptions to understand the circumstances of creating the tombs. Documents show that professors considered the matter of their burial important and often requested a funerary monument. Epitaphs focus on their renown for learning and teaching, sometimes record noble titles, family lineage, and homeland as marks of honor, and less often express belief in the everlasting life of the immortal soul. Chapter Three treats the format and development of the eighteen tombs which feature a gisant effigy of the deceased. The traditional gisant figure was adapted for professors by the addition of books at the head and feet, so that this combination of effigy and books becomes identified exclusively with the occupation of university instructor. Chapter Four treats the antecedents and development of the sixteen tombs which feature the figure seated in isolation with a book and one additional tomb with a teaching scene. The effectiveness of what is termed the scholar figure in communicating the professors{\textquoteright} erudition is enhanced by the association of this image with celebrated intellectuals who had particular connections to Padua. Chapter Five gives separate treatment to five tombs with unique imagery and treats two tombs featuring a portrait bust within the late development of the bust portrait in northeast Italy. Chapter Six concludes that erudition and teaching are the consistent themes of the tombs. The display of books, the scholar figure of the professors, and content of the epitaphs, unique to university instructors, affirm their special identity as a learned elite. While the focus is on the earthly renown of the deceased, in many tombs the fervent wish for immortal fame for secular pursuits coexists with the hope for the everlasting life of the soul.}, keywords = {Renaissance Art}, author = {Carrington, Jill} } @mastersthesis {7973, title = {Sheer Material Presence, or the Veil in Late 19th-Century French Avant-Garde Painting}, year = {1996}, school = {Yale}, abstract = {The popularity of the bourgeois woman{\textquoteright}s veil in late nineteenth-century Paris (1852-1889) and its concomitant appearance in the visual culture of the period frames a series of complex issues. Focusing mainly upon paintings by Gustave Caillebotte, Edgar Degas, and Edouard Manet, and upon various popular images and photographs, this dissertation explores some of the reasons for the increased presence of the veil at the time and its appeal to certain artists. Drawing upon the images, contemporary periodicals, fiction, and medical studies, I suggest some of the levels of significance that the veil and its representation both held and generated. During a time in which Napoleon III and Baron Haussmann significantly changed the city{\textquoteright}s structure, the veil had a particular currency. It was advertised by the medical and fashion communities as a shield against the dust caused by the renovations. Yet I contend that this veil was also a means for limiting the proper woman{\textquoteright}s view of the modern city, for helping to maintain an ideal of femininity and youthfulness, and for differentiating class. I look also at the Parisian veil{\textquoteright}s subtle complicity in supporting certain stereotypes about the French colonies in North Africa. Not only was the veil deeply invested in and by the specificity of late nineteenth-century French cultural history, but it was also a device which challenged certain artists. The veil was thus both a topos of urbanism and a means for exploring paint{\textquoteright}s potential for simultaneously representing transparency and materiality. Far from being simply a fashion accessory, the Parisian veil was layered with meanings. It was popular in the city and in visual culture during the Second Empire and into the beginning of the Third Republic for precisely those multiple levels of significance and its presence had substantial ramifications for the development of a particularly urban modernity.}, keywords = {19th-and 20th-Century European Art}, author = {Marni Reva Kessler} } @mastersthesis {8007, title = {Sheldon Cheney and the Historiography of Modern Art in America}, year = {1996}, school = {Brown}, abstract = {The dissertation examines writings on modern art that appeared in America during the first half of the twentieth century. Sources include survey books, critical essays, exhibition catalogues, as well as archival material. In particular, the thesis employs the once widely-read volumes of Sheldon Cheney as a point of departure from which to assess the goals of this body of literature. An American art and theater writer, Cheney elaborated a concept of modern art in the twenties and early thirties that diverged from that which contemporary scholars usually consider paradigmatic. Art historians now tend to assume that American critics in the period construed modernism as an exclusively aesthetic project, one concerned only with formal purity. Cheney, however, who was influenced by German Expressionist ideas, argued that modernism was a broad cultural force--with explosive repercussions for western society. The dissertation considers the ideological aspects of his utopian vision and in so doing it addresses questions of gender and subjectivity. It also relates his texts to the discourse of cultural reconstruction that informed the thought of American radicals such as Waldo Frank, Lewis Mumford, and Harold Stearns. The dissertation explains the present obscurity of Cheney{\textquoteright}s writings by arguing that Alfred Barr of the Museum of Modern Art and Clement Greenberg altered assumptions about modernism. Their influential formalist accounts marginalized Cheney{\textquoteright}s once ubiquitous texts. The study contributes to the field of art history by pinpointing gradations of meaning within the historical concept of modernism. It therefore has implications for postmodern critiques of the concept, which routinely present modernism as a uniform and coherent phenomenon}, keywords = {Art of the United States and Canada}, author = {Wallace, Gregory} } @mastersthesis {8046, title = {The Skin of the Film: Experimental Cinema and Intercultural Experience}, year = {1996}, school = {Rochester}, abstract = {The movement of intercultural cinema from 1980 to 1995 expresses the new cultural formations of Western metropolitan centers as a result of global movements of immigration, exile, and diaspora. Intercultural cinema uses a variety of experimental means to deconstruct dominant knowledge forms and create new conditions for knowledge: these emergent forms include embodied knowledge and the knowledge of the senses. I draw from theories of hybrid and diasporan cinema, Gilles Deleuze{\textquoteright}s cinema theory, histories of visuality, phenomenology, comparative anthropology of the senses, and other sources. I discuss numerous short, experimental, non-commercial films and videos and some feature-length works. Chapter One explores the context of funding, production, distribution, exhibition, and audiences for intercultural cinema. Case studies of Black Audio Film Collective (Britain), the Inuit Broadcasting Corporation (Canada), and Third World Newsreel (United States) examine in detail how this work is produced, exhibited, and distributed. Audiences for intercultural cinema are best described as transformative coalitions. Chapter Two examines how cinema performs a temporal excavation through different orders of knowledge in the effort to represent the experiences of cultural minorities. Films and videos by Rea Tajiri, Raoul Peck, Atom Egoyan, and Black Audio Film Collective perform this act of excavation, uncovering not knowledge but the conditions for its emergence. Chapter Three examines how cinema retraces the spatial movement between cultures in documentaries about travelling objects, and posits models of fetish and fossil to suggest how cinema translates cultural knowledges on the movement between cultures. The work of Shauna Beharry exemplifies how cinema makes fetishes of knowledge in cultural displacement. Chapter Four theorizes an epistemology based on the sense of touch and uses numerous examples of experimental film and video to examine how cinema appeals to a "haptic," or tactile, visuality. Chapter Five explores how cinema appeals to the knowledge of the non-audiovisual sense as repositories of cultural memory and argues that the organization of the senses is learned in different cultures. Artists such as Victor Masayesva, Julie Dash, and Arthur Jafa critique the European organization of the camera apparatus and posits ways to represent non-European organizations of sense knowledge.}, keywords = {Photography and Film}, author = {Marks, Laura} } @mastersthesis {8023, title = {St. Luis Beltran in Valencian Art and Pageantry}, year = {1996}, school = {Penn State}, abstract = {Eleven Spaniards were canonized in the seventeenth century, and the post-Tridentine context required elaborate fiestas which incorporated altars, triumphal arches, and processions. On the Iberian peninsula, devotions to local saints produced especially elaborate festivities in order to elicit heightened emotional responses from the collective public. Confraternities, guilds, and monastic communities took responsibility for the grandiose ephemerae. The former kingdom of Valencia provided for its local son, Luis Beltran, with weeks of festivities, which included processions of dwarfs and giants, bulls, dancing and music. As a result of the cult inspired by these celebrations, representations of Beltran proliferated in Valencia, controlled as it were by the archbishop and the friar preachers of the Convento de Predicadores. This thesis examines the social context of the cult to Saint Luis Beltran in Valencia, particularly in light of canonization and beatification ceremonies, and the propagation of visual imagery related to the life of the saint. The scope and strength of a visual cult(ure) centered around Luis Beltran related to the ways in which the post-Tridentine valenciano church sought to laud its dead, and further elevate its dead from beatus to sanctus}, keywords = {Baroque and 18th-Century European Art}, author = {Rylance, Keli} } @mastersthesis {8040, title = {Subject to Scrutiny: Diane Arbus{\textquoteright}s American Grotesque}, year = {1996}, school = {IFA/NYU}, abstract = {Critics of the photographer Diane Arbus, reading backward from her suicide, have tended to regard her as an expressionist who voices her own existential angst through the suffering and alienation of her subjects. All of her portraits can accordingly be decoded as self-portraits, designed to communicate the ambivalent mix of loathing and love she felt for herself and others. In this view, she exists in a kind of psychoanalytic twilight world, out of time, in which her pictures carry a charge of pain that is at once highly subjective and transhistorical. But this study shows that Arbus{\textquoteright}s oeuvre offers an incisive and profound commentary on the social, cultural. and political realities of America circa 1960. It examines how Diane Arbus used her camera as a critical tool to undermine many of America{\textquoteright}s most sacredly held values and beliefs. The dissertation examines Arbus{\textquoteright}s art within the broad framework of the grotesque as a mode of social criticism. The writings of Bataille, Kristeva, and Bakhtin, and their notions of the Informe, the Abject, and Grotesque Realism, respectively, suggest the possibilities of the grotesque as a critical tool. They inform my reading of Arbus as a subtle but incisive commentator on the highly charged issues of her time: the Cold War, relations between the sexes, changing ideals of motherhood, and the proliferation of mass culture. Arbus{\textquoteright}s art uses the conventions of the grotesque tradition to undermine convention, to critique the stultifying conformity which characterized both political and social life in the 1950s. Throughout the study, I argue that Arbus reacted against the imposition of false and limiting categories and hierarchies--of sex, of quality, of ideology of lifestyle--by invalidating them artistically, using both formal and iconographic means. Grotesque techniques crop up again and again in her work, but they are not timeless evocations of Weltschmerz. Rather, they operate against the very real, historical encroachments upon the self-determined individual in the political, social, and cultural spheres during the years following World War II.}, keywords = {Photography and Film}, author = {Budick, Ariella} } @mastersthesis {8041, title = {Suffering the Ideal: F. Holland Day, British Decadence and American Philhellenism}, year = {1996}, school = {New Mexico}, abstract = {F. Holland Day (1864-1933), the Boston photographer most active in the last decade of the nineteenth century, is the focus of this revisionist monograph. This study seeks to reconcile Day{\textquoteright}s passionate pursuit of British literature, the book arts and publishing, with an amazing output of photographic imagery created in a fifteen year period 1895 to 1910. Particular attention is placed upon the literary manifestations of "decadence," and "Greek love" (euphemisms for homosocial interaction and desire), and how these infused Day{\textquoteright}s photography, especially after 1898. Day was a close friend and associate of Oscar Wilde, publishing Wilde{\textquoteright}s sexually provocative Salome (1894) and The Sphinx (1899). This study will reexamine the fallout of Wilde{\textquoteright}s trials in Boston and London and the concurrent shift in Day{\textquoteright}s photography. A new and original interpretation of Day{\textquoteright}s famous Crucifixion (1898) and Seven Last Words of Christ (1898) repositions these images in relation to spiritual, sexual, and ideological crisis at the end of the nineteenth century}, keywords = {Photography and Film}, author = {Crump, James} } @mastersthesis {8004, title = {Suzanne Valadon: The Making of an Artist}, year = {1996}, school = {CUNY}, abstract = {Little is known about the magnitude of the personal and artistic achievements of Suzanne Valadon (1865-1938). This dissertation examines her early life and work, a period crucial to the development of her mature style. It focuses on two distinct objectives: (a) establishing the truth about formerly unresolved problems and undisclosed events of her youth, (b) analyzing the causes and circumstances of her vocation. Her rare writings, unpublished correspondence from her family and entourage, and interviews of friends and familiars provide insight into her personality and the basic aims that conditioned her art. Valadon was one of the first nineteenth-century women from a working class to become a professional artist. Her ongoing work as a model should have prevented her from being acknowledged as a professional artist since these careers were viewed as irreconcilable. Yet, she prevailed in establishing herself as a significant painter while maintaining her personal vision. Staying away from contemporary art movements, she imparted to her subjects bold and novel treatments that broke with centuries-old traditions. Her works are based on perceptions conditioned by two determining factors: her gender and her life in Montmartre. Any reading of her art starts with her identity as an unmarried mother at the age of eighteen, and as a model functioning in a male-dominated society ruled by strict social and sexual codes. Growing up and spending her entire life in bohemian Montmartre provided a permanent contact with art that allowed her to view its creation as a natural function. Retracing Valadon{\textquoteright}s early years with accuracy is essential to establish a valid scholarship concerning her oeuvre. Problems, such as her illegitimacy and that of Maurice Utrillo, of crucial importance to her life and work, have never been seriously investigated. Since she was a self-taught artist, her acquisition of an early academic technique and imagery is examined. Degas{\textquoteright} influence on her art and personality, that of the painters for whom she posed, and the guidance of her husband Andre Utter, played a major role on her oeuvre. All these factors were instrumental in shaping her artistic persona. With her liaison with Utter in 1909 and her subsequent marriage to him in 1914, her stylistic development changed course. After a decade under his influence, her formative years were over. By the early 1920{\textquoteright}s, Suzanne Valadon entered her artistic coming of age.}, keywords = {Art of the United States and Canada}, author = {Rosinsky, Therese} } @mastersthesis {7979, title = {Tapping the Buried Fountain{\textquoteright}: Emanations and the Flow of Creativity, Consciousness, and the Sacred through the Arts}, year = {1996}, school = {Union Institute}, abstract = {Poet Denise Levertov speaks of the "tapping of a buried fountain in the poet from which the music flows." The source of creativity is the inner wakefulness of pure transcendental consciousness, the nourishing water of life that comes from what is like a "buried fountain" in each of us. This interdisciplinary study examines the unseen, subtle mechanics of the creative process; the contacting of the source of creativity through creating and viewing works of art; the sacred purpose and profound effect of creative work on artist and viewer; the potential creative work has for nourishing and connecting us with the divine, thus evoking tranquility and expansiveness; and archetypal motifs of the creative process that are echoed in art and literature. More sacred art that has this healing and enlivening energy is called for in our contemporary world. In addition to scholarly research, this study is intuitive, poetic, and experiential in nature, since the author reports from her experience as a poet and artist and as a person with twenty-five years of meditation practice. Creative work places artists in the timeless present moment where they can witness and experience the flow and mechanics of creativity. Patanjali{\textquoteright}s Yoga Sutras describe a quiet level of the mind near the Transcendent called ritam bhara prajna, "that level that knows only the Truth." At this level, names and thoughts materialize and are created as forms. When the forms emerge, they do so through the junction point (bindu) between the unmanifest and the manifest. Poets and artists have depicted thought/speech becoming concrete. A motif in art and architecture is based on the archetypal image of concentric circles or squares that can be perceived on the field of inner vision during meditation radiating out from the source through the bindu. These concentricities are waves of manifestation, subtle mechanics of the creative process. A related motif echoes rashmis, rays of light that extend out into the material world from the central point, thus depicting creation manifesting. The dissertation includes seventy illustrations.}, keywords = {Art Criticism and Theory}, author = {Silverman, Sherri} } @mastersthesis {8032, title = {The Temple of Olympian Zeus at Agrigento}, year = {1996}, school = {Yale}, abstract = {The temple of Olympian Zeus at Agrigento, ancient Akragas, is the largest Doric temple ever built (c. 110 x 53 m). The building deviated from contemporary architectural canons in its incorporation of elements idiosyncratic to the Doric order (for example, anthropomorphic architectural components, the telamones) and in its innovative solutions to the conception of structure as seen in its plan and elevation. Today the Olympieion is in a sorry state of disrepair, hampering a full understanding of the temple. The opportunity for resolving with certainty the vexatae quaestiones regarding the temple has passed when most temple blocks were reused in the 18th-century harbor at Porto Empedocle. As a ruin it has inspired artists from Goethe to Forster and intrigued archaeological pioneers such as Winckelmann. Yet, despite 250 years of investigation, problems of interpretation abound, and the temple is generally perceived as too uncanonical to fit comfortably in the evolution of Greek monumental architecture. This study first investigates the physical remains, the state of preservation, the ancient and later testimonia for the Olympieion, and other sources. Second, it compiles and analyzes the previous scholarship and reconstructions, especially those of Charles Robert Cockerell (1830) and Robert Koldewey and Otto Puchstein (1899). Third, it explores the available evidence anew, leading to a reconstruction more in line with Greek architecture, in which the telamones are relegated to the inside of the cella. The pseudo-peristyle is lit through windows in the intercolumnar walls and entered through doorways at the corners of the east side of the temple. The unfinished state of the building documented by Diodorus Siculus (13.82.1) is borne out by the physical evidence. Study of the articulations on the unfinished parts provides new insights into ancient construction and design procedures (notably of architectural refinements). The discovery on the foundations of construction marks apart leads to a new interpretation of the building{\textquoteright}s metrology. The new reconstruction of the Olympieion confirms the date for the inception of the building after the Battle of Himera in 480 B.C. It also leads to a reassessment of the temple{\textquoteright}s importance for the history of Greek architecture.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Broucke, Pieter B. F. J.} } @mastersthesis {8037, title = {The Teotihuacan Trinity: UnMASKing the Political Structure}, year = {1996}, school = {UT Austin}, abstract = {The art of Teotihuacan communicates the complex relationships that existed between the various components in the socio-political structure of the city. Iconographic analysis of the murals in the White Patio at Atetelco suggests that each of its three porticos is thematically dedicated to one of three offices or groups: the office of the king, the eagle warriors, and the owl warriors. The latter two were military orders whose heraldic imagery stemmed from a belief in nawalism. Through shamanistic practices, members of a military order transformed into an animal companion that they held in common as a group. The physical arrangement of the mural imagery within the patio reflected the hierarchical relationship between the king and the military orders thereby suggesting a possible political structure for the city of Teotihuacan. The imagery of the king appears in the central portico, while the flanking structures include imagery of the military orders. The king sits at the apex of this arrangement but was dependent on the support of the military orders. The White Patio fits into a category of structures called three temple complexes that symbolically represented the mythological three stones of creation. The mural program of the White Patio links the three political units to this mythological tradition which legitimized the human political construct. The need for political alliance between the king and the military orders arose from the pressures of kinship. This dissertation argues that Teotihuacan{\textquoteright}s famous stone masks were attached to the ancestral mortuary bundles of the city{\textquoteright}s important lineages. The palaces lining the Avenue of the Dead may have held the mortuary bundles and served as the residences of the lineage heads who could have competed for power with the king. The military orders addressed this factionalism by providing access to power that was not lineage-based and was intimately tied to the office of the king. Functioning as sodalities that crosscut kinship ties, the military orders provided a unifying factor for the city as a whole, producing a system that was cohesive, dynamic, and capable of orchestrating large scale public initiatives.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Headrick, Annabeth} } @mastersthesis {8045, title = {Tina Modotti{\textquoteright}s Vision: Photographic Modernism in Mexico, 1923-30}, year = {1996}, school = {CUNY}, abstract = {This dissertation is a close consideration of photographs by Tina Modotti (1896-1942), whose work marks the beginning of a modernist aesthetic in post-Revolutionary Mexico. Modotti{\textquoteright}s photographs are distinguished by a formal clarity coupled with incisive social content. Her work was informed by dominant modes of modernist photographic practice manifest in America and Europe in the 1920s. This study sets out previously unknown biographical information on Modotti in Chapters I through IV. Modotti was among the many expatriate artists and intellectuals who settled in Mexico during the 1920s, when the country was undergoing a cultural Renaissance. This rebirth was stimulated by social reforms, which were the outcome of the Mexican Revolution. Modotti went to Mexico from California, where she had lived since emigrating in 1913 from her birthplace, Udine, in Northern Italy. In Los Angeles, Modotti met a group of progressive artists and writers, the photographer Edward Weston among them. In 1923, Modotti and Weston moved to Mexico City, where they established a photographic studio together. Chapters V through VIII set out Modotti{\textquoteright}s photographic career, which evolved in conjunction with her activism. Without abandoning a formalist aesthetic, similar in rigor to that of Weston{\textquoteright}s, Modotti attempted to merge art with politics, enlisting her photographic skills to express her radicalism. Modotti{\textquoteright}s photographs reflect her commitment to the promises of the Mexican Revolution and her photographs bear a relationship to the public art produced by her colleagues in Mexico{\textquoteright}s mural movement, her friends Diego Rivera, David Siqueiros and Jose Clemente Orozco. Modotti turned her camera on the workers of Mexico and showed them to be the heart of a movement toward social and economic justice. After joining the Communist Party in 1927, Modotti{\textquoteright}s photographs became sharply critical of government policies that failed the objectives of the Revolution. In 1930 she was deported, and within a year, she gave up photography. Appendices include genealogical information; an index to Tina Modotti (Mexico, 1942); lists of exhibitions; a checklist of her posthumous exhibition; and a working catalogue of her photographs.}, keywords = {Photography and Film}, author = {Lowe, Sarah} } @mastersthesis {7988, title = {Transfigured Wasteland: The Sculpture of Richard Stankiewicz}, year = {1996}, school = {Columbia}, abstract = {This is the first monograph on the art and life of Richard Stankiewicz (1922-1983), whose welded sculpture made of rusted iron and steel castoff materials played an important part in redefining art in New York in the 1950s. Although his work has been included in group exhibitions of Assemblage, Neo-Dada, and Abstract Expressionism, Stankiewicz{\textquoteright}s art has eluded conclusive critical identification. This elusiveness may be attributed to its persistent and subtly subversive stance toward the dominant artistic vocabularies of the decades in which it was produced, crucial decades in which the character of art and its audience changed radically. As is the case of several artists who figured significantly in the transition from the 1950s to the 60s, the full range of Stankiewicz{\textquoteright}s art has never received sustained critical attention, nor has his pioneering "junk sculpture" ever been viewed in the larger context of his thirty-year career. This study traces Stankiewicz{\textquoteright}s particular ambitions and apprehends his larger intentions in relation to the world of concerns in which they developed. A student of Hans Hofmann and Ossip Zadkine, Stankiewicz belonged to the second generation of the New York School. He based his art on Cubist structural principles and a Surrealist-inspired sense of fantasy. In addition to a determination to confront compelling formal challenges, he also inherited a vitalist philosophy of art from which all of his finest works derive their force as sculpture: throughout his career, he attempted to convey a "sense of presence" in his configurations and to vitalize the materials he used in them. In offering a detailed account of Stankiewicz{\textquoteright}s artistic evolution, this inquiry devotes considerable attention to the life history of the artist because there is no other published source of this information. Although it cannot claim to be a full-scale biography, this study makes available important information that may one day find its way into one. And while it is not a catalogue raisonne of the oeuvre, it is based on documentation and research that lays the groundwork for such a comprehensive volume.}, keywords = {Art of the United States and Canada}, author = {Donadio, Maurene S.} } @mastersthesis {8064, title = {Triumph of Lucidity: Games and Play in the Art of Jean-Honor Fragonard}, year = {1996}, school = {Princeton}, abstract = {Games and the theme of play figure prominently in Jean-Honore Fragonard{\textquoteright}s oeuvre, yet no scholar has accounted for the significance of this phenomenon beyond relating the recurring imagery to a general taste for frivolity and decadence in ancien regime France. A denigration, or even a celebration of the frivolous masks the purposive substance of Fragonard{\textquoteright}s playful subjects represented in a manner that corresponds to the action of a game itself. His images operate as play, engaging the viewer with forms and meanings that exclude notions of closure and control, calling for an active and spontaneous response, extending the creative and imaginative processes that define the artistic experience. This study begins with a review of game imagery up to the middle of the eighteenth century, revealing the variety of forms and meanings possible within the subject category. An inquiry into the aesthetic idea of play at the time of Fragonard follows this visual and historical survey. These initial chapters provide the topical background and theoretical foundation for a careful, contextual study of Fragonard{\textquoteright}s game images in which the artist explored play as an extended theme related to issues of art, education, behavior, courtship, and eroticism. The paintings and drawings which are the focus of this study--depictions of swings, see-saws, blindman{\textquoteright}s buff, card-games and forfeits--do not simply perpetuate emblematics or repeat a single meaning. Rather, through an engagement with the idea of play, they reveal Fragonard{\textquoteright}s ability to manipulate form, iconography and thematic associations in order to stimulate a variety of responses from a familiar subject and to locate significance in the visual experience balanced between sensation and interpretation.}, keywords = {Renaissance Art}, author = {Milam, Jennifer} } @mastersthesis {7967, title = {Truth in Art: William Michael Rossetti and 19th-Century Realist Criticism}, year = {1996}, school = {Minnesota}, abstract = {"Truth in Art: William Michael Rossetti and Nineteenth-Century Realist Criticism" examines the art criticism of an underrated member of the Pre-Raphaelite Brotherhood and places it within the context of Victorian culture. After an account of Rossetti{\textquoteright}s family background and education, Chapter One gives an overview of the nature and scope of Rossetti{\textquoteright}s periodical reviewing and the function of much reviewing in Victorian society. Chapter Two assesses William Rossetti{\textquoteright}s role in the Pre-Raphaelite movement, first as editor of the Germ, then as a beginning reviewer. His early realist creed, derived in part from John Ruskin{\textquoteright}s "truth to nature" but characterized from the beginning by an individual cast of thought, is seen in reviews of fellow Pre-Raphaelites Dante Gabriel Rossetti, John Everett Millais, and William Holman Hunt. His outlook broadens, however, with frequent reviewing of a variety of works, and his point of view is examined in relation to Ruskin and other critics such as F. G. Stephens. Chapter Three discusses a crucial development in Rossetti{\textquoteright}s thought: a new appreciation for "style" born of exposure to French art. In the 1860s Rossetti{\textquoteright}s aesthetic ideas underwent further development with his enthusiasm for Japanese art, and Chapter Four examines how this tradition promoted Rossetti{\textquoteright}s sensitive response to James McNeill Whistler. This chapter also presents new findings on Rossetti{\textquoteright}s own collection of Japanese art. Chapter Six analyzes Rossetti{\textquoteright}s different reactions to the Classical Revival and Gothic Revival, both of which contributed to a new phase of Pre-Raphaelitism that could sometimes satisfy both Rossetti{\textquoteright}s aestheticism and his realism through its vital spirit of the past. Rossetti{\textquoteright}s final approach, best characterized by his own phrase "aesthetic realism," emerges between 1874 and 1878. Reviews of exhibitions at the Dudley and Grosvenor Galleries, showcases for the Aesthetic Movement, place him squarely in the nineteenth-century realist tradition, but also show a twentieth-century determination to examine works closely as autonomous objects. The study concludes by defining Rossetti{\textquoteright}s "realism," comparing it to the positions of fellow critics, especially Sidney Colvin, and positing Rossetti{\textquoteright}s importance as an authoritative spokesman for humanistic values in Victorian culture.}, keywords = {19th- and 20th-Century European Art}, author = {L{\textquoteright}Enfant, Julie} } @mastersthesis {8043, title = {"Un Chien Andalou" and "L{\textquoteright}Age D{\textquoteright}" or: The Collaborations of Salvador Dali and Luis Bunuel}, year = {1996}, school = {Iowa}, abstract = {Most studies of Un Chien andalou and L{\textquoteright}Age d{\textquoteright}or have examined the films as formal or psychological dramas under the canon of a generic Surrealism. Little attention has been paid to the specifics of these two enterprises with regard to their development in a real historical context. This dissertation addresses the issue of context directly. At the time that Un Chien andalou was developed Salvador Dali and Luis Bunuel were both outsiders to the Paris avant-garde movement known as Surrealism. Their self-awareness of that status and their desire to insert themselves into the heart of the Surrealist movement is examined in this study. The significant differences surrounding the development of each film are closely examined in order to de-mythologize the films. Careful attention is given to the conscious choices made by Dali and Bunuel, in particular, to promote the films in certain ways in order to satisfy the ideological and moral requirements of Surrealism in 1929-1930. Furthermore, this dissertation argues that Dali and Bunuel drew from a vast reservoir of visual and thematic material in both films, consciously appropriating cultural, artistic, and religious imagery and motifs which they knew would be readily recognizable. Although the collaboration is shown to be successful through the production of both films, in the end, the dissolution of the partnership of Dali and Bunuel in the years after L{\textquoteright}Age d{\textquoteright}or is revealed to be, on one level, a reflection of the division over politics and aestheticism which had erupted within Surrealism in 1931-32. The relationship of the Surrealists to these two films is explored in some detail. In particular, it is argued that the Surrealists had a specific agenda in mind when they collaborated with Studio 28 on L{\textquoteright}Age d{\textquoteright}or{\textquoteright}s public premiere. Collectively written by the Surrealists as a group manifesto, the program brochure was intended to reach an audience beyond that attending the film and is shown to be part of the Surrealists{\textquoteright} effort to prove to the French Communist Party and the International that they were true revolutionaries and not just a group of eccentric artists and literateurs.}, keywords = {Photography and Film}, author = {Frank, Susan Behrends} } @mastersthesis {8028, title = {Uncovering the hidden codes: The geometry of the east end of Reims cathedral}, year = {1996}, school = {Columbia}, abstract = {This dissertation seeks to provide a new reading of the underlying geometry hidden in the design of the east end of Reims cathedral. After obtaining fresh measurements from the physical edifice, a new ground plan was produced and carefully examined. Among the geometric forms identified in the turning bays are the hemicycle circle defined by the six hemicycle piers, the ambulatory circle which inscribes the six ambulatory piliers cantonnees, two rotated pentagons which determine the four lateral radiating chapels, and an equilateral triangle which establishes the placement of the axial chapel. In the straight bays two identical $\surd$2 rectangles have been identified, one defining the transept arm and the other the three-aisle straight bay proper. A pentagon inscribed within the hemicycle circle acts as the link connecting the turning and straight bay areas. A design sequence is suggested progressing from the initial location of the eastern crossing piers to the eventual establishment of the entire east end. Metrologically, the presence of two different foot units was identified which may explain the untidiness of the ground plan. It is suggested that the crucial dimension of fifty feet between the two eastern crossing piers might have been the genesis of the entire design. In all likelihood, this dimension was dictated by the width of the 5th-century apse whose foundations are still evident. Contemporaneous metrological units, mason{\textquoteright}s tools, and geometrical knowledge are considered and studied in relation to the geometric interpretation presented. A survey of the scholarship devoted to geometric studies in Gothic architecture and a detailed, critical overview of current literature in the geometry of Reims cathedral is given in the first two chapters. The dissertation concludes with an examination of contemporaneous philosophical and religious views, and how they enhance our understanding of the contextual significance of design geometry in 13th century architecture.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Wu, Nancy W.} } @mastersthesis {8020, title = {The Uses of Sebastien Le Clerc{\textquoteright}s "Livres d{\textquoteright}Estampes": Acquiring Pictorial Knowledge in Early Modern France}, year = {1996}, school = {UC Berkeley}, abstract = {This dissertation is a case study of the varied visual uses to which the work of one of the premier seventeenth-century printmakers in France was put in his day. By closely considering the multifaceted appeals and enduring afterlife of a handful of best-selling books of prints by Sebastien Le Clerc, I aim to demonstrate concretely how printed images played a vital role in the formation of a "period eye" in the Ancien Regime, shaping the visual equipment and mental habits of Mass-goers, amateur draftsmen, military officers, armchair travelers, decorators of porcelain, and formal garden admirers. Chapter I examines Le Clerc{\textquoteright}s Pratique de la geometrie, a geometry manual and sample-book of displays of etcherly mastery in one. With its eighty-odd plates combining diagrams with miniature landscapes and scenes of everyday life, the book{\textquoteright}s inordinate success can be attributed to the intrigue its visual aids lent to leaming the rudiments of geometry. Chapter II discusses the functions of a devotional picture book which presents the stages of the Mass in tandem with scenes of the Passion of Christ, inset as so many altarpieces designed to comment on the priest{\textquoteright}s liturgical actions. Chapter III, finally, takes a number of bearings on the suite of prints Le Clerc dedicated to the Duke of Burgundy: art criticism, drawing instruction for gentlefolk, travel, gift exchange, and the pursuit of divertissement all provide lenses on this work{\textquoteright}s appeal. Spanning all three chapters is a commitment to understand these objects in period terms, the circumstances of their making and the motives behind their systematic collection. These studies build on, and complicate, work done heretofore by students of early modem print culture toward constructing a history of the diverse uses printed materials have served--work which has devoted relatively little sustained attention to the complex ways printed images were employed to gain knowledge of the world and a range of visual and manual skills. My contribution to this history focuses on the stuff of which the "visual literacy" of print-regarding folk in the Ancien Regime was made and the cultural contexts in which it was both acquired and applied.}, keywords = {Baroque and 18th-Century European Art}, author = {MacGregor, William B.} } @mastersthesis {8062, title = {"Ut Pictura Musica": Observations on the Reform of Painting and Music in Post-Tridentine Rome}, year = {1996}, school = {Toronto}, abstract = {In Renaissance art historical and musicological scholarship, later Cinquecento Italy has been relatively little explored, especially with respect to sacred painting and music for the Catholic church. This dissertation expands and recontextualizes our knowledge of these arts in post-Tridentine Rome, from the close of the Council of Trent under Pope Pius IV in 1563 to the end of the pontificate of Pope Gregory XIII in 1585, by considering the function, form, and content of one art in light of the other. I examine the circumstances which fostered the construction of a distinctly analogous relationship between them--a relationship suggested in sixteenth-century Italian writing on images and music--and explore the extent to which it was maintained in theory and practice, both within and across disciplines. My treatment of sacred painting and music from the perspective of analogy revolves around the problem of reform. Having decided at the Council of Trent to retain images and music in the ritual of worship despite Protestant calls for their abandonment, the Catholic church embarked on a project to ensure their purity and efficacy as didactic tools and aids to heightened spiritual experience. Attempts by ecclesiastics and, secondarily, art and music theorists to codify the character of reform imagery and music, as well as the character of those who produced them, led on paper to an analogous outlook on these arts. But because in this instance theory preceded practice and was formulated without significant concern for its impact on the issues which primarily motivated painters, composers, and performers (including artistic progress, license, and virtuosity), the analogy reflected in theory did not consistently translate into contemporary production. And when it did, it cannot always be attributed specifically to the adoption of reform theory. Yet certain painters, composers, and patrons did experiment with the reform aesthetic proving aspects of the theory only minimally effective. By Gregory XIII{\textquoteright}s reign, the concept of reform was modified to take advantage of the particular strengths of each medium without concern for the other and thus, the framework of analogy initially imposed on these arts could no longer be supported.}, keywords = {Renaissance Art}, author = {Korrick, Leslie} } @mastersthesis {7983, title = {Vistas de Espana: American Views of Art and Life in Spain, 1865- 1890}, year = {1996}, school = {CUNY}, abstract = {My dissertation explores the Spanish subject paintings of six American artists active during the years 1860 to 1898. Samuel Colman, George Henry Hall, Thomas Eakins, Mary Cassatt, John Singer Sargent, and William Merritt Chase all visited the Iberian peninsula during this period. Following a prescribed itinerary, they spent time in Madrid in order to view the Old Master paintings in the Prado and settled in more remote regions, where gypsies, street vendors, bullfighters, and flamenco dancers became the subjects of their colorful canvases. The goal in Spain appears to have been two-fold: while rounding out their educations through the study of Murillo, Velazquez and the Spanish Old Masters, American artists were simultaneously able to experience and paint a culture dramatically different from their own. The paintings that resulted from these trips are fascinating documents of an important encounter between American and Spanish culture. Drawing upon recent theoretical writing in gender and ethnic studies, my contention is that Spanish influences on American art were filtered through the lens of contemporary political tensions over changing balances of power in the years preceding the Spanish-American War. Americans selectively viewed Spain{\textquoteright}s land and people, and the paintings produced by these artists embody contemporary assumptions about the historical and future importance of the country that had "discovered" the American continent. In short, Spain was admired for its artistic and cultural contributions of the past, but largely derided for its contemporary state of decline. Selective viewing of Spain enabled Americans of the late-nineteenth century to better define their own history and to predict an eminent future for themselves.}, keywords = {Art of the United States and Canada}, author = {Boone, M. Elizabeth} } @mastersthesis {8000, title = {Walter Pach: Artist, Critic, Historian, and Agent of Modernism}, year = {1996}, school = {Delaware}, abstract = {Walter Pach was one of the most influential and intriguing figures in the history of modern European and American art. His major contributions, particularly his involvement with the International Exhibition of Modern Art, better known as the Armory Show, have been recognized, yet an in-depth study of his life and work is lacking, primarily because his papers were unavailable until 1988. Since there are few publications on Pach, a biography detailing his family and educational backgrounds and artistic training under William Merritt Chase and Robert Henri is delineated in this dissertation. Between 1907 and 1913 Pach lived on the Continent and became friends with several vanguard European and American artists, dealers, and collectors, including Henri Matisse, Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, Leo, Gertrude, Sarah, and Michael Stein, Charles Loeser, Ambroise Vollard, and Daniel-Henry Kahnweiler. These relationships helped shape Pach{\textquoteright}s careers as an organizer of exhibitions and a liaison between European artists and dealers and American galleries and collectors. Pach{\textquoteright}s impact on contemporary art and criticism in America was most profound between 1908 and 1920. He helped organize several ground-breaking exhibitions of modern European and American art and was the European representative for the Montross, Carroll, and Bourgeois galleries in New York. Also, he was an advisor to John Quinn and Walter and Louise Arensberg, and helped them amass two of the most significant collections of modern art in America. As a critic and a lecturer, Pach disseminated the theories upon which works by Matisse, the Cubists, and other vanguard artists were based to audiences across America and abroad. Articles by Pach appeared in the New York Times, Scribner{\textquoteright}s Magazine, The Century, The Dial, Gazette des beaux-art, and L{\textquoteright}art et les artistes. He lectured extensively in the United States and helped educate the American public toward an understanding of modernism. This study reveals that Walter Pach{\textquoteright}s contributions to the history of modern art in the United States were much more extensive than previously imagined and serves to restore him to his rightful place a seminal figure in the annals of early twentieth-century American art.}, keywords = {Art of the United States and Canada}, author = {McCarthy, Laurette E.} } @mastersthesis {7996, title = {Westlake and Irvine, California: Paradigms for the 21st Century?}, year = {1996}, school = {UC Santa Barbara}, abstract = {Westlake and Irvine, California were among the most successful 60{\textquoteright}s new towns. The analysis examines the initial planning assumptions behind each town and traces its development to determine how much of the original concept was implemented and discover the factors which initiated change. In the decade of the 1960{\textquoteright}s new towns were presented as the alternative to suburban sprawl. They embodied the hope for a quality environment through master planning and integrated design. The new town idea was hardly new. A chain of theory and experimentation links these new towns to their 19th and early 20th century antecedents. By the 1960{\textquoteright}s, however, the regulatory, financial and planning infrastructure enabled new town development on a grand scale. Westlake was originally designed in 1963. The initial phase of development (1963-1969) in South Ranch proceeded as designed. The ranch{\textquoteright}s undeveloped, northern portion was within the City of Thousand Oaks. The City pressed for a new plan with lower densities. Poor quality soils, a shifting economic climate and a new developer also led to plan changes. By the mid-70{\textquoteright}s, North Ranch had become one of the prestige areas of Southern California, but it developed very differently from the initial, high density, concept. Irvine began as an adjunct to a new campus for the University of California. Also designed in 1963, the town initially was focused around the campus. External development pressures--rising taxes, political controversy, student unrest--and more sophisticated planning, shifted the town{\textquoteright}s focus. The new planning area encompassed most of the 88,000 acre Irvine Ranch. The threat of annexation by surrounding communities led to an early incorporation in 1971. Once incorporated, Irvine residents enacted their own vision for the new town, in opposition to the desires of the Irvine Company, leading to a much smaller and greener city. Both Westlake and Irvine are successful new towns. Although many of the planning concepts used were not new, these towns pioneered their implementation on a grand scale. In proving the viability of these concepts, they have become models for succeeding urbanization efforts in Southern California and elsewhere.}, keywords = {Art of the United States and Canada}, author = {Kane, Diane Grinkevich} } @mastersthesis {8010, title = {The Weyhe Gallery Between the Wars, 1919-1940}, year = {1996}, school = {CUNY}, abstract = {Although few U.S. artists made prints between 1900 and 1915, artists{\textquoteright} interest in printmaking revived around 1917-1918. In 1919, Erhard Weyhe, a New York dealer in art books and prints sold through catalogues, opened a gallery specializing in American prints, and hired Carl Zigrosser to manage it. Among the first artists exhibiting at the gallery were Arthur B. Davies, John Marin, Joseph Stella, George Biddle, Adolf Dehn and Rockwell Kent. The gallery became recognized for its frequent exhibition of works on paper, and Erhard Weyhe became known as a patron of artists when he acquired Alfred Maurer{\textquoteright}s entire oeuvre and arranged to pay Maurer a stipend, which continued until the artist{\textquoteright}s death. Weyhe similarly supported Emil Ganso, Vincent Canade, and John Flannagan. Other artists associated with the gallery in the 1920s and 1930s included Arnold Ronnebeck, Walt Kuhn, Pop Hart, Wanda Gag, Jules Pascin, Reginald Marsh, Andree Ruellan, Benton Spruance, Howard Cook, Mabel Dwight, Peggy Bacon, Harry Sternberg, Federico Castellon, Victoria Huntley, Louis Lozowick, and Caroline Durieux. One of the gallery{\textquoteright}s most important publications, Illustrated Catalogue of Lithographs, Engravings and Etchings Published by the Weyhe Gallery, 1928, included 210 prints by forty-eight artists, signifying the gallery{\textquoteright}s important role in print publishing. The gallery was best known as a sponsor of U.S. artists, but it also exhibited the work of Rufino Tamayo, Diego Rivera, Jose Clemente Orozco, David Alfaro Siqueiros, and other Mexicans. The gallery also dealt in sculpture, notably the work of Alexander Calder, Wharton Esherick, Harry Wickey, Heinz Warneke, and the previously mentioned John Flannagan and Arnold Ronnebeck. The business of the Weyhe gallery declined during the depression, and the number of exhibitions was greatly reduced. In 1940 Zigrosser resigned to join the Philadelphia Museum of Art, but Erhard Weyhe took an active role in the gallery until his death in 1972. In 1996, his daughter, Gertrude Weyhe Dennis, saw clients by appointment at the gallery, where prints and sculpture by many of the artists cited can still be acquired.}, keywords = {Art of the United States and Canada}, author = {Williams, Reba} } @mastersthesis {8047, title = {Women Artists in Paris, 1791-1814}, year = {1996}, school = {IFA/NYU}, abstract = {In 1791, the Paris Salons were opened to non-members of the Academie Royale de Peinture et de Sculpture. From that year, women artists participated in the exhibition in increasing numbers through the Revolution, Consulate, and First Empire. In total, two hundred and seven female artists appeared at the Salons from 1791 to 1814; their training, careers, and production are studied in this dissertation. In the first chapter, the author explores the reasons that the number of women artists in Paris grew during the 1791 to 1814 period. In the second chapter, she describes their training, which included anatomical study and life drawing from nude models. The artists{\textquoteright} earnings and employment are discussed in the third chapter. Previously unpublished material details government support received by female artists in the form of lodgings, commissions, and encouragements. The second section of the work is composed of an alphabetical guide in which the life and oeuvre of each artist is briefly investigated. Most entries feature extensive archival documentation. Paintings, sculptures, and prints, many virtually unknown until now, are documented by two hundred and sixty-two reproductions. The author also identifies twenty misattributed or unattributed paintings by women artists, which date from the Revolution to the Restoration. Nine of these canvases were once attributed to Jacques-Louis David, and others were ascribed to Girodet-Trioson, Ingres, Regnault, and Riesener.}, keywords = {Photography and Film}, author = {Oppenheimer, Margaret Ann} } @mastersthesis {7990, title = {Women at Work: The Design and Decoration of the Woman{\textquoteright}s Building at the 1893 World{\textquoteright}s Columbian Exposition Architecture, Exterior Sculpture, Stained Glass and Interior Murals}, year = {1996}, school = {UC Santa Barbara}, abstract = {In honor of the four hundredth anniversary of Columbus{\textquoteright}s discovery of America, Chicago hosted the World{\textquoteright}s Columbian Exposition in 1893. As part of that Exposition, a Woman{\textquoteright}s Building was planned, designed, and decorated entirely by women under the direction of the Board of Lady Managers. The goal of this dissertation is to treat the existence, organization, and decoration of the Woman{\textquoteright}s Building as a visible manifestation of the New Woman in her early form. Toward this end, the building{\textquoteright}s architecture, exterior sculpture, stained glass, and interior painted murals are considered. Through an analysis of the goals of the building{\textquoteright}s organizers, the changing purposes of the building as reflected in its architecture and floor plans, the fact of a woman architect designing the building, and an interpretation of the themes of all the figural decorations, I speculate as to the image of the New Woman in turn-of-the-century America as challenging the traditional definition of the role of Woman through the modern assertion of women{\textquoteright}s work. I approach this subject through a multi-leveled analysis beginning with the individual works of art and ultimately placing the building into the broader scope of its cultural context. In analyzing the aims of the organizers and artists, I discuss the conditions of commission, design, and execution of the Woman{\textquoteright}s Building itself and its decorative works. As with most World{\textquoteright}s Fairs, the Exposition buildings were not intended to exist beyond the close of the Exposition and were constructed and decorated accordingly. Therefore, I believe the medium{\textquoteright}s temporality required the organizers to send a particularly strong and powerful message, able to transcend the limited existence of the building.}, keywords = {Art of the United States and Canada}, author = {Garfinkle, Charlene Gallo} } @mastersthesis {8011, title = {The Young Willem de Kooning: Early Life, Training, and Work 1904-1926}, year = {1996}, school = {CUNY}, abstract = {Knowledge of Willem de Kooning{\textquoteright}s early years before his emigration to the United States at the age of twenty-two has been based primarily on several paragraphs written by Thomas B. Hess in his 1959, 1968 and 1972 monographs on the artist. This study provides fresh research and unpublished early paintings and drawings in a more rigorous exploration of de Kooning{\textquoteright}s early development. Eight chapters follow a chronological arrangement. New biographical information, drawn from archival research and interviews, is offered in Chapter 1, "Rotterdam and Family," and Chapter 6, "Family and Friends." Chapter 2 presents Gidding \& Sons, the painting and decorating firm for which de Kooning worked from 1916 to 1920; Jaap Gidding{\textquoteright}s career is discussed, along with information about the Rotterdam art world of the generation prior to de Kooning{\textquoteright}s. In Chapter 3, about de Kooning{\textquoteright}s experience at the Rotterdam Academy, teachers Johannes Heyberg and Jacob Jongert receive considerable attention, as does the course of instruction with its distinctive offerings. Chapter 4 and the Appendix are devoted to Bernard Romein, the young artist for whom de Kooning worked as assistant, and his most important mentor in these years; some of Romein{\textquoteright}s works are indebted to Dutch artist Johan Thorn Prikker. The wider art world in which de Kooning{\textquoteright}s formation took place, the subject of Chapter 5, is described with attention to de Kooning{\textquoteright}s vantage point as well as to what can be known of the prevailing situation. The work of Jan Toorop, Willem van Konijnenburg, Kees van Dongen, Piet Mondrian, Theo van Doesburg, Charley Toorop, Hendrik Chabot, Piet van der Hem, and others is discussed. In 1924 de Kooning and two friends travelled to Belgium, an event chronicled in Chapter 7. An oil painting and drawings of 1924 and 1925 are presented in Chapter 8 with attention to style, subjects, and sources, under the headings "Symbolist Works," "Cartoon-like Works," and Portraits and Portrait-like Works." They offer a wealth of thematic and formal precedent for insight into de Kooning{\textquoteright}s later attitudes to imagery and style, implications of which are taken up in the Conclusion.}, keywords = {Art of the United States and Canada}, author = {Wolfe, Judith} } @mastersthesis {7889, title = {African American Artists in Paris, 1922- 1934}, year = {1995}, school = {Yale}, abstract = {The twelve documented African-American artists who went to Paris between 1922 and 1934 comprise an amazingly diverse group who produced some of the most indelible images of the New Negro movement, such as Palmer Hayden{\textquoteright}s Fetiche et Fleurs, ca. 1931-1932, Elizabeth Prophet{\textquoteright}s Congolais, ca. 1931, and Archibald Motley{\textquoteright}s Blues, 1929. This dissertation focuses on the art and experiences of six of those artists who each spent significant time abroad--sculptors Elizabeth Prophet (1890-1960) and Augusta Savage (1892-1962) and painters Palmer Hayden (1890-1973), Hale Woodruff (1900-1980), Archibald J. Motley, Jr. (1891-1982), and Albert Alexander Smith (1896-1940). They exhibited the works they created in Paris (which include realistic, expressionistic, and cubistic depictions of West Africans and West Indians, African art, jazz, card playing, African-American genre scenes, and emotional and physical states of being) at prestigious salons in France and in the United States, where they also won fellowships, grants, and awards. The dissertation argues that study abroad won these artists the critical acclaim that established their reputations as some of the most significant leaders of the international New Negro movement in the visual arts. It begins with a survey of the debut of African-American artists in Paris from 1830 to 1914, followed by six chapters which each focus on a single artist. Because Prophet{\textquoteright}s time abroad, 1922 to 1934, brackets that of all the other artists (aside from expatriates Henry O. Tanner and Albert Alexander Smith) in France between the world wars, and because she was the first to actively work and exhibit in Paris, the study begins with her and then follows the chronological order in which the other artists arrived in the city (Hayden, 1927-1932; Woodruff, 1927-1931; Motley, 1929-1930; Savage, 1929-1931; and Smith, 1920-1940). Since only very limited biographies exist on these six artists, each chapter analyzes their lives from birth until the end of their time abroad. The conclusion examines the artists{\textquoteright} shared backgrounds, patronage in the United States and in France, shared experiences in Paris, artistic developments, and the impact study abroad had on the rest of their careers.}, keywords = {Art of the United States and Canada}, author = {Leininger-Miller, Theresa A.} } @mastersthesis {7884, title = {America the Spectacle: Experiments with Color and Light, 1914-1934}, year = {1995}, school = {Brown}, abstract = {In this dissertation I examine the manner in which a group of cultural practices dependent on the employment of color and colored light reacted dynamically with emerging forms of American consumer capitalism. In an attempt to address the breadth of practices in the United States which invoked the discourses of color and light and to locate historically these discourses, I investigate a variety of cultural practices from the period 1914-1934, including the work of artists, theater and industrial designers, architects, and illuminating engineers. I discuss this work in terms of the parallel deployment of color and light by the advertising and retailing industries. During this period, artists sought to create new universal languages of abstraction via color and light, languages which were entangled with the burgeoning consumer culture spectacle of modernity. Meanwhile, commodity sellers utilized color and light as signifiers of progress, novelty, and affluence in a successful attempt to boost the consumption of mass-produced products. Through an interrogation of the use of color and light in both artistic and market-oriented sites, I show how this group of seemingly disparate practices thrived side by side. Threaded in and about this historical evidence is the theoretical model of consumer society advanced by the French group known as the Situationist Internationale (SI). Writing in the 1960s, the members of the SI strove to understand the practices of consumption which drive Western society. They extended the Marxian analysis of society to include a critique of commodification in all aspects of everyday life. The SI theorized a society where reification has colonized all aspects of culture, even subjectivity itself. The Situationist analysis is now recalled only by the shopworn phrase, "The Society of the Spectacle." In fact, the word "spectacle" served as an umbrella term for the Situationists, referring both to the passive (spectatorial) state of modern, urban citizens and to the overwhelming sensory manifestations of consumer society. This dissertation investigates the material formation of the spectacle in the visual discourses of color and light.}, keywords = {Art of the United States and Canada}, author = {Eskilson, Stephen J.} } @mastersthesis {7943, title = {The Architectural Meaning of Tajin Chico, the Acropolis at El Tajin, Mexico}, year = {1995}, school = {Columbia}, abstract = {El Tajin was the largest and most important city on the Gulf Coast of Mexico during the late Classic and epi-Classic periods (apogee c. 600-1100). It was a center of regional trade and government, and its seventeen stone ballcourts suggest that it was a center for the pan-Mesoamerican ballgame as well. The importance of the game to El Tajin is clearly expressed in the city{\textquoteright}s unusually large number of courts, and in its figurative and narrative sculpture. These images reveal a complex of events, centered on the ritual versions of the game, warfare, and sacrifice, and dedicated to obtaining the favor of the gods. The present study contends that the elevated residential and governmental area of El Tajin known as Tajin Chico, while physically separated from the zones of public ritual, can be read as a sign of this same complex of activities. Such non-figurative cues as architectural form, orientation, and ornamentation serve to place this more restricted space, and the elites associated with it, in direct relationship with public ritual spaces and activities. This connection extends to the palace above Tajin Chico, linking the ruler himself to the ballgame and rituals of sacrifice played out in the courts and temples below.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Sarro, Patricia Joan} } @mastersthesis {7919, title = {Architecture in Context: The Villas of Bagheria, Sicily}, year = {1995}, school = {Harvard}, abstract = {This dissertation investigates the question of conceptual interrelationships in the work of the Baroque architect and stage designer Filippo Juvarra (1678-1736), with concentration on the decade of his residence in Rome (1704-1714). The three basic categories of Juvarra{\textquoteright}s designs--projects for real architecture, architectural fantasies or capriccios, and designs for the stage--are often so similar that it is impossible to discern to which of the categories a design belongs. Behind the problem of categorization is the more far-reaching question whether in Juvarra{\textquoteright}s mind these categories remained neatly separated, or whether these designs were in fact conceptually interrelated and, if so, to what degree? To answer these questions we have prefaced our study with a history of the origins of the perspective stage, a story that begins with the invention of visual perspective by Brunelleschi early in the fifteenth century. An examination of the development of the Renaissance theatre in Italy, the significance of the role of the Medici court in Florence where the intermezzi evolved into opera, and a look at the treatises on perspective which were crucial for the development of Italian stage design, are followed by an introduction to the seventeenth century stage. An investigation of Juvarra{\textquoteright}s architectural and stage design work in Rome sets the stage for our conclusions. The problem of conceptual interrelationships is approached systematically by means of a detailed analysis of a selected number of Juvarra{\textquoteright}s centralized designs for the stage, an analysis that culminates in the planimetric and geometric reconstruction of this group of designs. The visual evidence inherent in these reconstructions reveals a close conceptual affinity to Juvarra{\textquoteright}s projects for real architecture--and his predilection for geometrically oriented centralized spaces, manifested in numerous drawings. The final revelation is in Juvarra{\textquoteright}s open structures, especially his church of the Carmine and the grande salone at Stupinigi, where, with spectacular success, Juvarra fully realized his natural scenographic aspirations in a permanent form.}, keywords = {Baroque and 18th-Century European Art}, author = {Neil, Erik H.} } @mastersthesis {7882, title = {Architecture of Steel: Site Planning and Building Type in the 19th- Century American Bessemer Steel Industry}, year = {1995}, school = {Pittsburgh}, abstract = {This dissertation is a study of the built environment of American steel works from experimental beginnings at Wyandotte, Michigan, in 1864 to maturity represented by the Gary, Indiana, works of 1910. The industry produced the Bessemer steel rails for the railroads as the nation experienced tremendous expansion after the Civil War. Mass production of steel required systematic methods of coordinating and controlling chemical and physical processes, machinery, and workers. It also required innovative approaches to architecture. This interpretation of the interaction of the diverse social forces that shaped steel mills employs a methodological approach that combines art historical analysis with the history of labor, business, and technology. It makes use of trade journals, archival collections, photographs, and engineering drawings to reconstruct the evolution of site plans and the Bessemer buildings of about a dozen of the most important works. Changing technical, geographical, labor, corporate organization, and economic conditions were the most important factors shaping the arrangement of buildings within steel works and the internal arrangements within the buildings themselves. By 1900, engineers, most notably Alexander Lyman Holley, John Fritz, William R. Jones, Frederick W. Wood, and Henry Wehrum, had adapted European steelmaking technology so thoroughly to American conditions that the United States almost outproduced Great Britain and Germany combined. Site planning was particularly influenced by preexisting construction, site topography, and the state of production and material handling technology. The arrangement of spaces and machinery inside the Bessemer building, where steel was actually made, was further shaped by market fluctuations, a constant drive for production volume, competitive pressures, engineer training, and patent rights. The steel industry{\textquoteright}s development of rationally laid-out single-story factories that both facilitated and became part of the production systems predated similar, if better known, developments in the automobile industry at Ford{\textquoteright}s Highland Park and River Rouge plants.}, keywords = {Art of the United States and Canada}, author = {Brown, Mark M.} } @mastersthesis {7909, title = {The Art and Architecture of the Reign of Somdet Phra Narai}, year = {1995}, school = {Michigan}, abstract = {This study begins with a critical analysis of Thai historical documents concerning the reign of Somdet Phra Narai. These records support the thesis that large numbers of foreigners, especially Mon and Iranian expatriates were active in Somdet Phra Narai{\textquoteright}s administration and assisted him in claiming the throne. The activities of Mon families are well documented in the Thai Royal Chronicles. The account of the embassy of Shah Sulaiman (the Safavid) by Muhammad ibn Ibrahim provides a tantalizing glimpse into the activities of Iranians at Ayutthaya and their influence on Somdet Phra Narai. The architecture of Somdet Phra Narai{\textquoteright}s reign contains some of the most telling evidence of the extent of the influence of Safavid culture on late seventeenth century Ayutthaya. This study examines evidence linking Somdet Phra Narai{\textquoteright}s new throne hall at Lopburi with the Ali Qapi gate of the Safavid palace at Isfahan. By the same token Somdet Phra Narai emulated Safavid royal attire. By contrast European influence on the art and architecture of Somdet Phra Narai{\textquoteright}s reign is minimal. Woodcarving, lacquer work and the evolution of Ayutthaya period painting are also discussed in great detail with the purpose of describing the characteristics of late seventeenth century Ayutthaya art and the sources of artistic styles. While Thai historical sources document in detail Somdet Phra Narai{\textquoteright}s casting of numerous large bronze Buddha images and Hindu deities, none have ever been identified. The development of late Ayutthaya crowned Buddha images and the recently redated bronze Hindu images in the Bangkok National Museum are carefully assessed. The conclusions reached place the dates of casting for at least three of the Hindu deities examined either during the reign of Somdet Phra Narai or the eighteenth century. As this study provides evidence that challenges long established art historical theories, it is approached within the framework of the development of scholarship on Thai sculpture in order to demonstrate how concepts either have gradually changed or should be changed. To further clarify the evidence, Appendix Nine presents historical and stylistic evidence for modifying the current popular theories of the development of Thai sculpture from the thirteenth century until the first fall of Ayutthaya to the Burmese in the sixteenth century.}, keywords = {Asian Art}, author = {Listopad, John Andrew} } @mastersthesis {7955, title = {The Art and Ritual of Childbirth in Renaissance Italy}, year = {1995}, school = {Princeton}, abstract = {During the Italian Renaissance, childbirth was encouraged, celebrated, and commemorated with a wide variety of objects. This dissertation will reveal the appearance, meaning and function of these objects, as well as the social and cultural context that produced them. There were four reasons for the proliferation of objects associated with Renaissance childbirth: economic growth, the emphasis placed on lineage and the family, the high risks associated with childbirth, and the catastrophic demographic effects of the recurring plague. These factors encouraged the purchase and the use of childbirth objects as mediating devices between the real and ideal worlds. Childbirth was an event that affected not only the family, but also the domestic art market, as well as the appearance of society in general. I begin with an introduction that investigates the roots of natalism in Renaissance Italy. The second chapter examines a wide range of childbirth objects, using the example of a late fifteenth-century Florentine notary as a case study. Chapters three and four deal, respectively, with childbirth-related wooden trays and bowls and maiolica ware. The fifth chapter examines particular types of images and objects that functioned as mediating devices in the birth ritual, and analyzes the responses they generated within their intended, female, audience. The sixth chapter is a discussion of death in childbirth and its commemoration, focusing on the Tornabuoni family of Florence. An epilogue examines the modern revival of childbirth maiolica during the Fascist period. The art of childbirth was in part a product of the natalist attitude that characterized Italian society following the catastrophic population decline after the Black Death. Even as the population slowly rebuilt itself, reminders of the plague and the need for larger numbers were a part of everyday life. As symbols of fertility, Renaissance birth objects encouraged pregnancy. As rewards for procreation, they tangibly congratulated the new mother. And as physical manifestations of the Renaissance attitude towards childbirth and childbearing, this wide range of objects illustrates the strong bond between the art and the rituals of childbirth in Renaissance Italy.}, keywords = {Renaissance Art}, author = {Musacchio, Jacqeline Marie} } @mastersthesis {7944, title = {Art Forms and Ritual Statecraft: The Scattering Gesture and the Invention of the Classic Maya style of relief sculpture}, year = {1995}, school = {Pennsylvania}, abstract = {Investigations of Pre-Columbian art have so far consisted of either exhibition catalogs or else essays on narrowly confined problems of iconography and epigraphy. This study seeks to defamiliarize, and thus to innovate, by addressing problems of formal, canonical style and of viewer/reader response theory, as evidenced in Classic Maya relief sculpture and hieroglyphic writing. Arguing from multiple premises--above all, that the pictorial and literary forms of the ancient Maya style constitute two vectors of a single, reflexive discourse--several questions are raised: What are the technical and esthetic means of production in Classic Maya art and hieroglyphic writing? What are the ontological roots and causes of their creative power? How, and why, does the Maya style engage the viewer/reader{\textquoteright}s active participation? And, by all means, how is the Maya style either similar to or different from other canonical dynastic styles of the ancient world? At the center of discussion stand the pictorial and literary forms of the celebrated "scattering" gesture, which advertises the idea of dynastic eternality. This political enterprise is realized through the use of highly subtle artistic techniques--most notably, the calculated refusal of transient, narrative effects of pictorial representation and, instead, the privileging of an absolutely canonical, enabling "matrix of negativity" which transforms linear progression into the concentric simultaneity of an endless reiteration. The technical workings of medieval Byzantine mosaic art and of modern commercial advertisements easily come to mind. The success of this visuality turns upon the canonical, "fractal" representation of a screened and essentially hidden dynastic ruler, together with a prone captive figure, and of the metaleptic discourse of the ruler{\textquoteright}s "four bodies": a mortal, visible body; an immortal, invisible body; a mirrored "double" body; and a mirrored "other" body. The ruler stands conspicuously still, and, in a spectacular defamiliarization (which summons the observer{\textquoteright}s active collaboration), all sense of originary dynastic power is located in the "imperial" activity of the ruler{\textquoteright}s panoptic gaze. In its hieroglyphic form, the "scattering" gesture is explored as a literary mise en abyme which proleptically digests and defines the idea of dynastic eternality. Both the pictorial and the literary operations of the "scattering" gesture have informative, stunning points of intersection not only with the infinite divisibility of A. L. Greimas{\textquoteright} semiotic square but also with the endless iterations of fractal geometry.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Simpson, J. Erik} } @mastersthesis {7877, title = {Art History and Intellectual History: Michael Baxandall{\textquoteright}s Work between 1963 and 1985}, year = {1995}, school = {UC Santa Barbara}, abstract = {This dissertation deals ostensibly with three books and a few articles produced by Michael Baxandall between 1963 and 1985. In an attempt to examine certain issues of the history of art history during this period, I have used Baxandall{\textquoteright}s work as a case through which to both generate and discuss problems of method, theory, and epistemology. The period in question was one of interesting developments in the discipline, including the rise of Marxism and the social history of art, and the borrowing of theories and methods from disciplines such as literature, linguistics, anthropology, and sociology. One aim is to examine Baxandall{\textquoteright}s work to foreground the intellectual history of some of the methods he develops and to see how they may have related to contemporary debates within art history. An additional motive is to consider how these disciplinary debates might have prodded Baxandall into active engagement with them. Naturally, the relationship is dynamic and reciprocal, and I have tried to write that reciprocity into the study. The dissertation includes transcripts of two interviews with Michael Baxandall conducted in early February of 1994, in which he responds to several questions about his education, his work, and his relationships--both intellectual and personal--with several other scholars.}, keywords = {Art Criticism and Theory}, author = {Langdale, Allan} } @mastersthesis {7946, title = {Art Holography 1968-1993: A Theater of the Absurd}, year = {1995}, school = {UT Austin}, abstract = {This dissertation will focus on the related aesthetic issues at the heart of both holography{\textquoteright}s efficacy and of arguments against the medium{\textquoteright}s aesthetic validity: The nature of holographic realism, the role of illusion in holographic art, and the motivations behind anti-illusionist criticism against art holography. Considering the formal and conceptual variety in art holography today, this issue alone unites all genres. I locate the realism of holography both in its capabilities as a photographic recording technique and in the experiential realism provided by its comparatively complete, three-dimensional record of its object. In the title of the dissertation I have compared holography in its realism to the Theatre of the Absurd, a term applied by Martin Esslin in 1961 to the plays of Beckett, Ionesco, Genet and others who gave theatrical form to the existentialist preoccupation with absurdity. This was not the absurdity of mere ridiculousness, but a profound disquiet arising from the displacement of things from their familiar surroundings. The Theatre of the Absurd, in its displacement of things and people, rendered everyday values and experience meaningless and futile. In the Theatre of the Absurd proper as described by Esslin, the transformation of both the object (the play itself) and of the viewer{\textquoteright}s relationship to the action on stage, work to accomplish this displacement, felt most keenly by the viewer. Holography can offer something of this displacement, both of viewer and object. Only through consideration of the viewer{\textquoteright}s position is it possible to seriously examine the nature of holographic realism and the difficulties that realism poses to critical and aesthetic theories that seek to justify the medium on purely objective grounds.}, keywords = {Photography and Film}, author = {Maline, Sarah Radley} } @mastersthesis {7938, title = {Arts and Architecture of the Muluk al-Tawa{\textquoteright}if: The Reconstruction of an Imaginaire}, year = {1995}, school = {Pennsylvania}, abstract = {This dissertation proposes that, in the case of the court art of the taifa kingdoms (muluk al-tawa{\textquoteright}if) of al-Andalus during the latter half of the 11th century A.D., nonfigural ornament was accorded a specific significance when it appeared in a palatial context, particularly in the context of spaces designed as settings for the royal majlis. The majlis, a gathering of the king and a small number of carefully chosen intimates, was a social topos which, while clearly related to Abbasi "courtly" lore and literature, came to be a sign of kingship for taifa royal patrons. Through elaborate metaphorical "descriptions", most of which serve to evoke an earthly paradise, majlis literature written in the badi{\textquoteright} style--both prose and poetry--served both as history of and blueprint for these gatherings. More importantly, through the highly suggestive metaphors used in the descriptions of majlis settings, this literature served to induce a "transformation", in the minds of a carefully controlled and highly educated audience, of the palatial setting against whose backdrop their gatherings took place into a three dimensional reflection of the paradisiac ideal evoked by majlis literature.}, keywords = {Islamic Art}, author = {Cynthia Robinson} } @mastersthesis {7931, title = {The Assertion of Monastic Spiritual and Temporal Authority in the Romanesque Sculpture of Sainte-Madeleine at Vezelay}, year = {1995}, school = {Northwestern}, abstract = {The object of the analysis of the sculpture at Vezelay is to show how religious imagery served to assert the abbey{\textquoteright}s claims to spiritual and temporal authority over the lay community. These claims are exactly what is at issue in the Vezelay Chronicle where the bishop tries to regain spiritual control from the abbot, the count tries to obtain jurisdictional control over the abbey, and the lay community rebels against it. On the west facade, the menacing image of Christ in Majesty, coordinated with examples of the penitent sinners, Lazarus and Mary Magdalene, in the lintel, presents an authoritative image of the church and its power to save and to condemn. On the narthex portal, the image of Pentecost combined with the Mission of the Apostles articulates the monastic community{\textquoteright}s claim to exercise the cura animarum. The two portals thus emphasize, on the one hand, the need for the laity to submit to penance, that is, to submit to the authority of the church, and, on the other hand, the monastic community{\textquoteright}s right to claim this authority as its own. The differences between the two portals relates to the successive movement of the laity from outside the church inside and to the function of the narthex as a space where relations between the monastic and lay communities were initiated and structured through liturgical ritual. A comparison of images found both in the narthex and the nave shows that capital images in the narthex project the hierarchical relationship between the monks and the laity in ritualized terms, while those of the nave present issues in a more balanced, argumentative manner which may relate to the practice of preaching. Many of the capitals assert the abbey{\textquoteright}s claim to spiritual authority at Vezelay by showing monastic saints engaged in the cura animarum, while others assert it through didactic, moralizing images directed at the laity. Other capitals assert the abbey{\textquoteright}s temporal, judicial authority through Old Testament scenes of execution by sword and through the balanced image of the abbot arbitrating.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Sazama, Kristin M.} } @mastersthesis {7879, title = {Bessie Potter Vonnoh (1872-1955) and Small Bronze Sculpture in America}, year = {1995}, school = {Delaware}, abstract = {American sculptor Bessie Onahotema Potter Vonnoh (1872-1955) was one of the most successful women artists of her generation. Her contemporaries gave her credit for elevating the quality of small bronze sculpture and for popularizing the art form. As a sculptor who largely eschewed the traditional career goal of producing large-scale monuments, Vonnoh attained a remarkably high level of achievement in her field. Museums, collectors, and fellow artists avidly acquired her works. Her numerous awards, including full membership in the National Academy of Design, further attest to the esteem of her colleagues. Vonnoh, unlike many artists of her generation, harbored no ambivalence about her audience. She deliberately set out to create art that could be universally understood in a format affordable to a wide public. Her decision to work on a small scale accompanied a desire to produce sculpture relevant to modern American life. This goal is reflected in both Vonnoh{\textquoteright}s choice of themes from contemporary, everyday experience--mothers and their children, women in the dress of the day--and her consciousness of the role her art would play in domestic surroundings. As the charm and tender sentiment of her statuettes won over the American public, the strength and elegance of her fluid modeling garnered the respect of critics and colleagues. This dissertation is the first book-length study on the art and life of Bessie Potter Vonnoh and brings together a wealth of documentary material for the very first time. It traces her progress from the World{\textquoteright}s Columbian Exposition, where her career began, through the well-known bronzes of her mid-career. The study continues with an examination of Vonnoh{\textquoteright}s gracefully refined garden sculpture of the 1920s, including the Theodore Roosevelt Memorial Bird Fountain at Oyster Bay and the Frances Hodgson Burnett Memorial in New York{\textquoteright}s Central Park. Special emphasis is given to the interpretation of Vonnoh{\textquoteright}s sculpture by her contemporaries, who widely viewed her contribution as significant and unique. A chronological checklist of Vonnoh{\textquoteright}s work accompanies the text.}, keywords = {Art of the United States and Canada}, author = {Aronson, Julie Alane} } @mastersthesis {7930, title = {Biblioteca Vaticana Codex Barberini lat. 711}, year = {1995}, school = {Rutgers}, abstract = {Vatican Codex Barberini lat. 711, an illustrated Roman Gospel lectionary from late 10th-century Reichenau, is of interest both for the light it sheds on the evolution and manipulation of Early Christian textual and visual traditions and on the development of Liuthar style at Reichenau. The Barberini prototype appears to have been compiled in Rome around 500 on the basis of an illustrated Gospel book, some of whose miniatures reflected Roman iconographical conventions that predated the fifth century. These illustrations formed a cycle in the prototype that included the major events of Christ{\textquoteright}s life, passion, and resurrection. In the mid sixth century, the Barberini prototype was apparently taken to Ravenna, where north Italian, Gallican elements were inserted into the Roman calendar. Additional miniatures were also introduced into the existing cycle. These depended from an Early Byzantine source, and Byzantine iconography informed a number of the Roman miniatures: the iconography of the christological cycle reflected in the Barberini codex is largely a hybrid formed from western Early Christian and Early Byzantine traditions. The evangelist portraits, which may be linked to the mid sixth-century apse mosaics at S. Vitale, are also the work of this period. In the second half of the eighth century, the Barberini prototype was taken across the Alps, perhaps directly to Reichenau. Minor changes were made to the text, probably by means of marginal notations, during the Carolingian period. The final form of the text is reflected in the first extant copy of the prototype, the Evangelium Longum, written at St. Gall in c. 900. The Barberini codex is the first known illustrated copy. Stylistic and paleographical evidence indicates a date in the early 990{\textquoteright}s. The emphasis on Gall in the sanctoral suggests that the lectionary was intended for export to St. Gall or one of its dependents. A small number of eleventh-century St. Gall miniatures appear to reflect the influence of the Barberini cycle, indicating that the codex reached its intended destination. Textual and iconographical idiosyncrasies shared by the Barberini codex and later manuscripts from Reichenau and Echternach also bear witness to the continuing authority of the prototype there.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Loaiza, Karen} } @mastersthesis {7894, title = {Breakthrough: The Sense of Time in American Art and Culture, 1945-1968}, year = {1995}, school = {UT Austin}, abstract = {Historians of science have provided art historians with the concept of the "epistemological break" (Gaston Bachelard) or "paradigm shift" (Thomas Kuhn). This has become a prominent device for organizing histories of post-war and contemporary art, in three respects. First, the "break," or the "breakthrough" that art critics often identify, underlies traditional biographical and formal accounts of technical innovation, as well as recent social histories which cast the end of World War II as the beginning of a new period in American culture. Second, temporal discontinuity informs what post-war sociology has termed the generation gap. Complex generational relationships such as influence, reaction, and appropriation both connect and differentiate art "movements." Third, on the basic level of the artist{\textquoteright}s daily work, the occurrence of the individual artistic breakthrough increasingly characterizes the post-war period; abrupt stylistic change displaces the slow development of skill or a personal visual vocabulary.}, keywords = {Art of the United States and Canada}, author = {Siegel, Eleanor Kathryn} } @mastersthesis {7888, title = {Cezanne and American Painting, 1900-1920}, year = {1995}, school = {UT Austin}, abstract = {This dissertation investigates the impact of Cezanne upon the art and theory of ten early modernist painters who stand as his major American disciples in the period from 1900 to 1920. This group includes: Maurice Prendergast, John Marin, Marsden Hartley, Max Weber, Morton L. Schamberg, Charles Sheeler, Charles Demuth, Stanton Macdonald-Wright, Morgan Russell, and Patrick Henry Bruce. While these artists have been studied individually, no one has examined them as a group whose focus on modern European art, primarily that of Cezanne, was largely guided by the intellectual and cultural backdrop of their own country. The form-related terminology of well-known American writers, such as Ralph Waldo Emerson, Walt Whitman, and William James, deepened and prolonged these Americans{\textquoteright} interest in Cezanne{\textquoteright}s painting and the French and British criticism that accompanied it. Particularly relevant to this study is the term "plastic." It was used by American men of letters, French avant-garde critics, and a number of early modernists who, when they applied the word to some aspect of Cezanne{\textquoteright}s art, significantly expanded its connotations. Aware of European criticism that addressed Cezanne{\textquoteright}s art, the Americans nonetheless brought their own practical and theoretical insights to their interpretations of his painting. In this context, a great deal of archival material confirms that the perceptive commentary on Cezanne by Hartley, Schamberg, Sheeler, Weber, Russell and others constituted a new genre of early modernist art criticism. The American response to Cezanne also did not occur as an isolated artistic phenomenon. The early modernists{\textquoteright} commitment to experimentation with features of Cezanne{\textquoteright}s visual language was often supported by ideas derived from photography, japonisme, and primitivism, three artistic factors that affected the understanding of Cezanne in this country. A close investigation of the Americans{\textquoteright} Cezanne-related works reveals a complexity of response that ranges from an intellectual, geometric ordering of subject elements to suggestive compositions in which thin washes dematerialize plastic form. The study concludes with a brief discussion of Cezanne{\textquoteright}s place in the American return to ideas of {\textquoteright}classicism{\textquoteright} in art following World War I, a reversion to conservative interests that replaced the former drive for experimentation.}, keywords = {Art of the United States and Canada}, author = {Kyle, Jill Anderson} } @mastersthesis {7885, title = {Charles Demuth Poster Portraits: 1923-1929}, year = {1995}, school = {Yale}, abstract = {Between 1923 and 1929, modernist American painter Charles Demuth created a series of eleven emblematic portraits, which he called "posters," to honor friends prominent in the avant-garde circles of New York. Using a bold and hard-edged format inspired by contemporary advertising art, he interwove objects and wordplay to allude to their lives, art, and shared experiences. His appropriation of commercial typography and design in these paintings, watercolors, and drawings poeticized the vocabulary of the American marketplace. By using a public vocabulary to give pictorial form to the private experiences of the avant-garde, Demuth contributed to the search for a distinctive American cultural identity. Demuth{\textquoteright}s subjects were painters Marsden Hartley, Georgia O{\textquoteright}Keeffe, Arthur Dove, Charles Duncan, and John Marin; vaudevillian Bert Savoy; poets Wallace Stevens and William Carlos Williams; and playwright Eugene O{\textquoteright}Neill. Demuth also created two particularly cryptic posters: Longhi on Broadway, which contains references to O{\textquoteright}Neill and the wider circle of avant-garde artists, writers, and composers; and Love, Love, Love, commonly known as an homage to Gertrude Stein, but probably intended for decorative artist and stage designer Robert Locher, to whom Demuth gave the painting. Plagued by illness throughout his life, Demuth began the homages after a diagnosis of severe diabetes led him to believe he might soon die. They served to affirm both his professional and personal ties to those artists who shared his ambition to create a distinctly American modernism. In this dissertation, the encoded portraits are examined in the context of Demuth{\textquoteright}s oeuvre, his relationships to the sitters, their personal correspondence, and paintings, poems, and plays created by them. The text illuminates Demuth{\textquoteright}s working methods as well as the intertwined relationships among artists, writers, and theater personalities in the American avant-garde in the 1920s.}, keywords = {Art of the United States and Canada}, author = {Frank, Robin Jafee} } @mastersthesis {7916, title = {The Chateau of Versailles: Louis XIV{\textquoteright}s Temple of Virtue}, year = {1995}, school = {Rutgers}, abstract = {The sculptural cycle in the entrance courtyards of the Chateau of Versailles includes allegorical figures of Victory, Peace, and Abundance; personifications of the Virtues and the Four Parts of the World; and, in the central pediment, figures of Hercules and Mars. These sculptures were executed from 1679 to 1683 as part of Jules Hardouin-Mansart renovations to the palace; they were designed by Charles Le Brun. In chapter 1, I present the details of the commission for the courtyard complex. I place the commission within its historical context by discussing, in particular, the Dutch War, fought from 1672 to 1678-79, and the peace signed at Nijmegen. In chapter 2, I demonstrate that Hercules at Rest in the pediment was devised as an allegory of peace, with Hercules, the personification of Heroic Virtue, resting after the completion of his Labors. I interpret Mars at Rest in his secondary signification as the god of spring. In chapter 3, I demonstrate that the balustrade figures of the Virtues are related to the literary metaphor of the "Mirror of Princes" and to other allegorical cycles of glorification. I propose that these sculptures demonstrate the benefits of peace. In chapter 4, I discuss the architectural symbolism of the courtyard complex and show that it was conceived as a Temple of Virtue, a motif frequently used in royal literature and art of the period. In chapter 5, I explore the theme of triumphalism at Versailles. I propose that the courtyard complex formed part of a triumphal route that lead up the Escalier des Ambassadeurs, through the Grands Appartements, and on to the Grande Galerie. Versailles was considered the new Capitoline Hill where the visitor enacted the functions associated with ancient triumphs. I propose that another triumphal route led under the pediment at the center of the palace and into the gardens. The figure of Hercules there thus takes on the added significance as the guardian of the Garden of the Hesperides. In the courtyard program of Versailles, Victory becomes the necessary antecedent to Peace and Abundance. Here, Louis XIV was promoted as the virtuous restorer of peace, at a time when the compromise treaty of Nijmegen needed to be justified to Europe}, keywords = {Baroque and 18th-Century European Art}, author = {Doornbosch, Kathy} } @mastersthesis {7941, title = {The Creation of the Image of the Indian in 19th-Century Peru: The Paintings of Francisco Laso (1823-1869)}, year = {1995}, school = {UT Austin}, abstract = {This dissertation studies the first important appearance of the theme of the Indian in modern Peruvian painting, in the works of Francisco Laso (1823-1869). The emergence of this subject matter is examined as part of a wider process of reorganization of social and ethnic identities in post-independence Peru. Inscribed within a dualistic image of the nation, an idealized and abstract "Indian" becomes the cornerstone of Creole nationalist ideology. This manner of representing the nation defines the discourse of modern Indigenism as I define it, and although I do not present Laso himself as an early precursor of this 20th century movement, I argue that his life and work can serve as the basis for a case study in the conditions of the possibility of Indigenist discourse. By examining Indigenism as a discourse, I also analyze its specific rhetorical strategies, in particular that of approximation and simultaneous distancing to a Creole-created "Andean world." My discussion centers mainly on only a few works by Laso (Inhabitant of the Cordilleras, Portrait of Gonzalo Pizarro, The Three Races, and the Pascana series), although a number of other works by the artist are also discussed. I analyze these paintings in the context of contemporary discussions on the Indian population in Peru, but also with regard to the international circuits in which cosmopolitan intellectuals like Laso are increasingly situated. I explain the emergence of the modern image of the Indian as a consequence of both the racial prejudices structuring Peruvian society and the discourse of authenticity defining ethno-linguistic nationalisms.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Majluf, Natalia} } @mastersthesis {7915, title = {The Critical Response to Thomas Gainsborough{\textquoteright}s Painting: A Study of the Contemporary Perception and Materiality of Gainsborough{\textquoteright}s Art}, year = {1995}, school = {Brown}, abstract = {During his lifetime, Thomas Gainsborough{\textquoteright}s art was the subject of a substantial amount of criticism. The primary focus of this dissertation is on the most puzzling and least understood aspect of the contemporary critical response: the newspaper criticism of the 1770s and 1780s. The purpose of this study of the newspaper criticism is to understand the highly complex strategies employed by critics both to attack and to defend Gainsborough{\textquoteright}s art. The introduction contains a discussion of the general state of art criticism during the 1770s and 1780s. Each of the following chapters explores a major theme in the contemporary critical reception of Gainsborough{\textquoteright}s art. Chapter one, which is subdivided into three sections, treats the role of various Old Master references in the discussion of Gainsborough{\textquoteright}s portraits, landscapes, and fancy-pictures. Section one examines references to Van Dyck in the discussion of Gainsborough{\textquoteright}s portrait painting practices; section two examines references to Claude, Rubens, and then later, Ruysdael and Watteau, in the newspaper criticism of Gainsborough{\textquoteright}s landscapes; and section three examines references to Murillo in contemporary remarks about Gainsborough{\textquoteright}s fancy-pictures. Chapter two treats the role of music in the contemporary promotion of Gainsborough{\textquoteright}s painting as well as Gainsborough{\textquoteright}s role in the promotion of contemporary musicians. Chapter three deals with the introduction of picturesque ideas into the discussion of Gainsborough{\textquoteright}s "sketchy" technique. The subject of chapter four is the role of the newspapers in reporting Gainsborough{\textquoteright}s political activities, particularly with regard to his withdrawal from the Royal Academy in 1784. And finally, chapter five re-examines the most influential piece of Gainsborough criticism ever written and what is arguably a response to contemporary newspaper criticism: Sir Joshua Reynolds{\textquoteright}s Fourteenth Discourse. The principal conclusion of this study is that Gainsborough{\textquoteright}s critics made pioneering use of newspapers in a bid to influence the public perception of Gainsborough{\textquoteright}s art. Even though the various efforts to promote different aspects of Gainsborough{\textquoteright}s painting proved ultimately to be unsuccessful, the critical discourse that developed around Gainsborough{\textquoteright}s painting during the 1770s and 1780s set the stage for the increasingly important role of newspaper art criticism during the nineteenth century.}, keywords = {Baroque and 18th-Century European Art}, author = {Brenneman, David} } @mastersthesis {7949, title = {De la notion de progres artistique dans la representation de l{\textquoteright}espace: Historiographie critique et analyse d{\textquoteright}oeuvres}, year = {1995}, school = {Montreal}, abstract = {L{\textquoteright}objectif principal de cette etude est de montrer que l{\textquoteright}usage excessif des notions de progres et de declin artistiques, etaye par l{\textquoteright}idee que l{\textquoteright}art reflete le monde visible, les evenements historiques ou la mentalite d{\textquoteright}une epoque, induit les auteurs qui s{\textquoteright}en servent a juger les oeuvres d{\textquoteright}art plutot qu{\textquoteright}a les interpreter. La premiere partie de la these (chapitres 1 a 5) analyse les criteres sur lesquels sont fondees les notions d{\textquoteright}evolution, de progres et de declin, puis etudie la maniere dont des auteurs de divers genres d{\textquoteright}ecrits developpent des argumentations qui tendent a montrer que l{\textquoteright}art progresse ou regresse avec le temps. Pour qu{\textquoteright}un auteur utilise ces notions, il lui suffit de presenter l{\textquoteright}histoire selon un schema lineaire, ainsi que de porter des jugements de valeur sur des oeuvres, des artistes, des lieux ou des epoques, pour qu{\textquoteright}automatiquement son histoire lineaire accuse des sommets et des declins. La deuxieme partie de la these (chapitres 6 et 7) presente une methode d{\textquoteright}analyse d{\textquoteright}oeuvres, exempte de l{\textquoteright}utilisation des notions de progres et de declin artistiques. 1. Les notions d{\textquoteright}evolution, de progres et de progres artistiques, definitions et conditions d{\textquoteright}utilisation. Ce chapitre decrit l{\textquoteright}usage des notions d{\textquoteright}evolution et de progres, pour ensuite montrer que l{\textquoteright}utilisation recurrente de la notion de progres artistique, par un grand nombre d{\textquoteright}auteurs, dans tous genres d{\textquoteright}ecrits sur l{\textquoteright}art et a propos de n{\textquoteright}importe quelle epoque, ne peut etre attribuable au seul contexte dans lequel operent ces auteurs. 2. L{\textquoteright}utilisation des notions de progres et de declin artistiques dans les survols historiques. Pour montrer l{\textquoteright}ampleur de l{\textquoteright}usage des notions de progres et de declin artistiques dans des ouvrages destines au grand public, ce chapitre offre une presentation historiographique des survols historiques a partir de la fin du XIXe siecle. 3. Trois auteurs de monographies historiques a la defense des notions de progres ou de declin artistiques. Ce chapitre presente une analyse detaillee de l{\textquoteright}argumentation que developpent trois auteurs de monographies historiques. 4. De la notion de progres artistique chez Wolfflin, Panofsky et Gombrich. Ce chapitre porte sur l{\textquoteright}usage des notions de progres et de declin artistiques dans des ouvrages methodologiques specialises, usage qui s{\textquoteright}avere plus discret que celui des auteurs d{\textquoteright}ouvrages generaux presentes dans les chapitres 2 et 3. 5. L{\textquoteright}utilisation des notions de progres et de declin artistiques dans des monographies consacrees a une epoque: La Renaissance italienne et l{\textquoteright}usage de la perspective. La premiere partie de ce chapitre examine la maniere dont des auteurs de mongraphies sur la Renaissance, presentees ici selon diverses perspectives methodologiques justifient les caracteristiques stylistiques de cette epoque. La deuxieme partie examine l{\textquoteright}association entre l{\textquoteright}usage de la perspective a la Renaissance et l{\textquoteright}idee panofskienne de "forme symbolique". 6. Le protagoniste de l{\textquoteright}istoria dans la peinture des Quattrocento et Cinquecento. Dans ce chapitre, une methode d{\textquoteright}analyse interpretative revele un ecart important entre les idees d{\textquoteright}Alberti et les solutions formelles qu{\textquoteright}adoptent les peintres de la Renaissance, ces derniers etablissant dans leurs oeuvres des rapports d{\textquoteright}unification et de fragmentation formels et iconographiques, en fonction de la position d{\textquoteright}un spectateur y faisant face. 7. Les limites de l{\textquoteright}interpretation et les amours de Fra Filippo Lippi. Parce qu{\textquoteright}ils decoulent de la constatation d{\textquoteright}un usage abusif du concept de reflet et des jugements de valeur, les deux principes qui regissent le modele d{\textquoteright}interpretation propose au chapitre precedent se presentent comme des limites, qui interdisent a l{\textquoteright}historien le recours a ces deux usages. La these se termine sur une analyse du Tondo Pitti de Fra Filippo Lippi, qui se veut exempte de l{\textquoteright}utilisation des concept d{\textquoteright}art reflet, de progres et de declin. (Abstract shortened by UMI.)}, keywords = {Art Criticism and Theory, Renaissance Art}, author = {Hazan, Olga} } @mastersthesis {7945, title = {Delivering Their Grandmothers: Contemporary Native American Women{\textquoteright}s Art}, year = {1995}, school = {Yale}, abstract = {This dissertation comprises three chapters: the first chapter, entitled "The Origin Without Origination: Maria Martinez, Cultural Mastery and Resistance," investigates the difficult circumstance for Native American women who produce traditional arts. It is a circumstance characterized by the institutional suppression of her personal identity (i.e. her name), and by the polarity that seems to exist between the authentic and traditional and the inauthentic and historical. It is also characterized by the overdetermined association of the Native American women{\textquoteright}s artistic production with (feminine) domestic utility. First, I examine the phototextual essays that elaborate the process of Martinez{\textquoteright} art, and second, the ambivalent sociocultural function of Martinez{\textquoteright} famous signature (she was the first Native American woman to sign her pots). The second chapter, "Coyote{\textquoteright}s Ransom: Jaune Quick-to-See Smith and the Language of Appropriation," centers on imagery from the artist{\textquoteright}s Quincentenary Non-Celebration series, which includes multimedia paintings. In this chapter, I question the subtle interrelationships produced in these works between power and language, between irony and appropriation, and between stereotype and authenticity. Chapter Three, "Disappearing Act: Between Pleasure and Death in the Art of Kay WalkingStick," investigates the interpellation of identity in relation to work without explicitly Native American or even overtly political, subject matter. WalkingStick{\textquoteright}s monochromatic abstraction produces complex interrelationships between viewer and viewed, and between artist and spectator, and raises the following question: how is it that works this self-referential produce, or engage, the artist{\textquoteright}s own identity as an external referent (i.e. in such a way that identity is not immanent in the work)?}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Valentino, Erin Bridget} } @mastersthesis {7870, title = {Design as Art: "Design" and Italian National Identity}, year = {1995}, school = {IFA/NYU}, abstract = {This dissertation explores the relationship of design and Italian national identity from the origins of this field during the 1930s through the wane of the "economic miracle" in the early 1960s. This dissertation fills a gap in the literature by providing a critical historiography and a general history of the Italian--specifically the Milanese--design of this period. This background highlights the evolution in the discourse around Italian design, as well as both the continuity and change in the field{\textquoteright}s definition, organization and consolidation during the overriding political situations of interwar and postwar Italy. In addition, it is shown how associations between prewar design and the Fascist regime resulted in a general disavowal of the early stages of this field and an attribution of il Design wholly to the postwar period. To rectify this, "Design as Art: il Design and Italian National Identity" describes the prewar origins of design and the attendant notions of Italianita{\textquoteright}, Mediterraneita{\textquoteright} and artisticita{\textquoteright}, and shows how these themes remained essential, albeit altered, in the changed conditions of postwar, democratic Italy. In addition, the close association of art and industry and the portrayal of design as a fine art characterized the presentation of design in related events of the pre and postwar periods. In particular, the Milan Triennale served as a propagandistic vehicle during the Regime and then as a means of broadcasting Italian national renewal after the War. Furthermore, those involved in the burgeoning field of postwar design, many of them whom were involved in its prewar stages, contributed to the reification of design into a national creative "essence", and transformed design into an effective export commodity. This dissertation underlines the relevance of design in the broader socio-economic and political events of prewar and postwar Italy.}, keywords = {19th- and 20th-Century European Art}, author = {Orto, Luisa J.} } @mastersthesis {7896, title = {Designing Modern Art and Culture: A History of Exhibition Installations at the Museum of Modern Art}, year = {1995}, school = {CUNY}, abstract = {"Designing Modern Art and Culture: A History of the Exhibition Installations at the Museum of Modern Art" examines an aspect of modern art history that has been, generally speaking, officially and collectively forgotten--installation design as an aesthetic medium and historical category. The dissertation presents a history of exhibition installations at the Museum of Modern Art, a paradigm of modern aesthetic institutions within what might be called the contemporary art apparatus. In the dissertation, exhibition installations are treated as representations and are analyzed in terms of "conscious" and "unconscious" aesthetic, social, historical, and political agendas and concerns. The first chapter sets up a historical and theoretical framework for discussing installation design and introduces it as a historical category, a medium in its own right, and an important aspect of the international avant-garde of the 1920s and 1930s. Chapters two through five feature paradigmatic exhibition installations at the Museum of Modern Art from the MoMA{\textquoteright}s inception in 1929 to 1993. Each of these chapters focuses on a particular type of exhibition and incorporates a discussion of an institutional discourse other than that of the modern art museum. For example, chapter three survey{\textquoteright}s MoMAs architecture and design exhibitions in conjunction with an analysis of the history and display techniques of the commercial sector and the department store. Chapter six concludes with an examination of several MoMA exhibition installations from the 1980s and 1990s that summarizes and sets in relief the issues explored in the dissertation.}, keywords = {Art of the United States and Canada}, author = {Staniszewski, Mary Anne} } @mastersthesis {7881, title = {Determining Manhood: Constructions of Sexuality in the Art of Thomas Eakins}, year = {1995}, school = {Yale}, abstract = {During the final quarter of the nineteenth century, and with increasing frequency in the twentieth, critics and scholars have consistently remarked on the "manly" character of Thomas Eakins{\textquoteright}s (1844-1916) art, but rarely has the nature of this masculinity been defined. Focusing primarily on the artist{\textquoteright}s works from the last quarter of the century, this dissertation explicates the paintings{\textquoteright} various constructions of manhood, speculating on how the works both reproduced and realigned the masculinity of late nineteenth-century Americans. Not content to trace the shifting masculine associations of the painter{\textquoteright}s work over time, I suggest how Eakins and his contemporaries may have unconsciously utilized the paintings to refashion conceptions of their masculine identities. I argue, in fact, that the "masculine" nature of the paintings relates closely to Eakins{\textquoteright}s inability to achieve many of the dominant standards of American Victorian manhood. Considering both masculinity{\textquoteright}s malleability and its importance in inducting men into American culture, and given what I take to be Eakins{\textquoteright}s failure to be masculine according to dominant codes, it does not seem unreasonable that some paintings may have been embraced for their metaphoric abilities to stabilize, moderate or improve his masculine standing. Drawing on the visual evidence of the works, as well as period art criticism, letters, journals, newspapers and literature, I posit that the paintings present three distinct strategies for augmenting the artist{\textquoteright}s societal standing. By coupling Eakins to unimpeachably masculine men, by complicating the identities of others, and by constructing a series of alternative communities, the canvases work to recast masculine models by selectively drawing on the complex and contradictory attributes of the era{\textquoteright}s sexuality. Eakins, I believe, was able to reformulate his masculine position not by inventing a new definition of Victorian manhood, but rather by negotiating a path through existing masculine ideologies. Both by selectively promoting masculine paradigms that enhanced his societal standing, and by pushing at the margins of Victorian conceptions of manhood, Eakins{\textquoteright}s canvases re-presented Gilded-Age sexuality in a manner that bolstered the artist{\textquoteright}s frequently awkward, societal and familial standings.}, keywords = {Art of the United States and Canada}, author = {Martin A. Berger} } @mastersthesis {7862, title = {Deutschland in Paris{\textquoteright}: The 1937 German Pavilion and Franco-German Cultural Relations}, year = {1995}, school = {Yale}, abstract = {Designed by Albert Speer, the German pavilion at the 1937 Paris Exposition international was the most elaborate pre-war manifestation of National-Socialist culture outside of Germany. It contained a carefully orchestrated program of conservative official art, juxtaposed with the most advanced products of German technology. The pavilion also housed a cinema, where German documentary and dramatic films, including Leni Riefenstahl{\textquoteright}s Triumph of the Will, premiered in France. This dissertation examines the construction of a National-Socialist identity in the pavilion for an international audience, while focusing specifically on the French reception of Nazi culture and ideology. French responses to the Deutsches Haus were conditioned by the instability of domestic politics in France. The Popular Front government, which pursued a policy of rapprochement towards Nazi Germany, proved to be a short-lived alliance. Meanwhile, membership in the fascist ligues rose dramatically. The advancement of fascism in France was fueled by intellectuals from both the right and left, who converged in their critique of bourgeois parliamentary democracy and in their desire for a political and spiritual revolution. Fascism offered a new means of collective revolt and rejuvenation, competitive with marxism. The German pavilion functions as a useful heuristic device for examining the dissemination of French nonconformist and fascist ideologies during their peak in 1937. Although many fascists in France were not pro-Hitler, French intellectuals identified in National Socialism cultural and political elements which they strove to appropriate for use in France. They admired Nazism in particular for having successfully produced a national culture for the masses which fused an antimodern primitivism with technological mediation. The gradual dissolution of a dominant, moderate discourse in France allowed these fascist ideas to permeate other sectors of public opinion. An analysis of French reactions to the German pavilion and to National Socialist mass cultural production illuminates how certain aspects of fascist ideology achieved a dangerous normalcy in the pre-war republic.}, keywords = {19th- and 20th-Century European Art}, author = {Fiss, Karen A} } @mastersthesis {7878, title = {Discipline and Varnish: Discursive Structures, Rhetorical Devices, and Counter-Memory in the Production of Subjectivity}, year = {1995}, school = {University of Washington}, abstract = {Recent discussions on "the subject" (traditionally, human individuality, self or ego) stress its production in discourse (discussions, writings, artistic representations, and so on). Generally, from this point of view, the subject is constructed from "subjectivity effects," which are in turn formed out of webs of discourses. In post-war America, two significant sources of subjectivity effects have been discourses produced by architecture and art history/criticism. These have been neither the only nor the most powerful sources of discourse on subjectivity, but their high cultural status as articulators of the significance of sensual experience has marked their importance. Among other places, architecture and art history/criticism intersect in the spaces of museums. The Museum of Modern Art in New York is a particularly pertinent example. Specific rhetorical aspects of modernist domestic architecture and formalist art criticism and theory have been combined with museological rhetoric in the narrative spaces of MOMA. While the merger of architecture and art criticism in MOMA produced a powerful and persuasive understanding of modernist art, it also produced a specific set of subjectivity effects which uses art, architecture, and art criticism as models. As successful as it was, MOMA{\textquoteright}s discourse on art contained immanent contradictions which eventually forced its production of subjectivity effects to the foreground. A rupture in the museum{\textquoteright}s discourse on aesthetics led to a rupture in its discourse on subjectivity. I will argue, following Foucault, that a "genealogy" of modernist aesthetics and subjectivity cannot be written without a attention to the "rupture" in both those discourses. Working after a recognition of these contradictions, artists, critics and architects since the 1970s have stressed the historic interrelations of aesthetic discourse, subjectivity, identity, and power. They have recently produced works that are explanatory and critical of modernist discourse on art and subjectivity.}, keywords = {Art Criticism and Theory}, author = {Patin, Thomas} } @mastersthesis {7953, title = {The Early Patronage of Eleonora di Toledo: The Camera Verde and Its Dependencies in the Palazzo Vecchio}, year = {1995}, school = {Harvard}, abstract = {While the importance of the patronage of Eleonora di Toledo has frequently been acknowledged in the literature of art history, many of the works commissioned by her have only been discussed in the context of her husband{\textquoteright}s patronage. This is especially problematic for works executed in the early years of her reign as Duchess of Florence, when the ducal couple{\textquoteright}s finances were most closely intertwined and payments for projects executed under her aegis were frequently made from general ducal accounts. This study presents new evidence for the identification these works and the ways in which Eleonora{\textquoteright}s patterns of patronage were distinct from those of her husband, Cosimo I de{\textquoteright} Medici. Spanish and Italian women, particularly in the Kingdom of Naples, offer striking role models for Eleonora. Previously unpublished documents provide evidence for the variety and significance of her political power and economic investments; both her extraordinary wealth and notable role in the government of Florence were frequently noted by contemporaries. Of primary importance is the identification of her most active periods of patronage with Cosimo{\textquoteright}s absences from Florence. During these times, when Eleonora was frequently called upon to assume control of the state, she was able to employ Cosimo{\textquoteright}s well-defined arts propaganda machine; court artists, free from their commissions for the duke, could execute works in accordance with her personal ambitions as a patron. The Quartiere di Eleonora in the Palazzo Vecchio, the only extant apartment executed under her auspices, provides a paradigmatic case of Eleonora{\textquoteright}s patronage. The former priors{\textquoteright} palace remained the primary ducal residence from 1540, the year following her arrival in Florence, until her death in 1562 and was a focal point for artistic commissions. It was here that her earliest commissions for architectural renovations and iconographically rich, decorative programs were executed by such artists as Battista del Tasso, Ridolfo del Ghirlandaio, Francesco Salviati and Agnolo Bronzino.}, keywords = {Renaissance Art}, author = {Edelstein, Bruce} } @mastersthesis {7869, title = {El Lissitzky in the Proun Years: A Study of His Work and Thought, 1919-1927}, year = {1995}, school = {Yale}, abstract = {This study investigates aspects of the work and thought of the Russian artist El (Lazar Markovich) Lissitzky (1890-1941) in the years 1919 to 1927, during which he made radically non-objective art, designated by him "Proun" (from the Russian words for "Project for the Affirmation of the New"). Why did he begin to produce such works? What was their meaning and function? Why did he stop producing and exhibiting them? The study inquires both into the works themselves, and into the immediate cultural milieus within which the artist, in activities running parallel to and interacting with the production of Prouns, pursued issues directly related to the question of their status and modes of signification. Topics addressed include: the decisive effect of Kazimir Malevich{\textquoteright}s painting and theory; architectural imagery and discourse as the initial impetus and arena for Lissitzky{\textquoteright}s abstract works and their utopian ambition: the Moscow avant-garde{\textquoteright}s debates about the role of art in a post-revolutionary society as the context for the invention and elaboration of the Proun concept; the pervasive recourse to biological and organic metaphors and themes in Lissitzky{\textquoteright}s writings (reflecting his engagement with Oswald Spengler and the biologist Raoul Heinrich France), and in some compositions; the Prouns{\textquoteright} signifying position within the field of contemporary abstract art (especially the work of Malevich, Vassili Kandinsky, and Laszlo Moholy-Nagy); issues of abstraction and reference in Lissitzky{\textquoteright}s illustrations and graphic design for literary work by Ilya Ehrenburg and Vladimir Mayakovsky; the increasing importance of photography to Lissitzky, as a possible successor to the Prouns; his innovative fusion of typographic design, experimental photography and work on an architectural scale as a key aspect of the decision to stop making and showing Prouns. The dissertation incorporates newly identified or hitherto neglected images and texts by the artist, and includes addenda and corrigenda to the annotated transcript of Lissitzky{\textquoteright}s Proun Inventory, and to the summary catalogue of his typographic design work, both previously published by the author. The bibliography includes a listing of Lissitzky{\textquoteright}s published and unpublished writings.}, keywords = {19th- and 20th-Century European Art}, author = {Nisbet, Peter} } @mastersthesis {7895, title = {The Endicott Johnson Home Building Program: Welfare Capitalism and the Meaning of Domestic Architecture in the Early 20th-Century Industrial Suburb}, year = {1995}, school = {Binghamton}, abstract = {Between the end of World War I and the onset of the Great Depression, the Endicott Johnson Corporation, then North America{\textquoteright}s largest shoe manufacturer, embarked upon one of the most ambitious corporate home-building programs in United States history. These efforts in residential planning and neighborhood development were initiated as part of the corporation{\textquoteright}s greater investment in a unique brand of welfare capitalism known locally as the Square Deal. Corporate-sponsored home building sought to alleviate chronic housing shortages for industrial workers resulting from the First World War, but as one facet of a larger labor policy, it likewise became a means to develop positive relations between labor and capital in an era of increasing unionization efforts and rampant labor militancy. While home ownership was encouraged for all employees, only those that conformed to corporate policy were allowed to purchase homes, effectively marginalizing any radical elements of the labor force. Visually, the neighborhoods were perceptively different from earlier yet comparable "company housing" projects: substantial homes on spacious lots were located in pleasant neighborhoods of curvilinear tree-lined streets, promoting a pastoral view of industrial life and reinforcing the meaning of these new communities as middle-class. Company sponsored magazines and pamphlets used images of happy and contented workers/homeowners to reify such an ideology. This dissertation seeks to understand the meaning of the common landscape of Endicott Johnson{\textquoteright}s workers{\textquoteright} housing. It considers the object "home" a text which connotes and denotes ideological constructions of working-class attitudes towards authority. In this case, authority includes not only the Endicott Johnson Corporation and its managerial hierarchy, but also a hegemony constructed within a corporate capitalist industrial order called welfare capitalism. It operates under a number of assumptions, including several theoretical premises derived from the fields of labor history, architectural history, urban history, cultural geography, and urban semiotics. At the same time, it provides a post-structuralist and marxist analysis of spatialities, the built environment and social relations. Collectively, this approach seeks a meaning for the objects and discourses constructed under the auspices of the Square Deal.}, keywords = {Art of the United States and Canada}, author = {Socki, Glenn Joseph} } @mastersthesis {7917, title = {The Exemplary Past? British History Subjects in London Exhibitions, 1760-1810}, year = {1995}, school = {Pennsylvania}, abstract = {During the last four decades of the eighteenth century, artists resident in London exhibited images of British national history in unprecedented numbers and on a newly ambitious scale. Their subjects were inspired both by historical texts and dramatic sources such as Shakespeare{\textquoteright}s English history plays. A limited number of these works have, in the past, been analyzed in relation to the careers of individual artists and as part of the print publishing gallery enterprises John Boydell and Robert Bowyer established in the seventeen eighties and nineties. This dissertation provides a more comprehensive discussion, relating the expansion of historical imagery to social and political influences of the period. The work is founded upon a comprehensive catalogue of all British historical subjects known to have been exhibited publicly in London between 1760 and 1810. These were shown by the Society of Artists, the Free Society of Artists, the Royal Academy, Boydell{\textquoteright}s Shakespeare Gallery, Bowyer{\textquoteright}s Historic Gallery and several small gallery owners. This material has been listed in a series of concluding appendices which also include known locations, reproductions and references. The text concentrates on the subject matter artists focused on at various points throughout the period, describing the context in which historical images were exhibited and connecting popular themes to contemporary events and issues. The formal means used to envision the British national past is also described. Later chapters discuss Benjamin West{\textquoteright}s series of Edward III paintings for Windsor Castle, the rise of Scottish themes and interest in Mary Queen of Scots after 1785, representations of persecuted royal children and, finally, queens and kings in various roles.}, keywords = {Baroque and 18th-Century European Art}, author = {McPhee, Constance} } @mastersthesis {7873, title = {Exhibition Strategies and Wartime Politics in the Art and Career of Edvard Munch, 1914- 1921}, year = {1995}, school = {Chicago}, abstract = {Just prior to World War I Edvard Munch{\textquoteright}s international fame appeared to be firmly established; with the outbreak of war, however, his international market, upon which this fame rested, collapsed. Confined to Norway, Munch lost his broader European cultural identity, and faced a more limited audience influenced by the conditions of war. Through an analysis of his exhibitions and their critical responses, this dissertation examines Munch{\textquoteright}s strategies in response to this altered situation as a "new Munch" took shape. Munch{\textquoteright}s exhibitions reveal a conscious manipulation of the works he showed so as to develop a closer concordance with particular Norwegian demands. As Norway{\textquoteright}s political position of "neutral Ally" emerged during the war, these expressly included a demand for a modern art free of German influences. His associations with Germany now decried, Munch sought to repatriate himself by focusing on identifiably Norwegian landscapes and familiar motifs, but also by adapting a painting technique mirroring that of the highly successful and Francophilic Norwegian students of Henri Matisse. Critics perceived a "new Munch" whose work met the demands of an essentialized nationalism and its dependent aesthetic. This process and its economic and ideological sources are mapped through a close critical narration of Munch{\textquoteright}s exhibition strategies during the First World War. Simultaneously, Munch retained a German presence even though he had little control over his exhibitions and no new works could be sent there during the war. As they continued to praise his prewar works, Munch was transformed by German critics into an embattled Expressionist and his art became a means to objectify nationalist ideologies. Just as Norwegian critics offered an essentialized nationalist reading of Munch, so did the Germans, but with significantly antagonistic conclusions. In Germany, Munch became a popular symbol of the essence of the German(ic) peoples, making manifest volkish-nationalist values. This nationalist Germanic critical identity, moreover, continued after the war as Munch became the first major non-German artist to exhibit again in the defeated nation. This study concludes with the critical discourse that resulted when Germany confronted the "new Munch," shaped during his wartime confinement to Norway.}, keywords = {19th- and 20th-Century European Art}, author = {Yarborough, Bessie Rainsford (tina)} } @mastersthesis {7918, title = {Filippo Juvarra{\textquoteright}s Spatial Concepts and Italian Stage Design: The Consummation of a Renaissance Discovery}, year = {1995}, school = {Penn State}, abstract = {This dissertation investigates the question of conceptual interrelationships in the work of the Baroque architect and stage designer Filippo Juvarra (1678-1736), with concentration on the decade of his residence in Rome (1704-1714). The three basic categories of Juvarra{\textquoteright}s designs--projects for real architecture, architectural fantasies or capriccios, and designs for the stage--are often so similar that it is impossible to discern to which of the categories a design belongs. Behind the problem of categorization is the more far-reaching question whether in Juvarra{\textquoteright}s mind these categories remained neatly separated, or whether these designs were in fact conceptually interrelated and, if so, to what degree? To answer these questions we have prefaced our study with a history of the origins of the perspective stage, a story that begins with the invention of visual perspective by Brunelleschi early in the fifteenth century. An examination of the development of the Renaissance theatre in Italy, the significance of the role of the Medici court in Florence where the intermezzi evolved into opera, and a look at the treatises on perspective which were crucial for the development of Italian stage design, are followed by an introduction to the seventeenth century stage. An investigation of Juvarra{\textquoteright}s architectural and stage design work in Rome sets the stage for our conclusions. The problem of conceptual interrelationships is approached systematically by means of a detailed analysis of a selected number of Juvarra{\textquoteright}s centralized designs for the stage, an analysis that culminates in the planimetric and geometric reconstruction of this group of designs. The visual evidence inherent in these reconstructions reveals a close conceptual affinity to Juvarra{\textquoteright}s projects for real architecture--and his predilection for geometrically oriented centralized spaces, manifested in numerous drawings. The final revelation is in Juvarra{\textquoteright}s open structures, especially his church of the Carmine and the grande salone at Stupinigi, where, with spectacular success, Juvarra fully realized his natural scenographic aspirations in a permanent form.}, keywords = {Baroque and 18th-Century European Art}, author = {Munshower, Susan Scott} } @mastersthesis {7899, title = {Fine Art and the Sweet Science: On Thomas Eakins, His Boxing Paintings, and Turn-of-the-Century Philadelphia}, year = {1995}, school = {UC Berkeley}, abstract = {In the late 1890s, Thomas Eakins produced three paintings for which boxing serves as the nominal subject matter. Until then, the ring had appeared almost exclusively in mass-produced, graphic media. When Eakins painted and displayed these works, he brought together individuals from traditionally divergent social and intellectual spheres. Art viewers and patrons were introduced to fight fans, sportswriters and art critics were directed onto intersecting journalistic paths, and practitioners of the "manly art" entered a fine-art practitioner{\textquoteright}s world. As the Philadelphia landscape was evolving from the heterogeneous, mixed-use arrangement typical of the early nineteenth century into a modern, segregated and hierarchical city, Eakins{\textquoteright}s paintings blurred the increasingly firm boundaries between domestic, work, and recreational spaces. Illegal in most jurisdictions at this time, boxing confronted Victorian social mores regarding money, class and culture. Many Americans, though, including Thomas Eakins, found the sport appealing. Eakins attended a number of bouts at a Philadelphia arena that was located in the immediate vicinity of the Pennsylvania Academy of the Fine Arts, where he exhibited two of his boxing paintings. In so doing, Eakins defied another late nineteenth-century trend, that of ranking forms of entertainment into an increasingly rigid cultural hierarchy. This dissertation addresses the issues raised by these paintings and the circumstances of their creation, including the conflict between modernism and traditionalism, the changing status of the individual in an increasingly corporate economic system, the shifting values associated with physicality and intellect, the nature of professionalism, and the drastic physical and social changes occurring in the urban landscape. Additional issues, such as masculinity, gender roles, sexuality, spirituality, and Victorian codes of appropriate behavior, while also of concern to many Americans, held particular interest for Eakins and are present as well for discussion within the context of these three paintings. Through close examination and analysis of the boxing paintings, along with the broad cultural landscape in which they were created, this dissertation adds not only to our knowledge of Thomas Eakins and his career, but also to our collective understanding of turn-of-the-century urban American culture.}, keywords = {Art of the United States and Canada}, author = {Walter, Marjorie A.} } @mastersthesis {7958, title = {Form and Reform: The Cassinese Congregation and Benedictine Reform Architecture}, year = {1995}, school = {Harvard}, abstract = {The Cassinese Congregation of Benedictines was a monastic reform group that developed and propagated a style of church architecture and decoration that literally and figuratively stood for its thriving reform effort in Renaissance Italy. The method by which Cassinese monks devised this style of architecture demonstrated an unusually modern level of historical self-consciousness and paralleled the process by which they compiled their unique reform ideology. They adopted architectural and decorative characteristics associated with successful earlier monastic reforms and with the early Christian church fathers, from whose teachings they had formed the basis of Cassinese theology. Their calculated management of their self-presentation is demonstrated by their adaptation of their selectively eclectic style when necessary in order to appropriate contemporary local identities stronger than their own. The cooperative and cumulative nature of this process makes the attribution of any Cassinese church building to any single architect impossible and dubious. Cassinese monks themselves performed the architect{\textquoteright}s designing role collaboratively over time. Reformed Benedictine nuns under the care of the Cassinese Congregation participated fully in its patronage-network despite their second-class status within the congregation. As patrons of Renaissance art and architecture, nuns have been studied most often as isolated cases and in terms of a presumed opposition between their concerns and those of the monks and other male authorities who aimed to control them. A fuller understanding of the behavior and significance of nun-patrons is gained here by considering communities of nuns in relation to their religious order and to each other. Benedictine nuns in Venice, Parma, and Milan not only benefited from their connections with the Cassinese Congregation of monks (who came to dominate the Benedictine order in Renaissance Italy), but also affected the development of the Cassinese reform style of church architecture and decoration.}, keywords = {Renaissance Art}, author = {Winkelmes, Mary-Ann} } @mastersthesis {7910, title = {Frame, Form, and Variation in the Maha-Gurjara Temple}, year = {1995}, school = {Pennsylvania}, abstract = {This work explores the interdependence of sculptural and architectural forms and the nature of change and formal transmission in the North Indian or Nagara temple. It focuses on a group of Hindu and Jaina temples built in western India (northern Gujarat State and southern Rajasthan) between about A.D. 875 and 1000 in what has been classified as "Maha-Gurjara Style." Together these buildings comprise a test case for inquiry into the interrelatedness of structure and image and the development of a methodology to address the temple fabric as an entirety. Using the extant built fabric as primary source, the goals of this work are: to observe temple design as a whole (sculptural, architectural, conceptual, experiential, iconographic and dynamic); to probe the means by which design changes occur; to see what forms imply about the artists{\textquoteright} levels of intentionality and the transmission of ideas; and to discover the logic underlying the idiosyncratic design and varieties of Maha-Gurjara buildings. Separating the details of carving (termed "treatment"), which leads to regional segregation, from the format or frame of that carving (termed "type" and "organization"), which leads to regional interrelatedness, both elucidates the sculpture and architecture of these structures and addresses significant questions about regionalism and the meaning of stylistic variation in the Indian context. I suggest that the attempt to separate these two levels of analysis may reveal or at least give some clues about actual guild affiliation and practice. In detailing the dynamic nature of temple-building practice, four conditions are found to affect the design process: (1) at any given time and place architects and craftsmen had within their working vocabularies multiple options for most elements, (2) there was an underlying and continuous search to better express a multifaceted yet ever changing ideal, (3) change necessarily involved the whole, and (4) not every element of the building was equally transmissible.}, keywords = {Asian Art}, author = {Mason, Darielle} } @mastersthesis {7957, title = {Francesco da Sangallo: The Tombs}, year = {1995}, school = {IFA/NYU}, abstract = {This dissertation examines the commission and construction of five tombs by the sixteenth century Florentine sculptor, Francesco da Sangallo (1494-1576). Part I of the Introduction is a biography and chronologically organized overview of Francesco{\textquoteright}s oeuvre, which surveys his achievements as an sculptor, architect, medallist and military engineer. The wide spectrum of commissions he received attests to Francesco{\textquoteright}s proficiency in marble, bronze, wood and stucco. There is a discussion of his only non-figured tomb, a sediale (1540) for Antonio Fiodo in S. Anna dei Lombardi, Naples, made with the sculptor Bernardino del Moro. Part II is a historiography, which emphasizes Francesco{\textquoteright}s uneven fortuna critica. Evidence is presented in Chapter I that the Agnolo Marzi tomb (1534/35-1537/39) was designed with reference to the image and altar of the Annunciation, the focal point of Servite liturgy in SS. Annunziata, Florence and one of the most important shrines in Italy. Chapters II and III propose reconstructions, respectively, for the Leonardo Bonafede tomb (1537/39-1539/42) in the chapterhouse of the Certosa del Galluzzo and Colomba Ghezzi tomb (1540), originally in S. Martino, Florence. Gender issues relevant to the construction of Ghezzi{\textquoteright}s tomb are investigated. Chapter IV discusses the sculpture of the Piero de{\textquoteright} Medici monument (1532-1558/59), designed with Antonio da Sangallo the Younger, and considers the tomb in relation to the relocation of the choir and proposed renovation of the presbytery of the Badia, Montecassino. Chapter V discusses the genesis of the Paolo Giovio tomb (1552/55-1560/76) in relationship to a preparatory drawing that shows different design possibilities for the tomb. These chapters establish a new chronology for Francesco{\textquoteright}s tombs and reveal that all but one were commissioned by the Medici or by patrons who were their close associates. The original appearance of each tomb has been altered and a reconstruction, where relevant, is suggested. Francesco{\textquoteright}s style is analyzed with regard to influences from the antique, Donatello and contemporary sculptors, particularly Michelangelo. The Conclusion summarizes the major points about each of the works and underlines the typological variety and innovative nature of Francesco{\textquoteright}s sepulchral designs.}, keywords = {Renaissance Art}, author = {Roisman, Rona} } @mastersthesis {7947, title = {Francis Frith in Egypt and Palestine}, year = {1995}, school = {Princeton}, abstract = {No record in ProQuest}, keywords = {Photography and Film}, author = {Douglas Robert Nickel} } @mastersthesis {7901, title = {Garden of Music{\textquoteright}: The Search for Creative Community in the Art and Life of Bob Thompson (1937-1966)}, year = {1995}, school = {Yale}, abstract = {The life of figurative expressionist painter Bob Thompson intersects several important currents in recent American culture. Active in New York and Europe from the late 1950s through the mid-1960s, Thompson operated in vanguard literary, musical and artistic circles to a degree that was unprecedented for an African-American artist. Yet his life and work reveal an unfinished quest for communal identity. The present study examines the dual nature of this quest, which Thompson conducted alongside the first generation of "postmodern" Euro-American artists. But unlike his white counterparts, in his use of postmodern techniques of appropriation and pastiche Thompson simultaneously embraced the Western tradition and reinvented it via cultural resources specific to African-America. Because of his untimely death in 1966, Bob Thompson{\textquoteright}s career ended just as a new era in African-American art was beginning. With its search for a unique, racially encoded aesthetic, its ostensible rejection of Western conventions and its emphasis upon collective black identity, the birth of the Black Arts Movement irrevocably changed African-American artists{\textquoteright} relationship to both artistic and social forms of "community." Thus, Bob Thompson{\textquoteright}s creative life can be seen as a final stage in a line of development that extends from the late eighteenth century to the second half of the 1960s.}, keywords = {Art of the United States and Canada}, author = {Wilson, Judith} } @mastersthesis {7956, title = {Gender, Image, and Ideals at the Cistercian Convent of Flines, 1500- 1575}, year = {1995}, school = {UC Santa Barbara}, abstract = {This dissertation explores the relationship between gender and devotional imagery in 16th-century northern European women{\textquoteright}s religious communities, a subject that has not been addressed in the art historical literature. This is accomplished through a case study of the artistic patronage of nuns at the Cistercian convent of Flines, located in the province of Hainaut in the southern Low Countries. The study draws on the cultural products of the community, including texts and images, in order to demonstrate the connections between the nuns{\textquoteright} commissions and the social construction of male and female. Documentary evidence concerning a program of reform initiated at Flines by the abbot of Clairvaux in 1506, through which the nuns{\textquoteright} male superiors sought to reconstruct gender roles within the community, are central to this endeavor; it is the position of this study that the nuns{\textquoteright} commissions reflect and served to anchor patriarchal ideals for Cistercian feminine monasticism. The dissertation posits several new conclusions concerning the relationship between convent imagery and gender construction in 16th-century northern Europe: it argues that clerics redefined the function of art within Cistercian feminine monasticism over several centuries, bringing expectations for the use of art in convents in line with the function of imagery in men{\textquoteright}s environments, thereby furthering the goals of the Church; that modifications made to the architecture of the convent in order to ensure hermetic enclosure worked to enforce the power of the nuns{\textquoteright} superiors and that the nuns actually may have welcomed the relief from outside obligations brought by cloistering; that strict enclosure did not prevent women from exercising control over the content of their artistic commissions; that certain images commissioned by the nuns articulate male expectations for Cistercian women expressed through the documents of reform and that the imagery was active within Cistercian culture, serving to anchor male values for female religious life. In the end, it is hoped that the dissertation sheds new light on the relationship between devotional imagery, monastic experience, and gender ideology in 16th-century northern Europe.}, keywords = {Renaissance Art}, author = {Pearson, Andrea Gail} } @mastersthesis {7865, title = {Giuseppe De Nittis: An Italian Perspective on Parisian City- scape, 1867-1884}, year = {1995}, school = {IFA/NYU}, abstract = {In 1867 Giuseppe de Nittis (1846-1884), a Neapolitan-trained artist, joined the ranks of many other Italian artists by leaving his native land and attempting to situate himself within the opulent and cosmopolitan French capital. Over the next five years he, like his compatriots, pursued the most efficacious manner in which to find acceptance within officially-acceptable Parisian artistic circles. following the trend for eighteenth-century costume paintings preferred by the artistic market, he abandoned his early naturalistic experiments and adopted the style then being practiced by the popular Meissonier and Gerome. Following the tumult of the Franco-Prussian war and the Commune which ensued, de Nittis permanently settled in the French capital. Breaking with the official artistic world to which he{\textquoteright}d first adhered, he returned to his earlier love of naturalistic depictions and, not surprisingly, began to approach the Parisian cityscape. His oeuvre from the 1870s includes an enormous number of works devoted to both the city as well as its inhabitants. What distinguishes the Parisian views he created from those concurrently produced is their concentration on those areas of the city most affected by these years of torment and destruction now under construction as part of the grandiose effort toward the restoration of Paris{\textquoteright} former glory. The areas the artist chose as focus, as well as the type of "Parisien" he featured, indicate de Nittis{\textquoteright} interest in not only capturing the flavor of the bourgeois Paris which came to fore in post-Haussmannian Paris, but also becoming part of this milieu. Throughout his Parisian career de Nittis strove to gain acceptance not as a foreigner, but rather, as a true "Parisien". His efforts to assimilate within the most elite circles are indicated by the organization of Parisian soirees in his home as well as the cultivation of friendships with particularly prominent members of the Parisian avant-garde. Although such attempts achieved for him unprecedented acceptance by the French, despite his foreign status, they simultaneously resulted in his alienation from Italian confreres who felt that he had abandoned their campaign to revive the reputation of modern Italian painting.}, keywords = {19th- and 20th-Century European Art}, author = {Igra, Caroline Goldberg} } @mastersthesis {7874, title = {Giuseppe de Nittis: An Italian Perspective on the Parisian Cityscape, 1867-1884}, year = {1995}, school = {IFA/NYU}, abstract = {In 1867 Giuseppe de Nittis (1846-1884), a Neapolitan-trained artist, joined the ranks of many other Italian artists by leaving his native land and attempting to situate himself within the opulent and cosmopolitan French capital. Over the next five years he, like his compatriots, pursued the most efficacious manner in which to find acceptance within officially-acceptable Parisian artistic circles. following the trend for eighteenth-century costume paintings preferred by the artistic market, he abandoned his early naturalistic experiments and adopted the style then being practiced by the popular Meissonier and Gerome. Following the tumult of the Franco-Prussian war and the Commune which ensued, de Nittis permanently settled in the French capital. Breaking with the official artistic world to which he{\textquoteright}d first adhered, he returned to his earlier love of naturalistic depictions and, not surprisingly, began to approach the Parisian cityscape. His oeuvre from the 1870s includes an enormous number of works devoted to both the city as well as its inhabitants. What distinguishes the Parisian views he created from those concurrently produced is their concentration on those areas of the city most affected by these years of torment and destruction now under construction as part of the grandiose effort toward the restoration of Paris{\textquoteright} former glory. The areas the artist chose as focus, as well as the type of "Parisien" he featured, indicate de Nittis{\textquoteright} interest in not only capturing the flavor of the bourgeois Paris which came to fore in post-Haussmannian Paris, but also becoming part of this milieu. Throughout his Parisian career de Nittis strove to gain acceptance not as a foreigner, but rather, as a true "Parisien". His efforts to assimilate within the most elite circles are indicated by the organization of Parisian soirees in his home as well as the cultivation of friendships with particularly prominent members of the Parisian avant-garde. Although such attempts achieved for him unprecedented acceptance by the French, despite his foreign status, they simultaneously resulted in his alienation from Italian confreres who felt that he had abandoned their campaign to revive the reputation of modern Italian painting.}, keywords = {19th- and Early 20th-Century European Art}, author = {Goldberg, Caroline Virginia} } @mastersthesis {7903, title = {Give People What They Want{\textquoteright}: The American Aesthetic Movement, Art Worlds, and Consumer Culture, 1876-1890}, year = {1995}, school = {Pennsylvania}, abstract = {This dissertation examines the cultural politics of the American Aesthetic movement in terms of the increasing professionalization of the New York art world and the expanding consumer marketplace. A self-consciously meliorist and didactic movement grounded in the belief that a {\textquoteright}beautiful{\textquoteright} environment could promote moral and social change, Aestheticism played a significant and complex role in the transformation of late nineteenth-century American culture and ideologies. Revealing the relationships between artistic design, social reform, and consumption through a close analysis of myriad {\textquoteright}fine{\textquoteright} and {\textquoteright}popular{\textquoteright} visual and textual materials, I explore the layered meanings of Aestheticism as a progressive and nostalgic impulse that both critiqued and reinforced the dominant social order. By understanding consumption as a rich cultural enterprise central to the dual processes of class identity and lifestyle formation, the study argues that American Aestheticism{\textquoteright}s particular language of reform made it readily adaptable to the nascent consumer ethos, a development that not only generated widespread popularity but, ultimately, decline.}, keywords = {Art of the United States and Canada}, author = {Yount, Sylvia} } @mastersthesis {7859, title = {Goya{\textquoteright}s Self-Portraits}, year = {1995}, school = {Iowa}, abstract = {Francisco Goya represented himself often. These images include some of his most celebrated works, such as The Family of Charles IV and the ironic frontispiece from Los Caprichos. Therefore, it is surprising that the only investigation of his self-portraits is a 1978 book by Julian Gallego, entitled Los autorretratos de Goya. Gallego{\textquoteright}s work is relatively short for such a complex and vast topic; its thirty pages are predominantly devoted to identifying and cataloguing approximately thirty of Goya{\textquoteright}s self-portraits, rendered in a variety of media. While Gallego may not be correct in all of his identifications, the value of this short work lies in its topic--the privileging of Goya{\textquoteright}s self-portraits--which highlights Goya{\textquoteright}s interest in the nature and depiction of self and other. Significantly, Goya{\textquoteright}s images of self-representation coincide with a discursive intensification of the self in the latter half of the 18th-century, especially as a result of the political and cultural impact of the French Revolution. It is important to note as well that Goya virtually stood alone in his impassioned engagement of self-representation during this period. This fact alone elicits some extremely interesting questions. For example, was Goya especially obsessed with self-portraiture because of the unique artistic, political, and cultural context of Spain, or was he highly conscious of the self relative to the other? A principle goal of this dissertation is to address issues and problems related to these questions. Each chapter is structured around an extensive investigation of particular Goya self-portraits that are organized thematically according to the following four subjects: genius, the dream, sexual violence, and death. It is not coincidental that most of these topics served to crystallize a prominent discourse on the self, from literature to science, during the late 18th and early 19th-centuries in Europe.}, keywords = {19th and 20th century Europe}, author = {Ciofalo, John J.} } @mastersthesis {7936, title = {The Hediste Stele in the Context of Hellenic Funerary Art: The Display of the Corpse of a Tragic Woman}, year = {1995}, school = {Harvard}, abstract = {The Hediste Stele, the Hellenistic painted stele from Demetrias-Pagasai, Thessaly, in third century B. C. E., raises numerous issues, including the relationship with the traditional Attic grave reliefs in the fifth and fourth century B. C. E., the concept of space within the Hellenistic painting, and the nature of visualized values of the contemporary society. Hediste having died in childbirth, the cause of her death is poignantly expressed in the epigram. Stylistic as well as iconographic analysis explores the possibilities for interpreting the representation of a dead woman on the funerary monument. Previous scholarship has been dedicated to the analysis of its composition within Hellenistic concepts of space or the interrelationship with Attic grave monuments; but where does this Hediste Stele, as a representation of the death of a young woman on the funerary monument, belong in the cultural tradition of Western art? Does the representation of Hediste as suffering, defenceless and vulnerable, have any relation to the representation of women up to our own time? A new interpretation is proposed: first, Hediste is examined within the tradition of the imagery of the mythological model, "Abandoned Ariadne"; second, Hediste is studied as a female nude body in the context of the stele{\textquoteright}s specific interior scene; third, it is proposed that the time depicted here is deliberately the moment immediately after her death, before the formal prothesis (funeral wake) takes place. All these conditions are chosen not only for their aesthetic values, but also for the embodiment and reinforcement of social values as well, that is the status of women{\textquoteright}s heroic death in childbirth. The stylistic and iconographic factors converge to convey a specific social ideology in the Hellenistic period. In Greek society, the heroic death of a woman in childbirth parallels the heroic death of a warrior on the battlefield. This is not simply the transformation of a victimized image to a victorious one, but confirms and reinforces social status and value of the dead persons within Hellenic culture as a whole.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Nakamura, Rui} } @mastersthesis {7948, title = {The Hoover Dam Photographs of Ben Glaha Completed under the Auspices of the United States Bureau of Reclamation}, year = {1995}, school = {UC Santa Barbara}, abstract = {Because Hoover Dam was built following the worst depression the country had ever known and because it was physically and technically unprecedented, the construction of the dam was carefully photographically documented by Bureau of Reclamation photographer Ben Glaha. My text is a considered examination of the entire body of Glaha{\textquoteright}s construction photographs. Chapter 1 delineates how Glaha{\textquoteright}s work derives from and continues within western landscape exploration, including his position within the Bureau. Additionally, I provide a preliminary discussion of why Glaha{\textquoteright}s images were so extraordinary in that they were not only functional, but artistic as well. Chapter 2 explicates the scope and nature of Glaha{\textquoteright}s images. Beginning with his personal background as a foundation for his work at the dam site, I discuss how Glaha was a product of and the degree to which he coincided with the nature of documentary expression of the time period. An overview is then provided of the great diversity of images Glaha produced of the construction program and their relationship with the prevailing "Machine Aesthetic." The third chapter addresses how a select body of images Glaha secured at the site were presented as works of art. I examine the manner in which Glaha was influenced by his artistic peers and how he, in turn, influenced other artists as well. Chapter 4, in juxtaposition to Chapter 3, delves into the propagandistic utilization of Glaha{\textquoteright}s photographs. I first examine the degree to which the Bureau influenced Glaha{\textquoteright}s work at the site. From there, the array of print venues in which Glaha{\textquoteright}s images appeared is explicated with attention given to how images which in some instances were presented as works of art, in other situations reinforced the Bureau party line. The chapter concludes with an examination of how Glaha{\textquoteright}s images were, at times, used to forestall project criticism. Finally, I provide an epilogue which concludes the text by bringing Glaha{\textquoteright}s efforts in line with current landscape ideology and practices. Specifically, in Glaha{\textquoteright}s time the general sentiment was that a dam could, indeed should, be placed to co-exist within nature, today such intervention is being re-examined in contemporary landscape photography.}, keywords = {Photography and Film}, author = {Vilander, Barbara Ann} } @mastersthesis {7937, title = {The Iconography of the Herakles knot and the Herakles-knot hairstyle of Apollo and Aphrodite}, year = {1995}, school = {UNC Chapel Hill}, abstract = {In ancient Egypt, Greece, and Rome, knots were thought to possess magical power in addition to having practical value. One especially beneficent knot was the square knot, i.e. the Herakleotikon hamma or nodus Herculeus, which ancient literary sources identify as having apotropaic power. This dissertation investigates the Egyptian and Greek iconography of this potent knot through the Hellenistic period as background to a study of numerous Hellenistic Apollo and Aphrodite types which wear a Herakles-knot hairstyle. The earliest representations of this knot come from Egypt where the knot functioned both as an independent amulet and as the binding for the lotus and papyrus which together symbolize political unity. The Herakles knot also appears in early Greek art, binding, for example, the fillets which consecrate the kouroi, the snaky belts of gorgons, and the forelegs of Herakles{\textquoteright} impenetrable lionskin. In the Hellenistic period, the knot bursts into sudden popularity as a central motif in a variety of jewelry types--a phenomenon explained by the adoption of the Herakles knot by Alexander the Great as a propagandistic symbol evocative of his kinship with the gods. The Herakles-knot hairstyle was first adopted, in the Early Classical period, by Apollo in the Omphalos type, the Chatsworth head, and the Ciro wig, statues which present the long-haired god with his amuletic knot as the protector of ephebes during their passage into maturity. This Herakles-knot hairstyle was revived, possibly also as a symbol of Alexander the liberator of the Ionians, in the late fourth-century prototype of the Apollo Belvedere that may have been created by Leochares, an artist associated with the Macedonian court, for the Temple of Apollo Patroos in the Athenian Agora. The Herakles-knot hairstyle of Aphrodite, as seen primarily in the Capitoline type, is similarly related to her function as the protectress of brides in their transition from the realm of Artemis to that of Aphrodite. The numerous late Hellenistic and Roman heads of Apollo, Aphrodite, and other deities which also wear the Herakles-knot hairstyle demonstrate its continued popularity in fashion as well as the endurance of the ancient belief in the knot{\textquoteright}s beneficent power.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Nicgorski, Ann M.} } @mastersthesis {7876, title = {The Identity of the Artist: A Reading of Monographic Studies Devoted to the Old Masters during the 19th Century}, year = {1995}, school = {Yale}, abstract = {The dissertation investigates one of the earliest forms of the literature of the visual arts, the "life and works" of the artist. Its theme and scope are provided by a tradition that finds its first modern interpreter in Giorgio Vasari and culminates with the flowering of monographic studies on the old masters during the nineteenth century. Focusing on the metamorphoses of the monograph in the nineteenth century, the dissertation explores its discourse and methodologies and seeks to assess the shifting but decisive role played by the concept of the artist{\textquoteright}s identity in the construction of this powerful model of inquiry. Chapter I explores to the idea of the artist in Vasari{\textquoteright}s Lives, reading this seminal text as a receptacle of identities grasped according to procedures ranging from the account of the artist{\textquoteright}s life and works to the recognition of the linguistic properties of his art. The ensuing chapters pursue an examination of the transformations of the Vasarian prototype in the nineteenth century. This examination explores its manifestations in the writing of artists{\textquoteright} biographies, the scholarly composition of art-historical monographs, and the scrupulous construction of catalogues raisonnes, by grouping and discussing the volumes in view of the methodologies which informed them as well as the distinct cultural contexts of their inception. Chapter II, along with other significant cases, analyzes Gustav Friedrich Waagen{\textquoteright}s 1822 study of the Van Eycks as an attempt to confer upon the monographic model the status of cornerstone in the building of a scholarly-oriented art history. Chapter III considers further transformations of the model in the volumes devoted to Durer and Raphael during the first half of the century. In chapter IV, the Raphael monograph published by Johann David Passavant in 1839 will be seen as the place where the pivotal concept of the artist{\textquoteright}s oeuvre found initial, exemplary realization in the history of the monographic approach to the old masters. While chapter V compares monographs that privileged the artist{\textquoteright}s biography with those that assessed the artists primarily within the body of their works, chapter VI is entirely devoted to Joseph Archer Crowe and Giovan Battista Cavalcaselle{\textquoteright}s monographs on Titian and Raphael, which appeared between 1877 and 1885, and to Bernard Berenson{\textquoteright}s Lotto monograph of 1895.}, keywords = {Art Criticism and Theory}, author = {Guercio, Gabriele} } @mastersthesis {7924, title = {Illuminated Moral and Devotional Compilations and Lay Piety in 14th-Century Metz}, year = {1995}, school = {Penn State}, abstract = {The object of this study is four illuminated compilations made around 1350, presumably at Metz, when, shortly after the administration of Metz{\textquoteright}s celebrated book patron, Bishop Renaud of Bar (1302-1316), manuscript ownership and patronage by the resident bourgeoisie largely replaced that of the episcopacy and rural nobility. Unlike the luxury books made before and after 1300 for Renaud and his contemporaries, the compilations are modest, but their handsome format and decoration nevertheless express the increased wealth of the Messin patriciate and the trend toward the standardization of book production in the gothic period. The contents of the four books are extracts compiled from didactic and mystical literature, decorated with illuminations amplifying the themes of the readings. Many texts and images treat history, ethics, and theology, and are taken from compositions well-known to the lay public, such as the Quatre ages de l{\textquoteright}homme and the Miroir du monde. Other texts equally popular with secular audiences concern moral philosophy, like Boethius{\textquoteright} Consolation of Philosophy. Many readings, though, are devotional in tone, reflecting current interests in the Passion and the suffering Christ, the illuminations drawn from gothic collections of Biblical typologies such as the Speculum humanae salvationis. Other images such as the soul contemplating Christ on the living cross are unusual, and were perhaps inspired by mystical writings that became increasingly popular during the fourteenth century. Also significant is the special order of the texts and images, where those on the active life, such as Brunetto Latini{\textquoteright}s Tresor, are placed before material concerning the inner, or contemplative, life, such as the Livre du palmier. The inspiration for this arrangement may be traced to the Victorines of Paris, and later the mendicants, who fused scholastic methods of learning with new, mystical approaches to cultivating personal piety. The manuscripts of this study, then, take the form of a summa, and can be compared with corapilations such as the Somme le roi and Speculum maius, both of which are linked to French royal patronage, suggesting that the Lorraine compilations are local variations of the great Paris encyclopedias, made for a worldly, learned readership at Metz.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Hemzik, Pamela S.} } @mastersthesis {7914, title = {The Illustration of Christopher Plantin{\textquoteright}s Books of Hours: Traditions and Innovations before and after the Council of Trent}, year = {1995}, school = {Brown}, abstract = {The Antwerp printer-publisher Christopher Plantin (ca. 1520-1589) is known for the quantity and quality of his publications. This includes the regular production of books of hours before and after the Council of Trent-instigated reform of this text. In this dissertation, I discuss how the selection of subjects and general appearance of Plantin{\textquoteright}s various books of hours compare with the established traditions for their illustration. Complementing this visual and iconographic analysis with information from Plantin{\textquoteright}s business records and correspondence, I also consider such general questions as (1) how a book was made under Plantin; (2) which factors may have influenced the decision to buy specific books; and (3) did the Tridentine decrees concerning the revision of essential catholic texts and the use of images affect how this common prayer book was illustrated? The results of my study reveal that while Plantin favored embellishing his books of hours with a generally traditional series of images, he also dared to be innovative and use new techniques for book illustrations--i.e., engravings and etchings, in addition to the traditional woodcuts. In addition, the revision of the text of the book of hours enabled other individuals, including members of Philip II{\textquoteright}s court who oversaw Philip{\textquoteright}s commissions of huge quantities of the reformed texts, to affect the illustration of Plantin{\textquoteright}s books of hours. This often resulted in the incorporation of elements common to manuscript and early printed books of hours. But neither Plantin{\textquoteright}s own distinctive illustration of books of hours nor the backward-looking additions made following the reform of the text appear to have had a substantial impact upon either his contemporaries or successors. It is, rather, only in some of the independent prints made by a few of the artists Plantin had employed to create many of the elements used to decorate his books (e.g., the Wierix brothers) that the influence of Plantin{\textquoteright}s decoration of the book of hours can be seen.}, keywords = {Baroque and 18th-Century European Art}, author = {Bowen, Karen Lee} } @mastersthesis {7866, title = {Infinite Regress: Marcel Duchamp, 1910- 1943}, year = {1995}, school = {Harvard}, abstract = {By charting complex discourses of the machine and the commodity in the late 19th and early 20th centuries, Infinite Regress: Marcel Duchamp 1913-1943 demonstrates that Duchamp{\textquoteright}s art of the teens, twenties, and thirties is a self-conscious embodiment of the terms and contradictions of consumer society. The central theme of this work is the metaphorical intersection of industrial production and consumption--an encounter which Duchamp represents as a renegotiated relationship between mind and body. A fundamental methodological strategy of Infinite Regress is to maintain an integrated discussion of the linguistic, economic and erotic terms which Duchamp weaves together in his works of art. Chapter 1 concerns Duchamp{\textquoteright}s painting from 1911 to 1918. Building on the recent definition of Picasso{\textquoteright}s cubism as a transformation of the body from its carnal nature into an abstract, differential semiotic system, I argue that Duchamp{\textquoteright}s cubism maintains an important alternative to Picasso{\textquoteright}s by attempting to develop a language immanent to the body, an embodied language. Chapter 2 demonstrates how Duchamp{\textquoteright}s readymade strategies of the teens served to transpose the terms of his cubist dialectic between immensurable carnality and geometric quantification, to an opposition between commodities and the linguistic inscriptions which, in Duchamp{\textquoteright}s formulation, elevate manufactured objects to the status of art. The metaphorical function of the machine is the subject of Chapter 3. By situating Duchamp{\textquoteright}s The Bride Stripped Bare by her Bachelors, Even or Large Glass (1415-23) within a series of cultural re-definitions of industrial production and burgeoning consumption between 1885 and 1925, I argue that the Duchampian machine, and the dada machine more generally, operate as switching stations between the modern rationalization of the body and newly developing techniques of disciplining the mind--particularly through the colonization or commodification of desire. Chapter 4 explores what I would call Duchamp{\textquoteright}s spatialization of the unconscious through a renewed engagement with the readymade. I argue here that Duchamp{\textquoteright}s pursuit of chess from the early twenties onward became a defining metaphor for a new topographical exploration of mental structures.}, keywords = {19th- and 20th-Century European Art}, author = {David Joselit} } @mastersthesis {7939, title = {The Institute of American Indian Arts: A Convergence of Modernism and U.S. Indian Policy}, year = {1995}, school = {UCLA}, abstract = {The Institute of American Indian Arts (IAIA), which in 1962 replaced the Santa Fe Indian School{\textquoteright}s "Studio", has been widely credited with revolutionizing and revitalizing modern Indian painting. Encouraged to explode stereotypic expectations and develop strategies for modern applications of traditional forms, Institute students{\textquoteright} visual vocabulary was from the outset strongly bicultural and their works characterized by innovation in technique, style, and subject. Hailed as a success story of minority arts education and revised U.S. Indian policy, the school met with enthusiastic response from the popular press, the federal government, and the international arts community. While the Institute carefully constructed a public image of unfettered, culturally pluralistic arts training, its curriculum and reward system of selective exhibitions, special events, and publications favored a Western modern aesthetic dominated by individualism and commercial success in the non-Indian art market. This agenda, established in 1959 at the "Directions in Indian Art" Conference and refined during the University of Arizona{\textquoteright}s Southwestern Indian Art Project of 1960-63, complemented the federal government{\textquoteright}s interest in mainstreaming Native peoples. At the same time, Indian art was coming to be viewed as both uniquely American and reassuringly modern--two essential components of the International style promoted by the Museum of Modem Art (MoMA) and the Rockefeller Foundation in the trenches of the "cultural Cold War". Rockefeller sponsorship of both the "Directions in Indian Art" Conference and the Southwestern Indian Art Project, from which the Institute drew much of its art education methodology and several key faculty members, cannot be seen in isolation from Rockefeller political and economic interests. An examination of the historical conditions that determined the Institute{\textquoteright}s very existence and subsequent degree of support raises critical questions regarding the school{\textquoteright}s ideological roots and ensuing pedagogical philosophy and policies. These questions, in turn, beg the issues of the role of education in cultural change in a multicultural society, state patronage of the arts through education, and Native artistic autonomy versus cultural imperialism.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Gritton, Joy L.} } @mastersthesis {7900, title = {Institutional Revisions: Modernism and American Public Schools from the Depression through the Second World War}, year = {1995}, school = {Yale}, abstract = {Across the United States, from the onset of the Depression through the outbreak of World War II, public schools underwent widespread revision to meet the demands of progressive education. At the same time, architects investigated the meaning of modernism for architecture; they specifically identified the public school building as a venue for modernist experimentation. This dissertation uses the case study of modern public school architecture to address the way architecture carries public meaning. Accepting that buildings are documents that articulate a culture{\textquoteright}s definition of itself, it asks what part the expression of modernism played in the public reconception of the educational institution. With a focus on the specific in opposition to a generalized history of institutions and modernism, this study examines individual school buildings of the 1930s within their local and national contexts. It explores the way a school{\textquoteright}s multiple makers--clients, users and designers--participated in the creation of the physical entity and understood its meaning. It reveals the school as the product of a design and construction process--as a text whose meaning is mutable and contingent--not as a fixed and singular object. Modernism gave voice to concerns about civic stature, changes in the social role of education, and delineations of social segregation. The schools analyzed include the Corona Avenue School in Los Angeles, California (Richard Neutra), the Crow Island Elementary School in Winnetka, Illinois (Saarinen and Saarinen, with Perkins, Wheeler and Will), the Ansonia High School in Ansonia, Connecticut (Lescaze and Sears) as well as schools by Lyndon and Smith, John Lloyd Wright, Langford and Finney, Perry, Shaw and Hepburn, Overstreet and Town, and Burnham Hoyt. Modern schools were not abstract products of an aesthetic code but emerged from the social acts of their design and construction. Changing architectural aims, educational philosophies, federal financing, state guidelines, local needs and individual desires all transformed the architecture of the public school. Rather than exemplifying singular architectural solutions of universal meaning, these new schools establish the modern movement as fractured and conditional, dependent in each situation upon client, architect and program.}, keywords = {Art of the United States and Canada}, author = {Weisser, Amy Suzanne} } @mastersthesis {7922, title = {Interpreting National Identity in Time of War: Competing Views in Office of War Information (OWI) Photography, 1940-1945}, year = {1995}, school = {Boston}, abstract = {President Roosevelt created the Office of War Information (OWI) in June 1942 to coordinate efforts to mobilize Americans and improve relations among the Allies. Photography was one of the OWI{\textquoteright}s important tools of persuasion, and this is the first study to isolate and analyze the three distinct but intersecting branches of OWI photographic activity. This dissertation examines key debates over the agency{\textquoteright}s activities and argues that the aesthetic variations in OWI photography are integrally related to ideological differences and institutional disputes within the agency. All OWI photography was shaped in part by the dominant aesthetic conventions of modernism, especially those of "glamour aesthetics." But OWI publications and exhibitions also reveal that the agency{\textquoteright}s work evolved considerably during the war; as a result of the delicate collaboration between various OWI policy makers, editors, designers, writers, technicians, photographers, their subjects and audiences, the purport of the work was repeatedly tested and renegotiated. The three OWI photo units operated by the OWI were: the Stryker unit, formerly with the Farm Security Administration (FSA), and housed in the OWI Domestic Branch publications unit; the Domestic Branch News Bureau photo unit; and the OWI Overseas Branch unit. Two significant photographers from competing OWI photo units receive special attention: Marjory Collins (Stryker unit) and Alfred Palmer (News Bureau unit). Their work is compared to that of contract photographers hired by the Overseas Branch, particularly after the Spring of 1943. Collins{\textquoteright}s photography, like that of her Stryker unit colleagues, originated in the social reform atmosphere of the 1930s. Although her OWI work followed the agency mandate on celebrating American virtues, her photographs also display her earlier critical attitude. Palmer, by contrast, focused on the immediate objective of winning the war, producing uniformly inspirational imagery. Contract photographers, meanwhile, followed the lead of Palmer{\textquoteright}s News Bureau unit, but their affirmative photography was designed to shape long-term world opinion, not to mobilize a population for the war effort. Analysis of Collins, Palmer, and the contract photographers makes clear that understanding the photographic images they produced requires close attention to their political, bureaucratic, and cultural background.}, keywords = {Drawings/Prints/Works on Paper}, author = {Carson, Jeanie Cooper} } @mastersthesis {7867, title = {John Paul Cooper (1869-1933), Designer and Craftsman}, year = {1995}, school = {Michigan}, abstract = {No record in ProQuest}, keywords = {19th- and 20th-Century European Art}, author = {Kuzmanovic, Natalija Natasha} } @mastersthesis {7891, title = {John Twachtman (1835- 1902) and the American Scene in the Late l9th Century: The Frontier within the Terrain of the Familiar}, year = {1995}, school = {CUNY}, abstract = {The art of John Henry Twachtman exemplifies the essential changes that occurred in late nineteenth-century American landscape painting. A leading figure in a cosmopolitan generation of artists, Twachtman studied in Munich and Paris, painted in several prominent European art capitals, and was influenced by many aspects of European painting. After settling in Greenwich, Connecticut, in 1889, he formulated a highly original Impressionist style combining vital, direct brushwork, an abstract understanding of form, and a sensitivity to tonal harmonies. He used this approach to create his best known images, intimate views of his Greenwich home and property in all seasons of the year. Most previous studies on Twachtman have concentrated purely on the formal dimensions of his art, downplaying the impact of his European influences. I explore Twachtman{\textquoteright}s sources and demonstrate their importance to his stylistic evolution. I argue, however, that the changes in Twachtman{\textquoteright}s treatment reflected not only the impact of new influences, but also his responses to the places where he worked and lived. In each of his painting locales, including Venice; New York harbor; the Jersey City shore; the Cincinnati suburbs; Tuscany; Holland; Normandy; Bridgeport, Connecticut; Newport, Rhode Island; Greenwich; and Gloucester, Massachusetts, he modified his approach to convey his impressions of his sites. Often drawn to types of landscapes that had not been painted previously, he recorded new realities of urban, suburban, and resort life. His works thus reflect fundamental changes that occurred in America during a period of tremendous change. He expressed the dynamic qualities of the city in the 1870s and the decade{\textquoteright}s optimistic attitude toward urban progress. Conversely, in the late 1880s and 1890s, he conveyed the antipathy toward the city that arose toward the century{\textquoteright}s end when the American suburbs expanded into anti-urban, countricized enclaves and coastal areas became popular places to escape the bustle and noise of the metropolis. His works also reflect the American response to the idea that the nation{\textquoteright}s western frontier had closed. Finding freshness and rejuvenation in nature within the limited arena of his Greenwich property, he perpetuated the frontier experience, seen by Frederick Jackson Turner and others as still important to the American psyche, within a familiar, private domain, a type of settled landscape that characterized much of the country at the turn of the century.}, keywords = {Art of the United States and Canada}, author = {Peters, Lisa N.} } @mastersthesis {7959, title = {Judith in Florentine Renaissance Art, 1425-1512}, year = {1995}, school = {Ohio State}, abstract = {This study examines the image of Judith in Florentine Quattrocento art, during which time it took on a character distinct from those dominant in the Middle Ages, and in Northern Italy in the sixteenth century. The Medieval image, found principally in manuscript illuminations, was often non-specific in meaning, and generally treated the moment of the beheading of Holofernes in either an iconic or narrative form. In Renaissance Florence, meanings grew both more specific and, sometimes, secular and civic. Traditional moral or religious content was often retained, but Judith also became an emblem of the city, and, for the first time, was represented directly as an image of civic virtue. Narrative representation became dominant, and in painting the moment selected for depiction shifted from the beheading to subsequent incidents in the tale. Judith also entered the repertory of figures suitable for devotional contemplation for the first time, and she was represented by leading artists of the day (rather than anonymous masters), and in such new media as free-standing bronze sculptures and panel paintings. With the seizure in 1495 of Donatello{\textquoteright}s monumental Judith Beheading Holofernes, and its removal from the Medici Palace to the Piazza della Signoria, Judith became an anti-Medici emblem, a symbol of the Florentine Republic rejecting tyranny. This may account for her passing out of favor in Florentine art after the Medici restoration to power in 1512, at which time images of Judith were created principally in Northern Italy, where she most commonly was seen in half-length portraits in the iconic mode. These pictures may have served either devotional or decorative functions (a number have a somewhat erotic feeling new to images of the heroine), but their meanings are generally non-specific: a distinct shift from her typical form in Renaissance Florence. A chapter reviewing the literary and artistic backgrounds of Judith in the Early Christian and Medieval periods is included. The study itself focusses principally on three sculptures (Ghiberti{\textquoteright}s figure from The Gates of Paradise, Donatello{\textquoteright}s Judith, and a bronze statuette attributed to Pollaiuolo), and eleven paintings (a lost fresco by Masolino; Filippo Lippi{\textquoteright}s Coronation of the Virgin; Botticelli{\textquoteright}s double-sided panel in Cincinnati, Uffizi diptych, Amsterdam Judith, The Calumny of Apelles, and The Story of Lucretia; Davide Ghirlandaio{\textquoteright}s Judith; and her appearance in Michelangelo{\textquoteright}s Sistine Ceiling). Brief consideration is also given to Mantegna{\textquoteright}s lost Medici Judith.}, keywords = {The Renaissance}, author = {Knotts, Robert} } @mastersthesis {7907, title = {Kaikei and Early Kamakura Buddhism: A Study of the An{\textquoteright}amiyo Amida Form}, year = {1995}, school = {UCLA}, abstract = {Kaikei, a great sculptor of the Kamakura period, is well known for his extensive production of standing Amida statues, called the An{\textquoteright}amiyo Amida. The An{\textquoteright}amiyo Amida statues, which present completely different iconographic features from the prevailing Jocho mode of Amida, became a canon for the Amida form during the Kamakura and subsequent periods. Previous Kaikei studies often stress stylistic characteristics and chronological development of the works but overlook some important factors manifested in this form of Amida. The significance of the An{\textquoteright}amiyo Amida as an icon lies in those overlooked factors, which contributed to its popularity in later periods. Based on a broader viewpoint, this study analyzes the meanings of Kaikei{\textquoteright}s Amida images in the socioreligious context of the early Kamakura period. The study considers three aspects of the An{\textquoteright}amiyo Amida: iconographic characteristics; religious connotation within the development of Pure Land Buddhism of the time; and the significance of Kaikei{\textquoteright}s patrons. Concerning the name lists (kechien kyomyo) which were enclosed inside the cavities of the works by Kaikei and related sculptors, this study suggests that, to a great extent, Kaikei{\textquoteright}s An{\textquoteright}amiyo Amida figures represent the Pure Land idea newly developed by Honen and his nenbutsu group. The innovative raigo form of An{\textquoteright}amiyo Amida was utilized often by the hijiri and fulfilled the needs of the Kamakura people. The An{\textquoteright}amiyo Amida shows the interaction of imagery with broader social and religious currents. In this sense, the An{\textquoteright}amiyo Amida is a manifestation of the new developments in the early Kamakura period. Kaikei should not be seen simply as a devout Amidist and conservative sculptor supported by elite patrons since he was also an innovator, fully aware of the needs of his time.}, keywords = {Asian Art}, author = {Kainuma, Yoshiko} } @mastersthesis {7904, title = {Kuhon Ojozu: Paintings of the Nine Grades of Birth: Context and Interpretation}, year = {1995}, school = {UCLA}, abstract = {"Paintings of the nine grades of going to be born" (kuhon ojozu) graced many Amida halls in Japan. Three sets of such paintings remain to this day at the Phoenix Hall of Byodoin, the Taishido of Kakurinji, and Ryujoji, Nara Prefecture. Each of these sets of paintings are similar in their essential iconography of the Buddha Amida (Amitabha) with his followers coming to welcome one to birth in his land, yet each has its own meaning, depending upon its historical context. The six extant paintings of the Phoenix Hall are concerned with the personal interests of their patron, Fujiwara Yorimichi, as much as they are scriptural illustrations or decorations. The paintings depict vast expanses of landscape filled with poetic references to the Uji district, which the Fujiwara regarded as their personal retreat. As part of the complex of the Phoenix Hall, the paintings are explored in relation to the spiritual and worldly powers held by their patron. The single painting at the Taishido of Kakurinji, depicting all nine grades of birth, is discussed in relation to the cycle of imagery within its physical context. The composition emphasizes "evil birth." The imagery surrounding the painting is very interesting, involving esotericism and the worship of Shaka (Sakyamuni), within a hall dedicated to Shotoku Taishi. Such circumstances would hint at the influence of itinerant holy men called hijiri. The last set of three remaining paintings from Ryujoji, Nara Prefecture were fusuma paintings that have now become hanging scrolls. The paintings have been decontextualized physically and historically, so it is very difficult to interpret them. Physical and historical contexts play important roles in the interpretation of painting. Used appropriately, they are of primary importance in the making of interpretations.}, keywords = {Asian Art}, author = {Bryant, Gail F. Chin} } @mastersthesis {7933, title = {Landscape and Space in Aegean Bronze Age Art}, year = {1995}, school = {UNC Chapel Hill}, abstract = {This dissertation seeks to identify and define the spatial conventions used in artistic representations of landscape by artists of the Aegean Bronze Age. Chapter I presents the definitions and assumptions essential to the clarity of the investigation, followed by a discussion of the categories of evidence under consideration and the method by which the evidence is interpreted. Chapter II evaluates the tradition of scholarship surrounding the problem of interpreting spatial conventions in Aegean landscape art and identifies two non-linear spatial conventions, overlapping and vertical perspective. Chapter III analyzes Aegean descriptions of hillside landscape and identifies a third convention, "hillside perspective," which combines overlapping and referential perspective to describe rising terrain. Hillside perspective is found to be manipulated by Aegean Bronze Age artists to produce "referential perspective," a spatial convention whereby pictorial elements are selected From the repertoire employed in hillside perspective to refer to a hillside setting. Varieties of referential perspective are identified as "floating," "rocky," and "composite." Chapter IV examines a category of landscape representation known in contemporary scholarship as "concentric composition," which is currently understood in terms of an ill-conceived application of the convention, "bird{\textquoteright}s-eye view." The landscapes of this category are here reinterpreted as representations of "shallow caves," defined as solution cavities eroding in the limestone cliffs of the Aegean{\textquoteright}s karst topography. This vertical arrangement of pictorial elements is recognized as a fifth spatial convention, "vertical plane perspective." Chapter V then turns to issues of time and space and suggests that the conventions of overlapping and vertical perspective may have been adopted from Egyptian and Near Eastern art, but referential perspective and vertical plane perspective arise indigenously within the artistic tradition of Prepalatial and Protopalatial Minoan Crete. Chapter V also seeks to demonstrate that Mycenaean artists employ many of the same spatial conventions made popular in landscape art of the Neopalatial period. Finally, the five spatial conventions identified in the dissertation are applied to three problematic Aegean landscapes, with the result that new reconstructions are presented for each composition.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Chapin, Anne P.} } @mastersthesis {7905, title = {The Landscapes of Wu Bin (c. 1543-c. 1626) and a 17th-Century Discourse of Originality}, year = {1995}, school = {Michigan}, abstract = {Through reassessment of biographical information, this study finds that Wu Bin (c. 1543-c. 1626) served as a low-level scholar-official whose talents as a calligrapher, painter, and poet brought him to the attention of the emperor and the most influential intellectuals of his period. These intellectuals shared a critical vocabulary with the Gong{\textquoteright}an theorists, a group whose ideas in turn drew upon the thought of Neo-Confucianists Wang Yangming and Li Zhi, particularly as regards issues of authenticity and originality. These issues emerge as primary concerns of seventeenth-century literary and art critics, for whom the key term in the discourse of originality was qi. Qi, a term of wide semantic range including strange, extraordinary, and unusual, is used in late Ming literary and art criticism to indicate issues of originality. This thesis provides a history of the term in critical literature. The usage of the term is examined in art criticism as well, and compared with other art critical terms to further distinguish its meaning, application, and nuances. As a participating and respected member of this group of intellectuals, Wu Bin addressed this shared concern in his paintings and inscriptions, giving visual form to a highly-charged critical concept. Examination of Wu{\textquoteright}s stylistic development provides a case study of late Ming shifts in artistic values as his paintings evolve from embracing the normative tradition in his formative years, to a radical expression of personal uniqueness at the end.}, keywords = {Asian Art}, author = {Burnett, Katharine Persis} } @mastersthesis {7871, title = {The Legacy of Rue Ferou: {\textquoteright}Livres D{\textquoteright}Artiste{\textquoteright} Created for Matisse, Leger, Le Corbusier, Chagall, Giacometti, and Miro}, year = {1995}, school = {IFA/NYU}, abstract = {Teriade (Efstratios Eleftheriades) was one of the most important fine arts publishers active in post-World War II France. Between 1943 and 1975 he published twenty-seven livres d{\textquoteright}artiste (artists{\textquoteright} books) by some of the greatest artists of the century; nine of these contain texts authored by the artist who created the "illustrations." Rouault{\textquoteright}s Divertissement (1943), Bonnard{\textquoteright}s Correspondences (1944), Matisse{\textquoteright}s Jazz (1947), Leger{\textquoteright}s Cirque (1950), Le Corbusier{\textquoteright}s Poeme de l{\textquoteright}angle droit (1955), Chagall{\textquoteright}s Cirque (1967), Giacometti{\textquoteright}s Paris sans fin (1969), and Miro{\textquoteright}s Ubu aux Baleares (1971) and L{\textquoteright}Enfance d{\textquoteright}Ubu (1975)--all published by Teriade under the imprint Editions Verve--rank among the most innovative livres d{\textquoteright}artiste of our time. Teriade referred to these books as "artistic microcosms," "extraordinary self-contained worlds." This dissertation takes as its subject these nine livres d{\textquoteright}artiste, published between 1943 and 1975. Each is examined individually (from inception to final product) as well as in the broader contexts of the artist{\textquoteright}s work in other mediums, its place in the development of the livre d{\textquoteright}artiste, and its relation to the evolving art scene. Exhibitions of, and critical reaction to, these livres d{\textquoteright}artiste are addressed in the conclusion. Significant issues, such as Teriade{\textquoteright}s earlier work as a critic at Cahiers d{\textquoteright}Art and L{\textquoteright}Intransigeant, the artistic director of Minotaure, and the publisher of Verve; the impact of the Second World War; the metamorphosis of the deluxe art magazine; the development of color printing; the growing interest in graphology and facsimile reproduction; the evolving market for fine art prints; the attempts to establish guidelines for original prints; and the resurgence of lithography, are woven throughout the chapters. For ease of consultation, each artist is discussed separately; the chapters are arranged chronologically by the books{\textquoteright} printing dates. The four appendices contain original or difficult-to-access information: a list of Teriade{\textquoteright}s writings, an inventory of all publications issued by Editions Verve, annotated transcripts of the livres d{\textquoteright}artiste discussed, and an exhibition list.}, keywords = {19th- and 20th-Century European Art}, author = {Rabinow, Rebecca A.} } @mastersthesis {7861, title = {The Mannheim Exhibition of 1925 and the Idea of the New Objectivity}, year = {1995}, school = {UCLA}, abstract = {The dissertation focuses on the exhibition "Die Neue Sachlichkeit, Deutsche Malerei seit dem Expressionismus" organized in 1925 by Gustav F. Hartlaub at the Mannheim Kunsthalle. It examines the emergence of the concept of postwar realism in Germany since 1920, its controversial relation to expressionism, and the distinct form of figuration which emerged in Munich in the early twenties. Correspondence and documentation available at the Kunsthalle as well as published art criticism of the period, particularly by the art magazine Das Kunstblatt and newspaper reviews of the exhibition, provided the main sources for the argument. While the term "new objectivity" has a long history and multiple significations, the dissertation stresses Hartlaub{\textquoteright}s contribution. In his dual role as art critic and exhibition curator, Hartlaub titled the exhibition and first coined the phrase "Die Neue Sachlichkeit." The aim of the dissertation is to provide an articulated and historically contextualized representation of the formation of the subject of the New Objectivity and to provide a perspective for clarification concerning the subsequent use of the term.}, keywords = {19th- and 20th-Century European Art}, author = {Agalidi, Sanda} } @mastersthesis {7890, title = {Meaning in the Visual Art of William Harnet}, year = {1995}, school = {CUNY}, abstract = {This dissertation will address a select set of questions about the art and iconography of the American still-life painter William Michael Harnett (1848-92). These questions have to do with the narrative dimension of Harnett{\textquoteright}s work, with the nature of meaning in his painting, and with how and to what degree allegorical messages are expressed. I am aiming at showing how a sense of purposiveness operates in the artist{\textquoteright}s decisions about matters of iconography and composition, and even style, and will attempt to lay to rest the premise that Harnett{\textquoteright}s art is devoid of the intellectual complexities of meaning. It seems certain that the iconography of a select number of his paintings exhibits interrelated and definitive forms of meaning. We do not need to rely on Harnett{\textquoteright}s own words or the testimony of critics to know that Mortality and Immortality (1876), Memento Mori--"To This Favour" (1879) and To This Favor--A Thought from Shakespeare (1879) strongly affirm the tradition of vanitas. However, it should be noted that in no paintings beyond the three skull pictures is Harnett{\textquoteright}s interest in symbolizing the vanity of earthly existence made so obvious. While it seems certain that symbolic meaning does not appear in all or even most of Harnett{\textquoteright}s pictures, I believe allegory figures in works more numerous, and in ways more surprising, than has commonly been supposed. In this dissertation I suggest an order and design among the disparities of Harnett{\textquoteright}s oeuvre that hints persistently at a pious belief that the visual world is merely an illusion. In addition to traditional variations on the subject of vanitas--Job Lot Cheap (1878) and The Social Club (1879), for example--I will show that Harnett was capable of versatile formulations that not only obscured but extended traditional schemes. In this regard I shall examine a number of works painted near the end of his career, such as The Old Cupboard Door (1889) and Old Models (1892), in which the iconographic programs seem to fulfill his confidence in the experience of death and resurrection.}, keywords = {Art of the United States and Canada}, author = {Mandeles, Chad} } @mastersthesis {7911, title = {The Meaning of the "Eight Views of Hsiao-Hsiang": Poetry and Painting in Sung China}, year = {1995}, school = {Princeton}, abstract = {This dissertation traces the development of the painting theme the Eight Views of Hsiao-Hsiang from its inception about 1080 through the thirteenth century. Special consideration is given to its possible meanings within the culture of the educated elite. Sung Ti, the theme{\textquoteright}s creator, followed his family{\textquoteright}s history of service in the civil bureaucracy. Traditionally viewed as exercises in atmospheric landscape, his eight painting seem to have been inspired by exile literature and were probably created after his 1074 dismissal from court, a punishment that he considered unjust. His paintings may have constituted visual allusions to poetry that proclaimed loyalty and expressed moral outrage. Chapter one provides cultural and political background. Chapter two summarizes the authors who shaped the literary image of the Hsiao-Hsiang region. Chapters three through five examine poetic archetypes and possible textual allusions for the eight titles, arguing that the poetry of Tu Fu may have had disproportionate influence. Chapter six presents the twelfth-century Buddhist monk Hui-hung who wrote poems to the Eight Views{\textquoteright} titles, creating new poetic associations. Sung Ti{\textquoteright}s paintings do not survive. The only complete Sung dynasty Eight Views of Hsiao-Hsiang is a mid-twelfth century set by Wang Hung (chapter seven). His paintings incorporate a variety of Northern Sung landscape styles with compositions that seem to imitate the structure of regulated verse. The analysis considers factors of syntactic parallelism as well as the influence of tonal pattern. The compositional principles observed in Wang Hung{\textquoteright}s paintings may help to account for the diagonal structure characteristic of many Southern Sung landscapes. Chapter eight questions the assumption that the Eight Views was a theme at the Imperial Painting Academy. The tenacity of the original exile allusions, even within the Buddhist community, as well as a political agenda for Academy painters argues against the Eight Views having been adopted as an imperial painting theme. Meanings, however, varied with the audience; some regarded the Eight Views of Hsiao-Hsiang as no more than outstanding scenery.}, keywords = {Asian Art}, author = {Murck, Alfreda} } @mastersthesis {7883, title = {Media Construction of Female Adolescence in the 1950{\textquoteright}s}, year = {1995}, school = {Minnesota}, abstract = {Although recent literature has attempted to analyze the factors which influenced children born in the period following World War II, there is little visual analysis of the Baby Boom generation as presented in the American media and almost no investigation of the adolescent girl. This study examines the media construction of adolescent girls who were born in the late forties and early fifties and became teenagers and adults in the sixties. The images discussed in the dissertation come from the visual media of film, television, and advertising and include representations of both teenagers and their female adult role models. This dissertation explores pictorial representations in an effort to reveal the underlying attitudes and values inherent in the media constructed image of the adolescent girl. In the study that follows, the author looks exclusively at objects and isolates their common themes through an analysis of physical, aesthetic, and formal characteristics. The author has chosen six artifacts which she believes address pivotal issues in the lives of young, middle class girls. In order to analyze the description and definition of the adolescent female through images in the visual media, this dissertation has focused on cultural artifacts that illustrate recurring themes in the representations of girls in television, film, and advertising of the period. These artifacts are the "Mickey Mouse Club", Maidenform{\textquoteright}s "I Dream" ads, Clairol hair coloring advertising, the Barbie doll, Malibu Beach, and Annette Funicello. Each played a distinct part in the media construction of the adolescent girl by addressing issues of conformity, body shape, hair color, and the meaning of place. Each suggests a way to illustrate how the media constructed the teenage girl and provides a focus for a discussion of the values inherent in these representations.}, keywords = {Art of the United States and Canada}, author = {Coleman, Barbara} } @mastersthesis {7929, title = {Mosan Reliquary Triptychs and the Cult of the True Cross in the 12th Century}, year = {1995}, school = {Yale}, abstract = {This dissertation focuses upon five triptychs of the True Cross made between 1150 and 1170 in the diocese of Liege, Belgium. They take the form of triptychs with movable wings, made of repousse gold and silver and ornamented with champleve enamels and semi-precious stones. In the center of each is found a relic of the Cross of the crucifixion, and indeed these five are the only True Cross triptychs known to have been created in the West prior to the thirteenth century. The five are the Stavelot Triptych (New York, The Pierpont Morgan Library); the Ste.-Croix Triptych (Liege, Eglise de Ste.-Croix); the two Dutuit Triptychs (Paris, Petit Palais); and the Guennol Triptych (New York, The Metropolitan Museum of Art, The Cloisters, anonymous loan). First to be considered is each triptych in detail, focusing on materials and techniques used, and on comparisons with metalwork, enamels, and manuscripts of the tenth to twelfth centuries. The date and possible place of origin of each triptych is discussed, as well as the collegiate or monastic church for which it may have been commissioned. Also studied are iconographic subjects, including such themes as Constantine and Helena and the Discovery of the True Cross, angels flanking the Cross, the personification of the virtues, and the Last Judgment. Further, the triptychs are placed within the historical context of the twelfth century with respect to the First and Second Crusades, episcopal and papal schisms, and the theological debates of the time. In the final chapters the five reliquaries are examined with regard to the origins of the triptych form and its roots in the ivory and metal triptychs of Byzantium. The continuation of the form into the thirteenth century is touched on as well. Finally, the role performed by a triptych in the liturgy of the Church is discussed with an emphasis on the feast of Good Friday, and on how the opening and closing of the wings was particularly suited to the triptych{\textquoteright}s function of revealing the relic of the Cross to the congregation following the somber period of Lent.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Holbert, Kelly McKay} } @mastersthesis {7923, title = {The Mount Athos Esphigmenou 14 Codex: Pagan and Christian Myth in Middle Byzantine Manuscript Illumination}, year = {1995}, school = {IFA/NYU}, abstract = {Esphigmenou 14 is a deluxe example of an illuminated liturgical manuscript dating from the third quarter of the eleventh century. It followed the standard codicological practices of Middle Byzantine manuscript production and its luxurious treatment has many parallels to other contemporary codices, the majority of which were gospel lectionaries. One scribe seems to have written the text and the painting style of the miniatures has suggested that two master illuminators were responsible for the painting of the illumination. While the Esphigmenou codex has wrongly been identified as a Menologion, a Panegyrikon is a more accurate description of its contents. The liturgical notations at the beginning of each text and in the margins has shown that the codex was meant to be used and was used in a monastic setting. While the selection of miniatures preceding each life of a saint reflected in a summary form the major events from the life of each saint the miniatures of the Nativity homily attempted to illustrate the test as literally as possible. The literary and artistic similarities of Esphigmenou 14 with styles and philosophical ideas associated with the capital, have suggested a probable provenance from Constantinople. Like most deluxe liturgical codices of this period, it was not only meant to function as a liturgical codex. Its artistic and literary contents were intended to be studied and admired in private by a select group of individuals.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Cacharelias, Dimitris} } @mastersthesis {7887, title = {My Art Speaks for Both My Peoples{\textquoteright}: Elizabeth Catlett in Mexico}, year = {1995}, school = {Wisconsin}, abstract = {Elizabeth Catlett(b. 1915) is an African American printmaker and sculptor who has lived and worked in Mexico since 1946. She is recognized as a pivotal figure in the history of African American art and acknowledged as a foremother by many African American artists who cite her as inspirational in their artistic development. Catlett herself speaks of her African American identity as fundamental to her sense of herself as a socially and politically engaged artist. She also acknowledges the impact of her Mexican experience on her prints, her sculpture, and her sense of identity. Nevertheless, much less scholarly attention has been given to Catlett{\textquoteright}s crossing of cultural and geographic boundaries and the impact of her experience in Mexico on her sense of identity and her artistic practice. Crossing geographic and cultural boundaries has not weakened Catlett{\textquoteright}s sense of herself as an African American woman artist. Her membership in Mexico{\textquoteright}s Taller de Grafica Popular from 1946 until 1966 strengthened her commitment to chronicle the oppression and celebrate the resistance and achievements of African American women in an expressive and deliberately accessible style. The intersections of diverse cultural experiences and art histories are clearly manifested in her work as a member of the Taller de Grafica Popular, in the prints she has made since her departure from this workshop, and in her sculpture. Her artistic practice has been infused with elements of style, technical practice, imagery, and ideology rooted in the historically specific circumstances of her Mexican experience. Catlett is an artist and an art historical subject for whom questions of identity and the meanings of cultural boundaries are crucial. Consideration of her artistic practice in light of such questions offers new ways to understand artistic production in terms of intercultural exchange and the layerings of artistic meanings that are its result.}, keywords = {Art of the United States and Canada}, author = {Herzog, Melanie} } @mastersthesis {7960, title = {Northern Artists in Italy ca. 1565-85: Hans Speckaert as a Draughtsman and a Teacher}, year = {1995}, school = {Princeton}, abstract = {A missing link between Renaissance and Baroque studies is provided within a period unjustly associated with the stigma of "darkness". In particular, the activity of the little-known Flemish artist Hans Speckaert (d. ca. 1577) and his Northern compatriots in Italy in 1565-85 is illuminated. First, a summary of economic, political, and artistic cross-currents is given. The issues concerning the genesis of Northern Maniera style within the Italian milieu are also addressed. Second, the stylistic development of Hans Speckaert{\textquoteright}s drawings is traced within a chronological frame. Attention is also given to Northern artists in Italy, and especially in Rome, who may have been influenced by the art of Speckaert and his role as a teacher in an informal "academy" of drawings. An appendix with a summary of major literature on Hans Speckaert, a table of Northern artists in Italy, and a comprehensive catalogue raisonne of Speckaert{\textquoteright}s engravings, paintings, authentic drawings, copies, and the falsely attributed drawings follow. The primary objective is to clarify the activity of Northern artists in Italy within the history of their trans-Alpine journeys, dynastic patronage and history of collecting and, more specifically, with respect to the very talented and much neglected personality of Hans Speckaert.}, keywords = {The Renaissance}, author = {Siroka, Eva Jana} } @mastersthesis {7912, title = {Padre Sebastiano Resta, 1634-1714: Collector, Connoisseur and Critic of Drawings}, year = {1995}, school = {Johns Hopkins}, abstract = {My study of Padre Sebastiano Resta investigates the culture of drawing collecting in Italy at the close of the seicento. It focuses on the economic, social, and intellectual determinants that shaped Resta{\textquoteright}s collection of drawings. The Introduction outlines the history of drawing collecting in Italy, and locates Resta{\textquoteright}s collection, assembled in Rome between 1680-1714, within this. Chapter One presents material culled from archival sources concerning Resta{\textquoteright}s sources of supply for drawings and the early provenance of his collection, situating it within broader developments in the market for Italian art circa 1700. Chapter Two analyses Resta{\textquoteright}s chosen mode of exchange, gift-giving, as an aristocratic nostalgia for patronage within social hierarchy, in reaction to an increasingly capitalist art market. Chapter Three argues that Resta{\textquoteright}s connoisseurship was shaped, on the one hand, by an intellectual culture concerned with philological research methods, and, on the other hand, by the social mores of his aristocratic milieu. Chapter Four shows how Resta{\textquoteright}s appreciation of art was shaped by two distinct, but interrelated literary genres: that of Catholic religious devotion; and that of courtly love. The Epilogue points to the importance of Resta{\textquoteright}s collecting, connoisseurship, and criticism for eighteenth-century English collectors of drawings.}, keywords = {Baroque and 18th-Century Europe}, author = {Warwick, Genevieve} } @mastersthesis {7868, title = {Paintings and Drawings by Ramon Casas, 1882- 1910}, year = {1995}, school = {Michigan}, abstract = {Ramon Casas Carbo (1866-1932) was the most brilliant painter of the turn-of-the-century Spanish Catalan cultural movement known as Modernismo, and a key figure in the introduction of French pictorial modernity to late nineteenth-century Spain. A genre and modern history painter, Casas was co-founder of the Quatre Gats Cafe in Barcelona and the influential art magazines Pel \& Ploma and Forma. In addition to creating a unique series of superb charcoal portraits documenting his generation, he became one of Spain{\textquoteright}s leading graphic artists and helped to introduce the modern poster in vivid and arresting images. While Casas quickly achieved an enviable artistic reputation in Paris, between 1889-1896 he battled to create a platform for painterly experimentation in his native Barcelona through a series of exhibitions with fellow-painter Santiago Rusinol. These provided an opening into twentieth-century pictorial concerns in his region and paved the way for the next generation of artists, including Picas. Casas{\textquoteright}s pictorial innovations largely resulted from first-hand exposure to French art. This contact was initiated in 1882 during Casas{\textquoteright}s apprenticeship in the Partisan atelier of Emile Carolus-Duran, and culminated in the early 1890{\textquoteright}s, when he lived in an apartment above the dance hall of the famed Moulin de la Galette in Montmartre. Innovations noted in Casas{\textquoteright}s work by contemporary critics also refer back to Diego Velazquez, on whom Carolus-Duran based his methodology. Since Velazquez functioned as a conduit to vital elements of French modernism for artists such as Edouard Manet, this routing back to national Spanish tradition through Casas enriches our understanding of Catalan and thence Spanish modernism. This dissertation represents the first attempt to document Casas{\textquoteright}s extraordinary career on a year-by-year basis based on primary materials, including extensive periodical literature, letters, interviews, and photographs. It is also the first substantial effort to interweave Casas{\textquoteright}s life and exhibition history with his oeuvre in any manner approximating a catalogue raisonne; over two hundred works chosen from more than one hundred and fifty private collections are tentatively dated in this profile of a gifted and historically important artist.}, keywords = {19th- and 20th-Century European Art}, author = {Lord, Carmen} } @mastersthesis {7925, title = {The Pictorial Program of the Chapterhouse of Sigena}, year = {1995}, school = {IFA/NYU}, abstract = {The royal monastery of Sigena, in Northern Aragon, was founded in 1188 as one of the first female communities affiliated with the Knights Hospitalers. Soon afterwards its chapterhouse was painted with an elaborate mural program, severely damaged during the Spanish Civil War, which includes an Old Testament Cycle, a cycle of Christ{\textquoteright}s ancestors and a New Testament cycle, as well as a series of animals derived from bestiary illustration. The murals, executed in the Byzantine-inspired classicizing style, have been attributed to English artists associated with the later illumination of the Winchester Bible. They comprise one of the earliest and most completely preserved chapterhouse pictorial programs extant. The present study draws upon the rich archival record from the period of the monastery{\textquoteright}s foundation in an attempt to recover the function and meaning of the mural program for its original audience. It also includes a study of early chapterhouse decoration and a corrected and more thorough reconstruction of the program in its original form. Analysis reveals that the mural program is essentially historical with no apparent typological relationship between Old and New Testament cycles. The archival record suggests that the bulk of the founding community were mature adults without previous monastic training while the original conventual rule, composed specifically for the founding community, indicates an expectation of negligible literacy in Latin. The primary conclusion presented is that the plain historical narrative of the program conforms with contemporary Victorine doctrine stressing the need for the untutored to thoroughly learn the literal and historical aspects of scripture before attempting to advance to allegory. The bestiary animals adjacent to biblical narrative appear to function as instructional aids, following the contemporary popularity of the bestiary for religious instruction of the unlettered. The location of such a program in the chapterhouse accords with its daily use by the community for their religious instruction. Various aspects of the murals suggest that the program was primarily designed by the artists. Completed ca. 1190-1194, they are a late work of the school responsible for the later Winchester Bible illumination.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Schuler, Karl F.} } @mastersthesis {7863, title = {Poetry, Lyricism, and Surrealism: The Definition of Avant-Garde Aesthetics in France}, year = {1995}, school = {UT Austin}, abstract = {This dissertation examines the terms of Surrealism{\textquoteright}s success in the French art world during the inter-war period. An historical study of French art criticism beginning with Diderot and culminating in the art critical writing of the inter-war period and the Surrealists{\textquoteright} own writings demonstrates that the movement{\textquoteright}s success was intimately connected to its articulation of a traditional French art critical concept--visual art understood as poetic. This concept gained great prominence in the aesthetic theories of early 20th century avant-garde writers and critics, and became the leading form of evaluation of mainstream art criticism in the 1920s. The Surrealists provided the most complete theorization and implementation of poetic and lyrical visual art, and their rejection of artistic form and technique echoed contemporary critics{\textquoteright} desire for a new, human, non-formalist understanding of modern art. However, few critics of the 1920s acknowledged Surrealist art as poetic; instead they insisted that it was either literary and illustrative or conversely that it was abstract and unmotivated formalism. Most prominent critics maintained an antagonistic stance to the Surrealist movement and promoted the work of non-Surrealist artists as truly poetic and lyrical. Nevertheless, by the end of the decade the common critical conception of poetic visual art owed a large debt to Surrealism, and in the 1930s the Surrealists were generally acknowledged to have restored poetry to visual art. This critical revisionism reflected a new attempt by the Surrealists to make their artistic theories more widely accessible. The tradition of avant-gardism also virtually assured Surrealism{\textquoteright}s success from the movement{\textquoteright}s inception. The Surrealists{\textquoteright} relation to this tradition was ambivalent. In their published writings and their concessions to promotion and advertising they both embraced the public{\textquoteright}s thirst for novelty and rejected the limitation of revolution and subversion to the realm of art. The Surrealists elevated poetry to a guiding principle in an attempt to transcend the inevitable obsolescence of art reduced to mere formal artistic innovation. Their embrace of poetry and lyricism marked a return to a philosophical examination of the nature and purpose of art.}, keywords = {19th- and 20th-Century European Art}, author = {Grant, Kim Tracey} } @mastersthesis {7880, title = {Provisions for Trade: The Market House in Southeastern Pennsylvania}, year = {1995}, school = {Penn State}, abstract = {A market house is a structure which shelters stalls operated by independent vendors of foodstuffs, who generally also produce the goods they sell. The primary purpose of this study is to identify, categorize and document those market houses built in southeastern Pennsylvania from 1700 to 1900. A secondary purpose is to place the buildings in their social and economic contexts. Three types of market house were identified: the shed, the head house and shed, and the town hall. These were established during the colonial period, and continued to be used in the monumental structures of the last half of the nineteenth century. The colonial bay system, in which a doorway repeatedly alternated with two stalls, was also carried over. This formal conservatism reflects unchanging functional requirements, but also shows the interest of the traditional elements of society in preserving cultural continuity. The first Pennsylvania markets operated in the realm of the "moral economy." Here, the activities of middlemen were curtailed by the government in order to control prices. By the middle of the nineteenth century, this traditional system was giving way to the free market. It was then that the private market house companies, which built enclosed, off-street structures, emerged. In general, the direct marketing tradition remained in place on the sales floors of the new buildings. The local government was still empowered to regulate their operations, yet these companies were privately owned and managed, and paid dividends to their stockholders. Private ownership provided greater flexibility in rapidly changing circumstances, and gave the traditional market system a new lease on life. Railroads played a key role in the shift to a private market system. The adoption by market companies of the Howe truss, which had first been used for train sheds, suggests the close relationship between the two sectors, as does the development of the terminal market house, in which rail terminal and market functions were combined. The twentieth century has seen the gradual decline of the market house as an institution in southeastern Pennsylvania, yet several continue to operate.}, keywords = {Art of the United States and Canada}, author = {Barshinger, Jay R.} } @mastersthesis {7875, title = {Reading in Iconography: An Essay on Poussin and Rilke}, year = {1995}, school = {UCLA}, abstract = {In An Introduction to Metaphysics, Heidegger remarks that "in a certain broad sense the Greeks looked on language from a visual point of view, that is, starting from the written language. It is in writing that the spoken language comes to stand. Language is, i.e. it stands in the written image of the word, in the written signs, the letters, grammata." The question broached here concerns a reading of Heidegger{\textquoteright}s claims for language--"the written image of the word"--in relation to received art historical notions of iconography (eikono-graphia). More specifically, the reading that is proposed repeats Merleau-Ponty{\textquoteright}s claim in his essay "Eye and Mind" that it might be possible to find "in paintings themselves a figured philosophy of vision and as its iconography." Situated in terms of a frontispiece for the Bible by Poussin and Rilke{\textquoteright}s Duino Elegies, the reading, in short, reposes the rapport between the visible and the invisible, reading and iconography, opened up in the writings of Heidegger and Merleau-Ponty, a rapport that delimits the conditions of possibility of a phenomenological tradition in the history of art history}, keywords = {Art Criticism and Theory}, author = {Armstrong, Philip} } @mastersthesis {7892, title = {Representations of Medieval Chivalry in American Art, 1870- 1930}, year = {1995}, school = {Yale}, abstract = {Although seemingly incongruous with American ideals of democracy, individuality, and the "common man", images of medieval chivalry have been popular in the United States for centuries. This thesis will examine the American fascination with the Middle Ages and its chivalric ideal in the late nineteenth and early twentieth centuries as manifested in American art. The Cult of Chivalry in the antebellum South, the Neo-Gothic buildings on college campuses and the passion American youth have had for the Arthurian romances are evidence of the American interest in the medieval past. Since the knight has been such a pervasive icon of the medieval past, I have concentrated on notions of medieval chivalry in American uses of the Middle Ages between 1870 and 1930. For most Americans and Europeans, the knight evoked ideas of the Middle Ages, Europe and chivalry. A significant number of the medieval-themed works were murals and book illustrations; therefore, this study looks at examples from both the fine and popular arts. The abundance of images of knights and related narratives has allowed me to focus on a limited number of images while still engaging a wide range of relevant issues, such as gender, race, antimodernism and cultural hegemony.}, keywords = {Art of the United States and Canada}, author = {Pinder, Kymberly N.} } @mastersthesis {7921, title = {Representing the Picturesque Garden: The Landscapes of Fragonard}, year = {1995}, school = {Michigan}, abstract = {Although Jean-Honore Fragonard was one of the most important French landscapists of the eighteenth century, this aspect of his oeuvre has not been studied in detail. A dearth of contemporary commentary and documentary evidence has made it difficult to understand the landscapes within the context of the artist{\textquoteright}s overall production. The structure and meaning of Fragonard{\textquoteright}s landscape paintings and drawings are examined from several interrelated approaches: by analyzing them within the context of eighteenth-century landscape theory and criticism; through a study of the patrons and collectors who acquired them; and, especially, by comparing their form and content to the contemporaneous development of the picturesque garden in France. Thus, Fragonard{\textquoteright}s landscapes can be appreciated with regard to the overall evolution of French landscape, while still accounting for their unique character. Mid-eighteenth-century criticism and theory encouraged landscape painting that transcribed for the viewer a sense of nature{\textquoteright}s transience and variety. Critics such as Diderot valued those landscapes that sought to recreate the experience of promenading in the countryside. This development paralleled the rise of the picturesque garden, which broke with the classical formalism of the Versailles model to embrace gardens that were meandering, unresolved, and offered a diversity of views and experiences. Paramount to experiencing this garden was the participation of the visitor, who was free to structure the promenade in any way desired. Fragonard{\textquoteright}s landscapes--the drawings of the Villa d{\textquoteright}Este gardens, the small pastoral paintings in emulation of Dutch masters, and the elaborate decorative canvases of gardens--respond to these developments. In both their pictorial structures and their insistence on an engaged viewer, these images convey the characteristics of the new picturesque garden while also addressing the expanded role placed on landscape by the critics. Like the picturesque garden itself, Fragonard{\textquoteright}s landscapes demanded the participation of the beholder in order to bring them to resolution. The artist{\textquoteright}s patrons--many of them deeply knowledgeable about art and gardens--were well suited to appreciate the innovations Fragonard brought to the art of landscape. The strategies they employed in viewing and displaying landscape paintings and drawings encouraged this participatory mode of viewing.}, keywords = {Baroque and 18th-Century European Art}, author = {Rand, Richard} } @mastersthesis {7926, title = {Romanesque Sculpture on the Facade of Notre-Dame Saintes}, year = {1995}, school = {IFA/NYU}, abstract = {The twelfth-century facade of the former Benedictine convent of Notre-Dame in Saintes once presented a major historiated program, quite unusual in its area in the early twelfth century. The thesis begins with a study of the historical context. An Aquitainian foundation in Saintonge, Notre-Dame was ruled during the period of its twelfth-century expansion by abbesses closely connected to the ruling counts of Poitiers, who were also dukes of Aquitaine. An exploration of the abbey cartulary has yielded information about local lay and religious personalities and their interrelations with the community and helped to place Notre-Dame in a social, political, and religious context. A brief section on the building{\textquoteright}s architectural history, based on early writings and two twentieth-century excavations, seeks to place the facade in the chronology of twelfth-century changes, and to understand its position within the plan of the monastic complex. Each element of sculpture on the facade is carefully described and analyzed, accompanied by detailed photographs. Documentation in the form of older views and description has been used to reconstruct some of the missing sculpture. In order to determine possible themes and program, emphasis has been given to relative placement within the total facade. Some analysis of the use of decorative impulse to express or restrain the iconographic message has been made. The capital frieze is interpreted as the realm of earthly sin. The main portal carries selected Apocalyptic themes while the lateral side arches balance a Last Supper, emphasizing Transubstantiation on the right, with a Transfiguration scene on the left. Scrutiny of remaining scraps and early photographs suggest an Infancy cycle on the wall frieze area and reconfirm the equestrian statue once located on the upper story. A remaining statue on the gable, and a sculptured head found in an excavation, introduce a major sculptor of the region. The study closes with a discussion of the possible meanings this facade could have carried for the known religious and secular audience in various specific situations.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Stotz, Virginia} } @mastersthesis {7913, title = {Saints and Social Welfare in Golden Age Spain: The Imagery of the Cult of St. Joseph}, year = {1995}, school = {Michigan}, abstract = {The most commonly depicted saint in Spanish art of the Golden Age was Joseph, humble carpenter, earthly spouse of the Virgin, and foster father of Jesus. The subject appears in the oeuvre of nearly every seventeenth-century Spanish artist, achieving its most profound expression in the hands of such luminaries as El Greco, Murillo, Zurbaran, Cano, and Martinez Montanes. In the Early Modern period, devotion to Joseph spread throughout Spain and its colonies. His cult became one of the central saint{\textquoteright}s cults of the age. Spanish churches prominently displayed depictions of Joseph; sacred plays praised him; engravings popularized his image. Such was the valorization of his figure that a movement was launched to designate him Spain{\textquoteright}s official patron saint. This dissertation examines the creation of imagery for the cult of St. Joseph. It addresses four issues: (1) the basic themes of Josephine works of art; their representational and expressive strategies, and the resultant meanings made by these; (2) their function as cult objects; (3) issues of patronage; and (4) the participation of images in the discourses of social control and political ideology. Numerous sources from the period are employed to help decipher the images, including lives of the saint, devotional texts, prayers, sermons, art treatises, and the records of confraternities dedicated to the saint. In addition, the paintings are examined in relation to other saints{\textquoteright} imagery. The Spanish images of Joseph provide a perfect case study of how a saintly figure is constructed in the art of the Early Modern period, of how art is marshalled in the creation of a religious cult, and of the function of art and religion in Spanish culture. This dissertation attempts to recapture the original importance and authority of images of St. Joseph produced in Golden Age Spain.}, keywords = {Baroque and 18th-Century European Art}, author = {Black, Charlene M.} } @mastersthesis {7928, title = {The Sanctity of Women as Portrayed in the Vita-Retable of Late Medieval Italy}, year = {1995}, school = {Michigan}, abstract = {This dissertation concerns the emergence of one particular type of late medieval Italian panel painting, the vita-retable, and one particular type of holy figure it represents, the female saint. The purpose of this study is twofold. Part I serves as general overview of the format and function of the vita-retable. Chapter One compares the reverent commentary of early modern authors to the disparaging remarks of late medieval writers to draw distinctions between hagiographical images that aided in the creation of new saints and those that honored saints of traditional, established cults. The distinction between new and established cults governs much of the dissertation. In an investigation of the vita-retable as a cult object that originated in Franciscan circles, Chapter Two ascribes its endurance to a successful adaptation of established forms that are associated with the worship of saints. Chapter Three turns to the civic context in which vita-retables were produced, demonstrating the appropriation of the new form of sacred art for established cults of saints. Part II shifts the focus of the study from format and function to the subject matter of approximately one-third of the vita-retables. As an exploration of the sanctity of women, the dissertation concentrates on the veneration of holy women in Italian civic centers. Chapter Four offers a comparative study of vita-retables that depict biblical and Early Christian saints, introducing qualities associated with the sanctity of women, and acknowledging features that intersect with those of male saints. This overview provides a basis for understanding how established cults of female saints were presented to worshipers of the thirteenth and fourteenth centuries, and thus, a conceptual foundation for the final chapter of the dissertation. Chapter Five addresses an altarpiece that honors the new cult of a Florentine abbess, Umilta da Faenza. Analysis of the triptych{\textquoteright}s extensive narrative cycle concerns the transformation of an independent female recluse into a model for a community of cloistered women. In the conclusion, the themes explored throughout the study are integrated and reviewed in light of two late medieval authors who address the function of late medieval hagiographical images.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Dunn, Elizabeth Robin} } @mastersthesis {7951, title = {The Sculpture of Desiderio da Settignano}, year = {1995}, school = {Rutgers}, abstract = {The following dissertation examines the sculpture of Desiderio da Settignano within the greater cultural context of Quattrocento Florence. The study begins with an analysis of Desiderio{\textquoteright}s career based on documentary evidence, much of which is new and unpublished. The documents reveal new aspects of Desiderio{\textquoteright}s private life, relations with his peers, and his patronage. Desiderio worked within a vibrant artistic network which involved collaboration or coordinated activity with colleagues such as Antonio Rossellino, Benedetto da Maiano, Antonio Pollaiuolo, Vittorio Ghiberti and Neri di Bicci, and his career was supported by a group of influential aristocratic patrons, though the sculptor also engaged in various mundane commissions. Subsequent chapters analyze Desiderio{\textquoteright}s individual sculptures beginning with the sepulchral monument of Carlo Marsuppini and Desiderio{\textquoteright}s role in the development of the humanist tomb. The third chapter covers private commissions from known patrons, which mostly involve domestic sculpture for the Boni, Minerbetti, and Martelli families. The chapter includes discussion of Quattrocento chimneypieces, coats of arms, and a new consideration of Martelli patronage. Chapter four examines the meaning and significance of Desiderio{\textquoteright}s tabernacle of the sacrament in San Lorenzo and his ciborium for San Pier Maggiore. Chapters five and six focus on Desiderio{\textquoteright}s role in the production and development of portrait busts of children and women. These overlooked genres are given new consideration within the context of humanist Florence. Chapter seven concentrates on Desiderio{\textquoteright}s carving of pictorial relief and his development of rilievo schiacciato through the representation of the Madonna and Child, figural portraits, and a narrative of St. Jerome. The final chapter offers a new consideration of Desiderio{\textquoteright}s activity in wood and terracotta based on unpublished archival material. A new document establishes the original commission to Desiderio of the wooden Magdalene in Santa Trinita, later finished by Benedetto. The document reveals a new patron, Annalena Malatesta, prompts a reconsideration of Desiderio{\textquoteright}s busts in terracotta, and ultimately enables the identification of a new portrait bust of a female saint. Though Desiderio has long been an enigmatic sculptor to modern scholars, the dissertation reestablishes his contemporary importance and considerable artistic legacy.}, keywords = {Renaissance Art}, author = {Coonin, Arnold Victor} } @mastersthesis {7898, title = {The Sculpture of Seymour Lipton: Themes of Nature in the 1950s}, year = {1995}, school = {Penn State}, abstract = {Abstract Expressionism ignited the careers of the important American sculptors; David Smith, Herbert Ferber, Seymour Lipton, Ibram Lassaw and Theodore Roszak. The lack of extensive scholarship on their sculptures represents a major lacuna in American art history. Specifically, this study concentrates on the prominent post-war theme of nature as exemplified by the sculptures created in the 1950s by Seymour Lipton (1903-1986). Lipton translated the thematic concerns of the Abstract Expressionists into three dimensions, and the contextual approach to the study of his sculptures of the 1950s provides insight into the thematic issues surrounding Abstract Expressionism. Lipton{\textquoteright}s direct metal process, thematic approach to art and personal writings helped define the formal and intellectual roots of Abstract Expressionism. The dissertation explores the prominent themes of the post-war era and the manner in which Lipton addressed these themes through his unique sculptural language. The metal sculptures which suggest natural forms such as birds, flowers, plants, and marine life relate to the interest in renewal, Jungian philosophy and Native American imagery in the 1950s in America. The formal and contextual analysis of Lipton{\textquoteright}s work suggests Lipton{\textquoteright}s prominence as an important contributor to Abstract Expressionism. In addition to the main portion of the dissertation, the appendixes provide supporting documentation about Lipton{\textquoteright}s prolific career and production methods. The Palmer Collections catalogue (Appendix A) demonstrates the scope of the nearly one hundred Lipton pieces which span his entire career and comprise a large portion of this extensive collection of American art. Seymour Lipton Drawings (Appendix B) is a comprehensive catalogue of Lipton{\textquoteright}s drawings. Appendix B includes a discussion of Lipton{\textquoteright}s drawings and their role in his sculptural process.}, keywords = {Art of the United States and Canada}, author = {Verderame, Lori} } @mastersthesis {7940, title = {The Sculpture Programs of Butz{\textquoteright}-Tiliw, an 8th-Century Maya King of Quirigua, Guatemala}, year = {1995}, school = {UT Austin}, abstract = {The site of Quirigua: is located in a major lowland river valley in eastern Guatemala. Epigraphic and archaeological investigations document Quirigua{\textquoteright}s primary occupation between A.D. 426-810, when the site manifested features typical of the Classic period of Maya civilization. Among the most salient of these "Classic" features was the erection of large freestanding sculpted stone monuments, in the form of altars, zoomorphic thrones, and upright slabs known as stelae. The king Butz{\textquoteright}-Tiliw, who ruled Quirigua from A.D. 724-785, was the most active patron of public monuments in the history of the site, commissioning eleven known major sculptures, several minor monuments, and a number of architectural projects. Interpreted as instruments by which Butz{\textquoteright}-Tiliw consolidated political power, the sculptures are analyzed in terms of iconography, epigraphy, style, and programming. The results of this analysis are used to reconstruct the political history of the site during the king{\textquoteright}s lengthy reign. Taking office as a subordinate to the king of nearby Copan, Butz{\textquoteright}-Tiliw soon revolted against his overlord and established Quirigua as an independent kingdom. Evidence is given that the break between Quirigua and Copan was related to sustained conflicts between the two Classic Maya "superpowers", Tikal and Kalak{\textquoteright}mul. Epigraphic evidence is also presented to document multiple episodes of conflict between Quirigua and sites which may have been Copan satellites. These events, in addition to a dramatic increase in the wealth and status of Quirigua, documented archaeologically, may have been fostered by a new political and economic alliance between Quirigua and Kalak{\textquoteright}mul. The numerous large monuments erected following the initial break with Copan glorify the king{\textquoteright}s personal power as leader of independent state. Both monumental texts and imagery refer to the king{\textquoteright}s military accomplishments as well as document his participation in the rituals associated with Classic-period divine kingship. The arrangement and programming of Butz{\textquoteright}-Tiliw{\textquoteright}s Platform 1A-1 sculpture group are interpreted as a unified expression of the cosmological foundations of the king{\textquoteright}s personal power. The legitimacy of Butz{\textquoteright}-Tiliw{\textquoteright}s rule is also justified by his connections to the local Quirigua: dynasty, expressed primarily through a sculptural style which adapts features specific to the local sculptural tradition.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Looper, Matthew G.} } @mastersthesis {7934, title = {The Sculptured Funerary Monuments of the Classical Period in the Athenian Agora}, year = {1995}, school = {IFA/NYU}, abstract = {The purpose of this thesis is to identify, collect, describe and discuss grave monuments from the Classical period that have been excavated in or brought into the Athenian Agora. Approximately 300 of the 3,415 sculptures catalogued between 1931, when the excavation of the Agora began, and May 1993, are from grave monuments of all periods, of which sixty-one have already been published. This dissertation is a catalogue of 165 sculptured grave monuments of the Classical period. Most of the monuments are fragmentary and in a battered state of preservation, since they were re-used as building material and found during the demolition of modern houses. Attic gravestones have canonical features of carving technique and subject matter, so that visual examination and measurement of the fragments are usually sufficient for an identification. Generally, a relief fragment can be recognized as coming from a funerary monument by the scale and style of its figures, the thickness of the stele, and the carving with a characteristic rough-picked back and claw chisel finish on the sides. In some cases, the disposition of the figures can identify the fragment as coming from a grave monument since the figures almost always face inward toward the center of the composition, unlike those on votive reliefs who can face the frame of the stone. Clothing and pose are also clues for differentiating funerary figures from votive or architectural relief figures. The sculptures are presented in categories of monument types, each type then subdivided according to gender, number of figures and sculptural subject when relevant. Six monument types are represented: (1) stelai; (2) lekythoi; (3) loutrophoroi; (4) funerary animals; (5) anthemia; and (6) sirens. The entry for each stone includes the facts concerning discovery, a description of its present condition and measurements of both the stone and any carved letters. A detailed physical description is attempted and justified by the generally poor quality of the reproductions available and the importance of individual motifs. Discussions center on iconographic problems and interpretations of particular motifs are offered in the light of recent research in history and anthropology as well as art history.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Grossman, Janet Burnett} } @mastersthesis {7906, title = {Setting the Three Jewels: The Complex Culture of Buddhism at the Ajanta Caves}, year = {1995}, school = {Michigan}, abstract = {Although the literary history of Indian Buddhism is well researched, no scholar has interpreted a single archeological site{\textquoteright}s architecture, paintings, sculptures, and inscriptions systematically, as representative of a complex and dynamic local form of Buddhism. The Ajanta caves, a complex of 31 monasteries and worship halls hewn out of a sheer mountain scarp between the years c. 462 and 480 C.E., provide an exemplary case for study. My dissertation utilizes Ajanta{\textquoteright}s archaeological remains as representations of local cult, belief, and community. These categories from the sociology of religions have analogues in the Buddhist tradition itself: the Buddha, Dharma, and Sangha. Buddhists and scholars alike take these "Three Jewels" to delimit all that is properly Buddhist. The text is divided into two parts. The first serves as an extended introduction to the Ajanta caves as source materials for the study of Buddhism, treating the historical and evidential bases for the recovery of this site{\textquoteright}s community. The second division treats Ajanta{\textquoteright}s Buddhism directly, and has three sections, each named for one of Buddhism{\textquoteright}s Three Jewels. "Sa ngha" focusses upon two interrelated issues: who participated in Ajanta{\textquoteright}s creation and how these individuals came together as a community. In the course of this chapter I find that a significant proportion of donors identified themselves by using an epithet that identifies them as blood members of Sakyamuni Buddha{\textquoteright}s own family, Sakyabhiksu. "Dharma" investigates the ideological ramifications of this epithet. Exploring the self-understanding of Ajanta{\textquoteright}s Buddhists, I find that the members of this community understood themselves to be bodhisattvas on the path to Buddhahood; it is not clear, however, that they were members of the Mahayana. "Buddha" investigates the relationship between the members of Ajanta{\textquoteright}s community and the Buddha himself. Taking its start from two incidents in the Buddha{\textquoteright}s life that are narrated in Ajanta{\textquoteright}s paintings, I examine what it means for the Buddha to have created, maintained, and purified a community of devotees through the performance of miraculous acts, and how those acts continued to hold meaning for a community founded one millennium after the Buddha{\textquoteright}s decease.}, keywords = {Asian Art}, author = {Cohen, Richard S.} } @mastersthesis {7952, title = {Sir Christopher Wren{\textquoteright}s City Churches: A Critical Reappraisal}, year = {1995}, school = {Princeton}, abstract = {After the Great Fire of London in 1666, which destroyed 89 of the City{\textquoteright}s parish churches, Christopher Wren was chosen to be the architect responsible for rebuilding 51 replacement churches. Remarkably he completed this task in less than fifty years to an extraordinarily high standard of design and workmanship. This dissertation considers how, in practical terms, Wren was able to work with such efficiency so that it can provide an answer to the challenging question of how he was able to build so much so quickly. To do so, it clarifies the workings of Wren{\textquoteright}s architectural practice by identifying the individuals employed in it and the jobs they performed. It then turns to the master masons who actually worked at the building sites in order to explain their role in the process. Finally, two case studies are considered: the churches of St. Bride{\textquoteright}s and St. Stephen Walbrook. Through an in-depth investigation of archival and visual evidence, a thorough building history is produced that illuminates the process by which two churches were constructed. This evidence demonstrates that Wren{\textquoteright}s effectiveness as an architect can be attributed to his ability to lead and organize an extremely competent office and a large number of talented craftsmen. While he conceived splendid designs and provided overall direction, he also knew when to trust his subordinates and when to intervene. It was his ability to retain control over such a massive project, while at the same time remaining one step removed from the day-to-day affairs, that allowed the rebuilding of the City churches to progress rapidly according to his plans. The career of Sir Christopher Wren marks a critical turning-point in the development of the architectural profession in England. He introduced the most modern forms of architecture to the country and the most up-to-date practices. By clarifying not only the artistic but also the problem-solving dimension of Wren{\textquoteright}s process of design, this dissertation revises the prevailing view of him as a solitary genius and provides a new understanding of the rebuilding of London and his architectural practice.}, keywords = {Renaissance Art}, author = {Curtis, Alexander Darren} } @mastersthesis {7908, title = {The Sixteen Lohans in the Pai-miao Style: From Sung to Early Ch{\textquoteright}ing}, year = {1995}, school = {Princeton}, abstract = {Chapter 1 surveys the worship in China of the sixteen lohans--enlightened disciples of the Buddha entrusted with guarding the Buddhist law until the advent of Maitreya, the Buddha of the future. Cultic worship of the lohans flourished toward the end of the ninth century, inspiring their depiction in painting and, presumably, sculpture. Strongly iconic, the earliest, extant representations follow two models: one that presents them with sinicized features in the manner of contemporary portraits of Chinese patriarchs, and one that emphasizes their foreignness in the manner of earlier, imaginary portraits of legendary Indian disciples--especially Mahakasyapa--that had been produced in China since the Six Dynasties period. Focusing on the only surviving handscroll attributed to the monk-painter Fan-lung (d. before 1187), Chapter 2 examines the rise of the depiction of lohans in the pai-miao style during the late eleventh and twelfth centuries. Along with the choice of a style that was distinctly associated with late Northern Sung literati culture, there occurs a marked change in the iconography. In Fan-lung{\textquoteright}s painting the lohans are presented as dignified Ch{\textquoteright}an abbots in garden-like settings and engaged in scholarly, contemplative pursuits. The iconographic change, much informed by the genre of Ch{\textquoteright}an patriarchal portraiture, reflects the institutional prominence gained by the Ch{\textquoteright}an school during the eleventh and twelfth centuries. Fan-lung{\textquoteright}s approach to depicting the lohans, which also incorporates elements from genres of secular painting, offers visual evidence of the increasingly public and multi-faceted identity of the Ch{\textquoteright}an school at this time. Chapter 3 examines the continuation of the Sung-derived tradition of pai-miao lohan painting as it was revived during the late Ming and early Ch{\textquoteright}ing periods. The chapter focuses on works by Ting Yun-p{\textquoteright}eng and Shih-t{\textquoteright}ao. Both of these artists{\textquoteright} lives and careers were profoundly shaped by the widespread renewal of Buddhism, and particularly the Ch{\textquoteright}an school, that began during the Wan-li period and lasted well into the Ch{\textquoteright}ing period. I argue that the achievement of these two artists in painting lohans in the pai-miao style cannot be separated from their identities as Buddhist adherents.}, keywords = {Asian Art}, author = {Kent, Richard Kellogg} } @mastersthesis {7893, title = {The Suburban Corporate Headquarters in the United States: An Evolving Building Type}, year = {1995}, school = {Penn State}, abstract = {Although it is an established architectural form, the suburban corporate headquarters as a building type has received little scholarly attention. The intent of this dissertation is to establish a history for the evolution of the early suburban corporate headquarters in the United States through examination of the architectural, technological, and cultural contexts that produced the typology. In-depth analysis and description of chosen suburban headquarters establishes a composite for the type, while general consideration of additional headquarters provides a comprehensive summary of the type{\textquoteright}s evolution. Consideration is given to a restricted selection of urban and community corporate headquarters as historical references and valued comparisons to the suburban typology. Geographic limitations within the United States are established by the corporations{\textquoteright} and architects{\textquoteright} choice of location. The suburbs of the older industrial cities, the New York environs in particular, experienced the largest number of relocations. The specific time period considered is c.1900 to c.1980 with emphasis placed on the three decades following World War II when design and building activity of the suburban corporate headquarters was most intense.}, keywords = {Art of the United States and Canada}, author = {Schwartz, Susan Wager} } @mastersthesis {7954, title = {The Survival, Revival, and Reappraisal of Artistic Tradition: Civic Art and Civic Identity in Quattrocento Siena}, year = {1995}, school = {Princeton}, abstract = {This dissertation examines the role and significance of native artistic tradition in art projects commissioned by the Sienese city government in the Quattrocento. A contextual approach is taken, involving three interrelated approaches: (1) an investigation of individual works of art, exploring examples of the survival, revival, and reappraisal of past artistic tradition in fifteenth-century civic commissions; (2) an examination of political, ideological, and cultural trends in Sienese civic life; and (3) a discussion of contemporary references to art in Quattrocento Siena. These approaches have been integrated into three chapters, each organized along chronological lines. Chapter One discusses Siena{\textquoteright}s artistic and political heritage, the "Golden Age" of Sienese art and society (1248-1348). The chapter surveys the canonical works of civic patronage, highlighting the key role of art in the articulation of civic ideals. The following chapters examine Sienese civic art of the fifteenth century, focusing on two clusters of civic commissions, organized in chronological periods, and viewed in their contemporary context, in order to discern the impact of prevailing political and cultural tendencies on civic art and on the construction of civic identity. Chapter Two deals with civic art commissioned in the early years of the Quattrocento (1403-1430). The chapter charts political and cultural developments in this period, followed by an examination of three artistic projects: Jacopo della Quercia{\textquoteright}s Fonte Gaia (1408-19), Taddeo di Bartolo{\textquoteright}s Roman Republican Heroes frescoes (1413-14), and the Siena Baptismal Font (1416-34). Chapter Three focuses on civic art commissioned in the mid-Quattrocento. The chapter outlines the shifting orientation--political and cultural--of Sienese civic life in the years 1431-56, followed by three case studies of civic art: Giachetto di Benedetto{\textquoteright}s Good Government, Peace, and War tapestries (1446), the Madonna delle Grazie chapel (begun 1447), and the Cappella de{\textquoteright}Signori altarpiece and predella (1448-52). An Epilogue discusses developments in Sienese civic art in the second half of the Quattrocento. The transformation of Sienese government and society in this period brought a corresponding change in the role of local artistic tradition in Sienese public image. An Appendix includes transcriptions of documents relevant to artistic projects and historical events and passages from literary sources.}, keywords = {Renaissance Art}, author = {Kawsky, Deborah L.} } @mastersthesis {7950, title = {Susanna{\textquoteright}s Story Reviewed, Relived, and Revised: Images of Sexual Harassment}, year = {1995}, school = {Union Institute}, abstract = {This study presents over one hundred images related to the apocryphal tale of Susanna and the Elders. Works from the Renaissance to the present are organized to demonstrate that the heroine, seen from divergent perspectives by artists and art historians, was a classic victim of sexual harassment. A significant contribution to Art History and Women{\textquoteright}s Studies is made by a multilevel approach to the theme of Susanna{\textquoteright}s story, based on iconography, semiotics, and Jungian archetypes. Presented as a visual essay, it documents the predicament of a typical harassment victim. Historic perceptions help determine Susanna{\textquoteright}s disparate roles, representative of the feminine in male-dominated societies. Images and insights from the field of Art History are combined with other creative versions of the folk tale to clarify and help illuminate the complexities of sexual harassment, generally portrayed as a sociological and psychological issue. Susanna{\textquoteright}s story and image are reviewed in the works of Old Masters, the poetry and prose of women as well as men, and in the work of Artemisia Gentileschi, a seventeenth century teenager who was raped by her art teacher. Twentieth century revisions of Susanna{\textquoteright}s story complete the visual essay, which concludes with a personal interpretation of Susanna{\textquoteright}s images arranged as a heroine{\textquoteright}s journey of transformation. The study explains that the author, Suzanne Teate, as a student, relived aspects of Susanna{\textquoteright}s story of sexual harassment. Like Susanna and Artemisia Gentileschi, she endured the revictimizing ordeal of a legal confrontation. A strong connection is made between the fictional Susanna experience and the factual personal ones. The main goals are to raise levels of awareness and validate the struggles of sexual harassment victims. The study ends with a promise of hope for victims: that transformation from vulnerability and innocence to assured experience is possible.}, keywords = {Art Criticism and Theory, Renaissance Art}, author = {Teate, Suzanne} } @mastersthesis {7897, title = {Textured Surfaces: Technique, Facture, and Friendship in the Work of James McNeill Whistler}, year = {1995}, school = {Delaware}, abstract = {This dissertation demonstrates that the reading of the surface of works by James McNeill Whistler (1834-1903) can be combined with the study of documentary and historical sources to increase the understanding of this artist{\textquoteright}s oeuvre. The surface treatment of paintings, pastels, lithographs, decorated furniture, and one painted interior are examined in conjunction with correspondence, contemporary descriptions, and technical study of his working procedures. Whistler created a public image for himself as a combative, original genius; however, study of his techniques reveals an artist who borrowed freely from his close artistic associates, and study of his correspondence reveals a loyal friend and husband. Decisions made with regard to brushwork, pigments, ground color, and composition testify to his collegial interchanges with artists Henri Fantin-Latour and Albert Moore, architect E. W. Godwin, and poet Stephane Mallarme. Application of gilding directly to unprimed wood for custom-designed frames was a technique borrowed from Dante Gabriel Rossetti and the Pre-Raphaelite painters. Whistler first admired Gustave Courbet and adopted the French artist{\textquoteright}s dark grounds, dark tonalities, and bold techniques of paint manipulation. After announcing his rejection of Courbet in an 1867 letter to Fantin, Whistler abruptly changed his brushstroke and adjusted his palette. After several years of frustration and uncompleted projects while working in tandem with Albert Moore, Whistler borrowed elements from techniques used by Moore and Fantin and devised his trademark facture of a one-skin paint surface rubbed into canvas. I refer this surface as "weavism." In the mid-1870s and 1880s Whistler was friendly with Godwin and became involved with interior design and painted furniture. The facture of Whistler{\textquoteright}s decorative art surfaces is commensurate with artistic philosophies shared with Godwin. Whistler{\textquoteright}s oeuvre in the last decades of his life was informed by his reliance on his artist-wife Beatrice Birnie Philip Godwin Whistler, his involvement in the circle of Stephane Mallarme, and his friendship with collector Charles L. Freer. Harmony in Blue and Gold: The Little Blue Girl, a painting still in Whistler{\textquoteright}s studio when he died, is studied as a retrospective of his career, techniques, and friendships.}, keywords = {Art of the United States and Canada}, author = {Stoner, Joyce Hill} } @mastersthesis {7872, title = {Theodore Rousseau and the Ecological Landscape}, year = {1995}, school = {Harvard}, abstract = {The dissertation analyzes in depth the landscape paintings of Theodore Rousseau (1812-1867), arguing that his work embodied a new way of seeing, one intimately linked with ecological thinking. An introduction questions the relation between an artist and his or her work, and presents the historical background to 19th-century ecology. Chapter one, demonstrating how Rousseau{\textquoteright}s reputation as a politically liberal man of nature was constructed through an entrenched discourse of art and biography, undermines the received notion that his work was a naturalistic precursor to Impressionism. The second chapter describes Rousseau{\textquoteright}s formal innovations in detail, showing how they suppressed social narratives and restructured one-point perspective to institute a new relationship between an organically interconnected external world and a physically limited viewing subject. Rousseau{\textquoteright}s life and writings are separated out from his paintings in the third chapter. It argues that in his daily habits and social relations, he fashioned a life that would enhance the interpretation of his landscapes as naturalistic and politically liberal; it further analyzes how his writings on art redefined fundamental artistic terms such as composition and modeling in order to direct the critical reception of his work towards his formal innovations. Chapter four then examines three important French sites that Rousseau visited and depicted, demonstrating how his formal system cast aside picturesque modes of landscape viewing, reshaping the meanings those sites held in French culture and drawing attention to the ecological processes going on in the landscape. A final chapter focuses on Barbizon, where Rousseau lived from 1847 to 1867. Exposing the various functions and uses of the adjacent forest of Fontainebleau--royal hunting, wood gathering by indigents, timber and stone production, tourism, and art--it explains how Rousseau succeeded in having land preserves established to thwart over-exploitation of the forest and how his paintings idealized the forest as a perfectly ordered and self-sustaining microcosm into which indigenous people could be integrated. The conclusion of the dissertation points out the romantic roots of ecology and suggests that ecology is based in large part upon an aesthetic value.}, keywords = {19th- and 20th-Century European Art}, author = {Thomas, Greg M.} } @mastersthesis {7920, title = {The Use of Statues in the 18th-Century English Landscape Garden}, year = {1995}, school = {Princeton}, abstract = {As an investigation into the use of statuary in the eighteenth-century English land-scape garden, my dissertation establishes the extent to which iconographic programs played a role in planning and design. This study is based upon an examination of the statues and sculptural decoration of five major gardens which well represent the fifty-year span of the English landscape gardening movement. My dissertation is concluded by the demise of garden statuary (and all things formal) with the ascendancy of "Capability" Brown around mid-century. My study addresses statues and sculptural decoration on Chiswick, Stowe, Rousham, Studley Royal, and Stowe. A prologue sets the context for the eighteenth-century sites on which I have concentrated. Surveying Isaac de Caus{\textquoteright}s work at Wilton (1632-1633), I compare the early Palladian style of Philipp, fourth Earl of Pembroke, to the statues amassed by neo-Palladians, such as Lord Burlington. The first chapter involves an examination of statuary original to Lord Burlington{\textquoteright}s garden at Chiswick. As the founder of the Neo-Palladian movement, Lord Burlington{\textquoteright}s arrangement of statues are compared to that which he would have encountered while on the Grand Tour. The second chapter examines the complicated design and iconography of the gardens at Stowe. Although I am most interested in the work of William Kent, programs prescribed by his patron, Lord Cobham, will also be considered. An interpretation of the statuary in the garden at Rousham comprises the third chapter of my dissertation. Studley Royal, a garden organized along and around water, makes up the fourth chapter. Developed by John Aislabie, this site reflects the taste of an amateur designer. The fifth chapter of my study consists of an examination of Henry Hoare{\textquoteright}s amateur designs for Stourhead. I am particularly interested in use and placement of statuary (and the experience "ambulando") along the circuit encompassing his artificial lake. In studying these gardens, I address the issue of patronage and the influence of the Grand Tour, thus establishing the sophistication of a given patron in understanding the levels of meaning implicit in Renaissance Italian gardens. Moreover, this raises questions of "authorship" and sources employed in formulating iconographic programs. A final task involves an examination of the thematic interests of the patron. Issues of display and didactic purposes commonly associated with gardens are considered. If it holds true that gardens are made in accordance with (or reaction to) the thought and fashion of a given time, then the connections between political and religious beliefs of a given patron must be reflected in the iconographic program.}, keywords = {Baroque and 18th-Century European Art}, author = {Paca, Barbara} } @mastersthesis {7927, title = {The Uta Codex: Art and Exegesis in the Ottonian Age}, year = {1995}, school = {Johns Hopkins}, abstract = {The Uta Codex is a luxury evangeliary produced ca. 1025 for the Niedermunster nunnery in Regensburg, of which Uta was abbess. This collection of Gospel pericopes is preceded by four full-page frontispieces illustrating the Hand of God, Uta dedicating the codex to the Virgin and Child, the Crucifixion, and St. Erhard (patron saint of the nunnery) Celebrating the Mass. Four evangelist portraits accompany the liturgical readings selected from each Gospel. The lavish miniatures are non-narrative illuminations that carefully manipulate images, Latin tituli, and geometric schemata to produce complex statements of visual exegesis. This study examines the historical background to the production of the manuscript and situates it within the monastic context of early eleventh-century Regensburg. The codex commemorates Uta{\textquoteright}s activities to reform the Niedermunster nunnery; the monastery of St. Emmeram, in which the book was produced, was itself a center of the Gorze reform movement. The next five chapters are detailed studies of the individual frontispieces. By combining pictures and texts from a wide range of sources, the makers of the Uta Codex constructed paradigmatic exemplars for the monastic viewers to meditate on toward their goal of achieving eternal union with God. The following chapter discusses the use of Carolingian, Anglo-Saxon, and Ottonian art in the composition of the frontispieces. Special consideration is given to the geometric schemata, which served a propaedeutic function and were meant to signify the unity of the Christian cosmos. The interweaving of images and texts found in the miniatures is the result of the intellectual preoccupation associated with such important monastic centers as St. Emmeram. The concluding chapter investigates Uta{\textquoteright}s own role in the production of the manuscript, its liturgical use, and its meaning to the nuns of Niedermunster. The book functioned both to record a carefully constructed view of the nunnery{\textquoteright}s past and to serve as an injunction to future abbesses to preserve the reforms initiated under Uta. The Uta Codex is thus an important witness to the function of art within the context of monastic reform and education, and is a key monument of Ottonian art, spirituality, and intellectual culture.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Adam S. Cohen} } @mastersthesis {7935, title = {The Vestal Virgins and Their Imperial Patrons: Sculptures and Inscriptions from the Atrium Vestae in the Roman Forum}, year = {1995}, school = {Michigan}, abstract = {This study concerns the marble portrait statues and busts of the Vestal Virgins, Roman priestesses who served Vesta, the Roman goddess of the hearth. Vesta in turn protected the life-giving fire within every home and, by extension the Roman state. In antiquity, portrait statues of the Vestals were displayed in the colonnaded courtyard of the Atrium Vestae, the residence of the Vestals in the Roman Forum. Emulation of imperial physiognomy serves as a new method to substantiate the dates for each Vestal portrait and as a basis for new theories about the increasingly strong relations between Vestals and imperial women in the second century A.D. This study offers original interpretations of the statue types used by Vestals and empresses in the Atrium. I identify two previously unnamed types: the Priestess Burning Incense and the Empress as Juno. I have determined that in the Antonine period, two other statues types, the Fortuna and Peplophoros, were used only by Vestals and imperial women. The Catalog appended to this thesis adds two sculptures to the corpus of known Vestal portrait heads and statues, includes the previously uncatalogued headless statues from the Atrium, and identifies which ones depicted Vestal Virgins and which depicted empresses. Careful examination and measurement of all the extant Vestal portraits sculptures excavated in the Atrium Vestae provide clues to answering questions concerning who commissioned the portraits, who made them, why and when were they made, where and when were they displayed, and what was their fate after the demise of paganism. A major change in the architecture of the Atrium Vestae, when Trajan (98-117) rebuilt the house of the Vestals, provided appropriate places for the display of the Vestal statues. An important finding of this thesis is that the earliest surviving Vestal portraits coincide in date with the newly built peristyle court. The exedra of the eastern wing is proposed as the locus where guilds, individuals honored the emperor and his family with portrait busts and inscriptions. The original, unpublished manuscript of Lanciani{\textquoteright}s 1882-83 excavations of the Atrium Vestae as well as his notebooks have furnished information concerning the identity and approximate find-spot of each object, Vestal or non-Vestal. The excavation records and architectural history of the Atrium Vestae permit reconstruction of the way it was embellished in antiquity. This thesis integrates for the first time the Vestal and imperial sculptures and inscriptions that were found and presumably displayed at the same site.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Lindner, Molly Morrow McGlannan} } @mastersthesis {7864, title = {Virtue and Fortune: French Republicanism and Eugene Delacroix{\textquoteright}s Library Murals in the Palais Bourbon and Palais du Luxembourg, 1838-1847}, year = {1995}, school = {Wisconsin}, abstract = {Until now critics of Delacroix{\textquoteright}s legislative library murals have situated them in a forward-looking trajectory of either revolutionary democracy or avant-garde modernism. Deeming his programs as a reactionary escape from, or indifference to politics, these critical traditions have prevented a close historical investigation of the specific relationship between Delacroix{\textquoteright}s murals and French liberalism during the July Monarchy. As the dominant political group of the legislative chambers, the liberals implemented in the library system a social theory developed in their Academie des Sciences Morales et Politiques whereby wealth and virtue could be made compatible. This encouraged the liberals{\textquoteright} commissioning Delacroix to decorate the ceilings of their libraries with programs of civic virtue. Drawing on the methodology of J. G. A. Pocock and the Cambridge School of political theory, I analyze how the liberals{\textquoteright} commercial policies destabilized their moorings from collective republican principles. Examination of Delacroix{\textquoteright}s thematic tension in the murals between virtue and fortuna, or civic morality and economic flux, reveals the liberal{\textquoteright}s failure to reconcile the reality of their private wealth and their patriotic ideal of public service. Delacroix{\textquoteright}s murals show his ethico-political attempt to rejuvenate the corrupt patterns of economic liberalism; they do not manifest his fear of radical democracy. His use of advice treatises on statecraft, reinforced by the republican ethos of his earlier oeuvre, especially the Massacres of Chios, served to warn the wealthy legislators regarding the depoliticization of virtue and the break-down of shared communication so essential for patriotism. I investigate Delacroix{\textquoteright}s position as an institutional "insider" who criticized social liberalism by situating his civic murals within a German Idealist tradition of aesthetic education that did not conceive culture as political retreat, or bourgeois indifference. Mediated through Victor Cousin, Delacroix used Friedrich Schiller{\textquoteright}s On the Aesthetic Education of Man to develop his moralizing strategy of symbolic fragmentation in the murals whereby bourgeois subjectivity could be ennobled spiritually toward civic-collectivist values. Together with Paul Chenavard and Gustave Courbet, Delacroix{\textquoteright}s murals participate in a major theme of art{\textquoteright}s educative role in improving French statecraft between 1840 and 1855.}, keywords = {19th- and 20th-Century European Art}, author = {Guernsey, Daniel R.} } @mastersthesis {7886, title = {Vision and Spectatorship in the Work of Joseph Cornell: Stargazing in the Cinema}, year = {1995}, school = {Yale}, abstract = {Born in 1903, artist Joseph Cornell grew up alongside the cinema, developing a great love for and perceptive understanding of motion pictures. In addition to amassing a large archive of films, stills, and literature, the artist made his own short movies. Above all, though, Cornell thrived on his almost daily visits to the cinema. And while the artist expressed interest in other arts (opera, ballet, and poetry) and constructed boxes with subject matter ranging from constellations to navigation, it was his interest in cinema that, in many ways, guided his artistic production. Watching movies is the very exaggeration of--and may be Cornell{\textquoteright}s touchstone for--the kind of voyeurism experienced in his boxes. This dissertation examines the artist{\textquoteright}s gaze, showing that it is directed, almost exclusively, towards women. To investigate both the artist{\textquoteright}s voyeurism and his love of cinema--as well as the links between vision and desire, this dissertation focuses on portraits of and homages to female movie stars. Not limited to how the artist represents actresses Lauren Bacall, Deanna Durbin, Loie Fuller, Greta Garbo, Rose Hobart, Jennifer Jones, and Hedy Lamarr, each section of the project examines issues around the depiction and spectacularization of the female body, desire and fantasy, fandom and cinephilia, surrealism and the space of the city, and nostalgia and modernity. The core of each chapter is a close analysis of a particular box, collage, film, text, or archive and the actress it honors or represents, as well as an explanation of the variety of topics and allusions found in each work. In these portraits of women we see that Cornell reveled in his subject{\textquoteright}s ephemerality--movie stars are only projected light on a screen--and took pleasure in watching (from a distance) passing people and passing time. More urgent however, was the artist{\textquoteright}s desire to hold these stars fast. Ultimately then, Cornell{\textquoteright}s "stargazing" resulted in portraits that were also, to use the artist{\textquoteright}s own words, "Crystal Cages": the actresses with whom Cornell was so enamored were locked away--but could still be seen--within cases of wood and light and glass.}, keywords = {Art of the United States and Canada}, author = {Hauptman, Jodi Anne} } @mastersthesis {7942, title = {Walls to Paint On: American Muralists in Mexico, 1933-1936}, year = {1995}, school = {Yale}, abstract = {Between 1933 and early 1936, eight North American artists-Howard Cook, Marion Greenwood, Grace Greenwood, Philip Guston, Reuben Kadish, Ryah Ludins, Isamu Noguchi, and Pablo O{\textquoteright}Higgins-completed a total of eleven murals in Mexico. All worked in the traditional method of fresco, with the exception of Noguchi, who sculpted a relief from colored cement. Although their patrons, sites, and iconography varied, all benefited from the renewal of the Mexican mural movement during the administration of President Abelardo L. Rodriguez. This dissertation analyzes their murals within the complex cultural and political context in which they worked, and views them primarily within the context of the history of Mexican muralism. Despite the overarching influence of Diego Rivera, however, only O{\textquoteright}Higgins ever worked directly with that artist. Chapter I interprets murals by Marion Greenwood and Cook for a hotel in Taxco, Guerrero, in light of the emergence of that town as a tourist center and art colony. Both included folkloric themes typically stressed by most visiting American artists. Chapter II analyzes murals by the Greenwoods and Ludins, commissioned by the university in Morelia, Michoacan, in the context of local politics and of their role as the first women to paint murals in Mexico. While Marion Greenwood{\textquoteright}s fresco highlighted "disappearing" traditions, Grace Greenwood and Ludins depicted scenes of modern industry, albeit with few political overtones. Chapter III is dedicated largely to the career of O{\textquoteright}Higgins, considered a "national artist" in Mexico, including his murals-as well as those of the Greenwoods-in the Mercado Rodriguez in Mexico City. This latter project, on which a total of ten artists collaborated, provided the Americans with the opportunity to address, local political and social struggles. Chapter IV explores the early careers of Guston, Kadish, and Noguchi, in detail as the foundation for their antifascist, internationalist murals in Morelia and Mexico City. Several of murals discussed in this study are among the most visually complex and successfully resolved murals ever completed by American artists, and stand in sharp contrast to the majority of those sponsored in the United States during the New Deal.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Oles, James D.} } @mastersthesis {7932, title = {Weaving Sacred Stories: Narratives of Saints in French Choir Tapestry 1400-1530}, year = {1995}, school = {Northwestern}, abstract = {Choir tapestry provides a rich source with which to explore the construction and reception of pictorial narrative in the Middle Ages. During the fifteenth and early sixteenth century, ecclesiastical officials in Northern France and Flanders commissioned tapestries for their churches. These lengthy scrolls of fabric, which allowed up to sixty meters of continuous narrative, spanned the walls within the choir with monumental lives of saints in text and image. Because these tapestries were displayed only on prescribed feast days and in conjunction with highly regulated ceremonies, it is possible to reconstruct the circumstances under which they were viewed. How choir tapestries, with their accompanying ceremonies, visualized the lives of saints is the subject of the dissertation. I argue that these large-scale stories, by combining elements from narratives associated with the laity or the clergy, constituted a site of intersection between these two cultures. The dissertation begins with a discussion of choir tapestry as a type of artistic production. Drawing from a survey of existing examples, I establish the characteristics of this art form that contributed to its function in late medieval communities. All choir tapestries combined both liturgical and hagiographical texts and included descriptive tituli in the vernacular, insuring their accessibility to the laity and the clergy. The following chapters focus on three extant choir tapestries chosen for their completeness and the existing documentation on their ceremonial setting: the Lives of Saints Piat and Eleutherius (Notre-Dame, Tournai, 1402) the Life of Saints Gervasius and Protasius (Saint-Julien, Le Mans, 1509), and the Life of Saint Stephen (originally Saint-Stephen, Auxerre, now Cluny Museum, Paris, ca. 1500). I show how these three tapestries in conjunction with the liturgy integrated clerical and lay religious cultures in distinctive ways. I conclude with a discussion of the techniques of story telling shared by the three examples. Despite its worth and artistic status in the Middle Ages, tapestry has been omitted from most art historical literature about this period. The few existing studies on choir tapestry are insufficient to understand the medium. In all cases, authors either discuss a fragment of the whole or divide the tapestries into individual panels. Moreover they fail to acknowledge that choir tapestries were one element within a ceremonial system. Through a detailed analysis of three tapestries and their liturgical context, I make two points about the nature of pictorial narrative in the fifteenth and early sixteenth centuries: first, images were constructed as narratives through the active process of viewing within a ritual setting and second, visual narratives integrate different models of story telling into a single text. By demonstrating how complex visual stories were constructed in specific cases, this dissertation contributes to the broader study of pictorial narrative.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Laura Weigert} } @mastersthesis {7860, title = {Wifredo Lam and the International Avant-Garde, 1947- 1982}, year = {1995}, school = {CUNY}, abstract = {With the emergence of multiculturalism and the interest in cross-national cultural identities in the 1980s and 90s, the career of Wifredo Lam--a Cuban artist of African, European and Chinese descent--has received wider attention in contemporary criticism. Lam{\textquoteright}s work is usually seen in the context of the School of Paris of the late 1930s, i.e. Cubism and Surrealism. His engagement of his Afro-Cuban heritage in his work between 1941 and 1946 has been recognized as a watershed moment in the evolution of the concept of primitivism, and to date has been the focal point of most Lam scholarship. This dissertation will examine the artist{\textquoteright}s later career (1947-82). The first chapter will summarize Lam{\textquoteright}s early career in Spain, his first contact with the School of Paris, and the developments in his art in the context of the modernist movement in Cuba in the 1940s. Chapter Two will focus on Lam{\textquoteright}s relationship to the School of Paris after World War II. It will chronicle his contact with the younger generation of artists, i.e. the CoBrA group, the "Arte Nucleare" group in Italy, the Swedish Imaginists, and how these relationships enabled him to find a new context for his work. Lam{\textquoteright}s career in Cuba and Latin America will be the focus of the third chapter, and will elucidate the particular nature of his relationship with the post-revolutionary government in Cuba. The lesser known relationship of Lam to the New York School in the 1940s, his parallel exploration of mythic subject matter will be the subject of Chapter Four, which will include a consideration of the situation of Surrealism in the United States after 1950. In Chapter Five an analysis of Lam{\textquoteright}s work from 1946-1982 will be undertaken, summarizing the issues usually brought to bear on his work, analyzing the stylistic changes in his work, themes and motifs, and his new interest in graphic, ceramic work and sculpture. The sixth chapter will evaluate Lam{\textquoteright}s position in 20th Century Art, analyzing new critical paradigms such as multiculturalism, decolonization, and identity, that provide new contexts for his career.}, keywords = {19th- and 20th-Century European Art, Native American, Pre-Columbian, and Latin American Art}, author = {Sims, Lowery Stokes} } @mastersthesis {7902, title = {Wolfgang Paalen, "Dyn" and the American Avant-Garde of the 1940s}, year = {1995}, school = {CUNY}, abstract = {This dissertation is a monograph on the Viennese artist and theorist, Wolfgang Paalen, covering his life, theories, art, and times. Part I reconstructs Paalen{\textquoteright}s biography and his emergence as an artist in Europe. Parts II and III serve as background for Paalen{\textquoteright}s primitivism and relationship to the art and culture of the Northwest Coast and pre-Columbian America, and Mexican modernism. Part IV examines his relationship to and influence on the Abstract Expressionist movement through his "little magazine" DYN published in Mexico City during his exile in World War II, from 1942-1944: and through his paintings and other artworks, exhibited in New York throughout the 1940s.}, keywords = {Art of the United States and Canada}, author = {Winter, Amy H.} } @mastersthesis {7851, title = {15th-Century Netherlandish Devotional Portrait Diptychs: Origins and Function}, year = {1994}, school = {Case Western Reserve}, abstract = {Devotional portrait diptychs, those which contain a donor in prayer on one wing and the Virgin and Child on the other, are a unique form of devotional painting. These works attained popularity in the Burgundian Netherlands between c.1430 and c.1540. Their production stopped as quickly as it had begun and their limited geographical distribution is striking. This dissertation identifies the origins of the devotional portrait diptych, traces the history of the paintings, and identifies their function. The Book of Hours was, like the devotional diptych, an accessory to private devotions, and became popular in the years just before the devotional diptych was first created. The iconography of owner portraits found in Books of Hours and the prayers with which these portraits were associated elucidate the origins of the devotional diptych. The Valois Dukes played an important role in Flemish art and their impact on the commissioning of devotional portrait diptychs was no less impressive. Evidence from the Chartreuse of Champmol, as well as from the ducal inventories, shows that the dukes were the first to commission and possess devotional portrait diptychs. Philip the Good was particularly important in the inception of the form and it is in Jan van Eyck{\textquoteright}s Virgin in a Church, Berlin, that we find evidence of the first portable devotional portrait diptych. Rogier van der Weyden popularized the half-length devotional diptych in his commissions for the members of the court of Philip the Good. Later artists, beginning with Memling and ending with Jan Gossart, utilized the devotional diptych form. The development and changes of the form which occurred in the decades between these artists are investigated. Some devotional portrait diptychs were intended as tomb paintings and the implications of this are discussed in the final chapter. The vanitas and memento mori devices that appear on the backs of devotional diptychs images are evidence of this practice. Finally, the importance of donor portraits in other religious art is connected with the portraits found in devotional diptychs. The desires of the donors are the common link among tomb sculptures, manuscript illuminations, and public and private paintings.}, keywords = {The Renaissance}, author = {Gelfand, Laura Deborah} } @mastersthesis {7827, title = {The Architecture of Decani and the Role Archbishop Danielo II}, year = {1994}, school = {Pennsylvania}, abstract = {Founded in 1327 by King Stefan Uros III, the most venerated member of the Nemanjic dynasty, the monastery of Decani stood at the heart of medieval Serbia: near the seat of the patriarchate and at the intersection of an important trade route connecting Dalmatian coastal towns with the Balkan hinterland. From the inscription above the south portal of its monumental Romanesque katholikon we learn that the church was built by the master builder Fra Vita, a minorite from the town of Kotor, and that it was dedicated to Christ the Pantokrator. The architectural historical position of this edifice, somewhat vaguely described early in the century as the most consistently "Western" in character of all the Serbian medieval churches, has found broad acceptance and remains virtually uncontested. Standing in sharp contrast with the basilican organization of its Early Gothic structural system, the strong centralizing tendency of the plan and spatial organization of its interior, has never been quite explained by scholars. A closer examination of the physical evidence reveals a surprisingly novel attitude toward architectural design and planning. For the first time in the wider Byzantine sphere we have evidence of planning consciously extending beyond simple emulation or repetition of typological patterns. This was certainly due to the role of Archbishop Danilo II, the royal advisor on questions of art, who ingeniously applied the fresco decoration as a planning device, and articulated the internal spatial disposition. With an almost mannerist boldness, the builder ventured a remarkable experiment, and radically altered an established building type, the five-aisled basilica, incorporating within its shell a fusion of the traditional old Serbian single-aisled domed nave and the Late Byzantine ambulatory. In disclosing the organizational pattern that had laid concealed within its structural system, this study has greatly clarified the historical position of this important monument. Rather than Western, or Eastern, Decani represents a synthesis of the national architectural tradition, a programmatic statement created by Archbishop Danilo to embody the fundamental postulates of the Serbian monarchy.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Pantelic, Bratislav} } @mastersthesis {7813, title = {Arsenals of Art: The Patronage of Pope Pius VI and the End of the Ancien Regime}, year = {1994}, school = {Yale}, abstract = {As the last pope of the eighteenth century, Pius VI (Gianangelo Braschi, 1775-1799) was an important witness to the development of modern Europe. Although he governed a Church under attack from the Enlightenment, Braschi endeavored to safeguard the Papacy through vigorous artistic patronage capitalizing on Rome{\textquoteright}s global prominence. Once renowned as one of the greatest patrons in Church history, Pius is often dismissed today as an anachronism. He is in fact a transitional figure, concerned with tradition but open to innovations that could serve the Church. Despite an exhausted treasury and a backwards economy, Braschi undertook grandiose projects that set artistic standards throughout the West. They form an important chapter in the history of the Papacy and art that has not previously been told. My dissertation draws on documentary sources to reconstruct the projects sponsored by Pius and his court, from town gates to museums, cathedrals, and decorations glorifying his family. Chapter 1 examines Braschi{\textquoteright}s personality and establishes the political dynamics of his pontificate. Chapter 2 considers the nature of his reform and stance towards the visual arts. Chapter 3 studies the propaganda used to forge a public image of Pius as a modern sovereign, while Chapter 4 discusses his private commissions. Chapter 5 isolates his work at St. Peter{\textquoteright}s, focusing on Marchionni{\textquoteright}s controversial Sacristy as a prototype of historical revivalism. Chapter 6 analyzes Braschi{\textquoteright}s largest project, the expansion of the papal sculpture collection into the age{\textquoteright}s greatest museum of antique art. The collection anchored institutions policing the art trade, while balancing neoclassical innovation and respect for precedent. Chapter 7 surveys civic projects throughout the Papal States, intended--like the Pio-Clementino museum--to glorify "enlightened" papal government. The study concludes with an assessment of Pius{\textquoteright} patronage in terms of a developing Romantic sensibility. A broad survey of Pius VI and the arts shows that the conservatism of individual works has hidden the importance of the enterprise. Pius{\textquoteright} patronage illuminates the Papacy{\textquoteright}s ambitions on the eve of its greatest challenge. Ironically, his persistent glances backwards inspired his successors and foreshadowed the dogmatic revivalist trends of the nineteenth century.}, keywords = {Baroque and 18th-Century Europe}, author = {Jeffrey Laird Collins} } @mastersthesis {7768, title = {Art after Auschwitz: Anselm Kiefer and the Possibilities of Representation}, year = {1994}, school = {Harvard}, abstract = {My dissertation--Art after Auschwitz: Anselm Kiefer and the Possibilities of Representation--situates Kiefer{\textquoteright}s work and reception as centrally pertinent to the cultural history of postwar Germany. Chapter one examines aesthetic practice in the formative years of the Federal Republic, relating painterly developments to a shifting social matrix, one at once defined and tempered by the political exigencies of de-nazification in the late 1940s, Cold War politics in the 1950s and the emergence of the Liberal Left in the 1960s. Chapter two moves beyond the realm of art practice and considers the issue of representation in an expanded field, the public sphere. Through an analysis of Kiefer{\textquoteright}s reception, with an emphasis on the German and American contexts, the chapter establishes the way in which Kiefer and his work comes to "represent," or to stand for Germany both within a national and international arena. Chapter three delves into Kiefer{\textquoteright}s sustained explorations of Nazism and its legacy with a discussion of the historical context out of which his practice emerges, one defined by leftist oppositional politics, inter-generational conflict and terrorism. It particularizes the discussion by positioning Kiefer{\textquoteright}s work against a contemporaneous literary phenomenon, "father literature," examining the ways in which Kiefer{\textquoteright}s work participates in this generational genre and articulates with its painterly vocabulary a postwar German male identity. Chapter four explores the concepts of mourning and melancholia. The discussion is generated and framed by their usage in psychoanalytic and cultural theory, but moves to their possibilities as "diagnostic" tools in analyzing cultural practice in postwar Germany. Chapter five brings the interpretive and theoretical strains of the prior chapters together. Drawing on visual, historical and theoretical material and practice, the chapter probes the possibilities and limits of representation. If the visual point of departure for the discussion is a series of works by Kiefer with Jewish subjects, the theoretical point of departure is Theodor Adorno and the Second Commandment. For it was Adorno{\textquoteright}s infamous and later qualified dictum on the impossibility and barbarism of poetry, or indeed any aesthetic endeavor after Auschwitz, which drives both theory and practice in the postwar era.}, keywords = {19th and 20th century Europe}, author = {Lisa Saltzman} } @mastersthesis {7759, title = {Art Knows No Fatherland{\textquoteright}: The Reception of German Art in France, 1878- 1900}, year = {1994}, school = {CUNY}, abstract = {The relationship between France and Germany marked nineteenth and twentieth century European history. Little is known, however, about their artistic relations, particularly after the Franco-Prussian War. Art historians have researched the reception of French art in Germany, but it has been commonly believed that German art was either ignored or despised after 1870/71. Although it is certainly true that there was little influence of a formal nature, an examination of the French criticism in this period reveals that contemporary German painting was both greatly admired and played an important part in the redefinition of the role of culture in post-war France. The dissertation brings together the writings of a large spectrum of French critics on the German painting seen in Paris between 1878 and 1900. Important in the examination of these comments is both what was said and how this was conditioned by certain ideas of Germany and German art, and the political situation of the moment. Isolated and defeated, the French nation was in the course of seeking a new self definition in the 1870s and 1880s. The conflict between the nationalists and the Republicans, whose image of France was based on the Revolutionary tradition, was a shaping force in French intellectual life. The often repeated phrase "l{\textquoteright}art n{\textquoteright}a pas de patrie" characterized the art critics{\textquoteright} position within this debate. Much as Michelet had once envisioned all countries moving towards universal brotherhood under the leadership of France, so now the critics saw the European art movements. This meant not only that the work of German painters like Liebermann, Uhde, and Kuehl was incorporated into the French definition of modernism. The critics believed that through their influence, Germany had found its way out of dark Romanticism into the light of Naturalism, making them a part of a brotherhood of artists. German art was proof that all had not been lost in 1871, and it was by praising it rather than denigrating it that a kind of revanche was achieved and a plea for an open and cosmopolitan France was made.}, keywords = {19th and 20th century Europe}, author = {Esner, Rachel} } @mastersthesis {7791, title = {Art Museums, an Experience in Light: A Study on the Theory and History of Light in the Art Museum}, year = {1994}, school = {UT Austin}, abstract = {In this dissertation the role of light as the catalyst in the experience of the art museum is revealed. In the first part of the discussion, the mission of the museum and the bases of the experience of the museum are defined. The role of light in the history of the museum is conducted in the following steps. First, the sovereignty of the visible world and of light as a symbolic and a physical entity in reference to the historical origins of the museum is shown. Then, the theoretical bases and assumptions that make an analysis of the experience in the museum possible are presented. In a third stage, the role of light in the experience of three museums, each representative of a different cultural background, is discussed. The sensory experience of the art and the experience of the visual environment of the museum are presented as the component structures of the experience in each museum. In this section of the discussion, it is first argued that conditions under which art was illuminated and viewed contributed to visual messages linked to the value assigned to the art in the museum. Second, it is argued that the visual environment in each museum was conducive to a spiritual state of mind, pertinent to the respective cultural conditions. At a last stage a methodological approach for the prediction of light in future museums is presented.}, keywords = {Art of the United States and Canada}, author = {Liapi, Katherine A.} } @mastersthesis {7767, title = {The Art of History: Marcel Duchamp and Posterity}, year = {1994}, school = {Delaware}, abstract = {This dissertation argues that Marcel Duchamp (1887-1968), the most iconoclastic artist of the twentieth century, was intensely aware of his historical reputation. Although known for his spontaneity and nonchalance, Duchamp spent the greater part of his career gathering every artifact of his creativity, reproducing his earlier art, and placing his pieces in museums. As his contemporaries noted, he became, in effect, his own curator. Many of Duchamp{\textquoteright}s works exist as reproductions of his earlier notes or works. The Boi te en valise (Box in a Valise, 1942), for instance, of which he personally made or supervised hundreds of copies, is a virtual portable museum of his early oeuvre. When opened it becomes a miniature retrospective. Duchamp personally offered it to museums and collectors, thereby exposing his art to a larger audience. Most previous studies have not incorporated Duchamp{\textquoteright}s behavior in relation to his works, nor have they examined his understanding of how art becomes historical. This dissertation addresses these issues as well as the jarring inconsistencies between Duchamp{\textquoteright}s public reputation and his private actions. Although he once advised young artists to "go underground," he remained conspicuous in the art world. He even delivered traditional slide lectures explaining his place in the history of art. This study further examines the degree of Duchamp{\textquoteright}s extensive involvement with art world institutions. For instance, he played an decisive role in the Arensbergs{\textquoteright} search for a permanent site for their collection, which contained all of his important works. He then helped arrange it at the Philadelphia Museum of Art (after 1950). As one of the founding members of the Societe Anonyme (1920), the first museum devoted to modern art in this country, Duchamp{\textquoteright}s curatorial duties were substantial and conventional. This dissertation shows how Duchamp{\textquoteright}s art embodies themes of historicity, documentation, and conservation, and reveals the importance of Duchamp{\textquoteright}s historical concerns in the management of his career. It helps explode the myth that artists{\textquoteright} works passed magically from the studio to the museum, and from obscurity to, as Duchamp put it, the "pantheon" of art history.}, keywords = {19th and 20th century Europe}, author = {Pohlad, Mark Borner} } @mastersthesis {7850, title = {The Art of Paolo Veronese: Artistic Identity in Harmony with Patrician Ideology}, year = {1994}, school = {UC Berkeley}, abstract = {This dissertation examines the patronage of several of Paolo Veronese{\textquoteright}s most monumental works in relation to the social, political, and religious concerns of the time. Veronese finest works, namely, the interior decoration of the church of San Sebastiano, the extensive frescoes in the interior of the Villa Barbaro at Maser, and the enormous Marriage at Cana painted for the refectory at the monastery of San Giorgio Maggiore were commissioned by individuals of similar backgrounds with shared interests and agendas. These in turn complemented the concerns of the artist himself in the creation of an identity and pictorial intellectuality in harmony with the rising tide of artistic literature during the middle decades of the sixteenth century in Venice. In each of these monumental endeavors Veronese controlled and dominated the spatial setting and became, with his brush, a master of all the arts--of painting, sculpture and architecture. At San Sebastiano, where he worked from the time of his earliest employment in Venice until full artistic maturity around 1570 and where in 1588 he was buried, Veronese offered his adopted city an impressive monument to his artistic worth and testament of his piety at a time when spiritual fears and concerns were increasingly flooding the city. At the magnificent villa of Daniele and MarcAntonio Barbaro in the hills near Asolo, Veronese in conjunction with Andrea Palladio, Alessandro Vittoria and the patrons themselves, created an ideal painted environment to present an image of the world as it should be--an escape from the increasingly harsh realities of Cinquecento Venice. Finally, in the grand new Palladian refectory of San Giorgio Maggiore, of central importance in the ceremonial pageantry of Venice, Veronese with the guidance of those highly cultured patrician Benedictines in positions of leadership at the monastery, portrayed a breathtaking vision of a universal Christendom united under the leadership of Christ and his bride, the Virgin, and offered to all those present by Veronese himself, positioned stage center and front as conductor of the divine symphony. Veronese thus emerges as a fully conscious player in the cultural world of sixteenth century Venice. He carefully modelled himself upon the Vasarian ideal of artistic status and intellectual worth--in a way becoming a patrician artist himself in his domination of paint and space--and thus well prepared to visualize the concerns of his patrons who issued from the highest levels of Venetian society.}, keywords = {The Renaissance}, author = {Evers, Sonia Holden} } @mastersthesis {7809, title = {The Art of the Ensemble: Form and Content in the Tsukubusuma Sanctuary, 1570-1615}, year = {1994}, school = {Princeton}, abstract = {This study examines the Tsukubusuma Sanctuary, a Momoyama-period (1573-1615) ensemble of multiple media informed by the interlocking spheres of artistic, spiritual, and political activity. The Sanctuary is located on the remote island of Chikubushima in Shiga Prefecture. Chapter One traces the physical history of the Sanctuary, and shows that the building is a composite of two parts that were once unrelated: an outer part (hisashi), which likely dates from the 1560s, and a core (moya), which stood originally as an independent building in Kyoto. In 1602, these parts were joined to form today{\textquoteright}s Sanctuary. Chapters Two and Three focus on the moya, the building moved from Kyoto. I demonstrate that this building, including its extensive decoration, was created in the 1590s as an ensemble that was cohesive in form and in meaning. The ensemble is characterized by its formal unity, in which the decoration is fully integrated over the architectural framework. I argue, too, for the first time, that the moya was built as a memorial to a deceased child of Toyotomi Hideyoshi, who then ruled Japan. Reference to this original manifestation is contained in the specific symbolic associations of the decoration, which were obscured by the removal of the moya from its Kyoto site. Chapters Four and Five examine the Tsukubusuma Sanctuary ensemble newly formed on Chikubushima in 1602. This ensemble is of primary interest for its profound connection to historical events. It was created by the weakened Toyotomi amidst the tumultuous political changes that followed Hideyoshi{\textquoteright}s death. It was part of a Toyotomi campaign of activities in the spiritual realm that was patterned after earlier precedents set by Hideyoshi. In their ultimately failed attempt to regain leadership of Japan, the Toyotomi used these activities to portray themselves as conduits to spiritual power that was crucial to the well-being of the nation. The 1602 project also evokes an earlier relationship between Hideyoshi and the Benzaiten cult site of Chikubushima. The Sanctuary ensemble, more than any other, encapsulates all of the meanings that the Toyotomi hoped to convey through their politically charged sponsorship of religious sites.}, keywords = {Asian Art}, author = {Andrew Watsky} } @mastersthesis {7766, title = {The Art of War: Antoine- Jean Gros and French Military Painting, 1795- 1804}, year = {1994}, school = {Michigan}, abstract = {This dissertation examines the rise of large-scale paintings of military subjects in France during the period from 1795 to 1804. Special attention is paid to the early career of Antoine-Jean Gros and to government patronage policies established by Napoleon Bonaparte and his principal artistic advisor, Vivant Denon, during the Consulate (1799-1804). The first chapter describes how calls made by the public and the government for history paintings of contemporary events shifted to calls for specifically military subjects during the Directory (1795-99). Chapter Two makes use of a large unpublished correspondence to reveal the formative influence upon Gros of his early collaboration with Bonaparte and General Alexandre Berthier in Italy. Chapter Three explores the Consulate{\textquoteright}s efforts to direct the attention of history painters to the military exploits of Bonaparte and his generals. The failure of the government{\textquoteright}s major effect in this domain, the concours de Nazareth revealed a widespread distaste for the violence of battle painting and resistance, especially from critics and artists on the Left, to the emerging autocratic policies of Bonaparte{\textquoteright}s art administration. Chapter Four demonstrates that the two major government commissions for the Salon of 1804, Gros{\textquoteright} Bonaparte Visiting the Pesthouse at Jaffa and Philippe-Auguste Hennequin{\textquoteright}s Battle of Quiberon, were part of a campaign to suggest to the French public that only hereditary Bonapartist rule could end the civil strife of the Revolution. 1804 was also a turning point in French art. Many artists chose to abandon a type of artistic identity that had gained wide currency during the Revolution: that of the heroic, public-minded artist who develops his art independently, hoping to win public acclaim and ensuing reward from the government. Instead they embraced the more subordinate role of the artist who unambiguously celebrates the achievements of the government and its leader. Thus, the Salon of 1804 reestablished the government{\textquoteright}s prerogative in determining the form and content of history painting.}, keywords = {19th and 20th century Europe}, author = {O{\textquoteright}Brien, David J.} } @mastersthesis {7833, title = {The Belted Hero in Early Greece}, year = {1994}, school = {Harvard}, abstract = {This study introduces a previously unrecognized Homeric theme, "the belted hero." The theme of the belted hero fuses king, warrior, charioteer, and athlete into a supreme image of political power. Ionian epic singers from the eighth century B.C., inspired by Phrygian belts, and Ionian imitations of Phrygian belts, created the poetic persona of the belted hero as a way-leader above competition in a poetic society in which status and honor was supposedly dependent on war-prowess. The special "heroic warrior{\textquoteright}s belts" (zosteres) worn by Agamemnon, Menelaos, and Nestor, served as unimpeachable visual emblems of their exalted positions of rank. The zoma, "inner backing for the heroic warrior{\textquoteright}s belt, or athletic belt," reveals the close affinity in Homeric epic between war and sport. The belted hero demonstrates that seniority, wealth, and personal connections count for more than skill in war in the heroic world of the epic poems. The zone, "woman{\textquoteright}s belt of chastity and sexual attraction," is the feminine counterpart of the masculine zoster. The zone presents the woman as superior in the competitive arena of love. In Homer, belts are attributes of gender rated by a competitive standard. At Olympia, belts were dedicated in quantity and variety from the ninth through the second half of the seventh centuries B.C., attesting to the transfer of the theme of the belted hero to the Greek mainland. The belted hero represented an ideology attractive to established wealthy landowners, their oikoi, and inter-family connections. As shown by purely ornamental belts worked into bell-corslets, dedicated at Olympia beginning in the mid-seventh century B.C., the communal spirit of the hoplite phalanx attempted to appropriate the belted hero ideal, even while undermining its ethos of personal honor. Early hoplites are extinct belted heroes. The "Harvard belt" and the "Harvard bow fibula" display incised decorative schemata which provide insights into oral epic compositional techniques, conceptions of time, and cosmological structure, during the late eighth-early seventh centuries B.C. In addition, the belted hero represents an important iconographic type in Greek art during these two centuries.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Bennett, Michael John} } @mastersthesis {7757, title = {Beyond Seeing: The Somatic Experience of Landscape Painting in Mid-19th-Century France}, year = {1994}, school = {Missouri}, abstract = {This study argues that the textured surfaces and deliberately conspicuous paint marks found in landscape paintings of the so-called Ecole de 1830 attained the authority of verite because they generated a viewing experience that registered on the somatic level. The viewer{\textquoteright}s physiological response to the materiality and textures of the paintings became the criterion of authenticity for naturalist representation. This new paradigm of "somatic" perception emerged historically as France turned inward to recover the roots of its national identity during the post-imperial decades. Chapter One presents a critique of the methodological problems inherent in the still largely conventional chronology of period styles in nineteenth-century landscape painting that culminates in Impressionism. Based on theoretical and critical writings from the period, chapter Two describes the discourse around verite in landscape painting. Chapters Three and Four highlight three lines of the discourse that attempted to conceptualize the potential for signification of visible paint marks: using displacement, ellipsis, and similar indirect procedures, critics circumscribed the issue in tactical discourses about the work of Constable, about seventeenth-century Dutch landscape painting, and about the propriety of obvious facture. What remained unarticulated in the discursive gap thus created, is defined here as replication--the duplication in paint of nature{\textquoteright}s material properties and textures; it describes the particular facture that produced the verite of nouvelle ecole landscapes. Proceeding from a particular type of picture description in the 1830s--"somatic narrations" that represent what is seen in paintings like nature experiences--Chapter Five describes how the sensual materiality of the "somatic" landscape mobilized an ideal viewing subject in the production of experiences like those provided by nature itself. Furthermore, it reveals the breadth of concerns within the paradigm of somatic textures in other areas of cultural production: troubadour furniture, certain bronze and ceramic production, and cooking. Chapter Six finally suggests the context in which the "somatic" work of art could operate to produce verite, and, by extension, construct a new social context: an urban private sphere animated by the play of memory to generate alternative and highly personal experiences.}, keywords = {19th and 20th century Europe}, author = {Einecke, Claudia} } @mastersthesis {7852, title = {The Bolognese Sculpture of Niccolo dell{\textquoteright}Arca and Michelangelo: Studies in Context}, year = {1994}, school = {Harvard}, abstract = {On December 30, 1511, a winch was set up at the high altar of San Petronio in Bologna, and Michelangelo{\textquoteright}s colossal bronze portrait of Julius II was pulled crashing to the floor of the nave. This tragic act of iconoclasm was only a single incident in a history of politically-motivated destruction that has forever disfigured Bologna{\textquoteright}s legacy of Renaissance art. It is not difficult to imagine how much richer the historiography of Renaissance Bologna would have been had only Michelangelo{\textquoteright}s colossus survived. In effect, with the exception of isolated studies, nothing approaching the depth and methodological breadth brought to the study of art and society in Florence in this period has been applied to Bologna. Significant works of sculpture by Niccolo dell{\textquoteright}Arca are still shrouded in enigma and relative obscurity. Despite increased scholarly interest in recent years, Niccolo{\textquoteright}s remarkably inventive works have yet to be integrated into the canon of Renaissance art. In the rich bibliography on Michelangelo the artist{\textquoteright}s two Bolognese periods are the most opaque of his well-studied career. The dissertation deals with four major sculptural projects of these two artists in three sites in Bologna: Niccolo dell{\textquoteright}Arca{\textquoteright}s extraordinary Compianto group in Santa Maria della Vita; the contributions of both Niccolo and Michelangelo to the Arca of San Domenico; and sculpture extant and destroyed for the Piazza Maggiore--Niccolo dell{\textquoteright}Arca{\textquoteright}s Madonna di Piazza and Michelangelo{\textquoteright}s bronze Julius. Each project is treated as a distinct study; what links the whole is an approach that bases interpretive reconstruction on documentary and archival research into social, political, cultural and religious contexts, and into the dynamics of site and of function. This investigation contributes to the expansion of the regional parameters that still define functional frontiers in the study of Renaissance art. An enhanced understanding of the works examined is a specific aim; a broader goal is a {\textquoteright}reconstruction{\textquoteright} of some of the vivacity of cultural and civic life in the most illustrious period of Renaissance Bologna.}, keywords = {The Renaissance}, author = {Klebanoff, Randi} } @mastersthesis {7772, title = {Building Natural History: Constructions of Nature in British Victorian Architecture and Architectural Theory}, year = {1994}, school = {Pennsylvania}, abstract = {Victorian architects shaped the spaces where natural science was made, and in turn helped shape the public{\textquoteright}s understanding of nature. Display strategies for natural historical objects--and the architectural decisions which sustained those strategies--reveal the contingent and shifting status of natural knowledge in Victorian Britain. Four case studies (Cambridge University Library, 1829-37; Oxford University Museum, 1855-60; Edinburgh Museum of Science and Art, 1854-61; Natural History Museum, London, 1865-1881) reveal how science, dependent upon progress for its legitimacy, left traces of its history in museum architecture. At Cambridge University, C. R. Cockerell designed a classical collegiate quadrangle which was primarily a library, but also provided exhibition rooms for natural specimens, an indication that natural science was not yet an integral part of the university{\textquoteright}s intellectual life. A decade later at Oxford, the Gothic Revival University Museum marked the arrival of natural science in the curriculum. Although other considerations--cost and adaptability--were paramount, the naturalistic ornament represented the ideals of natural theology--the study of science as revelatory of Creation. Also at mid-century, the engineer Francis Fowke designed the Edinburgh Museum of Science and Art, an iron-and-glass building recalling the Crystal Palace. It showcased nature in the service of commerce and industry, and was built for middle-class visitors rather than only elite students. In London, the social role and style of the Natural History Museum caused controversy. The director of the national museum hoped to display God{\textquoteright}s work in its entirety, but he was thwarted by the efforts of progressive scientists, who preferred a small teaching museum. While some visitors approved of its Romanesque imagery, others objected to its church-like interior, which seemed to ignore the advent of Darwinism. Natural history and architecture were products of society. The educational role of museums was under contestation, the availability of natural knowledge to the public was expanding, and science was becoming a profession rather than a gentleman{\textquoteright}s hobby. In this climate of change, architects of museums, through style choices, planning decisions, and ornamental schemes, critically affected the way Victorian Britons understood nature.}, keywords = {19th and 20th century Europe}, author = {Carla Yanni} } @mastersthesis {7854, title = {Carte da Trionfi: The Development of Tarot in 15th-Century Italy}, year = {1994}, school = {Pennsylvania}, abstract = {This dissertation analyzes the development and play of tarot cards (carte da trionfi) in fifteenth-century Northern Italy, beginning with their origins in playing card decks imported from the Islamic East, then moving to the popularity of tarot decks at the courts of Milan and Ferrara, and concluding with the decline in taste for hand-painted tarot packs after 1500. Through a close examination of images of pastimes, legal and religious treatment of different types of recreation, and game treatises I argue that tarot was ideologically redefined as an aristocratic, moral, and private recreation in opposition to the playing-card deck{\textquoteright}s associations with the lower classes, gambling, and the public spaces of the city. Final chapters on memory and gender detail tarot{\textquoteright}s reconceptualization within court culture first as an intellectual and then as a feminine pursuit that shaped "one{\textquoteright}s character" in moral, social, and sexual terms.}, keywords = {The Renaissance}, author = {Olsen, Christina} } @mastersthesis {7788, title = {A Catalogue Raisonne, of the Sculptures of Mark Di Suvero}, year = {1994}, school = {CUNY}, abstract = {This is the initial listing of sculptures by the U. S. sculptor Mark di Suvero (b. 1933). Five hundred twelve works, which constitute the exhibited works and those documented in publications, photographs, letters, and gallery records are listed in chronological order of their creation. In dossier fashion, each year of the artist{\textquoteright}s career from 1958 through 1990 is presented with information on exhibitions, reviews and other publications cited in toto and a subsequent list of the works produced in that year (arranged alphabetically). Each work is documented by dimensions, identifying marks, sales and exhibition histories, and publication. Chapter Two is an anthology of writings by Mark di Suvero, both published and prepared for publication but unpublished. Chapters Three, Four and Five are historical documentation of the primary commercial and exhibition outlets for di Suvero{\textquoteright}s sculpture--Richard Bellamy and the Green Gallery; Park Place Gallery, and ConStruct. Chapter Six is a documentary history of the artist{\textquoteright}s Athena Foundation and its primary beneficiary, the Socrates Sculpture Space. Illustrations include two hundred thirty-four images of individual works and one figure.}, keywords = {Art of the United States and Canada}, author = {Denton, Monroe} } @mastersthesis {7774, title = {Chaos by Design: Russian Constructivist Stage Design and Its Reception}, year = {1994}, school = {UIUC}, abstract = {The underlying theme of this dissertation is that the formation of and response to Russian constructivist stage design is motivated by a dynamic relationship between order and disorder, in social and artistic terms. Therefore, I begin with a discussion of what order meant, to society and to artists, in the period leading up to and just after the 1917 revolution, and in particular, in terms of goals for the future. I then establish the fact that artists saw themselves as the harbingers or creators of a new order, a role predicated on a belief in the democratization of art. My third chapter establishes and explicates a "language" of constructivist stage design. This language is derived from many sources or components; and no work can really be understood without understanding the entire constellation of visual and ideological ideas of which the language consists. In chapter four I develop the idea that the stage set was not an example of non-objective art, but had a subject--the depiction of the new world. Important to my thesis, however, is the idea that the subject of the set may have contradicted the subject of the play or it may have raised uncomfortable questions about social goals. In the last chapter I examine the reception of constructivist stage design. Criticism rarely rested on just the acceptance or rejection of the aesthetic, although at times aesthetic terms dominated the discussion. Similarly, it was not merely a question of "taste." The visualization of the new world became the social-ideological factor underlying the critical and spectator response to the constructivist stage. But this is what generated the perception of chaos, because either the meaning of the constructivist language is not understood, or it is seen as communicating an overload of information, or the understood meaning is considered to be at variance with social goals. Thus, I argue that constructivist stage design did come to be seen as representing disorder or chaos, with disorder taking the form of the balagan, the western city, dualism, an incongruity between form and content, the presence of chance or randomness, the transformation of objects (a form of instability), an at times incomprehensible language, and ultimately, a subversion of the text or written word.}, keywords = {19th- and 20th-Century European Art}, author = {Barris, Roann} } @mastersthesis {7846, title = {The Church of Santo Spirito in Sassia: A Study in the Development of Art, Architecture and Patronage in Counter- Reformation Rome}, year = {1994}, school = {Chicago}, abstract = {From its earliest history, the Order of Santo Spirito in Rome acted as the major charitable arm of the papacy. Its church, Santo Spirito in Sassia, and its adjoining hospital were built and funded by the Holy See. Between 1539 and 1545 the church was reconstructed by Antonio da Sangallo the Younger. The decorations for the church were completed in four separate campaigns over a period of fifty years and involved thirteen major artists and fifteen different patrons. This dissertation addresses the many formal, iconographical and contextual problems which are still presented by this multi-faceted structure. Further, it presents a description of the unusual structure of the patronage resulting from the position of the Order both as an independent organization and as an agent of papal policy. The architecture of the church and its interior decorations are parts of a single unified whole. For the ground plan and facade, Antonio da Sangallo the Younger alluded to specific 15th century Florentine and Roman models known for their associations with princes, reform and Augustinianism so that the architecture of the church would project the image of a strong, reformed Church under papal leadership. The decorations of the church do not concern themselves with any of the duties or activities of the Order but rather articulate, with consistency of subject and style, the magnificence and holiness of the Universal Church and its function as the sole means through which mankind can attain salvation. The particular organization of the Order and its relationship to the papacy necessitated the development of a patronage structure different from the normal type of ecclesiastical patronage, which places financial, aesthetic and iconographic control in the hands of a single patron. Santo Spirito in Sassia is an important example of the papacy{\textquoteright}s formal, iconographical and administrative response to the Protestant and other challenges to its authority. As such, it provided models for architectural and decorative forms, as well as a patronage structure, for later Roman architects, painters and patrons who desired to express the piety and power of the Universal Church in monumental terms.}, keywords = {The Renaissance}, author = {Bross, Louise Smith} } @mastersthesis {7830, title = {The Church of St. Panteleimon at Nerezi: Architecture, Painting, and Sculpture}, year = {1994}, school = {Princeton}, abstract = {The church of St. Panteleimon is located in northwestern Macedonia, in the village of Gorno Nerezi, about 6.5 kilometers south-west of the town of Skopje. Decorated in 1164 under the auspices of a member of the imperial family, Alexios Angelos Komnenos, the church is distinguished as one of the major surviving monuments of the Middle Byzantine period. Despite its provincial location, the church assimilates a number of Constantinopolitan features evident in its architecture, sculpture, and painted decoration. With regard to architecture, Nerezi is a small, five-domed, inscribed cross church. The constellation of its domes reflects building practices of the capital, and places Nerezi within a small, distinctive group of preserved Byzantine five-domed churches. Concerning painted decoration, the church exhibits an iconographically innovative cycle and is executed in a highly refined style, likely by the hand of a Constantinopolitan master. High quality and refinement also characterize the sculptural decoration of the church; it also reflects Constantinopolitan sources. A clear intent to emulate the art and architecture of the capital evident at Nerezi finds its origin in the high social rank of its patron and in the extensive political and cultural influence of Byzantium in Macedonia in the twelfth century. This study is the first comprehensive analysis of the church which approaches Nerezi in a multifaceted manner, addresses all aspects of its art and architecture, and relates them to each other in order to establish the importance of Nerezi within Middle Byzantine art and architecture.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Sinkevic, Ida} } @mastersthesis {7828, title = {The Cloister of San Juan de la Pena and Monumental Sculpture in Aragon and Navarre}, year = {1994}, school = {Boston}, abstract = {Despite its central position in the development of transitional Romanesque sculpture in Aragon and Navarre and its importance as an entry point for Cluniac reforms in Spain, the San Juan de la Pena cloister has not received more than superficial study. To date, questions have remained regarding the cloister{\textquoteright}s date, its original iconographic program, and the sources of its seemingly unconventional style. Additional problems have surrounded the activity of the cloister{\textquoteright}s anonymous sculptor, dubbed the "Master of San Juan de la Pena," whose large and diverse oeuvre has yet to be carefully studied. These problems have isolated the cloister from the late Romanesque works that surround it, leaving its art historical context unclear. The present study shows that the San Juan de la Pena cloister participated fully in, and even exemplified, the late twelfth-century transition between Romanesque and Gothic sculpture in Aragon and Navarre. Reconstruction of the cloister{\textquoteright}s program reveals that it contained an expanded narrative cycle of the Life of Christ, one of the first of its kind in Spain. This cycle, whose variants appear repeatedly in Aragon and Navarre from the end of the twelfth century, combines indigenous Genesis imagery with a recently imported Christological cycle. The cloister{\textquoteright}s style incorporates both Castilian and Navarrese features, the latter of which can be traced to the Pamplona cloister. Previous scholars have attributed up to twelve additional monuments to the San Juan de la Pena "Master," including works in Aguero, Huesca, Sanguesa, Puente la Reina, Zaragoza and the Cinco Villas. However, the size and diversity of this group suggest the activity of not one artist, but a group of associated sculptors practicing a highly consistent style. The San Juan de la Pena sculptor was perhaps the earliest of these, active between 1175-1190, and thus may have originated the "Pinatensian" style. The cloister{\textquoteright}s precocious iconographic program, its syncretistic blending of local traditions, and the widespread diffusion of its style in Aragon and Navarre reveal San Juan de la Pena as a crucial exponent of the final Romanesque flowering in Spain.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Patton, Pamela A.} } @mastersthesis {7844, title = {Closed Encounters: Female Piety, Art, and Visual Experience in the Church of Santa Maria Donna Regina in Naples}, year = {1994}, school = {Harvard}, abstract = {This dissertation discusses the fourteenth-century Clarissan church of Santa Maria Donna Regina in Naples. Within it is preserved the most complete fresco cycle that was made for an all-female audience in the dawning years of Italian painting. This study reunites these paintings with their female audience by examining their form, style, and content. The introduction situates the critical discussion in which this thesis is placed. The chapter considers the terms for stylistic attribution as well as the relationship of narrative to style. It suggests that a gendered association with certain literary styles with the female, or feminine, may have applied to painting as well. The first chapter presents the documentary materials pertaining to the foundation and to the church{\textquoteright}s rebuilding. These reveal the exclusive patronage of the Neapolitan queen, Mary of Hungary ($\dagger$1323) the great-niece of Saint Elizabeth of Thuringia and mother of Saint Louis of Toulouse. The documents suggest that construction on the church went rapidly and was completed by 1316 and that the fresco cycle that was found in its nuns{\textquoteright} choir was executed shortly thereafter, as part of the original project. The second chapter discusses the complex spatial divisions within the church itself to reveal how its structure and pictorial program responded to the different audiences and functions that took place within it. The subsequent discussion is on the attribution of the church{\textquoteright}s frescoes to the Roman artist Pietro Cavallini. This essay examines the reasons behind the attribution and furthermore analyzes the inadequacy of the terms that have been used to understand the paintings. The attributional reading done here suggests that it was the audience that changed, and not the painters, within the different pictorial areas of the program. It is argued that any artist commissioned to do the series would have responded stylistically to these changes in its public. The final chapter provides an in-depth look at the church{\textquoteright}s patron and of the nuns in order to link them with the unusual series of hagiographic and christological narratives in the nuns{\textquoteright} choir. It also contextualizes the paintings within broader contexts of female piety.}, keywords = {Renaissance Art}, author = {Wolohojian, Stephan} } @mastersthesis {7810, title = {Collecting, Connoisseurship, and the Return to the Past in Early Yuan China: Zhou Mi{\textquoteright}s Yunyan guoyan lu}, year = {1994}, school = {Kansas}, abstract = {In the years immediately following the Mongol conquest of the Song dynasty in 1276, the Chinese market in antique art expanded dramatically. A flood of artworks from the large collections of the former Song imperial and aristocratic families poured onto the market, as the Yuan bureaucratic elite--composed mainly of northern Chinese and Central Asians--eagerly sought to buy into the cultural symbolism of their new political and social status. Zhou Mi{\textquoteright}s (1232-1298) Yunyan guoyan lu, a catalogue of the art collections of the author{\textquoteright}s acquaintances in Hangzhou, forms the foundation for this study. The catalogue is read within its historical frame, revealing the social and political role that art collecting and connoisseurship played in the changing times of the early Mongol conquest. In the day-to-day activities of the elite classes, art collecting provided a social lubricant, a point of contact for men of widely differing backgrounds. Yuan officials and Song loyalists met to show and view their collected items; they argued over points of connoisseurial interest and negotiated the sale and trade of artworks. In addition to functioning as a vehicle of social interaction, art collecting was also a means of social positioning, of expressing status, or of exerting power. Many collectors sought to acquire antique paintings or other objects with easily identifiable or interpreted iconographic content; by writing inscriptions on these works, a collector could project a desired image of himself or comment upon a certain situation in which he found himself. In other cases, we find high-level officials exacting antique art objects as political "gifts" from less powerful colleagues; or wealthy Hangzhou merchants fulfilling their labor service duties by helping to sell-off cultural artifacts confiscated from the Song imperial palaces. The four chapters of this dissertation examine: the sites in early Yuan Hangzhou where collectors met and consumed art; the lives and socio-political trajectories of the collectors; the system of classification and valuation of art objects in the early Yuan; and the exchange and circulation of art within society. A fully annotated translation of the Yunyan guoyan lu follows the body of the dissertation.}, keywords = {Asian Art}, author = {Weitz, Ankeney} } @mastersthesis {7758, title = {Connell, Ward, and Lucas and the Emergence of the British Modern Movement in Architecture}, year = {1994}, school = {Bryn Mawr}, abstract = {This dissertation examines the important contribution of the three-man architectural practice of Amyas Connell (1901-80), Basil Ward (1902-76) and Colin Lucas (1906-84) to the establishment and development of British modern architecture. The three architects worked together from 1933 until 1939, when the outbreak of war forced them to curtail their activities. During that brief period they carved out a reputation for themselves as one of the most daring and experimental architectural firms operating in England. Since then, however, the three architects have fallen from view. The study begins with an examination of the three architects{\textquoteright} early academic training and its effect on their subsequent development. Connell and Ward, who started off as architectural apprentices in New Zealand before going on to London and winning scholarships to the British School at Rome in 1926, studied not only classical traditions of design, but also the recent work of such architects as Le Corbusier and Erich Mendelsohn. At Cambridge University in the mid 1920s, where he took a BA in architecture, Lucas was beginning to experiment with concrete in his designs. These investigations soon led to several milestones: Lucas{\textquoteright}s house at Bourne End in Buckinghamshire (1928), the first reinforced concrete house in England; and Connell{\textquoteright}s "High and Over" house in Amersham, Buckinghamshire (1928-31), the first example of modern British architecture that caught the public{\textquoteright}s attention. In 1933 the three architects consolidated their growing reputations as leading exponents of the new architecture by forming a partnership. The study focuses not only on their significant designs from this period, but also their contribution to the then current architectural debates, including their founding membership in the influential Modern Architectural Research Groups (MARS) and Connell{\textquoteright}s role in the famous radio debate of 1934 with Sir Reginald Blomfield. Of special interest is Connell, ward and Lucas{\textquoteright}s unique contribution to the problem of affordable housing for the poor. The prevailing scholarly view is that during the 1930s British modern architects, despite the best of intentions, failed to make any headway in the field of low-income housing. The findings of my research, however, indicate that Connell, Ward and Lucas did succeed in developing low-cost housing solutions. In their most notable work, the Kent House flats in London (1935), the three architects produced a bold reinforced concrete structure that compares well with anything being done on the Continent from this period. Such works also anticipate the postwar mass housing principles of the London County Council. The last section of the study looks at the work Connell, Ward and Lucas did in the second half of the 1930s, a period in which the three architects expanded their architectural practice and broadened their modern vocabulary of forms. It explores the commercial work they did at Sound City Studios in Shepperton and their decision to model their designs for the Hertford and Newport Civic competitions after Ragnar Ostberg{\textquoteright}s Stockholm Town Hall. This final section also chronicles Connell, Ward and Lucas{\textquoteright}s shift away from reinforced concrete to traditional materials such as brick and wood in their late domestic work, an approach that reflected a growing interest among modernists in Britain and abroad in developing a building solution sympathetic to the local environment.}, keywords = {19th and 20th century Europe}, author = {Esau, Robert J.} } @mastersthesis {7765, title = {Constructions of Cezanne and His Art in Paris, 1886-1901}, year = {1994}, school = {Northwestern}, abstract = {This dissertation studies the construction of the authority and identity of Paul Cezanne during his absence from Paris between 1886 and 1895. In order to reassess the meanings and effects of his practice during the years of his withdrawal, it attends to issues of gender and sexuality in the art and criticism of the artist. The first chapters link the issues raised in the criticism to contemporary theories of subjectivity and sexuality. Chapter 1 traces how the artist was fictionalized and purified in such representations as Emile Zola{\textquoteright}s L{\textquoteright}Oeuvre (1886) and Maurice Denis{\textquoteright} Homage to Cezanne (exhibited 1901) and situates these processes within the shifting gender politics of the Paris art world. Chapter 2 shows that by acknowledging and then disavowing Cezanne{\textquoteright}s economic independence, artists and critics were able to claim the disinterestedness of Cezanne{\textquoteright}s and their own practices. Chapter 3 shows that evaluations of Cezanne{\textquoteright}s artistic identity and authority were often tied to assessments of his manhood, and that over the course of his absence there was a general increase in claims for his "potency." But it also demonstrates the breakdown of stable meaning within and between the texts. The final chapters reassess art historical accounts of Cezanne{\textquoteright}s paintings and show that these accounts have oscillated in their notions of the fluidity or fixity of desire. Chapter 4 situates Cezanne{\textquoteright}s paintings of men and boys within the structures of a homosocial art world, and argues that gaps and incoherences in these portraits were sites for the inscription of homoerotic desire. Chapter 5 examines Cezanne{\textquoteright}s painting L{\textquoteright}Orgie and interpretations of it that rely on theories of touch and vision, to consider how desire and power are figured and function within them. These final chapters ask to what extent recent revisionist accounts of the artist rupture, and to what extent they perpetuate the dynamics and values of Modernism.}, keywords = {19th and 20th century Europe}, author = {Milner, Laurie} } @mastersthesis {7781, title = {Constructions of Childhood}, year = {1994}, school = {Rochester}, abstract = {This dissertation comprises six case studies that examine particular constructions in word and image of the child. The children it puts into play differ so radically as to constitute incommensurate beings thereby revealing the concept of childhood to be unstable, provisional, constructed and changing. Chapter one takes up the anti-abortion movement{\textquoteright}s definition of the fetus as autonomous child. I argue that this formulation violates the rights of the pregnant woman from whose body and life the fetus cannot be divorced physiologically or ethically. I interpret the history of anatomical illustration and two Hollywood science-fiction films as diverse aspects of a masculinist ideology which serves to maintain "the right to life" as the prerogative of the male despite the fact that women, not men, bear children. My second chapter addresses the vexed issue of Lewis Carroll{\textquoteright}s erotic relations with young girls in such a way as to relate his literary achievement with the most troubling aspects of his photographic practice. I interpret his texts, drawings and photographs as creative productions which bear the traces of child sexual abuse, both suffered and inflicted. My third chapter counters the prevailing interpretation of Hine{\textquoteright}s child-labor photographs as enacting an exemplary, exchange between a Progressive reform photographer and his working-class subjects. I argue that this work constitutes an ideological expression of a middle-class conception of the child as an economically useless yet emotionally priceless being. Chapters four and five examine how Freud{\textquoteright}s case histories of Dora and the Wolf-Man portray childhood as a joint reconstruction of analyst and analysand. I reassert the importance of an intersubjective family history which Freud downplays in favor of a theoretically productive yet narratologically oppressive explication of the individual psyche. My last chapter takes up the figure of the wild child, who, without language, remains closer to animal than to human nature. At stake in the effort to teach the wild child to speak and write are competing theories about children, language and pedagogy. These children are all changelings and thus allow childhood to be conceived in tension with whatever threatens or promises to come into being in its place.}, keywords = {Art Criticism and Theory}, author = {Dimock, George} } @mastersthesis {7818, title = {A Contemporary Keepsake: English Medieval Pilgrim Souvenirs and Popular Culture}, year = {1994}, school = {Kansas}, abstract = {Among the most coveted, sought-after objects of the Middle Ages were religious memorabilia voraciously collected by pilgrims on their journeys. Although these inexpensive souvenirs were usually made of common materials such as lead, tin, and paper, popular belief in legends elevated them from the mundane to the magical. Tales of miracles transformed these mementoes into secondary relics that could cure illness, ensure salvation, and ward off evil. This dissertation combines two approaches to the study of pilgrim souvenirs. The first is a general overview of pilgrim souvenirs as a mass phenomenon, including their cultural context, their place in religion, and the technical issues associated with their production. This is the first time that such a survey has been done, and it should serve as an introductory point for art historians. The second approach is a focused, art-historical case study of pilgrim souvenirs made at Canterbury Cathedral in England. My research of the pilgrim souvenirs of Canterbury Cathedral has led me to the following significant conclusions: (1) the design of pilgrim souvenirs closely imitated the reliquaries, tombs or shrines, and imagery surrounding these objects of veneration within the cathedral. Pilgrim souvenirs reveal glimpses of the decoration and shape of the tomb and shrine of St. Thomas Becket, which have long since been destroyed. The head reliquary of St. Thomas and even stained glass windows depicting his miracles were worthy of emulation in souvenirs. (2) The cult of St. Thomas Becket changed significantly in the fourteenth century, reflecting the growth of mass pilgrimage in the form of pilgrim souvenirs. Ampullae containing blood-tinged Canterbury Water were replaced by the even more popular badges, reflecting a deep change in attitude towards what kind of pilgrim souvenir could impart relic-like power. Iconography of pilgrim souvenirs also points to heretofore unknown aspects of worship within the cult.}, keywords = {Early Christian, Byzantine, and Medieval}, author = {Blick, Sarah} } @mastersthesis {7790, title = {A Contextual Study of Thomas Anshutz{\textquoteright}s Art and Teaching}, year = {1994}, school = {Delaware}, abstract = {This dissertation is the first comprehensive study of the art and teaching of the Philadelphia painter Thomas P. Anshutz (1851-1912). Scholars have previously concentrated on the limited range of Anshutz{\textquoteright}s works that closely resemble those of his teacher, Thomas Eakins. Such a selective examination offers a distorted, monolithic record of Anshutz{\textquoteright}s art. Encompassing a wide range of styles and themes, Anshutz{\textquoteright}s work is in fact as diverse as that of any American artist of his era. Although his portraiture retained a well-crafted realism throughout his career, Anshutz concurrently experimented with Impressionist- and Nabis-inspired styles in his watercolors, pastels, and oils. One chapter of the dissertation focuses on the artist{\textquoteright}s best-known painting, The Ironworkers{\textquoteright} Noontime. The image is examined according to a socio-historical perspective in an attempt to place it within a broader cultural context. The chapter explores the anomalous nature of this painting{\textquoteright}s treatment of the factory theme. Focusing on the men as individuals, Anshutz discarded the accepted representation of industrial workers in the Vulcan-at-the-forge tradition. By consciously ignoring popular stereotypes of ironworkers, and instead depicting the men at a noontime work break, Anshutz undercut any sense of the horrific or melodramatic. The dissertation also examines Anshutz{\textquoteright}s career as a teacher at the Pennsylvania Academy of the Fine Arts. Instructing such future artists as John Marin, Charles Demuth, Robert Henri, William Glackens, and John Sloan, Anshutz acted as an important link between his own instructor, Thomas Eakins, and The Eight of 1908 and as a catalyst for the beginnings of early American modernism in Philadelphia. He effectively encouraged his students to develop their own artistic vision.}, keywords = {Art of the United States and Canada}, author = {Griffin, Randall C.} } @mastersthesis {7802, title = {The Cult of Votive Tablets in Thailand (6th to 13th Centuries)}, year = {1994}, school = {Cornell}, abstract = {This thesis focuses on the cult of votive tablets in Thailand (sixth to thirteenth centuries). My intention is to conduct an extensive study of the iconographic and stylistic development of the tablets and on the changes of philosophical ideas and religious forms. Geographic movement of this cult in Thailand began approximately in the sixth century. Prior to the Thai periods the cult of votive tablets was practiced differently in each region; however, by the fourteenth century under the Sukhothai dynasty, this cult was practiced more uniformly. This thesis is divided into nine chapters. Chapter I (Introduction) introduces the subject and discusses its historiography. Chapter II focuses on an introduction of Buddhism to Southeast Asia and on schools of art in Thailand from the sixth to the twentieth century. Chapter III concentrates on the origins of the cult of votive tablets in India with the emphasis on the Pala and Sena periods (eighth to twelfth century) and the Pagan period of Burma (eleventh to thirteenth century). The study of stylistic and iconographic development is divided into four regions: the Central Plain (chapter IV), the Peninsular Region (chapter V), the Northeast Plateau (chapter VI) and the Northern Region (chapter VII). In each region geographical and historical factors are featured in the introduction of each chapter. The stylistic and iconographic development are established by the study of tablets recovered from the largest sites. Chapter VIII focuses on the Khmer hegemony in all regions in Thailand (Tenth to Thirteenth Century), starting with the Central Plain, and following with the Peninsular Region, the Northeastern Plateau and the Northern Region. Chapter IX (Concluding Remarks) summarizes important observations regarding this study of the cult of votive tablets in Thailand.}, keywords = {Asian Art}, author = {Chirapravati, Pattaratorn} } @mastersthesis {7764, title = {The Cultural History of M. Mayeux in 19th-Century French Art and Literature}, year = {1994}, school = {Minnesota}, abstract = {As a study on the appearance and significance of the hunchback Mayeux in art and literature during the July Monarchy, this dissertation examines how an example of an image used in mass culture was immediately recognized by a popular audience in the media of lithographic prints, literature, decorative art objects and the theater. The origins and the significance of this character, including the extent and the reasons for his popularity and location of his audience are discussed. His development as an icon is probed and his appearance is traced in the various media. Mayeux{\textquoteright}s participation in events that comment on social, cultural, historical and political nature of July Monarchy society is described. In addition, the mutation of the figure{\textquoteright}s intent from his origin, to his disappearance in 1893 in original literature, and during his continuing re-evaluation from 1833 to the present day is recounted. Mayeux was a unique "type" capable of addressing a diverse public on several levels simultaneously; he was literally designed to serve this purpose. His physical form aided in the ability to act as both a mocker and one who can be mocked as a scapegoat. The various artists and literati who "used" Mayeux could relax in their anonymity but could also "fine tune" the hunchback{\textquoteright}s characteristics to fit their own purpose. The ambiguities inherent in his physical and psychological characteristics further aided those individuals who had a product to sell or a message to get across. Sexual innuendo could be and often was layered into the prints, adding another meaning below the surface. Mayeux became a humorous "everyman" for the largest portion of the population in France: the lower-middle and lower classes. His physical form corroborated the unease and anxiety within this society. Mayeux could be viewed as an "enfant du siecle" corrupted and deformed by the anxieties of modern society. A large part of Mayeux{\textquoteright}s popularity was fueled by his ability to function in two major ways: to educate and agitate on the one hand and to entertain on the other.}, keywords = {19th and 20th century Europe}, author = {Menon, Elizabeth K.} } @mastersthesis {7806, title = {Decolonizing Ceylon: Society and Space in Sri Lanka}, year = {1994}, school = {Binghamton}, abstract = {This dissertation addresses the social construction, institutionalization, and contestation of space with special reference to Sri Lanka. It has two principal objectives: first, to develop a broad historical and theoretical framework within which to investigate the spatial constitution of European expansion and colonialism, as well as decolonization and the formation of independent states in the postcolonial periphery. Included in these processes are the spatial organization of political, economic, and cultural systems, their constituent territorial and settlement structures, and urban and building forms. The second objective is to study, within this framework, the ways in which the spatial order and built environment of Sri Lanka have been transformed by the independent nation state, private capital, and other factors, and the effects of these transformed spatial relationships on Sri Lankan society and culture. Implicit in these objectives is the selective utilization of appropriate theoretical models and approaches, including the world-systems perspective (in relation to Sri Lanka{\textquoteright}s changing place in the world-economy over time), theories of colonial urbanism (in regard, for example, to questions of dependent urbanization, port city development, and the social and cultural dimensions of urban/spatial form), discourse theory (in regard to the derivation and circulation of discourses in architecture and planning), and theories of landscape interpretation. The dissertation argues that society and space are produced and reproduced together, making "society and space" a crucial area of study. It suggests that the social, political, economic, and cultural spheres and the spatial scales at which they operate--local, urban, regional, national, and global--do not determine each other as assumed by some contemporary theorists; they rather articulate with, and influence each other in a semi-independent way. Hence, changes in the forms and space of cities, architecture, and territories of Sri Lanka or, indeed, any other society, are best understood by reference to their larger spatial and temporal contexts as well as the more immediate political, economic, and cultural systems of which they are a part.}, keywords = {Asian Art}, author = {Perera, Nihal} } @mastersthesis {7815, title = {The Development of Catherine of Austria{\textquoteright}s Collection in the Queen{\textquoteright}s Household: Its Character and Cost}, year = {1994}, school = {Brown}, abstract = {This study is an investigation and interpretation of the Kunstkammer and collection of Catherine of Austria (1507-1578), youngest sister of Charles V and Queen of Portugal. Neglected by Portuguese historians and art historians alike, a wealth of unpublished material (correspondence, inventories, household records, payment accounts and receipts) in the Archivo Nacional da Torre do Tombo in Lisbon have revealed that the Portuguese Queen owned the largest collection of exotica and oriental ware in Europe, during the first half of the sixteenth century, and was an active patron. The mechanics of the Queen{\textquoteright}s household and court within the context of ceremonial and etiquette, and its relation to her collection, collecting activities and practices are examined, as are the artists, goldsmiths, craftsmen and artisans patronized at the Lisbon court. Transcriptions and translations of six royal inventories and a catalogue of over 400 related documents (with annotated notes) from 1525 to 1570 are provided in the appendices, including a glossary of sixteenth century terms. A preliminary reconstruction of the contents of the Queen{\textquoteright}s collection housed in the Lisbon palace, and its expenditures is made. Catherine{\textquoteright}s collecting practices bridged two traditions: the medieval treasury (Schatzkammer) and the cabinet of curiosities (Wunderkammer). Her goal, highly personal and eclectic, was not to collect in an encyclopedic fashion. Aside from costly objects, a portrait and tapestry collection was assembled, prefiguring the portrait galleries in sixteenth-century Spanish royal residences. Catherine{\textquoteright}s collection became a personal reflection of her status as Queen, while its importance lay in its administration and organization, unique among her contemporaries. Questions of common patterns of patronage and collecting among Habsburg queens, regents and princesses in the sixteenth century are raised, and in what manner Catherine of Austria{\textquoteright}s collection fits into this context, that of collecting in sixteenth-century Portugal and other contemporary Renaissance princely collections. The analysis of Catherine{\textquoteright}s documentation provides facts about these patterns and offers more about collecting practices from the mid- to late sixteenth century.}, keywords = {Baroque and 18th-Century Europe}, author = {Jordan, Annemarie} } @mastersthesis {7853, title = {Disegno, Colore, and the Disegno Colorzto: The Use and Significance of Color in Italian Renaissance Drawings}, year = {1994}, school = {Harvard}, abstract = {The present essay examines a diverse group of Italian Renaissance drawings that are united principally by their use of color as a descriptive tool. Colored drawings, made by artists as influential as Leonardo, Raphael and Parmigianino, are vital to our understanding of both working methods and aesthetics in fifteenth- and sixteenth-century Italy. While the concepts of color (colore) and drawing or design (disegno) have received a great deal of attention in the literature from the Renaissance to the present, they have usually been discussed within the context of painting. The role of colore within the medium of disegno, however, has rarely been addressed and has never been the subject of a systematic study. The structure of this essay accommodates the breadth and diversity of the subject matter by considering it from a number of different perspectives. In Chapter One, the Renaissance concept of disegno as well as the media and techniques involved in the creation of colored drawings will be discussed. Chapter Two takes function as its subject, exploring the use of colored media in several different types of drawings, including demonstrations for the patron, preparatory designs and copies after other works. Chapter Three addresses the paradox presented by the survival of a greater number of colored drawings from Central Italy as opposed to Venice, and Chapter Four considers the variations in the use and appearance of colored drawings from other regional schools, including Lombardy, Emilia, Umbria and Rome. In Chapter Five, discussion centers on the new popularity of color in drawings in the second half of the Cinquecento; particular attention is given to Federico Barocci, Jacopo Bassano and Giovanni de{\textquoteright}Vecchi. While the five chapters do not neatly advance the development of an all-encompassing thesis, they offer a comprehensive picture of a body of material whose importance for the study of Renaissance art has gone largely unrecognized.}, keywords = {The Renaissance}, author = {McGrath, Thomas} } @mastersthesis {7843, title = {Door tsoecken men vindt{\textquoteright}: A Reintroduction to the Life and Work of Peeter Baltens alias Custodis of Antwerp (1527-1584), 3 vols.}, year = {1994}, school = {Case Western Reserve}, abstract = {This study represents the first thorough attempt to analyze the life and complete artistic output of Peeter Baltens, a much neglected and misunderstood artist about whom very little was known. Literature on Baltens is surveyed in Chapter I. The next two chapters assess new information about Baltens{\textquoteright} biography. Events up to 1570 are analyzed in Chapter II, which begins with a discussion of Baltens{\textquoteright} father, Balthazar (I) Custodis, while Chapter III deals with Baltens{\textquoteright} life up to his death in 1584, and with other pertinent matters up to the end of 1593. Chapter IV looks at the lives of Baltens{\textquoteright} twelve children and the family of his brother Melchior, a genealogy of Baltens{\textquoteright} family comprises Chapter V, while Chapter VI provides a biographical overview of Baltens{\textquoteright} activities as a painter. My views on why Baltens should not be regarded as a Bruegel copyist or follower are outlined in Chapter VII. Some of the important contributions made by this dissertation are highlighted in Chapter VIII which also includes additional observations and conclusions about Baltens{\textquoteright} life and work. Supporting the text are two appendices. Appendix I contains transcriptions of 120 documents relevant to Baltens or to some member of his family. Appendix II gives the text of five poems or songs composed by Baltens and one poem written about him during his lifetime. A four-part bibliography concludes Volume I. Four separate catalogues, in which Baltens{\textquoteright} corpus is defined, make up Volume II. Every work known to me that has ever had Baltens{\textquoteright} name attached to it is listed. The Catalogue of Paintings, which has six main divisions, contains 191 entries only 13 of which represent surviving works by Baltens. The 78 entries in Catalogue B deal with prints Baltens designed or engraved, while Catalogue C, which lists engravings Baltens published, has 77 numbers. Baltens{\textquoteright} drawings are covered in Catalogue D which has 16 main entries and 12 more in an addendum. Volume III contains 310 illustrations which reproduce the majority of the works discussed in the catalogues.}, keywords = {Renaissance Art}, author = {Kostyshyn, Stephen J.} } @mastersthesis {7824, title = {The Douai Psalter and Related Manuscript}, year = {1994}, school = {Yale}, abstract = {This dissertation is a study of a group of English manuscripts illuminated in the 1330s and 1340s. The central focus of the thesis is MS 171 of the Bibliotheque Municipale in Douai, France. The Douai Psalter was severely damaged during the First World War and has been little studied since. The first five chapters of this dissertation constitute a reconstruction of the Douai Psalter which incorporates evidence from the manuscript as it exists today and from several brief studies of it published before 1914. The conclusions drawn from this reconstruction are based on evidence from codicological and textual data, the iconography and style of the miniatures and an ownership inscription, and suggest that this book was made in Norwich in the late 1330s, and that several others closely related to the Douai Psalter were also made in Norwich and date from various points between c.1335 and c.1345. The manuscripts in the Douai Psalter group include: the Gorleston Psalter, the Trinity Bede, the St Omer Psalter and the Ormesby Psalter. The final two chapters build on these conclusions and examine the evidence for Norwich as a center of manuscript production in the late thirteenth and early fourteenth centuries. Surviving East Anglian illuminated books are compared to those in the Douai Psalter group, and a complex network of stylistic and textual interrelations emerges. The civic documents of the city of Norwich of c.1275-c.1350 are presented as a means of determining the presence of artisans involved in the book trade in Norwich at that time; the data drawn from these is analyzed and a picture of the Norwich book trade in the years around 1300 is drawn. The final chapter makes use of the account rolls of Norwich Cathedral Priory, undoubtedly the wealthiest patron of the arts in Norwich during the period under consideration. The production and purchase of books within the priory is charted through the expenditures which appear in rolls, as well as through surviving evidence, in the form of both documents and books, of the Cathedral Priory{\textquoteright}s library and its contents.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Hull, Caroline} } @mastersthesis {7792, title = {E. J. Eckel (1845-1934): A Beaux-Arts Architect in Practice in Missouri}, year = {1994}, school = {Missouri}, abstract = {Architect E. J. Eckel (1845-1934) studied in his native country at the Ecole des Beaux-Arts, Paris, emigrated to the United States when he was 23, and pursued his career in St. Joseph, Missouri, from 1869 until his death in 1934, a sixty-five year period in which he achieved national attention. This study includes not only the familiar elements of the traditional art historical monograph--biography, artistic evolution, and catalogue raisonne--but also focuses on the theme of partnership-practice. The study explores how Eckel, influenced by his education and experiences at the Ecole des Beaux-Arts, managed his own practice in St. Joseph much like a French atelier, or studio, and contributed designs for most of the outstanding buildings in the city. Eckel{\textquoteright}s childhood in Strasbourg and his educational background at the Ecole des Beaux-Arts are traced to determine how his career as an architect took form. His motives for immigrating are linked to rising employment opportunities in St. Joseph--a growing midwestern river town and gateway city. The partnership-practice issues address the state of the architectural profession in the United States at the time of Eckel{\textquoteright}s arrival and his relationships with his numerous partners, the roles his partners played in design and construction, his participation in actual preparation of drawings and plans, his relationships with his clients and how those clients affected the building types (functions), sizes, and designs his firm produced, and Eckel{\textquoteright}s role as creative business manager, mentor, and designer. Primary sources, especially those office records produced by Eckel{\textquoteright}s firms during his productive career, as well as the typical secondary sources, offer evidence about Eckel{\textquoteright}s role as an architect and the success of his firms. Interpretation and analysis of these materials reveals how he contributed to the development of American architecture, namely in St. Joseph, as he participated in the community{\textquoteright}s evolving image of itself. An unillustrated catalogue raisonne presents an inventory of his firms{\textquoteright} work and provides the framework for future analysis of Eckel{\textquoteright}s architectural achievements, building by building.}, keywords = {Art of the United States and Canada}, author = {Prawl, Toni} } @mastersthesis {7760, title = {The Early High-Rise in Germany: A Study in Modernism and the Creation of a Modern Metropolis}, year = {1994}, school = {Ohio State}, abstract = {Although German high-rises of the Weimar Republic were plentiful and important in the history of German urban development, they have been virtually ignored in discussions of Weimar urbanism. This dissertation seeks to restore some knowledge of tall buildings in Weimar, Germany. The survey begins with buildings of about 1919 and concludes with some structures of c. 1933. The documents reveal a distinct development of structure and placement through the decade of 1919 to 1993, owing little if anything to American prototypes. Because of this, I must conclude that the German high-rise building tradition was a wholly indigenous phenomenon, a nearly pure outgrowth of German tradition. The documents reveal a strongly nationalist flavor in many cases and this has been used to build a case for a conscious program of nationalist Weimar architecture and urban design, despite the instances of strong opposition to tall structures. During the Weimar period, the actual building of structures varied according to the resources available to the builders, and also probably to the political will needed to drive such projects through to completion, therefore making development uneven. Problems that remain unanswered include questions of patronage, clear only in some cases, and legal issues pertaining to land ownership. It also remains to be seen which structures are still standing, and which have been lost due to damage from the Second World War or subsequent destruction or alteration.}, keywords = {19th and 20th century Europe}, author = {Gibson, Jeffrey L.} } @mastersthesis {7782, title = {The Engineering of Vision from Constructivism to Virtual Reality}, year = {1994}, school = {Rochester}, abstract = {The dissertation presents a history of modern ideas about vision. It assumes that vision is not a timeless concept; rather, each period understands vision differently depending on how it is used. In the twentieth century, vision acquired new social roles as the medium of mass communication and the instrument of labor, and, as any other productive tool, it was subjected to engineering, rationalization and automation. Such new disciplines as applied experimental psychology, advertising design, communication engineering, film, and robotics continue to search for ways to exploit vision productively. In the process, they generate new knowledge about vision, at the same time reducing it to a few disjointed and limited models. The dissertation chapters follow the development of four such models: vision as a code, vision as a means of logical reasoning, vision as a way to capture spatial information, and vision as information processing. Methodologically, I treat the ideas about vision as integrally related to the functions of vision in modernity, its uses in the workplace, on the battlefield, in the classroom. Historically, I describe two stages of the engineering of vision. In the early part of the century this engineering focuses on human communication (the human as the subject of mass propaganda and mass entertainment). The second stage begins after WW II with the shift toward the information society, when the processing of information takes precedence over industrial production. Human vision becomes the key instrument of post-industrial labor as the channel of communication between human and machine. Thus, the dissertation begins with the scene of heated debates among Soviet constructivists in the early 1920s on how to rationalize vision as means of mass communication. It ends with the recent research by cognitive scientists and engineers at MIT and NASA on more efficient human-machine interfaces such as virtual reality. This is the history of modern vision--the history of its engineering.}, keywords = {Art Criticism and Theory}, author = {Manovich, Lev} } @mastersthesis {7776, title = {Eva Gonzales (1849-1883): An Examination of the Artist{\textquoteright}s Style and Subject Matter}, year = {1994}, school = {Ohio State}, abstract = {Little has been written about the life or work of Eva Gonzales (1849-1883) until quite recently, making it difficult to place her into the context of her era, to comprehend her stylistic development and to understand the content of her oeuvre. Within the context of my dissertation, I will establish her rightful position in the history of art--biographically, stylistically, iconographically and iconologically. By examining both written and visual information concerning her relationships with family and colleagues a more complete understanding of the artist is possible. Besides exploring museum files, various contemporary essays concerning Eva Gonzales{\textquoteright} works, generally made in comparison to her colleagues, as well as its past critical reception, I also viewed as many of her works as possible to gain a direct appreciation of the quality of her work and her progressive developing style. In this dissertation, her subjects and their content will be studied. Her style and its development will be set forth. Her individuality as an artist will be defined, especially in comparison with that of others, both male and female. Eva{\textquoteright}s sister, Jeanne, will be identified as the subject of her major exhibited works. The discussion on stylistic development is a general survey of art education for women in France during the nineteenth century, examining Eva{\textquoteright}s, in particular. It clarifies the environment in which Eva learned and developed as an artist and what opportunities for success she had. Examined are the teachers with whom she studied, Charles Chaplin and Edouard Manet, their influence upon her style and subjects. Alfred Stevens{\textquoteright} and Edgar Degas{\textquoteright} influence will also be demonstrated. Eva chronicled her sister{\textquoteright}s life, creating an intimate biography in paint and pastel. The role her sister played in Eva Gonzales life, art and accomplishment is defined and essayed. It is here that Eva{\textquoteright}s individual creativity come to be most deeply appreciated and most profoundly comprehended. Through this study I discovered that no woman painter, other than Eva, only featured her sister in a series, and that these constitute her major exhibited pieces. This is the most innovative approach and discovery concerning Eva Gonzales{\textquoteright} work.}, keywords = {19th- and 20th-Century European Art}, author = {Grant, Carol} } @mastersthesis {7789, title = {"The Fair as a Spectacle": American Art and Culture at the 1893 World{\textquoteright}s Fair}, year = {1994}, school = {Yale}, abstract = {The focus of this dissertation is the visual culture of the World{\textquoteright}s Columbian Exposition, held in Chicago in 1893. Designed to showcase American achievements in all areas of human endeavor, the fair served as a glittering display and bustling marketplace for the products of American capitalism. At the same time, it was intended as a persuasive testimonial to the nation{\textquoteright}s cultural and aesthetic achievements. Despite their aura of conceptual disparateness, these two themes--which boil down to art and capital--were intimately entwined throughout the fair. In this dissertation I draw upon contemporary and historical theories of spectacle to analyze the intersection of aesthetic and commercial concerns at the fair. This conjunction produced a culture of display where illusionism and deception were at a premium, and where use value and exchange value were eclipsed by a more purely representational value. The centerpiece of the fair{\textquoteright}s display of national aesthetic achievement was the exhibition of American painting and sculpture in the Fine Arts Palace. Works by Thomas Eakins, Winslow Homer, George Inness, and John Singer Sargent appeared together with paintings and sculptures by artists who were well-established or rising stars at the time but whose names, by contrast, are unfamiliar today. This dissertation examines the form and content of all of these works, by well-known and less well-known artists alike, in relationship to the social and political forces operating throughout the fair itself, and by extension to related developments in American culture at large. The works of art are contextualized with the wide range of exhibits and performances staged around the fairgrounds, from anthropological tableaux to farm products, from historical artifacts to contemporary consumer goods, as well as with the fair{\textquoteright}s architecture and landscape design.}, keywords = {Art of the United States and Canada}, author = {Dillon, Diane} } @mastersthesis {7753, title = {Fernand Leger and the Spectacle of Objects}, year = {1994}, school = {Yale}, abstract = {Fernand Leger{\textquoteright}s reputation as a painter rests on his special engagement with the artifacts and products of a mechanized culture. Ordinary things--often industrial, but also organic--functioned in his work as prime elements of subject matter, and also provided the painter with models of visual style. Most of all, Leger was interested in the novel modes of perceptual and esthetic experience that, he believed, corresponded to the proliferation of mass-produced things within the human environment. The artist took up this phenomenon, which he named the "spectacle of objects," and used it both to define the terms of his own painting and, simultaneously, to justify the pertinence of that practice to the developing conditions of modernity. This dissertation argues that the concept of object-spectacle formed the rhetorical, operational, and ideological core of Leger{\textquoteright}s art and thought. In four chapters, this thesis examines the development and evolution of Leger{\textquoteright}s art and ideas in the 1920s and 1930s. Leger{\textquoteright}s work is presented within its various cultural contexts and in reference to debates on modernism circulating in the international artistic community between the two world wars. Chapter 1 presents Leger{\textquoteright}s esthetic of objects during the moment in which it was fully codified, the early 1920s. Based on a selective analysis of Leger{\textquoteright}s critical reception during the later 1920s and early 1930s, the second chapter articulates the principle esthetic and ideological dilemmas generated by Leger{\textquoteright}s work after the close of the period associated with Cubist painting in France. Chapter 3 traces Leger{\textquoteright}s own reassessment of technical and conceptual matters during the early 1930s, a moment widely associated, in its own time, with a profound crisis in French society and culture generally, and modernism in particular. Concerning the later 1930s, the final chapter elucidates the specific dilemmas that accompanied Leger{\textquoteright}s deployment of his esthetic of objects within the institutions of Popular Front culture in France.}, keywords = {19th and 20th century Europe}, author = {Matthew Affron} } @mastersthesis {7804, title = {Film and Political Advertisements of South India: Urban Spectacle, Popular Culture, Third World Industry}, year = {1994}, note = {fourth advisor: T. Gabriel}, school = {UCLA}, abstract = {This dissertation focuses on the production, reception and imagery of spectacular, hand-painted film and political advertisements displayed predominantly along main roads and cinema theater entrances in the city of Madras, in the southern state of Tamilnadu, India. The advertisements, sometimes as large as seventy feet in height, attract attention by their sheer size, photo-realist imagery, vivid colors and hybrid content. Whereas, indigenous educated elites and international academics have chosen to ignore these works or dismiss them as a {\textquoteright}virtual obliteration{\textquoteright} of India{\textquoteright}s artistic heritage, the author argues that these objects and practices arise from, and address, the paradoxes of emergent, specifically post-colonial, societies and that scholars should turn sustained and critical attention upon such manifestations of Third World popular visual culture. Analyses of this study are based on ethnographic field research on the production and reception of the advertisements and extensive photographic documentation of the images. Field data includes three types of interviews: nineteen interviews were conducted with the artists, twelve with their financiers and one hundred interviews, in a questionnaire format, with the film-going public in Madras. Research establishes that among this artist community there exists a philosophy of art that pragmatically integrates theories about creativity, standards of craftsmanship and investment of labor. Their negotiation of art and commerce is different from that of {\textquoteright}high culture{\textquoteright} practitioners who commonly perceive the relation as a dichotomy. By studying the film and political advertisements together, it became clear that in this social context, religious practices, political ideology and the reception of popular visual imagery are often part of the same cultural process. This perspective aided in comprehending the pivotal role of the advertisements in disseminating and regenerating the ideology of local political parties. Close analysis of the syncretism in content and style of particular advertisements revealed an inventiveness of popular cultural forms, their capacity for creative adaptation to changing social, political and economic conditions, their ability to survive while other, more traditional, less adaptive cultural practices are gradually eroded.}, keywords = {Asian Art}, author = {Jacob, Preminda S.} } @mastersthesis {7826, title = {The Former Cluniac Priory Church at Paray-le-Monial: A Study of Its 11th- and 12th-Century Architecture and Sculpture}, year = {1994}, school = {Yale}, abstract = {This monographic study of the former Cluniac church at Paray-le-Monial (Saone-et-Loire) in southern Burgundy examines the architecture of the church and its relation to local, regional and international architectural currents of the eleventh and twelfth centuries. This work sheds new light on its construction history. Most importantly, its close analysis of Paray{\textquoteright}s masonry and sculpture reveals that the church was constructed in two phases. The earliest phase is shown to have been begun ca 1120 and is related to the latest work in the nave of the third abbey church at Cluny. On the basis of masonry technique and capital types, the second phase is shown to date to the late twelfth and the early thirteenth centuries. The sparse documentary evidence for Paray from this period is found to support these dates for the two phases. This study also shows that the predominant capital type at Paray was used both at Cluny and at the Cistercian abbey at Fontenay and that the marginal use of figural sculpture at Paray reflects contemporary discussion concerning the appropriateness of images in monastic contexts.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Kerr, Minott} } @mastersthesis {7783, title = {George Tooker and the Modern Tradition}, year = {1994}, school = {Kansas}, abstract = {In this dissertation I survey the ideological and pictorial interests of the twentieth-century American painter George Tooker. Tooker{\textquoteright}s figurative style offered an alternative to abstraction, specifically Abstract Expressionism, for expressing the cultural concerns of American artists and intellectuals after World War II. Through his art, Tooker expressed his distaste for capitalism and the industrialization and bureaucratization that such an economic system created. He believed that both capitalism and urbanization contributed to the breakdown of community. Critiques of capitalism and industrialization were also common among his intellectual contemporaries, including many Abstract Expressionists. Intellectuals at mid-century believed that psychological anxiety was a major impetus for the disintegration of community and other world problems. The unconscious workings of the mind were thought to hold the answer for understanding contemporary social ills. At mid-century, intellectuals began to use psychoanalysis as one approach to understanding human motivations and behavior. Critics interpreted both Tooker{\textquoteright}s works and those of the Abstract Expressionists in light of psychoanalysis. Tooker suggested that the ordinary person can transcend the drudgery of his everyday existence through psychological self-realization and spiritual contemplation. Often, however, Tooker depicted as unable or unwilling to discover inner strength or harmony. Some people he portrayed in moments of tranquil happiness while others he depicted in utter despair. Tooker{\textquoteright}s figures may be described as living faced with an existential dilemma. The existential themes of fear, alienation, courage, and the sublime were present in both Tooker{\textquoteright}s work and in Abstract Expressionism. While scholars typically have considered figurative and abstract styles to be mutually exclusive due to formal differences, by focusing on thematic interests, this dissertation has found similarities between at least one figurative painter and the Abstract Expressionists. Tooker{\textquoteright}s figurative style offered an alternative formal solution for expressing post-war concerns.}, keywords = {Art of the United States and Canada}, author = {Baker, Susan} } @mastersthesis {7755, title = {Gerhard Richter: Painting after the Subject of History}, year = {1994}, school = {CUNY}, abstract = {This dissertation examines the historical transition of Gerhard Richter{\textquoteright}s work from the aesthetics of an East German Socialist Realist artist to an identification with the Neo-Avantgarde prevailing in Western Europe and the United States in the 1960{\textquoteright}s. Within this historical framework, numerous theoretical questions are developed: how does the post-war generation of German artists relate to the pre-war avantgarde legacies and how does this generation respond to the particular difficulties of the representability of history? Furthermore the thesis examines how Richter reworks certain pictorial conventions (e.g., the Nude or the Portrait) and juxtaposes them in a continuous process of interrogation with the conventions of modernist painting (e.g., the monochrome and gestural abstraction).}, keywords = {19th and 20th century Europe}, author = {Benjamin Buchloh} } @mastersthesis {7775, title = {Government Architecture and British Imperialism: Patronage and Imperial Policy in London, Pretoria, and New Delhi ( 1900-1931)}, year = {1994}, school = {Northwestern}, abstract = {This study explores the relationship between British state architectural patronage, imperialism, and concepts of political authority. It is a political history which compares how four politicians worked with eminent Edwardian architects on three monumental architecture and town planning schemes in England, South Africa, and India. Through a comparative analysis of the planning, production, and reception of these projects--the Victoria Memorial and Mall in the heart of royal London by Aston Webb and Thomas Brock; the Union Buildings in Pretoria by Herbert Baker with the help of Edwin Lutyens; and New Delhi by Lutyens and Baker--I demonstrate how these schemes were intertwined with the politics of imperialism and colonial nationalism. Local crises of government authority prompted politicians to make substantial changes to existing urban symbolism. Architects re-imagined classical architectural traditions to transform existing urban spaces into elaborate ritual complexes with imposing government buildings at the center. These complexes functioned as impressive backdrops for the glitter of state sponsored ceremonies, inviting viewers to revel in lavish displays of government power and cultural control. Here, viewers were encouraged to imagine themselves as loyal subjects of the British Crown. Even as patrons intended these projects to underscore authority, such symbolism could be appropriated by a variety of social groups with their own political agendas, ranging from agitation aimed at increasing or decreasing the scope of imperial power and policy to Indian and Afrikaner nationalist demands for the total dissolution of such power.}, keywords = {19th- and 20th-Century European Art}, author = {Christensen, Ellen A.} } @mastersthesis {7845, title = {Hendrick Goltzius and RudoIfine Mannerism in the Graphic Arts}, year = {1994}, school = {Michigan}, abstract = {From 1580 to 1630 a distinctive figural style flourished in the visual arts in central and northern Europe, one favored by artists in the employ of the Holy Roman Emperor Rudolf II (r.1576-1612). At his Bohemian Court this monarch gathered a group of artists known as the Prague School, whose art is often described as Rudolfine. The most important artist for the development and practice of the style was the Flemish-born painter Bartolomaus Spranger. Rudolfine Mannerism in printmaking, and its rise to the height of fashion in the Low Countries during the 1580s, is the subject of this study. The dissertation begins with a survey of Italianism in Netherlandish printmaking of the preceding generations, which provided the foundation and impetus for Rudolfine Mannerism. A discussion of the evolution of the style focuses on the influence of Italian art on Spranger, especially the work of Parmigianino and Giovanni da Bologna. At the Prague Court Spranger{\textquoteright}s paintings grew ever more rarified and exquisite as their content became increasingly recondite and often erotic, befitting the Emperor{\textquoteright}s personal tastes. The Rudolfine style crystallized in printmaking at Haarlem, where it was preferred by a group of innovative artists who freely shared ideas and imagery. Italian art and aesthetics were the ultimate authority for these artists. Often called the Haarlem Academy, this group had three principals: the aesthetician Carel Van Mander, the painter Cornelis Cornelisz. van Haarlem, and the engraver Hendrik Goltzius. When this group adopted an elegant Mannerism based on Spranger{\textquoteright}s style, Goltzius developed a virtuosic engraving technique to match it. He wielded the burin with extraordinary precision and bravura, to engrave swelling calligraphic lines that became his trademark. The mastery and style of these works made Goltzius the most famous and influential European printmaker of his day. A chronological survey of the Haarlem prints of the 1580s and 1590s includes discussions of style, iconography, technique, social history, artists and patrons. While the imagery and content of the prints were analogous to works produced for the Emperor, the Dutch engravings were sold chiefly to the growing middle classes of northern Europe. Thus, the phenomenon of changing patronage for a consistent artistic style, as well as the northern European printmaking industry in the late Renaissance are recurrent themes of the dissertation.}, keywords = {The Renaissance}, author = {Acton, David} } @mastersthesis {7762, title = {Iconography of Georges Rouault}, year = {1994}, school = {UC Santa Barbara}, abstract = {The dissertation is the first scholarly investigation of the iconography of the work of Georges Rouault. Earlier monographs on the artist concentrated on his style, scantily dealing with subject matter. The latter happens to be of crucial importance to the appreciation of his work, revealing as it does the philosophical, religious, social and political concerns of the artist. This study systematically analyzes the principal motifs that emerge from his output: prostitutes, clowns, judges, the bourgeois class, the underprivileged and religious subjects. Each motif is examined in the light of the pictorial tradition of major artists of the nineteenth and twentieth centuries, such as Daumier, Degas, Toulouse-Lautrec, Forain and Picasso, and is frequently traced to literary works ranging from major Naturalist novels to the writings of Catholic revivalists of the late nineteenth and early twentieth centuries. Rouault{\textquoteright}s iconographic themes are most notably related to the ideas of close friends, such as the eminent Huysmans, Christian pamphleteer Bloy and philosopher Maritain. Among other literary sources, the prose poems of his favorite writer, Baudelaire and Jarry{\textquoteright}s roisterous Ubu series are crucial to the formation of Rouault{\textquoteright}s vision. A knowledge of the interrelation of national government, the Catholic church and various Christian groups is essential to the analysis of the artist{\textquoteright}s work. As a devout Catholic, he was undoubtedly affected by the conflict between church and state which culminated around the turn of the century as well as by the activities of Catholic intellectuals. This interdisciplinary approach to Rouault{\textquoteright}s subject matter provides a new perspective on the artist, who has all too often been regarded as little more than a mystically inclined hermit. In fact, while he sought to limit his contacts to a few like-minded friends, Rouault had a passionate concern for the social and religious developments of his day, in line with the most daring Catholic revivalists; just as he set out to place himself in the forefront of the artistic innovators of his time, in line with Matisse and Picasso.}, keywords = {19th and 20th century Europe}, author = {Kang, Soo-yun} } @mastersthesis {7858, title = {Illusionistic Ceiling Painting: Its Fall from Favor in 16th-Century Rome}, year = {1994}, school = {UT Austin}, abstract = {For a period of approximately fifty years from 1520, the year of Raphael{\textquoteright}s death, to 1572, the beginning of the papacy of Gregory XIII, Roman artists disregarded the number of examples from the first two decades and rarely used overhead illusionism in their decorative projects. This study examines those projects, primarily in palaces and villas, analyzing patronage, iconography, decorative choices, and other pertinent factors which may have affected the use of illusionistic ceiling painting. A comparison between northern Italian and Roman examples delineates the differences in patronage and iconography. Roman patrons, the majority coming from the ecclesiastical court, often with the assistance of advisors, chose subject matter which did not call for the use of overhead illusionism. Their conservative nature and apparent desire to adhere to the theory of decorum, as defined in contemporary manuals and treatises, may account for the fact that the majority of the few examples of illusionistic ceiling painting from this period were painted in either private rooms of palaces or in villas. Location of the building, whether in a noble city such as Rome or in the country, and function of the room determined the appropriateness of iconography, according to such authors as Leon Battista Alberti and Giovanni Battista Armenini, who were writing a century apart. In addition, the possibility that the use of di sotto in su foreshortening might result in the creation of undignified poses may also have been a factor in the patron{\textquoteright}s avoidance of overhead illusionism. The issue of taste and the popularity of particular types of decoration--i.e. narrative friezes, stucco, grotteschi--also played a part in these decisions. The importance of the role of the patron is exemplified by the fact that Gregory XIII personally summoned to Rome from his native Bologna artists and theoreticians who espoused illusionistic ceiling painting. He seemed to have a personal commitment to this type of decoration, and his enthusiasm was adopted by other patrons during his years as pope. Gregory{\textquoteright}s patronage of overhead illusionism laid the groundwork for the illusionistically painted ceilings of seventeenth century Rome.}, keywords = {The Renaissance}, author = {Tobey, Wesley} } @mastersthesis {7847, title = {Image-Making and Identity, Two Case Studies: Michelangelo and Titian}, year = {1994}, school = {Columbia}, abstract = {The relationship between artist and work has long been recognized as a powerful force, its potent nature recalling the connection between lover and beloved as it was described in the Renaissance both by the poets of the Petrarchan tradition and by the conventions of Neoplatonic love theory. These strategies had realized that such amorously-based alliances were dissimulative in nature, and had recognized the mutability of the self in love. They had perceived that the individual finds, as well as loses, his identity through his involvement with the Other. It is this self-affirming and self-alienating cycle that is rehearsed in the relationship between maker and made. This reality was articulated by Michelangelo himself and finds equivalent expression in Antonio Persio{\textquoteright}s account of Titian at work. But while such a phenomenon is readily attested to in literary sources, it is in the objects themselves that the complex relationship between artist and work can most clearly be read. This is particularly true of the unfinished works of Michelangelo and Titian. The present thesis consists of two case studies. The first explores the significance of Michelangelo{\textquoteright}s dedication to the art of sculpture; the second investigates the meaning of Titian{\textquoteright}s intense relationship with pictorial form. It argues that for both the process of making was a highly charged and subjectively-based endeavor and contends that their unresolved works reflect the dialectical and irreducible nature of their own self-structures. It maintains that both artists implicitly realized that the finished image no longer served a dynamic function and that, as a result, they sought to prolong their affiliations with their own creations. In this manner, they rehearsed the lover{\textquoteright}s existential need for his beloved, seeking fulfillment through an intense and continuing involvement with representational form.}, keywords = {The Renaissance}, author = {Carabell, Paula} } @mastersthesis {7829, title = {Images and Illusions of Power in Trecento Art: Cola di Rienzo and the Ancient Roman Republic}, year = {1994}, school = {Binghamton}, abstract = {It is the purpose of this dissertation to demonstrate how visual imagery as metaphor was an accepted "language" in mid-Trecento Italy, whether to inspire religious devotion or to convey political allegiance. This thesis is developed using the historical example of four paintings associated with Cola di Rienzo (1313-1354), who employed pictorial imagery for political purposes in Rome. Rienzo, a common notary, rose to power by taking over the ineffectual government of Rome in 1347, when the papacy resided in Avignon (1309-1368). The wall paintings which served Rienzo{\textquoteright}s political actions no longer exist, and are documented solely in an anonymous Vita written in 1358, four years after Rienzo{\textquoteright}s death. The public ceremonies and spectacles Rienzo performed as a show of power are described in the Vita and in various of his letters. The letters do not mention the paintings, but their rhetorical mode reflects that used in the Vita to describe the paintings. In order to reconstruct the four wall paintings, reference is made to comparable extant works of art executed in Rome, Tuscany, Naples and Avignon. This constructs a contemporary vocabulary of images in art, while distinguishing Rienzo{\textquoteright}s own political agenda to manipulate civil and ecclesiastical governments. The sites selected for the paintings were chosen for the connotations implicit in the buildings and locations. Two paintings exploited apocalyptic imagery as prophecy of imminent changes expected in Rome: one was on the Senatorial palace at the Capitol, and another on a local church, Sant{\textquoteright}Angelo in Pescheria, which was under the auspices of the powerful Roman Cardinal Giovanni Colonna. The other two paintings that insinuated Rienzo{\textquoteright}s personal political motives through visual associations appeared at the Lateran Basilica and at a small church once near Castel Sant{\textquoteright}Angelo, en route to St. Peter{\textquoteright}s Basilica. Also of importance are the people whose humanist ideas influenced Cola di Rienzo and those who played a part in the political maneuvering around him, who are discussed not only in order to establish Rienzo{\textquoteright}s agenda in its period and place but also to contribute evidence for Rienzo{\textquoteright}s choice of the significant political metaphor.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Schwarz, Amy M.} } @mastersthesis {7842, title = {In the Eye of the Beholder: Donatello{\textquoteright}s Sculpture in the Life of Renaissance Italy}, year = {1994}, school = {Harvard}, abstract = {Donatello{\textquoteright}s (c. 1386-1466) interest in a more accurate human anatomy and his development of linear perspective allowed him to give a greater illusion of reality to his sculpture than perhaps any artist had since antiquity. He used these techniques as well as other innovative strategies to create works of art with great emotional and physical immediacy for his viewers, works which at times sought to include the beholder as an active and necessary component in completing the meaning of the sculpture. In this dissertation, I examine Donatello{\textquoteright}s contemporary viewers as beholders encountering his sculpture from a particular physical position as well as from a particular historical position, namely, that of fifteenth-century Italian culture. My thesis consists of four case studies exploring specific types of viewers and viewing situations for which Donatello devised new strategies for involving the beholder. The chapters address the following topics: Donatello{\textquoteright}s tombs and their links to heightened interest in post-mortem intercessory masses; public sculpture by Donatello in central Florence in relation to the rituals and concerns of civic life; Donatello{\textquoteright}s high altar for the Franciscan church of St. Anthony in Padua and its connections to early modern pilgrimage culture, liturgical practices and the issues facing local citizens and friars; and the impact of devotional habits and popular beliefs on the development of new types of Madonna and Child reliefs for the home by Donatello and other fifteenth-century sculptors. By examining the precedents and descendants of these types of viewing circumstances and by analyzing the visual and conceptual solutions developed by Donatello, I seek to provide a new framework for understanding Renaissance sculpture in light of the interests of its original beholders.}, keywords = {Renaissance Art}, author = {Johnson, Geraldine A.} } @mastersthesis {7849, title = {The Landscape Drawings of Fra Bartolommeo}, year = {1994}, school = {Chicago}, abstract = {This dissertation examines Fra Bartolommeo{\textquoteright}s drawings of landscapes, towns, partial views of cities, and trees. Its basis is a catalogue of the autograph sheets; there is a secondary catalogue of landscape sheets whose attribution to the Frate is erroneous. Included are introductory essays on the provenance of the drawings in both catalogues. The text is organized into four chapters. In the context of an account of the most important, documented events of the artist{\textquoteright}s career, the first chapter discusses the painted landscape backgrounds which Fra Bartolommeo often inserted in his monumental pictures. Also examined are the friar{\textquoteright}s documented pictures for which preparatory pen and ink figure drawings remain. This examination fosters the primary objective of the second chapter, the dating of the landscape sheets, most of which were executed in pen and ink. The stylistic and technical precedents to which the landscape drawings refer are considered. The third chapter studies them in order to glean evidence of their function in Fra Bartolommeo{\textquoteright}s workshop. The significance of this shop{\textquoteright}s repetition of landscape images in both paintings and drawings is explored. The fourth chapter characterizes the complex Florentine cultural matrix from which the Dominican{\textquoteright}s landscape drawings evolved. Much of this discussion recounts the vigorous development of partial or complete city views in Florentine painting prior to the advent of Fra Bartolommeo. The last part of the chapter analyzes the meaning of the word paese in selected Florentine and Venetian documents and literary remains of the Quattrocento and Cinquecento. The purpose of the analysis is to understand whether the Florentines had achieved a conceptualization of the veduta, and whether the language reflects this formulation, by the time of the death of Fra Bartolommeo in 1517.}, keywords = {The Renaissance}, author = {Ellis, Charles S.} } @mastersthesis {7805, title = {Late Southern Sung Imperial Patronage and the Academy Painters Ma Yuan and Ma Lin}, year = {1994}, school = {Yale}, abstract = {Empress Yang, better known in Chinese art history as Yang Meizi, was a formidable figure of considerable skill and power at the Southern Song court and a unique imperial patron of art. Arising from a humble background of court entertainer to become cultured empress and finally empress dowager, Empress Yang developed a remarkable talent for utilizing professional court painters in the making of collaborative works of art consisting of her inscriptions and the painters{\textquoteright} images. This dissertation examines Empress Yang{\textquoteright}s legacy in the context of the subject{\textquoteright}s domain of the capital at Hangzhou, and the specific problems constituting the triangular relationship of art, gender and politics. The dissertation consists of four chapters. Chapter One provides a general background to the study of Southern Song painting and imperial patronage by reconstructing the physical and cultural environment of the Southern Song court at Hangzhou and West Lake, utilizing both textual accounts and paintings that detail the splendors of the capital. Chapter Two examines the biography of Empress Yang, including her relationships with Empress Wu, her predecessor and patron, Emperor Ningzong, her husband, and Emperor Lizong, Empress Yang{\textquoteright}s sponsored successor to Ningzong. Chapter Three is a discussion of some of the problems surrounding the collaborative works sponsored by imperial figures of the Southern Song court, including ghost-writing and the identification of individual calligraphy styles, the relationship between imperial patron and court artist (focusing on Ma Yuan, the painter expressly favored by Ningzong and Empress Yang), and the practice of combining words with images. Chapter Four consists of detailed examinations of extant paintings carrying Empress Yang{\textquoteright}s inscriptions, including paintings on objects, paintings of secular festivities, religious paintings and paintings presented to designated recipients. An appendix provides a more detailed exploration of the paintings of Hangzhou utilized in Chapter One.}, keywords = {Asian Art}, author = {Hui-shu Lee} } @mastersthesis {7780, title = {Le Bonheur de vivre: The Idyllic Image in French Art, 1891-1906}, year = {1994}, note = {T.J. Clark (Harvard)}, school = {UC Berkeley}, abstract = {In the two decades before the first World War in France artists demonstrated a persistent interest in painting a fantasy image of Man (usually Woman) in harmony with nature. Whether l{\textquoteright}age d{\textquoteright}or, fete champetre, Edenic paradise, bois sacre, or rustic pastoral, the painted landscape-with-figures had been a traditional subject of academic art and remained so in these years. The importance of Puvis de Chavannes{\textquoteright}s idealizing decorations for the pastoral or utopian image around 1900, for example, cannot be over-estimated. The subject also became a touchstone for the avant-garde--for the likes of Paul Signac, Henri-Edmond Cross, Maurice Denis, Henri Matisse, and Andre Derain as well as the impressionists Renoir and Cezanne. This interest in the idyllic subject went hand in hand with a series of radical shifts in avant-garde pictorial languages in France from the eighteen-nineties to the invention of Cubism, as artists struggled to forge an imagery of mythic sociality, individual fantasy, or sensationalist joie de vivre in the crucible of mass society. My thesis situates these works in the context of contemporary aesthetic and cultural debates--in particular competing construction of classicism, pritivism or the exotic, tradition, and symbolist poetics--as well as contemporary interpretations of key practitioners such as Puvis de Chavannes and Paul Cezanne. How did these works appropriate and transform traditional forms and meanings? Were they successful in producing the idyllic meanings they aimed to represent? What were the conditions under which particular artists chose to take up this imagery? What were the terms of success or failure? Such idealizing images were part of a wider field of competing social representations, as depictions of imaginary communities--whether pure anarchy, classical order, familial intimacy, erotic bliss, Christian community, pagan primitivism, or a return to the French monarchy--in which the problematic relation of individual self to human society and the relation of man to nature was given aesthetic form.}, keywords = {19th- and 20th-Century European Art}, author = {Werth, Margaret} } @mastersthesis {7779, title = {Le Corbusier, Negotiating Modernity: Representing Algiers, 1930- 1942}, year = {1994}, school = {British Columbia}, abstract = {The dissertation investigates the six plans devised by Le Corbusier for Algiers between 1930 and 1942, situating them within the representations given to the French presence in Algiers and their volatile political and cultural milieu. The problem was to identify these canonized, avant-garde plans as particular forms given to a specific view of colonialism. In relating them to colonialism and its cognates race, gender and nationalism, it was also necessary to distinguish their perceived difference from those more readily associated with French colonial policy and thus account for Le Corbusier{\textquoteright}s failure to ultimately wrest the commission from the competing beaux arts designers. The task was to calculate the conditions and constraints under which the meanings given to these plans could emerge, take effect and have consequences. The plans and their amplification in exhibitions, journalism, paintings, sketches, literature and film are analysed as representations given to the various discourses through which both modernism and colonialism circulated. The intersection of these discourses with others on orientalism, folklore and most importantly gender and nationalism are plotted so as to position these plans within the discursive map by which Algiers was known in the Metropole and in Algeria. Post-colonial histories are used to offset the archival gaps in both the personal archive of the architect and in national institutions. The dissertation concludes that Le Corbusier{\textquoteright}s canonical avant-garde plans did participate in colonialism. However, that participation can be distinguished from that of the competing plans not only according to aesthetic considerations of formal vocabulary and spatial arrangement but also according to the representation which they each presented of the nation--the interrelationship of aesthetic vision and political vision being essential. Significantly, Le Corbusier{\textquoteright}s repeated reference to the women of Algiers through postcard collections and sketches, his feminization of the Algiers landscape or fascination with the interiors and terraces of Moslem family dwellings and growing interest in providing them with contemporary homes can be related to the problematic position of Moslem women in the definition given to the nation, be it a faltering French nation or a nascent Moslem Algerian one.}, keywords = {19th- and 20th-Century European Art}, author = {McKay, F. Sherry} } @mastersthesis {7814, title = {LeVau{\textquoteright}s Menagerie and the Rise of the Animalier: Enclosing, Dissecting, and Representing the Animal in Early Modern France}, year = {1994}, school = {Michigan}, abstract = {My dissertation addresses the shifting attitudes towards animals in various intellectual realms--philosophical, literary, and scientific--and how these changing perceptions enrich our understanding of the sudden rise of the animalier and the increased production of animal representations in France during the reigns of Louis XIV and Louis XV. I begin my account with a discussion of Louis Le Vau{\textquoteright}s Menagerie at Versailles (1663) and argue that the octagonal viewing pavilion of this innovative zoo afforded the architectural space for a new type of spectacle. No longer providing visceral enjoyment (animal combat) or exotic entertainment (rare foreign creatures), attitudes stressing the distance between beasts and people, animals came increasingly to be seen as extensions of the human realm during the early modern period. This new way of looking at animals was reflected not only in the works of philosophers, writers, and anatomists, but also in that of the artists of the Academie. My study of the representations of animals includes discussions of the illustrations of Jean de la Fontaine{\textquoteright}s Fables by Francois Chauveau (1668) and Jean-Baptiste Oudry (1729-34, engraved 1750-59), the anatomical drawings of Claude Perrault (1671), the exotic tapestry series by Francois Desportes (1737-41) and finally various important paintings by Oudry, whose works inspired one salon critic to label him "the history painter of animals." By the mid-eighteenth century, therefore, animals as emotional, moral, and physical extensions of men and women could be considered viable subjects for the heretofore exclusively human content of history painting. And in the nineteenth century, the heroic animal in all its dramatic potential emerged in the works of artists such as Eugene Delacroix and Theodore Gericault. My dissertation endeavors to trace this circuitous and multi-faceted path of the animal in thought and representation in early modern France which made it possible.}, keywords = {Baroque and 18th-Century Europe}, author = {Iriye, Masumi} } @mastersthesis {7822, title = {The "Liber Pontificalis Ecclesiae Ravennatis": Critical edition and commentary}, year = {1994}, school = {Pennsylvania}, abstract = {For over three centuries, the Liber Pontificalis Ecclesiae Ravennatis (LPR), written in the 830{\textquoteright}s and 840{\textquoteright}s by Andreas Agnellus of Ravenna, has been {\textquoteright}mined{\textquoteright} for facts about early medieval Ravenna by historians and art historians, and criticized for its inadequacies. Agnellus{\textquoteright} models, motives, and historiographical methods all affect the way that information is presented, yet these factors have never been closely examined. In this dissertation, I provide a new edition of the Latin text, with new notes, and a commentary that examines the way in which Agnellus arranged and compiled his text. The three genres that contributed to the makeup of the LPR, all of which are specifically related to bishops--gesta episcoporum, hagiography, and sermons--are examined, and specific works that influenced Agnellus are identified and discussed, in particular the Roman Liber Pontificalis and the works of Gregory of Tours, Gregory the Great, and Peter Chrysologus. Agnellus{\textquoteright} historical methodology is explained, namely, that he included information only when the name of a bishop of Ravenna in his source told him where it belonged chronologically. Each of Agnellus{\textquoteright} sources, and the use he made of it, is examined in turn. Mentions of art and architecture, apparently based on Agnellus{\textquoteright} personal experience, perform several different functions within the text. The descriptions of art and architecture are examined in the contexts of the type of discourse in which they appear, and the sources from which Agnellus learned about them. It becomes clear that the language that he used in each passage is influenced by the context and function of that passage, as well as by the language of his sources and models; a glossary of terms, with a discussion of the context and sources for each, is included. The relation of the LPR to the two main political and cultural watersheds of the ninth century, the Carolingian Renaissance and the Iconoclastic Controversy, is examined. Finally, the history of the text in its various manuscript versions, and the explanation of the edition that follows, as well as a planned published edition, are presented.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Deliyannis, Deborah} } @mastersthesis {7811, title = {Living with the Past: Preservation and Development in Post-war Japan}, year = {1994}, school = {MIT}, abstract = {The study examines the architectural preservation program as it has developed over the past century in Japan, and demonstrates how relics of the past have been manipulated and re-interpreted by individuals and communities seeking to define a modern identity. The study chronicles the development of preservation practice from a national perspective, followed by a local historical analysis of the town of Tsumago in Nagano Prefecture. It is proposed that a nativist and modernist construction of the common Japanese house has had a special place in the history of the modern movement in Japan which influenced the conceptualization, study and preservation of traditional architecture over the past century. Also, the legal tools and field practices of both the national preservation program and the grass-roots district preservation movement have been tied to ideological and political concerns which have affected building designation, restoration, and public presentation. The most important example of the grass-roots district preservation movement in Japan is Tsumago-juku in Nagano Prefecture, the first example of such a movement in Asia. It is demonstrated that Tsumago{\textquoteright}s place in the formation of Japan{\textquoteright}s modern national identity was of primary importance to the success of its preservation effort. Restoration work there resulted in important national legislation and created a conflict between the "living tradition" of local carpentry and community vs. professional preservationist. This centered on the nature of architectural tradition and definition of authenticity. As a result of the preservation effort, the town{\textquoteright}s history and traditions have been re-invented to suit the needs of the present, and its material historicity has been compromised in the name of a greater authenticity in the building process. Yet the modernist ideal of a structurally "honest" and materially "natural" Japanese house has made the acceptance of preservation intervention problematic in the architectural community, further demonstrating that the way old houses are preserved is as much a reflection of the architectural and political ideology of our time as they are a portrait of the past.}, keywords = {Asian Art}, author = {Wendelken, Cherie} } @mastersthesis {7812, title = {Louis Michel Van Loo (1707-1771): Member of a Dynasty of Painters, Part 1}, year = {1994}, school = {UC Santa Barbara}, abstract = {Louis Michel Van Loo, one of the most prominent academic portraitists in his day, has never been the subject of a monograph. The First President and one of the co-founders of the Academy of San Fernando in Madrid, the premier peintre to the King of Spain from 1737 to 1752, and the third Director of the ecole des eleves proteges in Paris, Louis Michel Van Loo may represent the epitome of eighteenth century dynastic painters. Trained in his father{\textquoteright}s studio in southern France and Italy, then at the French Academies in Paris and Rome, Louis Michel fused family workshop techniques with academic method. Although admitted to the Academy as a history painter, he mainly produced portraits. His students were instrumental in the spread of French academic methods and in the founding of academies throughout Europe. Very few of Louis Michel{\textquoteright}s paintings have been published and most of the writings about him which do exist are largely unavailable in the United States. Therefore, one purpose of this dissertation has been to organize existing scholarship about his life and oeuvre, supplemented by original research, into a framework which will facilitate further study. In this chronological text, Louis Michel Van Loo is first introduced in the context of his family background. Once Van Loo pictorial and pedagogical traditions have been identified, we turn to examine Louis Michel{\textquoteright}s career, his stylistic development, and his academic principles. In addition to considering the relationship of Louis Michel{\textquoteright}s portraiture to history painting, his role as teacher, and his importance for the next generation, we also discuss the artist{\textquoteright}s activities as an international textile merchant and their significance for his own production. Louis Michel Van Loo{\textquoteright}s art and pedagogy were grounded in the de Pilean color theory which permeated French art of the first half of his century. His paintings were artificial constructions, often with propagandistic purposes, which diverged widely from observed reality. Study of Louis Michel{\textquoteright}s Family of Philip V, The Education of Cupid by Mercury and Venus, Self-and-Family Portraits, his portraits of Louis XV, Diderot, and his Christian VII of Denmark demonstrate the different ways in which the artist created elaborate fictions. They also widen our perspectives on the functioning and purposes of the Academy itself, which became, in a sense, an extension of the Van Loo family.}, keywords = {Baroque and 18th-Century Europe}, author = {Buckingham-Rolland, Christine} } @mastersthesis {7796, title = {Marble Palaces, Temples of Art: Art Museums, Architecture, and American Culture, 1890-1930}, year = {1994}, school = {Delaware}, abstract = {The era from 1890 to 1930 constituted a boom for American art museums built in a monumental, classical style. Both the proliferation of the buildings and the ubiquity of the style indicate an architectural as well as a socio-cultural phenomenon. The present work is an attempt to place the American art museum building of this period into its historical milieu. Information culled from a wide variety of sources, from the museum establishment, the architectural profession, cultural commentary, the literature of the City Beautiful and urban reform movements, and a wide array of archival sources makes it apparent that the museum as institution and as architecture held a deeply meaningful position in late-nineteenth-and early-twentieth-century American consciousness. As monument to culture and arbiter of taste, the art museum participated in the coming-of-age of the American city as well as in the search for an American cultural heritage. How the art museum came to be adopted for a variety of goals is investigated from several different angles. The search for architectural style was answered by prominent institutions in Boston, New York, and Chicago that replaced older High Victorian Gothic and Richardsonian Romanesque buildings with classical ones. The relationship between the art museum and the popular expositions of the late nineteenth and early twentieth century reveals a uniquely American response to art and architecture as spectator events. The developing concepts of urban land use and city planning also forged intimate bonds with art museums being built in cities across the country. Art museums and even art museum architecture could take on moral significance when adopted by the Progressive urban reform agenda. Finally, art museum plans and their selection through competition served as a forum for the developing American architectural profession, which explored Beaux-Arts precepts in its search for the ultimate form for the art museum. Despite the advent of modernism, the monumental, classical art museum building of 1890-1930 shaped American architecture, cities, and cultural attitudes for several influential generations.}, keywords = {Art of the United States and Canada}, author = {Steffensen-Bruce, Ingrid Anne} } @mastersthesis {7773, title = {Marcel Duchamp{\textquoteright}s {\textquoteright}Silent Guard{\textquoteright}: A Critical Study of Louise and Walter Arensberg}, year = {1994}, school = {UC Santa Barbara}, abstract = {Louise Stevens Arensberg (1879-1953) and Walter Conrad Arensberg (1878-1954) are generally acknowledged as the foremost collectors of avant-garde art in the United States during the first-half of the twentieth century. Their names, in fact, have become synonymous with that of Marcel Duchamp (1887-1968), whose works, acquired by the couple in great numbers, were seen as embodying the repudiation of European aesthetic traditions for their generation if not subsequent ones as well. Indeed, Duchamp has come to embody the collection itself and has thereby totally overshadowed the collectors. From this perspective, the Arensbergs were all too successful in constructing a private identity for the public realm. Although the couple wanted the collection to be seen as the corporeal, psychological, and emblematic representation of their selves, the consequence of such a portrayal has been the erasure of their private identities and, ironically, the decontextualization of their collection. The purpose of this study is to examine the construction of the Arensbergs{\textquoteright} self-representation by reintroducing the biographical in a critical narrative of their collection as a synthesis of their public and personal histories. Until now, there has been no complete biography of the Arensbergs. The construction of these histories is therefore based upon numerous previously unknown documents, and takes the form of a biographical chronical that follows the Arensbergs{\textquoteright} lives from the Gilded Age to the Cold War era. Underlying this chronological structuring is the premise that there is no fixed, immutable "self" but rather a series of "selves" projected through time and influenced by physical location, social constructs, and cultural contexts, all of which play a part in the constant refashioning of identity. Consequently, it is not surprising that the couple retrospectively adjusted their self-image (through their collection) to suit whatever new image of themselves they found desirable, in response to their personal situation and external conditions. Significantly, by the Arensbergs{\textquoteright} equating their identities with their collection, the couple{\textquoteright}s self-portrayal expands to a triadic dialogue among themselves, Duchamp, and cultural institutions, especially the Philadelphia Museum of Art. The Arensbergs{\textquoteright} collection was in consequence more than just the couple{\textquoteright}s public self-image, it was also the artist{\textquoteright}s and the museum{\textquoteright}s--a tool used by all parties as a dynamic of their own self-fashioning.}, keywords = {19th- and 20th-Century European Art, Art of the United States and Canada}, author = {Sawelson-Gorse, Naomi} } @mastersthesis {7754, title = {Mediterranean Myths: The Art and Writing of Picasso, 1945-53}, year = {1994}, school = {Virginia}, abstract = {This study is an investigation of Picasso{\textquoteright}s art and writings between 1945 and 1953, the years comprising the first decade of the immediate post-World War II era. Represented by a series of mythological allegories of hope and bliss, typified by the monumental Joy of Life and the Antipolis Suite, what I have named Picasso{\textquoteright}s {\textquoteright}White Period{\textquoteright} in reference to his thematic and stylistic interests at this time, constitutes an exceptional and previously unexplored moment in his career. The purpose of my inquiry is to establish the integrated nature of Picasso{\textquoteright}s post-war oeuvre by considering his creation of a new mythological corpus describing a paradisiacal realm of peace on earth in the post-war years. Issues addressed in my discussion of this period include: the historical and social context in which the White Series is located; the iconography and the iconological dimension of that iconography residing in Picasso{\textquoteright}s use of archetypal myth; and the point at which the first two subjects of investigation intersect--that is, the way in which the White Series has emerged as Picasso{\textquoteright}s most optimistic statement concerning the human condition and the nature of reality. Focusing on Picasso{\textquoteright}s post-Liberation tributes, The Triumph of Pan and La Femme-Fleur, Chapters I and II are devoted to the contextual and cultural milieu in which the White Period evolved. In chapters III and IV, Picasso{\textquoteright}s concentration upon mythological themes incorporating specific motifs relating to the creative and redemptive symbolism of Dionysian and Christian iconography is analyzed in conjunction with the major works of this period, including the Joy of Life (1946), Ulysses and the Sirens (1946), and his play of 1947-1948, The Four Little Girls. Chapter V offers an interpretation of Picasso{\textquoteright}s creation mythology of the 1940s and early 1950s in the context of his political beliefs, specifically in light of his perception of the French Communist Party, of which he became a member in 1944, as guided by a utopian plan for a classless, unified society founded on the rights of man.}, keywords = {19th and 20th century Europe}, author = {Beck, Victoria} } @mastersthesis {7832, title = {Methods and Meaning of Physical Analysis in Romanesque Architecture: A Case Study, Saint-Etienne in Nevers}, year = {1994}, school = {Bryn Mawr}, abstract = {Saint-Etienne in Nevers is the ostensible subject of this monograph. Using this French Romanesque priory church as a case study, I explore methods of physical analysis pertaining to the investigation of medieval architecture. Among the numerous analytic techniques employed, two experiments are tailored to the investigation of fine ashlar masonry. One, a limited experiment in micro-quantification, entails the comparative analysis of measurements of the heights of wall courses. Conclusions include the proposal that Saint-Etienne in Nevers was rapidly built according to a unified design. This conclusion is corroborated by a comparative reading of the eleventh-century written documents, from which I deduce a period of construction from ca. 1068/74 to ca. 1090. The historical evidence also suggests a direct association with the ecclesiastical reform begun under Pope Leo IX, both at the church{\textquoteright}s refounding in 1063--as a community of regular canons under a Roman rule--and after its donation to Cluny in 1068. Two, I adapt and apply a typo-chronology of stone-working tools recently established for the Mediterranean basin by Jean-Claude Bessac. Based on the historical development of tools used to dress square-hewn stone, I date individual wall stones broadly, according to characteristic traces left by the tools on the stone{\textquoteright}s visible surface. A limited stone-by-stone survey provides the basis for distinguishing original from non-original fabric, and hence for a catalogue of the church{\textquoteright}s later construction history. The critical significance of the subsequent modifications hinges on the archaeological legibility of the physical evidence for the eleventh-century construction. I conclude with an historiographic reevaluation of the church and suggest avenues of research in Romanesque architecture. First, Saint-Etienne in Nevers exhibits a fully structured thick-wall, which permitted construction of wide-span vaulting above a gallery and clerestory level without recourse to (exterior) buttressing. Second, the frequent use of (non-structural) facing stones was apparently intended to facilitate periodic replacement of weathered stones. These two findings suggest the need to review evidence for traditions of building knowledge from the classical to medieval periods, specifically in the third quarter of the eleventh century, as well as the need to review the presumptions of restoration criticism with regard to the dichotomy established between the original fabric of a medieval building and the subsequent introduction of non-original fabric. This dissertation thus constitutes a broad inquiry into the practice of imaging medieval buildings according to selective historical and analytic criteria.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Zenner, Marie-Therese} } @mastersthesis {7823, title = {The Mosaics of Monreale: Image and Audience}, year = {1994}, school = {UIUC}, abstract = {The cathedral of Monreale in Sicily is one of the great monuments of the Middle Ages. Its upper walls and vaults are covered with an extensive and well-preserved program of mosaics, executed by Greek craftsmen in the late twelfth-century Byzantine style. King William II and his mother, Margaret of Navarre, had both political and spiritual objectives in mind when they established this great monastic complex in the early 1170{\textquoteright}s. The monks imported from the abbey of La Trinita at La Cava dei Tirreni on the Italian mainland to colonize Monreale played an important role in both aims. Most scholars in the twentieth century have focused their attention on the Byzantine and royal character of the mosaics. This study departs from previous analyses by addressing the monastic and western themes in the decoration. The large ensemble of saints is one of the remarkable features of the mosaics. It is in this aspect of the decoration that monastic influence on the program is strongest and most direct. The monks, hermits, and stylites concentrated in the choir, apse, and side chapels stood as the paradigms of monastic spirituality, and the numerous representations of monastic bishops honored the metropolitan abbot of Monreale. The cathedral was dedicated to the Assumpted Virgin, and thus embodied the idea of Mary{\textquoteright}s triumph over death. The Marian imagery aligned along the central axis of the church expressed a new spirituality taking root in western Europe during the second half of the twelfth century, one that emphasized a mystical devotion to the Virgin. As their model, guide, and protector, she was an integral part of the monks{\textquoteright} spiritual life. Monreale served as a royal mausoleum. Queen Margaret was the guiding force in establishing it as a burial church. In the funerary context, Mary, whose role in the redemptive process had been greatly expanded, represented the hope of both the royal patrons and monks that they too would overcome death and join her in Paradise. In the meantime, the monks of Monreale, molded in the Cluniac tradition, offered the queen and her family a place in their spiritual community. Their perpetual prayers for the departed founders insured the well being of their souls for Eternity.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Flowers, Maggie Duncan} } @mastersthesis {7834, title = {The Mosque of the Ibn Tulun: A New Perspective}, year = {1994}, school = {Harvard}, abstract = {This thesis is a new study of the mosque of Ibn Tulun, which was built in 265 A.H./868 A.D., as it was created and as it developed over the centuries. It examines the mosque from a bibliographical, topographical, and architectural point of view, focusing on the architecture itself rather than on its decoration. The thesis re-examines Ibn Tulun{\textquoteright}s newly-founded capital city of al-Qata{\textquoteright}i$\sp{\rm c}$ and describes both its major monuments and divisions as well as the ceremonies that took place during important events and celebrations. The thesis also investigates the architectural components of the mosque and interprets each one from the point of view of the aesthetics of the building. The mosque of Ibn Tulun was used regularly until 292/905, when the Tulunid Dynasty came to an end and al-Qata{\textquoteright}i$\sp{\rm c}$ was destroyed by the Abbasid general Muhammad Sulayman al-Katib. The mosque survived for a while because of its religious significance, but it soon underwent a long period of neglect and fell in ruins. There were a few intervals when improvements and repairs were carried out. These resulted in great transformations that took place in the function of the mosque. The most important of the medieval additions and restorations were those of Sultan Lajin in 696/1296. After a period of ruin that lasted from the sixteenth century to the end of the nineteenth century A.D., the mosque underwent a modern period of restoration that began with the work of the Comite de l{\textquoteright}Art Arabe, in the 1890{\textquoteright}s and that continues today under the direction of the Egyptian Antiquities Organization. A detailed survey of a substantial number of photographs of the mosque from the 19th century to the present is in a separate volume.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art, Islamic Art}, author = {Swelim, M. Tarek Nabil} } @mastersthesis {7803, title = {Muroji: A Contextual Analysis of the Temple and Its Images}, year = {1994}, school = {UCLA}, abstract = {Muroji is a temple which holds some of the finest examples of sculpture and architecture from the ninth and tenth centuries in Japan. Research on Muroji has often been carried out by the independent investigation of specific famous objects. In contrast, I will offer a broad contextual study in which the various monuments are examined to determine the kinds of religious practice which took place at the temple. One of the first issues considered is the site of Mt. Muro, located in southern Nara prefecture, where there has long been a close relationship between Muroji and the neighboring shrine of Ryuketsu jinja (Dragon-cave shrine). Early connections include a local water deity, dwelling in the caves of Mt. Muro, which was transformed into a Buddhist dragon king who protected the temple and was efficacious in rain control. An analysis of the structures of Muroji provides insight about the type of worship practiced on Mt. Muro. In particular, this study closely scrutinizes a magnificent, yet enigmatic group of five sculptures on the altar in the Kondo (Golden hall). I have determined, through documentary evidence and stylistic analysis, that a triad of Yakushi, Jizo, and Kannon was the original focus in the hall. Although the sculptures in the present group of five images were all made during the ninth through the eleventh centuries, the assembly reflects a later phenomenon of worship where the images function as manifestations of the five deities from the Kasuga shrine in Nara. An investigation of Muroji documents reveals that in the early period, the type of Buddhism practiced on Mt. Muro was not limited to one set practice, but rather esoteric Buddhism that included elements of Hosso, Tendai, Shingon, and local practice. In the sixteenth century, Shingon and Kofukuji (or Hosso) factions fought to control Muroji and ultimately the temple was registered as Shingon. This study enhances the understanding of the monuments of Muroji by placing them within the context of their religious milieu, and in turn facilitates a broader understanding of Buddhist practices.}, keywords = {Asian Art}, author = {Sherry Fowler} } @mastersthesis {7756, title = {On the Museum{\textquoteright}s Ruins: A Critical Theory of Postmodernism}, year = {1994}, school = {CUNY}, abstract = {On the Museum{\textquoteright}s Ruins constructs a theory of postmodernism in the visual arts through a series of critical interventions in debates about the art of the 1980s. The central thesis holds that the art museum faced an epistemological and material crisis beginning in the 1960s as the tenets of modernism began to be criticized and displaced. The practices of Robert Rauschenberg, Daniel Buren, Cindy Sherman, Sherrie Levine, Hans Haacke, Richard Serra, and Marcel Broodthaers, among others, are analyzed for the critiques they make, implicit or explicit, of art-as-institution. I argue first that the embrace of photography by the museum as an art form among others destroyed the coherence of modernism and of the modern artwork{\textquoteright}s progressive removal from social practices. This in turn brought into question the primacy of painting and sculpture as quintessential museum arts. The second part of the dissertation addresses site-specificity, initiated with minimal art and later radicalized through an inclusion of the social specificity of the sites of art, especially public art. Finally, in part three, I undertake an archeological investigation of the ways in which the art museum constructs a history of art. This is accomplished through an analysis of contemporary exhibitions, reinstallations of permanent collections, newly constructed museum buildings--all in relation to both the history of museums and to current art practices that resist the museum{\textquoteright}s conflict-free cultural history. In total, the transformations of recent art practices, discourses, and institutions reveal what must be understood as a new epistemology of art now recognized as postmodern.}, keywords = {19th and 20th century Europe}, author = {J. Douglas Crimp} } @mastersthesis {7825, title = {Narrative Design in the Stained Glass Windows of the Sainte-Chapelle in Paris}, year = {1994}, school = {Bryn Mawr}, abstract = {The lateral windows of the Ste.-Chapelle are unusual in their devotion to elaborately developed Old Testament narratives. While the glass has been extensively studied from the perspective of style, the stories themselves have received little attention. This study attempts to explicate the means underlying the depiction of the Old Testament narratives through a comparative analysis of storytelling techniques employed in medieval literature and advocated in contemporary rhetorical treatises known as the ars poetriae. The development of the Ste.-Chapelle narratives invites comparison with techniques articulated in the ars poetriae. Since a basic tenet of the ars poetriae is that form generates meaning, analysis of the formal mechanisms at work in the stories offers clues to the interpretation of the windows. Chapter one addresses the extravagant enlargement of the stories. It posits the rhetorical theory of amplificatio and the attendant lengthening of thirteenth-century literary works as evidence of a predilection for extended narrative forms and considers the implications of these expansions vis-a-vis the royal agenda sometimes ascribed to the glass program. Chapter two examines the narrative imagery found in the tracery lights. These images, which repeat or expand upon episodes treated elsewhere in the ensemble, establish formal and thematic connections with stories in neighboring windows and parallel a contemporary literary concern to manipulate discrete narratives into an elegant conjointure. Chapter three treats the adjacent Judith and Esther windows. Despite indications that they were executed by a common atelier, the formal presentation of these two narratives differs markedly, imparting different moods to the respective stories. These contrasts in form are juxtaposed with medieval discussions of material style which emphasize the need to costume narrative materia in literary garb appropriate to their subjects. The differing realizations of the Judith and Esther narratives serve to underscore unique aspects of these frequently paired biblical heroines. Because the windows have undergone radical alteration since the thirteenth century, an attempt has been made to approximate their original organization through photomontage reconstructions of the eight lateral bays. Catalogue entries detail the restoration history of these windows and identify all of the known authentic panels.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Jordan, Alyce A.} } @mastersthesis {7799, title = {Natura non Fecit Saltus{\textquoteright}: The Evolution of Paul Cret{\textquoteright}s Architectural Theory}, year = {1994}, school = {Pennsylvania}, abstract = {In 1903, at the age of 27, Paul Philippe Cret emigrated from France to the United States to teach architectural design at the University of Pennsylvania. Under his tenure as chief design critic, Penn{\textquoteright}s School of Architecture was recognized as the best in the country--a distinction that was to continue in the 1950s and 1960s under the influence of Cret{\textquoteright}s most famous student Louis I. Kahn. Besides his active role in architectural education, Cret was also one of the most renowned architects of the day. Some of his most recognizable buildings are the Pan American Union Building (Organization of American States), in 1907-1910, the Folger Shakespeare Library (1919-1927) and the Federal Reserve Board Building (1935), all in Washington, D.C., as well as the Detroit Institute of Art (1919-1927). This dissertation examines the evolution of Cret{\textquoteright}s architectural theory, as reflected in his writings and teaching. The thesis begins in Lyon, the city of Cret{\textquoteright}s birth and investigates that city{\textquoteright}s political, educational, and architectural climate and their influence on the young student. The second chapter explores Cret{\textquoteright}s architectural education at the Ecole des Beaux-Arts in Paris. The third chapter follows Cret to the United States and to the University of Pennsylvania in particular. The School of Architecture{\textquoteright}s curriculum and Cret{\textquoteright}s contributions to it are analyzed. The fourth chapter discusses Cret{\textquoteright}s architectural theory while the last chapter exposes his views on modern architecture.}, keywords = {Art of the United States and Canada}, author = {Vincent, Marc} } @mastersthesis {7816, title = {Nicolas Poussin: His French Clientele and the Social Contraction of Style}, year = {1994}, school = {Michigan}, abstract = {The subject of my dissertation is the relationship between Nicolas Poussin (1594-1665) and his French clients. Although Poussin is considered the most important French painter of the seventeenth-century, the early and formative phases of his career evolved in a Roman aristocratic circle dominated by erudite antiquarians who actively supported his work. While this aspect of Poussin{\textquoteright}s biography has received considerable and important critical attention, the French clientele that played an increasingly significant role during the later phases of his career has not received adequate scholarly treatment. My dissertation redresses this omission by examining the themes of his later painting, derived largely from sources in Greco-Roman culture and cast in a severely classicizing formal mode. The complex meanings of Poussin{\textquoteright}s pictures must be understood not as an hermetic project but in relation to the interests and values of a learned and powerful French constituency at a critical moment in French history, the civil insurrection known as the Fronde. The purpose of this study is to map the social and political meanings and values embedded in the configuration of themes and styles that constitute French seventeenth-century Classicism. My argument rehearses the particular traditions of historical and antiquarian practice that predisposed Poussin{\textquoteright}s French audience to his work as early as the 1630{\textquoteright}s. Poussin{\textquoteright}s skills resulted in his recruitment by Louis XIII{\textquoteright}s royal officials for the artist{\textquoteright}s most ambitious official project--the decoration of the Grande galerie of the Louvre. The subsequent lack of support on the part of the Regency and Cardinal Mazarin{\textquoteright}s failure to complete the Louvre project would inflect Poussin{\textquoteright}s reception in France. His reputation and paintings would increasingly be identified with protectors and clients forced into exile by Cardinal Mazarin. Because opposition to Mazarin during the Fronde was articulated in cultural criticism, Poussin{\textquoteright}s paintings accrued symbolic value as an authoritative foil to the cultural and political illegitimacy associated with Mazarin by his critics. The increasingly severe themes and radical reduction of painterly means in Poussin{\textquoteright}s art of the late 1640{\textquoteright}s and early 1650{\textquoteright}s can be understood as the artist{\textquoteright}s intervention in his own reception and the articulation of a socially constituted notion of artistic style. In Poussin{\textquoteright}s Testament of Eudamidas, the withdrawal of narrative and painterly incident signified an aesthetics of difficulty, thereby redefining the critical function of art for Poussin{\textquoteright}s immediate audience.}, keywords = {Baroque and 18th-Century Europe}, author = {Todd P. Olson} } @mastersthesis {7807, title = {Obaku Zen Portrait Painting: A Revisionist Analysis}, year = {1994}, school = {Michigan}, abstract = {This dissertation addresses the social construction, institutionalization, and contestation of space with special reference to Sri Lanka. It has two principal objectives: first, to develop a broad historical and theoretical framework within which to investigate the spatial constitution of European expansion and colonialism, as well as decolonization and the formation of independent states in the postcolonial periphery. Included in these processes are the spatial organization of political, economic, and cultural systems, their constituent territorial and settlement structures, and urban and building forms. The second objective is to study, within this framework, the ways in which the spatial order and built environment of Sri Lanka have been transformed by the independent nation state, private capital, and other factors, and the effects of these transformed spatial relationships on Sri Lankan society and culture. Implicit in these objectives is the selective utilization of appropriate theoretical models and approaches, including the world-systems perspective (in relation to Sri Lanka{\textquoteright}s changing place in the world-economy over time), theories of colonial urbanism (in regard, for example, to questions of dependent urbanization, port city development, and the social and cultural dimensions of urban/spatial form), discourse theory (in regard to the derivation and circulation of discourses in architecture and planning), and theories of landscape interpretation. The dissertation argues that society and space are produced and reproduced together, making "society and space" a crucial area of study. It suggests that the social, political, economic, and cultural spheres and the spatial scales at which they operate--local, urban, regional, national, and global--do not determine each other as assumed by some contemporary theorists; they rather articulate with, and influence each other in a semi-independent way. Hence, changes in the forms and space of cities, architecture, and territories of Sri Lanka or, indeed, any other society, are best understood by reference to their larger spatial and temporal contexts as well as the more immediate political, economic, and cultural systems of which they are a part.}, keywords = {Asian Art}, author = {Sharf, Elizabeth Horton} } @mastersthesis {7857, title = {The Ovetari Chapel: Patronage, Attribution, and Chronology}, year = {1994}, school = {Pennsylvania}, abstract = {The Ovetari Chapel (Church of the Eremitani, Padua) was the defining moment of the Paduan Renaissance; scholarship on this commission shapes our views on that artistic movement. This dissertation is the first study in nearly 25 years to systematically examine the Ovetari commission as a totality, from the chapel{\textquoteright}s foundation to the completion of its terracotta altarpiece and 27 murals. Part 1 (chs. 1-3) discusses the patronal family, their relationship to the chapel, and Antonio Ovetari{\textquoteright}s testatory provisions for the decoration. In addition, this section examines the mechanics of the commission, e.g., executorial control, pictorial guidelines, selection of the work force, artist partnerships, methods of bookkeeping, and scaffolding construction. This practical information assists subsequent analyses of the decoration. Part 2 (chs. 4-7) reconstructs the chronological and attributional history of the chapel{\textquoteright}s embellishment, which spanned 10 years (1448-57) and involved over a dozen artists (e.g., Giovanni d{\textquoteright} Alemagna, Antonio Vivarini, Niccolo Pizzolo, Andrea Mantegna, Giovanni da Pisa, Bono da Ferrara, and Ansuino da Forli. Three appendices provide 25 documents, published and unpublished; a summary of the chapel{\textquoteright}s hagiographic program; and a catalogue listing conclusions on chronology and attribution, supplemented by a review of past opinions. Methodologically, the dissertation is predicated on a comprehensive re-examination of the project{\textquoteright}s rich documentation, with stylistic evidence reassessed within the archival framework. This approach has clarified such turbid areas of debate as da Pisa{\textquoteright}s role in the altarpiece; authorship of the main cross vault; and the date of Mantegna{\textquoteright}s St. Christopher frescoes. Moreover, research has led to notable revisions. For example, the dissertation assigns formidable maturity to Mantegna{\textquoteright}s work in 1450-51 resulting from attributional and chronological changes; recognizes in the chapel two anonymous Paduan masters, who were early, competent practitioners of the Ovetarian style; and restructures Pizzolo{\textquoteright}s career and oeuvre. Such proposals broadly challenge conventional views on the formation of the Paduan Renaissance.}, keywords = {The Renaissance}, author = {Shaw, Keith} } @mastersthesis {7839, title = {P. H. Emerson{\textquoteright}s Vision of East Anglian Life and Landscape Photography, Art, Science, Literature and Ethnography}, year = {1994}, school = {Princeton}, abstract = {Peter Henry Emerson (1856-1936) is of unrivalled importance in later nineteenth century art photography. His photographs were received as triumphs of the art; his writings stimulated major aesthetic changes throughout the international photographic community. Together they are a watershed, marking the divide between nineteenth and twentieth century understandings of photography. Emerson{\textquoteright}s eight photographic books (1885-1895) included texts of his own writing; the images and sequenced texts of each must be read together, understanding books (not individual images) as the basic units of his artistic production. The books range in emphasis from fine art to literature to natural history and ethnography. The tensions between the art and science of photography are everywhere apparent in Emerson{\textquoteright}s work. Trained in science, he dedicated a decade of his life to photographic art. The dialectical relations of art and science in Emerson{\textquoteright}s thought yield an interpretive key for his own pictures and the medium as a whole. Emerson constructed his photographic East Anglia in the image of his search for the truths of Nature, seeking to control all aspects of the region of marshes and coastal waterways he celebrated--much as did Gauguin in Brittany and Tahiti, or Constable nearby in Suffolk. Hardy{\textquoteright}s imagined and remembered realm of Wessex, and use of geography as an arena for philosophical preoccupations also resemble Emerson{\textquoteright}s use of his chosen terrain. Both men{\textquoteright}s work demonstrates that the physical landscapes of the nineteenth century, and their re-making in painting, photography, and literature, are complex stories incorporating themes of industrialization, tourism and rural depopulation. This dissertation considers the chronology, changing styles and subjects of Emerson{\textquoteright}s books; East Anglia as it was during the 1880s and 90s and as he represented it; the discourse of naturalism in Emerson{\textquoteright}s work and other contemporary art; the relation of his work to that of other art photographers of the time, and the relations of art and science in his work and theory.}, keywords = {Photography and Film}, author = {Handy, Ellen} } @mastersthesis {7840, title = {Parisian Book Illustration, 1530-1560: The Decades of Liberation}, year = {1994}, school = {Harvard}, abstract = {The period of the 1530s to the 1560s in Paris saw a major functional and stylistic redefinition in which illustration was liberated from its customary subservience to text and granted a privileged role. I propose to analyze a number of representational models that emerged in the most foreshortened manner onto the Parisian scene during that era. I will argue that the shift from a representational model reflecting a single schema to multiple models either coexisting with or succeeding one another was the cause for the temporary liberation of illustration in Paris during these decades. For a short while, illustration was relieved from its traditional function of articulating the world of experience according to a homogeneous vision of the world. Instead, as it exposed simultaneously, during this period of transition, manifold and occasionally antithetic schemas, illustration became for a privileged moment a heuristic tool, a means for exploring and probing reality.}, keywords = {Renaissance Art}, author = {Anninger, Anne} } @mastersthesis {7836, title = {Patronage and Practice in Late Seljuk and Early Beylik Society: Dervish Lodges in Sivas, Tokat, and Amasya}, year = {1994}, school = {UCLA}, abstract = {The Battle of Kose Dag and the defeat of the Seljuks of Rum in 1243 allowed for a fundamental shift from state-owned land to private property accumulated and appropriated by semi-independent local rulers in Anatolia. These local rulers became patrons of architecture and built dervish lodges in important locations within major trading cities. This represented a significant break from the previous century when building activity, primarily funded by the Seljuk sultan, did not include dervish lodges. From the mid-thirteenth century to mid-fourteenth century, at least twelve dervish lodges were built In Tokat, Sivas, and Amasya, major trading cities on two important trade routes. These cities were populated by large numbers of Christians and by immigrants who often traveled with mystic leaders. According to contemporary chronicles, the dervish lodges served as gathering places for many of the immigrants. In general, modern scholarship has interpreted the endowment of dervish lodges exclusively as a pious act. In thirteenth- and fourteenth-century Anatolia, however, patrons built dervish lodges rather than mosques or madrasas (college for the teaching of law) to encourage institutions that gave focus to religious practices appealing to different audiences than those that congregated around mosques and madrasas. Furthermore, the endowment of dervish lodges enabled these local rulers to extend control over newly acquired land by securing revenues from these properties as waqf, a pious endowment maintained in perpetuity.}, keywords = {Islamic Art}, author = {Wolper, Ethel Sara} } @mastersthesis {7798, title = {Philadelphia and the Rhetoric of Modernism: Prelude to PSFS}, year = {1994}, school = {Delaware}, abstract = {The purpose of this dissertation is two-fold. First, I have attempted to reveal the complexity of the architectural community in Philadelphia in the years preceding the construction of the landmark PSFS Building, designed by the team of Howe \& Lescaze, a building which has generated considerable attention due to its clear ties to that particular phase of modernism labeled the International Style. Second, through a discussion of the overlooked architects working in Philadelphia in the 1920s, I have attempted to recognize an approach to modern architecture, which, although inconsistent with the International Style of PSFS, was nonetheless valid. In establishing the foundation for the study of the output of this group of undervalued architects, I first examine the education and training of the typical architect who came to maturity during the early years of the twentieth century in Philadelphia. Succeeding chapters examine the position, both nationally and internationally, of Philadelphia{\textquoteright}s community of business architects by analyzing the reception of their work in both exhibitions and publications. Finally, in this preliminary section, the attitude of Philadelphia architects and the local popular press toward the tall office buildings rising in New York and, to a lesser extent, in Philadelphia is examined. Two chapters are then devoted to the output of architects in Philadelphia specializing in the high-rise office building, dividing their works into the categories of "traditional" and "modern" and including architectural firms like Rankin \& Kellogg; Simon \& Simon; Tilden, Register \& Pepper; and, above all, Ritter \& Shay. Following a discussion of both the designs of Philadelphia{\textquoteright}s architects as well as what they expressed in print regarding these designs, the PSFS Building is considered within its Philadelphia context, as a building which illustrated a specific type of exclusionary modernism inconsistent not only with what had preceded it in Philadelphia, but also with contemporary Philadelphia construction. The results of this study reveal both a rich, although sometimes forgotten, architectural community which thrived in Philadelphia during the 1920s and a more inclusive definition of modernism as applied to the tall office building.}, keywords = {Art of the United States and Canada}, author = {Tatman, Sandra Lee} } @mastersthesis {7838, title = {The Photographic Reportage of Henri Cartier-Bresson, 1933-1973}, year = {1994}, school = {Princeton}, abstract = {One of the best known and most influential of twentieth-century photographers, Henri Cartier-Bresson was among the first to demonstrate the potential of the 35mm camera, producing photographs remarkable for their revelatory content and formal excellence. In rebuttal of a line of analysis and criticism that emphasizes his artistry by minimizing or denying that his oeuvre was produced as photojournalism, the extent and nature of his photojournalism is delineated here for the first time. The reportage--a purposeful sequence of photographs intended to relate visual narratives or express personal impressions--is presented as the primary unit of his photojournalism. His denial that he practiced reportage is contrasted to his explanation of the photographic story and magazine photojournalism in his seminal 1952 book The Decisive Moment. Materials not previously accessed are analyzed including his contact sheets, captions, manuscripts, and correspondence; the original presentation of his work in illustrated magazines; conversations with him; and interviews with editors and colleagues. For the first time a bibliography of his published magazine work, numbering more than 495 citations, is presented here. In exhibitions and books his photographs have been decontextualized and presented as discrete images. In contrast, a new understanding of his photographs is offered by resituating them in the context of their production as stories and essays. His reportages fall into three genres: news, such as his coverage of the 1948 funeral of Mohandas Gandhi and the May 1968 student rebellion in Paris; portraiture, such as his 1961 story on Alberto Giacometti; and ethnography, such as his 1954 essay on the Soviet Union. In addition to considerable new material, this dissertation offers a comprehensive, coherent, and original interpretation: Cartier-Bresson{\textquoteright}s compulsion to witness major events and to communicate what he saw to mass audiences compelled him to produce a body of reportage much greater than previously recognized or acknowledged. In contrast to the received understanding that his photographs emerged from intuition and fortuitous accident, they resulted from purposeful work, rationally organized to communicate coherent narratives. In contrast to the emphasis on single images, his work took its original shape as photographic reportages.}, keywords = {Photography and Film}, author = {Cookman, Claude} } @mastersthesis {7819, title = {Pinctor et Presbter: Structures of Meaning in Giovanni Canavesio{\textquoteright}s Passion Cycle at Notre-Dame des Fontaines, La Brigue (1492)}, year = {1994}, school = {Princeton}, abstract = {This dissertation proposes an in-depth analysis of the cycle on the Passion of Christ completed in 1492 by the Piedmontese painter and priest Giovanni Canavesio on the walls of the pilgrimage sanctuary of Notre-Dame des Fontaines, outside of the southern French town of La Brigue. Questions of meaning and function are addressed through a study of the formal means used to convey content; the pictorial and graphic sources (in particular engravings) and their adaptation; the order of the scenes and their placement within the architectural and liturgical environment; the iconography of the depictions; the textual insertions (tituli, speech-scrolls and labels) which appear within the paintings and their relationship to the paintings; and the relationship the painted ensemble establishes with preaching, in terms of content, of function, and of structure. In the assessment of the possible uses intended for the cycle, I place the ensemble within the wider context of late-medieval devotion, and connect it not only with preaching but also with devotional meditation and religious theater. In the course of this study, the other cycles painted by Canavesio on the theme of the Passion are considered: those in the chapels of San Bernardo at Pigna (1482), San Dalmazzo at Pornassio (1490), and Notre-Dame des Douleurs des Penitents Blancs at Peillon, as well as the passion cycles created in the fifteenth century in the duchy of Savoy, where Canavesio was trained and of which La Brigue was part. Also considered are late-medieval narrative and dramatic adaptations on the theme of the Passion.}, keywords = {Early Christian, Byzantine, and Medieval Art, The Renaissance}, author = {Plesch, Veronique} } @mastersthesis {7841, title = {Poetic Theology in Luca Signovelli{\textquoteright}s Cappella Nuova at Orvieto}, year = {1994}, school = {Virginia}, abstract = {Although the apocalyptic frescos in the Cappella Nuova in the Cathedral of Orvieto, begun by Fra Angelico in 1447 and completed by Luca Signorelli between 1499 and 1504, comprise one of the largest and most complex fresco cycles of the late fifteenth century, in depth research on the chapel has been surprisingly sparse. When treated usually isolated parts are addressed; however, in looking at the fresco cycle as a single entity and treating it in its Orvietan context--history, papal ties, relics, and favored feasts--I have found significant correspondences and an iconographic program far richer than previously realized. An overall plan, beginning with Fra Angelico and tied to the Roman liturgy, which was transferred to Signorelli by a specific group of Orvietan theologians, the Masters of the Sacred Page, probably Dominicans, is treated here for the first time. The little-published library in the cathedral, built by Orvietan Humanist, newly-appointed bishop Antonio Alberi, and decorated while Signorelli was in residence in Orvieto with a program remarkably parallel to the socle of the Cappella Nuova, supports speculation about a lead advisor. Although the complexities of composition and the handling of the monumental human form in the frescoes have long been recognized as important in the development of the High Renaissance style, Signorelli{\textquoteright}s theoretical shift from a rhetoric-based paradigm and the restraint endorsed by Leon Battista Alberti to one based on poetry which provides the foundation for the "Grand Manner" so admired by Vasari has not until now been realized. Nor have scholars recognized Signorelli{\textquoteright}s reliance on Dante, not so much for subject matter, but as a vehicle for his message and as a mentor in the painter{\textquoteright}s self-conscious effort to present himself as an epic poet-theologian. Signorelli{\textquoteright}s imitation of Dante{\textquoteright}s difficult style helps to explain the complex forms and the layers of obscure meaning. The incorporation of the liturgy explains the choice of the scenes from Dante{\textquoteright}s Purgatorio on the lower level, and the poets and scenes from poetry serve as an amplifier for the theological truths presented above.}, keywords = {Renaissance Art}, author = {James, Sara Nair} } @mastersthesis {7786, title = {Political Promotion and Institutional Patronage: How New York Displaced Paris as the Center of Contemporary Art, ca. 1955-1968}, year = {1994}, school = {Kansas}, abstract = {This study focuses on French and American governments and museums and the role these institutions played in the postwar transfer of the contemporary art center from Paris to New York. The differences between French and American institutional patronage of avant-garde art during the 1950s and 1960s--which showed relatively meager backing in France, compared against a far more positive and conspicuous patronage by American institutions--figured decisively in New York{\textquoteright}s eventual hegemony in the art world. Most critics and scholars claim that New York replaced Paris as the center of the art world in the late 1940s or early 1950s as a direct result of abstract expressionism. But American artists had not gained prominent international exposure before the late 1950s and early 1960s. This study dates the transfer to 1964 when Robert Rauschenberg won the grand prize for painting at the Venice Biennale. American artists such as Rauschenberg gained international reputations through the promotional efforts of American organizations such as the International Program at the Museum of Modern Art, the American Federation of Arts, and the United States Information Agency. Also, American museums increasingly collected and exhibited contemporary art in the 1950s and 1960s, thus further bolstering the United State{\textquoteright}s reputation as an important source of avant-garde art and as a supporter of avant-garde art. At the same time, for both exhibitions and acquisitions, the French State ignored contemporary art which deviated from the School of Paris artists. The lack of official support for innovative art created the impression that France was no longer an important center for new and innovative art. The theses in this dissertation are supported through a case study of the exhibition and museum-acquisition records from 1955-1968 for five avant-garde artists, two working in the U.S.--Robert Rauschenberg and Jasper Johns--and three working in France--Arman, Yves Klein, and Jean Tinguely. The statistics gathered from this case study bear out the claims that American institutions supported avant-garde far more than French institutions.}, keywords = {Art of the United States and Canada}, author = {Boyer, Kathryn Anne} } @mastersthesis {7801, title = {The Politics of Aesthetic Reclusion: The Seven Sages and Four Graybeards in Momoyama Painting}, year = {1994}, school = {Yale}, abstract = {This study analyzes the political and cultural significance of Momoyama and early Edo period (ca.1560-1635) paintings of the Seven Sages of the Bamboo Grove and the Four Graybeards of Mt. Shang. The broad popularity of these pictures among the politically-polarized samurai, aristocrats and priests is attributed to the generally politically ambivalent treatment of these themes. The original Chinese themes carried messages of rejection of political power but also suggested support for good government. In Japan, the Seven Sages and Four Graybeards themes took on wider significance and in painting were strongly linked to aesthetic reclusion--the rejection of society for positive values such as communitas with like-minded men, devotion to scholarly pastimes, appreciation of nature, rehearsal of a venerable past and devotion to elegant rusticity. The coalescence of politically-ambiguous themes and pictorial emphasis on aesthetic reclusion allows for an imaginary escape from subordination to social order while simultaneously facilitating acceptance of that order. The study reconnects the paintings with broader cultural attitudes towards, and political uses of, aesthetic reclusion and its Chinese models. In addition to the (1) introduction and (6) conclusion, chapters are devoted to (2) the evolution of Chinese scholar-recluses in Japanese literature before 1600, (3) the symbolic structure and political ramifications of the ersatz eremitism of the tea ceremony, (4) the visual structure and political function of paintings of the Seven Sages and Four Graybeards, and (5) the role of aesthetic reclusion in the actual lives of some Momoyama period men and in the Neoconfucianism of Fujiwara Seika. The second volume includes an introduction to, and translation of, Kano Ikkei{\textquoteright}s descriptive catalog of Chinese figure-theme paintings from his Kososhu of 1623. Appendices Two and Three list the contents of Hayashi Razan{\textquoteright}s Kososetsu and the Chinese figure subjects in Kano school fan paintings.}, keywords = {Asian Art}, author = {Brown, Kendall H.} } @mastersthesis {7817, title = {Protestant Imagery and Jewish Apologetics: Rembrandt{\textquoteright}s Encounter with Rabbi Menasseh Ben Israel}, year = {1994}, school = {Harvard}, abstract = {This dissertation identifies a crucial shift in Rembrandt{\textquoteright}s treatment of religious subjects. During the mid-1650s, I show, Rembrandt revised traditional Christian imageries to focus distinctly on a specific theological viewpoint. I demonstrate that Rembrandt{\textquoteright}s illustration of Rabbi Menasseh ben Israel{\textquoteright}s messianic treatise of 1655, Piedra gloriosa, provides the proper framework for understanding the significance of these highly unusual conceptions of scriptural narratives. Earlier, in about 1635, Rembrandt had adopted Menasseh ben Israel{\textquoteright}s exegesis of an obscure biblical passage for his painting of Belshazzar{\textquoteright}s Feast. To date the inquiry into the artist{\textquoteright}s involvement with this rabbi has been limited to his familiarity, through these contacts, to Jewish theological traditions and doctrines. Yet in seventeenth-century Amsterdam Menasseh was a controversial apologist devoted to pursuing a rapprochement between Jews and Christians. During the 1650s Menasseh directed his publications primarily to an audience of "philosemitic" Protestants who were striving to mediate the rivalry between Judaism and Christianity from their Christian perspective. Menasseh{\textquoteright}s engagement in a dialogue with this circle of ecumenical Protestants motivated the publication of the apologetic text he also entrusted Rembrandt to illustrate. Rembrandt{\textquoteright}s biblical imagery has never been considered in light of this development within Dutch Protestantism. An intensely prolific and creative moment of Rembrandt{\textquoteright}s religious art accompanies his cooperation with Menasseh ben Israel in the illustration of the Piedra gloriosa. Sacred themes dominate this period of his work, and among them is a group that departs significantly from the traditions of Christian representation. This study offers a detailed analysis of the etchings depicting Christ{\textquoteright}s Presentation in the Temple of c. 1654, Abraham Entertaining the Angels of 1656, and Christ and the Woman of Samaria of 1657-8, as well as the painting of Jacob Blessing the Sons of Joseph of 1656. These distinctive works center emphatically on the theme of the renewal of the Old Covenant in Christ{\textquoteright}s gospel. Rembrandt{\textquoteright}s meditation on this theological issue, I argue, corresponds precisely with the philosemitic reception of the rabbi and his apologetics. Thus Rembrandt{\textquoteright}s very personal, perhaps idiosyncratic, manipulation of canonical iconographies elucidates a meaningful and distinctively Protestant transformation of his artistic sources.}, keywords = {Baroque and 18th-Century Europe}, author = {Michael Zell} } @mastersthesis {7787, title = {Reading Rooms: Interpreting the American Public Library Mural, 1890-1930}, year = {1994}, school = {Michigan}, abstract = {From 1890 until 1930, a variety of public art projects flourished throughout the United States. The public library was a particularly important and appropriate destination for many kinds of civic enhancements, inviting buildings of distinguished appearance and contributions by leading artists, designers, and craftsmen. Previously, plans for American libraries featured monumental statues and reliefs, landscaped gardens with fountains, stained glass, and decorative mosaic designs. Mural commissions came into favor around the turn of the century and deserve to be recognized as the principal form of embellishment for many of the new buildings. Library patrons appreciated these wall paintings, interpreting them as evidence of rising cultural standards in their communities. Consequently, murals were soon found in many large urban libraries, like the ones in Boston, Detroit, Denver, or Los Angeles, as well as in seemingly more remote locales, such as Winona, Minnesota, or Washington, Connecticut. This dissertation documents the circumstances in which the important library murals from the period were produced. The story of these commissions--who participated in the planning of murals?, why and when?, for how long and at what cost?--as much as the way they looked when finally unveiled, has not been told until now. The two most extensive and influential projects of this period, the Boston Public Library and the Library of Congress, are described and contrasted in this study. Subsequent library murals in this country could scarcely avoid comparison to these early models. One aim of this project has been to recover a sense of how public art comes to be understood by a "community" or so-called "public." A truly voluminous critical discourse surrounded these works when they were first produced. Later art historians have tended to disparage such works, however. Analysis of the rhetorical assumptions of, and intended audiences for this criticism assists our appreciation of the murals themselves. Library murals were "read" by different communities over time, and the varying interpretations given to the works has large implications for any reckoning of public art{\textquoteright}s history in this country.}, keywords = {Art of the United States and Canada}, author = {Cartwright, Derrick Randall} } @mastersthesis {7855, title = {A Reconstruction and Contextual Analysis of Ambrosiana Codex SP 10/ 33: A Renaissance Artist{\textquoteright}s Sketchbook of the Ruins of Rome}, year = {1994}, school = {UCLA}, abstract = {This dissertation consists of the reconstruction and study of an anonymous and undated renaissance sketchbook, Ambrosiana Codex SP10/33, kept by a Lombard architect during a stay in Rome. The reconstruction of the manuscript allows the retrieval of the artist{\textquoteright}s vision as revealed by the choices, design solutions, and layout of the book. The Text of the dissertation aims to reveal the book{\textquoteright}s intrinsic meaning by placing it within a history of other like books and treatises; within the history of book publication; within the context of architectural rendering; within the context of Vitruvian studies and attendant archaeological investigations; within the context of built buildings and painted architectural backgrounds; and finally, within the context of the rise and fall of the central plan as a manifestation of humanist neoplatonic thought. The Text is introductory, conceptual, and contextual. The Catalog reflects a new conjectural pagination which can be translated to either of the two old page orders by way of Concordances. Catalog entries include transcriptions and translations of the text into English. The monuments in the drawings are identified and located where possible. The Figures include actual photographs of the sketchbook{\textquoteright}s pages, direct copies made from its drawings, other artists{\textquoteright} versions of the same monuments, my renderings restoring several building complexes, and several previously unpublished drawings. The reconstruction attempts to restore the integrity of the sketchbook and to demonstrate that an analysis based on interior evidence, that is, an archaeological approach to the study of renaissance art, can be methodologically as fruitful as a biographical approach in getting at the intrinsic meaning of a work of art.}, keywords = {The Renaissance}, author = {Phillips, Maria A.} } @mastersthesis {7770, title = {Re-figurations of Carnival: The Comic Performer in Fin-de-Siecle Parisian Art}, year = {1994}, school = {UC Berkeley}, abstract = {Clowns, Pierrots and other comic figures from the world of the circus and fair figured prominently in fin-de-siecle Parisian art. They were considered metaphorically relevant to the ongoing debate over the nature of representation and were used to advance competing conceptions of avant-gardism. On the one hand, the comic performer was seen as enacting a virtuous retreat from the political arena. His presence was subsumed by the sign, which feminized him, and he became the vehicle for an art that was self-generating and hermetic. On the other, he exceeded the sign{\textquoteright}s boundaries and mimed a challenge to the implied viewer, thereby laying the foundations for an art of political engagement. These models were rehearsed and elaborated on by such artists as Henri de Toulouse-Lautrec and Georges Seurat. They were also used by the poster artist Jules Cheret and the illustrator Adolphe Willette, who enlisted the figure of the comic performer in fundamentally conservative projects while profiting from his avant-gardist credentials. This dissertation traces the evolution of carnivalesque tropes in fin-de-siecle painting and the part they played in undermining the academic tradition, advancing that carnival, as a cultural memory and a powerful symbolic nexus, was instrumental in charting the course of modernism, but that, unsustained by a living tradition of popular festivity, it was rapidly misappropriated and travestied}, keywords = {19th and 20th century Europe}, author = {Verhagen, Marcus} } @mastersthesis {7800, title = {Representation and Illusion in the Art of Willem de Kooning}, year = {1994}, school = {Rutgers}, abstract = {Representation has always been one of the more problematic aspects of Willem de Kooning{\textquoteright}s Abstract Expressionist style, which is primarily abstract yet full of figurative references. The traditional interpretation maintains that he was interested in ambiguity and that he spontaneously combined representation with abstraction to produce this effect. This study reexamines de Kooning{\textquoteright}s art and writings to show that he used representation not to foster ambiguity, but as a way to explore the human need for mimesis. He looked upon representation as a psychological process that allowed people to find analogies, similarities and personal meaning within subjective experience. Maintaining that human consciousness is associative, he created an art based on a self-conscious mediation of experience that parallels the general Abstract Expressionist interest in the unconscious. Chapter one uses de Kooning{\textquoteright}s contention that Mondrian was an illusionistic painter to explore his belief that representation lay at the base of all art--even nonobjectivity. He argued that Mondrian was representational because he used abstract shapes to picture his idea of reality, and illusionistic because all art offers only a problematic appearance, never a truth or essence. De Kooning was concerned with illusion, with the question of how objects appear to living subjects, because he saw the subject-object paradox as a pressing social and metaphysical problem in Western culture. Chapters two and three look at how these ideas affected the development of his art from his student years in Holland through his late period. His academy training predisposed him to think of painting in terms of representation. When he began painting original modernist compositions in New York in the late 1920s and 1930s, he treated nonobjective elements as if they were representational objects. In the 1940s, as his work became more gestural, he turned to stereotyped representations--best seen in Painting (1948) and Woman I (1950-52)--to give his subjective art a concrete social meaning. By basing his art on representation, de Kooning challenged the modernist ideal of autonomy by showing that painting must involve illusion--the subjective interpretation of objective appearance.}, keywords = {Art of the United States and Canada}, author = {Zakian, Michael} } @mastersthesis {7771, title = {The Role of Antiquity in the Development of Modern Sculpture in France, 1900-1914}, year = {1994}, school = {Stanford}, abstract = {This dissertation challenges the standard view that the artists who created modern sculpture turned their backs on classical antiquity. Modern sculpture was created at the turn of the twentieth century largely by non-Frenchmen living in Montparnasse. They rejected the statues and monuments that proliferated in nineteenth-century France in favor of a more universal and intimate art form. The sculptors were trained at the independent academies to look to antiquity to solve their aesthetic problems. They were further guided by the teachings of the classicist Adolf von Hildebrand, as well as by the example of Rodin, who considered himself to be the true heir of Phidias and Michelangelo. Writings at the time by the sculptors and critics reveal praise of antiquity and its lessons; the Greek ideas of "unity" and the "golden section" were particularly popular. The formal qualities of the antiquities that swelled the Paris museums and art market, following recent excavations, were particularly decisive to their creations. Art works and concepts from antiquity gave the sculptors in this study the means with which to get beyond nineteenth-century French sculpture and create a more universal and modern language. This dissertation relies on academy records, dealer ledger books, police documents, unpublished letters, as well as contemporary articles and criticism. It features a lengthy appendix detailing the modern sculptures which were exhibited during the avant-guerre, accompanied by exhibition reviews.}, keywords = {19th and 20th century Europe}, author = {Wayne, Kenneth} } @mastersthesis {7821, title = {The Romanesque Architecture and Sculpture of Perrecy-les-Forges}, year = {1994}, school = {Michigan}, abstract = {This study concerns the former Benedictine priory of Perrecy (Saone-et-Loire) which preserves both its pre-Romanesque church and a handsome Romanesque porch with an elaborately carved portal ensemble. The priory{\textquoteright}s art historical importance derives from the integrity of its well preserved architecture and sculpture, the high quality of their execution, and the intriguing iconographies of its portal. The study presents the first comprehensive, fully illustrated monograph on Perrecy that investigates its history, architecture, and sculpture. It also elucidates relationships among major Burgundian churches, particularly those of Cluny, Vezelay, Macon and Anzy, in the period of the formation and development of Cluniac architecture and sculpture in Romanesque Burgundy. Integration of the results of various forms of study--examination of historical documents, archaeological, structural and technical examinations, stone analysis, and stylistic comparisons--supports the following dates: Perrecy{\textquoteright}s pre-Romanesque church in the 1020s; the Romanesque porch, ca. 1100-1120; and the portal sculpture, ca. 1105-1115. Though not a daughter house of Cluny, Perrecy did not stand apart from the dynamic spiritual and artistic movements in Cluniac Burgundy. Its sculptural style was directly derived from several models (the Anzy west portal, Avenas and Macon) and combined with another, closely related to the Vezelay narthex portals (the first campaign). This style demonstrates Perrecy{\textquoteright}s transitional character. This character can also be observed on Perrecy{\textquoteright}s ornamental bases and foliate capitals. Further, while all the sculptures of these sites show stylistic associations with the sculptures from the eastern part of Cluny III, none of these churches were built in the architectural style of that great church. This fact regarding the dissemination of Cluny{\textquoteright}s architectural and sculptural styles has inspired the reexamination of the degree of Cluny{\textquoteright}s influence over Burgundian churches and the reconsideration of heretofore proposed relative chronologies. Iconographies of the portal sculptures are investigated in relation to practical, liturgical, and symbolic functions of the Romanesque porch and narthex, and in the light of contemporary monastic reform movements. The study proposes that the iconographies, especially those of Christ{\textquoteright}s Passion narratives, the hermits and the three-headed bird, primarily express the ideals of the monastic profession as pursued by the priory{\textquoteright}s coenobites.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Darling, Masuyo T.} } @mastersthesis {7831, title = {The Romanesque Sculpture of Montceaux-L{\textquoteright}Etoile: Crossroads of Cluny and the Brionnais}, year = {1994}, school = {IFA/NYU}, abstract = {This dissertation examines the Romanesque sculpture of Montceaux-l{\textquoteright}Etoile (Saone-et-Loire), a small village church in southern Burgundy. It has two principal aims. First, it studies a genre largely ignored by scholars, the village church. Life at this time revolved around the village, with the church at its center, yet the visual culture of this world remains virtually unexplored. Scholars have instead emphasized the more prestigious but atypical cathedrals and abbeys. This dissertation focuses on the type of ecclesiastical building predominant in the early Middle Ages. The second aim of this dissertation is to re-examine the notion of regionalism in Romanesque sculpture. This problem is inherent in the conflict between two distinct styles at Montceaux, one associated with a local Brionnais tradition, the other with Cluny and its group. Part One (Chapter One) argues that Montceaux was a comparatively wealthy parish church dependent on the monastery of Anzy-le-Duc. Several of the same masons may have been employed in both buildings. Part Two assesses the sculpture of the west portal in terms of iconography (Chapter Two), technique (Chapter Three), and style (Chapter Four), showing to what extent each embodied an approach specific to the Cluniac group. The core group is defined here as Cluny, Vezelay, Perrecyles-Forges, Macon, Romans, and Montceaux. Part Three turns to the local, Brionnais background of Montceaux as manifested by its architectural sculpture. After examining the region as a physical, political, religious and sculptural entity (Chapter Five), I analyze each of the remaining forty-five sculptures at Montceaux (Chapter Six). The primary point of reference was Anzy-le-Duc, but also included Iguerande, Saint-Julien-de-Jonzy, Varenne-l{\textquoteright}Arconce, Saint-Germain-en-Brionnais, and Marcilly-la-Gueurce. Chapter Seven examines unpublished pieces from the destroyed churches of Marcigny, once a major center. This new material makes it possible to reconstruct a group around Anzy-le-Duc, Charlieu, and Marcigny, which included Montceaux. Six Appendices set out the primary literary sources, many unpublished, for reconstructing the archeology, history, and iconography of Montceaux and other Brionnais churches.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Travis, William J.} } @mastersthesis {7820, title = {The Rufolo Palace in Ravello and Merchant Patronage in Medieval Campania}, year = {1994}, school = {Yale}, abstract = {This dissertation examines the monuments associated with the Rufolos, a family which flourished as merchants and bankers to King Charles I Anjou. From the 1260s through 1283, they constructed a palace and commissioned several liturgical furnishings for the Cathedral of Ravello. These works include the Pulpit of the Gospels by Nicola di Bartolomeo di Foggia (1272) and the Ciborium by Matteo da Narnia (1279). Although a corruption scandal sealed the family{\textquoteright}s demise in 1283, they continued to back artistic initiatives well into the fourteenth century, including the stucco baldachin tomb of Marinella Rufolo in Scala (1330s). Utilizing extant and excavated monuments, inventories, charters, early histories, and scientific and popular texts, this study reconstructs the region{\textquoteright}s interweaving of royal, monastic, local, and "imported" artistic and cultural traditions. It addresses such topics as the composite nature of medieval palace architecture; baths and bathing in the Middle Ages; episcopal and lay strategies of church decoration; the migration of artists from royal to merchant circles, and the implications for the concept of "court" art; the use of ancient and medieval spoils in the high Middle Ages; and genealogy, portraiture, and heraldry as emerging modes of self-representation. The stylistic, material, and iconographic heterogeneity of the Rufolo monuments indicates that many aesthetic idioms were accessible to the well-travelled Ravellese. The monuments also express subtle shifts in the family{\textquoteright}s ambitions and taste, and illuminate broader social and political issues in medieval southern Italy. The sophistication and eclecticism of the works demonstrate that southern Italy produced a viable indigenous culture during the war-torn Middle Ages, a culture that was both indebted to royal art in the Kingdom of Sicily, and also remarkably autonomous.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Caskey, Jill} } @mastersthesis {7785, title = {Seth Eastman: Illustrating the Indian Condition}, year = {1994}, school = {Bryn Mawr}, abstract = {"Seth Eastman: Illustrating the Indian Condition" examines the relationship of illustrations by artist Seth Eastman (1808-1875) to the text of Henry Rowe Schoolcraft{\textquoteright}s Historical and Statistical Information Respecting the History, Condition and Prospects of Indian Tribes of the United States (1852-1857). In order to place Eastman{\textquoteright}s work within a tradition, illustrated publications about Indians by J. O. Lewis, Thomas McKenney-James Hall, and George Catlin are analyzed to show how growth in knowledge about Indians affected visual images, leading up to the Schoolcraft-Eastman work. Eastman{\textquoteright}s career in the United States Army substantially affected his second career as an artist. At the United States Military Academy at West Point Eastman received artistic training through standard academic methods of copying, and he developed a topographical system which was conceptual and symbolic. Stationed at Fort Snelling in Minnesota, Eastman lived near Dakota and Chippewa and expanded from painting landscapes to portraying the Indian. He developed a body of works depicting the Indian in a prosaic, descriptive style. His wife, Mary Henderson Eastman, collected Indian stories and published them in Dacotah; or, Life and Legends of the Sioux around Fort Snelling, illustrated by Seth Eastman. Eastman obtained an appointment to provide illustrations for the governmental publication being compiled by Schoolcraft and moved to Washington, D.C. Eastman{\textquoteright}s pictures functioned to carry the message that the publication presented a factual account of the Indians. Schoolcraft{\textquoteright}s text provided narratives which would supply interpretations for Eastman{\textquoteright}s images. The critical responses to the publication showed that his illustrations had an impact on the perception of the publications, with the term "life-like" applied to the works. Mary Eastman wrote other books about Indian life and used plates from Schoolcraft{\textquoteright}s work to illustrate The American Aboriginal Portfolio and Chicora and Other Regions of the Conquerors and the Conquered, giving alternate readings to the same images. Both Schoolcraft and Mary Eastman were reformers, wanting to convert Indians to Christianity, and used the illustrations to bring attention to their perceptions of the conditions of Indian life. Through their writings, Eastman{\textquoteright}s seemingly matter-of-fact images became calls to action.}, keywords = {Art of the United States and Canada}, author = {Boehme, Sarah E.} } @mastersthesis {7795, title = {Stanton Macdonald-Wright (1890-1973) : From Synchronism to the Federal Art Projects}, year = {1994}, school = {CUNY}, abstract = {Stanton Macdonald-Wright (1890-1973) contributed to the emergence of modern painting in both Europe and America. Along with Morgan Russell (1886-1953), he founded Synchromism, the only recognized vanguard movement of pre-World War I Europe established by Americans. The present study begins by providing a biographical sketch of Macdonald-Wright{\textquoteright}s formative years, and proceeds to explain the intricacies of Synchromist theory which too often unnecessarily intimidate both the lay person and the professional art historian. The Synchromist project unfolds as one far more dependent on classicism and aestheticism, as well as one far less dependent on scientific color theory, than previously assumed. Macdonald-Wright{\textquoteright}s substantive and eventful career in Southern California between the two world wars, from 1918 to 1943, is an additional focus of this dissertation: included among topics documented and discussed are his various roles as director of the Los Angeles Art Students League, the Santa Monica Theater Guild, and the Federal Art Project for Southern California. The artist played an important role in the early cultural development of Southern California, a region that would become one of the most populated, ethnically diverse, economically productive and socially volatile in late twentieth century America.}, keywords = {Art of the United States and Canada}, author = {South, Will} } @mastersthesis {7778, title = {Taboo and Transgression: The Subversive Aesthetics of Georges Bataille and "Documents"}, year = {1994}, school = {Boston}, abstract = {This dissertation examines the interweaving of ethnography and dissident Surrealism in Documents: Archeologie, beaux-arts, ethnographie, varietes, a review edited by Georges Bataille between 1929 and 1930. Moving away from the strictly formal assimilation of l{\textquoteright}art negre and from Andre Breton{\textquoteright}s use of the "primitive," Bataille{\textquoteright}s circle of artists, writers, and critics joined leading anthropologists in a deeper analysis of the dynamics of art in its cultural context. Bataille and his colleagues translated current anthropological investigations of taboo and transgression into a broadly subversive agenda for contemporary art. The utopian movements that flowered in the wake of World War I gave way to an increasing anti-idealism in the late 1920s. Ethnography offered a scientific archive of Third World alternatives to the existing European malaise. Its radical leveling of cultures and reexamination of the art object were central to Documents. The journal, with its eclectic mixture of contemporary art, archaeological discoveries, and popular culture, promoted an anticlassical aesthetic that embraced the "low" values of the violent, the erotic, and the deformed. Bataille{\textquoteright}s radical ideas are explored in his relationship with three artists: Pablo Picasso, Andre Masson, and Alberto Giacometti. Picasso was the subject of the journal{\textquoteright}s only special issue, "Hommage a Picasso." His celebrity allowed the dissident Surrealists to map out their own territory within the avant-garde, and his work provided Bataille a field on which to advance his anti-idealist agenda. Masson formed a close alliance with the Documents circle. His partnership with Bataille in L{\textquoteright}histoire de l{\textquoteright}oeil (1928), L{\textquoteright}anus solaire (1931), and Sacrifices (1936) centered on a savage grammar of eroticism and violence. Finally, the journal{\textquoteright}s contributors played a pivotal role in the shaping of Giacometti{\textquoteright}s oeuvre in the early 1930s. In "Alberto Giacometti," Michel Leiris describes the sculptor{\textquoteright}s work as contemporary fetishes and heralds their ability to embody human emotions. Bataille{\textquoteright}s anti-idealism influenced Giacometti{\textquoteright}s efforts to systematically undermine conventions of narrative and form. This study of Georges Bataille and Documents addresses the construction of the "primitive" by the Parisian avant-garde between the wars and critiques Bataille{\textquoteright}s aesthetics of subversion.}, keywords = {19th- and 20th-Century European Art}, author = {McInnes, Mary Drach} } @mastersthesis {7763, title = {Toward a Phenomenology of the Self: Marcel Duchamp{\textquoteright}s {\textquoteright}Etant Donnes{\textquoteright}}, year = {1994}, school = {CUNY}, abstract = {This dissertation explores Marcel Duchamp{\textquoteright}s last major work, the tableau-assemblage Etant Donnes: 1. la chute d{\textquoteright}eau 2. le gaz d{\textquoteright}eclairage ... (Given: 1. the waterfall 2. the illuminating gas ...), 1946-66, as a synthesis of his diverse oeuvre. The author{\textquoteright}s argument examines the complex relationship that Duchamp established between art object, vision, and the observer, as he integrated the central dialectics of the oeuvre--language, eroticism, gender, optics--within an inquiry into the issue of subjectivity, exploring the tenuousness of perception and identity. The tableau{\textquoteright}s overt realism and directness stand in contrast to the obscurity of the Large Glass (1915-23)--much of whose stratification of meanings, narratives and allegories require textual elaboration. Etant Donnes ... is about vision and the variable ways we see and experience visuality--physically and psychologically, consciously and unconsciously. The complex manner in which visuality is dealt in Etant Donnes ... parallels the alienation of being a human subject, first experienced, according to Jacques Lacan, during the "Mirror Stage" of childhood development. The specularity of the voyeur{\textquoteright}s sense of being observed, for example, is magnified and complicated by the way Duchamp situates and implicates the viewer in the act of observation--producing an active and reciprocal kind of observation, involving the kind of gaze that Lacan has spoken of in terms of an alienating unconscious. By examining vision and representation in terms of their exterior functions--as always involving an external position or skewed relation to the object (or signifier)--Duchamp is able to explain how one{\textquoteright}s sense of self is often defined through the exteriorizing act of vision. Etant Donnes ... refigures the art object as a way of examining the qualities that make something a symbol. Such a presentation does not necessarily involve a situation in which something stands for something else in the world. Rather, the installation is a meditation on the symbolic process itself, involving some of the earliest impulses of and for representation, which ultimately bear on the individual{\textquoteright}s experience of the self, and the psychophysiological aspects of desire that constitute one{\textquoteright}s sense of wholeness and separateness in the world.}, keywords = {19th and 20th century Europe}, author = {Klein, Mason} } @mastersthesis {7793, title = {Transitions in American Art and Criticism: The Formative Years of Early American Modernism, 1895-1905}, year = {1994}, school = {Rutgers}, abstract = {In my discussion of the formative years of Early American Modernism I argue that those artists who were students and/or young artists in New York and Philadelphia between 1895 and 1905, and who went abroad in the first decade of the twentieth century before Fauvism and Cubism were known in America, were exposed to key aspects of the modern spirit in America that prepared them intellectually and aesthetically for what they were to encounter in Europe. My dissertation{\textquoteright}s contribution to scholarship is that it links the modernists to the American artists and climate of opinion of the immediately preceding generation. My methodology is first to describe and analyze what the American modernists, represented here by John Marin, Arthur Dove, and Max Weber, could have seen and read during their student years that pertained both to the American historical and cultural milieu, and to the innovative intellectual approaches and inventive aesthetic manipulations practiced by the immediately preceding generation of American artists and teachers, represented here by George Inness, Winslow Homer, Albert P. Ryder, John H. Twachtman, and Maurice B. Prendergast, William M. Chase, Thomas P. Anshutz, and Arthur W. Dow. I then analyze how these artists{\textquoteright} aesthetic strategies were manifested in Marin{\textquoteright}s, Dove{\textquoteright}s, and Weber{\textquoteright}s own writing and paintings produced during the first phase of their artistic maturity. My investigation of the relationship between both groups of artists reveals what I believe are the most salient aspects of their innovative aesthetic strategies designed to confront the impact of the modern spirit: (1) both generations cultivated an instinctive and subjective approach to nature and art in order to preserve individualism and to derive non-narrative expression; (2) these artists applied the implications of instinct and subjectivity to their investigation of the essential constituents of creativity, which were concluded by both groups to be vitalism and process; and (3) the twentieth-century group nurtured the aesthetic and psychological potentials of the representational strategies inherited from their American predecessors, which emphasized unprecedented pictorial manipulations and re-structuring designed to suggest personal opinions about modernity, spirit, nature, and self.}, keywords = {Art of the United States and Canada}, author = {Prebus, Cynthia H.} } @mastersthesis {7837, title = {Turtle and Lizard Images in Lakota Art: A Case Study in Interpretation}, year = {1994}, school = {Texas Tech}, abstract = {By analyzing Lakota images of turtles and lizards as elements of a sign system that produces cultural meaning, this study examines the status of the images, interprets multiple meanings they convey, and investigates the role they play in relation to social organization. A broad definition of art accounting for both product and praxis is proposed. To justify the methods used, the study critically reviews assumptions governing art historical and museological interpretations of Lakota art. Established interpretive methods (i.e., material culture studies, iconography, and semiotics) are employed within a post-structuralist framework that posits meaning as a social and cultural construction. Lakota ethnohistory and creation myths are summarized briefly to establish contexts in which Lakota imagery can be explicated. Although often explained as a protective motif invoking the turtle{\textquoteright}s association with female physiological concerns, mythic, folkloric, and ceremonial traditions support interpretations beyond gynecological protection. For both men and women, the turtle also connotes wisdom, longevity, good, evil, and resistance to death. Lizards are linked to turtles in mythological accounts and in the case of umbilical amulets. With the exception of wisdom, lizard images convey the same meanings as do turtle images. Examination of gender-specific artistic practices and behavioral ideals illuminates the relationship of Lakota art and Lakota social practice, especially with regard to gender, ethnicity, and power. Finally, a catalog of thirty-nine examples of Lakota art (or stylistically related northern Plains Indian art) in the Museum of Texas Tech University appears as an appendix, and provides an overview of Lakota styles, techniques, and forms.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Gombert, Carl R.} } @mastersthesis {7777, title = {The Ugly Face of Beauty: Paul Klee{\textquoteright}s Images of Aphrodite}, year = {1994}, school = {UCLA}, abstract = {Of the more than 8900 items in Klee{\textquoteright}s oeuvre catalogue, eighty-nine, or about one-tenth, carry Greco-Roman names of mythological figures. Amongst them, those titled Aphrodite, or recognizable as the goddess, form the largest mythological group: twenty-three images in all. Dated between 1904 and 1939, the images span the whole of Klee{\textquoteright}s career. Klee{\textquoteright}s distorted representations of the Greco-Roman goddess put at issue the concepts of love, beauty, proportion, and mimesis. The formal features of Klee{\textquoteright}s depictions are the launching point of this study; the events that conditioned his development as an artist organize the context. Passages from his diaries and letters and from his critical and pedagogical writings that pertain to the motifs, formal language, or title words of a representation are examined for meaning. Interpretation proceeds from the fusion of these findings to those revealed by analyzing each composition{\textquoteright}s relationship to models from art history. For Klee, likeness was not a matter of truth to form, but of truth to the artistic self that shapes form. Klee attempted to deconstruct various hierarchies in order to reconstruct a new religion of the genius of his art. He turned the relationship of beauty and caricature on its head: instead of ensuring the primacy of the ideal of {\textquoteright}Beauty{\textquoteright} by eliminating caricature, he sought out the ugly facets of beauty through this very vehicle. With his Aphrodites Klee advanced the intellectual myth he made of the idea of his artistry, initially gleaned from Plato, refashioned under the influence of Johann Wolfgang Goethe, Oscar Wilde and Charles Baudelaire, and then refined through his study of Julius Meier-Graefe. Klee{\textquoteright}s Aphrodites are a portrait of the artist as his style, a style that champions ugliness as the modern equivalent of the strange, idealized beauty of antiquity.}, keywords = {19th- and 20th-Century European Art}, author = {Kort, Pamela Lynn} } @mastersthesis {7784, title = {The Unbaptized Earth: Ana Mendieta and the Performance of Exile}, year = {1994}, school = {UNC Chapel Hill}, abstract = {Exile is a potent word appearing repeatedly in discussions of the earthworks and performances of Cuban-American artist Ana Mendieta (1948-1985). It has been used to explain Mendieta{\textquoteright}s artistic inspiration, to categorize her work, to define her identity, to describe her location, to suggest her nationality, and to substitute for her home. This project looks more closely at exile in an attempt to understand the complexity of its meanings in relation to Mendieta{\textquoteright}s life and work. It describes exile as a historical fact of her biography but also envisions it (1) as a discursive position from which to engage issues of nationality, race, and gender, and (2) as a performative identity through which to stage artworks, the liminality and undecidability of which are disruptive to the artificial coherence of such categories. Mendieta{\textquoteright}s exile came to define her identity, both for herself and for critics. Her exilic identity was particular to the period of the {\textquoteright}60s; unlike later exiles (i.e. those of the 1980 Mariel boatlift), she did not experience the socialism of the Castro regime firsthand, and therefore supported Castro or, more emphatically, Cuba as a victim of First World (predominantly U.S.) aggression. Though white, her experiences of racism made her identify herself as non-white; she affiliated herself with native peoples and saw a parallel between their tragic experiences of colonialism and the Third World{\textquoteright}s experience of neo-colonialism. This project takes up her engagement with stories/histories of such peoples and the ways in which the stories{\textquoteright} meanings are inflected by her discursive position of exile, the ways in which she reinscribes them with the politics of nation and color. It also looks at her performances, which bring together earth and body in sites marked by nation, colonialism, and feelings of home. It suggests that in these performances she stages travel as a liminal category that is subversive of the stability, fixity, and coherence of the nation-space, and of the earth as a feminine entity. Finally, it claims that her notion of an "unbaptized earth" is a metaphor for an earth that exists prior to discursive and ideological inscription.}, keywords = {Art of the United States and Canada}, author = {Blocker, Jane} } @mastersthesis {7856, title = {Verbum Caro Factum Est{\textquoteright}: The Madonna and Child in 15th-Century Florentine Painting}, year = {1994}, school = {UT Austin}, abstract = {Until the fifteenth century, among the most popular images in Christian art were scenes of the Passion of Christ, but by mid-fifteenth century in Florence, they had virtually disappeared from the artistic repertoire and were superseded by a predilection for variations on the theme of the Madonna and Child, a subject which signifies the Incarnation and which, in the Quattrocento, came to reflect two of the major topics which contemporary thinkers and patrons associated with the Incarnation: the humanity of Christ and the dignity of man. The decline of Passion imagery and the ascendancy of the Madonna and Child was accompanied by another change which altered the appearance of religious painting: the application of the results of scientific observation of the world around the artist to the depiction of the religious mysteries. These crucial changes in subject matter and form contributed to the production of paintings in which the Incarnation was viewed as the central mystery of the Church. This dissertation attempts to accomplish two goals: first, to examine both the structure and meaning of these images and, second, to relate them to the intellectual atmosphere which produced them. The innovations of the fifteenth-century painters were the discovery of the physical means with which to depict dogma, the manner that they linked the Incarnation to other events in Christ{\textquoteright}s life, the development of new imagery celebrating Christ{\textquoteright}s earthly life, and a new conception of spatial and figural treatments. Humanist scholars revived the ancient practice of the rhetoric of epideictic oratory and placed a great emphasis on the theme of the dignity of man restored to the promise of his creation in the image and likeness of God. An analysis of the incarnational imagery of the paintings of the fifteenth century supports an hypothesis of their proliferation as a response in upper-class, scholarly circles to the positive orientation of praise rhetoric and to the focus on the subjects of the dignity of man and the humanity of Christ. The visual imagery of Quattrocento Florence joined humanity to the deity in a manner never before expressed in visual arts.}, keywords = {The Renaissance}, author = {Schneck, Mary Karn} } @mastersthesis {7761, title = {What Honor for the Feminine Sex{\textquoteright}: A Cultural Study of Joan of Arc and the Representation of Gender, Religion, and Nationalism in French 19th-Century Painting, Prints, and Sculpture}, year = {1994}, school = {CUNY}, abstract = {This dissertation provides the first cultural, political, and art historical study of the image of Joan of Arc in early nineteenth-century French art, literature, drama, and music. It analyzes the political and social implications of a virtually ubiquitous cultural phenomenon in relation to the changing political regimes, religious movements, and sexual politics of the age. Vast and vibrant in its afterlife, Jeanne d{\textquoteright}Arc{\textquoteright}s representation reveals the forceful impress of politics--both sexual and otherwise--upon the scope and nature of her image{\textquoteright}s historic formation. By identifying the political forces of the varying regimes and social movements that retrieved her image for their own use (as well as the personal motivations that inspired artists to take up this subject), this study addresses the multiple functions that Jeanne d{\textquoteright}Arc{\textquoteright}s image played, and the broadly varied nature of her portrayals in French art and society. This study also explores how relentlessly Jeanne d{\textquoteright}Arc{\textquoteright}s image was sexualized. Artists as varied as E.-E.-F. Gois and J.-A.-D. Ingres gave her such normalizing female attributes as long hair and a long dress, despite the Maid of Orleans{\textquoteright}s well-established masculine coiffure and historic refusal to give up her cross-dressed apparel upon pain of death in 1431. Poets, playwrights, and authors as diverse and influential as Voltaire and Schiller gave focal attention not to the Maid{\textquoteright}s remarkable martial and political achievements, but rather to her sexual life. Similarly, historians, politicians, and clerics held Joan of Arc forth as an example of purity and womanly "virtue." The feminizing sexualization of Jeanne d{\textquoteright}Arc{\textquoteright}s representation was a fundamentally political act. As such, the sexualization of her portrayal is not treated as a concern distinct from the political forces that caused the reformation of her image in the 1800s, but rather as a function of those agencies that worked to contain the dynamic, exceptional image of Jeanne d{\textquoteright}Arc in order to make her a more efficient and compliant symbol. Thus, this study recounts how one woman{\textquoteright}s body has been called to serve the body politic as an illusory mirror of its own most profound desires.}, keywords = {19th and 20th century Europe}, author = {Heimann, Nora} } @mastersthesis {7769, title = {Whistler{\textquoteright}s Nocturnes and the Aesthetic Subject}, year = {1994}, school = {Michigan}, abstract = {Throughout the 1870s, James McNeill Whistler devoted much of his creative energies to the development of his signature visual form, the Nocturne. In thirty-two extant oil paintings Whistler explored the nighttime landscape, especially that of his adopted London, familiar terrain made more intriguing by darkness and mist that concealed mundane identities and uncovered the implicitly pictorial possibilities of the urban subject. Regarded as a singularly inventive aesthetic expression by contemporary admirers and detractors alike, the Nocturne was Whistler{\textquoteright}s declaration of his difference from the younger generation of realist painters with which he was closely associated from the time he arrived in Paris in 1855. Whistler{\textquoteright}s Nocturnes--by definition indefinite and multivalent--elude clear categories and contexts. This study treats the Nocturne in successive chapters as a hybrid pictorial form that mediates between plein-air realism and the conceptual work of the studio, naturalist observation and stylized decoration, legible reference and imaginative allusion, and a dynamics of presentation and retreat. This dissertation attends closely to the formal qualities of the Nocturnes, and reads them through and against a series of contemporary texts, from the artist{\textquoteright}s own theoretical pronouncements and commentary in the nineteenth-century periodical press, to the fin-de-siecle construction of a "hermitic" Whistler offered by writers such as Joris-Karl Huysmans, Gustave Geffroy, and Camille Mauclair. Whistler{\textquoteright}s art is at once firmly present in the canon of modernism and peculiarly peripheral to it. The Nocturnes, in particular, frequently are enlisted in the modernist march toward an art of pure form. Yet Whistler{\textquoteright}s ostensibly radical reputation and rhetoric appeal to ahistorical, transcultural standards for their oppositional authority, just as his Nocturnes attempt to inhabit both terms of the binary structures from which they are formed. The aim of this dissertation is to account for the paradoxical challenges of Whistler{\textquoteright}s project by situating his Nocturnes in the context of work that does not constitute a full-fledged assault on representational conventions so much as it seeks to incorporate and reconfigure those conventions in the name of transcendent tradition as defined by the ultimate "aesthetic subject" of this study--Whistler himself.}, keywords = {19th and 20th century Europe}, author = {Siewert, John} } @mastersthesis {7797, title = {William Gropper: Art Censorship in the Cold War Era}, year = {1994}, school = {Boston}, abstract = {William Gropper (1897-1977) exemplifies a generation of artists who struggled to use their art to create a better world despite organized opposition. While Gropper has been examined in previous thematic studies, this thesis focuses on the defining moments when censorship redirected his life and work. Gropper was censured in Congress in the 1940s and blacklisted by Senator Joe McCarthy in 1953. But censorship began for Gropper as early as 1919 with his newspaper caricatures and continued throughout his life. The investigation of these important periods in Gropper{\textquoteright}s career will lift the disguises surrounding the protocols of censorship to reveal an atmosphere of intimidation, and will demonstrate how highly charged ideological groups determine who shall speak and how artists become marginalized. Gropper was censored as much for his political beliefs and social engagement as for his art. His submission to a museum mural exhibition in the 1930s, his caricatures in the New Masses and Vanity Fair, and his support of Spanish relief were all attacked as too politically radical. FBI reports prevented his serving as an Army artist-correspondent in 1943, and during the 1940s and 1950s when members of Congress actively sought out "subversives," Gropper appeared on every "blacklist." After appearing before McCarthy{\textquoteright}s subcommittee, Gropper vowed to create a "Caprichos a la Goya," which resulted in a portfolio of fifty lithographs, his personal indictment of "American inquisitions." Gropper penned meditations for his prints (appendix one) again emulating the annotations attributed to Goya for Los Caprichos. Although others have maintained Gropper{\textquoteright}s art was unchanging, this study argues that as the pace of censorship accelerated, he altered his subjects and style and shifted his media. These changes are traced in the text and in the checklist of prints (appendix two); his evolution as a printmaker may be fully understood for the first time. This thesis employs traditional art historical analyses to examine Gropper{\textquoteright}s imagery in detail, and contextual analyses to isolate the controversies that pervaded Gropper{\textquoteright}s most productive years. Standing at the intersection of art and politics, Gropper{\textquoteright}s work serves as a mirror reflecting those dark political times.}, keywords = {Art of the United States and Canada}, author = {Steinberg, Norma S.} } @mastersthesis {7794, title = {Winslow Homer{\textquoteright}s Drawings in {\textquoteright}Black-and-White,{\textquoteright} ca. 1875-1885}, year = {1994}, school = {Princeton}, abstract = {From 1875 until 1885, Winslow Homer frequently exhibited and sold drawings in "black-and-white," works executed in friable and liquid media whose common attribute was their monochrome appearance. His interest in such drawings coincided with the growing popularity of exhibiting similar graphic art, including illustrations, etchings and engravings, and paintings en grisaille. Prior to the Civil War, the perceived status of drawings as works that did not embody a fully developed conceptual statement generally precluded their inclusion in exhibitions. Yet beginning in the late 1860s and the early 1870s, Homer and his colleagues became increasingly interested in drawing media and watercolor as a means to explore issues relating to artistic process and to investigate their own personal and expressive sensibilities. Critics and collectors as well began looking at drawings in new ways, appreciating them as works that revealed an artist{\textquoteright}s unique pictorial sensibility. Homer{\textquoteright}s drawings in black-and-white reveal the artist to be responding to the aesthetic, ideological, and market forces of the artistic community of New York and Boston during the 1870s and 1880s. From 1875 until 1880, Homer adopted for his drawings sophisticated pictorial devices common among the community of progressive artists working in New York. While abroad in England from March 1881 until November 1882, he continued experimenting with drawing media and with drawing typologies that highlighted the aesthetics of the sketch format. Upon his return to New York and after his move to Prout{\textquoteright}s Neck, Maine, he continued to make these independent drawings and he developed alternative markets for them, where they appeared in exhibitions until 1885. These latter drawings were pivotal for the development of his mature oil paintings of Prout{\textquoteright}s Neck executed from the 1890s until his death in 1910. As a group, Homer{\textquoteright}s drawings in black-and-white reveal the artist to be at once a participant of mainstream artistic activity, as well as an innovative force within it.}, keywords = {Art of the United States and Canada}, author = {Provost, Paul Raymond} } @mastersthesis {7848, title = {Word and Image in Architectural Treatises of the Italian Renaissance}, year = {1994}, school = {Princeton}, abstract = {Francesco di Giorgio Martini, Sebastiano Serlio, Daniele Barbaro, and Andrea Palladio all composed illustrated architectural treatises in which they overcame innumerable obstacles facing them as innovators in a new genre. All found answers to the problem of structuring the relation between word and image, whether by conscious design or by intuition based on "habits of mind" that grew from their own study and practice of architecture. These answers, which took the form of creative principles, as well as the origins of these principles and their application, are the object of this study. As part of the history of representation, this study aims to make the treatises more accessible to the student of Renaissance culture and to the contemporary architect-author. The chapters are arranged in the chronological sequence in which these major treatises were written. The treatises themselves are studied thematically, according to the interests of the writers. The method used has been structural: to find in the texts patterns of thought or statements of principle that apply to the relationship between the texts and the images. For Francesco di Giorgio, Daniele Barbaro, and Andrea Palladio, some of these principles are revealed in changes that occurred between various stages of composition of the treatises; for Sebastiano Serlio structural principles are revealed in the changes in approach that occurred between the published volumes, which appeared at irregular intervals. The time frame is 1470 to 1570--from the time Francesco di Giorgio{\textquoteright}s treatises were initiated to the publication date of Palladio{\textquoteright}s Quattro Libri. The conclusion reached is that all of the writers called upon their own humanistic interests and architectural experience for principles that could be applied to the "construction" of the relationship between the words and the images in their books.}, keywords = {The Renaissance}, author = {D{\textquoteright}Evelyn, Margaret} } @mastersthesis {7808, title = {The {\textquoteright}Yamai No Soshi{\textquoteright}: A Critical Reevaluation of Its Importance to Japanese Secular Painting of the 12th Century}, year = {1994}, school = {Michigan}, abstract = {This dissertation challenges the traditional concept that the Yamai no soshi paintings were created as a set of rokudo-e. It is the author{\textquoteright}s opinion that the Yamai no soshi paintings were compiled from a wide variety of sources, including secular ones, much in the manner that setsuwa were collected into setsuwa-shu; and although one cannot rule out an intended rokudo theme on the compiler{\textquoteright}s part, there is no real basis for assuming such an intent lay behind the original creation of the paintings. In fact, it appears questionable whether a religious connotation is applicable to most of the paintings at all. In demonstrating the varied styles and levels of quality of the Yamai no soshi paintings, this dissertation argues the need for a reevaluation of their significance within the development of Japanese secular painting in the twelfth century. Chapter II presents a general background for the Yamai no soshi, a description of the contents of the paintings and a translation of the texts. Chapter III discusses the critical weaknesses of the rokudo theory. Chapter IV presents a stylistic analysis of the paintings. Chapter V discusses a second "Illnesses" scroll, known only through copies, that sheds vital light on the Yamai no soshi. Chapter VI evaluates against the general background of Heian medicine the possibility that the paintings could be related to medical texts. Chapter VII establishes the feasibility of a connection between the Yamai no soshi and the setsuwa literary genre. Finally, Chapter VIII discusses the work in terms of its importance within the context of twelfth century secular painting.}, keywords = {Asian Art}, author = {John Tado Teramoto} } @mastersthesis {7835, title = {The Yeni Valide Mosque Complex in Eminonu, Istanbul (1597-1665)}, year = {1994}, school = {Pennsylvania}, abstract = {The Yeni Valide Mosque complex is a major imperial Ottoman architectural project spanning the sixteenth and seventeenth centuries. Built by two valides, or the mothers of two sultans, and designed by three and possibly four royal architects, the mosque complex is among the largest built in Istanbul during the post-classical era. Comprised of a mosque and several subsidiary structures--a tomb, market complex, royal pavilion, and school--the non symmetrical layout of the mosque and its dependencies has been described as arbitrary and devoid of an organizing agenda. Additionally, the allocation of this waterfront site to the valide sultans has been perceived as reflecting a discrimination against imperial women builders who were denied the choice properties in the capital for their foundations. Using contemporary archival sources, records of Ottoman chroniclers, accounts of European travelers and envoys, and the epigraphic program of the complex, my case study of the Yeni Valide Mosque complex reveals that in the siting of the project, there was a deliberate attempt to islamicize a lucrative commercial quarter of the city. Further, the layout of the various buildings is not arbitrary but relates directly to the location of the royal pavilion. From this private imperial retreat a privileged and controlling gaze affords visual access to the commercial activities of the waterfront marketplace, and the entrances to the various components of the complex. In the epigraphic program chosen for the mosque and the royal pavilion it is clear that the Eminonu building campaign was closely linked to the Ottoman wars with the Venetian and Hapsburgs. The private and public nature of the inscriptions reflects the political intentions of a royal Ottoman woman who exercised an extraordinary amount of power during this period of Ottoman history and announces the legitimacy of this power in her patronage of the Yeni Valide Mosque complex.}, keywords = {Islamic Art}, author = {Thys-Senocak, Lucienne} } @mastersthesis {7693, title = {Alfred H. Barr, Jr., and the Establishment of the Culture of Modernism in America}, year = {1993}, school = {CUNY}, abstract = {It is the purpose of this dissertation to examine the education of Alfred H. Barr., Jr. the founding director of the Museum of Modern Art, and the cultural and intellectual matrix of the twenties which accumulatively provided the ideas for the direction he took. The most important thread that runs through his various approaches to art was his commitment to a formalist point of view. This trajectory, over more than two decades, (1918-1939) follows the development of Barr{\textquoteright}s taste and aesthetic theories parallel to the emergence of modernism on the one hand, and of the discipline of art history on the other. Barr brought with him to the Museum, in 1929, an academic scholarly attitude towards art that had been taking shape within university life for the preceding few decades; Alfred Barr ran his museum like a university following a program of research, publishing and teaching. The radical avant-garde was approached by Barr through the perspective of academic training, enabling him to document and institutionalize their efforts in the museum. Barr{\textquoteright}s art catalogues and books have remained important resources for the scholarship of the art of the first half of this century. His critical theory, never made explicit, could be interpolated from his activities as a curator and his writings on wall labels and in catalogues and books. Barr{\textquoteright}s involvement with the support system of dealers, museums, and collectors was pertinent toward this end as they shared his task of documenting the establishment of modernism in America. Also, Barr{\textquoteright}s relationship with his circle of friends at Harvard, such as Lincoln Kirstein, Edward M. M. Warburg, Philip Johnson, Henry-Russell Hitchcock, P. J. Sachs, Agnes Mongan, Jere Abbott, as well as, with Holger Cahill, Dorothy Miller, J. B. Neumann, and Katherine Dreier, are examined as they contributed to the institutionalizing of modernism in the United States. The various manifestations of modern art that occurred in the twenties and the possible effect that they had on Barr{\textquoteright}s theoretical ideas claim our attention: the exhibitions of the Societe Anonyme, the Chicago Institute of Art, the Barnes Foundation, the Newark Museum, the Little Review, the Dial and the Harvard Society of Contemporary Art, as well as his interactions with the artists of the Bauhaus in Germany and the Vkhutemas in Russia. Despite his reliance on the artists{\textquoteright} point of view, ideologically more social and political, Barr remained a "purist" bent on establishing the parameters of modern art.}, keywords = {Art of the United States and Canada}, author = {Kantor, Sybil} } @mastersthesis {7691, title = {Allegories of Freedom in the Paintings of Paul Georges}, year = {1993}, school = {Wisconsin}, abstract = {This dissertation interprets Paul Georges{\textquoteright} self-portraits and his mythological and narrative paintings as allegories of freedom. Since most allegories may be classified as either battle or progress, these categories serve to structure this study. Chapter One interprets the self-portraits as an elaborate "progress" of an individual toward an ideal of freedom. Georges{\textquoteright} self-portraits, which number in the hundreds, may be seen as a diary of his individual struggle for freedom within the arena of art. Stressing the importance of a particular individual, the self-portraits rebuff the forces of depersonalization and enslavement. Through repetition, they become an allegory of his quest. Chapters Two, Three and Four consider Georges{\textquoteright} "battle" allegories in the context of personal, sovereignal and civic freedom. Chapter Two focuses on a number of paintings in which the muse serves as an exemplar of Georges{\textquoteright} efforts to create an aesthetic ideology expressing personal freedom. In these works he expressed his optimistic belief that his aesthetic ideals would obtain legitimacy. In Chapter Three, paintings dealing with rape and the exploits of classical heroes form the basis of an investigation of sovereignal. Chapter Four looks at "battles" over civic freedom in elaborate allegories dealing with the assassinations of political leaders, the shooting of students at Kent State, and ecological issues. Georges{\textquoteright} emphasis on the individual and particular, rather than the general and abstract, reflects his belief that the struggle for freedom exists in a social context and not in an ideal realm. The final Chapter considers Georges{\textquoteright} allegories of freedom in their broader historical and art historical context.}, keywords = {Art of the United States and Canada}, author = {Grand, Stanley Irwin} } @mastersthesis {7739, title = {American Documentary Photography during the Cold War: The Decline of a Tradition}, year = {1993}, school = {UT Austin}, abstract = {This dissertation traces the rise and eventual domination of more abstract, formalist, and personal directions in American photography following the "failure" of the social documentary tradition during the Cold War years. It closely examines four seminal moments in this gradual decline from 1948 to 1960: the creation and disbandonment in 1951 of the Photo League after it was named a subversive organization by the United States Attorney General; the career of Sid Grossman, the only member of the Photo League publicly singled out as a Communist; Edward Steichen{\textquoteright}s Family of Man exhibition of 1955 which brought mass exposure to documentary and marked its absorption into the genre of photojournalism; and Robert Frank{\textquoteright}s The Americans (1959), which is credited, in subsequent histories, with altering the course of documentary photography in the late fifties. Much of this research challenges accepted assumptions about these people and events. It suggests that many artists moved to more abstract concerns in photography out of fear of being labeled political, or worse, a Communist during the Cold War years and that this "evolution" was not simply a modernist improvement in the history of photography. It shows that Robert Frank, while creatively inventive, was only one among many photographers working in a similar vein. Overall, the dissertation argues that many artists successfully retreated from overt political content and that this retreat was often praised by critics who said, essentially, that politics was no business for true, visionary artists. While documentarians during the Depression and pre-World War II years were urged toward a philosophy of committed social responsibility, criticism in the Cold War era effectively silenced the political artist in American society.}, keywords = {Photography and Film}, author = {Bezner, Belinda Curbus} } @mastersthesis {7687, title = {American Neoclassic Sculptors and Their Private Patrons in Boston}, year = {1993}, school = {CUNY}, abstract = {During the first half of the nineteenth century, the urban area of Boston, including Cambridge, played an especially important role in the careers of many American sculptors, most of whom worked in the Neoclassic style. Among these artists were Horatio Greenough, Thomas Crawford, Hiram Powers, Shobal Clevenger, Henry Dexter, and Harriet Hosmer. These men and women, and many of their contemporaries, both sculptors and painters, found an especially rich source of patronage in Boston. Leading citizens of the city, many of whom were also active in the Boston Athenaeum and other local art and cultural organizations, gave important both financial and moral support to these artists. Among the most notable of these Boston patrons were Thomas Handasyd Perkins, Samuel Cabot, John P. Cushing, Edward Everett, Charles Sumner, George Hillard, George Ticknor, Francis C. Gray, Harriet Lee, David Sears, and members of the Appleton, Lyman, and Lowell families. Not only did these men and women commission or buy sculpture from the artists, they also helped the sculptors obtain much needed and coveted public commissions, including some from the United States government. The patrons used their connections, both social and political, to assist the artists; and, whenever appropriate, they offered advice, based on their own knowledge of art gained through classical education and tours of Europe, on both form and content for planned sculptures. A number of these patrons thereby hoped to advance the general cultural atmosphere of the young United States. At the same time, they gave Boston its identity as a city of traditional tastes, philanthropic spirit, and high ideals, and as the most important antebellum center for the promotion of the American Neoclassic sculptors and their work.}, keywords = {Art of the United States and Canada}, author = {Dearinger, David} } @mastersthesis {7723, title = {The Anglo-Norman Metrical Apocalypse in England}, year = {1993}, school = {Princeton}, abstract = {One manifestation of the long-lasting appeal of the illustrated Apocalypse in England is a group of ten Apocalypses produced from the late thirteenth-century to the 1330s. The manuscripts, which range widely in style and artistic quality, juxtapose the Latin text of Revelation with an Anglo-Norman verse translation. Their bilingual texts, often illustrated in a strikingly literal manner, distinguish them from other English Apocalypses. Their long cycles, containing from 98 to 106 miniatures, reveal much unusual iconography. The group has never before received comprehensive treatment. This dissertation seeks to establish the place of these manuscripts within the large corpus of English Apocalypse illustration, by examining their iconography, text and style. Additionally, it explores the various roles they may have played in readers{\textquoteright} lives. The three earliest metrical Apocalypses, produced ca. 1280-90, are Oxford, Bodleian Library, MS Ashmole 753; Copenhagen, Det Kongelige Bibliotek, MS Thott 89; and Cambridge, Fitzwilliam Museum, MS McClean 123. The latter is a miscellany of religious, vernacular texts. These manuscripts show experimental features, indicating that they are among the first illustrated examples of the bilingual Latin and Anglo-Norman verse texts of Revelation. The four manuscripts of the second subgroup represent the metrical Apocalypse at a later, established stage, ca. 1320-30. They are: Cambridge, Magdalene College, MS Pepys 1803; London, B. L., MS Royal 2. D. XIII; Oxford, Bodleian Library, MS Auct. D. 4. 14; and a manuscript now in a private German collection. Their texts and pictorial cycles attest to the synthesis and dissemination of the three earlier cycles. In the third subgroup, executed in the 1330s, the metrical Apocalypse was transformed dramatically by the addition of an anonymous prose commentary, in Anglo-Norman. Of particular stylistic significance is Cambridge, Corpus Christi College, MS 20, whose artist is identified in two other noteworthy contemporary manuscripts. Of all the metrical Apocalypses, only Corpus 20 was produced for an identifiable patron, a member of a prominent family in Kent. The other two members of the group are London, B. L., MS Add. 18633, and Toulouse, Bibl. municipale, MS 815. It is suggested that for some readers, the metrical Apocalypses may have served a didactic and even devotional purpose. This is especially likely in the case of the third subgroup, which incorporates the prose gloss. Additionally, in both Corpus 20 and Toulouse, the Apocalypse is combined with the illustrated "Vision of St. Paul," in Anglo-Norman verse. Corpus 20, uniquely, also includes an illustrated coronation order for an English king, in Anglo-Norman. An examination of these texts, and those in McClean, sheds light on the manner in which the Apocalypse was perceived by its readers.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Justice, Sammye} } @mastersthesis {7666, title = {The Architectural Policy of the S.S., 1936-45}, year = {1993}, school = {Northwestern}, abstract = {The dissertation analyses the production of building materials for the monumental architectural projects of National Socialist Germany in the forced-labor concentration camps under the control of the SS (Schutzstaffel). Three historical components are examined throughout the inquiry: the architectural policy of the Party and state, the political goals enacted through the concentration camps, and the SS economic enterprises dependent on the forced labor in the camps. I argue that the SS used economic enterprises to link its steadily increasing political authority to the privileged position of architectural policy in National Socialist Germany. The SS reorganized the concentration camp system after 1936 around the production of building materials. My study begins with this reorganization and analyses Heinrich Himmler{\textquoteright}s interest (carried out by his administrative chief, Oswald Pohl) in making the camps economically powerful. Pohl{\textquoteright}s administration of the German Earth and Stone Works (Deutsche Erd- und Steinwerke (DEST)) proved most successful in the early years of World War II because of the influx of political prisoners and opportunities for peacetime commissions. The expansion of economic policy is exemplified by those camps whose output was directed towards stone contracts for the Reich Party Rally Grounds complex in Nuremberg. With Nuremberg, the SS attempted to make forced labor indispensable to architectural policy. Furthermore, an investigation of relations between the SS and Albert Speer{\textquoteright}s office of the Inspector General of Building for the Reich Capital Berlin indicates how the SS took advantage of architectural policy and, conversely, how architects like Speer called on the SS in order to carry out their plans. The dissertation also covers what ideological and political function architecture served for the SS itself. As camp construction in particular depended on forced labor, an analysis of the building process at KL Flossenburg and KL Mauthausen testifies to the direct connection at the camp site between punitive policy and architecture. Understanding the relationship between cultural and punitive policy contributes to an analysis of the political function of architecture and the development of concentration camps in National Socialist Germany.}, keywords = {19th and 20th century Europe}, author = {Jaskot, Paul} } @mastersthesis {7748, title = {The Arrival of the Italian Renaissance in Spain: The Tombs by Domenico Fancelli and Bartolome Ordonez, 1500-25}, year = {1993}, school = {IFA/NYU}, abstract = {In the early sixteenth century, Domenico Fancelli and Bartolome Ordonez carved six tombs of prominent Spaniards in the Renaissance style: those of cardinal Mendoza, cardinal Hurtado de Mendoza, prince John, the Catholic Kings, cardinal Cisneros, and king Philip and queen Joan. These monuments mark a significant break from the Gothic then prevalent in Castile, and, therefore, provide an opportunity to examine the arrival of Italian art in Spain. Whereas it has traditionally been assumed that these monuments should be interpreted in terms of the Spanish reception of Italian Renaissance culture, recent works have questioned whether they correspond to any changes in mentality. To address this problem, the tombs are examined in terms of their history, function, and reception. This dissertation argues that the Spaniards commissioned these tombs from a single workshop and probably considered them as new types rather than as demonstrations of an individual sculptor{\textquoteright}s genius. Comparisons between Gothic and Renaissance works suggest that Castilians understood the new style only as decoration imposed on the monument{\textquoteright}s meaning which remained otherwise unchanged. Consequently, Renaissance tombs served the same functions as their Gothic predecessors. Although the funerary liturgy, attitudes towards death, and perceptions of patronage reveal considerations which shaped patrons{\textquoteright} intentions and the public{\textquoteright}s reception of such monuments, they do not explain the Spaniards{\textquoteright} motives in adopting the Italian Renaissance style since these questions also determined the appearance of Gothic works. Finally, analyses of the patrons and monuments document the new style{\textquoteright}s arrival but suggest few explanations and offer little evidence that a revived interest in classical antiquity led to these tombs. Instead, individual political motivations and the prestige of Italy made the Renaissance style appealing. With these intentions, the count of Tendilla engaged Fancelli to commemorate his relatives, cardinals Mendoza and Hurtado de Mendoza, the first Renaissance tombs in Spain. The works were so well received that the sculptor obtained royal projects, and at this point, both the authority of the royal example and Spanish increasing political involvement in Italy contributed to the new style{\textquoteright}s success.}, keywords = {The Renaissance}, author = {Lenaghan, Patrick} } @mastersthesis {7698, title = {At Beck and Call: The Representation of Domestic Servants in 19th-Century American Painting}, year = {1993}, school = {Virginia}, abstract = {"You can{\textquoteright}t get good help nowadays," was the lament that echoed in upper- and middle-class American homes throughout the nineteenth century. The universal complaint was considered an unfit topic for polite conversation--a figurative airing of "dirty laundry." However, no subject drew as much attention in domestic literature as the perceived decline in the quality and quantity of household workers. Much of the frustration and contempt stemmed from the fact that the overwhelming majority of servants were either African-American or immigrant, and most of them poor, working-class women. Relations grew contentious between privileged families and the strangers who came into their homes with racial, ethnic, religious, and class differences. By delineating paid or enslaved laborers in genre scenes, portraits, and figure studies, American painters became active participants in the on-going social and political discourse concerning the place of servants--and the cultures which they represented--in the private sphere and the national "household" at large. This six-part, chronological study examines the ways in which their representations embodied, perpetuated, or sometimes subverted the prevailing attitudes concerning those individuals--both white and black--who performed duties about the person and home of a master or mistress. Creating images which usually functioned within and for the dominant culture, artists tended to underscore the ideological stances which defined the "Servant Problem." Beginning with an overview of colonial ambivalence concerning indentured servitude and chattel slavery, the chapters explore the changing imagery of domestic servants--from the more egalitarian depictions created in the early years of the republic to the derisive and/or prescriptive representations typical in the second half of the century. The investigation includes the work of many artists such as Charles Willson Peale, John Lewis Krimmel, Francis W. Edmonds, Lilly Martin Spencer, Richard Caton Woodville, Winslow Homer, and the Boston School painters. By placing servant imagery within the context of the well-documented, historical tension between American families and their "help," the study suggests the ways in paintings reveal familial and national power structures and justify or normalize social distance and subordination in a self-proclaimed classless society.}, keywords = {Art of the United States and Canada}, author = {O{\textquoteright}Leary, Mary Elizabeth} } @mastersthesis {7679, title = {Auguste Rodin{\textquoteright}s Carved Sculpture}, year = {1993}, school = {Stanford}, abstract = {Carved sculpture figured prominently in the life{\textquoteright}s work of Auguste Rodin. A comprehensive accounting of his carved oeuvre numbers around two hundred and ninety-five individual sculptures, representing one hundred and eighty-three distinguishable subjects. This thesis provides a comprehensive accounting of this body of Rodin{\textquoteright}s sculpture, defining its relationship to his work in other materials and its distinguishing characteristics. Part I, the "Overview and Critical Evaluation of Rodin{\textquoteright}s Carved Sculpture" explores his ideological and aesthetic preferences for marble, and his sensibility for this material. Rodin{\textquoteright}s origins in the commercial ateliers of the Second Empire is discussed, as is his use of plaster models, which served for the mise-aux-points of the marbles. The "indirect carving" technique practiced by Rodin has encouraged a discussion of Michelangelo{\textquoteright}s influence, and of the differences in the inspiration for Rodin{\textquoteright}s non-finito carving style. Rodin{\textquoteright}s use of models also informed the relation of his subjects to literary sources, which were often determined after a sculpture had been conceived. Part II of this thesis discusses the carving techniques employed by Rodin, the division of labor in his studio, and the personnel he employed. Rodin{\textquoteright}s training in the commercial ateliers gave him a practical knowledge of the techniques of carving, and of the organization of a sculptor{\textquoteright}s studio into a variety of metiers, that informed the organization of his own studio. This section establishes that Rodin participated in the execution of his carved sculpture, and that the division of labor practiced by him was predicated on the important distinctions separating creation from execution, and of art from craft. Section III, finally, consists of a catalogue raisonne of the carved sculpture between 1866-1899, including seventy-five subjects, many of which exist in multiple versions. This represents the first occasion in which this body of Rodin{\textquoteright}s sculpture has been fully accounted for, comprehensively documented, and placed in its chronological sequence. The sum of this work demonstrates the importance of this medium for Rodin, its quality, and its integral relationship to his work in other media.}, keywords = {19th- and 20th-Century European Art}, author = {Rosenfeld, Daniel G.} } @mastersthesis {7740, title = {On the Boundaries of the Hollywood Cinema: Art and the Films of Albert Lewin, 1942-57}, year = {1993}, school = {CUNY}, abstract = {Albert Lewin (1894-1968) was the writer-director between 1942 and 1957 of six unusual Hollywood films. Visually, these fall into two groups. The first three were all made during the 1940s, in black-and-white (with color inserts of paintings), in Hollywood studios, although set in fin-de-siecle Europe. These are The Moon and Sixpence (1942), adapted from W. Somerset Maugham{\textquoteright}s novel; The Picture of Dorian Gray (1945), adapted from Oscar Wilde{\textquoteright}s novel; and The Private Affairs of Bel Ami (1947), adapted from Guy de Maupassant{\textquoteright}s Bel-Ami. Thematically, these films involve art, aestheticism and decadence, and feature a male protagonist as overestimated object of desire. Lewin{\textquoteright}s three films of the 1950s were all filmed in color on location abroad: Pandora and the Flying Dutchman (1951), in Spain; Saadia (1954), in Morocco; and The Living Idol (1957), in Mexico. Each relishes the beauty and exoticism of the landscape and culture of its locale. Two of these (Pandora and Idol) were from original scripts and the third was adapted from an obscure novel, Francis d{\textquoteright}Autheville{\textquoteright}s Echec au Destin. Although set in the 20th century, each deals with ancient and ineffable themes and features a female protagonist who is beset by supernatural forces. This study analyzes not only the content and composition of the film frame, which is always in Lewin{\textquoteright}s films very exactingly constructed, often including art-historical references, but also the films{\textquoteright} thematic incorporation and visual foregrounding of artists and art works. Lewin{\textquoteright}s relationship to Surrealism is relevant to the analysis of three films: Dorian Gray, Bel Ami, and Pandora, the last of which was a concertedly Surrealist exercise. These three films happen also to be Lewin{\textquoteright}s best, and are thus accorded closest scrutiny. In his last two directorial films, Lewin{\textquoteright}s increasing taste for the exotic and primitive was indulged at the expense of the productive tension between modernism and anti-modernism, culture and nature, intellect and instinct, that characterized the four films set in Europe. Appendices include a chronology, a filmography and a list of works in the Lewin art collection.}, keywords = {Photography and Film}, author = {Felleman, Susan} } @mastersthesis {7676, title = {Camille Mauclair{\textquoteright}s Early Criticism: Toward an Understanding of Wagnerism and French Art, 1885-1900}, year = {1993}, school = {Brown}, abstract = {This study has two primary objectives. The first is to analyze the early career of French art critic Camille Mauclair (1872-1945). Since in many respects his views typify those of his generation, Mauclair{\textquoteright}s writings and the theories behind them reveal some important aspects of fin-de-siecle French culture. The second aim is to indicate through Mauclair{\textquoteright}s work the significance of music for the visual arts in the last quarter of the nineteenth century. Because such concepts were central to the milieu, comprehension of them is needed for a more accurate understanding of late-nineteenth-century French art. Chapter One provides the necessary background on the extent of Wagner{\textquoteright}s presence in Parisian culture and the issues raised by Wagnerism. Chapter Two supplies requisite information on Mauclair{\textquoteright}s early circumstances, activities and his reputation among his peers. To establish Mauclair{\textquoteright}s initial support of naturalism and social realism, Chapter Three explores his earliest art criticism of 1889-90. Subsequent chapters follow Mauclair{\textquoteright}s emergence as a primary speaker for symbolism and his eventual rejection of its outer aspects. Chapter Four untangles the two primary sources of Mauclair{\textquoteright}s symbolist aesthetic. These two are the idealist, rather mystical views on art and artist held by Stephane Mallarme and the Wagnerists. How this affected Mauclair{\textquoteright}s art criticism is examined in Chapter Five. By investigating the essays Mauclair wrote as part of the Mallarme circle (ca. 1891-1896), one understands clearly that Mauclair always operated from a specific aesthetic agenda. As the decade neared its close, Mauclair progressively distanced himself from the symbolists, Chapter Six traces this break and Mauclair{\textquoteright}s formulation of his mature aesthetic code. Retaining the symbolist faith in individualism, the sacredness of art and "ideorealism," Mauclair adapted certain aspects of Nietzsche{\textquoteright}s and Bergson{\textquoteright}s ideas to affirm the Wagnerist concept of the fusion of the arts. From ca. 1898, he verified music{\textquoteright}s determinant role in aesthetic developments from about 1870 to the close of the century. It was also at this point that Mauclair began to discuss the musicality of painting in particular almost as a matter of routine. Chapter Seven demonstrates how Mauclair{\textquoteright}s full acceptance of the fusion of the arts played itself out in his criticism and art historical writings of ca. 1899-1905. Mauclair freely discoursed (especially as a historian) upon the ways in which Wagner{\textquoteright}s example and developments in music and music theory had not only interested visual artists, but had propelled the fine arts in certain directions. Mauclair was especially insistent upon the symphonic essence of French impressionism.}, keywords = {19th- and 20th-Century European Art}, author = {Norris, Lisa Ann} } @mastersthesis {7715, title = {A Canonical Work of an Uncanonical Era: Re-reading the Chapel of Saint Ignatius (1695-1699) in the Gesu of Rome}, year = {1993}, school = {Princeton}, abstract = {The chapel designed by Andrea Pozzo to house the tomb of Saint Ignatius Loyola, founder of the Society of Jesus is the focus of this monographic study. In chapter I a survey of the art historical reception of the chapel reveals its paradoxical status as a canonical work in spite of a rich decoration censured by art historians as an art of persuasion and excess. This study undertakes a valorization of its attempt at persuasion through the close reading of a large corpus of archival documents, the chapel{\textquoteright}s imagery and its diffusion through engravings. Chapter II undertakes a survey of Ignatius{\textquoteright} tombs from his death in 1556 up to Pozzo{\textquoteright}s renovation in 1695, mapping out their appearance as well as a previously unknown plan by Carlo Fontana for a crypt chapel for Ignatius below the high altar. It can now be shown that in the 1670s the chapel of Ignatius was one component of a masterplan (including Gaulli{\textquoteright}s frescoes) for the complete renovation of the Gesu. The redecoration of the chapel marked a necessary rupture with its predecessors in the hope of drawing the public to his cult. Analysis of plans for the chapel by Pozzo and by competing architects in chapter III exposes the conflicted strains of argumentation--between religion and aesthetics--that shaped the final design. Chapter IV, treating the narrative and allegorical images in the chapel, reveals a new emphasis on miracles aimed at a non-Jesuit audience. In an effort to legitimate Ignatius{\textquoteright} miracle-working potential the Jesuits re-employed a cycle of Ignatian images establishing "canonical" images for the saint around the locus sanctus. In chapter V the chapel{\textquoteright}s centerpiece (a silver statue, hidden light source, and sliding painting) is shown to be both the sensorial fulcrum of the site and the expression of Ignatius{\textquoteright} essential quality of divine radiance. This statue, both involved in a narrative significant for Jesuits and isolable as a cult object, was hoped to be perceived as miraculous. In the Epilogue the reproducibility of the forms of this devotional aspiration is assessed in a brief reception history of the chapel.}, keywords = {Baroque and 18th-Century Europe}, author = {Evonne Levy} } @mastersthesis {7735, title = {Carving Mountains in a Blue/Green Bowl: Mythological Urban Planning in Mesoamerica}, year = {1993}, school = {UT Austin}, abstract = {Mesoamerica is one of the great cultural traditions of the world where it is possible to observe the transformation of human society from villagers to urban dwellers. This transformation corresponded to social processes resulting in complex societies with various organizational principles underlying them. In Mesoamerica, the development of religious postulates conditioned the concept of governance and social experience, delineating in the process an alternative scheme to other prominent cultural traditions. The city as it developed within Mesoamerica was the center of economic, social, political, and religious activity, and as such took its final form from these influences and requirements. The economic and ecological aspects of this development have received long term and productive attention from archaeologists and anthropologists. However, of equal importance to the shape of the city was the ideological definition commonly held by the people who built it. While some scholars have focused on these statements of meaning within individual cultural traditions, this study centers on a comparative approach, designed to detect ideological definitions and symbolic assemblages held in common by all Mesoamericans, from the time of the Olmec throughout the Spanish Conquest. The Mesoamerican city was considered a symbolic replica of the greater cosmos that materialized within the language of architectural forms. As a replica of the universe, the city provided more than shelter and a meeting place for economic activities: it was a sacred environment where human beings and divinities interacted. With the joint efforts of deities and humans the Mesoamerican city was as carefully planned as a piece of three-dimensional sculpture, where each element was formally and symbolically related to the other. In this scenario, already sacred materials like stone or water acquired added spiritual force by consecration rituals. Regarding these cities as a symbol-carrying piece of art trying to replicate the Mesoamerican Cosmos may yield some answers to the reasons for its existence, its meaning, and the aesthetic, religious and socio-political thought that brought about this particular invention in the Precolumbian world.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Bernal-Garcia, Maria Elena} } @mastersthesis {7703, title = {The Characters of Charles Willson Peale: Portraiture and Social Identity, 1769-76}, year = {1993}, school = {Pennsylvania}, abstract = {After his return from two years of study in London in 1769 and before his permanent move to Philadelphia in 1776, Charles Willson Peale painted over two hundred portraits in Maryland, Pennsylvania, and Virginia. This prodigious production suggests that Peale successfully gauged and met local expectations about portraiture. By examining a number of his works from this period in light of biographies, prototypical portraits, and written evidence about colonial pictorial culture and self-presentation, it is possible to articulate the manifold ends towards which Peale directed his efforts. Peale not only fashioned his commissioned portraits to record individual appearances for posterity, but also to shape current opinion about sitters. He augmented the reputation for reliable service fostered by his commissioned work with a series of portraits produced independently of the marketplace. Representing public figures and family members, these paintings identified Peale as a public-minded citizen who sought to advance a Whig agenda for the public{\textquoteright}s constitution. Peale nurtured recognition of his tie to the venerable tradition of the Fine Arts with select public relations gambits and the esoteric iconography of his group portrait of his own family. Painting pictures intended to bring viewers to identify specific people with particular, conventional social roles, Peale participated in currents of both continuity and change in the intellectually turbulent period immediately preceding the physical turbulence of the American Revolution.}, keywords = {Art of the United States and Canada}, author = {Steinberg, David} } @mastersthesis {7672, title = {Classic into Modern: The Inspiration of Antiquity in English Painting, 1864-1918}, year = {1993}, school = {Yale}, abstract = {Fascination with classical antiquity shaped the subject matter and style of England{\textquoteright}s leading artists during the 1864-1918 period. This dissertation investigates the complex networks linking the leading proponents of classical style, George Frederic Watts, Frederic Leighton, Edward Poynter, Albert Moore, Lawrence Alma-Tadema, and William Blake Richmond. Following on the heels of the Pre-Raphaelites, these painters set out to revolutionize British art by forging a noble style which wed idealism and realism after the manner of the best ancient sculpture. Drawing from their antique models the qualities of order, repose, beauty, and finish they believed the modern era most desperately needed, painters made works of art an integral part of the anti-modern campaign they waged through various forms of social activism. At the same time, while working in close cooperation with leading archeologists, such as C. T. Newton and A. S. Murray of the British Museum, painters sought to overturn outmoded notions of ancient life fostered during the neo-classical era and to re-formulate "classicism" in light of new discoveries. Through study of archaic Greek antiquities as well as Hellenistic and Roman art, artists sought to achieve insights into the specific sources of ideality in fifth-century Greek sculpture. In spite of their eagerness to make use of new archeological discoveries, painters relied on the Elgin Marbles as their greatest stylistic influence. Among other insights, close scrutiny of these artifacts led to a greater appreciation of color as a key element of classical style. The staging of classical dramas provided painters with exciting opportunities to pursue the reconstruction of the ancient world and to experiment with the delicate balance of modern emotion and ancient restraint. As archeologists focused increasing attention on prehistoric Greece, painters sought to integrate primitive artifacts and knowledge of pre-Hellenic culture into their representations of Homeric legend. These features pushed the parameters of classicism beyond the breaking point and reduced the capacity of archeology to serve as the handmaiden of art. Following the deaths of the charismatic leaders who had initiated and sustained adherence to ancient traditions, interest in classical paintings dwindled. In 1918, Edward Poynter{\textquoteright}s pressured resignation from the office of President of the Royal Academy definitively marked the end of the classical era in English painting.}, keywords = {19th- and 20th-Century European Art}, author = {Asleson, Robyn} } @mastersthesis {7681, title = {Collaboration in the Work of Margaret Macdonald, Frances Macdonald, Charles Rennie Mackintosh, and J. Herbert MacNair}, year = {1993}, school = {Michigan}, abstract = {Sisters Margaret and Frances Macdonald with Charles Rennie Mackintosh and J. Herbert MacNair were the progenitors of the Glasgow Style, an art movement that shaped trends in architecture and design in Britain and Europe, 1895-1905. The success of the movement was due to collaboration between the artists. The sisters worked together from the beginning of their careers, creating both "fine" art and decorative art. Their interaction with Mackintosh and MacNair began while all attended the Glasgow School of Art, and by 1895, patterns of collaboration were established. Frances{\textquoteright} marriage to MacNair in 1899 and Margaret{\textquoteright}s to Mackintosh in 1900 resulted in closer working relationships within the couples. Scholars have focused on Mackintosh as one of the geniuses of modernism, at the expense of his collaborators, especially Margaret, with whom he had a thirty year professional relationship. Macdonald and Mackintosh achieved their success and critical acclaim between 1898-1906, when she participated in almost half of his architectural projects. I have attempted to offer collaboration as a creative model as an alternative to the concept of the solitary genius that has dominated art historical thought about modernism and specifically about this group, allowing the contributions of the women to come more fully to light. My methods have included explorations of social and artistic systems that encouraged and supported collaborative work in Glasgow at the turn of the century, questioning the perception of Mackintosh as a solitary hero of modernism, and reassessing the work done by all four artists using collaboration as a creative model. Throughout the project, primary sources including letters, newspaper and journal articles, lecture notes and other nineteenth-century documents have informed my conceptions of the artists and their works. In the absence of conclusive supporting materials, such as letters describing the exact processes of collaboration, formal analysis has played a crucial, but not exclusive role in understanding the art and the artists{\textquoteright} approaches to it.}, keywords = {19th- and 20th-Century European Art}, author = {Wickre, Bille} } @mastersthesis {7670, title = {Cultural Identity and Artistic Practice: The Revival of the German Woodcut}, year = {1993}, school = {Chicago}, abstract = {This thesis argues the aesthetic and ideological centrality of the nineteenth and early twentieth-century German woodcut as a visual icon of national identity. The project analyzes how aesthetic theory, critical responses, artistic production, changes in consumption patterns, institutional shifts and new modes of production and dissemination overlapped and intersected to create a revival of the woodcut at the end of the nineteenth century. The thesis describes how artists including Moritz von Schwind, Alfred Rethel, Ludwig Richter, Otto Eckmann, and Peter Behrens, as well as critics such as Alfred Lichtwark and Justus Brinckmann recovered the woodcut as a means to define a pre-industrial, utopian imagined community and to invent a visual tradition. Concurrently, scholars and art connoisseurs such as Carl Rumohr and Anton Springer advanced the woodcut as a German invention equal to the significance of Italian Renaissance painting and attributed to the medium the meaning of Germanness. The project concludes with an examination of the German Expressionist artists{\textquoteright} (the Bridge) deployment of the woodcut medium to shape their collective artistic identity and to assume credit for the rediscovery of the medieval woodcut in order to assert their cultural difference. My analysis significantly differs from others in that it approaches the woodcut{\textquoteright}s re-emergence as a dynamic historical process linked to the demonstration of nineteenth-century cultural nationalism, or the formation of a Northern European and German aesthetic, intellectual and spiritual culture distinct from classicist notions. While various studies cite the German medieval woodcut as an important stylistic component in early twentieth-century German art, to date, no inquiry has been made of the roots of the woodcut{\textquoteright}s identification with the formation of German nationalism. My investigation reveals that the construction of cultural identity occurred through the medium itself and rejects previous stylistic interpretations that characterize the woodcut as a static genre. By examining the historical discourse surrounding the act of representation of an under-studied medium, the thesis provides a conceptual framework for thinking through the relation between art and nationalism, historicism and modernism, and aesthetic issues between the avant-garde and popular culture and authentic and reproductive imagery.}, keywords = {19th and 20th century Europe}, author = {Reisenfeld, Robin} } @mastersthesis {7659, title = {Die neue Sachlichkeit: A Reevaluation}, year = {1993}, school = {CUNY}, abstract = {Today the original intention and understanding of the term Neue Sachlichkeit is lost. The slogan was coined in 1923 as a designation for the Post-Expressionist figurative art that had developed throughout Germany since the failed revolution of 1919, an art that had evolved out of, or in reaction to Expressionism. Although the term was coined during the period of hyper-inflation, it became a popular slogan only with the Neue Sachlichkeit exhibition that traveled throughout Germany during 1925-26--that is, after the German economy had been stabilized. The term then took on a life of its own going far beyond the intentions of Gustav F. Hartlaub, its originator. The phrases Sachlichkeit and Neue Sachlichkeit came to designate a new public attitude in Weimar Germany during this period of economic and political stabilization (1924-28). Within a few years after its introduction the slogan stood for an all-business attitude, which the Germans had perceived as being intrinsically American. In the history of art the term has since been applied to the plethora of naturalistic styles that appeared during the Weimar Republic, primarily between 1925 and 1933. However, through a historical study of both the development of figurative Post-Expressionism and the contemporary criticism, the historical inaccuracy regarding the term Neue Sachlichkeit becomes evident. A figurative, somewhat naturalistic, Post-Expressionism was fully developed and acknowledged in Berlin, Cologne, Dusseldorf, Munich, Karlsruhe and other cities by the autumn of 1923, the point of Germany{\textquoteright}s total economic collapse. In the spring of 1923 Hartlaub began preparing for an autumn exhibition of the new art which he labeled Die neue Sachlichkeit. The economic situation, however, rendered such plans impossible until 1925, i.e. during the stabilization.}, keywords = {19th and 20th century Europe}, author = {Crockett, Dennis} } @mastersthesis {7664, title = {The Drawings of Pierre-Paul Prud{\textquoteright}hon: A Reevaluation of French Neoclassicism}, year = {1993}, school = {Stanford}, abstract = {The career of Pierre-Paul Prud{\textquoteright}hon (1758-1823) has presented art historians with an anomaly; often deemed out of step with the artistic "mainstream" of his own era, Prud{\textquoteright}hon was one of the most prominent artists in the "neoclassical" period. While perceptions of this era have begun to be broadened, Prud{\textquoteright}hon continues to be understudied. The purpose of this dissertation is not only to elucidate and highlight the work of a significant and often overlooked artist, but also to contribute to a fuller understanding of this pivotal artistic period. Studied chronologically, with particular reference to the cultural and historical contexts which shaped his art, a fuller picture of Prud{\textquoteright}hon emerges. Tapping the same antique sources as his more "mainstream" peers, Prud{\textquoteright}hon{\textquoteright}s understanding of classicism emerges as a consciously idiosyncratic choice. Prud{\textquoteright}hon{\textquoteright}s grasp of antiquity struck a deeply responsive chord in the First Empire. The popularity and reputation that Prud{\textquoteright}hon achieved in his own lifetime indicates a wide audience for his interpretation of classicism. This success is all the more significant because Prud{\textquoteright}hon remained essentially a draftsman, not a painter; throughout his career, Prud{\textquoteright}hon was more fascinated by the process of creating a work of art than the execution of a completed product. Finished or unfinished, Prud{\textquoteright}hon{\textquoteright}s art consistently represents his vision. Ultimately, his work must be seen as only one of several strains within the classical revival; never a rebuke of classicism, Prud{\textquoteright}hon{\textquoteright}s art represents a significant counterpoint to the art of David and the linear abstraction long associated with the art of this age.}, keywords = {19th and 20th century Europe}, author = {Guffey, Elizabeth E.} } @mastersthesis {7727, title = {Early Arab Icons: Literary and Archaeological Evidence for the Cult of Religious Images in Pre-Islamic Arabia}, year = {1993}, school = {Iowa}, abstract = {The tradition of image worship in the Arabian peninsula ended with the advent of Islam at Mecca in 630. Until now few serious studies on the background and origin of these images have been done. This thesis deals with the literary and archaeological evidence for reconstructing the tradition of image worship in the Arabian Peninsula during the late pre-Islamic period (third to seventh centuries A.D.). Chapter One outlines the historical, religious and cultural background of pre-Islamic Arabia. Early Arab writers are listed with brief introductions to their works. The list includes ninth-century writers such as Ibn Ishaq, Ibn al-Kalbi, al-Azraqi, al-Waqidi, Ibn Hisham and Ibn Sa{\textquoteright}d. In addition there are important references in the works of later writers such as al-Baladhuri, al-Ya{\textquoteright}qubi, al-Tabari, al-Mas{\textquoteright}udi, Yaqut, Ibn al-Athir and others. These writings contain important information on early Arab iconography and religious architecture. Archaeological results are examined from excavations in several regions of the peninsula, including the most important sites for the study of early Arab iconography. Chapter Two explores literary references to early Arab sculpture, painting and minor arts. References pertaining to this subject are compiled and analyzed. Chapters Three, Four and Five list and analyze in detail major and minor deities in the pantheon of pre-Islamic Arabia according to early literary sources and modern archaeological studies. Building upon previous studies, a detailed iconographical analysis and interpretation to these images is attempted. Chapter Six deals briefly with the literary and archaeological evidence for selected pre-Islamic religious sanctuaries, excluding the Ka{\textquoteright}ba, that contained images of major deities.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Al-Tawil, Hashim M.} } @mastersthesis {7724, title = {Early Gothic Illuminated Bibles at Bologna: The {\textquoteright}Prima Maniera{\textquoteright} Phase, 1250-1274}, year = {1993}, school = {UC Santa Barbara}, abstract = {This dissertation focuses on forty-four Gothic Bibles that artists of the "prima maniera" phase of book illumination decorated between 1250 and 1274 at the important Italian university city of Bologna. The text layout of "prima maniera" Vulgates is based on that of the widespread "Bible of Paris," which was developed in the early thirteenth century. With their miniatures obeying a fairly uniform iconography, many "prima maniera" Bibles were probably created for Dominican and Franciscan owners and for students at the Studium, or university, of Bologna. The abundance of these Bibles is surprising because Bologna seldom exported decorated Vulgates, and its most renowned schools taught civil and canon law, not theology. There are only a few indications that the fairly efficient pecia book production system in Bologna created "prima maniera" Vulgates. My study has uncovered at least one new "prima maniera" style Bible. It involved new and more extensive research on eighteen others, and it expanded the corpus of such well-known artists as the painter of the "Abbey Bible" and the decorator of lat. 22 of the Bibliotheque Nationale of Paris. I have divided examples of "prima maniera" book decoration into ten main families, most of which contain only Vulgates. The overall look of "prima maniera" book art is rather uniform, due to its consistent use of certain colors and vine forms in the decoration of its miniature frames and margin ornament. The various styles at play in "prima maniera" miniatures may indicate a chronological progression, from those artists practicing a simple art to those wielding more complex and sophisticated designs. The possibility remains, however, that all of the "prima maniera" workshops are roughly contemporary, each catering to a special clientele. Other subjects treated in this dissertation include the debate concerning Oderisi da Gubbio as a "prima maniera" miniaturist (he appeared in Dante{\textquoteright}s Purgatorio (Canto xi, 79-84)); the historical setting of the "prima maniera" phase: the book trade in thirteenth-century Bologna: the iconography of "prima maniera" Bible art: and codicological information relevant to the study of "prima maniera" Vulgates and other thirteenth-century Bibles.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Norris, Michael B.} } @mastersthesis {7694, title = {Egalitarian Ideals, Transient Opportunities: Social Realist Printmakers in New York City during the New Deal Era}, year = {1993}, school = {UNC Chapel Hill}, abstract = {This dissertation addressed the art-making and the educational and organizational experiences of social realist artists who worked as printmakers in New York City between 1934 and 1943. These artists produced images that focused on contemporary social conditions, often expressed in scenes of urban life and industrial labor, that referenced both hopes for economic recovery and desires for economic and social equity. I argue that the social concerns of these men and women were motivated by egalitarian ideals related to contemporary issues: professional comradeship, building cultural democracy, and resisting social inequalities. Yet their efforts to enact such ideals into art and life took place within contexts of persisting gender, class, and racial difference. This dissertation suggests that these artists{\textquoteright} professionalism, organizational contributions, and aesthetic choices were shaped by and responded to tensions between their idealistic values and prevailing practices of art production and activist organizing. It also offers readings of their prints in relation to contemporary social and political concerns and to interests in modernist styles of representation. The first chapter presents institutions and influences that produced an unprecedented efflorescence of printmaking in New York during the 1930s. The next two chapters explore how egalitarian ideals and social constraints shaped artists{\textquoteright} educational opportunities both before and during the Depression era, and how their involvements with the WPA/FAP Graphic Division and militant artists organizations were formed by similar concerns and complexities. The fourth chapter offers interpretations of images portraying labor and unemployment, particularly provocative social themes in 1930s prints. The final chapter proposes that many social realist artists were intrigued by modernist innovations of style as vehicles for conveying the urgency of contemporary issues, but also saw modernism as a threat to building a broad audience for contemporary art. I conclude that printmakers found opportunities in the New Deal era that were exceptional, transient, motivated by egalitarian idealism, yet tempered by gendered and racist obstacles to achieving equality and justice.}, keywords = {Art of the United States and Canada}, author = {Langa, Helen S.} } @mastersthesis {7741, title = {On Ethnographic Cinema: "Race," Science, and Spectacle, 1895-1933}, year = {1993}, school = {Yale}, abstract = {Moving across boundaries traditionally separating science film, documentary and Hollywood spectacle, this dissertation focuses on ethnographic cinema before World War II. The term "ethnographic" is used here to identify the broad discursive and representational field that premises a sharp divide between a spectator, posited as possessing history, and a subject people, posited as without history, seen not only as spatially distant from the West but as temporally distant "primitives." Cinema{\textquoteright}s ethnographic visualism was one manifestation of the West{\textquoteright}s obsessive appetite for images of indigenous peoples which ranged from natural history museum displays to "native villages" in world{\textquoteright}s fairs. Cinema and anthropology were critically linked in their anxiety and fascination with "race," and in their status as putatively objective recording devices for capturing the evolutionary past. By critiquing the discourse of authenticity underlying Western representations of indigenous peoples, this dissertation establishes ethnographic cinema as an important field for understanding issues of identity and the representation of race, gender, nation, and empire in film. Structured as a triptych, this thesis isolates three distinct modalities in early ethnographic cinema. It begins by analyzing the positivist mode of the scientific research film, examining in detail the 1895 chronophotography of Felix-Louis Regnault, highlighting Regnault{\textquoteright}s linkage of race, pathology and movement, and his vision of a scientific archive of images. The second section focuses on the "taxidermic" mode of the lyrical ethnographic film, represented here by Robert Flaherty{\textquoteright}s 1922 Nanook of the North, investigating how it intersects with discourses on authenticity, the picturesque, and salvage ethnography. The final section examines the postmodern simulacrum of the "ethnographic" monster in commercial entertainment film, exemplified by Merian Cooper and Ernest Shoedsack{\textquoteright}s 1933 King Kong and the "racial films" of the 1920s-30s. Other filmmakers discussed include Franz Boas, Margaret Mead, Albert Kahn, Burton Holmes, Edward S. Curtis, and F.W. Murnau. The dissertation concludes by examining alternative forms of spectacle and ethnography in the cultural productions of Josephine Baker, Zora Neale Hurston, and Katherine Dunham, and by considering the transformative praxis of contemporary artists and filmmakers of color who unveil the language of racialization characteristic of ethnographic cinema.}, keywords = {Photography and Film}, author = {Fatimah Rony} } @mastersthesis {7729, title = {Etruscan Relief Mirrors: Origins, Functions, and Cultural Significance}, year = {1993}, school = {Iowa}, abstract = {During the Late Archaic Period (500-480 B.C.), a time of economic wealth and political stability in Etruria, an Etruscan artisan invented a new type of bronze mirror, one where the principal decoration on the reverse was not engraved but cast in relief and embellished with silver inlays. The form of these cast relief mirrors seems to stem from the Etruscans{\textquoteright} aesthetic preference for plastically-ornamented bronze work. Between the seventh and second centuries B.C., many Etruscan utensils (incense burners, cauldrons, candelabra, etc.) and vases contain relief appliques and figural adjuncts which document their interest in plastic decoration. Each Etruscan relief mirror is a unique artifact. Although approximately 3000 engraved mirrors survive, there are only twelve relief mirrors. These rare bronze artifacts were probably specific commissions, produced to augment the wealth and social status of a selected group of elite Etruscan women. They are larger, heavier and more elaborately embellished than their engraved counterparts, suggesting that their utilitarian value was minimal. But like the engraved mirrors, they also had a symbolic function: after their owner{\textquoteright}s death, they became tomb corredi (gifts) which helped enhance the deceased{\textquoteright}s immortality. The subjects on the reverses of many relief mirrors often reflect unusual or unique episodes from Greek and Etruscan mythology, narratives not found on engraved mirrors, cistae or vases. These include Herakles{\textquoteright} abduction of Mlacuch, Machaon{\textquoteright}s healing of Philoktetes, and Talos{\textquoteright} fight with the Boreads. The dissertation discusses how these narratives reflect specifically local aspects of Etruscan religion and culture. Only four relief mirrors have been found in documented archaeological contexts: three come from Vulci, a major bronze manufacturing center in the Etruscan period, and the fourth was discovered at Atri, in the Abruzzi. The stylistic and typological similarities between these four mirrors and those without a provenance confirm that Vulcian artisans produced the majority of the relief mirrors. Although the archaeological record has never produced evidence of a foundry at this site, both the city{\textquoteright}s proximity to the Catena Metallifera and the island of Elba, and the rich bronze corredi in its tombs suggest the existence of a local workshop.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Carpino, Alexandra} } @mastersthesis {7731, title = {The Eucharides Painter and His Place in the Athenian Potters{\textquoteright} Quarter}, year = {1993}, school = {Princeton}, abstract = {The dissertation consists of six chapters, two appendices, a catalogue, figures and plates that discuss and show the work of the Eucharides Painter in all its aspects, as well as clarifying his relationship to contemporary painters. The work was completed at Princeton University under the direction of Dr. J. R. Guy and Prof. W. Childs. The dissertation is a multi-faceted approach to a single vase-painter, the Eucharides Painter, so as to gain further information about the structure of pottery workshops and about the working relationships of the potters and painters in the Athenian Potters{\textquoteright} Quarter. The individual painter is considered from three angles--his manner of drawing, the shapes which he decorates, and through them, the potters with whom he works, and, finally, his choice of subject matter. The painter is then examined in relationship to his contemporary painters. The first chapter examines the previous scholarship on the Eucharides Painter and elaborates on the methodology which I use throughout the dissertation. The second and third chapters consist of a stylistic analysis of the vases attributed to the Eucharides Painter and a comparison of his individual style to that of his contemporaries. Chapter Four discusses the shapes painted by the Eucharides Painter. What shapes are the most popular with this painter, and where exact parallels can be found for individual shapes are discussed. Whether individual potters can be recognized is also an element of this chapter. Chapter Five analyzes the types of scenes which the Eucharides Painter preferred to use, and where parallels for these scenes may be found among contemporary vases. The scenes are divided first into those recognizably mythological and those classified as genre, and then further into categories by significant components (i.e. scenes with Herakles, scenes with musicians). Appendix A places the Eucharides Painter securely within absolute dates by examining vases by him in secure archaeological contexts. Appendix B contrasts the ornamental pattern preferred by the Eucharides Painter with those used by his contemporaries. The final chapter of my dissertation is a summation of the full extent of the relationship between the vases attributed to the Eucharides Painter and those of his contemporaries. Aside from bringing together the analyses of the above chapters, this chapter makes use of the physical evidence for pottery workshops in Ancient Athens, as well as recent ethnoarchaeological research on pottery. A hypothetical reconstruction of the workshop in which the Eucharides Painter worked concludes the text of the dissertation.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Langridge, Elizabeth Maya} } @mastersthesis {7684, title = {Florine Stettheimer: Alternative Modernist}, year = {1993}, school = {Yale}, abstract = {As a woman unfettered by financial or domestic responsibilities, who was also an astute social historian, artist Florine Stettheimer provides us with a unique, alternative perspective from which to examine too rigidly held definitions of modernism, its progenitors, its derivations and its {\textquoteright}accepted{\textquoteright} forms. Stettheimer painted over one hundred and fifty paintings that are bold, ironic, inventive and among the most interesting produced in the early decades of this century. Her works provide critical visual contexts for social concerns of her era, and offer an intimate perspective on the private and public interrelations among many influential art world figures between the World Wars. In addition to painting, Stettheimer wrote bitingly ironic poetry, designed furniture and picture frames, and was responsible for the stage design and costumes of Four Saints in Three Acts, one of the most important avant-garde theatrical productions of the 1930s. Unlike most of her contemporaries, Stettheimer was molded by a European past and an American present. She was one of the few American artists to be part of pre-World war I European culture and she is important as a carrier of that culture to a new location and into the new century. Her European upbringing also allowed Stettheimer to view her native country from an objective perspective and to satirize the burgeoning newness of the modernist era to a greater extent than her contemporaries. Although Stettheimer refused to recognize any of the negative currents of the time, her work reveals a perceptive social consciousness about crucial segments of the era that few other artists chose to record. A number of her paintings, for example, include respectful imagery of African and Native-Americans, women, and homosexual men, all shown in presentations of self confidence and humor with little sense of exploitation for erotic or racial means. Among the interesting aspects of Stettheimer{\textquoteright}s mature work are the many parallels between it and other contemporary disciplines such as Bersonian theory, Freudian psychology, modernist literature and the cross-cultural integration of art forms including decorative arts and interior design. One of the primary goals of this thesis is to trace the development of the artist{\textquoteright}s work and place it within the context of the artist{\textquoteright}s concurrent activities. The dissertation{\textquoteright}s final chapter posits Stettheimer as a significant, if alternative, modernist artist.}, keywords = {Art of the United States and Canada}, author = {Bloemink, Barbara} } @mastersthesis {7745, title = {Frate Filippo di Tommasso Dipintore{\textquoteright}: Fra Filippo Lippo and Florentine Renaissance Religious Practices}, year = {1993}, school = {Harvard}, abstract = {The primary focus of this study is the religious context in which the Florentine Renaissance friar-painter, Fra Filippo Lippi (c.1406-69), lived his life and produced his art. I define Fra Filippo Lippi as a Carmelite friar and painter, and explore the ramifications of this interesting conjunction. I look at how the principal biographers from Vasari to the present have addressed the subject of the painter{\textquoteright}s religious status and activities, and then examine the broader incidence of monastic artistic production in quattrocento Tuscany. I then focus in on Fra Filippo Lippi{\textquoteright}s own monastery, Santa Maria del Carmine and analyze the urban socio-political character of Florentine Carmelite religious rituals and representations during the late Medieval and early Renaissance periods. I document Fra Filippo{\textquoteright}s activities when he was cloistered in the Carmine, and study the Carmelite iconography of three controversial paintings attributed to the young friar. I then turn to Fra Filippo{\textquoteright}s life and artistic production during his mature years, after he left Santa Maria del Carmine and situated himself within the seculum. I establish his religious status and affiliations during these years, and analyze how they may have influenced his artistic production and social activities. The final two chapters offer detailed studies of individual paintings. I consider how the artist, working with the directives of his patrons and the religious institutions for which the pictures were intended, mobilized a religious symbolic language which itself was not stable. Posited within these paintings were competing, paradoxical, and often incompatible, meanings.}, keywords = {The Renaissance}, author = {Megan Holmes} } @mastersthesis {7749, title = {The Fresco Decoration of the Pauline Rooms in the Palazzo dei Conservatori}, year = {1993}, school = {Boston}, abstract = {The purpose of this dissertation is to shed new light on the frescoed friezes painted under the papacy of Paul III (1534-1549) in three rooms of the Palazzo dei Conservatori on the Capitoline hill in Rome--the Sala del Trono, the Sala delle Oche, and the Sala delle Aquile. Subjects include episodes from the life of Scipio Africanus which celebrate the triumphal entry of Charles V, the "third Africanus," into Rome after his victory over the Turks at Tunis in 1535; depictions of ancient Roman games reflecting the staging of contemporary Carnival games, some of which were reminiscent of Roman contests and sacrifices; and a portrayal of illustrious deeds of virtuous Roman women related to the function of one room as a vault or large cassone, and to the Conservators{\textquoteright} charge as custodians of ancient monuments. Although the subject matter of the friezes has been identified previously, none of the painters are known and documentary evidence about the commission is lacking. Most references to the three Pauline cycles in recent literature have been those in which the frescoes are cited as comparative material in discussions of painting during the papacy of Paul III and the development of the frieze in the sixteenth century. There has been little consideration of the meaning or significance of the subjects depicted, and the frescoes have never been studied in the context of patronage, authorship, iconography or site. The three friezes are here interpreted for the first time in the context of the papacy of Paul III and of the role that the Conservators of Rome played in the decoration of the palace. Also considered are influences of classical Roman monuments and literary texts; the relation of the frescoes to contemporary painting in Rome, to cassone paintings, and to frescoed palace facades; the political situation of the time, particularly in reference to the Turkish threat; and the relation of the subjects of the friezes to the function of the rooms in which they were painted. Inspired by the legacy of ancient Rome, they constitute a revealing document of the cultural and civic climate of Pauline Rome.}, keywords = {The Renaissance}, author = {Murphy-Livingston, Debra} } @mastersthesis {7661, title = {Gauguin{\textquoteright}s Tahiti: The Politics of Exoticism}, year = {1993}, school = {Harvard}, abstract = {During his first trip to Tahiti (1891-93), Paul Gauguin painted some sixty canvases of the island. He exhibited thirty-seven of those pictures in Paris in November 1893. Numerous critics reviewed the show during its two-week run, and some continued to debate the Tahitian pictures through early 1895 when Gauguin returned to Polynesia. This study examines the reception of Gauguin{\textquoteright}s Tahitian images from November 1893 through February 1895, focusing on the links that the artist{\textquoteright}s contemporaries established between his canvases and representations of the exotic circulating in Paris in the late 1880s and early 1890s. I argue that the exotic was an imperiled concept at the end of the century. Colonialism--particularly policies of assimilation--as well as the market had impaired its ability to perform certain kinds of cultural and political work. The secondary literature on Gauguin{\textquoteright}s Tahitian pictures has generally avoided discussion of the historical conditions that shaped the exotic in this period and their impact on the reception of his canvases. According to contemporary critics, however, both colonialism and the spectacularized exotic were central to their understanding of Gauguin{\textquoteright}s images. Chapter one focuses on the criticism of the Tahitian pictures. In general, critics who praised Gauguin{\textquoteright}s pictures believed that they engaged but resisted contemporary representations of the exotic and colonialism. Those who disliked the canvases saw them as part and parcel of those representations. Chapter two explores the meaning and function of the exotic in fin-de-siecle France, concentrating on those images or productions that critics mentioned in their reviews. Chapter three analyzes those pictures that I think particularly struck the critics when they wrote about Gauguin{\textquoteright}s work. There I ask what in the styles and subjects of the pictures provoked one critic to characterize them as "l{\textquoteright}art colonial," for example, and another to compare them to the exhibitions of native peoples at the Universal Exposition of 1889? What allowed others to write that Gauguin had disrupted the circuit of signs and conventions that constituted the "exotic" and the "colonial" in fin-de-siecle Paris?}, keywords = {19th and 20th century Europe}, author = {Esielonis, Karyn} } @mastersthesis {7667, title = {Great Utopias and Small Worlds: Architectural Visions and Political Realities in the Prints of the Weimar Bauhaus, 1919-25}, year = {1993}, school = {Princeton}, abstract = {This dissertation is a study of how the prints of the Weimar Bauhaus, 1919-1925, are conveyers of complex ideologies. These prints represent the visionary beliefs of Bauhaus artists as well as reflect the heightened political climate of post-war Germany. In particular, this dissertation is an interpretation of two types of prints made by the Bauhaus--the manifesto and the portfolio. Each of these formats suggest how closely Bauhaus prints were linked to the architectural visions and political realities that formed the contexts in which Bauhaus artists lived and worked. In April 1919, the Bauhaus issued its Manifesto. Walter Gropius{\textquoteright} text and Lyonel Feininger{\textquoteright}s woodcut on the title page, (the Cathedral,) are studied as a complicated interweaving of Germany{\textquoteright}s past, present and future held in equilibrium: the medieval and Romantic golden ages, the war-torn present and the imaginary future. The medievalism of the image also suggested the Bauhutte, the medieval artisan{\textquoteright}s guild. When the Bauhaus opened in 1919, it was this type of community that Gropius sought to create. Wassily Kandinsky{\textquoteright}s portfolio Kleine Welten, (Small Worlds) 1922, is discussed in connection to his Russian and Bauhaus essays, revolutionary plans for the redevelopment of Moscow, and conventions of the illustrations of utopia. In 1920, Kandinsky called for the creation of "an international house of arts"--a vision which corresponded to what the Bauhaus was, and what it sought to become. Just as the Bauhaus came under attack for its internationalism, the Neue europaische Graphik was announced--a portfolio project (1921-1924) which consisted of prints donated to the Bauhaus by artists throughout Europe. It is not surprising that the right-wing parties in Weimar had difficulties with this collective project, nor that the publication of the prints was an issue in the political intrigues that eventually closed the school in 1924-1925. These portfolios represent how the political realities of the Weimar Republic came into conflict with the visions of "great utopias" and "small worlds".}, keywords = {19th and 20th century Europe}, author = {Koehler, Karen} } @mastersthesis {7714, title = {Hic Domus{\textquoteright}: The Decorative Programme of the Sala Barberina in Rome}, year = {1993}, school = {Johns Hopkins}, abstract = {In this dissertation I have undertaken a dense analysis of the decorative programme which is central to discussion of the Roman High Baroque: the fresco of "Divine Providence" by Pietro da Cortona and the tapestries of the Life of Urban VIII (from the Barberini tapestry workshop) in the Salone of Palazzo Barberini. My method proceeds from the premise that the contemporary descriptions of the art, which are in themselves conventional, classically derived, literary-rhetorical forms, provide, like Emmanuele Tesauro{\textquoteright}s famous "Cannocchiale Aristotelico," a means to advance directly to the metaphorical layer of meaning embedded in the imagery. The texts in question are part of a wider literary endeavour which engaged the talents of the close circle of Barberini "litterati," namely, the confirmation of the divine right to rule established by Maffeo Barberini when he became Pope Urban VIII. By investigating the allegory beneath each cluster of images it becomes apparent that the ceiling fresco is akin to the panegyrics framed in epic poems, descriptions and biographies, in that it reveals and applauds the destiny of the Barberini to ultimate rule. It is, moreover, in keeping with the poetic tenor of the fresco, that the message is unveiled via a complex Virgilian conceit. The central coat of arms and related images in the centre of the ceiling, hitherto misunderstood, are demonstrated to refer directly to the poetic achievements of the pontiff and to his self-projected image as a poet-prophet-king, robed in the vestments of both King David and Roman Emperor. The central role of the poet Francesco Bracciolini in the creation of the ceiling is confirmed in the first half of the dissertation. The discussion of the tapestries, which occupies the second half, acknowledges the crucial connection between the woven Life of Urban and a series of biographies of Barberini, produced either in response to his express wish, or as a by-product of panegyrics by courtly men of letters. The work of "historia" on the walls provides the perfect complement to the frescoed epic above, for truth and would-be truth elide in the rhetorical schema of histories written by poets or painted by artists of the Barberini court.}, keywords = {Baroque and 18th-Century Europe}, author = {Lee, Mary Alice} } @mastersthesis {7736, title = {The Historia-Tolteca Chichimeca: Recollecting Identity in a Nahua Manuscript}, year = {1993}, school = {UCLA}, abstract = {This dissertation addresses the relationships that prevailed between indigenous historical records and constructions of identity in one community in central Mexico in the first years after the Spanish conquest of 1521. Focusing on a set of annals now known as the Historia Tolteca-Chichimeca from the town of Cuauhtinchan, I examine how, in the first two generations after the conquest, Nahua identity drew sustenance from and lent structure to local historical records. Through its reliance upon alphabetic script, oral recitation, and pictorial imagery, the Historia bridges the transition from prehispanic to postconquest record-keeping. An analysis of both the manuscript{\textquoteright}s written account and its visual appearance shows that the Historia was a calculated recollection of earlier histories. I argue that the meanings evoked by the manuscript rest only partially upon its content. No less important is the Historia{\textquoteright}s visual complexion, for Nahuas understood that the physical appearance of a written document could shape its effectiveness. I therefore discuss how indigenous political ends and claims to identity were served by the annals{\textquoteright} historical narrative as well as its form. Created outside Spanish purview, the Historia functioned as family history and was wielded by one of Cuauhtinchan{\textquoteright}s most distinguished leaders, don Alonso de Castaneda, in local contests for power and privilege. To document and buttress his claims to status, the manuscript intertwined features from European books with elements from prehispanic oral and pictorial records. This study also demonstrates that, from a Nahua perspective, in the mid-sixteenth century, negotiations with other Nahuas took precedence over interactions with Spaniards. The dissertation concludes by assessing the implications of an indigenous discourse centered on Nahua history and identity rather than relations between colonizer and colonized.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Leibsohn, Dana} } @mastersthesis {7662, title = {Hungarian Ethos and International Modernism in the Art of Bela Kaidair, 1877-19}, year = {1993}, school = {Ohio State}, abstract = {Under turbulent social conditions, Hungarian artists of the early twentieth century rose to champion humanitarian issues and proletarian revolution. Yet, Bela Kadar does not readily fit into the outspoken milieu of his contemporaries. He did not belong to the politically active artistic groups which dominated progressive trends in Budapest. Nor did he focus on the hardships of the oppressed or advance his art as an intellectual foundation for a new societal order. But Kadar{\textquoteright}s works represent an important and enduring dimension of twentieth-century Hungarian art. Through his resolutely modern approach to compositional design and stylistic handling, Kadar gives contemporary meaning to concepts grounded in his nation{\textquoteright}s creative traditions--myth, legend, the wondertale, peasant music, and lamentation practices. Kadar{\textquoteright}s working methods embraced a remarkable scope of international trends, including Cubism, Orphism, Futurism, and Neo-Primitivism, as well as neoclassical imagery. In his perpetual blending of divergent sources, he repeatedly focused on themes involving life roles and life passages, particularly those pertaining to the male/female relationship, and to processes of emotional and spiritual discovery. The image of the horse was Kadar{\textquoteright}s most recurrent symbol, which he used both in specifically Hungarian contexts, and in contexts explored by the international avant-garde. This study presents biographical material on Kadar that has previously rested in obscurity, and shows that through his unique synthesis of ancient, ethnic, and modern expressional forms, Kadar contributed vitally to the sphere of both Hungarian and international artistic achievement.}, keywords = {19th and 20th century Europe}, author = {Fisher, Melanie T.} } @mastersthesis {7721, title = {Illuminated Manuscripts of the Leges Barbarorum}, year = {1993}, school = {Yale}, abstract = {The leges barbarorum were the written laws of the barbarians who settled in the realm once ruled by the Romans during the fourth to sixth century A.D. Over one hundred and thirty manuscripts and fragments containing the leges barbarorum have survived, but only sixteen are illuminated. These sixteen manuscripts, several of which contain miniatures which have never been published, date from the eighth to the twelfth century. The purpose of this study is to bring together these manuscripts and examine them in both a legal historical and art historical context and present a little-known, yet significant corpus into the discussion of manuscript illumination and medieval art in general. The illuminated manuscripts of the leges barbarorum are not related in the usual art historical sense. Although iconographically most of the images derive from Late Antique imperial or Christian images, the styles vary widely. One of the central goals of this study was to define these styles more closely. For styles characterized by the schematization and abbreviation of the human form, the term "vernacular" was suggested as the most suitable heading for a group of figure styles which includes both regional illumination styles (insular, Mozarabic, pre-Carolingian, Beneventan) and those which do not correspond to any particular region or any named figure style. The term "classicizing" was chosen to designate figures style adhering in even a general way to aesthetic conventions established by Greco-Roman art. The miniatures in these manuscripts demonstrate the way in which the vernacular and classicizing styles coexisted simultaneously and how vernacular styles, whether local, period or individual, were a part of early medieval art. Textual, paleographical and art historical evidence suggested that all sixteen of the illuminated leges manuscripts (Paris, BN lat. 4404, 4412, 4416, 4628, 4787, 9654, St. Gall, cod. 731, St. Paul in Lavanthal, cod. 4/1, Gotha memb.I.84, Modena cod. O.I.2, Cava ms. 4, Madrid ms. 413, Escorial, d.I.2, d.I.1, London, BL Add. 5411 and Vienna ONB, cod. 601) and were produced in ecclesiastical centers. The manuscripts{\textquoteright} function, therefore, was associated with the concerns of the church in various regions from the eighth to twelfth century rather than with a court of law.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Gontrum, Elsa} } @mastersthesis {7671, title = {The Image of Desire: Gender and Representation in France from the Revolution to the Second Empire}, year = {1993}, school = {CUNY}, abstract = {This study identifies and analyzes a decisive shift in the ideology of gender manifest in French visual culture, a shift galvanized by the French Revolution and effectively secured by the middle of the following century. Specifically, I examine the nature and terms by which the incarnation of ideal physical beauty, codified in the notion of the beau ideal, was transferred from the masculine to the feminine. Thus, where once it was the perfect male body which served as the vehicle of the most elevated civic and aesthetic values, by the time of the July Monarchy it was the female body that had become the principle vessel of physical and eroticized beauty, a monopoly it has more or less retained to this day. In the period between the undisputed dominance of the male body--cresting in the Revolutionary moment--and the subsequent hegemony of the female one, there is a period of transition which is characterized by the appearance of drastically "feminized" masculinities, exemplified by Girodet-Trioson{\textquoteright}s Sleep of Endymion and succeeded by numerous variants. These I interpret as a liminal stage in the transformation of gender ideologies, signaling both the eclipse of an older model of masculinity associated with the ancien regime, and the emergence of a new bourgeois model which effectively proscribed masculine exhibitionism and bodily display. Such a transition, however, involves not merely a substitution of one body for another, but as well, a change in the meanings conveyed by the body. Hence, as the female body became the dominant signifier of and for desire, it ceased to represent elevated public values, becoming instead a figure for modernity, consumption, and sexuality. To a considerable extent, this quintessentially modern construction of femininity is effected through the agency of mass culture, and it is one of the arguments of this thesis that the lithographic production of the Restoration, and from the mid-1840s on, photography, should be understood as constituting the early history--not the prehistory--of mass cultural forms. It is these forms, moreover, that operate to widely disseminate, and in part constitute, modern ideologies of gender.}, keywords = {19th and 20th century Europe}, author = {Abigail Solomon-Godeau} } @mastersthesis {7674, title = {Imaging the Industrial Village: Architecture, Art, and Visual Culture in the Garden Community of Bournville, England}, year = {1993}, school = {Yale}, abstract = {Bournville was established in 1879, when Quaker industrialists Richard and George Cadbury removed their cocoa factory from central Birmingham to a rural area outside the city. In so doing they hoped to attain healthier conditions for their products and personnel. Over the years, the firm erected picturesque half-timbered offices and impressive recreational buildings, recasting their industrial complex as an arcadian retreat. In the 1890s, George Cadbury purchased additional land and developed a community for low-and middle-income residents. Architects W. Alexander Harvey and Henry Bedford Tylor designed the village in an eclectic vernacular idiom, imbuing Bournville with vivid historical associations. At its completion the site possessed some one thousand dwellings and several prominent civic structures, including a cultural center devoted to the memory of John Ruskin, an unusually sophisticated Quaker meeting house, an Italianate Anglican church, a model school with biblical frescoes and stone carvings, and two medieval house museums that were moved to Bournville and re-erected at the Village Green. The Cadburys created this elaborate and exemplary environment on the assumption that art and architecture could ameliorate the lives of England{\textquoteright}s working class, both physically and spiritually. Utilizing the corpus of archival material and publicity literature generated by the Cadburys and their staff, this dissertation provides a detailed narrative of Bournville{\textquoteright}s development. Investigation appraises the local visual environment as both an agent and expression of community values. It studies the architecture of Bournville{\textquoteright}s industrial, residential, and civic buildings, delving deeply into the programmatic aims and implications of each. The achievements of Bournville{\textquoteright}s arts curricula are likewise examined, with emphasis on the early-twentieth-century photographic competitions and employee exhibitions of the factory and handicrafts production at Ruskin Hall. Programs of physical selection, physical fitness, and pageantry surrounding Bournville{\textquoteright}s inhabitants are also analyzed as signifiers of local and national ideology. Recurrent is the premise that Bournville was predicated upon profit, the preservation of hierarchy, and a profound commitment to reform.}, keywords = {19th- and 20th-Century European Art}, author = {Hoffman, Joel} } @mastersthesis {7673, title = {Interpreting Delacroix in the 1820s: Readings in the Art Criticism and Politics of Restoration France}, year = {1993}, school = {Yale}, abstract = {Delacroix{\textquoteright}s controversial paintings of the 1820s, among the best known from his long career span, have often been situated in a Romantic trajectory, in a transcendent historiographic model emphasizing new artistic beginnings in the context of a moribund Neo-Classicism. This teleological approach has inhibited a serious, historical investigation of the specific links between Delacroix{\textquoteright}s art and Restoration society. This study, drawing on art criticism from the Salon exhibitions of 1824-25 and 1827-28 and on documentation of the state{\textquoteright}s arts policies, places Delacroix{\textquoteright}s art instead within the matrix of the conflicting interests that converged at the Salon. It suggests that the monarchy and oppositional art critics, the principal powers determining an artist{\textquoteright}s fate in this period, found in the Salon an ideal theater for the projection of their political agendas. The monarchy disseminated its paternalistic ideology through its patronage of public culture, for which the Salon was one of its main showcases. Yet the Salon was a vulnerable site of political symbolism because of its staged publicness. During the exhibitions the oppositional press seized the opportunity to analyze and criticize the government behind the public performance, proposing alternative definitions of the "public," unorthodox painting types, and private enterprise in the arts. Examination of the critical fortune of Delacroix{\textquoteright}s two major Salon paintings of these years, the Massacres of Chios and the Death of Sardanapalus, reveals that his art was a sensitive, structured, and perhaps self-interested response to these agendas and to the public theater of that exhibition space.}, keywords = {19th- and 20th-Century European Art}, author = {Fraser, Elisabeth} } @mastersthesis {7675, title = {J. M. W. Turner{\textquoteright}s Working Methods in His 1817 Series of Fifty- One Rhenish Drawing}, year = {1993}, school = {Stanford}, abstract = {I propose that J. M. W. Turner produced a series of colored sketches from nature while on the Rhine from the 18th to the 30th of August, 1817, as described in the early accounts of his tour, but denied by A. J. Finberg in 1912 and by later twentieth century writers. Turner returned from the continent in mid-September and proceeded directly to Farnley Hall where his patron Walter Fawkes bought his fifty-one Rhine drawings. Finberg, challenging Thornbury, argued that since the tour was twelve or thirteen days, Turner only sketched in pencil while on the Rhine, and elaborated his painted drawings from these pencil sketches back in England before arriving at Farnley Hall in mid-November. However, Finberg{\textquoteright}s documentary evidence is not conclusive. The 1817 drawings themselves and three pencil sketchbooks, supporting examples of sketchbooks and drawings from related tours, and the cultural substratum of Rhine romanticism provide the evidence needed to settle this controversy. Turner{\textquoteright}s artistic prowess, his careful preparation, his length of stay and concentration of efforts on the middle thirty-five mile stretch of the Rhine gorge would all have made color sketching on the Rhine feasible in 1817. The drawings are not finished watercolors as Finberg maintained. Instead, they are executed in a sketching technique in bodycolor and watercolor on grey-washed paper. The grey ground and bodycolor medium allowed rapid work, and reveal continuity with his sketching practice on tours in 1801, 1802, 1819, 1824, 1833, 1840, with the group of Farnley drawings from 1815-1824, and with the Petworth and French Rivers bodycolors. As sketches the painted Rhenish drawings evidence a purpose separate from that of the topographical pencil sketches: they establish a sense of spatial depth and document the actual weather and light conditions Turner encountered on the Rhine. Their subject matter is thus often more the poetry of chiaroscuro, sky drama and expansive atmospheric space, rather than merely factual forms of castle, town, or fortress. Therefore, the colored drawings had a romantic sublime purpose that made it necessary for Turner to have painted a large portion of his series from his actual experiences on the Rhine.}, keywords = {19th- and 20th-Century European Art}, author = {Morrell, Mary Tussey} } @mastersthesis {7744, title = {Jacopo Tintoretto and Venetian Painting in the 1540s}, year = {1993}, school = {Maryland}, abstract = {The dissertation considers the career of Jacopo Tintoretto before the epochal Miracle of the Slave, painted in 1548 when he was thirty. Chapters II through VI present the young artist as an ambitious innovator and experimenter, largely self-taught, who ranged freely through the stylistic alternatives available in Venice in the 1530s and 1540s, eager to establish his versatility and "always seeking ways to make himself known as the most daring artist in the world," in Ridolfi{\textquoteright}s phrase. Chapters VII through IX establish that the many weak and derivative works attributed to Tintoretto before the Miracle of the Slave are not in fact by him but by associates and followers, painted for the most part not in the 1540s but in subsequent decades. Of the roughly 100 paintings and ensembles ascribed to the young Tintoretto in the major monograph on the artist, Rodolfo Pallucchini and Paola Rossi{\textquoteright}s Tintoretto: le opere sacre e profane (Milan, 1982), two-thirds are assigned here to other painters.}, keywords = {The Renaissance}, author = {Echols, Robert} } @mastersthesis {7685, title = {James McNeill Whistler: The Scottish Connection}, year = {1993}, school = {Virginia}, abstract = {Disappointed in his treatment by the English and bankrupt after his trial in 1879 with John Ruskin, Whistler looked beyond London for renown and patronage. He looked to Scottish patronage in order to gain a wider audience for his art and ideas. This dissertation documents the American expatriate{\textquoteright}s contacts with the Scottish art world. Part I discusses Whistler{\textquoteright}s relationships with Scottish dealers, artists, writers and collectors. The American expatriate found sympathetic backers who shared his interests in decorative, non-narrative painting and in an international point of view. Part II follows Whistler and the Glaswegian artists, barred from their own Royal Scottish Academy, in and out of alternative exhibition societies in London. The culmination of this activity was the founding of the International Society of Sculptors, Painters and Gravers in 1897. Many Glasgow artists won international recognition, and returned to Scotland to assume positions of power in art institutions. With the help of Scottish dealers and artists, Whistler{\textquoteright}s reputation grew there. The portrait of Thomas Carlyle came to Glasgow in 1891, and he received honors from Glasgow University and the Royal Scottish Academy. His papers and art came to Glasgow University{\textquoteright}s Library and Hunterian Art Museum to form the most important art and research collection anywhere. A fuller picture of Whistler and the art world in the late nineteenth century emerges from this study of the Scottish connection. Whistler was a shrewd businessman, a loyal friend and a serious artist. We know him as an eccentric, and yet he was more than a clownish, solitary figure. He was actively involved, as were his Scottish acquaintances, in an international art world of great complexity.}, keywords = {Art of the United States and Canada}, author = {Burr, Annette Parker} } @mastersthesis {7686, title = {John Sloan and the Female Subject}, year = {1993}, school = {Cornell}, abstract = {The American Realist John Sloan (1871-1951) created images of working-class women in the first decades of the twentieth century that have been interpreted as urban reportage, celebrations of life and evidence of his socialist beliefs. This dissertation approaches these images as cultural constructions of gender and class, embodying stereotypes of women that still exist today. Throughout his career, Sloan consciously maintained an objective distance from his subjects, thereby attempting to preclude social and political content from his high art. I argue that Sloan{\textquoteright}s seemingly neutral pictures manifest his personal fears and aspirations as well as those of his social milieu. Combining psychoanalytic method, social history and formal analysis, I reinterpret Sloan{\textquoteright}s representations of wage-earning women, including his etching the Barber Shop (1915) and his painting the Hairdresser{\textquoteright}s Window (1907). This dissertation examines the psychological connection between the artist{\textquoteright}s early genre scenes and his later nude studies and reveals Sloan{\textquoteright}s preoccupation with boundaries and distancing as a means of ordering his world.}, keywords = {Art of the United States and Canada}, author = {Coco, Janice Marie} } @mastersthesis {7697, title = {Joseph Harrison, Jr. (1810-1874): Philadelphia Art Collector}, year = {1993}, school = {Delaware}, abstract = {The art collection of Joseph Harrison, Jr. (1810-1874), the leading Philadelphia art collector of his era, had an overriding theme and purpose; the collection was intended to present a great moral paradigm of the veneration of "great men" through the examples of their noble deeds. Harrison{\textquoteright}s collection is also remarkable for the quality of the works he assembled. The highlights of the Harrison collection included Benjamin West{\textquoteright}s William Penn{\textquoteright}s Treaty with the Indians and Christ Rejected; Charles Willson Peale{\textquoteright}s Artist in His Museum, Staircase Group, and portraits of Washington and Franklin; Rembrandt Peale{\textquoteright}s "Porthole" Patriae Pater Washington; John Vanderlyn{\textquoteright}s Ariadne; Joseph Wright{\textquoteright}s Benjamin Franklin; Gilbert Stuart{\textquoteright}s original "Vaughan" Washington; and the George Catlin Indian Gallery. Chapter I places Harrison in the context of collecting in the United States and Philadelphia, and Chapter VIII mentions collectors who were Harrison{\textquoteright}s successors. Much of the story of Joseph Harrison, Jr., the epitome of the American self-made industrial entrepreneur, is told in Chapters II and III. A locomotive designer and manufacturer, Harrison had his greatest success as chief engineer of the Moscow-to-St. Petersburg Railroad. His mansion on Rittenhouse Square included an art gallery, which was among the first private art galleries built in the United States. He was unable to realize his great vision of creating a free public art museum to which he intended to donate his collection. Chapter III discusses Harrison{\textquoteright}s activities within the Philadelphia art community, gives the history of the development of the collection, and recounts the lamentable story of the dispersal of the collection in two auctions in 1910 and 1912. The methodology of this study is documentary. Interpretations and contextual references have been sought where possible. The themes of the Harrison collection, as expressed in history paintings on subjects such as Columbus, scenes from Shakespeare, and English and American history and literature, are discussed in Chapter IV. Portraits of historical figures are discussed in Chapter V. Genre painting, landscapes, and sculpture are the subjects of Chapters VI and VII. Chapters IV through VII present an interpretation of the meaning and significance of the Harrison collection.}, keywords = {Art of the United States and Canada}, author = {Nutty, C. Sue Himelick} } @mastersthesis {7680, title = {Karl Ernst Osthaus: The Folkwang Museum and the Dissemination of International Modernism}, year = {1993}, school = {CUNY}, abstract = {This study examines the Folkwang Museum, and Karl Ernst Osthaus (1874-1921), its founder, owner and director. Osthaus was a major patron of the arts in the first quarter of the twentieth century, and his museum in Hagen, Germany, was a vehicle for the dissemination of international modernism in Germany. It begins with the period shortly before the turn of the century, when old and new attitudes interacted with a society of enormous complexity, and fused together during a time of transition and changes in Wilhelmine Germany. An overview of Osthaus examines his origins, his plans to build a museum in Hagen, and some of the relevant artistic developments in Germany which influenced and shaped Osthaus{\textquoteright}s ideology towards art and culture. The study traces the Folkwang Museum{\textquoteright}s evolution and intertwines it with Osthaus and the Belgian artist, architect, and interior designer, Henry van de Velde (1863-1957), addressing the important, interconnected alliance that Osthaus and Van de Velde formed while working together on the museum, and the revolutionary effect that their combined efforts had on the arts in Germany. In addition, there is an analysis of Osthaus{\textquoteright}s relationship to artists, both foreign and native, that exhibited in the Folkwang, and the astonishing array of acquisitions that the museum obtained at a time when other museums were still acquiring Old Master works and ignoring the young, then unknown masters of modern art. An important issue that is discussed is Osthaus{\textquoteright}s promotion of women artists, and his sustained support and exhibition of their work over many years. Additional information details how international modernism and Expressionism simultaneously struggled for acceptance in Germany with the formation and success of the Sonderbund Association in the industrialized Ruhr and Rheinland regions, exhibitions that presented the latest trends in both native and foreign contemporary art. Osthaus was one of the driving forces behind these exhibitions which promoted international modernism. By examining the intersection between German modernism and international modernism, this study demonstrates that Osthaus and the Folkwang were both active catalysts in the promotion and acceptance of international modernism and Expressionism in Germany before the First War.}, keywords = {19th- and 20th-Century European Art}, author = {Stonge, Carmen} } @mastersthesis {7655, title = {Kosuth et Smithson a New York, Buren et Debord a Paris: Raison instrumentale et disparition de l{\textquoteright}objet d{\textquoteright}art a la fin des annees soixante}, year = {1993}, school = {British Columbia}, abstract = {This thesis compares the works of French artist Daniel Buren and American artist Robert Smithson during the years 1965-1968. Smithson and Buren have been chosen because their of their career paths exemplify the fate of the artist in an increasingly administered art world, but also because the subject matter of their respective works is a reflection of the importance of various kinds of infrastructures in shaping everyday life in the modern world. The questions that the thesis tries to answer are principally the following: how has this infrastructural and standardized reality been investigated by artists, and how did it affect their choice of artistic strategy? Furthermore, has their evaluation of this reality found the some formulation whether the artist lived in the United States or in France? Smithson{\textquoteright}s work recalls the physical infrastructures characteristic of public works, especially that of the highway system. His choice of infrastructure is significant for an American artist. The extension of the highway system, which will increase dramatically in the mid-1950s and throughout the 1960s, is a major event in the history of the United States, and represents the final confirmation of the supremacy of "car culture." As well as evoking the grid of the highway system, Smithson alludes to the corporation and its vast organizational structure that is the source of the need for an enlarged highway infrastructure. Buren{\textquoteright}s materials and their display in an urban space are intended to compete with the network of urban signs as it is found in the streets of Paris, which becomes in the period around May 1968 the site of a struggle for political affirmation, with wildly inventive slogans scrawled on the walls of the city. The thesis takes into account the different socio-historical, intellectual and esthetic contexts in which each artist elaborated his strategy, and, as well, relates their work to contemporary concerns over the evolution of the industrial world and its organizations as it develops, with a different national emphasis, in both France and the United States.}, keywords = {19th and 20th century Europe}, author = {Berard, Serge} } @mastersthesis {7660, title = {Kulturkritik und Gegenasthetik: Zur Bedeutung Friedrich Nietzsches fir die bildende Kunst in Deutschland 1892-1918}, year = {1993}, school = {UCLA}, abstract = {Die Aufnahme und Verbreitung von Nietzsches Schriften unter bildenden Kunstlern und ihren zeitgenossischen Vermittlern bewegte sich in einem Spannungsfeld der kritischen Ablehnung der herrschenden Kultur des Kaiserreichs und dem Anspruch auf eine Alternative, die neue asthetische massstabe setzen sollte. In bisherigen kunsthistorischen Studien wurde meist eine affirmative Ubernahme Nietzschescher Philosophie vorausgesetzt. In vielen Fallen zeigt sich Nietzsches Wirkung jedoch gerade dann um so deutlicher, je weiter sich Kunstler und ihre Interpreten bewusst von Nietzsches kritischem Ansatz entfernten und diesem eine Bedeutungslosigkeit fur Kunst und Kultur vorwarfen, gleichzeitig aber umso eindringlicher an Nietzsches eigenen oder ihm unterstellten Positivierungen festhielten. Nietzsches Denken, das standig zwischen einer denunziatorischen und einer apologetischen Betrachtungsweise der Kunst changierte, beinhaltete bereits die Moglichkeit widerspruchlicher Aneignung. Die positive Gegenasthetik war die Antwort auf die negative Kulturkritik. Doch blieb sie bei Nietzsche stets Positur und Vorstellung "auf der Buhne". Die kunstlerisch-literarische Intelligenz, die nach positiven Uberzeugungen und Werten verlangte, entfernte sich zwangslaufig von dieser Voraussetzung Nietzschescher Philosophie. Nietzsches Gegenasthetik und ihrer kunsthistorisch relevanten Wirkung werden keine uberhistorischen Bedeutungen unterstellt. Vorstellungen vom leidensfahigen Individuum, von der asthetischen Erkenntnis der Welt und ihrer Rechtfertigung als asthetischem Phanomen sowie von der Kunst als einer notwendigen Bedingung zum Leben werden verstanden als Projektionen einer existentiellen Lebensgestaltung, die allein an kulturellen und kunstlerischen Geschichtspunkten ausgerichtet sein sollte. Gefragt wird jeweils nach den Reibungs- und Beruhrungspunkten eines psycho-physischen Lebensgefuhls mit der gesellschaftlichen Wirklichkeit. Aus der Sicht des Historikers stellt sich die asthetische Erkenntnis der Welt, die ihre Begrundung in Nietzsches Philosophie suchte, als eine Abfolge von Hoffnungen, Illusionen und Enttauschungen uber die Wirksamkeit von Kultur dar. Die Studie stutzt sich auf eindeutige geschichtliche Zeugnisse. Exemplarisch behandelt sie das Verstandnis Nietzsches im Umkreis Berliner sezessionistischer Kunstler bzw. in der Berliner Boheme in den fruhen 90er Jahren (Walter Leistikow, Edvard Munch), in der Zeitschrift Pan sowie in Werken Max Klingers und Melchior Lechters. Tagebucher und Schriften Harry Graf Kesslers ermoglichen eine neue historische Bewertung eines geplanten Nietzsche-Denkmals in Weimar am Vorabend des Ersten Weltkrieges. Nietzsches Behandlung wahrend des Krieges als des Propheten einer Apokalypse durch Franz Marc und den Kunsthistoriker Fritz Burger trug zur Akzeptanz expressionistischer Kunst beim Burgertum bei.}, keywords = {19th and 20th century Europe}, author = {Erbsmehl, Hans-Dieter} } @mastersthesis {7726, title = {The Lambeth Bible: A Textual and Iconographic Study}, year = {1993}, school = {Bryn Mawr}, abstract = {This monograph is an interdisciplinary study of the Lambeth Bible, an English Romanesque giant Bible. Its two volumes are housed in different locations; Volume One is in the Lambeth Palace in London, MS 3, and Volume Two is in the Maidstone Museum, MS p.5, in the town of Maidstone near Canterbury. By approaching the manuscript from the viewpoint of four disciplines--art history, codicology, paleography, and theology--I have redated it, confirmed that it was produced at St. Augustine{\textquoteright}s Abbey in Canterbury, verified the meaning of its imagery, and established that a significant percentage of its illumination lacks earlier visual precedents. Codicological and paleographic evidence pushed the date of this Bible{\textquoteright}s production into the 1150-1170 time period. Textual, theological, and iconographic analysis, employed in concert, helped clarify the reasons for the inclusion of particular subjects in the illumination of the Bible. The major innovation of this dissertation is the methodology I developed to use accessory texts, those prologues and capitula which accompany the books of the Vulgate in Romanesque manuscripts, in the search for the place of origin of a manuscript. The evidence of accessory texts eliminated both the monastery of St. Albans and one of the Canterbury monasteries--Christ Church--as possible places where the Lambeth Bible might have been produced. After those two possible places of origin for the Bible were eliminated using this methodology, the case for the third alternative could be examined more closely. Iconographic evidence supports the idea that this Bible was made at St. Augustine{\textquoteright}s Abbey in Canterbury. I found models for some of the compositions and individual motifs depicted in the Bible among earlier manuscripts made or kept at St. Augustine{\textquoteright}s. This accords well with the sixteenth-century provenance of its second volume. Study of the iconography of the illumination of the Lambeth Bible was a major aspect of this dissertation. Surprisingly few of the subjects illustrated were based on the Biblical texts adjacent to the image although most were drawn from passages elsewhere in the particular book. Where the imagery was not drawn from the book, I found that it was drawn instead from an adjacent prologue. The Gloss, that twelfth-century compilation of verse-by-verse commentary on the Vulgate, was the other major textual aid to understanding the layers of meaning in the imagery included in the Lambeth Bible.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Shepard, Dorothy M.} } @mastersthesis {7730, title = {The Large Processional Friezes on the Ara Pacis Augustae: Early Augustan Sculptural Styles and Workshop Traditions}, year = {1993}, school = {Michigan}, abstract = {The long-standing assumption that the large processional friezes on the Ara Pacis Augustae were designed and carved by anonymous Greek master sculptors is based on two related problems with the way the evidence has been interpreted. First, the effects of at least two major restorations upon the figural style and present appearance of the reliefs have never been taken fully into account. Secondly, the friezes typically have been studied either from a substantial physical distance or from photographs, neither of which permits the examiner to distinguish the original, Augustan carving techniques or the details of forms. In order to test the validity of the {\textquoteright}Greek master{\textquoteright} theory, I have applied a new approach to the study of the processions for the first time. Referred to as {\textquoteright}detail analysis{\textquoteright}, the method involves the systematic, first-hand observation and documentation of tool marks and individual formal details of anatomy, drapery and surface textures on the reliefs themselves. In addition, the effects of the various phases of recarving and restoration upon the original appearance of the processional friezes are described and recorded. Based on this meticulous examination of the technical and formal details on the Ara processions, as well as those on related figural stone reliefs carved in Rome prior to and contemporary with the Augustan friezes, I argue that the processions were created by two different designers. Designer A of the North Frieze was more thoroughly familiar with Greek approaches to naturalistic human form and volumetric drapery, while the artist of the South frieze, Designer B, was schooled in indigenous traditions of unnaturalistic figural composition and two-dimensional, linear drapery design. However, technical consistency demonstrates that both friezes were sculpted by the same workshop of stone carvers. Following the tendencies of earlier Republican relief carvers, these natively-trained, Roman craftsmen preferred the rounded chisel for modelling forms and finishing surfaces, and occasionally experimented with Greek carving techniques. Therefore, with regard to sculptural technique and formal details, the processional friezes on the Ara Pacis display artistic continuity and native traditionalism.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Conlin, Diane Atnally} } @mastersthesis {7668, title = {L{\textquoteright}Idee and La Matiere: Concept and Execution in French Romantic Art}, year = {1993}, school = {Harvard}, abstract = {After 1800 Neoclassical painting moved increasingly toward the physical transparency of the image. The perpetual secretary of the Academie des Beaux-Arts, Quatremere de Quincy, presented a theory of painting as an essentially intellectual occupation--a complex process of generalization, idealization, and spiritualization of nature which would result in a distilled ideal image. In order to achieve this transparent sign, the Ecole des Beaux-Arts insisted on a standardization of execution and eradication of sensuous color and stroke. Thus the long, involved steps of etude, esquisse, and ebauche taught at the Ecole, as well as the pattern of the Prix de Rome competition, inculcated a concept of painting as the externalization of a given idea. Diderot had argued that painting should be instantaneously comprehensible both emotionally and intellectually; but by the late teens Neoclassical history painting was no longer either. Shorn of any physical appeal, these large canvases, constructed like stage sets on which figures acted out mythological dramas, no longer held much meaning for viewers. Thus, during the years 1814 to 1827, Romantic painters attempted to reject this concept of painting as the process of clothing idea in form. What meaning a history painting should convey, and how it should convey it, were to be redefined. In these early years of Romanticism, painters like Eugene Delacroix, Horace Vernet, Ary Scheffer, and Xavier Sigalon attempted to create a new kind of large-scale painting, one full of what was called actualite--contemporaneity, lifelikeness, animation. These painters were anxious to eschew any transparency of either form or meaning. Their paintings were to be aggressively actual, to strike the viewer in the face with their raw subjects and technique. The new Romantic form of painting would treat contemporary subjects, composed in a newly fragmented and allusive way, with direct and expressive execution.}, keywords = {19th and 20th century Europe}, author = {MacClintock, Lucy} } @mastersthesis {7658, title = {Maesta: Humanism and the Art of Francisco Zuniga}, year = {1993}, school = {Michigan}, abstract = {Francisco Zuniga has worked as a sculptor in Mexico from 1936 to the present day. He is best known for life-size, freestanding figures of Indian peasant women, filled with the dignity of centuries of native American experience. Honored internationally by many exhibitions and awards, he has been described by the critic Raquel Tibol as "the most characteristic sculptor of the Mexican school." This study inserts Zuniga into the framework of Latin American sculpture, relating him to his contemporaries and to movements to which he and his colleagues gave rise. It also examines the complex context of Latin American art of this century, a period of enormous political and artistic upheaval, filled with events, debates and movements that have shaped the post-colonial Latin world. These include the movement for independence and social reform inspired by the Mexican Revolution of 1914-1917, and a mandate throughout the twentieth century for autonomous Latin American cultural expression. The formalist and primitivist tendencies of the European avant-garde and the role of Latin American literature and the philosophical essay have also played a part in shaping artists working in Mexico during this period. In particular, figures such as Erich Fromm and Oscar Lewis in psychology and anthropology; and Jose Vasconcelos, Miguel de Unamuno, Jose Ortega y Gasset, Samuel Ramos and Octavio Paz in philosophy and literature, are discussed for their relation to themes of indigenism, existentialism, mexicanidad, experience and solitude to be found in Zuniga{\textquoteright}s art. This dissertation examines a selection of Zuniga{\textquoteright}s works produced after 1955 in which a synthesis of formal and iconographic elements, here termed maesta, may be observed. It identifies Zuniga{\textquoteright}s personal contribution to the history of Latin American art--symbols of Mexican identity that unite the past and present into one. The relative place of artists within the broader picture of Latin American art and the impact of single works and approaches upon the field remains an incomplete picture. It is thus important that an examination of conditions and circumstances which framed Zuniga{\textquoteright}s career will help to illumine the history of Latin American sculpture as a whole.}, keywords = {19th and 20th century Europe}, author = {Costantini, Giovanna Lucia Digiaccomo} } @mastersthesis {7720, title = {Manuscript Production in 15th-Century Poitiers}, year = {1993}, school = {Northwestern}, abstract = {In this study, I analyze manuscript production in Poitiers in the latter half of the fifteenth century. Poitiers{\textquoteright} prominent historical role during the period, coupled with the numerous extant archival records and illuminated manuscripts, provides fertile grounds for analysis. Through a systematic study of this material, the careers of Poitevin illuminators, their styles and methods of working, and the roles of the Poitevin patrons who purchased their manuscripts are clarified. The diverse manuscripts produced by Poitevin illuminators provide information for reconstructing a picture of the book-trade in fifteenth-century Poitiers. Based on an analysis of style, an assessment of patronage, and an examination of the documents, I have outlined three stages in the development of the Poitiers school of illumination. Following a survey of the historical context of the city and its artists from its documents (Chapter I), I examine the emergence of a local style that assimilated external sources from Paris, then from the Loire valley (Chapter II). Next, I examine the development of a local indigenous style through the works of the Master of Poitiers 30, the Master of Walters 222, and the Master of Yvon du Fou (Chapters III and IV). I note a shift in patronage over the period from the religious communities to high-ranking ecclesiastics and upwardly mobile aristocrats. Finally, I study the dissemination of that style elsewhere, through the Poitevin production of Robinet Testard (Chapter V). Poitiers emerges as a unique center with a distinctive patronage and style. Among other important French regional centers of manuscript production, like the duchies of Savoy, Provence, and Brittany, or the urban milieus of Rouen, Metz, and Lyon, Poitiers stands out. For its artists and patrons, who collaborated to produce lavish religious and secular works, Poitiers offered a flourishing intellectual and religious community that also had an active court life through its active ties to royalty. When combined with complementary projects, my study contributes to the creation of a comprehensive picture of the arts in Poitou, taking us one step closer to a history of regional art in France in the fifteenth century.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Day, Veronique} } @mastersthesis {7719, title = {The Manuscripts and Patronage of Jacques d{\textquoteright}Armagnac, Duke of Nemours (1433-77)}, year = {1993}, school = {Pittsburgh}, abstract = {This study investigates the nature of Jacques d{\textquoteright}Armagnac{\textquoteright}s artistic patronage through a codicological examination of his books. It adds 32 titles to the initial lists of Leopold Delisle and Antoine Thomas, and further attempts to distinguish the books that the Duke of Nemours commissioned or purchased, from those he inherited. The period of the Duke{\textquoteright}s patronage is here documented from 1460-1474, during which time he acquired a widely varied collection of illuminated books, kept largely in his main library at Carlat in La Marche. The dissertation is divided into two parts: the first part is an analysis of the Duke of Nemours{\textquoteright}s collections; the second part consists of a descriptive list of 119 books, followed by a detailed catalogue of 83 commissioned manuscripts that gives emphasis to his Arthurian titles. The appendixes contain a genealogy, a synopsis of events in the Duke{\textquoteright}s life, and documents pertaining to his pensioned artist, Evrard d{\textquoteright}Espinques. Jacques d{\textquoteright}Armagnac{\textquoteright}s commissions show that he particularly favored compilations and Arthurian romances, and that he took an active interest in the form and production of his books. This is clear from the customary tallies in his manuscripts which record their number of folios and miniatures, from the manuscripts in his libraries offered as exemplars for new copies of texts, and from the pictorial cycles of three Arthurian manuscripts which are interwoven to produce a collective, exhaustive and largely non-repetitive compendium of Arthurian illustrations. While employing many artists and scribes, this patron also maintained an steady equipe, whose most prominent local members were Michel Gonnot, Gilles Gracien, and Evrard d{\textquoteright}Espinques.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Blackman, Susan Amato} } @mastersthesis {7737, title = {The Maps of the Relaciones Geograficas of New Spain, 1579-c. 1584: Native Mapping in the Conquered Land}, year = {1993}, school = {Yale}, abstract = {In 1577, the royal government of Spain sent out a printed questionnaire to cities, towns, and villages in the New World. Included was a request for a map of each town. In towns and villages in New Spain, the task of supplying the map often was taken up by a resident native painter. The questionnaire{\textquoteright}s intention seems to have been to elicit a map of the town{\textquoteright}s layout, but few native maps supply this. Instead, the 45 extant native maps from the gobierno of New Spain give us the most comprehensive painted record of the region as its inhabitants saw it. In addition, they show us the evolution of the pre-Columbian mapping traditions of Central Mexico in the early colonial period (1521-1600). This study uses the maps of the Relaciones Geograficas, as the responses to the questionnaire are called, to examine continuities and ruptures in the native mapping tradition in the wake of the Spanish conquest. Both native and European mapping traditions in New Spain are examined. The main argument is that in the early sixteenth century, scale-model representations of territory, while central to European mapping, were peripheral to the native tradition of mapmaking. In the course of the century, native mapping accommodated new European notions of territorial representation. At the same time, it retained a distinctive vocabulary of pictographic place-names and historical narrative. The complex interchanges between native and Spanish territorial depiction are also examined in light of the role of native painters. Specifically, this study looks at the training within monasteries that many native painters received, their employment in painting maps that colonial land grants required, and their attitudes toward the new urban plans that Spanish colonists imposed upon New Spain.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Mundy, Barbara} } @mastersthesis {7654, title = {The Meaning of the Romanesque Revival: A Study of Romanesque Revival Architecture and Its Associations in Britain, the United States, and Australia}, year = {1993}, school = {Bryn Mawr}, abstract = {This dissertation examines Romanesque Revival buildings in Britain, the United States, and Australia, and the manner in which architectural journals and criticism discussed them. Emphasis is given to the relationship between the Romanesque Revival and national architectural debates. The work reviews the period from 1830 until the early twentieth century, although the bulk of examples and texts are from between 1875 and 1900. Many buildings were constructed, and numerous articles were written between these dates, and a coherent framework has been created to organize them. This framework categorizes the examples by building type, dividing them into groups of commercial, ecclesiastical, bureaucratic, and museum buildings. Specifically these groups of buildings were warehouses and exchanges, natural history museums, and non-conformist churches in Britain, the United States, and Australia. Other buildings discussed are American county courthouses and libraries, Australian post offices, and British art institutions. These building types were usually innovative and were related to social and economic developments of the time. Nineteenth-century journal articles detailing the architectural associations of the Romanesque Revival are also examined. These associations were often anti-establishment and progressive. This dissertation examines works by a range of architects, many who have not been widely studied; these include British architects such as Charles Harrison Townsend and John Kelly; Australians, James Barnet, E. Wilson Dobbs, and Walter Vernon; and Americans, James R. Gordon and William Smith. In addition prominent figures like H. H. Richardson and Alfred Waterhouse are situated in context. In conclusion it is argued that the Romanesgue Revival, while a recognizable architectural movement, was rarely exactingly defined, as say, the Gothic Revival had been; lacking as it did key defining contemporary texts (such as the Gothic Revival had with Pugin and Ruskin). This very lack, however, helped foster its anti-establishment associations, and in turn furthered its progressive connotations. The meaning of the Romanesque Revival thence, is bound up with the late nineteenth century{\textquoteright}s quest to find appropriate architectural solutions to contemporary socio-political changes and developments.}, keywords = {19th and 20th century Europe, Art of the United States and Canada}, author = {Kent, Phillip} } @mastersthesis {7705, title = {Men Making Meaning in 19th-Century American Genre Painting, 1860- 1900}, year = {1993}, school = {Stanford}, abstract = {This dissertation explores the lives and work of the four most popular genre painters of the second half of the nineteenth century--John George Brown, Thomas Waterman Wood, Eastman Johnson, and Seymour Guy--in order to establish that these artists were not simply reflecting daily American life in genre painting but were reinforcing a value system maintained by a middle-class, urban, male segment of the population. Genre paintings functioned to promote a way of life desired by a socially mobile public, and the genre painter served as a teacher whose lesson was social hegemony. Using social art history, biographical analysis, structuralism and deconstruction, I re-position the selectivity, reproducibility, sentimentality, and repetition of genre painting as positive attributes responsible for genre{\textquoteright}s success in both artistic and popular culture contexts. As evidence, I use works of art, art institutions, popular prints, contemporary criticism, and the lives of the artists and their collectors. I shape my discussion around selected paintings by Johnson, Brown, Guy and Wood. After defining sentiment as expressed by male artists, I analyze the themes and subjects painted and repeated by genre painters. These reveal both what genre painters valorized and what they chose to ignore in their society. I relate the formal structures and devices utilized by the artists to verbal methods of communication. I also investigate the influence of the academic system as a means to promote genre and to reinforce the structures, themes and ways of life depicted on the canvas. I then explore which paintings genre{\textquoteright}s patrons collected and why they made their choices. How genre paintings fit into larger collections of images has important implications about the uses of genre in shaping the collector{\textquoteright}s presentation of self and, by extension, the culture{\textquoteright}s identity. The dissertation concludes with an examination of the demise of genre painting as an active artistic vocabulary--or consensus narrative. For over 40 years, genre painters communicated successfully with a sympathetic audience. By looking at both the flowering and failure of genre painting, I hope to demonstrate the unsuspected complexity of genre{\textquoteright}s place in later nineteenth-century American culture.}, keywords = {Art of the United States and Canada}, author = {Wright, Lesley} } @mastersthesis {7750, title = {Michelangelo, Raphael and the Altarpiece Tradition}, year = {1993}, school = {Harvard}, abstract = {This thesis studies the effect of artistic change on the traditional functions of religious images. In Italian art after 1200, the most significant change was the rise of panel painting, which gradually replaced sculpture at the center of Christian worship. This thesis concerns the period around 1500, when a tension had arisen between developments in the art of painting and painting{\textquoteright}s traditional religious functions. This tension is rarely commented upon directly in texts, but it is evident in the works themselves--most clearly in altarpieces, the principal forum of panel painting in this period. Here it is studied primarily in two: the Entombment by Michelangelo in the National Gallery in London, and the Entombment by Raphael in the Galleria Borghese in Rome. The episode embodied in these two works dramatically illustrates the fate of the altarpiece in an era that saw the rise of a "modern" conception of easel painting. Its epilogue will be studied in Michelangelo{\textquoteright}s late Pietas, which were unique attempts to revive an originary conception of the sculpted cult image, undertaken at the margins of the artistic-categories known in the period. An appended excursus proposes, on the basis of new documents, a hypothesis concerning the intended setting for Michelangelo{\textquoteright}s London painting.}, keywords = {The Renaissance}, author = {Alexander Nagel} } @mastersthesis {7742, title = {Michelangelo{\textquoteright}s "Christ": The Dialectics of Sculpture}, year = {1993}, school = {Harvard}, abstract = {This study analyzes a single work, the statue of Christ in S. Maria sopra Minerva at Rome, through a network of inter-related conceptual frameworks, bringing together work from a variety of disciplines: theology, philosophy, literature, rhetoric, cultural history, artistic theory. The Minerva Christ is a place of intersection between a recognition that Christ{\textquoteright}s identity is dialectical and inherently resistant to representation in sculpture, and therefore must be mediated in some way, and a recognition that artistic technique has limits. Artistic virtuosity is reconceived in this view as being in the service of questioning and undermining the illusion of physical reality through the physical medium of sculpture. This argument relies neither on earlier Neoplatonic interpretations of the artist{\textquoteright}s work nor a contextualist attention to patronage and site, but seeks to define a specific mode of conceptualization. This mode confronts a problematics of representation in questioning sculpture{\textquoteright}s relationship to significance. In examining the work{\textquoteright}s mediation of the Passion narrative its implementation of a nude body and attributes renders its relationship to time and narrative sequence indeterminate. In imitating a gesture widely shared in contemporary painting, the work found a stable form to reify an essential emptiness and a knowledge of what cannot be represented in the physical world. Michelangelo evoked the Pauline separation of exterior and interior reality in his sonnet 151 and negated it. In his allegorical sculpture the separation of exterior and interior reality poses itself with the greatest difficulty because these works do not clearly represent abstract ideas. The Minerva Christ is not allegorical but it similarly confronts the concrete and universal: the conception establishes no subjective relationship between the figure of Christ and the concrete events of his suffering and death. The Minerva Christ contributes to the sense that there is coherence to the modes of conceptualization in Michelangelo{\textquoteright}s production and a heightened consciousness about its component elements which function within a flexible system of relationships.}, keywords = {The Renaissance}, author = {Agoston, Laura} } @mastersthesis {7712, title = {Money{\textquoteright}s Architecture: The Building of the Bank of England, 1731- 1833}, year = {1993}, school = {Harvard}, abstract = {The study of the architecture of the Bank of England begins in 1731 with the competition won by George Sampson for the first building, and ends in 1833 with the completion of the huge, three and a half acre complex by John Soane. Over the course of this century, during which Robert Taylor added to the structure, the Bank established itself at the very center of English life. It embodied the worldwide power of London{\textquoteright}s money markets, and it stood for the stability and financial credit of the government itself. The purpose of this thesis is to show how the Bank{\textquoteright}s institutional history relates to its architectural history. Understanding of the complex building is enhanced through analysis of its multiple functions. As business increased so did the structure, expanding from a mansion-sized complex into a sprawling labyrinth of courtyards, passages, lobbies, corridors, halls, offices, and even residential apartments: a veritable city-within-a-city. By elucidating the architectural expression and interrelationship of the building{\textquoteright}s public and private parts over the long course of its history a clear picture of the whole is brought into focus. Chapters are devoted to the contributions of each of the three architects. Their processes of design are examined both in terms of the history of architecture and the institution{\textquoteright}s practical and symbolic requirements. Throughout, the role of the client is taken equally seriously. Indeed, the Bank{\textquoteright}s architecture can be understood as an expression and in some cases a determinant of their evolving social identity. Attention is also paid to wider public consciousness of the institution and its architecture. The Bank{\textquoteright}s building went from being the object of mob rage to one of London{\textquoteright}s most celebrated tourist attractions. The Bank{\textquoteright}s architecture represented not just the evolution of the identity of the institution, but also helped integrate wider elements of English society into the new money-based order of capitalism, commerce, and credit.}, keywords = {Baroque and 18th-Century Europe}, author = {Abramson, Daniel} } @mastersthesis {7752, title = {A Monument to Pope Pius II: Pintoricchio and Raphael in the Piccolomini Library in Siena, 1494-1508}, year = {1993}, school = {Harvard}, abstract = {Cardinal Francesco Todeschini-Piccolomini commissioned the construction and decoration of the Piccolomini Library in Siena (executed 1494-1508) in memory of his uncle, Aeneas Sylvius Piccolomini, Pope Pius II (1405-64). The library was built by the Cathedral Opera off the north aisle of the Duomo, to house the writings and library of Pius II and Cardinal Francesco{\textquoteright}s library. It was an open hall lit by only two high windows. Its ceiling, like the Sistine Ceiling, consisted of a curved, potentially rectangular surface along its centre and a series of severies and {\textquoteright}pendentives{\textquoteright} around the perimeter, ideal for painting. Three windowless walls equally invited decoration, which, derived from the ceiling structure, formed a painted arcade all{\textquoteright}antica to {\textquoteright}frame{\textquoteright} the Piccolomini istoria. Cardinal Francesco contracted Pintorichio (29 June 1502) to paint the life of Pius II on the walls and to decorate the ceiling with grotesques. Ten Piccolomini istorie were accompanied by descriptive epitaphs. The programme, prepared by Francesco in a (now lost) "memoriale et nota," was based on Pius II{\textquoteright}s Commentaries and his biography by Campano. Following Vasari and rejecting Morelli, this thesis sustains Raphael{\textquoteright}s contribution to the library cycle and the attribution to him of several related drawings. It is suggested that Raphael, assuming a role in the design insufficiently acknowledged in modern criticism, assisted Pintorichio in exploring a wide range of sources for the cycle, predominantly from Roman antiquity and classical, Central Italian, Quattrocento wall-painting. Visual sources cited include the Domus Aurea, the Arch of Constantine, Roman sarcophagi, the monumental narrative of Filippo Lippi, Benozzo Gozzoli, Melozzo da Forli and Domenico Ghirlandio, and Pollaiuolo{\textquoteright}s Tomb of Innocent VIII. Literary sources in antiquity and Alberti{\textquoteright}s De pictura and De re aedificatoria are cited to support the hypothesis that Cardinal Francesco intended to have the library painted in the guise of an antique library-colonnade in a temple precinct, an appropriate setting for his Three Graces. Inspiration was drawn from the Vatican Library of Sixtus IV and from Platina, its librarian and governor, reaffirming a long tradition of papal portraiture.}, keywords = {The Renaissance}, author = {Shepherd, Gyde Vanier Gilbert} } @mastersthesis {7690, title = {"Museums of Household Art": The Aesthetic Interiors and Furniture of Herter Brothers, 1865- 1891}, year = {1993}, school = {Yale}, abstract = {Gustave Herter had founded a furniture manufacturing business in the late 1850s, soon expanded its services to include interior decoration, and, once his half-brother Christian Herter joined in 1865, the firm became New York{\textquoteright}s preeminent decorating establishment of the mid nineteenth century. The Introduction of this thesis includes a history of Herter Brothers, from Gustave Herter{\textquoteright}s arrival in the United States in 1848 to the firm{\textquoteright}s closure in 1906; stylistic developments in American interior decoration during this period; the structure of the company and its business practices; and the surviving documentation of the business. The main body of the dissertation is divided into four case studies, commencing with the 1882 John Sloane residence, 883 Fifth Avenue, New York, a project which is compared to some of the firm{\textquoteright}s more well-known interiors in the "Artistic" style popular during the mid nineteenth century, such as the William H. Vanderbilt house, 1879-1882. The Sloane residence is of particular importance as the library woodwork and the room{\textquoteright}s furnishings are still extant, one of the few surviving interiors by Herter Brothers. Chapter III details two turn-of-the-century San Francisco commissions for the entrepreneurs Claus and John D. Spreckels; these two houses, which were partially decorated by Herter Brothers, display transitional styles of decoration evident as interiors became simplified and more restrained. The John D. Spreckels residence includes one of the most well-documented and finest Moorish interiors in this country. The Clarence W. Seamans residence, 789 St. Marks Avenue, Brooklyn, 1902-1903, illustrates the renewed interest in classicism in American interior design of the early twentieth century. The Seamans house also documents the changes in Herter Brothers{\textquoteright} production, as the company began to rely increasingly on outside suppliers for furnishings. Herter Brothers{\textquoteright} final large commission, the St. Regis Hotel, Fifth Avenue at 55th Street, New York, 1903-1904, is examined in Chapter V. Herter Brothers only provided the woodwork for the public rooms of the hotel, acting as a sub-contractor to the New York dry goods and decorating firm of Arnold, Constable \& Co. The Conclusion summarizes the stylistic changes evident in these various interiors, the development of the company, and explores the reasons for the firm{\textquoteright}s final closing.}, keywords = {Art of the United States and Canada}, author = {Futter, Catherine} } @mastersthesis {7734, title = {The Necessity of Pre-Columbian Art: U.S. Museums and the Role of Foreign Policy in the Appropriation and Transformation of Mexican Heritage 1933-44}, year = {1993}, school = {UCLA}, abstract = {Pre-Columbian artifacts became works of art in the twentieth century, aestheticized through processes which remain partially or incorrectly understood. Prior to that time they had been recognized primarily as either objects of curiosity or archaeological artifacts. In the United States, intersecting and often contradictory interests created a need for Pre-Columbian art that developed after the first World War. One critical factor, however, served as a catalyst to create pre-Columbian art as a new object of aesthetic discourse inside the museum walls: a fundamental although ultimately temporary change in United States policy toward Mexico and the nations of Central and South America. A "new" concept of a unified American Hemisphere manifested by Pan-Americanism and the Good Neighbor Policy was implemented with vigor throughout the Roosevelt administration, fueled by economic interests and the pressing need to ensure U.S. and hemispheric security prior to and during World War II. It is my position that U.S. museums of fine art, archaeology, and natural history introduced pre-Columbian artifacts as carefully contextualized works of art to expanded museum audiences in the years between 1933 and 1944 in large measure as their contribution to U.S. foreign policy efforts to improve hemispheric relations. The approach taken to the material, because of the wide-ranging nature of this topic, is from an interdisciplinary, cultural studies perspective bringing together scholarship from art history, anthropology, history, sociology, and political science. The results of my research indicate that the U.S. desire to improve inter-American relations and ensure hemispheric security had substantial effects on the manner in which pre-Columbian art was introduced to the nation, often in exhibitions sponsored by the federal Office of the Coordinator of Inter-American Affairs directed by Nelson A. Rockefeller. During the years 1933-1944, pre-Columbian art was neither decontextualized nor presented as "primitive art" in museums of fine art, contrary to current scholarly thinking. As part of a U.S.-driven Pan-Americanism pre-Columbian art was also positioned as the foundation of an indigenous hemispheric heritage in an effort to bind together the countries of the Western Hemisphere, particularly those of Mexico and the United States.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Barnet-Sanchez, Holly} } @mastersthesis {7678, title = {Nouvelle Arcadie: Puvis de Chavannes and the Decorative Landscape in Fin-de-Siecle France}, year = {1993}, school = {Virginia}, abstract = {After an introductory chapter that surveys the literature on pastoral and utopian landscapes in the nineteenth century, the study begins with a discussion of Puvis de Chavannes, unquestionably the most visible purveyor of arcadian imagery during the Third Republic. Puvis{\textquoteright}s reputation in the 1890s and the critical reception of his work by a moderate audience are explored in order to reveal the conservative aesthetic, cultural and political values that these pastoral decorations were seen to celebrate. Chapter three examines the revival of interest in Nicolas Poussin in the 1890s and traces the gradual conflation of the heroic landscape and the decorative landscape in the writings of late nineteenth-century critics. Consideration of the critical response to Landscape with Diogenes reveals the valorization of Poussin{\textquoteright}s synthetic reworking of nature and the unexpected designation of his work as "decorative." Chapter four analyzes the critical formulation of le paysage decoratif by four critics: Alphonse Germain, Georges Lecomte, Camille Mauclair and Raymond Bouyer. These critics were united in their support of a conservatively modern decorative landscape that was "a la fois, stylise et reel;" that is, synthetically constructed, yet tied to nature{\textquoteright}s reality. Chapter five investigates this ideal recreation of nature, characterized by Roger Marx as a "nouvelle Arcadie," in the decorative landscapes of Puvis and two of his prominent followers, Henri Martin and Rene Menard. This chapter includes an extensive discussion of decorative painting and its relation to both a public mural aesthetic and the more intimate panneau decoratif destined for private delectation in the home. The study concludes with an examination of the domestic interior as the locus for mental recuperation and argues that both the decorative landscape and the female--either as femme au foyer or as decorative nymph--were seen to play an important role in the soothing of fatigued and neurasthenic homme d{\textquoteright}affaires. I conclude that Matisse{\textquoteright}s formulation of an art of balance, purity and serenity and his designation of the weary businessman as the beneficiary of this serene art find their origins in the conservative and classicizing pastoral tradition traced in this study.}, keywords = {19th- and 20th-Century European Art}, author = {Joyce Henri Robinson} } @mastersthesis {7725, title = {Old Testament Rituals of Sacrifice in Romanesque Art}, year = {1993}, school = {Princeton}, abstract = {During the twelfth century, the theme of Old Testament sacrifice figured prominently in the art and thought of the Latin West. Of particular interest were the sacrifices of the Law, that is, those offered in accordance with rites established by Moses sub lege. The subject received elaborate treatment in numerous works of Romanesque manuscript illumination, metalwork, and monumental sculpture. Artists attempted not only to depict the sacrificial rites of the ancient Hebrews, but also to represent the Christian significance of these rites through the sophisticated use of juxtapositions, parallels, inscriptions, and context. In this study, more than forty images of Old Testament sacrifice--produced chiefly in northwestern Europe between 1080 and 1220--are examined in relation to contemporary textual sources. Twelfth-century exegetes assigned multiple levels of significance to OT rites of sacrifice. Four different levels, corresponding to the four levels of meaning in medieval theories of scriptural interpretation, can be distinguished. This study explores how the historical, allegorical, tropological, and anagogical meanings of OT sacrifice were expressed in the pictorial arts of the Romanesque period. In the first chapter, the illustration of the literal or historical meaning of OT sacrifice is analyzed; in the second, the depiction of OT sacrifice and its allegorical meaning, that is, OT sacrifice as a prefiguration of the crucifixion of Christ, is examined; in the third, the representation of its tropological meaning, or OT sacrifice as a model of Christian morality, is considered; in the fourth, the illustration of its anagogical meaning, or OT sacrifice as a symbol of the heavenly eucharist, is studied. The sacrifice diagrams of the Hortus deliciarum, which treat all four levels of meaning, are the subject of the final chapter. A catalogue provides descriptions of and bibliography for all the images in the corpus.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Santinga, Dianne Gwinn} } @mastersthesis {7711, title = {Originality and Origination of Vesara Architecture}, year = {1993}, school = {Pennsylvania}, abstract = {This dissertation explores intentionality in Indian temple architecture by analyzing a group of 11th century stone monuments built in the Karnataka region of southern India. These monuments are called Vesara in art historical literature. Vesara evolved in the northern part of Karnataka in the 11th century and remained the standard form of architecture there and in neighboring areas for at least three centuries. Using a textual definition for Vesara as "hybrid," (sankara in a 12th-century South Indian text, the Kamikagama; "mule" in popular Sanskrit parlance), scholars have defined Vesara as a mixture of two different forms of regional architecture, namely the South Indian (Dravida) and the North Indian (Nagara). Within an evolutionary scheme, this mixture is also described as a late and flamboyant outgrowth of the typical South Indian, Dravida, temple. The dissertation argues that both these explanations evolve within perspectives other than Vesara{\textquoteright}s own, principally that of regional scholarship studying North and South Indian architecture. The exploration of Vesara{\textquoteright}s intentionality during the 11th century differs fundamentally from those perspectives in that their periphery is analyzed as a geographical and conceptual center. The history of Vesara architecture is examined in a series of experiments conducted by architects belonging to the tradition of regional Dravida architecture. An analysis of monuments and inscriptions shows Vesara to be a self-conscious modality of puzzling over the rationale of Dravida architecture. While Dravida temples of the 10th century trace early drifts of Vesara "thinking," a complex interaction between a Nagara logic and a Dravida architectural morphology creates a Vesara morphology in the 11th century. The manipulation of Dravida, evoking many new conceptual nuances within its palatial form, as well as Vesara{\textquoteright}s rigorous emphasis on architectonic formations, seen particularly in an emerging iconography of shrine models typically used as major wall ornaments, suggest Vesara{\textquoteright}s innovations are part of a self-conscious and original approach to the symbolic content of the temple.}, keywords = {Asian Art}, author = {Sinha, Ajay} } @mastersthesis {7699, title = {Pacific Arcadia: Images of California, 1600-1915}, year = {1993}, school = {Stanford}, abstract = {Pacific Arcadia is a study of the imagery of the California Dream. Through an analysis of paintings, drawings, photographs and prints created from the seventeenth century to the beginning of the twentieth century, this paper examines the role of representation as a strategy of conquest, assimilation and development. The paper is divided into chapters which identify the predominant visual themes that were adopted by imagemakers who came to California after 1600. The first chapter, "Terrestrial Paradise," deals with seventeenth-century maps and the drawings made by European expeditionary artists during the eighteenth and early nineteenth century, and discusses the ways these images embodied the colonial programs of their makers. "The Golden Dream" covers the imagery of the Gold Rush and the ways in which pictures of "honest" and "industrious" miners promoted a favorable interpretation of the tumultuous "Days of {\textquoteright}49." California{\textquoteright}s latent agricultural potential, and the desire of Anglo-American settlers in California during the 1860s and 1870s to align their state with the Jeffersonian agrarian ideal, is the subject of another chapter, "Cornucopia of the World." The interaction between artists and California business interests, including the Southern Pacific Railroad, in the development of the California tourist industry is taken up in two chapters: "Spanish Arcadia" and "Rush for the Wilderness." The last chapter, "Urban Visions," examines nineteenth-century images of San Francisco in the context of American ideas about the city and its role in the allocation of resources to the citizenry. The paper concludes with a discussion of representations of the earthquake of 1906 and the Panama-Pacific Exposition of 1915. As part of its analysis of cultural networks in California, Pacific Arcadia also takes into account contemporary literature, including the writings of Spanish expedition leaders, Bret Harte, Mark Twain and Charles Lummis, in fostering the idea of California as the "Golden State."}, keywords = {Art of the United States and Canada}, author = {Perry, Claire} } @mastersthesis {7717, title = {The Painting of Gerard David: Interpreting the Copy in Late Medieval Flanders}, year = {1993}, school = {Pennsylvania}, abstract = {Until now, Gerard David{\textquoteright}s use of motifs borrowed from the early Flemish painters, such as Jan van Eyck and Robert Campin, has been related to factors outside of artistic production. These include the emergence of humanism in the Low Countries around 1500, the economic decline of Bruges at the end of the fifteenth century, and late medieval piety. To make a case for understanding David{\textquoteright}s copying practices within the processes of late medieval artistic production, this study describes and explains the pattern and nature of David{\textquoteright}s motif choices. In the Crucifixion (Madrid), painted in his youth when he resided in the North Netherlands, David was already borrowing motifs from the early Flemish masters. Moreover, David{\textquoteright}s copying practices paralleled those employed by contemporary North Netherlandish painters and manuscript illuminators. After David{\textquoteright}s arrival in Bruges in 1485, his pictorial style changed but his handling of borrowed motifs remained the same. David{\textquoteright}s Adoration of the Magi (Munich), for example, is based on a lost painting by Hugo van der Goes now known through a replica. The underdrawings of the Munich Adoration, revealed through infrared photographs, show that in the copying of Hugo{\textquoteright}s picture David employed both purely replicative techniques, such as pouncing, and free-hand drawing. David also made numerous changes to the borrowed motifs. The manner in which David replicated the motifs and altered them blurs the distinction between "copying" and "originality." In the Cervara Altarpiece (Genoa, Paris and New York), David evokes the Ghent Altarpiece for his Genoese patron, Vincenzo Sauli. This indicates the important role of the patron to the copying process that is documented in several Flemish contracts for works of art. In late medieval Flanders, copying was important to artists and donors alike. The painter{\textquoteright}s collection of patterns and the patron{\textquoteright}s desire to have works based on known models form a circle. Copying itself has deep medieval roots. There are affinities between Thomas Aquinas{\textquoteright}s concept of artistic creation and David{\textquoteright}s production practices.}, keywords = {Early Christian, Byzantine, and Medieval Art, The Renaissance}, author = {Blacksberg, Leslie} } @mastersthesis {7708, title = {The Paintings of Seymour Rosofsky}, year = {1993}, school = {Michigan}, abstract = {Seymour Rosofsky (1924-1981) was one of a generation of strong, independent-minded Chicago artists who bucked the trends of abstraction, minimalism and conceptual art coming from New York in the 1950s through the 1980s to persevere instead in a staunchly figurative, surreal style. This study of Rosofsky{\textquoteright}s paintings catalogues and documents the artist{\textquoteright}s major work; suggests interpretations for his intensely personal, complex imagery; and illuminates the social, cultural and artistic contexts of his art. The first four chapters investigate the artist{\textquoteright}s education, early stylistic development, his professional career and the development of his mature style. The next chapter explores the artist{\textquoteright}s mature work centering around his four major themes: (1) the individual{\textquoteright}s loss of power in the face of modern life; (2) the absurdity of war; (3) relationships between male and female; and (4) the voyage of life. The artistic contexts in which Rosofsky worked and gained a reputation are the topic of the final, concluding chapter. A complete Checklist of his paintings, a preliminary checklist of his prints and biographical and bibliographic appendices close the volume. Rosofsky{\textquoteright}s art is examined through the filter of his life because much of his imagery is highly personal and, though perhaps unconsciously, autobiographical. However, these paintings also mirror the time in which he lived--decades of social and historical revolutions such as the anti-war and the women{\textquoteright}s liberation movement. The impact of these changes in the structure of contemporary society, in individual and familial relationships and in the self-images of men and women were wide-reaching. Rosofsky captured and vividly expressed them in his art by combining the universal with the personal to reflect the emotional and societal turmoil that shaped our current culture.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Tannenbaum, Barbara Lee} } @mastersthesis {7677, title = {Paula Modersohn-Becker: The Gendered Discourse in Modernism}, year = {1993}, school = {Harvard}, abstract = {This dissertation is a monographic study of the German painter Paula Modersohn-Becker (1876-1907). The question I undertake to answer is this: given long-standing scholarly agreement on the importance of this artist, why does she remain so resistant, to critical discourse, even to her own fame. "Paula Motorscooter-Who?" remains a fair response, even today. The methodology by which I proceed transposes certain propositions of gender theory regarding the relationship author/narrative/reader to artist/image/viewer. These strategies also bear on the writing and organizing of the dissertation itself. Part One interweaves the beginnings of her life story and of her posthumous critical reception. Both chapters are background for Part Two, when the artist appears. The middle three chapters concern: (1) the critical discourse that sought to secure her identity as an Expressionist after the publication of a catalogue of the artist{\textquoteright}s paintings and a volume of her writings by the Kurt Wolff Verlag, the press that promoted German Expressionism; (2) the environments in which she developed, specifically the modern German city and contemporary art education for women; and (3) the artist{\textquoteright}s encounters with modernism in Paris. The last part, Part Three, focuses on a major late painting, Reclining Nude Mother and Child (1906). First, I analyze this revolutionary image by comparing it with drawings and preparatory studies and, then, I analyze the critical discourses by which it has been delimited.}, keywords = {19th- and 20th-Century European Art}, author = {Radycki, Diane} } @mastersthesis {7722, title = {Pictorial Cycles of Non- Biblical Saints: The Evidence of the 8th-Century Mural Cycles in Rome}, year = {1993}, school = {Victoria}, abstract = {Due to the influence of the Greek-speaking immigrants who flocked into the city of Rome over the course of the 7th and 8th centuries, there was an explosion of interest in the cults of saints and their relics, one manifestation of which was the efflorescence in the depiction of saints{\textquoteright} lives on the church walls. Five of these cycles survive--albeit in various stages of preservation--and portray the martyrdoms of Quiricus and Julitta, Erasmus, the Forty Martyrs of Sebaste, Callixtus, and Paul and Anastasius. As the largest surviving body of early hagiographical cycles, the paintings serve as the standard of comparison for later works, but they have yet to be fully studied in the art historical literature. The aim of this dissertation is to help correct this oversight, and to examine the cycles, in the context of their cultural and architectural settings, in order to come to an understanding of how early hagiographical cycles functioned. The dissertation begins with an examination of the evidence for pre-8th century cycles, Biblical and non-Biblical, extant and non-extant, produced in any medium in Byzantium or the West. The aim is to discover patterns, either in the make-up of the cycles, or the contexts for their use. The paintings in Rome are then carefully analysed, both in terms of their content and archaeological context, in combination with the surviving hagiographical, liturgical, and historical texts. The conclusion reached is that non-Biblical hagiographical cycles first gained popularity in the East, where they were most commonly found decorating either the tombs of saints, or their reliquary shrines. Their appearance in Rome can be closely linked to the influence of the Greek-speaking immigrants, to the cults of saints and relics that they promulgated, and to the special veneration accorded the non-Biblical saint by members of the lay population. The cycles most commonly decorate chapels, or chapel-like spaces, that are located in diaconiae, the charitable institutions founded in Rome at the end of the 7th century, and whose administration was largely the responsibility of the lay community. Furthermore, as several of the cycles seem to decorate private chapels, perhaps provided to the wealthy laity in return for their donations to the church, they emerge as the early ancestors of the works found in the private chapels, decorated for rich benefactors, which proliferate in the late Middle Ages.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Jessop, Lesley} } @mastersthesis {7695, title = {Precisionism in Perspective: Form and Philosophy in 20th-Century Art}, year = {1993}, school = {CUNY}, abstract = {The purpose of this dissertation is to establish the broader significance of Precisionist form and philosophy in twentieth century art. While existing scholarship has notably codified Precisionism as primarily an artistic phenomenon of the 1920{\textquoteright}s, the significance of Precisionism in twentieth century art--as this dissertation demonstrates--lies, instead, in its extension beyond the 1920{\textquoteright}s, into the 1930{\textquoteright}s and 1940{\textquoteright}s. Precisionists{\textquoteright} Charles Sheeler, Ralston Crawford and Niles Spencer, for example, carry forward into their later abstract/realist works--unlike many other artists who have been assigned the Precisionist label for only a handful of early works--many of the universal components derived from their initial 1920{\textquoteright}s hard-edged industrial Cubist-Realism vision. More importantly, this dissertation explores how the consistent abstract/realist tendencies of Sheeler, Crawford and Spencer parallel--from the 1920{\textquoteright}s through the 1940{\textquoteright}s--similar abstract/realist developments in the broader arenas of photography and "Modernism" in the United States and Europe. In its effort to establish the broader significance of precisionism in twentieth century art, this thesis also demonstrates how Precisionist content--as well as style--reflected both the content and style of European Bauhaus, Purist and Neue Sachlichkeit artists who were involved with similar machine-age aesthetics. The widespread artistic attempt among all of these artists, for instance, was to relate the simple, linear, and well-designed forms of an earlier nineteenth century craft or vernacular tradition to forms produced by twentieth century industrial means. Furthermore, in linking artistic and utilitarian qualities, the Precisionists and the European machine-age artists codified positive attitude towards twentieth century industrialism and its objects which gained tremendous visibility and popularity, thus leading to the further articulation of these machine-age aesthetics in the broader literary world and in the public realm of museum programming. As a result, this paper establishes the broader significance of precisionist form and philosophy beyond a singular American artistic movement of the 1920{\textquoteright}s, and demonstrates that Precisionism played a major role in a collective American and European ideology that continued throughout several decades of the twentieth century.}, keywords = {Art of the United States and Canada}, author = {Mille, Diana} } @mastersthesis {7683, title = {Pretty Vacant{\textquoteright}: Neo-Expressionist Painting, Situationist Theory, and Punk Rock}, year = {1993}, school = {UT Austin}, abstract = {The similarities between the painting style known as neo-Expressionism and other popular-culture forms in the later 1970s (those described as "radical" or "terrorist chic") have been largely neglected in art historical scholarship. Punk rock, especially, was informed by many of the same sources as, and was itself a source for neo-Expressionist style. Punk was an effective popular culture conduit for ideas and techniques first expounded by the aesthetic and political theorists known as the Situationist International (SI). Composed of artists, writers, filmmakers and theorists, the SI remained largely isolated and underground from its inception in 1957 until 1968, when the French student uprisings were credited to (or blamed on) Situationist influence. In the mid-1970s, Punk rock impresario Malcolm McLaren fashioned his band, the Sex Pistols, according to his understanding of Situationist writings, thus translating theory into action within a popular culture/mass media form. Features of Punk style, rooted ideologically in Situationist theory, were quickly reincorporated by a number of artists into works which critics initially (and often pejoratively) labelled Punk or New Wave. These neo-Expressionists adapted from Punk style such characteristics as "expressionistic," less-than-virtuosic handling of materials, juxtaposition of disparate elements, often borrowed overtly from pre-existing sources (Situationist detournement), and the use of symbols without regard or reference to (or willfully detached from) their customary meanings. Artists Julian Schnabel, David Salle, and Robert Longo have skirted questions of their stylistic sources; Punk style and Situationist theory are certainly important precedents. Situationist theory may also have had a more direct influence on the neo-Expressionists{\textquoteright} work through the Danish artist Asger Jorn, a founding member and aesthetic theorist for the SI. Jorn{\textquoteright}s SI-period work includes many of the features cited above and foretells much of neo-Expressionist style. Art historical scholarship, however, has repeatedly overlooked this period in Jorn{\textquoteright}s oeuvre and its influence, in favor of his COBRA period work. This study{\textquoteright}s importance is its attempt to place neo-Expressionist painting in the context of the late Modernist fine art tradition (as painting) and also within intellectual history and popular culture.}, keywords = {Art of the United States and Canada}, author = {Bacigalupi, Donald} } @mastersthesis {7688, title = {Primal Acts of Construction/ Destruction: The Art of Michael Heizer, 1967-1987}, year = {1993}, school = {Kansas}, abstract = {Michael Heizer{\textquoteright}s artistic reputation rests primarily on his Earthworks, a genre of art that received most attention in the United States in the late 1960s and early 1970s. Heizer{\textquoteright}s earth art reflects basic desires to dig large trenches in the earth (Double Negative, 1969-70), to draw geometric shapes in the topsoil (Circular Surface Planar Displacement Drawing, 1970), to transport and manipulate large stones (Displaced/Replaced Mass, 1969), and to build rudimentary, architectural constructs (Complex One, 1972-74). Antecedents for such endeavors can be found in prehistoric mounds, line drawings, tombs, and related ritualistic structures. Heizer{\textquoteright}s background as son of an eminent research anthropologist who studied the artifacts of ancient peoples has a profound influence in the artist{\textquoteright}s work. The formal vocabulary derives partially from those experiences, but also from 20th-century art movements that also are based on primary, or primal, concepts: Minimalism, constructivism, and Dada. The implication of this is that Heizer{\textquoteright}s Earthworks are not strictly environmental, rather they can be conceived and executed in almost any context. There is no evident or even espoused concern by Heizer for the ecological or phenomenological qualities that are often equated with artworks executed on the land. Indeed, his projects are site specific because of size and medium, yet they could be made almost anywhere. Heizer{\textquoteright}s concern is with the act of making, with working with materials, rather than with enhancing or romanticizing the surrounding spaces. Similar concerns can be found in other forms of art made by Heizer between 1967 and 1987 including eight public sculptures and numerous small-scale and gallery-size exhibition sculptures, paintings, prints, photographs, mixed-media on paper, drawings, printed and painted metal plates, and etched glass. Much of this alternative art derives directly from Heizer{\textquoteright}s Earthworks. Minimalist, constructivist, and Dada sensibilities are brought out even more clearly in specific examples of these other forms, notably the series of Circle sculptures. On the other hand, such works as his printed and painted metal plates are original and provocative in conception.}, keywords = {Art of the United States and Canada}, author = {Fairchild, Patricia Ann} } @mastersthesis {7738, title = {Processions through Paradise: A Liturgical and Social Interpretation of the Ritual Function and Symbolic Signification of the Cloister in the 16th-Century Monasteries of Central Mexico}, year = {1993}, school = {UT Austin}, abstract = {As part of the massive sixteenth-century campaign of Christianization and Europeanization in the lands inhabited by the sedentary indigenous peoples of central Mexico, the friars of three Mendicant Orders--Franciscan, Augustinian, and Dominican--forced the natives to build dozens of monasteries for them. Most, if not all, of these monasteries were decorated, often profusely, with mural painting of a religious nature. It has long been assumed that entry of the Native American neophytes into the cloisters of these monasteries was rarely permitted, and consequently that the painting was for the consumption of the resident friars and their occasional Spanish guests. Through study of colonial printed and manuscript sources and of Early Modern religious practices, this paper shows that the principal intended audience for the claustral painting was the natives. The surviving paintings in each corner of the first floor of many of the cloisters, thought to be for friar meditation, are shown to be stations for processions made up mostly of natives. Consequently, the decorative motifs of these comer paintings are typically drawn from the traditional ephemeral repertoire of Corpus Christi street processions. The friars and natives viewed the cloister and monastery as liturgical machines whose methodical round of daily ritual brought the community into accord with heaven. For this reason, the social order was consecrated at Huejotzingo by setting aside ritual structures for native confraternities in both the cloister and the forecourt of the monastery. Mural painting and relief sculpture were used to show that the Mexican Mendicant cloister was a figure of Paradise, a promise of the heavenly reward after this life, and a palace courtyard whose noble family was composed of Jesus, Mary, and the friars. The Mexican cloister, by extension, was frequently endowed with symbolism allusive to the Virgin Mary as the Closed Garden, the New Eve in which Paradise was consummated. Finally, at least three cloisters, at Chimalhuacan Chalco, Totolapan, and especially Tetela del Volcan, went beyond the traditional metaphor of the cloister as Paradise to more specifically demonstrate that the attainment of the heavenly Jerusalem entailed the renunciation of the physical world.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Phillips, Richard England} } @mastersthesis {13236, title = {Prophecy, Theology and Allegory: A Study of Abraham, Isaac, and Jacob in Seventeenth-Century Spanish Baroque Painting}, year = {1993}, school = {Penn State}, abstract = {Throughout the ages the Book of Genesis has been consulted by intellectuals and theologians, but its importance among the late Renaissance and Baroque society of Spain is noteworthy. Ecclesiastics, playwrights, and artists of the Counter-Reformation embraced early Christian and Medieval biblical commentary as it was introduced into Spain after the Council of Trent. Particularly during the seventeenth century, Spanish artists illustrated new subjects and revitalized more traditional themes associated with Genesis narratives. This dissertation concentrates on the themes most frequently depicted by Spanish Baroque artists from the Book of Genesis: stories associated with the lives of the patriarchs Abraham, Isaac, and Jacob. Special attention, however, has been given to the cultural environment in which these themes flourished in an attempt to evaluate the variety of stylistic and iconographic responses to these subjects. This study is ultimately an examination of prophecy, theology, and allegory in Siglo de Oro Spain. A summary of the cultural cross-currents within sixteenth- and seventeenth-century Spain is presented in Chapter 1. The translation of ideas, both literary and visual, are discussed in order to lay a foundation for the artistic response to the biblical prototypes existing in Baroque Spain. Chapter 2 elaborates upon the artists in the context of their native cities, artistic influences, and patronage. The most important aspects of this study occur in Chapters 3, 4, 5, and 6. Each is devoted to the stylistic and iconographic relationships shared among the illustrated patriarchal subjects. The analysis of these works is conducted through interpretations presented in both ancient and contemporary, sacred and secular literature, drama, and painting. It is a study that provides a foundation for further scholarship on illustrated patriarchal narratives of Baroque Spain. Catalogues of the 169 extant paintings and one of the 116 lost works, documented through archives and inventories, are available in the appendices. Included in the catalogues are bibliographies, references, provenances, and pertinent descriptions of the paintings and patrons under discussion in the main body of the dissertation.}, author = {Michael A. Tomor} } @mastersthesis {7701, title = {Race and the Discourse of Nature in the Art of the Americas, 1850-1965}, year = {1993}, school = {Yale}, abstract = {Visual objects have played an important role in the historical formation of Afro-American subjectivity. Through a series of close readings of nineteenth- and twentieth-century images, the dissertation demonstrates how race implicates itself within visual modernism. Investigating the formal structure and narrative content of these visual images, the dissertation poses questions about the relationship between power, visual imagery and racial subject formation. In chapter one an attempt is made to release the discussion of racial representation from the confines of stereotypical discourse which analyzed a painting or sculpture solely with respect to whether or not it was a positive or negative image. Arguing that it is more valuable to focus on the way in which images structure their "arguments," the chapter reveals that both "realistic" and "stereotypical" images can produce naturalizing effects through very different means. Whether conveyed through a surreptitious association of the black body with foliage, or through an explicitly outrageous organization of the anatomy, the black subject remains anchored in the realm of nature. Chapter two addresses the ideology of "primitivism" in modern art. In this chapter an alternative, counter-critical interpretation of "primitivist" activity is offered, one that views primitivism as continuous with the colonizing project which facilitated. This critique is rendered by staging an interpretive battle royal between the Cuban artist Wifredo Lam{\textquoteright}s The Jungle and Pablo Picasso{\textquoteright}s Les Demoiselles d{\textquoteright}Avignon. In chapter three the collage of Romare Bearden is interpreted as a quasi-systematic deconstruction/reconstruction of a series of social identities formulated in the types of photo-documentary material Bearden used in his collages, images torn from the likes of Vanity Fair, Life, and Home and Garden.}, keywords = {Art of the United States and Canada}, author = {Rogers, Paul A.} } @mastersthesis {7704, title = {The Railroad Designs of Frank Furness: Architecture and Corporate Imagery in the Late 19th Century}, year = {1993}, school = {Pennsylvania}, abstract = {Between 1880 and 1910, the Philadelphia architect Frank Furness (1839-1912) produced nearly two hundred designs for three of the nation{\textquoteright}s largest railroads. As a salaried employee of the Philadelphia \& Reading Railroad between 1880 and 1885, Furness created a de facto corporate image by applying his unique design sensibility to railroad stations, passenger cars, and myriad ancillary structures throughout eastern Pennsylvania and northern New Jersey. From 1886 to 1890, his work for the Baltimore \& Ohio Railroad explored the efficiencies of standardized plans while creating a distinct group of stations along a politically contentious line between Baltimore and Philadelphia. After 1890, his firm Furness, Evans and Company designed stations from Pittsburgh to the Hudson River for the Pennsylvania Railroad, including some of the most prestigious commissions from this, the largest corporation in America. Forty years of railroad company correspondence, some only recently made available to scholars, was examined to document Furness{\textquoteright} working relationships with railroad executives, engineers, and contractors. The secondary literature in image theory, railroad architecture, and business architecture of the nineteenth and twentieth centuries was read to form a contextual basis for discussing Furness{\textquoteright} work. The thesis presents Furness as an exemplar of the increasing interconnections between big business and its architecture in the 1880s and 1890s. The developing professionalization of architecture and the beginnings of corporate identity creation through architecture are addressed, and a catalogue raisonne is presented of nearly two hundred projects that Furness created between 1876 and 1906 for three major railroads, the largest body of work by this important American architect. In the 1880s, the expression of corporate identity was developing as a form of communication, and architecture--and particularly railroad architecture--was to assist at its birth. Frank Furness was an exemplar of the American architect in this new role, and his professional identity was shaped by it, as shown by his patent and trademark activity. It was a role that would expand the professional horizons of the nineteenth century architect and form a prelude to the corporate imagery programs of the twentieth century.}, keywords = {Art of the United States and Canada}, author = {Thayer, Preston} } @mastersthesis {7702, title = {Reconstructing the Golden Age: American Artists in Broadway, Worcestershire, 1885 to 1889}, year = {1993}, school = {Yale}, abstract = {During portions of the years 1885 to 1889, three American painters lived in the Worcestershire village of Broadway--Edwin Austin Abbey, Francis D. Millet, and John Singer Sargent. This study focuses upon their work and the community they formed there with friends and colleagues, encompassing many of the leading figures in Anglo-American culture of the age. Topics discussed in the introduction include a brief consideration of the village itself; the Americans{\textquoteright} desire to appropriate English culture as their own; the complementary reasons urging them toward expatriation; and a series of biographical sections to introduce the principals of the community. There follows a chronological series of chapters that examine both the actions of the community and the art produced there. The thesis closes with a reflection on how the years at Broadway changed the artists and their work, and how their presence changed the village.}, keywords = {Art of the United States and Canada}, author = {Simpson, Marc} } @mastersthesis {7716, title = {Rembrandt{\textquoteright}s Draftsmanship and the Traditions of Renaissance}, year = {1993}, school = {Virginia}, abstract = {Rembrandt{\textquoteright}s drawings have been the subject of countless studies, most of which have focused on the traditional concerns of drawing scholarship. A discussion of his drawing practices in the context of Italian Renaissance traditions, however, indicates that even the more unusual aspects of his methods often have precedents and parallels and offers explanations for many of these practices. The patterns that emerge from a study of this type have wider implications in Rembrandt{\textquoteright}s career, revealing him as a self-conscious and ambitious artist who selected from the practices of a number of traditions and developing his own methods, with the goal of defining his identity as an artist and stimulating his creative energies. The first chapter of this dissertation provides a background concerning the ways in which Rembrandt could have familiarized himself with Italian art and theory. The second discusses the general trends of style and technique in his drawings, linking aspects of these with Italian and in particular Venetian art. The third examines his use of his drawings, which reveals his ambitions as a virtuoso artist and reflects the importance of the imagination in his work. The fourth chapter focuses on the roughness that characterizes most of his sketches throughout his career, which was highly unusual in the context of Northern tradition but had specific positive associations in Italian art, namely the creative furor and sprezzatura of the virtuoso artist. In the fifth chapter, his studio practices are examined in connection with his drawings, again revealing the importance of the imagination to his sketches and his art as a whole. Finally, the sixth chapter examines Rembrandt{\textquoteright}s use of drawing in the training of his pupils, noting that in many ways his teaching methods were highly traditional but that some aspects, including exercises designed to teach the student how to adapt the work of other artists and to develop his imagination, are more unusual and reflect the importance of these activities in Rembrandt{\textquoteright}s own art.}, keywords = {Baroque and 18th-Century Europe}, author = {Sell, Stacey L.} } @mastersthesis {7689, title = {The Repatriation of American Art: Paintings at the Exposition Universelle, 1900}, year = {1993}, school = {CUNY}, abstract = {The primary goal of the American Department of Fine Arts at the Paris exposition of 1900 was to prove the existence of an "American School" of art and its parity with the European Schools. This was a direct response to French criticism at the Parisian exposition of 1889 that American art was a "brilliant annex" to the French School. American art had looked French in 1889 because most American artists during the last quarter of the nineteenth century attended Parisian academies and emulated their masters. However, artists returning home in the 1890s, searching for a national expression, relinquished academic subjects in favor of distinctly American themes. Establishing an independent culture, in the wake of U.S. economic and military imperialism during the 1890s, appeared to be the final frontier in fulfilling the American Renaissance assumption that the United States would soon inherit the mantle of Western Civilization from a decadent France. This dissertation examines the creation, promotion, and justification of an American School of art at the 1900 exposition, within the context of the cultural, political, and economic conditions of the 1890s, by investigating American and French literature and government documents. The first of five chapters focuses on events prior to 1900, including Franco-American exchanges at the expositions and the impact of Chicago{\textquoteright}s 1893 World{\textquoteright}s Columbian Exposition. Chapter two considers the preparations for the 1900 exposition, its organizational framework, and the composition of exhibitors. In the third chapter, installations of American architecture, sculpture, murals, decorative arts, and paintings are interpreted as advertisements for the United States as a self-reliant and culturally mature nation. Chapter four evaluates the paintings exhibition according to subject matter, style, and national character. The final chapter analyzes the preceding data, and evaluates American art{\textquoteright}s unprecedented success in terms of medals, purchases, and criticism, coupled with increasing French appreciation of American art and, conversely, American disenchantment with French academicism. From this material, a definition of what the critics believed constituted an American School is constructed. Finally, the 1900 exposition is assessed as a bridge to twentieth century art via subsequent expositions.}, keywords = {Art of the United States and Canada}, author = {Fischer, Diane Pietrucha} } @mastersthesis {7665, title = {Revolution of the Ordinary: Allan Kaprow and the Invention of Happening}, year = {1993}, school = {Michigan}, abstract = {This dissertation engages one of the most contentious issues about art in the wake of Jackson Pollock: a shift away from painting to theater in order to revolutionize and expand the realm of art. Allan Kaprow, a relentless advocate and producer of happenings during the 1960s, strategically argued that the "environmental" paintings of Pollock led art into the streets. "The Legacy of Jackson Pollock," Kaprow{\textquoteright}s influential essay of 1958, prescribed an initial logic for such a shift in art. Happenings--participatory, site-specific, or theatrical events--were Kaprow{\textquoteright}s invention to reawaken dramatically the oppositional and radical dream that is at the very heart of the avant-garde paradigm. This vanguard revival was unique in the United States because it interacted and intersected with countercultural formations of the late 1950s and 1960s. This countercultural sphere was fluid and changing, rather than strictly circumscribed. It embodied the Beat{\textquoteright}s subversive embrace of commercial culture, the existential hipster{\textquoteright}s revolt against conformity in the 1950s, the energetic, utopian vision of the New Left in the 1960s, and, I argue, happenings. Radicals{\textquoteright} alienation from corporate and state power spurred a desire to reform or contest existing institutions as much as it accelerated the construction of an oppositional space. With the near-collapse of the Old Left--which was effectively undermined and suppressed by the McCarthyist crusade--young, radical intellectuals, activists, and artists focused on lifestyle, race, sexuality, or vanguard art, in addition to politics, as agents of change. Their aim was to free themselves from the Cold War consensus politics, affluent values, and conformist pressures so widely lamented by liberal and leftist writers during the Eisenhower era and after. Occupying and transforming social space, whether in the name of a liberating politics or art, were similar aims of both the New Left and the producers of happenings. In the end I argue that Kaprow{\textquoteright}s melodramatic, utopian rhetoric of the "death" of the traditional museum opened for art a productive, expansive space, counter to, yet ultimately dependent on, the institution of modernism.}, keywords = {19th and 20th century Europe}, author = {Haywood, Robert E.} } @mastersthesis {7692, title = {Richard Serra and Robert Irwin: Phenomenology in the Age of Art and Objecthood}, year = {1993}, school = {Michigan}, abstract = {This dissertation examines the works of Richard Serra and Robert Irwin as possible proponents of a tendency in recent art toward exposing perceptual experience as a means by which to construct our understanding of the world. Provisionally called phenomenal art, it is an art which through its materials, form, placement, and effect attempts to expose visual phenomena such as the tactile nature of an object, light and shadow or depth in space so that we may realize how these things determine the visual field and by extension, a sensory experience of our environment. This study is developed in four parts. The introduction frames the art of Serra and Irwin within the modern/postmodern context of existing modes of interpretation and acknowledges that within these various modes the overwhelming tendency is to examine the phenomenal component of their works through the philosophy of phenomenology. The second part is an historical analysis of the works and writings of the two artists, an analysis which outlines the theoretical models that each has employed when conceiving and reading their art as well as the relationship that these models share with the artists{\textquoteright} intentions for their work. In the first two parts, a case is made for the use of existential phenomenology as a critical method. The third part develops this method as a series of readings or interpretations of select pieces by each artist. These readings are coupled with the findings of the second part to lay the foundation for a comparison of the two artists in terms of their intentions, philosophies, and the operation of their works. The conclusion contextualizes the information previously compiled within the larger framework of the contemporary art scene. As such, it proposes new readings of some of the critical theory that surround the works of Irwin and Serra, readings which substantiate the notion of phenomenal art, and in doing so, determine the role that these two artists play within it. Finally, the modes of analysis used and the conclusions reached with regard to Irwin and Serra set the stage for examining the works of other artists such as Robert Morris, James Turrell, and Robert Smithson, through the phenomenological apparatus, and in such a way that these artists might also be considered under the model of phenomenal art.}, keywords = {Art of the United States and Canada}, author = {Griffith, Nathan P.} } @mastersthesis {7700, title = {Robert Smithson: Learning from New Jersey and Elsewhere}, year = {1993}, school = {CUNY}, abstract = {This dissertation provides a study of the early sculpture and writings of Robert Smithson, bracketed by his mirrored wall reliefs of 1963/64 and his 1967 article "The Monuments of Passaic." In this work, Smithson consistently addresses the relationship between perception and visual expectations, and how conventions shape this relationship. In the first section of the dissertation, I analyze two types of sculpture executed by Smithson during the mid-1960s: his serial sculpture and enantiomorphs. I identify the perceptual paradigms--linear perspective and transparency--he seeks to undermine, both through the design of these works and what he has to say about them, and how his critiques address the larger contemporary discourse on both abstraction and perception in general during this period. Specifically, I consider E. H. Gombrich{\textquoteright}s 1960 Art and Illusion, Clement Greenberg{\textquoteright}s 1961 Art and Culture, M. D. Vernon{\textquoteright}s 1962 The Psychology of Perception, and William Seitz{\textquoteright}s 1965 exhibition "The Responsive Eye." The second half of the dissertation is devoted to a discussion of Smithson{\textquoteright}s 1966-67 work and writings about New Jersey, particularly his two published essays, "The Crystal Land" and "The Monuments of Passaic." Smithson and many of his contemporaries considered areas outside Manhattan the true "elsewheres" of the New York art world. But the assumption that culture was equivalent to a particular place--New York, Chicago, Los Angeles--or to particular spaces within these cities seemed increasingly untenable by the mid sixties. This uncertainty led to an analysis of the process of aesthetic and even general visual encounter outside the culturally predefined. Smithson recognized that the increasing tension he felt between his method of ordering his experiences of New Jersey and his personal awareness of the actual landscape that spread before him was not merely the result of the place, but of the terms of his own "art world" expectations. Using new tools--maps and the camera--he once again manipulates the conventional elements of linear perspective--orthagonals and vanishing points--in order to slow down rather than pass over this landscape of his own childhood. Through these activities, Smithson demonstrates what it means to occupy a cultural "vanishing point."}, keywords = {Art of the United States and Canada}, author = {Ann Reynolds} } @mastersthesis {7732, title = {The Roman Freestanding Portrait Bust: Origins, Context, and Early History}, year = {1993}, school = {Michigan}, abstract = {The freestanding bust consists of a head, neck, shoulders, and chest raised up from its resting surface by a squared undersupport. It was a common format for portraiture in the Roman empire, but little attention has been paid to the freestanding bust itself, either as an artistic format or a social phenomenon. Although they are often thought to have served as ancestral portraits in the houses of Roman aristocrats, the origin and function of freestanding busts are by no means certain. Through examination of surviving datable busts and investigation of their contexts, in this study I attempt to determine when this portrait format was first used and by whom and for what purpose it was invented. I first examine the antecedents of the freestanding portrait bust and assess the evidence for the date when it was first used. That evidence suggests that the freestanding bust was used first in the city of Rome shortly after the mid-first century B.C. The sculptors who created the earliest freestanding busts and the patrons who commissioned them were not influenced by abbreviated portrait formats from Egypt, the Near East, or Greece. Instead, they drew upon the long tradition of abbreviated funerary portrait sculpture of Italy itself. After examining numerous busts, I have discovered that many sculptures presumed to be freestanding portrait busts are not in fact freestanding busts, but rather busts intended for portrait herms. By examining the contexts of freestanding busts and herm busts, I demonstrate that the freestanding bust had a more sharply defined function than did the herm bust and was used by a smaller segment of Roman society. Herm portraits were placed in domestic and public settings and could portray both elite and non-elite subjects. During the early Empire, freestanding busts were used for tomb portraits of non-elite persons, primarily freed slaves. Finally, by plotting the measurements of datable freestanding busts and comparing their shapes, I demonstrate that the common practice of dating portraits by means of the proportions and shape of the busts on which they appear, is unreliable.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Motz, Timothy A.} } @mastersthesis {7728, title = {Roman Small- Scale Portrait Busts}, year = {1993}, school = {Brown}, abstract = {The numerous three-dimensional miniature portraits of imperial family members and private citizens dating between the accession of Augustus and the end of Constantine{\textquoteright}s reign were necessary implements of Roman social, political and religious life. In order to determine how they functioned in antiquity, various sources are employed: the extant portraits themselves; archaeological and architectural contexts; ancient sources in the form of texts, inscriptions and papyri; and finally, artistic representations which depict miniature portraits. Small-scale portraits of emperors and imperial family members functioned as commemorative sculpture, decorative elements, insignia, and even amulets. Some were used to test Roman citizenship and loyalty to the emperor. However, they primarily served to define and articulate the imperial cult, as they were incorporated into the cult{\textquoteright}s rituals and paraphernalia. The small-scale portrait of the emperor came to represent his genius. In cultic contexts it became equivalent to a protective spirit and was venerated with the lares in public and private shrines. Miniature portraits were sometimes subjected to damnatio memoriae; some were purposely damaged and others were reworked into portraits of other emperors. Small-scale portraits of ordinary Roman citizens, on the other hand, were largely relegated to the domestic sphere. The large number of extant free-standing private portrait busts attests to the lasting importance of the cult of ancestors. The interest in collecting silver and also in advertising individual members of their family is reflected in the silver portrait emblemata. The continuation of certain Roman traditions allowed leading citizens to affirm their place in society well into the imperial period. The dissertation is divided into three parts. Part I explores the imperial portrait and its varied functions, with special attention given to how the imperial portrait became a highly visible implement in the rituals of the imperial cult. Part II deals with the private portraits and how they functioned. The focus is on the domestic context, where private portraits illustrate a continuation of the Roman ancestor cult. Part III is comprised of a catalogue of the portraits; a catalogue "annex" of small-scale portraits of questionable antiquity, or are presently not able to be located, or that are in poor state of preservation; and finally an appendix which lists the ancient authors, inscriptions and papyri which provide evidence for small-scale portraits.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Borromeo, Georgina} } @mastersthesis {7718, title = {Romanesque Architecture in the Rural Autunois and the Process of Stylistic Change}, year = {1993}, school = {Missouri}, abstract = {This volume presents the partial results of an on-going long-term study of the rural Romanesque church architecture in the southwestern corner of Burgundy, in the area between Autun and the Loire. The investigation combines comprehensive intensive structural survey at the regional scale with a detailed examination of the historical geographical and historical circumstances. Through field and archival surveys, it was possible to reconstruct at least some features of the plans of over ninety-five percent of the eighty-two rural parish and priory church buildings thought to have existed in the Research Area in the eleventh and twelfth centuries, based on pouilles. A relative chronology, built up from the structural evidence, shows that this area, previously considered a backwater, shared in the same developments as in the better-known pays of the Brionnais. It was also possible to determine certain features of local construction practice and to conjecture a number of factors in local and regional society that may have helped to govern the observed stylistic development.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Berry, Walter} } @mastersthesis {7682, title = {Rome as State Image: The Architecture and Urbanism of the Royal Italian Government, 1870-1900}, year = {1993}, school = {Pennsylvania}, abstract = {The ancient heritage of Rome served the Risorgimento as its most potent symbol of unity. For the nascent Italian regime, the possession of the Eternal City was necessary to ensure abiding unity and to acquire international prestige. Seizing Rome in 1870 and abolishing papal temporal power, Italian leaders confronted a city full of symbols of Church authority and a rival head of state in the Pope. His continued presence and assertions of sovereignty challenged Italian claims to the possession of Rome. Within this sociopolitical context, the Italian government undertook a massive urban works program, two-fold in purpose: to eliminate signs of Church control and to remake Rome into a state image, which, by evoking antiquity, would propagate the permanence, legitimacy and imperial power of united Italy. The program involved (1) the excavation and restoration of ancient monuments stripped of Christian accretions; (2) the opening of large streets through the old city and establishment of a new urban center in the ancient heart of Rome; (3) the construction of large and conspicuous public buildings along those new streets; (4) the burial of King Vittorio Emanuele II in the Pantheon and mythologization of the royal office; and (5) the erection of the enormous and highly visible monument to the King--the Vittoriano--on the Capitoline Hill as the centerpiece of the program. By analyzing each operation through architectural images, government documents, personal correspondence, newspaper reports and other contemporary published accounts, one finds that a small number of politicians directed the urban program and exploited the large-scale and prominence of its works for state propaganda. The intensely political character of the renovation of Rome by the Italian government differed markedly from the functional and commercial rationale of earlier urban renewals schemes and set an important precedent for Mussolini{\textquoteright}s work in Rome and Hitler{\textquoteright}s plans for Berlin.}, keywords = {19th- and 20th-Century European Art}, author = {Williams, Robin B.} } @mastersthesis {7746, title = {Rural Buildings in Netherlandish Painting ca. 1420 to 1570}, year = {1993}, school = {Harvard}, abstract = {This thesis is a critical study of the role of rural buildings in early Netherlandish painting ca. 1400-1570 in their contemporary religious and humanist context. My hypothesis is that the motif can in certain circumstances bear a symbolic meaning. The introductory chapter outlines various strategies for interpreting the significance of the rural building motif during this period. I first trace the representation of rural buildings in Netherlandish art from its origins in religious painting as the Stable of the Nativity. Rural features of the Stable are explained as manifestations of contemporary theological approval of the holy poverty of Christ{\textquoteright}s Incarnation, notably in the Theologia Pauperum of the Modern Devotion movement in the Netherlands. My second concern is to analyze a roughly contemporary trend in the depiction of rural buildings--namely their prominent appearance in the landscape backgrounds of scenes primarily devoted to the Virgin and Christ child. I place these structures in the same Devotionalist context of rural poverty and piety. The work of Hieronymous Bosch provides an exception to this rule. A third phenomenon which I explore is the gradual evolution--and weakening--of the symbolic treatment of the rural building in the increasingly independent landscape genre which emerged ca. 1520-1550 in the work of Joachim Patinir and his followers. The experimental attitude towards rural building compositions of artists who followed Patinir (the so-called Second Generation) is examined. The closing chapter demonstrates the culmination of the use the rural building motif--both visually and thematically--in the work of Pieter Bruegel and his circle ca. 1550-70. Bruegel{\textquoteright}s Months series is interpreted as a Christian-Humanist meditation on the piety of rural work; the Small Landscapes print series is discussed as a model book or morally inspired intimate geography lesson.}, keywords = {The Renaissance}, author = {Hutton, John William} } @mastersthesis {7713, title = {Sacred Kingship, Sacred Kings: Louis XIV{\textquoteright}s Chapel at Versailles}, year = {1993}, school = {Pennsylvania}, abstract = {The royal chapel at Versailles built between 1699 and 1710 was the sixth functioning chapel at the chateau. Although the chapel was the major artistic religious statement of Louis XIV{\textquoteright}s long reign (1643-1715), no comprehensive study has ever addressed the magnificent building or its decorative program, which remain almost unchanged today. This thesis concentrates on the chapel of 1710 and the history of its construction and of the earlier chapels at Versailles, bringing together for the first time previously known but scattered information and new unpublished material. Contributions of the architects Jules Hardouin-Mansart and Robert de Cotte and of the eight painters and more than 100 sculptors who worked on the project are considered. The extensive archival documents and drawings related to the construction and decoration of the chapel and its predecessors are reviewed. All the available information is incorporated into an illustrated catalog with individual entries for drawings (178 entries) and for the decorations and furnishings of the completed chapel, including the paintings (18 entries), sculptures (235 entries), ten altars (34 entries), and ecclesiastical furniture (7 entries). With the catalog as a foundation, the primary focus of the dissertation is the program of the chapel, for which no written contemporary explanation has ever been found. While scholarship on the period of Louis XIV acknowledges the general relationship between political absolutism and the visual arts, most art historians have focused on the use of mythological or secular figures--like Apollo or Alexander--to symbolize his kingship. The analogous use of Christian themes has not received careful analysis, even though theories of divine right made the king{\textquoteright}s relationship with God the source of his political power. On the basis of paintings, prints, medals, and political and religious literature of the 16th and 17th centuries and before, this thesis argues that the themes selected for the chapel were part of the long-established French tradition which drew on Christian subject matter and religious imagery to express the claims of absolute monarchy and demonstrates how the chapel was an architectural statement of Louis XIV{\textquoteright}s sacred kingship.}, keywords = {Baroque and 18th-Century Europe}, author = {Edmunds, Martha Mel} } @mastersthesis {7657, title = {The Solemn, the Sacred, the Serious, and the Sublime in Art: Futurist Art Theory, 1909-16}, year = {1993}, school = {UCLA}, abstract = {This examination establishes the contribution of the Italian movement to the cultural context and underlines its conceptual rather than its formalist approach. For decades, the bellicose statements, the bombastic tone and the resentful rhetoric, have overshadowed the boldness with which the futurists acknowledged the need to look at art as an active part of the contemporary discourse. In addition, the similitude to Cubism has substantially contributed to marginalizing the role of Futurism and thus reduced the complexity of its theory to a mere stylistic facade. The futurist theory, however, is not revealed completely by their texts and images. The theater was, as the artists themselves recognized, the most appropriate art form for their innovative artistic discourse. The art schema proposed by the futurists was a short-lived structure that acknowledged the "coming into being of things", and which came into existence only when all component parts, the artist, the viewer, the artwork, and the environment, would simultaneously become interdependent. The performance facilitated such an interaction and its format disclosed relationships and developing processes rather than tangible objects. It is precisely these attributes that establish in my argument the performance as the paradigm of futurist art. On a superficial level we seem to be left with little of the futurists{\textquoteright} ambitious project. Yet, this analysis demonstrates that the actuality of Futurism{\textquoteright}s theory is revealed by the ability of the Italian movement to problematize the limiting realms of Modernism and Postmodernism. Beyond the shocking rhetoric and the drastic proposals, Futurism put forward a novel artistic structure whose merit remains largely unrecognized. Demystifying the "Solemn, the Sacred, the Serious, and the Sublime in Art", was not a gratuitous statement meant to attract attention, but a "cry of rebellion" which acknowledged with unequaled resolution the link between culture and the "complete renewal of human sensibility brought about by the great discoveries of science."}, keywords = {19th and 20th century Europe}, author = {Costache, Irina Dana} } @mastersthesis {7743, title = {Sta. Maria degli Angeli and the Arts: Patronage and Production in a Florentine Monastic House, 1375-1425}, year = {1993}, school = {Stanford}, abstract = {This dissertation addresses the relationship between a specific monastic community and the visual arts during the early Renaissance. As buyers, users, and producers of liturgical objects, the brethren in S. Maria degli Angeli maintained strong ties with secular patrons and artists, thanks in part to a monastic scriptorium which collaborated with Florentine painters. This thesis considers the multiple roles taken on by an important, yet understudied, monastery with regard to its collection of images. This study does not rigidly adhere to one methodology. I have concentrated on the context in which devotional objects were produced and used, and have approached my subject from social historical and "functionalistic" perspectives. Networks of patronage are addressed as social and political organisms, problems facing the scriptorium are considered from an economic standpoint, and images used in the convent are discussed as visual expressions of a specific brand of spirituality. Finally, issues of patronage, monastic art production, and the function of images are addressed together in the study of a single altarpiece installed in 1413, the Coronation of the Virgin by Lorenzo Monaco. This thesis presents a number of conclusions regarding patronage, "functionalism", and the responsibilities of a monastic scriptorium. Archival materials have identified a network of patronage--consisting of aristocrats allied with the powerful Albizzi family--which consistently supported the monastery during the Trecento. This network helped finance the scriptorium which, I argue, was responsible for every aspect of a manuscript{\textquoteright}s production except its painting. I also conclude that the liturgy contained in books made by and for the monastic population often worked in conjunction with altarpieces installed in the convent. A specific artistic program was devised by the monks as a means of reflecting their spiritual interests, as text and image complemented one another during important liturgical ceremonies. Finally, my analysis of the Coronation reveals the multiple concerns of the monastic community and its secular patrons. The high altarpiece is interpreted as a visual analogy to the monastery and to the liturgical ceremonies performed by its monks. This thesis discusses the uses and users of images, as well as the people who supported its users.}, keywords = {The Renaissance}, author = {Bent, George R.} } @mastersthesis {7696, title = {Structures for Communal Life: Shaker Dwelling Houses at Mount Lebanon, New York}, year = {1993}, school = {Yale}, abstract = {"Structures for communal life: Shaker dwelling houses at Mount Lebanon, New York" studies in depth the architecture of a religious communal sect which thrived in the late-eighteenth and nineteenth centuries. Focusing on the large communal dwelling houses of Mount Lebanon, the lead Shaker community, and relying on Shaker journals, diaries, and correspondence, this study demonstrates the major role domestic architecture played in the daily lives of the Shakers. By using art and architectural history as well as social and cultural history, this work refutes the long-held belief that the Shakers were simple people who sought spiritual perfection through isolation from the world. A comparison of the dwelling houses with large institutional structures, including prisons and insane asylums, reveals the common roots of Enlightenment thought and religious dissent that the Shakers shared with reformers in the new republic of the United States.}, keywords = {Art of the United States and Canada}, author = {Nicoletta, Julie} } @mastersthesis {7733, title = {A Study in Historical Research Coincident with Archaeological Evidence from Nabataean Sela}, year = {1993}, school = {Missouri}, abstract = {No record in ProQuest}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Qatamin, Hamed} } @mastersthesis {7706, title = {Theodore Roszak: painting and sculpture}, year = {1993}, school = {CUNY}, abstract = {A monographic, revisionist study on the painting and sculpture of Theodore Roszak. This dissertation reassesses the artist{\textquoteright}s career: his early art education in Chicago during the late 1920s; his year-long wanderjahre through Europe in 1930-31 and return to America during the Depression; his first sculptural experiments in plaster and continued investigations of painting; his abstract constructions, particularly the "bipolar" forms, and their political significance; his association, as a teacher, with the Laboratory School of Design, New York, and his subsequent employment in the art department at Sarah Lawrence College, where he met the mythologist Joseph Campbell; his conversion during the war years from constructivism to expressionism and the archetypal implications of his postwar sculpture and drawings; his later commissions for public sculpture during 1952-1968; his persistent interest in drawing and self-portraits; and, from the 1970s until his death, his overt return to representation and narrative in the form of an extensive series of lithographic prints. Roszak{\textquoteright}s reputation as a postwar American sculptor who consistently dealt with figuration, surrealist anatomies, and erudite themes is analyzed in terms of Clement Greenberg{\textquoteright}s critical dictums. Roszak{\textquoteright}s postwar work, his attitude toward popular culture and the artist as a socially responsible being, is discussed in the context of an intellectual history and his association with a group of New York intellectuals affiliated with the literary journal Partisan Review.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Dreishpoon, Douglas} } @mastersthesis {7709, title = {Traditions: Wax-Tread Metal Images of Eastern India}, year = {1993}, school = {Pennsylvania}, abstract = {This dissertation focuses on living sculptural traditions--wax-thread, cast metal images--from Phulbani district, Orissa, and Bastar district, Madhya Pradesh. Such images have been the object of several interrelated but not yet fully integrated discourses: formal/aesthetic, technological, and ethnographic. My study attempts to establish regional and stylistic classifications for these particular sculptures, to make explicit the meanings of their forms, and third, to provide a larger conceptual framework for their study. By combining art-historical analysis with field research, I have attempted to place these bronzes within the changing ritual, cultural, and commercial contexts through which craftsmen and clients interact. This ensemble of possible relationships between maker and consumer can inform not only the work commissioned, but the processes by which style, iconography, and technology have been transmitted. My intention in studying a selected sample of these living traditions has been to explore in part how art functions as both communication and commodity. These specialized studies--the images and image makers of Phulbani, Bastar, and the individual artist Jaidev Baghel of Bastar--act as points of triangulation for locating the continuities, discontinuities, and transformations of the wax-thread tradition. My conclusions in comparing these traditions dramatically underscore the uniqueness of response by artisans within their separate communities. With only a single source of patronage, the contemporary casting tradition in Phulbani has remained relatively static. The Bastar community, in contrast, has been responsive to new markets and marketing opportunities. Theirs is an "art" in transition, with the modern artisan Baghel leading the way into the future. Results of my field investigations confirm the continuing ritual use of bronzes in their communities; a pantheon of local and tribal deities, heretofore not clearly articulated; as well as an indigenous system for classifying Bastar bronzes into regional styles. My work has been primarily among the artisans and their voice is privileged in this initial endeavor. Future research will be directed towards the diversity of clienteles and their complex role in shaping both the process and product of artistic creation.}, keywords = {Asian Art}, author = {Katherine F. Hacker} } @mastersthesis {7747, title = {Uomini Illustri{\textquoteright}: The Revival of the Author Portrait in Renaissance Florence}, year = {1993}, school = {University of Washington}, abstract = {This study examines the revival of author portraits in the humanist book of fifteenth century Florence. With roots in the classical tradition, the placement of a portrait of the author at the beginning of a text survived into the Middle Ages, although with significant changes. With the waning of interest among Christian Europeans in pagan literature, manuscript copies of the works of ancient Greek and Roman authors rarely included author portraits. Only the writings of the most revered Christian authors were decorated in this manner. Portraits of the four evangelists were often spectacular full-page illustrations, while other Christian writers, such as the early Church fathers and later apologists, were often represented in much smaller portraits squeezed into the empty spaces of the opening initial, a location with no antique precedence. With the mass production of summaries, commentaries and translations of classical literature for the university classroom during the scholastic period, portraits of pagan authors once again began to appear in copies of their texts. The opening initial of the text was decorated with an image of the contemporary scholar lecturing to his students, while an image of the ancient classical author, if included, was always relegated to the back pages of the text. It was not until the next classical revival in fifteenth century Italy that the portraits of ancient pagan authors once again attracted the attention of the miniaturist, as new editions and translations of classical texts were once again produced for the Italian humanists. The center of this book production in Italy was Florence, and it was the Florentine miniaturists who developed a new iconographic system for identifying authors. The iconographic solutions developed for these authors indicate that the Renaissance illuminator was intent upon creating a new iconographic system that would invest the earlier generic portraits of classical authors with an individuality that would reflect the classical author{\textquoteright}s new status in Renaissance thought and letters. This new system divides authorship into several broad categories based upon the cultural origins (e.g., Patristic, Roman, Greek or Italian) and literary genres (e.g., poets, orators, historians, or philosophers) of the authors.}, keywords = {The Renaissance}, author = {Kubiski, Joyce} } @mastersthesis {7669, title = {Velasquez in the 19th Century}, year = {1993}, school = {Boston}, abstract = {The work of Goya, Manet and Sargent is representative of general nineteenth-century attitudes toward Velazquez, but compared to their contemporaries, these artists manifested a more psychologically intimate and powerful use of the great Spanish master. Their responsiveness was colored by their own psychological needs. The author examines how the work of the three artists exhibits elements of Velazquez{\textquoteright}s style that were valued for their formal, expressive and emotional qualities. Goya{\textquoteright}s ambition led him to use Velazquez first as a flattering mirror, and then as a weapon to expose the true moral condition of the Spanish court. His task as an artist is made emblematic in a drawing for Capricho 43 where Velazquez{\textquoteright}s optical reality and Goya{\textquoteright}s own emotional truth are juxtaposed. It is the author{\textquoteright}s hypothesis that Manet{\textquoteright}s art of surfaces involves motifs traceable to and expressive of systemic pathways established in infancy, when the gaze became freighted with meaning, and an alternate self was constructed. These dynamics were authenticated by corresponding aspects in the art of Velazquez. Following a stylistic evolution similar to the master{\textquoteright}s, Manet{\textquoteright}s late work expands upon Velazquez{\textquoteright}s use of the device of the painting within the painting. In the Bar at the Folies Bergere, Manet attempts to come to terms with Velazquez, himself and his art. Sargent found in the art of Velazquez correspondences to his own childhood experience of the loss and physical deformity of his siblings and their chronic illnesses. Like Velazquez who transformed the sickliness of the court, Sargent, by means of his art, transcended his past and transformed enfeeblement into beauty. Two appendices follow the text. The first lists in detail and chronologically events pertinent to a general awareness of Velazquez in the course of the nineteenth century. The second lists nineteenth-century copies after paintings by the master.}, keywords = {19th and 20th century Europe}, author = {Nahum, Katherine} } @mastersthesis {7663, title = {Velasquez in the 19th Century: An Historiographic Inquiry}, year = {1993}, school = {Brown}, abstract = {No record in ProQuest}, keywords = {19th and 20th century Europe}, author = {Garrett, Susan} } @mastersthesis {7751, title = {Vittoria Colonna: Art Patronage and Religious Reform in 16th- Century Rome}, year = {1993}, school = {Bryn Mawr}, abstract = {This dissertation examines Vittoria Colonna{\textquoteright}s (ca. 1490-1547) interest in the arts within the context of sixteenth-century humanism and Church reform. In addition, the concept of patronage as it is understood today is explored, and it is suggested that this concept excludes many individuals who commissioned works of art, especially women; evidence is presented for an alternative strategy of patronage by women. Chapter one examines the state of patronage studies with respect to women in the Renaissance. Included is a biography of Colonna to outline the structure of her familial and social positions. Chapter two focusses on portraits of Colonna, particularly medals and an author-portrait, as well as the painted portraits which bear her name. When viewed as part of courtly and humanist life, the medals suggest something of Colonna{\textquoteright}s interest in self-representation. Moreover, within the context of her letters and poetry, these images indicate Colonna{\textquoteright}s interpretation of the Renaissance passion for classical antiquity. The personal expressions of the medals are in contrast to the author-portrait of around 1540. The fashioning of this image, probably not commissioned by Colonna, suggests that the legend of Vittoria Colonna started during her lifetime, in part as a response to her own statements about herself. The manner in which Vittoria Colonna acquired works of art, that is, through male members of her extended family, does not follow the generally recognized pattern of Renaissance patronage, yet it follows other acts of female authority. This process will be examined in chapters three and four, which detail Colonna{\textquoteright}s acquisition of a painting by Titian and her patronage of a Capuchin foundation in Rome. These projects indicate that from the 1530s, Colonna turned her attention to religious matters as a way of seeking a sort of independence for herself within her family, as well as strength for the Colonna. With the exile of the male members of the Colonna family from Rome in 1541, Vittoria{\textquoteright}s work on behalf of the Capuchins takes on a resonance suggesting her new role as representative of the Colonna in exile. Chapter four examines the legend and reality of Vittoria Colonna{\textquoteright}s friendship with Michelangelo. It is this period of her life, roughly 1536 until her death in 1547, that is best documented by both her contemporaries as well as later scholars. This abundance of documentation warrants a new evaluation in light of what is now known of Colonna{\textquoteright}s interest in the arts. Contrary to standard accounts of this period of Colonna{\textquoteright}s life, she continued to be active in religious reform and charitable projects. It is possible to examine Colonna{\textquoteright}s friendship with Michelangelo as an attempt on the part of both to forge a renewed relationship between religion and art in the name of Church reform.}, keywords = {The Renaissance}, author = {Och, Marjorie Ann} } @mastersthesis {7656, title = {Women{\textquoteright}s Colleges in 19th-Century Britain: Their Architectural and Social Context}, year = {1993}, school = {Stanford}, abstract = {This dissertation examines the first purpose-built colleges for women in nineteenth-century Britain. These are, Girton and Newnham at Cambridge, Lady Margaret Hall and Somerville at Oxford, and Westfield and Royal Holloway, both affiliated with the University of London. While the architecture and evolution of each college is investigated individually, the greater purpose of the thesis is to expose the ideology behind the education of women, and how it conditioned the architectural environment of women{\textquoteright}s colleges. Integral to this, is a focus on nineteenth century attitudes towards architecture in general, including theories on planning and matters of style. Archival materials such as letters, diaries and the minutes of committees, provided the starting point for research into these colleges, by laying out their architectural and social requirements. Short histories and journal articles about the colleges were helpful as they include anecdotes from the early years and propaganda about how the colleges were intended to function. Contemporary writings on architectural styles and issues of planning offered a means of analyzing the buildings within their architectural context. Nineteenth-century novels elaborate on the social issues related to the women{\textquoteright}s movement for higher education, and current feminist theory and criticism was used as a means of interpreting and highlighting the still vital concerns which shape our environment. The architecture of the women{\textquoteright}s colleges is the main focus of this dissertation. However, their evolution cannot be understood outside the larger context of society{\textquoteright}s attitudes towards women and their role in nineteenth-century Britain. Similarly, by investigating the growth of colleges for women, key issues regarding women and their rights and education, inevitably emerge. This dissertation illustrates, in a focused way, the progressive and constraining forces in society which shaped these early institutions for women. The architecture of the women{\textquoteright}s colleges provides a visual testament to the struggles, aspirations and concerns which conditioned women{\textquoteright}s lives in the Victorian era. Furthermore, the issues raised here regarding women, education and the built environment, help to increase our understanding of the way in which society{\textquoteright}s attitudes and opinions continue to condition our lives and the buildings we inhabit.}, keywords = {19th and 20th century Europe}, author = {Birney, Margaret Scott} } @mastersthesis {7707, title = {Working History: Images of Labor and Industry in American Murals, 1893-190}, year = {1993}, school = {Pittsburgh}, abstract = {At the turn of the century, American muralists Kenyon Cox, Edwin H. Blashfield, Frank Millet, Gari Melchers, George Maynard and others depicted allegories of labor and industry which sponsored social cohesion. Politically allied with their patrons, primarily industrialists and politicians, the muralists ennobled industrial capitalism and preached the work ethic. As specialization, mechanization and scientific management transformed the nature of labor in the United States from craft to operative work, the muralists represented a romanticized, pre-industrial ideal of the work ethic. They envisioned an abstract notion of craftsmanship that was aesthetically, morally and spiritually uplifting. This study examines images of labor and industry through paradigmatic programs at the Manufactures and Liberal Arts Building of the World{\textquoteright}s Columbian Exposition, Chicago (1892-1893), the Library of Congress, Washington (1895-1896) and the Citizens{\textquoteright} Savings and Trust Company, Cleveland (1902-1903). The muralists who decorated these buildings attempted to deny the economic instability that characterized the period. They hoped to "Americanize" the new immigrants flooding to the nation{\textquoteright}s industrial centers. They aimed to retard the dissolution of separate gender spheres. Most importantly, they intended to combat worker activism, evident in this era by the Homestead Strike (1892), the Pullman Strike (1894), the march of Coxey{\textquoteright}s Army (1894), the Anthracite Coal Strike (1902) and work stoppages in the construction industry which held up the work of the muralists. Among the upper and middle classes, the muralists tried to assuage anxiety over worker rebellion, on the one hand, and guilt about modern working conditions on the other. Among the laboring classes, they sought to instill a devotion to work and a desire for upward mobility. The muralists employed a broad range of allegories to instill the work ethic. They depicted personifications of craftwork, such as spinning, blacksmithing and rug-making. They portrayed emblems of technology, from the tinkerer/inventor to the dynamo. They painted images of self-improvement, including prudence, temperance and the martial ideal. And they represented as symbols of abundance the cornucopia, the sheath of wheat and the bared female breast. The muralists adopted propagandistic themes that demonstrate the impact of advertising and consumer culture. Less}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Marstine, Janet} } @mastersthesis {7710, title = {Wu Li: His Life, His Painting}, year = {1993}, school = {Yale}, abstract = {This dissertation is a comprehensive study of Wu Li{\textquoteright}s art. It is constructed in a biographical sequence, focusing in particular on Wu Li{\textquoteright}s intellectual development which affected his artistic creation. Each work of art of Wu Li chosen for this study has been examined in both philosophical and pictorial terms. The purpose of the study is to achieve a better understanding of Wu Li--his life and his work, especially his association with Jesuit missionaries active in seventeenth-century China. A special attempt has been made to trace Wu Li{\textquoteright}s stylistic development in relation to his intellectual endeavor. In this light, Wu Li{\textquoteright}s poetry has been extensively translated and annotated to illuminate his paintings. Within the dissertation, several major themes have been explored: Wu Li{\textquoteright}s early training as a Neo-Confucian scholar and a professional painter; the impact of the Italian Jesuit Matteo Ricci{\textquoteright}s treatise On Friendship on Chinese intellectuals of Wu Li{\textquoteright}s time; the question of Wu Li{\textquoteright}s conversion to Catholicism; the religious life of the artist-priest Wu Li as revealed by his poems and paintings; and Wu Li{\textquoteright}s individual landscape style and his pictorial sources. In this study, Wu Li{\textquoteright}s personality and art is investigated against the background of late Ming and early Qing social and political developments.}, keywords = {Asian Art}, author = {Lin, Xiaoping} } @mastersthesis {7606, title = {On the Aesthetic and Religious Dimensions of the Classical Theater of Thailand: Performance as a Theological Agenda for Christian Ritual Practice}, year = {1992}, school = {Graduate Theological Union}, abstract = {The art of mime and mask, as performed by the classical theatre, or Khon, of Thailand, ritually creates a realm of illusion by generating an ambiguous tension among its physical elements of self, mask and gesture, as well as between these physical elements and the voids of space and silence. The dissertation shall demonstrate that Khon is an ideal model of performance as such (i.e., performance in its own right, as a structured and expressive human activity), and that performance, as a genre of aesthetic and religious import, may be regarded as a significant theological agenda for Christian ritual praxis. This dissertation may be thought of as a threefold inquiry: (a) the nature of performance as a symbolic and ritualized expression of both aesthetic and religious import; (b) an analysis of the performative nature of Khon as supported by field research at the College of Dramatic Arts in Bangkok, Thailand; and (c) the theological application of the above as a way of recovering and affirming the performative dimension of Christian ritual. The premise of this inquiry is that performance is not a medium but a genre of human expressive behavior in which Khon and Christian ritual are particular media. The methodological assumption is that by examining the performative nature of the former, we may learn something significant about the latter. The overall concern, therefore, is neither with the "liturgical" character of Khon nor with the "theatrical" character of Christian ritual but with the performative quality of both. The aesthetic and religious significance of performance lies in the fact that it is not concerned with the pretentious manufacture of delusion as "make believe" but with the qualitative ambiguity of illusion as a virtual reality in its own right. Nowhere is this expressive capacity better demonstrated than in an Asian performance medium such as Khon. As applied herein, this has profound implications for the Western theological consciousness which generally regards ambiguity as "a duplicity" that requires resolution and synthesis. In stark contrast to the Western consciousness, the Asian religious/aesthetic sensibility has long understood that revelation is not a matter of resolving ambiguity but of wrestling with and embracing its inherent relational tensions as expressive channels whereby one may encounter the otherness of the sacred. Performance is one of the primary ways in which we do so; it is in itself an act of faithful integrity that should be taken seriously as an operative foundation to Christian theology, particularly in determining just what it is that we intend by our engagement in the expressive activity that we embrace as sacramental.}, keywords = {Asian Art}, author = {Hoare, Timothy} } @mastersthesis {7602, title = {The Aesthetic of the Industrial District: Images of the Factory in American Art, 1918-40}, year = {1992}, school = {Kansas}, abstract = {Examination of the image of the factory district in American art between the world wars reveals distinctive attitudes toward the factory. The factory theme in art attracted a diverse group of artists working in the United States and served as a symbol of modernity, nationality, and as a religious icon. The smoke of the late 1910s and early 1920s dissipates in images dating from the late 1920s and early 1930s. These changes are due in part to artists{\textquoteright} stylistic experiments, but also to the changing nature of the factory district itself. American{\textquoteright}s continued trust in the economic promise of the factory system, even in the face of the Stock Market Crash, also encouraged artists to create pictures of stability. In the 1930s, artists created hard-edged, boldly colored images of factory architecture without the ephemeral smoke. The image of the factory worker provided artists with the opportunity to criticize the inhuman structure of the factory{\textquoteright}s moving assembly line. Instead, the message of the skill, the physical power of the worker, and the ethics associated with such hard labor, overwhelm the machine-like characteristics of Americans{\textquoteright} depictions of factory workers. The simple, modern design of twentieth-century factory products appealed to artists of the inter-war years. The iconic presentation of these mass-produced, consumer products suggest Americans found in them symbols of the era. Attitudes expressed in comments by, and in the art work of, European artists and architects confirmed Americans{\textquoteright} discovery of assembly line objects as modern subject matter. Images of factory architecture, workers and machines, and products served as symbols of the most modern nation in the world, the United States of America. These religious references in the visual works of art both glorify and satirize. The titles of works, compositional devices, religious pictorial motifs, as well as artists{\textquoteright} comments about the factory, references in contemporary history books, books on architectural history, travelers{\textquoteright} diaries, novels, and mass circulation magazines imply that American artists recognized that the system of assembly line mass production offered a new source of spirituality for many twentieth-century Americans. The strong religious undertones in the image of the factory suggests it came to serve as a new, twentieth-century icon, replacing the nineteenth-century image of the American West.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Webb, Dixie J.} } @mastersthesis {7628, title = {Agricultural Scenes in the Private Tombs of the 18th Dynasty: A Study in Iconographic Polyvalence}, year = {1992}, school = {Pennsylvania}, abstract = {This study analyzes the significance of the scenes depicting agricultural activity in fourteen non-royal tombs of the Eighteenth Dynasty at Thebes. While traditionally viewed by scholars as a source of information concerning, for instance, the types of cultivars and technology in use in ancient Egypt, their function has been construed primarily as a decorative device whose magical efficacy would literally provision the deceased in the afterlife. The relationship of these scenes to the funerary ideology has thus essentially been slighted. A contextual and iconographical analysis of the scenes reveals that the agricultural cycle was not depicted as it occurred naturally nor related to a broader narrative context. Similarly, a textual analysis indicates that the underlying concept associated with agriculture was ultimately tied to Egyptian cosmology. The religious connotation thus emerging imparts a metaphorical, hence implicit, level of meaning to the motif. By the late Eighteenth Dynasty, the introduction of a new motif depicting the deceased himself cultivating in the afterlife led to the eventual replacement of the conventional motif depicting agriculture in this world. The theme of agriculture in the next world, which had originated in the royal context--namely, in the Pyramid Texts (reserved for the benefit of the deceased king)--was later found in the private context, in the Coffin Texts and the Book of the Dead. Its introduction as a pictorial motif in private tombs represented the first explicit pictorialization of the literary motif and as such, reflected the trend of increasing democratization of the afterlife reached by the private individual in the early New Kingdom. Formally, since the new motif corresponded to the vignette illustrating chapter 110 of the Book of the Dead, the conflation of the textual and visual modes evident in the new motif reflected the analytical or explicit tendency characteristic of the period as opposed to the metaphorical or implicit expression of the earlier periods. Thus, a study of the pictorial articulation of the agricultural motif provides insight into the evolution of funerary religious beliefs and practices, as well as the evolution of Egyptian thought patterns.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Bochi, Patricia A.} } @mastersthesis {7613, title = {The Altars and Altarpieces of New St. Peter{\textquoteright}s (1621-53)}, year = {1992}, school = {Columbia}, abstract = {The thesis is a history of the altars in St. Peter{\textquoteright}s and of the altarpieces commissioned in the second quarter of the seventeenth century to decorate them. A preliminary chapter introduces the principal players: the pope, the cardinals of the Congregation of the Reverenda Fabbrica di S. Pietro, and the members of the Chapter of St. Peter{\textquoteright}s. Chapter 2 investigates the choices that governed the transfer of altars from old to new St. Peter{\textquoteright}s, and the establishment of new altars in the period before the completion of the new basilica. The remaining three chapters of Part I deal with the altars decorated after the completion of new St. Peter{\textquoteright}s, between 1621 and 1653, and define the nature and evolution of the liturgical and iconographic program. The cardinals of the Fabbrica and the canons had very different visions of the basilica and its altars; particular attention is given to the negotiations between them as they attempted to reconcile the demands of the basilica{\textquoteright}s traditional liturgy and its papal function. The outfitting of the altars in St. Peter{\textquoteright}s was the single most important painting project undertaken in Rome at the time. Virtually all of the major artists of the period were involved, including Lanfranco, Domenichino, Poussin, Pietro da Cortona, Andrea Sacchi, Simon Vouet, Valentin, and Guido Reni, to mention only the most famous. Part II focusses on issues of patronage, style, and the actual production and reception of the altarpieces: the nomination and selection of artists, the preparatory process and the involvement of the cardinals and canons in the formulation of the compositions, choice of medium, rates of payment, and the like are all discussed. Part III is a catalogue of the twenty-seven altarpieces and sopraporti. This is followed by a selection of hitherto unpublished documents, and by appendices listing the cardinals in charge of the Fabbrica and its staff.}, keywords = {Baroque and 18th-Century Europe}, author = {Louise Rice} } @mastersthesis {7591, title = {The Architecture of Kingston, Ontario, 1835-65, with Emphasis on the Work of William Cloverdale}, year = {1992}, school = {Toronto}, abstract = {William Coverdale (1801-1865) designed hundreds of structures in the Kingston area in stone, brick, and wood from 1835 to 1865. Kingston had served briefly as the capital of Canada East and Canada West early in the 1840s, and the resulting population boom necessitated rapid expansion in the building trade. Like many ambitious craftsmen, Coverdale studied publications on architectural theory and practice and rose in the process from carpenter to architect. His work ranged from the most pedestrian tasks--measuring, supervising, and altering--to more demanding commissions, including those involving decisions about appropriate classical orders. Coverdale worked for a varied clientele and designed especially pleasant residences for doctors, lawyers, farmers, and merchants in southeastern Ontario. Like other architects of the time he chose motifs freely from medieval and classical styles, but appears to have had an inherent love of restraint and symmetry, which are associated with classicism. Architectural historians have examined Coverdale{\textquoteright}s work only superficially: his importance has been undervalued because of the attention given to the work of George Browne (an architect who left a lasting mark on Kingston though he practiced in the city for just three years) and the bias of modern writers against the unappealing functions of Coverdale{\textquoteright}s principal commissions, the Provincial Penitentiary and Rockwood Lunatic Asylum. In the nineteenth century such institutions manifested the concern to control society though architectural design. Idealism inspired by the writings of reformers like John Howard governed architectural decisions, including those of Coverdale, yet the success of the resulting buildings may be qualified from the users{\textquoteright} point of view. This study, drawing upon the architect{\textquoteright}s papers and library, assesses William Coverdale as a sensitive and intellectual designer.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {McKendry, Jennifer} } @mastersthesis {7590, title = {Art and Policy: The National Endowment for the Art{\textquoteright}s Art in Public Places Program, 1967-80}, year = {1992}, school = {UT Austin}, abstract = {When the National Endowment for the Arts was founded in 1965 its mandates included the creation of a program whose purpose was to honor living American sculptors by commissioning them to create monumental sculptures for the public arena. This evolved in 1967 into the Works of Art in Public Places program of the NEA, with the commissioning of Alexander Calder{\textquoteright}s La Grande Vitesse in Grand Rapids, Michigan. This dissertation studies the NEA{\textquoteright}s public art program from 1967 to the end of 1980, the last year in which NEA policies toward art in public places grants underwent change. The role of presidents--Johnson and Nixon in particular--in shaping the direction of the NEA is studied, as is the nature of Congressional input. The dissertation is based on a database created by the author which details information about the 324 grants for art in public places made between 1967 and 1980. The database includes information about the grantee, artist, style and form of art commissioned, amounts and sources of monies, names and affiliations of jurors selecting artists, and the public response to the projects. The database points to those projects which engendered the challenges to NEA policies and provoked change. Though the NEA{\textquoteright}s Art in Public Places program was begun under the ideologic aegis of modernism--its administrators convinced that abstract modernist art placed in public sites had the power to elevate and to improve society--the problems that developed when such art was placed in the public arena forced the NEA to reconsider this belief. Each step of reconsideration was accompanied by a change in NEA policies regarding grant selection and administration. Thus, by isolating and studying each change in policy and those specific cases responsible for provoking the change, one can document how and why an ideologic shift occurred. This shift in policy reflects more than bureaucratic change; it must be read as a shift in paradigm, from the ethos of modernism to the visually varied expressions of post-modernism. The locus of power also shifted significantly as policy changed, from the NEA{\textquoteright}s guiding hand (or as some felt, cultural Big Brother) to that of the grantee. The story of the NEA{\textquoteright}s Art in Public Places program proposes a new paradigm of patronage not by elites but by the middle class, the democratization of patronage.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {McCombie, Mary Eleanor} } @mastersthesis {7637, title = {Art Historical and Archaeological Approaches to Stylistic Theory and Cultural Interpretation in Precontact Ceramic Decoration}, year = {1992}, school = {Virginia}, abstract = {Artifactual style and formal variability are often seen nowadays as a kind of text, which can yield past thoughts and meanings, and thus, past causalities. Such "culturalist" essentialism can still be tied, in poststructuralist and postprocessualist theories for cultural study, back to the structuralist assertion that "meaning is everywhere, or it is nowhere." This study undertakes a method (in Chapter Two) for the study of style that emphasizes the problematic nature of past meaning and intention, and the circumstantially pragmatic, physically specific dimensions of artifact interpretation and production, respectively. The realms of thought, meaning, and intention are interpretively limited here to that which is reconstructible from technique-based decisions and procedure. These ideas are then applied in Chapter Four to a study of Fourmile Polychrome and other related ceramic wares (and the new social contexts in which they are made and used) from the Pueblo Southwest of around A.D. 1300. Chapters One, Three, and Five consider the issue of the pre-columbian world{\textquoteright}s recognizability and topographical similarity with our own of today, and yet its problematic differentness in regard to the understanding of meaning, and of ongoing, descendent cultural traditions that are still fundamentally foreign to our own.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Wright, Richard B.} } @mastersthesis {7581, title = {Arthur Carraway and Houston Conwill: Ethnicity and Re-Africanization in American Art}, year = {1992}, school = {Yale}, abstract = {This dissertation is a vital contribution to the area of art history precisely because of limited quantitative and qualitative case studies that document the relationship of African American artists born in the United States to their African legacy. The very process of creating within an ethnic context is outlined. The art of Arthur Carraway and Houston Conwill become so functional that they are viewed as shamen. Detailed biographical data showing developmental phases and interaction with family, environment and viewers is important. The period of analysis is limited, 1950s to 1980s. Arthur Carraway uses Kongo n{\textquoteright}kisi formulas and Ghanaian adinkra symbols to speak about both African and American issues. He lived in traditional mud and thatch dwellings in the north and collected antiquities for the Ghana National Museums and Monuments Board. Carraway was in Zaire during the time of President Patrice Lumumba. A study of the artist{\textquoteright}s n{\textquoteright}kisi kondi images created in the United States reveals functional information on the use of these statues in Zaire and also significant parallels to the folk culture of Carraway{\textquoteright}s native Texas: bottle tree n{\textquoteright}kisi to jazz inspired n{\textquoteright}kisi; and U.S. soldier-in-war n{\textquoteright}kisi, Korea, Vietnam, Cambodia. Houston Conwill uses Khmetic (Egypt/Sudan), Dogon, Yoruba, and Kongo symbols to create a personal gospelscript and bluescript, comparable to Haitian vevey. Cuban anaforuana and Brazilian language codes. Conwill{\textquoteright}s early petrographs were psychograms that functioned in performance art and environments to heal, educate and inspire. Multi-media presentations included drama, music, poetry and ritual. This time period coincided with Alex Haley{\textquoteright}s Roots, and a quest to reclaim genealogy, culture and history. Conwill, a former catholic monk, fuses Biblical symbols with African traditional formulas to highlight the sacred or profane. He aimed to demystify meaningless tradition, reveal banal superstitions, and uncover eternal truths. Truths transform individuals and nations. Art in public places include earthworks, airports, subways, parks and libraries. Juju aesthetics do not die, but transform into modern computer-like aesthetics, with coded demographics of Black history and personalities. Conwill eventually amalgamates into artist collectives. Carraway continues more individual presentations of the aesthetic of language which he terms Afro-dialectics.}, keywords = {Art of the United States and Canada}, author = {Jeffries, Rosalind R.} } @mastersthesis {7630, title = {Athens and Troy: The Narrative Treatment of the {\textquoteright}Iliupersis{\textquoteright} in Archaic Attic Vase Painting}, year = {1992}, school = {UCLA}, abstract = {The Kleophrades Painter{\textquoteright}s hydria in Naples stands at the apex of a long tradition of narrative expressions inspired by the Trojan War. But earlier painters were also captured by the events in Troy and developed ingenious solutions to this complicated and significant narrative. Their interest in this violent theme had sharpened long before the sack of Athens and the work of the Kleophrades Painter is only one manifestation of an Athenian artist intrigued by an ageless destruction. Individual events from the Sack were combined into visual narratives as early as Lydos. Subsequent Black-figure painters dealt with the theme in characteristic ways. But the most provocative treatment of the theme occurs within the Leagros Group and the red-figure cup painters who emerge from and follow it. Supported by a catalogue of the two hundred forty-two Attic vases with Iliupersis themes, I show that at least two other early red-figure painters, Oltos and Onesimos, dealt aggressively with this monumental theme in their own complex narratives. Yet even these painters were surpassed in expression by certain members of the Leagros Group, whose fascination with the gruesome aspects of the story evokes a particular sensibility different from most painters who fell under the spell of the Epic Cycle. A survey of Iliupersis literature indicates that, unlike other myths popular in both legend and art during the sixth century, where Troy is concerned the visual evidence sometimes diverges from corresponding textual developments. While the two were closely connected, they were not bound, and when it came to a choice of theme and presentation, the painters may have relied on each other more than on poetic inspiration.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Hart, Mary Louise} } @mastersthesis {7649, title = {Between Guiduzzo and Auctoritas: Vitruvius{\textquoteright}s Decor and Its Progeny in 16th-Century Italian Architectural Theory}, year = {1992}, school = {Toronto}, abstract = {This dissertation investigates the emergence of the problem of architectural judgement as an explicit concern in the Renaissance. Specifically, it focuses on formulations of what constitutes permissible license with respect to the authority of the past and on formulations of aesthetic criteria required to reach such judgements. Further, this dissertation investigates the degree to which a dialogue between architecture and the other arts (figural arts, rhetorics and poetics) existed with respect to these issues. The reception of Vitruvius{\textquoteright} category decor, concerned with semantic authority in architecture, constitutes the vehicle through which this analysis is effected. A close reading of both Renaissance translations/commentaries of De architectura and treatises on architecture--by Alberti, Francesco di Giorgio, Serlio, Spini, Palladio and Scamozzi--shows that, increasingly, decor, read as decorum, constituted indeed the locus of reflection on the dialectic between authority and license. Associated with the imitation stories provided by Vitruvius (of the human body and of the wooden trabeated structure) it finally lead (in the work of Scamozzi) to an understanding of ornament (the orders) as eloquent representation of structure under stress. The migration of concepts of semantic coherence based on imitation and the probable (via decorum) from poetics and rhetorics as well as their association with ornament (ornatus) in these contexts, constituted an important means of achieving this synthesis. The conclusion is reached that this theoretical reflection constituted the background from which attitudes to form characteristic of the Baroque could be effected.}, keywords = {The Renaissance}, author = {Alina A. Payne} } @mastersthesis {7650, title = {Cardinal Guilio de Medici as a Patron of Art, 1513-23}, year = {1992}, school = {Princeton}, abstract = {This dissertation examines the artistic patronage of Cardinal Guilio de{\textquoteright} Medici (Pope Clement VII, 1523-1534). Chapter I is a broad overview of Clement{\textquoteright}s pontificate up to the disastrous Sack of Rome in May 1527. The remainder of the dissertation is more-or-less chronological, following the political and ecclesiastic career of the future pope, who was born in 1478, in both Florence and Rome. Giulio de{\textquoteright} Medici was the posthumous and illegitimate son of the assassinated Guiliano de{\textquoteright} Medici the Magnificent. Evidence is presented in Chapter II that the young Giulio may have been raised for the first seven years of his life by the architect Antonio da Sangallo the Elder. Chapters III and V consider Giulio de{\textquoteright} Medici{\textquoteright}s political fortunes during the pontificate of his cousin Pope Leo X, and describe his participation in several ephemeral ceremonial events. Chapter IV examines the sources of Giulio de{\textquoteright} Medici{\textquoteright}s wealth, his domiciles, and his interests in literature, science and music. Chapters VI, VII and VIII are detailed accounts of Giulio de{\textquoteright} Medici{\textquoteright}s role in three of the best known artistic undertakings of the Cinquecento: the never-realized facade of San Lorenzo in Florence, the commission for Raphael{\textquoteright}s Transfiguration and Sebastiano del Piombo{\textquoteright}s Raising of Lazarus, and the building and decoration of the Villa Madama in Rome. These chapters reveal Giulio de{\textquoteright} Medici{\textquoteright}s temperament and concerns as Maecenas and document his remarkable interest in practical details. The ninth chapter looks at examples of metalwork and illumination produced for Cardinal Giulio. Chapters X and XI are concerned with Cardinal Giulio{\textquoteright}s activity as a patron in Florence, where, after 1519, he was de facto ruler of the city. Chapter X explores Cardinal Giulio{\textquoteright}s involvement in artistic disputes and investigates his activity as a patron at Palazzo Medici and the family villa at Poggio a Caiano. Chapter XI details the genesis of the project nearest to Giulio de{\textquoteright} Medici{\textquoteright}s heart, the New Sacristy at San Lorenzo in Florence. The Conclusion analyzes major themes developed in the thesis and underscores the singular importance of Giulio de{\textquoteright} Medici as a patron of art.}, keywords = {The Renaissance}, author = {Reiss, Sheryl} } @mastersthesis {7636, title = {Carlos Merida{\textquoteright}s Integration of Art, Architecture, and Ideology in the Multifamiliar Juarez}, year = {1992}, school = {UCLA}, abstract = {During the administration of Mexican President Miguel Aleman, the architect Mario Pani completed construction of an apartment house complex in Mexico City for federal government employees and their families. The Guatemalan-born artist Carlos Merida decorated the exterior of the buildings with bas-relief images of prehispanic legends of Mexico{\textquoteright}s natives. Although he identified figures in the legends by costume elements recorded in sixteenth-century manuscripts, the figures themselves resemble modern European (e.g. Paul Klee), rather than prehispanic, figuration. Merida{\textquoteright}s depictions of the legends therefore parallel the disjunctive use of prehispanic imagery by sixteenth-century native artists, which art historians call "Mestizo Art". Merida created Mestizo Art to reinforce the ideology of "mestizaje" (policies benefiting mestizos) then being promoted by the Aleman administration. A review of the art created by Merida between 1920 and 1952 shows that changes in Merida depictions of Indians illustrate the changes in the Mexican government{\textquoteright}s social ideologies concerning Indians during the same period of time. Louis Althusser{\textquoteright}s 1971 model of the State, composed of both Repressive and Ideological State Apparatuses, closely fits the government in Mexico following the second World War when it commissioned visual artwork to instruct the public in ruling class ideology. Mario Pani, whose career paralleled that of Le Corbusier, designed many public housing complexes and colleges during and after the Aleman administration and was a leader in adapting architecture to state ideology. Besides Merida, several other artists decorated public buildings constructed during Aleman{\textquoteright}s term with images of "mestizaje": Jose Clemente Orozco at the National School for Teachers (also designed by Pani), Juan O{\textquoteright}Gorman and Francisco Eppens at the National Autonomous University (for which Pani designed the site plan). During the rapid construction of public buildings during Aleman{\textquoteright}s term artist and architects engaged in a polemic over "plastic integration", the ideal of combining art and architecture into a unified whole. Carlos Merida{\textquoteright}s decoration of the Multifamiliar Juarez became the most sophisticated realization of "plastic integration" in the post-war period.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Paltridge, Blair Allen} } @mastersthesis {7611, title = {The Chinea: A Festival in 18th-Century Rome}, year = {1992}, school = {Harvard}, abstract = {From the time of the Norman conquest of Southern Italy and Sicily in the eleventh century, sovereigns of the unified realm offered tribute to the papacy in the form of a sum of money, and a white horse called the Chinea. The rendering of homage became a regular feature of Neapolitan diplomacy in the course of the seventeenth century. From 1689 forward, members of the Roman Colonna family were selected almost without exception to serve as ambassadors-extraordinary for the absent monarch. This involved not only the payment of homage, but a procession through Rome, fireworks displays, concerts, disbursements of free wine, and receptions held for prelates, members of the Roman nobility, and Neapolitan subjects resident in Rome. Thus, diplomacy occurred within the context of a festival. Indeed, the name of the white horse came to refer to the entire event, which normally occurred on the vigil and feast of SS. Peter and Paul. The presentation of the Chinea also included the erection of temporary architectural structures, which were used as bases for fireworks displays. These structures, made of a wooden armature onto which painted canvas and paper were tacked, and into which some stucco figures were set, have not survived. Etched images related to the structures do exist, and enable modern viewers to gain some idea of the built forms. I first set out the diplomatic protocol the ambassador-extraordinary followed to discharge his duty. An analysis of the symbolic and political import of the diplomatic act follows, based on diaries, poems, and other accounts. With archival documents essentially unknown to historians, I then reconstruct how the festival was organized, and how the structures were built. I demonstrate that protocol determined production, as did long-standing patronage relationships established between the Colonna and a wide array of artisans. The study concludes with a survey of coeval accounts of the Chinea of 1759. Appendices provide transcriptions of these accounts, and a list of machine and their designers. The two overarching questions examined in the study are: (1) "how was a festival put together in eighteenth-century Rome"; and (2) "what does the process indicate about the structure of that society?"}, keywords = {Baroque and 18th-Century Europe}, author = {Moore, John E.} } @mastersthesis {7651, title = {The Church of S. Caterina dei Funari and the Vergini Miserabili of Rome}, year = {1992}, school = {UCLA}, abstract = {The sixteenth-century church of Santa Caterina dei Funari in Rome was built for the Compagnia delle Vergini Miserabili, a lay confraternity founded by Saint Ignatius Loyola for the moral rejuvenation of society through charitable activity. The principal aim of the confraternity was to protect young girls from the dangers of prostitution and vice by providing them with shelter and education. Federico Cesi, the first cardinal protector of the institution, sponsored the building of the church by the Florentine architect, Guidetto Guidetti. Completed in 1564, one year after the close of the Council of Trent, its design served as an influential model of Roman church architecture of the Counter-Reformation. The interior contains six richly decorated chapels painted by a number of late sixteenth-century artists including Federico Zuccaro, Girolamo Muziano, Marcello Venusti, Scipione Pulzone and Annibale Carracci. This study provides a comprehensive examination of the church of Santa Caterina dei Funari and its decorations, focusing primarily on the architectural design and iconographic program. Its paintings are discussed in relation to the mission of the confraternity and within the broader context of the Catholic reform movement. The study presents a history of the Compagnia delle Vergini Miserabili, its founding and charitable activities, and analyzes the role this brotherhood played in Rome during the sixteenth century. The church architecture, urban setting and the patronage of Cardinal Federico Cesi are also examined in relation to religious reforms and the efforts of the Catholic church to restore the city of Rome. This study of Santa Caterina dei Funari and its confraternity is intended to provide further understanding of the relationship between art and society in Rome during the Counter-Reformation.}, keywords = {The Renaissance}, author = {Sabatine, Barbara J.} } @mastersthesis {7621, title = {The Church of St.-Nicholas at Civray: The Facade and Its Sculptural Decoration}, year = {1992}, school = {Michigan}, abstract = {Saint-Nicholas of Civray with its abundant sculptural decoration on the facade is one of the most visually striking among the many Romanesque churches of western France. This study examines the present facade, its sculptures, their themes, and the historical context for their creation. The first chapter reviews pertinent historical documents and investigates relevant archival sources for Civray and the church of Saint-Nicholas. The second chapter reconstructs the history of the church{\textquoteright}s restoration by examining written accounts, prints, and drawings. It also presents the author{\textquoteright}s recent on-site evidence. Many archival sources indicate dramatic restorations and reconstructions and question the present arrangement if not the authenticity of certain sculptural decorations. The author{\textquoteright}s first-hand study and analysis of the facade itself confirm many of these findings. Subsequent chapters consider the organization of architectural elements on the Civray facade in relation to that of other churches in western France. The decoration of facade components such as capitals, corbels and archivolts is specifically addressed in Chapter IV. Chapter V is devoted to certain regionally predominant themes: the virtues and vices; and the allegory of wise and foolish virgins. The theme of music, though appearing in certain corbel and capital sculptures at other western French monuments, receives unprecedented attention at Civray. A monumental mounted cavalier also once adorned the facade. These subjects and the issue of an underlying program thematically linking the sculptures on the facade are addressed in extended discussion. This chapter also considers the efforts of the Church to adapt secular imagery, with courtly references, for its own purpose, and for the metaphorical sense in which such images could have been read by both the laity and the religious. The integrated facade sculptures are shown as products of the workshop associated with the west portal and some interior decorations at Aulnay. The Aulnay sculptures are pivotal in establishing the relative dating and stylistic context for the works at Civray. The final chapter considers this relationship with churches in the Aulnay orbit and demonstrates their affinities for compositional and iconographic complexities. The dissertation concludes with an extensive appendix that diagrams and describes all facade sculptures.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Dabb, Jean Ann} } @mastersthesis {7642, title = {Civic Patronage of Art in Renaissance S. Gimignano}, year = {1992}, school = {Harvard}, abstract = {This dissertation examines the artistic patronage of the communal government of San Gimignano during the second half of the fifteenth century. The government of San Gimignano sponsored numerous decorative endeavors for which the Florentine artists Benozzo Gozzoli, Giuliano and Benedetto da Maiano, and Domenico Ghirlandaio were the preferred choice. Major commissions were handed out through the Opera della Pieve, or Board-of-Works of the church now called Collegiata, which was under the control of one man, Onofrio di Pietro, for twenty-five years. His official biography is presented based on a series of unpublished documents. The primary sources for this study are the deliberations of the government, many of which are reproduced in a lengthy appendix. Despite the political and economic hegemony of Florence, the citizens of San Gimignano asserted the efficacy of their local patron saints, choosing prime clients of Florence{\textquoteright}s political elite to create appropriate artistic monuments. Through this study of the fifteenth-century artistic environment in San Gimignano, works of art emerge as primary documentation of powerful local traditions which the people of San Gimignano mobilized as a counter-balance to the Florentine government{\textquoteright}s increasing control. Two central chapters chronicle the commune{\textquoteright}s creation of a monumental tomb chapel for the local Santa Fina. New documentary material is presented concerning the painters, sculptors and architects who worked on the chapel. Many parallels are drawn between the Florentine cathedral workshop and that of San Gimignano. Extensive fifteenth-century redecoration of the Palazzo Comunale is examined in light of the themes of civic patronage of art and the role of patron saints. And a new approach to the burial chapel devoted to the local Saint Bartolo, created during the 1480s by a group of Florentine artists and craftsmen, suggests many comparisons with the Santa Fina chapel which are borne out on a documentary level. The contours of this civic devotion, from the celebration of feast-days to the commissioning of works of art, describe the trajectory of fifteenth-century civic piety in an exemplary fashion.}, keywords = {The Renaissance}, author = {Krohn, Deborah} } @mastersthesis {7638, title = {Compositions of Time in the Art of Rogier van der Weyden}, year = {1992}, school = {Pennsylvania}, abstract = {The dissertation describes the singular concentration of temporal representation and implication in the work of Rogier van der Weyden. Pictorial expressions of time assume an unexpected variety of forms. In isolating and comparing these forms in the work of a painter so persistently and inventively concerned with them, we are able to examine the multiple mechanisms of pictorial time in unusually specific terms. The study comprises three essays, each of which frames several related dimensions of temporal implication apportioned on the analogy of size: large, intermediate, and small time. These correspond generally to expressions of broad anachronous conjunction, episodic sequence, and momentary motion or change, respectively. Thus large time involves Rogier{\textquoteright}s unique concern for such theologically inspired collocations as the Crucifixion occurring in a church nave or the donor allowed unprecedented proximity to the events of the Bible. Intermediate time finds him working in the realm of narrative repetition, be it in the strategically edited episodes of his lost scenes of just judgement, or the variably measured sequences among scenes in the lives of Christ, Mary, and the saints. In expressions of small time, the painter cues the expansion of an apparent moment so that its immediate past and future are clear. In some instances this involves subtly compelling indications of figures{\textquoteright} origins or destinations; in others, it is the effort to convey the finest perceptual textures of momentary experience. Though divided among three essays, the constituent motives of these three provisionally defined dimensions are seen to be interdependent, often cooperative elements. Problems and solutions of temporal expression fundamentally shape not only explicitly episodic narrative efforts, but also more basic structures of iconography and representation. Selective comparison with predecessors, contemporaries, and immediate followers brings Rogier{\textquoteright}s sophisticated and influential temporal style into relief and helps further to articulate the elusive and manifold workings of pictorial time.}, keywords = {The Renaissance}, author = {Acres, Alfred} } @mastersthesis {7622, title = {Cosmic History and Messianic Vision: The Sculpture of Modena Cathedral at the Time of the Crusades}, year = {1992}, school = {Columbia}, abstract = {This dissertation, which explores the connection between the sculpture of Modena Cathedral and the historical conditions of its conception and creation, begins by focusing on the nature of documentary evidence in the Prologue{\textquoteright}s discussion of the limits of historical understanding. Chapter One examines notions of history, both medieval and modern, as they are related to the historiography of the cathedral. Chapter Two analyzes the relationship of the Arthurian archivolt on the Porta della Pescheria to the Porta dei Principi, located on the southern flank of the cathedral, a connection heretofore ignored. In earlier investigations, the Arthurian archivolt on the Porta della Pescheria had been understood as a purely secular image, while the Porta dei Principi, with its lintel scenes of the life of San Geminiano, has been treated as a simple hagiographic narrative of Modena{\textquoteright}s patron saint. The structural and visual affinities between the two doorways can be correlated to the connection between their stories and the significant increase in historical writing in the twelfth century, specifically contemporary chronicles of the First Crusade. The persuasive narratives of the Crusade chronicles explained human history as an ever-expanding sacred reality in which past and present were seen as coexistent. Within this construct of Cosmic History, the visual narratives of Arthur and San Geminiano were interpreted as heroic tales associated with the contemporary reality of the Crusades. Such tales, when interpreted within the Church{\textquoteright}s teleological history, presaged a messianic vision of the Apocalypse. The stories of Arthur and San Geminiano were thus understood to conform to a cosmic history in which the central figures possessed both sacred and heroic meaning. Chapter Three considers the sculpture of the two side doors in relation to the sculpture of the west facade, where four large, separate panels depict scenes from Genesis. The particular choice of Old Testament imagery can be related to the twelfth-century{\textquoteright}s emphasis on a universal world history. The meaning of Modena{\textquoteright}s exterior sculpture is seen to be multivalent in its structural and narrative connections with twelfth-century mappaemundi. Similar to medieval world maps, the vernacular present seen in the story of Arthur becomes the critical support of a great historia which unites the two poles of the distant biblical past and the ultimate end of days of the Second Coming.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Fox-Friedman, Jeanne} } @mastersthesis {7605, title = {Dance with Long Sleeve and Silk: The Distinctive Formal Feature of Ancient Dance Represented by Archaeological Finds}, year = {1992}, school = {Pittsburgh}, abstract = {No record in ProQuest}, keywords = {Asian Art}, author = {Chang, Xie} } @mastersthesis {7624, title = {Decorative Violence and Narrative Intrigue in the Romanesque Portal Sculptures at Souillac}, year = {1992}, school = {UCLA}, abstract = {This dissertation examines the portal sculptures of Ste. Marie at Souillac, focusing on the narrative relief of Theophilus and the decorative but violent imagery of attacking beasts on the front of the Souillac pillars, two very different problems in interpretation. Theophilus{\textquoteright} pact with the Devil and subsequent redemption after penitential prayer to the Virgin is considered in relation to iconography, literary and homiletic traditions and contemporary historical episodes. While chosen to promote a penitential Cult to the Virgin at Souillac, here the legend stresses basic spiritual themes: temptation, sin, penance and redemption, not incompatible with programs of other 12th century portals depicting more traditional biblical subjects. It is thus distinct from later 13th century renditions more overtly glorifying the Virgin. The innovative rendition of Theophilus{\textquoteright} pact with the Devil in the form of a contemporary feudal homage ceremony, not only served to make the spiritual message more vivid, but had ramifications in more strictly temporal and social terms. The decorative fantasy of the animal imagery of the pillars, ostensibly not a religious theme, demands a complex study. Considered in relation to the trumeaus of Moissac and Beaulieu, the study demonstrates the significance compositional form, the secular iconographic tradition of devouring beasts, the man attacked by beasts in relation to images of the torments of hell and to more positive scenes: Daniel in the Lion{\textquoteright}s Den, the Ascent of Alexander and Adam in Paradise. Much attention is paid to the theme of man attacked by beasts in literary and exegetical traditions and the liturgy. This theme in the liturgy of the Passion of Christ and the Liturgy for the Dead supports a metaphorical interpretation of the pillars, the small pillar in relation to the sacrificial death of Christ and the large pillar, to prayerful pleas for the Dead, which complement the narrative theme of Theophilus{\textquoteright} penitential prayer. The presence of a medieval cemetery under the porch suggests the portal would have functioned in relation to the Cult for the Dead promoted at Souillac in conjunction with a pilgrimage to the Virgin shown to have special powers to aid penitent sinners.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Knicely, Carol} } @mastersthesis {7653, title = {Donatello{\textquoteright}s Putti: Their Genesis, Importance and Influence on Quattrocento Sculpture and Painting}, year = {1992}, school = {Ohio State}, abstract = {During the fifteenth century Donatello rejuvenated the ancient visual motif of the putto, a figure which in ancient times represented Eros, Genius or Cupid. This motif had fallen out of favor--both visually and iconographically--during the Middle Ages. The dissertation briefly discusses the form and meaning of the putto motif in Greek and Roman art, traces its decline in the Middle Ages, and discusses early uses of the motif in Italian art preceding Donatello. The body of this study discusses and analyzes the many uses of the putto in Donatello{\textquoteright}s art from the 1420{\textquoteright}s until the artist{\textquoteright}s death in 1466. This dissertation demonstrates that Donatello was the first artist since antiquity to use the putto motif extensively, in a wide range of applications, and meaningfully. The uses and iconography of Donatello{\textquoteright}s putti are explored. The final chapter traces the influence of Donatello{\textquoteright}s putti in Italian sculpture and painting of the fifteenth century.}, keywords = {The Renaissance}, author = {Struthers, Sally A.} } @mastersthesis {7599, title = {Eroticism in American Pop Art, 1958-68}, year = {1992}, school = {UT Austin}, abstract = {Despite the flood of attention and publicity given to Pop Art, it has suffered from a lack of serious, scholarly study. Many of its most salient qualities remain unexamined. Among the most obvious of these is Pop Art{\textquoteright}s consistent use of erotic and sexual imagery. By examining Pop{\textquoteright}s historical development and critically analyzing its erotic elements, this dissertation reevaluates Pop Art in both its cultural and artistic contexts. The dissertation defines eroticism broadly, based on psychoanalytic ideas of the origin of sexuality in fantasy. It defines Pop Art narrowly as the American art of the early sixties with overwhelming references to commercial and mass-media images and techniques. After a reconstruction of the chronological and historical development of Pop, the dissertation analyzes the uses, sources, and meanings of erotic elements in the works of American Pop artists. It examines the ramifications of feminist criticism and theory in relation to the objectification of woman in Pop. A survey of parallel developments in popular media and intellectual and political history demonstrates crucial connections to the sexual revolution of the sixties. By examining Pop Art{\textquoteright}s eroticism we can completely re-evaluate its place in art history--and in American culture. Pop is an expressive, personal art, not cool and distant as earlier writers have maintained. It relates both to the simultaneous cultural discovery of "camp" and to the origins of the sexual revolution. Pop Art{\textquoteright}s eroticism demonstrated its creators{\textquoteright} intense engagement with these issues, and reflected the uses of sexuality in Pop Art{\textquoteright}s mass media sources. Ultimately, examining the interface between human sexuality and culture helps us understand why issues of sex and eroticism wield such power over human emotions.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Thomas, Joe Alan} } @mastersthesis {7586, title = {Fabricating the Dream: American World{\textquoteright}s Fair Sculpture, 1876-1915}, year = {1992}, school = {Boston}, abstract = {The style, iconography, and meaning of outdoor sculpture at the five largest American world{\textquoteright}s fairs held between 1876 and 1915 expressed the political and cultural agenda of each fair. This dissertation devotes separate chapters to the public sculpture at Philadelphia{\textquoteright}s Centennial Exhibition of 1876, Chicago{\textquoteright}s World{\textquoteright}s Columbian Exposition of 1893, Buffalo{\textquoteright}s Pan-American Exposition of 1901, St. Louis{\textquoteright} Louisiana Purchase Exposition of 1904, and San Francisco{\textquoteright}s Panama-Pacific Exposition of 1915. Now destroyed or hidden in private collections and basement storage rooms, most of the monuments and architectural sculptures from these fairs have disappeared. This dissertation resurrects a body of forgotten work created by America{\textquoteright}s most famous turn-of-the-century sculptors. The fairs shaped both the rise of American public sculpture and the fabrication of a myth of national identity. As great public spectacles, the fairs provided their creators and sponsors with an opportune arena for molding public thought. Public sculpture was the most important component of this manipulation. The sculptures{\textquoteright} iconography reflects evolving visions of national history and destiny, addressing such contemporary issues as civic reform, social Darwinism, economic expansionism and technological progress. Stylistically, sculpture paralleled these socioeconomic and cultural developments as responses to a more diverse and disparate society. Through its progression from the specific to the abstract, and in subject matter, from portraiture to allegory, the fairs{\textquoteright} sculpture proposed a set of civic values which upheld the growth and change in capitalist social and economic structures. The international expositions were proving grounds for the evolution and consolidation of sculpture as a significant profession within the arts in America. The emergence of academic classicism as the official style correlates directly to the role of public sculpture as a vehicle to reinforce programmatic statements to and about American society.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Green, Victoria} } @mastersthesis {7587, title = {Figures in a Western Landscape: Reading the Art of Titian Ramsay Peale from the Long Expedition to the Rocky Mountains, 1819-1820}, year = {1992}, school = {Yale}, abstract = {This dissertation is concerned with the images produced by artist-naturalist Titian Ramsay Peale (1799-1885) both during and immediately following the Long Expedition of 1819-1820, the first federally-sponsored scientific and military field reconnaissance of the Great Plains and Rocky Mountain West since the return of Lewis and Clark in 1806. Peale{\textquoteright}s hundreds of drawings and watercolors from this period constitute the largest portfolio of specimen studies, topographic landscapes, and ethnographic genre illustrations to be assembled in the United States before mid-century. My discussion centers on the intersection of scientific and artistic interest in the West in this extensive body of imagery at what I see as a defining moment in early modern culture where bids for cognitive control over the natural world through descriptive classification, on the one hand, and through representation on the other, reveal themselves to be vital forms of mutually reinforcing cultural practice, each inflected by a shared concern for structuring relations between eastern "viewers" and the Western vista. I attempt to trace Peale{\textquoteright}s unexpectedly complex personal as well as public response to the challenge of representing an unfamiliar world in visually consumable form. This study of Peale{\textquoteright}s work, based on newly discovered sketchbooks read against the monumental narrative Account of the Expedition compiled by Edwin James and published in 1822, should contribute not only to an understanding of scientific and travel account illustration in the early years of the Republic, but also to a gathering awareness of the complex interdependence in that period of expansionist ideology and the rhetorical strategies which gave it form.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Haltman, Kenneth} } @mastersthesis {7596, title = {Figures of Speech: The Art of Robert Indiana, 1958-73}, year = {1992}, school = {Michigan}, abstract = {Robert Indiana became widely known in the sixties as a Pop artist and creator of the imaged word, LOVE. However, that work and his other autobiographical constructions and paintings composed of words, numbers, and common symbols, devoid as they are of references to the consumer goods of contemporary culture, set him apart from mainstream Pop Art. Partly for this reason, Indiana received little critical attention compared to his sixties colleagues. The dissertation helps fill this lacuna and analyzes Indiana{\textquoteright}s oeuvre in detail. The source of its divergence from sixties criticism is traced to the personal and psychological nature of the artist{\textquoteright}s imagery. Indiana is also a writer of autobiographical narratives and poetry which illuminate the verbal-visual nature of his art and the evolution of his career. The dissertation employs mixed methodologies, including personal interview and visual, textual, and socio-historical analysis. It draws on ideas from literature, linguistics, and psychoanalytical theory. Indiana{\textquoteright}s writings and art are shown to form a single praxis, the subject of which is his own artistic identity. Moreover, his life story--how he grew up in Depression-era Indiana and became an artist in New York--conflates the personal and mythical. Indiana{\textquoteright}s autobiography, in some ways, echoes the well-known ones by Louis Sullivan, Walt Whitman, Henry Adams, and Gertrude Stein. Its content evokes large social and emotional themes like the American dream, the family romance, and the childhood of the artist. Further, Indiana{\textquoteright}s paintings and sculpture, although they focus on words, display codings of religious portraiture and icons and artistic self-portraiture: the look out of the canvas, or into a mirror, that signifies identity and identification.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Ryan, Susan Elizabeth} } @mastersthesis {7616, title = {The French Crown and the Financiers of Paris: Public and Private Representation at the Place Vendome, 1685-1792}, year = {1992}, school = {Harvard}, abstract = {The Place Vendome was one of the major architectural and urban enterprises of the reign of Louis XIV. It ranks second only to Versailles as the undertaking for which certain fundamental goals of the Crown are most profitably explored: the creation of a French imperial architectural style, the use of royal ceremonial to infuse built forms and spatial sequences with meaning, dynastic representation, and the exploitation of the organs of culture in the creation of a myth of Louis XIV. An examination of the Place Vendome reveals the significant ideological shift that emerged during the 1690{\textquoteright}s, when military defeat severely shook the national confidence that had culminated during the previous decade. A changed political climate provoked the Crown{\textquoteright}s reconception of the square as a residential one, at the very moment when architectural concerns more generally turned toward the interior sphere. Members of the most socially mobile Parisian elite, financiers, took up residence at the square at a moment of great innovation in French domestic planning. Among the Parisian elites, the townhouse in the capital seems to have been most crucial as an element in the construction of a social identity among financiers. The attraction the square held for financiers and the ways in which they planned their townhouses reveal vital aspects of this group{\textquoteright}s forging of a social identity. The Place Vendome served as a major prototype for urban squares in France and elsewhere in Europe during much of the eighteenth century. When debates arose in France about the appropriate role of the public square in urban life, the Place Vendome would be reexamined, and the terms of the critical reaction to it are significant. They disclose a fundamental reconception of the proper nature of public space and its users in an urban context.}, keywords = {Baroque and 18th-Century Europe}, author = {Ziskin, Rochelle N.} } @mastersthesis {7641, title = {A French Maecenas in The Roman Quattroceno: The Patronage of Cardinal Guillamume d{\textquoteright}Estouteville (1439-83)}, year = {1992}, school = {Princeton}, abstract = {This study focuses on the artistic and architectural patronage of the French cardinal, Guillaume d{\textquoteright}Estouteville, during the years of his cardinalate--the most fertile years of the Roman Early Renaissance. Chapter One examines the patron{\textquoteright}s biography, with emphasis on his autonomous relationship with the French crown and the papacy, his financial status, and the ways in which his name threaded its way through contemporary debates on church reform and the appropriateness of ostentatious patronage amongst churchmen. The following chapter outlines his renovation and refurbishment of the basilica of S. Maria Maggiore in Rome, where he was Archpriest, and iconographic themes drawn from the history of the basilica, to which these projects refer. Chapter Three analyses the cardinal{\textquoteright}s urban ambitions in the Roman neighborhood of both Piazza Navona and his palace by Sant{\textquoteright}Apollinare, as well as his activities at Ostia, providing a backdrop of political, communal and spiritual loyalties against which his last, great project, the rebuilding of the Roman church and convent at Sant{\textquoteright}Agostino, must be seen. The history of the fifteenth-century church and an examination of its relationship to contemporary programs, such as those at SS. Annunziata in Florence and S. Maria del Popolo in Rome, constitute the focus of the thesis. By means of the documentary history in particular, the building program from 1479-1483, under the architect Jacopo da Pietrasanta, is traced. An analysis of the Gothicizing vocabulary of the interior allows for analogies with late medieval Italian examples, and the new east end typology allows for comparisons with the realized and unrealized plans of the papacy. I reconstruct the interior and decoration of the chapel spaces as they evolved into the sixteenth century in the fifth chapter. In the final chapter, I examine the death of the cardinal, with a consideration of his desires for burial and the transportation of his heart back to his archbishopric at the Cathedral of Notre-Dame in Rouen. This chapter comprises an outline of his patronage in France and fully develops the implications of his French predilections for the Italian context.}, keywords = {The Renaissance}, author = {Meredith J. Gill} } @mastersthesis {7566, title = {From Salome and John the Baptist to Orpheus: The Severed Head and Female Imagery in the Work of Odilon Redon}, year = {1992}, school = {Ohio State}, abstract = {The primary purpose of this study has been to offer a much needed focus upon the severed head image in Redon. A variety of methodologies have been employed, ranging from traditional art historical stylistic and iconographical analyses to methods taken from film theory, feminism, and psychoanalysis. The study is organized into three main chapters, the first dealing with the subject of John the Baptist and his encounter with Salome. The second chapter focuses upon the mechanism of meaning in these works by demonstrating the various ways in which the artist and the spectator identify with the imagery contained therein. The discussion of the issue of spectatorship, which is a common thread throughout this study, is an attempt to come to terms with the different types of visions Redon has offered the viewer as entree into his imaginative world, and the ways that the beholder{\textquoteright}s gaze is problematic. The third and final chapter focuses upon Redon{\textquoteright}s treatment of the myth of Orpheus, the second major subject, after that of Salome and John the Baptist, in which images of the severed head are manifested. Throughout each of these chapters a variety of other representations of severed heads have been introduced which, although they do not fit specifically into traditional subject categories, reveal the nuances of meaning present in Redon{\textquoteright}s use of this imagery. This study has attempted to provide a flexible and interdisciplinary approach to the material, and to offer original insights into the meaning of Redon{\textquoteright}s work which will be of benefit to future studies of the artist{\textquoteright}s imagery.}, keywords = {19th and 20th century Europe}, author = {Curtis, Leslie Stewart} } @mastersthesis {7565, title = {Fuseli{\textquoteright}s Concept of History and the Rise of Romanticism in England}, year = {1992}, school = {Stanford}, abstract = {No record in ProQuest}, keywords = {19th and 20th century Europe}, author = {Brown, Glen} } @mastersthesis {7652, title = {Galeazzo Alessi and the Villa in Renaissance Genoa}, year = {1992}, school = {Harvard}, abstract = {Galeazzo Alessi has long been recognized for his role in the formulation of a new domestic building type comparable in its impact on Liguria to the work of Palladio on the Veneto. My thesis Galeazzo Alessi and the Villa in Renaissance Genoa seeks to understand how the Perugian architect had such a decisive influence on the architecture of Genoa. To this end it examines the formation of the architect in Rome and Perugia, the nature of his professional practice and his approach to design. The thesis looks at the economic, social, cultural and landscape context of Genoa on the eve of "The Age of the Genoese" and the great mid-century building boom. It uncovers new material about the unusual patrons who brought the architect to their city and posits that their strong ties specifically to Rome has much to do with their choice of Alessi who himself came of age in related Roman circles. The dissertation examines the Villa Giustiniani as the first of a new generation of bold cubic axially-ordered Genoese villas. It then considers three other villas by the architect: the villa built for Giovanni Battista Grimaldi, literary patron and son of a cardinal, with its allusions to the ancient Roman house, the Villa Pallavicino delle Peschiere, where the villa block is dramatically sited atop a grand terraced garden overlooking the city, and the Villa Centurione at Pegli whose famous lake and island illustrates Alessi{\textquoteright}s abilities as an inventive garden designer and site engineer. Long neglected resources, the Rubens Palazzi di Genova drawings, are here evaluated as records of designs in progress and as evidence of Genoese concerns. These studies of architect, patrons and buildings enlarge our understanding of Galeazzo Alessi{\textquoteright}s redefinition of the Genoese Renaissance villa.}, keywords = {The Renaissance}, author = {Salzer, Donna} } @mastersthesis {7615, title = {The Gardens of Frederik Hendrik}, year = {1992}, school = {Princeton}, abstract = {This thesis describes the history of Dutch 17th-century garden architecture and in particular studies the gardens of Stadholder Frederik Hendrik, Prince of Orange (1584-1647). The history of the Dutch garden has been neglected and, because of the inherent language barrier and the tendency to focus on garden artistic accomplishments in larger European countries, has remained largely unknown abroad. The recent surge of interest in the 17th-century Dutch garden, as shown by a number of new publications, gives the opportunity to come to a new assessment of Dutch garden architecture. However, these new publications concentrate on later 17th-century garden architecture in Holland and mention early 17th-century garden architecture only in passing. In this thesis an attempt is made to correct this neglect and to fill the gap in art historical research in a period generally known as the Dutch Golden Age, which incorporates not only the art of painting and sculpting, but also the art of gardening. The history of the gardens of Honselaarsdijk and Ter Nieuburch forms the core of this research, as their layouts represented the model for garden designs throughout the 17th century. Other gardens which are studied include the gardens at Breda, Buren, Zuylesteyn and Ysselsteyn, all of which played a crucial role in the flowering of garden architecture in the Netherlands. The Dutch gardens created under Frederik Hendrik are thus shown not only to influence garden art in Holland, but across borders in France, Germany and Sweden. The role and personality of the Stadholder is also highlighted, and his influence in spurring the development of a more unified architectural style is discussed. Since only two of Frederik Hendrik{\textquoteright}s gardens survive today, this study relies on written sources (account books, travel journals), as well as visual material (maps, prints, drawings) to reconstruct these gardens. Finally, to further our understanding of Dutch garden architecture in general this new documentary and visual evidence is placed against a wider cultural-artistic background, involving contemporary architectural theory and advances in science, as well as religious and political developments in the Netherlands and in Europe at large.}, keywords = {Baroque and 18th-Century Europe}, author = {Sellers, Vanessa} } @mastersthesis {7568, title = {Gendered Expectations: The Critical Reception of the Life and Work of Camille Claudel}, year = {1992}, school = {Bryn Mawr}, abstract = {In the following chapters I narrate the reaction by the critical press of Paris in the late 19th- and early 20th-centuries to the life and work of French sculptor Camille Claudel (1864-1943). In addition, I trace the way these themes in this early writing are echoed or transformed in critical writing of the late 20th century. My focus in examining these critical essays is two-fold: first, I give attention to those comments which discuss Claudel{\textquoteright}s status as a women artist, and second, I analyze those which concentrate on her status as a dependent student of her mentor, Auguste Rodin (1840-1917). In my introduction I explain that my task is in part a revisionist one, designed to historicize the career and reception of a woman artist who is often presented in critical literature as an a-historical, decontextualized phenomenon. I explore the tendency of critical writers, as well as Claudel and Rodin themselves at times, to make her sex and her student status the focus of their writing. In Chapter One I present a brief sketch of Claudel{\textquoteright}s life and career against the backdrop of cultural expectations of, and limited opportunities for, women artists in late 19th-century France. In addition, I provide the most complete outline extant of Claudel{\textquoteright}s career in public exhibitions during her lifetime and posthumously. In Chapter Two I discuss critical essays written about Claudel and her work during her lifetime with attention to how those essays address her sex and her position as a dependent student; Rodin{\textquoteright}s participation in Claudel{\textquoteright}s career is discussed as well. Chapter Three analyzes Claudel{\textquoteright}s behavior and writing to determine the extent to which she too was preoccupied with these issues. Chapter Four discusses Claudel{\textquoteright}s critical reception since her death, most of which appeared in the 1980s after several books and a film were dedicated to her life and career. In this chapter I compare the gendered preoccupations of the 19th and 20th centuries and analyze the continuing stereotyped ways in which the creative potential and products of women are received by the critical press, and the culture at large.}, keywords = {19th and 20th century Europe}, author = {Frederickson, Kristen} } @mastersthesis {7626, title = {The Genre of Gender: Images of Working Women in the {\textquoteright}Tacuna Sanitatis{\textquoteright}}, year = {1992}, school = {UCLA}, abstract = {An inscription, in Arabic, on the flyleaf of the Paris Tacuinum Sanitatis gives a somewhat ambiguous account of the book{\textquoteright}s travels, but states directly: "Its value is in its figures." Nothing could be a truer description of the contribution, to the social study of art history, of the five late fourteenth century manuscripts which I will examine in this thesis. These five, all versions of an early Arabic treatise, and all produced most probably in the Lombard region of Italy, precisely fit the above description. Their value is in their figures. While the Tacuina have been much studied, for the past one hundred years, their inestimable value as possible mirrors of everyday life in the late Middle Ages has been relatively overlooked. Especially neglected, has been the interesting status of women portrayed in their pages. These women are not repressed or relegated to the background of the illuminations. On the contrary, they assume positions of prominence, and to some extent, authority. This is particularly true in the depictions of women working outside the home. The latter are the illustrations on which I will focus in this dissertation. I will ask two basic questions of these illustrations: What were the iconographical developments which led to the emphasis on genre scenes unrelated to the text? And, to what degree do these illustrations (with their emphasis on women) reflect the social reality, or to what degree are they formed from the previous iconography? To answer these questions I will employ a variety of texts, e.g., guild records, diaries, letters, and city statutes. I will also compare the Tacuina illuminations with those of contemporary related manuscripts to determine their place in the overall iconographical, as well as social, milieu of their time.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Sigler, Lora Ann} } @mastersthesis {7572, title = {George Grosz and the Communist Party, 1918-36}, year = {1992}, school = {Northwestern}, abstract = {This dissertation analyzes the relationship between the German artist, George Grosz, and the Communist Party between the years 1918, when Grosz joined the German Communist Party (KPD), and 1936, when he came forward for the first time with a public denunciation of Communism in a series of images published in his last graphic portfolio, Interregnum. While by 1923, Grosz was recognized as the leading artist of the KPD, by 1924, his independent view of the role of art in the revolutionary class struggle openly conflicted with emergent Party policy on the arts after Stalin{\textquoteright}s assumption of power in the Soviet Union. This dissertation addresses the contradiction between Grosz{\textquoteright}s aspirations for his own career and the demands placed on him by the Party, a contradiction mediated by the expectations of the left-wing artworlds in both the Weimar Republic, and in New York, after Grosz emigrated there just days before Hitler was appointed Chancellor of Germany in 1933. After an introductory Chapter 1, Chapter 2 begins a chronological account of the emergence of Grosz{\textquoteright}s politicized artistic career under the impact of the events of the First World War. Chapter 3 emphasizes the continuity between Grosz{\textquoteright}s dissident artistic views during World War I with this decision to join the KPD in 1918. Drawing on Party press reports and protocols, this chapter defines the debative relationship between Grosz and the Party on the issue of art and revolution, where, through the assistance of his publisher, Wieland Herzfelde, Grosz{\textquoteright}s growing reputation as a radical artist and the realignment of his art to serve the proletarian cause proved instrumental in shaping early Party policy on the arts. Chapter 4 considers the change in this relationship with the bolshevization of the KPD in 1924 under Stalin{\textquoteright}s leadership in the Soviet Union, and the growing acrimony between Grosz and the Party as the Party attempted thereafter to direct the nature of his art. Chapter 5 concludes with an analysis of Grosz{\textquoteright}s career in New York between 1933 and 1936, where his interaction with members of the anti-Stalinist left, including Diego Rivera, Max Eastman, and John Dos Passos, helped redefine Grosz{\textquoteright}s work on terms of a personal historical reflection calling an end to the tradition of political artmaking for which his own life and art had stood between 1918 and 1936.}, keywords = {19th and 20th century Europe}, author = {Barbara McCloskey} } @mastersthesis {7629, title = {The History and Interpretation of the Aldobrandini Wedding: Bacchus, Fertility, and Marriage in the Time of Augustus}, year = {1992}, school = {Florida State}, abstract = {he Aldobrandini Wedding is a Roman wall painting from the time of the Emperor Augustus, discovered about 1605 and named for its original owners. It shows ten figures in an interior. The central figure, all scholars agree, is a veiled bride; therefore the scene involves a wedding. For almost two centuries it was the only well-known example of large-scale ancient painting. The famous fresco{\textquoteright} s archaeological history and its influence upon the artists and intellectuals of nearly four centuries--including Rubens, Peiresc, van Dyck, Cortona, Poussin, Winckelmann, Goethe, and David--are traced in this full-length study, the first in the English language, and the first extensive study since 1907. Relevant earlier material is made available and evaluated. The present work also includes all recent scholarship, presents a new interpretation in the context of current classical research--especially in Roman studies--and offers a new iconographic analysis. The fresco{\textquoteright}s history became inextricably involved with a famous copy attributed to Poussin, disallowed only in this century. Documentation of this copy is extensively dealt with for the first time, demonstrating that the copy was credited to Poussin by the original owners, the dal Pozzo family. The scholarly controversy over the interpretation of the fresco is summarized, with a list of the twenty-eight different theories concerning the figures in the scene. A comparative study of the customs of Greek and Roman marriage identifies the fresco{\textquoteright}s bride as Roman, and involves a significant comparison to the Bacchic marriage in the great frieze of the Villa of the Mysteries in Pompeii. The two central deities flanking the bride of the Wedding are identified as Bacchus and Ariadne, prototypes of happy marriage; the argument demonstrates the importance of Bacchus/Liber as a god of fertility, increase, and marriage, especially in the Augustan period. This aspect of Bacchus, seldom recognized, is agricultural and procreative, and extends to Ariadne as his wife. The married gods are traced through their imagery, despite name-changes in Roman (Bacchus/Liber/Mutinus-Tutinus and Venus/Libera/Ariadne), in Etruscan (Fufluns and Vesuna/Ariatha), and in Greek culture (Dionysos and Ariadne). Archaic Priapic Dionysos is shown to be Liber Pater, coarsely nicknamed. Ariadne{\textquoteright}s greatest significance, despite her early involvement with Theseus, was as a bridal figure, and her greatest importance was through her immortalizing marriage to the god.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Durette, B. Underwood} } @mastersthesis {7597, title = {Image and Word in the Prints of Robert Rauschenberg, 1951-81}, year = {1992}, school = {UT Austin}, abstract = {This dissertation examines the prints of Robert Rauschenberg, focusing on those involving literary texts. It demonstrates that while the major thrust of Rauschenberg{\textquoteright}s art is nonliteral, his collaborations with authors have generated a body of narrative symbolism which invites a reevaluation of his iconography. A printmaker himself, the author illuminates the technical aspects of Rauschenberg{\textquoteright}s prints, offers the first study of his earliest blending of art and literature, probes his lifelong commitment to collaboration, and reviews the contributions his prints have made to the history of printmaking. Chapter one looks at Rauschenberg{\textquoteright}s pioneering work in collaborative workshops such as Universal Limited Art Editions and Gemini G.E.L. during the print boom of the 1960s and surveys his immense graphic production. Chapter two, "The Legible Image," investigates the varied ways Rauschenberg, in spite of his dyslexia, has integrated image and text, beginning with image embodying text in the Dante drawings. The chapter continues with image and text in dialectic in the Transparency Group of ten projects, text as both image and content in the gigantic Currents screenprint, and text as form in the "Crops" and "Airport" series. Chapter three outlines the rich tradition of the livre d{\textquoteright}artiste in Europe and in the United States. A section entitled "The Machine in the Library" then examines Rauschenberg{\textquoteright}s sculptural deluxe artist{\textquoteright}s books in light of Marcel Duchamp and John Cage, proposing a new interpretive model, The Aesthetic of Awareness. In Shades, image functions as text, and in Opal Gospel, image and text are given parity. The individual pages of Opal Gospel are illustrated for the first time. Chapter four reveals that Rauschenberg{\textquoteright}s traditional deluxe artist{\textquoteright}s book Traces suspectes en surface, a mutually generative collaboration with the nouvelle vague author Alain Robbe-Grillet, masterfully exemplifies imagery and text in crisis. The author then examines the collaborative suites with the Russian poet Andrei Voznesensky and with the American writer William Burroughs, finding image and text in dialogue and image engulfing text, respectively. Chapter five thoroughly delineates for the first time Rauschenberg{\textquoteright}s logocentric religious background, identifying it as an underestimated source of his substantial involvement with written language.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Smith, Mark Lesly} } @mastersthesis {7609, title = {The Impact of Trade by the Dutch East India Company on 17th-Century Netherlandish}, year = {1992}, school = {Kansas}, abstract = {This study demonstrates the widespread influence that trade by the Dutch East India Company (in Dutch, Verenigde Oostindische Compagnie or V.O.C.) had on seventeenth-century Netherlandish art. From the founding of the Company in 1602 until the end of the century, many categories of painting--images of shipping, landscapes, still lifes, genre, allegories, and portraiture--revealed the considerable impact that the Company and its trade with the exotic East had on the Dutch. The Dutch response to their maritime prowess, to the eastern lands, to the exotic trade goods imported into their country, and to their differing roles as merchants at home and in the East are all revealed in these paintings. The majority of V.O.C.-inspired paintings were found to date from after 1640, indicating that the Company{\textquoteright}s effect on art was directly tied to its successful trade expansion in the East. The use of trading issues as the focus of this study allowed the paintings to be placed in their larger social and historical context. This examination of the paintings corresponds with the categories of imagery that resulted from the interest of Dutch artists and patrons in V.O.C. trade. Successful trips to the East contributed to the expanding market for shipping scenes, and V.O.C. shipping scenes at home and abroad are discussed first. The relatively rare representations of Dutch territorial possessions in the East, most of which were used by the Company as a visible manifestation of its widespread trading network, are the focus of the second chapter. Next, the items imported from the East are shown to have been of the greatest interest to the Dutch, resulting in many paintings that contain exotic eastern merchandise in the categories of still life, genre, allegory, and portraiture. The patterns of trade in the pertinent oriental goods is analyzed in order to more fully understand these paintings. Finally, portraits of those involved in Dutch East India Company trade are shown to indicate that those who worked in the Netherlands had a different self-image from those who worked in the East.}, keywords = {Baroque and 18th-Century Europe}, author = {Atwater, Gretchen D.} } @mastersthesis {7575, title = {Impressionism and Naturalism: The Imagery of Modern Life}, year = {1992}, school = {UCLA}, abstract = {In the 1870{\textquoteright}s and early 1880{\textquoteright}s, two French avant-garde groups, the Impressionist painters and the Naturalist writers, advocated the depiction of modern life subjects. These subjects were, in the main, scenes of life in Paris and its suburbs. The artists and the writers were linked by personal friendships, and the critics of the day perceived connections between their work. This study examines those connections by comparing the ways the writers and the painters treated particular modern life subjects: domestic life, the crowds on the boulevards, the railroads and train stations, and the places of suburban leisure along the Seine. Paintings by Edouard Manet, Claude Monet, Edgar Degas, Gustave Caillebotte, and Auguste Renoir are discussed with reference to novels and short stories by Emile Zola, J.-K. Huysmans, Guy de Maupassant and others. The painters{\textquoteright} and writers{\textquoteright} conceptions of modernity are seen in relation to the social and cultural climate of early Third Republic France. Although the Impressionists and Naturalists aimed to be truthful observers of their world, each ultimately created differing visions of modern life. This "objectivity", and the choice of subjects which many critics felt were vulgar or immoral, led some conservatives to accuse them of a lack of patriotism. The Naturalists{\textquoteright} assessment of the potential for meaningful human relationships in modern Paris was much more pessimistic than the Impressionists{\textquoteright}. However, the Impressionists{\textquoteright} ambivalence about the depiction of modern life subjects becomes more apparent when seen in tandem with the fictional accounts. To a certain extent, the Impressionists were pushed by the critics into an association with Naturalism that was not a perfect fit for them. They were a much less cohesive group than the Naturalists, who had Zola{\textquoteright}s strong leadership. Yet Zola{\textquoteright}s enormous popular success, and his vigorous championing of modern life themes were an important factor in shaping the public perceptions of Impressionist painting in that decade.}, keywords = {19th and 20th century Europe}, author = {Rubenstein, Suzzane L.} } @mastersthesis {7567, title = {Impressionist Portraiture: A Study in Context and Meaning}, year = {1992}, school = {UNC Chapel Hill}, abstract = {The dual nature of portraits as both likeness and artwork would seem to render portraiture antithetical to an art of expression. The impressionists, whose artworks affirm their particular and subjective experiences of the modern world, nevertheless painted and exhibited numerous portraits. This suggests that a public presentation of portraiture advanced the painters{\textquoteright} position as independents. Through an examination of portraiture from the standpoints of audience, sitter, and artist, this dissertation investigates the social and aesthetic issues raised by this genre of impressionist painting. The dissertation commences with an analysis of the portrait{\textquoteright}s reformulation in the nineteenth century as a result of shifting ideas about resemblance in painting and photography. I demonstrate that the dissemination and popularization of physiognomical treatises, caricatures and the studies of mores known as the Physiologies provided a shared knowledge of reading codes between artist and audience which affected two key figural traditions of the nineteenth century, generalized types and particularized individuals. Both traditions figure into romantic and realist portraiture, indicating that impressionist portrait practices were embedded in dialogues which spanned the nineteenth century. Since the sitters in impressionist portraits belonged to the bourgeoisie, I discuss the impact of this group on the market and form of portraiture. Starting with a discussion of the changes wrought by the bourgeoisie on painted and photographic portraits, I investigate the configurations and motivations of the sitters in impressionist portraits. Subsequently, I analyze the strategies of specific artists with respect to the portrait--Edouard Manet, Auguste Renoir, Edgar Degas, Mary Cassatt, and Berthe Morisot--by considering their choice and presentation of sitters, marketing and exhibition of these works. The dissertation concludes with a semiotic reading which elucidates the central paradox of impressionist portraiture, the depiction of a likeness in a self-expressive mode. I demonstrate the inadequacy of prevailing interpretive strategies by mapping out how manipulations of space, figure-ground relationship, and touch result in the displacement of the traditional positions occupied by viewer, subject, and artist. Finally, I argue that these alterations require a contextualized reading of visual codes in portraiture.}, keywords = {19th and 20th century Europe}, author = {Farr, Margaret Fitzgerald} } @mastersthesis {7574, title = {The Influence of Van Gogh on Matisse, Derain, and Vlaminck, 1898-190}, year = {1992}, school = {Toronto}, abstract = {Since 1905 the vast majority of writings on the Fauves contain at least passing references to the importance of Van Gogh for the development of Matisse, Derain and Vlaminck. But generally Van Gogh{\textquoteright}s contribution is overshadowed by those of Gauguin, Neo-Impressionism and Cezanne. While not denying the profound influence of other artists and movements on the Fauves, I feel that Van Gogh was of great importance to them and that his contribution has not been examined in depth. This study attempts to rectify this omission. Part I examines which works by Van Gogh were available to the Fauves in Paris. Attention is then focused on those who had known Van Gogh personally, J. P. Russell, Pissarro, Signac and Dr. Felix Rey, with whom Matisse, in particular, could have had direct or indirect contact. A survey of the writings on Van Gogh published in Paris 1890-1905 is provided to discover what ideas about Van Gogh the three Fauves could have garnered from them. It is indicated that the extracts of Van Gogh{\textquoteright}s letters edited by Bernard and printed in the Mercure de France 1893-7 were accessible to the Fauves, as certain references in the letters of Matisse and Derain make clear. Several parallels between the Van Gogh letter extracts and Matisse{\textquoteright}s 1908 "Notes d{\textquoteright}un Peintre" are drawn. Part II comprises an attempt to explore the concerns of contemporary artists in Paris through an examination of a survey published by Charles Morice in the fall of 1905. Part III involves a detailed analysis of the impact of Van Gogh{\textquoteright}s oeuvre on Matisse, Derain and Vlaminck. It is demonstrated that Van Gogh{\textquoteright}s heightened colour, active brushstrokes, graphic work, dynamic compositions, subject matter, ability to assimilate and transform the ideas of others, psychological intensity, and devotion to his work, were variously of great importance to Matisse, Derain and Vlaminck up to 1906.}, keywords = {19th and 20th century Europe}, author = {O{\textquoteright}Laoghaire, Niamh} } @mastersthesis {7595, title = {Intricate Channels of Resemblance: Albert Pinkham Ryder and the Politics of Colorism}, year = {1992}, school = {Harvard}, abstract = {Colorism, as practised by Albert Pinkham Ryder and Walt Whitman, and critiqued by Charles de Kay and Charlotte Adams, functioned for late-nineteenth-century American art audiences with much the same force as Impressionism did for a French art public at the same time. But, to this day colorism is rarely recognized as a movement or phenomenon particular to art practice in the United States between 1873 and 1913. The purpose of this thesis has been to recover the force of recognition accorded the colorist work, and its discursive forms: apprehension, suppression, and revision. Colorist culture was an ideological expression devoted to the innovative and "modern", but along shifting and often conservative lines, committed to sifting received thought, from Paris, perhaps, for its most radical forms and reshaping them as "native" or "American." Origins were of the utmost importance to this culture and it was able to reconstrue most any attractive mode of representation of ideological symbol to mean something more in line with its own production of self-identity. Accordingly, genteel New York culturati sought ways in which to value colorist works of art, despite the violent "French" force of their illegibility and the broader social implications of that violence on American soil: race relations, radicalism, the new presence of the immigrant. One realm into which the colorist painting might be moved from that of high narrative representation was the decorative. As decorative work, colorism{\textquoteright}s purpose was not to tell a story, and thus risk defining a social world, but to enhance a world already securely defined and apprehended, dominated for and by the viewer. The same critic who equated international colorism with communism in 1878 secured his argument by eliding colorism with decoration, a professional sphere he claimed was next to useless, and feminine work at that. In an attempt to revalue colorism Charles de Kay mapped the necessary strategy of recovery and elevation, maintaining colorism{\textquoteright}s origins in the artistic practice of "native workmen" like Ryder, only to see that work reclaimed as international modernism, and eminently maleable to contemporary personal interpretations, by as influential a critic as Roger Fry.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Eric Rosenberg} } @mastersthesis {7579, title = {Inventing Masks: Structures of Artistic Innovation among the Central Pende of Zaire}, year = {1992}, school = {Yale}, abstract = {Although masking has dominated much of the literature on African art, the creation of masks has been relegated more to the mythic past than to flesh and blood protagonists. Based on field work in Zaire, 1987-89, this dissertation analyzes the testimonies of numerous men involved in the invention of masks among the Central Pende in order to understand their motivations and the mechanisms shaping their artistic production. Case studies revealed that the invention of masks always begins with the dance. Field associates insisted: "You can{\textquoteright}t just invent a (face) mask ... first you need a dance!" They describe a complex collaboration of song-writer, dancer, and drummer that precedes and shapes the dialogue with the sculptor. Subsequent dancers and sculptors continue to refine upon the original conception in response to individual inspiration. Examination of the processes of change in the masks reveal regular patterns of aesthetic preference and formal vocabulary. In the costumes, dancers respected principles of visual and aural enhancement of movement and the maximum articulation of parts. Ensembles stabilize when they have achieved a union of form and symbol appropriate to the persona of the mask. In the face masks, sculptors relied on a grammar of physiognomy to express personal interpretations of different genres. The physiognomic code contrasts an ideal feminine form with three different levels of masculine representation. Because masquerades are open texts designed for a mass audience, they make appropriate subjects for popular culture methodologies. Dialogue with the audience is critical in the (re)invention of masks over time. The social perceptions expressed in the masquerades make them valuable sources for social history and point to future research orientations.}, keywords = {African Art}, author = {Zoe S. Strother} } @mastersthesis {7564, title = {James McNeill Whistler as a Designer: Interiors and Exhibitions}, year = {1992}, school = {Minnesota}, abstract = {Despite extensive writings about James McNeill Whistler, there has been a failure to fully recognize his role as a designer of avant-garde interiors. This is a far more serious omission than simply bypassing a facet of his oeuvre, since it is the matrix of his aesthetic and a crucial ingredient in a major movement in 19th century art history: the British Design Reform Movement. An overview of Whistler{\textquoteright}s career in this dissertation reveals a progression toward the integrated interior as his ultimate and central mode of creative expression. Whistler arrived in England at the moment the drive toward design reform was heating up, and he turned his talents to improving the decoration of interiors soon afterwards. He presented himself and his ideas for interior design effectively through the example of his work, his manipulation of the press, and his polemical activities. Whistler{\textquoteright}s early encounter with Japanese art provided the primary basis for his simplified, coloristic room designs. His immediate application of Far Eastern concepts of order, restraint and spaciousness to his own quarters was revolutionary in the midst of the Victorian period which valued comfort, clutter and pattern. The high point of his domestic designs was the Peacock Room, an opulent dining room predictive of Art Nouveau interiors. He amplified his modernist theories for interior design in a series of private homes and exhibition installations. Throughout his career he fought for exhibition reforms, and despite setbacks, including bad press and his ousting from the Royal Society of British Artists, he ultimately helped design and promote the first secessionist-style international exhibitions of modern art in England. Finally, Whistler emerges as a reformer, exhibitionist and designer. Though he avoided Ruskin{\textquoteright}s evangelicalism, nevertheless he was a preacher and teacher fighting to effect change in the design of private and public spaces. The style of his interior designs surpassed William Morris, as well as other designers of his era, in terms of originality and daring modernity.}, keywords = {19th and 20th century Europe}, author = {Bendix, Deanna Marohn} } @mastersthesis {7614, title = {Jean-Honore Fragonard{\textquoteright}s Drawings for the Contes et nouvelles en vers of La Fontaine: The Role of the Artist in 18th-Century French Book Illustration}, year = {1992}, school = {UNC Chapel Hill}, abstract = {Fragonard{\textquoteright}s production of illustration designs has long been considered a minor aspect of his work, little more than a few unrelated commissions from patrons or publishers during the course of his career. Because his several hundred designs remained largely unpublished, many have regarded his work in this genre as an unsuccessful enterprise. Furthermore, noting the incomplete status of some of his series, scholars have speculated that the artist abandoned his projects for lack of personal as well as public interest. The evidence provided by a large body of surviving material, much of which has not been previously studied, indicates that Fragonard{\textquoteright}s illustration efforts were initially a private undertaking rather than commercial book publication ventures. Certainly the illustration series reflect an individual response to particular literary subjects which must have appealed to his patron and to himself. On a broader level, this body of compositions demonstrates Fragonard{\textquoteright}s efforts to rival other painters whose work he admired, but also other painter-illustrators, such as his own master Boucher. Finally, it underscores that Fragonard never relinquished his appreciation for the academic principles in which he had been trained, despite the claims of contemporary critics such as Diderot and most modern scholars. In this dissertation I explore Fragonard{\textquoteright}s artistic interest in literary subjects, his involvement and expertise in the graphic arts, his association with printmakers, and his exploration of the illustration medium. I also propose the identity of Fragonard{\textquoteright}s patron, suggesting reasons for the collaboration between these two men. In studying the Contes et nouvelles project, his most complete illustration endeavor, I examine his intended use for his drawings and analyze the process by which illustrations were designed by a painter and brought to publication during the eighteenth century. I determine that the publisher Pierre Didot the Elder was much less involved in the publication of the Contes prints than has been previously theorized, and that the post-revolutionary effort to issue prints after Fragonard{\textquoteright}s designs failed, not for lack of money, but due to changes in artistic taste. I conclude with a catalogue of Fragonard{\textquoteright}s known prints and drawings for the Contes project.}, keywords = {Baroque and 18th-Century Europe}, author = {Schroder, Anne Layton} } @mastersthesis {7592, title = {John White Alexander (1856-1915): In Search of the Decorative}, year = {1992}, school = {CUNY}, abstract = {During the last quarter of the nineteenth century, American art{\textquoteright}s internationalism and cosmopolitanism were perhaps its most characteristic features. During this period, unprecedented numbers of American artists returned from periods of study abroad with new styles and a familiarity with both the great art of the past and internationally current trends. The increased attention to art making and formal issues, in contrast with antebellum concern with native subject matter and narrative, characterized the work of foreign-trained artists, many of whose careers were distinguished by international honors and critical approbation in the foreign and American press. Exhibitions on both sides of the Atlantic displayed internationally current styles which emphasized the primacy of formal concerns and decorative aesthetics with little regard to subject matter, realism, or national expression. John White Alexander (1856-1915) developed and flourished during this period of American art{\textquoteright}s internationalism and cosmopolitanism. Alexander{\textquoteright}s decorative figure painting style of the 1890s, his Parisian period, was based on the simplification and flattening of form through surface patterning, elegant linear contours, asymmetrical compositions, and a restricted palette with a single dominant tone. The currency of his decorative style brought him to the forefront of American expatriate artists in the 1890s and assured his international success. This dissertation on John White Alexander is framed within the context of revisionist activity in American art historical scholarship which, at its best, aims to present the aesthetic, cultural, historical, and critical matrix in which work was produced and discussed. As a monographic study, the dissertation aims to fill the lacuna created by the lack of any rigorous scholarship on Alexander and to provide a coherent narrative of his rich and prolific artistic production. More important, however, the dissertation is designed to stretch the limited and artificial boundaries of a monographic study by locating and interpreting Alexander{\textquoteright}s Parisian period within the international topography of American art at the end of the nineteenth century. An examination of Alexander{\textquoteright}s career within this broader context reveals his work at the intersection of some of the most compelling current discourses on decorative aesthetics and their relationship to the advent of modernism, the primacy of formal concerns with little regard to subject matter, and the rise of mural painting. His work after 1901 is considered within the context of the resurgence of nationalism in American art after the turn of the twentieth century.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Sarah J. Moore} } @mastersthesis {7569, title = {Joseph Beuys: The Pedagogue as Persona}, year = {1992}, school = {Columbia}, abstract = {This dissertation discusses the teaching practice of German artist Joseph Beuys (1921-86). It proceeds from the point of view that in order to understand the phenomenon that transformed Beuys from a sculptor of local stature to an artist with a world message and international renown, it is essential to look at the conditions that shaped him. I begin by sketching the historical context of the German postwar period during which Beuys was educated. This is accomplished by an analysis of the pedagogy of Beuys{\textquoteright}s teacher, Ewald Matare (1886-1965). I posit that the fairly conservative artistic training Beuys received in bronze and stone sculpture formed his artistic outlook until external conditions--the arrival of Fluxus in Dusseldorf in 1962--mitigated otherwise. Upon the advent of Fluxus, Beuys radically altered his way of working from a sculptural and drawing style employing largely natural imagery to an adaptation of performance techniques, in tandem with found objects, that constituted the vocabulary of Fluxus artists such as George Brecht, Nam June Paik, and Wolf Vostell. More important than the change in Beuys{\textquoteright}s formal style, however, was his new conviction that art could bear a social message. This message, according to Beuys, was that "everyone is an artist." In order to implement his idea, as well as a host of supporting notions encompassing cultural and political concepts, Beuys crafted a charismatic artistic persona that infused his work with mystical overtones and led him to be called "shaman" and "messianic" in the popular press. Beuys{\textquoteright}s ability to weld his personal appearance with his work and his performances was an art of rhetoric. He wielded such power as a professor at the Dusseldorf Academy of Art that by 1970, his classes numbered in the hundreds. With the aid of documents from an archive in the Resource Collection of the Getty Center for the History of the Arts and Humanities, I have attempted to reconstruct the conditions that finally made Beuys{\textquoteright}s pedagogy impossible at the Academy. I conclude with an overview of Beuys{\textquoteright}s legacy to contemporary artists, the third generation. In the appendices, a series of interviews with Fluxus artists, the former Director of the Kunstakademie, and Beuys{\textquoteright}s colleagues, provides primary source material that rounds out my vision of Beuys as pedagogue. A comprehensive bibliography with this focus in mind is also included.}, keywords = {19th and 20th century Europe}, author = {Lauf, Cornelia} } @mastersthesis {7618, title = {A Kingdom United: Images of Political and Cultural Union in Ireland and Scotland, c. 1800}, year = {1992}, school = {Yale}, abstract = {This dissertation is about the relationship between the visual arts and the growing concept of political and cultural integration within the British Isles c.1800. In the years before and after the establishment of an enlarged United Kingdom, unity as manifested in the art of the period moved from homage to the center towards a recognition of cultural differences. It will be shown that in the representation of both Scotland and Ireland, the reactionary forces of government or the landed elite consistently resorted to the out-dated formulae of the power-style of the Baroque or the depiction of military heroes to promote their point of view. The discussion begins with a definition of the art of union as it emerged in the context of the relationship between the Celtic Fringe and London as the metropolitan center, during the period. It moves on to examine the relationship between Dublin and Edinburgh in terms of art production, artists{\textquoteright} training, awareness of international trends and the isolation felt by artists working outside the metropolis. In the examination of specific paintings, the move towards cultural integration will be made clear. Those works include Francis Wheatley{\textquoteright}s Volunteers of 1779-80, Vincent Waldre{\textquoteright}s Ceiling at Dublin Castle, c.1780-c.1801, Henry Raeburn{\textquoteright}s portraits of Highland chieftains, and works by David Wilkie such as The Entry of George IV into Holyrood Palace, 1822-30, The Peep-O-Day Boy{\textquoteright}s Cabin, 1835-36 and Sir David Baird discovering the Body of Tippoo Saib, 1835-38. It is concluded that in many of the works discussed regional ethos was lessened in favor of a more palatable universal image. Frequently defined in passive terms, the Celtic Fringe was thus not in a position to create a political or cultural threat to the center.}, keywords = {Baroque and 18th-Century European Art}, author = {Cullen, Fintan} } @mastersthesis {7608, title = {The Koami Family of Maki-e Lacquerers}, year = {1992}, school = {Harvard}, abstract = {The Koami, the most important family of lacquerers in Japanese history, served the nations{\textquoteright} military rulers from the fifteenth to the nineteenth century. Their specialty was maki-e (literally "sprinkled picture"), a decorative technique unique to Japan. Typical maki-e is made by sprinkling powdered gold onto a design drawn in wet lacquer, to which the powder adheres. Developed in the tenth century and given many variations, maki-e is the most refined form of Japanese lacquer decoration. The dissertation is the first analysis of the Koami in a western language. It examines and translates a group of family documents, compiled by the twelfth-generation head Nagasuku (1661-1723). The most complete record of any traditional lacquer workshop, these documents provide detailed biographies and object lists of the first twelve generations of the family. They are also an important source of information for other lacquerers. This dissertation examines several groups of extant objects attributable to the Koami. These demonstrate the development of the family{\textquoteright}s mode of production from approximately 1550 to 1650. Other topics discussed here include workshop organization, patronage, relationships with painters, literary associations of decorative motifs, and the renumeration of artists.}, keywords = {Asian Art}, author = {Samonides, William} } @mastersthesis {7610, title = {Lanfranco and Domenichino: The Concept of Style in the Early Development of Baroque Painting in Rome}, year = {1992}, school = {Pennsylvania}, abstract = {The development of Italian Baroque painting has been characterized in the Twentieth Century as a matter of competitive conflict between two stylistic approaches: a linear/classicistic style grounded in disegno and a painterly style exploiting colore. As focused on the early Baroque painters Domenico Zampieri and Giovanni Lanfranco, this conflict has been discussed in primarily formal terms, with little attention given to the representational functions of varieties of Baroque style. It is clear, however, that seventeenth-century artists and art theorists did not view the problem of style formally, but were rather concerned with the manner in which a style might interpret or support content. Their assessments of painters suggest that style, in the Seventeenth Century, was considered to be inextricably intertwined with subject, sentiment, and expression and that it was also considered to carry informational value. The paintings of Giovanni Lanfranco demonstrate his adaptation and transformation of Carraccesque style for highly visionary or revelatory themes, requiring a treatment at variance with the expository or narrative approach taken by Domenichino, particularly in historical subjects. These approaches, in turn, were related to differing contemporary views of the role and ethical value of art in social and cultural discourse; and they also explain different assessments, or means of describing, the works of these artists and others in the writings of such theorists as Giovanni Pietro Bellori and Carlo Cesare Malvasia. The history of style in the Seventeenth Century should thus be regarded as part and parcel of the general history of ideas, and it should be recognized that style was not fully defined as a purely formal value, exclusive of content, until the Eighteenth and Nineteenth Centuries, when "scientific" and positivistic theories of form elements and their transformation displaced earlier, content-based art theory.}, keywords = {Baroque and 18th-Century Europe}, author = {Kessler, Leslie Brown} } @mastersthesis {7625, title = {The Late Gothic Carved Altarpiece from Brussels: A Catalogue, with an Historical and Interpretive Introduction}, year = {1992}, school = {Brown}, abstract = {The first study devoted exclusively to the late Gothic carved altarpieces made in Brussels, this dissertation catalogues in detail 21 representative examples produced between ca. 1400 and ca. 1525. Using these as evidence, it argues that Brussels shops pioneered the highly popular Brabantine type of altarpiece, and continued to make innovations which shaped the evolution of the type into the early decades of the 16th century; and that the typical form and content of this type was designed to structure and excite devotion in a manner analogous to late medieval meditational handbooks. Adducing close formal and thematic parallels between altarpieces and texts, it seeks to show that the remarkable popularity of these visual objects stemmed from their exceptional ability to respond to the devotional requirements of their age.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Mensel, Karen D.} } @mastersthesis {7603, title = {Li Kung-lin and the Illustrations of T{\textquoteright}ao Ch-ien{\textquoteright}s Returning Home}, year = {1992}, school = {Princeton}, abstract = {In illustrating T{\textquoteright}ao Ch{\textquoteright}ien{\textquoteright}s rhapsody Returning Home, Li Kung-lin (ca. 1040-1106) created a series of images as art-historically far-reaching as it was unique to the late eleventh century. This study revolves around an early twelfth-century copy of Li Kung-lin{\textquoteright}s Returning Home handscroll in the Freer Gallery of Art, in which we behold (1) the importance of this subject to intellectuals of the late Northern Sung, and (2) the complex ways in which Li Kung-lin used past art to express his modern approach. Two later paintings show Li{\textquoteright}s strong influence, but indicate the gap separating him from followers. Chapter 1 summarizes the historical response to T{\textquoteright}ao Ch{\textquoteright}ien, culminating in Li Kung-lin{\textquoteright}s time. Chapter 2 examines literature of Li{\textquoteright}s Returning Home paintings. Some contemporaries paired his Returning Home with his celebrated painting entitled Yang Pass, which reevaluated its subject and the role of painting in general. By the end of the eleventh century at the latest, Returning Home was linked with the Yuan-yu faction. Two middle twelfth-century poems suggest that the subject embodied protest against the status-quo; though paintings of Returning Home in the Southern Sung court would have played a very different role. Chapter 3 discusses the Freer scroll, broadly characterizing it as a "linear mandala" which presents T{\textquoteright}ao Ch{\textquoteright}ien{\textquoteright}s progressive expansion within two separate realms: natural landscape and Confucian social web. The imagery and compositions that Li adopted in depicting these two realms were drawn from distinct pictorial traditions; Li was merging style with content. Li{\textquoteright}s followers converted his composition into a physical continuum, undermining his ideas. Chapter 4 interprets the early Yuan handscroll Kuei-chuang t{\textquoteright}u by Ho Ch{\textquoteright}eng as a copy of a no-longer extant twelfth-century work probably painted for the court, but displaying heavy indebtedness to Li Kung-lin{\textquoteright}s long handscroll composition. It is suggested that Kuei-chuang t{\textquoteright}u{\textquoteright}s model was by a follower of Li working in the court of Emperor Kao-tsung. The conclusion summarizes the Chapters and introduces a third Returning Home scroll whose increased visual unity presages the end of the narrative handscroll format.}, keywords = {Asian Art}, author = {Brotherton, Elizabeth} } @mastersthesis {7571, title = {Manet and the Family Romance}, year = {1992}, school = {Harvard}, abstract = {My thesis proposes a new interpretive model for Manet{\textquoteright}s art, one based on the Freudian idea of the family romance. Manet{\textquoteright}s frequent choices to paint family members and intimates could hardly have been neutral. A pattern of family relationships and desires can be seen to structure his art, both in terms of subject matter and style. The painting of modern life is shown to engender Oedipal desire and a recurring mythology of the family. Manet{\textquoteright}s early depictions of ragpickers, street musicians and gypsies included members of his own family in such disguises: the itinerants themselves become a distinct mythical family. New documentary evidence concerning Manet{\textquoteright}s father, his career with the Justice Ministry and its role in the persecution of these vagrants, suggests a deeper connection between the artist and his subject matter. The thesis questions the Realist, or positivist, account of Manet{\textquoteright}s art. The status of dream images and hallucinations, for instance, was very much in dispute in the 1860s. Cezanne{\textquoteright}s bizarre variations on Le Dejeuner sur l{\textquoteright}Herbe are analyzed as evidence that Manet{\textquoteright}s art could also be seen in dynamic relation to contemporary ideas about the ability of dreams to incorporate repressed desires. New interpretations, illuminated by theories of Freud, Ferenczi and others, suggest that Manet{\textquoteright}s Olympia be seen as a re-enactment of the primal scene; that the Dejeuner sur l{\textquoteright}Herbe be seen as a complex family drama; that such notions as fetishism and exhibitionism are operative concepts in Manet{\textquoteright}s approach to subject matter. The implications of an early articulation by Duranty of the idea of the uncanny are examined with regard to the Dejeuner dans l{\textquoteright}Atelier. The painterly style and notion of subjectivity evidenced in Manet{\textquoteright}s portraits of Berthe Morisot are analyzed in light of Freud{\textquoteright}s Beyond the Pleasure Principle. Manet{\textquoteright}s draughtsmanship is said to be hard-edged and abbreviating, and at the same time, excessive and ambiguous. This convergence of mimetic and anti-mimetic effects is compared to Freud{\textquoteright}s account of the fort/da effect, in which the subject re-enacts the absence and return of the loved one.}, keywords = {19th and 20th century Europe}, author = {Nancy Locke} } @mastersthesis {7645, title = {Marco Boschini{\textquoteright}s {\textquoteright}La carta del navegar pztoresco{\textquoteright}: Art Theory and Virtuoso Culture in 17th-Century Venice}, year = {1992}, school = {Brown}, abstract = {The dissertation examines the biography, artistic works, and writings of Marco Boschini (1608-1678). Boschini{\textquoteright}s importance as a source for understanding baroque culture in Venice stems from his long poem in Venetian dialect, La carta del navegar pitoresco. The Carta describes and praises the works of sixteenth- and seventeenth-century Venetian painters, relating at the same time the instruction of a Venetian nobleman in virtu. The first part of the dissertation examines the ideology of the virtuoso as a product of Boschini{\textquoteright}s milieu and as guiding some of Boschini{\textquoteright}s considerations in composing and addressing his poem. Boschini{\textquoteright}s production of both encomiastic literature and of figurative and topographical prints, which he dedicated to important Venetian and foreign patrons, reflects this ideology. In the second part, Boschini{\textquoteright}s Carta, a central text of Baroque art theory, is considered in depth as a historical and theoretical treatment of the methods and achievements of the Venetian painters. Boschini successfully defended these painters against the negative criticisms of Vasari and other central Italian theorists. He did so, however, on the grounds that Venetian painters were more idealistic, not that they abided by different criteria for successful painting. I argue that Boschini can no longer be seen as a source for alleging colorism or sensualism as aims on the part of these artists. Neither were these criteria positive values within Boschini{\textquoteright}s critical system. At the same time as Boschini defends Renaissance painters such as Titian, he is also concerned to promote the patronage of living Venetian painters such as Pietro Liberi and Pietro della Vecchia. He sees such patronage as a prerogative of aristocratic virtu. Ahistorical notions of Boschini{\textquoteright}s importance as a precursor of modern esthetics are thus corrected by a reading which stresses his reciprocal relation with his context. Appendices present transcriptions of unpublished archival material (including letters to and from Boschini, and the inventory of Boschini{\textquoteright}s patron Giovanni Nani{\textquoteright}s collection) and an annotated checklist of Boschini{\textquoteright}s works as painter, draughtsman, printmaker and cartographer. The dissertation thus provides a synthetic study of Boschini, his writings and his artistic works, as well as his context.}, keywords = {The Renaissance}, author = {Merling, Mitchell} } @mastersthesis {7573, title = {Memory and Modernity: Architectural Restoration in France, 1830- 48}, year = {1992}, school = {Northwestern}, abstract = {This dissertation considers the formation of a national government policy on the restoration of historic monuments in France during the July Monarchy (1830-1848). Through an examination of five case studies of buildings restored during the period (the abbey church of St. Denis, the cathedral of Notre-Dame in Paris, Rouen cathedral, the church of St. Ouen in Rouen, and the church of the Madeleine in Vezelay) I examine the ways in which architectural restoration was politicized in France. In specific, I bring to light the struggles between provincial and Parisian authorities, and between the Catholic church and the secular architectural services of the national government. By specifying the particular economic and administrative circumstances under which these restorations were carried out, I show how architectural theory was given concrete form in restoration projects. The authors of the new concept of architectural restoration that came about during the July Monarchy were primarily Prosper Merimee and Eugene-Emmanuel Viollet-le-Duc. The cases examined show how these two administrators manipulated the government bureaucracy in order to advance Parisian control over historic monuments. I situate these two men with respect to concepts of history and to theories of modernity advanced around 1830 in order to show that the concept of architectural restoration they promoted was a product of new ideas about memory and modernity.}, keywords = {19th and 20th century Europe}, author = {Kevin Murphy} } @mastersthesis {7631, title = {The Mihrab Concept: Palatial Themes in Early Islamic Religious Architecture}, year = {1992}, school = {Harvard}, abstract = {Although the mihrab is one of the most important features of Islamic architecture, its origins, functions, and early significance are unknown. Scholars generally agree that the mihrab, as a concave niche in the qibla wall of a mosque, first appeared in Medina in 707-709 and was subsequently adopted in all mosques of the Islamic world. Despite its connections with prayer ritual and with Medina, the mihrab is characterized by several medieval scholars as an "undesirable innovation." By examining the meanings of the term mihrab in medieval lexicography, Qur{\textquoteright}anic exegesis, and poetry, and comparing these meanings to architectural developments in the Umayyad period, this study suggests that the term refers to the particular mosque type that was created by the Umayyads in the first two decades of the eighth century and was abolished in the middle of the eighth century. Accordingly, the mihrab becomes a critical indicator of change in architectural forms and traditions under the Umayyads and Abbasids, and leads to a reevaluation of its role in the Umayyad architectural synthesis and in the development of early Islamic architecture.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Nuha Khoury} } @mastersthesis {7644, title = {Music in Sixteenth Century Italian Painting, 1480-1580: A Study in Iconology}, year = {1992}, school = {UC Santa Barbara}, abstract = {The role of music and music education was a vital part of daily court life and private society in sixteenth-century Italy. At the court of Ercole I, in Ferrara, for example, music was seen humanistically, as a means of cultivation of a man or woman of high rank, as well as a source of pleasure and diversion. Training in music was a major element in the education of all Ercole I{\textquoteright}s children. Of these, Alfonso, Ippolitio, Beatrice and Isabella became great patrons of music. The importance of music is illustrated in both contemporary literature, like Castiglione{\textquoteright}s The Courtier and in the large number of villas and castles where entire rooms are decorated with frescoes devoted to the theme of music. The Castello del Buonconsiglio at Trento is a prime example. Here, Romanino painted, in the lunettes of the loggia, three musical groups performing; each one alternates with a lunette depicting a dramatic performance such as the Death of Cleopatra. Elsewhere in this building, Romanino painted single figures singing or playing a musical instrument. In addition to frescoed walls, there exist a greater number of panel paintings of single figures which may be intended as portraits of musicians, such as Pontormo{\textquoteright}s portrait thought to be Francesco Layolle (Florence, Galleria degli Uffizi), self-portraits of artists as musicians, like the painting by Sofonisba Anguissola (Naples, Museo Nazionale di Capodimonte) where she depicts herself playing a clavichord and of patrons of musicians as themselves in which the figure usually holds or is represented with a sheet of music, or as allegorical representations, such as Bronzino{\textquoteright}s Portrait of Cosimo I de{\textquoteright} Medici (Philadelphia, Museum of Art). In the multiple-figure groups, a wide variety of themes are represented ranging from performing musicians such as Lorenzo Costa{\textquoteright}s Concert (London, National Gallery of Art) through allegorical and moralizing scenes, for example, Giulio Campi{\textquoteright}s Allegory of Vanity (Milan, Museo Poldi Pezzoli) to depictions of couples in amorous situations like Cariani{\textquoteright}s Lovers in a Landscape (Rome, Palazzo Barberini). This study required a detailed examination of the relationship between these paintings and their cultural milieu through an examination of contemporary humanistic thought, education and theoretical writings on music, as well as, a study of the literature, poetry and theater of the period. This in turn tells us about the importance of secular music as depicted in the paintings and the interrelationship between painter, patron and musician.}, keywords = {The Renaissance}, author = {McIver, Katherine A.} } @mastersthesis {7635, title = {The Origins and Characteristics of Early Modern Cuban Painting}, year = {1992}, school = {Florida State}, abstract = {No record in ProQuest}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Martinez, Juan} } @mastersthesis {7639, title = {The Other Renaissance: Florentine Painting in the Shadow of Masaccio}, year = {1992}, school = {Georgia}, abstract = {As scholarship embarks upon new, fresh approaches to the history of Renaissance art, many studies have emphasized the social and cultural environment in Florence of the early fifteenth century. The lesser-known painters of the period, the "minor masters," whose contribution to the period has been obscured by scholarship of the past, may now be seen to contribute significantly to our understanding of the Renaissance as a whole. The minor masters form a group of painters with certain common cultural and stylistic characteristics. The patronage of the works of the minor masters is distinguished by its concentration in the countryside of Florence, especially in the rural churches, chapels and tabernacles in the Upper Valdarno. The minor masters relied upon the "minor arts," such as miniatures, domestic tabernacles and marriage chests, and on works of craft, such as gilding candlesticks for the bulk of their production in the workshop. The conservative style of the minor masters was encouraged by the nature of their patronage and workshop practices. Paintings in country tabernacles and churches required traditional images. The stipulations in the documents indicate that craft, materials and traditional subjects were important to patrons. The continuous practice of the "minor arts" and the alternation of that practice with larger works, such as frescoes and altarpieces, helped to perpetuate a non-monumental style. Termed the "miniaturist tendency," the characteristics of the style are exactitude, brilliance in coloring, linearity, attention to detail, a jewel-like surface and a technique of rendering in small, parallel strokes with the point of the brush. The "miniaturist trend ran counter to the broad, monumental style of Masaccio. The minor masters form a bridge from the Trecento to the Renaissance. They were solidly founded upon Trecento principles in regard to design, composition and technique. They responded to the major masters of the era, to Lorenzo Monaco, Masaccio and Fra Angelico in an additive way. They formed the link to later Renaissance artists such as Botticelli and Filippino Lippi who continued to reflect a linear, non-monumental approach to design and to practice a miniaturist technique.}, keywords = {The Renaissance}, author = {Bailey, Helen Elizabeth} } @mastersthesis {7619, title = {Painting and the Market: Pictures of Display and Exchange from Aertsen to Snyders}, year = {1992}, school = {Yale}, abstract = {This dissertation explores the ways in which the art of painting represented and mediated the concerns of the market in the Southern Netherlands between 1550 and 1650. Those concerns included the creation of value through desire for displayed objects, the responsibility of the buyer{\textquoteright}s judgement, and the ways in which social and economic status were invented or enacted upon the marketplace. These issues in turn informed the practice of painting itself, defined its power and determined its validity. The study begins with a discussion of new economic trends in 16th-century Antwerp, which repositioned the roles of the market in society and of the commodity in exchange. The art market participated in these changes, as paintings took on the status of commodities whose value was determined through processes of the open market. The discourses of painting and the market first and most forcefully encountered each other in the work of Pieter Aertsen. Chapter II concerns his attempts to justify pictorial art, whose validity was being questioned by reformers and actively negated by iconoclasts. Aertsen embraces the definition of painting as an alluring commodity which arouses in its beholder "desires" at once erotic and economic. Aertsen{\textquoteright}s nephew, Joachim Beuckelaer, took up picturing the marketplace as a site where these desires occur, and where choices must be made within the Christian morality of proto-economic understanding. Chapter III covers his marketplaces of judgement, and discusses the Christian economics which informed them. Chapter IV deals with market imagery after the Spanish reconquest of the Southern Netherlands. In this period of economic and social retrenchment the market was again redefined, now as a part of the natural process of provision. Market scenes were produced which embodied the orders of nature, such as the seasons and the elements. Within this context, social orders too became "naturalized," and market exchange ceases to be a dynamic process of self-definition. The dissertation ends with Frans Snyders, in whose work the market-piece becomes a form of still-life painting in which commodities are unambiguously displayed as gifts of nature for the possession of the wealthy beholder.}, keywords = {Baroque and 18th-Century European Art}, author = {Elizabeth A. Honig} } @mastersthesis {7583, title = {Past Knowing: Frederick Remington{\textquoteright}s Old West}, year = {1992}, school = {Yale}, abstract = {This dissertation explores Frederic Remington{\textquoteright}s art as an embodiment of attitudes in the turn-of-the-century industrialized eastern United States. It does so by examining the art as an expression of the anti-immigration sentiment of Remington and others of his race and class; and as an expression of the era{\textquoteright}s general sense of utter separation from an idealized pre-industrial past. The dissertation employs Remington{\textquoteright}s art as primary documentation of these themes. Relying on methods derived from literary theory, psychoanalysis, material culture studies, and art history, I treat many of Remington{\textquoteright}s paintings and several of his sculptures as complex texts requiring extensive interpretation to be understood in historical context. Chapter one, "Figures in the Carpet: Finding Meanings in Remington{\textquoteright}s Art," establishes the methods of interpretation I use throughout the dissertation. Chapter two, "Bang, Splat, Thud: The Rhetoric of the Real," examines the rhetorical devices in Remington{\textquoteright}s art, and in the writing about the art, that have led both critics and admirers of western art to proclaim its straightforward historical accuracy. Chapter three, "Silent Speaking: Remington and Race," shows how Remington{\textquoteright}s purportedly documentary images of Indian life in fact construct Indian identity according to certain stereotypes. Chapter four, " {\textquoteright}I Saw Men Swarming into the Land{\textquoteright}: Old West and Urban East," shows how these same racial stereotypes allegorized the fears of Remington and other self-conscious Anglo-Saxons concerning the large numbers of immigrants annually entering the United States. Chapter five, "The Partiality of the Past: Remington and Time," the first of three chapters concerning Remington{\textquoteright}s sense of hopeless distance from the past, demonstrates how a sublimated imagery of passing time undermines the historical accuracy of three of Remington{\textquoteright}s paintings. The wild western action of these paintings, in my interpretation, turns out to be only an allegory of the time disastrously mediating between the past and the historical artist striving for its precisely accurate representation. Chapter six, "Spotted Stars: Remington and Christian Themes," shows how Remington linked the Old West to Christian themes as a way of counteracting its physical disappearance. By connecting cowboys and Indians to concepts of the eternal and timeless, he tried to take the Old West out of time altogether. His paintings document his attempt and failure to make the Old West timeless in this way. Chapter seven, "Merely Paint," demonstrates how Remington came unconsciously to focus upon his very medium as an intractable obstacle to the retrieval of the past. His late paintings, I argue, repeatedly allegorize the difference of paint from what it represents, such that the figures in these paintings--figures by turns curious, fearful, or angry--may be understood as reacting to their "merely painted" status.}, keywords = {Art of the United States and Canada}, author = {Alexander Nemerov} } @mastersthesis {7648, title = {Pius II and the Sienese Renaissance: The Altarpieces for Pienza Cathedral}, year = {1992}, school = {Columbia}, abstract = {Between 1459 and 1460 the Sienese Pope, Pius II, commissioned five altarpieces for his newly built Cathedral in Pienza, from the four most esteemed artists in Siena at this date: Giovanni di Paolo, Sano di Pietro, Vecchietta, and Matteo di Giovanni. The object of this study is to consider these works within the context of a coherent decorative and iconographic program that ultimately reveals Pius{\textquoteright} deep-rooted ties to the Sienese Renaissance culture in which he was first educated; a culture which exposed him to the new, while instilling in him its spiritual conviction and profound attachment to its native medieval heritage. The first chapter is devoted to a brief biography of Pius II, aimed at defining the extent of the influence of his Sienese background on his intellectual and spiritual formation. In the process it considers the impact of such a background on the single overriding concern of his pontificate: his unrelenting efforts to promote a final crusade against Islam. The second chapter examines the original arrangement of the altarpieces in Pienza Cathedral and the dedication of their respective chapels, revealing the existence of a hitherto unrecognized relationship between them and those nephews to whom Pius entrusted the patronage of his newly-built cathedral. The third chapter is devoted to a detailed analysis of the altarpieces in terms of the evolution of that distinctively Sienese humanist style which was to dominate local artistic production in the immediate wake of Pius{\textquoteright} pontificate. Combining the spatial and formal requirements of a Renaissance tavola quadrata, here for the first time introduced in Sienese soil, with expressive and decorative elements tied to a native Gothic heritage, such an idiom provides a visual equivalent to the complex nature of Pius{\textquoteright} personality, caught between the most progressive humanist thought and an inherently medieval religious sensibility. The fourth chapter considers the altarpieces within the context of a cohesive iconographic program, specifically determined by Pius{\textquoteright} crusade ideal and his intended martyrdom for the defence of the Faith. My conclusions are based on an analysis of the particular circumstances surrounding the Pope{\textquoteright}s entire Pientine project, on the iconography of the altarpieces, and on the special significance of the relics donated by Pius to his cathedral--to which are related three hitherto unnoticed portrait-heads included in the decoration of the cathedral{\textquoteright}s choir-stalls.}, keywords = {The Renaissance}, author = {Palladino, Pia} } @mastersthesis {7594, title = {The Politician and the City: Urban Form and City Beautiful Rhetoric in Progressive-Era Denver}, year = {1992}, school = {UT Austin}, abstract = {This study explores the relationship of the arts of politics and city building in America during the progressive Era, when urban reformers struggled to reshape their cities according to a new positive, holistic image that they called the City Beautiful. Denver provides an archetypal case for examining the political processes by which City Beautiful advocates negotiated their ideals of environmental reform in a capitalist democracy, where comprehensive improvements depend on voter consent. During the mayoralty of Robert Speer (1904-1912, 1916-1918), voters approved bond issues enabling the implementation of paradigmatic City Beautiful schemes that brought Denver to the forefront of the movement. Through analyses of political and reform rhetoric, urban plans, architectural projects, and voting patterns, this work investigates Speer{\textquoteright}s use of City Beautiful ideals to build a power base and the ways in which political realities--especially opposition to his mayoralty from more "radically" Progressive opponents--tempered those ideals. Chapters one and two trace Denver{\textquoteright}s nineteenth-century growth to understand the forces that shaped the city and its political constituencies and to establish the needs that the City Beautiful addressed. Chapter two also identifies the roots of City Beautiful reform in the park movement of the 1880s and the concomitant modifications in municipal government that gave officials the power to direct urban development. Chapter three follows "Boss" Speer{\textquoteright}s rise to political prominence as a case study of the complex nature of reform politics in the Progressive Era and of institutional and structural reforms, which enhanced mayoral powers and the ability of municipal officials to initiate and realize improvement projects. The remaining three chapters assess, within the intense ten-year span of Speer{\textquoteright}s mayoralty, the political acumen with which he brought nationally recognized designers including Charles Mulford Robinson, George Kessler, Frederick MacMonnies, and Edward Bennett to Denver as consultants and developed a series of City Beautiful projects that included a municipal auditorium, a bath house, memorial sculpture and pavilions, a civic center, and intra- and extra-urban parks and parkways. Although earlier histories may have marginated Denver, this study demonstrates that the city occupied a prototypical position in early twentieth-century American politics and urban reform.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Reese, Carol McMichael} } @mastersthesis {7623, title = {The Porte des Comtes Atelier of Saint-Sernin in Toulouse and the Romanesque Sculpture of Southwest France}, year = {1992}, school = {UNC Chapel Hill}, abstract = {This dissertation is the first study of the formation and dissemination of one of the most influential and internally consistent repertories of artistic forms in the Romanesque sculpture of southwestern France. This repertory of artistic forms is first encountered in the works of the first sculptural atelier active at Saint-Sernin--named the Porte des Comtes atelier after the decoration of one of the earliest Romanesque decorated portals in southwestern France. Similar, but not identical, repertories of artistic forms can be found at four sites in Gascony--Saint-Sever de Rustan, Saint-Sever, Mazeres and Lescar. This dissertation focuses on the role of ateliers and atelier traditions in the creation and dissemination of a major style of Romanesque sculpture. The transmission of this style can be best identified and studied in the context of the atelier. This study examines the creation of a repertory of artistic forms and an atelier tradition at Saint-Sernin, and follows the diffusion of many of these artistic forms to buildings in Gascony, by ateliers composed of sculptors from Saint-Sernin. These artists{\textquoteright} travels are part of a general movement of sculptors (but not masons or architects) from neighboring regions into Gascony. At each of the Gascon buildings decorated by teams of Porte des Comtes sculptors, the sculptors work independently of the local masons; architecture and architectural sculpture at these buildings are the work of different individuals and belong to different traditions. In Gascony, as a result of the concentration of ateliers issuing from many different artistic traditions, especially in buildings along the Garonne and Adour rivers, there are many instances of artistic exchange between different sculptural traditions. This is the initial stage in the creation of the first international style of Romanesque sculpture, the so-called Pilgrimage Roads style. The Gascon ateliers composed of former Porte des Comtes atelier members play a key role in the dissemination of Languedoc artistic forms, one of the major components of the Pilgrimage Roads style, into southwest France.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Jost, Marie A.} } @mastersthesis {7585, title = {Portraits of Artistry and Artifice: The Career of Sir James Jebusa Shannon (1862-1923)}, year = {1992}, school = {CUNY}, abstract = {From the late 1880s until the end of the first decade of the twentieth century, James J. Shannon shared the greater portion of British patronage for portraiture with his illustrious fellow American expatriate, John Singer Sargent. While Sargent{\textquoteright}s career is well documented, this dissertation provides the first scholarly assessment of Shannon{\textquoteright}s life and work and places his art in the contexts of American and British art history. Chapter One is a straightforward narrative of the artist{\textquoteright}s life designed simply to give a summary of the artist{\textquoteright}s personality and lifestyle. Chapter Two is a chronological survey of his art that examines the stylistic modes he engaged (which reflect the intersection of major movements in English and French art at the time) and how these formal variations were perceived in contemporaneous appraisals in the press. The five remaining chapters address areas of particular importance which, had they been included in the chronological outline of his career, would have proved unwieldy interruptions in the flow of the text. These issues include patronage; exhibition patterns and professional affiliations; a comparison of the careers of Shannon and Sargent; a discussion of the elements of tradition and innovation with special focus on Shannon{\textquoteright}s part in the Neo-Georgian portrait revival style; and a final discussion concerning whether or not Shannon should be classified among American or British artists. Shannon{\textquoteright}s painting methods were many sided throughout his career. These stylistic disparities in part reflect the problems traditionally encountered by the portrait specialist, who must adjust his art to suit his patron{\textquoteright}s taste. However, it is suggested here that the apparent disunity within Shannon{\textquoteright}s oeuvre is a manifestation of the general unrest that swept the art community in England in the 1880s and 1890s, as an insular culture began to assume a cosmopolitan identity.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Gallati, Barbara} } @mastersthesis {7578, title = {Primitivism, "Neoprimitivism", and the Art of Natal{\textquoteright}ia Goncharova, 1907-1914}, year = {1992}, school = {Yale}, abstract = {This study retraces the retrospective formulation of Neoprimitivism, and examines the senses in which vanguard art was perceived as radical by the exhibition-viewing public in Russia during the period 1907-1914. By virtue of her participation in critical exhibitions and debates, and in terms of the many gender-specific responses to her paintings, Natal{\textquoteright}ia Goncharova is shown to have played a major role both in the formation of groups, and in defining the radical nature of vanguard art. Chapter 1 situates the formation of the Jack of Diamonds{\textquoteright} group, their confrontational posture and esthetics, within the context of student exhibitions at the Moscow School of Painting Sculpture and Architecture, by drawing from archival material, memoirs and press reviews. This chapter represents the School{\textquoteright}s involvement with the revolutionary movement of 1905-06 as starting point for confrontations among students, faculty and the administration, setting the stage for future debate over the "autonomy of art." Diagilev{\textquoteright}s Section Russe of the Salon d{\textquoteright}automne is seen as having contributed to the vanguard generation{\textquoteright}s understanding of a "national" school, and the problem of Russian derivativation vis-a-vis West-European culture. Chapter 2 develops this issue in the formation of vanguard groups, drawing attention to the oppositional character of vanguard activities. This chapter recounts the formation and fragmentation of the Jack of Diamonds group through debates among artists and within the press over the issue of creating a new national school of Russian painting. Chapter 3 examines Goncharova{\textquoteright}s dual position regarding the popular arts in Russia: her commitment to synthesizing western and eastern traditions in the visual arts recast the debate over Russian derivation as a dialectic between origin and copy, individual and collective concepts of creativity. Goncharova{\textquoteright}s statements to the press, and her paintings, are discussed with particular attention paid to her large serial and cyclical compositions of rural subject matter which represent her interest in recreating a tradition of monumental, decorative art in Russia. The last chapter presents an argument for Goncharova{\textquoteright}s unique position among vanguard artists, in the events of her large retrospective exhibitions, the reception of her work in the genre of the nude, and her religious imagery. She is shown to have reached a level of prominence unusual for a vanguard artist, and particularly for a woman. Chapter 4 and the conclusion examine the ways in which assumptions regarding gender difference in the visual arts, cast her work as radical, and in the instance of her 1910 trial, criminal.}, keywords = {19th- and 20th-Century European Art}, author = {Jane A. Sharp} } @mastersthesis {7576, title = {The Processional Sculpture of Penitential Confraternities in Early Modern Seville}, year = {1992}, school = {UT Austin}, abstract = {The Early Modern period of Spanish history saw tremendous growth in the numbers and popularity of penitential confraternities, groups of laymen and women who banded together in devotion to various moments or aspects of the Passion of Christ. In Seville, at that time the third-largest city in Europe and the gateway to the New World, these groups were integral to the rhythms of secular and religious life. Their activities culminated each year during Holy Week when they staged lavish public processions for which they commissioned elaborately carved and polychromed wooden sculptures. Through their sculptural commissions and their penitential processions, the confraternities made significant contributions to the religious and artistic life of Early Modern Seville. The activities of the confraternities as artistic patrons has never been systematically examined in the literature. Although some evidence of previous processional images exists, the penitential confraternities were responsible for popularizing and fully developing this form of sculpture. Because of their specialized patronage and function, the processional images of the penitential confraternities merit consideration as a distinct sculptural genre, since they bear unique characteristics that significantly distinguish them from other types of sculpture. During this time, the sculptures were equipped with moveable limbs, glass eyes and tears, wigs of human hair, and extremely natural polychromy of the flesh tones. A thorough investigation of documents of commission, confraternity records, and contemporary chronicles reveals that these images were specifically designed to address and affect a public audience. This type of sculpture came to function on multiple levels, both secular and spiritual. This dissertation first investigates the origins and development of the penitential confraternities in order to establish the unique characteristics of the patrons. It then examines the evolution and morphology of the sculptures, and establishes their essential and distinguishing features. Finally, it explores the experiential dynamic that occurred between image and audience in the context of the penitential procession, and assesses the artistic significance of these sculptures for the religious and artistic life of Early Modern Seville.}, keywords = {19th and 20th century Europe}, author = {Webster, Susan Verdi} } @mastersthesis {7627, title = {The Queen Mary Psalter: Narrative and Devotion in Gothic England}, year = {1992}, school = {UT Austin}, abstract = {The Queen Mary Psalter (London, BL Ms. Royal 2B.vii, ca. 1310-20) stands out among English manuscripts for its graceful drawing style and for the choices that dictated its evocative contents. A single anonymous master enlivened its devotional texts with a complex, three-tiered decorative program, which is preceded by an Old-Testament picture cycle. Many studies have addressed the Psalter{\textquoteright}s distinctive style, but the significance of its unusual contents has never been explored in any depth. This dissertation focuses on three aspects of this manuscript. First, the Psalter{\textquoteright}s narratives were edited to emphasize three themes: the importance of women{\textquoteright}s actions, and of strong kinship ties, and the need for responsible leaders. Second, each decorative program dictates a different kind of reading. The preface depicts scenes from the Creation to the death of Solomon in delicate, tinted drawings. This section is a linear narrative with an Anglo-Norman text in a small, informal script, and is presented as an intimate reading experience. The Latin psalter proper, which includes typical devotional texts written in a large, formal script, is a less intimate section. Three separate but interwoven levels of decoration accompany these texts: historiated initials, marking their devotional divisions; large, brilliant illuminations, depicting scenes from Christ{\textquoteright}s life; and bas-de-page drawings, decorating every folio with tales from the bestiary, courtly life, the miracles of the Virgin, and the lives of the martyred saints. Each of these levels acts either as a linear narrative or as enhancement for the non-linear devotional texts. Finally Royal 2B.vii is examined in terms of its devotional and didactic uses. The manuscript is a unique compromise between older narrative emphases and later medieval devotional trends, and its inclusion of biblical, social, and natural history would have made it a useful teaching tool. Thus the Queen Mary Psalter, examined as a carefully designed, functional codex for the first time, is viewed as a combination of prayerbook, history book, and primer.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Anne Rudloff Stanton} } @mastersthesis {7632, title = {Realism in Greek Art of The Archaic Period}, year = {1992}, school = {Princeton}, abstract = {Of all the branches of ancient art, the art of Archaic Greece may stand to profit most by assiduous re-examination of the truisms about it which have been nourished for decades. Te notions that archaic art is uniform and not realistic, and that, because of those tendencies, there were no portraits in the Archaic period, are prime examples of the kind of thinking that this dissertation challenges. Chapter One begins with a survey of the history of scholarly reception of the primary subjects of this study, the Late Archaic korai from the Athenian acropolis, including theories about their interpretation and a brief discussion of the dates of their creation. Chapter Two is concerned with the terminology that I use to discuss realism in Archaic art as well as the concepts behind the terminology, with the goal of establishing at the outset a reasonable level of discourse at which the dissertation may proceed. Next, the methodology is put to use in an analysis of the korai from the acropolis, which makes up the main part of the dissertation. Chapter Three is a discussion of the physical appearances of the korai revealing that, rather than being homogeneous as is generally assumed, no two are alike. In fact, the visual evidence suggests that these korai may be among the earliest extant realistic portrait images in Greek art. Chapter Four places the korai within the context of their age, using literary and documentary evidence to corroborate the realism that can be seen in the statues. In Chapter Five, moving away from Athens, I use realism as a peg upon which to hang a study of personal artistic styles, or "hands," to be found in Arethusa heads on the reverses of Syracusan coins from the Late Archaic/Early Classical period. In order to make a case for Archaic portraiture, in the sixth chapter, I investigate a number of literary and epigraphical testimonia from antiquity to discover what the ancients{\textquoteright} idea of "realism" or "portrait" may have included in the Late Archaic period.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Stieber, Mary C.} } @mastersthesis {7612, title = {The Rebuilt Chateau in the Work of Jules Hardouin-Mansart}, year = {1992}, school = {Princeton}, abstract = {This study examines how the architect Jules Hardouin-Mansart (1646-1708) dealt with a specific problem in architectural design: the rebuilt chateau. Although it has received relatively little scholarly attention, the practice of rebuilding existing buildings was widespread. It was particularly pronounced in the work of Mansart. In the introductory chapter, I explore this building phenomenon and the reasons for its popularity in France, as well as those behind its scholarly neglect. The next three chapters are monographic studies of three chateaux rebuilt by Mansart in the 1680s: Saint-Germain-en-Laye, Chantilly, and Dampierre. In each case, I examine the state of the building before Mansart{\textquoteright}s intervention, Mansart{\textquoteright}s design procedures, the progress of construction, and the ultimate results. Rejected projects and demolished buildings are reconstructed on the basis of drawings and construction contracts. Each case is analyzed for the motivations behind design decisions. The fifth chapter examines Mansart{\textquoteright}s design decisions in the light of Renaissance architectural theory. I attempt to establish Mansart{\textquoteright}s own theoretical approach to the problem of the rebuilt chateau, using the three case studies above and examples drawn from the rest of Mansart{\textquoteright}s oeuvre. The results indicate that Mansart had a considerable appreciation for the architecture of earlier periods. The final chapter assesses Mansart{\textquoteright}s influence in this particular area of architectural design, both in France and abroad. In addition to enlarging our knowledge of individual projects by Mansart, this study presents the argument that the ideas and procedures involved in this sort of "contextual design" can greatly inform our understanding of Mansart{\textquoteright}s work as a whole.}, keywords = {Baroque and 18th-Century Europe}, author = {Rabens, Michael} } @mastersthesis {7643, title = {Reconsidering Durer: Synthesis of Northern and Italian Renaissance Painting Techniques}, year = {1992}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {The Renaissance}, author = {Luber, Katherine Crawford} } @mastersthesis {7640, title = {Retrospection and Response: The Medici Palace in the Service of Medici}, year = {1992}, school = {Pittsburgh}, abstract = {This dissertation interprets the Medici Palace and its contents through an examination of the political history of Cosimo de{\textquoteright} Medici and his family from the 1420s through the 1460s. Although Cosimo de{\textquoteright} Medici commissioned the palace, no study has addressed at length the relationship between the specific events of his political history and the architecture and contents of the palace. In the 1420s and early 1430s, Florentine politics became divided between political parties led by the Albizzi and Medici families. In 1433 Rinaldo degli Albizzi exiled Cosimo de{\textquoteright} Medici and his partisans from Florence; one year later, forces loyal to Cosimo had him recalled to the city and in turn Cosimo exiled Rinaldo and his supporters. From 1434 to his death in 1464, Cosimo worked to secure the Medici regime in Florence. The most threatening challenge came from within the Medici party itself in the mid 1450s, when Cosimo{\textquoteright}s palace, begun in 1445, was well underway. In view of this history, this dissertation argues that the palace and its contents are best understood as a product of the formative years of the Medici regime and those years when the regime appeared on the verge of collapse. In addition to Florentine history, Dante{\textquoteright}s Divine Comedy and Neoplatonic thought of the mid fifteenth century are proposed as sources for the iconography of the palace{\textquoteright}s initial artistic embellishments: Donatello{\textquoteright}s David and Judith and Holofernes, Benozzo Gozzoli{\textquoteright}s Journey of the Magi frescoes, Filippo Lippi{\textquoteright}s Adoration of the Child, the Pollaiuoli Labors of Hercules, and Paolo Uccello{\textquoteright}s Battle of San Romano. In order to assess the political efficacy of the Medici Palace and its contents after Cosimo{\textquoteright}s death, the dissertation also includes the period of Piero di Cosimo{\textquoteright}s succession (1464-1469) and the public appropriation of palace property after the second expulsion of the Medici (1494).}, keywords = {The Renaissance}, author = {Crum, Roger Joseph} } @mastersthesis {7582, title = {The Rigors of Freedom: The San Francisco School of Abstract Expressionism}, year = {1992}, school = {Yale}, abstract = {This dissertation traces the emergence and development of San Francisco Abstract Expressionism from the early years of World War II through the end of the 1950s. The study discusses the history of the movement, its local antecedents, its institutional setting, and its national context, while examining the individual careers of a number of the artists in the group, including Clyfford Still, Richard Diebenkorn, Edward Corbett, Hassel Smith, and Frank Lobdell. One of the principal arguments of the dissertation is that Abstract Expressionism derived from a much broader impulse than is currently recognized, and that the genesis of Abstract Expressionism was decentralized. The study recovers common knowledge from the 1940s, clear to artists in both San Francisco and New York, that San Francisco played an important role in the development of Abstract Expressionism. At the same time, the dissertation concludes that San Francisco Abstract Expressionism differed from its New York counterpart in important respects, both ideologically and stylistically. Tracing those characteristics as they entered in varying degrees the work of individual artists associated with the California School of Fine Arts, the dissertation explores the ways in which the movement was shaped by a distinct set of geographical, cultural, and historical circumstances.}, keywords = {Art of the United States and Canada}, author = {Landauer, Susan} } @mastersthesis {7607, title = {The Role of Jade in the Late Neolithic Culture of Ancient China: The Case of Liangzhu}, year = {1992}, school = {Pittsburgh}, abstract = {Large numbers of Late Neolithic jade-yielding sites have come to light in a broad expanse of China in the past two decades. In particular, the unprecedented quality and quantity of the Liangzhu jades, recovered from sites in the Lower Yangtze River Valley of southeastern coastal China, have attracted the attention of many scholars in recent years. This study is an attempt to take the Liangzhu culture as a case study for the analysis of the cultural setting of Chinese Late Neolithic jade. These jades are regarded not only as pure art forms but as important cultural documents. On the basis of the archaeological distribution of Chinese jades found at Late Neolithic sites, an attempt is made to situate the Liangzhu culture and its jades within the context of the whole period and to compare it with other groups. Following a detailed investigation of the placement of jades within Liangzhu burials and their distribution among Liangzhu culture sites, ideas about the social and political significance of these jades are then offered. The special nature of bi and cong, the divine symbols of Heaven and Earth in early Dynastic China, and their characteristic placement in earlier Liangzhu graves, strongly support the suggestion that, as early as 3000 BC, these jade objects were important components of the ritual ceremony, as well as symbols of political authority. The widespread distribution of bi and cong outside the Liangzhu domain signals the expansion of the Liangzhu sphere of influence and points to its central role in the integration of Chinese culture through the operation of inter-regional interaction. It thus recasts the whole problem of the nature of Liangzhu society and challenges the orthodoxy of giving primacy to the North in the development of Chinese civilization.}, keywords = {Asian Art}, author = {Huang, Tsui-Mei} } @mastersthesis {7601, title = {Romantic Landscape Painting in America: The Influence of J.M.W. Turner}, year = {1992}, school = {CUNY}, abstract = {Even before John Ruskin{\textquoteright}s widely read Modern Painters swept Americans off their feet, they were taken with J. M. W. Turner. This dissertation is a study of their response. (An overview of the American reaction to Turner after the middle of the century and therefore after the publication of Ruskin{\textquoteright}s volumes is presented in the conclusion.) The first chapter of the dissertation assesses the impact of the great number of fine prints after Turner{\textquoteright}s designs, which flooded the market and established his reputation in America during the first decades of the century. The importance of these prints cannot be overestimated; they were, for the most part, the only contact Americans had with Turner{\textquoteright}s art. Written commentaries on Turner, also surveyed in the first chapter, reveal a wide range of opinion. Indeed, this divided reaction suggested the title of the dissertation. Washington Allston, who was admiring, likened Turner to the stars of the Great Bear constellation, while Thomas Cole saw him as "the prince of the evil spirits." An assessment of the artistic reaction to Turner (begun in the first chapter) includes brief studies of a number of artists who were active during the first half of the century: Robert Salmon, Alvin Fisher, Thomas Doughty, William Henry Bartlett, Alfred Jacob Miller, George Loring Brown, and others. Asher B. Durand and James Hamilton warranted more detailed discussions. Allston and Cole are each treated in lengthy chapters of their own. Allston, who was introduced to Turner{\textquoteright}s work during his first stay in London, demonstrated his interest as early as 1804 with his Turneresque seascape, Thunderstorm at Sea. But perhaps the Turners that Allston saw at Petworth House during his second stay in England and just before returning to America in 1818 had the most substantive impact, one which can be measured in his late American landscapes. Cole was first exposed to Turner through prints, which were available in New York where he settled in 1825. The impact of Turner{\textquoteright}s great historical landscapes, however, which Cole first viewed in London in 1829, outweighed even that of the prints. For Cole shared with Turner a lifelong commitment to landscapes "elevated" with "poetic" content. His impassioned protestations of distaste for the so-called excesses of Turner{\textquoteright}s art, expressed after his initial enthusiastic reaction in 1829, obscure neither his artistic debt to the English painter nor the common ground between them.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Wallace, Marcia} } @mastersthesis {7577, title = {The {\textquoteright}Second Occupation{\textquoteright}: American Expatriate Painters and the Reception of American Art in Paris, 1946-58}, year = {1992}, school = {Brown}, abstract = {This study documents and analyzes specific encounters between Paris and New York during the first decade following World War II, with an eye to locating the aesthetic issues around which the terms of convergence and differentiation were set. This encounter is largely measured through the experiences of American expatriates who went abroad after World War II in search of the French "tradition." The artists included in this study--Sam Francis, Ellsworth Kelly, Kenneth Noland, Joan Mitchell and Jack Youngerman, to name a few--emerged in New York during the period from 1956-58, and quickly set about establishing reputations and signature styles after spending a significant amount of time, prior to that emergence, in Paris. This dissertation demonstrates the existence of a cross-cultural dialogue between Paris and New York which transported many ideas of the emerging New York School to the French capital. And conversely, it provides an accounting of the significant influence of French art on the American postwar aesthetic sensibility, communicated to the United States through these expatriate artists. The exhibitions in Paris of New York-based Abstract Expressionism have been documented, especially the work of Jackson Pollock, who the French believed represented America{\textquoteright}s greatest bid for international cultural recognition. Rather than treating the "official" presentation of American art exported from New York as separate from the issues surrounding the exhibition of American expatriates resident in Paris during this period (and they were fundamentally different on a political level), I have attempted to integrate them into a broad narrative. The definitions of what exactly constituted American style, or identity, shifted considerably with the impact of the exhibitions of New York School painting in Paris which began in 1952, and the continued exhibition of work by the American expatriates. The critical reception of American art is examined through 1959, the year of The Museum of Modern Art{\textquoteright}s "The New American Painting," an exhibition generally believed to mark the international recognition of a distinctly American avant-garde.}, keywords = {19th- and 20th-Century European Art, Art of the United States and Canada}, author = {Michael Plante} } @mastersthesis {7589, title = {The Skillin Workshop: The Emblematic Image in Federal Boston}, year = {1992}, school = {Delaware}, abstract = {The names of Simeon Skillin (1716-1778) and his sons, John (1745-1800) and Simeon, Jr. (1756-1806), have been associated with the carved wooden figures and architectural embellishments of Boston and Salem since the Federal period. The artistic contributions of these men, however, have never been explored in any great depth. One of the major intentions of this study is to identify the carvers in the Skillin family workshop, to establish a body of work that can be attributed to them, and to recognize the great contribution that the Skillins made to the cultural life of Boston and Salem. This study is more than an assemblage of biographical material and a catalog of works. The Skillin family workshops, which comprised three generations of carvers, were in existence for almost a century. Therefore, an account of this family tells much about their trade in general. Records both in America and England reveal how carvers maintained their traditions, managed their shops, and sought financial security during this period of great political and social upheaval. A study of the relationship between the architect Charles Bulfinch and the Skillin workshop also illuminates the subtle transition from handwork to mass production that was occurring during the Federal period. Most importantly, this study examines the significance of the emblematic imagery of early American woodcarving. It traces the history of the shipcarving tradition to Europe in the Baroque period when carved allegorical figures graced both civic celebrations and the sterns and prows of sailing ships. As American merchants grew prosperous, they commissioned shipcarvers to provide them with garden figures, public monuments, and architectural embellishments to emulate the British gentry. During and after the Revolution, the nation needed the art of the woodcarver to express its political resolve in a language that had been understood for centuries by the entire community. The imagery that the Skillin family created had its roots in interactions of ruler and ruled, and in the emerging nation the political nature of their art enjoyed its full realization. Thus the story of the Skillin family of carvers provides us with insight into the very minds that shaped this country.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Lahvis, Sylvia F. Leistyna} } @mastersthesis {7570, title = {The Societe des Pientres-Graveurs: Printmaking, 1889-97}, year = {1992}, school = {Columbia}, abstract = {In 1889 a group of painter-printmakers led by Felix Bracquemond, and including Edgar Degas, Camille Pissarro, Mary Cassatt, Auguste Rodin, and Odilon Redon, joined together with critic Philippe Burty and dealer Paul Durand-Ruel to promote printmaking as a fine art. They organized the Exposition des Peintres-Graveurs to advance printmaking as an extension of painting and to create an audience of print collectors. The exhibition signaled a revival of printmaking in the 1890s, one which promoted all printmaking media. This dissertation focuses on the six exhibitions of the Societe des Peintres-Graveurs Francais, held between 1889 and 1897. It records the formation and evolution of the group and examines the prints and paintings included in its shows. It explores the frameworks--both exhibition and critical--that fostered a revival in printmaking, and documents the state and private patronage that supported it. Special attention is given to the artists, critics, and dealers whose interplay determined the course of original printmaking during the final decade of the nineteenth century. The first chapter explores the state of printmaking in the late nineteenth century and discusses earlier printmaking societies and publications. Chapter 2 examines the growth of dealer-sponsored exhibitions in Paris. The third chapter presents an institutional history of the Peintres-Graveurs. Chapter 4 reviews the critical response to the group shows and Chapter 5 analyzes the works exhibited. The final chapters deal with the commercial dimensions of the society. Chapter 6 looks at the patrons of the Peintres-Graveurs and Chapter 7 focuses on print publications as an alternative means of promoting original printmaking. Together, these chapters comprise the first definite account of the Societe des Peintres-Graveurs and further document the transition of printmaking from a predominantly reproductive genre to an original art in the 1890s}, keywords = {19th and 20th century Europe}, author = {Leard, Lindsay} } @mastersthesis {7620, title = {A Society and Its Images: The Religious Iconography of Byzantine Lead Seals}, year = {1992}, school = {Penn State}, abstract = {Byzantine lead seals provide the largest number of surviving examples of religious figural iconography as well as a continuous chronological record of such images. Since they frequently bear the names and offices of their owners, seals also permit an examination of iconography in association with names and positions within the ecclesiastical, civil and military bureaucracies. This dissertation draws upon published seals and creates a computerized datafile of 5,877 specimens. One outgrowth of this project is an appendix listing corrections to the catalogues. Chapter I produces a chronological distribution of the frequency of iconographic seals as well as the ratio of iconographic to aniconic seals. These graphs generate a means of tracing the image-producing activity of Byzantine society. Chapters II-IV present the iconographic repertoire of the seals: the Virgin; Christ and the Christological Scenes; and the Saints. The analysis includes the chronological frequencies and percentages for each group. These data reflect iconographic trends as well as changes in the popularity of cults. Sigillographic inscriptions permit the identification of social groups that fostered these cults. In Chapter V, the association of sphragistic images with names of seal owners exhibits the extent to which the role of the homonymous saint determines iconographic choice. The factor of gender is also considered. Family groups and their sphragistic iconography, however, receive the focus of attention in this section. Chapter VI investigates the relation of images to geographic locations. Seals belonging to various metropolitans and their suffragan dioceses are examined for traces of apostolic authority. This study also compares iconographic choices of individuals within the ecclesiastical, civil and military administration of the same province. Regions associated with the tenth-century reconquest demonstrate a political use of images through seals. This thesis concludes that, in general, sphragistic iconography follows trends observed in other media. Factors determining iconographic choice, however, are complex. Imperial associations, the history of important shrines, theological and historical developments must all be taken into account. The lack of correspondence between images and either names, families, gender or offices indicates that seal owners did not identify with such figures but rather employed them as a means of connection with powerful intercessors.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Cotsonis, John A.} } @mastersthesis {7647, title = {Studies in Dutch Art and Literature in Courtship, 1600-1650}, year = {1992}, school = {Harvard}, abstract = {This dissertation studies aspects of courtship as a theme in Dutch art during the first half of the seventeenth century. It seeks to understand the works of art within a literary, cultural and even social context. Chapter One examines the pictorial genre of the {\textquoteright}garden party{\textquoteright}--scenes of festive, courting youth--in the framework of Dutch songbook literature. Many such books of love songs were illustrated with prints similar in subject to the independent works by David Vinckboons and Esaias van de Velde. The songs illuminate previously unrecognized meanings in garden-party images. Because the books were actually used by young people at festive gatherings, they describe a social context within which this iconography can be understood. Chapter Two explores how the moralizing discourse on courtship in seventeenth-century Holland was bound up in politico-patriotic concerns. I draw analogies in this regard between: first, the merry-company paintings of Willem Buytewech; second, popular prints on the theme of the Hollandse Tuin ("Garden of Holland"); and finally, the sculptural decorations of the so-called Amsterdam Doolhofs, public taverns cum pleasure gardens in Amsterdam frequented by courting youth. The garden of love was not clearly distinct from the representation of the landscape itself as a locus for erotic desire. In Chapter Three, I explore how the imagery of Rembrandt{\textquoteright}s etchings The Three Trees and The Omval relates to Dutch love poetry and emblematic literature of the period. Such texts posit affinities between romantic love and the forces of nature. Chapter Four considers portraits which make reference to courtship. With one exception, all are marriage or betrothal portraits. These represent courtship as a stage of life which the subject of the portrait has left, or is preparing to leave: the time during which the path to wedded bliss is found, but which naturally comes to an end once the threshold of marriage is crossed. As a pictorial genre then, the portrait construes a valedictory look at courtship. I conclude by considering different social contexts within which the imagery of courtship could be received.}, keywords = {The Renaissance}, author = {Nevitt, Hugh Rodney} } @mastersthesis {7634, title = {Style and Variation in Early Anasazi Art: The Green Mask Site in Grand Gulch, Utah}, year = {1992}, school = {UT Austin}, abstract = {Using examples from the Green Mask rockshelter site in Utah, two distinctive prehistoric art styles from the American Southwest, the Archaic and the Basketmaker, are compared in order to interpret the transition of style and culture in the area between @100 BC and AD 500. Forms analyzed include rock art, basketry, and textiles. Two different art styles are defined: the older indigenous Archaics, and the more recent Basketmakers of possible foreign intrusion. It is argued that these two styles coexisted in the area during long periods and under frequently hostile conditions, resulting in substantial evidence of warfare and human sacrifice.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {James D. Farmer} } @mastersthesis {7588, title = {Tabernacle to Temple, The Christian Science Building Boom 1895-1925: The Triumph of the Classical Style}, year = {1992}, school = {Binghamton}, abstract = {Christian Science, as a new American religious movement, began a period of intense growth around the turn of this century. Due to this growth and the solidification of Christian Science beliefs and practice, the church began to build impressive temples for worship, many of them in the classical style. Many nationally-known architects, some of them Christian Scientists, were hired to build these large and expensive edifices. Several of these architects, along with church officials, began to publicly debate the merits of particular styles of architecture to represent the new sect. These debates intersected with notions of architecture as promotor of social and moral progress, ideas loosely construed around City Beautiful precepts. Christian Science building was specifically influenced by the 1893 World{\textquoteright}s Fair architecture. Solon Spencer Beman proposed the classical style as indicative of the theological ideas of Christian Science. Elmer Grey argued that creative ideas suggested by Louis Sullivan were more appropriate for the new religion. The commodious church edifices are a last legacy of an ideology that gave style a particular religious meaning in the wider urban environment. The dissertation is an archivally-based social historical narrative centered around church building in Boston, Chicago and the Midwest, New York, and California. Understanding the specificity and history of these stylistic choices contributes to architectural discourse by showing the relevance of classical Beaux Arts architecture as an articulation of social ideas and rhetorical strategies of an indigenous American religion at an important period of national growth. It suggests ways in which both interiors and exteriors of early Christian Science edifices could be defined and defended by apologists and polemicists.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Ivey, Paul Eli} } @mastersthesis {7604, title = {The Temples at Tala and the Art of Daksina Kosala}, year = {1992}, school = {Harvard}, abstract = {The present work is based on the unique art and architecture revealed in extensive excavations and explorations conducted by me in ancient Daksina Kosala. It traces the origin and development of an extremely original but hitherto neglected regional style, heralded by two temples at Tala. The coexistence of classical and medieval features, volumetric and linear styles in Tala art stamps it as one of the most important missing links in the transition from classical to medieval art. In this thesis I have countered theories which deny autonomy, quality or progeny to Tala or Daksina Kosala art by treating its unusual iconography or architecture as a crude, local, tribal misinterpretation of the high classical, imperial art, and as part of the decadent late Gupta or postGupta art. I have noticed a cultural fusion in the fusion of characters of dynastic inscriptions of Daksina Kosala or in its complex geopolitical identity. However, I have moved beyond the earlier studies of inscriptions, motifs or dynastic influence, external to art, to a study of its style and meaning. As such, I have attributed the continuing volume of Tala art to the influence of the vigorous style of neighbouring Vidarbha and detected seeds of the medieval rarefication and complexity in Tala style. Finally, I have investigated the simultaneity and interpenetration of forms and the extraordinary harmony of form and content achieved in Tala art, the variations and modifications it undergoes in Daksina Kosala, and the contribution it makes towards galvanizing later Indian temple facades.}, keywords = {Asian Art}, author = {Chakravarty, Kalyan} } @mastersthesis {13235, title = {Thomas Theodor Heine: The Early Informative Years}, year = {1992}, school = {Penn State}, abstract = {Thomas Theodor Heine (1867-1948) is recognized as one of Germany{\textquoteright}s most talented illustrators. His work on the magazines Fliegende Blatter and Simplicissimus is regarded as a perceptive and entertaining comment on the social and political issues which were to form the modern world. Less known are his paintings and writings, which provide an equally perceptive comment on the art world. This study explores Heine{\textquoteright}s early work as it relates to the exciting artistic atmosphere of fin-de-siecle Munich. A complex intellectual, Heine often used his art for satirical comment. The key to this enigmatic satire is occasionally revealed to us through his autobiographical writings which are equally complex. Particularly insightful is his novel Ich warte auf Wunder (I Wait for Miracles), which the artist wrote while in exile from the Nazi regime in 1942. Throughout this entertaining adventure a parody of Heine{\textquoteright}s life emerges through amusing anecdotes. In fact, it is through Heine{\textquoteright}s literary work that the intent of many previously puzzling paintings and illustrations is revealed to us. This investigation uncovers an artist who was aware of, and fully participated in, Naturalism, Symbolism and Jugendstil. Often, Heine was at the very forefront of these movements, helping to introduce them to a city struggling to maintain its exuberant artistic environment. Through Heine{\textquoteright}s genius we are not only introduced to a talented painter and illustrator, but to the radiant art world of Munich at the turn of the century.}, author = {Timothy W. Hiles} } @mastersthesis {7593, title = {Toward a Theory of Performance Art: An Investigation of Its Sites}, year = {1992}, school = {CUNY}, abstract = {This dissertation concerns performance art of the early 1970s that involved acts of masochism. The practice of attacking one{\textquoteright}s own body--whether within the arena of art, religion, or everyday life--is not unique to this period. Yet, the fact that there was a burgeoning of such work, by a number of different artists, in a number of different places, particularly in the waning years of a crisis like the Vietnam War, needs to be reckoned with. Chapter One serves as a table of contents of issues I feel such artists were questioning: the function of metaphor; alienation and psychoanalysis; the "art-equals-life" debate of the 1960s; artists{\textquoteright} contractlike agreements with their audiences. In Chapter Two, I construct the theoretical model used in the upcoming analysis of performances. The model is built on my observation that a "masochistic contract" operates in these works, the terminology borrowed from Gilles Deleuze{\textquoteright}s critical reading of the namesake of masochism, Leopold von Sacher-Masoch. Psychoanalytic theories related to masochism--by Theodor Reik, Didier Anzieu, Jacques Lacan--are surveyed and ultimately interrelated to the material history and theory of contract itself. Chapter Three investigates a selection of performances, among which are the most extreme examples of masochistic performances ever produced--works by Chris Burden, Vito Acconci, Gina Pane, Ulay/Abramovic. The performances are examined for the way the artists used their bodies as "limit-texts." In Chapter Four I discuss my conclusions and summarize my theory of performance art, the premise of which is that performance draws its power from metaphor, the symbolic register, the field of representation. I also summarize what the performances just discussed revealed about cultural and political consciousness during the latter years of the Vietnam War. The last chapter consists of an annotated bibliography of noteworthy materials written on performance art since the early 1970s. The subtext of this venture is to assess methodologies employed throughout the dissertation. I close with remarks on the usefulness of what I call a "psycholegalistic" methodology in the investigation of performance art{\textquoteright}s sites, both corporeal and institutional.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {O{\textquoteright}Dell, Kathy} } @mastersthesis {7584, title = {Training the Eye and the Hand: Drawing Books in 19th- Century America}, year = {1992}, school = {Columbia}, abstract = {Published in a variety of formats ranging from series of lessons printed on cards for children{\textquoteright}s use to sophisticated treatises on art and design, drawing books were readily available in nineteenth-century America through the public school system. Despite the proliferation of drawing books, the contribution of those texts to nineteenth-century visual culture has been largely unexplored by scholars of American art. The first part of the study traces the development of drawing books by examining how drawing books may have supplemented the early American academies of art and by considering the role of drawing in the nineteenth century as described in official education documents. The second part of the study considers the work of nineteenth-century landscape and figural artists, selected on the basis of their having some known connection with contemporary drawing books, and explores how the pedagogical methods they encountered in the drawing books may have influenced their works. The study primarily focuses on first and second generation Hudson River School landscape artists such as Thomas Cole, Archibald Robertson, John Rubens Smith, Asher B. Durand, Frederic Church, and Fitz Hugh Lane, and on the works of William Sidney Mount, Winslow Homer and Thomas Eakins. Consideration is also given to ways in which drawing books were utilized by such "folk" artists as Joseph Whiting Stock and how works by artisans and women may have been influenced by contemporary American drawing books. The information disseminated by nineteenth-century drawing books essentially provided a range of available schemata, a term defining both the manual process of drawing or painting and the intellectual process of learning to see, which a broad spectrum of artists manipulated to their own aesthetic ends.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Davis, Elliot Bostwick} } @mastersthesis {7617, title = {Unexpected Consequences: The Concours de peinture of 1727 and History Painting in Early 18th-Century Paris}, year = {1992}, school = {Yale}, abstract = {The painting competition of 1727, a state-sponsored event in which twelve members of the Royal Academy exhibited works on subjects of their own choosing, has not occasioned much critical analysis. Scholars have generally accepted either the duc d{\textquoteright}Antin{\textquoteright}s stated rationale for the contest--to revive the arts in France--or what some contemporaries asserted was his real reason--to advance the career of his protege, Francois Lemoyne. While both of these explanations have merit, they do not account for the complexity of the event, which spanned over a year and took a notably winding, improvisatory course. This study, based on archival and published sources, examines the character, interests, and actions of each of its main participants: the duc d{\textquoteright}Antin and his royal department of Batiments, the Royal Academy of Painting and Sculpture, the competing (and some non-competing) artists, and, more speculatively, the viewing public. It also analyzes surviving visual records of the entries as responses to the terms of the event, and as revelations of the strains and opportunities it created. In the end, the official results of the competition--which crowned well-established and well-protected painters--were less interesting than its unexpected consequences. What began as a simultaneously modest and elitist proposal, intended to serve d{\textquoteright}Antin{\textquoteright}s interests at court, became, through its succeeding transformations by participants, a forum in which entrepreneurial painters sought to address and to shape their audiences, and audiences were encouraged to exercise their taste in unprecedented ways. Less}, keywords = {Baroque and 18th-Century European Art}, author = {Clements, Candace} } @mastersthesis {7633, title = {Urban Form and Meaning in Early Mamluk Architecture}, year = {1992}, school = {Harvard}, abstract = {This dissertation investigates urban form and meaning in Bahri Mamluk architecture. The investigation operates within the hypothesis that Mamluk architecture, contrary to accepted theories, is not merely an architecture of power, but a social manifesto, whose content was dictated by the social order and conventions and whose form was shaped by urban forces. First Mamluk architectural language is defined by tracing its evolution in light of the varied political, economic, and social factors that fueled its development. Each of the phases in its evolution is studied in light of its own historical context and is exemplified using one or two case studies. The first phase falls between the rise of the Mamluks to power in 648/1250 and the end of the reign of al-Mansur Qalawun in 689/1290. It is best represented by the complex of al-Mansur Qalawun (683-84/1284-85). The second falls between the reign of al-Ashraf Khalil ibn Qalawun in 689/1290 and the end of the reign of Baybars al-Jashankir in 709/1310, best represented by the Madrasah of al-Nasir Muhammad (695-703/1295-1304) and the Khanqah of Baybars al-Jashankir (706-09/1307-10). The third phase coincides with the third reign of al-Nasir Muhammad, from 709/1310 to 742/1341, the case studies are the Madrasah-Khanqah of Ahmad al-Mihmindar (725/1324-25) and the Mosque of al-Maridani (739-40/1339-40). The last part of the dissertation is devoted to the complex of al-Nasir Hasan (757-64/1356-62). It examines the monumental application of the formal language, investigates the types of meaning transmitted through architectural production, and interprets the symbolic content of the complex.}, keywords = {Islamic}, author = {Al-harithy, Howyda} } @mastersthesis {7646, title = {Urbanism and Political Discourse: Lodovico Sforza{\textquoteright}s Architectural Plans and Emblematic Imagery at Vigevano}, year = {1992}, school = {UCLA}, abstract = {My project considers the way in which Lodovico Sforza, Duke of Bari and then of Milan, devised a hegemonic urban scheme at Vigevano that articulates in architecture and painted decoration the political and social relations he had with his subjects and peers. The complex--consisting of castle, piazza, and church--illustrates through form, function, allegory, and metaphor Lodovico{\textquoteright}s need for legitimacy, his control over the Duchy of Milan, and his constant desire for fame. Elaboration of this argument includes issues of representation, as well as consideration of the Renaissance conception of spazi aperti in the urban setting. I focus on the contrast between notions of "public" open space and the "public" effect of the closed, personal space of the castle. I examine the documents for the decorative program, as well as Lodovico{\textquoteright}s deployment of that program in the medium of a symbolic language system that everywhere portrays his image. The urban, architectural, and decorative ideas that originated in Milan were elaborated in Vigevano. Why such an emblematic scheme was possible only in Vigevano is examined vis-a-vis Lodovico{\textquoteright}s position as Duke of Bari. The apparent sutures between medieval conceptions of urban space and Renaissance humanist thought as manifested in the urban fabric of Vigevano represent a response to artistic currents and political authority. Documents illustrate how Lodovico exerted his will in implementing the project and how both Lodovico and his project were sometimes compromised by popular opposition. Implicit involvement of Leonardo da Vinci and Bramante is acknowledged by scholars, but because of the fragmentary nature of both visual and written evidence, exact authorship of the architecture and decorative program remains impossible to establish. However, my re-examination of evidence formerly treated in studies of individual aspects of architecture at Vigevano; a presentation of new archival documents in the form of notarial records, ducal letters, and court poetry; and a consideration of Lodovico{\textquoteright}s conception and presentation of self presents a more coherent building history and illustrates how the piazza-castle complex came to embody not only a powerful image of Lodovico Sforza but also became a pivotal design for later piazzas.}, keywords = {The Renaissance}, author = {Moffatt, Constance J.} } @mastersthesis {7598, title = {Ut Pictura Rhetorica: The Oratory of the Visual Arts in the Early Republic and Formation of American Culture Values, 1890-1840}, year = {1992}, school = {Delaware}, abstract = {This study examines public speeches by artists, educators, and laymen regarding the arts and demonstrates the special social and intellectual relationship between the art of rhetoric and the visual arts in America. Aesthetic formulations developed since antiquity for criticism of literature, preeminently rhetoric, are central to humanist culture and liberal education. Over time, philosophers and teachers have extended this theory to visual arts. During America{\textquoteright}s "Golden Age of Oratory," rhetoric lent authority by association to its visual "sister arts," while ensuring broad exposure to varied opinion regarding the nature and proper role of art in a new democracy. Close comparative readings of selected orations prove the influence of ancient and European precedents on American discourses and highlight intellectual trends and points of debate which were most important in the New Republic over five decades. Chief topics of analysis are: the character of visual art compared to literature; the relationship between aesthetic taste and mental faculties such as perception, judgment, and recognition of virtue; the function of professional and popular education in artistic development; the value of art as an aspect of complete education; the capacity of different classes of people for artistic experience; the correlation between artistic advancement and social progress; and the patronage of art in a democracy. Above all, orators argued whether art fosters personal morality, and by extension, social order and national merit. Seven core chapters survey artistic addresses sponsored by distinct social institutions: colleges, learned societies, patriotic and charitable fraternities, mechanical associations, art academies, lyceums and organizations promoting public education. The interests of each group brought different social perspectives into a general discourse originally grounded in intellectual theory. This survey establishes the widespread influence of ideas about art and culture which underwent changes of content and form without ever separating entirely from humanist traditions. Social and aesthetic views expressed from the podium were far more sophisticated and varied than previously recognized; the practice of public debate was instrumental in instituting lasting attitudes toward artistic culture in America. Extensive research of primary sources is summarized in appendices which list hundreds of relevant orations, addresses, speeches, and lectures delivered in America between 1760 and 1840.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Storr, Annie Van Fossen} } @mastersthesis {7600, title = {Washington Allston and His Boston Patrons: The Exhibition of Pictures in 1839}, year = {1992}, school = {CUNY}, abstract = {In 1818, at the height of a successful career as a history painter, Washington Allston left England and returned to Boston where he worked until his death in 1843. Here he supported himself solely by the creation of pictures of romantic subjects, becoming the first American artist to earn a living without resorting to the production of portraits. This endeavor required encouragement from sympathetic patrons, and Allston found such sustenance primarily among his Boston benefactors. Allston in Boston was at the center of complex changes in American life. His works were admired by a diverse group of accomplished New Englanders--merchants, ministers, artists, writers, industrialists, doctors and reformers. In the early nineteenth century, Allston was one of America{\textquoteright}s best patronized artists. In 1839 Allston had an exhibition at the Gallery of the portrait painter Chester Harding. The catalogue for Allston{\textquoteright}s exhibition lists all but two of the works shown, and it records as well, the owners in 1839. The reconstruction of the exhibition, which might be termed America{\textquoteright}s first major one artist retrospective, provided a focal point for the study of Allston and his Boston patrons.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Viola, Mary Jo} } @mastersthesis {7580, title = {Willem de Kooning{\textquoteright}s Women of the 1950s: A Critical History of Their Reception and Interpretation}, year = {1992}, school = {Stanford}, abstract = {From the moment of their first public display in 1953, Willem de Kooning{\textquoteright}s Women have fascinated viewers. Many of those viewers--among them artists, critics, journalists, filmmakers, curators, art historians, and de Kooning himself--have attempted to explain what the Women mean. Their attempts have produced no definitive answer, only a history of possible interpretations of the Women. That history, stretching from 1953 to the present, is the object of this study. I see the meaning of any work of art as fundamentally plural, unstable, and mutable. Meaning is produced through the encounter between the work and an interpreter, who brings to it a particular set of assumptions, beliefs, values, and opinions, a receiving ideology that shapes the way in which the interpreter will construe the work. The receiving ideology is, itself, a function of wider social, cultural, intellectual, and political forces. Interpretation of a work in terms of a widely accepted receiving ideology allows it to "speak" in certain ways to all the viewers who share in the values of that ideology. In this study I examine how the meanings of de Kooning{\textquoteright}s Women have changed over time as the pictures have been met by a succession of receiving ideologies, and I attempt to specify the social, cultural, and political contexts in which those ideologies have functioned. Among the receiving ideologies I discuss are Greenbergian formalism, popular Freudianism and Jungianism, existential humanism, stylistic and iconographic art history, and critical feminism. Among the contexts in which I view these ideologies are the post-WW II "women problem," the Cold War, the institutionalization of modernist art history, and the Women{\textquoteright}s Movement. I consider the writings of such major de Kooning critics and historians as Thomas B. Hess, Clement Greenberg, James Fitzsimmons, Leo Steinberg, Harold Rosenberg, Diane Waldman, E. A. Carmean, Jr., and Carol Duncan. Their readings of the Women, along with those of numerous other interpreters, including de Kooning himself, are organized thematically and chronologically, analyzed and historicized. And I attempt, in many instances, to show the political implications that these interpretations hold as cultural reflections on the actual lived relations between men and women--relations upon which de Kooning{\textquoteright}s paintings have often been understood to comment.}, keywords = {Art of the United States and Canada}, author = {Cateforis, David} } @mastersthesis {7460, title = {American Artists in Expressionist Berlin: Ideological Crosscurrents in the Early Modernism of America and Germany, 1905-15}, year = {1991}, school = {Brown}, abstract = {Several American painters prominent in the early twentieth century vanguard traveled to and worked in Wilhelmine Berlin at a time when French achievement dominated modern painting in the states and abroad. The disillusion with French innovation of these American painters and embrace of German expressionism reveals much about the objectives of American early modernism painting. This study of the relation between American and German early modernism attempts to understand the affinities American artists had with their German counterparts in the early years of this century. The list of American artists active in Berlin in 1905 to 1915 reads like an honor roll from the period: Albert Bloch, Oscar Bluemner, Charles Demuth, Lyonel Feininger and Marsden Hartley. They discovered that the German expressionist{\textquoteright}s central concerns were basic to their own earliest thoughts about art. The resonance results from the close relationship between nineteenth century German and American philosophical traditions. Idealists, transcendentalists and modernists alike believed that art manifests universal spirit and that perception of this elemental force occurs in one{\textquoteright}s subjective unconscious. This tradition also advocated the notion that individual experience is absolute and discursive analysis reveals little. This study examines these similarities in specific terms by analyzing the early careers of individual American painters and their reaction to German expressionism. One very evident result was that these Americans "found themselves" in Germany. All but programmed as Americans to believe that European models were by definition better, it came as a revelation to learn that principles they had first adopted in America coincided with the lessons of the most progressive artistic circles in Germany. When American painters, therefore, found aesthetic theories of their early development reinforced by German contemporaries, they gained a self-confidence which facilitated profound advances in their art. The experience freed these artist to pursue initial directions in their work with new-found authority and contributed to a swift maturation of their art.}, keywords = {19th and 20th century Europe, Art of the United States and Canada}, author = {McDonnell, Patricia} } @mastersthesis {7528, title = {The Architectural History of Peterborough Cathedral}, year = {1991}, school = {IFA/NYU}, abstract = {Peterborough Cathedral, formerly a Benedictine abbey church, is frequently cited as a prime example of both English Romanesque and Gothic architecture. The former refers to the choir, transepts, and nave of the church and the latter to the facade and retrochoir. The building has not received detailed study since the early twentieth century. A re-evaluation of Peterborough{\textquoteright}s chronology, sources and stylistic development has been undertaken based on a detailed analysis of the archeological evidence of the building as well as an investigation of the history of the monastic community. The latter is possible due to the survival of a Latin and an Anglo-Saxon chronicle from Peterborough. The results of stylistic and archeological analysis suggest that construction of the Romanesque fabric began earlier than the generally accepted date of 1118. An earlier date is supported by information from the chronicles which record a period of stability and building activity in the abbey under Abbot Ernulf (1107-14). Construction of the Romanesque fabric may be broken into three distinct campaigns: (1) the choir, eastern transept aisles and parts of the nave can be dated to 1107-16; (2) the apse, terminal and western transept walls were begun in 1118 and completed c. 1132; and (3) the clerestory (apart from that of the apse) and most of the nave were built from c. 1132-c.1180. These three campaigns represent what can be broadly characterized as an English style, followed by a more Norman design and culminating in the nave where the two traditions are fused. Peterborough is also well known for its unusual Gothic west front. Study of this part of the building has clarified several aspects of its lengthy construction and design changes and has established a connection between the final design and the Palm Sunday ritual observed at the monastery. The later addition of the Perpendicular porch can also be understood in terms of this ritual which is known from the two surviving volumes of the abbey{\textquoteright}s Customary.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Reilly, Lisa} } @mastersthesis {7495, title = {Architectural Practice in Quebec City during the French Regime}, year = {1991}, school = {MIT}, abstract = {In my dissertation, I study the conditions in which architecture was produced in Quebec City, capital of New France, at the end of the seventeenth and at the beginning of the eighteenth century. The first part deals with the attitude of institutional clients, for whom buildings constituted an important means by which to establish power and social status in the colony. The architectural qualities of their buildings, expressing the prestige of the various institutions, were by the same token a source of competition and conflict among them. This competition was witnessed by the local population through its impact within the city fabric as well as by Louis XIV by means of city views that were regularly sent to France. The second part of my dissertation presents the careers of the architects Claude Baillif, Hilaire Bernard de La Riviere, Joseph Maillou, and Jean-Baptiste Maillou. All were master masons who earned the title of architect by working for prestigious clients and by participating in the design of important buildings. However, the desire for social promotion led some of these builders away from architecture. Some attempted to go into trade, but the most likely way for an architect to improve his social status was for him to seek a small royal office such as those of public notary or land surveyor. In that way, the attitudes of architects and their clients were characteristic of French ancien regime society as a whole, a society in which, on one hand, social status was perceived through architecture, clothing, food, and the like and, on the other hand, social ascension often led to changes in activity that appear quite radical today.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Grignon, Marc} } @mastersthesis {7471, title = {The Architectural Theory of August Reichensperger (1808-1895) and His Influence on the German Gothic Revival}, year = {1991}, school = {Pennsylvania}, abstract = {No record in ProQuest}, keywords = {19th and 20th century Europe}, author = {Lewis, Michael} } @mastersthesis {7483, title = {The Art and Culture of the Jere and Maseko Ngoni of Malawi, 1818-1964}, year = {1991}, school = {Indiana}, abstract = {This study attempts to identify and analyze the traditional visual arts of the Jere/M{\textquoteright}Mbelwa and Maseko/Gomani Ngoni of Malawi in order to determine what the Ngoni sense of propriety of form and style was in the 19th and 20th centuries, and how key elements of Ngoni art were subsequently reinterpreted to meet the challenges of a constantly changing physical and cultural setting. After a fierce battle near the Mhlatuse river (1818) in which Shaka{\textquoteright}s Zulu forces shattered the Ndwandwe, the Jere, and the Maseko peoples retired northwards, eventually re-settling as overlords in present day Malawi, c. 1850 and 1865 respectively. During the early years of the migration, Ngoni art was coincident with that of the northern Nguni. However, functional objects were transformed by the necessity of preserving a strict social hierarchy into cultural icons providing a convenient sense of status and common ethnic identity that concealed a heterogeneous ethnic origin. Personal objects were destroyed at the passing of each owner, but the object-type continued to be recycled as a symbol of ideal cultural essence, whether manifest, or latent until recalled. The challenges posed by the struggle for Independence (1950-1964) self-consciously revived many traditional art forms. Ngoni symbols like the shield, spear, leopard and lion pelts, and royal praise songs were co-opted to support a changing National context. Ngoni art continues to find meaningful and vital expression in the everyday lives of modern Malawians, but the focus of this study is predominantly historical.}, keywords = {African Art}, author = {Conner, Michael W.} } @mastersthesis {7479, title = {The Art and Industry: Design Reform in France, 1850-1939}, year = {1991}, school = {Pittsburgh}, abstract = {This dissertation examines the origins and development of the design reform movement in France from the time of the Great Exhibition held in London in 1851 to the eve of World War II. In particular it focuses on the notion of a union between art and industry and the way in which this was intertwined with a need to reform the decorative arts, an important source of French cultural prestige and of national revenue. It was thought that union between art and industry could lead to a life of abundance, happiness, and rationality. This ideal underwent many transformations during the period in question, and was finally rejected for pre-industrial values with the economic crisis of the 1930s. Through an analysis of national governmental reforms and of private initiatives, this thesis traces these transformations and attempts to place design movements such as Art Nouveau, Art Deco and International Style functionalism into the social, economic and cultural context in which they developed. It analyzes French Art Nouveau{\textquoteright}s links to the turn-of-the-century socialist-backed movement for an art social, the Art Deco style{\textquoteright}s ideological and formal ties to the retour a l{\textquoteright}ordre both before and after the First World War, and the return to French craft traditions during the 1930s as a way of reconquering more "humanist" values in the face of the economic and social debacle of the Great Depression. An essential aspect of the design reform movement was the search for a modern, and often, specifically French style. The responses to this research are treated in depth through the work and writings of individuals such as Francis Jourdain, Le Corbusier, Louis Sue and Andre Vera and through a discussion of the organization and salons of design groups such as the Societe des artistes decorateurs and the Union des artistes modernes. France{\textquoteright}s reaction to German developments in design reform and to the German idea of design modernity is of fundamental importance in this study. Germany became the greatest rival to France in the domain of the decorative arts through powerful organizations such as the Werkstatte and the Werkbund. French designers and critics constantly compared the more "artistic" and more "humanist" approach of French artists to what they perceived as the more mechanistic and strictly commercial qualities of German design. The objective of this study is not only to elucidate the French response to the possibilities offered by the machine to make good design available to a broad public, but also to consider the more general issue of why modern design in France meant something other than the technological ideals that were celebrated in Germany, even when the modernization of design was invested with ideals of social reform.}, keywords = {19th and 20th century Europe}, author = {Tise, Suzanne} } @mastersthesis {7547, title = {Art and Power in Augsburg: The Art Production of Jorg Breu the Elder (c. 1475-1536)}, year = {1991}, school = {Northwestern}, abstract = {Focusing on works produced by Jorg Breu in Augsburg from his entry into the guild as a Master (1502) until his death (1536), the dissertation examines the dynamic interplay between art on the one hand and social, political, and religious issues on the other. The methodology employed is based in a social theory of art, whereby Breu{\textquoteright}s works are seen as multivalent signs, responding through commission, production, and viewing to ideological debates involving the construction and challenging of specific paradigms of power. The dissertation also makes available information on a virtually ignored artist of the German Renaissance, and offers further consideration of the impact of the Protestant Reformation on German art production. The dissertation draws substantially on archival material and primary sources in order to construct (in a self-conscious manner) the social, political and religious context of the artist{\textquoteright}s work. This construction is both aided and complicated by Breu{\textquoteright}s chronicle of contemporaneous events in Augsburg. Because of the critical statements regarding institutions of and individuals in power, which would have been potentially dangerous for Breu to make, the chronicle was most likely intended for a private audience, and therefore provides us with the artist{\textquoteright}s personal assessment of contemporaneous conditions. The chronicle is used to establish the artist{\textquoteright}s own position regarding social, political, and religious issues. Breu{\textquoteright}s art works responding to similar issues are then compared with information gleaned from the chronicle and other primary sources. The results of this comparison demonstrate the highly complex and sometimes contradictory relationships between a work of art, its producer, its patron, and its viewers. Breu{\textquoteright}s production is well suited for such a comparative study as he worked in a variety of media (panel paintings, frescoes, and designs for woodcut illustrations, broadsheets, and glass rondels) for an array of patrons. He produced works for the Habsburg monarches Maximilian I, Charles V and Ferdinand I, for parish churches, the Augsburg city council, and for wealthy merchant families such as the Fugger and the Hochstetter. Analyzing these works in context offers case studies regarding the ideological significance of the interplay between art and society during the first third of the sixteenth-century}, keywords = {The Renaissance}, author = {Cuneo, Pia F.} } @mastersthesis {7500, title = {Artists as Subject: Images of Artists in American Painting, 1830- 60}, year = {1991}, school = {Pittsburgh}, abstract = {Between 1830 and 1860, self-portraits and other images of artists played a vital role in American artists{\textquoteright} attempts to formulate a reputable professional identity. Though regard for American art advanced noticeably during this period, questions remained about the artist{\textquoteright}s place in a pragmatic republic. The images in this study, which were often widely exhibited, demanded recognition for artists. At the same time, they reveal the tension created by the clash between the artists{\textquoteright} European aesthetic heritage and American democratic imperatives. This dissertation examines the roles artists assumed in portraiture and genre painting in response to their singular circumstances. Existing studies examine such works individually or as part of an artist{\textquoteright}s oeuvre, or investigate written accounts of the profession with no reference to the images. This study seeks to reconcile past approaches by offering thematic analyses of twelve artist-images through exploration of the artists{\textquoteright} professional, social, and intellectual milieu, thereby providing the paintings with both a denser historical context and new interpretive readings. Examining the ambitious, uneasy images artists painted of themselves in light of the challenges they faced encourages re-evaluation of the standard view of antebellum American artists as stable, respected professionals. William Sidney Mount{\textquoteright}s The Painter{\textquoteright}s Triumph, for instance, long regarded as evidence of the artist{\textquoteright}s harmonious relationship with the public, also reveals Mount{\textquoteright}s paradoxically unfavorable feelings about his audience, a connotation recognized by the artist{\textquoteright}s contemporaries. Similarly, images of artists by Charles Loring Elliott, Daniel Huntington, Johannes Oertel, and others merit study for what they reveal of the artists{\textquoteright} personal concerns and how they mirrored and shaped issues current in the broader public mind. Issues addressed in the dissertation include contrasting views of creative genius expressed in bust-length self-portraits, conceptions of art as work in portraits of artists with the tools of their trade, and the dynamics of popular taste evident in genre paintings of visitors to artist{\textquoteright}s studios. Through comparison with other "images" of artists in critical and popular writing, fiction, cartoons, and periodical illustrations, this dissertation concludes that the paintings present no single, coherent view of the antebellum American artist, but demonstrate instead the myriad private and public factors involved in constructing a professional identity acceptable to the artists{\textquoteright} needs as creators and their public{\textquoteright}s expectations.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Roark, Elisabeth} } @mastersthesis {7463, title = {Bernard Berenson, Modern Art and Modern Criticism}, year = {1991}, school = {Syracuse}, abstract = {In a career that spanned over half a century, Bernard Berenson (1865-1959) produced a steady stream of publications in the form of books, articles, and personal journals. Although Berenson{\textquoteright}s fame rests largely on his reputation as a connoisseur, and a great deal of his writing was concerned with technical matters of attribution, his interests were never circumscribed by these professional activities. Especially at the beginning and end of his career, Berenson often addressed broad theoretical issues in the context of his specialized writing. Scattered throughout his early essays on Italian Renaissance painting are numerous discursive passages on the nature of art and the aesthetic experience. Although enlisted in the appraisal of Renaissance art, Berenson{\textquoteright}s concepts of tactile values, ideated sensations, and life-enhancement were part of a critical theory which he felt could be broadly applied. His emphasis on essential artistic elements and disinterested aesthetic pleasure firmly aligns Berenson with the most progressive artists of his youth. Furthermore, Berenson{\textquoteright}s approach to the study of art and the writing of art criticism, which privileged intrinsic formal qualities over interpretative issues, was of seminal importance to the development of modern formalism, especially as it was articulated in the writings of Roger Fry. In spite of his affinity for recent art and his radical critical stance, Berenson soon began to distance himself from the aesthetic and critical modernity which informs his early writing. As he witnessed at fairly close range the development of early 20th century art, Berenson assumed an increasingly conservative posture towards the modern. His late theoretical and critical writing calls for a renewed commitment to representational art in the face of contemporary aesthetic confusion. By the end of his life Berenson, regarded by the vast majority of the public as the last spokesman for the artistic traditions of Western classicism, had completely disengaged from the progressive milieu in which his early ideas were formed. The purpose of the present study is to examine why Berenson, who was receptive to the climate of change in which modernist art took root, came to both fear and resent its critical legitimation and growing public acceptance. Berenson began his career in eager anticipation of a new artistic age and ended it haunted by the belief that he had witnessed, and perhaps helped to create, a tragic mistake. A close examination of works written both at the beginning and end of his career demonstrates that Berenson{\textquoteright}s pronounced hostility towards modernism was inconsistent with both his critical methodology and his aesthetic principles. It had its roots, rather, in a profound resistance to the social, cultural and political changes that threatened his way of life.}, keywords = {19th and 20th century Europe}, author = {Calo, Mary Ann} } @mastersthesis {7546, title = {Brescia after the League of Cambria: Moretto, Romanino, and the Arts}, year = {1991}, school = {Princeton}, abstract = {In this dissertation I examine the city of Brescia, a major center of the Venetian terraferma, and its arts in the period immediately following the war of the League of Cambrai (1509-1516). Brescia was repeatedly besieged and sacked during the war and suffered much damage; there was vigorous activity in the years after 1516 both to restore the damage and augment the city{\textquoteright}s defenses, and to identify building projects of central concern to the community, such as plans for a new cathedral. These activities and goals are described in chapter one. This moment was also extremely significant for the local school of artists, led by Girolamo Romanino (1484/87-1560) and Alessandro Bonvicino, known as Moretto da Brescia (ca. 1498-1554). The two introduced an entirely new and cosmopolitan approach to the previously stagnant situation in painting in the city. Above all, they were attuned to artistic developments in Venice and Milan equally, understanding the contemporary work of both Giorgione and Bramantino. Chapter two follows their formative years, and I suggest that the upheaval of the war led them to travel away from Brescia and may have contributed to the wider horizons so apparent in their work. Romanino{\textquoteright}s early development has already been outlined in detail; here I analyze Moretto{\textquoteright}s in the same fashion. In chapter three I continue this discussion through the following decade, with the intention of examining the significant trends in their work as they entered their most productive and inventive years. It was the confluence of urgent building projects of civic importance, and the highly talented artists needed to undertake them, which makes the history of the arts in Brescia so vibrant after 1516. The phenomenon of the spianata is a notable example. when the Venetians demanded that Brescia destroy (spianare) its suburbs for military reasons, numerous churches were razed. In chapter four I describe the rebuilding of two of the churches within the city walls. The design and decoration of S. Giuseppe and S. Maria delle Grazie reveal the intricate workings of the entire community: religious leaders, patrician families, the local government, sculptors, builders, and painters. As a city without a court, the members of Brescia{\textquoteright}s municipal Council were responsible for many artistic projects. They both hired an official communal architect, and supported commissions which celebrated Brescia{\textquoteright}s greatest relics or its patron saints. The role of the Consiglio and the relations of artists and architects to the city is the subject of the final chapter.}, keywords = {The Renaissance}, author = {Bayer, Andrea} } @mastersthesis {7562, title = {Caspar Netscher and Late Seventeenth-Century Dutch Painting}, year = {1991}, school = {Columbia}, abstract = {Widely acclaimed during his lifetime and throughout the eighteenth century, Caspar Netscher (1635/6-1684) was a brilliant and versatile painter. In recent years, however, he has received scant attention. The goal of the present study is to restore Netscher to his proper status, to purge his oeuvre of misattributions, and clarify his pivotal role in the transformation of late seventeenth century Dutch art. The late seventeenth century in the Netherlands witnessed a pervasive economic, social and cultural transformation best characterized as a progression towards international sophistication. The new stratum of society which resulted sought a corresponding gentility in their art and culture, for which France, with its academic art and courtly rituals, served as an ideal model. Caspar Netscher fulfilled his patrons{\textquoteright} desire for international paintings that are unmistakably Dutch, but imbued with an elegance in keeping with more European tastes. His genre scenes are stylized reflections of genteel social graces; his histories allusive, cultured and erudite; his portraits visual confirmation of hard-won aristocratic refinement. His sitters are immortalized in small-scale likenesses enriched with courtly trappings which express the sitters{\textquoteright} sophistication and social aspirations. These attractive and inventive portraits won Netscher acclaim and a vast clientele. This study begins with a biography of Netscher and overview of his critical reception, followed by an analysis of his oeuvre and of his contribution to the development of a new artistic mode in the late seventeenth century. A primary focus is on Netschers{\textquoteright} innovations in the field of portraiture, the largest and most neglected portion of his oeuvre. The subject is discussed both in terms of patronage, and the nature of Dutch society in the latter part of the seventeenth century; and specifically, how Netcher created images ideally suited to this clientele. The final chapter is devoted to a discussion of Netscher{\textquoteright}s drawings, his atelier, and of his pupils and followers, who continued a tradition in portrait painting that lasted through the eighteenth century. The text is completed by an appendix of documents relevant to the artist, and concludes with a catalogue raisonne of his paintings.}, keywords = {The Renaissance}, author = {Wieseman, Marjorie E.} } @mastersthesis {7501, title = {The Chicago Tribune Competition}, year = {1991}, school = {Stanford}, abstract = {In 1922, the Chicago Tribune held an international competition for the design of its new corporate headquarters. With 263 entries, the Chicago Tribune Tower Competition became one of the largest and best known competitions in architectural history. This study focuses on the negotiated process through which the Tribune{\textquoteright}s two editors, Robert R. McCormick and Joseph M. Patterson, used the competition to shape a monument to represent the Tribune{\textquoteright}s corporate values. The first part of this study explores how the Tribune set up the competition and presented it to the public. In conducting the competition, the Tribune asserted an unusual degree of control, flouting A.I.A. guidelines in order to direct it toward an outcome that fulfilled its ideological goals. In representing it to the public, the editors mixed education with entertainment, blurring the boundaries between high and popular culture in order to publicize the newspaper, imbue the proposed building with meaning, and present their ideas about the future course of commercial architecture. Between World War I and 1930, corporations, including the Tribune, led the way in the transformation of Chicago from a city of densely-packed blocks to a city of soaring towers. The second part of this study explores the shifting conditions of patronage underlying this change and how the new imagery, as represented by the Tribune Tower, lent itself to advertising and public relations. By considering the connotations associated with the Tower{\textquoteright}s Gothic style and with the functional divisions of its exterior, I explore how the building codifies and reinforces contemporary business values and social relations. Because this study is concerned with the Tribune{\textquoteright}s efforts to produce a building with broad cultural meaning, references include archival materials and articles in architectural journals as well as a range of sources that reveal popular values and attitudes toward architectural form and meaning. By exploring the process through which the Tribune endeavored to shape a corporate icon and the social matrix in which the competition was embedded, this study may contribute to our understanding of the impact of corporate patronage on skyscraper design as a vehicle for meaning.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Katherine Solomonson} } @mastersthesis {7560, title = {The Church of St.-Eusache in the Early French Renaissance}, year = {1991}, school = {IFA/NYU}, abstract = {One of the most ambitious buildings begun during the early French Renaissance was the Parisian church of Saint-Eustache (1532-1640). Not since the twelfth century cathedral had the city seen a church of such monumentality. Indeed, Saint-Eustache, the largest religious edifice of the French Renaissance, was intended to rival, and to evoke, the great achievements of the Middle Ages. These ambitions were successfully realized in an original and sophisticated architecture which fused French medieval and Italian Renaissance sources. This stylistic duality has doomed Saint-Eustache to centuries of critical denigration, the historiography of which is summarized and analyzed in the Introduction. It is shown that the longstanding bias in favor of stylistic purity in architecture has always prevented a detailed examination of the formal aspects of Saint-Eustache. Part II of this thesis seeks to redress this neglect by offering in successive chapters a close examination of the fabric and details of the early Renaissance campaign; a discussion of the problem of the architect; a broader consideration of the sources of the building and their formal and symbolic significance; and an evaluation of the conceptual and theoretical underpinnings of the design in the context of early 16th century church architecture. Although the most fascinating issues raised by Saint-Eustache are those which bear on its formal aspects--particularly the issue of the Gothic in the Renaissance--other equally fundamental issues, though not as controversial, also remain unaddressed, largely as the result of the building{\textquoteright}s non-status as a work of art. In Part I these broader contextual questions are considered. In Chapter One the urban, social, and economic pre-1532 history of the parish is examined. It is shown that for more than a century the parish had unsuccessfully sought to enlarge their small medieval church. In Chapter Two it is revealed that the intervention of Francis I reversed this history of thwarted ambitions. The king{\textquoteright}s involvement with the plans for the new Saint-Eustache are examined within the context of his role as urban patron.}, keywords = {The Renaissance}, author = {Sankovitch, Anne-Marie} } @mastersthesis {7527, title = {The Citadel of Cairo (1176-1341): Reconstructing Architecture from Texts}, year = {1991}, school = {MIT}, abstract = {This dissertation reconstructs one of the major works of military and palatial architecture in the Middle Ages, the Citadel of the Mountain (Qal{\textquoteright}at al-Jabal) in Cairo. It traces its development from its inception in 1176 under Salah al-Din al-Ayyubi until it reached its definitive and most monumental form under al-Nasir Muhammad (1293-1341, with two interruptions). The dissertation focuses on the part of the Citadel called today the southern enclosure, which was the residence of the sultan, and of which only the congregational mosque remains standing. It analyzes the different stages of its topographic and architectural development using primarily references collated from the chronicles, biographical compendia, and legal documents of the Mamluk period, and secondarily surface archeology, toponymy, and typological comparisons with extant Bahri Mamluk palaces in Cairo. Through the reconstruction of the Citadel, the study addresses a number of wider methodological and historical issues. It evaluates the influence of the Mamluk socio-political hierarchy on the structure of the palatial complex and on the conceptualization of its spaces and forms. It stresses the importance of construing the architectural vocabulary of the period in its proper historical context. And finally, the dissertation questions the modern perception of the architectural development in a medieval Islamic environment by emphasizing the difference between its secular and religious architecture, and by showing how this perception is disproportionately molded by the latter.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Rabbat, Nasser O.} } @mastersthesis {7494, title = {Claes Oldenburg, Sculpture 1960-68: A Catalogue Raisonne}, year = {1991}, school = {CUNY}, abstract = {A catalogue raisonne presents the complete work of an artist so that we can better understand that artist and the period in which he or she worked. This dissertation presents all the sculptural works made by Claes Oldenburg between 1960 and 1968. I begin with the works of 1960 and continue through 1968. Although no chronological time period can be demonstrated as absolute, this one begins with an exhibition in which Oldenburg became noticed to a wide audience and ends when Oldenburg{\textquoteright}s ideas about sculpture became involved with public statements made through public sculpture rather than the studio/home/gallery themes that compelled him through the 1960{\textquoteright}s. Through the 1960{\textquoteright}s, Oldenburg{\textquoteright}s used primarily plaster, cardboard and beginning in 1962, fabrics such as vinyl and canvas in the making of the various objects. His use of soft materials to depict what are otherwise "hard" objects was compelling and inventive. In 1968, Oldenburg all but abandoned soft materials for steel and aluminum. He went from the artisan with his sewing workshop to the participant in the industrial factory. "The Store" of 1961 remains to this day a major art event and the contents have become the core of what we call Oldenburg{\textquoteright}s early work. However, he has continued to expand upon ideas and themes in his sculpture that he established in those early years and throughout the 1960{\textquoteright}s. Most of the information gathered for this catalogue raisonne came from research in Oldenburg{\textquoteright}s vast files and his library of books and catalogues. Exhibition catalogues, monographs and other books about the period were explored both for ideas and a better understanding of the work in context. In compiling the catalogue, I was as objective and obsessive as possible. Oldenburg uses the same title for an object that was made in different sizes and in different materials. The usefulness of this catalogue depends on its reliability, and I am convinced that after many years of research, I have sorted out some of the problems of title, location and history of individual objects.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Ginsburg, Susan} } @mastersthesis {7496, title = {Claire Falkenstein: Problems in Sculpture and Its Redefinition in the Mid-20th Century}, year = {1991}, school = {UCLA}, abstract = {In 1952, sculpture was called the problem child of the arts and was in a process of change so fundamental that it would require redefinition of the term itself. Falkenstein played a significant role as one of the most experimental and productive sculptors of the time. While painting developed as a series of styles, sculpture developed as a series of experiments. Yet this development never received the critical or historical attention awarded painting of this period. In fact, we are still in the discovery stage, determining the basic inventory of artists and monuments. Consistently part of the vanguard, Falkenstein{\textquoteright}s work has provided an opportunity for investigation and further documentation of the mid-century decades. The art historical approach I have taken is pluralistic, including iconographical, formal, and technological. Falkenstein{\textquoteright}s work was consistently a matter of formal invention, a compelling argument for the emphasis given formalist concerns here. The primary source material was the oeuvre itself, followed by Falkenstein{\textquoteright}s extensive files, writings, and over a hundred personal conversations. I examined and photographed as many works as possible in the United States and Europe, in private and public collections, reviewing all archival material. This included visiting her studios (California and Paris) and storage areas, and interviewing dealers and collectors. Finally, this project involved an extensive study of the period in order to set her work in context. During these critical decades, avant-garde sculpture was conspicuously absent from exhibitions and literature, primarily because it was highly experimental, various, and incomprehensible to most observers. Participating in these tumultuous events, Falkenstein{\textquoteright}s work incorporated modern technology, process, assemblage, and anti-form as sculptural principles. It used space, light, motion, and time as sculptural materials. Her work embraced not only the concepts of modern science but its approach--namely research, experiment, and development. Falkenstein{\textquoteright}s sculpture provides part of the account of sculpture{\textquoteright}s redefinition and the evaluation of this art historical episode during which all the premises were challenged and underwent fundamental change.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Henderson, Maren Henry} } @mastersthesis {7461, title = {Conduct Unbecoming: Representations of the Woman of Ideas in French Art 1830-40}, year = {1991}, school = {UT Austin}, abstract = {The concept of the "woman of ideas" in France is centuries old. In the early to mid-nineteenth century, with the explosive emergence of the popular illustrated press and the reemergence of a woman{\textquoteright}s emancipation movement, the typology of the woman of ideas became a fashionable female model and a favorite subject for caricatural attack. The activities of women like George Sand inspired scores of now neglected caricatures. My dissertation resurrects this body of caricatural imagery and analyzes the ways in which this new female type is contained and conventionalized in painting. The first part of the study traces the origins and proliferation of the image of the intellectual woman in French caricature between 1830 and 1848. Part two explores the ways in which high art, imposing a patriarchal and culturally normalizing vernacular of religious and political iconography, domesticated the image of deviant womanhood established by the caricatural vision of women of ideas. Chapters One and Two outline the lineage of the woman of ideas, the critical tradition from which the study evolves, and the variety of types that appear in French caricature between 1830 and 1848. Chapter Three juxtaposes a detailed iconographical analysis of Honore Daumier{\textquoteright}s three lithographic series on the woman of ideas with twenty-one chronologically proximate paintings of ideal womanhood. His reduction of the female form to the dichotomy of angelic mother or demonic whore is discussed in terms of contemporary philosophical efforts to elaborate a religion of womanhood in the context of the post 1789 impulse to find secular familial replacements for deposed monarchic patriarchal models. Chapters Four and Five detail thematic developments in religious painting and portraiture respectively that respond to the reality of the woman of ideas during the July Monarchy. Particular attention is given to the proliferation of representations of Mary Magdalene in the context of her identification by feminist socialist theorists with contemporary working class women and to the increasing iconographical interchangeability within painting of female saviors of France. The final chapter examines the adaptation of the iconography of the intellectual woman in French satirical imagery to the conventions of female allegorical imagery.}, keywords = {19th and 20th century Europe}, author = {Bergman-Carton, Janice} } @mastersthesis {7551, title = {Context and Function of the Piccolomini Library and Its Frescoes: Aeneas Silvius Piccolomini as a Paradigm of Fifteenth-Century Ideas on Rhetoric and Reform}, year = {1991}, school = {UC Berkeley}, abstract = {No record in ProQuest}, keywords = {The Renaissance}, author = {Green, Stratton D.} } @mastersthesis {7530, title = {The Cotton Troper (London, British Library, Cotton MS caligula A. xiv, FF. 1-36): A Study of an Illustrated English Troper of the Eleventh Century}, year = {1991}, school = {UNC Chapel Hill}, abstract = {The Cotton Troper was first brought to the attention of the art historical community in 1912 by Otto Homburger, and it has since found an uneasy place in the history of Anglo-Saxon manuscript illumination. Its date and specific place of origin are unknown, and the style and technique of its paintings are unparalleled in eleventh-century English manuscript art. This dissertation offers an archaeological investigation of the troper comprised of short chapters on various aspects of the codex. The manuscript{\textquoteright}s history, its physical configuration, its genesis, its date and place of origin, the repertoire of tropes, the liturgy, the rubrics, the script, the minor decoration, the style and iconography of the paintings, and the hexameter picture inscriptions are among the topics discussed.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Teviotdale, E.C.} } @mastersthesis {7481, title = {Critiquing Absolutism: Marcel Duchamp{\textquoteright}s "Etant Donnes" and the Psychology of Perception}, year = {1991}, school = {Yale}, abstract = {Unknown to his closest friends and associates, Marcel Duchamp (1887-1968) worked from 1946 to 1966 on a secret assemblage. Etant Donnes was not revealed to the public until after his death in 1968 when it joined The Large Glass, in the Philadelphia Museum of Art. Often seen in the shadow of his earlier masterpiece, Etant Donnes has been interpreted as a three-dimensional version of the glass work. Critiquing Absolutism: Marcel Duchamp{\textquoteright}s "Etant Donnes" and the Psychology of Perception rethinks this assumption as it situates the last work within the artist{\textquoteright}s oeuvre and a broader art-historical and intellectual context. Chapter One examines the physical nature of the complex piece in detail, with the aid of the instruction manual which Duchamp left as a guide for its installation in the museum. Having established its complex mechanical nature, the study explores Duchamp{\textquoteright}s lifelong, ambivalent attitude toward technology and his related interest in craft. These themes continue in the next chapter in relation to Duchamp{\textquoteright}s friendly rivalry with the architect, Frederick Kiesler, whose more positivistic approach to science provided Duchamp with a foil. Kiesler{\textquoteright}s innovative experiments with display techniques and viewing apparatuses undoubtedly contributed to Duchamp{\textquoteright}s conception of Etant Donnes. The major physical model, however, as well as an important intellectual influence, is the work of Adelbert Ames, Jr. in the psychology of perception. The demonstrations effected a "proof" that human perception is relative and based to some extent on learned behavior. The relation of these ideas to other scientific theories and practices, such as Gestalt psychology and Alfred Kinsey{\textquoteright}s research into human sexuality, and are also considered. Human sexuality and voyeurism come into focus in Chapter Four as the symbolic and psychological meanings associated with "peeping" are investigated. The peepholes actively engage the normally passive museum-goer as s/he presses her/his face to the door in the dimly-lit antechamber and peers at an image of a reclining nude woman blatantly displaying her genitalia to the viewer{\textquoteright}s gaze. The last chapter deals with this violent, sexual imagery in relation to other artists and intellectual theories related to Surrealism.}, keywords = {19th- and 20th-Century European Art}, author = {Landis, Linda Louise} } @mastersthesis {7543, title = {Cultivating Photography: Hippolyte Bayad and the Development of a New Art}, year = {1991}, school = {UT Austin}, abstract = {Hippolyte Bayard was an inventor of photography in 1839 and one of the most avid practitioners of the art in all its forms throughout his life. The photographs he produced during the 1840s constitute the largest existing body of work by a French photographer dating from the period of the invention and development of the new medium. As such, it has seminal importance in defining an aesthetic particular to photography. Bayard was intimately tied to the artistic milieu of his period, and his process of direct positive photography on paper was of special interest to artists. This provides a new backdrop against which the invention of photography can be examined. The confrontation between Bayard{\textquoteright}s invention and a rival process on paper, the negative-positive process invented by William Henry Fox Talbot, is also discussed. Bayard{\textquoteright}s reputation is based on his work with the calotype, or paper-negative process. This study discusses his garden still-lifes and many self-portraits as a visual autobiography in which he defines his role as cultivator of the new medium of photography. His calotype portraits, more numerous than supposed, are seen to establish standards for the photographic portrait on paper. His photographs of the city of Paris and its suburbs record the growth and change of the city. These images lead to the larger issue of the part played by the photographic image, tied to reality and to the present moment, in validating images of contemporary life as appropriate pictorial subjects. Finally, his extensive work on several important architectural projects illuminates an interesting relationship between architectural drawing and photography. Bayard{\textquoteright}s conversion to glass negative photography in the late 1840s initiated a mature phase of his career that has received little attention before now. His pioneering role in developing techniques of the mass-production of photographic prints, and his masterful work with the albumen on glass technique are discussed. His foray into the world of commercial photography in partnership with the illustrator Bertall concludes this study of a career that set the pace for the medium of photography during its first twenty-five years.}, keywords = {Photography and Film}, author = {Keeler, Nancy Boghossian} } @mastersthesis {7518, title = {Dreams in Early Medieval Art}, year = {1991}, school = {Michigan}, abstract = {This study examines the way in which Early Medieval artists converted the dream, an experience common to all, into a rich and powerful image charged with multi-valent meaning. In the hands of Early Medieval artists, the dream image became a visual affirmation of the intangible meeting between heaven and earth. Yet this seemingly simple topos had enormous possibilities insofar as the dream image functioned like an imprimatur, not only visually confirming the divine character of the depicted event but also simultaneously sanctioning the dream{\textquoteright}s message. Concomitantly this visual assertion of divine communication provided stature to those associated with the dream experience as well as validation for events that followed from the dream. Thus, dreaming was a deliberately chosen, powerful medium for a message, a medium having not only spiritual significance but social, political, and economic implications as well. It was these aspects that Early Medieval artists capitalized on. Chapter I lays the groundwork for the investigation by examining the manner in which Early Medieval artists approached the depiction of dreams. Based on a study of over three hundred dream images, it considers: problems in identifying dream scenes, the gender of dreamers, their religious and social status, their dress and physical characteristics, the setting in which dreams occur, the depiction of dream content, witnesses to dreams, and variations in dream depiction. Chapters II through IV investigate specific dream images in relation to topoi that reveal the function and power of dream representation: dream images related to the call to God{\textquoteright}s earthly service and the revelation of actual or impending death; those related to holy cults, such as dream cures, incubation, and the invention and relocation of relics; and lastly those related to church construction, with examination of possible reasons for the use of the dream as a topos for this activity. Chapter V makes overall observations about the nature and function of dream representation. An alphabetically arranged appendix lists the dream scenes gathered for the study and provides information about their present location, object type, original provenance, and approximate date, and, when known, a source for locating an illustration.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Carty, Carolyn Marie} } @mastersthesis {7524, title = {The Early Medieval Chapel: Decoration, Form and Function}, year = {1991}, school = {Victoria}, abstract = {The relationship between decoration, architectural form, and function is investigated in depth in those early chapels of Italy and Istria which retain significant amounts of their decorative programmes. These include the Archbishops{\textquoteright} chapel and the Mausoleum of Galla Placidia in Ravenna, S. Vittore in Ciel d{\textquoteright}Oro, Milan, the St. Matrona chapel at S. Prisco near S. Maria di Capua Vetere, Campania, and the chapels at the Lateran Baptistery, Rome. In addition, the chapels are set into a broader context through a survey of the many chapels which survive in less good condition, or are known only from archaeological and literary sources. The decorative programme of each chapel is analysed for iconographic content. Themes reflect not only the basic vocabulary of the earliest Christian art, but more precisely, the hopes and aspirations of the chapel{\textquoteright}s builder. The vast majority of the surviving chapels were built as memorial or funerary chapels in connection with the cult of the dead, and expressed the soul{\textquoteright}s need for assistance in the attainment of heaven. The funerary cult was intimately connected with that of the martyrs, whose bodies and relics also rested in the chapels, and whose power in favour of those who were interred beside them was invoked in art in the chapels{\textquoteright} decorative programmes. Literary evidence confirmed that chapels had also existed in the dwellings of the lay aristocracy, though none had survived. On the other hand, clergy-house oratories were represented not only by the chapel of the Archbishops of Ravenna, but by the shrines of the two saints John at the Lateran Baptistery, Rome, which were identified as papal oratories adjacent to the home of the early popes at the Lateran Palace. The total loss of the domestic chapels of the laity slanted the conclusions of the study not only towards clergy house oratories, but towards funerary and memorial structures, of which a greater number survived. It was found that the latter illustrate the chronological sequence: martyr{\textquoteright}s memoria, funerary chapel, martyrium. Some examples served more than one of these functions in turn, and possibly the full sequence. Analysis of the iconographic programmes showed that themes and functions were closely interrelated. Even so, there were more similarities than differences in the iconographic programmes of chapels which clearly served different functions. Most importantly, three-dimensional decorative schemes were common to all types of chapel. In these compositions, the chapel{\textquoteright}s interior space represented a microcosm of the universe. These schemes were judged to be ancestral to the decorative schemes typical of centrally-planned churches in the Middle Byzantine period. Annexed chapels formed the main subject of the study, and all those mentioned so far are of this type. However, the origin of chapels within the perimeters of church buildings, which occurred late in the period of study, is briefly discussed in the final chapter, where oratories, sacristies, and chapels inside auxiliary buildings are distinguished from one another, and from the annexed chapels which had previously been standard.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Mackie, Gillian} } @mastersthesis {7509, title = {Early Painting in Tibet}, year = {1991}, school = {Harvard}, abstract = {This study examines over one hundred early Tibetan paintings and manuscript illuminations, mostly unpublished and dating to ca. 950--1400 A.D. The first chapter briefly surveys the history of relevant literature, beginning with the writings of early missionaries and explorers to the Himalayan region through the efforts of contemporary art historians. The theoretical background and ritual contexts of Tibetan painting, which influenced its formal, iconographic, and iconologic characteristics, are also briefly considered. The paintings are divided into two broad categories: Central and Western Tibet, a classification based on comparisons with murals in situ. Relative chronologies are proposed for each regional style, emphasis placed on the evidence available for assessing chronology (Chapters 2, 3). Chapter 4 addresses portraiture, a subject which constitutes approximately one-fourth of the surviving corpus of pre-fifteenth century paintings. This chapter examines four main questions: What are the essential characteristics of early Tibetan portraiture? What aesthetic and theoretical guides did artists observe in painting historical persons? How do portrait paintings compare with the more familiar Tibetan iconography of Buddhas, bodhisattvas, and other divine beings? In what ways did portraiture reflect social and political conditions in pre-fifteenth century Tibet? Chapter 5 examines early Tibetan sectarian history and its impact on contemporary painting. In the absence of a central ruling authority, there arose many small sectarian groups, each led by a charismatic figure. The identity of most sectarian groups was both ill-defined and highly complex. Disciples normally studied with many teachers, often of different "sectarian" affiliations; students frequently dispersed when their master died, some then establishing their own branch of religious instruction. Thus, one should use sectarian nomenclature to describe paintings only when one has information linking a painting with a specific individual, monastery, or sectarian group. Furthermore, even if one is able to associate a painting with a sectarian group, one cannot assume that its style is representative of or exclusive to that sect.}, keywords = {Asian Art}, author = {Singer, Jane Casey} } @mastersthesis {7505, title = {Early Spring{\textquoteright} and the {\textquoteright}Linguan Gaozhi{\textquoteright}: Painting as a Ritual Performance}, year = {1991}, school = {Chicago}, abstract = {No abstract in ProQuest}, keywords = {Asian Art}, author = {Murashige, Stanley J.} } @mastersthesis {7476, title = {Esclave, Negre Nozr: The Representation of Blacks in Late 18th- and 19th-Century French Art}, year = {1991}, school = {UCLA}, abstract = {The representation of blacks in French art is a complex issue wrought with subtlety. Nevertheless, one of the primary goals of this study is to dispel a myth which has developed over the course of about four hundred years which says that the French have always been benevolent and non-racist in their perceptions and treatment of black people. In a broad sense, this dissertation attempts to delve into the intricate issue of how the French art community envisioned black people from the latter part of the 18th century to the end of the 19th century. With the histories of French involvement in slavery and the slave trade, abolitionism, exoticism, colonialism, and political history as a backdrop, it becomes apparent that black skin is used as a rhetorical symbol for differing political, social, and ideological needs uniquely specific to the French. An assessment of exactly how the presentation of blacks by French artists functions will serve to lay bare and clarify the means by which art assists in the reflection and reinforcement of existing stereotypes. Through a study such as this, the function and importance of ethnic and cultural diversity within societies is given greater urgency. Equally important, however, is the relevance that art has on influencing various social and political institutions within society--institutions which have the power and the means to either strengthen or destroy that diversity.}, keywords = {19th and 20th century Europe}, author = {Smalls, James} } @mastersthesis {7552, title = {Eyn Wunderliche Weyssagung von dem Babstumb: Medieval Prophecy into Reformation Polemic}, year = {1991}, school = {Pennsylvania}, abstract = {This dissertation is an interdisciplinary study, tracing the reception of a single, primarily visual, late-medieval prophecy concerning the papacy--the pseudo-Joachimite Vaticinia de Summis Pontificibus, or Pope Prophecies. After preliminary chapters in which the early manuscript history of the prophecy, the iconography and sources of images, and a theory of visual prophecy are presented, this study focuses on the 1527 refashioning of the Pope Prophecies as Protestant propaganda by Andreas Osiander, Hans Sachs, and Erhard Schon entitled Eyn Wunderliche Weyssagung von dem Babstumb and the numerous later editions that are responses to and adaptations of this polemical work. Osiander{\textquoteright}s edition and its afterlife are studied from a variety of perspectives and with a number of methodological tools, including iconography, local history, the social history of the Reformation, folklore, and reception history in order to shed more light on how prophecy was understood and refashioned as propaganda in the sixteenth century. Broader issues discussed as well include the rhetoric of prophecy prefaces and the use of images in Reformation and Counter-Reformation polemic. Included as an appendix is an English translation of Osiander{\textquoteright}s and Sachs{\textquoteright}s text.}, keywords = {The Renaissance}, author = {Heffner, David T.} } @mastersthesis {7468, title = {The Fashion(ing) of Duchamp: Authorship, Gender, Postmodernism}, year = {1991}, school = {UCLA}, abstract = {This dissertation studies the construction of Marcel Duchamp by histories and criticism of post-1960 American art, discourses that have worked to define an alternative to the ideologies of Abstract Expressionism by drawing insistently on Duchamp as "father" for postmodernism. The first part of the study critiques contemporary discourses of postmodernism by following the thread of Duchamp through texts on postmodernism to explore how art history and criticism continue to work to position Duchamp as authorial origin for ostensibly anti- or post-modern practices. To perform this critique, texts by Michael Fried, Susan Sontag, Donald Judd, Robert Morris, Hal Foster, and others that reference Duchamp as the source for postmodernism are closely analyzed for their continuities with Clement Greenberg{\textquoteright}s modernist theories of art. The second part of this dissertation seeks to counter these constructions of Duchamp as fixed "paternal" origin for postmodernism by performing extensive re-readings of Duchamp{\textquoteright}s works from a feminist perspective. In this way, the continued reliance of these postmodern writers on Greenbergian modernist and masculinist ideologies is exposed and thrown into question. This self-conscious re-reading of "Duchamp," finally, is intended to call for more complex notions of the relationship of cultural postmodernism to modernism and for a more complex understanding both of artistic authorship in general, and of Duchamp as author in particular.}, keywords = {19th and 20th century Europe}, author = {Amelia Gwen Jones} } @mastersthesis {7497, title = {Frank Lloyd Wright{\textquoteright}s Development of Non-Rectilinear Geometries in His Architecture of the 1920s-1930s}, year = {1991}, school = {Stanford}, abstract = {The dissertation examines the hallmark of Wright{\textquoteright}s later architecture--his highly innovative development of non-rectangular geometry and the transcendental ideals which inspired it. Wright{\textquoteright}s life-long striving after a psychological, spiritual and symbolic language of {\textquoteright}pure form{\textquoteright}--identified by him with elemental geometric shapes predominantly non-rectangular--was the expression of a deeply personal faith in abstract, universal principles of order defining man{\textquoteright}s relation to nature and {\textquoteright}God{\textquoteright} instilled from childhood. Wright{\textquoteright}s earliest use of non-rectangular geometry in the 1890s explores complex spatial and psychological dimensions inherent in conventional design elements, though often his plans allude to symbolic or anthropomorphic meaning. Soon after 1900, with the mature Prairie house and a burgeoning machine aesthetic, the non-rectangular form is expunged and a mechanistic fallacy surrounding rectangular geometry and his art glass windows emerges as the mark of modernity.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Joncas, Richard} } @mastersthesis {7538, title = {The Funerary Monuments of the Augustales in Italy}, year = {1991}, school = {UCLA}, abstract = {The Augustales, freedman priests dedicated to the imperial cult in the municipalities of the western Roman empire, are briefly mentioned in ancient literary sources and recorded in over two thousand inscriptions. Scholarly analyses have established that freedmen, who were barred from holding public office because of their inferior legal status, attained prestige through membership in the priesthood, in exchange for financial contributions to their cities. Unresolved issues include: their exact functions; whether magisterial symbols were employed as official priestly insignia; and the social status, independence and typicality of freedman members. Funerary monuments of the Augustales have not been systematically studied, despite the function of Roman tombs as a means of commemorating public careers and asserting social status. Certain variables of tomb design, unrelated to the requirements of Roman funerary ritual, are analyzed as possible indicators of social status: location, size, cost, typology and decoration. Monuments bearing representational decoration are catalogued, and the occurrence and geographical distribution of subject matter noted. Standard funerary motifs include sacrificial implements, and floral and sea motifs. Other decoration pertains to the personal histories of the deceased. These subjects include: portraits, professional scenes or attributes, public activities, and magisterial symbols such as honorary chairs and fasces. The Augustales{\textquoteright} funerary monuments imitate those of local dignitaries and citizens of affluence, representing the priests as assimilated members of municipal elites. Reliefs usually supplement information provided in the inscription; customary religious duties of the priesthood are omitted. Scenes of public activities and honorary chairs probably relate to extraordinary activities undertaken by Augustales. Fasces, however, are prevalent enough to suggest their use as priestly insignia in some regions. Status symbols of greater authority appear on tombs of Augustales in northern Italy. The conferral of these symbols reveals the discrepancy between many ex-slaves{\textquoteright} legal and social status. The funerary monuments of the Augustales attest to their affluence and upward social mobility.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Woods, Ann Christine} } @mastersthesis {7554, title = {Gustavo Uzielli: Renaissance Scholar and a Patriot as a Mentor and Patron to the Macchiaioli Painters}, year = {1991}, school = {UCLA}, abstract = {This dissertation provides an examination of Gustavo Uzielli, a Leonardo scholar and geologist (1839-1911) whose active involvement in Risorgimento politics and cultural activities was a significant force in the Florentine community. His close relationship with the Macchiaioli artists of Florence--the counterpart to the French Impressionists--nurtured the Tuscan Renaissance heritage of landscape and their mutual appreciation of Leonardo da Vinci{\textquoteright}s scientific analysis of painting. Uzielli was a man of science obsessed with a vision. He saw in Leonardo{\textquoteright}s scientific method the solution to many of Italy{\textquoteright}s problems, both in the realm of technology and the world of the arts. His activities in Renaissance scholarship and scientific research expressed, in microcosm, Italy{\textquoteright}s struggle to modernize and to achieve a cultural identity as a new and independent nation. Uzielli{\textquoteright}s earnest study of Leonardo{\textquoteright}s work for its artistic, historic and scientific merit paralleled and documented Italian pride in the past. His research, in part, was an attempt to find answers and to gain solutions to the multitude of technological problems confronting the new nation. This study begins with a survey of Uzielli{\textquoteright}s contributions, both as a scholar and a patriot. Uzielli{\textquoteright}s early work addresses the issues of socialism confronting Italy and the possible application of Proudhon{\textquoteright}s ideas to Italian society. Later works, produced a scientific analysis of the emergence of socialistic theories and their relationship to the rational order of science while espousing a modern utilization of the environment. Uzielli{\textquoteright}s relationships with various members of the Macchiaioli are analyzed in depth. In a group of some ten major personalities, Telemaco Signorini (1835-1901) developed a life-long friendship with Gustavo Uzielli. With the aid of photography he contributed etchings with views of Vinci and Anchiano to Uzielli{\textquoteright}s Ricerche intorno a Leonardo da Vinci of 1872 and 1896, a book that resulted in a lasting legacy to Leonardo scholarship.}, keywords = {The Renaissance}, author = {Kaplan, Ellen Carol} } @mastersthesis {7503, title = {The Han Representation of Exemplary Women: Context and Interpretation}, year = {1991}, note = {change of topic}, school = {Michigan}, abstract = {This dissertation investigates the function of visual images of exemplary and counter-exemplary women depicted in Latter Han stone shrines in the Jiaxiang area. In the early Chinese tradition, women were associated, among other things, with leisure, luxury and illicit intrigue because of their role in court life. But the concept of women and womanly virtue acquired a new rhetorical meaning in the political discourse of local Han scholars. It was a common custom for Han scholars to criticize government policy in their writings by alluding to figures from the classics, both men and women. The designers of the shrines discussed used classical allusions to evoke contemporary political problems, but utilized images instead of words. Images of exemplary and counter-exemplary women could function rhetorically in three areas of political discourse, namely, with respect to issues of personal integrity, issues of political legitimacy, and issues of public service under a corrupt regime. Exemplary women were cited not only in reference to feminine morality, but also in reference to issues of integrity pertinent to men engaged in public service. The examples of both good and evil royal consorts were used to criticize illegitimate court power and nepotism. The depiction of evil royal consorts and the use of images of women as symbols of sexual and political contamination evidently continued the traditional association of women with illicit intrigue; now, however, women also appeared in the discourse of political legitimacy and public service.}, keywords = {Asian Art}, author = {Lai, Chuhui Judy} } @mastersthesis {7520, title = {The History and Architecture of the Monastery of Kaisariani}, year = {1991}, school = {Indiana}, abstract = {The Monastery of Kaisariani is one of the best preserved Byzantine monastic complexes in Greece. Despite this fact, there has never been a systematic study of the history and architecture of the monastery. The objective of the present study is to provide an historical framework for the proper evaluation of the architectural monuments preserved at Kaisariani. This historical approach establishes a solid methodology for placing the monastic structures in the overall context of Byzantine architecture. The principal sources for the history of Kaisariani are contemporary Byzantine literary evidence, tax documents, patriarchal records and various histories of Athens. In addition, there is a small amount of epigraphic and archaeological evidence that directly relates to Mount Hymettos and the monastery of Kaisariani. A major part of the study is devoted to the typology, morphology and dating of the Katholikon ("main church") of Kaisariani. By comparing the masonry, window designs and other formal elements of the Kaisariani Katholikon to contemporary Byzantine monastic churches (e.g., Daphni, Hosios Loukas), it is possible to date the church at Kaisariani to the late eleventh century. The other monastic structures, such as the bath building, refectory and residential quarters, are evaluated in relationship to similar preserved examples in Greece of the same date and typology. This study brings together for the first time in English the historical documents related to Kaisariani and a systematic evaluation and analysis of the architectural monuments that are unknown for the most part to the world of scholarship.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Forrest, Larry W.} } @mastersthesis {7526, title = {The Iconography of Historiated Psalm Initials in the Thirteenth-Century French Fully-Illustrated Psalter}, year = {1991}, school = {Pittsburgh}, abstract = {Eight French Gothic Psalm manuscripts containing historiated initials for most of the 150 Psalms provide a rich, and yet uninvestigated, corpus of iconography. The so-called French Psalter Group--seven Psalters and a Commentary on the Psalms by Peter Lombard ranging in date from the late twelfth to the late thirteenth century--are linked not only by similar patterns of figural illustration in the initials; four of them are also related by inscriptions, accompanying each initial. Although no single iconographic and textual model can be posited, these historiated initials raise fundamental questions about the identification and sources of both the subjects and their treatment and about the formation and transmission of a {\textquoteright}program{\textquoteright} of illustration. Earlier scholarship, attempting to establish a relationship among these books by analyzing the phrasing of the legends alone, failed to notice the iconographic dissimilarities among some initials for the same Psalm in the different manuscripts and the occasional discrepancies between legend and illustration in the same manuscript. In order to define more precisely the nature of the relationship among the books, I have assembled a table, juxtaposing a transcription/translation of each legend and a full description of each historiated initial in the French Psalter Group, combined with a survey of textual and pictorial sources that possibly contributed to the selection of a particular subject for a particular Psalm. The table is supplemented by a statistical analysis of linguistic inter-relationships among the legends and of iconographic inter-relationships among the historiated initials. The underlying program or thematic concept governing the iconographic sequences remains elusive, especially when compared with earlier fully-illustrated Psalter programs. Nevertheless, the painters clearly did not make random choices for the subjects of the historiated initials. Traditional iconography, together with use of familiar visual topoi, still plays a role in Psalm iconography, but far more significant is the role of literate culture. Strongest among textual sources is the mid-twelfth-century Commentary on the Psalms by Peter Lombard. A list of written inscriptions played a major part in transmitting a basic {\textquoteright}program{\textquoteright} among the workshops, one that was added to or deleted from, according to the circumstances surrounding the production of each manuscript.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Peterson, Elizabeth} } @mastersthesis {7548, title = {An Iconography Study of the Imagery of San Bernardo of Siena and the Observance in Italy, 1440-1500}, year = {1991}, school = {Michigan}, abstract = {This study examines the historical foundations of the iconography of San Bernardino da Siena and the unique influence exerted by the facts of the Saint{\textquoteright}s life and actions in determining the development of imagery. The first chapter considers the effigy type and its close relationship to Bernardino{\textquoteright}s appearance as described in contemporary histories of the Saint. Bernardino{\textquoteright}s place in the tradition of Sienese mysticism emerges as a central issue in the discussion of the effigies. The unidealized manner in which Bernardino is depicted is explained as an aspect of the popularity and familiarity which Bernardino, by way of his prodigious preaching career, enjoyed in Italy. The second chapter, devoted to narrative presentations of Bernardine iconography and focusing upon a letter recounting posthumous miracles of the Saint and upon his biographies, all circulated soon after Bernardino{\textquoteright}s death, connects the cycles with specific histories of his life. Bernardino{\textquoteright}s predicant activity is reviewed as one episode consistently included in the narratives despite the non-miraculous nature of the scene. This study also considers in the second chapter the typological association of San Bernardino with the earlier cycles of the life of Saint Francis as evidence of intentions to strengthen the cult of Bernardino and support his sanctity. Chapter Three traces the origin of the thaumaturgic aspect of Bernardino{\textquoteright}s cult association with intercession as it flowered following the early interest in his image. The Saint{\textquoteright}s initial appearance in gonfaloni, banners produced as prophylactic against plague, occurred principally in Umbria as living memory faded in the third and fourth quarters of the Quattrocento and gonfaloni defined him as a plague saint. Bernardino{\textquoteright}s biographies, describing a pre-religious experience with pestilence, sustained his intercessory role in the banners. Once this thaumaturgical addition to his cult as plague saint was codified, the iconography of Bernardine images was transferred to a position in Misericordia altarpieces, wherein the Saint is portrayed as a prominent intercessory figure in proximity to the Virgin and Child. In summary, the emphasis in this study of Bernardine imagery is upon the immediacy of the Saint{\textquoteright}s representation as reflective of his public acts of preaching and upon the veracity of the reporting of his saintly life. The later works of art during the period studied reveal the redirection of the cult towards Bernardino{\textquoteright}s emerging intercessory capacity. Mysticism, supplanting the reportage of the effigies, and of the narratives, overtakes the iconography of the saint.}, keywords = {The Renaissance}, author = {Cyril, Jasmin} } @mastersthesis {7523, title = {The Ideology of Reform in the French Moralized Bible}, year = {1991}, school = {Northwestern}, abstract = {This dissertation examines the thematic content of the French Moralized Bible in Vienna (Osterreichische Nationalbibliothek, Cod.2554) and its significance as an instrument of Church propaganda directed toward the French kings in the early thirteenth century. Produced in Paris between 1215 and 1230 for a royal patron, as I demonstrate, and comprising over one thousand images, this book is exceptional both for its lavish scale and for the information it provides about social and political ideals during a period when the French monarchy was first establishing itself as a potent force in Europe. Each illustrated page in the Moralized Bible contains eight medallions: four scenes from the Old Testament and four corresponding morals, which explain the contemporary significance of the biblical stories. I argue that these morals present a picture of a corrupt, thirteenth-century world in dire need of reform, and I link the Moralized Bible, generally, to an extensive body of High Medieval reform literature. More specifically, I demonstrate that it relates to the work of a group of influential Parisian theologians active in the late twelfth and early thirteenth centuries, who greatly influenced the legislation of the Fourth Lateran Council (1215). In fact, many of the canons promulgated by that council, which institutionalized the Catholic Church{\textquoteright}s program for reform, are systematically represented in the Moralized Bible. The most compelling links between the Moralized Bible and the Church{\textquoteright}s reform ideals concern kingship. The manuscript graphically, and often quite boldly, sets forth a monarch{\textquoteright}s role within the Church{\textquoteright}s grand scheme of societal regeneration. Kings repeatedly appear in attitudes of submission before clerics, they are warned against meddling in ecclesiastical affairs, and they are reminded of their duty to serve the Church. My thesis demonstrates that the Moralized Bible manifests the dynamic relationship between the Church and the French monarchy in the early thirteenth century. Conceived by churchmen for the king of France at a time when the popes and the French kings were aggressively testing the limits of their respective domains, this book brought an ecclesiastical ideal of proper royal conduct to the strongest monarchy in western Europe.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Heinlen, Michael} } @mastersthesis {7531, title = {The Illustration of the Munich Tristan and Willehalm von Orlens: Bayerische Staatsbibliothek}, year = {1991}, school = {Yale}, abstract = {Only a handful of illustrated manuscripts of German epic romances survive from the period before 1300. Two of these, Bayerische Staatsbibliothek Cgm 51 (c1250) and Cgm 63 (c1260s-1270s), containing Gottfried von Strassburg{\textquoteright}s Tristan and Rudolf von Ems{\textquoteright} Willehalm von Orlens respectively, are the focal points of this study. An examination of the nature and function of the illustrations in each manuscript, considering the extent to which the picture-cycles might be understood as receptions or interpretations of the poems they accompany, is followed by an assessment of the stylistic context in which these manuscripts were produced. The illustrations in the Munich Tristan, tinted drawings on separate leaves tipped-in to the text block, form a continuous pictorial narrative that can perhaps best be viewed without simultaneous reference to the written text it accompanies. Comparison of this pictorial narrative with the poem and consideration of textual abridgements in this manuscript reveal a thirteenth-century understanding of Gottfried{\textquoteright}s classic work somewhat different from that generally held by scholars today. The autonomous nature of these illustrations prompts an analysis of narrative techniques employed by the artists and discussion of the possible function of this unusually constituted manuscript in the context of changing patterns of book-ownership and use among the thirteenth-century nobility. In contrast to Cgm 51, the Willehalm von Orlens manuscript provides a more unified experience for the viewer-reader. Analysis of those scenes chosen for illustration suggests that the illuminations served as embellishment for key episodes, emphasizing the didactic presentation in the poem of the development of the hero from orphaned infant to wise ruler. Although Cgm 51 and Cgm 63 thus constitute two different approaches to the illustration of secular texts, the two manuscripts share the same visual vocabulary. A discussion of the iconographical sources for some of the images, concentrates on the conscious use of both secular and religious visual topoi to enrich the viewer{\textquoteright}s experience of the narrative. A reassessment of the artistic evidence in the light of what is known about Upper Rhenish illumination in the thirteenth century finds very little to support the traditional Strasbourg localization of Cgm 51 and Cgm 63. Instead, several other possibilities are suggested, taking into account current research on the dialect and script of the manuscripts. Appendices include an overview of groupings of illuminated thirteenth-century manuscripts localized to the Upper Rhine region and sequential discussions of the Cgm 51 and Cgm 63 illustrations}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Walworth, Julia} } @mastersthesis {7513, title = {The Image and Historical Knowledge in Mid-18th-Century Italy: A Cultural Context for Piranesi{\textquoteright}s Archaeological Publications}, year = {1991}, school = {Cornell}, abstract = {Giovanni Battista Piranesi{\textquoteright}s archaeological publications issued circa 1762 were informed by attitudes current in mid-eighteenth-century Italian thought generated by a re-evaluation of history. Foremost among these was a recognition of the ability of the past{\textquoteright}s tangible remains--its artifacts and images of those artifacts--to narrate history. The dissertation identifies aspects of these attitudes which underlay the mid-eighteenth-century rationale and methods for archaeological explorations. It then demonstrates that Piranesi adopted both the why and how of contemporary archaeological research, and that he exploited these means for his own artistic purposes. Primarily this dissertation develops the context of mid-eighteenth-century Italian ideas on how the past can be known via the image, and secondarily it places Piranesi well within this context, detailing how he used those ideas in his archaeological publications. The first chapter establishes Piranesi{\textquoteright}s connections with those interested in re-evaluating history, such as the history of architecture as embodied in its forms--Matteo Lucchesi, Tommaso Temanza, Giovanni Poleni and Carlo Lodoli--and those interested in archaeology and the role of creativity in archaeological reconstructions--Ridolfino Venuti, Giovanni Gaetano Bottari and Giuseppe Bianchini. It focuses on the early eighteenth-century scholars Giambattista Vico and Francesco Bianchini as sources for such ideas. Chapter Two explores the diffusion of these ideas in and by academies dealing with archaeological questions at the time--the Accademia Etrusca, the four papal academies founded by Pope Benedict XIV for the study of early Christian and Roman history and, tangentially, the Reggia Accademia Ercolanese. Since their findings were made public through a variety of vehicles, the academicians{\textquoteright} attitudes towards the past were familiar to Piranesi. The third chapter elaborates on an overriding concern of the scholars, the image--both as an artifact and as a illustration of that artifact--and methods by which the image conveys historical knowledge. This chapter outlines the processes instrumental in bestowing the image with such power: the admission of doubt about historical knowledge, the interconnection of fantasy and memory and the relationship of perception and knowledge. In this section, Francesco Bianchini{\textquoteright}s recipe for creating an image that can narrate history is pinpointed as influential in engendering the dramatic compositions of Piranesi{\textquoteright}s archaeological images. Lastly, Chapter Four situates Piranesi{\textquoteright}s seven archaeological texts in the context of mid-eighteenth-century archaeological thought. It demonstrates Piranesi{\textquoteright}s absorption of the ideas towards the image as exemplified in his illustrated reconstructions of the ruined monuments and in his compilations of the artifacts. Lastly, it explains how Piranesi employed the arguments of archaeologists to advocate artistic freedom.}, keywords = {Baroque and 18th-Century Europe}, author = {Dixon, Susan M.} } @mastersthesis {7533, title = {Images of Scylla and Riding Nereids in Tondo Reliefs of the Hellenistic Period}, year = {1991}, school = {Case Western Reserve}, abstract = {Within the repertoire of forms and shapes used by Greek artists, one of the most pervasive is the tondo. In painted designs, and particularly when a relief sculpture is added within its borders, the tondo challenges the artist{\textquoteright}s compositional abilities. Initially adapted to the medium of vase-painting, the tondo quickly became a favorite format in bronze, terracotta and the precious metals. Two specific subjects: the monster Scylla and the riding Nereids atop sea creatures, are incorporated into the tondo format beginning in the fifth century B.C. But it is in the fourth century, and throughout the Hellenistic period that both motifs are encountered in their greatest numbers. The popularity of both throughout the Greek world is evident by the material remains, especially from South Italy. The development of their imagery and iconography on tondo reliefs in later Greek art is the subject of this dissertation. The study will identify and isolate separate groups or "types" of artistic depictions, concentrating on the typological distinctions between these manifestations of Scylla and the riding Nereids, and the dissemination of their imagery throughout the classical world. The purpose of this focus is to investigate the relationship between the motifs and the tondo format. It will be demonstrated that the size and portability of the objects incorporating tondo reliefs into their designs are a factor in the iconography of both subjects until the late Hellenistic period, when large-scale sculptures played a role in augmenting the existing iconographical treatment. More than other areas in the classical world, it will be shown that Magna Graecia, and in particular Tarentum, had an impact on the use and the spread of the imagery and the iconography of Scylla and the riding Nereids, an influence that encompasses several centuries and vast geographical distances.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Deka, Mark S.} } @mastersthesis {7477, title = {Images of the Prostitute in Weimar Germany}, year = {1991}, school = {Yale}, abstract = {This dissertation focuses on images of the sexual woman, especially the prostitute, as painted in Germany during the Weimar Republic, 1918-1933, by such artists as Max Beckmann, Otto Dix, George Grosz and others. Frequently, the women in these pictures are threatened, injured, maimed or even killed. While it is to be expected that artists active during that time would reflect the new sexual openness that followed the morally oppressive years of Imperial Germany, an openness regarding sex and prostitution evident in the literature as well as films, it is curious that the paintings dealing with prostitution seem to be fraught with much hostility toward the women themselves. French turn-of-the-century images of similar subject matter took into consideration larger aspects of prostitution such as the lives of the women, their work and their leisure, and, of course, their relationships with men. In the twentieth century, however, and increasingly during the years of the Weimar Republic, attention shifted away from the situation of prostitution and focused on individual prostitutes instead. Although heralded as the champion of the underprivileged and elevated by the artists as a symbol of new sexual freedom, the prostitute in these pictures is not only a sex object--one would expect that--but she is the target for the expression of violent male emotions. Studying the paintings of sexual murders, for example, one comes to the conviction that the artists are not the neutral observers of crime as they may wish to appear. Their pictures reveal a great deal of hostility toward as well as fear of the sexual woman. Art history has until now paid very little attention to these images. They have usually been explained away in terms of the artists{\textquoteright} anger and frustration in connection with World War I. This study shows that the reasons for these hostile depictions of women go far beyond such simplistic explanations; they must be sought, to a large degree, in the artists{\textquoteright} attitudes toward sex and toward women who determined their own sexual destinies. This dissertation is an important revision of the traditional view of artists active during the Weimar Republic.}, keywords = {19th and 20th century Europe}, author = {Tellini, Ute L.} } @mastersthesis {7525, title = {Images, Texts and Contexts: The Iconography of the Tiberius Psalter, London, British Library, MS Cotton Tiberius C.VI}, year = {1991}, school = {Toronto}, abstract = {In the High Middle Ages many illustrious western European psalters contained prefatory cycles of Old and New Testament pictures; the late Anglo-Saxon Tiberius Psalter is often cited as the first such psalter. Scholars have discussed the unique iconography of some of its numerous pictures but there has been no integrated study of the manuscript, nor has attention been given to numerous questions posed by the appearance of such an innovative decorative scheme in a psalter. This interdisciplinary study addresses questions of origin and purpose and sets the psalter into functional, pictorial and ideological contexts. Chapter 1 analyses the unique selection of prefatory texts. Sources include Carolingian prayerbooks, a canon law collection and a homiliary. Most of the texts serve the penitential needs of the individual. They must have been assembled primarily for private devotional use by a churchman. Chapter 2 considers pictorial sources of three portraits of King David and chapter 3 analyses the narrative David scenes. The portraits fuse material from an old Carolingian psalter and a more recent Anglo-Saxon work. The narrative David iconography is close to that of famous pre-Iconoclastic Byzantine monuments and probably derived from a pre-Iconoclastic psalter with prefatory pictures, like the aristocratic psalters of Byzantium. Chapter 4 shows that the many Christological pictures were mostly drawn at random from contemporary and earlier Anglo-Saxon works, supplemented with imagery from homiletic, devotional and poetic material. Chapters 5 and 6 address issues of program. Chapter 5 explores the roots of the overall David/Christ typology in symbolic and typological programs of older Insular psalters. We see that the prefatory typological cycle is a fusion of such schemes with the Byzantine tradition for prefatory David scenes in psalters. Chapter 6 examines detailed typologies linking individual pictures. Two linked themes are apparent; the conquest of evil and the reception of the Holy Spirit, both presented as Davidic and Christological paradigms for the user of the psalter. The cycle embraces the baptismal period in the liturgical calendar; the pictures would have allowed the user to reenact the spiritual battles of his catechuminate, the remission of his sins and the reception of the Holy Spirit.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Openshaw, Kathleen M.J.} } @mastersthesis {7559, title = {The Institution of the Royal Mistress and the Iconography of Nude Portraiture in 16th-Century France}, year = {1991}, school = {Columbia}, abstract = {The French sixteenth-century School of Fontainebleau produced a large number of paintings, with numerous copies and variants, depicting nude women, often with elaborate coiffures, jewelry, or transparent drapery that emphasizes the nudity and heightens the eroticism. Many are in bathing or hunting settings; some include allegorical or mythological allusions. The aura of sexuality in these apparent portraits is pervasive and unique, but many scholars have ignored this element. Little is known about the subjects, artists, dates, patrons, or purpose of these works. This dissertation has two purposes: to investigate the identity of the sitters and to explore the uniqueness of the eroticism. A number of these works have been thought to depict Diane de Poitiers, mistress of Henri II, or Gabrielle d{\textquoteright}Estrees, mistress of Henri IV; such suggestions are generally unwarranted. This study concludes that, of some eighty paintings considered here, only five can be plausibly linked to these ladies. Beyond the question of identification, the broader meaning of these images revolves around their unmistakable eroticism, which is presented with unprecedented directness. These paintings were at the same time both portraits and stereotypes, suggesting a specific identity while simultaneously submerging that identity to depict a more general erotic ideal. Their iconography was influenced by contemporary attitudes and practices about sex, marriage, prostitution, courtesans, and mistresses. The sophisticated eroticism exhibited in these pictures is closely related to the emerging institution of the royal mistress; both made public a reality that had previously existed in more private and hidden forms. In similar fashion, contemporary literature shared the overtly sexual atmosphere of the paintings. Finally, typological precedents for nudity and allegory in portraiture were provided by both classical antiquity and Renaissance Italy. These sources are all explored in this study. Several features appear for the first time in this dissertation: the division of the images into composition types, the number of versions discussed, the chronology of when these paintings were first identified as Diane or Gabrielle, the suggestion of a possible connection between bath subjects and childbirth, and the assembling of numerous opinions about attribution, dating, and subject in a typological catalogue.}, keywords = {The Renaissance}, author = {Plogsterth, Ann} } @mastersthesis {7534, title = {The Inventory Lists of the Parthenon Treasures}, year = {1991}, school = {Princeton}, abstract = {The Parthenon, Erechtheion, Opisthodomos and Chalkotheke all contained a variety of votives, ritual objects, war booty and furniture. These objects were considered to be the treasures of Athena, and a board of ten Treasurers of Athena were selected every year from the first taxation class to take responsibility for these objects. The board of Treasurers made annual inventories of the treasures kept on the Acropolis, and inscribed their inventories on stone from 434 to ca. 300 B.C. Many fragments have survived of these stelai, and they provide valuable evidence for the cult worship of Athena and the types of objects which the Athenians valued most. Chapter One reviews the history of the Treasurers of Athena in the development of the city of Athens. Chapter Two gives a brief history of the treasures which had accumulated on the Acropolis prior to 434, the year in which the inventories began to be made. The inventories provide the best evidence for what was kept on the Acropolis after 434, and are presented in chronological order in Chapter Three with an analysis of the inventory lists in Chapter Four. In Chapter Five the treasures kept in the Parthenon are sorted by material, and within each category by type. Chapter Six presents an analysis of the types of treasures kept in the Parthenon. Chapter Seven presents the treasures kept in the Opisthodomos by type, and Chapter Eight lists the treasures of the Archaios Naos, or Erechtheion, also arranged by type. Finally, in Chapter Nine some conclusions are made concerning the process of taking inventories, the motives for offering gifts to Athena, the types of votives dedicated on the Acropolis in contrast to the Asklepieion and sanctuary of Artemis Brauronia, and the depth of religious feeling on the Athenian Acropolis in the Classical period as suggested by the evidence of the inventories.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Harris, Diane} } @mastersthesis {7515, title = {The Italian Grand Tour of the Future Directeur-General des Batiments du Roi, the Marqui de Marigny}, year = {1991}, school = {Chicago}, abstract = {No abstract in ProQuest}, keywords = {Baroque and 18th-Century Europe}, author = {Rhodes, Randall A.} } @mastersthesis {7478, title = {Joseph Beuys: Thinking is Form}, year = {1991}, school = {Yale}, abstract = {This study explores the nature of Beuys{\textquoteright}s drawing practice, addressing his drawings both as autonomous objects and as an inextricable part of the Gesamtkunstwerk of Beuys{\textquoteright}s teaching, performance, sculpture and political activism. Scholarly attention to date has emphasized the drawings of Beuys{\textquoteright}s formative period during the 1950s; this study examines the role of drawing once Beuys transformed himself from an isolated outsider to a leading figure of European art. The first chapter presents an overview of Beuys{\textquoteright}s life and work, introducing key events and the primary themes that motivated and pervaded his artistic activity. The following chapters address in three independent essays the nature of Beuys{\textquoteright}s drawing practice in the 1960s and 1970s. Chapter Two discusses the drawings made in an oil medium Beuys named Braunkreuz. Braunkreuz represents, within the realm of drawing, a signature medium that parallels Beuys{\textquoteright}s use of fat and felt in sculpture. Chapter Three concentrates on the drawings collectively known as Partituren: the works related to the "actions," Beuys{\textquoteright}s public performances. This study represents an initial effort to identify the role Partituren played in Beuys{\textquoteright}s work and to situate them in terms of their precedents and contemporary performance activity. Chapter Four examines one of the few groups of drawing Beuys made as a series: the pencil drawings made in 1974 and 1975 in tribute to the rediscovery in 1965 of Leonardo da Vinci{\textquoteright}s Codices Madrid. The series conjoins the traditional drawing characteristic of Beuys{\textquoteright}s work in the 1950s and the diagrammatic work of the 1970s. It demonstrates Beuys{\textquoteright}s insistence on the close continuity between his early imagery and ideas and his political engagement during the last two decades of his life.}, keywords = {19th and 20th century Europe}, author = {Temkin, Ann} } @mastersthesis {7464, title = {Klee and India: Krishna Themes in the Art of Paul Klee}, year = {1991}, school = {UT Austin}, abstract = {This dissertation examines the links between the work of the artist Paul Klee (1879-1940) and Indian art and thought related to Krishna, an avatar of the important Hindu deity, Vishnu. Increasingly, Klee{\textquoteright}s approach to creativity is recognized as one of appropriation from existing imagery, his own and that of others. Often he combined images and ideas from several sources in a single composition. Hundreds of his works, in a variety of styles and from every decade of his career, draw on Indian subject matter. Of these, more than two hundred focus on Krishna. The dissertation gives a close analysis of the iconography and formal elements of several of these works. Specific sources in Indian art and literature are identified and possible meanings intended by Klee are discussed. Chapter one explores the awareness of Indian art and thought in Europe, especially in Germany, in the late-nineteenth and early-twentieth centuries, the formative period of Klee{\textquoteright}s intellectual development. Chapter two examines the contacts that Klee and his circle had with Indian literature and imagery. Each of the four remaining chapters surveys Klee{\textquoteright}s responses to the different roles of Krishna: as creator, restorer of the balance between good and evil in the world, irresistible lover, spiritual guide, and hero-god. Works from all periods of Klee{\textquoteright}s career are considered thematically to demonstrate his sustained interest in particular aspects of the Krishna legends. This approach also documents Klee{\textquoteright}s method of reinterpreting individual sources in many different styles and confirms that, in the end, his primary interest was in the ideas expressed in the Indian works. An important feature of Klee{\textquoteright}s reinterpretations is his deliberate transformation and expansion of the Indian material to include ideas and images from his own time and cultural milieu. In this way, he expressed simultaneously the universal and the specific, the mundane and the cosmic, and the mythical and the modern within a single, multilayered image.}, keywords = {19th and 20th century Europe}, author = {De Lamater, Peg} } @mastersthesis {7484, title = {Kuba Textiles: The Dynamics of Creation, Style, and Meaning within the Kuba Kingdom}, year = {1991}, school = {Indiana}, abstract = {Kuba textiles are recognized for their variety of two-dimensional designs and decorative techniques, yet questions concerning the uses and meanings of these textiles for the Kuba have largely been ignored. Beyond aesthetic appreciation, most accounts have stressed the importance of these textiles as emblems of rank or as indicators of social prestige. But the social significance of Kuba textiles is more complex than these appraisals and analyses conclude. Research suggests that the meaning of these textiles for the Kuba emerges from the dynamics of their production and use. Kuba textiles exist not solely as aesthetic objects, but also as products of a socio-cultural framework that places a high value on the making of textiles. Kuba textile production is in sharp contrast to other areas of the world, where the use of special textiles is relegated to certain social strata and where exchange and recirculation of textiles dominates the social history of cloth. Instead, textile production among the Kuba requires the interdependent contributions of men and women. This complementarity of the sexes is revealed in textile production and ownership and is visually expressed in the most important context of use: the display of textiles at funerals and their subsequent use as burial goods. Field research included documenting the techniques of raffia cloth manufacture and fabrication of decorated skirts. The dynamics of apprenticeship was also studied. Extended interviews disclosed the varying corpus of patterns and designs retained by individual women and to a certain degree their historical depth. It was during these discussions that the contextual importance of funerals emerged as the incentive for textile production, display and dispersal. The Kuba concept of joint ownership of textiles was also made apparent. Kuba textile production persist to the present because decorated textiles are linked to ideas regarding social responsibility, ethnic identity, and religious beliefs.}, keywords = {African Art}, author = {Darish, Patricia J.} } @mastersthesis {7470, title = {La Fete aux boulevards externeurs: Art and Culture in Fin-de-Siecle Montmartre}, year = {1991}, school = {Harvard}, abstract = {This study is concerned with the development of a "popular" vocabulary in art and entertainment during the cultural transformation that occurred in Montmartre between 1880 and 1895. These are the years that witnessed the sudden proliferation of new cabarets and dance-halls along the boulevards exterieurs, and the discovery of a novel and seemingly marginal variety of amusements by well-to-do Parisians who had previously had little reason to venture north to the predominantly working class faubourgs. The arrival of this new clientele coincided with the colonization of Montmartre by young artists, bohemians, chansonniers and anarchist propagandists who, operating in the midst of a burgeoning commercial entertainment industry, sought to give form to social and cultural resistance by employing stylistic "dialects" (visual, verbal, etc.) based on their impressions of the culture of the people. The main objective of this dissertation is to disentangle the various kinds of popular references invented by figures such as Adolphe Willette, Aristide Bruant, Maximilien Luce and Toulouse-Lautrec, and to determine the relations between their projects and the new commercialism that rapidly reshaped the production of culture in Montmartre at fin de siecle. Since manufactured images of marginality and opposition were the principal attraction of the neighborhood, the distinctions between the artistic practices of bohemians, avant-gardists and political intransigents were not always easy for the uninitiated observer to recognize. For that reason, their strategies are best understood in relation--negative or conciliatory--to the diverse forms of mass entertainment that, on the face of things, did the most to redefine "popular" culture.}, keywords = {19th and 20th century Europe}, author = {Howard Lay} } @mastersthesis {7490, title = {L.A. Stories: Of Art, M.O.C.A, Myths, and City Building}, year = {1991}, school = {UCLA}, abstract = {The subject of the dissertation is Los Angeles{\textquoteright}s Museum of Contemporary Art. This institution is examined from a number of perspectives that range from its role in the redevelopment of Downtown Los Angeles to analysis of its curatorial agenda to discussion of museum culture in a postmodern, postfordist economy to consideration of the problematics of history writing. The methods and procedures used included interviews with the principals involved with MOCA and with Downtown redevelopment; research on the history of museums; research on the role culture has come to play in redevelopment projects; archival work in newspapers and journals that chronicled both the history of MOCA and that of the redevelopment of Downtown Los Angeles. The findings of the study are that several different forces and social groups were involved in the promotion of MOCA, and that the Museum was conceived differently by these groups. The force that prevailed was the most conservative--the group aligned with the power structure of the City. MOCA is a central topos in the narrative of the new Los Angeles.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Berelowitz, Jo-Anne} } @mastersthesis {7482, title = {Landscape and the Work of Max Liebermann}, year = {1991}, school = {Brown}, abstract = {This dissertation concerns the work of the classically "Berlinisch" German Impressionist, Max Liebermann (1847-1935), president of the Berlin Secession (1899-1911) and later of the Prussian Academy of Fine Arts (1920-1933). Liebermann{\textquoteright}s early realist paintings of charity institutions and collective work, his "cool" impressionist images of middle class leisure, and his portraits of Germany{\textquoteright}s cultural and political notables are often addressed. Landscape, on the other hand, has been relatively neglected. Here, a charting of the artist{\textquoteright}s passage through nearly every conceivable European landscape option available during his lifetime demonstrates the vital international tolerance that distinguished his art politics. Further, an attempt is made to characterize Liebermann{\textquoteright}s personal vision of landscape as conditioned by his urban upbringing, an early appreciation of the Barbizon taste for cultivated landscape and a definitive experience of the highly organized Dutch landscape. Having emerged in early outdoor genre images, this sensibility climaxed during the last decades of the artist{\textquoteright}s life in the garden pictures painted at his Wannsee estate outside Berlin. Traditional and monographic, this study is not a complete analysis of Liebermann{\textquoteright}s development of landscape, but rather an attempt to present a body of information and to identify relevant issues as a necessary basis for further, more synthetic discussion. For the early work, dates are established and artistic sources sorted out in detail. In the fifth chapter, an extended investigation of the circle of artists, museum directors and collectors Liebermann knew in Berlin during the 1880s reveals an association of Impressionism with drawing and caricature as well as "the painting of modern life," biases that limited the role landscape played in German Impressionism generally. Central to the sixth chapter is an analysis of the relationship of Liebermann{\textquoteright}s late garden paintings with the pathbreaking "garden art" of the multifarious director of the Hamburg Kunsthalle, Alfred Lichtwark. A checklist of 800 landscape images by Liebermann drawn largely from the recently acquired Wilhelm F. Arntz photographic archive at the Getty Center in Malibu, CA, completes the dissertation.}, keywords = {19th- and 20th-Century European Art}, author = {Richardson, Holly} } @mastersthesis {7558, title = {A Late Medieval Cologne Artistic Workshop: The Master of the Holy Kinship, a Technical and Art Historical Study}, year = {1991}, school = {Indiana}, abstract = {The thesis presents the first comprehensive study using the {\textquoteright}magic eye{\textquoteright} of infrared reflectography in the examination of the 15th century anonymous Cologne artist called the Master of the Holy Kinship the Younger (c. 1450-1515). The name given to this anonymous painter derives from his altarpiece now in the Wallraf-Richartz Museum, Cologne. The Holy Kinship Altar is the so-called name-piece by the Master and thus forms the nucleus of a stylistic group referred to as the Holy Kinship group. It is not known where he was trained, although his work combines Cologne and Netherlandish artistic traditions. The Master{\textquoteright}s work has been connected with the designs for the north side-aisle windows, St. Peters Cathedral, Cologne. Archival records indicate the windows were completed by the Painter Lambert von Luytge (d. 1508). It remains open for question, but is possible that the unsigned panel paintings were completed by this artist. As a process of scientific examination, infrared reflectography may be considered a {\textquoteright}magic eye{\textquoteright} because it sees through layers of paint, thus providing a picture of the compositional drawing referred to as underdrawing. Forty-three panels in the Holy Kinship group have been investigated with infrared reflectography in Cologne, Utrecht, Paris, Munich, Nuremberg, and Bloomington. Roughly 2000 infrared reflectograms have been gathered to date. Different underdrawing styles have been detected during the infrared reflectography investigations suggesting that several artistic personalities worked together in a workshop collaborating with the Master. Eighty-eight color notations were discovered under the paint surface of thirteen panels by the Master of the Holy Kinship the Younger and Workshop revealing an important workshop procedure. Stained glass window, print, and drawing graphic traditions may be compared with the newly discovered underdrawings and give them an art historical context. The techniques employed by Medieval artists working with these mediums and their interrelationships are also considered. Seven panel paintings by the Cologne Master of the Aachen Altar were also investigated and the results are also presented in the catalogue.}, keywords = {The Renaissance}, author = {Mason, Lesa} } @mastersthesis {7557, title = {The Lateran Palace Fresco Cycle}, year = {1991}, school = {Toronto}, abstract = {The Lateran Palace is the most important and least studied of all the major building and decorating works commissioned by Pope Sixtus V (1585-1590). Built between 1585-1587 on part of the site until then occupied by the Partriarchium Lateranense, the ancient papal residence, Sixtus V{\textquoteright}s replacement was embellished with a frescoed programme spanning three floors, executed between 1588-1589. The purpose of this dissertation is to explore the meaning of the Lateran Palace cycle, largely for the first time. One of the most striking aspects of this vast programme is the presence of Sixtus V{\textquoteright}s achievements or Good Works. They are depicted in a number of different formats, ranging from narrative scenes to devices, and are interspersed throughout the cycle so that the pope{\textquoteright}s presence is always felt. Accordingly, my point of departure is the patron of the programme and his achievements. A number of themes emerge which, it is shown, are echoed in the laudatory literature written for Sixtus V, and form the basis for an understanding of the Lateran Palace programme in particular, and Sixtine Rome in general. Foremost amongst these themes are Sixtus V{\textquoteright}s role as successor to Augustus and Constantine, and his adopted heritage which descends through Augustus to Aeneas and Romulus and Remus; his role as Christ{\textquoteright}s vicar and successor to Saints Peter and Paul, as well as Moses, the traditional typus papae; his Franciscan heritage; and his solarian nature. It is shown that these qualities are entirely in keeping with the conservative Franciscan and papal traditions.}, keywords = {The Renaissance}, author = {Mandel, Corinne} } @mastersthesis {7473, title = {Leon Bonnat (1833-1922)}, year = {1991}, school = {IFA/NYU}, abstract = {Leon Bonnat was one of the most successful French painters during the second half of the 19th century. This dissertation, the first complete and documented monograph, examines his art and career in context. Chapter One discusses Bonnat{\textquoteright}s academic training in Madrid and his direct contact with the realist tradition of Spanish art, an important source for French artists, such as Courbet and Manet, in the 1850{\textquoteright}s and 1860{\textquoteright}s. Chapter Two examines Bonnat{\textquoteright}s academic training in Paris and his ambivalence toward the artistic establishment. This fuller view of Bonnat{\textquoteright}s oeuvre reveals a variety of subjects, techniques, and naturalistic modes. Rejecting invented terms like "academic realism", Chapter Three explains Bonnat{\textquoteright}s approach to composition, choice of subjects, and techniques to define his Realist mode and attitudes. Bonnat{\textquoteright}s Realism is compared to the major Realist proponents, such as Courbet, Degas, and Fantin-Latour, and to other official painters, such as Laurens and Delaunay, as well as to the medium of photography and popular art forms. Bonnat{\textquoteright}s incorporation of Realist devices and broad facture into public portraiture and religious painting represented a reformist alternative to the artistic ideals and methods required by the Ecole and Academie des Beaux-Arts during the 1860{\textquoteright}s and 1870{\textquoteright}s. Chapter Four demonstrates that Bonnat{\textquoteright}s artistic decision-making responded in part to patronage and new markets, and some of his pictures engendered critical controversy. Bonnat built his reputation on his Salon pictures, and amplified his fame through international exhibitions and clients. This worldwide exposure brought Bonnat students from all over the world, such as Eakins, Kroyer, Caillebotte, and Toulouse-Lautrec, many of whom, through their own art or their teaching, spread even further his reputation and artistic approach. With the monetary rewards of his artistic success, Bonnat collected art and established the Musee Bonnat in his hometown Bayonne, a model of 19th-century civic duty. Chapters Five and Six on Bonnat{\textquoteright}s teaching atelier and art collecting dispel the notion that they influenced or surpassed his own artistic achievement, and present valuable information concerning hundreds of artists{\textquoteright} training in Paris and the creation and role of art collections in late 19th-century society.}, keywords = {19th and 20th century Europe}, author = {Alisa Luxenberg} } @mastersthesis {7499, title = {Louis Comfort Tiffany: The Painting Career of a Colorist}, year = {1991}, school = {Wisconsin}, abstract = {The painting career of Louis Comfort Tiffany reflects the diverse nature of an extraordinarily creative man. His paintings are a visual record, an actual account of his journeys to Europe, North Africa and Canada. They document Tiffany{\textquoteright}s family life with a jewel-like use of color, attention to detail and a particular figural naivete. It is the purpose of this paper to document his paintings in a developmental stylistic order which will explain the evolution of Tiffany{\textquoteright}s color concepts. Tiffany developed his colorful painting style in four stages. In the first stage, he borrowed color, subject matter and actual painting technique from his early mentors, George Inness and Samuel Colman. The second stage in the evolution of Tiffany{\textquoteright}s painting style was the formation of a specific color painting method. The third evolutionary stage was the formation of two distinct painting styles: the smooth Orientalistic landscape style and a rough Couture-Colman style, which were the result of different painting methods. The fourth stage was the assimilation of these two styles into one. After the evolution of these painting styles, and in keeping with the development of his glass career, Tiffany{\textquoteright}s paintings exhibited a fascination with color, light and iridescence. These luminous works incorporated images of women: Tiffany{\textquoteright}s ideal beauty. Later in life he returned to paint Orientalism, landscapes and genre scenes.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Price, Joan Elliott} } @mastersthesis {7489, title = {Louis Jobin (1845-1928) et le Marche de la Sculpture au Quebec}, year = {1991}, school = {Laval University}, abstract = {Le sculpteur Louis Jobin est une figure marquante de l{\textquoteright}histoire de l{\textquoteright}art ancien du Quebec. Apres avoir ete l{\textquoteright}apprenti de Francois-Xavier Berlinguet a Quebec et de William Boulton a New York, Jobin ouvrit sa premiere boutique a Montreal en 1870, boutique qu{\textquoteright}il quitta cinq ans plus tard pour se fixer dans la Vieille Capitale. A la suite de l{\textquoteright}incendie de son atelier en 1896, le sculpteur alla finalement s{\textquoteright}installer a Sainte-Anne-de-Beaupre ou il travailla jusqu{\textquoteright}a sa retraite en 1925. Cette longue carriere lui a permis de realiser un millier d{\textquoteright}oeuvres qui sont disseminees un peu partout sur le continent nord-americain. Sa production statuaire s{\textquoteright}avere non seulement la plus considerable de l{\textquoteright}epoque mais constitue egalement un jalon fondamental dans l{\textquoteright}evolution de la sculpture quebecoise. En effet, en raison des imperatifs du marche, des contraintes de la concurrence et des innovations liees a l{\textquoteright}industrialisation, Jobin a du s{\textquoteright}adapter tout au long de sa carriere, passant progressivement d{\textquoteright}une production diversifiee a un champ d{\textquoteright}action tres specialise, la statuaire religieuse de grand format destinee a l{\textquoteright}exterieur des edifices.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Beland, Mario} } @mastersthesis {7507, title = {Madinet al-Zahra{\textquoteright}s Constructed Landscape: A Case Study in Islamic Garden and Architectural History}, year = {1991}, school = {Pennsylvania}, abstract = {Madinat al-Zahra{\textquoteright}, the tenth-century Umayyad palace city built by {\textquoteright}Abd al-Rahman III outside of Cordoba, the caliphal seat of Andalusia, is of profound importance within the history of Islamic architecture, gardens, and landscape because at al-Zahra{\textquoteright} occurred the first synthesis of Abbasid and Umayyad palace typology in the Iberian Peninsula. From this synthesis emerged many of the Hispano-Islamic stylistic elements associated with later palace such as the Alcazaba of Malaga, the Castillejo of Monteagudo, the Alcazaba of Almeria, and the Alhambra and Generalife of Granada. These elements included the use of luxury materials (marble, precious wood, stucco), grandiose scale and complex plan of juxtaposed residences and reception halls, serving a variety of functions, and the use of water and vegetation not only as decorative elements, but as essential elements in the spatial planning of the palace. Relying on a textual foundation of Arabic agricultural manuals, plant lists, histories, geographies, and poetry as well as archaeological data from Madinat al-Zahra{\textquoteright} and related sites, the dissertation places the palace city within its regional agricultural context and links it with the more than twenty-five other palaces and villas built around Cordoba in the Umayyad period, both before and after the founding of al-Zahra{\textquoteright}. The chapters examine the typological sources for al-Zahra{\textquoteright}s architecture and gardens, its orientation to landscape, exploitation of hillside location, and deliberate manipulation of vistas via miradors and viewing platforms, as well as the question of the meaning of a panoramic view of landscape in the medieval Islamic world and for whom the view was intended. The economic and hydraulic reasons for a green belt of agricultural and recreation estates with gardens and orchards surrounding Cordoba are examined. The last chapter discusses Madinat al-Zahra{\textquoteright}s persistence, after it was destroyed in the eleventh century, as a nostalgic symbol of the gradual loss of Andalusia to the Christian conquerors.}, keywords = {Asian Art}, author = {Ruggles, D. Fairchild} } @mastersthesis {7462, title = {Mario Sironi: Art and Politics in Fascist Italy, 1919-45}, year = {1991}, school = {IFA/NYU}, abstract = {Studies on the Fascist period in Italy have generally argued that "culture" was, by definition, antithetical to the political rhetorical and propaganda of the regime. This dissertation qualifies the outright negation of the idea of a Fascist culture by examining the art of Mario Sironi (1885-1961). An analysis of Sironi{\textquoteright}s style and the vicissitudes of his career demonstrates the effects of Fascist ideology (in its various forms) and Fascist cultural policy on the fine arts. This thesis argues that Sironi elaborated a theory and practice of cultural interventionism that corresponded to the morphology of Fascism as it evolved from a movement to a regime. Chapter 1, Sironi in Perspective gives a brief historiography of Fascist culture, a summary biography of Sironi, an analysis of the studies on the artist and of the methodological problems still plaguing the literature. Chapter 2, The Urban Landscapes examines Sironi{\textquoteright}s relationship to both Futurism and Metaphysical painting in his images of the Milanese industrial outskirts. The subject matter and style of the urban landscapes are discussed in the context of the post-war Italian political crisis and the rise of Fascism. Chapter 3, Sironi and the Novecento concerns the artist{\textquoteright}s relationship to the Novecento movement, which sought to create a new art for Fascist Italy. The style of Novecento classicism or Magic Realism, which characterized the work of Sironi and other Italian artists of the early 1920s, argues against the traditional notion of a "return to order" in the immediate post-war years. Chapter 4, Art and Propaganda accounts for the development of Sironi{\textquoteright}s expressionist style, a new subject matter that focused on the worker and his manifold accomplishments as a propagandist. The contrary critical discourses surrounding the interpretation of Sironi{\textquoteright}s work make apparent the paradoxes of Fascist cultural policy. Chapter 5, Sironi and A Fascist Art details Sironi{\textquoteright}s ideal of a monumental public art. In addition to his commissions, Sironi{\textquoteright}s essays on Italian culture reveal a precise interpretation of a Fascist art that was both true to modernist principles of formal autonomy and to the exigencies of ideological indoctrination.}, keywords = {19th and 20th century Europe}, author = {Braun, Emily} } @mastersthesis {7550, title = {Melozzo da Forli and the Rome of Pope Sixtus IV (1471-84)}, year = {1991}, school = {Harvard}, abstract = {The dissertation focuses on the artistic development of Melozzo da Forli in the context of Sistine Rome. It revolves around the figure of Melozzo and of Sixtus IV, attempting to construct a contextual interpretation of the artist{\textquoteright}s three frescoes. The buildings in which Melozzo painted--the Vatican Library, the Basilica of SS. Apostoli, and the Santa Casa in Loreto--provide the starting point for an examination of the painter{\textquoteright}s participation in the Rome of Sixtus IV. The first chapter introduces Sixtus IV, as Franciscan, pope, and patron. Sixtus directly commissioned only one work from Melozzo: a large portrait of himself with the librarian Platina and four papal nephews for the new Vatican Library. In the second chapter I propose that Melozzo recast the conventions of papal portraiture, adapting the fresco to suit its location and intended audience: the users of the first public library in the Vatican palace. Melozzo{\textquoteright}s next commission was the Ascension in the apse of SS. Apostoli. In Chapter III I suggest that Giuliano della Rovere intended to transform the apse of SS. Apostoli into a family burial chapel, commissioning Melozzo{\textquoteright}s fresco as a suitable decoration. I argue that the subject of the fresco is actually that of a Christ in Glory, capable of fusing the separate moments of Christ{\textquoteright}s divine appearances. The fourth chapter offers an account of Melozzo{\textquoteright}s frescoes in the sacristy of S. Maria di Loreto. There I propose that Melozzo{\textquoteright}s frescoes bear no direct relation to the Santa Casa, and that the Della Rovere patronage was not intended to be read as hommage to the new devotion. Melozzo{\textquoteright}s radical use of perspective enhanced the viewer{\textquoteright}s participation in the drama of Christ{\textquoteright}s Passion, a cycle eminently suited to a traditional Marian Basilica. Finally, I conclude the dissertation in Chapter V with an analysis of Melozzo{\textquoteright}s stylistic development which supports the dating of the three frescoes suggested in the preceding chapters.}, keywords = {The Renaissance}, author = {Frank, Isabelle Jennifer} } @mastersthesis {7519, title = {The Middle Byzantine Lectionary: Textual and Pictorial Expression of Liturgical Ritual}, year = {1991}, note = {fourth advisor: K. Shelton. No abstract}, school = {Chicago}, abstract = {No abstract in ProQuest}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Dolezal, Mary-Lyon} } @mastersthesis {7511, title = {Modernization in Japanese-Style Painting: Yokoyama Taikan (1868-1958) and the Misty Style}, year = {1991}, school = {Michigan}, abstract = {This dissertation is a study of Yokoyama Taikan{\textquoteright}s early career, with emphasis upon his research for ways to modernize traditional-style painting. Taikan was among the first in Tokyo to advance significant innovations in Japanese-style painting, which he based upon selective borrowing from Western painting. This dissertation is based upon stylistic analysis set against the historical and cultural context. The main topic of this dissertation is Taikan{\textquoteright}s morotai, one of the first truly innovative styles of Japanese painting to go beyond simple eclecticism. Created by Taikan and his colleague Hishida Shunso in the 1900s, they were inspired by Western painting to introduce greater realism and the deception of atmosphere into traditional painting. They achieved this by eliminating line-based drawing, considered at that time to be the heart of Japanese painting, and by finding new ways to apply colors. The ideas behind morotai are explored here through Taikan{\textquoteright}s and Shunso{\textquoteright}s essays to understand how they saw morotai{\textquoteright}s relationship to Western art, while public reaction is sampled through reviews. This discussion includes a detailed account of their travels in India, America and Europe, for which exhibition reviews and catalogues are used. It is suggested that morotai, with its elimination of descriptive line and emphasis on color, was historically important to the development of modern painting in the Taisho period and remained the basis of Taikan{\textquoteright}s style. There are several chapters of introductory material preceding the morotai chapters: an overview of Taikan{\textquoteright}s career; a survey of significant developments in early Meiji period painting; a historical discussion following Taikan{\textquoteright}s career from art school to his first years as a professional painter; and a stylistic analysis of his important paintings prior to morotai to determine the roots of his modernism. A wealth of source materials were used to frame the historical discussions. These include Taikan{\textquoteright}s two autobiographies, several essays and letters; Okakura{\textquoteright}s essays, books, and lectures in English and Japanese; and exhibition reviews and catalogues from Japan and the United States, some found for the first time. Issues such as Pan-Asianism, the Meiji enlightenment, modernization and nationalism are explored as they relate to Taikan{\textquoteright}s work.}, keywords = {Asian Art}, author = {Weston, Victoria L.} } @mastersthesis {7522, title = {Modular Iconography in Multiple Syntaxes: A Tool of Exegesis in Italian Medieval Art}, year = {1991}, note = {fourth advisor: R. Calkins}, school = {Cornell}, abstract = {Italian art from the thirteenth through the early fifteenth century explored new compositional systems and iconographic expressions that enriched the meanings of traditional subjects. In this period, narrative images became increasingly popular, but they retained traditional allegorical, tropological, and anagogic meanings that had evolved from the Early Christian era onwards. This dissertation studies images that celebrate the Incarnation, those depicting the Nativity, the Adoration of the Magi, and other related stories, to explore changes in composition and iconographic idioms that fostered increasingly rich readings. The first chapter examines images of the Incarnation from the Middle Byzantine era to generate a linguistic approach based on the relatively fixed iconography and compositional organization. This semeiotic method isolates iconographic modules, treats them as denotative forms, and examines how their placement in specific compositional syntaxes gives them connotative meaning. Related Gospels, Apocrypha, sermons, sacre rappresentazioni, and popular stories all reveal similar modular constructions. A survey of images honoring the Incarnation from the Early Christian period through the end of the first millennium clarifies the formation of iconographic modules and the varieties of syntactic compositions that include them. The remaining half of the dissertation carefully examines images from the thirteenth through the early fifteenth century to explore changes in iconographic modules and syntaxes that resulted from evolving social and religious demands. For images from this period, only the narrative syntax suggests spatial and temporal clarity, a paramount issue in the Renaissance; other equally functional syntaxes prompt us to read these same images for different connotations independent of space and time. Too frequently later viewers, in their search for an empirically derived perspective that the narrative syntax favors, have overlooked how these images embody traditional syntaxes. From this survey emerges a different perception of the period, one that values it for its own plentiful offerings instead of only for those qualities that later periods would prize. The methods developed in this dissertation can be applied to other periods as well, to excavate meanings that have become hidden by the interests of later periods.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Grillo, Michael H.} } @mastersthesis {7498, title = {Morgan Russell (1886-1953): An Expatriate American Artist}, year = {1991}, school = {Northwestern}, abstract = {Morgan Russell was an expatriate American artist who lived in France during the formative years of modern art--between 1909 and 1946. This dissertation, placing Russell within a European community of artists, collectors, and dealers, will follow the development of his career from his early years when he studied the modern artists of his day, especially Matisse and Cezanne, until the late 1940s when he painted religious paintings in a figurative and traditional manner. Morgan Russell is best known for the germinal role he played, with Stanton Macdonald-Wright, in the development of Synchromism, the American movement that was based on color and form and was part of the general move towards non-mimetic images in the early twentieth century. However, most of Morgan Russell{\textquoteright}s Synchromies were not abstract, as originally believed by scholars, but instead based upon figural sources, especially Michelangelo. This dissertation studies Russell, through his notebooks and papers, as a figural artist. When Russell abruptly abandoned Synchromism in the mid-teens he was part of a movement that was turning away from abstracted images and championing figurative painting. This investigation explores Russell{\textquoteright}s involvement with the French cultural identity crisis that precipitated the change in style of many artists during this period. Russell continued to paint in a representational manner for the remainder of his career, however, he concurrently (and briefly) returned to Synchromies (termed Eidos Synchromies), which were abstract, during the 1920s. In the 1930s Russell{\textquoteright}s art became more religious and excluded Synchromies completely. His adoption of a mannered figural style in this period, again, has affinities with other artists in the 1930s (Georgio de Chirico and Francis Picabia, for example). A thorough study of Morgan Russell{\textquoteright}s career indicates that he was not a marginal figure, as previously characterized, but rather, his art was in step with that being painted in Europe in the first half of the twentieth-century. Russell is a paradigm of what happened to an American artist who chose to remain in Europe during the germinal years of modern art.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Kushner, Marilyn S.} } @mastersthesis {7563, title = {The Myth of Apollo and Marsyas in Italian Art, 1460-1575: The Images and Their Meaning}, year = {1991}, school = {Maryland}, abstract = {The dissertation is an iconological study that collects and interprets the representations of the myth of Apollo and Marsyas from the Italian Renaissance. The narrative tells of the musical contest between Apollo and the flutist Marsyas, whom Apollo defeated and flayed for the crime of hubris (Ovid, Metamorphoses VI, 382-400). The scope of the arguments is interdisciplinary, drawing on mythographic and philosophical texts and on ideological and theoretical sources concerning art and music from Antiquity and the Renaissance. The dissertation demonstrates that from early on in the considered period some representations of the myth revived its Ancient Pythagorean/Neoplatonic symbolism, i.e. the affirmation of the harmonious order of the cosmos (harmonia mundana) that Apollo rules and tempers by the music of his lyre. On the human plane the principle of harmony assumed the meaning of concord and justice in the state and in the individual personality (harmonia humana). From Roman funerary art, the Renaissance also knew the purifying, redemptive significance of the myth. Dante{\textquoteright}s reference to Marsyas in his invocation of Apollo in the Paradiso linked the myth with the concept of divine inspiration. Since the Trecento, some literary and artistic versions of the myth understood the flaying as the stripping of false pretensions to reveal a hidden truth. To emphasize the issue of ignorance and recognition of revealed truth, a few artists introduced Midas into the myth. Up to the second quarter of the sixteenth century, the representations of the myth originated primarily in Central Italy and were under the influence of Classical models whose conventions they followed. After the sack of Rome in 1527, the interest in the myth shifted to Northern Italy and the artistic representations became more inventive, disregarding the Antique restraint. Among the versions discussed in depth are works by Perugino, Raphael and his school, Giovanni da Udine, Perino del Vaga, Giulio Romano, Parmigianino, Bronzino, Salviati, Schiavone, Tintoretto, Cambiaso, Orsi, and Titian. The Appendix catalogues 103 representations in various media.}, keywords = {The Renaissance}, author = {Wyss, Edith} } @mastersthesis {7537, title = {Mythological Beakers and Roman Glass Production in the First Century A.D.}, year = {1991}, school = {UCLA}, abstract = {This dissertation examines the corpus of glass vessels known as mythological beakers from both a technical and iconographic point of view. A theory as to how the vessels were manufactured was tested by constructing molds of diverse materials and inflating glass into them. This method proved to be successful but shed no further light on what materials were utilized in antiquity to produce similar glass molds. The iconography of the vessels was examined to determine the identity of the decorative figures found on the beakers. All but one of the figures were successfully identified, and comparative prototypes provided for them. Different varieties of glass produced during the first centuries B.C. and A.D. were examined in order to better place the beakers chronologically, and by utilizing the dates provided by those vessels found within an archaeological context, the mythological beakers were dated to the middle of the third quarter of the first century A.D. The similarity of manufacture between the mythological beakers and other first century mold-blown glass suggests that these vessels might be the products of a few workshops, whose wares can be determined by the mold characteristics found on the vessels. The findspots of the mythological beakers and their possible means of dissemination throughout the empire were studied to determine their place of manufacture. It is likely that they were made somewhere in the eastern Mediterranean and dispersed throughout the empire either by their owners or by itinerant tradesmen. The archaeological evidence suggested one possible means of dissemination, the troops of the Roman legions. Not enough evidence survives, however, to suggest that the army was specifically targeted for this type of vessel.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Wight, Karol Bernice} } @mastersthesis {7535, title = {Mythology and Typology on Roman Sarcophagi (Adonis and Aphrodite, Endymion and Selene)}, year = {1991}, school = {Columbia}, abstract = {This study surveys the representations on Roman sarcophagi of those two Greek myths which tell of mortal men beloved by goddesses: Adonis by Aphrodite and Endymion by Selene. It focuses on the pictorial transformation of the mythological imagery and its changing significance as these stories were appropriated for, and adapted to, a funerary context. The sarcophagus imagery was highly conventionalized. A group of scenes was extracted from the myth to serve as an epitome. Chapters III and V explicate the visual repertories for the tales, and demonstrate the effect and purpose of the standardization of their imagery. The exemplary character of the mythological representations is examined, and the analogical force of the narratives is set forth. Chapters IV and VI isolate and interpret the sarcophagi that diverge from the established conventions. These chapters are concerned with a mode of typology essential to the imagery displayed on these monuments, since the typological affinities drawn between myths expanded the connotations of individual tales by linking them to others. Such typologies relied on the standardization of forms and motives, as well as the juxtaposition and contrast of related subjects. In this fashion the sarcophagus designers produced a rich and expressive imagery, by means of which the dead identified themselves with the ancient gods and heroes, and offered themselves as nova exempla for the lives of their descendants. Chapters VII and VIII analyze the social and intellectual setting in which this imagery functioned. The relationship between the monuments{\textquoteright} imagery of sleep and death is established, as is the pertinence of dreams. The mythological representations are then considered as the vehicles of memory, and set within their proper historical context amid the traditions of commemorative portraiture. The conclusion draws together these various lines of inquiry. It provides an interpretation of the two myths{\textquoteright} relationship with one another, and an explanation of the similarities between the mortal youths and their goddesses. Finally, this study demonstrates how the ancient sculptors employed typology to augment mythography, and thus effectively freed themselves from the confines of the conventional imagery for the myths as well as their canonical significances.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Michael Wilson Koortbojian} } @mastersthesis {7467, title = {The {\textquoteright}New Woman{\textquoteright} in Fin-de-Siecle Art: Frances and Margaret MacDonald}, year = {1991}, school = {Victoria}, abstract = {Scottish artists Margaret and Frances Macdonald produced their most innovative art during the last decade of the nineteenth century. They received their training at the Glasgow School of Art and became known for their contribution to "the Glasgow Style," Scotland{\textquoteright}s answer to Continental Art nouveau and Symbolism. Although they inherited their visual vocabulary from the male-dominated language of the fin-de-siecle, they produced representations of women that differed from those made by their male colleagues. I suggest that these representations were informed by the female experience and that they must be understood as such if we, as historians, are to discuss their art. Like many other women artists from this period, the Macdonalds relied heavily upon so-called feminine imagery. This could be flower painting, "dainty" landscapes, pictures of children or pictures of "lovely" women. The Macdonalds strayed from conventional meaning, however, and made pictures of women that, while retaining the mystery of symbolism, presented the viewer with contextually accurate representations of women who were bound and restricted by a society that had not yet allowed women the vote. I suggest that these representations be considered in the light of recent theoretical developments in feminist literary criticism and feminist film theory which give credence to women as producers of culture while remaining aware that culture is a patriarchal construction. My contention is that if we can comprehend the patriarchal construct of woman during the fin-de-siecle then we may be able to understand how the Macdonalds (and other women like them) strayed from this representation and made their own images (perhaps in their own likeness or at least in the likeness of their situation). Knowledge about how women{\textquoteright}s experience was integrated into the visual language may lead us to a greater understanding of that experience and its subsequent production as art and, in addition, may bring about a greater valuation of women{\textquoteright}s experience and its representation.}, keywords = {19th and 20th century Europe}, author = {Helland, Janice} } @mastersthesis {7475, title = {New York Dada an the Crisis of Masculinity: Man Ray, Francis Picabia, and Marcel Duchamp in the United States 1913-21}, year = {1991}, school = {Northwestern}, abstract = {This dissertation investigates the relationship between artistic authority and gender identity in the early twentieth-century U.S. vanguard. It demonstrates that modern art was regularly represented in this period as a site of gender confusion, and examines how three prominent members of New York{\textquoteright}s vanguard community, Dada artists Man Ray, Francis Picabia, and Marcel Duchamp, negotiated this construction. Chapter 1, "The Modern Crisis of Masculinity," links the art-critical discourse on gender and modernity to a more general unsettling of conventional boundaries between the sexes, stimulated by such cultural events as World War I, the mechanization of everyday life, and the rise of an economy geared towards mass consumption. Chapter 2, "The Masculinization of American Culture: Man Ray and the New York Vanguard," traces the emergence of an equivalence between art and femininity in the U.S. during the second half of the nineteenth-century, and argues that May Ray was one of numerous modern artists in New York who worked to dissolve this equivalence. His early sketches and paintings of men and women, his cubist paintings of pastoral scenes, and his Dadaist assemblages and photographs of androgynous figures tend to associate mastery with masculinity by locating a specifically phallic force at his art{\textquoteright}s origins. Chapter 3, "Refiguring the Subject: Picabia{\textquoteright}s Object Portraits," argues that Picabia developed a different means to the end of linking masculinity and mastery. His portraits of individuals as commonplace objects, particularly those published in 1915 in the journal 291, construct masculine authority by parodically repudiating it. Chapter 4, "Duchamp{\textquoteright}s Masquerades," describes how the series of fictive personae Duchamp developed in New York, particularly those of Richard Mutt and Belle Haleine, dissolve the connection between modern art and manliness that his colleagues sought to shore up, creating authority by embracing gender instability. The conclusion, which examines the single-issue journal New York Dada (1921), summarizes the transformative and conservative aspects of Duchamp, Picabia, and Man Ray{\textquoteright}s practice, focusing on how the destabilization of norms of masculine identity and authority provided a ground for the construction of a predominantly male avant-garde in America.}, keywords = {19th and 20th century Europe}, author = {Ring, Nancy} } @mastersthesis {7532, title = {Nummus Pro Gemmis: Coin Settings in Roman Imperial Jewel}, year = {1991}, school = {Brown}, abstract = {The group of objects discussed in this thesis are genuine Roman imperial coins and medallions set into jewelry. Unaltered coins are mounted into a bezel construction. This separates them from medallions with cast on frames and those coins showing pierced holes for suspension. Rings, a special group of jewelry, are excluded from this study. The cumulative catalog underlying the study illustrates several characteristics of such jewelry: (a) The settings show a design which allows the coins to be easily exchanged. (b) The majority of mounted coins are made of gold. (c) All frames are made of gold. Gold-plated coins appear to be substitutes for true gold coins. Most of the frames are decorated in opus interrasile. The distribution of their provenances correlates to those of Roman medallions generally, with marked concentrations in Gallia, Pannonia, and Egypt. Those originating from the northern provinces are cast, and some of them can be identified as gifts to the military. The majority of coins date to the third century. Fourth century coins are mounted into elaborate, individually cut opus interrasile frames. They imply dynastic imperial connotations, infused with amuletic powers. With few exceptions, the imperial portrait decorates the front of the object of jewelry. There is no evidence that coin pendants were collected and then assembled to one necklace. The existing necklaces are made as one unit, with frames designed in corresponding pairs.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Bruhn, Jutta-Annette} } @mastersthesis {7504, title = {Okuhara Seiko (1837-1913): The Life and Arts of a Meiji Period Literati Artist}, year = {1991}, note = {change of topic}, school = {Michigan}, abstract = {This dissertation focuses on the painting, calligraphy and life of Okuhara Seiko, a literati-style (bunjinga) artist and poet active throughout Japan{\textquoteright}s Meiji Period (1868-1912). The daughter of a clan official of the late Edo Period (1615-1868), Seiko received an education in Chinese studies and in painting. At the age of 28 she moved to Edo to pursue a painting career, and with her wit and painting talents, quickly entered the heart of the capital{\textquoteright}s literary and artistic circles. She remained a major figure until the early 1890s, when she retired from the capital to continue her active life of painting, travel and poetry from a countryside villa in Kumagaya. While Seiko and her works were famous in her own time, she and her fellow Meiji Period literati painters have been neglected since the 1930s. My study, concentrating on Seiko{\textquoteright}s artistic career, is the first substantial work on the artist in English. The dissertation, introduced by a thorough biography, focuses on the development and changes of Seiko{\textquoteright}s painting and calligraphy styles. The author concludes that Seiko painted primarily in two styles--the "Tokai," style of the 1870s and 1880s, with its broadly brushed ink landscapes, plants and calligraphy, and her Kumagaya style of the 1890s and 1900s, characterized by detailed, full color brushwork on silk. While both styles were popular, her "Tokai" style, in its adaptation of 18th century Yangchou models, best exemplifies her dynamic contributions to the long literati tradition. Appendices include a discussion of her main students, a complete seal listing, a chronology and a bibliography. The text is illustrated with more than 200 plates.}, keywords = {Asian Art}, author = {McClintock, Martha J.} } @mastersthesis {7469, title = {Oskar Schlemmer: A Bauhaus Artist Re-examined}, year = {1991}, school = {Pittsburgh}, abstract = {This dissertation examines Schlemmer{\textquoteright}s art and ideas from his early years in Stuttgart through the major exhibition of 1923 on the theme of "Art and Technology: A New Unity" at the Bauhaus, where he taught. The first major issue deals with Schlemmer{\textquoteright}s place in art history as a modern artist, inspired by contemporary culture, philosophy and events. His current reputation as a modern artist neglects the vital significance of past art and history in the formation of his work and ideas. The second main issue concerns the lasting importance of the years before he joined the Bauhaus. Schlemmer{\textquoteright}s background, home in Stuttgart, family, education, and spiritual beliefs are shown as providing the foundations for his work of the 1920s. Furthermore, while scholarship has described Schlemmer as the quintessential "Bauhausler," supportive of Gropius{\textquoteright}s original program and the revised orientation begun in 1921, this study presents the artist as skeptical of the program from the start, and as particularly critical of the rapprochement initiated with industry. Schlemmer{\textquoteright}s dualistic conception of history is examined. He viewed the Classical, the "Apollonian," and rationalism as diametrically opposed to the Gothic, the "Dionysian," the irrational, and the "modern." Schlemmer is presented as an artist in an era characterized by newness and modernity, but for whom past traditions remained vivid. His conception of his art as "Gebrauchsgegenstande der Seele" is found to be a vital aspect of his work, one which set him apart from materialistic contemporary artists and the other "Bauhausler." Schlemmer{\textquoteright}s decision of 1920 to join the Bauhaus, despite his mixed sentiments, is considered. The early Bauhaus is demonstrated to have been expressionistic and utopian, in contrast to the revised course of 1921/1922. Schlemmer{\textquoteright}s skepticism toward the changes is treated in depth. The exhibition of 1923 is discussed as the public announcement of the Bauhaus{\textquoteright}s new functional, production-oriented course. Schlemmer{\textquoteright}s significant contributions to the exhibition are analyzed. His criticism of the exhibition{\textquoteright}s motto, despite his active participation, is illuminated as placing Schlemmer outside the mainstream of contemporary ideas at the Bauhaus.}, keywords = {19th and 20th century Europe}, author = {Kunz, Lucy Embick} } @mastersthesis {7502, title = {Paintings and Graphic Images of Industry in Nineteenth Century Pittsburgh: A Study in the Relationship between Art and Industry}, year = {1991}, school = {Pittsburgh}, abstract = {This dissertation considers the impact of industrialism on art in the nineteenth century by examining commercial and artistic images relating to Pittsburgh industry between 1815 and 1900. The focus is on images of glass, iron, and steel manufacture as well as of mineral and oil extraction. Topographic prints, advertising images, and illustrations in national magazines from the last half of the century make up the bulk of the imagery. Even though Pittsburgh was the quintessential industrial city of the nineteenth century, local painters avoided depicting factories. The few industrial paintings before 1900 are eccentric. Painters and illustrators related to industry differently. Whereas painters had to deal with inherent conflicts between the traditional humanist values of the discipline of painting and the values generated by the Industrial Revolution, commercial illustrators participated in the ethos of industrialism. Mass production and modern technology had created their field. On the other hand, illustrators connected the sphere of art to that of industry by looking to high culture for formal models. Pittsburgh industry inspired a body of dramatic graphic images before the factory became a subject of high art. Almost all the images in this study--whether painted or graphic--reflect middle-class attitudes towards the idea of Progress. Thus, most images are of the structures and processes of industry rather than of the factory workers. Laborers generally appear as generic figures who exist only in the context of the workplace. The exceptions are notable. Economic, social, and aesthetic forces determined what was depicted and what was left out of paintings and prints of Pittsburgh industry in the nineteenth century. While tracing a local history, this investigation deals with the wider issues of art in an industrial society, of culture and capitalism, and of the social production of art.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Youngner, Rina} } @mastersthesis {7516, title = {The Paintings of Cornelis Schut the Elder (1597-1655)}, year = {1991}, school = {Columbia}, abstract = {The primary purpose of this study is to establish the first corpus of authentic paintings by Cornelis Schut the Elder, an artist living and working in Antwerp, whose known oeuvre extends from the mid-1620{\textquoteright}s to the 1650{\textquoteright}s. A prolific master whose extant paintings number over one hundred, Schut achieved considerable success during his lifetime. His art is notable for its stylistic individuality, its breadth of subject matter, and its variety of media which includes print-making and tapestry design. Largely ignored during the first half of the twentieth century, Schut is worthy of the new recognition he has begun to receive. The catalogue of paintings seeks to distinguish his work from that of other Rubens school artists, with which it has often been confused, and thus to clarify the artistic production of the period. Schut was an accomplished draftsman, and a short catalogue of his drawings has, therefore, been included as a foundation from which, it is hoped, future studies can be launched. Accompanying these catalogues is a monograph consisting of five chapters. The first considers past scholarship devoted to the artist. The second sets out the known facts of Schut{\textquoteright}s life and career within the context of the artistic milieu of his time, and considers in detail his recently discovered Roman sojourn which had a lasting impact on his style. The biography is elucidated by appendices containing chronologies of the life of the master and members of his family, and archival references to his many namesakes. A chapter on Schut{\textquoteright}s paintings attempts to establish a workable chronology for his output in this medium, analyses the stylistic and iconographic aspects of his work, and considers artistic and cultural sources, working methods and studio practices, and patronage. A separate chapter is devoted to the numerous garland pictures executed in collaboration with the Jesuit flower painter Daniel Seghers. In the final chapter, a discussion of Schut{\textquoteright}s influence on his own and following generations follows an attempt to define the master{\textquoteright}s role in the emergence of a new style after the death of Rubens, a style with new artistic priorities and iconographic concerns.}, keywords = {Baroque and 18th-Century Europe}, author = {Wilmers, Ida Gertrude} } @mastersthesis {7541, title = {The Photographic Railway Albums of Edouard-Denis Baldus}, year = {1991}, school = {Princeton}, abstract = {Edouard-Denis Baldus (1813-c.1890) produced a varied and magnificent body of photographic work--true icons of Second Empire grandeur. His monumental depictions of France{\textquoteright}s architectural patrimony, his dramatic landscapes, and his visual celebrations of the achievements of modern architects and engineers were highly praised by his contemporaries. He enjoyed the patronage of Napoleon III, government ministries, and the era{\textquoteright}s leading industrialists. The first three chapters of this study trace the artist{\textquoteright}s professional career. Chapter I examines Baldus{\textquoteright}s biography and his place within the photographic community of the 1850s. Chapter II traces several major commissioned projects: the 1851 mission heliographique, a government-sponsored photographic survey of historic monuments; a series of architectural views entitled Villes de France photographiees (1852-55); photographs of the 1856 Rhone floods in Lyon, Avignon, and Tarascon; and the "stone-by-stone" documentation of the building of the New Louvre (1855-57). Chapter III briefly outlines Baldus{\textquoteright}s many other projects, including reproductive photographs and photogravures. The next two chapters establish the historical and iconographic context for the railroad albums which form the focus of this study. Chapter IV recounts the history of the railroads in France and the debate that accompanied their development. Chapter V surveys print representations of the railroad and looks at the relationship of photography and engineering during the 1850s and 1860s. A series of albums depicting the Northern Railroad is the subject of Chapter VI. The precise contents and probable function of the elaborate album commissioned by Baron James de Rothschild and presented to Queen Victoria during her State visit of 1855 are discussed. The more common album Chemin de fer du Nord; ligne de Paris a Boulogne is shown to date from five years later and to incorporate the work of others, including Collard, Furne and Tournier, and unidentified photographers. Baldus{\textquoteright}s second railroad album, the Paris-Lyon-Mediterranee (1861) skillfully intermingles views of Roman and medieval monuments with viaducts, tunnels, and stations, thereby proposing an architectural and historical continuum in which Second Empire engineers are seen to be the natural descendants of France{\textquoteright}s ancestral builders.}, keywords = {Photography and Film}, author = {Daniel, Malcolm Ries} } @mastersthesis {7465, title = {Picasso{\textquoteright}s Variations on Artists of the Past}, year = {1991}, school = {IFA/NYU}, abstract = {Picasso{\textquoteright}s variations on the Old Masters have long been recognized as an important part of his oeuvre, and some of his major series of variations--notably those after Delacroix{\textquoteright}s Women of Algiers, Manet{\textquoteright}s Dejeuner sur l{\textquoteright}herbe, and David{\textquoteright}s and Poussin{\textquoteright}s "Sabines"--have received extensive critical analysis. Relatively little attention, however, has been given to Picasso{\textquoteright}s lesser-known earlier variations, or to more general issues, such as the development of variation over the artist{\textquoteright}s lifetime, and the purposes variations serve in his art as a whole. This dissertation discusses a selection of variations from all of the major periods of Picasso{\textquoteright}s art. From the parody of Manet{\textquoteright}s Olympia of 1902-03 to the 44 paintings after Velazquez{\textquoteright}s Las Meninas of 1957, a focus of this study, the process of transformation by which Picasso dissects and recreates masterpieces of the past is closely examined. Examples of variation in different media, and those which represent the range of French, German and Spanish masters that haunted Picasso, are included. In addition, different types of variation, from witty jokes made in passing to sustained dialogues lasting several months, and from variations that primarily develop the subject matter of the theme to those that focus on stylistic conversion, demonstrate the variety of variation in Picasso{\textquoteright}s art, and the ways in which he makes works by other artists his own. The development of variation from single studies to extended series, and from works that appropriate the image of a work of another artist to those that also borrow styles of the past, is discussed. This thesis posits that Picasso{\textquoteright}s variations are a vital part of his art through which he continues to explore many of the artistic issues that arose in Cubism, while he confronts and absorbs the tradition of art.}, keywords = {19th and 20th century Europe}, author = {Galassi, Susan} } @mastersthesis {7493, title = {Picturing Palestine: The Holy Land in Nineteenth-Century American Art and Culture}, year = {1991}, school = {Columbia}, abstract = {The concept of Zion has long functioned as a synoptic metaphor for the North American continent and its possibilities as a New World promised land. The privileged place of the Holy Land within the early American Protestant imagination was reinforced by years of exposure to hymns, sermons, and public orations in which specific biblical place names were passionately and possessively invoked as paradigms and equivalents of national aspirations and localities. These comparisons remained current in the nineteenth century and were reinforced by the new possibility of actual travel in Ottoman Palestine. Beginning with an analysis of the mythic Puritan ties to the biblical nation of Israelites and the ensuing nineteenth-century interest--archaeological, religious, colonial, military--in the eastern Mediterranean, this thesis charts the formation of a specific cultural market in the United States for landscape imagery of the Holy Land. It discusses the primacy of popular representations (panoramas, stereo photographs, illustrated travel volumes, and three-dimensional models) in exploiting the national thirst for Holy Land views and shows how four easel painters tapped into this popular current, producing landscapes responsive to particular conditions of patronage, religious belief, scientific theory, and anti-Arab/Turk sentiment. Although these artists--Miner Kellogg, Edward Troye, Frederic Church, and James Fairman--occupied widely divergent positions within their professional hierarchy, each was able to capitalize on the seemingly universal appeal of Holy Land imagery, using aggressive promotional tactics to isolate and cultivate their public and shape its understanding of their work.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Davis, John} } @mastersthesis {7485, title = {Pleasing the Ancestors: The Traditional Art of the Shona Peoples of Zimbabwe}, year = {1991}, school = {Indiana}, abstract = {This study investigates the traditional visual arts of the Shona people of Zimbabwe in order to determine how the symbolic content of their art reflects other aspects of the history of Shona culture. Part of the analysis involved an historical review of Shona artistic production from the times of the Great Zimbabwe ruins (14th, 15th century A.D.) until the present, delineating continuities, changes and outside influences upon style and usage through time. This was done by using written records and by examining museum holdings of both archaeological and ethnographic material. The major portion of the investigation consisted of field studies of traditional artists, the arts and their usage in society. Four types of objects were the focus for the study: headrests, snuff bottles, ceremonial knives and ceremonial axes. In addition to clarifying the parameters of style distributions for each type of object, the study illustrated that there has been a long continuity in the usage of these items over the centuries and that each have had important religious and or political associations connected with them. Another important aspect of the study focused on how the blacksmith-carvers, who make these objects, articulated their creative experience. In a fashion clearly paralleling what occurs to Shona diviners and spirit-mediums, these artists were troubled by illness or misfortune before a diagnosis was made that the ancestors wanted them to take up their trade. The artists then routinely claimed to have been inspired by the ancestors and to have communicated with them through dreams. Another important element of the field work focused on Shona aesthetic perceptions of the arts. The study found that although Shona arts tend to be decorative and utilitarian in nature, there also are important symbolic aspects to them that had been largely ignored in earlier studies.}, keywords = {African Art}, author = {William Dewey} } @mastersthesis {7521, title = {Pointing Gestures in Medieval Miniatures: A Study Based on Illustrated Manuscripts of the Terence Comedies}, year = {1991}, school = {IFA/NYU}, abstract = {The shapes and meanings of pointing gestures were investigated in the miniatures of ten medieval copies of the plays by Terence. The manuscripts originated in western Europe from the ninth through the twelfth centuries. Reproductions of all the miniatures appear in a single volume, facilitating study and comparison.* The search yielded more than 500 examples of pointing gestures, distributed among five basic forms and seven that are mixtures of basic types. Since each miniature appears close to the text of the scene it illustrates, the meanings of the gestures can be determined from the adjacent speeches, whether in a Latin text or literal translation. Many of the meanings are simple, such as greetings or pleas. Others are enhanced by mixed gestures and the use of both hands. Each of these hand gestures, although always recognizable, appears in several forms and has a number of meanings. For accurate interpretation the context may be essential, ranging from the needs of the plot to the character{\textquoteright}s personality, status, mood, or the broad gestures of postural elements. The numbers of pointing gestures and their complexities tend to increase from the ninth through the twelfth centuries. In contrast, geographic areas do not show equivalent characteristics. The few other illustrated manuscripts from the same regions and centuries which have been examined suggest that future studies will yield similar results. None have yet been found, however, that approach the variety of the pointing gestures in the Terence series. Other classes of hand gestures, not described in detail, bring the total in the Terence manuscripts to twenty basic forms represented by about 2000 examples. It is suggested that this wealth of gestural material, so suitable for comparison and interpretation, can be the basis for a general classification of both medieval gestures and those from earlier periods.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Griffin, Jocelyn} } @mastersthesis {7480, title = {The Popular Culture of Modern Art: Picasso, Duchamp, and Avant-Gardism c. 1909-17}, year = {1991}, school = {IFA/NYU}, abstract = {The history of the French avant-garde around cubism is, among many things, a history of elusive intentions. While recent studies attempt to fix motives of this sort, both the art and its reception call instead for a less confining appreciation of the period{\textquoteright}s peculiar ambiguities. These may be traced through certain contacts between modern art and popular culture, exemplified above all by Pablo Picasso and Marcel Duchamp beginning c.1912. Both artists demonstrate a close working relationship with popular practices of comic irony and obfuscation: Picasso, in the rapport between collage and the music-hall revue, a genre of theatrical entertainment characterized by punning parody of the daily press and other actualites; Duchamp, in the readymades and the Large Glass, esthetic sallies which correspond to popular forms of deadpan humor called blague and mystification. In turn, the affinity of art and popular culture in their work articulates a broader tension of novelty, obscurity and parody at play in the common experience of emerging modernism. The vast pre-war literature on "avant-gardism" reveals a series of conflicts which express this very theme. A survey of the hostile press (which predominates by far but is now generally ignored) shows esthetic life to have been permeated by disoriented incomprehension and suspicions of self-promotional hoax or "bad faith." While this condition makes it difficult to assess the intentions and local interpretations of the period, the confusion also lends unexpected palpability to a new climate of innovation and change. Such instability was implicitly recognized by spectators at the modernist ballet Parade (1917), an allegory and unintended demonstration of the pre-war issues. Drawn from motifs in contemporary advertising culture, Picasso{\textquoteright}s constructed costumes were burlesque treatments of cubism that subverted the expectations of both the avant-garde and its audience. These designs, and the debate touched off by Parade, are a summation: looking back from the vantage of 1917, we see that the comic proximity of the new art to its perceived excesses was a governing ambiguity of the period.}, keywords = {19th and 20th century Europe}, author = {Jeffrey Weiss} } @mastersthesis {7555, title = {The Portrait Collection of Paolo Giovio}, year = {1991}, school = {Princeton}, abstract = {This dissertation investigates the nature of representation in portraiture, focusing on the collection of Paolo Giovio. Chapter One introduces Giovio{\textquoteright}s life and the ambient in which the collection was generated and assembled. It considers his involvement in the visual arts, and the personal, intellectual, and social circumstances which sustained the formation of his collection; the second chapter outlines the history of the portrait collection. Chapter Three defines Giovio{\textquoteright}s collection against others of the fifteenth and sixteenth century, and examines its evolution from Giovio{\textquoteright}s studiolo to is relocation in the villa-museo. The discussion approaches the history of portrait collections as a history of relationships between portraits and viewers, looking at the "habits of mind" and perception implied by those relationships. Giovio{\textquoteright}s collection shifts the typical pattern of collecting portraits which constructed networks of real or imagined affiliations, creating a framework that allowed a conceptualization of "likeness", intellectually grounded and historically structured. Chapter Four discusses the individual paintings, examining their visual form, their sources, and the criteria by which Giovio determined their "veracity". The portraits assert the historian{\textquoteright}s notion of "similitude", returning to the Aristotelian distinction between poetry and history, poetry being that which imitates or recreates what might be perceived as real, as opposed to history, which gives particular facts. For Giovio, the "truest" image did not transcend the absence of the subject, but "objectified" it by calling attention to the presence of the archetype from which the "likeness" descended. Rupturing the illusion of a "living" presence, Giovio{\textquoteright}s portraits challenged the poetic construct of verisimilitude as a quality of portrayal, forcing the viewer to consider the image as an object which functions within the realm of historical truth. Chapter Five considers the published eulogies that supposedly reproduce the cartellini hanging below each painting in the Museo. Commonly interpreted as indices to Giovio{\textquoteright}s collection, I propose instead that they were composed as literary sketches, inspired by the portrait collection but offspring of the literary tradition which pits pen against brush in the endeavor to create a complete and enduring portrait.}, keywords = {The Renaissance}, author = {Klinger, Linda S.} } @mastersthesis {7542, title = {Postmodern Photography in America: Advertising and Politics}, year = {1991}, school = {Yale}, abstract = {This dissertation identifies and defines postmodern photography through a study of contemporary images of the human form. Since the photographs considered here "advertise," whether in the conventional sense or otherwise, a politics, or a relation of power, this study is on the whole an interpretive one. To that end, it uses close analysis and a variety of critical approaches, including feminist, Marxist, psychoanalytic, and literary theories, to explore the positions and messages that become apparent through a close analysis of photographs made for advertising as well as those exhibited in gallery and museum contexts. The first chapter considers modernist photographic theories and practice in order to point to both the breaks and continuities postmodern photography makes with the American modernist canon. Building upon the arguments of Chapter 1, Chapters 2 and 3 explore numerous postmodern images of the male body that conform to modernist conventions for the depiction of the female body. In Chapter 2, this issue is addressed by using various theories of fetishism; in Chapter 3, theories of vision inform the discussion of narrative scenarios implied by the photographs. This "literalist" aspect of postmodernism is further examined in Chapter 4 through photos of financially empowered figures who populate racially segregated environments. Moreover, these images of privileged classes offer the viewer, as do most of the photographs considered in this dissertation, a range of potential versions of the self. Informed by feminist and psychoanalytic theories of subjectivity as well as the notion of the simulation, the dissertation asserts in Chapter 5 that the image of the body in postmodern photography proposes a model of the subject that is fragmented and socially constructed rather than naturally determined, unified, or whole.}, keywords = {Photography and Film}, author = {Inguanti, Joseph J.} } @mastersthesis {7488, title = {Postwar City Planning in Philadelphia: Edmund N. Bacon and the Design of Washington Square East}, year = {1991}, school = {Pennsylvania}, abstract = {Postwar city planning in the United States focused on reviving neglected urban centers and older neighborhoods. In Philadelphia, the city planning commission (PCPC) was directed by Edmund N. Bacon, who was trained as an architect and functioned as both an urban designer and a planning administrator. Bacon{\textquoteright}s ability to carry out his vision for the redevelopment of Washington Square East (WSE) was related to his personal involvement in the design process, and his official position within Philadelphia{\textquoteright}s city government. As a designer and Executive Director of the PCPC, Bacon was in a unique position to formulate a number of redevelopment projects, influence the evolution of the plans through various stages of the design process, and oversee the actual construction. The success of WSE was the result of many factors--Philadelphia{\textquoteright}s political reform in the early-1950s, the backing of members of the city{\textquoteright}s financial and business communities, and Bacon{\textquoteright}s own on-going policy to engage in a public dialogue in order to establish a wide base of support for his projects. But, in the end, it was Bacon{\textquoteright}s skill and determination in manipulating opportunities and circumstances toward his particular goals, that shaped the plan and the course of the redevelopment of WSE (and the city). Few postwar urban renewal projects were based so completely on a series of plans which, in addition to their intrinsic worth as urban designs, promoted the project by providing the public, politicians, business leaders and real estate developers, with visible (and understandable) solutions to complex urban problems. WSE was an important example of the power of urban design to serve as the key element in an overall strategy for the city{\textquoteright}s physical and economic recovery. Bacon{\textquoteright}s approach to city planning formed the basis of Philadelphia{\textquoteright}s postwar redevelopment program and, in turn, his success as an urban designer and administrator was central to his philosophy of city planning.}, keywords = {Art of the United States and Canada}, author = {Cohen, Madeline} } @mastersthesis {7536, title = {The Proto-Corinthian Black-Polychrome Technique}, year = {1991}, school = {UCLA}, abstract = {The polychrome tongues, bands and scales that appear so often on Archaic pottery have their origins in the black-polychrome technique, a unique method of decoration invented in Corinth around 650 B.C. In its earliest manifestations, it was employed in the rendering of primary decoration by incising figures or patterns through the mostly black-glazed surface of a vessel, and then highlighting details in purple-red, yellow and white. Soon, however, the more complex patterns and techniques were abandoned, and tongues, bands and friezes of simple scales were used for subsidiary decoration. Yet despite the omnipresence of these patterns in later periods and on other fabrics, the technique from which they derive has never been investigated in any detail. This dissertation focuses on the earliest black-polychrome material, when the method was used to render primary decoration, whether figured or patterned. It is frequently found on shapes derived from Near Eastern metal vessels, but most often on the Corinthian olpe, a shape developed at approximately the same time. The experimental nature of the artists, Early Monumentalists and the Chigi Group, is most clearly revealed in their figure decoration. However, one must rely on their treatment of various patterns for determining their interrelationships. The Protocorinthian black-polychrome technique made a significant impact on other Early Archaic pottery industries around the Mediterranean, especially in Etruria. The evidence provided by this material supports current thinking about trade relations, and the enormous advantage Corinth had over other Archaic Greek city-states in her role as a major port of call for ships sailing both east and west.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Manchester, Karen Lynne} } @mastersthesis {7472, title = {Psychological and Political Implications of Hans Bellmer{\textquoteright}s Dolls in the Cultural and Social Context of Germany and France in the 1930s}, year = {1991}, school = {CUNY}, abstract = {My dissertation focuses on Hans Bellmer{\textquoteright}s photographs and drawings of the young adolescent girl/doll he constructed in the 1930s, examining their complex position between two cultural, political, and social contexts of France and Nazi Germany. Although Bellmer{\textquoteright}s work shares iconographic and conceptual affinities with some of the Surrealist photographers, its relationship to the political and cultural conditions inside Nazi Germany, where Bellmer lived until his wife{\textquoteright}s death in 1938, has been virtually ignored by art historians. It is certainly not a coincidence that the birth of Bellmer{\textquoteright}s adolescent girl/doll and the rise of Hitler and the Third Reich occurred during the same year--1933. In Nazi Germany the acts of colonizing, possessing and systematically destroying the "Other"--Jews, modern artists, the insane and the left-wing intelligentsia--began by the strategic construction of the category of degenerate "Otherness." By creating a comparative discourse between the acceptable, normal Nazi culture and the unacceptable, degenerate Other, the National Socialists could better substantiate, legitimize and communicate their pseudo-scientific eugenics based race theory. The human body frequently displayed in mass-spectacles--parades, films and art exhibitions--became the site on which the acceptable and unacceptable discourses were articulated. It is my contention that the young adolescent dolls that Bellmer constructed were in part a complex response to the rise of Fascism. Bellmer{\textquoteright}s works are a violent attack on the stereotypes of normalcy found in Nazi Art and culture. The contextualization of Bellmer{\textquoteright}s work within Nazi Germany will also increase our understanding of the heterogeneous roles of woman in Surrealism.}, keywords = {19th and 20th century Europe}, author = {Lichtenstein, Therese} } @mastersthesis {7517, title = {Quacksalvers and Barber-Surgeons: Images of Medical Practitioners in 17th-Century Dutch Genre Painting}, year = {1991}, school = {Yale}, abstract = {This dissertation examines the art-, social-, and medical-historical significance of painted depictions of surgeons and so-called quack doctors in 17th-century Dutch art. In addition to investigating the pictorial conventions that govern such representations, it also considers the relationship of these pictures to actual medical practice. Comparing the imagery of these paintings to that which occurs in textual accounts such as surgical manuals, humorous stories and theater, which describe the popular persona of the surgeon and the quack doctor, this study identifies and defines the unique image of such practitioners that is offered by pictorial documents. Among the issues it addresses are the role of surgeons in perpetuating specific gender and power relationships, and the ways in which genre depictions of surgeons question this role. Further, this dissertation delineates a number of important parallels in the professional and social status and persona of these non-academic medical practitioners and of painters, paying particular attention to the strategies by which these identities are constructed, and to the central position of pictorial representation in expressing these analogies.}, keywords = {Baroque and 18th-Century European Art}, author = {Fresia, Carol Jean} } @mastersthesis {7492, title = {The Queen Anne and Late Victorian Townhouse in Philadelphia 1878-95}, year = {1991}, school = {Pennsylvania}, abstract = {This study focuses on the design of townhouses in Philadelphia from the late 1870s to the mid 1890s. It explores the dramatic shifts in architectural values that emerged with the adoption of the Queen Anne Revival at the beginning of this period, and follows the remarkable transformation of that style after the mid-1880s. The urban domestic work of several architectural firms--those of Wilson Eyre, Frank Miles Day, R. G. Kennedy, Cope \& Stewardson, A. J. Boyden, Brown \& Day, and Hazlehurst \& Huckel--receives particular attention, as they played a leading role in developing a distinctive brand of design in Philadelphia. Relatively little testimony regarding their intent survives from the time, but close observation of the exteriors and plans of their later 1880s townhouses reveals that, although they dismissed most of Queen Anne{\textquoteright}s characteristic classical armature and redness, they retained much of that style{\textquoteright}s picturesque coherence, informality, and domesticity. They turned instead to more pronounced ahistoric effects inspired by the Aesthetic Movement, including a thinned architectural membering, the use of fluid line, balanced asymmetries, relatively unornamented surfaces, and a new, lighter palette. This work is identified here as Aesthetic Lyricism. Architectural journals, exhibitions, and local organizations, most notably the T Square Club, enhanced the interaction between these architects and spread their influence. This historical chapter drew to a close, however, in the mid-1890s, as the building of townhouses declined and these stylistic formulations were eclipsed by national trends toward a more academic historicism, typological legibility, and civic monumentality. In addition to looking more closely at the focal architect-designed townhouses, this study places them against the stylistic and urbanistic patterns of other buildings in urban Philadelphia, and also against the backdrop of related stylistic expressions in other cities. There were occasional close analogues among Boston and New York townhouses by prominent firms, in several cases predating the Philadelphia work, but such self-consciously artistic design enjoyed a special flowering in Philadelphia. These townhouses, along with their Shingle Style suburban counterparts, were in many ways the central examples of Late Victorian architecture in the United States.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Cohen, Jeffrey} } @mastersthesis {7474, title = {Re-Imaging Domesticity: The Bloomsbury Artists and the Victorian Avant-Garde}, year = {1991}, school = {Yale}, abstract = {To re-imagine domesticity: the phrase implies a dual process of reconceiving and expressing through imagery ideas of a new home life. This, I argue, is the basic project of the Bloomsbury artists--Roger Fry, Vanessa Bell, and Duncan Grant--who built on the foundation of aesthetic activism laid by their Victorian predecessors. My approach combines close visual analysis of individual objects or projects with examination of relevant textual sources: the artists{\textquoteright} letters, the Formalist aesthetic theory developed in the writings of Roger Fry and Clive Bell, and the writing of Bloomsbury figures including Lytton Strachey, E. M. Forster, and Virginia and Leonard Woolf. A theoretical introduction uses the opposition between concepts of "heroism" and "housework" to establish the ideological difference that separates the domestic focus Bloomsbury and its Victorian antecedents from what became the mainstream of modernism in the arts. The first two chapters then place Bloomsbury in the context of the Arts and Crafts Movement and the Aesthetic Movement from which the group emerged. There follows an examination of the development of Bloomsbury{\textquoteright}s domestic modernism between 1904-1914. Throughout, questions of sexual identity are a central focus in this study of women, gay men, and others who imagined (and imaged) new ways of living outside conventional domestic norms.}, keywords = {19th and 20th century Europe}, author = {Reed, Christopher G.} } @mastersthesis {7514, title = {Rembrandt{\textquoteright}s Paintings: The Development of an Oeuvre}, year = {1991}, school = {Columbia}, abstract = {Scholars have repeatedly catalogued Rembrandt{\textquoteright}s paintings, yet the size and content of his oeuvre remain a matter of debate. This study explores the understanding of the paintings that preceded the earliest catalogues, in an effort to clarify some of the difficulties faced by connoisseurs. The early chapters examine the sources of knowledge of Rembrandt{\textquoteright}s paintings in the eighteenth century. Literary descriptions (De Piles, Houbraken, Gersaint), reproductive prints, and the pictures themselves combined to provide an image of his work, which in turn affected the attribution of other paintings. The criteria that connoisseurs recommended for judging paintings are discussed, as well as the more practical criteria of art dealers. Particular attention is paid to the pictures that could be seen in private collections and in the auction rooms. Later chapters describe the appreciation for Rembrandt{\textquoteright}s paintings in the early nineteenth century, and the gradual development of a sense of his oeuvre. Isolated pictures came to be envisioned as part of a common body of work with a chronological order. Opportunities to study paintings together increased thanks to newly-founded public museums and loan exhibitions in Paris, London, and Manchester. Numerous guidebooks, especially those by Waagen, publicized the pictures in private hands, and thereby facilitated the cataloguers{\textquoteright} eventual task.}, keywords = {Baroque and 18th-Century Europe}, author = {Preston, Frances L.} } @mastersthesis {7510, title = {The Rivers and Mountains in Autumn Colors{\textquoteright} by Zhao Boju, and Associated Attributions}, year = {1991}, school = {IFA/NYU}, abstract = {The Rivers and Mountains in Autumn Colors is one of the major paintings from the Song Dynasty. It is traditionally attributed to Zhao Boju who was active in the early Southern Song. Scholars tend to believe that this painting falls into the late Northern Song. The attribution to Zhao Boju is usually denied. This dissertation is mainly a study of this painting seen within the artistic and cultural context of the times. Based on the assumption of Zhao Boju{\textquoteright}s authorship of the Autumn Colors, Zhao Boju{\textquoteright}s biography is reconstructed in Chapter I. His life span is established (b. ca. 1118-1120; d. 1166). The biography of Zhao Bosu, Boju{\textquoteright}s brother, is also covered. Their artistic attainments in contemporary and later evaluations are discussed in Chapter II. Chapter III is devoted to the history of the use of color before the Southern Song since the Autumn Colors is rendered in colors. A historiographic review on, as well as a different approach to, the development of Chinese painting are provided. The Autumn Colors is able to be placed in the history of Chinese painting. Chapter IV comprises the main body of this dissertation. Section I makes morphological and stylistic analyses on the Autumn Colors, in which technical aspects such as the "Blue-and-Green" manner or the use of gold are fully expounded. The authorship of Zhao Boju is first established. Section II interprets the content of this painting. I identify the landscape in this painting with the Tianmu Mountains near Hangzhou and explore the nature of this painting. Certain geomantic and political readings can be made. Chapter V deals with other possible attributions of Zhao Boju. The Han Palace is confirmed as out of Zhao Boju{\textquoteright}s hand through stylistic analysis, and a thematic interpretation is included. The Emperor Minghuang{\textquoteright}s Journey to Shu, a painting known as a copy after Li Zhaodao, is tentatively re-attributed to Zhao Boju. Profound political significance is discernible in this painting. The Golden Temples amid Myriad Pines by Zhao Bosu is also included to provide a better understanding of the arts of Zhao Boju.}, keywords = {Asian Art}, author = {Wang, Teh-yu} } @mastersthesis {7545, title = {Robert Frank{\textquoteright}s Photography 1942-59}, year = {1991}, school = {Columbia}, abstract = {Robert Frank{\textquoteright}s photography of the forties and fifties cogently reflects the cynicism and pessimism that was a widespread but often unconscious reaction to the Second World War, and thus shares the "noir" vision of the American film noir. The "noir" vision is an essentially subversive world-view, which questions the status quo and casts doubt on both America{\textquoteright}s position in the world and notions of clearly defined good and evil. And Frank{\textquoteright}s work can also be seen as profoundly responsive to the filmic paradigm, in its narrativity and its subjectivity, as well as its noir look. In the early forties, in Zurich, some of Frank{\textquoteright}s first jobs were as film-still photographer to movie companies, and even in some of those films, he could see models of phenomenologically-constructed space. Films of many genres, but particularly the American crime films known as film noir, provided Frank with examples of the subversive intrusion of the subject and the filmic narrativity first seen in embryo in his book of 1946, 40 Fotos. After his arrival in New York in 1947, Frank worked for the fashion magazine Junior Bazaar, and in these photo-stories, as in his book Peru (1948), his increasing versatility and use of cinema-like "subjective camera" viewpoints can be seen. Frank{\textquoteright}s book Paris (1949) tends toward the cinematic, yet other work from the same time and place is marked by the affectless "white" style, "a style of absence and an absence of style" (Barthes). Frank{\textquoteright}s fourth hand-made book, Black, White and Things of 1952 is dominated by the "black" style which anticipates the sobriety and noir vision of The Americans (1959). In the intensely personal, critical, and subjectivist vision of The Americans, traces of narrativity and the destabilizations of narrative by "the filmic" (the narrativity which is anti-narrative) compete. There are also elements of impassivity or affectlessness in the book that have not been generally recognized. In The Americans and in Frank{\textquoteright}s last photographic series before he turned to film-making, the dialogue of subjectivity and dispassion forecasts some of the major tendencies of the art of the following decade.}, keywords = {Photography and Film}, author = {Sass, Ann E.} } @mastersthesis {7539, title = {The Role of Museums and Cultural Institutions in the Emergence of Modern Art in Argentina, 1945-65}, year = {1991}, school = {UT Austin}, abstract = {In the two decades after World War II, Latin American art experienced a period of intense activity, a time during which artists began to experiment with the styles that characterized contemporary art on an international level. The emergence of this new art coincided with the establishment of institutions for modern art in the form of museums, private associations and art centers in most of the Latin American capitals. Taking Argentina as a case study, this dissertation documents how certain art leaders and the institutions they created, combined with the unique historical circumstances of that period, exerted a decisive influence on the development of contemporary art. The cultural scene of Buenos Aires is analyzed within the political context of the tumultuous decades between Peron{\textquoteright}s rise to power in 1945 and the beginning of Ongania{\textquoteright}s military government in 1966. After an initial overview of the earlier cultural organizations, the study centers on the progressive art institutions of the fifties and sixties, including the Museo Nacional de Bellas Artes, the Asociacion Ver y Estimar, the Instituto de Arte Moderno, and the Museo de Arte Moderno, and concludes with the early years of the Centro de Arte Visuales of the Instituto Di Tella. The enthusiastic and enterprising "art movers" who founded and directed these institutions, particularly Marcelo De Ridder, Jorge Romero Brest and Rafael Squirru, are recognized as the driving force in the development of the movements of modern Argentine art which ranged from Concrete Art in the forties, to Lyrical Abstraction and Informalism in the fifties, to the Neofigurative, Generative and Pop trends in the sixties. The evidence demonstrates that the artistic boom in Argentina from 1945 to 1965 was directly linked to the establishment of a system of institutional support for the new art movements. As a consequence, Argentine art experienced an exciting upward trend and, for a short but significant period, Buenos Aires joined the international mainstream of modern art.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Kupfer, Monica Elisabeth} } @mastersthesis {7506, title = {Royal Artistic Imagery at Vijayanagara}, year = {1991}, school = {UCLA}, abstract = {The dissertation is devoted to the problem of analyzing and interpreting royal images depicted in the art of Vijayanagara (now known as Hampi), the capital of the Vijayanagara empire (1336 to 1565 A.D.) of South India. My focus is on royal sculptures and reliefs articulated on the secular and religious architecture of the capital. I have found that these important artistic sources help us in defining the concept, nature and role of Vijayanagara kingship, specifically the relationship among the king, army, nobles, chiefs, gurus and priests. The method of inquiry is on two levels: the particular and the contextual. The particular level involves royal portraits and those connected with royalty. These include the portraits of kings in relief and as free-standing sculptures in temples, the panels of reliefs carved on the Throne Platform or Mahanavami Dibba and a painted scene of a procession of Vidyaranya in the Virupaksha Temple. On the contextual level, it involves an understanding of the royal imagery in the context of historical sources. A large number of inscriptions, contemporary texts (in Kannada, Telugu and Sanskrit) and accounts of foreign travelers helps us in understanding the importance and meaning of the artistic evidence. It is my contention that royal artistic imagery reflects and substantiates aspects of Vijayanagara kingship that are found in the historical sources. It provides clarity to the understanding of comples issues, such as the relation among the king, god and guru. It also reveals the close linkage of kingship with the social, religious and political institutions, as well as the combining of political authority and religious duty. The visual art has also clarified the increasing "conditioned" military role of Vijayanagara kings through the analysis of ritual, art and kingship.}, keywords = {Asian Art}, author = {Rao, Nalini N.} } @mastersthesis {7553, title = {S. Benedetto Po: Renovation and Reform}, year = {1991}, school = {IFA/NYU}, abstract = {S. Benedetto Po (Polirone) was founded in the 11th century by the Counts of Canossa and rose to prominence under the patronage of Countess Matilda of Canossa. After a decline in the trecento, the monastery was reformed in 1420 by the Benedictine monks of the Congregation of S. Giustina (later called Cassinese). The Congregation, noted for its wide-ranging artistic patronage, rebuilt the abbey and, in the early 16th century, began preparations to raise a new church. In 1538, on the eve of the Council of Trent, the monks decided to renovate the Romanesque church instead. They hired Giulio Romano, who achieved his patrons{\textquoteright} goals of preserving the fabric and identity of the medieval church and encased the church in a highly original amalgam of his Roman Renaissance style and medieval forms. Giulio also designed an elaborate gesamtkunstwerk of architecture, altarpieces, frescos, and stucco reliefs, and provided niches for an unprecedented program of statues encompassing the entire church. The Modenese sculptor Antonio Begarelli was responsible for the nearly 30 life-size terracotta statues of saints, models of monastic life. The 1561 commission for three altarpieces from Veronese essentially completed the decorative program of the church, one of the few ecclesiastic ensembles of such magnitude and importance to survive from the cinquecento. This study analyzes the sculpture and paintings as architectural decoration and, conversely, the architecture as a framework for the statues and altarpieces. This study differs from earlier examinations of the renovation and decoration of S. Benedetto Po in its focus on the monastic identity and function of the church and the ideals of the reform Benedictine monks, who viewed physical decay as an outward sign of spiritual decline and the renovation of monasteries as an outward sign of religious renewal. While the concept of reformation as re-formation remained constant in reform Benedictine ideology throughout the Renaissance, the expression of this ideal and the Congregation{\textquoteright}s goals did change over time--and were reflected in the different projects at S. Benedetto Po through the Renaissance.}, keywords = {The Renaissance}, author = {Holman, Beth} } @mastersthesis {7544, title = {Samuel Bourne and 19th-Century British Landscape Photography in India}, year = {1991}, school = {UC Santa Barbara}, abstract = {In 1863 Samuel Bourne (1834-1912) embarked upon a course of photographic activity in India and the Himalayas which established him as the subcontinent{\textquoteright}s foremost camera artist of the period. This study concerns the landscape and architectural photography of Bourne in India relative to its aesthetic and social meanings, and in light of the history of the medium during the rise to power of the British Raj. It is an attempt to understand the subtleties of Bourne{\textquoteright}s vision of India and the Himalayas from a Victorian perspective, as well as from the advantage of art historical hindsight in the present. Bourne left his native England in a passionate search for the scenic remote mountain wilderness and the exotic architectural forms of India. During his seven years on the subcontinent he undertook three extensive treks in the rugged western Himalayas and roamed widely throughout the upper plains, concluding his travels with a shorter tour of the south. His body of work consequently grew to hundreds of invaluable large and small glass-plate negatives of Hindu, Buddhist, Jain, and Moghul monuments, of the colonial and imperial settlements of the British, as well as of the Himalayas. These he marketed through his own firm of Bourne and Shepherd, which was established in the early years of his Indian sojourn at the socially prominent hill station of Simla. In addition, Bourne made his photographic exploits in the Himalayas widely known through the publication of a series of articles in The British Journal of Photography. While recent efforts to bring Bourne to the attention of the general public have secured him an important position as an early pioneer of expeditionary photography, a number of factors central to the meaning of his photographs have either been given only brief mention or else gone entirely unnoticed. Hence, in an effort to more fully comprehend the significance of Bourne{\textquoteright}s achievement, I have engaged in a careful analysis of a large selection of his extent images, investigating the technical and aesthetic factors involved in their production, and further, the cultural and social forces ultimately engendered by them.}, keywords = {Photography and Film}, author = {Sampson, Gary David} } @mastersthesis {7508, title = {The Scientific Gaze of Popular Culture in Later Edo Japan}, year = {1991}, school = {Harvard}, abstract = {This dissertation will look at the introduction of Western scientific instruments and scientific thought into Japan in the latter part of the eighteenth century. The purpose is to discover the changes this provoked in Japanese society, particularly in its popular culture, as new concepts and metaphors emerged. Reactions to the physical presence of the Dutch are explored; fairs and sideshows (misemono) are looked at extensively, and illustrated popular novels (kibyoshi) are also used as evidence. Analysis concentrates on the city of Edo, but other urban centres--Osaka, Kyoto, Nagasaki, Nagoya--are not neglected. Western imports substantially restructured ways in which artists and their audiences looked at the world. Visual empiricism came to the fore, and accordingly the science of optics will be addressed here in detail. It is not the purpose to argue for the superiority of Western scientific rationalism, nor to assume that its claims necessarily won out over earlier Japanese thinking, but rather to look at the interweaving of traditional and modern elements.}, keywords = {Asian Art}, author = {Screech, Timothy} } @mastersthesis {7529, title = {Sculpture Programs in the Moissac Cloister: Benedictine Culture, Memory Systems, and Liturgical Performance}, year = {1991}, school = {Chicago}, abstract = {No abstract in ProQuest}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Rutchick, Leah} } @mastersthesis {7487, title = {Sculptured Gameboards of Sub-Saharan Africa}, year = {1991}, school = {Indiana}, abstract = {Until recently African art scholarship has been almost exclusively devoted to the study of sculptured masks and figures from the settled agricultural peoples of sub-Saharan Africa, mainly in West and Central Africa. In contrast, today art historians study body adornment, including scarification and body painting, dress and jewelry; textiles, architectural decoration, household objects and furniture, and musical instruments of peoples from eastern and southern Africa as well as from the western and central regions. This study is devoted to a piece of household furniture used for playing an ancient strategy game known as mankala (also spelled mancala). During the precolonial period, mankala was exceedingly widespread in Africa. It was played in holes in the ground or on fabricated implements, the latter were not infrequently decorated. Early and later European travelers and colonial officials mentioned the game and the gameboards in their accounts of the local culture and they collected examples of gameboards. Many of the latter were eventually deposited in natural history and ethnological museums in the West. Although interest in mankala declined during the colonial period, the achievement of political independence in the late 1950s and 1960s brought about a renewed interest in the game. Playing mankala was a way Africans could reclaim their ancestral roots. The purpose of this study is five-fold: (1) to reveal the history of mankala in Africa; (2) to investigate the contexts in which mankala games are played on fabricated gameboards (and by whom); (3) to establish the cultural value of fabricated gameboards in that I argue such gameboards are emblems of status; (4) to establish the different types of mankala gameboards and their geographical distribution; and (5) to obtain an extensive corpus showing variations in formal qualities, materials, and range of decoration.}, keywords = {African Art}, author = {Walker, Roslyn A.} } @mastersthesis {7512, title = {The Spada Chapel in S. Maria in Valicella, Rome: A Study in Late Baroque Patronage, Taste, and Style}, year = {1991}, school = {Washington University}, abstract = {The Spada Chapel in Santa Maria in Vallicella (the Chiesa Nuova), built for the Marchese Orazio Spada between 1663 and 1679, occupies an important place in the history of Roman art and architecture as an early manifestation of Late Baroque Classicism. It has, however, received little scholarly attention. The present study is based on extensive unpublished documentation for the chapel preserved in the Spada archives. Chapter 1 reviews the history of the chapel, and establishes the dates and authors of the various features of the chapel. Chapter 2 discusses the role played by Orazio Spada in determining the chapel{\textquoteright}s design. The chapel reflects the patron{\textquoteright}s distinctive taste, which is revealed by a series of previously unknown architectural drawings attributable to the Marchese. The reverence for Renaissance models revealed by these drawings is also apparent in the chapel, whose plan and elevation were copied from a sixteenth-century monument, Vignola{\textquoteright}s Sant{\textquoteright}Anna dei Palafrenieri. The pedantic correctness with which this model was copied points to Orazio{\textquoteright}s responsibility for the overall design of the chapel. Other, more "up-to-date" elements can be attributed to the architects of record, Camillo Arcucci and Carlo Rainaldi. The eclectic character of the resulting design is typical of Late Baroque Classicism. The subject of Chapter 3 is the part played in the project by the Oratorian Father Sebastiano Resta, who was delegated by Orazio to select painters for the chapel. His choice of Luigi Scaramuccia, Giovanni Bonati, and Carlo Maratta was determined by a bias towards painters with classicizing tendencies. Chapter 4 is devoted to the iconography of the chapel. The figural program, conceived by the Oratorian fathers of the Chiesa Nuova, celebrates the career of Saint Carlo Borromeo, to whom the chapel is dedicated. The subjects chosen for the decoration underscore the close relationship between Borromeo and Saint Filippo Neri, the founder of the Congregation of the Oratory. The subjects of the lateral paintings showing scenes from the life of Saint Carlo, however, seem to have been selected as specific allusions to Orazio{\textquoteright}s uncles Bernardino and Virgilio Spada, who are buried in the chapel. The concluding chapter places the Spada Chapel in its art historical context, demonstrating that the appearance of Late Baroque Classicism can be tied to the tendency in the late seventeenth century for patrons like Orazio Spada to impose their own conservative, classicizing taste on the projects they sponsored.}, keywords = {Baroque and 18th-Century Europe}, author = {Butler, David} } @mastersthesis {7561, title = {Taddeo di Bartolo: His Life and Work}, year = {1991}, school = {IFA/NYU}, abstract = {This dissertation is a study of the Sienese painter Taddeo di Bartolo (1363-1422). Taddeo{\textquoteright}s career falls into four distinct periods, and a chapter is devoted to each phase. The first chapter focuses on his problematical training and first commissions in Siena. The second discusses his decade of absence from his native town, during which his principal commissions came from patrons in Pisa, Genoa, and probably Padua. Here the connecting links that explain the sequence of his works and travels are explored. The next chapter deals with what might be described as Taddeo{\textquoteright}s triumphant return home, for his relocation in Siena ca 1399 coincides with his founding of what soon became the foremost painting shop in town. Siena{\textquoteright}s major patrons--the Cathedral Works Board, the civil government, and perhaps the Hospital of Sta Maria della Scala--turned to Taddeo, as did local compagnie and private families. During these early years of the Quattrocento Taddeo produced, in addition to important frescoes, his major works on panel--the grandiose and intact Montepulciano altarpiece (1396?-1401), and the equally large but dismembered double-sided heptaptych for Perugia (1403). The final chapter treats Taddeo{\textquoteright}s last years. These were given in part to another important civic commission in Siena, the 1413-14 Uomini Famosi in the antechapel of the Palazzo Pubblico. This was the conclusion of his primary work, the frescoes of 1406-07 in the palace chapel. Taddeo{\textquoteright}s late activity includes large commissions in Volterra, San Gimignano, and Gubbio. A catalogue raisonne of this prolific painter{\textquoteright}s more than one hundred surviving works follows the text of the dissertation. The catalogue is divided into three sections: Autograph Works, Lost or Unfinished Works, and Works by the Shop. Every painting is illustrated, and the catalogue entries contain full information on documentary sources, technical details, and condition, as well as a bibliography. The entries also discuss the style, iconography, patronage, and history of each work. Numerous panels are fragments of larger complexes, and proposals for reconstruction are offered.}, keywords = {The Renaissance}, author = {Solberg, Gail} } @mastersthesis {7491, title = {Tony Smith{\textquoteright}s Sculpture: Five Morphological Paradigms}, year = {1991}, school = {Indiana}, abstract = {In 1960 Tony Smith (1912-80), an American architect and painter, began making large, steel abstract sculptures which were to gain him international recognition by the end of the decade. Some of these were simple cubic forms and rectangular slabs, which he sometimes assembled to form basic post-and-lintel structures. He was also to use tetrahedral and octahedral modules to build angular twisted arch forms, a method of construction he adapted so as to produce huge spreading multicellular sculptures as well. His sculpture can be divided into a number of categories, each consisting of structurally similar works. The object of the dissertation has been to examine these categories, or morphological paradigms, to establish the meanings each held for Smith, and to see them in the context of morphologically comparable works by other sculptors past and present. This has been done by looking within each group of works for similar expressive qualities: degree of simplicity or complexity, massiveness or openness, implied movement and tension, etc. The conclusions drawn in this way have been compared with Smith{\textquoteright}s notes on specific sculptures, his more general writings outlining his artistic aims, and, when appropriate, with his earlier buildings and paintings. Certain common meanings and associations, often of an heroic or elegiac nature, do appear to cluster around works in each of these sculptural groupings. Smith emerges from this study as an artist who sought the simple expression of complex thoughts, and emotions; his wide reading, intimate knowledge of ancient and modern art, philosophical cast of mind, and strong quasi-religious sentiments are especially striking, as is the morally improving role he saw his work as playing. His sculpture is romantic in sensibility and his approach highly intuitive, yet paradoxically it is the result of his application of a very systematic constructional method, and it succeeds in conveying an effect of classical unity and completeness.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Claassen, Garth} } @mastersthesis {7466, title = {Toward a Reconstruction of Modernism, or the Subject{\textquoteright}s Dialectic of Evacuation: Modern Painting in Western Germany after World War II}, year = {1991}, school = {Harvard}, abstract = {The thesis examines abstract painting in Western Germany in the period immediately following World War II to c.1950. It inquires into instability of the immediate post-1945 state of the subject in Germany, and analyzes what this state implied for the formation of abstract painting. Focusing on political, aesthetic, and theoretical issues, it argues that while different kinds of abstract painting were produced, publics and critics suppressed affective, expressive dimensions in art because they contradicted society{\textquoteright}s attempts to relocate a secure, postwar "image of man." This image stands in relation to both the bankruptcy of the National Socialists{\textquoteright} bid to determine man, as well as to the postwar division between "occident" and "the East" (Soviet Russia as well as Eastern Germany). Western Germany{\textquoteright}s bid to rejoin "the occident" restricted painting{\textquoteright}s expressive potential, since the expressive dimension, via complex discursive strategies, came to be associated with Nazism and with totalitarianism, including Soviet-style Communism. The author relies on contemporary sources and archives to analyze the climate of reception. While her approach is not strictly chronological or biographical, key personnages include the painters E. W. Nay, Willi Baumeister, Theodor Werner, Fritz Winter, Werner Heldt, Carl Hofer, and Heinz Trokes, and the critics Will Grohmann and Franz Roh. While other studies have addressed the split between West and East in Germany, calling on the terms "Americanization" and "Stalinization" to characterize it, this thesis argues against such simplifications by concentrating on the role played by the Germans themselves in the reconstruction of postwar culture. Chapters are devoted to the problem of das Menschenbild ("the image of man"); the politicization of expression and its implication in a Cold War rhetoric of "the Eastern"; the generation problem; and the liberal model of social management of violence, the US{\textquoteright}s contribution to postwar reconstruction, and its relation to individualism.}, keywords = {19th and 20th century Europe}, author = {Heibel, Yule F.} } @mastersthesis {7540, title = {The Trees of Paradise and Pillars of the World: Vision Quest and Creation in the Stelae Cycle of 18-Rabbit-God K, Copan, Honduras}, year = {1991}, school = {UT Austin}, abstract = {Seven sculpted pillars of stone stand together in the Great Plaza of Copan, Honduras, the southernmost archaeological site of Classic Maya civilization. During the twenty-five years between A.D. 711 and 736, the Maya king whom epigraphers have nicknamed "18-Rabbit-God K" erected this series of stone sculptures and reconstructed the ritual space of the Great Plaza to feature the grouping. Each of the monoliths is carved as a standing portrait of the king, who displays the attributes of a god and interacts with a host of supernatural apparitions. Each sculpture{\textquoteright}s imagery centers upon the king{\textquoteright}s performance of a rite of vision quest, a state of dreaming induced by shamanic trance. Carved in deep, almost three-dimensional relief with dynamic forms and profuse detail, the sculptures are a vivid recreation of the content of 18-Rabbit{\textquoteright}s dreams. The study examines the iconography of each monument as a series of composite images that narrate a remarkable story: how the king{\textquoteright}s soul enters the realm of the dead to receive the world-creating powers of the Maya gods. Taken together, the monuments seem to relate the episodes of a connected narrative cycle, which interweaves the heroic epic of 18-Rabbit{\textquoteright}s visionary acts with stages from another great epic cycle, the creation mythology of the Maya people.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Elizabeth Newsome} } @mastersthesis {7549, title = {Two Inlaid Vases in the Pavement of Siena Cathedral}, year = {1991}, school = {Toronto}, abstract = {The marble pavement of the cathedral of Siena is unique in western art. While the extensive decoration of the interior pavement has been thoroughly studied and analysed, the two panels depicting vases, located on the exterior platform in front of the facade, have generally been overlooked. Each vase carries a Latin inscription. One reads MEL (honey) and the other LAC (milk). Although these inscriptions have been accepted as an allusion to the milk and honey of the Promised Land, the knowledge that the vases originally carried the more cryptic inscriptions FEL (gall) and MEL has provoked little interest or consideration. Not only has the change from FEL and MEL to MEL and LAC been passed over by historians of the pavement, but the reasons for the change, the date of the change and the date of the placing of the original vases and their meaning both before and after the change has not been fully treated. With the support of a contemporary chronicle; Historiarum Senensium ab initio urbis Senarum usque ad annum MDXXVIII, this thesis examines these issues adding new elements and proposing several changes to the present understanding of the vases. (Abstract shortened by UMI.)}, keywords = {The Renaissance}, author = {Fitz-James, Athlyn} } @mastersthesis {7556, title = {Vasari on Painting: The Critical Content of the "Lives"}, year = {1991}, school = {Columbia}, abstract = {Giorgio Vasari{\textquoteright}s Lives of the Most Eminent Painters, Sculptors and Architects (Le vite de{\textquoteright} piu eccellenti pittori scultori e architettori), first published in 1550 and revised and expanded for the second edition of 1568, is the original history of Italian Renaissance art. While the account is structured as a sequence of biographies, Vasari incidentally assesses the art he records. Critical views and values inhere in all parts of his text: formal Prefaces, descriptions of works, lists of an artist{\textquoteright}s skills, commentary in general. This dissertation tracks and analyzes Vasari{\textquoteright}s views on painting. Section I establishes context: the circumstances of Vasari{\textquoteright}s life that led to the writing of, and the content of, the book; the literary and historiographic tradition in which he worked. Sections II through V, paralleling the progression of the text, study salient issues as they crystallize. Vasari wrote to explain, honor, and memorialize the arts for which Italy had become famed. He revered painting in particular and was proud of his own mastery. He critiques paintings as he made them: as aggregations of cose dell{\textquoteright}arte, the things or parts of painting. Understanding Vasari{\textquoteright}s language of picture-making must radically alter the age-old view that Renaissance painters strove to paint a scene as seen through a window, that they sought above all to imitate reality.}, keywords = {The Renaissance}, author = {Kramer, Alice B.} } @mastersthesis {7486, title = {Zaramo Arts in Cultural and Historical Perspective}, year = {1991}, school = {Indiana}, abstract = {Because of their location near the East African coast and in and around Dar es Salaam, the major city of Tanzania, the Zaramo have been noted by many explorers, missionaries, and other visitors to the area since the mid-nineteenth century. The Zaramo have also been widely recognized for their figural sculpture, particularly grave posts and figures used during female maturity rites. While discussing the figural sculpture, this study also looks beyond it to identify what other objects are part of Zaramo artistic production. Using written references, museum objects, and contemporary field work, this study considers the broad range of Zaramo activity in the visual arts: appearances and dress, pottery, ironworking, basketry and woodcarving. It considers the types of objects made, their uses in Zaramo society, materials and techniques in their production, the artists who make them, and aesthetic standards. The study concludes that no single Zaramo style can be identified across media and that many Zaramo arts have long been very similar to those of the coastal peoples (Swahili) and those of nearby ethnic groups. This is not to say that these objects are not important in the lives of the Zaramo, however; rather, by their association with daily life and with customs and practices that are clearly Zaramo, they have become an integral, if not always easily identifiable, part of Zaramo culture.}, keywords = {African Art}, author = {Pelrine, Diane} } @mastersthesis {13234, title = {The 1708 and 1709 Concorsi Clementini at the Academia di San Luca in Rome and the Establishment of the Academy of Arts and Sciences as an Autonomous Building Type}, year = {1990}, school = {Penn State}, abstract = {The 1708 and 1709 competitions at the Accademia di San Luca in Rome were singularly introspective, focusing on the theme of an academy of fine arts. The principal activities of the Roman Academy during the early years of the eighteenth century--the training of young artists and public recognition of "graduate" artists--were reflected in these competitions for an academy building and an oval salon. Although not one of the winning architects in the 1708 and 1709 Concorsi Clementini achieved anything beyond a modest success in their later careers, the themes of the competitions merit interest from a typological standpoint. Art academies existed since the sixteenth century, yet no buildings had been erected ex-novo for the sole purpose of an academy of fine arts. The pre-eminent "art schools" of the Baroque period, the Accademia di San Luca in Rome and the French Royal Academies in Paris, had been provided since their foundations with office and studio space in pre-existing religious or royal edifices. The 1708 competition at the St. Luke Academy provides us with the earliest known proposals for a large, independent academy structure for training in the fine arts. The 1709 oval salon designs, on the other hand, offer an early eighteenth-century example of the continuing tradition of ceremonial halls on an oval plan. The theme of an academy of fine arts reappeared with some frequency during the Settecento in competitions at the Roman Academy. Moreover, a parallel interest in the design of an art academy can be found in the concours at the Paris Academie Royale d{\textquoteright}Architecture. Conceptual and formal reverberations of the 1708 Concorso Clementino designs can be identified in these later Roman and French art academy proposals. Of greater significance, the Accademia di San Luca designs for an art academy of 1708 and the related salon of 1709 stand at the beginning of a process, fostered by the eighteenth-century tendency to combine the arts and the sciences within an encyclopedic context, that led to the development of the academy of arts and sciences as an autonomous building type.}, author = {Christine Jeannette Challingsworth} } @mastersthesis {7422, title = {The Adirondack Guide: Hewing Out an American Occupation}, year = {1990}, school = {Syracuse}, abstract = {The study traces of the evolution of the Adirondack guide and his profession in the Adirondack region of Northern New York State for a hundred year period (1820-1920) as he was depicted in literature, art, and history. The guide{\textquoteright}s characteristics and activities are discussed in nine chapters beginning with early literary models of the woodsman, especially as depicted in J. F. Cooper{\textquoteright}s Leatherstocking Saga. The study then considers the paintings of Arthur F. Tait that document the activities of the guide-sport system beginning in the 1850s; romantic travel accounts that describe the guide; the "rush" of tourists caused in 1869 by William H. H. Murrary{\textquoteright}s Adventures in the Wilderness; the characterization in Winslow Homer{\textquoteright}s painting The Two Guides of 1875; Paul Smith{\textquoteright}s rise from guide to entrepreneur in the Adirondack hotel business; the guide{\textquoteright}s role as mountaineer in Verplanck Colvin{\textquoteright}s land surveys; artistic depictions of the guide by Frederic Remington, Winslow Homer, and Seneca Ray Stoddard in the 1880s and 1890s; Irving Bacheller{\textquoteright}s novel Silas Strong and the view of the guide as reformer; and the personal accounts of two early twentieth century guides, Herbert Keith and Fay Welch, who show how the guide accommodated the impact of the industrial age.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Roth, Richard P.} } @mastersthesis {7457, title = {Aegidius Sadeler (ca. 1570- 1629): Drawings, Prints and Art Theory}, year = {1990}, school = {Princeton}, abstract = {My dissertation examines the career of the Flemish artist, Aegidius Sadeler, who worked in Germany, Italy, and in Prague as court engraver to the Hapsburg emperors Rudolf II, Matthias and Ferdinand II. Sadeler was regarded by Sandrart, Baldinucci and other writers as one of the finest engravers of his time and as a major influence on printmakers of the 17th century. Sadeler{\textquoteright}s reputation lies chiefly in his role in the evolution of the reproductive engraving, a genre of print which originated during the 16th century and increased in popularity with the developing interest in art history. However, the dissertation also considers Sadeler{\textquoteright}s original prints, as well as his less familiar activity as a draftsman and painter, and brings together a group of securely attributed drawings. While the introductory chapter outlines the state of the literature, the following sections give a revised account of Sadeler{\textquoteright}s career, and discuss his large oeuvre with regard to stylistic development and subject matter. Chapter 2 deals with the background and religion of the Sadeler family, their emigration to Germany, and Aegidius{\textquoteright}s activity at the Munich court. Chapter 3 is concerned with the itineraries of Sadeler{\textquoteright}s two trips to Italy as well as his second stay in Munich. Chapter 4 deals with Sadeler{\textquoteright}s richest period of activity as one of the distinguished artists brought together by Emperor Rudolf II, while Chapter 5 considers the little-known period in Prague from 1612 to 1629, during which Sadeler remained a powerful artistic influence in Northern Europe. Chapter 6 surveys Sadeler{\textquoteright}s assistants and pupils, with suggestions regarding their contributions to his work. The final chapter analyzes Sadeler{\textquoteright}s prints in relation to early writings on engraving and artistic theory. Particular attention is given the impact of the theory of imitation on his engraving technique, as well as the early regard for reproductive engraving as a valuable medium of instruction by artists and art historians. The dialogue between writings on art and Sadeler{\textquoteright}s developing engraving style is central to my arguments regarding this artist{\textquoteright}s importance.}, keywords = {The Renaissance}, author = {Limouze, Dorothy A.} } @mastersthesis {7448, title = {Alfred Stieglitz and Science 1880-1910}, year = {1990}, school = {Case Western Reserve}, abstract = {Alfred Stieglitz{\textquoteright}s interests and his activities, both creative and catalytic, in the field of early twentieth century American art have already been documented and analyzed, but his equally important status as a photographic chemist and philosopher of science has not yet been given its due. Stieglitz{\textquoteright}s formative years, c. 1880-1900, straddled a period of intense discovery and theoretical formulation in the sciences. A student of chemist August Wilhelm von Hofmann and physiologists Emil du Bois-Reymond and Hermann von Helmholtz in Berlin, during this period Stieglitz was also an independent reader in the physical, physiological, and biological sciences. His grasp of empiricist perceptual theory and empirio-criticism (a late nineteenth century philosophy, associated with the physicist Ernst Mach, that criticized the narrowness of empiricism when not integrated into original structures of thought) reveals that he was not a dilettante but was cognizant of key developments and figures in the history and philosophy of science. Stieglitz{\textquoteright}s drive to excel as both a laboratory technician and proponent of Wissenschaftideologie, an ethical ideal of research fostered by German academic scientists, shows that his was a philosophy of impassioned research and discovery. His well-known intense preoccupation with his own internal drives and with sensation in general takes on new significance in light of experimental ideas that were "in the air" and known to his scientific colleagues, particularly progressive and experimental psychologists. Stieglitz formed a part of this avant-garde movement, verifying his own conclusions in the Little Galleries of the Photo-Secession--his "experiment station" also called "291"--as well as in his own photographs from c. 1890 to 1910. It is from this scientific rather than strictly aesthetic vantage point that Stieglitz{\textquoteright}s early career will be chronologically and thematically assessed. Although esoteric and speculative concerns are treated in this study, its intent is to clarify an issue in turn-of-the-century thought, not to muddy it. Such a multi-disciplinary approach is appropriate for scholarship related to this period in American art and criticism, justifiable because of the artistic, scientific and philosophical bent of some of its greatest minds, including Alfred Stieglitz.}, keywords = {Photography and Film}, author = {Kiefer, Geraldine Wojno} } @mastersthesis {7402, title = {Ambivalent Objects: The Surrealist Attraction to the Outmoded and the Exotic, 1928-1934}, year = {1990}, school = {CUNY}, abstract = {I read Bretonian Surrealism in terms of its resistance to psychoanalysis as well as of its acceptance of it. I address its ambivalent relation to the notion of the uncanny, embraced by the Surrealists for its disruptive potential regarding identity and aesthetics but also resisted because of its connection to such psychic mechanisms as the compulsion to repeat and the death drive. In this ambivalence I locate the productive problem of Surrealism as a movement which comes to see in these same things the potential for regression, defusion and death. This argument is sketched in Chapter One, as is the relationship between Surrealism and psychoanalysis. Chapter Two considers the Surrealist notions of the marvelous, convulsive beauty and objective chance as so many uncanny confusions between opposed states. The two primary forms of objective chance, the unique encounter and the found object, are precisely uncanny to the degree that they recall or repeat past traumas. Chapter Three suggests a reading of the Surrealist image as a juxtaposition of different psychic signifiers. Chapter Four develops in a social register the uncanny confusion between animate and inanimate states discussed in a psychic register in Chapter Two. Chapter Five develops in collective terms the uncanny return of past states discussed in subjective terms in Chapter Three. Here I argue that Surrealism works through historical as well as psychic repression, and that it does so through a recovery of outmoded objects and images. In Chapter Six I propose that Surrealism be understood in terms of an uncanny return of two psychic states above all: a fantasy of maternal plenitude, of an auratic, pre-Oedipal space-time before any loss or division; a fantasy of paternal punishment, of an anxious, Oedipal space-time where "man, ill-prepared, is taken by a sudden fear in the forest of symbols" not only are the Surrealists subject to the uncanny return of such repressed material, but they also seek to exploit it for transformative purposes and to recoup it for therapeutic ends--and in so doing that they develop innovative notions of aesthetic practice, cultural politics and critical history.}, keywords = {19th and 20th century Europe}, author = {Foster, Harold} } @mastersthesis {7421, title = {The American Academy of the Fine Arts, New York (1803-1842)}, year = {1990}, school = {CUNY}, abstract = {In 1802, Robert R. Livingston, the United States Minister to France, conceived of the American Academy as a salon that would inspire American artists and uplift the minds of others. His brother Edward, Mayor of New York who also believed that the city{\textquoteright}s leaders were responsible for the cultural enlightenment of artists and the general public, generated financial support from the city{\textquoteright}s ruling elite. Neither the Livingstons nor the members, however, planned for the Academy{\textquoteright}s operation. The institution languished until Mayor De Witt Clinton assumed the Academy presidency in 1813. With the help of his friend John Pintard, Clinton placed the Academy on a more stable footing. For the grand re-opening exhibition in 1816, the Academy attracted loans from New York{\textquoteright}s most prominent collectors and artists, including John Trumbull whose moralistic history paintings suited the Academy{\textquoteright}s principles perfectly. Trumbull became the institution{\textquoteright}s president in 1817 and enriched and strengthened the Academy{\textquoteright}s plan for disseminating high aesthetic and moral standards and developed the institution as a distinguished organization for art patrons. This study, which chronicles the Academy{\textquoteright}s history by examining key episodes, begins with a discussion of the Academy{\textquoteright}s founding by the Livingstons and its revival under Clinton and continues with a consideration of Trumbull{\textquoteright}s presidency and John Vanderlyn{\textquoteright}s service as the Academy{\textquoteright}s envoy to Europe. Issues considered in subsequent chapters include the Academy{\textquoteright}s prized possession, Sir Thomas Lawrence{\textquoteright}s portrait of Benjamin West, the five discourses the officers sponsored between 1824 and 1827, artists{\textquoteright} relationship to the Academy and the founding of the National Academy of Design, the exhibitions, and the Academy{\textquoteright}s leaders after Trumbull{\textquoteright}s resignation.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Rebora, Carrie} } @mastersthesis {7420, title = {American Regional Architecture in Hawaii: Honolulu 1915-1935}, year = {1990}, school = {Virginia}, abstract = {The construction of the Panama Canal coincided with changing social conditions in Southern California and Hawaii. Cities such as San Diego and Honolulu were eager for the expected economic growth through shipping, trade, and tourism. These prospects mobilized community leaders to increase promotion for their towns, to lobby for additional berthing facilities, and to plan how their community would develop as a result. The opening of the canal was marked by two expositions held in 1915. San Francisco{\textquoteright}s Panama-Pacific International Exposition was on the grand scale of earlier fairs. Celebrating the rebirth of the city and the international scope of the canal, the buildings of this fair were large in scale and primarily of a classical style. San Diego{\textquoteright}s smaller Panama-California Exposition took a more regional approach, its buildings reflecting the area{\textquoteright}s historical and cultural past. Designed under the direction of Bertram Goodhue, the fair{\textquoteright}s Spanish-inspired buildings were popular and provided models for later architecture throughout Southern California. Prior to the opening of the fairs, the Hawaii Tourist Bureau began a campaign extolling the virtues of the Islands. While promoting the Islands{\textquoteright} climate and scenery, the boosters also sought to dispel the "myth" of Hawaii as a cultural backwater. Architecture became the vehicle with which Honolulu expressed its aspirations and defined its image. Working with noted mainland architects, the patrons encouraged the evolution of an architecture that was both suited to the locale and noteworthy on a national level. The buildings of Bertram Goodhue and his firm in Honolulu had a lasting impact on Island architecture. The firm{\textquoteright}s style was noted for the use of a double-pitched roof, a stuccoed rough wall surface, painted ceilings based on native "tapa" patterns, and decorative masonry grilles. Their work also complied with the climatic requirements for wide overhanging eaves and openings oriented toward the prevailing winds. Other mainland firms likewise designed buildings suited to Hawaii{\textquoteright}s climate and culture. Together with the growing number of local firms, these designers developed an approach and vocabulary for regional design in Hawaii. The success of this architecture lay in a paradox. Honolulu{\textquoteright}s buildings were expressions of growth, change, and modernity, yet they maintained elements that clearly defined them as Hawaiian for citizen and visitor alike.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Penkiunas, Daina} } @mastersthesis {7417, title = {The Art Museums of Louis I. Kahn}, year = {1990}, school = {Harvard}, abstract = {Louis I. Kahn{\textquoteright}s art museums include his first major commission, the Yale University Art Gallery in New Haven, Connecticut; his last work completed during his lifetime, the Kimbell Art Museum in Fort Worth, Texas; and a work completed posthumously, the Yale Center for British Art, in New Haven, Connecticut. These works spanning the architect{\textquoteright}s mature career are informative of his approach to the design and realization of his buildings. This study provides accounts of commission backgrounds, of schematic design stages and design development, of construction, and of critical receptions of the buildings as well as examinations of the museum architecture. Reference is also made to a 1972 commission for a museum for the de Menil Foundation in Houston, Texas, only in an early schematic stage at the time of Kahn{\textquoteright}s death in 1974. It too illustrates Kahn{\textquoteright}s approach to museum design. Both the Yale gallery and the Yale Center for British Art were commissioned by Yale University in the city of New Haven with specific briefs for Kahn. The committee determining the program for the first asked for flexible spatial arrangements for multipurpose use. The architect, who began his career with Beaux-Arts training, employed the planning, open space and restrained aesthetic of modern architecture. The later museum, very defined in its program with relatively rigid requirements for institutional use, was further complicated by the university{\textquoteright}s decision to incorporate commercial units, a new museum function, in order to placate city government by preserving taxable property on the site purchased by the university. Kahn{\textquoteright}s approach to these complex concerns led to a modular system in construction and interior spatial units organized in a courtyard plan derived from traditional historical museums. The Kimbell Art Museum and the schematic de Menil design, both commissioned by private foundations for spacious, suburban sites, had fewer restrictions and requirements and offered greater opportunities for Kahn to design his ideals in museums. They combine modern and traditional features in individual designs, the former meticulously realized and the latter with an innovative concept for the building type.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Loud, Patricia Cummings} } @mastersthesis {7406, title = {Art Patronage in Nineteenth-Century Spain}, year = {1990}, school = {UC Santa Barbara}, abstract = {No record in ProQuest}, keywords = {19th and 20th century Europe}, author = {Oscar Enrique Vasquez} } @mastersthesis {7437, title = {Baroque Plague Imagery and Tridentine Church Reform}, year = {1990}, school = {Maryland}, abstract = {This dissertation aims to achieve two goals: one, to assemble as many facts as possible about the plague, regardless of period, and to relate this material to images; and two, to present a well-defined group of religious baroque plague paintings in the context of social, political and religious history. This inquiry is primarily concerned with scenes that portray saints actively involved in charitable pursuits, dispensing the sacraments to victims of the most dreaded disease, the bubonic plague. Chapter I contains a bibliographical essay, divided into three parts: medicine, theology, and art history. The next chapter considers the sources and the formation of baroque plague iconography. The remaining two chapters discuss "documentary" plague scenes and how they relate to historic events. They are presented in two sections: Italy and transalpine countries. This interdisciplinary research resulted in a number of observations. First, these narrative plague scenes were produced in Italy and in Catholic countries bordering Protestant regions: Switzerland, France, Flanders, and in the Habsburg Empire (excluding Spain). Second, the painters were mostly Italian or Italian-trained. Third, the artists observed not only the requirements specified by the Church in the 1563 Tridentine Decree on the Arts but also reflected in their work the catechetic teachings of the Council. Fourth, these religious scenes were not votive paintings but doctrinal images that served either didactic or polemic functions. Fifth, the scenes were not intended as memento mori; rather, the iconology conveyed positive images which emphasized that the faithful needed the Roman Catholic clergy to gain life-everlasting. Sixth, these plague paintings were important documents not as recordings of the conditions experienced during an epidemic but as historic testimony of liturgical practices. Last, these selected scenes mirrored the baroque Church{\textquoteright}s views on the ultimate questions about life and death.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Boeckl, Christine M.} } @mastersthesis {7408, title = {Cathedral of St. John the Divine in New York: Design Competitions in the Shadow of H. H. Richardson}, year = {1990}, school = {Brown}, abstract = {This study focuses on one of the major architectural competitions in the nineteenth century for one of its most ambitious and troubled buildings. Undertaken on the threshold of New York{\textquoteright}s emergence as a world center, the competition documents the growth of nationalism, the impulse to erect appropriately heroic monuments and local efforts to establish New York as America{\textquoteright}s cultural hub. In ecclesiastical terms, the contest chronicles attempts by some seventy competitors to redefine the style and form of the traditional cathedral on the eve of its threatened extinction as a vital architectural species. The competition for the Cathedral of St. John the Divine coincided with a watershed shift in American architecture: tastes and values drew away from the Victorian past toward academic standards, while the recently deceased H. H. Richardson left a powerful legacy with which to contend. There was simultaneously an equally strong gravitation toward Gothic, soon to be reinforced under the growing influence of Ralph Adams Cram. Stylistic uncertainties were paralleled by fundamental questions of identity. Should St. John{\textquoteright}s be an auditorium church with emphasis on preaching or a processional church with emphasis on ritual? High Church or Low Church, democratic church or elitist? Heins \& La Farge ultimately won the contest in 1891 with a Byzantine-Romanesque-Gothic hybrid equipped with a domed crossing for "modern" congregational purposes and supplemented by a full chevet and imposing nave. But virtually upon selection the compromise design was repudiated, and after years of largely cosmetic adjustments, Cram undertook in 1911 to stridently transform the cathedral into a Gothic stage for ritualistic processions. To an exceptional degree, the problematic nature of the competition and its aftermath have continued to haunt the cathedral that exists today. Volume I evaluates the competition as an historical event, positioning it in national and international contexts, and documenting its consequences on the century-long construction of the still incomplete monument. Volumes II and III comprise a catalogue raisonne of the competition entries with individual design analyses and biographies of the contestants, the cathedral trustees and the trustees{\textquoteright} professional consultants.}, keywords = {Art of the United States and Canada}, author = {Strong, Janet Adams} } @mastersthesis {7431, title = {Chao Yuan and Late Yuan-Early ming Painting}, year = {1990}, school = {Princeton}, abstract = {The life of the painter Chao Yuan (active 1350-1375), his paintings, and the subject matter of the thatched hut (ts{\textquoteright}ao-t{\textquoteright}ang), are the topics of this dissertation. The discussion of them leads to a definition of the painting of the men of culture (wen-jen) during the late Yuan-early Ming period. Biographical information about Chao Yuan allows him to be seen within his social and cultural surroundings. He is encountered as a participant in elegant gatherings (ya-chi) at Jade Mountain, the home of Ku Te-hui (1310-1369) of K{\textquoteright}un-shan, during the 1350s and 1360s. It is within this milieu that the attitudes of the emerging man of culture may be seen: painting was the equivalent of poetry in social intercourse, and certain subject matter in painting was appropriated or created to signify their life. Chao Yuan{\textquoteright}s status within this group, his relations with his contemporaries as well as with the Ming court in Nanking, and his legacy as a painter are assessed. Chao{\textquoteright}s landscape pictures can be seen to fall chronologically into those works that follow the geographically southern manner of Tung Yuan and those works after northern masters. His images show the way in which painters of his generation took possession of the past visually. Through the reinvestment of calligraphy into painting the physical act of creation could be read and new solutions to the problems posed by earlier painters worked out. The wide range of Chao{\textquoteright}s knowledge of earlier masters, particularly of northern masters, emerges as a characteristic of Ming scholar painting. Central to the enterprise of repossessing the past was the locus of humanistic activity, the thatched hut. Images of these retreats are seen, first, within the milieu of Jade Mountain and, then, more broadly, in relation to handscroll and hanging scroll formats and in relation to earlier depictions of the theme. Such pictures explore the relationship of word and image. Late Yuan painters in effect created a new genre of landscape painting that defined the experience of the man of culture for themselves and for succeeding generations of painters.}, keywords = {Asian Art}, author = {David Ake Sensabaugh} } @mastersthesis {7428, title = {The Chung Yu (A.D. 151- 230) Tradition: A Pivotal Development in Sung Calligraphy}, year = {1990}, school = {Princeton}, abstract = {The Chung Yu tradition was the first regular script tradition in the history of Chinese calligraphy. It was characterized as an archaic, simple, plain, and unadorned style which embodied the transition from the clerical to regular script in the 2nd and 3rd centuries. In the development of this tradition there had been a rise and fall after the 3rd century. The most significant rise occurred in the late Northern Sung period. It was during this period that the Chung Yu tradition acquired a firmly rooted position and was recognized as the best regular style tradition in Chinese calligraphy. This dissertation is a study of the revival of the Chung Yu tradition in the Northern Sung period and of its influence on the formation of the Sung calligraphic style. Chapter I describes the background of the revival of the Chung Yu tradition in Sung calligraphy. It deals with the changing aesthetics and new calligraphic trends appearing in the late Northern Sung period. Careful study of the influence of Ch{\textquoteright}an philosophy on aesthetics, of the aesthetic reevaluation in calligraphy, of the introspective spirit in calligraphic history, and of the new perception of the Chung Yu style illustrate the characteristics of the environment in which this crucial revival took place. Chapter II portrays the development of this tradition in the Northern Sung period: the focus is on the calligraphies attributed to Chung Yu recorded in that period and the studies and practices of the Chung Yu style conducted by contemporary calligraphers. Chapter III explores the contributions of the Sung calligraphers to this tradition. The calligraphy of the inscription of Hsiao Ching t{\textquoteright}u and the Memorial for Recommending Chi Chih are the major examples examined. The conclusion summarizes the importance of the development of this tradition in the Northern Sung period and its impact upon later Chinese calligraphy.}, keywords = {Asian Art}, author = {Chu, Hui-liang J.} } @mastersthesis {7443, title = {Conical Glass Vessels from Karanis: Function and Meaning in the Pagan/ Christian Context of Rural Egypt}, year = {1990}, school = {Michigan}, abstract = {Conical glass vessels are documented as artifacts from sites dated between the third and fifth centuries AC, in lands from Roman Britain to Mesopotamia. Such vessels are referred to and depicted in late antique, early Christian and medieval texts into the twelfth century. This dissertation examines these vessels from an archaeological, textual and art historical perspective. It studies their chronological limits, functions, and sites of production as well as their practical and symbolic importance in the Mediterranean milieu. It focuses on the over 600 conical glass vessels and fragments excavated at the Graeco-Roman site of Karanis, Egypt. An interpretive overview of the artistic representations and textual allusions to conical vessels are presented. A discussion of the archaeological contexts of conical vessels excavated at sites other than Karanis follows. The Karanis material is examined using computer data base systems to collate specific features of each object. Physical characteristics of Karanis conical vessels are described. Techniques and possible sites of manufacture are suggested. Dated coins, ostraca, papyri, pottery and other objects found with each conical vessel are examined to suggest contextual and chronological patterns for conical vessels at Karanis. These explorations suggest the functions served by the conical glass vessels. The results of neutron activation studies on the chemical composition of Karanis glass are presented. These results are compared to those from other sites to determine if Karanis glass was imported. Light emission studies are presented. These studied the comparative brightness of lighted conical glass vessels to that of terracotta oil lamps to explore possible economic factors related to their production. Results indicate that conical glass vessels appeared no earlier than the late third century and were found at Karanis into the mid to late fifth century. Most of these vessels were probably produced locally. At Karanis and other sites they functioned as oil lamps and as drinking beakers but were supplanted by other glass forms by the late fifth century. The comingling of domestic life and religious ritual suggested by the contexts of the Karanis finds may be an indication of the shift from one religious belief structure to another.}, keywords = {Early Christian, Byzantine, and Medieval Art, Egyptian, Ancient Near Eastern, and Classical Art}, author = {Higashi, Elizabeth} } @mastersthesis {7458, title = {Cornelis Corneliszoon van Haarlem (1562-1638), Patrons, Friends, and Dutch Humanists}, year = {1990}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {The Renaissance}, author = {McGee, Julie} } @mastersthesis {7423, title = {The Crayon, 1855-61: The Voice of Nature in Criticism, Poetry, an the Fine Arts}, year = {1990}, school = {Michigan}, abstract = {What might have appeared at first as merely "A Journal Devoted to the Graphic Arts and the Literature Related to Them" was in effect a serial treatise on the pursuit of "self-culture" and the realization of a New Heaven on a New Earth,--with art and nature as the instruments. As the most substantive, pioneering, and enduring art periodical of the period, The Crayon vowed to reform past Romantic excesses and present materialist obsessions into a more spiritual future. Editors William J. Stillman and John Durand sought to close the gaps between the finite world and infinite perfection, material fact and eternal laws, historical episodes and providential destiny, the natural order and the transformative powers of the imagination. This present study offers an approach to The Crayon which attempts to take into account three factors: criticism, the work of art, and the broad philosophical interests of American culture at mid-century. The editors made it clear that The Crayon would advocate "the culture of the love of Nature"; with that intention in mind, this study focuses on their attitudes towards the role of Nature and its favored qualities in the creation of art, the progress of the human spirit, and the evolution of American culture. In The Crayon{\textquoteright}s comprehensive idealist philosophy, a new Romantic classicism, one marrying tranquility, order, and harmonic laws to plenitude, intuition, and deep feeling, paved the way to perfection. The interaction between the artist and nature created "the Ideal of the Actual" central to unveiling "the Beautiful in the spirit--the Ideal of the Immortal" for all to see. Light, breadth, variety within unity, harmony, silence, and repose present in everyday nature constituted "the Ideal-visible" championed by The Crayon. Significantly, those qualities characterize the mode of America{\textquoteright}s classical landscape painting that appeared from 1850-1875, now termed "luminism." The Crayon{\textquoteright}s view of the primacy of these classical qualities of nature, whether in poetry, painting, landscape architecture, or scenic descriptions, constitutes the preparatory acceptance in criticism and theory of a landscape painting mode that would come to fruition only after the Crayon{\textquoteright}s demise.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Janice Simon} } @mastersthesis {7404, title = {Decoding MERZ: An Interpretive Study of Kurt Schwitter{\textquoteright}s Early Work, 1918-1922}, year = {1990}, school = {UT Austin}, abstract = {For the Hannover artist and poet Kurt Schwitters (1887-1948), the 1918 political revolution in Germany coincided with his own artistic revolution. Schwitters became an abstract artist using a technique he called "Merz," which had its origin in the collages and assemblages of the Cubists. "Merz" allowed Schwitters to address a number of significant aesthetic and extra-aesthetic issues in his art without sacrificing the principle of abstraction. This investigation, which seeks to interpret a select group of works created between 1918 and 1922, proceeds in two stages. The first identifies the realia used in the Merz works and analyzes their artistic transformation. This process leads to readings of the created meanings of each work. The second stage presents the context in which the works were made. This includes gaining an understanding of the political, social, and economic history of the turbulent, early phase of the Weimar Republic; of Schwitters{\textquoteright} personal and artistic development as revealed by his writings; and of his personal and professional associates. Although the general complexity of Schwitters{\textquoteright} works has made it difficult to categorize their subject matter in broad strokes, five basic issues have emerged. Each of the five chapters of this study focuses on one central work, although others are brought into the discussion as they relate. The topics drawn from the chosen works are: Schwitters{\textquoteright} Artistic Revolution and the Recognition of Friendships (Zeichnung A2 Haus, 1918), Weimar Politics (Das Baumerbild, 1920), Merz and Postwar Economics (Mz 94 Grunfleck, 1920), the Abstract Landscape and the Romantic Tradition (Merzzeichnung 83 Zeichnung F, 1920), and Issues of Criticism and Art Theory (Mz 458, 1922). Although in no way claiming to be exhaustive, this interpretive study of Schwitters{\textquoteright} rich and complex works makes an important contribution to the understanding of the artist and his oeuvre. Schwitters emerges as an artist who created profound works of art, not only through the astute transformation of ephemera, but also through the "abstract utilization" of politics, economics, religion, friends and critics, literature, music, and other works of art.}, keywords = {19th and 20th century Europe}, author = {Nill, Annegreth} } @mastersthesis {7430, title = {Dream Journey over the Xiao and Xiang:{\textquoteright} Scholar-Amateur Landscape Painting in Southern Song China (1127-1279)}, year = {1990}, school = {Harvard}, abstract = {This thesis explores the scholar-amateur artistic movement in China during the Southern Song period (1127-1279). At the end of the Northern Song (960-1125) scholars gathered around Su Shi (1036-1101) who defined a class of gentlemen as the political and intellectual elite. Together they found ways to cultivate themselves through refined studies (wenxue), which came to include not only prose and poetry, but also calligraphy and, later, painting. The paintings which scholar amateurs either painted or commented on became known as wenren hua or literati painting. In Su Shi{\textquoteright}s time the leading artists were still the professional painters of the imperial academy, whose authoritarian presence directly stimulated and conditioned the emergence of literati painting. Two separate literati traditions developed outside the court at approximately the same time and looked back to the Northern Song: one developed in the north under the Jin Tartar government (1115-1234); the other was led by scholar-amateurs living in the southern region of Jiangnan. Southern Song scholars brought to Jiangnan Su Shi{\textquoteright}s literati consensus, which guaranteed them the status of gentlemen. However, because Su Shi laid down no specific indications as to how paintings should look, Southern Song wenren hua did not yet display a homogeneous style. Because the paintings that have survived are few the tradition has largely been ignored. Fortunately, one surviving masterpiece, which is the topic of this thesis, does perfectly illustrate the Southern Song scholarly tradition. The long handscroll, Dream Journey Over the Xiao and Xiang Rivers, preserved in the Tokyo National Museum, depicts a unified view of mountains and rivers in the Jiangnan style of Dong Yuan and Mi Fu. The painter is unknown, but the brilliant technique signals a skillful artist, probably trained as a professional. Acknowledging that Southern Song artists were able to avoid the severe distinction between professional and amateur status, this study concentrates on the style--unified composition and impressionist ink technique--of the painting, its literary associations, and its poetic significance, all of which reflect the taste of the Song literati. An analysis of the ten colophons written in 1170-71 shortly after Dream Journey was painted demonstrates that the painting was produced in the private context of literati friendship that underlined poetic references understood exclusively by an elite. The thesis adds to our understanding of the as yet largely unexplored transition from Northern Song literati theories to Yuan literati painting.}, keywords = {Asian Art}, author = {Malenfer, Valerie A.} } @mastersthesis {7416, title = {Entrepreneurial Vernacular Developers{\textquoteright} Subdivisions in the 1920s}, year = {1990}, school = {CUNY}, abstract = {This study is concerned with the planning and design of speculative residential subdivisions built by real estate developers in the United States in the 1920s. It addresses the question of how a pattern of suburban housing was formulated and disseminated in the apparent absence of formal, centralized planning mechanisms. The first focus of the study is the analysis of three representative subdivisions established in the twenties: the Ford Homes in Dearborn, Michigan; Brightmoor, Detroit, Michigan; and Westwood Highlands, San Francisco, California. I reconstruct the histories of these tracts, discussing the developers, builders, and architects involved in their creation, their siting and house design, and the niche each occupies within the history of development in its area. From these narratives and analyses, it is possible to locate recurring elements that constitute a pattern shaping such developments. These include the central role of developers in organizing and determining the design of these schemes, and the use of street plans, landscaping, schools and other facilities, and house design to create a clear neighborhood identity. The second part of the study examines broader historical trends that enabled such a pattern to emerge. First, the rise of realtors as professionals and "community builders" is discussed in relation to the detachment of the architectural profession from concerns about small-scale housing, and in relation to the decreased design role that building craftsmen played as their work became routinized, mechanized and specialized. As a result of the trends affecting these three groups, realtors became the patrons of builders and architects, and their entrepreneurial expertise included the ability to organize the building and design processes needed for subdivision development. Then I look at the network of professionals who were concerned with housing and homeownership issues in the twenties. Realtors along with engineers, planners, social reformers, and others, shared information and ideas in a number of ways, many of them under the auspices of the federal government. Through this associational network, the ideas that shaped subdivision development-including standardization and notions related to Clarence A. Perry{\textquoteright}s scheme for neighborhood unit planning--were disseminated. Finally, I examine the design of subdivision housing and argue that it reinforced the emphasis on neighborhood identity and continuity that was necessary for successful subdivision development.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Loeb, Carolyn S.} } @mastersthesis {7403, title = {Erich Mendelsohn: The Berlin Years, 1918-1933}, year = {1990}, school = {Pennsylvania}, abstract = {The built work of Erich Mendelsohn from 1918-1933, the years in which he practiced in Berlin, has been interpreted as Expressionist, and thus marginal to the development of the International Style. Drawing upon unpublished papers and contemporary periodical articles, this dissertation recreates the climate of architectural production and criticism in Germany during the years of the Weimar Republic, establishing Mendelsohn{\textquoteright}s independent position within Expressionism and his later importance by the mid twenties as a modernist. An examination of key examples of the architect{\textquoteright}s work, including the Einstein Tower, the Steinberg, Hermann hat factory, the three Schocken department stores, the Universum cinema, and Columbushaus, offers insight into Weimar-era conditions of patronage, construction, and urban planning, especially those that enabled modern architects in Germany, led by Mendelsohn, to create a viable commercial style. The Netherlands, the United States, and the Soviet Union, countries to which Mendelsohn traveled in the mid twenties, are discussed as sources for the German images of modernity and the architect{\textquoteright}s personal style. During the twenties and early thirties Mendelsohn received more private commissions than any other modern architect in Germany. This popularity stemmed from his ability to design eyecatching structures which could be built for very little money, and which were notable examples of efficient planning. Enlivened by advertising instead of ornament, and deftly sited so to minimize their often intrusive new scale, these buildings were among the most urbane and influential built during the period.}, keywords = {19th and 20th century Europe}, author = {James, Kathleen Andrews} } @mastersthesis {7401, title = {Exhibition Reforms and Systems: The Grosvenor Gallery, 1877-1890}, year = {1990}, note = {change of topic}, school = {Minnesota}, abstract = {Although the Grosvenor Gallery, located at 135-137 New Bond Street, London, is often mentioned in the literature as a leading exhibition space for British and Continental artists during the late Victorian period, a complete study of its history has not been previously attempted. The owner and proprietor, Sir Coutts Lindsay (1824-1913), invited contributions from progressive artists of the day, often producing controversial results. The present study examines the spectrum of Summer exhibitions and the range of avant-garde artists, who included Burne-Jones and figures of the Aesthetic Movement; Bastien-Lepage and the Rustic Naturalists; the Newlyn School, and the Irish and London Impressionists; and the Glasgow Boys. Other scholars have focused on the early years of the gallery, perceiving that it was most successful as the center of the Aesthetic Movement. This study examines the gallery{\textquoteright}s association with the Aesthetic Movement; it also goes much further, addressing how the institution{\textquoteright}s reputation was maintained after the waning of the Aesthetic Movement in 1882. The first chapter explores Lindsay{\textquoteright}s background, the formation of the gallery and its relationship to later exhibition trends, and the urban environment of New Bond Street. Chapter two covers the Aesthetic Movement in a multidisciplinary approach--the role of popular journals, and the relationship between literature and art which informed the connections made between the Grosvenor artists and the Aesthetic Movement as a whole. In chapters two through five an analysis of the artworks shown in augmented by memoirs of figures behind the scenes and by assessments of critical writings of the period in order to evaluate how the artists were viewed at the time. Lindsay challenged the normative role of exhibition halls by promoting the works of experimental artists who themselves were dissatisfied with traditional arenas. The dissertation presents a contextual reading of the Grosvenor which reconstructs the situation that gave rise to Lindsay{\textquoteright}s advanced staging of avant-garde art within a new exhibition system.}, keywords = {19th and 20th century Europe}, author = {Denney, Colleen} } @mastersthesis {7413, title = {Frederick Arthur Bridgeman and the American Fascination with Exotic Near East}, year = {1990}, school = {CUNY}, abstract = {During the late nineteenth century Frederick Arthur Bridgman (1847-1928) was one of the most prominent American expatriate artists. Trained under the foremost French teacher, Jean-Leon Gerome, Bridgman became internationally famous for his Orientalist paintings. From the 1860s through the turn of the century, he exhibited regularly in France, Great Britain, and the United States, was accorded several solo exhibitions, and was frequently the subject of laudatory articles in American and French publications. This thesis is the first extended study devoted to Bridgman{\textquoteright}s career. His life is traced from his childhood in the United States, training abroad, and early participation in the art colony at Pont-Aven to his travels in North Africa and turn to Orientalist imagery. Bridgman{\textquoteright}s Orientalism is the main focus. The artist{\textquoteright}s debt to Gerome is analyzed in terms of both the similarity and differences in their subject matter, style, and attitude towards the East. The impact of several major Orientalists--Eugene Delacroix, Eugene Fromentin, Mariano Fortuny, Gustave Guillaumet, and John Lewis--are shown to be important, beginning around 1879, in Bridgman{\textquoteright}s turn away from Gerome{\textquoteright}s example. The significance of Bridgman{\textquoteright}s cultural background, his early American Victorian upbringing, American clientele and French residence, were major determinants in his choice and interpretation of Orientalist subjects. The themes of the harem as family, Arab poverty, and the social interaction of Easterners and Westerners are discussed at length, with Bridgman{\textquoteright}s book Winters in Algeria (1890) furnishing supporting documentation. Little attention has been accorded the strong American fascination with the East; as Bridgman was the foremost American Orientalist he is the most appropriate exponent to demonstrate this phenomenon. Also discussed are Bridgman{\textquoteright}s peasant scenes, idealized figure paintings, history paintings, landscapes, and portraits. Bridgman{\textquoteright}s archeological reconstructions are related to nineteenth-century archeological excavations in the Near East and similar paintings by Lawrence Alma-Tadema. His book Anarchie dans l{\textquoteright}Art (1898), intended as a defense against extremist aesthetics such as Impressionism, also demonstrates Bridgman{\textquoteright}s academicism.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Fort, Ilene Susan} } @mastersthesis {7410, title = {From Reality to Symbol: Images of Children in the Art of Winslow Homer}, year = {1990}, note = {change of topic}, school = {Maryland}, abstract = {Winslow Homer{\textquoteright}s lifelong interest in children resulted in a collection of images that reflect his impressions of nineteenth-century American childhood, while providing a symbolic means of exploring the primary human experience. Although some suggest Homer{\textquoteright}s depictions of children are simple representations that arose from his longing for the innocent past, few compositions are concerned with nostalgia. This study begins with a dual purpose introduction to Homer as a personality, and to nineteenth-century American childhood. Chapter One examines Homer{\textquoteright}s early transformation of the child from an accessory to the focus of his compositions. Homer{\textquoteright}s 1870{\textquoteright}s school images are the subject of Chapter Two. Conflict between the child{\textquoteright}s desire for freedom and the restrictions of formal education permeates this series of works. In Chapter Three, the reality of a child{\textquoteright}s life by the sea establishes the bond among a group of 1870{\textquoteright}s seashore images. Although the children{\textquoteright}s lives appear to be care free, Homer{\textquoteright}s compositions reveal the underlying gravity of their existence. Chapter Four discusses Homer{\textquoteright}s 1870{\textquoteright}s images of an ideal rural childhood as well as the inescapable tensions and conflicts of such a life. Within the context of a country setting, Homer also examined the black child{\textquoteright}s situation. His paintings reveal sympathy for the black child, but recognize the inherent difficulties of racial equality. Chapter Five continues the rural motif, although by the late 1870{\textquoteright}s Homer{\textquoteright}s art has begun to encompass the idea of illusion and reality. Through the image of a young, fanciful shepherdess, he presents visions of a pastoral ideal; however, he simultaneously suggests the waning of the traditional family farm and the exodus of youth from agriculture. After 1881, Homer{\textquoteright}s perspective on childhood alters, but children continue to appear in his work. The child is no longer isolated from adult life and Homer seems to have reconsidered the child{\textquoteright}s relationship to his environment. Collectively, the images of children form an important body of works within the artist{\textquoteright}s oeuvre. For Homer, children were basic creatures that allowed him to maintain contact with fundamental response consistent with his own perpetual inclination towards more primal life experiences.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Carren, Rachel A.} } @mastersthesis {7412, title = {George Bellows and Urban America, 1905-1913}, year = {1990}, school = {Boston}, abstract = {This dissertation considers three of Bellows{\textquoteright} principal urban themes: the excavation for Pennsylvania station, prize fights, and tenement-district life in New York City. Bellows tended to select prominent, often newsworthy subjects; thus, the images he produced would often have evoked particular associations and meanings for his contemporaries. To regain a sense of the connotations surrounding these pictures, the artist{\textquoteright}s handling of urban themes is analyzed in terms of popular images, issues, and metaphors that were current in the mass media during the first decades of the twentieth century. By 1900, the press had developed an iconology of industrialization that often associated construction scenes with progress and the machine with man{\textquoteright}s ultimate dominion over his environment. The reportorial spirit recognized in Bellows{\textquoteright} paintings of the Penn Station excavation was allied with the optimistic message of such widely distributed visual and verbal texts. The first excavation painting received considerable attention in the press, as did the initial boxing pictures. In fact, Bellows established his reputation and professional identity in large part on the basis of a group of these early paintings, which were described as "virile," "brutal," and "powerfully felt." They were also considered anti-academic; members of the Henri circle were often featured in the press as "revolutionaries" who challenged convention and the National Academy. Bellows cultivated his association with the Henri group with works that were considered coarse in technique as well as subject matter. At the same time, these paintings won him critical acclaim and were embraced by a sizeable segment of the arts audience, perhaps because their implicit message was distinctly unrevolutionary. Like his excavation paintings which celebrated industrialization and urbanization and his boxing pictures which presented the sport as brutal and its fans as bloodthirsty, his essentially middle-class vision of urban poverty was conservative. Bellows{\textquoteright} depictions of the Lower East Side made use of pictorial conventions widely familiar from reform-style and urban expose photography. These visual codes functioned as distancing structures as well. Thus, in many of Bellows{\textquoteright} subject pictures from the period 1905-1913, he approached issues of changing moral and social values in a way that seemed not only congenial to many members of his audience but also reassuring to their attitudes and preconceptions about urban life in America.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Doezema, Marianne} } @mastersthesis {7451, title = {Gian Paolo Lamazzo and the Art of Expression}, year = {1990}, school = {Harvard}, abstract = {The individual expression of the artist emerges as the motivating principle behind all of Lomazzo{\textquoteright}s writings on art. The Milanese theorist initially focuses on the portrayal of figurative movement and emotion ($moto$) as the most effective means of achieving this expression in painting. Yet his ideas gradually evolve. In the late treatises, style as a whole comes to be considered as the essential reflection of the artist{\textquoteright}s nature. Unique to Lomazzo is the boldness with which he insists throughout upon the subjectiveness of the expression. While his contemporaries frequently comment on personal maniere, none attempt to give the individuality an explanation. Lomazzo however develops a theory that ascribes the diversity of styles to the different temperaments of the artists, and ultimately to the infinitely various astrological configurations possible at birth. Finding his answers within the soul of the artist, Lomazzo tends to ignore the visible world, describing instead the cosmic forces which determine human nature, transfer emotions, cause the psychic attraction of the work of art and fascinate the viewer. The present study examines the sources of this theory and demonstrates that--despite appearances--the ideas derive from the prevailing thought of the period. Thanks to the recent discovery of the Libro dei sogni manuscript, the Venetian inspiration of Lomazzo{\textquoteright}s early aesthetics can be documented. The first chapter discusses his relation to Dolce and Aretino. The second chapter measures the impact Michelangelo{\textquoteright}s Last Judgment and its critics had on the Milanese master. The following chapter argues that music treatises provided the model for Lomazzo{\textquoteright}s descriptions of the emotive powers of art, especially of figurative expression. The final two chapters review the precepts of painting, showing them to have been influenced more by the renewal of an Aristotelian poetics than the restraints dictated by Counter-reformed clergymen. A true child of his times, Lomazzo ambitiously proposes the individuality of artistic expression, yet in the end compromises it by also acknowledging elements of a potential classicism.}, keywords = {The Renaissance}, author = {Chai, Jean} } @mastersthesis {7429, title = {Hakuho Sculpture: Its Development as Viewed in the Context of the Chronology of Roof-tile Motifs}, year = {1990}, school = {Harvard}, abstract = {In attempting to sort out the myriad conflicting influences at work in the sculpture of the Hakuho period, the patterned eaves-end tiles excavated from practically all ancient Japanese temple sites provide instructive parallels. The lotus motifs on these roof-tiles frequently reveal distinct similarities to the lotus pedestals of the Buddhist statuary of the late seventh century, indicating that sculptors were engaged in the production of tile molds during this period. The vast number of datable roof-tiles of known provenance provides invaluable information in analyzing the relative dating, importance, and regional characteristics of Hakuho sculpture. Drawing on archaeological and historical material, a categorization of the sculpture of the Hakuho period is proposed in this thesis. First, a discussion of the debate surrounding the definition of Hakuho as an art historical period is presented. The religious and historical background of the period is outlined with an emphasis on the situation in East Asia at the time. Next, the cultural priorities of the period are discussed: particularly the official state projects that constituted the focus of artistic activity at the time. A brief survey of roof-tiles and the social organization of artisans that permitted cross-influences among different media is then presented. The main body of the thesis consists of an evaluation of the sculpture of the period within the framework provided by the first four chapters, dividing the stylistic currents into primary, secondary, and tertiary. In the final chapter, the dated works of the period are treated as individual case studies to determine the precise influences that produced the styles that they manifest and to test the validity of the approach that has been adopted in this first comprehensive attempt to correlate the sculpture of the Hakuho period with the chronology of roof-tile motifs.}, keywords = {Asian Art}, author = {Ishibashi, Chie} } @mastersthesis {7415, title = {Herbert Ferber: Sculpture, Discourse, Context, 1930 to 1960}, year = {1990}, school = {Delaware}, abstract = {In this dissertation, I have set out to prove that Herbert Ferber, American sculptor born in 1906, as a member of an avant-garde group of artists in New York during World War II, was instrumental in bringing three-dimensional form into the Abstract Expressionists{\textquoteright} debate. Moreover, I have argued that in his public lectures and published articles, he developed a kind of art theory which embodies a system of assumptions and guidelines for procedure for the vanguard artist. Until now, Ferber{\textquoteright}s role in the history of Abstract Expressionism has not been established. The tendency has been to define the movement in terms of painting rather than sculpture. Moreover, Ferber{\textquoteright}s contribution has been viewed merely as background to a more vital, and even heroic, effort of advanced painters, placing him in proximity with them but not acknowledging his active participation in the changes that occurred. One goal of this dissertation is to correct that misunderstanding, interpreting Ferber as an activist who helped to advance the cause of Abstract Expressionism and to clarify the tenets of that avant-garde movement. Furthermore, I have contended through an analysis of his many carefully constructed and phrased statements for both his audience and himself, that Ferber{\textquoteright}s discourse demonstrates his development of an "art theory." This dissertation covers a thirty-year period of Ferber{\textquoteright}s career beginning with the background influences that placed him in a central position among the advanced artists in the 1930s. At the time he was exposed to a militant political milieu that fostered in him a spirit of revolution and launched the first exhibitions of his carved sculpture. Tracing Ferber{\textquoteright}s innovations in new materials and techniques in the 1940s, I assert that his intensified verbiage corresponded to the onset of his mature work and his acceptance by two major avant-garde art galleries. These activities coalesced in the decade of the 1950s with Ferber{\textquoteright}s abstract constructions and his mature resolve to be independent from his public. My information has been gleaned from a variety of sources including the artist{\textquoteright}s private files of typescripts, letters, and miscellaneous documents. In addition I have conducted extensive interviews with Ferber, facilitating direct access to his recollections and his ideas.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Livingston, Valerie A.} } @mastersthesis {7452, title = {The History and Decoration of the Church of S. Giorgio Maggiore in Venice}, year = {1990}, school = {Princeton}, abstract = {The Benedictine monastery church of San Giorgio Maggiore was begun in 1566 by the architect Andrea Palladio. The completion of its facade in 1610 culminated the campaign of building and decoration. These dates provide the general termini for an investigation of the church{\textquoteright}s painted, sculptural, and architectural decoration. The campaign was extensive and remarkable for being undertaken and completed during a limited span of time, its unity benefitting from this compressed historical moment. The most intense phase was during the last decades of the sixteenth century, a critical period of Venetian social and political history when Venetian institutions were being re-examined by a significant reform group within the patriciate, a group that included lay patrons of the church and for whom expressions of civic piety represented an important concern. The commissioning body at San Giorgio was a member of the Cassinese Congregation, a reform branch of the Benedictine Order. The history of the monastery by monk Fortunato Olmo (1619) forms the basis for subsequent studies. The investigation of San Giorgio{\textquoteright}s choir and its furnishings encompasses its relation to Cassinese spirituality, the development of the retrochoir and its association with ideals of reform, questions concerning Palladio{\textquoteright}s authorship, and the fabrication of the choir stalls with their narrative relief panels by Albert van den Brulle depicting the life of S. Benedict. Sculptures and altarpieces are discussed in terms of their function and disposition, from private monastic spaces to areas of lay participation. The artists chosen to execute the commissions included sculptors Nicolo Roccatagliata, Girolamo Campagna, Alessandro Vittoria, painters Guiseppe Porta, Antonio Vassilachi, Jacopo Tintoretto, Domenico Tintoretto, Jacopo Bassano, and Leandro Bassano. The examination of the facade and its execution by the cantiere engages questions concerning its attribution to Palladio and its iconographic scheme; its program of decoration commemorates the history of the island and its relationship to the Republic, in memorials to heroic doges of the past and in tomb monuments celebrating contemporary patrons. The interactions of patrons and producers describe a complex pattern of patronage, one that establishes responses of forms and styles of art to the social fabric of early modern Venice.}, keywords = {The Renaissance}, author = {Cooper, Tracy E.} } @mastersthesis {7418, title = {Julius Garbaldi Melchers (1860-1932): The Expatriate Years}, year = {1990}, school = {CUNY}, abstract = {The American painter Julius Garibaldi ("Gari") Melchers, the son of a German emigrant artist, achieved a fame in his own lifetime which faded after his death. He exhibited in major European cities and earned numerous prizes at international expositions in Europe and America. He received honorary titles and was professor at the Weimar Grand Ducal Academy, 1909-1915. The focus of this dissertation is Melchers{\textquoteright} religious pictures, of which no prior study exists. These works were executed ca. 1890-1905 and were unusual considering Melchers{\textquoteright} reputation as a peasant and bourgeois genre painter. Chapter I opens with a biographical sketch of Melchers{\textquoteright} father, Julius Theodore (1829-1909), a respected Detroit sculptor and woodcarver, under whose tutelage Melchers{\textquoteright} artistic talents first emerged. Melchers{\textquoteright} formal training at the Dusseldorf Royal Academy, his subsequent studies at the Academie Julian in Paris, and his first success at the Salon exhibition of 1882 with The Letter are described. Chapter II mentions Melchers{\textquoteright} artistic relationship with the American painter George Hitchcock (1850-1913) who convinced him to live in Egmond, where he remained from 1884 until 1909. The contemporary Hague and Laren Schools are briefly examined, and Melchers{\textquoteright} Egmond works are viewed in the context of these movements. Examples from each of his categories of paintings from his expatriate years are discussed, with comparative comments on works by contemporary Dutch and German painters. Emphasis is placed on Melchers{\textquoteright} successful church genre works, which may have led him to attempt purely religious works. In Chapter III, the strong German religious art movement during the second half of the 19th century is surveyed. Through reference to such art and contemporary commentary, the reasons behind Melchers{\textquoteright} undertaking The Nativity, The Last Supper, and Supper at Emmaus are discussed. Important influences were his heritage and Dusseldorf education. Two of his instructors were well-known Late Nazarene artists, and another, Eduard von Gebhardt, was then the premier German interpreter of religious themes. Melchers also increasingly turned to Germany to exhibit and sell his paintings during his Egmond period. Analyses of Melchers{\textquoteright} major religious paintings are presented, and comparisons drawn with similar works by Gebhardt and Fritz von Uhde, the most noted German artist of the period.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Mesman, George} } @mastersthesis {7426, title = {Lewis Mumford and American Architectural Criticism}, year = {1990}, school = {Pennsylvania}, abstract = {Between 1922 and 1962, Lewis Mumford was America{\textquoteright}s most important and influential architectural critic. While he was a self-described "generalist" whose interests covered a vast intellectual territory, his most lasting distinction has been as an observer of the built environment. Mumford chronicled the birth and adolescence of the modern movement in the United States, exploring its indigenous sources along with contemporary European developments. In Sticks and Stones (1924) and The Brown Decades (1931), he broke new ground in the history of late-nineteenth-century American architecture. Mumford reached an even broader audience through "The Sky Line" and "The Art Galleries," columns which he wrote for The New Yorker. He stressed social as well as esthetic concerns in his criticism, believing that the basis of an "organic" American architecture lay not in the creation of a modern style, but in its adaptation to human need. As the collective focus of civilization, the city occupied a special place in Mumford{\textquoteright}s architectural history and criticism. A follower of both Patrick Geddes and Ebenezer Howard, Mumford was the foremost advocate in the United States of garden cities closely integrated with their surrounding regions. This dissertation examines Mumford{\textquoteright}s multi-dimensional career as an art and architectural historian, critic, and urbanologist. More than any other intellectual observer, his writings reveal the complexity of architectural thought and practice during this period.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Wojtowicz, Robery} } @mastersthesis {7425, title = {The Lincoln Memorial and Its Architect, Henry Bacon (1866-1924)}, year = {1990}, school = {Yale}, abstract = {The dissertation is a biography of the architect Henry Bacon and a detailed account of his best known building, the Lincoln Memorial in Washington, D.C. (1911-22). His training as a Classical designer included exposure to Greek archaeology (through his brother, Francis H. Bacon), extensive travel in Europe and the Aegean, and long service for McKim, Mead \& White, then the leading Academic Classical architectural firm in America. After a brief partnership (1897-1903) with James Brite, Bacon practiced on his own until his death. The biography (Part 1) includes a discussion of his personal, professional, and artistic attitudes, and a survey of his work, emphasizing designs for the settings of monuments and memorials, usually undertaken in collaboration with sculptors (French, Bitter, Saint-Gaudens, and others). Part 2 explores the background to the building of the Lincoln Memorial. One chapter considers Abraham Lincoln{\textquoteright}s symbolic significance for Americans from 1860 to ca 1920, and a second traces the attempts to honor him on a grand scale in Washington between 1865 and 1911, centering on the McMillan (Senate Park Commission) plan of 1901-2, which featured a Lincoln Memorial prominently. Alternate sites and programs to memorialize him, and the movements behind them, are described, especially the plan for a "Lincoln Memorial Road", which arose about 1908. The design, building, and critical reception of Bacon{\textquoteright}s Lincoln Memorial are treated in Part 3. The evolution of his design is traced from his first sketches in August 1911, through the design competition with John Russell Pope, to the acceptance of Bacon{\textquoteright}s design by Congress in early 1913. The final chapter comprises a description of the finished memorial, its landscaping, construction, and decoration (including the statue, address-tablets, and murals), and a survey of its early critical reception, with allusions to the memorial{\textquoteright}s "after-life" as a patriotic shrine and a symbol of democratic justice.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Thomas, Christopher A.} } @mastersthesis {7439, title = {Living water: Images, Symbols, and Settings of Early Christian Baptism in the West}, year = {1990}, school = {Columbia}, abstract = {This interdisciplinary study examines the structure and meaning of early Christian baptism in the West from the second through the sixth centuries C.E., by collecting, analyzing, and juxtaposing art historical/archaeological and textual data. The study focuses consciously on archaeological data first of all, and treats the documents as supplemental and illuminative, rather than primary and decisive. The project begins by describing baptismal images on catacomb frescoes, sarcophagus reliefs, mosaics, ivories, gems, and glass. Next are discussions of issues pertinent to interpretation and analysis of baptismal iconography, such as: early sepulchral settings; the programmatic context of the iconography; symbols or figures of baptism that are not baptismal representations per se; identification of figures in baptism scenes; and changes in the imagery according to chronology, setting, or medium. Next the study examines aspects of the rite that both appear in the imagery and are described in the written documents, noting the parallels, points of divergence, or mutual illumination in the artistic and textual evidence, with an emphasis on the catechetical and liturgical documents produced by the western Church fathers. Particular issues covered in this portion of the study include: the importance of running water; the water{\textquoteright}s application (i.e. affusion vs. immersion); the candidates{\textquoteright} ages; the officiants{\textquoteright} and sponsors{\textquoteright} roles; the symbolic importance of ritual nudity; and the significance of the rite known as the "laying-on of hands." The last section describes and analyzes architectural settings of early Christian baptism in the West. Individual baptisteries in Italy and southern France are described, and the function or purpose of certain architectural details examined, such as: the proximity to the main church and the isolation of the baptistery itself, the shapes of the fonts, the centralized plan, subsidiary rooms, lighting, ambulatories, orientation, and water supply. Finally the study analyzes the symbolism of baptistery plans (generally octagonal), evaluates probable architectural prototypes (e.g. the Roman mausoleum), and interprets images that decorate the interiors, both individually and as unified decorative programs.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Jensen, Robin M.} } @mastersthesis {7440, title = {Manuscript Illumination in Metz in the Fourteenth Century: Books of Hours, Workshops, and Personal Devotion}, year = {1990}, school = {Princeton}, abstract = {A cohesive, hitherto largely ignored group of books of hours produced for use in the Metz diocese during the fourteenth century has been systematically assembled. By 1350 flourishing local workshops produced devotional books for a predominantly female clientele including prayers in vernacular French, some of rare occurrence. Virtually all the books depict the donatrix supplicating before the Madonna of Humility at the opening of the Hours of the Virgin (the earliest appearance of this image north of the Alps) complemented by the Instruments of the Passion opening the Psalms of Penitence. The books show a preference for female saints and for popular devotional images such as the Veronica and the Wound of Christ which were thought to bestow special graces on a female owner. Numerical analysis has helped to establish liturgical affiliations of calendars and litanies. Workshops and chronology through the fourteenth century are established for the first time, as is iconography illustrating prefactory and Hours cycles together with characteristic Metz iconography at the Psalms of Penitence and Office of the Dead. The arrangement of texts and images within the book and their use by and meaning to the owner in devotional practice is an important aspect of the study.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Mark, Claudia Marchitiello} } @mastersthesis {7400, title = {Max Beckmann{\textquoteright}s Paintings on Biblical Themes, 1906-1918}, year = {1990}, school = {UIUC}, abstract = {This thesis endeavors to demonstrate the importance that religious themes played in Max Beckmann{\textquoteright}s early art and thought by examining over eighteen works in which he treated subjects from the Bible and by analyzing his writings for his religious thought. Its goal is twofold: to place Beckmann{\textquoteright}s early religious paintings within the context of religious art in the last decade of Wilhelmine Germany and during the First World War, and to define its significance within the context of his artistic development. Beckmann{\textquoteright}s Biblical themes form a major part of his early works, and incorporate in a particularly clear manner many of the metaphysical themes that he develops in his later work. This research surveys the historical context and outlines the nature of religious thinking in Wilhelmine Germany. It is also concerned with Beckmann{\textquoteright}s religious thought through the analysis of his diaries, letters, and other writings. That thought is viewed from two perspectives: (1) those aspects--his philosophical approach in general and the influence on him of Nietzsche in particular--which are important in Beckmann{\textquoteright}s religious thought; (2) those aspects--his psychological approach in general and the implications of the war and his reactions of it--which appear decisive for the changes in Beckmann{\textquoteright}s religious thought and art. The remainder of this dissertation examines the formal character and iconography of Beckmann{\textquoteright}s paintings on Biblical themes. These are studied chronologically along with the sources that affected the artist{\textquoteright}s changing interests and development. From the early 1930s on, Beckmann{\textquoteright}s religious imagery became more ambiguous and esoteric than before. He selected and combined ideas from different systems of thought, in the process of finding philosophical parallels and visual analogies. Beckmann{\textquoteright}s ultimate goal was not to seek for truth in the traditional doctrines of Christianity but in the "self." In conjunction with these aspects, my dissertation concludes with consideration of Beckmann{\textquoteright}s last three paintings on Biblical themes as they relate to his earlier works.}, keywords = {19th and 20th century Europe}, author = {Chung, Young Mok} } @mastersthesis {7405, title = {Max Klinger{\textquoteright}s Paraphrase on the Finding of a Glove (1878-1881)}, year = {1990}, school = {Columbia}, abstract = {This thesis studies Max Klinger{\textquoteright}s ten-part graphic cycle Paraphrase on the Finding of a Glove (1878-1881) in its biographical, historical and cultural context. The series of drawings on which the Glove was based date from 1878 and were Klinger{\textquoteright}s first ambitious undertaking in a graphic medium; the print cycle, executed in 1880-1881, is Klinger{\textquoteright}s best known and arguably most successful work. The iconography and style of the Glove pictures, and the debates they--and Klinger{\textquoteright}s other early works--inspired in the press, established patterns that would prevail throughout the artist{\textquoteright}s career. Although the Glove is often mentioned as a precursor of surrealism and expressionism, I argue that this cycle is best understood as a product of its own troubled and changing times, and is in fact a masterpiece of late romanticism. Likewise, I emphasize Klinger{\textquoteright}s role as an active and influential member of the art world of early imperial Germany. Using unpublished archival information and other primary material, this thesis documents Klinger{\textquoteright}s relationships with his family and friends, and with artists, professors, writers, and collectors of the day, and discusses the circumstances of the first exhibitions of his art in Berlin. This study also considers parallels between the Glove prints and literature, philosophy, psychology, and music; relationships with other art, from Old Master prints and paintings to popular art; and the style of the works, including Klinger{\textquoteright}s graphic techniques and modes of narration. The introduction to the thesis reviews the literature about Klinger, outlines his career, and discusses the role of his prints in relation to his paintings and sculpture. Subsequent chapters are devoted to Klinger{\textquoteright}s periods of residence in Leipzig (1857-1874), Karlsruhe (1874-1875), and Berlin (1875-1879); his artistic debut in 1877-1878; the ten individual plates, in terms of subject matter and treatment; and iconographic and stylistic issues raised by the cycle as a whole. The conclusion considers the seminal role of the Glove prints in Klinger{\textquoteright}s graphic oeuvre, and the importance of the cycle, and Klinger himself, for later artists, including Kollwitz, Munch, De Chirico and Ernst.}, keywords = {19th and 20th century Europe}, author = {Streicher, Elizabeth Pendleton} } @mastersthesis {7454, title = {Michele di Ridolfo del Ghirlandaio (1503-1577) and the Reception of Mannerism in Florence}, year = {1990}, school = {Penn State}, abstract = {Michele Tosini (1503-1577), better known are Michele di Ridolfo del Ghirlandaio, was the adopted son, collaborator and eventual head of the workshop of Ridolfo del Ghirlandaio (1483-1561). Long considered by modern scholars a mere follower of Ridolfo, Vasari{\textquoteright}s high evaluation--as friend, employer and fellow founding member of the Accademia del Disegno--suggests Michele{\textquoteright}s importance in late sixteenth-century Florentine art. The purpose of this dissertation is three-fold. It attempts to establish a documented, chronological development of the independent style of Michele Tosini, to organize Tosini{\textquoteright}s non-documented works and those of his workshop according to this chronology, and to evaluate his individual development in relation to the assimilation and thorough acceptance of mannerism in Florence.}, keywords = {The Renaissance}, author = {Hornik, Heidi Josepha} } @mastersthesis {7409, title = {The Midwestern Brewery before Prohibition: Development of an American Industrial Building Type}, year = {1990}, school = {UIUC}, abstract = {This thesis is a study of the architectural development of the pre-Prohibition American brewery as represented especially in the midwestern cities of Cincinnati and St. Louis. It investigates the brewery as a distinctive type of post-Civil War industrial building, analyzing its characteristic features and considering the circumstances under which it became a common architectural feature in America until national Prohibition. By focusing on Cincinnati and St. Louis, the thesis stresses the importance of those cities and the Midwest to the brewery{\textquoteright}s development. It also uses those cities{\textquoteright} breweries as a representative group of buildings that effectively demonstrate the type{\textquoteright}s evolution in the United States at large, from its vernacular phase before the Civil War through its professionalization after. Among the factors identified as fundamental to the changing architectural form of the brewery is the adoption in America of German, in place of English, methods of brewing. Interrelationships between German and American brewery designs are discussed, along with their possible meanings, as are the overlapping influences of technological and scientific developments and sheer economic success that helped produce the special forms characteristic of the post-Civil-War American brewery. In exploring the emergence of brewery design as a professional specialization, the study brings to light a neglected group of architects and engineers, often German-born midwesterners, whose works strongly influenced the direction in which breweries developed nationwide. A brief consideration of post-Prohibition brewing developments explains the legitimacy of limiting the study to pre-Prohibition breweries and underscores the special blend of practicality and beauty that made the brewery an important element of the American industrial scene between the 1860s and the 1910s.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Appel, Susan} } @mastersthesis {7447, title = {Minor White: The Silence of Seeing, Teaching Photography{\textquoteright}s Visible Language}, year = {1990}, school = {Boston}, abstract = {For three decades after World War II, Minor White held a central position in the development of the modern American photographic community, yet his instruction has gone largely unexamined. I reconstruct and analyze White{\textquoteright}s teaching practices, using information from White{\textquoteright}s unpublished manuscripts, student interviews, and published and unpublished documentation. My methodology is biographical, with emphasis on White{\textquoteright}s lessons and the support systems, institutions, and publications which shaped White{\textquoteright}s social context. The biographical introduction of Chapter One asserts that White{\textquoteright}s personal style of sequencing photographs (incorporating aspects of poetry, music, and images) becomes expanded in his teaching practice as a complete synaesthetic experience. In Chapter Two, I delineate the differences in White{\textquoteright}s teaching methods, theoretical writings, and public profile during three distinct periods: his California School of Fine Arts period of 1946-1953, his Rochester Institute of Technology period of 1956-1965, and his Massachusetts Institute of Technology period of 1965-1976. I argue for a development in White{\textquoteright}s teaching methods, from an "Art Appreciation" model influenced by Meyer Schapiro, to a "Balanced Triad" model using Previsualization influenced by Zen and Gurdjieff, to the "Creative Audience" model influenced by Gestalt Therapy. I demonstrate that previsualization became a pivotal concept in White{\textquoteright}s classes, allowing him to bond the consideration of technical issues with the consideration of expressive issues and eventually with limitless speculative issues. Edward Weston, Ansel Adams, and originally, White, used previsualization as a formal tool--envisioning the print while still observing the scene or subject. White moved his students beyond this orthodox use of photographic previsualization--to observe the schemata level or gestalt-formation level of imaging through a graded series of exercises. This art of contemplation, of seeing without a camera, had its roots in traditional sacred arts and contemporary reinforcement from modern conceptual art. A third chapter analyzes the critical response to White during his lifetime, noting controversy over his perceived "mysticism." The problem of understanding the position of Minor White, the teacher, in the development of the modern photographic community gives focus and unity to the entire dissertation.}, keywords = {Photography and Film}, author = {Goodwin, Mary B.} } @mastersthesis {7427, title = {The Modern State Mosque in the Eastern Arab World, 1828-1985}, year = {1990}, school = {Harvard}, abstract = {This study is concerned with modern architecture in the Islamic world. Specifically, it concentrates on six mosques, all located in an historically and culturally unified geographic region, the Arab Middle East, and conceived between 1828 and the present. The period to which these monuments belong is characterized by high levels of interaction, and consequently, integration between the various traditions of Islamic architecture and models brought in from the Western world. Within the context of this highly experimental period, mosque proves to be a special significance. It is among the few building types which provide both visual and functional continuity with the pre-modern Islamic past. Consequently, it proves to be a most suitable architectural symbol of cultural autonomy. More specifically, the state mosque, or the official mosque of the ruler, ruling dynasty or nation, holds a privileged position. It reflects the highest possible levels of patronage; it is the place in which official ceremonies are held, and often, is a conscious expression of political authority and national sovereignty. It is among the most overwhelming structures within its urban center; it is intended to leave a strong impact on its surroundings, and to function as an architectural representative, as well as a lasting reminder, of its patron. The six mosques investigated here are those of Muhammad {\textquoteright}Ali and al-Rifa{\textquoteright}i in Cairo, the Great mosque in Kuwait, the King {\textquoteright}Abd Allah mosque in Amman, the State mosque competition in Baghdad, and the Friday mosque of Riyadh. This study includes a formal analysis of each monument as well as an examination of the various needs it fulfills, ranging from the utilitarian to the symbolic. Throughout, these mosques are viewed not as isolated architectural conceptions, but as culturally and politically significant works which are closely connected to the evolution of nineteenth and twentieth century architecture on both the regional as well as international levels.}, keywords = {Asian Art}, author = {Al-Asad, Mohammad} } @mastersthesis {7456, title = {Notes on the Architectural Patronage in Bologna of the Bentivoglio}, year = {1990}, school = {Columbia}, abstract = {This study clarifies some long-standing questions related to five monuments associated with the Bentivoglio, the dominant family in Bologna in the fifteenth century: the Bentivoglio Chapel in S. Giacomo Maggiore and the nature of its reconstruction; the author of the frieze of the portico of S. Giacomo Maggiore; and the identity of the architects of the Sanuti Palace, the Palace of the Podesta, and the Bentivoglio Palace. It is contended here that Filarete was involved in construction of the Bentivoglio Palace, that he may have designed the moulds for a frieze for the palace which drew on an inconspicuous decorative strip on his bronze doors on St. Peter{\textquoteright}s in Rome, and that the moulds were later reused on the portico of S. Giacomo Maggiore and the cortile of the Sanuti Palace. The contributions of Filarete and Aristotele Fioravante to the appearance of the Sanuti Palace and the Palace of the Podesta are also examined. Finally, a reconstruction of the Bentivoglio Palace is presented, one which is more consistent with available data than previous efforts. Reviews of the oeuvres of the sculptors Pagno di Lapo Portigiani and Francesco di Simone Ferrucci are included as excursuses with the Appendix.}, keywords = {The Renaissance}, author = {Licciardello, Gertrude Billings} } @mastersthesis {7434, title = {Ottavio Leoni and Early Baroque Portraiture in Rome}, year = {1990}, school = {UC Santa Barbara}, abstract = {Ottavio Leoni (Rome, c. 1578-3/ix/1630, Rome) was a painter, engraver and draughtsman. He belonged to both the Congregazione dei Virtuosi al Pantheon and the Accademia di San Luca, where he served as the Principe for four years and held other offices for many years. Ottavio was further honored with a knighthood in the Cavaliere d{\textquoteright}Cristo by Pope Gregory XV for a portrait he made of the pontiff. And although paintings made up a large portion of his artistic production, his portrait drawings and engravings have always been the best known and admired works of his oeuvre. In the seventeenth century, the excellence of Ottavio Leoni{\textquoteright}s portraits and their verisimilitude to the sitters was remarked on by Giovanni Baglione in his Lives. As far way as Spain, Ottavio Leoni{\textquoteright}s reputation for portraiture was known to Francisco Pacheco, who commented in his Arte de la Pintura "Hizo Tambien retratos en debuxo el gran Leonardo de Vinchi, Federico Zucaro, Enrique Golzio, el Caballero Josefino, pero quien ha hecho mas estudio en Roma ha sido el Paduano (Ottavio Leoni), no perdonando a ninguna persona puesta en dignidad que no debuxase di lapiz, en papel azul, con su realce, con que adornaba su obrador y por ellos los pintaba de colores despues." In the intervening centuries, the popularity of Leoni{\textquoteright}s portrait drawings was upheld by collectors and connoisseurs, such as P. J. Mariette (1694-1774, Paris). However, relatively little scholarship accompanied this interest. No comprehensive catalogue of Leoni{\textquoteright}s works has ever been produced. Consequently, his portraits are often confused with other artists{\textquoteright} works. This study clarifies Ottavio Leoni{\textquoteright}s style, working methods and patronage through the presentation of new biographical material and the compilation of a complete catalogue of all his known drawings.}, keywords = {Baroque and 18th-Century Europe}, author = {Robbin, Carmen Roxanne} } @mastersthesis {7433, title = {The Paintings of Hendrick Goltzius (1558-1617)}, year = {1990}, school = {Columbia}, abstract = {Though Hendrick Goltzius{\textquoteright}s (1558-1617) fame as a miracle-worker with the pen and as an engraver of unsurpassed accomplishment was international in scope, to his contemporaries he was no less renowned for his activity as a painter. This study establishes and analyzes the painted oeuvre of Goltzius in the context of his other artistic endeavors and introduces a number of heretofore unpublished pictures. Following a Biographical Outline, the first chapter of the text examines the reasons for Goltzius{\textquoteright}s conversion to painting in 1600 and finds the primary cause to be his acceptance of Karel van Mander{\textquoteright}s theoretical position that painting was the highest art form. The second chapter discusses the artist{\textquoteright}s life in the years 1600-17 and presents newly discovered documents, foremost of which is a 188-line poem entitled ELEGIA, Ofte KLAGH DICHTSE, TWEE-SPRAECK ... ("Elegy, or mournful poetic dialogue ... "), written and published in 1617 shortly after Goltzius{\textquoteright}s death by an individual known only by his motto "Luyckt gheen Deught." Chapter three is a consideration of Goltzius{\textquoteright}s pictures, an assessment which takes up problems of style and interpretation. His debt to Venetian painting, Titian in particular, is acknowledged, and the influence of Rubens, who visited Haarlem in 1612, is considered. Goltzius, whose name has been synonymous with Dutch "mannerism," is shown to have been the pioneer of a classicizing trend in seventeenth-century Dutch painting. The final chapter affords a review of the critical appraisal of Goltzius as a painter from his day to the present. A catalogue raisonne follows and is divided into four sections: (A) Accepted Works (50), (B) Problematic Attributions (2), (C) References to Unknown Paintings (137), and (D) Rejected Attributions (31). Appendix I presents all the known documents concerning Goltzius{\textquoteright}s entire life, inventories and other documents in which paintings attributed to him are cited, and critical notes until approximately 1800 that consider Goltzius as a painter. A genealogy of Goltzius{\textquoteright}s family appears in Appendix II, and a concordance in Appendix III.}, keywords = {Baroque and 18th-Century Europe}, author = {Nichols, Lawrence Wells} } @mastersthesis {7424, title = {Paul Wayland Bartlett and {\textquoteright}The Apotheosis of Democracy{\textquoteright} 1908-1916: The Pediment for the house Wing of the United States Capitol}, year = {1990}, school = {Delaware}, abstract = {Although the art of Paul Wayland Bartlett (1865-1925) has largely been overlooked by scholars of late nineteenth- and early twentieth-century American sculpture, Bartlett, nevertheless, was an artist of considerable achievement who left an impressive legacy of work not only in America, but also throughout Europe. This dissertation examines one of his most prestigious and historically important commissions, the sculptural decoration for the pediment of the House wing of the United States Capitol. My research provides the first comprehensive study of this important commission. Unveiled on 2 August 1916, just eight months prior to America{\textquoteright}s entry into World War I. Bartlett{\textquoteright}s Apotheosis of Democracy is perhaps best understood within the cultural context of the American Renaissance. At the same time, however, the installation of Bartlett{\textquoteright}s figures in the long vacant House pediment finally brought to completion a project of expansion and decoration of the Capitol that had begun more than a half-century earlier. The main body of this work chronicles the history of the House pediment as well as the style and iconography of Bartlett{\textquoteright}s design, noting its principal sources and precedents and studying its relationship to the aesthetic and cultural values of the period. Considered, too, are the reasons for the long delay in completing the commission, the manner in which a sculptor finally was chosen, and the development of Bartlett{\textquoteright}s imagery from the initial sketch models to the final marble statuary. A general chronology of Bartlett{\textquoteright}s career--and the first comprehensive examination of his total oeuvre--is also included. Special focus is placed on those aspects of the sculptor{\textquoteright}s life and work which bear more or less directly on the pediment such as Bartlett{\textquoteright}s debt to French art and art theory, a debt shared by many American artists during the last quarter of the nineteenth century, his international prominence as a maker of public monuments, and his talent for historical portraiture. The dissertation concludes with an annotated catalogue of the known models and casts related to the House pediment.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Somma, Thomas P.} } @mastersthesis {7459, title = {Pinturicchio{\textquoteright}s Saint Bernardino of Siena Frescoes in the Bufalini Chapel, S. Maria in Aracoeli, Rome: An Observant Franciscan Commentary of the Late 15th century}, year = {1990}, school = {Case Western Reserve}, abstract = {This dissertation explores the early career of the fifteenth century painter Bernardino di Betti, called Pinturicchio, focusing on his earliest project as an independent master: the fresco series illustrating the life of San Bernardino of Siena in the Bufalini Chapel, Santa Maria in Aracoeli, Rome. The dissertation proposes a new theory for an earlier dating of this first project and explores relationships among patrons, ecclesiastics, and the papacy in Rome during the last quarter of the fifteenth century. It begins with a survey of Perugian painting in the Trecento and Quattrocento to assess its influence on Pinturicchio{\textquoteright}s early style, than investigates Pinturicchio{\textquoteright}s contributions to the Sistine Chapel frescoes created between 1479 and 1483. Information on the patrons of the chapel in the Church of the Aracoeli, the Bufalini family, provides the basis for a new framework for dating this fresco cycle in the early 1480s rather than the mid-1480s as is commonly accepted today. This new chronology for the Bufalini Chapel frescoes is further supported by an investigation of the relationship between the imagery in the chapel and the political controversies raging between the Observant Franciscan brothers of the Aracoeli and the Conventual Franciscan papacy of Sixtus IV, which ended with that pontiff{\textquoteright}s death in 1484. Instead of a series of random historical events pertaining to the Franciscan order, the Bufalini Chapel is revealed as a coherent program with a pro-Observant message.}, keywords = {The Renaissance}, author = {Rarick, Holly Marguerite} } @mastersthesis {7407, title = {Pissarro and the Imagery of Social Relations in Industrial Society}, year = {1990}, school = {CUNY}, abstract = {In the early 1880{\textquoteright}s Camille Pissarro undertook a systematic study of the market and market women. They are scenes which display a distinct departure from his previous work. Whereas previously, in landscape Impressionism, figures had been small, and were integrated with the background, in the market paintings, figures were large, and were situated to the front of pictorial space. Begun soon after his collaboration with Edgar Degas on a new periodical of prints, Le Jour et La Nuit, the market paintings exhibit compositional and figural affinities with Degas{\textquoteright}s paintings of the working women of Paris. Traditionally, art historians have viewed Pissarro as the most conservative painter of the Impressionist group, citing in this respect his predilection for scenes of the rural peasantry and noting his sources in the work of Jean Francois Millet. It is incontestable, however, that scenes of the market and market women engaged in dialogue with modernity, to actively create meaning on contemporary issues of women, work, class, and political order. This study focuses on these issues, in a discussion of the discourse that surrounded the place of the working woman in industrializing France in the last decades of the nineteenth century. It finds that the market paintings are influenced by Pissarro{\textquoteright}s political radicalism, as well as by social class and sex. In the Revolution of 1789, market women led the march on Versailles to demand bread. In 1848 and 1871 workers{\textquoteright} revolutions had threatened to overthrow existing aristocratic and bourgeois controlled governments. In the 1880s the image of the aggressive and potentially violent market woman was still strong in popular art and literature. In contrast, Pissarro imaged market women as self-sufficient and serious. Employing the revolutionary style of Impressionism, he called attention, in his paintings, to the importance of markets and market women in the economic life of France. Influenced by Pierre Kropotkin, the intellectual leader of French anarchism, Pissarro{\textquoteright}s market scenes in the context of their time, implied an anarchist alternative to capitalist economic systems. Thus they were distinctive images of modernity in an expanding industrial economy, signifying social and economic unity in contrast to the concept of a nineteenth-century dichotomy between country and town.}, keywords = {19th and 20th century Europe}, author = {Wein, Jo Ann} } @mastersthesis {7445, title = {The Pisticci and Amykos Painters: The Beginnings of Red-Figured Vase Painting in Ancient Lucania}, year = {1990}, school = {UT Austin}, abstract = {Vases of the Pisticci and Amykos Painters represent the beginning of large scale manufacture of Red-Figured vases in mid-fifth century B.C. in South Italy. Their vases are examined within a broader frame of reference than earlier studies. Stylistically and iconographically, the vases of the Pisticci Painter demonstrate his Athenian origins. It is proposed that he is an artist of the generation of the Niobid Painter and his circle (c. 470-460 B.C.), rather than the later Polygnotan Painter{\textquoteright}s group. A small number of vases are identified as works of a new artist in the workshop, the Skyphos Painter. The South Italian origins of the Amykos Painter are illustrated by his stylistic affinities with the Pisticci Painter. His later vases are stylistically close to the Apulian Sisyphus Painter and to the Lucanian Policoro Painter. They indicate the association of a workshop, thus questioning the classification of the Sisyphus Painter as an artist working in Apulian Taras. Four sites, Thurii, Taras, Metaponto, and Heraclea, are examined as locations for the painter{\textquoteright}s workshop. Both the cities of Thurii, traditionally tied to the immigration of the Pisticci Painter, and Taras were surrounded by hostile indigenous tribes and not likely to have been seeking their patronage. In the region of Metaponto, either in the ancient city or the neighboring indigenous town of Pisticci, conditions favorable to trade prevailed. A later location of the workshop in Heraclea is possible. The subjects depicted on the vases differ from the Attic tradition. Subjects based upon Athenian history or society do not achieve popularity in South Italy. Motifs selected for tomb vases indicate a preference for peaceful, idyllic, or Dionysiac scenes. Twenty-four tombs containing Pisticci and Amykos Painter vases are grouped geographically and are included in the appendix. The distribution of motifs indicates a pattern of selection based upon the findspots of the graves. Regional preferences demonstrate the isolation of the region of Taras and the direction of the vase trade inland to the regions inhabited by the indigenous people. Adaptation to local traditions insured the establishment of the workshop and the introduction of their vases into South Italy.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Jirick, Nancy Rogers} } @mastersthesis {7450, title = {Power and Image: Della Rovere Patronage in Late Quattrocento Rome}, year = {1990}, school = {Northwestern}, abstract = {This study seeks to examine the position of the della Rovere family in late quattrocento Rome by looking at the monuments that testify to their evolving political and social strength--the palaces, chapels, decorations, collections, and entertainments commissioned during their years of political and social dominance in the city (1471-1503). The primary assumption of this work is that art patronage is a rhetorical means by which the della Rovere attempted to accomplish some very practical and symbolic goals--the expression of power, the legitimization of that power to the people of Rome, and an association between themselves and secular princes through the vocabulary of magnificence. The elaborate rhetoric of patronage that developed celebrated the della Rovere as author and served at least three functions. First, by continuing certain architectural motifs and artistic conventions, the della Rovere ensured upper-class connotations. They showed themselves as visual promoters of tradition and, consequently, as examples of monumentality and permanence. At the same time, the family was careful to express their magnificence in ways mindful of their changing audience. And finally, in their contributions to the city{\textquoteright}s image, the della Rovere behaved as leaders of Rome{\textquoteright}s urban and classical renewal and were able to coopt its magnificence and glory as their own. Within this repertoire, repeated themes of conservativeness and princeliness are visible across media while the frequent selection of Pinturicchio as artist for both public chapels and private interiors suggests a style suitable to both varying sets of viewers and della Rovere intention. In their communication of ideas, the della Rovere influenced perception and ultimately, the social action of their time and the future. In our day, their study expands our knowledge of the active role of art in Renaissance culture and the shaping of history through media.}, keywords = {The Renaissance}, author = {Bauman, Lisa Passaglia} } @mastersthesis {7399, title = {The Relevance of Bergson: Creative Intuition, Fauvism and Cubism}, year = {1990}, school = {Yale}, abstract = {My study is the first to investigate the relevance of the writings of the French philosopher Henri Bergson for an understanding of the Fauvist and Cubist movements in France before World War I. By interrelating two movements that, on the basis of stylistic analysis, are traditionally opposed, I elucidate their shared aesthetic roots and the profound impact of Bergson on early modernism in Europe, in its philosophical and, more surprisingly, social implications. Chapter one illustrates the degree to which Gleizes{\textquoteright}s and Metzinger{\textquoteright}s Du Cubisme (1912) represented the definitive formulation of a Bergsonian theory of Cubism, grounded in the interpretation of Bergson developed by the Symbolist writer Tancrede de Visan. Chapters two and three bring to light a group of Paris-based British Fauvists who called themselves Rhythmists and founded the magazine Rhythm (1911-13) to promote their Bergsonian interpretation of Fauvism. I chart the Rhythm group{\textquoteright}s attempts to measure themselves against the Puteaux Cubists, and the shared Bergsonian principles underpinning the aesthetic views of both circles. Chapters four and five discuss the Cubist- and Rhythmist-related criticism found principally in the journals l{\textquoteright}Art Libre, Montjoie!, Poeme et Drame, and Cahiers des poetes. Those writings are considered in the context of a widely political debate between Bergson{\textquoteright}s Symbolist apologists and members of the right-wing Action Francaise. By relating this criticism to the propagation of Gallic nationalism within Cubist and Fauve circles, I am able to show how both groups countered the racial nationalism of the Action Francaise with an equally reactionary racial theory. To a great extent, that criticism is couched in Bergsonian terms, in the guise of an opposition between an organic (intuitive) and geometrical (intellectual) order, with aesthetic as well as political implications.}, keywords = {19th and 20th century Europe}, author = {Antliff, Robert Mark} } @mastersthesis {7435, title = {Rembrandt and Saint Jerome}, year = {1990}, school = {Princeton}, abstract = {Rembrandt portrayed the individual figure of St. Jerome more frequently than any other saint. His choice of St. Jerome was unusual for an artist working in a Protestant society, for by the seventeenth century Jerome was championed primarily by the Catholic church because of his defenses of orthodox Catholic dogma and the institutions of the papacy and monasticism. In this dissertation Rembrandt{\textquoteright}s seven etchings, two drawings, and one lost painting of St. Jerome are discussed, in order to provide answers to several dominant questions: why did Rembrandt choose to depict St. Jerome and why did he largely limit his engagement with this subject to the graphic arts? One answer addresses both questions simultaneously. Rembrandt{\textquoteright}s fascination with the art of the past, particularly with the rich tradition of northern graphic art, led him to a subject which had featured prominently in this art in the later fifteenth and the sixteenth centuries. By turning to the theme of St. Jerome Rembrandt conducted a dialogue with his predecessors in the graphic arts. Simultaneously, the diverse representational history of Jerome images provided Rembrandt with several variants on a theme which fascinated him from his earliest years: the single figure, absorbed in an internal psychological state through prayer or meditation or the acts of reading or writing. The introduction places this study within the context of investigations of Rembrandt{\textquoteright}s approach to iconography, and suggests that in this case Rembrandt{\textquoteright}s iconographic treatment of his subject was consciously specific. Chapter one treats Rembrandt{\textquoteright}s depictions of St. Jerome in repentant prayer and demonstrates how the artist modified the iconography of the penitent Jerome in a way that would make his images more acceptable to Protestants. Chapter two is devoted to Rembrandt{\textquoteright}s sole rendering of St. Jerome and his study; in it Rembrandt{\textquoteright}s balance between traditional and innovative elements is emphasized. In chapter three Rembrandt{\textquoteright}s treatment of the theme of St. Jerome as a scholar in the wilderness is analyzed and seen as the culmination of his dual interests in the solitary St. Jerome and the art of the past.}, keywords = {Baroque and 18th-Century Europe}, author = {Catherine B. Scallen} } @mastersthesis {7446, title = {The Roman Theater at Carthage}, year = {1990}, school = {Michigan}, abstract = {A thorough study of the Carthage theater has been long overdue, especially in view of the continuing deterioration of its preserved remains. By bringing together a variety of evidence, this dissertation has been able to reconstruct many aspects of the theater{\textquoteright}s plan and appearance. A partial reconstruction of the three superimposed orders of columns which fronted the scaenae frons is proposed. The style of the carving of the architectural elements assigned to the scaenae frons, especially the cornice blocks, suggests that the extant theater was constructed around the middle of the second century A.C. For a theater of this date, it is surprisingly "Vitruvian" in its design. Four of the staircases of the first maenianum were located at Vitruvian points E, F, H, I. The cavea did not exceed a semicircle, the aditus maximi lay on the cavea side of line CD, the pulpitum wall of the stage was aligned with CD, and the scaenae frons was located at or near line AB. This study has also identified several important phases in the subsequent history of the Carthage theater. At the beginning of the third century, when Carthage was granted the right to hold Pythian games, colossal statues of Apollo and Hercules were placed in the niches above the central and eastern doors of the scaenae frons. Two Keay Type XXV B amphoras in the concrete above the vaults of the cavea provide evidence for a major repair to its substructures sometime after the middle of the fourth century. Around A.D. 382, a proconsul of Africa repaired the statues of the theater. It was destroyed by the Vandals in A.D. 439. Though the extant theater appears to be Antonine, it hardly seems conceivable that Carthage had no theater prior to the middle of the second century A.C. This study argues that a variety of indirect evidence suggests that in fact the city might have possessed a theater as early as the time of Augustus.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Ros, Karen E.} } @mastersthesis {7449, title = {Romantic Origins of American Realism: Photography, Arts and Letters in Philadelphia, 1850-1875}, year = {1990}, school = {Boston}, abstract = {The relationship between art, photography and the aesthetic of realism was contested during the middle decades of the nineteenth century. Commentary from the first generation of critics who considered photography alongside other kinds of images (who include Matthew Carey Lea, Lady Eastlake and John Ruskin) reveals that it was not always easy to equate perception of the world with the appearance of a photograph. As long as the equation was not complete, photographs were perceived as art; once photographs were seen as transparent windows onto the world, the artistic value of photography declined. The artists, photographers and writers whose images and texts are used to track this change share a period of time--roughly 1850 to 1880--and a place--the city of Philadelphia. With its strong ties to British art and culture, its interlocking circles of science and art, and its prominence as the American center of photography, Philadelphia offers an ideal site from which to observe the ways photographers followed emerging and established artistic conventions. Important sources of such conventions include Les voyages pittoresques et romantiques by Baron Isidore Taylor and Charles Nodier, the portraiture of Rembrandt, and prints by Barbizon artists such as Theodore Rousseau and Charles Jacques. This thesis shows how conventions that prepared audiences and artists to accept photographs as art began to change in response to the new medium. Photography followed established artistic genres in reproducing art, in recording architectural sites, in portraiture, and finally, in making landscapes. A chapter on aesthetics discusses the ways in which photographic images, especially stereographs, reinforced prescriptions developed by followers of Emerson, such as Elias L. Magoon, William Henry Furness and Asher B. Durand. In heeding these prescriptions, a generation of American artists, who include John Moran and William Trost Richards, followed a path that led away from the main currents of modern European art. The discussion concludes with a speculative essay in which the origins of Realism in America are traced through the genre of portraiture, exemplified in the work of Thomas Eakins.}, keywords = {Photography and Film}, author = {Panzer, Mary} } @mastersthesis {13233, title = {The Sacred and the Profane: Mont Sainte-Victoire and Other Notions of Duality in the Paintings of Paul Cezanne}, year = {1990}, school = {Penn State}, abstract = {This dissertation examines the theme of duality in the paintings of Paul Cezanne. A prominent theme in nineteenth century arts and letters, duality was a preoccupation Cezanne shared with many of his contemporaries. Duality--the eternal struggle between such conflicting impulses as the celestial and terrestrial, the sacred and the profane, and the chaste and the sensual--was a thread that coursed its way through the whole fabric of Cezanne{\textquoteright}s painting. This study will reveal how the theme of duality, overt in the subject matter of Cezanne{\textquoteright}s early paintings, refused to disappear once he turned his attention to other genres. It will be demonstrated that in Cezanne{\textquoteright}s paintings of still lifes, bathers, and landscapes, the impulse to express the dual nature of our existence is still present, but veiled, as in his allusions to the bipart god Pan and the opposition between Venus and the Virgin Mary. Cezanne{\textquoteright}s need to deflect any direct references to himself led to a transference of his internal struggle into these "subjectless" genres; this transposition is particularly sublime in his late Mont Sainte-Victoire pictures. Cezanne{\textquoteright}s paintings of Mont Sainte-Victoire are veiled expressions, via the pictorial manipulation of the canvas, of his conflicting impulses. Cezanne{\textquoteright}s attraction to the mountain will be explored. As we analyze the historical associations and legends that surround Mont Sainte-Victoire, as well as the origins of the mountain{\textquoteright}s appellation, Mont Sainte-Victoire will emerge as a convenient symbol for Cezanne in his quest for the reconciliation of life{\textquoteright}s conflicting forces. By drawing upon such diverse sources as Cezanne{\textquoteright}s letters and poetic writings, his biography, contemporary portrayals of his personality, the works of art from the past that served to inspire his own artistic productions, and the literary and musical works that influenced him, as well as his own paintings and those of his contemporaries, a deeper understanding of Cezanne and his oeuvre will unfold.}, author = {Michael L Losch} } @mastersthesis {7438, title = {Sculpture from the Church and Cloister of St.-Pons-de-Thomieres}, year = {1990}, school = {Columbia}, abstract = {This thesis considers all sculpture attributed to Saint-Pons-de-Thomieres and analyzes previous approaches to the medieval remains of the monastery. Review of the scholarship demanded reexamination of methods of attribution, definitions of the terms "romanesque" and "gothic", and the way in which formal aspects of the sculpture and content of its meaning inform each other. The dispersal of capitals throughout Europe and America accounts for the limited attention paid the ensemble; plurality of styles and range of iconographic themes are other factors. The sculptures were carved during the 12th and 13th centuries by separate groups incorporating styles from other regions. This analysis sorts the sculpture into six groups. The Narbonne group, while related to some Saint-Pons capitals, does not seem to be from that site. The other five groups (Portal, Roussillon, Languedoc, Provence, Northern France) exhibit certain shared formal and iconographic features. The sculpture from Saint-Pons confirms the spiritual preoccupation of the monastery while also pertaining to the political situation of Languedoc. As an ensemble the historiated capitals and reliefs express the monks{\textquoteright} concerns, especially their active role in church reform, close alignment with the popes and adherence to orthodoxy in a region embracing the beliefs of heretical sects, such as the Cathari. A changing religious climate, with the formation of new orders, also posed a threat to Benedictine monks requiring assertion of their traditional life as most worthy. Different styles do not imply different moments of production. In reevaluating the concept of stylistic development style must be examined in relation to iconography, chronology of work, patronage and history of the site. Methodological assumptions of earlier scholarship are challenged, including the use of historical documents for dating sculpture, narrative and stylistic sequence in cloister arrangement, re-use of sculpture and incorporation of traditional stylistic traits in later sculpture to create stylistically hybrid pieces and a hybrid ensemble. The phenomenon of multiple styles indicates deliberate choice of non-homogenous style and the continued relevance of some iconographic themes. Reconsideration of these issues lays the foundation for a different approach to Saint-Pons as well as other medieval monuments.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Bussis, Leslie A.} } @mastersthesis {7442, title = {The Shape of the Church: The Relationship of Architecture, Art, and Liturgy at the Cathedral of Trier}, year = {1990}, school = {Yale}, abstract = {Following from the Vitruvian notion that a building must be useful as well as structurally solid and beautiful, the present investigation examines the development of liturgy in the cathedral of Trier, in particular the Divine Office and processional-stational liturgy, as a means for determining the role that the activities carried out in the Medieval church played in the evolution of its design. The history of the entire cathedral complex, including the cathedral of St. Peter, the Liebfrauenkirche, the cloister, and the associated buildings is examined from the fourth to the thirteenth century. Although an explicitly functionalist attitude cannot be shown, a comparison and correlation of the liturgical history and building history of Trier reveals their interdependence and a process of the accommodation and rationalization of liturgical cults and traffic in the Romanesque and Gothic phases of the cathedral complex. The substantial number of liturgical objects, manuscripts, and liturgical compositions associated with Archbishop Egbert (977-993) are also examined, and these are revealed to work together to express the themes of the apostolic origins and primacy of the see of Trier. Three Lotharingian cathedrals that were dependents of Trier--Metz, Verdun, and Toul--are also examined to see if a connection between similar forms and liturgical practices can be established. The results of this comparison point to the great degree of independence of the individual cathedrals, at least until the thirteenth century.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Stansbury-O{\textquoteright}Donnell, Mark} } @mastersthesis {7419, title = {The Spirit of the New Idea in Artistic Handicraft{\textquoteright}: The Ceramics of William H. Grueby}, year = {1990}, school = {Boston}, abstract = {This work examines the career of ceramist William H. Grueby (1867-1925), who produced architectural faience, tiles and art pottery in Boston from 1890 to 1919. It seeks to establish Grueby{\textquoteright}s place within both a national and an international context of reform in the decorative arts. Boston provided unique opportunities in art education and training and boasted two important local potteries, the Chelsea Keramic Arts Works and the Low Art Tile Works. The Society of Arts and Crafts, Boston, through architectural commissions and exhibitions, fostered Grueby{\textquoteright}s efforts to introduce faience and tile as an artistic medium rather than standard building materials. The connection is made between Grueby{\textquoteright}s arts and crafts aesthetic and the international reform movement among French potters, including Delaherche and Chaplet, and the Art Nouveau of Siegfried Bing. The influence of his most important partners, George Prentiss Kendrick, William Hagerman Graves, and Addison B. Le Boutillier, is analyzed to determine the contribution of each. Also examined is the extent to which arts and crafts philosophies of handwork were maintained in Grueby{\textquoteright}s businesses (Grueby-Faience Company, Grueby Pottery Company and Grueby Faience and Tile Company). Grueby{\textquoteright}s insistence on totally handcrafted pottery was integral to his aesthetic statement and ultimately contributed to his downfall. The impact of industrialization on this hand-made aesthetic is evaluated in both pottery and tile production. This study asserts that from 1892 through 1898 William Grueby was a leader in introducing architectural faience and handmade tiles within the context of the arts and crafts movement. It confirms Grueby{\textquoteright}s importance as an art potter between 1897 and 1904, and the essential contribution of his chief designer, George Prentiss Kendrick. In documenting the relationship between Grueby{\textquoteright}s pottery and contemporary European taste, the discussion provides an explanation for the extraordinary critical acclaim Grueby{\textquoteright}s pottery received in Europe in 1900, well ahead of his American recognition. Finally, this study examines the reasons for the long period of decline in Grueby{\textquoteright}s business, starting about 1906, due to increased competition, and technical and financial reverses.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Montgomery, Susan J.} } @mastersthesis {7455, title = {Stefano da Verona}, year = {1990}, school = {Columbia}, abstract = {Stefano da Verona is invariably recognized as a leading master of the International Gothic Style, yet his significance has been misunderstood because of the destruction or loss of his major commissions and the general confusion surrounding him. This monographic study on the north Italian painter brings together all materials relating to Stefano and his work, resulting in a clearer picture of his artistic identity than has been heretofore presented. The text deals with Stefano{\textquoteright}s life and historical personality, demonstrating his French background, Lombard origins, apprenticeship with his father, Jean d{\textquoteright}Arbois, court artist to Philip the Bold of Burgundy, and his late arrival in Verona. Stefano{\textquoteright}s cosmopolitan, International style personality is evident through a reconstruction of his extensive migrations and a discussion of his milieu which included other traveling artists and itinerant individuals. The author defines Stefano{\textquoteright}s style, a personal variant of the International Gothic style, and traces his artistic evolution. A storia critica sets forth various conflicting theories concerning Stefano{\textquoteright}s artistic origins and stylistic sources. A catalogue raisonne is divided into sections dealing with authentic works by Stefano and works which are attributed to him but which this author has removed from his oeuvre. There is also a section on lost works. The section of signed and attributed works deals with a wide range of subjects including problems of dating and chronology, and issues of provenance and patronage. In a series of discussions, Stefano{\textquoteright}s French and Italian pictorial sources, especially those of Lombardy, are explored including French miniatures, the l{\textquoteright}ouvraige de lombardie, calendar landscapes, and the tacuinum sanitatis tradition. Relevant personalities who helped determine Stefano{\textquoteright}s style are discussed, such as Michelino da Besozzo, Giovannino de{\textquoteright}Grassi, Gentile da Fabriano and Pisanello. An investigation of the transmission of style through the use of pattern books, drawings, transportable objects, and traveling artists highlights the International character of Stefano{\textquoteright}s art. Problems in the iconography of Stefano{\textquoteright}s paintings are also addressed. Related drawings are associated with attributed paintings, thereby extending Stefano{\textquoteright}s canon. A supplement of documents relating to Stefano--all newly transcribed--with a full commentary has been assembled serving to create a fuller understanding of Stefano{\textquoteright}s life and art.}, keywords = {The Renaissance}, author = {Karet, Evelyn F.} } @mastersthesis {7453, title = {The Stones of {\textquoteright}Mons Vaticanus{\textquoteright}}, year = {1990}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {The Renaissance}, author = {Finch, Margaret Lee Samuel} } @mastersthesis {7432, title = {Structures of Space and Society in the Seventeenth-Century Dutch Interior}, year = {1990}, school = {UC Berkeley}, abstract = {This dissertation concerns the relation between certain pictorial problems and social issues in 17th-century Dutch painting. My focus is on the pierced space or vista, which extends the pictorial space into a back room or to the outdoors, a compositional device frequently used by Dutch artists to organize their images of social and domestic life. By setting up a relation between background and foreground, the vista functions as both compositional device and visual commentary. The dissertation concentrates on three artists, all painting in the 1650{\textquoteright}s and 60{\textquoteright}s, who used the articulation of space to explore certain social and domestic issues dominant in their culture. The first chapter concerns Nicolaes Maes (1634-1693), who exploits the forms of domestic architecture to visualize domestic relationships, particularly between women of different classes. I consider the structure and function of rooms, and their social ramifications, and compare Maes{\textquoteright} manipulation of the architectural environment to other recreations of the house such as perspective-boxes and dollhouses. I then discuss similar works by other artists who use the motif of the back room to juxtapose and categorize different forms of feminine activity. The second chapter deals with the work of Pieter De Hooch (1629-1684), who approaches the demarcation of space as a means of articulating the relationship between public and private life. I discuss his work in relation to other images combining interiors and exteriors: city views, depictions of vendors, and religious scenes of rejection and acceptance. I also refer to the cultural symbolism of the house and the doorway, invoking folk traditions, the work of other artists, and the European literary conceit of domestic celebration. The third chapter concerns the allegorical pictures of Gerard Dou (1613-1675). For Dou, the vista provides a gloss on the figure in the foreground. By playing on the confusion between depicted and "actual" space, Dou asserts his authority as a master of representation. I compare Dou{\textquoteright}s treatment of space to stage design, a formulaic architectural structure which hierarchically subdivides human action for rhetorical effect, and to the work of other Dutch artists who employ the ancillary space as a form of rhetorical "aside."}, keywords = {Baroque and 18th-Century Europe}, author = {Hollander, Martha} } @mastersthesis {7444, title = {Studies in Large-Scale Painting and the Mosaic in the Late Classical and Early Hellenistic Periods: Battles, Hunts, Abductions}, year = {1990}, school = {Harvard}, abstract = {The long-held belief that the history of ancient Greek monumental painting will never be written is now being challenged by recent and continuing spectacular discoveries of original works primarily in Macedonia, Northern Greece. Informed by these new archaeological finds, this dissertation broadly aims at a critical examination of the figurative two-dimensional arts, including paintings and mosaics, in the ancient Greek world of the 4th and early 3rd centuries B.C., the so-called "grand siecle" of Greek painting. Within this broad frame of reference, three themes are explored--Battle, Hunt, and Abduction/Rape--chosen both because individually their representative--miraculously surviving--paintings and mosaics are artistically very rich masterpieces and because they suggest a unity of sorts, all involving issues of dominance and display of power, as well as death. In some ways, Battle, Hunt, and Abduction can be reduced to three layers of the same theme, each one manifesting a different outlook on the conflict between pursuer and pursued, whether the latter is another male enemy, animal, or woman. It is not only that these themes have assumed importance because representative images have reached us. They also seem to be important for a more nuanced understanding of the respective culture at large: its history, literature, and philosophy. Although these themes participate in a long tradition--with precedents and antecedents--their pictorial particularities seem to provide subtle visual metaphors for--and indeed to be better understood in light of--circumstances surrounding the change evident in the 4th c. B.C. from an age of democracy to an age of kings, princes, and a militarily oriented aristocracy. This change in the political and social realms marks the important reigns of Philip II of Macedonia, his son Alexander the Great, as well as some of the latter{\textquoteright}s immediate successors. Significantly, this period also marks the emergence of Macedonia--previously a cultural backwater--as a major force to be reckoned with not only in Greece but also in the greater Mediterranean as well. As all three themes have had an unbroken existence and evolution, comparisons with earlier and later works in a variety of media are made throughout the dissertation, with attention to both style and cultural meaning.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Cohen, Ada} } @mastersthesis {7441, title = {The Thirteenth-Century Stained Glass from the Parisian Abbey of St.-Germain-des-Pres}, year = {1990}, school = {Columbia}, abstract = {The mid-thirteenth-century Lady Chapel from the former Benedictine abbey of Saint-Germain-des-Pres was glazed with an imposing ensemble of saturated and grisaille stained glass. The colored, historiated glass recounted the histories of Saint Germain of Paris and Saint Vincent of Saragossa, the abbey{\textquoteright}s titular saints, as well as legends associated with the Virgin Mary. These narrative windows, which must have comprised over four hundred panels, were installed in the seven hemicycle windows of the chapel, with ornamental grisaille glass mixed with colored figural panels in the flanking straight bays. The western rose window depicted the parable of the wise and foolish virgins. Following the suppression of ecclesiastical foundations during the French Revolution, the chapel was sold to various Parisian entrepreneurs and was demolished by 1802. The majority of stained glass was destroyed at this time, but a significant number of panels were saved and are found today in North American and European collections.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Shepard, Mary B.} } @mastersthesis {7411, title = {United States Domestic Architectural Marketing: History and Method, 1909-87}, year = {1990}, school = {UC Santa Barbara}, abstract = {This dissertation is intended as an overview of the marketing practices of the architectural profession in the United States. Its basic premise is that during a short developmental period prior to 1909, under the aegis of the American Institute of Architects, and then through the present day under the constraints of the Institute{\textquoteright}s "Code of Ethics," the restricted freedom of the architectural community to practice experimental marketing techniques severely limited the scope and function of the individual practice in particular and the understanding of the profession by the public in general. The marketing tools and techniques of the profession at various stages of acceptance, the evolution of the "Code of Ethics," and the results of this Code upon the practitioner are examined in detail.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Chandler, Roger Allen} } @mastersthesis {7436, title = {Ut Picture Horti: Hubert Robert and the Baths of Apollo at Versailles}, year = {1990}, school = {Pennsylvania}, abstract = {This dissertation is the study of the evolution of one monument that spans the history of the Petit Parc of Versailles from its inception under the reign of Louis XIV until the reign of Louis XVI. I focus on the Grotto of Thetis which was conceived in 1664 and remodeled as the bosquet of the Bains d{\textquoteright}Apollon from 1777 until 1781. The framework is chronological and examines the Bains d{\textquoteright}Apollon commission in light of the replantation of the Petit Parc of Versailles from 1774 until 1777. The major theme examines how in seventeenth garden theory, the garden was designed to give the illusion that art triumphed over nature, whereas in eighteenth century garden aesthetics, the material environment was manipulated to appear as if nature triumphed over art. The roots of the "contrived naturalism" of the Bains d{\textquoteright}Apollon can be found in contemporary discussions of the picturesque. The opportunity to study the work of a landscape painter Hubert Robert (1733-1803) who became Dessinateur des Jardins du Roi, following the Bains d{\textquoteright}Apollon project, provides a forum to re-examine the principles of French picturesque garden theory. I argue that the picturesque is not the product of an interaction between the two arts, but rather the product of a parallel development which is predicated on the recognition and appreciation of artifice in opposition to nature and shared by both art forms. The ramifications of picturesque garden theory are interpreted in the iconography of the Bains d{\textquoteright}Apollon. When Hubert Robert was given the commission to create a new setting for Girardon{\textquoteright}s sculptures of Apollo Attended by the Nymphs of Thetis, the monument was designed to recall the earlier history of the Grotto of Thetis. Robert{\textquoteright}s artificial rocher exploited the myth of Mount Parnassus: Louis XVI, like his great grandfather, would bring the arts and sciences to Versailles. However, the contrived naturalism of the Bains d{\textquoteright}Apollon stressed man{\textquoteright}s harmony with nature thus mitigating the allegorical message and its potential political power.}, keywords = {Baroque and 18th-Century Europe}, author = {Taylor, Susan} } @mastersthesis {7414, title = {Women Art Students in America: A Historical Study of Academic Art Instruction during the Nineteenth Century}, year = {1990}, school = {American}, abstract = {Art historians have suggested that one reason for the small number of women artists prior to the twentieth century was limited access to appropriate artistic instruction. Current art historical texts on nineteenth-century American art have given very little attention to women artists of the period. It was the researcher{\textquoteright}s goal in the present study to determine if a lack of appropriate educational opportunities was one explanation for the obscurity of nineteenth-century American women artists. Therefore, the purpose of the research was to analyze academic art training for American women during the past century. The study examined four nineteenth-century art schools: the Pennsylvania Academy of the Fine Arts, the National Academy of Design, the Art Students League, and the Corcoran School of Art. All four schools employed the French academic model for art instruction. The "academic" approach to art training emphasized drawing instruction in which elementary students copied plaster casts of antique Greek and Roman statues; advanced students drew from live, usually nude, models. The research focused on the curriculum, faculty, student competitions, and the educational environment of each program as it pertained to women{\textquoteright}s art education. The research findings indicated that American academic art schools during the nineteenth century provided women students with thorough and rigorous academic art instruction and that there were only minor differences in the curricular course of study for men and for women. The researcher did uncover specific instances of racism, sexual harassment, gender stereotyping, and restrictive social attitudes. However, even with these occurrences, the four schools under study provided women art students with comprehensive training, professional opportunities, and personal support. There was relative equality in the educational environment for male and female students. Although the study did not cover nineteenth-century European art schools, the surprising implication was that the American schools were far more progressive and offered greater opportunities than their European counterparts. Therefore, the conclusion of the study was that a lack of appropriate education cannot be adduced as the reason for the obscurity of nineteenth-century American women artists.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Green, Marcia H.} } @mastersthesis {7374, title = {The {\textquoteright}Administrative Building{\textquoteright} at Tell Al-Hiba, Area C}, year = {1989}, school = {IFA/NYU}, abstract = {This dissertation analyses the burnt building in area C of Tell Al Hiba, Lagash in southern Iraq, excavated by the Joint Expedition of the Institute of Fine Arts, New York University, and the Metropolitan Museum of Art in 1970-1971. After a survey of the history of Lagash and the excavations at the site of Tell Al Hiba, a discussion of Early Dynastic IIIB, the archaeological time period which the burnt building documents, follows (chapter I). The stratigraphy and architectural remains of the building are discussed in chapter II. A detailed analysis of the material excavated within the building is presented in chapter III (the pottery) and chapter IV (the sealings, texts, and small finds). A study of all the objects in the context of room assemblages follows in chapter V. In the final chapter the building{\textquoteright}s function is identified as a workshop complex, and the building is placed in its historical context in late Early Dynastic Mesopotamia. A conclusion is reached, from the evidence provided by the burnt building, that the Early Dynastic IIIB period in southern Babylonia may coincide with the reign of Sargon of Akkad in northern Babylonia.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Bahrani, Zainab} } @mastersthesis {7380, title = {Agyieus and Baluster: Aniconic Monuments in Roman Art}, year = {1989}, school = {Brown}, abstract = {The catalogue of this dissertation includes the objects identified as the "baitylos" in older research. From this larger group more recent research has specified two aniconic monuments, the agyieus and the baluster. The nature of the agyieus has been clarified in the newer research but the relationship between agyieus and baluster was not clear. The older Greek phenomenon of the conical column of Apollo, the agyieus, is defined particularly in the light of more recent discoveries: the Hellenistic monument in the Sanctuary of Apollo at Cyrene and two Roman monuments from the Palatine. These Palatine discoveries force the question of the identity of the similar object of the sacral-idyllic landscape of the House of Livia, identified in the older research as a "baitylos" or baluster. The dissertation focuses on the baluster and develops a vessel theory to explain why it is usually took the form of a vase. The vasiform baluster in Campania is explained as an Egyptianizing object referring to the Isiac cult. While the baluster{\textquoteright}s usual form was an architectural tripartite monument, it also became a portable object resembling an alabastron. The earliest depiction of the baluster in Italy however is found on South Italian vases. The Romans associated this funerary monument with Persephone, Queen of the Underworld, and the great goddess of Magna Graecia. The dissertation establishes, particularly by means of the Roman landscape painting, that the baluster belongs to Diana. Diana was Hellenized by way of the ancient goddesses, Artemis, Hecate and Persephone. While Artemis was known for her archaizing imagery, the three were also represented by "pillar cult" which came to be assimilated with the balusters of South Italy and Campania. Diana Nemorensis, the most important manifestation of the Italian goddess, associated in legend with Artemis Tauropolis and Iphigeneia at Aricia, was espoused by Octavian earlier for political reasons but came to be overshadowed by the Apollonian propaganda after Actium. Apollo and Diana, as the patron deities of Augustus, became the most important gods of the state cult. Agyieus and baluster under Ptolemaic influence became emblems of the ruler cult.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Reeder, Jane} } @mastersthesis {7350, title = {American Art Theory and Criticism during the 1930s: Thomas Craven, George L.K. Morris, Stuart Davis}, year = {1989}, school = {Rutgers}, abstract = {This dissertation examines the art theories and criticism of Thomas Craven, George L. K. Morris and Stuart Davis, who articulated the three dominant viewpoints in American art during the 1930s. Each of their theories is considered in depth, with attention given to the early influences that shaped their views. Their ideas are also thoroughly compared to prevent viewing each in the isolated terms of his own circle. Such comparison gives a more wholistic sense of the decade by analyzing the dynamics between them. The major issues they debated centered on problems of style, content, and the social role of art in America. Arguments often focused on polarities such as representation versus abstraction, socially useful art versus art for art{\textquoteright}s sake, regionalism versus universalism, nationalism versus internationalism, and America versus Europe. But underlying these issues was the fundamental question that was central to all their theories: "What should advanced art in modern America look like?" Each offered different answers to this question. Chapter I gives brief biographies for each critic, focusing on social and geographical backgrounds, education, travels, and personalities. It defines key common grounds and differences between the three. Chapter II discusses the context of the thirties, emphasizing the Depression and politics of art created by government patronage, the international politics of art caused by tensions between communism, democracy and fascism, and the enormous growth of art during the decade. Chapters III through V are devoted to Craven, Morris and Davis, respectively. Each is approached in three parts: theoretical foundations and intellectual or stylistic influences; application of theory through identifying heroes, opponents and interacting with other views; and the use of history and a manner of presentation to give legitimacy to theory. Chapter VI examines why the influence of all three critics quickly waned after the thirties. It explores weaknesses, examines why their ideas were inadequate to cope with World War II or to compete with the influx of surrealist and expressionist theories. Chapter VI also concludes that these critics{\textquoteright} efforts were invaluable for advancing American thinking about art in the future because their courageous questioning of all aesthetic possibilities and their dogma confronting of each other{\textquoteright}s socio-political attitudes helped to clarify the problems of American art for the next generation.}, keywords = {Art of the United States (except Photography and Film)}, author = {Roosa, Wayne L.} } @mastersthesis {7347, title = {An American Happening: Allan Kaprow and a Theory of Process Art}, year = {1989}, school = {UNC Chapel Hill}, abstract = {This study presents the theory and methodology of Allan Kaprow within the context of an American process art theory. In Part One, the philosophical, social, political and artistic roots of process art in America are examined. The writings, statements and works of the four most influential American process theorists and artists, John Dewey, Harold Rosenberg, Jackson Pollock, and John Cage, are analyzed as major influences on Kaprow. In addition, a process world view, often termed "process philosophy," is correlated with the increasing importance given to the process in twentieth-century art and art theory. In Part Two, Kaprow{\textquoteright}s contributions to process art and art theory are considered in light of previously discussed influences. An examination of Kaprow{\textquoteright}s theory and methodology reveals that his process approach was derived in large part from the fundamentals of American pragmatism and an American action aesthetic. Furthermore, several misconceptions regarding Kaprow{\textquoteright}s artistic intent are exposed, including that his works were: unrehearsed performances in the dadaist tradition, neo-dadaist gestures of negation, acts of rebellion in repudiation to abstract expressionism, and performance pieces stemming from theatre. The study establishes that, far from being acts of negation, Kaprow{\textquoteright}s works were intended to enhance and intensify the individual{\textquoteright}s everyday experience by promoting a dynamic exchange between the individual and the environment. Kaprow sought to thoroughly engage the participant with art as an activity of life. Kaprow{\textquoteright}s process approach is evidenced by his progressive elimination of the distinction between the spectator and the work of art, his transactional view of experience, his desire to keep the line between art and life as fluid and indistinct as possible, and his emphasis on the transitory. What remains of significance in his art is the memory of the activity and its role in the human context. With Kaprow, the process philosophy of John Dewey, the emphasis on gesture and process in the works of Jackson Pollock and the writings of Harold Rosenberg, the Black Mountain College experiential aesthetic and the chance philosophy of John Cage were synthesized into an American Happening.}, keywords = {Art of the United States (except Photography and Film)}, author = {Lehnert, Pamela A.} } @mastersthesis {7344, title = {The American Portrayal of Tudor and Stuart History, 1835-1865}, year = {1989}, school = {Yale}, abstract = {In the antebellum period some of America{\textquoteright}s most important history painters, notably Daniel Huntington (1816-1906), Emanuel Leutze (1816-1868) and Peter Frederick Rothermel (c1812-1895), turned to subjects from British history from the Reformation to the Civil War. This dissertation examines these little known works as manifestations of an interest in the British past on the part of a broad American public, avid readers of historical novels by Sir Walter Scott as well as popular histories by Thomas Babington Macaulay and others. Aside from a close examination of Huntington{\textquoteright}s special personal interest in the English Reformation, the study focuses on the meanings for the American public held by particular subjects from the British past. Individual chapters deal with the American image--in popular fiction, historical writing and periodical illustration, as well as history paintings--of the court of Henry VIII and the English Reformation, Lady Jane Grey, Elizabeth I and Mary Queen of Scots, and Charles I and Cromwell. The portrayal of these topics reflected particular concern in two areas: the contemporary ideal of womanhood, as interpreted through the fates of tragic heroines, and the conflict of Catholics and Protestants, with an emphasis on the ambiguous figure of the Puritan. Although the example of contemporary French and British artists and writers was important, Americans often reinterpreted British history to make it fit an American agenda: they both claimed the English past as their own heritage and viewed it critically as a means of bolstering America{\textquoteright}s mission to realize fully in the New World the aborted promise of the Reformation and Puritan Revolution. The dissertation concludes that, in an era when the American past could only be a vehicle for positive feelings, antebellum Americans used a negative view of European history to project concerns, self-doubt and self-criticism; and that American artists, in an attempt to reconcile the academic ideal of history painting with the limitations and demands of the democratic American art market, chose subjects from British history to attract a new audience from among a reading public for whom the British past was already accessible and meaningful.}, keywords = {Art of the United States (except Photography and Film)}, author = {Greenhouse, Wendy} } @mastersthesis {7341, title = {The Anatomy of Nature: Geology and American Landscape Painting, 1825-1875}, year = {1989}, school = {Yale}, abstract = {This dissertation examines the impact of geology on nineteenth-century American landscape painting. Between 1825 and 1875 many of America{\textquoteright}s leading landscape painters, including Thomas Cole, Frederic Church, Jasper Cropsey, Asher B. Durand, William Stanley Haseltine, Thomas Moran, and William Trost Richards, became students of the science. They read geological texts, became friendly with prominent geologists, and participated in geological expeditions. The scientific knowledge which they gained through these means shaped both the way they saw and the way they portrayed the landscape. It informed their carefully detailed depictions of rocks and land formations. It affected their selection of subject matter, and it provided them with thematic material. Each chapter of the dissertation examines a different aspect of the relationship between the two disciplines. Chapter 1 considers the role critics played in fomenting a movement towards geological accuracy and topographical precision. Chapter 2 focusses on the discovery of geological time and the way it affected artists{\textquoteright} perception of the landscape. Chapter 3 explores American volcanic imagery. Chapter 4 describes the influence of Louis Agassiz{\textquoteright}s Ice Age Theory on American art and literature. The final chapter continues the discussion of ice age imagery, examining the coterie of painters and photographers that formed around the naturalist John Muir.}, keywords = {Art of the United States (except Photography and Film)}, author = {Bedell, Rebecca B.} } @mastersthesis {7325, title = {Antoni Tapies: The {\textquoteright}Matter Paintings{\textquoteright}}, year = {1989}, school = {CUNY}, abstract = {The importance of Antoni Tapies as a key figure, both in the Spanish and European art world from the postwar period to the present, has been widely noted in all the pertinent literature. The historical significance of his art has almost totally been identified with the matter paintings, the type of work which projected him into preeminence in European avant-garde circles during the late fifties and early sixties. The matter paintings became symbolic of a period and an artistic attitude; and in consequence, Tapies{\textquoteright} art was no longer perceived exclusively in artistic terms, but was transformed into a model to be followed or attacked. Given this model-like role, the interpretations of the matter paintings have varied periodically according to changes of taste and historical events in Spain as in Europe. If, during the late fifties, the matter paintings had an Existentialist character, they were perceived during the seventies as works of social protest. Although interpretations of Tapies{\textquoteright} art have, for the most part, had a contextual value, art historians have subscribed to such readings and accepted them without questioning their origins and functions in specific historic situations. Ironically, throughout the popular and widely-read literature on Tapies the position of the art historian has been un-historical. Therefore, there has not been any attempt to study the linguistic origins of the matter paintings: that is, to understand Tapies{\textquoteright} position in relation to artistic languages in existence when he came to terms with the matter paintings. On the contrary, through one of those ironies so characteristic in art history, earlier periods of the artist{\textquoteright}s work have been understood in terms specific to the matter paintings, and considered important not because of what the matter paintings reveal of the previous works, but because of what these previous works reveal of the matter paintings.}, keywords = {19th- and 20th-Century Europe}, author = {Borja, Manuel Jose} } @mastersthesis {7386, title = {Arnolfo di Cambio{\textquoteright}s Sculptural Project for the Duomo Facade in Florence: A Study in Style and Context}, year = {1989}, school = {IFA/NYU}, abstract = {Key pieces of figure sculpture by Arnolfo di Cambio and his workshop survive from the first project for the facade of S. Maria del Fiore in Florence, begun in the mid-1290{\textquoteright}s but left unfinished at Arnolfo{\textquoteright}s death in 1302/10. This study reevaluates the material related to this project and examines in depth the style of the sculpture. The author first reviews the few facts known about the project, briefly examines architectural design, refines previous suggestions concerning the sculpture included in the group and its placement, and discusses the diverse sources that inspired the arrangement of the sculpture on the facade. The iconography is shown to be a succinct Marian program expressed in images evincing greater depth of feeling than was usual in the traditional scenes represented. A discussion of the development of Arnolfo{\textquoteright}s style at Florence is based on a sequential ordering of the figures most likely to be autograph Arnolfo. The final sections discuss the Duomo facade sculpture in the context of Arnolfo{\textquoteright}s earlier career through the exploration of some of the most important influences on his work, namely, the sculpture of Nicola Pisano, ancient Rome, and thirteenth century France. The early, heroic style of Nicola Pisano is discussed as influential in Arnolfo{\textquoteright}s development of a style suitable for the large-scale project at Florence. Experience as a discipulus of Nicola Pisano stimulated Arnolfo{\textquoteright}s interest in the sculpture of both ancient Rome and Gothic France. The study considers how Arnolfo{\textquoteright}s interest in antique sculpture changed during his career, and the strong classicism of the sculpture by Arnolfo and his workshop in Florence is discussed in the context of Florentine taste. The last chapter demonstrates that northern Gothic sculpture was an important influence throughout Arnolfo{\textquoteright}s career, not just in the earlier parts as some authors have suggested. The Duomo facade sculpture is shown to be the work of a versatile artist, mindful of the expectations of his audience and fascinated by art both of his own time and of the past.}, keywords = {The Renaissance}, author = {Christian, Karen} } @mastersthesis {7353, title = {Art and Science in American Landscape Architecture: The National Mall, Washington D.C., 1791-1952}, year = {1989}, school = {Pennsylvania}, abstract = {This dissertation concerns the history of the National Mall in Washington which was the site of a series of public and botanic gardens designed from 1791-1852. Although nothing remains of these early gardens, it is possible to study the plans for the Mall through several drawings made by the most important architectural figures in America; Thomas Jefferson, Charles Pierre L{\textquoteright}Enfant, Benjamin Henry Latrobe, Robert Mills and Andrew Jackson Downing. This group of drawings, considered together for the first time, is evidence of the conception of the Mall as a profoundly significant symbol of the nation during the first years of its existence. This study of the Mall is organized around three critical points in the early history of the City of Washington; the city{\textquoteright}s founding, the period just after the War of 1812, and the decades just before the Civil War. It is also linked with the history of the earliest institutions of learning in the capital city: the Columbian Institution, the National Institute, and the Smithsonian Institution. Through a review of contemporary landscape aesthetics, design theory and a survey of American gardens, this dissertation provides a background of garden history against which to study the Mall. In addition to establishing the location, purpose and form of these public grounds it also considers the extent to which landscape aesthetics, natural sciences, and the politics of Washington in the period influenced the design and meaning of the first national gardens. In order to assert itself in the minds of Americans as a permanent, stable and urbane seat of government early designers used English and French landscapes and town plans as models that were "Americanized" to meet current notions of environmental appropriateness and nationalistic distinction. The first several years of the city of Washington tells a story of driving aspiration and repeated attempts to create a physical environment that celebrated the natural gifts, cultural acumen and political vitality of the nation.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {O{\textquoteright}Malley, Therese} } @mastersthesis {7336, title = {The Art of Frederic Bazille (1841-70)}, year = {1989}, school = {Johns Hopkins}, abstract = {In this study I investigate the paintings of Frederic Bazille in the context of the practices of contemporary painters and the critical notions about art articulated by commentators in Paris in the 1860s. I challenge the view of Bazille as a distinctly transitional figure, suspended between Realism and Impressionism, and the underlying characterization of the development of painting in the 1860s as a steady transition from overriding concern with subject matter to overriding concern with formal properties. I argue that Bazille{\textquoteright}s paintings respond to the fundamental and interrelated concerns of, on the one hand, a commitment to realism involving a desire for unmediated presence as opposed to theatrical rhetoric, and on the other hand, an ideal of pure painting that would insure an experience of continuity with tradition. My interpretations are based primarily on close analysis of the artist{\textquoteright}s paintings and sketchbooks, his extensive correspondence, and the published art criticism of the 1860s. Chapter one introduces Bazille{\textquoteright}s critical fortune and the methodological issues. Chapter two focuses on the problem of the self-conscious pose in Bazille{\textquoteright}s Reunion de famille of 1867-68 and explores treatments of pose and related issues in contemporary literature on photography. Chapter three places the Vue de village of 1868-69 in the context of contemporary formulations of genre and narrative, backtracking to trace the development of Bazille{\textquoteright}s portrait and landscape styles in his earlier paintings. Chapter four addresses Bazille{\textquoteright}s works of 1869-70 and investigates their sources in the works of other painters and old masters in order to help explain their differences from his earlier works. Chapter five traces Bazille{\textquoteright}s response to the critical controversy surrounding paintings by Henri Regnault and Pierre Puvis de Chavannes at the Salon of 1870; it concludes with an evaluation of Bazille{\textquoteright}s project in contrast to Orientalist painting. An epilogue comments briefly on the impact of Bazille{\textquoteright}s work on Impressionist strategies of spatial and temporal construction, and two appendices offer a detailed chronology of Bazille{\textquoteright}s life and a proposal for the dating and sequence of his letters.}, keywords = {19th- and 20th-Century Europe}, author = {Pitman, Dianne Williams} } @mastersthesis {7328, title = {The Art of Goya and the Duchess of Alba (1792-1802): Minor Themes and Major Variations}, year = {1989}, school = {Stanford}, abstract = {I propose that Goya{\textquoteright}s art between the onset of deafness (1792) and his drawing for the Duchess of Alba{\textquoteright}s tomb (1802) is shaped not only by his deafness and the political climate, but by his relationship to the Duchess. Internal evidence connecting Goya{\textquoteright}s Sanlucar/Madrid drawings to Los Caprichos also connects them to the Majas and the Family of Carlos IV. Each contains transformations of private images into public art. Each poses problems linked by allusions to the Duchess. My methodologies synthesize formal, biographical and art historical analysis. Lack of documents pertinent to commission, dates, and identity of the Majas is complicated by the fact that testimony by Goya{\textquoteright}s contemporaries and early biographers is currently considered unreliable, while late twentieth century hypotheses are accepted as factual. Critical reassessment of the literature against scrutiny of Goya{\textquoteright}s art reveals that special pleading hinders the investigation of the Majas. A priori negative responses to links between the Majas and the Duchess is widespread after 1928. My identification of Goya{\textquoteright}s particular emphasis of the Duchess{\textquoteright}s features (observable in four documented images) is sharpened by contrast to her image by other artists. Authenticity of Goya{\textquoteright}s images traditionally associated with the Duchess is then re-evaluated by comparison to his documented images. This "iconography of the Duchess" became a critical tool; for, while the Majas{\textquoteright}s faces are generalized, links to the Duchess exist: (1) her proportions (as imaged by Goya) are those of the Majas; (2) paint facture and X-rays of the Desnuda{\textquoteright}s head reveal alterations similar to alterations found in Sanlucar drawings A.a and A.b in diminishing resemblances to the Duchess; (3) the Vestida{\textquoteright}s clothing is worn by the Duchess in other images by Goya; (4) Goya{\textquoteright}s unpublished letter to Zapater depicts a sequentially disrobing Duchess. Goya{\textquoteright}s Family contains his final portraits of his monarchs and a controversial background image. I argue that these facts are related: the Family belongs with this decade{\textquoteright}s subversive works. Like its model in Velazquez{\textquoteright}s Las Meninas (and like Los Caprichos) this background image demonstrates Goya{\textquoteright}s concern with the moral obligation of art. Goya{\textquoteright}s images of the Duchess, historical documents, and a current, novel edition of Ripa combine to suggest that Goya{\textquoteright}s background image provides a scathing indictment of Court morality. The Duchess{\textquoteright}s image was formative in Goya{\textquoteright}s art around 1800; it provides fuller understanding of three revolutionary works.}, keywords = {19th- and 20th-Century Europe}, author = {Crowe, Ann Glenn} } @mastersthesis {7393, title = {Bartolemeo Bulgarini and Sienese Painting of the Mid-Fourteenth Century}, year = {1989}, school = {Princeton}, abstract = {This monograph provides an in-depth study of Bartolomeo Bulgarini, an important mid-fourteenth century Sienese painter whose name was first linked with known works by Millard Meiss in 1936. Newly discovered documentary evidence helps to establish the only securely autograph work by Bulgarini, his altar piece for the chapel of St. Victor in the Siena Cathedral, datable ca. 1351. The main image and two of the predella scenes can be identified among surviving paintings: the Fogg Nativity, Louvre Crucifixion, and Frankfurt Blinding of St. Victor. Through comparison with this work, approximately fifty other panels, formerly attributed to the anonymous artists "Ugolino-Lorenzetti" and the Master of the Ovile Madonna, are assigned to Bulgarini or his workshop and ordered in a relative chronology. Along with analysis of style, particular attention is given to painting technique both in establishing the unity of the oeuvre and in tracing the artist{\textquoteright}s relationships to his colleagues. Bulgarini{\textquoteright}s earliest works are redated to the 1340s, over a decade later than Berenson and others supposed. The pluralistic artistic climate in Siena during this period powerfully influenced the formation of Bulgarini{\textquoteright}s own vision. His work reflects an increasingly complex balance of the decorative tendencies associated with Simone Martini, and the illusionistic concerns of the Lorenzetti. Even after the Black Death of 1348, Bulgarini did not reject but rather synthesized earlier Sienese trecento pictorial values. His oeuvre therefore poses a challenge to the Meissian theory of an artistic crisis in the wake of the Plague. Rather than broad cultural changes, a key influence on Bulgarini{\textquoteright}s development was his collaboration with the Simonesque Master of the Palazzo Venezia Madonna on the St. Victor altarpiece. Bulgarini{\textquoteright}s talent, acknowledged by Vasari in the Lives, made him a leader during the third quarter of the fourteenth century. Examination of stylistic and technical aspects of works by several artists active in the 1350s and early 1360s reveals that Bulgarini was a central figure in what may have been a loosely-structured and fluctuating "compagnia". This network of relationships between independent masters presents a new perspective on workshop functioning in the period.}, keywords = {The Renaissance}, author = {Morrison, Judith Steinhoff} } @mastersthesis {7388, title = {Bartolo di Fredi}, year = {1989}, school = {Indiana}, abstract = {Bartolo di Fredi (c. 1330-1410) was one of the most innovative and influential artists in the second half of the fourteenth century in Siena. Like all Sienese artists, he built his unique style upon the rich artistic heritage of his city. Bartolo had a long and productive career at the head of a large shop, producing dozens of fresco cycles and panel paintings, both in Siena and in neighboring hill towns. Consideration of the development of Bartolo{\textquoteright}s style illuminates not only the artistic concerns of his generation, but also those of artists who preceded and followed him. Bartolo{\textquoteright}s stylistic development is traced from its beginnings, where ties to his teacher, Niccolo di Ser Sozzo, and ultimately to Ambrogio and Pietro Lorenzetti, are evident. Other influences which became ever greater in Bartolo{\textquoteright}s later paintings originated with Simone Martini and Barna da Siena. Already early in his career, Bartolo displayed stylistic tendencies which developed and grew throughout his oeuvre. Among the elements that mark his style are bright and varied color, abundant gilding and pattern, narrow and ambiguous spatial settings, and attenuated figures. As Bartolo{\textquoteright}s career proceeded, these distinctive qualities became more pronounced. Throughout his life, Bartolo used these stylistic tools to create a fantastic world where religious narratives are enacted with fairytale-like charm and anecdotal details. His gorgeous and appealing paintings were influential well into the 15th century, both within the walls of Siena and beyond. His love of exotic, opulent splendor was transmitted to the paintings of many artists, including Benvenuto di Giovanni and Gentile da Fabriano.}, keywords = {The Renaissance}, author = {Harpring, Patricia} } @mastersthesis {7312, title = {Berthe Morisot: A Study of Her Development from 1864-1886}, year = {1989}, school = {Brown}, abstract = {The present study analyzes Berthe Morisot{\textquoteright}s artistic development from her Salon debut in 1864 till her final Impressionist exhibition in 1886. Her formative years (1857-1868), either under the training of or in association with Chocarne, Guichard, Oudinot, Corot, Daubigny, Leon Riesener, and Aime Millet, are examined in Chapter one within the context of the artistic doctrines and of pictorial evidence related to these masters. Furthermore, rare works by her sister Edma, who studied art and worked closely with her until 1869, are scrutinized for possible clues as to the proper chronology and the problematic stylistic development of Berthe Morisot{\textquoteright}s early oeuvre. Chapter two explores the interplays between innovation and influence in Morisot{\textquoteright}s art. Influences from Japanese art as well as from Manet, Degas, and Renoir on her style are investigated. Rather than traditionally focusing on figure painting, this study provides an insight into her entire production, ranging from landscape, to figure painting, and to still-life. Chapter three juxtaposes Morisot{\textquoteright}s work with that of Eva Gonzales{\textquoteright}s, Marie Bracquemond{\textquoteright}s and Mary Cassatt{\textquoteright}s to point up its individuality. These four women were nurtured in a similar milieu of the avant garde artists, yet manifested individual characteristics. A knowledge of their differences helps one appreciate Morisot{\textquoteright}s choice of subject matter and style. Likewise, critical reactions to their works are studied in order to gauge Morisot{\textquoteright}s standing among her female colleagues. Chapter four presents a comprehensive analysis of criticism during Morisot{\textquoteright}s Salon and Impressionist periods. Reviews of her exhibits under these two periods are chronologically compared to those of her male counterparts. From this one can draw conclusions about the gender differences in art criticism and the critical issues engaged in Morisot{\textquoteright}s development. Lastly, selected passages from Morisot{\textquoteright}s original notebooks, her correspondence and that of her circle, her Salon exhibits and those of related artists, her pictures in the Impressionist shows, and a table of copyists registered at the Louvre between 1834 and 1905 are provided in the appendices. From this study, one sees Morisot not simply as a friend of the Impressionists or Manet{\textquoteright}s sister-in-law, but as a woman artist who worked on equal footing with her male colleagues, and who made significant contributions to the development of Impressionism and modern art.}, keywords = {19th and 20th century Europe}, author = {Amornpichetkul, Chittima} } @mastersthesis {7381, title = {The Bes-Image in Pharaonic Egypt}, year = {1989}, school = {IFA/NYU}, abstract = {The Egyptians used the same image for representations of at least nine Egyptian deities, many of whom were associated with birth and the protection of infants. The most familiar of these gods is Bes; thus the term Bes-image is used to refer to the visual form. The study covers the period between Dynasty V when the Bes-image first appears to Dynasty XXX. Bes-images of the Old and Middle Kingdoms combine a lion{\textquoteright}s head and a human body. Middle Kingdom artisans included the Bes-image among the numerous apotropaic deities appearing on the ivory "magic knives". The female Bes-image is known in the Middle Kingdom but disappears for the rest of the Pharaonic Period. Bes-images of early Dynasty XVIII perpetuate the basic form of Middle Kingdom figures but adopt some attributes and characteristics previously associated with other gods on the Middle Kingdom "magic knives" such as the tendency to stick out the tongue which derives from the iconography of the earlier hippopotamus goddess. Under Amenhotep II, the slender body of the Bes-image is replaced by the heavy torso of an achondroplastic dwarf. The Egyptians{\textquoteright} belief that the dwarf could overcome the dangers of childbirth made him a suitable model for the Bes-image{\textquoteright}s body. The use of a dwarf{\textquoteright}s body is part of a general anthropomorphizing of the Bes-image during the New Kingdom also seen in the trend to clothe the figure. New Kingdom artisans made extensive use of curvilinear lines when fashioning the faces of their Bes-images. In the Third Intermediate Period a new facial type emerges. Bes-images are now dominated by straight lines that often give the figure a savage quality. One of the most common types of Bes-image shows a large version of the god suckling a miniature version of the Bes-image. During this time, the Bes-image first wears a leopard skin. In the Late Period, the linear quality of Third Intermediate Period Bes-images is avoided and artisans show a tendency to return to facial features shown with bold, sweeping curves.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Romano, James} } @mastersthesis {7384, title = {The Bisson Freres: Two Pioneers of Photography}, year = {1989}, school = {UC Santa Barbara}, abstract = {This dissertation examines the photographic activities of Louis-Auguste Bisson (1814-1876) and Auguste-Rosalie Bisson (1826-1900), the Bisson freres. The main thrust of this research was to discover and digest primary sources, uncover as many unpublished Bisson photographs as possible and to reconstruct a historical account of their careers in photography. By probing primary sources for biographical and historical information I was able to build a solid foundation of facts upon which I later hope to analyze their photography. In order to restrict this work to a manageable length whole areas of Bisson photography, the prescient "machine aesthetic" railroad imagery, the Bisson nudes, and the earthquake scenes for example, have been saved for a future monograph. For the present I offer this dissertation more as a revelation of some of the grand and diverse panorama of the art and activity of the Bisson brothers, rather than any attempt at a definitive statement.}, keywords = {Photography and Film}, author = {Ptacek, Robin} } @mastersthesis {7318, title = {Bloomsbury Literature and Painting: Aesthetic Correspondences of Art Theory and Form in Selected Works of Vanessa Bell, Duncan Grant, and Virginia Woolf}, year = {1989}, school = {Ohio State}, abstract = {This study is written in search of a relational context which unites the art modes of painting and literature. The contextual relationship chosen is that which existed among five art-concerned persons at the core of the Bloomsbury Group. These five figures are Roger Fry, Clive Bell, Vanessa Bell, Duncan Grant, and Virginia Woolf. This study aims ultimately to discover theoretical and formal correspondences among selected works of Vanessa Bell, Grant, and Woolf. These correspondences could be considered Bloomsbury aesthetic principles. The time period defined for this study is 1910-20, the Group{\textquoteright}s formative stage. This study began with a survey of the shared experiences of any two of these members during 1910-20. Chapter II carefully examined the two art theoretical texts published during this period by members of the Bloomsbury Group: Roger Fry{\textquoteright}s Vision and Design and Clive Bell{\textquoteright}s Art. Tools of analysis were extracted from these and tested for applicability on two paintings: Cezanne{\textquoteright}s Still Life-Apples and Pears and Fry{\textquoteright}s River with Poplars. Chapter III applied the analytic tools, converted to test-questions, to three paintings by Vanessa Bell, Landscape with Haystack, Asheham, Still Life on Corner of a Mantelpiece, and Woman in Furs, and to three paintings by Grant, Seated Woman, The Mantelpiece, and Vanessa Bell. Chapter IV translated the test-questions into a form applicable to literature and applied these to Woolf{\textquoteright}s first three published short stories: "The Mark on the Wall," "Kew Gardens," and "An Unwritten Novel." Vanessa Bell{\textquoteright}s three paintings follow the prospective Bloomsbury aesthetic, although the second lacks contours, and thus loses plastic relief. Grant{\textquoteright}s first painting employs Bloomsbury aesthetic principles only to a halfway point; his second is an experimental, inconsistent embodiment of only some principles; the third consistently follows the principles, excepting the inclusion of a minutely inscribed pattern. Woolf{\textquoteright}s three short stories manifest in fiction many of the Bloomsbury Group aesthetic principles, particularly by expressing highly mental compositions and involving extended moments of time. A set of aesthetic principles often employed by these artistic members of the Bloomsbury Group appears to exist.}, keywords = {19th and 20th century Europe}, author = {Hood, Eugene M. Jr.} } @mastersthesis {7361, title = {The Ceramic Sequence from Medieval Gritille, Southeast Turkey}, year = {1989}, school = {Harvard}, abstract = {This thesis investigates the ceramics from the medieval (eleventh to thirteenth centuries A.D.) settlement at the site of Gritille on the banks of the Euphrates River in southeast Turkey. In doing so, it proposes several correspondences between patterns of ceramic distribution at Gritille and social, political, and historical circumstances of the time. Textual evidence: medieval histories and geographical works, and modern travelers{\textquoteright} accounts are reviewed in order to define the geographical and historical parameters of the Samsat valley, in which Gritille was situated. The history of the region in general is tied to that of Gritille in particular through a summary of medieval period excavations, especially in the West End area of the mound, which was inhabited or otherwise exploited through-out the life of the medieval settlement. This linkage is attempted through a correlation of textual, stratigraphic, and numismatic information. The architecture of each phase of the West End excavations at Gritille is presented and compared to that of neighboring sites. Next, the pottery found in the West End is analyzed in order to determine wares and morphological type categories. Once defined, type categories are analyzed by phase, and comparanda from sites in Turkey and Syria are examined for clues relating to the chronology, regional distribution, and production centers of individual wares and types. Developments are related to changes in habitation, trade, and regional administrative control. Larger issues discussed include the identification of ceramic ware types, both glazed and unglazed, with ethnic, regional, and class components of medieval Near Eastern society. Regional distribution of unglazed wares in plotted and related to the homogeneity and rural nature of the populace. In addition, a parallel between the decentralization of power in this region during the twelfth and thirteenth centuries and fruitware production is noted and the neighboring site of Samsat is proposed as a regional pottery manufacturing center.}, keywords = {Asian Art}, author = {Redford, Scott Nicholas} } @mastersthesis {7377, title = {Collaboration in Greek Sculpture: The Literary and Epigraphical Evidence}, year = {1989}, school = {IFA/NYU}, abstract = {One of the most vexing problems in the study of Greek sculpture is establishing the existence of working relationships between sculptors. This thesis uses the surviving literary and epigraphic testimonia to collaboration between individual sculptors as the basis for a study of the ways sculptors organized their workshops. The 187 attested collaborations are the only absolutely secure evidence we have for workshop connections. An analysis of these testimonia produces information on the size, ethnic composition, and productivity levels of sculpture workshops. It also underlines the surprising fact that collaboration between sculptors was not rare nor was it astonishing to ancient writers. The evidence of collaboration is of two types: references in ancient authors and artists{\textquoteright} signatures on statue bases. In the sixth, fifth, and fourth centuries literary references are more common than inscriptions; in the Hellenistic and Roman periods epigraphical sources predominate. As a result of this difference, we know more details of the earlier artists{\textquoteright} lives and of their training, although we must always question our sources{\textquoteright} veracity. The information we have for Hellenistic sculptors tends to be drier, with few individual details to enliven their histories, but it is also more reliable. Chapter one contains a general discussion of collaboration and its sources. Chapters two through four present the testimonia in chronological order. The discussions following each set of testimonia include accounts of family connections, type and geographical range of the works, and corruptions in and proposed emendations to the texts. Several salient points emerge: (1) no single explanation for collaboration will cover all the known examples; (2) frequently the sculptors who worked together had no familial connection, and often they were from different cities; (3) sculptors seem to have divided the work on a statue in many different ways; (4) a single workshop could produce statues in different media and in a variety of different styles.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Goodlett, Virginia} } @mastersthesis {7375, title = {A Comparative Study of the Regional Distribution of Cypriote Pottery in Canaan and Egypt in the Late Bronze Age}, year = {1989}, school = {IFA/NYU}, abstract = {The Late Cypriote pottery from Egypt was studied by Merrillees (1968) while Gittlen (1977) listed the published sherds from Canaan and analysed the distribution patterns. The present work takes the next logical step, to compare assemblages from Egypt and Canaan in order to formulate hypotheses on modes of distribution which could account for the major differences in these assemblages and to explain the nature of the "pottery trade" between Cyprus, Canaan and Egypt. By adopting a regional approach, it was possible to include a large body of unpublished material and to consider all of the various Cypriote wares that appear in Late Bronze age contexts. More importantly, the regions studied, southern Canaan, North Sinai and Egypt, offer an opportunity to consider the influence of the political and economic structure imposed by Egypt on the movement of goods across the three areas. During the better part of the New Kingdom Canaan was under Egyptian hegemony and the principal administrative seat of the province was in southern Canaan, at Gaza. In North Sinai, Egypt established a series of fortresses and administrative centers and these, together with her power base in southern Canaan, served as the stepping stones for military expeditions to Asia. The archaeological remains of Egypt{\textquoteright}s presence in North Sinai and southern Canaan and the historical background are presented in detail. The Cypriote pottery is described and the comparative analysis consists of an examination of the contextual, quantitative and proportional distributions of the wares and forms in the three areas. Based on the textual and the archaeological data, it is shown that the Cypriote pottery in North Sinai must have derived from southern Canaan and was no doubt brought in with grain and other supplies for the provisioning of the sites in the area. However, it was not imported into Egypt via North Sinai and the sale of Cypriote wares in North Sinai was most probably private and unofficial, although it depended on a form of administered trade involving the redistribution of goods to military establishments.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Bergoffen, Celia} } @mastersthesis {7339, title = {Corot{\textquoteright}s Salon Paintings: Sources from French Classicism to Contemporary Theater Design}, year = {1989}, school = {Yale}, abstract = {From 1827 to 1875 Corot exhibited at the Salon, and the paintings he showed there were executed expressly for that forum. To an overwhelming degree, these works are conservative in subject matter and adhere to the principles of historical landscape painting as set forth by Pierre-Henri de Valenciennes and practiced by Corot{\textquoteright}s two teachers, Achille-Etna Michallon and Jean-Victor Bertin. The fact of continued Salon exhibition showed both Corot{\textquoteright}s eagerness to participate in and his success in the established art world of nineteenth-century Paris. Corot{\textquoteright}s plan for success involved patterning the Salon works on accepted models of past art, specifically the landscape models of the seventeenth-century Dutch, Claude, and the grand tradition of history painting as exemplified by Poussin. Corot{\textquoteright}s approach was evolutionary: at first, he copied whole compositions and then, later in his career, adapted key elements, whether mood or subject matter, to his own developing style. In addition to these older models, Corot turned to contemporary theater design and romanticism for inspiration. This dissertation groups Corot{\textquoteright}s Salon paintings according to source and, where possible, identifies specific models. It also outlines the critical reception the paintings received in order to place them in the wider context of public and art-world opinion.}, keywords = {19th- and 20th-Century Europe}, author = {Wissman, Fronia E.} } @mastersthesis {7345, title = {Creating a Sense of Place: Thomas Moran and the Surveying of the American West}, year = {1989}, school = {Washington University}, abstract = {This study considers the American landscape painter, Thomas Moran (1837-1926), and his relationship with the Hayden and Powell expeditions, two of the four great government surveys that documented much of the American West from 1867-1879. Moran{\textquoteright}s work was informed by the landscape tradition in art, and his knowledge of this, learned through his study of the work of James Hamilton, John Ruskin, and J. M. W. Turner, along with his experience with the surveys, provided him a unique ability to create views which suggest a deep understanding of the land and its relationship to American culture. The government, railroad companies, and publishing houses all used artists to gather visual information about the West. These three patrons came together to support Moran, cooperating in a variety of ways to capitalize on his art{\textquoteright}s ability to convey the West{\textquoteright}s unique character. In addition to his paintings{\textquoteright} exhibition in the U.S. Capitol and the 1876 Centennial Exposition, his illustrations were reproduced in a variety of publications, from popular magazine articles to tourist guidebooks and corporate advertisements. In each of these appearances Moran{\textquoteright}s images were important nationalistically and commercially. His art was part of a major effort after the Civil War to promote interest in the American West for settlement and development, and one way that this was accomplished was through visual images. Moran{\textquoteright}s work not only helped bring about interest in such national treasures as Yellowstone, the Grand Canyon, and the Rocky Mountains, it brought tourists to these places and enormous profits to the region{\textquoteright}s developers. Moreover, his works were an act of aesthetic appropriation that helped Americans incorporate the West into the national psyche and identity. By creating a sense of place for his viewers, Moran{\textquoteright}s art contributed to making the West an indelible part of the American consciousness.}, keywords = {Art of the United States (except Photography and Film)}, author = {Kinsey, Joni L.} } @mastersthesis {7370, title = {Cura pro mortuis{\textquoteright} and {\textquoteright}Cultus Martyrum{\textquoteright}: Commemoration in Rome from the Second through the Sixth Century}, year = {1989}, school = {IFA/NYU}, abstract = {The primary aim of this dissertation is to review the wealth of documentation related to the care of the dead and the cult of martyrs in early Christian Rome. The cura bestowed on the remains of martyrs is discussed first. The physical circumstances of saintly burials in catacombs and surface cemeteries are described, as particular attention is paid to the epigraphic and hagiographical sources that help to explain why martyr-groups so often form. At first, little distinguished the graves of martyrs from those of the ordinary dead, but as the Roman ecclesiastical community{\textquoteright}s interest in the commemoration of its most important deceased (mainly martyrs and bishops) grew, the saintly nature of many tombs received recognition in the form of architectural or epigraphic elaboration. In the fourth century, underground shrines are created in many of the city{\textquoteright}s catacombs. At the same time, imposing new funerary-martyrial monuments are developed sub divo in honor of Rome{\textquoteright}s greatest Christian heroes. In the second part of this thesis, the evidence for these covered cemeteries, a well-known category comprising inter alia the basilica Apostolorum, SS. Marcellino e Pietro and in a sense, the Vatican basilica, is examined in detail. The aims of the episcopal and imperial sponsors of the covered cemeteries bound to the memory of martyrs are analyzed, and there emerges a new assessment of the papal role in the introduction and later patronage of funerary basilicas. In the third section, the tradition of non-corporal commemoration in Rome{\textquoteright}s suburban territory and in certain urban churches is considered. The stimuli for the introduction of new, often imported martyrial cultus, and for the creation of multiple dedications, receive special emphasis. This study concludes with a survey of the origins and the early development of Christian funerary and martyr-cult practices in Rome. The archaeological, liturgical, epigraphic and other documentary evidence are gathered to produce a reconstruction of the complex of rites and customs that characterized the Roman approach to the ordinary and venerated dead. New light is shed on the link, observed in Rome at an early date, between the eucharistic altar and the martyr.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Alchermes, Joseph} } @mastersthesis {7313, title = {Decoration by Design: The Development of the Mural Aesthetic in 19th-Century French Painting}, year = {1989}, school = {Brown}, abstract = {This dissertation surveys the circumstances that gave momentum and currency to a specific aesthetic for mural painting during the nineteenth century in France and examines the response of young artist, who began to define their practice as painters in Paris in the eighteen-nineties, to the controversial relationship between easel and mural painting. The proscriptive principles associated with mural painting derive from theories on the nature of architectural polychromy debated among architects and archaeologues in the early nineteenth century. The importance of the mural painting, from 1851-1873, was extended through efforts to coordinate the fine arts with commercial and industrial production in France. These efforts included the reorientation of drawing instruction at primary schools as well as colleges and the controversial pedagogic reforms at the Ecole des Beaux-Arts intended to enforce collaboration among architects, painters, and sculptors. The alignment of the conditions for mural painting with the method, and purpose of drawing instruction shifted, in 1878, to the practical problem of what constituted civic art. Funds were allocated by the state and the city of Paris to support a decorative campaign of painting and sculpture throughout the capital. Public exhibitions, particularly the two official Salons, became the forum of debating the legitimate principles of mural painting and the broader interpretations, which appealed to the tastes and desires of the bourgeois viewing public. In 1981 critics welcomed Bonnard, Denis, Vuillard, and Serusier to the Salon des Independants as a new breed of artist, the "decorator." Maurice Denis promoted himself as a painter-decorator and, with critic Albert Aurier, denied easel painting as commercial and self-indulgent. Their colleagues Pierre Bonnard and Edouard Vuillard in contrast sought solutions that intentionally obliterated the distinctions between the easel and mural painting in order to elaborate the expressive qualities they discovered within the ambiguities of the two modes of painting. In 1906 the coincidence of Robert de la Sizeranne called for the reaffirmation of the mural aesthetic and Matisse exhibited La Joi de vivre.}, keywords = {19th and 20th century Europe}, author = {Aquilino, Marie} } @mastersthesis {7331, title = {The Early Criticism of Andre Salmon: A Study of His Thoughts on Cubism}, year = {1989}, school = {CUNY}, abstract = {Determining the interrelationship of Salmon{\textquoteright}s membership in la bande a Picasso, his poetry, and nominalist philosophy is of paramount importance when analyzing his criticism of Cubism. This dissertation explores all four areas in order to extrapolate the consistencies and prejudices inherent in his critical points of view. To accomplish this task each chapter is devoted to one aspect. The introduction rehearses the history of art-historical literature on Cubism and the place of Salmon{\textquoteright}s writings in relation to other histories of Cubism; the second chapter describes his life, locating him within the context of early twentieth century avant-garde circles in Paris; the third chapter explains his nominalist philosophy and its roots; the fourth chapter analyzes his application of nominalist ideas to his criticism of Cubism; the fifth chapter compares his version of the history of Cubism to those versions composed by other eyewitnesses Guillaume Apollinaire and Daniel-Henry Kahnweiler in order to further elucidate Salmon{\textquoteright}s unique vision of the Cubist movement; and the sixth chapter summarizes the strengths and weaknesses of his writings. It is hoped that Salmon{\textquoteright}s separation of Picasso from the other practitioners of Cubism (here called "public" Cubists, after Christopher Green{\textquoteright}s differentiation of "public" and "private" Cubism in Leger and the Avant-garde) will help clarify the tenets of Cubism in a more authentic manner. That is to say, that repositioning Jean Metzinger, Albert Gleizes, etc., at the center of Cubism as Daniel Robbins suggests in his texts on these artists (rather than as the "satellites" as Robert Rosenblum described them in his book Cubism and Twentieth-Century Art) would reveal the true workings of the movement within the context of the art world at large. These Cubists, as Salmon explained, represented the movement to the artists who came to Paris to see their exhibitions, study their techniques, and then, stay in Paris or return to their homelands to spread the news and convert their students. Thus, the style of "public" Cubism was received as the model during the early part of the twentieth century, while Picasso{\textquoteright}s contribution galvanized the movement and then stood apart, tangential to the internationally recognized Cubist aesthetic. With this concept of the authentic Cubism in mind, Salmon{\textquoteright}s criticism confirms Robbins{\textquoteright} view of Cubism, as well as adds to our understanding of the history of Cubism already informed by Apollinaire{\textquoteright}s and Kahnweiler{\textquoteright}s more popular versions.}, keywords = {19th- and 20th-Century Europe}, author = {Gersh-Nesic, Beth S.} } @mastersthesis {7367, title = {The Eighteenth-Century Redecoration of the Villa Borghese}, year = {1989}, school = {Pennsylvania}, abstract = {Prince Marcantonio Borghese IV (1730-1800), descendant of Pope Paul V (1605-21)and his famous nephew, Cardinal Scipione Borghese, was the largest landowner in Lazio and Agro Romano. Like Cardinal Scipione, he was also one of the major patrons of his day in Rome. His patronage, though, has never, as an entity, been studied. The purpose of this dissertation is to examine Marcantonio{\textquoteright}s patronage, emphasizing the unifying themes of its imagery. This imagery will be shown to reflect what must have been the patron{\textquoteright}s aspirations, both cultural and princely. As a patron, Marcantonio focused his attention on the twelve room painting gallery at the Borghese palace in Rome and on the well known casino cum sculpture museum at the Roman villa. The decoration of these sites culminated in their cycles of ceiling paintings, which are among the finest and the largest of late eighteenth century Rome. The first chapter of the dissertation is divided into two parts and begins with a summary of Borghese family history and patronage, including Marcantonio{\textquoteright}s role. The second section examines the refurbishing of the palace gallery, which was Marcantonio{\textquoteright}s first major commission. The second chapter provides an overview of the history and renovation of the villa. A discussion of the ceiling fresco and other imagery of the Salone, the central and the largest room in the casino, forms the core of the dissertation and constitutes the third chapter. The fourth chapter relates the program of the Salone and its underlying conceits to the decoration of the rest of the casino. The conclusion places the imagery of Marcantonio{\textquoteright}s patronage within the context of its tradition. Following the text are three appendices with sources and documents. In analyzing the imagery of Marcantonio{\textquoteright}s patronage, this dissertation is partly based upon studies of the great secular ceiling painting cycles of Italy, especially those by Pietro da Cortona (1596-1669), that preceded the Borghese projects. Marcantonio{\textquoteright}s cycles bear important resemblances to these precedents, both in form and in content, and also mark developments upon them, thus representing the extension of Baroque style and tradition into late eighteenth century Rome.}, keywords = {Baroque and 18th-Century Europe}, author = {Carole Paul} } @mastersthesis {7333, title = {Fauvism and After: The Politics of French Cultural Unity}, year = {1989}, school = {Yale}, abstract = {During the first decade of the twentieth century, the fauve painters Henri Matisse, Andre Derain, Maurice Vlaminck and Georges Braque engaged and manipulated both the grande tradition of classical painting and the more recent legacy of impressionism and post-impressionism. Combining the two, the fauves melded tradition and innovation to produce an image of a national culture ostensibly unified, eternal and naturally French. The conflation had definite political implications: simply put, the impressionist and post-impressionist patrimony was associated with a variety of political causes ranging from republicanism to anarchism while the grande tradition served as the cultural foundation for contemporary monarchist movements. Fauve painting had the effect of defending the contemporary republic using cultural tools previously devoted to the advocacy of more regressive forms of government. Essential to the reconciliation of opposites was the legitimating cover provided by the aesthetic properties of painting, and the dissertation examines a number of cases in which the aesthetic dissimulated political plays for power that were expressed in the medium. The dissertation is selectively thematic. The paintings produced by the fauves in London and in the Parisian suburbs are shown to counter the transcendental and revolutionary connotations attached to these sites by specific impressionist and post-impressionist artists who preceded them there. Chapters on Mediterranean landscapes and pastorals of the golden age reveal how fauvism both pioneered a new tourist sensibility and reconciled advanced painting with the conservative Latin heritage. And sections on fauve canvases that depict the female nude explore the role of pictures in the politics of gender and in the colonization of foreign cultures. The end of the dissertation examines Pablo Picasso{\textquoteright}s disruption of fauve cultural unities, and a short epilogue traces the dialectical juxtaposition of Picasso and the fauves that has characterized art criticism and history from the 1920s to the present.}, keywords = {19th- and 20th-Century Europe}, author = {James D. Herbert} } @mastersthesis {7394, title = {Form and Convent: Coreggio and Decoration of the Camera di S. Paolo}, year = {1989}, school = {Bryn Mawr}, abstract = {This study attempts to provide a new monographic assessment of Correggio{\textquoteright}s fresco decoration in the camera di San Paolo, Parma. As the first major fresco executed by the artist but the last to be discovered, the paintings of the camera occupy a unique position in both the artist{\textquoteright}s career and the history of Correggio scholarship. With its much-heralded rediscovery in the last quarter of the eighteenth century, the camera{\textquoteright}s decoration became a proving ground for pre-existing theories regarding Correggio, whose reputation was then at its height. It is my thesis that attitudes forged in the eighteenth century, particularly those expressed in Padre Ireneo Affo{\textquoteright}s Ragionamento of 1794, have continued to determine critical response to Correggio{\textquoteright}s work in the camera. A reappraisal of these early sources reveals that they are based upon a series of historiographic assumptions which can no longer be maintained in the face of new evidence. An historical overview of Parma in the early sixteenth century combined with documentation specific to the convent of S. Paolo yields a new portrait of Correggio{\textquoteright}s patron, Abbess Giovanna da Piacenza, which runs counter to previous scholarly assessments. Recently uncovered maps and ground plans similarly enable a reconstruction of the camera{\textquoteright}s sixteenth century architectural disposition, suggesting at the same time the conditions under which Correggio{\textquoteright}s frescoes were viewed during their patron{\textquoteright}s lifetime. A more precise picture of the camera{\textquoteright}s historical and architectural context allows new avenues for investigating the significance of Correggio{\textquoteright}s frescoes and their imagery. The decoration throughout Giovanna da Piacenza{\textquoteright}s abbatial apartment announced a passionate interest in the classical past pressed into the service of a profound Christian faith: quotations from ancient authors were inscribed over doorways while the adjacent and still-extant camera painted by Alessandro Araldi featured biblical narratives housed within an elaborate system of grottesche all{\textquoteright} antica. Correggio{\textquoteright}s response to the needs of this high-ranking ecclesiastical patroness was as ingenious as it was innovative. Layers of pictorial illusionism fashioned by the artist convey levels of meaning desired by the patroness. It is possible for the first time to render a Christian reading of the camera{\textquoteright}s imagery which, in its effort to synthesize ancient wisdom and Christian orthodoxy, reflects the conciliatory spirit of contemporary Renaissance Platonism.}, keywords = {The Renaissance}, author = {Pelta, Maureen} } @mastersthesis {7332, title = {France Discovers America 1917-1939 (French Writings on American Architecture)}, year = {1989}, school = {Yale}, abstract = {This dissertation examines French publications on American architecture between 1917--when the US entered the Great War, thereby strengthening its ties with Allied countries--and 1939, the beginning of World War II. An analytical investigation of the changing French attitudes towards the built environment in the United States is the best means of tracing the roots and mechanisms of architectural americanisme in France, and of discovering clues for the progressive americanization of the French environment before and after the Second World War. It also provides a mirror in which Americans can better view and understand their own architecture. A wide range of publications (architecture and engineering periodicals, popular weeklies, travel accounts, scholarly manuals, novels ...), and their accompanying illustrations, are taken into consideration in order to strike a balance between professional and popular cultures, between viewpoints of members of the establishment and the avant-garde (in particular Le Corbusier), and to observe their interaction. A major concern is to estimate to what extent words and images were influenced by various American or European channels of information, inspired by narcissism and chauvinism, clicheed and mythifed. Various case studies are selected for their potential for providing a global image of French reactions towards American architecture: observations on the American low cost suburban home and apartment hotel, from both a technical and an aesthetic point of view; literary and visual formulas used to "romanticize" the tall building; the tremendous interest in Art Deco setback skyscrapers during the period 1925-1932; the discovery of an architectural heritage in the US and praise of American versions of Beaux-Arts classicism; the limited interest in Frank Lloyd Wright{\textquoteright}s work as opposed to the publicity given to Richard Neutra ... The conclusion explores the practical implications of this discourse on the importation of high rise buildings and suburban patterns of development to France, on the advocacy of American war housing as a model for post-World War II reconstruction, and on today{\textquoteright}s americanist and (anti-American) writings and imagery.}, keywords = {19th- and 20th-Century Europe}, author = {Gournay, Isabelle} } @mastersthesis {7346, title = {Frank Lloyd Wright and Midway Gardens}, year = {1989}, school = {Princeton}, abstract = {This is a study of Frank Lloyd Wright{\textquoteright}s Midway Gardens--a concert garden, private club and restaurant designed and built in 1913/14 on Chicago{\textquoteright}s South Side. Included are a comprehensive history and description of the building, an examination of its many sources, and a consideration of its international, national and local contexts. Midway Gardens was commissioned by Edward C. Waller, Jr., to replace a defunct amusement park. Its arrangement as a concert garden was suggested by an amateur musician. The final design did not come easily to Wright: drawings survive at Taliesin West for a remodeling plan for the amusement park, and three separate versions of the Gardens. Also, many changes were made during construction. Built of reinforced concrete and yellow brick, Midway Gardens was decorated with thin concrete blocks of patterned ornament; abstracted, figural sculpture modeled by Richard Bock and Alfonso Iannelli; and two murals by Wright. A more comprehensive mural program by William Henderson and John Norton was aborted, and designs for furnishings and china were never carried out. Wright drew upon many sources for this work. Some elements derived from his earlier recreational buildings and projects, and from the World{\textquoteright}s Columbian Exposition, whose site it bordered. Wright{\textquoteright}s travels of 1909/10 in Germany, Austria and Italy acquainted him with European traditions of amusement architecture, terraced pleasure gardens, and urban drinking establishments. He was also influenced by beer gardens and a concert garden in Chicago. The sculpture more directly reflected the influence of contemporary German and Austrian artists. Hopelessly underfinanced, Midway Gardens was sold after the second season, drastically altered by successive owners, and pulled down in 1929. Its failure resulted, not from neglect by Chicagoans, anti-German sentiment or Prohibition, but from the mismanagement and disinterest of its various owners. Using dramatic horizontal and vertical planes to define interior and exterior spaces, Wright created terraces, towers, dining areas, club rooms, covered walkways and a roof garden. Inside the main block, he produced a complex spatial arrangement that was without precedent in his work. Wright{\textquoteright}s most richly ornamented building up to that time, Midway Gardens was a pivotal building between the unified expression of his Prairie style and his later, more diverse oeuvre.}, keywords = {Art of the United States (except Photography and Film)}, author = {Paul Samuel Kruty} } @mastersthesis {7351, title = {Frederick Kiesler, Artist, Architect, Visionary -- A Study of His Work and Writing}, year = {1989}, school = {CUNY}, abstract = {This study takes a comprehensive look at the little known work of a versatile artist with a complex mind who produced a considerable amount of work including writing. It offers to make it accessible on a descriptive, critical and interpretive level. Kiesler (1880-1965), a European Jew, studied in Vienna where he was active to the middle 1920s. He left for Paris in 1925 and then moved to the United States in 1926. He was a member of De Stijl, although he developed his own ideas. He was as interested in spherical forms and the spiral, as he was in De Stijl{\textquoteright}s cubicals. His 1924 Space-stage, built in Vienna, was a spiral construction--a stage as set, and his 1925 City in Space, created in Paris, was a suspended, elementarist, multi-cubical model of a future city. He had great expectations from America, but it was not open to his grand designs, such as a Universal Theater or an Endless House. He did, however, build the Film Guild Cinema in New York in 1928. In the 1930s he intensified his interest in design as related to technology and commerce. He designed stores and store windows, planned multi-media innovative department stores, and wrote a book titled Contemporary Art Applied to the Store and Its Display, published in 1930. He developed his theory of Correalism--an interdisciplinary issue-oriented and comprehensive design strategy, not a style. It insisted on integrating mental, psychological, even cultural elements into any sound design. Kiesler{\textquoteright}s connection with Marcel Duchamp was important and qualifies his integration with Surrealism in the 1940s. A high point was Kiesler{\textquoteright}s design of Art of This Century gallery in New York in 1942, a major project within the meager chapter of Surrealist architecture. From the early 1950s to his death Kiesler revived his conception of the galaxy--an open, relational conception of painting, or sculpture. Thus he made some of America{\textquoteright}s earliest environmental works of art. He also further developed models of the Endless House--a cornerless shell building and a unique specimen in modern architectural history. His late work is a unique coordination of formal and spiritual elements. He made the Last Judgement, 1955-1963, an environmental sculpture and Us You Me, an environmental galaxy installation (unfinished when he died). His Shrine of the Book in Jerusalem, 1965, stands for much he thought and accomplished.}, keywords = {Art of the United States (except Photography and Film)}, author = {Sgan-Cohen, Michael} } @mastersthesis {7368, title = {French Counter- Reformation Thought and the Peasant Paintings of the Le Nain Brothers}, year = {1989}, school = {University of Washington}, abstract = {The Le Nain brothers Antoine, Louis, and Mathieu (active in Paris in the 1630s and 1640s) have been admired and studied since the mid-nineteenth century for their sober, portraitlike "peasant family" genre paintings. Never satisfactorily answered, however, have been the questions: what exactly are the subjects and purpose of these paintings and who purchased them during the painters{\textquoteright} time? The exploration of rural social history suggests that the Le Nain brothers glossed over the real misery of the French peasantry and poor in these paintings, and ignored the potentially disruptive social realities of growing rural lower-class destitution, popular-class rioting, rural witchcraft, and contagion. Instead, the brothers created a fictitious, formulaic vision of peasant-poor life, overlaid with the moral, philosophical, and social values of the educated, largely urban bourgeoisie de la robe, who were the principal observers and recorders of peasant life at the time. The underlying raison d{\textquoteright}etre for the Le Nain idealization and veneration of the rustic poor is found most compellingly in Gallican Catholicism. The striking dignity of these peasant-poor figures and their implied virtues of tranquility, humility, endurance, and simplicity suggest Christlike qualities and behavior that writers and preachers of the Augustinian French School of spirituality attributed to the ideal poor and recommended to their devout--especially bourgeois--laity. Pauvrete d{\textquoteright}esprit was a salient theme in the devotional literature and letters of spiritual guidance written by French churchmen Pierre de Berulle, St. Francis de Sales, Saint-Cyran, St. Vincent de Paul, and Jean-Jacques Olier. Themes of the Incarnation and the Eucharist, and charitable visitations to and ceremonial associations with the poor, illuminate some of the most puzzling iconographic and formal elements of the Le Nain paintings: the implausible use of good bread and wine in humble households; the frequent, deliberate eye contact of the painted figures with the viewer; and the portraitlike posing of anonymous poor families. The paintings functioned as reminders to the rich of their obligations to the poor, as likely inspirations for meditation and prayer, and as adjuncts to, and even substitutes for, the recommended frequent contact with the less fortunate.}, keywords = {Baroque and 18th-Century Europe}, author = {Smith, Martha Kellogg} } @mastersthesis {7314, title = {French Perceptions of German Art (1800-1850): Studies in Stereotypes and Their Ideological Influence}, year = {1989}, school = {Brown}, abstract = {This examination of French criticism of German art during the first half of the nineteenth century identifies stereotypes imposed upon German art by the French and investigates the influence these stereotypes exerted on French ideologies. Until the 1840{\textquoteright}s many French felt that the Gothic style had been originated by the Germans and that it accurately represented their primitive, child-like, and barbaric traits. Such ideas gained prominence in the intellectual currents flowing between France and Germany. They gave voice to nationalistic aspects of the Gothic as German literature influenced French ideologies, and internal political changes modified the French view of the style. Albrecht Durer{\textquoteright}s place in the history of French thinking and French criticism of his work contained not only aesthetical appraisals, but wide ranging statements on German psychology, history and politics. To the French Durer{\textquoteright}s art typified and explained the German psyche and society. Since of all German contemporary painters only the Nazarenes were well known to French critics, and superficially by the French public, their religious ideology represented Germanness. The Nazarenes{\textquoteright} development of a Christian art theory appealed strongly to a France shaken by two revolutions and many cultural battles. The Nazarenes were of utmost importance to the Menaisians who held that Catholic Germany formed a stronghold from which Christianity could reconquer Europe. The Republicans opposed Nazarene art and ideology, but supported their use of frescoes as a propagandistic medium. By mid-century it was clear that French writers had fallen into stereotyping the Germans and their art. Yet among such received aspects of Germanness the French realized in the late 1850{\textquoteright}s that the time of Catholic influence in German art had passed, that a nationalistic Protestant Germany was asserting itself artistically in Dusseldorf and Berlin. Works by Eugene Delacroix and Ary Scheffer inspired by Goethe{\textquoteright}s Faust enable us to see how these artists interpreted Germanness. Two appendices deal with Delacroix{\textquoteright}s and Scheffer{\textquoteright}s works informed by German literature. A third lists paintings exhibited at the Salons from 1800 through 1859 which were inspired by German literature and culture. Lastly a record of language that appears throughout the nineteenth century in the writings of Frenchmen dealing with German art and culture is presented as a lexicon of stereotypy.}, keywords = {19th and 20th century Europe}, author = {Byrne, Gabriele Bleeke} } @mastersthesis {7379, title = {The Geras Painter: An Athenian Eccentric and His Associates}, year = {1989}, school = {Harvard}, abstract = {The Geras Painter, an Athenian red-figure vase-painter named after the personification of Old Age on a pelike in the Louvre, was a pot-specialists active at the end of the late archaic period. Some 49 vases have been attributed to his hand, many of interest for their unusual subject matter, or for their eccentric treatment of traditional subjects. Over half his vases are pelikai, but he also painted hydriae, column-kraters, and amphorae. His early pelikai, some of them related to the Class of Cabinet des Medailles 390, place him in the workshop of the Syleus Painter, along with the Painter of Louvre G 238 and the Argos Painter, whose styles resemble that of the Geras Painter. The latter seems to have trained under the Eucharides Painter, which may account for his tendency to depict subjects that are more common in black-figure; e.g. Herakles carrying the Kerkopes, or the Birth of Athena. There seems to be a connection between the Eucharides Painter and the earlier painters of the Syleus Sequence, and it was with these artists--the Diogenes Painter, the Gallatin Painter, and the Painter of the Munich Amphora--that the Tyszkiewicz, Siren, and Flying-Angel Painters began their careers before 480 B.C. Ornaments, figural styles, and shapes, particularly pelikai, stamnoi, and amphorae of type C, are evidence for complex and sporadic relationships among these artists, as well as others such as the Triptolemos Painter and the early Pan Painter. The center of their activity, the Syleus workshop, was reorganized in the 470s, the floruit of the Geras, Argos, and Syleus Painters. Around 470, the Geras Painter joined the workshop of the Pan Painter, where he painted the series of small pelikai that are his last works. Other painters active in the period include the Harrow Painter, a prolific artist who imitated the Berlin Painter, but whose precise workshop affiliations are unknown, and the Troilos Painter, an imitator of the Kleophrades Painter. This dissertation includes essays on the Geras, Argos, Harrow, Flying-Angel, Tyszkiewicz, and Troilos Painters, as well as revised lists of their works, with new attributions.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Padgett, John Mitchell} } @mastersthesis {7378, title = {Glazed Architectural Elements in Elam and Related Material from Luristan}, year = {1989}, school = {IFA/NYU}, abstract = {The dating of these Elamite objects has been a problem due to poor archaeological contexts. They are the most numerous of such elements in the ancient Near East, beginning in the third quarter of the second millennium B.C. The material used is more frequently a glazed highly siliceous fabric (often called faience) than glazed terracotta. There are five types of objects--plaques, knobs, protomes (knob figurines), large-scale molded relief bricks, and decorated bricks--which were excavated at the major Elamite centers of Susa, Haft Tepe, Tchoga Zanbil, and Malyan. A few examples excavated in Luristan at Surkh Dum and Chigha Sabz provide useful chronological and art historical parallels in the Neo-Elamite period. Glazed vessels from Elam and Luristan also provide important comparative material for chronological and art historical problems. A functional analysis of architectural elements throughout the ancient Near East is included. A detailed findspot and chronological analysis at each site is given which has resulted in the linking of certain objects with structures and their possible placement. Most important are the molded and inscribed relief bricks which make up figures probably representing members of the dynasty of Shutruk-Nahhunte I. At least three types of female figures, according to their garments, have been identified in addition to the male figure. Philologically they are linked them with the "suhter" sanctuary or repository of royal images on the Acropole at Susa whose most likely location is the large southern construction there. Additional locations of such bricks on the Acropole and the Apadana indicate that different structures were decorated with them. Comparative art historical analyses have also been used to relatively date the objects to the Middle and Neo-Elamite periods. Interconnections are seen with the art of Luristan and Mesopotamia (Hurri-Mitannian, Assyrian, Kassite, and Neo-Babylonian) especially in glyptic. Old and new excavations at Susa and Malyan have shown that there is no real "eclipse" of Elamite civilization between the end of the Middle Elamite period (c. 1050 B.C.) and late eighth century B.C. Neo-Elamite times. Glazed objects are found without a break as well, indicating continuity in production for that industry.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Heim, Suzanne} } @mastersthesis {7334, title = {Hannah Hoch, Photomontage, and the Representation of the New Woman in Weimar Germany, 1918-1933}, year = {1989}, school = {CUNY}, abstract = {This dissertation is a study of the relationships between avant-garde and mass culture. It focuses on the photomontages of the Berlin dadaist Hannah Hoch and discusses both her individual contributions (to the representation of women, androgyny, ethnography, etc.) and the general construction of femininity in the mass-circulation photoweeklies. The study proceeds chronologically and by issues. In analyzing Hoch{\textquoteright}s Berlin Dada photomontages, her strategies of deconstruction and pleasure are discussed, strategies formulated at this time that form the basis for the artist{\textquoteright}s Weimar production. Hoch{\textquoteright}s photomontages are also patterned by her selections from available mass media photographs. In fact, she constructed a scrapbook of media images, and this scrapbook is examined for its historically specific utopianism and its representation of the New Woman. This example of an artist{\textquoteright}s usage of the photoweeklies raises general questions about the interest in modernity shared by both avant-garde and mass culture at the time and how images of the New Woman figured centrally in both categories of representation. Returning to the specific example of Hannah Hoch{\textquoteright}s avant-garde work, the text concludes with an in-depth consideration of her photomontages of androgynous figures and their meaning for the female spectator and Hoch{\textquoteright}s Ethnographic Museum series and its use of ethnographic images to create allegories of modern femininity.}, keywords = {19th- and 20th-Century Europe}, author = {Lavin, Maud} } @mastersthesis {7376, title = {Ho Anthropos Physei Zoon Politikon Esti: A Theory of Aesthetic Development as Reflected in Greek Art, 530-430 B.C.}, year = {1989}, school = {Northwestern}, abstract = {This dissertation is concerned with the theory and historiography of appraisals of aesthetics of art, particularly Greek art produced between 530 and 430 B.C. This study provides an answer to why stylistic and iconographical changes occur in art at a precise historical moment and why they occurred so rapidly in that century. Traditional appraisals of ancient art have been unduly influenced by the philosophical and methodological biases of the social sciences, especially anthropology and archaeology. Prejudices stemming from notions of evolutionary progress or the romance of the artist at the centre of the creative process have caused scholars to concern themselves with art objects as opposed to art works. This has made it difficult to save several phenomena in the art of this period. This study begins with an evaluation of the prejudices inherent in earlier scholarship. Then, problems of the origins of decorum in Greek architecture are considered. Next, Greek sculpture is reviewed to evaluate technical capability and aesthetic choice as factors determining form. Then, two-dimensional design including pottery, painting, relief sculpture and coins, is examined to weigh the importance of audience expectation in the production of certain forms and motifs. And finally, the role and status of the artist and the patron in the development of Greek aesthetics is examined with emphasis on the centrality of politics to this relationship. Proceeding from Aristotle{\textquoteright}s dictum that "man is by nature a political animal" and that, therefore, everything that man does somehow concerns politics, this study attempts to reevaluate the relationship created between an audience and the art object created by the artist. By defining the audience efficacy of the object it is shown how that object "worked". By examining the patronage connected with the art works, it becomes clear that the prime mover for aesthetic change in ancient Greece was the politicized use of the art to increase prestige, thus garnering power. The main reason behind the rapid aesthetic change of 530-430 B.C. was, therefore, the competition amongst many patrons for prestige and their programmatic use of art to secure it.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Cavalier, Kenneth} } @mastersthesis {7327, title = {Honore{\textquoteright} Daumier and the Exotic Vision: Studies in French Culture and Caricature, 1830-1870}, year = {1989}, school = {Columbia}, abstract = {Honore Daumier (1808-1879), known primarily for his depictions of Parisian subjects, also represented exotic themes. Non-European topics appear in several hundred of his lithographs, most of which were published in the daily satirical journal, Le Charivari. This study emphasizes the relation of Daumier{\textquoteright}s exotic prints to caricatures by other artists, such as Cham and Gavarni, and to articles published in the same journal. The restrictions imposed by press censorship play a significant role in the development of the satirical discourse of exoticism in Le Charivari. Daumier never left France; his exotic vision is based on contemporary French stereotypes about the non-European. This study places Daumier{\textquoteright}s caricatures in the context of French ideas about race, physiognomy and cultural stereotypes. Daumier{\textquoteright}s exotic subjects include the cultures of China, Haiti, the Middle East, North America and Africa. Many prints, conceived in direct response to the course of international affairs, criticize French foreign policy. Important subjects include the Crimean War, the Opium Wars, and the construction of the Suez Canal. The displacement of political and social critique into exotic arenas is a long-standing French satirical tradition. In some, such as the series "Au Camp de St. Maur," Daumier uses the presence of exotic visitors in Paris as a pretext to satirize the bourgeoisie. In others, he imposes typical bourgeois behavior on exotic subjects to lampoon the French. Some exotic scenes are actually disguised critiques of French domestic politics in a period of severe press censorship. A dramatic example is Daumier{\textquoteright}s transformation of the image of the black Haitian Emperor Faustin Soulouque into an exotic surrogate of France{\textquoteright}s President Louis Napoleon, and later, Emperor Napoleon III. In his satires of Parisian and exotic subjects alike, Daumier emerges as a critic of the bourgeoisie, and of non-Republican forms of government. In his use of pervasive racist stereotypes, he participates in the racism of his era. Yet in his critique of European colonial enterprises, and in his debunking of French bigotry, he demonstrates a cross-cultural humanism. Daumier{\textquoteright}s exotic subjects play key roles in his comic satire of the social and political life of nineteenth-century Paris.}, keywords = {19th- and 20th-Century Europe}, author = {Childs, Elizabeth C.} } @mastersthesis {7398, title = {Housing and Urban Development in Sixteenth-Century Rome: The Property of the Arciconfraternita della SS.ma Annunziata}, year = {1989}, school = {IFA/NYU}, abstract = {The dissertation is a study of the urban properties owned by the Arciconfraternita della SS.ma Annunziata in Rome in the sixteenth century. The typological, economic and social history of the houses serves as evidence for the history of the city below the level of interventions made by the papacy, major institutions and noble families. The confraternity{\textquoteright}s records, now housed in the Archivio di Stato in Rome, include a sixteenth-century book of plans of 63 properties scattered throughout the city. Half of these plans date from 1563--the date of the colophon, and the other half from 1597/1599 as deduced from the evidence of the Annunziata{\textquoteright}s written records. Those records include books of property descriptions and histories as well as rent books spanning the periods from 1536 to 1600-1601. In addition there are two other plan books, one from 1636 and the other from the nineteenth century. All of this evidence has been plumbed to develop a history of each house in the sixteenth century. These house histories appear in the catalogue, which provides in addition a list of relevant notarial records as described in the confraternity{\textquoteright}s records. The text of the dissertation offers first a discussion of the primary evidence. There follows a typological analysis of the houses, noting significant alterations such as subdivision or rebuilding. The third chapter provides a discussion of property values, lease policy and rents over the century. A subsequent chapter offers a study of tenants, concentrating on significant occupational, economic and social groups--construction workers and artists, cloth merchants, innkeepers, bankers and the wealthy, the poor, women, and the employees and members of the confraternity. Finally, the houses are set into the context of the sixteenth-century city with concentration on four significant neighborhoods: Campo dei Fiori and its satellite markets; Ponte and the banking quarter; Pigna, seat of the confraternity itself and site of the Collegio Romano; Campo Marzio north of Via Trinitatis.}, keywords = {The Renaissance}, author = {Wilde, Deborah} } @mastersthesis {7373, title = {The Iconography of Adam and Eve on Sculptured Stones in Anglo-Saxon Europe}, year = {1989}, school = {UT Austin}, abstract = {The figures of Adam and Eve on the sculptured stones (principally crosses or fragments of crosses) in Anglo-Saxon England are unexpectedly large in number and in as different contexts as in the liturgy and writings of the Church Fathers. Depicted on the stones chiefly as the first sinners, Adam and Eve are also shown as joyful inhabitants of Paradise, as buried near the Crucifixion site, as forgiven penitents at the mouth of Hell awaiting redemption, as the saintly, married ancestors of Christ, and as worshipping figures at the end of time. While the Early Christian iconography appears to have reached England principally through the Alexandrian Cotton Genesis recension, even the earliest Anglo-Saxon examples have elements which mark them at once as insular. These particular traits are sufficiently common in England, Scotland and Ireland to establish a specific, insular, iconographic tradition. This includes the profile, seated and semi-seated position, the extremely enlarged hands, the use of the left hand for touching the fruit, the interlaced tree, and the earliest examples extant of the Fall in which Adam and Eve are dressed in their celestial garments. The symbolic and simplified representation of the Fall-Redemption theme through the tree-cross flanked by Adam and Eve reflects a knowledge of apocryphal literature and folklore which is found in other examples, principally in the earliest extant representation of Satan in a Fall scene. This scene also illustrates the influence of the liturgical drama. Underlying each instance of the depiction of the first parents on the sculptured stones is the typological relationship between Adam and Christ as established by St. Paul and developed by the Church Fathers. This is confirmed by an examination of the other Biblical scenes which appear on the same crosses. The basic message of Christianity--the salvation of Adam, and in Adam, of all sinners, which was achieved through the sacrifice of Christ, the second Adam--was expressed in Anglo-Saxon England, as elsewhere, principally through the images of the Fall and the Crucifixion. Of all Biblical subjects, only the latter exceeds the more than thirty representations of Adam and Eve.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Wizowaty, Judy Vaughan} } @mastersthesis {7364, title = {Images of Human Existence: The Silenus, Sileni, Satyrs, and Fauns in the Pictorial and Verbal Art of William Blake}, year = {1989}, school = {Pennsylvania}, abstract = {Eaves and Adams note that we know little about the meaning of Blake{\textquoteright}s Marriage, much less Jerusalem: further, a problem in Blakean criticism is the lack of common interest, taste and vocabulary among art and literary critics. This problem of how visual image may be used in interpretation of Blake{\textquoteright}s work is addressed in this dissertation. Paley states that from a combination of a picture{\textquoteright}s strong affect and myth knowledge alone, without knowledge of sources, one has sufficient information for interpretation. This dissertation argues that knowledge of sources, content, and changes in forms and iconography of a particular significant group of images, the image-cluster, is necessary for a full interpretation. The image-cluster is comprised of the Silenus, sileni, satyrs and fauns. Traditional methods of art history are used to investigate and track the pictorial and literary sources, form, iconography, and context of this image-cluster. The image-cluster used on pages of Marriage, America, Jerusalem and Plates of Albion underlies some forms and the content of images and concepts of Blake{\textquoteright}s personifications Orc, Los and Albion. The multilayered meaning conveyed by this image-cluster is associated with powerful traditions operating in a submerged way in Blake{\textquoteright}s world. The creatures were little understood in the 1780s: their amorphous and ambivalent associations made them capable of serving as metaphors for the varying issues important to Blake about new speculations on "primitive mentality", "natural man" and origins of the world, man, society and the gods. The presence of the image-cluster is not indicated in Blake{\textquoteright}s poetry in the books in Illuminated Printing made before 1804. Only after 1804 are the words used. The visual images have their own language which carried meaning only covertly addressed in the writing. Armed with the awareness of the pre-1804 presence of the image-cluster, Blake scholars can enter into another layer of meaning in order to more fully understand the complex associations made after 1804 in Blake{\textquoteright}s prophecies. Pictorial evidence not only widens signification in Paley{\textquoteright}s sense, but can provide weight on one side or another in the critical interpretations of Blake{\textquoteright}s major prophecies.}, keywords = {19th- and 20th-Century Europe, Baroque and 18th-Century Europe}, author = {Stemmler, Joan Koster} } @mastersthesis {7330, title = {Individualism, Nationalism, Socialism: Swedish Avant-Garde Painting in the 1890{\textquoteright}s}, year = {1989}, school = {IFA/NYU}, abstract = {Swedish avant garde painting in the 1890s, often referred to as National Romanticism, was an integral part of a progressive Swedish intellectual movement and resulted from the peculiar coalescence of three factors: nationalism, socialism and individualism. Nationalism in Sweden (scientifically justified by popular geographic theories), arose as the result of the debilitating effects of industrialization and capitalism. Many considered these forces as a threat to national culture and values. In an effort to heighten public awareness of Sweden{\textquoteright}s unique heritage, avant garde painters depicted subjects considered uniquely and/or typically Swedish. Because of common cultural roots, they expected the public to apprehend their paintings{\textquoteright} significance with a preconscious intuition, despite the fact that they painted a variety of personally meaningful themes. The Swedish avant garde felt that an awareness of a common national heritage would induce feelings of brotherhood and contribute to the triumph of Socialism. Nowhere in Europe was there such a cohesive, committed and influential group of painters as there was in Sweden. These artists saw their role as that of prophet and teacher: to see the utopian goal and to guide society toward it. Their opposition to the Royal Academy and establishment of a union in the 1880s were among the factors leading them to Socialism. Both the Swedes and their Symbolist counterparts on the continent rejected the positivist notion that truth was attained by means of the intellect, asserting instead that it was achieved through intuition. For the Swedes, it was their profound concern for the future that led to reexamine the past. They rejected a modernist teleology for one which incorporated history and tradition. They firmly believed that only in this way would Sweden fulfill its destiny as a free, democratic and egalitarian society. In the 1890s, the Swedish avant garde came to the profound realization that in order to progress, it is sometimes necessary to regress.}, keywords = {19th- and 20th-Century Europe}, author = {Michelle Facos} } @mastersthesis {7396, title = {An Interpretation of the Mythological Systems of Three Roman Renaissance Gardens within the Cultural Context of Late Sixteenth-Century Rome}, year = {1989}, school = {UC Berkeley}, abstract = {No record in ProQuest}, keywords = {The Renaissance}, author = {Stefaniak, Regina} } @mastersthesis {7395, title = {Jacopo Torriti: Critical study and catalogue raisonne}, year = {1989}, school = {Virginia}, abstract = {His historical identity obscured until the mid-19th century, the importance of his place in Duecento art still inaptly judged by reference to the accomplishment of his better-recognized contemporary, Pietro Cavallini, Jacopo Torriti comes to light in this, the first monograph in any language devoted to his life and art, as one of the genuinely dominant personalities in Italian painting of the pre-Giottesque period. The extent and chronology of the Torritiesque oeuvre are defined in the catalogue raisonne, the three sections of which include, respectively, those works executed by the master himself and/or under his direct supervision, those carried out independently by his immediate followers, and those whose attribution to his hand, or to his circle, is here questioned or dismissed. The essay which precedes the catalogue provides a critical overview of Torriti{\textquoteright}s artistic career. Chapter I is given over to a review of the literature on the artist from the 16th century until the present, and Chapter II, to a reconstruction of his activity between ca. 1270 and 1303. A revised assessment of Torriti{\textquoteright}s oeuvre, one based upon the chronology set forth in the catalogue, forms the focus of Chapters III-V. In these, we examine the artist{\textquoteright}s youthful efforts of the 1270{\textquoteright}s and 1280{\textquoteright}s, his colossal, mature work in Rome at S. Giovanni in Laterano (ca. 1289-1290) and S. Maria Maggiore (ca. 1292-1296), and his late development and wide ranging influence during the period dominated in Rome by the advent of the stil{\textquoteright} nuovo of Giotto. Chapter VI serves, in turn, to elucidate Torriti{\textquoteright}s role as an important source of inspiration for contemporaneous and later figures such as Duccio, Giotto, Fra{\textquoteright} Angelico and Raphael. In a series of appendices, finally, the master{\textquoteright}s principal seguaci are profiled and the perimeters of their oeuvres established. Illuminated thus, by dint of his formidable artistic merits and achievement, Torriti emerges as the most highly regarded, and lavishly patronized, painter active in Rome during the late Duecento--more importantly, he assumes his rightful position as a precursor, in roughly equal standing to Cavallini, Duccio and Cimabue, of Italian Renaissance painting.}, keywords = {The Renaissance}, author = {Peterson, Mark Robert} } @mastersthesis {7387, title = {Jerg Ratgeb and the Herrenberg Altarpiece}, year = {1989}, school = {Princeton}, abstract = {The Herrenberg altarpiece, painted by Jerg Ratgeb for the church of Our Lady in Herrenberg in 1518-1519, is one of the largest surviving altarpieces from the period just before the Reformation in Germany. In the past, scholars focused on its style and iconographic details, or interpreted the altarpiece as an expression of the artist{\textquoteright}s assumed radical social and political beliefs. In this study, the historical evidence for Ratgeb{\textquoteright}s role in the German Peasants{\textquoteright} War of 1525 is reevaluated and the prevailing myth of Ratgeb as a social revolutionary is challenged. The Herrenberg altarpiece is then studied in the historical context for which it was created. Its original form, function, iconography, and meaning, are reconstructed using archival, historical, and art historical evidence. The altarpiece was commissioned by the chapter of the Brethren of the Common Life, which presided over the Herrenberg church from 1481 to 1517. In 1517, the chapter was dissolved and transformed into a collegiate church with secular canons. Most of the former Brethren, however, remained in the Herrenberg church and became secular canons. Therefore, the altarpiece was made essentially for the same audience as before the church transformation. During the tenure of the Brethren of the Common Life in Herrenberg, a major program of rebuilding and redecoration was carried out on the Herrenberg church. The high altarpiece was the crowning element in a series of commissions made for the furnishing of the church interior. An elaborate set of choir stalls, containing many reliefs and inscriptions, was completed during the very year in which the Herrenberg altarpiece was commissioned. The study of the choir stalls and the high altarpiece shows that they formed a unified iconographic program in the church choir. The inscriptions on the Herrenberg altarpiece suggest that both Ratgeb and his Herrenberg patrons played a role in the determination of the altarpiece{\textquoteright}s iconography. The coordination of the altarpiece{\textquoteright}s imagery with that of the choir stalls--particularly in the representations of the Apostles--reveals that the program in the church choir illustrates the fundamental beliefs of the Christian religion and reflects the religious philosophy of the Brethren of the Common Life.}, keywords = {The Renaissance}, author = {Farber, Lisa} } @mastersthesis {7356, title = {John Neagle (1796-1865), Philadelphia Portrait Painter}, year = {1989}, school = {Pennsylvania}, abstract = {The purpose of this dissertation is to reconstruct the career of John Neagle (1796-1865), one of the most important native American portraitists of his time. Particular emphasis is placed on his work from 1821, the year he first exhibited at the Pennsylvania Academy, until 1843, when he executed the full-length portrait of Henry Clay. The only other comprehensive study of Neagle was written in 1959. Since that time a significant number of letters and manuscripts written by the artist have been acquired by the American Philosophical Society and the Historical Society of Pennsylvania. These sources lead to a more complete understanding of Neagle{\textquoteright}s personality, life, and art, than was possible before. Chapters are devoted to the artist{\textquoteright}s early development; to solving the iconographic riddle of his most famous painting, Pat Lyon at the Forge; to an examination of his important role in art politics at the Pennsylvania Academy, (a position that culminated in his election to the presidency of the Artists{\textquoteright} Fund Society in 1835); concluding with an interpretation of his political campaign portrait of Henry Clay. In addition to these basic areas of study, information yielded by the contents of Neagle{\textquoteright}s two scrapbooks has made it possible to identify several lost portraits of extremely high quality. Of even greater interest, the artist{\textquoteright}s own ideas on art theory emerge from the long letters he wrote and published in local Philadelphia newspapers, letters that were never associated with their author because he wrote them under various noms de plume. The final objective of this study is to view Neagle{\textquoteright}s portraits within their full sociohistorical context. He moved freely among members of the social and cultural elite of Philadelphia who were his patrons. The assiduously self-educated artist was especially sensitive to the concerns of the doctors, scientist, ministers, lawyers, and philanthropists that he represented. The iconographic devices he used to explicate aspects of their professions demonstrate remarkable inventiveness and deal with fascinating issues. The facts that emerge here explain why Neagle was so respected by his contemporaries and justify the resurrection of his reputation today.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Torchia, Robert Mark} } @mastersthesis {7319, title = {Karl Friedrich Schinkel and the Architectural Administration in Prussia, 1810-1840}, year = {1989}, school = {Northwestern}, abstract = {To date, there is no substantial discussion of Karl Friedrich Schinkel{\textquoteright}s work as aesthetic evaluator in the Prussian Board of Works between 1810 and 1841. This position allowed Schinkel to influence architecture throughout the Prussian state, but it was also a forum in which architecture was related to the priorities of the administration. The ramifications of Schinkel{\textquoteright}s administrative situation is traced in order to understand how it affected his designs, and the meaning attributed to his work. Aesthetics intersected with social and political issues in the Board of Works, and Schinkel{\textquoteright}s institutional affiliation provides a context for his architecture. The first chapter deals with the history of the architectural administration, and the introduction of aesthetic controls with Schinkel{\textquoteright}s appointment. The resistance and acceptance of designs from Berlin illustrate the issues raised by institutionalized aesthetics. The second chapter considers the debates surrounding Schinkel{\textquoteright}s Altes Museum (1823-30). Schinkel promoted his design on the grounds of emotional efficacy, and as an aesthetic model. This emphasis on emotional effect and aesthetic quality was adopted in 1828 as selection criteria for the collections. The museum building and collections within were to prepare the citizenry for the constitution promised in 1815, and give a moral purpose to private wealth by creating middle class art patrons. The third chapter discusses the aesthetic models provided by the state with an emphasis on type plans. Schinkel rejected type plans in principle, but nonetheless employed an implicit standardization in practice. The consequences of implicit standardization for subordinate architects, and the relationship between the state and citizenry represented by the use of aesthetic exemplars are discussed.}, keywords = {19th and 20th century Europe}, author = {Moyano, Steven} } @mastersthesis {7391, title = {The Late Works of Luca Signorelli and His Followers, 1498-1559}, year = {1989}, school = {IFA/NYU}, abstract = {A detailed study of the paintings and drawings of Luca Signorelli (ca. 1454-1523) intended to establish an accurate chronology and oeuvre catalogue for the second half of his career, beginning with his frescoes at Monteoliveto Maggiore (1498-1503) and Orvieto (1499-1504). A number of previously unpublished documents and newly discovered works of art allow firm dates to be assigned to many of the artist{\textquoteright}s late commissions for the first time and to complete or correct the reconstructions of several dispersed altarpiece complexes. The role played by his studio in producing work under signature is examined, and the contribution of three primary assistants is isolated. Among these, the activity of Luca{\textquoteright}s nephew Francesco Signorelli (ca. 1495-1553) is investigated in depth through extensive new documentary and visual material: the first monographic study of the artist. Additionally, two painters are stricken from the conventional list of Signorelli{\textquoteright}s known followers--Pietro Paolo Baldinacci and Tommaso Bernabei, called Il Papacello (c. 1500-1559). The latter, proven here to be instead a follower of Giulio Romano, is also studied in depth through extensive documentary notices and newly attributed works of art.}, keywords = {The Renaissance}, author = {Laurence Kanter} } @mastersthesis {7371, title = {Lection and Interpretation: The Liturgical and Exegetical Background of the Illustrations in the Book of Kells}, year = {1989}, school = {UT Austin}, abstract = {The illustrations, studied as liturgical images marking gospel lections, were found to present iconography influenced by biblical lections besides the gospel and by exegeses of those texts. By explaining their iconography in terms of exegesis and early liturgies, the dissertation finds evidence for use of interpretive visual images in Insular manuscripts and connects the illustrations to their intellectual environment. In the process, it assembles and evaluates material on early non-Roman lection systems and church dedication ritual, and it analyzes texts relating to specific biblical passages to clarify Insular exegetical traditions.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Farr, Carol Ann} } @mastersthesis {7340, title = {Legacy of Gottfried Semper: Studies in Spathistorzsmus}, year = {1989}, school = {Brown}, abstract = {These studies examine the legacy of Gottfried Semper (1803-1879), the greatest German architect of the second half of the nineteenth century. Although his contributions to art and architectural theory, aesthetics, the history of art and the applied arts are widely recognized as pivotal for the emergence of modernism, the exact nature of his impact on his chosen profession has remained obscure. Beginning with an analysis of Semper{\textquoteright}s contribution to Architectural Realism, the architectural theory of the 1880s and 1890s and its foremost spokesman Georg Heuser, subsequent chapters unfold chronologically and geographically following to the Semper{\textquoteright}s peripatetic career. In Dresden, the careers of Georg Hermann Nicolai (1812-1881) and Constantin Lipsius (1832-1894) are reexamined in the light of fresh archival findings. The London Semperite debate, triggered by Semper{\textquoteright}s pupil Lawrence Harvey, conducted at the Royal Institute of British Architects during the winter of 1884/85 is discussed next. Semper{\textquoteright}s most promising students from his years in Zurich--such as A. Fr. Bluntschli (1842-1930), Alexander Koch (1848-1911), Emil Schmid-Kerez (1843-1915), and Heinrich Ernst (1846-1916)--are thematically examined for the first time. A final chapter traces the trajectory of Semper{\textquoteright}s posthumous metamorphosis from normative presence to object of antiqurian interest, a development which occurred most dramatically in Vienna in the work and writings of Alois Riegl (1858-1905), Otto Wagner (1841-1918) and Adolf Loos (1870-1933). Taken together, these studies present the first synthesis of primary and secondary documents which thematically addresses the "lost generation" of German late historicism, and provide a new interpretation of the intellectual origins of modern architectural theory.}, keywords = {Art Criticism and Theory}, author = {Berry, James Duncan} } @mastersthesis {7385, title = {The Madonna di Senigallia by Piero della Francesca}, year = {1989}, school = {Manhattanville}, abstract = {No record in ProQuest}, keywords = {The Renaissance}, author = {Baldi, Janet Shrauger} } @mastersthesis {7326, title = {The Mask, the Masklike, and the Faceless in Twentieth-Century European Art}, year = {1989}, school = {Syracuse}, abstract = {It is clear to any viewer that twentieth-century art encompasses a range and variety of styles unprecedented in art history. The question or problem undertaken in this dissertation is whether there might be a common denominator uniting--philosophically, and to some extent, visually--diverse twentieth-century styles and movements. Preliminary research indicated that one of the motifs that has recurred repeatedly in modern art is the mask. Far from being the simple, superficial object that it would seem, the mask in modern art has assumed countless forms and carries connotations derived from many traditions, including Greek theater masks, the Commedia dell{\textquoteright}Arte, carnival masks, Oriental theater masks, and especially non-Western--that is, African, Oceanic, and native American--masks. The mask{\textquoteright}s antiquity and universality testifies to an inherent or psychological basis for the artist{\textquoteright}s and the observer{\textquoteright}s interest in it. The face is, very naturally, the single most fascinating visual "object" for human beings. It follows that a face cover would acquire similar fascination by association. Further, the idea of an "additional face," the relationship between the mask and the face, and the matter of layers and concealment, suggest parallel philosophical concepts--notably, the problem of appearance and reality. The potential of the mask as a formal and expressive device multiplies accordingly. The initial approach was necessarily a compilation of empirical data, examples of mask imagery in the work of twentieth-century painters and sculptors. The problem became one of limiting and selecting from an abundance of such images; therefore, this compilation is by no means comprehensive. Parallel phenomena in other arts--drama, literature, and even music--are noted. The image falls into two very fundamental categories, the mask per se and the masklike, reflected in the division of the dissertation into two parts. The masklike includes other forms of synthesis. One of these forms, the faceless, appears to have contributed to the evolution of non-objective art. It also had its own sources, uses, and meanings. Because the focus of this study is on the evolution of the twentieth-century mask, the period covered is that from about 1900 to 1945. The epilogue summarizes some of the more recent developments, for the interest in the mask is ongoing and not likely to wane. There is no question that the mask in twentieth-century art is a particularly significant image for many styles and movements.}, keywords = {19th- and 20th-Century Europe}, author = {Chai, Sandra} } @mastersthesis {7363, title = {Mi Youren and the Inherited Literati Tradition: Dimensions of Ink- Play}, year = {1989}, school = {Yale}, abstract = {Mi Youren (1074-1151), son of the renowned calligrapher, painter and connoisseur, Mi Fu (1052-1107), has been known through history as a follower of his father{\textquoteright}s style of painting and calligraphy. This dissertation examines the art of Mi Youren in the context of the subject{\textquoteright}s historical background, and explores the specific problems that underlie a son{\textquoteright}s attempt to perpetuate what amounts to a self-conscious image of his family{\textquoteright}s tradition. Two key factors suggest the importance of this approach to Mi Youren{\textquoteright}s art: Mi Youren{\textquoteright}s survival of the fall of the Northern Song in 1126 and his continued existence in the very changed world of the early years of the Southern Song, a time when the achievements of his father{\textquoteright}s generation were painfully cut off from the present, and Mi Youren{\textquoteright}s awareness of himself as a literati painter, one who expresses both intent and inner virtue in his painting, or as he phrases it, "pictures of the heart." The dissertation is arranged chronologically in four chapters, with each chapter primarily focused on a limited number of paintings and calligraphies. The first chapter concerns the calligraphy of Mi Fu and establishes the central themes of the Mi family tradition, with special attention paid to Mi Fu{\textquoteright}s "Coral." The subsequent chapters follow the evolution of Mi Youren{\textquoteright}s landscape painting in the Southern Song, from a period characterized by defiant "unbridledness" (1130-1134, "Cloudy Mountains" of 1130 and "Distant Peaks and Clearing Clouds" of 1134) to a period of continued hardship and consequent introspection (1135-1141), "Cloudy Mountains" $\#$2 and "Rare and Wonderful Views of Xiao-Xiang") to final personal triumph, as Mi Youren receives imperial recognition and patronage (1142-1151, "Delight in Cloudy Mountains" and "White Clouds Along the Xiao-Xiang"). There are two appendices: a catalogue of select extant paintings attributed to Mi Youren with discussions of authenticity, and a list of Mi Youren authentications, inscriptions and letters, both extant and recorded.}, keywords = {Asian Art}, author = {Peter C. Sturman} } @mastersthesis {7349, title = {Moderately Modern: Interpreting the Architecture of the Public Works Administration}, year = {1989}, school = {Delaware}, abstract = {During the New Deal, between 1933 and 1939, the Public Works Administration was responsible for funding a majority of the public buildings constructed in the United States. In every state, and in countless counties, the PWA provided funds for courthouses, city halls, and public schools. Though much of this extensive corpus of local architecture remains standing, the architectural history constructed for the period between the World Wars has largely rendered these buildings invisible or insignificant. Attempts to develop a coherent and meaningful interpretation of PWA public architecture inevitably collide with a narrow set of critical attitudes and selections which have shaped the dominant vision of American architectural "progress" in the 1920s and 1930s. In other words, PWA public architecture illuminates the disjunction between architectural history and the architectural realities of the American landscape before World War II. Consequently, this study contains three interrelated inquiries, encompassing not only PWA public buildings themselves but also the architectural setting in which these buildings took shape and the methods by which this architecture has been, and might be, interpreted. To begin with, the attitude and precepts underlying various retrospective and contemporary treatments of American architecture between the wars are examined, and "mainstream" voices on three crucial issues--modernity, nationalism, and architectural education--are reconstructed, largely from written and visual discourses in the architectural press. Next, the symbolic, functional, and stylistic nature of courthouses, city halls, and public schools in the decade before the advent of the PWA are surveyed. This reconstructed architectural history of the {\textquoteright}20s and {\textquoteright}30s reveals that PWA public buildings, along with the mechanics of federal patronage and architectural practice which generated them, are very much products of their times, resonant reflections of the "moderate modernity" of both the wider culture and most American architecture at the popular level.}, keywords = {Art of the United States (except Photography and Film)}, author = {Reitzes, Lisa B.} } @mastersthesis {7320, title = {The Modernization of Folk Art in Imperial Russia: The Revival of the Kustar Art Industries, 1885-1917}, year = {1989}, school = {UT Austin}, abstract = {In the late 19th century Russia witnessed a movement to revive and improve its declining kustar industries, i.e. those diverse crafts with which millions of agricultural peasants traditionally supplemented their income from the land. Most successful were the efforts to revive the kustar production of embroidery, lace, toys, and carved furniture. These luxury items were most resistant to mechanization and because they used the ornamental motifs of folk art had an exoticism that made them attractive to a European market. Both private individuals and central and local government contributed to the resurgence of these kustar art industries by establishing training workshops where professional artists were employed to improve the artistic level of kustar production, thus enhancing its commercial appeal. This dissertation investigates the activities of four such kustar workshops: the famous Abramtsevo carpentry workshop run by the Mamontov family; the Solomenko embroidery workshops run by M. F. Iakunchikova; the toy and furniture workshops at Sergius Posad run by the Moscow provincial zemstvo; and the complex of workshops at Talashkino run by Princess M. K. Tenisheva. Using the talents of such prominent artists as Elena Polenova, Natalia Davydova, Mikhail Vrubel, Alexander Golovin, Konstantin Korovin, and Sergei Maliutin, these four workshops introduced a modernized form of kustar art based on authentic examples of folk art, yet strongly influenced by the expressive forms of art nouveau. Thanks largely to this "neo-Russian style", the kustar art industries became extremely fashionable in Russia and abroad in the decade before the First World War. The concluding chapter examines the consequences of this artistic intervention: on the one hand the growth of professional kustar training schools modelled on English and European Schools of Design, on the other the growing wave of protest against this institutionalization of folk art as a commercial commodity. Parallels are also made between the kustar art industries before and after the 1917 Revolution, emphasizing the similarities between the kustar art of the Imperial period and the souvenir industry of the Soviet era.}, keywords = {19th and 20th century Europe}, author = {Salmond, Wendy} } @mastersthesis {7357, title = {Mogao Cave 254: A Case Study in Early Chinese Buddhist Art}, year = {1989}, school = {UC Berkeley}, abstract = {The largest and best preserved Buddhist cave site in China is located near Dunhuang, a small oasis community in northwestern Gansu province. Cave 254, which is completely decorated with painting and sculpture, is one of the earliest extant at the Mogao caves, and was probably constructed sometime between 475-490 A.D. The methodology of past scholarship has been to isolate and analyze specific elements of a cave, for example a single visual motif or painting style, and relate these to distant sources in India, Central Asia or other areas of China. Past scholarship has for the most part overlooked both the role of choice and the role of local circumstances in the formation of style. My study seeks to understand Cave 254 and its art in terms of its local context. Implicit in this approach is the assumption that local factors order and condition the range of choices in subject matter and style available for the imagery, and that these contextual factors must be understood in order to fully explicate the art. Thus, the methodology employed in my dissertation will be that of a case study--an intensive, contextual examination of a single case. The study concludes that a local Han Chinese elite class, who were the most likely sponsors of Cave 254, also probably formed the leadership of the monastic community that planned and oversaw the construction and use of the cave. This local elite class had existed in Dunhuang for many centuries before the construction of Cave 254. The function of the cave was also a significant factor in its formation because the cave served as a visual aid to Buddhist practices such as visualization, the recitation of the names of multiple Buddha groups, circumambulation and other devotional rituals. The cave and its imagery were thus created within a complex matrix of local circumstances: those related to local artistic traditions and the process of creation, those related to function and Buddhist practices, and those related to local elite ideological needs. The architecture, sculpture and painting in Cave 254 are primary evidence of the choices which were made. The dissertation is an attempt to illuminate the intricate interplay of local circumstances in the decisions reached and ultimately to understand Cave 254 in terms of these choices.}, keywords = {Asian Art}, author = {Stanley K. Abe} } @mastersthesis {7324, title = {Monumentality and Historicism in Edvard Munch{\textquoteright}s University of Oslo Festival Hall Paintings}, year = {1989}, school = {IFA/NYU}, abstract = {This dissertation examines Edvard Munch{\textquoteright}s paintings in the University of Oslo Festival Hall (Aula; 1909-1916) within the framework of Norwegian cultural politics and fin-de-siecle theories of decorative painting. It analyzes the narrative structure of Munch{\textquoteright}s earliest painting cycle, the "Frieze of Life" (1892), and traces his elaboration of the frieze paradigm in his subsequent monumental painting cycles-- commissioned friezes for Max Linde in Lubeck (1904) and Max Reinhardt in Berlin (1906-7); an allegorical cycle entitled War and Peace (1913-1918); sketches probably intended for a painting cycle in the Bergen Exchange (1918); and commissioned friezes for the Freia Chocolate Factory (Oslo; 1921-1923) and the Oslo City Hall (1927-1936). Through these projects, Munch{\textquoteright}s changing conceptions of narrative structure, the idea of monumentality, and the ideology of style are addressed in relation to the Aula. This study also investigates the Festival Hall murals in light of the Norwegian national regenerationist movement that emerged in the decades prior to Norway{\textquoteright}s independence from Sweden in 1905. It links Munch{\textquoteright}s art and ideas to textual and visual sources that serviced the Norwegian cultural agenda. Munch{\textquoteright}s visual mediation between Classical tradition and indigenous folk culture is viewed as the leitmotif of the Aula paintings. Moreover, this dissertation considers Munch{\textquoteright}s references to Renaissance art in sketches for the Aula within a broader discussion of Northern reassessments of history and native culture at the turn of the century. New sources for Munch{\textquoteright}s Aula painting cycle are suggested and the institutional bases for his frieze paintings are explored in this first synthetic study of his monumental painting cycles.}, keywords = {19th- and 20th-Century Europe}, author = {Berman, Patricia} } @mastersthesis {7329, title = {Nash, Nevinson, and Roberts at War: A Catalogue Raisonne of First World War Paintings, Drawings, and Prints by Paul Nash, C.R.W. Nevinson, and William Robert}, year = {1989}, school = {Wisconsin}, abstract = {This dissertation examines and catalogues the lives and work of three British First World War artists: Paul Nash (1889-1946), C. R. W. Nevinson (1889-1946) and William Roberts (1895-1980). The three were acquaintances at the Slade School of Art, and viewed as modern artists by the critics and British public before the war, and served as soldiers or volunteers in the Ypres Salient, Flanders. The text traces their prewar artistic and personal backgrounds before it examines their major war works, their views of war service, and their progression from soldier-artists to officially commissioned artists under the British and Canadian government programs. The text addresses several important issues concerning the production of British war art. Nevinson{\textquoteright}s successful artistic career as the English Futurist was advanced through personal and professional contacts of his journalist-parents, Henry Woodd Nevinson and Margaret Nevinson, and through his own journalistic skills. His poor health brought on by chronic rheumatic fever may have contributed to his change in artistic style in late 1916 and early 1917. Nash evolved a new form of expressionistic landscape from older British romantic and fantasy traditions. His anti-pastoral descriptions of the Flanders terrain contributed to the success of his wartime images and remain powerful today. Robert{\textquoteright}s figurative portrayals of robotic men at the front were largely unknown during the war. This was due to his twenty-two month artillery service, which prevented a period of recuperation for painting, drawing and mounting a wartime exhibition. The catalogue raisonne assembles 376 works of art--all the known Nash, Nevinson and Roberts paintings, drawings, prints, book illustrations, posters and sculpture relating to the First World War--and provides a comprehensive account of provenance, exhibition history, and critical notice of each of these war works of art. Documentation about the patrons of their war art and notable war exhibitions is also included. The frequency of these exhibitions demonstrates the importance of their war art in British society throughout the years since the war.}, keywords = {19th- and 20th-Century Europe}, author = {Doherty, Charles Edward} } @mastersthesis {7355, title = {Native American Art and Culture and the New York Avant-Garde, 1910-1950}, year = {1989}, school = {UT Austin}, abstract = {This dissertation examines the changing definitions and uses of Native American art and culture by New York{\textquoteright}s artistic and cultural avant-garde, 1910-1950. Works of art and the activities of patrons, curators, literati, and social scientists are considered. The avant-garde{\textquoteright}s idea of Native America, manifest in art, art criticism, patronage patterns, and institutional practices, was based on specific ideas about race, evolution, consciousness, nationalism, and modernity. Chapter One, which argues that "The Indian" is an abstract category, discusses the "primitive" and its correlate, primitivism, as well as two aspects of the early modern conception of Indians and their art: the evolutionist paradigm; and ethnology and Romanticism in the Southwest. Chapter Two, which focuses on collecting and exhibiting Native art in the late 19th and early 20th centuries, is concerned especially with the emergence of public collections in New York. The importance of the New York-New Mexico continuum is revealed in Chapter Three, which analyzes the patronage and criticism of Indian art at the Santa Fe and Taos colonies, 1915-30, including that of Marsden Hartley and Mabel Dodge Luhan. Chapter Four is devoted to avant-garde artistic responses to Native America, from the Armory Show through the 1940s. Works by Max Weber, Marsden Hartley, and others are discussed, and it is demonstrated that Indian art and culture were catalysts for modernist abstraction. Exhibitions of Native art in New York, 1931-41, are the focus of Chapter Five, with much attention given to the Museum of Modern Art{\textquoteright}s Indian Art of the United States (1941). The Indian-inspired primitivism of Abstract Expressionism was related to both the darkness of the war years and the intersection in New York intellectual life of Jungian and Nietzschean thought and American ethnology. Thus, Chapter Six deals with the impact of Nietzsche and Northwest Coast Indian art and ceremony on Barnett Newman{\textquoteright}s art and criticism, and explains how Abstract Expressionists such as Adolph Gottlieb, and Richard Pousette-Dart used Native American art, myth, and ritual to create redemptive abstractions. Chapter Seven presents a revisionist interpretation of Jackson Pollock{\textquoteright}s drip paintings, linking them to Navajo healing ceremonies.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Rushing, William Jackson, III} } @mastersthesis {7359, title = {The Origin and Early Development of the Nine Planetary Deities (Navagraha)}, year = {1989}, note = {Fourth advisor: P. Pal}, school = {Michigan}, abstract = {The veneration of the planets has constituted a significant religious focus for the people of India since at least the second millennium B.C. Although the earliest textual references are found in the Vedic literature (1500-1000 B.C.), it was not until the second century A.D. that the planets were represented in anthropomorphic form. The personification of the planets was engendered by the introduction of Hellenistic astrological theories and imagery into India through the trade contact between Rome and the dynastic realm of the Western Ksatrapas. As a corollary to the scientific and cultural beliefs, the Western calendrical system of the seven-day week was also introduced in the early fourth century and gradually gained currency. This interdisciplinary investigation of textual, art-historical, and epigraphical evidence concludes that the origin of the Indian representations of the planetary deities was directly dependent upon the adoption of the seven-day week. The temporal order of the planetary deities according to their regency over the days of the week was subsequently observed in all astrological and religious texts. The earliest surviving group representations of the planetary deities, which are from Madhya Pradesh and date to ca. A.D. 500, also followed the temporal order, as do all later portrayals. Inscriptional references to the divinities appeared at approximately the same time and place as the artistic representation and exhibit a similar pattern of distribution and development. In the early sculptures there are only seven or eight planetary deities depicted: Surya, (the Sun), Candra (the Moon), Ma ngala (Mars), Budha (Mercury), Brhaspati (Jupiter), Sukra (Venus), Sani (Saturn) and sometimes Rahu (the demon of eclipses). Beginning in the early seventh century, Ketu (the personification of comets) was added to form the group known as the Nine Planetary Deities (navagraha). Except for Surya, Rahu, and Ketu, the early depictions of the divinities share an undifferentiated iconography. Images in the medieval period exhibit a more individualistic iconography, and their occurrence is more widespread.}, keywords = {Asian Art}, author = {Markel, Stephen Allen} } @mastersthesis {7362, title = {Ottomanization and Westernization: The Architecture and Urban Development of Bursa 1839-1914}, year = {1989}, school = {Harvard}, abstract = {This study examines modernization and Ottomanization in the Ottoman Empire and the genesis of a neo-Ottoman architectural tradition during the period of reform between 1839 and 1914. The Anatolian Turkish city of Bursa is the focus of an examination of modernization and Ottomanization in the architecture and urban environment in an Ottoman city. Bursa is an excellent city for this purpose because it has maintained its Turkish identity to the present day and is an important Turkish city. As the first capital of the Empire it defines and embodies the urban and architectural features of an imperial Islamic Ottoman city and reflects the continued pride of the Ottomans in its maintenance as a religious center, and as a symbol of Ottoman imperial glory. The Ottomans developed the city from commercial entrepot to industrial center and, thus, Bursa displays the characteristics of an Ottoman commercial and industrial city. Bursa{\textquoteright}s location in a fertile valley affords a comfortable existence to the urban inhabitants, and the city{\textquoteright}s many thermal springs have consistently defined Bursa as a resort center in its idyllic and dramatic setting at the base of a mountain. Two key personalities are important for Bursa{\textquoteright}s development into a modern Ottoman city: one is an Ottoman statesmen, Ahmet Vefik Pasa, and the other is a French architect in the service of the sultan, Leon Parvillee. They were part of the cultured elite of reform administrators and foreign advisors who moved freely and comfortably between different parts of the globe, and who defined a modern Ottoman architectural and urban order. Bursa{\textquoteright}s importance, its patronage, and its near destruction by an earthquake made it the perfect city for development in the nineteenth century. Through modernization and Ottomanization Bursa became a neo-Ottoman urban symbol.}, keywords = {Asian Art}, author = {St. Laurent, Beatrice} } @mastersthesis {7317, title = {Painting as Decoration for the Domestic Interior: Edouard Vuillard{\textquoteright}s Patrons and Projects, 1892-1901}, year = {1989}, school = {UT Austin}, abstract = {This study uses Edouard Vuillard{\textquoteright}s commissioned painting projects over a ten-year period as the basis for an examination of the role of decorative painting for the domestic interior in the last decade of the nineteenth century, the significance of these projects to Vuillard{\textquoteright}s artistic evolution, and the importance of the patronage group that made them possible. Beginning with Vuillard{\textquoteright}s earliest association with the Nabis, the development of his social network is chronicled, using his unpublished journals as the source for the biographical information. The seven decorative commissions resulting from Vuillard{\textquoteright}s involvement with the Natanson family and their literary and artistic review, the La Revue Blanche, are analyzed with respect to the circumstances leading to the commissions, the physical characteristics of the paintings and their relationship to the interiors for which they were intended. The notion of decoration as it was understood in fin de siecle aesthetics, as a new painting style that could be either complete in itself or site-specific, is examined in the context of Vuillard{\textquoteright}s decorative paintings in their original and subsequent locations. Stylistic and thematic changes in these are considered in light of the artist{\textquoteright}s changing attitude toward himself and his role as an artist, as well as the changes in particular social circle whose support enabled him to work independently of gallery contracts and salon exhibitions. The predominantly large-scale paintings resulting from Vuillard{\textquoteright}s dual role as artist and decorator are fundamental to an understanding of his artistic development. In their present locations, removed from their original domestic setting, they can no longer be appreciated for their primary function as decorations for Paris houses and apartments. This analysis of the decorations and of the social, economic and professional aspects of the Vuillard patronage circle at this period provides a new framework for the study of the artist{\textquoteright}s early career and of the role of painting as modern interior decoration.}, keywords = {19th and 20th century Europe}, author = {Groom, Gloria} } @mastersthesis {7389, title = {The Painting Technique of Simone Martini}, year = {1989}, school = {Princeton}, abstract = {The Sienese Gothic artist Simone Martini (fl. 1315-d. 1344) developed a highly decorative painting technique that exerted a strong influence on Tuscan art until the mid-quattrocento. Based on a close technical examination of his works--involving the use of x-rays, colour infra-red photography, and microscopic examination--the dissertation explores various aspects of Simone{\textquoteright}s panel- and wall- painting methods. The thesis begins with an art-historical introduction to Simone{\textquoteright}s chronology and attributions. Recent critical opinions are discussed and a background for subsequent investigations of Simone{\textquoteright}s technique is provided. In the second chapter, Simone{\textquoteright}s important contributions to the development of incising and motif-punching used to decorate haloes and the borders of panel-paintings are explored. The third chapter is devoted to Simone{\textquoteright}s use of colour. His choices of colours and his modeling techniques are set in the context of early Italian practices. In the fourth chapter, Simone{\textquoteright}s creative development of a number of methods for depicting luxury textiles--most notably sgraffito and glazing over metal leaf--is examined and placed in the light of the great contemporary interest in rich fabrics. The final chapter traces the development of Simone{\textquoteright}s wall-painting technique, focusing particularly on his incorporation of decorative methods traditional in panel-painting. The primary aims of the dissertation are to place Simone{\textquoteright}s techniques in the context of early Italian painting methods, to explain the creative nature of his innovations, to discover his sources of inspiration, and to trace the extent of his impact. As the consideration of each aspect of his painting method in context reveals, Simone was a highly innovative painter. To a technical foundation that was essentially Duccesque, Simone added methods--such as motif-punching and granulation, sgraffito, and glazing over metal leaf--often culled from earlier Tuscan art of the dugento. In this way, inspired by contemporary interests in light and colour and the lavish qualities of luxury goods, he increased the decorative potential of panel- and wall-painting. In conclusion, Simone Martini is presented as a technical genius whose primarily decorative innovations contributed immensely to the creation of the lavish High Gothic mode in trecento Sienese painting.}, keywords = {The Renaissance}, author = {Cathleen S. Hoeniger} } @mastersthesis {7338, title = {The Palais de Justice of Paris: Modernization, Historical Self- Consciousness, and Their Prehistory in French Institutional Architecture (1835-1869)}, year = {1989}, school = {Harvard}, abstract = {This dissertation examines a central example of an often overlooked yet characteristic type of building campaign for 19th-century Paris: the selective restoration, renovation, and expansion of buildings inherited from the ancien regime, for the use of public institutions. In studying the transformation of the historic Palais de Justice, it explores how the seemingly antagonistic 19th-century concerns of modernization and historic patrimony were integrated in the contemporary transformation of Paris. In 1835, the Department de la Seine decided to modernize the Palais, in belated recognition of the systematic reorganization of French justice during the Revolutionary and Napoleonic periods. Simultaneously arose the first serious appreciation for the Palais and the integral Sainte-Chapelle as a historic monument. From the first, the architects of the Palais were obliged to negotiate institutional and historical demands, themselves often intertwined. The first systematic master plan, by J.-N. Huyot, approved in 1838, provided the basis for the transformation effected by three successive generations of Prix de Rome architects and completed at World War I. Based on previously unknown drawings, the dissertation analyzes the planning and realization of the project from its origins to a culmination in 1868-69, when the new west entrance by the Romantic architect Louis Duc was inaugurated. The celebrated west entrance and the related Cour d{\textquoteright}Assises won exceptional attention from contemporaries. The dissertation discusses that success in terms of 19th-century justice and of the special situation of the Palais at the geographic and historic center of Paris. To this end, it reviews the topographic history of the Palais from its Gallo-Roman origins, together with the emergence of the royal law courts within its walls, and juxtaposes Napoleon{\textquoteright}s reformulation of French justice as a civil law system which features an anomalous juried criminal jurisdiction, the Cour d{\textquoteright}Assises. Analysis of the architectural implications of this complex system forms the basis for an interpretation of the 19th-century campaign at the Palais as a whole in terms of the pervasive model of code and equity, or the adjustment of ideal principle to actual circumstance.}, keywords = {19th- and 20th-Century Europe}, author = {Katherine Fischer Taylor} } @mastersthesis {7323, title = {Peasants in French Painting, 1815-1848: The Romantic Roots of the Realist Mode}, year = {1989}, school = {IFA/NYU}, abstract = {Subjects taken from peasant life, ubiquitous in later nineteenth-century French painting, are generally held to have become popular only in the wake of the 1848 Revolution. Between 1830 and 1848, however, scores of peasant-paintings were exhibited at every Paris Salon. The development of this vogue under the Restoration and July Monarch is studied. Five hundred images, most previously unpublished, are analyzed by means of an eclectic methodology that considers art as both social and aesthetic entity. Part One, "Art in Society," first examines the interconnections and relative social conditions of the peasantry and middle-class art patrons. Subsequent chapters explore key themes: piety, childhood, and romance. In all three cases, the ignorance of most artists and their public about real-life peasants allowed the creation of demonstrably fictional imagery that addressed the urban bourgeoisie{\textquoteright}s loss of faith, fear of workers{\textquoteright} riots, adulation of children, mortality, mercantile marriages, and eroticism. The thematic traditions thus formed endured late into the century. Part Two, "Artists, Schools, and Styles," classifies peasant-painters according to biographical, chronological, formal, and geographical criteria. Its five chapters each investigates the history, style(s), and cultural origins of a school: l{\textquoteright}ecole villageoise, l{\textquoteright}ecole de Rome, l{\textquoteright}ecole coloriste, l{\textquoteright}ecole de Bretagne, and les peintres du peuple. The sources, technique, and reception of work by each school{\textquoteright}s major artists are examined: Bellange, Destouches, Duval-le-Camus, Grenier, Franquelin, and Scheffer; Bodinier, Delaroche, Lehmann, Montessuy, Monvoisin, Papety, Robert, Schnetz, and Winterhalter; Besson, Colin, Decamps, Isabey, Lepoittevin, Millet, Riesener, and Tassaert; Degeorge, Deveria, Monanteuil, Pingret, Corot, Dupre, Fortin, Leleux, Guillemin, Hedouin, and Rogueplan; Antigna, Bonvin, Cals, Courbet, and Jeanron. Although most of this period{\textquoteright}s peasant-paintings were characterized by sentimentality, modest scale, and conservative content, its experiments with serious portrayals, monumental scale, and critical language made it the matrix of Realism. Transforming nineteenth-century art, July Monarchy painters elevated the peasant, formerly a hierarchically {\textquoteright}low{\textquoteright} figure appearing sporadically or marginally in French painting, to the status of worth subject, embodying the nation{\textquoteright}s nostalgia for an imagined arcadia.}, keywords = {19th- and 20th-Century Europe}, author = {Ambrosini, Lynne} } @mastersthesis {7322, title = {A {\textquoteright}Perspective of Feeling{\textquoteright}: The Expressive Interior in Nineteenth-Century Painting}, year = {1989}, school = {Pennsylvania}, abstract = {The image of the interior seemed to be everywhere in nineteenth-century urban culture--in genre painting, photographs, popular illustrations, and pattern books. The most advanced novelists of the time used descriptions of their characters{\textquoteright} settings to convey mood as well as social class; and in the domestic dramas of the new realist theater, the interior setting assumed the role of a protagonist. From around 1850 to the years just before World War I, a period of radical change in the history of painting coincided with the emergence of the idea of a private psychology. Historians of the nineteenth-century have shown that for the first time among the urban middle classes, there was a widespread, conscious need to experience an inner life. And it was a life thought to be at its most concentrated and authentic within the self-reflecting enclosure of the domestic interior. How and why new interior compositions were invented for the express purpose of conveying psychological effects is the subject of this dissertation. This study focuses on a coherent network of painters, writers and theorists who were concerned with psychologically-revealing interior imagery and encompasses works by Edgar Degas, James Whistler, James Tissot, John Singer Sargent, William Merritt Chase, Edouard Vuillard, Pierre Bonnard and Walter Sickert. Each chapter is organized around a principal artist and at least one literary counterpart, someone known directly to the artist, and in some cases a collaborator. These pairings, at once conceptual and social, include Degas and Louis-Emile Duranty, critic and theorist of realism, Sargent and Henry James and Edith Wharton, Vuillard and playwrights Maurice Maeterlinck and Henrik Ibsen, and Walter Sickert and Virginia Woolf. In broad terms, the dissertation offers a new way to understand the continuity within realism from 1860 until the years around World War I. All these painters viewed psychological authenticity as a basis for realism, and strove to convey it by inventing new compositional structures, which in turn became a shared set of conventions.}, keywords = {19th and 20th century Europe}, author = {Susan Sidlauskas} } @mastersthesis {7352, title = {Pinnacles and Pyramids: Marsden Hartley{\textquoteright}s {\textquoteright}Mountain Madness{\textquoteright}: An Iconographic Study}, year = {1989}, school = {UC Santa Barbara}, abstract = {Marsden Hartley has long been recognized as one of the seminal figures in American art of the early twentieth-century, yet curiously his iconography has received little critical attention. In his restless search for an artistic identity in an unstable world of flux, he was drawn obsessively to austere mountains and rugged promontories--natural monuments with a geological solidity and an abiding permanence. This dissertation is a comprehensive study of Marsden Hartley{\textquoteright}s paintings with the mountain theme, from his earliest extant works in 1907 until the time of his death in 1943. It contains multiple descriptions and various interpretations of individual works of art as well as a thorough discussion of the myriad stylistic changes that occurred within his oeuvre. Deeply rooted in the nineteenth century attitude toward the wilderness, Hartley{\textquoteright}s art derived its energy and indeed its passion from remote regions of the world where, isolated in seclusion, he sought to illuminate his fertile imagination as well as to expand his intellectual vision. Dealing fundamentally with paternal rejection from the very outset, Hartley{\textquoteright}s ambivalent relationship with the mountain germinated within his childhood pattern of retreating to the healing solitude of nature from the never-ending uncertainties of a life fraught with painful difficulties. Throughout his peripatetic odyssey, Hartley{\textquoteright}s life alternated between glorious ebullience and crushing disillusionment as he developed and expanded upon a curious mingling of literary and artistic influences in order to ultimately come to terms with his own existence. This study reveals the mountain as an iconographic symbol, indeed, the major recurring motif and symbol in his art, and within this context analyzes and investigates the full extent of Paul Cezanne{\textquoteright}s persuasive influence on Marsden Hartley, an influence far greater than has heretofore been acknowledged. Ultimately, for Hartley, the mountain itself will function as a metaphor for mystical concerns as well as intensely personal subjective associations, brimming with psychological as well as sacred import. Totally indifferent to man{\textquoteright}s existence, it emerges in his art as the most colossal of God{\textquoteright}s creations in a throbbing, pulsating continuum--linked intrinsically to his inevitable return to the spirit of home place.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Hokin, Jeanne} } @mastersthesis {7348, title = {The Present and Past in the Work of Charles Sheeler}, year = {1989}, school = {Yale}, abstract = {This dissertation examines the role of the American vernacular tradition in Charles Sheeler{\textquoteright}s art. Shaker furniture, folk art, and the architecture and craft traditions of Bucks County, Pennsylvania, emerge in this study as important elements in a process of self-definition for the artist that was at once self-consciously public and intimately personal. In his depictions of barns, farmhouses, and handcrafted furniture, Sheeler aligned his art with avant-garde ideas and values. He also used these subjects in a search for a more private sense of at-homeness in the world. Chapters I through III focus on Sheeler{\textquoteright}s images of an eighteenth-century house in Doylestown, which served the artist as a weekend and summer retreat from about 1910 to 1926. The first chapter discusses the personal significance the building had for Sheeler and analyzes his photographic portrait of the house, as well as the later paintings and drawings based on these photographs. The second chapter addresses the ways in which the doors, windows, and interior spaces in these works suggest a broader concern with positioning the self in the world, one that derives from a shared cultural environment. Chapter III relates the material to its contemporary context of preservationist concerns and aesthetic theory. Chapter IV deals with Sheeler{\textquoteright}s photographs of Bucks County barns and describes how the artist contributed to a reevaluation of rural architecture in America by representing it in a context foreign to its origins. Chapter V analyzes Sheeler{\textquoteright}s drawings and paintings of Bucks county barns and investigates his imagery against the background of the movement to create a native school of modernism based on the American folk tradition. The final chapter concludes with a discussion of the paintings of the early 1930s, such as American Landscape, Classic Landscape, Americana, and Home Sweet Home, which gesture towards--and at the same time undermine--a reconciliation of machine production and the handcraft vernacular tradition. The chapters move from an investigation of the artist{\textquoteright}s private concerns to broader issues of national identity that affected not only Sheeler but a whole generation of American modernists.}, keywords = {Art of the United States (except Photography and Film)}, author = {Lucic, Karen M.} } @mastersthesis {7382, title = {Ptolemaic Philae}, year = {1989}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Vassilika, Eleni} } @mastersthesis {7360, title = {Reflection and Reception: The Origins of the Mirror in Bronze Age China}, year = {1989}, school = {Harvard}, abstract = {The casting of bronze mirrors was a practice that endured throughout China{\textquoteright}s dynastic history; excavated evidence and antiquarian scholarship document a tradition that spanned nearly three millennia. While the longevity of mirror use is widely recognized, the origins of reflective objects in China have never been fully examined. Nearly four decades of archaeological activity in the People{\textquoteright}s Republic has provided the material necessary to undertake such an analysis. Utilizing this record, the present study reconstructs the cultural conditions that surrounded the earliest appearance and production of mirrors in Bronze Age China. The term "mirror" (jing,, occurs in the archaeological literature as a designation for bronze objects from Shang and early Zhou sites whose form--usually a flat disk cast with a central boss--presages that associated with later dynastic tradition. Evidence indicates that the earliest mirrors unearthed in China were the products of cultures to the north and west of the Zhongyuan. In these regions, the knobbed objects identified as mirrors appear to have been created along with other circular reflectors for ceremonial and funerary purposes. This thesis argues that it was the capacity for reflection rather than a specific typology that initially distinguished this category of bronze object. The archaeological record suggests that the production of reflectors in China began in the late Spring and Autumn period. Although important experimentation in structure and surface imagery accompanied this initial period of indigenous manufacture, excavated evidence to date indicates that the appropriation of the mirror occurred relatively slowly in the Zhongyuan. Considerably more rapid development, however, can be identified within regions below the Yellow River; this study examines cultural factors that may have stimulated the production and use of mirrors in the south during the Bronze Age. The analysis concludes with a detailed discussion of the so-called "Chu mirrors" and proposes a chronology for material excavated from sites associated with this important late Zhou kingdom. This dissertation documents the origins and early history of a specific object within a complex cultural tradition. Formal developments are therefore examined as fully as possible in relation to contemporary political and aesthetic issues, in an attempt to present a comprehensive art historical analysis.}, keywords = {Asian Art}, author = {O{\textquoteright}Donoghue, Diane M.} } @mastersthesis {7335, title = {The Representation of the Breton: Art Criticism, Politics, and Ideology in Paris, 1885-1889}, year = {1989}, school = {UCLA}, abstract = {Focusing on a corpus of visual and textual representations of the Breton which were produced in the context of the Paris Salons between 1885 and 1889, this study reassesses the relationship that most art histories have constructed between visual imagery, art criticism and social representations or ideologies in nineteenth century France. An examination of the visual record of paintings depicting Breton subjects exhibited during the 1880{\textquoteright}s, reveals a significantly diverse representation of the region{\textquoteright}s agricultural, economic, social and cultural conditions. Art critics{\textquoteright} interpretations of these paintings, focusing almost exclusively on images of Breton religiosity, constructed equally contradictory images of the Breton. The study demonstrates that the critics{\textquoteright} social representations were ultimately not so much conditioned by the paintings themselves, as by the positions which the critics maintained within a broader confrontation between ideologies about painting and artistic practices which dominated the 1880{\textquoteright}s. At stake in these critics{\textquoteright} diverse aesthetic readings of these paintings was a conception of the role and form that art should take in the emerging cultural apparatus of the new Republican regime. In the end, the critics{\textquoteright} conflicting aesthetic ideologies, materialized in their discourses, were linked to real conflicts of interest over the institutionalization of aesthetic conceptions and practices within both state exhibition and educational contexts. Each of these ideological factions{\textquoteright} bids for hegemony and state power depended largely on the successful institutionalization of its concepts and practices during this decade.}, keywords = {19th- and 20th-Century Europe}, author = {Orwicz, Michael R.} } @mastersthesis {7390, title = {The {\textquoteright}Retablo de la Reina Catolica{\textquoteright} by Juan de Flandes and Michel Sittow}, year = {1989}, school = {Bryn Mawr}, abstract = {The dissertation is a monograph devoted to the Retablo de la Reina Catolica painted by Juan de Flandes and Michel Sittow, court artists to Queen Isabella of Spain, around the turn of the sixteenth century. The altarpiece was devoted to scenes from the life of Christ and the life of the Virgin. Chapter I is an introduction to the altarpiece and questions to be discussed. A review of the art historical literature summarizes stylistic comments made by scholars in the past, and records their efforts to suggest the artistic roots of Juan de Flandes. In Chapter II the history of the altarpiece, which was dispersed in 1505, is traced as much as available documents allow. Transcriptions of all pertinent inventories of the Spanish royal collection are reproduced for the first time. The critical history of the altarpiece is discussed. Chapter III presents the results of the most thorough technical examination of the surviving paintings carried out to date. Most of the twenty-eight paintings were removed from their frames and studied with infrared reflectography, including the fifteen panels in the Spanish royal collection, which had not been seen outside of their frame in many years. This technical investigation clarified attribution of the group. In addition to the two documented paintings by Sittow, one was attributed to him on stylistic grounds, and three other categories were identified: an early group of autograph works by Juan de Flandes, a later group of autograph works, and a group of paintings attributed to the workshop (and conforming in large degree to the group delineated by Sanchez Canton in 1930). The working methods of Juan de Flandes are described and compared to Netherlandish painters and manuscript illuminators of the same period. Chapter IV presents a survey of six Castilian treatises devoted to the life of Christ written or published in the last decade of Isabella{\textquoteright}s reign. Three of them were dedicated to the Queen, and she owned at least four of them. As a group they are evidence of Isabella{\textquoteright}s concentration on the life of Christ as a literary theme. Moreover, the treatises apparently influenced the treatment of certain episodes in the paintings. The Catalogue treats each painting according to the following categories: technical information, provenance, exhibitions, iconography, and attribution. Comparative material is discussed and often illustrated.}, keywords = {The Renaissance}, author = {Ishikawa, Chioyo L.} } @mastersthesis {7321, title = {Rhythm and Art in Germany, 1900-1930}, year = {1989}, school = {UT Austin}, abstract = {A sustained fascination with rhythm characterizes the art of Ernst Ludwig Kirchner, Emil Nolde, Wassily Kandinsky, Franz Marc, Hans Arp, Hugo Ball, Richard Huelsenbeck, Kurt Schwitters, Johannes Itten, Paul Klee, Oskar Schlemmer and other artists working in Germany between 1900 and 1930. Past scholarship either has made only brief reference to this interest in rhythm or has examined a single aspect of it within the context of one artist{\textquoteright}s work. This study reveals diverse sources for ideas about rhythm, traces comparatively the evolution of these ideas in the work of leading artists of the period, and establishes rhythm as a major formal and thematic motif within the context of early twentieth century German art. Friedrich Nietzsche sparked much of the fascination with rhythm when, in The Birth of Tragedy from the Spirit of Music (1872), he called for a renewal of German culture through the free expression of the Dionysian impulse. As mechanization and materialism tightened their grip on Germany, the need to assert a more intuitive life force intensified. During the late nineteenth and early twentieth centuries, rhythm came to be associated both with this vital spirit and with the inherent, unifying order of nature. Scientists, dancers, members of the physical culture and "back to nature" movements, ethnologists, psychologists, musicians, and religious reformers all helped to shape and support these notions about rhythm. The extent to which their ideas affected the artists{\textquoteright} understanding of rhythm is examined in depth. Two overlapping currents are apparent in the development of these ideas. Several artists expressed Dionysian rhythms through forceful gestures and strong color. Others assumed a more Apollonian stance. Using the three components of rhythm (repetition, interval, and emphasis), they manipulated line, color, value, and pictorial elements in order to invest their art with a dynamic structure like nature{\textquoteright}s own. Individual artists and art movements vacillated between these currents, drawing inspiration from both. While Jugendstil artists employed dynamic but regular rhythms, Bruecke artists at times expressed orgiastic rhythms. During his Blaue Reiter years, Kandinsky sought to include arhythm within the definition of rhythm while the Berlin Dadaists denied rhythm altogether and promoted sheer anarchy. At the Bauhaus, Itten, Kandinsky, and Klee restored order as they codified a wide range of ideas about rhythm and incorporated them into a coherent curriculum that continues to impact modern art education. Against this backdrop, the linear, tonal coloristic, and aural rhythms of works such as Nolde{\textquoteright}s Candle Dancers (1912), Ball{\textquoteright}s performance of Labada{\textquoteright}s Song to the Clouds (1916), Itten{\textquoteright}s Thus Spoke Jakob Boehme; Breathe In, Breathe Out (1922), Kandinsky{\textquoteright}s Composition 8 (1923), and Klee{\textquoteright}s Pastoral Rhythms (1927) assume greater significance. Alone and in conjunction with pictorial elements they metaphorically affirm the existence of a rhythmic pulse within the natural flux of the universe.}, keywords = {19th and 20th century Europe}, author = {Schall, Janice} } @mastersthesis {7311, title = {Selling the Orient: Nineteenth-Century Photographs of Istanbul in European Markets}, year = {1989}, school = {UT Austin}, abstract = {This study investigates nineteenth century photographs made in Istanbul for European markets. The material comprises views of the city, architectural studies, and representations of types. Istanbul serves as a model to investigate the market function of photographs from peripheral areas consumed in 19th-century Europe. The dissertation{\textquoteright}s purpose is to define the compositional and stylistic means employed to express cultural and political attitudes about a non-western country. The study examines the production of three indigenous photographers, Sebah \& Joaillier, Abdullah Freres, Basile Kargopoulo. Their output, and that of the Swedish immigrant, Guillaume Berggren, is compared to images by the European travelling photographers, James Robertson and Francis Bedford. One approach to photographing the city continues the cartographic tradition dating from the 16th century. The other, employed only to represent scenic parts of the city, imitates picturesque illustrations in composition and themes. Both styles commodify the city: the large scale panoramic views, emphasizing Western presence, are intended for international expositions, while the picturesque cityscapes, destined for the publishing market, imbue the city with exoticism by suppressing Western presence. Architectural photography catered to artists, architects, historians and tourists. Professionals demanded a straightforward approach to the subject matter which conveyed a maximum of information. Architectural shots made for tourists, however, featured large foregrounds and costumed figures. Traditional European myths of the Turks and current international affairs prejudiced the responses to these photographs. Photographs of Ottoman vocations, ethnic groups, and women were marketed as type studies. Props, costumes and poses enhance the authenticity of the studio productions, and the plein-air shots additionally employ dynamic compositions. Travel literature and ethnographic accounts are analyzed to define European attitudes towards Turks, Muslims, and women. These images avoid political comment by maintaining harmony between type and context. They thus exhibit less European presence than photography from other non-western countries. By depoliticizing their images, photographers politicize their European customers.}, keywords = {19th and 20th century Europe, Photography and Film}, author = {Erdogdu, Ayshe} } @mastersthesis {7383, title = {Seventeenth- and Eighteenth-Century Descriptive Accounts on Mexican Architecture}, year = {1989}, school = {Harvard}, abstract = {The dedication of a church in Baroque Mexico was a festive occasion celebrated with lavish pomp, sometimes lasting a week. Such important, if ephemeral, event merited to be recorded for the present and future glory of the town which built the church, its sponsor and its patron saint. Usually written by a priest who had witnessed the construction process, this record could take the form of a sermon, a descriptive essay or a poem, and was later printed at great expense. This thesis is a study of eight dedication accounts that are especially useful to gain insights into forces that shaped religious architecture in New Spain during the Baroque period: different types of patronage (royal, private and collective) and the degrees of power exercised by each, bureaucratic procedures required before building, religious devotions, and functional needs. The authors of these texts belonged to a highly educated elite and spoke to a likewise limited audience. Their aesthetic preferences were based on Classical concepts. The study of their writings reveals their efforts to reconcile the lag between those concepts and the Baroque style of the architecture described, by establishing symbolic equivalences between Classical orders and religious iconography and by applying Medieval aesthetic concepts, persistent in 17th and 18th century Mexico. These include the acceptance of decorative abundance as a means of creating an exceptional space to enhance religious experience, the principle of "multiplicatio et variatio universorum," the use of precious materials, the relationship between principal and ancillary spaces, and the exaltation of Architecture among the figurative arts. A most provocative concept emerges from these writings: that architecture is perishable and inevitably demolished by time, as opposed to its written description, which lasts through the ages. This idea, traceable to Latin sources, found fertile soil in Mexico{\textquoteright}s geography and highly verbal culture. Since words are considered the means to counteract this perishability, we have looked closely at the models of description used, at their advantages and limitations over graphic representation, in these writers{\textquoteright} efforts to insure the permanence of architecture through its verbal re-creation.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Moreno, Maria Luisa} } @mastersthesis {7358, title = {Shitao{\textquoteright}s Late Work (1697-1707): A Thematic Map}, year = {1989}, school = {Yale}, abstract = {This study examines the late painting of Shitao (1642-1707), defined as the work he produced following his renunciation of monastic orders ca. 1696-7. The Introduction briefly treats Shitao{\textquoteright}s life and art up to 1696. Thereafter, a different area of Shitao{\textquoteright}s later thematic interests is explored in each chapter: in Chapter One, destiny; in Chapter Two, his immediate environment in Yangzhou; in Chapter Three, specific concerns of his patrons; in Chapter Four, the act of painting; and in Chapter Five, the pictorial craft of resemblance. Since the themes discussed in the first three chapters (directed towards the world) are very different from those under examination in the last two (directed towards painting itself), a short bridging essay, A Note, has been included between Chapters Three and Four. This attempt to map out the full range of the artist{\textquoteright}s thematic concerns ca. 1697-1707 aims to uncover the underlying reasons for his choices of subject and style. It reveals Shitao to have practised painting as a rich mode of self-cultivation, one which in his late years was the primary means by which he defined his private and public identity. Through painting he came to terms with complex personal circumstances which included: the failure of his ambitions at the capital in 1690-1692, his disappointment with and exit from the Buddhist priesthood, a new involvement with Daoism, the open recognition of desire, his entry into the world of professional painting, the heritage of his Ming imperial background, the experience of aging, and a philosophical and religious engagement with the self. Finally, the study also aims to demonstrate the relevance of these concerns to the wider community from which his friends and patrons were drawn.}, keywords = {Asian Art}, author = {Jonathan Scott Hay} } @mastersthesis {7397, title = {Studies in Sandro Botticelli{\textquoteright}s Drawings for Dante{\textquoteright}s Inferno}, year = {1989}, school = {Virginia}, abstract = {This dissertation provides a study of Sandro Botticelli{\textquoteright}s unfinished manuscript of Dante{\textquoteright}s Commedia made for Lorenzo di Pierfrancesco de{\textquoteright} Medici. It offers a reconstruction of the codex, with consideration of its novel vertical format and layout of text and illustration. Examination of Botticelli{\textquoteright}s illustrations focuses on those for the Inferno. The artist{\textquoteright}s conception of Hell{\textquoteright}s structure and dimensions, particularly as revealed in the Plan of Hell which begins the series, is related to the studies of Antonio Manetti, recorded by Christoforo Landino in the Proema of the 1481 Florence Commedia. The subsequent chapters explore Botticelli{\textquoteright}s adaptation of text to image. His pictorial treatment, it is argued, reveals a deep understanding of the poem, including an attention to its architectonic structure, and to the role Hell{\textquoteright}s topography plays in the poem{\textquoteright}s narrative. The relation between Botticelli{\textquoteright}s illustrations and conventions in manuscript illuminations for the Commedia is reassessed, and as well, the affinities between the artist{\textquoteright}s style and that of the poet. It is argued that in adapting text to image, Botticelli was sensitive to the rhythm and spirit of Dante{\textquoteright}s verse. Furthermore, he developed a pictorial vocabulary analogous to the poet{\textquoteright}s metaphor{\textquoteright}s one, particularly by using artistic references and pictorial parodies to convey the tone and meaning of Dante{\textquoteright}s verse. In short, Botticelli{\textquoteright}s drawings offer a comprehensive illustration of the Inferno{\textquoteright}s literal narrative, and moreover, a rich pictorial commentary on it.}, keywords = {The Renaissance}, author = {Watts, Barbara J.} } @mastersthesis {7343, title = {A Study in Patronage of Afro-American Art 1776-1976}, year = {1989}, school = {UCLA}, abstract = {In spite of the politics of slavery, Civil War, Reconstruction, and segregation, black artisans and artists have been producing in this country against extreme odds of racial prejudice since the nation{\textquoteright}s infancy. This study investigates the political and social conditions surrounding the patronage of Afro-American artists from Colonial times to 1976--from the period of Revolution and Abolition through the turbulent decades of the modern civil rights movement. It identifies the various forms patronage took--abolitionist, institutional governmental, corporate and individual--and discusses the motivation behind it.}, keywords = {Art of the United States (except Photography and Film)}, author = {Gedeon, Lucinda Heyel} } @mastersthesis {7315, title = {The {\textquoteright}Sztuka{\textquoteright} Society and Polish Painting in a European Context: 1890-1914}, year = {1989}, school = {UT Austin}, abstract = {This dissertation represents the first comprehensive investigation of turn-of-the-century Polish painting to be undertaken outside Poland. The study focuses on the Towarzystwo Artystow Polskich "Sztuka" (Society of Polish Artists "Art"), a group of painters, sculptors and graphic artists which came to be the principal representative of modernist art in Poland prior to World War I. Founded in 1897 in Cracow, the society{\textquoteright}s primary aim was to raise aesthetic standards in Poland through the exhibition of modern Polish works and to propagate Polish art abroad. Artists from various parts of divided Poland as well as others living in Paris, Munich, St. Petersburg and elsewhere were invited to join the group, with the result that "Sztuka" soon became what might be referred to as a "diaspora" community of artists with broad international experiences but a common commitment to Polish interests. Between 1897 and 1914, a total of sixty exhibitions were organized in Poland and abroad, making "Sztuka" one of the most active art associations in Central Europe.}, keywords = {19th and 20th century Europe}, author = {Cavanaugh, Jan} } @mastersthesis {7342, title = {Teaching the Late Modern Artist: From Mnemonics to the Technology of Gestalt}, year = {1989}, school = {CUNY}, abstract = {This dissertation charts the persistence of idealism within the education of the modern artist. That said, the history of such training does not describe a continuous evolution of teaching methods that produce idealist results. Since the mid-19th century, the theoretical history of modern art instruction has consisted of an institutional negotiation between aesthetic and utilitarian structures. To isolate drawing instruction for artists from that used to teach designers, commercial artists, artisans or the general public is to perpetuate an artificial category, to disregard a historical dialectic, and to comply in the perpetuation of a modernist myth of high cultural autonomy. Analysis of one introductory drawing course, which surfaced at Ohio State University in 1942, introduces a little-known manifestation of the late modern period. A confluence of aesthetic and industrial structures, it responded to varied historical forces: a Depression-era challenge to the idealist conception of art, demands for professionally trained artist-designers, and the influential emigration of Bauhaus masters to this country. The centrality of perceptual training to this drawing course, the psychological theories and mechanical practices that governed its application, and the belief in its capacity to improve everyday life opens onto an investigation of related themes and goals, which informed European drawing courses from the middle of the 19th century. The logic informing these courses is articulated in terms of a fragmentation of memory into conscious, "instrumental" memory and its unconscious, "aesthetic" counterpart. Thus, drawing courses intended for industrial and artistic applications exploited the resources of instrumental and aesthetic memory, respectively. Aesthetic memory secured for the early modernist the transcendental effect that perceptualism guaranteed for later modernists. The union of aesthetic and industrial concerns, which characterized art teaching on university campuses before and just after World War II, ended when Abstract Expressionism{\textquoteright}s prestige heralded the return of aestheticism and traditional aesthetic hierarchies to art instruction. Nevertheless, that fleeting period of democratic pedagogical consolidation manifested itself in the artworks of a generation that was trained under its spell. Attracting international attention at the beginning of the 1960s for producing art that joined aesthetic and industrial structures, it included the central figures of American Pop art.}, keywords = {Art of the United States (except Photography and Film)}, author = {Deitcher, David} } @mastersthesis {7369, title = {Theory and Practice in Seicento Art: The Example of Guercino}, year = {1989}, school = {Harvard}, abstract = {Traditionally, the stylistic development of the Bolognese painter and draftsman Giovanni Francesco Barbieri, il Guercino (1591-1666), has been described as a volte-face from an instinctive Baroque manner to a failed classicism. It has been hypothesized, moreover, that this style shift was the result of interference by patrons with art-theoretical pretensions. This interpretation was based on a cluster of methodological assumptions and historiographical legends that both distorted Guercino{\textquoteright}s true character and misrepresented his critical audience. The first half of this study focuses on the history of the problem of the relationship between theory and practice in the Carracci Academy and a related issue, the stylistic polemics of the late Cinquecento sparked by Vasari{\textquoteright}s Lives. These issues became imbedded in the art-historical treatment of Guercino{\textquoteright}s period in Rome (1621-23), where supposedly the artist{\textquoteright}s encounter with the classic-idealist theorist, Monsignor G. B. Agucchi, brought about a stylistic crisis that eventually led to the artist{\textquoteright}s "decline." This thesis presents new insights into the role of theory in Baroque art and demonstrates how the regionalist controversies over disegno and colore not only prejudiced modern perceptions of Guercino{\textquoteright}s development but of Seicento art as a whole. Through detailed examination of Guercino{\textquoteright}s design process, his treatment of narrative, and the relationship of his style to the art and criticism of his contemporaries, the second half of this study demonstrates that Guercino{\textquoteright}s classicism is neither a consequence of theory nor of patronage, but rather of an internally generated late style accelerated by a brief stay in Rome. Guercino was predisposed toward this development by the inherent component of classicism in the Carracci{\textquoteright}s pre-Roman style--the style with which Guercino began his career in 1613. Within Seicento art and theory, Guercino{\textquoteright}s development remains idiosyncratic. His concern for color and pious expression reveals the creation of a Baroque classicism as yet misunderstood by scholars. This study of Guercino tests the validity of traditional stylistic terminology and critical views of the relationship between Baroque art and theory; above all, it reasserts the need to distinguish between visual and theoretical knowledge and intelligence.}, keywords = {Baroque and 18th-Century Europe}, author = {David M. Stone} } @mastersthesis {7392, title = {Titian{\textquoteright}s "Saint Peter Martyr Altarpiece" and the Development of Altar Painting in Renaissance Venice}, year = {1989}, school = {Columbia}, abstract = {The lost Peter Martyr Altarpiece was commissioned from Titian in 1526 by the Confraternity of St. Peter Martyr at the Dominican Church of SS. Giovanni e Paolo in Venice. It was probably on the Confraternity{\textquoteright}s altar at the time of the altar{\textquoteright}s re-dedication in April of 1530. In Titian{\textquoteright}s lifetime the altarpiece was his most studied painting, and was frequently copied by artists and widely admired for centuries, until its destruction by fire in 1867. It remains universally regarded as a major landmark in Titian{\textquoteright}s career. The altarpiece depicted the assassination of a popular saint, a thirteenth-century Dominican preacher and inquisitor, in a forest clearing. Lifesize figures--the saint, his Dominican companion, his executioner--enacted a drama of terror and death in a profound and monumental landscape setting pierced by radiant heavenly light. Today the Peter Martyr Altarpiece is typically evoked through the contemporary engraving by Martino Rota, although the recently cleaned copy by Carlo Loth of 1691, at SS. Giovanni e Paolo, provides an approximation of Titian{\textquoteright}s masterpiece. This dissertation seeks to recreate the circumstances surrounding Titian{\textquoteright}s lost altarpiece, its position within his art and within the genre of altar painting. Chapter I introduces the painting and its prominence in Lodovico Dolce{\textquoteright}s Dialogo della pittura (1557). Chapter II provides a background by examining the considerable religious activity and upheaval in Venice during the 1520s, the decade of the picture{\textquoteright}s commission and execution. Chapter III describes the event narrated, the appearance of the picture itself as known from literary and visual material, and the critical tradition. Chapter IV discusses the history of the Scuola di San Pietro Martire and the picture{\textquoteright}s commission. Chapters V and VI consider the development of altar painting in Venice up to 1525, and Chapter VII focuses on the development of altarpieces of martyrdom. The iconographical tradition of the death of Peter Martyr in Venetian painting, and Titian{\textquoteright}s innovative handling of it are the subject of the final Chapter. An excursus analyzes the drawings connected with the altarpiece. Three appendices include documents pertaining to the commission, significant texts related to the picture, and a list of painted copies.}, keywords = {The Renaissance}, author = {Meilman, Patricia} } @mastersthesis {7354, title = {Toward Form: Louis I. Kahn{\textquoteright}s Urban Designs for Philadelphia, 1939-62}, year = {1989}, school = {Pennsylvania}, abstract = {Between 1939 and 1962, American architect Louis I. Kahn made a series of urban designs for Center City Philadelphia whose development is examined chronologically in this dissertation. Heretofore largely neglected, these urban designs are discussed in the rich historical context of Kahn{\textquoteright}s travels, teaching, and involvement with the massive redevelopment projects of post World War II Philadelphia under an active Planning Commission. Highly significant in the evolution of Kahn{\textquoteright}s forms and ideas, these unbuilt projects were made when the architect had little real work. Indeed, Kahn made no distinction between architecture and urban design; the disciplines share similar forms and principles in his work. The study of Kahn{\textquoteright}s Philadelphia plans reveals the nascent philosophical, theoretical and formal foundation of his mature work. The early schemes of the late 1930s and the 1940s are characterized by an ordinary and highly derivative modernist idiom common for the time. The images provide little indication of his later direction. Nevertheless, Kahn established two fundamental, lasting principles in this early work: functional hierarchy provides order, and a street plan is the basis of a good city plan. Kahn redefined the basis of his architecture in the 1950s, a period he described as his "beginnings." The unfolding of his enduring forms, ideas, and the profound meaning he attached to architecture are examined in his designs for Philadelphia. Kahn{\textquoteright}s forms were rooted in abstract Platonic geometry and rich in historical allusion. At the same time Kahn developed a multivalent concept of "order" that integrated structure, function, and the power of history in abstract universal and transcendent archetypes. This development is traced through two essential and conflicting themes in his urban strategy: the "order of movement" (streets and parking) and the civic center (man{\textquoteright}s eternal social need embodied in urban institutions and open spaces). Their integration and essential unity is expressed in his preferred formal solution: centralized yet highly articulated designs realizable at many scales in his work, but most monumental and compelling in his visions of Philadelphia.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Reed, Peter S.} } @mastersthesis {7366, title = {Venetian Ceiling Painting 1665-1730}, year = {1989}, school = {IFA/NYU}, abstract = {During the period, Venice first became aware of central Italian illusionistic ceiling painting and gradually expended that familiarity until by the period{\textquoteright}s end, Venice could claim an important school and style of ceiling decoration. Although the study concentrates on the works in Venice proper, ceilings elsewhere in Italy--the Veneto, Bologna, Florence, and Rome--and other parts of Europe are discussed and analyzed. The study{\textquoteright}s initial date was determined by the first appearance of Pietro da Cortona{\textquoteright}s influence in ceilings in Venice and Padua in 1665 and by the publication in 1664 if Marco Boschini{\textquoteright}s Minere della pittura which serves as a guide to ceilings already existing in Venice. The terminal date was suggested by the completion in 1732 of Zanetti{\textquoteright}s augmented, up-to-date edition of Boschini and by the appearance of Tiepolo{\textquoteright}s first group of mature ceilings in Milan in 1731. The first section of the text discusses Venice{\textquoteright}s conservatism and tardiness in appreciating baroque developments elsewhere. The retention of the typical compartmented ceiling of the 16th century into the 18th century is noted with examples, and attention is drawn to a 17th century type, possibly the invention of Longhena, having very deep coving that supports one or more canvases at the ceiling{\textquoteright}s center. About 100 pages are given to a discussion of Brescian and Bolognese quadratura painting in Venetian churches and palaces. It is most often the Bolognese variety that is used; it appears first to have established its popularity in villa decoration. It is also associated with the introduction of the salone into Venetian palace design, where such ceremonial halls had not existed before the late 17th century. Part three examines the influences of Pietro da Cortona, Luca Giordano, and G. B. Gaulli in Venice by means of analyses of a number of works by followers and students. A growing taste for extensive illusionistic painting can be noted in the last couple decades of the Seicento. The final part of the text details the accomplishments of five major artists of the early 18th century--Lodovico Dorigny (who emerges as an important contributor around 1700), Ricci, Gian Antonio Pellegrini, Piazzetta, and G. B. Tiepolo, with whose early ceilings the study concludes. The appendix includes an exhaustive check list of all the known, surviving ceilings in Venice for the period.}, keywords = {Baroque and 18th-Century Europe}, author = {Hannegan, Barry} } @mastersthesis {7316, title = {Victorian Architects and the Near East: Studies in Colonial Architecture, Architectural Theory, and Orientalism, 1840-1870}, year = {1989}, school = {Pennsylvania}, abstract = {The Victorian obsession with an imaginary orient is well known; its products were countless objects adopting eastern forms or allusions, representing a cultural otherness that helped better to define the nation itself. Victorian experience in the geographical equivalent to this imaginary world, is both less well known and more complex. This dissertation explores the architecture that the British built in the Near East as well as their reactions to the architecture that they saw there. It takes four building projects in the cities of Istanbul, Jerusalem and Alexandria as detailed case studies, examining these with reference to other British buildings in the Levant, to the building industry in these localities, and to architectural practice and theory in Britain. Here it traces the activity of James Wild, William Burges, and T. L. Donaldson, amongst other architects. It also discusses the Victorian interpretation of Byzantine and Islamic architecture, particularly in the work of John Ruskin, James Fergusson and Owen Jones, but also in travel reportage, visual records, and built simulacra. These acts of building and reading are linked by the period{\textquoteright}s broader concerns with race, religion, language, commerce and politics. While there is a congruence between the increasing influence exerted by the British over this area and the scholarly ordering of new worlds, there is no such consistency between the latter and the building of British communities in the Near East. Although British architecture held before it ideal images of imperial control or quasi-alliance, its experience was a mixture of incomprehension and compromise. If local crafts were explored and indigenous climatic solutions exploited, more often British skills and technology were imported, and while ambitious symbolic programs were planned they were usually supplanted by a more sober representation of the conditions of informal imperialism. There was little continuity or accumulation of practical knowledge between these projects, unlike the apparently mounting data and certainties of orientalism. Yet, in their inflated attempt to address myriad audiences while identifying the different aspirations of their clients, these projects reveal the extraordinary semiotic flexibility of Victorian eclecticism.}, keywords = {19th and 20th century Europe}, author = {Crinson, Mark} } @mastersthesis {7365, title = {Villa Pamphilj (1630- 1670): Family Gardens and Land in Papal Rome}, year = {1989}, school = {Yale}, abstract = {This dissertation concerns the meanings attributed by Romans to the large estate-villas built in Rome during the century after 1570. These estates, of which Villa Pamphilj forms the most important example, constituted a special group, both socially and formally: they were built by the new papal aristocracy that began to form in late sixteenth-century Roman society, taking over the social rank of the old baronial families. The development of Villa Pamphilj out of a small family vineyard on the Janiculum hill into a park of some 260 acres enclosed by a wall in 1670 began with the papal election of Innocent X Pamphilj in 1644. In this type of estate-villa, the gardens and enclosed landscape predominated over the architectural elements. Seventeenth-century Roman villa-gardens have been neglected in the literature, in part because their land component cannot be explained by the iconographical approaches that have been meaningfully applied to Roman Renaissance villas such as the Villa Lante at Bagnaia and the Orsini gardens at Bomarzo. It is the claim of this thesis that when Romans and informed visitors looked at an estate such as Villa Pamphilj, they could read in it the changing structure of Roman society after 1570. The thesis charts the rise of the Pamphilj in Rome through the papacy of Innocent X, analyses the gardens of Villa Pamphilj, and reconstructs the 25 properties acquired for the estate. It also interprets Villa Pamphilj as a form of Nero{\textquoteright}s Golden House, an estate built close to the urban center. These results present a new context for the study of the seventeenth-century Roman villa-garden, namely the intersection of social and geographical dimensions in early modern Rome.}, keywords = {Baroque and 18th-Century Europe}, author = {Miroslava M. Benes} } @mastersthesis {7337, title = {The Vision of Giorgio de Chirico in Painting and Writing}, year = {1989}, school = {Syracuse}, abstract = {This dissertation addresses the vision of Giorgio de Chirico as a painter and as a writer. For reasons explained in the first two chapters, I use his 1929 poetico-autobiographical novel Hebdomeros as the pivotal work for this study, and I examine it side by side with the paintings of the "metaphysical period" (1908-1919) and with de Chirico{\textquoteright}s numerous self-portraits. I show how in both his literary and pictorial works de Chirico assumes the I/eye of revelation through a process of disorientation of perspective, and through the geometric figures of the parallelepiped and triangle. A parallel between Giorgio de Chirico{\textquoteright}s 1929 novel and one written by his brother Alberto Savinio in 1927, Angelica o la Notte di Maggio, reinforces this conclusion. An analogy between Hebdomeros and Nietzsche{\textquoteright}s Thus Spake Zarathustra also sheds light on the Nietzschean aspect of de Chirico{\textquoteright}s vision as defined here.}, keywords = {19th- and 20th-Century Europe}, author = {Rainbow-Vigourt, Marielle} } @mastersthesis {7372, title = {Waiting on the Will of the Lord: The Imagery of the Plague}, year = {1989}, school = {Pennsylvania}, abstract = {The infamous Black Death of 1348 signaled the reappearance of bubonic plague in Europe after centuries of absence, and initiated a cycle of recurrent epidemics lasting until the late-seventeenth century. Recent scholarship has intensively debated the long-term effects of the plague upon economic, social and political structures. The more intangible psychological responses, however, are still relatively unexplored. The dissertation proposes that analysis of a new kind of resource--the images generated by experience or expectation of the plague--can provide direct access to the ways in which those who lived during the pandemic attempted to articulate and manipulate their situation. Mindful of the complex etiology of the plague, unguessed at by contemporaries, modern scholars assume that the Black Death left survivors prey to paralysing anxiety and despair. Yet the images which this thesis examines reveal other perspectives. The primary focus has been on prophylactic plague images created in Italy from the mid-fourteenth to the early-sixteenth centuries. An understanding of the expectations attached to such images is crucial in evaluating the plague{\textquoteright}s effects. In setting up hierarchical relationships of mutual obligation between worshipper and image, those who lived during this period were not neurotic and helpless, but were taking positive--and in their eyes effective--steps to regain control of their environment. Renaissance plague images testify to the flexibility and creativity of contemporary responses in the multiplicity of their identifications of the origins of the plague, and of the potential sources of celestial defence. Chief amongst those appealed to was the fifth-century Roman martyr Sebastian. Despite his immense popularity, as one who accepts the plague arrows destined for others in his own body, Sebastian was not the sole recourse of worshippers. Both Nicholas of Tolentino and Roch were also widely recognized as plague protectors. The imagery of these more recent saints presents illuminating contrasts with that of Sebastian. A last chapter investigates the role of the Virgin, who may be invoked as a petitioner before the divine throne or as an autonomous power in her own right.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Marshall, Louise} } @mastersthesis {7292, title = {Abstraction to Narration: Kero Imagery of Peru and the Alteration of Native Identity}, year = {1988}, school = {UCLA}, abstract = {Colonial Peruvian society was an amalgam of two distinct cultures, European and Andean. This study concerns the visual manifestation of that amalgamation: the elaborate inlaid paintings on Inca ritual wooden cups made after the Spanish conquest. The paintings are pictorial and illustrate aspects of native life and ritual. The narrative form of these paintings is what is new, a result of western intrusion into the Andean area, and it replaces pre-Hispanic abstract geometric designs. Three art historical problems are raised in relation to this shift from abstract to pictorial narrative imagery: what are the pre-Hispanic elements in these paintings; what are the Western elements; and how are they combined? This study proposes that these problems cannot be resolved only by examining the colonial kero imagery alone. Rather the formal and iconographic construction of these images is a part of greater colonial transformation of Andean symbolic expression and cultural identity. To understand the new kero imagery at this level of meaning, it is necessary to investigate the role of the kero itself in the pre-Hispanic period and to see how that role continued in an altered form into the colonial period. By studying the form of the vessel and its use in relation to the iconography and composition of the colonial imagery, it can be shown that there is an interdependent signifying relationship between the symbolic social use of the vessel and the narrative paintings. It shall be argued that this relationship is based upon the expression of Andean social structure and power within that structure. It shall also be argued that that expression existed within the form and use of the kero during the pre-Hispanic period and that only during the colonial period, for specific historical reasons, did the kero vessel{\textquoteright}s symbolic content need to be declared in a narrative pictorial form. This declaration of traditional norms and values in a new form is thus an expression of the inherent contradiction of a colonial society.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Thomas Bitting Foster Cummins} } @mastersthesis {7241, title = {American Tableaux of the Sixties: A Study of the Work of Edward Kienholz, Claes Oldenburg, and George Segal}, year = {1988}, school = {CUNY}, abstract = {In the dynamic period of the sixties, Kienholz, Oldenburg, and Segal reinvigorated the tradition of tableau in order to engage the spectator in the conditions of American society. This dissertation sets forth Diderot{\textquoteright}s tableau concept of a dramatic scene, including its stop action, in a staged space without spectators, proposes the Dadaists{\textquoteright} and Surrealists{\textquoteright} changes in the eighteenth century format, and introduces new influences in the fifties from the visual and performing arts. Chapter one pinpoints three publications of 1951-52 which provide crucial models for these young artists: Harold Rosenberg{\textquoteright}s article stressing the "living drama" of the Abstract Expressionists; Cyril Connolly{\textquoteright}s article emphasizing the Surrealist object and the environmental exhibition; and Robert Motherwell{\textquoteright}s anthology of Dadaist texts and art ranging from Tzara and Schwitters to Duchamp. Chapter two discusses the three artists{\textquoteright} early work (1958-64) and the formation of their attitudes towards sculptural tableau. The issue is what they obtained from traditional variants of tableau as monuments and moving pictures, the Abstract Expressionist legacy of an art of the environment, assemblages of ordinary objects, and Happenings. Allan Kaprow{\textquoteright}s publications on aspects of environmental art are used as a gauge for these three artists{\textquoteright} diverse choices for their tableau format. Since critics were initially oriented to the ambiguous meanings of this Neo-Dada and/or Pop Art rather than to the idea of tableau, chapter three focuses on how the three artists used the Dadaist-Surrealist concerns of chapter one and how they built new themes. Their themes are the urban street, the new grotto, social-political events, and the artist in his studio. Since literalism and an environmental focus are common to Pop and Minimal Art and since Michael Fried grouped these three artists under the theatrical effects of Minimal Art, chapter four suggests comparisons between these three artists and the Minimalist Robert Morris. The conclusion is that these three artists used the Dadaist-Surrealist base of Motherwell{\textquoteright}s anthology versus Morris who worked with its abstract Dadaist-Constructivist examples. Kienholz, Oldenburg, and Segal used sculptural tableau to move sculpture off its formal axis and into an arena of contextual response.}, keywords = {Art of the United States (except Photography and Film)}, author = {Clark-Langager, Sarah} } @mastersthesis {7264, title = {Antoine Watteau{\textquoteright}s Fete Galante and Its Relationship to Early Eighteenth-Century Dance}, year = {1988}, school = {Yale}, abstract = {The aristocratic figures in Antoine Watteau{\textquoteright}s fetes galantes stand out markedly from their pictorial precedents in manifesting artfully refined postures and dynamic networks of interplay. Recent interpretations of the fete galante have focused upon its iconography, without recognizing that the distinctive way in which the figures are represented is as important as the subject matter for the evocation of elegant and provocative interaction. This dissertation directs attention to the artful mode of representation in the fete galante and shows that it parallels in both structure and meaning the aristocratic dance of the early eighteenth century. The examination proceeds chronologically; it shows how Watteau gradually developed figural postures and relationships which share with the aristocratic dance a union of corporeal naturalism and stylized pattern. Specific structural comparisons are combined with an examination of the function and goals of the dance to show that Watteau was articulating pictorially contemporary ideals of aristocratic comportment, interaction and eroticism. The first part of the study demonstrates how Watteau used various decorative systems to create a sense of the body united with dancelike style--efforts which culminated in his representations of the dance itself. The central section argues that Watteau developed the dynamic gatherings of the fete galante directly out of these portrayals of dance, and it compares the layered systems of interaction in the fete galante to the erotic tensions and kinetic patterns of dances unfolding in time. An analysis in this section of the impulses underlying aristocratic socializing in the early eighteenth century reveals the Watteau{\textquoteright}s gatherings surpassed the dance itself in realizing the contemporary goal of a decentralized "ritual" for aristocratic display and interaction. The examination concludes by pointing out the close interrelation between eighteenth-century writings on Watteau and on aristocratic dance, to argue that contemporary attitudes toward the fete galante were directly informed by ideals of the dancing body.}, keywords = {Baroque and 18th-Century Europe}, author = {Cohen, Sarah R.} } @mastersthesis {7260, title = {The Architecture of Firuz Shah Tughluq}, year = {1988}, school = {Ohio State}, abstract = {The monuments built by Firuz Shah Tughluq, the sultan of Delhi from 1351 to 1388 A.D., represent an important phase of Indo-Islamic architecture of northern India. Firuz Shah was an active patron of architecture and is credited with building numerous monuments, many of which are extant today. This study examines the historical circumstances, literary sources, epigraphy and archaeological remains which survive from his reign. A survey of his monuments is compiled from literary sources, and three of his most ambitious projects are examined in depth. The first, the Friday mosque and lat-pyramid of his capital, Firuzabad, located in modern-day Delhi, served as his imperial mosque. The second complex at Hauz Khas, located on the south edge of Firuzabad, is the site of a renowned madrasa and the sultan{\textquoteright}s mausoleum, which contains the only surviving corpus of religious epigraphy from his reign. The third complex includes the Lat-ki Mosque and palace at Hissar, a frontier outpost in the modern state of Haryana. The individual structures of these three complexes are representative of the architectural forms and austere style associated with Firuz Shah. Firuz Shah{\textquoteright}s architecture has formal ties with architecture of the western Islamic world and stylistic affinities with both Islamic and non-Islamic building traditions of India. Motives for the sultan{\textquoteright}s ambitious building projects are found in the sultan{\textquoteright}s orthodox and pious temperament and in the political and religious climate of the reign. The architecture of Firuz Shah was influential both for the fourteenth century sultanate architecture of India and for later Indo-Islamic architecture.}, keywords = {Asian Art}, author = {McKibben, William Jeffrey} } @mastersthesis {7281, title = {Armenian Gospel Illustration: The School of Vostan (1390-1437)}, year = {1988}, school = {IFA/NYU}, abstract = {Hundreds of Gospels illuminated in Armenian communities around Lake Van, ca. 1290-1500, carry similar cycles of illustrations, always in the first one or two gatherings of the codex. A lengthy set of scenes of Christ{\textquoteright}s life precede the canon-tables. Each Gospel carries fifteen to thirty scenes, drawn from a repertoire of no more than sixty. Since about ten scenes are extremely popular (e.g., the Nativity, Presentation, Baptism), these cycles all resemble one another, so that although affinities can be established among Lake Van manuscripts on the basis of similar image-cycles, it is hard to establish clear-cut groups. An analysis of Gospels from Xizan makes this clear; although the eight manuscripts Sirarpie Der Nersessian compares to Walters Art Gallery 543 carry similar cycles, none are identical. It is best therefore to depend on the evidence of colophons to group Lake Van manuscripts. Four Gospels carry colophons stating they were illustrated at Vostan (modern Gevas, Turkey), 1390-1418. They are distinguished by their use of the Sacrifice of Isaac and a set of miracles including the Wedding at Cana, the Multiplication of Loaves, and the Raising of Lazarus. Although these scenes occur elsewhere around Lake Van, they appear together in only two other Gospels. One is from Narek (near Vostan), and the other may have been commissioned by a patron connected with Vostan. Several of the scenes which distinguish the Vostan Gospel cycle can be interpreted as defending native Armenian practice and dogma against the teachings of Roman Catholic missionaries active in fourteenth-century Armenia. The Sacrifice of Isaac is associated with the matal, or animal sacrifice. The Wedding at Cana and the Multiplication of Loaves defend the Armenia Eucharist. The Raising of Lazarus pictures a moment in the miracle used by Armenian exegetes to attack Chalcedonians as duophysites. The Vostan Pentecost is unusual in including Christ enthroned above evangelist symbols, turning the missionary image of the Mission to the Apostles into an affirmation of the universality of Divine Grace.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Taylor, Alice} } @mastersthesis {7257, title = {The Art of Persuasion: Narrative Structure, Imagery, and Meaning in the Illustrated Life of Saigyo}, year = {1988}, school = {UC Berkeley}, abstract = {The Saigyo monogatari emaki (Illustrated Life of Saigyo) is an illustrated account of the life of a famous twelfth century poet and wandering monk, Saigyo. Of an original set of either three or four scrolls, two scrolls survive: the first, property of the Tokugawa Reimeikai, describes events leading up to Saigyo{\textquoteright}s decision to become a Buddhist monk; scroll two, owned by Manno Hiroaki, depicts the first of several solitary journeys taken by Saigyo. The handscroll text includes many of Saigyo{\textquoteright}s poems, and the paintings often portray moments of poetic inspiration. The research conducted for this dissertation suggests that the Saigyo monogatari emaki was produced in the third quarter of the thirteenth century, by a professional artist of the imperial court atelier (edokoro). Moreover, the function of the Saigyo monogatari emaki appears to have been to advocate the practice of religious reclusion, both as a means to salvation and as a form of refuge from the difficulties of life as a member of the court. In other words, Saigyo was presented in the handscroll as an exemplar of reclusion, and it was the artist{\textquoteright}s task to persuade viewers that Saigyo and his reclusive lifestyle were worthy of emulation. Much of the dissertation is devoted to demonstrating how that task was accomplished. Thus, the first half of the dissertation{\textquoteright}s title: The Art of Persuasion. The remainder of the title--Narrative Structure, Imagery and Meaning in the Saigyo monogatari emaki--suggests the methods used to investigate the handscroll. Narrative structure refers to the manner in which the artist organized his pictorialization of the text. An analysis of the handscroll{\textquoteright}s narrative structure occupies the first two chapters. The term imagery encompasses both the artist{\textquoteright}s selection of figural and landscape motifs, and his manner of shaping those motifs--the subject matter of Chapter Three. Meaning is the focus of Chapter Four, which attempts to position the Saigyo monogatari emaki within the context of relevant historical trends during the middle thirteenth century.}, keywords = {Asian Art}, author = {Allen, Laura Warantz} } @mastersthesis {7251, title = {The Ascendency of Modern Public Sculpture in America}, year = {1988}, school = {Stanford}, abstract = {The dissertation explores the origins of modern public sculpture and seeks to trace historically its emergence in America following the Second World War. The study begins by examining academic public art, typified by the sculptural scheme at Rockefeller Center of the 1930{\textquoteright}s and the beaux-arts statuary executed after World War II for the American military cemeteries overseas. The opening chapter also surveys federal arts policy during the Truman and Eisenhower years, the movement among art advocates to increase the government{\textquoteright}s involvement, and the political activities of the coalition against modern art. The next section considers the desire of modern artists in Europe to create public art before World War II and introduces the most influential post-war European precedents, including, the Unknown Political Prisoner competition of 1953, sculptures by Zadkine and Gabo in Rotterdam, and the art program for Unesco Headquarters in Paris. The remaining four chapters analyze how and why modern public sculpture came to be commissioned nationwide. "Public Art for Private Purposes" follows the initial use of modern sculpture after the war by a small number of architects to when clients, notably corporations, themselves initiated such commissions by the late 1960{\textquoteright}s. "Municipal Commissions" examines the histories of three prominent public sculptures that became recognized symbols of their cities (Saarinen{\textquoteright}s Gateway Arch in St. Louis, the Picasso in Chicago, and Toronto{\textquoteright}s Archer by Henry Moore) and subsequently considers Seattle{\textquoteright}s program to commission more modest works spread throughout the city. The chapter on the National Endowment for the Arts traces through the Kennedy and Johnson years the increasing recognition of the arts--particularly modern art--in the national interest and reconstructs the early history of the NEA{\textquoteright}s Works of Art in Public Places program, inaugurated by Alexander Calder{\textquoteright}s La Grande Vitesse in Grand Rapids (1969). Finally, the history of federal "art in architecture" policy is reviewed in the section on the General Services Administration, whose acquisition of Calder{\textquoteright}s Flamingo for the Chicago Federal Center led to a parade for the artist and the declaration of "Alexander Calder Day" in Chicago (25 October 1974), an indication that by this time modern public sculpture had become firmly established in America.}, keywords = {Art of the United States (except Photography and Film)}, author = {Wetenhall, John} } @mastersthesis {7284, title = {Attic Eye-Cups of the Archaic Period}, year = {1988}, school = {IFA/NYU}, abstract = {Between the years of ca. 530 and 500 B.C. the production of black- and red-figured drinking vessels was influenced by a singular phenomenon--the eye-cup. They were produced in the major and minor workshops of Athens and were painted by great artists and those of lesser talent. The decoration consists of a pair of large eyes drawn on the exterior, with a nose or figures between them. The scheme appears on cups of every kind (as well as on vessels of other shapes) but by far the greatest number is found on Type A. On black-figured cups the scleras or "whites" of the eyes may be glazed black, painted white, or outlined in black and left in reserve. Most cups feature large gently curved eyes with pronounced tear glands, but there is a frequent variation; smaller and almond-shaped, they are known as feminine eyes. The cups in this study are classified according to a simple division, the color of the eyes, and within each category are broken down by shape. One of the finest and possibly the earliest eye-cup was potted and painted by the great Attic master, Exekias. Using his cup as a focal point, this study explores the eye-cup{\textquoteright}s early stages, its development into canonical form, its variations and deviations from the standard type, and finally its decline. Auxiliary ornament is used as the framework, for by analyzing particular decorative schemes and patterns connections between pottery workshops and individual painters may be observed. Although cups with white and black eyes reflect the cup by Exekias in various ways, each group maintains certain individual decorative schemes and subject matter. All examples, however, must be viewed against the backdrop of red figure, which was born nearly simultaneously with the introduction of the eye-cup. Red figure soon became the dominant technique and those painters quickly and successfully adopted the eye scheme. Nevertheless, with some of the finest cups coming from the workshops of Andokides, Hischylos, and Nikosthenes, black figure satisfactorily met the challenge, and the large number produced--nearly 2,000 have survived--attests to their significance.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Jordan, Jeanne} } @mastersthesis {7288, title = {The Attributes of Athena in Athenian Narrative Art ca. 675 to 530 B.C.}, year = {1988}, school = {Maryland}, abstract = {The early image of Athena has never been adequately examined, and with the exception of a few scattered comments in scholarly publications her attributes have never been fully discussed or analyzed. The catalog presented here, which forms the foundation of my study, contains all known extant narrative images of Athena in Athenian art between ca. 675, when her first image appears, and 530, when Attic red-figure begins. An auxiliary catalog of images of Athena produced outside Athens during this same period is included for purposes of comparison. Athena{\textquoteright}s aegis had several different treatments based upon familiar types of clothing and body armor. Her Attic helmet also has many different versions, most of which are based upon actual Greek helmets, but with the addition of a tall stilted crest for a grander image. Her shield is usually the standard hoplite shield, decorated with a variety of emblems, many of which are connected symbolically with the goddess. The direction in which Athena holds her spear is related to pose and to subject matter. Her owl, snake (aside from as an addition to the aegis), and olive, are rarely shown in the sixth century. Athena usually appears fully armed in battle scenes, and in scenes where she appears with Zeus. She often appears at least partially armed in most other scenes, except the Judgement of Paris, in which she usually appears without any attributes. Athena is unarmed in seventh century Athenian art. Although she first appears armed ca. 600, it is not until ca. 575 to 550 that Athena{\textquoteright}s armed image begins to take hold in Attic art. Between 550 and 530, two decades in which Peisistratos reigned as tyrant, the armed Athena becomes the norm. The creation of a new more impressive image of the goddess is due to, and goes hand in glove with, the unification of Attica and the rise of Athens to prominence among Greek city-states in the sixth century under the leadership of Peisistratos and others before him.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Marx, Patricia Ann} } @mastersthesis {7308, title = {Baldassare Peruzzi and His Patrons: Religious Paintings in Rome, 1503-1527}, year = {1988}, school = {Northwestern}, abstract = {Baldassare Peruzzi was a talented and much sought after artist of the Italian Renaissance. Most scholarly attention has been focused on his contributions, both architectural and painting, at Agostino Chigi{\textquoteright}s Farnesina. However, Peruzzi also executed many religious works and this aspect of his career has received very little attention, except for Christoph Frommel{\textquoteright}s Baldassare Peruzzi als Maler and Zeichner. This study investigates four specific commissions that Peruzzi received for religious works to be done in Roman churches: the main altar frescoes at Sant{\textquoteright} Onofrio, the Ponzetti Chapel at Santa Maria della Pace, the Presentation of Mary at the Temple at Santa Maria della Pace and Saint Bernard of Clairvaux at San SilVestro al Quirinale. Focus will be placed on the patrons, their relationships and associations with Peruzzi as well as with each other. Such a patronage ambience will shift the emphasis towards discovering how one particular patron, Agostino Chigi, was instrumental in Peruzzi{\textquoteright}s receiving many of these commissions. Furthermore, by using a patronage perspective and, therefore, understanding more about the individual who paid for the works, a more in-depth analysis can be made for the paintings understudy, resulting in a clearer interpretation of each. The frescoes at Sant{\textquoteright} Onofrio will be interpreted according to the beliefs of the Hermits of Saint Jerome; the Ponzetti Chapel will be related to Augustinian ideas; the Presentation of Mary at the Temple will be found to convey a theme of Charity and Saint Bernard of Clairvaux will reveal the patron{\textquoteright}s vows as a Cistercian. In summary, a more precise understanding of Peruzzi{\textquoteright}s religious works as well as Peruzzi{\textquoteright}s career as religious painter will lead to a better understanding of the artist at work within the social circles of Renaissance Rome.}, keywords = {The Renaissance}, author = {Stollhans, Cynthia} } @mastersthesis {7300, title = {Bellissima donna: An Interdisciplinary Study of Venetian Sensuous Half-Length Images of the Early Sixteenth Century}, year = {1988}, school = {UC Berkeley}, abstract = {The sensuous female half-length constitutes a fundamental stage in the process by which the female body is objectified as a "sight." It is a distinct genre invented in the early sixteenth century in Venice, and not in Milan. Four characteristics--a mode of dishabille, a distinctive costume consisting of a camicia and a drape, a side-long glance and, most importantly, an active but ambiguous gesture--define the genre and distinguish it from portraiture. Proposed by Giorgione, the sensuous half-length initiates a "third" genre for depicting women, locating the figure in a state of undress between the formal public presentation of the full-dress portrait and the classicizing nude. The relatively large numbers in which these paintings survive, both in the standard form and in many adaptations, indicate that the genre must have held strong interest for the Venetian male audience of art buyers. An examination of the historical situation of Venetian patrician women, who shared the social status of art patrons, demonstrates at once their marginality to the sources of power in Venice (the state, the family) and their centrality in festive contexts. Thus located, Venetian women occupied a social role of structured visibility which cast them as image, as bellissima donna, and made them available to function as a focus for unresolved contradictions between aristocratic styles and republican values. This functional tension is best demonstrated in sixteenth-century sumptuary laws. The implicit ambiguity in the role of patrician women extends to the courtesan, at once bracketed with the lady as bellissima donna, and cast as the lady{\textquoteright}s other, but as a logical extreme of womanhood. The half-length paintings parallel and articulate tensions surrounding women in Venetian society. The pictures locate the depicted figure precisely at the intersection of oppositions and present a seductive, generic image in which the woman{\textquoteright}s gesture makes her appear to control access of the viewer{\textquoteright}s gaze to her body. She is effectively assigned an active and thus responsible role vis-a-vis the audience. When the sensuous half-length is extended to include exemplary women and female saints traditional types are transformed; female action is redefined as and limited to sexuality.}, keywords = {The Renaissance}, author = {Junkerman, Anne Christine} } @mastersthesis {7231, title = {Berthe Morisot (1841-95) - Images of Women}, year = {1988}, school = {Yale}, abstract = {No record in ProQuest}, keywords = {19th- and 20th-Century Europe}, author = {Anne Higonnet} } @mastersthesis {7248, title = {Between Two Continents: George Rickey, Kinetic Art, and Constructivism, 1949-69}, year = {1988}, school = {UT Austin}, abstract = {George Rickey (b. 1907) is an American kinetic sculptor whose artistic career spans over half a century, from the early 1930s to the present. Unlike Alexander Calder, the inventor of the mobiles and Rickey{\textquoteright}s predecessor, Rickey has not received scholarly attention, except for the biographical study by Nan Rosenthal published in 1977. This dissertation attempts to place Rickey{\textquoteright}s works in the broader framework of the history of art after World War II, both in the U.S. and in Europe, employing a twofold approach. Firstly, closer attention is given than in Rosenthal{\textquoteright}s study to Rickey{\textquoteright}s development of kinetic sculpture between 1949 and 1968. Examination of the brief Calderesque period is followed by that of the 1950s when Rickey developed new mechanisms in relation to a variety of themes. Rickey{\textquoteright}s work of the 1960s is represented by the Lines series: discussion focuses not only on its formation and the typology of the smaller pieces but also on the maturation of large-scale outdoor works. These large-scale works constitute Rickey{\textquoteright}s major achievement of the decade as well as his entire career. Secondly, a series of events which marked Rickey{\textquoteright}s career from his Regionalist period in the 1930s to 1968 provides insight into a key issue: how Rickey, an author of Constructivism: Origins and Evolution (1967), became a Constructivist. At each stage of his development, Rickey{\textquoteright}s work and writing are studied with regard to issues that pertain to kinetic art, Constructivism and American sculpture. These include color, "machine aesthetics," and subject matter in the 1950s; titles, geometry, methodical approach, "multiples," the environment, and time in the 1960s. Although Rickey{\textquoteright}s medium, kinetic art, is of European origin, Rickey is not a mere American agent of the European kineticism, for his "American-ness" strongly and undeniably resides in the large-scale and the quasi-minimalist style of the Lines and the Planes. Thus the title of this dissertation, "Between Two Continents," refers to his dual "nationality," so to speak, found both in his biographical background and artistic career.}, keywords = {Art of the United States (except Photography and Film)}, author = {Tomii, Reiko} } @mastersthesis {7272, title = {Books of Hours in the {\textquoteright}Fouquet Style{\textquoteright}: The Relationship of Jean Fouquet and the Hours of Etienne Chevalier to French Manuscript Illumination of the Fifteenth Century}, year = {1988}, school = {Cornell}, abstract = {Jean Fouquet has long been considered one of the most influential figures in French art of the fifteenth century, although the means of this influence have never been established. Instead, this presumed influence rests on two major assumptions: (1) that he journeyed to Italy in the 1440s, returning with the artistic ideals of the Italian Renaissance; and (2) that he passed on the innovations of his most famous work, the Hours of Etienne Chevalier, to a large number of "workshop pupils." But factual support for the Italian trip is tenuous, and no documentary or codicological evidence has ever been established for the existence of a Fouquet manuscript-illumination workshop. This thesis tests these presumptions by searching among Fouquet-related Books of Hours for evidence of such a Fouquet illumination workshop. Combining the codicological method with analysis of style and iconography, this study divides these manuscripts into two different groups. Those Books of Hours with Fouquet miniatures are examined to see how Fouquet{\textquoteright}s contribution came to each manuscript. Those Books of Hours which reflect Fouquet{\textquoteright}s style or compositions from the Hours of Etienne Chevalier are studied for evidence of a common workshop origin, including similarities in painting techniques, production sequence, borders and other secondary decoration, and iconography. These latter Books of Hours test the impact of Fouquet{\textquoteright}s masterpiece, the Hours of Etienne Chevalier, on more standard, commercial illumination. The results reveal that Fouquet did not produce Books of Hours; instead, he received his commissions as an independent contractor. In addition, rather than reflecting a common workshop origin, Fouquet-related Books of Hours merely partake of a common tradition: the commercial emulation of the Fouquet style. Indeed, the Hours of Etienne Chevalier itself may have depended in part on the types of models shared by these more standard manuscripts. Libraires, or booksellers, may have been the major vehicles for spreading this commercial reflection of Fouquet, bringing artists and artisans together as necessary to complete books commissioned through their shops. Thus Fouquet{\textquoteright}s influenced standard illumination only indirectly, through the power of reputation and the desires of patrons, rather than through workshop practices.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Clancy, Stephen C.} } @mastersthesis {7252, title = {Burdens and Rewards: Some Issues for American Artists, 1865-1876}, year = {1988}, school = {Maryland}, abstract = {The rich and varied body of American art of the Reconstruction years (1865-1876) has received too little attention from art historians. Art of these years has often been criticized or belittled for its failure to be more adventurous without raising the question of why this might be so. This study responds to that question by considering art and artists in the context of their own time, the Civil War and the years immediately following. A review of the works of art that received significant recognition in important public exhibitions, critical opinion and representative literary works offers clear evidence that artists took on an important responsibility in the Reconstruction of the country, a responsibility that typically limited their choices to positive themes and subjects in the name of loyalty. Themes of reconciliation, of promise and of the past influenced artists{\textquoteright} choices of subject matter for both landscape and genre painting, the latter often with a strong emphasis on children. Artists and their substantial middle class patrons, in many cases members of the same close cultural establishment that the national emergency had fostered, shared similar values that denied much of post-war anxiety by emphasizing an optimistic view of America. As a result patrons rewarded their artist colleagues well for works of art that supported this view. Yet, in spite of the historical circumstances--a narrowed range of choices for which the financial rewards were often generous--gifted American artists like Albert Bierstadt, Thomas Eakins, Winslow Homer, Eastman Johnson, Frederick Kensett and George Inness, created many works of art that were perceptive and powerful. In both affirming the future and dealing with a sense of loss, these works often pointed to deeper issues within the common life of the country.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Baxter, Jean M. Taylor} } @mastersthesis {7262, title = {The "Caprichos" of Francisco Goya}, year = {1988}, school = {Stanford}, abstract = {Ever since Baudelaire praised Francisco Goya{\textquoteright}s "believable monstrosity," the eighty prints of Los Caprichos (1799) have elicited a wide range of responses from artists, critics, and casual observers. This study unites a technical and stylistic examination of the prints and drawings with an iconographical investigation of the series{\textquoteright}s content and its relationship to the Spanish Enlightenment. After a discussion of the major cultural and political issues of the day, a survey of eighteenth-century Spanish art and printmaking delineates the artistic parameters of Goya{\textquoteright}s time. Then, the creative processes of his early prints are discussed with emphasis on the aquatint experimentation in the Velazquez reproductions. Part Two treats the long formative period from the Velazquez prints to the genesis of the Caprichos, incorporating extensive quotations (in translation) from the recently published letters to Zapater with an assessment of Goya{\textquoteright}s early art, especially the tapestry cartoons and drawing albums, in which he began to evolve the subject matter and serial expression later developed in the Caprichos. Certain much-discussed factors perceived as crucial in the 1790{\textquoteright}s--including Goya{\textquoteright}s illness of 1792 (a putative personal and artistic "turning point"), his association with proponents of the Spanish Enlightenment, the degree to which he may have veiled his artistic message for fear of the Inquisition, and the influence of the French Revolution and related political events--are evaluated for their significance to the Caprichos. Part Three is devoted to an analysis of Goya{\textquoteright}s style and technique in the Caprichos, based on a thorough examination of the preparatory drawings, working proofs, and first printed impressions. His extraordinary innovations in aquatint are discussed in detail, and a chronology of preparatory drawings and prints is developed. Finally, that stylistic chronology is integrated with iconographical analysis in Part Four. Traditional and innovative aspects of the prints are discussed in a synthesis incorporating many paths of investigation, including a more precise identification of Goya{\textquoteright}s connections with both the Enlightenment and Baroque culture, his sources in literature and art, the ideological significance of the Caprichos, and the manner in which he combined subject manner, captions, sequencing, and word plays to evoke multiple layers of ambiguous, contradictory meaning.}, keywords = {Baroque and 18th-Century Europe}, author = {Askew, Mary Huneycutt} } @mastersthesis {7305, title = {The Caracciolo di Vico Chapel in Naples and Early Cinquecento Architecture}, year = {1988}, school = {IFA/NYU}, abstract = {The Caracciolo di Vico Chapel (ca. 1514 ff.) is located in the church of S. Giovanni a Carbonara, Naples. This dissertation presents the Cappella Caracciolo as a key monument of the High Renaissance, belonging with Raphael{\textquoteright}s Chigi Chapel and Michelangelo{\textquoteright}s Medici Chapel in its function as a dynastic mortuary chapel, in its use of precious materials and monumental decorative forms all{\textquoteright}antica, and in its integration of sculpture and architecture. The text includes chapters on the quattrocento history of S. Giovanni a Carbonara, the Carracciolo family as patrons, and discussions of the chapel{\textquoteright}s precocious architecture and decorative program. Transcriptions of the relevant documents and a catalogue of sculpture (ca. 1516-1778) form the appendices. The problem of attributing the design of the Cappella Caracciolo di Vico comprises a substantial part of this monographic study. The architect of the chapel is undocumented, although two Spanish sculptors, Bartolome Ordonez and Diego de Siloe, are recorded as having worked on the sculptural altarpiece (ca. 1516-19). From extensive stylistic analysis, it is clear that the chapel{\textquoteright}s architectonic structure and its ideological underpinnings were only then being experimented with by Rome{\textquoteright}s most sophisticated patrons and architects. With its circular plan, coffered dome, and forward-looking Doric order, the Caracciolo Chapel makes direct refence to the Pantheon and to High Renaissance Roman architecture with unprecedented specificity. Yet its hyper-sculptural, combination of architectural forms suggests that its designer was fluent in but not a native speaker of the High Renaissance classical language: exactly what might be expected of a Spaniard accustomed to ornamental profusions. It may be that Diego de Siloe, who became a famous architect in his own right, was responsible for the final arrangement of a Bramantesque design which surely originated in the circle of Guiliano da Sangallo. The astonishing similarity of the Neapolitan chapel to Siloe{\textquoteright}s later work in the province of Granada strengthens the cross-cultural aspects of this thesis. Siloe was a young foreigner struggling in Italy with the powerful central Italian tradition, and his experience of the Caracciolo Chapel helped to determine the stylistic course of sixteenth century Spanish architecture.}, keywords = {The Renaissance}, author = {Nichols, Charlotte} } @mastersthesis {7274, title = {The Compositional Functions of Frame Format in Some Tuscan Panel Paintings, 1250-1350}, year = {1988}, school = {Michigan}, abstract = {This study examines the relation of pictorial composition to frame and format shape in horizontal dossals and frontals from the Duecento and first half of the Trecento in Tuscany. This relationship is discussed through a method that integrates historical context and function with visual analysis based upon some aspects of Rudolf Arnheim{\textquoteright}s work in the psychology of visual perception. The study focuses upon how format, i.e. the ratio of horizontal to vertical space, and frame ornament, define composition within a given space. The principal works examined are the horizontal altar frontal and altarpiece, a type often used in Italy in the two centuries between 1150 and 1350. In contrast to gabled dossals or polyptychs, the horizontal panel reflected the shape of the altar table. As the central figures could not be differentiated by height through vertical extension, this shape posed special visual challenges. The artist had to find ways to separate the central figures from those of the side areas, and to express their more abstract or divine nature within a trabeated frame. The horizontal panel was usually divided into three sections, the central area for the main figures being flanked by two lateral spaces. The internal compositions of these works help to convey the religious message associated with their use in the liturgy. While the original context of these panels has been lost in almost every case, the spatial divisions inside the panel, the visualization or denial of gravity, the overlapping of frames by compositions, and the use of frame ornament, have much to convey as to how religious figures were made visually independent from or partially conformed to the constraints of physical space. After a discussion of pictorial composition in the center sections, some different visual approaches to narrative, the control of movement and action in horizontal space, and the integration of the center and side areas are examined. The method of analysis also suggests different approaches to attribution and dating in some examples. The final section traces some developments in the framing systems of polyptychs dating from the first half of the Trecento.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Taylor-Kelley, Laurie} } @mastersthesis {7268, title = {Contending Ideals: The Nobility of G.B. Paggi and the Nobility of Painting}, year = {1988}, school = {Johns Hopkins}, abstract = {This study attempts to elucidate the centrality of the ideal of the noble and liberal art of painting to the life of G. B. Paggi (1554-1627), a Genoese nobleman who became a painter. The first three chapters are devoted to a critical biography of the artist, each of which treats a specific period: (I) the early years in Genoa (1554-1627), focusing on Paggi{\textquoteright}s education, his acceptance into the libro d{\textquoteright}oro, and his involvement in a murder and subsequent banishment from Genoa; (II) Paggi{\textquoteright}s exile in Florence where he was friend and painter to the Florentine court, as well as his role in the Florentine Accademia del Disegno; (III) the period of his repatriation at which time Paggi conducted his own studio and academy, which, for the first quarter of the seventeenth century, was frequented by the artists who were to establish the conventions of the Genoese Baroque style. In order to suggest the full range of Paggi{\textquoteright}s artistic career, I have integrated a chronology of his major public commissions into the biographical narrative. The fourth chapter concerns the litigation in Genoa during which the exiled Paggi argued forcefully in favor of the separation of the painters from their former alliance with the "arte de{\textquoteright}pittori et doratori." Following a detailed analysis of the documents pertaining to the trial, Paggi{\textquoteright}s role in the unprecedented legal decision to elevate painting to a liberal art is carefully examined. In the final chapter (V) I address a corpus of drawings that I have identified as part of now-dispersed notebooks with records of painting. These inscribed drawings were meant as a more or less complete catalogue of the artist{\textquoteright}s oeuvre, a practice that presages Claude Lorrain{\textquoteright}s Liber Veritatis. Paggi{\textquoteright}s collection of books, drawings, paintings, sculpture and prints (discussed in Chapter III and documented in Appendices III and V) is arguably one of the few extant testimonies to the impact of Alberti{\textquoteright}s and Leonardo{\textquoteright}s model of the learned painter during the late Renaissance. In illuminating the breadth of his political, social, literary and artistic enterprises I hope to prove that the epithet given to him by Marino (La galeria), "il ligustico Apelle," should not be perceived as a mere poetic topos, but rather as an appropriate accolade to the ideals to which Paggi aspired.}, keywords = {Baroque and 18th-Century Europe}, author = {Lukehart, Peter M.} } @mastersthesis {7307, title = {Correggio{\textquoteright}s Frescoes in Parma Cathedral}, year = {1988}, school = {Pennsylvania}, abstract = {Antonio Allegri da Correggio{\textquoteright}s frescoes in Parma Cathedral (1526-30), which depict the Assumption of the Virgin, represent the largest and most ambitious project of the artist{\textquoteright}s career and are a testament to the power of his intellectual as well as formal vision. No adequate treatment of the content of this important painting or of its striking illusionistic system has been attempted. This study, by addressing the painting in the context of the architectural setting, presents an understanding of the fresco as a series of complementary and meaningful views. These views are more accessible to the congregation and to the clergy than the single exceptional central view chosen for discussion by all previous scholars. For the viewer proceeding through the church, the architectural setting becomes a series of frames which cut off and present a succession of views of the total dome painting. Correggio thus turned the limitations of the architecture into an opportunity to create, within one cycle, a separately revealed sequence of pictures. He tailors each vista to the physical and spiritual station of the particular observer. The fresco visible to the gathering of faithful in the nave is of a popular substance. At the altar, revelation is complete and the ecstatic union of Christ and his mother, representative of the church, is imminent. The import of the scene facing the apse reminds the bishop and clergy of their pastoral duties while sustaining the symbolic meaning of the Assumption. While Correggio{\textquoteright}s Assumption is often described as "proto-Baroque," and is indeed the model for Baroque dome decoration, this analysis shows his accomplishment to be not a chronological aberration, but the most extensive and unified use of the Renaissance principle of viewer accommodation. Correggio{\textquoteright}s painting is an impressive visualization of the story and theology of the Assumption of the Virgin into heaven; as a programmatic reinforcement of the proper relationships of persons and places in the church, it is an illustration of the Renaissance conception of the world as a systematically structured social and spiritual hierarchy.}, keywords = {The Renaissance}, author = {Smyth, Carolyn} } @mastersthesis {7299, title = {The Drawings of Beccafumi}, year = {1988}, school = {Princeton}, abstract = {As the study of Cinquecento art in Central Italy has tended to focus on the Roman and Florentine "schools," the Sienese painter Domenico Beccafumi (ca. 1486-1551) has remained a peripheral figure. Although his early work is frequently grouped with Rosso{\textquoteright}s and Pontormo{\textquoteright}s, and his mature style anticipates the maniera of Bronzino and Vasari by a decade, a systematic study of his draftsmanship is lacking. The purpose of this dissertation is to define the corpus of Beccafumi{\textquoteright}s drawings, to describe their stylistic development and to place them within the context of his oeuvre as a whole. As the majority of Beccafumi{\textquoteright}s drawings are preparatory for particular compositions, the thesis is organized chronologically to follow the evolution of style in drawing and painting simultaneously. Drawings will be described in functional terms, i.e., as pensieri, studi, modelli, cartoons and auxiliary cartoons, in order to trace the evolution of pictorial ideas and document Beccafumi{\textquoteright}s working process. It will be seen that his preparatory methods differ from the Central Italian theory and practice of disegno, particularly as it is described by Vasari, in his lack of concern for the nude figure study, in his manner of composing multi-figured narrative, and in his use of tempera and brush as a preparatory medium. Drawings will be examined as a means to understanding Beccafumi{\textquoteright}s basic formal concerns, in particular his interest in narrative drama and clarity within the context of Mannerist aesthetics and his concern for the effects of chiaroscuro in the generation and perception of form from the earliest stages of a composition{\textquoteright}s development. In several cases drawings document lost or damaged works; in the case of the San Martino Nativity they sustain an attribution. The corpus of 129 authentic drawings described in the catalogue includes a number of sheets either unpublished or mentioned only briefly in the literature. A substantial number of drawings have been eliminated from the oeuvre and are listed in the catalogue of rejected attributions. A sketch book sometimes attributed to Beccafumi but almost certainly by his pupil Macro Pino is discussed in the appendix.}, keywords = {The Renaissance}, author = {Gordley, Barbara Pike} } @mastersthesis {7235, title = {The Early Sketches of Erich Mendelsohn (1887-1953)}, year = {1988}, school = {Stanford}, abstract = {This dissertation provides an interpretation of Erich Mendelsohn{\textquoteright}s early sketches, focusing on the analysis of the forms of the depicted projects. In contrast to earlier studies, Mendelsohn{\textquoteright}s letters are used as the primary interpretive instrument. A search for sources in earlier buildings, industrial design, the biographical, artistic-architectural and social context of the creation of these designs is conducted. This dissertation establishes a chronological sequence of Mendelsohn{\textquoteright}s early sketches. After graduating from his architectural studies, Mendelsohn worked as a graphic artist and stage designer. In his theoretical development he was influenced by the Blue Rider group. He emphasized the power of the artist over his creations and the expressive quality of architecture. This inclination toward a painter{\textquoteright}s career is a new argument added to the interpretation of Mendelsohn{\textquoteright}s early period by this dissertation. It introduced a conflict between artistic freedom and practical requirements of architecture of Mendelsohn{\textquoteright}s design theory, that affected his later career. In 1914, Mendelsohn began a series of tiny architectural sketches. Initially imitating the Vienna Secession style, he continued to design forms that exploited the tensile forces of new building materials, especially reinforced concrete. Mendelsohn also transposed formal features from industrial design to his projects. His designs look like abstractions from transportation vehicles. This dissertation provides a detailed account of the relationship between Mendelsohn{\textquoteright}s designs and industrial forms. During 1915, Mendelsohn began to design buildings for reinforced concrete construction, with forms influenced by American grain elevators. He served in the German army, an activity which intensified his theoretical conflict between fantasy and practicality. During early 1917 the practical aspects came through in a series of observatory projects which eventually resulted in the design for the Einstein Tower. In the second half of 1917, Mendelsohn began to favor fantasy in designing. He accepted his designs as abstract recordings of his visions. In winter 1917-18, his early work culminated in a series of highly abstract designs, drawn in a style imitating woodcut technique. These projects look like utopian machines and feature large cylindrical glass areas and cantilevered building parts.}, keywords = {19th- and 20th-Century Europe}, author = {Morgenthaler, Hans Rudolf} } @mastersthesis {7293, title = {Edward Steichen{\textquoteright}s Advertising Photographs: The Visual Strategy of Persuasion}, year = {1988}, school = {Boston}, abstract = {Although good quality photographic half-tone reproduction was available by 1890, photography only replaced drawing and painting as the favored medium for advertising illustration in the 1920s. Advertising photography grew after World War I because developing theories of behavioral psychology and new empirical measurements of advertising effectiveness demonstrated that potential consumers responded to photography{\textquoteright}s inherent "truth." Edward Steichen became the most successful commercial photographer of his era because he developed visual strategies that successfully promoted his clients{\textquoteright} products. These strategies drew on his earlier fine art Pictorialist work for compositional structure and knowledge of photographic theory and technique. In addition his WWI Air Service experience encouraged an information-oriented view of photography, introduced him to collaborative production of photographs commissioned to meet a defined need, and provided a model for institutional rather than private patronage. Steichen synthesized these earlier experiences in his advertising photography, and with his art directors, established conventions for visualizing what American Studies scholars have identified as the burgeoning consumerism of the post-war period. In Steichen{\textquoteright}s advertisements of the mid-1920s, "truth" was the key to persuasion; advertisers and clients considered "exact depiction" as a symbol for sincerity. Steichen{\textquoteright}s images convinced consumers that the beautifully displayed objects accurately represented the products. The surface "realism" masked the persuasive sales pitch: color, texture and luxurious accessories implied elegance, sophistication, and wealth. Steichen amplified the implicit persuasive elements in his work of the late 1920s and the 1930s. His photographs, particularly those for cosmetics, explicitly promised beauty, romance, health, and prestige to the consumer. His advertising style evolved from Pictorialist soft-focus to a combination of sharp-focus, straight photography with suggestive narrative techniques derived from motion pictures. For some clients, Steichen photographed the streamlined products of the machine age in daring, simplified compositions derived from cubism and "art deco." He complemented these modernist representations of industrial goods with his own experiments in product design. Most significantly, Steichen brought a fine arts vocabulary to commercial photography and developed visual strategies intended to persuade a mass audience to participate in the new American economic structure as modern consumers.}, keywords = {Photography and Film}, author = {Johnston, Patricia} } @mastersthesis {7237, title = {Emily Carr: Canadian Movement}, year = {1988}, school = {Syracuse}, abstract = {The Canadian artist Emily Carr (1871-1945), has previously been examined in terms of her relationships to the Toronto based Group of Seven and to the land and forests of British Columbia. The present study examines her artistic development in terms of her documented and probable knowledge of modernism outside the confines of Canada. The study considers Carr{\textquoteright}s work in the context of her early education in Los Angeles, England and France. It takes into account her fascination, similar to that of other modern artists of her time, with primitive culture, in her case the Northwest Coast Indians. The important influences of Mark Tobey and Lawren Harris are discussed. The study proposes that perhaps the single greatest sustained influence on her work in terms of modernist style and thought, was her trip to New York City in 1930, when she was 58. It examines her exposure to, and in some cases meetings with, Charles Burchfield, Georgia O{\textquoteright}Keeffe, Arthur Dove, and Katherine Dreier. Her attraction to Theosophy and Baha{\textquoteright}i are also discussed. An appreciation of Carr{\textquoteright}s late paintings concludes the study, showing that the renaissance of her artistic vision came from sources in the United States as well as from the Canadian forest.}, keywords = {Art of the United States (except Photography and Film)}, author = {Appelhof, Ruth Ann Stevens} } @mastersthesis {7245, title = {English Aesthetic and Literary Influences on American Sculptors in Italy, 1825-1875}, year = {1988}, school = {Maryland}, abstract = {Between 1825 and 1875 most American sculptors traveled to Italy, where they could obtain materials and models for their art. Contemporary audiences acclaimed their ideal (or poetic) marble statuary as their most creative expression. The circumstances of their Italian experiences have led scholars to conclude that American sculpture was influenced by the works, ancient and modern, that these sculptors encountered in Italy. A careful reading of nineteenth-century criticism and commentary on American sculpture would suggest an alternative context for sculpture of this period. Like most nineteenth-century American artists, sculptors followed an aesthetic model that emerged from English theory. This aesthetic model is explored in the first section of this study. The body of the study examines the British context for the ideal sculptures that were produced by three American sculptors, who often patterned their works after English literary and artistic models: Horatio Greenough, Hiram Powers, and William Henry Rinehart. It also considers the American response to their creations. Within the period under consideration, American sculptors kept pace with an English definition of modernity in their art. American critics and patrons, however, grew increasingly assured in their evaluations of the art of sculpture. The final section of this study explores the emergence of a new aesthetic for sculpture in the post-Civil War years and points to the emergence of a Beaux-Arts aesthetic in America. Ultimately and ironically, the creations of Greenough, Powers, and Rinehart never quite matched the expectations of American patrons.}, keywords = {Art of the United States (except Photography and Film)}, author = {Headley, Janet A.} } @mastersthesis {7244, title = {Far Eastern Philosophical Influences on Environmental Art, 1967-1987}, year = {1988}, school = {CUNY}, abstract = {Environmental art has developed tangentially to the growth of the influence of Oriental philosophical ideas on American society. These two paths met and cross fertilized a new and vital art form. This study explains a change in attitude towards form, by artists interested in transforming space into an experience. The dissertation analyzes the development of environmental art and the affect that Eastern philosophical ideas have had on this contemporary art form. Artists and writers such as Ralph Waldo Emerson, Henry David Thoreau, Ernest Fenollosa, A. W. Dow, Mark Tobey, Ad Reinhardt, Herbert Bayer, Herbert Ferber, John Cage, Isamu Noguchi, Jack Kerouac, Alan Ginsberg, Carl Andre and Richard Serra are an important part of this study. They set the stage for the Environmental artists of 1966-1985 who are the main focus of this dissertation. These contemporary artists, Walter DeMaria, Patricia Johanson, Richard Long, David Nash, Michael Singer and James Turrell, searched for a new modus vivendi, and were drawn to Zen and other popularized or Westernized versions of Eastern cultural traditions. They are six of the artists during this period who melded Eastern philosophy into a format relevant to the artist in contemporary Anglo-American society. When these Eastern cultures were transplanted into Western art, traditions of the Western culture were retained; there is a limit to the transplant that occurs. But studying, reading, looking, even misunderstandings or misperceptions, brought these artists to a juncture where cross-cultural transplantation occurred and fresh cultural values erupted. These artists sought to make the different traditions of the world their own. They digested so completely what they have seen, heard or read and translated it so creatively that it is sometimes difficult to trace specific sources of influence on their work. However, the artists{\textquoteright} exposure to this preponderance of the Far East is undeniable although not always specifically identifiable. The critical question examined in this study is whether those initially foreign ideas have become decisive in the artists{\textquoteright} work and form a cohesive unit.}, keywords = {Art of the United States (except Photography and Film)}, author = {Gelburd, Gail} } @mastersthesis {7309, title = {Gerard David (ca. 1450-1523): Patronage and Artistic Preeminence at Bruges}, year = {1988}, school = {UC Santa Barbara}, abstract = {This study of Gerard David contains a summary catalogue of David{\textquoteright}s oeuvre, as well as a synthetical reconstruction of his life and environment through documentary evidence, i.e., first-hand investigation of original sources. New information is discussed concerning one of David{\textquoteright}s assumed assistants, his often debated trip to Italy, the location of the master{\textquoteright}s atelier, and the date of major works. Complete transcripts of all known documents, here for the first time translated into modern English, are gathered in a separate appendix. They are discussed in the first chapter, combined with relevant data concerning Flemish history, culture, and local politics. No less summary is the updated catalogue in the second appendix, which aims at clarity above completeness. Arranged chronologically, this catalogue groups all the firmly attributed paintings to David in the first part, whereas the second part uses familiar specifications such as atelier, follower, copyist, and imitator. The third part deals with attributed drawings, whereas the fourth part comprises those with a doubtful status. A number of paintings have been shifted from a doubtful attribution to David to a more plausible "atelier" or "follower" category. When new dates and attributions are introduced here, they are usually based on newly discovered documentary or stylistic evidence. From circumstantial evidence it is possible to tie in David{\textquoteright}s juvenilia with crucial developments of the Ghent School. No less intriguing are the results of an in-depth investigation of David{\textquoteright}s archaism and its relation to popular devotion, which was never studied before against the background of economic and social contraction that occurred in Bruges after 1490. A newly proposed chronology is also interwoven with discussions concerning the Carmelite message of the Bruges Transfiguration, the "politics" behind the Justice of Cambyses, traces in his oeuvre of a particular local veneration of the Holy Blood and the milk of the Virgin, a hitherto unknown Deposition in Santa Barbara, the date and impact of David{\textquoteright}s assumed Italy trip, his unexpected and hitherto unknown debt to Michelangelo, and his relation to the Antwerp school after 1515.}, keywords = {The Renaissance}, author = {Hans J. Van Miegroet} } @mastersthesis {7306, title = {Giovanni da Nola and the Monument of Pedro de Toledo: A Study in Neapolitan Sixteenth-Century Sculpture}, year = {1988}, school = {IFA/NYU}, abstract = {The conversion of Giovanni da Nola from wood to marble sculpture in the 1520s and the organization of his workshop ended the years in which artistic achievement in Naples was a matter of Florentine (or occasionally Lombard) import. His career coincided with--or helped to create--a historical moment in which sculpture in marble became the most important expression of Neapolitan culture. Giovanni da Nola{\textquoteright}s extraordinarily varied and prolific production, in which an ideal of classicism is ever present and ever tested, has its quintessential achievement in the funerary monument of Pedro Alvarez de Toledo, Viceroy of Naples from 1532-1553. The monument is at once a synthesis of and a personal response to the rich complexity of artistic influences available in Naples, which are examined here in terms of its relation to Spanish, French and central Italian models. The monument{\textquoteright}s appearance and condition are examined in order to determine the basic and disputed facts of its dates of conception and execution, and its intended placement. A series of documents revealing the financial disputes of the Viceroy{\textquoteright}s heirs over his bequest to the church provide the key to the long delay in the tomb{\textquoteright}s erection there (1570). A context for the monument is sought in an exploration of the sculptor{\textquoteright}s oeuvre, including the major works in wood and marble from the late {\textquoteright}teens through the {\textquoteright}fifties. Many are of controversial attribution, and one is previously unpublished. An attempt is made to separate the master{\textquoteright}s hand and style from those of his assistants. Giovanni da Nola{\textquoteright}s position amounted to being state sculptor of the Kingdom of Naples, and Pedro de Toledo was for twenty-one years the state itself. The final chapter of this thesis is a biographical study of Don Pedro, the most powerful guardian of imperial rule on Italian soil. The varied aspects of his position--enemy general, Christian soldier, aspirant to a humanist ideal and servant to its destruction--are a study in microcosm of the Naples of the period, in all its contradictions.}, keywords = {The Renaissance}, author = {Pierpont, Claudia} } @mastersthesis {7273, title = {The Iconographic Program of the Royal Collegiate Church of San Isidro in Le√>=n}, year = {1988}, school = {Ohio State}, abstract = {This dissertation carries out a study of the iconography of the sculptures of the twelfth-century Spanish Romanesque church, San Isidoro in Leon. Emphasis is placed upon the sculptured capitals located inside the church, but other works of art, including two sculptured portals and four liturgical objects are also incorporated into the study. First, the iconography of individual capitals is discussed, then that of groupings of capitals is considered. The iconographic program identified in the capitals at San Isidoro is that of Old Testament kingship. Aspects of medieval kingship appearing in capitals and groups of capitals include the concept auctoritas, that is, the king{\textquoteright}s right to rule, the medieval king{\textquoteright}s identification with the Old Testament King David, as exemplar of victory and of all the virtues, and finally, the king{\textquoteright}s place in the cosmos, as a mediator who assists the soul{\textquoteright}s return to grace. The concept ordo is also discussed in relation to the sculptures and is identified as the governing concept of the over-all iconographic program at San Isidoro.}, keywords = {Early Christian, Byzantine, and Medieval Art}, author = {Orr, Beverly} } @mastersthesis {7249, title = {The Ideal Woman in American Art, 1875-1910}, year = {1988}, school = {CUNY}, abstract = {Images of ideal women were among the most predominant subjects in late nineteenth-century American art. However those images have often been ignored because they were not strong and masculine but genteel and feminine, not democratic but elite, not uniquely American but cosmopolitan, and not original or naive but traditionally academic. The prevalence of ideal women in American art in the late nineteenth century must be traced to the European training of contemporary artists. Teachers like Gerome and Cabanel essayed ideal women in mythological, classical or orientalist contexts. However, when Americans returned home, they found that those subjects favored in Europe--especially nudes--were not popular if painted by American artists. In response, American artists turned to idealized paintings of women that were less specifically identified, more poetic or decorative, and less erotic than their European counterparts. Precedents can be found in works by La Farge and Whistler. The types of ideal women that American artists essayed tended to evolve chronologically. In the 1870s, classicizing, allegorical, mythological and Arcadian imagery was prevalent, reflecting the painters{\textquoteright} academic training. In the 1890s, the classicizing tendency was absorbed by mural painting in which the female figures would embody more public-minded virtues and assume a more active appearance. Concurrently, in easel painting there were more Whistlerian images of contemporary women in decorative and beautiful settings. The images of ideal women in American art have salient characteristics in common--they were ideal, real, beautiful, decorative, pure, and American. Such imaging of women was inevitable because the aim of art coincided with the prevailing perception of women{\textquoteright}s traits and roles in the Gilded Age: both image and woman were ideal because they were removed from the realities of late nineteenth-century life. They were real in so far as the quality of the model (or the nineteenth-century woman) was insistent. They were beautiful because women had traditionally been perceived as embodying beauty; decorative because women{\textquoteright}s position was not perceived as important for the operation of American society; pure because women{\textquoteright}s sexuality was commonly denied; and American because that innocence was perceived as particularly American.}, keywords = {Art of the United States (except Photography and Film)}, author = {Van Hook, Leila Bailey} } @mastersthesis {7234, title = {Illusion and Art: An Analysis and Critique of E.H. Gombrich{\textquoteright}s "Art and Illusion"}, year = {1988}, school = {Syracuse}, abstract = {The text analyses the work of E. H. Gombrich, in his central presentation, Art and Illusion: A Study in the Psychology of Pictorial Representation, in the light of the philosophy of Karl Popper. The result of the analysis is the location of many of the problematic aspects of the Gombrich thesis in the philosophy of Karl Popper, which Gombrich has applied in far reaching and significant ways to the study of art history and the psychology of perception.}, keywords = {19th- and 20th-Century Europe}, author = {Mock, James William} } @mastersthesis {7250, title = {Images of the Hunt in Nineteenth-Century America and Their Sources in British and European Art}, year = {1988}, school = {Delaware}, abstract = {This is a study of images of hunting for wild game in nineteenth-century American paintings, prints, and popular illustration. Art depicting wilderness hunting or field shooting for common game birds and animals is emphasized. Geographically the study is limited to the eastern United States. British and European examples have been cited as sources or comparisons. Before about 1870 American artists depicted hunting as a pleasant pastime. Compositions were based upon the traditional format of the British sporting print. Artists like A. F. Tait, G. Catlin, and T. R. Davis created static and idyllic images which are mythic and extoll ideas of abundance of wildlife, noble conquest over animals, the union of man with nature in the act of killing, and regeneration through violence. American artists depicted children as hunters and trappers but did not wholeheartedly embrace the themes of the hunter{\textquoteright}s return or the hunter{\textquoteright}s chance meeting with a maiden. A new subject here was the hunters{\textquoteright} camps where urban men retreated from constraints of business and city life. After the closing of the frontier and the birth of the conservation movement, American hunting art changed. The focus moved to stricken wildlife, and the hunter was often shown in the background. The dead-shot image, a buck slain with one bullet, reflected American sportsmen{\textquoteright}s new "code of true sportsmanship." Winslow Homer{\textquoteright}s Right and Left and Fox Hunt are based on foreign prototypes. The double-shot theme was common in England and on the continent. The Fox Hunt complies with an internationally popular Darwin-influenced artistic formula. Homer{\textquoteright}s most original work was Hound and Hunter, which expresses "the savage state" of American wilderness and the brutality of hunting as described in American hunting literature. The artists{\textquoteright} record reveals the impulse in Victorian genteel culture to justify acts of violence and killing by myth, ritual, tradition, primitivism, and metaphor.}, keywords = {Art of the United States (except Photography and Film)}, author = {Weidner, Ruth Irwin} } @mastersthesis {7236, title = {In Defiance of Painting: The Invention and Early Practice of Collage, 1912-1919}, year = {1988}, school = {Yale}, abstract = {This study attempts to elucidate the historical and theoretical conditions of the invention and early practice of collage focusing on Cubist and Futurist works executed during the period 1912 to 1919. The introduction sets forth an account of the relation between Cubist and Futurist innovations, tracing patterns of exchange and rivalry as well as noting important differences in the attitudes towards representation, tradition and politics between these two groups of artists. The following chapter analyzes Picasso{\textquoteright}s invention of constructed sculpture and collage, and in particular, the role played by African masks in the critique of Western conventions of illusion and purity of medium. The ramifications of this critique are developed further in the third chapter, which discusses the ways in which Picasso{\textquoteright}s collages and constructions point to the arbitrary nature of pictorial signs through a systematic use of formal oppositions. These oppositions, which include the use of straight and curved profiles, flat versus modeled forms, figure and ground, "table" and "tableau" etc., serve to undermine any attempt at a realist or essentialist interpretation. The fourth chapter concentrates on the collage practice of Braque and Gris. Many of their formal innovations were inspired by the desire to substitute a conceptual order for a "merely" visual order, although upon close analysis, the distinction between conception and vision frequently collapses in their works. The fifth chapter studies the role played by popular, commercial culture in the collages of the Cubists, and calls attention to the paradoxical attitudes these artists adopted toward the prevailing hierarchy of high and low culture and towards the public that failed to understand their art. The final three chapters investigate the contemporary collage practice of the Futurists, and analyze the related invention of free-word poetry as well. Futurist collages and free-word poems demonstrate a desire to challenge traditional norms of purity and order similar to that which motivated the Cubists. Nonetheless, in their search for a naturally expressive language and for "total" sensory experience through a synthesis of the arts, the Futurists differed from the Cubists who tended to emphasize the arbitrary or conventional aspects of representation.}, keywords = {19th- and 20th-Century Europe}, author = {Poggi, Christine} } @mastersthesis {7278, title = {The Influence of Two Twelfth-Century Class Texts, Theophilus{\textquoteright}s "De diversis artibus" and Eraclius{\textquoteright}s "De coloribus et artibus romanorum," for Understanding the Technology and the Colors of Romanesque Stained Glass}, year = {1988}, school = {Cornell}, abstract = {Art historians have often misunderstood how medieval stained glass was colored; and as a result, the literature has been deprived of potentially useful benefits gained from a correct understanding of the technology. Directions given in two twelfth-century artists{\textquoteright} technical texts show how twelfth-century stained glass was colored. This thesis verifies those texts with published chemical analyses of medieval stained glass and with actual field experiments by the author. In addition, modern scholarship from the scientific literature were specifically applied to the medieval texts and experiments. The experiments were performed following the directions given by the medieval authors (including their glass recipes and directions for constructing and firing a wood-fueled glass furnace). The results of these experiments confirmed the accuracy of the texts. The texts state that three coloring agents determined (according to the oxygen supply during the melt) the color of stained glass. Two of the agents, manganese and iron, were present in the raw materials, beechwood ash and sand, which make-up the glass. The third colorant, copper, was purposefully added to manufacture some of the greens, blues, and all the reds. The medieval glassmaker could rely on the results of colored glass made with copper as it is a dependable and predictable colorant. Beechwood ash, however, had an unpredictable chemical make-up, and glass that depended on its manganese and iron for colorants were less reliable. Grisailles and yellows were the most difficult colors to achieve, and their restricted use in twelfth-century windows reflects this difficulty; whereas, the predominance of blues and reds reflects the ease in production of these colors. During the later Gothic period, new technology made the manufacture of grisaille and yellow relatively easy, and the saturated reds and blues which prevailed in twelfth-century gave way to the translucent whites and yellows of this later period. The findings also clarify color theories of Chartres Cathedral{\textquoteright}s west windows, Cistercian aesthetics concerning the use of colorless glass, the division of labor in sheet glass production, and how medieval glass furnaces could be controlled for oxidation/reduction firings.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Royce-Roll, Donald} } @mastersthesis {7253, title = {Irene Rice Pereira:; An Examination of Her Paintings and Philosophy}, year = {1988}, school = {UT Austin}, abstract = {The desire to understand one{\textquoteright}s position in the whole scheme of the cosmos is as ancient as humankind itself. Throughout history, artists have devised various means to reconcile their pictorial views of the universe with prevailing cosmological theories. However, only in recent years have art historians explored the relationship between twentieth-century graphic representations of the universe and the cosmological theories proposed by contemporary scientists and philosophers. One artist, whose work should not be overlooked in this context, is the American painter Irene Rice Pereira (1902-1971). The main purpose of this study is to show how Pereira grappled with contemporary developments in science and psychology to formulate a philosophical framework uniting human experience, art, and the infinite expanses of the macrocosm and microcosm into a whole. In this effort, she renewed ties to an artistic tradition that had been virtually severed in the West. She reinvested art with cosmic meaning by creating symbols of the structure of the universe, somewhat analogous to Buddhist mandalas. Yet, the foundations of her beliefs were firmly rooted in contemporary theories. An examination of her paintings, writings, and library holdings reveals that the philosophy she began to promote in the 1950s was primarily dependent upon the utopian views of Bauhaus artists and the psychological theories of Carl G. Jung. Through Jung, she encountered the symbolism of the alchemists, in whose work she found a metaphor for the investigations of modern scientists. Through contact with her third husband, George Reavey, she was led to study Neo-Platonic mysticism, upon which her own light metaphysics was based. Finally, in the work of the Neo-Kantian philosopher Ernst Cassirer, she found a model upon which she based her expanded views concerning the evolution of culture.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Bearor, Karen} } @mastersthesis {7275, title = {The Italian Model Book at the Morgan Library Reconsidered: A Study in Secular Imagery of the Late Middle Ages and Early Renaissance}, year = {1988}, school = {Yale}, abstract = {My dissertation focuses on a late fourteenth-century Italian model book, preserved in The Pierpont Morgan Library, New York (Acc. No. II, 2-15), which presents a compendium of drawings of secular subjects. My study aims to resolve some issues that have provoked lively scholarly debate: the localization and dating of the drawings and their thematic and stylistic links with other works of art. My findings in these areas lead me to propose a possible circle of artists that may have produced these drawings. The study also sheds light on the working methods of these artists and the cultural milieu in which this imagery emerged. I use a somewhat novel method to localize and date this model book. Previously, scholars have tended to use style as their main evidence, with inconclusive results. My study undertakes to survey other works of art that contain similar imagery; I join this approach to an examination of style. Using comparable motifs for localizing and dating seemed especially apt because the recording of motifs is, of course, the usual purpose of model books. The problem, however, is that the images in model books are divorced from their original contexts so that the latter are very difficult to pinpoint for investigation. Therefore, the potential number of contexts for the imagery with respect to meaning and content is vast. I surveyed a very wide range of the secular imagery of this period and found that the richest connections are with the Tacuinum Sanitatis manuscripts and with astrological cycles in frescoes. Other important contexts for similar imagery are: liturgical manuscripts, juridical treatises, church portal sculpture, and courtly ivories with amorous sequences. The numerous connections with the Tacuinum Sanitatis illustrations suggest Milan as the probable place of origin of the Morgan drawings. However, as the Morgan images seem to relate more plausibly to the sources of the Tacuinum illustrations rather than to these illustrations themselves, the Morgan book probably was made before the extant Tacuina, likely c. 1360-80. The Morgan drawings are close stylistically to Milanese works of c. 1370-80 from the circle of the Lancelot and Guiron masters. This accords well with the results drawn from thematic contexts. An examination of comparable costumes, hairstyles, and armor supports the dating reached through a study of motifs and style. The one word written in the book, Magatelli, is from a Milanese dialect, and thus supports a localization to the Milanese ambient; the fifteenth-century script, possibly Northern Italian, suggests that the book continued to be used after the drawings were made.}, keywords = {Early Christian, Byzantine, and Medieval Europe, The Renaissance}, author = {Dixon, Annette} } @mastersthesis {7240, title = {Jackson Pollock: Meaning and Significance}, year = {1988}, school = {IFA/NYU}, abstract = {The dissertation consists of two parts. The first is an attempt to recover meaning--the artist{\textquoteright}s intentions--from the vantage point of both stylistic analysis and iconographical interpretation. The first chapter covers the Pollock{\textquoteright}s formative work, his years with Thomas Hart Benton, and his interest in landscape imagery. The second chapter covers the influence of surrealism, primitive art, and the issue of psychoanalytic interpretations of Pollock{\textquoteright}s work. Chapter three covers the development of the poured technique, the stylistic innovations and sources of Pollock{\textquoteright}s abstractions, as well as argues for the compatibility of meaning and abstraction while proposing an iconographical interpretation of the poured paintings. Chapter four covers Pollock{\textquoteright}s return to figuration in 1951-53 as well as the stylistic and thematic continuities and breaks with Pollock{\textquoteright}s previous work. The second part of the dissertation deals with significance--issues not strictly defined within the realm of the artist{\textquoteright}s intentions. Chapter five deals with Pollock{\textquoteright}s relationship to the issue of primitivism and how his work parallels ideas in anthropology, psychology and aesthetics. Chapter six covers Pollock{\textquoteright}s place in the context of Abstract Expressionism from the point of view of both style and content. Chapter seven covers Pollock{\textquoteright}s influence on the second half of the 20th century and traces how the critical reaction to his work was instrumental in guiding the course of this influence.}, keywords = {Art of the United States (except Photography and Film)}, author = {Cernuschi, Claude} } @mastersthesis {7247, title = {James David Smillie and the Evolution of American Printmaking}, year = {1988}, school = {UCLA}, abstract = {In the opinion of Frank Weitenkampf, distinguished curator of the New York Public Library{\textquoteright}s Print Department, the artist James David Smillie (1833-1909) "had a greater practical knowledge of the processes of copper engraving and etching than any other man" in the United States. To Smillie{\textquoteright}s technical prowess can be added his active participation in New York art scene. The aim of the present study is to determine James D. Smillie{\textquoteright}s contribution to the evolution of American printmaking during the second half of the nineteenth century. For this project, an abundance of primary reference material was made available to the writer by the artist{\textquoteright}s descendants. The Smillie family archive included forty years of artist{\textquoteright}s diaries (now owned by the Archives of American Art), hundreds of correspondence, memoranda, notes, record books, writings on the subject of etching, and the artist{\textquoteright}s graphic work. This material was thoroughly reviewed. Chapter I provides a professional overview of James D. Smillie{\textquoteright}s career in the arts. After a summary of security printing practices in America during the nineteenth century, Chapter II investigates Smillie{\textquoteright}s involvement in the bank-note profession. Chapter III summarizes reproductive printmaking in nineteenth century America and Smillie{\textquoteright}s contribution to illustrated literature. The chapter concludes with a discussion of his reproductive etchings. Numerous influences stimulated an interest among artists to attempt "painter-etching." These factors are considered in Chapter IV. Chapter V reviews Smillie{\textquoteright}s career as a painter-etcher and discusses his involvement in the New York Etching Club, his participation in the founding of the National Academy of Design{\textquoteright}s etching class, and his technical assistance to fellow artists. It can be concluded without doubt that James D. Smillie{\textquoteright}s pervasive and influential presence in New York art matters made an important contribution to the development of printmaking in America. The appendices of this study include the most comprehensive annotated catalogue, to date, of the artist{\textquoteright}s painter-etchings and reproductive prints, as well as a partial, but significant, listing of Smillie{\textquoteright}s bank-note production.}, keywords = {Art of the United States (except Photography and Film)}, author = {Schantz, Michael William} } @mastersthesis {7233, title = {Joan Mir√>= before The Farm, 1915-22: Catalan Nationalism and the Avant- Garde}, year = {1988}, school = {IFA/NYU}, abstract = {"Joan Miro Before The Farm" examines the artist{\textquoteright}s formative work within the context of the cultural discourse of Catalan nationalism during the first quarter of the twentieth century. The leitmotif of this thesis is Miro{\textquoteright}s professed identity as an "international Catalan"; that is, his desire to reconcile traditional Catalan values with advanced international (especially French) artistic impulses in his work. A series of interrelated issues are explored: Miro{\textquoteright}s deep identification with the Catalan rural tradition; his responses to Catalan Noucentisme, the dominant cultural ideology of his generation; his receptivity to French painting during the First World War and his corresponding opposition to established norms for Catalan art; his isolation within the Barcelona art world and his subsequent cultural assimilation within Parisian vanguard circles. Moreover, built into the monographic structure of this thesis is an examination of the extent to which the conciliatory attitude adopted by French vanguard artists to the post-war "call to order" largely conditioned Miro{\textquoteright}s early artistic development. Miro{\textquoteright}s internalization of the ideology of the rappel a l{\textquoteright}ordre by way of Pablo Picasso, Maurice Raynal, Jean Cocteau, and the Purists, provides new insight into his growing disillusionment with advanced French art by 1918, and his partial return to a traditional mode of figuration in the detallista canvases of that and the following year. This process is seen to culminate in The Farm, which jointly marks the conclusion of Miro{\textquoteright}s artistic apprenticeship and his ideological formation as an "international Catalan." Throughout this dissertation, Miro{\textquoteright}s introspective writings are analyzed, and his responses to the art of Pablo Picasso are addressed in depth. Miro{\textquoteright}s involvement with a range of vanguard journals in Catalonia is also highlighted. The dissertation is followed by seven appendices, including: a detailed biographical outline of Miro{\textquoteright}s life to 1922; a comprehensive Catalan cultural chronology for the period from 1906-1922; and a catalogue of Miro{\textquoteright}s painting up to The Farm.}, keywords = {19th- and 20th-Century Europe}, author = {Lubar, Robert} } @mastersthesis {7238, title = {Labyrinths: The Art of Robert Morris, 1961-80}, year = {1988}, school = {CUNY}, abstract = {Robert Morris{\textquoteright}s oeuvre, unlike the work of most other so-called minimalist artists, is both stylistically and intellectually diverse. His range was broad: expressionist paintings, Duchamp-inspired objects, dances and performances, minimalist sculptures, large scale installations and sound environments, earth and land reclamation works, films and videos, and political acts against the museum, the labor economy, and the Vietnam war. The philosophical sources for Morris{\textquoteright}s art (he was a philosophy major at Reed College in the late-1950s) are equally rich: Herbert Marcuse, Maurice Merleau-Ponty, Michel Foucault, Jean Piaget, Ludwig Wittgenstein, and Charles Sanders Peirce. As choreographer, writer of influential theoretical texts, and fine artist, Morris sharply questioned the pretensions of modernist art and culture. Extending the discourse of art history, this dissertation exposes the complex relationship between Morris{\textquoteright}s work and the social and intellectual setting of the 1960s--a radical moment that witnessed a range of protest and dissent, from sexual liberation to the Vietnam war. Morris{\textquoteright}s archive and writings, most of which have never before been examined, reveal his close relationship to many of these causes, political ambitions ignored by a formalist art history and criticism committed to aesthetic purity and the social removal of "high art." Established readings of the minimalist movement center on more classical modernist sources such as the readymades of Duchamp, the phenomenological theories of Merleau-Ponty, and the formalist art of the Russian constructivists. At least for Morris, however, Marcuse{\textquoteright}s call for the artist to reject modernism{\textquoteright}s repressive demands for stylistic unity served as an important means for liberating the artist from the limited institutional boundaries of the gallery and the museum. Functioning within the contexts of performance halls, advertising campaigns, land reclamation sites, and even the streets of New York City, Morris appealed to artists and their patrons to broaden the audience for advanced art. Extending from his earliest works of the late 1950s to his mature art of the mid-1970s, the dissertation represents a "test case" for understanding the avant-garde{\textquoteright}s intense questioning of the role of the artist and of art during a period of unprecedented social and cultural change.}, keywords = {Art of the United States (except Photography and Film)}, author = {Berger, Maurice} } @mastersthesis {7267, title = {The Landscape Paintings of Salvator}, year = {1988}, school = {Bryn Mawr}, abstract = {The 17th century Italian painter, Salvator Rosa (1615-1675), has long been celebrated for his landscapes. Yet, the painter himself rejected the appellation of "landscapist", and asserted that he was, in fact, a philosophical painter. This study of Salvator Rosa{\textquoteright}s landscapes investigates the social and economic context of the landscape genre during the Seicento. The low status of landscape painting, and the fierce competition of the Italian art market, appear to be responsible for Rosa{\textquoteright}s attitude. The poetic dimensions of Rosa{\textquoteright}s concept of landscape are explored through a study of his satires and letters, which reveal his identification with the pastoral tradition as exemplified by Hesiod, Theocritus, Virgil, Sannazaro and Petrarch. Rosa{\textquoteright}s interpretations of landscape derive from a set of classical tropes which criticize civilization. The cultural primitivism underlying these themes is employed by Rosa in his landscapes, which depict great men of antiquity who were victims of injustice and cruelty. Rosa is shown to be a critic of the papacy, and of the oppressive policies of the Counter-Reformation. Using both Classical and Christian themes of honorable men rejecting corrupt society in favor of a life of solitude in the wilderness, Rosa developed an original landscape paradigm that was appreciated by the revolutionary generations of the 18th and 19th centuries. The classical foundations of Rosa{\textquoteright}s aesthetic ideas are shown to have been transmitted into England in the 18th century with the study of classical texts. Rosa{\textquoteright}s expression of a new sensibility, embodied in his description of the "orrida bellezza" of the famous Cascade at Terni, are an early expression of the Sublime aesthetic. The source of Rosa{\textquoteright}s response to the waterfall are found in a passage in Virgil{\textquoteright}s Aeneid. Addison is the earliest English figure to grasp the relationship between this aspect of the classical tradition and the Sublime in Nature. However, with the study of the classics, the Grand Tourists come to identify the waterfall with Virgil, and the aesthetics of horror with Rosa. The Romantic qualities of Rosa{\textquoteright}s landscapes actually originate in the non-rational, supernatural imagery of classical poets. The Romantic writers, such as Byron and Ann Radcliffe, build upon Rosa{\textquoteright}s landscape style in creating a scenery of the Sublime.}, keywords = {Baroque and 18th-Century Europe}, author = {Likos, Patricia} } @mastersthesis {7301, title = {The Last Judgment in Early Netherlandish Painting: Faith, Authority, and Charity in the Fifteenth Century}, year = {1988}, school = {Kansas}, abstract = {This study examines fifteenth-century Netherlandish paintings of the Last Judgment in their cultural and historical context. The representations invite investigation both because of the popularity of the theme and because of the variety of ways in which it is depicted. The Last Judgment occurs both as an independent subject and as part of larger iconographic programs. Not only the portrayal of the Last Judgment itself, but also the iconographic context in which it occurs must be considered for a full understanding of the paintings. In addition, patronage and original site, when known, shed light on the meaning of the images. Examined with these considerations in mind, fifteenth-century Netherlandish depictions of the Last Judgment are found to address a variety of contemporary religious, political, and social issues. One group of paintings presents the Last Judgment as an element in pictorial catechisms and reflects the fifteenth-century concern with the cure of souls that was part of a reform movement within the Church. A second group of paintings depicts the Last Judgment as part of a pilgrimage of life that celebrates the Church as the path to salvation in response to challenges to the Church{\textquoteright}s authority. One painting in the second group presents an unusual image of the blessed returning to the terrestrial rather than the celestial paradise. This painting belongs to a third group of images that reflects not only the influence of popular visionary literature but also the hope, aroused by fifteenth-century voyages of exploration, that the earthly paradise could be rediscovered. A fourth group of paintings uses the depiction of the heavenly court to address contemporary conflicts between the papacy and conciliar forces for authority within the Church. A fifth group of paintings, originally placed in town halls, similarly uses the heavenly court to address contemporary conflicts between local and ducal judicial authority. Finally, a sixth group of paintings, associated with charitable institutions, uses the Last Judgment as the conceptual framework within which charity and poor relief are depicted.}, keywords = {The Renaissance}, author = {Levy, Janey L.} } @mastersthesis {7265, title = {The Lateran and Clement VIII}, year = {1988}, school = {IFA/NYU}, abstract = {In advance of the Holy Year 1600 Pope Clement VIII (1592-1605) initiated a vast program of renovation at San Giovanni in Laterano, the Cathedral of Rome and the first church built by Constantine. The profound interest in the early Christian heritage that characterizes late sixteenth century art and thought is most clearly expressed in the treatment of this august site. Initial steps to restore the basilica and to revive its spiritual preeminence had been taken by Clement{\textquoteright}s immediate predecessors and these provided the conceptual basis for his own contribution. The Clementine project centered on the transept, that part of the church which faces the city and functions as the main entrance. Giacomo della Porta and Giuseppe d{\textquoteright}Arpino led a team of artists in restructuring and redecorating this space as an independent liturgical area. Appropriate to the ideological needs of the Counter-Reformation, the focus of this area is a monumental altar dedicated to the Eucharist. Each component of the transept--the organ located above the inner entrance facade, the frescoes on the side walls, and the altar itself--recapitulates the unique history of the Lateran as concrete proof of human redemption. The triumph of the Church under Constantine, the supersession of the Old Covenant by the New, and the sacrament as the cornerstone of the faith are all integral elements of the program{\textquoteright}s central message. A new visual vocabulary was developed to express the conceptual unity that pervades Clement{\textquoteright}s project. This included the activation of figures and illusionistic devices, all of which were orchestrated to achieve the emotional participation of the worshiper. The formal and iconographic unity of the Clementine transept functions as a metaphor of the Lateran and ultimately of the reconciliation of man with God through the Eucharist. These ideas exemplified Clement VIII{\textquoteright}s vision of the ideal Christian state and they provided a primary model for the subsequent development of Baroque art in Rome.}, keywords = {Baroque and 18th-Century Europe}, author = {Jack Freiberg} } @mastersthesis {7256, title = {Lest We Forget: Monuments and Memorial Sculpture in National Military Parks on Civil War Battlefields, 1861-1917}, year = {1988}, school = {Delaware}, abstract = {This history of monuments and memorial sculpture dedicated on Civil War battlefields at Gettysburg, Pa., Antietam, Md., Shiloh, Tenn., Vicksburg, Miss., Chickamauga, Ga., and Chattanooga, Tenn., focuses on the patronage, production, style, and iconography of memorial art and architecture erected there by 1917. The site specific character of many of these structures and their dual role as markers and monuments are also considered. The thesis opens with an overview of the transformation of battlefields into national military parks between 1890 and 1900. They were administered by the War Department until 1933, when the National Park Service assumed managerial responsibility. Discussion of the distinctive features of the collection at each field follows. Then a study of patronage investigates the goals and methods of the individuals, private memorial associations, and state monument commissions, all of which funded the monuments. Design selection and contract award systems are also discussed. Analysis of the monument industry{\textquoteright}s structure and assessment of working relationships between contractors and subcontractors precedes the identification of several important but largely unknown entrepreneurs, architects, and sculptors. Three distinct styles are identified and discussed. Explication of the imagery and meaning of battlefield sculpture and architecture covers portraits and allegorical sculpture with special attention to the sentinel type of figure and the active soldier type. Allegorical statues of Victory, History, and Peace are analyzed as well. The trend from somber mortuary monuments to energetic figures of soldiers in action to images of Peace and Reconciliation is documented and the causes of this shift are explored. Finally, the integral relationship between the subjects, the sculptures, and the sites of several monuments is assessed to show the distinctive nature of this site-specific sculpture and to illustrate the dual purpose of these commemorative structures as markers and monuments.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Panhorst, Michael Wilson} } @mastersthesis {7261, title = {The Life and Work of Jean Huber of Geneva (1721-1786)}, year = {1988}, school = {Yale}, abstract = {This dissertation studies the life and work of Jean Huber, the eighteenth-century Genevan painter, cartoonist, silhouettist, and amateur natural scientist. It examines the matter of how a patrician with no known professional training turned himself into an artist of some note both locally and internationally. The first chapter examines the peculiar social and political structures of the sober Calvinist milieu in which Huber was born and raised. Chapters two and three are concerned with Huber{\textquoteright}s youth, the extraordinary family of which he was a part, his military service in Germany and Italy, and his subsequent return home and marriage in 1747. The fourth chapter demonstrates the limited art scene encountered by Huber in traditionally iconophobic Geneva in the period from 1700 to 1750. Chapter five is devoted to Huber{\textquoteright}s most significant artistic achievement: his work as a cutout silhouettist (or decoupeur). It surveys the history of the silhouette and its close kin, the cutout, and explains how they came to be popular in Europe in the eighteenth century. Chapters six and seven contain a similar treatment of the rise of cartoons and caricature which also came of age in the Enlightenment. Both chapters also focus on the huge celebrity of Voltaire, who moved to Geneva around mid-century and remained there for the final two decades of his life, where he served as the subject of many of Huber{\textquoteright}s most memorable compositions. The concluding chapter describes Huber{\textquoteright}s growing commitment, late in life, to landscape art and to the budding career of his painter son Jean-Daniel Huber, and stresses the key role of the senior Huber in helping found the Geneva School which may be said to have coalesced around 1780.}, keywords = {Baroque and 18th-Century Europe}, author = {Apgar, K. Garry} } @mastersthesis {7303, title = {Lorenzo Lotto and the Patronage and Production of Venetian Altarpieces in the Early Sixteenth Century}, year = {1988}, school = {Princeton}, abstract = {By placing the artist and his works in the mainstream of altarpiece production and design in Vencie and the territories within the Venetian sphere of influence, this study of the altarpieces of Lorenzo Lotto (c. 1480-1556) seeks to correct earlier interpretations that have marginalised Lotto{\textquoteright}s status and contribution. The dissertation is divided into seven chapters and includes a critical catalogue of Lotto{\textquoteright}s altarpieces. The first five chapters examine the role of the patron and the requirements of the original sites in determining the form and imagery of altarpieces. While there are interesting variations in the function and imagery of altarpieces commissioned by different patrons, the most important conclusions concern the role of the altarpiece as a public image, frequently commissioned with the interests of more than one constituency in mind. Each altarpiece was planned and constructed to communicate meanings that were to be conveyed deliberately and clearly to its sixteenth century audience. The sixth chapter deals with the actual production of the painting and frame and the role of the artist. The seventh and last chapter brings together the patron, the artist and the original site in a discussion of the relationship between the context and the meaning of the completed altarpiece. The exploration of the dynamics of altarpiece production addresses issues central to the study of Italian Renaissance painting and of religious images during a period of artistic and religious change. Lotto emerges as a representative example of a Renaissance artist{\textquoteright}s responses to the demands and conventions of patronage, production and religious imagery. His place in sixteenth century society is illuminated by means of extensive comparisons with the practices of contemporary artists and by consideration of the larger social, religious and political structures that affected the patronage of altarpieces. The study is based on archival research conducted in Italy, on-site investigation of original churches, Lotto{\textquoteright}s published account book and correspondence, printed and manuscript information dealing with local and ecclesiastical history, and modern conservation information.}, keywords = {The Renaissance}, author = {Matthew, Louisa C.} } @mastersthesis {7296, title = {Lunga pittura: Narrative Conventions in Tuscan Cassone Painting, ca. 1450-1500}, year = {1988}, school = {UC Berkeley}, abstract = {No abstract in ProQuest}, keywords = {The Renaissance}, author = {Baskins, Cristelle Louise} } @mastersthesis {7271, title = {Massimo Stanzione and Bernardo de Dominici: The Life and Work of a Neapolitan Painter}, year = {1988}, school = {Johns Hopkins}, abstract = {This dissertation is both a monograph on the 17th-century Neapolitan painter Massimo Stanzione (1585?-1656?) and a critical study of his biographer, Bernardo De Dominici (1683-1759), the author of the first comprehensive Lives of the Neapolitan painters, sculptors and architects (1742-1745). It addresses the need for basic information about one of the central artists of the Neapolitan School as well as the need for a better understanding of De Dominici{\textquoteright}s Lives, still the principal source of information on the artists of Naples but often scorned as the work of a falsario. The two essays in Part 1 present the main arguments of the dissertation. The first essay examines and organizes the available information about Stanzione{\textquoteright}s life and artistic practice as derived from De Dominici{\textquoteright}s account and the widely-dispersed contributions of subsequent scholars. The second essay is devoted to the much-disputed question of De Dominici{\textquoteright}s status as a source of historical information and advances several arguments in support of a new reading of the Lives which emphasizes the importance of the author{\textquoteright}s historiographical aims and methods. The traditional belief that De Dominici falsified some of his manuscript sources, including a bound volume of papers associated with Stanzione, is here called into question. Part 2 contains the text of De Dominici{\textquoteright}s biography of Stanzione with my annotations. The notes identify most of De Dominici{\textquoteright}s sources and generally attempt to make his text as transparent as possible. Part 3 contains a provisional catalogue of Stanzione{\textquoteright}s oil paintings and frescos, including a selection of lost works and doubtful attributions. The essays in Part 1 and De Dominici{\textquoteright}s text in Part 2 are keyed to the catalogue entries.}, keywords = {Baroque and 18th-Century Europe}, author = {Willette, Thomas} } @mastersthesis {7277, title = {The Master of Morgan 453, an Illuminator in Paris and Amiens, 1415- 40}, year = {1988}, school = {Princeton}, abstract = {The subject of this study is the Master of Morgan 453, a highly idiosyncratic illuminator active in Parks and Amiens from about 1415 to 1440 who takes his name from a Book of Hours in the Morgan Library. The seven manuscripts in which his hand has been identified are treated in chronological order, beginning with a Parisian Horae of about 1415 in Harvard College Library (ms. Typ. 32). That codex is followed by the five made in Paris between about 1420 and 1430: a Book of Hours in the Morgan Library (M.1000); a copy of the Grandes chroniques de France in Brussels (Bibl. Roy., ms. 1); a second Horae in the Morgan Library (M.1004); a Book of Hours in Grenoble (Bibl. Mun., ms. 1003); and the artist{\textquoteright}s name manuscript (M.453). A Horae executed between about 1425 and 1435 in the Walters Art Gallery (W.281) to which the artist may have added some figures is considered next. That manuscript cannot be localized with certainty, but Amiens seems to be the most likely place of origin. Following this is an examination of the latest paintings unquestionably by the Morgan 453 Master, the nine miniatures in a Horae made in Amiens between about 1430 and 1440 in the British Library (Add. 31835). The study concludes with a discussion of the artist{\textquoteright}s influence on a number of Parisian and Amienois artists of the third and fourth decades of the fifteenth century.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Clark, Gregory Thomas} } @mastersthesis {7254, title = {Maurice Prendergast: The Development of an American Post-Impressionist, 1900-1915}, year = {1988}, school = {Boston}, abstract = {Maurice Prendergast{\textquoteright}s selection of the park-seaside promenade theme in his paintings is an important aspect of the artist{\textquoteright}s combination of tradition and modernism. This aspect of his art has not been examined extensively by scholars who have focused on the formal elements in the painter{\textquoteright}s work. This study examines the park-seaside subject matter of the artist between 1900 and 1915, in relation to his formal concerns and his European influences in order to establish the chronological development of his work. In order to explain the important changes in Prendergast{\textquoteright}s presentation of the promenade motif, this dissertation separates his career into three periods of development, dating from 1900-1906; 1907-1910; and 1911 to 1915. The artist{\textquoteright}s stylistic choices in the works associated with these date blocks reveal distinct differences in his presentation of the park-seaside subject and specific interests in traditional and modern sources. In the first of these periods 1900-1906, Prendergast reveals a dependence on the specific physical design of the chosen setting. During this time he frequently selects Olmsted{\textquoteright}s Central Park for his compositions. In the second period 1907-1910, he emphasizes an adaptation of the French f cx ete in the manner of Watteau, which he imposes on the specifics of the site depicted. Finally, in the third period 1911-1915, he sets forth a pastoral idyll, similar to the idylls of Matisse and others, which he combines with a minimal set of references to a specific time and place, to mark his subject as an American promenade theme. Prendergast{\textquoteright}s presentation of the park-seaside motif between 1900 and 1915 is important for an explanation of his late style, which is itself a synthesis of the three major periods discussed in the dissertation. The conclusions of the dissertation demonstrate the importance of these sequential periods in the understanding of Prendergast as an American Post-Impressionist, whose interpretation of the promenade/pastoral idyll makes a particular contribution to American modernism.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Glavin, Ellen} } @mastersthesis {7294, title = {Nam June Paik: The Early Years (1958-1973)}, year = {1988}, school = {Florida State}, abstract = {The achievement of Nam June Paik, commonly known as "the father of video art," has been recognized by several one-man exhibitions and accompanying exhibition catalogues in addition to numerous articles. But there is no systematic study of his development as an artist yet; Paik scholarship remains in a critical void. This is especially true for his early period when he was less publicized. The purpose of this dissertation is to portray him in the context of the artistic milieu from which he emerged as an established artist, and to relate his activities to broader art historical discourse. Paik was influenced by Kurt Schwitters, Marcel Duchamp, and especially by John Cage during his German period when he began his career as a performance artist associated with Fluxus artists. Cage{\textquoteright}s frontal attack on tradition and a negation of any value or taste in art were important lessons to Paik. Paik{\textquoteright}s "invention" of video art in the late sixties reflects the rise of dematerialized and process-oriented art at that time. The production of the Paik/Abe Video Synthesizer itself was an important contribution to video art history and it was aligned to his belief that video would replace painting. Influenced by McLuhan{\textquoteright}s global village idea, Paik focused on the information and communication side of video in the early seventies. The close formal and iconographical investigations of the three tapes The Selling of New York, The Global Groove, and A Tribute to John Cage reveal his aesthetics and working principles. The Global Groove established the norms of broadcast videotape and influenced many younger video artists. The characteristics of Paik{\textquoteright}s works such as an extensive use of kitsch, appropriation and recycling, a high degree of audience-consciousness, and rapid and discontinuous break in timing are all related to the features of Postmodernism. Paik is a quintessential Postmodern artist, and his future task is how to maintain the critical edge while fully embracing the popular culture.}, keywords = {Photography and Film}, author = {Kang, Taehi} } @mastersthesis {7230, title = {The Neoimpressionist Landscape}, year = {1988}, school = {Princeton}, abstract = {Georges Seurat took the nineteenth-century cult of empiricism to its logical extreme in the articulation of a scientifically-based method of painting known as divisionism. The chosen method of the Neo-Impressionist painters, divisionism survived as an active force in avant-garde painting for nearly twenty years, from the time of Seurat{\textquoteright}s Sunday Afternoon on the Island of the Grande-Jatte (1886) to the emergence of Fauvism (1905). By the 1890s however, Paul Signac was calling divisionism "a philosophy, not a system." The Neo-Impressionist Landscape attempts to trace the evolution of the divisionist aesthetic from a manner of painting to a statement of this "philosophy" and assesses why landscape eventually became the dominant mode of expression of the Neo-Impressionist painters. The introductory chapter defines the notion of landscape as conceived by the Neo-Impressionists and introduces the principle practitioners of divisionism: Georges Seurat, Paul Signac, Henri-Edmond Cross, Theo Van Rysselberghe, Maximilien Luce, Charles Angrand, Albert Dubois-Pillet, Leo Gausson, Louis Hayet, Hippolyte Petitjean, and Camille and Lucien Pissarro. The second chapter examines the formulation of the divisionist procedure from Seurat{\textquoteright}s academic and impressionist origins to his first use of the new idiom in La Grande-Jatte. In this painting, Seurat satirizes contemporary life while attempting to revive the grand tradition of decorative art in France. Chapter Three demonstrates that the Neo-Impressionists{\textquoteright} experiments with a systematic means of painting during the 1880s and early 1890s arise out of a rich and prolonged discourse on the effects of science on political and economic thought and in the arts. The following chapter examines the relationship between Signac{\textquoteright}s and Cross{\textquoteright} utopian aspirations and Mediterranean landscapes like Au Temps d{\textquoteright}harmonie and L{\textquoteright}Air du soir of the 1890s. In the final chapter, Signac, Cross, and Van Rysselberghe express their anarchist beliefs in terms of saturated color, as divisionist painting evolves into its most decorative phase.}, keywords = {19th- and 20th-Century Europe}, author = {Flagg, Peter J.} } @mastersthesis {7239, title = {The Painted Music of America in the Works of Arthur G. Dove, John Marin, and Joseph Stella}, year = {1988}, school = {Boston}, abstract = {The music-painting analogy had a pervasive influence on American early modernist art criticism, theory, and painting. Music became an aesthetic model and a theme in painting, and, for some artists and critics, music, particularly jazz and "noise music," expressed the energy of modern America. This dissertation addresses these aspects of the music-painting analogy, using Arthur G. Dove, John Marin, and Joseph Stella as case studies. Part I examines the aesthetic and cultural milieu of the 1910{\textquoteright}s and 1920s. The first chapter surveys discussions of the music-painting analogy in journals such as Camera Work, 291, and Broom and reviews music paintings by such artists as Georgia O{\textquoteright}Keeffe and Marsden Hartley. Chapter 2 establishes the role of music in the cultural nationalism of the period by looking at the "music of America"--the sounds of the city for Walt Whitman, the Futurists, and Francis Picabia as well as jazz. Critics and writers identified jazz and "noise music" as expressive of modern America, and painters looked to these musical types as themes for their art. Part II studies three early modernists who painted the "music of America." Chapter 3 places Dove{\textquoteright}s music paintings of the teens on the context of the Stieglitz circle and discusses his 1927 jazz paintings as part of the cultural milieu of the 1920s. This chapter establishes sources for Dove{\textquoteright}s music paintings of the 1920s and 1930s and examines his writings on the music-painting analogy. Musical analogies, metaphors, and themes in Marin{\textquoteright}s art and writings are the subject of Chapter 4. This chapter defines Marin{\textquoteright}s understanding of music as rhythmic and dynamic--qualities he strove for in his works--and examines his musical metropolis, the "great music" of the city. Chapter 4 also analyzes Marin{\textquoteright}s paintings of dancers by the seashore as representative of a new "spiritual" America. The final chapter studies the musical content of Stella{\textquoteright}s urban subjects, specifically Coney Island (1913-14), The Brooklyn Bridge (1917-18), and New York Interpreted (1920-22), and his writings about the bridge and New York. This chapter argues four sources for Stella{\textquoteright}s musical metropolis: Whitman, Futurism, Picabia, and Edgar Varese. It is my hope that the study of these three artists will enrich our understanding of two concerns of American early modernism--the music-painting analogy and artists{\textquoteright} desire to portray modern America.}, keywords = {Art of the United States (except Photography and Film)}, author = {Cassidy, Donna M.} } @mastersthesis {7290, title = {The Parthenon Metopes and Greek Vase Painting: A Study of Comparison and Influence}, year = {1988}, school = {IFA/NYU}, abstract = {The purpose of this dissertation is to examine the figural compositions, many of which are damaged, in the Parthenon metopes, which depict the themes of the Gigantomachy, Centauromachy at the Wedding Feast, Amazonomachy, and Sack of Troy, and to compare them with representations on vases. From this it is hoped one can determine more precisely the poses and attributes of the figures in the metopes and that it will be useful in forming the basis for further study. My method was to gather photographs of published vases with representations of the four battle themes from which I then assembled specific figures or duels by making a tracing of the contour of the figure. By arranging these tracings chronologically it became possible to observed the attributes and poses of individual figures, and to determine when they occurred during the fifth century. I then compared them to the compositions in the metopes by relying on the descriptions, drawings, and photographic documentation. A selection of vases accompanies the text on each series of metopes, and the latter are discussed in temporal progression beginning with the east followed by the south, west, and north. The metopes on each side are presented in the numerical order using the standard sequence. The results of this study show that this method of comparison is especially useful in supporting many of the names of the figures in the east and north metopes favored by C. Praschniker, as well as suggesting changes in some of the poses and attributes. These changes also provide a better understanding of many of the poses within the compositions which has led to new identifications for some figures.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Schwab, Katherine} } @mastersthesis {7304, title = {Pellegrino Tibaldi{\textquoteright}s Church of S. Fedele in Milan: The Jesuits, Carlo Borromeo, and Religious Architecture in the Late Sixteenth Century}, year = {1988}, school = {IFA/NYU}, abstract = {This dissertation is a monographic study of the church of S. Fedele in Milan, begun in 1567 to the designs of Pellegrino Tibaldi (1527-1596) for the Jesuits in Milan. St. Charles Borromeo, as Archbishop of Milan, came to promote the project in several ways. The genesis of S. Fedele{\textquoteright}s design is therefore studied primarily in relation to Tibaldi{\textquoteright}s other works in architecture, sculpture and painting, the Jesuits{\textquoteright} developing approach to building, and Borromeo{\textquoteright}s ideas on religious architecture. Many other issues receive extended discussion, however, including the local topography, the building materials and craft traditions of Lombardy, the construction of the now-destroyed Casa Professa, and the history of the church{\textquoteright}s appreciation up to our time. The approach aims to be comprehensive; the account is set out in essentially chronological, narrative fashion in an Introduction, five chapters, and an Epilogue. Appendix I gathers the relevant archival documentation of the project, adding numerous previously unknown letters, contracts and payment documents. Appendix II is a catalogue of the surviving original graphic records of the church and its surround. As a church of the Jesuits S. Fedele not only contained many seminal forms taken up in later Jesuit and non-Jesuit churches--such as the multiple coretti and integrated confessional niches--but was a key work to lead the Society away from the spare manner of building favored by most reformed patrons in the mid-sixteenth century. Carlo Borromeo{\textquoteright}s greatest contribution to S. Fedele was to allow Tibaldi (then in his employ) to design the church and follow its construction. S. Fedele was fundamental for Borromeo{\textquoteright}s recommendations on religious decorum in architecture (set out in his Instructiones of 1577), although the reverse position is commonly maintained. Tibaldi anticipated and embodied the patrons{\textquoteright} ambitions. He endeavored to bring several rich legacies--mainly the High Renaissance and antiquity via Michelangelo--to bear on the problem of church design. The aim, and the result--which placed S. Fedele in the forefront of religious architecture--was to enhance both the religious decorum of the structure and the hortatory power of its form.}, keywords = {The Renaissance}, author = {Moore, Derek} } @mastersthesis {7298, title = {Pollaiuolo Studies}, year = {1988}, school = {IFA/NYU}, abstract = {Antonio Pollaiuolo{\textquoteright}s importance as a goldsmith, sculptor, painter and designer was recognized even during his own lifetime (b. 1431/2 d. 1498). However, although many of his works have been subjected to scholarly scrutiny, several have been less well appreciated. It is to these that this study turns. After a general appraisal of the state of Pollaiuolo research, Part One examines the commission for the vestments of the Florentine Baptistry of San Giovanni, illustrating the life of St. John the Baptist. Among the more important results of this research are a plausible chronology for the entire project, a review of surviving documentation and a full discussion of the stylistic development of the artist as demonstrated by the embroidered panels. Included is a reconstruction of the liturgical garments themselves with a discussion of iconographic implications. The context of the commission within the Florentine textile industry and the celebration of the Festival of San Giovanni is also examined. Part Two deals with Pollaiuolo{\textquoteright}s last work, the Tomb of Innocent VIII. The Tomb{\textquoteright}s original appearance, location and subsequent history is discussed, followed by several chapters that detail the patronage context of the commission. Pollaiuolo{\textquoteright}s late stylistic direction and the relationship of the monument to the history of the seated figure and the double effigy tomb is investigated. Finally, the significance of the format of the monument and the incorporation of the Holy Lance within it in view of papal policy during the late quattrocento is illuminated. Finally, Part Three reviews the career of Pollaiuolo during the last years of his life (1484-1498). The peripatetic nature of this period is discussed in light of new documentation, showing Pollaiuolo to have been at least as active in Florence as in Rome during this period. Among those elements considered are his real estate activity, attempts to secure new commissions and his interest in architecture. This chapter also reveals the apocryphal nature of Lorenzo the Magnificent{\textquoteright}s famous laudation of Antonio as well as suggesting a more plausible location for the Berlin Hercules during this time.}, keywords = {The Renaissance}, author = {Frank, Eric} } @mastersthesis {7269, title = {The Pombaline Style and International Neoclassicism in Lisbon and Rio de Janeiro}, year = {1988}, school = {Pennsylvania}, abstract = {Neoclassicism emerged in Lisbon after the earthquake of 1755 and was disseminated to Rio de Janeiro through the work of the Swedish military engineer Jacob Funck (1715-1788) and Portuguese military engineers trained at the Lisbon Academia Militar. The "Pombaline style," which was created by the Portuguese Prime Minister Pombal and his engineers in their rebuilding of the capital, was the Portuguese adaptation of the French military engineering tradition of Vauban and Belidor to the reconstruction needs of Lisbon and the modernization priorities of Pombal. The Lisbon style was transmitted to Rio after 1767 by Funck{\textquoteright}s adjutant Francisco Roscio (ca. 1740-1805) and the artist Valentim da Fonseca e Silva (ca. 1750-1813). There it was transformed under the impact of Funck, mid-century European neoclassicism, and Portuguese and Brazilian decorative traditions into a Luso-Brazilian variety of international neoclassical architecture that served Portuguese imperial interests in Rio. The Swede Funck was the first exponent of international neoclassicism in Rio. His extension of Rio{\textquoteright}s arsenal (1770) illustrates his application of the principles of rational planning and the Laugian ideal of trabeated structure. His first fountain project for the Largo do Paco (1780) is related to the Stockholm fountain projects of his Swedish contemporary J. E. Carlberg. His second fountain recalls the Tower of the Winds in Athens, which was illustrated in Stuart and Revett{\textquoteright}s The Antiquities of Athens (1762). The two masterpieces of international neoclassicism in Rio, Roscio{\textquoteright}s facade of the Church of the Candelaria (1775-1811) and Valentim{\textquoteright}s Largo do Paco fountain (begun 1789) illustrate the assimilation of a variety of European forms and ideas. The Candelaria facade reflects Roscio{\textquoteright}s adaptation, in Brazilian materials, of the neoclassical ideals of trabeated structure and decorative elegance. The Largo do Paco fountain, a rustically-rendered chateau d{\textquoteright}eau topped by a pyramid, shows the influence of Funck{\textquoteright}s fountain designs and the project by the French artist M. L. Jolivet for an "obelisk a la Grec" to honor Pombal in Lisbon.}, keywords = {Baroque and 18th-Century Europe}, author = {Underwood, David K.} } @mastersthesis {7302, title = {The Portrait Busts of Alessandro Vittoria}, year = {1988}, school = {Columbia}, abstract = {Although Alessandro Vittoria (1525-1608) was the greatest portraitist in Italian sculpture prior to Bernini, his portrait busts have never been studied. This dissertation provides such a study by examining the objects themselves and the contexts in which they were made. The first chapter charts Vittoria{\textquoteright}s movements and activities until 1553, clarifying his professional work and status during his early career, particularly his emergence as an independent artist prior to his quarrel with his master, Sansovino. A "lost" bust by Vittoria from this period is explained as a misinterpretation of the sources. The second chapter details the antecedents for Vittoria{\textquoteright}s classicizing, all{\textquoteright}antica busts. The production of this type in the Veneto, from Antico to Cattaneo, is set forth; Vittoria{\textquoteright}s earliest busts, in the Palazzo Thiene in Vicenza (1552), come out of this local phenomenon. The appearance in Padua, c. 1548, of classicizing portrait busts of contemporary persons is seen as a product of the antiquarian interests of a group of Paduan humanists. A new dating is suggested for Michelangelo{\textquoteright}s Brutus, which is shown as having had no influence on the all{\textquoteright}antica bust in the Veneto. The third chapter traces the stylistic and chronological development of Vittoria{\textquoteright}s autograph portraits. Vittoria{\textquoteright}s transformation of the classicizing bust into the portrayal of alive, active, alert human beings is detailed through describing the techniques employed to bring this about: the depiction of the sitter in movement, the use of off-axial compositions to create contrapposto poses, the gradual enlarging of the torso to endow the sitter with greater physical presence and scale, the employment of asymmetrical bases, and the straightening of the baseline so that the torso penetrates the surrounding space. Through these means, Vittoria achieved an activated portraiture advanced only by Bernini in the next century. A catalogue is appended which discusses all autograph and workshop busts, along with short biographies of the sitters. Copies after Vittoria and rejected attributions are also included.}, keywords = {The Renaissance}, author = {Martin, Thomas} } @mastersthesis {7285, title = {The Portraits of Constantine the Great: Types and Chronology, A.D. 306-337}, year = {1988}, school = {UC Santa Barbara}, abstract = {During the Roman empire, portraits of the emperors presided over courts of law, public markets and gathering places, and religious ceremonies. Loyalty was expressed by veneration paid to the imperial cult. Every reigning emperor from the time of Augustus authorized the creation of official portrait types, which were reproduced in statues, painting, coins, and many minor arts. As an emperor grew older or celebrated a major achievement, he might change his portrait to update his appearance or reflect a political philosophy. Flavius Valerius Constantinus (r. 306-337) was the last Roman emperor to have an iconography, ordering changes to his official portrait several times during his long reign to convey political messages. The identification and sequence of Constantine{\textquoteright}s portraits has intrigued scholars for more than a century because of his great successes as general, as administrator, and as first Christian emperor. This study starts with a critical examination of the coin obverses from the perspective of portrait art, not numismatics or history. Limiting study to the medallic issues in gold and silver made it possible to focus on Constantine{\textquoteright}s successive portrait types as they were introduced (1) on major regnal anniversaries, (2) in cities where the court was in residence, and (3) under the direct supervision of court officials and probably of the emperor himself. The coinage reveals five major portrait types. Four of these can be identified among the surviving sculpted images, the field of which is reduced to twenty certain portraits (2 in bronze and 18 in marble, the marble pieces all reworked from earlier portrait heads used as spolia). The five types comprise (1) an Acclamation portrait (305-mid-307); (2) a portrait introduced with the coin reverse legend PRINCEPS IVVENTVTIS (mid-307-mid-310); (3) a long-lived portrait with reminiscences of Julio-Claudian imperial images introduced at the time of Constantine{\textquoteright}s quinquennalia (mid-310-mid-326); (4) a portrait introduced at the time of the vicennalia, soon after Constantine had won control of the entire Roman empire (mid-326-ca. 335); and (5) an old age portrait introduced at the time of the tricennalia (ca. 335-337). Study of the coin legends, the surviving historical references to Constantine{\textquoteright}s travels, building programs, and honorary statues was used to sketch the framework in which the different iconographic types must be perceived.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Knudsen, Sandra E.} } @mastersthesis {7255, title = {Ralph Earl: Artist-Entrepreneur}, year = {1988}, school = {Boston}, abstract = {Ralph Earl painted some of the most enduring images of American people and places during the last quarter of the eighteenth century, yet remains one of the least known American painters. Earl{\textquoteright}s entrepreneurial spirit, his adeptness at gaining prominent patrons, and his ability to alter his style to suit his broad ranging clientele are essential in defining Earl{\textquoteright}s importance and are the central topics of this study. Earl{\textquoteright}s skill as an artist/entrepreneur will be examined in light of the success of such ventures as his role in taking sketches for the engravings of the Battle of Lexington and Concord in 1775; his early series of portraits of American military heroes; and, at the end of this career, his distinction as the first American artist to sketch Niagara Falls, in 1799, in preparation for a grand panorama which he then promoted on an international tour. My discussion of Earl{\textquoteright}s success in attracting a series of distinguished friends and patrons focuses on his interaction with the British officer, Captain John Money, who advanced his English career; several prominent members of New York City{\textquoteright}s Society of the Cincinnati and the Society for the Relief of Distressed Debtor{\textquoteright}s, who assisted the artist in obtaining his release from debtor{\textquoteright}s prison; as well as the Hartford doctor, Mason Fitch Cogswell, who used his extensive network of distinguished Connecticut relations and patients to provide Earl with portrait commissions throughout the state. Finally, my assessment of over 200 known works by the artist (including a catalogue raisonne) will document the artist{\textquoteright}s significant alteration of his style from one region to the next, focusing on such distinctions as urban versus rural patrons, and fancy versus "plain" style. Earl{\textquoteright}s highly popular Connecticut portrait style, which inspired a school of followers, is thus shown to evolve as a creative interplay between artist and patron, featuring "true" likenesses of his subjects set in their own surroundings, including many of the earliest known regional landscape views by an American artist.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Kornhauser, Elizabeth} } @mastersthesis {7280, title = {The Regensburg Bible: The Decorated Initials of the Late Romanesque Giant Bible, codex latinus monacensis 3901 in the Bayerische Staatsbibliothek, Munich}, year = {1988}, school = {UC Berkeley}, abstract = {In the Bayerische Staatsbibliothek in Munich is a late Romanesque giant bible, clm 3901 the Regensburg Bible. Made in Regensburg around the year 1200, it is a luxury manuscript with seventy-seven decorated initials, thirty-three of which are historiated. It is one of the last major products of the important Regensburg-Prufening scriptorium. The primary artist was Pernold, the librarian of St. Emmeram in Regensburg. This dissertation is a monographic study of the decorated initials of the Regensburg Bible. While typical of its conservative workshop in style and iconography, the Regensburg Bible is nonetheless a bold new departure. A luxury giant bible illustrated by means of a cycle of historiated initials is unprecedented in Regensburg-Prufening. Certain details of style, iconography and technique show that the artist was in contact with contemporary developments from the west. It is also necessary to consider certain aspects of the Regensburg-Prufening scriptorium, and of a number of other scriptoria whose influence is visible in the Regensburg Bible. Modifications must be made to certain scholarly opinions. Most notably, Demus{\textquoteright}s reconstruction of a Hirsau-based school of illumination in Prufening in the second quarter of the twelfth century is not entirely valid. And it is necessary to refute Wehrhahn-Stauch{\textquoteright}s contention that the origins of the mature Regensburg-Prufening style derive from Cologne. The nature of the complex relationship between the Regensburg-Prufening and the Salzburg scriptoria is reconsidered.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Shearer, Karen E.} } @mastersthesis {7283, title = {The Roman Agora at Athens}, year = {1988}, school = {Boston}, abstract = {The Roman Agora is a square peristyle building situated at the foot of the Athenian Akropolis. Although the remains are mostly well-preserved, the structure has been ignored by scholars. Evidence for its early history can be best derived from a careful study of the dedicatory inscription. It is proposed that Julius Caesar first donated funds for the Market{\textquoteright}s construction in 51 B.C. Growth in the Athenian economy circa 50 B.C., as evidenced by a flurry of building activity, was the primary impetus behind the Market{\textquoteright}s construction. This economic growth may have been caused by an influx of Roman merchants into Athens following the collapse of Delos as a commercial center. It is possible that the Market was originally intended, at least in part, to be occupied by those merchants. Because of the civil wars and an end to economic prosperity, however, the building funds were confiscated by Caesar and the Market was not constructed. With the emergence of Augustus and cessation of hostilities in Greece, a better economic climate prevailed in Athens that fostered renewed building activity. The construction of the Roman Market, suggested here to have begun in 19 B.C., was a major part of Augustus{\textquoteright} building program, and was closely linked with the emperor{\textquoteright}s reconciliation policy with the Athenians. Analysis of the Market{\textquoteright}s remains indicates that the builders economized in its construction. Much of the building material was reused from earlier buildings. Apparently, only the east portico was provided with shops; the west side is suggested to have contained warehouses. Storage facilities are consistent with the Market{\textquoteright}s original purpose which was to include space for wholesale operations. That this aspect was realized in the actual construction and later history of the Market is confirmed by a Hadrianic inscription recording wholesale commerce of olive oil within the Market. The Market is linked to a building to the east which has been wrongly identified as the Agoranomion, but which is here proposed as the Sebasteion of Athens, the center of the imperial cult. The Market-Sebasteion complex thus replaced the old Agora of Athens in respect to commerce and religion.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Hoff, Michael C.} } @mastersthesis {7289, title = {Roman Marble Tables}, year = {1988}, school = {Princeton}, abstract = {Marble tables are the most common but least-studied class of ancient Roman decorative sculpture. The first chapter of this work examines their forms and decoration, establishing a full typology and analyzing the influence of furniture in other materials. No other type of ancient sculpture was carved from as wide a variety of stones and marbles; traces of embellishments such as paint, stucco, metal, and glass paste also survive. All of this material contributes significantly to our understanding of the ancient marble industry, the international trade in marbles, and the practices of the Roman sculptor. The criteria used to date Roman decorative sculpture come under close scrutiny as well, and strong arguments are marshalled against the current reliance on minute comparison of forms as an indicator of chronology. The third chapter proposes a variety of new dating techniques which are both more apposite and more widely applicable. The large body of extant trapezophori provides unusually detailed information on the workings of the Roman marble industry; particular attention is given here to the role of exporting workshops, the products of Italian shops and their distribution, and the function of local workshops. Unlike most decorative sculpture, marble tables were utilitarian objects, and a variety of evidence here demonstrates for the first time the wide range of functions which they served in contexts both scared and profane. Thanks primarily to the excavation of Pompeii, we also know the original positions of hundreds of these pieces within Roman houses, and that evidence allows an unusually vivid glimpse of the Roman aesthetic sense as it was applied to the display of small-scale sculpture and the decoration of interior space. The Pompeian material also provides a sharper definition of the Roman concept of decor, and suggests that marble furniture was displayed in new ways as the plans of Roman dwellings drifted away from the formal axiality of the Italic townhouse. The text concludes with an essay on marble furniture as an expression of Roman taste, examining the broader cultural roots of the phenomenon. The catalogue which follows the text documents 600 examples found in Italy.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Moss, Christopher Frederick} } @mastersthesis {7279, title = {S. Pietro at Otranto and Its Place in Byzantine Art}, year = {1988}, school = {Yale}, abstract = {No record in ProQuest}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Safran, Linda} } @mastersthesis {7229, title = {The Sculptor Sir Richard Westmacott (1775-1856): Life and Works}, year = {1988}, school = {IFA/NYU}, abstract = {Sir Richard Westmacott was one of the leading sculptors of the early nineteenth century, yet he has never been the subject of extensive research. This study provides the first full-length examination of his works. Highly respected and successful throughout his career, he won several of the most prestigious public and private commissions of his day including monuments to Lord Nelson, the Duke of Wellington and Charles James Fox. As a tomb sculptor he was rivalled only by his colleague Sir Francis Chantry. In addition, he produced fine sculpture for the galleries of several of the most distinguished collectors of the era. Discussion of Westmacott{\textquoteright}s sculpture is organized into chapters typologically. His role as a sculptor of public monuments is stressed due to his prominence in this field. His works are analyzed in comparison with those by contemporaneous sculptors in order to assess his achievements within a wider art historical context. This study attempts not only to reveal the sculptor{\textquoteright}s strengths and weakness, his innovations and his dependence upon tradition, but, more importantly, to clarify how his sculpture reflects the prevailing artistic and cultural attitudes of his time.}, keywords = {19th- and 20th-Century Europe}, author = {Busco, Marie} } @mastersthesis {7287, title = {The Seals and Sealings from Hasanlu IVB, Iran}, year = {1988}, school = {Pennsylvania}, abstract = {This dissertation presents a stylistic, functional and locational analysis of the seals and sealings discovered at the Iron Age settlement of Hasanlu IVB in Northwest Iran (ca. 1100-800 B.C.). The study endeavors to define stylistic criteria for distinguishing imports from locally produced works, with an aim toward determining foreign contact and trade. In addition, it pursues an analysis of processes of cultural change in light of the complex network of interconnections between Hasanlu and major centers of the Near East in the early first millennium B.C., especially the imperial power of Assyria. For the purposes of a catalog, the assemblage is divided into six major stylistic groups: two groups of local products; three foreign styles; and one uncertain category (discussed in Chapters 2-7). Among the important findings is a major debt owed to Assyrian royal art in themes in the "local style" glyptic; and a desire to acquire Syro-Palestinian and Assyrian style seals, presumably as prestige goods. On a more theoretical level, the study raises the notion of a provincial place of manufacture between Hasanlu and Assyria to explain a group of Neo-Assyrian style seals having stylistic traits in common with the art of Iran. In addition to analyzing the seal designs, a working typology in Chapter 1 distinguishes between various commodity and door sealings on the basis of the markings on the undersides. This functional information, together with an overview of the distribution of the glyptic finds throughout the site (in Chapter 8) contributes to an understanding of the range of social and economic uses of seals and sealings, and the function of certain building areas where sealings were found. By combining art historical methods with archaeological, functional, and historical evidence, conclusions are suggested about craft production and seal use at Hasanlu in the ninth century B.C., as well as about foreign relations and exchange between Northwest Iran and the major centers of Assyria and Syria to the west, and Elam and Luristan to the south.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Marcus, Michelle I.} } @mastersthesis {7266, title = {Second Nature: The Portraits of J.-L. David, 1769-1792}, year = {1988}, school = {Harvard}, abstract = {This study surveys David{\textquoteright}s portraiture from his beginnings as an art student to his entry into the Convention in 1792. The three principal chapters each treats a distinct phase of David{\textquoteright}s career. "Family and Friends, 1769-1784" discusses portraits of familiars painted before the artist had achieved the celebrity that came with The Oath of the Horatii; "Patrons and Protectors, 1780-1785" portraits of an elite that identified with the court; "Like-minded Individuals, 1785-92" portraits of an elite that identified with the city, an identification David shared. Before exhibiting the Horatii, David was dependent on the good opinion of those who outranked him and painted portraits accordingly; after 1785 he was more in a position to chose whom he painted. An introductory chapter discusses the three principal relations in David{\textquoteright}s portraiture. A postscript sketches their development from 1792 until David{\textquoteright}s death in 1825. The three relations are (1) that between David{\textquoteright}s portraits and history paintings as works of art, (2) that between the same two genres as incidents within his career, and (3) that between portraiture and then accepted ideas about being, knowing and seeing. The last-named relation raises the issue of "second nature," the late Enlightenment{\textquoteright}s effort to subsume culture in nature. It also involves the portrait as a form of social communication, more specifically as an example of the mutual gaze. Each chapter is characterized by the specific alignment of the three relations. As the first extensive study of David{\textquoteright}s portraits, the dissertation attempts to provide both the information usually found in a catalogue raisonne and an historical interpretation that places those facts in a social and cultural context.}, keywords = {Baroque and 18th-Century Europe}, author = {Hunter, Donna M.} } @mastersthesis {7263, title = {Sets of Painted Views of Gardens, ca. 1728-40, and the Relationship between Garden Design and Painting in the First Half of the Eighteenth Century}, year = {1988}, school = {Yale}, abstract = {As landscape gardening became an increasingly popular pursuit in England in the early eighteenth century, garden owners began to commission sets of painted views celebrating their designs. The earliest known set commemorates the garden at Chiswick and was painted c. 1728-30 for the third Earl of Burlington by Pieter Andreas Rysbrack. At about the same time, the Duke of Kent commissioned Pieter Tillemans to paint a set of views at Wrest Park, for which only the watercolor studies were ever completed. There are early sets of Westcombe House by George Lambert and Hartwell House by Balthasar Nebot, and an anonymous set of six views of Claremont. Variety and surprise were the most commonly mentioned attributes of gardens of that time, and a single painting was not capable of showing how they conformed to such a description. Comparisons which said that gardening and painting were similar arts were as important to eighteenth-century theory as the idea of variety was. The sets may owe as much to this parallel between painting and gardening as to the emphasis on variety. These paintings of gardens are interesting in their own right as a new genre of pictures created in response to contemporary garden styles. They can also tell us a great deal about some of the most famous gardens of the day and help to illuminate contemporary garden theory, particularly the way in which the relationship between gardening and painting was perceived. Traditionally, that relationship has been explained as an imitation of or reference to the paintings of Claude Lorrain and his contemporaries. An exploration of the garden pictures themselves and also of the theoretical writings of the early eighteenth century shows that the pictures of Claude were not influential on gardens before the middle of the eighteenth century. Gardens were compared first to history painting and included in traditional explanations of high art. It is clear that the understanding of the relationship between gardening and painting changed radically during the course of the eighteenth century. The sets of painted views of gardens seem to precede discussions of actual vistas in a garden as "pictures" and may well be the source of that analogy.}, keywords = {Baroque and 18th-Century Europe}, author = {Cabe, Linda M.} } @mastersthesis {7258, title = {Shah Jahan{\textquoteright}s Lal Mahal at Bari and the Tradition of Mughal Hunting Palaces}, year = {1988}, school = {Iowa}, abstract = {The vast Lal-Mahal hunting palace near the village of Bari in Rajasthan was built between 1634-1636 by the Mughal Emperor Shah Jahan (r. 1627-58). The palace reflects Shah Jahan{\textquoteright}s lavish architectural taste and his love of hunting. As it is the most complete surviving example of a Mughal hunting palace, the Lal-Mahal is an important monument for documenting the architectural and cultural history of Mughal India. The Lal-Mahal has never been published, nor is there a systematic study of Mughal hunting palaces, despite their inherent importance as artistic monuments and the evidence they provide for a greater understanding of Mughal architectural patronage. Even the standard works by Percy Brown and others on Indian Islamic architecture have not addressed this major architectural type. This dissertation attempts to fill this lacuna in our knowledge with a monographic study of the previously unpublished Lal-Mahal at Bari. The study is a detailed description and analysis of this important Mughal palace. The historical background of Bari and the significance of the institution of the Mughal court hunt is discussed, as well as the formal characteristics of early seventeenth century Mughal palace architecture. Although the court histories do not mention the name of the architect of the Lal-Mahal, this study suggests an attribution to Ustad Ahmad Lahori (c. 1580-1649), who was serving as imperial architect during the period when the palace was constructed. The Lal-Mahal is compared to similar structures, particularly the approximately contemporary, and previously unpublished hunting palace at Rupbas. The Mughals created palaces in rural settings to experience the tranquility of nature, as strategic outposts, and especially for the pursuit of the imperial pastime, hunting. The Mughal court histories mention over sixty hunting locations, a substantial number of which were sanctioned as royal hunting grounds. The erection of buildings are recorded at several of these sites. Shah Jahan{\textquoteright}s hunting palace at Bari testifies to a building tradition that had been established by his predecessors, the emperors Babur and Akbar.}, keywords = {Asian Art}, author = {Hughes, Jeffrey} } @mastersthesis {7243, title = {The {\textquoteright}Skyscraper Problem{\textquoteright} and the City Beautiful: The Woolworth Building}, year = {1988}, note = {Fourth advisor: L. Marx}, school = {MIT}, abstract = {The "skyscraper problem" challenged the thought and practice of civic designers and architects prior to World War I. It referred to the incompatibility of City Beautiful principles with economically propelled land development, and to the contradiction between the notion of architecture as an art and the skyscraper{\textquoteright}s programmatic and technical requirements. Civic designers in New York had difficulty accommodating the skyscraper in their large-scale plans. They also found that it intruded on their vision for the business street, hindered their attempts to plan City Hall Park as New York{\textquoteright}s civic center, and created a chaotic skyline. Bruce Price, Louis Sullivan, Thomas Hastings, Cyrus L.W. Eidlitz, and other architects suggested alternative proposals for subjecting the skyscraper to the constraints of design. Prior to the design of the Woolworth Building, however, architectural critics did not unanimously endorse any single approach. Frank Woolworth chose a site for his proposed headquarters at the intersection of City Hall Park, New York{\textquoteright}s civic center, with lower Broadway, the spine of its business district. Woolworth commissioned Cass Gilbert to design the Woolworth Building in 1910. Gilbert shared the City Beautiful vision of McKim, Mead \& White and Daniel Burnham. He also accepted the skyscraper{\textquoteright}s pragmatic requirements. Woolworth intended his headquarters to function as a speculative office building, but also to look like a civic institution. The imagery of a civic institution would represent the capitol of his commercial "empire" as well as display his civic-mindedness, wealth, and cosmopolitanism. The Woolworth Building{\textquoteright}s siting at New York{\textquoteright}s civic center, its composition, its arcade, and its sculptural and mural decoration identified it with the prevailing concept of the civic building. The soaring vertical piers of its exterior recalled Gilbert{\textquoteright}s earlier design for the West Street Building, which was influenced by the functionalist ideas of Louis Sullivan. The Woolworth Building convinced critics that a suitable architectural expression could be found for the skyscraper. Zoning reformers regarded it as a benign skyscraper. Contemporary observers attuned to City Beautiful aesthetic principles thought that the Woolworth Building strengthened the order and image of New York{\textquoteright}s civic center and enhanced the view of the city from afar.}, keywords = {Art of the United States (except Photography and Film)}, author = {Fenske, Gail} } @mastersthesis {7259, title = {Soga Chokuan and Nichokuan, Two Painters of Sixteenth- and Seventeenth-Century Japan}, year = {1988}, school = {Columbia}, abstract = {Soga Chokuan (active circa 1596-1610) and his son Nichokuan (active circa 1620-1660) were powerfully expressive painters who created highly charged, at times overtly violent images. Virtually every subject painted by Chokuan and Nichokuan became a vehicle for expressing suppressed tensions and peculiar fascinations. The origin of the unorthodox artistic visions of these two painters is uncertain. However, a study of the documents of Chokuan and Nichokuan and paintings by their hands reveals that these two artists were probably descendants of the Echizen Soga school, a family also renowned for eccentric art. Nichokuan made a claim to direct descent from this family, and despite doubts that have been raised, Nichokuan{\textquoteright}s assertion appears to be valid. A number of correspondences can be drawn between Chokuan/Nichokuan and the Echizen Soga school. There are similarities between certain paintings by Chokuan and works by an enigmatic artist known as (Li) Shubun. Careful analysis indicates that there were probably two artists who used this name: one active in the fifteenth century and the other active in the sixteenth century. Both artists named (Li) Shubun were seemingly associated with the Echizen Soga school. The later (Li) Shubun was working in the same vicinity and can be linked with several of the same persons as the descendants of the Echizen Soga family. It is work by this (Li) Shubun that resembles certain of Chokuan{\textquoteright}s paintings. A person with whom the sixteenth-century (Li) Shubun and the descendants of the Echizen Soga family both seem to have associated--the lord Kanamori Nagachika--may even have been a patron of Chokuan and Nichokuan. Nagachika is one of the few persons whose social contacts correspond with those of Chokuan and Nichokuan. Taken as a whole, the style of Chokuan and Nichokuan can be seen as a natural outgrowth of Echizen Soga art, and the Soga school legacy can be considered a continuous, willful rebellion against the mainstream of Japanese art.}, keywords = {Asian Art}, author = {Lillehoj, Elizabeth} } @mastersthesis {7276, title = {The Stained Glass of the Oratory of Orsanmichele in Florence, Italy}, year = {1988}, school = {Syracuse}, abstract = {The stained glass windows of Orsanmichele have never been the focus of a comprehensive stylistic, archival, and contextual study. Without first understanding the intervention of the glazier in the stained glass process, prior studies have focused on attributing Orsanmichele{\textquoteright}s stained glass to prominent Florentine painters. Although it has traditionally been asserted that Italian stained glass production is characterized by a unique collaborative relationship between glassmasters and cartoon designers, the nature of this relationship has never been satisfactorily defined. My dissertation provides and employs a method that considers stained glass in the context of the larger visual ensemble of which it is a part, in light of contemporary events, and with respect to glass workshop practice. Through my approach, I propose a novel reconstruction of the peculiarly Italian relationship that existed between cartoon designers and glaziers in late Trecento and early Quattrocento Florence. In the context of this relationship, I identify and delineate the glazing personalities of three glaziers, two of which (Leonardo di Simone and Niccolo di Piero Tedesco) I identify as the glaziers of the Orsanmichele windows. I also re-examinine the participation of Florentine painters in the glazing process, and identify Orsanmichele{\textquoteright}s cartoon designers as Agnolo Gaddi, Niccolo di Pietro Gerini, Giovanni del Biondo, and Lorenzo Monaco. Orsanmichele{\textquoteright}s stained glass is considered in the context of the role of the Oratory and the thaumaturgic image of the Madonna of Orsanmichele in the spiritual, political, and economic life of Florence. The abnormalities of Orsanmichele{\textquoteright}s glazing and tracery construction are examined by means of documentation, visual analysis, and an understanding of the vicissitudes of Florentine events. Moreover, the stained glass windows are shown to have been produced in two glazing campaigns. In this context, I provide explanations for the hitherto enigmatic elements of the stained glass windows{\textquoteright} iconography and style. I also advance new evidence for the role and nature of the Madonna of Orsanmichele in the spiritual, political, and economic life of Florence that enhances our understanding of Orsanmichele and its place in Florentine life, as well as the impact of popular culture on the Florentine visual arts.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Burnam, Renee Karen} } @mastersthesis {7242, title = {The Stained Glass Windows in Four Palm Beach Churches (1889- 1984): The Religious and Social Context of Their Styles and Programs}, year = {1988}, school = {Florida State}, abstract = {The styles, techniques and iconography of two-hundred and seventeen stained glass windows in two Roman Catholic and two Protestant Episcopal churches were examined. The historical development of the West Palm Beach and Palm Beach areas indicate that periods of prosperity and depression affected the ordering and installation of the windows. The architectural styles of the church buildings were also examined. The Roman Catholic Jesuit churches used the Renaissance-Gesu plan based on the consideration of light, a factor less important in the more dimly lit Protestant Episcopal churches which used the Gothic-cruciform plan. The glazing programs include the work of twelve studios with styles ranging from traditional Gothic Revival, used in Bethesda-by-the-Sea Protestant Episcopal Church, to the pictorial Munich School, used in the two Roman Catholic churches, to the contemporary 1980s. Holy Trinity Protestant Episcopal Church used the traditional, pictorial, and contemporary styles. This research shows that a reassessment of the negative criticism of the pictorial Munich School is needed. The iconographic programs of the churches were also examined. The influence of the Jesuits and contemporary papal pronouncements were important factors in the selection of subjects in the Roman Catholic Jesuit churches. The choice of subjects in Bethesda-by-the-Sea was strongly influenced by its rector Tage Tiesen, while Holy Trinity{\textquoteright}s program demonstrated the influence of the congregation and clergy. The subjects in the wealthy resort parishes of St. Edward and Bethesda-by-the-Sea indicate a concern for the ceremonial and themes of royalty. The less affluent St. Ann emphasizes familial themes and Holy Trinity emphasizes baptismal and eucharistic themes. Both Bethesda-by-the-Sea and Holy Trinity stress the apostolicity of the Church. The windows reveal the twentieth-century popularity of St. Francis of Assisi and St. Anthony of Padua.}, keywords = {Art of the United States (except Photography and Film)}, author = {Dennison, Antonette} } @mastersthesis {7286, title = {Studies on Female Etruscan Terracotta Votive Heads V-I Centuries B.C.}, year = {1988}, school = {UC Santa Barbara}, abstract = {The subject of Etruscan votive practices is a potentially rich storehouse of information for many aspects of Etruscan culture. While frequent allusions to this subject occur in the literature, there does not appear to be a solid understanding of this important aspect of Etruscan religion. It is possible to shed considerable light on this significant area of Etruscan religion through the systematic study of various classics of votive materials. By careful application of various methodologies of art historical research including stylistic and comparative analyses, investigations into the effects of external (largely Greek) influences, and first-hand examination of the objects themselves, it is possible for the student of Etruscan votive practices to establish a typology and a chronology for certain groups of votive objects. In this way, it is practicable to develop a preliminary understanding of Etruscan iconography as it relates to votive practices. This dissertation will emphasize a particular class of votive objects: female Etruscan terracotta votive heads from the V-I centuries B.C. This class of votive objects is of particular archaeological value because of its uninterrupted and widespread use from the VII century B.C., whereupon the Romans adapted the concept in the well-known heads of the Republican period. The study will center on a special body of Caeretan votive material known as the "Vignaccia Deposit," the bulk of which is presently housed in the Lowie Museum of Anthropology of the University of California, Berkeley. The value of such a study is manifold. In addition to the inherent value of the resultant stylistic analysis, typology, and chronological overview, the study will provide insights into the continued varied politico-cultural relationships amongst the Etruscans and their contacts with the Greeks, the Romans, and the Carthaginians. Furthermore, careful examination of the contents of Etruscan votive stipi such as that of the Vignacci at Caere, in which the female heads play no small role, will provide a better understanding of the possible differences in Italic and Etruscan religion practices before and during Greek intrusion and influence. Lastly, the study of the heads will further illuminate the changing complex cultural picture as it evolved in V-I century Etruria. (Abstract shortened with permission of author.)}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Labarbera, Jeanne L.} } @mastersthesis {7232, title = {Themes in Picasso{\textquoteright}s Cubism, 1907-1918}, year = {1988}, school = {Columbia}, abstract = {This thesis is devoted to an examination of the continuities and significance of Picasso{\textquoteright}s Cubist subject matter. The period covered is essentially from the studies for Three Women beginning in late 1907 to the large The Lovers from the winter of 1918, though selective earlier examples are cited. The themes discussed are figure groupings, still life, and modern life subjects. The latter incorporates cityscape, posters and advertising, the Balkan wars, aviation and popular entertainment. Specific new themes identified in Picasso{\textquoteright}s work include the lesbian couple, Tarot cards, Catalan instruments and the caged bird. Interpretations are given to the appearance of Bass ale, aces, clay pipes, absinthe, the "Spanish" still life and musical motifs. The symbolized evocations of Apollinaire and Satie are also highlighted. In general, Picasso{\textquoteright}s subjects are shown not to be random, but rather to follow patterns based on particular personal associations or social developments.}, keywords = {19th- and 20th-Century Europe}, author = {Kachur, Lewis C.} } @mastersthesis {7282, title = {Three Fifth-Century B.C. Statue Bases from the Athenian Agora}, year = {1988}, school = {IFA/NYU}, abstract = {This study examines three fifth century B.C. statue bases that were excavated by the American School of Classical Studies at Athens in the Athenian Agora. These bases contribute to our understanding of important sculpture that is no longer preserved and allow us to check the various chronologies that have been established for sculpture, architecture, and epigraphy during a period of extraordinary artistic activity. The Leagros base is discussed in Chapter 1. Attention is drawn to its stylistic and epigraphic features, which favor a date just after the Persian sack of Athens in 480-479 B.C. The suggestion is therefore made to drop the terminus ante quem of 480 B.C. previously assigned to the base. The archaeological evidence in support of this redating is given in the Appendix to Chapter 1. This evidence argues that the earlier parapet surrounding the Sanctuary of the Twelve Gods was not built until the last third of the fifth century B.C. and that the Leagros base was moved to its present position, presumably with its bronze statue intact, during the construction of this parapet. The date of the later parapet is correspondingly lowered to the third quarter of the fourth century B.C. Chapter 2 deals with the inscribed fragment commonly associated with one of the two monuments commissioned by the demos to commemorate the Tyrannicides, who attempted to assassinate the Athenian tyrants in the year 514 B.C. Evidence is brought forward to confirm that it belongs to the second monument, which was completed by Kritios and Nesiotes in the year 477 B.C. and set up in the Agora. The ancient sources are unclear about its exact location. An uninscribed crown of Eleusinian limestone is examined in Chapter 3. Its association with the mortise-and-tenon type base is maintained, but a new restoration is proposed. This restoration increases the scale of the crown and allows for the possibility that it came from the colossal chryselephantine statue of Athena Parthenos that was dedicated in the year 438 B.C.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Gadbery, Laura} } @mastersthesis {7297, title = {The Tradition of Pouncing Drawings in the Italian Renaissance Workshop: Innovation and Derivation}, year = {1988}, school = {Yale}, abstract = {The technique of pouncing became most widely used between 1450 and 1520 and was inevitably linked with the artistic production of the great painters of the Italian Renaissance. This dissertation reconstructs the history and functions of pouncing, which was used not only by draughtsmen, fresco- and easel-painters, but also by printmakers, embroiderers, miniaturists, and decorators of ceramic wares. The evidence furnished by drawings, paintings, and primary sources are key to this reconstruction. Chapter I (Part I) analyzes the various terms, as defined in period dictionaries, related to methods of transferring drawings: cartoons, stylus-tracing, and pouncing. The history of the use and misuse of these technical terms seems intertwined with our modern understanding of early art treatises. Chapter II deals with the written sources on pouncing from 1390 to 1780, though the emphasis is on Italian texts from 1390 to 1600. The role of disegno theory with respect to drawing practices, such as pouncing and stylus tracing, receives special attention. Chapter III surveys the extent of the use of the technique chronologically, from the middle ages to modern times, and geographically, in the different regions of Italy, as well as in Northern Europe and Spain. Reasons for the use and dis-use of the technique are proposed there. Chapter IV reconstructs the varied functions that pouncing served in the workshops of artists and artisans; it aided in the production of patterns, copies, large-scale drawings, "auxiliary cartoons," and small-scale drawings. The advantages and limitations of pouncing as a method of drawing transfer, vis-a-vis those of stylus tracing, are also explored. The Catalogue of Pounced Drawings (Part II) brings together over four-hundred pounced drawings, the most important drawings of this corpus being by Raphael and Leonardo. Among the artists represented in the catalogue are: Mariotto Albertinelli, Bacchiacca, Fra Bartolommeo, Sandro Botticelli, Giulio Campagnola, Polidoro da Caravaggio, Lorenzo di Credi, Maso Finiguerra, Vincenzo Foppa, Raffaellino del Garbo, Domenico Ghirlandaio, Bartolommeo di Giovanni, Bernardino Lanino, Filippino Lippi, Bernardino Luini, Michelangelo, Parmigianino, Pietro Perugino, Pesellino, Sebastiano del Piombo, Antonio Pollaiuolo, Giulio Romano, Andrea del Sarto, Cesare da Sesto, Luca Signorelli, Paolo Uccello, Perino del Vaga, Paolo Veronese, Andrea Verrocchio, Daniele da Volterra, and Spanish-Italian late sixteenth century artists.}, keywords = {The Renaissance}, author = {Cappel, Carmen Bambach} } @mastersthesis {7291, title = {The Typology and Iconography of Etruscan Terracotta Curotrophic Votives: The Heads and Bambini}, year = {1988}, school = {Iowa}, abstract = {This dissertation investigates the typology and iconography of the terracotta votive heads and bambini in fasce common to the curotrophic sanctuaries of west-central Italy. Emphasis is placed on the heads and bambini in American public collections in an attempt to connect this unstudied material with votives which have secure archaeological contexts. Chapters I-II present the problems associated with the study of these terracottas and a brief history of votive practice connected the Mediterranean divinities concerned with everyday life, death, and healing. Chapter III reviews the antecedents for the votive heads of west-central Italy. Chapter IV examines the terracotta heads in American public collections that date from the late 6th and 5th centuries B.C. The bulk of the terracotta heads in the USA date from the late Classical and Hellenistic periods and are treated in Chapter V. Since many of these heads are part of large mold series, emphasis is placed on establishing the provenance of the series, tracing its diffusion to other centers in west-central Italy, and refining its dates according to stylistic analysis. Chapter VI addresses the appearance of the bambino in fasce type in the last quarter of the 4th century B.C., possible antecedents for the type, and its stylistic evolution until its disappearance for the sanctuaries of the curotrophos shortly after ca. 100 B.C. Chapter VII suggests that both the votive heads and bambini were gifts to enlist the aid of the curotrophos in effecting the safe transition of newly deceased to the afterlife. This new interpretation connects what is known about the nature of the curotrophos to a change that occurs in 4th century Greek thought concerning the psyche (or soul) just prior to an increase in the production of votive heads in west-central Italy and the appearance of the bambino in fasce. Orphic inscriptions from southern Italy and the similarity of the bambino type to Early Christian depictions of the Raising of Lazarus are cited to support this new interpretation.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Smithers, Stephen George} } @mastersthesis {7310, title = {Vincenzo Borghini and Vasari{\textquoteright}s "Lives"}, year = {1988}, school = {Princeton}, abstract = {The second edition of Vasari{\textquoteright}s Lives (1568) marks a dramatic advance beyond the first (1550) in historiographical sophistication. That this change is due largely to Vasari{\textquoteright}s friend, the humanist Vincenzo Borghini, has long been assumed: the aim of this study is to examine the most important aspects of Borghini{\textquoteright}s collaboration in detail. His contributions reflect the interests and emphases of his own scholarly work: through his influence, the second edition of the Lives assumes a significant position in the history of humanism. The two parts of this study are characterized by different "styles" of inquiry: the first is broad and synthetic, reaching outward, so to speak, to the larger intellectual-historical context; the second focused on the close analysis of Vasari{\textquoteright}s text, its sources and structure. Part one is divided into three chapters. The first attempts to define humanistic historical consciousness and the ways in which it is revealed in the various literary forms available to historians. The second surveys Borghini{\textquoteright}s career, particularly his historiographical and antiquarian methods. The third chapter inventories the principal differences between the first and second editions of the Lives and relates them to Borghini{\textquoteright}s vision of a "universal history" of art. The second part is less homogeneous. Chapter four investigates the idea of artistic progress expressed in the second edition. Contrary to widespread belief, Vasari{\textquoteright}s views on the matter did not change significantly. His additions and modifications serve to reinforce and embellish rather than dilute the bold historical thesis advanced in 1550. The consistency of his notion of artistic progress is illuminated by Borghini{\textquoteright}s theories regarding the development of language and literature. Chapter five analyzes Vasari{\textquoteright}s history of medieval architecture and sculpture. His attention to this subject indicates an emergent, if limited, sense of the historical relativity of esthetic values. The use of literary sources reveals that Biorghini not only furnished material, but that he also helped to synthesize and shape it. The last chapter discusses three instances of information provided by Vasari{\textquoteright}s collaborators. They reveal that the network of informers was large, and the methods and quality of research various; but they also help to define the particular nature of Vasari{\textquoteright}s role in reducing the data to its final narrative form.}, keywords = {The Renaissance}, author = {Robert J. Williams} } @mastersthesis {7295, title = {W. Eugene Smith: A Critical Analysis of Four Photographic Essays}, year = {1988}, school = {UC Santa Barbara}, abstract = {W. Eugene Smith{\textquoteright}s photographic essays are important both as cultural documents and as artistic standards for the art form. This dissertation analyzes four of Smith{\textquoteright}s most widely acclaimed photoessays: "Country Doctor," "Spanish Village," "Nurse Midwife," and "Man of Mercy." All were published in Life magazine between 1948 and 1954. My study begins with a brief discussion of the antecedents to Life{\textquoteright}s photographic essays and provides a detailed account of Life{\textquoteright}s editorial practice. Following this introductory, background information, single chapters are devoted to a thorough analysis of each of the four essays. My analysis includes a detailed account of the events surrounding the completion of each assignment and a discussion of Smith{\textquoteright}s intentions for his photographic reportage. The final chapter outlines Smith{\textquoteright}s commitment to the photographic essay and shows how this conception guided his working method and his printing technique. This study demonstrates the variability of interpretation possible with sequenced photographs. Insisting on his personal interpretation of subject matter, W. Eugene Smith was often in conflict with the desires of his editors. My analysis of each photo-essay will show the artistic qualities of each publication and will explain the socio-political context that influenced the published form of each.}, keywords = {Photography and Film}, author = {Willumson, Glenn C.} } @mastersthesis {7270, title = {Watteau{\textquoteright}s Painted Conversations: Art, Literature, and Talk in Seventeenth- and Eighteenth-Century France}, year = {1988}, school = {UC Berkeley}, abstract = {This study fully investigates, for the first time, the art of conversation as the privileged occupation of the society Watteau depicted. Recognizing the self-reflexive nature of social discourse, Watteau represented conversation in a way that defined and called attention to his new manner of painting. This representation of the functioning and forms of his own art is confirmed by Michel Foucault{\textquoteright}s analysis of the transformation of language beginning in the classical age. The new primacy of the spoken word in seventeenth and early eighteenth-century France, became linked to and reinforced: (1) the discreet, civilizing rhetoric of Watteau{\textquoteright}s subjects, (2) his insistent representation of artistic behavior and artistic process, (3) the open-ended character of his images that call for the beholder{\textquoteright}s visual and verbal participation, and (4) his liberation of high art from its traditional dependency on the written word. Conversation became a central theme for Watteau. Polite talk is represented or assumed in all of Watteau{\textquoteright}s images of society and unexpectedly serves as the basic framework for figural relationships even in his military, mythological, and religious painting. Watteau{\textquoteright}s society was also preoccupied with the spoken word. Polite discourse was elaborated as a form of aristocratic self-definition and self-display in women{\textquoteright}s salons and in numerous literary works devoted to the representation and analysis of conversation. Four important aspects of conversation as a social practice find expression both in this literary genre and in Watteau{\textquoteright}s oeuvre: the paradoxical significance and insignificance of subject matter, the primacy of manner or process; a dialogic pattern of social and formal relationships; and the assumed superiority of speech over writing. Nevertheless, conversational writings must not be understood as having influenced Watteau. Rather this literary genre helps us to understand how Watteau used conversation to declare the independence of painting from the written word and to celebrate the power of images to "converse" directly with the viewer. Concluding this study is a new analysis of Watteau{\textquoteright}s L{\textquoteright}Enseigne de Gersaint as the quintessential image of conversation in its merging of aesthetic and social codes.}, keywords = {Baroque and 18th-Century Europe}, author = {Vidal, Mary} } @mastersthesis {7246, title = {William H. Johnson: Expressionist and Artist of the Blues Aesthetic}, year = {1988}, school = {Yale}, abstract = {During the life time of the painter William Henry Johnson (1901-1970), his apparent tug-of-war between an expressive, yet inward-looking art and an art that boldly proclaimed its allegiance to contemporary Afro-American culture bewildered many of Johnson{\textquoteright}s critics. Since Johnson{\textquoteright}s death and his "rediscovery" in 1971, similar critical impasses have emerged concerning Johnson{\textquoteright}s aesthetic transitions. While the many writings, exhibitions and studies on the life and art of William H. Johnson provide an abundance of visual material, biographical data and contextual information, basic answers to the question of Johnson{\textquoteright}s stylistic development and artistic raison d{\textquoteright}etre remain unanswered. This dissertation will examine Johnson{\textquoteright}s career with the main objective of articulating his artistic motives and mechanisms. In addition, this dissertation will explore Johnson{\textquoteright}s art in the context of his life, paying close attention to how such factors as environment, artistic milieu and the artist{\textquoteright}s state-of-mind weighed upon Johnson{\textquoteright}s creative acts. Finally, this dissertation will compare Johnson{\textquoteright}s art with the various cultures out of which he operated during his active years as an artist. What each of these objectives will demonstrate is how Johnson{\textquoteright}s particular orientation to subject matter and artistic execution hinged on an omnipresent spirituality; a world view which, in the case of Johnson{\textquoteright}s art, links Scandinavian landscapes with South Carolina cotton fields, the School of Paris with the cult of the Jitterbugs, and an international Expressionism with a "blues aesthetic."}, keywords = {Art of the United States (except Photography and Film)}, author = {Powell, Richard J.} } @mastersthesis {7211, title = {The Agora Stoas at Assos, Aigai, and Termessos: Examples of the Political Function of Attalid Architectural Patronage}, year = {1987}, school = {UCLA}, abstract = {The agora stoas at Assos and Aigai have been attributed to the Attalids without a thorough art historical analysis. While such an analysis establishes striking similarities between these structures and Pergamene architecture, which include the multi-storied stoa type, arrangements of the elements of the orders, and individual features such as the cyma-reversa and palm capitals, polygonal column shafts, and double-half-columns, these similarities might be the result of imitation, rather than of patronage. The fact that the Attalid hegemony of Asia Minor in the second century B.C. was dependent on the voluntary allegiance of the Greek cities like Aigai and Assos to Pergamon is conducive to the idea of Attalid patronage. Patronage by the Attalids of such agora stoas, central and large civic structures, would have served the political function of propaganda by advertising the ability and willingness of the kings of Pergamon to benefit their allies and preserve Greek culture. Such patronage of important civic structures was a standard practice of Hellenistic rulers, following a precedent set by Alexander the Great. The Attalids also imitated Alexander by using their reputation as saviors and benefactors of the Greeks, which they had established by advertising their victories over the Gauls in various sculptural monuments, as a tool to obtain leadership of the Greek cities. In a similar fashion the Attalids used major building programs, the collection of literary and art works, the patronage of scholars and of schools for the arts at Pergamon to obtain recognition of their capital as the center of Greek culture in the Hellenistic world. Eumenes II and Attalos II sponsored the creation of a recognizable Pergamene style of architecture. If the similarities between the stoas at Assos and Aigai and Pergamene structures was the result of imitation, which is best explained as the desire of the cities to have what they thought of as the best type of stoas, such imitation reflects the success of the Attalids in using their architectural programs at Pergamon as a political tool to establish dominance of Hellenistic Asia Minor in the second century B.C. Since the stoas at Assos and Aigai were of recognizable Pergamene style and type, whether they were the product of Attalid patronage or of the imitation of Attalid architecture, they stood as symbols of the Attalid hegemony of Asia Minor.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Seddon, Lisa Ruth} } @mastersthesis {7178, title = {American Manuals for Art Instruction in the Public Schools: Progress, Prophecy, and Art for the Millennium}, year = {1987}, school = {Bryn Mawr}, abstract = {This survey of the introduction of drawing in nineteenth-century American public schools concentrates upon the manuals that were used because they are particularly useful as the record of a deeply embedded national discourse on contemporary American art theory and practice. Many of the manuals designed for use in the public schools were written by practising American artists who recognized the responsibility for educating consumers as well as makers of art; both were needed to assure the attainment of an appropriate aesthetic standard for national art. Although the theme of the special status of the American nation is present throughout the century as is the theme of national enhancement through improvement in the artistic merit of American industrial products, the changes in the manuals reflect a growing sophistication of American interest in art. At the same time, the changes in the manuals also clearly reflect evolving contemporary cultural concerns. The earliest apologies for drawing in the schools were based on the utilitarian value of drawing as a skill, but in the 1830s when American intellectuals engage with Transcendentalism, the goal of education in art is broadened to include training the individual{\textquoteright}s innate ability to appreciate beauty in nature, which in turn offers a relationship with the divine. Several factors combine in the 1870s to bring about a new national focus on the arts, and there is a general belief in the United States that the continued special status of the national culture depends upon improving the quality of American trade articles and restoring the pre-industrialization relationship of the artist-artisan with the product. The belief in art as integral part of the process necessary to the development of an estimable national character is still evident in the art-educational literature of the 1890s as is the sense of a uniquely American national mission. However, the literature is also influenced by the widespread cultural preoccupation with reforms designed to ameliorate the cataclysmic effects of industrialization and urbanization in the new Eden and restore the nation to the path of true progress toward a millennial society. Thus, the correspondences between American Progressive rhetoric and contemporary art-educational literature are striking. Additionally, there is in the manuals of the 1890s a common rejection of theory, as distinct from the reliance upon a set of facts which could be tested by personal experience, and it is possible that this pragmatic bias offers an explanation of the limitations of our interpretation of American art in the transitional years at the turn of the century.}, keywords = {Art of the United States and Canada (except Photography and Film)}, author = {Gross, Sally Lorensen} } @mastersthesis {7208, title = {Ancient Conceptions of the Body and the Canon of Polykleitos}, year = {1987}, school = {Princeton}, abstract = {This study investigates the Canon of Polykleitos in the context of ancient empirical and theoretical discussions of the body. The corpus of literary testimonia concerning the Canon is augmented by eight newly discovered citations in ancient literature, and a detailed anatomical analysis of seventeen Roman copies of the Doryphoros is provided. The dissertation isolates the various literary traditions in which information about the Canon was transmitted in antiquity. It establishes those writers who were closest to the source and those who offer changing perceptions about the Canon in later antiquity. An examination of the copies of the Doryphoros and a survey of the surgical texts of the Hippocratic Corpus demonstrate that Polykleitos was influenced by contemporary Hippocratic investigations of myology, biomechanical motion and balance. A study of the literary testimonia, the stance of the Doryphoros and 5th century discussions of the health constitution of the body suggest two different models for proportion which inspired Polykleitos. One is the isono mia theory of health which expounds the necessity for a 1:1 relationship of opposites among the constituents of the body. The second is the use of musical harmony as a basis for commensurate but unequal measurements in the organization of physical phenomena. The Canon emerges as a striking fusion of empirical and theoretical formulations about the body which became prevalent in the 2nd half of the 5th century B.C.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Leftwich, Gregory Vincent} } @mastersthesis {7204, title = {Anglo-Norman Hagiographic Illustration at Canterbury in the Early Romanesque Period}, year = {1987}, school = {UC Santa Barbara}, abstract = {This study concerns the illustration of hagiographic subject matter in manuscripts produced in post-Conquest Anglo-Norman England, focusing upon the early twelfth century Passionary from St. Augustine{\textquoteright}s abbey, Canterbury: London, British Library MS Arundel 91. Questions considered are "when," "why," and "in what context" hagiographic illustration first appears in English medieval art. Introductory chapters on historic and ecclesiastic context set the production of illustrated hagiographic texts in England within the Anglo-Norman milieu and in relationship to contemporary Continental interests. An investigation of Anglo-Saxon hagiographic illustration determines that hagiographic illustration in England develops concurrent with pan-European tendencies. The manuscript contexts for illustrated hagiography are discussed in a chapter defining the major types of medieval hagiographic texts: The libellus, Martyrology, and Passionary. Examples of the earliest extant illustrated examples of each genre from England are considered: the St. Cuthbert libellus from Durham (Oxford, University College MS 165); the St. Augustine{\textquoteright}s Martyrology: London, British Library MS Cotton Vit. C.XII; and the Canterbury Passionaries: from St. Augustine{\textquoteright}s, Arundel 91; from Christ Church, the Passionary contained in London British Library MSS Harley 624, Harley 315, Cotton Nero C.VII, and Canterbury Cathedral Library MS Lit.E.42. The Passionary, as an hagiographic compendium, requires a system of abbreviated illustration relevant to the short texts included. In B.L. MS Arundel 91, many texts begin with enlarged initials containing condensed narrative vignettes, some very complex. Iconographic sources and parallels for many of these scenes are considered. Passionary illustration in England is compared with European examples such as the earlier Cambrai Lectionary and the later Stuttgart Passionary. Questions of artistic style especially relevant to Canterbury are considered, with a reexamination of the term "revived Utrecht style," describing the graphic impulse in post-Conquest English art. While this style has been associated with reactionary anti-Norman sentiment, the textual and hagiographic evidence as it appears in Arundel 91 does not confirm this view. Reference to more relevant contemporary concerns, and the placement of this manuscript within the expanded European context give a more balanced picture of the development of hagiographic illustration in early Romanesque England.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Ross, Leslie D.} } @mastersthesis {7175, title = {Arcadia Reclaimed: Mythology and American Painting, 1860-1920}, year = {1987}, school = {Maryland}, abstract = {After being a rare subject in American painting from early colonial times through the mid-nineteenth century, ancient mythology started to appear with greater frequency and in the work of artists with many different aesthetic points of view. By the end of the century, muralists decorating grand public edifices, landscapists exploring "plein-air" effects, painters of intimate mood pieces and artists espousing the latest "avant-garde" theories drew upon a rich storehouse of myths for some of their most interesting works. This paper investigates the reasons for this sudden interest in myths as a subject for American painting and the meaning mythical subjects held for artists and the public of the period. First, the types and various treatments of myths prior to the mid-nineteenth century are traced. With that background, the later paintings of mythical subjects are grouped by similar themes and analyzed in the context of historical attitudes, artistic theories, and each individual artist{\textquoteright}s background. Three general themes addressed by myths emerge. First, myths relating to music, painting, poetry and artistic inspiration express the importance of the arts for American society. This reflects both public aspirations, as in the works of muralists such as Edwin Blashfield, and private concerns, as in Albert Pinkham Ryder{\textquoteright}s intimate canvasses that explore the nature of creativity. The second theme is that the American landscape could still provide an Arcadian refuge despite the incursions of industrialization and urbanization. In this somewhat escapist mode, the painter Ralph Blakelock envisions native Indians as Greek gods and the American Impressionist Childe Hassam depicts nymphs and Diana on New England beaches. The last major theme, that myths are a key to understanding man{\textquoteright}s sensual nature and emotional states, reflects a new outlook on the part of artists such as Arthur B. Davies facing the challenges of the early twentieth century. Mythology thus provided American artists a meaningful and multi-layered language. No longer a European import, mythological subjects in painting reflected both native stylistic trends and national issues. Through myths, artists expressed attitudes, hopes, and fears that were both timeless and timely and enriched the tradition of nineteenth- and early twentieth-century painting.}, keywords = {Art of the United States (except Photography and Film)}, author = {Tebow, Elizabeth E.} } @mastersthesis {7206, title = {The Archaeology of the Early Greek "Hero Cult"}, year = {1987}, school = {Princeton}, abstract = {Material evidence for the concept of hero cult among the Greeks, its origins and development after the end of the Bronze Age is collected and analyzed in this dissertation. The object is to make a new contribution to the discussion of hero cult, which has focused on three issues: continuity of cult from the Bronze Age to the historic period; the impetus provided by Homer{\textquoteright}s poetry; and the rise of hero cult during the emergence of the polis. After a statement of the problem, review of previous scholarship and establishment of terminology, a regional catalogue of Bronze Age tombs is presented (excluding Crete, Cyprus and Ionia). The archaeological evidence for later activity at these tombs is sorted into three categories: intrusion by accident or for utilitarian purposes; reuse for burial; and cult. Next, sanctuaries and shrines to epic, mythological, and local heroes whose origins are believed to lie in the 8th century B.C. or earlier are examined. Finally, funerary customs including ritual feasting, tumulus and peribolos burials, and lavish interments thought to be modelled on Homeric descriptions are placed in their cultural contexts. In conclusion, the cultural and social structures and ritual practices of the Greeks prior to and during the formation of the polis are correlated with the evidence. It emerges that {\textquoteright}hero cult{\textquoteright} has been too broadly defined in the past, and several phenomena can be isolated under this rubric. The circulation of epic poetry has little to do with these activities, which are best related to the care of the dead and ancestral commemoration.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Antonaccio, Carla M.} } @mastersthesis {7164, title = {The Art of John Storrs}, year = {1987}, school = {IFA/NYU}, abstract = {A pioneer in the area of abstract sculpture between the two World Wars, John Storrs (1885-1956) was born in Chicago but spent much of his career living and working in France. Through a thorough study of his extant papers, letters, diaries, and memorabilia, Storrs{\textquoteright} life and art are explored. Much effort has been spent locating Storrs{\textquoteright} works in private and public collections, as well as in warehouses, in order to examine the stylistic and chronological connections between his sculptures, paintings, drawings, and graphics. John Storrs studied art in Germany, France, and at various schools in the United States. He was a favored pupil of Rodin. Storrs{\textquoteright} first one-person exhibition was held at the Folsom Galleries in New York in 1920. He is particularly known for his architectonic sculptures that resemble column-towers, building clusters, and skyscrapers, works sometimes referred to as his "studies in pure form." Storrs{\textquoteright} small sculptures based on architectural elements and factored in industrial metals in the mid-1920s are works of extraordinary originality. Influenced by the avant-garde European movements of Cubism, Futurism, Vorticism, and Surrealism, Storrs nevertheless remained very much a "home town boy." His sculpture shows an affinity to his Chicago roots, particularly to the architecture and design elements of Frank Lloyd Wright and sculptors like Alfonso Iannelli and Richard Bock who worked with Wright. Moreover, Storrs{\textquoteright} art was directly connected with the Art Deco movement. His work reveals typical Art Deco motifs--the zigzag, the stepped motif, the sunburst--and he was fascinated, as were many Art Deco artists and designers, by American Indian artifacts. He collected these objects as well as Japanese prints, and shared the Deco taste for anything primitivizing be it Archaic Greek sculpture, Assyrian or Egyptian art, or Romanesque architecture. Always associated with avant-garde artists, writers, and designers, Storrs numbered among his close friends Louise Bryant, Marsden Hartley, Jacques Lipchitz, Fernand Leger, Jacques Villon, and Buckminster Fuller. His graphics, poetry, writings, and sculpture were reproduced in advanced publications such as The Masses, The Liberator, and The Little Review.}, keywords = {Art of the United States (except Photography and Film)}, author = {Frackman, Noel} } @mastersthesis {7187, title = {The Art of Painting: An Iconographic Examination of De Schilderconst by Johannis Vermeer of Delft}, year = {1987}, school = {Binghamton}, abstract = {The focus of this dissertation is an iconographic study of The Art of Painting (Vienna, Kunsthistorisches Museum, fig. 1) by the noted seventeenth-century Dutch artist Johannes Vermeer of Delft. Reproduced and cited in countless discussions of Vermeer{\textquoteright}s art, The Art of Painting has become the subject of a steadily growing body of iconographic scholarship which has sought to interpret Vermeer{\textquoteright}s naturalistic image of a painter at work as an allegory of history. As in the majority of these studies, a fairly traditional iconological methodology has been employed, offering an analysis of possible iconographic symbolism on both primary natural and metaphorical levels, attempting to identify what kinds of traditional metaphorical associations a seventeenth-century audience might have drawn from the various motifs and events depicted in Vermeer{\textquoteright}s painting. The goal has been to arrive at an improved understanding of Vermeer{\textquoteright}s possible thematic intention by concentrating on the question of how a seventeenth-century audience might have approached Vermeer{\textquoteright}s work within the context of Netherlandish "artist in studio" imagery. Where this study perhaps differs from most earlier approaches to Vermeer{\textquoteright}s works, however, is in the special emphasis which has been placed on attempting to understand the nature of the relationship between thematic development in Netherlandish "artist in studio" imagery and contemporary expressions of Dutch artistic theory and practice. Previous studies have proceeded from the assumption that Vermeer{\textquoteright}s intention in The Art of Painting was that his audience decipher some presumed hidden allegorical meaning. This study demonstrates that it is more likely, within the context of seventeenth-century thought, that Vermeer{\textquoteright}s concern was to have his audience derive moral instruction from an immediate understanding of the nature of the metaphorical relationship between naturalistic illusionism and observed event. The conclusion reached is that in contrast to traditional interpretations of The Art of Painting as an "allegory of history," it is more appropriate to approach Vermeer{\textquoteright}s painting as a moral exemplum, addressing the vanity of man{\textquoteright}s desire for fame.}, keywords = {Baroque and 18th-Century Europe}, author = {Hubschmitt, William} } @mastersthesis {7180, title = {The Artefacts of Biography in Ch{\textquoteright}en Hung-shou{\textquoteright}s Pao-lun-t{\textquoteright}ang chi}, year = {1987}, school = {UC Berkeley}, abstract = {Many accounts of the life of Ch{\textquoteright}en Hung-shou are recorded in historical documents and art texts that pertain to the late Ming period. He was an exceptional painter who disregarded canons both of subject matter and of style to which most of his contemporaries adhered. By happenstance, moreover, he witnessed the fall of the Ming government and was inevitably embroiled with the Manchu conquerors of China. My focus in the dissertation will be a biographical one; my starting-point will be Ch{\textquoteright}en Hung-shou{\textquoteright}s writings, especially the poems and essays that were recorded in the posthumous collection of his literary works Pao-lun-t{\textquoteright}ang chi (Collected writings from Hall for the Cherishment of Silken Cords). Traditional Chinese accounts of Ch{\textquoteright}en Hung-shou{\textquoteright}s biography sought to narrate his life in accordance with the exemplary patterns that had been perceived in the lives of artists known from the past. Presentation of his experience after the Manchu conquest as an i-min, or "left-over subject," also followed certain literary precedents. The three principal biographies of Ch{\textquoteright}en Hung-shou that were written in the early K{\textquoteright}ang-hsi period have had a significant influence, even into the twentieth century, on the way historians have recounted his life. Although the vivid narration of these texts by Chu I-tsun, Mao Ch{\textquoteright}i-ling, and Meng Yuan can persuade the reader of their veracity and knowledge of Ch{\textquoteright}en Hung-shou, more often than not they evidence considerable authorial manipulation, so much so that they cannot be accepted as the straightforward historical documents they might appear to be. K{\textquoteright}ang-hsi period views of Ch{\textquoteright}en Hung-shou tended to exaggerate the painter{\textquoteright}s loyalty to the Ming. My interpretive scheme will depend in part upon Pao-lun-t{\textquoteright}ang chi as a repository of slighted or little known facts about the painter{\textquoteright}s life. My purpose, however, is not simply to write a literary biography. Although Pao-lun-t{\textquoteright}ang chi contains a great number of confessional writings and poetic complaints, the most private of these texts can be shown to convey as well the form of a public self. Indeed, Ch{\textquoteright}en Hung-shou presents himself in a variety of ways in his poetry, accommodating his presentation to the codes of behavior to which he adhered in different periods of his life. (Abstract shortened with permission of author.)}, keywords = {Asian Art}, author = {Burkus, Anne} } @mastersthesis {7152, title = {The {\textquoteright}Artist and Model{\textquoteright} Theme in Picasso{\textquoteright}s Work between 1926 and 1963}, year = {1987}, school = {McGill}, abstract = {This dissertation explores the meaning behind Pablo Picasso{\textquoteright}s depictions of the artist and his model. It surveys the principle manifestations of the theme from 1926-1962, then analyses representative paintings of the 1963 artist and model series. The works studied are related to Picasso{\textquoteright}s documented statements, and friends{\textquoteright} reminiscences. Picasso{\textquoteright}s treatment of the theme is characterized by: his fundamental paradoxical outlook; art historical allusions; the superposition of signs and schematic configurations; and the absorption of primitive forms. Picasso uses the subject of the artist and his model to express his conception of the process inherent to the making of art. The paintings ultimately reveal: (1) a simultaneous representation of the process and the product of art-making; (2) a concentration on the intricacies of the process itself; (3) establishment of the analogy between art-making and love-making; (4) presentation of the paradox of the creative and destructive forces within the creative endeavour; and (5) the assertion of the artist{\textquoteright}s power as he enacts his avocation.}, keywords = {19th- and 20th-Century Europe}, author = {Yaffe, Phyllis C.} } @mastersthesis {7182, title = {Boxing in British Sporting Art: 1730-1824}, year = {1987}, school = {Oregon}, abstract = {This study of the imagery of boxing discusses boxing as a phenomenon within the social and cultural environment of the English people during two time periods, from approximately 1730 to 1750 and from 1783 to 1824. The results change the common perception that British sporting art consisted first and foremost of field-sport images. In fact, an iconography of boxing exists, which indicates that the boxing image was also an important part of the genre. The study incorporates a representative selection of images, among them genre paintings, moralistic subjects, portraits, and popular works, and includes relevant sport-historical literature. It begins with an investigation on the nature of sporting art and its related ideals. An inquiry into early boxing history leads into the discussion of boxing art. The first signs of a pictorial tradition of boxing imagery appeared in the early eighteenth century. William Hogarth{\textquoteright}s representations of boxing from the 1730s to 1752 explore the social context of boxing and show how the pugilist of this period attracted aristocratic patronage, while remaining visibly connected with lower-class life. In the late eighteenth century boxing art was affected by the pugilists{\textquoteright} aspirations to become integral members of the sporting life of upper-class male society. To suppress boxing{\textquoteright}s stigma of brutality, the sport was detached from unpleasant notions, and, instead, romanticized and associated with traditional concepts of gentility. The study discusses boxer portraits, which represent the pugilists in rural landscape settings and emphasize the nonviolent display of manly beauty. Another issue is the idealization of boxing through the use of antique allusions. When in the early nineteenth century boxing appeared in popular art the concern was with unaffected reality. A discussion of caricature and illustrations discloses an enrichment of the genre through concepts of actuality, motion, and spontaneity. Yet, this popular representation of boxing eventually clashed with a changing public opinion and finally contributed to the decline of pugilism and its representation in art. This thesis{\textquoteright} contribution is that it enlarges the scope of British sporting art beyond field sports. It concludes that boxing art deserves consideration as an important part of the genre.}, keywords = {19th- and 20th-Century Europe, Baroque and 18th-Century Europe}, author = {Heiny, Henriette A.} } @mastersthesis {7156, title = {Clothed in Symbol -- the Art of Adinka among the Akan of Ghana}, year = {1987}, school = {Indiana}, abstract = {Among the various Akan peoples of central Ghana and especially the Asante, funerals are a time of ceremony and celebration. The means of demonstrating one{\textquoteright}s sorrow for the deceased are expressed through ritualized forms of behavior and arts associated to funerary ritual. During these ceremonies of burial and remembrance the wearing of funerary attire or special cloths is a reflection of respect for the dead and also indicates the relationship of the mourners to the deceased. It is the most prominent of these funerary cloths, commonly known as adinkra, that is the subject for this thesis. Adinkra cloths are stamped with traditional Akan symbols or motifs or with contemporary images that are associated to proverbs, parables, apologues, aphorisms or with popular sayings. These stamped graphic images serve as an example of the concurrence of the verbal and visual art forms active among the Akan as the narrative is given visual form. The corpus of adinkra stamps has increased dramatically from the first recording as many new stamps are developed to meet popular demand and thus reflecting contemporary taste or individual creative expression. Though noted as early as 1817 and thereby making it one of the earliest art forms recorded in West Africa, there is still the lack of a clearly defined place or time for the origin of adinkra. The methods of cloth stamping noted in the early nineteenth century are still practiced in the traditional Asante center of adinkra production. The Akan experienced early Islamic influences that were rapidly assimilated to play a vital role in the development of adinkra imagery. As a result of this a number of motifs were based upon Islamic designs or made direct reference to Moslems or Moslem attributes. However the Akan were to never lose their core identity in assimilating these external influences as they were adapted to serve traditional Akan institutions. Though traditionally worn for funerals adinkra has increasingly become a fashionable cloth worn upon social and non-funerary occasions. With this pattern of use adinkra cloth becomes appreciated as much for its aesthetic form as its symbol carrying capability. A reflection of the resiliency of Akan culture can also be seen in the attempt to compensate for the loss of traditional visual symbolic literacy through the use of stamped written text rather than the traditional images.}, keywords = {African Art}, author = {Mato, Daniel} } @mastersthesis {7153, title = {Comparative Study of Fin-de-siecle European Art Magazines, Their Function in a Cultural and Social Context}, year = {1987}, school = {UC Berkeley}, abstract = {The abundance of art and literary reviews that were published during the European fin-de-siecle, can be concentrated at two opposing poles, with a relatively small group of magazines falling in between these two extremes. The magazines either enjoyed wide popularity, or they were limited editions, advocating special concerns and intended for a select group of readers. The art and literary journals that are the subject of this dissertation-- Jugend and The Studio, La Revue Blanche, Pan and Ver Sacrum --span this entire range from popular appeal to elitist attitudes. In spite of differences in their ideologies, the shared ideal underlying their publication was the integration of Art and Life. This concern was pervasive throughout late 19th century Europe and was motivated by such contemporary philosophies as the complex Lebens-philosophie in Germany and Austria, the elan vital in France and the teachings of Ruskin and Morris in England. The aesthetic and/or social integration of Art and Life was meant to be a tangible application of the ideals presented in these philosophies. This was best manifested, in theory and practice, by the Gesamtkunstwerk, which was realized especially in such magazines as Pan and Ver Sacrum. The integration of Art and Life signified an important, alternative style of life and called for an overall renewal of cultural and social values. The five art and literary reviews under consideration here, reflected this {\textquoteright}rejuvenation{\textquoteright} trend, whether directly or indirectly. Thus, the intention of this dissertation is to present the pattern of the {\textquoteright}spirit of renewal{\textquoteright} that penetrated the art and culture of fin-de-siecle Europe.}, keywords = {19th- and 20th-Century Europe and Near East}, author = {Pagel, Angelika} } @mastersthesis {7198, title = {The Crypt at Hosios Loukas and its Frescoes}, year = {1987}, school = {IFA/NYU}, abstract = {The Crypt at Hosios Loukas and Its Frescoes, a dissertation for the Institute of Fine Arts of N.Y.U. presents the crypt at the Byzantine monastery of Hosios Loukas in Greece-- long famous for the splendid mosaics of its great upper church-- as a major monument in the history of art. This dissertation provides a catalogue and analysis of the fresco decoration in conjunction with a study of the historical, social and religious framework of the monument, providing a long needed response to questions of patronage, program and dating. The recently cleaned frescoes can now be seen as the most complete and well preserved ensemble of middle Byzantine monumental decoration, with eight Feast and Passion scenes and forty medallion portraits of saints, in fresh, bright colors and surrounded by lavish ornament. The catalogue includes a systematic iconographic and stylistic analysis and complete photodocumentation of the frescoes. The liturgical function of this large crypt below the main church is explained by reference to early and middle Byzantince monastic funerary and commemorative practices; surely it was the place for funeral services, including the Holy Eucharist, for deceased monks. However, most interesting is the evidence for its use as a place of healing miracles, for the crypt contained the miraculous tomb of the patron saint and founder of the monastery, Luke of Stiris. The tenth century Vita, or Life of the saint, cited in numerous passages in translation, provides vivid witness of the healing cult and also, through a wealth of detail, a glimpse of middle Byzantine society and its beliefs. The themes and subjects of the decoration, in particular a group of portraits of abbots, seen in the contemporary context of the Vita make possible the identification of the sources of wealth for this lavish foundation as well as its principal patron. The evidence-- artistic, literary and historical-- when reexamined in the light of this important document suggests a new dating for the great church of Hosios Loukas in the last third of the tenth century.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Connor, Carolyn} } @mastersthesis {7209, title = {The Decorative Program in the Mycenaean Palace of Pylos: The Magaron Fresco}, year = {1987}, school = {Pennsylvania}, abstract = {The purpose of this study is to demonstrate that a cohesive decorative program was designed for the throne room complex of the Late Helladic IIIB palace at Pylos, and that its iconography responded to the unit{\textquoteright}s royal function. Although throughout history many rulers have embellished their palaces with decorative systems intended to visually reinforce their own power, this is the first time that a decorative program of any type has been identified in an Aegean Bronze Age palace. New reconstructions of the megaron wall paintings are based on the frescoes published by Dr. Mabel Lang (1969), a series of unpublished frescoes listed in the Catalogue, and information gleaned from the excavation notebooks. The reconstructions show that the megaron decoration included an impressive gift-bearing procession, a bull sacrifice, and a banquet scene with lyre player, three activities that are here identified as components of an important religious festival, similar to those documented in Classical Greece. While this festival was a key feature of the megaron{\textquoteright}s program, it was complemented by other subjects, only one of which can be fully identified: the large-scale lion and griffin that guarded the throne and its occupant. Although clearly distinguished by their subject matter, the figures{\textquoteright} size, and background color, the two groups were bound by their orientation toward, and iconographic relevance to, the central throne: the lion and griffin ensured the enthroned ruler{\textquoteright}s protection, and perhaps reflected his physical strength; the festival activities implied a desire to perpetuate religious rituals (thus ensuring divine favor), and suggested the king{\textquoteright}s ability to provision such festivals and provide the stability that festivals strove to ensure. In conclusion, it is argued that the Pylos megaron frescoes followed a coherent program that was characterized by thematic and compositional unity, and that responded directly to the Throne Room{\textquoteright}s political function. More specifically, we have here for the first time in the Late Helladic repertory what seems to be evidence of the ruler{\textquoteright}s direct association both with the festival calendar and with an explicit ideology of divine protection and sound rule.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {McCallum, Lucinda R.} } @mastersthesis {7143, title = {Delacroix and the Venetian Tradition}, year = {1987}, school = {Brown}, abstract = {The tradition of Venetian colorism served as an inspiration for many of the artists of the nineteenth century, and Delacroix{\textquoteright}s art provides the most comprehensive manifestation of the adoption of Venetian principles. Taking Delacroix as its focus, the dissertation explores how the first half of the nineteenth century conceived of Venetian art, and by extension, of colorism. The definition of Venetian art between about 1750 and 1860 is arrived at by examining the writings of critics and art historians. These writings reveal Venetian art as the example of not only brilliant use of color, but also of truth to nature combined with an ability to idealize, the ability to make color, chiaroscuro, and accessory elements aid in the expression of the picture, and great facility in the decoration of large spaces. Distinctions between Titian and Veronese become evident. The Venetians also typified, to the dismay of writers strictly following the precepts of the Academie, the tendency to ignore the academic approach to narrative in painting in favor of the exploration of purely visual effects which might or might not enhance the expression of a work, but perhaps lead only to the evocation of mood. The major objection to the Venetian example of academic writers such as A.-C. Quatremere de Quincy, then, has to do with the improper handling of subject matter and not with its method of painting per se. Conversely, at the other end of the spectrum, Th. Gautier finds Venetian works lacking any serious subject admirable, because their sense of well-being makes them truly antique. Critics of Delacroix{\textquoteright}s work find characteristics of the Venetian school in his painting, and they also align themselves along the academic--juste milieu--progressive continuum according to how much they value correct treatment of subject matter as well as finish. They consistently perceive his Venetianism as lying, appropriately, in his decorative projects or very large easel works and in his landscapes and genre subjects. Delacroix{\textquoteright}s own appreciation of Venetian art takes the form largely of admiration for its closeness to antiquity, its ability to decorate and especially of its material techniques which, more successfully than any other school{\textquoteright}s, recreate the effects of natural lighting. Finally, Delacroix{\textquoteright}s works are examined in detail for their use of the Venetian model. An Appendix lists those Venetian works known to Delacroix and those he is known to have copied.}, keywords = {19th- and 20th-Century Europe}, author = {Jespersen, Heather Pattison} } @mastersthesis {7174, title = {The Destruction in Art Symposium (DIAS): The Radical Cultural Project of Event-Structured Live Art}, year = {1987}, school = {UC Berkeley}, abstract = {No abstract in ProQuest}, keywords = {Art of the United States (except Photography and Film)}, author = {Stiles, Kristine Elaine Dolan} } @mastersthesis {7202, title = {The Development of Dedication Imagery in Romanesque Manuscripts}, year = {1987}, school = {Maryland}, abstract = {This dissertation proposes to establish the stylistic, compositional and iconographic characteristics of the dedication image in Romanesque manuscripts. The origin of the Romanesque dedication image is traced from Early Christian and Byzantine models derived from imperial iconography up to the year 1000. The evolution of the image in this period points toward a more spiritual expression through a vertical figure relationship, and leads to dedication imagery including intercessors. Between 1000 and 1050 north-French and Flemish scriptoria especially pursued dedication imagery with spiritual content, intercessors and a vertical orientation. The major development, however, occurs in Italy where the Deesis, which also has its origins in imperial iconography, is fused with a dedication scene. From Italy this conflated representation diffuses, recurring significantly in an Anglo-Saxon dedication picture from 1030 which features marked vertical composition. The spectacular dedication picture in the Gregory manuscript from Stavelot (Brussels, Bibl. Roy., ms. II. 2570. f. 3) dated, in this dissertation, late in the eleventh century, presents the main elements of the fully developed Romanesque dedication picture. Composed around a Deesis and with vertical figure interaction, this richly populated dedication scene, together with an extensive dedication text, presents a well-orchestrated appeal for spiritual salvation which increasingly comes to dominate dedication imagery. With the twelfth century the High Romanesque dedication picture emerges. Dominated by a vertical orientation, the Deesis group becomes now replaced with a Deesis-like triad of recipient and intercessors occupying the upper part of the illumination. The dedicator below, presenting the dedicated manuscript, is segregated from this divine appearance in the symmetric and hierarchic picture composition. This composition changes little during the twelfth century as it spreads through the Romanesque world. Its formal and hierarchic composition is emphasized by the segmented and subdivided structure typical of the Romanesque illumination style. The spiritual, hierarchic Romanesque dedication image vanishes in the thirteenth century as changing patronage and manuscript production favor the less solemn, neutral donor picture without intercessors. When the dedication image experiences a renaissance in the fourteenth century, it is an entirely secular image reflecting the ancient imperial iconographic sources for this specific image.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Ottesen, Bodil} } @mastersthesis {13232, title = {Diplomacy by Design: The Aggregation and Centenary Competitions in Architecture at the Accademia di San Luca in Rome and the Accademia Relations with the French Academy}, year = {1987}, school = {Penn State}, abstract = {The Accademia di San Luca{\textquoteright}s archive of architectural drawings is an important source of documentation of both the fledgling careers of architects trained there, and of the evolution of taste from the seventeenth to the twentieth century. This thesis bears on the nature of the educational experience at the Roman academy at the early extreme of this chronology, through an examination of the first twenty-five years of architectural competition there. The focus is upon the effects felt at the Accademia as a result of its association during the same period with the French academies in Paris and Rome. That association began in 1677, when the French and Roman academies were loosely allied, and when public competitions were inaugurated in which students of both academies participated. Beginning with a comparison of their attitudes toward architecture and instruction at that juncture, the paper follows the thread of their relationship through the rest of the century as it touches on the competition designs. The exchange is for the most part one-sided, with the Romans more anxious to learn from French example, and this has been seen by many scholars as a surrendering of their artistic hegemony to their Parisian counterparts. But in fact the outcome was to make of the Accademia a more effective teaching institution than Louis XIV{\textquoteright}s academies were becoming. In this, Carlo Fontana emerges as a figure of critical importance, either as teacher, influential designer, or as principe during the Accademia{\textquoteright}s centenary, at which time he was responsible for a renewed enthusiasm for its activities and mission. The competition designs, many either directly or indirectly influenced by him, permit an understanding of the creative climate in Rome when architectural commissions were otherwise sparse, and the picture is unexpectedly progressive. They also provide an additional link between the Baroque and Rococo centuries which suggests that an appreciation of the period of transition is neither complete nor precise without taking Rome and the Accademia into account.}, author = {Gil R. Smith} } @mastersthesis {7214, title = {Divine Gestures and Earthly Gods: A Study of the Ancient Terracotta Statuary From the Inland Niger Delta in Mali}, year = {1987}, school = {Yale}, abstract = {The Inland Niger Delta region in Mali played a crucial role in the ancient Art History of West Africa. Earth found in the Inland Niger Delta is famous for its quality. It is the medium used for two of the most spectacular art styles of West Africa. The Islamic city of Jenne represents the quintessence of the widespread Sudanese architectural style in earth. Clay is also the medium of the ancient terracotta statuary of the Inland Niger Delta, one of the most elegant, sophisticated and ancient art styles of Africa. The ancient terracotta statuary from the Inland Niger Delta emerged in the early second millennium A.D. It is made of a remarkable variety of human figurines represented in sixty-six different sacred postures, making it the single richest source on religious gestures in Africa. This study analyzes more than three hundred terracotta statues, establishing an iconography for this new art style which was virtually unknown until a few years ago. A group of thirty-one terracotta statues which have been documented accurately by archeological excavations allows us to project the geographical origin of the larger corpus of 310 statues found outside of any archeological context. Fieldwork in Mali provided fascinating data on the function of these statues and the postures they represent. The statues are portraits of deified ancestors, royal figures and founders of villages. These ancestors are worshipped by adopting the posture represented by each statue. Gesture thus becomes the means of communication with the gods. One could suggest that the goal of these sacred postures is for the believer to experience himself as divine. The statues were apparently used by members of every ethnic group in the Inland Niger Delta. This art style is thus part of a larger religious structure which continued until the late 18th century. The floruit of this art form is contemporary with the classical art of Ife as well as the stone and ivory statuary attributed to the ancestors of the Kissi, Baga, Bullom and Temne in the Upper Guinea Coast. Ethnobotanical evidence as well as art historical and religious influences allows us to postulate ancient connections between the Inland Niger Delta and the Upper Guinea Coast. The existence of the ancient corpus of terracotta statuary from the Inland Niger Delta forces us to reevaluate the notion of art styles invented independently and may provide new and unexpected connections between different regions and their art forms in West Africa.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {De Grunne, Bernard De Hemricourt} } @mastersthesis {7159, title = {Douglas Haskell and the Architecture of Social Responsibility}, year = {1987}, school = {Michigan}, abstract = {Douglas Putnam Haskell was one of the most prolific architectural journalists of the early modern period. Editor of Architectural Forum between 1949 and 1964, he was an outspoken advocate of an American modernism long before taking over that post. Born the son and grandson of Congregationalist missionaries to the Balkans, he graduated from Oberlin College in 1923 with a major in Political Science. A summer visit to the Weimer Bauhaus convinced him to use his talents as a writer in the service of modern architecture. While editing The New Student, an intercollegiate weekly, he was stimulated by the atmosphere of liberal ideas in New York. He published free-lance articles while developing a critical viewpoint through private study and writing. After an initial post on the staff of Creative Art (1927-1929), an unexpected opening at Architectural Record in 1929 introduced him to the architectural press. Free-lancing again in 1930, he became architecture critic for the New York Nation where he published regular commentary for ten years. In 1943 he returned to Architectural Record as Associate and later Senior Editor until 1949. Haskell{\textquoteright}s criticism during the 1930s is second in proliferation only to that of Lewis Mumford and appears in many popular and professional journals. His main concern was the establishment of a pluralistic modernism responsive to American cultural and industrial resources. He promoted public housing, regional planning, manufactured housing and better industrial design as important goals. He evaluated European modernism first-hand and admired its accomplishments but, in contrast with the proponents of the International Style, believed that a unified modern style was neither desirable nor an accurate interpretation of architectural conditions in the early 1930s. By the late 1930s he believed that modern architecture should be less concerned with function and more involved with an expression of American ideals of democracy and freedom based on a comprehensive vision of social responsibility. The dissertation includes unpublished manuscripts, a complete bibliography of writings between 1923 and 1942 and an inventory of significant correspondence, especially with Lewis Mumford and Frank Lloyd Wright.}, keywords = {Art of the United States (except Photography and Film)}, author = {Benson, Robert A.} } @mastersthesis {7139, title = {The Early Sculpture of Jean Arp}, year = {1987}, school = {Stanford}, abstract = {Although Arp (1886-1966) is best known today for his sculpture in the round, few realize that he did not make a commitment to this medium until his early forties. This study examines the circumstances surrounding this crucial transition in Arp{\textquoteright}s career and traces Arp{\textquoteright}s developing interest in sculpture from his first youthful efforts through the major series of Human Concretions of the mid-1930s. Included in this period are works as varied as the collaborative wood sculptures of the Dada years, the freestanding reliefs and multi-part sculptures in wood of the late 1920s and early 1930s, the multi-part sculptures in plaster, the heads, the torsos, and the Human Concretions of the 1930s. These sculptures make contributions, both formal and thematic, to many of the most urgent problems facing modern sculptors. Among these are issues of abstraction vs. figuration, of new materials and processes, of the base, of movable sculpture, and of alternatives to traditional portraiture. Special attention is given to Arp{\textquoteright}s pioneering role in opening up sculpture, a medium traditionally dominated by the human figure, to the experience of nature and the natural landscape. The first chapter traces the earliest roots of Arp{\textquoteright}s interest in sculpture and the formative impact of encounters with Rodin, Maillol, Brancusi, and the Paris avant-garde. The second chapter focuses on the Dada years and on a group of collaborative wood sculptures by Arp and Sophie Taeuber. The third chapter considers the biographical, artistic, and historical context of Arp{\textquoteright}s transition to sculpture in the early 1930s. The fourth chapter discusses Arp{\textquoteright}s sculptures in wood--freestanding reliefs and multi-part sculptures--and their relation to the work of Lipchitz, Giacometti, and others. The fifth chapter examines Arp{\textquoteright}s first sculptures in plaster--heads, torsos, and multi-part sculptures. The sixth chapter is devoted to the Human Concretions and other sculptures of the mid-1930s. It includes a discussion of one of the most original aspects of Arp{\textquoteright}s sculptures of this period, their freedom from a fixed orientation. An illustrated catalogue of all sculptures through 1936 concludes the study.}, keywords = {19th- and 20th-Century Europe}, author = {Andreotti, Margherita} } @mastersthesis {7151, title = {Edward William Godwin and Japonisme in England}, year = {1987}, school = {UCLA}, abstract = {"Japonisme" refers to the influence of Japanese art and architecture on the West. This dissertation focuses on England from the 1860s to the 1880s and the role played by the architect-designer Edward William Godwin in the reception, use and assimilation of Japanese styles. Godwin proves to be an excellent guide: he was among the first to discover Japanese art, his life and work touched most of the innovative artists in the London scene and he worked in several different fields, architecture, furniture, wallpaper, stained glass and interior decoration. Besides almost 100 journal articles, he left a wealth of personal documents, including over 5300 drawings, 700 architectural plans, 250 letters, as well as diaries and ledgers covering twenty-five years of his life. Godwin{\textquoteright}s involvement with Japanese art is set against a backdrop of political, commercial and social interaction between England and Japan. This study documents British attitudes toward Japan and their changes over a thirty year period, the confusion in the British mind between Japanese and Chinese styles, the reasons why Japanese art was more influential in English decorative arts than in the visual, and the key roles played by industry, trade and government, both British and Japanese, in the success of Japonisme in England. It ends by projecting Godwin{\textquoteright}s influence into the twentieth century.}, keywords = {19th- and 20th-Century Europe}, author = {Wilkinson, Nancy Burch} } @mastersthesis {7170, title = {The Emergence of American Women Printmakers in the Late Nineteenth Century}, year = {1987}, school = {UCLA}, abstract = {In the second half of the nineteenth century significantly increasing numbers of American women became professional printmakers--wood engravers, lithographers, photographers, and etchers. This study examines how and why, in a separatist society with a "women{\textquoteright}s proper sphere" ideology, careers in printmaking were opened to women, who the most active women printmakers were, and what they achieved and contributed to American life and culture. The first chapter describes the need and developing pressure for education, training, and employment for women in the early nineteenth century and shows how printmaking became an acceptable career option. It describes the emergence of the schools of design for women out of the reform movement. The second chapter discusses the history of printmaking courses offered at these and other schools as well as the opportunities available to women to study privately. The third chapter, on wood engravers and lithographers, and the fourth, on etchers, describe the expanding opportunities for nineteenth-century women within each of these printmaking professions. It also examines the backgrounds, educations, careers, and attitudes of a representative selection of women artists who worked in each medium. The methods and styles they used to make prints, their patronage, and the critical reaction to them and their work are discussed in the fifth chapter. The final chapter is on Emily Sartain, printmaker-painter-educator, whose education and career exemplify the professional options of nineteenth-century women artists. Her diverse career culminated in her position as Principal of the Philadelphia School of Design for Women. During her over-thirty years at the Philadelphia School she directly and substantially influenced several generations of women artists. By producing quality prints in prevailing styles and popular subject matter, hundreds, perhaps thousands, of American women earned all or part of their livings from printmaking. Yet most nineteenth-century women printmakers were largely neglected by critics and collectors, though the work of many of them was exhibited regularly and included in deluxe portfolios of original prints.}, keywords = {Art of the United States (except Photography and Film)}, author = {Peet, Phyllis I.} } @mastersthesis {7147, title = {The Founding and Early Years of the Munich Secession}, year = {1987}, school = {Stanford}, abstract = {By outlining the aesthetic, economic, personal and cultural conflicts that occurred in the Munich art community from 1888 to 1892, this thesis suggests that the history of the founding of the Munich Secession in 1892 is at variance with that of other secessionist movements in German-speaking Europe. Most notably, in contrast to the vanguard artists who established the Berlin and Vienna Secessions, the aesthetically progressive founders of the Munich group were mistreated by neither the society from which they seceded--the Kunstgenossenschaft--nor the official institutions which supported that association. To the contrary, these artists maintained positions of power in the years immediately preceding the rupture, seceding only when it proved impossible to reconcile their elitist outlook with the egalitarian cultural policies of both the Bavarian state government and the Kunstgenossenschaft. In short, the thesis demonstrates that avant-garde separatist movements do not necessarily arise primarily within repressive environments. In addition, the thesis examines the Secession{\textquoteright}s exhibitions of the 1890s, which were identified by contemporaries as expressly "modern." By focusing on five secessionists--Max Liebermann, Fritz von Uhde, Leopold von Kalckreuth, Richard Riemerschmid and Franz von Stuck--whose work is representative of broad aesthetic trends in the exhibitions, and by identifying numerous artists who were not asked to participate in the shows, the thesis characterizes the particular nature of this modernity as lyrical and evocative rather than directly expressive. This is significant in light of the fact that many of the later Blaue Reiter artists, whose work is also more evocative than the direct, forceful paintings, prints and sculpture of the North German artists of the Bruecke, were students in Munich in the 1890s. The thesis does not explore the reasons behind these affinities, but suggests that future work is needed. The thesis also identifies those issues of the Secession{\textquoteright}s history which illuminate more general cultural and political aspects of Bavaria during the Regency. Primary among these are the widespread cultural chauvinism that developed in Bavaria after the unification of Germany in 1871 and the rapid erosion of liberal values in the last quarter of the century.}, keywords = {19th- and 20th-Century Europe}, author = {Makela, Maria Martha} } @mastersthesis {7194, title = {Francisco Goya and the Interest in British Art and Aesthetics in Late Eighteenth- Century Spain}, year = {1987}, school = {IFA/NYU}, abstract = {During the 1780s, a vogue for British culture took hold in Spain. This vogue was pervasive, and its range extended from literature to manufacturing, printmaking to garden design. By the mid-1790s, Spanish anglomania found its most interesting expression in the work of Francisco Goya. An understanding of the importance of this trend for Goya, a subject which has often been suggested but has remained unstudied, can help to explain the changes that appear in his work during the 1790s and that have generally been attributed to the artist{\textquoteright}s 1792 illness. By the mid-1790s, Goya had started to use British conventions in his portraits, the most obvious of which is the cross-legged pose. He was clearly responding to the taste of the times, for advertisements found in the newspapers and periodicals indicate a growing market for prints "in the English style" during the 1780s. In the same years, certain British print publishers were actively seeking out foreign markets, and Spaniards started to collect their prints. Spaniards, like other Europeans, believed that the British excelled in portraiture. They also followed the general view that the satirical print was a specifically British genre. Goya may have had these prints in mind while working on the print series Los Caprichos (ca. 1797-1799). The bound-volume format of Los Caprichos and the manuscript commentaries on them were probably derived from established British conventions. Several plates of Los Caprichos, moreover, repeat stock themes and devices of the British prints. Goya{\textquoteright}s attraction to darkness and emotionally-gripping subjects, evident in various plates of Los Caprichos and in his painted work from the mid-1790s on, may also be a response to a British trend. British theories of the sublime, which sanctioned darkness and the horrific in art, were translated into Spanish and even appeared in popular literature by the early 1790s. Thus, the aspects of Goya{\textquoteright}s art that seem precociously Romantic or Modern--the products of an isolated genius--can be traced to the artist{\textquoteright}s own time and place.}, keywords = {Baroque and 18th-Century Europe}, author = {Wolf, Reva} } @mastersthesis {7158, title = {Frank Lloyd Wright: The Lessons of Europe, 1910-1922}, year = {1987}, school = {Columbia}, abstract = {Frank Lloyd Wright abandoned his family in 1909 to live in Europe with Mamah Borthwick Cheney, the wife of a client, and to publish his designs for the German art press of Wasmuth. The conventional view is that Wright{\textquoteright}s work had peaked, that only in Europe did he receive subsequent recognition, and that his creativity faltered after his return. This dissertation challenges that view by examining Wright{\textquoteright}s experience of Europe in 1910 and by defining 1910-1922 as a transitional period in Wright{\textquoteright}s life and work. Motivated by theories of reception and influence, this study establishes that Wright{\textquoteright}s Wasmuth publications, Ausgefuhrte Bauten und Entwurfe von Frank Lloyd Wright and Frank Lloyd Wright: Ausgefuhrte Bauten, were intended to be a set of models for a democratic American architecture, that his audience was young architects of the expanding American West, and that acclaim in Europe was unexpected. It proposes furthermore that while in Europe Wright found in the writings of Swedish feminist Ellen Key a justification for love outside the social conventions of marriage. Upon their return to America, Wright and Cheney published Key{\textquoteright}s work on moral relationships. The dissertation shows how the Viennese sculpture of Franz Metzner and Emile Simandl affected Wright{\textquoteright}s work at Midway gardens in Chicago and the Imperial hotel in Tokyo; how European artists{\textquoteright} emulation of primitive and exotic art rekindled his long-standing interest in exotic forms, resulting in a series of experimental designs after his return. Wright adapted the motifs of the Secession to his designs of ornament, and he developed from these experiments the diagonal axis as a compositional force while elevating the circle and triangle as design elements over the use of the square. Finally, this study asserts that regardless of personal struggle, Wright{\textquoteright}s creativity flourished and the social program of his art persisted. Included are seven appendices of biographical material, unpublished letters, drawings, documents. Three catalogues describe selected building projects, Wright{\textquoteright}s European art collection, and drawings selected building projects, Wright{\textquoteright}s European art collection, and drawings from the collection of Taylor Woolley, Wright{\textquoteright}s draftsman.}, keywords = {Art of the United States (except Photography and Film)}, author = {Anthony Michael Alofsin} } @mastersthesis {7142, title = {From Slave Market to Paradise: The Harem Pictures of John Frederick Lewis and Their Traditions}, year = {1987}, school = {UCLA}, abstract = {A basic contradiction can be found in John Frederick Lewis{\textquoteright} nearly two dozen harem pictures, done from 1837 until the year of his death in 1876. The artist continuously represented a taboo subject but did so in such a way as to minimize slavery and polygyny, which formed the basis of the Muslim institution. How and why this British Victorian artist aestheticized the harem subject is the topic of this study. Chapter I lays the theoretical and methodological foundations of the problem. Here I establish the historical context for the Victorian debate on the harem, which emerges from the movement to abolish slavery, itself a development from England{\textquoteright}s trade and early colonization. Lewis{\textquoteright} early awareness of the slavery-harem connection can be demonstrated by examining his unfinished slave market sketch. Chapter II is an account of harem pictures done in England and France before 1850, including Lewis{\textquoteright} three book illustrations of eastern women made for an 1838 travel volume. I establish their iconographic traditions and propose their meanings. I group Lewis{\textquoteright} own harem images by type and present them in chapters III-VI. Using written descriptions of the harem from British travel books and other literature, I analyze their traditions and show the ambiguities in their meanings. I trace Lewis{\textquoteright} presumed iconographic sources, eastern and western alike, based on formal and historical evidence. I also examine the critics{\textquoteright} reactions to this pictures, most notably John Ruskin{\textquoteright}s. In the concluding chapter I discuss the issue of Lewis{\textquoteright} harem pictures as proto-colonialist imagery. Judging by the sources and models he seems to have used, Lewis{\textquoteright} pictures also reveal Victorian ideals of womanhood. And the attitude toward harem women suggested in many of Lewis{\textquoteright} paintings is that they are a model of domestic confinement and contentment for Victorian wives and servants. Note: The pictures referred to in the list of Illustrations are not reproduced in the dissertation.}, keywords = {19th- and 20th-Century Europe}, author = {Delplato, Joan} } @mastersthesis {7176, title = {Gender, Occupation, and Class in Paintings by the Fourteenth Street School, 1925-1940}, year = {1987}, school = {Stanford}, abstract = {This dissertation examines images of shopping and working women from New York{\textquoteright}s Union Square/14th Street neighborhood as depicted in the 1920s and 1930s by four painters of the Fourteenth Street School: Kenneth Hayes Miller, Reginald Marsh, Raphael Soyer and Isabel Bishop. It explores the different ways in which middle class ideologies of gender, occupation and class are embodied in the style and subjects chosen by these urban scene painters. While all four artists depict the New Woman in modern roles, they cloak their models in old master prototypes and their images make only superficial accommodations to feminism. Thus, in spite of their up-to-date appearance, these paintings continue to project longstanding ideals of womanhood. Separate chapters on four iconographical types demonstrate how each artist contributed pictorially to one or more aspects of the debates surrounding women{\textquoteright}s roles. Miller{\textquoteright}s matronly shopper is a stable, nurturing woman, modelled on classical goddesses. She resembles the new stereotype of the professionalized homemaker as publicized by conservative spokespersons in the 1920s who struggled to accommodate woman{\textquoteright}s post-franchise liberation to her homemaking role. Marsh{\textquoteright}s voluptuous shopper is derived from the popular stereotype of the movie Siren. Her success as a woman was based on her ability to beautify herself with consumer products and seduce men with her glamor and charm. Marsh{\textquoteright}s paintings not only exaggerate her beauty but also point to the susceptibility of lower-class women to the temptations of the marketplace. Soyer painted weary shop girls on 14th street. He used Degas{\textquoteright} images of working women as his prototypes, and resurrected the historical stereotype of the economically downtrodden shop girl, to convey the poor working conditions experienced by lower-class sales clerks on 14th street. Bishop used Rembrandt as a source to depict youthful, low-ranking clerical workers as unsexualized, gentle women. Avoiding any comment on the poor conditions and constricted job market for the clerical worker, Bishop{\textquoteright}s paintings project instead the ideal model of the successful office worker as described by job counselors and potential employers at the end of the Depression.}, keywords = {Art of the United States (except Photography and Film)}, author = {Todd, Ellen Wiley} } @mastersthesis {7169, title = {The Genial Middle Ground: Regionalism, High Art, and Popular Culture in Thirties America}, year = {1987}, school = {Yale}, abstract = {Many American works of painting and literature focused on familiar content during the Great Depression, when the upheaval of modernization was most keenly felt. This dissertation considers early twentieth-century, progressive notions of culture used to accommodate that upheaval, particularly the exploration of relationships between high art and popular culture. The traditional view of the Regionalist artist Grant Wood and Thomas Hart Benton depicts them as pandering to the lowest common denominator of popular taste. William Faulkner, though equally identified with a region, often appears as a sort of modernist philosopher, pursuing universal ethical concerns through avant garde literary techniques. Through close analysis of works by Faulkner, Wood, and Benton, the dissertation demonstrates that the works of these men combine accessible content, often drawn from popular culture, with the modern, high-art notion of a challenging and richly constructed art. This combination challenged not only the cultivated elite but also the uninitiated masses to participate in the imaginative reconstruction of life. The first chapter attempts to locate this artistic combination of high and low art historically, within the context of calls by intellectuals such as Constance Rourke, John Dewey, and Van Wyck Brooks for an art related to life that might give audiences forms {\textquoteright}to live by{\textquoteright}. The ideas of these intellectuals and much regionalist art reflected the reformist and often contradictory impulses of progressivism. Such artistic notions emphasized democracy and the public good while they also held up experts to lead the march to improvement. Three extended discussions, each a chapter, explore the relation between high art and popular or folk culture in Wood{\textquoteright}s Appraisal (1931), Benton{\textquoteright}s Ballad of the Jealous Lover of Lone Green Valley (1934), and Faulkner{\textquoteright}s novel The Hamlet (1940). In analyzing the individual works, the dissertation explores the texture of popular expression to which they belong. The modernist mastery of artistic materials in these works sought to accommodate the technological mastery of life taking place in modernization. The use of common, familiar vocabularies sought to extend beyond the elite classes this imaginative control of modern life.}, keywords = {Art of the United States (except Photography and Film)}, author = {Mount, Barbara Ladner} } @mastersthesis {7171, title = {Georgia O{\textquoteright}Keeffe and Photography, 1915-1930}, year = {1987}, school = {CUNY}, abstract = {Georgia O{\textquoteright}Keeffe{\textquoteright}s close personal and artistic relationship with the photographer Alfred Stieglitz, and her swift absorption into the photographic culture of his "291" gallery, contributed significantly to the formation of her mature style. Stieglitz{\textquoteright}s greatest photography (including the cloud Equivalents) was also profoundly influenced by O{\textquoteright}Keeffe. A major factor in this exceptionally creative symbiosis was the little known fact that these two artists already shared a common aesthetic and moral value system before they knew each other: Symbolism; Art Nouveau (Jugendstil); Arthur Wesley Dow{\textquoteright}s theories of composition; and the writings of Kandinsky and Picabia. Evidence from her paintings, from photographs, and from letters written by the two artists, and others, during the late {\textquoteright}teens and 1920{\textquoteright}s, shows that O{\textquoteright}Keeffe{\textquoteright}s multiple borrowings from photography were for the purposes of abstraction and expression, rather than verisimilitude. Her most consistent uses of camera work can be said to fall into three general categories; the adoptive, the adaptive and the innovative. O{\textquoteright}Keeffe{\textquoteright}s earliest micro-views of flowers and leaves, which began as early as 1919, were inspired, in good part, by the close-up photographs Stieglitz was then taking of her face and body parts. By the mid-1920{\textquoteright}s, she would come to use a wide range of characteristics from the whole photographic process, as her country and city images from this period amply demonstrate. Although Stieglitz{\textquoteright}s photography and ideas were the most powerful sources for O{\textquoteright}Keeffe{\textquoteright}s art during the {\textquoteright}twenties, her paintings also contain many formal references to the photography of some of his closest colleagues; Baron de Meyer, A. L. Coburn, Paul Strand, Charles Sheeler and Edward Steichen. Photography{\textquoteright}s high intensity of feeling combined with its emotional detachment was well suited to O{\textquoteright}Keeffe{\textquoteright}s reticent sensibility. And the unique synthesis of abstraction and objectivity (photography) that she made helped to propel--and fulfill--Stieglitz{\textquoteright}s long-range "291" goal to establish a new American art rooted in American experience.}, keywords = {Art of the United States (except Photography and Film)}, author = {Peters, Sarah} } @mastersthesis {7199, title = {The Gothic Church of S. Fortunato in Todi}, year = {1987}, school = {IFA/NYU}, abstract = {Begun by the Franciscan Order in 1292, the hall church of S. Fortunato in Todi is one of the most ambitiously conceived, completely realized and best preserved works of Gothic architecture in Central Italy. In offering the first detailed description and analysis of the building, as well as a picture of its historical setting and speculations as to its contemporary significance, the present dissertation attempts to fill a major gap in the scholarship of late Duecento art. Although a mere sixty meters in length, S. Fortunato was more than a century in construction. As is suggested by study of the decorative sculpture, however, the apse, the first two nave bays and their vaults were probably completed by ca. 1300. The discovery from the same period not only brings to light a remarkable diversity in Todi{\textquoteright}s late thirteenth-century architecture but reveals the choice of the hall-church scheme to be all the more bold. In addition to the mendicant friars{\textquoteright} often-cited need for open preachers{\textquoteright} halls, many factors came to bear on this choice. New evidence suggests that a restricted construction site, the foundation{\textquoteright}s status as shrine of Todi{\textquoteright}s patron saint, and the Franciscan{\textquoteright}s demand for a distinctly Minorite structure all had important effects. Given the tension between the High Church and the Friars at this time, it is not impossible that the extreme conservatism of the rising cathedral nave may have acted on the S. Fortunato planners as an incitement to experiment. Earlier attempts to trace the design back to twelfth-century France are rejected in favor of a derivation from local sources. The model of the Upper Church in Assisi was certainly foremost, but like such Franciscan counterparts as S. Croce in Florence, S. Fortunato reflects a new expansiveness of space and a new sophistication and complexity of articulation that sets it distinctly apart from the Friars{\textquoteright} mid Duecento works.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Gillerman, David} } @mastersthesis {7212, title = {Greek Athletic Sculpture from the Fifth and Fourth Centuries B.C.: An Iconographic Study}, year = {1987}, school = {Princeton}, abstract = {This study addresses seven different problems which concern the iconography of large-scale Greek athletic sculpture during the fifth and fourth centuries B.C. The conclusions reached are as follows: Victorious athletes received various honors which elevated them above the status of ordinary men, but there is no evidence that iconography adopted for athletes ever partook of that reserved for divinities. Two broad categories of athletic types are represented during this period: athletes engaged in competition and non-agonistic representations. The use of gesture, pose, and attributes to identify particular athletic types is common, and the iconographic vocabulary particularly rich. Athletic nudity cannot be separated from the larger context of general nudity, although nude representations of athletes become pervasive in the fifth century and are motivated by sociological factors. Anatomical and muscular details assume an iconographic significance yet remain schematic despite advances made in anatomical investigations during the period. The coordination between accurate anatomical representations and movement is not achieved in athletic sculpture. Sculptors are keen to distinguish accurately between different ages of athletic types on the basis of musculature and anatomical development, yet depictions of different age groups are more anatomically correct than representations of different types of athletes. The type of hairstyle adopted by athletes does not differ significantly from that adopted by men, in general. Three distinct hair fashions became popular and can be associated with Myron, Polykleitos, and the followers of Polykleitos. The role of the female athlete was limited during the classical period, and the specific iconography which was adopted comes from that of the active male. Primary evidence used for this study includes original large-scale sculptural representations of athletes as well as inscribed statue bases of victors; these are supplemented by Roman copies of original material, bronze statuettes, votive reliefs and grave stelai, vase painting representations of athletes and athletic competition, and literary and epigraphic sources.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Serwint, Nancy J.} } @mastersthesis {7183, title = {The Haven of Innocence and the Deserving Poor: Social Attitude and Literary Convention in Paintings by the Le Nain Brothers}, year = {1987}, school = {Minnesota}, abstract = {The highly sympathetic representations of peasants and other humble country people by the Le Nain brothers, three French painters active in Paris from 1629-1648, have never been satisfactorily explained. Attempts to discover the sources or the patrons for particular works have not produced results which are applicable to the paintings as a group. The present study focuses instead on the methods consistently employed by the Le Nain in their portrayals of the rural lower classes and the relationship of those portrayals to contemporary ideas about the value of country life, country people, and the poor generally. The artists struck a careful balance between the individual and the type. Their figures have personal identities but also represent the various occupations and social roles usually found in French rural life, the peasant, the shepherd, and so forth. Displaying remarkably little interest in agricultural labor as such, the artists preferred to show their figures in moments of repose. These figures are consistently pictured as dignified, serene, and without guile, and their rural setting as a place of peace. A similar view of the countryside and its inhabitants can be found in much sixteenth and early seventeenth-century pastoral poetry which contrasts the stability and tranquility of country life with the vicissitudes of life in the city or at court, in Montaigne{\textquoteright}s Essais which describe the peasants as being naturally good and as leading the most orderly of lives, and in other legal and political writings which emphasize the importance of the peasantry in French society. Complementary ideas about the poor as individuals of worth appear in the works of several Counter-Reformation thinkers. The Le Nain paintings became comprehensible when interpreted as an expression of current attitudes toward country life and country people, including the very poor. It is no accident that the public reputation of the Le Nain began to decline at the same time as the popularity of the writers whose ideas on these subjects so closely matched and, indeed, inspired their own.}, keywords = {Baroque and 18th-Century Europe}, author = {Akehurst, Judith} } @mastersthesis {7168, title = {Henry Merwin Shrady{\textquoteright}s Ulysses S. Grant Memorial in Washington, D.C.: A Study in Iconography, Content, and Patronage}, year = {1987}, school = {Delaware}, abstract = {In 1903, the congressionally appointed Grant Memorial Commission chose sculptor Henry Merwin Shrady and architect Edward Pearce Casey from among twenty-seven competitors to create a memorial to Ulysses S. Grant in Washington, D.C. The monument they designed forms a raised plaza more than 250 feet wide. At its center stands a colossal bronze equestrian statue of Grant. Full-scale sculptural groups of cavalry and artillery soldiers at war are placed at both extremities of the plaza. Situated at the foot of Capitol Hill at the east end of the National Mall, the monument stands on axis with the Washington Monument and the Lincoln Memorial and is the most prominently placed outdoor sculpture in the city. This dissertation examines the memorial by reconstructing the aesthetic, cultural, and political contexts in which it was created. Chapter One traces the history of the competition and creation of the monument. Chapter Two considers the significance of the memorial{\textquoteright}s placement and its role as a key component in the redesign of Washington{\textquoteright}s ceremonial core. Chapter Three views the Shrady/Casey design for the Grant Memorial within the context of the full spectrum of competition designs and examines Grant{\textquoteright}s significance as an historical figure and the Civil War as a remembered event. Chapter Four demonstrates that Shrady utilized the imagery of the Civil War to embody contemporary ideas about the importance of military preparedness and self-sacrifice for the nation{\textquoteright}s well-being. Chapter Five views the Grant Memorial within the cultural and political history of its time by exploring the values, concerns, and ambitions of the sculptor and architect who designed the monument; of the key members of the Grant Memorial Commission; and of government and cultural leaders at the beginning of the twentieth century.}, keywords = {Art of the United States (except Photography and Film)}, author = {Montagna, Dennis Robert} } @mastersthesis {7189, title = {The Hieroglyphic Landscape: {\textquoteright}Libertinage{\textquoteright} and the Late Allegories of Nicholas Poussin}, year = {1987}, school = {Yale}, abstract = {This dissertation studies the late allegorical paintings of Nicolas Poussin, executed between 1648 and 1664. It examines the imagery and the allegorical structure of these works in light of attitudes toward mythology and classical symbolism adopted by the so-called libertins erudits, who were members of Poussin{\textquoteright}s circle in Rome and in Paris. The first chapter surveys the ideology of libertinage, and documents Poussin{\textquoteright}s connections to the clandestine group via his first Roman patron, Cassiano dal Pozzo. The second and third chapters concern a passage from a letter by Poussin in 1647 about the "storms" of Fortune, a direct quotation from the sixteenth-century neoStoic writer, Pierre Charron, whose writings were much used by libertins. Poussin{\textquoteright}s use of this passage not only supports his involvement with the ideas of that group, but casts new light on the meaning of his series of landscapes depicting storms. Chapters four and five examine writings on hieroglyphics and classical allegory that were produced in the circle of Poussin in Rome. Although written by more orthodox thinkers than the libertins, texts such as the translations of hieroglyphs by the Jesuit priest Athansius Kircher were eagerly received by the libertin group. Chapter five demonstrates that Poussin{\textquoteright}s use of the late antique Palestrina mosaic as a visual source for three of his late paintings was colored by Kircher{\textquoteright}s interpretation of the mosaic as a hieroglyphic text concerning Fortune{\textquoteright}s realm over nature. Chapters six and seven interpret the Landscape with Orpheus, the Rape of Europa, the Birth of Bacchus, and Apollo and Diana, using the hieroglyphic theory of Poussin{\textquoteright}s contemporaries to elucidate their imagery. These final chapters place the characteristic breakage of the unity of time in Poussin{\textquoteright}s late paintings, as well as their melding of disparate myths into a single image, within the context of libertin thought on comparative mythology. Poussin{\textquoteright}s interest in their ideas may account for his departure from the norms of representation adopted by his friends the art critics and biographers Felibien and Bellori, who at times found it difficult to account for his procedure in these works.}, keywords = {Baroque and 18th-Century Europe}, author = {McTighe, Sheila} } @mastersthesis {7172, title = {The Historic Architecture of Key West: The Triumph of Vernacular Form in a Nineteenth-Century Florida Town}, year = {1987}, school = {Florida State}, abstract = {This dissertation traces the development of the architecture of Key West, Florida, from 1821 to 1912. Located on a small island lying midway between the southern tip of the Florida peninsula and Havana, Cuba, Key West seemed an unlikely candidate for becoming a major city when founded by American settlers shortly after Spain ceded Florida to the United States. However, a unique combination of geographical and historical circumstances made Key West of strategic importance both militarily and economically. Historical developments eventually led Key West to become a cigar manufacturing and sponge fishing center with a population of 20,000 persons. The city{\textquoteright}s era of prosperity ended when those industries moved to new urban areas in Florida and brought further construction on the island to a halt. The decades of economic stagnation that followed helped preserve the approximately 3,000 pre-1912 buildings that today are found in Key West{\textquoteright}s Old Town. This study investigates the origins of the historic built environment and attempts to discover those forces that assured its preservation. Although influenced by the pervasive romantic and revival movements that shaped American architecture in the nineteenth century, the overall context of the historic built environment of Key West is one of wood frame vernacular construction. To some degree the character of the architecture of Old Town reflects an adaptation to the peculiarities of the climate and topography of the island of Key West, but it also expresses the extent to which the citizens of the community were subject to transient economic influences, the benefits of which accrued to absentee entrepreneurs having no interest in the long-term welfare of the populace. A wide variety of written and visual resources are examined to determine the physical appearance and density of development of the built environment at significant points in the island{\textquoteright}s history. These are analyzed against records showing the growth of Key West{\textquoteright}s various ethnic groups to determine what role they played, if any, in determining the character of the historic architecture of Old Town.}, keywords = {Art of the United States (except Photography and Film)}, author = {Shiver, William Carl} } @mastersthesis {7191, title = {The Hotel and Chateau Designs of Pierre-Adrien Paris (1745-1819): A Study in French Residential Planning}, year = {1987}, school = {Kansas}, abstract = {Pierre-Adrien Paris, a native of Besancon, France and Porrentruy, Switzerland, rose to prominence at the court of Louis XVI at Versailles as a designer of ephemeral decors for theater, opera, and spectacles. Chapter I, the most complete biography of the architect to date, considers his training in Rome and career in Paris, his exile to the countryside after the Revolution, and his activities as archeologist and collector. The remainder of the dissertation examines Paris{\textquoteright} designs for hotels (for locations in Paris and Orleans, chapter II) and chateaux (in Normandy, Champagne, and French Guiana, chapter III). Whenever possible, supplementary material concerning the history of each project as well as the condition of surviving buildings has been provided. The conclusion attempts to assess Paris{\textquoteright} work in the context of the theory and practice of domestic architecture of the period (primarily 1775-1803). It shows that Paris{\textquoteright} first concerns were not the rigorous application of abstract theory nor the emotionalism of the romantic branch of Neoclassicism, but rather modern comforts and devices in complex intimate interiors and the desires of individual patrons, all couched in a broadly neo-Renaissance stylistic idiom.}, keywords = {Baroque and 18th-Century Europe}, author = {Rarick, Ronald D.} } @mastersthesis {7181, title = {The Iconography of Buddhist Sculptures of the Pala and Sena Periods from Bodhgaya}, year = {1987}, school = {Ohio State}, abstract = {This study examines the iconography of the Buddhist sculptures from Bodhgaya made during the period of the Pala and Sena dynasties which ruled much of eastern South Asia from the eighth through the twelfth centuries. Bodhgaya is regarded as the center or source of Buddhism since the Buddha Sakyamuni achieved enlightenment there. The importance of Bodhgaya during the Pala and Sena periods is witnessed by the fact that the most common form for a Buddha image in the art of this time depicted the Buddha in bhumisparsa mudra, the gesture which designates the triumph over Mara, the god of death and desire, and the elimination of all obstacles to enlightenment. The victory over Mara occurred at Bodhgaya immediately before the Buddha{\textquoteright}s enlightenment. Since the late nineteenth century, most scholarly work on the art of Bodhgaya has focused on the early remains, but the majority of the surviving sculptures is actually post-Gupta in date and primarily belongs to the period of the Pala and Sena dynasties. By their size and quantity, sculptures of the Buddha are clearly the most important found at the site. But other forms--Bodhisattvas and male deities, and female deities--are not uncommon. This examination of the various forms of deities portrayed provides some sense of the general patterns of artistic expression of the Buddhist concepts which are manifested in the extant works from Bodhgaya. Information from various sources, such as inscriptions, pilgrim records, and Buddhist texts, was utilized to shed further light on the meaning of this imagery. The results yielded here help to define the course of artistic production at Bodhgaya and permit a fuller understanding of the site during this last major era of Buddhist practice in eastern India.}, keywords = {Asian Art}, author = {Janice Leoshko} } @mastersthesis {7177, title = {The Idea of Geology in American Landscape Painting, 1825-1875}, year = {1987}, school = {Delaware}, abstract = {This essay will examine the idea of geology in American landscape painting as a broader phenomenon during the nineteenth century and will define and clarify its origins, its efflorescence, and its decline. Seven chapters will investigate the aesthetic context for the incorporation of geology into landscape paintings; the emergence of geology as scientific discipline between 1780 and 1820; the surge in the popularity of geology in America from the 1830s to the 1870s, a trend strongly influenced by the industrialization of America and the exploration of the American West; the introduction of the geology to landscape artists through the avocation of fossil collecting; the definition of a geologic aesthetic as one derived from landscape illustrations in geologic reports; and the convergence of geology and art in landscape paintings at mid-century. A review of geologic landscape paintings reveals that they were manifestations of the romantic imagination, even though scientifically rendered, for it was the theoretical and conceptual geologic landscape instead of the economic or documentary one that artists addressed in their paintings. The salient geologic theories and concepts that artists addressed include the glacial theory and the Ice Age, geological time, the formation of mountains, and the relationship of electromagnetism to geology. These geologic landscapes symbolized an exuberant fascination with geology, a belief in the providence of God, and an optimism in America{\textquoteright}s future as a nation. It mattered little in the final analysis of their works whether artists captured only the idea of geology in their pictures or whether they portrayed scientific concepts with textbook accuracy, for the suggestion of scientific geology in paintings was as important as the most informed representation. Both types of landscapes were apt expressions of an empirical and exploratory age when America{\textquoteright}s faith in geology as a science was perceived as a providential sign of the future progress of the nation.}, keywords = {Art of the United States (except Photography and Film)}, author = {Wagner, Virginia Lee} } @mastersthesis {7157, title = {Igbo Pottery Traditions in the Light of Historical Antecedents and Present-day Realities}, year = {1987}, school = {Indiana}, abstract = {Igbo women are said to make some of Nigeria{\textquoteright}s finest traditional pottery. However, to date, there have been almost no studies published about local Igbo pottery traditions. One exception was K. C. Murray{\textquoteright}s 1972 published findings on pottery making in the Ohuhu-Ngwa area in Umuahia, now in Imo State. The findings were based on research he conducted in the 1930{\textquoteright}s. Other studies include student theses from the University of Nigeria, Nsukka. These studies were based on each student{\textquoteright}s individual field work to gather information from their home areas. Archaeological excavations have extended our knowledge about the Igbo culture region, through findings, including pottery remains, not only from Igbo-Ukwu, but in other places like Afikpo in Imo State. Not only was an examination and synthesis of this material made, but Igbo pottery collections in England and Nigeria were examined, identified and information was added to the existing body of data. In addition, field work was carried out in localities identified as major and minor traditional pottery producing centers. Results indicate that pottery making has been in existence in the Igbo culture region since before 2000 B.C. The earliest evidence to date comes from Afikpo. Sherds and vessels excavated there resemble pottery still being produced in the area today. Some of the findings were compared to those found at Igbo-Ukwu and also Isiagu, another major traditional pottery producing center not far from Afikpo. The pottery remains at Igbo-Ukwu resemble pottery still produced in the area today as well as surface finds. One major source for the Igbo-Ukwu pottery may have been Inyi, today in Anambra State. Inyi is still a major pottery producing center, well-known for its highly decorative, ornamental bowls. It has been suggested that the area stretching from Inyi to Afikpo may have been the source for pots at Igbo-Ukwu. While travelers and ethnographers have all decried the decline in traditional pottery making, there is evidence that a two-tiered industry exists. Traditional potters have responded to recent trends by producing newer forms such as "tea pots," casserole dishes, flower vases, etc. They also continue to make more traditional water and cooking vessels. Competition from modern urban ceramic factories has had an impact, but such influence has been uneven. Such factories cater to an urban, educated elite while rural areas continue to produce traditional wares for a local clientele. Both sectors exist side by side.}, keywords = {African Art}, author = {Nicolls, Andrea} } @mastersthesis {7185, title = {Images of the Plague and Other Contemporary Events in Seventeenth-Century Naples}, year = {1987}, school = {Princeton}, abstract = {In this study I analyze the artistic responses to contemporary events in Naples in the seventeenth century, concentrating primarily on the plague of 1656, but also considering the eruption of Vesuvius in 1631 and the period of popular unrest, 1647-1648. The Introduction provides historical background for the events discussed and presents the thesis that in the cases studied art represents an attempt to recuperate disastrous events for positive political, religious, or personal purposes. The body of the dissertation consists of monographic studies of various images or groups of images, analyzed for patronage, iconography, composition, and potential viewer response. The first three chapters are devoted to works on public view: Mattia Preti{\textquoteright}s frescoes for the city gates of Naples, the building and decoration of the church of S. Maria del Pianto (constructed on the burial site of 60,000 plague victims), and Preti{\textquoteright}s Madonna di Costantinopoli, commissioned by private patrons as a plague ex-voto for the church of S. Agostino degli Scalzi. More humble ex-voto paintings at the shrine of the Madonna dell{\textquoteright}Arco are also discussed. Chapters Four and Five focus on works by Micco Spadaro: an ex-voto for the Carthusians of Naples which was originally hung in the forasteria of the monastery, and a series of three paintings executed for a private patron, which depict the eruption, the revolt, and the plague. Similar works by Scipione Compagno and Carlo Coppola are also discussed. Distinctions are drawn between the composition, iconography, and function of these works and those of the public votive images.}, keywords = {Baroque and 18th-Century Europe}, author = {Clifton, James D.} } @mastersthesis {7221, title = {Industry and Invention: The Lumiere Cinematograph and the Origins of Film, 1895-1904}, year = {1987}, school = {Yale}, abstract = {The cinematograph, patented in 1985 by Frenchman Louis Lumiere, was the first machine both to record and to project movement. For many film scholars, its invention marks the birth of film. The dissertation traces the history of the cinematograph to the Lumiere factory, discovering its intellectual sources in industrial ideology, and demonstrates the importance of social forces in shaping the first films. It discusses the evolution of cinema out of the first private film presentations and the influence of photographic conventions on narrative structure. The design of the invention derives from factory engineering. The specifications of the films--their size, format, length and light requirements--mirror the social and political structure of the factory. The factory workers saw themselves through the mediation of novels, songs and rules of conduct authored by the bourgeoisie. The first film describes the workers through the voice of bourgeois ideology, speaking through framing, camera angle and spatial composition. Initially, film-making was guided by conventions of representing movement in science. The concept of cinema grew out of traditions of scientific presentation, influenced in turn by theater. In preparing cinematograph shows, films were targeted for their audiences. A grammar of film-making evolved through the exchange between film-maker and audience. Four compositional types were developed that could shape scenes into commodities for the bourgeois consumer. The compositions spoke a language of film boundaries, film space and spectator space. Film narratives involved the destruction and reinstatement of value systems established by framing, set and camera angle. Film historians regard the films of Lumiere as documentaries and oppose them to the films of Melies, seen as fantasies. The conclusion of the dissertation suggests that the films of Lumiere and Melies reveal a similar interest in the uncanny and that their differences might be viewed in terms of social and historical circumstances.}, keywords = {Photography and Film}, author = {Semarne, Veda V.} } @mastersthesis {7210, title = {Influences in the Formation of Early Roman Sanctuary Design on the Iberian Peninsula}, year = {1987}, school = {Brown}, abstract = {This study brings together the archaeological and architectural evidence for the development of a provincial style of Roman architecture on the Iberian peninsula during the Republic and the first century A.D. The study centers around the formation of the style as it is shown in sanctuary building. Roman architecture of temples and sanctuaries on the Iberian peninsula was influenced by practices which had been introduced in Iberia before the arrival of the Romans. These older ideas and methods were combined with new influences brought in by the Romans and in time a distinct series of Hispano-Roman architectural traits began to appear. While a provincial style did emerge on the peninsula, it was never so different from the mainstream architectural practices as to stand out. This work traces the evolution of the style as it is reflected in temple and sanctuary architecture by exploring the various influences which were recombined: Native, Near Eastern, Greek, Republican and Imperial Roman. In the end, one cannot speak of a single style which was regularly reused over centuries, but rather, there was a constant reassessment and evaluation of the possible forms which led to new and important local architectural explorations throughout the Iberian peninsula from the Republic until the time of Trajan.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Mierse, William} } @mastersthesis {7162, title = {Isabel Bishop: The Endless Search}, year = {1987}, school = {Virginia}, abstract = {This dissertation is a study of the American painter Isabel Bishop. Her art is considered in terms of her life experience, her significance in relationship to the Fourteenth Street School, the development of her oeuvre over five decades, critical reception to her work, and the artist{\textquoteright}s own intentions and goals as she has related them. The dissertation begins with an introductory statement on the historiography of Bishop{\textquoteright}s work. The following chapter traces the artist{\textquoteright}s biography from her birth to the present time. The next chapter, on the Fourteenth Street School, compares Bishop{\textquoteright}s work with that of Kenneth Hayes Miller, Reginald Marsh, and Raphael Soyer. Similarities and differences are discussed, as well as critical response to the work of these artists. Subsequent chapters, highlighting the 1920s and 1930s, the 1940s and 1950s, and the 1960s and 1970s, discuss consistencies and changes in Bishop{\textquoteright}s art and critical comment over these periods. Throughout her artistic career, Bishop{\textquoteright}s preferred subject matter--the people of Union Square, New York City--indicates her lifelong interest in human concerns. Changes are shown in her later works, however, in her greater emphasis on technical processes and her increased concentration on the factor of mobility. In her late work Bishop addresses aspects of the human condition in a broader, more abstract manner. Sources for information in this dissertation include writings by the artist as well as those by Karl Lunde, Sheldon Reich, Ellen Ekedal, and others. Friends of the artist were generous in contributing valuable insights. The most valuable source, however, was Isabel Bishop herself. Over the past two years she has discussed with the author her life, her oeuvre as a whole, and specific works.}, keywords = {Art of the United States (except Photography and Film)}, author = {Ellett, Mary Sweeney} } @mastersthesis {7166, title = {John Hull and Robert Sanderson, First Masters of New England Silver}, year = {1987}, school = {Yale}, abstract = {In 1652 when the Massachusetts Bay government founded a mint, Hull and Sanderson became the first mintmasters and partners in the goldsmith{\textquoteright}s trade. The partnership lasted until Hull{\textquoteright}s death in 1683. The shop continued to operate up to the time of Sanderson{\textquoteright}s death in 1693. The bulk of the firms{\textquoteright}s trade was probably in the sale of small objects. The firm also repaired silver, acted as pawnbrokers, bought and sold second-hand plate, furnished supplies to other goldsmiths, and trained apprentices. Fifty one examples of the Hull and Sanderson{\textquoteright}s silver and hundreds of their coins are known to survive. By studying the designs of the touchmarks chronological sequence of their work has been established. The Mannerist style dominated their work, but in the third decade of the partnership it gradually gave way to Baroque influence. The majority of Hull and Sanderson{\textquoteright}s silver was produced for members of New England{\textquoteright}s Puritan oligarchy. In the 1670s as the merchant group whose interests were allied with the more cosmopolitan world of Britain and against the Massachusetts Puritan oligarchy coalesced and found its way to political power, Hull and Sanderson{\textquoteright}s position as Boston{\textquoteright}s leading goldsmith shop was eclipsed. They lost the patronage of second generation merchants and never established a clientele among recent arrivals with royalist sympathies.}, keywords = {Art of the United States (except Photography and Film)}, author = {Kane, Patricia E.} } @mastersthesis {7219, title = {John James Reilly, 1838-94: Photographic Views of American Scenery}, year = {1987}, school = {New Mexico}, abstract = {The life and works of the nineteenth-century American photographer J. J. Reilly are assessed in a cross-disciplinary study from the complementary perspectives of art, photographic, cultural, social, and economic history. Between the introduction and conclusions, eighty of his photographs are reproduced in three portfolios. Their principal themes are Niagara Falls, Yosemite Valley, and the significance of the Western frontier in American history. Each plate is followed by an extensive commentary. The portfolios are separated by interpretive essays. During the nineteenth century, Niagara and Yosemite were visited, described, painted, and photographed more than any other American scene; these tourist Meccas are portrayed as national icons. Through comparisons to works by scores of other artists, from Andrea Mantegna to Ansel Adams, the characteristics of Reilly{\textquoteright}s style are defined. The iconology of his work is sought through contemporary sources, which included the esthetic theory of John Ruskin, H. P. Robinson, and Edward L. Wilson; the geologic theory of Louis Agassiz, Joseph LeConte, and John Muir; the cultural nationalism of Ralph Waldo Emerson, Frederic E. Church, and Mark Twain; the doctrine of Manifest Destiny, as espoused by William Gilpin; and Frederick Jackson Turner{\textquoteright}s frontier hypothesis. Judged by these criteria alone, Reilly was a significant figure in the history of American art. A critical text is supplemented by three documentary appendices: (1) his life is chronicled in all its complexity: (2) thousands of his photographs found in eighty collections in the United States and Canada are analyzed, cataloged, and cross-listed; (3) sixty imprints of his publishers in the United States, Canada, and France are described; thirty-two examples are reproduced and juxtaposed. When he first arrived in California in 1856, Reilly was a young Scottish emigrant with a positive outlook about the nature of art and life in America. Later, from 1871 to 1886, he expressed the national character of his work; all his stereographs were "Views of American Scenery." Afterward, in response to the worst financial panic of the century and a crisis in attitude toward his country, he became despondent and committed suicide.}, keywords = {Photography and Film}, author = {Hickman, Paul Addison} } @mastersthesis {7146, title = {Joseph Michael Gandy: The Poetical Representation and Mythography of Architecture}, year = {1987}, school = {Delaware}, abstract = {As a visionary perspectivist working in early nineteenth-century London, Joseph Michael Gandy (1771-1843) excelled in the artistic rendering of imaginary architectural schemes. Although his professional career as an architect was one of frustration and disillusionment, Gandy{\textquoteright}s pictorial imagery and theoretical ideas addressed the representation and meaning of architecture in British romantic art. That he was concerned with both the sublime expressiveness and social instrumentality of architecture was evidenced early in his career by his student sepulchral project designed in a severe neo-classical idiom and by his experimental modification of the picturesque aesthetic undertaken in his cottage pattern books. Using the Royal Academy exhibitions as his forum, Gandy engaged the contemporary debate over the function of illusionistic techniques in architectural rendering. His large-scale watercolor perspectives evoked the vanished splendor and religious mystery of antiquity, while simultaneously offering extravagant proposals in an inflated Greco-Roman style for palaces and monuments commemorating the triumphs of post-Waterloo Britain. Gandy{\textquoteright}s historical and poetical visions also reflected the social and psychological disenchantment of his own life and milieu. This combination of grandiosity and despair informed his elaborate perspectives commissioned by John Soane, an architect no less preoccupied with the historical fate and imaginative scope of architecture. Comparable to the art of J. M. W. Turner and John Martin, Gandy also exhibited narrative architectural pictures, often of Miltonic subjects, in which the poetical and mystical premises of his architectural ideas were most fully realized. Intent on exploring the mythic and spiritual connotations of architecture, and in recovering a primary architectural language, Gandy theorized about the mythography and philosophy of design, authoring a voluminous manuscript that dealt with the origins and signifying properties of ancient architecture. His syncretic conception of architectural history also provided the basis for his late project, an illustrated history of world architecture in which the comparative mythography of religion and culture was equated with the eclectic plurality of architectural forms and symbols. It was in this context that Gandy{\textquoteright}s pictorial conjectures in architectural theory ultimately delved into the metaphysics and natural history of design.}, keywords = {19th- and 20th-Century Europe}, author = {Lukacher, Brian} } @mastersthesis {7173, title = {Kenneth Noland{\textquoteright}s Artistic Evolution, 1946-1965}, year = {1987}, school = {Princeton}, abstract = {Kenneth Noland{\textquoteright}s formative years as a painter from 1946 to 1965 were characterized by adventuresome experimentation and synthesis. In contrast to previous studies of Noland{\textquoteright}s oeuvre, which viewed his art as the product of a single line of formal development and which paid little attention to his early oeuvre, this dissertation reveals that Noland{\textquoteright}s evolution toward a new style of chromatic abstraction in the late 1950s was predicated upon a rich variety of stylistic sources and intellectual influences. Beginning in 1946 with his education under Ilya Bolotowsky and Josef Albers at Black Mountain College, Noland was introduced to abstract art and color theory. During the 1950s, he embraced Abstract Expressionism; and, despite living in Washington, D.C., he was an avid participant in changes occurring within the New York art community based upon his friendships with Morris Louis, David Smith, Helen Frankenthaler, and art critic Clement Greenberg. Noland{\textquoteright}s work from these years demonstrates his familiarity with new ideas on color expression, stain painting, and holistic imagery. In 1958, Noland came to broadly synthesize his most important series, the concentric circle paintings. These new, radically innovative and reductivist color images found their sources in: the painter{\textquoteright}s practice of Abstract Expressionism; his knowledge of European geometric abstraction; his acceptance of Greenberg{\textquoteright}s formalist theory of modernism; and his interest in jazz music and Reichian therapy. From 1958 to 1965, Noland developed other series, including cruciforms, concentric ovals, and especially the chevrons, in which he became increasingly preoccupied with pristine formal and chromatic innovation. These works show Noland responding to the art of Morris Louis and Frank Stella, and they also reveal his involvement with Michael Fried and a new generation of modernist critics who became his principal supporters and interpreters. Through this study, it becomes clear that Kenneth Noland{\textquoteright}s artistic development was linked substantially to that of other important artists of his era and to the critical dialogue on post-war abstract painting in the United States.}, keywords = {Art of the United States (except Photography and Film)}, author = {Sterling, Susan Fisher} } @mastersthesis {7140, title = {The Late Period of Edgar Degas: The Russian Dancers (1897-1899) - Process and Context}, year = {1987}, school = {Ohio State}, abstract = {The late period art of Edgar Degas (1843-1917) has remained relatively unexamined by scholars for several reasons: many of the images repeat those found in earlier works, his eyesight problems have led to a consideration of these works as inferior, and they were created during the Symbolist period in the 1890s when his Naturalist aesthetic was no longer considered valid. That Degas{\textquoteright} late period works deserve a revised judgement of their merit and relevance is the thesis of this dissertation. The works considered in developing this thesis are a group of pastels called the Russian Dancers, given various dates between 1895 and 1909. They were chosen because although they are stylistically similar to other late period pastels, their subject has no precedent in his art. The homogeneity of the imagery defines The Russian Dancers as a series. In eighteen sketches and pastels, one to three women are in the same pose viewed from different vantage points. Degas{\textquoteright} use of tracings and counterproofs indicates that the series may have been based on only four original sketches. The dimensions and figural arrangements vary, suggesting that they were executed over a span of time. A stylistic analysis of seven selected works from the series reveals Degas{\textquoteright} technical process: repeating his outlines several times in charcoal and black pastel, and building up many layers of colors. Details are lost in the colored hatchings, which create in each pastel a particular mood. Experimentation is evident in his use of water blended with the pastels. The choice of subject was inspired by Degas{\textquoteright} appreciation for the ethnic art of Gauguin, which he collected and the Symbolist aesthetic of Mallarme, whose essay, "Ballets," inspired Degas{\textquoteright} poetry writing, and encouraged him to create a simplified art of suggestion and ideas, and to view folk dancers as ritualized symbols for universal and primordial expression. A diagnosis of Macular Degeneration, based on Degas{\textquoteright} statements, is proposed as the cause for his eyesight problems, manifested in his loss of central vision, form and color. These problems contributed to his intensification of outlines and colors, and simplified compositions. Despite, or perhaps in response to, these problems Degas remained open to vital new directions in art. (Abstract shortened with permission of author.)}, keywords = {19th- and 20th-Century Europe}, author = {Bixenstine, Lisa Renee} } @mastersthesis {7223, title = {The Later Sculpture of Antonio Rossellino}, year = {1987}, school = {Princeton}, abstract = {Antonio Rossellino{\textquoteright}s reputation as one of the most talented marble sculptors of mid-fifteenth century Florence has been based largely on his portrait busts and Madonna reliefs, his statue of St. Sebastian in Empoli, and the Tomb of the Cardinal of Portugal in San Miniato al Monte, Florence. Nearly all of these works date, or have been thought to date, to first forty years of Rossellino{\textquoteright}s life (b. 1427-d. 1479). In his final decade the sculptor was involved in at least as many projects as in all the rest of his career; ones of comparable creativity and far greater diversity. Following an introductory review of Antonio Rossellino{\textquoteright}s life, work and critical fortunes, I have devoted separate chapters to eight major commissions of his later career, arranged in approximate order in which it now appears they were executed: Internal Pulpit in Cathedral, Prato; Nori Monument and Tedaldi Tomb in S. Croce, Florence; Piccolomini Chapel in S. Anna dei Lombardi, Naples; Roverella Monument in S. Giorgio, Ferrara; Martini Chapel in S. Giobbe, Venice; Striding Baptist in Museo Nazionale, Florence; Capacci Chapel in Collegiata, Empoli. Among the more important findings of my research are confirmation of Schmarsow{\textquoteright}s old attribution of Martini Baptist to Rossellino, in context of its patron{\textquoteright}s unsuspected artistic, familial and commercial ties to Florence, and identification of patrons and interdisciplinary chapel context for which Rossellino{\textquoteright}s statue of St. Sebastian was made after 1476, not early in his career as has often been proposed. Despite the less well-integrated and occasionally widespread intervention of Rossellino{\textquoteright}s assistants and associates in his later commissions, I also have found the level of innovation and technical and compositional mastery in the parts for which he was responsible to have remained high to the end of Rossellino{\textquoteright}s life. I have appended a number of unpublished documents pertaining to the Chapel of the Cardinal of Portugal. They include the Cardinal{\textquoteright}s testament, an unknown description of his funeral, endowment of his chapel, and release of his funds from the Monte Comune of Florence.}, keywords = {The Renaissance}, author = {Apfelstadt, Eric C.} } @mastersthesis {7145, title = {Lions in Their Dens: Lord Leighton and Late Victorian Studio Life}, year = {1987}, school = {UC Santa Barbara}, abstract = {During 1865-66 the English painters Frederic Leighton and Val Prinsep built adjacent homes in London. Designed for the specific professional and social needs of the late Victorian artist (c.1865-1900), these custom-built and carefully decorated residences are now called studio houses. From the mid-1870s to early 1880s these structures were very fashionable among successful artists. Because the social and professional lives of prominent late Victorian artists centered about these studio houses, a study of the sociological implications of this phenomenon reveals a variety of ways this art world functioned. While many monographs on individual late Victorian artists have recently appeared, wider overviews of the period have not been published. This study places late Victorian artists in a broader context. It reveals how their daily social and professional lives functioned. It also helps explain why many artists were so popular during their lifetime, while placing them within the fabric of late Victorian society. These artists were the {\textquoteright}Art World{\textquoteright} to most people of that period. Although the implications of the studio house and related lifestyle has never been addressed, much material is readily available. Contemporary artists and their homes were immensely popular with patrons and the reading public. Consequently Victorian memoirs and periodicals have been heavily drawn upon. Archival sources, particularly artists{\textquoteright} letters and diaries, have proven especially useful. Most of the research for this project has necessarily been conducted in England. Because dozens of studio houses were built, this thesis concentrates upon Lord Leighton, the single most important and famous late Victorian artist, whose home survives today as a museum. Placing him in context, I examine the community, now called the {\textquoteright}Leighton Settlement{\textquoteright}, consisting of artists who built studio houses near his. Throughout the thesis possible earlier British and continental sources of the studio house as well as reasons it became popular are examined.}, keywords = {19th- and 20th-Century Europe}, author = {Lamb, Joseph Frank} } @mastersthesis {7205, title = {Liturgical Planning of Byzantine Churches in Cappadocia}, year = {1987}, school = {IFA/NYU}, abstract = {This study is the first comprehensive study of liturgical planning in the Byzantine churches of Cappadocia. It attempts to distinguish the general pattern of Cappadocian planning from church planning elsewhere, to search for its roots, and to outline its general development from the early Christian period through the 13th century, the final active period of Cappadocian ecclesiastical foundations. Finally, this study examines the extent to which the characteristics of local liturgical planning resulted from strongly established local traditions both in architecture and in liturgy. This study consists of five chapters, and original photographs and plans, which were made during my fieldwork in Cappadocia. The first chapter is a study of the sanctuary arrangements, their shape and liturgical furnishings. Several features of Cappadocian sanctuary allow us to distinguish specifically local trends in architectural design such as the horseshoe-shape apse, the location of the prothesis niche outside of the sanctuary, absence of the prothesis and diakonikon rooms, and the use of the single or multiple sanctuary plan in the same nave. The second chapter deals with the church nave and, in particular, with its furnishings such as prothesis niche, water basin, and seating places. Identification of the location of liturgical furnishings provided evidence for understanding of the functions of the nave. Chapter three examines entrance areas: the narthex and the porch. It examines various types of entrance compartments, their planning and function. The fourth chapter analyzes burial places and the way the burials in the churches affected the shape of the church as well as the liturgy. The fifth chapter suggests that church planning closely depended on local communities and their economic support. Monks and clergy were supported by local population, and particularly, by the local families. In summing up the specific characteristics of the Cappadocian architectural tradition, we arrive at the conclusion that this area presents a distinctive liturgical pattern which can be recognized as Cappadocian. This architectural pattern inevitably gave shape to the local liturgical observances.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Teteriatnikov, Natalia} } @mastersthesis {7184, title = {Luca Giordano at the Escorial: Frescoes for Charles II}, year = {1987}, school = {IFA/NYU}, abstract = {From September 1692 until July of 1694, the great Neapolitan painter, Luca Giordano (1634-1705), lived and worked at the Monastery of the Escorial outside Madrid. The renowned monastic complex was created by Philip II in the sixteenth century as a pantheon for the Spanish Habsburgs and Giordano{\textquoteright}s patron was the last, sad member of the dynasty. As the chronically-ill and sterile Charles II contemplated the inevitable extinction of his illustrious line, he called Giordano to Spain to work with the prior and Hieronymite monks at the monastery in the most extensive decorative campaign since the days of Philip II. The frescoes which Giordano created in the main staircase and in ten vaults of the church rank among the greatest works of Baroque ceiling painting, yet have never been comprehensively studied in spite of abundant documentation and their relatively good condition. It is the purpose of this dissertation to fill this gap and provide a reading of the frescoes which are inextricably tied with the end of Habsburg rule in Spain. The introduction considers the documentation for the Escorial project as well as the historical, political and artistic background for the creation of the frescoes. The paintings are then considered separately, in the order in which they were created, in an attempt to understand their meaning and particularly, Giordano{\textquoteright}s role in the expression of Habsburg ideology in its final manifestation. Appendix I comprises a complete set of the documents concerning the commission and many documents never previously published which treat Giordano{\textquoteright}s call to Spain and his success at court. Appendix II is the transcription of a manuscript description of Giordano{\textquoteright}s frescoes, composed for the king by Fray Francisco de los Santos, one of the monks who played a role in the development of the program.}, keywords = {Baroque and 18th-Century Europe}, author = {Carr, Dawson} } @mastersthesis {7224, title = {Matteo Civitali: Four Major Sculptural Programmes}, year = {1987}, school = {Ohio State}, abstract = {Matteo Civitali is a fifteenth century Tuscan sculptor deserving of more attention than he has received in the past. The life and works of Matteo have been variously judged over the years: at times overly praised, at times unfairly underestimated. Though he is viewed today with more objectivity than in the past, he has been largely neglected by critics and art historians. He has been called by Pope-Hennessy the only major marble sculptor active in Tuscany outside Florence in the fifteenth century, yet most of what has been written on him is either too brief and undocumented, or too general, with no specific analysis of his art or his role in late-Quattrocento sculpture. The purpose of this dissertation is threefold: first, to provide new information concerning Civitali{\textquoteright}s biography and correct pre-existing misinformation; second, to provide detailed measurements, new photographs, and descriptive analysis of four of Civitali{\textquoteright}s major works; third, to redefine his image as that of a sculptor of heretofore unrecognized strength and accomplishment. The dissertation is divided into six chapters and deals with four major works. Chapter I presents a brief survey of the literature on Civitali, and provides a basic biographical sketch of the artist. In Chapters II and III, I discuss, respectively, the Noceto tomb (1472) and the small Bertini tomb (1479). Chapter IV deals with the elaborate Altar-tomb of St. Regulus (1485). In Chapter V the problematic sculptures for the cathedral of Genoa (ca. 1495) are discussed. Lastly, Chapter VI contains final observations, and attempts to redefine Civitali{\textquoteright}s place in Quattrocento sculpture. Though he did work almost exclusively in and around Lucca, Civitali{\textquoteright}s art, upon examination, is not that of a provincial or marginal sculptor, but that of an artist of considerable talent and achievement whose artistic vocabulary is very much in step with the main artistic currents of the Renaissance in Tuscany.}, keywords = {The Renaissance}, author = {Bule, Steven} } @mastersthesis {7227, title = {Merchant Ideology in the Renaissance: Guild Hall Decoration in Florence, Siena, and Perugia}, year = {1987}, school = {Yale}, abstract = {While some aspects of guild patronage in the early Renaissance are well-known, the imagery in guild halls has been neglected. An examination of surviving halls in Florence, elsewhere in Tuscany, and in Perugia, and of documents and literary sources which describe lost works, reveals programs of decoration clarifying works by artists such as Taddeo Gaddi, Fra Angelico, Piero Pollaiuolo, and Perugino. The halls of the Arte dei Giudici e Notai, or Lawyers and Notaries, and of the Arte della Lana, or Wool guild, contain remains of significant fresco projects with distinctive secular iconography, the former a cycle of famous Florentine writers and a diagram of the guild system of Florence, and the latter scenes of jousting and of the manufacture of wool. The Audience Hall of the Wool Guild is decorated with a mid-fourteenth century fresco of Brutus the Roman Consul, and the four Cardinal Virtues, imagery which recurs in later works of art commissioned by the guild bodies of the Mercanzia, or high guild court, in both Perugia and Siena. The hall of the Collegio del Cambio, or Money-changers, in Perugia, formerly studied only in the context of Perugino{\textquoteright}s works, is also found to show significant relationships in its program of Cardinal Virtues and ancient heroes to earlier guild hall iconography. This study also includes the Palazzo di Parte Guelfa, similar in both form and function to the guild halls, and the Palazzo della Mercanzia in Florence as well as a survey of both lost and surviving works for the halls of the lesser guilds in the city, many destroyed in the late nineteenth century. Evidence indicates that most halls, when lacking such ambitious programs as those above, were decorated at least with one or more images of the Madonna and the patron saints of the guild. The guild halls of Tuscany, once the center of Renaissance economic life, show a striking consistency in the themes chosen for decoration by the merchants, with an emphasis on the Cardinal Virtues, particularly Justice, and heroic exempla. Guild hall decoration deserves to be acknowledged as a distinct category of artistic project in the Renaissance.}, keywords = {The Renaissance}, author = {Slepian, Marcie F.} } @mastersthesis {7150, title = {Metaphorical Relevance and Thematic Continuity in the Early Paintings of Paul Cezanne, 1865-1877}, year = {1987}, school = {Ohio State}, abstract = {This study focuses on a selection of early figure paintings by Paul Cezanne, works painted between 1865 and 1877. Its purpose is to ascertain the relationships between these diverse paintings, and demonstrate that there is an underlying rationale that unites them. This rationale is the metaphorical expression of Cezanne{\textquoteright}s search for a personal and unique place in the art world of the 1860{\textquoteright}s and 1870{\textquoteright}s. The metaphorical character of these works implicitly reveals the varied forces which shaped his style and helped determine his subject choices as he moved toward maturity as a painter. His major problem was that of reconciling his intense interest in Romantic art with his Realist commitments and their demands at the time. His drive to synthesize these styles and concomitant ideas emerged as a key feature of his art by the mid-1870{\textquoteright}s. The meanings of the works that make up this study point to his conscious and deliberate effort to express the problem of reconciliation and synthesis through metaphorical allusions and direct references to his life and career, and to the cultural context of his time. Beginning with the 1865 portraits of his father and Achille Emperaire, the development of self-conscious and metaphorical allusion by Cezanne in the subjects of his art mirrored his stylistic developments. He emerged in the early 1870{\textquoteright}s with a strong commitment to color, having combined his Realist interests with references to an earlier Romantic idiom as well as a modern Impressionist style. Concluding with a series of literature-related paintings in the mid-1870{\textquoteright}s, Cezanne expressed the nature of his stylistic synthesis through his choice of subject matter. The examination of Cezanne{\textquoteright}s early paintings from the viewpoint of meaning as well as style helps resolve some of the contradictions and difficulties of the artist{\textquoteright}s early period. This context provides a deeper understanding of the nature of Cezanne{\textquoteright}s iconography, his serial approach to painting, and the integration of subject and style in his paintings.}, keywords = {19th- and 20th-Century Europe}, author = {Wells, Gary Neil} } @mastersthesis {7154, title = {Minute Particulars: The Theory and Practice of William Blake{\textquoteright}s Artistic Credo}, year = {1987}, school = {Syracuse}, abstract = {The central idea of William Blake{\textquoteright}s artistic credo was his notion of minute particulars, which cannot be comprehended without a full understanding of Sir Joshua Reynold{\textquoteright}s idea of general nature. The young Blake rejected as his intellectual sources the rules, rationalism, and general nature of Reynolds and other Enlightenment thinkers in favor of other writers such as Ossian, Chatterton, Thomson, and Grey, whom he considered to be more imaginative and less restrictive. In addition, Blake also rejected the contemporary academic style of painting which strove to emulate Classical and Italian sixteenth and seventeenth century painting, in favor of a simple linear style that he became familiar with while serving as an apprentice to James Basire. Therefore, Blake based both his ideas on art and poetry on what Blake considered the superior art and poetry of Britain{\textquoteright}s non-classical past, or, in the case of contemporary influences, those that he felt had an affinity with that non-classical past. Blake{\textquoteright}s credo centers on his concept of minute particulars, which are perceived by means of what Blake calls imagination or vision. Minute particulars are what constitute each individual{\textquoteright}s own personal identity, not only in a material, but also a spiritual way. Hence, Blake feels that they preserve the total individual as an autonomous being, rather than destroying that individuality by abstracting certain qualities from the whole, much as Reynolds{\textquoteright} general nature does. It is the task of the artist or poet to preserve minute particularity, which Blake does by using line in his painting, and a varied prosody in his poetry. Given his emphasis on minute particulars, why does so much of his imagery seem stereotypical? For Blake, it is not stereotypical, but rather particular while embodying universal spiritual truths at the same time. Furthermore, Blake{\textquoteright}s visual imagery must be seen as a composite with his poetry, which is particular in its ever-varied prosody. Finally, Blake adds nuances to his work such as a varied juxtaposition of image and text, an emphasis on the specific and tangible, and different connotations given to his personifications, such as Urizen.}, keywords = {19th- and 20th-Century European Art}, author = {Cirigliano, Marc} } @mastersthesis {7141, title = {Modernity and the Formation of the Observer 1810-1845}, year = {1987}, school = {Columbia}, abstract = {In the 17th and 18th centuries the status of an observer was usually explained in terms referring to the camera obscura. Whether in Descartes or Locke, the camera obscura described rectilinear light rays traversing an optical system so as to guarantee a correspondence between subject and object. In the wake of Kant and others, this ultimately theological model begins to lose its preeminence. Knowledge based on the certitude and transparency of the monocular camera obscura gives way to a variety of discourses and practices that relocate vision within the physiological specificity and opacity of the human body. Geometrical optics, with its notions of transmission and projection, is displaced by both physiological optics and the wave theory of light. In both science and art theory, a receptive observer is replaced by a productive one. My dissertation discusses some features of this shift from a classical model of the observer to a model bound up in processes of modernization--philosophical, technological, institutional, aesthetic--in the 19th century. In Chapter One I attempt to situate the problem of the observer within the question of modernity in the 19th century. Chapter Two examines the camera obscura as a product and artifact of 17th and 18th century thought, and outlines the nature of the observer it described. In Chapter Three I discuss some of the changing notions of the observer in the early 19th century, in terms of the new physiological optics and study of subjective vision. I analyze Texts by Goethe and Schopenhauer. Chapter Four demonstrates how new ideas about subjective vision were involved in the invention of several widely used optical devices, notably the stereoscope and the Phenakistiscope. My aim is to show that the new subjective constitution of the observer was the precondition for both the development of popular forms of "realism" and for the emergence of ideas of perceptual autonomy that were to become crucial for modernist art.}, keywords = {19th- and 20th-Century Europe}, author = {Jonathan Knight Crary} } @mastersthesis {7179, title = {Momei (Ink Plum): The Emergence, Formation, and Development of a Chinese Scholar-Painting Genre}, year = {1987}, school = {Princeton}, abstract = {The momei genre can be documented precisely from its recognition in the early 12th century through its formative period. It presents a highly specific test-case for the development of scholar-painting genres. This study accounts for the birth of a new painting genre (momei) in the late Northern Song, for its establishment and rise in the Southern Song (12th-13th C.), in the context of flowering-plum cults; and, for its achievement of definitive stylistic and iconographic form, under the impact of Mongol rule, by the late Yuan (mid-14th C.). Employing the materials and methods of art history, cultural history, and the study of literature, it demonstrates the specific interactions between these spheres that together produced the evolving momei situation. Part I treats relationships between the flowering-plum in nature, poetry and painting. It surveys literary and cultural traditions that were preconditions for momei, discusses plum images and meanings, and formulates a "flowering-plum aesthetic." Part II traces art-historical developments that converged in momei: early flower painting, floral monochromes, literati painting. Part III treats the formative period, documenting the emergence of the genre in the ink-wash practice of the Chan priest Zhongren (d. 1123); the literati appropriation and transformation of the genre, epitomized by the calligraphic practice of Yang Wujiu (1097-1169), and momei {\textquoteright}s first theoretical codification in the meipu of Zhao Mengjian (1199-1264), concluding with a survey of Southern Song plum-painting. Part IV discusses the emergence of new stylistic and iconographic modes (with special reference to the formal and expressive integration of pictorial image and poetic inscription) that would guide the later momei genre, analyzes Yuan theory (notably Wu Taisu{\textquoteright}s Songzhai meipu), and studies the life, works, and persona of Wang Mian (d. 1359), who is the founder of the modern momei tradition. An "Epilogue" outlines genre developments to the present.}, keywords = {Asian Art}, author = {Bickford, Roberta R.} } @mastersthesis {7193, title = {Origins of Romanticism in Late Eighteenth-Century British Painting}, year = {1987}, school = {IFA/NYU}, abstract = {While portraiture has always held a prominent place in the history of late eighteenth century British art, it has rarely been explored in the context of early Romanticism. This dissertation shows, through a selection of images and a survey and analysis of critical writings and artistic theory, that late eighteenth century British portraiture was characterized by unprecedented variety and was a full participant in the development of the Romantic movement. Despite strong traditions and ties to a system of patronage, portraiture incorporated innovative artistic and cultural trends. This study focuses upon portraits which deviate from or go beyond the traditional requirements of representing likeness and social position and charts the decline of these qualities as critical for good portraiture. Artists{\textquoteright} productions are weighed against their generalized theories, and academic portraiture is contrasted to self-initiated portraiture. Following a discussion of the status of portraiture and current issues of likeness and physiognomy, expression, decorum and flattery, the introductory chapter establishes the portraiture of the Fuseli circle as an extreme against which the work of Reynolds, Gainsborough and Romney are measured. The second chapter deals with series of intimate portraiture by these three painters. The following chapters treat the portraiture of a wider range of artists in the context of aesthetic, literary, cultural and social trends of early Romanticism. Additional artists discussed include Lawrence, Wright of Derby, West, Opie, Northcote and the Cosways. The Picturesque Movement affected portraiture through its visual theory and by broadening the range of sources to which artists practicing the lesser genres might turn. The cult of Sensibility, an important British contribution to early Romanticism, engendered new concepts of elitism based on humanitarian and emotional ideals. These are reflected in many portraits of men and women who aspired to the behavioral models presented in contemporary fiction and social philosophy. Self-portraits and representations of actors are treated in this context. The dissertation concludes with a discussion of the intrusion of "pathetic fallacy" into portraiture with animals and landscape settings.}, keywords = {Baroque and 18th-Century Europe}, author = {Tscherny, Nadia} } @mastersthesis {7226, title = {Painters in Milan 1490-1530: A Resource of Newly Discovered Documents}, year = {1987}, school = {IFA/NYU}, abstract = {This study does not address the problem of stylistic development in late Quattrocento and early Cinquecento Milan, nor does it attempt to examine or interpret the oeuvre of any individual artist. Rather, its purpose is to investigate the general situation of the painter in Milan: his training, his professional associations, his working conditions, his living conditions. The material presented in the text is drawn almost exclusively from information contained in unpublished contemporary documents. The first chapter is meant to serve as an introduction to the study and interpretation of notarial documents and of the records kept by religious institutions. Numerous examples of different types of documents are cited; the purpose and meaning of each type is explained. The second chapter deals with the Milanese painters{\textquoteright} professional organization, the Scuola di San Luca, or Universitas Pictorum. A number of new documents for the scuola --among them a protest containing the names of more than fifty previously unknown painters--are presented. A third chapter treats the organization of the painter{\textquoteright}s workshop, the training of apprentices, and terms of collaboration and employment among qualified masters. In the fourth chapter the painter{\textquoteright}s activity is examined. The different types of work a painter might do are enumerated and discussed, with particular attention paid to the artist{\textquoteright}s contractual obligations to his client. The fifth chapter speaks to the painter{\textquoteright}s financial situation: how much a particular work of art cost at the time of commission and how much of the painter{\textquoteright}s earnings were profit. The careers of several financially successful, and unsuccessful, painters are examined. The text is followed by 1250 documents--most of them unpublished--executed for painters mentioned in the text.}, keywords = {The Renaissance}, author = {Shell, Janice} } @mastersthesis {7207, title = {Palladis Artes: The Frieze of the Forum Transitorium in Rome}, year = {1987}, school = {Yale}, abstract = {The frieze in question decorates the Forum Transitorium in Rome erected by Domitian but dedicated after his death by Nerva in A.D. 97. Without a continuous narrative or a repeated decorative scheme, the frieze{\textquoteright}s depiction of a mythological centerpiece, the punishment of Arachne, surrounded by genre scenes of women weaving or worshipping deities, has been difficult to explain. In the previous scholarship, the representation of the Arachne myth is subordinated to the theme of Minerva{\textquoteright}s patronage of the craft of weaving. Yet this cannot be supported because the frieze{\textquoteright}s figures tend to represent personifications of imperial virtues or allegorical groups representing moralizing exempla. Rather than a depiction of Minerva{\textquoteright}s patronage of weavers, the Arachne myth evokes the domestic virtues of the Roman matron and the surrounding scenes illustrate other virtues and pietas, the founding principles of the Roman state. Central to a study of the frieze{\textquoteright}s meaning is its architectural context in an imperial forum in Rome and the topography of its environs, particularly the Quirinal with its Flavian dynastic shrine. These topics as well as that of the frieze{\textquoteright}s iconography are discussed. A final chapter surveys the official art of the period to indicate the themes and styles represented in other imperial monuments. A clearer picture of Domitian{\textquoteright}s building program in Rome and its sculptural decoration also emerges from this study.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Dambra, Eve} } @mastersthesis {7213, title = {A Pattern Language for Houses at Pompeii, Herculaneum, and Ostia}, year = {1987}, school = {UT Austin}, abstract = {A survey of a number of urban Roman houses in Italy provides the basis for an analysis of the underlying environmental structure of each living unit. Whereas the single-family domus and multi-family insula have often been compared, comparison of the living units in each type of building reveals many more similarities than differences. Twenty-one houses serve as case studies, including examples of the domus and irregular houses at Pompeii and Herculaneum, and apartments in insulae at Ostia. The focus is on interior architecture, including space and the articulation of surfaces and boundaries. Floor mosaics and wall and ceiling paintings are considered in their architectural context, as important components in the experience of a house is interior. The method of analysis is based on the concept of a pattern language. Pattern language, a design method defined by Christopher Alexander, is a set of rules that generate the built environment. Patterns of organization of form and space, repeatedly occurring in the houses under consideration, are identified as the underlying environmental structure of such houses. Recurrent patterns are defined at four levels of scale: the house as a whole, groups of spaces, single spaces, and the planes which create a space (walls, floors and ceilings). These patterns are concerned both with basic ordering principles underlying design at each scale and their relationship to one another. The patterns are used to define the basic types of spaces which occur in the domus and the extent to which similar spaces can be identified in irregular houses and apartments. These domestic building types themselves are defined in terms of the patterns. This analysis reveals that most patterns found in the traditional single-family house continued with little or no change in the design and decoration of higher density housing, in spite of major changes in building form and construction and in style and techniques of decoration. Basic underlying principles of design of interior domestic spaces and their decoration remained remarkably constant.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Watts, Carol Martin} } @mastersthesis {7144, title = {Paul Cezanne, Francois-Marius Granet, and the Provencal Landscape Tradition}, year = {1987}, school = {Pittsburgh}, abstract = {This study places Cezanne{\textquoteright}s art in the context of his Provencal milieu and seeks to relate him to the regional landscape tradition which flourished in Aix-en-Provence and Marseille from the late eighteenth century to the end of the nineteenth century. It focuses on the landscape paintings of Francois-Marius Granet (1775-1849), a leading figure in the Provencal Landscape Tradition. In the nineteenth century, Granet was the most famous painter from Aix; he left most of his works to the Aix museum that today bears his name. Cezanne, as an art student in Aix, the city of his birth, admired Granet{\textquoteright}s oeuvre and was inspired by it throughout his life. A summary discussion of the main representatives of the Provencal Landscape Tradition, including J.-A. Constantin, Emile Loubon, Prosper Gresy, and Paul Guigou, is followed by a more comprehensive examination of Granet{\textquoteright}s life and art. Primary consideration is given to the landscape aspect of Granet{\textquoteright}s oeuvre, notwithstanding his official capacity as a genre and history painter best known for his Salon pictures of dramatically-illuminated religious interiors. As a landscapist, Granet was a precocious plein air painter. He made many oil sketches and luminous watercolors of Provencal sites, including Mont Sainte-Victoire. He is identified as one of the earliest and most enduring of Cezanne{\textquoteright}s artistic heroes--a Provencal artist whose oeuvre and persona provided Cezanne with stylistic, thematic, and regionalist inspiration in his treatment of both figural and landscape subjects. This dissertation demonstrates that, while Cezanne occasionally drew upon Granet{\textquoteright}s figural works for inspiration, he was most captivated by the styles and motifs of Granet{\textquoteright}s landscapes. It also reveals that Cezanne responded to the subject, form, and content of works by other major figures in the Provencal Landscape Tradition. The meaning and history of Mont Saint-Victoire, Cezanne{\textquoteright}s most repeated landscape subject, is analyzed within this context. The study uncovers the rich significance of Cezanne{\textquoteright}s identity as a Provencal artist; it also illuminates the Provencal Landscape Tradition and contributes to the rediscovery of the art of Francois-Marius Granet.}, keywords = {19th- and 20th-Century Europe}, author = {Kiefer, Carol Solomon} } @mastersthesis {7192, title = {Paul Sandby and the Early Development of English Watercolor}, year = {1987}, school = {Yale}, abstract = {Paul Sandby has been called "the father of English watercolor" since the day of his death. In fact, several naturalized schools of watercolor already existed in England, and Sandby{\textquoteright}s own origins lay more with French-inspired topographical engravings of the 1740s. Moreover, from his earliest efforts, Sandby was as much a figural artist as a landscape artist, as much a printmaker as a watercolorist. His claim to the title derives from the prominence he achieved as a watercolorist, the quality (not the technical innovations) of his work, the dissemination of his compositions through engravings, and the popularization of his water color style through its successful reproduction in aquatint (a medium he named and promoted). Sandby, however, was an artist as well as an actor in the development of English watercolor. In the first half of his career, his special character rested on the comedy of his figures and the suavity of his compositions: especially in his Windsor Castle views, he portrayed the English scene, not merely an English landscape. Sandby{\textquoteright}s later work consisted of either professional but rather soul-less manipulations of picturesque motifs, or, following his Welsh tours, dynamic compositions which emphasized the physical emplacement of the viewer within the landscape. The Windsor Castle views in the 1760s mark the highpoint of the veduta tradition in England; the Welsh views in the 1770s the beginning of a new sense of landscape which was Paul Sandby{\textquoteright}s most important contribution as an original artist.}, keywords = {Baroque and 18th-Century Europe}, author = {Robertson, Edward Bruce} } @mastersthesis {7163, title = {The Pennsylvania School of Landscape Painting}, year = {1987}, school = {CUNY}, abstract = {The Pennsylvania School of Landscape Painting: An Original American Impressionism is a catalogue I prepared for an exhibition at the Allentown (Pennsylvania) Museum in 1984. It was the first study to treat the subject of the Pennsylvania School in recent time. I have since expanded my study of these artists, and this dissertation represents a more in-depth and detailed study of the Pennsylvania School. Two Pennsylvania Impressionist painters, William Lathrop and Edward Redfield, co-founded the New Hope (Pennsylvania) Art Colony in 1898. New Hope and the surrounding area of Bucks County served as the center of creative activity for generations of Pennsylvania Impressionists. The first chapter is devoted to the history of the New Hope Art Colony and traces its development to the present day. The "New Hope Group" was an exhibition-oriented organization founded in 1916. The major figures in this study have been given individual chapters. Each made a significant contribution to the development of the Pennsylvania School. Lathrop was a seminal father-figure. Redfield, Schofield and Rosen created broadly painted snow scenes which became most associated with the Pennsylvania School. Garber was a more sensitive painter who was often concerned with decorative effects. Spencer was unique in this school in that he often painted the poor and their environment. Other artists associated with this school of painting are treated in the eighth chapter. There are also many artists who were part of a late development, who worked in the New Hope area after the popularity of the Pennsylvania School had begun to decline. The final chapter treats the Pennsylvania School in relation to the mainstream of American Art. The roots of the Pennsylvania School can be traced to the Pennsylvania Academy, and to Thomas Eakins and Thomas Anshutz. The influence of the Pennsylvania Impressionists on later, and even contemporary American landscape painting is analyzed. The significance of the Pennsylvania Impressionists lies not so much in their Impressionism as in their realism. For they are an important link joining the tradition of American landscape painting in the nineteenth century to the realist landscapes of the twentieth century.}, keywords = {Art of the United States (except Photography and Film)}, author = {Folk, Thomas C.} } @mastersthesis {7218, title = {Photography Conscripted: Horace Vernet, Gerard de Nerval, and Maxime du Camp in Egypt}, year = {1987}, school = {CUNY}, abstract = {This dissertation examines the first decade of travel photography through the study of three well-known artistic and literary figures who journeyed to Egypt with a camera from 1839 to 1850. Its emphasis is on their individual reactions within a network of socially constructed meanings surrounding both the "Orient" and the new photographic medium. The social, political, and intellectual climate of the times which prompted these ventures is explored in the light of the "subjectivity" of each of the three travelers. The concept of subjectivity is understood in conflict with the idea of sentimental meditation; rather it is seen as the locus of the unpredictable motion of the psyche as it is inscribed by the social process. The dissertation relies on the ways meanings have been assigned to the photographs, consciously or unconsciously, in the letters, journals, travel books, poetry, and fiction that surround them. By means of image and text the differing "views" of Egypt produced by Vernet, Nerval, and Du Camp are analyzed as products of their makers{\textquoteright} particular sensibilities and their shared ideologies and circumstances.}, keywords = {Photography and Film}, author = {Ballerini, Julia C.} } @mastersthesis {7217, title = {Prehistoric Native American Copperwork from the Eastern United States}, year = {1987}, school = {UCLA}, abstract = {The use of native copper by indigenous peoples in eastern North America began in the Archaic periods and continued essentially uninterrupted through early historic times. There were apparently long periods of time when, throughout the region, only a few examples of copperwork were made; in other periods, thousands of pieces were produced and used at several sites for ritual purposes. At the height of copperworking activity, these centers of manufacture and use appear to have been surrounded by other societies that show no apparent interest in the copper tradition. Use of exotic materials like copper is characteristic of many native cultures in the Americas, but relatively little is known of the significance of these materials or how they functioned within the societies that used them. This project was designed to explore the position of copper as an exotic material within native North American cultures. Every known and accessible example of copperwork from the prehistoric periods was examined and its characteristics noted. The kinds of objects produced and the designs applied to them proved remarkably consistent throughout the thousands of years copper was in use, across the whole of eastern North America, despite considerable cultural differences among the groups that participated in this "complex." These art historical data were considered in the light of early historic and ethnographic documentation on the use of copper by native peoples in the first centuries after European contact. The results indicate that similarities in the use and appearance of copperwork were probably based upon traditions surrounding the material which were established very early and continued throughout the prehistory of the region. Copper was apparently conceptualized as a repository for considerable power, a material directly associated with the maintenance of harmony and order in the universe. As such, copper could be and was used ceremonially both to maintain and to restore that order and harmony whenever it was in jeopardy.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Trevelyan, Amelia Margaret} } @mastersthesis {7201, title = {The Ratmann Sacramentary and the Stammheim Missal: Two Romanesque Manuscripts from St. Michael{\textquoteright}s at Hildesheim}, year = {1987}, school = {Yale}, abstract = {The making of these lavish manuscripts, the Ratmann Sacramentary (Hildesheim, DS 37--dated 1151 by a colophon) and the Stammheim Missal (private collections, FRG--date of 1160 suggested by the calendar) reflects the emerging cult of St. Bernward, who, though not yet canonized, was venerated at St. Michael{\textquoteright}s in Hildesheim. With their new iconographic types and their extensive typological illustrations, they belong in the forefront of twelfth century iconographic developments. For the unusual personifications of the months, as well as various encyclopedic motifs, the illuminator of the Stammheim Missal calendar drew on antique knowledge as transmitted through Bede{\textquoteright}s writings. The decorations of the liturgical texts of both manuscripts are dominated by the hand of the Master of the Stammheim Missal. His style was formed within the orbit of a Saxon tradition, which can be defined by the legacy of the Hezilo Candelabrum (structure of floral formations) and of Roger of Helmarshausen (foliage and figure style) and which absorbed stylistic cross-currents from the Meuse and the Rhineland. In the Ratmann Sacramentary, the Master of the Stammheim Missal, whose compositions owe their power to the absence of narrative detail, adopted innovative scenes which involve little story-telling (example: Peter and Paul holding the instruments of their martyrdom). A desire to place the liturgy in an historical context prompted the illustration of busts of the Popes who contributed to the text of the Prefaces and Canon and to the use of introductory miniatures illustrating the Creation, man{\textquoteright}s fall and the hope for salvation. It also inspired the addition of the typological scenes that surround the common illustrations of the major feasts. The inscriptions held by the figures in the typological compositions of the Stammheim Missal quote passages from homiletic literature, from hymns, and from the Antiphons of the Divine Office. They thus suggest that the growing popularity of typological imagery in twelfth-century illumination and metalwork may have been inspired by the liturgy.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Menke, Anne K.} } @mastersthesis {7161, title = {Reginald Marsh: An Interpretation of His Art}, year = {1987}, school = {IFA/NYU}, abstract = {Reginald Marsh{\textquoteright}s works are popular for their evocation of the urban environment of the 1930s. Marsh depicted the proletariat at their leisure: dance marathons, movies, taxi-dancehalls, crowds at the beaches and sideshows, bums on the Bowery. All of these were singularly new aspects of urban life. And, at first glance, Marsh{\textquoteright}s works can be read as documents of city life--fitting nicely into the documentary sensibility that characterized the thirties. But while the subject matter of Marsh{\textquoteright}s art is easily recognizable, the content of the work is more complex. That the artist chose to clothe such contemporary images in a Renaissance style--an apparent contradiction--is part of this complexity. This dissertation explores both the public and private sides of Marsh{\textquoteright}s art, seeking to understand its combination of contemporary subject matter and Old Master style. The artist{\textquoteright}s biography and stylistic development are briefly outlines in chapter 1. In chapter 2 the documentary or public character of Marsh{\textquoteright}s art is examined by describing the intense study Marsh made of contemporary life, tieing together his sketches, photographs, diaries, and paintings, and connecting the rhythm and orientation of the works themselves to the quickened pace of city life in the thirties. Chapter 3 is an investigation of the artist{\textquoteright}s equally strong attachment to the Old Masters, and, in particular, contrasts the American Renaissance of the 1930s to that of the 1890s. In chapter 4 the artist{\textquoteright}s themes are illuminated, themes that belie the variegated surface of city life presented in his art. It is demonstrated that what drew Marsh both to the urban environment of the thirties and to the Old Masters are the private concerns manifested in themes, characters, and situations repeated throughout his oeuvre. Marsh{\textquoteright}s papers become available in 1978. The artist saved everything pertaining to his life in scrapbooks and notebooks. It is the artist{\textquoteright}s obsessive attention to his life and his apparently compulsive need to produce art--in addition to the style and content of the work itself--that supports this psychological interpretation of his art.}, keywords = {Art of the United States (except Photography and Film)}, author = {Cohen, Marilyn} } @mastersthesis {7148, title = {The Retreat into the Future: The Work of Antonio Sant{\textquoteright}Elia}, year = {1987}, school = {Yale}, abstract = {The work of Antonio Sant{\textquoteright}Elia is still clouded by controversy. Undoubtedly one of the most original draughtsmen of the 20th century, his visionary projects seem to anticipate the advent of the International Style. During the Fascist period, years after his death, futurists and rationalists never tired of invoking Sant{\textquoteright}Elia as the Italian fountainhead of the new architecture. However, they only mentioned those works which could be harnessed to the cause of modernism. His numerous Art Nouveau, Sezession and Expressionist projects were ignored. Strongly influenced by futurism for a few years, Sant{\textquoteright}Elia never quite forsook his faith in the past. Historicism left indelible traces in his work both before and after his adhesion to Marinetti{\textquoteright}s circle. Equally pervasive is the influence of Otto Wagner and his students, particularly Emil Hoppe. In their attempt to convey a sense of mood to the spectator, Sant{\textquoteright}Elia{\textquoteright}s enigmatic early works, perched on mountaintops and preceded by endless staircases, are characteristic of the many-sided theories of Einfuehlung, which were followed with great interest in Italy. Born to a modest background in Como, Sant{\textquoteright}Elia{\textquoteright}s education was largely improvised. At the Academy of Brera where he studied briefly, he was trained exclusively in drawing (perspective, decoration, and the copying of historical styles). Lack of a proper background in technical matters is manifest in his drawings. Sant{\textquoteright}Elia{\textquoteright}s projects were rarely accompanied by plans, sections, or elevations. The vast majority of his sketches show perspectives seen from the worm{\textquoteright}s eye view, as used in theatre design and scenography. Popular illustrations, advertisements and science fiction also played a more important role than has hitherto been acknowledged. Sant{\textquoteright}Elia has too long been regarded solely in relation to foreign sources (Gropius, Le Corbusier, Mies Van Der Rohe) and to the International Style. This dissertation attempts to restore the various dimensions of Sant{\textquoteright}Elia{\textquoteright}s oeuvre--Art Nouveau, Expressionism, the Sezession--and to situate him within the context of Milanese culture at the turn of the century.}, keywords = {19th- and 20th-Century Europe}, author = {Meyer, Esther Da Costa} } @mastersthesis {7165, title = {R.M. Schindler{\textquoteright}s Thirties Style: Its Character (1931-1937) and International Sources}, year = {1987}, school = {IFA/NYU}, abstract = {Rudolph Michael Schindler was the first European modernist to emigrate to the United States. Born in 1887 and educated in Vienna, he was a contemporary of Gropius, Le Corbusier and Mies van der Rohe. Just before the outbreak of the war in 1914, Schindler left Europe for America. He worked for Frank Lloyd Wright in the Midwest and in Los Angeles, where he established his own practice in 1921. He remained in Southern California until his death in 1953. As a result of these special circumstances, Schindler{\textquoteright}s work exhibits a unique mixture of European and American influences. Neither an Expressionist nor an International Style practitioner, Schindler developed a personal modernist language which has defined classification. This study examines one building and its sources in detail, the Ralph Walker house of 1935-36. The Walker house serves as a paradigm for an important stylistic phase, referred to here as the Thirties Style. This style predominated in Schindler{\textquoteright}s work between 1931 and 1937. It combines an intensification of certain themes from Schindler{\textquoteright}s prewar Viennese background and Wrightian apprenticeship, such as on-going structural and formal experimentation, extreme formal and spatial complexity, and intense environmental and programmatic contextualism, with aspects of the classicistic and normative International Style. The Thirties Style has often been considered the classic culmination of Schindler{\textquoteright}s career. But close examination reveals it to be a problematic and anomalous phase in his oeuvre. For this reason, this complex style, with its multiple and often conflicting sources in Europe and America, provides an excellent vehicle for illuminating the nature of Schindler{\textquoteright}s work as a whole. With the Walker house and the Thirties Style as its focus, this study includes an in-depth examination of Schindler{\textquoteright}s education and Wrightian experience, an analysis of his development in Los Angeles in the 1920s and 1930s, and the first extended discussion of his writings. This detailed approach allows us to reinterpret Schindler{\textquoteright}s work in the light of his sources and intentions and to locate his oeuvre in the context of the history of the Modern Movement.}, keywords = {Art of the United States (except Photography and Film)}, author = {Giella, Barbara} } @mastersthesis {7200, title = {The Rothschild Canticles (Yale University, Beinecke Rare Book Library, MS 404): Art and Mysticism in Flanders and the Rhineland ca. 1300}, year = {1987}, school = {Yale}, abstract = {The dissertation is a monographic study of the Rothschild Canticles (New Haven, Yale University, Beinecke Rare Book and Manuscript Library, MS 404), a mystical florilegium or miscellany produced in French Flanders ca. 1300. Few manuscripts of the Middle Ages contain programs of decoration of comparable variety and inventiveness. The manuscript includes extensive cycles of imagery devoted to such subjects as the Trinity, the Virgin, the mystical union of Christ and the Sponsa, and the joys of the elect in Paradise. As a whole, the program provides a simulacrum of the process of contemplative ascent from the initial askesis to union and the visio Dei. The text consists, in part, of a unique set of meditations of which an edition is included as an Appendix. The manuscript can best be understood within the tradition of mystical texts and imagery that has its roots in the twelfth century and reaches full flower in Flanders and the Rhineland in the early fourteenth century. The dissertation explores the Rothschild Canticles{\textquoteright} relation to mystical devotion and, in particular, to the tradition of texts and imagery intended to assist in that devotion. It concludes with a discussion of the place of metaphorical imagery in mystical meditations and the changing role of the image, both verbal and visual, in late medieval monastic devotions.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Hamburger, Jeffrey E.} } @mastersthesis {7149, title = {Scientific Aesthetics and the Aestheticized Earth: The Parallel Vision of the Neo-Impressionist Landscape and Anarcho- Communist Social Theory}, year = {1987}, school = {UCLA}, abstract = {This study examines how the pointillist touch of Neo-Impressionism, and the landscape subject matter to which it was often applied, functioned as visual counterparts to a scientifically-based anarcho-communist model of the physical and social worlds, and why this model was so attractive to artists during the last two decades of the 19th century in France and Belgium. The study opens with an introduction to the Neo-Impressionists as colleagues, then discusses the perceived function of their scientific technique. This technique and its goals of social and aesthetic harmony are located within the context of the scientific climate in France during the late 19th century, focusing upon the role played by concepts from the physical and biological sciences in shaping the Neo-Impressionist aesthetic. The study continues with a discussion of the personal relationships between the Neo-Impressionists and anarcho-communists. It examines the social theory of anarcho-communism with which the artists were sympathetic, comparing the formal structure and goals of Neo-Impressionism with the scientific language used by anarchists to justify their goal of social harmony. Next, the use of geographical science by anarcho-communists is examined. Their visions of the physical milieux in which they believed humanity would flourish are compared to the subjects of Neo-Impressionist landscapes painted between 1886 and 1895, beginning with paintings of sites in and around Paris, then moving to paintings of the countryside and the western seacoast which were produced more frequently as the 1880s progressed, and concluding with paintings produced during the first half of the 1890s along the Mediterranean. These increasingly aestheticized landscapes are compared throughout with aestheticized anarchist visions of similar geographical locales, and with the actual conditions of life in such places. The study concludes with a brief survey of Neo-Impressionism after 1895, when the movement began to fragment and anarcho-communism began to address itself to the needs of the skilled working class, rather than remaining aloof from contemporary politics and directing its theory toward creative intellectuals as it had in the 1880s and early 1890s.}, keywords = {19th- and 20th-Century Europe}, author = {Roslak, Robyn Sue} } @mastersthesis {7197, title = {The Sculpture of St.-Sauveur de Nevers}, year = {1987}, school = {UC Berkeley}, abstract = {The city of Nevers saw a considerable flourishing of church building in the eleventh and twelfth centuries. Relatively few of these structures survive, however, and what does stand today displays very little of what was a substantial output of sculptural decoration in that period. The former Cluniac priory of Saint-Sauveur, destroyed in 1838, was a modest twelfth-century building which belonged to one of the smaller monastic establishments of the city, but from it survives the fullest document of sculpture from Romanesque Nevers. A study of the style of the sculpture of Saint-Sauveur, now housed in the Musee de la Porte du Croux in Nevers, reveals a homogeneous body of sculpture of high quality dating to the middle of the twelfth century. These capitals, corbels, and a tympanum and lintel were carved by an atelier composed of a master who had carved capitals of the tribune story of the narthex and perhaps the Romanesque west facade of the abbey church of Vezelay on the northern border of the Nivernais, as well as, perhaps, a stonecarver who had worked earlier in Nevers itself. The stamp of this atelier may also be seen in Nevers in corbel sculpture of the chapel of Saint-Michel of the Benedictine convent of Notre-Dame de Nevers. Analysis of the iconography of the Saint-Sauveur sculpture, which included a remarkable sculpted "bestiary" on the nave capitals and a particularly pointed emphasis on the powers of the apostle Peter in sculpture from the crossing and transept portal, gives more specific indication of the background and intentions of the Cluniac patrons of the sculpted decorations of Saint-Sauveur. As well, it may pinpoint the historical moment of the conception of the sculpture to the years around 1152. The collection of fragments from Saint-Sauveur emerges as the creation of an atelier working in an old and rich Romanesque idiom but touched also by a newer aesthetic and by intellectual concerns which scholars commonly associate with early Gothic works. Indeed, the Saint-Sauveur sculpture was soon to be followed in Nevers itself by works closely related to the dramatic contemporary innovations in the sculpture of the Ile-de-France.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Coe, Singne Almestad} } @mastersthesis {7190, title = {The Sistine Chapel at Sta. Maria Maggiore: Sixtus V and the Art of the Counter-Reformation}, year = {1987}, school = {Princeton}, abstract = {The Sistine chapel at S. Maria Maggiore, erected between 1585 and 1590 by Pope Sixtus V, was one of the most elaborate artistic enterprises of late sixteenth-century Rome. Despite the variety and richness of its decoration, and its importance in the development of the unified chapel, no synthetic study of the Sistina exists. Thus, in this dissertation I consider the iconography and style of the chapel, studying it from the point of view of its patron, in relation to the basilica to which it is appended, and in the context of the Counter Reformation. Chapter One sets the physical and historical stage for a consideration of the chapel. I sketch the history and traditions of S. Maria Maggiore from the fourth to the sixteenth centuries, isolation patterns of decoration and patronage, iconographic traditions, and religious practices which influenced the formal and thematic character of the Sistina. I analyze the historical context of the chapel, explicating how the most pressing theological and intellectual issues of the Counter Reformation were given expressive form in the chapel. Chapter Two offers a critical biography of Sixtus V and an analysis of his early artistic patronage in light of the Pope{\textquoteright}s Franciscan background, devotion to Saints Lucy and Jerome, and friendships with the leading reform figures of the Church. His first act as art patron, the erection of a tomb for Nicholas IV in S. Maria Maggiore, and the decoration of his villa adjacent to the basilica are seen as exemplifying Sixtus{\textquoteright}s personal iconography and artistic taste; more significantly, these projects demonstrate his early interest in the basilica, preceding the creation of his burial chapel. In the final chapter, devoted to the Sistine chapel itself, I examine the component parts of the chapel, showing how their specific form and content, while part of a broader art-historical development, could only have been created at S. Maria Maggiore in this particular moment in the Counter Reformation. The chapel is seen simultaneously as an integral part of the basilica, as a personal expression of Sixtus{\textquoteright}s devotion, and as a paradigmatic Counter-Reformatory monument.}, keywords = {Baroque and 18th-Century Europe}, author = {Ostrow, Steven F.} } @mastersthesis {7188, title = {Stately and Formal: Side, Pier, and Console Tables in England, 1700- 1800}, year = {1987}, school = {Delaware}, abstract = {Among the most important pieces of furniture appearing in European residences of the late seventeenth and early eighteenth centuries were the wall-oriented side, pier and console tables. These were integrated with the interiors of the formal or state rooms and placed at precise positions around the walls. Such tables were often the most expensive furnishings, since they were usually elaborately carved and gilt wood or even occasionally made of silver and frequently they supported expensive marble tops. As significant furniture forms, they received the attention of the leading architects, designers, carvers and even silversmiths to a greater extent than chairs and most other furnishings. A considerable body of examples survives, in addition to design drawings and prints, which consequently permits an unusually detailed examination of a single furniture form. This study investigates the evolution of these tables by focusing on contemporary documents and English examples, which in many cases survive in situ. These demonstrate their development through the baroque, rococo and neoclassical styles as well as their use from earliest origins to their decline in the late eighteenth century, when, with changing lifestyles, they were largely supplanted by more convenient functional furniture forms. Possible Continental sources and the influence of design books receive special attention. The roles of designers and craftsmen and the increasing industrialization of the English furniture industry are also considered. The concluding chapter confirms the function and important status of such tables in contemporary society, most notably as reflected in portraits. The Appendices include an annotated chronological list of published design books, ca. 1560-1803, relating to the tables, and reprints of selected period documents indicating their cost and construction.}, keywords = {Baroque and 18th-Century Europe}, author = {Kaellgren, Carl Peter} } @mastersthesis {7222, title = {Studies in Perino del Vaga{\textquoteright}s Early Career}, year = {1987}, school = {Michigan}, abstract = {Proceeding from the thesis that Perino del Vaga was the preeminent fresco painter in Medicean Rome and Raphael{\textquoteright}s successor this field in the 1520s, this study examines the artist{\textquoteright}s career from his Florentine beginnings through his earliest independent commissions. Chapter I considers his training and activity in the workshop of Ridolfo Ghirlandaio and the significance of Perino{\textquoteright}s Florentine heritage for his later manner. The artist{\textquoteright}s move to Rome, his adoption into Raphael{\textquoteright}s circle, and the nature of Perino{\textquoteright}s association with Giovanni da Udine as well as with Raphael himself are also discussed with a focus on the Vatican Logge campaign. The following chapter on the Sala dei Pontefici decoration addresses the astrological, personal, and political content of the program, its relation to the Sala di Costantino cycle, the division of labor between Perino and Giovanni da Udine, and Raphael{\textquoteright}s possible involvement in the enterprise. Chapter III deals with the Palazzo Baldassini cycle, reconstructing the original appearance of the salone and reidentifying the subjects of many of the individual frescoes. Emphasis is given to the status and vocation of the patron as the interpretive key for recovering the original meaning of this decoration. The Pucci Chapel frescoes in Trinita dei Monti are treated in the following chapter. Documentary evidence favoring an earlier dating is presented, and stylistic features are explicated against the dual backdrop of the patron{\textquoteright}s Florentine ties and critical attitudes on the function of painting current in 16th-century curial circles. The iconographic content of the Marian cycle is also analyzed. Chapter V considers minor commissions and lost works from the first years of Perino{\textquoteright}s early Roman period. Questions addressed in the conclusion include the nature and status of Perino{\textquoteright}s patrons, his collaborative efforts with Giovanni da Udine and Polidoro da Caravaggio following the partial dissolution of Raphael{\textquoteright}s workshop in 1520, his competing claim with Giulio Romano to the title of Raphael{\textquoteright}s heir, and the extent to which his earlier association with the master accounts for Perino{\textquoteright}s monopoly over major commissions for monumental fresco cycles in the years between Raphael{\textquoteright}s death and the Sack of Rome.}, keywords = {Baroque and 18th-Century Europe, The Renaissance}, author = {Wolk, Linda J.} } @mastersthesis {7167, title = {Supermarket: Pop Art and the Ideology of Consumption}, year = {1987}, school = {UCLA}, abstract = {When Pop Art first emerged in the United States during the late 1950s, many critics predicted for this movement a rapid disappearance from the art scene. Yet much to their surprise, Pop Art endured and became the art movement of the 1960s. How can the ultimate success, both financial and critical, of American Pop Art be accounted for, given the dire predictions of many critics and the predominance of abstraction in avant-garde art of the 1950s? This dissertation will demonstrate that the success of this movement was due to the integral relationship between Pop Art and the ideology of consumption, within the framework of which Pop Art functioned very effectively, and for which the late 1950s and 1960s represent a particularly significant period. The focus of this study will be the years 1958-1968, which represent the time span from the initial experiments in Pop Art, to its loss of position as the "reigning" art movement. While most scholars of contemporary art have noted the links between Pop Art and consumer society (with specific reference to subject matter), an in-depth study of this relationship has not been undertaken. This dissertation accomplishes this by examining not only the numerous references to a consumer culture in the art works themselves, but by also exploring the roles of the artists, dealers and collectors in promoting and marketing this art. In addition, the changing role of the art critic is discussed. In a larger context, the legacy of Pop Art as the pivotal or transitional art form between modernism (and the establishment of the American avant-garde) and postmodernism is explored.}, keywords = {Art of the United States (except Photography and Film)}, author = {Mamiya, Christin Joy} } @mastersthesis {7225, title = {The Sword of Compassion: Images of the Sorrowing Virgin in Late Medieval and Renaissance Art}, year = {1987}, school = {Columbia}, abstract = {This study examines one aspect of the late medieval concern with empathetic devotion to Christ{\textquoteright}s Passion. In conjunction with this veneration, theologians and artists alike turned to the figure of Christ{\textquoteright}s Mother to help express the sufferings of the Passion. They explained and augmented her torments by interpreting her pain as compassion; her love for Christ caused her to endure His tortures with Him. In texts and visual images the Virgin played two principal roles--mediator and exemplar. Her sufferings could provoke the compassion of the worshipper and provide a model for imitation. Eventually, the compassionate Virgin became an independent object of veneration, leading to the creation of such devotions as the Seven Sorrows of the Virgin. For their portrayals of Mary{\textquoteright}s compassion late medieval and Renaissance artists developed a pictorial vocabulary employed in hundreds of depictions. This study focuses on one means of expressing Mary{\textquoteright}s compassion, through a sword, or multiple swords, a motif deriving from the New Testament. In the Gospel of Luke, during Christ{\textquoteright}s Presentation, the High Priest Simeon prophesies that a sword would pierce Mary{\textquoteright}s soul. This sword was interpreted as a reference to the sufferings the Virgin would endure with her son during His Passion--her compassion. Images of Mary pierced by a sword come from all over Western Europe. They exist in media ranging from small ivories to monumental wall paintings and altarpieces. The motif is found in works as qualitatively diverse as mass-produced, crude woodcuts and luxury manuscripts. The earliest examples, dated c.1250-1300, consist mainly of scenes of the Crucifixion, in which Mary plays a secondary role. By the fifteenth century, however, they also include such themes as the Seven Sorrows, which were created to focus attention on the compassionate Madonna. These depictions of Mary pierced by a sword are here considered in relation to other representations of the compassionate Virgin, and in conjunction with the role of the Virgin in the theology of empathetic devotion. Finally, this study examines the motivations behind the evolution of Mary{\textquoteright}s compassion into an independent object of veneration, and the images created for these devotions.}, keywords = {The Renaissance}, author = {Schuler, Carol M.} } @mastersthesis {7216, title = {Technique and Form in Huari-Style Tapestry Tunics: The Andean Artist, A.D. 500-800}, year = {1987}, school = {Yale}, abstract = {Andean Huari-style tapestry tunics constitute one of the most expressive art forms of the ancient Americas and a high point in the longest, most creative textile tradition in the world. Their dual function as official art worn by, and subsequently buried over, highland state representatives on the coast is explored. In specific, the treatment of color is presented in order to shed light on the issue of artistic contribution to state-directed design. Technical description traces the process from the preparation of an estimated 6.5 miles of dyed thread per tunic through the weaving of two complex coloristic compositions from which the tunic is ultimately constructed. Technical data suggest that virtuoso textile artists collaborated in a workshop to create "overdetermined" cloth that elevated its wearer to sacred status in life and beyond. The innovative "width-wise warp" is found to be integral to the presentation of a larger-than-life personage (and possibly to the promotion of the distinctive highland physique). Formal analysis reveals a series of independent regular shape and color design rules systematically interrupted by intentional deviations and anomalies. Color variation in particular is found to be a diagnostic feature of the Huari-style composition. Each tunic demonstrates a unique combination of formal choices. Such design standardization tempered by idiosyncratic variations on the rules strongly suggests widespread creative, individualistic interaction with limited iconographic possibilities. Color treatment can be shown to create a closed, self-referential system that itself becomes subject matter. Artistic goals and processes may have dovetailed with those of the state to transform the wearer into an esoteric symbol. Formal patterning can be shown to present the Huari state as the mediator of natural and human chaos through social order. The projection of this power through color in textiles represents a uniquely Andean expression of artistic, social and cosmological realities.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Rebecca R. Stone} } @mastersthesis {7160, title = {The Tenth Street Studio Building}, year = {1987}, school = {Columbia}, abstract = {The Tenth Street Studio Building was renowned in the nineteenth century for its well-designed studios and its prominent tenants. This dissertation describes its innovative architecture and provides a roster of its distinguished artists--notably Frederic E. Church, Winslow Homer, Albert Bierstadt, and William Merritt Chase--painters who created a distinctive American idiom within its walls. Sources of this new building type, the increased importance of the artist{\textquoteright}s work environment, and the camaraderie and influences that occurred within this microcosm are examined. Chapter I surveys antecedents and counterparts, beginning with Benjamin West. The second chapter describes the development of artists{\textquoteright} studios in New York City, citing such prototypes as the University Building, Appleton{\textquoteright}s and Dodworth{\textquoteright}s. The goals of the architect, Richard Morris Hunt, and the builder, James Boorman Johnston, and the context of the Studio Building are discussed. In the third chapter, the design, plan and functionalism of the studios and the exhibition hall is analyzed. Chapter IV discusses the studios of the first group of tenants, while the following chapter deals with the artists{\textquoteright} subject matter, disclosing influences and crosscurrents. By the 1880s younger artists, trained in Paris and Munich, instead of Dusseldorf, promulgated a new aesthetic and their artistic philosophy is set fourth in Chapter VI. The last two chapters deal with William Merritt Chase, whose work and attitudes reflected this change. Chapter VII treats the motivation for and decoration of Chase{\textquoteright}s lavish atelier, the first of its kind in this country. All of the known paintings of Chase{\textquoteright}s Tenth Street Studio, including student productions are elucidated in Chapter VIII; subsequent studios are also surveyed. Chase moved out of the Tenth Street Studios in 1895, the end of an era both for himself and for the building. An epilogue relates the further history of the building and its influence on studio-apartment houses. Although destroyed in 1956, the Studio Building legend is perpetuated in literature and in paintings.}, keywords = {Art of the United States (except Photography and Film)}, author = {Blaugrund, Annette} } @mastersthesis {7220, title = {"To Secure For Photography the Character and Uses of High Art": The Photography of Julia Margaret Cameron, 1864-1879}, year = {1987}, school = {Chicago}, abstract = {No abstract in ProQuest}, keywords = {Photography and Film}, author = {Lukitsh, Joanne Mary} } @mastersthesis {7215, title = {Traditions in Pre-Columbian Funerary Art at Monte Alban and in the Valley of Oaxaca, Mexico}, year = {1987}, school = {UT Austin}, abstract = {Zapotec funerary art exhibits a transformation in stylistic and iconographic development that parallels sociological change. The emergence of a new concentration upon the royal individual and his ancestry culminates a dynamic alteration in aesthetic and iconographic selection of Zapotec artists from the Archaic through the Late Classic and Postclassic periods. A similar evolution is apparent in the development of monumental sculpture in the Oaxaca region. By translating this development into a progressive revelation of historical impact, rather than as an expression of more permanent religious constants, one becomes aware of a concentration upon the image of power and the transformation of the critical basis of that power. The conception of the Zapotec ruler evolves from clan member and captor of foreign individuals to a regalia-laden, iconographically rich individual who conquers foreign cities. Finally, at the waning of Zapotec power around 600-700 A.D., the ruler is represented as the descendant of the deities through directly traced ancestral lineage structures. The power of the ruler is imbued by the gods, with the ruler achieving a divine character himself. At this point, in sculpture, the ruler{\textquoteright}s conquests are symbolized in the subjugation of a single individual, arms bound in conquest, who sometimes appears in ceremonial costumes that seem to transform that individual into a mythological creature. This bound captive may be a ruler who represents a larger group of people. At this later juncture the militaristic aspects are down played and the genealogical aspects become more critical. It is the purpose of this paper to support this theoretical approach to the development of Zapotec funerary art and monumental sculpture.}, keywords = {Native American, Pre-Columbian, and Latin American Art}, author = {Rote, Carey} } @mastersthesis {7196, title = {The Transformation of the Russian Sanctuary Barrier and the Role of Theophanes the Greek}, year = {1987}, school = {Oregon}, abstract = {In an effort to determine the time at which the Russian sanctuary barrier transformed into an architectural picture frame for the insertion of panel icons completely closing the sanctuary, the emphasis has been placed on the social, religious, and political causes of this change in the fourteenth century and the role of Theophanes the Greek. Hesychasm reaffirmed the effective role of icons in prayer and their usefulness for the exposition of the liturgy to the faithful. It also presented a key to understanding the spiritual force of the works by Theophanes the Greek. The juncture of the hesychast reaffirmation of icons, the monastic trend toward closure of the sanctuary, and the liturgical practices of the fourteenth century through the influence of the wood-working tradition of the Russian North and availability of wood led to an increase in the production of wooden panels and their subsequent inclusion in the iconostasis. The character of wood discouraged large scale painting for wooden walls of churches and led to the transference of former wall programs to the iconostasis. The innovative step toward a transformation was realized by Theophanes and his assistants in the Annunciation Cathedral in the Moscow Kremlin and became the point of departure for all subsequent developments of the iconostasis. It was here that the sanctuary barrier was transformed into a grandiose architectural picture frame for the insertion of permanently fixed panel icons. This created a completely closed wall behind which the major part of the liturgy is performed. By enlarging the dimensions of individual panels, introducing full-length Deesis figures, and adding a Prophets Row on the epistyle, a contribution was made toward a vertical expansion of the iconostasis. The lateral expansion was brought about through an increased flexibility in the selection and scale of the Deesis Row icons.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Cheremeteff, Maria Revutzky} } @mastersthesis {7228, title = {Ut Civitas Amplietur{\textquoteright}: Studies in Florentine Urban Development, 1282- 1400}, year = {1987}, school = {Columbia}, abstract = {This dissertation provides a descriptive and analytical account of major aspects of urban development and planning in Florence from the foundation of the republic under the Priorate of the Guilds in 1282 to the end of the fourteenth century. A wide range of archival sources, many hitherto unstudied, are utilized to illuminate both civic and private contributions to urban form. Chapter I summarizes what is known about the topography of the city in about 1280. Chapter II focuses on legal and administrative aspects of planning and public works under the republic: the legislative process and powers of expropriation; the extensive planning responsibilities vested in the Six in Charge of Rights in the late thirteenth century and the evolution of this office in the fourteenth century; the duties of the city surveyors office and the role such technical experts played in planning. Chapter III is devoted to the new city walls, which vastly expanded the enclosed area of the city. It reviews the structure of the walls and the history of their construction in the light of new information and discusses how the work was organized, including the role of clerical supervisors and the composition of the work force. Sources of financing are identified and evidence for the cost of the walls is analyzed. Chapter IV traces the evolution of the street network in the area incorporated by the new walls and defines the formal principles and practical considerations which guided street planning. Documents concerning major new arteries are analyzed and the progress of secondary street development is reconstructed. Chapter V establishes that ecclesiastical institutions systematically developed new residential districts within the new walls. It presents extensive new evidence for one such district, developed by the Cistercian Abbey of S. Salvatore, as well as evidence for similar activities by other institutions. Broader issues addressed include the economics of church-sponsored urban development and its impact on social topography and urban structure. Chapter VI follows the evolution of Piazza della Signoria from its creation in 1299 to the end of the fourteenth century, discussing phases of expansion, civic building projects, and aesthetic standards for private construction on the piazza. Seven Appendices present supporting documentation.}, keywords = {The Renaissance}, author = {Spilner, Paula L.} } @mastersthesis {7186, title = {"The Vertues Which Ought to be a Compleate Woman": Domesticity in Seventeenth-Century Dutch Art}, year = {1987}, school = {IFA/NYU}, abstract = {This study seeks to uncover the contemporary attitudes toward women and domesticity that are mirrored in Dutch painting of the seventeenth century. Various sources are employed in this endeavor, among them, prints with captions, emblems, and above all, literature that was originally intended for families. Family literature offers a valuable tool for understanding contemporary depictions of domesticity because like art, it too presents exemplary images of women as well-trained maidens, as housewives skilled in the administration of household affairs, as attentive mothers, and as pious and humble widows. Furthermore, both art and literature share specific metaphors alluding to a host of feminine virtues. Since specific virtues and tasks were exacted of women at every stage of their lives, the life phase or approximate age of the female depicted in a work of art was pivotal for the contemporary interpretation of its subject matter as a whole. The paintings examined here are therefore grouped according to the approximate ages or life stages of the women that are depicted: maidens, housewives, mothers, and widows. In fact, this arrangement deliberately imitates the chapter divisions and titles of Jacob Cats{\textquoteright}s influential book about women and the family: Houwelyck (1625). Despite their distinct connections with literature, domestic themes in art are neither painted versions of literary ideals nor painted transcriptions of reality. These works are much more sophisticated in that they represent a plausible reality, pictorially evoked for the interdependent purposes of artistic verisimilitude and meaning. Although they delighted the contemporary viewer with their ostensibly faithful rendition of the surrounding world, representations of women discharging assorted domestic tasks would have been seen to conform to universally acknowledged ideals concerning womanhood and the virtues most befitting it.}, keywords = {Baroque and 18th-Century Europe}, author = {Franits, Wayne} } @mastersthesis {7155, title = {A View from the Forest: Northern Kete and Southern Bushoong Initiation Masquerade Figures in Context}, year = {1987}, school = {Indiana}, abstract = {Although grouped under a common name, the Kuba comprise a number of ethnic groups, including Northern Kete and Southern Bushoong, who live in Western Kasai region of south central Zaire. Certain Southern Bushoong and Northern Kete peoples share a common history. Description of their initiation rituals demonstrate marked similarities in organization, mask types, costumes, songs, dances and accompanying esoterica. This form of initiation bears close similarity to mukanda initiation rituals. The literature on masquerade in Central Africa in conjunction with mukanda initiation rituals are few in number and have primarily stressed their didactic and mediating roles. In this regard their appearance is explained as that of ancestral spirits who, in the guise of masks, are present at the ritual to validate traditional authority which is in the hands of the elders. The Southern Kuba, unlike their neighbors, do not acknowledge ancestral spirits as a significant element of religious belief and yet they consider masks to be highly charged avatars of power whose presence during the initiation cycle is mandatory. The differences in interpretation correspond to Kuba conceptions of power as they relate to the institution of men{\textquoteright}s initiation and its mask complex. The study discusses the dominant role played by masks during the rites and their symbolic and metaphorical meanings. Masks demonstrate multivalent aspects of power which express distinctions of gender and status as well as the importance placed on the acquisition of esoteric knowledge. The study aims to contribute to a more complete understanding of the use of masks during ritual performance and develop a broader framework for comparative studies of masks and masquerade in Central Africa.}, keywords = {African Art}, author = {Binkley, David} } @mastersthesis {7203, title = {Viking Art in the British Isles: An Analysis of the Nature of Artistic Influence}, year = {1987}, school = {Wisconsin}, abstract = {The introductory chapters review a century of Viking art criticism and how scholars have treated the material from Britain. A critique of some common methodological assumptions is also provided. A model for the analysis of decorative art in cross-cultural contexts follows. It works from a hypothesis involving three aspects of art: form, motif and style. Form is the most readily changeable aspect of a culture{\textquoteright}s art and will be the first to be abandoned should that culture migrate to another environment. Motif, the most adaptable aspect of art, is of little use in the identification of a given object{\textquoteright}s origins. Style is the aspect that provides the clues to cultural origins and "ownership." The gradual transformations which style experiences make it the most promising barometer for tracing the course of change in culture{\textquoteright}s art. The model is applied to the art of the Vikings in Great Britain and Ireland. The results of this are: (1) no evidence is found for the production in Britain of ornaments of native Scandinavian form, (2) many instances of shared motifs appear with no certain knowledge of which culture invented them and, (3) it is only through an examination of style that cultural attributions are possible. Thus, in addition to providing a systematic approach to the analysis of Viking artifacts which appears to reflect the facts provided by the material, the model may have predictive capabilities. Patterns of stylistic adaptation in Britain are described with the observation that it is inappropriate to consider these products as an extension of, or aberration from, native Scandinavian artistic traditions. The study concludes with a catalog of over 250 artifacts, many of recent discovery.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Peterson, Robyn Gayle} } @mastersthesis {7195, title = {The West Choir Screen at Mainz Cathedral: Studies in Program, Patronage, and Meaning}, year = {1987}, school = {Brown}, abstract = {This thesis considers the diverse ways in which French Gothic forms and ideas were "received" in regions outside France, particularly in the German empire. The study centers on the west choir screen erected at Mainz cathedral in the 1230{\textquoteright}s to close off the western high sanctuary from the nave. It is generally acknowledged that this major architectural and sculptural monument commissioned for the cathedral at Mainz, the seat of the German primate and archchancellor, was executed by masters schooled at Reims cathedral. A number of German scholars have examined the fragments from the dismantled structure at Mainz from the perspectives of style and archaeology. Together with a handful of interpretative studies focusing on single components of the screen, this earlier scholarship provides a substantial base from which to pose larger, more comprehensive questions about the genesis of the project. The present study takes a broadly-based contextual approach to suggest that what was happening artistically, programmatically and historico-politically in and around the program and patronage of the highly prestigious project at Mainz was highly predictive of other important thirteenth-century German projects, such as the west choir screen at Naumburg, as well as for major undertakings of a similar sort elsewhere in Europe. Chapter one discusses the art historical importance of the west choir screen at Mainz while the following two chapters examine the conditions of the patronage at the Rhenish seat, suggesting the ways in which the stylistic and programmatic character of the screen may have been conceived to respond precisely to its location and function in the cathedral, as well as to the local historical context. Chapters four through six examine contemporary legal, political and ideological developments which, it is argued, help to illuminate the conception and meaning of the project. Viewed in the perspective of European developments at large the screen and the west choir project at Mainz emerge not as the products of predominantly "artistic" forces, but rather as monuments generated in response to certain needs and conditions at Mainz at a specific historical moment. Three appendices treat the earlier literature on the west choir screen at Mainz and on a selected group of twelfth- and thirteenth-century sculptural programs in France and Germany, as well as the historical topography and liturgy of Mainz cathedral.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Brush, Kathryn} } @mastersthesis {7115, title = {The Aegean and the Orient in the Neolithic and Bronze Age: The Evidence of Stamps and Cylinder Seals}, year = {1986}, school = {IFA/NYU}, abstract = {This study of the interrelationship between the Aegean and the Orient as demonstrated in their seals is an attempt to take a corpus of material beyond the narrow confines of internal typological analysis--and to examine shape, material and design in the light of production abroad. Such treatment is justified with seals--objects which combine aesthetic merit with durability and portability, and which played an essential role in the exchange process. The chronological range is from the Neolithic period to the Middle Late Bronze Age, and each chapter includes an introduction, focusing on major issues; a survey of non-glyptic evidence for commercial and cultural exchange; and concluding remarks where material evidence is integrated with historical reconstruction. Chapters on the Neolithic and Early Bronze Ages deal with the origin of the Aegean seal, examining the background which establishes the predilection for a stamping device and providing the Near Eastern prototypes to explain choices of shapes, materials and motifs. With Aegean glyptic firmly established by EBII, actual imports and foreign influence enhance our picture of interconnections with the Orient. In the Middle Bronze Age, a study of glyptic strengthens arguments for Cretan-Central Anatolian relations: with the transmission of the petschaft shape and the sharing of certain motifs and principles of syntax. The number of imported Syrian and Mesopotamian cylinder seals and Egyptian or Levantine scarabs increases, some objects simply exotica but others possible vehicles for transmitting artistic ideas. Chapters on the early and middle Late Bronze Age document the considerable evidence for exchange, not only of good but of artistic ideas. Seals may give witness of interaction when other sources are silent--as in the 17-16th c. transition. They enhance a picture of the vitality of Minoan art and of exchanges with Egypt, Syria and Cyprus even in the final phases of Cretan cultural domination. Throughout this work, the emphasis is on the need to integrate studies of cultures surrounding the Mediterranean basin, to witness the inception of the long history of the cross-fertilization of ideas, which went hand-in-hand with commercial intercourse, and which created the very basis of western civilization.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Aruz, Joan} } @mastersthesis {7085, title = {Art and Ritual of the Moba of Northern Togo}, year = {1986}, school = {Indiana}, abstract = {This research documents selected art forms and styles of the Moba of northern Togo, concentrating on those forms which are tied to Moba ritual life. The Moba are agriculturalists living in northeastern Ghana and northwestern Togo, West Africa. They belong to the Gur language cluster, a large culture complex whose arts have only recently been examined by art historians. Moba arts do not exhibit the high degree of elaboration characteristic of many previously studied African traditions. The research documents the typology, use patterns, and meanings of Moba body decoration, secular and ritual woodcarvings, architecture and ritual space, and initiation and mortuary rituals. The data reveal multilayered aesthetic criteria that express Moba concepts of beauty, the individual, and their world view. The Moba word for beauty, fant, is used in a wide range of contexts, such as architecture, pottery, woodcarving, and body ornamentation, to describe decorative and functional surface embellishments. Decorative embellishments reflect ways in which the Moba conceive of themselves as individuals, as male or female, and as members of society. The Moba link surface embellishment with feminine qualities, for women are either the producers or recipients of surface embellishments of beautiful intent. Women receive more elaborate body scarifications of a purely decorative nature, they are responsible for beautifying the compound with incised and painted designs, and objects reserved for their use, such as floor pounders and stools, receive incised decorations. The aesthetic criteria that emerge in Moba art and ritual are both implicit and explicit. The explicit aesthetic of beauty through surface embellishment is coupled with implicit aesthetic criteria emphasizing the importance of function, of beautifying the individual and his surrounding, and of defining one{\textquoteright}s social personality. In Moba ritual life, content determines the quality of the performance, and order and sequence form important aesthetic criteria, for without adherence to prescribed stages, the impact of ritual, both functionally and aesthetically, would be diminished. Categories of Moba art and ritual are philosophical extensions of human beings, and become forums for expressing key concepts about the nature of Moba religious beliefs and practices and their social organization.}, keywords = {African Art}, author = {Kreamer, Christine Mullen} } @mastersthesis {7091, title = {Art for the People: Art in Michigan Sponsored by the Treasury Section of Fine Arts, 1934-1943}, year = {1986}, school = {Michigan}, abstract = {The State of Michigan was the site of extensive federally-sponsored art activity during the Depression and post-Depression years from 1934 to 1943. Although government-sponsored art from this period in several states has received careful scholarly attention, this thesis is the first in-depth study of any aspect of that art in Michigan. The study focuses on the series of works produced for post office walls throughout the State under the sponsorship of the Treasury Section of Fine Arts (commonly known simply as "Section"). This art is particularly revealing of government ideas about art during the years of Franklin Roosevelt{\textquoteright}s presidency because, more than the art created under any other government arm during this period, Section art exhibited many aspects of a common esthetic that clearly was the result of the Section{\textquoteright}s commissioning process. The thesis presents a summary of government sponsorship of art in the United States during the period and a general analysis of the Section esthetic before centering on the study of the commissioning of themes, style, and reception of Section-sponsored art in Michigan. This thesis is a product of extensive research in the National Archives in Washington, D.C., personal interviews with surviving artists, study of the actual artwork, and consideration of all available pertinent secondary information. A catalogue of representative post office works throughout Michigan is included for specific illustration of the ideas set forth.}, keywords = {Art of the United States (except Photography and Film)}, author = {Ruby, Christine M. Nelson} } @mastersthesis {7083, title = {Aspects of Catalan Realism}, year = {1986}, school = {CUNY}, abstract = {Mid-nineteenth century Catalan Realism is the region{\textquoteright}s first artistic movement that can be considered modern. It coincides with catalanismo: Catalonia{\textquoteright}s socio-political and economic self-identity and with the Renaixenca: Catalonia{\textquoteright}s cultural emergence in language, literature and the visual arts. It reflects the ethnic pride of the people, their accomplishments, their daily activities and their varied landscape. The present study emphasizes the career of Ramon Mart({\textquoteright})i Alsina who introduced Realism into Catalan art, having rejected the timeless, idealized and often spiritualized figures and settings of traditional academicism and Nazarene Romanticism. Instead, he chose to represent the here and now and the matter of fact appearance of his specific time and place in directly observed, truthfully rendered canvases. A proud catalanista, Alsina visually described all aspects of his beloved region in the many genres that art offered: history, portraiture, peasants, landscape, seascape, cityscape, still-life and animal life. As the "Catalan Courbet," he was certainly aware of the advance made by the principal French Realist. Indeed, Alsina{\textquoteright}s best works--unidealized, unadorned and robust country folk and country life--readily conjure up his counterpart{\textquoteright}s works. He must have also known about the alternative realist styles of Jean-Baptiste-Camille Corot and Jules Breton because a number of his campestral interpretations closely parallel theirs. The early chapters of the dissertation trace the historical, literary and artistic background of Spain in general and Catalonia in particular, from the early nineteenth century to the onset of Realism. The subject of the final chapter is the continuation of Realism by the pupils and followers of Mart({\textquoteright})i Alsina. In his seven private studios and at the Academy of Fine Arts in Barcelona, he taught his innovative Realist methods to two generations of Catalan landscape painters who later helped to bring about modernismo, a vanguard art movement which was no longer regional but international in scope and reputation. Although Catalan Realism has been treated at some length by native writers, it has been virtually ignored in American art historical discourse. The Catalan variety of the style is now added to the investigations that previously centered upon France, Germany, Switzerland and Italy.}, keywords = {19th- and 20th-Century European Art}, author = {Lipton, Joan} } @mastersthesis {7133, title = {Aspects of Netherlandish Carved Altarpieces: 1380-1530}, year = {1986}, school = {IFA/NYU}, abstract = {One of the best known forms of Netherlandish art in the 15th and 16th centuries was the carved altarpiece, a work which combined painted wings with polychromed sculpted centers. These altarpieces were produced in enormous numbers in workshops in Brussels and Antwerp and exported throughout Europe. But despite their popularity and importance in their own time, these carved altarpieces have been largely overlooked in most studies of Netherlandish art. In my dissertation, I examine the production and iconography of these carved altarpieces, emphasizing the parallels between them and the more studied painted altarpieces. I begin by considering the patronage of the altarpieces. Though the Late Gothic period is usually seen as a time of private commissions, I show that mass production techniques were employed for carved altarpieces and were subsequently adopted in painting. I next study the collaboration between the painters who made the wings and the sculptors who carved the central panels of the altarpieces. I find that the artists were not concerned to visually unify the different sections of the work, but instead exploited the contrast between them. Similarly, painters such as van Eyck and van der Weyden established contrasts in their works by juxtaposing polychrome painting with grisaille. In the second half of the dissertation, I study the sources of carved retables and analyze the iconography of the narrative and architecture. I argue that the exclusive depiction in these altarpieces of complex narrative cycles (usually infancy or Passion cycles) reflects the Late Gothic emphasis on narrative elaboration in religious literature, drama, meditation exercises and Mass interpretation. Through a comparison of the narrative structure in carved altarpieces and in painting, I show that sculpture had some influence on both late 15th century Brussels/Bruges painters and early 16th century Antwerp Mannerists. I also examine how the architecture of the altarpieces is designed to simulate the structure of a Gothic church--its elevated nave, chapels and portals--so that the narrative occurs symbolically within the sacred setting of the Heavenly Jerusalem. Such an architectural structure is a traditional format which is similarly used by painters.}, keywords = {The Renaissance}, author = {Jacobs, Lynn F.} } @mastersthesis {7126, title = {The "Bible of Raphael" and Early Christian Antiquity}, year = {1986}, school = {UNC Chapel Hill}, abstract = {This dissertation is a study of the fresco cycle of Old Testament patriarchs and Christ that was designed by Raphael Sanzio and painted by his workshop in the Logge of the Vatican Palace (1517-19). Chapter I describes the commission of the architecture and the decorative campaign as well as the extant documents. Chapter II summarizes the conclusions discussed in the Catalogue for individual scenes concerning the artistic sources consulted. The Old Testament and Christ cycle drew upon archaic models for the compositions, the most common being the frescoes and mosaics of Early Christian Rome and illuminations in Byzantine manuscripts from the Vatican Library. The imitation of Roman fresco and stucco techniques in the decorations of the walls suggests an intent of recreating an Early Christian structure. Chapter III discusses the iconographic program of the Logge as it pertains to the patron, Pope Leo X. The biblical histories combined the ideas of exemplars of heroic conduct, metaphors for the Pope as the spiritual leader of the Church, and reflections of real events from the life of the patron. Similar metaphors in reference to Leo X were found in his triumphal imagery and in contemporary literature and speeches delivered in Leo{\textquoteright}s court. The humanist clerics in the Vatican court could have provided theological advice to Raphael for this program. A catalogue of the iconography of individual scenes and pertinent diagrams are appended.}, keywords = {The Renaissance}, author = {Andrus-Walck, Kathryn V.} } @mastersthesis {7074, title = {A Biography of Victorine-Louise Meurent and Her Role in the Art of Edouard Manet}, year = {1986}, school = {Ohio State}, abstract = {Victorine Meurent (1844-1908) interests art historians primarily because Edouard Manet featured her in two of his masterpieces now in the Louvre: Le Dejeuner sur l{\textquoteright}Herbe, reinterpreted here as a sacred painting, and Olympia, earlier viewed by Theodore Reff as a profane one. The initial chapter of this work reviews Manet{\textquoteright}s life to the time Victorine appears in his work, with new insights concerning Manet{\textquoteright}s father{\textquoteright}s republicanism presented from Charles Limet{\textquoteright}s memoirs. Second, the model{\textquoteright}s life and relevant social implications are brought to the same point in time. Then, the simultaneous blend of modernity, social content and symbolic significance already perceived by scholars in Manet{\textquoteright}s Realist art is systemmatically reviewed as a serial explication of Victorine-Louise Meurent{\textquoteright}s role in Manet{\textquoteright}s paintings is expanded upon and set forth. Known "Victorines" and "Louises," who were street entertainers, dancers at public bals and figurantes in theaters serve to establish Victorine{\textquoteright}s more complete identity as a type. Manet{\textquoteright}s paintings are shown to record her rise from the street, to grisette, lorette, and courtisan as "natural" aspects of her being. Victorine{\textquoteright}s life as a source for contemporary Naturalist literary works is discovered as plausible in Emile Zola{\textquoteright}s l{\textquoteright}Oeuvre, and denied as fictionalized and plagiarized in accounts written by George Moore. All of the paintings for which Victorine is known or assumed to have posed are critically treated. In addition, other works in which her identity has hitherto been unrecognized are proposed, such as Manet{\textquoteright}s Masked Ball at the Opera, certain of Alfred Stevens{\textquoteright} works, Norbert Goeneutte{\textquoteright}s Toilette de Jean Guerard and Henri de Toulouse-Lautrec{\textquoteright}s A la Mie.}, keywords = {19th- and 20th-Century Europe}, author = {Seibert, Margaret Armbrust} } @mastersthesis {7111, title = {Carolingian Treasure: Engraved Gems from the Ninth and Tenth Centuries}, year = {1986}, school = {UNC Chapel Hill}, abstract = {Twenty engraved gems survive from the ninth and tenth centuries: five seal-matrices, eight Crucifixions, two Baptisms, two stones with symbols of the Evangelists, a St. Paul, an agate with the name REGINBOLDVS, and the Susanna crystal. All are examined in this study. Stylistic and iconographic analysis are used, as well as examination of relevant technology, literature, and the liturgy, numismatics, epigraphy, sigillography, and diplomatics. Conclusions are supported by a catalogue and by extensive illustration. The social and physical environment of the gems{\textquoteright} production is discussed, with examination of the material{\textquoteright}s contemporary value, identification of patrons, and analysis of the objects{\textquoteright} physical functions. The intaglios are placed within the western glyptic tradition, and by technical analysis disassociated from both Merovingian and Byzantine practices and linked with contemporary coins. The artists{\textquoteright} status and working methods are established. Chapter 3 addresses the questions of where, when, and by whom the gems were made. Broad stylistic divisions are established, and some objects are attributed to a common artist. The stones are assigned dates from c.820 to the mid-tenth century, and production is localized to Metz, Trier, Aachen, Tours, and the Court School of Charles the Bald. The meaning of the gems is discussed in Chapter 4. A connection is found between the iconography of the imagery and the contemporary symbolism of the stones themselves. The Susanna crystal is discussed as royal propaganda for Lothar II. The seal-matrices (one with a specific model here identified) are shown to represent a new synthesis of Merovingian and Roman forms. Other intaglios are interpreted as statements about the establishment of Christian rites (with reference to contemporary liturgy), the universality and miraculous nature of the Christian experience, and the harmony of the Gospels. In the process of interpretation, specific and theoretical questions about the relation of model to copy are discussed. The Carolingian gems are shown to be essentially new creations in terms of both form and meaning. While excellent representatives of the renovatio, they call into question the relative importance of revivalism in Carolingian art.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Kornbluth, Genevra Alisoun} } @mastersthesis {7088, title = {Catalogue of the Portrait Busts and Ideal Works of Thomas Crawford, American Sculptor in Rome}, year = {1986}, school = {Pittsburgh}, abstract = {Thomas Crawford is acknowledged as one of the leaders of the American school of neoclassical sculpture. He is best known for his public statuary, including the equestrian Virginia Washington Monument in Richmond and his works for the U.S. Capitol. It was, however, his portraiture and ideal works that gained him the reputation which led to such important and lucrative official commissions. This dissertation makes a complete list of these works available for the first time. From primary source materials, comprised mainly of Crawford{\textquoteright}s correspondence, vintage photographs, a drawing album, and a list of the Crawford plaster collection given to New York City, a catalogue of 136 titles (29 portrait busts and 103 ideal works) has been established. Of these, 38 sculptures have been located and visual evidence or descriptions have been provided for some lost works. A more complete picture of Crawford{\textquoteright}s oeuvre is now available. As a result, aspects of this period of American sculpture, such as the genesis of commissions, working procedures, payments, and shipping problems, are better elucidated. More specifically, however, observations can be advanced regarding Crawford{\textquoteright}s stylistic development. During his first years in Rome, he closely followed the classic example, as promulgated by neoclassical theorists and exemplified in the sculpture of, most particularly for Crawford, Bertel Thorvaldsen. In his early portrait busts, he often attempted to "classicize" his sitters; the same is true of his early ideal works both in theme and treatment. During the 1840s, Crawford experimented more widely with subject matter. Besides treating Biblical and nineteenth-century literary themes, he often depicted children in allegorical guises. Crawford moved toward a more naturalistic representation in his public monuments of the 1850s, and his ideal works (for he had by now ceased producing portrait busts) seem to have been developing in the same direction. Thus Crawford was in step with the changing sculptural aesthetic of the mid-nineteenth century and, had he not died at age 44, it seems likely that he would have continued to excel and compete with younger sculptors.}, keywords = {Art of the United States (except Photography and Film)}, author = {Dimmick, Lauretta} } @mastersthesis {7079, title = {Charles Garnier{\textquoteright}s Paris Opera and the Renaissance of Classicism in Nineteenth-Century French Architecture}, year = {1986}, school = {Pennsylvania}, abstract = {Charles Garnier{\textquoteright}s Paris Opera (1861-1875) is usually categorized as an example of Second Empire Baroque architecture whose stylistically eclectic revivalism combines motifs from Renaissance and Baroque architecture. This dissertation argues that such a categorization misapprehends nineteenth-century French architecture. Garnier{\textquoteright}s position as the leading representative of French classicism during the second half of the century was due to his successful restoration of coherence to a tradition which had been fragmented by the preceding fights between Neoclassicism and Romanticism. His renaissance of classicism depended upon an astylistic, form-generating principle of architecture which replaced formally taxonomic stylistic types with formally expressive stylistic values. Methodologically, this dissertation reconstructs Garnier{\textquoteright}s renaissance on two levels. First, his intellectual debts to Neoclassicism and Romanticism are defined by examining both the Neoclassical derivation of style from the imitation of an ideal natural order and the Romantic belief that style was the materially real product of history. Identifying the Neoclassical theoretician, Antoine-Chrysostome Quatremere de Quincy, and the Romantic architect, Felix Duban, as the principal contributors to Garnier{\textquoteright}s ideas, this examination explains his comprehension of style as the materially ideal product of historical reality. The archeological studies of classical art by the contemporary scholar, Charles-Ernest Beule, parallel Garnier{\textquoteright}s work, while the structurally rational theory of architecture formulated by his Gothicist opponent, Eugene-Emmanual Viollet-le-Duc, identifies the alternative to Garnier{\textquoteright}s solution. Second, the evolution of Garnier{\textquoteright}s classicism is integrated with a study of the social, economic, political, industrial and institutional conditions which affected his education, career and work. This study--particularly the case history of the Opera{\textquoteright}s construction--delineates the relationship between theory and practice in nineteenth-century architecture. Garnier{\textquoteright}s renaissance of classicism sought its historical analogy in the Renaissance because his principle was the culmination of an humanistic tradition which the Renaissance had revived. Originating in the principles of Beaux-Arts composition, arguing that architecture concretized a society{\textquoteright}s gestations into built forms, and resulting in the principle of empathy, his principle rethought style as those formal values which could express architecture{\textquoteright}s anthropomorphic nature and meaning.}, keywords = {19th- and 20th-Century Europe and Near East}, author = {Christopher Mead} } @mastersthesis {7082, title = {The Dance Compositions of Edgar Degas}, year = {1986}, school = {Yale}, abstract = {This dissertation addresses the nature of Degas{\textquoteright} working methods, the means by which he formulated compositions through the elaborate reuse and refining of his own artistic productions. Studying Degas{\textquoteright} painting and sculpture in light of his drawings, the dissertation argues that the drawings are not preparatory to specific finished works, but rather initially random explorations from which Degas derived not only the contributory elements of but also the inspiration for more complicated artistic efforts. Degas{\textquoteright} interest in the ballet as urban entertainment and the ballet{\textquoteright}s place in Parisian society of the late nineteenth century provide the focus of one chapter of the dissertation. Four chapters are devoted to groups of related works--including paintings, pastels, sculpture, and drawings--with the view of establishing the interrelationships between so-called finished works and final realizations. These chapters focus on the works surrounding The Dance Class of 1874-1876; The Little Fourteen-Year-Old Dancer of c. 1881; the friezelike ballet rehearsals dating from the late 1870s through c. 1900; and the late drawings and pastels related to the Four Dancers of c. 1895. By examining the works in question in relation to Degas{\textquoteright} writings about art and theory, this study of the mechanics of their creation elucidates the ways in which essentially formal qualities may affect the interpretation of the works and what they mean.}, keywords = {19th- and 20th-Century Europe and Near East}, author = {Shackelford, George T.M.} } @mastersthesis {7131, title = {Deschi da parto: Birth Trays of the Florentine Quattrocento}, year = {1986}, school = {Syracuse}, abstract = {This study draws together, for the first time, an up-to-date inventory of deschi da parto or birth trays produced in Tuscany from 1390 to 1500, and analyzes their iconography and their social function in the Italian Renaissance. Chapter 1 describes the deschi and considers contemporary references concerning them, found in the writings of Vasari, artist{\textquoteright}s workshop records, family diaries, and household inventories. Previous studies on the deschi are also summarized here. The major desco themes of the early Renaissance are examined in Chapters 2 and 3. They are predominantly either amatory stories based on the writings of Boccaccio or birth scenes, both of which praise women and present a positive view of love and sensuality. The most popular narratives of the 1430s and 1440s are studied in Chapter 3. They are mainly based on classical mythology but convey moralizing meanings to their owners. Significantly, in the third and fourth decades of the century, desco themes take on a distinctly different tone in their warnings about the evils of sensuality and they portray women less positively. This shift in tone continues into the second half of the century and is analyzed in Chapters 5 and 6. At that time the most popular stories were Petrarch{\textquoteright}s Triumphs, narratives concerning Solomon and Sheba, and a variety of stories of justice and judgment. The final chapter suggests that our fullest understanding of the custom of presenting deschi derives from considering them in the context of Florentine society of the fifteenth century. A severe population crisis brought on by the plague and the resulting instability of households early in the century seems to have evoked among its citizens a compensatory concern for preserving family lineages. Appropriately, the popular themes on deschi of the early century celebrate women, especially in their role preserving family lineages. The popular themes on deschi of the early century celebrate women, especially in their role as procreators, and these narratives can be interpreted as having provided guidelines of behavior for couples to help them to maintain stable relationships. Later themes condemning sensuality may have produced the same effect by emphasizing the importance of maintaining the basic social unit, the family, through marriage. The deschi da parto reflect this social concern: they celebrate, commemorate, and moralize about love, marriage, and birth.}, keywords = {The Renaissance}, author = {Fitzgerald, Mary Eileen} } @mastersthesis {7104, title = {The Early Drawings of Fragonard (ca. 1748-1761): Problems of Attribution and Chronology}, year = {1986}, school = {IFA/NYU}, abstract = {The dissertation establishes a corpus of autograph drawings datable to the period of the artist{\textquoteright}s training. The preface reviews the Fragonard literature, observing that this is the first such study of the early drawings. It outlines the methods employed in establishing a corpus: to begin by establishing a foundation of secure attribution on the basis of documentation, acceptable signatures, or acceptable attributions going back to the artist{\textquoteright}s lifetime; next, to examine attributions of traditional but untraceable origin, followed by new attributions. Examples are given of the different types of early signatures. The artist{\textquoteright}s student period is divisible into three stages, each of which is treated in a chapter. Each chapter begins with an account of the artist{\textquoteright}s circumstances, the type of training received, the major attributional problems and confusions, and other considerations such as the sources used. There follows a presentation of the main examples of the artist{\textquoteright}s paintings for that period, beginning with those that are documented. Finally, the drawings are presented. There are 180 in total in the three chapters, of which 39 are new attributions. Chapter I treats Fragonard as a pupil of Boucher, ca. 1748-1753. Forty-one drawings are proposed. Chapter II concerns the artist at the Ecole royale des eleves proteges, 1753-1756. Three drawings, possibly eight, are proposed for this period. Chapter III is about the artist{\textquoteright}s time at the French Academy in Rome, 1756-1761. Attention is given to the program of the Academy, and some previously unpublished or unattributed drawings are presented that illustrate the artist{\textquoteright}s participation in it, particularly from his sparsely represented early years there. One hundred thirty-one drawings are presented for the Roman period. The Appendices consist of (A) a catalogue raisonne of acceptable drawings; (B) lost drawings known from engravings or copies; (C) a drawing of uncertain attribution; (D) rejected attributions not already discussed in the text, most of which are assignable to other artists. There is a bibliography.}, keywords = {Baroque and 18th-Century Europe}, author = {Massengale, Jean} } @mastersthesis {7075, title = {The Elegy of Death in French Painting at the End of the Eighteenth Century and the Beginning of the Nineteenth Century}, year = {1986}, school = {IFA/NYU}, abstract = {This dissertation concerns the change in attitude towards death in eighteenth-century France and how it shifted from a dogmatic religious outlook to a more personal private experience as expressed in paintings of death and mourning. This art emerged at the end of the century when the absence of decent burial, compounded by the repeated and brutal extinction of life during the Revolution and its aftermath, caused men to flee into the bosom of nature and sentiment or the perfect order of ideas instead of religion. The paintings visually articulate the varied responses to death: public or private homage accorded an esteemed citizen or beloved relative, philosophical musing on the fragility of life, melancholic mourning or deep personal loss. The first chapter presents the broad philosophical and social background regarding burial and cemeteries in France during the course of the eighteenth century, focusing upon the upheavals of the Revolution when the government displaced Church authority and tradition with civic responsibility and new imagery based upon pagan precedents. Chapter two discusses the visual manifestation of the ideal tomb as epitomized by Poussin{\textquoteright}s Et in Arcadia Ego. This painting, interpreted in a particular eighteenth-century light combining sentiment with didacticism, spawned numerous others of this type. Personal expressions of mourning, or mourning portraits, are the subject of chapter three whereas chapter four elucidates the convergence of images of mourning with the concept of melancholy, a concept articulated also in poetry and other writings of the time. The final two chapters are concerned with a particularly poignant aspect of loss through death--the separation of lovers by death and the hopes of a reunion in death. Verging on the brink of Romanticism, these themes become conspicuous in French painting in the years around 1800. Selected mostly from classical stories these tales, with their mixture of love and death and acceptance of suicide for love, indicate a move away from a view of life anchored by rules determined by outside authority to one in which the individual alone faces the loss of others and his own end.}, keywords = {19th- and 20th-Century Europe}, author = {Smith, Margaret} } @mastersthesis {7138, title = {Ercole de{\textquoteright} Roberti{\textquoteright}s Altarpieces for the Lateran Canons}, year = {1986}, school = {Delaware}, abstract = {Together with Cosimo Tura and Francesco del Cossa, Ercole de{\textquoteright} Roberti was one of the foremost Ferrarese painters of the Quattrocento. His reputation has endured despite the loss of much of his oeuvre. Among the more important works to survive into this century are his three-part predella from San Giovanni in Monte, Bologna, with scenes from the Passion of Christ; and his two altarpieces of the Madonna and Child enthroned with saints from San Lazzaro, Ferrara (destroyed in 1945), and Santa Maria in Porto Fuori, outside Ravenna. Painted for a single religious order over a period of about ten years, Roberti{\textquoteright}s San Lazzaro altarpiece, Portuense altarpiece, and San Giovanni in Monte predella form a cohesive group. Their attribution is secure, their early history is known, and their chronology can be defined with relative certainty. New information found in the archives further establishes the dates of the altarpieces. All three works provide the basis for both the definition of Roberti{\textquoteright}s style and an examination of its development between ca. 1475 and 1485. Although the identity of Roberti{\textquoteright}s patron, the Lateran Canons Regular of St. Augustine, has long been known, no one has studied the three works in either an historical or a theological context. The full significance of the Madonna and Child, saints, and settings in the altarpieces has been overlooked, and much of the thrones{\textquoteright} sculptural decoration has been misinterpreted. Only by examining the works in the light of what is known of their patron, their churches, and their common destination (the high altar), can we begin to understand their iconography. The central themes in all three works--Christ{\textquoteright}s Passion, the Eucharist, and salvation--were both appropriate for the high altar and of particular interest to the Lateran Canons at this time. They were the subject of several contemporary Augustinian treatises and sermons. Other features in the paintings can be related to the history of both the Lateran Canons and the individual churches. These three issues--the place of the works in Roberti{\textquoteright}s oeuvre, their place in the churches for which they were commissioned, and their iconography--are the primary concerns of my dissertation. I also discuss the relationship between Roberti{\textquoteright}s altarpieces and other sacre conversazioni. Supplementing the text are a detailed catalogue of Roberti{\textquoteright}s works (both extant and lost) and transcriptions of relevant documents.}, keywords = {The Renaissance}, author = {Turrill, Catherine} } @mastersthesis {7070, title = {Evocations of the Eighteenth-Century in Victorian Art}, year = {1986}, school = {IFA/NYU}, abstract = {EVOCATIONS OF THE EIGHTEENTH CENTURY is the first scholarly study of the Victorian English eighteenth-century revival. This study in taste focuses on paintings which exhibit the Victorian fascination for the art and life of the previous century. The introduction discusses the phenomenon of revivalism, the rise of the middle class patron, the structure of the art establishment and the characteristics of "Victorianism." Six major subjects are then explored. Chapter one looks at Victorian paintings and illustrations of classic 18th-century English literary works. These mostly early Victorian pictures are the first gauge of an emerging image of the Georgian era as homely, virtuous and truly "English." Chapter two discusses similar themes in the context of historical genre paintings treating the lives of 18th-century "cultural worthies." Chapters three and four focus on the years 1870 - 1900, when a neo-Georgian revival was in full flower. Chapter three explores the meanings, in context, of the many 18th-century dress figures created during the "Great Depression" of British agriculture (early 1870s to mid-1890s). Jolly squires, pretty maidens and charming children become the vessels for nostalgic yearnings for a more ordered time; Victorian culture is losing its early optimism but gaining in appreciation for more refined pleasures. Chapter four charts intense 18th-century revival activities in the areas of interior decoration, fashion and theatre during this period, with special emphasis on the contributions of visual artists to these fields. Chapter five concerns the posthumous fortunes of the great 18th-century English masters (especially Gainsborough and Reynolds). This dissertation discusses the growing pride toward the end of the 19th century in 18th-century English art history as evidenced in exhibitions, publications and auction prices. Chapter six studies the impact of English 18th-century art on later Victorian and Edwardian portraiture. Issues of patronage as well as stylistic influence are discussed. The conclusion is both a summary of the dissertation{\textquoteright}s major points and a meditation on the interaction of "conservative" and "avant-garde" forces in late Victorian and Edwardian art.}, keywords = {19th- and 20th-Century Europe}, author = {Bradley, Laurel} } @mastersthesis {7137, title = {The First {\textquoteright}Peasant Festivals{\textquoteright}: Eleven Woodcuts Produced in Reformation Nuremberg by Barthel and Sebald Beham and Erhard Schon, ca. 1524 to 1535}, year = {1986}, school = {Columbia}, abstract = {This iconographical study explains the meaning of eleven wood- cuts (ca. 1524-1535) depicting peasant festivals by three Nuremberg artists--Barthel and Sebald Beham, and Erhard Schon--and places the works in their cultural and historical context. These followers of Durer created large numbers of prints with secular subjects after the master{\textquoteright}s death in 1528, yet that period of German art has not been studied in depth because of a "death" of German painting after Durer. Younger contemporaries of Holbein, Cranach, Erasmus and Luther, the Nuremberg artists present in the first Peasant Festivals a wide variety of amusements that took place at contemporary peasant celebrations. These woodcuts can be explained by studying German folklore, popular literature and art, writings of humanists and Reformers, habits of dress, popular customs, and legislation issued by Nuremberg{\textquoteright}s town council. This includes Sebastian Franck{\textquoteright}s Book of Proverbs (1541), Hans Sachs{\textquoteright}s poems, Luther{\textquoteright}s works, and heretofore unpublished mandates and minutes of town council meetings. The abundant verbal expressions of sixteenth-century German, especially its proverbs and idioms that humanists were then compiling, offered fruitful sources for the Nuremberg artists{\textquoteright} imagery. The visual sources consulted include Northern paintings and woodcut illustrations of German broadsheets, printed books and pamphlets, especially those treating the social problem of excessive drinking. The first Peasant Festivals represent church festivals, peasant wedding celebrations, and a spinning room, which are festivals and festival-like occasions that Nuremberg{\textquoteright}s council first reevaluated in 1526 under the impact of the Lutheran Reformation, officially adopted there the year before. The criticism of the festivals included in the legislation is reflected in the woodcuts, thus linking them with the Reformed movement in Nuremberg. Far however from offering dry critiques of these celebrations, the festival woodcuts combine the council{\textquoteright}s criticisms with extensive observation of folk culture, and visualizations of idioms and carnival play-like texts. The woodcuts are here shown, therefore, to be burlesque-like in their presentation of the earliest representations of peasant festivals in the history of art.}, keywords = {The Renaissance}, author = {Stewart, Alison G.} } @mastersthesis {7089, title = {Five Los Angeles Pioneer Modernists: A Study of the 1940{\textquoteright}s Paintings of Peter Krasnow, Knud Merrild, Oskar Fischinger, Lorser Feitelson, and Helen Lundeberg}, year = {1986}, school = {USC}, abstract = {No abstract in ProQuest}, keywords = {Art of the United States (except Photography and Film)}, author = {Ehrlich, Susan E.} } @mastersthesis {7071, title = {The Fragment Reformed: The Early Collages of Kurt Schwitters}, year = {1986}, school = {Yale}, abstract = {In this dissertation, Schwitters{\textquoteright} early work is seen as a key to the understanding of his mature art. The first chapter introduces a group of watercolor drawings, the so-called Aquarell series, that Schwitters executed at the time of his first experimentation with the collage medium. The drawings are connected in their compositional scheme and the use of pictorial symbols. Frequently, Schwitters employs within one drawing two contrasting styles, an abstract, geometric and a more representational one, so that the composition is divided into two sectors. In analyzing the series in conjunction with Schwitters{\textquoteright} most famous poem of the same period, An Anna Blume, it can be shown that the theme of the drawings is desire. Schwitters reveals desire as a wish for artistic power. In the following chapter, the thematic and compositional ideas set forth in the watercolor drawings are studied in selected examples of Schwitters{\textquoteright} writing and visual work. For Schwitters, power and desire are intimately linked and may be expressed in the metaphor of the eye. As the object of desire is understood as unreachable, Schwitters describes desire as fragmenting and the unfulfilled self as fragmented. The third chapter demonstrates that Schwitters{\textquoteright} use of contrasts may be linked to Worringer{\textquoteright}s theory of Empathy and Abstraction and Kandinsky{\textquoteright}s use of the hidden image. Schwitters carries on Expressionist concerns in the simultaneous presence in his work of two contrasting modes of forming. Part Two of the third chapter shows Schwitters{\textquoteright} Merz Theory, based on the principle of fragmentation, as having grown out of his Expressionist concerns as well as his understanding of the self as fragmented. In the fourth chapter, Schwitters{\textquoteright} hiding of Anna Blume and her attributes is characterized as play. For Schwitters, playing is a serious activity. He creates visual games with fragments, thus illustrating that visual and verbal forming is closely related and interchangeable. Above all, he describes the mastering of the rules of the game as a tool of power. Schwitters is contrasted, in the final chapter, to the Berlin Dadaists and other politically engaged artists. It is shown that he uses collage as a means of expressing utopian idealism. As opposed to the tearing apart that collage may imply, Schwitters sees in the joining of fragments the possibilities for a social model.}, keywords = {19th- and 20th-Century Europe}, author = {Dietrich, Dorothea} } @mastersthesis {7109, title = {Iconographic Study of the Christological Cycle of the Miniatures of the Aschaffenburg Golden Gospels (Aschaffenburg, Hofbibliothek Ms 13)}, year = {1986}, school = {Columbia}, abstract = {The Aschaffenburg Gospels has always attracted much interest: its miniatures are among the most beautifully painted works of the thirteenth century; its Christological cycle with forty-nine scenes is considerably larger than others of the period. Earlier scholarship devoted to its style reached an impasse in determining its localization and recipient because stylistically comparable works are found in many locations, but not in Mainz whence it had a tenuous provenance. So a study of other aspects, especially its iconography, was needed to provide more clues. A systematic iconographic analysis also offers much in an area of scholarship which has been insufficiently studied. The Aschaffenburg Gospels are written in gold and its miniatures are dispersed within the text, generally after the story they depict. All the Infancy scenes appear in Matthew, including some not described in that text, suggesting an effort to paint a cycle according to the chronology of Christ{\textquoteright}s life. These features and the overwhelming similarity of the iconography of the individual scenes relate the Aschaffenburg Gospels to Ottonian manuscripts of Reichenau and Echternach. The unusual type of "strip" illumination with several scenes connected vertically, and the iconographic similarities of some of the very unusual scenes appearing in these "strips," suggest a close connection also with a group of thirteenth-century Gospel Lectionaries made in Paris for the royal Ste. Chapelle. Comparisons with stained glass which is also linked stylistically with the manuscript suggest that the Gospels{\textquoteright} iconography depended on types and motifs found at Assisi. These were elaborated upon in the Gospels and then developed further at Merseburg. Termini are thus provided for dating the Gospels 1253-60. Further analysis suggests that the Gospels were probably painted by someone who had participated in these stained-glass campaigns. Documentary evidence securing the provenance, the importance of the manuscripts shown here as sources, and the analysis of internal evidence linking the Gospels with the archbishop, all point to a localization of the manuscript in Mainz. The archbishop at that time was a Franciscan who was an active patron of his order in his diocese. Thus the Aschaffenburg Gospels may shed light on the role of the Franciscans in the development of iconography in the thirteenth century.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Kaufmann, Virginia (Heidi) Roehrig} } @mastersthesis {7090, title = {The Image of Black People in American Illustration from 1825 to 1925}, year = {1986}, school = {UCLA}, abstract = {This study analyzes the black image in American illustration as it was drawn in the popular press by the white illustrator for an essentially white audience. Through glimpses at the social and historical aspects of the years 1825 to 1925, the study indicates that the image accurately reflected racial attitudes and stereotypes in America. Based upon the assumption that this body of work is artistically significant, the study documents the stylistic, thematic, and iconographic evolution of several hundred (some heretofore uncatalogued) examples of this genre. Primary sources include original illustrations published during the period; printed illustrations from magazines, books, and newspapers; and historical documents such as letters written by the artists themselves. Secondary sources include commentaries on American art, illustration and history, as well as theses, dissertations, books, museum catalogues, and articles that offer useful information. To allow for the discovery of actual patterns in the black image rather than the extraction of data to answer preconceived questions, a thematic and topical checklist was prepared in advance and then revised, thereby revealing general configurations in content in a flexible format. A traditional method of art analysis compares, contrasts, and evaluates individual works of art and presents concisely stated generalizations. In the nineteenth century the image of the black became established as an American icon. American illustrators used existing stereotypes, but not one of them did so to explore or discover black reality. "The Narrative Theme..." focuses on the realistic image of the black in both painting and illustration, while "The Black as Comic Image..." discusses the most significant use of the black theme in the illustrated press during this era. These images and their clearly derogatory character were simply a reflection of the period, rather than of the attitudes of individual illustrators, who were doing nothing more than satisfying a fashionable prejudice of a period obsessed with racial humor and ethnic idioms. Despite the clear and unfortunate exaggeration heaped on an entire race, the intent was essentially to provide humorous entertainment.}, keywords = {Art of the United States (except Photography and Film)}, author = {Martin, Francis John, Jr.} } @mastersthesis {7121, title = {In the National Interest: Representing the Home Front in British Wartime Cinema}, year = {1986}, school = {Yale}, abstract = {Retrieving a relatively neglected area of cinema for contemporary political and theoretical concerns, In the National Interest establishes the British wartime realist film as a rich source for feminists, film theorists and cultural historians. The outbreak of war had a profound impact on contemporary social, political and economic values and on cultural representations of femininity and masculinity. For the first time in its history, British cinema prized open a space free from Hollywood{\textquoteright}s hegemony. In seeking to make entertainment from the facts of contemporary Home Front life, British realist films focused primarily on female experience. Thus these films exemplify and examine the conjunction of three terms: images of women, realism and national cinema. Through textual analysis of four central films (Perfect Strangers, Brief Encounter, The Gentle Sex and A Canterbury Tale), in relation to surrounding materials such as cartoons, advertisements and reviews the dissertation shows that crucial nodal points in these texts speak of general cultural difficulties in establishing and maintaining boundaries of temporal, sexual and national difference in wartime. Representations of history, the black-out, the "mobile woman" and the GI are closely examined. The dissertation posits that while sexual difference has been typically represented in dominant cinema through ellisions, gaps, and inconsistencies, the same forms of textual marker signal national difference within British wartime cinema. In fact the figure of the woman becomes a metaphor for national cinema which indicates that in this cinema at least, sexual difference cannot be considered separately from national difference.}, keywords = {Photography and Film}, author = {Lant, Antonia} } @mastersthesis {7128, title = {Institutionalizing Albertian Principles of Education: The Florentine Accademia del Disegno}, year = {1986}, school = {Johns Hopkins}, abstract = {In 1562, a group of artists, humanists and ecclesiastics conceived an institution with two distinct yet interrelated branches: a religious confraternity, or compagnia, and a teaching association, or accademia, intended to promote the union of sound theory and good practice for the arts of disegno. It was incorporated as an official organ of the Medici state in 1563. Florentine painters, sculptors and architects who demonstrated virtu joined the organization as did many artists from the distretto; non-Tuscan Italians and foreigners who practiced in the Medici state also affiliated. During the 1570s the Compagnia ed Accademia del Disegno began to assume the functions of the guilds to which its members traditionally belonged (painters to the Arte dei Medici e Speziali, sculptors and architects to the Universita dei Fabbricanti). In 1584 it was officially incorporated as a guild, controlling all matters concerned with the production of art in Tuscany. By the end of the sixteenth century the concerns of the organization were confraternal, "academic" and syndical. One governing body administered to all of these concerns. Its officers were entitled to those prerogatives enjoyed by officers of other state magistratures. The organization originally intended to uphold professional restrictions for membership, admitting only painters, sculptors and architects. But this was contested almost immediately and by the late 1570s practitioners of related crafts, like battilori and istuchatori, were gaining admittance. The increasing matriculation of non-professionals continued into the seventeenth century. These men were often of noble birth or of acquired noble status, like cavalieri of the Ordine di Santo Stefano. Within thirty years of its foundation the Universita, Compagnia ed Accademia del Disegno was accommodating a diverse group of men--artists, craftsmen, natural philosophers, aristocrats. Although it has not functioned as a confraternity or a guild for more than a century and a half, the academy still exists today as the Accademia delle Belle Arti. It assumed this name in 1784 when Grand Duke Pietro Leopoldo di Lorena transformed it into an autonomous organization under the supervision of an elected president, who replaced the Luogotenente, the appointed representative of the Duke. (Abstract shortened with permission of author.)}, keywords = {The Renaissance}, author = {Karen-edis Barzman} } @mastersthesis {7127, title = {The Invention of Michelangelo{\textquoteright}s Last Judgment}, year = {1986}, school = {Virginia}, abstract = {Although Michelangelo{\textquoteright}s Last Judgment is one of the most frequently interpreted paintings of the 16th century, these interpretations often take little account of Michelangelo{\textquoteright}s process of invention or of the context in which the painting was made. In this dissertation I have examined as much contemporary evidence as possible in an attempt to reconstruct 16th century notions of style and meaning, as well as Michelangelo{\textquoteright}s specific ideas expressed in the fresco. In the first chapter Michelangelo{\textquoteright}s invention is traced through the preliminary drawings, including two copies of the early design that have received little scholarly attention. The criticism of the Last Judgment--the subject of the second chapter--also helps establish the context for the work since the discussion often centers on the reasoning behind the use of complex movement and allegory in religious painting. The tradition of Last Judgments in Italy is traced in the third chapter, with special attention given to the flexibility within the tradition. The patronage and the setting for the fresco are discussed in the fourth chapter. These dictated a certain decorum which was less concerned with the nudity than with the degree of ornamentation and with the use of recondite imagery aimed at the learned audience. The last chapter deals with Michelangelo{\textquoteright}s use of Dante in the fresco, based upon his identification with the poet. Michelangelo{\textquoteright}s imitation of Dante{\textquoteright}s difficult style goes far to explain the complexity of forms, the obscurity, the crudeness and the idealization of the Last Judgment.}, keywords = {The Renaissance}, author = {Barnes, Bernadine} } @mastersthesis {7134, title = {An Investigation of the Program of the Arena Chapel: Mariological Consideration}, year = {1986}, school = {UT Austin}, abstract = {A new analysis of the pictorial program of the Arena Chapel asserts that the program is essentially Mariological in character. All the decorative elements of the scheme form a unity and make a statement meaningful in terms of the contemporary devotional attitudes of the patron, the citizens of Padua, and the new mendicant orders. The total decorative scheme of the chapel is considered. Giotto{\textquoteright}s nave frescoes dominate and have been the subject of most scholarly research. It is shown here that Giotto{\textquoteright}s Christological cycle painted in the nave should be seen as part of, and subordinate to, a Marian program. The choir frescoes, devoted to scenes of the last days of the Virgin{\textquoteright}s life, her Assumption and Coronation, are not by Giotto and are usually ignored because of the uncertainty as to date, authorship and the inferior artistic merit. It is shown here that they are an integral part of the overall theme, the Glorification of the Virgin. In addition, Giovanni Pisano{\textquoteright}s Virgin and Child on the main altar, whose relation to the nave frescoes has never been adequately explained, is included in the overall program. Likewise, the Crucifix, now in the Museo Civico in Padua and attributed to Giotto, is read as a part of the original chapel program. The pictorial program of the Arena Chapel celebrated the Virgin and her role in the History of Salvation. As the instrument of Incarnation and Redemption, according to the medieval view stated in theological treatises, sermons and liturgy, the Virgin was rewarded with her bodily Assumption and Glorification in Heaven. These are precisely the themes depicted in the frescoes on the walls in the nave and of the choir.}, keywords = {The Renaissance}, author = {Knudsen, Sigrid} } @mastersthesis {7077, title = {J.A.D. Ingres, the Finished History Drawings}, year = {1986}, note = {M. Cohn (Harvard)}, school = {Brown}, abstract = {The first, the essential, part of the artistic self-conception of the French neo-classical painter J. A. D. Ingres (1780-1867) was that he was, above all else, a painter of history--Peintre d{\textquoteright}histoire--in the grand tradition of French academic art. With that phrase he placed himself and his creative work for judgment against the painters he admired most, Raphael and Poussin. Dr. Hans Naef{\textquoteright}s 1980 Die Bildnis Zeichnungen von J. A. D. Ingres, a five volume catalogue and critical study of the portrait drawings, has definitively charted the artist{\textquoteright}s life as a portraitist and serves as a veritable encyclopedia of the people with whom Ingres associated throughout his life. A similar study has never been done of the historical work, despite its overwhelming importance to Ingres. The finished history drawings, like the portrait drawings Naef catalogued, were created by the artist for world outside, not for his portfolio. Using these drawings as the point of entry for an investigation of Ingre{\textquoteright}s historical work, this thesis defines this as a unique body of work within the master{\textquoteright}s oeuvre and discusses the meaning of these drawings to the artist as it seeks to establish a more precise chronology for his activity. Volume 1 (278 pages) is a catalogue of the ninety-six drawings with an introductory essay documenting the formation and definition of the group, studying the form and function of the drawings, and placing them within the context of the artist{\textquoteright}s career. Volume 2 (279 pages) presents related Correspondence and Documents. This material is translated into English, ordered by date, and annotated for the first time here. Volume 3 (256 pages), was published by Indiana University Press as the catalogue of the 1983 exhibition In Pursuit of Perfection: The Art of J. A. D. Ingres for the J. B. Speed Art Museum in Louisville KY. It approaches the artist{\textquoteright}s historical activity in a series of essays by motif. The 1983 appendix indexes the historical work by subject, location, media, date, and provenance. Volume 4 illustrates Volume 1 (207 figures, some details of the finished history drawings).}, keywords = {19th- and 20th-Century Europe and Near East}, author = {Condon, Patricia} } @mastersthesis {7072, title = {Johann Erdmann Hummel: A Painter of Biedermeier}, year = {1986}, school = {IFA/NYU}, abstract = {This dissertation is a monographic study of the art and life of Johann Erdmann Hummel, (1769-1852). Emphasis is placed on the cultural and artistic context in which his work developed, including his relationships with Goethe and Schadow, and the careers of his colleagues Alois Hirt and Friedrich Bury. Extensive consideration is given to the evaluation of Hummel{\textquoteright}s paintings in contemporary reviews and articles. An attempt is made to elucidate the factors contributing to the development of his early Biedermeier style, to trace their influence, and to relate it to painters of other comparable styles. Hummel{\textquoteright}s importance as a teacher and his influence on perspective painting in Berlin are discussed as well as his educational theories, his textbooks, and the meaning of perspective for his own art. Motifs central to his pictures including mirrors, reflections and nocturnal illumination are considered in relation to other examples in painting and literature. Hummel{\textquoteright}s career is traced from its beginning in Cassel where he studied architecture and painting and was influenced by Bottner, Tischbein and Baroque Dutch painting in his early Zopfstil portraits. The predominance of neoclassicism is examined in his work done in Italy, (transmitted through Weinbrenner, Carstens, Reinhart, Fernow, and the study of classical sculpture), and his early years in Berlin. A survey of the artistic background there prior to his arrival and during his early years (c. 1780-1805) is provided, and his art from 1800-10 is followed in its development from neoclassicism to early Romantic themes of a patriotic nature. His paintings from the teens are discussed in relation to Romanticism, (especially Friedrich and Kersting), the rise of religious themes, his discovery of Northern Renaissance art, and the emergence of his Biedermeier imagery. His major work from the 1830{\textquoteright}s with scenes from daily urban life are considered in the context of contemporary events, the art of other Berlin Biedermeier painters, and the growth of the Dusseldorf School. Hummel{\textquoteright}s decline during his last decade and the changing artistic climiate in Berlin are followed until his revival during the 1920{\textquoteright}s.}, keywords = {19th- and 20th-Century Europe}, author = {Morton, Marsha} } @mastersthesis {7125, title = {The Language of Symbols in the Ritual Environment at Yaxchilan, Chiapas, Mexico}, year = {1986}, note = {other advisors: D. Schmandt-Besserat, and T. Grieder}, school = {UT Austin}, abstract = {Yaxchilan is an ancient Maya ceremonial center now in Chiapas, Mexico. Its hieroglyphic inscriptions date from 454 to 808 A.D. The images on its carved stone stelae and lintels and the spatial arrangement of its temples served the populace as a paradigm of the proper activities of humans in their relation to the Maya cosmos. Symbolic royal regalia and the monstrous images that described the sacred cosmos are isolated, described, and interpreted as vocabulary elements in a pictorial symbol system. The syntax of the pictorial language is formed by the arrangement of symbols on stelae and lintels. Collectively, the symbols on monuments designed as an assemblage for a particular temple convey information about the political, mythological, and astronomical aspects of the king{\textquoteright}s cultural role. Another element of the significance of a symbol and the temple with which it was associated is created by the astronomical orientation of the building to the horizon. After the discussion of the meaning of symbols singly and on several levels of context, a final chapter examines the history of the architectural program of ruler Bird Jaguar IV. His construction program is viewed as a response to the political and religious demands of his situation. Appendix 1 gives a description of each structure at the site and its associated monuments, their dates, discovery, and condition. Appendix 2 is a summary of the astronomically important dates in the inscriptions at the site.}, keywords = {Pre-Columbian and Latin American Art}, author = {Carolyn E. Tate} } @mastersthesis {7117, title = {Late Antique Imperial Mauslea}, year = {1986}, school = {Princeton}, abstract = {Imperial mausolea of Late Antiquity form one of the most conspicuous and unified groups of buildings of the period. Sharing a common form as well as function, the monuments date from the early third century to the early fifth century AD. This dissertation comprises the first general study of this important group of buildings ever undertaken. Its goal is to provide an introduction to the monuments and to examine some of the problems connected with them. The first area examined is the evidence for imperial burials in Late Antiquity which permits the establishment of a corpus of imperial funerary monuments and highlights the patterns of imperial burials in the period. The history and physical aspects of each monument are surveyed in Chapter II. This is both a synthesis of earlier work on the monuments as well as new observations. This information serves as the basis for the analysis which follows. The analysis of the mausolea leads to several important new conclusions. First, the link between mausoleum and palace previously noted in scholarly literature is shown to be part of an established Roman tradition of placing the tomb near a villa residence. Second, it is argued that all Late Antique imperial mausolea, including the destroyed Mausoleum of Constantine, were constructed as domed rotundas. Third, this type of tomb was not uniquely imperial, nor were the kinds of decoration and furnishings found in the mausolea. The imperial mausoleum was distinguished by its setting, its large size, and by the extravagence of the decoration and furnishings. In symbolic terms, the mausolea are to be interpreted as microcosms, representing the exalted position of the emperors in Late Antique society. An examination of the terminology applied to the mausola by ancient and medieval writers shows that they were seen as "temples," "churches," and "heroons." The sacred character of the monuments was also emphasized by the temple-like form of the buildings, the temenos enclosures, and by the fact that they served as places for funerary cult worship in both the pagan and Christian periods.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Johnson, Mark J.} } @mastersthesis {7116, title = {The Late Roman Figural Pavements of the Tenth Augustan Region}, year = {1986}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Holden, Antonia Von Korff} } @mastersthesis {7073, title = {Le Peuple de Dieu: Old Testament Motifs of Legislation, Prophecy and Exile in French Art Between the Empires}, year = {1986}, school = {IFA/NYU}, abstract = {This dissertation examines a wide-spread attraction to the Old Testament manifest in French art and literature between Waterloo and the Second Empire. The focus is on the transvaluation of Biblical subject matter--that is, the ways in which ostensibly religious imagery was imbued with new varieties of secular significance in works of art. Chapter 1 is concerned with the reinterpretation of Moses in art, criticism, poetry and theater under the Bourbon Restoration and July Monarchy. The discussion is centered on the association of Moses with artistic dignity and genius. Focusing on the decorative ensemble produced for the rooms of the Conseil d{\textquoteright}({\textquoteright})Etat in the Louvre, Chapter 2 documents identification with Moses by the contending advocates of monarchic authority and constitutional law under the Restoration. The importance of Mosaic imagery in the official art of the July Monarchy is the subject of Chapter 3. Decorative work for the Palais-Bourbon by Eugene Delacroix and Henri de Trigueti and Trigueti{\textquoteright}s bronze doors for the church of the Madeleine are examined from this perspective. In addition, opposition to the regime is introduced as the basis for a new reading of Auguste Preault{\textquoteright}s Tuerie. Chapter 4 follows the reorientation of prophet imagery away from its traditional Christian function--a phenomenon which parallels the identification with the Hebrew prophets on the part of contemporary authors. In the final chapter, the motifs of the banishment of Cain, Hagar and Ishmael in the desert and the Babylonian Captivity are examined as aspects of a larger thematic presence of exile in contemporary French culture. This study indicates that the vitality of three major groups of Biblical imagery was less a function of religious revival than a reflection of a sense of loss and quest for authority characteristic of French culture between the empires.}, keywords = {19th- and 20th-Century Europe}, author = {Ribner, Jonathan} } @mastersthesis {7110, title = {Motifs in Opus Sectile and Its Painted Imitation from the Tetrarchy to Justinian}, year = {1986}, school = {Columbia}, abstract = {The decorative medium of opus sectile, a technique in which pieces of marble or glass or mother-of-pearl are fitted together on walls or floors to make designs or pictures, was used in the decoration of many of the most important buildings of late antiquity. This study discusses the origins and developments of the geometric and floral motifs found in wall opus sectile and in the numerous painted imitations of opus sectile in the period from the first Tetrarchy through the reign of Justinian. Chapter One is a summary history of opus sectile in the Greco-Roman world which traces the development of monumental marble wall decoration from its origins in Greece to its late antique flowering in Justinian{\textquoteright}s Hagia Sophia. Chapter Two discusses the geometric motifs found in opus sectile. Geometric motifs are of three types--ancient patterns, simple geometric shapes, and more complicated patterns common in, though not necessarily unique to, opus sectile decoration. Chapter Three discusses the floral motifs found in opus sectile wall decoration. The floral motifs, unlike their geometric counterparts, cannot be properly labeled opus sectile motifs as there are none that recur frequently. The motifs found in opus sectile appear to be more related to their period than to the medium itself. Chapter Four describes in more detail than ever before the opus sectile of the Church of Hagia Sophia in Istanbul which represents the late antique culmination of the medium. The opus sectile is shown to be ornamental art clearly subordinate and complimentary to the overwhelming architecture of the building. The conclusion reviews the major points of the thesis and lists the highlights of the post sixth century use of marble wall inlay and its painted imitation.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Kelly, Kristin} } @mastersthesis {7120, title = {Narrative Photography Exhibited in Britain 1855-1863}, year = {1986}, school = {Yale}, abstract = {This dissertation places representative photographs by Oscar G. Rejlander, Henry Peach Robinson and William Lake Price, the major practitioners of narrative between 1855 and 1863, when narrative photographs first began to be exhibited, in the context of developments in popular imagery, painting and drama, and imbeds narrative photographs within aesthetic theories of imitation and expression. The interrelationship of the dramatic and pictorial arts is particularly stressed. Narrative photographs, as well as paintings and the popular entertainments of waxwork exhibitions and narrative stereographs utilized props, sets, costumes and models from the stage; stage productions, in turn, drew from pictures for plot and production ideas. Both acting and the rendering of facial expression and pose were evaluated by the same standards, including those of physiognomy, which stressed the readability of expression and gesture. Drama and pictures both took from the novel; its "genrification" of literature and history, as well as the demand by petit-bourgeois patrons for smaller pictures, made such subject matter more conducive for treatment by photographers. The doctrine of ut pictura poesis became increasingly challenged, however, underscoring critics{\textquoteright} recognition of photography{\textquoteright}s limitations as an illustrative medium. Ambitious photographers, who knew that intellect and artistic skill were considered most evident in the production of narrative works, were further frustrated when their models were given as much as, if not more, credit for the success of their pictures. Accordingly, photographers reduced the degree of narrative in their works, and shifted the responsibility for "effect," the overall emotional impression of a picture, away from figures and onto other aspects of the picture. Robinson stressed the purely pictorial elements of composition and chiaroscuro, and elicited great praise from photographic critics. Art critics, however, in proportion to the amount of effect he exhibited by these means, censured his works for trespassing on the territory of painting. While Robinson and other photographers observed the romantic criterion of communication of feeling, they also adhered to neoclassical dictates regarding preconception and obedience to rules. The tenets of painting photographers attempted to apply corresponded to what they perceived as the limitations of the photographic medium; in particular, the credibility and the fragmentary nature of the photograph. Photographers, though, could not duplicate the situation in painting where the painter{\textquoteright}s mind has precedence over phenomena. In trying to do so, they contradicted the fundamental principles of photography. Yet, the idea of working in conjunction with a machine was anathema to them because it denied the romantic conception of the transforming imagination of the artist. Thus, an idealist philosophy of art underlaid the production of narrative photographs at this time and for the rest of the century.}, keywords = {Photography and Film}, author = {Digiulio, Katherine} } @mastersthesis {7107, title = {The Narthex Portal at Vezelay: Art and Monastic Self-Image}, year = {1986}, school = {UT Austin}, abstract = {The study examines the central portal in the narthex at Vezelay as the creation of the monks who lived at the abbey and administered the dual monastic and public life of the basilica. It provides a new visual analysis of all the elements of the sculptural ensemble and, using written sources from Vezelay, shows the relationship of the portal{\textquoteright}s innovative imagery to the spiritual, social, and political environment at Vezelay in the first quarter of the twelfth century. The key to understanding the central portal{\textquoteright}s relationship to the abbey which produced it is given in the lintel. The lintel, heretofore thought to depict pygmies, giants, and an ancient Roman sacrificial scene, is shown to portray farmers, fishermen, other laborers, and pilgrims. Recent studies on the economic and social history of Vezelay and the monastery assist in explaining these groups as a picture of the relationship between lay and monastic communities at Vezelay. The unusual choice of subjects and innovative imagery in the rest of the sculptural elements, including Pentecost in the tympanum, races of the world in the framing compartments, and a cycle of zodiacal signs and labors of the months in the archivolt, reveal the patron and sculptor{\textquoteright}s preference for themes that allude to the spiritual as well as the temporal authority of the abbey. Moreover, the choice and hierarchical arrangement of the imagery in the portal{\textquoteright}s architectural frame create a medieval equivalent of an ancient Roman triumphal arch. Thus the portal gives visual expression to the abbey{\textquoteright}s imperial pretensions. Written sources from Vezelay, including the sermons of the monk Julian, a Cartulary, and the legends of Mary Magdalene and of Girart de Roussillon, provide evidence of the multi-dimensional (spiritual, social, political) aspect of the abbey{\textquoteright}s grandiose self- image and suggest a basis for understanding the historical and intellectual forces which shaped the form and meaning of the narthex portal.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Fieldman, Judy Scott} } @mastersthesis {7103, title = {Nicholas Lancret and Genre Themes of the Eighteenth Century}, year = {1986}, school = {IFA/NYU}, abstract = {Nicolas Lancret (1690-1743), a contemporary of Antoine Watteau, was profoundly influenced by Watteau in both style and theme. A significant part of Lancret{\textquoteright}s oeuvre reflects that source. This narrow, and often pejorative, focus in the critical literature on Lancret has resulted in a mistaken emphasis on the derivative nature of his art, and a neglect of his individual characteristics of style and theme. Though his early style clearly apes Watteau{\textquoteright}s delicate beauty, his mature work can not be confused with that of the master, exhibiting Lancret{\textquoteright}s characteristic robust facial types and broad gestures, emphasis on realistic detail, and striking sense of vivid colour, stylistic traits quite distinct from Watteau{\textquoteright}s manner. In his choice and treatment of themes, too, he moved away from an early reliance on the idealized world of the fete galante and commedia scenes, to a more particularized narrative setting, which blended well with his lively style. Lancret was a story-teller. Lancret{\textquoteright}s range of subject matter includes many themes which, in fact, do not find their chief source in the art of Watteau, such as allegories of the Elements, Seasons, and Hours of the Day, games, and conversation-piece portraits. These subjects stress anecdote enlivened by a sophisticated array of iconographic and allegorical conceits, and they are the main focus of my dissertation, although Lancret{\textquoteright}s relationship to Watteau is also discussed extensively. A second essential consideration in the study of Nicolas Lancret is his role in the development of eighteenth-century genre painting in general. Here, too, neglect and misdirected attentions have long been at work. The development of narrative genre painting in the eighteenth century cannot be explained by the influence of the essentially non-narrative styles of Watteau or Chardin. The chief proponent of this mode was Lancret. He is central to the development of narrative genre in the art of Boucher, Hogarth, and Greuze, among others. The final section of the dissertation is a partial catalogue, consisting of works given prominence in the text.}, keywords = {Baroque and 18th-Century Europe}, author = {Holmes, Mary} } @mastersthesis {7106, title = {Nova et Vetera in Santo Domingo de Silos: The Second Cloister Campaign}, year = {1986}, school = {Columbia}, abstract = {During the twelfth century, a major building campaign was undertaken at the Benedictine abbey of Santo Domingo de Silos, a great artistic center of Spain. The clear intention to integrate the new galleries of the lower cloister with the older structure, associated with the monastery{\textquoteright}s own saint, may reflect the abbacy of Johannis (before 1109-1143); he probably witnessed the construction of parts of the old cloister and the church consecrated in 1088, now a pilgrimage site. The dissertation focuses on the completion of the cloister and related sculptures. This campaign must have been conceived by the later 1120{\textquoteright}s when donations suddenly increase. After Johannis{\textquoteright} death, work probably continued; a budget of 1158 allocates funds to the cloister and buildings. While the earlier cloister reliefs depict a Paschal cycle, the subjects represented in the historiated sculptures of the new galleries "complete" the Christological narration with scenes from His Infancy and Triumph in Jerusalem. Thus the iconography reflects traditional Benedictine emphasis on Christ{\textquoteright}s two natures and the cult of the Virgin. Between ca. 1130 and 1170 similar subjects also appear in sculpture outside Spain, perhaps in reaction to heresies. Many iconographic elements apparently invented in Silos are unique to Spain. Orthodox in meaning, they often derive from the Mozarabic liturgy, replaced in 1080, or from Spanish traditions absorbed into Roman practice. This "Spanishness" may be the key to the popular Silos cycle. In addition, New Testament subjects affirmed Christian beliefs in a region shared with Jews and Muslims. Besides Spanish traditions and Benedictine concerns, Classical and Byzantine art provided inspiration for Silos{\textquoteright} innovations. Many local developments paralleled elsewhere in Europe may result from mutual absorption of Eastern artistic currents. The radiation of the Silos repertory throughout north-central Spain during the last third of the twelfth century attests to the completion of the lower cloister and the north portal of the church by then. With its almost life-size relief and vivacious figures, the Silos style, which flowered in the Portico de la Gloria of Santiago de Compostela, achieved emotional immediacy balanced by richly intellectual theology.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Del Alamo, Elizabeth Valdez} } @mastersthesis {7092, title = {Okakura Kakuzo (1862-1913) and Boston Brahmins}, year = {1986}, school = {Michigan}, abstract = {This dissertation is a biographical account of Kakuzo Okakura (1862-1913), a Japanese art and cultural critic who served as an adviser and a curator of the department of Japanese and Chinese art at the Museum of Fine Arts, Boston, from 1903 to 1913. Its main purposes are to analyze Okakura{\textquoteright}s aesthetic views, as revealed in his The Book of Tea and several lectures he delivered both in Japan and the United States, and to illuminate Okakura{\textquoteright}s aesthetic and cultural affinities with those of the Boston Brahmins. Special attention is paid to his relationship with the art critic Ernest Fenollosa, the artist John La Farge, and with Isabella Stewart Gardner, a connoisseur and collector. The dissertation addresses a number of questions. Why was Okakura able to find a sympathetic response for his aesthetic ideals, and for his interest in preserving traditional Japanese culture among the Boston Brahmins? What were the aesthetic and cultural ideals which Okakura and the Boston Brahmins shared? After a close examination of the Okakura{\textquoteright}s materials, we find, first, that Okakura{\textquoteright}s art theory is idealistic and religious in a sense he stressed the importance of maintaining religious idealism in art rather than holding the view that art simply reflects the reality of life. Second, his view is aristocratic. The more he idealized the mission of the artist as divine, the greater the distance between the artist and the public who normally cannot appreciate such a divine work of art. Yet his art theory was democratic in a sense he found beauty among the simple features and facts of every day life rather than in complex and expensive productive. Third, Okakura applied an evolutionary theory to his art theory, believing that art should develop according to social circumstances, but without neglecting historical factors. Okakura{\textquoteright}s aesthetic idealism, which is based on Zen and Taoist philosophy, is compatible with the theory of evolution. For the Boston Brahmins, who were faced with the loss of religious faith due to Darwin{\textquoteright}s theory and the rise of mass culture, Okakura{\textquoteright}s brand of idealism was particularly attractive.}, keywords = {Art of the United States (except Photography and Film)}, author = {Tachiki, Satoko} } @mastersthesis {13231, title = {The Outsiders: The Salon Club of America and the Popularization of Pictorial Photography}, year = {1986}, school = {Penn State}, abstract = {In view of the importance placed upon the work of Alfred Stieglitz and the Photo-Secession in the history of American pictorial photography, a critical study of the non-Secessionists, those pictorial photographers who worked individually and collectively beyond the Stieglitz sphere of influence, is both desirable and overdue. How does the work of these men and women compare stylistically and qualitatively with that of Secession members? Were these photographers working under the influence of the Photo-Secession or were they finding inspiration elsewhere? Was the Photo-Secession unique as a stylistic movement or merely as an organizational unit? To what extent did Secessionists and non-Secessionists interact? In the April 1904 issue of Camera Work, the critic, Sadakichi Hartmann, makes the following thought-provoking statement: "I am convinced that the better class of photographers also want to be artistic, not quite as much as the Secessionists, but to their best understanding. The whole trouble is that the two parties can{\textquoteright}t agree on the mediums sic of expression. It is a fight about conception, theory, and temperament." (p. 48) Indeed, the more one examines the Photo-Secession and the rival groups surrounding it, the clearer it becomes that organizational methods, rather than photographic style, separated Secessionists and their foes. A close examination of these opposing groups, a study which has not been previously undertaken in any depth, will serve to place the Photo-Secession into a new perspective. The Salon Club of America has been chosen as the focal point of this study as it was the most highly organized of the non-Secessionist groups. The intent of this thesis, which seeks to examine the origins, organization and output of the Salon Club of America, is to add the work of this group to the ever-broadening perspective of pictorial photography during the first decade of this century, and to arouse the interest of the public in those photographs.}, author = {Gillian Barrie Greenhill} } @mastersthesis {7132, title = {The Paintings of Domenico Puligo}, year = {1986}, school = {Ohio State}, abstract = {Domenico Puligo (1492-1527) trained in the shop of Ridolfo Ghirlandaio, and later as a mature young artist came in close contact with Andrea del Sarto. He belongs to the group of painters of the sixteenth century, less renowned than Leonardo, Michelangelo, and Raphael, but whose works are nonetheless worthy of attention from both an aesthetic and historic point of view. Puligo, like other secondary masters, such as Franciabigio, remained in his native city of Florence, rather than relocating in the new art capital of Rome, and had to deal with the transition between the High Renaissance style and the emerging Mannerist style. The artist confronted this transitional period in a highly personal way, and a number of Puligo{\textquoteright}s paintings can be described as possessing a fine and rare beauty. The paintings by this master have largely been ignored and undiscussed in art historical literature. While there have appeared during the past decades occasional articles on Puligo in journals and periodicals and summary accounts of his life in surveys of sixteenth-century Italian painters, no one has critically evaluated the entire oeuvre of this painter. This dissertation, therefore, fulfills the need for a monographic study. It is presented in the standard format, beginning with a critical essay and followed by a catalogue raisonne. Because of the absence of a perceptive study on Puligo, an extraordinary number of paintings of varying styles have been attributed to him. Thus, the primary focus of this thesis was to define Puligo{\textquoteright}s and to order his works into a plausible chronological arrangement. The results revealed Puligo as a painter whose style is somewhat at odds with that hypothesized by others. The number of attributable paintings was reduced to about 70, collaborative works with Sarto were discounted, and small narrative pieces eliminated. Emerging from this investigation were works by a painter who responded to the example of the High Renaissance style and later to Mannerism. His paintings, particularly the altarpieces and portraits, achieve an exceptional refinement that is highly admirable and often comparable in quality to works by his Florentine contempories, such as Sarto, Fra Bartolommeo, and Pontormo.}, keywords = {The Renaissance}, author = {Gardner, Genetta} } @mastersthesis {7135, title = {Palladio and the Baths of Trajan Decius: The Recovery of a Third-Century Bath Complex in Rome}, year = {1986}, school = {Princeton}, abstract = {This dissertation presents the first scholarly study of the bath complex constructed by the emperor Trajan Decius (249-251) on the Aventine Hill in Rome. It discusses the literary and epigraphical evidence for the complex, analyzes Palladio{\textquoteright}s sixteenth-century plan of the building (RIBA XV/11v), presents the first modern survey of the extant remains, and attempts to draw a picture of the original sculptural decoration of the monument. The results of this investigation establish, for the first time, the proper size, architectural configuration, and topographical position of the Baths of Trajan Decius. The archaeological accuracy of Palladio{\textquoteright}s plan is thereby validated; study of the drawing further affords a new reading for the legend Palladio provides for the Baths and suggests that the folio should be dated to 1554, the occasion of Palladio{\textquoteright}s last trip to Rome. The size of the Baths of Decius is approximately one half that shown on recent topographical maps of ancient Rome. The choice of both the modest scale and the location on the Aventine Hill, as well as the high prominence the monument enjoyed among members of the senatorial aristocracy in late antiquity, suggest that the Baths of Decius were commissioned for an aristocratic clientele, a group with which Decius himself had particularly close ties through marriage and his consular service, if not by birth.}, keywords = {The Renaissance}, author = {La Follette, Laetitia} } @mastersthesis {7112, title = {Paris, Bibliotheque Nationale, Codex Grec. 54: An Analysis of the Text and Miniatures}, year = {1986}, school = {Chicago}, abstract = {No abstract in ProQuest}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Maxwell, Kathleen} } @mastersthesis {7123, title = {Photographic Allegory in the Nineteenth and Twentieth Centuries}, year = {1986}, school = {New Mexico}, abstract = {No record in ProQuest}, keywords = {Photography and Film}, author = {Stratton, Margaret Mary} } @mastersthesis {7122, title = {Photographs of Paris 1928-1934: Brassaai, Andre Kertesz, Germaine Krull, and Man Ray}, year = {1986}, school = {Yale}, abstract = {For the photographers of the 1920s, the nineteenth century order of Paris, based on a tourist{\textquoteright}s admiring path past Baron Haussmann{\textquoteright}s rebuilt city, was clearly invalid. Brassa({\textquoteright})i, Andre Kertesz, Germaine Krull and Man Ray photographically assembled a collection of urban fragments, shattered details of buildings, and individual mem- bers of the working or criminal class. These four photographers form the avant-garde in a new photographic mode, and they inspired a new definition of urban imagery during a short period from about 1928 to about 1934. This study deciphers the emergent order of the twentieth century city through a series of close analyses of single photographs and series in their published contexts. Through Krull{\textquoteright}s articles in Vu mag- azine and books like Paris vu par Andre Kertesz and Paris de nuit by Brassa({\textquoteright})i, this conception of Paris reached a broader audience than most avant-garde production. The articles and books unravel the city{\textquoteright}s mystery from within, using collaged information, discontinuous shocks and isolated fragments. Yet they created an image of a city which seemed livable. Photographically viewed Paris consists for them of fragments, details and individuals. Despite its first appearance, however, the city is not illogical. Its narrative construction has ties to Surrealism, avant-garde film montage and, above all, detective fiction. Both Paris photographers and the Surrealist writers looked to the vernac- ular form of the detective story as a means of structuring space and urban experience. By solving the puzzle of urban life from disparate clues, Brassa({\textquoteright})i, Kertesz, Krull and Man Ray allowed Paris to regain its status as a magical city after the devastation of World War I and before the flattening of World War II.}, keywords = {Photography and Film}, author = {Sichel, Kim D.} } @mastersthesis {7136, title = {Pieter Brueghel the Elder{\textquoteright}s Series of {\textquoteright}Virtues{\textquoteright} and {\textquoteright}Vices{\textquoteright}}, year = {1986}, school = {UNC Chapel Hill}, abstract = {Pieter Bruegel the Elder{\textquoteright}s series of "Virtues" and "Vices" is the most extensive cycle in his extant oeuvre. The fourteen drawings were executed between 1556 and 1560 for engravings issued by the Antwerp publisher Hieronymus Cock. These compositions have been described in the same fashion as the remainder of Bruegel{\textquoteright}s paintings and drawings, that is either as an accurate portrayal of sixteenth-century society and customs, or as a visual presentation of a didactic textual message which is hidden beneath quotidian appearances. The polarity arises from the late nineteenth-century art historical context in which the first Bruegel catalogues raisonnes were written. It addresses the question, is Bruegel a Realist or a Symbolist? Vasari, in the second edition of the Lives, offers a means to circumvent this firmly entrenched hermeneutic tradition. He calls the "Vices" "cosa fantastica e da ridere." An examination of the drawings as representations of the pan-European notion of "fantasia" suggests they are only marginally didactic. Primarily they would have been viewed as the exuberant product of the artist{\textquoteright}s imagination. Bruegel{\textquoteright}s reputation as a comic artist and jokester arises from this violation of Horatian decorum. Scholars are divided as to whether in the "Virtues" Bruegel portrays the practice of, for example, faith and justice, or his contemporaries{\textquoteright} lack of faith, their injustice, etc. Our own critical vascillations should not discomfort us, for the ambiguity is intentional. The artist refuses the role of circerone. He repeatedly withholds familiar, conventional motifs which would make the interpretation of each composition unproblematic. Instead the viewer must decide for himself whether justice is on the side of the judge or the judged and if faith should be Roman, Reformed, or ecumenical. Formal and iconographic traditions indicate that Bruegel intended the "Virtues" to be viewed in a specific sequence. Within this sequence he inserts the opposition between fortune and wisdom. Neither force dominates. Instead, by means of an archaic set of attributes for the virtues, Bruegel indicates that both are subservient to the paramount virtue and cynosure of the series--not Misericordia but Caritas.}, keywords = {The Renaissance}, author = {Serebrennikov, Nina Eugenia} } @mastersthesis {7100, title = {The Places Royales of Louis XIV and Louis XV}, year = {1986}, school = {Columbia}, abstract = {Places royales were among the most magnificent monuments erected in honor of Louis XIV and Louis XV. Unlike other public spaces, such as markets, places d{\textquoteright}armes, or the parvis of important churches, which existed in response to specific urban functions, the places royales were conceived as settings for statues of the reigning sovereign. In contrast to the tangle of narrow streets that characterized the plans of most French cities in the late-seventeenth and eighteenth centuries, a place royale offered rare open space framed by magnificent buildings with uniform facades, and the ensemble of architecture and sculpture attested to the king{\textquoteright}s gloire. The architectural elements of the places royales of Louis XIV were generally envisioned as passive backdrops to the royal statue. In the eighteenth century, however, architects realized that by integrating the symbolic programs with certain essential urban functions they could simultaneously portray Louis XV, the Bien Aime, as a monarch who cared for his people, and provide the city with needed services. This dissertation examines the conception and design development of projects for places royales in twenty-four cities in France from 1684 to 1774. The histories of the individual projects are presented in an appendix, and the patterns of their patronage and design are analyzed in five chapters of text: The Idea of the Place Royale, Political Factors and Administrative Procedures, The Sculpture of Places Royales, Architectural and Planning Conventions, The Place Royale and City Planning.}, keywords = {Baroque and 18th-Century Europe}, author = {Cleary, Richard} } @mastersthesis {7124, title = {Pre-Conquest Mortuary Art and Status in the Central Region of Panama}, year = {1986}, school = {New Mexico}, abstract = {This study examines how mortuary arts can inform us about the dynamic relationships between visual and social phenomena, in addition to changes in these relationships as the organization of a society varies. These associations are demonstrated by a village-by-village investigation of the pre-Conquest mortuary arts and remains from the central Panamanian sites of El Indio, La Canaza, El Cafetal, and Sitio Conte which date from approximately 250 B.C. to 1000 A.D. The investigation establishes that the people from these villages expressed diverse statuses through visual symbols which were, in general, unique or specific to each site. Since the contextual study of mortuary arts and social dynamics which was employed required large amounts of comparative data, an exploratory data method--known as cluster analysis--was utilized to facilitate classification. This technique was used to form homogeneous groups of graves from each village on the basis of the presence or absence in each burial of specific mortuary arts. These graves were correlated with demographic, spatial, and depositional characteristics of the graves and interments. The detailed examinations of the graves, the material objects deposited in the burials, the size and shape of the graves, the disposition and treatment of the body of the deceased, and the spatial arrangements of the graves indicate gradual and local changes in social complexity ranging from egalitarian to ranked--or chiefdom--social organizations. This study concluded that mortuary arts are not simply another element in the visual vocabulary of a society but are, as well, discrete creations which can significantly enhance our interpretations of the relationship between the visual arts and social dynamics.}, keywords = {Pre-Columbian and Latin American Art}, author = {Briggs, Peter S.} } @mastersthesis {7097, title = {Proportionality in Early Indian Sculpture: A Study Based upon the Analysis of 110 Standing Male Images of ca. Second Century B.C. to 500 A.D. from the Gangetic Plain}, year = {1986}, school = {Pennsylvania}, abstract = {The study of Indian iconometry has been primarily a study of proportional systems as preserved by ancient texts. This dissertation adopts a completely different approach by studying the proportional systems used in ancient practice. This has been accomplished through an analysis of measurements taken from surviving images. The central methodological problem was to determine the proper way to measure ancient images in order to obtain readings that would permit the testing and analysis of the proportioning modules and systems used to make them. To do this I have consulted both early Sanskrit texts and surviving traditional sculptors in order to identify the significant points used to compose and proportion images. These points, corresponding to articulated features on the image{\textquoteright}s surface, were part of a constructive device, details about which can be extracted from texts, and traditional artists currently working in India. On the basis of an analysis of this device, a specific set of measurements were taken for each image using calipers and a plumb line. These have been analyzed with the aid of a computer. The result of this quantitative approach has been the identification of at least five modular proportioning systems used by early Indian artists. These systems of eight through 12 modules, also exhibit standard types of variation relating to: (1) the control of the vertical system over the height of the figure, (2) the relationship defined between the proportioning module and face of the image, and (3) the precise proportions assigned the three main parts of the figure, i.e. the upper zone above the neckline, the torso (neckline to genital), and the legs. Along with proportional systems, the ancient use of a mnemonic, constructive device, consisting of a drawn line (axis) punctuated by points, has also been verified. The proportional variations documented demonstrate the inherent flexibility of this device. Reconstructing this device, through the analysis of measurements, has permitted a technically precise analysis of stylistic elongation in early Indian sculpture. Other issues raised and addressed by this technical analysis are the relation between theory and practice and the question of the creative freedom of the artist in ancient India.}, keywords = {Asian Art}, author = {Mosteller, John Foster} } @mastersthesis {7108, title = {Religious Relief Ivory Carving during the Regency and Reign of Charles V of France (1356-1380)}, year = {1986}, school = {Syracuse}, abstract = {This dissertation examines in detail the development of religious relief ivory carving during the latter half of the fourteenth century--specifically, during the regency and reign of Charles V of France (1356-80). It appears that although ivory had provided an ongoing medium to craftsmen for sculptural expression since prehistoric times, it was not a widely practiced art form during the Early and High Gothic periods (c.1140-1230). At the middle of the thirteenth century, however, small-scale diptychs for private devotion once again became popular; this popularity was sustained for over a century until c.1380. The introductory portion of the dissertation includes an examination of the religious reliefs carved in ivory c.1260-1350 in order to provide a baseline for understanding the pieces created in the second half of the fourteenth century. More precisely, figure style, iconography, architectural decoration and relationships to possible sources in other media are studied from these earlier decades of Gothic ivory production so that the pieces carved during Charles V{\textquoteright}s tenure can be understood in their proper context. I have proposed specifically that the first examples of Gothic ivory sculpture may have derived from their contemporary manuscript illuminations in the popular, newly-developed Books of Hours. The latter chapters of my work then review the ivories carved during Charles V{\textquoteright}s regency and reign. Once again, the focus of study is style and iconography as well as formal observations concerning (1) combinations of subject matter which emerged repeatedly, (2) evolutions of various postures and (3) relationships to works in other media, most often miniature paintings. Indeed, my major theory in these chapters is that there were two main trends in later fourteenth-century ivory carving, each of which was based on a major contemporary manuscript style. I have tried to show that one grouping of ivories from this period closely reflects the manuscript style of Jean Le Noir while another definitely resembles the miniatures of Jean Bondol.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Gross, Enid Karr} } @mastersthesis {7095, title = {The Response to Fascism in American Painting 1933-1945}, year = {1986}, school = {Stanford}, abstract = {Between the years 1933 and 1945 American painters ranging from members of New York radical circles to artists from the heartland of the United States reacted to the threat of fascism abroad. The artistic response to fascism, while uniform in its basic anti-fascist sentiment, was nonetheless not hegemonic: These painters devised many different stylistic and thematic anti-fascist strategies which conflicted with and influenced each other. The dissertation is a selective typology surveying six responses to fascism in American painting. The first chapter examines a precursor to anti-fascist painting: didactic illustrations printed in the American radical press in the early thirties which attempted to realize Soviet political and aesthetic goals. Chapter two focuses on two major Social-Realist paintings, one by William Gropper and the other by Peter Blume, in order to establish how American leftist painters adjusted to the political and cultural policies of the Popular Front. Chapter three examines five anti-fascist paintings by Stuart Davis, a leftist artist who attempted to reconcile anti-fascist politics with modern art. Chapter four looks at the anti-fascist response offered by the American Regionalist artists Grant Wood and Thomas Hart Benton; these artists used American myth and propaganda as a means to fulfill the liberal-traditionalist call to strengthen American patriotism. Chapter five returns to politically radical artists during the war years and describes the expansion of their esthetic beyond the bounds of pure propaganda into the realms of myth and allegory. The sixth and final chapter looks at Surrealist paintings of classical myths by Mark Rothko and Adolph Gottlieb executed during the war; these paintings both articulated the chaos and brutality of the war years and offered a sophisticated alternative for the use of myth in painting to that offered by Nazi, Regionalist, and Social-Realist artists.}, keywords = {Art of the United States (except Photography and Film)}, author = {Whiting, Cecile Marie} } @mastersthesis {7078, title = {Rodin and Hugo: The Nineteenth-Century Theme of Genius in The Gates and Related Works}, year = {1986}, school = {Stanford}, abstract = {Creative genius is recognized as an important theme in Rodin{\textquoteright}s work, linking his public monuments honoring historical figures of genius to his private, noncommissioned works that explore metaphors for the artist and creator. The thesis proposes that in The Gates Rodin{\textquoteright}s veneration of human creativity is central, that this theme crystallizes many aspects of the nineteenth-century Romantic view of genius and reflects in particular the influence of Victor Hugo. Scholars have understood The Gates as a modernized vision of Dante{\textquoteright}s hell, encompassing both a tragic view of modern society and an artist{\textquoteright}s internal hell. Whereas the ideas of Baudelaire have been regarded as the portal{\textquoteright}s closest literary counterpart, the present study, through an examination of primary sources, proposes the existence of a complex relationship between the themes and imagery of Hugo and Rodin, which includes the theme of the poet-thinker contemplating chaos and the important subthemes, the shades, the caryatid, Adam and Eve, and the human creator. The study elucidates the ideas inspired by Hugo{\textquoteright}s Dantism that inform the portal{\textquoteright}s content and also their role in encouraging formal innovation. To support this hypothesis the study presents the portal{\textquoteright}s major themes and imagery in the context of Hugo{\textquoteright}s work, then reviews the chronological relationship of Hugo{\textquoteright}s pertinent leitmotifs to the portal{\textquoteright}s development, and addresses the relative silence of Rodin and critics concerning this relationship. The study demonstrates that Hugo{\textquoteright}s influence accounts for many aspects of The Gates distinct from Dante{\textquoteright}s epic and concludes that Rodin selectively adapted Hugo{\textquoteright}s most universal symbols, transforming them into a work distinct from illustration. Analogous to Hugo{\textquoteright}s La Legende des siecles, The Gates constitute Rodin{\textquoteright}s epic synthesis of religious, mythic, and personal symbolism. Rodin{\textquoteright}s meanings in The Gates reflect his own definition of sculptural genius in relation to the century{\textquoteright}s and particularly Hugo{\textquoteright}s universal symbolism of genius. In highlighting the influence of Hugo{\textquoteright}s theme of the thinker and chaos on Rodin{\textquoteright}s aesthetic, the study clarifies the portal{\textquoteright}s literary dimension, asserts a different, unrecognized thematic cohesion of The Gates, and affirms Rodin{\textquoteright}s formal innovations and militant concern to convey meaning through expressiveness of form.}, keywords = {19th- and 20th-Century Europe and Near East}, author = {Jamison, Rosalyn Frankel} } @mastersthesis {7094, title = {Sadakichi Hartmann: Herald of Modernism in American Art}, year = {1986}, school = {UNC Chapel Hill}, abstract = {Sadakichi Hartmann (1867-1944) was an art critic and writer in the United States during the latter-nineteenth and early twentieth centuries. Although his name is remembered in American photographic history, his role in that field, as well as his importance to the development of American painting and sculpture, has been virtually overlooked by scholars. Born in Japan and raised in Germany, Hartmann came alone to America in his early teens. Because of his friendships in Philadelphia literary circles the young man became acquainted with Walt Whitman, who remained his great American mentor. Journeys to Munich and Paris in the early nineties provided him with contacts among the Symbolists and a sophisticated understanding of the fin de siecle. Hartmann{\textquoteright}s enthusiasm for the burgeoning modernism of Europe and his yearning to champion a great national art in America led him to publish the remarkable, even if short-lived, Art Critic that was widely circulated among American artists. During Sadakichi Hartmann{\textquoteright}s years in Boston in the late eighties and especially during his years in New York from 1889-1911, he became a sagacious, perceptive observer of the American art world. Hartmann wrote early, important pieces on Thomas Eakins, Winslow Homer and Albert P. Ryder; some of his close acquaintances and artistic subjects were those painters who later would be called "The Eight". Hartmann{\textquoteright}s Art News of the late nineties was only one of many publications where his untraditional, pithy criticism could be found; his books, A History of American Art (1902), Modern American Sculpture (1902), and The Whistler Book (1910) are fundamental to the period. Alfred Stieglitz was Hartmann{\textquoteright}s closest friend and confidante; their relationship began in 1898 and lasted for thirty years. Hartmann{\textquoteright}s influence on Stieglitz and his role with the Photo-Secessionists, particularly as evidenced by his prolific writing for Camera Notes and Camera Work, resulted in one of his most lasting contributions to American art history. Sadakichi Hartmann{\textquoteright}s truly vast circle of cultural acquaintances, his ability to identify and define shifting art issues at the turn of the century and his lifelong determination to further a great American art proclaim him to be a key figure in the American intellectual tradition.}, keywords = {Art of the United States (except Photography and Film)}, author = {Weaver, Jane Calhoun} } @mastersthesis {7129, title = {San Salvatore and Venetian Church Architecture: 1490-1530}, year = {1986}, school = {IFA/NYU}, abstract = {The purpose of this study is a thorough examination of the sacred structure of San Salvatore in Venice; the ground plan designed by Giorgio Spavento in 1507; the design of the decoration and the pro- portions of the elevation, as well as the execution of the church, by Tullio Lombardo from 1507 until his death in 1532.* This inquiry aims at presenting a detailed investigation of the history of the church; its documentation and patronage; as well as a thorough descriptive analysis of the fabric. This study also attempts to understand the role of the individual architects in the design and construction of San Salvatore; and attempts to place the church within the context of the indigenous architecture of Venice: the sources that affected the design of the plan, and the churches belonging to the Byzantine Revival style in Venetian architecture, of which San Salvatore forms an important part. A discussion of the structures influenced by San Salvatore is included, with emphasis upon the way the plan of the church was incorporated into later architecture outside Venice. To this end, this dissertation has been organized into four major areas of study: an examination of the building history of San Salvatore, its documentation and patronage; a descriptive analysis of the structure; the problem of attribution in the design and construction of the church; and a study of Venetian architecture, or those structures (principally in Venice and the Veneto), which were constructed prior to, during, and after the building of San Salvatore, and which form an essential part of the matrix of Venetian architecture during the Middle Ages and the Renaissance. This dissertation includes an appendix of the documents that relate to the construction of San Salvatore; as well as those published by Pietro Paoletti in his ground-breaking work, L{\textquoteright}architettura e la scultura del Rinascimento in Venezia (Venice: 1893). An additional appendix presenting documents that relate to private patronage is included. A fourth appendix catalogues the churches forming the Byzantine Revival style in Venetian architecture from approximately 1490-1530. *San Salvatore was completed in 1534, probably by Tullio{\textquoteright}s assistant, Zaccaria da Lugano.}, keywords = {The Renaissance}, author = {Burns, Carol} } @mastersthesis {7119, title = {The Shoulder-Pinned Back Mantle in Greek and Roman Sculpture}, year = {1986}, school = {IFA/NYU}, abstract = {This dissertation examines figure types wearing the shoulder-pinned back mantle to determine who wears this mantle and how, when and where. The mantle occurs throughout the Greek and Roman world, from the fifth century B.C. to the third century A.D. Although Athena has it first, Apollo is its most widely known wearer. The shoulder-pinned back mantle is pinned on both shoulders and hangs only down the back. The mantle appears first on Athena in the Athenian decree relief of 422/421 B.C. for the Rheitoi Bridge. In addition to Athena, the mantle occurs on Artemis, Hekate and young maidens in the Classical and Hellenistic periods. Throughout the Roman world, however, Apollo wears the mantle more than any other figure, always as Kitharoidos. Athena seems to have been the first to wear the shoulder-pinned back mantle, possibly around 425 B.C. on a lost statue we reconstruct from reflections on reliefs and call "Rheitoi Athena." The mantle becomes associated first with her, and thereby with Athens. In the fourth century B.C., another Athena statue wears the mantle, as do young girls in Athens and Attica. These maidens are associated with Athena by wearing her mantle, and with Athens by wearing what may be called an Attic mantle. The cult statue of Apollo Patroos made by Euphranor for the Temple of Apollo in the Athenian Agora wears this mantle ca. 340-330 B.C. As Patroos, ancestor of the Athenians, he adopts the garb of Athena, founder of the city. Augustus revived this Classical Attic image of Apollo wearing peplos with shoulder-pinned back mantle for his cult statue of Apollo in the Palatine Temple. During the Hellenistic period, Apollo wears a long chiton, rather than peplos, with the mantle, perhaps reflecting a statue at Delphi. Figures wearing the shoulder-pinned back mantle with a peplos or long chiton are linked by their connections with Athens. They provide a basis for the study of original, copy and variation, and they show the importance of this mantle in the ancient world, first worn as a ceremonial garment, but ultimately a distinctive feature of Apollo Kitharoidos.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Roccos, Linda} } @mastersthesis {7113, title = {Sources and Iconography of the Figural Sculpture of the Church of the Holy Cross at Aght{\textquoteright}amar}, year = {1986}, school = {Ohio State}, abstract = {The church of the Holy Cross at Aght{\textquoteright}amar was built between 915 and 921 to serve as the palace chapel of Gagik Artsruni, the ruler of the Armenian province of Vaspurakan. The most unique feature of the church is the unprecedented display of sculptural decoration covering the exterior of the building. Although the importance of the sculpture has long been recognized, its sources and iconography have never been the subject of a thorough analysis. The reliefs can be divided into a series of horizontal zones: the main band of sculpture includes major Biblical scenes and figures as well as a number of real and fantastic animals; a second zone consists of animals and birds illustrating the theme of Adam naming the animals; a third is occupied by an inhabited vine frieze; a fourth has figures of the four Evangelists; and two additional zones have long continuous friezes of animals and human heads. Each figure and scene is catalogued and described and its iconography discussed, especially in relation to Armenian, Byzantine, Sasanian, and Islamic works. The decorative program at Aght{\textquoteright}amar illustrates a variety of influences from both Byzantium and the Islamic world. Some scenes follow earlier Armenian iconographic traditions, while others demonstrate a familiarity with contemporary Byzantine and Islamic art. Many of the motifs appear to have been transmitted through model books and through small objects such as metalwork and textiles. In spite of the diversity of the subjects depicted on the church and the widely varied sources and influences they reflect, the sculpture is by no means merely a collection of unrelated scenes and motifs. Both the selection of the subjects and their positions on the walls were determined by a carefully designed program, in which the theme of the hope of eternal salvation and the concepts of royal glory and power played equally significant roles.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Waltz, Connie L.} } @mastersthesis {7096, title = {Sources for the Figural Sculpture of Mamallapuram}, year = {1986}, school = {IFA/NYU}, abstract = {Mamallapuram is the site of monolithic monuments of the early Pallava dynasty (ca. 7th c. A.D.) including two large-scale narrative reliefs, nine model temples, or rathas and ten cave-temples, or mandapas. Probably responsible for this artistic endeavor was Mahendravarman I (ruled ca. 580-630 A.D.), a ruler gifted in painting, drama, architecture, music and poetry. His titles betray his eccentric and intellectually curious nature, qualities which also typify the monuments at Mamallapuram. Previous Mamallapuram studies have focused on architectural forms and epigraphy. This dissertation uses the figural sculpture as a guide to solving the problems of sources, dating, and patronage. Despite a paucity of monuments from between 300 to 600 A.D., it can be shown that monuments from ({\textquoteright})Andhra Pradesh are the stylistic sources for the later art at Mamallapuram. Surviving model shrines, stone sculptures and cave-temples, mainly from Amaravat({\textquoteright})i, Nagarjunakonda / Yelleswaram, Chezarla, Undavalli, Mogalarajapuram, and Bhairavakonda provided architectural and sculptural prototypes for the later Tamilnadu caves of Mahendra- varman I and for the monolithic monuments at Mamallapuram. As Mahendravarman{\textquoteright}s presence is verified, by inscription, in this part of ({\textquoteright})Andhra Pradesh, he would have been aware of artistic developments there. Sources of the figural sculpture of Mamallapuram thus can be securely traced to preserved ({\textquoteright})Andhra Pradesh monuments. Preceding the monuments at Mamallapuram were the monolithic cave-temples in Tamilnadu, also tied by inscription to Mahendravar- man I. These works already reveal his willingness to break with tradition. Hindu cave-temples had not been excavated in Tamilnadu previously due to the custom of monolithic burials which associated the medium of stone with death. These early cave-temples, usually had dvarapalas, or door-guardians, as their only figural sculpture. For the vast works initiated by Mahendravarman at Mamallapuram, ({\textquoteright})Andhra Pradesh master artists were used to supervise the best local artisans. After an intense, expensive period of creation, the project was abandoned, probably due to his death. All the monuments were left unfinished. Mahendravarman{\textquoteright}s artistic taste and eccentric nature were the guiding forces behind the creation of the monolithic monuments of Mamallapuram, which drew on the craftsmanship and stylistic traditions of the art of ({\textquoteright})Andhra Pradesh.}, keywords = {Asian Art}, author = {Hirsh, Marilyn} } @mastersthesis {7118, title = {The Statue of Apollo Lykeios in Athens}, year = {1986}, school = {IFA/NYU}, abstract = {The statue type known as Apollo Lykeios represents a nude figure standing with his right arm resting on his head, a bow in the left hand. All information about the type comes from late Hellenistic and Roman sources--literary, numismatic and sculptural. On the basis of this material, scholars have postulated a prototype dated to the 4th century B.C. Recent study of classicizing sculpture has shown the difficulties involved in isolating and dating a specific prototype. In this dissertation I have undertaken the first systematic study of the material, hoping to establish a firm basis for its evaluation. In analyzing Lucian{\textquoteright}s description of a statue at the Lykeion of Athens and the 51 relevant coin issues, I tried to take into account contemporary historical, cultural and artistic factors and came to the conclusion that a famous classical statue of the god with the distinctive gesture must have stood in Athens. Of 100 statues of Apollo with the arm gesture, 32 agree so closely in measurement that the sculptors must have used plaster casts from an original statue. Applying the most conservative criteria, I propose a reconstruction. The stance requires no support, and two replicas have remains of a heavy strut on the left shoulder blade. The original was probably free-standing, lightly touching a high support behind, such as the column and tripod on the earliest coin representation. Stylistic comparison to original Greek works dates the statue to the third quarter of the 4th century. Iconography is studied. The unique combination of a child{\textquoteright}s braid and adult body suggests that the statue embodies Apollo{\textquoteright}s guardianship over the passage from boyhood to manhood. This fits what is known of the cult of Apollo Lykeios and Lycurgan reform at Athens. Although the right arm gesture has always been explained as a motif of rest, more specific meanings can be traced in vase painting; here the gesture probably shows Apollo{\textquoteright}s association with song. The statue thus integrates his powers over youth, the bow, and music in a harmonious image that may have had special meaning for contemporary Athenian ephebes and certainly had significance throughout antiquity.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Milleker, Elizabeth} } @mastersthesis {7114, title = {The Structural Principles of the Headmaster of Chartres}, year = {1986}, school = {UNC Chapel Hill}, abstract = {Nearly a century of scholarship has not sufficed to define the oeuvre of the Headmaster of the Royal Portal of Chartres Cathedral, universally acknowledged as one of the Middle Ages{\textquoteright} greatest artists, nor to determine his origins. This dissertation addresses these two problems and also seeks to specify the order in which the Headmaster carved his statues at Chartres. Close visual observation and stylistic analysis are employed in this study; the method is internal. The artist was particularly concerned with structure; thus the structural principles manifested in his work were selected as key stylistic features. Concepts of the structure of space and form which characterize his work are absent from contemporary and later work until the end of the twelfth century. Chief among these are the concept of the body as structured internally rather than externally and of the whole as greater than the sum of the parts. Other concepts follow as corollaries from these two. Used as signature features of the Headmaster, these principles indicate that he carved the jamb statues in the following sequence: first those of the inner embrasure of the south portal, then those of inner embrasure of the north portal, those of the right embrasure of the central portal, and finally those of the left embrasure of the central portal. He carved the Presentation lintel at about the same time as the statues of the right embrasure of the central portal and the Nativity lintel somewhat later. The order of carving is indicated by a progressive development in the manifestation of the concepts. The same structural principles, somewhat less fully developed, are detected in the jamb statue of a prophet from Saint-Lazare, Avallon; and some are incipient in certain capitals in the nave of Vezelay. These sculptures are attributable to the Headmaster before he worked at Chartres. The very late dating of Avallon which prevails in the literature is shown to be untenable. Close correspondence in portal design link Avallon to Vezelay on the one hand and to Chartres on the other; Avallon dates between Vezelay and Chartres.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Watson, Carolyn Coker Joslin} } @mastersthesis {7081, title = {The Stylistic and Iconographic Development of Simeon Solomon (1840-1905)}, year = {1986}, school = {UC Santa Barbara}, abstract = {The purpose of the dissertation is to discuss the artistic development of Simeon Solomon. Chapter One addresses the myths surrounding Solomon{\textquoteright}s life and artistic development. In addition, the primary and secondary sources on information on Solomon are surveyed. Chapter Two covers Solomon{\textquoteright}s family background and artistic roots. An early sketchbook (c. 1854-57) reveals Solomon{\textquoteright}s interest in a wide range of subject matter. In Chapter Three Solomon{\textquoteright}s introduction into the Pre-Raphaelite circle in 1857 is discussed. Beyond its satirical quality, his unpublished "PRB Catechism for the Disciples of that School", is one of the few manifestoes of the Pre-Raphaelite movement. Chapter Four covers the years between 1859-63, during which time Solomon depicts primarily Old Testament themes. The artist{\textquoteright}s David Dancing before the Ark displays an imaginative understanding of Pre-Raphaelite typological symbolism. Chapter Five considers Solomon{\textquoteright}s relationship with the poet Swinburne. Between 1864 and 1868 Solomon explores the many aspects of Aestheticism: from the contention that art is amoral expounded by Swinburne, to the notion that the expressiveness and harmonious potential of line and color override all other considerations--in accordance with Whistler{\textquoteright}s dicta. Chapter Six documents Solomon{\textquoteright}s first trip to Italy in 1866-67. His Love in Autumn (1866) and Heliogabalus both painted in Italy, mark a turning point in the artist{\textquoteright}s career and lead to a more classical figure type and a more personal and complex use of iconography. Through his association with Walter Pater, Solomon is affected by the intense interest in Catholicism of the mid nineteenth-century Oxford Movement. Chapter Seven covers the subsequent trips to Italy in 1869 and 1870. During his trip to Rome in 1869 Solomon writes his prose poem A Vision of Love Revealed in Sleep (pub. 1871). The text can be considered to be a key to the symbolism of Solomon{\textquoteright}s paintings. In 1871 Solomon is indicted for immorality in his work, along with Rossetti, Swinburne and others, in Robert Buchanan{\textquoteright}s The Fleshly School of Poetry. Chapter Eight covers the facts concerning the arrest, trial, and conviction for public indecency in February 1873. His late work, which can be categorized into five styles, becomes repetitive and slovenly.}, keywords = {19th- and 20th-Century Europe and Near East}, author = {Seymour, Gayle M.} } @mastersthesis {7098, title = {Technical Analysis of Medieval Himalayan Copper Alloy Statues for Provenance Determination}, year = {1986}, school = {UCLA}, abstract = {A major problem in the art history of the medieval Himalayas has been the difficulty in reliably determining provenance of copper alloy statues. This difficulty is caused by many factors, including the lack of statues recovered from controlled archaeological excavations, few references in historical literature to art production, the mobility of artists and patrons, and portability of the statues. With date and place of manufacture uncertain, statues are of limited use in answering questions concerning the societies that produced and used them. Previous attempts to improve the certainty of attributions through a technical analysis of the objects have not been encouraging. However, this study takes a different approach which has proven successful in improving regional attributions for a group of 145 statues. The basis of this approach is an inter-disciplinary method, in which a wide range of technical and analytical data are combined with the existing art historical information. A major key to the success of the project is the use of appropriate multivariate statistical methods. The following types of evidence are considered: copper ore deposits available to Himalayan artists, political and economic factors governing access to and utilization of those deposits, casting and decorating techniques, evidence remaining from statue consecration ceremonies, elemental composition of statue metals, and mineralogical and elemental composition of clay core materials. The primary statistical technique employed for interpreting all data sets is the BMDP 7M stepwise discriminant analysis. The method employed begins with a critical evaluation of stylistic attributions which have been assigned to the statues. All statistical analyses are performed first using only those statues of plausible regional attribution, allowing the determination of technical criteria which differentiate the regional groups. In the next step of statistical analysis those discriminating technical variables are used to determine which regional group statues of uncertain or controversial attribution best fit. As a result of the technical analysis, many of the statues can now be regionally attributed with confidence to either Kashmir, north Pakistan, west Tibet, central Tibet, or Nepal.}, keywords = {Asian Art}, author = {Chandra L. Reedy} } @mastersthesis {7101, title = {The Tender Infant: Invenzione and Figura in the Art of Poussin}, year = {1986}, school = {Johns Hopkins}, abstract = {A philological analysis of Bellori{\textquoteright}s use of the term figura suggests that Poussin considered the figures in his paintings as rhetorical emblems of universal concepts. Through a detailed analysis of Poussin{\textquoteright}s and Duquesnoy{\textquoteright}s use of the {\textquoteright}figure{\textquoteright} of the infant, it is demonstrated that these two artists employed a particularly young type of infant, based upon the putti of Titian, as the emblem of tenerezza. Poussin{\textquoteright}s and Duquesnoy{\textquoteright}s repeated selection of themes involving {\textquoteright}tender{\textquoteright} infants is shown to result from a specifically Marinist theory of invention. Several poetic inventions by each artist involving infants at play are shown to be lyric scherzi closely related to those of the marinisti. Three history paintings by Poussin in which the life of a tender infant is endangered but then miraculously saved are shown to involve a mixture of tragic pity and fear with lyrical sweetness and tenderness of sentiment. Finally, Poussin{\textquoteright}s themes involving the infancy of Moses are shown to employ the {\textquoteright}figure{\textquoteright} of the tender infant as an emblem of the tenderness of the season of spring.}, keywords = {Baroque and 18th-Century Europe}, author = {Anthony Colantuono} } @mastersthesis {7130, title = {Three Paintings by Mathis Gothart-Neithart, Called Grunewald: The Transcendent Narrative as Devotional Image}, year = {1986}, school = {Yale}, abstract = {The dissertation examines three narrative paintings of scenes from Christ{\textquoteright}s life by Mathis Gothart-Neithart, called Grunewald (ca. 1480-1528). The focus of the study is the relation of the iconography of the paintings to their original liturgical or devotional function. The panel of the Last Supper, with Sts. Dorothy and Agnes on the reverse, painted about 1500 (now in a private collection), originally a predella panel, related to a specific moment in the Mass and to the priest{\textquoteright}s role as a participant in the sacramental continuation of the Supper. The 1504 Mocking of Christ, (Alte Pinakothek, Munich), was an epitaph or memorial panel. The panels from the mid-1520{\textquoteright}s of the Crucifixion and The Carrying of the Cross (Staatliche Kunsthalle, Karlsruhe), were originally front and back of one panel, used as the center an italianate, "Renaissance" style altarpiece. The Carrying of the Cross was the image on the rear of the altarpiece, a position used for images relating to the sacrament of Penance. The dissertation explores the manner in which Grunewald struc- tured these narrative images in order to enhance the paintings{\textquoteright} abil- ity to serve their devotional or liturgical function. Through narrative manipulation, such as the incorporation of non-narrative Andachts-bilder, and use of illusionistic effects, he merged the depicted narrative with its physical surroundings. It is thus shown as occurring in the present as well as historical time. This demonstrates the transcendent nature of Christ{\textquoteright}s existence and his historical actions. The basis of the sacraments in the actions of Christ is explicitly illustrated. By stressing Christ{\textquoteright}s actions as the source of efficacy of the sacraments, also a theme of late medieval Passion narratives such as Ludolph of Saxony{\textquoteright}s Vita Christi, the images witness to the late medieval origins for the theology of the Protestant Reformation. At the same time, the dissertation provides an explanation of why Grunewald{\textquoteright}s very concept of religious images was to be rejected by the Reformers.}, keywords = {The Renaissance}, author = {Collinson, Howard C.} } @mastersthesis {7102, title = {Trends in Roman Sculpture Circa 1600}, year = {1986}, school = {Michigan}, abstract = {This thesis deals with the sculptural milieu of Rome in the years 1590-1615, with special concentration upon nine artists who often worked together as a team and were essentially an arm of papal propaganda for Clement VIII and Paul V. It redresses the neglect of past critics who, diverted by the aesthetic deficiencies of these artists, failed to raise the questions that could place sculpture of the period into a historical perspective and an art-historical context. Chapters I-III include extensive documentation and stylistic and iconographic analyses of the three major programs on which the sculptors collaborated: the Lateran transept, the Aldobrandini chapel in Sta. Maria sopra Minerva, and the Pauline chapel in Sta. Maria Maggiore. The overall evolution of the style of these three chapels toward characteristics associated with Baroque art is investigated, as are the historical contexts of the commissions and the goals and tastes of the patrons. Chapters IV-XII cover individually and in greater detail the sculptors active in Rome during the transition between the late Mannerist and Baroque periods who worked on the aforementioned commissions: Ambrogio Buonvicino, Ippolito Buzio, Silla Longhi, Stefano Maderno, Giovanni Antonio Peracca da Valsoldo, Nicolo Cordieri, Camillo Mariani, Cristoforo Stati, and Pietro Bernini. The artists{\textquoteright} backgrounds are explored, as are their deficiencies and strengths, the sources of their styles, the patrons they attracted, the commissions in which they participated, and the influences they exerted on others. The conclusion looks at the broader issues about sculpture in this transitional period which were raised throughout the thesis: why sculpture took the particular stylistic and iconographic forms that it did; why sculptors were slower than painters in finding a solution to the impasse of Mannerist art; and what this period in sculpture meant for further developments in the medium during the Baroque age in Rome. Areas exerting important effects on sculpture include the unique patronage situation in Rome, the dictates of the Council of Trent on religious art, the ethnic origins of the sculptors who had migrated to Rome to seek employment opportunities, the shifting political climate of the time, and the general, culturally-determined expectations about what was appropriate to the sculpture medium. Further investigations of pre-Baroque sculpture can proceed from this study.}, keywords = {Baroque and 18th-Century Europe}, author = {Fruhan, Catherine E.} } @mastersthesis {7093, title = {The Tudor House in America, 1890-1930}, year = {1986}, school = {UC Santa Barbara}, abstract = {Next to the Colonial Revival, the Tudor Revival was the most popular style for the American house during the years 1890-1930. To account for this popularity, this paper first surveys British efforts during the 18th and 19th century to revive the imagery of the manors and cottages of the Tudor era (1485-1625). Emphasis then switches to the United States, where, during the mid-19th century, architects like Andrew Jackson Downing tried to adapt the Tudor designs of British pattern books to American conditions. Also discussed is the American interest during the 1870s and {\textquoteright}80s in the contemporary {\textquoteright}Old English{\textquoteright} work of British architects like Richard Norman Shaw, and the beginnings in the 1890s of the American efforts to look directly to authentic Tudor architecture for inspiration. To cover the most vital years of the Revival (1890-1930), the paper takes a regional approach, discussing developments first in the suburbs of New York and Philadelphia, then in Chicago and the West Coast. One chapter considers the modern methods of construction that were developed to imitate half-timbering and thatched roofs; another deals with the evolution of Tudor Revival planning and landscaping. Efforts are also made to explain the decline of the Revival in the face of the Depression, Modernism and the rise of the French Provincial Revival. The causes of the Tudor Revival are traced to the style{\textquoteright}s inherent flexibility; in their day Tudor Revival houses were seen as suited to a variety of landscapes, and their picturesque plans, which had to adhere to no rules of symmetry, were praised for allowing rooms, doors and windows to be oriented in whatever position made the most sense. The Tudor style itself proved to be sympathetic to turn-of-the-century ideals regarding domesticity, simplicity, and honest craftsmanship. It was a patriotic style too, associated with America{\textquoteright}s early Colonial architecture and with George Washington{\textquoteright}s ancestral home in England. It was also romantic--a style evocative of a robust Elizabethan era and of characters popularized by Shakespeare, Walter Scott, and Charles Major. So, too, the style was evocative of aristocracy and genteel living, with connotations of dynastic stability, culture, and higher education.}, keywords = {Art of the United States (except Photography and Film)}, author = {Townsend, Gavin} } @mastersthesis {7099, title = {Van Dyck in Italy: 1621-1628}, year = {1986}, school = {IFA/NYU}, abstract = {This study of the Italian-period paintings of Anthony van Dyck includes three chapters and a catalogue raisonne. The first chapter, on the biographical data for these years, reviews the information from the sources (Bellori, Soprani, the Louvre manuscript) and the conclusions drawn by Vaes (1924; 1941). A recently-discovered payment document is introduced, which occasions a new hypothesis regarding the date that Van Dyck returned to Antwerp. The second chapter, on history painting, treats: the themes and guiding influences of Van Dyck{\textquoteright}s history painting prior to his Italian trip; the relationship of Van Dyck{\textquoteright}s Italian-period history paintings to Italian pictorial traditions, and to the theory and practice of Artistic Imitation; and the evidence of Van Dyck{\textquoteright}s attitudes toward works by Italian artists of the past and of his own time as evinced in the drawings in the Italian Sketchbook (London, British Museum). The saint in the foreground of The Madonna of the Rosary (Palermo), usually called St. Rosalie, is identified as St. Olive. The iconography of Van Dyck{\textquoteright}s paintings of St. Rosalie is considered in light of previously existing visual traditions for the saint, events and issues in the development of her cult at the time, and patronage. The third chapter, "Van Dyck{\textquoteright}s Italian Portraits", brings to bear several contextual considerations including: Van Dyck{\textquoteright}s own background in portraiture; events and issues in contemporary Genoese history; Italian portrait traditions; and concepts explicit in theoretical texts, particularly the notion of decorum.}, keywords = {Baroque and 18th-Century Europe}, author = {Barnes, Susan} } @mastersthesis {7105, title = {The Vienna Cutbercht Gospels (Onsterreichische Nationalbibliothek Codex 1224)}, year = {1986}, school = {Columbia}, abstract = {The Vienna Cutbercht Gospels (Osterreichische Nationalbibliothek Codex. 1224) is one of the most interesting survivors of a small group of pre-Carolingian Gospel books made on the Continent by Insular scribes and artists. The scribe, Cutbercht, is known by inscription; and, based on limited text decoration, it appears that the scribe was also the artist. Two separate text models were used for Vienna 1224: one for the preliminary material which seems to have included Matthew 1:1-17; and another for the Gospel text and evangelist portraits. The evangelist iconography points to sixth-century Ravenna for its ultimate model, but misunderstandings of that model suggest an intermediary copy. The two symbols included in Vienna 1224 were probably not part of the evangelist portrait model, but were taken from a separate source. The Cutbercht Canon Tables seem to draw on two exemplars. The Italian model would have provided the text and the evangelist portrait busts in the lunettes, which are unknown prior to Vienna 1224, but point to an ultimate fifth-century Latin archetype. The figures jointly hold open books, which parallels the activity of symbols in Canon Table lunettes in the Carolingian Court School of Charlemagne. The northern model would have supplied certain ornament and the arcade structures, which suggest a Canterbury origin. The northern model possibly included the initial structures which are also Insular. Cutbercht{\textquoteright}s ornament is a combination of Insular and late antique forms, several of which appear in Coptic textiles. The even distribution of these forms throughout the book and their direct copying suggests the use of a pattern book of the kind also used for textile designs. The Cutbercht decoration has no significant following in the Salzburg area. Cutbercht himself was English; his book is Insular, and differs from its Salzburgian contemporaries. His absence from the Verbruderungsbuch suggests that he did not die at St. Peter{\textquoteright}s abbey; and since he had no significant following in Salzburg book production, it is possible that Cutbercht was an itinerant monk and scribe/artist, who was perhaps from Canterbury.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Daum Tholl, Susan E. Von} } @mastersthesis {7076, title = {Walter Gropius, Emigre Architect, Works and Refuge, England and America in the Thirties}, year = {1986}, school = {Brown}, abstract = {This dissertation examines the period 1928-1937, the turbulent days that Walter Gropius spent as vagabond architect, fleeing Nazi Germany for the refuge of London, and the architectural transformations effected in his work by this period. As the politics of art and architecture increased in Germany during the 30s, Gropius fled the Bauhaus and Berlin to accept a humanitarian offer of the Royal Institute of British Architects, extended to colleagues under repression. Thus resulted the partnership of Gropius and Fry, as well as Gropius{\textquoteright} association with the design firm of Isokon. Architect E. Maxwell Fry and J. C. Pritchard of Isokon provided first person accounts of the British avant-garde period of the 30s and of Gropius{\textquoteright} experiences for this study. In England, though Gropius strove to integrate his continental modernism with a traditional environment, certain fundamental aspects of the man and his work remained constant. The search for typeforms, for generic solutions in architecture, is the major thread linking Gropius{\textquoteright} early German work through his British emigration period into his late American career. Gropius{\textquoteright} typeforms were based in program and function, and in the truthful expression of function in form. He adhered to the philosophy of architecture as the solution to social ills, of problems to be solved through the rigorous application of the scientific methods of the 20th century. The implications of Gropius{\textquoteright} British period were wider and more profound than the immediate effects upon his own works, for Gropius, in certain of his large-scale English projects, had anticipated the new scale and demands of the coming post-war mass society. His unrealized and built projects of the British period, the Isokon flats at Windsor, the Christ{\textquoteright}s College project, and Impington Village College, provided models for the British reconstruction and the American post-war building boom. The architecture of the 40s through the 60s of both nations owes a great debt to Gropius{\textquoteright} early experiments of the 20s in Germany and the 30s in England. Gropius{\textquoteright} emigration period was a fleeting moment, a still-shot in the migration of modernism from Germany on its way to America. Taken in the continuity of the modern movement, this period provides critical links between the continents and the recurrent forms of modernism.}, keywords = {19th- and 20th-Century Europe and Near East, Art of the United States (except Photography and Film)}, author = {Cormier, Leslie Humm} } @mastersthesis {7084, title = {Weaving Styles and Techniques of Mende Country Cloth: Its Sociological and Economic Significance}, year = {1986}, school = {Indiana}, abstract = {With the exception of Dr. M. C. F. Easmon{\textquoteright}s Sierra Leone Country Cloths published for the Sierra Leonean component of the British Empire Exhibition, 1924, little has been written on the Mende country cloth weaving tradition. Arthur Abraham (1976) included a short section in his book Topics in Sierra Leone History: A Counter Colonial Interpretation, and Venice Lamb (1980) wrote a valuable, but brief, section on Mende looms in her article on horizontal looms from this region of West Africa. This study initiates inquiry into the historical beginnings and documentation of the "country cloth" weaving tradition of the Mende people of Sierra Leone. Though the country cloth weaving tradition is an intricate part of Mende culture, published information on an industry which has historically played so significant a role in the lives and culture of the Mende people is scarce. The objectives of my field research were to (1) study the Mende or Southern type loom of Sierra Leone (Easmon, p. 13), (2) record information on Mende weaving techniques, (3) study and observe the role, status and training of the weaver, and (4) document the uses of country cloth. My overall goal is to add to the investigative studies of Mende art and crafts and to place the weaving industry of the Mende in the larger perspective of African textiles studies. Research for this dissertation was done in museums, libraries and archives in the United States, England and Sierra Leone. In addition, numerous weavers, dyers and lay people knowledgeable of this weaving process were interviewed with the resulting information being recorded on questionnaire forms. Though much information is unavailable, we can still conclude with certainty that this tradition has a long history among the Mende.}, keywords = {African Art}, author = {Edwards, Joanna P.} } @mastersthesis {7086, title = {William Robert Ware and the Beginnings of Architectural Education in the United States, 1861-1881}, year = {1986}, school = {MIT}, abstract = {No abstract in ProQuest}, keywords = {Art of the United States (except Photography and Film)}, author = {Chewning, John Andrew} } @mastersthesis {7087, title = {Winslow Homer{\textquoteright}s Watercolors: A Study in Theme and Style}, year = {1986}, school = {Yale}, abstract = {Winslow Homer (1836-1910) took up watercolor only after having been a professional illustrator for more than fifteen years and a respected painter in oils for a decade. His output in the medium was prolific--close to 700 works. In watercolor he first captured new subjects, experimented with color, and voiced his interests in light, atmosphere, and design. Whereas his oils were carefully planned and completely worked statements with a sense of solidity and permanence, the watercolors were a more immediate utterance. Distinguished by seemingly effortless execution, the apparent ease of his technique disguises the deliberateness of his method and the extraordinary control he had over the liquid medium. Created over a period of more than thirty years, between 1873 and 1905, during working vacations in places he loved--the New England seaside, the Adirondacks, Quebec, Bahamas, Bermuda, and Florida--the watercolors are unsurpassed for their directness, luminosity, and economy of means. Style and subject, method and meaning, were bound together, in response to places visited and seasons experienced. The dissertation traces the developments of Homer{\textquoteright}s watercolors through each stage of his career. His working methods, techniques, and materials are discussed in the context of certain details of iconography or in repeated themes and sequences, many of which reveal a preoccupation with death. To view the range of Homer{\textquoteright}s watercolors, is to follow closely the development of a spontaneous and poetic sensibility that otherwise found no place in his art. In watercolor, this reserved, intensely private man expressed a more intimate and sensual self.}, keywords = {Art of the United States (except Photography and Film)}, author = {Cooper, Helen A.} } @mastersthesis {7080, title = {Women{\textquoteright}s Dress in Nineteenth-Century Istanbul: Mirror of a Changing Society}, year = {1986}, school = {Pennsylvania}, abstract = {During the nineteenth century, many Istanbul women adopted the fashions of Europe. The change in dress accompanied other changes in Ottoman society often attributed to increasing contact between the Ottomans and Europeans. Neither the transformation in fashion nor the westernisation of Ottoman society is completely understood. Through an examination of garments from Istanbul, and other contemporary sources, this dissertation documents the process by which women{\textquoteright}s traditional dress was replaced by European styles. The thesis also develops an approach to costume studies using art historical methods. Further, the process of westernization within an Islamic society is investigated from the perspective of fashion. After the introduction, Chapter Two discusses approaches to the study of dress. Chapters Three and Four are overviews of the political and economic history of the nineteenth century Ottoman empire. Few garments survive, making it necessary to look to other sources often essential to costume historians: contemporary photographs, diaries, newspapers and paintings. A fifth important source is a series of manuscripts illustrating Ottoman costume. These sources are described and their relative usefulness assessed in Chapter Five. The process of costume change in Istanbul is discussed in the next three chapters. In Chapter Six a paradigm for the fashion changes is set out, based on sources described previously. Information provided by the garments is presented in Chapter Seven and the data from both chapters compared to arrive at an understanding of fashion change. The availability of imported goods, transfer of fashion technology, and other issues are explored in Chapter Eight. A complete description for each garment is provided in the Appendix. Conclusions are presented in Chapter Nine. The adoption of European clothing by Istanbul women reflected changing values of Ottoman society. The rate of fashion change was directly related to the numbers of Europeans in Istanbul, and to the greater availability of European goods. Despite radical differences in appearance, social functions of dress remained essentially the same: the display of wealth, and social identification. Adoption of European costume depended on wealth, social position, and exposure to new styles. The uneven rate at which new fashions were adopted confirms what has been noted elsewhere: that nineteenth century Ottoman society was no longer as well-ordered and clearly organised as it once may have been.}, keywords = {19th- and 20th-Century Europe and Near East}, author = {Micklewright, Nancy} } @mastersthesis {7007, title = {Albert Bierstadt: The Path to California, 1830-74}, year = {1985}, school = {Delaware}, abstract = {Albert Bierstadt, whose career as an American landscape painter spanned the entire second half of the nineteenth century, was one of the most important and most successful artists of his era. Less frequently the subject of scholarly attention than his great rival Frederic Church, Bierstadt remains a somewhat elusive figure. The present study, which represents the initial phase of a longer investigation, attempts to establish firm biographical data for the first forty-four years of the artist{\textquoteright}s life (1830-1874), while examining Bierstadt{\textquoteright}s development as a painter. The broad divisions of the study focus on Bierstadt{\textquoteright}s early career in New Bedford and Boston (1830-1853), his travel and training in Europe (1853-1857), his first trip west and emergence as an artist of national stature (1857-1859), his first trip to California and the major paintings which resulted from the journey (1863-1867), and finally, his second sojourn in California (1870-1874). In an attempt to place Bierstadt{\textquoteright}s work within an appropriate cultural context, much attention has been paid to concurrent historical, literary, artistic, and social events. Thus the outbreak of the Civil War, the development of photography, and the completion of the transcontinental railroad are all examined in terms of their impact on Bierstadt{\textquoteright}s art. Bierstadt achieved his greatest success with images of the Rocky Mountains, the Sierra Nevada, and Yosemite Valley. Contemporary response to such paintings was based on a complex mixture of geographic nationalism, the lingering romance of Ruskinian mountain glory, and the remnants of the American Edenic myth. When placed within the context of the culture for which they were created, Bierstadt{\textquoteright}s finest paintings emerge as far more than grand panoramas of awesome scenery. They carry within their carefully crafted borders, references to some of the most perplexing issues of the day including the destruction of the landscape which they celebrate.}, keywords = {Art of the United States (except Photography and Film)}, author = {Anderson, Nancy Kay} } @mastersthesis {7030, title = {Angkor Watt: Meaning through Measurement}, year = {1985}, school = {Michigan}, abstract = {Angkor Wat was constructed in the first half of the twelfth century by King Suryavarman II (r. 1135 - ca. 1150 A.D.). The temple is located at Angkor, a site of more than a dozen major Khmer monuments constructed between the tenth and thirteenth centuries. With its graceful towers, its delicate exterior carving, and its general design, Angkor Wat represents the apogee of Khmer architecture. Because there are no extant Khmer treatises and books that date from the Angkorian period, we know very little about Angkor Wat. In order to uncover as much information as possible about the temple, the author translated its measurements from meters to the cubit length used in its construction. As a result of that "translation," it was soon apparent that the entire temple had been constructed according to specific measurement patterns. These patterns were based on numbers that held meaning in the solar and lunar calendars, the major Hindu time cycles, cosmology, and possible Khmer history. For example, the axes and circumference of the outermost enclosure of Angkor Wat record the solar and lunar years in their full lengths. The second gallery records numbers related to the moon, the god Brahma, and an architectural mandala. In contrast, the third gallery or first level of the temple is dedicated to the history of the early reign of King Suryavarman. Possible calendrical dates occur in that gallery. There are also solar and lunar alignments at the temple, sighting lines which extend primarily from the long western causeway to the central towers of Angkor Wat. Based on the measurements of Angkor Wat, it is apparent that the various sectors of the temple were probably dedicated to specific themes and functions, and were related to each other in a logical progression from the outermost area of the temple to the central sanctuary. There is now a vast amount of information derived from the measurements of the temple which did not exist previously. This particular method of analysis has been very fruitful in regard to Angkor Wat, and may prove of some benefit in the examination of other Khmer monuments, and perhaps monuments in India and other countries in Asia as well.}, keywords = {Asian Art}, author = {Mannikka, Eleanor} } @mastersthesis {6990, title = {Anti-Naturalis, Idealism and Symbolism in French Art Criticism, 1880-1895}, year = {1985}, school = {Michigan}, abstract = {The similarities between symbolist art criticism in Paris at the end of the nineteenth century and the conservative criticism of the same period has received little attention, but these two critical stances were closer than has previously been imagined. The purpose of this dissertation is to illuminate the context in which symbolist art criticism appeared and to demonstrate that symbolism was the modernist aspect of a broader movement--anti-naturalism--and that it manifested both conservative and avant-garde tendencies. The first chapter discusses the essential qualities of anti-naturalism as the dominant feature of intellectual life in Paris during the 1880s and nineties. The second chapter deals with various facets of anti-naturalism: its literary side, its effect on the criticism of painting, its relationship to the revival of Catholicism and idealism, to political conservatism, and the reaction against positivism. Throughout, examples of both conservative and progressive anti-naturalism are compared to demonstrate the fundamental similarity between modernist and reactionary critical camps. The third chapter examines the writings of Felix Feneon, a central figure in symbolist art criticism. Feneon staunchly defended modernist principles against what he saw as an incursion of reactionary ideas in the visual arts. His antipathy toward J. -K. Huysmans and the decadents and his sharp criticism of the art of Paul Gauguin formed the core of his defense of modernism. Albert Aurier, the subject of the fourth chapter, was in many ways Feneon{\textquoteright}s opposite in avant-garde circles. Aurier developed from artistically conservative beginnings among the decadents--the very group that Feneon fought against--to become a major spokesman for symbolism in painting. Various traditionalist leanings in Aurier{\textquoteright}s criticism make his work an interesting counterpoint to Feneon{\textquoteright}s fierce modernism. The fifth chapter deals with two highly conservative critics, Camille Mauclair and Alphonse Germain, both of whom began in progressive symbolist circles but turned increasingly reactionary during the 1890s. Their criticism is indicative of the general conservative thinking that had invaded symbolist thought by that time.}, keywords = {19th- and 20th-Century Europe and Near East}, author = {Marlais, Michael A.} } @mastersthesis {7008, title = {The Apartment Buildings of Frederick G. Scheibler, Jr., Pittsburgh Architect}, year = {1985}, school = {Pittsburgh}, abstract = {Frederick G. Scheibler, Jr. (1872-1958) introduced Pittsburgh to modern architecture; indeed, the quality and individuality of his work place him among the outstanding designers in the city during the first quarter of the twentieth century. This dissertation concentrates on Scheibler{\textquoteright}s multiple residences, and among these, on the eight apartment houses he built between 1904 and 1913. The study focuses on two areas: Scheibler{\textquoteright}s architectural style and its sources, and the economic and cultural context of his designs for suburban middle class apartment houses. The latter investigation defines the architectural challenge Scheibler faced, while the former answers the question of how he met that challenge. There are six chapters and five appendices. The principal appendix is devoted to a detailed catalogue of all the multiple residences designed by Scheibler. Another appendix offers a tabulation of all Scheibler{\textquoteright}s documented commissions. Two additional appendices are concerned with Scheibler{\textquoteright}s library and the published literature referring to Scheibler and his work; and the final appendix presents a statistical picture of the development of the apartment house in Pittsburgh based on data drawn from the record of building permits. Of the six chapters beyond the introduction, two focus entirely on Scheibler{\textquoteright}s most important buildings, Old Heidelberg and Highland Towers. These commissions bracket Scheibler{\textquoteright}s career as a designer of apartment buildings: the first arising ambitiously out of Austrian Art Nouveau connections, a nostalgic villa for a smoky, industrial city; the last, with its debt to Wright, offering Pittsburgh a precursor of modernism through Scheibler{\textquoteright}s use of geometric forms and abstracted decoration. The six other apartment houses that Scheibler designed between 1905 and 1910 are the subject of chapter VI; here the pattern of Scheibler{\textquoteright}s artistic development is emphasized. Chapter II provides a biography of the Pittsburgh architect, while the last chapter articulates an evaluation of Scheibler{\textquoteright}s artistic expression; there it is argued that the limited extent of Scheibler{\textquoteright}s architectural leadership should not prevent us from seeing him as a true progressive of his times.}, keywords = {Art of the United States (except Photography and Film)}, author = {Belnap, Gillian Hirth} } @mastersthesis {7032, title = {Architecture and Urbanism in Henri IV{\textquoteright}s Paris: The Place Royale, Place Dauphine, and Hopital St.-Louis}, year = {1985}, school = {MIT}, abstract = {This dissertation concerns the extensive building program which Henri IV undertook in Paris from 1600 to 1610. Focusing on the place Royale (now called the place des Vosges), the place Dauphine, rue Dauphine, and Pont Neuf, and the hopital St. Louis, this study holds that Henri IV{\textquoteright}s urbanism was guided by an emerging view of the city as an unified entity. Drawing from newly uncovered notarial documents, the dissertation examines the form and the function of the monuments and argues that each building was embedded in its physical context, engaged in the life of the city, and informed by an underlying urban vision. First, the buildings were not autonomous geometric forms dropped into open spaces; they were conceived as parts of a larger urban composition, structured by axes which linked the monuments to major roads without however diminishing the quality of spatial enclosure which the designs also promoted. Second, the squares and the hospital were each charged with a program anchored in the commercial, social, and sanitary life of the city. The place Royale and place Dauphine were planned as residential and commercial squares to stimulate trade and manufacturing while the hopital St. Louis was intended to minimize the convulsive effect of the plague on the city. Finally, the dissertation argues that the royal building program was not merely a sequence of unrelated improvements and isolated adornments, but rather a series of coordinated efforts to impose an unifying order on the city. The monuments were assigned functions which addressed the city as a whole. They were physically linked to more distant parts of the city, and they were composed to create grand urban vistas. The urban fabric was no longer conceived as an accumulation of fragments contained within the walls; it was understood as a cohesive network with its own internal order.}, keywords = {Baroque and 18th-Century Europe}, author = {Hilary Ballon} } @mastersthesis {7024, title = {The Architecture, Urbanism, and Economics of Chicago{\textquoteright}s North Michigan Avenue, 1830-1930}, year = {1985}, school = {Northwestern}, abstract = {This dissertation examines the development of Chicago{\textquoteright}s North Michigan Avenue from the city{\textquoteright}s founding in 1830 to the Depression of 1930. North Michigan Avenue is the city{\textquoteright}s most vital and prestigious commercial boulevard, containing some of its most significant architecture and urban planning features, and exemplifying the business and economic conditions of a great era in Chicago{\textquoteright}s building history. Developed by many of the city{\textquoteright}s leading architects, business, industrial, and political figures, North Michigan Avenue is both a microcosm of Chicago history and a model of city planning and development of national importance. The purpose of this study is to reconstruct the conditions which made possible the development of the avenue, to understand its planning and architecture as instruments of economic exchange. The first two chapters contain a brief historical outline of Chicago and the Near North Side and the planning imperative of the early 1900s, the beautification of the city as proposed in the Burnham Plan of 1909. The social, political, and economic factors that contributed to the rapid growth of the area and formed the basis for future development are explored. This section concludes with an analysis of the North Central Business District Association Plan of 1918, which attempted to enforce a high quality of land use and building design in the avenue{\textquoteright}s development. Chapters three through five analyze the commercial and residential architecture built on the avenue during the 1920s, after its widening and the construction of the Michigan Avenue Bridge. Essential to this study is a discussion of property owners, their economic, social, and political backgrounds, and their goals for developing the area. Among the buildings analyzed are the Wrigley Building, Tribune Tower, London Guarantee Building, the Drake Hotel, and the Palmolive Building. The concluding chapter reviews the ideas explored in the dissertation, summing up the essence of the avenue as a major commercial boulevard, and reviewing the roles played by the important architects, developers, and financiers responsible for its character.}, keywords = {Art of the United States (except Photography and Film)}, author = {Stamper, John W.} } @mastersthesis {7035, title = {The Art Patronage of Pope Clement XI Albani and the Paleochristian Revival in Early Settecento Rome}, year = {1985}, school = {Delaware}, abstract = {The art patronage of Clement XI Albani (1700-1721) was a broadly-based, multi-faceted phenomenon embracing all aspects of the visual arts. In spite of its great variety, however, one of the most important factors in Clement{\textquoteright}s arts program was the influence of the Early Christian revival. The pope{\textquoteright}s intellectual formation in Queen Christina{\textquoteright}s circle, his association with the Arcadians, his interest in archaeology and his friendship with the scholar Francesco Bianchini oriented his interests towards the deliberate primitivism and spiritual simplicity of Paleochristianity, one of the most significant responses in the eighteenth century to the crisis in sacred learning. Although a number of important contributions on individual artists and architects of the early Settecento have appeared in recent years, there is still much to be done in the field of patronage. The support of the arts by Clement XI is important in this context, for, although the Albani pontiff took great interest in art patronage, his buildings and decorative projects were relatively limited when compared to some of his Seicento predecessors. This is often attributed to the calamitous political situation and distressed finances, but these factors have been given too much stress, for they did not significantly alter Clement{\textquoteright}s basic arts program or change its direction. The works of Albani should be appraised in the light of the new, more progressive ideas of the early eighteenth century. Clement strongly emphasized preservation in his undertakings, a concept which is especially characteristic of his attentions to Rome{\textquoteright}s Early Christian basilicas. The pope{\textquoteright}s interests in Paleochristianity, however, extended beyond restorations. As the first pontiff to systematize successfully the Vatican collections and provide for the proper care and display of objects, he especially interested himself in the collecting and exhibiting of Early Christian antiquities. The Albani pontiff believed that Rome{\textquoteright}s eminence as a museum of Christianity and western culture would defend it from political catastrophe and that preservation of its monuments and a realignment of Rome{\textquoteright}s spiritual mission through reform on the example of the primitive Church would make both the city and the papacy inviolate.}, keywords = {Baroque and 18th-Century Europe}, author = {Johns, Christopher M.S.} } @mastersthesis {7009, title = {"The Artist Sings for Joy", Frederick Oakes Sylvester and Landscape Painting in St. Louis}, year = {1985}, school = {Missouri}, abstract = {The most prolific painter in St. Louis at the turn-of-the century was Frederick Oakes Sylvester--landscape specialist and poet-painter. He drew upon his New England background and training, the experience of one year spent teaching in New Orleans and the Christian Science faith to carve a niche for himself in St. Louis art circles. By concentrating on the Mississippi River as a subject, he used his river images, nature poetry and prose to express ideas which he hoped would elevate the character of humankind. Finding his example in nature, Sylvester believed it was possible for the human soul to remain unshackled, and the individual virtuous and unpretentious in spite of the insensitivity of humanity. What he could not express in his landscapes, he explained through sonnets and poems in his book, The Great River. His articles for The Mirror, a St. Louis weekly, defend the dignity of a career in art and the right of artists to command a decent price and adequate livelihood for their efforts. The esteem given to St. Louis artists was never higher than that received between the 1904 Louisiana Purchase Exposition and the untimely death of Sylvester in 1915. His charismatic personality and artistic gifts can account for much of this. Sylvester was not a one-style artist, rather, he is proof that one may paint as he wishes, achieve acclaim while living and later a sound position in an important American regional landscape school. Because of his high productivity and the loyal patronage of his contemporaries, Sylvester has eclipsed in importance Edmund H. Wuerpel and Halsey C. Ives, once leading figures in the St. Louis art community, and seems certain of resting on a plateau with the Tonalists.}, keywords = {Art of the United States (except Photography and Film)}, author = {Crouther, Betty Jean} } @mastersthesis {6995, title = {Auguste Rodin{\textquoteright}s Portraiture, 1860-1916}, year = {1985}, school = {Stanford}, abstract = {Auguste Rodin (1840-1917) was the most prolific and influential sculptor in France from 1877 to 1917. Interspersed throughout this period are fifty-seven known portraits of living sitters. These works form the basis of this study which is presented in two parts: the general observations and conclusions reached from studying the portraits as a group and, secondly, entries for each of the portraits. The dissertation begins with a brief description of the evolution of portrait sculpture from the Renaissance to Rodin{\textquoteright}s time with the emphasis on the relevant contributions of previous masters. Some of Rodin{\textquoteright}s own early portraits from the 1860{\textquoteright}s and 1870{\textquoteright}s, those which give evidence of his personal style, are analyzed. The contemporary reports of Rodin{\textquoteright}s great popularity as a portraitist and the very high fees that he reportedly charged after 1900 are examined, traced to their sources, and found to be greatly exaggerated. In fact Rodin frequently chose his own sitters. This evidence provides a new context in which to study his portraits. Following the conventions of his time Rodin was interested in classifying people according to type. Many of his subjects were publicly acknowledged as "typical" because of their character, profession, or physiognomy; this seems to have been a factor in his choice of sitter. The majority of his portraits of women form an astonishingly cohesive body of work that leads to the conclusion that Rodin approached these portraits with a preconceived ideal, one that combined some Neoclassical precepts, contemporary aesthetic standards, his own personal preferences, and ideas drawn from some heads (not portraits per se) by Michelangelo. In his portraits of men Rodin displayed his originality, his psychological insightfulness, and his commanding talent as a portraitist. His greatest portraits rank him with the masters who preceded him. The individual entries provide supporting evidence for the general conclusions. They include biographies, formal analyses of the busts, extensive correspondence between Rodin and his sitters and, in many instances, contemporary photographs and other portraits of the sitters. Rodin{\textquoteright}s artistic sources and choices in modeling the portraits become clearer when photographs and other portraits are examined.}, keywords = {19th- and 20th-Century European Art}, author = {Hare, Marion J.} } @mastersthesis {7015, title = {Baker Lake Intuit Drawings: A Study in the Evolution of Artistic Sef-Consciousness}, year = {1985}, school = {Michigan}, abstract = {Since the late-1940s, Canadian Inuit (Eskimo) artists have been recognized for their aesthetically strong and ethnographically interesting sculpture in soapstone, bone, and ivory. From the late-1950s onward, they have received similar attention for their stonecut and stencil prints. A growing body of critical and interpretive literature and a number of exhibitions have brought Inuit sculpture and prints to public attention. However, original drawings--the most personal and least commercialized form of Inuit art--have been the subject of little study. Viewed primarily as support for the Arctic printmaking programs, the drawings have, for the most part, been retained by the cooperatives in Arctic communities; few have been publicly exhibited. This dissertation is the first comprehensive study of contemporary Inuit drawings and focuses specifically on the drawings of Baker Lake, Northwest Territories. The cultural and historical context for contemporary art developments are reviewed in chapters one and two. Chapters three through five present and interpret the findings of this particular study which is based on the critical examination of more than 2000 Baker Lake drawings as well as extensive field interviews with the 17 most prominent Baker Lake graphic artists and/or their relatives. Comparisons are made between drawings by artists whose sustained contact with Western culture came relatively late in their lives ("first generation artists") and drawings by younger artists whose contact with Western culture came much earlier in their lives ("second generation artists"). While similar culturally based subject matter unites these drawings, striking stylistic differences distinguish the drawings of the two generations. The concluding chapter relates these stylistic variables to the differing social and personal contexts in which artists of the two generations worked; it also poses a conceptual model for understanding the stylistic changes as evidence of an evolving consciousness of self-as-artist among Baker Lake artists and speculates on the broader applicability of this model in the study of the history of art.}, keywords = {Art of the United States (except Photography and Film)}, author = {Jackson, Marion E.} } @mastersthesis {7000, title = {Balthus: A Monographic Study}, year = {1985}, school = {IFA/NYU}, abstract = {The French painter Balthus (Balthasar Klossowski, born 1908) depicts a self-contained world which seems to exist on the edge of dream and reality. He is best known for his somnambulistic Parisian street scenes, probing psychological portraits, enigmatic interiors and adolescent girls. Despite the painter{\textquoteright}s increased fame during the last decade, Balthus has remained the most elusive of contemporary artists by refusing to comment on his life and work. Indeed, the recent publications, monographs and exhibition catalogues that were authorized by the artist, do not offer so much as the date and place of his birth. This monographic study attempts to unravel the legend which the painter has woven around his life. The first two chapters treat in depth Balthus{\textquoteright}s origins, his youth, and his studies of the Old Masters in the Louvre and later in Italy. While Piero della Francesca, Joseph Reinhardt, a naive eighteenth-century Swiss painter, and Gustave Courbet were the first major influences on his painting style, Balthus{\textquoteright}s admiration for and friendships with contemporary writers and poets such as Rainer Maria Rilke, Pierre Jean Jouve Jouve and Antonin Artaud also contributed to his evolution as an artist. Chapter three analyses the major themes, the portraits, landscapes, and the celebrated interiors painted during his most productive period in Paris between 1934-39. The last section of this chapter attempts to define his most personal theme, that of sleeping or day-dreaming, pubescent girls, with the help of analogies taken from literature and from the artist{\textquoteright}s own youth. Balthus was always influenced by his surroundings, which he used as the settings for his works and which had a bearing on his painting style. Thus, chapters three through eight follow in chronological order the places in which Balthus lived and worked, when his style evolved from the harsh realism of his Parisian days during the 1930{\textquoteright}s to the fresco-like quality of the casein-tempera paintings during his Roman period in the 1960{\textquoteright}s and 1970{\textquoteright}s. As for Balthus{\textquoteright}s extensive work as a stage designer, it is described in chapter five, while the concluding chapter eight contains a critical assessment of his restoration of the Villa Medici in Rome.}, keywords = {19th- and 20th-Century European Art}, author = {Rewald, Sabine} } @mastersthesis {7019, title = {Ben Shahn 1947-63}, year = {1985}, school = {UCLA}, abstract = {On September 30, 1947 the Museum of Modern Art in New York (MOMA) opened its first retrospective exhibition of the work of the American artist Ben Shahn. In 1954 it organized another extensive exhibition of Shahn{\textquoteright}s work that was sent to Venice to represent U.S. painting at that year{\textquoteright}s Venice Biennial. These dates mark not only a time of intense artistic and political activity on Shahn{\textquoteright}s part, but also the height of McCarthyism and the Cold War. It is the intent of this study to investigate the complex manner in which Shahn{\textquoteright}s activities and the larger historical circumstances within which they occurred interacted during this seven year period. Such an investigation will contribute not only to the secondary literature on Shahn, which focuses most often on his work in the 1930s, but also to the art historical literature on this period in general, which tends to treat these years as the sole preserve of abstract expressionism. In studying Shahn{\textquoteright}s work and life at this time, we gain an understanding of Shahn as both an artist and a political activist; of the nature of the debates and tensions between figurative and abstract artists; and of the mechanics of trying to remain politically progressive in one of the most reactionary periods in U.S. history.}, keywords = {Art of the United States (except Photography and Film)}, author = {Pohl, Frances} } @mastersthesis {7052, title = {Beni Hasan in the Herakleopolitan Period}, year = {1985}, school = {Toronto}, abstract = {The ancient Egyptian tombs 15, 17, 27, 29, and 33 in the upper range at Beni Hasan are dated in this dissertation to the Herakleopolitan Period (Dynasties 9 and 10) and not, as commonly done, to Dynasty 12. In the first chapter, the traditions surrounding the Herakleopolitan Period, its duration, and the territory governed are reviewed. Dynasty 9 had four kings (Turin Canon IV.18-21), who ruled for eighty years (2213/12-ca. 2134 B.C.) and controlled the entire country. The rival Theban Dynasty 11, concurrent with Dynasty 10, curtailed Herakleopolitan suzerainty in the south, which was limited to the territory north of the Thinite nome. Dynasty 10 had fourteen kings (TC IV.22-V.9), who ruled for 86 to 111 years (ca. 2134-2047/22), the total depending on the year in which the Theban ruler Nebhepetre Montuhotpe reunified Upper and Lower Egypt. The second chapter features epigraphic distinctions between Herakleopolitan Period and Dynasty 12 work. Despite continuities, Dynasty 12 monuments display new epigraphic phenomena, all in the invocation offering formula. The third chapter has a review of the evidence previously adduced for dating tombs 15, 17, 27, 29, and 33 to Dynasty 12. Numerous exceptions and many other epigraphic and palaeographic details from Beni Hasan and other Middle Egyptian sites support a Herakleopolitan date. The fourth chapter covers the nontextual material useful for dating: tomb paintings, architecture, paintings of boats, and administrative titles. Seven appendices treat the Herakleopolitan coffins from Assiut, the appearance of the Coffin Texts prior to Dynasty 12, the date of the Ddjehutinakhte family from Bersheh, several Dynasty 11 sarcophagi and coffins from the Theban area, the Herakleopolitan tombs at Akhmim, the date of Ankhtifi of Mo{\textquoteright}alla, and the previously unpublished paintings from tombs 29 and 33 at Beni Hasan. 235 pages, 9 plates, and 37 figures.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Spanel, Donald} } @mastersthesis {7051, title = {Black and White Mosaic Pavements at Utica}, year = {1985}, school = {Minnesota}, abstract = {This study presents a typology for black and white mosaics at Utica and discusses its implications. The variety of pavements, their stylistic motifs, their chronology and the possibility of workshops are discussed. The study first reviews important scholarship on Roman mosaic pavements. Marion Blake stressed them as a subject for archaeological study leading to a chronology of Italian pavements in the 1930s. Since her work, additional mosaics have been discovered, and many of these have been catalogued in France, Germany, Algeria, Antioch, Turkey and Tunisia. The Corpus of Ancient Mosaics of Tunisia (CMT) has catalogued and described the existing mosaics of ancient Utica using the most careful archaeological techniques. This study is intended to serve as a model for future studies. It furthers that description of individual mosaics and their context and establishes stylistic connections. A brief history of the site is included. Differences exist between the Italian and Utican mosaics; for example there is a time lag, and there are no figured black and white pavements at Utica. A typology of the field patterns includes grid patterns, linear patterns, overlapping patterns, polygonal patterns, and overall patterns of semis. Other patterns included in the typology are sill patterns, and border patterns. Mosaics once known, but now lost, are also discussed, and unidentifiable fragments are briefly discussed in an appendix. The typology leads to the conclusion that there is stylistic change from the early strong geometric patterns to the later more varied patterns. The employment of black and white pavements in important rooms was most common in the second century, while polychrome pavements replaced them later for use in important spaces. In general, black and white pavements were most frequently installed during the second century. During the third century, there are several notable examples and during the fourth century only two examples, both of poor quality, exist. In general, the quality of black and white mosaics decline after the second century. On the basis of the detailed analysis presented here, certain deductions may be made about the existence of mosaic workshops. Because of the numerous extant examples it is possible to identify and discuss nine different workshops. Further study of the pavements of this site and others would help determine stylistic and regional links of mosaic at Utica to other important, but less well-documented, African sites.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Smith, Claudia G.} } @mastersthesis {7002, title = {Building Under Mussolini}, year = {1985}, school = {Yale}, abstract = {This dissertation investigates the formulation of a Fascist architectural language during the more than two decades of Mussolini{\textquoteright}s rule. A representative sampling of some of the most important competitions, building types, and subjects of debate is presented, along with discussions of Fascist aesthetics and the movement for modern architecture in Italy. The formulation of a new architecture expressive of the Fascist political idea--however vague that idea remained--did not exclude the proponents of the modern movement. To the contrary, modern architecture was not only tolerated in Fascist Italy, but was encouraged for certain types of buildings: it was employed for the most important exhibitions sponsored by the Fascist government, and often for sports complexes, educational facilities, train stations, post offices and Fascist Party headquarters. However, the participation of the modernists, or rationalists, as they called themselves, was limited to the design of temporary exhibitions, and permanent buildings that were more often than not of only secondary importance in their overall schemes. More significant during this period were the accomplishments of the so-called monumentalist architects, who created what is today readily recognized as a Fascist style. Under the guidance of their most eloquent spokesman and one of their most talented designers and organizers, Marcello Piacentini, the monumentalists succeeded in creating an architecture that is a moving amalgam of the vernacular, classical and the modern. Piacentini and his colleagues not only created a successful style for buildings commissioned by the Fascist government, but also re-formed the classical heritage into a modern, and very Italian, architectural language. It is hoped that this study will shed new light on a heretofore overlooked and unjustly maligned presence on the Italian cultural scene between the wars--an appropriately monumental, public and Italian architecture.}, keywords = {19th- and 20th-Century European Art}, author = {Shapiro, Ellen R.} } @mastersthesis {13230, title = {The Camera as an Instrument of Persuasion: Studies of 19th Century Propaganda Photography}, year = {1985}, school = {Penn State}, abstract = {This dissertation is concerned with political and social uses of photography, and their influence on photographic style. Early photographers were proud of the fact that their medium, unlike painting, was a purveyor of "pure truth", an endearing but simplistic notion which lent nobility to their calling. It took them time to learn and understand that the truth purveyed by a photograph could be less than pure and that, indeed, photographs can be made to serve truth, half-truth, and falsehood with equal fidelity. Moreover, a certain amount of manual interference with the photographic record seemed to be demanded by the public, and by the photographer{\textquoteright}s own sensibilities, to satisfy his second claim to fame, i.e. his claim to be not only an objective recorder of facts, but an imaginative, creative artist as well. This essential dichotomy has never been resolved; it is at the core of the medium and will always be with us. The thesis describes various ways, subtle and unsubtle, in which photographic images were manipulated for propaganda purposes in the 19th century, first in general terms (Chapter 1), and then in terms of four specific areas: political montage (Chapter 2), social reform movements (Chapter 3), medical/documentary photography (Chapter 4), and philanthropic appeals (Chapter 5). The (eight) "propaganda episodes" covered represent new findings. Though the corresponding photographs had been known to exist, their character and political context had never been researched, or subjected to stylistic and art historical analysis. Proposals for further work are also outlined.}, author = {Kathleen G. Collins} } @mastersthesis {7014, title = {Cass Gilbert{\textquoteright}s New York Career, 1899-1905}, year = {1985}, school = {Northwestern}, abstract = {Cass Gilbert{\textquoteright}s architectural practice reached national scope by 1899 when he settled permanently in New York City. The buildings that Gilbert created in the early twentieth century were products of his well-organized architectural firm working in concert with talented engineers and well-established contractors. These buildings were part of a broad trend in American architecture that I label Modern Traditionalism. Modern Traditionalist architects addressed an international, cosmopolitan audience, primarily in urban settings, and created their structures by adapting organizational methods of businesses to design processes. Gilbert{\textquoteright}s social life and financial dealings reveal a man who married well, rose into prosperous business circles, and invested his profits wisely. Gilbert was the executive of his firm, and he hired men to design facades and foundations. Through a study of Gilbert{\textquoteright}s ledgers, office correspondence, drawings, tracings and specifications, the dissertation documents Gilbert{\textquoteright}s personal and professional interactions, the staff that worked for him, and his commercial and public buildings that went up between 1899 and 1905. Fifty-two buildings and projects are listed together with an in-depth discussion of nine of these: the Broadway Chambers Building (1897-1899); the Jaffray project (1899); the New York Custom House (1899-1907); the Washington University competition entry (1899); the New York Union Club (1900-1901); the Louisiana Purchase Exposition Festival Hall (1902-1904); the St. Louis Art Museum (1901-1904); the Scheuer Building (1904-1906) and the West Street Building (1905-1907). In addition, two appendices give brief biographies of Gilbert{\textquoteright}s chief associates and office staff. Delegation and specialization allowed architects like Gilbert to tackle large projects efficiently and these large structures gained the attention of diverse urban dwellers. To appeal to the broad cross-section of city residents, Modern Traditionalist architecture often was ambiguous: it combined traditional stylistic vocabulary with new building technologies resulting in building imagery that carried several meanings simultaneously. This ambiguity gave buildings a diplomatic role in the city that bridged varied communities in much the same way that the architect-executive, himself a diplomat, coordinated the services of his designers, the contractors, and the engineers, and eased the building process.}, keywords = {Art of the United States (except Photography and Film)}, author = {Irish, Sharon} } @mastersthesis {7027, title = {Chou Liang-Kung and His Tu-Hua-Lu (Lives of Painters): Patron-Critic and Painters in Seventeenth-Century China}, year = {1985}, school = {Yale}, abstract = {This dissertation is comprised of two parts: a biographical study of the eminent seventeenth century art patron and critic Chou Liang-kung and an annotated translation of his well-known collection of biographies of contemporary artists entitled Tu-hua-lu (Lives of Painters). A detailed catalogue of extant paintings by the Tu-hua-lu artists from the author{\textquoteright}s original collection has also been included. The purpose of the work is to arrive at a better understanding of the milieu in which mid-seventeenth century artists worked through a study of Chou Liang-kung{\textquoteright}s life and thought and a critical annotated translation of his Tu-hua-lu. No attempt has been made to trace the stylistic development of a single artist or group of artists in depth, but a contextual approach has been used in an analysis of three artists; Hu Yu-k{\textquoteright}un, Ch{\textquoteright}en Hung-shou, and Wang Hui. Within the biography; several major themes have been explored: Chou{\textquoteright}s aesthetics and art criticism in relation to contemporary art trends; the role of the patron as an influential intermediary between individual artists and between schools; the impact of the political and social events of the day on the lives of artists and their patrons. Chou Liang-kung{\textquoteright}s thoughts and actions are examined against those of his teachers, friends and mentors in order to explore the major cultural themes of the day. The question of Chou{\textquoteright}s collaboration with the Manchus and his relationship with Ming loyalists has been closely studied. Evidence of Chou{\textquoteright}s own critical views of the Manchu rulers has been uncovered which helps explain his intimate relations with loyalists and his special appreciation of artists whose lives and works were a form of protest. The Tu-hua-lu, which is comprised of biographical sketches of seventy-seven contemporary painters based on the author{\textquoteright}s own direct contact as a friend, patron and critic provides a wealth of first-hand information on the art of the period. Although long recognized as the single most important primary historical source for mid-seventeenth century painting no complete translation of the work has ever been published. This fully annotated translation, attempts to solve problems of translation and interpretation by referring to numerous outside contemporary sources and by viewing the text in conjunction with Chou{\textquoteright}s own life, his other writings, and the history of the period. A history of the work and a critical analysis is provided in the introduction to the translation.}, keywords = {Asian Art}, author = {Kim, Hongnam} } @mastersthesis {7041, title = {The Church of Sta. Maria and S. Sigismondo in Rivolta d{\textquoteright}Adda and the Double-Bay System in Northern Italy in the Late Eleventh and Early Twelfth Centuries}, year = {1985}, school = {UC Berkeley}, abstract = {Since its discovery under a sheath of Neoclassical decoration at the turn of the century, the Lombard Romanesque church S. Sigismondo in Rivolta d{\textquoteright}Adda has been considered to be an imitation of S. Ambrogio in Milan. Analysis of the church{\textquoteright}s sculpture and architecture as it now stands yields a corpus of sculptural motifs and architectural details which can be safely viewed as original. When this corpus is compared to architectural decoration of the "Milanese school" with S. Ambrogio at its center, elements emerge indicating a non-Milanese influence, apparently from S. Michele in Pavia (ca. 1110-1130). S. Sigismondo was thus probably begun ca. 1120 by masons who had worked on the eastern half of S. Michele. Only after it was laid out in a double-bay system imitating the elongated double bays at S. Michele did Milanese artists arrive at Rivolta. Masons from S. Babila were responsible for some of the capitals and for the barrel vault in the presbytery, while the rest of the capitals were by artists from S. Ambrogio. The rib vaults of the nave are probably a reflection of those built in S. Nazaro (ca. 1110) or S. Ambrogio (ca. 1128). The connection of Rivolta with S. Michele yields a new relative chronology for the whole Milanese group, confirmed by a review of each church{\textquoteright}s sculptural and architectural vocabulary and by a reexamination of the pertinent documents. This new chronological ordering suggests with regard to the double-bay system that, while S. Ambrogio (ca. 1104-1130) still stands as its first Lombard example, the origins of the mature vaulted double-bay system in Northern Italy are probably threefold: (1) the alternating system with emphasis on the square grid, used without vaulting in Modena Cathedral (1099) and going back to Jumieges; (2) the application of this system to the 1:2 proportions of S. Ambrogio{\textquoteright}s reused Early Christian foundations; and (3) the indigenous Roman tradition of wide, rather low vaulted spaces, exemplified in Milan at San Lorenzo where the late Roman vault was being rebuilt, ca. 1104, just as work was starting at S. Ambrogio.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {McKinne, Jane Elliott} } @mastersthesis {7042, title = {Creatio et Redemptio: The Genesis Monogram of the St. Hubert Bible}, year = {1985}, school = {Delaware}, abstract = {Designed at the monastery of St. Hubert in the eleventh century, the Genesis monogram of the St. Hubert Bible (Brussels, Bibliotheque Royale, MS II. 1639, fol. 6v) is one of the masterpieces of Romanesque illumination. The monogram is composed of the IN ligature which opens the text of Genesis, personifications of the four elements, an image of the blessing Christ and depictions of various plant and animal species. The monogram{\textquoteright}s complex iconographic program gives visual expression to two important themes--creation and redemption--which indicate the unity of the Old and New Testaments. First, the monogram represents the so-called "doctrine of simultaneous creation." The tenets of this cosmogonic doctrine are expressed in Augustine{\textquoteright}s exegetical studies of Genesis and in the medieval commentary on Boethius{\textquoteright} The Consolation of Philosophy by Adalbold of Utrecht. Basic to the doctrine is the belief that the account of the six days of creation in Genesis 1 is an allegorical description of a single instant in which God created all things simultaneously. Abandoning the aims and devices of narrative illustration, the monogram{\textquoteright}s schematic imagery depicts the simultaneous creation of the inanimate cosmos, the plants, the animals and man. Although the monogram{\textquoteright}s primary purpose is to depict the cosmogonic moment, its representation of the elements and its zoomorphic imagery also foreshadow the fall of man and his redemption. The latter theme is most directly expressed through the cruciform arrangement of the four elements, derived by the monogram{\textquoteright}s designer from Hrabanus Maurus{\textquoteright} De laudibus sanctae crucis. A complex and highly innovative image, the monogram was synthesized from numerous literary and pictorial traditions, and is unique in the body of medieval depictions of creation.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Putney, Richard H.} } @mastersthesis {7055, title = {A Definition and Relative Chronology of the Jamdat Nasr Period}, year = {1985}, school = {IFA/NYU}, abstract = {The term Jamdat Nasr has acquired two different meanings that are often confused one with the other. On one hand, Jamdat Nasr denotes a chronological period that comes after Late Uruk and before Early Dynastic I. On the other hand, Jamdat Nasr is a descriptive reference to certain types of artifacts--painted pottery, semi-pictographic tablets, drill-style cylinder seals--or to specific artistic styles. Although these meanings of the term are related in origin, they are by no means synonymous. Nevertheless, Jamdat Nasr type artifacts are consistently assumed to date to the Jamdat Nast period, although the characteristics of what can be included in that period have not been critically examined for almost fifty years. The material from two soundings made below the Inanna temple at Nippur allows us for the first time to define a Jamdat Nasr cultural assemblage that is artifactually distinct from the remains of the preceding Uruk and the succeeding Early Dynastic I periods, yet is closely linked to both as but one stage in an unbroken sequence characterized primarily by gradual change. Due to the nature of the excavated remains, this initial definition consists primarily of a ceramic typology, plus a limited number of small finds and a few fairly general architectural characteristics. A nearly identical Jamdat Nasr assemblage, similarly distinguishable within an Uruk-Early Dynastic I sequence, appears in the material from Pit F at Ur. The pottery and non-ceramic artifacts from these levels have close parallels at Nippur and at two sites in the Diyala region--Khafajah and Tell Asmar. The two Diyala sites augment the definition of a Jamdat Nasr assemblage with a series of cylinder seals and additional stone vessel and amulet types. The new material from Nippur indicates that subsequent Diyala levels, assigned to the Protoliterate d period by the excavators, are not contemporary with Jamdat Nasr, as was believed up to now, but with Early Dynastic I. Also, most of the so-called Jamdat Nasr Graves at Ur can now be redated to Early Dynastic I.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Wilson, Karen} } @mastersthesis {7054, title = {Dionysica: Bacchic Imagery in Roman Luxury Art of the Late Republic and Early Empire}, year = {1985}, school = {Columbia}, abstract = {Dionysus the wine god emerges as one of the most prominent deities in the religion, literature and art of the late Roman Republic and early Empire. The popularity enjoyed by Dionysus and his riotous cortege of satyrs, sileni and maenads is fully presented in luxury art made for wealthy Roman patrons. Figured scenes on costly wine vessels fashioned from silver, gemstone or cameo glass, as well as associated decorations on marble reliefs and frescos from the wealthy gardens and villas of Pompeii, attest to the Dionysiac presence in Roman domestic life. This is the first comprehensive study of Bacchic imagery in Roman luxury art from the time it appears in the mid-second century B.C. to its fruition at the end of the first century A.D. The full range of a long neglected repertoire is thereby revealed, and new interpretations are offered for both narrative episodes from the life of the god and ritual scenes from his cult. Viewed against the enduring association between Dionysus and luxury art in the art and thought of the Classical world, this study of Dionysiac decoration enhances our understanding of the eclectic but creative adaptation of Hellenistic models in Roman art. Further, consideration of the relationship between the decorative context of the Dionysiac imagery and the private needs of upper class patrons, as revealed by the Roman poets, sheds new light on an important aspect of the hellenization of Rome.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Van De Grift, Jon} } @mastersthesis {7062, title = {A Documentary History of the Pavement Decoration in Siena Cathedral, 1362-1506}, year = {1985}, school = {Columbia}, abstract = {This dissertation charts the development of the historiated pavement in Siena Cathedral through an examination of primary sources. The Archivio dell{\textquoteright}Opera del Duomo di Siena has been searched to establish as complete a documentary record as possible for this unusual monument, the only known figural pavement on such a grand scale originating in the Renaissance. Some two hundred documents, mostly deriving from the account books and other records kept by the Opera del Duomo di Siena, provide the core for the study, along with excerpts from Sigismondo Tizio{\textquoteright}s Historiarum Senensium. The study commences in 1362 with the earliest written reference to the pavement, concerning the rebricking of the floor surrounding the high altar. The analysis progresses through the various campaigns of the fifteenth century to 1506; by that date, the pavement decoration filled virtually every bay of the church then free of liturgical furnishings. The 1420{\textquoteright}s and the 1480{\textquoteright}s were most productive periods. The history of more than forty pavement panels is discussed in detail, with particular attention paid to matters of chronology and attribution. The pavement represents the efforts of not only renowned painters and sculptors active in Siena (e.g., Sassetta, Domenico di Niccolo, Antonio Federighi, Matteo di Giovanni, Urbano da Cortona, Neroccio, and Pinturicchio), but also numerous less celebrated figures working for the Opera del Duomo there. A great deal of information regarding the specific contributions of these individuals to the pavement project has been uncovered, including some new attributions. Considerable insight has been gained regarding the relationship of many artists and artisans with the Opera administration. Appendices present corrected transcriptions of all the documents discussed in the text and excerpts from Tizio{\textquoteright}s chronicle, along with lists of inscriptions in the pavement and Operai serving Siena Cathedral from 1359 through 1510.}, keywords = {The Renaissance}, author = {Aronow, Gail S.} } @mastersthesis {7064, title = {"Durerschuler" Hans Suss von Kulmbac}, year = {1985}, school = {Harvard}, abstract = {The dissertation, "Durerschuler" Hans Suss von Kulmbach is a comprehensive connoisseurship study of the oeuvre of one of Albrecht Durer{\textquoteright}s foremost pupils. Building on the work of Franz Stadler and Friedrich Winkler, I am concerned with characterizing Kulmbach{\textquoteright}s artistic personality and development and with strictly defining the contours of his oeuvre. That oeuvre had become a "catch-all" for paintings, drawings, woodcuts and stained glass not immediately attributable to Durer or to the master{\textquoteright}s better-known pupils Hans Baldung Grien and Hans Leonhard Schaufelein. Numer- ous wrong attributions have long disguised the fact that Kulmbach{\textquoteright}s style is as characteristic as Baldung{\textquoteright}s or Schaufelein{\textquoteright}s and led one scholar to dramatically and wrongly reattribute a large body of Durer{\textquoteright}s drawings to the pupil and other scholars to claim that there is no logic to Kulmbach{\textquoteright}s development. The dissertation treats more than seventy drawings and paintings that have been wrongly given to Hans von Kulmbach. Several works, including two Designs for Triptychs in the Albertina that have been given to Kulmbach since 1919, are attributed here to Durer. Other drawings and paintings are attributed to Jacopo de{\textquoteright} Barbari, to Lucas Cranach the Elder, to Hans Springinklee, who emerges as a painter of altarpieces, and to Wolf Traut, who emerges more clearly as a portrait painter with the attribution to him of three works including Portrait of a Young Man in the Germanisches Nationalmuseum in Nurnberg. It is argued that none of the large body of woodcuts generally considered to be Kulmbach{\textquoteright}s are by him and that Kulmbach did not come to Durer{\textquoteright}s workshop 1500-1501, as is generally accepted, finding his mature style soon thereafter, but that he came to Durer{\textquoteright}s workshop ca. 1504-1505, having learned the rudiments of his art in Wittenberg from Barbari and Cranach. Several new paintings are introduced to the Kulmbach literature.}, keywords = {The Renaissance}, author = {Butts, Barbara} } @mastersthesis {7021, title = {The Early Colonial Houses of Martha{\textquoteright}s Vineyard}, year = {1985}, school = {Minnesota}, abstract = {The well known Massachusetts coastal Island of Martha{\textquoteright}s Vineyard has a history of English settlement which goes back to the early 1640{\textquoteright}s. Though no structure remains from that earliest period, a remarkable number of houses survive from the last thirty years of the seventeenth century and the first thirty years of the eighteenth. These early Colonial houses, their documentation and evolution, are the subject of this dissertation. The dissertation is divided into three parts. Part I deals with the formative influences and distinctive development of the early Vineyard house. Chapter one gives a background history of the Vineyard and its early settlements. Chapter two describes the aboriginal inhabitants, their relations with the English, and how they built their wigwams. Chapter three deals with the unique development of the Island Colonial house type as distinct from the better known Colonial houses of Massachusetts Bay, Connecticut, and Rhode Island. Chapter four gives evidence for an early, one-room deep, thatched roof dwelling type that later grew into the familiar Vineyard house type with its two-room deep plan and thirty to forty degree roof pitch. Chapter five describes English origins and influences. Chapter six traces influences from Plymouth Colony and the Dutch. Part II describes the development of individual characteristics of the early Island house. Included here are chapters on stonework, framing, the roof, the development of the plan, walls, windows, interior rooms and panelling, chimneys, fireplaces, ovens, and the use of brick. Part III is made up of an individual documentation of the Island{\textquoteright}s earliest houses (those that pre-date 1730). These are listed according to the three older townships: Edgartown, (West) Tisbury, and Chilmark; and in chronological order. Evidence for this documentation is gained from a study of the early land Deeds and Probate Records of Dukes County, as well as Town records, early maps, geneologies, contemporary diaries and journals, Island histories, and the like. A measured study and analysis of each house is also included.}, keywords = {Art of the United States (except Photography and Film)}, author = {Scott, Jonathan F.} } @mastersthesis {7011, title = {Edwin Dickinson: An Iconological Interpretation of the Major Symbolical Paintings}, year = {1985}, school = {Penn State}, abstract = {Edwin Walter Dickinson was a major American artist who lived from 1893 until 1978. He generated more than four hundred pictures among which there is a small group of eight paintings, which includes The Rival Beauties 1915, Interior 1916, An Anniversary 1920-1921, The Cello Player 1924-1926, The Fossil Hunters 1926-1928, Woodland Scene 1929-1935, Composition with Still Life 1933-1937 and Ruin at Daphne 1943-1954, that are here identified as the major symbolical paintings. The chronology of these eight paintings spanned his career, and yet in their large size, style and subject matter they are clearly different from the rest of his oeuvre. The importance and quality of these eight paintings has always been recognized, as is witnessed by their entry into such major collections as the Museum of Modern Art, Metropolitan Museum of Art, Whitney Museum of American Art and other important collections. These paintings have also been the center of controversy as many writers have attempted without success to explain their meaning. This thesis offers resolutions to the meanings Dickinson associated with them. The major symbolical paintings are derived from events in Dickinson{\textquoteright}s life which include the suicide of his brother Burgess, the death in World War One of his friend Herbert Groesbeck and his life-long interests in the music of Beethoven, in the exploration of the Arctic and in the poignant lives of humble fishermen. The intertwined celebration of life and the drama of struggle and death which the major symbolical paintings represent has been discovered in the paintings themselves and in a series of letters Dickinson wrote, over a fifty year period, to his patrons the Ansley Sawyers. These have been supplemented with interviews of several people who knew Dickinson and by the application of Erwin Panofsky{\textquoteright}s soundly defined methodology for understanding iconological meanings in art. The literature which was accrued to the major symbolical paintings over the past half century is discussed in the first chapter. The second chapter considers Dickinson{\textquoteright}s life and discusses his preferences in art, music, literature, history, and science. The next four chapters investigate each of the eight paintings and discuss events and issues from which their imagery rose. (Abstract shortened with permission of author.)}, keywords = {Art of the United States (except Photography and Film)}, author = {Driscoll, John P.} } @mastersthesis {7001, title = {English Historical Themes in French Painting ca. 1815-48}, year = {1985}, school = {IFA/NYU}, abstract = {Themes from English history came into vogue at the French Salon in the late 1820{\textquoteright}s and 1830{\textquoteright}s. There are various reasons for their surprising popularity. One significant factor was the impact of Scott{\textquoteright}s novels in France; they inspired not only artists, but also writers and even French fashion designers. This period also saw a rapprochement between the French and the English, particularly in the social, literary and artistic fields. English visitors to France were commonplace and, in turn, aroused French interest in England. Anglomania, or the fascination with everything British, pervaded French life. It is the objective of this study to investigate how the anglomania of the Restoration and particularly of the July Monarchy influenced the painting of the time. A comprehensive study of all French illustrations of English history during this period is beyond the scope of this paper. Furthermore, it would be impossible due to the great number of paintings that are unlocated or destroyed. Therefore, we examined a representative sample of paintings on the most popular of these subjects during the second quarter of the nineteenth century. We also investigated the literary, political and social influences that promoted the popularity of these themes. The English historical subjects illustrated most frequently were those from the turbulent sixteenth and seventeenth centuries that related in some way to French history. The French Revolution had dealt a traumatic blow to established traditions, and looking back to the successive upheavals in English history lent a new perspective to this tempestuous period. Thus, images of the imprisonment of Mary Stuart, Anne Boleyn or Jane Grey brought to mind the tragic fate of Marie Antoinette. In addition, the longstanding ties between the Bourbon and Stuart monarchies enabled people to understand often unstated analogies between them. Images of Charles I were interpreted as references to the ancien regime, and more specifically to Louis XVI who, like his English predecessor, was executed by revolutionaries. Furthermore, an analogy between Cromwell, who usurped the English throne from Charles II, the legitimate heir, and Napoleon, who ultimately succeeded the Bourbon king, was also made.}, keywords = {19th- and 20th-Century European Art}, author = {Russcol, Diane} } @mastersthesis {7003, title = {Eugene Fromentin: Painter and Writer}, year = {1985}, school = {UNC Chapel Hill}, abstract = {Eugene Fromentin (1820-76) was born in La Rochelle, whose wide skies and sweeping plains left him with a love of nature for which he later found affinities in Algeria and in Holland. From his youth Fromentin showed intellectual and artistic promise and by the end of his life he had achieved renown as a painter, novelist, travel writer, and critic. Yet the discernment that made Les Ma({\textquoteright})itres d{\textquoteright}Autrefois one of the most eloquent studies of Flemish and Dutch art could also have a crippling effect on his own work, and Fromentin{\textquoteright}s letters poignantly document the self-conscious struggle of a man with his muse. Seldom was a man so sensitive to the highest qualities of great art and so aware of his continued failure to attain them. Fromentin made three trips to Algeria, and as painter and writer was one of the most celebrated Orientalists. In his two travel books and his novel, as in his painting, his strength lay in the still evocation of place and atmosphere rather than the representation of action. An attempt towards the end of his career to add a new dramatic dimension to his painting resulted in a sequence of interesting failures that were part of the wider movement to reinvigorate the tradition of history painting. Fromentin provides an example of an established artist who did not fit the stereotyped repressive academic mold. Like the Impressionists, he was opposed to the anecdotal content and slick finish of the Salon, yet his expressive alternative lacked the power of their art. During a period and place where the interchange between art and literature was of such importance, Fromentin{\textquoteright}s personal combination of the two resulted in a significant achievement both as painter and writer, and as artist and critic. Fromentin{\textquoteright}s refined critical sense and his high classical ideals made him judge his own efforts a failure but his romantic persistance in a continuing struggle to produce significant art make not only the result but the process worthy of consideration today, when the stages and evolution of creative endeavor have become almost as important as the finished work.}, keywords = {19th- and 20th-Century European Art}, author = {Thompson, James Perry Williams} } @mastersthesis {7056, title = {Fame and Photography: Portrait Publications, London 1865-1945}, year = {1985}, school = {UT Austin}, abstract = {This dissertation examines the production of celebrity portraiture in Great Britain during the latter half of the 19th century. It discusses the rise of photography as a new image-making medium and its commercial and social significance in portraying contemporary notables. Publications devoted to presenting portraits, often accompanied by biographies, are analyzed by theme, method of issuance and presentation, and are seen against a background of portrait collecting patterns which date from the Renaissance. It is argued that photographers{\textquoteright} techniques and portrait styles are related to marketing, sources of patronage and the commercial relationship of sitter and photographer. Questions of studio practice and the expectations of celebrity subjects and their audience are considered. Professional as well as personal criteria are suggested as determining factors in the appearance and issuance of the image. A detailed case study of a particular publication, The National Gallery of Photographic Portraits, highlights the issues involved in preparing a publication combining biographies with photographic portraits. The editor{\textquoteright}s papers are extant and provide documentation of the social and economic matrix within which the biographer and subject operated. The desire of biographers and photographers to portray notables sometimes conflicted with the intentions of the sitters. Two portrait publications presenting medical men raised issues of professional ethics. Doctors wished to gain publicity for themselves and their profession but to remain within the bounds of ethical conduct, which condemned advertising. Contemporary discussion reveals problems of professional identity and public exposure for a particular group rising within Victorian society. Finally, the appendices listing portrait publications in the engraved, lithographic and photographic media offer an overview of the genre as well as details regarding actual publication. By bringing together diverse publications for the first time, it is hoped that these appendices will aid scholars researching portraiture executed in the various print-making media. Against the background of sculpted and painted portraiture, the thesis argues that the rise of photography stimulated new issues regarding public exposure. The potential for mass production and distribution changed irreparably the historical relationship between subjects, biographers and artists.}, keywords = {Photography and Film}, author = {Prescott, Gertrude Mae} } @mastersthesis {7036, title = {Federico Borromeo{\textquoteright}s Pinacoteca Ambrosiana}, year = {1985}, school = {Brown}, abstract = {This study concerns the Pinacoteca Ambrosiana, which Cardinal Federico Borromeo donated to the city of Milan in 1618 as a teaching facility for his Accademia del Disegno. Borromeo{\textquoteright}s collection was rich in istorie of the Italian High Renaissance, casts of antique sculptures, and still lifes and landscapes by his Northern European contemporaries. The Cardinal wrote in the Pinacoteca{\textquoteright}s act of foundation (1618) that works of art in it were supposed to teach students in the academy how to reform modern sacred art. The foundation of my study is the complete catalogue that I have made of the Pinacoteca. This is preceded by a text of four chapters. The first chapter is a complement to the catalogue, in which I outline a series of distinct periods in Borromeo{\textquoteright}s collecting; this clarifies the motivations behind his acquisitions. Chapter 2 concerns Borromeo{\textquoteright}s practice of religious contemplation. It sheds light on the overall meaning of the collection, because it demonstrates that Borromeo found religious significance in all of his works, that is, in still lifes and landscapes as well as in istorie: he contemplated works of these genres. Thus, the still lifes and landscapes in the collection, which have been regarded as indicative of the Cardinal{\textquoteright}s purely secular taste, can now be seen as appropriate within his didactic sacred museum. The collection{\textquoteright}s relation to the academy is the subject of Chapter 3. In it I discuss the academic function of the museum and how critical and theoretical developments of the era influenced the Cardinal{\textquoteright}s conception of it. In addition, I discuss at length Borromeo{\textquoteright}s responses to works in the collection as seen in his treatises De pictura sacra (1624) and Musaeum (1625). In the final chapter I treat Borromeo{\textquoteright}s series of portraits of famous persons. Discussion of the portraits involves such issues as Borromeo{\textquoteright}s study of Christian archeology in Rome, and his use of Early Christian and medieval images as models for academicians. My research shows that Cardinal Federico Borromeo was a mainstream figure in artistic developments of the late Cinquecento and early Seicento.}, keywords = {Baroque and 18th-Century Europe}, author = {Jones, Pamela} } @mastersthesis {7063, title = {Florentine Paintings for Spalliere}, year = {1985}, school = {Virginia}, abstract = {Unlike frescoes, pictorial reliefs, altarpieces, and cassone paintings, the genre of panel paintings that were set into the spalliere of cassoni, armadi, lettucci, and wooden paneling which lined the walls of domestic interiors in late fifteenth and early sixteenth-century Florence has never been studied systematically. I am building upon the work of Schiaparelli, Schubring, Wackernagel, and Callmann, among others, in an effort to determine which cycles, now removed from their settings and dispersed to museums, can be considered part of the genre. In lieu of archival evidence, Vasari remains the source of our knowledge of the original purpose and settings of paintings by Botticelli, Ghirlandaio, Piero di Cosimo, Filippino Lippi, Pontormo, Andrea del Sarto, Granacci, etc. I have established that the genre flourished in popularity in Florence for fifty years or so, roughly between 1470 and 1520. I have also determined the criteria, such as measurements, figure scale, treatment of space, vantage point, and the style, purpose, and didactic intent of the narratives, which reinforced certain social institutions, that these panel paintings share. Such conventions bind the cycles together as a genre, distinguishing it from that of cassone painting and revealing the influences of monumental fresco decoration, relief sculpture, and theories of composition articulated by Alberti and Leonardo.}, keywords = {The Renaissance}, author = {Barriault, Anne B.} } @mastersthesis {7016, title = {Frederick Edwin Church and the North American Landscape, 1845-60}, year = {1985}, school = {Delaware}, abstract = {This study is primarily concerned with Frederic Church{\textquoteright}s depictions of the North American landscape during the most productive and important years of his career, 1845-60. Other subjects--most notably South American and the Far North--are discussed when necessary for a complete understanding of Church{\textquoteright}s achievements in portraying the American scene. The six chapters trace the sequence of paintings leading from such youthful efforts as Hooker and Company (1846), through the works of Church{\textquoteright}s early maturity (e.g., New England Scenery, 1851; Mount Ktaadn, 1853; and Sunset, 1856), to his masterpiece of 1860, Twilight in the Wilderness. The latter is the subject of an entire chapter. Although Church{\textquoteright}s North American landscapes are given close stylisitc analysis, the major emphasis is on interpreting them within the context of his overall oeuvre and against the background of mid-nineteenth century American culture. In doing so, particular attention is devoted to portraying Church as the true heir to the Tradition established by his teacher, Thomas Cole, who believed that the highest purpose of the artist was to convey moral and spiritual messages through the means of art. Thus, seemingly straightforward works such as West Rock, New Haven (1849) and Beacon, Off Mount Desert Island (1851), are interpreted as blending a realistic, Ruskinian view of nature with a moralizing, didactic approach reminiscent of Cole. Seen in this manner, Church{\textquoteright}s North American landscapes are interpreted as evolving from early optimistic and pastoral images that celebrated a peaceful interaction between man and nature, to more complex and less clear-cut depictions of the American wilderness through which the artist expressed grave misgivings about the fortunes of the nation. With Twilight in the Wilderness, Church created his summa of the American landscape in a pure wilderness image that has a complex structure of meaning involving the role of nature in the national identity, the course of contemporary political events, and his own religious faith.}, keywords = {Art of the United States (except Photography and Film)}, author = {Franklin Kelly} } @mastersthesis {7038, title = {Frederick, Prince of Wales (1707-1751) as a Patron of the Visual Arts: Princely Patriotism and Political Propaganda}, year = {1985}, school = {Yale}, abstract = {Frederick, Prince of Wales (1707-1751), the eldest son of King George II and Queen Caroline, was the first important royal patron of the visual arts in Hanoverian England. A great admirer of Charles I{\textquoteright}s artistic achievements, Prince Frederick tried to foster at his own court a similar appreciation for the arts of painting, architecture, sculpture, and garden design. Frederick also considered the collecting and commissioning of works of art to be an act of patriotism, and came to view the encouragement of the arts in England as one of his most important princely duties. The Prince used his patronage of the visual arts to promote his own image, and to increase his political power and prestige. Through his interest in art, he brought himself closer to the powerful English courtiers and aristocrats who surrounded him. As a foreigner who did not set foot in England until the age of 21, Prince Frederick needed to establish interests in common with his future subjects. As this study shows, he relied heavily on his artistic activities to establish this common ground, and to present himself to his future subjects as an Englishman. This study outlines the details of Prince Frederick{\textquoteright}s patronage and collecting, and sets them in context by comparing them to the activities of his contemporaries. Chapter 1 gives a brief biography of the Prince and sets forth some of his underlying motives as a patron of the arts. Chapter 2 considers portraits of Frederick, Chapter 3 his residences and their gardens, Chapter 4 the decorative arts, and Chapter 5 the Prince{\textquoteright}s picture collecting. Two appendices contain catalogues of portraits of Prince Frederick and of pictures in his collection.}, keywords = {Baroque and 18th-Century Europe}, author = {Rorschach, Kimerly} } @mastersthesis {7004, title = {From Pajou to Preault: The Development of Neoclassicism and the Sublime in French Sculpture: 1760-1830}, year = {1985}, school = {IFA/NYU}, abstract = {This study actually begins with the late work of Falconet and Pigalle, which reflects the first major awakening of interest in the sublime and the stoic. By the "sublime" is meant those charac- teristics of awe and horror defined by Burke, although occasions present themselves when these qualities meld, in certain works (e.g., gruesome exempla virtutis), with the "sublime" of super- human nobility and loftiness as defined by other eighteenth- century writers. As in painting, these developments were accompanied by a progressively more programmatic adoption of classical forms and themes. Though French sculptors like Houdon and Moitte revealed a solid classical sensibility, their contributions were largely over- shadowed by the fame of the sculptor Antonio Canova. The latter{\textquoteright}s work marked the high point of the International Style in sculpture and set the standard by which others measured themselves whether they admired the Venetian or not. The French sculptors Chinard, Chaudet and Bosio were the best known exponents of Canova{\textquoteright}s style in France. At the same time as this generation of sculptors came to maturity in post-revolutionary France, a strong nationalistic revival of Goujon{\textquoteright}s style appeared, accompanied by an increasingly pronounced taste for the ferocious and dramatic. The Revolution thus brought together the strands of the International Style with a more Roman or Davidian classicism (as seen in Moitte{\textquoteright}s work), Goujonism, sublime sentiment and new iconographic themes. In the first decade of the nineteenth century, another group of young sculptors emerged, including Giraud de Luc, David d{\textquoteright}Angers, Rude and Barye, who took their first lessons from the classicists at the Academy as well as from the Elgin Marbles. They were indirectly influenced by Thorvaldsen who espoused a more pointedly Phidian manner than Canova and showed the way to a growing archaism. They eventually put an end to the lucidity of the International Style, pursuing both more radically archaic forms as well as a freer stylistic and emotional vocabulary. This was most blatantly expressed in the work of David d{\textquoteright}Angers{\textquoteright} pupil, Preault, whose relief, Tuerie (1834), while imitating the form of a colossal ruin, rejected Phidian antiquity in favour of a new primitivism.}, keywords = {19th- and 20th-Century European Art}, author = {West, Alison} } @mastersthesis {7031, title = {The Genre Paintings of Louis-Leopold Boilly}, year = {1985}, school = {IFA/NYU}, abstract = {Louis-Leopold Boilly (1761-1845) was one of the most gifted and prolific genre painters working in late 18th/early 19th century France. The traditional academic heirarchy of genres, which until recently propagated a parallel hierarchy in the subjects of study selected by modern scholars, deemed Boilly and his fellow genre painters unworthy of serious consideration. This dissertation, completed at the Institute of Fine Arts, New York University by Carol S. Eliel and directed by Robert Rosenblum, demonstrates that stylistically as well as in terms of sources, subject matter, and composition Boilly was intimately involved with significant artistic shifts. A brief review of Boilly{\textquoteright}s life is followed by a consideration of his polished and detailed style. The causes for and ramifications of this "neo-Dutch" style are considered in an artistic, political, and social context. The issue of northern influence is then linked to the notion of meaning in Boilly{\textquoteright}s genre works. Scenes generally thought to be merely anecdotal are in actuality commentaries on contemporary social and political events, problems, and personalities in France. A study is then made of Boilly{\textquoteright}s use of sources for subject matter and composition outside the accepted boundaries of "high" art as well as his forward-looking treatment of specific subjects. Boilly{\textquoteright}s adoption of popular imagery for "high" art and his attitude towards many of his subjects are precocious in light of later 19th century painting. His precocity is further considered in an analysis of the artist{\textquoteright}s interest in science, optics, and perception, issues which come to the fore repeatedly in 19th and early 20th century art. Boilly is thus shown to be an artist of many faces. His work looks back to and was heavily influenced by northern art of the 17th century; his oeuvre simultaneously was informed by the socio-politics of his own day; and he also in various respects foreshadowed aspects of later 19th century art. Boilly{\textquoteright}s oeuvre is very much that of an artist poised on the cusp of modernity. While his work offers a portent of things to come, he remains a figure of that ill-defined but significant period of late 18th/early 19th century art.}, keywords = {19th- and 20th-Century European Art, Baroque and 18th-Century Europe}, author = {Eliel, Carol S.} } @mastersthesis {6991, title = {Giuseppe Canella and Parisian Painting}, year = {1985}, school = {IFA/NYU}, abstract = {Giuseppe Canella (b. Verona, 1788; d. Florence, 1847) was a painter of landscape and town views in Italy, Spain, France, and Northern Europe. No study of Canella has appeared in English; he is the subject of brief treatments by Bassi-Rathgeb (1945) and Pittaluga (1972). The focus of this dissertation is Canella{\textquoteright}s work as a Parisian cityscapist (1823-1832). Three chapters and an appendix catalogue of all known Paris views by Canella treat the iconography and stylistic development of his cityscapes and contemporary critical response to them. Two chapters and an appendix listing Parisian views exhibited at the Salon lay out the history of Parisian cityscape from the mid-eighteenth century through Impressionism, not only to place Canella{\textquoteright}s work in context, but to call for a reappraisal of forgotten painters whose achievements forecast the greatest Parisian views, those of the Impressionists. Impressionist cityscape has been seen as having little connection to past art, springing instead from critics{\textquoteright} demands for a painting of modern life, Haussmann{\textquoteright}s transformation of Paris, the influence on avant-garde painters of the optical peculiarities of early photography, and the Impressionists{\textquoteright} own unique style and approach to the modern urban motif. However, throughout the first half of the nineteenth century, an international group of Parisian cityscape specialists, including Canella, depicted contemporary Paris in a manner analogous to that of the Impressionists. The realistic portrayal of the settings and protagonists of modern life in seemingly arbitrary "slice-of-life" compositions determined by the artist{\textquoteright}s point of view and characterized by elements "cut off" at the edges of the canvas and an anti-monumental obscuration of important buildings and random scattering of figures are components of their style, as is an interest in the effects of light and atmosphere and a dedication to the direct study of nature in preparatory works. The cityscapes of the Impressionists are set against this background and seen as the finest products of a rich, continuous artistic heritage. The dissertation concludes with a discussion of early Parisian cityscape photography and a consideration of how Impressionist city views differ from those of earlier view painters.}, keywords = {19th- and 20th-Century European Art}, author = {Carpenter, Joan} } @mastersthesis {7047, title = {Greek Votive Reliefs to Pan and the Nymphs}, year = {1985}, school = {IFA/NYU}, abstract = {The purpose of this thesis is to collect and study the votive reliefs dedicated to Pan and the Nymphs during the Classical and Hellenistic periods in Greece. The work is divided into two parts: text and catalogue. Chapter I of the text serves as a background to our study of the reliefs. Various aspects of the cult of the Nymphs and Pan are explored both in mythology, and in the physical remains of their cave sanctuaries. Nymphs are related to fresh water springs and in that context many aspects of their character can be understood. As goddesses of fresh water they appear as virginal girls, often under the protection of the two Olympians whom they most resemble: Artemis and Athena. The evidence from their cave sanctuaries suggests that votive reliefs to the Nymphs were set up on stelai outside the entrance of the cave. The most famous sanctuary of the Nymphs in the city of Athens was the Klepsydra. A re-evaluation of the evidence suggests that Pan was worshiped in the cave directly above the Klepsydra. Chapter II is a discussion of the figural types used by votive relief carvers of the Classical period. A close study of the previous chronology for the reliefs suggests a downward shift in the dates, and that the typical cave frame was not introduced until around 340 B.C. Several figural types found on the votive reliefs appear on neo-Attic reliefs of the Antonine period. The evidence suggests that the latter are scale copies of an original monument which supplied the votive relief carvers with new figural types. This monument was the statue base of Dionysos Eleutherios carved in Athens ca. 340 B.C. Chapter III studies the archaistic and non-archaistic reliefs of the Hellenistic period in Athens. Again, an attempt is made to specify the iconographic source for these reliefs. Archaistic compositions serving as prototypes were the Round Dance, the Corinthian "Puteal" Types, Dionysos and Four Seasons, and Dionysos and Three Nymphs. Evidence suggests that an unspecified late Classical monument which carried mantle dancers also provided Hellenistic carvers with non-archaistic figural types. Chapter IV collects the evidence for the spread of Attic motifs throughout the Greek world. The catalogue lists each of the 113 preserved reliefs. Each piece is completely described and discussed in terms of date and iconography.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Edwards, Charles} } @mastersthesis {7060, title = {Haida Argillite Pipe Carvers: Stylistic Attributions}, year = {1985}, school = {University of Washington}, abstract = {The Haida people of the Queen Charlotte Islands carved a black carbonaceous shale during the nineteenth century for sale to non-Haida buyers. The first objects documented to have been carved in this material are tobacco pipes, ca. 1820. These pipes were produced in large numbers and in a variety of styles, and while a few were actually smoked, they were acquired by visitors to the Northwest Coast as decorative objects. This dissertation presents the results of a stylistic analysis of 970 Haida pipes as a study of individual nineteenth century Haida artists{\textquoteright} carving styles. A computerized statistical analysis produced the frequencies of stylistic characteristics found on 970 Haida pipes. The chronology of stylistic change in argillite carving is presented based on a detailed analysis of documented nineteenth century collections of 317 Haida pipes. Fifty-five stylistically similar groups of pipes are identified. It is suggested that these fifty-five groups represent the work of about thirty nineteenth century Haida artists. Most of the groups represent the work of anonymous artists or groups of artists who worked closely together in the early and mid-nineteenth century. A few have been associated with named late nineteenth century Haida carvers. The stylistic and iconographic changes in argillite carving are related to the changes in Haida culture and to the interactions between the Haida and Euro-American buyers of their art during the nineteenth century.}, keywords = {Pre-Columbian and Latin American Art}, author = {Robin Kathleen Wright} } @mastersthesis {7058, title = {A Historical Tradition in the Art of the Pre-Columbian Southwest Caribbean Lowlands}, year = {1985}, school = {UT Austin}, abstract = {In the pre-Columbian Southwest Caribbean Lowlands, a subregion of the Intermediate Area which included portions of what are now the modern republics of Costa Rica, Panama and Colombia, there existed a single artistic tradition which achieved its florescence during the period between A.D. 500 and the Conquest. This geographically derived term "Southwest Caribbean Lowlands" was coined in this dissertation to isolate the subarea from the greater cultural diversity of the Intermediate Area, a region extending from Mesoamerica to the Peruvian Andes, and also to avoid the negative cultural implications associated with the term "intermediate." Although this subregion was designated geographically, the principal basis on which the area was identified was the stylistic homogeneity of its art work. The possibility that an artistic province existed in this area was further supported by the cultural background of the region; all the peoples inhabiting this area in pre-Columbian times spoke languages within the Chibchan or Macro-Chibchan language family indicating an ultimate point of common origin, and all were at the same level of social, ritual and political development--a state classified in the anthropological literature as a "chiefdom." The art of these chiefdoms was explored in this study through the application of two basic methodologies, the configurational and iconographic. The configurational method was utilized to define the set of primary images which were the dominant visual motifs in the region{\textquoteright}s art. This set of primary images included frogs, human females, caimans, lizards, jaguars, predatory birds and human male figures and was further divided according to sexual classifications. The iconography of these images was explored through the use of ethnographic analogy and available historical data. This resulted in the designation of the two categories of male and female images as representing various aspects of the creator couple who were the earth and the sun.}, keywords = {Pre-Columbian and Latin American Art}, author = {Kelker, Nancy L.} } @mastersthesis {7028, title = {History and Design of the Early Buddhist Architecture in Korea}, year = {1985}, school = {Michigan}, abstract = {Buddhism and Buddhist architecture were transmitted to Korea from China in the late fourth century, and then to Japan from Korea in the next century; yet the Buddhist architecture of Korea and Japan followed faithfully that of China. This thesis focuses on the Buddhist architecture of Korea through the eighth century, which, in this study, is not viewed as one separate development but as a constituent part of the early Buddhist architecture in East Asia. The study, particularly, aims to identify: (1) the evolution of the site patterns of Buddhist temples; (2) the socio-religious background of the changes; and (3) design principles observed through perceptual analysis. All the original temples of this period have been destroyed, hence excavated sites and historical texts are the two major sources of information. This study consists of three parts. Part one discusses early Chinese Buddhist architecture from its beginning through the fourth century, which determined the direction of the whole of future development. Part two discusses the development of Korean Buddhist architecture from the fourth to the eighth century with reference to the Chinese and Japanese development. Based on the identified historical evolution of temple design, part three discusses the perceptual aspects of design involved in each stage of change. The historical metamorphoses of site patterns, and the factors that motivated the changes, could be identified. The investigation of perceptual aspects unveiled some important rules of design that further clarified the findings of the historical studies. Both historical and perceptual investigation coincide in the fact that the development of site design expresses the increasing awareness of man{\textquoteright}s symbolic position in temple design and his perceptual mode.}, keywords = {Asian Art}, author = {Kim, Sung-Woo} } @mastersthesis {7059, title = {The Holmul Style Late Classic Maya Polychrome Pottery}, year = {1985}, school = {UT Austin}, abstract = {The Holmul style pottery represents a specific subset within the total corpus of Late Classic Maya polychrome ceramics. Yet the locations of the workshops which created this ceramic art are unknown, as is the nature of the production itself. Through a combined art historical stylistic and trace elemental chemical analysis of the vessels{\textquoteright} clay paste compositions, the geographical locations of these workshops are indicated. The analyses suggest that two loci of production are represented by the eighteen vessels in this study, these being the archaeological sites of Naranjo and Holmul located in the eastern Peten lowlands of Guatemala. Yet internal stylistic and chemical variations among these eighteen vessels suggest that many different workshops in the area were creating these vessels. The stylistic and chemical data further indicate that these workshops were producing more than one style of painted pottery. These various styles of pottery have been excavated at other distant sites, and thus comprise evidence for long-distance trade of these specialized painted ceramic wares. The data suggest, then, that the Holmul style pottery was produced in the Holmul-Naranjo area and that numerous workshops were creating these vessels. It is suggested that the creation of these Holmul style vessels took place within a small extended family unit engaged in specialized and diversified pottery production. Such workshops are more than likely represented archaeologically by small housemound groups which are found at every archaeological site throughout the Peten lowlands.}, keywords = {Pre-Columbian and Latin American Art}, author = {Reents, Doris J.} } @mastersthesis {7066, title = {Iconographic Themes in Portraits of Henry VIII}, year = {1985}, school = {Texas Christian}, abstract = {This dissertation examines the iconography of several portraits of King Henry VIII of England in light of contemporary literature and the political and religious events of the period. Some of the major iconographic themes considered include: the royal supremacy, Henry VIII as an emperor and heir of Constantine and King Arthur, the end of papal authority in England, the divine right of kings, the Tudor succession, the king as lawgiver, the translation of the bible into English, and the influence of Machiavelli on the image of the king. This study enlarges Roy Strong{\textquoteright}s thesis in Holbein and Henry VIII that the English Reformation signaled a change in the visual image of the king. This dissertation expands that concept while offering different interpretations of specific works of art. The evolution of Henrician portraiture can be categorized into three phases: the pre-Reformation, the Reformation proper (the 1530s), and the post-Reformation or post-Holbein age in the 1540s. In the first phase, paintings of Henry show him as an elegant Renaissance prince with little iconographic significance. During the Cromwellian era, the chief minister fashioned an iconographic image of the king which differed sharply from that of the preceding period. Under Cromwell{\textquoteright}s guidance and Hans Holbein the Younger{\textquoteright}s artistry, the king became a divine right monarch, an emperor, and head of the Anglican Church. In the post-Holbein era Henry generally eschewed his imperial iconography of the sword and book, and instead adopted an iconography focusing on stability and the royal succession during the first years of his reign. Half of this study is devoted to an examination of two Henrician bible title-pages, for the translation of scripture was crucial to the development of the English Reformation. Both bible projects were patronized by Thomas Cromwell and the title-pages reflected the Reformation statutes and the literature written to defend the actions taken in the 1530s. These literary efforts comprised works by Christopher St. German, Stephen Gardiner, Thomas Starkey, and Richard Morison.}, keywords = {The Renaissance}, author = {Fielder, Martha Anne} } @mastersthesis {7043, title = {The Iconography of the Figural Pavements of Early Byzantine Palestine}, year = {1985}, school = {Columbia}, abstract = {This study of the figural pavement mosaics of early Byzantine Palestine represents the first comprehensive study of the iconography of these pavements and its relationship to mosaic decoration in other areas. Although Palestine was less important to the political and economic history of the late Roman world than other provinces, it surpassed in importance other regions of the empire in one crucial respect, Palestine was the Holy Land, the birthplace of two great religions, Judaism and Christianity. This unique status of the province of Palestine as the Holy Land to both Jews and Christians gave rise to the construction of numerous richly decorated churches and synagogues, many of which were paved with figural mosaics. Within the iconographic programs of these buildings the number of religious symbols used in pavement decoration is without equal in mosaic pavement decoration elsewhere. A comparison of the church and synagogue pavements reveals important differences in their iconographic programs. The figural pavements of Palestine also provide an almost unprecedented wealth of images for a study of the evolution of late Roman iconography. This can be seen not only in the more obvious areas such as scenes taken directly from classical mythology and the personifications of the elements of nature, but also in the genre subjects and even in the representations of flora and fauna, which can be seen as a development of the xenia motifs popular in ancient art. The chronological range of the pavements studied runs from the late third through the late sixth centuries A.D., but the majority of the figural mosaics, and most of the pavements dated by inscription, belong to the Justinianic and post-Justinianic period. The polychrome figural pavements of Palestine are thus chronologically later than those of most other Roman provinces and represent the end of this art form as it was known in the late Roman and early Byzantine world. The Palestinian pavements show simultaneously the strength of the Greco-Roman tradition and its breakdown. Their relationship to the art of major centers like Antioch, Constantinople, and Ravenna indicates that they reflect major currents in the art of the time.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Roussin, Lucille Alice} } @mastersthesis {6997, title = {Image of Orpheus in Symbolist Art and Literature}, year = {1985}, school = {IFA/NYU}, abstract = {The image of Orpheus embodies many of the fundamental concepts of the Symbolist aesthetic. Orpheus is the prophet-priest, descending and returning from the realm of the dead; the poet-magician, embodying the ideal combination of the arts; the isolated and tormented artist, expressing a conflict between aesthetic idealism and impure earthly imperatives. This multivalent mythical figure is implicit in many of the most important intellectual and aesthetic currents of the period--religious syncretism, Decadent pessimism, the androgynous concept, the synaesthetic ideal, Rosicrucian mysticism, occultism and Wagnerism. The myth of Orpheus provides a focus by which to analyze and synthesize these complex currents. Chapter One essentially constitutes an introduction to the myth itself, presenting descriptions in literature and the plastic arts since antiquity. Two different interpretations emerge: one which trivializes the myth, granting importance to the romance and Eurydice; and a second, which discovers profound meaning in Orpheus{\textquoteright} role as harbinger of civilization, archetypal artist, leader of cults, priest. The Symbolists engage in this second tradition, rediscovering the religious significance and psychological intensity of the myth. Chapter Two examines the intellectual syncretism which is a dominant characteristic of the nineteenth-century, focusing on Orpheus{\textquoteright} importance in universal histories, syncretic mythographies, and the alternative religions and occult groups which proliferated at this time. The narrative sequence of the myth itself provides the organizational principle for the body of the dissertation, Chapters Three through Six. The major artists are Moreau, Puvis de Chavannes, Redon, Delville, Seon and Rodin. The Symbolists{\textquoteright} idea of art as religion, transforms the traditional motif of Orpheus amidst the animals. The Symbolists are little interested in Eurydice, emphasizing, instead Orpheus{\textquoteright} lamentation. They portray Orpheus{\textquoteright} death, eschewing the onslaught of the Maenads, in favor of serene images of the dead poet. They were fascinated by the poet{\textquoteright}s oracular severed head, presenting it as an ethereal symbol of their idealist aesthetic. The orphic theme continues to be important in the twentieth-century, revealing the impact of Symbolism on the emergence of abstraction. The themes which revolve around Orpheus in the Symbolist milieu, endure to inform the evolving idealist, nonfigurative aesthetic.}, keywords = {19th- and 20th-Century European Art}, author = {Kosinski, Dorothy} } @mastersthesis {7018, title = {The Imperial Republic{\textquoteright}: Narratives of National Expansion in American Art, 1820-60}, year = {1985}, school = {Yale}, abstract = {"{\textquoteright}The Imperial Republic{\textquoteright}: Narratives of National Expansion in American Art, 1820-1860," is a two-part study focusing on new narrative forms in the visual arts during the key decades in the formation of national identity. Section one, (chapters one through a four), analyzes the career and oeuvre of Thomas Cole in light of the social and historical influences that shaped his vision of national declension. Cole{\textquoteright}s pessimistic response to Jacksonian democracy and to the accompanying geographical and economic expansion of the nation deeply influenced his forecast of the future. The visual form that best expressed his vision was the pendant and serial composition that outlined the relationship of the nation{\textquoteright}s past to its present and future in cyclical terms. A discussion of Cole{\textquoteright}s two-part works of the 1820s form the substance of chapter one; "The Course of Empire," (1836), is analyzed in depth in chapter two; chapter three examines the social context for the series; and chapter four explores Cole{\textquoteright}s critique of American national ambition, culminating in a discussion of "Prometheus Bound," (1847). Chapter five acts as a transition between the two major sections. It analyzes a series of works painted in the decade following Cole{\textquoteright}s death and influenced by his vision of an epic allegorical art that embodied the shape of national history. The painters discussed here, however--William Sonntag, Asher B. Durand, Jasper Cropsey, William Allen Wall, and Emanuel Leutze--offered a far more optimistic prognosis for the nation{\textquoteright}s future than Cole had. They also evolved new forms of national allegory that situated the progress of republican institutions in the American landscape itself. Section two, (chapters six through eight), turns to the popular vogue for moving panoramas of the Mississippi River that swept the country beginning in 1846, with particular attention to the figure of John Banvard. The purpose of this section is to isolate an alternative form of national narrative from the pessimistic historical cycles projected by Cole. Chapter six looks at the historical and economic factors that shaped the rise of the panoramic medium. Chapters seven and eight explore the panoramic use of scale, illusionism, spatial and visual continuity, and certain fictional devices that assisted the cultural colonization of the frontier West.}, keywords = {Art of the United States (except Photography and Film)}, author = {Miller, Angela} } @mastersthesis {7065, title = {Invention and the Italian Renaissance Print, Mantegna to Parmigianino}, year = {1985}, school = {Columbia}, abstract = {This study traces, in selected examples, the development of Italian engraving and etching over an eighty-year period, with particular emphasis on problems of artistic invention. Invention was recognized in the theory and criticism of art as one of three primary components of painting, the others being design and color. According to Leon Battista Alberti{\textquoteright}s De pictura of 1435, invention should earn the highest praise for the artist. Thus it is of great importance that Marcantonio Raimondi gave the title of "Inventor" to the creator of a design he had engraved (ca. 1508). In the course of chapters on Mantegna, Giulio Campagnola, Marcantonio Raimondi, and Parmigianino, the peculiar nature of designs intended expressly for the print media is analyzed, both in terms of the artistic objectives they serve and the public they imply. The development of the artists{\textquoteright} sensitivity to questions of genre and of the relationship between subject, freely conceived, and a discretionary employment of style, modified in deliberate emulation of the poet{\textquoteright}s learned use of style, is traced. In the concluding chapter the evolution of the meaning and use of the term invention during this period is discussed, in particular its decline in specificity of connotation during Parmigianino{\textquoteright}s career. Parmigianino is seen as closing a period begun by Mantegna{\textquoteright}s pioneering work in engraving, in that he still refers to specific inventions of the earlier master, while reflecting in his approach to both subject and style the weakening of the theoretical basis that had fostered the beginnings of master printmaking.}, keywords = {The Renaissance}, author = {Emison, Patricia} } @mastersthesis {7029, title = {The Jahangiri Mahal of Agra Fort}, year = {1985}, school = {Harvard}, abstract = {This thesis on the Jahangiri Mahal of Agra Fort begins with a brief historical introduction to Agra and to the architectural traditions of the region and period and pays particular attention to the history and chronology of Agra Fort in this. An indepth description and formal analysis of the Jahangiri Mahal is then offered, first establishing its immediate physical context and orientation within the Fort and proceeding to a careful examination of the various formal, structural and decorative elements which comprise its vocabulary. This concludes with an analysis of the particular stylistic traits displayed by the building with regard to its spatial, constructive, and ornamental aspects. The relationship between these and those of earlier works is referred to throughout the analysis. The history of the Jahangiri Mahal is then discussed in greater depth, first through a brief review of the architectural program undertaken by Akbar, the historiography of the building, and finally the data of the work. It is placed as one of the earliest of Akbar{\textquoteright}s buildings in the period of ca. 1565-70 on the basis of literary and stylistic evidence. The thesis concludes with a suggestion for the Jahangiri Mahal{\textquoteright}s probable function and meaning which is here viewed as the creation of an official and conspicuous residence-cum-headquarters for the emperor in his capital city of Agra. The particular aspects of architectural quality as embodied in the Jahangiri Mahal and the relationship of this to the {\textquoteright}Akbari style{\textquoteright} are the final points addressed through which the building is deemed to be among the most important and successful examples of the early Mughal idiom.}, keywords = {Asian Art}, author = {Klingelhofer, William G.} } @mastersthesis {7037, title = {Jan Victors (1619-76)}, year = {1985}, school = {Delaware}, abstract = {Jan Victors (1619-76), a gifted painter of the Rembrandt school, has long been overlooked in the scholarship on Dutch Baroque art. This first monographic treatment and catalogue raisonne of Victors and his works considers the question of his undocumented training; reconstructs his biography; traces his stylistic evolution; and then studies the subjects and iconography of his portraits, history paintings, and genre scenes. Five appendices supplement the text, presenting all the known documents relating to the artist; charting his genealogy and residences; offering facsimiles of his signatures; and discussing the problem of his drawings. The catalogue raisonne brings together for the first time approximately one hundred fifty of Victors{\textquoteright} authentic paintings, twenty-five uncertain and unidentified attributions, and a large group of rejected works. From this study, Victors emerges not only as a talented and forceful painter of figures, but also as a man with strong religious and moral convictions, which he frequently expressed in his art.}, keywords = {Baroque and 18th-Century Europe}, author = {Miller, Debra} } @mastersthesis {6998, title = {John Tenniel, Cartoonist: A Critical and Socio-cultural Study in the Art of the Victorian Political Cartoon}, year = {1985}, school = {Missouri}, abstract = {John Tenniel{\textquoteright}s cartoons occupied a place between journalistic and "high" art in the eyes of his countrymen. This study examines Tenniel{\textquoteright}s drawings for Punch from 1850 to early 1901 in relation to the cultural ambience of the period and to some of its social concerns. Chapter I gives insights into those facets of Tenniel{\textquoteright}s experience and personality which contributed to the piquant blend of mockery and grandeur in his work. The purpose of Chapter II is to examine the comic, the grotesque, and the artistic aspects of Tenniel{\textquoteright}s art. The cartoons were enhanced by the subtle introduction of caricatural elements which were both form-creative and aesthetic. Some, by their heroic character, filled the void created by the lack of a state-sponsored didactic and patriotic art program in England. Amended in this section are the many erroneous statements which have been made during this century regarding Tenniel as a draftsman on wood. Chapter III relates Tenniel{\textquoteright}s drawings to specific categories of Victorian painting and sculpture. Chapter IV, which constitutes the second part of this essentially two-part study deals with the iconographies generated by the working-class movement in England and by Irish disaffection. These subjects were selected for what they might reveal about Victorian people. The vehemence of the Punch cartoons toward the dissident Irish, a group which was formed largely of the peasant or working classes, provoked this inquiry into how Tenniel had dealt with the English working man. The investigation proved to be rich in images common to cartoons, paintings, prints, novels, and the stage. The persistent motif of the shillelagh brawl in the Irish cartoons disclosed a linkage between the apprehensions with which the affluent classes in England regarded their own working classes and their attitudes toward the Irish. The final chapter discusses the influence of the cartoons, the interest with which they were followed nationally and abroad, and the plagiarizing of Tenniel{\textquoteright}s drawings by other papers. Their continued reproduction in studies of the Victorian years attests to Tenniel{\textquoteright}s success in encapsulating the Victorian self image.}, keywords = {19th- and 20th-Century European Art}, author = {Morris, Frankie} } @mastersthesis {7005, title = {Konrad Kramer: His Art and His Context}, year = {1985}, school = {IFA/NYU}, abstract = {The dissertation is monographic and biographical; it traces the career of Konrad Cramer (1888-1963) in the context of the many artistic friends he had, and the various artistic environments he inhabited. Born in Karlsruhe, he was exposed to avant-garde movements in Munich, before moving to New York after his marriage in 1911. Drawing extensively on diaries written by his American artist wife, Florence Ballin, the dissertation analyses his complex artistic development, which began with student works and led, via his acquaintanceships with Franz Marc and Alfred Stieglitz, to his radical abstract paintings, shown at the MacDowell Club in 1913. In the early teens the Cramers settled in Woodstock, New York, an artists colony whose evolution is outlined in the text. In the late teens Cramer abandoned his innovative abstract styles to experiment with Cezannism and Cubism, in the company of his artist friends, Andrew Dasburg and Henry Lee McFee. Simultaneously, another, more decorative side of his artistic personality was encouraged by Elie Nadelman, Robert Chanler, and Hunt Diederich. From the late 1920s to the mid 1930s his ever-changing art was dominated by still lifes and landscapes (often featuring gas stations) in a Cubist Realist style. He also produced many erotic drawings, parallelling fellow Woodstock artists, Yasuo Kuniyoshi and Emil Ganso, who were influenced by their friend, Jules Pascin. In the mid 1930s Ganso, Kuniyoshi, and Cramer became interested in photography, but it was Cramer who most seriously devoted himself to it. Encouraged by his friendships with Stieglitz, Eva Watson Schutze, and Russell Lee, be abandoned painting to concentrate on drawing (often using Surrealist automatist techniques) and photography. His photographs are those of a painter--often experimental, using techniques such as solarization, multiple exposure, and the photogram. Stimulated by younger contemporaries, including Bradley Walker Tomlin, Cramer{\textquoteright}s art became increasingly abstract. With his late, manipulated abstract photographs, of sculptural objects he constructed for that purpose, Cramer brought his career full circle, making significant and original works that reflect his innovative early abstract paintings in a new medium.}, keywords = {19th- and 20th-Century European Art}, author = {Wolf, Tom} } @mastersthesis {7039, title = {Manuscript Illumination in Toledo (1446-1495): The Liturgical Books}, year = {1985}, school = {Princeton}, abstract = {It has been the goal of this dissertation to attempt the reconstruction of a particular segment of art history by identifying, cataloguing and describing the illuminated manuscripts attributed by previous scholarship to Toledan illuminators, active during the episcopates of Archbishops Alfonso Carrillo (1446-1482) and Pedro Gonzalez de Mendoza (1482-1495). This dissertation is the first critical examination of this group. The resulting identification and definition of the manuscripts accepted here as Toledan have provided criteria that can be used to identify still other Toledan manuscripts that may appear or be recognized in the future. Much of the material included in this dissertation has never been published, nor has it ever been assembled in one place or presented in a systematic and comprehensive form. Only seventeen manuscripts of the fifty previously attributed to Toledan scriptoria have been retained. Except for a few mavericks, the rejected manuscripts have been assigned to two separate, non-Toledan groups--the Carrion group (named after the illuminator of ({\textquoteright})Avila Cathedral{\textquoteright}s Choirbooks, Juan de Carrion) and the Mendoza Master group (named after the unknown artist who painted a Crucifixion in a Missal (Res. 5) that bears the arms of Cardinal Mendoza). These two, newly assembled, groups have been provisorily localized respectively to Segovia and Seville/Burgos(?). Given the nature of the illumination now classified as Toledan, two manuscripts not previously linked to this group have been attributed here to Toledan scriptoria. They are a St. Augustine, City of God (X430.1-3) and a Tratado Militar (S.III.14), which were illuminated for Archbishop Carrillo. Three other works have been linked here, for the first time, to the Carrion group. They are a Book of Hours (Vit. 11), made for Isabella of Castile, a portrait miniature of Henry IV of Castile and a panel painting of St. Anne, the Virgin and Child, now in ({\textquoteright})Avila Cathedral, which has been here attributed to Juan de Carrion.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Bosch, Lynette M.F.} } @mastersthesis {7046, title = {The Monastery of Sacramenia and Twelfth-Century Cistercian Architecture in Spain}, year = {1985}, school = {Florida State}, abstract = {The Cistercian monastery of Sacramenia was founded in northern Spain in 1141. The architecture of the monastery is representative of the Cistercian style in Spain in the late twelfth and early thirteenth centuries. Many of the buildings from this period are still extant. The church, still standing in Spain, has been restored recently. The monastic buildings were purchased by William Randolph Hearst in 1925 and shipped to the United States. They were rebuilt in 1953 in North Miami Beach, Florida. This dissertation is divided into two parts. Part I deals with the history of the monastery of Sacramenia from its foundation until the present day. After a brief exploration of the history of the site and the origins of the name Sacramenia, the foundation and early development of the community are discussed based on the documents which have survived. The documents are then used to construct the economic history of the monastery and to suggest a date of 1174 for the beginning of the permanent building campaign. Finally the modern history of the monastery and the translation of the buildings to the United States are discussed. Part II of this dissertation concerns the architecture of the monastery of Sacramenia in the context of late Romanesque and early Gothic architecture in Spain and France. The buildings in both Spain and Florida are described in detail and the modifications made in the Florida reconstruction are surveyed. The sources of the architecture in twelfth-century Spanish and French styles are explored with particular reference to the plan of the east end of the church, the chapter house, and the church and chapter house capitals. The conclusion is drawn that the architecture of Sacramenia owes more to Spanish influence than had previously been thought. The date of 1174 for the initial building campaign, suggested by documentary and economic evidence, is confirmed by comparison to other Spanish Cistercian buildings, in particular to that of Veruela. The final chapters expand the exploration of the architecture to survey late Romanesque and early Gothic Cistercian architecture in Spain.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Sowell, Joanne} } @mastersthesis {7061, title = {The Moralizing Prints of Cornelis Athonisz}, year = {1985}, school = {Princeton}, abstract = {Despite his status as a major Dutch printmaker, the Amsterdam artist Cornelis Anthonisz (c. 1505-before 1557) has never been the object of any rigorous, comprehensive examination. This study intends to meet the need for such an examination by furnishing, first, a revised biography. It provides, in addition, a brief overview of his activity as a painter, cartographer, and designer of princely portrait woodcuts. The focus, however, is on what has been the least examined portion of Cornelis{\textquoteright}s oeuvre--namely, his twenty or so works on a variety of moralizing themes, often presented in elaborately allegorical terms and mostly, again, in woodcut. The discussion of these prints is organized thematically, and proceeds from essentially profane subjects to those of a more overtly sacred nature. Included in the former category are several works on the topic of wastefulness and concupiscence. Other related and recurring themes are the honoring and elevation of unworthy behavior and unworthy men, and the concurrent rejection and banishment of such qualities as concord and truth. Included in the category of sacred subject matter are several memento mori images, several images involving specifically Christian virtues, and a complex series on the Prodigal Son. Many of these images were printed along with fairly concise inscriptions; others are accompanied by lengthy verses. Also considered, then, is Cornelis{\textquoteright}s significant place in the history of that pictorial-textual hybrid form, the broadsheet. As might be expected of an artist specializing in a comparatively modest medium and active, throughout his life, in a city still in its cultural infancy, Cornelis seems to have directed his efforts not at some select, erudite audience, but rather at a broad if literate middle class market. Yet however colloquial in character, his imagery is shown to be remarkably rich and inventive. Drawn from a wide range of artistic traditions, literary conventions, and often from such popular, oral sources as proverbs and folklore, it offers a clear reflection of the economic expansion, the social tensions, the political uncertainties, and religious unrest that characterized the Netherlands during the first half of the sixteenth century.}, keywords = {The Renaissance}, author = {Armstrong, Christine Megan} } @mastersthesis {7053, title = {Mosaic Glass Face Beads: Their Significance in Northern Europe During the Later Roman Empire}, year = {1985}, school = {Minnesota}, abstract = {Later Face Beads, featuring faces, checkers, and other motifs made by mosaic glass techniques, were used by Germanic peoples outside the Roman Empire in the fourth and fifth centuries after Christ. An approximate relative chronology is suggested by associated objects in closed graves and settlement sites. Related Later Checker Beads help distinguish Later Face Beads from Early Face Beads and Early Checker Beads which mostly come from first to third century contexts. The frontal faces on the Later Face Beads and their symmetrical flanking designs are echoed in the art forms of Constantine the Great. Beads featuring faces with jewelled helmets resemble portraits on the coins and medallions of Constantine minted between A.D. 312 and 320. Actual jewelled helmets have been excavated with coins of Constantine. Such helmets could have belonged to soldiers in the emperor{\textquoteright}s palace guard. Other Later Face Beads may represent Constantine{\textquoteright}s sons and Helena, his mother. Constantine may have presented Later Face Beads to Germans leaving the imperial service as a momento. Alternatively, the beads could have been presented to German chieftains in exchange for goods or friendship. Chemical analyses by electron microprobe and optical emission spectrophotometer show distinctive compositions for the different colors used over several centuries. The glasses have compositions similar to Roman glasses, although a specific origin has not been found. Some of the compositions are similar enough to suggest a common glass batch or workshop. Later Face Beads were used by men as sword or scabbard pendants and by women as part of their necklaces worn on the breast. They could also have served as amulets. Several graves with Later Face Beads and Later Checker Beads contained Roman luxury imports obtained through trade or gift giving. The uniqueness of these beads, their probable imperial significance, and their presence in rich graves, suggests that their owners enjoyed an elevated social status and that the beads may have served as status symbols.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Stout, Ann} } @mastersthesis {7017, title = {Non-Geometric Abstraction and the American Abstract Artists Organization, 1936-46}, year = {1985}, school = {Florida State}, abstract = {The American Abstract Artists organization was the primary force behind the development and popularization of abstract art in America in the late thirties and early forties. The artists--including Rosalind Bengelsdorf, Ilya Bolotowsky, Byron Browne, Burgoyne Diller, Balcomb Greene, Carl Holty, Harry Holtzman, Ibram Lassaw, George McNeil, George Morris, Albert Swinden, and Vaclav Vylacil--developed a style of painting that stressed geometric abstraction based on the aesthetics of a European "purist" approach to painting, especially the Neoplasticism of Mondrian and the geometric compositions of Picasso. The period discussed spans roughly a decade: it opens with the earliest informal meetings of the group in 1936 and closes in 1947, when the advent of the "drip-style" painting of Jackson Pollock signals a major new direction in abstract art. With the arrival of a large group of Surrealist French emigrants in New York in and around 1940 and the appearance of Abstract Expressionism, the works of the American Abstract Artists were quickly eclipsed. Historical opinion, until very recently, dismissed the works of American Abstract Artists as derivative and without historical importance vis-a-vis subsequent developments in American art. Although one cannot dismiss the unique character of the inspiration which Surrealist art and theory brought to play upon the American vanguard beginning around 1940, the currently popular insistence on a definite schism between the American Abstract Artists and the Abstract Expressionist groups is not warranted. There are too many parallels which exist between the ideas and works of certain of the American Abstract Artists and the Abstract Expressionists. The nature of the American Abstract Artists{\textquoteright} vanguard, the roles of Hans Hofmann and John Graham in the development of the group, the American Abstract Artists{\textquoteright} familiarity with psychological doctrines, and particulars of the group{\textquoteright}s aesthetic together constitute a continuum of interests between the American Abstract Artists and the Abstract Expressionists. The purpose of describing such a continuum is to reevaluate the prevailing views of thirties{\textquoteright} geometric abstraction as essentially distinct in character from forties{\textquoteright} expressive abstraction.}, keywords = {Art of the United States (except Photography and Film)}, author = {Lizza, Richard William} } @mastersthesis {7023, title = {Northern European Links to Nineteenth-Century American Landscape Painting: The Study of American Artists in Dusseldorf}, year = {1985}, school = {UC Santa Barbara}, abstract = {In the mid-nineteenth century the American school of landscape painting underwent both a change of status and of self-regard. Landscape painters increasingly recognized that the "wilder image" of the American landscape was not only a powerful image but also a uniquely American one. In the late-eighteenth and early-nineteenth century, American artists regularly travelled abroad to supplement their American artistic education. But in the mid-nineteenth century the American artists who went abroad went to new artistic centers--like Duesseldorf--and took with them new artistic attitudes and an increased artistic self-confidence. This dissertation addresses the paradox posed by a group of American landscape painters (notably Worthington Whittredge, Albert Bierstadt, James MacDougal Hart, William Stanley Haseltine, and William Trost Richards) who all professed, to a greater or lesser degree, to be part of the maturing American national landscape school of painting and yet who all went to Duesseldorf in the 1850{\textquoteright}s to study and work. The study traces the history of the interest in German culture and art in the United States in the early-nineteenth century. It analyzes the character of the interest stimulated in America through British taste for German art, and discusses the nature of the direct cultural contacts between the United States and Germany (and between American artists and Duesseldorf art). It analyzes the forces which attracted American landscape painters to Duesseldorf and focuses on two major areas of communication--the landscape "Fach" of the Duesseldorf Art Academy and the nineteenth century system of patronage offered by the Art Union. It also addresses the importance of nationalism in art for both German and American artists at mid-century, and suggests how it, at once, drew together and separated German and American artists in Duesseldorf. The dissertation establishes that American artists did not go to Duesseldorf merely, or primarily, to paint like their German colleagues but that they were persuaded to go by a complex web of interrelated pressures woven around them by contemporary art patrons, art institutions and popular art journals.}, keywords = {Art of the United States (except Photography and Film)}, author = {Sperling, Lynda Joy} } @mastersthesis {7045, title = {Path to Salvation: The Iconography of the South Portal of St. Pierre de Moissac}, year = {1985}, school = {Washington University}, abstract = {While the artistic merit of the south portal at Moissac has been justly praised, the rationale for the form, selection and placement of its subjects has not been fully discussed. This study, then, elucidates the didactic theme of the program and the formal means by which it was expressed. Part One examines the sculptures in light of the past scholarship to determine the questions still unresolved and the need to view the sculptures as constituting a unified didactic whole. Then we discuss the early history of Moissac, through the abbacy of Roger (1115-1131), under whom the sculptures were probably produced. Next, Part Two addresses how the individual sculptures express the theme of the Path to Salvation and spiritual union with Christ. Represented in the porch, by the Parable of Dives and Lazarus and the Infancy of Christ, are the dual means of meriting redemption: by penitential trials and by obedience to the Law of the Prophets and acknowledgement of Christ as king and redeemer. Next, on the jambs and trumeau, Old and New Testament witnesses are presented as the spiritual bridge between the temporal and physical world in sin (the porch) and the eternal, abstract realm of Christ and salvation (the tympanum). This spiritual pilgrimage, then, culminates at the tympanum with the vision of Christ. By His Second Coming He displays His fulfillment of messianic prophecy, which imbues Him with the power and authority to effect the restitution of man. Part Three, then, discusses how our understanding of the sculptural program is affected by historical and cultural considerations. Here we examine how the selection of subjects reflects the history of the abbey and the concerns of its Cluniac patrons, while the placement of these subjects reflects the symbolic import of the architectural setting. In conclusion, we discuss how this anagogical journey is expressed by the formal and narrative qualities of the program. Progressing from the porch to the tympanum, we witness a gradual decrease in narrative and corporeal fidelity, which accords with the didactic import of the unified program.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Scheifele, Eleanor Lorraiane} } @mastersthesis {7057, title = {P.H. Emerson: An Art Historical Study of a Victorian Photographer}, year = {1985}, school = {IFA/NYU}, abstract = {Between 1886 and 1895, Peter Henry Emerson (1856-1936), a Cambridge-trained physician and amateur photographer, published seven books illustrated with his photographs of the Norfolk Broads and a treatise on Naturalistic Photography. His photographs caused a sensation, and his treatise sparked a furious debate on the goals and style of art photography. In the ensuing battle, the arrogant, inflexible Emerson managed to defeat only himself. At the age of 39, he abandoned photography and after a few years of celebrity was forgotten. It was not until the 1930s that the pioneering photographic historian Beaumont Newhall "rediscovered" Emerson and, largely due to Emerson{\textquoteright}s early encouragement of Alfred Stieglitz, placed Emerson among the "masters of modern photography." This dissertation, the first scholarly monograph on Emerson, seeks to document his career and to define afresh his historical importance. It establishes Emerson{\textquoteright}s initial reliance upon the painting and art theory of the New English Art Club, a group of Paris-trained, naturalist painters, and his subsequent reliance upon Whistler{\textquoteright}s print-making and art theory. It then differentiates Emerson{\textquoteright}s "naturalistic photography" from Stieglitz{\textquoteright}s "straight photography," a concept which became the dominant theory of 20th-century photography. In the end, Emerson{\textquoteright}s importance is both diminished and enhanced; his aesthetics were firmly rooted in 19th century, realist and symbolist soil, but he was the first to instill photographers with the ambition and scorn for convention that characterized the European avant-garde. The first chapter is biographical, placing Emerson{\textquoteright}s ten years of photographic activity in the context of his 80-year life. Chapter Two considers Emerson{\textquoteright}s previously unknown early works and relates them to Victorian, picturesque traditions. Chapter Three discusses Emerson{\textquoteright}s association with the New English Art Club and analyzes its impact on his photographic style. Chapter Four treats Emerson{\textquoteright}s theory and the surrounding political uproar, which ended in his "renunciation" of photography as an art. Chapter Five concerns Emerson{\textquoteright}s later career: his Whistlerian style, his revised theory, and the political aftermath of his debacle. The final chapter assesses Emerson{\textquoteright}s influence on English photography and on Alfred Stieglitz.}, keywords = {Photography and Film}, author = {Yochelson, Bonnie} } @mastersthesis {6993, title = {Philip Gilbert Hamerton: Victorian Art Critic}, year = {1985}, school = {UIUC}, abstract = {This dissertation examines the writing of the Victorian art critic, Philip Gilbert Hamerton (1834-1894), within the context of other critics{\textquoteright} writings, within the intellectual and artistic climate of this time, and within the newly developing profession of art critic. Hamerton, a prolific writer, was a key figure in the revival of etching whose criticism provides not only a barometer of Victorian taste but a means of understanding the then-evolving systems for the production and distribution of art. Central to this study are a consideration of issues as what moral values were held dear, how the artist{\textquoteright}s role was perceived in society, what ideas of decorum governed the selection of subject matter for painters and sculptors and whose role it was to educate a new art-buying public about what constitutes good art and what does not. This attempt to analyze the proposals and solutions put forward by Hamerton, in his time, is intended to shed light on the function of art criticism as practiced by both nineteenth- and twentieth-century writers.}, keywords = {19th- and 20th-Century European Art}, author = {Czach, Marie} } @mastersthesis {6994, title = {Picasso and His Art During the German Occupation: 1940-1944}, year = {1985}, school = {Stanford}, abstract = {After spending two months in German occupied Royan in 1940, Pablo Picasso returned to occupied Paris. He remained there for the duration of the war. In this study I examine Picasso{\textquoteright}s life and work during those four years, in a chronological framework. One purpose of my research was to determine to what extent and in what ways his art changed or reflected the political and personal events and circumstances of the period. I arranged chronologically over one thousand reproductions of the art Picasso created during those four years. I saw as many original works as possible and studied all the available information, including unpublished documents in archives in Paris. I interviewed several of Picasso{\textquoteright}s friends, family, and biographers, some of whom were also in Paris during the Occupation. Utilizing the information from all these sources, I analyzed the works of art both stylistically and iconographically. During the Occupation, as throughout his life, Picasso{\textquoteright}s creativity was motivated primarily by artistic concerns. The most significant changes in his art of those years occurred in his choice of themes. Some were new or had not been used for some time. Other themes disappeared from his work. Some of the changes reflect political circumstances, while others reflect more personal ones. Picasso continued to create in the styles officially considered "degenerate." The Picasso literature suggests that Picasso{\textquoteright}s art of the Occupation reflects those years in a general way: in certain motifs, such as the skull; in dull or dark color schemes; and in the sense of tension and confinement of the seated woman paintings or the reclining nudes. My findings indicate that there are some more specific, but subtle, references to particular events, such as the round-up of Parisian Jews for deportation in 1942, and the execution of hostages. Overall, these works are few in number, but they reflect Picasso{\textquoteright}s concerns for human relationships, in the social sphere, as well as the personal one.}, keywords = {19th- and 20th-Century European Art}, author = {Goggin, Mary-Margaret} } @mastersthesis {6992, title = {The Portraits of Edouard Vuillard}, year = {1985}, school = {Columbia}, abstract = {This study uses Edouard Vuillard{\textquoteright}s portraits as the basis for an examination of the artist{\textquoteright}s personal life, artistic evolution, and aesthetic theories. Drawing upon Vuillard{\textquoteright}s unpublished journal for much of its biographical information and substantiation of its formal analyses, it chronicles the artist{\textquoteright}s career from his academic instruction in the late 1880s to his association with the Nabis during the nineties and his gradual turn to naturalism around the turn of the century. Portraits and self-portraits of the first decade and a half of his career are emphasized, although examples of all the major phases of his oeuvre are represented. Vuillard{\textquoteright}s changing attitude toward himself and his role as an artist is considered in a discussion of his self-portraits; his relationships with his immediate family and close male and female friends are illuminated through analyses of their individual and group portraits. Vuillard{\textquoteright}s involvement with Symbolist theatre as a set designer and program illustrator is shown to have had a major impact on the course of his art, and specific works of Symbolist drama literature are related to the conception of numerous important portraits. Vuillard{\textquoteright}s shift around 1899 from a radical, abstracting style to more conservative, realistic one is examined. His rejection of his previous anti-naturalistic approach is seen within the context of a conservative tendency in the arts at this time; it is shown to have coincided with parallel reactionary movements in literature, painting, and drama. Profound personal events accompanied Vuillard{\textquoteright}s artistic transformation; he turned thirty, entered into a romantic liaison with Lucie Hessel, his dealer{\textquoteright}s wife, and experienced financial hardship. An analysis of the emotional, social and economic aspects of Vuillard{\textquoteright}s life during this period results in a new interpretation of his artistic development.}, keywords = {19th- and 20th-Century European Art}, author = {Ciaffa, Patricia} } @mastersthesis {7020, title = {Preston Dickinson: An American Modernist with a Catalogue of Selected Works}, year = {1985}, school = {Ohio State}, abstract = {This dissertation is a study of the life and work of Preston Dickinson, one of the leading Precisionists. Because of this group{\textquoteright}s ability to integrate pristine style with subjects that related to it--factories, granaries, still lifes of man-made objects--the Precisionists generally have been viewed as the first major unified movement in modern American art of the 20th century. Dickinson was one of the first to work in this precise style, in scenes of Harlem River bridges and other marine architecture of 1915, and was one of the first to promote the kind of imagery that became central to Precisionism. Yet, although it is generally acknowledged that Precisionism was a major trend--in a sense a compromise between realism and abstraction--it has been viewed too narrowly. It was not the classicism per se that made the Precisionists{\textquoteright} works continuously interesting; rather, it was their varied explorations beyond classicism. Dickinson stands out in this regard because this openness to new styles and imagery was greater than that of others in his generation. The strength of his art derives from the ways in which he continually pushed beyond a classical Precisionist style with his innovative and sometimes invented imagery and eclectic blend of styles. Reassessment of his oeuvre opens the way for a more balanced assessment not only of his contribution, but also that of other Precisionists to later art developments, especially geometric abstraction, American Scene painting of the 1930s and Superrealism. In this dissertation, therefore, Dickinson{\textquoteright}s career has been examined with an emphasis on his originality, both stylistic and thematic. Following a complete literature review, there is analysis of the style and content of his art, relating its development to the events of his life and the art historical context. Dickinson emerges as an artist who borrowed freely from other sources, yet remained for the most part inventive in his use of them. In their variety of style and imagery, his works contributed to the elaboration of a vocabulary of uniquely American styles and forms.}, keywords = {Art of the United States (except Photography and Film)}, author = {Rubenfeld, Richard} } @mastersthesis {7033, title = {Religious Institutions as Art Patrons in Late Baroque Rome}, year = {1985}, school = {Chicago}, abstract = {No abstract in ProQuest}, keywords = {Baroque and 18th-Century Europe}, author = {Dunn, Marilyn Ruth} } @mastersthesis {7025, title = {Robert Frederick Blum and His Milieu (1857-1903)}, year = {1985}, note = {Fourth advisor: D. Barke}, school = {CUNY}, abstract = {During his lifetime Robert Frederick Blum (1857-1903) established a reputation as one of America{\textquoteright}s leading artists. He created works of distinction in oil, pastel, watercolor, pen and ink, etching, and drypoint, and worked as an illustrator, painter of room decorations, muralist, and designer of stained glass. Blum continually accepted new challenges, achieving critical recognition for the quality and diversity of his achievements. This dissertation examines Blum{\textquoteright}s life and career in the context of the artistic affiliations which shaped his style and aesthetic point of view. As the first scholarly study of the artist, the author has sought to provide the reader with a clear understanding of Blum{\textquoteright}s background, involvements, and artistic accomplishments. This dissertation includes eight chapters covering the span of Blum{\textquoteright}s life and activities in America and abroad, including separate chapters devoted to his early experiences as an art student in Cincinnati, Ohio and Philadelphia, Pennsylvania working under the influence of the Spaniard Mariano Fortuny; his initial years in New York when he was principally active as a watercolorist, illustrator, printmaker and pastellist; his productive years in Venice and Japan when his interest increased in painting in oil; and his final years during which time Blum executed a major mural commission for his patron Alfred Corning Clark.}, keywords = {Art of the United States (except Photography and Film)}, author = {Weber, Bruce} } @mastersthesis {6989, title = {Robert Hudson Tannahill (1893-1969), Patron and Collector}, year = {1985}, school = {Michigan}, abstract = {The history of patronage and collecting in early twentieth-century America has received relatively little attention from art historians, and one of the most consistently overlooked figures in the history of art of this period is the philanthropist, the private individual devoted to the public support of the arts. The dissertation focuses upon one such figure, Robert Hudson Tannahill, upon the significance and impact of his collecting and support of modern art in Detroit, and upon the relationship of his activities to the broader patterns of collecting and patronage at the time. During the 1920s Tannahill began to collect, first became involved with the Detroit Institute of Arts, and came to know its Director, William R. Valentiner, whose commitment to modern art was to influence the course of his collecting and patronage. By the early 1930s he had begun to distinguish himself as a man of highly personal and advanced taste, seriously committed to the cause of modernism. Through his work with the Friends of Modern Art and the Detroit Artists Market, Tannahill contributed to the development of a modern collection at the Detroit Institute of Arts and to the encouragement of Detroit{\textquoteright}s artists. As a founding member of Detroit{\textquoteright}s Committee of the Museum of Modern Art and prime mover of the Modern Gallery of the Society of Arts and Crafts, he was responsible for organizing a number of importantly innovative exhibitions of modern American and European art, significantly enhancing its appreciation and acceptance in Detroit. Tannahill{\textquoteright}s private collection of over four hundred objects was left to the Detroit Institute of Arts in 1969. Through an analysis of the collection, Tannahill{\textquoteright}s taste is defined and his collecting patterns studied in the context of modern art patronage in the country at large. Although not part of the "first wave" of important American collectors of modern art, his collecting was generally in advance of fashion, and in the 1930s and {\textquoteright}40s, he was, unquestionably, Detroit{\textquoteright}s most significant collector. The story of Robert Tannahill as patron and collector is, in many respects, typical of the American philanthropist. The study of his role in Detroit reveals how significant an impact one person can make and sheds light upon the broad subject of the patronage and collecting of modern art in this country.}, keywords = {19th- and 20th-Century Europe and Near East}, author = {Harth, Marjorie L.} } @mastersthesis {7006, title = {The Royal Cloth of Cameroon}, year = {1985}, school = {Minnesota}, abstract = {In the various Grassfields chiefdoms of the West African country of Cameroon, an indigo resist dyed cotton textile functions as a fabric of status. It is considered as a "thing of the palace" in the same sense that beaded wooden sculpture and cast brasswork are. This study traces the origin of the Royal Cloth of Cameroon from the akya cloth woven and dyed by the Abakwariga of Wukari in Nigeria for the use of the Jukun kings. From Nigeria, Royal Cloth was traded into the Grassfields of Cameroon. A discussion of its use in the kingdoms of Bafut, Bali, Nso, Kom and Bamum is based on the literature and fieldwork. Later Royal Cloth was produced in both Foumban and the Bamileke areas. The study discusses motifs and the meanings of the cloths produced in Cameroon. Sections of the thesis dealing with style and typology establish three types of Royal Cloth: Wukari, Bamum and Bamileke. These three types are established on the basis of border treatment, design field organization and the relationship of design units to backgrounds. The Nigerian prototype is considered as a bordered design whose central field motifs are somewhat more realistic than the abstractions found in the two Cameroon types. Bamum and Bamileke cloths use abstractions of motifs that can be found in other forms of Cameroon art. While the Bamum cloths retain the Wukari borders, those from the Bamileke area reject that form of organization for a running pattern of design units. This type of design formation is closer to that found in many other examples of West African narrow band weaving. A chronology is established for the Royal Cloths seen during the study. The chronology is based on information supplied by museums, collectors, Cameroon chiefs and the available literature.}, keywords = {African Art}, author = {Harris, Moira} } @mastersthesis {7068, title = {The Sculpture and Prints of Domenico del Barbiere}, year = {1985}, school = {IFA/NYU}, abstract = {Domenico del Barbiere (ca. 1506 - 1570/71) was an Italian sculptor and engraver who worked in France, principally at Fontainebleau and in Champagne. Called Dominique Florentin in his adopted country, he is better known today as a printmaker of the "School of Fontainebleau" than as a sculptor. Yet, in this latter role, first as the best stuccatore--according to Vasari--at the French Court, and later as an independent artist with commissions throughout the Ile-de-France, Domenico was an important influence on French sculpture in the middle decades of the sixteenth century. This dissertation recounts his career and places him within the context of the French Renaissance. The first chapter examines the history of his life through the documents--many of them unpublished--assembled in the Appendix at the end of the thesis. An examination of Domenico{\textquoteright}s eighteen certain engravings follows, studied in relation to other French printmakers{\textquoteright} work, ordered chronologically, and analyzed for their sources and meaning. Chapter Three looks at his early sculptural activity, mainly in stucco or perishable materials, particularly within the context of Fontainebleau stucchi. Domenico{\textquoteright}s major works, carved between 1550-52, are the subjects of Chapters Four and Five. The jube of Saint-Etienne is placed within the tradition of French rood-screens and the sculptures considered as touchstones of his style. Important new attributions are made and relations of his work to Florentine style proposed. The lavish Tomb of Claude de Lorraine is examined at length, in relation to the significance of Guise patronage at mid-century and of Primaticcio{\textquoteright}s role as designer of the complex. Different hands in the carving of the tomb are sorted out. And an explication of the tomb{\textquoteright}s meaning in terms of Guise politics and religion proposed. On the basis of these firmly documented works the final three chapters attribute to Domenico sculptures in Troyes, his place of residence, reconstruct his 1550s and -60s commissions for the monarchy and nobility, and finally chart his influence on and relationship to French sculptors between Jean Goujon and Germain Pilon.}, keywords = {The Renaissance}, author = {Wardropper, Ian} } @mastersthesis {7040, title = {The Sculpture of Keystones of Barcelona Cathedral}, year = {1985}, school = {Columbia}, abstract = {Almost all of the one hundred and fifty-five keystones in Barcelona Cathedral bear religious imagery. These images are first considered as a whole to determine whether or not they constitute an iconographic program, then they are scrutinized individually to ascertain topographical relationships. Afterwards, the style of the sculpture of the keystones is examined to identify hands or workshops and comparisons are made with other contemporaneous works in sculpture and painting to find sources for styles. Throughout the thesis the "Libros de la Obra," a series of weekly ledgers continuous from 1378, provides detailed information about the construction of Barcelona Cathedral. Chapter one deals with iconography. The principal task is to compare the images on the keystones with similar images in other media in order to ascertain if those in Barcelona Cathedral are programmatic. This examination reveals that the configuration of images on the six major axial keystones of Barcelona Cathedral constitutes an iconographic program centered on Redemption. Further, it shows that the remaining keystones in the cathedral and cloister are related to the program in varying degrees of importance. Following this, an examination of individual keystones discloses that each of those on the major axis is related topographically to the place in the church over which it is set. The remaining three chapters deal with style. The sculpture is divided into three stylistic periods that correspond closely to the three periods of construction of the building. The first dates from 1299 to 1339; the second from about 1370 to 1400; and the third, from about 1405 to 1448. Within these divisions of style it is possible to isolate various workshops and to identify hands and sources of style. Keystones from the first period of style can be linked to workshops of well-known, contemporaneous, Italian sculptors. Keystones from the second period reflect the style of painting and sculpture in Barcelona at the time they were carved. Keystones from the third period of style usher in foreign currents popular in the French and Flemish courts of northern Europe during the late fourteenth and early fifteenth centuries.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Kostuch, Dorothy A.} } @mastersthesis {7010, title = {A Search for Identity: American Art Criticism and the Concept of the "Native School", 1876-93}, year = {1985}, school = {UNC Chapel Hill}, abstract = {Between the Philadelphia Centennial of 1876 and the World{\textquoteright}s Columbian Exposition of 1893, American art critics shifted their attention and approbation from the "native" features of American painting to more "national" types of expression. The difference between these two terms is a subtle but significant one: a "native" art reflects characteristics indigenous to a culture, while a "national" art may be produced by the assimilation of foreign elements. In the former case, distinction lies in purity; in the latter it is a result of the adaptation of traditional means to individual ends. During the last quarter of the nineteenth century, the difference between the "native" and "national" school of American painting was primarily a matter of artistic technique. The excessive concern of American critics with the technical aspect of art was due in part to the realization that American painting was inferior in this area to European work. It was also a result of the repudiation of both literary and literal painting in favor of art that represented aesthetic values and, in its higher forms, individual thought and sentiment. Art critics of the late nineteenth century believed that a national art was a reflection of national character. From its beginnings, American civilization had been distinguished from that of European by qualities of independence, energy, and crudeness; and during this period it was those painters whose technical manner best represented these features who were recognized as the most "native." As American artists became increasingly cosmopolitan, a conflict arose between the "wide western flavor" of life in the New World and the values of collaboration, order, and refinement that were embodied in the academic tradition of the Old. Painters trained in foreign studios found it difficult to express the American character with means that were antithetical to it in spirit. Criticis, too, were embroiled in this tension between the actual and the aesthetic. Nonetheless, they encouraged European contact as a means of furthering America{\textquoteright}s artistic destiny. Their anticipation of and desire for a "new" national art reflects an optimistic belief in the progress of American civilization--but it may also be interpreted as a manifestation of their unease with its current state. Although critics admired "native" painters who exemplified the American character as it was and had been, they promoted artists whose works seemed to promise a future society in which harmony and unity would prevail.}, keywords = {Art of the United States (except Photography and Film)}, author = {Linda Jones Docherty} } @mastersthesis {7050, title = {Sennacherib{\textquoteright}s {\textquoteright}Palace Without Rival{\textquoteright}: A Programmatic Study of Texts and Images in a Late Assyrian Palace}, year = {1985}, school = {Pennsylvania}, abstract = {As an art historian with training in ancient Near Eastern philology, archaeology, and history, I try to muster the resources of these various disciplines to address questions concerning the meaning and purpose of Mesopotamian monuments. For my dissertation I posed the general question, "How much can we recover of the program and message of a monument from a dead civilization?" The palace of Sennacherib (704-681 B.C.), a faily well-documented example of a Late Assyrian palace, was selected as the test case. My thesis is that one cannot begin to comprehend the meaning of such a structure by studying the images or texts alone, nor may texts and images be divorced from their architectural context. This thesis is examined in three parts. Part I deals with the textual portion of Sennacherib{\textquoteright}s palace decoration, placing his palace inscriptions in developmental perspective. The arrangement of texts and images of Sennacherib{\textquoteright}s palace displays two significant innovations: on the one hand specific visual images are now separated from unrelated general texts, each occupying its own clearly defined space; on the other hand epigraphs, brief captions that directly enhance the flow of the visual narratives, are expanded. Part II is concerned with the reconstruction of the visual portion of Sennacherib{\textquoteright}s palace decoration. The original extent and chronology of construction of the palace are examined, as are the sources of stone for its sculptural decoration. The relief sculptures of Sennacherib are distinguished from those of a later king--probably Assurbanipal--in the same palace and the subjects of Sennacherib{\textquoteright}s reliefs are investigated. From this it emerges that Sennacherib{\textquoteright}s relief subjects are distributed throughout the palace according to a variety of criteria, the most important of which are function and intended audience. Part III examines the message of this ensemble of text, image, and architecture for different components of its audience. I conclude that in Sennacherib{\textquoteright}s palace, text and images reinforce but do not "illustrate" one another; and that the message they present in the private areas of the palace, namely the positive benefits of good government, differs substantially from that presented in the public areas, namely the consequences of rebellion.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Russell, John Malcolm} } @mastersthesis {6996, title = {Studies in the Art of John Constable}, year = {1985}, school = {Princeton}, abstract = {This dissertation is a sequence of three discrete but interrelated interpretative essays on the English landscape painter John Constable. Their intent is to broaden our understanding and appreciation of the artist{\textquoteright}s work by integrating it more deeply into its contemporary intellectual and aesthetic worlds, and by seeing its clear connections with the painter{\textquoteright}s personal history. The first chapter focuses on what I feel are the central components of the artist{\textquoteright}s epistemology, and their links one to another. The ideas of four figures in particular from the arts, Sir Joshua Reynolds, Salomon Gessner, William Wordsworth and John Clare, are used to explicate Constable{\textquoteright}s complex vision. This method is perhaps best reflected in a consideration of the painter{\textquoteright}s use of Gessner{\textquoteright}s Letters in the summer of 1816 when we can see that they served both personal and professional purposes. Differences between Constable and these other figures are as revealing, of course, as consonances, e.g. comparing Constable{\textquoteright}s and Wordsworth{\textquoteright}s conceptions of the imagination and its activities. This discursive chapter closes with a lengthy consideration of the painter{\textquoteright}s religious views and the "morality" of landscape painting. The second chapter concentrates on the idea of time in Constable{\textquoteright}s era, and the rich world of time--past, present and future; natural and symbolic--in his paintings. Special attention is given to The Hay Wain. I also consider the approach to time in literature known to the artist, e.g. Thomson. Goldsmith, Aikin, Bowles, Rogers and the early novel, and pursue parallels between Constable and romantic poetry, notably Wordsworth, Coleridge and Clare. These men forged a more complicated presentation of time (and its relationship to place), than had their predecessors; a presentation which reflected their growing concern both with a more realistic naturalism and their own senses of self. I refute, however, the frequently espoused similarity between Constable{\textquoteright}s "six-footers" and Wordsworth{\textquoteright}s "spots of time," and, again, I believe that this clarifies Constable{\textquoteright}s thinking about his work considerably. In Chapter Three, I characterize and explain the reorientation of Constable{\textquoteright}s later art, 1826-37. His clear turn away from the goals he had been pursuing and subsequent retrenchment in the relative safety of established artistic traditions and the picturesque are the response to three sets of experiences: his visit to Sir George Beaumont{\textquoteright}s estate, Coleorton, in the autumn of 1823; his own continuing professional frustrations; and the tragic losses in his personal life between 1827 and 1932. We see an artist increasingly incapable of sustaining the heavy demands of his personal vision and its resulting inevitable demise. The chapter contains important discussions of The Cornfield, The Glebe Farm, Dedham Vale, Hadleigh Castle and Salisbury Cathedral from the Meadows.}, keywords = {19th- and 20th-Century European Art}, author = {Harwood, Edward S.} } @mastersthesis {7048, title = {Studies on Greek, Etruscan, and Italic Carved Ambers}, year = {1985}, school = {UC Santa Barbara}, abstract = {Less than a third of the more than four hundred carved figured ambers found in Italy dating to the Archaic and Classical periods have been published in any form. More than two hundred of these have only come to light in the last twenty years. These recent finds are known to only a few. In the literature on this topic it has not been established which artisans or artistic centers are responsible for all of these sculptural works. The relationship to other works of art in Italy and the Greek world has only begun to be understood. And, studies on the function, chronology, and iconography of the ambers are only beginning to be undertaken. This dissertation has attempted to address many of these problems using the methodologies of art historical research, including stylistic analyses, comparisons to other works of art, searches for sources and parallels, and investigations into iconography. First hand study of the majority of works enabled the principles of connoisseurship to be applied as well. This dissertation is divided into two parts. The first consists of introductions to the carved ambers of Etruria, Magna Graecia and Italic Italy where the criteria for the stylistic distinctions are outlined. The second part is made up of five specialized studies on individual pieces and groups. It has been shown that the use of amber in Etruria and Magna Graecia emphasized the inherent qualities of the material and its value as an imported luxury good. Among the Italic peoples, it seems to have had an additional worth based on the magical, amuletic, and medicinal virtues attributed to it. These qualities may also have determined the subject matter of the carvings. On the whole, all of the amber carvings from Italy can be shown to be dependent on other works of art for their subject, composition or style. There are few works which can be assuredly assigned to Magna Graecia and Etruria; these date to the later sixth and early fifth centuries B.C. The bulk of carved ambers from Italy are Italic, the work of the indigenous peoples of the peninsula, dating mostly to the middle-to-late fifth century B.C. They were carved in Lucania, Apulia, Campania, and Picenum.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Frel, Faya Causey} } @mastersthesis {7034, title = {Supernatural Themes in the Art of Francisco de Goya}, year = {1985}, school = {Michigan}, abstract = {Francisco de Goya{\textquoteright}s depictions of demons, monsters, witches, goblins, and other supernatural beings constitute a major part of his art. Most books and many articles on the Spanish master include some discussion of these works, but there is no detailed study devoted exclusively to them. The present investigation proposes to fill this lacuna by carefully examining the role that these supernatural beings play in many of Goya{\textquoteright}s series of paintings and etchings. It considers how and why these beings gradually assumed greater importance in his art and shows how they reached their climactic expression in the "Black Paintings" that the aged master created for his villa "La Quinta del Sordo." Chapter I of this study discusses the earliest appearances of the demonic in Goya{\textquoteright}s art and reveals that his first demonic beings of St. Francis Dorgia at the Deathbed of an Impenitent form an important part of the religious iconography of the Borgia Chapel in Valencia Cathedral. Chapter II traces the development of these creatures{\textquoteright} progeny of witches, goblins, and other monsters from the Suenos to Los Caprichos, and Chapter III examines the six witchcraft paintings that the artist created for the Duke and Duchess of Osuna. These two chapters show that in both Los Caprichos and the Osuna witchcraft series Goya used supernatural beings based on characters from Spanish literature and folkloric beliefs to symbolize the superstitions, vices, and irrational social abuses of his age. Chapter IV analyzes the new monsters that appeared in Goya{\textquoteright}s art during and after the War of Independence and suggests that they were a concrete manifestation of the forces of reaction, oppression, and destruction unleashed by the war and its aftermath. Chapter V presents a detailed examination of the "Black Paintings." The terrifying images of Saturn devouring one of his sons, witches celebrating the Black Mass, flying demons, and ghoulish monks are shown to be Goya{\textquoteright}s symbolic representations of very real ecclesiastical and political monsters that had subjugated Spaniards for too long. The chapter concludes that these fourteen works are a testimony of the artist{\textquoteright}s disillusionment and of his hatred and intolerance of injustice.}, keywords = {Baroque and 18th-Century Europe}, author = {Heckes, Frank I.} } @mastersthesis {7012, title = {That Old Time Religion: Painting, Drawing, and the Culture of Revivalism in America, 1915-40}, year = {1985}, school = {Minnesota}, abstract = {To the extent that American artists of the 1915-1940 period shared in a common commitment to present viable American subject matter in meaningful terms to a broad cross-section of the American people, it can be expected that they would depict those scenes or events of vital interest to the popular culture of their time. During the years 1915-1940, such subject matter existed in abundance in the rise of American religious fundamentalism and the rebirth of mass revivalism. This study examines critically the popular religious ferment in America during the years 1915-1940 and the impact revivalist religion had upon the painting and drawing of American artists. The work of Missourian Thomas Hart Benton, Kansan John Steuart Curry, and Iowan Grant Wood--the leading exponents of American Scene painting in the decades covered by this study--forms a convenient starting point for gauging the interrelationship between religion, revivalism and the American Scene discussed in Chapter One. Chapters Two and Three deal extensively with the most prominent of America{\textquoteright}s great revivalists whom artists of the teens, {\textquoteright}20s and {\textquoteright}30s found worthy of artistic notice. Figures like Billy Sunday, Evangeline Booth, Carry Nation, Aimee Semple McPherson, Fr. Divine became vehicles for satire in the canvases and lithographs of such artists as George Bellows, Philip Reisman, Edward Laning, Ben Shahn, Barse Miller, and Hugo Gellert. White evangelists did not monopolize the dynamic techniques or flashy preaching style of revivalism. Chapter Four and Chapter Five examine the responses of black churches--rural plantation congregations, independent African Methodists, Harlem storefront churches and various cult groups--to the changing social and religious conditions facing Negroes in the United States, paying particular attention to how American artists of the period chose to paint these groups, their spirituals and their preachers. Chapter Six focuses upon the practice of immersion baptism as artists of the 1920s and 1930s chose to paint that event. As rapidly as the revivalist furor erupted across America, just as rapidly did emotions subside. Chapter Seven treats the demise of revivalism in the 1940s and of American painting dealing with such subject matter.}, keywords = {Art of the United States (except Photography and Film)}, author = {Gambone, Robert} } @mastersthesis {7044, title = {The "things of greater importance": Bernard of Clairvaux{\textquoteright}s Apologia and the Controversy over Monastic Art}, year = {1985}, school = {UCLA}, abstract = {Bernard of Clairvaux wrote the Apologia ad Guillelmum Abbatem in 1125 at the request of William of St-Thierry, in response to criticism that Bernard had been insulting traditional Benedictine monasticism. Probably the most cited medieval text which deals with art, the traditional view of the Apologia has been on the one hand that if Bernard objected to art, it must have been because he objected to artworks, and on the other that it was a simple indictment of art as it existed at the abbey of Cluny in particular, and as at certain other Cluniac and Benedictine monasteries in general. However, the truth is different. Bernard divided his criticisms of monastic excess into the "small things"--which were matters of external observance--and the "things of greater importance"--which comprised the target of Bernard{\textquoteright}s almost total condemnation of monastic art. As presented in this study, the "things of greater importance" follow a sequence from the economic base of monastic art production (Art to attract donations: the monastic investment), to a discussion of the artistic means by which this was carried out (Art to attract donations: the liturgical artwork), the reception of excessive art on the part of the general public (Art to attract donations: the equation between excessive art and holiness), external social objections (Excessive art as opposed to the care of the poor), to the internal objections of monasticism (Art as a spiritual distraction to the monk). In the end, the "things of greater importance" were not artworks. They comprised an excess, a moral excess, which in threatening the poverty, seclusion, and spirituality of monastic life, threatened its very foundations. As to the direction of the Apologia, it was aimed no less and quite probably more at the "marginal" Benedictines and new monastic and collegial orders than at traditional monasticism. Furthermore, a comparison of the explicit and implict criteria of artistic excess in Bernard{\textquoteright}s treatise with the capital sculpture of the cloister of Cluniac Moissac and illuminated manuscripts from C({\textquoteright})iteaux shows that the Apologia was just as much directed toward artistically conservative elements within his own Cistercian Order.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Rudolph, Conrad} } @mastersthesis {7067, title = {The Tomb Slabs of Santa Croce: A New Sepltuario}, year = {1985}, school = {Columbia}, abstract = {This dissertation is a study of the tomb slabs of Santa Croce which were set in the pavement of the church before 1500. Of the one hundred and two examples, twenty-three are carved with effigies in low relief; the remaining are inlaid with colored marbles and bronze displaying familial coats-of-arms and inscriptions. The purpose of the thesis is to bring attention to a heretofore little known body of sculpture which remains largely in situ in the pavement of the church, and to prove that in spite of its simple format, the tomb slab served as a sepulchral marker for the wealthiest and most influential citizens of the city who, in turn, commissioned some of the best known sculptoral workshops to design and carve them. The body of the thesis is a catalogue of the tomb slabs arranged counter-clockwise in standard guide book order through the church. Each entry begins with the name and death date of the deceased, the location of the tomb, the materials and measurements, a transcription of the letters, the date of the marker, its attribution and a description of the arms. In the text of the entry is a detailed description of the slab, including its condition, and transcriptions of the sepoltuarii which form the major source material for the thesis. Preceding the catalogue is a series of essays on the (1) history of burials in Florence and Santa Croce; (2) the figural tomb slab; (3) the non-figural tomb slabs; (4) the history of Santa Croce; and (5) the sepoltuarii and other documentary sources. In "The Non-Figural Tomb Slab," the decorative motifs are traced from the mid-trecento to the end of the quattrocento. The works of Ghiberti and Donatello are highlighted in "The Figural Tomb Slab," including a proposal that Ghiberti was responsible for the Renaissance tomb slab. Other tombs or their designs are attributed to the workshops of Desiderio da Settignano, Bernardo Rossellino, Antonio Rossellino, Benedetto da Maiano and Verrocchio.}, keywords = {The Renaissance}, author = {Pines, Doralynn Schlossman} } @mastersthesis {7069, title = {The Tower of Babel in Netherlandish Painting}, year = {1985}, school = {Columbia}, abstract = {The story of the Tower of Babel has been represented in Western art from the sixth century to the present day. As the subject of independent panel painting, however, the popularity that it achieved in the Low Countries remains unsurpassed. More than one hundred works survive from the half century following the 1560s, the decade when Pieter Bruegel painted the Construction of the Tower of Babel twice. His paintings establish the artistic standard and the interpretative framework against which all later versions can be measured. Lucas and Martin van Valckenborch each painted the Tower several times, as did Abel Grimmer; many of the numerous unsigned versions have been associated with Hendrick van Cleve. This study examines these paintings, whose production seems to have been concentrated in and around Antwerp from about 1580 to 1610, and explores the reasons for the popularity of this Old Testament story. Traditionally, images of the Tower of Babel have been interpreted as warnings against pride, in accordance with the generally accepted moralizing tenor of the Genesis story. Yet the intense and relatively short-lived interest in the subject argues for a more particularized, and more topical, significance. The ways in which the Tower of Babel was handled in earlier representations, primarily manuscript illuminations, provide some clues. Other clues are contained in the paintings themselves as well as in pictures where the Tower appears as a subsidiary subject. Texts of various sorts, commentaries on Genesis above all, reveal how the Babylonian tower was used and understood. Several ideas emerge as being especially germane. Babel, that is to say Babylon, was a favorite metaphor of the Protestant reformers to signify the papacy; the Tower of Babel became a symbol of the Roman Church. Nimrod, who was commonly acknowledged as the instigator of the construction at Babel, was known chiefly as a cruel and tyrannical monarch. The subject of the Tower of Babel can therefore be seen as alluding to religious and political issues that were of great moment in the Low Countries: the hegemony of the Roman Church and the tyranny of the Spanish monarchy.}, keywords = {The Renaissance}, author = {Weiner, Sarah Elliston} } @mastersthesis {6999, title = {Tradition and Transformation: The Fables of La Fontaine and Their Nineteenth-Century Illustrations and Caricaturists}, year = {1985}, school = {Columbia}, abstract = {During the nineteenth century, the fables of La Fontaine provided artists with ways to link the achievements of the past to the concerns of the present. La Fontaine{\textquoteright}s fables were especially well suited for this purpose. Although written in an age of monarchical splendour, they treated themes that would become central to the age of revolutions. Artists merged past and present in fable imagery in a variety of ways. In the late eighteenth and early nineteenth centuries, artists interpreted the fables in terms of historical eras that implied values of gradeur and nationalistic pride. The fables also suggested parallels to issues in natural history, a factor reflected in the ways in which animals were presented either as beasts or as surrogate humans. Furthermore, La Fontaine{\textquoteright}s poems enabled artists to comment on specific political issues and events, as seen in cartoons produced by Daumier, Grandville and others during the early 1830s and after 1848. Current social issues could also be alluded to, as illustrations by Jules David and Dore demonstrate. La Fontaine{\textquoteright}s apparent naivete, the feature most often commented upon by eighteenth and nineteenth-century writers, was reflected in the style and subjects that artists chose to illustrate and interpret the fables. Rustic themes were especially appropriate to match La Fontaine{\textquoteright}s naivete, and during the nineteenth-century works by such artists as Courbet and Dore praised the benefits of rural simplicity over urban artifice. Rural virtue also surfaced as a major concern. In the work of Millet, fables about peasant widsom form a counterpart to the urban associations seen in politicized imagery of the 1830s. The fables of La Fontaine offered artists an established textual and visual vocabulary which they could transform for their own purposes. By playing on words and punning on pictures, they pushed the fables to the limits of socially and ethically acceptable moral didacticism. Shielded by tradition, artists used the fables to lash out at the injustices they saw around them, so that the past spoke to the present in a revitalized language of timeless values.}, keywords = {19th- and 20th-Century European Art}, author = {Powell, Kirsten Hoving} } @mastersthesis {7026, title = {Tunhuang Cave 249: A Representation of the Vimalakirtinirdesa}, year = {1985}, school = {Yale}, abstract = {This dissertation is a study of the decorative program of Cave 249 at Tunhuang in Kansu province, China. One of the best-preserved Buddhist caves at the site, it dates from the Western Wei period (A.D. 535-545) according to the Tunhuang Research Institute{\textquoteright}s comparative study of stylistic, epigraphical and archaeological evidences. Cave 249 is a coherent illustration of a single sutra, the Vimalakirtinirdesa-sutra. The narrative is represented in the form of a complex program with interlocking elements of sculpture and painting. The sutra{\textquoteright}s events have to be read in multiple sequences and across space by association and correspondence and within the framework of a story within a story. The shape of this narrative is further determined by the iconic focus: the Buddha image in the central niche. This study begins with an examination of the textual sources and contextual factors such as interpretive traditions, devotionalism, artistic models, and the tastes and interests of the Chinese audience. All these factors will be considered as part of the meaning of the cave decoration. The central part of this study is a reconstruction of the narrative sequence in Cave 249. This is followed by a discussion of the iconographic and stylistic sources. Published materials, new photographs taken in situ and drawings based on direct observation of the objects are used. In conclusion, this dissertation attempts to show that the variable phenomenon of sinicization is the determining factor in the unity and diversity of the illustrations of the sutra in Cave 249 and in other pre-T{\textquoteright}ang examples.}, keywords = {Asian Art}, author = {Ho, Judy Chungwa} } @mastersthesis {7022, title = {William Westmore Story}, year = {1985}, school = {Boston}, abstract = {Hailed by his contemporaries as a "modern Michelangelo," William Wetmore Story enjoyed recognition in his lifetime as one of the preeminent sculptors and litterateurs of his era. By the century{\textquoteright}s conclusion, however, his reputation began to plummet as a new generation of critics openly questioned the originality of his genius and the relevancy of his art to the modern age. Drawing on a collection of the artist{\textquoteright}s papers that few scholars have had access to until recently, this dissertation reassesses the significance of Story{\textquoteright}s career and oeuvre within the context of Victorian culture and taste. It is prefaced by a study of the pivotal role played by Henry James in shaping an image of Story that has colored most twentieth-century interpretations of the sculptor{\textquoteright}s life; specifically, James{\textquoteright} portrayal of the expatriate Story in William Wetmore Story and His Friends (1903) as a privileged dilettante to whom all things came easily, and whose social influence and force of personality gained him a professional success far in excess of his talent. While James{\textquoteright} book serves throughout this text as a thematic guide in framing discussion about Story, James is revealed as a prejudiced biographer whose ambivalence toward his subject biased his account of Story{\textquoteright}s career. The first chapter explores the reasons for Story{\textquoteright}s seemingly precipitate decision of 1847 to abandon a promising legal future in Boston to pursue art studies in Rome. Subsequent chapters review the formative phase of his artistic development abroad, establishing an accurate chronology of his activities and sculptural production. A study of Story{\textquoteright}s early experimental work charts his efforts to devise an original conceptual and compositional approach to sculpture. The impact of his friendship with the English poet Robert Browning is considered for the imaginative impulse it supplied to the formula Story eventually conceived, exemplified in the emotionally-charged, psychologically-probing marble renderings of ancient personalities he began to model in the late 1850{\textquoteright}s. Using Story{\textquoteright}s mature sculptural oeuvre and writings as narrative orientation, the concluding chapters document Story{\textquoteright}s ascent to fame and analyze the problems, personal and professional, that accompanied him in this celebrity.}, keywords = {Art of the United States (except Photography and Film)}, author = {Seidler, Jan} } @mastersthesis {7013, title = {Winslow Homer: Painter of the Civil War}, year = {1985}, school = {Harvard}, abstract = {Winslow Homer took the unusual step of becoming a painter in the midst of war. Homer had come to New York in 1859 probably to study painting technique, although he continued free-lance illustrative work before and during the war for a livelihood. Critics, however, as early as 1861, had encouraged painters to undertake war subjects. Homer had ready access to suitable material through his experiences in the field initially as an illustrator. Thus he was able to seize the moment of the Civil War to disengage himself from dependency on graphic work and pursue his interest in painting. Homer consciously grouped for recognition during the war years. He recognized the potential of the war as a means of promoting his career as a painter. Contrary to interpretations of Homer which have focused on his later hermit-like posture at Prout{\textquoteright}s Neck, during the Civil War years Homer clearly was part of the New York artistic environment. He heeded critical advice urging painters to deal with the war and responded accordingly, winning almost immediately favorable recognition. While Homer{\textquoteright}s activities and attitudes relating to the war years are shown as having been responsive to the times, at the same time they were distinct and singular. In order to appreciate this dichotomy, it is necessary to understand critical attitudes to Homer{\textquoteright}s work during the Civil War years and critical expectations for artists in general during that period. The actual practice of a few selected New York-based artists who occasionally dealt with war subjects provides a useful contrast to Homer{\textquoteright}s activity. Homer{\textquoteright}s Civil War drawings inform about his intentions and location and as such are a crucial corollary to his work as a painter. Lastly, the imagery which Homer found appropriate for the representation of the war, the development of his technique and concepts of the role of painting are presented through an examination of the Civil War paintings themselves.}, keywords = {Art of the United States (except Photography and Film)}, author = {Giese, Lucretia H.} } @mastersthesis {7049, title = {The Workshop of M. Novius Justus, a North African Lampmaker of the Roman Period}, year = {1985}, school = {USC}, abstract = {This study represents a preliminary effort to apply the methodology of Sir John Beazley and Professor A. D. Trendall to the study of terracotta lamps. In doing so, the provenance of 295 lamps marked with the name of M. NOVIUS JUSTUS was analyzed using modern findspots as the principal criterion. The concentration of finds in the El Djem area supports the hypothesis that this was the site of the original factory. Further, the absence of any finds of early products of the factory outside of North Africa disproves the suggestion of modern scholars that the factory originated in Italy. From this evidence it is also clear that exportation of the lamps was minimal during antiquity, most examples remaining close to the site of their original manufacture. Analysis of the motifs shows that designs chosen by the factory were comparable with those popular elsewhere in the Empire, although the greatest similarities are observed between factories in the closest geographical proximity. Systematic study of the chronology of the individual finds reveals that almost 90 percent date to the late first and early second centuries, the time of greatest financial prosperity throughout the Roman Empire. Examples, although fewer in number, also occur that have been dated from the early first to the late third centuries, suggesting a traceable functioning period of the factory extending over more than 250 years. This implies that the M. NOVIUS JUSTUS signature functioned as a trade name rather than as the personalized signature of an individual craftsman.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Manzoni, Anna} } @mastersthesis {6903, title = {19th-Century Belgian Caricature and the Lithography of Felicien Rops}, year = {1984}, school = {Boston}, abstract = {The impetus for this thesis was the recent attribution of over two thousand caricatures, found in rediscovered Belgian journals and comic salon catalogues, to the lithographic oeuvre of Felicien Rops. Careful examination of the new lithographs generated doubts about the validity of some of the attributions. They not only predated and postdated lithographs already assigned to Rops but differed in style and content. The repeated appearance of pseudonyms indicated the activity of several disguised artists rather than the prodigious work of a single artist. Nevertheless, the prints collectively established evidence for a heretofore unrecognized tradition of nineteenth century Belgian caricature (1845-1870) and provided an artistic and historical context for reappraising Rops{\textquoteright} lithography. The political caricatures document important foreign and domestic issues. A survey of the journals and caricatures concluded that: (1) the tradition of Belgian political caricatures was founded in France, where Belgian editors and caricaturists looked for inspiration; (2) French stylistic influences on Belgian caricatures have been exaggerated; (3) the established tradition was converted by Belgian editors into serving their national interests. With a relatively liberal political climate and a constitutionally protected free press, Brussels was a refuge for political exiles. Rops was frequently at the fulcrum point of this stimulating center for political and artistic activities. Rather than following an established tradition, the first Belgian comic salon catalogue preceded all French publications. Belgian satirists also extended caricatures on contemporary art beyond visual satire by initiating exhibitions in which the works of art were themselves caricatures. The genre of comic salon catalogues in Belgium even outlasted its French counterpart. A review of the style and content of Rops{\textquoteright} lithographs on politics and art demonstrated that they were thematically and formally related to later works in other media. Images of death and darkly shaded compositions in his earlier lithographs were transformed to represent the pessimistic themes of the fin-de-siecle. Rops even reverted to lithographic media in his experiments with vernis mou so that it remained the foundation of his work. Nineteenth century Belgian caricatures thus provide a heretofore unknown cultural heritage, serve as important documentation of Belgian{\textquoteright}s rich political and cultural milieu and establish a broader context for reappraising the lithographic oeuvre of Felicien Rops.}, keywords = {19th- and 20th-Century European Art}, author = {Olsen, Sandra H.} } @mastersthesis {6970, title = {Alfred Stieglitz{\textquoteright}s Photographs of Clouds}, year = {1984}, school = {New Mexico}, abstract = {In 1922, Alfred Stieglitz made ten photographs of clouds, thus beginning a series of photographs which occupied his attention for the next eight years. The Equivalents, as he came to call them, have been hailed as his most important contribution to photography. His aim was not to distill the essence of clouds but to transform them into an abstract language of form expressive of his feelings. Stieglitz believed that the sources of the Equivalents lay in his student work made in the 1880s. This dissertation proves, however, that his 1920s cloud photographs have little in common with his earliest work and are instead the culmination of his forty-year investigation into the medium of photography. The first chapter analyzes the sources of the cloud photographs in Symbolist art and photography as it was understood by Stieglitz and his associates at the turn of the century. The second chapter notes how the Stieglitz circle artists and critics (including Charles Caffin, Max Weber, Marius de Zayas, and Francis Picabia) merged this Symbolist heritage with their understanding of modern art, and it examines the new critical vocabulary which developed to explain abstract painting. Further, it charts Stieglitz{\textquoteright}s growing appreciation of abstraction and its influence on his understanding of the nature and function of photography. The third chapter discusses the influence on Stieglitz{\textquoteright}s cloud photographs of the post-World War I movement of cultural nationalism as espoused by writers and critics such as Van Wyck Brooks, Waldo Frank, Paul Rosenfeld, and Sherwood Anderson. It explains how this movement to understand the nature of the American spirit impelled Stieglitz, as well as Arthur Dove, Marsden Hartley, John Marin, and Georgia O{\textquoteright}Keeffe, to believe it was culturally imperative for them to unreservedly express their feelings. The fourth chapter examines how Stieglitz merged this heritage of Symbolism, modern art, and cultural nationalism into his cloud photographs. Further, it analyzes the stylistic and theoretical development of these photographs and Stieglitz{\textquoteright}s use of sequential and serial imagery. The concluding chapter assesses the importance of the Equivalents and their impact on American art and photography.}, keywords = {Photography and Film}, author = {Greenough, Sarah E.} } @mastersthesis {6910, title = {American Paintings in the Metropolitan Museum of Art: A Catalogue of Works by Artists Born Between 1846 and 1864}, year = {1984}, school = {CUNY}, abstract = {No record in ProQuest}, keywords = {Art of the United States (except Photography and Film)}, author = {Burke, Doreen B.} } @mastersthesis {6922, title = {American Realist Painting 1945-1980}, year = {1984}, school = {Boston}, abstract = {The purpose of this dissertation was to trace the diverse currents of realist painting since World War II and to chronicle its partial eclipse and subsequent reemergence from the shadow of abstraction. Analyses of individual works are presented against a background of theories and observations by artists and critics and of concurrent developments in other art. The introduction sets forth various premises and definitions, including a definition of pictorial realism. The latter is compared with alternative views concerning the nature of realism. In Chapter One those postwar realists are discussed that show little influence from Abstract Expressionism, although much of the work was deeply affected both by the recent war and by other forms of abstraction. Chapter Two takes up two groups of representational painters, centered in the San Francisco Bay area and in New York, whose work was directly influenced by Abstract Expressionism. In Chapter Three realist painting after 1960 except for Photo-Realism is analyzed. This work is grouped into five different tendencies: the significant subject treated seriously, the modest subject, enigmatic realism, trompe l{\textquoteright}oeil realism, and "modernist" realism. Chapter Four is a discussion of Photo-Realism, which is divided between paintings based (1) on amateur or commercial photographs and (2) on close-up or diffusely organized photographs in which pictorial surface and abstract values are emphasized. Both of these categories are subdivided. The conclusion argues that, although realism continued to be produced in the 1950s, the realist painting of the 1960s was sharply different from that of the previous decade and parallel to developments in abstraction and Pop Art in its methodical objectivity, a quality that cut across much of recent realism{\textquoteright}s diverse range of substyles and attitudes.}, keywords = {Art of the United States (except Photography and Film)}, author = {Ward, John L.} } @mastersthesis {6896, title = {Animal Themes in the Painting of Delacroix}, year = {1984}, school = {Princeton}, abstract = {This dissertation is an iconographic study of the animal imagery of Delacroix{\textquoteright}s major paintings. Within a biographical and chronological framework, it traces a continuing interest in emblematic and symbolic subjects involving animals from their first appearance in the artist{\textquoteright}s youthful writings, through the late, thematically complex programs of the Palais Bourbon, the Salon de la Paix, and the Galerie d{\textquoteright}Apollon. It is thus not strictly limited to a discussion of Delacroix{\textquoteright}s small individual paintings of animals, a relatively minor genre within his total oeuvre, but instead goes on to consider the relationship of such animal paintings to the other representations of animals that occur elsewhere in his work. For the sake of clarity, Delacroix{\textquoteright}s work has been divided into four phases. In the first period (to 1827), the artist experimented with a variety of animal images in an early project for Dante and Virgil, the decorations for Talma{\textquoteright}s dining room, and the Still Life with Lobsters. In the next period (1827-1839), interests in physiognomy and comparative anatomy predominated, reflected in Sardanapalus (whom one reviewer compared to a tiger), and Medea (whom George Sand compared to a lioness). In the 1840{\textquoteright}s, Delacroix was drawn to subjects with psychological or erotic implications. The Lion Hunts and the major decorative programs are typical of the last period. Towards the end of his career, Delacroix increasingly identified animals with unruly forces, the unruly passions with the individual human soul, the unruly classes in society. In the first sense, animal images were related to the problem of artistic inspiration, the conflict between the unbridled imagination and rational control; in the second sense, the destruction of wild beasts was seen as a necessary part of the ongoing struggle of civilization vs. savagery. While these ideas are implicit in Delacroix{\textquoteright}s own writings, a wide variety of literary, scientific and popular sources have been used to supplement the evidence of his journal and correspondence.}, keywords = {19th- and 20th-Century European Art}, author = {Finlay, Nancy A.} } @mastersthesis {6950, title = {The Architectural History of Auxerre Cathedral}, year = {1984}, school = {Princeton}, abstract = {The Cathedral Saint-Etienne at Auxerre, a major medieval monument in Burgundy, has not been the subject of a comprehensive architectural study. The earliest extant sections of the cathedral data from the early eleventh century, and the fabric was completed to its present state in 1543. This monograph aims to present a more comprehensive and precise view of the cathedral{\textquoteright}s architectural history. In chapter I the Romanesque structure is evaluated both as representative of planning and construction in the early eleventh century, and as the eventual base for the Gothic chevet. The evidence for the form of the Romanesque chevet is discussed, as is the sequence of modifications made to the crypt over the centuries. In Chapter II the genesis of the Early Gothic chevet is described. Its transformation after the collapse of Romanesque chevet towers in 1217 is explained, as well as its expansion into a High Gothic structure in the 1220{\textquoteright}s. The relationship between the chevet and Early and High Gothic monuments and its special "Burgundian" character are discussed. Chapter III discusses the planning and evolution of the thirteenth-century western complex. The complex was begun about 1240, was modified about 1270 and was completed about 1300. The dependence of this program on the programs for the facade of Sens Cathedral is stressed. In Chapter IV the Rayonnant campaigns in the nave and transept are described and differentiated. These campaigns began with the nave aisles in the 1310{\textquoteright}s and ended with the vaulting of the eastern three bays of the nave in the early fifteenth century. In Chapter V the Flamboyant campaigns of the fifteenth and sixteenth centuries, focused on the north transept arm and the upper west facade, are shown to be heavily dependent on the design of the High Gothic and Rayonnant sections of the cathedral, although they are decorated with ogee-based motifs. The conclusion summarizes the campaigns of construction and the chronology of the building programs. The fundamental conservatism of the cathedral design across time is stressed, since it informs the unified architectural aspect of the cathedral.}, keywords = {Byzantine and Medieval Europe}, author = {Titus, Harry B.} } @mastersthesis {6959, title = {The Architecture and Architectural Sculpture of the Sixth-Century Eufrasius Cathedral Complex at Porec}, year = {1984}, school = {UIUC}, abstract = {The Eufrasiana was built in its final form in the mid-sixth century in ancient Parentium (Porec, Parenzo). Founded by Bishop Eufrasius, it encompasses a basilica, an atrium, a baptistery, an episcopal palace and a cella trichora. The surviving decorative program includes opus sectile, architectural sculpture, furnishings and stucco, along with the well known wall and floor mosaics. The chance survival of the Eufra-siana provides us with one of the most complete and best preserved examples of an original cathedral complex, not only from the Justini-anic period (527-67) but indeed from the entire Early Christian era. The dissertation studies the architecture, sculpture (defined as furnishings, architectural sculpture, opus sectile and stucco) and history of the cathedral. In chapter I-V, each building is examined individually with regard to present condition, structural history and original format (reconstruction). Contrary to the traditional perception of the Eufrasiana as a homogeneous Justinianic complex, the evidence disclosed in Chapter VI reveals it as a collection of five disparate buildings from three points in time, three of which buildings date to a fifth-century complex. Chapter VI also isolates and examines those aspects which reflect the influence of building traditions in Ravenna and other local features. Chapters VIII-X analyze each aspect of the sculptural program, certainly the most dramatic contribution of Eufrasius. Unpublished material is catalogued. Each type of sculpture reveals something of the individual circumstances under which it was produced: there are intriguing permutations of spoils from nearby buildings, imports from metropolitan centers like Ravenna and local products. In addition, the question of how the ornamental program of a foundation such as the Eufrasiana came into being is addressed. Ravenna seems to have been a major source of outside materials for the ornamental program; abundant evidence establishes a particularly close relationship between the Eufrasiana and Archbishop Maximian{\textquoteright}s foundations (546-556). Working with serious material restrictions, Eufrasius cleverly pieced together the decorative program which gave his complex the gloss of a grand and prestigious monument. A careful analysis removes this patina and exposes what was an ad hoc, essentially local project.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Terry, Ann R.} } @mastersthesis {6917, title = {Architecture in New Brunswick 1680-1940}, year = {1984}, school = {Rutgers}, abstract = {The aim of this study is to expand our knowledge of the architectural development of a moderate size New Jersey city. The major themes of the study are the external and internal (local) influences include architects from outside the city, plan books, copying of buildings not in New Brunswick, and architecture magazines. Style is always an external influence. Local influences usually determine size and materials of buildings as well as the ability to adapt to new styles and technical innovations. The use of local architects, and their role in the city{\textquoteright}s building, is also indicative of internal influences. The study starts with the early settlement of New Brunswick, and includes discussion of the planning and growth of the town and of the vernacular housing in New Brunswick during the eighteenth century. The chapter on the Georgian period also discusses eighteenth-century architecture in New Brunswick, focusing on the first "high style" structures in New Brunswick. Early Republican architecture is analyzed in the chapter on Federal architecture is analyzed in the chapter on Federal architecture which encompasses the period between c. 1790 and 1830 in New Brunswick. It is followed by a chapter on the Greek Revival style, used in New Brunswick from 1835 to the 1860{\textquoteright}s. The major features of Victorian architecture are explained in the Gothic Revival (1850{\textquoteright}s to 1880{\textquoteright}s) chapter, but much of this analysis is relevant to the buildings covered in the chapter on Eclecticism (1870{\textquoteright}s and 1900) as well. The final chapter considers Neoclassic Revival architecture which appeared in New Brunswick in the 1890{\textquoteright}s. The appendix includes an analysis of many of the major monuments of New Brunswick. This section is written in the form of a catalogue with basic statistical information given, then a short discussion of the structure follows.}, keywords = {Art of the United States (except Photography and Film)}, author = {Listokin, Barbara C.} } @mastersthesis {6898, title = {The Architecture of E. B. Lamb}, year = {1984}, school = {Yale}, abstract = {No record in ProQuest}, keywords = {19th- and 20th-Century European Art}, author = {Kaufman, Edward N.} } @mastersthesis {6979, title = {The Architecture of Giorgio Vasari{\textquoteright}s Uffizi, Florence}, year = {1984}, school = {Ohio State}, abstract = {Cosimo I de{\textquoteright} Medici was elected duke of Florence in 1537. By 1560, he had restructured the Florentine courts into a Tuscan system; that same year, he ordered the construction of a palace to house the magistrates{\textquoteright} courts of the state. The project, Gl{\textquoteright}Uffizi dei Magistrati, was to consist of two parallel palaces, joined by an open loggia at the river. The complex was to front a square created from a street opened in 1545 between the Piazza della Signoria and the Arno. The commission was awarded to the dean of the court artists, the biographer of Italian artists and architects, Giorgio Vasari, "painter of Arezzo." Giorgio Vasari, with limited architectural training, but a vast knowledge of ancient and contemporary architecture, submitted a design which was approved by the duke. Work began at once. Older structures were removed or incorporated into the new construction. Despite his limited practical experience, Vasari drew upon his extensive knowledge of Italian architecture acquired in his research for the first edition of The Lives. He chose elements from known antique, Quattrocento and Cinquecento architecture and urbanism, which were used to create an original design reflecting the current Roman {\textquoteright}manner{\textquoteright} and the Florentine tradition. The design reflected aristocratic sources and avoided any references to works that were unmistakably {\textquoteright}republican{\textquoteright} in association. The square had to conform to the criteria set for the architecture. Reference was made to real or imagined Roman fora, to noble town-planning schemes and to prior Medicean schemes for the re-planning of Florence. The Uffizi was built during the mid-part of the development of Mannerism. The twin palaces stand as a major contribution to the classizicing phase of Mannerist architecture. The subtle design of the civic palaces expresses a derivation from, and a partial dependency upon, the Roman works of Bramante, the Roman and Florentine works of Michelangelo, and the designs and buildings of other Italian architects. These civic palaces have been but lightly studied as architecture; this research project is an attempt to correct, in some small way, that oversight by explaining the history of the commission, describing the sources drawn upon in preparing the final design, analyzing the style of the architecture, dissecting the structure into individual components and then re-assembling them as a total and original design, and finally, evaluating the architecture of Giorgio Vasari{\textquoteright}s Uffizi.}, keywords = {The Renaissance}, author = {Fricelli, Donald J.} } @mastersthesis {6908, title = {The Art of the Akie People of the Ivory Coast}, year = {1984}, school = {UC Santa Barbara}, abstract = {The purpose of my research was to identify and conduct a formal, functional, and iconographic survey of the major Akan terracotta traditions of southeastern Ivory Coast. These are three: mma (produced by the Agni of Sanwi and the Aboure), ba (produced by the Akye), and assongu (produced by the Eotile, the Aboure, the Agni, and the Nzima). Both mma and ba are royal funerary portrait traditions, similar to those of the Ghanaian Akan. Their practice died out early in this century under pressure from missionaries and colonial administrators. Assongu is an Ivoirian "fetish" figure tradition that developed in the region of the Aby Lagoon and is still practiced today. My study of these traditions indicates that they reflect the migrations of the Akan during the past 1,000 years, and the changes in their culture during that time. Agni mma, which compare most closely with royal commemorative terracottas of the forest-dwelling Ghanaian Akan, were brought into the Eburnean forests by the Agni, probably around the turn of the 18th century. Their closeness to the Ghanaian traditions reflects the kinship between the Agni and the Akan of Ghana. Aboure mma are likewise very close to the Ghanaian traditions. However, Aboure mma, and Aboure culture, are slightly different from Agni, reflecting the intermarriage of "old" (lagoon) and "new" (forest) Akan cultures among the Aboure, with the "new" dominating until recently. The same hybridization is true for Akye ba, but reflecting a dominance of "old" culture among the Akye. Assongu, which emulates mma in many ways, was most likely a defensive response, initiated by the Eotile of the old lagoon culture, to the return of the forest Akan around 1700. They are small, humanoid terracotta figures, arranged in groups outside villages, that are meant to protect against outside aggressors through their great spiritual powers. Assongu are not tied to traditions of royal authority and the practice of human sacrifice, unlike mma and ba. Because they have power over life, death, and diseases, their use continues today, whereas the other two traditions, not meeting present political realities, have died out. In addition, this study employs a typological system of analysis which, when adopted to particular circumstances, will provide a basis for systematic evaluation, classification, and comparison of other collections of artifacts.}, keywords = {Art of Africa, Latin America, and Oceania}, author = {Visona, Monica B.} } @mastersthesis {6945, title = {The Art of the Bamboccianti}, year = {1984}, school = {Princeton}, abstract = {Pieter van Laer (1599-1642?) and his followers in Rome--the so-called Bamboccianti--have been regarded as realistic painters of everyday life. But their works are actually complex allegories that comment upon classical art and lead the viewer to contemplate lofty issues. They belong to a tradition of paradox in which low or vulgar subjects are the preferred means for expressing elevated ideas. The deeper meaning of these deceptive renderings becomes apparent in the light of the following points, demonstrated repeatedly throughout the study: (1) paintings by the Bamboccianti represent specific vulgar themes, not casual views of reality, (2) their imagery is largely based upon iconographic traditions long associated with the subject, (3) they regularly incorporate references to classical art and allude to other elevated models, and (4) they are analogous to mock encomia, essays praising low or vulgar subjects that operate paradoxically to convey high ideas. After summarizing the previous scholarly literature, the first chapter reevaluates early written sources on the Bamboccianti. Van Laer{\textquoteright}s contemporaries associated him and his followers with painters and poets who knowingly employed low styles to unmask the pretensions of conventional high art. Even van Laer{\textquoteright}s nickname Bamboccio alludes to his program of mocking elevated traditions. None of the sources describe the Bamboccianti as realists. The following four chapters examine a selection of paintings by van Laer and his followers organized according to subject. Pictures of metal-smiths by van Laer and Lingelbach, by alluding to Vulcan, draw attention to the decline of Rome{\textquoteright}s proud past while reminding us of the durability of humble things. Van Laer{\textquoteright}s scenes of brigandage recall the struggles of ancient warriors and mythological heroes. They ask us to reevaluate our low regard for outlaws and to contemplate the nature of freedom and justice. Paintings of limekilns by Bamboccio demonstrate the regenerative power of Rome by commenting upon the destruction of ancient monuments. Pictures of artists at work, particularly those by Sweerts, defend unconventional artistic practices while providing a rationale for Bamboccio{\textquoteright}s syncretistic method.}, keywords = {Baroque and 18th-Century Europe}, author = {Levine, David A.} } @mastersthesis {6916, title = {Arthur G. Dove{\textquoteright}s Abstract Style of 1912: Dimensions of the Decorative and Bergsonian Realities}, year = {1984}, school = {Wisconsin}, abstract = {"The Ten Commandments" series Arthur Dove first exhibited in 1912 is renowned for its early, extreme demonstration of abstraction in the United States. His precocious achievement commonly has been attributed to either an emulation of European style or an independent transformation of natural form directed by the artist{\textquoteright}s devotional absorption in that order. These romanticized interpretations misrepresent Dove{\textquoteright}s involvement with the vanguard and fail to recognize the seminal sources and significance of his early abstraction. Stylistic analysis of Dove{\textquoteright}s formative development, 1908-20, serves to identify his hallmark style and abstracting processes. It shows that his abstraction evolved from a visually-based distillation to a nonillusionistic, metaphoric synthesis and that "The Ten Commandments" represent the embryo of his mature style. The second part of this inquiry addresses formal sources. Chapters II and III evaluate Dove{\textquoteright}s contact with modern European movements during his months abroad, 1908-09, and early years of affiliation with Alfred Stieglitz, 1909-12. This review indicates Dove{\textquoteright}s general acquaintance with Picasso, Braque, the Italian Futurists, and Kandinsky by 1912. His formal response, however, was confined to the Cubist propositions he saw at the 191 Picasso exhibition at Stieglitz{\textquoteright}s gallery; and the resultant geometric compositions testify to the higher authority the American accorded decorative models of abstraction. Chapter IV considers the guidance Dove found in the applied arts. During 1908-09, Matisse{\textquoteright}s "Notes of a Painter" and ornamental treatments of still-life delivered the initial insight. Between 1910-12, Dove{\textquoteright}s decorative sensibility turned toward abstraction, aided by the reformist aesthetics and formal principles of Arthur Wesley Dow{\textquoteright}s art education manuals Composition (1899) and Theory and Practice of Teaching Art (1908) and Owen Jones{\textquoteright}s The Grammar of Ornament (1856). The concluding chapter assesses the content and overall significance of Dove{\textquoteright}s early art. Survey of his pictorial imagery and writings established "the reality of the sensation" as the mainstay of his abstraction. He exploited his stream-of-consciousness, "the reality of the sensation," for the process and content of his art. The resultant images represent his experiential sensations of being. They register fugitive effects of time, motion, and natural process at the same time they recreate the montage of memory, perception, and anticipation that is human consciousness. His pictures thus affirm progressive views of art and existence notably popularized in the vitalist philosophy of Henri Bergson. In pursuing "the reality of the sensation" and consulting the decorative tradition, Dove allied his endeaveor with two major generative forces of early 20th-century art. Hence, his abstract style of 1912 belongs neither to the province of naive genius nor provincial imitator, but to the cosmopolis history reverse as avant-garde.}, keywords = {Art of the United States (except Photography and Film)}, author = {Klaric, Arlette J.} } @mastersthesis {6978, title = {Bertoldo di Giovanni: His Life, His Art, His Influence}, year = {1984}, school = {IFA/NYU}, abstract = {The dissertation is a comprehensive investigation, the first since Bode{\textquoteright}s 1925 monograph, into the career of the Florentine sculptor Bertoldo di Giovanni (d. 1491). Bertoldo, whose art was largely confined to small bronzes, never strained toward especially monumental ambitions, but in its intense poetry, his sculpture shows numerous points of contact with the painting of Botticelli. Much of Bertoldo{\textquoteright}s importance arises from his having been a follower of Donatello, a friend of Lorenzo de{\textquoteright} Medici, and briefly a mentor of the young Michelangelo. The opening chapter considers the documented facts of Bertoldo{\textquoteright}s life, centered on an interpretation of his well-known letter of 1479 to Lorenzo de{\textquoteright} Medici. The second chapter vindicates the historic truth of Bertoldo{\textquoteright}s role, claimed for him by Vasari, as head of an informal academy of artists who met to study the Medici collections in the Casino di S. Marco. The ensuing five chapters comprise a catalogue raisonne of Bertoldo{\textquoteright}s work, with emphasis on iconographic content and dating. The entries are divided by species: his medals, which being dateable are helpful in establishing a chronological framework for his larger works; the reliefs in bronze; the lyric bronze statuettes which have constituted his greatest claim on the attention of scholars; works in media other than bronze (a wood statue and two architectural relief projects, in glazed terracotta and in stucco); and lost works known from documents. The catalogue is followed by an analysis of Bertoldo in relation to other makers of bronze statuettes, among them Pollaiuolo and Bellano. The statuettes of Bertoldo{\textquoteright}s followers, chiefly Adriano Fiorentino and a master close to Giuliano da Sangallo, are also examined in depth. A discussion of rejected attributions forms the last chapter, followed by an appendix of documents and early notices, and a bibliography of the most frequently consulted references.}, keywords = {The Renaissance}, author = {Draper, James} } @mastersthesis {13229, title = {The Byzantine Wall Paintings of Kilica Kilise, Aspects of Monumental Decoration of Cappadocia}, year = {1984}, school = {Penn State}, abstract = {In the Byzantine province of Cappadocia, more than thirty rock-cut churches with decorative programs are dated to the late ninth and early tenth centuries. Since very little of the art of this period survives, apart from these churches, they provide crucial material for the reconstruction of cultural activity in the period immediately following Iconoclasm and preceding the Macedonian Renaissance. Kiliclar Kilise belongs to this group of provincial churches. In the iconography of its Christological cycle, based on a combination of canonical and Apocryphal subject matter and marked by the adoption of many motifs from the pre-Iconoclastic tradition of Palestine, Kiliclar Kilise is closely related to other members of the Archaic Group, but it differs from the other Cappadocian churches in some important respects. In this study it emerges as a late member of the Archaic Group, with a significant number of non-narrative components in its painted program. It is the only Cappadocian church of this period which copies the popular, Middle Byzantine, cross-in-square architectural plan, rather than the earlier basilican form. The arrangement of scenes is adjusted to conform to the new setting: the choice of subjects is modified, and the style of the paintings is more hieratic, symmetrical, and iconic. The changes anticipate the Middle Byzantine system as it crystalizes in Constantinople during the Macedonian Renaissance in monuments such as Daphni and Hosios Loukas. The system reflects changes in liturgical rites introduced after Iconoclasm; its intent is essentially liturgical rather than narrative. The close relationship between architecture and liturgical content in Middle Byzantine art has been understood as originating in Constantinople, but Kiliclar Kilise offers evidence for provincial contributions to the system. When studied in the context of other Cappadocian programs, Kiliclar Kilise helps to define early stages of the transition from basilican to centralized formats, and the shift from narrative to liturgically inspired decorative programs.}, author = {Judith Anne Cave} } @mastersthesis {6958, title = {The Capitals of St. Lazare at Autun}, year = {1984}, school = {UCLA}, abstract = {This study deals with the relationship of the capitals of St. Lazare in Autun, to the Last Judgment portal of that church. I began with a comprehensive iconographic analysis of the capitals, later restricting the scope of the argument to those historiated capitals which were iconographically unconventional. These capitals appeared unusual in three ways: (1) In their treatment of the physical antithesis between pious and impious personages, and between demons and sinners, (2) In the depiction of nude figures where they do not usually occur, and (3) In the emphasis on the sepulchral significance of certain scenes. Through these iconographic manipulations of the pictorial tradition, the sculptor aligned the capitals with the Last Judgment by producing a visual analogy between them. Within the scope of the orientation of the church toward the cult of death, it also became evident that the specific liturgical references of the capitals related them on a functional level both with the Last Judgment, and with the enactment of the liturgy of death. Furthermore, the topographical arrangement of the capitals also linked them with the portal. Although the capitals seem to have been placed at random, most of the ones on the north side of the nave coincide with the good side of the tympanum and of the lintel, while those on the south correspond to the bad side. The capitals thus function as an extension of the Last Judgment portal on a visual, topographical, as well as functional level. Together the portal and the capitals proclaim that the cult of death is the only means to salvation. The church of St. Lazare was built by Bishop Etienne de Bage as part of an overall attempt to consolidate his power in the town and in the diocese. By convincing the population that the cult of death was necessary for salvation, the Bishop may have also wished to assert other aspects of his administration. Proclamation of the right of intercession on behalf of the population was a form of spiritual control which translated into social control in a town where the Bishop was both secular and ecclesiastical overlord.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Setlak-Garrison, Helene S.} } @mastersthesis {6893, title = {The Caricatures and Cartoons of the 1905 Russian Revolution}, year = {1984}, school = {CUNY}, abstract = {The Russian revolution of 1905 provided a rare opportunity for artists in a controlled society to express openly their opinions about society and government through hundreds of small caricature journals. Their graphics employed a wide variety of styles, from realism to allegory and Symbolism, and directly contributed to the development of modern Russian art. Enterprising artists and editors devised means for slipping forbidden material past the censor and educated their public to read between the lines, to interpret Aesopian hints and a multitude of disguises, for the Tsar especially, grounded in popular anecdotes. Central to this study is the explication of political implications in the material and analysis of their condensed formal structures and equivocal language of signs, their sources and influences. Russian caricature{\textquoteright}s secret language and liberal expressive distortions closely approach the basic premises of international Symbolism. A surprising characteristic of Russian caricatures, one rooted in Symbolism, is a tendency to incorporate religious iconography to convey the sense of tragedy provoked by the revolutionary events. There are personal and aesthetic links between political caricature and Russian Symbolism, such as the fusion of European art nouveau with traditions of Russian folk art and fairy tales. These two currents are found in some of the best caricatures and cartoons of the 1905 revolution and their union led directly to the evolution of distinctly Russian modern art styles. This distinction is especially evident when Russian caricatures are put in their proper European context and compared with journals such as Simplicissimus and L{\textquoteright}Assiette au beurre. Russian Neoprimitivism and Futurism are two of the modern styles that owe a debt to the caricatures and cartoons of the 1905 revolution. A new approach to emotional subjects, an intentional naivete, graphic exaggeration and a desire to unite art with the public spurred both movements. Many members of the Union of Youth, a St. Petersburg avant-garde exhibition society, had some previous experience with the caricature press of 1905, either as artists, students of caricaturists or collectors of caricature journals. Such vital interconnections suggest that the caricatures and cartoons of the 1905 revolution are a neglected facet of the revolution in modern Russian art.}, keywords = {19th- and 20th-Century European Art}, author = {Betz, Margaret B.} } @mastersthesis {6921, title = {The Carson-Pirie-Scott Building in Chicago}, year = {1984}, school = {MIT}, abstract = {No abstract in ProQuest}, keywords = {Art of the United States (except Photography and Film)}, author = {Siry, Joseph Michael} } @mastersthesis {6899, title = {Cezanne{\textquoteright}s Bathers: Autobiographical Origins of Form and Content}, year = {1984}, school = {Penn State}, abstract = {Three monumental paintings from the last years of Cezanne{\textquoteright}s life--the great bather compositions in the Barnes Foundation, Merion, Pennsylvania, in London, and in Philadelphia--may be regarded as the climax of the master{\textquoteright}s life-long preoccupation with this subject. Bathing figures are found in nearly two hundred of Cezanne{\textquoteright}s oil paintings, watercolors, lithographs and drawings. A continual resource for these pictures is anticipated and provided by the motifs, models and landscapes found in the artist{\textquoteright}s earlier and coeval figure paintings. A systematic study of these images presents a picture of Cezanne{\textquoteright}s personality which closely parallels his artistic development thereby constituting a response to iconographical as well as to formal considerations. His first drawing of bathers was on a letter sent to Emile Zola in 1859; the last images may have been painted only a few days before his death in 1906. The succession of figures in the bathers may be a survival of pagan imagery, as Cezanne{\textquoteright}s classical heritage suggests, but they are also fused with romantic and realistic impressions from his own writings and those of his contemporaries. They reflect his choice of models from sculpture and painting found in the Louvre and in nineteenth-century artistic publications. More importantly, their assemblage reveals an intimate self-portrait of the artist, giving oblique references to his friendship with Zola and persistent recourse to his relationship with women. The overt themes from the early works--temptation and death, picnics, idolized women--become sublimated when they enter the bather compositions. It is there that the compositions and their figural arrangements allude to two traditional properties of water: spiritual cleansing (in Baptism) and bodily rejuvenation (in the Fountain of Youth). The sensuality and violence of the early years is progressively submerged in metaphorical ablutions. To dissect with candor not only the masterpieces of a monumental figure in the history of art, but his inner life as well, is an awsome undertaking. It is hoped that the results of this investigation are presented here with deference to Cezanne{\textquoteright}s artistic genius and without affront to his character.}, keywords = {19th- and 20th-Century European Art}, author = {Krumrine, Mary L.E.} } @mastersthesis {6926, title = {Chao Chih-Ch{\textquoteright}ien, Painter of the Late 19th Century}, year = {1984}, school = {Yale}, abstract = {This dissertation is a monograph of the Ch{\textquoteright}ing artist Chao Chih-ch{\textquoteright}ien (1829-1884). The first chapter describes the circumstances of his life and personality, based on information gleaned from Chao Chih-ch{\textquoteright}ien{\textquoteright}s private correspondence, poems and inscriptions. The remaining four chapters present a chronological discussion of his life{\textquoteright}s work in calligraphy and painting, and relate it to sources in the past, his own milieu and following artists. This information is presented for the first time in English, and is based on letters by Chao Chih-ch{\textquoteright}ien hitherto neglected by both Chinese and Japanese art historians. The dissertation establishes Chao Chih-ch{\textquoteright}ien as a major artist of the late nineteenth century.}, keywords = {Asian Art}, author = {Bennett, Elizabeth} } @mastersthesis {6928, title = {Connoisseur{\textquoteright}s Delights: Early Rasikapriya Paintings in India}, year = {1984}, school = {Michigan}, abstract = {The Rasikapriya, (Connoisseur{\textquoteright}s Delights), is one of the first vernacular texts dealing with hero-heroine classification in which Krsna and Radha are seen as the archetypal lovers. Written by Keshavadas in A.D. 1591, Rasikapriya is one of the finest poetic works in the r({\textquoteright})iti tradition, and one of the most frequently illustrated texts in Rajput painting. The study of the text and the formation of its visual images has not, however, received from scholars the attention it deserves. This thesis focuses on the earliest known Rasikapriya paintings and has two distinct, but interrelated goals. The primary goal is to understand the genesis of Rasikapriya paintings. The second goal is to develop a more comprehensive methodology for the study of textual illustrations in India. Because the investigation concerns the origin of Rasikapriya images, it is limited to three earliest known painted sets: (1) the sub-imperial Mughal set--ca. 1600-1624 A.D.; (2) the Malwa set--ca. 1600-1634 A.D.; (3) the Mewar set--ca. 1630-40 A.D. The origins of the Rasikapriya paintings and their patronage are explored through an in-depth study of the text itself, and a detailed stylistic, iconographic and contextual analysis of each of the sets mentioned above. From these two types of studies it has been possible to identify factors which were responsible for the creation of Rasikapriya paintings. They are: narrative painting conventions of a given school, literary sophistication of the patron, and the presence of a scholarly intermediary for the appropriate explication of the text. Through a detailed study of the earliest known Rasikapriya paintings, the thesis also enumerates principles which can be considered when studying textual images in Rajput art. A thorough comprehension of the text, its importance for the patrons, and a study of the textual illustrations in relation to the painting conventions of a center are important components. An analysis of the gestures and postures of figures, decorative motifs, and spatial organization, as carriers of meaning is also necessary. Such an investigation helps to decode the visual language used by the artist to convey the layers and levels of textual meaning. Through a careful consideration of these factors we are able to ascertain the way word-bound images were used and appreciated by their patrons, and develop a more comprehensive understanding of textual illustrations in Rajput painting.}, keywords = {Asian Art}, author = {Desai, Vishakha N.} } @mastersthesis {6933, title = {The Contemplating Bodhisattva Images of Asia, with Special Emphasis on China and Korea}, year = {1984}, school = {UCLA}, abstract = {The subject of this study is the contemplating Bodhisattva images in Asia, with special emphasis on China and Korea. The contemplating figure sits in a particular non-yogic pose of meditation. It is the major purpose of this study to determine the iconography of the contemplating images of India, Central Asia, China, Korea and Japan, and to make a comprehensive chronology and attribution of provenance for the Korean contemplating images. In Gandhara the contemplating posture was utilized for deities of different iconographic identities, such as Avalokitesvara, Siddhartha, Manjusr({\textquoteright})i and others. Most popular of these are the representations of Avalokitesvara and Siddhartha. The contemplating images of China and Kyzil predominantly represent Siddhartha at the First Meditation. From present evidence it appears that the Maitreya images in contemplating pose is first seen in Korea. The usage of the contemplating pose for Maitreya Bodhisattva may possibly have been formulated under the impetus of the Maitreya cult in Korea. The Samguk Yusa indicates that Maitreya was personified as youthful Hwarang in the Old Silla kingdom. The Hwarangs were young men who were active in fighting for the unification of the Three Kingdoms. Korean contemplating images show a development from an early style, through a transitional style, to a mature and a late style, as they were influenced by various Chinese artistic currents. The early style of Korean contemplating Bodhisattva figures was influenced by the Eastern Wei, Northern Ch{\textquoteright}i, and Liang style in China, and it dates to ca. 525-575. The transitional style was influenced by the early Sui style, and dates to ca. 581-610. The mature style was influenced by the late Sui style and dates to ca. 610-640. The late style was influenced by the early T{\textquoteright}ang style and dates to ca. 640-700. The Korean contemplating images manifest regional styles of Koguryo, Paekche and Old Silla, which are themselves related to the different regional styles of China. However, the Korean style developed by Paekche became mature by the seventh century, and was no longer so closely related to Chinese prototypes.}, keywords = {Asian Art}, author = {Lee, Junghee} } @mastersthesis {6949, title = {Cornelis Bega as Painter and Draughtsman}, year = {1984}, school = {Maryland}, abstract = {This is a monograph on the Dutch artist, Cornelis Pietersz. Bega, active in Haarlem c. 1650 - 1664, grandson of the internationally famous mannerist Cornelis Cornelisz. van Haarlem (1562-1638), and probable student of Adriaen van Ostade (1610-1684). From his grandfather, Bega inherited a fine collection of art works and sufficient finances to live comfortably. From van Ostade, Bega learned to paint and etch the intimate peasant scenes for which he is best known. These works and his beautifully executed chalk drawings have long featured in major collections. Bega{\textquoteright}s thematic focus was broader than simple tavern interiors populated with merry drunkards and seductive barmaids, as long believed. He explored a wide range of subjects including depiction of fools such as alchemists and quack doctors, melancholic and blind figures, and smoking little girls. He painted sophisticated allegorical representations, and examined the unusual topic of ridiculed women. Bega{\textquoteright}s problematic iconography is examined within the wider context of Dutch imagery. A further topic concerns a remarkable technical innovation. Bega apparently introduced monotype to the northern Netherlands and further discovered distinctive stylistic possibilities for this printing technique. An intriguing aspect of Bega{\textquoteright}s oeuvre is his use of classical elements in lowlife subjects. His models, drawn from life in the academic manner, also appear in sketches by colleagues providing evidence for the working relationships between Haarlem draughtsmen during the early 1660{\textquoteright}s. Bega{\textquoteright}s influence can be seen in Gerrit Berckheyde, Jan Steen, and Leendert van der Cooghen, among contemporaries. Eighteenth and nineteenth century European artists repeated his stylistic attitudes and subjects. For several centuries, chalk figure drawings by Berckheyde have been collected and exhibited as genuine Bega products, just as paintings by R. van Oostrzaen have worn his label. Hundreds of fakes, copies, and unrelated compositions have been called Bega. This monograph provides the first catalogues of his paintings, drawings, and monotypes. Handlists of Berckheyde figure drawings and Oostrzaen paintings are included. Other topics covered are chronological development of Bega{\textquoteright}s style, interconnectedness between his works in different media, and sources of his formal and thematic approaches.}, keywords = {Baroque and 18th-Century Europe}, author = {Scott, Mary Ann} } @mastersthesis {6907, title = {Cultural Confluence in Candomble Nago: A Socio-Historical Study of Art and Aesthetics in an Afro-Brazilian Religion}, year = {1984}, school = {UCLA}, abstract = {Afro-Bahian ritual art is multi-functional and performs a dynamic, pivotal role in the preservation of Afro-Brazilian culture. The objective of this dissertation is to examine the meaning and purpose of this corpus of art through a diachronic and synchronic analysis. A balance between the "emic" and "etic" interpretations of meaning is attempted. This study departs from earlier investigations by relying on long-term, in-depth field work in context. It thus attempts to fill a gap in the previous scholarship on Afro-Brazilian ritual art which over-emphasized museological and morphological considerations and neglected the relationship of art to historical, social, and other cultural phenomena. Moreover, my status as an initiate enabled me to participate first-hand in all rituals in which art played a significant role. Conclusions about inconography are based on field informant testimony and secondary evidence derived from oral literature. In order to obtain a more complete understanding of the art in context, a rigorous, inter-disciplinary, cross-cultural methodology was employed. This approach incorporated the full range of available data including linguistics, demography, folklore, the choreography of ritual, mythology, and forms of behavior such as food choice and preparation, art, and aesthetics. Chapters on the West African social, political, economic, and artistic heritage are included for greater ease of cross-referencing data on change and continuity in art and ritual from the parent Yoruba to the Yoruba-derived religions in Brazil (Candomble Nago). The study concludes that the key to understanding Afro-Bahian ritual art is a conceptual linkage between spiritual rewards and material offerings viewed as sacrifices. In this fashion, art helps to codify procedures for establishing and maintaining contact with the Gods and the ancestors.}, keywords = {African Art}, author = {Omari, Mikelle S.} } @mastersthesis {6938, title = {Dante in British Art, 1770-1830}, year = {1984}, school = {UC Santa Barbara}, abstract = {Dante Alighieri{\textquoteright}s epic poem with its striking images of the punishments and rewards awaiting man{\textquoteright}s entry into the afterlife was translated into English for the first time in the 18th century and finally in the 1770s used as the source for a major British painting. With the 1773 exhibition of his Ugolino, Joshua Reynolds established the frontal, wide-eyed type which became the standard for Ugolino illustrations in England and on the continent for the following century. Henry Fuseli{\textquoteright}s Paolo and Francesca of 1786 was the first British painting to depict the historical setting of the discovery of the two lovers, while the swirling figures of Paolo and Francesca in hell were chosen by Fuseli, John Flaxman and William Blake to emphasize the passionate aspect of the pitiful tale. The popularity of the Ugolino and Paolo and Francesca episodes from the Inferno is directly connected to the artistic theory of the Sublime. Because Blake was the last of the generation of British artists whose ideas were based on this aesthetic, this study examines the period beginning with Reynolds{\textquoteright} Ugolino and ending with Blake{\textquoteright}s series of Dante drawings and engravings. All known depictions of Dante{\textquoteright}s themes done between 1770 and 1830 in Britain are documented. Individual Dante episodes are discussed in relation to each artist{\textquoteright}s knowledge of the poet, involvement in the circle of British men promoting Italian art and culture, use of iconographic and stylistic prototypes, and influence on other artists. Flaxman{\textquoteright}s Divine Comedy engravings are emphasized as they are the only complete cycle of Dante designs produced in this period and certainly the best known to the contemporary audience. Blake{\textquoteright}s series, although incomplete and uneven in quality, is seen as an important example of the general and pervasive impact of 18th-century ideas of the Sublime, as well as the unique instance of a poet/artist illustrating Dante{\textquoteright}s work. In addition, the concepts uniting late 18th and early 19th-century illustrators of the Divine Comedy are explored with the hope of establishing a greater understanding of the age, of the ideas of historicism and the appropriateness of style and content, and of the attitudes toward literary illustration.}, keywords = {19th- and 20th-Century European Art, Baroque and 18th-Century Europe}, author = {Lyle, Janice} } @mastersthesis {6905, title = {David Cox, 1783-1859}, year = {1984}, school = {Yale}, abstract = {David Cox (1783-1859) began his career as a watercolor painter in 1804, the foundation year of the Society of Painters in Water-Colours, of which he would later become a member and regular exhibitor. His early work was very much in the manner of John Varley and other founding members of the Society. While he quickly became a highly professional exponent of the medium, his watercolors continued through the 1830s to reflect many of the predominant trends in British watercolor painting. From the late 1830s to his death, his watercolors gained a remarkable boldness, gravity, and freedom of technique that set them apart from current fashions in watercolor. Thus, Cox{\textquoteright}s significance is twofold: for much of his career he is a talented representative of that important generation of British watercolorists who came to maturity at the beginning of the nineteenth century; in the last decades of his life he stands out as one of watercolor{\textquoteright}s most original and distinctive practitioners. This dissertation, through a close examination of a representative selection of his drawings and watercolors, charts his growth from the derivative early works to the dark and powerful images of his final decade and endeavors to show the stages by which the one developed out of the other. It places this development in the context of the course of his life as an artist and of the broader currents of British watercolor painting in the first half of the nineteenth century.}, keywords = {19th- and 20th-Century European Art}, author = {Wilcox, Scott} } @mastersthesis {6964, title = {The Development of Middle Kingdom Egyptian Relief Sculptural Schools of Late Dynasty XI, with an Appendix on the Trends of Early Dynasty XII}, year = {1984}, school = {IFA/NYU}, abstract = {Stylistic development of Middle Kingdom Egyptian relief is the main focus of the present dissertation. Beginning with relief-decorated monuments created by Nebhepetre Mentuhotep (II) after his reunification of Egypt (ca. 2040 B.C.), it isolates those elements characteristic of reliefs of the late Eleventh and early Twelfth Dynasties and traces their development site by site and reign by reign. Monuments irrefutably dated by inscription, including temples, tombs, stelae, and statue bases are used throughout as a framework to attribute previously undatable monuments. Royal and private pieces are considered separately and then compared. Secial attention is paid to individual sculptural schools at each site, and individual workshops, or in some cases even sculptors hands are identified. Art historical conclusions are independently substantiated, when possible, through the analysis of the accompanying inscriptions. Chapter I surveys the historical events between the reunification by Mentuhotep II in 2040 B.C. and the reign of Sesostris II (1897-1878 B.C.), and explains why these years are treated as a unit. It assesses the material available, outlines the principles for dating, discusses the technical aspects of relief carving, and investigates the position of the sculptor. Chapter II lists the dated, datable, and attributable monuments from the reunification through the end of Dynasty XI (1998 B.C.) and gives the basis on which each work is dated. Chapter III considers the style and attributes characteristic of each royal and private monument site by site with reference to pre-Middle Kingdom local traditions and influences from other areas. It also attempts to date previously undated material on the basis of style and accoutrements. Chapter IV discusses hallmarks of the relief styles of Mentuhotep II and Mentuhotep III, the topographical distribution of building activity, and considers nationalism versus regionalism in relief style and the direction of influences. The Appendix summarizes the relief style of the early Twelfth Dynasty reign by reign (through Sesostris II) with reference to the existence and nature of sculptural schools.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Freed, Rita E.} } @mastersthesis {6924, title = {DHU L-FAKAR (SACRED SWORD, MUHAMMAD, ISLAM)}, year = {1984}, school = {IFA/NYU}, abstract = {Of all the Prophet Muhammad{\textquoteright}s swords the dhu l-fakar became a major symbol of his heritage. The early chroniclers always single it out as the most important. It alone is described, as is its use in such important victories as Uhud. It is elevated above the other swords to become "The" sword of the Prophet. The dhu l-fakar is also regarded, especially by the Shi{\textquoteright}a as an attribute of the Prophet{\textquoteright}s son-in-law ({\textquoteright}c)Ali. He used it in battle and it came to represent his heroic and "chivalric" qualities. It was also thought that the sword would be used by the mahdi, in the final battle between Good and Evil. In this sense it became an eschatological symbol of ultimate victory. The sword was also important because of its association with certain texts. These were variously thought to have been of a political or mystical nature and consequently the sword came to symbolise not only military victory, but also political and religious authority and mystical knowledge. The dissertation examines these aspects of the dhu l-fakar and attempts to show their influence on Islamic ceremonial practices and on aspects of religious and political thought. These concerns were in later periods often crystalised in the creation of reproductions or depictions of the sword. A number of these are discussed in the text and in the catalogue. It is commonly assumed that the dhu l-fakar had a bifurcated blade. This was not true of the Prophet{\textquoteright}s sword, and such depictions result from a misinterpretation of a crucial text. Representations of the dhu l-fakar also took other forms. The most important were swords with serpentine blades and some of the swords which made use of dragon imagery. The types are only combined in one known example its forte is sculpted with a dragon{\textquoteright}s head and its blade is serpentine and bifurcated. The dhu l-fakar was the most important of Islamic swords, but others also held a special significance for Muslims. Some of these are discussed, as is the role of the sword in Islamic ceremonial, especially the use of swords as symbols of rank, in inaugurations and investitures and as trophies.}, keywords = {Asian Art}, author = {Alexander, David} } @mastersthesis {6971, title = {Diane Arbus and Her Imagery}, year = {1984}, school = {Princeton}, abstract = {No record in ProQuest}, keywords = {Photography and Film}, author = {Hulick, Diana E.} } @mastersthesis {6897, title = {The Disembodied Head: A Major Theme in European Art from 1885 to 1905}, year = {1984}, school = {CUNY}, abstract = {It is the contention of this study that, between 1885 and 1905, many European artists (mainly Symbolists), working in a variety of styles and mediums, depicted the disembodied head in order to allude to one or more aspects of the nonphysical plane of human existence. Among these aspects were the inner self, genius, spirituality, and experiences involving a loss of awareness of or contact with the physical self and the material world, including functioning in a superior state of consciousness. This study also contends that the influences on the appearance of the disembodied head used in the manner described (termed allusive head here) were certain major elements of Symbolist thought and the following subjects of considerable interest to the general public at the end of the nineteenth century: physiognomy, phrenology, spiritism, occultism, and psychology. Some of the better-known artists included in this study are Redon, Carriere, Vallotton, Munch, Gauguin, Levy-Dhurmer, Delville, and Rodin. Among the lesser-known ones are Alexandre Seon, Jean Carries, Rupert Carabin, and Alice Pike Barney. Chapter I defines the differences between the allusive head and other heads in art, including masks and most severed heads. The next chapter deals with the influences on the allusive head{\textquoteright}s appearance and contains a section on Symbolist literary works that also treat many aspects of man{\textquoteright}s nonphysical plane. Chapters III through VIII discuss the works themselves. Self-portraits were done by Carriere, Vuillard, and Gauguin, among others. Portraits of literary Symbolist include ones of Mallarme and Rimbaud. Portraits of other creative figures of the nineteenth century depict such individuals as Dostoyevsky, Hugo, Ibsen, and Beethoven. The theme also extended to portraits of nonartists. Heads of the spiritually oriented figures Christ, St. John the Baptist, Orpheus, and Parsifal are also discussed, as are anonymous heads, among them souls. Chapter IX examines the theme after 1905 and contrasts the allusive heads under study with heads by Expressionist and Surrealist artists. The concluding chapter summarizes the significance of the theme, especially with respect to both its artistic and cultural contexts.}, keywords = {19th- and 20th-Century European Art}, author = {Grace, Trudie} } @mastersthesis {6968, title = {The Domestic Architecture of Morgantina in the Hellenistic and Roman Periods}, year = {1984}, school = {Princeton}, abstract = {"The Domestic Architecture of Morgantina in the Hellenistic and Roman Periods" deals with the houses from an ancient site situated on the Serra Orlando ridge in Sicily. The town was excavated by Princeton University and the University of Illinois, and was identified as Morgantina. Morgantina is known in the ancient testimonia as a town destroyed by the Romans in 211 B.C., and presented by them to a group of Spanish mercenaries. The architecture dealt with in the present thesis dates from the late fourth, early third centuries B.C. to the middle of the first century B.C. The houses were witnesses of the destructions and abandonments that Morgantina suffered over the centuries. The destructions by Ducetius in the mid fifth century B.C., another by the Romans in 211 B.C., and a third, probably by Octavian, are seen in deposits of coins and pottery from the houses. The dissertation has four parts. The first chapter is a discussion of the site and the problems concerning its identification and history. The identification of the site as Morgantina is accepted, because the material remains agree with the written history. The second part, Chapters Two and Three, are detailed descriptions of the houses and every feature and significant item found in them. Chapter Two covers the residential sector on the East, or Boscarini Hill, and Chapter Three covers the West, or Trigona Hill. The third part is a synthesis of the information presented in Chapters Two and Three. In Chapter Four the materials and techniques used by the Morgantinoi in the construction of their houses are discussed. In Chapter Five, the typical rooms found in the Morgantinian houses are studied, with special attention to their likeness to other houses and rooms found in contemporaneous sites. The sixth chapter summarizes the chronological information provided by the material found in the houses. In the final chapter the Morgantinian houses are compared with others found in the Mediterranean area. The best comparisons are seen with houses in the Greek world, especially at the sites of Olynthos and Delos. The conclusion is reached that the Morgantinian houses are Greek, with practically no admixture of elements from Roman, Spanish or Sicilian cultures.}, keywords = {Greek and Roman Art}, author = {Tsakirgis, Barbara} } @mastersthesis {6947, title = {Dreamers, Idlers, and Other Dozers: Aspects of Sleep in Dutch Art}, year = {1984}, school = {IFA/NYU}, abstract = {This dissertation studies the subject of sleep as it appears in 17th-century Dutch paintings of interior scenes. Through a systematic and chronological investigation, the images of sleep in the tavern, the guardroom, the bordello and finally, the home are surveyed. The paintings{\textquoteright} meanings, as well as, the meaning of individual elements within each painting are examined against the light of comparative material in prints, emblems, literature and other expressions of contemporary culture. By grouping paintings by types of interior, a certain degree of intended meaning is already apparent. The same activity that appears as pejorative in a tavern, may be respectable when performed in the comfort of the home. Identical subjects, gestures and attitudes connote a variety of meanings, frequently "in malo" and "in bono" depending upon their context. The major themes of sleep include traditional Christian virtues and vices such as sloth, temperance and the need for vigilance. Later in the century sentimental and primarily secular concerns such as romantic reverie and the reward of rest after work supplement the earlier ideas. By the end of the century both kinds of subjects can be found, with a predominance, however, of the latter. This study, thus, explicates the meaningful intention of so-called genre scenes. It also emphasizes the idea that meaning itself was flexible in the 17th century, both in terms of the intention of the artist and the reception of the public. This can be particularly seen in the change from the didactic nature of paintings before c.1650 to the edifying nature of later ones. The difference is more than semantic, it is a difference of emphasis and intention.}, keywords = {Baroque and 18th-Century Europe}, author = {Salomon, Nanette} } @mastersthesis {6934, title = {Early Ming Painters: Predecessors and Elders}, year = {1984}, school = {Chicago}, abstract = {No abstract in ProQuest}, keywords = {Asian Art}, author = {Liscomb, Kathlyn Lannon} } @mastersthesis {6986, title = {Early Renaissance Sculpture and Architecture at Castiglione Olona and the Patronage of Cardinal Branda}, year = {1984}, school = {UT Austin}, abstract = {The early Renaissance art at Castiglione Olona presents northern Italian traditions influenced by styles from Italy and beyond the Alps. The biography of Cardinal Branda traces his extensive travels to northern and eastern Europe and his friendships with rulers and humanists. His commissions between about 1422 and 1442 transformed his town into a Renaissance city. This dissertation considers two interrelated themes: the patronage of the cardinal and the styles of the art. The Collegiata revives an older Milanese type due to the Cardinal{\textquoteright}s admiration of bright European hall churches. The Chiesa di Villa, with its centralized plan representing the tomb of Christ, is a very contemporary Brunelleschian chapel. Branda{\textquoteright}s palace addition depends on Lombard traditions with ideas developed during his sojourn in Rome. While the different architectural styles express aspects of the patron{\textquoteright}s virtu in rebuilding his city, innovations in spatial relationships by the Florentine painter Masolino da Panicale help present the cardinal{\textquoteright}s religious and political statements. The major sculptures at Castiglione Olona are closely related in style, displaying a clear structure and balance, natural drapery, and a calm monumental spirit. Previous studies confused Lombard, Venetian, and Florentine concepts without defining the sources of this style. This research shows the sculpture was developed from the tradition of the Ticino with insights from the style of Brabant. The sculptors are identified in this dissertation as Filippo and Andrea da Carona, named in the accounts of the Giovanni Borromeo tomb. Two damaged terracotta apostles apparently commissioned by Branda for the Collegiata have their closest cognates at Halle, near Brussels. Influenced by this source of the northern style, the Carona sculptors carved an altarpiece there, and the Chiesa di Villa pediment and putto frieze, the baptismal font, and the cardinal{\textquoteright}s tomb at Castiglione Olona. The Collegiata lunette depends on another Franco-Flemish style, from Tournai, seen especially in a relief over the gateway to La Ferte-Milon. Branda{\textquoteright}s choice of northern sculptural styles for prototypes and the interconnection among the commissions reflect this humanist{\textquoteright}s interest in the expression of Renaissance naturalism combined with the clarity of simplified forms.}, keywords = {The Renaissance}, author = {Pulin, Carol} } @mastersthesis {6944, title = {The Eighteenth-Century Sculptural Program for the Facade of S. Maria Maggiore, Rome}, year = {1984}, school = {USC}, abstract = {This dissertation developed as a result of attributing a terra-cotta statuette now in the permanent collection of the Los Angeles County Museum of Art. Ascribed to Filippo della Valle (1698-1768), the statuette of the Blessed Cardinal Niccolo Albergati dates c.1741-42. Della Valle{\textquoteright}s statuette is a model of his sculpture on the facade of the basilica and is the only known bozzetto from the entire sculptural program. Using a contextual methodology, the sculptural program is identified including four previously unknown individuals represented on the upper storey. The following sculptures are now identified as: (saints) Sixtus III, Gregory III, Paschal I, and Pius V. This identification and the underlying iconographic program of the decoration is confirmed by a reference in a revised edition of Benedict XIV{\textquoteright}s treatise on sanctification De Beatificatione Servorum Dei et Canonizatione Beatorum (1734-38). The individuals depicted are ascribed to the sculptors by formal analysis. Because the figures lack attributes, they are confessor saints associated with the subject of the treatise and the history of the basilica. Those four individuals, Albergati, and St. Charles Borromeo represent historical benefactors. The sanctified popes depicted in four sculptural reliefs inside the portico are related to miracles at the basilica emphasizing it as a locus sanctus. A renovation project had been begun by Clement XII but Benedict XIV changed this plan. Ferdinando Fuga (1699-1781) constructed a loggia surmounting the portico to accommodate two functions: the preservation of a thirteenth-century mosaic cycle decorating the facade wall and the creation of a site for the Apostolic Blessing. Affixed to the earlier facade wall, the loggia caused the removal of two figures from the cycle: Cardinal-archpriests Giacomo and Pietro Colonna. They were subsequently replaced by two other cardinal-archpriests of the basilica--Albergati and Borromeo. The mosaic cycle is analyzed and related to the iconography and composition of the sculptural decoration. Since the facade of the basilica appears unprecedented in Rome, this inherent decorative program provides an artistic precursor for the sculptural decoration. Representing a scaenae frons, the facade is a dramatic and unique stage set intended for Benedict XIV to deliver the Benediction for the first time on 15 August 1743--the Feast of the Assumption.}, keywords = {Baroque and 18th-Century Europe}, author = {Jones, Douglas S. M.} } @mastersthesis {6902, title = {Enrapt in a Cloud of Darkness...Joseph Michael Gandy, Architecture, and the Romantic Imagination}, year = {1984}, school = {IFA/NYU}, abstract = {For the Englishman Joseph Michael Gandy (1771-1843) architecture, built or imagined on paper was the highest achievement of creativity. His early years, 1800-1815 centering on the execution of buildings designed in a personal variant of the prevalent Greek Revival, and the publication of cottage designs of a primitivizing, spare nature, were succeeded by years of greater disillusionment, withdrawal, and imagination. These were the years of the development of architectural fantasies of the Greek, Miltonian, and contemporary English worlds. Along with these architectural paintings, the illustrations of literary themes and the work of Sir John Soane, Gandy{\textquoteright}s last years were concerned with the unravelling of documentation and the reconstruction of the history of world architecture--architecture as a structural synthesis of cultures, myths, and styles with ornament as the signifier of these cultural diversities. These are the categories that encompass the scope of this dissertation--Gandy as an architectural visionary and innovator in his cottage designs and fantasy paintings. Gandy as an architectural historian in his own interpretation of classicism and variant on the Greek Revival style in his executed buildings and in his written and pictorial compendium of world architecture, and Gandy as an architectural illustrator in the execution of the countless renditions of the work of Sir John Soane. Although his most haunting architectural images were painted and drawn, Gandy was an architect, architecture was the focus and impetus of his life. He desired architecture{\textquoteright}s "power" to emerge through symbol and imagery and to make ornament and metaphorical abbreviation and equivalent of a culture{\textquoteright}s intertwining history and style. Gandy, with a highly idiosyncratic style and personality pushed the limits of architecture, both paper and real into another realm beyond that of others, a realm of great interest, slightly to the left of rational, yet grounded in modes already established by the beginning of the nineteenth century.}, keywords = {19th- and 20th-Century European Art}, author = {Nachmani, Cynthia} } @mastersthesis {6975, title = {The Farnese Hours: A Sixteenth century mirror}, year = {1984}, school = {Ohio State}, abstract = {The Hours of the Virgin of Cardinal Alessandro Farnese (M. 69), one of the treasures of the Pierpont Morgan Library in New York and which is known today under the title of The Farnese Hours, is a richly illuminated manuscript dating from the Sixteenth Century. Its artist, Giulio Clovio, a celebrated miniaturist of this period, was commissioned by Cardinal Alessandro Farnese, the grandson of Pope Paul III and a member of one of the leading families of Rome, to paint a Book of Hours in the artistic manner of the day. As Giulio Clovio was a great observer of the works of other artists and of society in general, we find, reflected in this manuscript, many works of famous Sixteenth Century masters and some of the ideas and events prevalent in Sixteenth-Century Italy. Some of these artists, Michelangelo, Raphael, Giulio Romano, Perino del Vaga and Titian, to mention only a few, were renowned artists from the Renaissance and Mannerist Periods and, as a result, we find these artistic trends clearly depicted in this manuscript. Clovio took the works of these artists, attempted to capture their form and their spirit, and, using them as a basis for his own pictorial designs, conceived beautiful, intricate and inspiring religious and secular scenes to illustrate the various prayers found in this Book of Hours. As a result of his originality and of his ability as a colorist, this beautiful manuscript, The Farnese Hours, became known during its time and in the years that followed as one of the most celebrated works of art to be found in Rome.}, keywords = {The Renaissance}, author = {Cerney, Mary J. A.S.F.} } @mastersthesis {6969, title = {The Film Musicals of Vicente Minnelli and the Team of Gene Kelly and Stanley Donnen 1944-1958}, year = {1984}, school = {Michigan}, abstract = {No record in ProQuest}, keywords = {Pre-Columbian and Latin American Art}, author = {Gene, Beth C.} } @mastersthesis {6936, title = {Flower and Bird Painting of the Yuan Dynasty}, year = {1984}, school = {Michigan}, abstract = {The genre of flower and bird painting was one of three major subjects in the long history of Chinese painting. This tradition of painting is not concerned with nature on a grand, composite scale, but treats the diminutive ornaments of the world as major pictorial elements. By their very nature, the shapes and patterns of the motifs that constitute this genre, impose more numerous constraints on an artist than do the forms of the more generalized landscapes. Influenced by twelfth- and thirteenth-century critics, a hypothesis was formulated that for flower and bird painting there are three basic compositions according to which the object(s) can be presented. This tripartite division corresponds to the critical terms of che-chih (cut-off branch); ho-ching (connected scene); and hsiao-ching (small scene). The period of the 1330s was used to divide the early and late Yuan dynasty for purposes of analysis. For each of the three formats, at least one artist was selected from both the early and late periods. In order to present the most complete picture of flower and bird painting during the Yuan dynasty, the artists and paintings selected to serve as key examples were chosen to represent the widest possible variations of style and format. By way of summation, three paintings of unknown date and each of a different format were discussed to show that the characteristics of early and late Yuan dynasty painting developed from the key paintings are applicable to all the formats in general. Since so few paintings remain from any one artist, the personal idiosyncrasies were disregarded in favor of stressing the general characteristics shared by most artists of the Yuan dynasty. Thus, for example, it was found that traits such as the emphasis of structural areas and the rhythms among them, which were emphasized in the early period, were replaced in the later period by an apparent interest in brushstrokes and the ensuing, internal rhythms that create a greater sense of interior animation. The presence of contrasting opposition in the early period also gave way, by the end of the dynasty, to a more mutually dependent and relative means of definition, wherein one object or part was often defined by its location and environs rather than by any objective or independent means.}, keywords = {Asian Art}, author = {Robinson, James} } @mastersthesis {6956, title = {The Fourteenth Century Choir of Bristol Cathedral}, year = {1984}, school = {IFA/NYU}, abstract = {The choir of St. Augustine{\textquoteright}s Abbey in Bristol was rebuilt at the opening of the fourteenth century to replace a modest Romanesque structure. The few documents relating to the renovation of the choir give little evidence as to the chronology of the construction, except that building activity took place from 1298 to the 1370s. The internal archaeological and stylistic details, however, provide a wealth of information from which to define campaigns and assign dates to structural, formal and decorative members. It would appear that the superstructure and all internal features, such as the tombs, piers, aisle bridges, and church furniture, were completed in a single campaign that lasted from 1298 to about 1315. Except for the first bay in the south aisle, the vaulting was reserved for a later campaign; nor were the Berkely Chapls erected. Rather, the latter units seem to be a later appendage. During a second campaign, begun in the 1320s, the aisle vaults were installed, while the main vault was not in place until the late 1340s. Glazing procedures, which may have been restricted to the eastern Lady Chapel, were not completed until the 1370s. Through a study of these details, it would appear that the structure was evolved by at least three masters over its fifty year campaign. It is a fluent synthesis of the latest structural, formal, and decorative solutions formulated in the West Country foyers of Wells and Exeter, as well as in the royal shops at Westminster.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Rehl, Beatrice} } @mastersthesis {6901, title = {G. Aurier{\textquoteright}s Symbolist Art Theory and Criticism}, year = {1984}, school = {UNC Chapel Hill}, abstract = {G.-Albert Aurier (1865-1892), French Symbolist writer and art critic, formulated a coherent Symbolist aesthetic theory in art, subscribed to by Van Gogh, Gauguin, and other Synthetists. Although his theory exists in piecemeal form in his critical writing, he died before he could consolidate and publish it. In this dissertation, his theories of the creative process, the aesthetic experience and the critical process are researched and synthesized. Aurier{\textquoteright}s ideas reflect the concerns of the Symbolist period, many of which originate in the thought of earlier nineteenth century writers and theorists. These include the role of science; the revival of mysticism through correspondence theory, hypnotism and suggestion, and alchemy; idealism; subjectivism; a sceptical pessimism; and psychological and physiological theory. His theory of the creative process involves four steps: la synthese du moi, an interior synthesis of one{\textquoteright}s best qualities to create an artistic temperament; la reverie philosophique, the confrontation between artist and motif; its interior synthesis, la haute synthese, and la traduction of that synthesis into a work of art. The goal is a synthesis of subject (artist) and object (Neo-Platonic Idea). The latter involves an expressive theory based on an art that is ideally synthetic, symbolic, subjective and decorative. Subjective deformations are the expressive means to create such an art. The aesthetic experience involves an empathetic, passive, and ecstatic relation between artwork and viewer. Aurier{\textquoteright}s theory of criticism demands an ideal viewer, who is at once poet and judge. The elements of his aesthetic theory are avant-garde in nature and are therefore relevant to art of the twentieth century. A hierarchy of ideals can be detected in his theory. At the bottom of the scale are Academic and Salon artists; at the next level are realists and Impressionists, and at the summit are Symbolists and "Ideistes." Although Aurier{\textquoteright}s is only one of several aesthetic theories of the period, it is among the most relevant. It is therefore a valuable source for the continuing dialogue on the nature of Symbolist art.}, keywords = {19th- and 20th-Century European Art}, author = {Mathews, Patricia T.} } @mastersthesis {6980, title = {Giambologna{\textquoteright}s Grimaldi Chapel: A Study in Counter-Reformatory Iconography and Style}, year = {1984}, school = {Rutgers}, abstract = {The subject of this study is Giambologna{\textquoteright}s Grimaldi Chapel in the Genoese Church of S. Francesco di Castelletto, which was demolished in the early nineteenth century. Although the chapel no longer exists, the bronzes made by Giambologna to decorate it are preserved in the University of Genoa. The chapel constituted a major work by one of the most talented and famous sculptors of the late sixteenth century. As such, a thorough study of the chapel is certainly justifiable. Beyond the fact that the Grimaldi Chapel was decorated by a renowned artist, there are important iconographic and stylistic reasons for undertaking this investigation. The iconographical program of the chapel is interesting and unusual in both a general and a specific sense. Within the tradition of family funeral chapels the combination of a Passion cycle with Virtues presents an intriguing departure from standard funerary iconography. In addition, it is unusual in a specific sense within the theme of its Passion cycle, which focuses strongly on the aspect of judgment. Stylistically the bronzes of the chapel, the reliefs in particular, are of import to the history of style of sculpture because they represent a definite reform. The reliefs belong to the period of transition from the maniera of the mid-sixteenth century to the early Baroque of the seventeenth. The style of these reliefs combines a revival of earlier Renaissance principles of design with a new emphasis on dramatic narration heralding the Baroque. This study proposes a reconstruction of the lost Grimaldi Chapel. It presents an interpretation of the program of the chapel which relates to the personal history of the patron, to the religious history of Genoa in the late sixteenth century, and to the influence of the Counter Reformation. And finally, the study defines Giambologna{\textquoteright}s contribution to the reform of style in sculpture at the end of the sixteenth century. The study is necessarily limited in scope to one major monument by Giambologna; it does not include an examination of his artistic evolution, an extensive consideration of his other reliefs, nor the influence this relief style may have had.}, keywords = {The Renaissance}, author = {Gibbons, Mary W.} } @mastersthesis {6946, title = {Gianlorenzo Bernini{\textquoteright}s "Blessed Ludovica Albertoni" and Baroque Devotion}, year = {1984}, school = {Michigan}, abstract = {Not long after the sixteenth-century Roman matron Lodovica Albertoni was beatified (1671) by Pope Clement X Altieri, Cardinal Albertoni/Altieri commissioned Bernini to memorialize the beata and dignify her place of burial in the family chapel in San Francesco in Trastevere. There he created a sculpture of Lodovica and placed it within a setting that dramatized the theological significance of her pious life and sublime death. Tracing the history of the cult of Lodovica, the Altieri chapel, and the statue, the present study illuminates Bernini{\textquoteright}s contribution, both artistically and iconographically, to the chapel, and proposes a reinterpretation of the precise nature of the experience the beata is undergoing in the sculpture. This marble statue, installed by 1674 in a lighted recess above the altar, depicts Lodovica in an attitude suggesting both ecstasy and death. The interpretation offered here proceeds from an examination of the statue in the full context of the other works of art in the chapel, of medieval and Renaissance tomb sculpture, of contemporary accounts of Lodovica{\textquoteright}s life and cult, and of devotional Catholic literature undoubtedly known to Bernini. Among the written sources consulted are the proceedings of her beatification, a panegyric composed in her honor, and a history of the church written by a monk at San Francesco. Woven into a complex iconographic scheme whose layers of meaning are mutually interdependent, the statue and the other elements in the chapel convey a unified conception. The Lodovica in its setting represents the culmination of an ideal religious life, the rewards for which are the mystical union in death and eternal glory. The sculpture, through the vehicles of lighting, space, posture, facial expression, and gesture, suggests the progress of the beata{\textquoteright}s mystical life to its very consummation when Lodovica dies in Christ, departing this world in an exquisite transport of divine love, her soul ascending to paradise. Viewed in relation to the Mass celebrated before the altar, the statue serves as an image of salvation to the worshipper and to the aged Bernini, who seems to have located his own fears and hopes within this work of art.}, keywords = {Baroque and 18th-Century Europe}, author = {Perlove, Shelley K.} } @mastersthesis {6939, title = {Giulio Parigi{\textquoteright}s Stage Designs}, year = {1984}, school = {IFA/NYU}, abstract = {Giulio Parigi (1571-1635) was a major force in the evolution of seicento stage design. His brilliant settings for comedies, tragedies, and early operas performed in Florence at the court of the Medici set the standard in scenography for all Europe. As a link between Bernardo Buontalenti and Giacomo Torelli, Parigi assisted in the creation of the Baroque stage--in fact, of a whole era. In the face of the Florentine artists{\textquoteright} resistance to the Baroque, Parigi{\textquoteright}s designs acted as an advanced form of the new style in Florence. This analysis of Giulio Parigis scenographic work shows the profound influence he had on his son Alfonso (1606-1656), on other Italian scenographers, and on stage designers throughout Europe. In addition, this dissertation clarifies and supplements much of the information available up to now on Giulio Parigi{\textquoteright}s life and work, as well as distinguishes his stage designs from those of his son, whose work has often been confused with his own. While much research has been done on the life and scenography of Giulio Parigi, not one study exhibits the breadth and scope required to cover the subject. This dissertation presents a cogent history and analysis of Parigi{\textquoteright}s scenography, using heretofore unpublished drawings and documents, and gathering together for the first time a chronologically complete presentation of his work, together with an examination of its relationship to the Italian and European theater of his time.}, keywords = {Baroque and 18th-Century Europe}, author = {Blumenthal, Arthur} } @mastersthesis {6918, title = {Gravestone Art in North Carolina}, year = {1984}, school = {UNC Chapel Hill}, abstract = {This study is the first attempt toward understanding the history of the gravemarker as an art form in North Carolina. The author conducted an intensive photographic inventory from 1980-1982 of graveyards in four counties to sample the geographic diversity and the English, Scotch-Irish, German, and Afro-American population stock. Oral history and research in such primary sources as county estate records, newspapers, censuses, and apprentice bonds supplemented the physical data. The result is an overview of traditional methods of marking graves during succeeding historical periods, and identification of a number of hitherto unknown craftsmen. Part One, a geographic profile of the Coastal Plain and the Piedmont, analyzes form, materials, date, and place of manufacture of representative types of gravemarkers. In the Albemarle, the Lower Cape Fear (especially New Hanover County, containing Wilmington, the major port), and the Upper Cape Fear (especially Cumberland County, containing Fayetteville, an inland commercial center), imported gravestones overshadow local gravemarkers: ballast stone, brick grave vault, wooden "gravehouse," head and footboard, and "railings." The eastern Piedmont (especially Davidson County) and the western Piedmont (especially Lincoln County in the Catawba Valley) contain large percentages of local gravestones. Part Two catalogues individual craftsmen. Chapter III identifies Piedmont folk craftsman Joseph Clodfelter, member of the "Pierced School" of Davidson County which produced exuberant soapstone markers with pierced folk German designs, and minor masters David Sowers, John Rikard, Peter Harmon, and the "Master of the Upper and Lower Case." Chapter III also analyzes anonymous twentieth-century folk markers and identifies two black Cumberland County folk artists, Renial Culbreth and Issiah McEachin. Chapter IV explores the creative mixture of folk and popular urn-and-willow imagery in the stones of three "progressive folk" craftsmen: the "Upper Cape Fear Master," and the "Modern Master" (Nathan Parks?) of Davidson County, and the Caveny-Crawford Workshop in the Catawba Valley. Chapter V treats the professional: the importer from 1700-1820, the itinerant from the 1820s to the 1840s, and the resident from the 1940s to the present.}, keywords = {Art of the United States (except Photography and Film)}, author = {Little, Margaret Ruth} } @mastersthesis {6962, title = {Greek and Roman Stone Table Supports with Decorative Reliefs}, year = {1984}, school = {IFA/NYU}, abstract = {One of the most luxurious kinds of furniture in ancient Greece and Rome was a table with special stone supports. Each support was in the shape of a roughly rectangular slab: two of these held up the narrow ends of a rectangular table top. Herms, griffin grotesques, and winged lynxes were often carved on the supports{\textquoteright} narrow ends; deities, elaborate cornucopias, and complex vegetal designs were frequently sculpted in relief on their broad sides. The tables were set up in sanctuaries, villas, and even middle class houses. Although they were most popular in the Late Hellenistic and Early Roman Imperial Periods, the history of the table supports stretches from the sixth century B.C. to the third century A.D. Artists made the greatest changes in their iconography in the late fourth to early third centuries B.C., the mid-second century B.C., and the Age of Augustus. A critical factor in their history was also the impulse to imitate: the West to copy the East, and one social class to copy a higher one. The ateliers that made these supports often have a distinctive style and so a few can be identified in Campania. These workshops usually made other products such as benches, cineraria, "birdbaths", and apparently even figural sculpture. The iconography of these supports is often meaningful. The imagery of supports for sacrificial tables sometimes alludes to the prosperity which is prayed for or which has been received from the gods. The iconography of several domestic tales fancifully relates them to agonistic tables. Since these nearly three hundred supports have rarely been published and since their history and significance have not been fully understood, they are the subject of this dissertation. The first section of the thesis is an analysis of the material and the second is a catalogue in which all the works are fully described and classified.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Cohon, Robert} } @mastersthesis {6919, title = {A Guide for the Identification and Research of Victorian Furniture in Six Historic House Museums in Texas}, year = {1984}, school = {North Texas State}, abstract = {One hundred and seventy-eight pieces of Victorian furniture in six Texas historic house museums have been photographed and researched in order to fulfill the three-part problem: (1) to research and write descriptive essays of the four major Victorian substyles--Victorian Empire, Rococo Revival, Renaissance Revival, and Eastlake; (2) to identify and choose six Texas historic houses which are open to the public and which display these Victorian substyles in period room settings; and (3) to identify, photograph, measure, and catalogue each piece of authentic Victorian furniture, and to compile a research guide which includes each of these six houses and their Victorian furnishings. This six-part guide includes brief histories of each house and a catalogue of authentic pieces which represent the major substyles of Victorian furniture. To give the study a broad base, and to make it useful for all students, teachers, and professional interior designers in Texas, two houses which represented the best collections of furniture from each geographic location were chosen. These included: (1) from North Texas, the George House and Millermore, both in Dallas; (2) in Central Texas, East Terrace and Fort House, located in Waco; and (3) in South Texas, Fulton Mansion in Fulton Beach, and McNamara House in Victoria. All four of the most popular substyles are represented in the six houses. A study of the museum collections and literature revealed three major factors which influenced American Victorian furniture: (1) technological innovation and mass production, (2) the family and the role of women, and (3) literature and furniture pattern books. Victorian furniture reflects the changes from handmade to machinemade products. While constantly changing and improving their machinery and techniques throughout the second half of the nineteenth century, manufacturers produced vast quantities of economically priced furniture in many styles. Although furniture of the Victorian period may be divided into more than four substyles, the most popular were the Victorian Empire, Rococo Revival, Renaissance Revival, and Eastlake. Substyles often overlap or run concurrently, and there are transitional pieces which possess characteristics of two or more styles. Furthermore, throughout the Victorian period, motifs from various sources were sometimes combined on one piece of furniture. Victorians readily accepted the products of mass production. . . . (Author{\textquoteright}s abstract exceeds stipulated maximum length. Discontinued here with permission of author.)}, keywords = {Art of the United States (except Photography and Film)}, author = {Rice, Ralph Albert} } @mastersthesis {6981, title = {Historia in Alberti{\textquoteright}s On Painting and in Mantegna{\textquoteright}s Circumcision of Christ}, year = {1984}, school = {Pennsylvania}, abstract = {In fifteenth-century Italy, it became a commonplace in art theory that the greatest work of painting was historia. Modern critics loosely translate historia as narrative painting and, consequently, understand the commonplace as an expression of a Renaissance preference for works of art with literary subjects. But when a thinker of Leon Battista Alberti{\textquoteright}s learning proposes to equate artistically composed painting with historia, he does not do so casually; rather, he uses the word historia with an awareness of its place and meaning within a centuries-old tradition of intellectual discourse. The purpose of this dissertation is to recover the meaning of historia in Alberti{\textquoteright}s theory of art and to show how the conception of painting as historia affected the artistic practice of the great Quattrocento painter Andrea Mantegna. Chapter one traces the development of the concept of historia in Antiquity and the Middle Ages. Both pagan and Christian thinkers defined historia in terms of its significance. For pagan thinkers, the significance of historia was rhetorical; for Christians, it was the eternal truth of Christianity. Chapter two considers the significance of historia in Alberti{\textquoteright}s treatise On Painting. The equation of painting with historia, which he proposed, depended on the medieval understanding of historia. However, in order to describe an art that would imbue the pictorial work with the multi-level significance of medieval historia, Alberti drew on classical rhetoric. Chapter three analyzes the compositional and iconographical problems an artist of Mantegna{\textquoteright}s stature faced when he undertook to paint a historia. Mantegna realized that the symbolic motifs used by medieval artists to convey the sacramental significance of the Circumcision of Christ were incompatible with the representational fidelity of historia. Yet, to delete these motifs would have violated his sense of history by rending the rite from the context that expressed its significance. In resolving this incongruity between the symbolic means and the expressive end of painting as historia, Mantegna arrived at an understanding of the biblical account of Circumcision that had no precedent in written theology.}, keywords = {The Renaissance}, author = {Jack M. Greenstein} } @mastersthesis {6894, title = {Hubert von Herkomer and the Modern Life Subject}, year = {1984}, school = {Columbia}, abstract = {Hubert von Herkomer (born 1849, Waal, Bavaria; died 1914, Budleigh Salterton, Devonshire) first achieved prominence in England with his illustrations of modern life for the Graphic magazine. Despite the fact that Herkomer became one of the most successful and influential artists of the late Victorian age, his reputation fell into obscurity after his death. This thesis aims to re-establish Herkomer{\textquoteright}s stature by describing and analyzing his scenes from modern life. While these works comprise the imagery for which his career is most respected and remembered, there exists no modern appraisal of them. Chapter One outlines Herkomer{\textquoteright}s life and his multi-faceted career. His willingness to experiment, and the didactic and social aims of his achievement in other fields are presented as a force that gave greater meaning to his modern life subjects. This is followed by a chapter on his Graphic illustrations. It is noted that they look consistently different from those of his English contemporaries both in their formal presentation and subject matter. An appendix lists all of Herkomer{\textquoteright}s known Graphic engravings. While Herkomer{\textquoteright}s rural themes contradict a strictly Baudelairian concept of modern life subjects, Chapter Three interprets those themes as an alternative vision to the urban imagery by which he made his reputation. Chapter Four focuses on The Last Muster and themes of old age and death, and reflects on larger contemporary issues. This discussion is followed by a chapter on Herkomer{\textquoteright}s portraits, and the huge group portraits painted at the end of his career. As modern life subjects, they endorsed the artist{\textquoteright}s wish to paint "true" or modern history that revealed the spirit of the age for the benefit of future generations. While these images record the great and powerful of his day, his social themes, discussed in Chapter Six, document the victims of a materialistic society. The influence of these social themes on Herkomer{\textquoteright}s younger English contemporaries is also presented. The effect of Herkomer{\textquoteright}s art on the emergent modernism of Vincent van Gogh is proposed in a concluding epilogue.}, keywords = {19th- and 20th-Century European Art}, author = {Edwards, Lee M.} } @mastersthesis {6952, title = {Iconography and Narrative in the {\textquoteright}St. Albans{\textquoteright} Apocalypses}, year = {1984}, school = {Ohio State}, abstract = {The subject of this study is a group of five illuminated manuscripts of the Apocalypse created in England in the mid-thirteenth century and formerly attributed to the abbey of St Albans. These manuscripts are now in collections in Paris (Bibliotheque Nationale Fr. 403), New York (Pierpont Morgan Library M 524), Oxford (Bodleian Library MS Auct D.4.17), California (J. Paul Getty Museum, MS Ludwig III 1), and London (British Library Add MS 35166). Recent Scholarship rejects a St Albans provenance for these Apocalypses. Nevertheless, the members of this traditional group rank among the finest English illuminations of the period. Moreover, their cycles of pictures represent four distinct stages in the evolution of the English Gothic Apocalypses. The first chapter investigates the iconographic sources and narrative form of the {\textquoteright}St Albans{\textquoteright} Apocalypses. Seven visions are selected from Paris 403. Investigation into their iconographic sources reveals that the Paris Apocalypse is the product of a long tradition of Apocalypse cycles in illuminated manuscripts. The immediate source of Paris 403 may have been a twelfth-century Apocalypse containing many of the latest features of a continuously evolving iconography. The pictorial narrative in Paris 403 stresses unity and causality and is distinguished from earlier Apocalypse art by its full temporal integration of the events of John{\textquoteright}s visions. The second chapter studies the iconographic interrelationship of the {\textquoteright}St Albans{\textquoteright} Apocalypses in hopes of contributing toward understanding the relationships among all of the extant Gothic Apocalypses. Analyzing the seven visions in the previous chapter as they are illustrated in the {\textquoteright}St Albans{\textquoteright} Apocalypses, this study finds the cycles in Paris 403 and the Trinity College Apocalypse to be the most influential prototypes for the evolution of the English cycles. The other {\textquoteright}St Albans{\textquoteright} cycles are shown to evolve from Paris 403 or from Paris and Trinity. The Ludwig Apocalypse, with strong independent ties to Trinity, is the primary source for British Library 35166. Between Paris and Trinity and the later Ludwig and British Library cycles, an important intermediary group represented by Lambeth Palace 209 and Metz Salls 38 intervenes.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Fisher, Linda M.} } @mastersthesis {6983, title = {The Iconography of a Ceiling by Pinturicchio from the Palazzo del Magnifico, Siena}, year = {1984}, school = {UNC Chapel Hill}, abstract = {This thesis is an iconographical analysis of a ceiling from the Palazzo del Magnifico in Siena, now in Metropolitan Museum. The ceiling was painted for Pandolfo Petrucci ca. 1509 by Pinturicchio{\textquoteright}s workshop. It is composed of twenty-one frescoed panels of mythological deities and military heroes set within a gilded stucco molding. During the nineteenth century part of the ceiling was painted over, while the other part was hidden by a false ceiling. In 1882 this hidden portion was discovered and published by Alessandro Franchi. No iconographical analysis of the ceiling has been attempted since Franchi{\textquoteright}s discovery. While two descriptions of the original disposition of the room exist from the seventeenth century, they make little mention of the ceiling or the contents of its compartments. Since the ceiling{\textquoteright}s composition and subject matter are strongly reminiscent of the Volta Dorata in Nero{\textquoteright}s Domus Aurea, it is first examined vis-a-vis the revival of antique vault decoration initiated by Pinturicchio in Rome in the 1480{\textquoteright}s and 1490{\textquoteright}s. Because it was envisioned as an integral part of the room{\textquoteright}s decoration, the room{\textquoteright}s location and function within the palace are discussed next. The iconography of the wall frescoes is briefly explained, as well as that of the images and inscriptions on the spandrels and pendentives. In them the deeds of Republican heroes and heroines echo marital as well as civic virtues, supporting the idea that the room celebrated both the marriage of Pandolfo{\textquoteright}s son Borghese and the fortunes of the Petrucci family as rulers of Siena. The subjects of the ceiling are first presented in a modified catalogue format, with brief descriptions and analyses of the iconographical tradition related to each panel. A more comprehensive interpretation of the ceiling as a whole follows. What at first glance seems but a collection of unrelated deities taken from a variety of textual and pictorial sources is actually a mirror of the forces of the universe divided into their masculine and feminine components. These forces represent the cosmic version of harmony in discord which was popular in Quattrocento nuptial imagery and reiterate the theme of marital virtue developed by the wall frescoes.}, keywords = {The Renaissance}, author = {Holmquist, Julie B.} } @mastersthesis {6906, title = {The Iconography of Carved Altar Tusks from Benin, Nigeria}, year = {1984}, school = {UCLA}, abstract = {In 1897, in retaliation for the ambush of a government party, a British punitive expedition attacked Benin City, Nigeria. Thousands of brass sculptures and ivory carvings were taken from the city and sold in Europe. Among these were approximately 130 large elephants{\textquoteright} tusks, covered with carved figures, animals, and other motifs. Most of the tusks came from royal ancestral altars, where they were mounted on heavy brass pedestals in the form of commemorative heads of past Obas, or kings. Since the Benin Kingdom is over 800 years old, scholars have proposed various chronologies for these artworks, concentrating primarily on the brass sculpture. Attention has also been focused on the interpretation of the Benin art because of the diversity of the images and the complexity of Benin culture. Nevertheless, until the present study the chronology and iconography of the tusks have never been thoroughly investigated. The dissertation was designed to provide a dictionary of Benin ivory motifs and interpretations of these carvings in context. It also attempts to identify the altar sets to which the tusks in present collections belonged, and to determine their chronological situation and sequence. Although the methodology was not fundamentally statistical, quantitative analysis of the motifs on 101 tusks was accomplished with the help of computer techniques. Key motifs and correspondences between motif choice and arrangement were found through computer crosstabulation, resulting in the formation of groups of tusks. Subjective visual style analysis refined these groups into twelve distinct tusk types. Iconographic interpretation required study of Edo, the language of Benin, and of historical, literary, religious, political, and sociological traditions. In 1981-82, fieldwork in Benin City was completed with the generous cooperation of the present Oba, Erediauwa, assisted by hereditary palace ivory carvers (the Igbesanmwan), and other court officials. Volume I of the dissertation presents the characteristics and iconographic interpretation of every tusk type, with relevant art historical implications. The individual motifs are discussed in an illustrated catalogue in Volume II, while Volume III contains charts and computer data.}, keywords = {African Art}, author = {Blackmun, Barbara W.} } @mastersthesis {6960, title = {The Iconography of Christ in Majesty at Autun}, year = {1984}, school = {Boston}, abstract = {This study focusses on one Romanesque relief carving: the giant image of Christ in a mandorla banded with an inscription, in the Judgment tympanum at Autun. The purpose was to explore the meaning of this well-known sculptural motif. The result was a new interpretation of the huge oval carving, as an image of Christ and a bishop{\textquoteright}s seal. The first chapter is an introductory essay, designed to situate the sculpture in a larger context, physical and intellectual. To this end, the history of Autun as a venerable see city, with roots going back to Roman and Celtic Gaul, is outlined. The building history of St-Lazare is recapitulated, inasmuch as it is known, along with the history of the tympanum and the tympanum{\textquoteright}s central motif. A chronological survey of how others have interpreted the image, from 1482 when it was first mentioned in writing, to 1982, is then selectively given. The second chapter is a descriptive analysis of the Christ motif. One conclusion was that the simplicity of the carving belies its calculated complexity. It is an artificial construct, evidencing a sophisticated sculptural logic, as well as a descriptive rendition of the principal actor in a Judgment scene. The sculpture reads as a giant stone emblem, flattened on the wall, in contradistinction to the surrounding figural imagery. Its visual similarity to two Romanesque sculptures commissioned by the same kind of patron--namely, to the Great Seals of two Autun bishops--called for investigation. Before undertaking the comparison, Chapter III was given over to introducing these relatively unfamiliar types of sculpture to the reader, as works of art and in terms of the significance they would have in twelfth-century society and to the bishops. In Chapter IV, the conclusion was reached that the Christ of Autun purposefully incorporates a bishop{\textquoteright}s seal of office within it. It shows a careful correspondence with episcopal seal design on a one-to-one basis, including the words in an episcopal seal legend. It shows the same concern with legal authenticity. The final chapter is a development of the theme of a Christ motif, and how this image of Christ both reflects, and completes, the implications of a bishop{\textquoteright}s seal. The fact that two official events repeatedly took place in front of the sculpture, the bishop holding court and the sealing of official documents, is also taken into account in arriving at an opinion as to what the image signifies in this location.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Thomas, Bernice L.} } @mastersthesis {6935, title = {Ike Taiga{\textquoteright}s "Karayo" Calligraphy}, year = {1984}, school = {Michigan}, abstract = {This dissertation concentrates on Ike Taiga{\textquoteright}s (1723-76) karayo or Chinese-style calligraphy: a search for Chinese prototypes and a study of his emulation and individual expression. The first chapter explains the background of eighteenth-century Japan and the most conspicuous phenomenon in that calligraphic world: the increase in the making of hojo or calligraphic copybooks. Merchant-class people supported Taiga financially and gave him spiritual encouragement. In Tokugawa society, it was possible for Taiga to write calligraphy in a relaxed state that was unknown in China. The second chapter is devoted to a study of source materials and the biography of Taiga, which reveal that Taiga did not excell in academic precision but his calligraphy captured the essency of literati art learned mainly from Wang Wei, Ni Ts{\textquoteright}an, and Tung Ch{\textquoteright}i-ch{\textquoteright}ang. Taiga had excellent friends: Ko Fuyo was an expert in the Chinese classics and the study of Chinese characters; Kan Tenju collected original Chinese copybooks and recarved Japanese versions of them; Kimura Kenkado had a vast collection of art objects, including hojo. The third chapter introduces the history of calligraphy in Japan, calligraphic theories and teachers that influenced Taiga, and hojo available to him. The fourth chapter discusses general characteristics of Taiga{\textquoteright}s calligraphy: split-up quality, advanced deformation, large compositional scheme, rounded corners, and slow rhythm with accentuations and halts. This chapter also discusses his minor styles: tensho or seal script and reisho or clerical script. The fifth chapter discusses Taiga{\textquoteright}s major styles: kaisho or standard script, gyosho or running script, and sosho or grass script. Taiga adapted techniques originally meant in Chian for fast writing styles (gyosho and sosho) to kaisho. The majority of his oeuvre is written in fast scripts, which express characteristics learned from both traditionalists and reformists, exemplified by Wang Hsi-chih and Wen Cheng-ming, Tung Ch{\textquoteright}i-ch{\textquoteright}ang and Hsu Wei. Taiga was an eclectic artist who studied and emulated many Chinese as well as Japanese calligraphic styles, but he never blindly followed them. His individualistic style is prominent in his oeuvre.}, keywords = {Asian Art}, author = {Ohki, Saduko} } @mastersthesis {6973, title = {The Illustrations and Texts of the Tonalamatl of the Codex Tellariano-Remensis}, year = {1984}, school = {Columbia}, abstract = {Ever since its re-discovery by Alexader von Humboldt in the early nineteenth century, the Codex Telleriano-Remensis has been recognized as a key document in Mesoamerican studies. Now in the Bibliotheque Nationale in Paris, this illustrated Aztec manuscript was compiled under Spanish patronage in Central Mexico during the early Colonial period (c. 1550) from now-lost indigenous prototypes. It comprises three distinct sections: feasts of the yearly cycle of native "months," a divinatory and ritual calendar (tonalamatl), and a historical chronicle. In view of the fact that no indisputably pre-Hispanic, pictorial Aztec manuscripts from the Valley of Mexico have survived the Spanish Conquest (1519-1521) or its aftermath, the few Colonial copies extant are rare and valuable records of Aztec culture. The native-style images of the Codex Telleriano-Remensis, accompanied by explanatory annotations in Spanish, in particular constitute a significant source in the recovery and interpretation of Aztec art, religion, calendrics, and history. This study first examines the Codex Telleriano-Remensis as a whole to resolve fundamental questions concerning its physical features, provenience, dating, authorship, possible prototypes, and relationship to the partially cognate Codex Vaticanus A, now in the Biblioteca Apostolica Vaticana in Rome. It then focuses on the richly illustrated tonalamatl, the divinatory almanac that guided human affairs at every level of Aztec society. An analysis of the illustrations of the predominant deity patrons of the tonalamatl sections (trecenas) defines their stylistic and iconographic features. Comparison with corresponding images in other pictorial Mexican manuscripts, pre-Hispanic (non-Aztec) as well as post-Conquest, discloses shared characteristics and isolates unique or acculturated traits. A scrutiny of the annotations identifies the hands of the various commentators, distinguishes their Christian interpretations from expressions of indigenous belief, and assesses their relevance to the illustrations. Comparison with the related texts of the Codex Vaticanus A and with other ethnohistorical sources clarifies the function of the tonalamatl and the place of divination within the Aztec religious system.}, keywords = {Pre-Columbian and Latin American Art}, author = {Keber, Eloise Q.} } @mastersthesis {6953, title = {The Illustrations of the "Grandes Chroniques de France" from 1274 to 1422}, year = {1984}, school = {Johns Hopkins}, abstract = {This study analyzes the changing cycles of illustrations in the Grandes Chroniques de France, the official history of the French kings. The Grandes Chroniques survive in over 120 copies ranging in date from 1274 to the late fifteenth century. The analysis proposes four chronological groups for discussing the picture cycles in this text. The first group includes the earliest manuscripts, those containing the texts written and translated by the monks at Saint-Denis. These include examples produced for royal and non-royal patronage and provide the opportunity to explore the influence of audience on the shaping of a manuscript cycle. The second group consists exclusively of Charles V{\textquoteright}s personal copy of the chronicle, the first manuscript to include the account written at court of the lives of John the Good and Charles V. This book is considered in relation to the previous chronicle tradition but also in the contexts of other political commissions and of contemporary historical events. Grandes Chroniques surviving from the reign of Charles VI form the third group. Certain of these cycles in manuscripts produced early in Charles VI{\textquoteright}s reign depend specifically on Charles V{\textquoteright}s book. Others responded, like contemporary literature, to problems posed by Charles VI{\textquoteright}s madness and by the French civil war. Most were independent of royal models and expressed a popular devotion to the monarchy. The Grandes Chroniques produced after the reign of Charles VI, when the Grandes Chroniques were no longer official history, form the fourth group. Illustrated versions of these books were of two types: books commissioned for Valois courts outside of Paris that seem to share chivalric and dynastic concerns, and books painted in Paris, which commemorate ceremonial. Analysis of changing cycles in terms of artist{\textquoteright}s production, of patronage, of contemporary literature, and of historical events enriches our perception of the political culture of late medieval France. Whether reflecting generalized views of French kingship or more elaborate comments on contemporary historical situations, the illustrations of the Grandes Chroniques de France provide an additional avenue for understanding the impact of vernacular history on the collective memory of its readers.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Anne D. Hedeman} } @mastersthesis {6984, title = {Images of Political Triumph: Donatello{\textquoteright}s Iconography of Heroes}, year = {1984}, school = {Princeton}, abstract = {This thesis studies the style, iconography, and the cultural and historical contexts of Donatello{\textquoteright}s Bronze David. A related work, Donatello{\textquoteright}s Marble David, is also considered and seen as a logical iconographic antecedent to the Bronze David. The discussion of the Bronze David focusses upon the question of the resemblance between that figure and Late Medieval, Early Renaissance and ancient images and descriptions of the Greco-Roman god Mercury or Hermes and upon the significance of that resemblance. It is suggested on the basis of style and iconography that the Bronze David was commissioned sometime after the conclusion by treaty in April 1428 of the Florentine-Milanese War and that the work may have been meant to commemorate this peace through its allusions to the Biblical and Classical liberators and athletes of virtue, David the slayer of Goliath, and Mercury, the Argicide. It is hypothesized that the Bronze David may have been meant to serve more generally as an image symbolizing Peace or Peace-making and that it could have been conceived as an iconographical pendant to Donatello{\textquoteright}s Dovizia. The subject-matter of the relief on the helmet of Goliath at the Bronze David{\textquoteright}s feet is identified as a "triumph of Bacchus" and it is suggested that, since Bacchus is traditionally identified mythologically with Liber who according to Boccaccio was a bringer of libertas, the relief may signify, in a larger sense, the triumph of liberty. The meaning of the relief would thus be consistent with and would also complement the message which seems to be communicated by the Bronze David itself. A particular interest in Mercury on the part of Donatello{\textquoteright}s contemporaries, the humanists Niccolo Niccoli, Carlo Marsuppini, and Ciriacus of Ancona is explored and a relationship between the concerns of the humanist circle and the seeming allusion to Mercury in Donatello{\textquoteright}s Bronze David is considered. Finally, the possible role of Cosimo de{\textquoteright} Medici in the commissioning of the David is examined.}, keywords = {The Renaissance}, author = {Leach, Patricia A.} } @mastersthesis {6930, title = {Inlaid Bronzes of Pre-Imperial China: A Classic Tradition and Its Later Revivals}, year = {1984}, school = {Minnesota}, abstract = {Scientific excavations carried out in mainland China during the past quarter century, in conjunction with primary literary evidence, an analysis of extant material, and a hypothesis concerning fabrication technique make it possible to formulate a more complete and accurate assessment of the stylistic, technical and chronological problems concerning inlaid bronzes than previously existed. The origin of metallic inlay can be traced by inscriptional evidence to the north-eastern region of the Ch{\textquoteright}u cultural horizon. Although inlaid weapons provide the earliest inlay datable by inscription (ca. 550-450 B.C.), excavations in Honan, Shansi and Hopei reveal that inlaid vessels were first produced around 525 B.C. in the northern workshops of the central states and that the concept and techniques of inlaying bronze were native to China. Direct examination of extant objects reveals at least nine categories of inlay fabrication technique dating from Shang through Ch{\textquoteright}ing. These include stone inlay, carbonaceous infill, strand inlay, amalgam inlay, stencil inlay, amalgam gilding, lacquer inlay, and foil inlay. It is possible to assign each of the six basic metal inlay processes to a general time span and occasionally to a style and/or geographic region. Considering inlay to be a technique rather than a style, and the terms geometric and curvilinear to be "modes" of decoration, it is possible to more precisely describe the various styles of inlay and analyze their chronological development. After a short-lived flourish of pictorial inlay around 500 B.C. there followed within the "geometric mode", the "early linear" and "Chang-chih" styles. These were followed by the "lozenge style" in two phases and the "curvilinear mode" composed of three phases. Each of these stylistic categories can be seen to have a specific motif vocabulary and can sometimes be assigned to geographic regions and time spans. The tendency by the late Warring States period was towards stylistic unification which transcended media and region. A large number of archaistic vessels are inlaid and nearly every ancient style of inlay was revised during the Sung or Ch{\textquoteright}ing dynasties. Archaisms can be determined by inlay technique, and generally Sung vessels are closer to ancient works in style and fabrication than are their Ch{\textquoteright}ing counterparts.}, keywords = {Asian Art}, author = {Jacobsen, Robert D.} } @mastersthesis {6912, title = {John D. Graham, 1886-1961}, year = {1984}, school = {UC Santa Barbara}, abstract = {John D. Graham has been recognized, in the literature of post-war American art, as an important intellectual influence upon the Abstract Expressionist generation. He befriended, and was the first to recognize the talents of, Arshile Gorky, Willem de Kooning, David Smith, Jackson Pollock, and others. His own art was dismissed as retrogressive in a critical climate that favored abstraction. In the last two decades of his life, Graham produced a body of relatively naturalistic, but disturbing, portraits of cross-eyed or wall-eyed women, with wounds in their necks, and with astrological and alchemical symbols scattered in the backgrounds. What is known about his life consists in a mixture of fact and myth. The need for a factual biography, and the wealth of new biographical information unearthed by this research, has necessarily postponed deep iconographic interpretation and evaluation of Graham{\textquoteright}s art to a later study. A comprehensive bibliographic search has been conducted to gather the published literature about Graham, and Graham{\textquoteright}s published and unpublished writings. Surviving family and friends have been interviewed and their reminiscences recorded on tape and summarized or quoted here. These materials, together with drawings, sketchbooks, letters, and memorabilia in the possession of one of Graham{\textquoteright}s sons, have been used to reconstruct his chronology. Graham{\textquoteright}s marriages and alliances, the births of his children, his friendships, and his writings are discussed. New visual and ideological sources for his art are adduced, opening the way to further study of his imagery. Graham{\textquoteright}s interests in mysticism and the occult are shown not to have arisen abruptly in the early 1940s, but to date from his earliest childhood, and to account for his interest in the work of Carl Gustav Jung; his role as a disseminator of Jung{\textquoteright}s ideas to the Abstract Expressionists is discussed. Finally, his alienation from these friends of the 1930s, resulting from his change of style and attitude, is shown to account for his diminished importance as an influence upon American painting after 1940.}, keywords = {Art of the United States (except Photography and Film)}, author = {Edgerton, Anne C.} } @mastersthesis {6982, title = {Joris Hoefnagel and The Four Elements}, year = {1984}, school = {Princeton}, abstract = {The Four Elements is one of the principal manuscripts of Joris Hoefnagel (1542-1600). It consists of four volumes, each depicting a group of creatures (human wonders and insects; quadrupeds and reptiles; fish and shells; and birds) associated with one of the elements. A key monument of Netherlandish art of the sixteenth century, the Four Elements is a response to older trends in Netherlandish nature painting and a catalyst for the development of the genres of the flower piece and animal painting in the Netherlands and Central Europe. The manuscript should be interpreted as an effort to achieve consummate mimetic mastery of nature. This interpretation offers solutions to three further sets of problems. The first concerns basic information on the manuscript--the sources of its imagery, the reasons for its execution, and the meaning of its curious and eclectic format. Second is the Four Elements{\textquoteright} relation to floral still life and animal painting. The emergence of these genres, often conceived of as a beginning, it also the result of the gradual fragmentation of the concept of nature in Netherlandish art, with the Four Elements marking the midway point in this development. Finally, there is the problem of understanding Hoefnagel{\textquoteright}s oeuvre. Hoefnagel is thought to be an empiricist, an emblematist, and an idiosyncratic genius with neither antecedents nor followers. Understood as an attempt to achieve perfect imitation of nature, the Four Elements emerges as the pivotal work of his oeuvre, lending unity to his multifaceted art. The text proceeds chronologically. Chapter One treats Hoefnagel{\textquoteright}s earliest work on the manuscript in Antwerp. Chapter Two is a discussion of additions made in Munich. Its influence on natural history illustration and floral still life and animal painting at the court of Rudolf II at Prague is treated in Chapters Three and Four, while Chapter Five turns to thematic concerns in the Four Elements and early seventeenth-century floral still lifes.}, keywords = {The Renaissance}, author = {Hendrix, Marjorie L.} } @mastersthesis {6988, title = {Kota Cina: Its Context and Meaning in the Trade of Southeast Asia in the 12th to 14th Centuries}, year = {1984}, school = {Cornell}, abstract = {Over the past three-quarters of a century, the search for the lost Malay kingdom of Sr({\textquoteright})ivijaya has evolved through the study of epigraphy, historical sources, particularly Chinese, and art historical artifacts, to geographical survey and analysis of archaeological materials recovered by excavation. These developments have led to a more complete understanding of both human and natural resources and the environment of the area in which they existed. Little or nothing was known of Sr({\textquoteright})ivijayan period archaeological sites in norhteastern Sumatra, an area which historical sources suggest played an important role in east-west maritime trade during the first and early second millennium A.D. Excavation undertaken at Kota Cina thus provides data which help to shed light on cultural and economic developments in this area during the twelfth to fourteenth centuries, a period in which the name Sr({\textquoteright})ivijaya fades from historical sources. Analysis of ceramic materials, both low fired earthenware and high fired imported stonewares, has proved useful, both as an aid to dating and for establishing physical trading and cultural relationships overseas. The high quality of much of the imported stoneware suggests a high level of prosperity among the ancient inhabitants of the site and infers important connections with the interior, a rich source of natural products such as benzoin, camphor and possibly gold. Analysis of excavated materials also indicates important connections with both south India and south China and suggests the presence of Tamil and south Chinese communities at the site. The presence of the former may account for the occurrence of Dravidian sept names among the Karo merga Sembiring in the mountainous hinterland. The existence of a Chinese community in northeastern Sumatra occurs at a time that historical sources indicate increased Chinese maritime activity in the area.}, author = {Edwards-Mckinnon, E.} } @mastersthesis {6955, title = {The Labors of the Months in Early 12th Century Sculptural Programs in France}, year = {1984}, school = {Michigan}, abstract = {The Labors of the Months and Signs of the Zodiac form a visual calendar evoking the passage of time, the movements of celestial bodies and the change of seasons on earth. A long tradition in medieval art includes such cycles in religious settings, accompanying themes of great significance in sacred art. Published material on the calendar cycle, while useful because it documents examples from antiquity to the twelfth century, does not provide much information about its meaning. Very general theories abound, unsupported by documentation, and those authors who have based their hypotheses on textual evidence usually examined only one or two passages, ignoring a vast quantity of relevant material available in patristic writings and medieval exegesis. Five important sculpted calendar cycles from the first half of the twelfth century in France form the core of this study: Vezelay, Autun, Aulnay, St.-Denis, and Chartres{\textquoteright} Royal Portal. For each of these cycles the iconographic context is particularly rich. They occupy positions of prominence, intimately associated with important religious imagery. Investigation of the visual tradition from the Hellenistic period through the twelfth century demonstrated that Labors of the Months and Zodiacs contributed importantly to cosmological and religious programs in both classical and Christian iconography. In addition, there is a preference for a circular format surrounding images of deities. Although agricultural work is used to represent most of the months, there is no evidence that the desire to encourage manual labor dictated the presence of these cycles on church facades. Rather, texts that elucidate the Christian attitude toward time proved most useful. General texts--computus, hexaemeral literature, allegorical treatments of signs, seasons, months, and year, and philosophical writings on the nature of time--provide background for individual applications of the calendar. Most important are those texts which suggest that time between the Incarnation and the Second Coming of Christ is a purposeful action of a merciful God, who wishes that as many as possible might be saved. These provide direct and specific inspiration for the cycle in a Christian context, and are particularly relevent to the five programs studied here.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Panadero, Marjorie} } @mastersthesis {6904, title = {Le Corbusier{\textquoteright}s Villa {\textquoteright}Les Terrasses{\textquoteright} and the International Style}, year = {1984}, school = {IFA/NYU}, abstract = {Le Corbusier designed and supervised the construction of the most important domestic building in the early annals of the International Style from 1926 until 1928. A four story luxury villa in Vaucresson, "Les Terrasses" was admired immediately (even by the advocated of housing on a more modest scale), but also became prematurely one of the great cliches of architectural history. The present reexamination is long overdue and comprises two sections: the first handles the villa{\textquoteright}s patronage, evolution and construction; the second concerns matters of its style and influence. Although the patrons of "Les Terrasses" might have controlled the composition of their villa, the physical determinants of contemporary construction exerted greater influence on the style of their architect. The villa{\textquoteright}s actual owner and chief patron was Rosa Julia Gabrielle de Monzie, nee Colaco-Osorio. She met Michael and Sarah Stein, her American cosponsors, in Paris before the war through the First Church of Christ, Scientist, the ideology of which was sufficiently similar to that of the periodical L{\textquoteright}Esprit Nouveau to compel Gabrielle to employ Le Corbusier as her architect. From the two hundred drawings for this estate, the histories of its patrons, and the method of its architect, one perceives the consequential role the clients played in the design process. This can be proved despite Le Corbusier{\textquoteright}s later presentation of his masterpiece as a formula, independent of his patrons{\textquoteright} desires, the narrowness of their real estate, or the limits imposed by materials and techniques. The final scheme for the Villa de Monzie had an international impact, but represents a stylistic composite that can not be defined with a single word. It is Purist, International Style, "vehicle style," as well as a brilliant example of diguised historicism. The house also initiated a trend toward a more unified volumetric composition more in keeping with Hitchcock and Johnson{\textquoteright}s eventual definition of the new style; but only by virtue of the villa{\textquoteright}s aesthetic complexity was it able to fulfill the architect{\textquoteright}s ambitions, delight his clients, and inspire an international host of modernists.}, keywords = {19th- and 20th-Century European Art}, author = {Ward, James} } @mastersthesis {6967, title = {The Lifetime and Early Posthumous Coinage od Alexander the Great from Pella}, year = {1984}, school = {Princeton}, abstract = {The coinage of Alexander the Great from Pella was initially treated by Edward T. Newell, who gave the coins their attribution and assigned them a tentative date (336-320 B.C. or later). He began, but was unable to complete, a full die-link study of the issues. This dissertation completes his work and makes several changes in his construction of the mint{\textquoteright}s activity. The die-link study done for this dissertation confirms that much of Newell{\textquoteright}s relative sequence is correct. The recent work of Georges Le Rider on the coinage of Philip II, however, forces a reconsideration of Newell{\textquoteright}s dates for the Alexander coinage. A comparison of control marks between the two series shows that Newell{\textquoteright}s coins could only have been issued beginning in 323 B.C., the year of Alexander{\textquoteright}s death. Alexander issued only posthumous Philip coinage during the first half of his reign (336-329/8 B.C.). It is here argued that the break between 329/8 and 323 should be filled by the coins earlier attributed to Sikyon but now attributed to Pella for the years 328/7-323. The date for much of Alexander{\textquoteright}s lifetime silver from Amphipolis may parallel the "Sikyon" dates and likewise be issued between 329/8 and 323. The attribution of the Macedonian gold, moreover, seems to be in need of further evaluation. Much of this gold (with the exception of the "Sikyon" gold) has been attributed to Amphipolis, but a case is made here for considering at least part of it to be a series from Pella. The Amphipolitan gold, in addition, may well have been issued by Alexander beginning only in ca. 331 B.C. Attribution of the coins is examined. A definitive answer is difficult, given that the mint is not identified on the coin itself. The evidence, however, speaks strongly in favor of attributing the coins in this dissertation to Pella, as one of only two Macedonian mints coining during Alexander{\textquoteright}s lifetime and in the years immediately following his death. The historical events provide confirmation for these revisions, and key dates find reflection in the minting activity. *(Volume II: Illustrations not microfilmed and are available for consultation at Princeton University library.) UMI}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Moore, Nancy J.} } @mastersthesis {6965, title = {Linear-Style Cylinder Seals of the Akkadian to Post-Akkadian Periods}, year = {1984}, school = {IFA/NYU}, abstract = {Although a number of monographs on glyptic problems in Akkadian iconography and chronology have appeared, little attention has been paid to the styles represented by the sizeable corpus of Akkadian cylinder seals. In the present study the linear glyptic of the Akkadian to Post-Akkadian periods has been collected in order to investigate the sources of the style and the motifs and to establish a relative chronology for its production. The linear seals share only selected subjects with the regular Akkadian repertory, often in a variant form, including the God-Boat, the animal combat, bird motifs, drinking, worship, the Akkadian pantheon and the Winged-Gate. The glyptic has been assigned to early, intermediate, mature and later to Post-Akkadian phases, based primarily on style and secondarily on the development of motif. An analysis of the style groups, motifs and find-spots of the linear Akkadian to Post-Akkadian cylinders has led to the following conclusions. The hallmark of the linear style is the abstract treatment of wild animals on the Tigris Group, animal combat, bird of prey and Winged-Gate seals. It is immediately dependent on the flat, angular relief style of the "Diyala School" animal combats of the late Early Dynastic period, but was part of a long tradition for abstract linear representation in the art of the Diyala region reaching back to the Jamdat Nasr period. The poses and markings exhibited by the animals on some examples, however, derives from the more decorative Iranian animal style, pointing to a revival of relations between the two areas in the Akkadian period. The Diyala region was also the source of the God-Boat and drinking motifs and it is argued that the God-Boat was Akkadian, rather than Sumerian in origin. The Winged-Gate motif also arose in the Diyala region, but was imported from Iran, since the composition of the earliest cylinders displays artistic traits that were not native to Mesopotamia.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Laird, Marsa} } @mastersthesis {6977, title = {Lippo Vanni: Style and Iconography}, year = {1984}, school = {Rutgers}, abstract = {The art of the Sienese painter Lippo Vanni, documented between 1344 and 1376, presents compelling proof that a reassessment of the style and iconography of later Sienese Trecento art is needed. Lippo{\textquoteright}s art developed under the tutelage of Ambrogio Lorenzetti and did not deviate as it matured. He remained a faithful interpreter and disseminator of the progressive style of Ambrogio Lorenzetti long after the latter{\textquoteright}s demise in the Black Death. Lippo was a simultaneously imitative and innovative stylist. His bold experiments with spatial illusionism are arguably the most daring of the entire Trecento and his sophisticated narrative constructions often reveal great dramatic power. His ability to synthesize inventive iconography and compelling formal design is further proof of his artistic prowess. An examination of Lippo{\textquoteright}s oeuvre indicates that Meiss{\textquoteright} notion of a radical and nearly all-encompassing shift in style and iconography following the Black Death should be modified. Lippo Vanni{\textquoteright}s rejection of a "Black Death style" suggests that, in Siena, at least, a progressive artistic tradition flourished side by side with a temporary and partial shift in artistic taste precipitated by the plague. This monograph also re-examines the role of Ambrogio Lorenzetti in Sienese Trecento art. Locating Lippo Vanni{\textquoteright}s formative years in the shop of Ambrogio allows us to re-attribute several problematic works to Lippo Vanni and Niccolo di Ser Sozzo, another likely pupil in that active shop. Heretofore, with the emphasis on the radical effects of the Black Death, Ambrogio{\textquoteright}s influence beyond his death in 1348 has been generally ignored. Yet, as Lippo Vanni{\textquoteright}s art attests, the artistic language of Ambrogio Lorenzetti remained an active model for the late Trecento painting in Siena. The Ambrogian tradition, as continued and expanded by Lippo Vanni and others is, in effect, a missing link in history, for it provides a bridge between the early Trecento experiments with naturalism and the development of the Renaissance style of the Quattrocento.}, keywords = {The Renaissance}, author = {Dale, Sharon S.} } @mastersthesis {6942, title = {Lodovico Carracci: A Study of His Later Career and a Catalogue of His Paintings}, year = {1984}, school = {Princeton}, abstract = {Lodovico Carracci (1555-1619) was born in Bologna and worked there until the end of his life. This dissertation follows several paths toward an understanding of his contribution to Italian painting. It is divided into two parts, the first being a study of Lodovico{\textquoteright}s later career, and the second a catalogue of all his paintings. Chapter I, "The Notion of Decline," examines the critical fortune of Lodovico{\textquoteright}s late career. Aiming to perpetuate the classicizing style of Lodovico{\textquoteright}s cousin Annibale, the influential seicento writer Bellori deemed Lodovico{\textquoteright}s late work a decline. Bellori{\textquoteright}s opinions have echoed through centuries of scholarship on the Carracci and shaped our understanding of the phenomenon of the "reform of painting." In Chapter II, "The Late Style: Its Character and Inauguration," the differences between the early and late styles are defined. The decoration of the choir of Piacenza Catherdral (1605-09) is shown to be the pivotal project in which Lodovico systematically rejected the artistic principles formulated in the early Carracci Academy. Chapter III, "Content in the Late Works," explores the concomitant change in the late iconography as Lodovico shifted his interest from portraying appearance and action to discovering significance and motive. The implications of this development are analyzed in Chapter IV, "The {\textquoteright}Pittor Cristiano{\textquoteright}: Invisible Reality." Lodovico, on the face of it, was rejecting the central recommendation of Cardinal Paleotti{\textquoteright}s treatise: that an artist{\textquoteright}s first task was to represent what can be seen by the mortal eye--or visible reality. Yet Lodovico was in perfect accord with Paleotti{\textquoteright}s deepest objective: to create an art that would lead men to a higher spiritual and moral comprehension of the world. The concluding chapter, "Bologna and the Later Lodovico," examines the late work in the context of contemporary Bolognese painting. A brief survey of artistic developments in the second decade demonstrate that not only was Lodovico in harmony with his fellow artists, but he was actually a pioneer in formulating the new style that emerged in these years. The Catalogue is divided into three parts: accepted and attributed paintings (one hundred fifty-four entries, chronologically arranged); doubtful and misattributed paintings; lost works.}, keywords = {Baroque and 18th-Century Europe}, author = {Feigenbaum, Gail} } @mastersthesis {6985, title = {Love, Sorrow, and the Goddess of the Earth: Tradition in Giorgione{\textquoteright}s Tempesta}, year = {1984}, school = {Yale}, abstract = {The purpose of this dissertation is to interpret Giorgione{\textquoteright}s controversial painting, the Tempesta (c.1505; Venice, Accademia). In studies of the past, scholars have advanced one or a few sources and insisted on a limited range of meaning. In the present study, however, I maintain that (1) the Tempesta is an informed artistic response to manifold traditions in literature and art, and (2) Giorgione{\textquoteright}s imagery has the multivalent, associative character of poetry. Jacopo Sannazaro{\textquoteright}s Arcadia (Venice, 1502) explains Giorgione{\textquoteright}s most basic meaning: the gentleman is an unhappy lover who has fled to the countryside to become a shepherd; the female figure nursing an infant is Mother Earth, a goddess who appears to the hero in a dream; and the distant storm signifies the amorous dilemma that she has come to resolve. But Giorgione{\textquoteright}s poetic intent is more complex than this. Ancient prayers to Earth and Nature indicate levels of meaning in the Tempesta that Arcadia does not reveal. Similarly, poems by Petrarch and his followers (including Giusto de{\textquoteright}Conti, Pietro Bembo and Serafino Aquilano) introduce the viewer to the symbolic nature of several pastoral motifs, such as the ruins in the middleground (melancholy) and the river in the distance (tearful sorrow). Giorgione{\textquoteright}s inspiration was not solely literary, however. Representations of Earth in Roman Imperial gems, medallions and coins demonstrate the origin of his composition and indicate additional metaphorical content in his landscape. Also, the symbolic visual language of popular art in the fifteenth and sixteenth centuries, which corresponds to the imagery of the Petrachan poets, clarifies the formal origin and meaning of various pastoral details. In this way, the Tempesta emerges as pittura come poes({\textquoteright})ia. In his picture of Mother Earth, Giorgione leads the viewer beyond the realm of the purely illustrative into that of the poetic.}, keywords = {The Renaissance}, author = {Lettieri, Daniel} } @mastersthesis {6940, title = {The Nature and Status of Pictorial Representation in the Art and Theoretical Writing of Samuel van Hoogstraten}, year = {1984}, school = {UC Berkeley}, abstract = {No abstract in ProQuest}, keywords = {Baroque and 18th-Century Europe}, author = {Brusati, Celeste Anne} } @mastersthesis {6951, title = {Omnium Paene Urbium Nuditate: The Re-use of Antiquities in Constantinople, 4th-6th Centuries}, year = {1984}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Bassett, Sarah E.} } @mastersthesis {6957, title = {The Paschal Candelabrum in the Capella Palatina at Palermo}, year = {1984}, school = {Binghamton}, abstract = {The paschal candelabrum in the Cappella Palatina in Palermo is unique within the series of candelabra produced in central and southern Italy and Sicily during the medieval period. The earliest notice of a monumental paschal candelabrum that served as a permanent piece of church furniture appears in the Chronicle of Monte Cassino and is datable to the Desiderian church consecrated in 1071. The preserved examples of candelabra, all of which are carved in white marble and decorated with mosaics or low reliefs, date to the following two centuries. They functioned as an integral part of the Easter liturgy, their primary role being that of supporting the paschal candle lighted during the Easter Vigil service. The Cappella Palatina candelabrum has been studied in the past, yet its style, date, and iconography remain problematic. Only by examining the sculpture of Campania, an area united with the rest of southern Italy and Sicily under the Normans, can the dating be made more secure. The shaft, carved in bands of reliefs, is attributable to the end of the twelfth century while the upper section with three supporting figures stems from the period 1230-1250. Thus the entire candelabrum belongs to the Hohenstaufen era when Henry VI and Frederick II ruled the Southern Kingdom. The iconography of the reliefs and base can be interpreted with the aid of sacred and secular literature and ceremonial sources. The unified program celebrates the conquest of the Southern Kingdom by the Holy Roman Emperor Henry VI, who emerges as the New David, the elect of the Lord and Christ{\textquoteright}s regent on earth. Analogies are implied between his ascent to the throne of Sicily and the assumption of the title of king by Roger II in 1130, thus establishing Henry as the legitimate successor to the Norman dynastic line. The models drawn upon for the form of the candelabrum are located in Rome--ancient candelabra, the imperial triumphal columns, and the paschal candelabrum of S. Paolo f.l.m. of ca. 1190. When the Cappella Palatina candelabrum is viewed in this light, it emerges as a profoundly sophisticated work of art that represents a political and liturgical synthesis, a monument that commemorates the Hohenstaufen cause in this part of the Mediterranean world.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Roberts, Eileen L.} } @mastersthesis {6974, title = {Pellegrino Tibaldi in Bologna and the Marches}, year = {1984}, school = {IFA/NYU}, abstract = {This dissertation discusses Pellegrino Tibaldi{\textquoteright}s career from 1553 to 1561 in Loreto, Bologna and Ancona. The artist{\textquoteright}s stylistic development is presented chronologically with particular emphasis given to large scale fresco decoration. In certain cases iconography is studied as well. Pellegrino Tibaldi left Rome in 1553 for Loreto to begin his first independent project--the decoration of a chapel in the Santa Casa. Only two lateral frescoes remain. This project probably occupied him for two years; he subsequently went to Bologna. There Tibaldi decorated several rooms for Cardinal Poggi in the family{\textquoteright}s recently constructed palace. Tibaldi{\textquoteright}s two salons, which display themes from the Odyssey, were the first Maniera decorations in Bologna. These ensembles are complex, impressive and of very high quality. The use of the theme of the Odyssey in sixteenth century Italy and its particular association with the patron, Cardinal Poggi, is discussed and examined. Tibaldi also designed a chapel in the nearby San Giacomo Maggiore which was to serve as the Cardinal{\textquoteright}s funerary monument. Although Tibaldi executed the two lateral frescoes, he left before the chapel was completed. Several minor works in Bologna are also discussed. In 1558 Tibaldi went to Ancona where he spent three years working on a great variety of projects. The ceiling of the Loggia dei Mercanti, as well as several decorative ensembles in the Palazzo Ferretti, show that Tibaldi{\textquoteright}s style stagnated after he left Bologna, settling into a turgid expression of Roman Maniera. The work of a minor Bolognese artist, Nosadella, has often been confused with that of Tibaldi. A chapter with a proposed chronology and corpus of paintings and drawings has been devoted to Nosadella. Within the larger context of Italian painting of the mid-sixteenth century, Pellegrino Tibaldi occupies a place of limited importance; his role as propagator of the Roman Maniera in Bologna and the Marches is nonetheless significant, particularly in light of the following generation of Bolognese painters.}, keywords = {The Renaissance}, author = {Baltay, Christine} } @mastersthesis {6895, title = {On the Politics of Dreams: A Study of the {\textquoteright}Noirs{\textquoteright} of Odilon Redon}, year = {1984}, school = {Princeton}, abstract = {The nightmarish obscurity of Odilon Redon{\textquoteright}s charcoals and lithographs has led many art historians to consider him a progenitor of Surrealism, thus isolating him from the ideological currents of his day. In reality, it was the very political engagement of the noirs which led Emile Hennequin, Edmond Picard and Stephane Mallarme among other critics and poets, to admire them. By analyzing selected art works and writings by Redon, as well as reviews by several French and Belgian critics, it is possible to illuminate the nature of this engagement. Influenced by the Pensees of Pascal and the utopian socialism of Saint-Simon, Redon{\textquoteright}s aesthetic was fashioned under the scrutiny of the bohemian printmaker and later Communard, Rodolphe Bresdin. It may have been Bresdin and his circle of radical supporters who encouraged Redon in the belief that his task was to return to France{\textquoteright}s lower classes their cultural patrimony, thereby restoring nature to art. Redon embraced a graphic style typically found in grotesque caricature, a form of popular art which flourished in the revolutionary period between 1868 and 1871, and which, after the defeat of the Commune, was condemned by conservative critics as crude and politically divisive. Redon{\textquoteright}s noirs were also indebted to the satanic irony and modernist autonomy in writings by Poe, Baudelaire and Flaubert, whose Temptation of Saint Antony particularly attracted the artist. Failing to reach the audience he desired, Redon increasingly tailored his art to an aestheticist elite. By 1890, he embraced an ideology of radical modernism which led him to employ color and natural imagery, thereby repudiating many of the goals and commitments which once motivated him.}, keywords = {19th- and 20th-Century European Art}, author = {Eisenman, Stephen F.} } @mastersthesis {6923, title = {The Prairie School Banks of Frank Lloyd Wright, Louis H. Sullivan, and Purcell and Elmslie}, year = {1984}, school = {UIUC}, abstract = {During the first two decades of the twentieth century over twenty banks were built by the Prairie School architects Frank Lloyd Wright, Louis H. Sullivan, and Purcell and Elmslie. Within the conservative world of American bank design, Prairie School architects built exceptional, one-of-a-kind works whose crisp geometry, organic ornament and rich color set them apart from the typical Beaux-Arts Classical banks of the period. Despite this tendency towards striking compositions, the underlying principles of bank design, both on the exterior and interior of Prairie School banks, often drew directly from established conventions in American bank architecture. Although not revolutionary in plan, or in such basic features as monumentality, Prairie School banks were an expression of very different meanings than a Beaux-Arts bank. With an aesthetic based on the eternal truths of nature and geometry, rather than historical association, Prairie School banks emerged as a modern and regional expression. The tomb-like security of Wright{\textquoteright}s few "strong box" designs for bank buildings stressed the longing for new monuments for a new culture. Sullivan{\textquoteright}s National Farmers{\textquoteright} Bank at Owatonna, Minn., 1906-1908, was the central landmark in this development and led Sullivan to over a decade of designing bank buildings during his last, difficult years. His "jewel box" designs for banks balanced the practicality of a well conceived and built financial institution, with a poetical lyricism which ultimately challenged the communities in which they were built. The less poetical and more pragmatic architectural firm of Purcell and Elmslie drew from the examples of both these masters to create an exceptionally appropriate bank building for small towns. Community service was stressed in the home-like character of Elmslie{\textquoteright}s last bank buildings. From the imagery of tombs to homes, the Prairie School and struggled for a contemporary expression for these buildings which were so conspicuously placed in their prairie communities.}, keywords = {Art of the United States (except Photography and Film)}, author = {Zabel, Craig Robert} } @mastersthesis {6941, title = {Private Collections of Italian Art in Seventeenth-Century Spain}, year = {1984}, school = {IFA/NYU}, abstract = {The collecting of fine pictures in Golden Age Madrid has been little studied. Not only did the Spanish kings amass thousands of works of art, but their example was followed at almost every level of Spanish court society. This dissertation examines the phenomenon of collecting on the basis of contemporary records. Chapter One is a survey of collecting in Spain from the Renaissance to the accession of Philip IV in 1620. Included are the collections of the Duque di Lerma (the favorite of King Philip III) and Lermas relatives, as well as the Osuna and Benavente collections. Chapter Two investigates the royal collection under Philip IV, as well as the great noble collections assembled in the first half of his reign. Included are the Alcala, Monterrey, and Leganes collections, the collection of the Almirante di Castilla, and the collecting activities of the Duqe de Pastrana during his embassy in Rome. The interdependence of king and nobles in matters of connoisseurship is analyzed. Chapters Three and Four investigate the collections of Lu({\textquoteright})is and Gaspar de Haro, the sixth and seventh Marqueses del Carpio. Don Lu({\textquoteright})is, who succeeded his uncle, Olivares, as favorite to Philip IV, emerges as an important collector. His use of the Spanish ambassador in England, Don Alonso de Cardenas, as an agent in the acquisition of pictures is documented in some detail. The enormous collection of Don Luis{\textquoteright}s son, Don Gaspar, is also described, along with Don Gaspar{\textquoteright}s activities as a patron in Madrid, Rome, and Naples. Chapter Five discusses the role of "middle-class" collectors in seventeenth-century Spain. These heretofore little-noted patrons, such as the courtier Don Pedro de Arce, are shown to have been important sources of support for contemporary Spanish artists. Volume Two of the dissertation is a listing and partial transcription of sources and documents, including inventories, contemporary citations, visitors accounts, and other evidence.}, keywords = {Baroque and 18th-Century Europe}, author = {Burke, Marcus} } @mastersthesis {6987, title = {Realism in Florentine Painting, 1400 to 1465: Practice and Theory}, year = {1984}, school = {Columbia}, abstract = {This study attempts to clarify the role of realism in Early Renaissance painting and to dispel the notion that painters were pursuing realistic representation as the primary goal of their art. Art historians have found it useful to trace the development of Early Renaissance painting in an evolution of formal devices, such as the realistic representation of light and space, but increasing realism has often been overemphasized as if it were the artist{\textquoteright}s first concern. Attitudes of artists toward realistic representation are studied here through Florentine painters{\textquoteright} use of two modes of composition in a single painting. One mode is intensely realistic, illusionistic, imitating the real presence of the thing depicted, and one is more abstract, idealized, and pictorial, a step removed from the viewer{\textquoteright}s reality. The duality, previously noted in only a very few Early Renaissance paintings (such as Masaccio{\textquoteright}s Trinity and Uccello{\textquoteright}s Sir John Hawkwood), follows a clear pattern, revealing that artists were able to make extremely realistic paintings but often chose a more abstract style to suit certain types of images. The study also examines written sources from the period. Some writings, which have been used by scholars to infer an art theory of the Early Renaissance, extolled paintings that rivalled nature and figures that seemed to live and breathe. Lavish praise of lifelikeness, however, had its origins in humanist literature and does not accurately reflect the painters{\textquoteright} concerns. The literary conventions may, in fact, be the source of modern misconceptions about the role of realism in Early Renaissance painting. These conclusions lead to larger questions of art theory, for if realism was not the painters{\textquoteright} primary goal, then what was? Writings by artists, properly interpreted, indicate the same attitude that was operating in the practice of painting: realism was a powerful means for making images efficacious, but it was not an end in itself. An Early Renaissance theory of art centering on the didactic effectiveness of paintings accords well with other aspects of fifteenth-century Florentine culture, and it will promote a better understanding of the art than can be gained from a theory centering on visual realism for its own sake.}, keywords = {The Renaissance}, author = {Sanders, Elma Barnes} } @mastersthesis {6961, title = {The Reims Masks: A Reconstruction, Stylistic Analysis, and Chronology of the Corbel Sculpture on the Upper Stories of the Cathedral}, year = {1984}, school = {UT Austin}, abstract = {The "masks" of Reims cathedral is the collective sobriquet denoting a thirteenth-century program originally consisting of at least 162 sculptured corbel heads, busts, and figures on the upper stories of the exterior of the edifice. Extensively distributed on all of the major architectural masses, the program has been known by that term for nearly a century because the vast majority of the sculptures are human heads of extraordinary naturalism, resembling the theatrical and decorative masks of antiquity. Although long considered an isolated and inconsequential program in Gothic sculpture, recent opinion credits the masks with an important role in the international diffusion of remois styles, especially in the transmission of those styles to Bamberg cathedral and other German monuments of the thirteenth century. Because of weathering, modern restorations, and the artillery bombardment of the cathedral in World War I, nearly half of the original program has perished. Nevertheless, documentation surrounding the modern campaigns of restoration sheds light on the post-medieval modifications of the program, and photographs both before and after 1914 make possible the reconstruction of about two-thirds of the original masks. A stylistic analysis of the original masks suggests the participation of a large number of sculptors in the creation of the program. Several stylistic groups of various sizes can be detected among the masks and are probably indicative of a single sculptor{\textquoteright}s work or two or more sculptors working in close stylistic and conceptual harmony. Most of these sculptors were also involved contemporaneously with the production of the monumental sculptures on the portals and upper stories of the cathedral. A small group of corbel busts on the outer triforia of the transept arms may be dated c.1221 on the basis of their stylistic connections with three of the angels in the buttresses of the eastern chapels, whose date of installation must coincide with the dedication of the axial chapel in that year. By comparison with the sculpture of other monuments, the vast majority of the remaining masks may be dated somewhat later in the 1220s. A recent study has argued persuasively that the sculptures of the Prince{\textquoteright}s Portal at Bamberg cathedral, where Reims-trained artists used the masks as models, were completed no later than 1229, and perhaps as early as 1224/25. If the masks which served as models for the sculptures at Bamberg therefore date from the 1220s, then it must be assumed that the styles represented by those masks--which have been dated variously between 1210/20 and the late thirteenth century--in fact share some degree of contemporaneity. (Abstract shortened with permission of author.)}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Wadley, William B.} } @mastersthesis {6931, title = {Relationship between Symbolism and Function in Ritual Bronzes of the Shang: New Archaeological and Bone Inscriptional Evidence}, year = {1984}, school = {IFA/NYU}, abstract = {This thesis is an attempt to identify the major symbolic themes of Shang ritual bronze imagery. I maintain that in order to understand the symbolism of bronze decor, it is necessary to study ways in which these bronze vessels were used in rituals. To do this I analyze archaeological finds to determine what vessels formed ritual sets, paleographic data to determine the ritual purpose of the bronze vessel and art historical data to analyze the significance of certain themes. Utilizing such combined data I address specific questions concerning the function of the bronze vessel in Shang ancestor rites, and with this religious background as a foundation I address the significance of bronze vessel decor. Based on paleographic data and typological comparisons of bronze vessels I propose that ritual bronzes were used in specific wine, meat and grain sacrifices, and in scheduled rites to royal ancestors of the Shang ruling house. Certain ritual vessels, specifically identified with sacrifices, are the jue-wine vessel with the guo-sacrifice, the ding-vessel with the shang-sacrifice, and the gui-vessel with the zai-sacrifice. I argue that these and related sacrifices play a major role in scheduled ancestor rites known as the Five Rituals or Wuzhongjisi. On the basis of Shang bone inscriptional terms I identify certain practices, such as, the "mask-wearing sacrifice," which are directly related to the animal imagery dominant in Shang bronze decor. The "mask", as worn in this little known sacrifice, appears to be a vehicle for the way in which spirits of deceased ancestors were perceived and for the representation of such spirits in the animal images on bronze vessels. The imagery on bronzes may thus be a representation of the "transformed spirit" of the deceased in animal guise. I am able to support this hypothesis on the basis of combined art historical and bone inscriptional evidence, including that gained from an analysis of the animal image prototype, the "masked" human image present in Longshan and Erlitou period jades. Ritual imagery symbolized the very power it sought to overcome through sacrifice: the influential ancestor spirit conceived in a transformed, frequently savage guise.}, keywords = {Asian Art}, author = {Johnson, Elizabeth} } @mastersthesis {6911, title = {The Religious Paintings of John Trumbull: An Angol-American Experiment}, year = {1984}, school = {Boston}, abstract = {Protestantism in 18th-century English-speaking America was generally hostile to images. The extension of the religious impulse from written word to painted canvas at the beginning of the 19th century was therefore of great significance. John Trumbull (1756-1843) was one of the first American-born artists to break with the past and produce a large corpus of religious paintings. This dissertation is an examination of connoisseurship, stylistic, and iconographic aspects of Trumbull{\textquoteright}s religious works. The English milieu in which he worked for so many years provides the background for the study. The Introduction establishes the parameters of the study and states the thesis, that Trumbull was a conduit for the transmission of western religious art to America. The first chapter summarizes Trumbull{\textquoteright}s life and his religious attitudes. The second chapter provides an overview of English religious painting in the eighteenth century. Chapter 3 considers the works of Trumbull{\textquoteright}s initial years in England. Chapter 4 concentrates on his use of family imagery in the years following 1800, revealing affinities with Reynolds and West and the changing sociology of the family in England. A discussion of two monumental religious canvases dating from Trumbull{\textquoteright}s final English sojourn constitutes Chapter 5. Chapter 6, devoted to Trumbull{\textquoteright}s twenty-one year career in New York City after 1815, features a survey of American religious art in the 1820s. Chapter 7 describes Trumbull{\textquoteright}s last religious paintings and his final days. The conclusion summarizes Trumbull{\textquoteright}s achievement and refutes the generally held view that American art was exclusive to Roman Catholics, Moravians and other sub-groups. Trumbull{\textquoteright}s career demonstrates that "high art" using religious subject matter was also created by members of mainstream Protestant denominations. Trumbull enlarged the repertoire of subject matter in America, and enriched Protestant iconography by appropriating subjects previously associated with Roman Catholicism. Even before the death of Trumbull, the locus of American religious art had already shifted from Scripture to nature: the wilderness itself had become "a fitting place to speak of God."}, keywords = {Art of the United States (except Photography and Film)}, author = {Burnham, Patricia M.} } @mastersthesis {6948, title = {Rembrandt{\textquoteright}s Landscape Painting}, year = {1984}, school = {Harvard}, abstract = {This thesis presents a new assessment of Rembrandt{\textquoteright}s landscape paintings. It proposes a different and smaller corpus of accepted works than is found in recent catalogues. Analyses of the paintings explore their content and interpretation, consider their relationship to theoretical and pictorial traditions, and weigh changes in appearance owing to alterations in condition. The analyses form the basis for a new evaluation of Rembrandt{\textquoteright}s achievement as a landscape painter. Contrary to the view espoused since the 19th century that in their fantastic imagery Rembrandt{\textquoteright}s landscapes depart from the mainstream, the paintings, in fact, adhere to the backbone of theoretical writings on landscape during the 17th century: The transformation of motifs studied from nature into complete compositions through the artist{\textquoteright}s invention and imagination. Rembrandt placed ordinary rural motifs in grand and dramatic settings, thus aligning himself with the precepts of Karel van Mander and the pictorial tradition of Pieter Bruegel. Changes in condition have acted to emphasize the fantastic elements of a number of paintings at the expense of prosaic details. In fact, Rembrandt{\textquoteright}s landscape paintings, full of lively observations of rural life, are more closely linked to his works on paper than has previously been supposed. Rembrandt{\textquoteright}s balance between realistic and imaginary, both in repertoire of motifs and in rendition of natural effects, presents an important contribution to the representation of landscape, and sheds light on the interpretation of his landscape paintings. Rembrandt{\textquoteright}s interest in landscape was not sustained throughout his career; landscape appears as a subject in his paintings for just over ten years, from about 1636 to 1647. The evolution of the landscape paintings is analysed in the context of developments in Rembrandt{\textquoteright}s historical and figural works and in his prints and drawings and etching over painting for the portrayal of landscape in his later years reflects his sensitivity to the particular qualities of each medium. The study includes a catalogue which presents a detailed discussion of the ten authentic paintings, six rejected works, and three doubtful attributions.}, keywords = {Baroque and 18th-Century Europe}, author = {Schneider, Cynthia P.} } @mastersthesis {6892, title = {Representations of Prostitution in Early Third Republic France}, year = {1984}, school = {UCLA}, abstract = {In the 1870{\textquoteright}s and early 1880{\textquoteright}s, there was a marked concern with prostitution in French culture. Signs of this pervasive fascination with (and worry over) prostitutes regularly appeared in the art and writing of the period: prostitution is a dominant theme in social commentary, art criticism and the imagery of modern life produced during these years. Among painters treating this theme were Paul Cezanne, Edgar Degas, Ernest-Ange Duez, Jean-Louis Forain, Henry Gervex, Edouard Manet and Auguste Renoir. Advanced prose writers focussing on the subject included Edmond de Goncourt, Joris-Karl Huysmans, Guy de Maupassant and Emile Zola. The prostitute was regularly represented by caricaturists as well. This study presents evidence of the outbreak of interest in prostitution during the early years of the Third Republic, it distinguishes between the various kinds of images of the subject, and it attempts to explain this episode of male enthusiasm for the prostitute in French culture. A detailed account of the history and significance of prostitution in the French capital during the period is an integral part of the analysis of the imagery. Artists were attracted to the subject of the prostitute largely because of the various ways in which she was found to embody the notion of {\textquoteright}modernity.{\textquoteright} Although the precise grounds of attraction are shown to have varied depending upon the concerns and purposes of the image-maker, it is suggested that vanguard artists were attracted to her because her history and myth marked the point of intersection of two vital ideologies of modernity: the belief that {\textquoteright}commodification{\textquoteright} was a modern social condition and the definition of the modern in terms of the half-legible, contingent and ephemeral. The findings of this study help to clarify the meaning of various later nineteenth century images of Parisian life, including many Impressionist workers.}, keywords = {19th- and 20th-Century Europe and Near East}, author = {Susan Hollis Clayson} } @mastersthesis {6972, title = {Riviera Cubista{\textquoteright}: A Critical Study of His Early Career 1892-1921}, year = {1984}, school = {UT Austin}, abstract = {In the large bibliography of Rivera studies, Rivera{\textquoteright}s Cubist period (1913-17), his European stay (1907-1921), and his early training at the Mexican Academy of San Carlos (1898-1906), have not been examined in any scholarly depth. The few studies that have dealt with Rivera{\textquoteright}s early career rely mostly on secondary sources and an uncritical reading of his various biographies and autobiographies. Relying on archival materials, newspaper accounts, his contemporaries{\textquoteright} correspondence, and an exhaustive search for his early works, this dissertation is the first study devoted to a critical examination of Rivera{\textquoteright}s early pre-mural career. Rivera{\textquoteright}s childhood in Guanajuato and Mexico City up to the time he enters the Academy of San Carlos is reconstructed in Chapter I. Chapters I and II examine his highly successful academic career between 1898 and 1906. Rivera{\textquoteright}s positivist education and his life in Porfirian, Mexico are considered in relationship to his art during this period. His involvement with a fledgling Mexican avant-garde and his previously unknown Symbolist and "trichromic" Impressionist works are also examined in Chapter II. Chapter III is devoted to Rivera{\textquoteright}s Spanish costumbrista period (1907-09) and his association with the literary and artistic vanguard in Madrid. His arrival in Paris, a Symbolist pilgrimage to Belgium, and his brief return to Mexico for his first one-man exhibition in 1910, are treated in Chapter IV. Also discussed is the artistic situation in Mexico on the eve of the Mexican Revolution, including the factors contributing to Rivera{\textquoteright}s return to Paris in 1911. The main focus of the dissertation is Rivera{\textquoteright}s Cubist evolution and participation in the currents of Salon Cubism before the First World War, his Mexicanist Cubist subject matter, and his Classical and "Crystal" Cubism during the war. His association with the Parisian avant-garde and Russian emigres and his Four-Dimensional and metaphysical theories about Cubism are considered in detail in Chapters V and VI. The dissertation clarifies "L{\textquoteright}Affaire Rivera" and the reasons for Rivera{\textquoteright}s rejection of Cubism. Rivera{\textquoteright}s participation in the post-war "Call to Order," which led him to a classicizing stylistic reformulation of Cezanne, Renoir, and "hidden constructive geometry," between 1918 and 1921 concludes the dissertation.}, keywords = {Pre-Columbian and Latin American Art}, author = {Favela, Ramon} } @mastersthesis {6976, title = {The Role of Greek and Roman Coins in the Art of the Italian Renaissance}, year = {1984}, school = {Pennsylvania}, abstract = {Greek and Roman coins were enthusiastically collected by Renaissance princes and scholars, and provided a rich pool of antique imagery for the painters and sculptors. This study concentrates on two questions which have so far received little attention: which coins were known, or which were the most popular, during the Renaissance, and how were they used by the artists? Fourteenth century documents, including statements by Petrarch, indicate that coin-collecting was already widespread in Italy at the beginning of the Renaissance. Especially important as evidence are the seventy-two portraits of Roman emperors on the margins of the autograph manuscript of Giovanni Mansionario{\textquoteright}s Historia imperialis (c. 1320); at least forty of these are demonstrably copied from antique coins. An analysis of the coin collection of the Venetian Cardinal Pietro Barbo, recorded in the 1457 inventory of his treasures, reveals the abundance and variety of ancient coins during the Quattrocento. Most of the Cardinal{\textquoteright}s eleven hundred coins belonged to those types which are most common today, and the prices assigned to them in the inventory show that these objects were remarkably inexpensive, a conclusion supported by other Renaissance documents. Two paintings are examined in detail to explore the attitudes of the artists toward these small antiquities. Francesco Granacci{\textquoteright}s Birth of St. John the Baptist (Metropolitan Museum) includes six numismatic motifs employed as architectural decoration; Granacci did not copy these coins haphazardly, but selected them with care to symbolize six aspects of the Baptist{\textquoteright}s mission and character. Titian{\textquoteright}s Charles V on Horseback (Prado) has been linked already to an ancient imperial coin type, the warlike Profectio; it can be shown, instead, that Titian{\textquoteright}s model was the Decursio of Nero and Hadrian, an image interpreted by sixteenth century antiquarians as a peaceful or ceremonial display of horsemanship. The bibliography includes a section devoted to the extensive numismatic literature of the Cinquecento.}, keywords = {The Renaissance}, author = {Cunnally, John} } @mastersthesis {6943, title = {The Royal Gates from the Pechersk Lavra: The Evolution of the Kievan Baroque and Rococo}, year = {1984}, school = {USC}, abstract = {The aims of this dissertation are twofold. The first is to study the origin, history, style and iconographic program of the two Royal Gates (1784) from the Pechersk Lavra in Kiev. The second is to examine the influences of Western engravings on the iconography and style of icons as they appear in the program of the Gates. The history of the Royal Gates is viewed in the context of their political, cultural and artistic background. The author studies the question of the Eastern orientation of the ecclesiastic gates in general, their symbolism, their role in the Orthodox Liturgy in particular, as well as their style, architectural evolution and their relationship to the iconostasis. A photographic reconstruction reunites one pair of Royal Gates with original iconostasis in the Church of the Elevation. The author identifies the creators of the Gates as master Aleksei Ishchenko and Gregory Chizhevski and discusses the Pechersk Lavra{\textquoteright}s leading role as not only a religious and intellectual center but also a very active and progressive art center. Artistic links between Kiev and the West, and Western influences are considered and the importance of the Western sources (Bibles of Piscator and Weigel) and their transmittal to Kiev are analyzed. The evidence of foreign inspiration is found in the Kuzhbushk albums, the model books used by Kievan artists. Further, the dissertation deals with the role of the Kuzhbushks with regard to changes in the iconography and style of painting and composition. Elements of Westernization are traced in the icons of the Royal Gates. The author points out that a strong national tradition persists in art and architecture. A number of churches form the Pechersk Lavra are brought into focus as characteristic of the Kievan Baroque architecture, while the interior decoration of churches and the iconostasis are cited as examples of Kievan Rococo. The period of cultural and artisic rebirth--the Golden Age of Kiev--is of short duration, the end of the eighteenth century heralds a new phase in the cultural life and artistic production of Kiev.}, keywords = {Baroque and 18th-Century Europe}, author = {Hall, Alla T.} } @mastersthesis {6913, title = {Sculpture as History: Themes of Liberty, Unity and Manifest Destiny in American Sculpture 1825-1865}, year = {1984}, school = {Wisconsin}, abstract = {This dissertation examines American sculpture executed between 1825 and 1865 within an historical and cultural context. Using published and unpublished correspondence to identify artists{\textquoteright} intentions, and nineteenth century journals, newspapers, and books for interpretations of mid-century sculpture, three themes emerge consistently: liberty, unity, and Manifest Destiny. These themes prevailed at a time in American history when secession and the abolitionist controversy threatened the nation{\textquoteright}s fabric, and when westward expansion became a focus of national indentity. Because mid-century sculpture embodied moral and patriotic themes of civic virtue, it assisted in creating and sustaining a national iconography for a country in search of a usable past, a present identity, and a promising future, and the sculpture aspired to the level of academic History Painting, especially in its component of exemplum virtutis. This dissertation is comprised of four sections. The first examines the sculpture on the United States Capitol{\textquoteright}s east facade which is studied for the first time as an iconographic program, outlining the course of empire and military extension as America{\textquoteright}s destiny and mission. Next, Hiram Powers{\textquoteright} Greek Slave is viewed in context of the Greek War of Independence and the abolitionist controversy, demonstrating that many Americans understood this female figure as a covert condemnation of Southern slavery, and a moral lesson on the universal wickedness of tyranny and oppression. Powers{\textquoteright} America forms the third section of this dissertation. A chameleon-like allegory that underwent a series of iconograpic transformations in response to events both in the United States and Europe, this Ideal work is examined in relation to the 1848 Italian Revolution, the Compromise of 1850, the Kansas-Nebraska Act of 1854, and finally the Civil War, events that shaped the artist{\textquoteright}s intentions for and meanings in his grand allegory. Finally, images of American leaders in mid-century public portrait monuments, the divine ruler, the statesman as civic hero, and the military equestrian, are studied in relation to patronage and pageantry, especially focusing on speeches delivered at the inaugural ceremonies for the works{\textquoteright} unveilings and then published in pamphlet form.}, keywords = {Art of the United States (except Photography and Film)}, author = {Fryd, Vivien Green} } @mastersthesis {6925, title = {The Significance of Style and Subject Matter of the Painting of Cui Zi-zhong}, year = {1984}, school = {UC Berkeley}, abstract = {The work of Cui Zizhong, one of the most important Chinese figure painters of the seventeenth century, is puzzling when analyzed purely visually. His elongated figures are silent and mysterious; the techniques used to depict them are eccentric and mannered. In style, his work is a very personal combination of archaistic features intended to evoke the art of antiquity and motifs and compositions current among professional figure painters of his day. We have found that his obscure images may be penetrated only by looking at their themes as well as at their mode of execution. Cui{\textquoteright}s subject matter and style, when linked with philosophical and social values prevalent in his circles, allow us to make hypotheses about the intent and contemporary meaning of his work. His initially mysterious paintings actually often carry fairly straightforward messages about religious and philosophical matters important to the artist. They are particularly concerned with reviving antique values and with self-cultivation. This study is divided into two parts. Part One presents background material necessary for understanding Cui Zizhong{\textquoteright}s work in the context of his time. It consists of a survey of Chinese critical writings about figure painting, a discussion of the situation of figure painting in Cui{\textquoteright}s time, and a study of the philosophical interests of Cui{\textquoteright}s circle of friends. Part Two, an analysis of his paintings, is arranged thematically, and progresses from secular themes to religious subjects. It includes such topics as portraiture, both real and imaginary, narratives of the Daoist immortal Xu Jingyang Ascending to Heaven, and the Buddhist theme of Washing the Elephant. Our study attempts to link Cui{\textquoteright}s archaizing style, historico-religious subject matter, and the philosophical tendencies of his circle of friends, particularly fellow members of the Restoration Society, a group of young scholars intent on reviving the virtues of antiquity.}, keywords = {Asian Art}, author = {Andrews, Julia F.} } @mastersthesis {6954, title = {The Sixth Century (Pelagian) Building of San Lorenzo fuori Mura at Rome}, year = {1984}, school = {Bryn Mawr}, abstract = {Pope Pelagius II{\textquoteright}s (579-590) church of San Lorenzo fuori le Mura, a gallery basilica, has been viewed as an anomaly in early Christian Rome. Its atypism is ascribed to a presumed introduction of eastern building elements in Rome resulting from the Byzantine occupation in the sixth century. This dissertation challenges that assertion to the extent that San Lorenzo is viewed as topographically and typologically related to other Roman churches partially constructed inside a catacomb. Set against the backdrop of the Gothic wars of the fifth and sixth centuries and their aftermath, San Lorenzo emerges as new and innovative. Its novelty seems to be associated with the importance of the cult of martyrs and the hordes of pilgrims who journeyed to Rome to venerate the sacred shrines. Together, these apparently inspired the monumentalization of martyrs{\textquoteright} shrines located ad corpus, and the concomitant development of a new type of martyr{\textquoteright}s shrine in the sixth century. The history of San Lorenzo is first considered in the scholarship, which has been long and problematic. For over 400 years, scholars have tried to reconstruct the history of the present church from the literary documents alone, or on the basis of issues extrinsic to the church itself. For this reason, it has been judged necessary to separate the written from the archaeological evidence in order to draw from each, its autonomous testimony. Only then are the results derived from both sets of documents conflated, and the combined testimony used to refine the received history of San Lorenzo. The separation of these sources serves to identify immediately the pivotal issue in any attempt to reconstruct the history of San Lorenzo: the original location of the tomb when, in 258, St. Lawrence was buried in a crypt on the Via Tiburtina. Scholars have always assumed that the present tomb of St. Lawrence beneath the High Altar in San Lorenzo, is the original locus as well. It is a major purpose of this study to address explicitly this assumption, which has never been tested. The original location of the tomb is of singular importance, because it was the focal point for all later building activity on the site, beginning with Constantine{\textquoteright}s foundation of a church in the fourth century also dedicated to St. Lawrence. The pre-Pelagian history of the site is therefore treated as well, because once located, the early place of the tomb goes far to explain the historical development of the shrine ad sanctum Laurentium, and why Pope Pelagius II chose to build this church in this place, in this form, and at this time. The inquiry then concludes with considerations of the cult of the saint, the place of this church in contemporary building practice, and the historical context in which San Lorenzo was built.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Israel, Debra M.} } @mastersthesis {6914, title = {Subjective Currents in American Painting in the 1930{\textquoteright}s}, year = {1984}, school = {CUNY}, abstract = {This dissertation explores the growth of a subjectively oriented art during the 1930s, art that reflects private considerations almost to the point of rejecting involvement with the American Scene. The artists examined share a commitment to a personal interpretation of their subjects, often emphasizing psychological phenomena or metaphysical speculation. Turning away from the external realities of American society of the 1930s, subjective art remains inner-directed; its primary purpose is to relate back to the artist himself rather than to the public. After an introductory chapter that surveys both figurative and abstract subjective tendencies, the dissertation focuses on eight artists in the following four chapters. Ivan Albright and Edwin Dickinson are the subject of the second chapter, which explores an emotional, physically distorted approach to realism. The next chapter concentrates on the use of symbolism for both psychological and metaphysical purposes. The Los Angeles artists Lorser Feitelson and Helen Lundeberg are the focus of this chapter. An abstract manifestation of subjective painting is discussed in the fourth chapter, with the work of Arshile Gorky. The dissertation ends with a discussion of three artists who combined a subjective art with the more objective goals of social realism: Peter Bluem, O. Louis Guglielmi, and Walter Quirt. Throughout, the paper focuses on the meaning of the art itself rather than on stylistic sources.}, keywords = {Art of the United States (except Photography and Film)}, author = {Kahan, Mitchell D.} } @mastersthesis {6929, title = {Sultanate Mosque Types in Bangladesh, Origins and Development}, year = {1984}, school = {Harvard}, abstract = {This thesis deals with mosques of Bangladesh built during the rule of the Independent Sultans of Bengal. The thrust of the thesis is to provide an adequate documentation hitherto not available on the majority of the mosques. A total of forty-nine buildings could be located. Three among these were previously unknown, and one was originally built not as a mosque. Among the Sultanate mosques of India, only the Adina mosque has been included in this study because of its uniqueness and importance. A complete catalog provides accompanying floor plans and photographs of every building included in this study. The mosques have been arranged in groups according to types of floor plans and each type is discussed and explained. The sources of these mosques have been traced to imported Islamic features, to the pre-Islamic brick temples of Bangladesh, and to the traditional village hut. The catalog forms the main body of the thesis. A brief account of the historical and geographical background precedes the catalog. The buildings have been divided into four groups--Mamluk, Early, Classical and Late, according to stylistic considerations. Dates of mosques, where not known, have been proposed through formal comparisons with firmly dated buildings. In the concluding remarks, the characteristic architectural features of the early Bengali style are discussed. The mosque inscriptions are studied to see what light they throw on the social conditions of the time. The significance of the buildings as historical, ecological and cultural changes that took place at the time of their building are brought out. Finally, Sultanate architecture is found to form a continuum with pre-Islamic Buddhist and Hindu architecture and post-Sultanate Hindu temples, and is therefore, identified as a manifestation of mainstream Bengali architecture.}, keywords = {Asian Art}, author = {Hasan, Perween} } @mastersthesis {6927, title = {"Tales of Gisho and Gangyo": Editor, Artist and Audience in Japanese Picture Scrolls}, year = {1984}, school = {Princeton}, abstract = {"Tales of Gisho and Gangyo," known in modern Japanese as Kegon engi or Kegonshu soshi eden, refers to six thirteenth-century picture scrolls owned by the Kyoto temple, Kozanji. The scrolls depict through painting and prose miraculous events in the lives of two seventh-century Korean monks. Gisho (Uisang) traveled and studied in China from 661-669, and thereafter introduced the Avatamsaka sutra (Kegon-kyo) to his native land. Gangyo (Wonhyo), a brilliant but reclusive scholar, achieved fame through his writings, his eccentric conduct, and his abilities as a healer. This study of "Tales of Gisho and Gangyo" treats the scrolls as products of collaboration between editors, artists, and audience. Chapter 1, "Reconstruction," presents a hypothesis for the later history of the scrolls that, for the first time, reconciles documentary and physical evidence concerning their original appearance. In Chapter 2, "The Editor: Transformation of the Narrative," the Japanese texts of "Tales of Gisho and Gangyo" are compared with the original Chinese from Sung kao-seng chuan, in order to define the editor{\textquoteright}s contribution. The texts are seen as Buddhist tales (setsuwa), similar to those in contemporary tale collections and other illustrated tales. A core group of seven other illustrated tales is introduced to demonstrate the usefulness of the concept of an editor. The artist{\textquoteright}s contibution, rather than the artist{\textquoteright}s identity, is the focus of Chapters 3 and 4. In "The Artist: Text Into Picture", the processes of scroll composition and scene-making are analyzed, and "Tales of Gisho and Gangyo" are found to be very close in conception to "Tales of Mt. Shigi" and "Hiko-hoho-demi no mikoto." Chapter 4, "The Artist: Images Foreign and Familiar," addresses the nature and significance of the imported models used for the representation of the most significant details: the two monks and the Chinese maiden, Zenmyo. Chapter 5, "The Audience: the Kozanji Community," defines the audience for "Tales of Gisho and Gangyo." Myoe (1173-1232), the founder of Kozanji, incorporated the teachings of Gisho and Gangyo into his own practice, but he was neither the patron nor the audience for the picture scrolls. Several of the lay patrons of Kozanji, men and women of the Kyoto elite, are shown to be the most likely audience for "Tales of Gisho and Gangyo."}, keywords = {Asian Art}, author = {Brock, Karen L.} } @mastersthesis {6915, title = {Thomas Nast and "Harper{\textquoteright}s Weekly" 1862-1886}, year = {1984}, school = {UC Santa Barbara}, abstract = {Throughout his life, Thomas Nast (1840-1902) fought for the cause of democracy against slavery, for honesty against corruption, and for civil service reform against the spoils system. The champions of those causes were his heroes. They were Louis Kossuth (1850{\textquoteright}s), Giuseppe Garibaldi (1850{\textquoteright}s-60{\textquoteright}s), Abraham Lincoln (1860{\textquoteright}s), Ulysses Grant (1860{\textquoteright}s-70{\textquoteright}s), Grover Cleveland (1880{\textquoteright}s), and Theodore Roosevelt (1880{\textquoteright}s-1902). In 1856, Nast started as an illustrator with Frank Leslie{\textquoteright}s Illustrated Newspaper. He achieved his greatest public impact as a feature illustrator and political cartoonist with Harper{\textquoteright}s Weekly from 1862 through 1886. Nast and Harper{\textquoteright}s Weekly served as the voice of the Union cause during the Civil War, and of the Republican party until 1884, when the Weekly took up the cause of the "Independent" Republicans, or "Mugwumps." Fletcher Harper, founder and publisher of Harper{\textquoteright}s Weekly, was Nast{\textquoteright}s benefactor. After Fletcher died, his heirs supported the moderate views and conciliatory policies of George William Curtis, the Weekly{\textquoteright}s editor. By the late 1880{\textquoteright}s, Harper{\textquoteright}s Weekly shifted from a political news-magazine to a family feature magazine, emphasizing business rather than controversy. Faced with this change, Nast left Harper{\textquoteright}s. Consequently, the magazine lost its best propagandist, and the artist lost his best forum. Although Nast continued as a political cartoonist, drawing for many different publications, his public impact and following declined. Harper{\textquoteright}s Weekly also declined in popularity. During the 1880{\textquoteright}s and 1890{\textquoteright}s, the illustrated daily newspapers, Sunday supplements, and cheap pulp paper magazines replaced the weeklies in public popularity. Nast{\textquoteright}s cartoons again appeared briefly in Harper{\textquoteright}s Weekly (July 1895-Feb. 1896). Their themes included praise for Theodore Roosevelt, Nast{\textquoteright}s last hero, and support for civil service reform. In this study, we will examine Nast{\textquoteright}s work during his association with Harper{\textquoteright}s Weekly, focusing on his stylistic and ideological development. We will also examine how the changing social, political, and commercial climate in the United States affected the ongoing relationship between Nast, the editor, and the publisher of Harper{\textquoteright}s Weekly. Lastly, we will compare Nast{\textquoteright}s work with that of his contemporaries, taking into account their pictorial styles and their ideological statements.}, keywords = {Art of the United States (except Photography and Film)}, author = {Khalsa, Puran S.} } @mastersthesis {6932, title = {The Timurid Phase in Iranian Metalwork: Formulation and Realization of a Style}, year = {1984}, school = {IFA/NYU}, abstract = {This thesis provides the first systematic study of the metalwork of the Timurid period in Iran, ca. 1370-1507. As a corollary to this, it relates this material to the overall development of Iranian metalwork from the mid-12th through the early 16th century. The contention of this thesis is that a distinctive style of metalwork was formulated and realized in the Eastern Iranian world under the reign of the Timurid dynasty. To demonstrate this argument Chapter One fully reviews pre-existing Iranian metalwork traditions, but focusing on the 14th century material in order to ascertain the extent to which these wares provide a prelude to the metalwork of the Timurid period. Chapter Two indicates how, when and where a uniquely Timurid style of metalwork may have first been formulated. Namely, the earliest wares produced under Timurid patronage are shown to represent the coalescing of a number of artistic traditions and metalwork trends, which seems to have come about as a direct consequence of the Timurid invasions of Central and Western Asia and concomitant transfer of diverse artists to Central Asia in the late 14th/early 15th century. Chapter Three gathers together a group of fifty objects that demonstrate the distinctive Timurid style and which are shown to be the products of a metalwork industry that arose in the Timurid East in the first half of the 15th century. This chapter identifies and defines those characteristics of shape, technique, decoration and epigraphy that distinguish Timurid metalwork from earlier Iranian wares and which also serve to unite the Timurid material as a cohesive class of metalwork. Finally, what is here termed the "Timurid" style of metalwork is shown to have found its ultimate expression in Khorasan, probably at the Timurid capital Herat, in the late 15th and early 16th century. Chapter Four demonstrates that the significant religious and political changes that Khorasan underwent after the fall of the Timurid dynasty (in 1507) did not have an immediate impact upon the style of metalwork thus far associated with this region, rather this same style was initially continued under the patronage of two subsequent dynasties.}, keywords = {Asian Art}, author = {Komaroff, Linda} } @mastersthesis {6900, title = {Universal Expositions of the Second Empire: A study in art and politics}, year = {1984}, school = {CUNY}, abstract = {During the Second Empire (1852-1870), the world of art changed rapidly from one that had preserved many aspects of centuries old tradition, to one that developed most of the attitudes and institutions of our modern era. Universal Expositions, combining art and politics, acted as catalysts for many of these changes. This study attempts to assess the significance of these first international exhibitions of contemporary art, presented in the context of Industry and Commerce. It treats in depth the painting of France, England, Belgium, and Germany, and the fate of history, genre, and landscape painting during this period. It also examines the development of such modern concepts as paid admission, retrospective shows, the split between popular and cultivated taste, and the disenfranchised avant-garde. Part One, "The Origins of Universal Expositions in France," analyzes traditional rivalries between Academy and Guild, and traces the parallel histories of exhibitions of art and of craft in France. Extended treatment is given to the series of Expositions publiques des produits de l{\textquoteright}industrie francaise (1798-1849) and to the first Great Exhibition of Products of Industry of All Nations, held in London in 1851. Part Two, "The Universal Exposition of 1855: The Apotheosis of Eclecticism," describes the results of the Government{\textquoteright}s attempt to obtain the support of all factions by proclaiming eclecticism the Genius of France, arranging individual retrospective exhibitions for leading French artists regardless of style, and attempting to depoliticize art. Part Three, "The Universal Exposition of 1867: The Death of History Painting," discusses the combination of factors which resulted in the widespread recognition that the Great Age of History Painting was over. This event also marked the triumph of Bourgeois taste, genre painting succeeding that of history, small intimate painting replacing the large public painting of the first half century, thus bringing to a close the Second Empire.}, keywords = {19th- and 20th-Century European Art}, author = {Patricia Mainardi} } @mastersthesis {6920, title = {Visual Dynamics in Jackson Pollock{\textquoteright}s Abstractions}, year = {1984}, school = {Michigan}, abstract = {This dissertation applies Rudolf Arnheim{\textquoteright}s gestalt, perceptual psychological analysis of visual dynamics to the abstractions of the modern, American, Abstract Expressionist painter, Jackson Pollock. The analysis of the paintings{\textquoteright} essential structures clarifies how his imagery evokes meaningful responses in viewers, introducing the reader to matters of connoisseurship and to the special nature of modern values. Chapter I examines the microstructures in Pollock{\textquoteright}s paintings. The prominence of individual strokes of paint and their special qualities are analyzed, as is Pollock{\textquoteright}s handling of color, facture, impasto, and collage. These elements are considered within the context of what perceptual psychologists term "texture" and what Pollock experts refer to as "all-over" properties. Major abstract motifs, or primary structural configurations, are the topic of Chapter II. Four major motifs are surveyed, while the particular dynamics of each are analyzed in conjunction with a consideration of how the dynamics relate to various painting traditions and expressive concerns. In Chapter III intermediary, or secondary structural configurations are analyzed. Specific configurations are catalogued and examined in terms of the contributions to each of the paintings{\textquoteright} particular dynamics. The formats Pollock employed are analyzed in Chapter IV. First, the effects of the unusually large canvases he favored are explored. Then the shapes and proportions of the various geometries are surveyed and studied with special consideration being paid to his interest in the "epic" and "frieze" formats. Lastly, his reserved treatment of the framing edge is discussed in terms of its effect on the visual dynamics. The Conclusion discusses how the various structural levels function together in a coordinate manner rather than in the more traditional, Renaissance, hierarchical fashion. This permits an examination of Pollock{\textquoteright}s concern with equivalence, accidental effects, and kinesthetics. Analysis of the relationship between his unorthodox working methods and his imagery shows how his working procedures contributed to the appearance of the abstractions, but how visual dynamics, such as improvisational and kinesthetic qualities, operate through the actual imagery the viewer confronts. This detailed analysis directs the reader toward a criticial perception and a greater appreciation of Pollock{\textquoteright}s abstractions.}, keywords = {Art of the United States (except Photography and Film)}, author = {Rohn, Matthew L.} } @mastersthesis {6909, title = {Washington Allston{\textquoteright}s Unfinished Masterpiece Belshazzar{\textquoteright}s Feast}, year = {1984}, school = {UNC Chapel Hill}, abstract = {This dissertation considers Washington Allston{\textquoteright}s unfinished masterpiece within a broad cultural context, examining especially its political and religious significance for an American audience which looked toward Old Testament Israel as a moral guide for nationhood. After an introductory chapter, considering key, contemporary reviews of the picture, chapter two explores the manner in which the Belshazzar theme served as a symbol for God{\textquoteright}s final judgment from the medieval period through Benjamin West{\textquoteright}s painting of 1776. The next chapters examine Allston{\textquoteright}s political and religious views prior to his embarking upon Belshazzar{\textquoteright}s Feast. Chapter three spans the period from his years at Harvard College, 1796-1800, to his first trip to England and the European continent, years rife with war and the threat of social revolution and thus fertile ground for apocalyptic narratives like that of Belshazzar{\textquoteright}s doom. Chapter four discusses Allston{\textquoteright}s affiliation with Boston{\textquoteright}s Anthology Society, a politically conservative group of intellectuals, and concludes with an analysis of the artist{\textquoteright}s conversionary experience in 1815, marking the beginning of his more active commitment to orthodox Christian values. Chapter five, then, analyzes the painting{\textquoteright}s composition and iconography in light of contemporary political discourse and the artist{\textquoteright}s Manichaean cosmology. The last chapters explore the unfinished painting{\textquoteright}s relevance for American culture once Allston returned to Boston in 1818. Chapter six focuses upon conservatives{\textquoteright} fear of an American Napoleon, while chapter seven stresses the importance of Allston{\textquoteright}s imagery for nationalists who associated American history with the model of ancient Israel. Frustrated by attempts to perfect Belshazzar{\textquoteright}s Feast, Allston halted his labors from 1828 to 1839. Chapter eight examines why he then returned to work upon it until his death in 1843. Perceiving that sociopolitical and religious conditions in America were deteriorating, the artist especially reacted against Transcendentalism{\textquoteright}s denial of an objective, personal God. Nevertheless, Allston{\textquoteright}s growing cynicism toward American democracy could not help but drain his will to finish Belshazzar{\textquoteright}s Feast. The project{\textquoteright}s very incompletion became proof against Emerson{\textquoteright}s optimistic belief that millennial perfection, the complete identity of subject and object, could ever be achieved in the earthly sphere.}, keywords = {Art of the United States (except Photography and Film)}, author = {Bjelajac, David V.} } @mastersthesis {6963, title = {Xoana}, year = {1984}, school = {IFA/NYU}, abstract = {The Greek word xoanon, meaning "something scraped," has long been applied to a hypothetical group of primitive wooden statues thought to stand at the beginning of Greek sculpture. The evidence for xoana consists almost entirely of ancient literary testimony, on the basis of which monuments have been interpreted and theories about early Greek sculpture developed. This dissertation examines the evidence for xoana in terms of its archaeological reliability and its importance for the history of Greek art. The first chapter treats the word xoanon. Etymological evidence is discussed, and the occurrences of the word in literary and epigraphical texts are examined chronologically, with special attention to context. It is demonstrated that the meaning of xoanon changes so drastically over time that it cannot be taken as a descriptive term for a coherent group of statues. Furthermore, the sources that explicitly discuss the early and primitive nature of xoana are shown not to be unbiased and reliable, but instead to reflect obvious antiquarian and iconoclastic concerns of later classical times. It is concluded that just as the word itself neither preserves nor presupposes a class of primitive wooden statuary, so too the ancient testimony for xoana reflects literary theories rather than archaeological fact. The second chapter treats the question of "xoana" and the origins of Greek sculpture. It is shown that modern theory depends on the same literary testimony that was found in the first chapter to be unreliable from an archaeological point of view. The ancient traditions and theories about the beginning of Greek sculpture are analyzed and found to conform to well established Greek historiographic trends, but to be at odds with the archaeological evidence for both wooden and pre-classical Greek statuary. A chapter of conclusions suggests that xoana should be abandoned as an archaeological category, and the testimony for them understood in light of its historical and intellectual context. Appendix I gives the texts and translations of 369 testimonia; Appendix II is an apigraphical concordance.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Alice Donohue} } @mastersthesis {6937, title = {The Yuzu Nembutsu Engi and the Pictorialization of Popular Buddhism in Japanese Narrative Scrolls}, year = {1984}, school = {Chicago}, abstract = {No abstract in ProQuest}, keywords = {Asian Art}, author = {Stern, Robin S.} } @mastersthesis {6966, title = {Zoomorphic Vases in the Bronze Age Aegean}, year = {1984}, school = {IFA/NYU}, abstract = {The purpose of this dissertation is to provide a comprehensive examination of zoomorphic vases produced on Crete, the Cyclades and within the Mycenaean koine during the Bronze Age. These vessels are considered as evidence for continuity and change within the cultures which created them. In addition, they have been studied as documents of cultural interaction and relgious practises. All published examples have been catalogued and photographed. Within the text they are discussed by geographic and chronological origins, i.e., Pre-palatial Minoan, Proto-palatial Minoan, Neo-palatial Minoan, Post-palatial Minoan, cycladic, Pre-Mycenaean mainland, Late Helladic and, as a separate group, L.H. III C-Proto-Geometric Bird vases. Within each division the vases are studied from several points of view. The archaeological context of each piece is reviewed for evidence of data and purpose. As a group the objects are subjected to stylistic analysis both to illuminate their artistic merit and to determine a relative sequence where archaeological evidence fails. Finally, references are made to possible connections each group may have to other cultures or periods. In concluding sections, there are considerations of other literary and artistic evidence for the zoomorphic vases, a survey of pieces previously identified as Bronze Age Aegean but probably modern in origin, and a summary of the general conclusions. The evidence reviewed in this dissertation suggests first, that while there is a strong indigenous tradition for zoomorphic vases on Crete, this production was affected formally by various outside influences: from Palestine in the prepalatial period, from Anatolia during the time of the first palaces, and from the Greek mainland and then Cyprus during the closing years of the Bronze Age. In addition, the taste for luxury versions of these vases is tied to the emergence of palatial culture on Crete. On the Cyclades and the Greek mainland, the zoomorphic vase is a borrowed form, arriving only after other elements of Minoan culture have appeared. In both areas the types are executed in local artistic idioms rather than being slavish copies.}, keywords = {Egyptian, Ancient Near Eastern, and Classical Art}, author = {Miller, Emily B.} } @mastersthesis {6850, title = {The 18th-Century Rebuilding of S. Croce in Gerusalemme, Rome}, year = {1983}, school = {Michigan}, abstract = {S. Croce in Gerusalemme, one of Rome{\textquoteright}s oldest churches, has been an important pilgrimage site for centuries. Renovated under Benedict XIV (1740-1758), S. Croce is one of the last ancient churches to benefit from papal patronage on a grand scale. The church received a new facade, portico, and interior decoration between 1741 and 1744, the exterior portions especially ingenious in their adaptation of both innovative and traditional architectural elements to the practical necessities of the site. A heretofore unrecognized part of the renovation was the opening of a street between S. Croce and S. Giovanni in Laterano, a major work or urban design that linked these two sites visually and stylistically as well as practically. The work has been attributed to two architects, Domenico Gregorini and Pietro Passalacqua; this research brings to light documents that prove Gregorini alone to be the designer. The optical sophistication of the urban aspect of the project portrays Gregorini as an architect of greater ability than has been assumed. More documents show that irregular financial dealings led to the curtailment of the construction, leaving parts of the facade and the interior unfinished. This mishap is symptomatic of the economic woes of the 18th-century papacy. Finally, S. Croce is placed in stylistic context. While the oval atrium is purely Rococo in spirit and form, the facade combines elements of the monumentality typical of Rome with the decorative style of the early Settecento. Stylistically and historically, S. Croce in Gerusalemme closes a long Roman tradition.}, keywords = {Baroque and 18th-Century Europe}, author = {Plummer, Ellen N.} } @mastersthesis {6829, title = {The Act of Portrayal: Depiction of Character in Works by Thomas Eakins, John Singer Sargent and Henry James}, year = {1983}, school = {Yale}, abstract = {America{\textquoteright}s economic and political consolidation in the decades surrounding the Civil War found a cultural parallel in the way that American writers and painters began to develop in their art a notion of character as a consolidated collection of apperceptions and traits: a "central consciousness." While Henry James was the foremost theorist of this consciousness-based way of organizing and presenting character, there is to be found in his portraiture, as well as that of his American contemporaries Thomas Eakins and John Singer Sargent, a certain counter-force energetically opposed to the totalizing impulse. Through close analysis of three major works of portraiture from the 1880s, one by each artist, the dissertation seeks to examine the hidden operations of text whereby the centralization/anti-centralization discourse occurs. The first chapter attempts to locate this artistic dialectic historically, seeing it arise not only out of the socio-economic contestation symbolized by the war, but also out of a prior lack of consciousness-based characterization in the arts of nineteenth century America, and from certain psychosexual tensions shared, apparently, by these three portraitists. Though in terms of biography such tensions can only be speculated upon, they clearly can be found at work within the texts themselves in such matters as composition and narrative form. One brief methodological section considers the similarities and differences of verbal and visual portraits, while another specifies how texts of either sort can most effectively and self-consciously be read. There follows three extended discussions, each a chapter long, exploring the depiction of character in Eakins{\textquoteright} The Agnew Clinic (1889), Sargent{\textquoteright}s The Boit Children (1882-3), and James{\textquoteright} The Portrait of a Lady (1881). In all three instances questions and definitions of sexual identity are not only prominent, but intimately related to issues of property, propriety, social and authorial control, formalism, realism, instrumentalism, and patriarchal phallocentrism. The works at hand sustain the most intensive scrutiny and reveal by it their place in modernity{\textquoteright}s history of representation, for they are in fact disquieted representations of representation, uneasy portraits about portraiture. And if the conflict they enact between the fixing, or centralizing, of consciousness and its de-stabilization depicts the pressures of a masculine-ordered bourgeois ideology upon subjectivity, then it is not only American culture of a century ago that is made more visible, but also that of the present.}, keywords = {Art of the U.S. and Canada}, author = {Lubin, David M.} } @mastersthesis {6883, title = {Adriaen Isebrant Reconsidered}, year = {1983}, school = {Johns Hopkins}, abstract = {To reconsider the sixteenth-century Bruges painter, Adriaen Isenbrant, is to confront not only the historical problems presented by this painter and his works but necessarily to confront the methodology that has produced both painter and oeuvre in spite of the absence of evidence that reveals either. None of the paintings currently attributed to Isenbrant bears a signature or monogram. Documentary investigations have brought to light no piece of evidence that securely identifies a single work by this painter. A literary source naming Isenbrant as the disciple of Gerard David has provided the only basis for attributions. Despite this scant documentation, traditional connoisseurship has produced an oeuvre for Isenbrant which currently includes nearly five hundred works of widely disparate styles. In order to maintain the attribution of his oeuvre to a single painter, a personality for this artist has been created that accommodates the stylistic diversity in evidence. I have argued that such efforts have produced an "Isenbrant" and an "oeuvre" which distort the very phenomena that they attempt to reveal. In these five essays, I have attempted to recontextualize both Isenbrant and the works attributed to him. In an effort to remain faithful to both visual and documentary evidence, I have considered the works attributed to Isenbrant as anonymous productions and have resituated Isenbrant within the community in which he worked. Because certain works attributed to Isenbrant evince specific stylistic features, I have attempted to define but to name those stylistic tendencies which these works share. I have also isolated groupings of works based on shared pictorial motifs, groupings which evoke a complex series of workshop practices. I have further presented documentary evidence that confirms the potential complexity of these practices and reveals an environment which may have contributed to the particular nature of art production in Bruges. Examinations of both visual and documentary evidence demonstrate that the designation "disciple of David" denotes a community of painters far more populated and active than previous studies have acknowledged.}, keywords = {The Renaissance}, author = {Jean Wilson} } @mastersthesis {6886, title = {Alessandro Sforza and Pesaro: A Study in Urbanism and Architectural Patronage}, year = {1983}, school = {Princeton}, abstract = {By the fourteenth century, when the Malatesta ruled in Pesaro, all that remained of the Roman foundation was the outline of the walls and streets. The first Malatesta podesta rebuilt the old walls; the Sforza, in the next century, extended and developed the town. The urban structure of Pesaro, and its domestic architecture of the fourteenth and fifteenth centuries, are examined by way of the Statutes and contemporary documents. Two monuments--the town residence and the Villa Imperiale--are examined in detail. By the 1360s the Malatesta owned property on the main square, and by the beginning of the fifteenth century at the latest, they resided on the piazza. Little could be concluded about the architecture or organization of their residence, except that it had a garden and was spread out over two town blocks with a connecting arch over the separating street. The reappearance in Sforza documents of the names of two ambiences in the Malatesta houses, and the fact that the Malatesta residence had been located on the main square, have led me to deduce that Alessandro Sforza, in the construction of his town palace, used much more of the Malatesta houses than was previously thought. Such economical behaviour is typical of Alessandro as a patron. A biographical sketch, and an investigation of his financial situation, serve to explain in part his approach to architecture. He is compared to his famous son-in-law, Federigo da Montefeltro, a comparison which already Vespasiano da Bisticci felt justified in making, and it is discovered that Alessandro had similar aspirations, but that he lacked the funds to realize them on an equally grand scale. His architectural undertakings, particularly the Villa Imperiale, reveal that Alessandro, who travelled widely on military service, and who was linked politically to two popes, both great patrons, was aware of the most advanced ideas in architecture. Because of his economic handicap he had to be selective in his sources of inspiration, thus the features he chose to incorporate in his buildings are those which most readily would associate his work with the projects of illustrious contemporaries.}, author = {Eiche, Sabine} } @mastersthesis {6891, title = {The "American Architect and Building News" 1876-1907}, year = {1983}, school = {Columbia}, abstract = {The American Architect and Building News (1876-1938) was the first successful architectural journal to be published in this country; previous efforts to found such a periodical had failed after only a few years. Published in Boston, the American Architect was most closely connected with the architectural community during its first thirty-one years when it was edited and eventually published by architects. The journal succeeded because it had the resources of one of America{\textquoteright}s foremost publishing houses behind it. Its editors, all Boston architects, were dedicated and energetic. It also enjoyed the new architectural schools{\textquoteright} and professional societies{\textquoteright} full support. The American Institute of Architects provided crucial backing during its early years. The journal also took advantage of new phototechnologies developed in the 1870s and became the first architectural periodical to reproduce photographs. The American Architect{\textquoteright}s editors never used its columns to proselytize for any one architectural style. Stylistic questions were pointless, they believed, until American architects were better educated and recognized as professional practitioners. Education and professionalization were the overriding editorial concerns. Despite the instructional value of architectural criticism, however, the editors assiduously avoided it; they feared that it would only anger contributors and thereby jeopardize the journal{\textquoteright}s source of illustrations. The editors also asserted that the American Architect was a national publication; its illustrations, however, revealed that it was basically an organ for a group of Boston and New York architects with strong ties to the editors. The journal promoted the careers of such prominent Eastern practitioners as H. H. Richardson, McKim, Mead, and White, Peabody and Stearns, and Carrere and Hastings. All styles (if not all architects) were, however, illustrated. The American Architect was part of a larger communications revolution in late nineteenth-century architecture. Never before had so much information and so many illustrations been available. The processes used to transmit these ideas and images, especially the photographic reproduction, had a profound impact upon the design and perception of architecture.}, author = {Woods, Mary A.} } @mastersthesis {6890, title = {The Architectural Collaborators of Antonio Gaudi}, year = {1983}, school = {Northwestern}, abstract = {The work and career of the great Catalan architect Antoni Gaud({\textquoteright})i has often been misinterpreted, not only in terms of context but also in terms of actual authorship. The roles of Gaud({\textquoteright})i{\textquoteright}s architectural collaborators and assistants have become confused and some of the Master{\textquoteright}s works have been on the balance of attribution. The primary objective of this study was to establish the important stylistic interactions and architectural collaborations that could have existed at the Gaudian atelier. This was accomplished utilizing a chronological mode of analysis. The entry date of each collaborator into the atelier was established and the works in which they participated were identified. Their own commissions, the possible modes of collaboration and the Master{\textquoteright}s influence upon their work were also studied. Exhaustive analysis of the above-mentioned factors clarified previously existing ad hoc lists of possible architectural collaborators. Five names have emerged with must be considered the "senior set," individuals who worked in fairly close contact with Gaud({\textquoteright})i: Francesc Berenguer, Joan Rubio, Domenec Sugranyes, Josep Jujol and Josep Canaleta. The study has revealed that although some collaborative effort existed at times in the Gaudian atelier, it was Gaud({\textquoteright})i who provided an influence of strength upon those who surrounded him, rather than the other way around. It was also evident from our findings that there was no "universal" collaborator among these men and that stylistic cross-currents existed among the collaborators themselves. Ultimately, the study confirms and reinforces the idea that Antoni Gaud({\textquoteright})i was an unique creative architect and artist, of outstanding originality and genius.}, author = {Pabon-Charneco, Arleen} } @mastersthesis {6789, title = {Architecture and Politics in Fascist Italy: {\textquoteright}Il Movimento Italiano per I{\textquoteright}Architettura Razionale, 1928-1932}, year = {1983}, school = {Columbia}, abstract = {Il Movimento Italiano per l{\textquoteright}Architettura Razionale (M.I.A.R.) was an organization created by progressive architects in Italy in order to promote the cause of Modern Architecture in Italy and to influence the architectural policies of the Fascist Regime. An ad hoc committee of architects staged the First Exhibition of Rational Architecture in Rome in 1928. A Board of Directors, by-laws, regional chapters, and other bureaucratic trappings replaced the initial ad hoc organization in 1930. The M.I.A.R. staged the Second Exhibition of Rational Architecture in Rome and Milan in 1931. Confronted with a serious challenge from the National Syndicate of Architects (the legal entity charged with regulating the architectural profession) and the apparent indifference of the political leadership of the Fascist Regime, the M.I.A.R. collapsed in September, 1931. The M.I.A.R. introduced progressive European architectural ideals in Italy and gave those ideals a distinctive Italian orientation. The work exhibited in the 1928 and 1931 exhibitions crystallized a new architectural aesthetic in Italy. The members of the M.I.A.R. attempted to integrate this new aesthetic ideology with the political ideology of Fascism. The issues raised by the M.I.A.R. exhibitions and the attendant heated polemics continued to dominate the discussion of architectural theory and practice in Italy until the outbreak of the Second World War. This study begins with a review of trends in Italian architecture during the 1920s, including Futurism after World War One, the Lombard Novecento Movement in architecture, and the Rationalist Program as outlined by Gruppo 7 in 1926-27. The Rationalist exhibition of 1928, the creation of the M.I.A.R., the second Rationalist exhibition in 1931, and the aftermath of that second exhibition are discussed chronologically. This study concludes that personal rivalries within the M.I.A.R., opportunism and naivete played at least as large a role in the demise of the M.I.A.R. as did differences in philosophical and ideological orientations. The last chapter of this study describes the ambiguous nature of Fascist artistic and architectural policies and proposes a set of criteria for isolating and defining a specifically Fascist style of architecture. These criteria incorporate iconic, typological, and economic as well as stylistic factors.}, keywords = {19th- and 20th-Century European Art}, author = {Doordan, Dennis Paul} } @mastersthesis {6866, title = {Art as Propaganda in the Reign of Constantine}, year = {1983}, school = {Florida State}, abstract = {The vast majority of scholarship dealing with the reign of Constantine has been concerned with the rise of Christianity in the empire and Constantine{\textquoteright}s personal commitment to the faith. The difficulties inherent in the contemporary written sources have produced a scholarship plagued by the criticism of the reliability of the church fathers as historians. The close association between the emperor and such writers as Eusebius and Lactantius has led many scholars to denounce their histories as works of Christian and imperial propaganda and unreliable for the hard facts of Constantine{\textquoteright}s reign. The problem associated with this argument is that it is too narrowly focused and passes over the obvious fact that a ruler{\textquoteright}s propaganda can be an excellent index to his policies at a given time. In addition, an analysis of the written sources in isolation ignores the fact that they were only a small part of Constantine{\textquoteright}s overall propaganda effort. Of greater importance were the examples of sculpture, coinage and architecture that influenced the public every day and did much to fashion the desired image of the emperor. This dissertation is concerned with examining Constantine{\textquoteright}s image as it evolved in imperial art during the thirty-one years of his reign. When appropriate, references to the written sources have been made to point out similarities and differences. The dissertation is divided into four chapters. The first introduces the use of imperial art as propaganda in the empire prior to the reign of Constantine. The second chapter presents the emerging Constantinian style prior to the Battle of Milvian Bridge in 313. The third chapter analyzes the mature imperial style of Constantine after his accession to the office of Augustus in the Western half of the empire. The fourth chapter concentrates on Constantine{\textquoteright}s imperial Christian art and the implications it had for imperial policy in the last decade of his rule. Special emphasis in this chapter will be given to the synthesis of imperial and Christian art that occurred in the empire after the founding of Constantinople.}, keywords = {Greek and Roman Art}, author = {Walker, James E.} } @mastersthesis {6835, title = {The Artistic Vanguard in Philadelphia, 1905-1920}, year = {1983}, school = {Delaware}, abstract = {Studies of radical art movements which flourished in New York City between 1905 and 1920 have appeared during the last twenty years. Yet, we lack a coherent portrait of the era, one that acknowledges the varied reactions to modernism in other American cities. Philadelphia, for example, has been stigmatized unfairly as an inhospitable environment for modern art. George Biddle called the city{\textquoteright}s leading art institution, the Pennsylvania Academy of the Fine Arts, an "august and timorous body--waddling slowly forward . . . and seeing nothing. . . ." In 1955, Milton Brown deemed the city "a bastion of conservatism" and overlooked institutional interest in modern art in Philadelphia between 1905 and 1920. Recent publications (Pennsylvania Academy Moderns, 1910-1940, Washington, D.C., 1973) have only begun to document the importance of the avant-garde in Philadelphia. The art and ideology of modernism came to Philadelphia through numerous channels, including exhibitions at the Pennsylvania Academy. Watercolors by August Rodin were displayed in the Academy in 1908. Between 1905 and 1908 the Fellowship of the Academy presented an annual exhibition modeled on the Salon d{\textquoteright}Automne in Paris. The Eight exhibited at the Academy in 1908, and in 1911 a group of John Marin{\textquoteright}s watercolor paintings were included in the Water Color Annual. Arthur B. Carles organized an exhibition of "Representative Modern Masters" for the Academy in 1920. Local newspapers recorded the struggles of the modernists for recognition. Helen W. Henderson, art editor of the Philadelphia Inquirer, was an advocate of Alfred Stieglitz and his circle of artists. Harvey M. Watts, a conservative critic, also discussed radical art and contributed to the interest in modernism. Artists also promoted advanced art in Philadelphia. Hugh Breckenridge, Henry McCarter and Arthur B. Carles taught at the PAFA. They encouraged their students to regard modern art at a legitimate expression of the artist{\textquoteright}s unique vision. Morton Schamberg and H. Lyman Sayen lectured frequently on the aesthetics of modernism. They also organized exhibitions of avant-garde art and designed stage sets in a radical style, and Schamberg discussed modern art in essays for the local newspapers. Their activities stimulated interest in advanced art in the city and helped promote an acceptance of non-traditional styles in Philadelphia.}, keywords = {Art of the U.S. and Canada}, author = {Scott, Wilford W.} } @mastersthesis {6864, title = {Aspects of Roman Arches in Asia Minor}, year = {1983}, school = {Cornell}, abstract = {The dissertation is an examination of Roman Imperial arches as a class of building in Asia Minor. Its objective is to study both the physical form of the monumental arch and its iconography as far as can be determined from the placement, form, perceived or intended function and the commissioning patron of the arches. Problems pertaining to the definition of the arch, especially with regard to gates, are presented first, and ways of dealing with these difficulties are suggested to allow a meaningful interpretation. An overall historical and social background is given next, followed by the evidence of the arches and their cities. Fifteen arches from ten cities in the west, south and interior of Asia Minor are selected for analytical exposition. The cities are purposely varied in character to get some impression of political attitudes as they affect the building of the arches. They include Roman colonies, both cosmopolitan and lesser known Hellenized centers, as well as more backward cities and cities with a strong Anatolian element. The results show that contrary to what one might expect, Roman arches in Asia Minor are not confined to colonies of Roman veterans but are commonly found in Greek cities with a patriotic sense of history and tradition. In this connection, it is demonstrated that the specifically triumphal arch is rare in Asia Minor, its place being taken by the more popular ceremonial arch with a new ideological meaning. This is accompanied by a creative synthesis of Graeco-Anatolian elements with Roman taste, resulting in splendid variation, flexibility of use and picturesque form, more than any other class of building in Asia Minor.}, keywords = {Greek and Roman Art}, author = {Guven, Suna} } @mastersthesis {6797, title = {Atget{\textquoteright}s Seven Albums, in Practice}, year = {1983}, school = {Yale}, abstract = {Between 1909 and 1915 Atget made a maquette for a book, L{\textquoteright}Art dans le Vieux Paris, and six hardcover albums, Interieurs parisiens, La Voiture a Paris, Metiers, boutiques et etalages de Paris, Enseignes et vieilles boutiques de Paris, Zoniers and Fortifications de Paris. The first was never published; the rest were sold to the Cabinet des Estampes of the Bibliotheque Nationale in Paris. The seven albums represent a special period in Atget{\textquoteright}s career, a time when he tried to put his work into the public domain for inspection and debate. This thesis studies them in themselves and in the context of Atget{\textquoteright}s regular paractice. Atget{\textquoteright}s regular practice was a commercial one. He made and sold documents according to pre-established specifications and codes. The thesis develops a theory for the commercial picture; it locates commodity forms and use values in Atget{\textquoteright}s documents; it analyzes their different structures as part of a visual and economic dialectic of production and consumption. This requires an explanation of the differences between technical and aesthetic viewing and it requires a more complex definition of the document and the uses of photographic objectivity. After such an explanation it is possible to see that Atget developed pictures to double and triple function and that normally he produced documents ridden with functional ambiguity. Without compromising their usefulness, he was inclined to make the commercial form strange. This process occurred during Atget{\textquoteright}s normal business in documents, produced for the files of his clients. It is the common nineteenth century use for documentary photographs; at the same time, however, Atget worked to develop his work in line with the emerging twentieth century uses, worked, that is to say, to get his work published. He considered his profession to be that of an auteur-editeur, not a photographe. His efforts to publish were never very successful; the high point came with the seven albums. At the Bibliotheque Nationale he put his work in the same place it would have come if it had been published. At the Bibliotheque Nationale he also got a public. The album L{\textquoteright}Art dans le Vieux Paris set the tone for the others though it differs substantially from them in most respects. It was made for his Vieux Paris trade and shows Atget both in and out of the Vieux Paris discourses, definitely not the gentleman antiquarian. The next two, Interieurs parisiens and La Voiture, take a contrary tack and show modern rooms and vehicles full of references and issues like style and speed but empty of any human life. . . . (Author{\textquoteright}s abstract exceeds stipulated maximum length. Discontinued here with permission of author.) UMI}, keywords = {19th- and 20th-Century European Art}, author = {Nesbit, Margaret} } @mastersthesis {6796, title = {Auguste Rodin{\textquoteright}s Burghers of Calais}, year = {1983}, school = {Stanford}, abstract = {Auguste Rodin{\textquoteright}s monument to The Burghers of Calais, which commemorates a patriotic episode from the Hundred Years{\textquoteright} War, was begun in 1884 and inaugurated in Calais, France in 1895. The work is best known for its unusual representation of six life-size figures in an open composition that provides a basis for modern sculpture. The study{\textquoteright}s findings are based on source materials found in the Paris Musee Rodin and in the Calais archives. These include letters between Rodin and the Calais mayor and newspaper clippings. Chapter I deals with the commission. It shows that after 1870 the theme was seen to have contemporary political significance as a symbol of the surrender of Alsace and Lorraine to the Germans. The interest of Calais in raising a grand monument is linked to the general desire of the Third Republic to use government finances to encourage nationalism. The chapter also investigates Rodin{\textquoteright}s efforts to win the commission, the nature of the special Monument Committee charged with the project, and the relationship between Rodin and his civic patron. Chapter II examines the many studies, which provide insight into Rodin{\textquoteright}s working methods and suggest several stylistic influences, especially Donatello. Chapter III traces the development of Rodin{\textquoteright}s composition from a compact group on a tall pedestal like a Breton calvary to a cube of asymmetrically placed figures that unfolds in a procession. The chapter relates Rodin{\textquoteright}s decision to commemorate all six burghers to the new popularity of the multi-figured monument and to the demands of Calais socialists. Finally it shows that the idea of elevating ordinary men into "civic martyrs" was a common one in the late nineteenth century, also used by Zola in La Debacle. The last chapter deals with the reactions of the critics and reveals that almost all were enthusiastic about the work{\textquoteright}s formal innovations and dramatic power. The most significant finding is that the work was seen by Rodin{\textquoteright}s contemporaries to be symbolist. The dissertation concludes that the relationship between sculpture and painting in the Symbolist period was an important one that needs further study.}, keywords = {19th- and 20th-Century European Art}, author = {McNamara, Mary J.} } @mastersthesis {6790, title = {Augustus Leopold Egg, R.A. (1816-1863)}, year = {1983}, school = {Yale}, abstract = {Augustus Leopold Egg was a prominent if not key figure on the Victorian art scene. This biocritical study examines his twenty-five year career and draws attention to the major changes in style and theme in mid nineteenth-century English painting as reflected in Egg{\textquoteright}s canvases. It includes a select catalogue of Egg{\textquoteright}s pictures, drawings and engravings, which provides a core for future connoisseurship. Born into a famous London gunmaking family, Egg eschewed a life of ease for one dedicated to art. During his youth he was a derivative painter who represented the same literary subjects from the writings of Le Sage, Scott and Shakespeare as had his older contemporaries Leslie and Maclise. He repeated the formulas of his friends Frith and E. M. Ward, among others, whom he had met in the 1830s at Sass{\textquoteright}s and the Royal Academy Schools and in a sketching club known as The Clique. Egg became better known in the 1840s when he exhibited regularly at the R. A. and at the British Institution and Society of British Artists, as well as with provincial art organizations in Birmingham, Liverpool and Manchester. By the time of his election to Associate in the R. A. in 1848, critics noted that Egg had developed into an original talent, who depicted unusual and dramatic historical incidents. In the 1850s he continued in this progressive vein, while adopting the technical innovations and provocative themes of the Pre-Raphaelites, whom he also patronized and promoted. Furthermore Egg{\textquoteright}s literary pictures of the 1840s, his historical paintings of the mid 1840s and 1850s, and his painful Hogarthian modern-life triptych Past and Present, were representative of the moralizing bent in his art that provided instruction with enjoyment. Indeed, the belief in "utile dulci" was the foundation of Egg{\textquoteright}s professional and personal life. Finally, in the early 1860s, after his election to Academician, his painting, as exemplified in The Travelling Companions, evolved in a more poetic manner, foreshadowing the concerns of Moore and Leighton. The thesis treats the varied iconography and visual and textual sources for Egg{\textquoteright}s oils which were influenced by his contemporaries and seventeenth and eighteenth-century literary and artistic predecessors. It emphasizes his associations with noted authors (many of whom were his friends) such a Bulwer-Lytton, Wilkie Collins, Dickens, Macaulay and Thackeray, whose theories and writings affected Egg{\textquoteright}s art. Thus the dissertation not only illuminates Egg{\textquoteright}s contribution to British painting but focuses upon the cultural milieu in which a number of important Victorian artists and authors travelled.}, keywords = {19th- and 20th-Century European Art}, author = {Faberman, Hilarie} } @mastersthesis {6884, title = {The Beginnings of Netherlandish Canvas Painting: 1400-1530}, year = {1983}, school = {IFA/NYU}, abstract = {This dissertation is the first comprehensive study of Early Netherlandish canvases. The first chapter investigates canvases produced before 1400. The next two explore documentary evidence for Netherlandish canvases dating 1400-1530. Chapter IV discusses technique. The last chapter examines surviving canvases, all of which are discussed in catalogue entries. Appendices reproduce documents and treatises. In the fifteenth century, cloth painters were active throughout the Netherlands, but Bruges was their center. Approximately 40\% of all painters there were canvas specialists. Panel and cloth painters sued each other three times over competing rights. Artists used canvas primarily as inexpensive substitutes for panel and tapestry. Linen was also used for flags, banners, stage decorations, cartoons, and for export. Compared to panel, canvas was easier and faster to paint. Generally painted in unvarnished glue colors on fine, thinly sized linen, canvases usually had painted borders. Canvases were painted in oils as early as 1434. Early Netherlandish canvases are generally poorly preserved, but were originally sparkling and bright. Canvases, now lost, were painted by Jan van Eyck, Roger van der Weyden, and Jerome Bosch. Seventy canvases survive, including materpieces by Dirk Bouts, Hugo van der Goes, and Lucas van Leyden. Surviving canvases reflect a wide variety in function, quality, patronage, and authorship. The largest category of canvases is small pictures of the Madonna and Child. Because linen was a more modest support than panel, it was chosen sometimes to accord with ideals of poverty. Hugo van der Goes, a member of the Brotherhood of Common Life, probably chose canvas for this reason. Only one canvas altarpiece survives, Blondeel{\textquoteright}s of 1523. Thin and flimsy, and associated with lesser patrons and commissions, canvas was not deemed worthy of altarpieces until the sixteenth century. Flags and banners are painted broadly and thickly. Several artists show greater stylistic freedom in canvas, because it was painted quicker, with less expense, and had a less important function than panel. Flowing colors are often exploited. As artists adopted a wider conception of painting, canvas became the dominant support.}, keywords = {The Renaissance}, author = {Wolfthal, Diane} } @mastersthesis {6818, title = {The Buddhist Art of Nagar- junakonda}, year = {1983}, school = {IFA/NYU}, abstract = {The basic aim of this dissertation has been to establish a chronology of the Buddhist sculpture at Nagarjunakonda (Andhra Pradesh). This has been accomplished in Chapter 2 through a combination of stylistic, paleographic and epigraphic evidence. This task was further aided by relating the sculpture to an already established architectural chronology and historical framework for the site which is discussed in Chapter 1. The Buddhist monuments of Nagarjunakonda were built under the patronage of the Iksvaku dynasty. The Iksvakus were the immediate successors of the Satavahanas, during whose reign the greatest works of the nearby Amaravat({\textquoteright})i stupa were created. The Iksvaku sculptors of Nagarjunakonda have always been considered the inheritors of the Amaravat({\textquoteright})i tradition. Yet, we have been able to demonstrate that the early style of Nagarjunakonda was related to another area, that of Mathura. It was not until the reign of the third king of the dynasty (late third century A.D.), that we find a true continuation of the late phases of Amaravat({\textquoteright})i art. This, and subsequent phases of its style not only act as a continuation of the Amaravat({\textquoteright})i idiom, but serve as a transition between works from the Amaravat({\textquoteright})i school and the art of the Gupta-Vakataka era. In Chapter 3 we have discussed the sites of Gummididurru and Goli. While works from both sites have frequently been confused with those of Nagarjunakonda, we have been able to demonstrate that both schools have distinctive stylistic characteristics. Gummididurru relates to Nagarjunakonda{\textquoteright}s early phase and Goli relates to its latest phase. Works from Goli also serve as a transition to the Gupta-Vakataka era. Chapter 5 deals with a group of ivories found in Begram (Afghanistan). These ivories are contemporary with the art of Nagarjunakonda and involve many of the same art historical problems. For both the ivories and the art of Nagarjunakonda are Indian in style and are influenced by motifs from the Classical West.}, keywords = {Art of Asia}, author = {Rosen, Elizabeth} } @mastersthesis {6860, title = {Byzantine Painting in Cyprus during the Early Lusignan Period}, year = {1983}, school = {Penn State}, abstract = {The century following the establishment of Frankish rule in Cyprus in 1192 until the fall of Acre in 1291 provides a convenient chronological background against which to examine the course of Cypriot painting under the Latins. Before an analysis of four painted programmes, a contrast is drawn between twelfth-century Cyprus, which benefited from the artistic patronage of government officials sent from Constantinople, and the situation in the thirteenth century when contact with the capital was broken and the Church actively repressed. Documentary, iconographical and architectural evidence support a date of 1196 for the naos paintings in the Enkleistra of Saint Neophytos. Their iconography points generally eastwards, but the architectural arrangement and the saint{\textquoteright}s interest in Palestine, clearly suggest that Neophytos planned the complex as a memorial to himself along the lines of an Early Christian coenobium in the Palestinian desert. Examination of the thirteenth-century programme at Saint John Lampidistis, Kalopanayiotis, reveals a limited Cypriot character in the saints depicted and, significantly, the influence of Crusader painting from Acre. A date of circa 1250-1280 is proposed for the paintings; The latter year is suggested by details from Kalopanayiotis found in the paintings of the nearby church at Moutoullas, dated by inscription to 1280. The Cypriot character of the paintings in this church is confirmed by the iconography of the Festival cycle and by illustration of local saints. In the limited decoration from this period at Asinou, the most diagnostic painting was found to be the Enthroned Virgin with Western donors, in which outside influence, possibly from Armenian Cilicia, was again recognized. Iconographical and documentary evidence point to a date between 1291 and 1319, and probably circa 1300. The final chapter stresses the iconographical and stylistic independence of these programmes. Although a limited Cypriot character is acknowledged, there is no evidence for a major school of painting in Cyprus in the thirteenth century. Further, evidence of Crusader artistic influence was found only once, and of the interaction of Greek Cypriot and Latin artists, and their patrons, a pale picture begins to emerge only towards the end of the century.}, keywords = {Byzantine and Medieval Europe}, author = {Young, Susan H.} } @mastersthesis {6833, title = {The Career of Alexandre Hogue}, year = {1983}, school = {Kansas}, abstract = {Alexandre Hogue is an American artist whose best-known works date from the Depression. These realist paintings, called the "Dust Bowl" or "Erosion" series, deal with the ecological destruction of portions of the Great Plains in the 1930s. They suggest man{\textquoteright}s irreverence and destructiveness toward nature. This study discusses the paintings in this series, establishes their chronology and assesses their significance in the history of American landscape painting. It documents Hogue{\textquoteright}s early career and discusses the formation of his style, especially his experiences in the art colony at Taos in the 1920s and 1930s. It examines Hogue{\textquoteright}s other work from the 1930s and continues on to his embrace of abstraction in the late 1940s. His work of the post-war years is studied and his career as a teacher is recounted. Finally, Hogue{\textquoteright}s most recent paintings, the "Big Bend" series, are discussed. Dating from the late 1970s to early 1980s, the Big Bend series is a major restatement of Hogue{\textquoteright}s concern with the landscape and provides an apt comparison with the "Dust Bowl" paintings of the 1930s.}, keywords = {Art of the U.S. and Canada}, author = {Rosson, Sandra Lea} } @mastersthesis {6858, title = {The Carolingian Ivory Carvings of the Later Metz Group}, year = {1983}, school = {Columbia}, abstract = {The Later Metz ivories, previously seen as a loosely-grouped unity, in fact fall into four distinct groups. Group I is characterized by flat figures with drapery modeled by simple parallel bands. The Coburg bookcover{\textquoteright}s manuscript suggests a date in the 860{\textquoteright}s. Both the New Testament iconography and acanthus ornament display strong connections with Metz art under Archbishop Drogo (845-55). The figure style and some iconographic motifs, however, differ and are paralleled around 860 in ivories produced for Charles the Bald. Group II generally follows Group I in figure type, iconography, and ornament. Its style, however, is more solid and massive, with smoothly rounded forms. The group can be dated c. 870 by the Cathedra Petri in Rome, carved by Metz and other carvers for Charles the Bald. Analogies to the style are found in Charles the Bald manuscripts of c. 870, when the earlier painterly style solidifies. The iconography adds scenes of Christ{\textquoteright}s Public Life and Miracles, again pointing to the Charles the Bald workshops which depicted similar scenes. Group III is characterized by crude and awkward figures. The iconography and overall style depend on Groups I and II. The ivories probably date after 870 when the western Carolingian centers had ended and could no longer inspire the Metz artists. The relation of Group IV to the other groups is limited to the head types; its compact figures with sketchy drapery, ornament, and iconography show distinct differences, suggesting an origin not in Metz but at some as yet unlocalized related center. The extensive group of New Testament scenes on the Later Metz ivories shares its iconographic sources with other Carolingian schools, as described above. Many of the iconographic types are found in sixth-century Byzantine art, although early Western elements are also present. The early Byzantine types were possibly known through Byzantine-influenced Italian works. The ivories{\textquoteright} importance for tenth-century art is well-known for England, but there are also significant relations to Ottonian art. While the Ottonian scenes for the great feasts differ, the other, less common, New Testament scenes compare well with the ivories, which probably follow earlier depictions important for both Carolingian and Ottonian artists. The Later Metz ivories demonstrate the pivotal character of Carolingian art, looking back to the late antique past and ahead to the medieval future.}, keywords = {Byzantine and Medieval Europe}, author = {Melzak, Robert} } @mastersthesis {6868, title = {Christ{\textquoteright}s Sublime Humility as a Model for Style in Northern Renaissance and Baroque Religious Painting}, year = {1983}, school = {Harvard}, abstract = {This thesis provides a context for understanding why Northern Renaissance and Baroque painters frequently depicted Christian subjects with a ragged and lowly realism. This contrasts with the classical presentation of such themes whereby noble forms always accompany lofty subjects. Although my discussion focuses on only a small portion of Northern art, it chooses works which seem most typically Northern and thereby allows us a better sense of what is unique and profound to Northern art. Chapter one outlines the history of a non-classical, Christian decorum from Paul and Augustine to late medieval reformists and the Reformation itself. This decorum prefers a plain or humble style for Christian rhetoric and art. Thus we can establish an alternative "ut pictura rhetorica" to that found in humanistic and Catholic Italy. Since the humble or plain Christian style is often associated with Christ{\textquoteright}s humanity hiding his divinity, and because the humble style always demands the audience or viewer employ his spiritual ear or eye, it is helpful to trace a sight-insight dichotomy which runs tandem to the polarity of humanistic-Pauline decorum. In this way, we can describe a peculiarly Northern, contemplative way of looking, invoked by images of Christ{\textquoteright}s sublime humility, and leading us to mediate on the mysterious conjunction of divinity and humanity in Christ. This way of looking profoundly distrusts beauty and other "worldly" qualities of style and generally reverses ancient precedent to give priority to Hearing (The Word) over Sight. Having defined the Christological context for the humble style and having clarified its peculiar mode of seeing--insight and meditation--the remaining two chapters take up Renaissance and Baroque paintings which embody this style and seeing. With both periods, the discussion of individual works and artists leads to wider generalizations. For the Renaissance, we will focus on Campin, Bosch, Bruegel, and Grunewald and for the Baroque, Rembrandt. We conclude with a discussion of the demise of the plain style in Dutch Baroque art and the rise of a totally secular ideal of simplicity in scientific approaches to language.}, keywords = {Baroque and 18th-Century Europe, The Renaissance}, author = {Baldwin, Robert W.} } @mastersthesis {6794, title = {The Church Monuments of Sir Francis Chantrey, R.A.}, year = {1983}, school = {Princeton}, abstract = {This dissertation examines the church monuments of Sir Francis Chantrey, R.A., providing the first full-length investigation of the artist. Friend to Turner and Constable, pillar of the Royal Academy, Chantrey{\textquoteright}s unusually prolific career epitomizes the world of Romantic England, and sheds substantial light on the nature of its patronage and artistic production. Few scholars have recognized the richness of Chantrey{\textquoteright}s memorial sculptures; most often those interested in the history of British sculpture have instead evaluated the artist solely in terms of his bust portraits. This one-sided approach proves singularly misleading, for Chantrey produced as many, if not more, church monuments as busts, and both contemporary accounts and patronage records attest to the popularity of his church sculptures. In examining this aspect of Chantrey{\textquoteright}s oeuvre the reader confronts crucial artistic issues such as style, workshop production and patronage, but also gains invaluable cultural insight into the world of Georgian England and the phenomenon of English church monuments. The first chapter, a biography of Chantrey, focuses on the life of the artist--his early training and rise from provincial obscurity, his struggles for recognition in the London art scene, and eventual establishment as a leading force in British sculpture. The second chapter deals with Chantrey{\textquoteright}s workshop, using detailed account books and employment records to reconstruct the actual sculpture-making process. The third and fourth chapters address the church memorials themselves, examining monument types, possible sources for design, and the subsequent impact of Chantrey{\textquoteright}s works on other artists. The final chapter on patronage investigates the individuals who commissioned works from the artist and the reasons for his substantial appeal. A lengthy handlist follows these chapters, and provides the basic financial information for each monument, including commission records, the sculptor{\textquoteright}s fees and accepted payments.}, keywords = {19th- and 20th-Century European Art}, author = {Lieberman, Ilene D.} } @mastersthesis {6867, title = {Classic Maya Costume: Regional Types of Dress}, year = {1983}, school = {Yale}, abstract = {This study examines the development of regional differences in Classic Maya costume on monuments erected in eastern Mesoamerica. It expands the initial research of Mary Butler (1931:177), who believed that variations in dress among Maya cities stemmed more from local preferences than chronological change. Tatiana Proskouriakoff (1950: 2-3) reached a similar conclusion in her analysis of Classic sculpture, which included a selection of dress motifs. She found few elements indicative of temporal change, since most occur early in the monumental sequence. The history of Classic Maya costume is viewed here as the migration of dress motifs from region to region, supplemented by revivals of archaic forms. Five regions are recognized: the central Peten lowlands; the northern and western lowlands; the southeast frontier; and the Pacific highlands and coastal slopes. During the Early Classic Period (A.D. 250-474), monuments were erected only in the Peten. The development of circum-Peten regions, and of regional differences in dress, corresponds to the Middle Classic Period (A.D. 474-671). Regional types decline in the Late Classic (A.D. 671-868), when centers adopted western dress motifs. Further uniformity in dress is apparent in the use of epiclassic and non-Classic traits on the very latest sculptures of the Classic era. Related topics are covered in the introductory chapter: garment and headdress types; probable materials and techniques of construction; the motives and purposes to dress; and the distinction between public and private forms of costume. Classic monuments portray rulers in elaborate dress, while small objects, especially vases with intimate scenes of upper class life, depict simpler attire. The literature on European dress explains why elaborate costumes are appropriate in public and casual dress in private. The regalia on Classic Maya sculpture should be regarded as the expression or manifestation of an ideology, namely the institution of Maya rulership and all that it implied in the Classic Period.}, keywords = {Pre-Columbian and Latin American Art}, author = {Taylor, Dicey} } @mastersthesis {6855, title = {The Concept and Imagery of Mercy in Late Medieval Italian Art}, year = {1983}, school = {Michigan}, abstract = {This study considers the concept of Mercy and four categories of images late medieval Italian artists employed to represent it. Chapter I introduces the art-historical material with a discussion of the anonymous Allegory of Mercy fresco of 1342 in the headquarters of the Misericordia and Bigallo Companies in Florence. This fresco is particularly significant because it includes aspects of each category and is, therefore, an early conflation of Marian and Christological images of Mercy. Chapter II describes European representations of the Corporal Works of Mercy predating the Florentine fresco and several later Italian series, so establishing the continuity of the type. Contemporary literary and theological works are discussed, demonstrating the pertinence of those biblical directives to late medieval society. Chapter III treats the historical and sociological context for performance of the Works, emphasizing the positive valuation of wealth used in a socially constructive manner. A discussion of Italian charitable foundations follows. Several representative institutions, including the Misericordia and Bigallo, are studied in detail. The Madonna of Mercy, the compositional model for the Bigallo Allegory, is discussed in Chapter IV, with special emphasis on its literary and artistic origins and its later popularity during periods of epidemic disease. Chapter V identifies the Nursing Madonna as another iconographic type signifying Mercy. Mercy was defined as the "lesser" component of Charity: love of man (including God{\textquoteright}s love for man) as distinguished from love of God. Logically, then, the human act of the Virgin suckling her Son came to signify this "human" aspect of Charity. Moreover, following a common metaphor describing merciful behavior, the personified Virtue Charity both in the upper border of the Bigallo fresco and elsewhere appears as a nursing mother. In certain cases, Italian artists used the similar Nursing Madonna and breast-feeding Charity types interchangeably. Chapter VI deals with images of the wounded Christ, especially in combination with one of the two Madonna types. Christ{\textquoteright}s sacrifice made possible His fellow man{\textquoteright}s salvation, provided that man helps his neighbor. The allegorical Pelican in Her Piety and the symbolic letter Tau, both present in the Allegory of Mercy, were traditional substitutes for representations of the wounded, merciful Christ.}, keywords = {Byzantine and Medieval Europe}, author = {Levin, William} } @mastersthesis {6878, title = {Cosimo I de{\textquoteright}Medici and Astrology: The Symbolism of Prophecy}, year = {1983}, school = {Columbia}, abstract = {In recent decades historians of culture and philosophy have amply demonstrated the significant impact of astrology and the occult sciences on Renaissance society. However, serious consideration of the influence of astrological thinking and practice on the visual arts has been generally limited. Since Fritz Saxl demonstrated the horoscopic source of the imagery and organization of the ceiling frescoes in the Sala di Galatea in 1934, there have been few attempts at a similar kind of interpretive study. Extending the potential of Saxl{\textquoteright}s methodology, the dissertation applies a combined iconological and technical approach to astrological content in the public and private imagery of Cosimo I de{\textquoteright} Medici, the first Grand Duke of Tuscany. Although the artistic patronage of this intriguing sixteenth century prince has received a fair amount of scholarly attention in recent years, analysis of astrological symbolism in the Duke{\textquoteright}s imagery has been superficial. Like most of his peers, Cosimo I held a strong belief in astrology, and was interested in other occult sciences popular at the time. The first chapter of this study presents the specifically astrological and prophetic allusions in the most ubiquitous of Cosimo{\textquoteright}s personal imprese, and the origins of its corpus in his natal horoscope. In demonstrating the importance of the device, its significance is not only discussed within the context of the rulership myth of the "new Augustus" promulgated by the Duke, but also in relation to sixteenth century attitudes toward astrological destiny or fate. An understanding of these attitudes is critical to a full appreciation of both Cosimo{\textquoteright}s and his contemporaries{\textquoteright} adaptation of astrological imagery as a vehicle for rulership propaganda. Chapter II examines the myth of the returning golden age, from its origins in the prophetic literature of the ancient world, to the reintegration of the theme with astrological symbolism in Medici art preceding the reign of Cosimo I. Special attention is given to the iconography of the Sala dei Pontefici of Pope Leo X. The motif is then discussed in the imagery of the Duke himself where it was thoroughly transformed from a poetic or dynastic metaphor, to one of personal power and prophetic fulfillment. The concluding chapter interprets astrological content in the art of Cosimo I, from medals and smaller works, to the large decorative projects of Castello and the Palazzo Vecchio apartments--notably the Sala degli Elementi and the Sala Grande. In these it was possible to discern the close relationship between official propaganda, and the Duke{\textquoteright}s profound belief in the power of the stars on his destiny.}, keywords = {The Renaissance}, author = {Rousseau, Claudia} } @mastersthesis {6841, title = {Development in the Art of Annibale Carracci}, year = {1983}, school = {Harvard}, abstract = {This thesis argues that Annibale Carracci{\textquoteright}s paintings exhibit a new relationship between the artist and his subject matter. This relationship, which is expressed in his mimetic mode, is characterized by the simultaneous emphasis placed on the objective apprehension of visual data and on the subjective response it engenders. It is the free rein Annibale gives to feeling in pursuit of apprehension which is the hallmark of his naturalism and the real basis of his stylistic innovations. While it redirects Bolognese art, the radical nature of his new mode isolates his early works. Subsequently, Annibale accommodates his new invention to stylistic tradition by using resources of cinquecento style with a unique geographic and historical freedom: he revitalizes local tradition by studying Correggio and the Venetians, and by retracing the devolution of late Bolognese maniera back to its Central Italian and ultimately classical roots. This approach to cinquecento art is facilitated by developments in sixteenth century artistic culture. Having achieved a synthetic style by 1585, the remainder of his career can be divided into phases: from 1585 to 1587 he expands the expressive range of his art while experimenting with its structure; from 1588 to about 1595 Annibale shows much greater interest in appearance, manners, and elegance than he does in psychological expression. When he moves to Rome in 1595, however, the classical stylistic environment not only expectedly reinforces his on-going interest in form, but almost paradoxically evokes a recrudescence of his earlier researches of spontaneous, penetrating, and idiosyncratic emotion. In the final decade of his life, informed by years of artistic and human experience, Annibale produces the most profound and imaginative images of his career in the mutual pursuit of idea and feeling. While Annibale{\textquoteright}s art gains living access to classicism for his culture, it irrevocably establishes its place in history.}, keywords = {Baroque and 18th-Century Europe}, author = {Alt, Winston D.} } @mastersthesis {6887, title = {Dionysiaca in Roman Britain}, year = {1983}, school = {Michigan}, abstract = {The worship of Graeco-Roman deities in the northwestern Roman Empire has been sadly neglected by historians of religion. My dissertation attempts to fill in a part of this picture through study of Dionysiaca from Roman Britain, the method being to compile and analyze relevant artifacts from the island, the goal being to trace the history and assess the significance of Bacchus{\textquoteright} cult there. A wider concern underlying the project was to gain some insight into the nature and extent of Bacchus{\textquoteright} appeal to people throughout the northwest and, ultimately, throughout the Empire. The dissertation comprises two parts: a catalogue raisonne of approximately 400 Roman-British Dionysiaca, and several chapters devoted to evaluation of this material. The first provides a brief survey of scholarship on the Bacchic cult in the Roman northwest; the second gives a basic outline of Bacchic iconography. A third chapter deals with the criteria used to distinguish Bacchic cult objects from the mass of related finds; a fourth surveys Romano-British Dionysiaca as they have come to light in four distinct milieux--forts, major towns, minor settlements, and villas. Upon examining the evidence in its socio-economic context, I found that it presented a substantial challenge to commonly held views on the Bacchic cult, e.g., that it appealed solely to "people who loved a pleasant and luxurious life." (M. P. Nilsson, The Dionysiac Mysteries of the Hellenistic and Roman Age {Lund, 1957}, 146.) Moreover, by tabulating such items as temple sculpture, ritual vessels, and funerary monuments, I found that another quite common assumption was undermined--namely, that "these people were not in earnest about religion" but merely "wanted a little thrill of {it} as a spice to the daily routine." (Ibid., 146-147) Other standard hypotheses about the cult--for instance, that it was present only in highly Romanized areas and never progressed to regions where viticulture was unknown--must also be revised in light of these finds from Roman Britain. The wider implications of the study for the history of Bacchic religion are summarized in a concluding chapter to the dissertation.}, author = {Hutchinson, Valerie} } @mastersthesis {6817, title = {The Early Development of Taoist Art}, year = {1983}, school = {Iowa}, abstract = {From the fifth to the eighth centuries A.D., Chinese artisans produced icons in the service of religious Taoism. A number of those icons are today in the collections of three American museums; the Field Museum of Natural History, Chicago; the Museum of Fine Arts, Boston; and the Freer Gallery of Art, Washington, D.C. This study focuses upon those icons, which have long been judged imitative, mediocre, or provincial. A historical, iconographic, and stylistic analysis of the early development of Taoist art proves such judgments to be inadequate. It is shown that the seemingly imitative aspects of Taoist art in fact reflect an ecumenical theological belief; although religious truth is singular, paths to that truth are plural. This belief provided profound inspiration to Chinese art, be it fundamentally Taoist or other. That inspiration is evident not only in those portable icons which provide the focus of this study, but in two major monuments of Chinese art, the cave-temple sites Yun-kang and Lung-men. We observe that Chinese Buddhists and Taoists shared a need to understand the underlying forces directing reality and life. The attempt of each to fulfill that need has been understood by some to be antagonistically competitive, hence the charge of imitative mediocrity. But Chinese art evidences not hostility but an ecumenical sharing of religious aspiration and artistic inspiration. Chinese Buddhist and Taoist art are often, in fact, Buddhist and Taoist in form and content.}, keywords = {Art of Asia}, author = {Pontynen, Arthur} } @mastersthesis {6879, title = {Filippo Lippi{\textquoteright}s Stay in Padua, Its Impact on His Art}, year = {1983}, school = {Rutgers}, abstract = {Filippo Lippi is documented in Padua in July and October 1434. His commissions there included work on the relic-container of St. Anthony of Padua and a Coronation of the Virgin fresco (both in the basilica of Sant{\textquoteright}Antonio), according to Vasari and Marcantonio Michiel. The latter also ascribed to Lippi the decoration of the chapel in the Palazzo del Podesta. This early chapter in Lippi{\textquoteright}s life should be seen as an important prelude to the fully mature works produced in Florence, from the 1437 Tarquinia Madonna onwards. Those years comprise Lippi{\textquoteright}s earliest known commissions. They also constitute the soundest basis for reconstructing Lippi{\textquoteright}s juvenilia. Yet the paintings in Padua have so far been impossible to reconstruct. In the meantime, recent scholarship has dismissed several paintings whose Masacciesque qualities alone were held sufficient evidence for attributions to the youthful master. As a result, the years in Padua have beome worthier of critical attention. As Chapter II shows, they may have acted as catalysts to his mature style. Lippi{\textquoteright}s advanced spatial compositions, we maintain, were strongly influenced by the frescoes of Altichiero and Guariento in Padua and Venice. Since the influence of Flemish paintings is already apparent in Lippi{\textquoteright}s earliest datable works, it seems logical that the frate came to know such paintings in trade locations closer to Flanders--namely the Veneto and, possibly, the Council of Basel, where he may have traveled after leaving Padua. Each commission is also analyzed in depth. The "Coronation" involves the cult image known as the Madonna del Pilastro; the decoration of the Palazzo del Podesta may be reflected in a drawing in Princeton which relates iconographically and compositionally to later Coronation paintings of the frate. Besides these commissions, two lost Madonna and Child compositions are discussed, one whose appearance is reconstructed here for the first time. Lippi{\textquoteright}s reasons for traveling to Padua are examined in a broad historical context. His work in Sant{\textquoteright}Antonio is related to two bequests to the basilica. His connections with the Carmelite order in Padua and the Medici Circle are also discussed.}, keywords = {The Renaissance}, author = {Rowlands, Eliot} } @mastersthesis {6837, title = {The Formation and Early Years of the Society of American Artists, 1877-1884}, year = {1983}, school = {CUNY}, abstract = {Following the Civil War, American artists, inspired by optimism and a desire to establish themselves within an international art forum, sought training in Europe in ever-increasing numbers. The strength of the new cosmopolitanism and its receptiveness to European artistic trends was reflected in the formation of the Society of American Artists in 1877. The formative years of the Society between 1877 and 1884 mark the transition from the notion of the American "land" and inventive individualism as the defining feature of America{\textquoteright}s artistic identity to the alignment of America{\textquoteright}s artistic goals with international art ideals. Society artists, nurtured in a European academic environment and thus freed from the artistic isolation advocated by the nativist school, redefined America{\textquoteright}s artistic image and the mission of her artists. An analysis of the Society{\textquoteright}s first seven exhibitions reveals the organization{\textquoteright}s devotion to a broadminded range of subject matter, its grounded in subjective creativity rather than in "Yankee ingenuity." More specifically, this dissertation examines the transition from a nativist emphasis on landscape painting to the Society{\textquoteright}s devotion to figure painting; from Munich as a center of importance for art training to the domination of Paris; from works overtly reflective of school training to more mature and internationally shared interests in plein-airism and decorativeness. As the epitome of artistic internationalism in America in the late nineteenth century, the Society of American Artists signaled the death of a distinctly nationalistic mode of expression and the American acceptance of the concept of the universality of art.}, keywords = {Art of the United States (except Photography and Film)}, author = {Bienenstock, Jennifer A. M.} } @mastersthesis {6871, title = {From Documentation to Design: Trends in Architectural Representation during the Italian Renaissance}, year = {1983}, school = {UT Austin}, abstract = {This study investigates the forces which provided the impetus for the rapid evolution of the architectural drawing during the years 1480 to 1525 in Italy and how that drawing was used. A selected group of chronologically well-defined drawings produced within the time-frame under consideration is found in the Taccuino senese, attributed to Giuliano da Sangallo. Examples from the Taccuino senese function within this study as points of departure for discussions of other architectural drawings. In Italy from 1480 to 1525 architectural representation techniques were used primarily to document and analyze the remains of Roman buildings. These techniques came to employ plan, elevational, and sectional studies which complemented and clarified information found in others. Although these techniques were developed for the documentation and analysis of an extant or partially extant structure, the draftsman next applied these approaches within designs for proposed structures. For a brief period, the model, unfinished and lacking in detail, also functioned as an aid in the development, analysis, and manipulation of plans, sections, and elevations. In essence, the design methodology of the architect followed closely that of the painter and sculptor. Each used an intermediate form of representation in the steps toward the creation of an original work. The evolution of the architectural drawing from the documentary study attempting to record all details to the orthographic, analytical study capturing the essence of the structure parallels the evolution of the precise model book drawing to the generalized pattern drawing or mannikin used in the painter{\textquoteright}s and sculptor{\textquoteright}s workshop. Each was dependent upon a generalized intermediate representation to evolve a new one. For the architect, this meant making generalizations about form and structure in a model or drawing or combinations of the two, from which he then developed an original design. The drawing became an analytical tool capable of defining and describing proposed structures of a volumetric and spatial complexity not seen since Roman antiquity. And at the same time it served as a tool to evolve and manipulate design concepts.}, keywords = {The Renaissance}, author = {Cable, Carole} } @mastersthesis {6814, title = {Funerary Art in Late Han China: A Study of the Wu Family Offering Shrines and the Tomb at Hollingor}, year = {1983}, school = {Iowa}, abstract = {The purpose of this dissertation is to describe and then to interpret the imagery employed in two late Han funerary monuments, the offering shrines of the Wu family in Shantung (c. A.D. 147-168) and the multi-chamber chamber tomb near Holingor in Inner Mongolia (c. A.D. 180-185). Earlier monuments, paintings from Western Han tombs in Hunan and Honan, are studied first as examples of the patterns of Han funerary iconography. Early Eastern Han monuments, the shrine at Hsiao T{\textquoteright}ang Shan and a tomb in the same vicinity near the village of Fei-ch{\textquoteright}eng in Shantung, are considered next. It is suggested that the Hsiao T{\textquoteright}ang Shan shrine provides a model for the later Wu shrines. The necessity to treat all the motifs in each shrine in relation to each other and to the function of the shrine is stressed. Similarly, all the paintings in the tomb at Holingor must also be interpreted as parts of a program of decoration. Finally, the need to differentiate between the meaning of the scenes in shrines and the same sort of scenes in tombs is noted.}, keywords = {Art of Asia}, author = {James, Jean Middleton} } @mastersthesis {6880, title = {Ganymede in Renaissance Art: Five Studies in the Development of a Homoerotic Iconology}, year = {1983}, school = {Columbia}, abstract = {Some two hundred Western European paintings, sculptures, prints, drawings, and decorative artworks from the mid-fifteenth to mid-seventeenth centuries illustrate the myth of Ganymede, the Trojan shepherd, most beautiful of mortal youths, whom Jupiter carried off to serve him as cupbearer and, in many versions, lover. Beginning with Ganymede{\textquoteright}s artistic resurgence in the late Quattrocento amidst the revival of antique art and ideals, the study focusses principally on five Italian artists in whose oeuvres this myth is particularly prominent: Michelangelo, Correggio, Parmigianino, Giulio Romano, and Cellini. The study than traces the myth{\textquoteright}s gradual artistic decline and metamorphosis after the mid-sixteenth century, including its diffusion to northern Europe. Three episodes of the myth were most popular with artists. Ganymede{\textquoteright}s dramatic abduction symbolized both sacred and profane love: in Christian and Neoplatonic thought it represented the soul{\textquoteright}s ascent toward divine love, in more secular contexts the delights and disapproval associated with homosexual love. Second, as cupbearer and companion Ganymede embodied a range of relationships between a younger and an older man. Third, in his ultimate apotheosis as the constellation Aquarius, Ganymede figured in the symbolism and art of astrology and alchemy. The iconography and form of these illustrations are related to contemporaneous social attitudes and behavior regarding sexuality, gender, and marriage, primarily in Italy. The myth is set within several broad cultural contexts, including classical literature, Renaissance social and legal history, and philosophy and literature. For two artists whose homosexual orientation is known--Michelangelo and Cellini--Ganymede is further placed in the context of individual psychological associations and motives. The social and intellectual changes exemplified by the Counter-Reformation are correlated with the myth{\textquoteright}s subsequent decline in art. Although distinctive later treatments occurred in Italy and in northern Europe--among them works by Rubens and Rembrandt--the cultural climate was no longer so favorable to classical mythology in general or to artistic expression of the emotional and social themes Ganymede had earlier symbolized.}, keywords = {The Renaissance}, author = {James M. Saslow} } @mastersthesis {6840, title = {Gateways of Power: Edo Architecture and Tokugawa Authority 1603-1651}, year = {1983}, school = {Harvard}, abstract = {In Japan there is a close relationship between the architecture of gateways, or mon, and the concept and realization of power. This dissertation examines gateway architecture during the period of consolidation of national power by the Tokugawa shogunate from 1603 to 1651 using extant buildings, written and pictorial sources including carpenter{\textquoteright}s manuals and early photographs, and practical experience at architectural restoration sites. This was an era of extraordinary vigor in government and great vitality in the arts in which buildings gave tangible expression to fundamental concerns of the new ruling order. The focus of this study is on two categories of ceremonial gateways, onarimon, or gateways of shogunal visitation built at the Edo daimyo residences, and reibyomon, or gateways to the Tokugawa mausolea in Edo and at Nikko. Despite differences in function and location, both categories of gateway were ultimately of common kind, built in the city of Edo by the same hands for the greater glory and political consolidation of the Tokugawa shogunate. Amongst the most costly buildings in an age of general architectural extravagance, these gateways combined bold design features such as curvilinear gables with a plethora of Sinicized sculpture depicting virtuous rulers and ferocious guardian beasts, all richly polychromed for dramatic effect. These gateways shed light on broader trends in architecture in this period--the way in which buildings reflected governmental demand for greater symbolic meaning and visual impact by capricious combination of hitherto disparate stylistic forms, the creation of a new class of architects from the ranks of the artisan professions in response to the special demands of Tokugawa patronage, and the emergence of Edo architecture from the Toyotomi political and cultural matrix of the Momoyama period to assume the new identity of Tokugawa authority by the 1630s.}, keywords = {Asian Art}, author = {Coaldrake, William H.} } @mastersthesis {6846, title = {The {\textquoteright}Grande Commande{\textquoteright} for the Sculpture of the Parterre d{\textquoteright}Eau at Versailles, 1672-1683}, year = {1983}, school = {Bryn Mawr}, abstract = {The Parterre d{\textquoteright}eau of the palace of Versailles is the arrangement of basins on the land immediately adjacent to the central garden facade. From 1672 to 1683 a parterre consisting of five large basins designed by Charles Le Brun occupied the site. Le Brun also designed a large sculpture program known as the "Grande Commande" to decorate it. The first chapter of the dissertation uses contemporary documents to trace the history of the site of the Parterre d{\textquoteright}eau from the work done at Versailles in the 1630s until the Parterre reached its final form in 1690, emphasizing the design of the gardens and the practical aspects of construction. The second chapter discusses the Apollonian iconography of the "Grande Commande" and its place within the iconography of Louis XIV, as well as changing styles of allegory of the King and the significance of these changes for both the "Grande Commande" and the Versailles sculptures which followed it. The third chapter discusses the cooperation of the artists and administrators who, working as part of the Batiments du Roi, were responsible for the design and decoration of Versailles in general and the Parterre d{\textquoteright}eau in particular. It examines the ideas they brought with them to the project, how they generated ideas, and how this affected both the concept and appearance of the gardens at Versailles. There are also three appendices: a catalogue of plans and views, a sculpture catalogue, and an appendix of documents.}, keywords = {Baroque and 18th-Century Europe}, author = {Friedman, Ann} } @mastersthesis {6824, title = {Greek Revival Housing in the Western Reserve}, year = {1983}, school = {Iowa}, abstract = {The purpose of this dissertation is to examine domestic Greek Revival structures built in the Western Reserve of Ohio during the period 1820-1860 and, through generalizations based on this analysis, to draw conclusions about the nature of the Greek Revival movement. With the aid of a 184-entry catalogue of dwellings, changes in the formal characteristics of Western Reserve architecture are chronicled and show that the Greek Revival style went through a period of architectural evolution. Conclusions reached through an examination of Reserve architecture are applied to developments elsewhere in the United States. The vast majority of houses built in the Reserve during the period 1820-1860 were constructed without the services of a professional architect, so a discussion of the carpenter-builder and his traditions is presented. Highlighting this section of the dissertation is a treatment of carpenters{\textquoteright} pattern books, principally those by Asher Benjamin and Minard Lafever. The contributions of these two men are viewed within the context of stylistic change. In the past, discussions of the diversity of the Greek Revival in America have concentrated on regional variations of that style. What is proposed here is that the style itself evolved, to the extent that significant differences between early and late phases can be discerned. The earlier phase of the style, dating from 1820 to about 1835, is characterized by contained forms, planar orientation, and simple, rectilinear decoration. This early phase is seen to be closely related to its immediate predecessor, the Federal mode. In contrast, the later phase of the Greek Revival style (c. 1835-1860), with its emphatically three-dimensional forms and richly decorative motifs, is more closely linked to mid-century developments. What emerges is a contrast of the plainness and austerity of the Jacksonian era with the richness of Victorian taste and culture.}, keywords = {Art of the U.S. and Canada}, author = {Brcak, Nancy} } @mastersthesis {6875, title = {Harmony and Ritualistic Allusion in the Tornabuoni Chapel in Santa Maria Novella}, year = {1983}, school = {Michigan}, abstract = {The chapel painted by Domenico Ghirlandaio and his workshop for Giovanni Tornabuoni in the Florentine church of Santa Maria Novella during the period 1486-1490 represents one of the most ambitious commissions of the early Renaissance. Despite recognition of the significance of this monument, the coherent system that governed the chapel has been consistently overlooked. When one reconstructs the altar painted by Ghirlandaio and his shop and placed in the center of the chapel by 1497 it becomes apparent that this double altarpiece was the crucial and dominating element that gave meaning to the surrounding frescoes. The Tornabuoni Altarpiece separated the chapel into two zones. The outer chapel presented a vast Thomistic tableau of ascending visions of Christ. The inner chapel was a private zone, in keeping with the Florentine tradition of family chapels, where a visual meditation upon death and resurrection was created to commemorate family members. The key to both zones was the Tornabuoni Altarpiece and the eucharistic tabernacle that it supported. Ghirlandaio was commissioned to repaint the walls of the high chapel at Santa Maria Novella several years before Giovanni Tornabuoni gained control of the high altar. In 1488 Giovanni succeeded in removing the original, trecento altarpiece. He then expanded his plan into an ambitious program that encompassed the frescoes, a new altarpiece, and virtually all the other elements of the chapel. This pivotal shift at the midpoint in Ghirlandaio{\textquoteright}s work resolves the question of why the contract of 1485 was abandoned in favor of the sequence of scenes we now find in the lower zones of the chapel. Once the original elements of the Tornabuoni Chapel are properly understood, it emerges that the monument was the product of a profound and meticulous design. Ghirlandaio{\textquoteright}s art paid subtle attention to ritualistic function and tradition at Santa Maria Novella. The result was a system of striking coherence that established the Tornabuoni Chapel among the preeminent examples of the Florentine burial chapel in the fifteenth century.}, keywords = {The Renaissance}, author = {O{\textquoteright}Leary, Daniel E.} } @mastersthesis {6869, title = {Hendrick Goltzius and the Netherlandish Chiaroscuro Woodcut}, year = {1983}, school = {Yale}, abstract = {In the most recent catalogue of Hendrick Goltzius{\textquoteright}s prints, twenty-three chiaroscuros and two line block woodcuts have been attributed to him. These woodcuts, although a very important part of his oeuvre, have in general been treated as an isolated phenomenon, without reference to his engravings and drawings. It is the intention of the author to rectify this bias and to place these woodcuts in their proper context. In order to do so I have examined the history of the chiaroscuro woodcut in the northern and southern Netherlands from its beginnings in the mid-sixteenth century to its final flowering about a hundred years later. It was proved to be a rather sporadic history, with different artists pursuing their own ends. Goltzius himself is no exception to this general trend. By looking at the woodcuts in the context of his other works, I have found that they are very much a product of his individual concerns and have little to do with earlier examples of the medium. However, his woodcuts proved to be somewhat more complex than was hitherto thought. Some prints were intended from the beginning as chiaroscuros while others had color added only at a later date and perhaps not by Goltzius himself. Also certain color combinations are characteristic of early impressions, while others are found only on late examples of the works. In examining the prints I have made substantial revisions in the attribution giving a group of fourteen line block woodcuts to him and revising the attribution of seven of the woodcuts usually considered to be by him.}, keywords = {The Renaissance}, author = {Bialler, Nancy} } @mastersthesis {6832, title = {Henry Varnum Poor: A Biography and Study of His Paintings}, year = {1983}, school = {Penn State}, abstract = {Henry Varnum Poor was born in Chapman, Kansas, in 1887. Following graduation from Stanford University in 1910, he studied for a year in London and Paris. Returning to California, he taught painting and drawing at Stanford and then at the San Francisco Art Association. After World War I, Poor moved to Rockland County, New York, where he constructed his own house of stone which he quarried and wood which he cut himself. This act brought him his first national recognition. Because of the modest success of his first exhibition of paintings in New York in 1920, Poor turned to ceramics. By 1929 he was established as the leading ceramist in the United States. In 1931 Poor exhibited paintings which he had done during the previous year in France. From then until the end of World War II he maintained a preeminent position in both painting and ceramics. During the 1930s he became known as the leading North American painter in true fresco. In addition Poor played a major but unofficial role in the organization and administration of the New Deal{\textquoteright}s Section of Fine Arts. A teacher and writer, Poor authored two books as well as numerous articles on art and art theory. In 1946 he was co-founder of the Skowhegan School of Painting and Sculpture and in 1950 was Painter in Residence at the American Academy in Rome. By the time of his death in 1970, Poor was almost completely forgotten. Even though he was an artist of merit as well as a figure of importance at the height of his career, there has been neither a published biography nor any critical study of his work. The purpose of this study is to fill that void, thereby providing a better understanding of both Henry Varnum Poor and American art of his era.}, keywords = {Art of the U.S. and Canada}, author = {Porter, Richard James} } @mastersthesis {6802, title = {History, Art and Assimilation: The Impact of Islam on Akan Material Culture}, year = {1983}, school = {University of Washington}, abstract = {Six Arabic-inscribed brass vessels located in four Akan villages in central Ghana (West Africa) served as the focus of a fifteen-month museum and field study. The bowls are revered today by their Akan owners as having supernatural powers. The dissertation examines several problems, specifically, when and how the bowls arrived in central Ghana, why they were assimilated into Akan culture as sacred objects and the influence they have had on the evolution of several Akan aesthetic traditions. The inscribed bowls appear to be rare remnants of a period dating from the thirteenth through sixteenth centuries during which extensive contact occurred between the cultures of the Western Sudan and the Middle East. The interaction was initially stimulated by commercial interests in the gold of West Africa and later strengthened by religious (i.e., Islamic) and political motives. It was probably during the fourteenth century that Islamized Mande traders, The Dyula, discovered and began exploiting the Akan goldfields. A reading of the inscriptions and stylistic analysis of the bowls revealed that they were made in Egypt or Syria during the fourteenth and fifteenth centuries. The analysis of Arabic and European documentary evidence, the archaeological record, oral traditions and contextual data suggests that they were carried to central Ghana by Dyula merchants where they initially functioned in a Muslim context (i.e., as ablution bowls). The vessels were subsequently acquired by non-Muslim Akan and assimilated into their culture as religious objects. Northern artisans (Mande lorho) and Middle Eastern brassware like the six Syrio-Egyptian brass vessels were instrumental in the development of Akan metalworking traditions. The introduction of lost wax casting technology (c. 1400 A.D.) appears to have been associated with the Mande presence among the northern Akan. The imported brassware served as models for the first locally cast cuprous objects. There is a good deal of supportive data from the nineteenth century attesting to the importance given exotica in both religious and secular contexts. Studying the group of Arabic-inscribed vessels has afforded an opportunity to consider how and why exotic material culture is integrated into Akan culture.}, keywords = {Art of Africa, Latin America, and Oceania}, author = {Silverman, Raymond A.} } @mastersthesis {6808, title = {The History of Sukhothai as a Ceremonial Center: A Study of Early Siamese Architecture and Society}, year = {1983}, school = {Michigan}, abstract = {From the middle of the thirteenth century until 1438 the kingdom of Sukhothai was the major political unit in what would later become central Siam, or Thailand. The city of Sukhothai, generally considered Thailand{\textquoteright}s first "capital," was abandoned at some uncertain date. However, its ruins evidence a once-flourishing society in which many of modern Thailand{\textquoteright}s artistic and cultural traditions are rooted. Since almost nothing is known of Thai history in Siam prior to the abrupt emergence of the Sukhothai kingdom, past studies have emphasized the assimilative nature of Sukhodayan culture, primarily its borrowings from Cambodia, Burma, India, and Sri Lanka. Understandably, studies have focused on Sukhothai{\textquoteright}s Buddhist art and culture. Not only do the city{\textquoteright}s ruins consist mostly of Buddhist monasteries, but inscriptions dating from the Sukhothai period elucidate the Buddhist view and emphasize the importance of Theravada practice. In my dissertation I have attempted to explain aspects of Sukhothai{\textquoteright}s history and culture in terms of non-Indic sources. A careful scrutiny of the inscriptional and archaeological evidence suggests that at one time Sukhothai functioned as a major ceremonial center founded on indigenous social, religious, and political traditions. However, by the end of the Sukhothai period, I suggest, the overwhelming impact of Buddhist practice had undermined the old non-Indianized structure, contributing eventually to Sukhothai{\textquoteright}s downfall in the fifteenth century. My conclusions are based largely on a chronological analysis of Sukhothai{\textquoteright}s Buddhist monuments, which reveals that at the end of the thirteenth century Buddhist architecture was still in its formative stage. Construction of the monumental Sinhalese-style stupas and large ordination halls that dominate the landscape today was not begun until the mid-fourteenth century. On the other hand, five large step pyramids appear to derive from non-Indic sources, and the oldest, I believe, pre-date the domed stupas by as much as one century. Utilizing ethnographic as well as archaeological and inscriptional data, I have considered the pyramids{\textquoteright} ceremonial functions, their eventual incorporation into the Buddhist framework, and their pivotal roles in Sukhothai{\textquoteright}s architectural, religious, and political history.}, keywords = {Art of Asia}, author = {Gosling, Elizabeth} } @mastersthesis {6807, title = {Hsien-yu Shu{\textquoteright}s Calligraphy and His {\textquoteright}Admonitions{\textquoteright} Scroll of 1299}, year = {1983}, school = {Princeton}, abstract = {The subject of this dissertation is the art of the calligrapher-collector-connoisseur, Hsien-yu Shu (1257?-1302). His major handscroll, "Admonitions to the Censorial Officials," dated 1299, is taken as the focal point to study the role which ancient works of art played in the lives of literati in medieval China. Hsien-yu Shu was one of three great calligraphers of the Yuan (1260-1368), the others being Chao Meng-fu (1254-1322) and Teng Wen-yuan (1250-1358). Hsien-yu Shu was active in a literary circle centered around Hangchou, the former Southern Sung capital. Unlike Chao, however, Hsien-yu Shu was born in north China in former Chin (1115-1234) territory, before the unification of north and south in 1276-78 by the Mongols. His official appointments brought him south, and, around 1284, he met Chao Meng-fu, in what was to blossom into a significant artistic friendship.}, keywords = {Art of Asia}, author = {Fu, Marilyn W.} } @mastersthesis {6825, title = {The Iconography of Labor in American Art, 1750-1850}, year = {1983}, school = {Rutgers}, abstract = {Since first colonization, the glorification of work and the attendant scorn of idleness was a central principle of profound consequence in American civilization. As did most creators of an American cultural expression, artists responded to the influence of the ideology of labor by celebrating the dignity of labor in their art. After society came to believe that it was art{\textquoteright}s responsibility to convey an ideal image of American life and to didactically demonstrate the spiritual and economic goals to which all Americans should strive to attain, the theme of labor became especially popular in American art. In the mid-eighteenth century, artists added attributes to portraits to symbolize the sitter{\textquoteright}s useful contribution to society. They devised iconographic motifs for the employments of sea captains, merchants, lawyers, scientists, doctors, politicians, artists, artisans and women. In the early nineteenth century, small working figures appeared in topographical views that illustrated the expanding urban milieu. Corresponding to the evolution of a national identity, artist fully established the theme of labor as an independent genre subject in the second quarter of the century. Illustrating a wide assortment of traditional occupations, they focused primarily upon the common man. The imagery cheerfully celebrated the egalitarian nature of American society, the equality of economic opportunity, the richness of the land, the ease of physical labor, and the virtuousness of the citizenry. Of greatest ideological importance were the figures of the farmer who signified the "agrarian myth," the itinerant peddler and the newsboy who defined the acceptable "self-made" man, the housewife who ideally embodied the characteristics of "true womanhood," and the whaler who personified the adventure of the sea. Divided into four chronological sections, the study reconstructs the evolution of the theme in conjunction with the development of an indigenous artistic expression and a national identity from 1750 to 1850. Although the production of imagery continued to proliferate into the twentieth century, its representation was dependent upon the iconography invented and codified before 1850.}, keywords = {Art of the U.S. and Canada}, author = {Da Costa Nunes, Hedy M.} } @mastersthesis {6856, title = {The Iconography of the Soul in Medieval Art}, year = {1983}, school = {IFA/NYU}, abstract = {The soul, whose creation, salvation and immortality were of great concern to the early fathers, has been of less concern to modern historians of art. This is the first study to examine the various depictions of the soul in Christian art. It does this by looking first at some of the third through fifth century images of the soul such as the orant, the head and the bird. The study also traces the well-known medieval image of the soul as a reduced-size human figure to its origins in the art of the Early Christian and early medieval eras. Then, in an investigation that ultimately follows the ideological path of the medieval Church, the dissertation looks first at the soul as it is involved in creation: the problem of the union of body and soul and the creation of the souls of Adam and Eve, identified here for the first time in several Genesis cycles. Next, the question of the fate of the soul in the after-life is studied. This is seen first in a discussion of particular judgment, that is in depictions of the judgment of the soul that occurs immediately after the death of the body. Then the dissertation examines the penultimate fate of the soul, in some tenth through fourteenth century images that ignore the idea of judgment and are concerned only with the rewards and punishments anticipated for the soul in the next life: martyrdoms, death-bed scenes, the Bosom of Abraham, and the Crucifixion with the two thieves. Finally, it is shown that a confused understanding of resurrection and the problem of how to depict the soul as it unites with the body contribute to the creation of ambiguous depictions of resurrection that may or may not truly involve images of the soul.}, keywords = {Byzantine and Medieval Europe}, author = {Markow, Deborah} } @mastersthesis {6863, title = {The Illustrations of the Life of Saint Omer}, year = {1983}, school = {Minnesota}, abstract = {The Life of St. Omer (Saint-Omer, Bibl. mun., MS. 698) is an important eleventh-century example of the illustrated saint{\textquoteright}s life. Its twenty-three framed narrative miniatures, interspersed throughout the text (Vita Audomari IV), depict the life and miracles of St. Omer, the seventh-century missionary bishop of Therouanne (Pas-de-Calais), who was buried in the church he had founded in Sithiu, later known as Saint-Omer. Chapter I of the dissertation is a discussion of the style, dating, and localization of the Life of St. Omer. While the textual and iconographic contents, certain decorative motifs, and provenance of MS. 698 provide evidence for an origin in Saint-Omer itself, previous scholars (Haseloff, Boeckler, Schott) recognized that the style of the miniatures and initials is related to that of a group of late Ottonian manuscripts attributed to Liege. Stylistic and historical evidence support the hypothesis, suggested by Hanns Swarzenski, that a traveling workshop from Liege was active in Flanders in the third quarter of the eleventh century. In addition to producing the Life of St. Omer for the canons of Saint-Omer, this workshop provided manuscripts for Judith of Weingarten and the monks of Bergues-Saint-Winoc. Chapter II is the first investigation into the iconographic sources of the Life of St. Omer. The artists appear to have borrowed or adapted models from a wide range of sources, including Old and New Testament cycles, other saints{\textquoteright} cycles, Prudentius illustrations, liturgical scenes, and dedication pictures, in order to create a new pictorial cycle to fit the previously unillustrated text. In Chapter III, the Life of St. Omer is discussed in relation to the history of the canons of Saint-Omer, who, as guardians of the tomb and cult of St. Omer, are most likely to have commissioned the manuscript. It is shown that the text and illustrations of MS. 698 present the views of the canons, in opposition to those of the monks of the neighboring monastery of St.-Bertin, concerning the donation of the villa Sithiu to St. Omer and the role of St. Omer in the founding of St.-Bertin.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Svoboda, Rosemary} } @mastersthesis {6844, title = {The Image of the Artist: Roles and Guises in Rembrandt{\textquoteright}s Self-Portraits}, year = {1983}, school = {Princeton}, abstract = {Rembrandt{\textquoteright}s self-portraits are exceptional for the variety of roles and guises in which the artist portrays himself. Rembrandt rarely appears as a contemporary gentleman, the convention of self-portraiture most prevalent in the seventeenth century. Instead he presents himself in imaginary roles, in the guises of specific biblical or historical figures, and in his professional role as a painter. By analyzing these roles, and the costumes and attributes which define them, I hope to further our understanding of the meaning of Rembrandt{\textquoteright}s self-portraits. Rembrandt{\textquoteright}s roles and guises are examined from the perspective of seventeenth-century social and cultural values, and his self-portraits are placed in their artistic context. Rembrandt relied extensively on references to pictorial tradition as a vehicle for expression. The unique character of his self-portraits lies in the way in which he reinterprets established conventions of portraiture and self-portraiture to convey new meaning. This study is organized thematically according to five types of self-portraits. Chapter I examines the early paintings in which Rembrandt{\textquoteright}s identity is defined by the beret and gold chain of honor. It shows how Rembrandt adapts an existing tradition to convey his ideal of the painter. Chapter II describes how Rembrandt{\textquoteright}s armored guise in several self-portraits is based on a reinterpretation of artistic conventions. Chapter III deals with two important self-portraits, that of 1640 in London, and that of 1658 in the Frick Collection. In both pictures, Rembrandt fashions ideal guises that are closely based on existing precedents and clearly express a well-defined ideal. Chapter IV analyzes the self-portrait as an artist, a role to which Rembrandt turned in his mature years. Rembrandt{\textquoteright}s biblical guises are the subject of Chapter V. The immediate aim of this study is to arrive at a fuller understanding of the image that Rembrandt projects in his self-portraits. The ultimate goal of this line of research is to determine the varied functions of self-portraiture in the Netherlands and to explain how these relate to the nature of self-awareness in the seventeenth century.}, keywords = {Baroque and 18th-Century Europe}, author = {H. Perry Chapman} } @mastersthesis {6852, title = {The Immaculate Conception in Spanish Renaissance and Baroque Art}, year = {1983}, school = {IFA/NYU}, abstract = {The doctrine of the Immaculate Conception was a controversial issue for the Catholic Church from the Middle Ages until it was declared dogma in 1854. Its cult was especially wide-spread in Spain, where many works of art were produced to illustrate the idea, especially during the sixteenth and seventeenth centuries. This study traces the spread of the doctrine and the art reflecting it in Spain, where it was not only supported by the religious orders dedicated to it, but by the Spanish monarchy. The latter, in the early seventeenth century, created a royal junta with the sole task of convincing the papacy to raise the doctrine to dogma of the church. The first chapter of this study introduces the types of the Immaculate Conception produced from the time of the kings of Aragon to about 1500. These types include Mary as the New Eve, the Tree of Jesse, the Anna selbdritt and the Embrace at the Golden Gate. The second chapter is a study of the evolution of the definitive iconography of the Immaculate Conception, which is complete by 1600. This type is a conflation of the depiction of the Virgin tota pulchra with details taken from the description in Revelation of the Apocalyptic woman. The third and fourth chapters chronicle the increased personal and political involvement of the Spanish Hapsburgs Philip III and Philip IV in the efforts of the Immaculist orders to achieve dogmatic definition of the doctrine. The propagandist role of art in these efforts is studied with particular attention to the major producers of Virgins of the Immaculate Conception. The fifth chapter introduces an important rosary devotion to the Virgin of the Immaculate Conception--the Stellarium. This devotion, which has not been noted by art historians, is reflected in seventeenth century paintings. The epilogue is a brief survey of the Immaculate Conception in art during the reign of Carlos II, who died in 1700.}, keywords = {Baroque and 18th-Century Europe}, author = {Stratton, Suzanne} } @mastersthesis {6872, title = {The Impact of the Emperor Charles V upon the Visual Arts}, year = {1983}, school = {Penn State}, abstract = {The author has sought to delineate the relationship between the Emperor Charles V and the visual arts. Hitherto, Charles (1500-1558) has been studied generally as a political figure; however, throughout his reign the arts played an integral role in his attempt to maintain his authority. In the introductory chapter, the dual nature of art employed by a sovereign eager to assert his prerogatives is delineated: as a tool of an advanced technology, and as a means of propaganda. Chapter II traces the development of the theory of art as a political instrument under Charles{\textquoteright} grandfather, Maximilian I; it is followed by a discussion of one of the most important genres employed by the Hapsburgs: the triumphal entry in the Low Countries, governed by his aunt, Margaret of Austria. Chapters IV and V are devoted to the emperor{\textquoteright}s patronage of sculpture and architecture in his native Netherlands between 1530 and 1556, in relationship to the new governmental structure which he established to control the region; particular emphasis is given to the acquisition of art works by members of his court on his behalf. Chapter VI consists of a discussion of the emperor{\textquoteright}s patronage of science and technology for state purposes, as well as a reconstruction of the imperial Wunderkammer, where science and art merged. The imperial itinerary in North Italy (1529-1533) is traced in the final two chapters (VII and VIII). Gifts, imperial commissions, and the construction of edifices suitable to receive the sovereign are considered as evidence of the emperor{\textquoteright}s campaign to assert his authority in an area largely hostile to him, and as documentation of the North Italian aristocracy{\textquoteright}s attempt to adjust to the new political order.}, keywords = {The Renaissance}, author = {Eisler, William L.} } @mastersthesis {6800, title = {The Influence of Polynesian Religion on the Symbolism of Paul Gauguin}, year = {1983}, school = {UC Santa Barbara}, abstract = {The myths concerning the ancient Polynesian deities Taaroa, Hina, Tefatou, Oro, and Vairaumati provided Paul Gauguin with a subject matter that he developed into a symbolic visual language. In accordance with his theory of the visual parable, Gauguin intended this language to be mysterious, and even incomprehensible, on a literal level and yet explicit and profound on a symbolic level. Through his symbolic representations of the Polynesian pantheon, he was intent on conveying in his art messages as intellectually and emotionally significant as those conveyed in literature, while avoiding the merely anecdotal and illustrative. Gauguin{\textquoteright}s own manuscripts, articles and letters reveal that his understanding of the Polynesian religion was based in large measure on the late-eighteenth and early-nineteenth century premise that primitive religions constituted primeval traditions rich in universal philosophical symbolism, and on the rekindled late-nineteenth century fascination with theosophy, mysticism, and exotic religions. A broad synthesizer of ideas, Gauguin derived his understanding of the religion from his own experiences and to a large degree from his reading of a wide range of quasi-anthropological texts, religious treatises, novels, and poems. Gauguin created and developed his own image-types for the ancient Polynesian deities, which would effectively symbolize the philosophical principles he felt they embodied. Three image-types for Taaroa, the supreme deity and the god of creation, are used variously to symbolize the principle of creation, the equivalence of all religions, and the immortality of the supreme being. Hina, the goddess of the moon, and Tefatou, the god of the earth, are represented by several variations on three basic image-types that symbolize the interaction of the forces of life and death, and the triumph of the resurrection of the spirit over the mortality of the body. Gauguin{\textquoteright}s representations of Oro, the god of war and the divine founder of the Areoi society, symbolize the Polynesians{\textquoteright} ferocity in warfare and their enthusiasm for sexual pleasure. His representations of Vairaumati, Oro{\textquoteright}s immortalized lover, evoke the eternal beauty of the Polynesian women.}, keywords = {19th- and 20th-Century European Art}, author = {Vance, Mary L.} } @mastersthesis {6791, title = {Japonisme in Context: Documentation, Criticism, and Aesthetic Reactions}, year = {1983}, school = {Michigan}, abstract = {This study of japonisme is divided into two major parts: The first examines a number of primary records--with an emphasis on the French discovery of Japanese art--including the acquisitions of Japanese imagery by the Bibliotheque Nationale and Musee des Arts Decoratifs in the 19th century; exhibitions held during the second half of the century; auctions of Oriental art and dealers of japoneries; as well as records of trade and of selected private collections such as those of Monet, Burty, Duret, Duranty, and P. F. von Siebold. A full listing of this material is offered in 8 appendices in which an identification of the images is provided. In addition over 300 photographs exemplify the types of Japanese pictorial works circulated in Europe in the mid- to late 19th century. The purpose of this documentary research was to characterize the types of Japanese pictorial works introduced to Europe, examine their paths of entry and establish a pattern of interest in specific types of objects. These records indicate that although two major bodies of imagery were made available in French public collections in 1843 and 1855, a widespread discovery of Japanese art, revealed in a broad range of styles, did not occur until 1862-63. In part II, the critical literature on Far Eastern art published between 1856 and 1890 is synthesized into thematic categories, such as, "The Subjective and Expressive Aspects of Japanese Realism," "The Originality of Japanese Art," etc. Within these sections Western interpretations of Japan{\textquoteright}s pictorial arts are discussed in primarily chronological fashion and are examined in relation to Europe{\textquoteright}s contemporaneous aesthetic concerns. Corresponding to the avant-garde{\textquoteright}s appeals for an art that balanced illusionism and abstraction, realistic imitation and expression, its desire to create an eternal art and to record the activities of modern life, Japanese art was found to affirm many of these goals and simultaneously reinforced artistic interest in other nontraditional sources. Overall, the Western understanding of Far Eastern art stressed the symbolic or experiential representation of reality the Oriental artist achieved through the distinct methods he employed.}, keywords = {19th- and 20th-Century European Art}, author = {Floyd, Phylis A.} } @mastersthesis {6834, title = {John Mix Stanley and Imagery of the West in Nineteenth-Century American Art}, year = {1983}, school = {IFA/NYU}, abstract = {Born in 1814 in a newly-settled area of New York State, John Mix Stanley was on the American frontier at birth and followed the shifting boundary of civilization for a major portion of his life. From his twenties to his forties, he would journey westward, working either for the United States government or as a private citizen, but always as an artist in pursuit of new material. Stanley used the field material gathered during his journeys to form a gallery of 152 Indian portraits and scenes of Indian life. Beginning in 1846, he toured the gallery for five years, and it met with critical success across the Midwest and East. Wishing to keep the gallery intact as an historical document of national significance, he deposited it with the Smithsonian Institution in the early 1850s. His travels ceased at about the same time, and although the Indian gallery was destroyed by fire in 1865, the last two decades of his career until his death in 1872 were characterized by productivity and increased ability. In addition to the Indian gallery, the enterprising Stanley constantly moved between fine and popular art traditions, experimenting with different mediums throughout his life. In 1843, he carried a daguerreotype camera to Oklahoma, quite probably the first to do so. Twice the federal government employed him as a topographical artist, and he supplied some 135 images for prints that appeared in official publications. In the 1850s and 1860s, he produced two panoramas, and finally, in the late 1860s, he investigated the then-new print process of chromolithography. Stanley was a competent, sometimes superior, artist whose abilities frequently surpassed those of many who portrayed the West. This dissertation is a study of his life and work. The first half is a biography and travelogue, containing much previously unpublished information. The second half is an analysis of Stanley{\textquoteright}s versatile stylistic vocabulary. Of the two final chapters, one discusses the artists{\textquoteright}s conception of the Indian in light of nineteenth-century attitudes toward primitive cultures; the other attempts to sketch Stanley himself. Appendices include a Chronology and Checklist.}, keywords = {Art of the U.S. and Canada}, author = {Schimmel, Julia} } @mastersthesis {6792, title = {John Ruskin{\textquoteright}s Uses of Illuminated Manuscripts and Their Impact on His Theories of Art and Society}, year = {1983}, school = {Johns Hopkins}, abstract = {Who was John Ruskin, prose poet, philosopher, social critic, wit, art historian, teacher, and man of sorrows acquainted with grief? Late twentieth-century scholars have rediscovered Ruskin, and this dissertation adds another dimension to our understanding of him. Study of Ruskin{\textquoteright}s numerous references to illuminated manuscripts in his letters, original diaries, essays, and books from the eighteen thirties through the eighteen eighties opens a new pathway through his oeuvre, and provides a fresh look at well-known, as well as infrequently discussed and previously unpublished writings. Ruskin employed antique handcrafted books as metaphor, as primary documentary sources, and as a means to encourage a revival of the art of illumination. In each instance, the underlying factor for his concern was to improve the social, intellectual, and artistic conditions of his time. He discussed the visual arts as language written in line and color on buildings and sculpture, as well as in paintings and in the pages of illuminated manuscripts. Via a figure of speech, the metaphor, he translated art works into books, and also described mountain landscape as the illuminated book of God, thus linking his remarks about human divine creativity and intentions.}, keywords = {19th- and 20th-Century European Art}, author = {Hauck, Alice H.} } @mastersthesis {6810, title = {Kasen-e: The Tradition of Poetic Portraiture in Japan from Kamakura through Muromachi, ca. 1200-1500}, year = {1983}, school = {Michigan}, abstract = {Although most students of Japanese painting are aware of the enduring popularity of pictures of poets, or kasen-e, to date little research has been done on this topic in the West. The dissertation focuses on the origins of this tradition, challenging the common assumption that kasen-e originated in the eleventh century with imaginary portraits of the poets named in Fujiwara Kinto{\textquoteright}s (966-1041) Sanjuroku nin sen {Selection of Thirty-Six Poets}. Instead, it is proposed that kasen-e emerged only concurrent with other types of secular portraiture in the latter twelfth century. This central thesis is developed in a three-part argument. First, a reevaluation of textual passages frequently cited as evidence of poet pictures prior to 1170 demonstrates that in fact none of these refer to group portraits of waka poets. Second, the earliest unequivocal textual evidence for poet pictures (dated to the 1170s) clearly pertains to portraits of contemporary authors rather than past masters. Significantly, the patron of these first poet pictures was a close friend of the portraitist Fujiwara Takanobu (1142-1205), the artist traditionally credited with the Jingoji portraits. Third, it is shown that the oldest surviving kasen-e, the closely-related Satake and Agedatami versions of the Thirty-Six Immortal Poets (traditionally attributed to Takanobu{\textquoteright}s son Nobuzane, 1175?-1265?) share certain characteristics which can be best understood as derived from a common prototype dating from the late twelfth century, quite possibly by Takanobu himself. Modern scholarship has generally rejected the attribution of the Satake and Agedatami versions to Nobuzane for various reasons. However, a recent study on the Satake versions argues that Nobuzane was a likely participant in a collaborative effort, on the grounds of dating and patronage. The conclusion reached here, on the basis of stylistic comparison with other works more securely attributed to Nobuzane, is that a few but not all of the Satake poets should be assigned to Nobuzane{\textquoteright}s hand, and furthermore that the Satake version should be dated to the first third of the thirteenth century.}, keywords = {Art of Asia}, author = {Mary B. Graybill} } @mastersthesis {6831, title = {The Life and Career of Jean Leon Gerome Ferris}, year = {1983}, school = {Rutgers}, abstract = {In the nineteenth century, a tradition of painting historical figures and incidents in genre settings developed in America. Not fully recognized is the fact that this approach to art has continued into the twentieth century as well. The survival of a major historical series of works by Jean Leon Gerome Ferris documents its strength and popularity, and it is hoped that revival of interest in his paintings will aid in understanding the role of popular art in America. The first chapter deals with Ferris{\textquoteright} early life in the context of the political and cultural climate as well as the Victorian sentimentality and patriotism of the period. Investigated are his studies at the Pennsylvania Academy, the teachers with whom he worked, as well as a European trip with his father, Stephen J. Ferris, a noted Philadelphia portrait painter and etcher. By 1884, Ferris returned to Europe to study with Adolphe Bouguereau and as a private pupil of Jean Leon Gerome for whom he was named. The second chapter details this study as well as the formation of his style, which appears to be based primarily on the juste milieu becoming popular in France in the 1880{\textquoteright}s. It is stressed that Ferris{\textquoteright} style never changed, but matured during the painting of the historical series, which was exhibited at Congress Hall, Philadelphia, from 1916-1931. The historical works comprise the major focus of chapter three and are discussed in detail by category in relation to earlier American painting traditions, particularly nineteenth century genre-ized history and historical genre. Earlier artists, important in the development of these traditions, as well as Ferris{\textquoteright} contemporaries, who were involved with similar interests, are discussed. In addition, his work for book and magazine publishers is mentioned. Throughout this work, the major emphasis is on Ferris as a painter historian who never followed vanguard movements, but, instead, devoted his life to his historical interests with accuracy a top priority. The result is an epic painted series of American historical events approached from a humanistic point of view.}, keywords = {Art of the U.S. and Canada}, author = {Mitnick, Barbara J.} } @mastersthesis {6848, title = {The Life and Work of Girolamo Siciolante da Sermoneta}, year = {1983}, school = {Michigan}, abstract = {Girolamo Siciolante da Sermoneta (c. 1514-1575) created a conservative, retrospective style of painting favored by members of the Roman aristocracy. Through contact with Emilian art of the late Quattrocento and early Cinquecento, he modified his early mannerist style, producing works that referred to the past, while expressing the spiritual regeneration of the Catholic Church during the incipient Counter-Reformation. Although scholars, such as Federico Zeri, Bernice Davidson, Olga Raggio, and Raffaele Bruno advanced the study of Siciolante{\textquoteright}s art, no monograph of his works exists. Only Adolfo Venturi attempted a comprehensive survey of his work in the multiple-volume Storia dell{\textquoteright}arte italiana. However, his artistic development and his relationship to his masters and colleagues are confused by problems of chronology and attribution. The present monograph of Siciolante{\textquoteright}s life and work re-evaluates the chronology, using stylistic analysis, published literary sources, and newly discovered archival records of Siciolante{\textquoteright}s work, patrons, and the sites of his commissions. It includes a complete catalogue of paintings and a checklist of drawings. Numerous attributed works, especially the Sala Paolina frescoes in Castel Sant{\textquoteright}Angelo, are re-assigned to other artists. As a result of this investigation, Siciolante emerges as an artist of merit, certainly not as gifted as his contemporary, Taddeo Zuccaro, but responsive to the conservative taste of his patrons. Although Siciolante{\textquoteright}s art evoked the past, it expressed the aspirations of a new age.}, keywords = {Baroque and 18th-Century Europe}, author = {Hunter, John B.} } @mastersthesis {6874, title = {Lorenzo Lotto{\textquoteright}s Major Altarpieces of the {\textquoteright}Enthroned Madonna with Saints{\textquoteright}: Doctrinal Meaning, Sources, and Expression}, year = {1983}, school = {Michigan}, abstract = {In the first five decades of his career, Lorenzo Lotto (c. 1480-1556) depicted the theme of the Enthroned Madonna with Saints in at least nine major altarpieces. These paintings are here freshly examined as a type, and their style and iconographical treatment are analyzed. As a concluding part of this study, a Catalog Raisonne is presented in which the documentation, history, and critical scholarship--often confusing and some of it erroneous--on each altarpiece is clarified. Rich in theological meaning, the theme of the Enthroned Madonna with Saints embodies four Catholic beliefs or devotions: (1) the Communion of Saints, (2) the closely related doctrine of devotion to intercessory saints, (3) the fundamental Christian belief of the incarnation, and (4) the cult of Mary, whose veneration was at its peak in the Renaissance and who was pictorially preeminent in the theme here discussed. The term sacra conversazione, applied to the image, is examined in order to throw light on the meaning of the altar type. Renaissance painters depicting the Enthroned Madonna with Saints preserved the theme{\textquoteright}s hieratic symmetry, but were very imaginative in inventing different pictorial settings for the holy figures. Eight setting types, used with variation by artists of North and Central Italy, are here identified. Some of them, of which only one carries certain symbolism, served as points of departure for Lotto. Lotto{\textquoteright}s earliest versions of the subject reveal the influence of Venice, but following the artist{\textquoteright}s stay in Rome (1509), his works incorporate Central Italian features. With remarkable variety and iconographic novelty, Lotto produced nine distinctively personal expressions of this doctrinally profound image.}, keywords = {The Renaissance}, author = {Murutes, Harry} } @mastersthesis {6830, title = {Louis Lozowick: Development From Machine Aesthetic to Social Realism, 1922-1936}, year = {1983}, school = {Maryland}, abstract = {Louis Lozowick (1892-1973), a Russian-American artist, synthesized important formal and intellectual trends in Europe and America during the period between the world wars. As an expatriate in Paris and Berlin from 1920 to 1923, he assimilated the enthusiasm of European and Russian artists and writers for the precision and economy of technology that they found most highly developed in America. During these years Lozowick developed the theme of American industrialization, translating urban architecture and machines into semi-abstract, geometric compositions that reflect the ideas and work of Fernand Leger, El. Lissitzky, Laszlo Moholy-Nagy, and Theodore Van Doesburg. While Lozowick continued to develop the theme of America{\textquoteright}s industrialization after his return to New York, he gradually introduced journalistic realism and social and political content. These formal and thematic changes reflect his association with radical artists and writers of the New Masses and the John Reed Club who advocated a Marxist-Leninist interpretation of art.}, keywords = {Art of the U.S. and Canada}, author = {Marquardt, Virginia C.} } @mastersthesis {6815, title = {The Maitreya Cult and Its Art in Early China}, year = {1983}, school = {Ohio State}, abstract = {From the fourth to sixth centuries was a golden age of Maitreya cult in Chinese history. The purposes of this dissertation are to examine the historical background, teaching aspects and sources of the Chinese Maitreya belief, and the origins and development of the iconography of Chinese Maitreya imagery. For investigating these aspects, my study is divided into three parts. Part One, including three chapters, is devoted to literary evidence of the Maitreya cult in early China. The study of this part indicates that the popularity of this faith in early China was resulted from teachers{\textquoteright} zealous propagation, royal patronage in the north, and desires for rebirths in paradises, and major teaching aspects of this cult were Pure Land belief, meditation, and the study of the Lotus Sutra. Part Two, consisting of three chapters, is concerned with the three major sources of the Chinese Maitreya cult and its art, namely, India, Gandhara, and Chinese Central Asia. Each chapter is composed of two sections. One deals with literary evidence, and the other is regarding iconographic analyses. The study of Part Two shows that the belief in Maitreya existed in the West as early as the second century B.C., it remained important in the sixth century A.D., and two essential aspects of this cult were Pure Land belief and meditation. Part Three deals with Maitreya images in China dated before the seventh century A.D. This part contains two chapters. One is to point out western prototypes of Chinese Maitreya imagery, while the other is to focus on Chinese innovational elements reflecting Chinese own emphases of the Maitreya belief. The dissertation concludes by remarking that the sources of Chinese Maitreya cult and its art were India, Gandhara, and Chinese Central Asia, but Chinese Maitreya cult and its art also had their own characteristics of which the most notable one was the study of the Lotus Sutra. Three appendices closely related to this study are attached: (1) Maitreya and Mithra; (2) Maitreya{\textquoteright}s position in Pure land Buddhism; and (3) Inscriptions related to Maitreya dated from 390 to 600 A.D.}, keywords = {Art of Asia}, author = {Lee, Yu-Min} } @mastersthesis {6873, title = {Major Florentine Altarpieces from 1430-1450}, year = {1983}, school = {Columbia}, abstract = {This is a study of a select number of altarpieces dating to the 1430s and 1440s by major Florentine painters. The works discussed at length, including Fra Angelico{\textquoteright}s San Marco altarpiece, Domenico Veneziano{\textquoteright}s Saint Lucy altarpiece, and Fra Filippo Lippi{\textquoteright}s Sant{\textquoteright}Ambrogio Coronation of the Virgin and Virgin and Saints from Santa Croce, were commissioned for specific altars in still-existing churches in Florence, thus allowing an analysis of the relationship between formal elements in the paintings and the original physical context. The 1430s and 1440s were an important developmental period for liturgical painting in Florence, since the illusionistic tools of one-point perspective and naturalistic light and shadow introduced in the 1420s brought revolutionary changes to altarpiece design. The older polyptych altarpieces, with their gold backgrounds and unmeasurable space and light, gave way to unified, square or rectangular fields in which figures were logically presented in a continuous space and were illuminated from a single light source. In spite of these changes, the painters in this period were careful to sustain a level of traditional religious meaning in their altarpieces. By examining the altarpieces in context, certain compositional and formal elements can be related to either the painting{\textquoteright}s visual or symbolic function, leading to further distinctions between those forms used for naturalistic purposes and those which enhanced meaning. In addition to revealing the approaches to changing stylistic demands followed by the artists in question, this study also defines certain types of compositions used by painters to deal with different dispositions and sites, such as the particular forms evidently deemed more appropriate for paintings on the high altars of large churches than for paintings on altars in small churches or chapels, and these forms are analyzed with respect to their illusionistic and symbolic potential. Although the bulk of this study deals with the second quarter of the fifteenth century, an introductory chapter covers the development of certain relevant pictorial customs prior to 1430. A concluding chapter discusses the influence on some succeeding painters of such key works as Fra Angelico{\textquoteright}s San Marco altarpiece.}, keywords = {The Renaissance}, author = {Miller, Julia I.} } @mastersthesis {6828, title = {Mark Tobey and the Baha{\textquoteright}i Faith: New Perspectives on the Artist and His Paintings}, year = {1983}, school = {UT Austin}, abstract = {This dissertation is primarily an examination of the impact of Mark Tobey{\textquoteright}s adherence to the Baha{\textquoteright}({\textquoteright})i religion upon the content of his paintings. Tobey was firmly committed to this religion from 1918 until his death in 1976. His philosophy and attitudes about the meaning of life, the course of history, the prospects for the future of civilization, and the importance of artistic expression, were in conformity with the tenets of the Baha{\textquoteright}({\textquoteright})i Faith. After a brief introduction, chapter one discusses the artistic environment within which Tobey developed. Associated with the New York avant-garde before 1920, Tobey was subsequently in contact with other major modern artistic movements of this century during their early stages of development in America. The summary of his artistic biography is followed by a chapter describing Tobey{\textquoteright}s early contacts with the Baha{\textquoteright}({\textquoteright})i Faith, and a brief discussion of the Faith{\textquoteright}s history and basic principles. This chapter also includes the highlights of Tobey{\textquoteright}s Baha{\textquoteright}({\textquoteright})i activities and his statements about his beliefs. Chapter four examines Tobey{\textquoteright}s early attempts at religious expression using representational means. His development of modes of expressing concepts beyond external appearances is the topic of the fifth chapter. The integration of his non-objective pictorial solutions with the use of Arabic and Persian calligraphy as religious iconography is explored next. Chapter seven reevaluates the influence of Asian art upon Tobey{\textquoteright}s paintings, distinguishing between the "calligraphic impulse" he received from Chinese and Japanese art and the use of Middle Eastern calligraphy as content. Light, time and space, and Revelation are three recurrent themes in Tobey{\textquoteright}s work. In chapter eight these themes are examined in relation to Baha{\textquoteright}({\textquoteright})i teachings, especially as expressed in books owned by Tobey and in statements he made about these subjects. The impact of the Baha{\textquoteright}({\textquoteright})i Faith upon Tobey{\textquoteright}s formal development, as well as upon the content of his paintings, is summarized in the conclusion. A coda assesses the status of Mark Tobey in twentieth century art.}, keywords = {Art of the U.S. and Canada}, author = {Kelley, Edward R.} } @mastersthesis {6823, title = {Miriam Schapiro: The Feminist Transformation of an Avant-Garde Artist}, year = {1983}, school = {UNC Chapel Hill}, abstract = {Miriam Schapiro began studying art when she was very young. Her father, Theodore Schapiro, himself an artist, taught her to draw from nature and talked to her about the principles of design. They visited art museums in New York City and discussed everything from space in 17th century painting to Cezanne{\textquoteright}s watercolors. She recalls that it never occurred to her that the works they saw were not painted by women. Only later, when she could call herself a feminist, did she understand that ignorance about women artists was widespread, that neither her father (nor other teachers)--no one, in fact--knew the names of women artists of the past. For Schapiro the change came in the 70s with the birth of the women artists{\textquoteright} movement. Influenced by feminist discussions of art and politics, Schapiro began to create art which self-consciously examined her own experience as a woman. She became interested in feminist art education at the California Institute of the Arts in California: a program at once artistic and political. And she sought, in all aspects of her life, to redefine artistic accomplishment in the light of her feminist politics. As a result, of course, she became an increasingly controversial figure, for she challenged critical standards of evaluation while she continued to try to meet those standards or to transform them. She raised the question other feminist artists were also articulating: Is there a specifically feminine artistic sensibility? What is the impact of feminism on art and of art on feminism? This study is at once an historical investigation of the work of Miriam Schapiro and an exploration of the impact of feminist politics on art. Miriam Schapiro{\textquoteright}s view of feminism stresses process and change, a change even in the meaning of art. Her collages depict a dialectic of literal and metaphoric intention. Miriam Schapiro{\textquoteright}s art of the 70s and 80s has expanded the definition of art. It has revealed how the integration of a feminist aesthetic into the mainstream challenges the hierarchical concept in art, the political framework of the art world and the nomenclature of "high art" and "craft".}, keywords = {Art of the U.S. and Canada}, author = {Bradley, Paula W.} } @mastersthesis {6861, title = {The Monumental Stones of Gotland: A Study in Style and Motif}, year = {1983}, school = {Minnesota}, abstract = {The Larbro group of Gotlandic monumental stones was first noted by Sune Lindqvist in his ground-laying work Gotlands Bildsteine in 1941. Lindqvist dated the group in the early eighth century. In this period, however, these stones are an isolated anomaly. The purpose of my dissertation is to define the Larbro group in its proper context, using a comparative analysis of style and motif. The Larbro stones relate intimately to Scandinavian ornamental art. While Lindqvist used this relationship to support an early eighth century dating, this study demonstrates that the stones are also connected with ornamental developments that occurred ca. 800. So, too, the best parallels in Scandinavian figurative art belong to the ninth century, early Viking context. These include the Oseberg tapestries, whose martial iconography resembles the motifs on the Larbro stones more closely than any earlier Scandinavian art. Although these Scandinavian parallels demonstrate that the Larbro stones have a strongly indigenous character, their style and motifs include many aspects that cannot be explained in purely Scandinavian terms. A certain relationship to Merovingian and Insular art can be discerned. However, many elements suggest that the Larbro stones were most strongly affected by Carolingian art. These include the classicizing nature of the scenes, the dominant use of progressive action, and specific iconographic parallels to both Reimsian and northwest Carolingian manuscripts. Clear reasons exist for this Carolingian impact on the North. In the early ninth century, the Carolingian Empire acted as a powerful centralizing force, which had increasing missionary, political, and trade relations with Scandinavia. Indeed, the missionary activities of Archbishop Ebo of Reims and Anskar of Corvey in Denmark and Sweden during the reign of Louis the Pious may provide a specific explanation for the Carolingian impact on the Larbro stones. This study thus defined the Larbro group within an early ninth century context. The group can best be understood as a product of the early Viking period, in which Scandinavian Vendel traditions combined with West European Christian art to create a new synthesis.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Eshleman, Lori E.} } @mastersthesis {6876, title = {Observations on the Scala Palace: Giuliano da Sangallo and Antiquity}, year = {1983}, school = {Harvard}, abstract = {This thesis concerns the period of the late fifteenth century and in particular the work of Giuliano da Sangallo. One of the first works of domestic architecture undertaken by Giuliano upon his return to Florence from Rome is a small, but important suburban villa for Bartolomeo Scala, chancellor of Florence. The Scala palace is used as the focal point for an investigation of the influence of antiquity on Giuliano. In particular, this study treats Giuliano{\textquoteright}s relationship to the architectural treatise of Vitruvius, his understanding of it and the influence it had on his plans for the Scala palace and other suburban villas. It also discusses the influence of Alberti{\textquoteright}s architectural treatise on Giuliano. The final chapter details the influence of both the patterns and the techniques of ancient stuccoed vaults on Giuliano{\textquoteright}s work in the Scala palace and elsewhere.}, keywords = {The Renaissance}, author = {Pellecchia, Linda A.} } @mastersthesis {6865, title = {The Origins of Roman Historical Relief Sculpture}, year = {1983}, school = {Yale}, abstract = {This study illuminates the complex relationship between Roman Imperial art and its antecedents. It determines for the first time the extent to which Roman historical reliefs were dependent upon earlier artistic traditions. In addition, it analyzes the manner in which Roman artists adapted earlier artistic conventions to form Roman Imperial reliefs. The various themes found in Roman state reliefs are divided into four categories: scenes related to the conduct of warfare, processions, sacrifices, and acts of public officials. It is determined that the most important artistic traditions for the development of Roman Imperial historical reliefs were the Greek, Etruscan, Roman Republican and Augustan traditions. Significant works from each of these traditions are analyzed in chapters which deal with each of the four thematic categories. Analysis shows that the constituent elements of Roman state reliefs were the depiction of portraits, liturgical and military figures, ceremonial dress and equipment, topographical backgrounds, personifications and deities. It is demonstrated that almost all of these elements were developed in earlier historical traditions and were subsequently adapted to serve Roman needs.}, keywords = {Greek and Roman Art}, author = {Holliday, Peter} } @mastersthesis {6798, title = {Ornament and Ideology: A Study in mid-19th-Century British Design Theory}, year = {1983}, school = {Harvard}, abstract = {This dissertation comprises an analysis and a critique of a theory of ornament formulated during the 1840s and {\textquoteright}50s by a small circle of artists, architects and critics for use in Britain{\textquoteright}s Schools of Design, a new system of State-sponsored institutions set up to educate industrial designers and inspired by certain Utilitarian political ideals. My analysis focuses upon texts by Owen Jones, Richard Redgrave, Ralph Wornum, M. D. Wyatt and William Dyce--above all, Jones{\textquoteright}s Grammar of Ornament (1856) and the Journal of Design and Manufactures (1849-52) published by Henry Cole. This theory is best known for its contribution to the modern "functionalist" tradition in design. It proceeds from a categorical distinction between ornament and fine art: unlike the latter, ornament is defined as a merely adjunct or subsidiary art, whose form and iconography must be subordinated and expressively adapted to the material, structure and use of the functional article it is destined to embellish. This adaptation is promoted as a form of truth-telling. The theory forbids any deception, disguise or imitation in ornament, especially cases in which ornament aspires to the pictorial illusionism proper to painting, and thus it favors relatively subdued and schematic formal treatments of discreet and thoroughly conventionalized imagery. My critique of the theory centers on its polemics, in which the authority of both science and history is claimed in validation of its truth. I contend that this claim serves covertly--at the level of ideology--to rationalize and thus to authorize anew the traditional social standard of gentility in matters of taste as expressed in ornament. In its promotion of a truth-telling design environment, the theory holds forth an ideal vision of a harmonious, hierarchical and indeed authoritarian society. The vision is linked to a rather paradoxical new concept of collective style, announced also in A. W. N. Pugin{\textquoteright}s writings, a concept that admires and seeks after, in the midst of modern confusion and alienation, the fixity and authenticity imagined to have prevailed in pre-modern, essentially theocratic societies of the Middle Ages and especially the Islamic world.}, keywords = {19th- and 20th-Century European Art}, author = {Rhodes, John G.} } @mastersthesis {6826, title = {The Outdoor Public Commemorative Monuments of Syracuse, New York: 1885-1950}, year = {1983}, school = {Syracuse}, abstract = {This study documents the seventeen major outdoor public commemorative monuments of Syracuse, New York, that are sculptural in nature. The period covered is from 1885 through 1950. An historical background is presented for each monument, examining the groups and activities responsible for its erection, the selection of sculptors and designs, the placement and dedication of the monument, an aesthetic appraisal of it, and a brief account of its subsequent history. Photographs and pertinent biographies are included. The monuments, which span the most active years of this idiom in America, are considered within the context of the rise and decline of the public sculptural monument in America. Sculptors who created the monuments include Renzo V. Baldi, Jerome Connor, Gail Sherman Corbett, Cyrus Dallin, Eli Harvey, Theo Alice Ruggles Kitson, Fidardo Landi, Frederick Moynihan, Roland Hinton Perry, David Richards, and Ernst Friedrich Rietschel. The involvement of numerous other sculptors is cited including Daniel Chester French, Augustus Saint-Gaudens, and John Quincy Adams Ward.}, keywords = {Art of the U.S. and Canada}, author = {Hennig, Calvin M.} } @mastersthesis {6888, title = {Painting Politics for Louis-Philippe: Issues and Instruments of Propaganda in French Official Art, 1830-1848}, year = {1983}, school = {IFA/NYU}, abstract = {The history of official art during the July Monarchy has never been written. Standard "textbook" accounts emphasize the polemic between Romantics and Classicists or describe emerging Realist tendencies (e.g., the Barbizon painters or Daumier), but they invariably ignore painters preferred by Louis-Philippe. Leon Rosenthal{\textquoteright}s pioneering monograph of the period (1914) and recent studies by Albert Boime (1971, 1980) are notable scholarly exceptions to this rule: Rosenthal devoted a chapter to painters he called juste-milieu and characterized as seeking a stylistic compromise between Romanticism and Classicism; Boime followed this lead to develop a general theory of artistic Eclecticism. Yet neither addresses the functional characteristics and programmatic political designs informing the major commissions awarded by Louis Philippe. By raising such issues, this study formulates a more focused and compelling understanding of the juste-milieu. The dissertation opens by analyzing public expectations of history painting as articulated in Salon criticism after the 1830 Revolution, especially in light of new demands for pictures of post-1789 French history (censored during the Bourbon Restoration) and the concomitant constraints this placed upon the stylistic and narrative conventions of la peinture d{\textquoteright}histoire. A consideration in Part II of pictures commemorating the July Revolution underscores an interaction between popular art and official imagery, and reveals how the king "edited" the visual record to synchronize his revolutionary origins and political conservatism. A similar line of inquiry in Parts III and IV studies the paradox of a monarch sponsoring complex decorative ensembles where the iconography celebrates the French Revolution or Napoleonic France. The analysis demonstrates that these commissions manipulated the "visual folklore" of the events to obtain significations politically advantageous to Louis-Philippe{\textquoteright}s decidedly reactionary and anti-bonapartist regime. Finally, Rosenthal{\textquoteright}s category of juste-milieu is reconsidered in light of this expanded discourse to shift his concept of "compromise" from a stylistic description to one of ideological mediation. Louis-Philippe{\textquoteright}s official imagery is thus seen to operate between the spheres of "high" art and popular art in a manner which explains its overt propagandistic function, stylistic peculiarities, and position in the history of nineteenth-century painting.}, author = {Michael Marrinan} } @mastersthesis {6820, title = {Paintings of the "Lotus Sutra": The Relationship of Ritual, Text, and Picture}, year = {1983}, school = {Columbia}, abstract = {This is a study of three aspects of the illustrations to the Lotus Sutra in Japan during the Heian and Kamakura periods: their style, ritual context, and relationship to the text. The basic premise is that as the ritual context changed, so too did the painting style and the relationship of the pictures to the text. Chapter One summarizes the history and contents of the text. Chapter Two discusses the religious practices of the Heian period such as the lecture and memorial services, preemptive funerals, longevity celebrations and sutra burial rites in which copying the sutra was the central devotional act. Each of these rituals were characterized by a sense of the merit of surfeit and it is within this context that illustrations were added to the textual scrolls imbuing them with greater significance. Chapter Three presents a three-part classification scheme which is based on the relationship of the text to the paintings: those which accompany the complete text, those in which the text is distorted to form a picture, and those in which the text is omitted. The first category contains two main groups of frontispiece illustrations: a group that evokes the meaning of the text without directly illustrating it and thus are free translations of the text and the second group which literally translates the text into pictures. The choice of content, composition and painting style of this second group is analyzed and leads to a recognition of three distinct sub-groups: the sinicized, transitional and conventionalized styles. Chapter Four discusses the rituals and paintings of the Kamakura period which are characterized by an increasing disregard for the text as written discourse. This change occurs first in those paintings where the text appears not as written discourse but as an artistic motif and finally in works where the text is omitted. In short, the burden of the text is transferred to the pictures themselves. As a consequence, the paintings become more detailed and narrative. The history of Lotus illustrations then is one in which the text is gradually subsumed by the pictures.}, keywords = {Art of Asia}, author = {Tanabe, Willa J.} } @mastersthesis {6793, title = {Picasso: Anarchism and Art, 1897-1914}, year = {1983}, school = {Rutgers}, abstract = {This dissertation proposes a critical revision of Picasso{\textquoteright}s cubist period, still too often viewed in the purely formalist terms promoted by Picasso himself in the 1920s and most critics of the movement until the last decade. By considering the influence of anarchist ideas--especially as they were formulated and embraced in Spain--on Picasso{\textquoteright}s work from his Barcelona period to World War I, this study demonstrates that in his cubist works Picasso also draws upon iconographic and personal sources for his art. Thus Picasso{\textquoteright}s cubist years can be viewed as continuous in content and approach with other periods of his art. An introductory chapter traces the varying critical approaches to cubism critics have taken from its beginning to the 1980s and explores the reasons why the political content in Picasso{\textquoteright}s collages has been overlooked. Chapter II discusses the nature of international anarchism as it blends with Catalan separatism and the symbolist movement in Barcelona. The influence of this tradition of social and artistic radicalism was further reinforced in the artistic circles Picasso later frequented in Paris and had a profound and permanent effect on his view of himself as an artist. Chapters II and III seek to illuminate the relation of Picasso{\textquoteright}s anarchist thought to specific works of his youth and of his later Blue, Rose, and African period, with special attention to the Demoiselles d{\textquoteright}Avignon. Chapter IV considers Picasso{\textquoteright}s cubist period, traditionally thought of as his most highly abstract. But a close reading of the newspaper clippings incorporated into the collages shows them to be reports and accounts of the public events that heralded the approach of World War I, which had special resonance for an artist deeply tied to the anarchist, antimilitarist traditions of Barcelona and daily immersed in the raging arguments over the European-wide war acknowledged everywhere to be threatening. A concluding chapter looks at Picasso{\textquoteright}s work during World War I, Guernica and his response to the Spanish Civil War, and his joining the French Communist Party in 1944.}, keywords = {19th- and 20th-Century European Art}, author = {Patricia D. Leighten} } @mastersthesis {6812, title = {Pieces in Context: An Approach to the Study of Chinese Furniture through an Analysis of Ming Dynasty Hardwood Examples in Kansas City}, year = {1983}, school = {Kansas}, abstract = {The Chinese furniture tradition is the longest in the world. Adopting the constructions and joinery of wooden architecture, by the Ming dynasty it had developed into an art form unique in its combination of functional and aesthetic beauty. In this thesis a group of Ming dynasty pieces of domestic hardwood furniture in Kansas City is dated and placed in the contexts of their setting, craft, and historical development. First a detailed study was made of the joinery of each example. Then it was dated on the basis of comparisons with dated pieces, models found in datable tombs, book illustrations, datable paintings, and other decorative arts. This forms the catalogue and is the backbone of the study. The paper begins with a discussion of the Ming house and interior, using as especially important evidence the merchants{\textquoteright} houses in Anhwei province and some colored paintings illustrating episodes from Chin P{\textquoteright}ing-mei. The following chapter on craftsmen, materials, and joinery is based largely upon textual sources. Chapter III places Ming dynasty furniture in a larger historical context by briefly discussing the development of various types. One type, the canopied bed, is treated in more detail as an example of how the changes in form, design, and use can be traced historically by using both written and visual documentations. Chapter IV deals with the problems and sources for dating. It concludes with an account of chronological development within the Ming dynasty, based upon the dating of the Kansas City pieces. Historically various fashions may be seen in the evolution of Chinese furniture. The T{\textquoteright}ang dynasty pieces are elaborate in their decoration and use of materials. The Sung dynasty is distinguished by flat surfaces and delicate, intricately carved silhouettes. In the Ming dynasty the ornament adhers to the structure and is an integral part of it. Simple, bold, perfectly proportioned shapes are fully three-dimensional sculpted forms. During the Ch{\textquoteright}ing period the tradition begins to decline. The structure loses its vigor and fussy decoration seems applied to the surface rather than an essential part of the piece.}, keywords = {Art of Asia}, author = {Handler, Sarah} } @mastersthesis {6845, title = {Political Ideology and Artistic Theory in Poussin{\textquoteright}s Decoration of the Grand Gallery of the Louvre}, year = {1983}, school = {Columbia}, abstract = {Begun in 1641 and abortively terminated in 1643, Nicolas Poussin{\textquoteright}s decoration of the Grande Galerie of the Louvre comprised three levels: cityscapes, inherited from an earlier scheme (1626), scenes in fresco of the Life of Hercules, and on the ceiling, plaster casts from the Arch of Constantine and the Column of Trajan to form a life of the emperor Trajan (A.D. 53-117). The three levels are united in reflecting the ideology of absolute kingship expressed in images borrowed from the emperors of Rome and the Holy Roman emperors, particularly the Hapsburgs. The Bourbon monarchs, Henri IV and Louis XIII, claimed semi-sacredotal powers and thus to be divinely selected. Like the images of the medieval imperium, the iconography of these French kings stressed their role in the creation of a Trans-European peace and harmony and a golden age of culture under royal control. In the decoration of the Grande Galerie, the unitary and pacific aspects of the French monarchy are reflected in the cityscapes, representing France{\textquoteright}s allegiance to the divinely inspired Bourbons. Through the Trajanic reliefs, Louis XIII is associated with an imperial predecessor. In the Hercules cycle, Poussin stressed themes connected both with the absolute monarchy and the particular political concerns of the day. The earliest scenes of the Hercules cycle treated the miraculous conception and birth of the hero, underlining the divine protection of Hercules and, by extension, the king. In scenes illustrating the Education of Hercules, Poussin placed equal emphasis on both military and liberal arts for the formation of the hero{\textquoteright}s character. In scenes I designated Preludes to the Labors, Poussin alluded to the king as Pontifex Maximus and the virtue of concordia, themes essential to the ideology of absolutism. In the Labors themselves, Poussin referred to virtues of Vigilance and Fortitude, connected with absolutism, and the theme of succession, necessary for the stability of the dynasty and state. Hitherto unexplained passages in Poussin{\textquoteright}s defense of the scheme for the gallery are shown to be references to the three parts of Painting and Poetry: Invention, Design or Disposition, and Color or Ornament. Moreover a relationship is suggested between Poussin{\textquoteright}s defense of the gallery and literary and artistic debates of the day concerning the relationship of decoration to epic poetry and tragedy and the applicability of Aristotle{\textquoteright}s unities to poetry and painting.}, keywords = {Baroque and 18th-Century Europe}, author = {Forte, Joseph C.} } @mastersthesis {6849, title = {Pour Transmettre a la Posterite: French Painting and Revolution, 1774-1795}, year = {1983}, school = {IFA/NYU}, abstract = {This dissertation focuses on the new alignment of art and contemporary political history which occurred in France following the storming of the Bastille, July 14th, 1789. It is a process which effected no less than a major reorientation of French art and patronage, due to a revolutionary program which demanded of art a new function and purpose (representations of current events encouraged by a Republican government). By concentrating on one aspect of the late eighteenth century--painted, drawn and engraved images of contemporary history--this study is a rather exclusive concern. It is devoted specifically to the development from 1781 to 1795 of an art which would function as a carrier of revolutionary ideology, attached to the historical situation of France during these crucial years of transition from pre- to post-Revolution. While the traditional art historical tools of iconography and style are employed quite consistently, they are used within a framework of historical, social and theoretical considerations. Among them are, for instance, prior to 1789, the demands made on the producers of art by genre hierarchy; subject prejudice; an exclusive patronage system; and the beginning of the nineteenth century{\textquoteright}s attitude of "l{\textquoteright}art pour l{\textquoteright}art." To these we can juxtapose the Revolution{\textquoteright}s plans for an equalization and democratization of the arts by suppressing genre hierarchy; a reversal of subject prejudice in favor of current events; a shifting patronage base leading inevitably to the new bourgeois government; and the demands for art as propaganda. The dramatic changes in priorities wrought by six years of revolution are the major points of this dissertation. The actual events enter here, not necessarily in chronological order, but as they emerge in the sphere of official and unofficial art: from a popular print produced on the rue St. Jacques in the 1780s to one hundred and forty Fine Art compositions celebrating the Revolution submitted to the great concours of 1794.}, keywords = {Baroque and 18th-Century Europe}, author = {Olander, William} } @mastersthesis {6836, title = {Regionalists in Hollywood: Painting, Film, and Patronage, 1925-45}, year = {1983}, school = {Minnesota}, abstract = {Regionalists In Hollywood: Painting, Film, and Patronage, 1925-1945, examines relationships between the painterly and filmic arts in America from 1925 to 1945. Concentrating specifically on the 1930s art of the American Regionalists--Thomas Hart Benton, John Steuart Curry, and Grant Wood--and on motion pictures produced in Hollywood during the same years, conclusions have been reached that the icons of popular culture, the movies, had a major effect on the stylistic and iconographic development of Regionalist art, and conversely, the paintings of the Regionalist triumvirate had a considerable impact on the style of certain Hollywood films. Both Regionalist art and Hollywood films were major modes of artistic expression and dominant cultural styles and hence, serve as models from which to develop assumptions about the nature of American living from 1925 to 1945. Regionalism was selected for exploration of the interrelationship of art and the movies, and American culture during the Depression, because many Regionalist artists worked in Hollywood, and because many filmmakers (such as King Vidor and Mervyn LeRoy) collected Regionalist art. Additionally, the style of Regionalist art--which ranged from the stern farming couple of Wood{\textquoteright}s American Gothic (1930), to the American factory workers toiling in Benton{\textquoteright}s murals for the New School for Social Research (1930-1931)--was perhaps the first mass cultural style of fine art in America, just as the emergence of motion pictures in the 20th century suggests the first attempt to create an art form for the mass audience. With its tendency to portray the American Scene in an optimistic manner, Regionalism became the nation{\textquoteright}s most popular art style during the Depression years. Similarly, the robust positivism and hearty energy of certain Hollywood films made during these years (such as those of King Vidor and Michael Curtiz) heightened their appeal to audiences battered by the seeming collapse of the economic system. Regionalist artists and Hollywood filmmakers deliberately chose to depict an optimistic, idealized America. Substituting mythical content for Depression realities aided Americans in survival, but also intensified an atmosphere of cultural confusion and ambiguity which continues to the present.}, keywords = {Art of the United States (except Photography and Film), Photography and Film}, author = {Doss, Erika} } @mastersthesis {6847, title = {The Religious Significance of Rembrandt{\textquoteright}s Return of the Prodigal Son}, year = {1983}, school = {Michigan}, abstract = {The full significance of Rembrandt{\textquoteright}s Return of the Prodigal Son (Leningrad, Hermitage) has remained elusive, because the picture has not been viewed in light of either previous depictions of the subject or the way in which the parable was interpreted. It is only when the painting is studied in these contexts that the roles played by the four witnesses and the relief representing the horn-playing musician can be satisfactorily explained and that the ingenuity of Rembrandt{\textquoteright}s conception can be appreciated. By examining medieval as well as sixteenth and seventeenth-century Netherlandish depictions of the parable, especially the prodigal{\textquoteright}s return, in the context of plays, sermons, and commentaries on the parable, I have demonstrated that while attitudes toward biblical exegesis affected the representation, sectarian beliefs did not. The only Netherlandish artist, who like sixteenth and seventeenth-century playwrights, employed the parable as a vehicle for religious propaganda was forced to resort to an anachronistic mode of depiction to convey a sectarian interpretation. The inability to communicate sectarian beliefs within an illustration of the text may have led Catholic artists to develop the image of the prodigal son as a penitent sinner before Christ or the Madonna and Child. Whatever their beliefs, the artists who depicted the return of the prodigal son presented the message that God is merciful and willing to forgive repentant sinners. Many also conveyed the parable{\textquoteright}s secondary meaning--the admonition to be charitable. By examining Rembrandt{\textquoteright}s painting in the context of the iconographic tradition, I have been able to demonstrate that the four witnesses and the horn-playing musician are employed both to underscore the parable{\textquoteright}s primary meaning and to reveal that one should be charitable to one{\textquoteright}s fellows. Finally, I have considered Rembrandt{\textquoteright}s other portrayals of this and related subjects as a means of showing how the master utilized and transformed the established visual and iconographic tradition in order to arrive at his final and deeply personal conception of the theme.}, keywords = {Baroque and 18th-Century Europe}, author = {Barbara Haeger} } @mastersthesis {6801, title = {Remedios Varo, 1913-1963: Spanish-born Mexican Painter, Woman Among the Surrealists}, year = {1983}, school = {Columbia}, abstract = {This dissertation represents the first comprehensive study and the first monograph in English on the work of the Spanish-born Mexican painter, Remedios Varo (1913-1963). Trained in Madrid, and part of the Surrealist circle in Paris, Varo fled the Nazi occupation and settled in Mexico in 1941. There she enjoyed a short but astonishingly successful career made more extraordinary by the fact that Varo was a woman, an expatriate, and an easel painter working in a country that reserved its accolades for the male Mexican muralists. Combining a miniaturist{\textquoteright}s attention to detail with finesse in glazing and varnishing, Varo created a surreal universe peopled by animal/human hybrids in which the properties of the organic and the inorganic, the natural and the technological interchange and overlap. As a child she indulged in dreams of adventure and travel; as an adult she faced war and exile. Transmuting autobiography into fantasy, Varo filled her work with characters, usually self-portraits, embarked on fantastic journeys in invented vehicles. Spiritual and psychological as well as physical, these journeys reflect Varo{\textquoteright}s interest in alchemy, astrology, mysticism, magic, the occult, and science. Based primarily on unpublished documents, this study first examines the work of Varo{\textquoteright}s early years in Spain and France, then her mature work done in Mexico. A chapter entitled "Invitation to the Voyage" focuses on spiritual pilgrimage as the central metaphor for thematic analysis of her work. This is followed by an extensive study of her sources and influences, ranging from illuminated manuscripts and medieval architecture to the work of Bosch, Goya, El Greco, di Chirico, and Ernst. It concludes with examination of Varo{\textquoteright}s stylistic development and analysis of her relationship to Surrealism. Varo died in 1963 at the age of 50, leaving a small but innovative oeuvre. Although the immediate popularity of her work still sustains in Mexico, and even though she was eulogized by such important figures as Andre Breton and Octavio Paz, her work is virtually unknown in the United States and Europe. This study is designed to introduce Varo{\textquoteright}s work to the English-speaking audience and to analyze her unique contribution as a Spanish-born Mexican painter and as a woman among the Surrealists.}, keywords = {Art of Africa, Latin America, and Oceania}, author = {Kaplan, Janet A.} } @mastersthesis {6885, title = {The Renaissance Stufetta in Rome: The Circle of Raphael, and the Recreation of the Antique}, year = {1983}, school = {Minnesota}, abstract = {The dissertation examines the Renaissance stufetta, or bathing room, as one of the most complete expressions of the Renaissance aspiration to recreate the ambience of the antique. The dissertation focuses on those stufette with decorative cycles which were designed by the circle of Raphael (broadly considered as Giovanni da Udine, Giulio Romano, Baldassare Peruzzi, and Antonio da Sangallo the Younger) and which are extant in Rome: the stufetta of Cardinal Bibbiena and the so-called stufetta of Clement VII in the Vatican Palace, and the bathing rooms in the Cancelleria, the Palazzo Baldassini and the Castel Sant{\textquoteright}Angelo. Apart from the important summary in C. L. Frommel{\textquoteright}s study of the Renaissance palace in Rome (Der Romische Palastbau der Hochrenaissance Berlin, 1973, I, 75-78), the bath has not previously been studied as a significant type. Individual baths, with the exception of Cardinal Bibbiena{\textquoteright}s stufetta, have generally been published as brief notices without close examination of their decorative and iconographic programs. The present study considers problems of dating and attribution and the manner in which artists drew inspiration from antiquity through literary and archaeological sources. The development of the stufetta as a recreation of the antique is surveyed with the aid of a catalog of bathing rooms spanning the 14th to the early 17th centuries. The entries provide information regarding the patron, architect and artists, documentation of the building history of the bathing room and its date of construction, and a description or a reconstruction of the room and its decoration. Various patterns in the construction and decoration of bathing rooms during the Renaissance emerge. Although stufette are generally small, their architectural features and the provision of heating mechanisms evince a careful emulation of antique prototypes. The rooms are typically decorated all{\textquoteright}antica, with grotesquerie and mythological scenes often featuring Venus and reflecting the function of the bathing rooms for purposes of health, cleanliness, and pleasure. A repudiation of these functions results in the gradual demise of bathing rooms toward the end of the Cinquecento, when there was no longer the intense desire to emulate antiquity which had stimulated the creation of the Renaissance stufetta.}, author = {Edwards, Nancy} } @mastersthesis {6838, title = {Rethinking Regionalism: John Steuart Curry and the Kansas Murals Controversy}, year = {1983}, school = {Minnesota}, abstract = {Almost any survey text on the history of American art mentions the so-called Midwestern "Regionalist Triumvirate"--Thomas Hart Benton of Missouri, Grant Wood of Iowa, and John Steuart Curry of Kansas. The story is told that late in the 1920s, when American art was under the stifling grip of French modernism, these three painters arose from the soil of the Middle West and attempted to recreate the image of America in the likeness of the heartland. John Steuart Curry is most often characterized as a faithful chronicler of rural life in his native state of Kansas. Ironically, he earned this cornfed reputation as a Midwestern Regionalist by painting memories of Kansas from his studio in the fashionable art colony of Westport, Connecticut. The implications and resonant effects of Curry{\textquoteright}s ties to East Coast art centers have long been overlooked in the overriding tendency to mention him only as "Curry of Kansas," artist-in-overalls. This dissertation re-examines the phenomenon of Curry{\textquoteright}s "Regionalism" by focusing on the two occasions that he tried to win favor for his art in Kansas. In 1937, Curry was called home to paint murals for the Kansas Statehouse. By looking at the specific cultural context from which these murals emerged, and the hidden agenda of the artist who painted them, the study attempts to unravel the ways in which art and ideology and current events intertwine in Curry{\textquoteright}s historical murals for Kansas, featuring John Brown and the Civil War, soil erosion on the plains, and scenes of pastoral bliss in Kansas. The controversies that developed when this "long-distance Regionalist" tried to go home to the region he has been presumed to represent shed new light on the phenomenon that has come to be known as "Regionalism" in American art.}, keywords = {Art of the United States (except Photography and Film)}, author = {Kendall, M. Sue} } @mastersthesis {6843, title = {Romney{\textquoteright}s Late Drawings: A Study of Three Cycles of Historical Composition in the 1790{\textquoteright}s}, year = {1983}, school = {Stanford}, abstract = {Of George Romney{\textquoteright}s many late drawings, dating from the 1790s, a group of historical composition on the subject of John Howard Visiting Prisoners is particularly rich in iconography and elaborate in scheme. Although this group of drawings has received little critical attention, it contains much provocative material that offers insights into Romney{\textquoteright}s little known intentions as a history painter. It also enlarges our understanding of the ideologies of the Enlightenment and early Romanticism which Romney{\textquoteright}s work intersected, and to which he made significant contribution. The purpose of this dissertation is to trace the evolution of this group of drawings within its historical and artistic contexts, and to examine Romney{\textquoteright}s personal life and mental state during the 1790s, since this had an evident bearing on the genesis of the prison sketches and on their gradual transformation. Romney appears to have been drawn to the subject, initially, because of its modernity. The philanthropist John Howard{\textquoteright}s confrontation with a horrifying social reality--the inhuman condition of the jails and the distress of the prisoners--provided not only a dramatic occasion for the exposition of social injustice, the figure of Howard particularly suited the idea of the modern hero. On the one hand, Romney{\textquoteright}s conception of the prison subject expressed an attitude of indignation at inhumanity, not unlike Goya{\textquoteright}s. On the other, it reflected a fascination with scenes of horror and claustration that was fairly widespread in the period of transition from Enlightenment to early Romanticism and for which parallels can be found in the literature of the time and in the rhetoric of the American and French revolutions. What particularly characterizes Romney{\textquoteright}s treatment of the prison subject is the specificity of its reference to a contemporary reality, one that had a connection, for him, with his own private sorrows of those years. Thematically, Romney{\textquoteright}s prison scenes represent an attempt to elevate a modern theme to the rank of historical art by associating it, symbolically, with religious subjects. Howard is a Christ-like figure; his descent into the dungeons is not merely an act of Christian charity, it recalls Christ{\textquoteright}s own descent into Hell. Ultimately, the underlying meaning of the prison scenes is salvation. In portraying the drama of hope and despair, of condemption and redemption, Romney{\textquoteright}s prison drawings reveal the psychological crisis of a Romantic artist{\textquoteright}s longing for liberation of the spirit and express the agony of his struggle.}, keywords = {Baroque and 18th-Century Europe}, author = {Chan, Victor} } @mastersthesis {6862, title = {The Royal Tombs at the Monastery of Santes Creus}, year = {1983}, school = {Minnesota}, abstract = {This dissertation examines the tomb of Peter III of Aragon and the double-tomb of James II of Aragon and Blanche of Anjou by combining documentary research, typological comparisons, and stylistic and iconographical analysis. Both tombs were commissioned by James II, who left an array of letters regarding the construction of each sepulchre. These documents provide an insight into royal patronage in the early fourteenth century and help to answer questions of chronology and the roles played by the various artists employed by James. The sepulchres at Santes Creus are the first monumental tomb ensembles in Aragon. James envisioned, clearly, the creation of an extensive dynastic pantheon to promote the prestige of the royal family. Typological comparisons with other European royal mausolea reveal James{\textquoteright} inspiration and desires; stylistic analysis unveils his artists{\textquoteright} sources for both the architectural framework and the sculptural decoration. In an appendix later additions to the tombs are discussed. A study of the iconography of the materials used, the forms, and the statuary indicates the religious and political messages of the tombs. Finally, James{\textquoteright} efforts to turn Santes Creus into the royal pantheon for the kingdom of Aragon are evaluated.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Rosenman, Barry} } @mastersthesis {6870, title = {The Saint Anne Altar in Sant{\textquoteright}Agostino, Rome}, year = {1983}, school = {IFA/NYU}, abstract = {The Saint Anne altar was dedicated by Johann Goritz in the church of Sant{\textquoteright}Agostino in 1512. Its principal components included the statue of Saint Anne, the Virgin and Child by Andrea Sansovino and the fresco of the Prophet Isaiah by Raphael. The altar was dismantled in 1760 during Luigi Vanvitelli{\textquoteright}s restoration of the church, and in subsequent restorations the sculpture and fresco were integrated into two other decorative schemes. As little more than lip service has been paid to their original interrelationships, this thesis considers the components anew not only individually but as part of an ensemble. An introduction attempts to recreate the 16th century church interior, focusing on the original location of the alter against the middle pier of the nave. Chapter I collects available documentary information regarding the establishment and history of the altar and its separate parts through the mid 19th century. The document of permission to Goritz from the Augustinians for the establishment of the altar is discussed and is transcribed in its entirety in Appendix A. Chapter II and Appendix B discuss in detail the excavation of the original site of the altar, the parts of the fresco and architectural framework discovered as a result of the excavation, and the subsequent physical reconstruction of the ensemble based on a technical analysis of the physical evidence and on the archival research. Chapter III assesses the sources and style of the statue and fresco individually and as components of an ensemble, taking into account compositional and iconographic considerations. The altar reflected the popularity of the cult of Saint Anne and Sansovino{\textquoteright}s statue is considered within the tradition of Saint Anne representations. The fresco is seen in the light of Michelangelo{\textquoteright}s contemporary Sistine Seers and the Moses. The juxtaposition of the Prophet Isaiah with an Annaselbdritt makes common iconographic sense but the Hebrew inscription is unusual. It is interpreted in the context of the funerary function of the altar and the then current trends in scriptural exegesis. Egidius of Viterbo is suggested as an advisor in the evolution of the program.}, keywords = {The Renaissance}, author = {Bonito, Virginia} } @mastersthesis {6853, title = {The {\textquoteright}Schola Cantorum{\textquoteright} in Rome during the High Middle Ages}, year = {1983}, school = {Bryn Mawr}, abstract = {This dissertation concerns the liturgical disposition of twelfth- and thirteenth-century Roman churches. It focuses on the form and function of the architectural feature found in the naves of Roman churches and commonly called a {\textquoteright}schola cantorum{\textquoteright}. The Introduction explains the current state of scholarship and defines the problem. Chapter I treats the form of forth- through ninth-century nave precincts in Rome. It is not meant to be a comprehensive history and analysis of the early chancels, rather, it serves to set the stage for the twelfth century enclosures, to define their distinctive and innovative features in the context of the previous Roman situation. Through an analysis of contemporary texts the early nave chancels are shown not to be {\textquoteright}scholae{\textquoteright}, but presbyteria. The second chapter focuses on the physical, archeological, and literary evidence for the locations and forms of twelfth- and thirteenth-century nave precincts in Rome. It analyzes the size, shape, location, distinctive features, and style of ornamentation of the best-documented medieval enclosures, and differentiates them from the earlier precincts. The final chapter treats the function of high medieval precincts. It attempts to analyze the liturgical and historical situation surrounding the creation of the earliest known enclosures--those at S. Clemente, S. Maria in Cosmedin, and S. Maria in Trastevere. It also re-evaluates methods used in the analyses of the function of medieval church furniture. This chapter demonstrates that the twelfth-century precincts were not {\textquoteright}scholae cantorum{\textquoteright} or presbyteria, nor were they the final stage in a continuous development of nave precincts in Rome. Rather, they belong to the tradition of canons{\textquoteright} choirs, and as such must be considered in conjunction with canons{\textquoteright} choirs found in medieval churches throughout western Europe. Monumental choirs first appeared in Rome during the papacy of Paschal II; their primary function was to house and insure the choral chanting of the divine office. The choirs were an integral part of a wide-scale remodeling of Roman churches in the twelfth-century, which in turn formed only one part of a major renovation of the city of Rome begun under Paschal II. The conclusion raises new questions concerning the interrelationships between the twelfth-century Roman renovatio and the major liturgical centers of western Europe during the high middle ages, and points to new avenues of investigation.}, keywords = {Byzantine and Medieval Europe}, author = {Debenedictis, Elaine} } @mastersthesis {6788, title = {The Sculpture of Josef Albers}, year = {1983}, school = {Stanford}, abstract = {This study traces the development of Josef Albers{\textquoteright} twenty architectural works--murals, sculptures, and one window--all of which were executed after 1949. Because these works were all completed late in the artist{\textquoteright}s life, my opening chapter is devoted to sources and experiences in his early career which pre-disposed him toward architectural art. Thereafter, the dissertation is largely a series of "case histories," in which I reconstruct the circumstances which led to the commission and construction of each work. I have attempted to determine how the finished work differs from Albers{\textquoteright} intentions, why changes transpired, and whether or not the artist knew and approved of them. My research has been done in the field: personally viewing each of the works, interviewing the architects, and studying Albers{\textquoteright} letters, photographs, and other materials in the collection of Mrs. Anni Albers and the Josef Albers Foundation. The major contributions of this study are; first, the development of a history of these previously unstudied works; second, the identification of new purposes and meanings which Albers{\textquoteright} art demonstrates in architectural settings; and third, and more generally, the establishment of a new and more thorough methodological approach to the study of modern public art.}, keywords = {19th- and 20th-Century European Art}, author = {Benezra, Neal} } @mastersthesis {6859, title = {The Sculptures of the North Gallery of the Cloister of St. Trophime at Arles}, year = {1983}, school = {Columbia}, abstract = {Most current opinion dates the sculpture of the north gallery at Arles close to ca 1180. However, archival, architectural, stylistic, and iconographic evidence now shows it to date much earlier, before 1150. The earliest capitals on the north facade wall decorated the early chapter house and can tentatively be dated ca 1130-35 because of their stylistic relationship to capitals at Sant{\textquoteright}Eufemia in Piacenza. Almost all of the sculptures in the north gallery open arcade belonged to two separate campaigns. The capitals at the western end belonged to an early wooden-roofed north gallery, according to their architectural positioning, and can be dated ca 1142/43 on the basis of archival evidence. The later campaign, which expanded the gallery eastward and vaulted it, included all the pier figures but Andrew. This campaign can be dated ca 1145-ca 1150 because of an influence from Arles on the Cathedral of Verona. The final pier figure, Andrew, was tentatively dated ca 1155 partly because of his relationship to the large figures of the "Scuola di Piacenza." The north gallery sculptures were shown to be intimately related to some on the facade of St.-Gilles. The Paul Master and the Michael Master of St.-Gilles first worked at Arles on the early capitals of ca 1142/43 and then left for St.-Gilles, where each carved his pier figure, contemporaneous with those at Arles of ca 1145-ca 1150. Both masters then began supervising work on the superstructure where they were joined by other sculptors who by ca 1150 had finished working at Arles. Some of the north gallery sculptures at Arles were also shown to be related to north Italian sculpture. There was an Arles--Sagra di San Michele--Piacenza axis of influence with movement in both directions. North Italian sculptors, including some from Niccolo{\textquoteright}s workshop, were shown to have passed through Arles on the Via Tolosana; some stayed to work at Arles and in Provence. The north gallery sculptures at Arles can now be recognized as critical for an understanding of problems in Provencal and north Italian sculpture of the second third of the twelfth century.}, keywords = {Byzantine and Medieval Europe}, author = {Schneider, Marilyn A.} } @mastersthesis {6854, title = {Simone Martini{\textquoteright}s St. Martin Chapel in the Lower Basilica of San Francesco, Assisi}, year = {1983}, school = {Pennsylvania}, abstract = {This study investigates the problems of assistants, patronage, iconography and date of the St. Martin chapel frescoes and stained glass in the lower basilica of San Francesco, Assisi. The assignment of these works to the Sienese artist, Simone Martini (1284-1344), also involves the examination of two other monuments in the lower basilica; the St. Louis chapel stained glass, and the frescoes at the base of the northeast transept. While the design of these complexes can be shown to have been by Simone, comparisons between different sections of the St. Martin chapel frescoes indicate the participation of several artists, including an Umbrian. Additional evidence for the employment of local artists is offered in the St. Louis chapel stained glass which was executed by Giovanni di Bonino d{\textquoteright}Assisi. The identities of other assistants, however, especially Simone{\textquoteright}s brother Donato and his brother-in-law Lippo Memmi, must remain tentative. The rediscovery of an unpublished document in the account book of the donor, the Franciscan Cardinal Gentile da Montefiore, establishes a terminus post quem of March 1312 for the St. Martin chapel{\textquoteright}s construction. This date helps clarify its original function. The room was intended as a mortuary chapel, but due to the donor{\textquoteright}s death intestate in October of 1312 and interment in the St. Louis chapel, was modified to a commemorative chapel. An iconographic analysis reveals an emphasis on funerary imagery and allusions to the Cardinal{\textquoteright}s final diplomatic success: the coronation of Charles Robert of Anjou as King of Hungary in 1310, confirms the chapel{\textquoteright}s revised function. Whereas parallels between Saints Martin and Francis stress the significance of the donor{\textquoteright}s patron saint within a Franciscan context. A date of 1317-1319 for Simone{\textquoteright}s activity in Assisi is suggested from the interpretation of the document of 1312 and buttressed by structural evidence. It is then supported by historical and stylistic factors, the latter focusing upon comparisons with two genuine early paintings by Simone, the Maesta in Siena, and the St. Louis of Toulouse altarpiece in Naples. An appendix of documents concerned with the Saints Martin and Louis chapels{\textquoteright} conservation history concludes the study.}, keywords = {Byzantine and Medieval Europe}, author = {Hoch, Adrian} } @mastersthesis {6881, title = {Spanish Renaissance Architectural Decoration in Salamanca: Splendor and Significance}, year = {1983}, school = {Boston}, abstract = {The purpose of this dissertation is to study ornate architectural decoration in Salamanca during the Renaissance. The site of Salamanca as an important center of learning and artistic patronage in the late fifteenth and the first half of the sixteenth centuries, with examples of university, monastic, and palatial complexes, provides the ground for the exploration of the ornate decorative trend of the Renaissance. This decorative trend is investigated through studying the motifs and meanings of the imagini, the grotteschi, and the trionfi found on entry facades and courtyards. The discussion centers on three buildings in Salamanca: the University of Salamanca, the Monastery of Santa Mar({\textquoteright})ia de la Consolacion de las Duenas, and the Fonseca Palace, which all have stylistically related facades and patios, the spanish term for courtyards. The dissertation is in three parts. The first part defines and analyzes the components of the ornate Renaissance style in Salamanca. The second part describes the use of this style in the three architectural complexes and in related examples in Salamanca and discusses workshop issues of dating, authorship, and patronage. The third part concentrates on the iconology of the imagery in the decoration of the Salmantine Renaissance facades and patios of the three complexes by studying the fusion of humanist themes with the forms of the decorative style.}, keywords = {The Renaissance}, author = {Soriano, Irene} } @mastersthesis {6877, title = {The St. Wolfgang Altarpiece}, year = {1983}, school = {Pennsylvania}, abstract = {The Saint Wolfgang Altarpiece is one of the last fifteenth-century carved and painted altarpieces still intact and in its original location. Its contract as well as a large number of theological writings, letters, and other historical documents from the commissioning monastery are also extant. Because of this extraordinary situation, it is possible to study the relationship between this major monument of late-mediaeval art and its specific context. This study is the first attempt to approach the monument from this point of view. With the intention of establishing a clearer picture of the individuals by and for whom the altarpiece was commissioned, the author was fortunate to discover literary parallels to certain aspects of the altarpiece{\textquoteright}s apparent theological program in the Vienna manuscript collections. They were written by an individual yet to be associated with the project--Hieronymus de Werdea, the prior of Mondsee during the time of the commission. This discovery makes it possible (1) to clarify the individual roles of the artist, Michael Pacher, the patron of the project, Abbot Benedict (Eck), and the altarpiece{\textquoteright}s theological programmer, (2) to further our understanding of the meaning and intended function of the altarpiece at conception, and (3) to relate Hieronymus de Werdea to the commission for the first time.}, keywords = {The Renaissance}, author = {Robertson, David} } @mastersthesis {6827, title = {The Stadhuis of New Amsterdam: New York{\textquoteright}s First City Hall}, year = {1983}, school = {Penn State}, abstract = {The Stadhuis of New Amsterdam, New York{\textquoteright}s first City Hall, was the first seat of municipal government in North America and one of the most ambitious structures to be erected on the Atlantic coast during the first half of the seventeenth century. Built by the Dutch West India Company in the 1640{\textquoteright}s as the official inn of its seaport capital of New Netherland, the building became the Stadhuis, or City Hall, in 1653, serving in that capacity under Dutch and later English colonial rule until 1699, when it was sold at public auction and demolished. This thesis brings together new information about the Stadhuis based on a comparison of seventeenth-century town plans and views of the colonial seaport as New Amsterdam and then as New York; a study of the original Dutch and English archival records of the City and State and of other contemporaneous documentary sources in their original form, as opposed to long-accepted and often-erroneous published translations and transcription; in situ evidence discovered in the 1970-1971 archaeological exploration of the Stadhuis site; and comparative research, including first-hand investigation and observation in the Netherlands, of buildings similar to the Stadhuis in general type, style, and construction. Reconstruction plans developed from the foregoing evidence are included.}, keywords = {Art of the U.S. and Canada}, author = {Kellerman, Regina Maria} } @mastersthesis {6882, title = {Studies in Michelangelo{\textquoteright}s Finished Drawings, 1520-1534}, year = {1983}, school = {Columbia}, abstract = {Between 1520 and 1534 Michelangelo created some of the most admired and important drawings in the history of art. These include the famous sheets given to Tommaso de{\textquoteright} Cavalieri, a group known familiarly as "divine" or "ideal" heads, and a series of drawings of the Resurrection of Christ. The primary thesis of this study is that the particular circumstances of Michelangelo{\textquoteright}s life during this period resulted in the creation of a new style of highly finished draftsmanship; and secondly, that over the course of these fourteen years, Michelangelo transformed drawing from an exploratory and preparatory medium into an independent artistic genre. This inquiry is the first to examine Michelangelo{\textquoteright}s life and art explicitly from the viewpoint of the master{\textquoteright}s draftsmanship. Because the Medici Chapel and Laurentian Library were the principal commissions during this period, scholarly attention has focused on Michelangelo{\textquoteright}s work at San Lorenzo. Yet, this was the most unsettled period in his life--years marked by the Sack of Rome, the tenuous course of Florence{\textquoteright}s last Republic, and the interruption of all Michelangelo{\textquoteright}s commissioned work, including the projects at San Lorenzo. Circumscribed by forces beyond his control, Michelangelo turned his creative genius to the private medium of drawing, which during the latter half of this period became his primary means of expression, and therefore, the proper gauge of his artistic production. This investigation focuses on the four principal reasons that Michelangelo made drawings with a high degree of finish: for presentation to a patron, as part of Michelangelo{\textquoteright}s pedagogical relationship with his pupil Antonio Mini, as independent compositions or as designs for other artists, and as gifts for his closest friends. Approximately twenty sheets are submitted to the sort of detailed formal and historical analysis normally reserved for works of painting and sculpture. A methodology is thereby developed that lays the ground work for interpretation and judgments of authenticity. Treated chronologically, these drawings outline a little studied but important phase of Michelangelo{\textquoteright}s career and a significant development in the history of drawing.}, keywords = {The Renaissance}, author = {William E. Wallace} } @mastersthesis {6851, title = {A Study of the Bolognese-Roman Painter Francesco Albani}, year = {1983}, school = {IFA/NYU}, abstract = {Born in 1578 in Bologna, Francesco Albani became one of the leading young artists to emerge from the Carracci Academy. His career began in Bologna, and was established in Rome from 1600 to 1618. Albani returned to Bologna and worked until his death in 1660 as a painter of altarpieces and cabinet pictures. Esteemed in his own lifetime and in the eighteenth century, Albani was compared to Guido Reni, Domenichino and Guercino. Yet despite his former reputation and the quality of the paintings, Albani has been neglected in the modern scholarship. Dismissed in the nineteenth century as a decorative painter, Albani has still to enjoy the rehabilitation accorded recently to Guido Reni and Domenichino. Although steps have been taken since World War II to define Albani{\textquoteright}s oeuvre, this is the first comprehensive study of the artist which presents a synthesis of his development, an examination of the critical issues posed by his career, and a catalogue of paintings. In chapter one, the major works are introduced. This discussion, based on new discoveries and a fresh examination, presents the artist{\textquoteright}s stylistic influences and concerns. Chapter two addresses the problem of Albani{\textquoteright}s art historical role. Early writings on Albani and his own thoughts are studied to understand those qualities for which his art was distinguished. Albani{\textquoteright}s excellence in invenzione was singled out for unanimous praise. Thus, a more accurate view of Albani emerges as a literate painter who impressed his critics and patrons. Chapters three and four investigate two major Bolognese religious commissions, and three landscape cycles. Indeed, Albani{\textquoteright}s learned approach to narrative confirms the testimony of the sources. Furthermore, his variants on a composition were an innovative marketing device which served the demands of his patrons and his own creative need to invent novel interpretations of traditional subjects. Part two includes a catalogue of paintings, two appendices, an index of works by location, a select bibliography, plates, and comparative figures. Individual commissions are discussed in detail in the catalogue where related documents, literature and drawings are cited.}, keywords = {Baroque and 18th-Century Europe}, author = {Catherine Puglisi} } @mastersthesis {6795, title = {Sublime Landscape Painting in 19th-Century France: Alpine and Arctic Iconography and Their Relationship to Natural History}, year = {1983}, school = {IFA/NYU}, abstract = {France{\textquoteright}s contribution to the tradition of sublime landscape painting, previously studied in the art of England, Germany and the United States, is the focus of this dissertation. Concentrating on landscape paintings of Switzerland, France, Scandinavia, the Arctic and Antarctica that have been neglected, this inquiry examines the influence of nature{\textquoteright}s sublimity on a large number of artists and the French public. The popularity of sublime landscape painting reflected and helped to create a cultural milieu which emphasized science and travel in the quest for knowledge about the Earth. In Chapter I, On the Origins of Sublime Landscape and the Influences on its Development, the emergence of naturalism and its effect on sublime landscape painting is discussed in relation to the following: Paris as the center for natural history research, the writings of Jean-Jacques Rousseau and Horace-Benedict de Saussure, tourism, voyage pittoresque travelogues, Dutch landscape painting, Pierre-Henri de Valenciennes{\textquoteright} ({\textquoteright})Elemens de perspective... and the patronage of King Louis Philippe. Representations of the Alps are analyzed in Chapter II, Iconography of the Sublime. Two conceptions of sublimity pertaining to nature{\textquoteright}s chaos and eternal tranquility account for differences in subject matter, mood and composition. Depending upon the attitude of the figures within a painting, subjects are divided into "topographical," "narrative" and "religious sublime" landscapes. Chapters III and IV, The Collaboration Between Artists and Geologists and The Artist as Explorer, show the importance of art to natural history and how associations with scientists furthered naturalism in sublime landscape painting. An analysis of geological views commissioned for the Museum d{\textquoteright}Histoire Naturelle{\textquoteright}s Galerie de Mineralogie and the ({\textquoteright})Ecole des Mines in Paris precedes a survey of the artists{\textquoteright} participation in expeditions to the Arctic and Antarctica. Depictions of icebergs and the aurora borealis later become popularized through Salon paintings and periodicals. Francois-Auguste Biard: Artist, Naturalist, Explorer, Chapter V, reveals the art and life of France{\textquoteright}s quintessential exponent of sublime landscape. A comparison of Biard{\textquoteright}s Arctic paintings with those of Caspar David Friedrich and Frederic Edwin Church establishes his niche within the history of nineteenth century landscape alongside these artists.}, keywords = {19th- and 20th-Century European Art}, author = {Matilsky, Barbara} } @mastersthesis {6822, title = {A Survey of Native Southeast Asian Coinage Circa 450-1850: Documentation and Typology}, year = {1983}, school = {Cornell}, abstract = {Over a period of roughly fourteen hundred years, from the early fifth century until the middle of the nineteenth, nearly one thousand different cointypes were produced in Southeast Asia, struck in gold, silver, tin and brass. This coin-producing area extends from the eastern rim of the Bay of Bengal to the Pacific coast of Viet Nam, and from the highlands of Burma, Thailand and Laos, to the islands of Sumatra, Java and the Philippines. This native coinage provides valuable clues about dynastic succession in the region, the nature of trade on a local and regional basis, and the movement of religious ideas throughout Southeast Asia. Despite this richness, native Southeast Asian coinage is a largely untapped resource for historical research, due, in part, to the absense of a general survey of indigenous coin issues. This dissertation represents a first step toward making native coinage more accessible to scholars and researchers. It is based on research conducted in Southeast Asia, in major United States and European collections, through correspondence with collectors, dealers and museums in the United States, Europe and Asia, and on previously published studies of Southeast Asian coinage. The first half of the thesis is devoted to mainland coinages from Burma, Thailand, Laos and Cambodia, along with related developments in Bengal and Assam. The second half is concerned with island Southeast Asia: Sumatra, the Malay Peninsula, Java, Borneo, Sulawesi and the Philippines. Within each section a general introduction is followed by a compilation of literary sources bearing on indigenous coin production, chiefly from inscriptions, chronicles and travel accounts. This is supplemented by a descriptive typology of known coinage, with information on coin design, manufacture, weight standards, and the geographical distribution of coinfinds. When possible, bibliographical citations refer to published examples of native cointypes. Representative coin illustrations, maps, tables and a comprehensive bibliography of Southeast Asian coin studies are included.}, keywords = {Art of Asia}, author = {Wicks, Robert S.} } @mastersthesis {6889, title = {Terracotta Figurines from Medma}, year = {1983}, school = {Michigan}, abstract = {The excavation of a votive pit at Rosarno in the early part of this century uncovered a rich series of terracottas which have long been recognized as valuable documents for the art and religion of the Greek city-states in southern Italy during the sixth and fifth centuries B.C. This discovery led to the identification of Rosarno as the site of ancient Medma--known previously only from literary sources as a colony of Locri Epizephyrii. The terracottas have thus been considered a possible source of information for religious ties between Locri and her daughter-colony. They are of particular interest for interpretations of the nature of the Mannella cult at Locri which have been based primarily on the iconography of the well-known terracotta pinakes. This dissertation offers the first comprehensive analysis and interpretation of the terracottas from Medma. Visual examination and mineralogical and geological studies of the clay fabrics of the 1061 terracottas from the votive pit have permitted several different fabrics to be distinguished, and each to be associated with one of three sites--Medma, Locri, and Hipponion--thus implying an exchange of terracottas between Medma and the other sites. Intricate and extensive mould series have been traced for the mould-made figurines. From these studies of fabric and mould series, it is now clear that the coroplasts of Locri and Medma shared technology for the production of votives. Technological, stylistic, and iconographic studies, focused on the 758 terracottas of Medmaean clay fabric from the votive pit, allow us to understand workshop practices at Medma and to discover the kinds of ex-votos thought to be appropriate by the local worshippers. It has also been possible to trace the responses of the Medmaean coroplasts to innovations in Greek sculpture, as the archaic style evolved into the severe, due to the quality and special characteristics of the mould-made figurines. A detailed examination of the iconography of the terracottas suggests that the cult was concerned with marriage rites, that its patron deity was Persephone, and that it derives from the Mannella cult at Locri.}, author = {Miller, Rebecca} } @mastersthesis {6839, title = {Thomas Hovenden (1840-1895) and Late 19th-Century American Genre Painting}, year = {1983}, school = {CUNY}, abstract = {Thomas Hovenden, a late-nineteenth-century American genre painter, won critical and popular approval in his own time, but the sentimental and anecdotal qualities in his paintings have hindered serious consideration of his mastery and range as an artist. Due credit was not accorded Hovenden, even in the nineteenth century, for his marked ability to project his thematic message and to render human thought and feeling intelligibly and with sincerity. In his ethical and moral sympathies Hovenden was representative of his own time. But singular for his day were Hovenden{\textquoteright}s realistic approach to the Breton peasant and his interpretation of Breton history and its significance in the 1870s; his commitment to humane portrayal of the American black; his genre-ized treatment of themes inspired by American history; his epic conception of domestic genre. In his genre pictures Hovenden penetrated beneath the surface of everyday life, presenting more than a mere recording of the common experience in America in his day. At a time filled with sociological and technological changes Hovenden expressed that mixture of nostalgia and hope which accompanied the passage of the old and the coming of the new in the lives of ordinary late-nineteenth-century Americans and focused on time-honored virtues and the enduring bonds of home and family. In investigating the work and career of Thomas Hovenden, this study considers the artist{\textquoteright}s early training and development, his artistic education in Paris under Alexandre Cabanel, his experience at Pont-Aven, France, his successful translation of French training and experience into the American vernacular after his return to America, and inherent similarities in the themes of the Breton peasant, the American craftsman, and the American black. After also examining Hovenden{\textquoteright}s interpretations of American history and his innovations in domestic genre, this study concludes by addressing the artistic crisis that the triumph of Impressionism in America in the 1890s posed for Hovenden and the compromise he sought.}, keywords = {Art of the United States (except Photography and Film)}, author = {Terhune, Anne G.} } @mastersthesis {6799, title = {Toward the {\textquoteright}Total Image{\textquoteright}: The Thematic Origins of Cubism}, year = {1983}, school = {Harvard}, abstract = {Cubist collage, montage, constructive sculpture, and all manifestations of Cubist painting--from Picasso{\textquoteright}s Demoiselles d{\textquoteright}Avignon on down--depend upon breaking apparent wholes into different parts and conversely, putting different, even diametrically opposed elements, properties, materials together into new hybrid syntheses. This thesis attempts to trace the emergence of such tendencies which constitute, in effect, a unifying principle of Cubism. In tracing these tendencies, certain key conepts go back to the roots of the classical literary tradition, others hark back to Renaissance theory and later variations, and others appear to emerge prominently in the late 1700{\textquoteright}s. But they come together in certain strains of Romanticism, and it is there that this study begins. Romantic ideas and the characteristic ways they are structured continue to inform nineteenth-century thought to a remarkable degree, but they are transformed, and ultimately become something radically new. The transformation of Romantic ideas into Symbolism, (which essentially, though not exclusively, involves a process of intensification,) and the subsequent metamorphosis of Symbolist ideas into the profoundly related--yet strikingly different--Cubist aesthetic is the subject of this thesis.}, keywords = {19th- and 20th-Century European Art}, author = {Staller, Natasha E.} } @mastersthesis {6816, title = {The Traikutaka Phase of Kanheri{\textquoteright}s Buddhist Cave Excavation}, year = {1983}, school = {Michigan}, abstract = {This study focuses upon the second phase of cave excavation at Kanheri, a Buddhist site near Bombay. Established as a monastic center about two thousand years ago, Kanheri has more than one hundred caves, nineteen of which can be associated with the fifth-sixth century rule of the Traikutaka Dynasty. The principal question addressed by this study is the extent to which second-phase caves as a group can be dated by a Traikutaka-related copper plate of A.D. 494/5 which was found at the site. A substantial part of the study is taken up with a description and analysis of second-phase undertakings with regard to such matters as location, cave plan and treatment of architectural details and imagery. In addition, a comparative framework consisting of "datable" caves elsewhere in India is outlined. The evidence of the relative chronology obtained for Kanheri{\textquoteright}s second-phase is weighed against the more absolutely-determined chronology of the comparative framework, as well as trends observed in the history of the Traikutakas. The investigation reveals that Kanheri{\textquoteright}s second-phase consists of two periods of excavation, the first rather brief in duration and the second having three linked stages of development. The relationship of second-phase cave features with those of caves elsewhere suggests a period of development covering perhaps three-quarters of a century, that is, a period beginning before and extending beyond A.D. 494/5. In this respect, it is proposed that Kanheri{\textquoteright}s second-phase of excavation began c. A.D. 455 and ended c. A.D. 520/34, in concert with the demonstration of Traikutaka strength in Western India.}, keywords = {Art of Asia}, author = {Leese, Marilyn} } @mastersthesis {6805, title = {The Transformation of Pure Land Thought and the Development of Shinto Shrine Mandala Paintings: Kasuga and Kumano}, year = {1983}, school = {Michigan}, abstract = {Twelfth and thirteenth century Japan witnessed the appearance of a new religious painting, known today as Shinto or Suijaku mandalas. Essentially syncretic works showing the relationships between Buddhist and Shinto deities, these devotional paintings reflect various medieval religious currents, especially Pure Land beliefs in their Japanese transformation with a strong this world orientation. These Shinto paintings are distinguished by an emphasis on Shinto shrines as the context for depictions of enshrined Buddhist and Shinto deities. Hence, the primary type of Shinto mandalas either portrays the shrine landscape with buildings alone or depicts the shrine precinct as the setting for iconographic representations; this is known as the shrine mandala. This dissertation proposes the thesis that the shrine mandala represents the Buddhist Pure Land descended to the earth, the shigan Pure Land as distinguished from the Heavenly higan Paradise on the other shore. A careful analysis of two groups of Kasuga and Kumano cult paintings shows the rise and development of the shrine mandala genre in the context of earthly Pure Land beliefs. Accordingly, this study also explores how Miroku and Amidist Pure Land beliefs evolved and spread in medieval Japan. The shrine mandala demonstrates this transformation of heavenly Pure Land beliefs and highlights the role played by the Shinto kami, and their domains, in this change. To trace the origins and delineate the development of the shrine mandala, this study discusses four pertinent late Heian period religious phenomena: mappo thought, the idea that the Buddhist Law faces inevitable decline, as the stimulus for the Miroku and Amidist Pure Land cults; sutra burials, both to document the character of Miroku beliefs and to show their relationship to Shinto; Pure Land Amidism, its shigan transformation as the source for a new religious art; hijiri, Japanese holy men, who served as intermediaries between Shinto and Buddhist deities, and roamed the provinces spreading shigan Pure Land beliefs.}, keywords = {Art of Asia}, author = {Darling, Leonard B.} } @mastersthesis {6819, title = {The Twenty-Eight Busho of Sanjusangendo}, year = {1983}, school = {Columbia}, abstract = {The Twenty-eight Bushu are a set of life-size wood sculptures belonging to the Rengeoin in Kyoto, a structure popularly called Sanjusangendo, the "Temple of Thirty-three Bays." They are attendants to the main icon, the Thousand-armed Kannon, a form of the Bodhisattva Avalokitesvara. Although the attendants number twenty-eight in scriptures, the group at Sanjusangendo consists of thirty statues that are neither signed nor dated, but generally attributed to the Kei school of sculpture, the most prominent school of the Kamakura period (1185-1333). The purpose of this study is to understand the Twenty-eight Bushu iconographically, and to determine when, and by whom, they were made. In order to establish a context for the sculptures, the history of the Rengeoin from construction in 1164 to restoration in 1254 is reviewed in Chapter I. Chapter II is a consideration of the Thousand-armed Kannon, the development of the deity in China and its following in Japan. Literary sources that name the Twenty-eight Bushu are described in Chapter III, Part A. Part B is a catalogue of the physical characteristics and iconic character of each statue, and Part C of Chapter III is an analysis of these findings. Finally, the sculptures are examined stylistically to determine authorship and the date of manufacture. Part A is a review of the Kei school style; Part B is an analysis of the Twenty-eight Bushu and a comparison with other Kei school works. This study shows that the Twenty-eight Bushu are a Chinese iconography transmitted to Japan. Their appearances reflect the naturalistic and decorative features of Chinese Sung dynasty art (960-1279), modified by the Japanese Kei school by the sculptor, Tankei (1173-1256).}, keywords = {Art of Asia}, author = {Sano, Emily} } @mastersthesis {6813, title = {Wang Mien and the Confucian Factor in Chinese Plum Painting}, year = {1983}, school = {Iowa}, abstract = {In this dissertation the symbolic implications of China{\textquoteright}s plum painting tradition generally and the plum paintings and poems of the artist Wang Mien specifically are investigated to show that the non-intuitive view of Confucian art is not altogether a correct one. To demonstrate this, the problem is approached from the following perspectives: the artist{\textquoteright}s biography; China{\textquoteright}s literary tradition; the artist{\textquoteright}s poetry; China{\textquoteright}s pictorial tradition; and the artist{\textquoteright}s own paintings. The first chapter seeks to determine whether Wang Mien was basically Confucian or Taoist in his outlook, an important question in light of the fact that the painter is usually considered a Taoist. In his search for the Confucian factor in Wang{\textquoteright}s biography, the author touches upon the artist{\textquoteright}s education, his political views, the purpose of his many travels, his dealings with others, and his reclusive lifestyle. Chapter Two proceeds to see if there exists in the plum-theme literature of China a precedent for a Confucian artistic attitude. Focusing on a number of pre-Yuan Dynasty texts, it is clearly discovered that such ideals as good scholarship, a pure spirt, high-mindedness, fortitude and hope are in fact present in intuitive expressions. Chapter Three deals exclusively with the poetry of Wang Mien. In a selection of Wang{\textquoteright}s poems, the author finds the above ideals reconfirmed. Mindful, however, that such an analysis is not entirely substantial, these conclusions are tested against the life and work of two other Yuan poets, Kao Ch{\textquoteright}i and Liu Yin. Chapter Four traces the history of plum painting from its inception in the T{\textquoteright}ang Dynasty to its fullest development in the Yuan. Strengthening still further the tie between an intuitive presentation of the plum and Confucian thought, it is discovered that the plum was ultimately accepted by literati painters and was recognized as having both moralistic and socio-political implications. Finally, in Chapter Five, the unity of word, picture and calligraphy is looked at in nineteen paintings attributed to Wang Mien. Here is to be found the most complete form of the artist{\textquoteright}s feelings about himself and his era, revealing again many Confucian penchants.}, keywords = {Art of Asia}, author = {Hoar, William J.} } @mastersthesis {6857, title = {Wild Men and Moors in the Castle of Love: The Castle-Siege Tapestries in Nuremberg, Vienna and Boston}, year = {1983}, school = {UNC Chapel Hill}, abstract = {Three fragmentary tapestries in Nuremberg and one in Vienna portray the siege and defense of a castle by wild people. Woven after the same design, these fragments provide a unique opportunity to investigate the procedures and techniques of medieval German weavers. A fifth tapestry in Boston depicts a castle attacked by wild men and defended by Moors. This dissertation interprets the Castle-Siege tapestries with respect to circumstances of production, iconography, patronage, and function. The Introduction gives an overview of tapestry production in medieval Germany. Chapter II introduces the Castle-Siege tapestries, the material and technical properties of which are explored in Chapter III. A reconstruction is proposed, combining the four fragments in Nuremberg and Vienna into a single hanging of some ten meters in length. It is argued that the weavers probably used a full-scale cartoon which was quite specific, although certain details of the design were open to their interpretation. In Chapter IV evidence is presented for linking the tapestries with others which share technical and iconographic peculiarities. The group is attributed to Alsace and dated between 1390 and 1420. The creative contributions of the weavers of the Castle-Siege tapestries are discussed, together with the possibility that the work of different weavers may be recognizable. The embroidered faces of the Nuremberg-Vienna tapestry are shown to reflect the hands of at least two embroiderers. Chapters V through VI consider possible sources for the iconography of the tapestries in art, literature, and drama. Both tapestries are shown to be celebrations of sensuality, in which even the smallest details contribute to the theme of courtship and seduction. The Conclusion deals with the issues of patronage and function. The Boston tapestry was probably woven to commemorate the marriage and a Zorn groom and a Blumel bride, as reflected in the iconography. Both tapestries demonstrate the dual function of narrative tapestries--to tell a story with a wealth of symbolic detail, while also serving as a decorative textile. A possible explanation for the fragmentation of the Nuremberg-Vienna tapestry grows out of this assessment of the two-fold function of tapestries.}, keywords = {Byzantine and Medieval Europe}, author = {Martin, Rebecca} } @mastersthesis {6842, title = {Women in the Art of J.L. David during the French Revolution}, year = {1983}, school = {Yale}, abstract = {This thesis presents an analysis of women as images and image-makers during the French Revolution. The title, and the investigation, emphasize the images since these were the models against which women measured themselves and which accordingly influenced the productions of women artists. The participation of women in the Revolution is briefly considered in the first chapter. In the next, we turn to female artists, examining their training and their productions and noting the numerous portraits of independent female artists, an implicit sign of rebellion against the bourgeois ideals of happy families. In chapter three, those ideals, as seen in the history paintings of the Salons of the 1780s and early 1790s are studied, juxtaposed with the real situation of women. Other, non-familial models (albeit scarce) are also studied. If the history paintings presented the ideal image of women, the festivals, broadsides, and other popular arts were more responsive to the changing roles of women in public life. In chapter four, we consider the festivals where women were granted a wider range of experience. Alongside women representing the traditional family roles were those who had fought for their country, participated in local societies, and the like. In chapter five, we focus on the female allegorical figure, in particular, on armed Liberty in her struggle for the club of Hercules, symbol of the French kings. Here we interweave popular images with the political participation of women during the years 1789-94, and we analyze how such images worked on metaphoric, metonymic, and literal levels. In conclusion, we briefly consider the period 1794-95, when the participation of women in public activities was finally extinguished. The conflict between passive and active, private and public women was significant during this period. For women, only occasionally was the Revolution a golden age of Liberty and Equality.}, keywords = {Baroque and 18th-Century Europe}, author = {Cameron, Vivian} } @mastersthesis {6811, title = {Wu Chen{\textquoteright}s Mo-chu p{\textquoteright}u: Literati Painter{\textquoteright}s Manual on Ink Bamboo}, year = {1983}, school = {Princeton}, abstract = {Among the Four Great Masters of the Yuan dynasty, Wu Chen (1280-1354) stands out for painting not only landscape but also numerous monochrome depictions of bamboo. Wu Chen{\textquoteright}s Mo-chu p{\textquoteright}u (manual on Ink Bamboo), a twenty-two-leaf album of paintings and calligraphy represents not only the culmination of the artist{\textquoteright}s career, but also the epitome of the scholar-artist ideal by uniting painting, calligraphy and poetry into a single expressive medium. The thesis presents an in-depth analysis of Wu Chen{\textquoteright}s ink bamboo paintings with special emphasis given to the Mo-chu p{\textquoteright}u of 1350. This thesis consists of four chapters. Chapter One, "Ink Bamboo Painting before the Yuan Period," presents an historical survey of ink bamboo painting prior to the Yuan dynasty to provide a context for understanding the theoretical and artistic roots of Wu Chen{\textquoteright}s ink bamboo painting. Chapter Two, "Wu Chen as a Painter of Ink Bamboo," deals with his ink bamboo paintings in chronological order with the exception of the Mo-chu p{\textquoteright}u. Wu Chen{\textquoteright}s artistic and personal relationships with the past and with contemporary ink bamboo painters is examined not only through the paintings themselves, but also through references to these works in Wu Chen{\textquoteright}s inscriptions and other surviving writings. Chapter Three, "Chu-p{\textquoteright}u or Manuals on Bamboo Painting," examines the tradition of earlier chu-p{\textquoteright}u or manuals on bamboo painting in an attempt to establish the uniqueness of Wu Chen{\textquoteright}s Mo-chu p{\textquoteright}u. A survey of the historical evolution of pre-Yuan works belonging to the chu-p{\textquoteright}u category is followed by comparative analysis of the Yuan-dated chu-p{\textquoteright}u. Chapter Four, "The Mo-chu p{\textquoteright}u: A Descriptive Analysis," is devoted to the analysis of the twenty-two-leaf album of 1350 which represents the culmination of Wu Chen{\textquoteright}s artistic career. In examining each leaf of the album, a special effort has been made to establish links between the paintings, calligraphy and content of the inscriptions. This analysis not only sheds light on Wu Chen{\textquoteright}s own unique conception of the album as a chu-p{\textquoteright}u, but also places his Mo-chu p{\textquoteright}u at the forefront of a major theme which comes to maturity in later Ming and Ch{\textquoteright}ing literati painting, namely, reinterpreting past styles and presenting them in album form.}, keywords = {Art of Asia}, author = {Han, Sungmii L.} } @mastersthesis {6809, title = {Yamamoto Baiitsu: His Life, Literati Pursuits, and Related Paintings}, year = {1983}, school = {Kansas}, abstract = {The subject of this study is the Japanese Nanga artist Yamamoto Baiitsu (1783-1856). Widely recognized as one of the foremost painters of birds-and-flowers of nineteenth century Japan, Baiitsu{\textquoteright}s significance as an artist goes far beyond that conventional assessment. Focus of this dissertation is specifically on examining Baiitsu{\textquoteright}s life and paintings within the context of his intellectual and Chinese-influenced literati interests, including his practice of sencha, composition of poetry in Chinese (kanshi) and Japanese (waka), and collection and connoisseurship of Chinese antiquities and paintings. Examination of Baiitsu{\textquoteright}s literati paintings includes extensive stylistic and thematic analysis of his landscapes, both Chinese-influenced and "true-view pictures" (shinkeizu), copies of Chinese paintings, paintings of literati plants, trees, fruits, vegetables and related bird-and-flower works. Through the study of these interests and paintings, Baiitsu{\textquoteright}s personality, motivations behind his paintings, and contribution to the literati culture of nineteenth century Japan are revealed. Apart from detailed analysis of Baiitsu{\textquoteright}s extant paintings, primary sources consulted for this study include letters Baiitsu wrote and received, poetic and other inscriptions on Baiitsu{\textquoteright}s paintings by the artist himself and his friends, and accounts written about Baiitsu by friends in their published works. Among the appendicies are a list of all the known paintings by Baiitsu with publication references, photographic reproductions of his major seals and samples of his signatures.}, keywords = {Art of Asia}, author = {Graham, Patricia J.} } @mastersthesis {6806, title = {Yokoi Kinkoku: The Life and Painting of a Mountain Ascetic}, year = {1983}, school = {Kansas}, abstract = {Yokoi Kinkoku (1761-1832) was one of the most eccentric and fascinating personalities in the history of Japanese art. His autobiographical writings have inspired novels by several Japanese writers, and he is gradually becoming recognized as a fine painter. This dissertation is devoted to the study of his life and art. Chapter One deals with Kinkoku{\textquoteright}s biography, drawing much of the material from his own writings. Wherever possible, this is supplemented with letters, inscriptions on paintings, and records written by his contemporaries. Kinkoku spent much of his early life as an itinerant Buddhist monk, but after settling in Nagoya around the year 1790, he associated with scholars and haiku poets, and took up the study of painting with Cho Gessho (1772-1832). Kinkoku also became involved with the mountain-climbing sect of Shugendo, which had a significant impact on his life and painting. Kinkoku experimented with a surprisingly wide range of painting styles and subject matter, making it difficult to classify him in terms of a single artistic tradition. Chapter Two focuses on his figure paintings and Chapter Three on his landscapes. Within each section the stylistic analysis is chronological with concentration upon dated paintings. Kinkoku began by painting religious subjects in a self-taught version of the classical Buddhist painting tradition. Later, his figure paintings embody both the haiga and the more formal traditions of Yosa Buson (1716-1784) and also follow the manners of the Maruyama and Shijo Schools. Kinkoku continued throughout his career to paint figures in all of these manners with little or no change in technique. Kinkoku{\textquoteright}s approach to landscape was somewhat different. He began by using brush methods associated with the Shijo School, but gradually adopted a more linear style of brushwork based upon Buson{\textquoteright}s literati landscape tradition. He developed a unique style characterized by freely rendered dynamic brushstrokes which caused his portrayals of mountains to pulse with energy. The achievements of Kinkoku are summarized in Chapter Four, which weaves together the strands of his life and art.}, keywords = {Art of Asia}, author = {Fister, Patricia} } @mastersthesis {6804, title = {Yun Shou-P{\textquoteright}ing (1633-1690) and the Orthodox Tradition of Chinese Bird-and-Flower Painting}, year = {1983}, school = {Columbia}, abstract = {Yun Shou-p{\textquoteright}ing (1633-1690), one of the Six Orthodox Masters of the early Ch{\textquoteright}ing dynasty, painted landscapes and flowers, but his greater fame rests on his talent as a flower painter. His interest in flower painting, unique among the scholar-painters of his time, was related to the special artistic tradition of his native district of P{\textquoteright}i-ling (present day Wu-chin) in Kiangsu province, which had a long history of flower, plant, and insect painting going back to the Sung dynasty. Inspired by the artistic heritage of his home town, Yun Shou-p{\textquoteright}ing, who had to make a living by painting, devoted his creative energy to elevating the status of flower painting to a level of prestige comparable to that enjoyed by scholarly landscape painting. He accomplished this goal by applying contemporary theories of scholarly landscape painting, specifically the orthodox theory propounded by Tung Ch{\textquoteright}i-ch{\textquoteright}ang (1555-1630), to the field of flower painting. By studying flower painting of the past, Yun selected canonical models, establishing an orthodox, or correct, tradition of flower painting which exemplified the tradition of literati painting. In particular, Yun chose the ink monochrome and color-wash methods of the scholar-painters of the past as ideal modes of imitation. Thus, in flower painting, the conscious practice of drawing on stylistic traditions from the past for inspiration and formal elements began with Yun Shou-p{\textquoteright}ing. Through his study of ancient painting and nature, Yun Shou-p{\textquoteright}ing created a distinctive personal style, which synthesized what had previously been two separate currents in traditional Chinese flower painting, the polychrome style of professional artists and the ink monochrome style of scholar-painters. Yun{\textquoteright}s flower paintings represent creative transformation of the art of the past, expressing the same goals, approaches, and theoretical interests as landscape paintings of contemporary orthodox masters. Both as an artist and as a theorist, Yun Shou-p{\textquoteright}ing opened a new direction in the genre of flower painting and exerted a strong influence on later painters. He was a pivotal figure who helped to bring about a significant growth in the importance of flower painting during the Ch{\textquoteright}ing dynasty.}, keywords = {Art of Asia}, author = {Chung, Saehyang P.} } @mastersthesis {6821, title = {Yun Shou-p{\textquoteright}ing and his Landscape Art}, year = {1983}, school = {Stanford}, abstract = {Yun Shou-p{\textquoteright}ing, one of the six great orthodox masters of the early Ch{\textquoteright}ing dynasty (1644-1911), earned the praise of Chinese art critics for his excellence in the "Three Perfections" of painting, poetry, and calligraphy. Known mainly for his paintings of flowers in the innovative "boneless style," he was nonetheless a serious painter of landscapes as well. Yun{\textquoteright}s importance as a major landscape painter can also be attributed to his fine brush manner and his remarkable ability to closely capture the tranquil and solitary spirit of the great masters of the Yuan dynasty (1279-1368) whose paintings Yun emulated. Yun Shou-p{\textquoteright}ing{\textquoteright}s merit and reputation as a landscape painter can only be fully understood in the light of his poetry, his aesthetic principles, character, social circle and personal background as a Ming dynasty loyalist. This dissertation seeks such an understanding, so the approach is at least in part a literary one. Many translated excerpts throughout the text convey a direct sense of the depth of thought and sensibility of feeling that also inspired his landscape painting. The development of Yun{\textquoteright}s landscape painting is viewed in their multiple dimensions, as art-historical works transmitting the styles of past masters, as expressionistic paintings conveying his innermost emotions, as "soundless poetry" or paintings with a poetic message, as technically accomplished works in their brush, ink, and colors, and composition, and finally as artistic statements of ideal beauty as seen through the heart of the artist. Few painters of his time could match the natural ease, character, elegance, and poetic grace that characterize Yun Shou-p{\textquoteright}ing{\textquoteright}s paintings.}, keywords = {Art of Asia}, author = {Tong, Ginger} } @mastersthesis {6803, title = {The Zoomorphs of Quirigua, Guatemala}, year = {1983}, school = {UT Austin}, abstract = {The study takes as its focus six zoomorphic sculptures, dating ca. 730-795 A.D., from the Maya site of Quirigua, Guatemala. These colossal sculptures, several measuring over four meters in length, are rare examples of sculpture in-the-round in Maya art. The study presents the first drawings of these iconographically complex sculptures, as well as of other Quirigua monuments. An iconographic study of the zoomorphs is pursued through the drawings. The analysis shows that three of the zoomorphs share the same iconographic program, called herein the Cosmic Monster Theme, familiar to most scholars in wall panel, stelae, or architectural renditions, such as the Piedras Negras niche-figure stelae, Palenque House E, and Copan Structure 22. The study demonstrates that the zoomorphs are systematic abstractions of the theme seen at Copan, Palenque, and Piedras Negras. This idea is demonstrated by examining the full spectrum of the theme{\textquoteright}s iconographic components, both in the zoomorphs and in non-zoomorphic examples. It is further demonstrated that certain iconographic components are depicted using different metaphorical devices on each zoomorph. Once the underlying equivalence of these metaphors is revealed, the zoomorphs are shown to be extremely consistent in their rendering of the Cosmic Monster Theme. Out of this analysis emerges many new iconographic identifications which have applicability throughout Maya art. Once the components of the iconographic program are fully explored, an interpretation is presented using principles of structural analysis, similar to that expounded by Claude Levi-Strauss. The iconographic program is seen to represent the Maya view of world creation. Analytical principles developed in this section, specifically those dealing with dyadic oppositions, are applied to the stela sculpture of Quirigua and the zoomorphic altars of Copan. Ultimately, the study reveals processes of message-encoding in Maya art which have implications for the role of symbolization in cultural cohesiveness.}, keywords = {Art of Africa, Latin America, and Oceania}, author = {Stone, Andrea J.} } @mastersthesis {6764, title = {The Ages of Man in Medieval Art}, year = {1982}, school = {Yale}, abstract = {The focus of this study is a group of medieval images sharing a subject, the ages of man. In each, the unfolding of the human life in its biological and behavioral aspects was recorded, whether in 3, 4, 5, 6, 7, 10, 12, or even 16 phases. Typically, the single ages were made concrete in male or, very rarely, female figures who suggested a stage of life through size, gesture, posture, costume, and attribute or activity. Many schemes of the ages of man circulated in the Middle Ages, each created and expounded with a particular aim in sight. Cosmologists, scriptural exegetes, and moralists promulgated systems which reflected their individual biases. The surviving images prove to mirror these various lines of thought. The materials of this study, images and texts together, are organized thematically. The principles of tetradic cosmology and the place of the four ages of man in the system are set out first. Tetradic diagrams incorporating the ages are discussed with reference to the contexts in which they appear, arithmological, computistic, natural historical, and medical. A consideration of sevens in the life cycle follows. The astrological correlation between the seven ages and the seven planets is treated and its visualization by artists described. An account of Augustine{\textquoteright}s influential correlation of the six ages of man and the six ages of the world heads a consideration of the ages of man in scriptural exegesis. Surveys of interpretations of certain biblical narratives including the Miracle at Cana, the Parable of the Workers in the Vineyard, and the Adoration of the Magi, with their illustrations, are included. The decline of the six-age system in favor of the seven-age scheme in the later Middle Ages is traced in the entries contained in a continuous line of medieval encyclopedias and in images in which the number of ages was not stipulated by text or context. The study concluded with a discussion of motifs proper to moralization. The life cycle is shown to have been used as a vehicle for conveying an edifying message in the popular wheels, trees, and steps of life.}, author = {Elizabeth Sears} } @mastersthesis {6763, title = {Allegories of Divine Wisdom in Baroque Art}, year = {1982}, school = {Rutgers}, abstract = {In the seventeenth century, in Italy, Divine Wisdom appears for the first time in the West as the central theme of large-scale works of art. Neither this fact nor the predominantly theological meaning of the concept have been fully taken into account in the critical literature on the principal Baroque monuments with Wisdom iconography. This has hindered not only our understanding of a quintessentially Baroque concept but has dimmed our appreciation of the expressive significance of those monuments. The importance of the theme of Divine Wisdom in the fresco decoration of the Palazzo Barberini is analyzed in Chapter I. The role of Barberini patronage and the sycophantic letterati surrounding the papal family in the development of the iconography of Divine Wisdom is also examined. The relationship between Sacchi{\textquoteright}s Divine Wisdom and Cortona{\textquoteright}s Divine Providence and the iconological underpinning of the two frescoes are the focus of the latter part of the chapter. In Borromini{\textquoteright}s chapel of S. Ivo (1643-61) Divine Wisdom is given expression in architectonic form. Chapter II is an examination of this masterwork. Initially the theme appeared here as yet another expression of Barberini family iconography but was modified in the design and construction process as the patron and dedication of the church changed. Chapter III is an analysis of the decoration of the two Roman libraries in which Divine Wisdom was established as the standard theme of Baroque library iconography. Borromini{\textquoteright}s Biblioteca Vallicelliana at the Roman Oratory is of chief importance. The theo-political context of the introduction of Divine Wisdom into the decoration of the Vallicelliana is the focus of the analysis. Francesco Cozza{\textquoteright}s fresco in the Pamphili Library in Piazza Navona is studied for the unique synthesis of the theological, political, and intellectual significance of the theme. Chapter IV is a study of the Wisdom iconography in the ceiling decoration of libraries in Venice, Florence, and Bologna in the second half of the seventeenth century.}, author = {John B. Scott} } @mastersthesis {6685, title = {Alois Riegl and the Crisis of Representation in Art Theory, 1880-1905}, year = {1982}, school = {Chicago}, abstract = {No abstract in ProQuest}, keywords = {19th- and 20th-Century European Art}, author = {Olin, Margaret Rose} } @mastersthesis {6699, title = {Alvan Fisher (1792-1863): Pioneer in American Landscape Painting}, year = {1982}, school = {Columbia}, abstract = {Alvan Fisher enjoyed a lengthy career of almost fifty years. Though he was extremely versatile, and painted portraits to ensure a comfortable standard of living, his oeuvre reveals a continual commitment to native scenery. The six chapters of this study reassess Fisher{\textquoteright}s role as one of America{\textquoteright}s first landscapists. Newly discovered examples of Fisher{\textquoteright}s art and numerous unpublished materials have been studied. They provide the necessary documentation to establish the artist{\textquoteright}s early and continuing reverence for East Coast scenery, the extent of which has received little recognition. Past research on Fisher has not fully acknowledged his artistic achievements. He apprenticed under John Ritto Penniman, who maintained an active studio in Boston and was a model of versatile talent for the young painter. As Americans were slowly beginning to appreciate their scenery, Fisher embarked on his own career. A desire for unique subjects resulted in the landscapes, painted soon after he left Penniman{\textquoteright}s tutelage in the teens. His novel vision involved the contemplation of nature{\textquoteright}s simple pleasures. The artist{\textquoteright}s audience expanded beyond Boston to New York and Philadelphia, where his historic works were also exhibited. In 1825 Fisher traveled to Europe, his only trip abroad and the first by an American landscapist. Fisher{\textquoteright}s reaction to the Old Masters and to contemporary English and French art anticipated that of his colleagues, who followed several years later, and is typical of what became the American response. On his return in 1826, he set up a studio in Boston, and his professional commitment was firmly established. Fisher quickly become a leading figure in the city{\textquoteright}s art community. His enthusiasm for American landscape continued into his late years, when his subjects expanded the scenic vocabulary of the Hudson River school. Fisher painted landscapes and sketched outdoors before Doughty, Cole, and others gave serious attention to nature. He fortunately lived to see landscape art gain acceptance in America. Despite his critical and financial success, Fisher{\textquoteright}s contribution to the development of American art was largely forgotten soon after his death. This study is the first which focuses on his landscape oeuvre to reassert his significance in the history of nineteenth-century American painting.}, author = {Adelson, Fred B.} } @mastersthesis {6733, title = {Anastasis: The Making of an Image}, year = {1982}, school = {IFA/NYU}, abstract = {The Anastasis, which represents the spoliation of Hades and the raising of the protoplasts, functions from the early eighth century on as the principle Byzantine illustration of the theme of the resurrection. The present study examines the prehistory of this image, its sources, the date of its emergence and the circumstances which made it possible, along with the evolution of the form, content and usage of the major variants of the iconography up to the end of the eleventh century. The results show that the christological polemics of the latter part of the eleventh century raised the inhibitions concerning the pictorialization of Christ{\textquoteright}s death opening the way for the realization of the image of the Anastasis. This was soon integrated into the standard christological cycle, even though its subject matter does not draw on the Gospel narrative but on the theme of the spoliation of Hades, which had been admitted into church ritual and literature long before its pictorialization. The subsequent evolution of the iconography reflects a constant effort to expand and refine the content of the image without radically altering its pictorial vocabulary. Iconographic and compositional modifications combined with the careful selection of the individual context gradually succeed in establishing a triple identity for the Anastasis. The historical identity of the image, which affirms the reality of the resurrection is primarily consolidated by its position in the christological cycle. Its theological identity, which initially offers proof of the operation of the divine will and energy of the Logos Incarnate, later matures into a well-balanced review of the doctrine of Christ{\textquoteright}s two natures and the doctrine of redemption. Finally, the liturgical identity assumed by the Anastasis transforms it into a pictogram of the paschal theme and its various liturgical expressions. The historical, theological and liturgical identities of the Anastasis do not represent three unrelated interpretations of the iconography. Instead they reflect the interdependent and mutually complementary historical, doctrinal and liturgical realities of the Church itself to whose definition and defense the image contributes throughout its development. The Anastasis, which represents the spoliation of Hades and the raising of the protoplasts, functions from the early eighth century on as the principle Byzantine illustration of the theme of the resurrection. The present study examines the prehistory of this image, its sources, the date of its emergence and the circumstances which made it possible, along with the evolution of the form, content and usage of the major variants of the iconography up to the end of the eleventh century. The results show that the christological polemics of the latter part of the eleventh century raised the inhibitions concerning the pictorialization of Christ{\textquoteright}s death opening the way for the realization of the image of the Anastasis. This was soon integrated into the standard christological cycle, even though its subject matter does not draw on the Gospel narrative but on the theme of the spoliation of Hades, which had been admitted into church ritual and literature long before its pictorialization. The subsequent evolution of the iconography reflects a constant effort to expand and refine the content of the image without radically altering its pictorial vocabulary. Iconographic and compositional modifications combined with the careful selection of the individual context gradually succeed in establishing a triple identity for the Anastasis. The historical identity of the image, which affirms the reality of the resurrection is primarily consolidated by its position in the christological cycle. Its theological identity, which initially offers proof of the operation of the divine will and energy of the Logos Incarnate, later matures into a well-balanced review of the doctrine of Christ{\textquoteright}s two natures and the doctrine of redemption. Finally, the liturgical identity assumed by the Anastasis transforms it into a pictogram of the paschal theme and its various liturgical expressions. The historical, theological and liturgical identities of the Anastasis do not represent three unrelated interpretations of the iconography. Instead they reflect the interdependent and mutually complementary historical, doctrinal and liturgical realities of the Church itself to whose definition and defense the image contributes throughout its development. The Anastasis, which represents the spoliation of Hades and the raising of the protoplasts, functions from the early eighth century on as the principle Byzantine illustration of the theme of the resurrection. The present study examines the prehistory of this image, its sources, the date of its emergence and the circumstances which made it possible, along with the evolution of the form, content and usage of the major variants of the iconography up to the end of the eleventh century. The results show that the christological polemics of the latter part of the eleventh century raised the inhibitions concerning the pictorialization of Christ{\textquoteright}s death opening the way for the realization of the image of the Anastasis. This was soon integrated into the standard christological cycle, even though its subject matter does not draw on the Gospel narrative but on the theme of the spoliation of Hades, which had been admitted into church ritual and literature long before its pictorialization. The subsequent evolution of the iconography reflects a constant effort to expand and refine the content of the image without radically altering its pictorial vocabulary. Iconographic and compositional modifications combined with the careful selection of the individual context gradually succeed in establishing a triple identity for the Anastasis. The historical identity of the image, which affirms the reality of the resurrection is primarily consolidated by its position in the christological cycle. Its theological identity, which initially offers proof of the operation of the divine will and energy of the Logos Incarnate, later matures into a well-balanced review of the doctrine of Christ{\textquoteright}s two natures and the doctrine of redemption. Finally, the liturgical identity assumed by the Anastasis transforms it into a pictogram of the paschal theme and its various liturgical expressions. The historical, theological and liturgical identities of the Anastasis do not represent three unrelated interpretations of the iconography. Instead they reflect the interdependent and mutually complementary historical, doctrinal and liturgical realities The Anastasis, which represents the spoliation of Hades and the raising of the protoplasts, functions from the early eighth century on as the principle Byzantine illustration of the theme of the resurrection. The present study examines the prehistory of this image, its sources, the date of its emergence and the circumstances which made it possible, along with the evolution of the form, content and usage of the major variants of the iconography up to the end of the eleventh century. The results show that the christological polemics of the latter part of the eleventh century raised the inhibitions concerning the pictorialization of Christ{\textquoteright}s death opening the way for the realization of the image of the Anastasis. This was soon integrated into the standard christological cycle, even though its subject matter does not draw on the Gospel narrative but on the theme of the spoliation of Hades, which had been admitted into church ritual and literature long before its pictorialization. The subsequent evolution of the iconography reflects a constant effort to expand and refine the content of the image without radically altering its pictorial vocabulary. Iconographic and compositional modifications combined with the careful selection of the individual context gradually succeed in establishing a triple identity for the Anastasis. The historical identity of the image, which affirms the reality of the resurrection is primarily consolidated by its position in the christological cycle. Its theological identity, which initially offers proof of the operation of the divine will and energy of the Logos Incarnate, later matures into a well-balanced review of the doctrine of Christ{\textquoteright}s two natures and the doctrine of redemption. Finally, the liturgical identity assumed by the Anastasis transforms it into a pictogram of the paschal theme and its various liturgical expressions. The historical, theological and liturgical identities of the Anastasis do not represent three unrelated interpretations of the iconography. Instead they reflect the interdependent and mutually complementary historical, doctrinal and liturgical realities of the Church itself to whose definition and defense the image contributes throughout its development. The Anastasis, which represents the spoliation of Hades and the raising of the protoplasts, functions from the early eighth century on as the principle Byzantine illustration of the theme of the resurrection. The present study examines the prehistory of this image, its sources, the date of its emergence and the circumstances which made it possible, along with the evolution of the form, content and usage of the major variants of the iconography up to the end of the eleventh century. The results show that the christological polemics of the latter part of the eleventh century raised the inhibitions concerning the pictorialization of Christ{\textquoteright}s death opening the way for the realization of the image of the Anastasis. This was soon integrated into the standard christological cycle, even though its subject matter does not draw on the Gospel narrative but on the theme of the spoliation of Hades, which had been admitted into church ritual and literature long before its pictorialization. The subsequent evolution of the iconography reflects a constant effort to expand and refine the content of the image without radically altering its pictorial vocabulary. Iconographic and compositional modifications combined with the careful selection of the individual context gradually succeed in establishing a triple identity for the Anastasis. The historical identity of the image, which affirms the reality of the resurrection is primarily consolidated by its position in the christological cycle. Its theological identity, which initially offers proof of the operation of the divine will and energy of the Logos Incarnate, later matures into a well-balanced review of the doctrine of Christ{\textquoteright}s two natures and the doctrine of redemption. Finally, the liturgical identity assumed by the Anastasis transforms it into a pictogram of the paschal theme and its various liturgical expressions. The historical, theological and liturgical identities of the Anastasis do not represent three unrelated interpretations of the iconography. Instead they reflect the interdependent and mutually complementary historical, doctrinal and liturgical realities of the Church itself to whose definition and defense the image contributes throughout its development.}, author = {Anna Kartsonis} } @mastersthesis {6690, title = {The Ancient City of Si Thep: A Study of the Extant Brahmaical Sculpture (Fifth-Tenth Centuries)}, year = {1982}, school = {USC}, abstract = {The ancient city of Si Thep, located in the remote Pa Sak River Valley of Central Thailand, has perplexed and intrigued art historians since its discovery in 1904. We know virtually nothing of its founders or inhabitants, and little more of its political affiliations and cultural practices. It was a few unusually beautiful Brahmanical sculptures that surfaced in the early years of Thai archaeology that brought this sculptural school the attention it so rightly deserves. And it is this original group of sculptures together with a great many others which have surfaced in recent years that are assembled here for study. While the sculptures themselves are able to resolve few of the numerous questions that surround the site, they do provide some insight into the city{\textquoteright}s cultural and religious practices. Situated on the westernmost terminus of what might be termed the Mun River Passage, this site seems to have played an important commercial role between the 5th and 10th centuries. While there is clear evidence of Buddhism having flourished alongside the several Brahmanical religions at the site, it is with the latter that the paper is primarily concerned. The considerable body of Brahmanical sculpture and inscriptional data herein discussed provide a fairly complete picture of the pantheon of deities worshipped at Si Thep. While Visnu and Surya seem to have played major roles, both Siva and the Goddess (Laksmi/Devi) were attributed secondary if not equal acclaim. It is interesting that among the Vaisnava images recovered, Visnu{\textquoteright}s avatar Krsna in his role as upholder of the mountain Govardana are quite numerous--the only other Southeast Asian region where such Krsna images have been discovered being the Mekong River Valley. Also curious is the rare appearance of an Ardhanarisvara image. And less surprisingly there are fragments of at least three Ganesa images whose popularity in Central Thailand, while minimal, is not unknown. No less significant is the unusual appearance of a rare sculptural representation of Indra. Few historical facts can be concluded from this study. The primary contribution lies in assembling these works. Of secondary importance is the information they offer with regard to both iconography and style. This study establishes a clear relationship between Si Thep and the Mekong River Valley. It has also brought into question a number of long held theories about the site and offered new avenues for future research.}, keywords = {Asian Art}, author = {Dofflemyer, Virginia} } @mastersthesis {6701, title = {The Architectural Patronage of Nur al-Din (1146-1174)}, year = {1982}, school = {IFA/NYU}, abstract = {The extensive building program of Nur al-Din reflects the important cultural changes which occurred in Syria and Jazira in the twelfth century and initiates a new period of architectural activity which reached its height under the Ayyubids. The purpose of this dissertation is first, to present a structural and formal analysis of the monuments of Nur al-Din in Aleppo, Damascus, Mosul, and other smaller centers and second, to discuss the function and significance of these monuments in connection with the ideology, propaganda, and goals of their patron. In the first part, the monuments are grouped chronologically and geographically and studied from a structural and formal point of view. Of the three cities under consideration, Aleppo is shown to be the most original and independent, although still somewhat isolated from the vital architectural centers in Iran and Iraq. A connection with the east is provided by Damascus where external influences--adapted to local materials and techniques--bring Syria to the forefront of Islamic architecture. Although the architecture of the two cities remains largely distinct, a degree of synthesis is demonstrated in the architecture of Nur al-Din, a process which continues under the Ayyubids. The second part deals with Nur al-Din{\textquoteright}s role in introducing and developing the important institutions of medieval Islam and the specific function which these institutions acquire under him. The first chapter establishes Nur al-Din{\textquoteright}s important role in promoting Sunnism by building a large number of madrasas and khanqas. The second chapter deals with two institutions, the dar al-{\textquoteright}adl and the maristan, which were specifically created to protect the poor and improve their condition. The third chapter deals with commemorative monuments and the fourth discusses the inscriptions and certain monuments of Nur al-Din which carried his message of jihad. All these results lead to the conclusion that Nur Al-Din was an important patron of architecture who used monuments and inscriptions to promote his ideology and propagate his authority. Furthermore, Nur al-Din, as a ruler and patron of architecture, became a model which was emulated by various Ayyubid and Mamluk rulers from Saladin to Baybars to Qaytbay.}, author = {al-Tabba, Yasser} } @mastersthesis {6728, title = {Architectural Relationships: Changing Ideas on Architecture in the "Encyclopedie", 1750-1776}, year = {1982}, school = {Cornell}, abstract = {This thesis explores the place, status and meaning of architecture in the Encyclopedie (1750-1772) and its Supplement (1776-1777). The place of architecture varied within the three part system of human understanding--memory, imagination, reason--developed by the editors. Initially they declared architecture part of reason linking it to natural philosophy and mathematics. They placed architectural technique under memory. Thus the editors challenged the traditional linking of architecture, painting and sculpture under imagination. However, critics who can no longer be specifically identified forced them to shift architecture into imagination. Nevertheless architecture{\textquoteright}s mixed character, incorporating aspects of memory, reason and imagination, led contributors on architecture and the arts to continue to express varying views. Architecture{\textquoteright}s place also reflected its status, since the editors declared reason, their choice for architecture, a higher level of human achievement than imagination or memory. Seven participants in the Encyclopedie determined or provided the majority of information on architecture. Three were editors: Denis Diderot (1713-1784) and Jean d{\textquoteright}Alembert (1717-1783) responsible for the first 27 volumes; and Jean Robinet (1735-1820) who edited the five supplemental volumes. The architect Jacques-Francois Blondel (1705-1774) contributed until the suppression of 1759. He also determined the plates and wrote their commentary. An amateur, the Chevalier de Jaucourt (1704-1780), contributed most architectural articles after the suppression. The Allgemeine theorie der schonen kunste (2 volumes, 1771, 1774) by the Swiss German amateur Johann Georg Sulzer (1720-1779) yielded articles for the Supplement. The writer and academician Jean Marmontel (1723-1799) linked the initial volumes and the supplement contributing important articles to both. This thesis identifies the articles on architecture and the fine arts in the Encyclopedie and studies them principally in terms of internal development. The contributors represented a broad range of opinion about architecture, and their articles were studied in relation to each other, with attention to other issues and ideas introduced. Much of the argument results from a careful study of particular issues leading toward broader implications, rather than illustrations of points already established, because first, it is a necessary element of an undertaking organized as the Encyclopedie; second, Diderot stressed the importance of relationship; and third, the most important architectural contributor, Blondel, developed a parallel method of case studies which presumed the cumulative impact of the conclusions drawn from discrete issues. This method serves to emphasize the flux of the time, rather than to imply some hidden order only now possible to discern. During the third quarter of the 18th century in the western world many problems and issues in architecture and its relation to the fine arts were explored and elaborated. Strong arguments for absolute rules were still made. Others stressed an educated taste tempered by custom and decorum. Still others advocated the liberating power of the individual genius. Although exponents of the importance of taste were more rational, applying some of the implications of the development of scientific method in the 17th century, the august authority of absolute rules and the transforming role of genius continued to be advocated with force. In the face of such challenges those who sought to establish the rational basis for architecture and the fine arts began to argue that not only might traditional social order be made manifest in architectural forms, but that progressive change was also possible. It is the method of using reason to understand taste, rather than the personal tastes of the contributors, that marks their contribution.}, author = {Harrington, Kevin P.} } @mastersthesis {6737, title = {Architecture of the Cistercian Abbey of Pontigny: The 12th Century Church}, year = {1982}, school = {Indiana}, abstract = {The twelfth century French Cistercian church of Pontigny (Yonne) is a landmark in the development of early Burgundian Gothic architecture. Founded in 1114, Pontigny was the second daughter-abbey of the "New Monastery" of C({\textquoteright})iteaux, and is the only one of the five governing houses whose church has survived in its medieval form. The aim of this thesis was to investigate the design, construction, and chronology of Pontigny{\textquoteright}s first great church, which includes the transepts, nave, and porch of the present building. A precise plan was made from new measurements taken by the author, accompanied by a careful description of the building and an analysis of the anomalies found. The documents pertaining to construction were analyzed and a history of the abbey written with special attention to damages, repairs, and restorations. It was determined that construction was begun in the late 1130{\textquoteright}s when Guichard, the second abbot, took office. The new measurements and masonry analysis revealed that the church was begun at the eastern end--probably in the north transept--and built rapidly westward. Alteration in pier design, window placement, and vaulting indicate that construction proceeded in diagonal sections. A change in directorship occurred shortly after the nave was begun, and ribbed vaults--making their first appearance in Burgundy--were introduced when only the lower wall of the first (easternmost) bay of the nave had been constructed. The original flat-ended chevet was destroyed in the late twelfth century and replaced by a large new choir with an ambulatory and radiating chapels (not included in this study). Masonry revealed that the elevation of the original choir was identical to that of the present transepts. In its two-story elevation, rectilinear layout, and reticence of detail, Pontigny is a characteristic twelfth century Cistercian building. Yet the ribbed vaults and increase in light and verticality in the nave reveal the Cistercians{\textquoteright} openness to structural and aesthetic innovation. The redating of Pontigny to c. 1138-50 makes it contemporary with Fontenay (1139-47), which has been considered the oldest extant Cistercian church. While the two buildings are similar in design, their overall effects are very different. Thus the first generation of Cistercian building reveals flexibility in structure and aesthetic, as well as the incorporation of forward-looking ideas, as Pontigny transmits some of the earliest evidence of the nascent Gothic style to the regional stronghold of Romanesque Burgundy.}, author = {Kinder, Terryl N.} } @mastersthesis {6732, title = {Arshile Gorky: The Language of Art}, year = {1982}, school = {Pennsylvania}, abstract = {Careful study of the complete early work of Arshile Gorky, his drawings, paintings, studies, letters and poetry can lead the astute observer to an understanding of his special dialect of the language of art and the forms and images that constitute its symbol system. That such a symbol system exists is now beyond question, but the prevailing sensibility of the early critics and scholars of abstract expressionism clouded the visibility of the symbols and closed their artist-intended channels of communication. Very recent scholarship has invoked the new esthetic of Realism to present Gorky{\textquoteright}s symbols as specific, immutable observations of reality. What will emerge from this study is a visual language of symbols whose iconographic terrain lies somewhere in the middle of these two opposing previous readings. The symbols will be firm enough to be interpreted with reference to the real world yet not so absolute as to deny the artist and viewer the flexibility of associated meanings and content. These symbols will constitute the working elements of a visual language which is consistent and coherent from the early work of the twenties through to his death. Assumptions in the literature which divide his work into a series of unrelated periods are essentially the result of a lack of understanding of the meanings of these paintings. Like that of all artists, his work went through several stages of development before reaching maturity, but during all the stages there is discernable a consistent attention to content conveyed by personal symbol as well as painting considerations. This study primarily addresses the early years, 1925 through 1942, when Gorky was building his visual language and it centers on the themes of creativity in nature and in art. Gorky forged his symbols from a combination of reality perceived, rich memories, his Armenian heritage, art of the past and an aesthetic eye. The primary purpose of this symbol system was for the artist to communicate with the viewer, to explore his life experience and allow the viewer to experience it also. Gorky{\textquoteright}s work, powerful, moving and beautiful, adds immeasurably to the broad spectrum of great and meaningful art.}, author = {Karp, Diane} } @mastersthesis {6696, title = {An Art Historical Study of the Byzantine Silk Industry}, year = {1982}, school = {Columbia}, abstract = {The purpose of this study is to determine how silk was seen in Byzantium society. The silk of Byzantine was manufactured for a millennium under imperial auspices, control or influence. As a consequence, the quantity and variety of documents is greater for silk than for any other medium or class of object in Byzantine art. The documents reveal surprisingly little meaning attached to individual motifs that ornamented silk; more importance was given to the ways in which it functioned. Because of those functions the exceptional legal, economic, political, and religious attention lavished on Byzantine silk tended to isolate and elevate it in the eye of the Medieval beholder. The documentary history is first examined chronologically. The study concludes with an enumeration of the ways in which silk functioned--especially as regalia, court display, brandea, gold, laurata, and tools of statecraft. The study is accompanied by text illustrations and a selected catalogue raisonne based on published and unpublished technical dossiers, or personal examination of the objects.}, keywords = {Byzantine and Medieval Europe}, author = {Starensier, Adele L.} } @mastersthesis {6768, title = {Art {\textquoteright}in Extremis{\textquoteright}: Andy Warhol and His Art}, year = {1982}, school = {Northwestern}, abstract = {This dissertation is a comprehensive study of the art and career of Andy Warhol, and it is based on over 100 interviews with Warhol and his associates, patrons, and friends. Chapter I is a detailed discussion of his childhood and his years as a student at the Carnegie Institute of Technology (now Carnegie-Mellon University), Pittsburgh. In Chapter II, it is shown that Warhol used paid and unpaid assistants since the early 1950{\textquoteright}s and that he traced pictorial source material (including popular magazines like Life, popular prints like Currier \& Ives, old books, and advertisements). Such use of "found" pictorial source material may be traced, as first shown in this study, to 1953 by direct evidence and to ca. 1949 by authoritative testimony. In Chapter III, Warhol{\textquoteright}s Pop Art is examined in relationship to the legacy of Marcel Duchamp, John Cage, Robert Rauschenberg, and Jasper Johns. By suspending his affective response as an observer, Warhol enables the viewer to experience directly the resonance of the display of an iconic image or of a taboo of everyday life, as Warhol himself has experienced it or fantasized about it. His formulations of stereotypes are seen within autobiographical and technical contexts. In Chapter IV, Warhol{\textquoteright}s films are seen in relationship to his cinematic activities as a student and to his later entourage of "Superstars." In his films from 1963 through 1968, four stylistic devices (the long take, the unmoving or "static" camera, the "strobe cut," and zooming as zooming) were used in relation to his dialectic of the "death" of (Hollywood) glamour and the "glamour" of death. Warhol{\textquoteright}s entrepreneurial and promotional schemes are discussed throughout the study, and Chapter V analyzes his business enterprises. Warhol{\textquoteright}s various books, a tabloid magazine, and a videotaped soap opera are discussed. Finally, Warhol{\textquoteright}s critical response is examined in terms of the critical reception to his Shadow series of 1978 and is compared to the author{\textquoteright}s own observation of the production of that series.}, author = {Smith, Patrick S.} } @mastersthesis {6738, title = {The Art Union of London 1837-1912}, year = {1982}, school = {Minnesota}, abstract = {The Art Union of London, founded in 1837 to patronize British artists and raise the level of taste in the masses, charged each subscriber one guinea and offered each an engraving after a famous painting and a chance to win a painting in a lottery. The masses were not the working classes, but the new middle classes created by industrialism. The Art Union became a link to home for Englishmen who maintained the mid-Victorian Empire. The London Art Union was the largest, most influential, longest-lived and most respectable of the organizations resulting from the 1835 Select Committee on Arts and Manufactures. It offered commissions and competitions for medals, outlines, cameos, paintings and porcelain, and embraced new technology for art production. George Godwin, architect, was the primary force during its more active years. Its prize selections reveal a predominance of landscapes in a period of English art recognized for narrative painting. The London Art Union was the subject of Parliamentary investigations twice. After the 1844 hearings, art unions were legalized, but the 1866 hearings stiffened the law governing them. The London Art Union died of old age in 1912, having spent over (POUNDS)500,000 on works of art. Its annual reports and minutes reveal the changing concerns of the middle classes about art. During the 1840s, exposure to art was presumed to create better citizens and a stable society. By the 1860s it was art for business{\textquoteright}s sake, and by the 1870s education was again emphasized, but it was no longer thought to be enough to expose the population to art and assume its ennobling qualities. Art for art{\textquoteright}s sake changed that. The Art Union of London represents one of the first attempts to define the role of art in an industrialized society and represents a positive response to industrialism. Rather than reject technology, the Art Union embraced it as a way to spread love of art to all levels of society.}, author = {King, Lyndel} } @mastersthesis {6774, title = {Artists{\textquoteright} Memorials in 19th- Century France}, year = {1982}, school = {Pennsylvania}, abstract = {In the eighteenth century a large number of public monuments were dedicated to artists. This paper studies the iconography of these monuments. Two groups of artists were honored: those of the past, and those of nineteenth century contemporaries. Two lines of development are traced: classicists to Renaissance artists to eighteenth century artists in the case of past artists; classicists to Romantics to landscape artists in the case of contemporaries. Precedents for such monuments included the increased self-awareness of artists and of their role (a development begun in the Renaissance;) and the role of the artist as "hero" (begun in the eighteenth century.) Motivating factors for public monuments included the role of nationalism and the trend of secularization of sacred themes. In the artist{\textquoteright}s monument was combined the importance of things French, the increased status of the artist, and the veneration accorded by religion. A catalogue of monuments by sculptors reveals the fact that a vast assortment of sculptors of varying talent were responsible for these monuments. So many were public monuments at the end of the nineteenth century that laws were passed limiting their number.}, author = {Sydney, Patricia} } @mastersthesis {6777, title = {Aspects of Athenian Architectural Activity in the Second Half of the 4th Century B.C.}, year = {1982}, school = {UNC Chapel Hill}, abstract = {This study attempts to collect the widely scattered evidence for the major architectural projects undertaken in Athens, Eleusis, and the Piraeus during the second half of the fourth century B.C. The material is divided into two parts: the first section discusses the available evidence pertaining to the form, function, and date of selected monuments; the second section deals with broader aspects relating to chronology, techniques of construction, and style. After a brief introductory chapter the following five chapters of Part I are devoted to detailed description and evaluation of the Square Peristyle in the Agora; the Doric Stoa in the Asklepieion; the fourth-century phase of the Theater and Sanctuary of Dionysos; Philo{\textquoteright}s Porch at Eleusis; and the three choregic monuments of Lysikrates, Thrasyllos, and Nikias. Results reached from an examination of these monuments include redating the Square Peristyle and Doric Stoa to the end of the fourth century; consideration of the fourth-century phase of the Theater (including the Later Temple of Dionysos, Stoa, Skene, and Auditorium) as basically a continuous project begun by Euboulos and finished by Lykourgos; and return to the concept that the specifications for Philo{\textquoteright}s Porch represent essentially the design of the porch as built. Individual problems of reconstruction are also addressed (e.g., form of the theater{\textquoteright}s skene). Some new architectural members are assigned (e.g., Thrasyllos and Nikias monuments), while recognition of Roman rebuilding eliminates others previously considered original (i.e., crepis and columns of Philo{\textquoteright}s Porch). Part I ends with a catalogue providing basic information on monuments not considered in the separate chapters. In Part II consideration of the scope of Athenian building stresses the continuous activity from the middle of the fourth century into the early third. Analysis of architectural technique and style points to an active and creative role for Athenian architecture in the later fourth century, one that combines traditional fifth-century details with aspects that anticipate Hellenistic developments; among those considered are the refinement of an Athenian type of Corinthian capital, an interest in new building forms, the desire to construct megalithic complexes, and the manipulation of scale as an integral element of design.}, author = {Townsend, Rhys F.} } @mastersthesis {6783, title = {Attic Grave Reliefs that Represent Women in the Dress of Isis (Greece)}, year = {1982}, school = {IFA/NYU}, abstract = {Attic grave reliefs with women in the dress of Isis are of Roman date, produced from the last quarter of the first century B.C. to the beginning of the fourth century A.D. There are one hundred and five, approximately one third of the published Attic grave reliefs of the Roman period. Owing to the number and generally high quality of the {\textquoteright}Isis{\textquoteright} reliefs, this series provides a valid chronology for the other, contemporary reliefs. The chronology is based chiefly on style because the information concerning the provenience is often all too limited, the accompanying inscriptions are difficult to date and the persons named are rarely known. The {\textquoteright}Isis{\textquoteright} reliefs are not only the most numerous Attic grave reliefs of Roman date but also are often among the most impressive in quality and variety. Many can be assigned to workshops and several to master sculptors who merited important commissions and made fine portraits. The few that should be assigned to workshops that made sarcophagi should be dated at the earliest to the end of the second century A.D. Isis is the Egyptian goddess whose cult spread throughout the Mediterranean in the fourth and third centuries B.C. In Athens the cult is known from the third quarter of the fourth century B.C. Epigraphical evidence indicates continuous participation in the cult to after the middle of the third century A.D. The {\textquoteright}Isis{\textquoteright} reliefs show that participation continued to the early fourth century A.D. while terracotta figurines and lamps are evidence of its popularity late in the fourth century A.D. The role in the cult of the individuals represented on the {\textquoteright}Isis{\textquoteright} reliefs is the subject of much discussion. The large number and range in size and execution of contemporary {\textquoteright}Isis{\textquoteright} reliefs are indicative of a large, non-stratified group such as the initiates whose coveted position and costly costume are well known from literature. The {\textquoteright}Isis{\textquoteright} reliefs serve to document the heightened production of grave reliefs in Athens in the Roman period and an active, often competitive participation in the Isis cult by a prosperous, if little known middle class.}, author = {Elizabeth Jean Walters} } @mastersthesis {6702, title = {Auguste Lepere and the Artistic Revival of the Woodcut in France, 1875-1895}, year = {1982}, school = {Michigan}, abstract = {During the period 1875-95 the woodcut as a craft medium, in the form of reproductive wood engraving for illustrated books and newspapers, was becoming commercially obsolete, gradually being replaced by the new photomechanical processes for relief printing. At the same time, however, the woodcut as a medium for original artistic expression was experiencing a vigorous renaissance. In France, a strong print tradition gave rise to experimentation with the single-sheet woodcut to a degree matched nowhere else. A key participant in this development was the painter, draftsman, and woodcut artist Auguste Lepere (1849-1918). Both a reproductive wood engraver and an original artist, Lepere published his first signed wood engraving in 1875 and gradually evolved into an important figure in the woodcut revival, which emerged about 1890. The dissertation examines Lepere{\textquoteright}s woodcut oeuvre and his activities on behalf of the medium from 1875 to 1895 and explores at length his relationship to other artists working in the medium during this period. Lepere was the originator of the bois original--the single-sheet artist{\textquoteright}s woodcut as worthy of critical attention as any other original art form. In his exploration of the woodcut aesthetic, which evolved in part from a simultaneous study of both Japanese and fifteenth and sixteenth-century European traditions, Lepere was joined by other pioneers such as Lucien Pissarro, Emile Bernard, Henri Riviere, Henri Guerard, Charles Maurin, and Felix Vallotton. During the late 1880s Symbolist aesthetics, the emergence of which coincided with the death of reproductive wood engraving, also came to play its role in affecting the development of the woodcut; this phenomenon has been taken into account in a summary treatment of the work of Bernard, Denis, Gauguin, Alfred Jarry, and Remy de Gourmont. In conclusion, the activity of Auguste Lepere as an artist and as an organizer on behalf of the woodcut precipitated is rebirth as an artistic medium at the end of the century. His role was that of a catalyst; as Roer Marx said of him, "il a emancipe son art."}, author = {Baas, Jacquelynn} } @mastersthesis {6700, title = {Bernart Van Orley as a Designer of Tapestry}, year = {1982}, school = {Yale}, abstract = {Though much appreciated through the ages, Van Orley{\textquoteright}s tapestry designs have never been fully evaluated for their significant contribution to Flemish art. Previous studies have focused on questions of attribution and Roman influence, but neglected to place the designs in their proper context. This is the concern of this thesis. Chapter one discusses tapestry industry in sixteenth-century Brussels and the developments in guild regulations and economic and social-political factors which encouraged the growth of this industry. Van Orley{\textquoteright}s early participation in this specialized field is traced in chapter two. Following the example of his predecessors, the artist at first drew upon his painted oeuvre for inspiration. However, Van Orley subsequently began to separate the two media, seeing in tapestry design different requirements and possibilities. The relationship between designer, cartonnier and weaver and Van Orley{\textquoteright}s control over the final product is suggested in his drawings for tapestries. Chapter three examines the many stages in the design procedure evident in the technique of the drawings and attempts, thereby, to clarify the contract terminology found in contemporary documents. Van Orley{\textquoteright}s innovations in tapestry design and the characteristics of his works which influenced more than a century of designers are best seen in the mature works of the late 1520s: The Hunts of Maximilian, Battle of Pavia and Story of Jacob among them. Chapter four studies the transformation of artistic sources for Van Orley{\textquoteright}s development of naturalistic illusionism. The monumental scale of tapestry led him to consult Raphael{\textquoteright}s carefully devised concept of history painting and his incomparable sense of clarity and organization. Van Orley fused these elements of design with familiar details from the viewer{\textquoteright}s world, creating a new sense of verisimilitude in tapestry which had never been achieved before. Though the subjects of Van Orley{\textquoteright}s tapestries are not new, his treatment of them is. Chapter five demonstrates how Van Orley manipulated the narrative in order to make these traditional subjects immediately accessible to the viewer. He emphasized the dramatic moments ad imbued each tale with all aspects of the human condition.}, author = {Ainsworth, Maryan} } @mastersthesis {6731, title = {The Birth of Dutch Liberty: Origins of the Pictorial Imagery}, year = {1982}, school = {Minnesota}, abstract = {The personification of Dutch Liberty which developed during the Dutch struggle for independence from Spain (1568-1648) represents a new contribution to the realm of national symbols. The Dutch were the first nation to resurrect this Roman personification from the classical tradition and make it a reflection of their own political, economic, and religious thoughts. This personification did not grow only out of the classical tradition, but acquired particular Northern characteristics which developed from its unique traditions in civic pageantry and Chamber of Rhetoric festivals. Dutch Liberty had a long life of more than two hundred years in the repertoire of prints, medals, paintings, tomb sculpture, and stained glass windows. Allegorical paintings which included the figure of Liberty were executed for both public and private commissions. Some of these paintings can be related to the Northern civic pageant and Chamber of Rhetoric traditions and can still be traced to their original commission for townhalls or civic buildings. This study traces the inception of the classical tradition of the personification of Liberty in the Graeco-Roman world and its revival during the Renaissance. The contributions of numismatic handbooks and emblem books are discussed as well as the role of mythographies and Cesare Ripa{\textquoteright}s Iconologia. Through a comparison with the vernacular tradition of Dutch Liberty in the North, an analysis is made of the visual images used and their relation to these two traditions. The key attributes are identified and the various political, economic, religious, or national themes discussed. Finally, some suggestions are made about Dutch Liberty as an available visual model for later national personifications of Liberty.}, author = {Janson, Carol} } @mastersthesis {6769, title = {Bronze Styles of the Eastern Zhou Period}, year = {1982}, school = {Harvard}, abstract = {The history of Eastern Zhou bronze decoration is discussed in terms of five stylistic phases--Xinzheng, Proto-Liyu, Liyu, Huai, and Inlay (Jincun). The first three phases are seen as continuous developments from late Western Zhou patterns in a Shanxi-Henan metropolitan context. The internal development of each phase and the relative chronology of the three phases are discussed with reference to recent finds. Regional centers play an increasingly important role in the evolution of the fourth phase: for the Huai Style, an independent origin in southeastern China is argued in detail. Its influence on the Liyu Style associated with metropolitan workshops and the subsequent histories of the Liyu and Huai styles are also described. Inlaid bronzes are treated under three headings. The first section deals with the initial appearance of inlaid decoration on bronzes associated with regions along the Great Wall in the north and the Yangzi valley in the south. The role played by foreign contact in the use of inlay in these regions is examined briefly. The second section describes the adoption of inlay techniques by metropolitan workshops and the patterns developed by these workshops. The third section outlines a parallel development of inlay patterns associated with the Yangzi region. Two distinct trends within the history of the Inlay Style are thus identified and associated with two different areas. In conclusion, topics of special interest are considered. The first is concerned with regional styles, identifying ornamental and typological characteristics of the areas occupied by the ancient states of Qin, Chu, Wu-Yue, Qi, Yan, and Zhongshan. The second examines the relationship between bronze and painted lacquer patterns, describing the emergence of lacquer from its dependence on bronze models to become the leading art form by the end of the Eastern Zhou period. An appendix discusses the dating of the various components of the 1923 Xinzheng find.}, author = {So, Jenny F.} } @mastersthesis {6766, title = {Bronzino{\textquoteright}s Portraits of Cosimo I de{\textquoteright}Medici}, year = {1982}, school = {Columbia}, abstract = {Agnolo Bronzino (1503-1572) served Cosimo I de{\textquoteright} Medici, Duke of Florence, as court painter for more than thirty years, from shortly after the Duke{\textquoteright}s accession in 1537 until the artist{\textquoteright}s death. Bronzino was employed in diverse projects in a variety of media for Cosimo but his most memorable and politically significant commissions were the portraits he painted of his patron. Vasari mentioned that Bronzino had painted two portraits of the Duke, one in armor when the Duke was young and a second portraying him at the age of forty. But Vasari did not indicate that these pictures were frequently copied by other painters, by assistants in Bronzino{\textquoteright}s workshop, as well as by the master himself. Well over one hundred "Bronzino Portraits of Cosimo I" survive--most of which are versions of either one of the two portraits cited by Vasari or a third type introduced after Vasari{\textquoteright}s publication (1568). The number of these replications alone indicates the extraordinary degree to which the Duke utilized portraits as a tool of statecraft, for these works were both iconographically significant and frequently employed as diplomatic gifts. This thesis discusses the many portraits of Cosimo, their authorship, chronology, iconography, contemporary significance, replication, and dispersal. The Portrait of Cosimo I in Armor, known in several versions from the artist{\textquoteright}s hand, involves additional issues of varying formats (bust, half, or three-quarter length) and changing symbolism. The portrait is discussed as well within the contexts of the Duke{\textquoteright}s political position and his friendship with Bishop Paolo Giovio, who was the owner of what is perhaps the most important of the extant portraits of Cosimo by Bronzino. The portraits of the Duke are treated typologically in the text and individually in the appended catalogue. Several related commissions are also discussed: Bronzino{\textquoteright}s allegorical portrait of Cosimo as Orpheus, Pontormo{\textquoteright}s so-called Halberdier (also representing Cosimo), and the portraits of Maria Salviati (the Duke{\textquoteright}s mother) by both Bronzino and Pontormo.}, author = {Simon, Robert B.} } @mastersthesis {6765, title = {Carleton E. Watkins: Pioneer California Photographer (1829-1916): A Study in the Evolution of Photographic Style During the First Decade of Wet Plate Photography}, year = {1982}, school = {Harvard}, abstract = {The concept of style in 19th century photography still remains to be explored and defined. Two crucial facts of photography continue to be ignored. First, photography as an art form is inextricably linked to the medium{\textquoteright}s technology. Any discussion of photographic style must take into consideration the technical capacities and limitations of the equipment and chemical processes used. Second, photography was and is a business. As a commercial being, the photographer must respond to the market to be successful. Carleton Watkins is an excellent case in point. His career as a photographer lasted from 1854 to 1900. It coincided with the technical evolution of photography from its earliest form, the daguerreotype, through the wet plate and dry plate processes, to the era of the first hand-held Kodak camera with its gelatin-based emulsions. Photography was his livelihood. His subject matter represents either what he believed to be marketable or what his clients commissioned him to photograph. His purpose was simply to make a living. That he created images which transcend his intentions testifies to his artistry. In the study of his early career that follows I have presented my findings in two parts: the text itself, and an illustrated checklist of all the mammoth plate photographs which I can attribute to Watkins in the period from 1860 to 1866. The text details the circumstances of Watkins{\textquoteright} move from Oneonta, New York, to Sacramento, California, in 1851, his early employment there as a salesman and clerk, and his first efforts as a daguerreotypist in the San Jose gallery of James Ford. I then discuss Watkins ensuing career as a photographer and the factors which formed his style. Among the latter are the technological evolution of his medium, the nature of his commissions, the prevailing attitudes towards landscape, and the state of his art as practiced and marketed in San Francisco. Finally, the text chronicles the emerging reputation of the young photographer and the impact his photographs had on Easterners{\textquoteright} vision of the West.}, author = {Sexton, Nanette M.} } @mastersthesis {6781, title = {The Changing Conception of History in American Painting, 1770- 1900}, year = {1982}, school = {Delaware}, abstract = {This study traces the role of history in American art from the late eighteenth century to the beginning of the modernist movement in the twentieth century. While this is primarily an analysis of history painting, the author deals with other genres such as historical and literary genre painting, figure painting, mural painting and illustration, areas in which history becomes an important subject during the nineteenth century. History painting in American art was created by Benjamin West and was pursued by many of his students. They followed the precepts first established by French academicians in the seventeenth century. But by the middle of the nineteenth century, the well-defined standards of academic history painting and genre painting became mixed in many works of art. A new mode, historical genre painting, became the most popular means of incorporating history into art. Works by such artists as Asher B. Durand, Tompkins Matteson and Peter Rothermel contained elements of both history and genre painting. Also at this time historical and antiquarian studies had tempered the view of the past. Accurate details in costume, architecture and artifacts in the work of such artists as Edward L. Henry, Worthington Whittredge and Thomas Eakins replaced the idealized depictions advocated by academic history painters. Between the Columbian Exposition in Chicago in 1893 and the late 1930s, a number of artists such as Edwin Blashfield, Francis Millet and Robert Reid followed a growing demand for mural painting. Most often created for large public spaces in state houses, court houses, schools and post offices, murals reflected, in part, a return to the standards of eighteenth century academic history painting. For most of the nineteenth century, artists used history in a narrative manner for didactic and moralistic purposes. Toward the end of the nineteenth century, artists such as Edmund Tarbell, Thomas Dewing and Childe Hassam incorporated history in a symbolic way into contemporary figure and interior paintings. In the twentieth century, early modernists like Elie Nadelman and Charles Sheeler were influenced by an aesthetic appreciation of American folk art and simpler eighteenth- and early nineteenth-century decorative arts. Modernism did not bring an end to the use of history in art, but instituted a change in the perception of history from a narrative intent to an interest in artistic concerns.}, author = {Vincent, Gilbert T.} } @mastersthesis {6749, title = {The Changing Fortunes of Reynolds{\textquoteright} "Discourses", c. 1790-1850}, year = {1982}, school = {UIUC}, abstract = {The period from 1790 to 1850 was one of changing attitudes and values regarding art. Artists, connoisseurs, and writers from other walks of life who expressed their opinions on painting and other arts had to respond to the work that so skillfully defined art theory of the late eighteenth century, the Discourses of Sir Joshua Reynolds. How writers from both within and without the Royal Academy{\textquoteright}s sphere of influence followed, ignored or transformed the ideas of the Discourses is the subject of this dissertation. Those artists whose published lectures or other writings are significant include: Benjamin West, James Barry, Henry Fuseli, John Opie, John Flaxman, J. M. W. Turner, William Blake, Joseph Farington, Edward Dayes, Martin Archer Shee, Thomas Lawrence, Benjamin Robert Haydon, Henry Howard, Thomas Phillips, Charles Robert Leslie, John Constable, Charles Lock Eastlake, and John Burnet. Significant figures whose primary occupations were in fields other than art include: Robert Bromley, Prince Hoare, William Cunningham, Charles Lamb, Edward Edwards, William Hazlitt, William Makepeace Thackeray, and John Ruskin. Writings by other artists and non-artists are also examined. Biographies of Reynolds and editions of his writings are other important documents used in tracing the fortunes of the Discourses. The fortunes of Reynolds{\textquoteright} Discourses rose immediately following the author{\textquoteright}s death, when he was respected and art of the type he praised was available in England. By the 1810s and 1820s, the availability of so many types of painting, the rise of the English landscape school, and the persuasive writing of Hazlitt caused a decline in the fortunes of the Discourses, though Reynolds{\textquoteright} writings still had champions. In the 1830s and 1840s many of Sir Joshua{\textquoteright}s ideas were transformed or re-evaluated due to the changes and questionings of the previous decades. New attitudes about art abounded, and Ruskin was able to express many of these forcefully in a way that made most of the rational arguments of the Discourses seem dated. Even at mid-century, however, the writings by Reynolds were positively examined by an important figure, Leslie. By tracing the fortunes of the Discourses through this period it is possible to identify the major critical and theoretical voices that both contributed and reacted to a rapidly changing art scene.}, author = {Martin, Floyd W.} } @mastersthesis {6752, title = {"Charita"s and "Naastenliefde" in the 17th Century: Pictures of Charity and the Poor for Dutch Charitable Institutions}, year = {1982}, school = {UC Berkeley}, abstract = {Pictures of charity, mostly commissioned, were given a central role to play in affirming the traditions which lay behind seventeenth-century Dutch charitable institutions and poor relief organizations. For citizens of the Republic, images of charity had a function of justifying a cultural perception that established institutions were able to control poverty; a perception not, in fact, born out in institutional policy which denied eligibility to increasing numbers of poor non-residents and immigrants in the cities. Helping to deflect objective observation away from the limitations and exclusions placed on charity were regents group portraits, the favored art of governing boards of well-endowed institutions which had a commitment to preserving the social order. By employing a distinctive portrait formula developed earlier in connection with the religious concept of the Active Life, these works commemorated social leaders for their Christian philosophy valuing the virtue of caritas. Similarly, the fundamentally conservative, as opposed to progressive, viewpoint that was taken in poor relief is demonstrated in the continuing use of the Works of Mercy as the theme most often chosen to represent that activity. By referring to this theme and drawing on its long association with parochial poor relief, a new secular agency like the Amsterdam College of Aalmoezeniers and an ecclesiastical innovation like the Diaconien of the Protestant congregations could be represented to contemporaries as upholding tradition and opposed to changes in the status quo. In this atmosphere of institutional defensiveness, even a work sympathetic to earlier relief reform movements, Bruegel{\textquoteright}s Charitas, could be viewed as reinforcing autonomy for parish relief. Inspired by it were popular depictions of relief displaying the characteristics of a Bruegelian folk festival among neighbors in a parish setting--the Sunday Works of Mercy. In seeking the source of this conservatism about the nature of charity and charitable institutions and finding it in earlier pictorial and institutional contexts, it becomes apparent that what, in current understanding, passes for a normal type of seventeenth-century Dutch art and institution--secular in appearance but embracing religious values and concepts--actually has its origin in the sixteenth-century Netherlands.}, author = {Muller, Sheila M.} } @mastersthesis {6693, title = {Classical Elements in the Paintings of Caravaggio}, year = {1982}, school = {UC Santa Barbara}, abstract = {A mythology surrounds Michelangelo Merisi called Caravaggio (1571-1610) which accentuates the novelty of his artistic style and method and which generally refuses to acknowledge his ties with the academic tradition. The assertion that nature alone was his model, and not the established masterpieces of the past, proved fatal to his reputation as a great artist. Instead he was rarely seen as more than a talented imitator, not artistically (nor perhaps intellectually) sophisticated enough to work within the requirements of the "classical" style. His reported voiced contempt for Italy{\textquoteright}s artistic heritage led to the assumption, still widely held, that he was insensitive to the compositional harmonies of classical art and blind to the richness of its figural repertoire. Not simply indifferent, he was deemed antagonistic to the practioners of idealization, and in time he became the symbol of crude realism. Undeniably, on the surface many of his figural types are rough and unidealized, but it is demonstrable that Caravaggio was actually much more responsive to the formal tenets of classicism, in both its ancient and modern forms, than has been previously suggested. Looking beyond the garb and physiognomy of his figures, to the figural poses themselves and to the underlying structure of his paintings, a decided classicism is frequently discernable. The complexities of Caravaggio{\textquoteright}s formal response to classical art is revealed through an examination of his specific figural borrowings from the antique, along with an analysis of the classical mood and structure of his mature religious paintings, and an investigation of the few pagan subjects that he did treat. It is further suggested that Caravaggio{\textquoteright}s utilization of particular motifs and gestures was frequently motivated by iconographic concerns, because at times he selected specific figural types from antiquity whose pagan identity and meaning would augment his Christian subjects. The study is concluded with a look at the works of Caravaggio in light of the achievements of the painters of antiquity, as can be visualized following the literary descriptions of the pagan authors, some of which Caravaggio surely knew. Familiarity with these writings would have provided Caravaggio and his learned patrons with a theoretical justification for his naturalistic style couched in the critical terms of the day.}, keywords = {Baroque and 18th-Century Europe}, author = {Orr, Lynn F.} } @mastersthesis {6716, title = {The Classical Masters of Reims Cathedral}, year = {1982}, school = {Ohio State}, abstract = {This study examines the classical styles employed by the sculptors who worked in an on-going workshop at Reims cathedral between 1211 and 1233. The impact of wide-ranging stylistic influences upon them has been found as one of moderation and enhancement, rather than source, for the indigenous Remois predeliction of rendering figures with thick-set body proportions, strong physical bearing and expressive gestures. It has been shown that influences from Chartres and other contemporary centers of sculpture production in the Ile-de-France, as well as Laon and other centers in the indigenous region of Champagne, have been assimilated in a selective manner, suggesting that the sculptors at Reims were consciously striving for a classical idiom which was consistent with and unique to their region in general, and to Reims, in particular. Other indigenous sources, from the Gallo-Roman, Carolingian and Romanesque periods of Reims are discussed in relationship to the emerging Remois styles shortly after the year 1200. Three distinct classical styles emerged at Reims--those of the Last Judgment Abraham Master, the Master of Sts. Peter and Paul, and the Visitation Master. In addition, there is an examination of the styles of at least seven other masters working at Reims in this period; frequently they too served as a means for the fusion of stylistic sources from outside of Reims while continuing the indigenous styles which had been established in the late twelfth century workshop at the Abbey Church of St. Remi and continued by the three major classical masters at the cathedral.}, author = {Cole, Harold D.} } @mastersthesis {6786, title = {Cobra 1948-1951}, year = {1982}, school = {UC Berkeley}, abstract = {From 1948 until 1951, some forty-five northern European artists and writers united under the emblem, Cobra. They formed this acronymic title from the initial letters of their native cities: CO-penhagen, BR-ussels and A-msterdam. Also including Swedish, German and French participants, Cobra was led by the Danish and Dutch artists, Asger Jorn and Constant respectively, and the Belgian writer, Christian Dotremont. The less important literary contingent included Lucebert, Hugo Claus and Paul Bourgoignie. Cobra preferred action to cerebration. The group mounted two major exhibitions. The first, at the Stedelijk Museum (Amsterdam, November, 1949) was improperly called scandalous by hostile critics and a reactionary public. The second traditional show went unnoticed (Liege, 1951). Cobra organized other small exhibitions and two conferences. It made murals and one unsuccessful film. Cobra published two reviews and other works. In the uncertain post-war society, this group of {\textquoteright}experimentalists{\textquoteright}, who were not always unified in their ideas, revolted against convention and stood for change. A few members believed in the Marxist classless society and social harmony, but rejected the Communist Party. Most others preferred community activity without ideology. Cobra challenged Paris{\textquoteright} traditional artistic domination, but followed its artistic activities closely. Against separating disciplines, Cobra{\textquoteright}s artists and writers collaborated. To oppose the art academy, Cobra valued art of children, folk, primitive African, Oceanic and Scandinavian cultures. Rejecting Cubism{\textquoteright}s objects, Expressionism{\textquoteright}s personal visions, and Surrealism{\textquoteright}s Freudian dream imagery, Cobra chose metamorphosing animals and mythical beings. Cobra emerged from earlier unrelated, non-conformist groups. Brussels{\textquoteright} international and mostly literary Revolutionary Surrealism joined Surrealism and Communism (1947). Amsterdam{\textquoteright}s Reflex group opposed de Stijl (1948). Copenhagen{\textquoteright}s Linien, Helhesten and Host groups formed an abstract-Surrealist style (1934 on). With other separate interests, these groups shared roots in the style and premises of Cubism, German Expressionism, Picasso and Klee. The Danes also studied Kandinsky{\textquoteright}s pre-Bauhaus work. Most, but not all Cobra members derived positive influence from the Abstract/Lyrical style of Surrealism (1920{\textquoteright}s) and rejected Breton{\textquoteright}s mystical ideas (1940{\textquoteright}s). . . . (Author{\textquoteright}s abstract exceeds stipulated maximum length. Discontinued here with permission of author.) UMI}, author = {Williamson, Anne W.} } @mastersthesis {6717, title = {Critical Issues of Minimal Art}, year = {1982}, school = {USC}, abstract = {This dissertation was undertaken to explicate the mass of issues, theories and ideas which arose in connection with Minimal art between 1963 and 1968. Although the Minimalist style has been described as reductive and meager in its formal complexity, its intellectual and highly conceptual basis is not. It is the critical issues which present Minimalism with its meaning. The radically innovative physical appearance of Minimal works of art, demonstrating the significance of holistic structure and unity, also receives its share of analysis. The dissertation is organized, by chapters, from the least to the most abstract of ideas. The first chapter deals with process issues, those involved in the making of a work of art. The implications of non-traditional materials and industrial fabrication are discussed. Sculptural innovations include the widespread use of color and the elimination of the base. Monochromatic and non-spatial painting is also considered. Internal aesthetic issues are based on non-relational composition, which was achieved either by symmetry or systematic order and displaced traditional notions of balance in arts. Also of note is the elimination of figure-ground relationships and the new coincidence of image and shape, which was rhetorically developed into the theory of deductive structure. The restriction of internal relationships to a negligible amount forced a new emphasis on the spectator{\textquoteright}s relation to the object. These external aesthetic issues include presence, scale, architectural analogies and the incorporation of the environment into the work of art. The spectator{\textquoteright}s experience is considered in depth. The theoretical issues in the final chapter deal with intellectual constructs built around the work in question. Completely abstract and non-illusionistic, and existing as "real" things in the world, Minimal painting and sculpture partake of a critical condition known as objecthood. The popular notion of reductionism is also examined. Other theoretical issues are the contradictory designations of "boring" and "interesting," and art and non-art. Sources of reference include major art publications from the 1960s and interviews conducted by the author with a number of artists and critics. An appendix of significant exhibitions and reviews accompanies the text.}, author = {Colpitt, Frances} } @mastersthesis {6715, title = {The Dialectical Vision of Arthur Dove: The Impact of Science and Occultism on His Modern American Art}, year = {1982}, school = {University of Washington}, abstract = {Working in a climate of relative indifference to the arts, when there was virtually no precedent in America for vanguard activity of any kind, Arthur Dove (1880-1946) created some of the first examples of abstract art in this century. Although he is frequently viewed as a revolutionary who broke with the forms and traditions of the past, he sought to legitimate his abstractions by grounding them in truths found outside the realm of art. How he structured a meaningful content into his vanguard style is the subject of this study. In Chapter I, the roots of Dove{\textquoteright}s vision are located in a Romantic tradition which assumes that the laws of nature and of art are the same and which inspired his use of the organic analogy. Chapter II is a discussion of how Dove{\textquoteright}s concept of nature was influenced by significant scientific discoveries. A close study of his oeuvre reveals that his pictorial vocabulary of archetypal forms corresponds to a tradition of morphological research in biology and his treatment of pictorial space was informed by the contemporary discussions of Einstein{\textquoteright}s physics and "the fourth dimension". Chapter III explains how Dove found in theosophy a means to reconcile his attraction to science with his innately mystical apprehension of nature. In this way the forms and structure which relate to scientific knowledge have another level of meaning derived from Dove{\textquoteright}s familiarity with the occult writings of Blavatsky, Besant and Bragdon. Contradictory as they may appear, science and occultism formed the matrix of his mature art by suggesting ways to visualize nature{\textquoteright}s hidden energies. In Chapter IV Dove{\textquoteright}s late work is discussed in relation to his effort to envision the mystical concept of higher space. Chapter V demonstrates how Dove{\textquoteright}s own nativist values determined his idiosyncratic response to the vanguard innovations of his European contemporaries and Chapter VI offers an assessment of his overall achievement. In this study, many of Dove{\textquoteright}s personal writings which have not previously been published are discussed and the iconographic content of his work is analyzed in relation to the evolution of his abstract style. As a result, it has become clear that Dove{\textquoteright}s art was a deeply reasoned and highly personal response to the challenges of the cultural situation in which he lived.}, author = {Cohn, Sherrye} } @mastersthesis {6727, title = {Directions, Concerns, and Critical Perceptions of Paintings Exhibited in New York, 1940-1949: Abraham Rattner and His Contemporaries}, year = {1982}, school = {Columbia}, abstract = {This dissertation shows the range of easel paintings exhibited in New York in the 1940s and the response to it, with the intention of demonstrating how Abraham Rattner (1893-1978) and the expressionist movement of which he was a part formed an integral element in the situation. Part One deals with the New York milieu. After a chapter introducing it with three key documents, a second chapter surveys the institutions of the period. This includes the museums, galleries, critics, large private collections, special group exhibitions and prices. Chapter Three offers a survey of the evolution of the decade. Chapter Four studies the artists of the 1940s in more detail: early American moderns, studio painters, American Scene painters and regionalists, social realists, earlier abstractionists, American Surrealists, primitives, romantics, magic realists and abstract realists, expressionists, poetic semi-abstractionists, "proto-Abstract Expressionists," and Abstract Expressionists. Chapter Five sums up and analyzes the evidence thus far presented. The author argues that the central direction of American painting in the 1940s was toward more subjective, inward-turning, romantic, abstract and painterly kinds of work, with religious subjects and indirect, introspective responses to World War II predominant. While the Abstract Expressionists represented a culmination of these directions, they were preceded and anticipated by the romantics, the expressionists and the poetic semi-abstractionists; indeed, the emergence of these earlier schools helped to prepare the way for the acceptance of Abstract Expressionism. Part Two shows how Rattner emerged, developed and played a major role in the milieu described. Chapter One acts as a transition and treats the artist{\textquoteright}s youth and education. Chapter Two discusses his years in Paris (1920-1939). Chapters Three and Four document Rattner{\textquoteright}s career in the 1940s, illustrating his abundant and acclaimed preoccupation with the major styles and subjects. Chapter Five surveys Rattner{\textquoteright}s artistic philosophy, influences and influence, and draws conclusions about his significance and relationship to the decade. It also offers further conclusions about the role of expressionism in the 1940s, and considers the prospects for reevaluation.}, author = {Halasz, Piri} } @mastersthesis {6691, title = {The Drawings of Ciro Ferri}, year = {1982}, school = {UC Santa Barbara}, abstract = {Ciro Ferri was one of the leading artists in Rome during the second half of the 17th century. He was one of the favored artists of some of the leading patrons in Italy: the families Barberini, Medici, Pamphili, Chigi, and Borghese. A century after his death, however, Late Baroque art fell out of favor, and Ferri{\textquoteright}s once-high reputation has never been fully restored. He was the best and most faithful follower of Pietro da Cortona, one of the giants of Italian Baroque art, and never has emerged completely from Cortona{\textquoteright}s shadow. Consequently, their works, and particularly their drawings, have been confused. The purpose of this paper is to define more clearly Ferri{\textquoteright}s artistic personality and style of draughtsmanship. The study of his drawings allows one to explore all aspects of his production, including paintings, sculpture, architecture, and designs for engravings, as well as his copies after Cortona and collaboration with other artists. In addition, analysis of Ferri{\textquoteright}s drawings has permitted the author to reconstruct details of the artist{\textquoteright}s career, chronology, and working methods. First-hand study of the drawings was conducted at major collections in New York, London, Windsor, Paris, Dusseldorf, Berlin, Munich, Vienna, Florence, and especially Rome, where approximately half of Ferri{\textquoteright}s surviving sheets can be found. Earlier literature has been integrated, corrected and expanded; and many previously unpublished studies have been discovered, resulting in the most complete discussion to date of Ferri{\textquoteright}s drawings, and clearer understanding of his individual style, development, and his place in the artistic milieu of 17th century Rome.}, keywords = {Baroque and 18th-Century Europe}, author = {Davis, Bruce} } @mastersthesis {6709, title = {The Drawings of Ludovico Carracci}, year = {1982}, school = {Columbia}, abstract = {Ludovico Carracci (1555-1619) spent his early career in Bologna with his cousins Annibale and Agostino. The three painters founded an Academy and restored High Renaissance procedure and naturalism to painting. Unlike his cousins, Ludovico retained strong stylistic ties to the preceding Mannerist generation. Most of Annibale{\textquoteright}s and Agostino{\textquoteright}s drawings are studies from life or preparatory studies for paintings, but Ludovico{\textquoteright}s most characteristic drawings are the finished, coloristic designs that typify late Mannerist draftsmanship. In these drawings, Ludovico developed his novel and abstruse iconography. The changeability of his creative process is demonstrated by the increasingly loose relationship between preparatory drawings and paintings. About one hundred chalk drawings by Ludovico have survived. By 1592, Ludovico{\textquoteright}s mastery of chalk enabled him to portray forms naturalistically, with dramatic lighting and complex poses. Ludovico increasingly abbreviated careful preparatory procedure. His use of chalk diminished, and he became more interested in iconography and decorative effects than in verisimilitude. His latest chalk drawings show a loss of creative vitality and technical mastery. Ludovico{\textquoteright}s pen work also matured by the early 1590s, accompanied by dynamic visual excitement and a facility with wash. The pen drawings developed an increasing floridness and mannered figure style. During the early 1600s, Ludovico{\textquoteright}s style was bold and sculptural; but after 1605, his figures became elegant and elongated, and sinuous line became the governing principle of form. Several discoveries concerning drawings datable between 1610 and 1619 show that Ludovico{\textquoteright}s final period comprised the flowering of the complex compositional drawings that have previously been dated early. The affected, artificial images in these late works represent a return to Mannerist style. During his last few years, Ludovico{\textquoteright}s shaky hand and creative infertility led to the formulaic repetition of compositions and figures. He lost his position of artistic primacy in Bologna at this time and was superseded by his younger compatriots Guido Reni and Domenichino, who returned to Bologna after establishing reputations in Rome. Ludovico{\textquoteright}s drawings nevertheless provided an important legacy for Bolognese draftsmen of the later seventeenth and eighteenth centuries.}, author = {Bohn, Babette} } @mastersthesis {6744, title = {Dress and Nudity in the Iconography of the Florentine Renaissance Woman}, year = {1982}, school = {UNC Greensboro}, abstract = {This study identifies and interprets the female iconographies of the Florentine Renaissance. Through the art of the Florentine Renaissance, this study shows the relationship of the female iconographies to the changing appearance of the Florentine Woman from about l300 to l550. The female form, nude and clothed, was used to personify man{\textquoteright}s changing interpretations of his universe. Extensive research was done in the social history, philosophy, religion and fashions of the Florentine Renaissance. Over 800 photographs were taken of paintings and drawings of women of the Florentine Renaissance. Of these, ll3 photographs were incorporated into this study. It became apparent that the iconographies depended not only upon the socio-psychological attitudes of Renaissance man, but also upon the techniques, media, insights and the genius of the artists who were communicating the messages. The iconographies of woman during the Florentine Renaissance perpetuate the universal ideas of man. The paintings selected show a chronological progression from the impersonal iconography of the Queen of Heaven to the iconography of a warm and personal mother and from a teacher who shows man how to become civilized through the awakening of the senses, to a teacher who instructs man in the ways of sacred love so that he can arrive at a union with God. The changes in the iconographies were from abstract idealism to humanistic idealism. The iconographies can be divided into the two categories of teacher-Eve-Venus and mother-Virgin-Venus. There is some overlapping, but the iconographies remain fairly distinct until the end of the Florentine Renaissance. The mother iconography is very clear and strong throughout the entire period culminating in the merger of human idealism and spiritual idealism in the Madonna del Granduca by Raphael. The influence of the humanistic movement is pervasive, reaching its greatest acceleration during the neo-Platonic period under the guidance of Ficino. Botticelli{\textquoteright}s paintings express the philosophy of the Platonic Academy best. After l500, there is a downward turn when the humanistic iconography of woman begins to lose its spiritual value and becomes plainly erotic. The message that the iconographies convey to us is that at the beginning of the Florentine Renaissance, the universe was beyond man{\textquoteright}s reach, and toward the end of the Florentine Renaissance, the universe was within man{\textquoteright}s reach.}, author = {Ledogar, Judith W.} } @mastersthesis {6762, title = {Dziga Vertov and {\textquoteright}Man With the Movie Camera{\textquoteright}}, year = {1982}, school = {Harvard}, abstract = {The dissertation attempts to recapture Dziga Vertov{\textquoteright}s conception of Man with the Movie Camera, made in 1928, and to trace the film{\textquoteright}s genesis in Vertov{\textquoteright}s personal history and the history of his times. My contention is that there is a key to the interpretation of the film and that each of its 1712 shots can be understood as part of a systematic and coherent work. The film is read both as a narrative--the exploits of a cameraman during a working day in a Soviet city--and as a fantastic poem about the achievements of Man, equipped with a movie camera, since the October Revolution. Behind the film{\textquoteright}s manifest narrative lies a metaphoric discourse which opposes two kinds of cinema: the acted, dramatic and profit-oriented cinema (what Vertov called "cine-drama") and the unacted, newsreel, educational cinema (which he believed was the only acceptable kind, "Cine-Eye"). The dissertation is organized into eight chapters (volume one), followed by notes, a shot by shot description of the film, photographs, a filmography and a bibliography (volume two). Chapter one provides an introduction to Vertov, and discusses his political program for the cinema and his concept of Man with the Movie Camera. Chapter two outlines my interpretation of the film: the narrative and metaphoric discourses are presented side by side, scene by scene. The remaining six chapters elaborate on this reading through a critical discussion of Vertov{\textquoteright}s life and work from 1896 to 1928. Chapters three to seven discuss the film in relationship to his childhood and adolescence in the Jewish {\textquoteright}Pale of Settlement{\textquoteright}, his experiments in sound poetry and his contacts with the pre-Revolutionary Petrograd avant-garde, Vertov{\textquoteright}s first film experiments in Moscow after the Revolution, the influence of the Civil War, and the factors in the {\textquoteright}twenties{\textquoteright} which shaped his politics. Chapter eight presents a synthesis of Vertov{\textquoteright}s poetic system. The images of Man with the Movie Camera are shown to be linked according to a metaphoric process (inspired by poetry), a narrative process (inspired by fiction film and fantastic literature), and a rhythmical process (inspired by music).}, author = {Sauzier, Bertrand} } @mastersthesis {6782, title = {The Early Career of Francois Girardon, 1628-1686: The History of a Sculptor to Louis XIV During the Superintendence of Jean-Baptiste Colbert}, year = {1982}, school = {IFA/NYU}, abstract = {Francois Girardon (1628-1715) has long been recognized as the outstanding member of the team of royal sculptors formed during the administration of Colert. However, unlike Pierre Puget and Antoine Coysevox, contemporaries whose individual merits are unquestioned, Girardon has always suffered from his association with the painter Charles Le Brun. A survey of Girardon{\textquoteright}s critical fortunes reveals that the negative view of the sculptor developed mainly from an unpublished life of the artist written around 1750 by the biased comte de Caylus. This source is transcribed in an appendix. After a presentation of the fragmentary information concerning Girardon{\textquoteright}s earliest years, his first works are discussed in terms of the division of labor within ateliers. There follows a general analysis of the traditions governing the direction of sculpture by other sculptors, architects and painters based on seventeenth-century sources. Two sections are devoted to the emergence of the more rigid system of the Royal Academy of Painting and Sculpture and the Gobelins organized by Colbert in which sculpture was directed by Le Brun. The painter{\textquoteright}s reputation and activities as a designer, and the effects of his preparatory drawings on sculpture are explored. The split that developed between official theory and practice is examined. The fourth chapter deals with Girardon{\textquoteright}s royal commissions to 1683. These projects are investigated to determine the role played by Le Brun and others in formulating subjects and designs and then to evaluate Girardon{\textquoteright}s work in realizing the final sculpture. Chapter five concerns Girardon{\textquoteright}s private commissions to 1683. Here the circle of his patrons and their demands are considered. Especial attention is given to the complex history of the Richelieu tomb. The final chapter traces the reordering of artistic advisement that took place in the first years of the superintendence of the marquis de Louvois. It follows Girardon into 1686 when he attained new responsibilities and developed an important new direction in style, prior to taking on the superintendence of sculpture. The result of this investigation are twofold: Girardon{\textquoteright}s artistic character emerges more distinctly as does the highly structured world of sculpture under Colbert.}, author = {Walker, Dean} } @mastersthesis {6724, title = {Edouard Manet: The Development of His Art Between 1868 and 1876}, year = {1982}, school = {Harvard}, abstract = {This thesis examines the paintings that Edouard Manet produced between 1868 and 1876, a phase of his oeuvre that has been neglected or dismissed as a temporary reaction to Impressionism. The first two sections explore the response of Manet{\textquoteright}s contemporaries to his paintings of the 1870{\textquoteright}s and the evolution of critical bias against that work in the twentieth century. The third establishes the nature of Manet{\textquoteright}s art in 1868. The sections that follow describe the evolution that occurred between 1869 and 1873, not in Manet{\textquoteright}s Salon entries, but in a different kind of painting: small canvases, usually of plein air subjects, which were rarely exhibited and had little influence on his Salon paintings of the same period. In these experimental canvases Manet concentrated on specifically modern subjects, gave increasing weight to direct observation, and expanded his technical vocabulary to accommodate natural effects. The year 1873 is identified as a turning point: Manet united what had been two separate strains within his oeuvre. In Le Chemin de Fer and then in the canvases that followed in 1874 and 1875 he synthesized the contemporary, descriptive, and apparently spontaneous qualities developed in his small, private canvases and the formal, monumental nature of his Salon entries. The final two sections offer a focused discussion of Manet{\textquoteright}s work from 1876 until his death in 1883, concentrating on the manner in which he continued to explore, at times separately, the elements synthesized in his work of 1873-75. This thesis argues that the development of Manet{\textquoteright}s art in the early 1870{\textquoteright}s had an internal logic and was not simply a cautious response to Impressionism. Through this development Manet revitalized his art, abandoned the traditional associations of both subject and style of his paintings of the 1860{\textquoteright}s and forged a new approach to the formidable task of creating monumental images of modern life.}, author = {Gribbon, Deborah A.} } @mastersthesis {6748, title = {El Greco{\textquoteright}s Altarpieces: Three Representative Commissions}, year = {1982}, school = {IFA/NYU}, abstract = {Through a careful analysis of three of El Greco{\textquoteright}s largest and most important commissions, I have demonstrated that the artist devised programs which commemorated the specific purposes of the patron institutions and which reflected the orthodox Tridentine theology of his patrons and other Toledan ecclesiastical scholars in their immediate circle. I have utilized such evidence as documents, published and unpublished writings of the patrons, and histories of the relevant institutions to determine the beliefs and circumstances which influenced the artist{\textquoteright}s work. The career of Don Diego de Castilla, Dean of Toledo Cathedral, is reconstructed and related to the altarpieces which he commissioned for Santo Domingo el Antiguo in Toledo (1577-1579), which was to serve as his burial site. El Greco{\textquoteright}s paintings depict the events which made salvations possible and allude to the efficacy of the Mass in redemption and other concerns of the Dean. Documents concerning the early years of the College of Dona Mar({\textquoteright})ia de Aragon in Madrid (1566-1600), an Augustian seminary, have been analyzed in order to determine the history and purposes of its foundation, construction and decoration, and the specific contributions of its many patrons. I have proposed a new reconstruction of El Greco{\textquoteright}s altarpiece for the church, and I have demonstrated that the artist visualized the ideas of the important reformer and mystic, Alonso de Orozco, who served as the first Rector of the College. Apparently, El Greco{\textquoteright}s paintings were intended to serve as visual propaganda in support of the effort to secure canonization for Alonso. The cycle of paintings which El Greco created for the Hospital of Tavera in Toledo (1595-1614) form a carefully conceived iconographical program outlining the history and means of Christian salvation. The writings of the Hospital{\textquoteright}s chief administrator, Pedro Salazar de Mendoza, help one to understand how the program is related to the Hospital{\textquoteright}s concern with preparing its patients for death and the special privileges granted to the institution by the papacy. The study of these three programs reveals how El Greco{\textquoteright}s work fits into the intellectual and religious milieu of Toledo. All of his paintings are shown to conform to the requirements of Bartolome Carranza, Archbishop of Toledo, for theologically accurate, didactically clear, and emotionally stirring art. My investigations indicated that El Greco{\textquoteright}s work shows an amazing fidelity to the beliefs propounded in various theological and devotional writings.}, author = {Mann, Richard} } @mastersthesis {6686, title = {Eliel Saarinen in Finland, 1897-1923}, year = {1982}, school = {UC Santa Barbara}, abstract = {When Eliel Saarinen (1873-1950) began his practice in 1897, Finnish architecture was just beginning to participate creatively in the changes occurring in architectural styles and expectations in England, Europe and the United States. Finland{\textquoteright}s response was strongly colored by its own nationalist movement of the late nineteenth century and further heightened by the oppressive measures of Russification. With the desire to assert national identity through a consciously "Finnish Style," architects initially sought their inspiration from traditional wooden Karelian sources, medieval stone churches and fortresses. Saarinen and his colleagues were instrumental in defining this new style and in leading this nationalist trend to encompass international influences as well. Indeed, the "Finnish Style" was rarely singularly Finnish. Saarinen{\textquoteright}s design for the 1900 Paris Pavilion, while vernacular in spirit, was arguably more influenced by H. H. Richardson, Charles F. A. Voysey and the International Arts and Crafts movement. This heady episode of National Romanticism ended quite abruptly after flourishing only a few years. Saarinen{\textquoteright}s 1904 competition design for the Helsinki Railroad Station marked the turn toward a more international, rational style, one responsive to the needs of the modern age, at least in theory. Peter Behrens and the Austrians Otto Wagner, Josef Olbrich and Josef Hoffmann provided the initial inspiration for Saarinen as his forms became more controlled and subdued. As was true of his German and Austrian contemporaries, Saarinen turned to a clear, disciplined classical idiom (of the early nineteenth century Romantic Classicists), as though to purge his work of earlier romantic excesses. Saarinen{\textquoteright}s own personal style came to be characterized by boldly articulated, simply detailed masonry masses. As his career progressed, Saarinen sought to determine a system of "fundamental forms" and universally valid concepts, which, when properly understood, could be applied to the design of forms from textiles, chairs, and buildings to entire cities. Indeed, Saarinen{\textquoteright}s work for the better part of his long career was firmly rooted in tradition. He saw architecture as part of a continuum and felt that individual creativity could function successfully within an historical or universally valid framework.}, keywords = {19th- and 20th-Century European Art}, author = {Raun, Eva E.} } @mastersthesis {6729, title = {The Emergence of Illustration in Arabic Manuscripts: Classical Legacy and Islamic Transformation}, year = {1982}, school = {Harvard}, abstract = {Despite the great attention which has been devoted to the history of illustrated Arabic manuscripts, the beginnings of such illustration remain unclear. The scant evidence from the 10th through mid 12th centuries has obscured our understanding not only of the beginnings of this phenomenon, but also of the origins of the splendid, fully developed illustrated cycles of the late 12th and 13th centuries. This study will suggest the classical manuscript tradition as a leading contributor in the emergence of illustrated Arabic manuscripts. The nature of this classical influence will be specified, and the identification of classically inspired manuscripts illustration will be tied to an overriding intellectual impulse during the 10th through 12th centuries, stemming from the classical tradition. Thus, this body of illustration will be shown to have unfolded as part of a unified and coherent movement from the 10th through 13th centuries in the area extending from the Nile to the Euphrates.}, author = {Hoffman, Eva Rose F.} } @mastersthesis {6771, title = {The Flamboyant Gothic Church of Caudebec-en-Caux, A Neglected Masterpiece of French Medieval Architecture}, year = {1982}, school = {IFA/NYU}, abstract = {This dissertation studies the architecture and architectural sculpture of the church of Notre-Dame, built between 1426 and ca. 1540, at Caudebec-en-Caux near Rouen in Normandy. Caudebec is a major monument of the French Flamboyant style and as much a rouennais church as its famous contemporary, St.-Maclou. The four major building campaigns are identified and described in detail. The church was begun under English occupation, and until their expulsion in 1449, was clearly a "collaborative" effort. The second campaign was initiated shortly after 1450 under the direction of the master mason Guillaume Le Tellier, whose epitaph provides a comprehensive account of his achievements that must be verified against the testimony of the architecture. Following Le Tellier{\textquoteright}s death in 1484, his successor completed the church ca. 1495. The final campaign involved the enlargement of the church and the erection of a sumptuous facade modelled on the Cathedral of Rouen. This undertaking witnesses the mingling of late Gothic and early French Renaissance styles. A special chapter investigates the sources of the design--which include Amiens Cathedral and the court architecture of the Duke de Berry. The architectural iconography is considered: Caudebec appears a late-Gothic synthesis, combining the classic thirteenth-century High Gothic basilica with the Rayonnant Ste.-Chapelle. The dissertation goes beyond the limits of a monograph in attempting to define the many-sided character of the style flamboyant, to clarify the date of its appearance and its sources as well as to define its relationship to the proto-Flamboyant of the preceding half century. The author proposes that the style flamboyant is not to be regarded as the erratic end phase or the dissolution of French Gothic architecture, but is a logical and progressive outgrowth of the Rayonnant style. It is the ultimate stage in the unification and verticalization of the French Gothic interior. The dissertation establishes unequivocally that a medieval architect could work in two (widely divergent) styles and could do so simultaneously. The final chapter and one appendix are written as a prolegomena to a study of the important stained glass.}, author = {Steinke, William A.} } @mastersthesis {6739, title = {The Floor Mosaics of Stobi and Their Balkan Context}, year = {1982}, school = {Harvard}, abstract = {The study of floor mosaics in the Balkans, where western and eastern Roman cultures met, contributes new insights into the evolution of Late Antique art. The Roman mosaics of the Balkans show diverse influences; no single style dominates. In the Tetrarchic period geometric mosaics with two-dimensional carpet-like patterns from monumental imperial complexes exemplify a Late Antique style based on western Roman precedents. Mosaics from the Constantinian period have somewhat more complex carpet patterns but their figural compositions resemble traditional eastern Roman emblemata. From the later fourth to mid-fifth century, simple geometric floors were the norm throughout the Balkans. Their patterns were gradually elaborated first with abstractedly rendered floral motifs and by mid-fifth century with figures. The second half of the fifth century saw the widespread introduction of large-scale figural panels such as the ubiquitous "fountain of life". Geometric patterns and figures were combined in ever more intricate variations in sixth-century mosaics. Figural scenes with allegories of the seasons or months, hunting scenes, and animal combats are also typical. By mid-sixth century mosaic making declined along with the prosperity of the provincial Balkan cities. The thirty-three floor mosaics at Stobi, a city near the center of the Peninsula, are typical but modest examples of Balkan pavements. Extensive archaeological and architectural evidence supplements an analysis of style in establishing their chronology. The only Roman mosaic discovered at Stobi dates to the third century and has an emblema-type marine composition. The next surviving mosaics are geometric pavements laid in the late fourth century. Stobi{\textquoteright}s early fifth-century prosperity supported four distinct workshops. One remained active there until the sixth century. Its early mosaics have simple large-scale patterns; the designs become more complex by mid-fifth century. During the second half of the century figured geometric carpets and large-scale figural compositions were added to its repertoire. The latest mosaics of the Stobi school are complex polychrome floors including figure carpets laid in the early sixth century.}, author = {Kolarik, Ruth} } @mastersthesis {6687, title = {Form and Structure in Oceanic Art}, year = {1982}, school = {IFA/NYU}, abstract = {Formal/motif regularities are a notable feature of Oceanic as well as of many other "primitive" and "Archaic/Neolithic" art styles. Explanations of these regularities have usually involved diffusion, both through migrations of designs and images from culture to culture and through movement of various cultures themselves (the Dongson, Shang/Chou China, Jomon Japan, etc.). Another possible explanation proposes multiple independent invention resulting from structural similarities in cultures. In this study, a model of the latter sort is assessed through detailed formal examination of art in one locus of these designs and motifs: the Middle Sepik River area of New Guinea; supplemented by study of several other Pacific and non-Pacific art styles. These styles turn out to be based on limited design/image repertoires manipulated by a very few standardized processes according to simple compositional rules. On the basis of these regularities, "grammars" or models of the styles may be constructed. Study of these "grammars" suggests that the formal properties of Middle Sepik art-models duplicate regular formal aspects of Middle Sepik kinship reckoning systems, of social organization, of nomenclatures, and of ritual pattern. Middle Sepik culture in its totality appears to be structurally regular in design. This design regularity is apparent in Middle Sepik art but is itself a feature of Middle Sepik culture at a broader and more fundamental level. Many other present and past art styles seem to involve similar systems of underlying structures and rules: i.e., they may be modelled or described schematically. Such description comprises delineation of elements and statement of rules by which elements are manipulated. Limited repertoires of elements and regularity of manipulative operations are basic to such systems. Some art styles do not exhibit structural regularity of design. Examination of many art styles indicates that there are only two types of art: the structurally coherent or diagrammable and the structurally noncoherent or non-diagrammable. The art-types are seen to correspond, in their cultural distribution, to certain other general characteristics of human culture, suggesting the possibility of using art typologies to formulate useful typologies of culture based on structural features and organization.}, keywords = {Art of Africa, Latin America, and Oceania}, author = {Abramson, Jerry} } @mastersthesis {6773, title = {Four Swedish-American Painters: John F. Carlson, Henry Mattson, B. J.O. Nordfeldt, Carl Sprinchorn}, year = {1982}, school = {Minnesota}, abstract = {The Swedish origins of John F. Carlson, Henry Mattson, B.J.O. Nordfeldt, and Carl Sprinchorn had little influence on their paintings, although its effect was greater on their artistic careers. Swedish-American and Scandinavian-American organizations gave some measure of support to the careers of all four important artists during a period when the artist in America was attempting to secure a position in the country{\textquoteright}s cultural milieu. The four painters were familiar with Swedish art before they emigrated, but its influence ceased when Carlson and Nordfeldt settled in America in the late nineteenth century and Sprinchorn and Mattson in the early twentieth. Each artist pursued his art education in reputable American institutions. American mentors played a significant part in the careers of Sprinchorn and Carlson, but a lesser role on that of Nordfeldt, and none on Mattson. The painters{\textquoteright} relationships to American galleries, to museum exhibitions and competitions, and to other American artists placed their careers in a position comparable to other successful American colleagues at that time. The major difference between American painters and these four immigrant artists was their participation in exhibitions sponsored by Scandinavian-American organizations in Sweden and America. These groups also sponsored tours of Scandinavian art in American museums in 1912, 1915, and 1916, which provided American critics with opportunities to discern Scandinavian characteristics in the canvases of Scandinavian as well as Scandinavian-American artists. There is no documented evidence, however, that any of the four painters saw these displays, although Mattson and Sprinchorn indicated familiarity with Swedish artists. American critics themselves imputed ethnic traits to the works of Sprinchorn, Mattson, Carlson, and Nordfeldt. Landscapes and seascapes were attributed to the painters{\textquoteright} Swedish backgrounds, despite the fact that these were common genres in American art at the time. Reviewers compared the four painters{\textquoteright} works to Scandinavian masters, but most of these parallels were ultimately incidental and superficial. More than anything else, the four artists{\textquoteright} affiliation with the Scandinavian-American ethnic groups gave them a degree of economic and psychological support in their first difficult years of assimilation into American artistic life.}, author = {Swanson, Mary T.} } @mastersthesis {6706, title = {From Drawing to Painting: The Exhibition Watercolor 1770-1870}, year = {1982}, school = {Yale}, abstract = {The purpose of this dissertation is to evaluate the importance of the exhibition watercolor. When exhibitions began in England, watercolor was low in the hierarchy of art, a useful tool for engravers and a cheap form of portraiture. But exhibitions brought watercolor directly to the public eye, and put it in competition with oil painting. This resulted in a revolution of watercolorists{\textquoteright}s aims and means: within a generation watercolor grew from tinted drawing to an ambitious form of painting. Artists formed shows for watercolors alone, where throughout the nineteenth century they exhibited their most impressive works. Watercolor artists changed the nature of patronage, both for oil and their own medium, not only by turning exhibitions into markets for the sale of an artist{\textquoteright}s work, but by encouraging the appreciation of British art in general. The tremendous changes in landscape art which took place c. 1750-1850 were closely tied to the rise of watercolor, and exhibition watercolors help document the growth of landscape from a fact recording genre to one of intellectual and imaginative power. Technical advances in the medium which made it possible for watercolorists to paint more ambitious subjects also changed the procedures of artists in oil, and had an impact on French painting in the 1820s. The phenomenon of the exhibition watercolor was one of the greatest achievements of British art.}, author = {Bayard, Jane} } @mastersthesis {6767, title = {From Francia to Delacroix: The English Influence on French Romantic Landscape Painting}, year = {1982}, school = {UNC Chapel Hill}, abstract = {The purpose of this inquiry is to examine the relationship between Delacroix and England in order to test the validity of commonly held distinctions between French and English romanticism. Given the generally accepted notion that French romanticism principally consisted of figurative painting while English romanticism primarily concerned itself with landscape painting, this paper establishes Delacroix as an important link between the two schools of romantic painting. A relatively unknown painter, Louis Francia (1772-1839), occupied a particularly important place in the evolution of early romantic painting in France. Watercolor was a key element in the development of romantic landscape painting in France, and Francia was the central figure who initiated the exchange between English and French watercolorists. His important associations with major French artists like Delacroix suggested the title of the present study. This examination of the relationship between England and Delacroix has brought to light a large and important aspect of the artist{\textquoteright}s art, namely several hundred landscapes. The documentation substantiates his attraction to English watercolors and how his interest in and contribution to landscape painting represent key elements of his artistic legacy to artists who turned to him for guidance in color and theory. Translated into a table of contents, this analysis of the convergence of English and French romanticism falls under the following major chapter headings: Francia in England, Francia in France, The Relationships between English and French Artists (1816-1831), and The Englishness of French Romantic Landscape Painting. In the first two chapters, the discussion centers on the biographical and critical accounting of the career of Louis Francia. The third details the numerous exchanges of major and minor figures through cross-channel trips, dealerships, exhibitions, and collections which contributed to a new naturalism in French painting. The final chapter documents Delacroix{\textquoteright}s role as a landscape artist and as the leader of an atelier which included many artists who promoted English styles. English watercolor styles, newly arrived in France, facilitated the delicate balance between naturalism and fantasy. They encouraged painting en plein air, while at the same time they liberated painters from the rational idealism of the Franco-Italian tradition. The French Romantic Landscape was in part the result of this exchange.}, author = {Smith, Colin S.} } @mastersthesis {6770, title = {Genium 10: Benedicti Castilionis lanuen: The Paintings of Giovanni Benedetto Castiglione (1609-1663/65)}, year = {1982}, school = {Chicago}, abstract = {No abstract in ProQuest}, author = {Standring, Timothy J.} } @mastersthesis {6750, title = {Gestures in Attic Vase Painting of Late 6th and Early 5th Centuries B.C.}, year = {1982}, school = {Michigan}, abstract = {The two goals of this work are (1) the compilation of a lexicon of the gestures used on Attic vases between 550 and 450 B.C. and (2) the establishment of several ways this lexicon can be used to investigate the relationships between vase painters and the development of gestures as a means of expression. The lexicon was compiled by recording gestures found in published photographs of vases. The gestures collected were classified according to their forms. The possible meanings of each form were determined by the contexts in which they were used. The individual uses of gestures were arranged chronologically in these sub-groups and listed by the painters who used them. Uses on unattributed vases were included in the chronological system. Each entry therefore displays the history of the use of individual forms in various meanings. This historical organization allows the lexicon to be used to examine the sources of the various gestures used by a particular artist. Thus, the elements of his vocabulary of gestures can be placed within traditions, demonstrating the artist{\textquoteright}s reliance on earlier works, his innovations and his influences on succeeding generations. The vocabularies of a series of artists gives insight into the growth and alteration of the vocabulary of gestures. The lexicon data is used in each of the ways mentioned to examine two important problems in the history of Attic vase painting. First, the separate identities of the inventor of the red-figure technique, the Andokides Painter, and his black-figure collaborator the Lysippides Painter, are demonstrated by their consistently different use of gestures. The effect each artist had on the repertoire of gestures is also examined. Second, the profusion of gestures found in the black-figure works of the Antimenes Painter and the Leagros Group is contrasted with the rarity of gestures in the works of the red-figure Pioneers. It is concluded that the Pioneers, in effecting great changes in drawing, altered the momentum in the development of the repertoire of gestures at the end of the sixth century. This makes it possible to distinguish between a black-figure and a red-figure vocabulary of gestures at this time. Appendices list the letters used to code the formal elements of gestures, the vocabularies of gestures recorded from the works of artists studied and those vases from which gestures were recorded, but which do not appear in the works of Beazley.}, author = {McNiven, Timothy} } @mastersthesis {6708, title = {G.F. Watts, A Solider in the Battle for an Art of Ideas}, year = {1982}, school = {UIUC}, abstract = {The thesis of this dissertation is two-fold: it argues that throughout his career Watts{\textquoteright} work iconographically reflects the ideas of such thinkers as Carlyle, Arnold, Tennyson, Darwin, Drummond, Spencer and Mill, and that his aesthetic theories both descend from late eighteenth-century neoclassical theorists and foreshadow the abstract intentions of modernism. Chapter one amalgamates various accounts of Watts{\textquoteright} early life to present a more complete view of this often neglected formative period. On a more theoretical level, the sources of many of his assumptions about the nature and function of art are traced to the writings of Reynolds, Flaxman, and Fuseli. Chapter two presents the first historical and theoretical account of Watts{\textquoteright} involvement with the Pre-Raphaelites. The dilineation of his relationship to Arnold and Ruskin helps to clarify his stand in the controversy between realism and idealism, while emphasizing the fact that although he was an idealist interested in abstractions, he remained committed to an artistic involvement in social issues and moral concerns. Chapter three establishes Watts{\textquoteright} position on the didactic possibilities of art, defining his leading role in the revival of interest in Hellenic subjects, and addressing his beliefs concerning the analogy of art to music, the nude, l{\textquoteright}art pour l{\textquoteright}art, and the Royal Academy. His later life and his sacrosanct contemporary reputation are briefly recounted in chapter four, along with the effects on his work of his Darwinian rejection of traditional Christianity and his hopes for the reformation of institutional religion in line with a {\textquoteright}natural religion{\textquoteright} of altruistic love. Chapter five probes his conception of art as a phophetic vehicle for social progress and explores his treatment of the themes of love, death, mystical imperialism and the heroic sentiment. In the conclusion reasons for the immense fluxuations in Watts{\textquoteright} reputation are assessed and his relationship to the symbolist movement in Europe is traced. His position as a pioneer modernist is asserted and a plea is made for a recognition of his contribution to the idea that art is a spiritual emblem of the mind of man.}, author = {Board, Marilynn L.} } @mastersthesis {6695, title = {The Grabow Altar of Master Bertram von Minden}, year = {1982}, school = {Brown}, abstract = {This study is a monograph on the Grabow (Petri) Altar of Master Bertram von Minden now in the Hamburg Kunsthalle, which is dated 1379-83 and is the earliest documented German Schnitzaltar. Although Master Bertram{\textquoteright}s powerful figural style has long won him a reputation as the "Giotto" of German painting, little scholarly attention has previously been given the altar per se. Chapter I examines both the historical background of the retable (which was originally the high altar of the St. Peter{\textquoteright}s Church in Hamburg) and its formal characteristics. Also discussed are the innovations which distinguish the altar{\textquoteright}s design, including its close references to metal work and its relationship with earlier winged altar retables. Chapter II proposes a new interpretation of the altar{\textquoteright}s program. Iconographic analysis of the painted wings reveals that the narrative closely reflects Augustinian textual sources, chiefly De Civitate Dei and De Genesi Ad Litteram. The first two panels (ordinarily labeled the First and Second Days of Creation) actually represent the Beginning of the Earthly and Heavenly Cities. The individual compositions are rich in iconographic invention, particularly the past panel, which is the first instance of the Rest on the Flight into Egypt based on the placement of the Madonna of Humility in a landscape setting. As a whole, the narrative elucidates the historical incompatibility of the City of God and the city of man, presenting the viewer with numerous moralizing contrasts between good and evil. The altar interior contains sculptured apostles, saints and prophets arrayed about a Crucifix: the assembled community of the Heavenly City as it appears out of time, in eternity. As such, the sculpture is a variation of Allerheiligenbild, here probably influenced by ideas expressed in a treatise written by a later exponent of Augustine{\textquoteright}s philosophy, Giles of Rome (c. 1247--1316), a fourteenth century copy of whose Tractatus de predestinatione, prescienta, paradiso et inferno was among the holdings of the St. Peter{\textquoteright}s Church library. As Chapter III demonstrates, the identification of the Grabow Altar{\textquoteright}s innovative iconography and Augustinian orientation enable new consideration of its place within a broad historical context.}, keywords = {Byzantine and Medieval Europe}, author = {Dube, Elizabeth H.} } @mastersthesis {6755, title = {Gustave Geffroy and the Criticism of Painting}, year = {1982}, school = {Stanford}, abstract = {The subject of this dissertation is the art criticism of Gustave Geffroy (1855-1926), one of the most distinguished French critics of the last two decades of the nineteenth century. Though his writings are often quoted in surveys and monographs on the art of the period, they have never before been examined in depth. The present study makes use of his polemical writings and his criticism of all media to establish his aesthetic viewpoint, but it limits its focus to the criticism of painting as a paradigm of his critical practice. The dissertation is divided into three parts. The first treats Geffroy{\textquoteright}s biography, emphasizing his relationships and activities in the art world, his identity as a Naturalist writer, and his career as a journalist. The second part constitutes an attempt to define his aesthetic creed: his notions of the creative process, of the general principles of the work of art, of the relation of art to society, and of the role of the critic. His ideas are put into the context of nineteenth-century aesthetic and social thought and, in particular, of the Naturalist and Symbolist currents of his immediate milieu. The third part, comprising three chapters, examines his critical practices as applied to painting. The first chapter, on the Salon, focuses on Geffroy{\textquoteright}s attitudes towards subject matter and the traditional pictorial genres. The last two chapters, on Impressionism and Post-Impressionism, are close readings, in chronological order, of his reviews of select artists or movements. In all of Part Three the ideas previously elaborated in the discussion of Geffroy{\textquoteright}s aesthetics are brought to bear on his criticism of specific artists and works. The conclusion looks at the limits of the critic{\textquoteright}s understanding and taste as they are strikingly apparent in his articles on the Salon d{\textquoteright}Automne of 1905, where the Fauves made their debut and twentieth-century art was launched. The entire study is an interpretation of Geffroy{\textquoteright}s criticism, but it is also a selection and presentation of writings that otherwise would be buried in old newspapers and volumes of limited availability, for which reason the texts are quoted at length in the original French.}, author = {Paradise, Joanne C.} } @mastersthesis {6694, title = {Hendrick Martensz. Sorgh: A Painter of Rotterdam}, year = {1982}, school = {Penn State}, abstract = {Hendrick Martensz. Sorgh (1610/11-1670) was a Rotterdam painter who until now was best known for his representations of tavern interiors and other themes of low life genre. In these subjects he followed in the tradition of Brouwer and Teniers, and was therefore considered a follower of these artists, a view which must be regarded as too narrow and in need of revision. The present study examines the painter{\textquoteright}s development through the four decades of his artistic activity and the influences which shaped his work. It includes a catalogue raisonne and a discussion of the available documentary evidence, and thus presents a first comprehensive view of his life and work. Sorgh emerges as a painter of great discipline and consistency, whose interests ranged from tavern scenes and domestic genre representations to history painting, portraits, and marines. His earliest works were barn and stable interiors with prominent still lifes and a few figures, and these clearly derive from the native Rotterdam tradition initiated by Herman Saftleven, and to a lesser extent by his brother Cornelis. Teniers, who also was an early practitioner of this form of genre, was not a decisive factor in Sorgh{\textquoteright}s earliest development. Later, both Brouwer and Teniers became important sources of inspiration for Sorgh. His best paintings, however, are the kitchen and market scenes, in which he worked entirely outside the peasant genre tradition. They focus on the sober, orderly life of the Dutch housewife as she performs her household duties. The qualities which govern her domestic life are also imposed upon the animated activities of commercial settings, transforming them into metaphors of contemporary life and its values. In these works he was able to fuse the style of his history paintings, in which a certain classicism always lingers, with simple genre scenes.}, keywords = {Baroque and 18th-Century Europe}, author = {Schneeman, Liane Truetsch} } @mastersthesis {6743, title = {The Iconography of Mary Magdalen: The Evolution of a Western Tradition until 1300}, year = {1982}, school = {IFA/NYU}, abstract = {The gospels provide a glimpse of an intriguing personality, Mary Magdalen. Her existence is affirmed but with such paucity of detail as to invite amplification. Her role is defined but with such ambiguity as to beg to be explained and interpreted. The early writers of the church provided the interpretation and the piety and enthusiasm of the faithful amplified her story until she became a figure of independent prominence. The Mary Magdalen legend as it evolved, provides a text-book example of hagiographic development: incidents from one person{\textquoteright}s life are regularly borrowed for another, characteristics of one saint are recklessly applied to a different saint. Thus, the legend grows with accretions from a wide variety of even improbable sources. Mary Magdalen{\textquoteright}s essentially malleable role lends itself to adaptation as an example of a wide range of lessons and models. She is the symbol of the church and the symbol of the contemplative life. She is an example of apostolic activity and the model penitent. She is the converted sinner and faithful friend. Changing emphasis within Church teaching as well as the changing needs of the times, influenced the direction of her evolving portrait. However, the legend does not receive its visual representation until the thirteenth century when a particular set of circumstances provided both the climate and the impetus. The re-emergence of the eremitic ideal plus the stress placed on private penance within the Church, when coupled with the rise of the Dominican and Franciscan order and the concomitant flowering of hagiographic portraiture, provided the context for the full flowering of the legend in the work of the Magdalen Master.}, author = {Larow, Magdalen} } @mastersthesis {6753, title = {The Iconography of Saint Margaret of Cortona}, year = {1982}, school = {George Washington}, abstract = {Saint Margaret of Cortona (1247-92) is the "Mary Magdalen" of the Franciscan order. A typical Medieval penitential saint, she is almost exclusively revered by the Franciscans and in the province of the city of Cortona. This dissertation presents a comprehensive discussion of the iconography of Saint Margaret of Cortona in art from the fourteenth century through the twentieth century. The majority of the works discussed are in locations detrimental to their preservation, and photographs were obtained with great difficulty. With few exceptions, they are unpublished. As the spiritual attitudes changed from one historical period to another, so did the popularity of certain themes and modes of pictorial representation. Frequently the iconography of Saint Margaret relates to that of other saints with whom she was associated, such as Mary Magdalen or Saint Francis. Chapter I consists of a summary of the saint{\textquoteright}s life, which is primarily based on an account compiled by her confessor, Fra Giunta Bevegnati. Other sources, such as the Acta Sanctorum, the Biblioteca Sanctorum, and the Leggendario Francescana were based on Fra Giunta{\textquoteright}s account with supplementary information. Chapter II comprises the narrative cycles depicting the saint, among them the fourteenth-century tomb of Margaret, its technical merits discussed in literature, but its iconographical content ignored. Masters Ambrogio Lorenzetti and Barna da Siena executed a fresco cycle of the saint, now lost, but of which copies are found in an unpublished manuscript in Cortona. Chapter III enumerates the relatively few individual narrative works of the life of the saint. Chapter IV explores the representations of Margaret as a penitent, a visionary, and an intercessor. The renowned works of the saint are ecstasies and visions by the Baroque masters Lanfranco, Guercino, Crespi, and Pietro da Cortona. One of the latter{\textquoteright}s works illustrating the saint is in a cloistered convent and has not previously been considered by scholars. This chapter deals comprehensively with prominent painters, and traces the native tradition of Cortona into the twentieth century. Chapter V presents a discussion of the single iconic images of the saint and a relatively rare iconographical type, the Nell{\textquoteright}Urna (artistic representation of the incorrupt body of the saint in the casket).}, author = {Nightlinger, Elizabeth B.} } @mastersthesis {6719, title = {The Ideal Port and the Concorsi Clementini of 1728, 1732, and 1738 at the Accademia di San Luca in Rome}, year = {1982}, school = {Penn State}, abstract = {The Concorsi Clementini of 1728, 1732, and 1738 in architecture, the only instances between 1725 and 1750 of the prestigious student competitions conducted by the Roman Academy of St. Luke, were all devoted at the most advanced level to port city planning. Although not connected to a specific commission, the successive topics of a large piazza overlooking a coastal harbor, an entire maritime city, and an urban river port can be generally related to the constant concern for Civitavecchia, the home port of the papal fleet, and the anticipated renovation and enlargement of the Adriatic port of Ancona, envisaged as the key to the economic revival of the Papal States. The prizewinning projects are examined in the light of the tradition of the ideal port city as reflected in architectural treatises and reconstructions from antiquity, and more cogently from the standpoint of port planning during the preceding hundred years throughout Europe, from the scenographic "Palazzata" harbor facade at Messina to the huge undertaking of the new maritime capital of St. Petersburg. The legacy of various French precedents, among which are to be included the creation of the river port of Rochefort, Puget{\textquoteright}s ambitious projects of the 1680{\textquoteright}s for a harbor piazza at Marseille, and, as of 1728, the planning of the Place Royale at Bordeaux, is particularly significant and supports the conclusion that Antoine Derizet, the academician responsible for the soggetti of 1732 and 1738, also drafted the theme of the 1728 competition. The decorative quality of the projects was symptomatic of 18th-century waterfront planning, as exemplified by the elegant Tiber landing at the Porto di Ripetta, inevitably influential in the harbor designs of the competitions. The mid-century examples of the place royale in Paris, Copenhagen, and Lisbon demonstrate the continuing fascination with the conjunction of piazza and waterfront, and give further confirmation to the timeliness of the academic competitions.}, author = {Cousins, Windsor F.} } @mastersthesis {6714, title = {The Impact of 17th-Century Dutch and Flemish Genre Painting on American Genre Painting, 1800-1865}, year = {1982}, school = {Delaware}, abstract = {Seventeenth-century Netherlandish painting enjoyed great popularity in the United States prior to the Civil War, and genre painters were especially receptive to this pictorial tradition. Americans responded keenly, because social, political, and economic parallels existed between the seventeenth-century Dutch republic and nineteenth-century America. Both societies developed mercantile middle classes which sought definition, in part, in literal artistic representations of their world. Thus, Americans embraced the older tradition of art and modeled their taste for contemporary painting on it. As a commitment to the arts flourished in major cities along the Eastern seaboard, art institutions and private individuals began to form collections, and Dutch and Flemish art had particular appeal. Americans were attracted to the accurate depictions of the tangible world. Many collectors also admired this phenomenon in American paintings, and comparable examples of Dutch and American art co-existed within a single collection. Americans could see and learn about the art of the Low Countries in many ways. Netherlandish art constituted a noticeable presence in exhibitions and the auction trade. Furthermore, exposure was sustained through keen interest in engravings after paintings and illustrations in treatises, gallery guides, and periodicals. Travel abroad permitted the most direct contact with the Old Masters, and artists were the major beneficiaries. They not only saw the great paintings in public and private collections, but they also could copy them. Such scrutiny was instructive and provided needed income. Among genre painters in the first half of the nineteenth century, the response to seventeenth-century Dutch and Flemish art struck a widely divergent chord. Some manifested a strong theoretical interest; while others exhibited a profound artistic reaction. In addition to the numerous American artists who appreciated the Dutch style, a great many immigrating European artists brought with them an admiration for this earlier northern tradition. Thus, utilizing a multiplicity of approaches, the genre tradition in America established a substantial framework with a solid foundation in the art of the seventeenth-century Netherlands.}, author = {Clark, Henry N.} } @mastersthesis {6707, title = {Influences of Ancient Roman Wall Painting on Late 13th-Century Italian Painting: A New Interpretation of the Upper Church of S. Francesco in Assisi}, year = {1982}, school = {Brown}, abstract = {t is generally believed that not until the discovery of Nero{\textquoteright}s Domus Aurea around 1400 was a significant influence of Ancient Roman wall-painting exerted on Italian art. It is proposed here that ancient Roman wall-painting was influential centuries before this, as evidenced by the painting of the upper church of S. Francesco in Assisi. Many elements of the decoration here can be traced back to sources in ancient Roman wall-painting. For some of these, such as spatial concepts and painted architectural motifs used to frame scenes, there are forerunners in the centuries between the decline of ancient Roman wall-painting and the decoration of the upper church. However, it is in the later thirteenth-century, and especially in the upper church, that these elements return to more genuinely antique forms. Other elements, such as small decorative architectural motifs, including little figures, garlands, and lattice-work structures, and certain compositional concepts and aesthetic principles, appear in the upper church seemingly without earlier medieval intermediaries. Thus ancient mural elements appear in the upper church via routes of varying directness. Two major and interrelated ideas emerge. First, in the late thirteenth-century the medieval conception of pictorial space and the means of creating pictorial depth are profoundly altered. The wall surface is illusionistically penetrated and made transparent. It is known that a similar spatial concept existed in ancient Roman wall-painting. Yet up to now there has been no effort to make concrete the relationship between ancient and late thirteenth-century pictorial space. Proceeding from the spatial alterations is a second and equally profound change in the conception of artistic harmony in the late thirteenth-century. There is a rapid move away from the homogeneity of the Romanesque depictions of materials, and the treatment of pictorial space and the picture plane as synonymous. Instead, in the upper church there is established a complex series of transitional and linking devices that form a new range of relationships between the elements within the scenes; between pictorial space and the wall surface; and between the scenes and their surroundings, i.e., the actual architecture and space of the upper church as well as the spectator.}, author = {Benton, Janetta R.} } @mastersthesis {6745, title = {An Inquiry into the Graphic Background, Iconography and Structure of the 1535 Coverale Bible Title-Border}, year = {1982}, school = {Penn State}, abstract = {The early history of the graphic arts in England is a relatively unexplored subject. This inquiry examines several aspects of the problem using the publication of the Reformation title-border of the 1535 Coverdale Bible, attributed to Hans Holbein, as the chief graphic effort and culminating masterpiece of the period. While ever mindful of the close continental connections, there is an attempt to describe the kinds of prints published in England, or for the British public, prior to 1535. Some attention is focused on the questionable role which William Caxton played in the initial publishing of ephemera. After presenting this background, the focus turns to the Coverdale title-page itself. Every attempt is made to relate the findings of modern art historical, historical, biblical and bibliographical research to the examination of the iconographical content and formal design of the border. The intertwined roles and attitudes of Henry VIII, Thomas Cromwell and Hans Holbein are analyzed in detail. In addition, new information is presented on the design and development of two emblems, the "Enthroned Monarch motif" and the Tetragrammaton, which became popular and significant symbols in English topical prints, book illustrations and title-pages.}, author = {Linker, Anita Kaplan} } @mastersthesis {6712, title = {Iron Skin: The Symbolism of Bamana Mud Cloth}, year = {1982}, school = {Yale}, abstract = {"Iron skin: The Symbolism of Bamana and Cloth" is a study of Bamana (Bambara) culture based on a detailed analysis of mud cloth patterns and their symbolism. Both techniques and traditional compositional rules are analyzed in terms of their relationship to Bamana conceptions of human personality. Given this basis for discussion, the historical development of mud cloth styles is considered. First the ornate, {\textquoteright}Islamic{\textquoteright} style of the Central and Northern Beledougou is analyzed in relation to Berber patterns of the Sahara desert. This complex style which evolved from centuries of contact with Islamicized Berbers is considered to be the high point of mud cloth design and is labelled {\textquoteright}classical{\textquoteright}. Secondly, another much older and simpler style, epitomized by the N{\textquoteright}Gale pattern, is analyzed in terms of geographic distribution oral history and written historical data. This {\textquoteright}archaic{\textquoteright} style is found to originate among the Minianka in Southeastern Mali. The persistence of the {\textquoteright}archaic{\textquoteright} style in the Central Beledougou, the rituals in which it is used and its geographic distribution suggests that it formed a base on which the complex, {\textquoteright}classical{\textquoteright} style of the Central Beledougou could take shape. That this {\textquoteright}archaic{\textquoteright} style originated among the Minianka suggests that a far larger proportion of Bamana are actually of Minianka blacksmith descent than has hitherto been thought. The geographic dispersion of the Minianka blacksmiths with their {\textquoteright}archaic{\textquoteright} style of mud cloth design is attributed to slavery and the Bamana are seen as being an ethnic group whose identity is intimately linked to an economy based on slave labor. Finally, the ritual functions of "red" cloth are discussed. "Red" cloth is found to be used by both men and women in situations which require the shedding of blood. In symbolic terms the mud cloths which absorb ritual blood become {\textquoteright}children{\textquoteright}. Whereas women paint mud cloth, symbolically re-enacting the process of childbirth, men construct ritually charged assemblages which function as their {\textquoteright}children{\textquoteright}. The cloth itself is perceived as skin. Because the skin is the visible wrapping which encloses human spirit it is believed to possess enormous spiritual power, and this power is automatically transferred to its symbolic substitute: mud cloth. Several essential themes recur. These themes are: the importance of slavery in the history of the Bamana people, the balance between male and female power in Bamana society, the role of ritualized violence in the shaping of human personality and the overwhelming importance of human procreation as a model for artistic creation. (Abstract shortened with permission of author.)}, author = {Brett-Smith, Sarah} } @mastersthesis {6692, title = {Johan Tobias Sergell and Neoclassicism: Sergell{\textquoteright}s Years Abroad, 1767-1779}, year = {1982}, school = {Iowa}, abstract = {Johan Tobias Sergell (1740-1814), a major Neoclassical artist produced his most significant works in Rome during an eleven year period, 1767-1778. He rose to fame as the foremost sculptor in Europe, according to contemporary accounts, ranking among the important artists of the 1770s, Anton Raphael Mengs, Pompeo Batoni and Giovanni Piranesi. Sergell claimed he was the "first young sculptor who had dared to solely follow nature and the principles of the ancients." His realistic Neoclassicism retains Baroque characteristics, differing from the second phase of Neoclassicism, represented by Antonio Canova. Sergell received his first training in the workshop of his father, Christopher Sergell, a German embroiderer at the royal court in Stockholm. Later Sergell worked mainly under Pierre Hubert L{\textquoteright}Archeveque in the project of rebuilding and decorating the Royal Palace in Stockholm. He finished his training in Rome studying the art collections in palaces and villas and at the French Academy. In 1768 he made a study trip to Naples. This study in two parts is the first in English. Part One includes formal analyses and interpretations of the meaning of thirty-seven works created during the years in Rome. Sergell{\textquoteright}s working process, his training and development are discussed. His artistic relationship with such artists as Henry Fuseli, Julien de Parme and Nicolai Abildgaard with whom he stood in continuous contact has been treated. Reports from travelers to Rome, such as Jacob Jonas Bjornstahl, Christian Mannlich and Ozias Humphry reflect the contemporary scene. Information about Sergell{\textquoteright}s patrons has been included. Part Two, a catalogue raisonne, describes the thirty-seven works in thematical order, two works on Biblical themes, twenty-four sculptures on classical themes (including one reattribution) and eleven portrait busts and medallions. The study is accompanied by 139 illustrations, including comparisons with works by Sergell{\textquoteright}s fellow artists. The main part of Sergell{\textquoteright}s work is in Sweden, the greatest part in the National Museum in Stockholm. Finland owns the first marble version of Sergell{\textquoteright}s most famous work, the Faun, 1774. Other works are in the Louvre and the Victoria \& Albert Museum.}, keywords = {Baroque and 18th-Century Europe}, author = {O{\textquoteright}Brien, Elvy S.} } @mastersthesis {6718, title = {Josiah Wedgwood: His Role as a Patron of Flaxman, Stubbs and Wright of Derby}, year = {1982}, school = {Rutgers}, abstract = {In addition to being the most innovative potter of his time, Josiah Wedgwood (1730-95) played a significant role in the development of Neoclassicism in England. Through his patronage of John Flaxman, George Stubbs and Joseph Wright of Derby, Wedgwood had a profound effect on the work of these artists, and on the direction of British art in the latter part of the eighteenth century. This contribution, although it is acknowledged in the literature, has never been studied in depth. Wedgwood discovered the young sculptor, John Flaxman, in the 1770s. Flaxman{\textquoteright}s flat, linear relief style, which was to have an important influence on European Neoclassicism, evolved under Wedgwood{\textquoteright}s close supervision. Wedgwood chose the subjects to be treated, and provided sources, both literary and visual, for Flaxman to work from. In the 1780s Wedgwood made ceramic tablets for the enamel paintings of George Stubbs. In partial payment for these, Stubbs made for Wedgwood two reliefs: Fall of Phaeton and Horse Frightened by a Lion. Scholars have not previously noted that under Wedgwood{\textquoteright}s direction, Stubbs{\textquoteright} detailed, painterly designs were altered to the simpler, more linear forms of Neoclassicism. Joseph Wright of Derby painted two Classical subjects for Wedgwood in the 1780s: the Corinthian Maid and Penelope Unravelling her Web. An examination of the correspondence that passed among the patron, artist and their circle clears up some controversy over the meaning of these works. The Corinthian Maid is shown to represent--appropriately for Wedgwood--the origin of modelling, not of painting as was previously believed. Some literary and visual sources for these paintings are also suggested here for the first time. Never before has the full range and depth of Wedgwood{\textquoteright}s interaction with these three major British artists been considered at length in a single work. The picture that emerges is one of a patron who, though strong willed, was sometimes disposed to collaborate with the artist to produce a work that neither man could have done alone.}, author = {Cossa, Frank} } @mastersthesis {6736, title = {Kim Hong-do, a Late Yi Dynasty Painter}, year = {1982}, school = {Stanford}, abstract = {Kim Hong-do was called the "divine brush of our time" during his lifetime by Kang Se-hwang, the leading scholar, painter and connoisseur of the 18th century. Kim{\textquoteright}s extant works show that he was the most versatile artist in the history of the Yi dynasty. He painted a wide range of subjects, each time using a different painting style suited to the particular subject, reflecting the taste of the Yi court on the one hand and on the other the stylistic conventions which came to be associated with specific subjects in Korea. His contribution and innovation in the history of Korean painting can be more accurately measured when the pictorial traditions he inherited and the artistic milieu of his own time are better understood. In Chapter I, therefore, the introduction of various Chinese pictorial styles of Yi dynasty painting and their adaptation into Korean pictorial tradition are examined through the written sources and extant paintings. Chapter II is devoted to an analysis of the artistic achievement of the 18th century Yi dynasty. The three most significant happenings discussed in this chapter are the spread of the Southern School painting tradition, the development of the chingyong sansu, and the introduction of western painting techniques. Chapter III is devoted to a study of his life. Based on the dated writings in the Tanwon Yumuk the dates of his birth and death have been established as 1745 and before 1818. Using inscriptions and other written materials an attempt has also been made to establish his patrons, circles of friends and duties as a court painter. Chapter IV consists of a discussion of Kim{\textquoteright}s works in the two major Korean collections--the National Museum of Korea and the Kansong Museum of Art in Seoul. His works are divided into different categories, and an attempt has been made to translate the inscription on each work and place undated works in a chronological order based on the stylistic analyses of the eleven dated works. The paper is brought to a conclusion with a short chapter (V) summing up his pictorial styles.}, author = {Kim, Kumja P.} } @mastersthesis {6688, title = {The Landscape Painting of Lawren Stewart Harris}, year = {1982}, school = {Columbia}, abstract = {Lawren Stewart Harris was born in Brantford, Ontario in 1885 and died in Vancouver, British Columbia in 1970. During the first half of his artistic career (1904-30) he was a landscape painter. He studied painting in Berlin between 1904 and 1907 where he received an academic training and experienced his first attraction to modern art and to mystical thinking. The main traditions that he brought back from Germany were an urban-oriented Realism, which he had acquired from his teacher Franz Skarbina (1849-1910) and from Skarbina{\textquoteright}s friend Max Liebermann (1947-1935); and a wilderness-oriented regionalism which he had derived from his Heimatkunstler models, his teacher Fritz von Wille (1860-1941), Paul Thiem (1858-1922), Walter Leistikow (1865-1908) and others. In Part I of the dissertation, which is chronologically organized, I study Harris{\textquoteright}s transformations of both these traditions into brightly colored, thickly pointed decorative modes during his first decade as a Canadian painter. Then, in 1918, Harris had a nervous breakdown which was a crucial turning point for his life and for his art. He emerged from this crisis with a decisive orientation toward mysticism. In Part II of the dissertation, which is arranged thematically, I study his later transformations of these painting traditions and his published and unpublished writing as he moved from realism and regionalism in his art and his thinking toward a universalizing idealism. He gradually abandoned the urban landscapes and concentrated on austere treatments of the more northern wilderness areas of Canada, culminating in a trip to the high Arctic in 1930. Important for an understanding of Harris{\textquoteright}s painting was his interest in mystical theories about life, nationalism and art, about which he wrote at some length. For his ideas he drew on transcendentalist, theosophical and other sources. Between 1930 and 1934, Harris passed through a second, though milder, crisis during which he stopped painting. When he began painting again he would be away from Canada, and he would paint not urban landscapes nor even simplified, spiritual renderings of wilderness landscapes, but abstractions.}, keywords = {Art of the U.S. and Canada}, author = {Larisey, Peter D.} } @mastersthesis {6751, title = {The Landscape Paintings of John Wootton (1682-1764): Painter of the Augustan Age}, year = {1982}, school = {Columbia}, abstract = {This study of John Wootton, who is primarily known as a sporting artist, establishes him as England{\textquoteright}s first significant landscape painter. Although scholars have accepted that a native landscape tradition emerged only after the middle of the 18th century, Wootton{\textquoteright}s landscape paintings show the roots of that tradition to be a generation earlier. While we still know little of his early life, the substantial patronage that assured his long career developed from early connections with the aristocracy, for as a youth he was apparently page to Lady Anne Conventry, who lived near his birthplace in Warwickshire. His early training was under John Wyck; the prevalent belief that he studied in Italy now appears unlikely. Clearly authenticated paintings are known only from 1714. This study establishes a framework for dating undated works, and then, decade-by-decade, analyses the characteristics of his style and the various influences that formed it. Although Gaspard and Claude were his predominant models, Wootton adapted their classical landscape idiom, making it relevant to the English Augustans. His didactic and ironic tone reflects Augustan moral and aesthetic values and is a distinctive feature of his literary landscape sensibility. His use of metaphor and allusion is the equivalent visual language to that of the poets (Pope, Prior, Gay) and the landscape gardeners (Bridgeman, Kent), who were his close friends. Shifts after mid-century, from an aristocratic to a broader base of artistic patronage, and from contrivance to verisimilitude in the depiction of nature, distinctly transformed the content of classical landscape painting; Wootton and the Augustans were superseded. Nevertheless, the next generation of painters remained committed to the classical landscape genre, which he had grounded in English taste in the early 1720s. Moreover, as the first artist to adapt the pastoral model to the representation of English rural scenery, Wootton shaped the subsequent perception of the English countryside, having crafted that vision for his patrons from pictorial conventions he had discerningly assimilated from abroad. Appendices comprise: (I) Last Will and Testament; (II) catalogue of his collection of paintings sold in 1761; (III) letters by and relating to him; and (IV) an analysis of how he signed his paintings, with examples of his signature.}, author = {Meyer, Arline} } @mastersthesis {6776, title = {The Life and Sculpture of Mahonri Young}, year = {1982}, school = {Penn State}, abstract = {During the first decades of the twentieth century Mahonri Young was one of the leading figures in the realist movement in American sculpture. His statuettes of laborers and working men gained for him his early reputation, and along with his sculptures of prize fighters of the nineteen-twenties, made for him a permanent place in the history of American art. Mahonri Young, a grandson of Brigham Young, was born in 1877 in Salt Lake City where he received his first art training and worked as a newspaper artist. He then continued his studies at the Art Students League in New York City and then at the Academie Julian in Paris. Young lived the majority of his life in the Eastern United States and yet maintained close ties with his native state. As a result, many of his major sculptural commissions were for the Mormon Church and the State of Utah. Since his death in 1957 little has been published on Mahonri Young and his sculpture. It is the purpose of this thesis then to do a study of Mahonri Young{\textquoteright}s life and work as a sculptor, and to analyze that work and place it in the artistic milieu of his time.}, author = {Toone, Thomas E.} } @mastersthesis {6787, title = {The Life and Work of John Quidor}, year = {1982}, school = {Yale}, abstract = {John Quidor is one of America{\textquoteright}s foremost literary painters. His reputation rests upon his thirty-two extant paintings which are derived primarily from the legends of Washington Irving. Although many nineteenth century artists painted one or more scenes from Irving{\textquoteright}s popular legends, Quidor was the only artist to paint these scenes throughout his long career. In contrast to conventional illustrators, Quidor relies upon the literary narrative as a point of departure for a more spirited and often more penetrating interpretation of a scene or character. The dissertation combines a traditional monographic approach and a period study of the artist. The analysis of the artist{\textquoteright}s work focuses primarily upon three issues. First, what is the precise relationship between Quidor{\textquoteright}s paintings and their literary sources? Second, to what extent and in what ways did the artist use popular prints in the development of his art? And finally, what was the artist{\textquoteright}s reputation in the nineteenth century? The dissertation demonstrates that Quidor is a surprisingly sophisticated artist in both his interpretation and depiction of literary texts and his use of pictorial sources. Moreover, Quidor was not an unknown figure in the New York art world. Throughout most of his career, he maintained a local and sometimes regional reputation. The dissertation consists of five chapters as well as appendices of contemporary documents and a catalogue raisonne, including new additions to the artist{\textquoteright}s oeuvre.}, author = {Wilson, Christopher K.} } @mastersthesis {6726, title = {Liturgy and Narrative in the Earliest Illustrated Lives of the Saints: Hanover Niedersachsische Landesbibliothek MS 189}, year = {1982}, school = {Johns Hopkins}, abstract = {The origins and nature of the earliest illustrated saints{\textquoteright} lives have not been adequately characterized in art historical literature. Wormald{\textquoteright}s short essay in the Bulletin of the John Rylands Library presented the problem but left many pressing questions unanswered. The more obvious of these questions include: Why were such illustrated lives in manuscripts produced in abundance from the tenth to eleventh centuries? Why were these lives supplied with ever more lengthy cycles of illustrations? And, how might one characterize the intent, concerns, and accomplishment of the artists of these cycles? Hanover Niedersachsische Landesbibliothek Ms. 189 served as an excellent focus for this study. It is the earliest of the libelli of saints{\textquoteright} lives, that is, a small manuscript dedicated to the life of only one, or as in this case, two saints. The lives included in the luxury manuscript, those of Kilian and Margaret, supply examples of two different types; the former, a bishop (and martyr), the latter a virgin and martyr. Iconographic studies of the illustration of their lives show the artist{\textquoteright}s concerns for highlighting the special qualities of each type. The artist also thoroughly reinterpreted the lives for their possible liturgical significance. He carefully constructed cycles of illustration which re-represented the sanctity of Margaret and Kilian. The sort of narrative he creates is unique to hagiographic texts and illustrations. Although the Hanover manuscript is itself a product of the Fulda scriptorium c. 975, it supplies clear indications of an interest in saints and hagiographic art which can be shown to have originated in the Carolingian period and even earlier. Historical developments in the cult of the saints explain the ninth-century efflorescence of hagiographic concerns. The Hanover manuscript itself was intended to be read by women and may have been produced for a women{\textquoteright}s foundation. Two other saints{\textquoteright} life libelli of the tenth century may signal a development in the patronage of such manuscripts. This thesis is intended as much more than a study of a single manuscript. It is to be hoped that art historians of any period may find in it valuable insights on methods with which to approach the artistic representations of saints and their deeds.}, author = {Cynthia J. Hahn} } @mastersthesis {6721, title = {Makers of the American Watercolor Movement 1860-1890}, year = {1982}, school = {Yale}, abstract = {The history of watercolor painting in America took a decisive turn in 1866, upon the founding of the American Watercolor Society. In the fifteen years following the organization of this group, dozens of American artists took up watercolors and exhibited work at the Society{\textquoteright}s annual show. The sudden popularity of the medium in the early 1870s built to a peak of interest about 1882, when two rival watercolor exhibitions were staged in New York. The sources of this sudden enthusiasm, and the dynamic of the movement itself, are the central topics of this study. Six important artists of this period have been chosen to tell the many sides of this story: Winslow Homer, W. T. Richards, George Inness, Thomas Eakins, Edwin A. Abbey and John La Farge. Each artist is studied individually, at length, to determine the sources of their work in watercolor and the personal logic of their development in this period. At the same time, each painter is compared to the others and related to the movement at large, in order to reveal qualities or attitudes shared by many artists at this moment. As an ensemble, the group creates a survey of style and technique in American watercolor from about 1860 to 1890, demonstrating the influence of Ruskin, Turner, American "Luminism," Spanish-Italian watercolor, Barbizon "Tonalism", pleinairism and Impressionism. Larger social and professional concerns, such as the rise of illustration, the clubbiness of the period, the Arts and Crafts movement and the professionalization of the art world are shown to be critical to the work of all these painters and the growth of watercolor in America in the 1870s.}, author = {Foster, Kathleen A.} } @mastersthesis {6713, title = {Mark Rothko{\textquoteright}s Subject Matter}, year = {1982}, school = {Yale}, abstract = {Like some other artists of the New York School, Mark Rothko insisted on the importance of subject matter to his art, even after his paintings became highly abstract. According to Rothko, his subject matter was "the human drama" and "human emotions." This thesis suggests how Rothko{\textquoteright}s mature paintings may be said to have subject matter and what the substance of that subject matter may be. Rothko{\textquoteright}s interest in the "universal" theme of myth--the theme of the human life cycle--is closely examined. The conclusion is drawn that the subjects immanent in Rothko{\textquoteright}s mature paintings concern the life cycle: birth, death, rebirth; and the microcosm-macrocosm correspondence: the structure of the human figure as it mirrors the structure of the universe. It is shown that Rothko{\textquoteright}s Surrealist pictures treat these themes in ways that essentially conform with Western pictorial tradition; and that the mature paintings retain the basic traditional structures of, for example, Pieta scenes or portraits. Rothko{\textquoteright}s mature paintings are said to constitute "image-signs" or visual analagons of such scenes and of the structure of the human form as it parallels the (conventionally delineated) structure of the universe: the microcosm-macrocosm correspondence.}, author = {Chave, Anna C.} } @mastersthesis {6761, title = {Masolino da Panicale and Early 15th-Century Painting}, year = {1982}, school = {Bryn Mawr}, abstract = {No record in ProQuest}, author = {Roberts, Perri} } @mastersthesis {6760, title = {The Master of the Legend of Saint Lucy: A CATALOGUE AND CRITICAL ESSAY (BELGIUM)}, year = {1982}, school = {Pennsylvania}, abstract = {By inventing the Master of the Legend of Saint Lucy in 1902, Max Friedlander identified a body of work by the hand of this anonymous artist. By 1928, Friedlander had assembled the first catalogue--twenty-two objects--of the artist{\textquoteright}s works. Since then, the oeuvre has almost been doubled. After an introduction tracing the growth of the oeuvre, the present study begins by reviewing the paintings to reassess their relationship to the author of the Legend of Saint Lucy in Saint James{\textquoteright} Church in Bruges. The characteristics of the artist{\textquoteright}s hand are extracted from this eponymous painting and a small group of closely related paintings. These characteristics and broader stylistic considerations determine a catalogue of works assignable to the Lucy Master that is smaller, yet more cohesive than previous catalogues. They also permit the identification of an assistant{\textquoteright}s hand. Some questionable paintings are removed from the Lucy Master{\textquoteright}s oeuvre, while several paintings and some drawings are newly assigned to him. The second chapter is concerned with a chronology of the Lucy Master{\textquoteright}s paintings, as established by both in- and extrinsic evidence. From the chronology, an assessment is made of his stylistic development. Chapter three reviews the many borrowings which appear in this eclectic artist{\textquoteright}s works and concludes with observations about his training. The question of Spanish influence and patronage is discussed in chapter four. One--and possibly two--trips to Spain by the Lucy Master are projected. Certain relationships with Italian art and patronage are also considered. In the final chapter, an hypothesis is offered about the identity of the Lucy Master. What may be deduced about the life of the Lucy Master is compared to the life of an artist known only in documents. The circumstantial evidence is bolstered by stylistic similarities between the Lucy Master{\textquoteright}s paintings and a sculptural ensemble on which his proposed alter ego--Jan de Hervy-- is known to have worked. The study concludes with two appendices: a catalogue raisonne of the Lucy Master{\textquoteright}s paintings and the documents reconstructing the life of Jan de Hervy.}, author = {Roberts, Ann} } @mastersthesis {6723, title = {The Mid-15th Century Stained Glass by Andre Robin in St. Maurice Cathedral, Angers}, year = {1982}, school = {Columbia}, abstract = {No abstract in ProQuest}, author = {Gilmore-House, Gloria} } @mastersthesis {6758, title = {The Most Appropriate Style: The Development of Modern American Architecture}, year = {1982}, school = {Cornell}, abstract = {Following the establishment of the International Style in America in the 1930{\textquoteright}s, the years from 1893 to 1933 came to be seen as ones of unrelieved architectural retrogression. It became a cliche that the 1893 Chicago Fair buried an early American initiative toward modernism in skyscraper design and cast a pall of insipid eclecticism over American architecture for forty years. It is the conventional assumption that at the end of this period American architecture was delivered by the intervention of European avant-garde ideas. The American architectural writing of this period, however, reveals that such advanced notions as functionalism and the expression of structure were intensely debated during these years by the very architects and critics who have long been considered reactionaries. The European modernist insistence that "style" was irrelevant to an architecture entirely redefined was foreign to thinking in America, where eclecticism remained vital, as did the conception of style as a distinctive decorative or formal treatment of surface. Therefore, when modernism appeared in America, it was regarded as one more style; when Hitchcock and Johnson analyzed European modernist forms they described them as "The International Style." It is the thesis of this study that contrary to the conventional view, American architectural thought and practice between 1893 and 1933 gradually reconciled anomalous ideas and unprecedented phenomena with traditional attitudes and expectations. Evidence for this interpretation is to be found in both theory and practice: in writing as well as in the variety of styles applied to the skyscraper, the uniquely American architectural form. American architects were thus prepared to assimilate European modernism as a style. At the same time, a distinctive American variant of modernism--the skyscraper style--was developed by the fusion of eclecticism and the International Style.}, author = {Pokinski, Deborah F.} } @mastersthesis {6757, title = {Nardo di Cione and the Stozzi Chapel Frescoes: Iconographic Problems in Mid-Trecento Florentine Painting}, year = {1982}, school = {UC Berkeley}, abstract = {This study re-examines traditional assumptions about mid-Trecento painting through analysis of two frescoes by Nardo di Cione in the Strozzi Chapel, Santa Maria Novella, Florence. These two paintings, one of hell and one of paradise, were chosen because they represent distinctive and significant artistic problems in this era. In the absence of extant contracts or other documentation for the frescoes{\textquoteright} commission, an inclusive historical framework is used to determine the roles of patron and religious advisor in the planning of the chapel{\textquoteright}s decorative program. The specifics of the commission are hypothesized through investigation of the Strozzi family activities bearing upon their religious life and their relationship to Santa Maria Novella. The advisors{\textquoteright} roles in the selection and implementation of iconographic sources is argued through investigation of Strozzi family members and Dominican clerics associated with the chapel, in light of what is known about contemporary attitudes toward the sources. The complex function of these works of art is determined by considering the accessibility of the works and their political overtones. This broader historical treatment allows the interpretative skill of the artist and his own creative contributions to the effectiveness of the paintings to be more fully understood. Nardo{\textquoteright}s representation of hell, based on Dante{\textquoteright}s Inferno, preserves many of the aesthetic and religious principles of the text through invented pictorial equivalents. Nardo also subtly adjusts his depiction to the location and function of the fresco. His visual interpolations reveal important differences between the creative modes of literature and art. In the paradise fresco, Nardo presents complex theological concepts of St. Thomas Aquinas. His appreciation of human behavior and appearance enables him to enliven a theologically elaborated beatific vision, and his knowledge of religious practices lends veracity to the scene for the contemporary viewer. This analysis establishes that not all mid-Trecento painters are simply retardataire traditionalists, but sophisticated and inventive artists responsive to the varied needs of their time.}, author = {Pitts, Frances L.} } @mastersthesis {6689, title = {A New Deal for Art in Southern California: Murals and Sculpture under Government Patronage}, year = {1982}, school = {USC}, abstract = {The art market, never particularly strong in the United States, was among the first casualties of the stock market crash of 1929 and the economic depression that followed. With decreasing private patronage and little hope for work within the art community, thousands of artists were forced to find employment in nonrelated, labor intensive industries or, failing that, to seek relief. As part of President Roosevelt{\textquoteright}s primary campaign to employ able-bodied workers, his New Deal legislation included support for professional and white-collar workers such as artists. Roosevelt{\textquoteright}s support of artists marked the first time the federal government had given aid to individual artists rather than to the production of specifically commissioned works. In Southern California, the introduction of the federally sponsored art programs was enthusiastically greeted by members of the art community. The need and desire for artists to work was met with an equal desire to demonstrate support for the president{\textquoteright}s programs. This enthusiastic support was manifest in the success of the public (mural and sculpture) projects in Southern California. Artists provided works that not only met the national criterion of the broad American scene style but appealed to community interests as well. Common themes included references to the agricultural and urban worker, California history, and outstanding local and national leaders. This dissertation provides a document of federal support in Southern California with special emphasis on the mural and sculpture divisions. The works are discussed in terms of community application, function, and location rather than providing broad stylistic analyses. These works must be seen in the context of the community needs that fostered them to truly comprehend their significance for the period. Included with the written text is a catalog of murals and sculpture produced in the Southern California region under the three major art projects active there. The catalog entries include artist, provenance, and the current status of the work in question. Accompanying the catalog are photographs of as many works as possible, providing a visual, as well as textual, record of the region.}, keywords = {Art of the United States (except Photography and Film)}, author = {Wyman, Marilyn} } @mastersthesis {6780, title = {Painted Pottery from the Greek Mainland Found in Egypt, 650-450 B.C.}, year = {1982}, school = {IFA/NYU}, abstract = {The focus of this dissertation is on painted pottery from Corinth, Attica, and Laconia found in Egypt. (Although Boeotian and Euboean painted vases may have been exported to Egypt in antiquity, it cannot be established that vases of either fabric have been excavated from Egyptian soil). The catalogue comprises over 1,200 vases and fragments of certain or probable Egyptian provenience most of them heretofore unpublished. The greatest number are Attic: approximately eight hundred fifty are Attic black figure; more than one hundred are Attic red figure; fifteen are Attic black-patterned lekythoi. Corinth is represented by somewhat more than two hundred pieces, Laconia by about fifty. Most of the vases and fragments come from Naukratis, but Tel Defenneh, Memphis, Alexandria, Mendes, and other scattered sites in the Delta, Sinai, and Upper Egypt also yield examples. Corinthian pottery is the earliest mainland fabric imported into Egypt; a few pieces possibly date as early as the mid-seventh century, although most of the Corinthian imports are of sixth century date. The most intense period of Attic exportation to Egypt was the first third of the sixth century. The workshops of the Gorgon Painter, the Ceramicus Painter, the Komast Group, Sophilos, and the Polos Painter each exported more vases to Egypt than to any other overseas region. Given the slight number of vases exported overseas from Attica in the early years of the sixth century, the number of vases and fragments found in Egypt is exceptional and is perhaps related to the relatively meager exportation to Egypt by Corinth. Most of the Laconian vases found in Egypt date between 570 and 550 (although some of the black-glazed kraters with patterned rims are later), and the greatest number are by the Boreads Painter. The large number of vases by the Boreads Painter found on Samos, and the slight number found at North African sites other than Naukratis, raise the possibility that these vases reached Egypt from Samos, rather than directly from Laconia or via Cyrene.}, author = {Marjorie Venit} } @mastersthesis {6784, title = {Painting and Patronage at the Mongol Court of China, 1260-1368}, year = {1982}, school = {UC Berkeley}, abstract = {The Mongol rulers of the Yuan dynasty became actively involved with the visual arts, and this involvement constitutes an important chapter in the history of court painting and patronage in China. Textual evidence concerning their collections and commissions is presented in the first two chapters of this dissertation. The last two chapters examine the achievements of three professional painters who served the Yuan court. The official collections are introduced through the offices responsible for their management: the Imperial Library (Mi-shu chien), the Pavilion of the Star of Literature (K{\textquoteright}uei-chang ko) and the Pavilion for the Revelation of Literature (Hsuan-wen ko). Discussion of these offices includes consideration of the contributions of the emperors Wen-tsung and Shun-ti and officials such as K{\textquoteright}o Chiu-ssu and K{\textquoteright}ang-li Nao-nao. A section is also devoted to the influential collector Princess Sengge. Lists of paintings in the imperial collections and belonging to the Princess, compiled on the basis of seals, court records and literary references, indicate the nature of the Mongols{\textquoteright} artistic inheritance and permit some assessment of their aesthetic predilections. A brief review of the state of the arts under Qubilai{\textquoteright}s predecessors provides a background for a survey of imperial commissions from 1260 to 1368. The religious arts, portraits and various types of decorative, didactic and documentary pictures were sponsored by the court throughout this period. In citing commissions for such works, note is again taken of the styles and subjects preferred, and reasons for these preferences are proposed. The three professional artists discussed are Ho Ch{\textquoteright}eng, Liu Kuan-tao and Wang Chen-p{\textquoteright}eng. Ho Ch{\textquoteright}eng and Liu Kuan-tao were active during Qubilai{\textquoteright}s reign, and were known for their figure paintings. Wang Chen-p{\textquoteright}eng, who served Jen-tsung and Princess Sengge, was celebrated as a chieh-hua master. . . . (Author{\textquoteright}s abstract exceeds stipulated maximum length. Discontinued here with permission of author.) UMI}, author = {Weidner, Marsha S.} } @mastersthesis {6759, title = {The Paintings of Milton Avery}, year = {1982}, school = {Virginia}, abstract = {The American painter Milton Avery (1893-1965) created a body of work virtually unique in American art in which the aesthetics and vision of the late nineteenth century were gradually translated into a fully modern, twentieth century form. Avery began his career in the second decade of the twentieth century in and around Hartford, Connecticut. There he developed a painting style working directly from nature and using a palette knife technique influenced by Ernest Lawson. In the 1920s, Lawson was supplanted as an influence by John Twachtman, whose tonally structured palette Avery adopted. When Avery moved to New York in 1925, he abandoned his early, Impressionist-influenced style but retained important lessons from his youth--observation of nature in all its aspects and reliance on color and shape as his formal tools. He began to use sketches as the basis for his oil paintings and watercolors instead of painting directly from nature, and worked extensively in gouache, drypoint and etching. By the mid-thirties, his painting style of interlocking planes of flat color, enlivened by calligraphic use of the brush, had evolved. As a result of a trip to the Gaspe Peninsula in Canada in the summer of 1938, Avery{\textquoteright}s landscape style changed dramatically, incorporating a more abstract handling of pictorial space and increased use of expressive, non-local color. In the 1940s and early 1950s, Avery continued to explore familiar themes but with a new boldness of composition and richness of color. He travelled widely, responding to each new locale with refinements in his painting style. In his paintings done at Provincetown, Massachusetts in the last four years of the 1950s, all of the various aspects of Avery{\textquoteright}s art, both formal and thematic, found a new level of expression in the largest and most abstract canvases of his career. Yet even as Avery pushed his art to the edge of abstraction, he continued to rely on direct observation of nature, compositional formulae and motifs present throughout his career.}, author = {Price, Marla} } @mastersthesis {6725, title = {Photo-Realist Painting}, year = {1982}, school = {Princeton}, abstract = {The activities of several living artists who have been grouped together by critics because they all make paintings that closely resemble photographs are documented in this thesis. That the Photo-Realists, who have been active since the mid-1960s and centered primarily in New York and the San Francisco Bay Area, base their paintings directly on photographs and transparencies rather than on direct observation is the crucial issue of their art, distinguishing it from past forms of realism. Section II deals with the impact of both photographic vision and history, as well as the rise of the mass media, on Photo-Realism. Generally, critics partial to abstract art have dismissed Photo-Realism, charging that its artists slavishly copy photographs and that it is merely a minor offshoot of Pop art. This author set out to examine, after investigating the art historical origins of the movement (Section III), and within the context of a general survey of Photo-Realist painting (Section IV), the critical presumptions concerning the alleged cohesiveness and purposeful uniformity of the movement. However, after perhaps the most extensive series of interviews ever conducted with the principal Photo-Realists--including Audrey Flack (3 interviews), Robert Bechtle (3), Chuck Close (2), and Richard Estes (1) (each the subject of a lengthy profile {Section V})--the author found that although the artists are united in their use of a common tool (camera), their attitudes toward photography, technique, and subject are widely divergent; attitudes range from Audrey Flack{\textquoteright}s intense emotionalism to Don Eddy{\textquoteright}s phlegmatic investigations of perception. Moreover, the artists interpret (add, subtract, or otherwise alter) their photographic source material. Indeed, painting issues are of primary importance, while the camera is viewed as a means to an end. Through their commitment to the act of painting, engagement in perception, and involvement in subject matter, the Photo-Realists have created a serious, earnest art in which the stature of the painting medium is reasserted. The ultimate importance of Photo-Realism lies in its role as a bridge linking the abstract realism and jokiness of Pop to the subsequent flowering of realisms in the later seventies. Photo-Realism has helped bring about a new legitimacy for the realist enterprise in art.}, author = {Guggenheim-Wilkinson, Eileen} } @mastersthesis {6704, title = {The Pictorial Treatment of Architecture in French Art 1731-1804}, year = {1982}, school = {IFA/NYU}, abstract = {After about 1740, the importance of architectural subject matter in French art increased dramatically. Pictures of buildings, both intact and in ruins began to appear with such frequency that, when considered en masse, they constitute a genre as separate and distinct as portraiture and still life. Like these more traditional genres, the pictorial architecture of the late eighteenth century appeared in a variety of forms and with varying degrees of fantasy and verism. During the most fertile period, from c. 1740 to c. 1790, dramatic transformations took place in the traditional perceptions of structure and function, as artists took a fresh look at the expressive and emotive properties of architecture. It was this exploration of the long-overlooked eloquence of buildings that was the enduring legacy of the architectural painters. This dissertation explores the tradition of architectural representation from three points of view (all thematically linked) corresponding to the three chapters. These are; the tradition of ruin painting in France, French architectural fantasy, and the innovations in architectural representation at the Royal Academy of Architecture. All are approached from the standpoint of the cult of nature. Through their pictorial treatment of architecture, painters and architects sought to reveal essential truths about their culture and human existence--truths that could not be communicated as eloquently by constructed edifices. The first chapter treats ruin painting related to the cult of ruins that was also very strongly manifested in literature. Architectural fantasy is explored through its traditional aspects (derived from the theatrical decorateur tradition and the Italianate forms of the veduta ideale and the veduta di fantasia) and the radical-leaning French innovations in outlandish fantasy. Architectural fantasy was also carried on at the Royal Academy of Architecture in Paris, but in a more high-minded way. This artistic phenomenon, in which depictions of architecture were separated from their traditional functions (either as decorations or project drawings) was rather short-lived. But during its most vital period, architectural motifs were studied with unmatched interest. This resulted in spectacular innovations of form and content and, in the author{\textquoteright}s opinion, some of the earliest manifestations of romanticism in French art.}, author = {Bandiera, John} } @mastersthesis {6785, title = {Pittura e Misericordia: The Oratory of S. Giovanni Decollato in Rome}, year = {1982}, school = {Harvard}, abstract = {The Confraternity of S. Giovanni Decollato, a brotherhood of Florentine residents of Rome, was founded in the late fifteenth century to give comfort and assistance to condemned prisoners in their final hours. The expressed aim was to save the souls of the condemned by ensuring that they died in a state of Grace--penitent and confident of salvation, redeemed by the sacrifice of Christ. The oratory in which the members held meetings and conducted religious services was built in the mid-1530{\textquoteright}s, below the Campidoglio on what is today the Via di S. Giovanni Decollato. Next to it is the Church of S. Giovanni Decollato, also built by the confraternity, which, though perhaps begun before the oratory, was not completed until the mid-1550{\textquoteright}s. The oratory was decorated between 1536 and 1553 with frescoes by Mannerist painters--mostly Florentine--representing the life of St. John the Baptist, patron Saint of the Confraternity and of Florence, a statue of the Baptist over the entrance, and an altarpiece of the Descent from the Cross, flanked by frescoed figures of the Apostles Andrew and Bartholomew. Decoration of the church was begun only in the year that the oratory decorations were completed. This attests to the importance of the oratory and its decorations to the patrons. It is also significant that the construction and decoration of the oratory were accomplished between the mid-1530{\textquoteright}s and the mid-1550{\textquoteright}s--the period which saw the foundation of the Jesuit Order, the establishment of the Roman Inquisition, and the opening of the Council of Trent--in short, the initiation of the Catholic Reformation. The oratory decorations can be fully understood only when considered in the immediate context of the activities of the Confraternity and in the larger context of mid-sixteenth century Rome. However, previous discussions of the literature have focused on style and on the importance of the oratory paintings in the development of Roman Mannerism. The emphasis has been on the individual artists, rather than the program or patronage, and very little attention has been paid to the meaning or function of the paintings.}, author = {Weisz, Jean S.} } @mastersthesis {6722, title = {Regional Styles in Cypriote Limestone Sculpture}, year = {1982}, school = {Harvard}, abstract = {This study gathers together all of the excavated sculpture from the site of ancient Idalion, Cyprus. A stylistic analysis of the sculpted human figures from Idalion yields a detailed description of the carving style of that region, on the basis of the facial features of the statues and statuettes. A brief examination of works from Vouni, Salamis and Kition follows. The Idalion sculptural style is contrasted with the styles of distant Vouni and nearby Salamis, and compared with the style of Kition. Since almost all of the limestone sculpture from Cyprus is cultic in nature, certain conclusions about cult participation may be drawn. This study reveals that some cults, as at Vouni and Salamis, received only locally made votive gifts. Others, such as the cult of Aphrodite at Idalion received votive offerings from a wide variety of ancient cities. It is suggested that this implies that some cults were of interest only to local worshippers, while others drew worshippers from all over the island. In the course of this study the traditional dating of Cypriote sculpture is revised. A distinction is made between the history of production of terracotta votive figures and limestone votaries. Finally, the stylistic features which characterize Cypriote sculpture as a whole in the Archaic period is included.}, author = {Gaber-Saleton, Pamela} } @mastersthesis {6754, title = {The Restoration of the Chateau of Dampierre: Ingres, the Duc de Luynes and an Unrealized Vision of History}, year = {1982}, school = {Yale}, abstract = {The largest commission which Ingres undertook during his lifetime was for the pendant murals of l{\textquoteright}Age d{\textquoteright}or and l{\textquoteright}Age de fer; the paintings were a central part of the restoration of the chateau of Dampierre begun in 1839. This study examines the work itself and the other new decorations created for Dampierre in the belief that l{\textquoteright}Age d{\textquoteright}or cannot be understood outside of the context for which it was created. By making known one of the few surviving decorative cycles from the July Monarchy, it further attempts to clarify the concepts of history painting and monumental decoration during this period. A chronology of the restoration enterprise demonstrates Ingres{\textquoteright} key role in defining the decoration surrounding his works. As a polymath, the patron also determined fundamental aspects of the program{\textquoteright}s expression. An investigation of the literary and pictorial sources underlying the new decorations helps define the "classicism" which the artists and patron strove to achieve; their reformulation yields a personalized vision of history which is a complex statement of artistic, political and moral doctrine. Although the causes of Ingres{\textquoteright} inability to finish the commission are not fully known, his obsessive quest for perfection is revealing. Through the style, subject matter and scale of the murals and their setting, Ingres and the Duc de Luynes sought to create a work which would confer upon them the divine status of their most cherished models. The Duke{\textquoteright}s dream to sponsor a decorative program rivalling the Renaissance remained unrealized, as Ingres failed to give form to his utopian vision.}, author = {Ockman, Carol J.} } @mastersthesis {6741, title = {The Romanesque Frescoes in the Church of Saint-Martin at Nohant-Vicq}, year = {1982}, school = {Yale}, abstract = {This dissertation focuses on one of the most extensive and well-preserved ensembles of Romanesque mural painting in central France. About thirty large narrative scenes and non-narrative figural compositions together with great architectural perspectives and ornamental friezes compose a nearly complete pictorial program that spans the eastern portion of the church of Saint-Martin at Nohant-Vicq. Although included in surveys of medieval painting and treated summarily in a few articles, the Vicq paintings have not yet been the subject of a comprehensive investigation. The study at hand throws new light on various dimensions of the frescoes and on ways in which the monument as a whole relates to the contemporary ecclesiastical and intellectual landscape of the lower Berry. Examination of the physical processes according to which the frescoes were executed permits insight not only into the artist{\textquoteright}s working habits, but also into the interdependence between painting technique, style and the organization of the pictorial program. Despite the lack of a body of monumental or miniature painting directly related in style to the Vicq frescoes, research on the available comparative material suggests that the painter was trained in an artistic tradition indigenous to the Loire valley. Analysis of several unstudied documents from the twelfth century in conjunction with already published acts of donation establishes the historical context of the Vicq paintings. The evidence indicates that the parochial church of St.-Martin was a relatively important possession of the Benedictine abbey of Deols and that the monastic patron repeatedly undertook to protect its interests in the parish from the claims of rival ecclesiastical institutions. Moreover, the affiliation between Vicq and Deols is reflected in the manner in which some of the imagery was conceived. The unusual iconography of one scene in particular appears to draw specifically from treatises composed at the abbey by the monk Herveus. The chronology of these texts provides a guide in dating the frescoes within the second quarter of the twelfth century.}, author = {Kupfer, Marcia A.} } @mastersthesis {6697, title = {The Romanesque Sculpture of St. Caprais}, year = {1982}, school = {Yale}, abstract = {The city of Nevers saw a considerable flourishing of church building in the eleventh and twelfth centuries. Relatively few of these structures survive, however, and what does stand today displays very little of what was a substantial output of sculptural decoration in that period. The former Cluniac priory of Saint-Sauveur, destroyed in 1838, was a modest twelfth-century building which belonged to one of the smaller monastic establishments of the city, but from it survives the fullest document of sculpture from Romanesque Nevers. A study of the style of the sculpture of Saint-Sauveur, now housed in the Musee de la Porte du Croux in Nevers, reveals a homogeneous body of sculpture of high quality dating to the middle of the twelfth century. These capitals, corbels, and a tympanum and lintel were carved by an atelier composed of a master who had carved capitals of the tribune story of the narthex and perhaps the Romanesque west facade of the abbey church of Vezelay on the northern border of the Nivernais, as well as, perhaps, a stonecarver who had worked earlier in Nevers itself. The stamp of this atelier may also be seen in Nevers in corbel sculpture of the chapel of Saint-Michel of the Benedictine convent of Notre-Dame de Nevers. Analysis of the iconography of the Saint-Sauveur sculpture, which included a remarkable sculpted "bestiary" on the nave capitals and a particularly pointed emphasis on the powers of the apostle Peter in sculpture from the crossing and transept portal, gives more specific indication of the background and intentions of the Cluniac patrons of the sculpted decorations of Saint-Sauveur. As well, it may pinpoint the historical moment of the conception of the sculpture to the years around 1152. The collection of fragments from Saint-Sauveur emerges as the creation of an atelier working in an old and rich Romanesque idiom but touched also by a newer aesthetic and by intellectual concerns which scholars commonly associate with early Gothic works. Indeed, the Saint-Sauveur sculpture was soon to be followed in Nevers itself by works closely related to the dramatic contemporary innovations in the sculpture of the Ile-de-France.}, keywords = {Early Christian, Byzantine, and Medieval Europe}, author = {Wands, Frances Terpak} } @mastersthesis {6720, title = {Runographer{\textquoteright}s Style in the Context of 11th Century Upplandic Memorial Art}, year = {1982}, school = {Minnesota}, abstract = {This study concerns the work of Fotr, a carver of ornamental runic memorials in eleventh-century Uppland, Sweden. Its essential problem is the identification and analysis of Fotr{\textquoteright}s individual artistic style within the wider tradition of Upplandic memorial art of the late Viking period. Its methodological goal is the synthesis of established runographic techniques of attribution with the most recent types of art historical stylistic analysis. In Chapter I, the Upplandic {\textquoteright}rune-stone style{\textquoteright} is defined through a preliminary formal analysis and contrasted with other Scandinavian regional styles of the eleventh-century. Problems of relative and absolute chronology are discussed and an outline of the development of the Upplandic tradition is advanced. Chapters II and III take up Fotr{\textquoteright}s signed works and on the basis of stylistic and textual evidence in them assess around fifty attributed carvings. Chapter IV discusses the matter of Fotr{\textquoteright}s circle of followers, in particular the work (signed and attributable) of his son Dorgautr. In the concluding Chapter (V) evidence for Fotr{\textquoteright}s place in relative chronology is advanced and a period of activity ca. 1040-60 suggested. The development of Fotr{\textquoteright}s individual style is carefully established, within the limitations of the evidence, through an ordering of typo-stylistic groups. In summary, Fotr{\textquoteright}s style is characterized as an essentially conservative, yet definitive manifestation of the Upplandic idiom, distinguished by the artist{\textquoteright}s technical skill and great formal clarity.}, author = {Crocker, Kyle} } @mastersthesis {6710, title = {Saxo-Norman {\textquoteright}Overlap{\textquoteright} Architecture: Castle and Church Building in Mid-11th Century England}, year = {1982}, school = {Harvard}, abstract = {In the study of architectural style change in mid-eleventh century England, the Norman Conquest has been viewed as the chief causal element, and the year 1066 has been used as the chronological dividing line between the two styles of Anglo-Saxon and Anglo-Norman. In fact, the new Anglo-Norman style appears in England before the Conquest, and Anglo-Saxon elements persist well into the eleventh and twelfth centuries. The sources for the new style can be traced not only to Normandy, but to various regions of Europe, as well as to native Anglo-Saxon tradition. This dissertation considers the mid-eleventh century as a transitional period, and attempts to reconstruct the chronology of style change, and to examine the political and cultural context for architectural change. Major and minor churches are investigated, as well as early castles. Documentary sources and archaeological sources provide some evidence for dating, and typological arrangements of building features provide further relative chronologies. The major body of evidence consists of a group of transitional or "overlap" buildings that share features of the old Anglo-Saxon and the new Anglo-Norman or Romanesque styles. This blending of features, my study demonstrates, occurs at various times before and after the Conquest. The mid-eleventh century in England should thus be viewed as a rich transitional period which participated in the wider European development of a new Romanesque architectural style.}, author = {Bonde, Sheila A.} } @mastersthesis {6747, title = {The Sculpted Metopes from the Temple of Apollo at Bassai}, year = {1982}, school = {Minnesota}, abstract = {The temple of Apollo at Bassai was embellished with two sets of sculptured metopes, six each for the Doric friezes above the pronaos and the opisthodomos. Fragments of the metopes discovered in 1812 are now in the British Museum and the National Museum in Copenhagen; fragments discovered during the excavations by the Greek Archaeological Service between 1902 and 1908 and under the direction of N. Yalouris since 1959 are now in the National Museum in Athens. For this study, all the sculpture from the temple has been examined, and 128 fragments have been assigned to the metopes on the basis of thickness of the marble slab, anatomical scale or sculptural style. Most fragments were recovered in 1812. Accounts by members of the expedition indicate that two large fragments, of a woman being seized around the neck and a seated old man, were discovered south of the temple. Two other large fragments, of a dancer with krotala and a kithara player, were probably discovered north of the temple. In addition to the two fragments from the south, fragments of related subject matter, another rape scene and three fleeing women are assigned to the south metopes to form a rape of the daughters of Leukippos. The north metopes are reconstructed as Apollo{\textquoteright}s return from the land of the Hyperboreans. The god arrives dressed as a traveller from the north, and leads a dance of goddesses. Other deities and a hero look on. Both subjects have a regional appeal. The rape of the Leukippidai was localized to neighboring Messenia, while the north metopes include several local deities and a hero linked to the cultivation of crops. The style of the metopes indicates a single sculptor and suggests as date in the last decade of the fifth century B.C., a period of peace in southwestern Arkadia. Comparison of the style and subjects of the metopes with those of the Ionic frieze from the temple reveals differing styles among the sculptors, but a unified sculptural program.}, author = {Madigan, Brian C.} } @mastersthesis {6734, title = {Sculptural Programs and Propaganda in Augustan Rome: The Temple of Apollo on the Palatine and the Forum of Augustus}, year = {1982}, school = {Harvard}, abstract = {An analysis of the literary descriptions and the archaeological remains of the Temple of Apollo on the Palatine and the Forum of Augustus. It is designed to explore the function of sculpture and its message-bearing potential in Augustan Rome. The introductory chapter sets the background for this examination by summarizing the evidence for the use of sculpture as a means of visual communication during Rome{\textquoteright}s earlier history. The second chapter focuses on Octavian{\textquoteright}s first true sculptural program at the Temple of Apollo on the Palatine. It was with good reason that the temple was popularly known as the temple of the Actain Apollo for all the decorations reflect the Actium victory theme. This includes the set of recently discovered archaistic terracotta revetment plaques. Though such "Campana" plaques are usually thought to be merely decorative, in this context they have meaning in both style and content. The other sculptures from the temple, known from literary testimonia--the ivory door panels showing the Niobids and the sack of Delphi, the cult statues, and the statues of Danaus and his fifty daughters, the Danaids--are all demonstrated to be integral parts of Octavian{\textquoteright}s Actian message, at one with contemporary poetry in its depiction of the victory over Antony and Cleopatra. Equally, the Forum of Augustus was a realization of central tenets of the Augustan regime. The examination of the exterior sculpture in this case centers on an element of the program that has not been thoroughly discussed in previous studies: the historical portrait gallery of summi viri known from inscriptional and sculptural remains. The hemicycles of the Forum--a major display space for these portrait statues--are related to Greek heroa. The multiple selection factors for the heroes included are considered. The program is discussed in terms of the functions of the Forum. As at the Temple of Apollo, the cult statue group here is a dramatization of the theme found in the exterior program: apotheosis by virtus. Concluding remarks deal with the legibility of both programs and the cumulative message of each in terms of the viewer{\textquoteright}s experience.}, author = {Kellum, Barbara A.} } @mastersthesis {6735, title = {The Sharp Focus Vision: The Daguerreotype and the American Painter}, year = {1982}, school = {UIUC}, abstract = {In 1839 the French government publicly announced L. J. Daguerre{\textquoteright}s process for permanently fixing the image of the camera obscura. While artists throughout the world were affected by the new medium, the daguerreotype played a particularly important role in the experience of American painters. Not only did this early form of photography find its most receptive audience in America, but its most loyal patrons as well. During the 1840s and 50s when Europeans approved the more "painterly" paper calotype prints, Americans held firm in their preference for the pictures made on polished silver plates. The peculiar properties of the daguerreotype process created a unique kind of vision unprecedented for its miraculous detail and subtle tonal gradations. Placing a high premium on a pictorial language grounded in fact, Americans found the daguerreotype wonderfully lacking in "false artistic effects." Native artists could not ignore the widespread challenge to compete with the "truthfulness of nature painting itself." In response to this pressure, American painters were significantly influenced both technically and philosophically by the images produced on the silvered plates. Scholars have frequently pointed to a pedestrian realism in the portraiture of the period as a conspicuous sign of the camera{\textquoteright}s intrusion. Other period tendencies in painted portraiture, as well, were generated by the new instructor. Less attention has been given to the daguerreotype as a conditioning agent in the experience of the landscape painter. Yet the daguerreotype view, representing a complete break with artistic convention, may have been far more accessible and inspiring to the artist than we have previously acknowledged. Indeed, these glowing, miniaturized worlds created through the action of light may account for the character and appearance of the stylistic phenomenon called Luminism. The distinguishing features of early luminist landscapes are strikingly similar to the visual properties of scenes created by the daguerreotype process. Circumstances surrounding the early luminist paintings of Fitz Hugh Lane, George Caleb Bingham, and William Sidney Mount also support the proposition that the origins of the luminist mode can be found in the inherently luminist character of daguerreotype images.}, author = {Kilgo, Dolores A.} } @mastersthesis {6711, title = {Small Public Libraries in America, 1850-1890: The Invention and Evolution of a Building Type}, year = {1982}, school = {Michigan}, abstract = {With the exception of a few large and outstanding monuments, the library buildings of America have received very little attention from architectural historians. This dissertation attempts to document the invention and evolution of a new nineteenth-century building type within the library genre: the small public library. It focuses specifically on buildings constructed between 1850 and 1890, which were intended to house fewer than 100,000 volumes, although the history of many related, earlier and larger contemporary structures is also recounted. Initial research into the area of library architecture revealed that over 400 public library buildings were erected in America before the turn of the century. Although the first of these were constructed in the 1850s, very few structures of this type were built outside of New England, or even Massachusetts, before the 1880s. This dissertation then necessarily focuses heavily on this region and most especially on the precedent setting institutions of Massachusetts. These formed the basis for the development of library architecture in the rest of the country. This study of these buildings is concerned with questions of function, as well as the meanings and forms of these edifices, elements of the early public library program that were often thought to be incompatible. Because the symbolic meaning of these new cultural institutions was so strong, in fact, the architects{\textquoteright} quest for iconographic form sometimes did tend to overshadow the librarians{\textquoteright} concern for functional planning. This antithesis of intention was central to the dialectical evolution of the public library building during this period. It precipitated a series of intense debates between librarians and architects, which began around 1870 and culminated in the late 1880s, about the same time that the first identifiable public library building types were beginning to emerge. Ironically, the buildings of Henry Hobson Richardson, which have always been held in such high esteem by architectural historians, formed a central focus for these debates. The controversy that surrounded these, and other buildings, laid the foundation for the course of American library architecture well into the twentieth century.}, author = {Breisch, Kenneth} } @mastersthesis {6705, title = {The Stratified Pottery of the Bronze Age Settlement at Alabra, Cyprus: A Preliminary Report}, year = {1982}, school = {Cornell}, abstract = {The Cornell University excavations at the site of Alambra in central Cyprus in 1976, 1978, and 1980 have produced a much larger body of settlement pottery from the earlier part of the Bronze Age than has hitherto come to light. The pottery from floor deposits and fill within defined rooms is here catalogued, illustrated, and analyzed. The fact that the material conflicts with the widely accepted pottery sequence, which relies largely on tombs from the north of the Island, prompts examination of the previously excavated stratified sites to which the tomb sequence is tied. All the Early and Middle Cypriot habitation sites are examined and their relationship to Alambra considered. The framework of stratified evidence for the Early and Middle Cypriot periods is shown to be extremely fragile. The analysis reveals long gaps in the evidence and suggests that certain adjustments in the pottery sequences may be necessary. Alambra is shown to be related to sites in a strip between the north and the south coasts of the island, but its relationships with sites in the east (to which it has been tied) are weak or nonexistent, at least according to current evidence. The Alambra settlement falls chronologically between the early house excavated at Alambra in 1924 by Gjerstad and Gjerstad{\textquoteright}s Middle Cypriot III house at Kalopsida. Until more settlement sites are excavated in Cyprus and the nature of the Early and Middle Cypriot periods can be more closely defined, the Alambra settlement must form its own reference point. The study emphasizes the need to rely on pottery from habitation sites, rather than from tombs, to form a viable chronology.}, author = {Barlow, Jane A.} } @mastersthesis {6779, title = {Studies in the School of Leonardo da Vinci: Paintings in Public Collections in the United States with a Chronology of the Activity of Leonardo and His Pupils and a Catalogue of Auction Sales}, year = {1982}, school = {Penn State}, abstract = {That Leonardo de Vinci had a workshop is documented in his own writings, as well as that of his contemporaries. Giovio even wrote that "a great crowd of young men contributed to the success of his studio." But although significant progress in Leonardo studies has been made in the last twenty-five years, the important aspect of Leonardo{\textquoteright}s school has not been reexamined since Wilhelm Suida{\textquoteright}s basic work in 1929 (Leonardo und sein Kreis). This problem has been ignored particularly in the United States, despite the fact that its public collections hold a number of important Leonardesque works. This neglect was partially caused by the fact that critical evaluation reached its nadir in this century because of the repetitive nature of the school works, their frequently slavish following of the master{\textquoteright}s examples, and the poor quality of some of the works assigned to them. The difficulty of the research which involves the problems of Leonardo studies as well as the complex problem of school attributions is also a deterrent. This study approaches the problems of the school of Leonardo in several ways: (1) The school is introduced, Leonardo{\textquoteright}s pedagogical methods are examined, and contemporary criticism is outlined; (2) A history of American taste for Leonardo is considered; (3) Selected works of the school of Leonardo in public collections in the United States are catalogued. In addition to documenting the history of the acquisitions, the criticism, and the physical condition of a work, stress is laid on the process of workshop replication as a counter to the long-accepted concept of Renaissance individualism. (4) To provide new reference tools, appendices include a catalogue of public sales of Leonardo{\textquoteright}s and Leonardesque paintings and a chronology of Leonardo and his pupils in their cultural and political environment. Thus, besides introducing new connections with Leonardo in several works, it is shown that the repetition and the copies so disapproved by modernist criticism were executed according to Leonardo{\textquoteright}s instructions and follow his pedagogical method.}, author = {Trutty-Coohill, Patricia} } @mastersthesis {6778, title = {Studies on the Via Latina Catacomb: A Contribution to the History of Roman Painting in the 4th Century}, year = {1982}, school = {Harvard}, abstract = {Three interrelated studies examine, respectively, the Via Latina Catacomb{\textquoteright}s construction and plan and aspects of the style and the iconography of its painted decoration. In the first study, the catacomb is analyzed with the purpose of isolating the phases of its construction. A chronological framework for the catacomb{\textquoteright}s development is defined and the plans employed by the builders are then considered. The analysis of style takes as its point of departure the earliest paintings in each of the major subdivisions that were isolated in the investigation of construction and plan. The essential problem here is to account for the changes that take place from one group to the next. After tracing the sources of the wall design, the ornament and the figure style employed by the catacomb{\textquoteright}s painters, the circumstances in which these changes occurred are defined and interpreted. In a final section on style, the remaining cubicula in the catacomb are correlated with the earliest rooms in each of the subdivisions. The iconographic study centers on the relationship between the decoration of the catacomb{\textquoteright}s first painted cubiculum and the copy made of it in the catacomb{\textquoteright}s last painted cubiculum. Because the decoration of the early cubiculum is highly unusual and has proven difficult of interpretation it is necessary first to explain its significance. In the context of this explanation, the differences and similarities between the two decorations are then evaluated. The results of this investigation, in turn, throw light on the use of imagery in the remaining cubicula of the catacomb. The broader issues raised in each of these individual studies are treated in a concluding chapter.}, author = {Tronzo, William L.} } @mastersthesis {6775, title = {The Stylistic Development of Mughal Painting from 1590 to 1610}, year = {1982}, school = {Chicago}, abstract = {No abstract in ProQuest}, author = {Tajima, Marsha C.} } @mastersthesis {6742, title = {Temne Rounds: The Arts as Spatial and Temporal Indicators in a West African Society}, year = {1982}, school = {Yale}, abstract = {The Temne of Sierra Leone, West Africa, are a people of many cultural cross-currents. Through centuries of foreign incursions, documented historically from the fifteenth century, the Temne have absorbed many cultural elements into their institutions, but it is clear that they also have maintained certain guiding principles throughout their history that identify them as a people. These principles become clear in the ways the Temee conceptualize spatial and temporal categories and in the ways they apply them. In both space and time the elemental construct is the round. Space is defined as a closed entity formed by the circle, whether in architecture, village planning, notions of social or personal territory, or the physical world. Units of time, such as the days, months, generations, or the creation and destruction of man, follow a cyclical pattern in which the completed return is essential to the continuity of life. The maintenance of the perpetual round relies upon the fundamental principle of balance. The Temne think of society as one in which the continual readjustment of unsteady forces is necessary to social harmony and self-confidence. These forces, or principles, are binary, aligned in space in terms of male and female areas, dry and wet areas, right and left, black and white images, the village and the bush, and earthly and spiritual domains. In time, complementary and opposed values are given to the day and night, rainy and dry seasons, life and death, and pre- and post-creation. In space, the dividing line between areas is "the line of life," the East-West axis. In time, it is a concept of beginning and end, clearly marked in the way units are described and in the way people organize their activities. The common discourse of the Temne and the ways in which daily activities are structured reveal that the system of dual categories is a fundamental determinant in the way they conceive of space and time. In the ritual arts this system takes its most dramatic and crystallized form. This study considers the concepts of space and time inherent in the arts of architecture, sculpture and painting, dance, music, theater, oral narrative, and language. The primary method used was that of morphology, the art historical analysis of the quality and juxtaposition of form.}, author = {Lamp, Frederick J.} } @mastersthesis {6698, title = {The Theory and Practice of Artistic Anatomy during the Italian Renaissance}, year = {1982}, school = {Pittsburgh}, abstract = {In his recent book, Michelangelo and the Language of Art, David Summers notes that the study of anatomy has not engendered an enthusiastic response among Michelangelo scholars. The same may be said for this subject as it pertains to the Italian Renaissance, for the disciplines of art and anatomy have since lost their integral relationship. Following this, scholarship has also been divided, reflecting a parochialism which betrays the collaborative efforts which founded this endeavor. For the Florentine artist, the study of anatomy became fundamental to the concept of disegno, and this dissertation attempts to more properly reconstruct the beginnings of artistic anatomy. Such an approach allows us now to discern the influence of Aristotle and Galen on Alberti as he adapted the structural and formative quality of the skeleton to the demands of figurative construction in De pictura. The term notomia is here clarified, for Ghiberti, and later Danti, used it to mean dissection. By the time of Cellini, the anatomical construction of the figure presented not only an objective correctness, but also, in partaking of the microcosmic tradition, allowed for a comprehension of the order and proportion which governed nature. Paralleling the early theoretical developments, it is now apparent that Masaccio viewed parts of a skeleton in composing the image for the Trinity, and a dissection scene was influential in Donatello{\textquoteright}s schema for the Heart of the Miser relief. Current controversy, however, centers around Vasari{\textquoteright}s account of Antonio Pollaiuolo{\textquoteright}s dissection activity. Recent scholars have denied that Pollaiuolo dissected, but a thorough examination of the evidence supports Vasari. A drawing for Hercules and the Hydra indicated the tibial crest and perhaps the sartorius muscle, while myological errors in the Battle of Ten Nudes are here found to be explicable in light of Galenic writing. A later painting by Pollaiuolo indicates an awareness of muscular opposition, and, further supporting the probability of dissection, is a Sixtus IV brief allowing its practice. The brief, previously published in 1811, is for the first time presented and considered as a primary source in the developing history of artistic anatomy. The perspective utilized in Leonardo{\textquoteright}s early Milanese studies is examined not just in reference to nearly contemporary developments in architectural drawing, but also in response to a more literal interpretation of the macrocosmic/microcosmic tradition. This response I believe, governed Leonardo{\textquoteright}s methodological approach to anatomical study. . . . (Author{\textquoteright}s abstract exceeds stipulated maximum length. Discontinued here with permission of author.) UMI}, keywords = {The Renaissance}, author = {Schultz, John B.} } @mastersthesis {6746, title = {The Tomb of Nasir ud-Din Muhammad Humayun}, year = {1982}, school = {Harvard}, abstract = {The tomb of Nasir-ud-Din Muhammad Humayun, the second Mughal emperor, was built at Delhi between 1562/3 and 1571. This dissertation seeks to document and describe the monument and its site; to place it within the context of 16th century Islamic architecture in India by examining its Timurid and pre-Mughal sources; and to provide an explanation for its function. The study of the tomb will be divided into five parts. The first will document the site of the monument concentrating on the pre- and early Mughal buildings that surround the mausoleum. The second will examine in detail the sepulcher and the structures within its garden{\textquoteright}s walls. The third will focus on the tomb{\textquoteright}s architectural origins and position within the development of early Mughal architecture. The fourth part will trace the building{\textquoteright}s history through textual, epigraphical and archeological evidence. Finally all of the material presented in the previous chapters will by analyzed in order to provide an interpretation of the monument{\textquoteright}s form and function. The sources that will be used to trace the mausoleum{\textquoteright}s history are contemporary Mughal chronicles; 16th through 19th century European travellers{\textquoteright} accounts; 19th century archeological reports and discussions; and 19th century prints, drawings and photographs. The emphasis, throughout this discussion, will be that Humayun{\textquoteright}s tomb represents a conscious attempt to create a new type of architecture that grows out of, but is distinct from, earlier Islamic architecture in India. To this end four points will be made. The first one is that the building{\textquoteright}s location between the shrine of Nizam-ud-Din Auliya (a revered Chisti saint) and the city of Din-panah (built by Humayun) charged it with a variety of dynastic and spiritual associations. The second is that the structure was given a setting that is different from earlier tomb{\textquoteright}s. The third is that the monument consciously borrows a number of forms and ideas from earlier Islamic monuments in Iran and India but uses these in a unique manner. The fourth is that the tomb was conceived of as both the final resting place of Humayun and a dynastic center.}, author = {Lowry, Glenn D.} } @mastersthesis {6730, title = {The Tombs of the Hessian Landgraves in the Church of St. Elizabeth at Marburg}, year = {1982}, school = {Brown}, abstract = {Devoting only limited attention to the traditionally posed questions of identification and style, this study examines the thirteenth and early fourteenth century tombs at St. Elizabeth{\textquoteright}s in terms of iconography and their role in the social, political, cultural and religious events in Marburg at this period. The tombs of Konrad of Thuringia, Adelheid of Braunschweig, Heinrich the Younger of Hesse, and the double and single pleurant tombs (here assigned to Heinrich I of Hesse and Heinrich the Younger, and Otto of Hesse) are investigated using evidence from the monuments themselves in combination with early documents and chronicles and nineteenth century pre-restoration reports. Seventeenth century sources previously relied upon can often be discounted. A brief sketch introduces the historical setting which gave rise to the tombs, Elizabeth{\textquoteright}s impact in Marburg and the establishment of the Teutonic Order and the landgraves in Hesse and their political and cultural concerns. A second chapter is devoted to the identification of the tomb effigies. St. Elizabeth{\textquoteright}s as the immediate setting for the tombs is the subject of the third chapter. The development and changes in burial practice in the church and the establishment of the south transept necropolis are examined here. The discussion of iconography in the fourth chapter finds that the tombs, both singly and as a group, insist on family honors and legitimize their descent and presence in Marburg. The discussion of style in the fifth chapter concentrates on the two pleurant tombs, suggesting specific links to other works traditionally considered to be related. These indicate an immediate source for this style in Cologne and provide a date in the mid-1320{\textquoteright}s. A final chapter on the landgraves{\textquoteright} patronage studies the tombs in the context of the family{\textquoteright}s other artistic commissions about this time, and defines the role of these works in the political, social and religious life of the family. The mid-1320{\textquoteright}s again appear as a likely moment for the pleurant tombs{\textquoteright} commission. Between the late thirteenth century castle chapel and knights{\textquoteright} hall and the 1334 Willehalm Codex, they attest to the family{\textquoteright}s continued concern with quality, modernity and prestige.}, author = {Joan Adrian Holladay} } @mastersthesis {6756, title = {Urban Metaphor in American Art and Literature 1910-1930}, year = {1982}, school = {Northwestern}, abstract = {This study discusses the interpretation of industrialized society by American writers and painters from the late nineteenth century to 1930. Inspired by the ideals of freedom and individualism associated with the agrarian past, and repelled by the materialism of a society that they saw controlled by the pecuniary values of business and the Puritan ethic, these artists projected utopias that merged vestiges of past ideals with realities of modern industrialism. The writers and painters are Theodore Dreiser, Carl Sandburg, Hart Crane, Lewis Mumford, Thorstein Veblen, Sherwood Anderson, John Sloan, Alfred Stieglitz, John Marin, Joseph Stella, Charles Sheeler and Edward Hopper. Four models of industrialized society, drawn from nineteenth century literature, were developed as interpretative guides. Coketown and the Walled City, based on the work of Charles Dickens and Edgar Allen Poe, emphasize man{\textquoteright}s spiritual impoverishment, enclosed in an artificial, materialistic society. The first projects a polluted world dominated by huge machinery, while the second, a withered nature in a commercialized metallic inferno. In contrast, the Organic City suggested by Ralph Waldo Emerson and Walt Whitman and the Technological Model, drawn from Henry Adams{\textquoteright} writings, project utopias. Expanding the eighteenth century definition of nature to include the man-made, Emerson attributed natural characteristics and virtues to technology. Redefining nature through recent scientific developments, Adams, in turn, postulated an impersonal, scientific society. The study concludes that by divesting industry of commercial interests and finally of urban associations, these artists maintained their machine-age utopias. Between 1900 and 1910 the Organic City, conceived in Emersonian terms of simplicity, harmony and economy, and/or Whitmanesque individualism, was dominant. Over the next decade Adams{\textquoteright} Technological model, complex, efficient and impersonal, became the new ideal. By 1930 the Technological utopia was expressed in great provincial factories and machines, and the towered metropolis had become the primary metaphor for the Walled City, its inhuman scale, impersonality and commercialism relieved only through metaphors of an agrarian past, woman, the hobo, Indian, and the light and extension of the prairie. In the city only the Brooklyn Bridge, which recalled Adams{\textquoteright} ideal medieval society, still allied the utopian past and future.}, author = {Piron, Alice O.} } @mastersthesis {6772, title = {Washington Allston{\textquoteright}s Early Career, 1796-1811}, year = {1982}, school = {Yale}, abstract = {The American Romantic painter Washington Allston (1779-1843) spent from age 18 to 33 learning to become an artist. His training involved much reading, travel, and almost constant experimentation with pen and brush. This study is the first to examine extensively the growth of his aspirations in these years. This dissertation discusses, in turn, Allston{\textquoteright}s stay at Harvard College (1796-1800), his period as an art student in London (1801-1803), his work and travel on the Continent, first in Paris and then in Rome, and his return to Boston (1808-1811). It contributes a careful analysis of important, but previously neglected early paintings. It provides new information both about Allston{\textquoteright}s intellectual development at Harvard and about his artistic endeavors in Paris and Rome. This study continues beyond 1811 to examine the lingering influence of Allston{\textquoteright}s early career upon him. It reveals that Allston continually looked back upon the imagery of his early career, and incorporated references to it in his later paintings. The contribution that this dissertation makes to Allston scholarship is threefold: First, it expands the understanding of the impact of Europe upon him and his early art. Second, it shows that the concepts essential to Allston{\textquoteright}s mature romanticism developed much earlier than previously thought--in fact, the components of Allston{\textquoteright}s romantic thought were essentially in place by 1811. Third, the discovery that Allston, in his later paintings, recalled images and ideas from his early life enhances the understanding of the art of his maturity.}, author = {Strazdes, Diana J.} } @mastersthesis {6703, title = {William Ordway Partridge (1861-1930): American Art Critic and Sculptor}, year = {1982}, school = {Delaware}, abstract = {The intent of this dissertation is to examine the work of William Ordway Partridge, both as a sculptor and as a critic of American art during the late nineteenth-early twentieth centuries. A member of the second generation of Beaux-Arts-trained sculptors, Partridge received recognition and acclaim during his lifetime, but was rapidly forgotten after his death in 1930. Only now with the renewed interest in the American Renaissance period can the significance of his artistic achievements be understood. As a sculptor Partridge created at last 176 works that included major commissions for New York, Chicago, Boston, and Washington, D.C. As a critic he wrote and lectured extensively on "Art for America." The articles and books are of particular interest for the contemporary scholar since they provide a view of the philosophical and aesthetic foundations for the American Renaissance. Partridge{\textquoteright}s own aesthetic philosophy, as it can be discerned in his criticism and sculpture, has parallels with nineteenth-century literary realism that suggest directions for further investigation. The present study begins with a biographical essay focusing on the major events in Partridge{\textquoteright}s life. Chapter Two discusses the nature of his critical thinking with reference to the aesthetic theories of John Ruskin and Hippolyte Taine, while Chapter Three examines the stylistic influences and development of his sculpture. Chapter Four reviews Partridge{\textquoteright}s reputation as a sculptor and art critic; a catalogue of the sculpture follows. In the final analysis, William Ordway Partridge was an artist very much of his own time. His sculpture was representative of mainstream developments, and his criticism tied him firmly to nineteenth-century aesthetics with its subtle blend of the ideal and the real. He created "Art for America" in an age that hoped for a second Renaissance in this country, and at a time when the artist still felt he had a role to play in the evolution of that modern cultural rebirth. This study then, evaluates Partridge{\textquoteright}s work for its contribution to an historical understanding of that American Renaissance.}, author = {Balge, Marjorie} } @mastersthesis {6740, title = {The Windsor Castle "Badshah Nama" and Its Place in the Development of Historical Painting During the Reign of Shah Jahan (1628-1658)}, year = {1982}, school = {Iowa}, abstract = {The purpose of this dissertation was to study, analyze, and catalogue the only existing illustrated history of Shah Jahan--the Windsor Castle Badshah Nama, which chronicles the first ten years of his long reign. The first three chapters include an introduction, a background of Shah Jahani painting, and an overview of historical painting during his reign. In Chapter IV, a detailed study is made of the forty-four paintings in the Windsor manuscript. Although all of the paintings appear to have been executed during the reign of Shah Jahan, the manuscript itself appears to have been assembled later. The thematic analysis showed there were five main subject categories--darbars, festivals, battles, hunts and religious pilgrimages. A study of these five subjects led to an examination of the politics, government, social customs and religious attitudes of the Mughal emperors, and this revealed that the entire structure of the empire revolved around the emperor. Although the basic concerns of these five subjects were different, they all displayed one common goal--to glorify Shah Jahan. In Chapter V, a detailed study was made of the ten artists whose signatures appear on twenty-one of the paintings, as well as the other twenty-three uninscribed ones. A number of artists worked on the paintings, and although their individual styles were very different, they all shared a similar elegant and majestic style that is at the same time cold and impersonal. The dissertation concluded with a catalogue of all the paintings in the manuscript, only eight of which had been previously published. In the Catalogue, each painting is identified and correlated with appropriate passages in the original Persian texts. Although this is the most detailed study so far on the Windsor manuscript, further work still needs to be done for a thorough understanding of the manuscript.}, author = {Komala, Wilma} } @mastersthesis {6646, title = {Aaron Draper Stattuck, 1832-1928, Painter of Landscapes and Student of Nature{\textquoteright}s Charms}, year = {1981}, note = {Abstract incomplete}, school = {Delaware}, abstract = {Purpose of the Study: Until recently, Aaron Draper Shattuck was virtually unknown. His name and reputation as an American landscape painter had been eclipsed by changing aesthetic concerns in late nineteenth-century American art. Only in the last decade has Shattuck{\textquoteright}s name been linked once aga}, author = {Myers, John W.} } @mastersthesis {6684, title = {The American Tapestry Manufactures: Origins and Development, 1893 to 1933}, year = {1981}, school = {IFA/NYU}, abstract = {The dissertation is a study of the three main American ateliers for handwoven tapestries: William Baumgarten \& Co. of Manhattan and Williambsbridge (Bronx), founded 1893, specialists in reproduction tapestries in the style of the sixteenth and eighteenth centuries and of technical excellence; the Herter Looms, established 1908 by Albert Herter in Manhattan to improve the quality of American textile arts and develop a specifically American product; the Edgewater Tapestry Looms of Edgewater, New Jersey, founded in 1913 by Lorentz Kleiser who was especially concerned with the relationship between art and industry. These manufactures are American by virtue of their location and in the fact that they produced objects primarily for the decoration of American interiors. The time span selected for study represents the period from the founding of the first manufacture in 1893 to the demise of the Edgewater Tapestry Looms on the East Coast in 1933. Chapter I describes the historical context. Selected tapestry workshops in nineteenth- and twentieth-century Europe are considered. Likewise, the trend in Europe and America for painted hangings and large scale embroideries--both of which might be seen as substitutes for tapestry decorations--is discussed. Chapters II, III and IV treat the three American ateliers individually. The main objective in each chapter is to define the distinctive character of the company. Points considered include the reasons for beginning the enterprise, the aesthetic principles championed by the founder, and the role of tapestry wall hangings within the overall production of the company. An attempt is made to identify the clientele of each company and to define the manner in which special commissions or contracts were secured. The style of the tapestries is assessed to determine the particular emphasis of each company--copies, adaptations of earlier styles, or original designs--and to define any specialties. The technical aspects considered in these chapters focus on the development of a tapestry from initial sketch to finished hanging. Also examined are materials and techniques, general workshop conditions, and the training of--as well as relationship between--designers and weavers. In chapter V the three companies are compared and contrasted and further set into context. Considered are the changing public attitudes towards American tapestries, the relationship in style and subject matter between American tapestries and mural painting, the degree to which American tapestries reflect trends in American interior decoration, and tapestry substitutes such as resist dyed hangings and painterly embroideries. Appendices include checklists of tapestries produced by the three companies, employees and associates, and relevant exhibitions. One hundred and twenty-nine illustrations complement the text.}, author = {Zrebiec, Alice M.} } @mastersthesis {6671, title = {Ancient Numismatics and Medieval Art: The Numismatic Sources of Some Medieval Iconography}, year = {1981}, school = {Northwestern}, abstract = {Although scholars of the Middle Ages have long been interested in the persistence of the classical tradition in medieval art, one aspect of this important matter has remained woefully neglected. This is the problem of the influence of ancient coins on medieval art and the importance of such coins as sources of medieval iconography. If few art historians would argue a priori against the probability that ancient and especially Roman coins had some impact on the form and content of medieval art, too few would assign to coins their rightful place amongst those vehicles through which the classical tradition passed into the Middle Ages. In order to demonstrate that ancient coins did in fact have an influence on some medieval art, it is necessary first to show that many persons in the Middle Ages had what might be termed an "awareness" of ancient coins. For this reason the textual, the material, and the numismatic evidence for such an awareness is examined. A separate essay examines the considerable influence, formal and iconographic, of ancient coins on medieval seals, while yet another proposes ancient numismatic sources for the popular medieval image of the Madonna of Mercy. In short, this study demonstrates the significant role which ancient coins played in the transmission of the classical tradition to the medieval world. An examination of that role affords a greater understanding of the sources and the nature of classical survival, and of the very essence of art in the Middle Ages.}, author = {Solway, Susan} } @mastersthesis {6590, title = {Andre Masson and the Imagery of Surrealism}, year = {1981}, school = {Columbia}, abstract = {Andre Masson (b. Balagny, France, 1896) was one of the key exponents of Surrealism in painting during its pioneer years from 1922-29. In 1922, a group of artists and writers including Michel Leiris, Georges Limbour, Armand Salacrou and Antonin Artaud began to gather in his atelier, adjacent to Miro{\textquoteright}s, at the rue Blomet and explore a new attitude towards life and art that was to become Surrealism. These men shared much in common philosophically with writers such as Paul Eluard, Louis Aragon, Benjamin Peret And Andre Breton whose activities were centered at Breton{\textquoteright}s studio on the rue Fontaine. The two groups merged in 1924 when Surrealism was officially inaugurated by the first manifesto. This dissertation examines Masson{\textquoteright}s contribution to Surrealism (from 1922-26) and establishes the close relationship between his work and that of his colleagues. The discussion focuses first on Masson{\textquoteright}s sources and his evolution as a Surrealist. The author describes Masson{\textquoteright}s early interest in Romanticism and Symbolism; the impact of Futurism and Dynamism on Masson just before World War I and the influence of the philosophies of Heraclitus, Nietzsche and Zen Buddhism. A detailed formal and thematic analysis of Masson{\textquoteright}s work, its origins and its parallels in Surrealist literature and art follows. As early as 1922-23 Masson incorporated Surrealist images into his drawings, still-lifes, landscapes and figural pictures. His cafe scenes became, for example, ballets of disembodied hands playing games of chance. The drawings were fiercely erotic. In 1924 Masson developed his own Surrealist "Tableaux" which contain, for example, statues inside of glasses or signs of the four elements set in a dream-stage. These paintings were as important to his fellow Surrealists as his well-known automatic drawings. Masson{\textquoteright}s greatest contribution to the imagery of Surrealism in these early years was his "cosmic cycle." This series began with the still-lifes and Metaphysical Portraits and culminated in the magnificently realized works of 1925 in which Masson linked human, animal, vegetable and celestial forms. This study established the existence of an entire repertoire of similar images found in the work of Masson, Aragon, Artaud, Breton, Eluard, Leiris, et al. These images reflect the Surrealists{\textquoteright} interest in transparency, in alchemical transformations and in the "New Divinity"--Woman. They are also expressions of larger Surrealist themes: metamorphosis, freedom and imprisonment, unity and the double, and the link between the unconscious and the cosmos.}, author = {Beatty, Frances F.L.} } @mastersthesis {6654, title = {Antonio Gherardi, Painter and Architect of the Late Baroque in Rome}, year = {1981}, school = {Kansas}, abstract = {Antonio Gherardi is one of the most interesting and original figures of the Late Baroque in Rome, a little-studied and consequently imperfectly understood period of artistic development. The last three decades of the seventeenth century have often been viewed as a period of economic and cultural decline in Rome, with the arts increasingly dominated by an arid and derivative classicism. While this view may still have some validity as a generalization, it is of little value in accounting for the career of a stubbornly individual artist like Gherardi. As a painter, his work begins with a mixture of Venetian and High Baroque elements unlike anything else being produced in Rome at the time, and even when he moves in the direction of classicism, it is of a quite personal and inventive sort. During the same period, he designed a series of chapels which represent a continued investigation of the dramatic possibilities of High Baroque architectural illusionism of a type that most of his contemporaries had apparently rejected. Seen in conventional terms, Gherardi represents a significant anomaly; an artist whose personality cannot be made to fit the established pattern, and as such, a phenomenon worthy of further investigation. The aim of the present study is to provide a monographic treatment of Gherardi{\textquoteright}s career, including a catalogue raisonne, in order to establish a sound, well-documented basis for reconstructing his development as an artist, and interpreting his significance to the artistic milieu of late seventeenth century Rome. The research for this study consisted primarily of an in-depth survey of the existing literature concerning Gherardi, an examination, and photographic documentation, of his works, and extensive investigation in the archives of Rome, in order to bring to light new information regarding the artist{\textquoteright}s career. Once this material had been gathered and brought together, it was used as the basis for an interpretation and analysis of Gherardi{\textquoteright}s stylistic development and basic expressive intentions. In this regard, it was especially important to come to some understanding of what this "anomaly" had in common with the other artists of his age, whose tastes and ideals he seems to have, in so many ways, either ignored or opposed. As a result of this research, our knowledge and understanding of Gherardi{\textquoteright}s artistic personality has been greatly enhanced. His principal patrons have been identified, and details of the special relationship he enjoyed with some of them have emerged. The chronology of his works has been made more precise, and in some instances significantly revised. His style as a draftsman has been firmly established, and his authorship of two previously unexamined sculpture groups revealed. The analysis of Antonio{\textquoteright}s artistic personality shows that, as both a painter and an architect, he was personally committed to a re-vivification of the High Baroque, based not on the slavish copying of the forms evolved by the previous generation, but rather on the novel use of the expressive principles that lay behind those forms. As a painter, he developed a manner based on the very sources that had inspired his masters, P. F. Mola and Pietro da Cortona. As an architect, he acquired a thorough understanding of the styles of Cortona, Bernini, and Borromini, and sought to synthesize, and systematically intensify, many of their expressive ideas. His painting, however, moved inexorably in the direction of classicism, albeit of a very personal sort, and his architecture, while superficially a culmination of High Baroque ideals, was deliberately bereft of the mystical, suprahuman qualities of mid-century concettismo. In this way Gherardi simultaneously provided an alternative to the academic classicism of his own generation, and an important key to the reinterpretation of the High Baroque for the artists of the Barocchetto who followed him.}, author = {Pickrel, Thomas} } @mastersthesis {6667, title = {The Architecture of Finance: Wall Street 1825-1862}, year = {1981}, school = {IFA/NYU}, abstract = {Wall Street is the global symbol of finance, an urban architectural complex of powerful imagery. While most of contemporary Wall Street has been built in the twentieth century, its physical and symbolic character was definitively established before the Civil War. The acquisition of its identity as a financial district was the result of a continual dynamic process of development within a circumscribed area. Wall Street itself became the center of New York financial operations in the years following the American Revolution. The financial district was shaped by the gradual concentration of financial institutions in the upper part of Wall Street. Intensive development of Wall Street as a financial district began in the 1820{\textquoteright}s and radiated outward from the cross axes, established in the seventeenth century, of Broad and Wall Streets. This study delineates the evolution of Wall Street from marketplace to financial market. Investigation centers on the architectural evolution of New York{\textquoteright}s major financial institutions during the period when the New York financial district emerged as the financial center of the United States. It is Wall Street itself which characterizes and focuses the district, thus a majority of the buildings discussed are, or were, located in Wall Street. While European financial centers evolved over many centuries, New York, in a historical perspective, was virtually catapulted into financial prominence. American financial institutions and the New York financial district stand in acute relief against the background of European developments. The dissertation includes a brief synthesis of the historical origins and development, through the eighteenth century, of financial institutions, and a resume of the emergence of building types employed to house financial activity, these provide a background to the prodigious efflorescence of financial architecture in nineteenth century America, the collective heritage on which it drew. Financial institutions were not new to the nineteenth century; the elements of finance, both its primary institutional functions and their inchoate physical forms, were present in the very origins of urban development. Nevertheless, financial institutions were among those nineteenth century institutions which experienced the most intensive change and growth, and it is over the course of the nineteenth century that they crystallized in their modern forms and found expression in buildings designed to house them, a definable architecture of finance.}, author = {Severini, Lois} } @mastersthesis {6591, title = {Architecture of the Tamberma (Togo)}, year = {1981}, school = {Columbia}, abstract = {As the Tamberma name for themselves--Batammariba, "the people who are the architects"--suggests, their architecture is an essential part of their own identity. It reflects a complex set of requirements--technological, aesthetic, religious, historical, metaphysical, psychological, and theatrical--which serve to define the intellectual and philosophical bases of this society. The multiple demands of Tamberma religion are met in each Tamberma house by the use of these residences simultaneously as temples, chapels, and shrines for the various deities and spirits whose earthly abodes and places of worship they contain. Oriented to the setting sun, Kouiye, god of the universe, each house is a temple to this great deity. All building rituals, from the incorporation of a sacred bundle in the foundation, to the "killing of the house" at its termination, are directed toward the agglomeration of religious elements in the dwelling to assure the fertility, well-being and perpetuation of the house and its inhabitants. On each house facade are found the pathway "signs" of the various deities and spirits dwelling within. Together they represent a sign system which directs worshippers and deities to the appropriate house temple for worship. Tamberma houses are also seen as miniatures of the cosmos, representing the sky, earth, and underworld in the vertical division of space. The original creation of the earth by the Sun recalls the construction of each house terrace with its wooden crosspieces and earthen covering. Circular designs which are marked during the funeral in front of the house portal recreate the original patterning of the earth around the circumference of a circular calabash. This circular pattern is the basis for other important "earth"-related architectural forms, the house yard, the tomb, and the village. The psychologically potent image of the house as human is also important to the Tamberma. Like humans, each house is made of flesh (earth), bones (pebbles), and blood (water). Its outer skin (silt plaster) is incised with the cicatrization patterns worn by women. Once the house is finished, its various parts, forms of ornamentation, and types of associated action are also clearly human. In addition, attached to the interior and exterior walls of each house are the central spiritual elements which make each human psychologically complete. Defining in this way an ideal of psychological balance and wholeness, the house fulfills an important role both in Tamberma psychological analysis and in the various therapeutic processes which are aimed at restoring an individual to proper inner harmony. All Tamberma therapies utilize or in some way modify the house as a significant part of the treatment. Finally, Tamberma houses are designed to be theatres, each having a central function in Tamberma dramatic performances. With this in mind, the house is built to incorporate a series of carefully defined stages where important scenes can be enacted. These house stages are selected with respect to essential dramaturgical factors such as audience size, dramatic movement, and symbolic content. Background scenery is added to many stages during the performance so that the house, like the actors, will be dressed for the occasion. Since each scene is timed to coincide with a particular period and quality of light, stages are also selected so that the associated lighting will be most effective.}, author = {Suzanne P. Blier} } @mastersthesis {6661, title = {Arquietctura Religiosa Limena en los Siglos XVII y XVIII}, year = {1981}, school = {Yale}, abstract = {No record in ProQuest}, author = {Rodrigues-Camilloni, Humberto L.} } @mastersthesis {6592, title = {The Art of Emil Nolde in the Context of North German Expressionism and Volkish Ideology}, year = {1981}, school = {Northwestern}, abstract = {As a major contributor to the movement of German Expressionism, Emil Nolde has traditionally been discussed within the general understanding of this movement and its salient characteristics. Acknowledging the artist{\textquoteright}s independent nature, the intimate connection between Nolde{\textquoteright}s art and personality and his homeland has been noted by many critics of his work and his art has been characterized as rooted to the soil of his native Schleswig-Holstein. While this dissertation follows that interpretation in large measure, the research has been directed toward a determination of the exact nature of this "rootedness to the soil" in Nolde{\textquoteright}s art. The purpose of this study is to provide a new and clearer understanding of Nolde{\textquoteright}s intentions in his art which he often described as a "new German art" and to introduce new considerations into the discussions of German art in general and Expressionism in particular at this crucial period in the development of modern art in Germany. A central point in the initial chapters of this study is the examination of the cultural and intellectual climate in Northern Germany during Nolde{\textquoteright}s early life and career in the last quarter of the nineteenth century, specifically the influence and popularization of Volkish ideology, a loosely organized but widespread system of ideas that sought to redefine the nature of the German character according to traditional, regional elements of German life and society and a belief in a mystical bond between the individual German and his native landscape. The first two chapters of this dissertation demonstrate that Volkish ideas had made definite inroads in German culture by the 1870{\textquoteright}s, especially in rural areas where early Volkish attitudes and concepts were maintained in the curriculum of public schools and elsewhere, and as such were an important part of the childhood education of a farmer{\textquoteright}s son such as Nolde. A particularly influential statement of Volkish principles, Julius Langbehn{\textquoteright}s Rembrandt as Educator, first published in 1890, is also examined in this section in the context of Nolde{\textquoteright}s later adaption of certain of Langbehn{\textquoteright}s central concepts in his own art. Langbehn{\textquoteright}s emphasis on the necessary creation of a Volkish-inspired German art as a catalyst for the rebirth of the German spirit and his description of Schleswig-Holstein as the birthplace of this spiritual transformation would have a profound effect on the development and direction of Nolde{\textquoteright}s art. The final three chapters of this dissertation examine that development in detail from the beginning of Nolde{\textquoteright}s career through his mature masterpieces of the years 1909-1914 to the great landscapes of the period between the First and Second World Wars. This section attempts to show that, as his art develops, Nolde gradually adapts or realizes certain Volkish notions in his paintings, turning for inspiration at specific and critical moments in his career to those ideas and to the example of Rembrandt and his art as presented by Langbehn. The culmination of these Volkish tendencies in Nolde{\textquoteright}s art is understood as the mature landscapes of the post-1914 period. As this study concludes, Nolde was not strictly a follower of Volkish ideology in his art or in his life. Other artistic and intellectual influences effected Nolde{\textquoteright}s art as well and these are also examined in the course of the study. Nonetheless, Nolde{\textquoteright}s adaption of Volkish concepts in his art allowed him to explore his own subjective reactions to his surroundings with the certainty of participating in a spiritual community beyond the limitations of his own individuality.}, author = {Bradley, William S.} } @mastersthesis {13228, title = {Art Theories of Charles Blanc (1813-1882)}, year = {1981}, school = {Penn State}, abstract = {Charles Blanc (1813-1882), a renowned and respected French art critic-historian-theorist, devoted most of his life to studying, administering and writing about art. He was best known as the founder of the Gazette des Beaux-arts and was elected twice to the directorial post of Beaux-arts in 1848 and 1870. He was also a member of the Institut and of the Academie Francaise. His influence on the artistic milieu of nineteenth-century France is felt through his extensive literary undertakings, among which the best known are the encyclopedic volumes of the Grammaire des arts du Dessin and the Histoire des Peintres de toutes les Ecoles. This study explores the({\textquoteright} ) Grammaire, a pioneering work upon which his reputation as an influential aesthetician-theorist chiefly rests, and the true nature, content, and impact that it had on the late nineteenth-century Europe. A systematic study of the Grammaire and a precise consideration of its influence has demonstrated that, contrary to modern biased opinion, it had indeed contributed substantially to the true value of Blanc{\textquoteright}s role as an important aesthetician-theorist and that it had brought forth the rise of the classical movement of the fin-de-siecle. This study has revealed that Blanc{\textquoteright}s deep experience of fundamental aesthetic questions and Idealist doctrine postulated by the prominent writers before him from Plato to Hegel and Leveque, had served as a leitmotif behind the origin of the Grammaire and as an active guide during its creation. But, Blanc found this Idealist doctrine in aesthetics insufficient for the intrinsic and practical aspects of the "arts of drawing." This had led him to draw on a broader gamut of sources, ranging from literary texts to scientific and technical treaties, to the practical theories and to working methods of the artists of his time. The method to achieve this goal was eclecticism. This thesis has also looked into the impact the Grammaire had on the major artistic movements of the turn of the century. The etymological comparison between Denis{\textquoteright} Theories and the Grammaire has proven the influence Blanc had on the formulation of the Symbolist abstraction. In addition, Blanc{\textquoteright}s introduction of Delacroix{\textquoteright}s color theory and his working method, which are effectively incorporated into the Grammaire, had also a profound impact on the development of the Neo-Impressionist aesthetics.}, author = {Song, Misook} } @mastersthesis {6678, title = {Aztec Sculptures, Hieroglyphs, and History}, year = {1981}, school = {Columbia}, abstract = {The purpose of this study is to correlate Aztec sculptures with Aztec history as it is known from Post-Conquest written and pictorial sources, especially through the study of hieroglyphic inscriptions. One of the results of this study is the establishment of a chronology for sculptures in the late Metropolitan style. Most of the sculptures studied here date from after 1480, when there appears to have been an increase in hieroglyphic inscriptions on stone monuments. The framework of the chronology is formed by fourteen sculptures with the hieroglyphic names of the last three Aztec rulers: Tizoc (1481-1486), Ahuitzotl (1486-1502), and Montezuma II (1502-1520). The monuments with the names of Tizoc and Ahuitzotl are not difficult to connect to important events in their reigns. Although problematic, convincing arguments can be made for identifying the name glyph of Montezuma on eight other sculptures, and for dating them to his reign. These monuments include some of the most important Aztec sculptures, the Teocalli of Sacred Warfare and the Calendar Stone. Within the framework formed by the dynastic sculptures, other sculptures are dated on the basis of hieroglyphic dates, style, and imagery. Hieroglyphic dates occur on a large group of sculptures (the sample studied here includes 168 sculptures). Dealing with the dates can be difficult because of the nature of the Aztec calendar and concepts of history. There are two types of dates on sculptures: (1) dates that refer primarily to specific events in the fifteenth and sixteenth centuries; and (2) dates that are highly symbolic and refer to events in different cycles, as well as to related ceremonial days, and the calendric names of gods. As a result of the study of the special, symbolic dates, certain aspects of the Aztecs{\textquoteright} official history have become apparent: that the important dates of Aztec history form a schema within the 52-year cycle and that the purpose of the invented dates was to unite Aztec tribal and national history to cosmic events. As a result of the study of the dates that can be interpreted as referring to events in late Aztec times, a number of sculptures can be linked to historical events. The main events that sculptures can be connected with are: the building of the Main Temple in the 1480{\textquoteright}s, the Dedication Ceremony of the Main Temple in 1487, the inauguration of an aqueduct in 1499, the ensuing flood of 1499-1500, the death of Ahuitzotl in 1502, and the New Fire Ceremony and calendric reform of 1507. It is now apparent that certain kinds of imagery surrounded different events, and changes in iconography through time can be studied. Some changes reflect general trends and, of course, the demands of the occasion, but other changes can be interpreted as reflecting the personal concerns of the ruler. Ahuitzotl{\textquoteright}s dynastic monuments, for instance, show his affinity to Quetzalcoatl, the legendary ruler of the ancient city of Tula, and Montezuma{\textquoteright}s monuments reveal an increased use of the sun as a dynastic image. Monuments from both reigns reveal the Aztecs{\textquoteright} interest in the past. A number of archaistic sculptures were created, and events of the past were alluded to in increasingly complicated inscriptions of dates on monuments.}, author = {Umberger, Emily G.} } @mastersthesis {6609, title = {The Ban Dainagon Ekotoba, the Kibi Daijin Nitto Emaki, and the Nenju Gyoji Emaki}, year = {1981}, school = {IFA/NYU}, abstract = {The dissertation analyses two famous Japanese picture scrolls, the Ban Dainagon Ekotoba, the Kibi Daijin Nitto Emaki, and the copy of the Nenju Gyoji Emaki attributed to Mitsunaga. It examines their relationship, and the attribution to Mitsunaga of whom no dated or signed works have survived. Part I gives an outline of the historical background, and secular painting in the 12th and 13th c. Part II examines the literary evidence about Mitsunaga and his work. A Tokiwa Genji Mitsunaga is mentioned in 1173 as working on pictures on imperial pilgrimages. The name Mitsunaga also appears in connection with a series of scrolls of Nenju Gyoji (Annual court ceremonies), according to a 13th c. source, painted for emperor Go Shirakawa (1127-1192). The latter is usually identified with an extant set of copies of 1662. Later attributions of important works of the 12th c. to Mitsunaga cannot be trusted. Part III studies the extant works attributed to Mitsunaga. Chapter VIII examines the Nenju Gyoji scrolls, the basis of all attributions to Mitsunaga. Stylistic analysis shows that the originals could not be by one master artist; none can be identified as works of Mitsunaga. Chapter IX examines the Ban Dainagon Ekotoba. The style and the calligraphy attributed to Fujiwara Norinaga (1106-1178) place it in the middle of the 12th c. Chapter X analyses the Kibi Daijin Nitto Emaki, and concludes that it should be two generations later than the Ban Dainagon Ekotoba. Chapter XI presents the lost Hikohohodemi no Mikoto Emaki for the first time to the Western reader; its original ought to antedate 1178. Chapter XII discusses the Kokawadera Engi. Chapter XIII compares the Shigisan Engi, a major work of the 12th c. not attributed to Mitsunaga, to the other scrolls, and shows that it is a work of the early 13th c., a date corroborated by the calligraphy. Chapter XIV proposes a new relative sequence of dating for all major scrolls in the narrative style of the period.}, author = {Glum, Peter} } @mastersthesis {6603, title = {Bernard van Orley of Brussels}, year = {1981}, school = {Princeton}, abstract = {Bernard van Orley, like Jan Gossart and Quentin Massys, was an important influence in early sixteenth-century Flemish painting. These were the first Netherlandish artists to develop radically Italianate styles, completely changing the course of Flemish art. van Orley may well have been the most significant of the early Romanists; he personally produced many major paintings, set the stamp of his invention on countless others, and established a High Renaissance mode in stained glass and tapestry composition, leading directly to the great works of Rubens a century later. Earlier van Orley studies have been flawed by the unclear picture they offer of this artist{\textquoteright}s indigenous manner. This thesis begins with a survey of scholarly opinion about van Orley and a summary of all known documentation, determining his biography and a sequence of signed or documented paintings. He was born around 1488, the son of the painter Valentin van Orley. Contemporary documents describing his work for Margaret of Austria, and other patrons, and his personal life--including being arrested for listening to protestant preaching in 1527, and a trip to Italy--are discussed and evaluated. The legendary and controversial Italian journey is refuted as being neither practically possible nor necessary to explain Bernard{\textquoteright}s artistic manner. He was quite probably his father{\textquoteright}s pupil, even though no convincing attributions have yet been made to Valentin. Several chapters recreate his career in painting, based on signed or documented works. His earliest identifiable panel paintings are related stylistically to the lively narrative manner of some late fifteenth-century Brussels painters, like the Master of the St. Catherine Legend. Small figures move about theatrical pavilions, in multi-scened compositions. The first works, however, dated about 1512, are very precocious and technically superior to any Brussels painting since Rogier van der Weyden. A logical progression of accomplishment in figural movement, Italianate motifs, and monumental treatment leads to the Vertu de Patience triptych, signed and dated 1521. Evidence for its status as a personal commission from Margaret of Austria is considered. This work is the consummate example of van Orley{\textquoteright}s development; both subject matter and style mark it as a consciously meaningful and courtly painting. Direct attributions to van Orley after the Vertu de Patience become more difficult, although certain compositions bear signs of his mature style. His most significant late opus, the monumental Crucifixion triptych in Bruges, was first commissioned by Margaret but remained unfinished at van Orley{\textquoteright}s death. The extent of Bernard{\textquoteright}s contribution is explored and compared to Marcus Gheeraerdts{\textquoteright} completion and the restoration made by Frans Pourbus. Two chapters are devoted to van Orley{\textquoteright}s followers, especially Jan and Cornelis van Coninxlo; biographies are constructed from documentary references and signed paintings. Some still anonymous artists receive responsibility for works formerly assigned to van Orley, thereby raising the level of his talent considerably higher than previous authors discerned it. The final chapter discusses van Orley{\textquoteright}s wide influence and the manner in which compositional motifs passed among artists. Several monogrammed sheets define his graphic style and set limits for a corpus of autograph drawings. Because some drawings are studies for extant tapestries, they become important evidence for attributing the design of tapestries to van Orley. As with his paintings, previous scholars have been indiscriminate in their assignment of weavings to van Orley. St. Gudule{\textquoteright}s well documented stained glass series is scrutinized further to determine the stylistic differences between Bernard and his successor in monumental design, Michiel Coxcie.}, author = {Farmer, John D.} } @mastersthesis {6677, title = {Bistam, Iran: The Architecture, Setting and Patronage of an Islamic Shrine}, year = {1981}, school = {IFA/NYU}, abstract = {This study concerns the shrine of Abu Yaz({\textquoteright})id al-Bistami (d. 261/874 at Bistam in northeastern Iran. It attempts to reconstruct from archaeological and historical sources, the evolution of the structures and the life which the buildings were created to shelter. Chapter one investigates Abu Yaz({\textquoteright})id and his legacy. The life and philosophy of this famous Iranian mystic are reviewed. His insistence on the importance of a master and the community nature of the religious life are major themes. The geographical, topographical and historical setting of Bistam are examined with the aid of all relevant literary and photographic sources. Patterns of urbanism in Iran are also discussed, particularly the decline of Bistam in favor of Shahrud. The second chapter presents an architectural description of the building complex. Individual units are analyzed and dated. Among these are the Seljuk mosque facade of 514/1120 and the contemporary minaret. Il Khanid intervention resulted in the cells of 702/1302 and the Entry Eyvan and adjoining corridor of 713/1313. By stylistic analogy the Jam{\textquoteright}({\textquoteright})iya Khana, Northwest Eyvan, the Il Khanid mihrab of the Seljuk mosque and the Gunbad-i Ghazan Khan are also dated to the early 14th century. Inscriptions reveal the sponsorship of the Il Khanid Oljeitu as well as diverse levels({\textquoteright} ) of piety. Original features are the Eyvan-corridor, the cells, and the Jam{\textquoteright}({\textquoteright})iya Khana. The third chapter has two purposes: to locate the identified functions and meanings in relation to other shrine complexes in the Iranian world and to assess the originality and importance of Bistam in this architecture. Bistam was found to be a revivalist shrine, hazirah centered, additive in nature, with many spontaneous and irregular features. The shrine sheds light on Il Khanid Iran. It documents a dual system of patronage, the participation of the Il Khanid authorities and of a local family, and points to the importance of shrines in general and the Khorasan region in particular for the political aims of the Il Khanid rulers. The name of the stucco-maker is also mentioned in several inscriptions. Finally, the shrine at Bistam has both a local and pan-Islamic significance. Two architectural modes can be identified: the officially consecrated imperial mode and a vernacular mode.}, author = {Taboroff, June} } @mastersthesis {6658, title = {Boats of Mesopotamia before 2000 B.C.}, year = {1981}, school = {Columbia}, abstract = {In this study, 403 representations of boats were collected and thoroughly described. An analysis of the shapes in the light of materials available in ancient Sumer and Akkad before 2000 B.C. showed that there are grounds for suggesting that all of the representations belonged to an indigenous tradition which began by at least 5000 B.C. Some of the representations could as well belong to a different tradition, in which a wood covering replaced the putative woven reed and/or hide covering beneath a calking of bitumen. This craft would have been capable of making journeys longer than three months and bearing the stresses of a mast and sail; its proposed introduction is placed sometime during the Early Dynastic period. Certainly the sail was known by the end of the Ubaid period. Appropriate shapes have been designated ferry boats, typical marsh or hunting boats, war boats, or ceremonial boats. An analysis of the iconography showed that most of the boats appearing in mythological settings probably belong to a single tradition of a mythological concept, the journeys of the gods. That tradition was surely well known by the time it was first represented in the Late Uruk/Jamdat Nasr period; it assimilated a major innovation in the Early Dynastic IIIA period and lasted into the Neo-Sumerian period, when the theme first appears in literary and other texts. The visual tradition seems to end at the same time as the oral tradition, at about the time the first compositions are set down in writing.}, author = {Qualls, Corethia} } @mastersthesis {6611, title = {Borrowings between Media in the Decorative Arts of Late Antiquity}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Gonosova, Anna} } @mastersthesis {6589, title = {Bronze Casting in the Shang Period}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Bagley, Robert William} } @mastersthesis {6638, title = {The Casa Bartholdy Frescoes and Nazarene Theory in Rome, 1816-1817}, year = {1981}, school = {Princeton}, abstract = {The frescoes depicting the story of Joseph in Egypt, which were commissioned by J. S. Bartholdy in 1816, decisively influenced attitudes toward monumental painting in the first half of the nineteenth century. They were the first major works associated with the Nazarene movement and furthered the reputations of their creators, Peter Cornelius, Friedrich Overbeck, Wilhelm Schadow, and Philipp Veit. The first part of the dissertation is devoted to an investigation of the details of the commission, the execution of the project, and the subsequent notoriety of the frescoes. A new reconstruction of the decorative cycle, based on photographic evidence and contemporary accounts, provides a firm basis for the evaluation of the original appearance of the frescoes. The role of Franz Catel, a fifth participating artist, is clarified, as is the relation of Bartholdy, the patron, to both the painters and to the development of the project. The aspirations of the artists as revealed by the frescoes and the theoretical foundations upon which they were grounded serve as the focus of the second part of the study. Internal consistencies of Nazarene thought are emphasized, as they are reflected in the character of the cycle, the studies for it, and the correspondence and diaries of the artists. Particular stress is placed on the motivations of the artists in their exploration of earlier pictorial styles. From the study an image emerges of the Casa Bartholdy painters as artists who resisted romantic alienation in their attitudes toward experience, the public, and the past. Its findings suggest the need to reassess the accustomed classification of the Nazarenes as romantics.}, author = {McVaugh, Robert} } @mastersthesis {6643, title = {Cefalu Cathedral--Architecture and Sculpture}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Mortimer, Kristin Ann} } @mastersthesis {6680, title = {Cesar Daly and the "Revue Generale de l{\textquoteright}Architecture"}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Van Zanten, Ann Lorenz} } @mastersthesis {6630, title = {Cezanne{\textquoteright}s Religious Imagery}, year = {1981}, school = {Pennsylvania}, abstract = {Cezanne{\textquoteright}s religious imagery, dating almost exclusively from the first decade of his career, is unique in the extent to which it informs a study of his early period. A discussion of these works illuminates the specific theoretical conflicts that confronted Cezanne at the outset of his career. His choice and dramatic handling of religious themes further reveals the artist{\textquoteright}s temperament in his years of romantic turmoil. Moreover, his religious works establish as a definite source for the young Cezanne the rich tradition of religious and folk imagery of his native Provence. It is in this rich and largely uncharted context that much of his early work should be reevaluated. Beginning with one of his earliest known drawings, a sketch of a costumed Moses, Cezanne{\textquoteright}s early development is traced by means of his religious images and the new perspective they provide on his early art. Problematic early works, such as his Visitation of c. 1860, or later, more sophisticated paintings, such as his Repentant Magdalen or the secularized Autopsy, appear not only as reflections of new norms in nineteenth-century art but as recurrent symbolic forms for the artist himself. Finally, a study of Cezanne{\textquoteright}s religious imagery reaffirms the primacy of tradition in his art and, thus, has an imperative sense for a consideration of his art as a whole.}, author = {Lewis, Mary T.} } @mastersthesis {6601, title = {Chaim Soutine, 1883-1943}, year = {1981}, school = {IFA/NYU}, abstract = {Chaim Soutine was a painter of enormous power whose works are intensely expressive and, at the same time, highly structured. This dissertation examines Soutine{\textquoteright}s paintings, stressing the importance he accords both formal structure and subject matter. Through stylistic analysis of paintings and discussion of creative process, Soutine{\textquoteright}s development is shown to be a deliberate and consistent one. There is a consistency in focus and priorities, in the painting process itself and in the vision of the artist, that carries through and into certain shifts in style of subject. In both his development of formal structure (handling of composition and space) and his evolution toward a specific personal imagery, the movement is increasingly toward clarity and concentrated expression. It is in this context that Soutine{\textquoteright}s involvement with the art of the past is seen--as a positive way of reinforcing and further refining and defining his unique vision. The introductory chapter reviews the existing literature and presents many of the misconceptions and romanticized stereotypes that have commonly been attributed to Soutine and his work. The following chapter contains a discussion of Soutine{\textquoteright}s biography and character, and its relationship to his art, with a summary chronological analysis of the paintings. Chapter II deals with Soutine{\textquoteright}s creative process--his insistence on working from life and his actual painting experience. It examines Soutine{\textquoteright}s closeness to what he paints as well as his tendency to establish an emotional and aesthetic distance. The following three chapters deal more specifically with the three subject areas of Soutine{\textquoteright}s art--landscape, still life, and portraiture. Within each chapter, the independent development of that particular genre is treated. Again, emphasis is placed on formal evolution and development of personal subject imagery, and of course, on the interaction of the two. Each chapter draws upon Soutine{\textquoteright}s background (particularly his orthodox Jewish "shtetl" roots) and his involvement with "Old Master" painting. The concluding chapter speaks of Soutine{\textquoteright}s position and influence vis-a-vis his contemporaries and painters after his time, and his place within these contexts historically and artistically.}, author = {Dunow, Esti} } @mastersthesis {6675, title = {The Chinese Impact on Certain 15th-Century Persian Miniature Paintings in the Topkapi Muse}, year = {1981}, school = {Michigan}, abstract = {The artistic contact between China and the Islamic world was initiated as early as the eighth century; from that period waves of Chinese influence reached the Islamic world continually, sometimes in an obvious manner and sometimes in a more subtle one depending on the political, economic, and social circumstances of the two areas. The problems posed for this study relate to the Chinese impact on a group of the album paintings in the Topkapi Sarayi Museum which were presumably executed during the fifteenth century in the Persian world, concluding in its broader sense Afghanistan and Turkestan (Soviet Central Asia). The main purpose of the thesis is to demonstrate how Chinese pictorial art inspired local artists of the Persian world or, in other words, to demonstrate the process of adaptation, assimilation and transformation of Chinese style into an artistic idiom, or vocabulary, that reflects the local Persian painters{\textquoteright} own interests, tastes, aesthetics, and concepts. The group of paintings selected from the Istanbul albums for discussion is comprised of figural compositions, basically with religious themes like "The Two Kuan-yin" and "Four Sleepers," and other paintings with literary-historical themes, for instance, two procession scenes which are hypothetically associated with the abductions and expedient marriages of two Chinese ladies, Wen-chi and Wang Chao-chun. The approach to the problems is primarily through descriptive, stylistic and iconographic analyses, leading to the identification of each painting{\textquoteright}s theme by comparison with dated and datable Chinese and Persian pictorial works, both in the Topkapi Sarayi as well as in other collections. Pastiche, the intermingling of artistic trends of diverse derivations in their themes, styles, iconography, and technique (format and painting material), is the most pronounced common feature in the Istanbul Albums. The major sources for the Album leaves in question are the Yuan stylistic and iconographic conventions and T{\textquoteright}ang artistic conventions reworked into painting during the Yuan dynasty. The Istanbul painters accepted minor and subordinate elements from Chinese originals, whereas Chinese ideas and forms with religious and literary-historical associations, often the key factors for identifying the Chinese originals, were rejected. Occasionally, even major themes were perpetuated but without their original implications. Finally, the artists of the Istanbul Album paintings in question, on the whole, took large sections from Chinese originals. Chinese influence, thus, seems to be ampler in the Istanbul Albums than in earlier Persian works. Nevertheless, their short-lived hybrid-style, blending the T{\textquoteright}ang and Yuan trends with the local tradition, found no followers to develop it further in the succeeding era.}, author = {Sugimura, Toh} } @mastersthesis {6608, title = {The Cinema of Wim Wenders, 1967-1977}, year = {1981}, school = {Michigan}, abstract = {Wim Wenders is a leading representative of a very disparate group of filmmakers comprising the New German Cinema. The group has been much acclaimed in recent years not only because it has produced daring and provocative films, but also because, phoenix-like, it has risen from the ashes of a German cinema which had produced very little of merit after 1933. This dissertation is a monographic study of Wenders{\textquoteright} German films (he has since begun making films in the United States) which date between 1967 and 1977. It investigates the style, technique, and thematic, theoretic, and social implications of these films. It establishes Wenders{\textquoteright} importance to film history in the unique view his films give of his generation and his times in Germany. Born in 1945, Wenders opened a window on the hearts and souls of young Germans born after the second World War. He shows a generation seeking its identity, a generation who in their youth had tried to divest themselves of Germany{\textquoteright}s past by immersing themselves in American culture. Primary sources for this research were the films themselves, Wenders{\textquoteright} own writings, interviews with him, the novels on which the films were based, and original scripts when available. The films were viewed many times; each feature film was analyzed over a period of days with the help of a freeze-frame projector or an editing table. From this material a full analysis of the films was possible. Secondary material included periodical literature on Wenders; works by and about Peter Handke, including Handke{\textquoteright}s two films; earlier German film; and material concerning the post-World War II generation of Germans: 1960{\textquoteright}s magazines for young people, sociological analyses, statistical studies, and interviews. The dissertation is divided into two parts. Part I establishes the elements of Wenders{\textquoteright} film theory, which is based on a return to the values of simple realism as found in the work of many of the very early filmmakers; it traces the development of his final style: at first tentative, experimental, and dominated by aesthetic elements, later confident and daring with aesthetic elements tied to theme and story; it notes unique elements like extended sequences photographed from a moving car, a fascination with reflections, and a tendency to repeat certain motifs from film to film and within one film; it analyzes the effect of Wenders{\textquoteright} collaboration and friendship with Peter Handke; it establishes the influence of other directors (e.g., Ozu, Godard) and film traditions (Hollywood), and notes his affinities to his predecessors in German cinema, principally Lang, Murnau, and the workers{\textquoteright} films of the late 20{\textquoteright}s and early 30{\textquoteright}s. Part II discusses Wenders{\textquoteright} themes and the sociological implications of the films. The themes include human isolation and the difficulty of bridging the gap between people, hence the difficulty of communicating; the importance of hearing and seeing and the importance of cinema as the artistic quintessence of these faculties; the search for identity and the importance of travel to this end; the significance of dreams and the lure of death. The social and political implications of the films derive from their view of the past, which of necessity includes Nazism and the Americanization of Germany after World War II. Wenders{\textquoteright} views on Americanization proved surprisingly similar to views held by Europeans long before World War II. Finally the dissertation attempts to discover how closely Wenders{\textquoteright} concerns and characters reflect his generation in Germany, since he is frequently acknowledged to be its spokesman. This research indicates that they reflect the ideas and experiences of a substantial part of that generation.}, author = {Geist, Kathe B.} } @mastersthesis {6597, title = {Cityscape and the Transformation of Paris during the Second Empire}, year = {1981}, school = {Michigan}, abstract = {Pictorial representations of Paris have been produced in a variety of media and styles since the later middle ages, recording valuable topographical information and expressing contemporary attitudes toward the city at different stages in its history. During the nineteenth century, the combination of objective description and subjective expression that had characterized much of history of Parisian cityscape became especially pertinent in the face of the clashing romantic and realistic attitudes of the time. The artistic potential of nineteenth-century cityscape was profoundly challenged and stimulated by the radical reconstruction of Paris during the Second Empire (1852-1870). Under the Emperor Napoleon III and his Prefect Baron Haussmann, Paris was transformed from an overgrown medieval city into a modern metropolis. As an arena of dramatic confrontation between the old and the new, between deeply rooted tradition and the relentless advance of modernity, Second Empire Paris inspired an unusually complex and revealing body of cityscape imagery.}, author = {Costanzo, Dennis} } @mastersthesis {6594, title = {Continuity and Innovation in Celtic and Mediterranean Ornament: A Grammatical-Syntactic Analysis of the Processes of Reception and Transformation in the Decorative Arts of Antiquity}, year = {1981}, school = {Columbia}, abstract = {The ornament of the Celtic peoples of Transalpine Europe resulted initially from the impact of imported late Archaic and Classical Greek and Etruscan decorative arts. Subsequently, Celtic ornament continued to draw upon Southern or Greco-Italic arts, although these borrowings were increasingly altered or transformed as Celtic art achieved a more distinctive identity. The study of the Celtic transformations of Southern ornament requires a more objective and consistent means of formal analysis. Patterns are intelligible as groupings of basic two-dimensional components or elements. These may be arranged with an areally discrete structure as proximate, tangent, or conterminous forms, and also as areally continuous series connected by juncture. These arrangements may be characterized more precisely on the analogy of the syntactic structure of words in language, as paratactic and hypotactic connections. Larger aggregates of elements consist of serial arrangements, as strings, and more elaborate structures, perimetral and complex aggregates, and still more elaborate closed string aggregates, network strings, and valenced mass compositions. The earliest Celtic ornament of the fifth century B.C. (Early Style) represents an anachronistic but selective borrowing of areally discrete patterns of sub-Orientalizing or sub-Archaic type, probably conditioned by the similar structure of pre-La Tene ornament in Central Europe. Subsequently, the Celts developed patterns with a continuous structure as hypotactically junctured strings of elements incorporating features from Classical tendril ornament (Waldalgesheim Style). These strings were then elaborated using complex and perimetral aggregates of Southern derivation, or transformed into closed string aggregates and network strings of purely Celtic type (Waldalgesheim sub-styles). This Continental Celtic legacy evolved further in the British Isles to produce more complex types of closed string aggregates and network strings, as well as new open string aggregates and mass compositions. These pattern structures continued in the latest La Tene ornament of Britain and Ireland, and in the La Tene derivative ornament of Late Antiquity which also assimilated more complex types of mass composition from Mediterranean meander and interlace patterns. In conclusion, Celtic ornament emerges as one long continuous and internally motivated artistic phenomenon. Borrowings from Mediterranean ornament were highly selective, and such borrowings were consistently and thoroughly re-integrated within a distinctive and essentially independent Celtic artistic tradition.}, author = {Castriota, David} } @mastersthesis {6610, title = {Court Calligraphy in the Early T{\textquoteright}ang Dynasty}, year = {1981}, school = {Michigan}, abstract = {The purpose of this dissertation is to present a structural analysis of the calligraphic styles of the first master calligraphers at the court of the early T{\textquoteright}ang dynasty: Ou-yang Hsun (557-641), Yu Shih-nan (558-638), and Ch{\textquoteright}u Sui-liang (596-658). This account of calligraphic style is situated within a general inquiry into the political, social, and cultural conditions under which court calligraphy was produced. This involves two procedures. The first is the disclosure of the process of ideological valorization in which meaning was assigned to calligraphy through the organization of the determinate relations of its production. The second, which is undertaken after the actual stylistic analysis of the calligraphy in question, is the delineation of the existing traditions of calligraphic practice within and against which the court calligraphy of the early T{\textquoteright}ang was produced. The analysis of imperial patronage reveals that calligraphy was employed as part of the measures taken in order to establish the power and authority of the emperor and were ideologically motivated to present an image of imperial legitimacy. The analysis of calligraphic style indicates that the calligraphy of Ou-yang Hsun and Yu Shih-nan represent the culmination of the calligraphic traditions of the Northern and Southern Dynasties respectively. A radical structural synthesis of these opposing styles was forged by Ch{\textquoteright}u Sui-liang, unifying their essential aspects in a single calligraphic style.}, author = {Goldberg, Steve J.} } @mastersthesis {6634, title = {Dante Gabriel Rossetti: A Critical Analysis of the Late Works, 1859-1882}, year = {1981}, school = {UC Berkeley}, abstract = {Dante Gabriel Rossetti{\textquoteright}s post-Pre-Raphaelite period has generally been ignored by art historians, yet, his contemporaries felt that the images of women which dominated his oeuvre in the 1860{\textquoteright}s and 70{\textquoteright}s, were his most important body of work. A study of over 4000 unpublished letters reveals that after abandoning his youthful flirtation with Pre-Raphaelitism, Rossetti, in his maturity, developed a complex philosophy which was based upon an abstract concept of ideal beauty, which he believed to be the source of the love he was seeking, a love that would ensure his spiritual redemption. However, in the process of searching for this ideal, Rossetti was often waylaid by the sheer physical appeal of the beauty he contemplated. Such is the case in Bocca Baciata, a small oil of 1859, which heralds many of the visual and theoretical concerns of his mature period. Rossetti{\textquoteright}s binary attraction to both the sacred and the profane, which he described in his sonnets, "Soul{\textquoteright}s Beauty" and "Body{\textquoteright}s Beauty," provides the leitmotiv of his major paintings. The mature Rossetti is a highly complicated artist, one who was at once progressive and reactionary, innovative and imitative. His awareness of the decorative function of art and the primacy of the picture plane places him squarely in the vanguard of the modern movement, while his devotion to the sonnet form in poetry and to the study of the 16th century Italian painters attests to his regard for tradition. Despite his concern for the past, Rossetti was profoundly affected by the social and cultural life around him, by the seemingly conflicting standards of the Victorian period: his interest in classical subjects reflects the scholarly aspirations and Empire-consciousness of his age, at the same time it caters to the incipient snobbism of his nouveau riche patrons. Similarly, Rossetti{\textquoteright}s attraction to Venetian themes is a reflection of the Victorian cult of beauty, but the opulence of these paintings also gave them a commercial appeal, which denied their aesthetic value: they were prized as expensive bibelots which lent credence to the conspicuous consumption of his patrons. Rossetti, then, was very much a man of his time, scholarly, yet aware of popular tastes, aesthetic, but concerned with commercial values.}, author = {MaCleod, Dianne} } @mastersthesis {6660, title = {Delacroix: The Romantic Sensibility Visualized through the Poetry of Shakespeare}, year = {1981}, school = {UIUC}, abstract = {Though there were many paintings and graphics based on subjects from Shakespeare and Byron to come out of Europe as the 19th century progressed, none of them reached the quality or had the impact of those executed by Delacroix. His impressive output in quantity and importance has the virtue of being the least literal and most imaginative compliment in art to the genius of the Elizabethan dramatist and the Romantic poet. Within this study I have identified and isolated the body of work created by Delacroix relating to the poetry and dramas of Shakespeare and Byron, the intellectual and emotional reasons for his preferences, and finally I{\textquoteright}ve described and discussed the art in relation to the literature that inspired it. The works are grouped first by subject, and then by date, because I believe that the development and consistency of a theme takes precedence over a strictly chronological reading and this avoids the confusion of sheer multiplicity of subject. In discussing a particular work at hand, I have related it not only to its sources in theme and design, but also to other works the artist was involved in contemporaneously. A chronological and subject listing of the works by Delacroix and other artists who exhibited Shakespeare and Byron subjects in the Salon appear in the appendices. Delacroix{\textquoteright}s energy, color composition, and dramatic presentation tends to obscure the importance of his imagery as the visual embodiment of the Romantic experience. His protagonists are the same double-edged beings seen in Byron and the Byronically interpreted Shakespeare of the 19th century: the man of thought who also acts. Throughout their works the protagonists of Shakespeare, Byron, and Delacroix embody a special approach to life, that of shipwrecked men who have looked into the abyss. This philosophical outlook is supported by an examination of their works; in the case of Delacroix, I have supported this proposition by a visual analysis of his paintings, prints, and drawings in relation to the two English poets that most inspired him. In the process I have examined Delacroix{\textquoteright}s Anglophilia, not only in its literary context, but also in the impact left on him by its art and artists. These not only enriched his painterly technique, but also expanded his imagery. Delacroix was the last important painter whose oeuvre centered on subjects and themes from history, religion, and literature and the last to convince the viewer of his ultimate seriousness in their importance as subjects for art. He understood that man is shipwrecked. His art epitomizes this state of being. From that philosophical shore, he created a visual poetry, a pictorial analogy to great literature. Delacroix forged his Romantic sensibility of the heroic survivor with the concepts of the Beautiful and the Universal; thus like his idols, Shakespeare and Byron, he became the great poet he was destined to be, but in his own art.}, author = {Rodetis, George A.} } @mastersthesis {6635, title = {The Development of Gabriel de Saint-Aubin as a Draftsman}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {McCullagh, Suzanne F.} } @mastersthesis {6587, title = {Dionysos in Late Classical and Hellenistic Relief Sculpture}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Anderson, Maxwell Lincoln} } @mastersthesis {6631, title = {The Donor and His Church Model in Medieval Art from the Early Christian Times to the Late Romanesque}, year = {1981}, school = {Rutgers}, abstract = {Representations of donors holding church models are among the oldest and most familiar motifs in Christian art. Valued in the past largely as dating tools or as portraits, the donor-model images possess art historical worth greater than either of these positive but limited aspects. When studied in the larger frame of many such representations, the motif yields information not accessible to a viewer who concentrates on isolated examples. This study begins by examining the antique prototypes for donor-model imagery. It demonstrates that although the representations always show various historical persons, the poses, placement, size and compositional contexts are governed by certain formulae. Chapter II traces the evolution of donor representation. By examining selected examples of donor figures dating from the sixth through the early thirteenth century, I trace the process by which the image freed itself from its monumental context in the apse of the early Christian church and became an independent motif suitable to all media on all scales. I discuss the relevant implications of such changes in application in various historical periods. My introduction of Eastern examples sheds light on otherwise inexplicable alterations in Western donor iconography. The architectural model held by the donor is the subject of Chapter III. Formerly regarded as little more than a symbolic attribute, the model possesses intrinsic value for the art historian. I demonstrate that the artists responsible for early donors{\textquoteright} models adapted late Antique formulae for the representation of pagan temples to the depiction of Christian churches. By identifying these schemata of architectural representation, I provide guidelines for the proper reading of the early model examples and explain how and why these principles later changed. I show how historical and political circumstances as well as the increasing use of the motif in sculpture, hastened the release of the model from earlier pictorial conventions and made it a comparatively reliable reflection of the represented monument. Chapter IV sketches the evolution of donor-model imagery after the early thirteenth century and suggests further applications of the material to the study of similar images. This study establishes the significance of a motif whose meaning changed and expanded while the primary requisite, the representation of a person holding a church model, remained constant. Besides constructing a framework on which future study of donor imagery can be based, it provides visual documentation of the crucial role played by the donors and the act of donation from Early Christian times through the late Romanesque period.}, author = {Lipsmeyer, Elizabeth} } @mastersthesis {6583, title = {Duchamp{\textquoteright}s Notes for La Mariee mise a nu par ses celibataires, meme: an n-dimensional prospectus for a life{\textquoteright}s work}, year = {1981}, school = {Cornell}, abstract = {A substantial number of Marcel Duchamp{\textquoteright}s most important notes for La Mariee mise a nu par ses celibataires, meme, or the Large Glass, are also his most difficult. They are scientific, subsumed under a system of what he called "physique amusante (playful physics)." These scientific notes deal with geometry, and although they are difficult to interpret, they explain some of the central metaphors in Duchamp{\textquoteright}s work. They are essential, not only for understanding major aspects of his iconography, but also for comprehending the complex ways in which this iconography underlies the majority of his paintings, sculptures, ready-mades, and machines. Duchamp was not a mathematician, but his uses of geometry were sophisticated. He took elements from n-dimensional, non-Euclidean, and topological geometries and used them in ways that suited his purposes--purposes that were artistic. He spent enough time studying geometry to elaborate a system that helped him in creating an original accumulation of "diverse facts." Geometry is, in a sense, the glue that holds this accumulation together. The first chapter of the dissertation contains a general discussion of Duchamp{\textquoteright}s notes and their publishing history in the Box of 1914, the Green Box, A l{\textquoteright}Infinitif, and the posthumously published Notes({\textquoteright} ) edited by Paul Matisse. In the course of the dissertation, 132 of these notes, including all of those with a specific mathematical content, are analyzed. Chapter II discusses the six mathematicians that Duchamp mentions by name in his surviving statements, E. Jouffret, Henri Poincare, Bernhard Riemann, Maurice Princet, Gaston de Pawlowski, and Nikolai Ivanovitch Lobatchevski, and concludes that the most likely sources for Duchamp{\textquoteright}s knowledge of geometry are the general works of Jouffret and Poincare. In Chapter III, several of the central metaphorical models that Duchamp used in his discussions of the ways in which n-dimensional geometric configurations could be transferred into n - 1 dimensional configurations are examined. These models include, principally, "cast shadows," "sections," and "flat-beings." Chapter IV discusses the large number of notes that Duchamp devotes to the workings of a four-dimensional vision in which he makes comparisons between how things are seen in the three-dimensional world and how they might be seen in a hypothetical four-dimensional world. His related interests in stereoscopy and anaglyphy are also analyzed. Chapter V concentrates upon what Duchamp called "elementary parallelism," in which an n-dimensional geometric configuration is translated along, or rotated around, an axis to generate an n + 1 dimensional configuration. A number of Duchamp{\textquoteright}s "secondary" works, including many of the ready-mades, are discussed in these terms. Chapter VI contains a summary and general discussion of the implications that geometry had for Duchamp: It helped him to create a highly original iconographic system that he expressed in his notes and used in the integration of various works. Duchamp{\textquoteright}s reasons for working on glass, his interests in photography and perspective, in cinema, in rotating machines, in the "elementary parallelism" of his cubo-futurist works, his reasons for translating the two-dimensional Large Glass into the three-dimensional Etant donnes: 1(DEGREES) la chute d{\textquoteright}eau/ 2(DEGREES) le gaz d{\textquoteright}eclairage, his use of cast shadow in Tu m{\textquoteright}, his deformation of the linear meter in 3 Standard Stoppages, his concepts of "slightly distending the laws of physics and chemistry" and of "infra-mince," and many others are related in fundamental ways to models that he derived from advanced geometries.}, author = {Adcock, Craig} } @mastersthesis {6659, title = {Early Chalukya Sculpture}, year = {1981}, school = {IFA/NYU}, abstract = {The temples built during the Early Western Chalukya Dynasty in the South Indian states of Karnataka and Andhra between c. 550-750 are renowned for their architectural innovations. Equally outstanding but previously unexamined in depth are the carved images and decoration which adorn these temples. In this study Chalukya sculpture is described, its style is defined, and its chronologic elements are identified and traced. The chronology of its stylistic development is corroborated with supporting evidence from architecture, inscriptions, and diverse sources which reveal artistic stages. These sources include: iconography, vogues of motifs and imagery such as the introduction of pillar mithuna and river goddesses, compositional changes as for example those within carved ceiling panels, and identification of individual artists. Eleven temples bearing sculpture are dated by inscription. These provide a chronological basis to judge the development of others within this classical period. With reference to the dated monuments a relative sequence is established for the temples with imagery. The architectural development is an important crosscheck of the sculptural development and dating. Phases of temple sculpture are associated with consistent features of the architecture of each period. Characteristics of early (c. 543-642), middle (654-696), and late (c. 696-757) sculpture phases are identified. Recently discovered Chalukya inscriptions are included as well as several previously unreported temples and sculptures. The Andhra Early Chalukya temples and other temples outlying the major sites are examined. A constant cross-fertilization of artistic elements is found between these and the better known Karnataka temples at Aihole, Badami, Mahakuta, and Pattadakal. Re-examination of well known temples from the sculptural perspective calls into question several previous datings of major monuments, including Mahakutesvara, Durga, and Lad Khan temples. These seem to date to the late 7th century. Analysis of recently discovered or previously unstudied temples and their imagery fills gaps in the architectural and sculptural progression. The events recorded in inscriptions are often reflected in temple imagery, while the sculpture itself provides rich material for historical interpretation. Thus insight into religious preferences and practices of the Chalukyas is gained as a corollary to the sculptural investigation. In several instances displaced sanctum or niche images are reassociated to their original temple by stylistic and other evidence. Such reassociations suggest specific religious dedications. For example, it seems that Mahakuta Mallikarjuna temple may have been dedicated to the Hindu Trinity, while the small shrine in the tank at this site was a Garudamandapa. The importance of the worship of Aditi, the Mother Goddess, during the middle phase of this period is apparent from an inscription and association of her image with several temples. Subshrines were specially introduced to the temple plan to house this goddess and the Saptamatrkas. It is also apparent that in the same period the cult of Agastya was active. Light is shed on the complexities of Early Western Chalukya architecture by an integrated investigation of its sculpture and its religious, cultural, and political background. The correlated development of architecture and sculpture from its incipient stages in cave and free standing examples is followed to its maturity and climax.}, author = {Radcliffe, Carol} } @mastersthesis {6622, title = {Eighteenth-Century British Primitivism}, year = {1981}, school = {Cornell}, abstract = {The ideas of primitive man and architecture that evolved during the course of the eighteenth century and which were reflected in the art of that period centered on the myth of the Druid and Stonehenge. They also involved the bard, who belonged to the druidic cast, the painted savage, other prehistoric ruins, and natural rock formations which resembled the work of primitive man. In the late seventeenth century Stonehenge was identified as a temple of the Druids, a hypothesis that made it possible to discuss the ancient Britons and their architecture side by side and which brought the Druids into the fore as Britain{\textquoteright}s ancestors. Both the image of the Druid as the original philosopher and the alleged links between Stonehenge and Biblical or pre-Roman architecture gave ancient British culture a worthy heritage which could be the focus for patriotic feeling. Of central importance to the concept of the primitive that prevailed during the eighteenth century was the idea of natural simplicity. It was believed that the ancient Britons, the Druids and Bards, and the heroes of Ossian and other literature of the Celtic Revival who were identified with the "druidic" past enjoyed a special relationship to nature that was lost to contemporary man. The ancient Briton{\textquoteright}s affinity with the natural world was exemplified by Gray{\textquoteright}s Bard, envisioned as a creature of the earth, at one with the forces of nature. Many saw this affinity reflected in the simple forms of the Druid temples, open to the sky. They also found it in the impressive character of natural forms like Fingal{\textquoteright}s Cave whose strange regularity suggested the origins of architecture in nature and whose association with Fingal also linked it to the "druidic" past. In order for the natural and man-made features of the landscape of British antiquity to be considered in aesthetic terms, the categories of humanist art theory had to be expanded to include an appreciation of the rough, irregular qualities of the Druids{\textquoteright} savage masonry, its wild desolate settings and those of the natural features that were associated with primitive Britain. The principal response to the landscape and imagery of primitive Britain was the awe and astonishment of the sublime. During the eighteenth century, grandeur in nature came to be associated with the idea of rough power and with the emotions of terror and awe which this called up. Thus the sublime was able to accommodate imagery that could not be fitted to the humanist{\textquoteright}s idea of beauty as the orderly and rational. Historical associations were another dimension of the aesthetic experience of British antiquity. The idea that art could be enriched by these and the emotions they arouse is, like the eighteenth century{\textquoteright}s notion of the sublime, an indication of the primary concern with the response of the beholder rather than with qualities of beauty and order in the world of art. The aesthetic experience of British antiquity was purposefully re-created in the eighteenth century garden by the inclusion of "druidic follies" and the kinds of wild scenery associated with them. Here, as in the response to Stonehenge, Fingal{\textquoteright}s Cave, and other features of the "druidic" landscape, the imaginative reconstruction of primitive Britain was conveyed in aesthetic terms.}, author = {Kahin, Sharon} } @mastersthesis {6682, title = {English Royal Chapels and Chapel-Music, ca. 1475-1515}, year = {1981}, school = {Ohio State}, abstract = {What factors account for the richly ornamented character of English royal chapels and chapel-music of this period and whether these works of sound and stone are comparable are questions central to this dissertation. In general, the ornamental aspects of these works seem to be derived from three factors: past practices in their respective media, the character of court processional-rituals, and the Burgundian-inspired pageant-style. Additionally, each of the last two factors are influenced and related by deeper political motives. Two of the principal sovereigns in this troubled period of English history were usurpers and both were at pains to establish their authority and claims to the crown. Of the many actions and instruments available for this purpose, the "public" arts of music and architecture were especially well-suited. Chapter One deals with an examination of each of these factors. Chapter Two tests their applicability to selected works from the Eton College Library MS. 178, called the "Eton Choirbook," and Chapter Three does the same for the royal chapels of contemporary construction at Windsor Castle, Westminster Abbey, and King{\textquoteright}s College, Cambridge University. Chapter Four concludes with a discussion of whether significant analogies exist between these works of sound and stone. In a sense, there is nothing stylistically new or revelatory about either the buildings or the music of this period. Both represent refinements of earlier practices. Nevertheless, more than just a summary of these practices, these buildings and this music reflect the expressed wishes of Henry VI, Edward IV, and Henry VII. All were designed and composed with a specific processional activity in mind, and all reflect the clearly articulated sequence of events and the avoidance of a suggestion of a climax of a conclusion typical of the rituals stated by the court. Finally, these works reflect the elaborate and richly conceived characteristics of the most spectacular artistic development of the fifteenth century--the Burgundian-inspired pageant-style. Adopted wholesale by Edward IV and Henry VII, the pageant-style found expression in not only royal chapels and chapel-music, but in court-sponsored portraits, poetry, manuscripts, tapestries, and jewelry as well. Chapter four finds analogies between royal chapels and chapel-music on the basis of the ways in which they are perceived or experienced in time. The structural organizations of both are comparable in that they exhibit the typical properties of the ritual or processional; and the characteristic quality of ornamentation in both is perceived as a momentary acceleration of visual and aural signals when contrasted with the static backgrounds of their respective structures.}, author = {Wilson, Raymond L.} } @mastersthesis {6669, title = {Esprit de Corps: The Great War and French Art 1914-1925}, year = {1981}, school = {Yale}, abstract = {"Esprit de Corps: The Great War and French Art 1914-1925" is a study of the changes in the art of the Parisian avant-garde during the war and reconstruction. The following issues are considered: the separation of Frenchman and foreigner during the war; the distinction between combatant and civilian; the campaign against Cubism and other avant-garde movements; the theory of the infiltration of French culture by Germany; the French image of themselves as a decadent culture. The wartime magazines L{\textquoteright}Elan and Le Mot are treated in depth and Picasso{\textquoteright}s first "Ingres-style" drawings in 1915 are discussed. Gino Severini{\textquoteright}s exhibition of 1916--The First Futurist Exhibition of the Plastic Art of War--is analyzed along with the first predictions within the avant-garde of a "classical" renaissance. Classicism and Latinism are analyzed in French wartime propaganda. Both the written and the visual modes of cultural persuasion are analyzed. Jean Cocteau{\textquoteright}s meeting with Pablo Picasso in 1916 is a fulcrum of this study. The artistic collaboration on Parade in 1917 and the development of a French (i.e., nationalist) modernism is essential. The wartime attack in the pages of the magazine La Renaissance on the esthetic of the designer Paul Poiret is discussed. The denigration of the words "fantasy" and "oriental" are analyzed. The term "art munichois" is found to be a trope for all anti-German and anti-modernist feelings in the conservative circles of French culture. Other essential issues are: the individual artist and his place in the collectivity; the metaphor of construction and its meaning for wartime and post-war France; the revision of attitudes on late nineteenth-century French art. The shift from Analytic to Synthetic Cubism is given its social emplacement. The artists discussed are: Braque, Delaunay, Gris, La Fresnaye, Le Corbusier, Leger, Matisse, Ozenfant, Picasso, and Severini.}, author = {Silver, Kenneth} } @mastersthesis {6582, title = {Frederic Edwin Church{\textquoteright}s {\textquoteright}Niagara{\textquoteright}: The Sublime as Transcendence}, year = {1981}, school = {Michigan}, abstract = {Between 1800 and 1860, Niagara Falls was the single most often depicted natural wonder in the New World. So profuse and widely known were images of the Falls in the 1800s that they constitute a separate chapter in the history of nineteenth century landscape art. Rarely, however, had artists encountered a more challenging subject. The pictorial expression of Niagara Falls{\textquoteright} renowned impact upon the visitor{\textquoteright}s imagination appeared impossible to convey adequately. By the 1850s, it was universally asserted that the cataracts{\textquoteright} celebrated "sublimity" was beyond the reach of art. When it was first exhibited in New York and London in 1857, Frederic Edwin Church{\textquoteright}s monumental canvas, Niagara, was immediately hailed as the quintessential representation of Niagara Falls. Not only had the American landscapist selected the archetypal view of the diverse and extensive scene and reproduced the torrent with uncanny verisimilitude, but, to everyone{\textquoteright}s satisfaction, he had recreated on canvas the transcendent quality of the experience of the sublime. The purpose of this dissertation is to examine the nature of Church{\textquoteright}s remarkable pictorial achievement, to analyze Niagara as both image and idea in the context of nineteenth century views of Niagara Falls and contemporary conceptions of the cataracts{\textquoteright} aesthetic character and symbolic significance. The study is subdivided into four parts. The first, "The Impact of Church{\textquoteright}s Niagara," examines the critical response to the painting in America and Britain in 1857-59; the second, "Views of Niagara Falls to 1860: Strategies and Solutions," analyzes other pictures of the Falls produced before 1860; the third, "The Image of Church{\textquoteright}s Niagara," presents a formal analysis of the work; and the fourth, "The Meaning of Church{\textquoteright}s Niagara," interprets the painting as a depiction of the sublime as transcendence, a typological symbol of the Deity and a cultural icon for Americans in the era of Manifest Destiny. In an Epilogue, Church{\textquoteright}s two later pictures of Niagara Falls are discussed as well as those by other American landscapists of the late nineteenth century.}, author = {Adamson, Jeremy} } @mastersthesis {6653, title = {Frescoes of the Bronze Age: The Procession in the Aegean and Egypt}, year = {1981}, school = {Minnesota}, abstract = {Among the numerous wall paintings preserved in a fragmentary state from the Aegean Bronze Age, processions stand out as one of the more recognizable and popular subjects. The earliest extant painting of this theme, the Procession Fresco from the palace at Knossos, defines the essential elements of this type of scene: a line of figures in restrained and repetitive poses, dressed in ornately decorated costumes and carrying objects of offering. In this fresco, both male and female figures participate in the ceremony, as is also the case in processional frescoes from Hagia Triada and Pylos. Another type of procession is restricted to female figures, and thus far has been discovered only in wall paintings from the Mainland: Thebes, Mycenae, Tiryns, and Pylos. This second type of processional fresco displays an established iconography in terms of actions, costumes, hairstyles, and objects carried, largely based on Cretan models. It became a standard theme in the repertoire of the Mainland painter. Comparison with frescoes and other media portraying related scenes reinforces this iconography and aids in determining the purpose and destination of these processions: giving offerings to the figure of the goddess, or her representative in the form of a priestess or an altar (probably, but not necessarily, represented in the frescoes). The most common types of offerings preserved in these scenes are flowers, vessels of precious materials, and boxes. Female figures generally wear a bordered, open-breasted bodice and flounced skirt, although processional scenes from Crete (L.M. II-III) include women in long robes or hide skirts. Male figures wear short kilts, long robes, or sometimes hide skirts. The format of the processional painting, although quite conducive to the formulaic tastes of the Mycenaeans, seems foreign to Minoan artistic temperament. The appearance of such a theme at L.M. II Knossos may be a reflection of the Mycenaean domination of the palace, with Minoan artists reacting to Mycenaean tastes. The theme was then adapted by artists on the Mainland, where it became so traditional as to be depicted over many generations, and at a number of sites, according to a set iconography, with an increasing stiffness of style, simplification of details, and regimentation of figures. The initial inspiration for the format of the monumental procession in mural form may be sought in Egyptian painting of the XVIIIth Dynasty. Tomb paintings from the reigns of Hatshepsut and Tuthmosis III (1502-1450 B.C.) not only portray traditional themes of processions of offering to the pharaoh or tomb owner, but include numerous scenes of foreigners bringing tribute. Inscriptions label one type of foreigner as men of Keftiu and the isles in the midst of the sea, identified as the Aegean world. In the international milieu of the Late Bronze Age Aegean and eastern Mediterranean, Minoans and Mycenaeans visited Egypt to cement trade relations, and were exposed to extensive and monumental murals in tombs, temples, and palace reception halls. Thus they were exposed to the repetitive and regimented format of the life-size processional painting which was so prevalent in Egypt, sometimes depicting the Keftians as well. The Egyptian representations of processions of offering to the pharaoh appear to have been the origin of the processional mural as first represented in monumental form in the Aegean, in the Procession Fresco from Knossos; a theme which thereafter appears at every major Bronze Age fresco site on Crete and the Mainland.}, author = {Peterson, Suzanne} } @mastersthesis {6656, title = {Gauguin and Martinique}, year = {1981}, school = {UT Austin}, abstract = {This dissertation is the first critical study of Paul Gauguin{\textquoteright}s Martinique period and the paintings which resulted from his trip to the Caribbean. The conclusions of the dissertation establish that (1)Gauguin made the trip to the Caribbean at a crucial time in the development of his art, (2)the Martinique experience stimulated his production of large-figure paintings, and (3)the Martinique works contain early statements of themes and imagery which reappear, recast and clarified, in Gauguin{\textquoteright}s later work. Analysis of the Martinique works and Gauguin{\textquoteright}s Martinique experience is based on an examination of several bodies of material. The primary sources for the study consist of the paintings made by Gauguin, the extant drawings which are related to these paintings, and the letters which Gauguin wrote from the Caribbean. Secondary sources include materials from the travel literature of the Caribbean in the nineteenth century and particularly the literature describing nineteenth-century Martinique, including archival material and newspapers of the period. A brief study of the experience and writings of Lafcadio Hearn, an American novelist who was in Martinique at the same time, further illuminates Gauguin{\textquoteright}s perceptions of Martinique{\textquoteright}s people and landscape. Careful comparison of Gauguin{\textquoteright}s paintings with descriptions and illustrations of Martinique and with the landscape itself has made it possible to identify the painter{\textquoteright}s motifs. With this information it becomes clear that Gauguin{\textquoteright}s vision of Martinique was selective and detached. This aspect of his Martinique works has significance for the study of his entire oeuvre. The works of Gauguin{\textquoteright}s companion, Charles Laval, are examined in the first of two appendices. The second appendix consists of a review of two of the attribution problems which have, in the past, complicated the study of Gauguin{\textquoteright}s Martinique works.}, author = {Pope, Karen R.} } @mastersthesis {6618, title = {Goya{\textquoteright}s Tauromaquia: Another Interpretation}, year = {1981}, school = {UC Santa Barbara}, abstract = {No record in ProQuest}, author = {Selma Holo} } @mastersthesis {6624, title = {The Graphic Works of Henri Gaudier-Brzeska}, year = {1981}, school = {Boston}, abstract = {The purpose of this dissertation is to describe, document, and analyze the graphic work of Henri Gaudier-Brzeska (1891-1915). The format is that of a selective catalogue with illustrations, preceded by a detailed chronology and introductory text. Also included is an Appendix containing a list of works compiled by the artist in 1914 and a selective catalogue of Gaudier{\textquoteright}s graphic work in major European and American collections. Gaudier-Brzeska is better known as a sculptor than as a draughtsman, although the quality and number of his drawings indicate that it is one-sided to portray him only as a sculptor. He was an indefatigable and gifted draughtsman. This dissertation explores Gaudier{\textquoteright}s drawings both for their quality and art historical significance. The complex relationship between Gaudier{\textquoteright}s drawings and sculpture is described and a number of his drawings are analyzed as masterworks independent of his sculpture. The introductory text (chapter 1) provides a critical survey of primary documents, letters, diaries, exhibition catalogues and scholarly writings on Gaudier-Brzeska. A detailed description follows which gives an explanation of the importance of Gaudier-Brzeska{\textquoteright}s works as manifestations of the avant-garde spirit in Europe in the early twentieth century, and as master drawings. Gaudier{\textquoteright}s graphic work is discussed in relationship to masterworks from the past and in relation to the works of artists within his own orbit. His role as an art critic is also explored. The illustrated catalogue presents a selection of Gaudier{\textquoteright}s various styles and methods of drawing, and provides a critical assessment of his active years as an artist. Each entry is accompanied with comparative illustrations and a list of related background literature accompanies each entry. Gaudier{\textquoteright}s oeuvre is divided into three categories: early work (1902-1911), experimental style (1912-1913) and mature style (1913-1915). The catalogue is chronologically arranged to show Gaudier{\textquoteright}s artistic evolution from 1908-1915. The Appendix reproduces the "List of Works" compiled by Gaudier-Brzeska in July 1914 that was first published in H. S. Ede{\textquoteright}s A Life of Gaudier-Brzeska (1930). The Selective Catalogue lists Gaudier{\textquoteright}s works on paper in major collections and includes a short description of the quality of the collections. This list, accompanied by translations (by the author) of inscriptions made on the drawings, is the first major attempt to organize, classify and date Gaudier{\textquoteright}s graphic work. This dissertation will establish Gaudier-Brzesak as an artist who belongs among the pioneers of twentieth century aesthetics. He was, in fact, a leading member of the Vorticist art movement, the English cousin of Cubism and Futurism. His drawings, displaying a variety of influences from Phidias to Rodin, Forain, Picasso, and Severini, are valuable indicators of the ideas and enthusiasms current throughout Western Europe in the seminal years 1905-1915.}, author = {Koslow, Francine} } @mastersthesis {6615, title = {Grinding Stones and Food Processing Techniques of the Neolithic Societies of Turkey and Greece: Statistical, Experimental and Ethnographic Approaches to Archaeological Problem Solving}, year = {1981}, school = {Columbia}, abstract = {The research focused on prehistoric grinding equipment and prehistoric food processing techniques as manifested within the geographic area comprised by present-day Turkey and Greece. With regard to the artifact studies, four main goals were achieved: (1) a descriptive analysis and the subsequent establishment of a typology for grinding stones from the Neolithic site of Erbaba, South Central Turkey, the main focus of the dissertation; (2) the elucidation of the manufacture of grinding stones, with reference to the Erbaba collection; (3) a determination of artifact function which utilized a number of techniques including an intrasite distributional analysis for Erbaba grinding stones; (4) an intersite comparison of grinding stones from Erbaba and four additional sites in Turkey and Greece. In addition, as an adjunct to the artifactual study of grinding stone use, a more general study on prehistoric food processing techniques--specifically, with respect to grain preparation and the role grinding stones played in this processing--was also carried-out, again primarily focusing on Neolithic Erbaba and South Central Turkey. Statistical methods, in conjunction with necessary computer techniques, figured prominently throughout the analysis of the archaeological data acquired. Hence, in addition to a more traditional, intuitive approach to typology, artifacts were "coded" and, then, classified using Principal Components and Cluster Analyses. Similarly, Hotelling{\textquoteright}s T({\textquoteright}2) Test was utilized in the intersite comparisons, and contingency tables in conjunction with chi-square tests contributed to the interpretation of the intrasite distribution of Erbaba grinding stone types. The use of such tests allowed for a further evaluation of the applicability of such basic statistical methods to archaeological problem-solving. Questions of manufacture, use and related food processing relied on a number of experimental and ethnographic studies. Preliminay wear pattern study and replicative experiments were undertaken to determine possible manufacturing techniques as well as to investigate the ways in which the stones may have been utilized in the processing of food plants. The recordings of traditional stoneworking crafts and food processing techniques still employed in modern-day Turkey was initiated. These preliminary studies provided basic relevant information, while pinpointing areas to be explored in the future. This research was an outgrowth of the field work carried-out by the researcher as a student assistant to the joint Columbia University/University of Pennsylvania Beysehir-Sugla Basin(, ) Project, South Central Turkey, under the direction of Professors Louise Alpers Bordaz and Jacques Bordaz.}, author = {Hersh, Theresa} } @mastersthesis {6602, title = {Guy Pene du Bois: Painter, Critic, Teacher}, year = {1981}, school = {Delaware}, abstract = {This dissertation represents the first major study of the art and career of Guy Pene du Bois (1884-1958). His energies embraced the role of painter, critic, and teacher, and thus brought him into direct contact with the major figures and issues of his day. His career began during the era in which Robert Henri was fighting his first battles for realism and encompassed a period that saw the initial enthusiastic reception of modernism. Guy Pene du Bois{\textquoteright} active career makes him an important figure in the history of American art of the twentieth century. For a short time he was sympathetic as a critic to the aims of modernism at a point when few other critics were inclined to be so, although he was never an avant-garde artist himself. More important, and for a much longer time, he was an articulate advocate of a realistic mode of painting that had begun with Robert Henri. His perceptive critical comments on the American art world, of which he was a part, treat major concerns of artists like himself--dealers, collectors, museums, and exhibitions. Written from the point-of-view of a practicing artist, his criticism serves as a revealing barometer of the art world in which he lived. Further, with his own distinctive painting style he wittily depicted manikin-like flapper figures and their overfed and pompous male companions which serve as a symbol of the chic and sophisticated world of the 1920s and 1930s. It is not easy to assign Pene du Bois to a specific art historical classification. While not the instigator of a new subject matter, as were the members of the Henri circle, he was a major inheritor in his painting and in his criticism of their aesthetic stance. Nor was he an avant-garde artist, although his broad handling of form and luminous colors would not have been possible without the experience of modernism. He also did not favor the idealistic concerns and rigid standards of beauty of the Academicians. The obviously nationalistic symbols created by the Regionalists did not interest him either, although he was firmly committed to an American art. Falling into none of these broad groups, Pene du Bois still remained decidedly progressive.}, author = {Fahlman, Betsy L.} } @mastersthesis {6626, title = {The House of the Governor: a Maya Palace at Uxmal, Yucatan}, year = {1981}, school = {Yale}, abstract = {This dissertation is a monograph on the House of the Governor, a splendid edifice at the northern Maya site of Uxmal. A historiography presents documentary evidence pertaining to the building, and an ethnohistoric study reveals that the supposed founders of Uxmal, the Xiu, were latecomers to Yucatan and did not construct the House of the Governor. Evidence for the chronological position of the building supports a construction date from between 10.3.0.0.0 to 10.4.0.0.0 (A.D. 889-909). A study of Uxmal{\textquoteright}s hieroglyphic inscriptions reveals the name glyph of a ruler designated "Lord Chac", who was apparently the patron of the House of the Governor. A discussion of the plan and massing defines the precedents for the structure{\textquoteright}s elongated, multi-roomed form, free-standing block design, and three-part division by portal vaults. Visual effects examined include the mosaic facades, the {\textquoteright}negative batter{\textquoteright}, molding patterns, recessed doorways, curvature of the transverse vault soffits, and proportions and measurement. Studies of the form and meaning of the architectural sculpture of the House of the Governor include discussions of the human figures on the east facade, the long-snouted mask panels, the step-frets, the latticework, and the two-headed jaguar throne in front of the building. Many of these forms are traced to models in earlier Maya art and architecture. The central motif, a frontal figure flanked by serpent-headed hieroglyphic bands, seems to derive from the {\textquoteright}niche motif{\textquoteright} of the Piedras Negras accessional stelae, and thus is expressive of dynastic authority. The mask panels, most likely depictions of the Yucatec rain god Chac, may also be viewed as symbols of dynastic power, since several Maya rulers were known to have adopted the name of the rain god as a title. The mat-weave lattice identifies the building as an edifice worthy of a {\textquoteright}lord of the mat{\textquoteright}. Jaguar mats and jaguar thrones are mentioned in Maya literature and pictured in Maya art, where they serve as the seats of rulers and nobles.}, author = {Kowalski, Jeff} } @mastersthesis {6614, title = {Hurdy-Gurdies from Hieronymus Bosch to Rembrandt}, year = {1981}, school = {Pittsburgh}, abstract = {This extensive study of the use and meaning of blind hurdy-gurdy players in works of art from Hieronymus Bosch to Rembrandt gathers together over 150 Netherlandish depictions of the motif in such diverse sources as high altars and broadsheets for children. The earliest artistic renditions of the blind hurdy-gurdy player occur about 1500 in two Bosch triptychs, the Temptation of St. Anthony in Lisbon and the Garden of Earthly Delights in Madrid. An examination of the art historical literature on these two well-known triptychs, together with an investigation of contemporary morality plays and beggars{\textquoteright} books, reveal four essential characteristics of Bosch{\textquoteright}s hurdy-gurdy players: he may be a musician, a beggar, a blind man and/or a devil. In both triptychs Bosch clearly warns the viewer about these wicked itinerants. The artist{\textquoteright}s disdain for this figure is continued in several other of his compositions, including the Feast of St. Martin and the Blind Leading the Blind. As almost all representations of the Blind Leading the Blind contain a hurdy-gurdy, the iconography of this theme is examined in detail. Beginning with a lost Bosch painting, the proverb became quite popular among northern artists during the sixteenth century. This discussion includes a chronological survey of the history of the development of this theme together with an examination of each artist{\textquoteright}s use of the hurdy-gurdy. One outcome of this study is a reconstruction of a lost Bosch painting. Once the motif of the blind hurdy-gurdy player enters the plastic arts, it quickly becomes quite common. However, the figure seldom carries with it Bosch{\textquoteright}s original connotations. The hurdy-gurdy player appears as a musician in Flemish kermis scenes, a beggar at food distributions and a blind man in scenes of Christ{\textquoteright}s miracles. In all of these works the blind hurdy-gurdy player is only one of a large number of figures populating the scene. The artist David Vinckboons, however, makes the blind hurdy-gurdy player the focal point of at least eight paintings. Though some art historians believe Vinckboons sympathizes with the hurdy-gurdy player in his versions of the Blind Hurdy-gurdy Player Followed by Children, his use of the figure in scenes of the kermis or of bread distribution, for example, suggests otherwise. Rembrandt{\textquoteright}s source for one of his well-known etchings, the Beggars Receiving Alms at the Door of a House (Bartsch-176), was a painting by Vinckboons of a Blind Hurdy-gurdy Player Followed by Children. This relationship has never been suggested before because the instrument in the Rembrandt etching had not been detected. A Rembrandt drawing of a beggar family (Benesch-749r) which has been tentatively suggested as preparatory for the etching contains a similarly unnoticed hurdy-gurdy. A solid relationship between the etching and the drawing can now be made. The discovery of a hurdy-gurdy in Bartsch-176 has further ramifications for the study of Rembrandt{\textquoteright}s art, as several other drawings can now be related to it: Benesch-745, 750 and 1163. Furthermore, Bartsch-176 is not Rembrandt{\textquoteright}s only etched hurdy-gurdy player. Not only does the most prominent figure in The Strolling Musicians (Bartsch-119) play the instrument, but two other overlooked versions exist under the erroneous titles of The Polander Standing with Arms Folded (Bartsch-140) and The Schoolmaster (Bartsch-128). Therefore, Rembrandt has etched four versions of the hurdy-gurdy player which span thirteen crucial years of his life. Using these examples, his involvement with the theme can now be traced from an early interest in the picturesqueness of these vagrants to his later profound investigation of the inherent dignity of man.}, author = {Hellerstedt, Kahren J.} } @mastersthesis {6673, title = {The Iconography of Sappho, 1775-1875}, year = {1981}, school = {Pennsylvania}, abstract = {Sappho, the most celebrated woman poet of antiquity, and the ancient exemplar of feminine genius, was the object of an unprecedented interest in European arts and letters during the period 1775-1875. At first honored as both an author and as a subject in her own right in book illustrations of the 1760{\textquoteright}s and in paintings in the 1770{\textquoteright}s, Sappho gradually lost this duality in the eroticized academic art of the 1860{\textquoteright}s. Initial fascination with Sappho was nurtured by the new enthusiasm for the classical world, the revaluation of lyric poetry, and the doctrines of ut pictura poesis and the Sublime. The late eighteenth century manifested an heightened interest in women, expressing a new concern for womanly subjects and emotions. In significant numbers, women artists and writers were attracted to the subjects of Sappho and Corinne, Mme de Stael{\textquoteright}s Sappho-like heroine. Artists used as sources the new translations of Sappho{\textquoteright}s own poems, Ovid{\textquoteright}s Epistle (Heroides XV), which described her unrequited love for the boatman Phaon and her subsequent leap from Leucadia, and contemporary pseudo-antique travelogues and biographic fantasies. This thesis discusses in detail the following works: Angelica Kauffman, Sappho and Love (1775) and Angelica in the Character of Design... (1782); A. Zucchi, Homer and Calliope (1781); Elisabeth Vigee-Lebrun, Mme de Stael en Corinne (1808); E. Fragonard, Mme Recamier en Sapho; Gerard,({\textquoteright} ) Corrine au Cap de Misene (1822); Abilgaard, Sappho and the Lesbian Maid (1809); David, Sapho, Phaon et l{\textquoteright}Amour (1809); Tresham, acquaints from Le avventure di Saffo (1784); Girodet, Sappho compositions (1829); Gros, Sapho a Leucate (1801); Dannecker, Sappho (1797-1802); Pradier, Sappho, (1852); Simeon Solomon, Sappho and Erinna (1864); Gleyre, Le Coucher de Sappho (1868); Alma-Taddema, Sappho (1881). After a consideration of the tangled biographical data, and a survey of images of the poet up to the eighteenth century, the study concentrates on several Sappho archetypes, influenced by a sequence of prevailing stylistic tendencies. Sappho is the poet as muse, the virtual personification of poetry in romantic classicism. Sometimes the active poet of Venus-like charm is accompanied by her erotic muse, Cupid, or her lover Phaon. In the 1790{\textquoteright}s, Sappho is shown in the sublime and melodramatic moment of her suicide leap. As romantic notions of requisite suffering became an accepted indicator of creativity, Sappho was transformed into an incapacitated genius, stalled in her art by a perfidious lover. A popular icon of melancholy and unhappy love, Sappho{\textquoteright}s dual status as a poet/lover is lost by the 1860{\textquoteright}s. Before the bias of modernism rendered images of Sappho an iconographic and stylistic irrelevance by the close of the century, Sappho appears as a school-mistress and as an erotic corpse. A final chapter chronicles the historiography of Sappho{\textquoteright}s sexuality and the tradition of erotic images. Although Sappho of Lesbos may be today synonymous with female homosexuality, this was not true until the 1890{\textquoteright}s. Her poems were translated with male rather than the original female love objects until the twentieth century. Yet the abiding fiction of a "second Sappho," who was a courtesan, explains the presence of her name in frankly pornographic contexts during the eighteenth and nineteenth centuries. When the fascination with Sappho as a woman of legendary passion and unbridled sexuality finally obscured her literary reputation in the nineteenth century, we find images of her in such roles as a solitary voluptuary, an heterosexual lover, and, in two rare instances, as an homosexual amorist.}, author = {Stein, Judith E.} } @mastersthesis {6612, title = {Iconography of the Ghent Altarpiece}, year = {1981}, school = {Pennsylvania}, abstract = {"The Iconography of the Ghent Altarpiece" presents a thorough examination of its imagery and inscriptions in the context of the cultural environment in Ghent c. 1432. Chapter I summarizes the history of the scholarship relevant to the altarpiece. In Chapter II are considered the circumstances surrounding its creation: the original condition and site, the patrons, and the artistic character of Jan van Eyck. Chapters III, IV, and V deal with the iconographic programme. This is explicated by using as a gloss a contemporary treatise on the eucharist: the "Tractatus de corpore Cristi" completed in 1400 by Olivier de Langhe, prior of St. Bavo{\textquoteright}s monastery in Ghent. The theme of the altarpiece is the union of the mystical body of Christ in the eucharistic sacrament. The invisible members of the mystical body are depicted as participating in the daily mass in the Vijd Chapel, while the earthly members are represented by civic symbolism specific to Ghent.}, author = {Goodgal, Dana R.} } @mastersthesis {6619, title = {The Imagery of the {\textquoteright}Cosmological Buddha{\textquoteright}}, year = {1981}, school = {IFA/NYU}, abstract = {This dissertation{\textquoteright}s purpose is to establish the identity of Buddha images--paintings and sculptures--bearing cosmological representations on their bodies. The over life-size standing Buddha in the Freer Gallery of Art, Wash. D.C., Sui Dynasty, is the starting point of the research. Its imagery is related to all extant works of Six Dynasties China; its link with similar Central Asian examples is explored and its diffusion to Japan. The cosmological images from the T{\textquoteright}ang Dynasty until the twelfth century are also presented, emphasizing iconographic adaptations. As conscious choice, the author pursued primarily the iconographic aspect of the images and regarded them not merely as a mirror of a style prevalent during a given historical period, but as a concrete expression of a religious belief. Thus, the textual sources were considered to be the truest clue to the images{\textquoteright} identity. For this purpose a careful analysis and comparison of the Dirghagama, part IV, or Sutra of Cosmology and the Avatamsaka Sutra, as possible sources of the imagery are presented. (Their translation constitutes Appendix I and II). Another important factor in this investigation is the author{\textquoteright}s conviction that the imagery of the Cosmological Buddha originated in painting and was later represented in sculpture. When first painted in Central Asia and Tun Huang, the Cosmological Buddha was complemented by several other representations, all celebrating the cult of Sakyamuni. Thus, sculptures of the Cosmological Buddha became a synthesis of a painted iconographic decor, in which such image was one among several representations. The conclusion that the Cosmological Buddha is Sakyamuni was also reached on the basis of textual evaluation of sacred sources. The possibility of a Vairocana cult, well organized and with its own devotional icons within Six Dynasties Chinese Buddhism, was carefully scrutinized and found to be unsubstantiated. In establishing such identity, this research is a revision of Japanese scholarship of the past fifty years, which labelled {\textquoteright}Vairocana Buddha{\textquoteright}, as described in the Avatamsaka Sutra, the images of Buddha containing the cosmos in their divine bodies. Such scholarship is subjected to a critical analysis.}, author = {Howard, Angela} } @mastersthesis {6645, title = {Ivories of 11th century Liege}, year = {1981}, school = {Florida State}, abstract = {No record in ProQuest}, author = {Murray, James J.} } @mastersthesis {6604, title = {Jack Tworkov{\textquoteright}s Work from 1955 to 1979: The Synthesis of Choice and Chance}, year = {1981}, school = {MIT}, abstract = {No abstract in ProQuest}, author = {Fichner-Rathus, Lois} } @mastersthesis {6648, title = {The Jaina Samavasarana}, year = {1981}, school = {IFA/NYU}, abstract = {A work of art created to serve a particular religion can both convey a philosophical statement and be a part of a ritual process. Such is the case of the Samavasarana, the sacred preaching hall where all creatures, according to the Jaina faith, can hear the message of Supreme Knowledge given by one of their 24 spiritual leaders. The purpose of this thesis is to study different expressions of the Samavasarana, a still-vital ritual concept for practicing Jainas. Where, when, and how Samavasaranas appear, as well as possible sources for their artistic treatment, are discussed. The two major sects of Jainism, the Svetambaras and({\textquoteright} ) Digambaras, share the basic concept of the Samavasarana, although their textual descriptions and artistic renditions have certain differences. These variations are discussed at length, and the Appendix includes text passages and diagrams. At the center of the Samavasarana, either square or circular in plan, the Enlightened One (the Jina, or T({\textquoteright})irthankara) miraculously({\textquoteright} ) appears facing out in the four directions, so that all present may see and hear him. This caturmukha, or four-faced theme, is discussed both sculpturally and architecturally, with reference to Hindu and Buddhist examples. The fact that the Samavasarana is "built by the gods" denotes a splendor far exceeding anything man can possibly achieve. The closest artistic examples may be found in Jaina temples themselves, especially in the magnificent temple-complexes such as Satrunjaya({\textquoteright} ) and Mount Abu. Circle and square are symbols of cosmic order in which man can take part. In the case of the Jaina Samavasarana, the work of art serves the ritual. Experiencing these visual expressions, be they painted, sculptured, or built, allows the pilgrim to be physically or mentally present within a Samavasarana, the only place where the message of how to attain moksa can be received. The thesis also has various charts and 244 illustrations. An Addendum makes a special study of Indian architectural antecedents to the Samavasarana, including the stupa and Buddhist and Hindu temples. Major architectural elements of the Samavasarana are brought into this discussion, including its plan, elevation, axis, and "hypaethral", or roofless nature.}, author = {Norton, Ann Wood} } @mastersthesis {6636, title = {James Ensor{\textquoteright}s The Entry of Christ into Brussels in 1889}, year = {1981}, school = {Stanford}, abstract = {Among the landmarks of modern European painting an occasional work so challenges its public, so overwhelms the critics, that even repeated exposure to it through exhibitions and numerous publications yields very little interpretation. Such a fate has greeted the Belgian painter James Ensor{\textquoteright}s (1860-1949) monumental painting, The Entry of Christ into Brussels in 1889, 1888, since it was first shown publicly in 1929 in Brussels and Paris in a large retrospective of Ensor{\textquoteright}s work. From that time the painting--Ensor{\textquoteright}s undisputed masterpiece--has always had admirers, but none has ventured deeply into its sources and its meaning. To work towards an understanding of the content and meaning of the Entry, this dissertation examines the social, political, and artistic milieu in which Ensor painted it, Ensor{\textquoteright}s biography, the development of his art before the Entry, and the form of the painting itself. It is clear that the painting was, at least in part, intended to be an indictment of Ensor{\textquoteright}s society. In it Ensor makes reference to the turbulent social and political situation in Belgium in the 1880s: the rising socialist movement, the challenges to orthodox economic Liberalism, the struggles between Church and State, and the linguistic conflict between the Flemings and the Walloons. The Entry is also a major example of Ensor{\textquoteright}s turn of interest in 1888 to imagery of masks, skeletons, and the macabre, and it indicates his awareness of both popular and avant-garde literature in Belgium and France in the 1880s which dealt with just those subjects. It marks his considered decision to incorporate them into his art as a means to more freely explore his interest in light and color, and to avail himself of these expressive subjects through which he could caricature certain elements of his society. At a time of crisis in his artistic career the Entry comes as an artistic response to a tendency which Ensor saw in his society to adhere blindly to partisan allegiances--to follow mindlessly the brass band, wherever it might lead and for whatever purpose--a tendency which Ensor perceived as threatening his society and by extension his art and himself. Finally, for Ensor the Entry was an allegory of his career as an artist in provincial Ostend attempting to gain acceptance in the capital city. By 1888 he was developing a heightened identification with Christ, and the mocking gestures and buffoonery which greet Christ as he comes into Brussels are the equivalent of the incomprehension and derision which Ensor saw himself face each year when he exhibited his work in Brussels.}, author = {McGough, Stephen} } @mastersthesis {6676, title = {John F. Kensett, American Landscape Painter}, year = {1981}, school = {Bryn Mawr}, abstract = {The purpose of this study is to examine in detail the factors in the success of the Hudson River School painter John F. Kensett (1816-1872), and to relate these factors to the general history of America{\textquoteright}s taste for landscape in the nineteenth century. Only in the last thirty or forty years have art historians recalled that Kensett was praised by his contemporaries as one of the two or three best landscapists in the United States. Important critics such as Samuel G. W. Benjamin, George William Curtis, and Henry Tuckerman spoke of Kensett{\textquoteright}s work with unreserved admiration. However, modern writers have differed about the nature of Kensett{\textquoteright}s success. Some say that he was popular merely because of his agreeable personality; others attribute his success to the fact that he chose timely subjects, that is, that he painted the most fashionable summer resorts of his day; and still others maintain that his popularity was the direct result of a style in which he achieved a perfect balance of photographic realism and personal feeling. These unilateral explanations, however, are based more upon modern reactions to the artist{\textquoteright}s life and paintings than upon a comprehensive examination of the historical record. A close look at newspaper and magazine articles of Kensett{\textquoteright}s time, and at the correspondence between Kensett and his friends and patrons, shows that each of the above generalizations contains a grain of truth, but that no single explanation is sufficient. Each of these factors was certainly instrumental (especially his gift for choosing subject matter that was of wide appeal), but still others emerge upon more careful inspection, such as Kensett{\textquoteright}s involvement with the graphic arts and the contemporary enthusiasm for geology. Despite the fact that a great deal may be learned through the consultation of the written documentation pertaining to Kensett, it must also be recognized that some of the reasons for Kensett{\textquoteright}s success are not fully explicit in the literature. For example, Kensett{\textquoteright}s interest in geology is unrecorded but it asserts itself very definitely in his paintings, particularly those of Niagara Falls, Trenton Falls, and the Cathedral Ledges near North Conway, New Hampshire. In addition, his motivations in choosing certain locations at which to sketch were not always written down. His interest in physical comfort may have had as much to do with these choices, for instance, as did any leaning toward subjects that were traditional because they illustrated the sublime, the picturesque, or the beautiful. We also have to keep in mind the fact that Kensett{\textquoteright}s most important social connections were not always maintained through exchanges of letters. Kensett lived near most of his friends and patrons, and resorted to letter-writing only on formal occasions or when he was away from New York on sketching expeditions. After the consideration of Kensett{\textquoteright}s success during his own day, the dissertation concludes with an examination of Kensett{\textquoteright}s critical reputation over the years since his death. The less than favorable press he received between the late 1870s and the 1930s is seen as a result of the American shift in preference away from landscape painting and toward French art. His revival around the time of World War II is attributed to an increase in American cultural pride, a pride spurred both by the war and by the success of the Abstract Expressionists, who were making New York the art capital of the world. Kensett{\textquoteright}s present status among art historians is discussed in terms of his contribution to what has been called "Luminism," and the point is made that further studies of his iconography and of the changes in his artistic style are necessary for a better understanding of his art and of the period in general.}, author = {Sullivan, Mark W.} } @mastersthesis {6605, title = {John Flaxman{\textquoteright}s Knight of the Blazing Cross}, year = {1981}, school = {Cornell}, abstract = {John Flaxman wrote his allegory, The Knight of the Blazing Cross, in 1796 as a birthday present for his wife, Ann Denman Flaxman. Although Flaxman{\textquoteright}s greatest reputation has rested on his outline drawings, particularly the commissioned illustrations of the 1790{\textquoteright}s, this little-known work should have special interest to scholars of the eighteenth century. The poem is not only a very personal expression of the artist but is also reflects important eighteenth-century concerns that are not apparent in Flaxman{\textquoteright}s more neoclassical works: the contemporary interest in the sublime, the new attention to "old English" allegory, and the pre-romantic interest in medieval romances, folk ballads, and Biblical poetry. These concerns, as well as Flaxman{\textquoteright}s unusual appreciation of early Renaissance and Hindu artistic models, are evident throughout the Knight, interests that extend far beyond the neoclassical labels usually assigned to the artist{\textquoteright}s work. Most significantly, the work may be seen as an expression of Flaxman{\textquoteright}s Swedenborgian ideas. The relationship of Swedenborg{\textquoteright}s philosophy to Flaxman{\textquoteright}s art has been a debatable issue in the past; until the very recent publications of H. W. Janson and David Bindman, scholars have either ignored the problem, or, as in the case of Flaxman{\textquoteright}s latest biographer, David Irwin, have denied the fundamental importance of Swedenborgianism for Flaxman{\textquoteright}s art. This dissertation attempts to show that The Knight of the Blazing Cross demands a systematic allegorical interpretation according to Swedenborg. We can account for many of Flaxman{\textquoteright}s artistic choices within a traditional or contemporary context; however, the interrelationships of text and drawing present idiosyncrasies of logic and plot that can be satisfactorily explained only within a Swedenborgian framework. The Knight{\textquoteright}s quest for injured virtue, his conflict with evil forces, and his ultimate salvation, illustrate the Swedenborgian issues of the natures of man and of true religion, free will, temptation, sin, repentance, and charity and good works. These aspects of the allegory, its use of diverse traditional and contemporary sources, its very personal nature, and its Swedenborgian framework, offer surprising and rich rewards for the serious reader. Despite the fact that the poem appears incidental to the main body of Flaxman{\textquoteright}s work, The Knight of the Blazing Cross reveals important facets of the artist{\textquoteright}s eclecticism and his religious philosophy.}, author = {Fowler, Harriet} } @mastersthesis {6649, title = {John Vanderlyn: French Neoclassicism and the Search for an American Art}, year = {1981}, school = {Delaware}, abstract = {John Vanderlyn (1775-1852) was the foremost neoclassical painter in the United States. Encouraged and supported by Aaron Burr, he was the first American artist to train in Paris at a time when most American painters studied in London. His decision was not casual. Vanderlyn shared an antipathy toward Great Britain and an admiration for France not only with Burr, but also with such other progressive, Republican idealists as Thomas Jefferson, Robert R. Livingston, and Joel Barlow. During a period when the new nation was seeking self-definition, these men looked not to England, but to France-especially Revolutionary France of the 1790s-as America{\textquoteright}s sister republic and cultural role model. Vanderlyn sought to establish an American art based on French neoclassicism, a style that allowed for the expression of classical, republican ideals of virtue and morality in modern terms. He endorsed the reformative, didactic impulse of French neoclassicism, and the style, as he adapted it within an American context, reflected a clear departure from the Anglo-colonial heritage of American culture. This study focuses on the first half of Vanderlyn{\textquoteright}s career, from 1790 to 1815, encompassing his early training with Gilbert Stuart and association with Burr, his studies in Paris at the Academy and the atelier of Francois-Andre Vincent, and the period of his greatest achievements, from 1800 to 1815. While his portraits provide an index to the development of his style, the discussion centers upon his major works: the views of Niagara Falls (1803), The Murder of Jane McCrae (1804), the Caius Marius on the Ruins of Carthage (1807), the Antiope after Correggio (1809), and the Ariadne Asleep and Abandoned by Theseus on the Island of Naxos (1812). Each painting is viewed from the perspectives of French neoclassicism and American socio-political values and artistic standards. The significance of Vanderlyn{\textquoteright}s academic training and the roles of his patrons in the definition of his style are also examined at length. When Vanderlyn returned to the United States in 1815, he realized ambitions which had motivated him since the 1790s. He constructed a gallery of art-the Rotunda-in New York City, where he exhibited the Marius and Ariadne and his copies after Old Master paintings. He intended that the gallery would educate and elevate public taste and, by providing models of excellence both from the grand tradition and in the modern neoclassical style, would establish the foundation for an American aesthetic. His belief that French neoclassicism was the proper basis for an independent, American art is summarized in an analysis of two monumental paintings from this period, the full-length portrait of President James Monroe (1821) and the panorama, Palace and Gardens of Versailles (1819). Although Vanderlyn ultimately failed to ally his art with prevailing American taste, his achievements were both sound on their own terms and instrumental in defining the role of art in the United States. Vanderlyn at least attained his personal goal of applying the French aesthetic within an American context; in the process, he produced paintings of enduring meaning and beauty.}, author = {Oedel, William T.} } @mastersthesis {6637, title = {The Landscape Paintings of the Ming Artist Ch{\textquoteright}en Tao-Fu}, year = {1981}, school = {Kansas}, abstract = {Ch{\textquoteright}en Tao-fu (1483-1544), whose original ming was Shun, was an artist, poet, and calligrapher of the middle Ming period. Among his works of art are paintings of flowers old trees, rocks and plants, landscapes, and occasionally birds in natural settings. His poems often describe these same subjects and many appear on his paintings in a congenial union of the literary and visual arts. As a flower painter, Ch{\textquoteright}en Tao-fu{\textquoteright}s influence was substantial and is recognized widely; however, his excellence as a landscape painter and the numerous extant examples of this subject matter from his hand are not well known. Ch{\textquoteright}en Tao-fu{\textquoteright}s landscape paintings are the primary material upon which this study is based. The paintings are analyzed from the points of view of technique, style, and authenticity. The artist{\textquoteright}s inscriptions and poetry appearing on the paintings as well as attached colophons provide a major source of information. Ch{\textquoteright}en Tao-fu{\textquoteright}s memorial biography (mu-chih ming) and evaluations of him in traditional Chinese art criticism are among other resources employed to reconstruct events in the artist{\textquoteright}s life, his philosophy of art, and the stylistic development of his painting. The first chapters examine Ch{\textquoteright}en Tao-fu{\textquoteright}s background, his relationship with Wen Cheng-ming and Shen Chou, and the nature of his early work. The next three chapters analyze Ch{\textquoteright}en Tao-fu{\textquoteright}s involvement with the Mi style of landscape painting. Deriving from the Sung dynasty literati Mi Fei and Mi Yu-jen, this style utilized ink washes combined with layers of horizontal tien or dots to describe a misty environment filled with conical mountains and small trees. Ch{\textquoteright}en Tao-fu assimilated and creatively interpreted the Mi style, one of the most fascinating, but, in the Ming, neglected of the historical styles. It is not generally known that Ch{\textquoteright}en Tao-fu identified strongly with the work of Mi Yu-jen due to special circumstances within his family and that perhaps he saw himself as a distant spiritual descendant of the Mi. This unique story, a major discovery of the investigation, is detailed in the several chapters devoted to the Mi style. Ch{\textquoteright}en Tao-fu also preserved a philosophy of art that was rare in the sixteenth century. He was a champion of the unorthodox and the expressionistic in landscape. His sixteenth century critics describe his art with terms like i-p{\textquoteright}in (untrammeled), mo-hsi (ink play), and hsieh-i (idea writing). Ch{\textquoteright}en Tao-fu{\textquoteright}s insistence on spontaneity and self-expression in his landscapes is an important issue in this study. He is recognized as the beginning of a pattern of unorthodoxy, a very important stream of painting that continues in the work of Hsu Wei (1521-1593) and Chu Ta (b. 1625-d. after 1705). Thus, this study acknowledges the contributions Ch{\textquoteright}en Tao-fu made to Chinese landscape painting and presents for the first time a number of the artist{\textquoteright}s important works.}, author = {McIntire, Letha} } @mastersthesis {6616, title = {The Late Carolingian Crypt of St. Leger at St.-Maixant-L{\textquoteright}Ecole (Deux-Sevres)}, year = {1981}, school = {Columbia}, abstract = {In 1875, a large barrel-vaulted crypt consisting of a rectangular apse, a transverse gallery axially bisected by a row of massive piers, and dual entrance passages was discovered below the deconsecrated church of St. Leger in the Poitevin town of Saint-Maixent-L{\textquoteright}Ecole (Deux-Sevres). The crypt was described as Romanesque by its discoverer and dated to the eleventh century. This date was quickly challenged by other local scholars who saw the crypt as a remnant of the original Merovingian church erected on the site in 683-684 to house the remains of St. Leger, martyred in 678. The Merovingian-Romanesque polarity thus established has survived in the literature until the present day. This study reveals that scholars have erred on two fundamental points regarding the crypt of St. Leger. First, the crypt has thusfar been discussed as a more or less homogeneous structure. In fact, the extant building is the product of five separate campaigns of construction among which the earliest is by far the most significant. Second, this initial campaign is neither Merovingian nor Romanesque but late-Carolingian and dates to the first quarter of the tenth century. The campaign I crypt is typologically related to crypts of the transverse-gallery type developed by Carolingian architects in the early ninth century. The primary importance of the campaign I crypt resides in the fact that architectural developments in western France following the Viking invasions remain obscure. Erected at one of the most prestigious abbeys in the region, the campaign I crypt sheds some light on these developments. Finally, during the preparation of this study, the author discovered the remains of an early apse and structurally integral tomb within the apse of the church above the crypt. Archeological and textual evidence leave no doubt that this is a fragment of the late seventh century church and that this tomb was the original resting place of its patron{\textquoteright}s relics. Although well-known from texts, surviving examples of such Merovingian apsidal tombs are rare. In addition, archeological evidence provided by this discovery aids in the reconstruction of the small crypt which sat below the apse of the Merovingian church. This modest substructure was completely destroyed during the construction of the campaign I crypt and is known only through a textual description.}, author = {Hess, Gary R.} } @mastersthesis {6629, title = {Lee Krasner, A Study of Her Early Career 1926-1949}, year = {1981}, school = {Delaware}, abstract = {No abstract in ProQuest}, author = {Ellen Gross Landau} } @mastersthesis {6625, title = {The Life and Art of Francisco Ribalta}, year = {1981}, school = {Michigan}, abstract = {A dramatic change in Spanish painting took place at the beginning of the seventeenth century. At the center of this transformation from Italianized Spanish mannerism to the spiritualized realism of Spanish Baroque painting was the painter Francisco Ribalta (1565-1628). In view of Ribalta{\textquoteright}s basic importance in the history of Spanish Baroque painting, a thorough monographic study of the life and art of the artist has here been undertaken. The text consists of five chapters. Chapter I, The Early Life of Francisco Ribalta and His Family, 1565-81, introduces the earliest known facts regarding Francisco{\textquoteright}s life and upbringing. Chapter II, Ribalta{\textquoteright}s Early Works, 1581/82-1598/99, probes the painter{\textquoteright}s formative years in and around Madrid, and in particular his association with the Escorial school. Chapter III, Ribalta{\textquoteright}s First Valencian Period, 1598/99-1611, traces the artist{\textquoteright}s early years in Valencia with special emphasis upon his relationship with and works for the Colegio de Corpus Christi. It considers how Ribalta{\textquoteright}s paintings began to evolve from a manneristic toward a Counter-Reformation statement. Chapter IV, Ribalta{\textquoteright}s Mature Style, 1612-28, studies the dramatic stylistic change in Ribalta{\textquoteright}s works around 1612-15 and his emergence as a fully Baroque artist. Attention is placed upon the continuing debate over the influence of the Italian painter Caravaggio on Ribalta{\textquoteright}s style. A final Chapter, V, The Ribaltesque Circle, explores the master{\textquoteright}s immediate legacy through the lives and art of his disciples and followers: Francisco{\textquoteright}s son, Juan Ribalta, Vicente Castello, Gregorio Bausa, and Urbano Vos. Six Appendices follow: (A) Documents. (B) The Controversy over Francisco Ribalta{\textquoteright}s True Patria. (C) The Colegio de Pintores of Valencia. (D) Checklist of Ribaltesque Drawings. (E) Checklist of Ribaltesque Prints. (F) Abdon Castaneda, His Art and a Catalogue of His Works. An extensive Catalogue Raisonne is divided into the following sections: Accepted Works of Francisco Ribalta; Accepted Works of Juan Ribalta; Lost Works of Francisco and Juan Ribalta; Accepted and Lost Works of the Ribaltescos; Rejected and Unattributable Works. A full Bibliography and a corpus of illustrations complete the study.}, author = {Kowal, David} } @mastersthesis {6644, title = {Li-Kung-kin{\textquoteright}s Chiuko t{\textquoteright}u: a Study of the Nine Songs Handscrolls in the Sung and Yuan Dynasties}, year = {1981}, school = {Yale}, abstract = {This dissertation is an iconographic study of the Nine Songs handscroll tradition in the Sung and Yuan dynasties. Li Kung-lin, the artist who apparently initiated this subject, was a member of the Northern Sung literati circle responsible for crystallizing the new set of artistic values defined as scholars{\textquoteright} painting (wen-jen hua). Essential to this definition is the equivalent relation between poetry and painting. As painted illustrations of a poetic cycle, Li Kung-lin{\textquoteright}s Nine Songs handscrolls provide an excellent example of this relation, with the literary tradition supplying the means for interpreting the paintings. Ch{\textquoteright}u Yuan, the author of the poems, was a loyal official whose discerning advice to his ruler went unheeded. Knowing that his state would fall to its enemies, Ch{\textquoteright}u Yuan committed suicide in despair. It is this action that became the focus of a perennial debate among Chinese scholars. In addition to this controversy, the beauty of the poetry itself and its historical significance for Chinese literature magnify the importance of Ch{\textquoteright}u Yuan{\textquoteright}s role. The introduction and first chapter of the thesis establish the existence of two now lost Li Kung-lin originals. The first chapter attempts a reconstruction of the overall iconography of the individual representations in both paintings through a careful study of the extant copies. Once the major difference between the straightforward narrative treatment of the earlier Wen-hsuan version and the more conceptualized "personifications" of the later handscroll is ascertained, it becomes a device for understanding how this change in format more effectively attunes the viewer{\textquoteright}s perception of the painted images to the literary content. The remaining two chapters of the thesis explore the relationship between the paintings and the literary tradition, together furnishing an iconographic interpretation for the handscrolls. The second chapter presents an allegorical meaning based on reiteration of specific poetic themes in inscriptions for the paintings and in some related texts. The third chapter takes up the question of loyalty, the poet Ch{\textquoteright}u Yuan{\textquoteright}s greatest virtue, and concurrently examines the change in Ch{\textquoteright}u Yuan{\textquoteright}s image in the Sung period. The more absolute Sung definition of loyalty demonstrates how Ch{\textquoteright}u Yuan{\textquoteright}s role could be simultaneously re-examined. We then conclude that an understanding of the Nine Songs handscrolls fuses the lyric aspect of the literary tradition conveyed in the painted allegory with more objective analysis of Ch{\textquoteright}u Yuan{\textquoteright}s virtues growing out of the continuing debate over his suicide. The thesis also contains a brief excursus on the fourteenth century tradition of the Nine Songs. Volume two is a draft catalogue of all the information collected to date regarding extant and recorded versions of the Nine Songs, with some related materials also included.}, author = {Muller, Deborah D.} } @mastersthesis {6681, title = {Louis H. Sullivan{\textquoteright}s Metaphysics of Architecture: Sources and correspondences with Symbolist Art Theory}, year = {1981}, school = {Chicago}, abstract = {No abstract in ProQuest}, author = {Lauren Weingarden} } @mastersthesis {6664, title = {Miniature Painting in Harat 1570-1640}, year = {1981}, school = {IFA/NYU}, abstract = {There is extensive evidence that the city of Harat supported a major production of illustrated books, paintings and drawings during the years 1570-1640. This art is characterized by special stylistic and iconographic features peculiar to this city alone, and was undertaken in a special historical setting which profoundly affected its development. At the most simple level this study provides new criteria for stylistic attribution of miniatures to this provincial capital in eastern Persia for a period of some seventy years. Some three hundred photographs of Harav({\textquoteright})i miniatures accompany this paper (perhaps half of all known to the writer); using these in conjunction with stylistic arguments presented in the text one may now not only assign newly discovered miniatures to Harav({\textquoteright})i provenance but date then to within five to ten years of their production. Other themes have emerged from this study which give new insight into the roles of the patron and artisan in Safavid Persia. A key role in the patronage of the art of the book in Khurasan was played by a series of governor-generals from the Shamlu tribe. Not only did their personal taste control the finished appearance of the illustrated manuscript--even as to the size of nasta{\textquoteright}liq script and the choice of subject matter and iconography--but as the traditional ruling family in this province they exerted a conservative influence on the images themselves, resisting as it were new artistic impulses from the Safavid capital. Even though Khurasan was militarily divided from western Persia during much of the last quarter of the sixteenth century and the art perforce developed in isolation, innovations introduced after the Safavid reconquest in 1598 were soon abandoned, and the artistic style reverted to traditional Harat modes. Our study shows that the lives of the artisans were minimally affected by the constant warring of the Uzbek and Safavid overlords. The best known calligrapher of Harat, Shah Qasim, worked first for Uzbek nobility, and later for two succeeding Shamlu governor-generals; an older calligrapher, Muhammad Am({\textquoteright})in, weathered even more political changes, for he evidently began his career during the governorship of {\textquoteright}Al({\textquoteright})i Qul({\textquoteright})i Khan Shamlu, worked for Uzbek nobility during the twelve years this Central Asian group controlled Harat, and spent his last years as a major calligrapher for the Safavid beglarbegi Husayn Khan Shamlu. The careers of the several anonymous painters must have followed similar patterns. The commissions of the major Shamlu or Uzbek rulers were not sufficient to require the full time services of these artisans; illustrated manuscripts were also produced for general sale, or kept until a suitable client could be found. The nisba al-Harav({\textquoteright})i was used while the calligraphers were in residence here, though it was not always included in the signatures in colophons. The provincial artisan{\textquoteright}s first allegiance was to his native city and his own well being, not to a major patron. Many art historical problems were solved by relating the works closely to the historical environment in which they were created. For example, the important part played by Late Mashhad painting in the development of the Harat style in the late 1580{\textquoteright}s and 1590{\textquoteright}s is comprehensible only when one realizes that both cities were under a new Uzbek rule at that time. Likewise Indian motifs which appear in some Harav({\textquoteright})i miniatures ca. 1615 are readily understandable when one known that a major delegation from the Mughal court, which included at least one well-known Indian artist, remained in Harat for some months at just this period.}, author = {Schmitz, Barbara} } @mastersthesis {6674, title = {Mongol Palaces}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Nancy Riva Steinhardt} } @mastersthesis {6647, title = {Mountains of the Immortals: The Life and Painting of Fang Ts{\textquoteright}ung-i}, year = {1981}, school = {Yale}, abstract = {This dissertation examines the life of artistic achievement of Fang Ts{\textquoteright}ung-i (ca.1301-1378+) and attempts to illuminate his work within Chinese religious, intellectual, and aesthetic tradition. Chapter One describes the evolution of Taoist religious organization from the post-Han period to the fourteenth century, that moment when Fang Ts{\textquoteright}ung-i lived and worked at Lung-hu shan, the headquarters of the Cheng-i sect in Kiangsi Province. The chapter discusses the confluence of intellectual and religious traditions in Kiangsi, sectarian Taoist movements of the thirteenth and early fourteenth centuries, and the predilection toward syncretism, both political and spiritual, during the Mongol occupation of China. The purpose is to create a cultural context within which the life and art of Fang Ts{\textquoteright}ung-i developed. Chapter Two provides a comprehensive biography of Fang Ts{\textquoteright}ung-i, relying primarily upon the writing of contemporaries, especially Chang Yu-ch{\textquoteright}u, the forty-third Celestial Master who was Fang{\textquoteright}s student and biographer. The chapter traces Fang{\textquoteright}s early life and training at Lung-hu shan, his journey to the Mongol capital and the famous mountains of the North, and his return to Lung-hu shan to continue a life of seclusion and artistic endeavor. Chapter Three discusses the calligraphy, bamboo and landscape painting attributed to Fang. Documentary evidence, stylistic analysis, and close comparisons of calligraphic technique are used as tools for authentication. Eleven paintings are accepted as the work of Fang{\textquoteright}s hand, and other works and later copies are reviewed for their insight into his artistic achievement. Fang{\textquoteright}s art is intimately associated with the style of the Sung painters Mi Fu and his son Mi Yu-jen, thus Chapter Four examines attributions to them, and the stylistic tradition associated with their name. The chapter concludes with an evaluation of Fang{\textquoteright}s place in and contribution to that tradition. Finally, both Mi Fu and Fang Ts{\textquoteright}ung-i have been termed i-p{\textquoteright}in or "untrammeled" masters by later critics. Chapter Five examines the origins and changing connotation of the term i-p{\textquoteright}in and offers a new definition of the "untrammeled" painter as one who stands apart temperamentally, socially, geographically, spiritually, and artistically, as one whose life and work excelled conventions of the moment, thus eliciting the highest appreciation. Fang Ts{\textquoteright}ung-i{\textquoteright}s was such an achievement.}, author = {Neill, Mary G.} } @mastersthesis {6641, title = {The Murals of Bonampak}, year = {1981}, school = {Yale}, abstract = {No abstract in ProQuest}, author = {Mary Ellen Miller} } @mastersthesis {6607, title = {Mystery, Magic and Love in Picasso, 1925-1938: Picasso and the Surrealist Poets}, year = {1981}, school = {Columbia}, abstract = {This study is an investigation of Picasso{\textquoteright}s art between 1925 and 1938, the years when his intellectual milieu was dominated by the philosophy and aesthetics of Surrealism as defined by Breton and when surrealist writing was one of his main sources of inspiration. The first part of the study deals with a series of works completed between 1927 and 1938 featuring the leitmotif of a wooden beach cabin that had been characteristic of the beaches of Picasso{\textquoteright}s childhood and remained ingrained in his memory (Chapters I-II). The enigmatic interiors and the keys of Picasso{\textquoteright}s cabanas were inspired by the symbolic interiors and keys of the surrealist writers (Chapters III-IV). The cabana of the paintings, drawings and prints in the Cabana Series is a symbol of Picasso himself and stands for his alienation from a malevolent external "Mystery" that is paradoxically immanent in his own psyche (Chapter V). The second part of the study discusses Picasso{\textquoteright}s conception of art as a form of magic, as expressed in his writings and verbal statements (Chapters VI-VIII), and his application of it in a series of paintings done between 1925 and 1938. The first 1925 group of "magic" paintings begins with a focus on fate as death, continues with an emphasis on ritual sacrifice, and ends with an assertion of the triumph of life over death (Chapters IX-XI). In his 1926 collages, Picasso turned away from image to "contagious magic" (Chapter XII). Upon meeting Marie-Therese Walter in 1927, and while under the impact of the surrealist writers{\textquoteright} mystique of words and letters, Picasso introduced Marie-Therese{\textquoteright}s initials and their joined monogram into his paintings (Chapter XIII). Between 1926 and 1936 he created both his primitivistic Crucifixions (Chapter XIV), and his mirrors-and-paintings, the latter of which were directly triggered by the mirrors in surrealist writing (Chapter XV). The optimistic still lifes painted during the Spanish Civil War, between 1936 and 1938, reflect on a second level Picasso{\textquoteright}s anxiety-ridden symbolic and magic participation in that war (Chapter XVI). In the 1933-1938 Minotaur Series, Picasso expressed surrealist conceptions of the "marvelous" and passionate "mad love" to give meaning to his liaison with Marie-Therese. He again asserted in this Series the struggle between life and death and the triumph of life (Chapter XVII). Picasso{\textquoteright}s three Series of works discussed in this study constitute one structured whole organized in terms of a basic problem and two alternative solutions: the problem of man{\textquoteright}s fate as death, and the two solutions for overcoming death, art as a form of magic and sexual-spiritual love as communion with the forces of life.}, author = {Gasman, Lydia} } @mastersthesis {6600, title = {Nanking and the Mustard Seed Garden Painting Mural}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Delbanco, Dawn Ho} } @mastersthesis {6657, title = {Nineteenth-Century Domestic Architectural Reform}, year = {1981}, school = {Cornell}, abstract = {Four writers on domestic architecture are used as a vehicle for examining the interaction between cultural beliefs about the family and the design of houses. These include the Scot, John Claudius Loudon (1782-1843), and the Americans, Orson Fowler (1809-1887), Andrew Jackson Downing (1815-1852), and Catharine Beecher (1800-1878). While part of a general nineteenth-century impulse to improve society through reforming architecture, they also reflected different aspects of what we see today as the "cult of domesticity." The cult of domesticity broadened the function of the home and family from an economic unit to include the transmission of social values. Through the cult of domesticity the home acquired a social and emotional meaning beyond its function as shelter. It established a set of relationships within the family based on gender and age and defined the link between family and the rest of the community. Thus these four writers{\textquoteright} efforts to improve society through improving domestic architecture were in accord with the increased emphasis placed on the home in the nineteenth century, each of them reflecting different aspects of the cult of domesticity. This study uses their writings as facets of a prism through which we can perceive more clearly the relationship between the cult of domesticity and the reform of domestic architecture. The results of this inquiry show that the design of homes depends not only on architectural theory and technological innovation, but on the culture{\textquoteright}s definition of home and family. The four authors demonstrate that underlying our ideas about the physical structure of homes, are a set of unexamined beliefs that often determine the final design of the building. Our homes, in imposing patterns of living on their inhabitants, both reflect and reinforce our notions of family life.}, author = {Prendergast, Norma} } @mastersthesis {6672, title = {O.G. Rejlander - Art Photographer}, year = {1981}, school = {Michigan}, abstract = {O. G. Rejlander (1818-1875) was a British photographer once famous as "the father of art photography." Trained as an artist, Rejlander initiated his photographic career in 1853. His primary goal was to demonstrate that photography was worthy of classification as a fine art. To this end, he studied Old Master art in theory and practice and applied these same principles to photography. Rejlander{\textquoteright}s subjects fall into four major categories--portraits, genre, "high art," and studies--each of which is treated in a separate chapter in this study. In each chapter, relevant theory is discussed first, followed by an analysis of representative photographs. The quality of Rejlander{\textquoteright}s portraits varied widely, but they were consistently more intimate and informal than the typical professional product. Rejlander{\textquoteright}s genre photographs constitute the main body of his work. In these, he was to some degree influenced by Dutch and Flemish genre, English narrative painting, and popular imagery. He devoted particular attention to images of the urban poor thereby establishing himself as one of the first photographers to document this subject. Although best known today for his "high art," allegorical photographs, Rejlander actually made only a very few such photographs. The Two Ways of Life, his most ambitious work, is analyzed in particular detail. Studies of expression and of the nude and draped human form were Rejlander{\textquoteright}s major preoccupation. He derived inspiration from nineteenth-century physiognomic treatises and Italian High Renaissance art. Rejlander{\textquoteright}s photographs and his theory of art photography had immediate and extended influence. In the short term, his photographs stimulated the development of genre photography and pictorial studies. In the long term, his theories had a more lasting impact; many nineteenth and twentieth-century photographers have adopted his attitudes toward the role of artistry, imagination and subjectivity in photography.}, author = {Spencer, Stephanie L.} } @mastersthesis {6617, title = {The Origin and Development of Erwin Panofsky{\textquoteright}s Theories of Art}, year = {1981}, school = {Cornell}, abstract = {This dissertation offers a detailed analytic study of the historical background and philosophical principles which influenced the writings of Erwin Panofsky, arguably the most influential historian of art in the twentieth century. In particular, it focuses on several of Panofsky{\textquoteright}s untranslated essays written during the decade of 1915-1925 in response to the intellectual challenges offered him in turn by Wolfflin, Riegl, and Cassirer. By examining the development of Panofsky{\textquoteright}s theories of art within their general historical and epistemological context, this critique discusses the manifold analytic principles around which "iconology", or, to use Panofsky{\textquoteright}s words, "art history turned interpretative," has come to be shaped. The first chapter investigates the general development of art historical scholarship by marking its connections with Hegelian cultural history and by discussing the methodological quandaries within the discipline generated by the tension between metaphysical idealism and positivism in the late nineteenth and early twentieth century. In connection with this historiographic background, Chapter two concentrates in detail on the often misunderstood works of Heinrich Wolfflin, and then moves to Panofsky{\textquoteright}s early contextualist critique of the formalist approach to art. Chapter three examines Riegl{\textquoteright}s problematic notion of the Kunstwollen, in terms of both Panofsky{\textquoteright}s early disenchantment with this particular art historical explanation and the contextualist direction in which his ideas were already turning by 1920. The fourth chapter sets forth the work of other contemporary art theorists, from the methodological debates waged in the leading journals of the day of the work of Aby Warburg whose unusual library became a meeting place for scholars from a variety of fields. The fifth chapter discusses Panofsky{\textquoteright}s often acknowledged indebtedness to the work of his senior Hamburg colleague, Ernest Cassirer. This essay relates both Panofsky{\textquoteright}s continuing concern for providing art historical commentary with a sound philosophical basis and his interest in the conventionality of Renaissance perspective to a larger neo-Kantian project which informs the work of Cassirer. In this three volumes of The Philosophy of Symbolic Forms composed during the 1920s, Cassirer elaborated a morphology of symbolical values, from mythical thinking to mathematics, through which human beings constitute the world of their experience. Panofsky{\textquoteright}s "Perspektive als symbolische Form" is discussed in detail because it reveals the genesis of his iconological approach as it is related to Cassirer{\textquoteright}s thought. Chapter six addresses itself to Panofsky{\textquoteright}s later and better known English works, including Studies in Iconology, Early Netherlandish Painting, and Meaning in the Visual Arts. This essay analyzes "iconology" in terms of its central interpretive principles and questions why Panofsky{\textquoteright}s practical art history only rarely fulfills the vision of his theoretical work, a vision similar to the one which has inspired recent work in semiotics, the philosophy of history, and the philosophy of science. Commenting on Vasari, Panofsky once said he was "a pioneer of an historical way of thinking--a way of thinking which in itself must be judged historically." Panofsky{\textquoteright}s formative and influential ideas, like Vasari{\textquoteright}s, deserve to be evaluated in the same way. This dissertation attempts to situate Panofsky{\textquoteright}s work in the context which made his discoveries possible.}, author = {Michael A. Holly} } @mastersthesis {6621, title = {The Painting of Giovanni Battista Piazzetta}, year = {1981}, school = {IFA/NYU}, abstract = {The Paintings of Giovanni Battista Piazzetta is the first monograph on the artist{\textquoteright}s life and work to appear in English. In Volume I, the author traces the origin and development of both Piazzetta{\textquoteright}s style and innovative approach to subject matter. A new view is taken of Piazzetta{\textquoteright}s early work in which it is shown that the painter was deeply influenced by the art of his Venetian teacher, Antonio Molinari, as well as by his years of study in Bologna. The uniqueness of his style, with its dual sources in Venetian and Bolognese late seventeenth-century painting, is demonstrated in a chapter devoted to the first great illusionistic religious decoration in settecento Venice, Piazzetta{\textquoteright}s Apotheosis of Saint Dominic ceiling in SS. Giovanni e Paolo. Piazzetta{\textquoteright}s late work is reassessed in light of the artist{\textquoteright}s discovery of Rembrandt{\textquoteright}s art as a major source for his own late style and in light of the extensive role played in this period by the painter{\textquoteright}s active shop. Furthermore, Piazzetta is shown to stand apart from his followers not only in style but in his concern for subject matter. In his religious pictures, Piazzetta consistently sought to express the deeper theological concepts embodied in the themes he depicted; in his genre works, he built on seventeenth-century northern models and produced paintings that are far richer in symbolic meaning than has previously been recognized. Volume II is a catalogue raisonne of the 162 paintings attributed to Piazzetta by various scholars since, and including, 1956, the year in which the most recent study of the painter{\textquoteright}s work appeared. The author catalogues 74 of these as authentic works by the master and reattributes the remaining 88 to various assistants and followers.}, author = {Jones, Leslie} } @mastersthesis {6670, title = {The Paintings of Lucas van Leyden}, year = {1981}, school = {UNC Chapel Hill}, abstract = {Lucas van Leyden (1494?-1533) was a versatile artist, skilled as a painter, printmaker, and draughtsman. His painted oeuvre has until recently been poorly understood, primarily because of the numerus panels incorrectly accepted as originals. Within the last few years the number of extant paintings by Lucas has been convincingly narrowed to seventeen. This dissertation presents a comprehensive stylistic and iconographic analysis of these works, as well as of the numerous later copies after now-lost paintings by the master. The inclusion of these sixteenth- and seventeenth-century reproductions provides further evidence of Lucas{\textquoteright}s artistic concerns, enabling a more effective overview of his style. The first chapter surveys the biographical data, in particular as it relates to Lucas{\textquoteright}s controversial birthdate, his artistic training, and his travels to the southern Netherlands. Chapter II analyzes his stylistic development in three stages, beginning around 1508 with a series of small panels crowded with half-length figures. Under the stimulus of Albrecht Durer{\textquoteright}s prints, Lucas{\textquoteright}s figures became more corporeal and his compositions more spatially convincing. The two artists met in Antwerp in 1521, and this renewed contact with the works of Durer as well as with the style of his Flemish contemporaries had a profound impact on Lucas{\textquoteright}s art during the early 1520{\textquoteright}s. Later in the decade the engravings of Marcantonio Raimondi were influential for his figure poses, and his travels with Jan Gossaert also proved to be of major importance for the development of his style. The third chapter deals with certain major iconographic concerns that recurred throughout his career. His early gaming scenes provided him with a theme that cropped up repeatedly in his later years. These paintings were much more than simple illustrations of everyday events, more even than allegorical representations of the game of love. . . . (Author{\textquoteright}s abstract exceeds stipulated maximum length. Discontinued here with permission of school.) UMI}, author = {Smith, Elise} } @mastersthesis {6627, title = {Peggy Guggenheim{\textquoteright}s Art of This Century: The Surrealist Milieu and the American Avant-Garde, 1842-1947}, year = {1981}, school = {Delaware}, abstract = {This dissertation investigates the role of Peggy Guggenheim and her milieu in New York in the 1940s in the development of contemporary American art. It is argued that through Guggenheim{\textquoteright}s presence in America during those years (1941-1947), she exerted a major influence. She accomplished this mainly through her Art of This Century gallery at 30 West 57th Street. Her personal collection of art that she placed on view there, the presence there of several European artists and members of the intelligentsia, and Guggenheim{\textquoteright}s own generosity and encouragement of young talent by exhibiting their works at the gallery--all assisted in nurturing the New York School. Guggenheim{\textquoteright}s art collection, the major part of which had been assembled in Europe and which consisted largely of European works, provided American artists and the art public with an opportunity to view the most extensive and comprehensive private collection of twentieth-century art available in New York up until that time. It consisted, moreover, of fine examples of every major art movement of the twentieth century and of nearly every major artist. Especially important for its influence in America was the strength of the collection in Surrealism. Works by Salvador Dali, Max Ernst, Rene Magritte, Andre Masson, and Yves Tanguy, among other leaders of the movement, were prominently and dramatically displayed. Just as important as the collection, if not more so, was the actual presence of many of the European artists in the Art of This Century milieu. Peggy Guggenheim had spent the majority of her time between 1920 and 1941 in Europe, where she gradually acquired a knowledge of, and a taste for, modern art. During that time she also had met a number of the artists. It was only natural, then, that when she returned to New York during World War II and established her avant-garde gallery, the European artists who also had been driven to America by the War, should congregate around her and her gallery. It was not uncommon to see Max Ernst, Marcel Duchamp, Andre Breton, Matta and others in attendance at Art of This Century. The gallery thus gave young American artists the opportunity to meet recognized European modernists and to speak with them in a congenial atmosphere. Moreover, Peggy Guggenheim enabled several of these young Americans, the future leaders of the New York School, to exhibit their paintings and sculptures for the first time: she provided one-man shows for William Baziotes, David Hare, Hans Hofmann, Robert Motherwell, Jackson Pollock, Mark Rothko, and Clyfford Still. Chapter I of this study traces Guggenheim{\textquoteright}s early life, her involvement with the avant-garde in Europe, and the development of her collection of art up until 1941 when she was driven to America by World War II. American attitudes towards Surrealism during the 1930s and 1940s is the subject of Chapter II. Chapter III deals with Guggenheim{\textquoteright}s arrival in New York, the continuing growth of her collection, the plans for Art of This Century and the opening exhibition in October of 1942. Chapter IV is devoted to Howard Putzel, an advisor to Guggenheim and an important figure in his own right. Chapters V through VIII deal with the exhibition seasons and criticism, followed by Chapter IX, a conclusion. There are also three appendices: a recreation (as completely as presently possible) of the exhibitions at Art of This Century; a concordance to the exhibitors; and a selective chronology of avant-garde activities in America between 1925 and 1947.}, author = {Lader, Melvin} } @mastersthesis {6651, title = {Pietro Aretino: Orator and Art Theorist}, year = {1981}, school = {Yale}, abstract = {In his own day, the notorious "Scourge of Princes," Pietro Aretino (1492-1556), was recognized as an authority on the arts. The versatile writer was the intimate friend of such prominent artists as Raphael, Titian, and Jacopo Sansovino. He advised patrons, commissioned an extraordina range of portraits that bore his features, and assembled an art collection of his own. Although he never wrote a treatise on either poetry or painting, Aretino published hundreds of letters dealing with the fine arts. Twentieth-century art historians have long acknow ledged Aretino{\textquoteright}s importance in the world of Cinquecento art. Nevertheless, scholars have produced only one fu ll- scale study about the writer, and that in Italian: a criti cal edition of his 683 letters on art. The purpose of this dissertation is to demonstrate that Aretino{\textquoteright}s importance lay not in any single aspect of his work, but in the range.}, author = {Palladino, Lora} } @mastersthesis {6642, title = {Pose and Gesture in Classic Maya Monumental Sculpture}, year = {1981}, school = {UT Austin}, abstract = {In the relatively naturalistic yet highly symbolic art style of the Classic Maya (250-900 A.D.), of which the human form is the principal subject matter, the positions of the body and limbs may have been iconographically significant. The consistent representation of a limited number of poses and gestures suggests that they were not chosen randomly but, like Maya costume and accoutrements, were meant to convey information about the status or role of the individuals portrayed and the nature of the events and rituals illustrated. Any attempt to interpret the possible significance of Maya poses and gestures, however, should be preceded by a systematic cataloguing of the poses and gestures represented. In this dissertation selected body positions and gestures appearing in monumental relief sculpture, including sitting, kneeling, reclining, dancing, ballplaying, and several hand and arm gestures, were examined. Pose and gesture, like other traits, must be examined in context with reference not only to iconographical relationships but also to the formal and stylistic characteristics of Maya art. This study demonstrated that a number of different factors could determine which body and limb positions would be taken by the figures represented in a relief. The linear, two-dimensional style of Maya relief sculpture, for example, limits the number of postures and gestures that can be represented unambiguously. Furthermore, changes in the depiction of the human form over several centuries also affected the postures and gestures represented. Some of the variations in the representation of pose and gesture can be attributed to regional differences in the style and themes of monumental sculpture and even to non-Maya influences. The contexts in which the poses and gestures selected for this study occur were analyzed to determine if any consistent relationships exist between a pose or gesture and other visual elements. These elements include the class of monument (stela, lintel, altar, etc.), the number of figures represented and their positions within the composition, and the dress and insignia of the individual taking the position or gesture in question. While some of the patterns revealed were predictable, others were unexpected and provide new insights into the nature of Classic Maya art and society.}, author = {Miller, Virginia Elizabeth} } @mastersthesis {6640, title = {A Program of Political Theology in Amarna Tomb Art: Imagery and Metaphor}, year = {1981}, school = {Pennsylvania}, abstract = {This dissertation addressed the question of whether or not it is possible to distinguish an underlying program for the structure and decorative images of the tombs belonging to officials of Akhenaten at Tell El Amarna. In the context of this problem, it is demonstrated that the tomb relief decoration emerges as a skillful blend of the officials career with the doctrine of Atenism. In the process of trying to resolve the public with the private, the dilemma between the conflicting traditions of kingship: one, held in conjunction with the old religion of the Amun priesthood; the other, held as part of the new religion of the Aten practiced by Akhenaten during the Amarna period. By using the tombs of the deceased officials as a context for the articulation of a definition of kingship, the tombs and their decoration provide a ritualistic compromise between the religious factions. How this compromise was achieved is the subject of the program analysis. To demonstrate how the transference from the personal to the political is achieved an analysis of the two primary texts inscribed in each tomb: the hymn to the Aten and the prayer to the king, has been made. Because the tombs have never been examined as a group to determine their expressive content, it has been necessary to establish either what actually is depicted in the visual images, or, how those images related to the accompanying texts. The study has resulted in a demonstration of how the liturgy of the Aten hymn and prayer can be seen to provide a context for the architectural structure and compositional program of the rock-tomb reliefs. Furthermore, the study has resulted in establishing the interrelationships of the political with the visual as the underlying principle of the tomb program. In the individual cases, the study has, in addition, been able to correlate titles with the visual program and how it has been tailored to the specific individual. The program is a carefully constructed one in which the religious and the political rely on the role of Akhenaten as king without sacrificing identification of the individual officials career. The study demonstrates that the content of the tombs is not isolated from the reality of their contemporary world, but rather a political extension of it. The reciprocal relationship between image and text proves the framework for the visual ensemble of the tombs. By denying the religious oligarchy of the Amun priesthood, the king publicly legitimizes his political authority and his religious right to do so, and in so doing re-establishes traditional sovereign prerogatives.}, author = {Meyers, Elizabeth} } @mastersthesis {6588, title = {Purpose and Purposes in the Study of Art}, year = {1981}, school = {Cornell}, abstract = {The purpose of the inquiry is to clarify the discussion of problems in the study of art that involve makers, artifacts, and viewers, or in other words, that concern art as activity, as object, and as experience. It focuses on the situation of ordinary viewers encountering and understanding works of art, a situation comparable to that of art historians and art critics in their less ordinary pursuits. Describing works of art as visible artifacts that people make in order to achieve certain purposes through the interactions of the artifacts and other persons who see them, and defining understanding as the recognition of makers{\textquoteright} purposes by viewers of the artifacts, it examines the process by which such understanding is reached, making reference to current models of perception and cognition. The findings of that examination are then applied to the study of art, the doing of art history, and the making of works of art. In the course of the inquiry a generally applicable theory of art and art history is sketched that allows the consistent and coherent interrelating of phenomena that we observe in the study of art, among them forms shared among works of art and the frequent discussion of style in art history, reports of viewers{\textquoteright} delight at singular masterpieces and at vernacular repetitions, and disagreements over the nature of art history and art criticism, and of problems that we encounter in doing history, among them subjectivity and objectivity, the uses of generalizations and particular explanations, and the assessment of validity and adequacy in interpretation.}, author = {Ashton, Mark} } @mastersthesis {6679, title = {Qasr Kharana: An Early Islamic Monument in the TransJordan}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Urice, Stephen K.} } @mastersthesis {6628, title = {Realism and Anti-Aristocratic Sentiment in Victorian Depictions of the Crimean War}, year = {1981}, school = {Yale}, abstract = {British Victorian art dealing with the Crimean War (1854-1856) abandoned the traditionally heroic modes of representing military events common since the early 18th century. Artists and public alike could no longer accept the carefully composed pictorial aggrandizement of British military reputation typical of West, Copley and painters of the Napoleonic Wars as persuasive images of war and its effects. Instead, Victorian artists turned to new subjects for pictures that were more realistic, in terms of verisimilitude, and more Realist in their response to the widespread liberal political sympathy for the men and women who bore the brunt of war. Evidence in support of the thesis will be drawn from the following sources: (1) Paintings, photographs, and drawings by artists in the Crimea, including drawings published as wood-engravings in the illustrated press, exemplified the graphic realism of battle scenes done by actual witnesses to military events. (2) Popular genre and exhibition paintings relating to the Crimean War focused almost exclusively on the patriotic and stoical qualities of the rank and file, and on the services of the civilian woman, Florence Nightingale. (3) Satirical prints, often found in Punch, lampooned the inability of the Army Staff and denounced the neglect of the troops in the Crimea. (4) Historical genre pictures of the later Victorian period, beginning with Lady Elizabeth Butler{\textquoteright}s The Roll Call, characterized the soldiers{\textquoteright} reaction to battle in the Crimea as one of pain, fatigue and disorientation, a distinctly modern notion altogether opposed to the images of heroic sacrifice found in West{\textquoteright}s Death of Wolfe or Copley{\textquoteright}s Death of Major Pierson. The pictures, particularly their contents, will be considered in light of the dominant social and political current which arose in Britain from the Crimean War: a hostile resentment of the elite aristocratic caste which administered and officered the Army, and a concurrent sympathy for the common soldiery. Men who benefited from institutionalized privileges of wealth and connection in an Army where commissions and promotions were purchased came under public attack as the cause of the failures in the Crimea; and non-commissioned soldiers, once regarded in Britain as worse than criminals, were raised high in public esteem in recognition of their suffering and good service in a difficult campaign. Victorian art inevitably espoused this new alignment of sentiment, as artists developed original motifs and compositional schemes to render modern images of war and those who serve in war. The tenor of such pictures, notably the Crimean War scenes painted in the 1870{\textquoteright}s, was democratic and egalitarian in its praise for the individual soldier in the harsh environment of battle. Crimean War art thus served as important cultural documentation in view of the Gladstone ministry{\textquoteright}s successful drive to reform the Army into a meritocratic institution in the late 1860{\textquoteright}s and early 1870{\textquoteright}s.}, author = {Lalumia, Matthew} } @mastersthesis {6665, title = {Recherches sur le jardin medieval d{\textquoteright}apres des documents historiques, iconographiques et litteraires}, year = {1981}, school = {Paris}, abstract = {No record in ProQuest}, author = {Sehl, Martine} } @mastersthesis {6586, title = {The Renaissance Nymphaeum: Its Origins and Development in Rome and Vicinity}, year = {1981}, school = {Columbia}, abstract = {The Renaissance nymphaeum is a revival of the ancient rustic fountain grotto, or of rustic fountains that allude to such grottoes. Because the term "nymphaeum" was not usually applied in ancient Roman or Renaissance times to such fountains, we here give the term the Greek connotation of grotto-sanctuary of the nymphs, and apply it to any fountain or architectural space provided with water that reflects the natural spring grotto in the rusticity of its decoration. Ancient rustic fountains fell out of favor some time after the second century A.D. After an apparent lapse of about one thousand years, fountain chambers modeled after Roman nymphaea, but lacking the rustic references to the grotto, appeared in Islamic Egypt and Sicily. The best preserved of these are the fountain halls in the Norman garden palaces in Palermo. These fountain halls, together with ancient remains of nymphaea and ancient literary descriptions of grottoes, could well have sparked the revival of the nymphaeum--in its true, rustic form--in the late fifteenth-century grotto of the villa of Poggio Reale in Naples. The vogue for fountain grottoes and rustic fountains soon reached Rome, where they proliferated in the early sixteenth century and whence the fashion spread to other parts of Italy and Europe. Although the great variety of forms assumed by nymphaea makes a precise classification of types difficult, the nymphaeum can be divided into five main categories: the niche; the grotto or chamber; the fontanone rustico; the water theater; and the facade nymphaeum. The primary function of the nymphaeum was to delight and entertain. Like its ancient forerunners, the nymphaeum served as an escape from excessive summer heat and a place for relaxation and dining. In the artificial world of the nymphaeum art vied openly with nature. Water was displayed in a variety of ways, sometimes imitating natural sources, other times creating fantastic designs--and even soaking the spectator. The force of moving water was utilized to power moving figures, to perform pneumatic tricks, and to create artificial bird-song and music. If not at hand water for the fountains was brought by means of aqueducts; complex mechanical devices were sometimes used to raise groundwater to a height from which it could flow to the fountain. The nymphaeum was the typical Renaissance garden fountain. Although at times provided with complex iconographic programs, the most common forms of decoration in nymphaea were representations of pagan deities associated with water and fertility, such as water nymphs, river gods, Venus, etc. During the Counter Reformation, papal heraldic animals and allegorical figures sometimes replaced the ancient gods as purveyors of water--i.e., divine grace--to mankind. Rustic fountains enjoyed great popularity throughout the sixteenth century and during the first two decades of the seventeenth. Later, the taste for rustic fountains declined sharply in the vicinity of Rome; the nymphaeum survived mostly in the shape of modest courtyard fountains. In northern Italy and other parts of Europe the vogue for more elaborate rustic fountains and grottoes continued well into the eighteenth century.}, author = {Alvarez, Frank J.} } @mastersthesis {6598, title = {Replication, Pattern, and Symbolic Form: The Connecticut State Capitol in the Context of 19th-Century Public Design}, year = {1981}, school = {Yale}, abstract = {This dissertation undertakes the placement of a complicated provincial American capitol building of the 1870s into a larger context of the nineteenth-century public building in Western Europe and America. The dissertation uses the Connecticut State Capitol, built from 1872 to 1879 following designs of Richard Michell Upjohn, as a key to the replication of pattern and symbolic form in nineteenth-century public architecture. After stating the nature and the history of the pattern-making issue, the dissertation examines J. N. L. Durand{\textquoteright}s method of architectural instruction and its attendant publications. The Connecticut State Capitol is shown to reflect the rational planning espoused by Durand. His widely-available system of problem-solving through pattern-making is then linked to the system of infant training developed by Friedrich Froebel. Froebel{\textquoteright}s work became internationally popular after 1830. It is demonstrated that by the 1870s, Hartford, where the Capitol was under construction, itself became a center for the publication of Froebel{\textquoteright}s theories in the United States. Pattern-making also became the bedrock upon which the reform of English ornamental design instruction at the hands of Owen Jones, Christopher Dresser and others was based after the Great Exhibition in London in 1851. The Capitol{\textquoteright}s interior is decorated with flat stylized ornament identified with English design reform. Pattern-making as a means of establishing control ties the various theories of Durand, Froebel, Jones and Dresser to the work of Upjohn at Hartford. Because of the building{\textquoteright}s size and its three-dimensional nature, a ten-minute color film is included, offering the dissertation reader the opportunity to experience the Capitol as a richly-decorated environment in which repeated patterns have been utilized to establish a sense of order in the vast, highly ornate, yet logically planned and easy-to-use structure. The second half of the dissertation explores the problem of the replication of symbolic form, delineating the ancient semiological associations which invest the Capitol{\textquoteright}s forms. The architect{\textquoteright}s synthesis of the tower and the dome, which crowns the Capitol, is shown to be one in a long sequence of such gestural structures on all manner of public buildings. This sequence demonstrates the period{\textquoteright}s predilection not only for mixtures of style, but also for conflations of semiotic content. The tower-dome combines the twin concepts of power and shelter, appropriate to a governmental structure which shelters the people under the power and rational order of its laws. In addition, the dome{\textquoteright}s function as a memorial adds to its symbolic significance as a formal monument in a park landscape--a landscape that is shown to be related to the development of rural cemeteries in the same period. The dissertation concludes that, while the Connecticut State Capitol is, in same respects, a provincial building, it must be understood in the context of an international matrix of large public buildings whose architects draw upon a common body of theory, using both design and decoration to communicate abstract values to the citizens who use the buildings.}, author = {Curry, David} } @mastersthesis {6655, title = {Responses to Modern Art in New York in the 1920s}, year = {1981}, school = {UT Austin}, abstract = {Both American and European art of every tendency was seen in New York during the decade of the 1920s. In addition, theoretical explanations for the art were available, sometimes simultaneously with their earliest formulation. The abundant literature about modern art in the 1920s has not been examined in any detail because scholars have routinely dismissed the decade as a time of retrenchment after the experimental and dynamic post-Armory show period. While the character of the modern art in the 1920s certainly differed from that of the teens, significant expressions continued to be produced and an increasing number of galleries provided a sympathetic environment for its display. The dissertation examines the interpretation of modern art by both dealers and critics in order to document the primarily positive and intelligent responses to modern art in those years. The first chapter presents an analysis of fourteen galleries and groups, emphasizing the diversity of their definitions of modern art. The second chapter studies the two major approaches adopted by the critics, formalism and expressionism. It documents the sources for formalism and demonstrates its pervasiveness. Expressionism, a concept with more diverse origins, is examined in this chapter in relation to Sheldon Cheney, a critic who linked the theory of expressionist stagecraft with that of modern art. The following chapters, organized by style, examine the American critical responses to modern art including the expressionism of the Stieglitz circle, German Expressionism, Cubism, Dada, Surrealism and Machine Age Styles. They identify several new critics and present the informed criticism of The Art News, as well as the important work of Jane Heap of The Little Review. While studies of criticism have traditionally focused on daily newspapers, this dissertation, although it does not exclude newspapers, emphasizes magazines, both those specifically devoted to art and publications of more general interest. The last chapter examines the founding of the Gallery of Living Art and the Museum of Modern Art as a natural result of the widespread discussion and display of modern art throughout the decade. As the Museum of Modern Art began to dominate the art world and provide a central focus, the role of the dealers and critics, who had been so crucial to the interpretation of modern art in the 1920s, diminished considerably. Yet, the information which they provided had contributed fundamentally to the understanding of modern art in America.}, author = {Platt, Susan Noyes} } @mastersthesis {6593, title = {Riza-I Abbasi}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Canby, Sheila Randolph} } @mastersthesis {6662, title = {Rodin, Hugo and the Pantheon: Art and Politics in the Third Republic}, year = {1981}, school = {Columbia}, abstract = {The Pantheon stands on Montagne Sainte-Genevieve, in the fifth arrondissement of Paris. Designed by Soufflot, the building began as the Eglise Sainte-Genevieve and was barely completed at the outbreak of the French Revolution. In 1791 it was made a Pantheon, a secular temple to the great men of France. Over the next hundred years, it was alternately reconsecrated and resecularized, according to the government{\textquoteright}s attitude toward the Roman Catholic Church. Only with Victor Hugo{\textquoteright}s death, in 1885, did these shifts in designation cease; in keeping with the country{\textquoteright}s growing anticlericalism, the building became a Pantheon for the final time. Through the nineteenth century, various programs were begun for the building{\textquoteright}s decoration: murals by Gros and Gerard, a pediment by David d{\textquoteright}Angers, and a cycle of paintings by Chenavard. After the formation of the Third Republic, two further projects were undertaken: a program of religious works, begun in 1874 (while the building remained a church); and a large program of secular sculptures, begun in 1889 (four years after Hugo{\textquoteright}s death). Both programs clearly expressed a political point of view, and both were affected by the unstable political situation of the late 1800s. For the sculptures of 1889, circumstances were particularly disastrous. Though large monuments were commissioned from Rodin, Falguiere, and Dalou, many factors--historical, artistic, and political--worked against their realization. In the end, all three of these monuments proved as trouble-ridden as the Pantheon itself.}, author = {Roos, Jane M.} } @mastersthesis {6683, title = {The Role of Landscape in the Art of John LaFarge}, year = {1981}, school = {Chicago}, abstract = {No abstract in ProQuest}, author = {Yarnall, James Leo} } @mastersthesis {6581, title = {Rossello di Jacopo Franchi}, year = {1981}, school = {Indiana}, abstract = {The dissertation, the first monographic study of the early Renaissance painter, Rossello di Jacopo Franchi, is concerned with the construction of a documentary and stylistic chronology of the artist and his work. Unlike other so-called minor artists who helped to define the visual character of the first half of the fifteenth century, Rossello is a rich source for stylistic as well as documentary analysis. The preservation of the artist{\textquoteright}s Catasti has given us a concrete base upon which to reconstruct the world of the fifteenth century craftsman. Rossello has also left us an unambiguous number of signed and dated works around which his stylistic chronology can be formed, and with which the often problematic oeuvres of his contemporaries may be judged. The portrait of Rossello which takes shape from this study reveals a man of modest but comfortable means, living and working in the center of Florence. His multi-dimensional relationship with the Bigallo, one of the city{\textquoteright}s major institutions, is invaluable for the light it sheds on the complex chain of personal and business relationships in the fifteenth century. In addition, the documents show the artist as being actively interested in real estate--both in rental property within the city, and in cultivated land in the contado. Rossello{\textquoteright}s long and prolific life as an artist was concentrated in panel painting. Although his style is almost universally labeled "retardataire," his constant adjustment of current stylistic trends, exemplified by Masaccio, Ghiberti and Fra Angelico, to the lessons he learned in the late Trecento prove him to be critical and aware of the ever-changing face of Florentine art. From a melding of the current stylistic trends and his heritage, Rossello created an unique blend of innovation and tradition. His forms, three-dimensional in the relief-like plasticity, are complemented by his adherence to the traditional demands of pattern and the two-dimensional surface of the panel. The large number of his remaining works (thirty in all), and his continuing activity for over half a century are testimony to the popularity and viability of his style. That Rossello endured in the art market of a center such as Florence underlines the important role that he and other artists like him played in the art and culture of the early Renaissance.}, keywords = {The Renaissance}, author = {Peters, Carol T.} } @mastersthesis {6663, title = {Scientific Analogies in Cubism}, year = {1981}, school = {UCLA}, abstract = {This dissertation establishes all basic scientific content in the art historical literature of Cubism and all basic Cubist works and styles, 1906-36. The "analogical method" is introduced and employed to establish all identities between the contemporary scientific theories and Cubism. Section I reviews eyewitness allegations of science in Cubism, the evolution of early modern science, and analogies between late 19th century science, such as multiplicity and relativity, and the pre-Cubist work of Apollinaire, Picasso, the Abbaye de Creteil, and the transformation to the "new science" in Futurism from about 1911. Section II reviews terminological and conceptual analogies to the integration of multiple space-times and uses of group theory in the following corresponding evolutionary periods of science and Cubism: (1) Early Cubism (1906-9) and the Poincare-Lorentz principle of relativity (1904/5-), (2) Classic Cubism (1909-14) and Einstein-Minkowski theories of Special Relativity (1905/8-), (3) Picasso{\textquoteright}s multiple styles and Field Cubism (1914-21) and General Relativity, Hausdorff topology, Quantum Mechanics, and the Photon Theory of light (c. 1914-), (4) the Hiatus in Cubism (1921-5) and the anti-rational and anti-scientific movements in Post-War Paris (1919-25), and (5) Curvi-linear Cubism (1926-36) and Wave Mechanics (1925-). Section III reviews analogies to fundamental underlying unitary conceptions of reality in each of the above periods of science and Cubism, with emphasis on analogies to crystallography and the Einstein-Minkowski theories of local invariance, simultaneity, the Light Cone, and the Fourth Dimension. Section IV employs the above terminological and conceptual analogies to science, identified in the art historical literature of Cubism, as a basis for identifying schematic analogies to science in the major Cubist works and styles, 1906-36. No appeal is made to subjective interpretations of works of art.}, author = {Ruiz Reese, Lawrence L.} } @mastersthesis {6632, title = {The Sculptor and the Landscape: Attitudes towards Landscape Painting in the Art Criticism of Diderot and His Contemporaries}, year = {1981}, school = {Bryn Mawr}, abstract = {No abstract in ProQuest}, author = {Lochhead, Ian James} } @mastersthesis {6652, title = {Shi{\textquoteright}ism and Late Iranian Arts}, year = {1981}, school = {IFA/NYU}, abstract = {In 1501 the Safavids abandoned earlier Iranian rulers{\textquoteright} traditional allegiance to Sunnism to adopt Shi{\textquoteright}ism as the official religion of Iran. With its revival during the Qajar period, Shi{\textquoteright}ism has remained the most consistent factor in the religious life of modern Iran. It is the effect which Shi{\textquoteright}ism had on Iranian arts during the Safavid (1501-1732) and Qajar (1779-1924) periods that is the subject of this study. Chap. One. The early phase of Shi{\textquoteright}ite influences on Iranian arts is demonstrated by the example of representation of {\textquoteright}Ali ibn Abi Talib in the traditional art of Iranian miniature painting. Because {\textquoteright}Ali is venerated by all Muslims, it is the role in which he is portrayed and, in the case of Safavid miniatures, the divine attributes assigned to him which determines the context of his representation. Accordingly, in the fifteenth century Timurid series portraying Muhammad and his companions, {\textquoteright}Ali is portrayed in accordance to Sunni beliefs as one of the "rightly-guided" caliphs and in accordance to Sufi beliefs as a perfect "master." By contrast, in sixteenth century Safavid miniatures, as the first Shi{\textquoteright}ite imam with halo and veil, he represents the Shi{\textquoteright}ite imamate itself. Chap. Two. Throughout the Safavid period communal expression of Shi{\textquoteright}ism occurred in the form of the ta{\textquoteright}ziyah ("mourning") ceremonies in commemoration of the martyrdom of the third Shi{\textquoteright}ite imam Husayn ibn {\textquoteright}Ali on the Kerbela plain in 680. Safavid ta{\textquoteright}ziyah ceremonies in the mid-eighteenth century evolved to include proper theatrical productions of the Kerbela tragedy. Through the vehicle of the ta{\textquoteright}ziyah ritual there developed in the Qajar period two entirely new forms of religious arts in Iran. Chap. Three. The earliest of the new Qajar arts to evolve from the ta{\textquoteright}ziyah theater was the takiyah, theaters built to accommodate ta{\textquoteright}ziyah productions and ceremonies in general. In the 1850s and later takiyah were a common feature of townscapes throughout Iran, the grandest example of takiyah being the monumental Takiyah-i Dawlat built in Tehran in the 1870{\textquoteright}s by Nasir al-Din Shah. The second art form derived from the ta{\textquoteright}ziyah theater was the development of an entirely new genre of religious painting which portrays on canvases and takiyah walls the Kerbela tragedy. Betraying its popular origins, ta{\textquoteright}ziyah paintings were essentially copies of ta{\textquoteright}ziyah productions. During the four centuries that Shi{\textquoteright}ism has been the state religion of Iran, it was not until the Qajar period that it had its fullest expression in the visual arts. This occurred in the form of ta{\textquoteright}ziyah arts which are particularly significant as demonstrating a reversal in traditional Muslim attitudes toward figural representation.}, author = {Peterson, Samuel} } @mastersthesis {6606, title = {The Spanish Pavilion at the Paris World{\textquoteright}s Fair of 1937}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Freedberg, Catherine Blanton} } @mastersthesis {6666, title = {Studies in the Development of Urban Sculpture 1950-1975}, year = {1981}, school = {IFA/NYU}, abstract = {Although outdoor sculpture had been an integral part of the western cityscape since the Renaissance, it virtually disappeared, first as a major art form and then almost altogether, during the first half of the twentieth century. This study is an attempt to understand its reemergence in the third quarter of the century in historical, social, and esthetic terms. I am calling this "new" sculpture urban sculpture since it is, for the most part, monumental in scale only and public only in its placement. In addition, the development of such sculpture in an urban context defines its special problems and limitations. Chapter One presents a summary of the major forms of monumental sculpture since the Renaissance, with special emphasis on placement and purpose. This defines the historical context in which urban sculpture should be viewed. Chapter Two examines the circumstances which led to the reintegration of sculpture into urban spaces via architecture. The theory of the integration of the arts and collaboration between artists and architects is traced through Art Nouveau, Art Deco, the Bauhaus, and the architecture journals L{\textquoteright}Architecture d{\textquoteright}Aujourd{\textquoteright}hui, Architectural Design, and the A.I.A. Journal. The major examples of such integration in the 1950{\textquoteright}s, the United Nations in New York, UNESCO in Paris, University City in Caracas, and the Bijenkorf department store in Rotterdam, are discussed. Chapter Three discusses the publicly sponsored sculptures erected in New York City from 1950 to 1975. New York City was chosen because it was undeniably the capital of the art world during this period and was therefore thought to provide the best possible starting point. This approach was used to present fully the scope of this recent phenomenon in terms of use, patronage, and style. The sculptures are grouped around types of location since the site usually determines the city agency responsible and, to a certain extent, the significance of the work. The categories are city squares, parks, public schools, colleges and universities, other public buildings, hospitals, and housing. Chapter Four discusses privately sponsored urban sculptures erected in Manhattan from 1950 to 1975. These are seen in the context of developing patterns of corporate patronage for art and New York City zoning regulations which largely determine the existence of spaces to put such sculpture. Chapter Five considers other significant factors in the development of urban sculpture in New York City, notably the establishment and activities of the Public Arts Council and various urban sculpture exhibitions. The conclusion of the dissertation is that urban sculpture has been largely unsuccessful during the period in question because its function has been misunderstood. It was used primarily as an ornament after the fact to redeem a boring architecture or as a corporate status symbol. As part of public policy in New York City it was chosen primarily by city architects and bore virtually no relationship to what was considered quality contemporary sculpture. In only a few privately sponsored instances (at One Hammarskjold Plaza and Waterside with their changing exhibitions and occasionally at the Seagram building) was it treated as art rather than monument or architectural sculpture. Unfortunately, from 1950 to 1975, urban sculpture in New York City was badly miscast. It was expected to fulfill the functions of outdoor sculpture in periods past with no acknowledgement of the changed nature of modern sculpture or modern society.}, author = {Senie, Harriet} } @mastersthesis {6584, title = {Studies in the Motion Picture and 20th Century Art 1909-1930}, year = {1981}, school = {Northwestern}, abstract = {This dissertation is a series of studies on the motion picture and its relation to Twentieth Century Art, 1910-1930. Because of the importance of Futurism to this general subject, its role will be explored as a leitmotif stretching across the five essays. The studies in this dissertation, however, are not confined solely to issues within Futurism, but rather the focus is on a broader set of concerns. The sequence of the essays moves from studies of individual artists to broader cultural assessments. In this way a variety of problems will be examined, thus providing a fuller understanding of the issues involved. The first study, "Leger, Ballet mecanique and Futurism," considers Fernand Leger{\textquoteright}s relation to Futurism and the influence of that movement on Leger{\textquoteright}s motion picture. The second essay, "Marcel Duchamp and the Metaphor of the Arcane Pornographic Film," touches briefly on Futurism, but its major concern lies in the extraordinary and peculiar role the cinema came to play in Duchamp{\textquoteright}s oeuvre. The third essay, "The Cinematograph: A Critique of Futurism and Vorticism," raises questions concerning the impact of Futurism in England with special emphasis on Imagism and Vorticism. The subsequent study, "I Saw the Figure 5 in Gold--an Emblematic Work," explores the dense background behind this painting with special emphasis on the roles of Futurism and the cinema in the development of American modernism. The final essay, "Suprematism and the Motion Picture," questions Malevich{\textquoteright}s role in the rich interchange between the cinema and modern art in Russia during the two decades between 1910 and 1930. It is the intent of this dissertation to help provide, through the montage of these various essays, a broader and richer understanding of the interchange between modern art and the motion picture.}, author = {Aiken, Edward A.} } @mastersthesis {6620, title = {A Study of the Chronology and Development of the Caves at Tun-Huang Executed from Northern Liang to T{\textquoteright}Ang}, year = {1981}, note = {Abstract incomplete}, school = {IFA/NYU}, abstract = {A stele of 689 states that the excavation of cave-chapels on the Ming-sha mountains began in 366. Comprising some four hundred and eighty caves, Tun-Huang contains within its thousands of mud and stucco sculptures and its miles of wall paintings a chronicle of China{\textquoteright}s artistic development from}, author = {Huie, Chee Mee} } @mastersthesis {6650, title = {The Surrealist Object}, year = {1981}, school = {IFA/NYU}, abstract = {Surrealism introduced a novel interpretation of a host of objects, common and bizarre, existing in reality. It fostered the creation of assemblages, constructions, and readymades, and it decisively shaped the sculpture Giacometti, Arp, and Ernst executed in the thirties. The history, meaning, and purpose of these Surrealist objects, as they have been called, are the subject of this thesis. A major point is that their history presents something comparatively rare in the history of modern art: a correlation between a philosophy that does not primarily pertain to art (Surrealism), and a type of art work created in response to that philosophy. The first part of the thesis examines the history of these objects from ca. 1920 to ca. 1940 within the context of Surrealist activities and philosophy. In the twenties, the Surrealists concerned themselves with readymade objects, which interested them for their mental effects. By 1930, Surrealist philosophy as formulated by Breton, forcefully seconded by Dali, was changing from idealism to materialism, from the need to express the irrational automatically and record it verbally to the need to express it deliberately and materialize it physically, or, in Surrealist terminology, to objectify it. This new necessity, coupled with the example of Giacometti{\textquoteright}s sculpture, itself Surrealist influenced, inspired the Surrealists to begin making assemblages in 1931. A vogue of object-making began to which almost all Surrealists contributed. The impetus lasted most of the decade and reached its climactic finale at the Paris 1938 international Surrealist exhibition, where an environment was created to display the pictorial and material products of Surrealism, some of the assemblages having grown to considerable size. The Surrealists discussed their objects, whether made, found, or only observed, in various publications. These discussions are summarized and excerpts are quoted extensively. The discussions place objects at the very center of Surrealist preoccupations and deal with them in terms of Surrealist thought (poetic, philosophic, Freudian, quasi-scientific), not as works of art, yet they were made by artists and exhibited as works of art. Surrealist objects are non-sculptural and extra-plastic--they are also irrational in appearance, poetic in evocation, and symbolic in meaning, as dreams are symbolic. The sculptures of Giacometti and Arp were justified at the time because they met Surrealist goals: Giacometti materialized mental images, Arp used automatism, and both were poetic. Foremost in discussing Surrealist objects were Breton and Dali. In the second part of the thesis, their ideas pertaining to objects--Breton{\textquoteright}s view of objects as tangible poetry, the origin of his object aesthetic, for instance, or Dali{\textquoteright}s view of them as concrete irrationality--are summarized and analyzed. Both of them also made objects. Their work and that of Giacometti, Arp, Ernst, Miro, and Bellmer are discussed thoroughly here, as is more briefly that of Man Ray, Tanguy, and Dominguez. Each of them created an individual oeuvre, yet their work has common Surrealist denominators, conceptual, formal, and affective. Their work is examined within the context of their oeuvre and these common denominators uncovered. Giacometti{\textquoteright}s artistic aims, for example, were at the time in perfect agreement with Surrealist theory, his imagery derived largely from Miro{\textquoteright}s (although Morandi{\textquoteright}s metaphysical still-lifes may have had an effect on him), and his sculptures are formally related to both objects and Surrealist illusionistic images. Bellmer{\textquoteright}s Dolls, though private inventions, were tied to the Surrealists{\textquoteright} cultivation of mannequins as their assemblage surrogates for both people and the traditional representation of the figure in sculpture. The conclusion provides a provisional definition of Surrealist objects and places them within an art historical tradition that extends from their past into their future.}, author = {Okun, Henry} } @mastersthesis {6668, title = {Taneka Architecture and Village Structure in Northwestern Benin}, year = {1981}, school = {Columbia}, abstract = {This dissertation is an interpretive study of the architecture and village plan of the Taneka people, a small ethnic group living in mountainous northwestern Benin. It is based largely on research gathered on several visits made to West Africa during the years 1974 to 1977 when Benin was undergoing considerable upheaval. Prefatory to discussion of the architectural forms a major attempt is made at sorting out ethno-historical problems as previously disseminated information about the Taneka has been scant and conflicting. The Taneka have been traditionally considered a homogenous sub-group of their southeastern neighbors, the Pila, but this study reveals them to be ethnically diverse and to have important historical and cultural ties to groups living to their north and west. Taneka building activities are intense and serve as an important cultural focus. The people construct their homes with considerable care and energy, and they have created impressive, dense settlements in their mountainous environment. It is around these architectural forms that the Taneka have also created a complex symbolic system. Even the straightforward building process encompasses activities which are purely symbolic in nature. The antepenultimate chapter--Space--explores in some detail symbolism in the plan of Taneka Beri, the largest, oldest and most sacred of all the Taneka villages. It sets out those factors which underlie the plan of the village and which are probably operative in the other villages of importance to the Taneka. Taneka Beri, though seemingly disorganized, is strictly divided into four districts which the Taneka conceive in anthropomorphic terms to be the head, foot and arms, Its basic axis depends on the opposition between the head and foot--the respective districts of the political leader and the religious leader (called the tungate or earth priest). The {\textquoteright}head{\textquoteright} is the progressive district of the village; its {\textquoteright}foot{\textquoteright} is the traditional district. The different architectural forms in these districts give full expression to the opposing symbolic qualities. Further symbolic dimensions of architecture and the village plan unfold in the succeeding chapter--the Spoken Word. Available information suggests that the Taneka encode in the names they apply to the districts perceptions they have about the inherent functions of these districts. Selected proverbs and aphorisms also reveal Taneka thoughts about their architectural forms. The concluding chapter sets up a framework for stylistic change in Taneka architecture. This framework takes into account factors such as trade routes, Islam and the impact of colonialism.}, author = {Shaw, Thomas} } @mastersthesis {6595, title = {Thomas Eakins as a Teacher}, year = {1981}, school = {Columbia}, abstract = {Thomas Eakins{\textquoteright} career as a teacher of art is chronicled and analyzed in this study of the practices of art academies in the nineteenth century. The art institutions with which Eakins was associated as both pupil and teacher, the methods of instruction he learned and advocated, and the teachers with whom he studied as well as the pupils who studied with him are presented. Also considered are the varied sources of his working and teaching methods, their relationship to early and contemporary American and European practice, and their impact on American art education. The significant role of teaching within Eakins{\textquoteright} own personal and professional life is examined. A detailed history of Eakins{\textquoteright} years at the Pennsylvania Academy of the Fine Arts is followed by an account of his years at the Philadelphia Art Students{\textquoteright} League. Aspects of his forced resignation from the Pennsylvania Academy are considered in depth. Also discussed are Eakins{\textquoteright} lectureships at other institutions. Information on several hundred of his students, their artistic education and their professional lives completes this examination of a major artist{\textquoteright}s involvement with art education.}, author = {Chamberlin-Hellman, Maria} } @mastersthesis {6596, title = {Thomas Moran{\textquoteright}s Watercolors of the American West}, year = {1981}, school = {Case Western Reserve}, abstract = {n 1871, when Thomas Moran went west on the first of dozens of trips, Albert Bierstadt, whose western vistas had enthralled an eastern audience, waned in popularity. Instead, Frederic Edwin Church{\textquoteright}s exotic visions of the North Atlantic and South America had captured attention, because the public of the 1870s demanded works of greater scientific accuracy. Thomas Moran fulfilled these demands with western watercolors, a medium which had only recently begun to gain popularity in America. This dissertation examines the sources of those watercolors in British and American traditions and evaluates the impact of the works in an American Ruskinian artistic atmosphere. Each of Moran{\textquoteright}s trips undertaken between 1871 and 1892 is examined through Moran{\textquoteright}s diaries, those of his traveling companions, and notations on his field sketches. This includes evaluation of Moran{\textquoteright}s stylistic sources and the relationship among his field work, finished watercolors, and oil paintings. The dissertation also contains a complete catalogue raisonne of Moran{\textquoteright}s western watercolors (about three hundred, most of which are illustrated). Moran{\textquoteright}s finished, exhibitable watercolors, which he called "drawings," were in great demand from private collectors immediately upon his return from Yellowstone in 1871. Yellowstone, which afforded its visitors many different episodic experiences, lent itself to serial treatment, and Moran painted sets of these watercolors for a number of patrons. He also painted twenty-four watercolors for Louis Prang, of which Prang printed fifteen as chromolithographs. Moran{\textquoteright}s watercolor patronage, an important contribution of this dissertation, is examined from his studio records, correspondence, and early exhibition catalogues. Many were fellow explorers, some had business interests, others were armchair travelers. An important subgroup of patrons were British, and Moran participated in the activity of British entrepreneurs in the American West. Thomas Moran came to artistic maturity at the height of the American public{\textquoteright}s demand for grand, exotic, yet scientifically-based painting of scenery. His fine watercolors, by far his most important artistic production during the decade of the 1870s, were educational as well, and he recognized their potential in assisting the public{\textquoteright}s comprehension of the West. By conferring a timeless, romantic presence on the West, Moran brought his art from the realm of landscape painting into the more exalted region of history painting and thus aided in the West{\textquoteright}s assumption of a nationally significant position within American art.}, author = {Clark, Carol Canda} } @mastersthesis {6585, title = {Timurid Herat Architecture and Urban Planning}, year = {1981}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Allen, Terry A.} } @mastersthesis {6623, title = {The Visconti Hours: The Patronage of Giangaleazzo Visconti and the Contribution of Giovannino dei Grassi}, year = {1981}, school = {Princeton}, abstract = {This dissertation is an extended examination of the 14th-century portion of a Book of Hours (Florence, Bibl. naz., Banco Rari 397 and Landau-Finaly 22) commissioned by Giangaleazzo Visconti, lord of Milan from 1378 to 1402, and completed for his son, Filippo Maria, probably in the late 1420s. The manuscript was planned, and approximately half its 128 miniatures in part or entirely painted, by Giovannino dei Grassi (documented 1389-98) and assistants. Although both the Visconti Hours and Giovannino{\textquoteright}s art have been widely admired since Pietro Toesca reintegrated the illuminator{\textquoteright}s oeuvre in 1912, a full-scale study of Giovannino{\textquoteright}s contribution to this pictorial tour-de-force and of the patron{\textquoteright}s role in its creation have not hitherto appeared. The dissertation begins with an examination that offers new evidence concerning the exceptionally active participation of Giangaleazzo Visconti in the shaping of the Visconti Hours and of two other related manuscripts as well. Even more important to the history of art is the illuminator chosen by Giangaleazzo to execute the Visconti Hours. Noted in his own time not only as a painter but also as a designer of sculpture and as an architectural consultant, Giovannino dei Grassi emerges from this study as a major heir of the rich artistic tradition of the Po Valley, much less dependent on transalpine sources than recent scholarship has averred, and much more important than has been recognized for the development of Italian Renaissance painting. Chapter I focuses on dynastic events that provide a terminus post quem of 1385-88 for the manuscript and elucidate its iconography. Chapter II is concerned with two Missal-Hours (Paris, Bibl. nat., Lat. 757 and Smith-Lesouef 22), here for the first time identified as having been made for Giangaleazzo Visconti and related as precedents to the Visconti Hours in Florence. Chapters III and IV trace Giovannino{\textquoteright}s artistic roots to Lombardy itself and to two other major 14th-century centers of North Italian culture: Bologna and Padua. Chapter V distinguishes Giovannino{\textquoteright}s style from that of his Lombard predecessors and contemporaries, including his son Salomone, who in the 1390s (probably before 1396-98) painted extensively in the Visconti Hours, though Giovannino himself remained active during this period as director and in some instances executant of the illumination.}, author = {Kirsch, Edith W.} } @mastersthesis {6613, title = {Vladimir Tatlin{\textquoteright}s Project for a Monument to the Third International: A Paradigm of Russian Revolutionary Thought}, year = {1981}, school = {Columbia}, abstract = {In 1920, Vladimir Evgrafovich Tatlin (1885-1953) erected a model of his Project for a Monument to the Third International (the "Tower") in Moscow in fulfillment of an official commission. This thesis presents a study of the Tower as a paradigm of Russian Revolutionary thought, embodying ideas that were expressed not only in art, architecture, and various syntheses of the arts, but also in literature, theatre, linguistics, technology, politics, and philosophy. Tatlin{\textquoteright}s unrealized project symbolized Russian and early Soviet psychological, social, political, and cultural development during the years 1910 (the birth of the Russian Avant Garde) and 1932 (the declaration of didactic Social Realism as the only acceptable style in the Soviet Union). The Introduction discusses the commission, the form and functions of the Tower, the state of the literature on the subject, the Tatlin{\textquoteright}s personality. Chapters One and Two trace Tatlin{\textquoteright}s early career (1902-1916) and his relationship to the Russian Avant Garde. Chapter Three studies Tatlin{\textquoteright}s activities during the Revolution, and Chapter Four extends this discussion into the post-Revolutionary emphasis on artistic synthesis. Chapters Five, Six and Seven analyze Tatlin{\textquoteright}s sources in Russian history, literature, linguistics, philosophy, and science. Chapter Eight discusses the relationship of the Tower to early Soviet architectural and theatrical design. The Conclusion summarizes the criticism, sources, and symbolism of the Tower and also presents an overview of Tatlin{\textquoteright}s later career and the fate of the Third International. Previously unpublished material from private and official archives in the Soviet Union have formed the basis for most of the research on which this thesis is based. Interviews with Tatlin{\textquoteright}s contemporaries and a study of his personal correspondence and library have provided many new insights into the Tower.}, author = {Harrison, Gail S.} } @mastersthesis {6639, title = {Wen Chia}, year = {1981}, school = {Michigan}, abstract = {Wen Chia was an important member of the literati circle active in Suchou in the mid-sixteenth century. The Wen family had a long and impressive history. Wen Chia{\textquoteright}s father Wen Cheng-ming (1470-1559) was a prolific painter and writer. His influence upon his son is particularly apparent in Wen Chia{\textquoteright}s early paintings. However, Wen Chia went on to develop a more personal style which anticipated trends more fully explored in the succeeding generation of painters dominated by Tung Ch{\textquoteright}i-ch{\textquoteright}ang (1555-1636). Wen Chia is recognized primarily as perpetuating the Wen family style of painting. His works are clearly constructed with repetition of certain motifs. The brushstrokes range from refined to broad and deliberately awkward. He worked both in ink monochrome and delicate pastel colors. Wen Chia pursued divergent interests from those of his father. While Wen Cheng-ming depicted specific sites, elongated mountainscapes and evergreen trees or systematically explored the masters of the past, Wen Chia preferred to illustrate poetic themes and record scholarly outings. The son was especially fascinated with Taoist themes and the Utopian visions of T{\textquoteright}ao Yuan-min. On the occasions when Wen Chia painted in the mode of a past master, he was most frequently inspired by the paintings of Ni Tsan. Within the history of Chinese art, Wen Chia is best known as a painter, but he also played a significant role as a connoisseur and calligrapher. This was a result of his understanding of local collections. Wen Chia often commented perceptively on his father{\textquoteright}s paintings and calligraphies. He also documented the circumstances under which a painting might have been produced. His writings appear on paintings and calligraphies ranging in date from the T{\textquoteright}ang dynasty up to his own time. Often his calligraphy is part of a series which includes the best-known Suchou intellectuals. Wen Chia exemplifies the continuity within scholarly society in sixteenth century Suchou. His early style was derived from that of his father, but his later innovations presaged dominant aspects of seventeenth century painting.}, author = {Merrill, Alice R.} } @mastersthesis {6599, title = {The Woman{\textquoteright}s Art Movement: Cooperative Galleries 1969-1980}, year = {1981}, school = {Michigan State}, abstract = {The first women{\textquoteright}s cooperative art exhibition group was organized in the United States in 1972, and by 1980 a nationwide network of such collectives had been established. This is a study of the historical, socio-political and artistic significance of the following twelve cooperatives as they developed over this eight-year period: AIR Gallery (New York City), ARC Gallery (Chicago), Artemesia Gallery (Chicago), Center/Gallery (Chapel Hill, North Carolina), Central Hall Gallery (formerly Port Washington, New York), Floating Gallery (formerly New York City), Front Range Women in the Visual Arts (Boulder, Colorado), Grandview Galleries I and II (formerly Los Angeles), Hera Gallery (Wakefield, Rhode Island), MUSE Gallery (Philadelphia), Soho 20 Gallery (New York City), and WARM Gallery (Minneapolis). The inception and continuous expansion of the co-op system reflected the decade{\textquoteright}s rapidly changing social and political climate, in the country as a whole and in the art community. The struggles for women{\textquoteright}s rights and artists{\textquoteright} rights especially influenced the early co-ops, setting their structural and ideological precedents, even though only some of the members actively supported these political causes. While social change groups inspired the formation of the collectives, political activism has never been their primary goal. Instead, art exhibition has been the one purpose to which the philosophically and esthetically diverse group of co-op artists unaminously ascribes. In fact, the memberships can be considered microcosms of the society-at-large, embodying a broad range of responses to the human rights activities which fluorished in the early years of the decade and continued, more quietly, to affect the later 1970s. In this study, based to a large degree on interviews and questionnaires completed by members of the twelve selected cooperatives, I take both an art historian{\textquoteright}s and a social historian{\textquoteright}s approach. Part I traces the early history of the collectives during the heyday of the human rights activism, through the progressively more conservative middle and later 1970s when the co-op movement expanded to all regions of the country. Part II relates the specific political and organizational developments of the co-ops to the changing national climate. The structural and ideological precedents, adopted from the women{\textquoteright}s rights movement and others, emphasized the acceptance of various interests within their memberships. Therefore, the collectives have developed a complex philosophical system, with the satisfactions and problems one would expect in such non-homogeneous art organizations. The patterns of changes in the larger society are reflected in the specific projects and the shifting priorities of these highly diverse groups. Part III surveys and illustrates the artistic achievements of the co-op artists: the body of art itself, the critical attention the work has received, and the degree to which the co-ops have attained their professional goals. This, then, is a study of the women{\textquoteright}s collective art groups and their public, as the subcultural movements for societal change in the 1970s affected them both. It is also a record of the strength of these alternative art organizations, as they have positively affected the environment for contemporary art and contemporary women.}, author = {Davis, Gayle R.} } @mastersthesis {6633, title = {The Work and Writing of George L. K. Morris}, year = {1981}, school = {UC Santa Barbara}, abstract = {This study integrates Morris{\textquoteright} art and writing, identifying their sources, interrelationships and contributions. Although not an innovator, Morris made a significant, and heretofore overlooked, contribution to the development of American formalist criticism by serving as the conveyor of ideas formulated earlier by the English critics Roger Fry and Clive Bell and developed later by Clement Greenberg. The existing literature on Morris contains information on his life and stylistic development as well as his role in the American Abstract Artists group, but nothing fully examines the sources or context of his critical ideas. This study is based upon previous literature on Morris, recorded interviews with him and people who knew him, an examination of all known writings and many known works, as well as an analysis of relevant critical source material of the period. Through this method, Morris{\textquoteright} work and writing can be studied independently and in their contemporary context. Morris{\textquoteright} painting and writing were closely interrelated, revealing not only his artistic experience and development, but many general characteristics of European and American abstraction of the 1930s through the 1950s. His painting and writing from the thirties indicate intense assimilation and adaptation of European modernism into personal and distinctly American themes. During the late 1930s, Morris{\textquoteright} writings earned him recognition at the time as a major spokesman for American abstract art. With the advent of Abstract Expressionism and its critical support during the 1940s, Morris strengthened his position on the pre-eminence of structural abstraction, leading him to champion an established approach. By the early 1950s, Morris was a representative of the old guard which was still viable, but not innovative. The synthetic eclecticism of Morris{\textquoteright} art and writing indicates a transitional figure providing historical continuity within American art between the assimilation of the 1930s and the innovation of the 1940s and 1950s. Rather than new insights of long-lasting influence, Morris contributed a crucial continuity of ideas and information necessary for the later acceptance of formalist criticism as applied to Abstract Expressionism and subsequent American abstract art.}, author = {Lorenz, Melinda} } @mastersthesis {6551, title = {A.A.E. Disderi and the Carte-de- Visite Portrait Photograph}, year = {1980}, note = {Abstract incomplete}, school = {Yale}, abstract = {The career of the French photographer Andre Adolphe Eugene Disderi, which coincided with the reign of Napoleon III, is typical of those of first generation, commercial operators. Coming from a petit bourgeois family, studying art before launching a brief acting career, and finally setting up a}, author = {McCauley, Elizabeth Anne} } @mastersthesis {6566, title = {Alphonse Legros: The Development of an Archaic Visual Vocabulary in 19th-Century Art}, year = {1980}, school = {Binghamton}, abstract = {Contradictions pervade the life and art of Alphonse Legros (1837-1911). An eclectic artist, he drew upon sources from the Northern and Italian Renaissance and the Baroque. He alternated between a crude, deliberately naive manner, and virtuoso draftsmanship worthy of the Old Masters whom he so greatly admired. Despite his protean stylistic changes, the content of his art consistently proclaimed his rural French heritage of Dijon. Legros spent his adult life in London (after 1863), yet he never spoke English. However, because of his French artistic training and his eclecticism he was appointed to the most prestigious studio teaching post in England: The Slade Professorship, University College (1876-1892). Legros imported Parisian atelier practices and incalcated the methods of the Old Masters in his students. Patronized by many prominent collectors in England and praised by several critics, Legros was considered anachronistic in progressive art circles and was generally ignored by the public. Legros seems to have withdrawn from the artistic currents of the 19th century and it is hardly surprising that he fell into almost total obscurity in the 20th century. Legros studied under Lecoq de Boisbaudran whose legendary "memory training" program surely assisted Legros in his eclecticism. In the late 1850s Legros became a member of the Realist circle around Courbet and the publisher Poulet-Malassis. His associations with Baudelaire contributed to another side of his art: a taste for the macabre which later blossomed into the Symbolist phase of his oeuvre. Legros was an intimate of Whistler, Fantin-Latour and Manet and must be counted as part of the Parisian avant-garde of the early 1860s. A major figure in the "Etching Revival" of this period, Legros was an innovative and prolific printmaker. Graphics were his forte and he produced over 700 prints and some of these plates rank among the best graphics of the 19th century. In 1863 Legros immigrated to London with Whistler and this move had a profound effect on his art and social relations as he gradually isolated himself. He abandoned his "naivete" for the English "Classical Revival" of the mid-1860s. Former artist-friends in Paris regarded this new brand of eclecticism as reactionary. Legros lived in self-imposed exile from contemporary life and art and there is no sign of English influence in his oeuvre. He constantly repeated the same rural French peasant subjects in his art, evoking his own lost past. His preoccupation with the spiritual state of the peasant is reflected in his numerous religious genre scenes and in landscapes showing the peasant struggling against or communing with the land. Legros inherently "recycled" motifs from earlier compositions and often reworked plates and canvases. The key to Legros{\textquoteright} art is understanding his pattern of archaism which was partially derived from the Belgian School. His use of motifs, styles and even media of the Old Masters established a continuum of traditions into the present. He developed an "Archaic Visual Vocabulary" in order to recapture his own heritage in the face of relentless "progress" in contemporary society and culture.}, author = {Seltzer, Alexander} } @mastersthesis {6550, title = {Ancient Mediterranean Sources in the Works of Picasso, 1892-1937}, year = {1980}, school = {IFA/NYU}, abstract = {The art of the ancient Mediterranean has been singled out for this dissertation because of Picasso{\textquoteright}s frequent references to its various styles and traditions. Although this has been acknowledged by art historians, it has not yet been systematically examined by them. This dissertation expands on what has already been dealt with, and fills in the gaps that exist from the point of ancient art in the first half of Picasso{\textquoteright}s career. It provides systematic and detailed visual comparisons, and chronological biographical, and cultural data of his borrowings from the various traditions of the ancient Mediterranean between the period of 1892-1937. It not only deals with the influence of Greek Classicism and derivative traditions that have received the greatest attention from scholars, but also pre-Classicism and post-Classicism and ancient provincial artistic traditions. It treats these traditions as Picasso himself saw it--as a continuity, rather than as disparate or conflicting stylistic elements. The immediacy and power of ancient art and the purity of its expression is what Picasso was greatly attracted to, and what he tried to emulate in much of his works throughout his career. Besides the esthetic reasons, his interest in antiquity and {\textquoteright}origins{\textquoteright} was also stimulated by personal, geographic, social as well as cultural factors. Being of Mediterranean origin, and spending much of his life on the shores of the Great Sea, Picasso was especially attached to the art of the region. His preference for the art of the past was also stimulated by the general spirit of his times. From the {\textquoteright}fin-de-siecle{\textquoteright}, new possibilities of representation and modes of expression were being explored in the field of art, music and literature. His general cultural milieu induced Picasso to reevaluate the familiar Classical Green style and its Roman derivative; it made him aware of Archaic and Hellenistic stylistic concepts; it introduced him to the art and symbols of Crete, and familiarized him with the cultures of Egypt, the Ancient Near East, Mycenae, Cyclades, Latium, Etruria and Iberia among others. Picasso{\textquoteright}s interest in the art of the ancient Mediterranean was also spurred on by the ever greater availability of artifacts. The early 20th century was a period in which a large number of excavations were being conducted, in which famous works were identified, attributions made, and chronologies established. In short, it was a period in which ancient cultural history was being pieced together. The growing visual and factual information on antiquity, enabled Picasso to explore further the period with which he was already familiar, such as Classicism, and to become acquainted with those that were just coming to light, such as the periods preceding and following it. Since Picasso was not always communicative about his sources, the findings are drawn primarily from the works themselves, and wherever possible, documentary evidence is provided. The works in question are considered from the point of theme, iconography, style and spirit. The works of Picasso{\textquoteright}s fellow artists and other members of the French and Spanish cultural circle that may have directed him to antiquity, are used as supportive material. These help explain why certain ancient sources had relevance to Picasso at particular times in his career. These also help to determine which cultural factors were responsible for his interest in the ancients, and at which times Picasso himself triggered the antique revival in France.}, author = {Mayer, Susan} } @mastersthesis {6576, title = {Andy Warhol: Critical Evaluation of His Images and Books}, year = {1980}, school = {Cornell}, abstract = {This dissertation attempts to re-evaluate Warhol{\textquoteright}s position in contemporary art by exploring the way in which his formal strategy, that bespeaks a "so what" philosophy, is used as a tool to break down conventional modes of making art. Warhol{\textquoteright}s espoused attitudes address major issues in contemporary art, particularly (1) the notion of the artist as an authoritative maker; (2) the idea of a single, unique work of art; (3) the dominant position of the institution of painting in the history of Western art. Warhol{\textquoteright}s art does not destroy these conventions, but opens them up to questions by challenging their heretofore established boundaries. Warhol couches his attack on conventional modes of making art in his use of images from popular culture; his repetitious use of a single image; and his use of the photographic silk-screen technique. These methods are combined with a strategy of composition that crosses semiotic codes into his representational image. This creates an image that communicates to the viewer conflicting messages about art and about the image. I have not included in this dissertation a discussion of all of Warhol{\textquoteright}s silk-screen paintings or objects, nor have I discussed all of his books. Also, I have excluded any consideration of his films because they present separate formal problems. Each work that I discuss is a paradigm for a group of works created by the same formal strategy. Moreover, each chapter in the dissertation analyzes the way in which Warhol applies his strategy to separate areas of art. Warhol{\textquoteright}s challenge to the role of the authority of the artist is discussed in Chapter I. In Chapter II, I discuss the way Warhol contests the concept of the unique, individual work of art, and our notions of individuality generally. The institution of painting is challenged in all of Warhol{\textquoteright}s works of art by his use of the silk-screen technique. However, in Warhol{\textquoteright}s later seventies portraits, the issue of painting, and particularly styles of painting in the twentieth century, becomes the subject of his art. This is my topic in Chapter III. In Chapter IV, I review Warhol{\textquoteright}s early interest in books during the 1950{\textquoteright}s, and then I examine more closely his 1967 book Andy Warhol{\textquoteright}s Index (Book). I briefly review his later books, a, a novel and The Philosophy of Andy Warhol (From A to B and Back Again). I believe that the ideas illuminated in Warhol{\textquoteright}s books are innovative precursors for recent art that asserts the validity of the book or magazine as the work of art itself, rather than simply the carrier of reproduced art. His work seems to have cleared a space for experimentation with art and language in both books and magazines in the 1970{\textquoteright}s. Finally, in this dissertation, I attempt to show how Warhol{\textquoteright}s persona bespeaks an anti-aesthetic attitude that overarches his artistic career. This anti-aesthetic ultimately becomes a strategic program for artistic action that raises important issues in the history of twentieth-century art. I believe that Warhol{\textquoteright}s art presents the possibility of reviving the traditions of portraiture and painting in the modern period by dissolving restrictive boundaries between artistic mediums for painting, silk screen, and photography and high and low forms of art.}, author = {Thorpe, Lynn Teresa} } @mastersthesis {6548, title = {Antonia Balestra: The Paintings in Italy}, year = {1980}, school = {Kansas}, abstract = {The paintings of Antonio Balestra{\textquoteright}s middle maturity, i.e., those of the 1710{\textquoteright}s and {\textquoteright}20{\textquoteright}s, exhibit a marked departure in style from both his earliest work and that of his last years. Under the tutelage of Antonio Bellucci and Carlo Maratta, Balestra quickly adopted Baroque Classicism as his own. Though this style generally dominates his oeuvre, a new sense of dynamism, weightlessness and clarified color crept into his compositions of the middle years and charged them with Barocchetto vigor. Such splendor was not sustained in the artist{\textquoteright}s final work. This paper examines the style of Balestra{\textquoteright}s work in Italy and presents a logical explanation for its curious evolutionary path. The name of Balestra appears frequently in the literature but there is very little criticism of any depth or substance of which it is the primary focus. The two lengthiest and most significant articles are Eugenio Battisti{\textquoteright}s study in Commentari ("Antonio Balestra," V (1954), 26 - 39) and an essay by Francesca D{\textquoteright}Arcais ("Antonio Balestra," La Pittura a Verona tra Sei e Settecento, ed. Licisco Magagnato, Verona, 1978, pp. 196 - 204). The basis for any research on Balestra is Pascoli{\textquoteright}s vita of the artist based on autobiographical notes which are preserved in manuscript form in Perugia (Felicia Lewandowski, "Antonio Balestra: Discovery and Recovery, "Antologia di Belle Arti, December, 1978, pp. 328 - 338). By utilizing other contemporary biographies and guidebooks, a corpus of works has been established. The Catalogue Raisonne sets forth the provenance of each painting as unequivocally as possible and provides bibliographical citations for each entry. Several works, either considered to be lost or inaccurately dated, are here returned to Balestra{\textquoteright}s extant oeuvre. These include, among others, altarpieces in Brescia, Piacenza and Vicenza. The second section of the Catalogue confronts the question of erroneous attributions. In these instances, documentation has been reviewed and the bases for the removal of these works from the artist{\textquoteright}s oeuvre are presented. A discussion of lost works comprises the final portion of the Catalogue. Chapter One is largely biographical. Several unpublished documents in the Archivio di Stato in Verona reveal that the Balestra family owned and rented a considerable number of properties in Verona and its perimeters. This afforded the artist a social status uncommon to a painter in the early eighteenth century. But, more importantly, his home in Verona held the attraction of seclusion and tranquility and it was this environment that dealt the checking blow to Balestra{\textquoteright}s burgeoning Barocchetto style. An examination of Balestra{\textquoteright}s stylistic evolution forms the core of Chapter Two. Considered within this section are the early influences of the Carracci, Tintoretto and the Maniera and the impact on his style of the Venetian ambience. After exposure to a cosmopolitan center which was simmering with the promise of new painterly brilliancy, Balestra reached a lyrical high point in his career. But, gradually, following his permanent return to Verona in 1718, his palette lost its clarity, his compositions waned in inventiveness and he plummeted into the dry conservatism which typifies Veronese painting of the period. Antonio Balestra{\textquoteright}s pendular style is a direct manifestation of his alternative years of residence in Verona and Venice. Although the changes in his style have been noted previously by others, the explanation for them is here promulgated for the first time.}, author = {Lewandowski, Felicia} } @mastersthesis {6542, title = {Antoniazzo Romano and His School}, year = {1980}, school = {IFA/NYU}, abstract = {Antoniazzo Romano (c. 1430 - c. 1510) was the most important local painter in Rome during the period when the city reemerged as a major power in Italy. This study is the first complete analysis of his oeuvre, and treats as well the production of several followers. Through these later painters, Antoniazzo{\textquoteright}s influence continued to be felt in Rome and the Lazio well into the sixteenth century. The previous literature on the artist is summarized in the Foreword, while nature of the economic, political and artistic recovery of Rome in the fifteenth century is topic of the Introduction. The first chapter discusses through a chronological review of the documents the kinds of work Antoniazzo executed, the nature of his patrons, and the artists with whom he worked. The second chapter analyzes Antoniazzo{\textquoteright}s education and career by means of a chronological survey of the known paintings. Antoniazzo{\textquoteright}s stylistic development was in large part determined by the artists to whom he was exposed in Rome. Benozzo Gozzoli, Piero della Francesca, Melozzo da Forl({\textquoteright})i and Domenico Ghirlandaio all influenced the artist{\textquoteright}s early development, while the Umbrians in Rome and later Verrocchio and Mantegna added new elements to his mature style. Some of Antoniazzo{\textquoteright}s most progressive works date from his youth, while the late paintings, which once again employ gold grounds and double figure scales, reflect a renewed religiosity and conservatism. The third chapter provides an overview of the function and surviving production of Antoniazzo{\textquoteright}s large workshop. Antoniazzo was a very prolific painter during the 1480s and 1490s and this large output was possible in large part because time-consuming preliminary tasks were left to others. The workshop probably consisted largely of those of Antoniazzo{\textquoteright}s relatives who are documented as painters. They are Nardo Benedicti, Evangelista Aquili, Marcantonio Aquili, Bernardino Aquili, Pietro Antonio di Lorenzo Vessecchia and Giulio Aquili. The known documents and works by these artists are discussed in the fourth chapter. The fifth chapter identifies and discusses the production of four late fifteenth-century masters who were probably trained in Antoniazzo{\textquoteright}s workshop: the Master of the Liverpool Madonna (previously identified by Zeri), and the followers here termed the Master of the Avignon Altarpiece, the Master of the Rieti Adoration, and the Master of the Nazzano Frescoes. Many of the works by these anonymous painters have heretofore been erroneously assigned to Antoniazzo. The known documents on Antoniazzo and those concerning his relatives known to be painters are published in full in an appendix. The largest section is a catalogue raisonne of 217 authentic and attributed paintings by Antoniazzo, his workshop and circle, and six identifiable followers. Rejected attributions and unknown works are also listed, and there is a concordance, bibliography and 194 illustrations.}, author = {Hedberg, Gregory} } @mastersthesis {6547, title = {Art and the Early Third Republic: Designs for Social Engineering in France 1876-1890}, year = {1980}, school = {UMass}, abstract = {This study examines the art policy of the French government during the crucial fifteen year period following the demission of General MacMahon. It concentrates on five Republicans active in artistic and political circles at the time: Jules Ferry, Jules Simon, Victor Hugo, Edouard Lockroy, and Antonin Proust. The dissertation is divided into two parts. The first chapters provide a discussion of the art theory and the circumstances to which it was applied. The last chapters concentrate on analyzing the policy and its consequences. Behind their policy lay the theory that art could create a progressive liberal democratic society through its power to alter patterns of thinking and feeling and of behaviour. Their concept of art as a commodity and a symbol allowed them to forge a connection between artists, workers and consumers. Art could serve as a model for producers, providing them with a way to use technology that did not alienate them from society or themselves. At the same time they felt designs in which middle-class values were translated into aesthetic terms could shape the consciousness of the consumer to integrate technology into his way of life and bind him to the producer. Using this theory as a guide, these five men sought to counteract the tendency of industrialization to undermine the productive relationships on which the political foundations of liberal democracy rested. Their plan was to modernize traditional values and modes of production, creating products attractive enough to commit the general public to see in them a means of preserving their sense of identity. In order to implement their theory, the Republicans created a broad art education program. They mounted exhibitions, commissioned works, and awarded prizes. They also wrote articles, gave speeches, and in Hugo{\textquoteright}s case used their art for didactic purposes. Their plan involved, first, developing in the citizenry a tast for products which stimulated their desire for a sense of independence; and, second, encouraging the creation of a new style which could arouse individual self-consciousness and give form to its expression. The cooperation of artists and skilled craftsmen was essential to the success of their plan. Yet this group was the one most demoralized by mass production methods and new techniques of mechanical reproduction. The Republicans used the challenge of saving the Republic by creating a new culture based on their own traditional values to induce them to modernize their working procedures. The most notable effort to engage artists, skilled craftsmen, and engineers in this struggle was the building of the Eiffel Tower. Two others were the design and construction of the universal expositions of 1878 and 1889. Much of the Republicans{\textquoteright} theory and their policy drew on concepts and attitudes cherished by the Compagnonnages and the Masons. The similarities and differences are explored, as well as the Republicans{\textquoteright} personal attachment to the way of life still nurtured in the craft traditions in France. Their attempt to exploit the symbols and values of the petit-bourgeois artisans, professional and businessmen are shown to have been to a great extent motivated by personal identification with this group and by a desire to make their common ways those of the Republic. Also in the last chapters an assessment of the success of their efforts is made. The major tangible result was the art and architecture that laid the foundation for twentieth century art. Yet, the nature of the style was such that it did not restrain the increasing concentration of capital and political power; it simply helped individuals to maintain the illusion that they could be independent of them.}, author = {Levin, Miriam} } @mastersthesis {6561, title = {The Art of Mikhail Vrubel}, year = {1980}, school = {IFA/NYU}, abstract = {Vrubel{\textquoteright}s long-standing reputation as the most important and influential Russian artist of his generation notwithstanding, no previous systematic and comprehensive art historical study of his work is available, even in Russian. The dissertation investigates in detail Vrubel{\textquoteright}s activity as draftsman, watercolorist, easel painter, muralist, sculptor, and designer. It also analyses the content of his work in the light of his background as a Russian and as a European, taking into account his philosophical, literary, musical and other ideas. The first chapter provides biographical information relevant to his work. The second is devoted to Vrubel{\textquoteright}s ideology and the extent of its relation to the Symbolist movement. The remaining four chapters deal with a selection of Vrubel{\textquoteright}s works. There is emphasis both on visual expression and iconography, with many new interpretations of his subject-matter. A special chapter is devoted to each of Vrubel{\textquoteright}s main geographical centers of activity: St. Petersburg, Kiev, and Moscow, and another to a celebrated group of subjects: "Demons, Angels, and Prophets." Each of these chapters concludes with a survey of the influence which the works under discussion exerted on other Russian artists. The dissertation makes a study of Vrubel{\textquoteright}s specific solutions to the technical artistic problems which he set himself throughout his lifetime and it traces his usually very original interpretations of literary sources. It stresses the wealth of new attitudes and ideas he introduced into the art of his time while remaining a classicist and revitalizing Byzantine and popular modes and motifs in modern terms. The range and quality of Vrubel{\textquoteright}s work remains intrinsically significant. A knowledge of it is also indispensable for an understanding of Russian Modernism in the decade following his death, a factor hitherto ignored.}, author = {Pritchard, Aline I.} } @mastersthesis {6580, title = {The Art of the Afro-American Quilt: Origins, Development and Significance}, year = {1980}, school = {Yale}, abstract = {Quilts made by Afro-American women in the United States are strikingly different in style from quilts made by Anglo-American or Amish women. Comparisons to contemporary West African textile designs have been offered as an explanation. Can these comparisons be demonstrated to have art historical validity? Specifically: (1) Does the Afro-American Quilt constitute a unique art style? (2) Can an aesthetic heritage from Africa be demonstrated? (3) Do Afro-American quilt designs encode symbolic meanings? (4) Do regional and historical varieties of quilts correlate to known migration patterns in Afro-American history? Two linguistic models were used: Ethnoscience and Creolization. Original fieldwork included interviews with 21 quiltmakers, and in-depth interviews with one articulate master quiltmaker. (Pecolia Warner of Yazoo City, Miss.) Seventy-three contemporary quiltmakers were identified; historic and contemporary references to Afro-American quilts were compiled; 23 historic quilts are listed. The author previously published fieldwork on textiles and other contemporary African arts, and has done linguistic fieldwork among the Navajo. Conclusions are: (1) The Afro-American Quilt does constitute a distinct, creolized art form, characterized by (a) organization into strips, (b) bold colors, (c) large design elements, (d) off-beat designs, (e) multiple patterns, and (f) optical effects. (2) Aesthetic heritage can be traced to (a) Mande strip-weaving, (b) Fon-Yoruba-Igbo-Mangbetu applique traditions, (c) Central African pattern-dissolving techniques, and other specific similarities. (3) Most (but not all) of the semantic content of Afro-American quilts may have been forgotten, yet aesthetic vestiges remain of color symbolism, Nsibidi ideograms, the Kongo cosmogram, and protective tests. (4) Regionalisms within the United States and correlations with Afro-American migration patterns can not be shown with the small quantity of data collectable in the short time Afro-American quilts have been of scholarly interest.}, author = {Wahlman, Maude Southwell} } @mastersthesis {6533, title = {Byzantine Art and the Dugento: Iconographic Sources of Passion Scenes in Italian Painted Crosses}, year = {1980}, school = {Virginia}, abstract = {During the past twenty years art historians have increasingly turned their attention to a long-recognized but little-understood phenomenon, the influence of Byzantine art on Western art in the later Middle Ages. Of particular concern is the impact of Byzantium on Italian art during the thirteenth century--a critical period preceding the great flowering of Tuscan painting in the early Trecento. Scholars have rightly stressed the role of Constantinople in the formation of Dugento painting, and have begun to examine more precisely the types of Byzantine models available to Tuscan painters and the degree to which these painters reproduced their sources. The original purpose of this dissertation was to carry this process of documentation further by examining the Passion scenes on the tabellone of historiated painted crosses and tracing the iconographic debt of each scene to Byzantine formulations. It was assumed that in the crosses executed before the Fourth Crusade of 1204 the tabellone would betray no evidence of direct contact with Byzantine sources, whereas in those crosses postdating the Fourth Crusade, when Byzantine manuscripts and icons were presumably brought to Italy in great quantity, the Passion scenes would reflect the painters{\textquoteright} fresh study of Byzantine art. The results of the study were in some ways surprising. First, it was found that the iconographic development of most of the Passion scenes conformed to the same pattern: the scenes in the earlier, pre-Dugento crosses followed an iconographic model which was long established in Italy, but in the later crosses this traditional type was discarded and replaced with a new version which was often radically different from the earlier type. This willingness to break with entrenched formulae and experiment with new images is in itself significant: the Dugento is still at times characterized as artistically stagnant, resistant to change. Second, though one might expect that each of these new versions had been derived from Byzantine art, this was not invariably the case. While in some instances the new image was directly patterned after Eastern types, in other cases the new type was demonstrably non-Byzantine in its iconographic essentials and instead most closely resembled versions found in Northern Europe. This rejection of Byzantine formulations in the heyday of the "maniera greca" suggests that the question of Byzantine influence on the Dugento is far more complex than is sometimes thought. If dependence on Constantinople does not always explain the new iconographic types of the Dugento, what does? The common thread uniting the new images seems to be not reliance on sources from any one artistic center but a new conception of Christ and His Passion. In almost every case, the new type depicted Christ as a vulnerable, suffering victim rather than the triumphant Redeemer of the earlier type; whereas earlier artists stressed His divinity, later artists stressed His humanity. This concern with Christ{\textquoteright}s humanity, especially during the Passion, has long been associated with the Christocentric piety of St. Francis and his followers; in the devotional writings of St. Francis and later theologians influenced by him, descriptions of the events of Christ{\textquoteright}s Passion were shown to correspond very closely with the new images under discussion.}, author = {Derbes, Anne} } @mastersthesis {6545, title = {Cannon Street: The Way to Victorian London}, year = {1980}, school = {Yale}, abstract = {Cannon Street was the first street in the City of London consistently to exhibit Early Victorian commercial architecture. This involved a new style of architecture, new building types, increased intervention by professional architects, and a new awareness of the street as a whole. Because today Cannon Street has retained little of its nineteenth century character, I first had to "reconstruct" it. This was done with the aid of maps, sewer records, photographs, engravings, and drawings. The records of the City Architect, James Bunstone Bunning, proved helpful, as were almanacs, trade periodicals, newspapers, and magazines. Created between 1850 and 1854, Cannon Street appeared when the prevailing Regency style of commercial street architecture was being condemned. Authorized by two Parliamentary Acts, and undertaken by the City Corporation, Cannon Street promised to solve the problems of the Regency approach. Monumental clubhouses, banks, insurance companies, and commercial chambers of the 1830{\textquoteright}s and 1840{\textquoteright}s provided the street{\textquoteright}s buildings with Italian Renaissance-style models. Chamfered corners, haunched ground-story arcades and Palladian windows derived from Barry, Cockerell, Gibson, and I{\textquoteright}Anson were used throughout the street. Regency stucco, cast ornament, and colonnades were eschewed. Shops were better integrated with the upper floors than were their Georgian or Regency predecessors. Plate glass, often criticized for its insubstantiality and incongruity, though employed, was satisfying in appearance because solid piers were generously used in the ground stories. New types of commercial buildings came to Cannon Street: commercial chambers and wholesale warehouses. Both had existed earlier, but in Cannon Street they became dominant. Replacing Georgian terrace houses, the new buildings were clearly commercial rather than residential. Even in partly domestic wholesale warehouses, accommodations were hotel-like. These new warehouses, first seen in the large, midland textile towns, constituted in size, style, and innovative construction, a new direction in London{\textquoteright}s commercial street architecture. Yet even the smaller commercial chambers revealed an important change. Where earlier (and later) individual merchants had vied for attention while sacrificing stylistic harmony, the commercial chambers in Cannon suppressed self-advertisement to maintain uniform facades. Much that was bad in Regency commercial architecture was attributed to builders. In Cannon Street the smaller structures were still generally done by builders, but here in fact they sometimes did better than professionals. Yet Cannon Street revealed once and for all that the monumental commercial commissions were not firmly in the hands of the architects. In Cannon Street the entire approach to street architecture changes. The primary view shifted from the facade to the chamfered corner. And the corners were like billboards--always seizing the would-be customer.}, author = {Krause, Linda R.} } @mastersthesis {6534, title = {The Chronology and Stylistic Development of 17th-Century Malwa Painting}, year = {1980}, school = {IFA/NYU}, abstract = {This dissertation is the first attempt to define systematically the chronology and stylistic development of seventeenth century Malwa painting. Four inscribed sets - the Rasikapriya of 1634, the Amaru ({\textquoteright})Sataka of 1652, the Ragamala of 1680, and the Bhagavata Purana of 1686-1688 - serve as fixed points around which undated material is grouped and further arranged into a chronology. Chapter one contains a brief history of the problem and various methodological considerations. In chapter two, which treats the first group, the style of the Rasikapriya of 1634 is defined and related to three undated sets rendered in one style and appearing in two closely connected modes. Mode one - dated to the 1630{\textquoteright}s and seen, not only in the Rasikapriya of 1634 but also in a Krishnal({\textquoteright})ila - represents the dying gasps of a sixteenth century style related to, but not necessarily derived from, the Caura style. The second mode - dated to the late 1630{\textquoteright}s-1640{\textquoteright}s and seen in an erotic series and in the "Hira De Ramayana" seems to represent a slightly later revival and expansion of the dying first mode by a great master whose work set the stage for the creative and prolific group two. In chapter three, group two, dated from the 1650{\textquoteright}s-1670{\textquoteright}s on the basis of a 1652 Amaru ({\textquoteright})Sataka, is divided into six distinct, but interrelated styles - A, B, C, D, E, and F. Style D, dating to the early-middle 1640{\textquoteright}s, represents a transitional style between the first group style and that of early Style B. The folkish and vital Style B, dating from the late 1640{\textquoteright}s-1670{\textquoteright}s, formed, in its earliest phases, the basis for the highly "Mughalizing" Style A (late 1640{\textquoteright}s-1670{\textquoteright}s). Style C belongs to the late 1640{\textquoteright}s and represents a regional variant of Style B. Style E, dating to the 1650{\textquoteright}s-1660{\textquoteright}s, is a pastiche of first and second group styles. Style F, which is related to Style B, dates to the middle 1640{\textquoteright}s-1650{\textquoteright}s. The second group{\textquoteright}s relationship to group one, patronage, and mass-production of sets as well as relationships to Mughal and Rajasthani painting are considered. The fourth chapter treats group three. In it, the style of the 1680 Ragamala leaf is defined and related to undated paintings rendered in five interconnected styles - A, B, C, D and E. Derived directly from group two, Style A, the highly "Mughalizing" and dominant Style A is defined by increasing naturalism and overall refinement. The remaining styles are all based upon group three, Style A: Style B (1680{\textquoteright}s) is a decorative and rather folkish version; Style C (1680{\textquoteright}s), a personal interpretation perhaps influenced by Bundi; and Style D (1700), a weak imitation. Style E (late 1660{\textquoteright}s-1670{\textquoteright}s) is a combination of second group, Styles B, C, and F, and third group, Style A. Patronage, the relationships between groups two and three, and connections to Mughal and Mewari painting are discussed. In the fifth chapter, group four (1670{\textquoteright}s-1700) is treated. In it, the style of the Bhagavata Purana of 1686-1688 is analyzed and related to undated pictures painted in two styles - A and B - both of which descend from group two, Style F. Style A is very folkish and is seen in countless sets of varying quality. Related to Style A, Style B is exceptionally refined. The final chapter - chapter six - discusses the aesthetic features that are distinctive to Malwa painting as a whole and that, therefore, define the style{\textquoteright}s very identity.}, author = {Dye, Joseph M., III} } @mastersthesis {6575, title = {Classical Reliefs and Statues in Later Quattrocento Religious Paintings}, year = {1980}, note = {Abstract incomplete}, school = {UC Berkeley}, abstract = {Pagan imagery in Quattrocento religious paintings is analyzed archeologically and iconographically in this study. Many of the characteristic approaches of the Quattrocento to antique models, literary sources and iconography were already determined in the previous century. Both in the Trecento}, author = {Thomas, Troy} } @mastersthesis {6523, title = {Cloudy Mountains: Kao K{\textquoteright}o-Kung and the Mi Tradition}, year = {1980}, school = {Kansas}, abstract = {The aesthetic concerns of early Yuan (1279-1368) landscape painters embraced both a strong reaction against the styles associated with the Southern Sung (1127-1279) academic tradition and a return to the ideals of a number of earlier manners. Among the traditions revived during this era, those of Tung Yuan (act. mid. 10th c.) and Chu-jan (act. 960-980), Li Ch{\textquoteright}eng (act. 960-990) and Kuo Hsi (act. 1060-1075) were preeminent. A third tradition, that of Mi Fu (1051-1107) and his son Mi Yu-jen (1086-1165), played an important if less definitive role in the evolution of later Yuan painting. An understanding of the revival of this third tradition has been frustrated by an imperfect conception of its central figure, the enigmatic Kao K{\textquoteright}o-kung (1248-1310). The purpose of this study is twofold: to clarify Kao K{\textquoteright}o-kung{\textquoteright}s oeuvre as extant, thereby allowing an assessment of his personal achievement; and to consider him in the context of the Mi tradition in order to define his position within and impact upon it. The primary material for this study is the body of paintings traditionally and currently ascribed to Kao K{\textquoteright}o-kung and anonymous or unsigned works in the Mi tradition. The first two chapters are introductory in nature. Chapter I comprises a biography of the artist while the intellectual, social, and artistic mileau in which Kao developed are discussed in Chapter II. It is proposed that Kao, a Northerner, gained the impetus to paint as a result of a political sojourn in southern China. The complex issues surrounding the definition of Kao K{\textquoteright}o-kung{\textquoteright}s oeuvre are explicated in Chapter III. Two paintings are established as central to the understanding of his art. Chapter IV is devoted to enlarging Kao{\textquoteright}s oeuvre through formal analysis of attributed works, identifying the sources from which his style developed, and characterizing the nature of the style. Finally his oeuvre is divested of forgeries and misattributions in a reductive process. The final chapters deal with Kao{\textquoteright}s position within the tradition of Mi Fu and Mi Yu-jen. Chapter V proposes a limited body of paintings which the author feels represent the pre-Yuan Mi style. Kao{\textquoteright}s style is then analyzed from this perspective. In Chapter VI a number of paintings by purported followers of both Mi and Kao are analyzed to aid in the definition of Kao{\textquoteright}s impact upon later Chinese painting. A descriptive catalogue of paintings attributed to or known to have been attributed to Kao is appended to the text. The material collected and analyzed in this thesis has served to clarify Kao K{\textquoteright}o-kung{\textquoteright}s personal achievement. Clearly Kao was both a man of his own period and the first figure in a significant revival of tradition. Moreover he was the central figure in the evolution of the Mi tradition. He was able to assimilate and internalize the style to the point at which a transformation of it was possible. Kao{\textquoteright}s transformation was rooted in both his understanding of other early traditions and his ability to internalize. Whereas it has become conventional for later artists to trace their paintings in this style to the influence of Mi Fu, Kao K{\textquoteright}o-kung was actually the model.}, author = {Brizendine, Curtis H.} } @mastersthesis {6568, title = {The Critical Interpretation of Jean-Auguste-Dominique Ingres, 1806-187}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Susan Locke Siegfried} } @mastersthesis {6535, title = {The Critical Reception of Japanese Art in Europe in the Late 19th Century}, year = {1980}, note = {Abstract incomplete}, school = {Cornell}, abstract = {Historians of modern art have long acknowledged the important influence of Japanese art on late nineteenth-century European art. In the course of investigating the various facets of this phenomenon, scholars have consulted the nineteenth-century critical literature on Japanese art, but no one}, author = {Evett, Elisa} } @mastersthesis {6567, title = {The Development of American Bronze Foundries, 1850-1900}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Shapiro, Michael Edward} } @mastersthesis {6539, title = {The Early Stylistic Development of Titian in the Artist Milieu of Venice: 1500-1518}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Goldfarb, Hilliard Todd} } @mastersthesis {6541, title = {Form and Content in the Early Work of Jean Arp, 1903-1930}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Hancock, Jane Hunter} } @mastersthesis {6528, title = {A Formal Analysis of the Relief Carved Monuments at Tikal, Guatemala}, year = {1980}, school = {Yale}, abstract = {The formal aspects of the relief carved monuments at Tikal, Guatemala are described and an explanation is offered for their meanings and histories. The formal traits discussed are monument placement, monument form, composition, and carving techniques. The description is facilitated by grouping the monuments into major formal types that are also arranged chronologically. A contextual analysis of the formal traits is done by comparing or contrasting their physical and chronological descriptions with archaeological data, epigraphic data, and previous iconographic explanations. The explanations offered in this study of the forms of art at Tikal are centered around two questions: what were the purposes of the art, and how were these purposes achieved. A basic assumption is that form has content. The relief carved monuments of Tikal are shown to be public art forms that were initially religious in function. This original function was abruptly changed at the beginning of the Middle Classic period to become secular and political in content. The secular and political functions or purposes are shown to have been achieved by purposeful choices made by the patron and the sculptor. Monuments are analysized for the range of choices that effected their formal traits and iconographic program. In this study it becomes apparent that a progressive or evolutionary historical structure cannot account for the changes observed in artistic forms. At Tikal, the changes are too abrupt and the time spans of formal sequences too short. Art events, as they occurred in time, display a complex interweaving of innovation with historicisms and archaicisms. A neat linear progression of formal traits was impossible to achieve, so a discontinuous history of art events is the result.}, author = {Clancy, Flora S.} } @mastersthesis {6516, title = {French Images from the Greek War of Independence 1821-1827: Art and Politics under the Restoration}, year = {1980}, school = {Princeton}, abstract = {The dissertation is a study of paintings and prints with themes from the Greek War of Independence (1821-1827) in relation to the contemporary political and aesthetic climate in France of the Restoration. An introductory chapter examines the specific historical, political and artistic conditions in which these pictures were created; it is shown that soon after its outbreak, the Greek War of Independence developed into a major argument for the French Liberal party in its strife against the conservative Ultra government. In the first years of the War (1821-1824), however, before it took on a specific political meaning, the Greek Revolution was supported by both Liberals and Ultras as the struggle of Christianity against Islam, and Civilization against Barbarity; these notions lend a new insight into the meaning of paintings such as N.V. Raverat{\textquoteright}s La Mort du Jeune Diacre and E. Delacroix{\textquoteright}s Massacres de Scio. With the mounting political tension in 1825-1826, and as the Liberals now raised the Greek War into the emblematic standard of their party ideology, themes inspired by it were made to conceal direct political allusions; the exhibition "au profit des Grecs" at the Parisian Lebrun gallery, and the theme of the death of the Greek chieftain Marcos Botzaris are studied in this light. Delacroix{\textquoteright}s La Grece sur les Ruines de Missolonghi is only one among the numerous paintings of the years 1826-1827, which reflect the blame cast by an ever-growing Liberal public opinion on the Ultra ministry, for its neglect of the Greek cause. Similar paintings abounded in the Salon of 1827 which, to use the critic Jal{\textquoteright}s words, was as political as the elections that year. Indeed, the conclusive naval battle at Navarino, in which the French fought alongside the English and the Russians in support of the Greeks, was an important factor in the electoral victory of the Liberals and the fall of the conservative ministry. The paintings inspired by the Greek Revolution, which were done under Charles X and during the July Monarchy, were, now, official commissions, and reflected a new set of ideas: they were conceived as images of the new prestige acquired by France through its participation in the conclusion of the Greco-Turkish conflict, and as statements of the liberal ideology on which the Louis-Philippe era claimed to be founded. Finally, the aesthetic aspect of these paintings is studied in reference to aesthetic questions of Romanticism, namely to concepts such as modernity, exoticism and the idea of liberty. The contemporary critical response to the paintings and its possible relation with politics is also examined through the writings of a number of critics of varying political convictions. The conclusion is reached that, while pictures with themes from the Greek War of Independence were co-opted by Liberal politics and acquired a specific political significance, their appreciation as works of art was not affected by either their political message or the particular political orientation of their critics.}, author = {Athanassoglou, Nina} } @mastersthesis {6565, title = {The Fresco Decoration of the Magdalen Chapel in the Basilica of St. Francis at Assisi}, year = {1980}, school = {Indiana}, abstract = {The undocumented frescoes in the Magdalen Chapel include seven narrative scenes from the legend of Mary Magdalen, twin donor portraits, and seventeen full-length portraits of holy figures. Despite their central location within the lower church of the Basilica of St. Francis and the high quality of certain passages of the work, these frescoes have attracted relatively little scholarly attention. The aim of the present study is to investigate problems regarding the authorship, date, patronage, and iconography of these frescoes and to relate the findings to larger problems concerning the development of Italian painting during the fourteenth century. The problem of authorship has been widely discussed. Although the frescoes are painted in the manner of Giotto, there is disagreement about whether they represent the work of the master or that of his students. A formal and dramatic analysis of individual compositions suggests that Giotto designed but did not execute the donor portraits. This minimal participation by the master suggests that the cycle was commissioned to Giotto but executed almost entirely by students. The handiwork of five of the assistants who worked in the Magdalen Chapel is found in other portions of the extended Giottesque complex in the lower church; consequently, it appears that the entire complex was commissioned to Giotto and completed rapidly. Attempts at dating the Magdalen cycle have long been confused by misinformation about the patron and a lack of information about the rate of Giotto{\textquoteright}s artistic development. A review of documents and literature suggests that Bishop Teobaldo Pontano, the patron of the cycle, served at Assisi from 1296 until 1329. Archeological and documentary evidence indicate that Bishop Teobaldo also financed the construction of the chapel. Since Teobaldo{\textquoteright}s term of office coincides almost exactly with the span of Giotto{\textquoteright}s career, additional avenues for dating the frescoes are explored. The political and intellectual history of Assisi suggests that no major artistic project was inaugurated within the basilica after 1319. Studies dealing with other areas of the lower church complex demonstrate that the St. Nicholas Chapel was decorated before 1307 and that work then proceeded down the length of the transept. Begun before 1307 and involving many workers, the complex was probably completed before the war in 1319. A document from 1309 may refer to the completion of some portion of the complex, possibly the Magdalen cycle itself; indeed, the 1312 notice by Riccobaldo Ferrarese may refer to the completion of the project. Giotto{\textquoteright}s unidentified contribution to the decoration of the basilica may be the lower church complex; also, the style of the Maestro delle Vele evidently emerged earlier than is commonly imagined. Controversy surrounds the identification of the figures in the two donor portraits. It is suggested here that both portraits represent Teobaldo Pontano and are intended to celebrate his double vocation of bishop and friar. Also, previously unrecorded inscriptions contribute to the new identification of the images of Mary the Egyptian and Dionysius the Areopagite; liturgical considerations suggest the identification of Martha of Persia. The selection and arrangement of all the portrait images suggest various themes relevant to the dedication of a funerary chapel. In their celebration of penitence and the contemplative life as well as in their proximity to the original tomb of Beata Giacoma dei Settesoli, the frescoes reflect the cult of the Magdalen within the Franciscan Order. Finally, the incorporation of a unusual emblem may constitute a statement of support for Angevin interests. An appendix describes the role of Teobaldo Pontano in the political life of Assisi, in the government of the Franciscan Order, and in the works of the Confraternity of Santo Stefano.}, author = {Schwartz, Lorraine Carole} } @mastersthesis {6546, title = {From {\textquoteright}291{\textquoteright} to Zurich: The Birth of Dada}, year = {1980}, school = {University of Washington}, abstract = {In 1905, the American photographer, Alfred Stieglitz, opened a small gallery in New York: the Photo-Secession. Later known as "291", it became the spearhead of modernism in America. By 1913 certain ideas of dadaist character had emerged there. Three years later, in February 1916, Zurich Dada began with the founding of the Cabaret Voltaire by Hugo Ball, Jean Arp, and others. There is ample evidence to suggest that "291" may have had a direct effect on the development of the Cabaret Voltaire toward Dada. In this dissertation, I first indicate those ideas from 19th and 20th century aesthetics and philosophies which helped pave the way for "291" dadaism. These ideas are of European and American origin. Secondly, I include sufficient evidence to warrant the suggestion of a "291" influence on Zurich Dada. This evidence includes pre-1916 contacts between future Zurich Dadaists and members of "291" and/or persons connected with "291". In this dissertation I also present alternative views to the general acknowledgement of the magazine 291 as a dadaist publication. In addition, I consider the relationship between "291" dadaism and New York Dada. A short summary of Dada activities in New York and Chicago which ends this dissertation could be used as a basis for future studies.}, author = {Leavens, Ileana B.} } @mastersthesis {6569, title = {From Cloth to Clothing: Depictions of Textile Production and Textiles in Dutch 17th-Century Art}, year = {1980}, note = {Abstract incomplete}, school = {UC Berkeley}, abstract = {This study began as a larger, comprehensive investigation of the depiction of all trades and professions in Dutch seventeenth century art. The sheer number of such images attested to the popularity of the depictions and called for a study which justly examined Dutch art both in the context of}, author = {Stone, Linda Anne} } @mastersthesis {6524, title = {George Edmund Street and the Royal Courts of Justice}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Brownlee, David Bruce} } @mastersthesis {6557, title = {Gerard David Studies}, year = {1980}, school = {Princeton}, abstract = {No abstract in ProQuest}, author = {Mundy, Edwin James} } @mastersthesis {6552, title = {Gestures and Their Interpretation in the Genesis Cycle of the Ox{\textlnot}/= ford Moralized Bible and Selected 13th{\textlnot}/= Century Manuscripts}, year = {1980}, school = {UNC Chapel Hill}, abstract = {This study describes, classifies, and interprets the gestures of figures in the miniatures of the Genesis cycle of the Oxford Version of the Moralized Bible and related manuscripts of the thirteenth century. The purpose of the study is to explore the relationships between the written sacred stories and their exegesis and the communication of these stories visually through gestures. Further, this dissertation contributes to an awareness of the importance of understanding the varied ways in which gestures communicate in Medieval art. In the introduction the reader is presented with a survey of the literature regarding the use of gestures in Classical art. These studies are viewed as the foundations upon which the gestural vocabulary of Christian art is based. This section of the dissertation also provides the reader with a perspective from which to view the interpretation of the specific gestures in the Moralized Bible by discussing the manner in which they were probably produced under the direction of an iconographer who controlled the narrative, symbolic and figurative content of the miniatures. Part I carefully analyzes and charts the types of gestures employed by the artists to communicate certain voluntary gestures such as speech, and involuntary ones denoting repose and related conditions. It was discovered that in addition to depicting the narrative a gesture might also communicate symbolically. Further, generalized actions such as speech or repose might, with only minor variations in configuration or context, represent more precise activities like teaching, contemplation or even specifically sinful conditions such as acedia. When the images of the Moralized Bible are compared to certain sections of Augustine{\textquoteright}s Confessions it can be seen that this treatise was the source for the test and moralization pictures in the manuscript. Part II explores the manner in which the artists of the Moralized Bible employed gestures to systematically and accurately represent the Early Father{\textquoteright}s exegesis of the creation story. Evidence is also presented to show that this meaningful system of postures and gestures, designed perhaps by an iconographer, is not limited to the Moralized Bible but is also found in later works in the same recension, such as the Hours of Rohan. This part of the dissertation demonstrates that by varying the posture or gesture of the Creator the artist was able to represent specific Members of the Trinity, and even to communicate His attitudes, such as damnation or blessing, toward the objects of creation. Further, in order to represent Augustine{\textquoteright}s theory that the world was not created in six successive days but rather all at once in keeping with the power of the Almighty, the artist used a variety of gestures in order to denote various aspects of this theory. For example, by posing the figure of the Creator in one way the artist was able to depict that aspect of the creative process that Augustine defined as "distinction," but by representing God in a different manner the artist could communicate what the Early Father called "adornment."}, author = {McCoy, Louis Franklin} } @mastersthesis {6517, title = {The Hellenistic and Early Imperial Decorative Bust}, year = {1980}, school = {IFA/NYU}, abstract = {The decorative bust as discussed in this dissertation is a high relief image in human form emerging from the shoulders up out of a circular background. In order to trace its development and use in Hellenistic and early Imperial times from what may have been its origin in the fourth century B.C., attention is focused on the three forms in which the motif was most consistently employed, and for which it is the most characteristic during those periods. Those three forms are the lower circular finial of the fulcrum attachment on the Hellenistic and Roman kline, the central medallion of the pyxis lid, and the medallion replacing the omphalos in the phiale. Secondary uses of the decorative bust, such as counterweights for scales, are discussed, but these were clearly functions derived from the three original forms of this motif, and are tangential to an historical investigation. By general appearance, the bust must be considered a phenomenon parallel to the clipeata imago, differing from that species of bust in the choice of subject matter (deities such as Artemis, Eros, and Athena, Dionysos and Dionysiac characters such as satyrs, maenads, and Silenoi) and in its small scale and primarily decorative function. The decorative bust falls into the domaine of the minor arts, specifically that of the metalsmith{\textquoteright}s art. The decorative busts on kline fulcrum attachments are bronze, cast in the lost wax process, and these constitute the greatest number of decorative busts preserved. Those on extant gold pyxis lids and silver phialai are hammered and are, in general, of considerably higher quality than the bulk of the bronze examples. Pottery examples derived from metalware are also collected in this dissertation, as are a few examples of artists{\textquoteright} plaster models. By the discussion of the invention and development of one characteristic motif, some progress is made in this dissertation on problems of absolute and relative dating within the Hellenistic and early Imperial decorative arts. Both the luxurious metal pyxides and their surrogate terracotta copies apparently ceased being made by the end of the second century B.C., but the production of phialai continued into early Imperial times, the vessel at this time becoming a mere framework for displaying a work of toreutic art. The use of the kline with sloping rest or fulcrum (and fulcrum attachment with bust) continued at least through the first century A.D. and perhaps longer. The continuity of Hellenistic forms and tastes is considered in this dissertation, with the tentative conclusion that by the end of the Julio-Claudian dynasty there was a change in stylistic emphasis away from this heritage. At this time also in the history of the decorative bust, changes in the iconography and its relationship to the object decorated may be observed. Certain finds from contexts dated with a terminus ante quem such as the Skardhana quarter of Delos, the Hellenistic town of Azaila in Spain, and Lixus in North Africa, as well as objects from Pompeii, help establish a chronology of the decorative bust up to this time. Subsequent chronology is aided by the finds from Bosco Marengo. Generally speaking, there is a tendency for frontality and symbolic representation in the decorative bust which is in marked contrast to its Hellenistic expressiveness, by the time of the reign of Tiberius.}, author = {Barr-Sharrar, Beryl} } @mastersthesis {13226, title = {A History and Critical Review of the Salons of Les Vingt, 1884-1893}, year = {1980}, school = {Penn State}, abstract = {This study encompasses a history of the ten salons of the Belgian avant-garde art group, Les Vingt. Critical reaction to these exhibitions has been used to gauge the impact of this group on the Belgian public and to illustrate the theoretical debate that often accompanied each show. Although individual artistic development is discussed, the intent of this study is to move beyond the interplay of individual style in order to arrive at an understanding of the role that Les Vingt played within the history of nineteenth-century European art. Les Vingt, a group of twenty artists most of whom were Belgian, joined together to provide an alternative exhibition place for themselves and other invited artists. This group was also seen as the artistic manifestation of the on-going renaissance of La Jeune Belgique. Through their salons, conferences, and recitals, Les Vingt hoped to be "les apporteurs de neuf" to Belgium. A review of the events and the critical reaction of each of their salons attested to attainment of this goal. Indeed, during their ten-year existence, nearly every major contemporary artist active in England or on the Continent exhibited at Les Vingt alongside their Belgian counterparts. Moreover, every stylistic movement from Impressionism to Art Nouveau was represented there. The salons of Les Vingt provoked controversy, critical debate, even resignation. In the process, the Belgian public was brought into contact with current artistic theory and practice. While the work on view at Les Vingt reflected the diverse interests and directions of fin-de-siecle art, it also underlined the discrepancy between perceptual and pictorial reality. Moreover, many members of the group, along with their friends and invited guests, had come to question the social relevance of artistic reality. Indeed, the aesthetic concerns represented in these salons only seemed to accentuate the alienation and separation of art from daily life. At the same time, contemporary theoreticians such as Morris and Kropotkin called for the reintegration of art into life. The salons of Les Vingt and the literary revival of La Jeune Belgique occurred during a period of great social unrest in Belgium. The need for reform did not exist only in the sphere of fine arts. Thus, just as the socialists gained political and social reform through the enactment of universal suffrage, so too did the artists of Les Vingt, with their active support of the decorative arts, seek to reform the division between fine and applied arts and to return art and the pride of craft to the common man. Although they repudiated any statement of program, Les Vingt consistently dedicated themselves to the exposition of the avant-garde. They exposed the Belgian public to the unique talents and the multiple directions of contemporary art. Through their democratic organization, their invitations, and the exhibited work, they expressed revolutionary attitudes which both denied traditional values and definitions and redefined the role of art within society. The salons of Les Vingt were not only a viable alternative to the official salon and the artistic exponent of a general cultural renaissance. In their active pursuit of all that was new and experimental in late nineteenth-century European art, the salons of Les Vingt became a forum wherein the exhibition and expression of current concerns and possible solutions continued the perpetual dialogue of modern art.}, author = {Susan Marie Canning} } @mastersthesis {6559, title = {An Iconographic Study of the Textiles of Paracas}, year = {1980}, school = {UT Austin}, abstract = {Two thousand years ago on the south coastal desert of Peru, the members of a culture known to us as Paracas produced magnificent textiles richly embellished with embroidered figures. These vividly-colored garments were worn by the leaders of Paracas society. When rulers died, they were wrapped with the fine garments they wore in life, with other textiles presented to them as gifts, with meters of plain cloth, and with various items of ritual paraphernalia. The burial bundles containing these deceased leaders were interred in a sandy hillside cemetery on the Paracas Peninsula, where they remained undisturbed until their excavation in this century. The contents of these burial bundles are the principal record of Paracas culture; its members left no written records about themselves, but they did leave abundant woven and embroidered documents. Covered with rows of figures, the garments worn by the leaders of Paracas were a fundamental form of visual communication within that society. An interpretation of the messages encoded in these weavings is the focus of this thesis. In this study, a detailed examination of the entire contents of two large Paracas bundles suggests how this may be done. As a prerequisite for the study of the iconographic programs of the two bundles, the archaeological context in which the mummy bundles were found is presented. In addition, the structures of the bundles in which the textiles were found are described, as are the types of ritual attire. A comparison of the contents of the bundles reveals that although Paracas burial bundles share certain structural features, variations in their contents point to differences in rank among the deceased leaders. With an understanding of the archaeological and physical contexts, the imagery embroidered on the garments in the two bundles can then be described and interpreted. Stylistic and iconographic evidence in the textiles from these bundles is brought together with analogous evidence from later Andean cultures to provide an explanation of the kinds of information encoded in Paracas ritual attire.}, author = {Paul, Anne} } @mastersthesis {6554, title = {The Impact of Italy on the Romanesque Architectural Sculpture of England}, year = {1980}, school = {Yale}, abstract = {The origins of English Romanesque architectural sculpture have been sought in late Saxon and Norman traditions as well as in the regional sculpture of northern Italy and western France. Previously, Italian influence in England has been presented as a vaguely-defined phenomenon or isolated instances. The present work distinguishes features in England that are typical of Italian sculpture and describes the process of their interaction with native and other foreign artistic traditions. A comprehensive method of analysis is required to assess the introduction and transformation of Italian features. Formal as well as structural aspects are considered with regard to the motival, sculptural and architectural qualities of the material. This analysis has been interpreted within the historical framework of pre-Romanesque and Romanesque artistic traditions of the respective regions. A representative sample of English architectural sculpture, dating c. 1050-1150, has been selected and organized by types of architectural members. The motival and formal similarities between English and Italian sculptures are corroborated by plastic and tectonic correspondences. And in many instances, these Italianate English sculptures are based on Italian Romanesque forms that represent revivals or re-interpretations of Late Antique or early Medieval forms of architectural sculpture. In most cases the Italian-derived English sculptures do not replicate Italian prototypes, but exhibit various modifications. The manner of carving, formal details, symmetry or tectonic arrangements differs from the model and conforms to those aspects of native Anglo-Norman sculpture. Thus, native sculptors actively participated in the assimilation of foreign sculptural features, selecting and transforming particular Italian motifs, compositions, sculptural articulation and tectonic arrangements. The specific and technical similarities between Italian and English works could not have been achieved by local sculptors working from sketches or portable objects. The introductions of Italian traits must be credited to English sculptors who had seen the architectural sculpture of Italy, or who had been trained by Italian sculptors in England. The diffusion of Italian-derived English sculpture relates to the development of regional sculptural workshops. Italian features are evident in the crypt capitals of Canterbury Cathedral, and related Southern School productions at Romsey Abbey and Reading Abbey. Sites in Northamptonshire-Anglia share native stylistic features, frequent use of Barnack stone and a number of elements derived from late 11th and 12th century sculpture at Como, Pavia and productions of the Niccolo workshop. Major foundations such as Ely Cathedral, Durham Cathedral and Bury St. Edmunds contain more diverse and sophisticated instances of Italianate sculpture. These are generally coeval with their prototypes, but undergo limited subsequent diffusion. Other Italian-derived sculpture, including a large number of tympana and capitals with foliage, leaf-masks and animals, are broadly diffused at many rural parish churches. These occur most commonly in the West Country counties of Herefordshire, Gloucestershire and neighboring counties, and in Yorkshire. In the late 11th and early 12th centuries, Italian features were combined with local artistic features based on pre-Conquest traditions as well as contemporary Anglo-Norman art. Later English Romanesque sculpture, c. 1140-60, exhibits the combination of Anglo-Norman, Anglo-Scandinavian, Italian and western French traditions.}, author = {Meredith, Jill} } @mastersthesis {6555, title = {Imperial Themes in the Sculpture of Leone Leoni}, year = {1980}, school = {IFA/NYU}, abstract = {Since the appearance in 1887 of Eugene Plon{\textquoteright}s fundamental monograph the literature on Leone Leoni has been devoted primarily to specialized studies of his numismatic or medallic activity or descriptive surveys of his work. There has been no comprehensive analysis of the stylistic development or the sources and iconography of his sculpture; no recognition of the truly innovative nature of his oeuvre; no attempt to define the intellectual and social impulses which infuse his images; and no attempt to synthesize these elements into a coherent picture related to the broader political and social context of sixteenth century Europe. This dissertation is an attempt to begin to fill these lacunae. The introduction, a brief outline of Leoni{\textquoteright}s career, contains new material on his early activity. It is followed by six chapters, each a study of a separate project. I have analyzed the background of the commission, the style and sources, and iconography of each project. Chapter I concerns Leoni{\textquoteright}s first monumental sculpture, Charles V and Fury Restrained. The group{\textquoteright}s stylistic relationship to the art of Baccio Bandinelli is examined as is its compositional sources in two Roman imperial coins and the iconographic significance of the removable armor. Chapter II analyzes the bronze, Bust of Charles V Supported by an Eagle, the relationship of the bust and base to antique and Renaissance prototypes in terms of form and iconography, and the dynastic and personal significance of the cross bearing Christ on the breastplate medallion. Chapter III studies the commission granted by Mary Queen of Hungary for the bronze portrait statues of herself and Prince Philip. The two statues are placed in the larger context of Hapsburg dynastic projects, are examined in terms of the current political situation regarding the Spanish Succession and are shown to have been commissioned as a pair to commemorate the transfer of power from Mary as regent to Prince Philip. Chapter IV deals with the Casa Omenoni. The architectural sources of the facade are defined as well as the Casa Omenoni{\textquoteright}s relationship to the traditions of facade decoration. The dedication of the house to Marcus Aurelius is examined within the context of the growing interest in Marcus Aurelius generated by Fra Antonio de Guevara{\textquoteright}s books, the Libro Aureo de Marco Aurelio and the Relox de Prencipes. The sculptural program is explicated and there is a brief discussion of the tradition of artists{\textquoteright} houses as it relates to the Casa Omenoni and of Leoni{\textquoteright}s art collection. Chapter V concerns the bronze group, Ferrante Gonzaga Triumphant and the conceptual innovation of the satyr{\textquoteright}s grasping hand which penetrates under the base. Chapter VI analyzes the commission for the seated bronze portrait statue of Vespasiano Gonzaga, the tradition of ruler portraits, and the overall meaning of the monument for Vespasiano personally and for Sabbioneta as a new urban entity constructed in the image of Rome. Three appendices follow: Appendix I reproduces Leoni{\textquoteright}s will; Appendix II the 1615 inventory of the Casa Omenoni; and Appendix III collects all Leoni{\textquoteright}s letters and many others in which he is mentioned. The six chapters are not isolated studies but are united by a basic idea referred to in the title. In the artistic sense "imperial themes" refers to the sources in ancient Roman art with which Leoni created an imperial iconography for Charles V. However, it also concerns the wider political, social, and ethical impact Charles V had on Italy and the way in which the myth of Empire renewed affected the men who served him. This point is considered in the Excursus on the all {\textquoteright}antica mode.}, author = {Mezzatesta, Michael} } @mastersthesis {6556, title = {The Influence of the Bauhaus on Art and Art Education in the United States}, year = {1980}, school = {Northwestern}, abstract = {This dissertation is a study of the educational aspects of the Bauhaus, perhaps the twentieth century{\textquoteright}s most important modern art movement, and of the Bauhaus influence in art and in art education in the United States. The study explores the background of the German Bauhaus as a development of the ideas of Ruskin, Morris, the Pre-Raphaelites, and the English Arts and Crafts Movement. Particular emphasis is placed on similarities between the Bauhaus and the earlier Guild and School of Handicraft founded by C. R. Ashbee, a close follower of the ideas of Ruskin and Morris. The question, whether in fact the Bauhaus did exert an influence on art and art education in the United States is answered through consideration of the Bauhaus philosophy of art, the Bauhaus system of workshops, and the Bauhaus art educational methods in use in the Vorkurs. Having explored such aspects of Bauhaus uniqueness, the study turns to consideration of American efforts in art instruction and art education, emphasizing the growth of art academies and of art museums prior to and at the time of the United States Centennial Exhibition in 1876. The influence of the English Victoria and Albert Museum and School at South Kensington on art instruction in the United States is also indicated. The dissertation explores the main currents and directions in post-Centennial American art instruction and art education, in order to then show the influence exerted by the Bauhaus through the Bauhaus Masters who fled to the United States after the close of the German Bauhaus in 1933. The study concludes with the particular influence of the Bauhaus through Albers{\textquoteright} paintings, writings, and teaching at Black Mountain College and at Yale, as well as the influence of Moholy-Nagy through his art, his writings, his teaching and his founding of the "New Bauhaus" and its development as the School of Design, in Chicago.}, author = {Moynihan, Jeanne P.} } @mastersthesis {6560, title = {The Intellectual Roots of Abstract Expressionism}, year = {1980}, school = {UC Santa Barbara}, abstract = {Abstract Expressionism, the first American art of international importance, has been discussed mostly in formal terms since its inception in the late 1940s. Yet the artists themselves have always stated that subject matter was more important to them than form. There has been no systematic or scholarly attempt to identify and interpret subject matter and its interrelations with style. This style examines the thematic and stylistic evolution of four of the most important Abstract Expressionists, the color field painters Clyfford Still, Mark Rothko, and Barnett Newman, and the gesture painter Jackson Pollock. The work of these artists is seen to stem from indigenous roots in the art of the preceding generation as much as from the influx of Surrealism during World War II which has usually been credited as the major generative influence. Regionalists and other painters as varied as Thomas Hart Benton and the W.P.A. muralists shared the theme of regeneration and re-establishment of positive aspects of American culture in a time of adversity through an understanding of the American past and a definition of its culture. To this goal Surrealism added a new mode of action through art which sought to bring about social change in individual consciousness. Analysis of the intellectual milieu shared by the Abstract Expressionists reveals a confluence of ideas through which both social and individual regeneration were seen in a new and more universal light. In this study, that intellectual milieu is defined, analyzed, and interrelated in depth. It is seen to have included writings in anthropology, psychology, philosophy, biology, and art criticism, specifically the writings of Frazer, Levy-Bruhl, Benedict, Jung, Freud, Nietzsche, Dewey, Thompson, Read and others. It has been possible to do this through an examination of the artists{\textquoteright} statements, writings, titled paintings, and personal libraries as well as through interviews and discussions with friends, family, students, and colleagues. The examination of the intellectual frame of reference of the four Abstract Expressionists reveals four themes which are central to their work: (a) the struggle with nature in which biomorphic images are used to symbolize man{\textquoteright}s origins and evolution. The 19th century biological theory that "ontogeny recapitulates phylogeny" is seen to partially underlie this theme. The struggle with nature is seen to be a universal and permanent struggle with man{\textquoteright}s animal and destructive instincts; (b) along with analysis of man{\textquoteright}s developmental origins, there is a parallel analysis of man{\textquoteright}s relation to the original, primitive man. It is shown that the artists sought to emulate primitive man{\textquoteright}s mode of thinking and view of life as these were understood at the time; (c) a search for the universal, timeless, and pan-cultural pattern of life. This pattern is seen to be the continual confrontation with destructiveness, terror, and suffering, and man{\textquoteright}s repeated attempts to transcend these elements through a spiritual transformation of himself; (d) the creation of an image of continuous change as a metaphor for the psychic and spiritual strivings and efforts of man throughout history. These themes are woven into and underlie the subjects and stylistic development of Still, Rothko, Newman, and Pollock. However, each artist develops and interprets them in individual ways. The formative, pre-1947 and the mature work of each artist in regard to these themes is examined in separate chapters. Altogether, the work of these artists suggests their answer to the social and cultural problems of the period. It is the spiritual transformation of man, the alteration of personality through the creation of a new consciousness and a transmutation of values.}, author = {Stephen Polcari} } @mastersthesis {6543, title = {Ippen Hijiri-e: Artistic and Literary Sources in a Buddhist Handscroll Painting of 13th-Century Japan}, year = {1980}, school = {IFA/NYU}, abstract = {The Ippen Hijiri-e is a set of twelve illustrated handscrolls dedicated in 1299 to commemorate the life of Ippen Shonin (1239-1289), founder of the Ji-shu, a popular Amidist Buddhist sect. The forty-eight paintings, executed with minute detail, set Ippen{\textquoteright}s biography against extensive architectural and landscape backgrounds. Through analysis of the paintings{\textquoteright} artistic and literary sources, this dissertation demonstrates that all aspects of the work, including not only its narrative but also its lyricism and realistic style, contribute to its religious meaning. As the first study of the Ippen Hijiri-e in a Western language, the dissertation also provides an abridged translation of the accompanying text. The pictorial narration of Ippen{\textquoteright}s religious career is analyzed here for the first time. It is shown that the paintings complement the religious themes of the written biography and were systematically organized to differentiate three stages of Ippen{\textquoteright}s life: his spiritual development, early ministry, and the flourishing of his proselytizing activity. It is argued, too, that the panoramic settings reinforce the notion of Ippen{\textquoteright}s greatness as a spiritual teacher. The settings convey three themes: poetry, travel, and pilgrimage. The poetic theme, expressed through lyrical representations of landscape, draws upon the nature imagery of Japanese court poetry. It alludes to Ippen{\textquoteright}s use of verse for religious teachings and characterizes him as a person of sensitivity. The theme of travel evokes with scenes of Ippen{\textquoteright}s wanderings the romance of his itinerant life. The theme of pilgrimage is conveyed by detailed representations of Buddhist and Shinto holy sites; it mirrors Ippen{\textquoteright}s reverence for sacred places and for the Shinto gods. Although scholars have interpreted the realism of the architectural portrayals as evidence that the artists must have traveled to each place represented, it appears instead that the illustrations owe their greatest debt to the high value accorded realism in Japanese shrine-and-temple painting. While the settings are in fact largely accurate, the painter{\textquoteright}s sources of knowledge about the sites depicted were probably varied, including personal observation, existing paintings, and perhaps maps or travelers{\textquoteright} descriptions. An important source for the depictions of nature in the Ippen scrolls in Chinese art, whose influence is more profound than had previously been recognized. It includes adoption of motifs, technical borrowings such as ink wash, and ambitious compositional experiments. Whereas most contemporaneous paintings with Chinese influence were derived from Buddhist art, the models for the Ippen Hijiri-e must have included secular paintings, especially landscapes, among them works in both Northern and Southern Sung styles. Thus the Ippen Hijiri-e reflects an early, virtually undocumented phase of Chinese influence on Japan. Also unique is its use of Chinese elements to achieve poetic effects typical of the aristocratic Japanese sensibility. In sum, while the Ippen Hijiri-e embodies the values of Japanese court art, it enriches the lyricism of that tradition with new borrowings and transforms it to serve the ends of a Buddhist biography. The aristocratic character of the paintings illuminates the final issue: the identity of En{\textquoteright}i, who is cited in the scrolls{\textquoteright} inscription as painter, but is otherwise unknown. It is argued here that this En{\textquoteright}i is identical with En{\textquoteright}i of Onjoji, a high priest active in palace ceremonies and a court poet. Scholars have regarded En{\textquoteright}i of Onjoji as too highly placed to contribute to a project celebrating a humble Amidist preacher; yet the courtly taste of the paintings supports that attribution. It is suggested, however, that En{\textquoteright}i was not himself a painter, but coordinated the professional artists who executed the scrolls. The involvement of En{\textquoteright}i of Onjoji would explain the unprecedented thematic and pictorial richness of the Ippen Hijiri-e.}, author = {Kaufman, Laura} } @mastersthesis {6530, title = {The Istanbul University Library Kalila wa Dimna: An Il-Khalid Masterpiece}, year = {1980}, school = {IFA/NYU}, abstract = {This dissertation reconstructs, analyzes, dates and suggests an attribution for the fourteenth-century royal Kal({\textquoteright})ila wa Dimna miniatures in the album of Shah Tahmasp in Istanbul University Library (IUL, F. 1422). Their original sequence and format are determined, and seven lost miniatures identified, through a comparison with the sixteenth-century copy (Nawab Collection, Ms. 2982, Rampur, India) probably made just before the original manuscript{\textquoteright}s disassembly. The conditions under which the IUL miniatures were painted in Tabr({\textquoteright})iz are examined in a chapter on the social and cultural history of the late({\textquoteright} )Il-Khanid dynasty (1295-1336) which focuses on the illustrious patrons Rash({\textquoteright})id al-D({\textquoteright})in and Ghiyath al-D({\textquoteright})in. A history and analysis of the Kalila wa Dimna text and extensive translations of M. Minuv({\textquoteright})i{\textquoteright}s critical edition of Nasr Allah{\textquoteright}s twelfth-century Persian version are included. To understand the tradition of illustrating these animal fables and to identify the techniques used in the IUL miniatures to achieve a personal interpretation of the test, five earlier illustrated Kal({\textquoteright})ila wa Dimna manuscripts are compared. The post-Seljuk TKS H. 363 is shown to be the prototype for the IUL cycle. The catalogue of fifty IUL and eighty-three Rampur miniatures emphasizes the relation of image to word and the origins and development of the stylistic conventions used throughout the manuscript. The cycle{\textquoteright}s artistic unity is discussed in the subsequent chapter, where the IUL Kal({\textquoteright})ila wa Dimna is placed in the context of fourteenth-century Iranian illustrated manuscripts. The dissertation reaches the following conclusions: (1) the IUL Kal({\textquoteright})ila wa Dimna remains firmly in the Iranian pictorial tradition while imaginatively integrating Far Eastern-inspired empathetic landscapes, asymmetry and metaphoric use of space; (2) it reveals a sophisticated approach to illustration characterized by a cohesive choice of story, scene and active moment, and the successful use of anthropomorphic animals to express psychological and moral drama often reaching beyond the demands of the text; (3) it belongs to the third generation of({\textquoteright} )Il-Khanid painting, postdating the 1306-15 Jami{\textquoteright} al-tawar({\textquoteright})ikh and immediately predating the 1335-36 "Demotte" Shah-nama; and (4) its highly ethical interpretation of the text and emphasis on the wise royal advisor points to Ghiyath al-D({\textquoteright})in, probable patron of the "Demotte" Shah-nama, as the most likely patron of the IUL Kal({\textquoteright})ila wa Dimna.}, author = {Cowen, Jill} } @mastersthesis {6532, title = {Jacques Stella and the Development of the Classical Style in Paris, 1634-1643}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Davidson, Gail S.} } @mastersthesis {6515, title = {John La Farge, 1830-1870: From Amateur to Artist}, year = {1980}, school = {Yale}, abstract = {Only relatively late in life, after varied schooling, European travel, and study of literature and law, did the American artist John La Farge (1835-1910) turn to painting as a profession. This dissertation is a study of the first and least studied half of La Farge{\textquoteright}s career, from his birth up to the age of thirty-five. It charts his development from amateur to artist, and relates his novel approach towards artistic problems to his usual background and intellectual training.}, author = {Adams, Henry} } @mastersthesis {6529, title = {Jules Cheret and the 19th-Century French Poster}, year = {1980}, school = {Yale}, abstract = {During the 1890s in France Jules Cheret was called "le roi de l{\textquoteright}affiche". More than a monograph on Cheret{\textquoteright}s poster production, this study aims to set his work within the context of the nineteenth-century illustrated poster in France. The first three chapters deal with the poster before Cheret. The opening chapter discusses the new commercial attitudes which caused the tremendous growth of poster use between about 1820 and 1848. The formal evolution of the strictly commercial poster before 1870 is the subject of Chapter II. One basic contention of this study is that the salient features of posters from the 1890s--unmodeled color bounded by strong outline and simplicity of means--were the results of a long process which was rooted in conventional concerns for effective advertising and for a harmony of image and text. Chapter III focuses on the special case of book posters 1835-1870, the earliest poster art. Chapters IV through VI deal with the three basic stages of Cheret{\textquoteright}s poster career from 1858 to 1900. Both the formal and aesthetic development of his poster oeuvre are discussed and set in their appropriate contexts: the decorative-art reform movement in England, French caricature, Japonisme and a later, escapist phase of the Rococo revival. The last two chapters consider the changes in poster form and status which occurred after about 1880, and Cheret{\textquoteright}s roles therein. In Chapter VII are discussed the factors, including Cheret{\textquoteright}s influence, which contributed to the individual styles of his leading contemporaries--principally Lautrec, Bonnard, Mucha and Grasset. The final chapter investigates the Cheret criticism of the later 1870s and 1880s, its bases--notably the decorative-art reform movement in France, and its result: the recognition of the poster as a fine-art print.}, author = {Collins, Bradford R., Jr.} } @mastersthesis {6579, title = {Learning to Sculpt: Jean- Baptiste Carpeaux 1840-1863}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Wagner, Anne Middleton} } @mastersthesis {6537, title = {Lee O. Lawrie: Classicism and American Culture 1919-1954}, year = {1980}, school = {Minnesota}, abstract = {Between the First and Second World Wars Lee O. Lawrie (1877-1963) came to be recognized as "the foremost architectural sculptor in America."({\textquoteright}1) He had received his early training in the studios of some of the leading figures of the National Sculpture Society in the 1890{\textquoteright}s, and continued to work for them for a time after the turn of the century. Then, in 1905, he suddenly turned away from the flamboyant Beaux-Arts style he had been exposed to during his apprenticeship in order to execute a series of commissions in the gothic style for ecclesiastical and collegiate structures. These occupied him in the Boston and New York areas for the next fifteen years. However, after World War I a more important change occurred. Bertram Grosvenor Goodhue (1869-1924), the architect with whom Lawrie had worked most closely, engaged the sculptor{\textquoteright}s services in connection with certain commissions and competition designs which demanded unique stylistic adjustments and led to his mature work. The most important of these projects was for the Nebraska State Capitol Competition, announced in 1919. After collaborating on the winning design, the architect and sculptor continued their collaborative efforts as they refined the design over the next four years. The style Lawrie developed during this time may best be described as a non-specific classicism. Rather than drawing upon any one historical source, he combined characteristics of past styles with a distinctly modern formal simplicity, creating a new architectonic mode which set the tone for work over the remainder of his career. Lawrie{\textquoteright}s new style was formally suited to the Capitol Goodhue designed for Nebraska, and proved equally appropriate for many other structures during the years between the Wars as American architecture came to involve increasingly simplified forms. But this new classicism was also important for the meaning it conveyed. Developed at a time of serious cultural uncertainty after the First World War, Lawrie{\textquoteright}s style formed unmistakable links to traditions of great cultures of the past. Used in conjunction with regional subjects or other imagery relating to special concerns of those commissioning the work, it brought a sense of strength and stability to such imagery--and by extension suggested a connection between American society and great traditions of the past. This mediation between past and present became one of the sculptor{\textquoteright}s major concerns. Eventually involving both style and subject, his mature work offered a careful combination of tradition and modernity, calculated to support the frequently sagging beliefs and hopes of those for whom it was intended during the twenties and thirties. Following his success with sculpture for such important projects as the Nebraska State Capitol and Rockefeller Center, Lawrie{\textquoteright}s career declined in the later 1940{\textquoteright}s. Changes had occurred which made his work less acceptable to many different groups by then. Architects had come to view virtually all decoration as superfluous and no longer sought the services of the sculptor; classicism, recognized as the official style of Nazi, Fascist and Communist governments, was much less palatable in post-War America; and what many had formerly found to be a successful blend of tradition and modernity had become too abstract for conservative taste and too retardataire for those inclined toward artistic modernism. But despite these and other difficulties, Lawrie{\textquoteright}s importance in the period between the Wars cannot be denied. During those years his attempts to develop a new type of architectural sculpture suited at once to the structure and to the culture were remarkably fruitful. ({\textquoteright}1)Walter Raymond Agard, The New Architectural Sculpture (New York: Oxford University Press, 1935), p. 36.}, author = {Garvey, Timothy} } @mastersthesis {6520, title = {Les XX and Belgian Avant-gardism 1869-1894}, year = {1980}, school = {Michigan}, abstract = {This dissertation offers a comprehensive view of Belgian avant-garde art from 1868 with the formation of the Societe Libre des Beaux-Arts to 1894 with the creation of Les XX{\textquoteright}s successor La Libre Esthetique. It relates the artistic aims of Belgian avant-gardism to its political and social milieu while charting Les XX{\textquoteright}s path from its roots in other avant-garde groups through its aesthetic evolution encompassing Impressionism, Neo-Impressionism, Symbolism and the Decorative Arts. During the decade of its existence (1884-1893) Les XX became the most important artistic group of its kind in Belgium and achieved international significance. One element of its achievement was the bringing together of the arts through lectures, readings of new poetry, and musical performances--all held in the exhibition rooms. By playing the music of contemporary composers, by hosting lectures given by the elite of the literary world, and by displaying the works of predominantly Belgian, French and English artists, Les XX sought to create a showcase for artistic excellence and novelty. Another of Les XX{\textquoteright}s distinguishing features was that it invited foreign artists to exhibit with it at its annual exhibitions. These invitations were made with particular skill and included such names as Seurat, Gauguin, Lautrec, Van Gogh, and Crane. The protection and hospitality the group afforded both its members and invites provided the Belgians with an opportunity to see the most avant-garde styles of art. This had the effect of turning Les XX into a forum of avant-garde art. Its exhibitions became a market place of avant-gardism where artists and critics could see the latest and most controversial art produced. For the young, talented artists that Les XX brought together, such as Georges Lemmen, Henry van de Velde and Theo Van Rysselberghe, these exhibitions helped expand their creative powers. A third aspect of Les XX{\textquoteright}s success was its establishment of Brussels as the artistic capital of Belgium. The Triennial Salon, held alternatively in Brussels, Antwerp and Ghent, meant Belgium had three artistic centers. However, Les XX and La Libre Esthetique became such important outlets that the artistic dominance of Brussels was assured.}, author = {Block, Jane} } @mastersthesis {13227, title = {Ludovico Rusconi Sassi and Early Eighteenth-Century Architecture in Rome}, year = {1980}, school = {Penn State}, abstract = {Until recently Ludovico Rusconi Sassi (1678-1736) was an unknown figure in the history of Roman architecture in the early eighteenth century. The only truly substantive research on the architect was published in 1971 by Hager and his article was the point of departure for my study. Although some documents for Rusconi Sassi{\textquoteright}s work had been published, a more thorough examination of the archives produced exciting results. Some of the frequently accepted dates proved to be incorrect and in certain cases the building histories had to be modified, sometimes radically. The Odescalchi chapel in SS. Apostoli was constructed between 1719-1722, not in 1703, as had previously been thought. Rusconi Sassi{\textquoteright}s intervention in S. Salvatore in Lauro was more limited than had been assumed. Between 1698-1705, Francesco Fontana erected the crossing to the level of the entablature and thus Rusconi Sassi was responsible only for the dome and the tribune. Moreover, Rusconi Sassi{\textquoteright}s chapel in S. Lorenzo in Damaso, commissioned by Pietro Ottoboni, although "restored" in the nineteenth century, still exists in its main outlines. Perhaps the most interesting discovery was that from 1705-1736 Rusconi Sassi was the principal architect of Cardinal Pietro Ottoboni, who was one of the most important patrons of the period. In addition to many minor commissions, principally repairs, restorations, etc., Rusconi Sassi designed the tabernacle on the via del Pellegrino, both the architecture and the sculpture, and constructed a chapel dedicated to the SS. Sacramento in the episcopal church of Porto, S. Lucia, near Rome. A detailed stylistic analysis of Rusconi Sassi{\textquoteright}s work proved equally revealing. It confirmed Hager{\textquoteright}s belief that he was strongly drawn to Borromini and the aedicula of the via del Pellegrino (1715-1716), the Odescalchi Chapel (1719-1722), S. Giuseppe alla Lungara (1730-1734), and the model for the facade of S. Giovanni in Laterano (1732) are principal monuments of the " Borrominian Revival." At the same time, Rusconi Sassi was also closely associated with Carlo Fontana and his circle. Pascoli{\textquoteright}s inclusion of his name in the list of Fontana{\textquoteright}s pupils is confirmed by the Paolucci Chapel in S. Marcello al Corso (1723-1724), the Quarant{\textquoteright}Ore apparatus of 1725, the Lateran facade model, and the chapels in S. Lorenzo in Damaso and in S. Lucia, Porto. Rusconi Sassi was neither completely a follower of Borromini or of Fontana, and thus, his work is a good example of what Wittkower described as the "electicism" of the period. Although he shared in the spirit of the "Roman Rococo," Rusconi Sassi did not adopt the florid ornament employed by this group. On the other hand, unlike the pupils of Fontana, his interest in Bernini was quite limited. The multiple roots of Rusconi Sassi{\textquoteright}s style indicate that the categories which have been used in the past to characterize the evolution of the early eighteenth century are inadequate.}, author = {Cathie Cook Kelly} } @mastersthesis {6549, title = {Mary Cassatt and the {\textquoteright}Modern Madonna{\textquoteright} of the 19th Century}, year = {1980}, school = {IFA/NYU}, abstract = {This is an investigation into the relationship of Mary Cassatt{\textquoteright}s mother and child paintings to contemporary interpretations of the Madonna. A study of Cassatt{\textquoteright}s career from 1860 to her first series of mothers and children (1882-1892) reveals patterns of artistic endeavor that are important in analyzing these works. Beyond recounting her training and the old and new masters she studied, a survey of her early period shows how she assimilated these artistic influences. One discovers her characteristic methods of transforming other works of art into her own creations. Also, it is possible to see how artistic principles like Realism remain a basic focus throughout the evolution of her style. The study of Cassatt{\textquoteright}s career leads to the period during which she first turned to the mother and child subject. This period of her work shows strong ties with the contemporary Symbolist movement. She had already undergone a phase of "anti-Impressionism" similar to that of her friends, Renoir, Pissarro, and Degas, and was in a position to absorb current Symbolist ideas. The mural of The Modern Woman and the related paintings demonstrate Cassatt{\textquoteright}s particular version of the style and themes popular among radical artists around 1890. Once having established this interest in the "Idea", Cassatt{\textquoteright}s contemporary mother and child works become susceptible to interpretations beyond simple naturalistic depiction. In order to evaluate the possibility of Cassatt{\textquoteright}s mothers and children being associated with the theme of the Madonna and Child, it is necessary to reconstruct the concept of the Madonna in the nineteenth century. In doing so, it becomes apparent that this symbol of Catholic doctrine had taken on a new popular meaning as to the century progressed--the glorification of Motherhood. Nineteenth century images of the Madonna reflected this humanizing trend. From the first revival versions of the Nazarenes and Ingres, artists attempted to build on Madonna art of the past, but to modernize it so that it would have meaning to their own time. In the last third of the century, this meant an increasingly Realist interpretation of the Madonna and Child, even showing the traditional poses enacted by modern women in peasant or urban settings. From 1890 to 1900, Symbolist ideas bolstered interest in the hidden meaning behind reality, and the Madonna and Child flourished in works of greater or lesser ambiguity by Realist and Symbolist artists. Even those artists who claimed no religious intention, like Eugene Carriere, found their mothers and children categorized as belonging to the tradition of the Madonna and Child. This history of the nineteeth-century Madonna is the context in which Cassatt{\textquoteright}s mothers and children must be seen. She began the series at the crest of the great wave of late century interest in the subject. She was putting herself in direct competition with Carriere as painter of Maternite. She was also aware of her American context, since American artists were greatly interested in this theme. Her dealer, Durand-Ruel, was also an encouraging force and promoted her maternal scenes as the "modern Holy Family." A linear "primitivism", derived from Italian Renaissance and Japanese models, marked the first series of mother and child paintings and pastels. Her later variations, after 1893, moved away from this original "purity", as she continued to use the theme until the end of her working life. But throughout this phase of her career, she used the mother and child subject as a significant contribution to the "Modern Madonna" of the nineteenth century.}, author = {Mathews, Nancy Mowll} } @mastersthesis {6572, title = {Maximilian as Patron: The Prayerbook}, year = {1980}, school = {Iowa}, abstract = {The first portion of this study deals with Maximilian{\textquoteright}s patronage of the visual arts in order to ascertain if there was a consistent pattern followed in his numerous commissions with particular attention given to the printed commissions. The second portion contains an investigation of the Prayerbook. Its form, text, models and dating are discussed, providing the information that the book is not complete. It does not have the requisite calendar and five Psalms are repeated. Next, each copy of the Prayerbook printed on parchment is discussed. The copy divided between Munich and Besancon, which contains drawings by Albrecht Altdorfer, Hans Baldung, Jorg Breu, Hans Burgkmair, Lucas Cranach, and Albrecht Durer, is the most famous. The form and the content of the illustrations in this copy are analyzed (with the possible meanings of each illustration considered in an appendix), as is the text. The Vatican copy of the Prayerbook, previously unpublished, also contains illustrations (by an unknown Augsburg artist close to Ulrich Apt, the Elder, in style) which are examined and compared to those in the Munich-Besancon Prayerbook. In comparing the text of these two copies, a few variations in typeface and spelling were noted. The other illustrated copy of the Prayerbook kept in the Bodleian Library (Douce F. F. 59) in Oxford is compared to the Vatican and Munich-Besancon Prayerbooks. The illustrations are unlike those in the other two books, being entirely non-narrative. With respect to the text, variations not only in typeface and spelling but also in the order of the text are noted. Comparisons of the other Prayerbooks on parchment (Oxford, Keble College Library; Vienna, Oesterreichisches National-bibliothek, C.P.1.D.l.; Oxford, Bodleian Library, Douce F. F. 64; Brussels, Bibliotheque Royal Albert I, LP 3677A; and London, British Library, C. 25m. 16) produced similar results. No two copies are identical. This information, together with the knowledge that the text is incomplete, must indicate that these books are proof copies. The drawings in the Munich-Besancon copy must now be viewed as models for woodcuts. Having established that this book was to have been printed in a larger edition with woodcut illustrations, the purpose of the commission is discussed. The conclusion drawn is that it was probably intended for the elite members of the Order of St. George. Lastly, the reasons for Maximilian{\textquoteright}s halting the commission are considered. Utilizing the information derived from the investigation of Maximilian{\textquoteright}s other printed commissions, it became clear that work on the Prayerbook was halted at an early stage. Much time, effort, and money remained to be expended in order to complete the project. When Maximilian inspected the Munich-Besancon copy of the Prayerbook (probably in January, 1516), he simply was not in a position to complete the project. It appears he cancelled it with no intention to renew it.}, author = {Strickland, Dianne} } @mastersthesis {6521, title = {Meaning in Early Fatimid Architecture: Islamic Art in North Africa and Egypt in the 4th Century A.H. (10th Century A.D.)}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Bloom, Jonathan Max} } @mastersthesis {6538, title = {The Meaning of the Ten Medallions in Michelangelo{\textquoteright}s Program for the Sistine Ceiling}, year = {1980}, school = {Emory}, abstract = {The present study analyzes the role and meaning of the ten medallions in the overall context of the Sistine ceiling. The medallions, created by Michelangelo between 1508 and 1512, were a part of the complete program commissioned by Pope Julius II. The reason for isolating the medallions from the rest of the ceiling is that the medallions, different in form and technique from the rest of Michelangelo{\textquoteright}s creation, are considered to be an entity within themselves. This original approach to the study of the medallions calls for an innovative methodology based on an interdisciplinary approach. By employing biblical scholarship, art history methodology, philosophical and theological conceptions, and historical data, this study is able to examine the medallions from a maximally broad perspective. Evidence is cited to support the hypothesis that the medallions were created intentionally by Michelangelo according to the format and technique of ancient medallions. The medallions typically were used for commemorative purposes on sarcophagi in ancient Rome. They portrayed the person{\textquoteright}s characteristic features and were coined for special occasions. The theme of the medallions of the Sistine ceiling is based on events recorded in the Book of Kings, as Vasari has correctly pointed out; and the subject centers in the images of two army commanders. One is Jehu, the Israelite army commander, whose appearance on the political stage was predicted by the prophet Elijah. According to the biblical tradition, Jehu was rewarded with the kingship for destroying the corrupt house of Ahab. The second is Joab, Kind David{\textquoteright}s army commander, who, having taken upon himself the right to obey or disobey both the King and the Lord, was killed on the altar in the House of the Lord. Julius II, Michelangelo{\textquoteright}s patron, was also renowned as an illustrious army commander. His Rovere family symbol was oak leaf wreaths. Michelangelo used oak leaf wreaths to enclose the medallions. These data support the theory that Michelangelo used the images of the two army commanders to represent allegorically the dualistic nature of his patron. Artists of the Renaissance frequently included a representation of their patrons in their artistic work. Michelangelo, however, portrayed two opposing representations of Julius II through the images of the two army commanders, Joab and Jehu. On the basis of this analysis, Michelangelo can be seen to be expressing his personal opinion of Julius II{\textquoteright}s military involvement. He seems to be inviting the Pope to choose to be commemorated positively as Jehu or negatively as Joab.}, author = {Gitay, Tafira} } @mastersthesis {6578, title = {The Medallion Style in Late Roman and Early Byzantine Mosaics and Textiles to C.A.D. 600}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Trilling, James Lionel} } @mastersthesis {6527, title = {Nova Generatsiia (1927-1930) and the Artistic Avant-Garde in the Ukraine}, year = {1980}, school = {UT Austin}, abstract = {The literary-artistic monthly, Nova generatsiia {New Generation}--published in Kharkiv from 1927-1930--represents a clear summation of the artistic ideas of the avant-garde in the Ukraine. The journal appeared at the climax of one of the most creative and experimental periods (ca. 1908-1934) of Ukrainian art history. This was a period dominated by two major aspects: (1) an artistic self-determination and search for cultural identity (especially after the collapse of the Russian Empire; and (2) an attempt to join the international artistic mainstream rather than to erect isolationist barriers. Nova generatsiia served as a forum for the analysis and critical evaluation of contemporary Ukrainian art. Its aim was to remove provincial attitudes and to encourage artistic production on an international level. The chief editor of Nova generatsiia, Mykhail Semenko (1892-1937), advocated the idea of Panfuturism. This movement cultivated a "leftist formation" in the arts whereby the Ukraine aligned herself with modernism. Through the philosophy of Panfuturism, Nova generatsiia shared a common platform with De Stijl, the Bauhaus and the International Style in architecture in the development of Constructivism. Nova generatsiia is featured as the central topic of this dissertation with the aim to dispel the common assumption that, in the early twentieth century, the Ukraine was a cultural backwoods guided only by artistic regionalism and inflammatory nationalism. As a matter of fact, in her contributions to the vanguard of twentieth century art, the Ukraine occupied a standing equal with that of countries of Western Europe. To facilitate an assessment of the position of Nova generatsiia in this development, the author has divided the dissertation into six chapters with addenda of translated texts, copies of rare exhibition catalogues, and a series of illustrations of art works, for the most part, largely unknown. The first chapter is a summary of the activities of the Ukrainian Futurists and a discussion of the character of Panfuturism and its publications, especially the 1922 journals Semafor u maibutnie {Semaphore Into the Future} and Katafal {\textquoteright}k mystetstv {Catafalque of the Arts}--the precursors of Nova generatsiia. Chapter Two is a description of the development of modern art in the Ukraine through pedagogical and exhibition activity; Chapter Three is a demonstration of the practical application of the "synthesist" principles (i.e. the assimilation of all artistic media) underlying Nova generatsiia in the visual arts; Chapter Four is an account of the literary activity of the Panfuturists, focusing on the synthetic art form, "poezo-painting" (the fusion of poetry and painting), and its effect on the artistic layout and design of Nova generatsiia; Chapter Five treats the typographical features of Nova generatsiia as a Constructivist work of art in its own right and as a reflection of the "Neue Typographie" of Western Europe; Chapter Six is an outline of the position of Nova generatsiia in relation to similar literary-artistic journals in the Ukraine, Russia and the West. Finally, the conclusion is a summation of the changing physiognomy of the Panfuturists and a review of some of the political pressures which led to the closure of the journal and the disbandment of the members of the "New Generation." The epilogue provides a perspective on the effect of the Ukrainian avant-garde of the 1920s on present-day Ukraine.}, author = {Ciszkewycz, Myroslava} } @mastersthesis {6573, title = {Onchi Koshiro}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Swinton, Elizabeth De Sabato} } @mastersthesis {6531, title = {Pietro Torrigiano and His Sculpture for the Henry VII Chapel, Westminster Abbey}, year = {1980}, note = {Abstract incomplete}, school = {IFA/NYU}, abstract = {Pietro Torrigiano (1472-1528), best known as the Florentine sculptor who broke Michelangelo{\textquoteright}s nose, is historically important as the first Italian artist known to practice the Italian Renaissance style in England, and as one of the first Italian Renaissance sculptors to work in the Netherlands}, author = {Darr, Alan P.} } @mastersthesis {6540, title = {Pre-Raphaelite Portraiture, 1848-1854}, year = {1980}, school = {Yale}, abstract = {Deliberately provoking the complacency of their audience, the Pre-Raphaelites defied accepted standards of appearance and behavior in their art. In going beyond the bounds of taste, Pre-Raphaelitism was one of the first avant-garde movements. In order to understand the historical context from which this avant-gardism developed, one must recognize the unique importance of portraiture to the history of English art. From the sixteenth to the nineteenth century, this genre virtually dominated art--a fact with which all artists had to come to terms. In the eighteenth century, the Royal Academy was founded to promote history painting. Portraiture was placed at the bottom of the scale. Sir Joshua Reynolds declared that a portraitist painted "...a particular man, and consequently a defective model." Yet history painting struggled for public acceptance, while portraiture was always in great demand. This study begins by examining the dissatisfaction in the 1840{\textquoteright}s with the principles and products of the Royal Academy. In their bid to reform art, the Pre-Raphaelites introduced portraiture into their subject pictures. Every element in their pictures is an actual person, place or thing. Therefore, in order to understand Pre-Raphaelitism, one must recognize the particular kind of portrait the Pre-Raphaelite Brotherhood developed. This dissertation traces the origins of the Pre-Raphaelite portrait aesthetic in the British artistic tradition and in the Victorian intellectual and cultural background. The Pre-Raphaelites had no doubt that the simple remedy for the superficiality and artifice of art was to concentrate on the artist{\textquoteright}s individual knowledge and vision. Their reform was defined by two principles, Personalism and Actualism, which reflect the influence of contemporary psychology. The Pre-Raphaelites proposed a complex, scientific relationship between physical appearance and inner character. The visual vocabulary that they developed was influenced by the popular aspects of psychology: phrenology, and mesmerism. The Pre-Raphaelites portrayed people through an analysis of the individual features of the sitter. Photography presented an unidealized image which permitted such an analysis. Yet, photography was a parallel to Pre-Raphaelitism, and not a source. The characteristics of Pre-Raphaelitism, verisimilitude, simplicity, and directness, can be more satisfactorily ascribed to the influence of Holbein...}, author = {Grilli, Stephanie J.} } @mastersthesis {6570, title = {The Religious Paintings of Eugene Delacroix}, year = {1980}, note = {Abstract incomplete}, school = {Brown}, abstract = {This study combines extensive formal analyses and social and intellectual history to explore one aspect of Eugene Delacroix{\textquoteright}s oeuvre, his religious easel paintings. Its goal is twofold: to place Delacroix{\textquoteright}s religious art within the context of religious painting in the romantic era,}, author = {Strauber, Susan E.} } @mastersthesis {6574, title = {The Revival of the Taima Mandala in Medieval Japan}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Ten Grotenhuis-Flemings, Ruth E.} } @mastersthesis {6563, title = {The Sculptures of the Chateau of Marly during the Reign of Louis XIV}, year = {1980}, note = {Abstract incomplete}, school = {IFA/NYU}, abstract = {The chateau of Marly was designed as a country retreat for Louis XIV by Jules Hardouin-Mansart in 1679. The unusual plan consisted of a series of pavilions for the King and his guests. The surrounding gardens on the hillside site were given over to spectacular waterworks and the most impressive}, author = {Rosasco, Betsy Jean} } @mastersthesis {6562, title = {Seljuk Portals of Anatoli}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Pyle, Nancy Stephenson} } @mastersthesis {6519, title = {The Shrine Complex at Natanz, Iran}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Blair, Sheila S.} } @mastersthesis {6522, title = {The Societe Anonyme{\textquoteright}s Brooklyn Exhibition, 1926-1927: Katherine Dreier and the Problem of Modern Art in America}, year = {1980}, school = {Maryland}, abstract = {The Societe Anonyme, founded in the spring of 1920 by Katherine Sophie Dreier, with the assistance of Marcel Duchamp and Man Ray, was the most active sponsor of international modern art in America during the 1920s. Its Brooklyn Exhibition, officially known as the International Exhibition of Modern Art, was both the organization{\textquoteright}s boldest and most comprehensive undertaking and the most important exhibition of modern art shown in this country between the Armory Show of 1913 and the Museum of Modern Art{\textquoteright}s Cubism and Abstract Art exhibition of 1936. Held at the Brooklyn Museum in the winter of 1926-27 and circulated to three other institutions, the Brooklyn Exhibition provides significant insights into the functioning and the philosophy of the Societe Anonyme as well as into the perceptions of modern art in this country in the 1920s. The objective of this study is threefold: (1) to examine the Brooklyn Exhibition as an important source of information about the Societe Anonyme and about its founder and president Katherine Dreier; (2) to evaluate the exhibition as a statement about the modern movement as practiced in Europe and America in the 1920s; and (3) to examine the role of the art exhibition in the study of American culture. The first chapters provide essential background information on Dreier and the organization. Special attention is directed at analyzing Dreier{\textquoteright}s artistic philosophy as presented in her book Western Art and the New Era (1923). Stimulated by the arcane teachings of theosophy, the mystical theories of Wassily Kandinsky and the socially oriented aesthetic ideals of John Ruskin and William Morris, Dreier{\textquoteright}s philosophy became the dominant philosophy of the Societe Anonyme and determined the form and substance of the Brooklyn Exhibition. The emphasis she placed on the social purpose of modern art and on its relationship to the spiritual forces of the "new era" set the Societe Anonyme radically apart from other promoters of modern art in America and endowed the Brooklyn Exhibition with an urgency and intensity missing in other large exhibitions of modern art in America. The major part of the dissertation illuminates the ways in which the exhibition reflects the policies and commitments of the Societe Anonyme. As the first large exhibition of modern art in America to look substantially beyond Paris for its understanding of the modern movement, the exhibition testifies to the organization{\textquoteright}s broad internationalism, its eclecticism, its unswerving didacticism, its committed social consciousness and above all its trusting embrace of all that was new and innovative in the art of the international avant-garde. Every aspect of the exhibition, from the selection of the works and their carefully orchestrated installation in the galleries of the Brooklyn Museum, on through the content and layout of the catalogue, Modern Art, and the focus of the many accompanying lectures and concerts, sought to guide the American public to a more profound and sympathetic awareness of the scope and diversity of the modern movement and of modern art{\textquoteright}s significance for the people of the twentieth century. The lectures, concerts and Bauhaus-inspired catalogue served the additional purpose of underscoring what Dreier and the Societe Anonyme considered to be the profound interrelationship between the modern expressions in painting and sculpture and those in music and graphic design. The concluding chapters evaluate the critical response generated by the exhibition and assess its place within the social and artistic climate of the 1920s and in the subsequent achievements of the Societe Anonyme.}, author = {Bohan, Ruth L.} } @mastersthesis {6526, title = {Some Illustrations of the Life of St. Aubin (Albinus) of Angers (Paris, Bibliotheque Nationale, Ms n. a.l. 1390) and Related Works}, year = {1980}, school = {Yale}, abstract = {The Cabinet des manuscrits of the Bibliotheque nationale contains a slim volume devoted to the life and miracles of St. Aubin (Albinus), bishop of Angers in the sixth century. The manuscript was produced at the abbey of St.-Aubin in Angers toward the end of the eleventh century. It consists simply of seven folios, covered on each side with a full-page miniature. The first chapter of the dissertation discusses the history, provenance, date, and condition of the manuscript; the second chapter provides a detailed description of each folio, including excerpts from the relevant hagiographic texts. The internal evidence of the work itself, as well as a comparison with other examples of illustrated manuscripts of the lives of the saints (chapter IV), indicate that the illustrations were originally much more extensive, that they were accompanied by a series of texts, and that the pictorial life once served as a preface to a prose biography of the saint. The third chapter provides an iconographic study of the surviving miniatures of the Vita Sancti Albini. Comparisons were made with other illustrated vitae; a second approach dealt with the internal components of the manuscript, the texts and their illustrations. The miniatures were produced at the end of the eleventh century and were based on two prose texts, from the sixth and the eleventh centuries. The intellectual, social, and religious changes which occurred during the intervening centuries became evident from a comparison of the two groups of texts, as well as from the frequently anachronistic reinterpretation of the original biography at the hands of an artist so far removed from his subject. The Vita Sancti Albini has long been associated with a group of paintings produced in Anjou ca. 1100. These include the problematic Bible of St.-Aubin, portions of a psalter in Amiens, and the Genesis cycle in the transepts of the church of St.-Jean-Baptiste at Chateau-Gontier. A detailed stylistic analysis of these works, provided in chapter V, isolates the distinctive qualities of the master of the Vita Sancti Albini and concludes that the remaining works should be assigned to a number of different artists working over a period of several years. These Angevin paintings are the culmination of an active school of manuscript illumination which can be traced at least as far back as the early eleventh century and which extended into the early twelfth century. Most scholars have considered Angers an artistic vacuum until the end of the eleventh century. The material assembled in chapters VI-VII demonstrates that this assumption is unwarranted: although most of the manuscript decoration from Angers and related centers in the Loire valley (Tours, Fleury, Vendome, and Le Mans) consists of ornamented initials, and not narrative cycles, there is sufficient evidence to assign an important role to local artistic tradition in the development of the style found in Angers toward the end of the eleventh century.}, author = {Carrasco, Magdalena E.} } @mastersthesis {6544, title = {The St. Clare Altarpiece: A Re-evaluation of a 14th-Century Double Transformation Altar from Cologne}, year = {1980}, school = {Florida State}, abstract = {The St. Clare Altarpiece is the earliest extant double transformation altar with both reliquary busts and a tabernacle from the fourteenth century. Created in Cologne it is a work of rich stylistic and iconographic complexities. Parts of the altar{\textquoteright}s paintings may be seen as the culmination of a style prevalent during the second quarter of the fourteenth century in Cologne while other parts may be seen as the gestation of the early fifteenth century "Soft Style." The altarpiece was examined near the end of its present restoration and previous hypotheses concerning the style, iconography, original location, and donors are re-evaluated and more adequate re-interpretations suggested. Nineteenth and twentieth century restorations and fifteenth century overpainting have resulted in confusion concerning the altar{\textquoteright}s style and have led in the past to contradictory evaluations. As a result, the present chronology of most fourteenth century Cologne painting, which was based on attempted stylistic associations with the St. Clare Altarpiece, has been grounded on the slimmest evidence. In particular, this investigation shows that the interest in finding an artist(s) for the altarpiece has lead to inconclusive results, especially when attempts were made to associate the altar either with William of Herle or Herman Wynrich of Wesel. Iconographically, no serious investigations have been undertaken previously to explain each opening of the altarpiece and indicate their inter-relationships. Although certain scenes have been extrapolated from the altar and used as illustrations for discussions of a particular iconographic theme, these discussions were tangential and often flawed methodologically. Earlier suggestions of the altarpiece{\textquoteright}s relationship to Rhenish mysticism are refuted in terms of origin, style, iconography, and function. Two new iconographic interpretations are developed. First, the probability of a carved Crucifixion in the central upper niche of the second opening is suggested. Second, the scene on the first opening referred to in most accounts as the Return from Egypt is reidentified as the Journey to the Temple. In addition, it is argued that relationships may exist between the different openings. The program seems to reflect a carefully established theological program emphasizing allegorical and/or tropological meanings that had a long tradition in medieval textual exegesis. The altarpiece appears to be related to the fourteenth century Franciscan convent of St. Clare{\textquoteright}s by the Roman Tower in Cologne. An argument is made that the hypothesized relationship of the Guelders sisters to the altar is suspect and that a strong possibility exists that the entire convent commissioned the altarpiece. After a careful perusal of the stylistic, iconographic, and historical elements associated with the St. Clare Altarpiece, this investigation has concluded that the best range of dates for the earlier painting can be established from around 1347 to around 1390, with the greater possibility focusing on a period shortly after the dedication of the new church of St. Clare in 1347. The later overpainting occurred during the earliest phase of the Soft Style in Cologne around 1400.}, author = {Kirn, Mary E. M.} } @mastersthesis {6564, title = {A Study of the Iconography of Edourard Manet{\textquoteright}s "Un Bar aux Folies-Bergeres" and Its Relationship to the Popular Mythology of "La Parisienne"}, year = {1980}, school = {Washington University}, abstract = {The objective of this paper is to demonstrate that Manet developed the iconography of Un Bar aux Folies-Bergere from the traditions of boulevardier illustration and to assert that the popular myth of La Parisienne, advanced in that medium, was a major theme in Manet{\textquoteright}s oeuvre. In this argument, the traditional critical perception of Manet as a painter indifferent to the extra-pictorial content of his subjects is judged incomplete. The author bases her thesis upon the research of those scholars who have demonstrated that Manet appropriated many of his subjects from popular imagery, and especially upon the work of those who have argued that Manet{\textquoteright}s participation in boulevardier society contributed significantly to the development of his particular conception of modernism. A review of the history of the composition reveals a number of parallels between Manet{\textquoteright}s sketches of the Folies and popular imagery. The portrait figures in Le Bar are drawn from Manet{\textquoteright}s current circle of friends which included demi-mondaines and Dandies. Precedents for the distinctive features of the composition exist in Manet{\textquoteright}s earlier work as well as in the work of some of his fellow impressionists. The curious perspective of the mirror image can be explained as an inventive assemblage of differing views of the Folies interior and is documented through reference to contemporary illustrations of the famous music hall. A brief survey of modern criticism of the painting reveals considerable disagreement about the meaning of the scene. The investigation of Manet{\textquoteright}s attitude toward the subject begins with a review of the theories of Realism. Particular emphasis is given to the relationship of Realism and Dandyism, the role of Baudelaire in defining modern subjects, and the seminal role of the boulevardier press in the creation of urban myth. The argument for Manet{\textquoteright}s interest in the popular mythology of La Parisienne is advanced through an examination of the parallels which exist between popular images of women and Manet{\textquoteright}s portrayal of the contemporary Parisian women. La Parisienne, especially the women of loose morals, obsessed the boulevardier illustrator and writer. This popular goddess embodied certain paradoxical qualities such as spontaneity and sophistication which the avant-garde came to regard as the essence of the modernism. The author reviews the multiple categories of La Parisienne set forth in popular art and establishes correlations between these popular expressions and the inventions of the avant-garde. Manet{\textquoteright}s personal commitment to the attitudes of the Dandy is described in a chapter devoted to his relationships with other Dandies of the period, fashionable women and demimondaines. Manet{\textquoteright}s circumstances, habits and temperament suggest that he accepted the mythology of La Parisienne on a personal as well as an artistic level. The precise iconography of the barmaid is shown to be an amalgam of the cocotte and of la dame de comptoir, both characters having a long history in popular illustration and an association with the unique esprit of Paris. The symbolic significance of the Folies-Bergere as a microcosm of Paris is also established through reference to popular journals and avant-garde literature. From this evidence the author concludes that Manet presented Suzon of the Folies as a modern heroine, a symbol of the social milieu that he loved and from which he drew his sense of the unique character of the age.}, author = {Ross, Novelene Sue Glover} } @mastersthesis {6571, title = {A Study of the Secondary Decoration of the Belles Heures and Related Manuscripts}, year = {1980}, school = {Cornell}, abstract = {Although a medieval manuscript was the product of a carefully conceived plan and of the coordinated activities of different specialists, art historians have generally limited their attention to a study of the miniatures in manuscripts. As demonstrated by the work of L. M. J. Delaisse, however, the miniatures should be considered only one part of a larger, integrated examination of a manuscript. This study presents a preliminary examination of an aspect of book production which has rarely been studied seriously in traditional studies of manuscripts: the secondary decoration. It focuses on an examination of the border and text decoration of the Belles Heures of Jean de Berry and of manuscripts which can be related to it on the basis of decoration. Through a morphological analysis of the components of the decoration of the Belles Heures, it is possible to isolate two principal groups. The most plausible explanation for these groups is that each represents the contribution of a single illuminator. This conclusion is supported by a stylistic analysis which reveals a unity in hand in the treatment of the diverse decorative elements within each group. Observation of the stints of these illuminators suggests a chronology in the production of the Belles Heures. The remaining chapters examine the work of these two decorators in other manuscripts. Special attention is paid to defining the responsibilities of these decorators, their working methods, and their relationships to other specialists involved in the production of individual manuscripts. The evidence suggests that they were independent craftsmen who specialized in the decoration of manuscripts and were hired on an ad hoc basis to collaborate on individual projects. The status of these decorators among their colleagues can be established by observation of the books they worked on and what they did in these books. They were usually the principal illuminators in books which can be identified as important commissions. Although this study focuses on a comparatively limited group of manuscripts, it attempts to deal with broader issues concerning the nature of book production and the structure of workshops. It is only by disentangling the responsibilities and working relationships of the different specialists involved in the making of manuscripts that an adequate understanding of these issues can be gained. Because this study presents a preliminary examination of the work of several decorators of early fifteenth century manuscripts, the conclusions reached here must remain provisional subject to confirmation by future research. It is the purpose of this study to demonstrate the value of the examination of manuscript decoration as a profitable avenue of research. The rewards of such research are not valuable to the art historian alone. Intellectual and literary historians may profit by gaining a better understanding of the means of dissemination of texts, and social and economic historians may gain insights into the workings of an important medieval industry.}, author = {Streeter Farber, Allen} } @mastersthesis {6518, title = {Teotihuacan Art Abroad: A Study of Metropolitan Style and Provincial Transformation in Incensario Workshops}, year = {1980}, school = {Yale}, abstract = {During the Classic period, the central Mexican city of Teotihuacan had vast networks of trade and cultural influence throughout Mesoamerica, though the southern Maya area, forming present-day Guatemala, seems to have been the focus of their foreign excursions. Impressive amounts of Teotihuacan-style pottery, principally incense burners and cylindrical tripod vessels, have been discovered in the department of Escuintla, and at Lake Amatitlan, Guatemala. These objects, along with their prototypes at Teotihuacan itself, are the subject of this dissertation. Many art styles of Classic period Mesoamerica fell under the sway of Teotihuacan aesthetic canons, yet the incensarios under consideration in this study form the only sizable corpus of provincial Teotihuacan art works. They were made by Teotihuacan (or Teotihuacano-trained) artists outside the metropolitan center for use outside of that city. As such, they are the basic artistic material for a study of Teotihuacanos abroad. Such objects served as the plastic means by which Teotihuacanos living in Maya lands expressed their ideas about polity and religion. Through comparative study, strong regional patterns of iconographic and formal variation are apparent. This study analyzes these artistic transformations in order to understand the meaning of these objects and the cultural activities in which they played a part. The methods include stylistic analysis and the charting of changing iconographic configurations. Both methods provide information about incensario use and production over time and geographical distance. Even without benefit of much excavation in Escuintla, it is possible to put forth some hypotheses about Teotihuacan outposts in southern Guatemala. Art historical analysis indicates that Teotihuacanos retained their traditional religious beliefs, using figural incensarios as cult icons. These objects had a more central focus in religious life than they had at Teotihuacan itself, where they were principally household icons. The Escuintla censer cult focused on the related themes of warfare and a martial butterfly deity. The provincial outpost gave rise to increased concern with a religious ethos based on militarism, a focus appropriate to merchants and emissaries in foreign lands. All of this took place at a number of sites in Escuintla between 375-450 AD. North of Escuintla, at Lake Amatitlan, a remarkable range of expression is evident in the ritual art retrieved from underwater offertory sites. Although militaristic iconography still occurs, it is by no means the sole message. At the pilgrimage lake of Amatitlan, some objects are purely Teotihuacano in concept and message; others are purely Maya. A large number of incense burners express an artistic and cultural synthesis. Amatitlan art may represent the next generation of Teotihuacanos in southern Guatemala. The stylistic and symbolic eclecticism of the art suggests that Teotihuacan-Maya society at Amatitlan was, similarly, a hybrid mix.}, author = {Berlo, Janet} } @mastersthesis {6577, title = {Threads of Caprice: Goya{\textquoteright}s Tapestry Cartoons}, year = {1980}, school = {Pennsylvania}, abstract = {Between 1775 and 1792 Francisco Goya painted sixty-three designs for tapestries to adorn six chambers of the Spanish Royal Family in two of their residences: the Escorial and the Pardo. Although most of these scenes were subsequently woven and hung in those chambers, neither their original arrangement nor their individual and serial iconography have ever been studied. Consequently, while the iconography of Goya{\textquoteright}s later images and series that have come to us intact--such as the Caprichos or the Black Paintings--is generally acknowledged as significant and intentional and has been widely studied, these early genre scenes have never been examined with equal intensity. It is the intent of this dissertation to grant them their due, and demonstrate that in them is seen the origin of Goya{\textquoteright}s use of genre as a meaningful and idiosyncratic expression. Valentin de Sambricio, whose catalogue provides the most thorough study of these paintings to date, published complete documentation for them in 1946: since that date no major study of them has been undertaken. From the documentation published, we know the locations for which each cartoon would be woven, the dates of their delivery to the tapestry factory and the patrons whose chamber they would decorate: five of the six series, we find, were painted for the future Charles IV and his wife Maria Luisa, whose names subsequently became inextricable from Goya{\textquoteright}s career at the Spanish court. Moreover, in two instances, the documents partially reconstruct the order intended of the scenes within the chamber, offering not only a clue to the appearance of this private Royal domain (today made unrecognizable by nineteenth century innovations) but also the sequence of the original series. The group of scenes within each chamber and the chronology of its development defined, we can begin to evaluate that group as a series. Our point of departure must be a study of the intrinsic meaning of each scene and its characters, who, although mundane, demand our attention by their monumentality and deliberate actions. By comparing them to figures in contemporary theater, and popular prints and by seeking precedents in works by artists as diverse as Lancret and Rubens, we discover their casual nature to be deceptive. The relation of the cartoon to an array of sources provides thematic as well as formal insights: found to underline many of these paintings are traditional themes than enhance the individual work and also bring it into communion with other paintings delivered on the same date, or intended for the same chamber. Our recognition of the individual and serial significance of each scene suggests an intentionality at odds with the casual nature usually associated with their genesis. Their iconography further implies that in them Goya responds both to the use of the chamber they were to decorate and to the tastes of the patrons for whom they were designed. They are not, however, an island unto themselves: their themes anticipate those familiar to all who have studied Goya{\textquoteright}s later genre scenes, depicting love, human relations, folly and caprice. With these discoveries, the tapestry cartoons, because of their thematic continuity with later works and because they witness the artist{\textquoteright}s nascent interest in serial imagery, attain a new relevance within Goya{\textquoteright}s oeuvre, offering the most stable point of departure known for the study of the artist{\textquoteright}s enigmatic, often fugitive, iconography.}, author = {Tomlinson, Janis A.} } @mastersthesis {6525, title = {Towards an Art History of the Baluyia of Western Kenya}, year = {1980}, school = {University of Washington}, abstract = {East Africa has been ignored by students of African art, considering it a region lacking in significant artistic traditions. Detailed study of the Baluyia people of western Kenya seriously calls that concept into question. Their rich material culture, which has resulted from a history characterized by the migration of peoples of diverse background into an area with abundant resources, offers a unique opportunity to document and understand an East African art tradition in a regional perspective. In an attempt to delineate the development of Baluyia art, the dissertation establishes an art historical framework with three major style periods. From the time of the earliest migrants, about 1,000 A.D., to the mid-18th century, Baluyia territory was being populated by peoples of Nilotic, Bantu, and Kalenjin backgrounds from Sudan, Uganda, and Kenya. In a cumulative, but selective, manner art forms and styles were adopted, gradually modified, and eventually absorbed into the Baluyia culture. This early period must be reconstructed from evidence provided by oral traditions and archaeological, historical, and distribution studies. The second phase of Baluyia art history begins in the mid-18th century and continues until the beginning of the 20th century. During this period, when mass movements of peoples had largely ceased, earlier Baluyia cultural and artistic trends reached maturity. Close contact with their immediate neighbors brought further adoption of Nilotic and Kalenjin material culture features to Baluyia art. Accounts by early European travelers describe the latter half of the 19th century as an era of Baluyia prosperity and ascendency. The third phase of Baluyia art history covers the period of European penetration and influence, from the beginning of the 20th century to the present day. This modern period is characterized by Baluyia efforts to assimilate the impact of colonialism and westernization on their way of life, engendering substantive changes in the arts. The Baluyia possess a material culture consisting of forms which must not only be functional but most satisfy Baluyia criteria of beauty. This functional-aesthetic nexus is crucial to the concept of Baluyia artistry, expressed by the Baluyia categorization of virtually all their material culture under the term uvusitsa ("things made"). Within this concept are included objects of almost pure utility and others which are almost totally aesthetic expressions. Certain Baluyia artistic traditions are under the control of specialized {\textquoteright}guilds{\textquoteright}, whose memberships are regulated by clan affiliation. These include ironworking, pottery making, woodcarving, and basketry. Other arts may be practiced by anyone with the inclination and skill to produce them, including body arts, architecture and its decoration, the fashioning of musical instruments, initiation paraphernalia (including masks), and household implements. The primary differences between these two categories concern the relationships between producer, consumer, and patterns of use. Throughout Baluyia history the arts have reflected the dynamics of the historical processes at play. New ideas in techniques, tools, materials, styles, and forms have been continuously experimented with, but only accepted if they satisfied Baluyia concepts of utility and aesthetics. Change for its own sake has generally been discouraged and only when alterations offer recognizable advantages over established modes are they accepted. This pragmatic approach to change continues to the present and characterizes Baluyia responses to contemporary influences.}, author = {Burt, Eugene C.} } @mastersthesis {6553, title = {The Urban Imagery of August Macke}, year = {1980}, school = {UT Austin}, abstract = {An iconographic analysis of the art of August Macke reveals the artists personal creative process and secures his previously problematic position within the context of German Expressionism. Macke{\textquoteright}s career is examined as a pursuit of the vision of paradisiacal world. Never thoroughly examined for its ideological content, Macke{\textquoteright}s art has been valued primarily as an art of vivid color and formal beauty. Macke{\textquoteright}s early correspondence reveals the artist{\textquoteright}s strong desire to portray "grand themes," particularly the themes of a "Lost Paradise" and a "Bridge of Life." These themes are revealed to be a continued focus throughout the artist{\textquoteright}s career. This optimistic Rhenish artist{\textquoteright}s intellectual development is examined. An outline of the early, mostly unpublished correspondence with his future wife reveals the importance of the writings of Schopenhauer, Nietzsche, and Oscar Wilde. The thinking of these writers forms the background to Macke{\textquoteright}s conception of the duality of life and art, which culminates with his contribution to the important Blaue Reiter Almanac, the essay "Masks." Macke{\textquoteright}s relationship to the artists Kandinsky, Marc and Delaunay is examined. Analysis of major works, such as the "Zoological Garden" and the representation of the rider theme, underlines his unique contribution to the Blaue Reiter group. Macke persistently focused on the human drama. Analysis of numerous sketchbook pages reveals Macke{\textquoteright}s early exploration of caricature and his method of changing types to archetypes for the imagery of his myth-based paintings. His sketchbooks also reveal how he modernized imagery. As man{\textquoteright}s relationship to the landscape and the animal world evolved from a romantic scene of the American Indian to the modern zoological garden, the traditional iconography of Adam and Eve in Eden was transformed to an exotic Arab setting and to a modern urban paradise. The vocabulary of the modern urban paradise is defined and compared with the urban imagery of Kirchner. Macke{\textquoteright}s positive view of the freedom and flowing motion of the street contrasts strongly with Kirchner{\textquoteright}s image of the metropolitan psyche and urban space as a world of restriction and nervous tension. Parallels are made between Macke{\textquoteright}s urban image and that presented in "The Metropolis and Mental Life," by the contemporary sociologist Georg Simmel. The role of fashion in Macke{\textquoteright}s iconographic vocabulary also suggests that the artist may have been aware of Simmel{\textquoteright}s 1908 essay "Fashion." With the urban street as the dynamic setting and the shop window as a backdrop, the city-dweller is characterized according to the modern sensibilities of inner reflectivity and outer relatedness. The fashion theme forms the feminine half of the modern sexual duality. Within the masculine sphere, this sense of modernity, connectivity and immediacy is balanced by the image of the man reading the newspaper. Macke{\textquoteright}s development of this urban imagery evolved out of his dream of an ultimate unity. A unity which man sought with the landscape, with animals and in his relationship to the opposite sex. The dream, which Macke based on his understanding of mythic patterns, is represented quite literally in some of his sketchbook pages, and as a sense of inner balance and serenity in many of his mature works. The vocabulary of Macke{\textquoteright}s earthly paradise is extended to suggest the visualization of a New World. Analyses of several important late paintings reveal Macke{\textquoteright}s repeated use of a symbolic vocabulary. The representation and significance of time, light, the image of the child and the bather are analyzed and stylistic aspects are discussed as revealing an art of visionary purpose.}, author = {McCullagh, Janice} } @mastersthesis {6536, title = {Wollaton Hall and the Willoughby Family in the 16th Century}, year = {1980}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Friedman, Alice Teme} } @mastersthesis {6558, title = {The Youthful Deeds of Theseus: Iconography and Iconology}, year = {1980}, school = {Princeton}, abstract = {The most obvious instance of a politically motivated subject in Greek art is the image of the Athenian hero Theseus, which is suddenly elaborated at the end of the sixth century B.C., coincident with the founding of the city{\textquoteright}s democracy. Previously, Theseus was portrayed primarily as the slayer of the Cretan Minotaur and as an abductor of women in both the extant literary and artistic traditions. But, c. 520-510 B.C., a youthful heptathlos, modeled on the labors of Herakles, is invented; it includes the conquest of four brigands (Sinis, Skiron, Prokrustes and Kerkyon) and a wild sow on the Isthmian road, the capture of the bull of Marathon, as well as the killing of the Minotaur. The aim of this study is a comprehensive iconographical survey of the hero Theseus from his first appearance at the end of the eighth century B.C., to the late fifth, highlighting the period c. 520-450 B.C., when the youthful deeds are most prevalent. The purpose of this compilation is to trace the development of heroic imagery, and thereby to attempt to plot more precisely its political ramifications. The first chapter surveys the literary sources dealing with the youth of Theseus, the most significant of which are two odes of the fifth century poet Bacchylides, and the considerably later account of Plutarch, The Life of Theseus. There is little evidence for an early epic Theseid recounting the life of the hero. Chapter Two presents a survey of the artistic representations of Theseus prior to 520 B.C. Besides the ever-popular Minotaur-slaying, the repertoire is limited to abductions of women, a centauromachy and the victory dance of the Athenians rescued from the Labyrinth. The third chapter presents the earliest graphic representations of the new deeds of the hero, those by early red-figure cup-painters, the Pioneers, and black-figure artists of the Leagros Group. The cup-painters, including Oltos, are the most innovative iconographically and are responsible for the invention of the vehicle, the cycle cup, which serves to advertise the new deeds. The early sculptural representations of the youthful Theseus, the most important of which are the south metopes of the Athenian Treasury at Delphi, are dealt with in the fourth chapter. The next three chapters present the late archaic, severe, and early classical vase-paintings of Theseus respectively. Alongside the Isthmian deeds, new interests emerge. The major vase-painters emphasize the hero{\textquoteright}s divine ancestry, exemplified by a visit to Poseidon at the bottom of the sea, and his character, the white-washing of which is seen in pictures of the desertion of Ariadne. Less a palaestra-trained youth, Theseus is increasingly shown as a military leader in big battle scenes, namely the Amazonomachy and centuaromachy. The last chapter discusses the youthful deeds after 450 B.C., in vase-painting and on the metopes of the Hephaisteion, and surveys the entire iconographical development of the image of the youthful Theseus. Finally, an attempt is made to show how his development coincides with Alkmeonid influence in Athenian politics. As Peisistratos with Herakles, so the Alkmeonidae and later Kimon identify with Theseus and promote his particular heroes on the part of aristocratic families ends in the Periklean age when non-partisan themes are employed on the major monuments to enhance the glory of the city state.}, author = {Jenifer Neils} } @mastersthesis {6486, title = {Alexandra Exter and Western Europe: An Enquiry into Russian-Western Relations in Art, Theater, and Design in the Early 20th Century}, year = {1979}, school = {IFA/NYU}, abstract = {THIS DISSERTATION IS AN INVESTIGATION OF RUSSIAN AND WESTERN RELATIONS IN ART, THEATRE AND DESIGN IN THE EARLY 20TH CENTURY, AS EXEMPLIFIED BY THE RUSSIAN PAINTER AND DESIGNER ALEXANDRA EXTER. THE MATERIAL IS ORGANIZED IN THREE SECTIONS ACCORDING TO EACH OF THE MAJOR INFLUENCES ON EXTER{\textquoteright}S CAREER - FRENCH POST-IMPRESSIONISM, CUBISM AND FUTURISM - THE AIMS AND MOTIVES OF HER WORK AND THAT OF OTHER ARTISTS BEING EVALUATED IN THE CONTEXT OF RELEVANT CULTURAL EVENTS AND ATTITUDES. THE AUTHOR ARGUES THAT EXTER{\textquoteright}S CAREER IS A KEY BOTH TO A FULLER UNDERSTANDING OF THE IMPORTANCE OF WESTERN SOURCES TO EARLY 20TH CENTURY RUSSIAN ART, AND TO A CLEARER RECOGNITION OF THE CRITICAL NATURE OF THE RUSSIAN CONTRIBUTION TO MODERN STYLE.}, author = {Cohen, Ronny} } @mastersthesis {6504, title = {American Art Criticism: 1910-1939}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Petruck, Peninah} } @mastersthesis {6489, title = {The Art of Charles Biederman}, year = {1979}, school = {UNC Chapel Hill}, abstract = {Since the publication of Art as the Evolution of Visual Knowledge in 1948, Charles Biederman has been acclaimed by some artists and critics, while being disclaimed by many others. In both cases, Biederman{\textquoteright}s theory of art has induced vigorous responses. Concerned with going beyond these two partisan readings, this dissertation has examined Biederman{\textquoteright}s art and thought in an extensive way in order to assess his achievements more incisively. This critique allows a revealing look at the strengths and weaknesses of Biederman{\textquoteright}s aesthetic and results in a new recognition of his beliefs as a major achievement of "perceptual abstraction" in the 1960s. Significantly, this conclusion is based on one of the most sustained applications of Merleau-Ponty{\textquoteright}s phenomenology of perception to a particular artist{\textquoteright}s work, which has been written to date. Precisely because his views concerning perception--which correspond so closely to those of Merleau-Ponty--are so often realized in his art, Biederman is more important than is generally acknowledged. The first chapter of the dissertation is a thorough-going review of Biederman{\textquoteright}s theory. It examines his self-avowed indebtedness to Monet and Cezanne and then focuses on other sources of his position. Unlike monolithic considerations of the past resulting in total acceptance or rejection, the analytical approach of this dissertation shows that the implausible parts of Biederman{\textquoteright}s theory--for example, its purported neurophysiologic basis--are in fact tangential to the plausible aspects of it reflected in his art. A biographical sketch, along with a look at his earliest paintings, is presented in Chapter II. Biederman{\textquoteright}s early career of eclectic groping is charted, with consideration being given to his relationship with artists like Leger. Chapter III addresses Biederman{\textquoteright}s transition from oil painting to reliefs in an effort to deal more effectively with the "structural process" of nature. In Chapter IV there is a discussion of Biederman{\textquoteright}s masterful reliefs from 1950 to the present. In part, these works are an innovative response to what Lewis Mumford termed "neotechnic" culture. The next chapter briefly considers Biederman{\textquoteright}s influence in England, Holland, and Canada. The crucial part of the dissertation, however, is Chapter VI, which involves a correlation of Biederman{\textquoteright}s approach to perception with that of Merleau-Ponty, whose importance to perceptual studies remains of central importance. In this concluding chapter, Biederman{\textquoteright}s acuity in dealing with perception is made clear.}, author = {David L. Craven} } @mastersthesis {6484, title = {Attic Geometric Pyxis}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Bohen, Barbara} } @mastersthesis {6507, title = {Charles Parrocel (1688-1752)}, year = {1979}, school = {University of Washington}, abstract = {From the perspective of his own century Charles Parrocel was an artist of considerable stature even though he never achieved wide public acclaim. He was a member of the prestigious Acaddmie Royale de Peinture et de Sculpture, he exhibited in a number of the salons, he won the respect and admiration of a number of his peers, and he received important commissions from the crown, yet he has been largely overlooked since 1762 when Charles-Nicholas Cochin read his lauditory essay La vie de Charles Parrocel to the Academy. Parrocel has been an enigma in the history of French art. Even today he is barely known in the art world except for a few connoisseurs and devotees of French art. One reason "or this is the fact that many of his paintings have deteriorated badly. Still, many drawings have survived and give us a clearer idea of an artist who was certainly the best equestrian painter of the first half of the eighteenth century. My primary intention is to bring together all of the known facts on Charles Parrocel as well as to put together, for the first time, a basic catalogue raisonne of his paintings, drawings and engravings. Even though future research will undoubtedly bring forth a good many more drawings and perhaps some paintings I hope that the present work will show something of the high quality and diversity of the art of this much neglected artist. The first chapter is in the form of an outline biography which brings together all the known facts of Parrocel{\textquoteright}s life and sets them in a chronological order. This is followed by the Fortune Critique in which the critical literature, from the eighteenth century down to the present, is surveyed. In chapter III the place of Parrocel is considered in its historical context and his art is discussed in terms of its subject matter, style and technique. In this chapter I have also outlined Parrocel{\textquoteright}s place as a battle painter since this is the context in which most historians and critics have placed him. The most important sources on Parrocel within his own century are: Dezallier d {\textquoteright}Argenville{\textquoteright}s Abrege de la vie desplus fameux peintres; Pierre-Jean Mariette{\textquoteright}s Abecedario. . . ;and Charles-Nicholas Cochin{\textquoteright}s "Essai sur la vie de Charles Parrocel" edited by A. Montaiglon in his Mdmoires in edit surla vie et les ouvrages des membres de l{\textquoteright}Academie royale depeinture et de sculpture. Much of the material developed in the dissertation comes from the nineteenth-century French archivists including: Montaig.1 on, Engerand, Guiffrey, Soulid, and Rambaud (cited in the bibliography) . The most important biographical source on all of the members of the Parrocel family, which included thirteen artists, is Etienne Parrocel{\textquoteright}s Honographie des Parrocel, published in 1861.}, author = {Schuman, Jack Crosby} } @mastersthesis {6508, title = {The Classical Tradition in Early 20th-Century Design}, year = {1979}, school = {Minnesota}, abstract = {No abstract in ProQuest}, author = {Selkurt, Claire} } @mastersthesis {6510, title = {Claudio Coello and Late Baroque Painting in Madrid}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Edward Joseph Sullivan} } @mastersthesis {6491, title = {The Development of a Narrative Cycle Based on the Life of the Buddha in India, Central Asia and the Far East: Literary and Pictorial Evidence}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Eichenbaum, Patricia Dina} } @mastersthesis {6514, title = {Early Cretan Seals: A Study of Typology, Style and Chronology}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Yule, Paul} } @mastersthesis {6482, title = {The Figural Arrangements of 18th-Century Churches in Mexico}, year = {1979}, school = {Yale}, abstract = {The intent of this study was to determine whether images in in and on the churches of eighteenth-century Mexico were arranged according to discernible canons, and if so, whether any or all of those rules arose out of earlier traditions. Although the iconographic populations characteristic of various stylistically defined periods have been relatively well explored, the general placement of images has not been considered as a possible factor defining either style or iconography. This is especially true of eighteenth-century Mexican churches, whose ornamental splendors have always obscured their symbolic aspect. In attempting to ascertain the nature of figure placement, two basic procedures were followed. The first was a study of written sources, including published descriptions, official religious pronouncements, and artistic treatises from fifth-century Rome to eighteenth-century Mexico, as well as unpublished accounts from the whole Colonial period in Mexico. These sources not only offered concrete information regarding the appearance of destroyed or altered programs, but they also revealed the attitudes of their authors, if not their respective generations, toward the disposition of religious figures. Exploration of written works informed the interpretation of surviving visual evidence. This consisted of a general treatment of sixteenth and seventeenth-century Mexican churches, and comparison with European antecedents, out of which the eighteenth-century Mexican programs had evolved. The latter were then analyzed in light of their unique characteristics as well as their conformity to established traditions. What emerges from the monuments and the historical evidence is that despite the absence of comprehensive policies, certain implicit rules for general figure placement applied to facades, altarpieces and the interior layout of the church. These rules appear to have been obeyed at least as early as the immediate post-Tridentine period, regardless of the designation of the church. Within such broad guidelines, more specific, but similarly reasoned corollary patterns of arrangements varied according to the stylistic period and the iconographic preferences or requirements of the individual churches. While the selection of images was variable, the principles behind their placement were not. The iconographic programs of eighteenth-century Mexico are distinguished from their predecessors primarily by the incorporation of multitudes of figures, who represent all the subtle gradations within the sacred Christian hierarchy. This encyclopedic approach affected the impact of individual figures by necessitating a decrease in size, which in turn caused minor figures to recede visually into the decorative fabric. Such an approach did not, as some have suggested, compromise the established formulae: it merely expanded the range of their application.}, author = {Anderson, Barbara C.} } @mastersthesis {6506, title = {Filippo Lippi Studies: Naturalism, Style and Iconography in Early Renaissance Art}, year = {1979}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Ruda, Jeffrey} } @mastersthesis {6495, title = {The Genre Works of Louis-Leopold Boilly}, year = {1979}, school = {University of Washington}, abstract = {No abstract in ProQuest}, author = {Hallam, John Stephen} } @mastersthesis {6498, title = {The Hemicycle Capitals in the Church of St.-Nectaire}, year = {1979}, school = {UNC Chapel Hill}, abstract = {The six, well-preserved hemicycle capitals in the chevet of the mid-twelfth century church of St.-Nectaire in the Auvergne are sculptured with fifteen scenes representing events from the Passion week and the public life of Christ, the Second Coming of Christ, a donor scene, events from the life of the patron saint, and the resurrection of the elect at the end of time. Because the scenes appear initially to have no logical order, the earliest scholars to write about them concluded that they were not intended to form a coherent program. More recent scholars in contrast have discerned hat the underlying theme of resurrection as the reward of faith unites these scenes. In this dissertation it is shown that this theme, is expressed not only by the choice of scenes on these capitals but also by their positions in the hemicycle which, far from being arbitrary, relate them to each other and to the liturgical function of the sanctuary and altar, as well as to the cross and relics. Specifically, it is shown that the arrangement of narrative events was designed to take account of the liturgy of the eucharist and the veneration of the patron saint{\textquoteright}s relics. In terms of style, two of the capitals share characteristics with those signed by "Rotbertus" in the hemicycle at Notre-Dame-du-Port in Clermont-Ferrand. On this basis the master sculptor at St.-Nectaire has been thought to have trained in the workshop at that site, a view which this study supports. The four other capitals at St.-Nectaire appear to have been carved by two or three less-skilled hands. The capitals are discussed by pairs in chapters one through three. The two capitals of scenes of the Passion week (their appearance, iconography and possible origins) are discussed in chapter one, section A. In section B the traditions behind this representation of the Passion events and specifically of that of the Women at the Tomb are explored. It is proposed that a now-missing local or south-western French fresco cycle of the Passion with near-eastern traits lies behind these scenes. The Women at the Tomb is the most frequently illustrated event from the Passion cycle in the Auvergne. It is consistently positioned near the entrance of choirs and churches. It is proposed in this study that scenes of this subject originally decorated lintels over the entrances of pre-romanesque regional chapels, particularly those dedicated to the Holy Sepulchre. It is further proposed that they in turn were based on the mosaic of this subject which was positioned above the entrance of the eleventh century aedicula of the Holy Sepulchre in Jerusalem. Chapter two is a description and discussion of the iconography of the capitals of the Transfiguration, Multiplication and donor scene, and that of the Second Coming, and the relation between them. Chapter three is a description and discussion of the iconography of the capital of the events of the Life of St. Nectaire, and of the Resurrection of the elect at the end of time, and the relation between them. Chapter four gives a general historic perspective on the hemicycle at St.-Nectaire. It includes a discussion of the etymology of the word "chevet," and of the evolution of the Romanesque hemicycle from the Carolingian apse. It is proposed that the protective and decorative function of the ciborium over the high altar in the pre-romanesque French apse was later assumed by the Romanesque hemicycle. This provides a background for understanding the close connection which exists between the hemicycle capitals and altar at St. Nectaire. Appendix A is a discussion of the history of the church of St.-Nectaire, its dating and patronage. Appendix B concerns the architecture of the exterior and interior of the chevet of St.-Nectaire. Appendix C is a discussion of the condition of the capitals at St.-Nectaire (part 1) and a description and discussion of the ambulatory capitals (part 2) and the nave capitals (part 3).Appendix D is a history of the diocese of Clermont-Ferrand (part 1)and of the major churches in the region (part 2)}, author = {McBee, Henrietta S.} } @mastersthesis {6502, title = {A History of the Architecture and Urbanization of 19th-Century Davenport, Iowa}, year = {1979}, school = {Iowa}, abstract = {No abstract in ProQuest}, author = {Oszuscik, Philippe} } @mastersthesis {6493, title = {Isaac Oliver: Art at the Courts of Elizabeth I and James I}, year = {1979}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Finsten, Jill} } @mastersthesis {6492, title = {Jean-Francois Raffaelli (1850-1924): The Naturalist Artist}, year = {1979}, school = {Columbia}, abstract = {This dissertation examines the life and work of the French artist Jean-Francois Raffaelli and, in particular, the period during which his work may be most closely identified with that of the literary Naturalists, especially Joris-Karl Huysmans. Known as the peintre de la banlieue, Raffaelli studied and depicted in a scrupulously realist style the grim, sparse landscape and the inhabitants of the industrial Parisian suburbs where he lived. During his lifetime, Raffaelli was considered a significant independent artistic force. Major studies, largely enthusiastic about the artist by Gustave Geffroy, Georges Lecomte and Arsen Alexandre, critics closely associated with Raffaelli, were written before his death, as was Loys Delteil {\textquoteright}s catalogue raisonne of Raffaelli{\textquoteright}s graphic work. None, however, analyzes Raffaelli in depth, explores his relation to the artists and writers of his time or undertakes a careful chronological development of his art. Various histories of nineteenth century French art and Impressionism trace the decline of the artist{\textquoteright}s reputation as his works disappeared from view. No modern scholarship concerning him exists. As models for his own pictures, Raffaelli turned during his early years (1870-1877) to the works of established, successful painters such as Corot, Gerome, Roybet and Fortuny. Together with a few landscapes, the 111ajor part of his production consisted of tableaux primarily with subjects in Louis XIII dress. Suddenly in 1876 Raffaelli produced a powerful, stark realistic portrait of a Breton peasant family that drew praise from Edmond Duranty during its exhibition at the Salon of 1877 and signaled a new direction in his art. By the late 1870{\textquoteright}s, Raffaelli{\textquoteright}s career as a Realist artist was launched with the support of such critics as Duranty and Huysmans. Through Degas, Raffaelli became a member of the Impressionist group and eventually, though unwittingly, played a leading role in the break-up of Impressionism. Raffaelli focused his attention during this period almost exclusively on the newly expanding suburbs of Paris where he had settled. The industrial suburban landscape, which had attracted the literary Naturalists, became an integral theme in his art. Although contemporary artists, such as Rene Billotte, the Nee-Impressionists and Vincent Van Gogh, also concerned themselves with this theme, none possessed Raffaelli{\textquoteright}s singularly sustained interest, combining attention to detail and objective detachment into a sober, yet unsentimental approach akin to that of the Naturalist writers. Raffaelli carefully recorded the inhabitants of these industrial zones along the Seine--vagabonds, absinthe drinkers, petits industriels, workers, petits bourgeois and, in particular, ragpickers. Within the rich tradition of the image of the ragpicker in nineteenth century literature and art, Raffaelli endowed this marginal member of society with a special meaning, regarding him as a symbol of individualism in modern society and as the expression of his own pessimistic outlook. Raffaelli {\textquoteright}s philosophical bent led him to articulate a theory of Realism which he christened caracterisme. Raffaelli hoped to set himself apart from those unthinking, so-called Realist artists whose art failed to go beyond a literal depiction of nature. Greatly influenced by positivism and, in particular, by Taine, Raffaelli defined the Realist artist as one duty-bound to reveal the essential character of various aspects of reality, including the nature of contemporary society and its individual personalities, together with the artist{\textquoteright}s state of mind. Affinities between Raffaelli and the literary Naturalists in their artistic approach and choice of subject matter drew them together socially, Raffaelli met and corresponded with Huysmans, Zola and other members of the Medan group. Raffaelli{\textquoteright} s formal portraiture, although not a large portion of his oeuvre, reveals Raffaelli{\textquoteright}s alliances within the literary, artistic and political circles in Paris, focusing as it does upon men of arts and letters in their creative milieu, such as Georges Clemenceau, Eugene Gonon, Edmond de Goncourt, Auguste Rodin, Emile Zola and J.K. Huysmans. In landscape, Raffaelli concentrated on the suburban scene in the late 1870{\textquoteright}s and 1880s, with occasional forays into the city and to seaside resorts. The artist{\textquoteright}s re-entry from the suburbs into Paris in the early 1890{\textquoteright}s marked a definite shift in focus to more public views of the capital. Enjoying increased prosperity, Raffaelli turned out picture postcard views of Parisian monuments and boulevards and, in later years, picturesque views of the French countryside and seaports. While not a professional illustrator, Raffaelli provided material from time to time for newspapers, reviews and books, primarily in the 1880{\textquoteright}s and early 1890{\textquoteright}s. His subjects, drawn for the most part from the industrial suburban milieu, popular city entertainments and street life, accompanied texts by Huysmans, the Goncourts and Victor Hugo among others. His most ambitious project, Les Types de Paris (1889), a profusely illustrated album of light-hearted articles written by his literary friends, serves as o retrospective of Raffaelli{\textquoteright}s activities as an illustrator of Parisian life.}, author = {Fields, Barbara S.} } @mastersthesis {6487, title = {The Karen Bronze Drums of Burma: The Magic Pond}, year = {1979}, school = {Cornell}, abstract = {No abstract in ProQuest}, author = {Cooler, Richard Morrall} } @mastersthesis {6500, title = {Lafayette{\textquoteright}s Farewell Tour of America 1824-25: A Study of the Pageantry and Public Portraiture}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Miller, Marc H.} } @mastersthesis {6509, title = {The Master of the Barberini Panels: Fra Carnevale}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Strauss, Monica} } @mastersthesis {6496, title = {The Mendes Maze: A Libation Table for the Genius of the Inundation of the Nile}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Hibbs, Vivian} } @mastersthesis {6497, title = {Nike and the Cult of Athena Nike on the Athenian Acropolis}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Mark, Ira} } @mastersthesis {6499, title = {Painters and the Ballet 1917-1926: An Aspect of the Relationship between Art and Theatre}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {McQuillan, Melissa Ann} } @mastersthesis {6485, title = {The Paintings of Benedetto Luti}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Bowron, Edgar Peters} } @mastersthesis {6501, title = {The Paintings of Frans van Mieris the Elder}, year = {1979}, school = {Yale}, abstract = {Of the major seventeenth-century Dutch genre painters Frans van Mieris the Elder (1635-1681) is the only artist to lack monographic treatment. Yet his surviving pictures are of remarkable quality, and they attest to his vital role in the development of painting in his time. With Gerard ter Borch, Nicolaes Maes, Pieter de Hooch, Johannes Vermeer, Gabriel Metsu and Gerard Dou, Frans van Mieris participated in the greatest era of Dutch genre painting. As with any monograph devoted to a painter, this study attempts firstly to establish the core of surviving works, setting them in chronological order based on a structure of dated paintings. Undated works are arranged in relationship to this core and to dated or datable paintings by other artists, HH Van Mieris{\textquoteright}s oeuvre is most interesting in this latter aspect in the establishment of subjects and stylistic formulae hemis often precedes his contemporaries. By combining various elements from earlier pictures with his personal style Van Mieris made a significant contribution to Dutch genre painting. Many important documents discovered in the archives of Leiden concerning Frans van Mieris and his immediate family serve as the basis for a factual biography. Data provided by this unpublished material confirm many of the facts related in Houbraken{\textquoteright}s life of the artist (1721). In addition, detailed transactions between the painter and his greatest aristocratic patron, Grand Duke Cosimo III de Medici, are preserved in the correspondence between Cosimo{\textquoteright}s agents in Florence and Amsterdam. These letters afford a rare glimpse into the relationship between artist and patron in the seventeenth century. Dutch pictures of everyday life are an excellent source \% for the understanding of Holland{\textquoteright}s past. Increasing researchF into the iconography of Dutch genre painting has revealed that many of these paintings are derived from literary sources in particular emblem books - for underlying themes. On the other hand, like the authors of emblematic literature the painters also drew on a rich tradition of moralization and the continual application of double-entendre to real life situations. "Whatever Van Mieris{\textquoteright}s initial source or motivation his paintings frequently contain emblematic associations that can often be "deciphered" for at least one ulterior meaning beyond the mere depiction of reality. The last and longest chapter of the text explores the meaning of a selection of Van Mieris{\textquoteright}s paintings, chosen for their variability of interpretation. This investigation shows that Van Mieris had a distinct preference for subjects that lend themselves to several explanations. Nevertheless, he continued to produce pictures that defy complex interpretation and seem to persist as genre pur. Van Mieris{\textquoteright}s leadership among the fijnschilders of his day significantly contributed to the development of Dutch painting towards a tighter, more refined style. Often, paintings executed in this manner during the last quarter of the seventeenth century can be seen to derive from his prototype or from a series of related paintings based on his primary example.}, author = {Otto J. Naumann} } @mastersthesis {6505, title = {The Palazzo Magnani: An Iconographic Study of the Decoration}, year = {1979}, school = {Florida State}, abstract = {This dissertation is a study of the iconography of the sculpture and the frescoes in the Palazzo Magnani (1577-1592) in Bologna, Italy. The central purpose is to examine the decoration for the meaning it once had for the owner, Lorenzo Magnani. The Carracci series of frescoes on the Life of Romulus in the salon d{\textquoteright}onore of the Palazzo has long been praised and described from the point of view of style. However, until this study, it has not been examined iconographically, or discussed as part of a decorative concetto. The major unanswered question which is addressed in this dissertation is whether there is an iconographic connection between the sculpture of Hercules with two boys which stands in a niche in the cortile of the Palazzo and the fresco series. Nine busts all{\textquoteright}antica flanked by urns placed over the doorways of the Palazzo are also included in the analysis of the decoration. Chapter one surveys previous scholarship and includes in an appendix the stylistic analyses which major scholars have made regarding the Carracci frescoes since the time of Malvasia. Since these analyses have not lead to a clarification of the meaning the decoration may have had for the owner, the first chapter serves to underscore the need for an iconographic approach. The second chapter describes the niche sculpture of Hercules with two young boys who stand one behind the other in an unique grouping. The multiple associations surrounding Hercules are explored as well as the parallels between Hercules and Romulus. Hercules as a twin, as the protector of bastards, and as a model of virtu are among the aspects of the hero which are shown to be relevant to an understanding of the importance of this group. Chapter three describes the busts and the flanking urns which are placed over the doorways in the Palazzo. These are treated as a sixteenth century interpretation of the Roman ius imaginum. Hercules, Romulus and the great Romans form a genealogical succession down to the Magnani family. The fourth chapter examines Cardinal Gabriele Paleotti{\textquoteright}s (1522-1597) attitude toward profane art and shows that the decoration of the Palazzo Magnani would have followed the requirements which he set forth. The historicity of Romulus in the 16th century is an important aspect of the scheme allowing the frescoes to be seen as history and not myth. Chapter five presents documents which establish the prestige of Lorenzo Magnani and his status in the government of Bologna. Baptismal and genealogical records reveal the birth of two sons, one of whom was born in 1592, the date recorded on the camino of the salon d{\textquoteright}onore. The dissertation concludes that the niche sculpture of Hercules and the two boys is linked iconographically to the frescoes of the Life of Romulus through the figure of Hercules who can be seen in this context as the prototypical ancestor of the Magnani family. The sculpture in the niche is also linked to the family history of the Lorenzo and his children. Hercules, although a pagan figure, was acceptable to both the humanist and the churchman of sixteenth century Bologna as a model of virtu who proclaimed to the viewer the power and the status of the Magnani. The dissertation sees the decoration of the Palazzo Magnani as the expression of a unified concetto and also one which expressed the Neo-Romanism of the late sixteenth century.}, author = {Rubenstein, Betty R.} } @mastersthesis {6494, title = {The Panel Reliefs of Marcus Aurelius}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Gordon, Elizabeth} } @mastersthesis {6511, title = {The Papeleu Master: A Parisian Manuscript Illuminator of the Early 14th Century}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Udovitch, Joan Diamond} } @mastersthesis {6512, title = {The Pictorial Decoration of the Buen Retiro Palace under the Reign of Philip IV}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Vo Barghahn, Barbara} } @mastersthesis {6488, title = {Pieter Aertsen{\textquoteright}s Inverted Still Lifes}, year = {1979}, school = {Bryn Mawr}, abstract = {Pieter Aertsen (1507/08-1575) was born in Amsterdam but spent much of his working career in Antwerp where in 1535 he became a master in the painters{\textquoteright} guild. Aertsen executed many altarpieces and genre pictures in his lifetime but he is best known as the founding master of Netherlandish still-life painting. Among the most intriguing pictures of the sixteenth century are Pieter Aertsen{\textquoteright}s "inverted" still lifes. These are a series of paintings executed in the 1550{\textquoteright}s and 1560{\textquoteright}s in which images of food--fruits, vegetables, and meat--are combined with biblical subjects in a very unusual manner. The still lifes, painted with the most incredible fidelity to nature and possessing extraordinary tactile qualities, nearly fill the foregrounds while the biblical subjects, executed in muted tones, appear far off in the backgrounds of the panels. This relationship of a sumptuous still life visually and physically overwhelming a small sacred scene has been called the "Mannerist inversion." Various explanations have been proposed to account for these remarkable pictures. Some interpretations are based on motivations of style, others suggest that the artist merely preferred to emphasize secular imagery at the expense of the biblical stories. A few iconographic explanations have been tentative and far from systematic and no proposal so far accords well with the general character of sixteenth-century Netherlandish art. Aertsen employed only specific biblical stories with his inverted still lifes: Christ in the House of Martha and Mary, Christ and the Adulteress, and a special legend of the Flight into Egypt. Careful formal analysis of these pictures reveals that the food still lifes in the foregrounds and the biblical subjects in the backgrounds are intentionally compared. The purpose of this comparison is suggested in the exegetical writings on these very biblical themes (Augustine, Gregory, Bernard) as well as in the pictorial traditions of the stories. For in each of these, food imagery plays a very special role. Every biblical subject which Aertsen includes with an inverted still life serves as an example of the spiritual food that flows from God. Therefore, Aertsen{\textquoteright}s paintings establish a contrast of transient, temporal food (in the foreground) with a biblical story that represents lasting, spiritual food (in the background). Food for the body is used to remind the viewer of food for the soul. Victuals take on the force of vanitas still life. The paintings exhort the viewer to consider the sustenance of his spiritual life. Aertsen{\textquoteright}s iconographic innovation was very popular among his pupils and followers and many inverted still lifes were executed in the second half of the sixteenth century. Several examples are known in the seventeenth century as well, including works by Velazquez. Aertsen{\textquoteright}s followers expanded the number of biblical subjects to be combined with still lifes and even adapted appropriate secular scenes to the form, most of these paintings retaining Aertsen{\textquoteright}s original iconographic intent. Thus the birth of Netherlandish still-life painting can be closely tied to moralizing and didactic concerns.}, author = {Craig, Kenneth M.} } @mastersthesis {6513, title = {The Public Figure: Political Iconography in Medieval Mesopotamia}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Whelan, Estelle Jane} } @mastersthesis {6483, title = {The {\textquoteright}Sasanian Palace{\textquoteright} near Sarvistan}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Bier, Lionel} } @mastersthesis {6503, title = {Stained Glass Windows of the Choir of the Cathedral of Tours}, year = {1979}, school = {IFA/NYU}, abstract = {No abstract in ProQuest}, author = {Papanicolaou, Linda Morey} } @mastersthesis {6490, title = {Two Schools of Ivory Carving in Italy and Their Mediterranean context in the 11th and 12th Centuries}, year = {1979}, school = {Harvard}, abstract = {No abstract in ProQuest}, author = {Ebitz, David MacKinnon} } @mastersthesis {6480, title = {Canova{\textquoteright}s Tomb of Vittorio Alfieri}, year = {1978}, school = {Florida State}, abstract = {This dissertation is a study of Antonio Canova{\textquoteright}s Tomb to Vittorio Alfieri (1803-10), located in the Church of Santa Croce, Florence, Italy. The central purpose has been to reconstruct the history of the tomb in its cultural and political setting, and to use this monument as a focus for examining Canova{\textquoteright}s political attitudes during the period of Napoleon{\textquoteright}s occupation of Italy. Alfieri, a great literary precursor of Italian nationalism, lived for almost three decades with Luise Stolberg, Countess d{\textquoteright}Albany. Together they opposed both the French Revolution and Napoleon{\textquoteright}s domination of Italy, and Alfieri became known as a champion of Italian unification. D{\textquoteright}Albany commissioned the monument to Alfieri upon his death in 1803. The relationship between Canova and his Neoclassical art on the one hand, and the origins of Italian nationalist sentiment on the other, have never been fully explored. A major unanswered question is whether Canova took a position with regard to the political ideologies of his day, and, if so, whether his position was reflected in the tomb to Alfieri. The famous figure of Italia depicted on the monument would suggest that indeed Canova intended the work to be not only a commemoration of the patriotic poet, but also a nationalist statement of his own. Although Neoclassicism has enjoyed a renewal of scholarly interest in recent years, little work of a definitive nature has appeared on Canova, the acknowledged master of the style. Moreover, no critical analyses of his funerary works have been produced. This dissertation therefore also examines the Alfieri tomb in the context of Canova{\textquoteright}s other funerary monuments. Chapter one traces Canova{\textquoteright}s stylistic development from his early Venetian training, with its late Baroque and Classical encounters, to his Roman period, when these two stylistic streams were synthesized in his work. The second chapter reviews his five major funerary monuments, as well as two unrealized projects, primarily from a stylistic viewpoint. The third chapter traces in detail the story of the commission of the Alfieri tomb, while the fourth chapter deals with its execution and erection. Chapter five provides a detailed stylistic analysis of the Alfieri monument and places it within the context of his other funerary monuments. The sixth chapter focuses on the highly important figure of Italia--its iconographic sources and style--and seeks to explain Canova{\textquoteright}s use of that symbol. The conclusion discusses the political after-effects of the tomb and the interpretations that contemporaries and later generations of Italians gave to it, and reviews the evidence that points to Canova{\textquoteright}s political intentions: at first he preferred to avoid political turmoil altogether, but events inextricably drew him into the world of Italian and international affairs; once involved, he formulated precise and consistent views. The dissertation concludes that under the impact of Napoleon{\textquoteright}s occupation of Italy, Canova developed a patriotic consciousness and a dislike for foreign domination. His final conception of the Alfieri monument aimed at celebrating the ideals for which Alfieri was famous and exhorting Italians of his day to resist oppression for the sake of liberty.}, author = {Henry, Jean} } @mastersthesis {6481, title = {Meaning in the Art of Barnett Newman and Three of his Contemporaries: A Study of Content in Abstract Expressionism}, year = {1978}, school = {Iowa}, abstract = {No abstract in ProQuest}, author = {Quick, David} } @mastersthesis {6479, title = {Ritual Pueblo Ceramics: Symbolic Stylistic Behavior as a Medium of Information Exchange}, year = {1977}, school = {New Mexico}, abstract = {No abstract in ProQuest}, keywords = {Pre-Columbian and Latin American Art}, author = {Kenagy, Susan Gandell} }